Amateur Photographer - January 18, 2022

Tuesday 18 January 2022 Leica M11FIRST LOOK Tahreedleegseignndaarnydraanngeewfin6d0eMr cPamseenrasgoerts

PREMIUM EDITION Passionate about photography since 1884

JPAaNssUioAnRaYte2a0b2o2ut photography since 1884

INSIDE

32-page
pull-out

cameraguide
Master your

l SETTING UP A delve Improve your photography by
into your camera’s menu taking control of your settings

l ISO, APERTURE AND
SHUTTER SPEED

l LENSES, FOCUSING
AND STABILISATION

l PLUS Using flashguns,
shooting video and more

Taking flight £4.99 TESTED

Dod Miller’s Birdmen Latest lenses

Shifting pixels Nikon Z 40mm f/2
L4uamix S 35mm F1.8
Restoring old ph

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7days

COVER PICTURE © KENTAROO TRYMAN/GETTYIMAGES Whether you’re relatively new to you just such a refresher, with expert tips that will
photography or an experienced help you take greater control of your photography.
old hand, there’s never any harm We catch up with our Rising Star Bursary winner
in a quick refresher on the core Graeme Chesters, share a wonderfully crazy project
skills that separate camera-based by Dod Miller and get a first look at the beautiful
creative photography from casual and highly desirable new Leica M11. If you enjoy
phone snapping. An understanding of the effect of AP’s unique mix of features, why not start the new
shutter speeds, apertures, ISO, lenses and other year with a subscription and save yourself both
parameters enables us to truly ‘create’ pictures rather money and shoe leather? You’ll find details of our
than just recording moments. This week we bring latest offer on page 84. Nigel Atherton, Editor

Our cover shot If you’d like to see your words or pictures published in Amateur Photographer, here’s how:

This week’s cover image SOMETHING TO SAY? Write to us at [email protected] with your letters, opinion columns (max 500 words) or article suggestions.
was taken by Sweden- PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to [email protected].
based photographer JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.
Kentaroo Tryman
amateurphotographer.co.uk facebook.com/ flickr.com/groups/ @AP_Magazine @ap_magazine
In this issue amateur.photographer.magazine amateurphotographer

3 7 days This week in 1939

8 First look: TREASURES FROM THE HULTON ARCHIVE
Leica M11
Parliament Fog
16 Miller time by Kurt Hutton

22 Rising star The Houses of Parliament are
engulfed in fog. This image was
26 When Harry met seen in the Picture Post story
‘Foggy Morning’, as published in
28 The repair shop 1939. At this time, the Picture
Post was just a year old, but had
32 Behind the print already established itself as
hugely successful, selling almost
36 Starting from two million copies per week. Kurt
scratch Hutton, who took the picture, was
one of the founding members of
40 Hone your staff of the magazine. A pioneer
camera skills of photojournalism in Britain, he
migrated to England in 1934
46 How to maximise from Germany and initially
depth of field worked for Weekly Illustrated.

50 Get more from The Getty Images Hulton Archive is one of
your lenses the world’s great cultural resources. Tracing
its origins to the founding of the London
56 Making IS work Stereoscopic Company in 1854, today it
for you houses over 80 million images spanning the
birth of photography to the digital age.
58 Guide to flash Explore it at www.gettyimages.com.

62 Set up your
camera for video

68 Evening class

70 Inbox

73 Nikon Z 40mm f/2

77 Panasonic Lumix
S 35mm F1.8

80 Accessories

82 Tech talk

87 Best Buys

98 Final analysis

*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY Our favourite photos posted by readers
on our social media channels this week
www.amateurphotographer.co.uk
AP picture
of the week

Light Painting the Night
by Matt Verity

Canon EOS 250D with EF-S 10-22mm at 14mm,
30 secs at f/7.1, ISO 100

‘This shot was taken in collaboration with three other
photographers and created using a homemade steel
wool spinning rig; which is a whisk tied to a rope, with
steel wool and magnesium inside the whisk and two
LED glow sticks attached to the rope for the colours in
the middle,’ says Matt, a photographer from Fleetwood.

‘I lit the steel wool using a 9v battery and spun the
rig for 30 seconds to get as much colour from the LED
lights as possible. This was the last shot of the night.
The rail on the ramp caught my eye, I thought it could
look interesting having the light of the spin silhouette
the rail. It’s nice to get out for a few hours, have fun
with friends, and make the most of the dark winter
nights.’ See Instagram @lightupthenorthwest,
@chrisverityphotography, @donnabuston_photography,
@joshua.photography19.

#appicoftheweek

Win!

Each week we choose our favourite picture on Facebook,
Instagram, Flickr or Twitter using #appicoftheweek. PermaJet
proudly supports the online picture of the week winner, who will
receive a top-quality print of their image on the finest PermaJet
paper*. It is important to bring images to life outside the digital
sphere, so we encourage everyone to get printing today!
Visit www.permajet.com to learn more.

4

www.amateurphotographer. 5

We also liked...

Dew Point Purple Hues Reflecting
by Richard Krawiec Across the Sands
by Louise Pegram
Olympus OM-D E-M1 Mark III, Voigtlander
60mm Nokton f/0.95, 1/640sec at f/1.4, ISO 200 iPhone 8

‘Photography ringfenced my mental health at a difficult ‘Living just a minute’s walk from Seascale Beach, on
time for my business and has been a source of the West Cumbrian coast, I walk there every day. It’s a
immense pleasure. I do admit to a touch of GAS! I challenge walking two dogs and a toddler, so I often
use Olympus EM1 MkIII, Pen F and Leica Q, plus just take photos with my iPhone 8,’ Louise tells us.
second-hand Zuiko lenses,’ says Richard, from Derby.
‘This photograph was taken after a long, mainly ‘When you live on the coast, the sky and the beach
unproductive photowalk and was a spur-of-the-moment change every single day, so it’s hard to resist capturing
shot, taken 10ft from my front door. I could have photos of an ever-changing landscape. I’ve only started
saved myself the effort of a two-hour stroll had I just taking photos since we moved here, and I’m now
popped out the door and been a tad more observant. thoroughly addicted. It’s not just about sunrises and
I was drawn to the shimmer of morning dew sitting sunsets either here, I love to see the landscape change
on the dead oak leaf and the colour contrast of the through the seasons. From the golden sun on a
green miniature holly.’ Find Richard on Flickr at summer’s day, to a crisp winter’s day with snow on the
www.flickr.com/photos/blofeld09. hills in the distance.’ Website: https://louisepegram87.
picfair.com/ Twitter: @LouisePegramPic

6 www.amateurphotographer.co.uk

Upper 7
Teesdale Hill
Farm by
Colin Hart

Fujifilm X-Pro2,
TTArtisan 17mm F1.4,
1/150sec at f/4, ISO 200

Colin says, ‘This photo
was taken in Upper
Teesdale at Langdon
Beck, County Durham. I’m
an amateur photographer
who loves black& white
and lives in Teesdale.’
Find Colin on Flickr at
wayman2011.

Want to see your pictures here?
Share them with our Flickr,
Instagram, Twitter, or Facebook
communities using the hashtag
#appicoftheweek. Or you can
email your best shot to us at
[email protected]. See page 3
for how to find us.

www.amateurphotographer.co.uk

Leica M11 Metering Power

Andy Westlake takes The image sensor is The new BP-SCL7
a first look at Leica’s used for light metering all battery provides 64%
redesigned and the time, which promises higher capacity for 700 shots
updated rangefinder, more reliable exposure per charge, slots directly into
with its 60MP full- the baseplate, and can be
frame sensor when using the charged via USB-C.
viewfinder.
At a glance

£7,500 body only

■ 60MP full-frame BSI-CMOS sensor
■ DNG raw at 60MP, 36MP or 18MP
■ ISO 64-50,000
■ 4.5fps continuous shooting
■ Optical viewfinder, 0.73x magnification
■ 2.3m-dot, 3in fixed touchscreen

Storage

64GB of storage is built-in
and can be used alongside

the UHS-II SD slot in
sequential, backup, or
segregated modes.

Touchscreen

This is now better
integrated into the control
system, providing quick

access to secondary
settings.

LEICA’S M-series rangefinders are trace an unbroken lineage back to the But it’s not entirely stuck in the past, as
among the most revered of all Leica M3 of 1955. Like all of its it boasts a touchscreen, live view
cameras. So whenever a new-generation predecessors, it’s very much a stripped- shooting, and built-in Bluetooth and
model appears, it’s something of an back tool that’ll appeal most to purist Wi-Fi for connection to a smartphone.
event. While the 60MP Leica M11 photographers. Focusing is manual-only,
arrives just seven months after the via a coincident image rangefinder, and While the M11 may look much like
40MP M10-R, it marks the first major as the aperture has to be set manually every previous M model, the innards
redesign since the original M10 on the lens, only aperture-priority and have been substantially revised. Most
appeared, five years ago. fully manual exposure are available. This obviously, it’s built around a 60MP
If the M11 looks like it should be an is also one of only a handful of cameras full-frame sensor which employs a
old film camera, that’s because it can that only shoots still images, not video. back-side illuminated architecture for the
most efficient light gathering. Leica has,
however, decided that having a 60MP
sensor doesn’t mean you should have to
put up with the associated processing
and storage overheads all the time. So if
you prefer, the camera can output DNG

8 www.amateurphotographer.co.uk

We got our hands Visoflex 2 electronic
on the Leica M11 viewfinder
for a few days
before its launch

ONE disadvantage of the

M11’s rangefinder design

is that the direct-vision

optical viewfinder

doesn’t support a

particularly wide

range of lenses. It

can’t zoom to match

the attached lens, so

instead indicates the

field of view via

superimposed

framelines. But

raw files at 36MP or 18MP instead. cameras. The onscreen interface has many users are Leica’s Visoflex 2 can tilt
What’s more, it can do so either by also been updated, and it’s now
using the full sensor area and possible to select and change more likely to struggle to upwards by up to 90°
downsampling, or by cropping into the secondary settings by touch, a small
image using 1.3x or 1.8x digital zoom. change that has a surprisingly positive see the 28mm
impact on the camera’s usability.
One significant operational change framelines properly, and wider lenses aren’t
comes with regard to light metering. Unusually, another major change is
Where previous M models used a basic found underneath. Gone is the accommodated at all. At the other end of the scale, the
centre-weighted metering system that M-series’ signature removable base
measured light reflected off the shutter plate, with the new BP-SCL7 battery 90mm framelines are very small.
curtain, the M11 now employs the instead plugging directly into the
image sensor instead. This therefore underside of the camera. Removing the For those working with wideangle or telephoto lenses,
allows it to offer multi-zone and spot battery also gives access to the SD
metering options, promising greater card slot. Leica has added a USB-C Leica is therefore offering a new Visoflex 2 electronic
reliability across a wider range of port alongside, which can be used both
lighting conditions. for charging the battery and connecting viewfinder. It’s neatly styled, with a square all-metal
the camera directly either to a
Another useful update comes with computer or an iPhone. casing that nicely matches the camera, and it boasts a
magnified live view. This is now
electronically stabilised, which is of Wiring the camera to your phone will higher-resolution 3.69m-dot panel compared to the
great benefit for precise focusing. Leica automatically activate the Leica Fotos
has also added a silent electronic app, with all the same functionality as 2.4m-dot version for the M10. An eye-sensor allows
shutter option with speeds as fast as when using Wi-Fi. But both remote
1/16,000 sec. Unfortunately it suffers control and copying images across to automatic switching between the EVF and the rear LCD,
from significant rolling shutter your phone should be quicker and more
distortion, so will require careful use. stable. The camera also has Bluetooth while dioptre correction is available across a broad -4
onboard, which will be activated with a
Design and handling later firmware update. to +3 range. It can also tilt upwards, with click-stops at
Leica never likes to tinker too much
with the M design, so not much has In terms of construction, the M11 the 45° and 90° positions. But unlike the existing
changed in terms of control layout. boasts the same ultra-robust feel as its
About the only visible change is that the predecessors. It’s essentially identical Visoflex, there’s no built-in GPS, with geotagging of
function button that was previously on in size to the M10, at 139 x 38.5 x
the front has moved on top. The result 80mm, and will be available in two very images set to be added to the M11 via Bluetooth
is a cleaner, sharper look, which is traditional colour schemes, silver-
echoed by a subtly revised back plate. chrome or black. The latter uses an smartphone connectivity. The Visoflex 2 costs £600.
Here, Leica has tweaked the button aluminium top-plate, instead of brass,
layout to match its Q2 and SL2 which allows it to be 20% lighter, at Accessories
530g vs 640g. Leica has also introduced a range of other accessories
to match the M11. First is a handgrip which attaches
to the tripod socket, with a cut-out giving access to the
battery, SD card and USB-C port. It also employs an
Arca Swiss-type dovetail profile, allowing the camera to
be attached directly to many tripods. It’ll cost £325.
Other accessories include a thumb grip in either silver
or black for £230, and a leather half-case and strap
combo in a choice of black, tan or olive green (£250).

First impressions The optional handgrip acts as an Arca Swiss tripod plate

From a couple of days using the M11 prior to its official launch, it looks like a fine 9
revision of Leica’s rangefinder design. All of the tweaks and updates make perfect
sense, and the new 60MP sensor promises sensational image quality. This is a
camera that I’m looking forward to getting my hands on more than most for our
upcoming full review – watch this space!

www.amateurphotographer.co.uk

Canon to release no
new flagship DSLRS

Nikon Z 9 ‘burst’ THE CEO and chairman of Canon, Fujio statement only extends to our flagship DSLR
firmware available Mitarai, has revealed that the EOS-1D X range. The needs of the market are shifting
Mark III will be Canon’s last ever flagship to mirrorless cameras at an accelerating
FIRMWARE update Ver.1.10 for the DSLR, as the company accelerates its move pace and we are moving to meet this trend.’
flagship Nikon Z 9 mirrorless camera to mirrorless cameras.
– which improves the duration for Mitarai was interviewed by the leading Canon’s latest flagship mirrorless camera
continuous 20fps shooting up to approx. Japanese newspaper Yomiuri Shimbun and is is the EOS R3 model, whilst Canon’s most
15 seconds from three seconds – is now quoted as saying, ‘The development and recently released DSLR was the 24.1MP EOS
available from the Nikon download centre production of flagship DSLR cameras would 850D, which came out at the end of 2020.
and the Snapbridge mobile app. be completed in a few years, and that
Nikon says this is the world’s longest they would unify them into mirrorless The recent
burst for a mirrorless camera with a cameras. The latest model, the EOS-1D X 1D X Mark III
resolution over 30MP when shooting at Mark III, released in 2020, will be virtually is Canon’s
20fps. It claims a 15-second burst is the last model.’ last flagship
possible when shooting in High-Efficiency However, this statement does not DSLR
RAW + JPEG BASIC (L) recording. mean that Canon has ceased
Nikon has revealed that a future firmware production of all DSLRs. Mitarai
update will add further improved operability admitted, ‘Demand for beginner
and functionality for both stills and videos. and intermediate SLR cameras is
strong overseas, so we plan to
continue development and
production for the time being.’
AP asked Canon UK to comment
on Mitarai’s statement and we
received the following response:
‘We can confirm that the Canon
EOS-1D X Mark III is the last of our
flagship DSLR range. Whilst some
publications have interpreted Mr
Mitarai’s words to mean Canon has
officially revealed the end of all of its
DSLR lines, the scope of Mr Mitarai’s

Fast 45mm f/0.95 for Sony hit by more camera delays
mirrorless models
SONY has announced that further Production of the Alpha 7C has been halted
CHINESE company Venus Optics has cameras have been added to its list of
announced a new fast-aperture, Laowa delayed models, caused by global supply discontinued, and has noted that they are
Argus full-frame portrait prime lens – the problems of semiconductor chips, including now marked as ‘production completed’ due
45mm f/0.95 FF – which is available for recently released cameras such as the Sony to ‘the prospect of future parts supply.’ If you
Canon RF, Nikon Z and Sony E-mount Alpha 7C and the Sony ZV-E10. were thinking of buying either of these
mirrorless cameras. In November 2021 Sony revealed it was cameras they will now be subject to
The lens is the second full-frame optic in halting production of several older cameras availability in dealers.
the Argus series, which also includes the – such as the Alpha 7 II, Alpha 6100 and
33mm f/0.95 CF for APS-C cameras and Alpha 6400 – and in late December 2021
the 35mm f/0.95 FF. The latest addition announced further cameras had been added
includes 13 elements in nine groups, to the list of delayed models.
including an aspherical lens, an ED Due to severe shortages in parts
element and a trio of UHR glass elements. procurement, Sony will no longer be accepting
The lens has a 15-bladed rounded aperture orders from camera dealers on the ZV-E10,
diaphragm that’s said to offer ‘promising Alpha 6400, and Alpha 6600. The company
soft, pleasing bokeh’. has yet to give any indication as to when
The Laowa Argus 45mm f/0.95 FF lens production of these models will be resumed.
is available to pre-order now for £869. Sony has subsequently announced that the
Alpha 7 II and Alpha 6100 models have been
10
www.amateurphotographer.co.uk

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Books

The latest and best books from
the world of photography

© WENDY WEI, VIA PEXELS Photographing Fearless Females:
breastfeeding mothers Mothers, Hunters and Teachers
without consent will be by Mario Ludwig
a criminal offence
£35, teNeues, hardback, 208 pages,
Taking breastfeeding ISBN: 9783961713516
photos to be outlawed
In nature, it is often the females who
PHOTOGRAPHING a woman who is alarming or distressing the victim.’ are in charge. It’s the female lions that
breastfeeding, without her consent, The change in law will affect people in do the hunting, while the alpha of a
will soon be punishable by up to two hyena pack is a female. The praying
years in prison under new measures England and Wales and has come about mantis limits its interaction with males
announced by the British government. after a campaign spearheaded by to just the essentials – devouring them
On 4 January the UK government Manchester-based designer Julia Cooper. right after mating for added nutrition.
tabled amendments to the Police, Crime, Ms Cooper began the campaign to make This wildlife book focuses exclusively on the
Sentencing and Courts Bill, that’s going taking pictures of breastfeeding mothers female of the species, documenting the feminine
through parliament. These included illegal after her own experience of being strength shown throughout the animal kingdom.
creating a new breastfeeding voyeurism photographed without consent in a local There are 150 photographs, accompanied by
offence for taking photos or video park in April 2021. Ms Cooper reported interesting facts and stories about those depicted.
footage. The bill outlined an offence of the incident to Greater Manchester The publishers claim this is the first book to look at
‘recording images of, or otherwise Police, but was told no crime had been female animals in such a way.
observing, breastfeeding without consent committed and there was nothing they It’s an interesting approach to wildlife photography
or a reasonable belief as to consent’; to could do. She contacted Labour MPs Jeff and an excellent addition to your coffee table if the
be found guilty, the perpetrator ‘must be Smith and Stella Creasy, who was natural world is your preferred subject.
acting for the purpose of obtaining photographed by a teenager on a train
sexual gratification or of humiliating, when feeding her child, and they took the Photomontage (World of Art)
campaign to the House of Commons. by Dawn Ades

Minolta reborn in the USA £14.99, Thames and Hudson, softback,
232 pages, ISBN: 9780500204672
THE MINOLTA camera brand has The purple-coloured
made a comeback in the US with a Minolta MN67Z Manipulating photographs is as old as
range of models produced under licence the medium itself. In this updated
– 16 years after exiting the compact retailers, the Minolta MN67Z has 20MP, edition of Photomontage, Dawn Ades
camera market in 2006 – courtesy of optical image stabilisation, a 3in discusses how this adaptable art form
Elite Brands Inc. vari-angle screen, built-in Wi-Fi and Full has been used to embolden and
A range of new Minolta cameras is HD video recording. It comes in black, as enliven political propaganda, satire,
available, starting with the entry-level well as red or purple. The full range of publicity and commercial art.
Minolta MN5z with 5x optical zoom, cameras is on www.minoltadigital.com. Many artists throughout history have used photo
going all the way up to a $399 67x montages, including the Dadaists, John Heartfield, El
ultra-zoom bridge camera, the Minolta Lissitzky, Hannah Höch and Alexander Rodchenko.
MN67Ze. They also offer an instant The original Photomontage study was first published
digital camera, the Minolta Instapix more than 40 years ago, where many of the above
MNCP10e, which includes 4PASS artists were represented for the first time. In this
printing using dye diffusion thermal new edition, they are joined by contemporary artists
transfer (D2T2) technology. including Linder, Peter Kennard, Cold War Steve and
Available from Adorama and other US Kathy Bruce. An interesting look at an unusual topic
that is useful for academics and those with a
www.amateurphotographer.co.uk broader interest in the history of photography as art.

13

From the archive

Nigel Atherton looks back at past AP issues

Dr Adolphe Abrahams’ fascinating article on photography in pre-WW1 Egypt

19 January 1914

THIS week’s cover image ‘En Route for the Pyramids’ by Dr How to make a packing case for exhibits A critique of another picture from Egypt
Adolphe Abrahams signposted his travelogue about Egypt. Ernest Shackleton, by Rudolph Dührkoop A guide to the ‘forgotten’ Chromatype
Although under British occupation, Egypt was still part of the
Ottoman Empire until WW1 started six months later, and they
sided with Germany. Then, as now, Egypt was a photographers’
paradise. ‘I doubt if one person in ten visits Egypt without
taking a camera,’ wrote Abrahams, though he didn’t always
approve of the choice. ‘I saw in Egypt almost every variety of
camera that is made, and the most popular was the folding
focal plane type – an instrument presumably selected for its
portability, but, in my opinion, singularly unsuitable for the sort
of work one encounters.’ Instead he recommended a reflex
plate camera. ‘It is, of course, admissible that the reflex is
about the worst kind of camera to harbour dust, and the dust
of Egypt is deservedly proverbial. It is equally admissible that
it is not a good type of instrument to have to carry about with
you on donkey-back. Nevertheless… I say unhesitatingly that
the reflex is the camera to select.’ Abrahams advised UK
visitors take their own favourite plates out with them, but if not,
‘fifty percent of the shops in any tourist resort in Lower Egypt
are devoted to the sale of photographic materials, with
darkrooms.’ The biggest problem with photography in Egypt,
according to Abrahams, was the locals. ‘The Egyptians are
embarrassingly anxious to be photographed. It requires some
art to secure anything showing spontaneity and naturalness;
at the slightest evidence of any attempt to use the camera
they suspend all operations and pose, and then, having ruined
your picture, demand “backsheesh” for the privilege.’

14 www.amateurphotographer.co.uk

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INTERVIEW

Miller
time

Peter Dench talks to Dod
Miller, the modest man of
photography, about his
forthcoming book, Birdmen

‘ I n Romania, the half a bottle of red wine and winning images of revolution.
hotel was right in went back out. I thought, this He won’t be best remembered
the middle of the is ok,’ explains photographer for the 1991 Photo Contest,
revolution. I arrived, Dod Miller, sitting next to General News, Singles,
got a room, got in the lift to a giant vase of wilting pink Honourable mention
my room and there were a lilies at his home in south photograph of a pro-democracy
couple of soldiers with machine London. Dod’s impactful black demonstration in Moscow or
guns in there, we got off at the & white photographs shot on his 1991 Photo Contest, People
floor the foreigners were on. assignment for The Observer in the News, Singles,
This guy from Reuters news of tanks in Palace Square, Honourable mention for a
organisation started shouting civilians fleeing sniper fire, photograph of former UK Prime
at the soldiers to get out, he food being delivered during Minister Margaret Thatcher. He
didn’t want them using our a firefight, a funeral and a won’t be best remembered for
hotel facilities. I rang room young soldier sleeping during his 1996 Photo Contest, Nature,
service for a couple of fried a lull in fighting, received an Stories, 3rd prize – a brilliantly
eggs, some toast, brandy and a Honourable mention in Spot observed reportage of UK
couple of large coffees. Finished News, Stories at the 1990 World cigarette smokers alone or in
breakfast, went outside, shot a Press Photo Contest. small groups, in doorways or on
few rolls of film, popped back rooftops and balconies after a
to the hotel, had some lunch, Dod won’t be best European Directive restricted
remembered for these award- smoking inside the workplace.
What he will definitely be
Romanian revolution: A soldier during a lull in the fighting, 23 Dec 1989 remembered for is his
photographs that didn’t win a
World Press Photo award of
people dressed in aviation-
related attire chucking
themselves off various piers
along the south coast of
England in attempts to win
cash prizes.

From 1971 to 1978 the South
of England’s annual Birdman
was held in the seaside resort of
Selsey. A completed distance of
50 yards would scoop a £3,000
prize. The competition
migrated to Bognor Regis pier
and by the mid 1980s had
attracted European teams
and the attention of

16 www.amateurphotographer.co.uk

Birdman Dinosaur INTERVIEW

Take Off

Sir Richard Prop Head
Branson

www.amateurphotographer.co.uk 17

INTERVIEW

‘Sometimes, I only shot a few frames and thought, I’m
going to have a pint and some fish and chips and go home’

television crews. In 2008, take my family and we’d just all think it was Branson’s birthday
the competition was hang out on the beach for a bit, and he had a massive tent in
moved to Worthing after the treat it like an afternoon on the Bognor Regis, a bar in it with all
demolition of the end of south coast.’ his family. I met his mum. They
Bognor pier. The inaugural flew one of his jets over the end
Worthing Birdman was won by Dod’s square-format pictures of the pier,’ claims Dod. Was he
Birdman stalwart Ron Freeman, capture with cinematic clarity a ever tempted to take the plunge
who travelled a distance of 85.9 man with a propeller on his himself? ‘I always said I would
metres off Worthing pier. The head and another with flippers do it when I get a book
following year it was won by on his feet. There are scenes of published as I always thought it
Steve Elkins who flew 99.86 spectators on the beach and would happen at some stage
metres, falling within a feather Birdmen crashing into the sea. but I’ve changed my mind.’
of the 100-metre target and Thirty-nine images feature in
£30,000 jackpot. the 84-page book published by We move into the garden to
Dod first experienced the Plague Press (available via allow Dod’s puppy Winnie, a
human projectiles in 1994: ‘I Setanta Books), a publishing Bull Mastiff cross, to bound
think it was a commission enterprise created by street around. The temperature is
because I shot it in colour. I photographer Matt Stuart. Matt, ticking into winter and I zip up
always know if I shoot things in who used to assist Dod from my coat. Dod, dressed in
colour, I wouldn’t have done it time to time, appears in one of sandals, purple socks, Italian
for myself.’ He then started the photographs strolling along designer corduroy and flat-cap
doing it for himself, swapping to Bognor pier. Another doesn’t flinch at the chill. You
his trusted Rolleiflex and Kodak photograph features a wouldn’t expect him to. Born
Tri-X 400 film. ‘The great thing behemoth of modern flight, Sir in 1960, Dodik (later shortened
about the Rolleiflex is, unlike a Richard Branson. ‘He nicked the to Dod) grew up in Moscow (his
Hasselblad where you have to idea off of me. I went down to British father was assigned there
take backs off and put slides in, Gatwick with an art director I as a Reuters journalist). His
you just open the back, put the was working with to suggest brother and sister were born in
film in, shut the back and carry Virgin could use some of the Moscow but being the first born
on, put the film in your pocket Birdmen pictures for their PR. and his mother initially
and that’s your day out. Some of They thought it was funny but nervous of Russian hospitals,
the times I went, I only shot a bottled out in the end as they she flew back to deliver Dod in
few frames, had a look around didn’t like the idea of people Norwich. Perhaps that’s where
and thought, I’m going to have throwing themselves off piers. his sense of humour comes
a pint and some fish and chips I didn’t hear anything more, from. Dod spent the first decade
and go home. Occasionally I’d then about two years later, of his life pinning on his badge
Virgin sponsored the event. I of young Lenin before heading

The Romanian revolution: www.amateurphotographer.co.uk
Food is delivered during a
firefight, 23 December 1989

18

INTERVIEW

Beach Birdman to school or popping on his red weeks before he went off on a
cap of the All-Union Leninist holiday and basically left me to
Young Communist League it. It was very entertaining.’
Komsomol youth movement.
Summer was spent in camps You won’t find too much
outside Moscow fishing and online about Dod; there’s a bit
collecting mushrooms. When about the Network Agency he
he returned home to his joined in 1990 and a bit more
parents, it took him a while to on the Messum’s Art Gallery
resume conversations in website which sells his prints
English. ‘Of course now my and hints at his financial
Russian is absolutely diabolical,’ successes as an advertising
grins Dod. photographer. He’s not much
into social media, his official
Via a few years living and web-page biography simply
mostly surfing in South Africa, reads: Dod Miller lives in
Dod and his family settled in London and takes a few pictures
London. His father wanted to now and again. ‘I’m totally
return to Moscow but with analogue. One day I was
diplomatic tensions between looking online and typed in my
London and Moscow at name and this box appeared
red-alert, it was a nyet. Dod, with my name. I thought
with a slight and slightly f***ing hell! I really have
unfortunate South African arrived, but when I went and
accent for the time, went about had a look a week later, it had
building a darkroom at his gone, I’d literally been and
school and started gone.’ I’m sure with the
photographing punk bands for publication of Birdmen, his
his portfolio. ‘I was going to go online box will be back. This
to the London College of modest man of analogue
Printing to study photography photography has diligently
and then heard about a job on gone about his craft for decades
a local paper down on the and isn’t obsessed with legacy:
south coast, the Hastings ‘I’m quite happy, this book will
Observer and Sussex Express, a job do nicely thank you very much.
that was paid, had a camera I had a brilliant job for about 15
allowance and a Ford Fiesta, years, raising a young family,
how cool is that! I had a really nobody writes too much
great boss. I’d been there two about the legacy of that.’

Birdmen is published by Plague Press 2021 and available via Setanta Books. A selection of work
from Birdmen will be exhibited in 2022 at Messum’s Harrogate in March and Wiltshire in July.

The Romanian The Romanian
revolution: Tanks in revolution: A young
conscript searching
Palace Square, 23 the skyline for
December, 1989 snipers, 23
December 1989

www.amateurphotographer.co.uk 19

725490c8-5905-480c-40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
[email protected] Visit our

Indulge in the
Nikon Z system from
Grays of Westminster

this season.

RISING STAR

Rising star

over Svalbard

SPONSORED BY Graeme Chesters, our first Rising Star
bursary winner, tells Geoff Harris
about his first trip to one of the fastest-
warming places on the planet

B ack at AP’s annual For Graeme’s bursary project, he is Right: Svalbard warming quickly owing to climate
awards in early 2020, we documenting a year in the life of the reindeer above change.
announced that Graeme northernmost town in the world – Longyearbyen
Chesters had been named Longyearbyen. The town, located on While Covid restrictions have
the first recipient of AP’s Rising the Island of Spitsbergen in the Below: caused some disruption to his plans,
Star Bursary. The bursary, arranged Svalbard archipelago, has many Svalbardbutikken Graeme is soldiering on. We caught
in partnership with leading used fascinating characteristics, including – the supermarket up with him to find out more about
specialist MPB, gives amateur three months of polar night (in complex which his first trip to Longyearbyen, in
photographers a unique opportunity other words, no daylight) and, includes the early November 2021.
to work on a long-term project on conversely, ever-present daylight in alcohol store and
the theme of ‘change’. Graeme summertime. co-op
receives up to £5,000 in expenses,
along with mentoring and support As well as capturing how the 2,500 Below right: Polar
from top pro Peter Dench and the inhabitants deal with this and the bears... Beyond
AP team, while MPB is providing decline of the local coal industry, this point
him with an ongoing photography- Graeme is strongly focusing on the weapons are
kit loan from its extensive supply of social and ecological impacts of required
quality used gear. climate change. Longyearbyen and
the rest of the High Arctic is, sadly,

Here comes the night

‘When I arrived, the sun had already
departed and won’t return until late
February,’ Graeme recalls. ‘A
profound change was under way
– polar night had arrived, and what
little available light there is occurs
when the sun makes it to a jaunty 6
degrees below the horizon, bathing
everything in blue hues. The
darkness lengthens day by day,
extinguishing a wider sense of one’s
surroundings. At least the twilight
allowed for some perspective on the
landscape and the place of the town
within it, as well as reaffirming a
sense of remote vulnerability.’

As Graeme notes, you

22 www.amateurphotographer.co.uk

underestimate this region at your Founded in 1906 by the industrialist
peril – bitter cold and darkness are John Munro Longyear (a man who
not the only potential dangers. ‘It is gave his name to the town but never
strikingly beautiful, precarious and actually lived there), Longyearbyen
wild, with the signs warning of polar was a company coal-mining town
bears reminding you that you need until 1989. Originally under the
to carry firearms when venturing control of Longyear’s Arctic Coal
outside of Longyearbyen.’ Company, it gave way a decade later
to Store Norske, a Norwegian state
This inaugural bursary project company that ran the community
focuses on change, and there are until the founding of local
many aspects to this when it comes democracy in 2002. 
to Svalbard and the town of
Longyearbyen. On future trips, ‘However, Store Norske remains
Graeme will be concentrating the de facto landlord for many of the
specifically on the effects of climate town’s residents, and reminders of
change, but for his first visit, he its influence are everywhere,’
focused more on the community. Graeme notes. ‘The remaining mine,
Mine 7, will close in the next two
‘Change is certainly a constant on years and there’s an element of soul
Svalbard. As well as the ebb and flow searching taking place as to the
of water and ice, and the rapid identity of the town after this
movement between light and transition. The consolidation of
darkness, the community itself turns research capacity, particularly when
over at approximately 20% every it comes to climate change, and
year. Most people stay for between “adventure tourism” are the most
four and six years at the most.’ obvious sources of community
identity,’ he continues.
One constant is the reminder of
the community’s industrial heritage.

www.amateurphotographer.co.uk 23

RISING STAR

The Aurora Borealis
above Mine 7

Graeme’s gear A long way from Bangkok King coal dies hard

For his first trip, Graeme obtained the following As you’d expect from a town in On a more serious note, Svalbard is
equipment from MPB: a Fujifilm X-T4 body, along with such an extreme place, Graeme also one the fastest-warming places in
18mm F/1.4 and 33mm F/1.4 lenses. ‘I used the X-T4 discovered some surprising quirks. the world due to the burning of fossil
because I love the manual controls, and in the cold and For citizens of countries who’ve fuels – the town of Longyearbyen was
dark, it’s a lot easier and more intuitive for me to work signed the Svalbard Treaty, which, built on coal, and it continues to be
with when I’m wearing gloves than trying to scroll through put simply, recognises the extracted for local use from the last
menus. It’s also image-stabilised, very well built and with sovereignty of Norway while remaining mine. ‘The irony is not
the new 18mm and 33mm lenses it’s completely regulating demilitarisation and lost on residents, and the debate
weather-sealed. The only difficulty, which you would face allowing commercial activities, no about transitioning from coal
with any kit in those conditions, is battery life. Once visa is needed to live in the region. animates conversations across this
again the new battery in the X-T4 proved reliable despite As of 2018, there are 46 parties to small community, which includes
the temperature going down to -12°C with a wind chill at the treaty, including Thailand – both miners and climate researchers.’
times close to -18°C. For my second trip, I will be taking which explains why there is a
a Leica Q2, again supplied by MPB.’   200-strong Thai community in At the same time, Graeme’s first
Longyearbyen! trip revealed the pride many locals
MPB has a strong commitment to sustainability in all have in being associated with the
its activities, as CEO Matt Barker explained in a recent There are also some curious mining industry. ‘This may also
piece on our website – see bit.ly/mattbarkerap. regulations surrounding alcohol. explain the reluctance amongst
‘There continues to be an some here to dwell upon the causal
24 “alcohol card” for residents, which role of coal in global heating, a
limits how much beer and spirits can process that is warming
be bought per month from the only Longyearbyen faster than anywhere
store in town,’ Graeme notes, with else on the planet,’ he explains.
some amusement. ‘This goes back to ‘These conflicts, and the layering of
the days when Longyearbyen was a industrial sediment amidst the
coal company town and the “pristine” environment of the High
company wanted to avoid miners Arctic, remind you of the complexity
overdoing things. But despite the of sustaining remote communities
beer/spirit limit, you can buy and and the conflicts between historical
consume as much wine as you like, legacy and the possibilities of
as this was the preferred drink of the transition in a location where
management of the coal mine.’ change is a constant.’

www.amateurphotographer.co.uk

Mine 5 lies dormant
amidst heavy vehicles

building a wall to
protect the town

from avalanche

A mining guide Many of Graeme’s initial images
crawls away from also focus on the ever-present
industrial infrastructure in and
the coal seam around Longyearbyen, which isn’t
in Mine 3 going away fast, even when all the
mining stops. ‘As nothing rots in
The last Graeme is a this Arctic desert, the mining
remnants of photographer and writer infrastructure is everywhere, and an
life in Mine 3 based in the North eerie reminder of the industrial past.
West. After 20 years Mine 3, which was closed without
working as an notice by Store Norske in 1996, has
academic, including a been left as it was ever since. There
stint as an associate are work boots on racks, newspapers
professor at the and magazines in the mess hall, a
University of Bradford, ‘glamour’ calendar from 1995 on the
he is now working wall, and a half-finished jar of jam
freelance on a variety of sitting on a side table. It’s as edible
photographic and now as it was then, thanks to the
journalistic projects. permafrost which coats everything.’
Graeme is also a Fellow
of both the Royal Graeme’s next trip to Svalbard,
Society of Arts and the originally planned for the end of
Royal Geographical December 2021, had to be
Society. See postponed owing to Covid, but he
graemechesters.com. hopes to visit again in February. He
also intends to work with the
Spitsbergen Artists Centre as an artist
in residence for a period of up to
three months, where he will
continue documenting change in
the High Arctic through engaging
with people, industries and
landscapes. Watch this space!

25

When Harry Met...

Stephen
Merchant

Harry Borden had to think on his
feet when photographing writer,
actor and director Stephen Merchant

I n September 2021, of the shot because he’s so tall.
The Guardian to For me, those visual devices
commissioned me to
shoot portraits of the are unnecessary, especially
co-creator of The Office, Stephen when photographing someone
Merchant. The newspaper was as intelligent and aware of his
launching its new magazine image as Merchant. Even
and wanted a strong set of suggesting these kinds of ideas
pictures for the first issue. They starts to have a corrosive effect
were being published with on the relationship between
an interview, as part of the photographer and subject, as
publicity drive for his recent they start to think you’re just a
comedy-thriller series The hack photographer with
Outlaws. I’m a fan of Merchant’s preconceived ideas.
work, so I was looking forward
to photographing him. Finding it difficult to locate a
studio near to Merchant’s home,
It was actually the second I decided to try using nearby
time I’d photographed him. Clifton College as the location,
The first was for The Sunday a private school built in the
Telegraph, in 2007, when he was 19th century. I guessed it would
launching his own radio show have a school newspaper or
on BBC 6 Music. All the magazine, so I phoned the
pictures were taken in a studio school and suggested one of the
against plain backdrops. They students could write about the
did the job but I didn’t feel they fact that a local celebrity was
were particularly interesting. doing a shoot at the school. This
enabled The Guardian to rent
This made me more the venue for a modest rate. On
determined to get a stronger set the day, I befriended the person
of images in the second shoot. assigned to liaise with me and
However, the portrait session she kindly let me shoot in other
came with conditions that made areas of the college.
it trickier than I’d have liked.
Choosing this location worked
Firstly, Merchant didn’t want out very well, because I was able
to be photographed at his to look around somewhere I’d
home in the Clifton area of never been before and find
Bristol, so I needed to find a interesting places to shoot. For
studio or another location in example, I found an ivy-covered
the local area. The other issue archway that framed him nicely
was that, because it was for a and a room with lots of chairs
new magazine, The Guardian’s piled up in a corner. Merchant
picture editor was more suggested doing a shot of him
prescriptive about what was sitting on several chairs stacked
wanted from the shoot. I was up, which made reference to his
asked to produce images that height and made his legs look
simply emphasised the fact that even longer.
he’s tall and funny, such as
putting him in narrow spaces or In person, as is often the case
framing him as if he’s going out with comic writers and
comedians, Merchant wasn’t as

26 www.amateurphotographer.co.uk

Chairs were piled up
in this room and
Merchant suggested
this shot of him

affable or avuncular as one I got as much variety in the
might imagine from his screen images as I could in the time we
persona. He genuinely has an had, which was about half an
awkwardness about him. So hour. At times, the situation
although it was good to hang was uncomfortable, such as
out with him, it was clear that when I was photographing him
he regarded the shoot as on some steps and lots of
something he had to do in order schoolchildren filed past while
to promote his work. changing classrooms. Although
it was a tricky shoot, I was
He went through the motions pleased with the results.
professionally but not overly
enthusiastically, and his My favourite shot from the
weariness made for good day wasn’t one The Guardian
pictures. I wanted him looking chose to use, which has often
slightly serious, because that’s happened over the years. It was
funnier than having pictures of taken in the school’s main
him smiling or laughing. courtyard, where I spotted a
narrow space between a clock
I was shooting with my tower and a porch. I asked
current favourite camera, the Merchant to stand in the space
51MP Fujifilm GFX 50S and and look towards the camera. It
two prime lenses: the standard made a quirky image. It’s one
63mm f/2.8 and the slightly that works because he’s tall and
wide 45mm f/2.8. It’s a terrific thin, while also fulfilling the
camera for the work I do. For brief, but not in a cheesy way.
almost all of the images I used I’d like to think he would
natural light, though in a few I chuckle if he saw it.
used a small amount of flash to As told to David Clark
supplement the daylight.

This is Harry’s Harry Borden
favourite image
from the shoot as Harry is one of the UK’s finest portrait photographers.
it fulfilled the brief He has won prizes at the World Press Photo awards
and was quirky but (1997 and 1999) and in 2014 he was awarded an
Honorary Fellowship by the Royal Photographic Society.
not cheesy The National Portrait Gallery collection holds over
100 of his images. His book of portraits of lone fathers,
www.amateurphotographer.co.uk Single Dad, was published in 2021.
Visit www.harryborden.co.uk

27

SCANNING HISTORIC PHOTOS

rTepheair
shop

Peter Dench talks to two
post-production experts
making sure photographers
perform in the spotlight

I f you unwrapped a Above: Shifting Samantha Humble-Smith and over shared common ground.
photography book for Pixels: Caroline Caroline Cortizo are two Both seeking a lifestyle change and
Christmas or popped along to Cortizo (left) and photography industry wizards.
an exhibition, it was probably Samantha Humble- Samantha has worked as a picture an alternative pace to London, Sam
the result of a long and delicate Smith researcher and studio manager, moved to the Devon coast to raise a
daisy-chain of experts that helped production assistant for Tim Flach family, while Caroline moved to
put it together: assistants, managers, Above right: and business manager for Mary Sussex to raise vegetables and
printers, publishers, curators, editors, Model in McCartney. Caroline has 20 years expand her tennis skills. Although
sub-editors. While the photographer Ready-to-Wear, experience in the industry assisting hundreds of miles apart, they
rightly takes the accolades, what with onlooker in photographers and developing her decided to work closely together and
got them there are the teams and doorway, Paris, expertise in post production, digital in 2016, established the post-
individuals sitting behind the c1955 and film management including production company, Shifting Pixels.
curtain making sure they sparkle in scanning. She also worked for Mary ‘The first time Caroline and I met
the limelight. where a bond developed with Sam would’ve been 16 years ago when
my now husband Ted went to Iraq

28 www.amateurphotographer.co.uk

BEFORE

AFTER THESE THREE BLACK & WHITE PICTURES © MARILYN STAFFORD

with the army to photograph the Above right: technicals, detail and beauty. They can never be sure what will
unit. He shot everything on film and Algerian mother Together the duo’s main job is to arrive with the courier. A recent
once home obviously everything with children, get the best tonal/colour qualities project was Marilyn Stafford’s
needed scanning. I reached out to refugees from the they possibly can from an existing 228-page book, A Life in Photography
the Pro Centre [a photography Algerian War of digital file, negative, print or even (Bluecoat Press 2021). The challenges
equipment hire company] and asked Independence, at contact sheet. That one file is the were immense. ‘We had scans from
if they knew anyone who did a refugee camp blueprint to deliver everything from the 1970s, negatives that had been
scanning and was introduced to near the bombed a screen image, exhibition print, stored in a box, drum scans of
Caroline who came and digitised his village of Sakiet, book to billboard. ‘That’s when you original prints and flatbed scans of
whole archive,’ explains Sam. Tunisia, 1958 realise you have to have your dust contact sheets. All these are in the
busting and scratches sorted. You book; to make it look like it came
Teamwork might not see it on a print but if it’s from one photographer is one
on the side of a building you do,’ challenge, to make it cohesive
Sam is whippet-fast and quick at smiles Caroline. so it prints well is another
managing, Caroline excels at

www.amateurphotographer.co.uk 29

© TOM STODDART / GETTY IMAGES to work, restoring it as you would
lovingly sew up a ripped vintage
level,’ reveals Caroline. and ruin it. There were a few files Above: Women dress or sentimental soft toy. It now
The task of restoring that we couldn’t recover and that’s carry water looks like a piece of art.
simply because of massive chemical through the
Marilyn’s archive began in March stains on them, they were mostly destroyed city of The morning after I interviewed
2021 – originally it was thought it contact sheets that had been flat-bed Anjar, India, after Sam and Caroline, photojournalist
would take a month, but the scanned and were soft. It would’ve the 2001 Tom Stoddart passed away aged 67
pictures just kept coming, and the taken a week to have it fixed,’ says earthquake which after a fight with cancer. Tom was a
task was eventually completed in Caroline. Some of Marilyn’s contact struck the region constant in Caroline’s personal life
October. First they did a round of sheets are published in the book and career for decades and she is
cleaning – spotting one particularly with great effect. One from a Paris Above right: From committed to driving forward his
deteriorated negative took over five Ghetto was stored under the bed, the project and legacy. Both Sam and Caroline
hours. ‘You can’t just bang on a dust torn and greasy with thumb prints. book published by worked on Tom’s last book,
filter; if you apply that over the Caroline put on some music and got GOST, Ex-Voto Extraordinary Women: Images of
whole image it will soften the image Courage, Endurance and Defiance,
with a foreword by actor, filmmaker
and campaigner Angelina Jolie (ACC
Art Book 2020). ‘I knew the work
intrinsically well, all we had to do
was to marry up original scans I
would’ve done in 2004/5 to digital
images shot in 2017 and some
incidental images that I hadn’t seen
before and get them print-ready for
Tom,’ informs Caroline.

In addition, the publisher wanted
the look and feel of Extraordinary
Women, published in Belgium to
match Tom’s 2004 opus, iWitness
(Trolley Books) published in the UK.
‘Different light, different countries,
different cameras, different film,
digital, over four decades of Tom’s
work – it didn’t matter because each
frame was bang on. Technically, if
the photographer gets a great

30 www.amateurphotographer.co.uk

SCANNING HISTORIC PHOTOS

Top retouching tips

BOTH THESE PICTURES © ALYS TOMLINSON With a combined experience of

picture, it’s pretty easy for us to do understandable given digital is more than 40 years, what are the
our work. It was relatively simple to actually harder than film ever was
bring them in line so we had a and if you think of film a long time pair’s top tips, do’s and don’ts?
consistently beautiful tonal range to ago, you didn’t get every shot right
hand over to the pre-press house,’ – the light was changing quickly but ‘Typical retouching mistakes are haloing: a halo
adds Caroline. you had to go ahead and shoot. effect can appear after cutting out an object from
There’s a vulnerability some one image and placing it on a different background,
The default files Sam and Caroline photographers feel with their work or in the same way, playing with levels/curves to
work on are Grayscale or RGB. thinking they’re not technically create whiter or darker backgrounds you get a halo
While they can work in CMYK, great. We all delete content that’s effect around an object. Be subtle and gentle with
conversions for publishing takes a not 100% accurate straight away so the work you do. Unless specified by the
great deal of understanding in how now it’s a different way of looking at photographer, we will not crop an image, to alter or
the colour translates from the images,’ says Sam. change it – if you crop at the beginning and start
photographer’s files to the printer doing all your post production and then later you
CMYK files. ‘You have the profile for Shifting Pixels have collaborated decide you want the full crop, you’ve wasted a lot
the paper and for the inks. An RGB with myriad award-winning of time and have to start all over again. Don’t
is three channels, CMYK is four, photographers including Lynsey straighten/liquify images until right at the end, the
what you’re doing is introducing Addario, John Downing and Alys same issue as above – if you need to go back to a
black ink, that’s why everything Tomlinson whose 16-bit scans were raw file to comp an area back in it’s incredibly
crashes on print. Introducing black, so big, new computers and software difficult. Make sure you have your highlights and
everything goes flat, you lose had to be invested in. ‘I loved Alys’s shadows. A lot of photographers starting out will
contrast, resulting in huge project Ex Voto and the connection blow out their shadows and highlights right at the
disappointment for the client. From with her portrait sitters. Caroline is outset to create a contrasty, punchy image; from a
experience you know it’s going to much more interested in the retouching point of view, you want a flat raw file
happen. When you change the background story of imagery, I’m with all the detail as a starting point.
profile from Grayscale or RGB to drawn to images that just connect. Photographers should realise that sharpening is
CMYK, you won’t necessarily see it I’m a bit more literal. We’d never not a fix, you shouldn’t really sharpen a file till the
on screen unless you know to look met Alys before, she’d shot the last moment when you know the final output of the
for it. It’s a waste of time creating a project on 5x4 negative, and when file, i.e. for screen or printing due to the paper type
CMYK profile unless you know the we got the images I literally stopped etc. Be gentle on the clarity – just because it goes
profile of the printers and papers it in my tracks they were so stunning. up to 100% doesn’t mean you should use 100%.’
will be used with,’ explains Sam. We cleaned and sent off the files and
didn’t think anything about it. Next Caroline I cut my teeth in the 1990s at night
Sam and Caroline often work with thing we knew, it won her
the caution of Bletchley Park Photographer of the Year at the Sony school when we had the ability to train in adult
employees. ‘Some photographers are World Photography Awards,’ education and I’m a firm believer in assisting, to
reluctant to admit to the work that is enthuses Sam. keep learning and stay in touch with new
done on their files. This is technologies. The bread and butter work that we
do is quite a lot of pressure due to deadlines/
budgets. You won’t understand that pressure
unless you’ve experienced being in a studio or
shooting on location with so much going against
you. For example, I was with Tom and he had five
minutes in Iceland to shoot Soviet leader Mikhail
Gorbachev for Time magazine and you’ve got one
roll of film and a set of batteries for the flash –
that’s pressure and learning to stay calm under
that kind of pressure will take you through the rest
of your life.

Sam Try getting work experience within a

professional retouching house. Working from right
at the bottom is the only way, as you’ll learn more
in a week than you would a year at college. This
industry is exciting. It gives you a huge amount of
life experience. I wouldn’t necessarily say you’re
going to earn much money from it, as the industry
isn’t what it once was, but the rewards and
opportunities that will come your way if you work
hard and you care are immense.

Find out more at the duo’s website, www.shiftingpixels.co.uk

www.amateurphotographer.co.uk 31

Technique 1 2Neutralise the blue hour tones Use Masking Tools to
that don’t work well with such a selectively reveal detail in
James Abbott
white scene using white balance different parts of the scene
James is a freelance photographer and
photography journalist specialising in creating
shooting and editing techniques that help
photographers to improve their skills.
www.jamesaphoto.co.uk

Behind the

print

James Abbott reveals the simple 3 Remove sensor dust 4 Sharpened initially in
editing that brought his winter image spots from the sky Lightroom, with High Pass
to life and made it ready to print using the Spot Removal sharpening and the Orton
Tool in Lightroom effect applied in Photoshop
I’ve travelled to many countries but somehow I’d never visited
Scotland until a few years ago. So, after a perilous drive from
Glasgow to Glencoe through heavy rain then blinding snow in a
rented campervan, I had my first shooting trip to the Highlands.

It was a cold night parked next to Buachaille Etive Mòr. When
I woke before dawn, the sky was heavily overcast and mist was
shrouding the Buachaille, but the landscape was glistening
beautifully with snow. I pulled on my waterproofs and wellies and
headed out. It was still snowing so ND grads were out of the
question – they’re a magnet for rain and snow, so a rain cover over
my camera and lens, a lens hood and polarising filter was the best
approach. This image was taken during blue hour before sunrise
and was a great start to what became the perfect winter’s day.

PREPARING FOR PRINTING

1 White balance 2 Basic adjustments 3 Masking Tools

I always like to get the white balance looking Next, I applied adjustments in the Basic tab, Once the base image was looking right it was
right first. Blue hour often casts lovely blue the Tone Curve, Lens Corrections and left time to apply some localised adjustments
tones across the scene but with this image it Sharpening at the default amount Lightroom using the Masking Tools in Lightroom. These
just looked like a colour cast, so I neutralised applies. Shadows and Highlights were used to were mainly used to recover more detail from
the blue using the Temperature slider in accentuate and recover detail, while other specific areas rather than muddying the
Lightroom but kept a hint of the natural blue. adjustments boosted brightness and contrast. image using global adjustments.

32 www.amateurphotographer.co.uk

IN ASSOCIATION WITH

James’
top tips

1 Don’t stress about
sharpness

Print is much more forgiving than
viewing images on a high-resolution
backlit monitor so even when an image
isn’t 100% pin-sharp, it will often still
print well.

2 Calibrate your monitor
You should be editing with a
calibrated monitor to ensure that
colours, brightness and contrast are
all displaying correctly and that the
final image looks correct on all devices
and in print.

3 Use a custom print
profile

Some labs and paper companies offer
custom print profiles which are great
to check and ensure that the colours
in the images you’re sending to print
look the way you want them to.

4 Try a border
If you’d like your images to be
mounted in a window mount inside a
frame, it can be useful to add a small
white border to the image beyond the
desired dimensions of the image size.

5 Test the paper
If you want to be sure that your
printed images look their best, order or
make small prints on the same paper
that you intend to make a large print
on – think of this as being like
darkroom test strips.

4 Finish in Photoshop WhiteWall
recommends
I always run images through Photoshop as it
can be used to apply many more effects than ‘For this impressive and
Lightroom. Here, a low amount of High Pass beautiful nature
sharpening was used to enhance the texture in photograph I recommend
the scene while the Orton effect was applied our original photo print
to add to the ethereal look created by mist. under glossy acrylic glass.
The glossy acrylic glass
www.amateurphotographer.co.uk makes the water look clearer and the
contrast with the snow is made more
obvious by the depth. I deliberately
chose the frame from the Oslo series in
the color white to emphasise the theme
of the motif.’ Jan-Ole Schmidt, Product
Manager, WhiteWall.com

33

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Mini Guide Mcaastmer yeoruar
32 pages of advice, tips and
The set-up inspiration to pull out and keep

Customise your camera to PLUS
just the way you like it
Shooting video

How to use your digital
camera for filmmaking

Using flash

Improve your photos
by adding light

Optimum
exposure

Take control of your ISO,
aperture and shutter speed

Glass act

Modern lenses are about
more than just the optics

Stay sharp

How to optimise the depth
of field in your pictures

Technique SETTING UP

Michael Topham

Michael is based in the South East of
England and enjoys documentary,
landscape and railway photography. He
also shoots weddings and can be found on
Instagram @michaeltophamphotography

Starting
from
scratch

Whether you’ve bought a used camera that’s
unknown to you, or you’re buying the latest
model, there’s plenty to do before pressing the
shutter for the first time. Michael Topham
reveals his tips to setting up from new

Operational beeps Dial Navigate the main menu
customisation
It’s usually the case that most new cameras have If you’re upgrading to a newer model that’s made by
operational beeps enabled. Some people may find it The level of dial the same camera manufacturer, chances are you’ll
useful to hear a beep confirming focus has been customisation differs be familiar with the layout and arrangement of the
achieved, or an artificial shutter noise sounding when from camera to camera. main menu. If you’re not and the menu system on
the shutter is fired. For most however these high- Most will allow you to your camera is completely new to you, make
pitched beeps and imitation sounds are highly irritating, reverse the rotation of yourself a cuppa, sit down and take time to work
especially if you’re trying to shoot discreetly and not the shutter speed/ your way through it to get a good understanding of
draw attention to oneself. The option to disable beeps aperture dials if you’d what can be found where, including any
or reducing the volume is usually found from the set-up prefer to work this way subheadings. This can save vital minutes trying to
or beep options menu. and some cameras will find what you need when you start using the
give you the option to camera for real.
36 use the command dials
to work your way www.amateurphotographer.co.uk
through the main menu
or scroll through images
in playback. It’s well
worth having a look to
see what dial
customisation your
camera offers as you
may be able to set
them up to be more
intuitive.

File format

Most camera
manufacturers always turn
raw off by default so one
of the first things you’ll
want to do when you turn
your new camera on is
navigate your way to the
image quality settings and
select raw. The beauty of
the non-destructive raw
file format is that it
contains all the image
information captured by
the camera’s sensor,
including all the metadata.
Raw files provide far
superior latitude when we
edit our images too,
however the nature of the
format is such that they
can’t be read by all
computers, smartphones,
tablets and other devices.
Many photographers will
set up their camera to
shoot in RAW+JPEG.
Doing so means you’ll
record the very best
quality in the raw file to
edit at a later stage as
well as a smaller JPEG
that’s easily shared
straight out of camera.

Viewfinder aids Q.Menu customisation

Viewfinder aids are usually kept to a minimum on new and used cameras that Over the years we’ve seen better
have been reset to their factory default settings. To aid composition using the rule customisation added to things like the Quick
of thirds, you may find it useful to turn on gridlines (also known as a framing grid Menu, which offers direct access to frequently
display on some cameras). Other helpful viewfinder aids such as being able to used settings with the single press of a
inspect a live histogram and an electronic level, which can be found on many button. Many cameras now provide the option
cameras with electronic viewfinders, can be easily and quickly activated using the to customise the Quick Menu (also known as
DISP button on many cameras. the i menu) so be sure to study the out-of-the-
box default settings and rearrange or swap
www.amateurphotographer.co.uk them to the settings you know you’re likely to
want to have access to on a frequent basis.
One setting I often find myself adding or
rearranging in the Q.Menu on a new camera
is Self Timer mode.

37

Technique SETTING UP YOUR CAMERA

Playback screens

Most cameras display a basic full screen preview image in playback mode
straight out of the box. You should familiarise yourself with the other playback
screens that can offer more information and choose the one that’s most
helpful. Some cameras allow you to cycle through the various playback screens
using the DISP button, whereas some require you to use the four-way controller.
Time, date, exposure settings, focus point position, histogram and lens data are
just some of the things that you can expect to be able to inspect from your
camera’s different playback screens.

Button customisation Custom file Copyright information
naming
Camera manufacturers like to think they know how As a photographer you own the copyright of the images
users are going to operate their cameras and place On many cameras you take, unless a contract or other arrangement in
buttons around the body accordingly. This doesn’t there’s the option to writing says otherwise. You can add ownership and
necessarily mean they’re perfectly placed for everyone change the file name copyright details to your images using software, but
though. If your camera has dedicated function (Fn) so it starts with a many, myself included, prefer the idea of letting the
buttons it’s easy enough to change the function they three-character name camera embed copyright information to the file at the
perform by either holding them down for a few seconds of your choosing. This point of capture. Most cameras will let you add the
or by reassigning them from the main menu. When I’m is good to do straight Author’s information (name), followed by a Copyright
setting up a new camera out of the box I always like to out of the box as it message under Copyright Info so it’s well worth doing
be able to initiate a wireless connection quickly and helps identify your this straight away.
have direct access to white balance from an easy-to- files from other
reach button. Make sure you work out what your people’s clearly; plus www.amateurphotographer.co.uk
priorities are and don’t be afraid to experiment with it can prevent
button customisation until you find what is right for you. duplicate files being
an issue when more
38 than one
photographer is
shooting and images
are being downloaded
onto the same
computer. If you’re
wondering what
three-character name
to use, entering your
initials, including any
middle initial, is as
good as any.

Back button focusing

The back button focusing technique isn’t for
everyone, but if you regularly photograph action,
sports, wildlife or anything that has a tendency to
move you’ll want to give it a try and you’re likely to
never look back. The action of focusing, which is
acquired by half-depressing the shutter button on
most cameras out of the box, becomes separated
and moved to a button on the back of the camera
(usually the AF-ON) button. By separating the two
functions it allows you to continually focus on your
subject whilst simultaneously capturing shots with
your index finger held on the shutter button. The
advantages include being able to swap between
continuous and single autofocus easily and shoot
more efficiently. How back button focusing is set up
varies between camera brands. Type your camera
model followed by the words back button focus into
YouTube and you should find an instructional video.

Power-saving settings Video button

If you find that your new camera is turning itself off too quickly, it’s likely the If you rarely shoot video and are more passionate
auto power off or standby mode is set to its minimum setting. You’ll find the about stills than the moving image, having the
option to extend this from a few seconds to 30seconds or longer from the movie-record button dedicated to recording video is a
power settings in the main menu. Just be mindful that all the while the camera bit of a waste. Enter the button customisation settings
is fully powered and not being used it’s using more battery power than when it’s on your camera and you should find the option to
shut down. Most DSLR and mirrorless cameras offer precise battery customise it to operate something more useful. You
percentage information so it’s also worth familiarising yourself with where to might find it helpful to use it to enter silent shooting
find this on your model. mode, for example. Alternatively, you might want to
use it to rate your best shots during inspection in
Long exposure noise reduction playback mode. You’ll then be able to find your best
shots more quickly once they’re downloaded on the
Some cameras come with long exposure noise reduction activated by computer using a search by rating option.
default so you’ll want to check what yours is set to straight out of the
box. As its name implies, the purpose of long exposure noise 39
reduction is to reduce the impact of noise in long exposures, which it
does by recording what’s known as a dark frame after the first image
is taken. When this dark frame is complete, the camera compares it
with the original frame and subtracts the noise found in the dark
frame from the original frame, thereby effectively reducing long
exposure noise. The disadvantage is that the camera is unusable as
the dark frame is being recorded (not the case with some Canon
cameras) so it’s best to only use it when you’re willing to double your
exposure time. If you are photographing a scene that involves a
rapidly changing sky or are up against it to get the shot before a
moment is lost, you’re unlikely to be able to afford to double your
exposure time and will want to ensure it is turned off.

www.amateurphotographer.co.uk

Technique

Hone your

camera

skills

Kingsley Singleton speaks to three pro
photographers about how they handle
aperture, shutter speed and ISO to
achieve the best results

Aperture This portrait needed to show
movement in the background,
Pro sports and portrait photographer so the aperture was stopped
Terry Donnelly opens up about aperture, down to f/22
exposure and depth of field

Terry Donnelly

With a wealth of experience, Terry
Donnelly shoots professionally in top-flight
sports, editorial, PR and portraiture, and
regularly features in national and
international news media. Find out more
at www.terrydonnelly.co.uk

FUNDAMENTALLY, the aperture is a tool to let more When to go deeper
light or less light into the camera. But of course, it’s
more than that. Like many pros, I tend to work at Though I like to work at wider apertures, there are plenty of times I’ll stop down to
wider apertures for a variety of reasons. Yes, it keeps more middling f/stops like f/5.6 or f/8. Longer focal lengths, like a 135mm or
my shutter speed up and means I can shoot more 200mm lens, can create a shallower depth of field, so smaller apertures can help
easily when available light is low, but it also adds keep both the whole of the subject in focus and improve background context. Stopping
separation and emphasis on the subject. Ultimately down is also important with groups. If I’m shooting a wedding party or a family, I want
apertures such as f/1.4 or f/2 can bring a more separation for the subjects, but everyone needs to be within the focal plane and
cinematic look, which I love, but doing it remain in focus! There are also times where I want to push the shutter speed lower to
successfully is about more than dialling in a number. show movement in the background, and smaller apertures will help with that.
Here are a few pointers.

40 www.amateurphotographer.co.uk

Though an aperture of
f/1.4 is used here, there’s

still plenty of context to
the background

Take care in Kit for working wide open EVF MAKES IT CLEARER
the shallows
Using the wider apertures can be problematic in bright As a Sony Alpha user, I know how beneficial
Shooting with a very shallow conditions like midday sun, where minimum ISO and shooting with a mirrorless camera can be in
depth of field is something highest shutter speeds can’t give you correct judging the effects of aperture. Obviously, it
people associate with a more exposure values. Historically, that was down to the becomes second nature as you learn what works
refined and professional look. limits of a camera’s maximum shutter speed, typically for you, but an EVF shows depth of field in a way
But be careful. Novices often 1/8000sec. Using modern cameras with fast that an optical viewfinder can’t. Remember, a DoF
go too far with background blur. electronic shutters capable of exceeding that can preview on a DSLR will progressively dim the
If all you have is a completely solve the problem. Fitting an ND filter to decrease the brightness, but with an EVF, it’s obvious, and you
soft background, images will light intensity entering the camera will help, too. can see if you’re getting enough subject
lose context. I often shoot sharpness or context in the background. Yes, you
character and environmental Flash power can also be a problem – there can be can shoot and chimp the screen, but that takes
portraits, so I want a too much of it for wider apertures even at the lowest you out of the moment.
background to be recognisable, output, so either fit an ND filter to the camera or a
even if it’s out of focus. Take diffuser to the light source. Alternatively, use 41
care that you adjust the lower-powered flash heads, or – like me – switch to
aperture for the size of the LED lighting. My Rotolight NEO and AEOS lights can
subject’s head, too. I find that be set to low output and work brilliantly with wider
shifting to f/1.8 or f/2 for men apertures, plus – unlike flash – you can see exactly
helps to keep their larger the effect you’re getting before you shoot.
features in focus.

You can still work at very
wide apertures but try to use
shorter focal lengths or step
away from the subject a bit.
Completely blurred backdrops
also mean images lose depth.
To offset that, remember you
can compose with out-of-focus
foreground elements, too.

www.amateurphotographer.co.uk

Technique Shot at night, the high Aim high
ISO setting of 3200 keeps
ISO Things are often moving
this image sharp and the fast on the streets and a
Street specialist Brian Lloyd Duckett says additional noise adds to high ISO allows me to
it’s time to reevaluate how you use ISO work with a fast shutter
and how working in Auto mode can free the atmosphere speed. It’s usually better
up your photography to have a tiny – often
imperceptible – amount of
Brian Lloyd Duckett extra noise than a picture
that’s virtually unusable
Brian Lloyd Duckett is a pro street because it’s blurred. I’ll let
photographer and Fujifilm ambassador who my ISO go to 6400 for
runs workshops via streetsnappers.com. daytime shooting and
His latest book, 52 Assignments: Black & 12,800 at night without
White Photography, is out in February, and any worry at all.
he’s also on YouTube @streetsnappers
Then there are times
I WISH I had a pound for everyone I meet who when a little bit of noise
thinks that high ISOs are the work of the devil. from high ISO is a
Many of us grew up with the mantra of ‘use the welcome thing. I’m
lowest ISO possible,’ but camera technology has currently shooting a black
moved on so much today that high ISOs are no & white documentary
longer a bad choice. In fact, I use them all the time project, mostly in low light
to help me get sharper images. I’m a documentary and which has a gritty,
and street photographer and being completely contrasty aesthetic;
flexible with my ISO is central to my way of using high ISO is
working. So, my advice is to forget what you’ve been absolutely no problem and
taught and be a little more liberal with your ISO even adds to that.
settings. Sure, it’s maybe a new way of thinking, but
once you accept it, you’ll never look back. www.amateurphotographer.co.uk

42

If you shoot street portraits, you’ll
probably want to open up the lens.
For instance, this was shot at f/1.2.

On auto ISO, the setting will drop
right down, to compensate

‘It’s better to have a tiny
amount of extra noise than
a picture that’s unusable
because it’s blurred’

When to go low

Of course, there are times when you don’t want or need
a high ISO, such as when you’re shooting with a very
wide aperture, when there’s very strong light or when
you need to keep the shutter speed low – for example,
for a shot that needs motion blur. I shoot lots of street
portraits and I tend to shoot wide open for a shallow
depth of field. In those cases, this usually means I can
have a reasonably brisk shutter speed and can let the
ISO fall. Setting the Auto ISO’s parameters to include
the lowest level means it always has that option to
drop to if required.

The ‘set it and forget it’ approach STOP FEARING ISO

When you get confident in using your camera’s higher ISOs, the Auto ISO option
becomes a brilliant tool. I think of Auto ISO as my ‘flexible friend’. It simply adjusts
itself to the level I need to get a perfect exposure, and when you think of it that way,
why wouldn’t you use it? It gives me so much flexibility that I use it for my street
shooting and just about everything else.

It’s also a vital part of my ‘set it and forget it’ approach. With these settings you
can forget about what’s going on in the camera and can focus all your attention on
what’s happening around you, searching for subjects and ensuring you get the best
possible composition. Working in aperture priority mode, my aperture is usually
around f/8, for a decent depth of field. I set the ISO to Auto, then adjust the range in
which it will work to 200-6400 for daytime shooting (or 400-12,800 for night
shooting). Finally, I set the minimum shutter speed to 1/200sec. Any exposure
tweaks are quickly made with exposure compensation.

www.amateurphotographer.co.uk If, 40 years ago, you told photographers they could
change the sensitivity of the film they were using
without taking it out of the camera they would have
bitten your hand off for the freedom it gives. And yet
many photographers only half-accept this benefit and
stick rigidly to manual ISO settings. ISO is only a tool
that helps you work in dim or bright light, and in that
way, I never let it compromise the aperture or shutter
speed that I want to use, both of which are far more
important to me.

43

Technique

Shutter speed The direction and
distance of movement
Landscaper Alan Howe talks about the that a slow shutter
importance of shutter speed in scenic speed records can make
photography and how to keep longer a big difference
exposures looking natural

Alan Howe

Alan Howe is a semi-professional landscape
photographer whose work has featured in
magazines, calendars, and National Trust
products. He provides landscape tuition
and is an ambassador for Kase Filters.
www.devonlandscapephotography.co.uk

PICKING the right shutter speed is a vital ingredient
in any type of photograph and that includes
landscaping, which is my passion. Primarily, of
course, the ‘right’ shutter speed achieves an accurate
exposure and leads to maximum image quality. But
with modern cameras making exposure so easy
– and especially when working in aperture priority
which is what I mainly do – what people really
notice is the secondary effect of shutter speed: how
it renders movement.

For me, what’s most important about that is how
movement makes me feel about a scene. I’m a fan of
natural-looking landscapes and controlling shutter
speed is a big part of that. Simple, subtle movement
from slower speeds, and clear details is what I want,
so here are some of the ways I go about it.

When to go faster

Extreme long exposures have their place, but
often make scenes look unrealistic. In that
way, I think super-slow speeds have become a
bit of a cliché. Conversely, landscapes shot at
settings like 1sec or 5secs, take on a calmer
and more serene look while still seeming
natural. For me, the vast majority of the time,
this works better in telling the story of that
location. So, for instance if I want to show the
sea on a stormy day, there’s little point in
using a speed of 20 or 30secs which will blur
waves into a mist. Captured movement must
have some direction and shape or the picture
will lose its meaning.

Shot at 0.6sec and 8 secs
shutter speeds, the

movement of the water
looks very different

44

Judge the movement

Exposures need to be activated and timed for the
speed and direction of what you’re shooting. For
instance, the usual benefit of flowing water is that it will
lead the eye into the scene, so if you’re at the coast,
try to shoot a wave that’s receding, rather than
breaking. Slow water might need 5secs while faster
motion could get the motion blur you want at 2secs.
And even at an identical shutter speed, no two waves
will look the same, so experimentation with movement
is key. The same goes for clouds, and though the
shutter will pick up movement across the frame more
effectively than motion into the scene, it’s the latter
that draws the viewer in. The focal length and how
close you are to any movement also affects the shutter
speed you need. Distant waves will need a longer
speed than a stream that’s right under your lens.

Increase shutter speed for
longer lenses or to stop
movement in the frame

CONTROLLING THE LIGHT

When it comes to controlling shutter speed, filters are How timing tells the story
the landscaper’s friend. But because I want natural-
looking scenes, I don’t use stronger than a 3-stop ND Though my preference is to shoot landscapes with
to cut out light, and I’ll take it off when the light is low exposure times of a few seconds, there are plenty of
enough. I use Kase Wolverine filters, including a times that I’ll quicken the exposure. A good example is
polariser, which also cuts out about a stop of light, if you want to stop water, like raindrops falling from a
allowing those slower speeds. Naturally I’ll lower the leaf, waves breaking over a jetty, or snow drifting in the
ISO – down to 50 on my Nikon D610 if needed – but air. In those cases, I’ll bump up the ISO to get speeds
I don’t like to close the aperture below f/16, as like 1/100sec or 1/125sec. Another time that I look
sharpness suffers and every mote of dust on the for faster speeds is when using longer lenses. Just as
sensor will become visible. for wildlife photographers, long focal lengths can show
vibration and soften landscape details more so than
Remember, too, that as a landscaper, part of the skill when working at a wide angle, so if I’m framing a lone
is to wait for the light to be right, so be prepared to get tree or distant peak, I’ll reach for faster speeds.
to a location early enough for the light to be less
intense or wait for it to fall at the end of the day.

45

Technique DEPTH OF FIELD

How to maximi

The key to achieving sharp images from front to back is understanding how your

Jeremy Walker

Jeremy is one of the UK’s top landscape photographers and
is known for his eye-catching panoramas, moody b&w
landscapes and dramatic images of castles and ruins. He is
the author of Landscape, and is in much demand as a
speaker, writer, and workshop leader. Visit his website
jeremywalker.co.uk or follow him on Facebook or Instagram.

W e all use it, and that lens. Basically, the more
whether we you stop down (f/11, f/16 or
fully understand f/22) the greater the depth of
the science and field. For any given aperture
physics behind it, depth of the depth of field will be
field plays a very important greater on a wideangle lens and
role in our photography, much shallower on a longer
be it landscapes, portraits, telephoto lens.
architecture, or close-ups.
Discussions on depth of field As a landscape photographer
can get very technical and we the chances are you will want
could end up looking at various your images to be sharp from
formulae to explain it. I won’t! front to back, and you will be
Oh, and by the way don’t looking to maximise the depth
get ‘depth of field’ confused of field, shooting ‘stopped
with ‘depth of focus’. We are down’ at f/8 or f/11. As a
interested in depth of field, portrait or fashion
the stuff that is going on in photographer the trend is to
front of the lens. shoot with the lens wide open,
(f/1.4 or f/1.8) utilising a very
Simply put, the depth of field shallow depth of field where
is the distance between the perhaps just the eye is in focus.
nearest and furthest objects in
your composition that are Diffraction
acceptably sharp and in focus.
That distance is affected by the Many people will assume that
aperture your lens is set to, to gain more depth of field –
relative to the focal length of and hence get more of
their image in sharp focus

A medium focal
length lens

focused on the
model’s eye and
shot wide open
at f/4 means a

very shallow
depth of field
and only a hint
of sharpness
either side of

the eyes
Leica M10-R, 90mm lens,
1/180sec at f/4, ISO 800

46 www.amateurphotographer.co.uk

se depth of field

lens works and understanding hyperfocal distance. Jeremy Walker explains all

The critical part of the image that
had to be sharp was the jetty. The

background is marginally out of
focus due to a lack of depth of field

Nikon D3X, 24-70mm, 1/2sec at f/11, ISO 100

www.amateurphotographer.co.uk 47

Technique DEPTH OF FIELD

you just stop down to a doubt the camera will just tell apertures. Tilt-shift lenses are
small aperture, such as you where the hyperfocal superb tools for controlling
f/16 or f/22. Well, the depth of distance is. depth of field and are incredibly
field is increased but there is a versatile and creative lenses. If
trade-off in image quality. The Of course, with the you are feeling really
smaller the aperture, the greater advancement in camera technically minded look up the
risk of diffraction, whereby technology allied with post- ‘Scheimpflug Theory’.
individual light wavelengths are production software, focus
being distorted and the image stacking has become the way to Conclusion
will look softer. gain maximum depth of field
So how do you find the sweet whilst utilising the sharpest part Simplicity is the key. I shoot
spot? Where do you focus and of the lens. Multiple images of most of my landscapes at f/11
what aperture do you shoot at? the same subject but focused at and I focus about a third of the
It is a common question on my different distances and blended way into the composition if I’m
workshops. Most lenses have a together using software such as shooting with a wideangle lens.
sweet spot, a point where the Photoshop is rapidly becoming I know that at f/11, infinity to a
optics are at their best. I was the norm, both for landscape few metres in front of me will be
told as a young assistant, many photographers and close-up/ sharp. It’s not very scientific but
years ago, that a lens operated macro shooters. it works for me. There are those
best at two stops down from its who would also argue that
maximum aperture, therefore Tilt-Shift lenses focusing on the hyperfocal
an f/2.8 lens would be at its distance means that you are not
sharpest at about f/5.6, which is For those photographers who actually focusing on anything in
all very well until you start own tilt-shift lenses there is particular. If you have
shooting landscapes with a great another way of increasing the something that is critical to your
deal of foreground and need depth of field. By tilting the image, focus on it – if nothing
some depth of field. Without front elements of the lens, the else the main point of interest
being particularly scientific position of the depth of field needs to be sharp. It is far too
about it I shoot my landscapes can be changed – think cheese easy to get wrapped up in
at about f/11 on a wideangle wedge or door-stop shape. This technical and scientific minutiae
lens without any noticeable wedge-shaped area of focus can when shooting. Try f/11, focus a
deterioration in image quality. be controlled so that front-to- third of the way in and see
back image sharpness is what happens.
possible, even at relatively large

Hyperfocal distance Showing the subject isolated from the Allowing more distance from
background by using a narrow depth the camera to the subject
The hyperfocal distance is a of field caused by a large aperture helps with the depth of field.
point in your composition at Nikon D3X, 70-200mm, 1/125sec at f/3.2, ISO 100 If the composition is not
which all objects can be quite right, you can always
brought into focus. Basically, crop in afterwards
the hyperfocal distance is the Nikon D3s, 21mm lens, 2 minutes at f/8, ISO 200
point at which you will gain
maximum depth of field. So www.amateurphotographer.co.uk
how do you find the hyperfocal
distance? Well, there’s an app
for that! In days of old you may
have carried a small chart that
showed focal lengths and
apertures and then the required
distance on which to focus.
However, more and more
modern lenses have no focusing
distance scales on them,
especially zooms, and so the use
of the hyperfocal distance is
becoming a thing of the past.
From recent experience I know
that Zeiss Milvus and Leica
lenses have the necessary
‘traditional’ focusing scales.

So, if finding the hyperfocal
distance is becoming harder,
how do you find the sweet spot
at which to focus? Coloured
‘focus peaking’ will give you a
pretty good idea of what is
going to be in focus and as
technology moves along no

48

Jeremy’s top tips Why
it works
Double-check focus
St Paul’s Cathedral,
Compose and focus on your image and when London
you are ready to shoot, check the focus again.
Use the stop down button to see your image at Trying to avoid modern
the working, stopped-down aperture and you and distracting shop
will see the depth of field and what is and what fronts is a bit of a
isn’t sharp. nightmare. Endlessly
cloning out identifiable
Check at 100% brand names, alarm
boxes and signs can be
Shoot your image and then check it at 100%. a bit of a chore. By
Check and check again. If necessary, use a using the unique
loupe magnifier such as a Hoodman to block properties of a tilt-shift
out extraneous light to make viewing easier. lens to control the
depth of field, the only
Focus a third of the way in thing that is sharp is a
narrow portion of the
Don’t get too worked up by the depth of field street and St Paul’s
and all the technicalities it can bring. Think Cathedral in the
about using a wideangle lens for landscapes, distance. This technique
focus about a third of the way into the image creates a specific look
and shoot at f/11. and feel to the image
and shows that depth
Explore techniques of field can be a
creative tool rather than
Focus stacking has been a huge leap forward in just a means of getting
controlling and increasing depth of field, both an image in focus, from
for landscape work and macro images. Many front to back.
up-to-date cameras have focus-stacking modes
and software is relatively simple to use. There Showing extreme depth of field achieved
are also plenty of online tutorials available. by focus stacking three images
Nikon D850, 24-70mm, 20 secs at f/11, ISO 100

Technique TIPS FOR USING LENSES

Angela Nicholson

Photographer and journalist Angela Nicholson is our
former technical editor and the founder of SheClicks, a
community for female photographers. She’s been
testing camera gear since 2004 and has used more
lenses than she cares to remember, shooting stills and
video for a variety of platforms. squeezymedia.com

Get more
from your

lenses

From finding a lens’s sweet spot to Finding your lens’s
understanding its controls, there are some sweet spot can
easy steps you can take to get the most from make a big
your optics. Angela Nicholson explains difference,
however
challenging the
subject

I t’s often said with film photography that Find the sweet spot If you’re testing a zoom lens, start
the lens is more important than the camera at the shortest focal length and
and while that relationship has shifted now It’s not just the depth of field shoot at every aperture before
that most of us are shooting with digital that changes with aperture, it’s zooming to the next marked focal
cameras that have a variety of sensors, a wide array the sharpness of the image at the length and shooting at every
of settings and different processing engines, the lens focus point too. In fact, lenses don’t aperture. Repeat until you’ve shot at
that you use still plays a huge role in determining capture the same level of sharpness each marked focal length.
the nature and quality of the image that you at every aperture, focal length or
produce. Naturally, if you want to get the best from focusing distance, which can make Ideally, you should shoot your
your lenses, you should keep them spotlessly clean, selecting the optimum aperture tricky subject at the lens’s closest focusing
but what else can you do to ensure you get the best unless you’ve done a bit of testing. distance, then at a more ‘normal’
possible results? Read on to find out. Fortunately, that testing is pretty distance and then further away still.
easy, it just takes a little time. All you
50 need to do is photograph a flat Next, transfer your images to your
subject with plenty of detail (a brick computer and open each set, one at
wall is a classic example) at every a time, and view them at 100% so
focal length and aperture as follows: that you can compare the details.
Mount your camera on a tripod and Typically, you’ll see the sharpness
set it to ISO 100 or 200 to ensure increase as the aperture closes
you get the best possible image down. However, because of
quality. Then focus on the subject diffraction, the images shot at the
and, in aperture priority mode, smallest apertures are usually
photograph it at every aperture softer than those taken in the
setting using the self-timer or a mid-range. The aperture that
remote release. produces the sharpest results is the
‘sweet spot’.

www.amateurphotographer.co.uk