Amateur Photographer 12 August 2017

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Saturday 12 August 2017
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Passionate about photography since 1884
Monumental
shots
How to capture Britain’s
Lightroom
print secrets
Create superb prints,
books, slideshows and
most historic buildings much more
● Great churches & castles
● Pro shooting tips
● Gear advice
Magical Good sports

macros Celebrate the world’s best
Best macro images sports images and
from the next round sport photographers
of our APOY contest
One-stop light solution How Rotolight’s AEOS ticks both stills & video boxes
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COVER PICTURE © TRIGGER IMAGE / ALAMY STOCK PHOTO
A week in photography
Whether you live in a big city practical tips and pro advice to put into
or a very remote, rural practice today. As always, we’d love to see the
location, there’s usually some results of your labour, particularly if some of
kind of historic building within our tips and techniques have inspired you to
striking distance. Be it a get out and about. Other highlights of this
In this issue church, castle or stately home, the UK is
replete with imposing edifices, and they
issue include a celebration of classic sport
photography, a guide to printing with
12 Capturing
the past usually make fantastic photographic subjects. Lightroom and a hands-on test of a much
Stately homes, cathedrals So this issue is dedicated to shooting the Best more affordable Leica mirrorless camera.
and castles are crying of Britain’s classic architecture, with plenty of Nigel Atherton, Editor
out to be photographed.
Here’s how to make the JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
most of their qualities
18 Video star
The winner of The Video ONLINE PICTURE OF THE WEEK
Mode/Canon Amateur
Videographer of the Year
competition talks about
what makes her tick
22 Good sport
A major exhibition in
Switzerland is exploring
the art of sports
photography. We bring the
best of the images to you
27 APOY 2017
The magic of macro is
explored in this round of
our annual competition.
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
Take a look at the top
30 images that were
uploaded to Photocrowd
34 Lightroom tips
We believe all the best
images deserve to be
seen in print form. James
Paterson reveals the best
© CAROLYNE BARBER
ways of displaying them

38 Leica TL2
The famous red dot has
made its way on to a new
mirrorless camera. Is ‘When it was dull, it had to be a gull’
there enough substance
to match the style? We
by Carolyne Barber
Nikon D7000, 55-300mm, 1/8sec at f/22, ISO 100
Win!
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
find out Each week we choose our favourite

This ethereal picture of a gull was take my camera out anyway. I picture on Facebook, Instagram,
46 Rotolight AEOS taken by AP reader Carolyne suddenly had an idea to capture the Flickr, Twitter or the reader gallery using
This innovative new Barber and was uploaded to our gulls in the local park using a slower #appicoftheweek. PermaJet proudly supports
LED light is designed Twitter page using the hashtag shutter speed in order to give them the online picture of the week winner, who will
for photographers and #appicoftheweek. a sense of movement and a more receive a top-quality print of their image on the
videographers alike. ‘This picture was taken on a dull artistic look. It was trial and error to finest PermaJet paper*. It is important to bring
Find out what makes day, when at first I felt uninspired to get the exposure right, but the images to life outside the digital sphere, so we
it different go out with my camera,’ says freedom of experimentation was encourage everyone to get printing today! Visit
Carolyne. ‘In the end, I decided to just so much fun.’ www.permajet.com to learn more.
Regulars
3 7 days
10 Inbox 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.
50 Accessories 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 53.
51 Tech Support Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
66 Final Analysis 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 53.
NEWS ROUND-UP
The photographic week in brief, edited by
Liam Clifford and Hollie Latham Hucker
RPS Science competition shortlist
The Royal Photographic
© TERESA ZGODA
Society’s International Images
for Science competition has
announced a shortlist of 100
images, drawn from 3,563
entries. Supported by Siemens,
the competition aims to engage
young people with science and
engineering. The five winners
will be revealed at a ceremony
in London on 12 September.
Daguerrotype Achromat
given a chrome finish
Lomography has launched a version
of its reimagined Daguerreotype
Achromat 2.9/64 Art lens in a chrome
plated finish. The lens was
Kickstarted in 2016, designed by
Lomography’s technicians based on
Daguerre and Chevalier’s 1839 design.
See www.lomography.com.
Historic Photographer of the Year launches

The first Historic Photographer of
the Year Awards has opened for
amateur and professional
photographers around the world,
with the aim of capturing the very
best historic places and cultural
sites across the globe. The
winner will receive £2,500. Visit
photographer.triphistoric.com.
© WAYNE KLIEWER
John Morris: 2016-2017

John Morris, one of the most
© ABBAS/MAGNUM PHOTOS
famous picture editors of the 20th

century, has died, aged 100. Morris GET UP & GO
served as picture editor at Life
LONDON EDINBURGH
magazine during World War II,
working closely with Robert Capa.
He was executive director at
Magnum Photos for nine years
from 1953. Ironically, for a
champion of great war photography,
Morris was a lifelong pacifist.
© JIM GROVER
© ROLAND PHILLIPS
© KYLE MOORE
RSPCA Young
Photographer Awards Jim Grover
invites entries Jim Grover’s beautiful project records
Chris Packham, who presents TV’s Charlie Phillips the day-to-day life of an Anglican
Springwatch, is calling for young Roland ‘Charlie’ Phillips was born in Kingston, priest in Clapham, south London. The
people to get snapping during the Jamaica in 1944, and moved to the UK in 1956. After photographer’s black & white images
school holidays and enter their acquiring his first camera in the 1950s, Phillips began are both intimate and profound, and are
photos in the RSPCA’s Young to document life in London. He is best known for his a thought-provoking illustration of what
Photographer Awards. The closing photographs of Notting Hill at a time when the area can be achieved with intelligent
date is 4pm, Friday 18 August. Visit was wracked with poverty. documentary photography.
www.rspca.org.uk /ypa/17 Until 30 August www.lomography.com/about/stores/ Until 31 August, www.cathedral.net
4 12 August 2017 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

BIG
picture
A look at the crowd
winner of APOY Round
Three: small wonders
In the third round of
Amateur Photographer of
the Year 2017 we asked you to
send us your most exquisite
examples of macro photography.
While the theme allowed for
plants and flowers, insects and
arachnids were the dominant
subject. Elena Paraskeva took the
judges’ first prize with her
incredible butterfly shot. However,
the crowd vote on Photocrowd
saw Wayne Kliewer take its first
prize: a year’s subscription to AP.
His image was taken in the
Ecuadorian rainforest. The green
spiny caterpillar is lit by a single
off-camera flash.
‘I needed to use an off-camera
flash to capture details in the hairs,
legs, and face, while still keeping
the background dark,’ says Wayne.
For the judges’ winners from
APOY Round Three, see page 27.
To see all the results visit www.
photocrowd.com/photo-
competitions/photography-
awards/apoy-2017.
Words & numbers

The most interesting things to see, to do and to shoot this week. By Oliver Atwell
COLCHESTER EDINBURGH EASTBOURNE The camera is an excuse
to be someplace you
otherwise don’t belong.
It gives me both a point
of connection and a
© AXEL HESSLENBERG
© GRAHAM MACINDOE
point of separation
© ED GOLD
Susan Meiselas
Ed Gold Graham MacIndoe Hesslenberg and Nelson US photographer, b. 1948
The work of Essex-based documentary Graham MacIndoe is a Scottish People and spaces are at the heart of
photographer Ed Gold will be photographer based in New York. His this joint photography exhibition by
48%
SOURCE: HELLOCANVAS.CO.UK
celebrated in a major exhibition at series of self-portraits entitled Axel Hesslenberg and Mark Nelson.
Firstsite, Colchester. Entitled Ed Gold: ‘Coming Clean’ confronts his addiction Hesslenberg’s subjects embrace the
Other Worlds, the presentation is made to heroin. The photographs are graphic new, open space on Eastbourne’s Pier,
up of 100 photographs taken over a and unflinching. This is the first time while Mark Nelson looks at people in
period spanning almost 30 years. they have been on display. areas such as New York and Havana. The proportion of photos
taken by 18 to 30-year olds
Until 17 September, www.firstsite.uk/ Until 5 November, www. Until 21 August, www. that are selfies
whats-on nationalgalleries.org devonshirecollective.co.uk
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 12 August 2017 5

© JUNO CALYPSO / TJ BOULTING GALLERY
‘Selfie to Self-
Expression’
show extended
DUE TO popular
demand, the Saatchi
Gallery’s popular exhibition
‘From Selfie to Self-
Expression’ has been
extended well past its
original closing date
and will now end on
6 September.
The show, the gallery’s
‘Auroral Crown’, by most successful to date, is
Yulia Zhulikova, billed as the world’s first
celebrates the exhibition exploring the
Aurora Borealis
history of the selfie, from
Competition releases
the self-portraiture of the
Old Masters to the modern
day. It claims to celebrate
the creative potential in a
photographic genre often
its celestial shortlist

derided for its inanity.
The show also highlights
the emerging role of
the smartphone as an
artistic tool.
IMAGES OF asteroids and to the judging panel this year. She Artists as diverse as
Uranus are among the incredible was joined by renowned comedian Christopher Baker, Juno
pictures on the shortlist released by and keen amateur astronomer Calypso, Tracey Emin, Van
the organisers of the 2017 Insight Jon Culshaw, editor of BBC Sky at Gogh, Rembrandt, Cindy
Astronomy Photographer of the Night magazine Chris Bramley, the Sherman and Velázquez
Year competition. Royal Observatory’s public are all on show. Visit www.
They are joined by the supermoon astronomer Dr Marek Kukula, and saatchigallery.com for
illuminating the night sky as it sets a host of experts from the worlds of more information.
behind the Marmarole in the heart of art and astronomy.
the Italian Dolomites, the Northern The winners of the competition’s
Lights dancing above a rainbow cast nine categories and two special
in the waters of the harbour in prizes will be announced on
Trømso, Norway, and a shooting star Thursday 14 September at a
flashing across the sky over Portland, special ceremony at the Royal
Dorset as Venus, our neighbouring Observatory Greenwich.
planet, looks on. The winning images will be
The photographers have also displayed in a free-of-charge
Tommy Eliassen’s ‘Blue Hour’ shows the captured sights from across our Solar exhibition at the Observatory’s
Moon, Mars and the Northern Lights System, the galaxy and the wider
universe; from the distant ice-giant
Astronomy Centre from Saturday
16 September.
Subscribe to
Uranus, the seventh farthest planet The overall winner will receive
from the Sun, some 2.6billion £10,000. Winners of all other
kilometres away from Earth, to categories and the Young Astronomy
the galactic supernova remnant Photographer of the Year will receive
of IC 443, a star that exploded
30,000 years ago.
£1,500. There are also prizes for
runners-up (£500) and highly
SAVE *
The competition received around
3,800 entries from more than 90
countries, with those shortlisted
representing many of them.
commended entries (£250).
Winners and shortlisted entries
will also be published in the
competition’s official book, available
36%
Visit amateurphotographer
The Northern Lights shimmer in ‘Aurora Rebecca Roth, of NASA’s Goddard on 2 November from bookstores subs.co.uk/13AV (or see p52)
over Svea’, by Agurtxane Concellon Space Flight Center, was welcomed and online. * when you pay by UK Direct Debit

Launch video
teases D850’s
low-light abilities
New Books
The latest and best books from the
world of photography. By Oliver Atwell
© ANDY WARHOL
Nikon celebrates being Andy Warhol: Polaroids
100 with new camera By Richard B. Woodward, Taschen, £69.99,
560 pages, hardback, ISBN 978-3-83655-156-4
‘A PICTURE means I know where I was
FRESH from that it will boast 8K every minute. That’s why I take pictures.
celebrating its time-lapse capabilities. It’s a visual diary.’ So said Andy Warhol,
founding 100 years ago Nikon said: ‘This powerful an artist who, through the strange
on 25 July, Nikon has new FX-format digital SLR blurred lines of autobiography and
confirmed it is developing camera is engineered with self-mythologising, was able to create a
a new high-speed, a range of new character, an artist and a brand. This beautiful book
high-resolution DSLR, to technologies, features covers the period between 1958 and 1987 when
be called the D850. and performance Warhol first laid his hands on a Polaroid camera. What
The new D850 will be aimed
Billed as the successor enhancements that are a at high-end professionals he held was a tool that could create instant works of art.
to the D810, the new direct result of feedback The book is saturated with portraits, many of which are
camera will be aimed at from users over the years The company is instantly recognisable. Debbie Harry, Jean-Michel
professionals and high-end – who demand the very expected to release Basquiat, Pelé, Grace Jones and other luminaries gaze
enthusiasts shooting best from their camera more details soon. back at you, transporting you to a time and a place that
landscapes, commercial equipment. In other centenary news, has been endlessly eulogised. What we see here, as the
sports, fashion and ‘The D850 will exceed Nikon has launched a new book keenly points out, is a precursor of Instagram. It’s
weddings, as well as at the expectations of series of content on its a fascinating idea, although not exactly new (it’s no
multimedia creators. the vast range of anniversary hub (www. coincidence that there are striking similarities between
The company’s photographers who seek nikon.com/100th), the Polaroid and Instagram brands). This is a genuinely
announcement was the high resolution and featuring images and lovely book that’s worth every penny. +++++
accompanied by a video high-speed capabilities advice from Nikon
trailer featuring low-light that only a Nikon of this photographers, and a
shots taken with the new calibre, complemented by virtual tour of the Nikon Upland – Shropshire’s Long
camera, and confirmation Nikkor lenses, can offer.’ Museum in Tokyo. Mynd and the Stiperstones
by Andrew Fusek Peters, Graffeg, £20, 192
pages, paperback, ISBN: 978-1-91086-268-1
New Voigtländer 65mm F2 Macro ANDREW FUSEK Peters first appeared
LENS manufacturer Voigtländer has announced the in AP in our Portfolio pages. Soon after,
release of its Macro APO-Lanthar 65mm f/2 Aspherical he released Wilderland, Wildlife and
lens for Sony E-mount. The designation APO-Lanthar is only Wonder from the Shropshire Borders, a
given to high-performance lenses in the Voigtländer line-up. book I was especially keen on. What is
The high-performance manual focus macro lens has been notable about Peters is his enthusiasm
designed for the full-frame image sensors of the current for the therapeutic benefits of photography and how
range of Sony full-frame mirrorless cameras. the medium can bring us into contact, and maybe
It features an apochromatic optical design, and has a even reconnect us, with nature. In his new book,
manual focus and manual aperture with electrical Peters continues his love affair with Shropshire. Like
contacts so that EXIF data can be recorded. Wilderland it takes the form of a psychogeographic
The Voigtländer Macro APO-Lanthar diary and is a pure expression of wanderlust. In
65mm f/2 Aspherical is available from the another sense, the book is a biography of a landscape,
New lens partners
beginning of August and will cost £750. Sony full-frames one that also takes into account Peter’s subjective
engagement with the area. It’s a perfect example of
the benefits of dedicating yourself to one area, and
For the latest news visit www.amateurphotographer.co.uk realising the possibilities are endless. +++++

In next week’s issue
Viewpoint On sale Tuesday 15 August
Mike Smith
© COURTESY OF TIM DALY

Heavy-handed HDR has a lousy reputation,
but Mike Smith reckons the technique can
deliver good results when used tastefully
I
confess that I like HDR. There, and identify how many of the tones you
I’ve said it. But why? Well, I was can see. HDR is real life. OK, I won’t go as
thinking about dynamic range. This far as saying the heavily overprocessed,
is the ratio between the darkest tone-mapped images are natural, but,
and brightest points in an image, and in well, these are.
photography we measure this in f-stops. Of course, while with multiple-image
Most compact cameras (and smartphones) HDR we often shoot 5 stops over and
fall in the range of 7-9 stops, DSLRs 5 stops under in order to expand the
12-14, with the top performing Nikon dynamic range, we still can’t represent
D810 on 14.8. But how does that that on a print or monitor. LCDs typically
compare to the human eye? Well, the run at around 10 stops, which means we
Perfect
eye doesn’t have a fixed range as it need to use a process such as tone-
depends on the context. Its instantaneous mapping to reduce the dynamic range
perception is thought to be 10-14 stops, while retaining local contrast.
while if you allow your eye to adapt to the When undertaken with subtlety, the
scene it can increase to 20-24 stops. In HDR workflow is both appropriate and
prints
fact, I’d argue that the perception of our much closer to the real world we perceive
dynamic range is 20-24 stops. on a daily basis. What HDR is actually
Look at the image below – the interior competing with is our familiarity with
of the old dining room at the magnificent the traditional image, both printed and
Charingworth Manor in Gloucestershire. projected. Such reproductions have low
The leather and wooden beams are dark, dynamic range and when we sever the
inching their way toward blackness, while visual continuity we have with our
the light cast from the windows is bright understanding of what an image should
and airy, illuminating the walls and carpet. look like, it is cognitively jarring. HDR isn’t Improve your workflow –
The fireplace shows evidence of fires that wrong – it’s an alternative representation and your success rate
have raged across the ages and, yes, you that we aren’t familiar with. So, the next
can see some of the detail of the trees time you capture the interior of a building,
outside. OK, it’s an HDR image, it looks shoot it ‘normally’, then use an HDR mode
like an HDR image and we instinctively on your camera (or smartphone) and
know it is. But the next time you’re compare it with what you are looking at.
consciously viewing the interior of a room, I think you might be surprised.
assess the dynamic range of the scene.
Look at the darkest tones in the image as Mike Smith is a London-based wedding and portrait
well as the detail through the windows photographer. Visit www.focali.co.uk
© MIKE SMITH
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
Canon EOS 6D Mark II

After a four-year wait, the successor to
Canon’s popular full-frame DSLR is
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
finally here. What changes does it bring?

Keep it simple
How taking a minimal approach to gear
can help improve your photographs
While this is obviously an Behind the pictures

HDR shot, it’s closer to Eight extra pages of photo inspiration
our visual experience

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E
A
Inbox
Email amateurphotographer@timeinc.com and include your full postal address.
Write to Inbox, Amateur Photographer, Time Inc. (UK), Pinehurst 2, Pinehurst Road,
a Nikon fan I really enjoyed AP’s
Nikon anniversary issue (8 July).
Ken Woolf
Thanks, Ken. We have tons of

ideas for a weekly magazine
and sales are robust, despite
competition from monthlies,
B Farnborough Business Park, Farnborough, Hants GU14 7BF so we have no plans to change
D C frequency – Geoff Harris,
deputy editor
LETTER OF THE WEEK
In AP 29 July
we asked… Mirrorless cameras
If you have not gone Nikon FM3A joy I could not help but smile when
I read your article on mirrorless
mirrorless yet, what is I really enjoyed reading your cameras in the 29 July edition.
issue on Nikon’s big anniversary. I have recently traded in my
holding you back? I’ve owned several Nikon SLRs complete Nikon D810 system
and DSLRs over the years, but for a small manual rangefinder
You answered… your articles inspired me to seek camera system without video.
A My SLR does everything I need 33% out another one – my first fully I don’t miss the autofocus, endless
B I am not convinced they offer equal manual Nikon SLR, the FM3A. menu items, video options, multiple
performance 17% I was led to it due to my buttons and the weight. My new
appreciation for Nikon’s older camera has a simple, well-
C I find them too small and fiddly 5% designs and my love of film. thought-out and understandable
D Mirrorless has a more limited Although the availability of film is menu system, and is light and
lens choice 6% picking up, a film camera like this small enough to carry around
E It’s too expensive to change systems 39% will likely never be made again. all day with lenses and without
Very luckily, I managed to find bending your back. I am back to
What you said a black Nikon FM3A in good condition, in a shop in Chester. the good ol’ days of manual focus
I received it in the post and when I opened the box I knew that and stills only photography.
‘I’m just not happy with the thought
this something that I would never sell. I’m not a collector – I The trade-in was the best
of no viewfinder. It goes against all
actually intend to use it. thing I ever did. Photography is
the golden rules of good photography
It makes me happy to know that there are new things a pleasure once again. I notice that
to hold a camera at arm’s length,
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
being made that make this (post-digital) platform even more the Olympus Pen-F, ‘best for good
especially as one gets older and it
compelling. Things such as new films coming to market, which looks’ (whatever happened to
is harder to keep steady hands.’
I can’t wait to try. I’m also eager to try FilmLab’s soon-to-be- quality of photographs), has 25
‘I wanted to click two answers. DSLR released beta app (from Kickstarter) that scans negatives from scene modes. How ridiculous.
does all I want, but I couldn’t add “too a phone camera (using a lightbox). Then there are new optics And I have never understood
expensive”, which would also apply.’ such as the Voigtländer 58mm f/1.4 SL IIS lens, which is why video was introduced into
interesting for its retro Nikon styling as well as its image quality. DSLR and CSC systems. Good
‘I did it the other way around. When So, I just wanted to say thanks for putting me on the path to luck to those who can cope with
I got back into photography, I invested all that photo greatness. the multitude of options now
in the Fuji X-T1 and X-Pro1. After a while Edd, via email available on most current
with this kit, I decided they were just cameras, but give me a camera
too small for me to hold comfortably with just the basics any day.
Win!
in my huge paws, so I moved on to Robert Kitching, Surrey
Nikon full frame. I still have the Fuji kit
The EVO+ microSD Card has added
and take it for the occasional outing.’
memory capacity and multi-device Focus stacking
‘Lots of reasons, but one of the biggest functionality. This UHS-I Speed Class 1 (U1) and Class 10 Focus stacked images of insects
is my struggle with EVFs. It’s about the compatible card is perfect for capturing photos and video can be stunning (AP, 15 July).
only remnant of my balance disorder, recording. www.samsung.com However, as most are either
but EVFs literally make me sick.’ dead or chilled, I prefer normal
techniques for that natural look.
‘The sun reflecting off the screen is
a killer for me.’
Monthly AP? frequently. I purchased it in John, via email
As a reader of AP since the 2008 and it can still hold its own
‘I wanted an “All of the above” option.’ 1950s I wondered, in view of against many more
social media and other factors, modern cameras,
Join the debate on the AP forum whether any consideration has including some of
ever been given to changing the my own recent
This week we ask… content and/or frequency of AP? purchases, so long
On another note, I would be as you keep the ISO
What are your favourite interested to hear suggestions down. Its focusing
kinds of historic building from AP and readers on their and tracking were
to photograph? ideas of what they consider to be
the most innovative DSLR to date.
exceptional at the
time and even
Vote online www. My vote would be for the Nikon today doesn’t
amateurphotographer.co.uk D300, one of which I still use disappoint. As Are the Olympus Pen’s 25 scene modes a little OTT?

Technique HISTORIC BUILDINGS
Steve Cole
Steve Cole has worked in the cultural heritage
sector for more than 40 years. He was appointed
head of photography at English Heritage in 2000,
a position he held until his retirement in 2014.
Aside from photography his interests span all
periods of architecture and archaeology.
Capturing
the past
Stately homes, castles and cathedrals are
attractive subjects, but photographing these
historic buildings is not without its challenges.
Steve Cole reveals some tricks of the trade
P
hotography has been used to Do your research
capture our built environment Before you pick up your camera and rush
since 1826. The oldest known outside, it’s worth considering a few things
photograph, ‘View from the that will make your trip worthwhile, both
Window at Le Gras’, by Joseph Nicéphore in terms of what you achieve and how you
Niépce, is a case in point. Niépce and his achieve it. You are unlikely to be the first
contemporaries Daguerre and Fox Talbot (or even the 20th) person to record wind
used architectural subjects for their first pumps on the Norfolk Broads, for
images, mainly because the exposure instance, so look online to see how others
required to capture an image was too long have tackled your subject. If you intend to
to record anything that moved. These create a detailed record of the building,
days we mostly take pictures of historic contact The National Archives and ask for
buildings for pleasure or, in my case, to information on what has been covered so
create comprehensive historic records of far and what they might like to see
these structures and their interiors. recorded, improved or updated.
© STEVE COLE/HISTORIC ENGLAND ARCHIVE
Benches (detail), Baptist Chapel, Rugby
12
KIT LIST
Tripod
▲
A tripod is
essential for
keeping the
camera still
in low light,
which you often
encounter in
historic buildings.
I currently use a Gitzo model
with an Acratech GP ballhead.
▲ Shift lens
Shift lenses are ideal for
keeping vertical elements
vertical. Tilting the camera
back to fit in the top of a
building produces untruthful
representations of the subject.
▲ Spirit level
There is no point using a shift
lens and tripod if you don’t set
the camera up properly in the
first place. Hama makes a very
useful one that fits into the
camera hotshoe.
▲
Electronic flash
Not necessarily for the main
light source but to ‘fill in’ or
assist with the available light.
Take it off the
camera and
raise it up to
the left or
right to provide
modelling and
natural looking
shadows.
▲
Shutter release
For complete freedom try
a wireless shutter release that
connects with your phone or
tablet to give you complete
camera control, as well as
monitoring what the camera
is seeing.
Bromley House
Library, Nottingham
13
Afternoon sun lighting the Obtain permission

west front of Peterborough Many people – but not all – are happy
Cathedral, giving shape and to allow access to their land or property
depth to the arched recesses for records to be made. Making contact
and decorative stonework with the owner or person responsible for
the site should be your first step.
Permissions will often come with caveats
or restrictions, some of which may be for
your own safety. Others may be connected
with what the owner or their insurance
company wishes to keep private.
Owners can sometimes be persuaded by
a full account of why you want to make a
record, along with an explanation of how
our historical and architectural knowledge
is improved with each case study. The
offer of a set of images often helps. Owners
are less likely to respond well to a
‘doorstep’ approach for permission, and a
letter indicating what you intend to do,
why and how will often lead to a more
considered approach. In the end, ‘no’
means ‘no’ so don’t be tempted to trespass.
Images taken at properties belonging to
the National Trust and English Heritage
may only be made for private use unless
specific permission has been granted.
Generally, exterior photography is
permitted but be careful not to cause trip
hazards with your bag or tripod.
Interior photography is often at the
discretion of the property manager, with
flash and tripods widely discouraged due
to the effect on historic artefacts such as
tapestries and paintings. Available light
and the use of a high ISO will likely be
your only option. Best to ask what is
allowed, rather than be asked to leave.
Equipment choice
A wideangle lens is essential, as it will
allow you to record the whole building
© STEVE COLE/HISTORIC ENGLAND
elevation, or most of a room. (When it

comes to shooting interiors you can give
the viewer a better indication of the size
and shape of a room by including more
than one wall in the frame.)
STEVE’S TOP TIPS

Try a raised
viewpoint
Use a stepladder,
© PATRICIA PAYNE/HISTORIC ENGLAND ARCHIVE
stand on a wall or
gain access to a
window or upper
floor near to the
subject to obtain
© STEVE COLE
a raised viewpoint.
As well as offering a
fresh perspective,
Overcome mixed lighting an elevated position Reveal details
Take one image as a raw file then convert it can also minimise A different height, often lower than eye level,
using two different colour temperatures in the presence of can reveal addtional detail that may be lost in
© CHARLES WALKER
post-production. Crop the two pictures at the parked cars and/or the higher perspective, such as the decoration
point where the mismatch occurs and stitch pedestrians in towns beneath a shelf of a fireplace or the faces and
them together to produce one image. and cities. rose decoration on a font.

Rotunda of Ickworth House, Suffolk, taken Rotunda of Ickworth House, Suffolk, taken can I position my camera to best
with a 24-85mm lens – shows roof detail with a wideangle lens – lacks roof detail communicate these intentions?
Choosing a viewpoint is always a
compromise between where the camera
can be placed and where it should ideally
be placed. This compromise is due to a
number of factors: the limitations of your
equipment, the illumination of the subject,
environmental constraints, the level of
permission you have, and, sometimes,
safety considerations.
Thankfully you can control many of
these factors. How the subject is
illuminated, either naturally or by light
that you introduce, can be controlled by
selecting the time of day you take your
photographs or by choosing where you
introduce light to the scene. Equipment
can also be tailored to suit your needs,
although more often than not the
equipment to hand and budget will limit
© STEVE COLE
© STEVE COLE
your choice. Environmental considerations

are more difficult to overcome. The height
of a wall or hedge, or the width of a room
When you use a wideangle lens for Other useful items include a spirit level, or passageway, cannot be changed.
shooting buildings you may encounter stepladder (for obtaining a raised However, as we have seen, a stepladder
barrel distortion (where elements of the viewpoint and reducing the need to tilt the can often be useful in such cases.
scene appear to bend outwards) or camera off its vertical axis), notebook (or
pincushion distortion (where elements of camera that allows the recording of audio Predicting the light
the scene appear to bend inwards). These clips), torch (to help the camera focus on a Planning your photography to take
effects can be lessened in post-production, subject in low light), off-camera flash advantage of the sun requires prior
but you can reduce them at the time of (bounced off a reflector – a white wall, knowledge of how the building is
shooting by keeping straight lines as close umbrella or piece of card will do the job). orientated. This can be discovered by
to the centre of the lens as possible. using a map or one of several websites
Alternatively, if your budget allows it, Select a viewpoint offering either a bird’s-eye view or a
consider purchasing a Perspective Control Where the camera is placed in relation to street-level view of the building of interest.
lens, also known as a shift lens. PC lenses the subject is hugely important for a These websites offer the best preview of
allow you to change the area of view seen number of reasons: it will determine the the site as it is possible to spot large trees
by the camera so that the tops of buildings appearance of the building or part of the or other tall obstructions that will cast
can be brought into view without the need building; it will either provide a truthful shadows on parts of the building at
to tilt the camera from its vertical axis. rendition of the subject or distort it; and it particular times of day. Google Maps
It’s also important to include a good will dictate the understanding of the offers a great service with Street View.
tripod in your arsenal. When it comes to subject matter and its surroundings to the Choosing when to photograph your
historic buildings it’s best to aim for more viewer of the photograph. Your choice of subject is also a significant consideration
in focus than less, which means small viewpoint should be based on the answers in interior photography. As with exteriors,
apertures and long shutter speeds. to two questions: what do I want to say the movement of light around the building
Naturally a remote release is handy here. about this building (or subject) and where during the day can either help or hinder
your image making. Bright sunlight
entering a room or the interior of a
building will, depending on the time of
day or year, create highlights either on the
floor or walls. This can be used to create
mood, but it is arguable whether these
highlights and consequent shadow areas
add to or detract from a view. What’s
certain is that these conditions will limit
the capture of detail in an image. A bright,

© STEVE COLE/HISTORIC ENGLAND
soft, hazy light is often preferable for

capturing interiors without introducing
too much distraction.
Many interiors can be captured using
only the available light within the space.
As with exterior shots, in order to achieve
Shoot in black & white Look for shapes shape, depth and texture, the light source
Colour can be distracting, and removing it As well as being attracted to the shape of needs to be away from the camera,
allows the eye to concentrate on shape and things seen on, in and around buildings it is achieved by either choosing a viewpoint
form. In this image of the seafront at Blackpool, also possible to make patterns and shapes in where the natural light is to the left or
removing the colour accentuates the curve of the composition out of details of your chosen right, or by placing introduced light
the recently updated sea defences. subject matter. sources off the camera.


example. The wood is frequently dark and
benefits from the input of some additional
lighting to bring both it and its immediate
surroundings into a more manageable
dynamic range.
Stained glass Unlike most photography

where light is reflected from the subject
into the camera, the light we want to
capture when shooting stained glass is
transmitted through the glass itself.
This transmitted light can contain a range
of luminance that often exceeds our
© PETER WILLIAMS/HISTORIC ENGLAND ARCHIVE camera’s capabilities. As a result, the
image will lack information in either the
highlights or the shadows.
To record the light transmitted through
the glass at the correct exposure it is
necessary to ignore the surrounding frame
or tracery and base the exposure solely on
the light coming through the stained glass.
Stair, Clifton House, Bristol. Detailed shots can The required exposure will normally be
show the cheeks and balusters of the staircase less than that indicated by the camera’s
metering system. Reducing the exposure
sufficiently will allow detail to be retained
in the highlight areas of the glass. The
shadow or dark areas will lose some of
their detail, but this is often easier to
recover in post-production.
Stained glass is an excellent candidate
for High Dynamic Range photography,
which can be used to tackle the extreme
subject brightness range in the glass. This
technique requires a series of images to be
taken with the camera mounted on a
tripod or other firm support. The shots are
taken with a range of different exposures
to ensure that all the detail is recorded in
the highlight and shadow areas. These
differently exposed images are then

blended together in post-production to
produce a single picture that contains
detail across the whole brightness range.
Stained glass The joy of visiting any building, whether
depicting the a castle or cottage, is to appreciate the
mining industry, craft of those who built and decorated it.
church of St Luke,
Millom, Cumbria Deeper Christian Life Ministry, St John’s Hill, Light plays an important role in this
Clapham, Battersea, London appreciation and it’s worth waiting for the
right light to bring out the shape, texture
Tackling popular subjects Plasterwork Plasterwork is frequently and quality of any component part, be it
Many historic buildings contain painted all one colour, resulting in a very a stonewall, wooden panelling or concrete.
staircases, detailed plasterwork, limited range of tones. Lighting and/or As with any photography, the right light
woodwork and stained glass that can be viewpoint need to be used to enhance this and viewpoint is essential to show the
particularly photogenic. All of these range, or to increase contrast. Choosing subject at its very best.
subjects present their own photographic a viewpoint with the light, either natural
challenges but most can be overcome. or introduced, coming towards the camera
will result in deeper shadows, and
BUY THE BOOK
Staircases Some staircases are small and emphasise the shape of any decoration. Steve Cole’s latest book,
tightly curving, while others are large and Photographing Historic
grand architectural statements. Nearly all Gravestones Brasses, ledgers and Buildings, published by
of them will need some form of gravestones are best photographed from Historic England, is now
supplementary lighting to show off their above and as square on as possible in order available. AP readers can
shape, direction of travel or construction. to make the inscriptions easier to read. receive a 20% discount (RRP
If you were to produce a comprehensive Raking light across the stone will help to £20) and free p&p (UK only)
record of a staircase you would need to bring out the inscription. by going to retail.historic
include views to show the shape, direction england services.org.uk/
of travel, cheeks, risers, treads, balusters Woodwork A significant number of photographing-historic-
and newel posts. But this won’t always be religious interiors contain wooden objects: buildings.html and quoting
your intention. pulpits, screens, lecterns and pews, for the code PHBAP.

VIDEOGRAPHY
Video
star
Ella Rose Howlett, winner of
The Video Mode/Canon
Amateur Filmmaker of the
course in film and TV at Edinburgh
University. I’m now going into the
third year and I’ve had summer jobs
at a video production company.’
had won I bought an expensive
bottle of Champagne for the first
time in my life. I was ecstatic.’
Her success in Round One of the
Like many filmmakers, Ella hasn’t three-round competition posed an
Year 2017 contest, talks to Steve stayed brand loyal during her immediate problem in that Ella
fledgling career as she chooses needed to produce a film on the
Fairclough about her work cameras that will get the shots she theme ‘Environment’ in a matter of
A
wants. ‘A little Pentax bridge weeks to keep her bid for the AFOY
lthough she’s still just Top: Ella being camera was my first camera,’ she title on track. ‘There was two-and-
21 years old, student presented with her says. ‘Then I went on to a Nikon a-half weeks left of the second
filmmaker Ella Rose prize, a Canon EOS D7000 and after that a Canon. I’ve round,’ says Ella, ‘so I sat down and
Howlett already has more C100 Mark II kit, by been through a few cameras and it thought, “Right. I am determined to
Sarah Bennett of
than six years of experience under Canon UK and AP kind of changes, considering the make a film for this!” I made “It’s
her belt. ‘I first got into filmmaking Editor Nigel things that I will find the most One Ocean”, scripted it,
when I used to make longboarding Atherton useful to me. I will base my choice storyboarded it, came up with all
videos,’ she says. ‘I really enjoyed on the practicalities of what I’m the ideas, went from the top of
longboarding and saw a lot of videos going to need it for.’ the country to the bottom of the
of it on YouTube and thought, “I country and edited it in two weeks.
could do that!” I made a few of those Entering AFOY I entered it a few hours before the
and that led me to realise that if Ella decided to enter the 2017 deadline and I was so satisfied. It
other people can do that for a living Amateur Filmmaker of the Year pretty much shows that if you really
then so could I.’ (AFOY) competition on Amateur set your mind to filmmaking, you
Ella continues: ‘When I started Photographer’s sister website The can accomplish something within a
filmmaking I was obsessed with Video Mode after receiving an AP short amount of time.’
Quentin Tarantino, and then I e-mail newsletter calling for
moved on to Wes Anderson. He’s filmmakers to get involved. She Italy’s oldest horse race
had a massive influence on my explains: ‘There was a travel-film Her film “It’s One Ocean” – an
films. Each of his films has a category and I’d just finished a cut examination of ocean pollution off
distinct style and colour palette.’ Some of Ella’s of my New Zealand film called the coast of Great Britain – came
She adds: ‘From the beginning, notes, and a screen “Responsibly Irresponsible”, and second in Round Two of AFOY,
my filmmaking was self-taught and capture of her I thought it would be perfect to put leaving her in pole position to push
that led on to me getting onto a editing set-up that in. When I found out that it for the AFOY title. The final round

had the theme “People” and Ella really stood out for me,’ he says. ‘She Some stills from
entered her short, “Palio di Siena: has a clear style, a consistent Ella’s three short
Italy’s Oldest Horse Race”. She approach and structured narrative.’ films that won her
explains: ‘I remember my dad Ella explains: ‘Creating my own the title – and that
Canon camera
criticising me for filming it. I think style is something that I’ve been
he felt a bit disheartened by the fact working towards. I’ve got to the
that I was going to be sitting there point now where people say, “You
looking at my camera instead of can tell that that’s an Ella film”,
watching the event. But I have more which is great. I try to make my
of a good time when I’m filming a films build to a point where people
spectacular event than if I’m just will be excited or shocked or want to
sitting there watching it, because see more. The “build” is a massive
putting your passion into something part of the way I structure my films.’
that you’re at, that is already
amazing, just makes everything
even better.’
The top prize in AFOY 2017 was a
Canon EOS C100 Mark II digital
cinema camera with an EF-25-
Ella Rose Howlett
The Video Mode/Canon Amateur
Ella reveals: ‘I came up with the 105mm zoom lens, worth a total of Filmmaker of the Year 2017
soundtrack for “Palio di Siena” after more than £4,600. ‘I’m going to Ella Rose Howlett is a 21-year-old
I filmed it, but I think that track make one of my major short films student filmmaker from Cambridge who
drove the film and showed off the with it next year – the C100 Mark II is studying Film & Television at
atmosphere, the happiness of the is going to make it look so pretty!’ Edinburgh University. She began
people and how much this race making films at the age of 15 and her
means to them.’ YouTube channel ‘LongboardUK’ has
To view Ella Rose nearly 50,000 subscribers. Her
A clear style Howlett’s winning ambition is to forge a career that
Top filmmaker and Canon Explorer AFOY 2017 films and to combines her twin loves of travel and
Simeon Quarrie, who was head watch a video interview filmmaking. To find out more about Ella
judge of AFOY 2017, praised Ella’s Amateur Filmmaker with Ella, visit www. visit her YouTube channel at www.
three films. ‘Ella Howlett’s work of the Year competition thevideomode.com. youtube.com/user/LongboardUK.

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SPORTS PHOTOGRAPHY
Good
sport
A major sports photography exhibition in
Switzerland features some of the best
examples of the genre. Geoff Harris takes
a look at some of the show’s iconic images
L
ausanne in Switzerland is of sports captured by more than 170
a pleasant destination at international photographers.
any time of year, but here’s ‘Sports images have mostly been
another reason to stop by left out of the canon of photographic
– the Olympic Museum in the town history,’ says curator Gail Buckland.
is staging one of the biggest ever ‘Their ability to powerfully and
exhibitions of sports photography. concisely visualise human
Who Shot Sports: A Photographic endurance, beauty and aspiration
History, 1843 to the Present, has been discounted, or not
features more than 150 photos, and recognised as parallel to similar
the organisers claim it is the first of achievements in other art forms.
© MINE KASAPOGLU PUHRER
its kind to put sports photographers This exhibition seeks to re-evaluate

centre stage. Including examples of these compelling images and
the earliest photographic processes, contextualize them within the
the exhibition features a wide range history of photography.’
Usain Bolt
Rio Olympics, 2016
By David Burnett
‘This shot was taken after the
200m, which Bolt had won for the
third time,’ Burnett explains. ‘He just
turned around on the track and started
to walk away. I was at the finish line, in
the big photo tribune, so I was pretty
elevated. I was able to zoom in with a
200mm to cut out everybody else. That
was really what hit me at that moment:
here’s the only time you’re going to get
Usain Bolt on a clear track, in the
middle of the track meet, with nobody
around him – like he’s on a stage.’
© DAVID BURNETT

Nigerian women’s Synchronised
4x100m relay team swimming training
Barcelona Olympics, 1992 Rio Olympics, 2016
By Ken Geiger By Mine Kasapoglu Puhrer
‘We share these women’s ‘When I arrived at the practice
achievement [of winning a bronze pool outdoors, I saw all these big
medal], and sense that it was arrived groups of synchronised swimming
at through a combination of training, teams practising together,’ says
camaraderie, willpower and bodies that Kasapoglu Puhrer. ‘They were practising
can fly,’ says curator Gail Buckland. ‘In the same routine over and over again,
the history of art, women have been so I could try to guess when the legs
madonnas and domestics; royalty and would come up. I used a 400mm lens,
field workers; wives and mothers; which really nicely blurs the background
socialites and streetwalkers – but rarely and just catches every bit of water. The
great athletes. These four women are fast lenses create this really sharp image
muses for the 20th century.’ in the front. As it was sort of getting
towards evening, it’s also a great lens
© KEN GEIGER
to use because you need the speed.’

Gayle Broughton
Rugby Sevens Women’s Final,
Rio Olympics, 2016
By John Huet
‘These girls… the intensity with which they
did the haka, but with tears streaming down
their faces; it was emotional, intimidating,
a once-in-a-lifetime experience for me,’
says Huet. ‘It was right after the gold-
medal game in women’s rugby. The game
had just finished and Australia won. The
girls from New Zealand had just got the
© JOHN HUET
silver medal, but, as they say, you don’t

win a silver medal, you lose a gold one.’
© BOB MARTIN
SPORTS PHOTOGRAPHY
© TIM CLAYTON
Matthew Dunn
Training at Sydney Olympics, 2003, By Tim Clayton
This iconic photograph, often referred to as ‘Bubble Boy’, won first prize in
the sports category of the 1993 World Press Awards. With it, Tim Clayton
skilfully captured an effect he had observed when swimmers surface at the start
of a race, breaking the water tension.
© JASON EVANS
Haram Woo
in training
Rio Olympics, 2016
By Jason Evans
‘I was on the 10m
platform, looking down at
Avi Torres Gail Buckland’s book

Who Shot Sports: A
the guy on the 5m board,’
Evans explains. ‘They were
just doing their warm-ups,
200m freestyle heat, Photographic History, doing very simple falls and
Athens Paralympics, 2004 1843 to the Present, rolls off the edge. You lose
By Bob Martin is published by Alfred your frame of reference
A Knopf, £40 (£22.75 being on top like that – it’s
Top British sports photographer
and AP contributor Bob Martin at amazon.co.uk). The not an angle you see very
took this world-famous image of exhibition of the same often. And it’s not really
Spanish paralympic swimmer Avi Torres name is part of The Art that easy to determine
for Sports Illustrated magazine. Bob of Sports Photography, how far below the water is.’
managed to negotiate access to get which will be on
above the swimmer, before noticing show at the Olympic
he had removed his artificial legs and Museum in Lausanne,
was about to dive in the water. It’s a Switzerland, until 19
testament to Bob’s experience that he November. As well as
was able to nail the perfect moment, Who Shot Sports, there
despite the pressure. Watch out for are two other exhibitions
Bob’s forthcoming field test of the called Rio 2016: Seen
new Sony Alpha 9 in AP.
Through the Lens of
Four Photographers
and Photographing the
Photographers, plus
various film screenings,
‘It’s a testament to Bob activities and other
Martin’s experience events. For more
information visit
that he was able to nail www.olympic.org/
the perfect moment’ museum.

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Amateur
Photographer
In association with
of the Year
Here we present the top 30 images uploaded to Photocrowd
from APOY 2017 Round Three, Macro (insects, flowers and plants)
1 st
1 Elena Paraskeva Cyprus 50pts
Round Three Macro Exposure unknown
The first thing that appeals about this image is
Elena Paraskeva wins a Sigma 105mm f/2.8 the glorious wash of blue. It’s a great example
EX DG HSM Macro lens and EM-140 DG of how a background can be used to
Macro flash. The Sigma 105mm f/2.8 is a complement a subject and provide additional
medium telephoto macro lens with Optical information about its habitat. What’s more,
Stabilisation, with the floating inner focus sharpness is just where you want it to be, on
system ensuring high rendering throughout the wings and the body. Areas of foliage
the focusing range. The EM-140 DG Macro beneath the butterfly are also sharp, which
flash is ideal for photographing subjects in adds to the feeling of connection between the
fine detail when the shadowless mode is insect and plant. The plant may not be blue in
used and it is extremely effective for all your real life, but it doesn’t really matter – it’s all
macro photography needs. That’s a total about the mood of the picture.
prize value of £1,029.98.

2nd
2 Henrik Spranz Austria 49pts

Canon EOS 5D Mark III, 180mm, 1/50sec at f/3.5,
ISO 400
There’s a romance to this picture – and
not just because the black-veined white
butterflies are mating! The image was
4th
created at sunrise with a 180mm macro
lens and an aperture of f/3.5. As a
result, the background is soft and
dreamy, but you can make out the
shapes of the scabiosa plants. The sun
has created a golden glow behind the
insects and this, combined with the
purple, is pleasing to the eye. The
focusing is also wonderfully accurate,
showing off every vein on the wings
and every hair on the flower stem.
4 Graham Mayers UK 47pts

Nikon D800, 105mm, 1/250sec at f/18, ISO 200
It’s not often we get a chance to study
an insect at close quarters, but macro
photography provides us with an
opportunity to admire every hair
and every speck of pollen on this
bee. The photographer has used the
inside of the flower to create a natural
frame around the insect, which draws
us into its world.

In association with
3rd
5th
3 Uros Florjancic Slovenia 48pts 5 Ance Indonesia 46pts
Exposure unknown Exposure unknown
A successful silhouette requires a subject with a recognisable There are few things more dramatic than the battle for
profile, and this praying mantis most certainly fits the bill. The survival between two living things – and this dragonfly clearly
background is a wonderful palette of orange, yellow and pink, has the edge over its damselfly prey. The photographer has
and the sweep of the plant that the insect is clinging to looks worked hard to keep everything pin-sharp, and probably
like a scribble drawn across the frame – it brings a wonderful employed a technique known as focus stacking whereby
sense of movement to the shot. a series of images covering different focusing zones is
combined in post-production. The picture has the feeling of
a scientific record shot, but created with an artistic eye.

APOY 2017
7
7 MCsaba UK 44pts 11 Henrik Spranz Austria
Konica Minolta Dynax 7D, 180mm, 40pts
1/125sec at f/13, ISO 200
Canon EOS 5D Mark III, 180mm,
The light is just right in this 1/25sec at f/6.3, ISO 100
image not only to give us As we can see, a background
a nice catchlight in the must complement its subject
bead of water, but also when it comes to colours and
to highlight the ant’s tones.
complicated structure.
6 11
6 Elena Paraskeva Cyprus 45pts 10 Amin Portugal 41pts
Exposure unknown Nikon D5500, 18-140mm, 1/8sec at f/11, ISO 100
The beautiful background shows This is a biologically fascinating image.
attractive bokeh and the colour works Training the lens on the head to reveal
well with the strong backlighting on every hair and eye component of the
the insect and flower. fly has certainly paid off here.
10
12
12 Macro Matt
14 UK 39pts
Canon EOS 6D, 65mm, 1/100sec
15
at f/9, ISO 320
The autumn setting has
given the image a palette
of stirring colours and a
perfect platform for this
jumping spider.
14 Mustafa Öztürk
Turkey 37pts
Nikon 7100, 90mm, 1/200sec at
f/10, ISO 100
There’s a narrative quality
to this image – we can
imagine the journey of the
striking ladybird as it makes
its way around the seed
heads of the plant.
www.amateurphotographer.co.uk I subscribe 0330 333 1113

In association with
8
8 Henrik Spranz Austria 43pts
Canon EOS 5D Mark III, 180mm, 1/250sec at 13 Paul Sellwood UK
f/4.5, ISO 400 38pts
Backgrounds can make or break a Canon EOS 70D, 105mm,
1/250sec at f/5.6, ISO 800
close-up picture, and this is a fine
Shooting into the light
example of how to use one for
has given our subject,
maximum impact.
a common blue
9 BBK Bulgaria 42pts butterfly, a great
Exposure unknown backdrop where we
There’s something quite cinematic can enjoy its delicate
about this shot, a feeling almost form.
certainly created by the lighting.
15 Bleron Çaka Kosovo 36pts
Exposure unknown
While many of us fear spiders, getting
this close in to these creatures reveals
them to be incredibly beautiful subjects.
16 Phil Thorogood UK 35pts
Exposure unknown
The real benefit of macro is that the
closer we get, the more of the world
beneath our feet is revealed. The small
orange poppy that holds this 10mm
speckled bush cricket is a great context
for the subject.
16

17
17 Elly Russell London 34pts 18 Jevgenijs Scolokovs Latvia 33pts
Nikon D810, 105mm, 1/60sec at f/6.3, ISO 400 Sigma dp2 Quattro, 30mm, 1/400sec at f/8,
ISO 100
Beauty and the beast. Elly’s vivid blue
hyacinth provides a striking contrast This image just makes it into the round
against this slithering snail brought in due to the presence of the foliage.
from the garden. Its bent form is a It’s a beautifully captured shot with
a striking silhouette.
perfect complement to the petals. 18
21 22
21 Yvonne Warriner UK 30pts 22 Marek Poland 29pts

Canon EOS 70D, 18-135mm, 1/320sec at f/5.6,
ISO 100
Canon EOS 60D, 100mm, 1/400 at f/2.8, ISO 200
An image of multiple layers – the
25
A gorgeously framed and composed out-of-focus foreground, the butterflies
image of a purple poppy. and the stunning spring evening bokeh.
25 Donlope
France 26pts
Pentax K-5, 135mm,
1/160sec at f/3.5, ISO 100
Here we find a
swallowtail butterfly
enjoying the first of
the day’s rays against
a painterly natural
backdrop. The
negative space is key
for the composition. 30
29
29 Grigoris Koulouriotis Greece 30 Elena Paraskeva Cyprus 21pts
22pts Exposure unknown
Exposure unknown Elena has had several shots in this
The shallow depth of field works well round of APOY. A mastery and
here due to the diffused colour slowly understanding of light, subject and
revealing itself nearer the point of location are clearly vital pieces of
focus – the bug. knowledge when shooting macro.

In association with
20
19
19 Skrotov Russia 32pts 23 Diana Andras Romania 28pts
Nikon D80, 105mm, 1/10sec at f/14, ISO 200 Nikon D7200, 18-55mm, 1/800sec at f/5.6, ISO 100
The photographer found this fly trapped The beads of water lining the web are
in the tendrils of a cucumber plant. It’s great, as is the soft and diffuse
20 Dirk Vonten 24 John Speis USA 27pts
the kind of strange image any macro background that serves to make Nikon D90, 85mm, 1/40sec at f/10,
shooter would be elated to find. the subject pop off the screen. Germany 31pts ISO 250
Nikon D700, 90mm, 1/125sec
at f/14, ISO 800 A single droplet of water
Macro scenes are alien reflects the light and
23 worlds. This landscape is magnifies the view of the
awash with purple tones right foreleg in this oddly
for our fly traveller. alluring image of a fly.
24
26 27
28
26 Perdita Petzl 27 Dominic 28 Urs Albrecht
Mauritius 25pts
Canon EOS 5D Mark III,
100mm, 1/250sec at f/2.8,
Beaven UK 24pts
Canon EOS 5D Mark III,
105mm, 1/500sec at f/13,
Switzerland 23pts
Nikon D7200, 60mm,
1/1000sec at f/8, ISO 280
The 2017 leaderboard
ISO 100 ISO 1000
As is the rule with all The leaderboard has really opened up with this third round of APOY.
The bokeh technique This image of a wildlife photography, Henrik Spranz scored well in this round and now leads with 175 points.
has given the damselfly was taken the key thing with Elena Paraskeva also scored well with three entries but is well behind in
background scene a at sunrise when the any shots of insects second place with 116 points.
painterly quality of subject was less is to keep the eyes in 1 Henrik Spranz 175pts 6 Ata Mohammad Adnan 68pts
washed-out colours active. This has focus to bring the
and shapes. It allowed the 2 Elena Paraskeva 116pts 7 Bleron Caka 67pts
viewer into the
ultimately works to photographer to subject’s world. This 3 Marco Tagliarino 101pts 8 Sydney Harding 62pts
draw our attention to capture a steady is a great example. 4 Simon Hadleigh-Sparks 82pts 9 Dominic Beaven 55pts
the pasqueflower. portrait.
5 Agnieszka Maruszczyk 72pts 10 Sujan Sarkar 50pts
To enter and find details of the upcoming rounds of APOY 2017 visit www.amateurphotographer.co.uk/apoy and click Enter Now
Technique LIGHTROOM MASTERCLASS
Lightroom tips
Books, shows, prints
Don’t let your beautifully edited James Paterson
James Paterson is as skilled a photo editor as he is a photographer.
images languish on hard drives. His work has appeared in countless magazines and books, and in 2014
he was appointed editor of Practical Photoshop. His subjects range from
James Paterson has a host of portraits to landscapes and underwater scenes. Photoshop is more than
just a work tool for him, as he enjoys messing around with the software
output tips for displaying them and seeing what happens. Visit www.patersonphotos.com.
Open your
book or
slideshow
with a strong,
emotive image
It’s easy to make tweaks when you’re in the Library mode
2 Order your frames

The running order of a slideshow or book is vital. It’s easier to
tweak things in the Library module (after first making a collection
for the slideshow). Hit G for grid view, then drag the images into
the order you want. If you’d like to add text to individual frames,
use the Caption box in the Metadata panel, then enable captions
when you get to the Slideshow module.
3 Auto slideshows
If you’re just getting started
with slideshows, there are several
1 Begin with a collection

The Collections panel helpfully runs
throughout the Lightroom modules. So whether
pre-made slideshow templates to
choose from in the Template
browser on the left of the screen
you want to make a photo book, slideshow or a (above). With the minimum of
series of prints, begin by collating your chosen There are effort you can simply bring in a
images. Go to the Library module and click the several collection, select a template and
Collection panel Plus (+) icon, then drag the slideshow hit play. When you’re ready to start
templates to
images you want to the new collection. customising things, you simply dip
choose from
into the panels on the right.

5 Lightroom slideshows
A slideshow can be a great way to present a
collection of images, showcase an event like a
wedding or birth of a baby, or present a series of
photos to a client. Lightroom’s Slideshow module
makes it quick and easy. Work down the panels to
the right of the module to add music, text and colour
schemes. Hit Preview to check the results as you go.
Slideshows are
a great way to
showcase an
event such as the
birth of a baby
6 Export your slideshows

When a slideshow is finished, you can output it to
video format to share with others or post online. Hit
Export Video at the bottom left. If you plan to make
more slideshows using similar settings, click the Plus
(+) in the Template browser to save the template.
Once done, you can drop in a different set of photos.
7 Add a logo
Identity Plates can be added to shows, prints and
books. An Identity Plate could be any text or image.
The most obvious benefit is including your logo or
contact info, but there are more creative applications,
like adding custom-made borders to prints.
8 Transitions
The Playback
panel to the right of
the Slideshow module
lets you customise the
timing of slides, the
length of crossfades,
and add a pan-and-
zoom motion to your
images. There’s also a
‘Sync Slides to Music’
option that times
transitions with the
rhythm of your song.
9 Forget the Web module

The Web module allows you to create web
galleries for your photos. There are a few fresh-
looking templates, and many more that look dated.
It’s simple enough to use, but there are much better
options out there for building web pages, including
Adobe’s Portfolio builder for CC subscribers.
When you’re creating a slideshow pay attention to the colour scheme and tempo
4 Enhance the mood

There’s an art to making a good slideshow. When you put images to music you
can create all kinds of emotional responses, especially if making a slideshow for a
wedding or a portrait shoot. Careful thought should go into the running order, the
tempo, the type of music and the colour scheme.

Technique LIGHTROOM MASTERCLASS
For the best

results soft
proof your
prints – it
could save
you time
10
and money
Add a soundtrack
No slideshow is complete
without an accompanying song. Up to
10 songs can be loaded into the
Slideshow module’s Music panel using
common formats like MP3 or WAV.
A handy ‘fit-to-music’ option will match
the length of the slideshow to the
duration of your chosen songs. A great
source of instrumental rights-free
music can be found at bensound.com.
11 Create books
automatically
The Book module’s Autofill command
is the hassle-free way to make a book
in seconds. Go to the Auto Layout panel
on the right of the Book module and
choose Preset>Edit Auto Layout Preset.
Customise the parameters for the left
and right pages, then click Auto Layout
to populate the book.
Think about how images will look together
12 Choose complementary
images
There’s a real skill involved in making
13 Soft proof your prints
Soft proofing lets us control how
colours are transferred from the wide
a photo book. Think about how images gamuts of our screens to the smaller
will look alongside one another – do the gamut of a printer. Check ‘Soft Proofing’
colours clash or do they complement below the image window in the Develop
each other? Should you mix black & module to turn it on, then choose a
white with colour? Do you want to link profile and enable the gamut warnings
images thematically or chronologically? in the histogram. Out-of-gamut colours
Would you like a simple layout with one will be highlighted, so use the colour
image to a page, or multiple frames? controls to bring them back into gamut.

14 Customise your pages
To build a photo book manually,
choose a page template by clicking the
arrow below a page, then drag across
images from the film strip at the Test your Photoshop
bottom. You can also drag from one skills by making
a cover for your
window to another to swap images over.
photo book
There are basic text options, and you
can add titles, choose fonts and colours.
19 Create a cover
It’s great fun making a cover for your
photo book. Why not test your Photoshop
skills and create a collage or blend of
images? To do this, open several images into
Photoshop and copy them on top of each
other, then use either the Screen, Overlay or
Soft Light Blend Mode to mix them together.
Once done, save as a JPEG and import into
Lightroom to use as your photo-book cover.
15 Publish your book

When you are ready to print
17 Tell a story
When making a book or
slideshow the flow is crucial, so don’t
a photo book, you can send it directly be tempted to include too many shots
to Adobe’s partner printer Blurb of the same thing. On the other hand,
(www.blurb.co.uk). Costs are calculated it’s also a good chance to include little
at the top right in the ‘Book Settings’ as detail shots or other snippets that add
you add pages. Alternatively, you can to the overall story, so you can include
export pages as JPEGs or a PDF, then images that might not see the light of
print them yourself. day elsewhere. It’s easy to print in
Lightroom once you’ve
set up your templates
16 Select an ICC profile

An ICC profile contains data
18 Final print adjustments
If you find your prints are
coming out a little dull or flat, try
about the gamut of an output device experimenting with the Print
like a screen or printer. When printing,
it’s important to choose the right profile
for your printer and paper. This is done
Adjustment settings to the right of
the Print module. These allow you to
pump up brightness or contrast. As the
20 Get set up for printing
The beauty of printing in Lightroom is that once
you’ve set things up, it’s a breeze from then on. Start by
in the Color Management settings to change is applied to the outputted print selecting a print size from the templates on the left of the
the right of the Print module. You’ll you won’t see any difference on-screen, module, then click the Print Setting (Mac) or Page Setup
need to download profiles from your so you might need to make a few prints (Windows) to choose a paper type and colour settings. Click
paper or printer supplier’s site. before you find the right values. the Plus (+) in the Template browser to save a new template.

Testbench CAMERA TEST
At a glance
£1,700 body only

● 24-million-pixel APS-C CMOS sensor
● ISO 100-50,000
● 3.7in, 1.3-million-dot touchscreen
● 4K video recording
● Leica L mount
Leica TL2
As the latest update to Leica’s APS-C mirrorless range,
the TL2 is certainly stylish, but does this come at the
expense of substance? Andy Westlake finds out
M
For and against Data file ention Leica and touchscreen that covers most of
I’ll bet most the camera’s back. They feel like
Sensor 24.3MP APS-C CMOS photographers the kind of cameras Apple might
Beautiful, tactile immediately think make – stylish, minimalist, but still
Output size 6016x4014 pixels
design of its exquisitely crafted, old- highly functional.
Focal length mag 1.5x
Lens mount Leica L fashioned M-series rangefinder Oh, and expensive: very, very
Superb touchscreen cameras. With their distinctive expensive. The TL2 will cost
interface Shutter speeds 30-1/40,000sec
ISO rounded-end bodies and traditional £1,700 body only, which is similar
100-50,000
Exposure modes
analogue controls, these classics money to the best APS-C
Excellent raw image PASM, Auto, Scene
have barely changed since the days mirrorless models on the market,
quality Metering Multi-field, centreweighted, spot
of film. In terms of sales, they still such as the Sony Alpha 6300 and
Exposure comp ±3 EV, 0.3EV steps
count as the venerable German the Fujifilm X-T2. But to actually
32GB memory built-in Continuous 7fps (mechanical shutter),
shooting 20fps (electronic shutter) manufacturer’s bread and butter, use it, you’ll also need to buy a
Screen 3.7in, 1.3-million-dot
but recently it has diversified its lens, with the matched Vario Elmar
No electronic touchscreen camera range into some very TL 18-56mm f/3.5-5.6 ASPH
viewfinder Viewfinder different territories. zoom costing £1,300.
Optional Visoflex EVF
AF points 49-point phase detection Indeed, Leica’s T-series The Leica TL2 is an update of
Uninspiring JPEG output mirrorless models are about as far the TL that was introduced just
Video
ALL PRICES ARE APPROXIMATE STREET PRICES
4K (3840x2160) 30p;
Full HD 60p removed from the M rangefinders eight months ago, which itself was
No image stabilisation in as it’s possible to imagine. They a relatively minor revision of the
Memory card SD, SDHC, SDXC
either the body or lens have sleek one-piece bodies original Leica T from 2014. This
Power BP-DC13 Li-ion
Battery life 250 shots painstakingly crafted from a single latest model uses a very similar
Doesn’t work so well in block of aluminium, with just a few design but adds an array of
low light Dimensions 134x69x33mm
well-chosen physical controls improvements, with the most
Weight 399g including battery
complemented by a large obvious being a 24-million-pixel

At its best, the TL2
delivers attractive images
with lots of detail
18-56mm f/3.5-5.6 at 30mm,
1/60sec at f/8, ISO 200
sensor (up from 16MP). But aims to keep shutter speeds will fix this with a future firmware There’s also a 120fps slow-motion
there’s more besides, including high to eliminate blurring from update. Thankfully, the mechanical mode, and electronic image
a high-speed electronic shutter camera shake. This is particularly shutter is pretty quiet anyway. stabilisation. But there’s no facility
and 4K video recording. One important, as neither the camera Unusually, the TL2 includes to attach an external microphone,
feature that’s been dropped is the nor its dedicated TL lenses include internal memory for recording so sound is recorded purely
T’s pop-up flash, but I don’t think image stabilisation, which in this files, and at 32GB it’s a very through the built-in stereo
many users will miss it. Far more day and age is a very strange decent amount – enough to microphones either side of the
problematic, given the camera’s omission indeed. record around 400 files in JPEG camera’s hotshoe.
size and price, is the continued The mechanical shutter + DNG raw format. Some users For power, Leica has used the
lack of a built-in electronic provides a range of 30 seconds may decide they don’t need to buy same BP-DC13 battery as in the
viewfinder. You can use an to 1/4,000sec, with the new fully an SD card at all. The camera can older T-series models, which slots
accessory unit on the hotshoe, electronic silent shutter extending copy the images you’ve taken neatly into a compartment in the
but the Leica Visoflex adds this to 1/40,000sec. It also allows from the SD to the internal base of the camera with no need
another £390 to the price. faster continuous shooting, at 20 memory (or vice versa), which can for a conventional battery door.
frames per second compared to be used to back up your pictures However, where this previously
Features 7fps with the mechanical shutter, after shooting, or get images off gave 400 shots per charge, in the
With its 24-million-pixel sensor, with a useful 29-frame buffer the camera without having to plug TL2 it’s rated for just 250, based
the Leica TL2 moves into line with even when shooting raw. But it into a computer. Unfortunately, on CIPA standard testing, which is
other current APS-C mirrorless it seems the only way to select though, you can’t record files to rather disappointing.
models in terms of resolution. the electronic shutter is to both the SD card and internal Wi-Fi is built-in for connecting
Coupled with the Maestro II manually set a speed faster than memory simultaneously. the camera to a smartphone or
processor, it provides a sensitivity 1/4,000sec, so you can’t use it in Leica has included 4K video tablet, using the free Leica TL app
range of ISO 100-50,000, and situations that require the camera recording at 3840x2160 for Android and iOS. Pairing
the camera includes a well- to make no noise but require resolution and 30fps, alongside devices is straightforward,
considered Auto ISO mode that slower speeds – hopefully, Leica Full HD (1920x1080) at 60fps. and the app is just as

The TL2 gives good results

up to ISO 12,500, but
autofocus is painfully slow
and unreliable in low light
18-56mm f/3.5-5.6 at 18mm,
1/50sec at f/5.6, ISO 12,500
‘The touchscreen interface makes the TL2 has no buttons or dials at all. photographers, this can be
Instead, there’s just a large re-assigned to either enter
quite unlike any other camera around’ touchscreen that’s used to playback mode, or switch between
change almost every setting. the electronic viewfinder and the
elegantly designed as the which the internal components are Unlike on other cameras, Leica LCD screen instead.
camera itself. You get bolted – sensor, shutter, processor hasn’t added touch-sensitivity Twin electronic dials are used to
remote control of the camera with board etc – with a cosmetic skin as an afterthought by adapting a change the main exposure settings
a live view feed and the ability to then placed over the top. However, pre-existing interface designed for while you’re shooting. In manual-
change exposure parameters and the TL2 has a unibody design button-driven operation; instead, exposure mode, one changes
white balance remotely. In a crafted from a solid block of it’s built a new interface from the shutter speed and the other
particularly neat touch, turning magnesium, into which those ground up, with large, well-spaced changes the aperture. In the other
your phone to landscape format components are attached. buttons and a generally consistent modes, the right dial changes the
gives an uncluttered full-screen This brings a rare sense of design. It’s all pretty intuitive, and primary exposure parameter, while
view, with only shutter and video quality and solidity when you pick crucially the touchscreen is very the left dial can be quickly
buttons displayed. Switch to it up, but it also means the camera responsive to inputs. switched through a range of
playback mode and it’s easy is quite chunky, at 134x69x33mm There are still a few physical options via an onscreen touch
to pull your favourite images and 399g before you even add a controls, of course, which – aside button, most usefully exposure
across to your phone for sharing. lens. It’s larger than comparable from the lens-release button on compensation and ISO.
Once you get beyond the core mirrorless models that don’t have the front – are all located on the The touchscreen interface,
spec, the TL2 offers very little in viewfinders, such as the Olympus top plate. The power switch though, is what makes the TL2
the way of extras. For instance, PEN E-PL8 and Canon EOS M6, encircles the conventional quite unlike any other camera
you don’t get any kind of dynamic and broadly similar in size to the two-stage shutter button; as usual, around. On the whole, it’s very
range expansion tools for shooting Sony Alpha 6000 and Panasonic a half-press activates autofocus, smartphone-like, and I mean that
JPEGs, in-camera raw conversion, Lumix DMC-GX80, which have while fully pressing the button as a compliment, as it makes a
an intervalometer, or even built-in built-in EVFs. takes a picture. Beside it is the complex device quick and easy to
electronic levels. It’s also worth The shallow but wide handgrip video record button, but in a use. Leica has added a few
noting that Leica only makes a gives a surprisingly secure hold, move that should please purist ideas all of its own: swiping up
small range of matched TL lenses, despite the body’s silky smooth
and they’re eye-wateringly finish. However, if you’d like the At moderately high ISOs,
expensive. It’s possible to use added security of a strap, in a images retain lots of colour and
Leica’s M-mount rangefinder triumph of style over substance, detail, with just a little noise
lenses, but you’ll need to buy the Leica has used propriety plug-in 18-56mm f/3.5-5.6 at 32mm,
£300 M-adapter L to do so. connectors, and nothing else will fit. 1/100sec at f/8, ISO 4000
Attach the supplied silicone strap
Build and handing and you’ll find it makes the camera
When it comes to design, the less comfortable to grasp, with the
Leica TL2 follows on from its connector digging in between your
predecessors in being quite unlike forefinger and middle finger.
anything else on the market. Other The camera’s unconventional
cameras use a metal chassis, on to design extends to its back, which
40 00 Month 2017 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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42 12 Aug 2017 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

CAMERA TEST Testbench
Focal points
The Leica TL2’s modern, minimalist design
Here, I was able to pull up makes it a delight to hold and use
lots of shadow detail when
processing the DNG raw
18-56mm f/3.5-5.6 at 36mm, Battery Strap connectors
1/125sec at f/8, ISO 100 Leica’s BP-DC13 battery slots directly Straps are attached using
into the base of the camera, and can be unique plug-in connectors on
topped up using either the external either side of the body, which
or down alternates between gives a pretty good idea of how charger, or via USB. It offers just 250 come fitted with blanks to
shooting and playback your images are going to turn out. shots per charge – 150 fewer than the TL. preserve the TL2’s sleek look.
modes, while swiping left or right To help you judge your exposure
switches between previewing 3:2 settings, the camera previews
stills and 16:9 video. Once onscreen how light or dark your Leica L-mount Hotshoe
learned, these gestures quickly image will turn out, and when you The TL2 is compatible with both APS-C TL Can accept a
become second nature. half press the shutter button, it lenses, and full-frame SL lenses that use Leica-dedicated
Half pressing the shutter button stops down the aperture to the same mount. Adapters for Leica’s flash unit, or
at any time brings you back to the preview depth of field. But the M-mount rangefinder lenses and R-mount the Visoflex
stills shooting screen. Here, three fact the screen doesn’t tilt means SLR lenses are also available. electronic
touch buttons placed to the right you’re forced to shoot with the viewfinder (but
of the live view display are used camera held out in front you not both at once).
to select the exposure mode, close to eye level, which is a
toggle through screen information relatively uncomfortable and
displays (including a grid display unstable way of working.
and live histogram), and access Leica’s optional Visoflex
the camera’s user-customisable electronic viewfinder is the same
quick menu. From there, you can as used by previous generations
access the main menu, which is of the T, as well as other recent
now logically organised into a set models such as the M10. It slides
of nine sub-menus covering on to the hotshoe, and can tilt
different operational aspects. upwards by 90 degrees: unusually,
Playback is very smartphone-like it also includes a GPS function for
indeed, with left or right swipes to geo-tagging your images. With a
browse image and pinch to zoom, 2.36-million-dot LCD display, it
33mm
while double tapping the screen offers a bright, detailed view. But
allows you to quickly zoom right the TL2’s lack of physical controls
in to check focus. limits the settings you can change
It’s difficult to overstate just with the camera held up to your
how good this touch interface is, eye to those assigned to the two
both for shooting and playback. control dials; for anything else,
Other manufacturers such as you need to revert to using the
Canon and Panasonic have done touchscreen, disrupting the Touchscreen control Connectors
a great job of adapting their shooting experience. Adding Almost everything is operated Hidden under a flap on the side
existing interfaces to integrate the viewfinder also makes the using the large 3.7in 16:9 of the handgrip are Micro HDMI
touch operation, but Leica’s is camera even more bulky. touchscreen that covers and USB 3.0 ports, along with
simply a cut above in terms of most of the camera’s back. the single SD card slot.
both design and usability, and Autofocus
surely a pointer towards how The TL2 uses a contrast-detection
cameras will work in future. autofocus system, which operates
However, its near-total reliance across almost the entire frame.
on touch operation does mean You can allow the camera to
the TL2 is unlikely to be the best select the focus point itself, in
camera for shooting outdoors in which case it will usually focus on
winter while wearing gloves. the closest subject within a 7x7
grid. Face detection is also
Viewfinder and screen available, with the camera falling
For composing your images, Leica back to auto selection if it fails to
69mm
has provided an unusually large find a person. But I preferred to

3.7in LCD with 1.3 million dots use touch focus mode, in which
resolution. Because it’s of the you tap the screen to select your
widescreen 16:9 type, not all of focus point. With the 18-56mm
that area is used for recording or f/3.5-5.6 zoom I used for testing,
viewing still images, although the focusing is fast, silent and accurate,
full screen is used for movie and with static subjects there’s
recording and playback. The generally little to complain
screen is large and bright, and about. The camera does 134mm

JPEG RAW
Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs
With its updated 24.2-million-pixel image sensor, the Leica TL2 gives
really excellent image quality, just as long as you are prepared to
shoot raw. Even when using the compact 18-56mm zoom, it resolves
a huge amount of detail, and its DNG raw files are impressively
malleable when it comes to recovering deep shadow details that are
essentially black in the JPEG files. Leica’s JPEG processing isn’t great,
though, with crude sharpening and overly strong noise reduction that
destroys detail at high ISOs, alongside distinctly subdued colour.
Out-of-camera JPEGs are quite bland, and you’ll get much better results
processing raw 18-56mm f/3.5-5.6 at 38mm, 1/250sec at f/8, ISO 100 Dynamic range
struggle more in low light display. Both can be attributed to
than other current mirrorless Leica apparently failing to apply
models, though, often failing to enough gain to the image sensor’s
lock on to the subject at all. feed. Whatever the explanation,
Manual focus is also available, it’s not something I’d expect to see
with a choice of focus aids. with a modern mirrorless model.
Magnified view comes with a When it comes to image quality,
choice of 3x or 6x, but it’s always it’s very much a game of two
in the centre of the frame: there halves. The JPEG files produced
doesn’t seem to be any way to in the TL2’s Standard Film Mode
specify an off-centre subject, as are uninspiring to say the least,
you can on any other mirrorless with decidedly anaemic colour
camera. The TL2 also adds a rendition. I’m sure Leica would
peaking mode in which high- claim that they’re colourimetrically
contrast edges are outlined in accurate, but that’s not what most Our Image Engineering dynamic range tests concur with our real-world
red; this can be combined with photographers want to see. For observations, showing very impressive numbers at low ISOs. A measurement
magnified view, if you like. everyday shooting, I’d be tempted of 12.7 EV at ISO 100 indicates significant scope for pulling up shadow detail
to turn up the saturation a notch without excessive noise, which means that it makes a lot of sense to override
Performance or two. Another option is use the the camera’s default overly bright metering to retain as much highlight detail
In use, the TL2 is mostly pretty Vivid setting instead, which gives as possible. What’s more, this initially drops only slowly, with a still
nimble. It turns on in a fraction much more attractive colours, impressively high 12.3EV at ISO 400. Naturally, dynamic range falls
of a second, and reacts near but on the other hand its high- considerably at high ISOs, but 7.9 EV at ISO 6400 is still quite creditable.
instantly to the shutter button contrast tone curve clips shadow
being depressed. The touchscreen detail heavily, so choose your
is generally very responsive, poison. Monochrome shooters
although it can sometimes be should at least appreciate the Resolution
oddly reluctant to respond to your camera’s B&W High Contrast
commands when you get deep mode, which gives nice results. Below, we show details from our resolution
into the menus. About the only Switch to raw, though, and the chart test pattern (right). Multiply the
time the camera leaves you quality of the camera’s sensor number beneath the lines by 200 to give
waiting is when writing a full burst shines through. It resolves lots of the resolution in lines per picture height.
of images to the memory card, fine texture at low ISO settings,
RAW RAW RAW RAW
during which you can’t enter and there’s plenty of scope for ISO 100 ISO 800 ISO 6,400 ISO 50,000
playback mode. extracting detail from deep
If you leave the camera to its shadows without excessive
own devices, it likes to expose noise. High ISOs appear to be
images distinctly brightly, which remarkably usable, too. But with
in turn risks losing highlight detail the quality of current APS-C
irrevocably. So it’s best to keep sensors, this is nothing out of the
a close eye on your exposures ordinary – you’d get similar raw
while shooting, and I often found image quality (and immeasurably
myself applying negative exposure more attractive JPEGs) from the
compensation to tone things down, £500 Fujifilm X-A3, which costs The Leica TL2 does extremely well for its pixel count in our resolution tests,
aided by the live histogram display. around £500 complete with lens. especially considering we used the 18-56mm zoom (set to 35mm and f/6.3).
The one area where I found At least with the TL2 recording At ISO 100, it achieves over 3,800 l/ph, although some colour moiré is
the TL2 really struggled was its raw files in the DNG format, creeping in. This also holds up really well at higher ISOs – for example, we
shooting in low light. At dusk with you don’t have to update the still measure 3,600 l/ph at ISO 800, and 3,200 l/ph at ISO 6400, which is very
the 18-55mm zoom, it not only software on your computer impressive indeed. Even at the top ISO setting, it gives over 2,800 l/ph. In
struggled to focus, it also gave merely to get it to recognise JPEG, however, heavy-handed processing lowers the resolution noticeably.
a misleadingly dark preview the camera’s raw files.

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 Canon EOS M5 Sony Alpha 6500 Fujifilm X-T2

Price £950 Price £1,400 Price £1,400
Both raw and JPEG images Sensor 24.2MP CMOS Sensor 24.2MP Exmor CMOS Sensor 24.3MP X-Trans III
taken from our diorama scene AF points 49 AF points 425 CMOS
are captured at the full range AF points 325
Continuous shooting Continuous shooting
of ISO settings. The camera is 9fps 11fps Continuous shooting 14fps
placed in its default setting Reviewed 7 January 2017 Reviewed 18 February 2017 Reviewed 21 October 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
THE LEICA TL2 is in many
ways a lovely camera, but
it’s also a mass of
contradictions. With its
sleek aluminium body
and touchscreen-based
interface, it’s simply not
what you’d expect a traditional includes some great ideas you
camera company such as Leica to won’t find anywhere else, it also
RAW ISO 3,200 RAW ISO 12,500 make. But it actually works really lacks key features such as image
well, and despite its blocky-looking stabilisation or an articulated
shape, is unexpectedly pleasant screen. The lack of a built-in
to hold and shoot with. Indeed, viewfinder will deter enthusiasts,
Leica’s touchscreen interface is while the anaemic JPEG output
the best we’ve yet seen on any means it’s unlikely to endear itself
camera, with an attractive design to more casual users. It’s difficult
and intuitive operation. I said to think of a rational reason why
earlier that this is the kind of you’d buy one when for the same
camera you might expect Apple money you could pick up a very
to make, and I can’t help but think nice kit based around the Fujifilm
that everyone would be raving X-T2 or Sony Alpha 7 II.
RAW ISO 25,000 RAW ISO 50,000 about the TL2 if it hailed from This is a shame, because a
Cupertino rather than Wetzlar. design this interesting really
The thing is, though, I also can’t deserves to be experienced by
help but think that it’s just not what more people. But ultimately the
photographers really want from TL2 just costs way too much
Leica. If you’re going pay a huge for what’s on offer. If you have
premium for that famous red dot, £3,000 burning a hole in your
chances are you understand the pocket and
firm’s heritage and the kind of want to buy
camera it does best. But unlike a Leica, do
the M rangefinders, or the equally yourself a
lovely fixed-lens, full-frame Leica favour and
Q, there’s no obvious motive for put it towards Recommended
At ISO 100, the TL2’s image quality is very good indeed, with fine detail and very choosing the TL2 based on its a Q instead.
low noise. Raising the sensitivity has little impact at first, and while at ISO 800 prowess as a photographic tool.
fine detail is slightly degraded, you have to look extremely closely to see this. It’s Instead, you’re being asked to FEATURES 7/10
only really at ISO 3200 that noise has an obvious impact, with shadows starting fork out your money for what is, BUILD & HANDLING 9/10
to look rather muddy and fine, low contrast detail blurring away. Beyond this, the when all is said and done, a fairly METERING 7/10
deterioration becomes more rapid, but I’d still be prepared to crank the sensitivity basic APS-C mirrorless camera AUTOFOCUS 8/10
up to ISO 6400, and perhaps even ISO 12,500 if absolutely necessary. As tends to that just happens to have been AWB & COLOUR 6/10
be the case, though, the two highest settings are really only for emergency use. beautifully, but above all DYNAMIC RANGE 8/10
You’ll absolutely need to shoot raw to get best results: excessive noise reduction expensively, crafted from a solid IMAGE QUALITY 8/10
blurs away detail in JPEGs at settings as low as ISO 1600. block of metal. And while it VIEWFINDER/LCD 7/10

Testbench FIRST LOOK
Rotolight AEOS
AP takes an extended look at Rotolight’s innovative new light,
designed for both stills and video photographers on the move
At a glance
● £899inc. VAT
● 5,750 lux at 3ft (ISO 200)
● 3,150K-6,300K colour range
● 295mm (diameter) x 20mm /1.4kg
● www.rotolight.com
Aluminium
handles
These rigid and good-sized
handles enable the light to
be handheld if required.
Optional
V-lock battery
Provides three hours of
continuous shooting, or 150k
flashes, per charge. It’s the
largest battery allowed in
LCD display Control dials aircraft hand luggage.
This displays the power The two red dials control
output as a percentage, or an brightness and white
f/stop, as well as the colour balance, or flash output and
temperature in kelvin. duration. Press them both
together to enter the
menu.
L
ED lighting has generally been the their image in the viewfinder before pressing
preserve of videographers, who need the button, rather than the monotonous cycle
continuous lighting, rather than stills of shooting/reviewing/tweaking that you have
shooters who have traditionally to go through using DSLRs and flash. Only
favoured more powerful flash kit. But Rotolight continuous lighting makes that possible.
has been working to change that in recent years Meanwhile, stepping in to fill this demand
with products targeting both video and stills comes Rotolight, which has been innovating
photographers. So what has changed to make with LED technology to provide more power
LED technology more relevant? and a range of features tailored to stills
Well firstly, camera sensors have improved to photographers. For example its latest light, the
the point where shooting at ISOs higher than AEOS, features a unique strobe flash feature
100 is no longer a last resort, so outright power which increases output by 200% for those
output isn’t the be-all and end-all it used to be. From the side you
times when the continuous light isn’t quite
can see how slim
Secondly the growth of mirrorless cameras, bright enough. What’s more, the flash offers a the AEOS light is
with their electronic viewfinders, has given rise few tricks that a traditional strobe can’t without its battery.
to a growing what-you-see-is-what-you-get compete with. It has no recycle time, so you It can of course be
culture in which photographers want to see can use it for burst shooting and it’ll keep mains powered
46 12 August 2017 I ww I b b 1113

ADVERTISEMENT FEATURE
Bi-colour
LED panel
The LED array comprises a
mix of daylight and tungsten
diodes. Varying their relative
brightness enables fine
control of colour
temperature.
Lit with natural

light, boosted by a
Pro ball head single AEOS head
about 1.5 metres
© ANDREW SYDENHAM
The ball head provided with from the subject.

the AEOS enables stand or Note the attractive
tripod mounting and affords catchlights
precise positioning of the light
to the required angle.
The pro’s view
AP’s studio manager, Andrew Sydenham, assesses the AEOS
flashing until you stop firing and, thanks to its AS SOON as I slid the Rotolight AEOS from you require easily. I particularly liked the barn
bi-colour LED panel, it’s the world’s first flash its case I could tell it was a very different and doors which are robust, easy to attach and big
head with an adjustable colour temperature, so original light source, equally at home on enough to control the light spill effectively.
you’ll never need to mess about with gels. location or the studio, and a true stills/video In the studio, using the AEOS to light a
Weighing in at 1.4kg the AEOS is a fraction hybrid. Shooting some portraits of our model, product shot was equally rewarding. The
of the size of the company’s big ANOVA studio Hollie, on location in daylight, I was impressed quality of light is exquisite from the outset and
light, but much bigger and more powerful than that it was possible to handhold the light and powerful enough to survive being diffused
its hotshoe-mountable NEO. It’s still holdable shoot at the same time, although stand and shaped to give the required effects. Also,
with one hand though, thanks to the built-in mounting or having an assistant offers greater the LED panel is cool in operation, producing
aluminium handles, and light enough to mount versatility. The catchlight in the eyes from the very little heat – making it comfortable to use
on a tripod using the ball head that it comes circular LED array is really beautiful and being for extended periods in the studio.
with, so you don’t need dedicated light stands. able to easily adjust the colour and intensity
This means that although it can be used in on the fly is a real advantage. Shooting in
the studio or at home, the AEOS comes into its strobe mode using a Phottix trigger, and not
own as a location light. There are of course having to even consider the recycling time
portable monolight strobes available that (which is instantaneous) is absolutely unique
already cover this sector, but the AEOS with this type of source. Its 5,750 lux output
consumes considerably less power. Rotolight is astonishingly powerful for its size, but it
claims three hours of continuous lighting time, can’t quite match strong daylight and it has to
or a whopping 150,000 full power flashes, be close to the model to give impact. Given its
© DAN LAUGHTON
from a fully charged RL-95 battery, which uses power, the 3-hour battery life is exceptional.
the standad V-lock mount. Alternatively the The menu system, with its two dials on the
AEOS comes with an AC adapter if you rear of the unit, is pretty intuitive and with a
have access to a mains power supply. little experience you can obtain the settings The set up used for the portrait shown above

Testbench FIRST LOOK
AP Editor Nigel
Atherton used the
The AEOS as AEOS to photograph

his dog on location
on the South Downs
a video light
AP’s Digital Editor, Jon Devo,
used the AEOS on a video shoot
THERE are a few things to love about the
Rotolight AEOS from a video perspective, not
least its incredible portability, tactile controls,
including two aluminium handles and flicker-
free constant output.
The week that the AEOS came in to the
office I was tasked with filming a live music gig
and was told that the lighting scenario at the
venue could be ‘sketchy’, so I took the AEOS
head with me. More often than not I’m a
© NIGEL ATHERTON
one-man band so I need to be able to carry

everything, and I don’t own a car so portability
is one of my main considerations when
investing in kit. Our AEOS unit came in
© NIGEL ATHERTON
Rotolight’s soft, water-resistant carry case, AEOS controls
measuring 20.4x19.9x5.7 inches, enough to fit The back of the AEOS contains only three
two AEOS heads. The bag has two small zip controls: a rubberised power on/off
pockets on its sides and one large one on the button and two dials. The first of these
front, for barn doors, cables and accessories. It controls the brightness level. This is indicated
also can be worn using the accompanied on the LCD display as a percentage or, in True
padded shoulder strap – perfect for someone Aperture Dimming mode, as an f/stop. The
like me who’s often got a tripod case over one other dial sets the colour temperature,
shoulder and a camera bag on my back. variable from 3,150K to 6,300K – achieved
On arriving at the venue, I was glad I brought by altering the brightness ratio between the
the AEOS. The spotlit stage completely missed daylight and tungsten balanced LEDs on the
the drummer, so I quickly set up the AEOS on panel. Pressing both dials together takes you
a lighting stand to the left of the stage. There into the menu, where you can cycle through
were no power sockets on that side of the the flash, special effects and other menus. It is light enough to carry to remote loctions
room, but thankfully I had the optional 95w/h One of the most interesting settings for stills
V-mount battery, rated to last up to 3 hours – photographers is the True Aperture Dimming at the top and bottom of the light, plus two
easily enough time. I used the dimmer and mode, which is great for when you want to additional threaded sockets on the sides, and
adjustable bi-colour LEDs to subtly blend the shoot at a specific aperture, or when you want the well-designed optional carrying bag can
AEOS into the ambient lighting mix on stage, to know what aperture you should use at a take two AEOS lights, plus batteries, mains
so I didn’t ruin the atmosphere and didn’t have given brightness level (useful for film users, cables and accessories.
to faff with gels and diffusers. for example, who can’t shoot and review). In
For more controlled lighting set-ups the this mode you tell the light your ISO setting First impressions
AEOS also features a built-in fade and a range and subject distance and as you adjust the We used the AEOS for a variety of stills
of programmable ‘CineSFX’ options; including brightness the LCD displays the aperture that shoots over a couple of weeks, including both
lightning, fireplace, emergency vehicle siren will provide the correct exposure. So if, as a indoor and outdoor portraiture, a studio still
and TV flicker simulations. In the right hands, portrait photographer for example, you want life (all lit with flash) and a location pet portrait
the AEOS will add some great production to shoot at f/2.8 to achieve a nice shallow on the Sussex Downs, using continuous light.
value to independent productions. depth of field, you simply turn down the We also used it for several video shoots,
The flexibility, portability and capability of the brightness until the display reads f/2.8. including an interview, and a live music video.
Rotolight AEOS makes it one of the handiest As a continuous light the AEOS is at its It handled everything we threw at it with
pieces of location lighting on the market. brightest at 4,200K, when all of the LEDs are aplomb. Its light weight, easy set up, variable
at maximum output, but if this isn’t bright colour temperature and ability to choose
© JON DEVO
enough, the flash mode doubles the output. between flash or continuous illumination
The AEOS is capable of high-speed sync make the AEOS one of the most versatile and
shooting (HSS), with compatible equipment. enjoyable lights that we have used.
In flash mode the left dial sets the modeling At £899 (inc VAT), it couldn’t be described
light brightness and the right dial sets the as cheap, but when you consider what it does,
flash output and duration, up to 1/2,500sec. and the fact that you’d need more than one
A 3.5mm input jack allows synchronisation by light to do what the AEOS does (and even
cable or a wireless trigger, such as those by then you wouldn’t get all of its features),
Pocket Wizard and Phottix. we consider it good value for money.
Despite its light weight, the AEOS feels
sturdy and well made, from high-quality Watch our First Look video of the Rotolight
materials. Accessories such as the optional AEOS light on the AP website at
We used the AEOS to film a live music gig barn doors attach via the two tripod sockets www.amateurphotographer.com/rotolightaeos

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Testbench ACCESSORIES
Hawkesmill Front
pockets
Two flat pockets cover
Camera
insert
Although the camera insert is
Marlborough
the front of the bag and well padded and soft lined,
can hold small accessories small items can be hard to find
such as batteries, in its deep, black interior. It
memory cards can be removed for
and filters. everyday use.
Andy Westlake tries out a premium-

quality shoulder bag
● £550 ● www.hawkesmill.com
Clip-in
IF YOU own some high-end camera kit, organiser
it makes sense to invest in a high-quality A slimline organiser slips
bag that will give it the best possible into the bag’s rear pocket
protection. If the bag looks good, too, so and has three flat pockets
much the better. Naturally, high quality for holding documents
tends to mean expensive but that’s entirely or a 10in tablet.
justifiable if you’re buying a bag that should
last for many years.
However, there’s expensive – and there’s really
expensive. Firms such as Billingham and Gillis sell
lovely canvas-and-leather bags in the £200-£300
range, but British maker Hawkesmill wants £550 for
its classically styled, ultra-premium Marlborough
shoulder bag. Can this possibly make sense?
Hawkesmill’s justification is twofold: not only is
the Marlborough handmade in the UK but it’s also
constructed from top-notch materials. The exterior
is crafted from Scottish-made canvas with extra-
thick vegetable-tanned leather trim, while the
chunky metalwork is nickel plated for corrosion
resistance and durability. Pick up the Marlborough
and this quality shines through.
The interior is impressively capacious with space At a glance
for an enthusiast DSLR, along with four or five lenses
and a flashgun. If necessary, you can even fit two ● Measures 40x28x12.7cm
DSLRs side by side. In principle, a telezoom as large ● Weighs 2.25kg
as a 70-200mm f/2.8 can be accommodated, but ● Made from Superdry canvas
this will be a tight squeeze if you keep its hood
● Waterproof and dustproof
attached (even when reversed). A full-width divider
forms a pocket that will take a 13in laptop, or it can
be removed to create more space for your lenses.
I have a few gripes, though. The choice of buckles
to secure the straps that hold the main flap closed Grab
makes access to your kit quite awkward, with most handle
other bags being quicker to open. Fortunately, the This can be used to carry
flap can also be held closed using a twist-lock the bag, but only with the
fastener while you’re shooting, although Hawkesmill front straps secured since the
warns that you shouldn’t then try to carry the bag by secondary twist fastener
its grab handle. Also, most of the inside organiser isn’t strong enough
pockets are flat, meaning you have to squeeze on its own.
anything that’s more than a few millimetres thick into
the two front pockets, which are themselves
relatively small. I prefer the larger pleated front The detachable THE HAWKESMILL BAG RANGE
shoulder strap has
pockets found on some similar bags. generous length
adjustment and a Alongside the Marlborough, Hawkesmill
Verdict small sliding pad sells essentially the same design in
ALL PRICES ARE APPROXIMATE STREET PRICES
I was sceptical about the Hawkesmill Marlborough at different finishes. The Bond Street is
first, since it’s difficult to justify spending so much made from black canvas, the Jermyn
money on a camera bag. But it’s impossible to argue Street uses classic Harris Tweed and the
with the quality of materials and construction, and it Sloane Street uses charcoal Harris Tweed.
looks great, too. To me, the Marlborough is perhaps Recommended
Smaller versions of each bag are also
a couple of design tweaks away from being available, designed for mirrorless or Leica
absolutely superb but it’s still very nice indeed. kit: this (right) is the Small Jermyn Street.

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
displays 92ppi. If you upgraded

How hi-res does my display to a 27in monitor you would see Focus peaking
need to be? that decrease to 82ppi with the
not working
Q I am hoping to elicit some
advice on choosing my
next computer, with the
emphasis on the display which will
same 1920x1080 pixels. If you
went for 1440 HD (2560x1440),
which is now quite a common
specification for 27in monitors, Q Thanks to a
great deal
on eBay I
be of importance when photo ppi increases to 109. Even with have become the
editing. I currently use a 24in the larger screen size of 32in, owner of a
1080pp display that is with 4K the ppi jumps to 138, good-condition
approximately eight years old. I’d and so on, as in the table below. Tamron 90mm
like to get a really good display for If you weren’t seeing the pixels f/2.5 macro lens
my new rig. I would consider 27in with your Full HD 24in monitor, fitted out to work on
or 32in, which seem to be the you might not benefit from an Nikon DSLRs. After Don’t forget to
most accessible. increase in ppi, especially if you doing a bit of switch on the
I understand, to a degree, the set the display farther back. research I think this X-E2’s focus
mode…
need to have the right type of However, a display is not just lens could be 35 years
panel technology. What I’m not pixel resolution; brightness and old – older than me!
so sure about is display resolution. contrast, plus colour gamut and I intend to use it as a portrait lens, as well as a macro lens, on
I have been content with tonal smoothness all count. If at my Fujifilm X-E2 and I have an inexpensive Nikon to Fujifilm
1920x1080 in my 24in monitor, all possible, view the candidates adapter. So far, so good, but I have hit a problem. I would like to
but should I go for a higher in a showroom. use focus peaking for critical focusing but for the life of me, I can’t
resolution if I increase the screen get it to work after switching to MF assist mode and Focus Peak
size? I see that there is SD memory card Highlight. I simply don’t see any focus highlights on the display.
2560x1440, 4K 3840x2160
and even 5K 5120x2880. I’ve
Q I’ve recently started
getting into photography
Mitch Deighton
A
only seen Apple offering 5K and have bought my first That’s a great choice of lens, Mitch, at least if it’s in
displays, however. Help! camera, a Nikon D3300, together good condition, and the likelihood is that you won’t
Luke O’Mahoney with a 64GB SD memory card. I miss AF when shooting macro. My hunch is that you
wanted to delete some of my test simply forgot to switch the focus mode on the front of the
A
The factors to consider photos, so put the SD card into my camera to ‘M’.
include pixel pitch, or how laptop’s card reader. However, it
many display pixels per says the card is in read-only mode
inch (ppi), plus viewing distance. and I cannot delete items. The even tried taping the lock switch (SDXC) will normally be exFAT
Your 24in Full HD monitor card is definitely unlocked. I’ve so it doesn’t move when inserted, format. I don’t know much about
but that does nothing. Other SD your specific model of laptop but
cards work fine in the card reader there is an outside chance that
16:9 widescreen displays and this SD card works OK in my it’s only SD/SDHC compliant,
Screen diagonal Horizontal res Screen width Pixels Per friend’s laptop, so it seems as meaning it will accept cards
(inches) (pixels) (inches) Inch (PPI) though my laptop just doesn’t up to 32GB formatted in FAT
Full HD 24 1920 20.9 92 want to play with my SD card. or FAT32.
I know I can connect the Elimination testing is always
Full HD 27 1920 23.5 82 camera to the laptop and delete useful (it gets to the root of a lot
Full HD 32 1920 27.9 69 things that way or just delete them of troublesome issues, in my
on the camera, but I like to be able experience). If you have another
1440 HD 24 2560 20.9 122
to take the card out and plug it in. SDXC card, does it exhibit the
1440 HD 27 2560 23.5 109 I am using an SDXC 64GB same behaviour? Another
1440 HD 32 2560 27.9 92 Digi-chip Speed-Pro with my HP possibility is that your laptop isn’t
Envy 15 notebook, running using the correct software driver
UHD 4K 24 3840 20.9 184 Windows 10. for its card reader. Did your
UHD 4K 27 3840 23.5 163 LukeBurst (AP forum) laptop come with Windows 10?
Try using HP’s website to locate
UHD 4K 32 3840 27.9 138
A
It’s very difficult to and install the correct driver,
5K 24 5120 20.9 245 pinpoint the precise instead of a generic one installed
5K 27 5120 23.5 218 problem from afar but by Windows.
let’s look at this issue
5K 32 5120 27.9 184 methodically. A 64GB card Q&A compiled by Ian Burley

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BLAST FROM THE PAST Senior Sub Editor
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Sarah Foster
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Nikon EM
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Below: EM is an Video Production Dan Laughton
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John Wade on an SLR of the late ’70s Advertising
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Although Nikkormats from the Editorial Complaints We work hard to achieve the highest standards of
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99 A((2 >4K 3!I 1/I ,.31 88888888888888888888888888888888888 99 A#(2 48&H ,/B?*,$B 31F";B"; <<"//! 8888 ,1B+ AD ((&
4 3!I 1/I 131 88888888888888888888888888 99 AD(2 4=K+&KK00 &+>8C 53 ,)0 6131 788899 A422 =K 3!I 1/I ,.31 88888888888888888888888888888888 9 A>2 + A=2 HB"1<,31 E" 4C00 <<"//!888888888888888 99 A4(2
4 3!I 1/I 1318888888888888888888888888888888 99 A4(2 4#K00 C8& ;3 ,)0 6131 7 899 AC(2 =KKK 3!I 1/I ,.31 888888888888888888888888888888888 99 AD22 HB"1<,31 E" D>00 <<"//!888888888888888 99 A4(2
CK 3!I 1/I 131 88888888888888888888888888< ""1 AC2 CKK00 D8# 53 ,)0 6131 7 8888888 99 =4KK 3!I 1/I ,.31 888888888888888888888888888888888 99 A((2 0,4KK 3/;3,! ) <<"//!88 9 ? 99 AC2 + A4(2
&K 3!I 1/I 131 88888888888888888888888888888888889 AC& A4 D#2 + A4 (22 =DKK 3!I 1/I ,.31 888888888888888888888888888888888 99 A>>2
&KK 9 D#+2K00 131 88888888888888888888888888889 AC2 =&K 3!I 1/I ,.31 8888888888888888888888888888888 ,1B+ A4 C(2 #################################################
&KK 9 0;31 D#+DKK00 131888888888888889 A&2 ( !"( $%###################### #K 3!I 9 +#K ;,5 ,.31 888888888888888888888889 A4D2
&KK 3!I 1/I 131888888888888888888888888888888889 A4& #K 3!I 1/I ,.31 888888888888888888888888888888 9 A22 + A442 + 1B*;,B" 3!I 1/I ", 888888888888888888 99 AD 4>2
4KKK B" 3!I 1/I 13188888888888888888 99 A42 3G";<*3B 2H 13188888888888888888888888 ,1B AD22 #KK 3!I 1/I ,.31 88888888888888888888888888888888 99 A4 >(2 2 /. 3!I 1/I ",8888888888888888888888888888889 AD K22
4KKK 3!I 1/I 13188888888888888888888888889 A4& 3G";<*3B ;34 1318888888888888888888888888888888888888 99 A>2 #4K 3!I 1/I ,.31 88888888888888888888888888888888 99 A4 2#2 9 C&00 48( <5* >KB* !,B,31 "B ", 8888 ,1B+ A# (22
4KKK 3!I 1/I 131 888888888888888888888888888888889 AD2 # ,1"5,H 4K /. $E-, 88888888888888888888888888888 99 A4=2 2K 3!I 9 +#K ;,5 ,.31 88888888888888888888 99 A4#2 313*;30 /. 3!I 1/I ",8889 ? ,1B AD >(2 + AC C#2
4K+D(00 C8&+(8& , 0;31 0;31 6131 7 ,1"5,H 4KK /. 6 1$; "!7 $E-,888888888888888 ,1B+ A>(2 "% 3!I 1/I "1BH 88888888888888888888888888 ,1B A##2 313*;30 3!I 1/I 6I5 D(>7 + /. *;30"
,1B+ AD&2 4KK 9 <" $E-,88888888888888888888888888888888888888888 ,1B+ A>#2 =K 3!I 1/I "1BH8888888888888888888888888888888888888 ,1B A(#2 ", 8888888888888888888888888888888888888888888888888888888888 99 A( D22
44+4>00 D8# 3.,1 3.,1888888888888 ,1B+ AD#2 33/5,H =4KK ,.31 888888888888888888888888888 99 A4>2 44K 3!I 1/I "1BH 888888888888888888888888888888888 99 A22 6D(K7 /. 3!I 1/I ",888888888888888888888889 AD 2(2
44+DD00 $(+&8> 13188888888888888888888 ,1B+ AD42 33/5,H (KKK ,.318888888888888888888888888888888888888888 99 A(2 +; 9 4#+&&00 9 &K+DKK00 "1BH 88888888888 99 A4&2 6D(K7 *;30" 3!I 1/I ",8888888888888888 99 AD 2#2
44+D(00 ( 131 888888888888888888888888 99 AD C(2
&# &KK /I05E<88888888888888888888888< ""1 AD2 & &#K 9 4#+&&00 31I888888888888888888888888 99 ADD2 D(00 48( <5* + /. ", 88888888888888 ,1B+ AC &22
4(00 D8# 131 8888888 9 ? ,1B+ A#22 + A2#2 #4K /I05E<8888888888888888888888888888888888888888888889 A=2 DKK 9 4#+=K00 31I888888888888888888888888888888888 99 A4D2 D(00 D8# <5* /. ",888H ? 99 A2(2 + A4 422
4&+(&00 C8&+>8C 131 88888888 ,1B+ A4&2 = 1<31,888888888888888888888 99 A4=2 C&K 9 4#+=K00 31I8888888888888888888888888888888888889 A4=2 D#00 D8# /. ", 8888888888 9 ? 99 A&22 + A=(2
4&00 D8# ,<*"I" 131888888888888888888888888 99 A((2 +4# 1<31, 888888888888888888888888888888888888888889 AC2 && 9 4#+=K00 31I888888888888888888888888888888888888889 A4&2 C&00 48( <5* /. >,B ",888888888888889 AD C22
4>+D#00 D8# 3.,1 3.,1 8888888888888 99 A(C2 +>D 1<31, 888888888888888888888888888888888888 99 A4(2 &# 3!I 1/I 31I 88888888888888888888888888888888888888 99 A422 C&00 D <5* /. >,B ",88888888888888 99 A4 &22
4>+C&00 D8# 131888888888888888888888888 99 ? D# 1<31, 88888888888888888888888888888888888888889 ? 99 A=2 C&00 D8( <5* *;30" >,B ", 88888888 ,1B A4 4(2
,1B+A#42 + A4 K(2 9 D(+=D00 ,3* 88888888888888888888888 99 A422 % ( #################################### C&00 D8& /. >,B 9 33! ",8888888888 99 A=>2
4=+(K00 ( 131 888888888888888888888888888 99 A(42 D(+=D00 D8&+(8( 67 ,3*99 ? ,1B AC2 + A(2 C&00 D8# *;30" 6 C7 ",888888888888888888888 ,1B+ A(22
4=+&&00 D8# 13188888888888888888 99 AC22 D#+CKK00 C8&+&8> "1< ,3*8888888888 99 A&2 "' D# D /<* "BJ8888888888888888888888888888888888888889 AD2 C&00 C8& *;30" ", 8888888888888888888888888888888H AD22
4=+#&00 C8&+&8> 13188888888888888< ""1 A#2 & 4 31I88888888888888888888888888888888888888888888889 A4 K(2 C(+D ,),B/ /<* "BJ 88888888888888888888888888888888889 AD2 &K00 48( /. ", 888888888888888888888888888889 A4 C&K
4#+&&00 C8&+&8> 131 888888888888888888888 99 A&2 4 31I888888888888888888888888888888888888888888888888888889 A4 4(2 (&C ,! "BJ 888888888888888888888888888888888888 9 A(2 + A&2 &K00 D 3//5<,/" ",88888888888888888888888888888889 AD22
4#+&&00 C8&+&8> 131 888888888 99 ? ,1B A=2 4 9 +4 ,1!"; 31I 888888888888888888888 99 A4 D22 (&( ,),B/ ,+! "BJ 88888888888888888888888888888 99 AD(2 &K00 D8# /. ", 8888888888888888888888888888 ,1B+ A>(2
4#00 C8& ",<< J",<< 88888888888888888888888888888 99 A>22 4 31I8888888888888888888888888888888888888888888889 AD 2(2 (&( ,! "BJ 888888888888888888888888888888888888 9 AC& + A&2 &K00 D8# *;30" ",88888888888888888888888888 99 A&(2
42+C&00 C8&+(8& 3<,1 3<,1 88888888888888888888889 A&2 +>K 31I888888888888888888888888888888888888888888888 99 A4C2 (&4 /<* "BJ88888888888888888888888888888H ? 9 AD& + AC& >&00 C8& /0; ",8888888888888 9 ? ,1B+ A422 + AC(2
DK00 D8# 131888888888888888888888888888888888 99 AD(2 +4K 31I88888888888888888888888888 9 ? 99 AC>2 + A(D2 (&C /<* "BJ888888888888888888888888888888888888888888888889 A&2 =&00 D8( /. >,B 9 33! ",888888 ,1B+ A4 4(2
=&00 D8& /. > ", 88888 9 ? 99 A>D2 + A=(2 CKK00 D8# + ,.318888888888888888888888 99 A4 422
=&00 D8& /. >,B ", 8888888888888888888888 99 A>22 CKK00 D8# ,.31 88888888888888888888888889 A4 &22
2K00 D 53 /. ",9 ? ,1B+ A4 =22 + AD K22 CKK00 ( ,.31 88888888888888888888888888888889 A(22
2K00 D *;30" ", 8888888888888 9 ? 99 A&(2 + A&22 #KK00 # ,;;3; 0I1) 88 0I1) 6,.31 7
2K00 D /. ", 8888888888888 9 ? 99 A=(2 + A2(2 99 A4C2
2K00 D8& /. >,B ", 8888888888888888888888 99 A=(2
2K00 D8# /. ", 88888888< ""1 ? H A4(2 + AD22 %%
! ( ######################################
2K00 D8# *;30" ", 888888888888H ? 9 A422 + AD(2
2K00 D8# /. ", 888888888888888888888888888888889 A=(2 88888888888888888888888888888888888888888888888888888888888888888888888888888888888888
2K00 ( /0; ", 888888888888888888888888888888888889 AD(2 4&00 D8# 8D J",<<8888888888888888888888888888888888889 A4 ((2
2K00 ( ;3 "B >,B ", 888888888888888 99 A4 >(2 D400 D8# J",<< 88888888888888888888888888888888888888 99 A>#2
D400 D8# 8D J",<<888888888888888888888888888888888888 99 A##2
! + %% ##################################### D&00 D8# J",<< 8888888888888888888888888888889 ? ,1B+ A((2
C&00 48( 8D J",<<888888888888888888888888888888888888 99 A=22
#00 C8& <5*";,/ ,<*+I" 0I1) 631I7 88 ,1B+ A4>2 C&00 D J",<< 88888888888888888888888888888888889 ? 99 A(=2
4D+D(00 (8&+&8> ,)0 ,)0 631I 788 9 AD22 #&00 48( /1; 8D J",<<88888888888888888888 ,1B+ A=(2
4=+=K00 D8#+( ;3 ,)0 ,)0 631I789 A422 4KK00 D D ;3 J",<<88888888888888888888888 ,1B+ A4 K#2
4#+D&K00 C8&+>8C 31I888888888888888888888888 99 AD=2
DK00 48# ,)0 ,)0 631I 7 8888 99 AD>K
! ( ################################
D(+DKK00 C8&+&8> 3.,1 8888888888888888888888 99 A22
D(+=K00 D8# , 0;31 0;31 631I7888 ,1B+ A(22
D(+=K00 D8# 31I8888888888888888888888888 99 A=(2 (8&00 D8# ,<*"I" ,)0 6,.31 78899 A(22
D#00 48# <5* ,)0 ,)0 631I 7 88888888H A4C2 #+4>00 (8&+&8> ,)0 6,.31 78 99 AC=2
CK00 D8# ;3 31I 88888888888888888888888888 99 A22 D(+>K00 D8# ,)0 6,.31 7 88888888 99 ADC2
C&00 48( 0I1) 631I7 888888888888 99 AD=2 D(00 48( 67 ,)0 6,.31 7 8888 ,1B+ A(22
&K00 48( 31I 88888888888888888888888888888888888888 99 A4&2 D#+=K00 D8# ,)0 6,.31 7 88888888888888888889 A=2
&K00 48# 31I88888888888888888888888 9 ? 99 A(2 + A&2 D#00 48# ,)0 6,.31 788888888888888 99 A4=2
&&+DKK00 (+&8> 31I888888888888 9 ? 99 A(2 + A&2 C&00 48( ,)0 6,.31 78888888 ,1B+ A(22
&&+DKK00 (+&8> 31I888888888888888888888 99 A&2 &K+4&K00 D8# 53 ,)0 6,.31 7 889 ACD2
&&+CKK00 (+&8> 31I888888888888888888 ,1B+ AD42 &K00 $48( ,)0 6,.31 788888888888888 ,1B+ ADC2
>K00 D , 6,$7 ;3 0;31 0;31 631I7 "G AD>2 &&+DKK00 (+&8> ,)0 6,.31 788 99 A(2
=K+CKK00 (+&8> , 0;31 0;31 631I789 ? 99 AC2 4&K00 D8# ;3 ,)0 6,.31 78888
=K+CKK00 (8&+&8> 31I 888888888888888888888888888889 A&2 99 A(22
=K+CKK00 (8&+&8> 31I888888888889 ? 99 AC22
=&+CKK00 (8&+&8> 31I 88888888888888888888888888 99 A#2 4#K00 C8& ;3 ,)0 6,.31 7 99 AC(2
#&00 48( 31I 888888888888888899 ? ,1B+ A#42 + A#(2 4#K00 &8> 53 ;3 ,)0 6,.31 7 88888 99 A4#2
4KK00 D8# ;3 31I 888888888888888888888888888 99 AC#2
4&K+&KK00&+>8C,)0,)0631I78888888 ,1B+A(D2 $"! % #########################################
CKK00 D8# 53 ,)0 ,)0 631I 799 A4 DD2
CKK00 D8# 31I 8888888888888888888888888889 A( 2#2 "!,E0 "! "13888888888888888888888 99 ADK
&KK00 # "'"H 31I8888888888888888888888888888888888 99 A((2 0// "! "138888888888888888888888888888888888888889 A4&
;,),1/ "1< I"1< I888888888888888888888888888 99 AC& ;,53! 9 // "! "11"BB 8888888888888888888888888888888889 A=2
"" C I "! + &KK4 ,3BB3<8888888 99 AD2
! %%#################################### 4CKD "! ,3BB3< 8888888888888888888888888888888889 ADK

&K44 1?,/B "! ,3BB3< 8888888888888888888888888 99 AD2
#00 C8& <5*";,/ ,<*+I" 0I1) 8888 0I1) "' 4&=> $$ "1B;" // "! ,BJ3 8888888888H A#2
6,.31 7888888888888888888888888888888888888888888888888888888 99 A4>2
4K+D(00 C8&+(8& ,.31888888888888888 99 A&(2 4=& $$ "1B;" // "! ,BJ388888888888888888888888 99 A(2
4D+D(00 ( 3.,1 3.,1 88888888 99 AD22 DC#K /E,! ;3 ,!"3 "! ,BJ3 888888888888888888 99 A4=2
4(+D(00 D8# ,.31 88888888888888888 ,1B+ A4 K(2 &C& B";/ ;0 + ";"! ,BJ3888888888888888888888889 A4&2
4>+#&00 C8&+&8> ,.3188889 ?99A422+ AD&2 CCDK ;,53! 3/<B"; 9 B;5 ,BJ38888888888888888 99 AD&
4=+&&00 D8# ,.31 88888888888888889 AC&2 4C#D // 3."B "! ,BJ388888888888 99 A422
4#+4K&00 C8&+(8& ,.31 88 99 A4D2 4=#K "1B;" // "! ,BJ3888888888 ,1B+ A4C2
4#+4(K00 C8&+&8> + ,.31 ,1B+ ADD2 4=#K "1B;" // "! ,BJ38888888888 99 A4C2
4#+DKK00 C8&+&8> ,.318888888889 AD>2 D=&K $$ "1B;" // "! ,BJ3 88888888888888888888H A=2
4#+C&00 $C8&+(8& ,.31888888888888899 A422 + ADC2 D=#K "1B;" // "! ,BJ3 8888888888888888 ,1B+ A4&2
4#+&&00 C8&+&8> + ,.3188 ,1B+ ? ,1B A&2 + A>2 ;!EB"! ,)*B 1)/" ;."B &(4 ,BJ388888 99 A4D2
4#+&&00 C8&+&8> + ,.31 888888888 ,1B+ A&2 D&44 *3;B ;31 "1B;" 3/E01 ,BJ3 8 99 A&2
4#+&&00 C8&+&8> ,.31 88888888888888888888889 A&2 C=&K 13;0, ,< "! ,BJ38888888888888888889 A22
4#+&&00 C8&+&8> ,.3188888888888888888 99 A=2
4#00 D8# ,.3188888888888888888888888888888888888 99 A&(2 &4DD ";,"< C I<B"0B, "F"//,1) <" ,BJ3 89 AD22
DK+C&00 D8# ;3 3.,1 3.,1888888888888 99 AD22 313// K G,B* E,.<"B /,5/3. ; 888888888889 A4>2
D(+4DK00 C8&+&8> ,.31 88889 ? 99 A4D2 + A4(2 $$ "1B;" // "! ,BJ3888888888888888888888888888888888889 A&2
D(+4DK00 C8&+&8> ,.3188888888 99 AD(2 1 ,/B "! ,BJ3888888888888888888888888888888888888888888H AC2
D(+=K00 D8# ,.31 8888888888888888888888889 A>#2 B,31"//" 3 D ?,/B "! ,BJ3888888888888888888888888H ACK
D(+=K00 C8&+&8> ,.31 88888888888888888888888888888889 AC2 BE!"H CDK HB"1!,1) "1B;" 3/E01 ,BJ3 88888 99 AD&
D(+#&00 D8#+( ,.3188888888888888888888888888 99 AD>2 1$;3BB3 K&> C
E1,3; "! 1$;3BB3889 ? 99 A4K + A4&
D(+#&00 C8&+(8& ,.318888888888888888888 ,1B+ A4&2 DK2 /" 35 ;,53! 9 (2D ,;3 // "! 1$;3BB3899 AC2
D(00 D8# ,.3188888888888888888888888888888888888 99 ADD2 CKCK C I "! 1$;3BB3 88888888888888888888888888888889 A4&
D#+CKK00 C8&+&8> ,.3188888888 99 A&C2 C(K /3G ;."B 1$;3BB3888888888888888888888881E<"! AC2
D#+#K00 C8C+&8> ,.318888888888888888888888888 99 AC2 &KK//<* 4KK00 /$ 3G/ *3;B 1$;3BB3888 99 AC&
D#00 D8# ,.31 88888888888888888888888888888888888888889 A442 &4> ;3 ,!"3 "! 1$;3BB3 888888888888888888888888889 A4=2
D#00 D8# ,.3188888888888888888888888888888888888 99 A4=2
D#00 D8# ,.31888888888888888888888888888888888888889 A4(2 31) "1< E553;B .48888888888888888888888888888888899 A22
C&+=K00 D8# ,.31 888888888888888888888888888888889 A4=2 K&& #+& )1"<,E0 // "! 1$;3BB3 99 A4C2
C&00 48( 0I1) 888 0I1) 6,.31 7 KD2 "! 1$;3BB388888888888888888888888888888889 AD&
9 ? 99 8888888888888888888888888888888888888888888888888888AD>2 + AD22 K&& *3;B 3/E01 1$;3BB3 8888888888888888 99 AD&
C&00 48( ,.31888888888888888888888888888888888889 A#22 44& CGI "! 1$;3BB3 88888888888888888889 ? 99 A4&
C&00 48# ,.31 88888888888888888888888888888889 A=2 44> .C E5"; ,!"3 /E,! "! 1$;3BB3 8889 A#2
C&00 D8# ;3 3.,1 3.,1 6,.31 7888899 A4#2 4C> /E,! "! 1$;3BB3 8888888888888888888888888888889 AC&
&K00 48( ,.3188888888888888888888888888888888 99 ADC2 4C# "F"//,1) "! 1$;3B3 8888888888888888888888 99 AC&
&&+DKK00 (+&8> ,.318888888888 ,1B+ A4K2 4(4 "! 1$;3BB38888888888888888888888888888888888888889 ADK
&#00 48( ,.31888888888888888888888888 99 A4 4(2 4>K "! 1$;3BB38888888888888888888888888888888888888889 A>2
>K00 D8# ,;3 ,.31 8888888888888888888888888 99 A422 DC( 1 1$;3BB3 888888888888888888888888888888888 99 A4&
>K00 D8# ,;3 ,.31 88888888888888888888 99 AD22 CDDD "! 1$;3BB3 888888888888888888888888888888889 A(2
=K+DKK00 D8# ,.31 88888888888888 99 A=(2
=K+DKK00 D8# ,.31 8888888888889 A4 D=2 CDC E,. *1)" /B" !5B"; 1$;3BB399 A4& + ADK
#K+DKK00 D8# ;3 3.,1 3.,188888888888889 ADC2 CD2 "! 1$;3BB38888888888888888888888888888888888888889 AC2
#K+DKK00 D8# ,.31 888888888888888 9 AD(2 + AD22 CD2( "! 1$;3BB3 888888888888888888888888888888889 A(2
#K+DKK00 D8# ,.31 88888888888888888888888889 A((2 CC# "F"//,1) <" 1$;3BB3 888888888888888888888 99 AC2
#K+(KK00 (8&+&8> ,.318888 ,1B+ A4 C(2 C&D "! 1$;3BB3 88888888888888888888888888888889 A42
#&00 48# + ,.31 88888888888888888888888888888 ,1B+ AC42 C&( E,. !5B"; 3G ;3%/" 1$;3BB38888 99 AD&
2K00D8#, ;30;310;316,.317888 ,1B+A(22 C2( E,. !5B"; 3G ;3%/" 1$;3BB38888 99 AC&
4K&00 D8# ,;3 ,.31 888888888888888 99 AC#2 (4K
E1,3; ";"! "! 1$;3BB3 88888888888888889 A22
4C&00 D ,.31 88888888888888888888888888888 99 A=#2 (>K "! 1$;3BB3 8888888888888 9 ? 99 AC& + AC2
4#K00 C8& , 44 ;3 0;31 0;31 6,.31 7 (#D ,;3 // "! 1$;3BB3 88888888888888888888889 AD&
888888888888888888888888888888888888888888888888888888888888888888888 ,1B+ A(22 &KC ;3 /E,! "! 1$;3BB3 88888888888888888888889 A4&2
DKK+(KK00 ( ,.31 8888888888889 A4 2(2 &42 ;3 /E,! "! 1$;3BB3 88888888888888888888889 AD(2
DKK+(KK00 &8> 0;31 0;31 6,.31 788899 A4>2
CKK00 D8# 3.,1 3.,1 888888888888888888888 99 A>C2 =KKD ,1, ,!"3 "! 1$;3BB3 888888881E<"! A(2
CKK00 D8# ,.3188888888888888 99 AD 222 #K(D 1?,/B "! 1$;3BB388888888888888888 99 A(&
CKK00 D8# ,.31 8888888888888888888888888889 A4 K22 3!3 =#& ;,53! .5. 1$;3BB38888888888888 ,1B+ AD2
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ŽƉƟĐĂů ǌŽŽŵ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
:/ DĂǀŝĐ WƌŽ
ǇďĞƌ^ŚŽƚ ,yϬs ǇďĞƌ^ŚŽƚ ZyϭϬϬ DĂƌŬ /s ǇďĞƌ^ŚŽƚ ZyϭϬϬ DĂƌŬ s YƵĂĚĐŽƉƚĞƌ ƌŽŶĞ ĨƌŽŵ άϭϬ
άϯϯ άϳϮ ά ŽŽůƉŝǆ tϯϬϬ άϯ
&Z ĚĞůŝǀĞƌǇ ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬΎΎ ΎΎĂƐĞĚ ŽŶ Ă ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ2 h< ŽŶůǇ-
: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
ϮϬ
Ϯϰϯ
ϲϱ ĨƉƐ

ϭϬϬƉ
ϭϮϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
ϰ< sŝĚĞŽ &Ƶůů &ƌĂŵĞ

DK^ ^ĞŶƐŽƌ
ϱ ŽĚǇ άϱϮϬ ϳϱϬ &ƌŽŵ άϭϲϮ 7KH 6RQ\ $ IHDWXULQJ IXOOIUDPH VWDFNHG &026 VHQVRU
ϱ ŽĚǇ άϱϮϬ ϳϱϬ ŽĚǇ άϭϲϮ dŚĞ ^ŽŶǇ Ɛ ƵŶŝƋƵĞ ϯϱŵŵ ƐƚĂĐŬĞĚ ĨƵůůĨƌĂŵĞ ƐĞŶƐŽƌ ƐĞƚƐ ƚŚŝƐ ^ ĂƉĂƌƚ ĨƌŽŵ
ϳϱϬ н Ϯϰϱŵŵ άϮϬ ĂŶǇƚŚŝŶŐ ĞůƐĞ ŽŶ ƚŚĞ ŵĂƌŬĞƚ dŚŝƐ ŵŝƌƌŽƌůĞƐƐ ĐĂŵĞƌĂ ŽīĞƌƐ ƵŶƉĂƌĂůůĞůĞĚ ƵƐĂďŝůŝƚǇ ĂŶĚ
ϳϱϬ н ϮϰϭϮϬŵŵ άϮϮϳ ƐƉĞĞĚ ĨĞĂƚƵƌŝŶŐ Ă ϮϰϮŵĞŐĂƉŝǆĞů! ĨƵůůĨƌĂŵĞ ƐĞŶƐŽƌ! ƚŚĞ ^ŽŶǇ ĐĂŶ ĐĂƉƚƵƌĞ ŝŵĂŐĞƐ
Ăƚ Ă ƌĞŵĂƌŬĂďůĞ ϮϬ ĨƌĂŵĞƐ ƉĞƌ ƐĞĐŽŶĚ dŚĞ ĐĂŵĞƌĂ ďŽĂƐƚƐ ǀŝďƌĂƟŽŶĨƌĞĞ ƐŚŽŽƟŶŐ ƵƉ
ƚŽ ϭϯϮϬϬϬƐĞĐ ĂŶĚ Ă ƌĞĚĞƐŝŐŶĞĚ ĚŽƵďůĞĐĂƉĂĐŝƚǇ ďĂƩĞƌǇ
ϱϬϬ ϭϬ
ůĂĐŬ
ϮϬ ϯϲϯ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϭϬϬ ĨƉƐ ϱϬ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ^ĞŶƐŽƌ
ϱϬϬ &ƌŽŵ άϭϳϮ ϭϬ ŽĚǇ άϮϯ

ϱϬϬ ŽĚǇ άϭϳϮ ϭϬ ŽĚǇ άϮϯ
ϱϬϬ н ϭϲϬŵŵ άϮϰϳ
ŽĚǇ

άϰϰ

&RPSHWLWLYH SULFHV )UHH FROOHFWLRQ RI \RXU JHDU
)DVW WXUQDURXQG RI \RXU TXRWH DQG FUHGLW
>ĞŶƐ ĂǀĂŝůĂďůĞ
ZH[FRXN ƐĞƉĂƌĂƚĞůǇ
ϲϱϬϬ //
ϳZ // ůĂĐŬ 'yϬ D',ϱ
EĞǁ
ϰϮϰ ϮϰϬ ϰϮϰ ϭϲ ϮϬϯ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϱϬ ĨƉƐ ϭϭϬ ĨƉƐ ϭϮϬ ĨƉƐ Ϭ ĨƉƐ ϭϮ ĨƉƐ

ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ
&DVKEDFN
ϳZ // ŽĚǇ άϮϰ ϲϱϬϬ ŽĚǇ άϭϮϮ // ŽĚǇ άϮ 'yϬ &ƌŽŵ άϱϯϬ D',ϱ ŽĚǇ
ϳZ // ŽĚǇ άϮϰ ϲϱϬϬ ŽĚǇ άϭϮϮ // ŽĚǇ άϮ 'yϬ н ϭϮϯϮŵŵ άϱϯϬ
άϭϲ
ϳ^ // ŽĚǇ άϮϰ άϭϭϯϮ /ŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ ϲ ŽĚǇ άϰϲ άϰϯϬ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ EĞǁ D',ϱ ŽĚǇ άϭϲ
ϳZ ŽĚǇ ά ϲϯϬϬ ŽĚǇ άϮ ϲ н ϭϱϱŵŵ άϱϮ
ϳ // ŽĚǇ άϭϭ άϲϳ /ŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ EĞǁ D',ϱ н ϭϮϲϬŵŵ
άϭϬ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ ϲϯϬϬ н ϭϲϱϬŵŵ άϭϬϮ ϳϳ // ŽĚǇ ά ϰ Ĩϯϱϱϲ άϭ
ϳƐ ŽĚǇ άϭϲϬ άϳ /ŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ ϳϳ // н ϭϲϱϬŵŵ άϭϮ EĞǁ D',ϱ н ϭϮϲϬŵŵ
άϭϰϬ /ŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ ΎWĂŶĂƐŽŶŝĐ ĂƐŚďĂĐŬ ĞŶĚƐ ϬϰϬ ϭϳ ĨϮϰϬ άϮϭ
ZKDDE &h>> &ZD DKhEd >E^^
EĞǁ ^ŽŶǇ & ϱŵŵ Ĩϭϰ ' άϭϱϰ ZKDDE >E^^
EĞǁ ^ŽŶǇ & ϮϰϳϬŵŵ ĨϮ ' άϭ ZKDDE DKhEd >E^^ WĂŶĂƐŽŶŝĐ ϭϰϰϱŵŵ Ĩϯϱϱϲ άϮϱ
^ŽŶǇ & ϮϰϳϬŵŵ ĨϰϬ K^^ sĂƌŝŽdĞƐƐĂƌ Ăƌů ĞŝƐƐ dΎάϳ ^ŽŶǇ ϯϱŵŵ Ĩϭ d ^D άϭϰ WĂŶĂƐŽŶŝĐ >hD/y ϰϱϭϱϬŵŵ ĨϰϬϱϲ ^W, K/^ άϭϳ
άϳ /ŶĐ άϬ ĂƐŚďĂĐŬΎ ^ŽŶǇ Ϯϳϱŵŵ ĨϮ ^D άϱ WĂŶĂƐŽŶŝĐ ϰϱϭϳϱŵŵ ĨϰϬϱϲ >hD/y ' y sĂƌŝŽ άϯϰ
^ŽŶǇ & ϳϬϮϬϬŵŵ ĨϰϬ ' K^^ άϭϮϰ ^ŽŶǇ ϳϬϰϬϬŵŵ Ĩϰϱϲ ' ^^D // άϭ WĂŶĂƐŽŶŝĐ ϭϬϬϯϬϬŵŵ ĨϰϬϱϲ >hD/y ' sĂƌŝŽ άϰϮ
άϭϭϲ /ŶĐ άϬ ĂƐŚďĂĐŬΎ Ύ^ŽŶǇ ĂƐŚďĂĐŬ ĞŶĚƐ ϬϱϬ ϭϳ άϭϮ /ŶĐ άϭϳϬ ĂƐŚďĂĐŬΎ WĂŶĂƐŽŶŝĐ ϭϬϬϰϬϬŵŵ Ĩϰϲϯ WŽǁĞƌ K/^ DŝĐƌŽ &ŽƵƌ dŚŝƌĚƐ &ŝƚ άϭϮ
DϭϬ // ydϮϬ yWƌŽϮ

ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ
KD Dϭ // <ϭ
EĞǁ Ϯϰϯ
ϮϬ ϯϲ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ
ϲϬ ĨƉƐ ϭϲϯ ϲϱ ĨƉƐ Ϯϰϯ 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 άϰϮ <ϯ // ŽĚǇ άϳ EĞǁ ydϮϬ н ϭϱϱŵŵ άϭϬ
KD Dϱ // н ϭϮϰϬŵŵ άϭϮϰ WE W> н ϭϰϰϮŵŵ άϱϰ <ϯ // н ϭϭϯϱŵŵ άϭϭ
WE& ĨƌŽŵ ά ϰ <ϯ // н ϭϲϱŵŵ άϭϮ &h:/EKE >E^^
<ϳϬ ĨƌŽŵ άϱ ϭϲŵŵ Ĩϭϰ Z tZ y& άϳϲ
ZKDDE >E^^ ϯϱŵŵ ĨϮ Z tZ y& άϯϰ
ZKDDE >E^^ KůǇŵƉƵƐ Ϯϱŵŵ Ĩϭ άϮ 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 άϭϰ Ϭŵŵ ĨϮ Z >D tZ y& άϳϰ
KůǇŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳ KůǇŵƉƵƐ ϭϰϭϱϬŵŵ Ĩϰϱϲ άϱϰ WĞŶƚĂǆ ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϮ 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 K^ Ϭ

EĞǁ

ϮϰϮ
ϮϰϮ
&ƌŽŵ ƚŚĞ ĚĂƌŬĞƐƚ ƐŚĂĚŽǁ ƚŽ ƚŚĞ ďƌŝŐŚƚĞƐƚ ϲϬ ĨƉƐ ϳϬ ĨƉƐ
ŚŝŐŚůŝŐŚƚ1 Ă ϯϬŵĞŐĂƉŝǆĞů DK^ ƐĞŶƐŽƌ
ϭϬϬƉ ϭϬϬƉ
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ
ĐŽŶĚŝƟŽŶƐ1 ǁŝƚŚ Ă ŵĂǆŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚǇ
ŽĨ /^K ϯϮ1ϬϬϬ ^ŚŽŽƚ ƵĂů WŝǆĞů Zt ĮůĞƐ ϬϬ &ƌŽŵ άϳϳ Ϭ &ƌŽŵ ά ϰ
ĨŽƌ ƉŽƐƚƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ ǇŽƵ5ǀĞ
ŶĞǀĞƌ ƐĞĞŶ ďĞĨŽƌĞ EĞǁ ϬϬ ŽĚǇ άϳϳ Ϭ ŽĚǇ ά ϰ
EĞǁ ϬϬ н ϭϱϱŵŵ άϲ Ϭ н ϭϱϱŵŵ άϭϬϳ
EĞǁ ϱ DĂƌŬ /s ŽĚǇ άϯϯϰ ϳϱϬ ŽĚǇ άϱϰ Ϭ н ϭϭϯϱŵŵ άϭϮ
άϰϳ /ŶĐ άϳϬ ĂƐŚďĂĐŬΎ EĞǁ ϳϳ ŽĚǇ άϮ
ϳϱϬ н ϭϱϱŵŵ άϱ EĞǁ ϳϳ н ϭϱϱŵŵ ά ϭ
άϱϮ /ŶĐ άϳϬ ĂƐŚďĂĐŬΎ EĞǁ ϳϳ н ϭϭϯϱŵŵ άϭϭϰ
ϯϬϰ ϳϬ &Ƶůů &ƌĂŵĞ ϳϱϬ н ϭϭϯϱŵŵ άϳ
ŵĞŐĂƉŝǆĞůƐ ĨƉƐ DK^ ƐĞŶƐŽƌ
άϳϮ /ŶĐ άϳϬ ĂƐŚďĂĐŬΎ
EĞǁ ϱ DĂƌŬ /s ŽĚǇ άϯϯϰ
K^ ϳ DĂƌŬ // K^ ϲ DĂƌŬ // K^ ϱ^ Z K^ ϭ y DĂƌŬ //
ϮϲϮ ϱϬϲ
ϮϬϮ ϲϱ ĨƉƐ ϱϬ ĨƉƐ ϮϬϮ
ϭϬϬƉ ϭϬϬƉ
ϭϬϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϲϬ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ
ϳ DĂƌŬ // ŽĚǇ άϭϮϰ ϲ DĂƌŬ // &ƌŽŵ άϭ ϱ^ Z ŽĚǇ άϯϭϰ ϭ y DĂƌŬ // ŽĚǇ άϰϳ
ϳ DĂƌŬ // ŽĚǇ άϭϮϰ ϲ DĂƌŬ // ŽĚǇ άϭ ϱ^ Z ŽĚǇ άϯϭϰ ϭ y DĂƌŬ // ŽĚǇ άϰϳ
ϲ DĂƌŬ // н ϮϰϭϬϱŵŵ άϮϯϳ
ϲ ŽĚǇ άϭϯϰ
ϲ н ϮϰϭϬϱŵŵ άϭϲ ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϭϳ

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 EĞǁ ^ǇƐƚĞŵĂƟĐ dƌŝƉŽĚƐ
ϰ Đŵ DŝŶ ,ĞŝŐŚƚ
:ŽďǇ dƌŝƉŽĚƐ
ǁŝƚŚ ϭϮ ŵŽŶƚŚƐ ǁĂƌƌĂŶƚǇΎ ^ĞƌŝĞƐ ϯ ϰ^ y> άϳϲϰ KƌŝŐŝŶĂů άϭϲ
^ĞƌŝĞƐ ϯ ϯ^ > άϲϰ DdϬϱϱyWZKϯ άϭϱ ůƵŵŝŶŝƵŵ ,ǇďƌŝĚ άϮ
ǁĞǆĐŽƵŬ ^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^ ' άϭϬ DdϬϱϱyWZKϰ ĂƌďŽŶ &ŝďƌĞ άϯϰ ĂŶĚ 'ƌĞǇĨƌŽŵ ά &ŽĐƵƐ 'W ĨƌŽŵ ά
&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ

DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ <ŝƚƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
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άϮϯ άϱϯ άϱϰ άϳ άϰ άϮϯ άϰϮ άϱ άϮϰ άϰϮϱ άϭϯϰ άϮϳ άϯϰ άϮϰ
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ŝϰϬ ŝϲϬ
DϭϰϬ ' άϭϰ άϮϯ ^ƉĞĞĚŵĂƐƚĞƌ
ϰϰ &Ϯ DϰϬϬ ϱϮ &ϭ ϲϰ &Ϯ ϭϱ D^ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ^ĞŬŽŶŝĐ >ϯϬƐ WƌŽ ϰϳZ >ϱ
άϭϲ άϭ άϮϬ άϯϬ άϮ άϭϬ άϭϲ άϯϮ άϭϳ άϯϲ άϲϬϬ
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 ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ
&Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮ ΎΎ ;ďĂƐĞĚ ŽŶ Ă
ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ &Žƌ EĞǆƚ tŽƌŬŝŶŐ ĂǇ ĞůŝǀĞƌǇ
ŽƵƌ ĐŚĂƌŐĞƐ ĂƌĞ άϰ ΎΎ ^ĂƚƵƌĚĂǇ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ
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ϯŵ ĂĐŬŐƌŽƵŶĚ &ůĂƐŚĞŶĚĞƌϮ tĂůů ZĞŇĞĐƚŽƌ ƌĂƚĞ ά ϱΎΎ;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌǇ ŚĞĂǀǇ ŝƚĞŵƐ1 ƚŽ E/ Žƌ
DŝŶŝddϭ άϭϲϱ WůƵƐ /// ^Ğƚ WůƵƐy ^Ğƚ ϱŝŶϭ ZĞůĞĐƚŽƌ ^ƵƉƉŽƌƚ &ůĂƐŚĞŶĚĞƌϮ y> WƌŽ >ŝŐŚƟŶŐ DŽƵŶƟŶŐ <ŝƚ &ŽůĚŝŶŐ ^ŽŌďŽǆ ƌĂĐŬĞƚ ƌĞŵŽƚĞ ĂƌĞĂƐ ŵĂǇ ďĞ ƐƵďũĞĐƚ ƚŽ ĞǆƚƌĂ ĐŚĂƌŐĞƐ Θ K
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&ƌŽŵ άϯϰ ďĞ ƐƵďũĞĐƚ ƚŽ Ă ƌĞƐƚŽĐŬŝŶŐ ĐŚĂƌŐĞ ΏΏƉƉůŝĞƐ ƚŽ ƉƌŽĚƵĐƚƐ
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ϱϬĐŵ άϮϰ ĨŽƌ ƐƉĂƌĞƐ ŽŶůǇ tĞǆ WŚŽƚŽŐƌĂƉŚŝĐ ŝƐ Ă ƚƌĂĚŝŶŐ ŶĂŵĞ ŽĨ
ŽůůĂƉƐŝďůĞ tĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ƚĚ ΞtĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ƚĚ 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
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 12 Aug 2017 65

Photo Critique
Final Analysis
Roger Hicks considers…
‘Lily, Schönhauser Allee’, 2009, by Sibylle Bergemann
© SIBYLLE BERGEMANN
t is often difficult, or even
impossible, to analyse exactly why a
particular picture is so compelling.
This is not the same as saying that
you can’t find all kinds of reasons: more,
it’s a question of disentangling them. Also,
what the photographer intended in the
picture is not necessarily what we see in it.
Here, for example, I might start with
the simple truth that this is a beautiful
picture of a beautiful woman: one whose
closed eyes, furthermore, instantly render
her mysterious. Then I could add that
the picture uses a device that appears in
many of my favourite paintings and
photographs: strong chiaroscuro, light
against dark. Looking more closely, I
notice the shabbiness of the wall and table,
massively contrasting with the delicacy
of Lily’s skin and the freshness of her
dress. But the seat does not seem worn
out. Why not? No matter – the contrasts
and differences pose more questions.
Why is she there? What is she doing?
What is she thinking about?
Some time ago, on the letters page,
someone parodied my weakness for asking
questions in this column. I make no
apologies. Art often raises questions, and
I see it as my job to articulate them and
to provoke thought. I would be foolish to
pretend to provide definitive answers. But
in the process of asking myself questions,
I can usually come up with some partial
answers – and, at the same time, with
more questions and (I hope) more answers,
even if once again they are only partial.
Inevitably, as soon as I saw this picture
I wanted to learn more about the
photographer. I learned she was born
in Berlin in 1941, she was raised and
began her working life as a freelance
photographer in East Germany, and she
died in 2010. A reason for the shabby
background immediately presents itself:
improbably, she is best known for both
fashion photography and reportage.
Then I learned that Lily is her daughter.
This raised goose pimples on my arms. picture. It reminded me very much of the simply Sibylle Bergmann. The only
To be able to photograph one’s own Symbolist painters of the late 19th and drawbacks would be that if I were to buy
daughter that beautifully strikes me early 20th centuries, where every picture every book I like by every photographer
as a very great achievement. element has a meaning even if you cannot I admire, I’d soon go broke; and that even
By then, though, I had already brought immediately or entirely discern that as things stand, I already have 500-1,000
other preconceptions and historical meaning. And so, I’d really like to buy the more books in the house than I can
prejudices to my appreciation of the new book from Kehrer Verlag entitled readily accommodate.
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 Nick Meyer

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A Leic2amirruornlessdcaemrer£a:2k

Saturday 12 August 2017

The new TL ,700?

Passionate about photography since 1884

Magical Good sports

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ways of displaying them

ﬁnd out Each week we choose our favourite

Historic Photographer of the Year launches

John Morris: 2016-2017

famous picture editors of the 20th

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Words & numbers

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its celestial shortlist

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© COURTESY OF TIM DALY

Canon EOS 6D Mark II

ﬁnally here. What changes does it bring?

While this is obviously an Behind the pictures

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Thanks, Ken. We have tons of

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Benches (detail), Baptist Chapel, Rugby

Afternoon sun lighting the Obtain permission

elevation, or most of a room. (When it

STEVE’S TOP TIPS

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your choice. Environmental considerations

the capture of detail in an image. A bright,

soft, hazy light is often preferable for

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© STEVE COLE/HISTORIC ENGLAND ARCHIVE

Stained glass Unlike most photography

differently exposed images are then

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its kind to put sports photographers This exhibition seeks to re-evaluate

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to use because you need the speed.’

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silver medal, but, as they say, you don’t

Avi Torres Gail Buckland’s book

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2 Henrik Spranz Austria 49pts

4 Graham Mayers UK 47pts

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21 Yvonne Warriner UK 30pts 22 Marek Poland 29pts

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It’s easy to make tweaks when you’re in the Library mode

2 Order your frames

1 Begin with a collection

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