Amateur - Photographer 20.may.2017 FiLELiST

Saturday 20 May 2017
Canon EODS 800D

SLR gets dual
Canon’s top selling
TESTED pixel AF for fast live view focusing
Passionate about photography since 1884
Neighbourhood
watch
● Get better pics in your own patch
● See familiar places with fresh eyes
● Plan and shoot a local project
Billingham
Hadley One
Tested: a new version of
this classic British bag
Get more from

your Pentax
Tips and tricks to optimise
Recreate a your camera for every shoot
Duffy classic
How we reimagined a
beautiful ‘60s portrait
The iPhone killer Why Google’s Pixel is the new king of phone cameras

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COVER PICTURES © FINN HOPSON / ANDREW SYDENHAM
A week in photography
There’s a great expression we found on your doorstep. This issue’s cover
heard recently on AP – ‘pay feature helps you take better shots locally,
and display photography.’ This from planning a neighbourhood project to
refers to people who can afford shooting the very familiar in creative new
to jet off to exotic places and ways. Meanwhile, we put Canon’s powerful
then love to show off their images of the locals new SLR through its paces and reveal why
In this issue and associated beauty spots. Now, there is Google’s Pixel phone is (or should be) giving
12 Local heroes nothing wrong with heading to far-flung Apple and Samsung sleepless nights when it
We talk to three places if you have the cash, but you shouldn’t comes to camera performance.
photographers who have forget that great photographs can also be Nigel Atherton, Editor
found inspiration close
to home – with some JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
impressive results ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
18 The collective
unconscious ONLINE PICTURE OF THE WEEK
To coincide with his talk
at Photo London 2017,
© DAVID BALL
photographer Roger The Cuillin

Ballen reflects on his Window
controversial career
by David Ball
24 Classics revisited Canon EOS 5DS R, 16-35mm,
We revisit a sublime 1961 15 seconds at f/7.1, ISO 200
Brian Duffy portrait of the The Isle of Skye in Scotland is a
model Judy Dent popular haunt of landscape
28 Reader portfolio photographers for good reason. It is a
truly gorgeous location with so much
This week we highlight to offer. This is a superb example
Steve Oldfield’s images of from David Ball who uploaded this
the Norwegian landscape image to our Flickr page using the
30 Customisation hashtag #appicoftheweek.
secrets: Pentax ‘While on a recent trip to the Isle of
Skye, I decided to visit the fairy pools
Matt Golowczynski
where I noticed a cascade of
provides expert guidance
waterfalls that are rarely
on getting the most from
photographed,’ says David. ‘After
a Pentax menu system
exploring the area I noticed this
34 Location guide composition, which really caught my
Jeremy Walker takes a eye. I used the running water to
look at the picturesque frame the amazing backdrop of the
market town of Sherborne Cuillin mountains.’
38 Canon EOS 800D

This latest entry-level
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
DSLR is given a full

appraisal by Audley Jarvis
44 Google Pixel
Geoff Harris takes a look
Win! Each week we choose our favourite
picture on Facebook, Instagram,
Flickr, Twitter or the reader gallery using
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
at a new smartphone #appicoftheweek. PermaJet proudly supports

camera aiming to give the the online picture of the week winner, who will
iPhone a run for its money receive a top-quality print of their image on the
finest PermaJet paper*. It is important to bring
Regulars images to life outside the digital sphere, so we
encourage everyone to get printing today! Visit
3 7 days www.permajet.com to learn more.
9 Inbox
36 Accessories
49 Technical
Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
Support CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 9.
66 Final Analysis Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 9.
NEWS ROUND-UP
The week in brief, edited by Liam Clifford
© DAVID WATKINS
Winner of Spring into Action competition

The Society of International Nature and Wildlife Photographers
(SINWP) has announced David Watkins from Surrey as the winner
of its Spring into Action photography competition. His image,
above, of a kingfisher capturing its meal beat more than 300
images entered. He has won a 12-month membership to SINWP.
Gareth Norman and Gerald Leeper were named runners-up.
World’s fastest camera

Researchers in Sweden have created a
camera that shoots 5 trillion frames
per second. The Frequency Recognition
Algorithm for Multiple Exposures
(FRAME) camera is supposedly capable
of making light practically ‘stand still’
and of capturing events occurring on a
femtosecond scale. The previous
record was 1 trillion frames per second.
Joe McNally-inspired Ezybox Speed-Lite 2 Plus

Lastolite By Manfrotto has
announced the new Ezybox
Speed-Lite 2 Plus, developed in
partnership with photographer
Joe McNally. It measures
© MICHAEL TOPHAM
22x22cm and attaches directly

onto a flashgun, and features
McNally’s preferred white
interior. It costs £59.95.
GET UP & GO
Datacolor celebrates female photographers
© SIRKKA-LIISA KONTTINEN
HULL NEWCASTLE
Datacolor, a leader in colour management solutions, has launched
PhotograpHER, a campaign to celebrate women in photography.
The company wants to hear from women who are willing to share
their stories. A number of prizes will be up for grabs. The
competition runs until 31 May. See more at www.datacolor.com
© LAVINIA GREENLAW
Lomography Kickstarter
campaign Revisiting the Coal Coast
Lomography has returned to Kickstarter Sirkka-Liisa Konttinen’s photographs
with its Neptune Convertible Art Lens explore the ‘terrible beauty of Durham’s
System. This consists of a lens base Somewhere Becoming Sea coal-scarred coastline’. The wreckage of
with three interchangeable lenses, In this exhibition international artists work with the mining industry that defined a
3.5/35mm, 2.8/50mm or 4/80mm. The moving images and take a closer look at the culture lies strewn across its beaches,
aperture can be adjusted using drop-in ever-changing boundaries between land and sea. The discarded. Konttinen’s images document
aperture plates. Backers will save up exhibition looks at Hull’s long-standing prominence this detritus through a series of
to 45% on the $990 on-sale price. See as a gateway to the North Sea and beyond. beautifully strange images.
www.kickstarter.com. Until 17 June, www.humberstreetgallery.co.uk Until 8 July, www.amber-online.com
4 20 May 2017 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

BIG
picture
The Flying Scotsman –
unique images of the
classic locomotive
Ever since the Flying
Scotsman returned to steam
last year, it has been clocking up
the miles on a nationwide tour of
the UK’s mainline and preserved
railways. AP’s Michael Topham
couldn’t resist the opportunity to
go out and photograph the
locomotive in a slightly different
way during its recent visit to the
Bluebell Railway in East Sussex.
He put his light-painting skills to
the test to illuminate the legendary
steam engine in all its splendour
under cover of darkness as it
simmered away on shed. The
timing of the shoot couldn’t have
been better as it coincided with
AP testing Fujifilm’s new medium-
format camera, the GFX 50S.
Look out for the review in next
week’s issue. We will be publishing
Michael’s full story behind his
unique images of this celebrated
subject in upcoming issues.
Words & numbers
The most interesting things to see, to do and to shoot this week. By Oliver Atwell Essentially what
DEVON BRADFORD
photography is,
is life lit up
© JOSEPH GLOVER
© LINDA PEARSON
Sam Abell
© DAVID CLAPP
US photographer, b.1945
GLASGOW
An Interval of Time Landscape workshop Pinhole photography

SOURCE: GUINNESS WORLD RECORDS
846.07
An Interval of Time is the second This landscape workshop will take full Pinhole photography involves exposing
annual exhibition by the New advantage of the beautiful carpets of a piece of film using light filtered
Photographers Guild, a photographic wild bluebells and fabulous white through a small hole in a light-proof
mentoring initiative led by Elaine hawthorn trees that bloom at the end box. In Poetics of Light, more than 200
Livingstone, Claire Stewart and of May. There are beautiful rivers, photographs and 40 cameras are
James Pfaff in association with fabulous viewpoints and possibly misty brought together to tell the story of
Street Level Photoworks. forests to explore and photograph. contemporary pinhole photography. number of gigapixels in the
world’s largest panorama,
Until 11 June, 26-28 May, www.lightandland.co.uk/ Until 25 June, www.scienceand consisting of over 31,000 images
www.streetlevelphotoworks.org photography-tours mediamuseum.org.uk
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 20 May 2017 5

Venus Optics unveils
Laowa 7.5mm f/2 MFT
The Laowa 7.5mm f/2 MFT will be
available in silver or black Instagram
reaches 700
million users
INCREDIBLY popular
photo-sharing app
Instagram has reached a
milestone of 700 million
active users – and only
looks to be picking up
speed, after acquiring 100
million users in just over
four months.
It has been successfully
fending off the advances of
other popular photography
apps, such as Snapchat, by
taking its first steps into
live video, disappearing
messages and launching
daily ‘Instagram Stories’.
CHINESE lens manufacturer rings around the lens barrel. Despite its compact size, the lens In a blog post made by
Venus Optics has announced With an angle of view equivalent incorporates 13 elements the Facebook-owned
the Laowa 7.5mm f/2 MFT, a small to 15mm on full frame, the lens arranged in 9 groups, including two giant, Instagram wrote of
wideangle prime designed measures 50mm in diameter, aspherical elements and three its successes, ‘We’ve made
exclusively for Micro Four Thirds 55mm in length and weighs a mere made from extra-low dispersion it even easier for people
cameras. The lens, which the 170g in its standard version. Venus glass. The front element will be across the globe to join the
company revealed at Photokina Optics says it will also make a treated with the rather charmingly Instagram community,
2016, will be the widest-angle lightweight version with a further named Frog Eye Coating, which is share their experiences
rectilinear fixed focal-length optic 20g shaved off the weight, aimed at presumably designed to be water and strengthen
for the system, and features a providing new opportunities for repellent. According to Venus, this connections to their
46mm filter thread. Both focusing photographers who want to pair the optical design is built to minimise friends and passions.’
and aperture settings are manual, lens up with gimbals or drones to distortion and chromatic aberration
controlled by traditional analogue shoot even wider footage. as much as possible, while also
delivering good performance from
corner to corner.
Astro-photography shots
Venus Optics is no doubt hoping to
land the Laowa 7.5mm f/2 MFT,
with its wide 110° angle of view and
f/2 aperture, into the hands of
enthusiastic night photographers to
help them create impressive
astro-photography shots with ease
Subscribe to
– as well as providing customers
with a fast and wideangle option for
landscape photography and
low-light shooting.
The Laowa 15mm f/2 MFT will be
available in either silver or black, and
SAVE *
is available to pre-order from the
Venus Optics website (www.
venuslens.net). The standard version 36%
© TSE HON NING
will be on sale for £499, while the Visit amateurphotographer

lightweight variant will cost slightly subs.co.uk/12LK (or see p33)
With results like this, the lens will no doubt attract astro-photographers more at £519. * when you pay by UK Direct Debit

Last year’s winner
was Anthony Lau
with this incredible
shot of a horseman
in Inner Mongolia
New Books
The latest and best books from the
world of photography. By Oliver Atwell
© PRISCILLA BRIGGS
© ANTHONY LAU/NATIONAL GEOGRAPHIC TRAVEL PHOTOGRAPHER OF THE YEAR
Nat Geo competition Impossible is Nothing

By Priscilla Briggs
Daylight Books, £35.05, 116 pages, hardback,
now open for entries ISBN 978-1-94208-433-4
AS CHINA’S influence in the world
NATIONAL prestigious title of National travel photography is about expands, so must the make-up of its
Geographic is seeking Geographic Travel capturing and sharing that cultural and physical landscape. Over a
entries into its popular Photographer of the Year. curiosity with the world.’ period of six years, US-based
Travel Photographer of the There’s a further $750 There are three photographer Priscilla Briggs journeyed
Year competition, now and $500 up for grabs for categories – Nature, along the eastern seaboard of China in an attempt to
officially receiving the second- and third- People and Cities. While document the burgeoning intersection between
submissions until 30 June. place prizewinners. All there’s no limit on the Chinese society and Western values. This has largely
This year, photographers three winners will receive a number of images any resulted in a generation of Chinese people rejecting the
are challenged to show off year’s subscription to single photographer can ideology of the Chinese Communist society and instead
their most wanderlust- National Geographic enter, there is a $15 fee establishing themselves as a consumer class. With such
inducing shots from around Traveller. In addition, all per submission. a transformation on the cards, Chinese society is being
the globe. On top of a winning photos will appear The winner will have the reformed as something distinct from its preceding
$2,500 cash prize, the in an upcoming issue of opportunity to snorkel with years. Briggs’ images work especially well at capturing
overall winner of the the magazine. exotic fish, visit the Charles what this society in flux really looks like. We see the birth
contest will net themselves Writing about the Darwin Research Station of a new middle class, one that looks to mimic the West,
a 10-day trip for two to competition, National and explore the pristine even if it means going so far as recreating notable
the Galápagos Islands with Geographic editor-in-chief Galápagos Archipelago. Western landmarks. Ultimately, Briggs’ book shows
National Geographic George Stone said, ‘Travel Enter at www.natgeo. capitalism’s force as it penetrates new territories. More
Expeditions, as well as the is about curiosity, and com/travelphotocontest. than that, it shows the birth of a new era for China, and
as such is a fairly vital document. +++++
War photographer’s last moments Low Light and Night Photography

A DRAMATIC image has been naming a yearly award for the best in the By Neil Freeman
released by the US Army, capturing field of combat photography in her Crowood Press, £16.99, 144 pages,
the final moments of a war photographer’s honour – the Specialist Hilda I Clayton ISBN 978-1-78500-234-2
life, taken as she and four Afghan Best Combat Camera competition.
national army soldiers were killed during Low light and night photography is a
© US ARMY/REX/SHUTTERSTOCK
a live-fire training exercise in 2013. technique that is difficult to get right.

Combat photographer Specialist Hilda While the low-light capabilities of many
Clayton, 22, and an Afghan counterpart newer camera models are becoming
she was training were shooting a more adept, the photographer is still
mortar-use training operation when one required to have some understanding
of the weapons accidentally exploded of the best ways to utilise this technique. With that in
directly in front of them. The mind, Neil Freeman has produced this book to help
photographs were released through the budding night photographers. It provides ample
US Army’s Military Review journal, with coverage of the subject, ranging from the simple, such
the permission of Clayton’s family. as your camera’s functions and features, to the slightly
Her unit has commemorated her by Clayton’s camera caught the fatal explosion more advanced such as histograms and digital
manipulation. Low light and night photography is a
For the latest news visit www.amateurphotographer.co.uk thoroughly satisfying trick to pull off, so any help and
guidance is much appreciated. +++++

Viewpoint In next week’s issue
David Healey On sale Tuesday 23 May
© JEREMY WALKER/DAVID NOTON/ROSS HODDINOTT

Modern digital cameras often feel and handle
like earlier film cameras; might a camera or lens
manufacturer now go one stage further?
‘J
ust hold a Pentax’ was a An updated Canon EOS 30 would take
memorable SLR advertising modern EF lenses. Intriguingly, Fujifilm has
slogan of the 1970s. Most made a virtue of its X-series looking and
photography students from handling like rangefinder film cameras (I
then on held one Pentax in particular: the have an X100), yet if a lens’s covering
Pentax K1000. This manual, uncluttered, power is great enough to cover an APS-C
mechanical, robust 35mm SLR lacked only sensor, it could cover a 35mm half-frame
the near-essential depth-of-field preview format. So, anyone for a new half-frame
button. Some three million were made. that takes X-series lenses?
College, university and school
photographic departments bought them, Strategic move
and many would like a modern equivalent. And what if Pentax were to offer its
You can find them second-hand, still K-1 buyers a full-frame film camera as
working (but beware cheap lookalikes), as well, taking the same lenses? That would
you can the ever-robust Mamiya RB67 that be a strategic move, as well as building
introduced many a student to medium- brand loyalty and enabling all those
format’s quality. There was also the Nikon K-mount lenses to work again. Its parent
FM and Minolta, as well as Canon’s own firm, Ricoh, could use its copier expertise
equally significant equivalents – all of
which shaped modern DSLR design.
I recently sold some film SLRs on eBay,
primarily to young buyers. Research
to produce high-end film scanners for
photographers who shoot film and scan.
Pentax, too, is the only DSLR
manufacturer that offers crop-sensor,
Cheap
shots
confirms my experience: young full-frame and medium-format cameras,
photographers are enjoying film, and want so reintroducing a 6x4.5cm-format film
quality film cameras, not because of SLR to use the same lenses as fit the
nostalgia but because they want to learn. 645Z would be so logical.
Many Lomo users want to move on. Film brings discipline to imaging: only
So who will be far-sighted enough to 12 or 24 shots in which to get the shot. 28 ways to keep costs down
introduce a new film SLR? There would Film’s unique look, creative possibilities
be challenges: estimating demand, and the skills required to make it work can – by AP readers and pro
ensuring a large enough production run make future generations better photographers
for it to be affordable, ensuring simplicity, photographers. I hope the industry will
and re-engineering designs to work with advance the cause of photography and
© MICHAEL TOPHAM
electronically controlled lenses. Nikon photographic education with new film
even still makes some manual-focus cameras. Or does the young
lenses, so how about an FM3M? photographer have to resort to a used
1977 K1000 from eBay?
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
David Healey ARPS tutors photography at

King Edward VI Aston School, and is chairman of
the RPS Analogue Group.
Fujifilm GFX 50S review

Does Fuji’s foray into the digital medium-
format market live up to expectations?
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
Canon EF 70-300mm f/4-

5.6 IS II USM review
Three SLRs (clockwise from top): Nikon FM, Pentax A major update to this mid-range zoom
K1000, and the more advanced Pentax K-m
Fifty years of Rolling Stone
Do you have something you’d like to get off your chest? Send us your thoughts in around We celebrate half a century of iconic
500 words to the address on page 9 and win a year’s digital subscription to AP, worth £79.99 rock photography

Inbox
Email amateurphotographer@timeinc.com and include your full postal address.
Write to Inbox, Amateur Photographer, Time Inc. (UK), Pinehurst 2, Pinehurst Road,
each round as much as possible
– Nigel Atherton, editor
Happy customer
I found several parts of the 6 May
issue riveting. I have shot raw files
ever since making the transition
from film, and ‘Shoot Raw Now’ is
C
D E
Farnborough Business Park, Farnborough, Hants GU14 7BF the sort of detailed, useful, gutsy
material that AP is really all about. B
The same can be said about
LETTER OF THE WEEK ‘Lightroom Tips: Sharpening and In AP 6 May,
Noise Reduction’. Since starting to we asked…
Tripod use Fujifilm X-series cameras, I
have been working with Adobe Have you ever bought
tribulations
I have just been re-reading the
Lightroom, and AP’s ongoing
Lightroom tips are very useful.
Oliver Atwell also looked at the
secondhand equipment?
You answered…
‘Lose Your Tripod’ issue (AP, upcoming Photo London. So,
A Digital camera 43%
1 April). The only times I have please can we have some further
damaged any of my camera features on some of these B Film camera 15%
equipment in more than 50 photographers? For a start, Laura C Lenses 31%
years of dabbling with Pannack’s pictures of the world’s
D Accessories 5%
photography occurred when youngsters, Roger Ballen’s
I was using a tripod. In the late haunting images, and Martin Essi’s E I never buy secondhand 6%
1980s at Loch Lomond, my ‘Le Chateau Rouge’ series?
tripod, with my cherished Adrian Lewis, Bristol What you said
Pentax MX mounted on top, ‘I try, where possible, to buy
keeled over while my back was Your wish is granted. Turn to everything secondhand. Why pay for
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
turned. It hit a rock, and the page 18 for a feature on Roger the depreciation when plenty of others
camera’s top-plate and shutter write-off. After the second Ballen – Nigel Atherton, editor are willing to do it for you?’
speed dial were damaged. episode, I decided not to use a
Then at Coniston Water in tripod again, and I never have. Lensbaby ‘All my cameras and most of my lenses
are secondhand. Accessories not so
the late 1990s, the same As far as I am concerned, In AP 24 September 2016 in
tripod, this time with my Pentax tripod is an acronym for ‘Bargain lenses under £200’ the
much, because I’ve usually found the
MZ-5 on top, fell over and the Toppling Rapscallion Inflicts Lensbaby Spark received a
savings are not worth it.’
lens copped it against another Potentially Odious Damage. paragraph and recently I saw some ‘I bought a Canon EOS 5D Mark III
rock. The MX was repaired, but Douglas Thomson, online reviews praising the quality bundle with three kit lenses and a
the lens on the MZ-5 was a Edinburgh of a couple of Lensbaby optics. I’ve shed-load of accessories from an eBay
never seen a feature about the seller in the US. It all worked perfectly,
specialised manual focus optics and there was no delay in delivery.’
Win! The EVO Plus microSD Card has

added memory capacity and
multi-device functionality. This UHS-I Speed Class 1 (U1)
and Class 10 compatible card is perfect for capturing
produced by Lensbaby or other
manufacturers such as SLR Magic.
Are these considered too ‘niche’
or frivolous for a future issue?
Tina Edwards, London
‘Mostly, no. I find that the rate of
change makes new digital camera
gear more appealing than older kit.’
‘I buy from a local retailer, or carefully
photos and video recording. www.samsung.com selected eBay sellers. I have had a few
Lensbaby lenses are great for mini nightmares (lightmeter not
conveying emotion. If you working in one camera, wrong item)
Amateur or pro? the crowd vote should be embrace the imprecision and but it’s a small price to pay. Literally!’
Now that AP is using Photocrowd included in the overall winner. lack of control you can achieve
as its new platform to enter APOY, D, via email very creative effects. As you ‘Nearly all my lenses and bodies have
I have a few concerns. Are some suggest, Tina, we will be been used. The cost of new equipment
of the entrants being as honest as This has always been a difficult covering the subject soon – is prohibitive in the UK compared to
they should be with regards to issue to police because the Tracy Calder, technique editor Europe and the US.’
their professional status, and are photographic landscape is more ‘Just bought a Yashica Minister III from
AP checking this? When a £1,000 complex than the simple binary 1963 and it works perfectly.’
carrot is dangled in front of some pro/amateur status. There are
people it may tempt them to not many photographers earning Join the debate on the AP forum
be so honest despite ticking the some income from photography
box. I have been looking at a who have a day job, and others This week we ask…
number of the pictures entered who call themselves pro’s for
and made a few background the kudos and who have no Would you be interested
checks myself, and I’m suspicious other job, but who actually in buying a brand new
about a few as they advertise
themselves as professional
don’t earn enough to live on,
and rely on other people or
film camera?
photographers on other websites sources of income. We will be Vote online www.
and their own. Also, I don’t think checking up on the winner of Lensbaby lenses are fun amateurphotographer.co.uk

© DAVE FIELDHOUSE PHOTOGRAPHY
David
In the
Fieldhouse is
a landscape
photographer
bag
based in
Staffordshire.
He is a regular contributor
to a number of magazines.
Visit his website at
www.davefieldhouse
photography.com This seascape was taken at Elgol on the Isle of Skye
6
5
2
Fujifilm X-T2 compressing the landscape. The Selection of filters Although I haven’t yet had to change
teleconverter simply doubles the memory cards halfway through a shoot I
1 This was purchased as a light
alternative to my DSLR kit for long range of the lens for when I want to get
I use filters a lot less since
4 acquiring the Fujifilm but if there’s always carry a spare just in case.
walks or wild camps. Having been blown even closer. This saves carrying an room, I like to have them with me. I tend
away by the image quality and usability extra lens, while only sacrificing a to only use the Big and Little Stoppers Cleaning cloth/blower
couple of f-stops.
of the camera it soon became my number
one choice. I have since sold all my DSLR
for coastal work, but the polariser can be
useful in a number of situations, and 6 There is no point spending
hundreds of pounds on equipment
kit to buy more Fujifilm equipment. Fujinon 16-55mm f/2.8 R LM WR really comes into its own in the autumn. and then shooting with a dirty lens. I try
The 16-55mm is a great everything to keep my gear clean and
Fujinon 50-140mm f/2.8 R LM IOS 3 wideangle lens and is fitted to Spare batteries always pack a couple of glass-cleaning
WR and Teleconverter XF 2X TC W my camera most of the time. It’s perfect I find that the Fujifilm does get cloths and a blower.
for capturing wide vistas and at f/2.8 5 through batteries quickly, so it’s List of kit Fujifilm X-T2, Fujinon 16-55mm f/2.8 R LM WR,
2 Although this is a heavy lens, it
oozes quality. It is ideal for picking it’s very quick, which makes it ideal for worth having a few spare in your bag Fujinon 50-140mm f/2.8 R LM IOS WR & Teleconverter XF 2X TC W,
out details from a distance, or for handholding in poor light. (especially during the colder months). selection of filters, spare batteries, cable release, cleaning
cloth and blower, hand warmers, map, flask and food.

IN ASSOCIATION WITH
Fujifilm’s AF-C
Custom Settings
© WUNDERVISUALS
We show you how to
use the new Continuous
AF Custom Settings
feature on Fujifilm’s
X-T2 and X-T20
F
ujifilm introduced a new feature
called ‘AF-C Custom Settings’ in the
AF/MF Setting page of the X-T2’s
menu designed to help you tailor the
response of the autofocus system to suit specific
subjects or shooting conditions. It’s proved a
popular addition, and has subsequently been
included in the X-T20’s feature set. AF-C Custom Settings
Both cameras have five preset AF-C Custom are designed to help the
Settings – Set 1 Multipurpose, Set 2 Ignore autofocus system
Obstacles & Continue to Track Subject, Set 3 respond to specific
shooting conditions
For Accelerating/Decelerating Subject, Set 4
For Suddenly Appearing Subject and Set 5 For
Erratically Moving & Accel/Decel Subject. Each shooting a team sport when other players Using the AF-C Custom Settings
option sets specific settings for three focus come between you and the subject. The AF-C Custom Settings are selected via the
tracking parameters, Tracking Sensitivity, Speed AF/MF Setting page of the menu. Before
Tracking Sensitivity and Zone Area Switching. Speed Tracking Sensitivity making a selection it’s a good idea to give a
Speed Tracking Sensitivity controls how little thought to your subject and surroundings.
Tracking Sensitivity sensitive the tracking system is to changes in In many instances Set 1 Multipurpose will
Tracking Sensitivity determines how long the the speed of the subject. The higher the value, serve you well, but you may get a higher hit
camera waits before adjusting focus when the more the camera will attempt to respond rate in some situations with the others.
another object enters the focus area. The to sudden changes in speed. However, the If you’re panning in an area with trees or street
higher the number, the longer the camera will camera will have more trouble than usual with lamps, for example, Set 2 Ignore Obstacles &
wait. A high value could be useful when low contrast or very reflective subjects. A high Continue to Track Subject may be a good choice
value is useful for subjects such as wildlife that to keep the camera focused on your subject.
© FGORGUN
can move and change speed quickly. Set 3 For Accelerating/Decelerating Subject
is a good choice for motorsports or races
Zone Area Switching where the subject is likely to slow into a corner
Zone Area Switching only takes effect when (for example) before accelerating away.
Zone AF mode is selected and it sets the focus Set 4 For Suddenly Appearing Subject is
area that is given priority within the selected useful when you don’t know when or where a
zone. There are three settings; Center, Auto subject will appear - perhaps if you’re waiting
and Front. When Center is selected the below the brow of the hill or further round the
camera prioritises objects in the centre of the bend in a race.
zone while in Front it gives priority to the Set 5 For Erratically Moving & Accel/Decel.
subject nearest to the camera. Auto locks focus Subject makes a good choice for wildlife,
Speed Tracking Sensitvity is useful for shooting on the subject at the centre of the zone but especially birds in flight as they move randomly
subjects that move and change speed quickly switches focus area as necessary to track it. and with varying speed.

Technique
Local
heroes
If you’re stuck for a photo project idea look no
further than your own neighbourhood. Here three
photographers show us what’s on their doorstep
30 of these shops in and around London.
They hold the memories of a largely
Pie and mash undocumented working-class culture. In
decline, they are however still recognisable
– serving warm comfort food. Steam. Tea.
T
he Englishman and the Eel is a Laughter. In Essex, the East End’s new
journey into the culture of that spiritual home, they are undergoing
most London of institutions, something of a renaissance – identifying
the eel, pie and mash shop. In as they do with a reimagined and distilled
a sense it follows on from my last book, working-class culture that’s geographically
The Palaces of Memory, which was about separate from its traditional roots.
the forgotten spaces of the Indian coffee
houses – my shelter during 20 years of Talk, listen and wait
working and sometimes living in India. The execution of the project was relatively
The palaces reminded me of my own straightforward. The resulting book is not In terms of execution of the work, I do
past growing up in Hackney in the 1970s encyclopaedic, rather I wanted to record what I usually do – talk, listen and wait.
and, after spending much of my working the most interesting culture of the places. The key to good reportage is time and if
life in the developing world, I wanted to I extended the work outwards, shooting you spend long enough, good images will
re-explore this. eel fishing in Lough Neagh in Northern come. I don’t think anybody refused to
Eel, pie and mash shops, along with Ireland as well as two of the remaining eel have their picture taken and I captured
rough pubs and greasy spoon cafes, were processors in London. I also wanted to customers and staff going about their daily
the landmarks of my upbringing and I felt explain the changed landscape by lives. In terms of narrative, I decided early
it would be interesting to document a including East Enders too frail and elderly on to document the rhythm of the day,
culture I grew up in but travelled away to get to the shops. I photographed them from opening up to closing, ensuring that
from. I’ve photographed and written about at home, with the food brought to them. I had a comprehensive list of images but
ALL PICTURES © STUART FREEDMAN
At Arments Pie and Mash shop they use an old family recipe The customers at Arments Pie and Mash shop span generations

Stuart Freedman
Stuart Freedman has been a photographer for more than 25
years, covering stories from Albania to Haiti. His work has been
featured in many high-profile titles including The Sunday Times Jason Patterson starts his
and Newsweek. In 1999 he was selected for the Agfa Young day at Maureen’s Pie and Mash
Photojournalist of the Year. Visit www.stuartfreedman.com. shop in Poplar, East London
leaving enough space for serendipity. It but I’ve always tried to pitch editors was that that made me realise how
was a simple matter of observing the ebb stories that I feel are important, and that significant the shops were and how they,
and flow of daily life and those moments speak to me in some way. When I left and the eel in general, – rare, endangered
that were both interesting and banal, and university in 1989 (I did a politics degree, but surviving – could be used as a
making the best images that I could. nothing to do with photography) one of metaphor for both the culture that I come
I shot the series with two cameras and the first places I photographed to try and from and my own journey.
two lenses – a Leica M-240-P and f/1.4 build a portfolio was the (now closed) local
35mm Summilux lens and a Canon EOS pie and mash shop I’d grown up with in To back Stuart’s crowd-funding campaign to produce a
5D Mark III with a 50mm f/1.4 lens. Dalston. Years later in 2011, I pitched beautiful limited edition book of this project visit
I’ve spent much of my career as an (successfully) a story to a German Kickstarter.com and search ‘The Englisman and the Eel
assignment photographer for magazines magazine about the shop’s culture and it - London’s Eel, Pie & Mash shops’.
A joyous exchange at The Heath Pie Shop in Dagenham, Essex Scaffolder Joe eats lunch at Robins Pie & Mash shop in Southend-On-Sea

Finn Hopson
Landscape photographer Finn Hopson has spent the past seven
years shooting his local surroundings in Brighton and the South
Downs National Park. In 2014 he opened the Brighton
Photography Gallery opposite Brighton’s West Pier. You can see
more of his work at www.brightonphotography.com and find
him on Instagram and Twitter as @finnhop.
storms affect the amount of sand that’s

revealed at low tides (yes we have sand in
Beside the sea Brighton, we just keep it hidden under the
sea most of the time). I’ve learned more
about the migration patterns of starlings
I
grew up in Brighton, and when and when and where they like to
I began taking photographs on murmurate each evening in winter. I have
the beach I had a notion that this a much better sense of where the sun will
was in some way just ‘practice’ for be rising and setting in the sky throughout
the more serious photography projects the year, and how this plays into the light
I would get round to starting one day. A we get on the beach, and I have a much
little while later it came as something of a better idea of how the local weather will
revelation to realise that this had become affect the kind of shots I can get. I also
the project, and that a small body of work learned exactly where the biggest waves
was beginning to emerge. Significantly, will land on you if you stand in the wrong
I was more inspired by this most local of place on the Palace Pier in a storm! You
landscapes than I had been by any of the don’t forget that in a hurry. I’ve also met
other places I had attempted to shoot. all sorts of interesting characters. My
The huge bonus of embarking on a local fellow locals are a goldmine of useful
project like this is continual access to the information, ideas and opinions. All of
subject matter. Before even picking up a which is feeding back into creating work
camera I had years of experience of living that I hope is more than just pictures.
here to draw on. Locations were familiar,
access was simple and there was more Reaching a wider audience
than enough variety to keep me happy for In 2014 I used some local exhibitions of
years. Sounds great, but my familiarity these images as a springboard to open my
with it can occasionally make it feel like own gallery, which is rather conveniently
I’m stuck in a bit of a rut. The real located right on the beach where they were
challenge is keeping myself inspired by taken. This has proved a fantastic way to
trying to capture the familiar in an show this project to a bigger audience,
unfamiliar way, to use the ever-changing which is made up of both locals and
weather and light to my advantage, and tourists alike, and listen to what they have
give the viewer a sense of the place that to make of it all. The variety of
can only be gained by spending an awful conversations that can begin with one of
lot of time here. the pictures is astonishing and keeps
adding to my list of ideas for images I’d
Time and tide like to add to the project. Having started
Along the way I’ve discovered all sorts of this project by accident, I’m starting to
things about my home town that I had realise that I may not ever finish it either. The sand in
previously taken for granted. I’ve had to In fact it may only be ended if I cease to be Brighton is hidden
under the sea most
learn more about the tidal range across a local, and I hope that’s not something of the time
the year and the way in which winter that will happen any time soon.
ALL PICTURES © FINN HOPSON
Seafront reflections and some structural remains of the West Pier A swimmer’s-eye view of the West Pier taken with a waterproof camera

NEIGHBOURHOOD PROJECTS Technique
Learning about the migration patterns of starlings helps Finn plan pictures If you stand in the wrong place during a storm you’ll soon know about it!

Portrait of an artist
M
uch of my personal work
is based around my
experiences of living and
working in East London.
A few years ago, I became interested in the
workspaces of Hackney, especially those
used by people in creative industries. I met
a girl, Isobel Webster, at a market stall.
She looked like a Pre-Raphaelite goddess,
her red hair falling over her technicolour
catsuit. I asked if I could photograph her in
her studio (see below) so that I could see
the tools of her trade and what she was
making, and she agreed. Clues to her craft
were scattered all around her space: a gold
bike helmet stashed on top of a cupboard,
swatches of fabric and a stack of patterns.
At the end of the session, I felt energised
and wanted to do it all again. I invited
Isobel to suggest someone to photograph,
someone she found inspiring – someone
she wanted to celebrate. She took me to
Louise, who took me to Alex, who took me
to Anna. And that’s how it all started.
Authentic family tree

Having the sitter suggest the next subject
meant I didn’t have to cold-call anyone.
The names tumbled on for four years, and
I became addicted to the process. I loved
the way it was self-curating; I didn’t have
any control over the nominations. Each
person was free to drive the project in
whatever direction he or she felt was
important. Also, given that each subject
had been nominated by one of their
colleagues, an atmosphere of trust was
forged. The result is an authentic family
tree of Hackney creatives, rather than a
selection chosen by an outsider. Inevitably
the rules were sometimes broken, and if
someone suggested two people the family
tree would branch off. Very occasionally a
thread would come to a natural end when
no name was offered up.
ALL PICTURES © JENNY LEWIS
Isobel Webster, fashion designer, Hackney Studios Dan Holliday, artist, Hackney Studios

NEIGHBOURHOOD PROJECTS Technique
Being an artist is not all about being a
Jenny Lewis success or being established. Some of the
Jenny Lewis moved from Essex to Hackney almost 20 years ago, most creative people you know are the
via a spell at Preston University where she acquired a degree in ones who are brave enough to follow their
fine art. Since then, she has made her living as an editorial own path. They have an integrity that
photographer, but continues to pursue a range of personal means they don’t care if their stuff is being
projects. Visit www.jennylewis.net. sold or seen, but they can’t not make it
because it means so much to them. I really
wanted the nominations people made to
come from the heart. The threads of
loyalty and inspiration connecting people
to one another was heart-warming; fine
artists would nominate their assistants,
students their tutors and designers would
nominate performers. The usual art world
hierarchies didn’t seem to apply here; the
selections had humanity and a personal
history giving the series a soul.
Sense of community
Each setting was fascinating: I would be
given a name, and then I would look them
up, and a few days later I would be in the
space where they worked. Rather than a
cold starting point, with no connection, it
became a really warm discussion about
their relationship with the person who
nominated them, their work, and our
community. I’ve lived in Hackney for
25 years, so it felt like I was allowed to be
there. After many conversations, certain
themes began to emerge about the
gentrification of the area, the evictions
and the lack of affordable studio space.
Cities seem to demand change with little
regard for individuals, punishing those
loyal inhabitants who have seen it through
rough times when no one else was
interested. What is happening in Hackney
is not unique – it’s being repeated in cities
the world over.
As much as I wanted to investigate all of
these individuals, it was almost like I was
trying to find my place in the community
– I wanted to figure out who I was and
how I fitted in. I was trying to find my
tribe and to feel more connected.
Fred Butler, accessories
designer, Hackney Studios Jenny’s book, Hackney Studios, is published by
Hoxton Mini Press.
Prop and accessory maker Rosy Nicholas, Hackney Studios Kevin Francis Gray, sculptor, Hackney Studios

CREATIVE PHOTOGRAPHY
The
collective
unconscious
Sometimes a little self-reflection goes a long way. On the eve of
his talk at Photo London 2017, photographer Roger Ballen
reflects on his controversial career. He talks to Oliver Atwell
O
f all the photographers a photographer who, at the in retrospect that I can look back at
who have passed earliest stages of his career, often my reaction and realise that my
through culture’s found himself accused of exploiting horror of it was inspired by my own
gates of consciousness marginalised and mentally inability to face a photographer who
in the past few decades, only a unstable South Africans in order was utterly untroubled by plunging
few have been known for their to create sensationalist portraits in into his own subconscious.
ability to raise the hackles of the books such as Platteland, ‘People don’t want to talk about
audience. Photography has often Shadow Chamber and Boarding the dark recesses of their mind
found itself subject to accusations House. However, there’s an because they’re scared of their own
of exploitation, whether that argument to be made that this tired thoughts and feelings,’ Roger tells
exploitation occurs within the – almost clichéd – condemnation of me from his office in Johannesburg.
context of blasphemy, pornography Roger Ballen’s work is something of ‘This is what a lot of members of
or, most commonly, taking a smokescreen. society have, unfortunately, done to
advantage of those who may not be In my own experience, when I themselves. But look, I don’t take
in a position to judge whether or not first saw Ballen’s work some years pictures with a preconceived
they should be photographed. ago, it caused me look away, to formula that I imagine might
In the case of Roger Ballen, he’s almost attempt to ‘unsee’ it. It’s only unleash the subconscious mind of
the next person. If I start with a
‘Apprehended’ premise at all, it’s that I want to
2005, from take pictures that challenge me and
Boarding House open me up to my own mind. If the
pictures do that for me then I feel
confident enough to let them out
into the world, and it would appear
the nature of my pictures does that
to other people. I hear that a lot, so I
guess it’s true.’
It would be easy to imagine
Ballen as a foreboding character,
emanating surly growls and
nihilistic proclamations. In fact,
quite the opposite is true. He is
patient, open and generous. It’s a
strange prejudice we have about
the kinds of figures who create
work that some would find
uncomfortable. There’s something
in that. Some artists create images
that explore those facets of our
mind that we would like to shy away
from. But through an honest and
ALL PICTURES © ROGER BALLEN
open approach to what makes them

human, they are able to confront
‘Waif’ 2012, from Ballen’s latest project

The Theatre of Apparitions

‘Ghostriding’ 2011, from The Theatre

of Apparitions
the shadowy realms that sit behind

consciousness and get a well-
rounded perspective on what it is to
be alive in the world. Once you’ve
confronted and accepted that,
you’re left with a pretty optimistic
and balanced perspective on life.
Down to earth
It may surprise you to hear that
Ballen’s background isn’t exactly in
photography. Apart from his
mother’s influence, he has received
no training in the art. In fact, for
years Ballen worked as a geologist,
hence his move from New York to
Johannesburg in the 1970s. There’s
an interesting metaphor there.
Ballen spent years plunging his
hands into the dark soil of the earth
and has now become known as a
photographer who spends his time
diving into the shadowy spaces of
the subconscious.
‘It’s so difficult to know exactly
what influences your aesthetic,’ he
says. ‘You have things that influence
you in certain ways, but you don’t
know how it affects your pictures.
The human mind is made up of
billions and billions of brain cells,
and how they all interact to create
what you generate as an artist is
really hard to understand. You
could easily make metaphors if we
take the example of geology, where
you’re looking at the earth for
minerals and you’re trying to pierce
below the surface. When I
work with my subjects, I’m

trying to get beneath the Right: ‘Haunted’

2012, from The
surface. We can also use Theatre of
analogies such as that my pictures Apparitions
are layered like sediments.
Ultimately, I’d say the most
important thing about being a
geologist was that, because of the Far right: ‘Take Off’
2012, from Asylum
financial stability, I was able to do of the Birds
all my pictures for all those years. I
was able to continue being a
photographer artist because I had
another source of income.’
Ballen may not necessarily see it
this way, and I know a lot of readers
certainly won’t, but there’s
something almost child-like about
his images. They’re totally
expressive in the use of props and
the use of drawings. There’s a
primitivism to them. He is allowing
his mind to express itself no matter
the result. In a sense, he’s getting
out of his own way; he’s not
over-thinking it. Ballen has often
mentioned the Swiss
psychotherapist Carl Jung – an
individual who was very attached to
the idea of sometimes reverting
back to an almost childlike
approach to the world. Themes
recur time and again in Ballen’s
work: wires, animals, drawings,
interiors that seem to verge on the
threat of collapse under the weight ‘Feeding’ 2012,
of their own tension. But, as Ballen from The Theatre without the form of the image. prepared when I get to the location.
says, all of these would be nothing of Apparitions ‘I’m basically a formalist,’ Roger I don’t have anxieties about it.
explains. ‘I find most photographers When I get there, I’m mentally and
in the history of photography and emotionally focused on what I’m
contemporary photography never trying to do. It’s like a good athlete.
talk about the form of the picture. A good athlete is not nervous or
In painting, people are very tense. If he or she is, they’re not
concerned about the form, and for going to do well.’
me you have no content without it.
It’s like if you’re a good writer or People person
poet: every word means something. ‘The one thing you really have to
Very few people in photography take into account is that since 2002
think this way, and that’s why so there are hardly any portraits
much of photography is so sloppy among my photographs,’ Ballen says
and doesn’t have much impact. when I press him on the accusations
‘It’s like a human body or anything of exploitation in his work. ‘A lot of
in nature. Everything in nature is the images feature animals,
there for a reason. For me, a drawings, installations and complex
photograph is the same. If there’s relationships between the space and
one thing that doesn’t work, the subjects. One should be aware that
whole thing falls apart. It’s like the concept of portraiture and the
having a cancerous cell.’ human subject being the subject has
That idea of facilitating an organic not been the focus of the work for
process is perhaps key to Ballen’s the past 15 years.
work. It’s how he can create work ‘But, also consider that you
with such confidence. It’s how he couldn’t do what I did for all these
can deal with subjects that other years unless you have a terrific
photographers, even audiences, may relationship with the people being
choose to shy away from. photographed. If I didn’t have a
‘I believe that I have everything in great empathy with the people,
my mind that I need to have in my believe in what I was doing and feel
mind,’ he explains. ‘I’m like a lion a friendship and warmth, then it
– they have everything they require would be impossible to do anything.
to give them what they need to do in That must tell you something about
their life: they have to hunt. I’m how much the people like and

RUXNNXING HEXAD
respect me. And I feel the same another way of working with ‘The moment I started to
towards them. It has to be a drawing and photography. mix these paints together on the
win-win situation, otherwise things ‘During the time I was shooting glass, I started to get all these
would never happen.’ the Shadow Chamber book, which cracks and the chemistry. It was
Ballen’s most recent body of work was published in 2005, I was in a unexplainable. I got different
takes this removal of the human women’s prison in Johannesburg,’ formal relationships of these
subject to the extreme. The Theatre says Ballen. ‘One of the cells had materials. The way the paint
of Apparitions has been years in the drawings on the blacked-out cracked opened up the aesthetic of
making and was, in fact, made in windows and the glass had a the work. That was the decisive
the same period as his two books strange luminosity to it. The Roger Ballen is a New moment of the project.’
Boarding House and Asylum of the drawings had a ghost-like, York-born photographer Up next is an onstage talk at this
Birds. These newest images are an metaphysical feeling to them. This living in Johannesburg, year’s Photo London. He’ll be in
intriguing departure for Ballen, was quite an amazing experience South Africa. He has conversation with Mark Lubell,
who has produced a series of for me. I took a picture and that published several books executive director of the
unusual images painted onto glass. ended up in Shadow Chamber. At and has been called one International Center of
The images feel almost like cave the same time, I was working in a of the most influential Photography. Then, in early
paintings or fossils. There’s warehouse with a lot of windows, September, Thames & Hudson
photographers of the
something archetypical about them. so I started experimenting with will be releasing a weighty volume
In 2002, drawings started to play a some pictures. The project lasted
21st century. To see more called Ballenesque, which will get to
big role in Ballen’s images. By the about eight years and it kept of his work, visit www. the heart of just what that term
time he began The Theatre of metamorphosing all the time into rogerballen.com. means. It’s certainly a distinct
Apparitions, drawings had already different imagery and aesthetics. He will be presenting aesthetic and one that requires
established themselves as All these pictures were all taken on a talk at Photo London careful analysis. With any luck it
something important in what he glass windows with a 6x6 and on 20 May. www. will create a few converts for
was doing, so for him this was eventually 4x6 camera. photolondon.org the pro-Ballen camp.

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Technique
Classics Revisited
Judy Dent
By Brian Duffy
We recreate Brian Duffy’s
portrait of Judy Dent taken on
Westminster Bridge in 1961
for a Vogue fashion shoot
B
rian Duffy is best assistant to learn the trade. In
known for his 1957 he landed a job at Vogue.
portrait and fashion It was a turning point in his
photography of the career. Duffy shot many
sixties and seventies. He was popular models during his
one of three photographers, time at Vogue, including
alongside David Bailey and Jean Shrimpton, Joy Weston
Terence Donovan, who broke and Judy Dent. In 1963 he left
the mould of traditional the magazine to set up his
fashion photography. Society own studio.
photographer Norman Duffy was a regular
Parkinson called them the contributor to The Sunday
Black Trinity, and The Sunday Times magazine, The Telegraph
Times dubbed them the magazine, The Observer and
Terrible Trio as they broke Harpers & Queen. He also
all the rules and became worked for French Elle and big
celebrities, often better known advertising clients such as
than many of their sitters. Pirelli and Benson & Hedges,
Brian Duffy was born in to name but a few.
London, in 1933 to Irish However, he is perhaps best
© ANDREW SYDENHAM
parents. After a rather known for his portraits of

troubled childhood, he many famous faces including
gravitated to the arts and in John Lennon, Michael Caine,
1950 joined Saint Martin’s Arnold Schwarzenegger, David
School of Art to study Hockney and Nina Simone. In
painting before switching to 1971 he designed and shot
dress design. He later worked David Bowie’s famous Aladdin The original
for various designers before Sane album cover.
leaving to freelance for
Harper’s Bazaar as a
In 1979 it was believed that
he suffered a breakdown,
Judy Dent
fashion artist. which led him to attempt Brian Duff y, 1961
It was at this time that he burning his archive in his We don’t know much about Judy Dent but there are lots of
discovered photography, from garden. Luckily, the local images of her online suggesting she had a busy modelling
studying the contact sheets council intervened and many career in the sixties. On the other hand, Brian Duffy took the
that passed through his hands. images were saved. In May decade by storm and revolutionised fashion photography.
He decided to become a 2010, Duffy died of pulmonary While little has been written about this portrait, we know it
fashion photographer’s fibrosis, aged 76. was taken during a fashion shoot for Vogue.
Fashion in the swinging sixties underwent big changes.
Previously the preserve of wealthy and mature women, it
‘In 1979 it was believed he suffered a became far more accessible to younger people. Duffy was
© DUFFY ARCHIVE FL
breakdown, which led him to attempt one of a group of prominent photographers who transformed
the pages of Vogue and Elle as fashion became more
burning his archive in his garden’ widespread.

Our version
To recreate this Duffy image, we
went back to the location where it
was originally shot on Westminster
Bridge in London. We tried to
emulate the pose of Judy Dent,
and positioned our model on the
left-hand third, similar to Duffy’s
composition. As we were
shooting on a busy bridge, using
lights wasn’t an option. Instead
we made the most of the natural,
diffused light to capture a similar,
subdued atmosphere like the
original. We used a reflector to
bounce a bit of light back into the
scene to lift the shadows.
FURTHER READING
Duffy Duffy Bowie: Five Sessions Duffy: The Man Who
ACC Editions, 2011 ACC, 2014 Shot The Sixties
Published a This book by Linda Brusasco, 2010
year after his showcases
death, and Duffy’s photo
with the full shoots with
cooperation David Bowie,
of the Duffy including previously
archive, this book takes a unpublished images. It An hour-long special
look at Brian Duffy’s career as documents Bowie’s career documentary with Brian Duffy,
one of the best known British and reinvention, as well filmed on the eve of his first
fashion photographers of the as revealing Duffy’s ever exhibition. He speaks
1960s and ’70s. Throughout relationship with the artist about his work, life and career
his career he revolutionised over almost a decade as they as a fashion photographer and
fashion photography and collaborated on a number of his controversial decision to
the fashion industry. various projects. burn his negatives in 1979.

Technique CLASSICS REVISITED
HOW WE RECREATED THE PICTURE
1 Makeup 2 Light 3 Shooting in public

Dent’s makeup is typical of the time, the eyes being A reflector was key to providing catch-lights in the Shooting in a public place can be tricky. With a large
the main focus thanks to heavy eyeliner, eye shadow eye, and sufficient fill-in light to the model’s face and number of people milling around, shooting with a
and false lashes, which we’ve tried to replicate. Take garments. We used a white reflector but had a silver tripod is not an option. Get a friend to stand in as an
an umbrella to protect the model from the elements, one handy in case the light levels dropped and we assistant, not only to keep an eye on your gear but also
as hair and makeup can be ruined in seconds. needed to add some more punch to the lighting. to hold reflectors and assist with crowd control.
4 Open in ACR 5 Convert to mono 6 Crop

We opened the raw file in Adobe Camera Raw to make We converted the image to Black and White in Adobe Duffy positioned his model, Judy Dent, on the first
some exposure adjustments in the Basic tab. We Camera Raw by selecting the HSL/Grayscale tab. third point in his composition on the left hand side, so
increased the Exposure and Shadows value to lighten Check Convert to Grayscale and use the sliders to we used the Crop tool to replicate this. We selected
the main subject and reveal more detail in the adjust the tones. We increased the Reds and Oranges the Original Ratio crop size and the Rule of Thirds
shadows. We then reduced the Highlights and Whites to brighten the model’s skin tone, and decreased the Overlay option from the Crop tool options to help
to bring some cloud detail back in the sky. Blues to reveal more sky detail. reposition our model within the frame.
7 Tidy up 8 Increase contrast 9 Dodge and Burn

Unfortunately, there is a rather large, distracting sign Add a Levels adjustment layer to boost the overall Finally, add more tonal detail using the Dodge and Burn
stuck to the post that needs removing. We copied and contrast of the image. To remap the black and white tools. First create a merged layer to work on. Select
pasted small selections of the post from above the points, you can adjust the Shadows and Highlights the Dodge tool and set to Midtones at an Exposure of
sign to cover. By adding a Layer Mask to these layer sliders to meet the edges of the graph. You can also 20% to lighten the darkest shadows in the jacket.
selections we could tidy them up and finally we used tweak the Midtones slider to adjust the overall Switch to use the Burn tool and set to Midtones at
the Clone Stamp tool to blend. lightness of the scene to suit. 20% to darken the brightest areas of the sky.

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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1 Sildpollnes 4
Church
1 Here Steve wanted
to capture the fishing
boat and its wake
passing the church
to add something a
little different to a
location that has
been photographed
many times before
Nikon D810,
28-300mm,
1/640sec at f/11,
ISO 200, Lee 105mm
polarising filter
Steve Oldfield, St Leonards-on-Sea Ramberg Storsandnes

Back in 2009, Steve reignited his relationship 2 Such incredible Beach
with an old flame – photography. That year he scale and atmosphere 3 The receding and
picked up a Nikon D60 to document a trip to in a beautiful incoming waves
Tanzania and in the proceeding years began to Norwegian location balance nicely in this
take photography seriously again. ‘I really love Nikon D810, simple shot
landscapes and wildlife,’ he says. ‘Both focus on the natural 28-300mm, 201secs Nikon D810,
world and allow you to capture an instant in time and share at f/8, ISO 160, Lee 28-300mm, 0.8sec
the beauty and wonder with others; perhaps inspiring them to Big Stopper, 0.6 at f/14, ISO 64, Lee
pick up a camera and go to those places themselves.’ Here medium grad and 0.6 grad filter and
we see the results of Steve’s trip to The Lofoten Islands in 105mm circular 105mm polarising
Norway. See more at https://slossx4.wixsite.com/steveoldfield. polariser filters filter
3
YOUR PICTURES IN PRINT
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
The Reader Portfolio Submit your images

winner chosen every week will receive a Manfrotto PIXI Please see the ‘Send us your
EVO tripod worth £44.95. Visit www.manfrotto.co.uk pictures’ section on page 3 for details
Lightweight and portable, the Manfrotto PIXI EVO boasts two different leg angles with a sliding selector enabling or visit www.amateurphotographer.
you to shoot ground-level images. It’s adjustable, with two-section legs featuring five different steps that adapt co.uk/portfolio
the footprint to uneven surfaces. With a payload of 2.5kg, you can tilt the camera 90° to capture incredible images.
Hamnøy Å (ore)
4 Steve’s main aim 5 In this beautifully
here was to balance simple shot, Steve
the busy right side of has isolated the
the landscape with building and used a
the expanse of water long exposure in
on the left-hand side order to smooth
of the image out the sky
Nikon D810, Nikon D810,
28-300mm, 155secs 28-300mm, 15secs
at f/11, ISO 100, Lee at f/11, ISO 64, Lee
big stopper, 105mm 105mm polarising
circular polariser filter, 06 medium
and 0.6 medium grad filter and a
grad filter Little Stopper
Reine
6 Steve has gone for
grandeur here and
succeeded. This
impressive panoramic
image was created
from eight images
stitched together
Nikon D810,
28-300mm, 1/50sec
at f/11, ISO 100, Lee
0.6 soft graduated
filter

Technique GET TO KNOW YOUR CAMERA
Customisation secrets
Pentax
What if you could get
even more out of your
Pentax camera?
Matt Golowczynski is
your expert guide to
realising its potential
Pentax cameras are often praised for offering
great value for money but something far less
appreciated is just how much control over
customisation is offered, even on the lower-end
models. On the following pages, we examine
some of the ways you can adjust current
Pentax models to suit your liking; looking at
everything from longstanding but underused
settings to newer adjustments that you might find
extremely useful when shooting.
What follows is based on the functionality inside Matt Golowczynski
the latest Pentax KP DSLR, but much of it also Matt Golowczynski is a London-based journalist and photographer. He has
applies to older models and other cameras within contributed to a range of magazines over the past 10 years and graduated
the current line-up. Read on and you might be from the University of Westminster with a BSc in photography and digital
surprised by what’s on offer. imaging. You can see more of his work at www.mattgolowczynski.com.
ONE PUSH BRACKETING

DIFFERENT cameras take different approaches
to bracketing images and many require you to
press the shutter release button prior to every
frame within that particular sequence.
Arguably, a more convenient option is to have
the entire sequence of bracketed images
captured with a single press, and enabling the
One Push Bracketing control does just that.
This is perhaps not too great an issue with
sedate subjects but those of you capturing
scenes in which a subject is moving should
find this to be useful since you stand a better
chance of each exposure being similar to the
others. This option tends to be located in the
middle of the Custom menu.
One Push Bracketing is ideal for shooting moving subjects, and will increase your hit rate

SAVE MENU LOCATION ANTI-ALIASING FILTER
SIMULATOR BRACKETING
Using Save Menu Location can be a great time saver
THERE are often times when you need Fortunately, a quick fix is available.
to activate a feature for one or two Simply find the Save Menu Location
images before deactivating it once option from the Custom Menu, which
again. Frequently this requires you to tends to be somewhere towards the end You can dictate the strength of the anti-aliasing filter simulator
re-enter the menu to find this feature of this section. The default option
but it can be frustrating if your camera should be to reset the menu back to BRACKETING, where three or more middle image from that sequence
has already gone back to the start of the start but the other option is to images are taken with just a single is also available.
the menu, rather than staying where have this remain at the last place you variable changed between each frame, Given that moiré, and other aliasing
you left off. left the menu. used to be a feature that simply artefacts, can be very problematic to
changed an exposure-oriented deal with in post-production, this is a
parameter, such as shutter speed. useful option to have activated if you
This principle was subsequently tend to shoot subjects that easily give
MEMORY applied to flash exposure, white rise to these effects, such as
balance and colour and filter options, architecture, textiles or anything else
and with its most recent models Pentax that may involve fine repeating
has provided the same control over its patterns, such as strands of hair.
Anti-aliasing filter simulator. These effects cannot always be
Here, one image is captured with the anticipated as they are partly down to
simulator activated, before another is the very specific positioning of the
captured on its standard setting, and camera to the subject. In other words,
then one final image with a stronger they can appear or disappear with just
corrective effect over moiré (at the a slight shift or change in focus.
expense of resolution). On the KP, This option is found within the
a further option that removes the first set of menu tabs.
You can select which features remain active when the camera is switched off
THIS is hardly a secret option, having – for example, Skin Tone and HDR
long featured on even some of Pentax’s Capture. Some of the functions
cheaper compact cameras, but it’s introduced in newer models, however,
useful to acquaint yourself with what it are filtered into the latter camp,
allows as you may want to adjust it in although it’s likely you’ll want to keep
different shooting situations. some of these on depending on what
It gives you the option to select those you’re photographing.
features that are to remain at their The Pixel Shift Resolution option, for
current settings after the camera is example, might be worth keeping on if
turned off. The default set-up has you’re shooting outdoors for an
roughly half the options within this extended period of time and turn the
feature kept on and the remainder camera off to conserve battery. The The anti-aliasing filter simulator can be adjusted via the Shooting Menu
readjusted to their default settings. Outdoor View Setting is also probably
There is logic in this since the something else to keep on if you’re
features that are kept on are core taking pictures over the course of a ‘There are often times when you need to
options incuding sensitivity, white sunny day when you’re likely to be activate a feature for one or two images
balance and Custom Image, while the turning your camera on and off with
others are very much secondary ones some frequency. before deactivating it again’
Technique
Quick Zoom allows
you to jump deep
into the centre of
the frame
QUICK ZOOM SHUTTER MODE SELECTION
Most models offer 2x, 4x, 8x and 16x magnification options Using the electronic shutter is ideal when you need to be discreet
USUALLY, when you zoom into a and this is the first point the camera THIS is a relatively new option that’s still have the issue of the mirror
captured image, the camera will zoom will reach when you start zooming. The included on the KP as standard but swinging up and down, which means
further into the image with each click of middlemost 8x setting provides the which was also made available to K-1 there is less of an advantage.
the control dial. This is also the case on best approximation as to what you see users via a firmware update. It lets you For this reason, this feature is only
many other cameras, and it allows you when viewing an image at 100% in an decide whether to use the camera’s really intended for live view shooting.
to zoom into a certain part of the image image-editing program, so this is manual or electronic shutter, an option However, another key advantage of
when used in conjunction with the perhaps the best option if you want to that’s fast becoming standard on using this, namely much faster shutter
directional controls. check focus and sharpness, and compact system cameras. speeds, does seem to be available when
Most of the time, however, it’s more whether depth of field extends as far Normally, the camera will use a using the viewfinder.
helpful to have the camera jump deep into the frame as you want. mechanical shutter to take the image, Whereas the KP can only fire at up to
into the centre of the frame, and then It is most useful for those who need but there are downsides to this. The 1/6,000sec with its mechanical shutter,
give you the option to adjust this if you to do this with any frequency, such as main one is that it’s noisier than using this increases to 1/24,000sec when
need to. This is what the Quick Zoom portrait photographers looking to see an electronic shutter, which can be an using its electronic one. This is likely to
function allows. Most models offer 2x, whether eyes are in focus, or those issue when you need to be discreet. It be useful for those wanting to use the
4x, 8x and 16x magnification options, shooting macro and close-up images. can also cause vibrations that camera for very fast-moving subjects or
compromise image sharpness. when using wide-aperture lenses in
‘Quick Zoom is particularly useful for Using an electronic shutter on a bright sunlight, where the camera’s
compact system camera gets around mechanical shutter may not allow for
macro and portrait photographers’ both of these issues but on a DSLR you sufficient fast shutter speeds.

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LOCATION GUIDE
Sherborne,
Dorset
You’ll feel inspired by this
traditional English market
town nestled in a bucolic
landscape. Jeremy Walker
passes on his best tips
© CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15
KIT LIST
▲
Wideangle lens
A wideangle is essential and
if you have one, a wide tilt
shift lens for shots of the
Abbey. A 70-200mm zoom
will also be useful for the
more distant shots.
THE sleepy market town of Sherborne lies in

The Blackmore Vale on the banks of the River
Yeo (don’t get excited, it’s a dribble) in
▲ northwest Dorset and is 19 miles north of the
Long lens county capital Dorchester. Situated within a
If you have one and don’t landscape of gently rolling hills, woodland and
mind carrying it, a long lens agricultural pastureland, Sherborne avoids the
such as a 200-500mm mass tourism that can spoil some of Dorset’s
would also be useful if coastal towns and has a rather laid back feel.
wildlife is your thing. A tripod The appeal of Sherborne for photographers
will also come in handy. is the quiet, quintessentially English feel to the
town. You will be spoilt for choice by having an
abbey, the 15th-century almshouse and two
castles to shoot as well as other numerous
architectural details tucked away in the town’s
side streets and alleyways. Access and parking is
very easy. There are several town-centre car
▲ parks. The ‘old’ castle, a 12th-century fortified
Zoom lens palace, is now under the care of English Heritage
If your intention is to walk and has its own car park. The ‘new’ castle, a
around the castles and town mansion built by Sir Walter Raleigh, is privately
centre shooting handheld, a owned and there is an entrance charge.
wide-to-medium zoom will Sherborne Abbey, the centrepiece of the Above: There are plenty of Right: An oak tree through early
be ideal, a 16-35mm or town, survived the Dissolution of the photographic opportunities at morning mist and sun epitomises
24-70mm perhaps. Sherborne’s historic Abbey the Dorset landscape
Monasteries as it was purchased for use as a
parish church, which it still is. Visitors are more
than welcome, even with a camera and a Jeremy Walker
tripod, providing you are not shooting for Jeremy is an award-winning photographer and Nikon
commercial purposes. Just a stone’s throw Ambassador. He has years of experience in landscape and
from the Abbey, across the neatly manicured location photography. Visit www.jeremywalker.co.uk.
lawns is the photogenic St Johns Almshouse.

LOCATION GUIDE Technique
The ruins of the
old castle on a
Shooting
misty morning – a
significant reward advice
for an early start Broad appeal
SHERBORNE and its
castles are great to shoot
in the spring. The trees are
turning green, bluebells
add colour to the
woodland floor and the
apple and cherry blossom
is at its prime. Given blue
skies and fluffy white
clouds or an early start
with mist hanging around
the old castle there are
landscape shots to be
taken, close-up shots
galore, and plenty for the
architectural photographer.
No specialist kit is required,
it is a good all-round
location that will appeal to
a broad cross-section of
photographers.
A distant view
Look to the footpaths
around Sherborne for a
slightly more distant view,
perhaps try the small hill to
the south, which gives an
elevated view of the town.
The small meadow in front
of this hill tends to trap the
mist in the early morning
and there is a view through
the trees toward the ruins
of the old castle.
Sherborne can be shot
at any time of day but my
preference would be early
morning for the old castle
and late afternoon or
evening for the Abbey.
Food & lodging

The charming Eastbury
Hotel is in the heart of the
town. There are plenty of
upmarket pubs with rooms
in the surrounding villages,
and a great B+B in a quiet
rural setting is Munden
House in the hamlet of
Alweston, three miles
south. There is also the
excellent Mitre Inn at
Sandford Orcas, three
miles north of Sherborne.
The town is overrun with
tea rooms and cafes, such
as Oliver’s at the top of
ALL PICTURES © JEREMY WALKER
Cheap Street. For an

excellent snack or full meal
try Castle Gardens garden
centre next to the entrance
to the ‘new’ castle.

Accessories
Useful gadgets to enhance your photography, from phones to filters…
Billingham
Hadley One
● £265 ● www.billingham.co.uk
Andy Westlake tests the

latest version of this classic Accessories
Leather attachment
handmade British bag points at each end of
the bag accept add-on
pockets.
At a glance
● External dimensions: 37x14x28cm
● Weight: 1.38kg
● Available in three colours (sage, khaki, black)
BILLINGHAM is one of the best-known

names in British photography, having
produced its top-quality canvas-and-leather
camera bags since 1973. All of its products
are still handmade at its Cradley Heath
factory in the West Midlands, using a
combination of traditional and modern
manufacturing processes.
Its Hadley range of satchel-style camera
bags – inspired by classic fishing bags – has
been in production for almost two decades,
with little change to the original design.
Now the three current sizes have been joined
by a new model, the Hadley One. With its
soft-sided, slimline design it’s recognisably
Rear pocket
ALL PRICES ARE APPROXIMATE STREET PRICES
part of the same family but inside has been

rethought to meet the demands of today’s This will hold A4
digital photographers. The main changes are documents and has
the addition of an internal padded a protective leather
compartment for a 13in laptop, and the flap over a water-
adoption of a more flexible interior resistant zip. Design
partition system. At its heart the Hadley One is a rather simple
bag, designed to protect your gear against
the vagaries of the British weather, while
providing quick access to your kit. Aside from
the main compartment, there’s an almost
Trolley strap full-width document pocket on the back and a
A canvas strap across pair of generously deep ‘dump’ pockets on the
the back can be slipped front. Two adjustable leather straps secure
over the handle of a the top flap using Billingham’s signature
wheeled suitcase. ‘clogball’ fastenings. They are quick to use
and, in a welcome contrast to the Velcro used
in many other bags, completely silent.

Grab handle
The handle on the lid
now has a sculpted
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£4.99
to its appeal is the new half-width
insert that comes as standard, leaving
the rest of the bag free. This insert is
large enough to fit an Olympus
OM-D E-M5 Mark II with a
12-40mm f/2.8 zoom onboard
and a 7-14mm f/2.8 underneath,
or alternatively a Canon EOS 5D
Mark IV with a 70-300mm
telezoom attached. Using a system
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either end of the bag leaving the
other half free, or centrally as in our
main picture to the left, which gives
(unpadded) space for extra lenses or
accessories either side.
Additional half-width inserts will be
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into the bag side-by-side. Billingham tells us it from understanding the basics to shooting advice from the pros
will also make a more conventional full-width
insert and showed us a prototype version. This
will be capable of holding a full-frame DSLR
with a trio of f/2.8 zooms (wideangle, 24-
70mm and 70-200mm) at least.
The Hadley One is impeccably made from
premium materials including canvas, leather
and brass, and comes with a five-year
guarantee. Indeed, the quality of the FibreNyte
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strap There’s no getting away from the fact
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length adjustment and a camera bag, especially when you can
can be removed buy some very nice alternatives for a
completely. lot less. But Billingham bags are
superbly made and will last for decades,
while providing excellent protection for your
equipment. After all, if you’ve spent thousands
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amateurphotographer@timeinc.com37
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Testbench CAMERA TEST
Towards the end of our time
with the 800D, we were
lucky to witness a beautiful
sunset over Trebarwith Strand
in north Cornwall. We used a
tripod and a Lee Filters Big
Stopper to take a series of
long exposures
Canon EF-S 18-55mm f/3.5-5.6 IS II,
13secs at f/5.6, ISO 100
At a glance
£799 body only

● £869 with 18-55mm f/3.5-5.6
IS STM lens
● 24.2MP APS-C CMOS
● Dual Pixel CMOS AF
Canon
● 3in/1.04m-dot vari-angle touchscreen
● Pentamirror viewfinder,
95% coverage at 0.82x
● Full HD video recording at 60p
● Guided User Interface (optional)
EOS 800D
Newcomers to DSLR photography are well served by
Canon’s entry-level models. Does the latest addition to
the range continue the trend? Audley Jarvis finds out
C
For and against Data file anon’s triple-digit EOS 750D, while the 77D is intended
range has long been a as more of a 760D replacement
Sensor 24.2MP APS-C CMOS popular option for those that is positioned just below the
Excellent image quality Output size seeking either an upper enthusiast-grade 80D.
6000x4000 pixels
Lens mount Canon EF/EF-S entry-level or step-up DSLR. In Also referred to as the Rebel
Speedy live view AF Shutter speeds 30sec to 1/4000sec recent years, Canon has muddied T7i for the US market, the 800D
performance ISO 100-25,600 (extendable to ISO the waters somewhat by offering shares the same key specs of the
51,200) not one triple-digit EOS model 77D, although in keeping with the
Exposure modes PASM, Scene Intelligent Auto, at a time, but two. This has come 750D/760D differences outlined
Intuitive and easy to use Creative Auto, Creative Filters to consist of a standard model above, gets a simplified controls in
Metering system 7560-pixel RGB+IR sensor alongside a slightly more advanced order to enhance its appeal with
Lightweight and compact by Exposure comp ±5EV in 1/3EV or 1/2EV steps one. In 2015, this approach first-time and novice DSLR users.
DSLR standards Drive mode 6fps resulted in the launch of both the This deliberate simplification
Screen 1.04m-dot, 3in vari-angle 750D and the 760D. The main extends to button configuration,
More expensive than its touchscreen difference between the two was with the 800D getting a four-way
main rivals Video Full HD (1920x1080) up to 60fps that the 760D featured a top-plate directional pad on the back that, in
Viewfinder Pentamirror, 0.82x magnification, LED display and dual control addition to acting as a controller
95% coverage wheels, whereas the 750D lacked for AF point selection and
ALL PRICES ARE APPROXIMATE STREET PRICES
Lacks 4K video AF points 45 cross-type AF system both and was purposely designed in-camera Menu scrolling duties,
Memory card SD, SDHC, SDXC to be more beginner friendly. Fast also provides access to Drive
Power Canon LP-E17 li-ion, 1040mAh forward to 2017, and Canon has Mode, White Balance, AF mode
Plasticky finish Battery life introduced two new models to and Picture Style settings. The
600 shots
Dimensions 131x99.9x76.2mm succeed the 750D and 760D: the 77D, on the other hand, gets a
Weight 532g (with battery and card) 800D and the 77D. The 800D rotating thumbwheel in its place
serves as the successor to the that can be used as a secondary

control dial, allowing you to adjust AF technology, so while effective of ISO 51,200 in expanded separately, thereby allowing them
shutter speed and aperture resolution remains identical, the mode). By way of comparison, to be used for phase-detection AF
independently when using the 800D’s sensor does represent the 750D/760D both offer purposes. Prior to the introduction
camera in Manual mode. The 77D a fairly big step forward – for a maximum native sensitivity of Dual Pixel AF, Canon DSLRs
also gets an AF-ON button for reasons we will discuss in more setting of ISO 12,800 – with relied on contrast-detect
regular users of back-button depth shortly. Likewise, the 800D the equivalent of ISO 25,600 technology and were known for
focus, an automatic eye sensor for also employs Canon’s latest available in expanded mode. providing fairly sluggish AF
the viewfinder and a small LCD generation of DIGIC 7 image Perhaps the most notable performance. The move to Dual
display on the top-plate that processor, as opposed to the enhancement the 800D enjoys Pixel AF therefore represents a big
pushes the main exposure mode DIGIC 6 chip found inside the over its predecessors, however, is step up in terms of performance.
dial onto the opposite shoulder. 750D/760D. Canon claims that the addition of Canon’s Dual Pixel Indeed, Canon claims that its latest
For these small differentiating the DIGIC 7 is able to process AF technology. Introduced with iteration of Dual Pixel AF is the
features, the 77D comes with a data 14 times faster than its the EOS 70D in 2013, Dual Pixel fastest on-sensor phase-detection
£50 premium over the 800D. In predecessor, which not only AF is the name given to Canon’s technology currently available to
virtually all other respects, the two enables the 800D to provide a proprietary on-sensor phase- DSLR users. Until now, the
cameras are identical. higher maximum burst speed of detection technology. In practical technology has been confined to
6fps (compared to 5fps on the terms, the main benefit of Dual models higher up in Canon’s DSLR
Features 750D/760D), but also to fire off Pixel AF is that it greatly speeds up range, such as the 80D and 7D
The 800D is built around a a higher number of consecutive focus acquisition times when the Mark II, and this is the first time
24.2MP APS-C CMOS sensor images when burst shooting. In camera is being operated in live the technology has trickled down
– as used inside the more addition, the new sensor and view. The way it basically works is to Canon’s mid-range models. In
advanced 80D (£840 body only). processor pairing also allows the that each pixel on the sensor’s addition, the 800D’s viewfinder-
While the 750D/760D also 800D to offer a higher maximum surface is split into two individual based phase-detection AF system
sported 24.2MP sensors, neither native sensitivity setting of ISO photodiodes – one left and one has also seen a major
encompasses Canon’s Dual Pixel 25,600 (along with the equivalent right. Each of these can be read revamp and now employs 45

individual AF points across A five-second exposure was long
the viewfinder, all of which enough to gently smooth out the
are cross-type – an improvement sea. However, without an ND
grad, some highlight detail was
from the 19-point system
lost in the sky. Canon EF-S 18-55mm
employed by the 750D/760D. f/3.5-5.6 IS II, 5 secs at f/16, ISO 100
In terms of exposure modes, the
800D is well served by a generous
range of options, including the
standard PASM quartet for more
experienced users, alongside
Scene Intelligent Auto mode and
10 individual Scene modes (some
of which can be selected directly
from the Exposure mode dial) for
point-and-shoot duties. Those
wanting to get creative in-camera
can take advantage of 10 built-in
digital filters (including old
favourites such as Toy Camera,
Miniature effect and a trio of HDR
options), or choose one of nine
Creative Auto settings, each of styled DSLR. While it does feel a
which is designed to capture little plasticky (a common trait of
images with a unique ambience. entry-level Canon DSLRs), overall
JPEG processing options extend to build quality is actually pretty
Canon’s proprietary Picture Styles, much on par for a camera of this
of which there are eight presets price and specification. Inside the
and three User Defined slots to polycarbonate outer shell, the
customise as you wish. In addition, internal electronics of the 800D
the 800D also provides a range of are protected by an aluminium-
in-camera lens-correction tools alloy chassis, which should provide
for minimising unsightly effects ample protection against the kind
such as purple fringing and of gentle knocks and accidental
distortion, alongside the company’s scrapes most cameras experience
longstanding Auto Lighting at some point in their lifetime.
Optimizer tool to auto-correct Unlike models further up the EOS
image brightness and contrast. range, the 800D’s body is not
weather sealed, though, so you will
Build and handling need to keep it as dry as possible
As with previous triple-digit Canon when shooting in wet weather.
DSLR models, the 800D is a For a DSLR of such modest
A shot straight out of camera Canon EF-S 18-55mm f/3.5-5.6 IS II, 1/1600sec at f/5, ISO 100 compact, lightweight and neatly overall proportions, the 800D’s
handgrip is surprisingly deep and
pronounced. With our averagely
sized hands, we were comfortably
Guided User Interface able to wrap three fingers around
ONE new feature for the 800D is the addition of a using the Guided interface for shooting duties, it can
Guided User Interface. This is an optional feature that also be applied to the in-camera menu, where
can be accessed and switched on/off via the Display it essentially just simplifies the standard in-camera
Level tab in the main in-camera menu. Once the menu by grouping all four sub-menu tabs (Shooting,
Guided interface is activated, the rear LCD display will Playback, Function and Display Level) together on a
change from a standard display of key camera single introductory screen with a brief description of
settings to a more animated one that also provides what you can expect to find within each.
some basic information and practical advice specific
to the exposure mode selected. For example, with Av
(aperture-priority) mode selected, the rear LCD
displays an intuitive slider graphic that shows
whereabouts in the aperture range the aperture is
currently set to, along with a brief description of what
kind of photo the chosen aperture value would best
suit along with how much it will blur or bring into
focus the background behind the main subject. The
An example of how
information and advice supplied by the Graphical well the exposure
interface doesn’t go into any great detail, but should system works when
nonetheless prove useful to those users just starting it’s presented with
out with a DSLR who may be unsure of how changing a tricky scene
key camera settings will affect their images, and on Canon EF-S 18-55mm
that level it’s certainly a welcome addition. As well as The Guided User Interface will be welcomed by novices f/3.5-5.6 IS II, 1/100sec
at f/5.6, ISO 200
40
Focal points
The EOS 800D features advanced functionality
in a small form factor. Here we take a closer look
Built-in Wi-Fi Creative Filters
The 800D has a dedicated button that The 800D has 11 built-in Creative Filters
can be used to connect the camera to for those that want to get creative.
a smartphone or tablet. To do so, you These include Grainy B/W, Soft focus,
first need to download and install the Fish-eye, Art bold, Water painting, Toy
Canon Camera Connect app, which is camera, Miniature, HDR standard, HDR
free to both Android and iOS users. vivid, HDR bold and HDR embossed.
Battery Mode dial

The rechargeable You will find individual
Canon LP-E17 indents for each of
li-ion battery has the four PASM modes,
a capacity of plus Scene Automatic
it, while the contoured thumb grip Below the viewfinder, the 1040mAh, enough Auto+, Flash Off,
on the back of the body gives you 800D’s 3in, 1,040k-dot to power the Creative Auto,
something to brace your thumb vari-angle touchscreen LCD camera for around Portrait, Landscape,
against for a secure grip. With the display also carries straight over 600 shots. Close-up, Sports,
new EF-S 18-55mm f/3.5-5.6 IS the 750D/760D models. The Scene and Creative
II lens attached, the 800D feels Clear View II TFT screen is of very Filters.
exceptionally well balanced, too. good quality and displays captured
The camera’s physical buttons and images in great clarity with vivid
controls are all clearly labelled, colour and good levels of contrast
well spaced and have a while the camera is being used in
reassuringly responsive ‘clicky’ feel Playback mode. The touchscreen
76.2 mm
about them when pressed. is nice and responsive, too, and

The 800D’s optical viewfinder never misses a beat when it comes
employs a pentamirror design that to inputting commands through
provides 95% scene coverage at the screen with your fingers. As
0.82x magnification – exactly the with previous models, the screen
same as the 750D/760D. While is side-hinged to allow it to be
the viewfinder itself isn’t overly extracted fully 180° from the
large, it does provide a pin-sharp camera body, from where it also
view of the scene through the lens. rotates through 270°, enabling the
Below the main viewfinder window, screen to be positioned so that it
the 800D displays a range of key faces the rear of the camera for
Quick Menu Video functionality
settings including shutter speed, regular shooting as well as the
Pressing the ‘Q’ button on the back It doesn’t feature 4K video, but
aperture, ISO and a metering/ front for self portraits and
of the camera calls up a streamlined there is 1080p Full HD video
exposure compensation bar. suchlike. Naturally, you can
menu of the camera’s key settings. recording at up to 60fps.
From here you can use either the There’s also a dedicated 3.5mm
directional pad or the touchscreen microphone jack in addition to
to adjust the camera’s settings. the twin stereo microphones at
the front of the camera body.
99.9mm
131mm

Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs
Overall, the 800D produced a solid set of lab test results. Resolution
was the clear standout, with the sensor returning an excellent set of
images despite Canon’s decision to retain an optical low-pass filter.
While JPEGs returned decent enough results, we found that using
Adobe Camera Raw to sharpen raw images ourselves yielded better
results. Dynamic range has been improved from the two-year-old
750D/760D models, too, with the 800D returning slightly higher
figures than its predecessors across the camera’s sensitivity range.
Taken in dappled sunshine, nothing quite says spring like a bunch of wild
bluebells among green foliage Canon EF-S 18-55mm f/3.5-5.6 IS II, 1/500sec at f/5.6, ISO 200 Dynamic range
also rotate the screen for captures an image once the
overhead and hip-level camera has attained focus on the
shooting. One small improvement chosen subject. Servo AF is also
the 800D does enjoy over the available in live view mode for
750D/760D is the addition of an shooting moving subjects
electronic level that can be used alongside One Shot AF for
to get perfectly straight horizons. stationary subjects.
This is activated via the Info button
just to the left of the viewfinder. Performance
The addition of the newer DIGIC 7
Autofocus image processor certainly makes a
While the introduction of Canon’s difference as far as burst-shooting
Dual Pixel AF technology performance goes. With a 16GB
represents a significant step SanDisk Extreme Pro Class 10/U3
forward for those who like to work SDHC card inserted, we were able At ISO 100, the 800D returned a dynamic range of 12.5EV, which is nearly a
in live view mode, the 800D’s to record 25 consecutive raw full stop higher than the 750D’s figure of 11.6EV and almost identical to the
phase-detection AF system also images at the maximum 6fps 80D’s 12.6EV. It performs well against the Pentax K-70 (12.3EV) and Sony A68
sees notable improvement from with AF-S employed. By way of (11.9EV), although the Nikon D5500 produces the best results of all with a
previous triple-digit EOS models. comparison, the 750D could only maximum dynamic range (at ISO 100) of 13.3EV. Moving up through its ISO
More specifically, whereas the manage eight frames at 5fps range the 800D remains a strong performer, with figures of 11.7EV at ISO 200,
750D/760D both used 19 before slowing down. Switching to 11.3EV at ISO 400 and 10.4EV at ISO 800. Beyond this figures start to drop off,
cross-type AF points, the 800D Raw+JPEG capture, the number with 8.5EV available at ISO 3200 and 7.4EV at ISO 6400.
inherits the same AF system used drops to around 22 images. In
inside the 80D, which benefits JPEG capture, there appears to
from 45 cross-type AF points be no upper limit, aside from the
across the central portion of the size of your memory card and Resolution
viewfinder. While there is still a the amount of battery charge
sizeable gap around the edges remaining, of course. Below we show details from our resolution
that isn’t covered, focusing JPEG image quality is, as we’ve chart test pattern (right). Multiply the
remains speedy and precise with come to expect from Canon number beneath the lines by 200 to give
a working range of -3 to 18EV DSLRs, very good indeed. Even the resolution in lines per picture height.
at ISO 100. But moving between with the camera set to its
RAW RAW RAW RAW
all these focus points can be a ‘Standard’ Picture Style setting, ISO 100 ISO 3,200 ISO 12,800 ISO 51,200
slow affair, first requiring a push of colours are deep and vivid with
the AF area selection button on good levels of contrast. Of course,
the camera’s shoulder, then lots of if you want to boost saturation
presses of the d-pad buttons. then there’s a ‘Vivid’ Picture Style
Switching to the 49-point Dual to choose from, whereas if you’re
Pixel AF live view system, the looking for something flatter, the
working range drops slightly to ‘Neutral’ option will give you
-2EV to 18EV at ISO 100. Either precisely this. Matrix metering
way, that’s still pretty good and from the 7,560-pixel RGB+IR
enables the camera to attain focus metering sensor proves We found that using Adobe Camera Raw to sharpen raw images ourselves
even in dim conditions. When used consistently accurate in all but produced much better results than leaving the 800D to sharpen JPEGs
in live view mode, you can set the the most extreme high-contrast in-camera. For example, at ISO 100 JPEGs processed in-camera returned a
active AF point via the rear situations, resulting in evenly lit figure of 3,400l/ph, whereas with some careful sharpening of raw images, we
touchscreen, simply by tapping on images that are neither too dark were able to stretch resolution to 3,600l/ph. This trend continues as you move
the subject you want to focus on. nor too bright. Likewise, Automatic up through the sensitivity range, and while JPEGs dip just below 3,000l/ph at
Canon also provides a Touch White Balance also serves up ISO 1600, raw resolution figures remain above 3,000l/ph up until ISO 6400.
Shutter function that automatically consistently accurate colour.

The competition
Our cameras and lenses are tested using the industry-

standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
Noise Pentax K-70 Nikon D5600 Sony Alpha 68

Price £599 body only Price £699 body only Price £549 body only
Both raw and JPEG images Sensor 24MP APS-C CMOS Sensor 24.2MP APS-C CMOS Sensor 24MP APS-C CMOS
taken from our diorama scene ISO 100-102,400 ISO 100-25,600 ISO 100-25,600
are captured at the full range Video 1080p Full HD at 30fps Video 1080p Full HD at 60fps Video 1080p Full HD at 30fps
of ISO settings. The camera is Continuous shooting 6fps Continuous shooting 5fps Continuous shooting 8fps
placed in its default setting Reviewed 10 December 2016 Reviewed Not yet reviewed Reviewed 9 July 2016
for JPEG images. Raw images ★★★★ ★★★★★
are sharpened and noise
reduction applied, to strike Read the full tests of these cameras at www.amateurphotographer.co.uk/reviews
the best balance between
resolution and noise.
RAW ISO 100 RAW ISO 800
Verdict
CANON has a long history
of producing excellent upper
entry-level DSLRs through its
triple-digit EOS range and the
800D is no exception. While
the differences between the
800D and 77D are primarily
limited to how advanced the
two camera’s control schemes fall very much into line with what
RAW ISO 6,400 RAW ISO 12,800 are, the differences between we’d expect from a DSLR of this
the 800D and its two-year-old type and price.
predecessors – the EOS 750D The 800D stands up well
and 760D – are more against its main rivals, and even
pronounced. Far from being surpasses them in certain areas
limited to a new sensor and image such as video capture and live
processor, the 800D also sees view AF performance. Our only
notable improvements in several minor gripe is that build quality
other key areas. This is especially can feel a little plastic next to
true of its focusing systems, both more expensive DSLRs, which
through the viewfinder and poses some question marks over
especially when using live view. its longevity. Unlike the Pentax
RAW ISO 25,600 RAW ISO 51,200 Through the viewfinder, there are K-70, the 800D also lacks
many more cross-type AF points weather sealing. Overall, though,
that you can call upon, while the the 800D provides an excellent
addition of Canon’s Dual Pixel AF gateway to Canon’s extensive
on-sensor phase-detection range of DSLR lenses, and could
technology eliminates the sluggish be used as the starting point to
focusing speeds that used to be build up a collection of specialist
a feature of previous triple-digit optics. For
Canon DSLRs that relied on newcomers
contrast-detect technology to DSLR
when operated in live view. photography,
As an upper entry-level or even this is likely to
Recommended
step-up model, Canon’s optional be a major
As with resolution, our testing revealed quite a bit of difference between Guided User Interface is another selling point.
in-camera JPEGs and manually processed raw images. Raw was again the clear welcome addition to the 800D.
winner, with manually processed images showing noticeable gains in image The on-screen information and FEATURES 8/10
quality over in-camera JPEG processing. While JPEGs do display very low levels advice it provides is pretty basic, BUILD & HANDLING 8/10
of noise all the way up to ISO 3200, the effects of in-camera noise reduction led but should help DSLR newcomers METERING 9/10
to a noticeable loss of fine detail. While this is not quite so apparent at ISO 100 get to grips with their camera, AUTOFOCUS 9/10
and ISO 200, by ISO 400 the effects of in-camera noise control begin to produce while more advanced users can AWB & COLOUR 9/10
a smearing of fine detail. With careful raw processing, however, it is possible to simply turn it off and revert to the DYNAMIC RANGE 8/10
retain this fine detail. That said, for most users the overall image quality of standard interface. Elsewhere, IMAGE QUALITY 9/10
JPEGs remains pretty good and is eminently usable until about ISO 6400. handling and performance all VIEWFINDER/LCD 8/10

Testbench SMARTPHONE CAMERA TEST
Use Lightroom or Camera Manual and it’s

easy enough to shoot raw, though the
Pixel’s JPEG processing is so good, it feels
like an extra rather than an imperative
Google Pixel
The new Google Pixel smartphone
camera works overtime to woo iPhone The Google Pixel has
a 12.3MP camera
users. Geoff Harris falls for its charms with an f/2 lens
H
aving been a denizen of the recommendation came from Lars Rehm, headline specs include a 12.3MP main
Apple ‘ecosystem’ since the AP’s resident phone-camera guru, so the camera, paired with a fast f/2 lens. Autofocus is
early 1990s, both personally deal was sealed. taken care of by laser-detection (LDAF) and
and professionally, the decision I’ve now had the phone a month, and while phase-detection (PDAF) systems, and the
to dump my iPhone for a younger Android the honeymoon period is over, I am still Pixel can also record 4K video at 30fps, and
model did feel rather caddish. But this callous besotted with the quality of its images. There 1080p video at up to 120fps.
decision wasn’t taken lightly, and the Google are a few quirks, but hey, when is a new There are four main areas where the Pixel
Pixel isn’t just any old Android phone. Camera partner ever 100% perfect? Let’s look at scores highly – detail, noise, exposure/
performance has always been a major criterion some of the key photographic features of the autofocus and storage options. For a 12.3MP,
for me when choosing a new phone, so when Google Pixel before considering how it small-sensor device, the level of detail
the Google Pixel stormed to the top of DxO’s compares with its main rival, the iPhone 7. captured is very impressive, as is the dynamic
mobile rankings last year with an impressive Despite the natty blue casing, the Pixel and range. Shoot in decent light and the images
score of 89, my head was turned. ‘The latest iPhone look so similar that even deliver rewarding levels of detail, which then
Google smartphone is the highest-rated knowledgeable colleagues didn’t realise at first generate very pleasing prints at everyday sizes;
smartphone camera we have ever tested,’ I had changed phone. While the Pixel lacks the you can even get away with some quite
gushed DxO’s notoriously fastidious imaging fancy dual camera set-up of the iPhone 7 Plus, enthusiastic cropping if you are only publishing
pundits. Another wholehearted it certainly makes the most of what it’s got. The the images online. Noise levels are also

‘The power button
double-press is an
easy and discreet
way to bag a candid
photograph’
impressively low, thanks to
Google’s highly effective JPEG
processing, and a one-touch AF/
AE function makes focusing a
cinch. The AF is fast and accurate
until the light really starts to fade,
and the auto white balance seems
more reliable than that in certain
SLR and mirrorless cameras I’ve
used. Even the flash copes
remarkably well for a smartphone
system, though I only tend to use it
as a last resort when the ambient
light simply isn’t adequate to
support the image. Once the light Touchscreen AF and AE enables you to lock focus and exposure exactly where you need it
fades, performance is again very
strong, as the test images reveal. activate the camera app is to West-style smartphone shootout, easy to miss the camera’s main
double press the lock/power the iPhone 7’s swipe feature feature list, accessed top left of
Multi-image feature button – you can activate the would probably be faster, but the the screen. This is an issue with
The secret ingredient in the camera this way even if you are in Pixel’s power-button double-press the phone generally, as several
Google Pixel is a spiced-up version the middle of writing an email. is still an easy and discreet way to other useful features are either
of the company’s HDR+ multi- Apparently, it’s also possible to bag a candid street photograph, tucked away or turned off by
image feature, and it really works. activate the camera by twisting for instance. Keeping the shutter default, such as the flashing LED
Several raw images are combined your wrist twice. Despite some button pressed down also notification for new messages.
to generate a single enhanced heroic efforts, I simply can’t get activates burst mode. By default, Hopefully this will be addressed in
JPEG image, which helps to this to work and to be honest, life the phone will try to turn this burst the Pixel 2, widely expected by
reduce noise and widen dynamic is too short to waste time on this into a single animated image, but Christmas. Switching to video
range. This feature first appeared esoteric and slightly comical- this ‘cool’ feature can be turned mode can also be puzzling at first.
in some Google Nexus phones, looking manoeuvre when double off in settings. You simply swipe to the left of the
but the Pixel takes it to another pressing the power button is so main screen to make movies, but
level – and sets the Auto HDR+ easy (just remember that double Interface it’s not immediately obvious to
feature as its default camera pressing won’t work if you are On the subject of settings, the newbies. Some smartphone
mode, so there’s minimal faffing reviewing images with the camera Pixel’s interface doesn’t feel as aesthetes may also miss the
about when you first start using app already activated). In a Wild intuitive as the iPhone’s, and it’s overall elegance of the iOS
the device. In a nutshell, the Pixel
is smart enough to work out
Noise is also well controlled in low
whether it needs to use multiple light and the HDR + feature brings out
images for better dynamic range a lot of detail the eye didn’t
and lower noise, and if so, it immediately notice
switches HDR+ on automatically.
Other phone makers have tried
merging images for a better single
end result, but Google has been
particularly successful with the
Pixel – as those coveted DxO test
scores reveal. In terms of the
overall JPEG processing, the Pixel
has a slight tendency to
oversaturate primary colours, but
this is easy enough to tone down,
either using the rather limited
built-in editing software, or a more
fully featured app such as
Snapseed (another Google
product). What’s more, many end
users will like the slightly lysergic
colours you get in good light, so
it’s a matter of personal taste.
When it comes to handling,
again, the Pixel is generally great
to use. The quickest way to
Testbench SMARTPHONE CAMERA TEST
‘As the test images show,

raw images from the Pixel
are impressively detailed
and easy to edit’
Raw shooting is possible via a third-party app,
such as Camera Manual or the free Lightroom
Mobile, which also syncs with Lightroom on
The AF makes short work of action in decent light and even though this image is cropped in, your main computer. As the test images show,
there is still plenty of detail – impressive stuff raw images from the Pixel are impressively
detailed and easy to edit, but this feature
interface design, but the Pixel’s screens puzzling interface decisions… sometimes feels a bit gimmicky. Most of the
and icons are very easy on the eye, and The default picture-editing software is time I stick with the beautifully processed
can be customised. You don’t have to cough comparable to the package you get with the JPEGs from the phone, and leave raw capture
up for an extra headphone adapter, either. iPhone – it does the basics, but is something of to my higher-resolution SLR, with its entourage
Another big attraction of the Pixel is a blunt instrument. Fortunately, all my favourite of pricey lenses.
unlimited storage, courtesy of Google Photos. image-editing apps are easily found in Android
This, combined with 32GB of space as flavours, with almost identical interfaces. Shooting modes
standard, means you can shoot away to your Experience has taught me to restrict my When it comes to shooting modes, some work
heart’s content. So why isn’t 4K video activated arsenal of apps to avoid confusion, and this much better than others (see box). The most
as standard? Refer back to what we said about also saves space and inadvertent data usage. effective is Panorama. As somebody who
sometimes struggled with the iPhone’s
panorama mode, particularly on the top of a
windy hillside, the Pixel version is refreshingly
Blur demur easy to use. Once you have the correct

orientation, simply hold the target circle over a
grey dot on the screen until the grey dot
One shooting mode that doesn’t work quite so disappears. Move the camera to the next grey
well is Lens Blur, designed to replicate dot, holding the lens steady and repeat until
background blur on portraits, for example. there are no more grey dots, or tap Done. It’s
Once you have focused on the main subject, simple but ingenious and there is a choice of
activating this feature involves angling the three resolution levels. A slightly less useful but
camera down by following an on-screen arrow. still fun feature is the ability to create a 360°
It does work, but it’s not particularly intuitive, photo sphere – it’s possible to make a tiny
and the dual camera system on the iPhone 7 planet with big houses, for example, such as
Plus seems to be more effective at cleanly the ones you see in TV ads. Slow-motion video
separating the subject from the background. recording is another neat feature. The
Pictures taken with the Pixel’s Lens Blur Google Assistant further enhances usability.
feature are also smaller than standard shots, These advanced voice-control options are both
which is another annoyance – bokeh fans may fun and time saving, enabling you to activate
prefer to replicate the effect in a photo-editing apps by speaking their name, or saying ‘cats’ to
app or reach for their main camera. It’s not go straight to pictures of cats in your photo
exactly the Pixel’s Achilles’ heel, but this collection (so long as you have named
feature needs more attention. them properly).

The panorama function feels easier to use than the iPhone version
An impressive low-light
performance in a gloomy chapel.
Some highlights have blown
out on the woman’s jumper,
but it’s not a disaster
Our verdict
DOES the Pixel offer enough to lure other
photographers away from the iPhone? I’d
say it does. Apart from the less-effective
lens blur feature, the sheer effectiveness of
the Pixel’s HDR+ JPEG processing and fast
AF, combined with very attractive extras
such as unlimited Google Photos storage,
make it a formidable rival. It’s a closer run
thing with the iPhone 7 Plus, with its dual
camera feature, 2x optical zoom and
waterproofing, but this also comes at a
premium price (there is a larger version of
the Pixel, the Pixel XL, but the camera is
identical – I suspect the XL will be
differentiated more from the standard Pixel
when both are upgraded). Google has also
made it as easy as possible to transfer data
from an iPhone via a supplied cable. I’ve
never looked back since changing to the
Pixel, and the few interface niggles I’ve
mentioned diminish over time. I no longer
feel guilty about using a smartphone more
than my ‘main’ camera, and while the Pixel is
never going to replace a full-frame SLR for
my professional wedding
or portrait work, I’m very
happy to use it for
day-to-day photography.
Sorry Apple, it’s looking
like my new romance will
GOLD
stand the test of time…

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Tech Talk
TechSupport
Email your questions to: apanswers@timeinc.com, Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support,
Amateur Photographer Magazine, Time Inc. (UK), Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
What is sharpening? preferences vary.
Q I feel I have got the hang

of producing good images
since I invested in my first
DSLR 18 months ago. Before that
Probably the key is the Radius
value. If there is a lot of very fine
detail you want to keep the
Radius setting low, even to under
I was simply a ‘snap’ shooter using one pixel. Detail lets you control
a rather old and inexpensive the range of edge sizes that are
Pentax Optio compact digital modified. A low value only
camera. I am discovering how to sharpens large edges and a large
benefit from adjusting various value will sharpen almost
image processing parameters everything. The Masking value,
including saturation, shadows, and also referred to as the Threshold,
highlights and colour temperature. can be used to moderate the
But there is one option that I unwanted effect of noise created
honestly still don’t fully by the other sharpening
understand: sharpening. I realise I parameters in areas of low detail
can control the intensity of the in your image. The key to good
sharpening effect through the sharpening is not to overdo it! Try checking the destination drive details if a Lightroom import fails
‘Amount’ value, but I haven’t a clue
what the radius, detail and
masking parameters do.
Which monitor size Lightroom image import problem
and resolution?
Kelly Unsworth
Q I want to replace my AOC

Q About a year ago I started using Lightroom through a
subscription to Adobe Creative Cloud, and have built up
A
Sharpening is all about i2757Fm Full HD 27in a catalogue of about 5,000 images, stored on a
adjusting the contrast monitor for something network (NAS) drive.
between pixels along with a higher resolution. The I must admit, compared with using Adobe Photoshop and
boundaries or edges of lighter primary use is for photo editing. Bridge I initially found learning to use Lightroom a bit of a
and darker areas of detail in your My options would appear to be to headache, but now it’s clicked and I really wonder how I ever lived
images. The brightness of each stick to the 27in form factor and without it. So you can imagine my dismay when I attempted to
pixel can be adjusted accordingly. go for 2560x1440 QHD, or a import my latest batch of images, and I was greeted with an error
To do this effectively you can 28in Ultra HD or 4K resolution message informing me the import had failed because the folder
manage the application of the screen, or the same in a 32in was write protected. Please help!
pixel modifications using Amount, screen. I really need some help in Clare Denby
Radius, Detail and Masking working out what would be best.
A
parameters. Different Yannick Jones This has most likely been caused by an accidental
combinations of these values can change of the import destination drive in your import
A
result in similar effects, and Your focus is on settings. I’ve experienced this myself. For no apparent
resolution and screen size reason I could no longer import images. The problem was that
but that should not be at the destination drive had changed to a write-protected USB
the expense of the panel type, key that was plugged in to one of the USB ports. It’s easy to
display refresh rate and overlook the destination details in the import window. Check
connectivity options. The needs that and you will probably discover the problem.
of a photographer are different
from someone needing a monitor
for gaming or watching TV and can refresh at higher frequencies, card can support higher
video. Although there are avoiding issues with motion bandwidth DisplayPort
variations on each, there are flicker. TNs are not so good for connectivity. You will probably
three basic types of LCD panel. photographers. Vertical want to aim for the best
To get the best viewing angles Alignment (VA) and Multi- concentration of dots per inch on
the most dependable panel domain Vertical Alignment (MVA) the screen, so UHD (4K) on a
type for colour and viewing are better than TNs for colour 27in or 28in panel would be the
angles is in-plane switching (IPS), and have very good black levels most desirable. However, a 32in
also known as PLS. Twisted but IPS remains the 4K screen would still be very
Nematic (TN) panels have poorer photographer’s choice. good for editing your
viewing angles and less QHD and UHD (4K) screens photographs, as would a 27in
Set a small radius to enhance fine dependable colour accuracy can mean HDMI cables won’t QHD screen.
detail when sharpening images but are better for gaming as they work, so make sure your graphics Q&A compiled by Ian Burley

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Editorial team
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© TONY KEMPLEN
Deputy Editor Geoff Harris
T
here is no single PA and Senior Brand Assistant Leeanne Wright
definition of what Technical Editor Andy Westlake
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constitutes a toy camera, Technique Editor Tracy Calder
but most would agree Senior Features Writer Oliver Atwell
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marketed by the Lomography Special thanks to The moderators of the AP
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Advertising
the original Dianas. Lomography Head of Market Paul Ward 01252 555 342
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My grandmother gave me one Group Managing Director Oswin Grady
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around seven. Sadly it has long A light-leak free shot taken with the Diana at the Yorkshire Sculpture Park Group Magazines Editor Garry Coward-Williams
Printed in the UK by the Wyndeham Group
since disappeared, so when I Distributed by Marketforce, 5 Churchill Place,
spotted one in a local charity Three focus zones no f numbers are given, instead London E14. Telephone 0203 787 9001
shop a wave of nostalgia washed The camera takes square there are three weather symbols Editorial Complaints We work hard to achieve the highest standards of
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original box. As the camera is now by using a 4x4cm mask, which, of era, the Diana had a reputation for
All contributions to Amateur Photographer must be original, not copies
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Fifty years old and still the box suggests, you were only (Europe), $338.99 (USA), £221.99 (rest of world). The 2015 US annual DEU
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Air Business Ltd is acting as our mailing agent.
can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Diana at www.flickr.com/
tony_kemplen/sets/72157649670839070/

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ZZZSUHPLHULQNFRXN 7HOHSKRQH RU 3UHPLHU ,QN 3KRWRJUDSKLF /RQJƬHOG 5RDG /HDPLQJWRQ 6SD :DUZLFNVKLUH &9 ;% ( (2 3ULFHV PD\ EH VXEMHFW WR FKDQJH EXW KRSHIXOO\ QRW
:KDW D FXVWRPHU VDLG DERXW XV «
i -PWF 8FY :PV DBO BMXBZT CF SFBTTVSFE ZPVSF HPJOH UP
HFU HSFBU TFSWJDF BOE B HSFBU JUFN BU UIF CFTU QSJDF 5IBOLT w
4 1SBEIBN o &TTFY
2YHU 3URGXFWV )UHH 'HOLYHU\ RQ RU RYHU :H FDQ GHOLYHU RQ 6DWXUGD\ RU 6XQGD\

ϱ ϳϱϬ

Ϯϰ
ϯ
ŵĞŐĂƉŝǆĞůƐ
ϮϬ
ϲ
ϱ ĨƉƐ
ϭϬϬƉ
ϭϮ
Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
ϰ< sŝĚĞŽ &Ƶůů &ƌĂŵĞ

DK^ ^ĞŶƐŽƌ
7KH 3DQDVRQLF /XPL[ '0&*+
ĂƉĂďůĞ ŽĨ ϲ< ƉŚŽƚŽ ĂŶĚ ϰ< ƌĞĐŽƌĚŝŶŐ% ƚŚĞ WĂŶĂƐŽŶŝĐ >Ƶŵŝǆ D',ϱ ŝŐŝƚĂů
ϱ ŽĚǇ άϱϬ ϳϱϬ &ƌŽŵ άϭϱ ĂŵĞƌĂ ŝƐ Ă ŶĞǁ ƵƉŐƌĂĚĞ ƚŽ ƚŚĞ ƉŽƉƵůĂƌ ',ϰ% ŽīĞƌŝŶŐ ĞǆĐĞƉƟŽŶĂů ƉĞƌĨŽƌŵĂŶĐĞ
ĨŽƌ ƉƌŽĨĞƐƐŝŽŶĂů ƉŚŽƚŽŐƌĂƉŚĞƌƐ ĂŶĚ ǀŝĚĞŽŐƌĂƉŚĞƌƐ ĂůŝŬĞ Ƶŝůƚ ĂƌŽƵŶĚ Ă ŶĞǁ
ϱ ŽĚǇ άϱϬ ϳϱϬ ŽĚǇ άϭϱ ϮϬϯŵĞŐĂƉŝǆĞů ƐĞŶƐŽƌ
ϳϱϬ н Ϯϰϱŵŵ άϮϬ ĂŶĚ sĞŶƵƐ ŶŐŝŶĞ
ϳϱϬ н ϮϰϭϮϬŵŵ άϮϮϳ ŝŵĂŐĞ ƉƌŽĐĞƐƐŽƌ% ƚŚĞ
ŇĂŐƐŚŝƉ ',ϱ ŝƐ ĐĂƉĂďůĞ
ŽĨ ϲ< ƉŚŽƚŽƐ ĂŶĚ
ϰ< ǀŝĚĞŽ ƌĞĐŽƌĚŝŶŐ
ϲϬƉ+ϱϬƉ ĨŽŽƚĂŐĞ ĂŶĚ
ϱϬϬ ϭϬ
ůĂĐŬ ϰ-Ϯ-Ϯ ϭϬďŝƚ ϰ< ǀŝĚĞŽ ƚŽ
h,^// ĐŽŵƉĂƟďůĞ ĚƵĂů
^ ĐĂƌĚ ƐůŽƚƐ >ŝŬĞ ŝƚƐ
ϮϬ
ϯϲ
ϯ ƉƌĞĚĞĐĞƐƐŽƌ% ƚŚĞ ',ϱ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϭϬ
Ϭ ĨƉƐ ŝƐ ĨƵůůǇ ǁĞĂƚŚĞƌƐĞĂůĞĚ
ϱ
Ϭ ĨƉƐ
ĂŶĚ ŽīĞƌƐ ϭϮ ĨƉƐ ;&^
+
ϭϬϬƉ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ^ĞŶƐŽƌ
ĨƉƐ ;&
ŚŝŐŚƐƉĞĞĚ
ďƵƌƐƚ ƐŚŽŽƟŶŐ
ϱϬϬ &ƌŽŵ άϭϳϮ ϭϬ ŽĚǇ άϮϯ
ϱϬϬ ŽĚǇ άϭϳϮ ϭϬ ŽĚǇ άϮϯ
ϱϬϬ н ϭϲϬŵŵ άϮϰϳ

&RPSHWLWLYH SULFHV )UHH FROOHFWLRQ RI \RXU JHDU
)DVW WXUQDURXQG RI \RXU TXRWH DQG FUHGLW

ZH[FRXN &ƌŽŵ άϭϲ
ϲϱϬϬ //
ϳZ // ůĂĐŬ 'yϬ 'yϬϬ
ϰϮ
ϰ
EĞǁ
ϰϮ
ϰ Ϯϰ
Ϭ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϭϲ ϭϲ
Ϭ
ϱ
Ϭ ĨƉƐ ϭϭ
Ϭ ĨƉƐ ϭϮ
Ϭ ĨƉƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ

Ϭ ĨƉƐ ϱ
ĨƉƐ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ
ϳZ // ŽĚǇ άϮϰ ϲϱϬϬ ŽĚǇ άϭϯ // ŽĚǇ άϮ
ϳZ // ŽĚǇ άϮϰ ϲϱϬϬ ŽĚǇ άϭϯ // ŽĚǇ άϮ 'yϬ &ƌŽŵ άϰϰϳ 'yϬϬ άϰϮ
ϳ^ // ŽĚǇ άϮϰ ϲϯϬϬ ŽĚǇ άϰ ϲ ŽĚǇ άϱϰ 'yϬ ŽĚǇ άϰϰϳ EĞǁ 'yϬϬ н ϭϮϯϮŵŵ άϰϮ
ϳZ ŽĚǇ ά ϲϯϬϬ н ϭϲϱϬŵŵ άϭϬϮ ϲ н ϭϱϱŵŵ άϲϮ 'yϬ н ϭϮϯϮŵŵ άϱϰ 'y н ϭϮϲϬŵŵ άϳ
ϳ // ŽĚǇ άϭϮϰ ϲϬϬϬ ŽĚǇ άϰϰ ϳϳ // ŽĚǇ ά 'yϬ н ϭϮϯϮŵŵ
ϳƐ ŽĚǇ άϭϲ ϲϬϬϬ н ϭϲϱϬŵŵ W άϱϰ ϳϳ // н ϭϲϱϬŵŵ άϭϯ
н ϯϱϭϬϬŵŵ άϲ
ZKDDE >E^^
ZKDDE &h>> &ZD DKhEd >E^^ ZKDDE DKhEd >E^^ WĂŶĂƐŽŶŝĐ ϭϰϰϱŵŵ Ĩϯϱϱϲ άϮϱ
EĞǁ ^ŽŶǇ & ϱŵŵ Ĩϭϰ ' άϭϱ ^ŽŶǇ ϯϱŵŵ Ĩϭ d ^D άϭϰ WĂŶĂƐŽŶŝĐ >hD/y ϰϱϭϱϬŵŵ ĨϰϬϱϲ ^W, K/^ άϭϳ
EĞǁ ^ŽŶǇ & ϮϰϳϬŵŵ ĨϮ ' άϭ ^ŽŶǇ Ϯϳϱŵŵ ĨϮ ^D άϱ WĂŶĂƐŽŶŝĐ ϰϱϭϳϱŵŵ ĨϰϬϱϲ >hD/y ' y sĂƌŝŽ άϯϰ
^ŽŶǇ & ϮϰϳϬŵŵ ĨϰϬ K^^ sĂƌŝŽdĞƐƐĂƌ Ăƌů ĞŝƐƐ dΎάϳ ^ŽŶǇ ϳϬϰϬϬŵŵ Ĩϰϱϲ ' ^^D // άϭ WĂŶĂƐŽŶŝĐ ϭϬϬϯϬϬŵŵ ĨϰϬϱϲ >hD/y ' sĂƌŝŽ άϰϮ
^ŽŶǇ & ϳϬϮϬϬŵŵ ĨϰϬ ' K^^ άϭϮϰ WĂŶĂƐŽŶŝĐ ϭϬϬϰϬϬŵŵ Ĩϰϲϯ WŽǁĞƌ K/^ DŝĐƌŽ &ŽƵƌ dŚŝƌĚƐ &ŝƚ άϭϯϰ
DϭϬ // ydϮϬ yWƌŽϮ

ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ
KD Dϭ // <ϭ
EĞǁ ϯϲ Ϯϰ
ϯ
ϮϬ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϲϬ ĨƉƐ ϭϲ
ϯ ϲ
ϱ ĨƉƐ Ϯϰ
ϯ EĞǁ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ϱ ĨƉƐ DK^ ^ĞŶƐŽƌ
Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
KD Dϭ // &ƌŽŵ άϭϰ DϭϬ // &ƌŽŵ άϰϰ <ϭ ŽĚǇ άϭ ydϮϬ &ƌŽŵ άϳ yWƌŽϮ &ƌŽŵ άϭϯϰ
EĞǁ KD Dϭ // ŽĚǇ άϭϰ KD DϭϬ // ŽĚǇ άϰϰ <ϭ ŽĚǇ άϭ EĞǁ ydϮϬ ŽĚǇ άϳ yWƌŽϮ ŽĚǇ άϭϯϰ
EĞǁ KD Dϭ // н ϭϮϰϬŵŵ άϮϯ KD DϭϬ // н ϭϰϰϮŵŵ άϱϲ <W ŽĚǇ άϭϬ EĞǁ ydϮϬ н ϭϲϱϬŵŵ ά yWƌŽϮ ^ŝůǀĞƌ н y&Ϯϯŵŵ άϮϭϰ
KD Dϱ // ŽĚǇ άϰ WE W> ŽĚǇ άϯ <ϯ // ŽĚǇ άϰ EĞǁ ydϮϬ н ϭϱϱŵŵ άϭϬ
KD Dϱ // н ϭϮϰϬŵŵ άϭϮϰ WE W> н ϭϰϰϮŵŵ άϰ <ϯ // н ϭϱϱŵŵ ά
WE& ĨƌŽŵ ά <ϯ // н ϭϭϯϱŵŵ άϭϭ &h:/EKE >E^^
<ϯ // н ϭϲϱŵŵ άϭϮ ϭϲŵŵ Ĩϭϰ Z tZ y& άϳϲ
ZKDDE >E^^ <ϳϬ ĨƌŽŵ άϱ ϯϱŵŵ ĨϮ Z tZ y& άϯϰ
ZKDDE >E^^ KůǇŵƉƵƐ Ϯϱŵŵ Ĩϭ άϯϰ ϱϬŵŵ ĨϮ Z tZ y& >ĞŶƐ άϰϰ
KůǇŵƉƵƐ Ϯϱŵŵ ĨϭϮ WƌŽ άϭϬ KůǇŵƉƵƐ ϳϱŵŵ Ĩϭ άϲ ZKDDE >E^^ ϱϲŵŵ ĨϭϮ Z y& άϳϲ
KůǇŵƉƵƐ ϯϬϬŵŵ Ĩϰ /^ WZK >ĞŶƐ άϮϭ KůǇŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳ WĞŶƚĂǆ ϭϱϯϬŵŵ ĨϮ άϭϰϰ Ϭŵŵ ĨϮ Z >D tZ y& άϳϰ
KůǇŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳ KůǇŵƉƵƐ ϭϰϭϱϬŵŵ Ĩϰϱϲ άϱϰ WĞŶƚĂǆ ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϰ ϭϲϱϱŵŵ ĨϮ Z >D tZ άϰ
KůǇŵƉƵƐ ϰϬϭϱϬŵŵ ĨϮ WƌŽ άϭϭϮϱ KůǇŵƉƵƐ ϰϬϭϱϬŵŵ ĨϮ WƌŽ άϭϭϮϱ WĞŶƚĂǆ ϱϱϯϬϬŵŵ Ĩϰϱϲϯ άϯ ϭϬϬϰϬϬŵŵ Ĩϰϱϱϲ Z >D K/^ tZ н ϭϰǆ ƚĞůĞĐŽŶǀĞƌƚĞƌ άϭϰ
:H[ 6KRZURRP
8QLW % )UHQEXU\ (VWDWH YLVLW ZH[FRXN
2II 'UD\WRQ +LJK 5RDG
1RUZLFK 15 '3
0QFO GSPN BN EBJMZ

&DOO XV 0RQ)UL DPSP 6DW DPSP 6XQ DPSP
'D\ 5HWXUQV 3ROLF\ 3DUW([FKDQJH $YDLODEOH 8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\
K^ ϬϬ Ϭ

EĞǁ

Ϯϰ
Ϯ
Ϯϰ
Ϯ
&ƌŽŵ ƚŚĞ ĚĂƌŬĞƐƚ ƐŚĂĚŽǁ ƚŽ ƚŚĞ ďƌŝŐŚƚĞƐƚ ϲ
Ϭ ĨƉƐ ϳ
Ϭ ĨƉƐ
ŚŝŐŚůŝŐŚƚ( Ă ϯϬ ŵĞŐĂƉŝǆĞů DK^ ƐĞŶƐŽƌ
ϭϬϬƉ ϭϬϬƉ
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ
ĐŽŶĚŝƟŽŶƐ( ǁŝƚŚ Ă ŵĂǆŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚǇ
ŽĨ /^K ϯϮ(ϬϬϬ ^ŚŽŽƚ ƵĂů WŝǆĞů Zt ĮůĞƐ ϬϬ &ƌŽŵ άϳϳ Ϭ &ƌŽŵ ά
ĨŽƌ ƉŽƐƚ ƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ ǇŽƵ6ǀĞ
ŶĞǀĞƌ ƐĞĞŶ ďĞĨŽƌĞ EĞǁ ϬϬ ŽĚǇ άϳϳ Ϭ ŽĚǇ ά
EĞǁ ϬϬ н ϭ' ϱϱŵŵ άϲ Ϭ н ϭ' ϱϱŵŵ άϭϬϮ
EĞǁ ϱ DŬ /s ŽĚǇ άϯϰ ϳϲϬ ŽĚǇ άϱϱ Ϭ н ϭ' ϭϯϱŵŵ άϭϮϭ
ϳϱϬ ŽĚǇ άϱϰ EĞǁ ϳϳ ŽĚǇ άϮ
ϳϱϬ н ϭ' ϱϱŵŵ άϱ EĞǁ ϳϳ н ϭ' ϱϱŵŵ άϭ
ϳϱϬ н ϭ' ϭϯϱŵŵ άϳ EĞǁ ϳϳ н ϭ' ϭϯϱŵŵ άϭϭ
ϯϬ
ϰ ϳ
Ϭ &Ƶůů &ƌĂŵĞ ϳϬϬ ŽĚǇ άϰϰ
ŵĞŐĂƉŝǆĞůƐ ĨƉƐ DK^ ƐĞŶƐŽƌ
ϳϬϬ н ϭ' ϱϱŵŵ /^ ^dD άϰ
EĞǁ ϱ DŬ /s ŽĚǇ άϯϰ
K^ ϳ DŬ// K^ ϲ ϱ^ Z K^ ϭ y DŬ //
ϮϬ
Ϯ ϱϬ
ϲ
ϮϬ
Ϯ ϰ
ϱ ĨƉƐ ϱ
Ϭ ĨƉƐ ϮϬ
Ϯ
ϭϬϬƉ ϭϬϬƉ
ϭϬ
Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϲ
Ϭ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ
ϳ DĂƌŬ // ŽĚǇ άϭϮϰ ϲ &ƌŽŵ άϭϯ ϱ^ Z ŽĚǇ άϮ ϭ y DĂƌŬ // ŽĚǇ άϰϳ
ϳ DĂƌŬ // ŽĚǇ άϭϮϰ ϲ ŽĚǇ άϭϯ ϱ^ Z ŽĚǇ άϮ ϭ y DĂƌŬ // ŽĚǇ άϰϳ
ϲ н Ϯϰ ϭϬϱŵŵ άϭϲ

dƌŝƉŽĚƐ
^ĞƌŝĞƐ ϯ ϰ^ y>

ϮϬϮĐŵ DĂǆ ,Ğ Ś
ϭϬĐŵ DŝŶ ,ĞŝŐŚ
DdϬϱϱyWZKϯ
tĞǆ ĞǆĐůƵƐŝǀĞ
ĞĨƌĞĞ KŶĞ ,ǇďƌŝĚ 'WϮ
ϭϬϬϬŐ DĂǆ >ŽĂĚ
ϭϳϬĐŵ DĂǆ ,ĞŝŐŚƚ dƌĂǀĞů dƌŝƉŽĚ ZĞĚ
YƵĂůŝƚǇ ƵƐĞĚ ĐĂŵĞƌĂƐ% ůĞŶƐĞƐ "Đŵ DŝŶ ,ĞŝŐŚƚ ϭϯϬĐŵ DĂǆ ,ĞŝŐŚƚ ϮϱϳĐŵ ,ĞŝŐŚƚ
ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ϰ"Đŵ DŝŶ ,ĞŝŐŚƚ
EĞǁ ^ǇƐƚĞŵĂƟĐ dƌŝƉŽĚƐ :ŽďǇ dƌŝƉŽĚƐ
ǁŝƚŚ ϭϮ ŵŽŶƚŚƐ ǁĂƌƌĂŶƚǇΎ ^ĞƌŝĞƐ ϯ ϰ^ y> άϳ KƌŝŐŝŶĂů άϭϳ
^ĞƌŝĞƐ ϯ ϯ^ > άϲ DdϬϱϱyWZKϯ άϭϲ ůƵŵŝŶŝƵŵ ,ǇďƌŝĚ άϮ
ǁĞǆ
ĐŽ
ƵŬ ^ĞƌŝĞƐ ϱ ϰ^ y> ά DdϬϱϱyWZKϯ ĂƌďŽŶ &ŝďƌĞ άϯϮ ǀĂŝůĂďůĞ ŝŶ ůĂĐŬ ZĞĚ ^>Z ŽŽŵ ĨƌŽŵ άϰϰ

ΎǆĐůƵĚĞƐ ŝƚĞŵƐ ŵĂƌŬĞĚ ĂƐ ŝŶĐŽŵƉůĞƚĞ Žƌ ĨŽƌ ƐƉĂƌĞƐ ^ĞƌŝĞƐ ϱ ϲ^ ' άϭϭϰ DdϬϱϱyWZKϰ ĂƌďŽŶ &ŝďƌĞ άϯϰ ĂŶĚ 'ƌĞǇĨƌŽŵ ά &ŽĐƵƐ 'W ' ĨƌŽŵ ά
&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ

DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ <ŝƚƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
^ƉĞĞĚůŝƚĞƐ
ϰϯϬy /// Zd ϲϬϬy Zd DZ ϭϰy // Dd Ϯϰy ^ϱϬϬϬ ^ϳϬϬ Zϭ ůŽƐĞ hƉ Zϭϭ ,s> &ϰϯD ,s> &ϲϬD &> ϯϬϬZ &> ϲϬϬZ & ϱϰϬ &' // & ϯϲϬ&' //
άϮϯ άϰϮ άϰ άϯ άϰ άϮϯ άϰϮ άϱ άϮϰ άϰϮ άϭϯϰ
άϮϳ άϯϰ άϮϰ
&ůĂƐŚŐƵŶƐ DĂĐƌŽ ŇĂƐŚ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
ŝϰϬ ŝϳϬϬ ŝƌ

D ϭϰϬ ' άϭϰ άϭ
Ϯϲ & ϭ ϰϰ & Ϯ ϱϮ & ϭ ϲϰ & Ϯ ϭϱ D^ ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ^ĞŬŽŶŝĐ > ϯϬ'Ɛ WƌŽ ϰϳ'Z ŝŐŝWƌŽ &Ϯ
άϳ
άϭϭϱ άϮϬ άϯϬ άϮ άϭϬ άϭϲ άϯϮ άϭϳ άϯϲ άϮϮ
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů
sd Ăƚ ϮϬй
WƌŝĐĞƐ
ZŽŐƵĞ ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌǇΎΎ ĂǀĂŝůĂďůĞ
ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬ ;ďĂƐĞĚ ŽŶ Ă ϰ ĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ

&Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮ""ΎΎ ;ďĂƐĞĚ ŽŶ Ă
ϰ ĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ
&Žƌ EĞǆƚ tŽƌŬŝŶŐ ĂǇ ĞůŝǀĞƌǇ
ŽƵƌ ĐŚĂƌŐĞƐ ĂƌĞ άϰ""ΎΎ ^ĂƚƵƌĚĂǇ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ
Ăƚ Ă ƌĂƚĞ ŽĨ άϳ"ϱΎΎ ^ƵŶĚĂǇ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ Ăƚ Ă
ϯŵ ĂĐŬŐƌŽƵŶĚ &ůĂƐŚĞŶĚĞƌϮ tĂůů ZĞŇĞĐƚŽƌ ƌĂƚĞ ά'"ϱΎΎ;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌǇ ŚĞĂǀǇ ŝƚĞŵƐ( ƚŽ E/ Žƌ
DŝŶŝddϭ άϭϲϱ WůƵƐ /// ^Ğƚ WůƵƐy ^Ğƚ ϱ ŝŶ ϭ ZĞůĞĐƚŽƌ ^ƵƉƉŽƌƚ &ůĂƐŚĞŶĚĞƌϮ y> WƌŽ >ŝŐŚƟŶŐ DŽƵŶƟŶŐ <ŝƚ &ŽůĚŝŶŐ ^ŽŌďŽǆ ƌĂĐŬĞƚ ƌĞŵŽƚĞ ĂƌĞĂƐ ŵĂǇ ďĞ ƐƵďũĞĐƚ ƚŽ ĞǆƚƌĂ ĐŚĂƌŐĞƐ Θ K
WƌŝĐĞƐ ƐƵďũĞĐƚ ƚŽ ĐŚĂŶŐĞ 'ŽŽĚƐ ƐƵďũĞĐƚ ƚŽ ĂǀĂŝůĂďŝůŝƚǇ >ŝǀĞ
&ůĞǆddϱ άϭϳ άϮϮ άϭϰ άϮϰ
ά άϯϭ
ϱ ^ǇƐƚĞŵ άϰ
ϱ άϲϭ
&ƌŽŵ άϱϰ
άϮ
ŚĂƚ ŽƉĞƌĂƚĞƐ ďĞƚǁĞĞŶ "ϯϬĂŵ ϲƉŵ DŽŶ &ƌŝ ĂŶĚ ŵĂǇ
ŶŽƚ ďĞ ĂǀĂŝůĂďůĞ ĚƵƌŝŶŐ ƉĞĂŬ ƉĞƌŝŽĚƐ Ώ^ƵďũĞĐƚ ƚŽ ŐŽŽĚƐ
Kī ĂŵĞƌĂ ďĞŝŶŐ ƌĞƚƵƌŶĞĚ ĂƐ ŶĞǁ ĂŶĚ ŝŶ ƚŚĞ ŽƌŝŐŝŶĂů ƉĂĐŬĂŐŝŶŐ
ŇĂƐŚ ŽƌĚ tŚĞƌĞ ƌĞƚƵƌŶƐ ĂƌĞ ĂĐĐĞƉƚĞĚ ŝŶ ŽƚŚĞƌ ŝŶƐƚĂŶĐĞƐ( ƚŚĞǇ ŵĂǇ
&ƌŽŵ άϯϰ ďĞ ƐƵďũĞĐƚ ƚŽ Ă ƌĞƐƚŽĐŬŝŶŐ ĐŚĂƌŐĞ ΏΏƉƉůŝĞƐ ƚŽ ƉƌŽĚƵĐƚƐ
ZĞŇĞĐƚŽƌƐ ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
ϯϬĐŵ άϭϮ
ƐƉĞĐŝĮĐĂůůǇ ĚĞƐĐƌŝďĞĚ ĂƐ 1/E Žƌ ŝŶĐŽŵƉůĞƚĞ ;ŝĞ ďĞŝŶŐ ƐŽůĚ
ϱϬĐŵ άϮϰ ĨŽƌ ƐƉĂƌĞƐ ŽŶůǇ
tĞǆ WŚŽƚŽŐƌĂƉŚŝĐ ŝƐ Ă ƚƌĂĚŝŶŐ ŶĂŵĞ ŽĨ
ŽůůĂƉƐŝďůĞ tĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ ΞtĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ ϮϬϭϳ
ϳϱĐŵ άϯ
KŵĞŐĂ ZĞŇĞĐƚŽƌ hŵďƌĞůůĂ &ůĂƐŚ <ŝƚ ǌǇďŽǆ ^ƉĞĞĚ ǌǇďŽǆ ,ŽƚƐŚŽĞ ǌǇĂůĂŶĐĞ ĂĐŬŐƌŽƵŶĚ dƌŝ&ůŝƉ <ŝƚƐ hƌďĂŶ ŽůůĂƉƐŝďůĞ ϱĐŵ άϲϰ dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ Ύ^,<^ ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ ǁŝƚŚ
άϭϭ άϰ >ŝƚĞ Ϯ άϰ
ϱ &ƌŽŵ άϭϬ 'ƌĞǇ άϭ
^ƵƉƉŽƌƚ άϭϯ &ƌŽŵ άϲ
άϭϲϱ ƚŚĞ ŵĂŶƵĨĂĐƚƵƌĞƌ WůĞĂƐĞ ƌĞĨĞƌ ƚŽ ŽƵƌ ǁĞďƐŝƚĞ ĨŽƌ ĚĞƚĂŝůƐ
ϭϮϬĐŵ άϳ άϮϯ

^ŚŽǁƌŽŽŵ ƌĂǇƚŽŶ ,ŝŐŚ ZŽĂĚ) ;ŽƉƉŽƐŝƚĞ ^
EŽƌǁŝĐŚ
EZϲ ϱW
DŽŶ Θ tĞĚ ^Ăƚ ϭϬĂŵ ϲƉŵ( dƵĞƐ
ϭϬĂŵ ϱƉŵ( ^ƵŶ ϭϬĂŵ ϰƉŵ
YLVLW ZH[FRXN

&DOO XV 0RQ)UL DPSP 6DW DPSP 6XQ DPSP
7+( :(; 3520,6( 2YHU 3URGXFWV _ )UHH 'HOLYHU\ RQ RU RYHU _ 'D\ 5HWXUQV 3ROLF\
'PMMPX VT PO 5XJUUFS 'BDFCPPL (PPHMF BOE :PVUVCF

GPS BMM UIF MBUFTU PGGFST SFWJFXT OFXT BOE BEWJDFþ
^>Z >ĞŶƐĞƐ
& Ϯ ϯϬϬŵŵ Ĩϯ ϱϱ ϲ > /^ h^D άϮϮϰ ϭ ϯϱŵŵ Ĩϯ ϱϰ ϱ' &^ άϲϯ ϭϱϬϲϬϬŵŵ Ĩϱ Ϭϲ ϯ ^ ' K^ ,^D άϭϯϮ
&^ ϱϱϮϱϬŵŵ Ĩϰϱ ϲ /^ ^dD άϮϲ ϭ ϭϬϱŵŵ &^ y Ĩϯ ϱϱ ϲ ' sZ άϮϯ ϭϱϬϲϬϬŵŵ Ĩϱϲ ϯ ' K^ ,^D άϳ
& ϳϬϮϬϬŵŵ ĨϮ > /^ h^D // άϭ ϭ ϭϰϬŵŵ Ĩϯ ϱϱ ϲ ' &^ y sZ άϰϳϬ
EKE >E^^ & ϳϬϮϬϬŵŵ Ĩϰ> /^ h^D άϭϬϰ ϭ ϮϬϬŵŵ Ĩϯ ϱϱ ϲ ' &^ y sZ // άϲϲ
& ϮϬŵŵ ĨϮ h^D άϰϰ & ϳϬϯϬϬŵŵ Ĩϰ Ϭϱ ϲ > /^ h^D άϭϬϮ ϭ ϯϬϬŵŵ Ĩϯ ϱϱ ϲ &^ sZ y άϳ
& Ϯϰŵŵ Ĩϭ ϰ> // h^D άϭϰ & ϭϬϬϰϬϬŵŵ Ĩϰ ϱϱ ϲ> /^ h^D // άϭϳϱ ϮϰϳϬŵŵ ĨϮ ' &^ άϭϱϳ
& Ϯϰŵŵ ĨϮ /^ h^D άϰϯ ϮϰϳϬŵŵ ĨϮ &^ sZ άϭ dDZKE >E^^
ǁŝƚŚ ϱ zĞĂƌ DĂŶƵĨĂĐƚƵƌĞƌ
& Ϯ ŵŵ Ĩϭ h^D άϰϭ Ϯϰ ϱŵŵ Ĩϯ ϱϰ ϱ &^ ' sZ άϰϯ tĂƌƌĂŶƚǇ
& Ϯ ŵŵ ĨϮ /^ h^D άϯ ϮϰϭϮϬŵŵ Ĩϰ ' &^ sZ ά ϯϱŵŵ Ĩϭ ^W ŝ s h^ άϱ
& ϯϱŵŵ Ĩϭ ϰ> // h^D άϭϳ Ϯ ϯϬϬŵŵ Ĩϯ ϱϱ ϲ ' &^ sZ άϮ ϰϱŵŵ Ĩϭ ^W ŝ s h^ άϱ
& ϯϱŵŵ ĨϮ /^ h^D άϰϲ ϱϱϯϬϬŵŵ Ĩϰ ϱϱ ϲ ' &^ y sZ άϯϭ ϱŵŵ Ĩϭ ^W ŝ s h^ άϳϰ
& ϰϬŵŵ ĨϮ ^dD άϭ ϳϬϮϬϬŵŵ ĨϮ ' &^ sZ // άϭ Ϭŵŵ ĨϮ ^W ŝ s h^ DĂĐƌŽ άϱϳ
& ϱϬŵŵ Ĩϭ Ϯ> h^D άϭϯϲ E/<KE >E^^ ϳϬϯϬϬŵŵ Ĩϰ ϱϱ ϲ ' &^ /& sZ άϱϭ ϭ Ϭŵŵ Ĩϯ ϱ ŝ ^W & DĂĐƌŽ άϳ
& ϱϬŵŵ Ĩϭ ϰ h^D άϯϰ ϭϬ ϱŵŵ ĨϮ ' /& & y &ŝƐŚĞǇĞ άϱϱ ϬϰϬϬŵŵ Ĩϰ ϱϱ ϲ ' &^ sZ άϮϭ ϭϬϮϰŵŵ Ĩϯ ϱϰ ϱ ŝ // > ^W & ^W /& άϰϭ
& ϱϬŵŵ Ĩϭ ^dD άϭϬϲ ϭϰŵŵ ĨϮ & >ĞŶƐ άϭϯ ϮϬϬϱϬϬŵŵ Ĩϱ ϲ &^ sZ άϭϮϰ ϭϱϯϬŵŵ ĨϮ ^W ŝ s h^ άϮ
&^ ϲϬŵŵ ĨϮ h^D DĂĐƌŽ άϰϭ ϮϬŵŵ Ĩϭ ' &^ άϲϱ ϭϲϯϬϬŵŵ Ĩϯ ϱϲ ϯ ŝ // s W DĂĐƌŽ άϯ
& ϱŵŵ Ĩϭ Ϯ> // h^D άϭϳ Ϯϰŵŵ Ĩϭ ϰ ' &^ άϭϮ ϭ ϮϬϬŵŵ Ĩϯ ϱϲ ϯ ŝ // s άϭ
& ϱŵŵ Ĩϭ h^D άϯϯ Ϯϰŵŵ Ĩϭ ' &^ άϲϰ ϭ ϮϳϬŵŵ Ĩϯ ϱϲ ϯ ŝ // s W άϮ
& ϭϬϬŵŵ ĨϮ h^D DĂĐƌŽ άϰϱ Ϯ ŵŵ Ĩϭ ' &^ άϱϳ ϮϰϳϬŵŵ ĨϮ ŝ s h^ ^W άϳ
& ϭϬϬŵŵ ĨϮ > DĂĐƌŽ /^ h^D άϲ ϯϱŵŵ Ĩϭ ' &^ άϰϰ ^/'D >E^^
ǁŝƚŚ ϯ zĞĂƌ DĂŶƵĨĂĐƚƵƌĞƌ Ϯ ϯϬϬŵŵ Ĩϯ ϱϲ ϯ ŝ s W άϱ
& ϯϬϬŵŵ Ĩϰ Ϭ > /^ h^D άϭϭϯ ϰϬŵŵ ĨϮ ' &^ y DŝĐƌŽ άϮϯ tĂƌƌĂŶƚǇ ϳϬϮϬϬŵŵ ĨϮ ŝ s h^ άϭϬ
&^ ϭϬϭ ŵŵ Ĩϰ ϱϱ ϲ /^ ^dD άϮϭϯ ϰϱŵŵ ĨϮ W DŝĐƌŽ άϭϰ Ϯϰŵŵ Ĩϭ ϰ ' ,^D άϲϰ ϭϱϬϲϬϬŵŵ Ĩϱϲ ϯ ^W ŝ s h^ άϳϰ
&^ ϭϬϮϮŵŵ Ĩϯ ϱϰ ϱ h^D άϰ ϱϬŵŵ Ĩϭ ϰ ' &^ άϯ ϯϬŵŵ Ĩϭ ϰ ,^D άϯϱ
& ϭϭϮϰŵŵ Ĩϰ> h^D άϮϲ ϱ ŵŵ Ĩϭ ϰ ' &^ άϭϰϭ ϯϱŵŵ Ĩϭ ϰ ' ,^D άϲϰ
&^ ϭϱ ϱŵŵ Ĩϯ ϱϱ ϲ /^ h^D άϲϰ ϲϬŵŵ ĨϮ & DŝĐƌŽ άϰϬ ϱŵŵ Ĩϭ ϰ y ' ,^D άϲϭ
& ϭϲϯϱŵŵ ĨϮ > DŬ // h^D άϭϰϮ ϲϬŵŵ ĨϮ ' &^ άϱϮ ϭϬϱŵŵ ĨϮ WK y ' K^ ,^D DĂĐƌŽ άϯϱ
EĞǁ & ϭϲϯϱŵŵ ĨϮ > /// h^D άϮϬ ϱŵŵ Ĩϭ ' &^ άϰϰ ϭϱϬŵŵ ĨϮ y ' K^ ,^D DĂĐƌŽ άϳϳ
& ϭϲϯϱŵŵ Ĩϰ> /^ h^D ά ϭϬϱŵŵ ĨϮ ' &^ sZ /& DŝĐƌŽ άϳϲ ϭϲŵŵ Ĩϰ ϱϱ ϲ ,^D άϱ
&^ ϭϳϱϱŵŵ ĨϮ /^ h^D άϳϰ
&^ ϭ ϱϱŵŵ Ĩϯ ϱϱ ϲ /^ ^dD >ĞŶƐ άϭ
ϭϯϱŵŵ ĨϮ Ϭ & άϭϭϰ ϭϬϮϬŵŵ Ĩϯ ϱ y ,^D άϯϯ &Žƌ ĂŶŽŶ
Įƚ dĂŵƌŽŶ1
ϭ Ϭŵŵ ĨϮ & /& άϳϱ ϭϮϮϰŵŵ Ĩϰ ϱϱ ϲ y ' ,^D // άϲϰ
&^ ϭ ϭϯϱŵŵ Ĩϯ ϱϱ ϲ /^ ^dD άϯϳ ϯϬϬŵŵ Ĩϰ Ϭ &^ W& sZ άϭϱϳ ϭϳϳϬŵŵ ĨϮ ϰ Ϭ K^ ,^D άϯϰ ^ŝŐŵĂ Žƌ ^ĂŵǇĂŶŐ ůĞŶƐĞƐ1
&^ ϭ ϭϯϱŵŵ Ĩϯ ϱϱ ϲ /^ h^D άϰϮ ϱϬϬŵŵ Ĩϰ Ϭ &> &^ sZ άϰϰ ϭ ϮϱϬŵŵ Ĩϯ ϱϲ ϯ DĂĐƌŽ K^ ,^D άϯϰ
&^ ϭ ϮϬϬŵŵ Ĩϯ ϱϱ ϲ /^ άϰϲ ϲϬϬŵŵ Ĩϰ Ϭ &> &^ sZ άϭϬϬϭϱ ϭ ϯϬϬŵŵ Ĩϯ ϲϲ ϯ DĂĐƌŽ K^ ,^D άϯϲ ǀŝƐŝƚ ŽƵƌ ǁĞďƐŝƚĞ
& ϮϰϳϬŵŵ ĨϮ > /^ h^D // άϭ ϭϬϮϰŵŵ Ĩϯ ϱϰ ϱ ' &^ y άϳϰϱ Ϯϰϯϱŵŵ ĨϮ ' ,^D άϳϱ
& ϮϰϳϬŵŵ Ĩϰ> /^ h^D άϳ ϭϲ Ϭŵŵ ĨϮ ϰ' &^ y sZ ά ϮϰϳϬŵŵ ĨϮ /& y ' ,^D άϱϮϲ
& ϮϰϭϬϱŵŵ Ĩϯ ϱϱ ϲ /^ ^dD άϯϳ ϭϲ ϱŵŵ Ĩϯ ϱϱ ϲ ' &^ y sZ άϱϳ ϳϬϮϬϬŵŵ ĨϮ y ' K^ ,^D ά
EĞǁ & ϮϰϭϬϱŵŵ Ĩϰ> /^ // h^D άϭϬϲϱ ϭϳϱϱŵŵ ĨϮ ' y &^ /& άϭϯϰ ϭϮϬϯϬϬŵŵ ĨϮ K^ άϮϲ
WŚŽƚŽ ĂŐƐ Θ ZƵĐŬƐĂĐŬƐ ŽŵƉƵƟŶŐ

W/yD WƌŽ ϭϬϬ^ άϯϳϱ
WƌŽ ƌƵŶŶĞƌ W ϯϱϬ t WƌŽdĂĐƟĐ W
Ŷǀŝů ^ůŝŵ WƌŽĨĞƐƐŝŽŶĂů
W/yD WƌŽ ϭϬ^ άϱϭ
// ĂĐŬƉĂĐŬ ϮϱϬ t ,ĂĚůĞǇ WƌŽ W/yD WƌŽ ϭ άϱ
DĂŶĨƌŽƩŽ ĚǀĂŶ Ě ĂĐŬƉĂĐŬ KƌŝŐŝŶĂů
3XUSRVHEXLOW 3HUIHFW IRU dƌĂǀĞů ĂĐŬƉĂĐŬ <ŚĂŬŝ
WR RUJDQLVH FDUU\LQJ D FRPSDFW
ůĂĐŬ
DQG SURWHFW V\VWHP FDPHUD
PRUH JHDU DQG ZLWK PP LV PDGH XS RI WZR
SURYLGH PRUH OHQV DWWDFKHG FRPSDUWPHQWV
RSWLRQV IRU OHQVHVÀDVKHV WKH ERWWRP WDNHV
SKRWRJUDSKLF ĂŶǀĂƐ1>ĞĂƚŚĞƌ2 <ŚĂŬŝ ůĂĐŬ
PDQRHXYULQJ DQ ´ 0DF%RRN &ŝďƌĞEǇƚĞ1>ĞĂƚŚĞƌ2 <ŚĂŬŝ
LQ EXV\ DLUSRUWV $LU SOXV VPDOO HTXLSPHQW DQG
DQG FURZGHG DFFHVVRULHV WKH WRS VHFWLRQ ^ĂŐĞ ůĂĐŬ ĂƚĂĐŽůŽƌ ^ƉǇĚĞƌ /ŶƚƵŽƐ WƌŽ WƌŽĨĞƐƐŝŽŶĂů
VWUHHWV KROGV DOO RI \RXU ŝŐŝƚĂů άϭϭ ϱ WƌŽ άϭϰ WĞŶ ĂŶĚ dŽƵĐŚ dĂďůĞƚ
SHUVRQDO EHORQJL
Ŷǀŝů! ^ŵĂůů άϭϰ
WƌŽ ZƵŶŶĞƌ! WƌŽdĂĐƟĐ W! Ŷǀŝů ^ůŝŵ άϭϯ ŝϭ ŝƐƉůĂǇ WƌŽ άϭϳ ^ŵĂůů άϭϰ
>ĂƌŐĞ άϭϱϰ ŽůŽƌDƵŶŬŝ DĞĚŝƵŵ ^ άϮϭ
W ϯϱϬ t // άϭϱ ϮϱϬ t άϭϯ ĚǀĂŶĐĞĚ dƌĂǀĞů άϳ2 Ŷǀŝů ^ƵƉĞƌ άϭϯ WƌŽ KƌŝŐŝŶĂů άϭ
W ϰϱϬ t // άϭϳ ϰϱϬ t άϭ Ŷǀŝů WƌŽ άϭϰ ,ĂĚůĞǇ KŶĞ άϮϲϱ ^ŵŝůĞ άϳ >ĂƌŐĞ άϯϳ
ŝŐŝƚĂů ŽŵƉĂĐƚ ĂŵĞƌĂƐ ŝŐŝƚĂů ĐŽŵƉĂĐƚ ĐĂŵĞƌĂ ĂĐĐĞƐƐŽƌŝĞƐ ĂƌĞ ĂǀĂŝůĂďůĞ ŽŶ ŽƵƌ ǁĞďƐŝƚĞ
WŽǁĞƌ^ŚŽƚ /yh^ Ϯϱ ,^ άϭϲϲ

ϭϲ2ϭ ϮϬ2ϭ ϭϮ2 WŽǁĞƌ^ŚŽƚ ^yϲϬ ,^ άϯϲ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
WŽǁĞƌ^ŚŽƚ ^yϱϰϬ άϮϳϳ
ϲϱǆ ϰ2Ϯǆ ϱ2Ϭǆ
ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ WŽǁĞƌ^ŚŽƚ ^yϳϮϬ άϮϳ
ϭϬϬƉ ϭϬϬƉ ϭϬϬƉ WŽǁĞƌ^ŚŽƚ ' y άϯϰ
ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ WŽǁĞƌ^ŚŽƚ 'ϯ y άϲϰ
WŽǁĞƌ^ŚŽƚ 'ϱ y WŽǁĞƌ^ŚŽƚ 'ϳ y DĂƌŬ // WŽǁĞƌ^ŚŽƚ 'ϭ y DĂƌŬ // WƌĞŵŝƵŵ <ŝƚ /yh^ ϭϱ ,^ άϭϭ
άϱ άϱϰ άϲϲ
ůĂĐŬ Žƌ ^ŝůǀĞƌ
ůĂĐŬ Žƌ >Ƶŵŝǆ &ϭϬϬϬ άϱϳ
^ŝůǀĞƌ >Ƶŵŝǆ dϳϬ άϮϳ
Ϯϰ2ϯ >Ƶŵŝǆ &ϮϬϬ άϮ
ŵĞŐĂƉŝǆĞůƐ ϮϬ2ϭ >Ƶŵŝǆ dϬ άϯϮ
Ϯϰǆ ϮϬ2ϭ ŵĞŐĂƉŝǆĞůƐ
ϭϬϬ ŽƉƟĐĂů ǌŽŽŵ ŵĞŐĂƉŝǆĞůƐ
ŵŽǀŝĞ ŵŽĚĞ
>Ƶŵŝǆ >yϭϬϬ >Ƶŵŝǆ dϭϬϬ >Ƶŵŝǆ D
>yϭϱ
yϭϬϬ& άϭϮϰ άϱϰ άϱϮ άϱ
^ƚǇůƵƐ dŽƵŐŚ dŚĞƚĂ ^ ŝŐŝƚĂů

^ƚǇůƵƐ d'
ϰ d'
ϳϬ ^ƉŚĞƌŝĐĂů ĂŵĞƌĂ
tŚŝƚĞ
dŚĞƚĂ ^ ŝŐŝƚĂů
άϮ άϮϰ ^ƉŚĞƌŝĐĂů ĂŵĞƌĂ ϯϲϬΣ ƐƟůůƐ ǁŝƚŚ ' ŝŶƚĞƌŶĂů
ůĂĐŬ ϭϮ DĞŐĂƉŝǆĞůƐ ǁŝƚŚ ƐƚŽƌĂŐĞ- ůŝƚŚŝƵŵ ŝŽŶ ďĂƩĞƌǇ-
ϭϬ ϬƉ ŵŽǀŝĞ ŵŽĚĞ ĂŶĚ ŝ^K ĂŶĚ ŶĚƌŽŝĚ ƐƵƉƉŽƌƚĞĚ
ϯϲϬΣ ƐƟůůƐ άϯϭ άϮϰ
ůĂĐŬ
ϭ2Ϯ
ŵĞŐĂƉŝǆĞůƐ ϭϲ
ϯϬ2Ϭǆ ϮϬ ϮϬ
ŽƉƟĐĂů ǌŽŽŵ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ϭϬϬ
ŵŽǀŝĞ ŵŽĚĞ :/ DĂǀŝĐ WƌŽ
ǇďĞƌ
^ŚŽƚ ,yϬs ǇďĞƌ
^ŚŽƚ ZyϭϬϬ DĂƌŬ /s ǇďĞƌ
^ŚŽƚ ZyϭϬϬ DĂƌŬ s YƵĂĚĐŽƉƚĞƌ ƌŽŶĞ ĨƌŽŵ άϭϬ
άϯϯ άϳϮ ά ŽŽůƉŝǆ tϭϯϬ άϰϳ
&Z ĚĞůŝǀĞƌǇ ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬΎΎ ΎΎĂƐĞĚ ŽŶ Ă ϰ

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Photo Critique
Final Analysis
Roger Hicks considers…
‘Railway lines, Bristol’, 1974, by Stephen Dowle
© STEPHEN DOWLE
A
lthough this is Bristol, it could colour reinforce this impression, they are several (especially in colour) that are as
be anywhere. This is a large also a part of its everydayness. It looks like striking and memorable as this one.
part of the appeal of the picture something any of us could see and snap. This is, however, the third major factor
and why I chose it. So much Which we could, if we were lucky. The in the picture’s appeal: it is part of a set.
is typical: the shabby brick, the dirty bushes bracketing the picture; the Of course, it will be of far more interest to
foliage, the apparently broken window, chimneys, left and right; the background those who know Bristol than to those who
the industrial-looking background, the haze; yes, it’s what you’ll get if you stand in do not, but it’s also an object lesson in how
slightly wonky curves and indeed straights the right place. You could hardly compose the everyday slides into the past, so that
that mark it out as an old, run-down it otherwise. Except, of course, that you the common becomes uncommon. It also
urban railway. Then again, although I say could. A little closer or a little further away; shows the difference between a theme and
‘it could be anywhere’, the unusual layout a different focal length; suddenly, you’ve a random collection of whatever caught
of the lines might give the game away to lost it. At this point, how much is luck and the photographer’s eye.
railway lovers: it was laid out in 1835 as how much is the photographer’s eye? This is why I rarely have much time for
part of a horse-drawn tramway. those who look at a picture like this and say,
Another large part of its appeal is the Ongoing project ‘Huh! I’ve got lots of better pictures than
deceptively mundane composition. It is In all fairness, if we look at the rest of the that.’ Well, they may have, although in this
reminiscent of the Düsseldorf/Neue pictures in the book from which this case I doubt it. What they don’t usually
Sachlichkeit school of so-called ‘objective’ photograph is taken (Bristol, A Portrait have are enough related pictures for an
photography, without the emphasis on 1970-82, Amberley Publishing), we see exhibition or (as here) a book. There’s
extreme technical quality. In fact, it’s that Dowle’s eye is/was not infallible. nothing behind their ‘better pictures’,
pretty much a snapshot, but although the Quite a lot of his photographs are because ‘better’ can mean a whole lot
hazy background and rather old-fashioned distinctly ordinary, although there are more than just ‘superficially attractive’.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by David Zimmerman

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