Amateur Photographer - July 11, 2015 UK

Saturday 11 July 2015
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Passionate about photography since 1884
10 commandments of
street
photography
Three top street shooters share their
expert tips for great reportage photos
Philip Jones
Griffiths
Major retrospective of the
legendary photojournalist
Canon
50mm f/1.8
The new version of Canons

most affordable prime
Worth the Earth

Images from Environmental Photographer
of the Year to stop you in your tracks
WILDLIFE WATCH Richard Peters shows how to get perfect pictures of pufns
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If a picture says a thousand
words, then photographers
have the ability to convey a lot
of messages in a single shot.
Despite the fact that were
bombarded with images on a daily basis, the
right photo still has the ability to stop us in our
tracks to make us laugh, cry or reect.
In this issue we show you some images from
this years Environmental Photographer of The
Year competition (pages 30-33). The
In this issue
11 10 Street
photography
commandments
Three top street shooters
share their expert tips for
great reportage photos
28 Wildlife watch
Richard Peters shows
you how to get perfect
pictures of pufns
30 Life on earth
Images from Environmental
Photographer of the Year to
stop you in your tracks
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@AP_Magazine
ONLINE PICTURE OF THE WEEK

IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
22 Exposing the
face of war
Philip Jones Grifths
images portrayed the
realities of the Vietnam
War. We speak to Will
Troughton, curator of the
legendary photojournalists
major retrospective
photographs portray different environments

or environmental issues, and almost every
photo in this years nalists made me stop
and study it. After reading the captions Ive
learnt a few things I didnt know before the
photographers have all conveyed their
messages well. The images will be on show at
the Royal Geographical Society in London
from 22 June-10 July, before touring the
country, so why not see these amazing shots
up close? Richard Sibley, deputy editor
36 Reader portfolio
Spotlight on readers
excellent images and how
they captured them
40 Appraisal
Expert advice and tips on
improving your pictures
from Damien Demolder
46 Fujifilm X-T10
Andy Westlake tests
Fujilms X-T10, which
promises the best bits
of the popular X-T1 at
a lower price
53 Canon EF
50mm f/1.8 STM
Canon has replaced the
EF 50mm f/1.8 II with the
all-new EF 50mm f/1.8
STM. Is it a bargain at
129? Michael Topham
investigates
Regulars
3 7 days
19 Inbox
44 Accessories
57 Technical
Support
90 Final Analysis
GREGORY KNOWLES
COVER PICTURE RUPERT VANDERVELL
A week in photography
Middle Black Clough by Gregory Knowles

Fujilm X-Pro1, 14mm, 1sec at f/11, ISO 200
This image was uploaded to our Flickr
pool. We see a number of landscape
images, and many utilise the visual
motifs of a rock in the foreground and
water captured with a long exposure.
However, Gregory has taken these
ideas and applied them to a scene that
is utterly captivating and unusual
considering its Peak District location.
The image was taken during a
particularly bad cold snap, which saw
Send us your pictures
this local photographic hotspot take on

a completely new form and
appearance, explains Gregory. I used
a long exposure to blur and smooth
the waterfall to contrast the jagged ice
formations. The resulting image was
slightly sharpened in Photoshop, but
has no other adjustments.
If youd like to see your images in print
upload them to our website gallery,
Facebook, Flickr or Twitter pages.
Each week we choose our

favourite picture on Facebook,
Flickr or the reader gallery using
#appicoftheweek. PermaJet proudly
supports the online picture of the week
winner, who will receive a top-quality print
of their image on the finest PermaJet paper.
It is important to bring images to life
outside the digital sphere, so we encourage
everyone to get printing today! Visit www.
permajet.com to learn more.
Win!
If youd like to see your work published in Amateur Photographer, heres 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.
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 20.
Via our online communities Post your pictures into our Flickr group, Facebook page or the gallery on our website. See details above.
Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 20.
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman
15mm 1:1 macro shift lens

The new Laowa 15mm f/4 macro lens boasts a 110 angle of view
on full-frame cameras, plus 1:1 magnification and a shift
capability (on APS-C cameras). Built from 12 elements in nine
groups, and using 14 aperture blade
419 macro lens also features an
extra-low dispersion element and
multi-layer low-reflective coating
reduce flare. Available in Canon EF,
Nikon F, Sony Alpha and Pentax K m
itll also be compatible with Sony E
cameras via a converter. The lens is due
out mid to end of July.
Manfrotto XPRO Ball Head

Italian tripod maker Manfrotto has
announced the launch of the XPRO Ball
Head. Designed for use on 190 and 055
tripods, the XPRO Ball Head features a
triple-locking system to help ensure
camera stability and avoid drifting. Also
included is a levelling-bubble. The XPRO
Ball Head is built to support up to 10kg. It
costs from 114.95. www.manfrotto.co.uk
Adobe
challenge
AUGUSTO SCHILLACI
North Korea
blocks Instagram
Photographer
shirks digital
Film conveys emotion and
texture, and achieves a
permanence digital cant, says
Augusto Schillaci, an American
fine-art photographer. He opted
for black & white film, mainly
using Ilford HP5 Plus, for a
shoot to promote Shinola
watches. I enjoy every part of
the process, from choosing the
film, to developing and printing
it in my wet darkroom, he says.
4
The secretive Peoples Republic

of North Korea appears to have
blocked access to popular
social networking service
Instagram within its borders,
news agency Associated Press
reports. Journalist Eric
Talmadge said the warning
appears when the app is opened
on mobile phones in Pyongyang,
and posted a screenshot of it
on his own Instagram page.
JAMIE SQUIRE / GETTY
Test your powers of

observation with Adobes
latest fakery-spotting
brainteaser, part of its
ongoing 25th birthday
celebrations. The
concept is
straightforward: 25
images, some of which are real, some of which are not. Its up to
you to sort the truth from fiction. Visit landing.adobe.com/en/na/
products/creative-cloud/69308-real-or-photoshop
WEEKEND PROJECT
Shoot a family event

All professional events photographers have to start
somewhere. No one wakes up one day and instantly
becomes an in-demand wedding photographer it
takes practice. A great way to gain experience is to
photograph an event for family or friends, whether
its a birthday bash, an engagement party or
christening. As long as its an occasion where
everyone is together and theres something
happening throughout, youll be able to tell a story
with a series of pictures. However, wed advise
against putting yourself forward as the official
photographer youll likely add unnecessary
pressure to taking photos and may end up with
compromised results. Just stay back, enjoy yourself
and take the best photographs you can.
Set your cameras clock

right. If youre going to
shoot with multiple
cameras or plan to edit images
in chronological order, setting
the clock on your camera will
allow images to display
correctly on your computer.
Often, the difference

between an average
portrait and a special
moment is just a split second.
Holding back your shutter
finger and waiting for a laugh,
smile or even eye contact will
result in more exciting images.
11 July 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
BIG
picture
The inaugural 2015
European Games
Last month saw the launch
of the rst European Games,
otherwise known as Baku 2015.
The games held in Azerbaijan
and featuring 6,000 athletes
from 50 countries competing in
50 sports are an international
multi-sporting event for athletes
representing the National
Olympics Committee of Europe.
The event courted controversy
with several news outts reporting
that they had been barred from
entering xtures. However, many
journalists did gain access and
here we see an image showing
the beautiful display of Julia
Echeberria Esquivel and Irene
Toledano Carmelo of Spain
competing in the Synchronised
Swimming Duets Free Routine
Final on day three of the games.
Words & numbers
Candid shots often

capture memorable
moments better
than posed settings
Shoot in raw and use

auto white balance to
take the stress out of
altering the white balance for
changes of lighting. Its best to
worry about this in postproduction and concentrate on
getting the best shots.
Bill Brandt
British photographer (1904-1983)
40,000
CALLUM MCINERNEY-RILEY
Remember youre a
guest. Dont hide behind
your LCD, or obsess
over checking your focusing and
that youve nailed every shot.
Instead, engage with your
subjects and enjoy being social
at this important occasion.
It is part of the
photographers job to
see more intensely than
most people do. He
must have and keep in
him something of the
receptiveness of the child
who looks at the world
for the rst time.
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 July 2015
Estimated number of images

Wikipedia says it would have
to delete under European
copyright plan to restrict
photos of public buildings.
For more details, see page 6
CHRIS CHEESMAN
AP is heading a
campaign
against
Committed to defending
your photographic rights!
controversial
European plans to restrict
photography of public buildings
which threaten to censor millions of
amateur and professional photos.
There are growing fears that
proposed changes to European
copyright law will require
photographers to obtain permission
from architects and possibly pay
them royalties before publishing
pictures of tourist attractions such as
the London Eye and the Shard, even
just on Facebook.
Similar restrictions on commercial
images are already in force in some
European countries but, so far, not in
the UK where the so-called
Freedom of Panorama applies.
AP has backed an open letter,
drawn up by Wikipedia operator
Wikimedia and published in The
Times, which has been signed by
organisations including the Bureau of
Freelance Photographers and the
British Photographic Council.
The letter calls on UK MEPs to
vote against the proposal in
Strasbourg, France on 9 July and to
defend our right to make and use
photos of public spaces.
AP Editor Nigel Atherton said, This
unnecessary attack on personal
liberty, designed to solve a problem
that doesnt exist, will fundamentally
transform photography in public
places. It will destroy the century-old
tradition of reportage and street
photography thats provided us with
such a rich and valuable visual history
of our collective past.
He added, Moreover, itll make it
RIGHTS
WATCH
There are fears the

new rules would hit
the publication of
London Eye photos
almost impossible for anyone to take

and publish photos that include
buildings and landmarks, which will
do irreparable damage to the hobby
and profession of photography. Its a
vindictive attack on our individual
freedom to enjoy public spaces, and
on the free distribution of information
and in the age of Google Street
View its completely pointless.
Stevie Benton, head of external
relations at Wikimedia UK, told AP
that Wikipedia would be forced to
remove an estimated 40,000
images if the European Parliament
votes through the law.
Benton fears other sites, including
Facebook, Flickr and Twitter, would
be deemed commercial meaning
users would need prior permission
before posting photos of landmarks.

Its a mess Were writing a letter
to MEPs today, said Benton who
explained that 15 countries would be
hit including the UK, Germany,
Portugal, Spain and Greece.
He added, Wikipedia can only use
images under open licence We just
wouldnt be able to use images of
European public spaces not covered
by Freedom of Panorama even if
the Shard is in the background of
holiday snaps.
Charles Swan, an intellectual
property rights lawyer and a director
at the Association of Photographers,
told AP, I just cant believe this is
going to happen. The feeling against
this is so strong. I think it unites the
whole country.
PETITION URGES ACTION BEFORE 9 JULY DEADLINE

AS WE went to press, more than 105,000
people had signed a petition against the
controversial European plans.
The change.org petition was started by
German photographer Nico Trinkhaus who
called on MEPs to bring Freedom of
Panorama to all European countries and
provide an undertaking to not limit the
Freedom of Panorama in any way.
On Facebook Trinkhaus posted the
following: This would have a huge effect
on many kinds of photographers, on
myself and maybe even on everyone who
just shares a photo on Facebook.
6
Meanwhile, the office of French MEP

Jean-Marie Cavada, who first tabled the
controversial proposal, claimed that
no-one in Europe has yet been sued for
commercial use of images not covered by
Freedom of Panorama which protects
photographers in certain EU countries.
Raphal Dorgans, the parliamentary
assistant to Cavada, appeared to play
down the potential impact of a change
in the law.
He attacked Facebook, suggesting that
the social networking site exploits users
regarding photos they post and suggested
his office would support a law where

Facebook itself, rather than its users,
would be responsible for asking the
right holders for authorisation to use
images commercially, and possibly also
pay them royalties.
Facebook had yet to respond to a
request for comment.
To sign the change.org petition visit
www.change.org/p/european-parliamentsave-the-freedom-of-photography?recruit
er=328523067&utm_source=share_
petition&utm_medium=twitter&utm_
campaign=share_twitter_responsive
NATIONAL MEDIA MUSEUM, BRADFORD
Fears over EU plan to

censor photos of buildings
Photo mystery
solved
THE identity of a girl
pictured in 102-yearold photos has been solved
by a member of the public
who came forward after
the pictures were
published on websites.
The mystery girl in the
1913 autochrome
portraits was thought to be
Christina, the daughter of
Mervyn OGorman, the
amateur photographer
who took them but
research showed
OGorman had no children.
The images were
recently published in
connection with an
exhibition of the Royal
Photographic Society
Collection at the National
Media Museum (NMM) in
Bradford, West Yorkshire.
After seeing the shots,
Stephen Riddle contacted
the NMM to say he had a
set of stereoscopic slides
by the same photographer,
Mervyn OGorman, passed
to him by his father-in-law.
The slides captions show
she was called Christina
Bevan and that OGorman
was a family friend.
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Get up & go
The most interesting things to see, to do
and to shoot this week. By Jon Stapley
Watering
Melon, West
Bengal, India
AELTC
Amateur wins EPOTY 2015

of this image is revealed.
The Atkins CIWEM
Young Photographer of
the Year title was awarded
to Dipayan Bhar, also from
India, whos worked as a
photographer in Kolkata
for four years.
While the Atkins CIWEM
Environmental Film of the
Year went to Verity White
for a movie highlighting
the issue of litter on the
Norwegian coastline.
The best images are on
show in a free exhibition at
the Royal Geographical
Society in London until 10
July. Visit www.epoty.org
The tournament reaches its apex this weekend, with the singles
finals on Saturday and Sunday. Even if you havent got tickets for
the main event theres plenty of atmosphere to soak up and
photograph, on the hill and beyond.
Until 12 July, www.wimbledon.com
THE COAST
RICHARD JOHNS
organisers, Atkins CIWEM.

Entries for this years
competition were judged
on impact, composition
and originality, as well as
technical ability.
Competition judge Dr
David Haley said: Some
images immediately strike
a chord, some linger in
your mind... and some
pose more questions than
they answer, making you
want to nd out more.
As these qualities
become apparent in
Watering Melon by
Uttam Kamati, the
environmental signicance
BIRMINGHAM
Shipwrecked
Mariners Society
photography
competition
Singer Taylor Swift accused of rights grab

ISTOCK EDSTOCK
At Home with
Vanley Burke
Photographers are encouraged

to capture all things
sea-related for the
Shipwrecked Mariners
Societys competition.
Known as the Godfather of

Black British photography,
Vanley Burke has opened the
contents of his Birmingham flat
to Ikon Gallery. His collection of
prints and other objects related
to black culture in Britain are
sure to be fascinating viewing.
Deadline 7 August, www.

shipwreckedmariners.org.uk
From 22 July
www.ikon-gallery.org
LIVERPOOL
Open 1
Swift recently advocated for musicians rights
unable to sell their images on further if

the original publication declined them.
Swifts management responded in
a statement issued to the BBC: The
standard photography agreement has
been misrepresented in that it states that
any photographer shooting The 1989
World Tour has the opportunity for
further use of said photographs with
managements approval.
For the latest news visit www.amateurphotographer.co.uk

Six photographers explore the

theme of social portraiture in
Open Eye Gallerys exhibition
dedicated to providing exposure
to emerging artists.
DEBORAH KELLY
AN open letter from a photographer

to singer Taylor Swift protesting that
she does not offer photographers a fair
deal has gone viral.
Jason Sheldon responded to Taylor
Swifts successful call for Apple Music to
pay its artists fairly by revealing what
appeared to be an authorisation for
photographers who shoot her concerts.
He describes the contract as a
complete rights grab. [It] demands you
are granted free and unlimited use of our
work, worldwide, in perpetuity, he said.
Sheldon told AP he was commissioned
by a regional newspaper to shoot a Swift
show in 2011, and that the contract
issued by Firey Entertainment Inc
(afliated with Swift) stipulated he had to
agree to a single use of his images.
This would mean that a photographer
[shooting] one of Swifts concerts could
end up uncompensated, as theyd be
VANLEY BURKE
AN amateur
photographer from
India has won
Environmental
Photographer of the Year
2015, bagging the
5,000 top prize.
Uttam Kamatis winning
image shows a couple
watering watermelon
saplings on the Teesta
riverbed in West Bengal.
Kamati, a lmmaker as
well as a photographer,
focuses on humanitarian
projects, transforming
these endeavours into
candid, touching scenes,
according to competition
Wimbledon
Until 23 August
www.openeye.org.uk
London Life
Part of a promotional book tour
by veteran London photographer
Colin OBrien, this exhibition at
The Society Club in Soho shows
off vibrant and eloquent images
of the city and its citizens over
the decades.
18 July-1 August
www.colinobrien.co.uk
LONDON
COLIN OBRIEN
UTTAM KAMATI
LONDON
V wpoint
L rs Rehm
ntly launched G4 flagship smartphone

us alternative to the more established
mpetition from Apple and Samsung
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
hen Samsung launched

its Galaxy S6 back in
March, I was convinced it
was going to be the best
camera smartphone of 2015. Since then,
the S6 has grabbed rst place in the
DxOMark Mobile rankings, conrming that
in terms of image quality the Samsung is
tough to beat. However, in the smartphone
sector things are moving fast. LG, Koreas
number-two consumer electronics maker,
has launched its new agship smartphone,
the G4, making me wonder if my
judgement was premature.
Like the Galaxy S6, the G4 uses a
16MP, 1/2.6in CMOS sensor that is
slightly larger than the 1/3in chips found
in Apples iPhones and many other
smartphones, but at f/1.8 its lens is even
faster than the Galaxys f/1.9 and the
3-axis optical image stabilisation system
offers a two-degree range, making it one
of the best in the smartphone business.
The contrast-detect autofocus is
supported by a laser sensor, and in
addition the G4 comes with a new
camera feature weve not seen on
The LG G4 boasts a top-of-the-range

f/1.8 lens and 3-axis image stabilisation
The G4 is making
me wonder if my
previous judgement
was premature
smartphones before: a colour-spectrum
sensor that reads infrared light in order to
recognise objects and RGB information to
analyse their colour. The data is then used
to optimise white balance and colour
processing. For those who like to capture
the occasional self-portrait, a front 8MP
sensor is combined with an f/2 lens.
Innovation is not limited to the camera
hardware. The stock camera app has
received a complete overhaul and, thanks
to full support of Android 5.1s Camera2
API, offers full manual control over ISO,
white balance and shutter speed, allowing
for long exposures.
Additionally, you get the option to save
DNG raw les, allowing for post-capture
ne-tuning in Adobe Lightroom or
another raw processor. At only 0.6
seconds, the camera shoots very quickly,
allowing you to capture decisive moments.
To ensure youve got enough storage
for those 16MP raw les and 4K videos,
the G4 comes with 32GB of memory that
is expandable via a Micro SD card slot.
The IPS Quantum Quad HD display
offers the same 2560x1440 resolution
as before, but comes with improved
contrast and colour, which should make it
ideal for image framing and viewing. To
top things off, an optional leather back
gives the G4 a real camera look and feel.
Its fair to say that on paper the G4
already looks like the current king of
smartphone cameras, and a worthy
alternative to the more established
competition from Apple and Samsung.
Lars Rehm is a freelance photographer and writer,

contributing to publications in the US, UK and Germany.
In his former role as part of DPReviews testing team,
he shot with countless digital cameras of all shapes
and sizes, but nowadays he captures most of his images
with a smartphone. Visit www.larsrehm.com or follow
him on Twitter @larsrehm
Do you have something youd like to get off your chest? Send us your thoughts in around
500 words to the address on page 20 and win a years digital subscription to AP, worth 79.99
8
The latest and best books from the

world of photography. By Oliver Atwell
HARRY GRUYAERT/MAGNUM PHOTOS
LG
New Books
Harry Gruyaert
Thames & Hudson, 40, hardback,
144 pages, ISBN 9-780-50054-448-8
MAGNUM has certainly been
delivering the goods recently. Not
content with a captivating recent
volume about Eve Arnold (AP 18
April) and a major exhibition of
Philip Jones Grifths (see pages
22-26) we now have a lavish tome dedicated to the
European master of colour and light, Harry Gruyaert.
This is the rst English-language monograph of
Gruyaerts work and it is a more than generous
introduction to the mans work. Harrys busy eye has
travelled the length and breadth of the world, and the
photographer has taken great pleasure in drawing out
the striking interplay of primary colours and gorgeous
light. There are some absolute gems contained within
this book, opening with Gruyaerts eerie 1972 series
TV Shots and ending with his more recent digital
imagery, a body of work that demonstrates that some
photographers never lose their touch. +++++
The DSLR Filmmakers

Handbook
By Barry Andersson, Sybex, 33.99, paperback,
456 pages, ISBN 9-781-11898-349-2
PERHAPS the best virtue of
the digital revolution is just how
democratic and accessible image
making has become to people
previously denied access. Its never
been easier for budding lmmakers
to get out with a DSLR and shoot
video to their hearts content. As a result, indie cinema
is experiencing a boom, with many low-budget writers,
directors and cinematographers nally able to realise
their visions with (hopefully) minimal compromise.
Therefore, any book that explores the fundamentals
is welcome, and here we have a rather exhaustive
guide. Pretty much everything youd want to know
(technically) is present and correct. Written in a clear
and easily digestible way, at no point do you feel things
are being skimped over. If youd like to know more
about video then youd also do well to get yourself
over to APs new spin-off site, The Video Mode
(www.thevideomode.com). +++++

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Technique
10
commandments
of street
photography
RUPERT VANDERVELL
Three top photographers share

their expert tips and insights
on how to get the best from
shooting on the street
Technique
STREET PHOTOGRAPHY
Antonio
Olmos
Short fixed-focal
lenses force you
to get close to
the subject
Antonio Zazueta Olmos is a Mexican

photojournalist who has worked extensively
in the Americas, the Middle East and Africa
covering issues of human rights, conflict
and the environment. He is a regular contributor to The Guardian
and The Observer, and his first book, The Landscape of Murder,
was published by Dewi Lewis in 2013. www.antonioolmos.com
First, make sure you have a good pair of shoes. If

youre serious about street photography youll be on your
feet all-day long, searching for that elusive image. Many of
my favourite shots have come after hours of walking.
People with bad shoes tend to give up much sooner than
those who are wearing comfortable shoes. Its not just the
shoes, though, as you should wear comfortable clothing
that reects the weather you are working in. Cheap shoes
lead to blisters I guarantee you Henri Cartier-Bresson
had good shoes. Dont carry too much gear, either try to
work with one camera and a couple of lenses. If you are
comfortable and not weighed down by your kit, you will
have a productive day. You should also drink lots of water
and take breaks, but when you take those breaks get a
table on the pavement or sit near a window. You never
know what will walk by while you are sipping your latte.
ALL IMAGES ON THESE PAGES ANTONIO OLMOS
2 Wear comfortable clothing
The best shots are

taken when you
are right in the
middle of
the action
A great image
comes from
perseverance,
patience and
complete focus
1 Most of your photographs will suck
I always say that taking photographs is like taking

notes you take a lot of them in the hope you will make
one thats amazing. A lot of people new to photography
are disappointed by how many bad pictures they take.
Well here is a little secret: everyone, even pros, take lots
of bad images. Like a writer with piles of notes, the
photographer must learn to edit his or her work and sift
through a stack of pictures to look for that one strong
image. I go out into the streets hoping to make one good
photograph. Most of my images are a disappointment.
Sometimes I try things and they just dont work.
Photography for me is about learning to live with
constant disappointment. If photography was easy, every
image we take would be brilliant. Photography is hard
because that great image is very difcult to get. When
you do street photography you are working in an
environment that you have no control over. People will
get in your way, the image will be gone before you raise
your camera to your eye, the light will change or you will
get the focus wrong. A million things will not work when
trying to take an image. A great image from street
photography comes from perseverance, patience and
complete focus on the task at hand.
12
I go out into the

streets hoping to
make one good
photograph
3 Use short lenses
In my opinion, truly great street photography is shot

on 50mm, 35mm, 28mm or 24mm lenses. The 35mm
is my favourite, whether its tted to my Leica, Sony or
my Canon. In fact, I wish I had a zoom that went from
35mm to 50mm and nothing more, but those pesky
lens manufacturers just wont listen to me.
Zooms for the most part are not good for street
photography. You need to think and see like the lens on
your camera. If you shoot with just one lens you will learn
how the image will look. Short xed-focal lenses also force
you to get close to the subject. And that immediacy is what
makes great street photography. You feel like the
photographer is right in the midst of the action. Zooms
make you lazy. You stand around and zoom in on the
world instead of getting in the thick of it. Zooms are also
heavier and bigger than your average xed-focal-length
wideangle or normal lens. They make your camera stand
out, so youre more likely to get noticed when youre trying
to be discreet. Zooms are heavier and your neck and
shoulders will suffer, while xed-focal-length lenses are
lighter and smaller, which is essential in street photography.
People often read my

body language and get
a sense that I am
no threat to them
4 You have to like human beings
If you dont like people and think most of them are complete idiots, then I suggest
you steer well clear of street photography. I nd human beings endlessly interesting.
I love the way they move, I love their faces, I love the way they dress, I love how they
interact with the urban environment in fact, I love everything about them. Its a joy
taking their pictures, and I truly believe people can see that about me. They also read
my body language and get a sense that I am no threat to them.
If you walk around taking photos in the street, constantly worried about getting
mugged or questioned about what you are doing, you are going to give others the
sense that you are not comfortable.
13
Technique
Jerry Webb
Jerry worked in publishing as a designer,
followed by a number of years as an art
editor with EMAP. In 1988, he turned
freelance and has remained so ever since.
Despite moonlighting as a photographer
during his publishing days, Jerry took up photography for himself
in 2007 after buying a Nikon D80. He shoots mainly in monochrome
around Brighton and Hove. www.jerrywebbphotography.com
5 Proximity
How close you are to your subject can be signicant.

Good street work requires a reasonable wideangle lens
and using one usually demands that you are fairly close.
The closer you are, the more involved with the subject
you become and the more involved the viewer will feel
when looking at your photographs.
I use a 12-24mm lens, usually around the 12mm
mark, meaning I tend to work pretty close a lot of the
time. Experience tells me what will appear on the image
without making myself conspicuous by looking through
the viewnder. Adjusting the camera settings is another
way of making yourself conspicuous, so set them before
you begin taking photographs and leave them. With
condence comes a willingness to get in closer and
perhaps even to use ll-in ash.
Working closely does not necessarily prevent you
from shooting candids, which can be shot with the full
knowledge of the subject. Although contact does not
constitute pure street photography for many, interaction
does not prevent you getting strong images. Sometimes
you have no choice, so dont be afraid to ask. Talking with
your subject can provide you with valuable time to think
about what you want and the opportunity to direct. Some
of my best pictures are of people who have consented to
be photographed, but they are taken just before they think
the session has started or just after they think it has
nished. I then capture completely natural moments
often from positions too close for true candid photography.
Interaction does
not prevent you
from getting
strong images
ALL IMAGES ON THESE PAGES JERRY WEBB
Close-up shooting can still create a very candid look
Groups create natural

foregrounds that allow
you to lead the eye
into the photo
7 Choosing your environment
Dont be afraid to
shoot into the light
6 Working with different planes
Many of the best street photographs have both

foreground and background interest one can feed off
the other. Success in achieving this requires patience and
sharp intuition, but it can give a powerful dynamic to your
photograph. If the foreground relates to the background
this can help to create a good narrative, or perhaps a
great juxtaposition. Either way, leading the viewers eye
around the photo adds depth and interest.
Although snatching images on the street that work like
this involves good instinct and a degree of luck, you can
improve your luck with some foresight and planning. On
a simple level, nd an interesting background this can
be anything from a poster to a shop front, bold
typography or a group of people and just wait for
something to happen. This is the patience bit. Experience
will tell you what works best. I nd that having something
in mind often helps, but also try keeping your options
open for something more spontaneous, as many of
my favourite pictures are catching the unexpected.
Occasionally you get lucky and nd an accidental,
but witty, connection between the foreground and
background during processing. Sometimes there needs
to be no connection at all; simply having movement or
interaction on two planes (or even three) of the picture
can make a striking photograph.
Close proximity to crowds or being in a group creates
natural foreground and background interest if you are
using a wide lens. This has a deeper depth of eld,
making focusing easier. Purists may object to the natural
distortion of the lens, but it can add drama and tension.
Being a street photographer or just taking candid

pictures can be stressful at times and difcult to conceal,
so the environment you choose to work in plays a major
part, whatever your experience may be and however
good your technique.
Selecting where you photograph is absolutely key in
street photography. Location can not only dictate the
style of pictures and how you go about creating them,
but it also affects how you and those you are
photographing are feeling.
Choosing your local area gives you a number of
advantages. It gives you the benet of local knowledge, a
feel for where to look for pictures and an understanding
of the people, plus maybe a little added condence.
Investigating new locations can bring added excitement
and inspire new ideas, but returning to the same location
and using both your experience and knowledge of the
location can pay great photographic dividends.
As a general rule, the busier the environment the easier
photography can be and the more picture opportunities
there are available. After a while you develop an instinct
for whether the location will be fruitful or not. Public or
sporting events, or tourist areas, are ideal for people
photography and particularly suited to the novice or those
lacking condence. You will usually nd a greater
acceptance and a relaxed attitude to photographers, and
often such places are full of other people taking pictures.
This makes it so much easier to blend in and provide you
with a more relaxed photography experience.
One of my most successful (and lazy) techniques is to
nd a seat in a busy street or shopping area and just sit
there with a camera. I let the subjects come to me and
wait for groups of people, movement, unusual dress or
just interesting interaction, often buying myself an ice
cream or a drink. Looking relaxed while taking
photographs in public helps to avoid attention. Nervous
photographers are always more visible. If you nd a good
location, be patient and take plenty of shots as it may be
a while before you nd something better.
Simply having movement or interaction on two planes (or

even three) can help to create a striking photograph
Technique
Rupert Vandervell
Born and based in London, Ruperts
photographic style is highly representative
of his personality. Hes always been
obsessed with clean lines and the
geometrical appearance of things. Through
the lens he finds people captivating and his work explores our
relationship with the world and how we interact with our
environment. www.rupertvandervell.co.uk
8 Shoot at night
I love to shoot at night, especially during the winter

months when good daylight is scarce and it starts to get
dark around 5pm. I will sometimes spend hours on the
streets at night. If Im shooting for a specic project, I will
have in mind a place that I hope will provide the right
kind of scene and then work in and around it.
The one great thing about night photography is that
the light is always the same and it doesnt matter what
the weathers doing. In fact, if its wet youll have much
more to play with in terms of atmosphere. Places look
very different under the streetlamps and an area you
might not have considered for street work may suddenly
become a good hunting ground.
I treat night shoots in the same way as I do day shoots,
and to make it work you need at least one good light
source. I try to choose areas that have at least one main
streetlamp, which will hopefully dene the area where
I want to work. From there I nd the best viewpoint to
balance the scene regarding light, shadow and subject.
Additional lighting can come from car lights, reections
and shop windows. Im never too bothered about getting
a technically perfect shot at night. What I am looking for
is the right atmosphere. You will be shooting with a
higher ISO and a certain amount of grain is inevitable,
which is often what helps to make the shot more
authentic. People in the city become more isolated at
night as there are fewer of them around and the mood is
completely different to during the day. Ive always been
fascinated by the lm noir look those wonderful gures
in hats and overcoats emerging from deep shadows at
night always inspire me.
ALL IMAGES THESE PAGES RUPERT VANDERVELL
If its wet youll have

much more to play
with in terms of
atmosphere
A smaller camera is much

easier to conceal and you
wont be advertising what
youre up to
Between shots you can

hide your camera under
your jacket or in a pocket
as you move into position
9 Use a small camera and carry only the essentials
When I go out to shoot, I want to feel like Im one of the crowd, and blend in and
remain anonymous. The last thing I want to do is to draw attention to myself. I see guys
lugging bulky and heavy-looking cameras and gear around with them and wonder how
they manage. For street photography, carrying too much gear around with you is a
mistake. Its tiring and restricts your movements. I can be out for hours at a time and
I may get tired from constantly being on my feet, but never from carrying a heavy
camera bag. A smaller camera is easier to conceal and you wont be advertising what
youre up to. Between shots you can hide it under your jacket or behind you as you
move into position sometimes its all about stealth. I remember seeing Joel
Meyerowitz shooting on the streets of New York. He moved like a cat. You wouldnt
know what he was up to until it was too late and hed got the picture.
There are so many great small and lightweight cameras around. I use an Olympus
OM-D E-M5 with a 20mm lens. Its fast, small and very light. I prefer to use my feet to
do the framing and get myself into the right position for the shot. Street shooting is about
being in the right place. If you are more mobile, youll give yourself a better chance.
Light changes very

quickly depending
on the time of year,
and shadows slide
into new positions
10 Be patient
You may nd a
place that you think will be
the perfect setting for a
shot, but something isnt
quite as you want it. The
light may not be right or
perhaps people havent
yet walked into the frame.
Some photographers are
too ready to move on if
they dont immediately see
something to their liking.
Its not just about looking
at whats in front of you, as
you have to look right into
a scene to see its potential.
A slight movement to the
left or right, or moving in
closer, can reveal a whole
new dimension to a shot.
I will always stay with an
area if I think it might yield
something. I get more
excited by the minute at
the prospect of capturing
just what I have in mind.
I love watching how the
light plays with a scene. Ive
learned to be very patient
and I wont leave until
I think Ive got the best
I can. The light can change
very quickly depending on
the time of year, and I have
watched shadows sliding
into new positions to create
a completely different feel.
When shooting people,
I try to anticipate their
movements and how they
might feature. You need to
be ready and poised for
that moment when they
hit the right spot.
If youre lucky and youve
combined the perfect light
with everything else, then
youll feel happy that you
waited around to get it.
Good shots come to
those who wait.
When shooting
people, I try to
anticipate their
movements
You have to look

right into a scene
to see its potential
17
Inbox
F
D E
A
C
B
Email amateurphotographer@timeinc.com and include your full postal address

Write to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU
In AP 20 June we asked
LETTER OF THE WEEK
Do you still have your rst-ever

camera?
You answered
Its in the bag

Billingham, ONA, Domke and Think Tank
are all very good camera bags, so the
internet and numerous online surveys
reliably inform me. Yet for the majority of
amateur photographers like myself, these
are the Leicas of the camera-bag world
and realistically such an outlay is not
justiable or simply not nancially possible.
So Id like to give a shout out to the
budget end of the market. For well over a
year now Ive owned, and used every day, a
messenger-style canvas bag branded with
the name Courser (sometimes advertised
as Koolertron).
Yes, the canvas has faded in places, but
its still strong with no signs of fraying. The
stitching is still intact, and all studs and
buckles are still sound and in perfect
working order. It also came
Win!
Shadow play
with padded inserts. The purchase price

was 24 including p&p, and its large
enough to carry everything I need plus my
essential copy of AP.
Checking the same online retailer, the
bag is now 37 with free postage. And
when the one I have now nally gives up,
Ill have no hesitation in buying another!
David Richards, Dorset
Its important to make sure that your
camera gear is well protected and safe,
but just as you can spend 5 or 500 on
a shirt that at its core serves the same
function, so you can on a camera bag.
There are some great products available
at great prices, and were often surprised
at just how good value some items are
Richard Sibley, deputy editor
With ultra-fast performance, the new Samsung 16GB EVO SD card,

Class 10, Grade 1, offers up to 48MB/sec transfer speed and has a
ten-year warranty.
www.samsung.com
A Yes I still have it, but I never use it

B No its long gone and Im not bothered
C No its long gone, but I wish I still had it
D Yes, I still have it and use it
E Yes I still have it, but hardly use it
F Yes I still have it, but dont know where it is
35%
28%
24%
6%
6%
1%
What you said

I still have the Kodak Brownie 127 my parents bought
me for my 10th birthday. Nowadays the spec isnt up to
my requirements and you just cant get the lm for it
This is ancient history, cant remember what it was or
what became of it it was over 50 years ago
Would I want my rst camera today? No! Give me a
decent digital camera any day. I do still have some
pictures from it though, not necessarily the best but
they have nostalgic value
No. It was a Lomography Diana F+ camera kit. It cost
next to nothing in the 60s, with ashgun and half a
dozen ash bulbs. They still make them, but they go
for ludicrous amounts these days
I still have, and use, my Dads Kodak No 2 he bought in
1926, it was the rst proper camera I used in the 60s
This week we ask
my right eye has restricted

Your piece on shadow
vision from a childhood sports
portraits (Weekend Project, AP
injury, and learnt to use the
20 June) brought to mind
left controls despite being
Wayang Kulit, the Indonesian
right-handed. These cameras
Regarding the letter What
and Malaysian custom of
are now very low priced
about cameras for leftportraying events by the
despite being engineered with
handers? (Inbox, AP 13 June), gear-controlled shutter
shadows of puppets on a
in the days of lm the Exakta
white screen. It brought back
speeds and having highVX 1000 was the ideal
memories of 60 years ago
quality Zeiss lenses.
camera for left-handers, as
when I made regular visits to
Martin Cooper, Suffolk
the winder and shutter release
Malaysia and watched the
are on the left. I used one as
performances then. It may
I love the articles by Roger
Hicks, but I was bemused, at
rst, by his description of the
soldier behind carrying what
appears to be a tripod mortar
in Tim Pages ARVN Rangers,
Plaines des Joncs image
(Final analysis, AP 20 June).
Surely, I thought, this soldier
is in front?
Then I reected that my
mind clearly tends to objectify
what it sees in an image,
whereas Roger stays with the
subjective that is, the image
itself! This is despite the
fact that Ive been a keen
Shadow portraits featured as the Weekend project in AP 20 June
well have jolted the memories
of other readers, too.
Walter Fairbank, Wiltshire
Left eld
Do you own a 50mm lens?

Vote online at www.amateurphotographer.co.uk
Guess the camera
NIGEL ATHERTON
Analyse this
Every other week we post a photograph of a camera

on our Facebook page and all you have to do is guess
the make and model. To guess the make and model of
this camera (above), head over to www.facebook.
com/Amateurphotographer.magazine. Forum
members can also enter via the forum.
The 20 June issues cover is from
18 October 2008. The winner is Kristof
Donn from Geel, Belgium whose correct
guess was the rst drawn at random.
19
INBOX
Contact
photographer and
reader of AP for nearly
70 years. Perhaps it explains
why Roger is a successful
professional photographer,
whereas I remain a stumbling
(albeit happy) amateur.
Graham Peglar,
Cambridgeshire
Amateur Photographer, Time Inc. (UK), Blue Fin Building,

110 Southwark Street, London SE1 0SU
Telephone 0203 148 4138 Fax 0203 148 8128
Email amateurphotographer@timeinc.com
Picture returns: Telephone 0203 148 4121
Email appicturedesk@timeinc.com
Subscriptions
Email magazinesdirect@quadrantsubs.com
Telephone 0330 3334555 or +44 (0)330 3330 233 (overseas)
One year (51 issues) UK 150.55; Europe e259;
USA $338.99; Rest of World 221.99
Camera hunt
I recently embarked on a
similar search to Andrew
Sanderson for his green
Pentax SP500 35mm
camera (My life in cameras, AP
13 June). My sister-in-law is a
professional photographer in
the Czech Republic, and
recently celebrated a big
birthday. Shes long been
pining for her Pentax K1000,
even though nowadays shes
fully digitised. So it wasnt
hard to think of a suitable
birthday gift for her.
Finding one on eBay wasnt
too tricky, but nding one that
looked as though it might
actually work was a little more
difcult. Eventually, I stumbled
on one being sold by a chap
who recovers cameras as part
of his business, and its now in
the Czech Republic being put
through its paces by its
delighted new owner. Happily,
apart from the meter needing
a new Wein Cell battery, its
proved fully functional.
Tony Turner,
Cambridgeshire
Printers may be relatively

cheap, but inks are expensive
Pricey prints
the cost of inks wont buy

As a 12-year-old I watched
printers. So manufacturers
my dad drop a sheet of
only have themselves to
photographic paper into a dish blame. They should be
of developer. When the image promoting the art of printing.
appeared I was absolutely
Instead, theyre simply scaring
mesmerised. It wasnt long
off would-be customers.
before I set up my own
G Durrant, Tyne and Wear
darkroom, which after nearly
20 years I reluctantly
Yes, inkjet inks are expensive
abandoned when I bought a
and, as Im sure you know,
DSLR two years ago.
thats largely because
Now, however, after buying
printer manufacturers use
an Epson Stylus Photo
the razor-blade model of
1500W printer, the magic of
selling printers cheaply and
making prints has come back making a prot on ink. Its
into my life. A great shot cries worth working out how
out to be seen in a frame on a much a print will cost, and
wall, not left to only ever be
factoring in the cost of the
viewed on my PC or to
printer, then comparing this
languish on a portable hard
to getting one-off prints
drive. Results from the Epson made at a lab. Its also
are great, but they dont half
worth remembering that
come at a price.
enlargers, trays, safelights,
Greed is a strong word, but
masking easels, chemicals,
printer inks are often referred toners and photographic
to as liquid gold. Its a
paper werent cheap,
no-brainer that many
either Richard Sibley,
photographers horried by
deputy editor
Test Reports
Contact OTC for copies of AP test reports. Tel: 01707 273 773
Advertising
Email mark.rankine@timeinc.com
Classied telephone 0203 148 2929. Fax: 0203 148 8158
Display telephone 0203 148 2516. Fax: 0203 148 8158
Inserts call Innovator on 0203 148 3710
Editorial team
Group Editor
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Group Editors PA
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Andy Westlake
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Karen Sheard
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Jacky Porter
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Roger Hicks
Special thanks to The moderators of the AP website Andrew
Robertson, lisadb, Nick Roberts, The Fat Controller
Advertising
Advertising Director
Advertisement Manager
Account Manager
Production Coordinator
Mark Rankine
Felix Barlow
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James Wise
0203 148 2516

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Marketing
In next weeks issue On sale Tuesday 14 July
Surreal macro
insects
Vivid colours
and extreme
detail we look
at how to take
creative closeup shots of the
small lifeforms
around us
Leica Q
Its a new product line
for Leica, and may be
the companys best
digital camera yet
Master
depth of field
Mark Bauer shows how
to get front-to-back
sharpness in your
landscape images
Fujifilm 16mm
f/1.4 lens
NADAV BAGIM
Andy Westlake puts

the weather-sealed fast
prime for X-system
users to the test
20
Marketing Manager
Samantha Blakey 0203 148 4321
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Managing Director
Publishing Director
Group Magazines Editor
Marcus Rich
Paul Williams
Alex Robb
Garry Coward-Williams
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PHOTOJOURNALISM EXHIBITION
ALL PICTURES PHILIP JONES GRIFFITHS/MAGNUM PHOTOS
Exposing
W
War
ith the rise of
citizen journalism
and social media,
people have greater
exposure to pictures of conict than
ever before. There are fears from
some that, perhaps, the increasingly
graphic nature of these images
has desensitised us to what we are
seeing. At the time that Philip Jones
Grifths Vietnam photographs
were taken, however, they were
some of the rst to show the public
the full extent of the horrors of war.
What strikes you now, looking back
through the archives, with our more
jaded eyes, is how shocking and
moving they remain.
Its no wonder that Grifths rst
book on Vietnam, Vietnam Inc,
published in 1971, is regarded as
one of the pivotal photojournalism
books on the period. His natural
instinct for communicating emotion
and meaning shines through every
22
the
Face
of
Philip Jones Griffiths images

portray the realities of the
Vietnam War. Will Troughton,
curator of a current exhibition
of Griffiths archive, talks to
Karen Sheard
frame: a young boy cries over the

body of his sister; a farm worker
looks up to see armed soldiers
advancing towards his eld; an old
man, bandaged stumps jutting
towards us, gazes into the distance
with dignity and serenity.
Top: Quang Ngai,

Vietnam, 1967. A
US soldier observes
a woman and child
during a routine
search-anddestroy mission
I think the book is an inspiration

to anyone whos trying to be a
photojournalist, says Will
Troughton, curator of the National
Library of Wales, who was tasked
with exploring Grifths archives for
the current exhibition called A
Welsh Focus on War and Peace.
You can go through the book time
and time again and realise none of
the pictures are there as a ller,
adds Troughton. Every one is there
to put a message across.
Creating a narrative
What Grifths does so well is use
framing, juxtaposition and human
expression to create a story in each
image and help you connect with
what youre seeing. The captions are
integral in enhancing this narrative
and evoke a feeling of immediacy.
A young Viet Cong boy lays dying:
the caption tells us he fought for
three days with his intestines
strapped to his body in a cooking
bowl. A child chained to the bed
goes berserk whenever he hears
helicopters pass by: he is reminded,
we are told, of when his mother was
shot, dropping him from her arms.
Young Vietnamese patients lay
in hospital beds, their
Older soldiers
who missed
their families
often befriended
children and
sometimes dogs
expressions calm, but Grifths

explains they are not healing
fast enough and so have been left
there to die.
The captions tell you so much,
says Troughton, and help to inform
you far more about whats going on.
By giving you context, these
descriptions allow you to relate
to the photographs far better.
What makes his images most
striking is his ability to capture the
deep-seated calm and dignity of the
Vietnamese people in the face of
horror. Grifths had a great afnity
with the Vietnamese, seeing in their
quiet rural ways echoes of the
people he grew up around in Wales.
I think it was because they were
both rural agrarian communities,
Troughton tells us, but in both he
said there was a sense that you took
everything in, but kept it close to
your chest. I think what makes his
pictures special is that the people he
portrays are always allowed to
retain their dignity, even when
theyre suffering.
Although many of his images
show the American soldiers as
an impersonal force, juxtaposed
against the shock and fear of the
rural Vietnamese population, others
do portray sympathy with the
soldiers, showing their vulnerability
and acts of kindness.
I think he sees the GIs as victims
too, Troughton says, because they
were kids, 18 or 19 years old, from
farms and factories, being given a
gun and sent off to ght against a
very experienced guerrilla army in
the form of the North Vietnamese.
In the 1950s they kicked out the
French with their guerrilla tactics,
Right: This guerrilla

fighter had just
thrown a grenade,
killing one member
of the platoon and
wounding two
others. In the
resulting fracas,
he too was killed
Far right top:

The battle for
Saigon, 1968
Far right middle:
American GIs
often showed
compassion toward
the Viet Cong. This
sprang from a
soldierly admiration
for their dedication
and bravery
Far right bottom:
Pity the poor
fighting man in
Vietnam. The
problem was always
too much water or
too little
so theyd been ghting for the best

part of 20 years.
Changing opinions
Below: US policy in
Vietnam was based
on the premise that
peasants driven
into the towns
and cities by the
carpet-bombing of
the countryside
would be safe
Although he may not have blamed

the GIs themselves, some of
Grifths pictures do have an
anti-American slant: a fact that
didnt always help him get
commissions. However, his book
had a great effect on the American
people. The tide of war was already
changing, but his pictures, and ones
like it, helped visualise what was

really going on in a way words alone
could not. Troughton says: I think it
was a contributing factor that there
was this book here actually showing
people what they were perhaps
hearing or being told by GIs coming
back, but the book laid it out on
page after page, 300 photos, really
showing people what was going on.
Many of the images the public
had seen were in some way censored,
says Troughton, sometimes by the
photographers themselves, in order
to get their images published. He
was coming from a different angle,
he adds. Most of the pictures that
were being published showed the
American point of view how the
Americans were winning the war
and how bravely the GIs jumped out
of helicopters. When it came to
Grifths portrayal, he was showing
what was happening on the ground
to the ordinary people who werent
combatants, but who were caught
up in this. Its an aspect that I think
had been overlooked. It shocked
people when they saw what was
really happening.
Getting the shots

But getting the images wasnt easy.
Travel to Vietnam was expensive and
Grifths had to pay for the trip on
the back of other commissions. One
scoop, on a trip to neighbouring
Cambodia where he spotted Jackie
24
Kennedy on a clandestine holiday

with Lord Harlech (a former British
Ambassador to the US), helped pay
for much of his needs.
Grifths faced challenges
travelling around a war-torn
landscape. The US did provide
facilities for photographers, says
Troughton, of course he [Grifths]
kept fairly quiet about his real
reasons for what he was doing. As
far as they were concerned, he was
just another photographer.
Many of the other press would not
leave Saigon, getting their briengs
from the US military, but Grifths
didnt believe the ofcial line. He
was one of only an estimated third
of the Saigon press corps who did go
out, claiming to have visited every
province in Vietnam on his own to
nd out what was going on, often in
dangerous situations. Troughton
recalls nding one slide in the
archive, that simply says: Hu,
the city where I nearly got killed.
Many of Grifths images are
taken in the midst of danger,
sometimes showing people in the
process of dying or who were killed
soon after. With little ability to
intervene, Grifths also had to deal
with the horrors of what he saw. He
would often recount in interviews
years later that he still suffered
ashbacks, although at the time he
was able to disconnect.
Grifths says when he had
25
Framing
A LOOK through Grifths contact sheets is
quite revealing, and gives an insight into how he
composed his pictures. He claimed he only
ever put the camera to his eye for three
seconds to take a picture, and believed good
composition on its own wasnt enough to make
a shot it also had to have strong content.
SIMON EVANS
He did the crying afterwards when he got home

and saw the pictures. I think he was able to adopt
this persona where he simply took photographs
Equipment
PHILIP Jones Grifths used a wide array of cameras
over his career, and had phases where he favoured
different models. The cameras shown above possibly
the ones used in Vietnam, where he used Nikon Fs
and Leicas were found in boxes in his archive
alongside a number of Olympus bodies, Contaxes,
Minoltas, underwater cameras, panoramic cameras,
digital cameras and small compact cameras.
Film use
Grifths was heavily inuenced by Henri CartierBresson and preferred shooting in black & white, but
the desire to nance his trips meant he needed to sell
images whenever he could and magazines wanted
colour. He shot colour slide lm, favouring
Kodachrome or Ektachrome, and then printed in
black & white for his own use. However, he felt new
lm tended to have a slightly green cast. Having
trained as a pharmacist, he came up with his own
method of incubating the lm in a dark box on the
roof of his hotel in Saigon, using the reaction from
the heat of the sun to get rid of the green cast.
26
been photographing one of the

hospitals he just took the
pictures and he did the crying
afterwards when he got home and
saw them, says Troughton. I think
he was able to adopt this persona
where he simply took photographs;
he was composing them, but in a way
he wasnt seeing what was there. He
was seeing it as a photographer.
Grifths knew the work he was
doing was important. He was a
rm advocate of photojournalisms
ability to document the truth
something he put into practice as a
lifelong member of Magnum and its
president for ve years. However, he
felt the agency was moving away
from its original focus of reportage.
I think prior to the age of digital
photography which he [Grifths]
didnt like he felt that a picture
didnt lie, what could be written may
or may not be truthful, but if you put

a picture in front of someone that
was absolute truth. Thats why he
felt photography was so important.
Griffiths legacy
Grifths would publish two more
books about Vietnam, Agent Orange
and Vietnam at Peace, returning to
the country more than 20 times. He
also worked in Northern Ireland,
Cambodia and visited over 100
countries in his career, often
seeking out stories himself rather
than waiting for a commission.
Grifths died in 2008, and left a
legacy of work that remains an
important part of history. His
archive offers a wealth of contact
sheets, cameras, documents,
personal papers and artefacts
stored at the National Library
of Wales.
The exhibition, Philip Jones Grifths: A Welsh Focus on War and Peace, runs until 12 December
at the The National Library of Wales, Aberystwyth, Ceredigion SY23 3BU. Tel: 01970 632 800 or
visit www.llgc.org.uk
,

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8/$4 ). && !). 4$%4 $'!)+++/ 9)7 4#.

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WILDLIFE WATCH
Atlantic puffins
Atlantic puffins are now at the height of their

activity and can provide a memorable photographic
experience, as Richard Peters explains
Puffins are found
around the north and
west coasts of Britain
About the Atlantic puffin

The distinctive puffin, with its comical colouring, is a firm favourite
with both photographers and bird lovers
Location Breeding colonies are found in North Yorkshire,
Northumberland and Wales, plus the Isles of May, Shetland
and Orkney.
Size Around 28-30cm (11-12in) tall, with the male generally
being slightly larger than the female
Nest Puffins nest in burrows underground
Diet Fish, with a particular taste for sand eels
Population There are an estimated 590,000 breeding pairs.
Richard Peters
Richard Peters is a UK-based wildlife
photographer whose passion stems from
watching natural history documentaries
in his youth. Now his photographs and
articles are published regularly, and his
images have won numerous awards.
www.richardpeters.co.uk
Tracking puffins from a distance and picking your moment carefully makes flight shots easier
Nikon D800, 600mm, 1/4000sec at f/7.1, ISO 800
PUFFINS are particularly enjoyable birds to spend

time with. Aside from their unmistakable appearance,
they appear full of character and humour. Watch as
they speed through the sky, apping their wings at an
impressive 400 beats per minute at up to 55mph,
before landing and then, in complete contrast,
waddling around awkwardly on the ground before
disappearing down a burrow and out of view.
Furthermore, many breeding colonies are accustomed
to human presence, making them easy to photograph.
ALL PICTURES RICHARD PETERS
Habitat
28
Lenses
Gimbal
Due to the close

proximity you can
get to puffins,
youll be able to
photograph them
with everything
from a wideangle to
a telephoto, so bring
whatever you have.
For flight shot

the ability to p
essential. With
counter-balan
flight shots
could be
incredibly
difficult and ti
on your arms.
KIT LIST
A puffin takes a rest among a sea of green on Skomer Island, south-west Wales
Nikon D800, 600mm, 1/1000sec at f/6.3, ISO 125
Pufns favour cliff-top nesting sites, where burrows

close to the cliff edge allow for easy take off and
landing, as well as a speedy retreat to safety from
other birds that mob them when theyre bringing back
food for their young. The burrows are packed very
closely together, which means any nearby footpaths
must be strictly walked on to avoid potentially
collapsing the ground. However, the picturesque
colony settings also mean theres never a lack of
beautiful scenery, making every pufn experience
a memorable one.
Best time to shoot

p p ly
Although they spend half their life at sea, pufns are

actually very easy to photograph in summer. This is
because they return to their breeding colonies from
March onwards, and once their eggs hatch they
become very active as they y back and forth from
sea to burrow with food for their young. The height
of this activity is between May and July.
WILDLIFE WATCH
Technique
An APS-C format DSLR

with long telephoto and
teleconverter was used
to capture this shot
Nikon D7000, 600mm
with 1.4x teleconverter,
1/500sec at f/8, ISO 450
Shooting
advice
Mind your step
Pufns are very small and
show little fear of man. This
makes them easy to get
close to and photograph,
but it also means care
must be taken as burrows
can often be at the edges
of pathways. A poorly
placed tripod leg, or hastily
stepping as you spin the
camera round, could result
in injury of any inquisitive
birds that have decided to
wander under your feet
en route to and from their
burrow while you are
looking the other way.
Dress for
the occasion
The very nature of pufn
colony locations means
the weather is often
changeable. Sometimes it
can be cold, wet and hot in
the space of half an hour,
depending on the coastal
weather. The right clothing
will ensure youre able to
keep comfortable and
really concentrate on
taking photographs.
Time of day
On some breeding
colonies, such as the Farne
Islands in Northumberland,
the sky can be lled with
thousands of birds at
any one time.
However, depending on
which colony you visit and
when, youll be limited to
the time of day you can
gain access to shoot. For
example, the Farne Islands
will only allow access well
after sunrise, with mainland
departure way before
sunset. Unfortunately, for
those wanting that warm
golden light, its not
possible at this spot.
Skomer Island, however,
will allow overnight guests,
but you must book at least
six months in advance to
guarantee youll get
accommodation. Many
of the access restrictions
for day-trippers to
Skomer Island also apply
to those who visit the
Farne Islands.
29
RIZALDE CAYANAN
Rizalde Cayanan
Sandstorm in the city,
Kuwait, 2011
Theres something near-apocalyptic
about this incredible scene captured in
Kuwait back in 2011. Kuwait is a city
subject to dramatic heat and weather
conditions, not least among them the
awesome displays of the regular
sandstorms. By choosing to frame and
compose his scene in this way, Rizalde
has given us a good sense of the vast
scale of the storm as it covers the city
in a rich red blanket of sand.
PHOTOGRAPHY AWARDS
Life on earth
We take a look at some of the incredible images shortlisted
for this years Environmental Photographer of the Year awards
he Environmental
Photographer of the
Year competition has
always been a hotbed of
incredible and, at times, almost
overwhelming images, and here
we look at some of the shortlisted
photos. The 111 images were chosen

from more than 10,000 entries
by amateur and professional
photographers of all ages from 60
countries. The overall winner of the
5,000 award, which was set up
in 2007 by the Chartered Institute
of Water and Environmental

Management (CIWEM), has just
been announced (see page 6). This
year the grand prize went to Uttam
Kamati for his inspiring image
Watering Melon. To see the rest of
the winners visit www.epoty.org
PHOTOGRAPHY AWARDS
Kazi Riasat Alve Collecting Crabs, Satkhira, 2014

KAZI RIASAT ALVE
Kazi is an award-winning
documentary photographer from
Bangladesh, who is particularly
interested in photographing people living
off the land and the consequences that
can occur when that land erodes or
disappears altogether. In this strong
portrait shot, we nd a gentleman by
the name of Majid on his way to market
after collecting crabs. Shooting from
such a low angle has given the subject
real dignity and poise. It has also meant
the blue sky contrasts beautifully with
Majids skin.
Luca Catalano Gonzaga

The Devils Gold,
Indonesia, 2014
HOANG LONG LY
We recently ran a story about

German photographer Kevin
McElvaney (AP 16 May), a
photographer who documented the
sulphur miners who risk their health
every day to work in East Javas Ijen
volcano. Here, in Luca Catalano
Gonzagas image, we see these
same individuals walking through
toxic fumes to earn a meagre living.
This particular image goes some
way to show the hostile environment
these men face every day.
Hoang Long Ly
Fishing Net Checking,
Vietnam, 2014
Hoangs images are notable for
their sincere degree of optimism
about the human spirit and our ability
to engage and be at peace with our
environment. This beautifully
composed image shows, as the title
suggests, a sherman checking the
nets that will hopefully capture him a
hearty bounty of sh. This is an image
that has so much going for it. The
light hitting the nets is a particularly
beautiful sight, as are the ghostly
breaths of mist to the left. Its also hard
not to be amazed by the design of the
shing mechanisms themselves.
CARLOS AYESTA AND GUILLAUME BRESSION
Carlos Ayesta
and Guillaume
Bression
Retrace Our Steps,
Fukushima, 2014
This image by French
duo Carlos Ayesta and
Guillaume Bression is part
of a wider project that began
two or three years ago. The
pair felt compelled to respond
to the series of disasters that
beset Japan, most notably the
2011 Fukushima Daiichi
nuclear power plant tragedy
that contaminated several
parts of the country. Here
we see a woman (actually
an actor) moving through
a real abandoned food store
as she searches for her
groceries among the
spoiled food and potentially
contaminated displays.
32
PHOTOGRAPHY AWARDS
LUCA CATALANO GONZAGA

JASHIM SALAM
EDUARDO LEAL
Eduardo Leal
Plastic Tree #20, Bolivia, 2014
Jashim Salam
Life in Tidal Flood 3, Bangladesh, 2014
It will probably stagger you to hear that the world consumes one
million plastic bags every minute. In fact, they were found by the
Guinness World Records to be the most ubiquitous consumer item in the
world. They are also one of the central sources of pollution worldwide.
Here, Eduardo effectively communicates the distances these pollutants
can travel on the wind as they spread like an infection.
This image of a barbers shop in Bangladesh is perfectly exposed

and composed. Its not often that you see an electrical enclosure as
a vital compositional element in an image. In addition, the balance of light
and shadow has framed the image perfectly, drawing our attention to the
action in the shop window. In a strange way the bicycles out front act as
rather unconventional leading lines, again shifting our gaze to the interior.
33
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Reader Portfolio
Spotlight on readers excellent images and how they captured them
Gary Turner, West Yorkshire
Landscapes and architecture feature most
prominently in Garys photographs. Working in
black & white really allows the details to be
captured, says Gary. Removing the distraction
of colour allows me to place the emphasis on
the lines, shapes and details in nature and in man-made
structures. Gary was recently introduced to street
photography, which he sees as a fantastic opportunity to
capture new images. He would also like to introduce a little
more colour into his portfolio.
Under the Humber

3
1 Gary has produced perfect symmetry in

this near-abstract representation
Canon EOS 7D, 10-20mm, 1/60sec
at f/8, ISO 100
Roker Rough Seas

2 This scene was a perfect opportunity to
experiment with a 10-stop ND filter
Canon EOS 7D, 10-20mm, 25secs at f/8,
ISO 100, tripod, ND filter, remote trigger
Hepworth
1
The Folly
3 Gary has achieved distinct leading lines

Canon EOS 1000D, 18-55mm, 1/250sec at
f/5, ISO 100
4
4 This is a beautiful
image of an iconic
structure at Castle
Hill in Huddersfield.
As Gary says, the
cloudy sky was
perfect for a long
exposure
Canon EOS 7D,
10-20mm, 60secs
at f/16, ISO 100,
tripod, ND filter,
remote trigger
5
36
YOUR PICTURES IN PRINT
The two Reader Portfolio winners

chosen every week will receive a copy of
Helicon Focus Pro innovative software worth $200. Visit www.heliconsoft.com
Helicon Focus is designed to merge several differently focused images into a fully focused one, thus allowing extreme depth of eld. You can produce
sharp images in one click, retouch results with special brushes and enjoy all the benets of state-of-the-art technology to make your images stand out
Submit your images

Please see the Send us your
pictures section on page 3 for details
or visit www.amateurphotographer.
co.uk/portfolio
By Whitby Pier
5 Gary was aiming
for a fine-art,
minimalist,
long-exposure image
here. Its a perfect
location to achieve
such an end and Gary
has succeeded
Canon EOS 7D,
10-20mm, 50secs
at f/16, ISO 100,
tripod, ND filter,
remote trigger
Stairwell Light
6 Gary found this scene in Bath and was
keen to capture the light streaming from the
stairwell. With just the right exposure he has
managed to achieve his goal and retained a
good amount of texture in the walls
Canon EOS 7D, 10-20mm, 15secs at f/13,
ISO 100, tripod, remote trigger
Blackstone Edge
7 With this image,
Gary converted it to
black & white and
tweaked the
Contrast, Levels and
Clarity settings. He
then added a vignette
and gradients to
darken the sky
Canon EOS 7D,
10-20mm, 1/80sec
at f/11, ISO 100,
tripod
7
37
YOUR PICTURES IN PRINT
Dave Fieldhouse,
West Midlands
t was after a friend

commented on the high
quality of his holiday snaps
that Dave started to take
photography more
seriously. Within weeks he had
immersed himself in books and
magazines, and bought his rst DSLR.
As you can see from the images here,
Daves heart lies in landscapes and
enjoys the whole process.
The Boat Shed

1 This shot was taken on the banks of the
Swan River, just outside Perth, Australia. As
Dave says, its a simple composition, straight
down the jetty. The jetty is not as stable as it
appears and ruined a couple of Daves shots
Canon EOS 5D Mark III, 16-35mm, 200secs
at f/18, ISO 100, tripod, hard grad filter,
Lee Big Stopper
38
Reader Portfolio
Hamelin Bay
2 A fallen jetty in
Hamelin Bay, Western
Australia. Dave has
gone for a minimalist
style here. The
gulls are a huge
compositional bonus
Canon EOS 5D Mark
III, 24-70mm, 60secs
at f/16, ISO 50,
tripod, Lee Big
Stopper
Roach End Barn

3 Daves inspiration
for this shot came
from the scenes
captured by Old
Master painters. He
has achieved this
beautifully with
the side light hitting
the barn
Canon EOS 5D Mark
III, 16-35mm, 1/5sec
at f/16, ISO 200, soft
grad, tripod
3
4
Winnatts Pass
1
5
4 The glowing
foreground is a great
way to draw our eye
towards the main
point of focus in the
image the road. The
leading lines motif is
also present in the
dispersing vapour
trails in the sky
Canon EOS 5D Mark
III, 16-35mm, 0.4sec
at f/16, ISO 200,
hard grad filter,
tripod
Bamford Edge
5 Bamford Edge
in the Derbyshire
Peaks is a classic
well-known sunset
spot, says Dave.
The cliff rocks were
brightly lit by the
wonderful side light,
so I decided to focus
on these, rather
than the interesting
rock formations at
my feet
Canon EOS 5D Mark
III, 16-35mm, 1/5sec
at f/13, ISO 100, ND
filter, tripod
39
Appraisal
Expert advice and tips on improving your photography from Damien Demolder
BEFORE
AFTER
Distant sunset
Alex Harford
Canon PowerShot G1 X,
15.1mm, 1/60sec at f/4, ISO 1000
IM REALLY not sure what were looking at
here, but Im guessing its some sort of circular
room with a roof in need of repair, and a view
over a valley or the sea. It reminds me of a
Greek beach caf thats seen better days.
Either way, what my eyes see are two
competing elements that make my brain hurt

as it tries to determine whether we should take
in the view rst or attempt to work out what
those patches of blue are in the upper half of
the frame. As soon as I settle to look at the
blue bits the sunset calls to me, and when
I draw my attention towards that dusky voice
the blue patches start playing the drums. The
experience is exhausting, and, if youll excuse
the hyperbole, could be used as a form of
torture to extract secrets from enemy spies.
Alex has found a fabulous place to be, but
hasnt decided what he wants us to look at rst,
which leaves us wandering. We need denite
direction and, as the two elements in this shot
are so powerful individually, the only option is
to sacrice one for the other.
Ive taken the decision to get rid of the blue
bits so I can sip my coffee and enjoy the view in
peace. With the blue patches gone we know
exactly where to look and, happily, our minds
can be at rest.
Released Andrew Wilson

Nikon D600, 28-300mm, 1/100sec at f/4.5, ISO 1600
BEFORE
ANDREW has caught an interesting moment
as this white-clad lady emerges from the
towering stone gates of this imposing building.
She might be stepping out of jail or out of
anywhere, actually, as Andrews contrast has
concealed much of the information we need to
know what sort of place it is. Those deep, dark
shadows hide even what the walls are made of
and ll much of the frame with blackness.
A lower-contrast approach, at the time of
shooting as well as in processing, would have
opened the shadows to reveal more of the
scene. The lady still stands out, as the contrast
between her and the background is more than
sufcient to ensure we look at her rst.
Andrews building also suffers from not being
quite straight, because the
AFTER
camera wasnt straight, so some rotating and
a bit of keystone correction have been used to
simulate what the picture could have looked
like perfectly lined up.
It is a common mistake to treat alreadycontrasty scenes with more contrast, when
in fact what they need is less.
A lower-contrast approach,
at the time of shooting as
well as in processing, would
have opened the shadows to
reveal more of the scene
Win!
Send up to six prints, slides or images on CD (include the original files from the camera along
Submit your images
with your versions on the CD). Tell us about the pictures and include details of equipment used
Please see the Send us your pictures section on page 3
and exposure settings. Send your images to Appraisal at the address on page 20. Enclose an SAE if you
want them returned. The picture of the week will receive a years digital subscription to AP worth 79.99 for details or visit www.amateurphotographer.co.uk
40
YOUR PICTURES
AFTER
Sea and stars Adrian Mills

Pentax K-5, Pentax 12-24mm, 67secs at f/18, ISO 100
BEFORE
THIS REALLY is quite something. Adrians astro

shot caught my eye immediately, as it stands
out for so many reasons. The colours are just
fabulous and the composition works perfectly
with that dramatic line of brightness coming
down almost to meet the sea. I also love the
square crop as it is unusual, but it suits the shot
perfectly. It is all very exciting, and quite wow.
What doesnt work for me quite so well is the
amount of image noise in the picture. I wonder
if perhaps 67secs at f/18 and ISO 100 werent
enough, and Adrian has had to lighten the
Picture
of the
week
frame to bring out the detail. There are slabs

of black noise in the sky that only disappear
when the sky is darkened.
Ive made a version using the colour from
Adrians original overlaid on the lower-noise
Green Channel Luminance, which does
make some of the noise go away, but which
misses the wonderful tones and colours of
Adrians shot.
Noise or no noise, I still think this is an
amazing picture, and one well deserving of
my picture of the week prize. Well done.
Damien Demolder is a photographer, journalist and photographic equipment expert, speaker, judge and educator. He has worked in the photographic publishing industry for 17 years, including 15 years at
Amateur Photographer. He uses a wide range of equipment, from wooden plate cameras to the latest DSLRs, and is a great fan of all products that make good photography more accessible to more people
41
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Accessories
Useful gadgets to enhance your photography, from phones to filters
Lowepro Pro Runner

RL x450 AW II
296 www.lowepro.co.uk
Is Lowepros roller-friendly Pro Runner the

best bag for photographers on the move?
Michael Topham puts it to the test
At a glance
Front
compartment
The front compartment
can accommodate a 15in
laptop, 10in tablet and any
additional filters or
accessories.
Switches from a roller bag to a
backpack and vice versa

Dedicated space for a laptop,
tablet and graphics tablet

Sturdy urethane wheels for smooth
Versatile design
rolling transportation
ALL PRICES ARE APPROXIMATE STREET PRICES
THE NEW Lowepro Pro Runner RL x450 AW

IIs versatile design, which allows you to carry it
as a backpack or roll it beside you, is perfectly
suited to travelling. With contoured shoulder
straps, padding on the back panel and a
removable waist belt, its as comfortable to
carry on your back as it is to pull along.
Inside, theres a host of internal dividers to
arrange your kit as youd like. At full capacity
I managed to cram in a pro-spec DSLR with
70-200mm f/2.8 lens attached, four additional
lenses including a 24-70mm f/2.8, as well as a
spare pro-spec DSLR body and a ashgun.
Despite Lowepros Pro Roller X200 AW having
more internal space, the RL x450 AW II is more
comfortable on your shoulders and offers
superior compartments at the front, which can
accommodate both a laptop and tablet. Theres
a thin accessory case thats ideal for storing
portable hard drives, chargers and cables as
well as a built-in all weather cover and straps
that combine with a SlipLock tripod cup to
secure a pro-spec tripod.
Verdict
Its quite a statement, but having used the RL
x450 AW II extensively, Im left with the lasting
impression that its the most versatile camera
bag Ive ever used. Its not light (4.3kg), but its
dual-purpose design is superbly implemented
and the zips and material used in its
construction are second to none.
44
When its used as a roller

bag, the shoulder straps can
be tucked away and the
waist strap removed.
Zips
The zips pull around the
bag effortlessly. Their YKK
locking design allows you to
secure them together with a
small padlock.
Carry-on
compatibility
The bag is designed to be
carry-on compatible, but always
check that dimensions comply
with your airlines carry-on
baggage requirements.
GOLD
THE PRO RUNNER AW SERIES

The RL x450 AW II is the largest and most expensive mode
Lowepros Pro Runner series. If you like the sound of the RL
x450 AW II but would prefer a lighter alternative, the Pro R
BP 450 AW II (2.91kg) without a grab handle and rolling wh
is worth a closer look. With comparable internal dimensio
is capable of holding just as much gear as the RL x450 AW
and costs 80 less. The smallest backpack in the range is
Pro Runner BP 350 AW II (184), and is designed to be even
more compact while maximising internal space.
G-Technology G-Drive
ev ATC with Thunderbolt
180 www.g-technology.com
The latest photography kit and

technique at your ngertips
GOLD
I REGULARLY use portable hard drives for taking my images, videos
and documents to and from work. However, the nish on them tends
to get a little battered and the inevitable knocks my bag takes during
the commute have made me realise I may do some damage to the
hard disk drive.
There are a few rugged hard disk drives on the market, but
G-Technology has come up with a particularly good solution. The
G-Drive ev ATC is a hard drive tted inside a waterproof and drop-proof
rugged case. Out of the box, it has a 1TB disk that spins at a rate of
7,200rpm and is available in Thunderbolt or USB 3.0 versions. Theres
no need to ddle about with plugging in external cables, as its powered
by the Thunderbolt or USB 3.0 connections, and the leads are built into
the case and come with a protective rubber cap.
When in the case, the hard disk is rated as being able to withstand a
2m-drop on to a carpeted concrete oor and it can survive in up to 1ft
(30cm) of water for up to 30 seconds but, brilliantly, it oats, so this
shouldnt be too much of an issue. As an added bonus, the case
provides pressure resistance and also prevents dust creeping in.
However, the really great part is that its compatible with the standard
G-Drive ev and G-Drive ev SSD ranges so you can pop out the 1TB disk
it comes with and insert another drive. This is useful if you already have a
drive, or wish to use an SSD drive for even faster transfer speeds.
Ive been using the drive for a month or so now its travelled in my
bag, been on planes and gone out shooting along with my laptop and
I cant fault it at all. Obviously, Ive knocked and kicked it about far more
than Id normally treat a hard disk drive, but its still working perfectly.
As for the transfer speed, Ive been using it with the built-in
Thunderbolt lead to store and edit video and as a scratch disk in Adobe
Premiere. So far, its performed brilliantly all round.
If youre a photographer or
videographer who
regularly carries a
disk with you, or
you sometimes
nd yourself editing
in the eld in a
far-from-perfect
environment, I highly
recommend the G-Drive ev
ATC with Thunderbolt.
Richard Sibley
subscribe 0330 333
More great pictures

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More opinion
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45
Testbench
CAMERA TEST
At a glance
16.3-million-pixel, APS-C
X-Trans CMOS II sensor
ISO 200-6,400 (raw),
100-51,200 (JPEG)
2.36-million-dot
OLED viewfinder
3in, 920,000-dot tilting LCD
New 77-area AF system
8fps continuous shooting
499 body only
Fujifilm X-T10
Andy Westlake tests Fujifilms X-T10, which promises
the best bits of the popular X-T1 at a lower price
For and against
Traditional control dials
make shooting a pleasure
Where in the range
Fujifilm X-T1
Price 880 body only
Screen isnt touch-sensitive
The superb 16.3MP

X-T1 offers excellent
image quality
in a rugged
weathersealed body
with a huge array of
control dials
Limited ISO range in raw
Fujifilm X-A2
Sub-par video quality
Price 350 with

16-50mm lens
Excellent viewfinder
Compact, portable
body design
Fujifilms entry-level
CSC uses a 16.3MP
Bayer-type sensor in
a small body with
much simpler
controls
46
Data file
The X-T10 gives

attractive images
straight out of
the camera with
minimum fuss
ujilms DSLR-like X-T1

was undoubtedly one of
Sensor
16.3MP, APS-C X-Trans CMOS II
the standout cameras
Output size
4896x3264 pixels
of last year. With its
Focal length mag 1.5x
combination of excellent image
Lens mount
Fujifilm X
quality, dial-based controls and
Shutter speeds 30-1/32,000sec + bulb
a rugged, compact body design,
ISO
200-6,400 (raw), 100-51,200 (JPG) it earned numerous awards
Exposure modes PASM, auto
including our own Premium
Metering
Multi, spot, average
Compact System Camera of the
Exp comp
3EV in 1/3 steps
Year and our Reader Product of
Drive
8fps
the Year at the 2015 AP Awards.
Movie
Full HD at 60, 50, 30, 25 or 24fps Now Fujilm is trying to build on
Viewfinder
2.36-million-dot OLED, 0.62x mag this success with the launch of its
AF points
77-point hybrid AF
simplied little brother in the shape
Display
of the X-T10.
3.2in, 920,000-dot tilting LCD
The idea is clearly to offer
Memory card
SD, SDHC, SDXC
a sensible subset of the X-T1s
Power
NP-W126 rechargeable Li-ion
features in a camera that offers
Battery life
Approx 350 shots
a similar handling experience, but
Dimensions
118.4x82.8x40.8mm
at a lower price. To this end, the
Weight
381g (with battery and card)
X-T10 uses the same
16.3-million-pixel, X-Trans CMOS

II sensor (which includes on-chip
phase-detection pixels for
autofocus), alongside Fujilms
EXR Processor II. It has a
cosmetically very similar DSLRstyle design, with a centrally
mounted electronic viewnder
and tilting rear screen. Fujilms
signature dial-led control layout is
also present, including top-plate
shutter-speed and exposurecompensation dials (most lenses
have their own aperture dials).
What the X-T10 lacks in
comparison to the X-T1 includes
weatherproof construction, ISO
and metering-mode dials, and
some smaller renements such as
dial locks and a PC sync socket for
studio ash. The viewnder isnt as
big, offering 0.62x magnication
compared to the X-T1s vast

0.77x, while the SD card now slots
into the same compartment as the
battery rather than living under a
separate side-mounted door.
However, the X-T10 gains a few
new features commensurate with
its more entry-level target
audience. Theres a pop-up ash
that is cleverly hidden in the
viewnder housing and released
by a switch on the top-plate.
Another switch puts the camera
into its beginner-friendly Auto
mode, and allows access to
subject-optimised scene modes.
The X-T10 is also noticeably
smaller and lighter than the X-T1,
making it easier to carry around
with you all day.
Available in either a staid
all-black, or a rather attractive
silver-and-black design, the

X-T10s body-only price is 499.
Two lens kits will also be available,
with the XC 16-50mm f/3.5-5.6
OIS II for 599, or the premium
XF 18-55mm f/2.8-4 R LM OIS
for 799.
Features
The X-T10 offers an impressively
broad feature set, with a
specication that would have
looked outlandishly advanced just
a few years ago. The sensitivity
range covers ISO 100-51,200,
although raw-format recording is
frustratingly restricted to ISO
200-6,400. Continuous shooting
is available at 8 frames per
second, with continuous autofocus
during shooting.
Shutter speeds range from
1/4,000sec to 30sec plus bulb

with the conventional mechanical
shutter. However, a fully electronic
shutter allows the top end to be
extended to a staggering
1/32,000sec, allowing the use of
fast lenses wide open in bright
sunlight. The electronic shutter is
also completely silent, which is
great in situations where the clack
of a mechanical shutter would be
intrusive. It can potentially show
distortion with moving subjects,
though, and strangely it cant be
used with the extended ISO
settings. A menu setting allows
you to choose whether to use the
electronic or mechanical shutter,
or gives you the option of allowing
the camera to switch between the
two as required.
As wed expect, the X-T10
47
Testbench
CAMERA TEST
has built-in Wi-Fi for

connection to a smartphone
or tablet. This allows remote
control of the camera with a live
view display on the smart device,
which is perfect for shooting on a
tripod with, say, the camera at odd
angles. Its also possible to transfer
images to your phone for sharing
online. Fujilm hasnt included an
NFC chip for easy set-up, but its
implementation of Wi-Fi makes
connecting the camera to the
phone extremely straightforward

anyway, so this is no real loss.
Full HD movie recording is
available at up to 60fps and with
full manual control over recording.
The camera has built-in stereo
microphones, along with a 2.5mm
stereo socket for an external
microphone. A dedicated red
record button on the top-plate
initiates recording at any time, but
can be re-purposed to another
function if you prefer.
The new 77-area AF system allows the selection of focus-point groups
Autofocus
THE X-T10 comes with a new
advanced autofocus system,
which will also be available in a
rmware update for the X-T1 (as
Version 4). For static subjects
this employs Fujilms familiar
49-point grid covering most of
the frame, with the AF area size
selectable in ve steps to match
the subject. However, it adds
eye-detection AF for portraits,
along with two completely new
modes for continuous focusing
on moving subjects.
The Wide tracking mode uses
an expanded 77-point grid
covering effectively the entire
sensor. Its designed to follow
subjects moving across the frame
and keep them in focus. The
subjects expected starting point,
where the camera will initially
attempt to acquire focus, can be
set anywhere in the frame.
Group mode uses sets of AF
points positioned in a dened
area of the frame, and is
designed for when you wish to
maintain a specic composition.
When shooting at 3fps in CL
mode, its possible to select
between 3x3, 5x3 and 5x5
focus-point sets, and move them
48
almost anywhere in the frame. In

8fps CH mode the camera can
only use phase detection for
focusing, so youre limited to
selecting 3x3 or 5x3 groupings
in the centre of the frame.
With static subjects the X-T10
focuses quickly, silently and
accurately, especially with the
small 16-50mm kit zoom. It also
works well in low light, where you
might prefer to turn off the
blindingly bright autofocus
illuminator as its rarely needed.
Focus speed is, however, lens
dependent, and some of Fujilms
premium fast prime lenses such
as the XF56mm f/1.2R are
noticeably slower.
We havent yet had time to test
continuous focusing out fully, but
initial impressions are quite
positive. Its certainly a real
improvement over Fujilms
previous efforts, and promises to
make the X-T10 (and indeed the
X-T1) much better at shooting
moving subjects. Were aiming to
produce a more in-depth article
covering the real-world
capabilities of the new focus
system shortly, so look out for
this in the next month or two.
Screen and viewfinder

The X-T10s centrally placed
electronic viewnder is the same
2.36-million-dot OLED unit
previously seen on the X-E2, with
0.62x magnication and 100%
coverage. Its a really nice nder,
being bright and clear, and it
matches the optical nders on
most APS-C DSLRs for size. By
default the display gives rather
over-saturated colours, but this
can be adjusted in the menus.
However, the window is unusually
small, so you need to align your
eye with it perfectly to see
properly into the corners of the
screen. The information display
shows extensive exposure
information, including an
electronic level and live histogram,
and usefully it all rotates when
shooting in portrait format. An eye
sensor allows automatic switching
with the rear screen.
The screen itself is a 3in,
920,000-dot LCD that tilts
upwards by 90 for waist-level
shooting, and downwards by 45
for high-angle shots. However, like
all tilt-only screens, it becomes
much less useful when shooting in
portrait format. Its not touchsensitive, so it cant be used for
focus-point selection. Like the
viewnder, its great to use when
shooting and gives a clear view
of the subject.
Build and handling

With its boxy, high-shouldered
design, the X-T10 can look a bit
odd from some angles, but the
advantage is that it gives more
space for controls and more room
for your right hand to grip. Indeed,
with a cleverly sculpted front grip,
rear thumb hook and grippy
rubberised coating, the X-T10
feels impressively secure in your
hand for such a small camera.
A wide range of
lenses can be used via
adapters. This was shot
with the 300 Laowa
60mm f/2.8 Macro,
which is capable of
2x magnification
With die-cast magnesium-alloy

top and base-plates and
aluminium dials, build quality feels
solid enough, if not quite as
rugged as the weatherproof X-T1.
It is noticeably nicer than the
recently launched and broadly
similar Panasonic Lumix DMC-G7.
In use, the X-T10 behaves
rather like a simplied X-T1, which
of course is the whole idea. It is
based around traditional analogue
controls, with top-plate shutter
speed, exposure compensation
and drive-mode dials. Twin
electronic control wheels are
placed on the front and back of
the body, both of which can be
clicked inwards to function as
buttons. Theyre not entirely
convincing, with a somewhat loose
and imprecise action, and this
slightly detracts from the
White balance and exposure are both consistently well judged

Focal points
The X-T10 resembles a slimmed-down X-T1,
but with a few new features of its own
Flash release
Cable release
The shutter button
has a thread for
an old-fashioned
screw-in mechanical
cable release.
40.8mm
A lever next to
the drive-mode
dial releases
the built-in
pop-up flash.
experience of using the camera.

The shutter-speed dial
has timed positions from
1-1/4,000sec + bulb in wholestop increments, and intermediate
speeds can be selected using the
front electronic dial. Setting the
shutter-speed dial to the T position
allows the entire range from
1/32,000sec-30secs to be
accessed using the front electronic
dial. The drive-mode dial gives
access to panorama, multiple
exposure and bracketing modes,
alongside the more usual single
and continuous shooting. Less
conventionally, its also used to
access image-processing
advanced lters.
Aperture is normally set by
a ring on the lens, but certain
Fujinon lenses lack this control,
including the XC 16-50mm, which
is the cheaper of the two kit zoom

options. In this case, aperture is
set using the rear control dial,
which works ne but doesnt give
quite such a satisfying handling
experience. The XF 18-55mm
zoom does have an aperture ring,
along with a very useful stopfaster aperture, and would be our
kit of choice for starters, although
it does come at a 200 premium.
By default, clicking the rear dial
engages manual-focus aids and
switches between them. Alongside
magnied live view, the X-T10 has
a peaking display that highlights
in-focus edges of the subject,
along with Fujilms unique digital
split-image display. Clicking the
front dial switches between AF
area modes, but this can be
changed to suit your
preference. Indeed, its just
Hotshoe
Mode switch
This is compatible
with Fujifilms
external flash units
and third-party
alternatives.
When set to auto, the

mode switch gives
access to the simple-touse auto and subjectorientated scene modes.
Connectors
Battery
A spring door hides the Micro

HDMI, Micro USB and 2.5mm
stereo mic sockets. The Micro
USB port also takes Fujifilms
RR-90 remote release, and the
2.5mm socket accepts Canon and
Pentax-compatible remotes.
The NP-W125 battery

is shared with other
X-system cameras,
and gives around 350
shots per charge.
82.8mm
118.4mm
At higher ISO settings, the X-T10 gives strong colours and low noise
49
Testbench
CAMERA TEST
Lab results
Andrew Sydenhams lab tests reveal just how the camera performs
I converted this shot to monochrome using the in-camera raw processor
one of seven usercustomisable controls, along

with the top-plate video button,
the four buttons of the D-pad,
and an additional rear Fn button.
I assigned the D-pad to move the
AF area directly around the frame,
as I nd this gives a particularly
uid way of shooting when using
the electronic viewnder. The
directional keys themselves are
noticeably easier to nd and
activate by touch compared to the
X-T1s notoriously recessed and
spongy ones.
ISO sensitivity doesnt have its
own control, but can be assigned
to a function button, or set via the
on screen Q menu that gives quick
access to 16 user-selectable
settings. I assigned ISO to the
front control dial, meaning I could
click the dial in to activate the
setting, then rotate the dial to
change it. This works really well,
and personally I much prefer it
to the X-T1s awkwardly placed
locking ISO dial.
Performance
With the same sensor and
processor as other X-system
cameras going back to the
20-month-old X-E2, I wasnt
expecting any great surprises from
the X-T10 with regard to image
quality, and didnt really see any
either. On one level this is a good
thing, as it means you get Fujilms
signature lovely colour rendition,
via its lm-simulation modes that
are designed to mimic classic lm
emulsions. Personally, I prefer the
Astia/soft and monochrome +
red lter settings, but there are
plenty of other options to suit
different tastes.
However, weve seen equally
nice colour from the X-A2, which
50
uses a conventional 16MP Bayer

sensor, so we cant help wonder
what Fujilm might be able to
deliver using one of the latest
24MP Bayer sensors that give
excellent results in cameras like
the Nikon D7200. Crucially, the
raw les would be rather easier to
handle in third-party software.
These thoughts aside, the X-T10
generally performs very well in
practical use. Metering is usually
well judged, and because the
camera provides a live preview of
the exposure its easy enough to
apply any necessary compensation
without resorting to guesswork.
Auto white balance tends to work
well, although it can occasionally
drift towards a slightly cool
interpretation of the scene.
However, if you shoot raw, you
can always re-convert in-camera
using your preferred settings
without even having to touch
a computer.
High ISO image quality has
always been a Fujilm strength,
and the X-T10 accordingly
delivers really nice results up to
ISO 3,200 at least. One real
annoyance, though, is that raw
recording is limited to the ISO
200-6,400 range, and you cant
access the extended sensitivity
settings unless you have raw
disabled (and have also turned off
the electronic shutter option in the
menu). This is pretty infuriating
when shooting in low light with no
option but to boost the ISO, and
Id really like to see Fujilm make
raw les available at any setting,
just like every other brand. Along
with the ability to use your own
preferred noise reduction at high
ISOs, this would allow more
effective highlight recovery
at ISO 100.
WITH the same sensor and processor as other recent Fujilm

cameras such as the X-T1, the X-T10 gives much the same image
quality. This isnt a bad thing, as these cameras are capable of giving
very ne results, with particularly attractive JPEG colour output.
High ISO images tend to look very good too, with excellent noise
suppression and colour retention. But infuriatingly, Fujilm limits raw
format recording to ISO 200-6,400, so youre stuck with the
in-camera processing at higher sensitivities.
The unusual colour lter array also means that X-Trans image les
tend to look different to those from conventional Bayer cameras,
when viewed at the pixel level. Not all raw converters can handle the
raw les, either, although Adobe Camera Raw and Capture One can
both produce good results.
Dynamic range
Because of its X-Trans CMOS sensor, weve had to treat the X-T10 slightly
differently to usual in our Applied Imaging tests, and as a result the numbers
dont necessarily compare directly to conventional Bayer-sensor cameras. We
measure 12.4EV range at ISO 200, which gives plenty of latitude in exposure
and post-processing. This drops monotonously as the sensitivity is increased,
but even at ISO 3,200 we see a quite respectable 8.2EV range.
Resolution
JPEG ISO 100
32
JPEG ISO 6,400

26
JPEG ISO 400
30
JPEG ISO 1,600

28
JPEG ISO 25,600

24
JPEG ISO 51,200

22
The X-T10s 16.3-million-pixel sensor resolves essentially as much detail as

it possibly could in our test chart shots, at around 3,200l/ph at ISO 100. It
drops only slightly on raising the ISO, still achieving around 2,800l/ph at
ISO 1,600 and 2,600l/ph at ISO 6,400. Naturally, at the higher JPEG-only
sensitivity settings, noise has an increasing impact, and by ISO 51,200 it
reduces the resolution to just 2,200l/ph.
The competition
Our cameras and lenses are tested using the industrystandard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
Noise
Both raw and JPEG images
taken from our diorama scene
are captured at the full range
of ISO settings. The camera is
placed in its default setting
for JPEG images. Raw images
are sharpened and noise
reduction applied, to strike
the best balance between
resolution and noise.
JPEG ISO 100
JPEG ISO 400
Olympus
OM-D E-M10
Panasonic
Lumix DMC-G7
Sensor 16.1MP,
Four Thirds Live MOS
ISO 200-25,600
Price 400 body only
Sensor 16MP, Four Thirds MOS

ISO 100-25,600 (extended)
Price 600 body only
With its compact

DSLR-like design,
including a high-quality
EVF, tilting screen and
built-in pop-up flash, the
E-M10 is very similar to
the X-T10. It includes
in-body image
stabilisation that works
with every lens.
Panasonics latest
contender has a larger
body with a chunky
handgrip and fully
articulating screen. It
can record 4K video
internally, and includes
Panasonics 4K Photo
mode for extracting
high-resolution stills
from video footage.
Sony Alpha 6000

Sensor: 24.3MP, APS-C CMOS
ISO 100-25,600
Price 450 body only
The Alpha 6000 is a

technological triumph
that includes one of the
most sophisticated
autofocus systems weve
seen on any camera. It
can shoot at 11 frames
per second and
incorporates a
1,440,000-dot OLED EVF
in its rangefinder-style
body design.
Our verdict
JPEG ISO 1,600
JPEG ISO 6,400
JPEG ISO 25,600
JPEG ISO 51,200
At ISO 100 (which is only available in JPEG), the X-T10 gives an essentially
noise-free image, with good rendition of fine detail and attractive colour
(although highlights visibly clip). Switch to ISO 200, the lowest setting available
in raw, and the image quality is still excellent but theres more detail retained in
the highlights. Noise only really starts to have an impact at ISO 1,600, with
shadow detail starting to block up a bit. From this point onwards it has
increasing impact, but even ISO 6,400 gives quite acceptable results for less
critical purposes. The top three settings ISO 12,800 through to ISO 51,200
are only available in JPEG, and give very marginal results. Indeed, the top
setting is barely usable at all.
SO HAS Fujilms attempt to

make a cut-down version of
the X-T1 been successful?
Overall, Id have to say its
worked pretty well. While the
X-T10 obviously isnt quite as
desirable as its big brother, its a
sensibly considered camera that
ts most of the X-T1s best bits
into a simpler, more approachable
package. Indeed, in some respects
its actually nicer to use. The more
tactile D-pad makes it easier to
set the AF area to match your
subject, and ISO sensitivity can be
set up to be much quicker and
easier to change.
In typical Fujilm fashion, the
X-T10 delivers consistently
attractive JPEG les out of the
camera, which is great if you dont
want to spend all your time in front
of a computer processing raw
les. Its also a gateway to the
spectacular Fujinon lens range,
including such ne designs as the
XF 35mm f/1.4R and the new XF
16mm f/1.4R. Admittedly, many of
Recommended
these lenses are pretty pricey, but

Fujilm has started the process of
producing a range of cheaper,
slightly slower primes, starting with
a 35mm f/2 due later this year.
Crucially, if you compare the
X-T10 to its similarly priced
competition, its a very attractive
package indeed. For example,
compared to the Panasonic Lumix
DMC-G7, its smaller, feels better
built and offers a more engaging
user experience. Compared to the
ageing Sony Alpha 6000, you get
a more immersive viewnder and
more attractive JPEG output,
wrapped up in a DSLR-shaped
body design that enthusiast
photographers appear to prefer.
Even at its launch price, the X-T10
looks like great value for money.
For photographers thinking of
downsizing a bulky DSLR kit, as
well as for beginners making their
rst steps into an interchangeablelens system, it would be a great
entry point to the brave new world
of mirrorless cameras.
FEATURES
BUILD & HANDLING
METERING
AUTOFOCUS
AWB & COLOUR
DYNAMIC RANGE
IMAGE QUALITY
VIEWFINDER/LCD
8/10
8/10
8/10
9/10
9/10
9/10
8/10
8/10
51
at the heart of the image
FREE
SEMINAR
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KATE HOPEWELL-SMITH
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DERXWKHUSKRWRJUDSKLFSDVVLRQDQGWKDWLV
SKRWRJUDSKLQJSHRSOH6KHEHOLHYHV\RXFDQ
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2YHUWKHODVW\HDUVVKHKDVFKRVHQWR
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LVDOVRQRZRIIHULQJOPLQJRQ'6/5.DWHSOD\V
DQDFWLYHUROHLQWKHSKRWRJUDSK\LQGXVWU\DQGKDV
DUHSXWDWLRQDVDVWURQJDQGJHQHURXVWUDLQHU
she also writes for a variety of photography
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LENS TEST
Testbench
The shallow depth of field
in this shot was created
by setting the lens to its
maximum f/1.8 opening
Canon EF
50mm f/1.8 STM
Twenty-five years after the EF 50mm f/1.8 II was

launched, Canon has replaced its nifty fifty with
the new EF 50mm f/1.8 STM. Michael Topham
finds out if it represents a bargain at just 129
sk any Canon user what they think

Canons most popular lenses are,
and I can guarantee that most will
mention the classic EF 50mm f/1.8.
Not only is it the most affordable lens in the EF
line-up, its also well matched to a wide variety
of photographic genres.
Originally launched to replace the older EF
50mm f/1.8 in 1990, the EF 50mm f/1.8 II
has built up a good reputation for being an
extremely compact and inexpensive xedfocal-length standard lens. Not only does it
give a very natural looking perspective to
images when used on a full-frame DSLR, its
large aperture also allows users to easily
separate a subject from its surroundings by
creating a shallow depth of eld.
With the new EF 50mm f/1.8 STM, Canon
has looked to improve upon the old design and
modernise it by incorporating a Stepper Motor
(STM) for smoother and quieter autofocus.
The question is, has Canon been successful in
creating what appears, at rst glance, to be its

best inexpensive standard lens to date?
Features
It should be pointed out that being an EF lens,
the EF 50mm f/1.8 STM is fully compatible
with both Canon full-frame DSLRs and those
that employ an APS-C sensor. Coupled to the
latter and with the 1.6x multiplication factor of
an APS-C camera taken into consideration,
the EF 50mm f/1.8 STM becomes a highly
practical and creative short telephoto lens
thats equivalent to 80mm. To establish the
lenss optical performance across its full image
circle, I tested it coupled to a Canon EOS 5D
Mark III full-frame DSLR, with which it
offers a 46 diagonal angle of view.
Just like the two previous generations of
the lens, the EF 50mm f/1.8 STM employs a
six-elements-in-ve-groups arrangement. The
main difference in its construction is that it now
features seven rounded diaphragm blades, as
opposed to the ve straight blades used by its

predecessor. This means it should give more
attractively-blurred backgrounds at
intermediate aperture settings (f/2.8 - f/5.6)
than the 50mm f/1.8 II, which gives
pentagonal out-of-focus highlights that many
photographers nd rather ugly. It also has the
ability to focus closer, to 35cm (1.15ft).
The standout feature is the designation of
STM on the front of the lens that denotes it
uses Canons Stepper Motor technology, which
weve seen applied to a number of the
manufacturers lenses since 2012. Unlike the
more familiar Ultrasonic Motor (USM), a
Stepper Motor is better at producing the
precise incremental movements which are
required by contrast-detection autofocus in live
view. This is ideal for creating professionallooking focus transitions when recording video
and can also help to eliminate any obtrusive
operational noises that can potentially
ruin a soundtrack.
53
Canon has looked to

improve upon the old
design and modernise
it by incorporating
a Stepper Motor for
smoother and quieter
autofocus
more serious use, and the ner attention to
detail, such as the embossed Canon logo on
the top of the lens, is an improvement on what
was printed on the barrel before.
On close inspection youll notice there is
no focus-distance indicator as on the EF
50mm f/1.8, and the manual-focus ring sits
fractionally further back compared to the EF
50mm f/1.8 II. Theres a single switch on the
barrel to change between autofocus and
Taken at f/2.8, this shot combines shallow depth of field with an attractively-blurred background
manual focus, and with your left hand
supporting the lens you need to stretch your
Compared to previous incarnations,
if you own either of the older EF 50mm f/1.8
thumb around the barrel to reach it. The switch
this lens is signicantly quieter at focusing. or EF 50mm f/1.8 II lenses, and already have a itself is almost ush to the body and a better
Paired with a Canon EOS 70D that benets
number of 52mm lters, upgrading to this lens protrusion would inevitably improve operation
from Movie Servo AF, the lens focused
could incur additional expense with replacing
in winter months when many users might
smoothly from near to far subjects and vice
them. A more economical solution would be to resort to wearing gloves.
versa. However, its not wholly silent in
acquire a 49mm to 52mm step-up ring.
The lens is supplied with the newer centreoperation and some low-pitch whirring was
pinch style of lens cap, but if youd like the
Build and handling
traced in indoor movie footage when there
ES-68 lens hood to minimise are by
In keeping with its predecessors, the EF 50mm deecting stray light from entering the lens
wasnt enough ambient noise to cancel it out.
f/1.8 STM is a small and lightweight lens,
As is the case for all STM lenses, manual
while offering some additional protection from
focusing is the y-by-wire type whereby the AF weighing 30g more than the EF 50mm f/1.8 II.
Whereas the EF 50mm f/1.8 II has a highly
motor is activated by turning the focus ring.
plasticky feel in the hand something that
While using the lens to focus closely, it
earned it the nickname plastic fantastic the
became obvious that the optical unit extends
build quality of the newer lens is far superior.
forward by approximately 15mm, operating
Although still predominantly made of plastic,
across its full focus range with just over half a
the replacement of a plastic lens mount at
turn of the focus ring. In a similar fashion to its
the rear for a metal one has enhanced its
predecessors, it doesnt suffer from a rotating
front lens element, making it easier to use with durability, while the plastic thats used in the
construction of the barrel has a much more
polarising or neutral density gradient lters.
pleasing matt nish. When you pick up the lens
On the topic of lters, the EF 50mm f/1.8
and couple it to a DSLR, you immediately get
STM has a lter diameter of 49mm, rather
The lens is great for capturing incidental shots and
than the 52mm used on previous versions. So the sense that it has been made to withstand
is small enough to stow away in any camera bag
The centre of images are softer at f/1.8 than they

are at f/2.8. Centre sharpness improves
significantly as the lens is stopped down to f/4
Although still
predominantly made of
plastic, the replacement of
a plastic lens mount at the
rear for a metal one has
enhanced its durability
54
f/1.8
f/2.8
f/4
f/5.6
f/8
f/11
LENS TEST
Testbench
Canon 50mm f/1.8 STM

Resolution
Studying our lab results and sample images
meticulously revealed signs of softness in the
centre at f/1.8. However, stop down to f/2.8 and
youll notice that the centre immediately starts to
sharpen up. The edges of images are perceptibly
soft from f/1.8-f/2.8, but by the time you stop the
lens down to f/4 and f/5.6 corner sharpness
improves. Users who want to find the sweet spot
and achieve ultimate sharpness should use the lens
between f/8 and f/11. Close the aperture to f/16 or
f/22 and diffraction slightly softens the image.
f/1.8 at centre
f/8 at centre
f/16 at centre
f/1.8
f/1.8 at edge
f/8 at edge
f/16 at edge
f/4
Opening the lens to f/1.8 exhibits strong vignetting in the corners, but it disappears when you reach f/4
accidental impacts, youre required to spend

an extra 20. This brings the total cost to just
shy of 150 10 more than the Nikon
Nikkor AF-S 50mm f/1.8 G, which includes
a hood for the price.
Image quality
With an EF 50mm f/1.8 II residing in our stock
cupboard, we ran a few comparison tests and
found the results to be virtually identical. Just
like the EF 50mm f/1.8 II, the trade-off in
using the EF 50mm f/1.8 STM at its maximum
aperture is the critical sharpness it resolves in
its images, both at the centre and edges of the
frame. When fully opened to f/1.8, images
appear perceptibly softer than those taken with
the lens stopped down to f/2.8. Users shouldnt
disregard opening the lens fully and using it at
f/1.8 to create a super-shallow depth of eld.
Its just worth knowing that centre sharpness
and edge sharpness improve signicantly by
stopping the lens down a stop or two. To get
the very sharpest pictures, the ultimate sweet
spot is found between f/8 and f/11.
As one can expect from a fast prime,
vignetting makes an appearance when the lens
is used at its widest aperture settings. The
vignetting features a gentle fall-off thats rather
complementary to portraiture and subjects
where youd like to draw the viewers eye
towards the centre of the image. Closing the
aperture from f/1.8 to f/2.8 sees corner
shading gradually disperse, and by the time
you reach f/4 its unnoticeable.
Studying our images for chromatic
aberrations revealed some purple fringing
along high-contrast edges, but its very
indistinct and youll only know its there if you
go in search of it. Our distortion chart did ag
evidence of some barrel distortion towards the
corners, but youll be hard pushed to notice it
in your images unless you apply a lenscorrection prole and then compare it
back and forth with the original.
Our verdict
THE EF 50mm f/1.8 II has long been due
a replacement and the arrival of the EF
50mm f/1.8 STM has been met with great
interest from the Canon faithful. The addition
of the STM motor delivers a much quieter
performance, and although its not entirely
silent in operation, unless youre recording
video where theres no ambient sound its
not an issue that should be a concern.
Despite still being predominantly plastic, its
build quality and overall nish is in a different
league to the previous two versions. We
particularly like the smooth manual ring that
offers precise control for ne focusing
adjustments and that Canon has listened to
its users and reintroduced a metal mount.
So should you spend a bit more on the new
EF 50mm f/1.8 STM? Theres an argument
that since theres no
Data file
difference in terms of
sharpness, the EF
50mm f/1.8 II still makes Price 129
Filter diameter
a great buy. But when
49mm
you consider the
Lens elements 6
autofocus and buildGroups 5
quality gains from the
new lens its a small price Diaphragm blades 7
Aperture f/1.8
to pay for a signicantly
Minimum focus 35cm
better-made optic that
Length 39.3mm
will last longer.
Diameter 69.2mm
Weight 160g
Lens mount Canon EF
Shading
Shooting wide-open at the maximum aperture
(f/1.8) results in strong vignetting at the corners
and its a similar story at f/2 where you cant fail
to notice dark corners at the edges of the frame.
Stopping down to f/2.8 sees vignetting reduce
significantly, and although still present its not as
obvious in real-world images. Setting the lens to
f/4 and beyond sees traces of vignetting vanish.
Curvilinear distortion
As to be expected from a fixed-focal-length
standard lens, distortion is well handled. Our
distortion chart did show a little barrelling towards
the corners, but its by no means anything to be
concerned about and youll struggle to observe it in
real-world images unless you go looking for it.
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Technical
Support
E X PERT A DV ICE
A lot of modern DSLRs

push the boundaries of
ISO settings, with speeds
that would boggle the minds of
lm users, such as ISO 25,600.
However, is this at the expense of
slower speeds like 200 and 100?
Back in the day when the fastest
lms speeds were ISO 1,000 for
colour and perhaps ISO 1,600 for
black & white, we used to have
much slower speeds, like ISO 64,
ISO 50 and even ISO 25. I even
recall using a red lter on a
camera with ISO 50 in it, and
shooting at ISO 6!
Are we missing something by
going with even higher and higher
speeds, when we might get a
better picture with lower speeds?
Andrew S Redding
The rst question we

need to consider is how
having lower ISOs might
give better image quality.
Even relatively inexpensive
APS-C-sized cameras now
routinely use 24-million-pixel
sensors that are essentially
noise-free at ISO 100 or ISO
200. They also have excellent
colour accuracy and record
sufcient dynamic range for
3 or 4 stops of additional
shadow detail to be recovered in
post-processing. So exactly what
more would we be looking for
from an ISO 25 setting?
The relatively high base ISO
of current digital cameras
compared to old lms mainly
reects the fact that digital
sensors are very efcient at
converting light to an electronic
signal thats used to generate the
image. This means that they dont
need so much light, in much the
same way as the older slow lms
were superseded by faster
emulsions. This isnt something
thats really being traded off
against high ISO performance,
either instead, sensor makers
are gradually improving image
TIPS
T RICK S
quality at both low and high

sensitivities at the same time.
Shooting at low ISOs comes
with real inconveniences too,
often requiring the use of slow
shutter speeds that demand a
tripod, or larger apertures than
are ideal for the shot. This is
why the trend has always been
towards higher ISO sensitivities.
Theoretically, though, having
lower ISO sensitivities could
provide images with even higher
dynamic range and lower noise.
This would be of most benet to
cameras that use small sensors
(mainly compacts and
smartphones), allowing them to
come closer to matching SLRs for
image quality. But using a larger
sensor achieves this more easily,
so several compact cameras now
use 1in-type sensors, as does
the Panasonic Lumix CM1
smartphone/camera hybrid.
Andy Westlake
Developing old lm
I have an old Kodak

Verichrome Pan 620 lm,
which I have exposed in
a Box Brownie. Is Ilford ID-11
suitable for developing this lm, as
I would like to do it myself? If its
not, could you recommend
another developer?
Roger Chandler
Despite its age, a

datasheet for Verichrome
Pan is still available on
Kodaks website at www.kodak.
com/global/en/professional/
support/techPubs/f7/f7.pdf.
It recommends times for various
different developers, including
Kodak D-76, which is essentially
the same thing as Ilford ID-11,
so in principle you should be OK.
In summary, recommended
times are 8mins at 18C or
7mins at 20C.
With such an old lm, though,
its unrealistic to expect that
youll get perfect results. Chances
are youll get relatively thin,
low-contrast negatives,
HACK S
KNOW- HOW
ANDY WESTLAKE
ISO speeds
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), Blue Fin Building, 110 Southwark
Street, London SE1 0SU
Dense filters such as infrared work best with the camera in live view
Canon metering
When using my Canon EOS 700D, Im used to pressing

the release button halfway to see a preview of the shutter
speed and aperture selected by the metering system.
Recently, Ive been using some dense lters (infrared and ND)
and the exposure settings displayed with a half-button press
would result in wildly underexposed shots. If I use live view, I get
realistic exposure settings. Does this imply that there are two
different metering systems in operation and, if so, do they both
operate in the same selected exposure mode? I checked with
another Canon camera and found the same behaviour.
Robert Briggs
Your conclusion is correct here, Robert. Like all DSLRs,

your Canon EOS 700D uses different metering systems
depending on whether youre shooting with the optical
viewnder or live view, regardless of exposure mode.
When you use the viewnder, the camera employs a
metering sensor thats located within the viewnder light path.
Normally this works just ne, but when you place a strong lter
in front of the lens, the meter can get confused by stray light
entering through the eyepiece at the back of the camera,
resulting in underexposure. The remedy for this is to cover
the viewnder when metering.
Switch to live view and the mirror ips up, blocking off the
light path to the viewnder. This means that the camera is
unable to use the same metering system, so it switches to
working from the image sensor itself. Not only is this inherently
more accurate, but its also a completely light-sealed pathway,
so doesnt have any problems with strong lters. Because the
camera also adjusts automatically to deal with the low light
levels getting through the lter, live view is usually the best
way to work with neutral density and IR lters.
Andy Westlake
57
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Technical Support
although theres no harm
in giving it a try.
Andy Westlake
Not t for lm
I have a Fujilm
FinePix S5 Pro with
Sigma 28-105mm
Asph lens that works well on
my Nikon F3HP lm camera
Because of this, I bought a
used Sigma 18-50mm f/2.8
EX DC lens, but in the viewnder
of the F3HP it gives a round
image. Why wont this lens
work on the F3HP?
JA Barford
Your Sigma 18-50mm

f/2.8 is a DC lens thats
designed to work with
APS-C-sized digital sensors,
which are smaller than 35mm
lm. Taking the 1.5x crop factor
into account, it will effectively
behave like a 27-75mm zoom
on your Fujilm FinePix S5 Pro,

but the image circle doesnt
cover 35mm lm, which means
that the lens vignettes strongly
on your F3HP. It would be
extremely difcult to design
an 18-50mm f/2.8 zoom that
did cover full frame, and the
resultant lens would be immense.
So this is a design decision to
make a useful f/2.8 normal zoom
for digital SLRs.
The Sigma is a very decent
performer, and gives a very
l zoom range on APS-C

c meras, so if I were you
I d keep it afxed to your
S5 Pro and use the
28-105mm on your F3HP.
I n future, you want to
m ke sure that you only
b y lenses that will work on
b th cameras, youll need
t buy full-frame lenses.
S gma labels these DG
er than DC. For example,
if you were after a lens that
would work as a standard zoom
on your S5 Pro and as a
wideangle zoom on your F3HP,
the Sigma 17-35mm f/2.8-4 EX
DG HSM might be worth looking
out for second-hand.
However, the zoom range is
shorter than your 18-50mm, the
maximum aperture is smaller at
the long end and its a rather
larger, heavier lens with a
77mm lter thread.
Andy Westlake
HOW IT WORKS
I am
your
APO lens
Achromatic
Panasonic Lumix
DMC-FZ1
Ian Burley profiles
this pioneering
bridge camera
LAUNCHED October 2002
PRICE 300
GUIDE PRICE TODAY 75
PANASONIC had only launched
its Lumix consumer stills camera
brand a couple of years earlier,
but it was the DMC-FZ1 that
made everyone take notice. The
FZ1 would prove to be the rst in
a long line of impressive Lumix
bridge cameras.
Whats good The FZ1 was, for its

Apochromatic
Apochromatic lenses use a group of three lens elements to reduce colour fringing (as above)
YOU may have seen my name on your lens, but

usually I am an anonymous design feature. I am
an APO or apochromatic lens.
A fundamental problem with camera optics is
that the light that forms the image on the lm or
sensor comprises a range of wavelengths.
Uncorrected, using a simple lens design, these
different wavelengths focus at slightly different
distances relative to the lm or sensor plane. This
results in soft images and chromatic aberrations
where details in the image break up into rainbow
colours. This is called colour fringing. Lens
designers have fought to keep this property of
light under control for many years and I am one
of the more sophisticated solutions.
The simpler solution is to combine two lens
elements into a group that accurately focuses two
primary wavelengths, for example red and blue.
This is an achromatic design. Its inexpensive,
simple and brings tangible benet, especially for
BLAST FROM THE PAST
black & white photography. But the job is not

entirely done, as a third primary colour
wavelength, green, for example, will remain
uncorrected. This is where I come in as an
apochromatic lens, typically using a group of three
lens elements, each having carefully matched low
optical dispersion properties to accurately focus
red, green and blue light.
Achromatic lenses have been around for over
100 years, but apochromatic lenses have only
been widely used in more recent decades. APO
marked on a lens, in theory, identies it as an
apochromatic design, but manufacturers have also
used the term as a marketing tool to identify a lens
as a high-performer even if reviews sometimes
contradict this claim, while other lenses not
claimed to be APO can garner rave reviews.
Apochromatic designs are usually found in
high-performance telephoto lenses and,
unsurprisingly, in telescopes.
time, compact and distinctive,

combining retro design cues
with modern looks. Its 12x
35-420mm Leica-branded DC
Vario Elmarit zoom lens boasted
a constant aperture of f/2.8
throughout the zoom range, plus
optical image stabilisation and
excellent lens performance.
With its lithium-ion rechargeable
battery, power stamina wasnt
the major issue as it was with
rival models use of AA batteries.
The FZ1 is a landmark camera
and deserves to be a collectors
piece as it is quite rare.
Whats bad The 2MP sensor

means print size is limited. ISO
speed sensitivity is also limited to a
maximum of 400. It has a
low-resolution electronic
viewnder and a tiny lowresolution 1.5in rear LCD screen.
Theres no manual exposure
mode and video is limited to
QVGA and ten frames per second.
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MATT EMMETT
Technical Support
In the
The latest
photography kit
and technique at
your ngertips
bag
By day Matt Emmett

is a designer at a toy
company, but at night
he photographs
abandoned and
derelict structures
across the world. Visit www.
forgottenheritage.co.uk
3 Legged Thing Brian
IR-converted Canon EOS 7D
Pentax K-3
love its lightness, and ease and

1 Ispeed
of use as I can drop it to
full height and lock it in seconds. It also
folds to a very compact size. Ive used it
with a Pentax K-3 and even a Pentax
645Z medium-format camera.
Canon EOS 7D was the DSLR I

2 The
was using prior to the Pentax K-3.
After upgrading I decided to use it more
creatively instead of selling. Protech
Photographic in East Sussex has just
converted it to a 720nm internal filter.
This is one of the best APS-C

DSLRs around and ideal for my
shoots. Tough and durable, with weather
sealing, it gives fantastic results and
noiseless gradations from the midtones
into the shadows. The K-3 II is out now.
More great
pictures
More technique
More opinion
More inspiration
Download online,
3
5
enjoy ofine
Buy from the comfort
of your own home
Available the day
the magazine goes
on sale
Missed an issue?
Simply download a
back copy
Try it today
HD Pentax-DA 20-40mm f/2.8-4 ED Limited DC WR
Scurion 1500 headlamp
This is a fantastic all-round lens. Having such great

optics and variable focal lengths all packed into one
lens is as good as a carrying a few different primes with you,
but thankfully it leaves a lot more room in your bag. Its
sharp throughout its entire range and there is an almost
total lack of chromatic aberration present. Id say that its
my most used lens by far.
I often shoot in gloomy environments sometimes in

pitch-black where good-quality lighting is essential.
Prior to getting into photography I was a caver and used the
Scurion 1300 lamp on my helmet. I then started using it for
my photographic subjects as its brightness and wide beam
settings are ideal. I use the Scurion 1500 with the camera on
the bulb setting fixed to a tripod and walk around the scene.
www.amateurphotographer.
co.uk/digital-edition
61
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Nikon D7200 with

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18-55mm VRll 635* 18-105mm VR Lens
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18-55mm IS ll 319* 18-55mmSTM 499* Above + 55-300mm VR.............539* D5500 with18-140mm VR........779*
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Above + 55-250IS Mk II Lens..............489* Above + 55-250 IS Mk II Lens............679*

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1200D Body Only........................................249* 700D Body Only...........................................399*
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Above + Sigma 70-300 APO..469* Nikon D5500 Body Only...............549* D7200 + Sigma17-50 f2.8.1139*
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GX7+14-42mm 449*
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PowerShotSX610HS179*
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30mmf1.4A...................................................369
35mmf1.4DGAHSM.................................699
EOS M3 + 18-55 IS.STM..569* 50mmf1.4DGAHSM.................................649
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85mmf1.4EXDGHSM..............................635
105mm f2.8 EX DG OS HSM Macro......379
EOS750D+18-55IS.STM.599 150mmf2.8EXDGOSHSMMacro......665
EOS750D+18-135STM...879 180mmf2.8EXDGOSHSMMacro..1179
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EF-S 24mm f2.8 STM.....................139* 17-50mm f2.8 EX DC OS HSM ......309
EF-S 10-18mm IS. STM.................195* 17-70mm f2.8/4 DC Macro OS HSM.....329
EF16-35mmf4L.IS.USM.................729 18-35mmf1.8DCA...................................625
EF-S18-55mmIS.STMUnboxed..128 18-200mmf3.5/6.3DCC...................265
EF24-70mmf4L.IS.USM.................695 18-250mmf3.5/6.3DCOSMacro.....299
EF-S 55-250 f4/5.6 IS.II...................185 18-300mmf3.5/6.3DCCOSHSM.....389
EF-S 55-250 f4/5.6 IS.STM..........215* 24-70mmf2.8EXIFDGHSM.................599
EF70-200mmf4L.IS.USM..............865
EF70-200mmf2.8L.IS.USM......1529 24-105mmf4AOSHSM(Can/Nik).....645
EF70-300mmf4/5.6MKIII................99 50-500mmAPOEXDG(Can/Nik).......999
EF50mmf1.8Mk2..................................89 70-200mm f2.8 APO EX DG OS....749
EF50mmf1.8STM................................119 70-300mm f4/5.6 APO DG Mac II.....159
EF 85mm f1.2.L.USM.II...................1399 120-300mmf2.8EXDGOSS............2579
EF135mmf2.0.L.USM.......................719 150-600mmf5/6.3DGOSC..............899
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150-600mmf5/6.3DGSOSHSM...1499
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14mmf2.5Mkll..........................................................309
20mmf1.7Mkll(BlackorSilver) (Un-Boxed).199
20mmf1.7Mkll(BlackorSilver)..........................279
30mm f2.8..................................................................279
42.5mm f1.7 (Black or Silver)............................329
7-14mm f4.................................................................829
12-32mm f3.5/5.6...........................................269
12-35mmf2.8..........................................................829
14-42mmf3.5/5.6MkllHD(Un-Boxed)........129
14-140mmf3.5-5.6O.I.SHD..........................499
35-100mmf4/5.6..................................................269
35-100mm f2.8......................................................889
45-150mm f4/5.6.................................................215
45-200mm f4-5.6 ...............................................259
100-300mm f4-5.6.............................................415
Leica15mmf2.8.......................................................469
LeicaSummilux25mmf1.4ASP........................415
LeicaElmaritDGMacro45mmf2.8...................549
Now With 2 Year

Warranty
(See web for Details)
D3300 +18-55VR II Lens.......................379*

D3300 + 18-55VR II + 55-200VR ll........529*
*Less 30 Cashback
D5300+18-55VRIILens.......................529*
D5300+18-55VRII+Sig70-300APO ...679*
D5300+18-140mmVRLens.................669*
*Less 50 Cashback
D7100+18-105mmVRLens..................849
D7100BodyOnly..................................699
D750BodyOnly..................................1629
D750+AF-S24-85mmVR....................2095
D750+AF-S24-120mmVR..................2249
AF-S 20mm f1.8 G ED.....579 AF-S35mmf1.8G................159
AF-S 35mm f1.8 G ED.....395 AF-S50mmf1.8G................159
AF-S 85mm f1.8G.............365 AF-S40mmf2.8 Mac..........195
AF-S105 f2.8 VRMacro....629 AF-S 14-24mmf2.8G....1299
AF-S17-55mm f2.8 G1019 AF-S18-35GED..................499
AF-S18-200G VRll..........589 AF-S18-300GVR............529**
AF-S24-70f2.8GED...1225 AF-S24-120GVR...............729
AF-S 55-200 G VR II......259* AF-S55-300GVR...............265
AF-S 70-200mm f4 VR.899 AF-S70-200 f2.8VR......1575
AF-S 80-400mm f4.5/5.6EDVR................................................1869
* Less 20 Cashback
**Less 50 Cashback
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H5 7#M .? <<<<<<<<<<<< E8A6
H5 7#M 32 <<< E866CH66
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/H5 7#M .?74%<< E8B6
/H5 7#M 3 2<<<<<<< E8,6
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8&O H<&<<<<<<<<<<<<<<<<<<<<<<<<<< EH66
GOO ,<+ 7L <<<<<<<<<<<<<<<<< E866
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G 7#M <<<<<<<<<<<<<<<<<<<<<<<<< E8H6
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8, H<+ <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<E8B6
8,/,H G<+C+<B <<<<<<<<<<<<<<<<<EA6
8,/,+ G<+C+<B <<<<<<<<<<<<<< E8,6
8,/8,O ,C+<& <<<<<<<<<<<<<<< EHA6
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8A/AO , / 7L <<<<EG,6
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H&/6O G<+C+<B <<<<<<<<<<<EB6
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8O/HO ,C+<B <<<< EHG6
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8A , 0@.%M% /<<<<<<<<< EGB6
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H&/&O G<+C,<+ <<<<<<<<<<<<<<<<<E,6
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B,+ 7#M = 05@%?F <<<<<<< E866
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89
Photo Critique
Final Analysis
Roger Hicks considers
Poem #91, 2013, by Boris Eldagsen

BORIS ELDAGSEN
oris Eldagsen deliberately

leaves his Poems open to
interpretation. They are all
very different, as you can see if
you visit www.eldagsen.com. They seem
to communicate, but it is not always clear
exactly what they communicate. We dont
all get the same message from a poem, so
why should we all get the same message
from a picture?
Think of Blakes Jerusalem, written
as a savage attack on materialism and
industrialisation. Then, once set to stirring
music, it became a song of hope: Englands
second, unofcial national anthem. By
the same token, what do you (I) get from
Poem #91? Hope? Despair? Peace?

Loneliness? Transience? Timelessness?
What music (or what texture of silence)
do you hear in your head? After we die,
Yama, Lord of Death, is reputed to hold up
his mirror to reect back at us all that we
have done in our lives, good and bad. This
is such a mirror, but for the living.
When we rst discussed using one of his
pictures, and before Id decided which one,
I said to Boris, Either you can tell me all
about the picture, and Ill relay it to the
readers, or I can talk about it without any
input other than the picture. Which would
you prefer? As I expected, he said, The
latter. Its a poem. So, I dont know how he
set the image up. I deliberately didnt ask

when he took it. I dont know if it was
prompted by something he had seen, or
whether he invented the whole scenario. I
dont know if the person in the wheelchair
is actually able-bodied. I dont know what
camera or lens he used. I dont know
what you will take from this picture.
Im not even sure what I take from it.
When we look at a picture like this, how
far are our responses verbal, how far
visual, how far emotional and how far
unclassiable or impossible to analyse?
Can the form of a poem be appropriated
for a photograph? This picture
demonstrates, I think, that it can.
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 website
at www.rogerandfrances.com). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Alfred T Palmer
90
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