Photography Monthly 2011 - 04

EXPERIENCE LIFE - CAPTURE THE MOMENT
PHOTOGRAPHY MONTHLY
ISSUE 120 APRIL 2011
26 PAGES OF PORTRAIT TIPS & TECHNIQUES

JONATHAN & ANGELA SCOTT THE 5 LIES OF SHADOWS MASTERING PORTRAITURE OLYMPUS E-5 REVIEWED
ISSUE
PRO ZONE
WILD AT HEART
Exclusive Interview Jonathan and Angela Scott explain the secrets of their award-winning images
PHOTO ZONE
GET LIGHT RIGHT

The 5 lies of photographing shadows revealed
THE MANIPULATORS
Three of the best explain how to master post-production
PORTRAITS
HOW TO SHOOT THEM, LIGHT THEM, STYLE THEM & CREATE THEM SUCCESSFULLY
WWW.PHOTOGRAPHYMONTHLY.COM
TEST ZONE
GET KITTED OUT

Your essential laptop roundup, the Olympus E-5 toughs it out and the Pentax K-5 reviewed
3.99
120
APRIL 2011
The magazine for people who love photography
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Lumix GF2, 1/250 sec @ f2.8, ISO 200
The Lumix GF2 sold with a variety of lens congurations. Check with dealer for details.
GET OUT OF THE ORDINARY

Like the shots it lets you take, the Lumix GF2 is a break from the ordinary. It does everything conventional cameras can, but in a smaller, more compact body so you can capture inspiration anywhere with ease. For photographers who like to look at the world differently, it completely redenes whats possible. Will Cooper-Mitchell uses the Panasonic Lumix GF2. D-SLR performance and interchangeable lenses in a more compact body. See more pictures taken by Will on the GF2 at panasonic.co.uk/acityexposed
Will Cooper-Mitchell Photographer
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APRIL 2011 | ISSUE 120
WELCOME
FROM THE EDITOR
EDITORS IMAGE | MATT HALSTEAD THIS IMAGE | JONATHAN SCOTT COVER IMAGE | PETER VERVER
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THE LIVES OF OURSELVES, FRIENDS AND FAMILIES ARE RECORDED THROUGH A SERIES OF PORTRAITS TAKEN BY FRIENDS AND RELATIVES THROUGHOUT OUR LIVES, BUT HOW MANY OF THE IMAGES MAKE COMFORTABLE VIEWING? And how many of them do we feel are successful portraits which capture the spirit of the person the photographer was trying to portray? I know how I would answer these questions and that is exactly why this month we have decided to focus on improving our and your portrait photography. From dealing with shadows, conquering lighting setups and improving our compositional skills to learning how to successfully master the art of image manipulation, I really think that this month weve got portraiture covered in a new and fresh way. As always, weve asked some of the worlds greatest photographers to share their secrets and advice and I hope you agree with me that what they say is both informative and entertaining. Which is what we try to make the magazine every month. But thats enough from me; its time for my close-up, Mr DeMille. PM
Grant Scott Editor, Photography Monthly
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CONTENTS
PHOTO MONTH
9-13 ESSENTIAL NEWS FROM THE WORLD OF PHOTOGRAPHY, INCLUDING: Our roundup of the best innovations from Focus on Imaging 2011, including the Olympus SZ-30MR and Vanguards Novello tripod for CSCs; plus time is running out to get your entries in for this years International Garden Photographer of the Year and Nikon Foundation competitions.
PRO ZONE
27-32 MATT HUMPHREY Photographer Matt Humphrey reveals to deputy editor Sean Samuels how and why he embarked on a journey to shoot 31 portraits of actors and directors in as many days. 34-44 JONATHAN & ANGELA SCOTT Jonathan and Angela Scott are wildlife photographers based in Africa. They are best known for their work on BBC televisions Big Cat series. Tor McIntosh caught up with them to find out more about the team.
E T H ER ON OV C
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MASTERCLASS
49-53 NEIL TURNER We decided to keep things simple this month for our lighting master Neil Turner. Armed with just a handful of reflectors and natural light we asked him to find out how best to use these elements to help you get the most from your portrait work.
WIN STUFF ON PAGES 12, 23, 73, 96 PHOTO ZONE

56-61 MARTIN MIDDLEBROOK This month Martin examines the five great lies associated with shadows.
E TH ER ON OV C E TH E R ON OV C
74-75 FILM SCHOOL John Campbell brings you the latest news and kit, as well as inspiration from the world of film making on your DSLR. 76-87 THE MANIPULATORS We ask three of the best post-production masters how they create their stunning work. 88-93 LAPTOP ROUNDUP Jessica Lamb takes a look at the best laptops for photography on the market, as well as protective cases.
E T H ER ON OV C
62-63 PETER DENCH Peter shares his advice and experience so you never have to fail at portraits again. 64-69 TED SABARESE Professional photographer Ted shows you how to use four simple lighting setups.
71 EMILY ANDERSEN Emily discusses her experience of shooting a commercial portrait project.
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96-97 READERS CHALLENGE Win great prizes by uploading your images to the gallery. This month portrait.
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LUIS BELTRN / ANGELA SCOTT / DREW SOUTHCOTT
E TH E R ON OV C
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FRIENDS
MEET THE TEAM
Each month we introduce you to the people we work with to produce Photography Monthly
Jonathan and Angela Scott

Photographers
Award-winning husband-and-wife team Jonathan and Angela Scott are best-known for their work on the BBC television series, Big Cat Diary, but they also travel the world together to capture wild animals in their natural habitats. In Out of Africa on page 34 they explain how their different shooting styles complement each other to help make great images.
Matt Humphrey
Photographer
When Matt Humphrey had the idea of shooting 31 black-and-white portraits of British actors and directors in 31 days for charity, he did not know the project would push his creativity and also help to develop his style. In Playing the Part on page 27, he explains how to plan a photography project, how to connect with your subjects and how to work with available light.
Ted Sabarese
Photographer
New York-based photographer Ted Sabarese shoots for a number of advertising clients around the world. His blog Guess the Lighting, where Ted tries to work out how commercial images were lit, is an internet phenomenon, so we asked him to reveal the techniques behind some of his own shots to help you with lighting your subjects. Light Up Your Life is on page 64.
Peter Dench
Photographer
Peter Dench is an award-winning photojournalist and regular contributor to our sister title Professional Photographer. Over the years he has arranged and shot numerous portraits around the world, so we asked him to share his invaluable expertise and wisdom to help you make successful portraits. Turn to page 62 for Never-Fail Portraits.
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GROUP BRAND EDITOR Grant Scott grant.scott@archant.co.uk DEPUTY EDITOR Sean Samuels sean.samuels@archant.co.uk ART EDITOR Bob Cree bob.cree@archant.co.uk MANAGING EDITOR Simon Reynolds simon.reynolds@archant.co.uk FEATURES ASSISTANT Kelly Weech kelly.weech@archant.co.uk EDITORIAL ASSISTANT Jessica Lamb jessica.lamb@archant.co.uk SPECIAL THANKS Mandy Pellatt
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I While reasonable care is taken to ensure the accuracy of the information in Photography Monthly, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publication in Photography Monthly only upon Archant Specialists standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Photography Monthly is forbidden except by express permission of the publisher. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. I Employees of Archant Specialist, and those professionally connected with the competition/giveaway, for example, employees of the sponsor company, are not eligible to enter. I Unless otherwise stated, competitions/giveaways are only open to UK residents. I Prizes are as described and no alternatives can be given. I The editors decision is nal and no correspondence will be entered into. I Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. If you are sending your entry by text and do not wish to be contacted, please add the word NO to the end of your text message. If you are sending your entry by post, please tick the appropriate boxes on the entry form.
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PHOTOMONTH
All you need to know from the world of photography
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SHOOTING STAR
TERRY ONEILL
THE WORK OF BRITISH PHOTOGRAPHER Terry ONeill will be on display in London this spring to celebrate more than half a century of his work. ONeill captured many of the major personalities from the world of 1960s cinema, rock and pop, theatre and fashion, including Michael Caine, Audrey Hepburn, Paul Newman, The Rolling Stones, Brigitte Bardot and The Beatles. His photographs offer an intimate insight into the stars lives, both private and public.
The Chris Beetles exhibition features small vintage prints and large modern ones, created by ONeill from his original negatives. Many have never been seen before, having been discovered only during research of his archive. Key unseen images include ones taken during the making of some of the early Bond films, when ONeill was able to shoot candidly. Terry ONeill: 50 Years at the Top is at the Chris Beetles Gallery in London from 23 March to 23 April 2011. PM www.chrisbeetlesfinephotographs.com
Clockwise, from top left: Lee Marvin on the set of Pocket Money, Tucson, Arizona, 1971; Sean Connery on the set of Diamonds Are Forever, 1971; Paul Newman in costume for Pocket Money, Tucson, Arizona, 1971; Goldie Hawn on the set of Theres a Girl in My Soup, London, 1970; Brigitte Bardot, Spain, 1971; The Beatles, London, 1963; Britt Ekland, 1965.
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GITZO TWO WAYS FLUID HEADS

Photographers who like digiscoping should take a look at the GH1720QR and GH2720QR two ways fluid heads from Gitzo. Featuring fluid cartridges, a single lock system and ultra-precise inner mechanism, these pan-and-tilt heads give ultra-smooth movement at very low speeds. Both are well made and great for shooting stills and video. The GH1720QR is priced 213.95 and the GH2720QR is priced 254.95. www.gitzo.com
LENSBABY SWEET 35 OPTIC

The Sweet 35 Optic from Lensbaby is a 35mm, selective focus lens with a 12-blade adjustable aperture for controlling creative focal points and the amount of blur in your images. This is the widest focal length available offering changes from f/2.5 through to f/22 The Sweet 35 Optic is part of the Lensbaby Optic Swap System and is compatible with the Composer, Muse, Control Freak and Scout lens bodies. It allows photographers to focus anywhere from 3in to 7.5in from the front of the lens to the subject, depending upon which lens body is being used. Its wide 35mm focal length is goodfor landscapes, events and environmental portraits. www.lensbaby.com
VANGUARDS NIVELO TRIPOD FOR CSCs

LOWEPRO ILC CLASSIC SERIES
Lowepro released three new series at Focus on Imaging at Birmingham NEC the ILC Classic, CompuDay Photo and Quick Case. We thought the ILC Classic Series was particularly well-timed to accompany the raft of interchangeable lens cameras on the market. This new streamlined shoulder bag series has a padded, soft-brushed interior specially designed to accommodate compact cameras and accompanying lenses. As youd expect from Lowepro, the series is sturdy and practical, with SlipLock attachments, metal hardware and adjustable straps. The ILC Classic 50 fits a compact camera with its attached lens kit and spare memory card, while the ILC Classic 100 fits a camera plus lens, an extra lens, a flash and two memory cards. The CompuDay Photo Series can accommodate both a laptop and a single camera ineither a messenger bag or backpack while the Quick Case series features snugly-fitting, impact-resistant covers for bridge and DSLR cameras. Check your favourite retailer for prices. www.lowepro.com We were really drawn to the innovation and design behind these compact tripods from Vanguard. Made with todays CSCs in mind, the Nivelo 204 is smaller and lighter than the average travel tripod and includes features such as shock-absorbing rubber feet, twist-n-lock legs and a spirit level on the pan head. A 360 rotating head allows panoramic shots while side-to-side tilting gives you a unique take on the world. The Nivelo 204 is available in black and silver, priced at 59.99. We have one of these tripods to give away, turn to page 96 to find out more. www.vanguard.com
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NICK SARGEANT
The Nivelo 204 tripod is a lighter and smaller alternative for photographers looking to support their CSC.
PM MEET & GREET THE URBAN JUNGLE

National Geographic has released a new range of stylish bags for carrying your camera and computer equipment as well as enough personal items to cover the length of your expedition, no matter how long that may be. Designed for travelling from city to city, the Africa range is a sophisticated and subtle collection, from shoulder bags to rucksacks to large-sized duffle bags. www.geographicbags.com
The Photography Monthly team was out in force at Focus talking to readers. We were joined by some of the photographers who contribute to PM: master of light Neil Turner and regular columnist David Ward, who answered questions and shared their expertise with the crowds. PM Editor Grant Scott (above) donned a head mic to give a talk on the Nikon stand which went down well with a crowd eager to pick up tips and advice.
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PHOTOMONTH
GO ONLINE We update the website
daily to bring you news as it happens www.photography monthly.com
SPECIAL
WHAT WE LOVED AT FOCUS

OLYMPIC GOLD
We love the sleek look of these compacts from Olympus, available in black and silver, which the company claims are the first cameras able to capture movies and 16-megapixel stills simultaneously. The Olympus SZ-30MR features a super-zoom (24x wide optical zoom) and can record film in more than one mode, in a variety of combinations; for example, as a movie and digital stills or two movies at once in wide angle and close-up, or original and filtered, using one of the seven magic filters. The new multi-recording function, combined with the photo with movie clip setting, makes it possible to capture moving footage before and after taking a single photograph. Also on show was the 16-megapixel SZ-20, a slender camera with 12.5x wide optical zoom. Among the other benefits, both cameras feature a smart panorama function, which allows users to capture sweeping stills by panning the camera, and a mode for blur-free shooting at night time without a tripod. Both cameras carry built-in flash, in-camera manual, USB charging, Eye-Fi compatibility and a 3D shooting mode for still images, where the cameras will capture two shots (automatically or manually) of a scene from two different angles to create an image that can be viewed with the added realism of 3D on a 3D compatible source. The SZ-30MR is priced 299.99 and the SZ-20MR is priced 199.99. www.olympus.co.uk
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LENSPEN SIDEKICK
We first spotted the LensPen people at Photokina in Germany last September and featured their handy camera lens cleaning pens. This month they were back at Focus on Imaging with a nifty new product, the SideKick. Designed to remove those unsightly marks from the iPads supposedly fingerprint-resistant screen, it uses the same carbon-based cleaning compound as the award-winning Lenspens. The SideKick comes with one replaceable cleaning head that lasts for 150 to 200 uses and costs 14.95; it costs 10 for two replacement heads. The SideKick will be available from April in the UK from Jessops and independent retailers. www.lenspen.com
The Olympus SZ-30MR (above) and SZ-20MR cameras can take stills and video at the same time.
also safeguard against bumps, scrapes and dented filter rings. They are available in three sizes to fit most lenses and are priced 19.95 each. www.deluxgear.com
DISABLED PHOTOGRAPHERS SOCIETY

The society was back at Focus this year, with a vast array of second-hand kit and photography books on its stand. There has been a resurgence of interest in buying high-quality film cameras, according to the societys honorary life president, Mike Birbeck, It used to be just students who came for the film cameras but now were seeing a much wider interest in them, he said. The Disabled Photographers Society promotes photography for people with disabilities, or their carers. For more information about the society visit www.disabledphotographers.co.uk
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DELUX GUARDS
If you have ever knocked the end of your lens then youll want to take a look at this range of protectors from DeluxGear. The Lens Guard can fit snugly over both ends of your lens, making it good for transporting kit as well. In addition to providing impact protection, the covers
FOTON VIDEO PLATINIUM DSLR RIG

The Platinum shoulder support gives easy access to all your camera functions when shooting video. A moveable arm can be placed to the side of the rig or to the front of the support to help counterbalance heavier lenses. It is priced 120. www.cameraclean.co.uk
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THE LIVES OF OTHERS

The National Media Museum in Bradford houses works from some of the worlds greatest photographers and while its images might be familiar to us we dont always know much about those who took the pictures. A new, free exhibition at the museum, The Lives of Great Photographers, explores the lives of the men and women behind the lens with images and histories of the photographers themselves as weve never seen or heard them. The exhibition features a variety of photographers dating back to the early days of the medium; portraits and work of legends such as William Henry Fox Talbot and Edward Steichen sit alongside images and work of Weegee, Dorothea Lange and Larry Burrows. Famous for shining a light on how others live, each photographer none of whom is still alive is represented by a portrait, some of their remarkable images and intensely personal effects such as notebooks. Its a great insight into the minds and motivation of those who have changed how we see the world. The Lives of Great Photographers, Gallery One, National Media Museum, Bradford, 15 April to 4 September 2011. www.nationalmediamuseum.org.uk
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RICHARD SADLER FRPS, COURTESY OF THE NATIONAL MEDIA MUSEUM / SSPL
Weegee in Coventry, 1963.
A Vanguard Alta Pro 283CT Tripod worth 319.99

To be in with a chance of winning one of these great tripods go online to our Vanguard competition in the competition section of www.photographymonthly.com The Vanguard Alta Pro 283CT is an award-winning, carbon fibre tripod and weve got three to give away. Flexible and stable, it incorporates clever features that also make it extremely versatile. The innovative Multi-Angle Central Column (MACC) System lets you move the central column from zero to 180 angles in variable vertical and horizontal positions so the tripod is ideal for macro photography and awkward, wide-angle shots. The Instant Swivel Stop-n-Lock (ISSL) System securely repositions the central column in a simple movement while maintaining the tripods stability. It has advanced camera vibration and shock control, a hexagon-shaped central column for extra stability, legs that adjust to 25, 50 and 80 angles, quarter-twist leg locks and non-slip, spiked rubber feet for varying terrains. The suggested retail price is 319.99 (including VAT). www.vanguardworld.com
WIN
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PHOTOMONTH
GO ONLINE We update the website
daily to bring you news as it happens www.photography monthly.com
HOW DOES YOUR GARDEN GROW?

You can now go online to see the images chosen for the finals of International Garden Photographer of the Year 2010. Now in its fourth year, the contest to find the best images from the world of botanical photography is open to enthusiast and professional photographers. The winner will be announced on 3 May following a review of the entries by a panel of industry professionals, including representatives from the Royal Botanic Gardens, Kew, the National Trust and The Royal Photographic Society. An exhibition of the winning and finalist images will be held outdoors in the grounds of the Royal Botanic Gardens, Kew in May, before embarking on a tour of other UK venues. The competition follows the gardening year from January through to November, so you can enter images for a number of different themes. The fifth annual contest is now open, as is the first of four seasonal competitions. Based on specific themes, the first, entitled Monochrome, invites creative black-and-white garden images, up until 31 March. The next theme, New Mornings, is open for entries between 1 April through to 31 May. www.igpoty.com
THE APPRENTICE
Time is running out to enter this years Nikon Foundation Competition. Aimed at final year students studying photography at higher education universities and colleges, the competition carries a three-month paid internship, 3,000 in cash and 4,000 of high-end Nikon kit as the top prize. The competition closes on 31 March 2011, with the winners announced in April. The three-month placement with celebrity and fashion photographer John Wright will begin in June 2011. I am delighted to be part of the Nikon Foundation and am really keen to support emerging photographers, said John. Im looking forward to seeing the portfolios and interviewing the finalists to find someone with raw talent who is able to embrace a challenge and appreciates that a career in photography requires commercial awareness and drive, and that succeeding is not just about taking pictures. www.nikonfoundation.co.uk
DEEP SEA DIVER

Fantasea Line has released a new underwater camera housing for the Nikon Coolpix P7000 camera. The FP7000 (above) is depth rated to 200ft (60m) and features fully functional, ergonomically designed and clearly labelled controls, so you can safely capture still and video images when diving or snorkelling, or when taking pictures at the beach or by the pool. The housing is shock-resistant and protects the camera from water, dust, sand, ice and snow, so you can use it in most environments where the elements could cause damage. The housing is compatible with wide-angle and macro lenses and a variety of filters and lighting systems. www.nikonhousings.com
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E CHALLENGE R
Congratulations to Rory McDonald for his image Inside Dove Cottage which is the winner of our March Readers Challenge.
WI READERS NN
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CHARLES NEEDLE
Morning Splendour by Charles Needle, a finalist in the Garden Views category of International Garden Photographer of the Year 2010.
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Upload your images to www.photographymonthly.com, we choose the best and publish them the following month
Berna V Stacey in black Canon EOS 400D Canon 18-55mm
GALLERY
YOUR IMAGES
ED IT OR S
CH OI CE
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IMAGE OF THE MONTH

This is a strong, bold image where the photographer has taken risks with the position the model has adopted and the styling of her clothes and make-up. Everything works well together to create an unconventional image which perfectly reflects contemporary fashion photography. And thats not an easy thing to do!
Grant Scott, Editor
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Yaman Ibrahim Malay man Nikon D3 Nikkor 24-70mm
Charlotte Jarman Eye can see you Canon EOS 50D Canon 90-300mm zoom
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Richard Pardon Zebra Canon EOS 5D MkII Canon 70-200mm
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READERS GALLERY
Barri Elford Cardiff Bay night Nikon D700 Sigma 24-135mm
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Jon Howard Survived Canon EOS 450D Canon 55-250mm
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Nick Homer Morning mist Nikon D80 Nikkor 18-135mm
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Damir Murseljevic Splash Canon PowerShot S5 IS
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READERS GALLERY
Declan Courell Strandhill surfers Canon EOS 5D Canon 70-200mm
Leila Murseljevic Closeness Canon PowerShot S1 IS
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Drew Southcott Loch Morlich Canon EOS 500D Canon 10-22mm
Bev Hadland Butlers Wharf, Southwark Canon EOS 1000D Canon 18-55mm
Sani Maikatanga Cat Nikon D90 18-105mm
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READERS GALLERY
Ryan Stevenson Rannoch moor Canon EOS 550D Canon 18-55mm
Chris Ogden Mist in the valleys Canon EOS 5D Canon 24-105mm EF
Kieran Murray Arctic drive Nikon D300s Nikkor 55-200mm
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Ceri Jones Winter lane Canon EOS 30D Canon 17-40mm
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Fulvio Fulvietto
The fastest, easiest portrait touch-up software.
Photography Monthly readers get an EXTRA 10% OFF with the code PM411 when buying online.
*Customers who bought v9 after 1 July 2010 get a free upgrade to v10.
DOWNLOAD YOUR FREE TRIAL NOW! WWW.PORTRAITPROFESSIONAL.COM
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Henry Yau Overdrive Nikon D7000 Sigma 10-20mm
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Kim Rormark Tea fields Nikon D300 Nikkor 18-200mm
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READERS GALLERY
Audry Dubon Art in Charlottesville Fujifilm FinePix S8000fd
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Adele Carne Dance within Canon EOS 500D Nikkor 18-55mm
Joe Breen The dance Kodak EasyShare Z650 35mm
UPLOAD
IF YOU WANT TO SEE YOUR IMAGES IN THE MAGAZINE and have the opportunity to win an 8GB Lexar Professional memory card and reader, visit www.photographymonthly.com and upload your favourite images. We will choose the best work uploaded each month for inclusion in the magazine, and the Editors Choice will win a card and reader. SD or CF, the choice is yours.
If you want the ultimate in memory cards, look no further than Lexars Professional range. Even if you shoot at machine-gun speeds, theyll keep up; the 133x SDHC cards can sustain write speeds of 20MB/sec, while the 400x CF cards are even faster, at 60MB/sec and at that rate you will need their 8GB capacity. Thats room for more than 5,000 RAW files from a 10-megapixel DSLR. So, if you want to shoot away unhampered, secure in the knowledge that your pictures are being stored safely, start uploading your images to www.photographymonthly.com. For more details visit www.lexar.com.
WIN!
& WIN!
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PROGRESS by uploading your images for exclusive expert advice* PARTICIPATE with local meetings and events in your region BELONG to a Special Interest Group free in your first year of Membership AFFILIATE with The Society through exclusive use of our crest on your website** PROMOTE your portfolio on The Societys website and get your work in front of 32,000 web users per month SHARE & LEARN through our online community and practical workshops SAVE exclusive member discounts on selected photographic workshops, entry to Society competitions and associated offers
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PRO ZONE
Portrait special Matt Humphrey
PLAYING
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Having an idea and seeing it to fruition can be one of the biggest challenges to developing your photography, but also the most rewarding. Photographer MATT HUMPHREY had the idea of shooting 31 portraits of actors and directors in as many days. He stuck to it and tells SEAN SAMUELS how and why he did.
HERE DID THE IDEA FOR THIS COME FROM? The idea behind the project www.31thirtyone.com originated from an earlier one where my intention had simply been to get out of the house and photograph every day so I could post the image I was happiest with on a Facebook group. I really liked the idea of people making this a part of their daily routine, as it were, logging in every day to see the photo I had taken. I like the formula. A mention on a BBC 6 Radio phone-in and within 10 minutes I had 100 people following the first project. Soon I was taking more and more portraits while working at the Old Vic Theatre,
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MATT HUMPHREY
Actor and writer Noel Clarke. Shot with a single light source and no other visual distractions.
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of artists with dressing rooms, including playwright Tom Stoppard. I thought it would be good to do something similar to my first 28 days, 28 photos idea, but just with portraits. I thought about the subjects I could get involved with and started as close to home as possible with people in the theatre. I approached actor and artistic director of the Old Vic Kevin Spacey just after a table tennis tournament we had been having between cast and crew, which he came down to watch. I played him at table tennis and then asked him if he would be interested in being involved in the project. He was. This gave me the confidence to think the idea had legs and I started asking other actors I had worked with through crewing at the Old Vic and got a few names together. The more people I approached the more people they recommended I approach and I started to get a few bookings in the two months before I planned to do the shoot in August. But by the start of that month I only had 11 people signed up. This was nerve-wracking and it was this side of things that was probably the most difficult to deal with not knowing whether Id get my 31 in the 31 days. I realised it was not going to be a one-a-day job, but that on some days Id have two or three or more and then nothing for three days, or something. This was an interesting aspect of the project and kept me on my toes. I really loved the whole month for this excitement and the planning of the shoot. HOW DID YOU APPROACH THE PORTRAIT SITTINGS? Well, for example, with the Michelle Ryan shot, I knew she had done hundreds of shoots,
I STARTED ASKING OTHER ACTORS I HAD WORKED WITH THROUGH CREWING AT THE OLD VIC AND GOT A FEW NAMES TOGETHER.
BIOGRAPHY
Matt Humphrey is a documentary and portrait photographer based in London. In the past three years he has worked on and off as one of the stage crew at the Old Vic Theatre in London. Through this connection he has created a body of work focusing on the capitals theatres. Before this he was a school teacher.
www.matthumphreyimages.com www.31thirtyone.com
especially involving her role as Bionic Woman over in the States. Quite often these shoots were glam-FHM style shoots, because she is a pretty girl. She was in EastEnders and quite lad-mag in that respect, and I wanted to move away from that and present her as someone quite feminine, but also naturally strong. So we moved outside and at first she seemed very guarded; it was the first shoot and also the longest of the 31. So it took a while for her to relax into it, which is what I wanted from the outset for all of the photos to have a natural and organic, earthly look to them. The idea was there in the first place, but really this shot evolved out of that. We talked a lot before I even got the camera out. I thought it was important we felt at ease with each other. That was a general matter with a lot of the sitters. I had not met a lot of these people so it was important they felt at ease and that I was not intruding on them. We spoke, relaxed, sat in the garden for a
Michelle Ryan. Matt wanted the images of the Bionic Woman and EastEnders star to have a natural and and earthly look. Lesley Manville. Light coming in through a nearby window was enough to light this shot.
little bit and talked about her work and I quickly realised the portrait had so much more to do with the relationship between us than the technical side of taking portraits, that became all the more apparent as the month went on. Take the Noel Clarke image (previous page); I watched a couple of films he had been in and realised it had been a big breakthrough for him to step away from the safer roles he had in Auf Wiedersehen, Pet or Doctor Who and to star in the film Kidulthood [which he also wrote]. It was a very different type of British film and I really felt he was putting himself out there and making a stance in terms of the films he wanted to make rather than the films other people thought he might make. So I saw him as an emerging talent and wanted to portray him as such. I had this idea of him coming in from the side of the picture with a single light source and no other visual distractions in the background. We set this up in his kitchen; I just moved a few
[28 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1
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I FELT THAT IF I COULD MASTER NATURAL LIGHT, THEN I COULD BECOME A BETTER PHOTOGRAPHER.
MATT HUMPHREY
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WORDS OF ADVICE
time of day it is, as this might affect direction, angle and intensity of the natural light source. If, however, you are seeing the location for the first time when you arrive for the shoot, then the most important thing to look for is a good light source that you can use to your advantage. Obvious starting points are next to windows or doorways, although be open to other options. THINK ABOUT THE BACKGROUND Work out what it is you want to say with your portrait and go for an appropriate background. This will help dramatically with the composition of the picture. I prefer uncluttered backgrounds without any bold statements going on behind the sitter. Use the surroundings to your advantage and look for any complementary shapes or lines. TALK TO YOUR SITTER Dont be afraid to let them know how to sit, where to position their head, eyes and hands. This will help you to feel in control, as well as let them feel as if they can relax into the situation. Remember that the dialogue can also feed into the sitting in terms of laughter and facial expressions; as your sitter relaxes and opens up by talking, you may see something that cannot be missed. Dialogue also breaks up the shoot and provides the off-moments, which are sometimes the most interesting shots youll get.
GET TO KNOW YOUR SUBJECT If possible do this before the shoot. Read up, research, watch videos; look at previous photos of that person. This is the most important thing you can do in preparation to get an idea of the person you are shooting. It may spur something on and generate an idea for the shoot. The better you know your subject, the better you can represent them and portray them. When you meet, spend time talking and relaxing into the situation and developing the dynamic of you and them. The most important thing is the relationship between you and the sitter and that will show through over lighting, composition etc in any natural portrait.
things around so there was nothing in the background. He loved it and said, It is exactly me, how I see myself and how a lot of other people see me. Its very simple. Its just him. To know where he was coming from helped to produce an uncomplicated portrait. IS THIS WHY YOU CHOSE TO SHOOT BLACK-AND-WHITE? Since school when I got into photography black-and-white film in the darkroom I loved the effects you could get very simply by using light in black-and-white photography. I didnt want to detract from the person at all or the situation. I really wanted to get it as raw as possible and for that reason I didnt want colour to pull attention away from that. I like the textures you get from black-and-white; you are able to focus a lot more on composition and use of light, something I really wanted to work on as well. DO YOU THINK WORKING IN THE THEATRE HAS INFLUENCED YOUR PHOTOGRAPHY? Working in the theatre has definitely informed my work. One of the main benefits of working backstage at a theatre
HAVE AN IDEA (OR SEVERAL) UP YOUR SLEEVE Even if you don't end up using the idea that you've planned out, at least it will be a starting point from which the shoot can develop. If it does take its own path, don't fight it, because the important thing is to come out with a shot that is true to the situation, which both parties can be happy with. LOOK FOR THE LIGHT If you are able to scout out the venue for the shoot beforehand, that is obviously preferable, as you can take some test shots, think about positioning of any props or furniture, and work out your shooting angle and camera settings. When planning the recce, also think about the
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I DIDNT WANT TO GO IN BLIND, SO I WATCHED THE SUBJECTS SHOWS, FILMS AND TELEVISION PROGRAMMES, AND MADE SURE I WAS CLUED UP ON THEIR BACKGROUNDS.
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and being involved in the whole production process of any play being put together is that I have witnessed extraordinary masters of light and how they have used different lights to light a scene to bring out the poignant moments in a play and to light a space which is essentially a black box. I have definitely learned a lot from that time and so for the portraits I wanted to focus on how to harness the light that was there already. If I could do this, thats a large part of your work done for you. I felt that if I could master natural light, then I could become a better photographer and feel comfortable to take the photograph I want to take in any situation. That was the focus and reason for me choosing to shoot with available light.
cloudy day. The light wasnt great, but what was there was enough to achieve what we wanted. WHAT KIT DID YOU USE? I shot everything with a Canon EOS 5D and an 85mm f/1.8 lens. I wanted to get everything right in camera as much as possible. I shot in colour RAW and then converted to black-and-white. HOW MUCH PREPARATION DID YOU DO? I hadnt been to any of the places I photographed in before I got there. I was arranging the shoots to tie in with the subjects own private agendas so I wanted to make it as easy for them as possible and a lot of the shoots either happened in their homes or where they were working. Homes were not so bad because these were going to be somewhere they felt at ease and they would come out of their shell, as it were, but at work it was a lot harder because the places they were working in were not well lit. It ranged from a trailer with artificial light on a trailer set to horrible neon lights in an underground dressing room in a theatre, which had no natural light whatsoever. This was the case with [American actress] Mercedes
Ruehl (facing page), which was one of the hardest images to light. I arrived late in the day and just had to make use of the light there. I turned off all light sources and used a single spotlight on the wall above her. That was the challenge, which I loved turning up and thinking how I could use the light there to make the shot I wanted. HOW MUCH RESEARCH DID YOU DO? In the months running up to this, I did a lot. I didnt want to go in blind, so I watched the subjects shows, films and television programmes, and made sure I was clued up on their backgrounds. I enjoyed bringing in the research side of things. This was something I had picked up on from several photographers books. WHO DID YOU TURN TO FOR INSPIRATION? Irving Penn, Jane Bown, Edward Steichen, Henri Cartier-Bresson, Annie Leibovitz (I sat in on a shoot of hers of Cate Blanchett a couple of years ago). HOW LONG DID YOU SPEND WITH THE SUBJECTS? Over the shoots I probably had on average half an hour with the
MATT HUMPHREY
HOW WAS IT WORKING IN THIS WAY? There were moments when I arrived and there was not much light; I had reflectors with me, but never used them that much. In most of the situations I went for a single light source and only used another light source if it was absolutely necessary. I like the Lesley Manville shot (previous spread); I sat her next to a window. It was a really overcast, wet and
Mercedes Ruehl. Matt shot the American actress using only a single spotlight on the wall above her. Cinema star and theatre actor Jeff Goldblum. American actor Christian Camargo.
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Matt Humphrey Portrait special
IF YOU HAVE AN IDEA AND IT IS A GOOD ONE, IT WILL WORK OUT, NO MATTER WHAT.
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subject, but it really ranged from as little as three minutes up to an hour and a half. DID THE FACT YOU WERE SHOOTING FOR A CHARITY [CROHNS AND COLITIS UK] MAKE IT EASIER TO COMPLETE THE PROJECT? At first I wasnt sure it would be an idea that would work, until I started talking to people and got them on board. I also knew that approaching people would not be easy without the charity angle. In retrospect I dont think it mattered which charity it was. I wasnt that established as a photographer so I felt that if I could get this one big project under my belt it would make things easier. Other photographers had done similar projects, but not as concentrated as this. WHAT HAVE YOU LEARNT FROM THE PROJECT? I learnt a lot personally in terms of having an idea and not letting it go until I had seen it through. I could have given up a lot of times. If other photographers have ideas similar to this, they should just go for it. Consider the project and the outcome as the end goal rather than having these stumbling blocks of thinking this is not going to happen because of this or that. Perseverance is essential to any project like this. If you have an idea and it is a good one, it will work out, no matter what. IN YOUR MIND WAS ANY ONE FACTOR FUNDAMENTAL TO ITS SUCCESS? Getting people interested in the project was the key to its success. I did a lot of PR through social networking sites and by keeping a blog on the site itself. I like the capability that services such as Twitter and Facebook give you to be able to connect with people on the other side of the world. I had people getting in touch from Japan, New Zealand and the States and in that respect it was a far-reaching project. Id like my
Actor Benedict Cumberbatch, who takes the title role in BBCs Sherlock.
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MATT HUMPHREY
next project to be similar to it because I have now built up a base, a method and a way of working not just photographically, but also the whole process that comes after that. I am planning the next 31thirtyone, which will focus on musicians, for early summer 2011. I really like the formula, its a nice and neat idea and even though I am turning 32 this year, I think I will keep the 31. I have friends who run a charity for street children in Mali, Africa, and I have already started to call musicians I have come into contact with. It is going to hold different challenges. With the actors I knew them or had worked with them. It was easier in a way and is a whole other world I have not really stepped into, but interests me nevertheless. I am thinking I am going to start using light differently and I want to investigate other possibilities for this project. PM
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Sunrise over Musiara Marsh, Maasai Mara, Kenya. Topi and impala are silhouetted in the mist as sacred ibis fly overhead. It pays to be up early to catch the best of the light.
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ANGELA SCOTT
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Photographing wildlife Jonathan and Angela Scott
AFRICA
Fans of the BBCs Big Cat television series will be familiar with the work of professional photographers JONATHAN and ANGELA SCOTT. Although a close-knit husband-and-wife team, they bring their individual approaches to photographing wildlife. TOR McINTOSH caught up with them to see how they work together to capture animals in the wild.
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HOTOGRAPHY DUOS HAVE ALWAYS INTRIGUED ME. IN FACT, EVERY TIME I SEE A PHOTOGRAPH CREDITED TO TWO PEOPLE IM SLIGHTLY PERPLEXED AS TO HOW THE SYSTEM WORKS. Does one person focus and the other one press the shutter release? Or do they simultaneously do everything in a ridiculous confusion of hands? I had no idea, but Id always wanted to ask them. So, when I was given the chance to interview husband-and-wife photography duo Jonathan and Angela Scott, I knew I would finally work out the enigma surrounding the art of dual picture-taking. Many will be familiar with Jonathan through his television work, appearing on and presenting wildlife programmes such as Nature Watch in the 1980s, Wild Things in the 1990s and the BBCs long-running and hugely popular Big Cat series. In addition to his broadcasting credentials, for the past two decades he has been one half of a prolific partnership with his wife that has seen them write numerous books, produce many pen-and-ink drawings and travel around the world as wildlife and travel photographers.
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ANGELA SCOTT
long-distance Skype call to their home near Nairobi, capital of Kenya, in East Africa, I launch straight in and quiz them about the logistics of working as a team. I think thats the one thing that everybody is fascinated by; and the fact that we havent strangled each other yet, laughs Angela. Her husband chips in: Its an extraordinary thing to take two people who are very much individuals and put them in a confined space, which is often our 4WD vehicle, and expect them to produce great photographs, when photography is such a one-person show most of the time. You dont really think of it as being something that people can combine in doing because, after all, only one person can have their face behind the camera and click the button. Well, thats precisely my confusion with his n hers photos how on earth can they both get a credit on one image? Sensing my bafflement, Angela continues by explaining the intricacies of life in the Scotts 4WD. We seem to work in incredible synchronicity and harmony, because whenever Johnny picks up one lens Ill instinctively, with no fuss or dilemma, pick up
ONE OF US HANDLES THE BIG LENSES WHILE THE OTHER PERSON TAKES THE WIDER VIEW, WHICH MEANS YOU CAN GET REALLY GOOD COVERAGE OF YOUR SUBJECT.
the complementary lens to the one hes using. Also, if he sees that Im shooting some action hell get the car into the perfect position for me, rather than pick up a lens. So even if Ive pressed the button we actually consider all our photographs as our shots because Johnny has perhaps facilitated the wildlife aspect and enabled me to press the button in the perfect position, or vice versa. The key advantage of working as a duo is that there is always an extra pair of hands and eyes, which enables them to focus on a subject in its entirety quite a feat for an individual photographer, especially if the working environment is the expansive African plains and the subjects are unpredictable wild animals. As husband and wife for nearly 20 years Jonathan and Angela also have the uncanny ability some would call it a sixth sense to silently read what the other
Two young male lions stand proud on Paradise Plain, part of a powerful coalition of six males that dominate the lion territories in this part of the Mara.
person is going to do. It becomes very intuitive after a while, as you know what the other person is thinking, which means you can help in making life easier for them when all panic lets loose, explains Jonathan. Theres only so much equipment one person can deal with at a time, so the way it tends to pan out is that one of us handles the big lenses while the other takes the wider view, which means you can get really good coverage of your subject. Photography is inherently a selfish and competitive profession, but what makes it easy for Jonathan and Angela to work together is that these traits arent part of the way they work in the field, which is in stark contrast to the pushy and macho characteristics of some photographers clamouring to capture the moment. At the end of the day we love each others photographs, says Jonathan. I get as much pleasure out of looking at a great shot that Angie has taken as I do of my own shot; Im just delighted that she got it. Whether I took it or not isnt the point. And if I missed it and she got it, boy am I happy! Perhaps only a doting husband can take this attitude, nevertheless
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JONATHAN SCOTT
BIOGRAPHY
Wildlife photographers Jonathan and Angela Scott live in Kenya, just outside the capital, Nairobi. Big cats have been the focus of much of their work, including three books accompanying the BBCs Big Cat Diary television series and its successors, which Jonathan co-presents. Angela takes the production stills for the series and is also a game spotter. They have both won the Wildlife Photographer of the Year Award.
www.jonathanangelascott.com
its refreshing to hear one photographer admire another photographers work, especially in an industry where many photographers are too quick to disparage a competitors work. Until quite recently wildlife photography has been a male-dominated profession (in the past 20 years Angela is one of only three women to have been awarded the top prize at the annual international Wildlife Photographer of the Year competition), so I carefully broach the subject that having Jonathan at her side has perhaps helped Angela to succeed
Wildebeest plunge into the Mara river on their annual migration through the Mara-Serengeti in East Africa. The vast herds (numbering nearly two million wildebeest) roam an area of 25,000 sq km.
in this macho field. Gently brushing off Jonathan who, ironically, starts to answer the question for her, Angela agrees with my observation, before adding: Often female photographers have asked me what my best advice is to them, and I often laugh and say, Get yourself a really great husband, especially one who can help carry your kit! And when your favourite piece of gear is a hefty 800mm lens I can understand Angelas need for extra muscle. However, she is quick to point out that although Jonathan is allowed to carry her prized lens and set it up on the tripod, other
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I GET AS MUCH PLEASURE OUT OF LOOKING AT A GREAT SHOT THAT ANGIE HAS TAKEN AS I DO OF MY OWN SHOT; IM JUST DELIGHTED THAT SHE GOT IT.
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ANGELA SCOTT
than that I wont let him have his sticky paws on it! Jonathan is the first to admit that compared to Angela, photography was never his number one passion. Although they both messed around at school with black-and-white film and the fun of the darkroom, their paths to becoming wildlife photographers differed greatly. My interest in photography was actually because I wanted to record animal behaviour; my prime passion was wildlife, whereas Angelas passion has always been photography, explains Jonathan. After completing a degree in
The leopard is the most elusive of all of Africas big cats to see one is the icing on the cake for a safari. Khali the lioness (a member of the Marsh Pride) stands watch over one of her four 10-week-old cubs. The cubs were later killed by new pride males who had taken over the Marsh Pride territory.
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zoology from Queens University in Belfast, Jonathan spent four months travelling overland from London to South Africa a trip that ended in disaster when the lens he had bought for his first proper camera (a Canon EF) didnt sync, resulting in reels of blank film; he has not made that mistake again. After spending two years in Botswana he moved to Kenya in 1977, where he has lived ever since. In those early years he worked as a guide and naturalist at Mara River Camp on the north-west boundary of the Maasai Mara National Reserve, but his dream was to become a wildlife artist living and working near such a wildlife hotspot meant he was in the perfect place to refine his skills as an illustrator and he began to take photos of the animals so he could draw from them. It was meeting Angela, a kindred spirit who shared his love of Africa, art and photography, in Kenya in 1990 (they married two years later) that triggered the creative side of Jonathans photography. With my wildlife background I had a clear agenda with my photography, which was to record animal behaviour. In fact, I was a lazy photographer. It was so easy for me living in this amazing place to press the shutter release and get a saleable picture,
but I wasnt being creative and most crucially, I didnt understand light. I would look at somebody elses picture and think it was amazing, but I didnt get that the reason it was so beautiful was because the photographer used light in an interesting way sidelight and backlight were alien to me, I just looked at where the sun was and put it over my shoulder, which made for some very dull photos! It was Angelas open-minded and creative approach to photography that helped him to switch from having the eye of a naturalist to one of a photographer. By the time the couple met in 1990 Jonathan had already had several books published, presented live television documentaries, and been named the 1987 Prudential
Cape petrels swirl around the foot of an iceberg off Antarctica in search of prey stirred up by the ocean currents. A pair of emperor penguins perform their beautiful greeting and courtship ritual, Ross Sea, Antarctica.
Wildlife Photographer of the Year for his photograph of a wild dog catching a wildebeest. I was quite well-established when I met Angie and although shed been taking pictures for many years, she hadnt had the opportunities or the equipment that Id accumulated, explains Jonathan. However, I remember this defining moment and this just shows how cocky one can be at times when we went to visit friends in America and they asked us to take some pictures of their kids out in the garden, so we both took some photos and I remember looking at Angies and thinking, Wow! These are so much better than mine! Born in Alexandria, Egypt, Angela spent her childhood in Tanzania and it was there that her lifelong love affair with photography began. As a child she made her own darkroom beneath the stairs of her parents house where she experimented with black-and-white images and started to develop her intimate and imaginative style of photography. The couple have both been inspired by photographers such as Henri Cartier-Bresson, Sebastio Salgado and Steve McCurry, but for Jonathan its clear that his greatest inspiration is his wife. Angie always tries to be creative. I remember
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ANGELA SCOTT
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WHAT I LIKE IS WHEN IT GETS FRANTIC WHEN ALL HELL BREAKS LOOSE AND YOUVE GOT TO PICK UP YOUR CAMERA AT A MOMENTS NOTICE AND GRAB THE ACTION...
one particular day when the wildebeest were streaming into the Mara and I was thinking, Okay lets photograph the wildebeest milling around the plain, but Angie saw some cattle egret that were jockeying for position on the backs of the wildebeest, because they were stirring up insects with their feet, and she captured some beautiful backlit images of these egrets it was a detail that I hadnt seen. Using lenses creatively she manages to create a particular point of view or sees a subject in an interesting way. It was this unique way of seeing that earned Angela the title of British Gas Wildlife Photographer of the Year in 2002 for her image of an elephant family drinking in the Luangwa river in Zambia. But its amusing to learn that if she had listened to her husbands opinion that day she might not have won such a prestigious photography award. I can remember trying to convince Angie as to where best to photograph the elephants, recalls Jonathan. I was sure a low-angle shot was the way to do it, but she just brushed me away like an irritating fly and continued to use her 500mm lens. Then she went on to win with one of the shots she had taken that day. When I looked at my photos from that shoot they were a joke compared to Angies beautifully composed shots. However, not wanting to take all the credit, Angela admits that without Jonathans knowledge of wildlife she wouldnt have been able to take many of her photographs. He is supreme in his understanding of animal behaviour, she acknowledges. For instance, if theres an eagle on the tree hell clue me and say its just pooped so its going to fly... now. Although Ive picked up a lot through osmosis over the years, its nothing quite like being with Johnny in the 4WD.
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JONATHAN SCOTT
Snow Hill Island in the Weddell Sea, Antarctic Peninsula. Emperor penguins raise a single chick each year if it survives the Antarctic winter. Adults recognise each other and their chicks by their voice and feed only their own offspring. Consequently one of these chicks went hungry.
Because I come from a much more bohemian and artistic background I wouldnt know that key information, so for me it ups my game hugely because he puts me in the right position and gives me the clue at the right time of exactly what behaviour is going to happen. Its their very different approach to photography and their different personalities that seems to help them rub along so easily as a team. What I like is when it gets frantic when all hell breaks loose and youve got to pick up your camera at a moments notice and grab the action or move the car or get into
position, explains Jonathan. Whereas Angie likes to be away from all the cars and people, spending hours looking for the perfect shot. Angie is a much more centred and calm person; I live more on the adrenalin side of things. I like mayhem. Its difficult not to place a gender stereotype on their different approaches, but even Angela agrees with me when I tentatively point this out. I think we have very different styles, but theyre also very complementary. Were so lucky to get a portfolio of images that has both a sense of the female and
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ANGIE LIKES TO BREAK THE RULES WHEREAS I TEND TO BE A LOT MORE, WorldMags HOW WOULD I PUT IT, OBEDIENT.
Dead Vlei (Dead Marsh), Namibia, southern Africa. The baked earth of Sossusvlei (famous for its towering sand dunes) is one of the harshest environments on the planet and a landscape photographers paradise.
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WorldMags a broad body of work. can offer
the male within our pictures, so we
Intrigued by this, I ask if its obvious when looking through their portfolio who has taken particular shots. Yes, I think you can tell the difference. Part of it will be because a lot of the big lens shots will be Angelas she uses big lenses to create a more intimate photo and a lot of the wide-angle shots will be mine, because I love the wider view that takes in the whole landscape, explains Jonathan. Angela says: I tend to do things that will make Johnnys heart shatter, like chop ears off and get terribly close into the picture, which he would never naturally do. I was actually editing some of his pictures of giraffes earlier today; there were about 12 giraffes and every single one was perfectly placed, whereas I wouldve probably gone in and chopped their heads off. Basically, Angie likes to break the rules, whereas I tend to be a lot more, how would I put it, obedient, adds Jonathan. While Africa is at the heart of much of their work, theyve travelled widely over the years and have visited all seven continents. And if there was ever going to be a place that stimulated both of them as much as Africa, it was Antarctica.
With the surname Scott Ive always felt a huge connection to Scott of the Antarctic, but also to his son Sir Peter Scott, who was one of the founders of WWF [originally the World Wildlife Fund], a wildlife artist, a naturalist and a TV presenter. In many ways he covered all the fields that I wanted to do and has inspired me greatly. Through him, Antarctica was always somewhere I wanted to visit, and also because it was such a contrast the colours, the landscape and the wildlife to Africa, says Jonathan. It was in 1992 that he and Angela made their first journey together to Antarctica on the expedition cruise ship MS Explorer, and since then theyve returned regularly, visiting the Antarctic Peninsula, the Falkland Islands, South Georgia and the emperor penguin breeding colony at Snow Hill Island in the Weddell Sea. Their book Antarctica: Journeys to a Fragile Eden, published in 2007, celebrates this wilderness of a continent that theyve fallen in love with over the years. In stark contrast to the mainly uninhabited continent of Antarctica, India also ignites their joy at being photographers. When we first started with our photography in Africa, Angela was
A family of elephants slake their thirst in the Luangwa river, Zambia. The elephants were fascinated by the arrival of a grey heron searching for fish, attracted to the spot by the ripples of water. [The image earned Angela the 2002 Wildlife Photographer of the Year Award].
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doing some people photography, but for me it was all wildlife. But then we got incredibly involved with the Maasai people who live in the Mara and began photographing them and the beautiful ceremonies. So for us, travelling to India we experienced the amazing colours, the people and the wildlife; although the emphasis in India is on the people more than the wildlife. Jonathan and Angelas success as a photography duo reads like any relationship between two individuals, whether its personal or professional; if there are strong foundations, a willingness to make compromises and utmost respect for each other then theres a high chance of longevity. Few people could, and would want to, work as closely as they have over the past two decades, but theyre acutely aware that what they have is a rare thing. As Jonathan says to me at the end of our conversation: The combination of the two of us sharing this core thing, which is the love of life in all its forms its people, its wild places and its wild animals and doing something together with it creatively to make a living is an incredible blessing. We are terribly, terribly lucky.
PM
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Something to smile about...

Wedding Photography Course
Introduction to Wedding Photography. 'You have some photography experience and now want to become a wedding photographer' MelenCourses wedding photography course is ideal for you if you are looking to start or improve your wedding photography business. This wedding photography course is based at the beautiful period building at Ashridge near to Berkhamsted with easy access. We help you to alleviate your concerns and provide you with the skills to start taking beautiful wedding images. We will show you how to take stunning images simply and creatively, producing situations for you to create informal candid photographs, posed and also groups. Phil Richardson will use the knowledge acquired from capturing weddings for over 10 years and has the experience to help you with your wedding photography. Why not attend our Business of Photography course?
MelenCourses Photography Diploma Course

Module based diploma for photographers 'Learn photography from the beginning and become a professional photographer.' The Melen Courses Diploma is a modular photography course designed to help you to become a professional photographer. The MelenCourses Diploma will give you the skills to develop your photography whilst helping to develop your own style.
strategy, learn to deal with clients, tackle web development and planning for e-commerce. Using the skills learned in our businesses at both MelenStudios and Tagg Partners we want to share with you our knowledge and experiences. Showing you simple techniques which are easy to learn helping you to enhance and develop your photography business. The day will show you how to generate new business ideas, develop your style so that you can communicate your ideas clearly to your customers and giving you the confidence to gain more work. The Business of Photography is run in partnership with George Horn and is an interactive workshop designed to help you evaluate your business and manage its progress to increase your profitability. George Horn from tagg partners has been working with individuals on a one-to-one basis for over six years, helping them to manage change and build effective businesses. During the day youll gain and develop an understanding of the skills you have to help organise your time better, network and achieve more with your business. We'll
show you how to formulate a business plan, an essential element for any business, which can be the difference between success and failure. If you want to develop, progress your business reaching further and achieving your goals, then the Business of Photography course is the way forward for you.
More Female Photographers on DSLR One Photography Course!

After reviewing our statistics for photographers on our beginner photography course DSLROne there were 55% female photographers 45% male photographers. The stats are similar for 1-2-1 personal tuition where the photography training showed slightly higher numbers for female photographers 63% female photographers 37% male photographers This is better than the national average of 33% female photographers.
Business of Photography
Learn the skills needed to become a professional photographer How do you promote yourself? Do you have your own style? What do you offer as a photographer? We will help you to help yourself develop a business plan, create a marketing
One of my passions is learning new things, especially in photography and I believe that knowledge is to then be shared. The photography courses at MelenCourses are great fun which is something I personally enjoy, getting a lot of satisfaction from helping other photographers improve their hobbies or businesses. I am currently teaching an A Level photography course at a local school. PHIL RICHARDSON
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MASTERCLASS
Bouncing light with reflectors Neil Turner
MOMENTS OF
WHATS IN YOUR KIT BAG?
REFLECTION
This month we kept things simple for NEIL TURNER, our lighting master. Using only natural light and just a few reflectors, we asked him to reveal the secrets to this simple setup to help you to take successful portraits.
ITHOUT A DOUBT, REFLECTORS ARE REALLY USEFUL THINGS TO HAVE IN YOUR KIT BAG. When I first discovered them I thought they were the answer to all my lighting issues and dreamed of owning dozens of them in different sizes, shapes and colours. In my minds eye I can still see my first reflector it was a piece of three-ply wood, 60cm x 40cm, painted matte white on one side and with silver kitchen foil glued to the other. As a very green
CANON EOS 5D MKII BODY
amateur photographer I used it a lot and by the time I could afford to buy a reflector I had repainted the white side a couple of times and had at least four layers of aluminium foil on the other. Eventually my dream came true; now I own a lot of reflectors and they are all sorts of sizes, shapes and colours. Sadly, they are not the answer to every lighting issue that I meet daily, but they are a set of very valuable tools that I use whenever the conditions are right.
CANON EF 85MM F/1.8 USM LENS
HOW TO ANGLE A REFLECTOR

science lessons WorldMags Someno relation to my in school seemed to bear life or the real world. There were, however, some glorious exceptions. Back in the days when we shot film I relied heavily on the simple tips a chemistry teacher gave us on how to work out amounts of chemicals in measuring cylinders. How light is reflected and refracted was covered in physics and information about the angles at which light bounces off surfaces has also proved useful. It is these memories that help with getting reflectors in the right place. Generally reflectors work best when they are opposite the light source (right). This isnt always possible and the only proper way to learn how to place and angle reflectors is either to get out there and have a go or to mess about with a small mirror, a Barbie doll (Action Man will do as well) and a window. By sticking your model at different angles to the light source you quickly learn where to put the reflector (mirror in Barbies case) and how to angle it.
Light source Reflector
CANON EF 24-70MM F/2.8L USM LENS
Subject
Light source Subject
Reflector
MANFROTTO LIGHTING STANDS
Light source
Subject
Reflector placement and angle options
LASTOLITE48IN SILVER/WHITE REFLECTOR
CALIFORNIA SUNBOUNCE MINI ZEBRA GOLD/SILVER REFLECTOR
CALIFORNIA SUNBOUNCE MINI SILVER REFLECTOR
CALIFORNIA SUNBOUNCE LIGHTING STAND CLAMP
LASTOLITE48IN WHITE REFLECTOR/DIFFUSER
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THE SIMPLE TEST

On a dull January day I set out with Jonathan (Jonny) Fleetwood, a young photographer who sometimes assists me on jobs, to see just how much difference a good reflector can make. We set up a very simple picture with a model using only available light and the four reflectors we were trying out. This series of four frames shot using the California Sunbounce Mini with a silver cover shows the progression from no reflector to getting the maximum amount of light bouncing back in. My assistant is holding the panel slightly below the bottom of the frame and angling it to get the desired effect (above). Depending on your taste in pictures and the effect you are looking for, you may not always want the maximum amount of bounced light I prefer the second frame along, where there is just a small amount of fill, but you may think one of the others is the best. The Mini reflector used here is 3ft x 4ft, which allows you to get a lot of light without having to get too close the bigger the reflector, the more light you can get from a given distance. We achieved very similar results with a silver Lastolite reflector and also with a California Sunbounce Micro-Mini when it was closer to the subject.
THE BIGGER THE REFLECTOR, THE MORE LIGHT YOU CAN GET FROM A GIVEN DISTANCE.
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NEIL TURNER
MASTERCLASS
THE COLOUR & QUALITY OF THE LIGHT
There are three things to consider when talking about the kind of light we get from reflectors: The amount, the quality and the colour. The amount of light is dictated by the size and proximity of the reflector and what the surface is made of. The most extreme (and efficient) flat reflector would be a high-quality mirror, which would reflect back almost 100% of the light that hits it. Make the mirror convex and you could give back effectively more than 100% because it is focusing the light. The shinier the surface (in photographic terms this means a metallic silver) the more light youll get. The flatter the surface (semi-matte white) the less you will get. The quality of the light is pretty much governed by the same factors as the amount. Highly reflective surfaces will reflect harsh sunlight in a harsh way, while duller surfaces will reflect it in a more diffuse manner. If the reflector bends, then it will have the ability to alter dramatically the light it is reflecting. Every manufacturer is keen to point out that its reflectors are available in a range of colours. White, silver and gold are the most common and often come in a reversible combination of any two of those colours one on each side. Increasingly, companies are combining colours in stripes to give subtle colour shifts especially for those of us who like the idea of warming tones a little in portraits, but who find gold reflectors too warm. The most common misconception is that silver reflectors give a cold light; they dont. If they are made properly they will give exactly the same colour of light that is shining on to them exactly the same as a white reflector would its just they do it far
JONNYS OPINION
When reflectors are required, Jonny sometimes assists me on jobs. Since leaving the foundation degree course at the Arts University College at Bournemouth, he has assisted quite a few photographers and I thought it would be interesting to get his opinion about the different reflectors on the market, given that he was the one handling the kit most of the time. For this article we had four reflectors: Two 48in Lastolite round ones and two of the smaller California Sunbounce models a Mini and a Micro-Mini. This piece was never meant to be an equipment review but here is what Jonny (below) had to say:
LASTOLITE
Ive worked with just about every type of Lastolite, including a 6ft x 4ft monster. The thing I like about them is that you can bend and flex them to focus the light almost on to exactly the right spot. Rigid and semi-rigid reflectors just dont have this flexibility. Attaching them to stands is okay indoors or if there is no wind, but these larger folding ones need to be handheld if there is a breeze.
CALIFORNIA SUNBOUNCE
These are a lot lighter than I expected. I really like the zebra effect gold/silver covers they seem to be more subtle than the straight silver or gold. The accessory for attaching the frame to a lighting stand is great; really solid and simple to use. I have found them easy to hold steady too. The double bar that tensions the Mini size makes it really easy to hold the reflector still. They take some getting used to when it comes to assembly and putting them away, but I like the idea that you can swap covers and they seem really well made.
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ANTI-MATTER OR BLACK REFLECTORS

more efficiently. Most people find a subtle warm tone is pleasing for portraits, which is why the various gold/silver and gold/white striped reflectors are becoming very popular. The image above shows the California Sunbounce zebra gold/silver finish. Studio photographers have always used flags or black reflectors to subtract light. Many of them paint all of the surfaces in their studios black too. In real terms black reflectors are incredibly useful when it comes to making sure light isnt reflected by shiny or light-coloured surfaces and damages your shots. I use a couple of black Lastolites regularly in my work to kill reflections and I often dress from head to toe in black clothing so Im not reflected myself. If you have a limited budget or more time you might want to consider buying a big piece of matte black fabric and using clips and clamps to hold it in place to achieve much the same effect.
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MASTERCLASS
THE MODELS OPINION
How often do we bother to ask the subject of our pictures for their opinion? Not very often would be my answer but while we were shooting the sample images for this piece our model, Terry, regularly became uncomfortable with the amount of light that the silver reflectors were putting back into his face, especially when it was coming from almost directly behind him and the silver reflector was just under the lens. He started to squint and it made for a very poor picture (left). Shortly after the first squinting incident the theme tune for the rest of the afternoon became the Bruce Springsteen song Blinded by the Light (although these two 20-somethings only knew it from a Johnny Depp film!) Sticking too much continuous light into your subjects face can be a real issue both in terms of their comfort and in the way the light looks. Terry was far more comfortable with a white reflector when the sun came out (for about five minutes).
WORDS OF WISDOM
If Photography Monthly had wanted me to write about reflectors in a single paragraph I would have restricted myself to explaining when and where you could and couldnt use them. To be effective, reflectors need to be held at exactly the right angle in relation to the light source and to the subject. A lot of the time there is very little room for error and the smaller the reflector in relation to the subject, the harder it is to get it right. If you also take into account that most reflectors have a degree of flexibility and that any bend in the reflector will give you different qualities of light, you are looking at some pretty tight tolerances between useful and useless. So how you hold a reflector suddenly becomes almost as important as what kind of reflector you have. The elephant in the room is, however, the wind. The slightest breeze will move a reflector, and anything not held in place by something 20 times its own weight is going to act like a sail on a yacht and blow away. This is a huge issue if you are working outdoors but Ive even seen disasters occur indoors with a window open or when a photographer using a wind machine started it up for the first time after carefully placing his lights and reflectors. We all saw a couple of the polystyrene boards being used as reflectors or flags blow over and take a light with them, and winced as we realised how expensive this was going to be. If, like me, you work with assistants when you need to, you will have less to worry about (below). These helpful people can either be used as a human stand holding the reflector or they can carry the 20kg sandbags that you need to hold a stand with a 1m diameter reflector attached to it. If you read Jonnys thoughts on reflectors you will quickly realise that a good assistant doesnt just get the reflector in the right place they can also bend the reflector and actually shape the light. Of course, if there isnt any breeze, then there is no problem, but most of my working life has been spent shooting in the UK where you can never count on shooting on a breezeless day. The reason I love reflectors for certain jobs is the effect they have on catchlights. Every reflective surface and every light source that is in the subjects eyeline will be reflected in the eyes. We are all familiar with the shape of soft boxes and umbrellas in models eyes from flash units and we are all aware of how bad certain lighting techniques can make the human eye look, but a well-placed and large reflector can add a lot of detail, feel and even beauty to eyes. Large reflectors can literally make a nice portrait a beautiful one and in these Photoshop-obsessed times using the right reflector can save you hours of retouching by To read more lightening eyes and filling in of our masterclasses shadows that you might otherwise visit the website www.photography have had to lose in post-production. monthly.com Im even brushing up on reflectors myself especially as we seem to be in an era when photographers are being asked to shoot video and my go to way of adding light flash is not an option for moving images. Over coffee at the end of the afternoon, Jonny and I agreed that the real skill in using reflectors was in knowing when they werent the right things to use. Fill-flash can achieve nice results and a flashgun is not quite as much of a liability in the wind. Umbrellas, soft boxes and reflectors all share the same disadvantage they are all close relatives of the sail (left)!
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NEIL TURNER
PM
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Lightscapes Photographic Workshops
Many thanks for the fantastic Glencoe workshop. I feel I now understand the use of Manual mode. It was magical to get snow on the mountain tops and along with the Autumn colours made photography extra special.Watching how the light changes the landscape made me appreciate the magical hours of just after sunrise and just before sunset. I hope to book another workshop soon. Moira Gardner - Glencoe 2010.
www.garygroucutt.com
WORKSHOPS 2011 March
Do you want to go to the Isle of Skye but thought it too far? Isle of Skye and Glencoe - Two location workshop 1st - 5th - 695.00 - 1 place left 4 nights including dinner, bed and breakfast Lake District 18th - 20th - 425.00 - 1 place left Price includes 2 nights dinner, bed and breakfast Isle of Skye 22nd- 26th - 695.00 - FULL 4 nights including dinner, bed and breakfast
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April
Shropshire 8th - 10th - 395.00 - 1 place left Price includes 2 nights dinner, bed and breakfast Lake District 15th - 17th - 425.00 Price includes 2 nights dinner, bed and breakfast
September
Isle of Skye - Glencoe 16th- 20th - 695.00 4 nights including dinner, bed and breakfast
October
Isle of Skye - Glencoe 4th- 8th - 695.00 4 nights including dinner, bed and breakfast
Free Post Production The courses uniquely include a free post production day at Garys studio, he will show you how to produce your favourite image from the workshop, upto 24 x 18 ALL SINGLE ROOMS - NO SUPPLEMENT Maximum 5 Photographers Free Post Workshop Telephone Support
t: 07779 122034 e: info@garygroucutt.com
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PHOTO ZONE
The home of creative photography
THE COLOURS OF THE HORSES ARE ECHOED IN THE BACKGROUND AND THE DETAIL IN THE ANIMALS MAKES FOR AN OUTSTANDING PHOTOGRAPH.
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WILD HORSES
CIARAN CUNNINGHAM
This outstanding image of a pair of horses on Irelands west coast was one More than 1,000 people from the UK, Ireland and Sweden submitted images to of two grand prize winners chosen by judges in the National Geographic the competition in the three categories: People, Places and Nature. Entries were invited that captured life from a personal or fresh angle. International Photography Contest 2010, sponsored by Bowmore Islay Single A stormy seascape by Andreas Edman from Nyhamnslge in Sweden was the Malt Scotch Whisky. The team at Photography Monthly loves the moment of peace that second grand prize winner. Karen Gunn, editor-in-chief of the Nordic National photographer Ciaran Cunningham has captured, and how the portrait appears Geographic titles, described it as a technically beautiful image with a great atmosphere and depth. to reveal so much of the animals characters. The winners each receive a trip for two to Islay, the southernmost island Monica Corcoran, senior photo editor at UK National Geographic Magazine Online, described the image as simply beautiful; it immediately transports the of the Inner Hebrides, where they will stay for three nights at Bowmore viewer. You can almost feel the slight coastal breeze and hear the slow, Cottages, which form part of the Bowmore Distillery, one of Scotlands oldest deliberate chewing of the horse. The composition, colours and tonal range distilleries. The two winning images will also star in a future Bowmore Islay Single Malt Whisky advertising campaign which will appear in National combine to make this a classic. Geographic magazine. Ciaran, who also took first place in the Nature category with the The National Geographic Society is one of the worlds largest non-profit picture, was driving through Connemara on the west coast of Ireland scientific and educational institutions. Founded in 1888 to increase and when he spotted this lovely pair of horses at the side of the road. diffuse geographic knowledge, the Societys mission is to inspire He stopped his car, jumped out with his camera and captured To enter competitions people to care about the planet. this image. What stands out for me about this photograph are and win fantastic The winning images and finalists from this competition are now the colours, said fellow judge Cristina Creager. prizes visit www.photography available to view online. PM The colours of the horses are echoed in the background and monthly.com www.ipcuk2010.nationalgeographic.com the detail in the animals makes for an outstanding photograph.
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GREAT LIES OF
hadows, shadows; where to start, those pesky shadows! When I was asked to write about shadows I thought it was going to be a stretch finding enough words to say on the subject. So I did what I usually do and sketched a basic narrative from which I could fill in
SHADOWS
MARTIN MIDDLEBROOK is not content to hear the same old comments being made about photography and this month he turns his attention to the world of light and shade.
the gaps. I soon realised that far from being the poisoned chalice I had feared, the topic of shadows was in fact something replete with possibility. I began to understand what a significant role shadows played in photography, in a way that, if I am honest, I had never truly appreciated.
[5 6 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1
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PHOTO ZONE
5 great lies of shadows Martin Middlebrook
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SHADOWS ARE AN EVIL THING NO, THEY ARE THE FORM AND STRUCTURE OF AN IMAGE!
I BEGAN TO UNDERSTAND WHAT A SIGNIFICANT ROLE SHADOWS PLAY IN PHOTOGRAPHY.

In so many ways shadows are photography and yet we seem to spend so much time avoiding, eliminating and masking them that we have somehow missed a trick. Shadows are the visual armature upon which we build form through the use of light and shade. Without shadow, in the broadest sense, all our images would look like an 18% grey card not a stimulating thought. So lets unmask some truths, lay to rest some lies, and bring shadow back into vogue with my Five Great Lies of Shadows in Photography!
MARTIN MIDDLEBROOK
Shadows are curvaceous and harsh, they are straight and soft, brutal and subtle, but most of all they are everything. We underestimate the value of shadows; so often we dont see them at all. What we regard as form and tonality, however subtle and reduced, are the result of light reaching any surface in variation; variation caused by the play of light across the rise and fall, the three-dimensionality of any surface. Shadows can be readily seen or not, but their apparent absence or their seemingly overbearing presence still adds to that wonderful and key quality of an image reality! The image (top) is such an obvious example of this thesis that it hardly needs stating. The shadow in this image cant be more than 1/1,000th of the whole image, and yet its significance is more than the sum of its rather insignificant parts. Its jaunty angle sets the animation for
the scene. Suddenly the magpie is alive and precipitous, ready to make that leap of faith at any moment. It is in every sense the essence of the image, the smallest and yet most important part, and somehow that oblique slash sets up a painterly quality that mirrors the abstraction that resonates throughout this is an image that isnt so much photographed as painted. And if we ever needed proof of the shadows value, have a look at the same image with the shadow removed (above) and we see that, however small, it really is the biggest part. In the same way that the shadow from the magpies tail animates that image, the shadows in the image (top left) provide a restful and sombre repose; they set the featherbed inertia and in their entirety invite us to slow down, stop and look a while. In their dominance they subdue a paradox I love. So shadows really are at the heart of what we shoot; by their dominance they paradoxically subdue, and in their apparent absence they enliven.
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THE KEY IS THAT I HAVE BEEN TRYING TO PHOTOGRAPH A SHADOW, NOT THE SUBJECT. ITS A DIFFERENT WAY OF THINKING.
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TOO MUCH SHADOW DESTROYS AN IMAGE NO, IN CONTRAST IT CAN THROW OUR SUBJECT INTO STARK RELIEF!
Sometimes we need shadow for other reasons than we might imagine. We might need it to dominate, to darken everything in our image, so light can fall upon just the tiny part that is most important. We may call it the limelight if we wish, but an actor spotlighted on stage only works because everything else has succumbed to the shadows presence our subject is brought into sharp focus by a lack of intrusion. It is allowed the space to breathe in its frame because it is alone. It is such a standard visual metaphor that maybe we are put off by it, but it is as effective as isolating the subject through precise and narrow depth of field, maybe more. We talk often of shooting at f/4.5 so the subject jumps off the page, but you can shoot at f/16 and use shadow carefully to achieve exactly the same effect. It adds a drama that other isolating mechanisms fail to match there is a punch and depth to the image. The only technical consideration in these circumstances is that the camera frequently interprets the scene incorrectly and overexposes. When you use depth of field to isolate the subject, overall tonality is usually balanced so metering is comfortably within range. However, when trying to isolate the subject through use of shadow, the camera will frequently overexpose. It considers the overall scene to be underexposed and compensates accordingly, trying to make those dark shadows 18% grey. Your subject will be blown out. Its something to be aware of, but so long as you allow for it you can create a perfectly isolated image simply by using shadow as an enhancer.
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SHADOWS SHOULD PROVIDE SUPPLEMENTARY INFORMATION NO, SOMETIMES THE SHADOW IS THE PHOTOGRAPH!
Its easy to see shadows as playing only a minor role and the winner of this years best supporting shadow is slightly darker area in the F-Stop Conspiracy. I wouldnt go and see it and I dont suppose you would either. Sometimes, in fact very often, shadows can be the whole picture. They are not just additional information that sets the time of day, the angle of the sun and the prevailing weather conditions; sometimes they are the majority dimension of the image. Shadows should be treated that way and, most importantly, they should be sought out that way. When I took the photograph of the bullfighter (above), I was absolutely trying to photograph the perfect shadow. I was just waiting
MARTIN MIDDLEBROOK
for the right time of day, the perfect alignment between rasateur and bull this was a previsualised shot. In fact, I have tried to reproduce this shot several times, but never with the same success. The key is that I have been trying to photograph a shadow, not the subject. Its a different way of thinking. I saw a rather brilliant but simple photograph the other day that expresses this position with such elemental beauty that its worth relating. An open book, with a napkin ring placed upon the books gutter, and backlit. The napkin rings shadow becomes the perfect loveheart as its circular form unfolds into the book. It may be clichd but it was a wonderful example of using one shape to make another this is shadow photography at its best. So when the light is right, go out and photograph a shadow, not the subject; it allows you to see three-dimensional form in an entirely new way.
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ITS THE NATURE OF SHADOWS THAT THEY AFFECT THE OVERALL AMBIENT FEEL OF THE IMAGE.
ALL SHADOWS ARE THE SAME NO, EACH SHADOW HAS ITS OWN QUALITIES!
Dictionary definition of a shadow an area that is not or is only partially irradiated or illuminated because of the interception of radiation by an opaque object between the area and the source of radiation. Definitions, by their nature, define the generality of something. It may encapsulate the essence of that thing, but it can never capture the nuance of it. When we read the above definition we could be forgiven for thinking that all shadows have the same qualities, but of course we know this not to be true. Shadows come in every shape and form, every degree of intensity. They change by the second, become bigger and smaller, softer and harder, brighter and darker. A shadow that falls upon the surface of a porcelain teacup will have an entirely different quality to the shade from an oak tree. I havent created a portfolio of shadows, but after writing this article I am minded to do so my, what a breadth of opportunity it would provide.
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This simple texture (above) is made by the soft, diffused, dappled nature of the shadows so subtle that you wouldnt notice it unless I pointed it out. Contrast it to the image (below) where the shadows are harsh and dominant, and succeed in making the highlights the pivotal centre of the image. This is something thats worth considering: the value and nature of shadows and how they affect the overall quality of your images. When we look at the sleeping man in a doorway, what strikes us first are the shards of light that split the door, cross the threshold and spill on to the tiled floor. But they only exist as such because the rest of the image is in shade. Its the nature of shadows that they affect the overall ambient feel of the image.
Shadows allow us to see the difference, the reverse; shadows allow us to see negative space. And shadows change by the minute, throughout the day; in the same way that colour temperature is a constantly shifting thing, shadows are on the move. This is the wonder of shadows; if you dont like the one you have now, wait 10 minutes and a new one will come along. Therefore the same object shot throughout the day changes constantly, because shadows shorten and lengthen as the sun tracks across the sky and clouds impede the potency of direct light. To discuss every possibility of shadows would be to labour the point, but glance out of the window at a familiar object and see how it constantly updates itself.
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PHOTO ZONE
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EVERYTHING CASTS A SHADOW, OR IS IN SHADE, REGARDLESS OF SIZE AND LOCATION. AND WHETHER IT IS OBVIOUS AND GRAND, OR HIDDEN AND SMALL, IT IS THERE.
SHADOWS ARE OBVIOUS AND CAN ALWAYS BE SEEN NO, SOMETIMES SHADOWS EXIST IN SUCH A WAY AND ON SUCH A SCALE THAT WE DONT RECOGNISE THEM!
Sometimes shadows are so much a part of the landscape that we almost dont see them. They appear on such a grand scale that we think of them as the landscape, rather than lights meandering effect. Everything casts a shadow, or is in shade, regardless of size and location. And whether it is obvious and grand, or hidden and small, it is there. Look at the images (above): The moon is in shadow, helping to make rock band
IN CONCLUSION
MARTIN MIDDLEBROOK
Once we start to see differently, when we learn how to look, we appreciate that shadows set the values and tone of our images. So often we treat shadows as some cumbersome interloper, an Pink Floyd extraordinarily wealthy. aggravation that stains our images, and Rolling hills become a biblical landscape yet it is clear that they are often the because the shifting clouds cut the biggest single factor between success image up into slices that ebb and flow. and failure. I dont think I had A silhouette, while not strictly speaking appreciated this myself until I wrote this a shadow, exists with such beauty article, but to me, shadows have because no light is falling upon the dark become my marvel of photography. side. Cross-sections of a striated Everyone will tell you that light is all, field set up compositional but in equal measure so is shadow values that make the it stands to reason without one picture; without them it you simply cant have the other. is three blank sections, For more of Martins So here is my call to arms: if you with them it is animated articles visit the website www.photography embrace light, then you should brush strokes. A frosty monthly.com equally embrace the dark side, it is backlit tree exists because the bones to lights flesh and we of the value of hidden need it all for a picture to become shadows, the hill behind is in a living, breathing thing. complete shade, allowing the hoar frost to revel in its sparkle. PM
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Singer Tom Jones
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NEVER-FAIL PORTRAITS
When you are working as a professional portrait photographer you cannot afford to miss the shot. Here PETER DENCH takes a light-hearted look at how to win every time.
of professionalism. Perfect your routine; think about why you want to photograph them, what interests you about them and what composition would enhance those characteristics. A close-up of grannys lived-in face might work best or a full-length to capture the glamour of a leggy aunt. Get one safe portrait in the bag, then push for the unexpected. Mix up the compositions animated, serious, seated, standing, close and full length. Light one location for a formal composition, then move the subject into a more fluid environment. Get them looking directly into the lens, then vary it. Try to compose the picture in an environment where the sitter feels aking portraits can be easy; dont let the heavyweight protectors of the genre tell you otherwise. Its as complicated as you want it to be. To paraphrase Australian film director Baz Luhrmann: Ladies and gentlemen of the class of 2011, if I could offer you only one tip on how to take never-fail portraits, composition would be it. Composition is the heartbeat before releasing the shutter, a fraction of a second where everything fits fleetingly, the final piece of a journey that began the moment you arranged to take the portrait. Even if its a family member, lover or someone else you know well, approach the sitting with a level
comfortable. If the surroundings are relevant maximise them, dont be afraid to cram things in. Photographing explorer and writer Redmond OHanlon at his home among woodcarvings, skeletons and manuscripts added to the charisma of the shot. Personal objects in a composition can help the sitter to relax and the viewer to take an interest. Even the wallpaper or a pair of jazzy curtains might make a good backdrop, but remember its not an interiors shot. If the surroundings are a problem you can always blow them out with a minimum depth of field and compose tightly. For a triumph in composition, prepare to be flexible. You can never be sure how the
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PHOTO ZONE
Composition Peter Dench
Lifestyle advisor Carole Caplin
Hypnotist Paul McKenna
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Footballer turned actor Vinnie Jones
DO NOT OVERSHOOT. IF YOU THINK YOU HAVE IT IN THE BAG AFTER 20 MINUTES OR IF THE SUBJECT BECOMES DISENGAGED, WRAP IT UP.
A detail or suggestion will be enough. Try not to have one locked idea about Handing a shotgun to footballer turned the sort of composition you would like to actor Vinnie Jones helped to achieve achieve. Mistakes I have made include a strong composition in a portrait for GQ setting up for a tight headshot before a jetlagged, cold-riddled, spotty individual magazine (I asked him if it was loaded; shuffled into the room. They simply said no! he fired it over my head in confirmation). Do not overshoot. If you think you have it Beware of having any preconceptions in the bag after 20 minutes or if the subject about your subject (except perhaps if its becomes disengaged, wrap it up. actor Danny Dyer). If your subject is an actor Above all, dont get stressed, but have fun; do not quote one of their lines. If they are a its only a portrait. As the American comedian, do not ask them to tell you a joke. photographer Edward Weston wisely Do not tell them a joke. I asked hypnotist imparted consulting the rules of Paul McKenna to look into my lens, not composition before taking a photograph is around the lens but straight into my lens like consulting the laws of gravity before before having released the shutter, which meant the rest of the shoot was conducted going for a walk. Rules are there to be in relative silence. Dont overwhelm the broken. Somehow as photographers, through subject immediately with suggestions. practice, you will learn to just know. Kit can be a burden; dont shock your A final warning: If you are lucky enough to subjects with too much. If you have bought be commissioned to take a professional or hired it specifically for the shoot do not portrait it is likely to be in a hotel; a great hotel; and great hotels have great bars. feel obliged to use it. Match the kit to Do not rack up an exuberant bill the sitter. If you want to compose a before or after the shoot and then strong portrait what you use must come as second nature. bill it to the sitters room; it is Props included constructively unlikely to be well-received. For more techniques and advice visit the website can enhance a composition, Do not eat garlic. Both will www.photography compromise your composition. PM but avoid burdening the sitter. monthly.com
PETER DENCH
shoot will unfold. Take enough kit to be calm and confident. If youre a bit unsure ask a friend along to help. Let them unpack the kit while you have a conversation with your sitter; show them respect but dont be overawed. A portrait is a two-way process, take on board their ideas, and shoot some of them to get them involved. If they are relaxed and inspired it will ultimately help you to achieve a good composition. When all the elements have come together, have faith in your ability. Let your eye rove around the frame. Check the corners, direct any diagonal lines towards the subject, compose and shoot. Be aware of perspective, symmetry and tone; work with them. Shoot vertical and horizontal (except if shooting square!). When the momentum passes, change location. Ladies and gentlemen of the class of 2011, if I could offer you only one tip on how not to take never-fail portraits, composition would be it. Composing a portrait can be a very intimate and bonding experience, but try not to confuse this with an invitation to flirt or ask for a date. In my experience this has never ended well. If, however, they ask you, then by all means go for it.
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LIGHT UP
Have you ever looked at a portrait and wondered how it was lit? What lights and reflectors were used and where they were positioned? For professional photographer TED SABARESE, finding out the answers to these questions has become a constant obsession which takes the form of his blog Guess the Lighting. Now hes brought his limited drawing technique and expert lighting knowledge to his own work exclusively for Photography Monthly.
YOUR LIFE
USING A SINGLE LIGHT SOURCE
KIT USED
1 Profoto-7a 2400 power pack with Profoto head White V-Flat 1 Hasselblad H1 camera with 80mm lens 1 Leaf Aptus 75 digital back
WorldMags1 Elinchrom medium Octabank
Alternative lighting options:

1 Bowens Quad 2400 Studio Kit (2,419.99) 1 Bowens Octo 150 soft box (590) Elinchrom Octabank
TECHNIQUE USED
Taken from my Evolution series, this image demonstrates moderate Rembrandt lighting where the model is simply, yet dramatically, lit. I call it moderate because there is a greater amount of fill light than is traditionally present. This is a popular lighting technique because only one light source is required to create a compelling image that resembles the singular, natural light of the sun. For this shot, I placed a medium Elinchrom Octabank high and about 6ft to camera left. A white V-Flat sits just out of frame to camera right and helps to fill the shadows on that side.
ON A BUDGET?
You dont need to buy a white reflector panel specifically designed for the job if you want to start experimenting with reflective light. You could start out by using white polystyrene ceiling panels from a builders merchants or DIY store fixed to some stiff card.
BIOGRAPHY
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TED SABARESE
Ted is based in New York and his clients include computer giant Microsoft, toymaker Hasbro and clothing brand Nike. He is also editor of the blog, Guess the Lighting. www.tedsabarese.com
PHOTO ZONE
Lighting setups Ted Sabarese
GETTING THE POSE RIGHT

By asking his subject to look slightly to the right Ted has been able to create a very thoughtful mood to the portrait while also being able to use the one light source to illuminate the main area of the face.
ONLY ONE LIGHT SOURCE IS REQUIRED TO CREATE A COMPELLING IMAGE THAT RESEMBLES THE SINGULAR, NATURAL LIGHT OF THE SUN.
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FOR MY HUNGER PAINS SERIES, I WANTED PUNCHY LIGHTING THAT DREW THE EYE QUICKLY TO THE MODEL, BUT ALSO FELT THEATRICAL.
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USING PROPS
When using props such as the podium Ted has chosen here, make sure to use strong and simple shapes that enhance the subjects pose rather than distract from the main focus of the image. The props and subject should feel and look as one.
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PHOTO ZONE
USING TWO LIGHTS TOGETHER

KIT USED
2 Profoto-7a 2400 power packs with Profoto heads 1 Profoto white beauty dish 1 Elinchrom large striplight box 1 Hasselblad H1 camera with 80mm lens 1 Leaf Aptus 75 digital back
WHY MEDIUM FORMAT?

Professional photographers choose the right format for the type of image they are shooting, the type of location they are shooting in and how the final image will be used. In this case Ted needed the extra quality of the medium format.

1 Broncolor Visatec Solo 232 Monolight Flash 2 head kit 2400w (2,358) 1 Broncolor striplight box Striplight box
AD
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White beauty dish
TECHNIQUE USED
ON A BUDGET?
If you dont have a striplight box, you can always experiment with using full-length reflective panels to bounce even light on to the model or using a flashgun on a stand in a full-length soft box.
TED SABARESE
Using fewer lights usually translates into creating more drama. For my Hunger Pains series, I wanted punchy lighting that drew the eye quickly to the model, but also felt theatrical. The soft, almost spot-lit key light places the model and her clothes figuratively (and quite literally) on display. I allowed the background to go darker by moving the model away from it and not throwing any additional light on to it. My key light is a white beauty dish placed high and 7ft to camera left. A large striplight box, with its bottom half flagged off, sits similarly to camera right for fill at two stops less than the key. Just for the record, this was pre-Lady Gaga.
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USING TWO LIGHTS TOGETHER

KIT USED
2 Profoto-7a 2400 power packs with Profoto heads 1 Chimera medium striplight box 1 Profoto grid reflector with 20 grid 1 Hasselblad 503CW with 80mm lens 1 Kodak Ektachrome Epp100 colour slide film

1 Elinchrom Digital 2400 RX pack and digital A3000N head (2,430) 1 Interfit SLBR39 30cm x 90cm striplight box (95) 1 Elinchrom grid reflector 1 Elinchrom 18cm 60 reflector and 20 honeycomb grid set (41.99)
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BALANCING LIGHT
There are few rules to lighting a portrait and as you can see from this portrait, Ted has balanced his lights by creating a series of reflectors which soften light and create subtle highlights and shadows.
THIS EFFECT HELPS TO SEPARATE THE SUBJECT FROM THE ENVIRONMENT IT IS CONTAINED IN.
20 grid reflector
TECHNIQUE USED
Another great way to utilise a two-light setup involves lighting the background as well as the model. This effect helps to separate the subject from the environment it is contained in, in this case, black seamless paper. For this image, I placed a medium striplight box nearly perpendicular to the model, concentrating the light, and the viewers attention, on her face and nose. You can see the light fall off on the back of her arm and head. To cut down on the contrast, I did place a white V-Flat just out of frame to camera left for fill. I then positioned a reflector with a 20 grid behind her and by aiming it at the background, I created a glowing halo around her head (bringing even more focus to her face).
White V-Flat
Medium striplight
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PHOTO ZONE
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KIT USED
A SINGLE LIGHT AND THE SUN
1 Profoto-7b 1200 power pack with head 1 Profoto white beauty dish 1 Canon EOS-1Ds MkII body with 50mm lens

1 Elinchrom Style 1200 RX twin kit (1,649) 1 Interfit SLBR39 30cm x 90cm striplight box (95) 1 Elinchrom 44cm silver beauty dish with deflectors (138.99)
TECHNIQUE USED
I love the different effects you can achieve by bringing strobes outside into the daylight. Depending on power levels you can add just a touch of drama or even make day look like night. Here I used a single, white beauty dish to highlight my yoga practitioner and create a focal point. The sun is behind everyone to camera right, as you can see from the couple sitting in the foreground. The beauty dish, placed 4ft to camera right, is a stop and a half stronger than the sunlight falling on the rest of the group. If I had increased its power, the background models would be even darker. PM
THINK BIG!
Teds concept here is big and so is his attention to detail, and it is this attention to the composition that makes this image so strong. But it is actually a simple idea simply lit. It is also an image that could be created using a large reflector and natural light.
White beauty dish
I LOVE THE DIFFERENT EFFECTS YOU CAN ACHIEVE BY BRINGING STROBES OUTSIDE INTO THE DAYLIGHT.
TED SABARESE
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BA (Hons) Photography
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by OCA student Victoria Rahm
Learn from home In your own time Start when you want Study just one course ...or a full degree.
Open College of the Arts www.oca-uk.com 0800 731 2116
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EMILYS PEOPLE
EMILY ANDERSEN
Emily is a veteran portrait photographer. A selection of her images forms part of the National Portrait Gallerys permanent collection.
This month Emily describes photographing at Osterley Park and House, Middlesex, for a corporate clients catalogue.
ONE OF THE PEOPLE TO HAVE HELPED ME WITH MY PHOTOGRAPHIC CAREER IS ART DIRECTOR DEBI ANGEL. I first met and worked with Debi when she was at Elle magazine and then Elle Decor in the 1980s and 1990s. I worked with her when she had her own company, angel:thomas. When she was based in Hong Kong for a couple of years I shot stories in London. In 2009 she designed my book Paradise Lost and Found. Working with Debi is always a great experience because she is enthusiastic about images and passionate about photography. Over the years she has put me forward for numerous jobs that have turned out to be both exciting and rewarding. One commission I received was to shoot for the catalogue of the paint company Farrow & Ball. The firm wanted to show the interiors being used in situ; in this case, at the National Trusts Osterley Park and House in Isleworth, Middlesex. I was given the phone number of Anthea Palmer, the historic buildings representative for the National Trust, and that of the designer for Farrow & Ball. It was then a question of scheduling a day when we could all be there together. We had a two-week deadline in which to shoot without the public being there. There was a slot at the end of February during which we could shoot before the house reopened its doors. After a number of calls and possible dates mooted, we found one. I decided to shoot without an assistant as the rate was editorial and I like working alone sometimes. The disadvantages are that there is no one to help carry your equipment, load the cameras, take light readings, set up lights and generally chat to. Fortunately, I didnt need to see the house before the shoot as I was already familiar with it, having visited as a child and later with visitors from abroad who like historic buildings. We arranged to meet at 9.30 on the morning of the shoot. It was a freezing day and driving up the road
Osterley House, Middlesex, shot for a Farrow & Ball catalogue.
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THE GALLERY HAD A PEA-GREEN WALL ON WHICH HUNG CANALETTO AND OTHER 17TH AND 18TH-CENTURY VENETIAN PAINTINGS.
through the acres of land, the mist hung low over the lake and house, evoking a scene from a thriller. I eventually found the tradesmans entrance at the back of the building, complete with knocker and bell. After a couple of knocks and rings over five minutes, followed by a 10-minute wait, an attendant finally came to the door. By this time I was quite cold. I carried the box of lights, bags of stands, diffusers, reflectors, umbrellas, tripod and camera bag in three trips up a long flight of marble stairs through the entrance hall to the gallery which is 130ft long. The gallery had a pea-green wall on which hung Canaletto and other 17th and 18th-century Venetian paintings; opposite this wall were windows facing west. This pea green was the colour that Farrow & Ball had mixed to the exact colour specifications of the original 19th-century wallpaper. I met Anthea Palmer and we talked while I had a coffee. It was good to have this time with her as she was going to be in the photograph. I set up the lights directed at the pea-green wall: three Bowens monolights a 1,500W and two 1,000W flash heads on stands, with silver umbrellas on the 1,000W lights and a 3ft x 2.5ft soft box on the 1,500W. I put a Hasselblad 500C camera with a 50mm lens on a tripod, as I was going to mix the daylight with the flash. I had 50mm, 80mm and 120mm lenses with me. I set the flash to give an aperture of f/22 on Fuji400 ASA colour negative film and took some light readings to shoot Fuji 100 ASA instant film with the Polaroid back on the Hasselblad. I was ready to go when the designer from Farrow & Ball arrived with his assistant. We agreed that the story should be people-led. I have often used mirrors in photographs, and there was a large ornamental one with a gold frame opposite the pea-green wall. It reflected the huge marble fireplace, a painting by Canaletto entitled St Marks Square, Venice, a couple of other paintings with figures, a pair of gold sconces and a couple of chairs covered in pea-green damask. I needed a ladder to get up to the mirror, which the gallery attendant provided. I climbed up about 6ft while managing to elevate the tripod to the same height. I could then shoot into the mirror and asked Anthea to stand next to the fireplace (that had a figure of a woman her height carved into it) and to look as if she were reading a catalogue. I placed the soft box high up and to her right and directed the other two flash heads towards the fireplace and the wall. I took light readings and a couple of Fuji instants to check reflections and the light on Anthea; it was important the marble figure next to her held definition. I shot four rolls at 1/15sec at f/22 and bracketed the rolls with shutter speeds from 1/8sec to 1/30sec. The daylight filled in and the flash maintained the correct colour, which was imperative for Farrow & Ball. Debi used the photograph full page in the catalogue, Farrow & Ball was happy with the result and I went on to shoot for three more issues. PM www.andersenphotographic.org
EMILYS ESSENTIALS
Have a strong trolley for carting lights and stands around. Take a couple of camera bodies and backs, and a selection of lenses. Arrive early and set up as much as you can before the shoot begins. Take plenty of film/memory cards and backup. Find out as much as you can about who and where you are photographing.
EMILY ANDERSEN/JANUSZ PODRAZIK
To read more of Emilys columns visit www.photographymonthly.com

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PODCAST
In case you missed them
WERE ON YOUR
Thanks to everyone who has listened to our monthly podcasts over the past two years. In case you missed any, they are available via the website and can be downloaded from iTunes.
WAVELENGTH
NOVEMBER
ISSUE PODCAST Grant and Sean speak to professional photographer James Appleton and discover how he captures extreme colour in his landscape images. They also discuss their time at Photokina 2010 in Germany. MASTERS SPECIAL PODCAST In this months masters special podcast, Sean speaks to C J Kale and Nick Selway, two Hawaiian landscape photographers who have pioneered a new way of shooting the worlds longest-running volcano from the surf into which it flows. Find out how they risked their lives for the opportunity to make some amazing shots. PM
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APRIL ISSUE
ISSUE PODCAST The Editor of Photography Monthly, Grant Scott, and deputy editor Sean Samuels speak about what caught their eye and the latest innovations from Focus on Imaging 2011 at Birmingham NEC. Goes live on 23 March 2011.
THE BACK CATALOGUE All of our podcasts featuring

photographer interviews and industry news specials are available online. www.photography monthly.com
FACE
TO PORTRAITS FACE OCEAN
This book gives a stunning account of pioneering ocean photography and modern portraiture. New commissions from lifeboatman Nigel Millard and yachtsman Rick Tomlinson, both leading photographers, are shown alongside historic treasures from the worlds finest maritime collections. For your chance to win a copy, worth 30, enter our competition at www.photographymonthly.com
SPECIAL ISSUE
TEST ZONE AWARDS SPECIAL PODCAST Grant and Sean discuss the winners of this years Test Zone Awards, as featured in the December issue of the magazine.
JANUARY 2011 SPECIAL PODCAST

NIKON MASTERMIND FINAL The final contestants of our Mastermind quiz, sponsored by Nikon, go head to head to see who will win the Nikon D3s worth 4,200. MASTERS SPECIAL PODCAST In this months masters special podcast, Sean speaks to Steve Bloom about his creative approach to photographing wildlife, his career and the future of photography.
MARCH ISSUE
ISSUE PODCAST Grant Scott and Sean Samuels speak to National Geographic photographer Jim Richardson about his wonderful landscape work made in the Hebrides. They also discuss the latest news from the world of photography.
DECEMBER 2010
ISSUE PODCAST Grant and Sean speak to British professional photographer Jake Chessum, who has shot many top rock bands and celebrities, about his approach to capturing group portraits. Jake shares his passion and advice to help you take better photographs. MASTERS SPECIAL PODCAST In this months special podcast, Sean speaks to our Lighting Master, Neil Turner, about how he uses flashguns to add depth and atmosphere to family and group portraits.
FEBRUARY 2011
ISSUE PODCAST Grant and Sean discuss their time at the CES Show in Las Vegas and reveal all their favourite things.
WIN!
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The word is that Canon is about to launch the much-anticipated EOS 5D MkIII or 6D, with This month, as even more cameras are launched with moving a suggested image capabilities, JOHN CAMPBELL recommends some of the best films being created on DSLRs and keeps you informed 24-megapixel sensor and a dual DIGIC 4 about how the world of still photography is merging with film to keep us updated from the political and social frontlines processor. It may also around the world. have an articulated LCD screen with 1.04 million dots, which will surely interest film makers, and have the advantage of being a touch screen, making it the first full frame camera to have such technology. WorldMags According to the rumour, it will be released by the middle of the year, so watch this space. THE DOGS OF WAR
CUT AND ACTION...

HOLD THE FRONT PAGE
THE RUMOUR MILL
Danfung Dennis, a photojournalist turned film maker, has opened the door for all DSLR film makers after taking two top prizes in the documentary category of the Sundance Film Festival in Utah, USA. His film Hell and Back Again, shot on a Canon EOS 5D MkII, won the world cinema jury and cinematography awards. It follows a marine fighting in the Afghanistan war and his subsequent rehabilitation. Danfung asks two fundamental questions: What does it mean to lead men into war and what does it mean to come home? The trailer speaks far louder than any words. www.danfungdennis.com
SHOW ME THE MONEY

That wasnt the only Sundance DSLR news, because the indie movie Like Crazy, directed by Drake Doremus and shot on a Canon EOS 7D, was given the US dramatic competition grand jury prize, with English actress Felicity Jones receiving the special jury prize for her performance in the film. Like Crazy has since been sold to Paramount Pictures for a whopping $4 million (2.5 million). www.photographymonthly.com/bv04
The Canon EOS 5D MkII is the MkIII on the way?
BIOGRAPHY
FROM THE FRONTLINE

The mass protests in North Africa have shown again that in places where political unrest harbours fears of outside interference, the ability to shoot covertly or at least subtly puts the DSLR into a class of its own. Sky News reporters used the Canon EOS 5D MkII again to film remarkable footage of the violence in Egypt. Apparently, they used the Canon EF 24-105mm IS kit lens with no rig or Z-finder, and the audio was recorded on a Tascam DR-100 recorder and a Sennheiser mic. www.photographymonthly.com/cr04
John Campbell received his MA in film from the International Film School, Wales. He won the cinematography award at the Bristol International Film Festival for a short film called Blue Morning You in 1999. He now works as a freelance film maker for public bodies and arts organisations across the UK and mainland Europe.
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FILM SCHOOL
Shooting film on your DSLR John Campbell
FILMS TO WATCH
ABOVE EVERYTHING ELSE
For all of you photographers and film makers, understanding time is of the utmost importance. After all, mastering the ability to capture a moment in time is what photography is about. Film making, though, has the added ability to control time by either speeding it up or slowing it down. Above Everything Else, by Alex Roman, shows the power of slowing down film. Underscored by music, it shows us what we would not normally see in real time, delivering a unique glimpse of the world in all its microcosmic beauty. http://vimeo.com/user1337612
KIT CHECK
When it comes to recording video on your DSLR, it is important to feel secure that what you are seeing is what you are getting, so a viewfinder for your screen is invaluable. They block out excess light and offer superb clarity. Using one means youll never miss a sequence again.
TIP OF THE MONTH

Insider techniques to help improve your film making.
EVER WONDER HOW THEY FILM A MOVING BULLET?
One of this months Films to Watch, Alex Romans Above Everything Else, shows how manipulating time is an important aspect of the philosophy of the film-making language. The tip this month is to help you on the road to controlling time. As photographers, controlling shutter speed is a basic requirement of producing great images. Leave it open and you can capture an image over a period of seconds, minutes or hours. For example, keep your shutter open long enough and you will capture the stars as they move across the night sky, causing trails to appear on your final image. Likewise, if you use a quick exposure, you will capture a split-second of time. But as you might have found when shooting film on your DSLR, youre pretty much stuck with 25 frames per second at least if you want to capture motion in real time. If you want to capture objects in slow motion, you must increase the shutter speed. It sounds counter-intuitive, but increasing shutter speed allows you to play back your footage in slow motion. If you were to shoot at 50fps, then your footage would be 50% slower when played back at normal speed, which is 25fps. This is because you have shot twice as many frames as normal in a second. The most important part of this tip is to work only in multiples of 25, otherwise playback could potentially result in mistiming; so if you have planned images to sync up with other video or audio, it will probably result in everything being out of sync. This is the same way they shoot fast-moving objects such as bullets: shooting with an extremely fast shutter speed. Also remember that the higher the shutter speed, the more light you are going to need.
SAY YES
Although shot primarily with a Sony EX3 with Letus lens adaptor and Nikon and Zeiss primes, the film Say Yes, directed by Darren Symonds, is a great example of how seamlessly a Canon EOS 5D MkII can cut it alongside other HD cameras. Symonds needed the 5D for this New Zealand-shot film because, as we are hearing increasingly, it has an outstanding ability to shoot in low light. Cinematographer Ben Ruffell, who used the 5D mainly to shoot the night scenes such as the bathtub and taxi sequences, said: I really like working with both of these systems and I often use them together on the same shoot. http://vimeo.com/user1942955
ZACUTO Z-FINDER PRO 2.5X

Zacutos Z-Finder Pro 2.5x is top of our price list at 326.76. It has 2.5x focusable magnification (3x is available), a 40mm diameter Zacuto optical designed lens, an anti-fog coating protective cover, an eyecup preventing extraneous light leakage, a diopter and a field of view matched to 3in LCD screens. The diopter allows you to dial in the focus to match your eye. The Pro 2.5x is attached via a mount that sits on the bottom of the camera, making the viewfinder secure from bumps and knocks, which is essential if you are moving around in a frantic bid to get footage. Zacuto is one of the leaders in producing equipment designed for HDSLR film making and the Pro 2.5x is excellent for the semi-pro film maker. You will wonder how you have ever managed without one. http://store.zacuto.com/Z-Finder-Pro-2.5x.html
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OUT OF A FOREST
The short film Out of a Forest is an award-winning animation which is beautiful to look at and features great storytelling. Director Tobias Gundorff Boesen shot the 5min 53sec film in the forests surrounding Viborg, Denmark, and got his inspiration from Victorian literature and the album Boxer by US rock band the National. It was painful to finish, as shooting stop-motion in the forest at night for long periods offered a lot of problems. But it was also great fun and an adventure, he says. This animation just shows what can be achieved by utilising the diversity of DSLR film making. Its a must-see short whose visual approach will inspire any budding film maker. http://vimeo.com/9335203
LCD VIEWFINDER 3/2

My midprice choice is the LCD ViewFinder 3/2, which is compatible with the Canon EOS 550D and 60D. At 96, this is a good example of basic kit available for the HDSLR market. Even though this is a midrange viewfinder, it packs a punch. The LCDVF 3/2 turns your video-enabled DSLR LCD screen into a huge electronic viewfinder for precise image evaluation its like viewing a 42in screen from 55in (140cm). www.videogear.co.uk/DSLR-Gear/LCDVF/LCDVF-3/2Loupe-for-550D-/-T2i-/-60D/prod_1142.html
CARRYSPEED VFINDER
At the lower price of around 50 (through Amazon or eBay stores), the CarrySpeed Vfinder is a great choice for new film makers. Being magnetised, the viewfinder is prone to being knocked off the camera if it is bumped with any force. But as a starter piece of kit and considering what it provides when it comes to shielding you from the sun, I would rather have this than nothing at all. www.carryspeed.com PM
COURSE/EVENT
Gale Tattersall is a world-renowned cinematographer whose cinema credits include The Commitments, Ghost Ship, Pushing Tin, Wild Orchid, Tank Girl and The Addams Family. He is now director of photography for the American TV series House, starring Hugh Laurie as the crotchety doctor. Gale recently shot a whole episode of House on Canon EOS 5D MkII HDSLRs, which now reside permanently in his toolkit. Gale has decided to share his knowledge and techniques with film makers, students and budding artists in a series of live online workshops on Vimeo. Spaces are limited, so be quick. The workshops will take place over three Sundays in April, and cost $400 (247) a session. http://hddslrworkshops.com/sign-up/
To read more of Johns Film School columns visit www.photographymonthly.com

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BIOGRAPHY PETER VERVER

Dutchman Peter Verver is an image manipulator and photographer, at the forefront of digital photography. Peter has a studio in Eindhoven, in the south of the Netherlands, but shoots on location around the world. www.shootings.nl
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PETER VERVER
PHOTO ZONE
Photo manipulation Post-production masters
MASTER MANIPULATION
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When used correctly, photo manipulation can bring images to life. From the slightest change in colour to the creation of new worlds, editing software will set your imagination free. RACHAEL DCRUZE found three masters to reveal the secrets behind getting it right.
HOW TO CREATE IMAGINARY LANDSCAPES
01
THE PROJECT
This image was made for S-lec, a Japanese glass producing company which wanted me to show some of the wonders of the world, combined with its new-technology glass.
THE START
I flew out to Cairo and went to the pyramids on the first morning I was
there to start taking the shots I needed to make the manipulation. I chose to shoot in the early morning for the best light and longer shadows, and because there would be fewer people around. After finding the right angle, I shot lots of images, from almost black to almost white exposures, so I could use all these different gradations in the final manipulation.
My team and I measured the height of the camera, the angle of the lens to the ground and the position of the sun I needed all this information to take the right images of people, sand, camels, and so on, to put into the main image later. I also took shots of a reflection ball, which we needed for the 3D part of the image, which was to be done in Cinema 4D software afterwards.
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This precise way of shooting is essential for this kind of work and it makes life much easier when it comes to actually making the manipulation. The next morning I shot the pictures of the camels, Bedouin, sand dunes, rocks, and all the other elements you see in the picture. When you shoot extra pictures like this you need to be really precise. For example, if you know that a man is going to be put in the image on the left side, take the picture of him from the left side, not the middle. I always make a rough combination of the images while Im on location to see if they will work not when I get home and its too late.
PETERS EQUIPMENT
Peter shoots with Hasselblad H3D-39, Canon EOS-1Ds MkIII, Canon EOS 5D MkII and Canon EOS 7D cameras, with a range of lenses for both systems. The vast majority of Peters images are shot on location, where he lights with two Hensel Porty 1200 power packs, four heads, Canon 580EX II Speedlites with PocketWizards and an assortment of reflectors, umbrellas and soft boxes. On location Peter uses a 13in MacBook Pro. For studio work and image manipulation he has two Mac Pro computers with 16 gigabytes of RAM, both with 24in Eiso monitors, 19in second monitors and a Wacom A3+ tablet. Peter uses Adobe Photoshop 5, Adobe Lightroom 3, Cinema 4D and Hasselblads Phocus software with a range of third-party plug-ins, including those from Topaz Mask Pro and Nik.
02
THE PROJECT
This manipulation of St Peters Square in Rome is another image I did for S-lec. The company wanted to show famous European places: Rome, London, Brussels, St Petersburg and Berlin, with their landmark buildings and a big glass number 10. My brief was that the images had to have a serene atmosphere, in which the number 10 would fit well.
CLEANING THE IMAGE

Back home in my studio, I developed my images from the shoot using Adobes RAW converter, in Lightroom 3, and created 16-bit PSD files. I then started cleaning up the images, something that is essential to do before combining them.
THE START GETTING THE COLOUR RIGHT

Finally comes the trickiest part of the manipulation: colour, contrast and feeling. I find these elements are often underestimated by a lot of people putting images together is quite easy, but giving the image that special feeling of reality is not. I again used many tools to achieve the finished image: curves, desaturation and an extra black-and-white layer to get the finished image right. I find that adding an extra black-and-white layer on top of your image, set to multiple with the opacity brought back to 40%, gives a really nice-looking, desaturated image. The main difficulty with this shoot was that from 9am until sunset there were just too many people in the square. As St Peters Square is made of shiny stones its almost impossible to do what I normally would take lots of images and combine the empty parts into one shot. Instead I decided to take the main image really early in the morning when there were only a few people on the square, just after the stones had had their daily clean and were still a little wet and shiny. As it was so early in the morning, I was shooting in low light and big areas of shadow were underexposed in my photographs. To combat this I shot lots of exposures from almost black (-5 stops) to almost white (+5 stops), so I would be
WORKING WITH LAYERS AND MASKS
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Next, I did all the necessary masking, which I do in Photoshop using brushes, colour range, Mask Pro, contrast layers and channels. I never use the pre-set tools in Photoshop, as I feel they are not precise enough for high-resolution files. All my masks have different outlines soft, feathered, very hard and so on. I finalise all of these by hand.
MANIPULATING THE IMAGE

My next step was to reposition all the different inputs on the main image, so everything was in the position I wanted and shot for. With this done, it was time to put in the 3D part of the image: the top of the pyramid. Using my Exif data and the information I got from the reflection ball I had photographed when on location in Cairo, I was able to create a really natural 3D image. One of the nice things about Exif and positioning data, which tells you where, when and at what time you took the image, is that I can put this data into Cinema 4D and the software can then create the precise shadow and light combination, which you would have got at that place and at the exact time of day. I created a multi-layer file with the glass top to put in my Photoshop file. I repositioned it slightly and brushed it in by hand, as the edges always need some fine tuning.
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PHOTO ZONE
THE BIGGEST PROBLEM I FACED WAS THAT IT WAS THE MIDDLE OF SUMMER AND MY CLIENT HAD ASKED FOR AN IMAGE OF A MAMMOTH IN A SNOWY STREET.
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have some detail left. I worked out the right angle, focal length, height and position I needed to shoot from, so it would all work when merged.
concept behind this campaign. The biggest problem I faced was that it was the middle of summer and my client had asked for an image of a mammoth in a snowy street.
snowy reflection on the mammoth, so it would eventually fit well into the background of the final manipulation.
CUTTING OUT
The first thing I did was to mask the mammoth. I used ReMask 2 and third-party software from Topaz, as masking by hand would be complicated because of the mammoths fine fur.
FINDING THE RIGHT SHOT

I used a lot of layers with this image. Its so very important to put all the layers in maps, giving each a name, so that you keep an overview of the manipulation its crucial to work in an organised way in Photoshop. I had a map with layers of the main image, a map with different layers of people, one with the new sky, one for overall curves, colour correction and desaturation etc. I did my manipulation using exactly the same steps as the pyramid image.
LOOKING FOR IMAGES

I started to do internet research and soon discovered that a museum-mammoth was not an option, so we bought a stock image of a mammoth, solely because of the time of year. Normally I shoot the most difficult part of the end result first, but in this case I had no choice but to resort to using stock. Again, via the internet, I found that there was a vacuum-sealed replica mammoth, approximately four metres high, in the Netherlands. So I arranged for the mammoth to be placed on four plateaus with wheels, so it could be turned at any angle and direction in which I wanted to shoot it, to fit it into the background stock image I already had. Using Phocus software I can put a layer underneath the shooting layer, which is what I did here. I shot the mammoth tethered to my Mac Book, so I was immediately able to see if it would fit. I had to change angle and position a couple of times to get the right result against a white background. I used a white screen as a background to get the
COLOUR CORRECTION
With good layer organisation and handmade masks, the mammoth fitted into the image well. The feeling, contrast and blending in were a matter of colour corrections, desaturation, curves, and softening and hardening of the masks.
03
THE PROJECT
PETER VERVER
BRINGING THE IMAGE TO LIFE

With the mammoth now in place, I added more snow as per my brief. Finally, I sharpened the mammoth and increased the contrast of its fur so much that it looked almost frozen. I added grain all over, so that the quality matched the high ISO of the background stock image I used. Right at the end I added more grain all over the total shot, to combine the images perfectly. Jan Drenth worked alongside Peter on the manipulations. www.jandrenth.com
I was commissioned to do this manipulation for Mitsubishi Europe. The film Ice Age 2 had just been released and ice is coming was the
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HOW TO CREATE DREAM LANDSCAPES
01
THE PROJECT
I wanted to create an ocean scene, with waves crashing against a harbour this simple idea was the beginning of the manipulation. There was to be a huge storm above a boat; but despite its darkness, I wanted the image to maintain optimism, hence the boat heading towards the sunset. Before I started I knew I wanted the image to have the feel of a Victorian oil painting too.
TAKING THE SHOTS

Shooting the images of the waves in the bottom of the shot was the starting point
of this process. I shot about 50 to 60 images so that I could develop, in my mind, the perfect wave. When shooting the waves, I made sure that the exposures were good, to provide the detail needed for me to be more creative in post-production. I had a very particular type of boat in mind for this image and as a result I spent a week in Cork, Ireland, scouring the coastline for the perfect one. The boat I finally chose to photograph had the right scale, look and feel to enable this picture to work. This shot took me about a month and a half to put together. My work is very much like putting a puzzle together.
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PHOTO ZONE
EMBEDDING THE BOAT IN THE SHOT SO IT LOOKS REAL WAS IMPORTANT, SO THE VIEWER FEELS AS IF THEY ARE IN THE SCENE.
BIOGRAPHY ANDREW BROOKS
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Andrew Brooks is a digital artist based in Manchester who creates hyper-real manipulations by stitching together hundreds of individual photographs. Andrews shooting process is all about collecting as much visual information as possible from the real world and then building this into his final pieces using Photoshop. www.andrewbrooksphotography.com
ANDREWS EQUIPMENT
Andrew shoots with a Nikon D700 and a variety of lenses, from 22mm to 300mm. Andrew works on a 27in Dual-Core iMac and exclusively in Adobe Photoshop CS5, also using Adobe After Effects CS5.
CHOOSING THE COMPOSITION

All the elements in this manipulation were brought together as about 130 separate layers. Through careful use of the transform tool I was able to rotate the elements and skew them, positioning the layers to work with the other images. Using careful layer mask selections, I was then able to slowly bring all the photographic elements into one full composition. At this point, the image was still a crude jigsaw, in need of refining.
different colours within each area of the scene. I did this by feathering lassoed selections and then using the feather tool to soften the edges. I created the glow of the sunset using about 30 feathered selections, which enabled me to slowly introduce warm colours into the shot. By adding colour you can change the atmosphere of the picture dramatically. In this image it was about emphasising the blue-green hues in the wave against the warm tones of the sun.
elements lighter and some darker, to make them more vivid within the scene. I also added more complex detail for example, I created the foam on the wave by inverting the blackbirds to pure white.

Embedding the boat in the shot so it looks real was important, so the viewer feels as if they are in the scene. To do this I sampled an area near the sunset by the birds and pasted it on to the glass of the boats window, to create a realistic reflection of the sunset. I tried to visualise how much colour would be reflected and as a result had to really tone down the colour and light to ensure it was realistic.
ANDREW BROOKS
DRAWING OUT THE COLOURS

Next, I started to work on the different parts of the scene, working to feather sections, soften edges and draw out
ADDING IN THE DETAILS

With the composition roughly sorted and colour introduced, I next added the fine detail. I drew out colour that already existed in the image and also made some
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02
THE PROJECT
I was visiting Shanghai to get inspiration for my work when I came across Nanjing Road, one of the busiest places Ive ever visited. I decided to create an image that would allow others to feel as I did when I was there.
CREATING THE BACKGROUND

I started this manipulation with the background, which is a composite of about five or six photos. As I knew the foreground would be so detailed, I kept the background fairly simple. The flag on the right was part of the actual background, although the flag in the childs hand was an addition. The sun was naturally above the building and, coming down the street in this way, created flare in the shot. I simply used a darker exposure to retain the detail in the clouds.
FINDING THE FOCAL POINT

I decided to have the child as the centre point, with everyone else facing in another direction. The child was one of the few people looking back at me. I knew from the moment the child looked into my lens, he would be the centre point of the image. The flag in his hand was added and the red made more vivid, to increase its prominence.
CHOOSING THE COLOUR PALETTE

I wanted to create a warm, golden feeling, with the colours of the sun bringing a sun-bleached, optimistic atmosphere, so I used curves to inject more red and yellow.
THE PROJECT
This image was developed over about five or six minutes as I walked down the street and shot about 80 frames. I knew Id need a range of exposures, for example, having darker images of the sky and having cloud detail available, so I bracketed my exposure.
CHOOSING THE FOREGROUND

I then got to work on the foreground. By working with many different photos, I was able to take the people in the best positions and most interesting poses for my final piece. Working in this way meant there were about 150 photos creating about 75 layers.
GIVING THE IMAGE DEPTH

As you can see, the centre of the image is a little misty, to develop the feeling
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PHOTO ZONE
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of distance. I created this by painting the area with a low-opacity whitewash.
03
THE PROJECT
In this image of Shanghai at night I wanted to capture the different layers of the city, from the corporate area in the background to the bustling street scene in the foreground.
capture the movement of people, so I took many exposures of the same section of street, to give me a choice of people to incorporate in the image.
used layer masks to paint out any detail not required for the final composition. After all the images were incorporated, I flattened the layers to create one composite scene.
CHOOSING THE COMPOSITION

I started by opening all the images and arranging them next to each other to see how they interacted. I selected a central image, near the cluttered rooftops, to be the start point, which I would then build on. Then I extended the canvas to create room around it, to allow me space to build in the additional detail I wanted to add. I did this by simply using copy and paste.
MAKING THE IMAGE GLOW

I wanted the shot to have a neon look, with vivid greens and purples lighting up the scene, so I added this element. I did so by making careful selections and feathering edges, and later using curves to inject the colours. Many of these tones actually existed within the original photographs I just made an enhanced version. I added contrast by making the whites lighter and the blacks deeper, using Photoshops dodge and burn tools. I also added a glow to the neon colours and lightened the sky to give it a daytime brightness. The last stage was to increase saturation to the colours, creating an almost science-fiction-like feel.
GETTING THE SHOTS

ANDREW BROOKS
This image is a composite shot, taken out of the ninth-floor window of a hotel. Shooting at night meant working with long exposures of about two or three seconds. I wanted to
MAKING THE IMAGES WORK

As I added each new detail to the piece, I used the transform tool at a low opacity to position and overlap the images. I then
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HOW TO CREATE ABSTRACT LANDSCAPES
01
THE PROJECT
I was walking in the small town of Novelda, Spain, when a small tree with lots of blossom caught my eye, so I took several shots of it, exploring unusual angles. When I reviewed my images at home, I liked the image that I used for the starting point of this manipulation, but it didnt really say anything to me. So I started thinking about spring and had the idea for the butterflies. With this in mind, I set to work on the manipulation.
WORKING WITH THE LIGHT AND COLOURS
When I initially put both images together, the butterfly didnt look like part of the image, so I added shadow below the butterfly and to the left, to respect the natural direction of the light and make it look like it belonged. To add the shadow, I selected a small area to house the butterfly, in the background image, with the lasso tool and modified the levels to darken this selected area. To get the vignette effect in the image, I used the Colour Efex Pro filter from Nik Software. I opened the plug-in and selected the darken/lighten filter and adjusted border luminosity. Next, I applied another filter from Nik Software, called Duplex, which allows you to create an effect like Duotone, using only black and one additional colour. You can make several effects by moving the control of this filter, but for this image the default worked well.
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CHOOSING THE IMAGES

As my image of the tree already looked good, I didnt make any unnecessary adjustments to it. I searched through my image library to find a photograph of a butterfly that would work well with the tree. In Photoshop, I cut out the butterfly using the pen tool, saved it out and then copied and pasted it into my background tree image. I decided to put the butterfly in the centre of the image, for a dramatic composition.
SO I STARTED THINKING ABOUT SPRING AND HAD THE IDEA FOR THE BUTTERFLIES. WITH THIS IN MIND, I SET TO WORK ON THE MANIPULATION.
ADDING TEXTURE TO THE IMAGE
I wanted to add some texture to the image, so I selected a suitable texture from my archive and copied and pasted it into the image, changing the mode of the layer to multiply. I did this because you have to change the opacity mode to multiply to make the lights transparent.
BIOGRAPHY - LUIS BELTRN

Spanish photographer Luis Beltrn uses his digital manipulations to tell the stories of his daydreams. Luiss style is quietly seductive and his images all share the same dreamlike quality because of their deeply saturated and muted colour. Digital manipulation allows Luis to add the elements which are central to his finished pieces. www.luisbeltran.es

I had created the digital manipulation I wanted, but it still needed some work to make it look good. I wanted to increase the images highlights and luminosity, so I used a new levels layer to do so, boosting the levels of highlights, by sliding the white arrows to the left. Finally I modified the colour balance by applying a balance colour layer, selecting mid tones and increasing the level of yellow.
LUISS EQUIPMENT
Luis shoots with a Canon EOS 400D and Nikon D7000. He works on a 27in Apple iMac, which he uses with a Wacom Intuos4 L tablet. Luis creates his digital manipulations using Adobe Photoshop and Nik Software plug-ins.
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LUIS BELTRN
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I DECIDED TO PUT THE BUTTERFLY IN THE CENTRE OF THE IMAGE FOR A DRAMATIC COMPOSITION.
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WORKING LIKE THIS YOU NEED TO BE CAREFUL WITH THE PROPORTIONS THEY HAVE TO BE REALISTIC, OR IT JUST WONT WORK.
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PHOTO ZONE
02
THE PROJECT
I wanted to create something between life and death, something mystical and spiritual, so I went to the cemetery to find inspiration. After taking several photographs, I saw a good composition: the dramatic angle you see in this manipulation. While I was taking the picture, I decided I was going to add a little boy running toward the light. I then knew exactly what I wanted to create.
CHOOSING THE IMAGES

I found a photograph of a boy that I wanted to use in my final image, cut him out using the pen tool and then saved this file. I copied and pasted the boy into the cemetery image, putting him in the centre and adjusted so that he was to scale. When working like this you need to be careful with the proportions they have to be realistic, or it just wont work.
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Next, I decreased the colour of the boy, to fit in with the rest of the image. I created a new tone/saturation layer, which I wanted to affect only the boy, so I selected create clipping mask from the layers menu and made the adjustments affect only this area.
were missing, so I selected levels and slid the highlights slider to the left, increasing them to compensate for this lack of luminosity. Finally, I created a more dramatic, atmospheric effect by modifying the ambient light. I selected Nik Softwares darken/lighten filter and increased the luminosity of the corners and centre.
ADDING GRAIN AND TEXTURE

To add a diffused, cool mood to the image, as well as adding some grain and a soft-focus effect, I applied the Monday morning filter from Nik Software. To add texture to my finished piece, I opened the texture I wanted from my archive, selected it, and copied and pasted it into the image. I changed the mode to multiply and then the opacity of this new layer, so the texture could be seen.
03
THE PROJECT
With this manipulation I simply wanted to express the idea of family and what it means to me.
separately. I cut all of the elements from their respective images, using the pen tool. Next I copied the sky and grass images and pasted them into the new document to create my background image. I copied and pasted in both the tree and the sheep, so all the elements were together. When working like this, I always create a new layer mask to hide any elements that I consider distracting.

With this manipulation I chose to work in black-and-white to give a dramatic atmosphere. The next step was to create a new black-and-white layer to convert the image into greyscale. With this done, I created a new adjustment layer and adjusted the levels, darkening the overall contrast of the image. Finally, I wanted to darken the edges of the image and to do this I again used Nik Softwares darken/lighten filter, where you simply use a slider to adjust.
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PREPARING THE IMAGES

To begin with I created a new white document. This manipulation is made from four images sheep, tree, sky and grass all of which I photographed
LUIS BELTRN

At this point the image didnt have any pure whites and the images highlights
For more techniques from the pros visit our website at www.photographymonthly.com
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Laptop roundup Jessica Lamb
LAP OF
THE GODS
With a bewildering range of laptops and notebooks on the market, JESSICA LAMB does all the hard work for you and chooses 12 of the best machines to meet the needs of todays photographers. The ones selected here provide great power and functionality at prices to suit a range of budgets.
APPLE MACBOOK PRO 13in

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Dimensions: Width: 32.5cm Depth: 22.7cm Height: 2.41cm Vital statistics: Weight: 2.04kg Screen size: 13in Operating system: Snow Leopard CPU: Intel Core 2 Duo processor Memory: 4GB Storage: 250GB Battery life: Up to 10 hours
From 1,020 www.apple.com/uk

The 13in MacBook Pro features the latest 802.11n wireless technology; its size and sleek aluminium design mean that it will slot easily into most bags and cases, making it ideal for photographers on the move. The MacBook Pro comes with a 250GB hard drive as standard, but you can upgrade to 500GB for an extra 123, giving you ample space for photo libraries and files. The MacBook Pro features a 1,066MHz high-speed memory with 4GB as standard but offers support for up to 8GB of RAM. A new energy-efficient battery provides up to 10 hours battery life when doing everyday tasks such as writing and surfing the web. A seamless glass enclosure makes the 13.3in display strong, ultra-thin and durable, while the LED-backlit display with wide-angle viewing makes it perfect for looking at images and watching movies. MacBook Pros feature the new NVIDIA GeForce 320M integrated graphics processor, giving you more options for high-performance graphics, and is ideal for developing RAW photos. Pros: Slimline design, backlit keyboard and a fantastic 10-hour battery life mean that this is a perfect laptop for using on the move. Cons: If you needed the 500GB hard drive, then the MacBook Pro could work out to be fairly expensive compared with other laptops out there which have the same specifications.
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PHOTO ZONE
ACER ASPIRE ETHOS AS5943G

From 999.99 www.acerdirect.co.uk
The Aspire Ethos AS5943G-5464G50Bnss has a4GB memory and 500GB hard drive, so there is plenty of room for photo libraries; however, should you require a higher RAM, the AS5943G-5466G64Bnss has 6GB of memory for an extra 199. There are 10 notebooks in the Aspire Ethos range, each with a different specification. The 15.6in LCD screen has CineCrystal display screen technology and an LED backlit display, great when editing photos or even watching films on the Blu-ray disc player. Weighing 3.3kg, this model is perfect for home office use but also for photographers on the move. This particular model has a battery expectancy of three hours and 20 minutes and comes with a years international travellers warranty. Pros: LED CineCrystal backlit display perfect for viewing and editing images. Cons: Slightly heavier and bigger than we would like for taking out and about. Dimensions: Width: 38cm Depth: 26.9cm Height: 3.94cm Vital statistics: Weight: 3.3kg Screen size: 15.6in Operating system: Windows 7 Home premium CPU: Intel Core i5 processor Memory: 4GB Storage: 500GB Battery life: Three hours, 20 minutes
DELL STUDIO XPS 16

From 929 www.dell.co.uk
Dells XPS laptops were designed with creative individuals in mind, people with a passion for art, film and photography. Your media is brought to life on the 15.6in 1,080p Full HD RGBLED LCD display, fantastic when viewing and editing photos. The Studio XPS 16 features Intel Core 2 Duo P8600 processors (2.4GHz) which give excellent performance when running programs simultaneously. Weighing 2.96kg, the XPS 16 laptop is great for travelling photographers and is Skype-certified with a built-in HD webcam. This model in the XPS series has a backlit keyboard for working in poor light. The standard six-cell battery will provide around three hours battery life, though you can upgrade to a nine-cell giving you almost five hours. This model features facial recognition security software, which automatically locks your laptop when you step away and unlocks it with a simple scan of your face when you get back. Dell provides the Dell design studio when you buy from them, which allows you to modify your laptops features and appearance to meet your specific requirements and individual style. Pros: 1,080p display with excellent colour and contrast, brilliant for editing and viewing photos or watching movies. Cons: Low battery life; if you wanted to take the XPS 16 out and about, for work or leisure, the battery life might let you down. Dimensions: Width: 38.5cm Depth: 25.4cm Height: 2.41cm front / 3.34cm back Vital statistics: Weight: 2.96kg Screen size: 15.6in Operating system: Windows 7 Home Premium CPU: Intel Core 2 Duo processor Memory: 4GB Storage: 500GB Battery life: Approximately three hours
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TOSHIBA SATELLITE A660-1FM

From 816 www.toshiba.co.uk
The Satellite series of Toshiba laptops is pitched at those wanting high performance at a reasonable cost; there are seven satellite laptops in the range, all varying in specification and price. The latest Intel i7Core 1.73GHz processors ensure great performance and the ultra-fast Wireless LAN technology can hook up to the internet at your favourite Wi-Fi hotspots in a flash. The Toshiba Satellite A660-1FM features a 16in HD TFT NVIDIA screen. This model also has a Blu-ray disc writer and an impressive audio system with Harman Kardon speakers and Dolby Advanced Audio. The Satellite A660-1FM has4GB of memory, with space for up to 8GB, and a 500GB hard drive. Weighing just 2.6kg, it is handy for travel, though it only guarantees three hours, 20 minutes of battery life, which isnt as good as some other laptops of a similar spec on the market. Pros: Great for entertainment with its HD screen and brilliant audio system. Cons: Short battery life, not as good as some on the market at a similar price and spec. Dimensions: Width: 38cm Depth: 25.4cm Height: 2.8cm front / 3.56cm back Vital statistics: Weight: 2.62kg Screen size: 16in Operating system: Windows 7 Home Premium CPU: Intel Core i7 processor Memory: 4GB Storage: 500GB Battery life: Three hours, 20 minutes
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DELL INSPIRON DUO

From 449 www.dell.co.uk
The new Inspiron from Dell has a rotating screen, allowing you to switch from touch to type in seconds. When closed, the Inspiron Duo functions more like a Tablet, but with one swift flip of the screen you can use it as you would any other laptop. A Broadcom Crystal HD Media Accelerator allows you to view images in brilliant quality on the 10.1in HD LCD screen. The Inspiron Duo transforms easily into a digital picture frame, alarm clock or music player, with the optional audio station featuring JBL speaker technology. You can also read books on the Inspiron as you would on a Tablet. This spec of the Inspiron Duo has 250GB storage but you are able to upgrade this to 320GB. Pros: For viewing your images and accessing emails while on the move this is a nifty piece of kit, not to mention great fun to use and at a great price. Cons: Memory and hard drive arent fantastic but you can always store larger media files on an external hard drive.
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Dimensions: Width: 28.5cm Depth: 19.45cm Height: 2.62cm front / 2.87cm back Vital statistics: Weight: 1.54kg Screen size: 10.1in Operating system: Windows 7 Home Premium CPU: Intel Atom processor Memory: 2GB Storage: 250GB Battery life: Three hours
SONY VAIO S SERIES

From 764 www.sony.co.uk
The tough Vaio S series from Sony is designed to be easy to carry and enjoyable to use. It features a multi-finger gesture touchpad, allowing you to zoom in the same way you might on an iPad or iPhone, which is brilliant for effortless browsing; the keyboard is also backlit for easy use in poor light. This particular model has a 4GB memory but support for up to 8GB. Sonys S series Vaios feature an assist button on the front just above the keyboard, which takes you straight to VAIO Care, a new and powerful software application that helps to maintain performance and diagnose or troubleshoot problems. As well as this new function Sonys S series now features fingerprint recognition security for added peace of mind. Pros: Great speed and functionality at a competitive price. Cons: Fairly uninspiring design lets down this otherwise great notebook.
Dimensions: Width: 32.9cm Depth: 22.9cm Height: 2.8cm Vital statistics: Weight: 2kg Screen size: 13.3in Operating system: Windows 7 Professional CPU: Intel Core i5 processor Memory: 4GB Storage: 500GB Battery life: Four hours,45 minutes
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SONY VAIO EC SERIES 17in

From 799 www.sony.co.uk
The stylish Vaio EC series has a 17.3in screen, perfect for editing photos or when just surfing the web, and selected models of the EC series have full HD resolution. The 4GB Vaio EC series has a maximum of 1TB of storage (2 x 500GB), so theres plenty of room to accommodate even the largest media libraries. When buying from Sony there are several options available to tailor the laptop to your requirements; with the Vaio EC series 17.3in you can add an additional hard disk drive and a Blue-ray disc writer. The Vaio EC series was designed for ease and comfort the keyboard is generously spaced for quick data entry and there is an assist button on the panel above the keys to provide instant help with maintenance and troubleshooting. A handy web button connects you to the internet within seconds, which is ideal for checking emails in a hurry. Weighing 3.3kg, this laptop is perfect for a home office, but with its sleek, slimline chassis it is still easily portable. Pros: Up to a more than adequate 1TB of storage and at a reasonable price. Cons: Low battery life; not as great as others on the market.
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Dimensions: Width: 40.9cm Depth: 27.3cm Height: 3.1cm Vital statistics: Weight: 3.3kg Screen size: 17.3in Operating system: Windows 7 Home Premium CPU: Intel Core i7 processor Memory: 4GB Storage: 1TB Battery life: Three hours
ASUS EEE PAD SLIDER

Tbc (due out in May) www.asuslaptop.co.uk
The Eee Pad Slider features a 10.1in IPS touch screen and full QWERTY slide-out keyboard neatly tucked underneath, making it the ultimate travel companion. Perfect for anyone on the move, the Eee Pad Slider is just 17.7mm thick, making it ideal for slipping into any bag or briefcase. The Eee Pad Slider features cameras back and front to allow easy video chat and digital photography. The Android 3.0 operating system makes sharing photos by internet, email and websites a breeze. The 1GB memory means that this pad is not for storing your image files and work on, but its fine as a sleek gadget giving you everything you need while away from your office. Pros: Sleek and compact in design, this laptop can go everywhere with you. Cons: 1GB memory isnt ideal but for such a compact piece of kit it does the job
Dimensions: Width: 27.3cm Depth: 18cm Height: 1.77cm Vital statistics: Weight: 886g Screen size: 10.1in Operating system: Android 3.0 (Honeycomb) CPU: NVIDIA Tegra 2 Memory: 1GB Storage: 16GB / 32GB / 64GB Battery life: Tbc
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APPLE MACBOOK AIR 13in

From 1,122 www.apple.com
The 13in MacBook Air has 2GB of memory with support for up to4GB for an extra 82. It has 125GB of flash storage which again can be modified up to 256GB. The 13in MacBook Air comes with a 1.86GHz Intel Core 2 Duo processor or optional 2.13GHz Intel Core 2 Duo processor, both with 6MB on-chip shared L2 cache. All specifications are confirmed and chosen by you when buying from the Apple store. Apple provides Mac OS X Snow Leopard software and iLife with its laptops, which gives functions and programs such as iPhoto, Photo Booth, Safari and iTunes. The touch control pad makes this model comfortable to use and attractive to the eye. MacBook Airs dont have an optical drive, so in order to instal new software or view anything from disc you would need to link up to another machine or buy an external drive. Such changes mean Apple has been able to produce its lightest, most portable laptops, weighing 1.32kg. Pros: The smooth aluminium chassis and overall lightweight, elegant feel of the MacBook Air make it a joy to use. Cons: The lack of an optical drive means that if you do need to view something on disc you would have to link up to another Mac or buy an external drive.
SAMSUNG SF310
749 www.samsung.com
The Samsung SF310 has a 4GB memory and 320GB hard drive, more than ample for everyday use. The 13in 720p high resolution, wide-screen and LED backlit display makes it brilliant for viewing your media files. Sleekly designed, the SF310 has a curved outer chassis, and a brushed aluminium palm rest and surrounding panels inside. In keeping with its smooth design there are a range of ports neatly tucked away on the side, including an HDMI port. This model is N Wi-Fi ready making it fast at finding networks across the country. The SF310 also features a hot key just above the keyboard, allowing you to log on and off the internet quickly and easily. This model is equipped with an Intel Core i5 processor, ensuring great performance. With a battery life of around seven hours and the technology packed into a compact size, this laptop is a clever choice of travel companion. Pros: The low cost this laptop offers great everyday performance at an attractive price. Cons: Although having a neat design, the SF310 is fairly heavy for a 13in laptop.
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Dimensions: Width: 32.5cm Depth: 22.7cm Height: 1.7cm Vital statistics: Weight: 1.32kg Screen size: 13.3in Operating system: Snow Leopard CPU: Intel Core 2 Duo processor Memory: 2GB Storage: 125GB Battery life: Up to seven hours
Dimensions: Width: 33.1cm Depth: 23.4cm Height: 2.7cm Vital statistics: Weight: 2.06kg Screen size: 13in Operating system: Windows 7 Home Premium CPU: Intel Core i5 processor Memory: 4GB Storage: 320GB Battery life: Approximately seven hours
LAPTOP CASES
It is always a good idea to invest in a protective laptop case for when you are on the move. Here are five of the best now on the market.
Built NY Laptop Sleeve 16in

34.99 Available in the UK from www.laptopstuff.co.uk The Built NY sleeve is made from neoprene (the same fabric as wetsuits) and ensures that your laptop stays safe and dry while travelling. The curved design adds extra cushioning and protection to the case. While its not the toughest laptop sleeve on the market, it provides good protection, is comfortable to hold and will easily slot into rucksacks and cases. Built NY has many different sizes in its range of sleeves, and they are available in various designs and colours.
Acme Made: The Smart Laptop Sleeve

From 25 www.acmemade.co.uk Ideal for the style-conscious, the Smart Laptop Sleeve is light and sleek in design. Made from ballistic nylon, the outside is water-resistant, while the inside features closed-cell foam padding to protect your laptop from bumps and scratches. The Smart Laptop Sleeve is available in three designs and in various sizes, and also comes with a detachable shoulder strap.
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TOSHIBA SATELLITE R630-13T

From 649 www.toshiba.co.uk
This particular model has support for up to 8GB of RAM and many more modifications are possible, with seven models in this series covering a wide range of needs. The Satellite R630-13Ts 13.3in screen features a 1,366 x 768pixel resolution and has a Toshiba TruBrite HD High Brightness display with 16:9 aspect ratio and LED backlighting. The Satellite series of laptops has a new cooling system, Airflow cooling technology, which will be useful when youre working for long periods. Toshiba has also built in a sensor which protects the hard drive if its knocked or dropped, handy if you are going to be using your laptop out and about. The R630-13T features a host of ports, including two USBs and an HDMI port for connecting your laptop to TVs etc. All of the laptops in the Satellite series have backlit keyboards, making it excellent for working in poor light. Pros: Brilliant battery life and weighing just 1.43kg, this laptop has all the power you could need in a perfect travel package. Cons: Relatively uninspiring design.
HP ENVY 17 3D
1,560 www.hp.com
The HP Envy 17 3D laptop features a 17.3in 3D Ultra BrightView display; unlike some of the other 3D laptops on the market (which make use of NVIDIA 3D Vision tech) this one uses AMDs 3D tech and comes with a pair of active shutter glasses. As with a lot of manufacturers, HP allows you to modify the Envy to meet your specific needs. This model comes with a 4GB memory and 500GB hard drive for storing all your digital and media files, and has support for up to 2TB in hard drive capacity, but this comes at a cost. At 3.4kg, it is the heaviest of our laptop choices, but if 3D is your bag, then this is the laptop for you. Pros: 3D screen and Ultra BrightView display allows fantastic quality when viewing images or watching films. Cons: Slightly heavy and expensive compared with other laptops but there is room for a 2TB hard drive unlike any other laptops we have looked at.
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Dimensions: Width: 31.6cm Depth: 22.7cm Height: 1.8cm front / 2.57cm back Vital statistics: Weight: 1.43kg Screen size: 13.3in Operating system: Windows 7 Home Premium CPU: Choice of Intel Core i3 or i5 processor Memory: 4GB Storage: 320GB Battery life: Up to nine hours
Dimensions: Width: 41.6cm Depth: 27.5cm Height: 3.2cm Vital statistics: Weight: 3.4kg Screen size: 17.3in Operating system: Windows 7 CPU: Intel Core i7 processor Memory: 4GB Storage: 500GB Battery life: Two hours, 30 minutes
Tech Air 1103

29.99 www.techair.co.uk With a detachable shoulder strap the 1103 is versatile and perfect for carrying from shoot to shoot. It features a large inner pocket for documents and several others for accessories. The Tech Air 1103 is designed for 15.6in laptops and conceals small compressed air pockets around the edges of the case, absorbing shocks on impact. All of Tech Airs laptop cases are backed by a lifetime warranty.
ZeroShock III Laptop Case 17in Black Aluminium Case Company

21.40 Available from www.gearzap.com ZeroShock III cases are made from low-resilience polyurethane to absorb shocks and the memory foam interior adapts to the shape of your laptop for a perfect fit. The water-resistant outer material protects it from rain and spillages and has reinforced edges for added protection. This case also features a zipped outer pocket to hold small accessories or paperwork. Price on application www.aluminiumcases.com The Aluminium Case Company creates bespoke cases to give you something that little bit special. Made from aluminium with a customisable foam lining, these tough cases protect your laptop from impact and scratches. The aluminium cases are light enough to carry around all day and are suitable as hand luggage when flying. PM
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PHOTO ZONE
Hard drive demolition Mike Bloomfield
N INDOOR SHOOTING RANGE on the outskirts of Las Vegas was the location. A Remington 12-gauge shotgun with Winchester Xpert Game Load Steel ammo (the kind used for hunting big animals) the weapon of choice. The ioSafe Rugged Portable the target. Welcome to the Demo-lition. I first encountered the ioSafe range of hard drives at the beginning of last year. They came on the market as the Hummers of storage and delivered on every level. They were heavy, bolt-down, waterproof, fireproof monsters of data and I loved them. I made an immediate investment and two of them now sit proudly on my studio desk easy to use and indestructible. But I knew little about the company or why it had decided to create its indestructible range, so when I was contacted and asked to come to Nevada and destroy their first portable drive, I jumped at the invitation. Since 2005, ioSafe has been making hard drives that have the same logic behind them as an aircraft black box, all because its CEO, the California-based inventor, engineer and demonstrator Robb Moore, wanted to ensure his pictures of his children were safe. A quick web search revealed there was nothing on the market that met Robbs exacting personal requirements, so after a number of particularly weird and wonderful experiments he came up with his own solution, ioSafe, a series of hard drives that can be bolted to the floor, survive a building collapse or be padlocked to anything immovable. Now Robb has applied the technology and build quality to a portable version and Im going to see if I can kill it. Robb is a nice guy and delivers his rundown on the ioSafe Rugged Portable with an edge of military precision and engineering confidence. Im not the only journalist at the shoot-out and everyone else is both American and comfortable with firearms. We will be using live ammunition. But before we get a chance to kill, Robb demonstrates the Rugged Portables underwater capabilities by immersing it in a fish tank and leaving it on the gravel bed for a while; then he retrieves it and plugs it straight into his MacBook Pro after a quick puff of air
THE HARD DRIVE
You might think that your external hard drive is tough, but have you ever fired at it with a shotgun? MIKE BLOOMFIELD has and he lived to tell the tale.
MUST DIE!
THEY WERE HEAVY, BOLT-DOWN, WATERPROOF, FIREPROOF MONSTERS OF DATA...

into the portables USB port. It works, no it starts, no problem. Robb is not impressed; problem. We are all impressed; Im thinking he wants the hard drive to die and he wants that this is the answer to spilt tea when Im us to kill it. Its time to change weapons. working on long edits. Robb agrees. Next up is a fully automatic M16 rifle Its time to get serious. Robb attaches the firing a 5.56mm calibre NATO bullet. drive on to a pull mechanism that takes it The journalist from Florida steps up to the just above head height 30ft down the plate; a confident shooter, he puts it on to shooting range. The first journalist loads up, solo round and takes off the back of the stands behind a Perspex wall with a drive in one shot. It has taken a shooting hole cut in it and lets rip. military-spec weapon to kill the hard We are all wearing headphones drive. Robb winds it back in and and protective glasses but, even examines the internal workings; so, the sound of a shotgun going he is not confident it will work To see our films of the off is explosive at close range. but says they have done before Demo-lition go to www.professional He has also hit the drive. despite such damage. Sadly, its photographer. Robb winds it back for us to look a no-go and weve succeeded in co.uk at. The case is peppered with shot but our mission. The hard drive is dead. there does not seem to be any serious The Demo-lition is over and we are damage. He plugs it in once more and impressed. The ioSafe Rugged Portable is again it works. Five journalists repeat the the toughest, meanest son of a bitch that process and hit it every time. The case gets any of us have come across so far. I have increasingly damaged but will not die. put in my order. Every time its pulled back and plugged in, http://iosafe.com
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GO ONLINE
PM
The ioSafe Rugged Portable hard drive Demo-lition held at the American Shooters indoor range in Las Vegas.
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TAKING PICTURES
I N! W
FOR YOUR CHANCE TO WIN a Vanguard Nivelo 204 tripod, worth 59.99, simply upload your best portrait pictures to the Photography Monthly gallery. This incredibly light (1.32lb/0.6kg) and compact tripod has been designed to accommodate the latest compact system cameras. It is small enough to tuck into a rucksack and the features include shock-absorbing rubber feet, Twist-n-Lock legs and a spirit level on the pan head. The 20mm-diameter legs provide support at 23, bringing stability to this little tripod, which has a folded height of just under 12in. The 360 rotating head allows panoramic shots and side-to-side tilting means you can get a unique take on the world. To get you started and inspired, we have included some of your pictures and others by the PM team, but were sure you can do better than us! Good luck and get shooting. www.vanguardworld.com
To enter and for full terms and conditions, visit www.photographymonthly.com
READERS PICTURES
Kaikala How we see
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Berna V With love
PM TEAM PICTURES
GRANT SCOTT EDITOR PHOTOGRAPHY MONTHLY This image is of a band called The Go! Team and was taken as part of a project and exhibition I shot in Brighton. When the band arrived at the location they had just had a disagreement, so instead of trying to cheer them up I went with their mood.
SEAN SAMUELS DEPUTY EDITOR PHOTOGRAPHY MONTHLY I wanted this image to have a natural, contemporary feel, so I asked Olivia, the model, to wear a simple white shirt and blue jeans, and placed her against a plain background, in this case a white wall. I shot handheld with just natural light.
SIMON REYNOLDS MANAGING EDITOR PHOTOGRAPHY MONTHLY My wife and I were in the grounds of our Cotswolds hotel when we noticed this striking seat. The jazzy stripes stood out against the green vegetation and was the perfect spot for a portrait. The sun on Chriss yellow bag was a nice final touch.
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READERS CHALLENGE
Upload to our gallery to win prizes Portrait
Yaman Ibrahim Smoker 11
Dustin Spengler Abstract symmetry
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Annie Pronovost Heidi is dreaming
Holly Moss Mother nature
ELEANOR OKANE DEPUTY EDITOR PROFESSIONAL PHOTOGRAPHER Having young nieces and nephews means theres always someone about who is willing to pose for a portrait. I like the simplicity of this image and the asymmetric pose. It shows off Ellies joyful and gentle nature perfectly.
SOPHY KANTDEPUTY EDITOR TURNING PRO This image was taken in the early evening at the end of a canal boat holiday. We were sitting on top of the boat enjoying the last few hours of the weekend. The light was low and I think this relaxed portrait really captures the sense of the day.
KELLY WEECH FEATURES ASSISTANT PHOTOGRAPHY MONTHLY I love the retro appeal of this image; although it was shot in colour I think converting to black-and-white reinforces the fact it was a 1960s-inspired photo shoot. It was taken on a Canon EOS 20D with an 18-55mm lens in a studio. PM
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Each month we bring you the reviews you need to make sure you buy the right equipment, for the right reasons
TEST ZONE
TOP news and ! TIP For more
reviews on the latest kit and technology visit the website at
ONLY THE VERY BEST KIT
www.photography monthly.com
3 LEGGED THING
We recently got our hands on Eddie, the heavyweight carbon fibre tripod from British company 3 Legged Thing and immediately fell in love with its design and build. Here are the reasons why.
1
8 REASONS TO BUY
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THE STUFF OF LEGEND
The tripods bear the names of guitar legends from Britain and the United States a welcome change from the usual monikers in this case, the 3LT X2 Eddie is named after Eddie Van Halen.
2
FIRST IMPRESSIONS
Made from a combination of carbon fibre and alloy, the tripod is beautifully designed and constructed. The ballhead motion is fluid, the top plate slick and the legs bear easy-to-use locking collars that stay locked.
3
LIGHT AS A FEATHER
At just 1.3kg this tripod makes an ideal companion for all occasions and for all types of photography.
4
FOR THE HIGHS AND LOWS
A low operating height of 170mm is possible, with a maximum of 1,660mm; alternatively the centre column can be removed and reversed for more creative ground-level shots.
5
BUILT TO LAST
Tested in conditions up to -60C, the 3LT X2 Eddie is rugged, strong and versatile, and available in five colours.
6
TWO FOR THE PRICE OF ONE ROUGH AND TOUGH
The 3LT X2 Eddie includes a built-in and detachable monopod.

7
The load capacity is up to 12kg, which is more than enough for most general requirements.
8
COMPACT SIZE
The tripod folds down small and comes with a sleek carry case and strap, making it portable and compact. PM Price: 279 (including B3s ballhead) www.3leggedthing.com
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RISE OF THE
OLYMPIAN
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TOP 5 OLYMPUS E-5 DSLR FEATURES

1 SOLID BUILD
Magnesium alloy body coupled with weather-resistant seals
2 VARI-ANGLE SCREEN
HyperCrystal LCD 3in screen that can be positioned to match your composition
3 FOCUSING ACCURACY
Fast and accurate focusing even under poor lighting conditions
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TEST ZONE
Camera review Olympus E-5
AS SOMEONE WHO HAS BEEN FAITHFUL TO ONE MANUFACTURER FOR NEARLY 20 YEARS I HAVENT LOOKED AT ANOTHER CAMERA, LET ALONE LAID MY HANDS ON ONE. So getting to play with an Olympus for a week and not feel guilty was a strange experience. Straight out of the box the magnesium alloy body of the E-5 feels very solid. It has controls laid out in a similar way to a high-end pro body, with weather and dust-resistant buttons that are almost all self-explanatory and no dials to wear out. The 920k-dot HyperCrystal LCD 3in screen gives a good preview with the ability to zoom right in to check focus and exposure. When used with live view the vari-angle screen will be a real bonus when taking low or high-angle shots. I will occasionally photograph a conference or dinner with a camera attached to a light stand hoisted up toward the ceiling. So for me the vari-angle screen would be a great benefit to help with composition.
USED ON THE ROAD WorldMags
IN A VARIETY OF LOCATIONS AND PHOTOGRAPHING A MIXTURE OF SUBJECTS, THE E-5 PERFORMED VERY WELL ON ALL OCCASIONS.
familiar with), I started to play with the E-5. It was soon obvious that the Olympus was more than up to the job. The Zuiko digital ED 12-60mm f/2.4-4.0 SWD zoom lens supplied with the camera (usually sold separately) was never going to work at a rugby match. But on all other assignments I was pleasantly surprised by how well this kit performed. Used on the road in a variety of locations and photographing a mixture of subjects, the E-5 performed very well on all occasions. I was particularly impressed by its focusing accuracy under poor indoor light conditions. I was commissioned to photograph a gymnast with her medals in a sports hall. Having the E-5 in my bag I asked one of the other gymnasts to perform a few jumps so I could test it out. I had three Speedlights set up for the portrait
I hope that when it becomes a feature on all pro camera bodies that it is as well integrated and solid as the one on the E-5. Another great feature of the screen is the auto image rotation when you turn the camera on its side. My iPhone does this, but my very expensive camera doesnt. Over the few days that I had the E-5 I used it alongside my regular camera, a Canon EOS-1D MkIV, on a variety of jobs, including shooting a celebrity portrait, a Christmas brochure, a rugby match, a gymnast and a series of athlete portraits. Once I had all the shots in the bag taken with my own kit (that I am
BIOGRAPHY
Steve Pope specialises in sport, PR, conference and events photography and is the resident photographer at the Celtic Manor Resort in South Wales venue for the 2010 Ryder Cup. Steve has covered sporting events across Europe, Africa, the US and Australia and was the first photographer ever to be inducted into the Welsh Sports Hall of Fame when he was named joint Welsh Sports Journalist of the Year in 2010.
www.fotowales.com
STEVE POPE
4 EASY TO USE
The basic custom menu is extremely easy to use and quick to access
5 MEMORY COMPATIBILITY
The camera can store files on both SD and CF card formats
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TEST ZONE
Camera review Olympus E-5 THE CAMERA HAS TWO MEMORY CARD SLOTS FOR CF AND SD, AND A LITHIUM-ION BATTERY THAT DOESNT SEEM TO EVER NEED CHARGING.
work, so quickly rearranged them and attached a PocketWizard to the Olympus. I was pleasantly surprised by how well it locked on using the centre of its 11 focusing points, and with no shutter delay caught the gymnast at the top of her jump every time. I didnt have a manual for the camera I was sent and I wasnt able to sit down and watch the supplied DVD, but I found the basic custom menu extremely easy to use and quick to access. I also found switching between shooting, focus, ISO and white balance modes very straightforward and fast. When shooting large Jpegs the Olympus produces a healthy 39.9MB file from its 13.1-megapixel sensor and, of course it also shoots RAW, but you need the included software to process the files. Shooting modes are the normal aperture, shutter, program and manual, but there is also 1,280 x 720 HD ready video. The camera has two memory card slots for CF and SD, and a lithium-ion battery that doesnt seem to ever need charging. The white balance options on the camera include sunlight, overcast, shade, tungsten and three fluorescent settings, which cover most lighting scenarios. Personally I would have liked to have a custom white balance and kelvin colour temperature for greater control and creativity. As I mentioned earlier, the body is very solid and does have a pro feel. There are plenty of sockets to plug in to: USB 2.0, video out (NTSC or PAL selectable), infrared, DC input, synchro socket and HDMI (mini connector Type C). My only complaint is that the screw-in dust covers for the remote trigger and flash are very small. They would soon get lost in my bag. Image quality is first class. The portraits I shot produced accurate skin tones and again sharp images were obtained using the 12-60mm lens. At the lower end of the ISO range images are free from noise, with details in highlights and shadows extremely well reproduced. The image sensor is a 13.1-megapixel, Four Thirds Hi-Speed Live MOS sensor that can produce a maximum resolution of 4,032 x 3,024. Images are processed by the TruePic V+ processing engine giving 5fps with shutter speeds ranging from 1/8,000sec to 60sec and an ISO range from 100 to 6,400. The built-in pop-up flash has a guide number of 13 (ISO 100) with options such as red eye reduction, slow sync and fill in. Other features that may be of interest include 10 art filters that enable some creative effects in-camera. These include pinhole, diorama, pop art, grainy film, sepia and cross-process. Although initial start-up, focusing, frames per second and image processing were never going to be as fast as Im used to, I shot everything in manual using identical settings to my much more expensive workhorse camera and, in my opinion, it would take an expert eye and close inspection to tell the difference between the two sets of images produced. Priced at around 1,500 (body only) the Olympus is up against some serious opposition from Nikon and Canon in this price bracket. It hasnt tempted a complete change of camera system, but it does offer a genuine alternative to the traditional big two with similar build and definitely similar image quality. www.olympus.co.uk
PM
TECHNICAL SPEC: OLYMPUS E-5
116.5mm
142.5mm
74.5mm (Depth)
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Four Thirds Hi-Speed Live MOS sensor ASPECT RATIO & AREA 4:3 / 17.3mm x 13mm IMAGE SENSOR PIXELS 13.1MP (full resolution) ISO SENSITIVITY Auto ISO 200 to 6,400 Manual ISO 100 to 6,400 in 13 or 1EV ISO steps ENGINE TYPE TruePic V+ VIEWFINDER TYPE Eye-level Pentaprism optical viewfinder FOCUSING SYSTEM TTL phase difference detection system; 11 points / fully biaxial, AF and MF FOCUS MODES Manual focus, single AF, single AF and MF, continuous AF, continuous AF and MF EXPOSURECOMPENSATION +/- 5 EV / 13EV, 12EV or 1EV steps EXPOSUREMODES Programme automatic, aperture priority, shutter priority, manual SHUTTER SPEED 1/8,000sec to 60sec (in 13, 12, 1EV steps) AUTO WB SYSTEM Hybrid detection system with Hi-Speed Live MOS sensor and dedicated external sensor LCD MONITOR Size, 7.6 cm / 3.0in; resolution, 920k dot MOVIE MODE HD 1,280 x 720 (16:9) / SD 640 x 480 (4:3) BATTERY BLM-5 Li-ion battery (included) WEIGHT 800g (body only) PRICE 1,499.99 (body only)
IMAGE SENSOR TYPE
For more news and reviews visit our site www.photographymonthly.com

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WELL DONE OR OVERCOOKED?

The Pentax K-5 is aimed at advanced photographers with a love of the outdoors. SEAN SAMUELS found it to be as tough as it looked, but wondered if the camera might be a little too much function over form.
THE K-5 FROM PENTAX FELT GREAT IN MY HANDS. FROM THE MOMENT I PICKED IT UP I JUST KNEW IT WAS A CAMERA THAT WAS GOING TO GET THE JOB DONE. It felt solid and capable of taking a few knocks in all manner of harsh environments, despite its diminutive size. I say diminutive, but the K-5 is slightly larger than many of the recent DSLRs released to market. It is bigger than the K-r, but not as big as the K-7 and has a chunky contoured handgrip on the right-hand side that is coated in a rubberised compound which is reassuring to the touch. Certainly the balance felt right when holding the camera during shooting, or by my side when not. The K-5 is aimed at advanced photographers looking to invest in a robust and reliable camera. It has the same build design as the K-7, with a stainless steel alloy frame and lightweight magnesium steel alloy body that is dustproof, fully weather sealed and cold-resistant. The shutter has been designed for 100,000 releases and 77 special seals used throughout mean the camera can operate at temperatures as low as -10C. On the back is a large 3in LCD screen with a resolution of 920k dots and wide viewing angle. It worked well outdoors. I was out on a cold, wet and grey day and felt secure the camera would not let me down. Even the standard 18-55mm kit lens felt solid and more weatherproof than rival offerings. Its weather-resistant construction is designed to minimise the threat of water and moisture getting into the lens barrel and it has a special coating which repels dust, water and grease. For those wanting to capture action, the camera is fast at 7fps, with a top shutter speed of 1/8,000sec and with the upgraded 11-point SAFOX IX+ AF system it is possible to achieve wider coverage at a faster speed. Starting up was also fast with the camera ready to shoot in under a second. The inside of the K-5 has a number of interesting new features that will be of interest to photographers who like to shoot outdoors 24 hours a day. The most notable is the greatly expanded ISO range of 80-51,200. Image quality at the lower end of the spectrum is pleasing, but you will have to have a taste for the noise produced when shooting at the extremely high end of the scale. Also new is full HD 1,080p video at 25fps, which is significant. It is believed that this frame rate closely resembles the speed at which the human eye captures and processes information. So footage viewed at this speed is comfortable to watch. Theres a built-in microphone for mono recording and a socket for connecting an external stereo microphone. It also has an HDMI port for playback on an HD TV,
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TOP 5 PENTAX K-5 DSLR FEATURES

1 FAST WORKING
7fps with a top shutter speed of 1/8,000sec and upgraded focusing
2 GOOD IN LOW LIGHT

The ISO can be used as low as 80 or taken as high as 51,200
3 BUILD QUALITY
Stainless steel alloy frame and lightweight magnesium steel alloy body with 77 seals
[104] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1
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TEST ZONE
Camera review Pentax K-5
IMAGE QUALITY AT THE LOWER END OF THE SPECTRUM IS PLEASING, BUT YOU WILL HAVE TO HAVE A TASTE FOR THE NOISE PRODUCED WHEN SHOOTING AT THE EXTREMELY HIGH END OF THE SCALE.
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4 FULL HD 1,080P VIDEO

Capture is available at 25fps, closely matching the speed of the human eye
5 KIT LENSES
The lenses are as robust and weatherproof as the camera body
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YOUR INDISPENSABLE GUIDE TO SUCCESS WITH FRUIT & VEG
G
P
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THE EDIBLE
ick up your brand-new guide to spring and summer kitchen gardening, from the team at The English Garden magazine
ARDEN
Designing a kitchen garden MasterChefs Gregg Wallace on his passion for veg Tempting shopping ideas
19 M LE ARC H
NEW ON SA !
FROM THE TEAM AT THE ENGLISH GARDEN MAGAZINE
Creating a kitchen garden or growing fruit and vegetables within your decorative plot is the ultimate dream. We bring you everything you need to know to reap the rewards from a garden that looks spectacular and offers healthy crops of tasty fruit and veg. The Edible Garden is packed with design ideas and ways to make the most of your growing space. Inside, you will find: River Cottage - behind the scenes Three glorious kitchen gardens Colourful veg for plate and plot Growing tips and seasonal jobs Becoming a gardening smallholder Spring/summer recipes
PLUS LOTS, LOTS MORE
Order your copy now, only 4.99 with FREE delivery to the UK
ON SALE 19 MARCH IN WH SMITH AND SAINSBURYS STORES

OR TO ORDER...
CALL (0)1242 265892 VISIT www.subscriptionsave.co.uk/ediblegarden POST a cheque made payable to Archant Specialist Ltd to:
The Edible Garden, The English Garden Magazine, Archant House, Oriel Road, Cheltenham GL50 1BB
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TEST ZONE
Camera review Pentax K-5 THE NUMBER OF EXTERNAL CONTROLS IS HIGH, WITH MORE THAN 25 IN TOTAL...
using the industry-standard HDMI mini-out connection. However, if you want to shoot video, you have to turn the dial to movie mode, then press the AF on or half-press the shutter button to set the focus, then press the shutter to begin recording and again to stop. You cant take a still shot while recording, neither can you autofocus, which leads me to my only real complaint with the camera. I found the K-5 complicated to use. The number of external controls is high, with more than 25 in total, and a lot of them have more than one function. For example, after searching through the menu options, that seemed to go on forever, I realised the one thing I really wanted to change colour temperature was accessed by using a combination of button holding and toggling at the back of the camera. Once I had accessed this option I then had to use the scroll wheels to increase or decrease the kelvin scale. This process simply takes too long, even for someone with all the time in the world to compose and take a shot. The Pentax K-5 has a shooting mode dial on the top left of the camera, which allows you to select modes. This wheel cant be turned without pressing a button at the centre of the dial. This is a good thing or a bad thing depending on how you transport and handle your camera. I didnt move the dial too often from its manual setting, but I did find setting it in the first place a little tricky and clumsy. That said, all the options are available including aperture priority and shutter priority. It is also pleasing to know that the scene modes, which are crammed into so many camera releases these days, are not present. Pentax has instead chosen to add a sensitivity priority option and a combined shutter and aperture-priority modes. The sensitivity priority option automatically selects the best combination of aperture and shutter speed for your chosen ISO. This enables you to select an ISO speed in rapidly changing light. In shutter and aperture-priority mode the camera selects the most appropriate ISO for a shutter speed and aperture combination, allowing you to use ISO sensitivity as a third factor in determining the correct exposure. For those wanting digital filters, however, there are seven to choose from. With these you can apply an effect to a photo before taking it, although this applies to Jpeg files only. For me this further compounds the over-complexity of the camera, especially as the filters slow the camera down while it processes the images. With image quality this good I dont see the need for these filters, but I understand why they are there. However, I would prefer to see these stripped out and the number of functions reduced. Pentax is aiming this camera at advanced photographers who like to shoot outdoors in all weathers, but it seems to have neglected the fact that advanced photographers want more not less. The K-5 is a great camera. The form is beautiful, but what is needed to complete the package is more simple functionality. www.pentax.co.uk
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TECHNICAL SPEC: PENTAX K-5
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131mm
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IMAGE SENSOR SIZE LENS MOUNT
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23.7mm x 15.7mm PENTAX KAF2 bayonet mount. PENTAX KAF3-, KAF2-*, KAF- and K-mount lenses IMAGE SENSOR PIXELS Approx. 16.3MP (effective) ISO SENSITIVITY Auto, manual: ISO 100 to 12,800 (13EV, 12EV or 1EV steps) Extended sensitivity: from ISO 80 to 51,200. Bulb mode: up to ISO 1,600 FOCUSING TYPE SAFOX IX+ AF system with TTL phase matching detection SCREEN TYPE 3in TFTcolour LCD with AR coating and 170 wide-angle viewing SHUTTER SPEED Auto and manual : 1/8,000sec to 30sec and bulb (13 or 12EV steps) FLASH TYPE Built-in retractable P-TTL auto pop-up flash WEIGHT Body only, 660g; loaded and ready with Li-ion battery and SD card, 740g PRICE The Pentax K-5 is available in three kits: 1,199.99 with the 18-55mm WR lens; 1,299.99 with the 18-55mm WR and 50-200mm WR lenses; and 1,699.99 with the 18-135mm WR lens
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YOUR QUESTIONS
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I use a Nikon D80 but want to upgrade to a Nikon D300. I am not interested in having an HD movie function, but is the D300 now outdated or is it still a good buy? The D300 was Nikons premium DX format camera, but has now been superseded by the D300s. However, as you do not want HD movie capabilities, the D300 is still well worth considering. It gives both professionals and the most serious amateurs a full-sized, high-speed, professional camera when fitted with the vertical grip, or a comparatively small and lightweight but well-specified camera when used without. It has many of the attributes of the top-of-the-range Nikon D3, but at about a third of the price. The D300 features a CMOS sensor with 12.3 megapixels, a 51-point autofocus sensor for better autofocus, metering and, crucially, white balance, focus tracking by colour, scene recognition, picture control presets, 6fps continuous shooting, a 3in 920,000-pixel LCD monitor and HDMI video output. The specifications are impressive, as are the electronic benefits such as instant chromatic aberration corrections in camera, which mean that virtually every shot on most lenses is sharper and crisper. Other electronic benefits include Live View (with contrast detect AF), which gives DSLR users both a rear LCD Live View and a true through-the-lens SLR view. Basic alterations can also be made in-camera after shooting, using D-Lighting before transferring images to Photoshop. How important this will be to you depends on what and why you are shooting. Finally, for those who havent yet mastered sensor cleaning, the D300 has a self-cleaning one. Being smaller, lighter and easier to carry than other Nikon professional cameras, the D300 is ideal for photographers on the move as well as being less conspicuous when youre out and about. In terms of resolution, frames per second and battery life with the vertical grip, it matches the D2X. It does lack the latters robustness and waterproofing, but if these particular qualities are not a priority, the D300 is the best DX format camera you can get. Nikon surprised a lot of people by releasing this camera, because many believed the manufacturer would stake its future on the FX format for professionals. The performance of this camera for its weight and price amply justifies Nikons decision to continue to innovate in this format. I would like advice on which camera backpack I should buy. I am torn between the Lowepro Flipside 400 AW and the Lowepro Pro Runner 350 AW. I like both bags but am not sure which one is better. Please help me out with some advice. It comes down to personal preferences when choosing camera accessories. Both bags are ideal for the photographer on the move and are of a robust design. A bag which is comfortable, durable and functional is a sound long-term investment if you make the right choice. Weighing 1.6kg, the Flipside 400 AW (pictured) has a large capacity, and provides security, comfort and protection from the elements for equipment. The bags unique back-entry compartment gives easy access to camera gear when youre setting up (keeping the harness off the ground), as well as providing extra security for those on the move who need to keep expensive gear securely tucked away, yet close at hand to capture the shot in a moment. Other features include: a mesh-covered, padded waistbelt, back pad and contoured straps for added comfort and wicking away moisture; a hideaway tripod holder to secure a tripod or monopod to the backpack; built-in memory card pockets on inside panel; front storage panels and mesh pockets for storing additional gear; a built-in All Weather Cover and silent zipper pulls. On the other hand, the Pro Runner 350 AW DSLR backpacks compact and streamlined design is aimed at photographers who carry their gear through crowded urban areas such as busy streets and airports. This feature-filled bag can
This month KELLY WEECH answers your questions about kit to help you make the right choices.
fit in a DSLR with attached lens, laptop, tripod and multiple accessories, plus a few personal items, in a highly organised pack. It includes side compression straps with quick-release buckles; a Hideaway Tripod Mount system; rainflap lids; SlipLock attachment loops; mesh side pockets; discreet front pocket accommodating a light jacket, mobile phone or MP3 player; memory card pockets on the inside lid; padded mesh backpad; thickly padded shoulder straps with five adjustment points; padded waistbelt; webbing grab handle and zipped document pocket. At 2.1kg it is slightly heavier than the Flipside 400 AW and is able to carry a laptop. This may be the deciding factor or perhaps the back-entry compartment of the Flipside 400 AW is more critical; either way I would advise you to see each bag first-hand to evaluate which will suit your needs and way of working. The street price of the Flipside 400 AW is 99 and the Pro Runner 350 AW is 120. http://products.lowepro.com I am looking for an external flash for my Sony A200 on a budget of 200. I mainly take pictures of portraits; any thoughts? The dedicated Sony flashgun is the Sony HVL-F42AM, priced at 249.99 which is beyond your budget. However, Sigma has a range of flashguns dedicated to the latest auto-TTL exposure system of each popular manufacturer at a competitive price. The EF-530 DG ST (Sony fit) is an easy-to-use flash that provides a large amount of light and connects directly to your camera without the need for hotshoe adaptors. It has a guide number of up to 53m at ISO 100 and in addition to the automatic mode, provides two power levels in manual mode: full and 1/16 power. An array of functions includes an autozoom function that automatically sets the optimum illumination angle between 24mm and 105mm, as well as offering bounce and swivel capability. The flash head can be tilted upwards by up to 90, to the left by 180, or to the right by 90 and can also be tilted down by 7, making it ideal for close-up shots. When used with the built-in Wide Panel, the flash can cover the angle of up to a 17mm ultra-wide-angle lens. RRP: 163.47. PM www.sigma-imaging-uk.com
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THIS WAS IN ITSELF A REMARKABLE TECHNICAL FEAT, CALLING FOR THE INVENTION OF THE CAMERA SHUTTER AND REMOTE RELEASE, AS WELL AS HUGE STRIDES FORWARD IN FILM CHEMISTRY.
Incidentally, if any of you feel like becoming budding Muybridges theres now a free iPhone app available called The Muybridgizer, commissioned by Tate Britain. You capture a sequence of images with the iPhone camera which the app allows you to manipulate, frame by frame, and then treats the images, applying a vintage style similar to Muybridges work and animating them. You can see a gallery of images generated by the app on the museums microsite, http://muybridgizer.tate.org.uk There were obviously inherent reasons for Muybridge taking a series approach, but might other photographers gain in a different way from making a series rather than single images? Most of us seem more concerned with capturing Henri Cartier-Bressons decisive moment in a solitary masterpiece, feeling that the concentration of a subjects essence into a lone frame is the photographers ultimate goal and that such a feat is the definitive expression of the consummate photographer. In reality there are innumerable decisive moments (rendering each a little less significant than it might at first appear) and almost as many essences. By placing the emphasis on masterpieces, photography is following in the footsteps of painting, where master craftsmen toil over an extended period to make iconic images (so perhaps its no coincidence that Cartier-Bresson first trained as a painter). However, to place so much stress on a single photographic frame can be extremely misleading and shallow, on occasions. Many of us already make what I call accidental series, because we keep returning to subjects or events and photographing them time and time again. The crucial step that few of us make is identifying such themes and actively developing them. The most common way that we view such series is as a photographic monologue presented in a book. My editor, Eddie Ephraums, recently made a blurb book while on holiday. Working an area of rocky shore in the Mediterranean he made a beguiling series of abstracts that suggested sea creatures and skulls. The series collectively reinforced the allusion that he was striving for individually in each image. More often than not, images in a book arent anchored in a single time or place like this (though Andrew Nadolskis End of the Land, based around a single bay in Cornwall, is one example). But they may be collected according to stylistic or intellectual concerns, as a narrative, for political propaganda (Walker Evans and James Agees Let Us Now Praise Famous Men is a great example), or simply as a record of the photographers career. It actually matters little why they are collected together. What is important is how sensitively the images are arranged and how they speak to each other on the page. Outstanding images can actually be disruptive, as each photograph needs to support the others and add to the narrative without shouting. By carefully choosing which photographs sit next to which in a book we create the possibility for a story, though this neednt be a literal narrative and may simply be thematic. Synergy is an overused word, but I would suggest that the series is always capable of being more powerful than any single image of the same subject, no matter how masterfully realised it might be. PM www.into-the-light.com
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David is a professional photographer with more than 20 years experience. He shoots large format and is drawn to the abstract image.
This month David discusses why creating work as a series of images can make ordinary subjects and ideas all the more powerful.
WHILE IDLY BROWSING THE INTERNET RECENTLY I FOUND out about an exhibition of images by Eadweard Muybridge that had just closed at Tate Britain. Its no understatement to say that Muybridges work forever changed our understanding and interpretation of the world. So to have missed such an important exhibition was extremely frustrating. But it did remind me of a comedy TV sketch in which Rowan Atkinson played a station announcer. Anyone who can hear this announcement has just missed the 17:27 train to Cardiff, calling at At the very start of his motion studies project Muybridge froze the movement of a galloping horse in individual images, answering once and for all the question of whether all four of its hooves were ever off the ground at the same moment. This was in itself a remarkable technical feat, calling for the invention of the camera shutter and remote release, as well as huge strides forward in film chemistry. But the stringing together of the individual images into a sequence produced something even more remarkable than the individual frames. Muybridges pioneering work led to the invention of cinematography, or motion pictures, and has influenced numerous artists in diverse fields, from Marcel Duchamps painting Nude Descending a Staircase to the blockbuster film The Matrix.
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DAVID WARD
To read more of Davids columns and for more advice from pros visit the website www.photographymonthly.com
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Photography Monthly 2011 - 04

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EXPERIENCE LIFE - CAPTURE THE MOMENT

ISSUE 120 APRIL 2011

26 PAGES OF PORTRAIT TIPS & TECHNIQUES

GET LIGHT RIGHT

GET KITTED OUT

The magazine for people who love photography

Lumix GF2, 1/250 sec @ f2.8, ISO 200

GET OUT OF THE ORDINARY

Will Cooper-Mitchell Photographer

APRIL 2011 | ISSUE 120

FROM THE EDITOR

Grant Scott Editor, Photography Monthly

WIN STUFF ON PAGES 12, 23, 73, 96 PHOTO ZONE

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THE LIVES OF OTHERS

RICHARD SADLER FRPS, COURTESY OF THE NATIONAL MEDIA MUSEUM / SSPL

Weegee in Coventry, 1963.

A Vanguard Alta Pro 283CT Tripod worth 319.99

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Yaman Ibrahim Malay man Nikon D3 Nikkor 24-70mm

Richard Pardon Zebra Canon EOS 5D MkII Canon 70-200mm

Nick Homer Morning mist Nikon D80 Nikkor 18-135mm

Declan Courell Strandhill surfers Canon EOS 5D Canon 70-200mm

Leila Murseljevic Closeness Canon PowerShot S1 IS

Drew Southcott Loch Morlich Canon EOS 500D Canon 10-22mm

Sani Maikatanga Cat Nikon D90 18-105mm

Ryan Stevenson Rannoch moor Canon EOS 550D Canon 18-55mm

Chris Ogden Mist in the valleys Canon EOS 5D Canon 24-105mm EF

Kieran Murray Arctic drive Nikon D300s Nikkor 55-200mm

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Henry Yau Overdrive Nikon D7000 Sigma 10-20mm

Kim Rormark Tea fields Nikon D300 Nikkor 18-200mm

Adele Carne Dance within Canon EOS 500D Nikkor 18-55mm

Joe Breen The dance Kodak EasyShare Z650 35mm

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