Amateur Photographer – 5 December 2015

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Passionate about photography since 1884

Saturday 5 December 2015

TESTED

G I F T G U I D E

2 4 I D EA S for e ver y budge t and pho tographer

BACKYARD SAFARI Capture incredible wildlife photos in your own garden

Minimal drama How to keep it simple for dramatic results

Sigma 20mm f/1.4The best wideangle lens for your

Canon or Nikon DSLR?


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7da s A week in photography

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In this issue10 Back-garden saari

Richard Peters revealshow you can takeadvantage of the wealthof wildlife in your garden

19 How to use your ree gif

Tips on how to use yourgrey, white and blackcards free with this issue

20 Austin’s powers

Luke Austin, InternationalLandscape Photographerof the Year 2015, shareshis winning tips withTom Smallwood

26 Wildlie watch

A knot roost is animpressive spectacle, andDavid Tipling offers advice

on how to capture it30 Notes rom a small island

Quintin Lake explains hisfive-year mission to walkand document Britain’sdiverse coast

40 Evening classMartin Evening sorts outyour photo-editing andpost-processing problems

45 Sigma 20mm

/1.4 DG HSM |

ASigma has created aworld first with its latestwideangle prime lens.Michael Topham findsout how it performs

48 Gifs galore

We’ve more than 20Christmas gift ideas atprices to suit all budgets

Regular 3 7 days17 Inbox34 Reader portolio38 Photo insight42 Accessories55 Technical support82 Final analysis

During the summer I spend asmuch time as possible in thegarden. I use any excuse to be

out there, and I’m alwayssurprised by the amount of

wildlife in my humble suburban plot. There’sthe occasional insect that I haven’t seen before,the robin that patrols the area, the flocks of bluetits on the hunt for food, the fox that jumps overthe fence at night, the noisy parakeets thatmake me forget I’m in South London, not to

mention the squirrels that dig up my lawn. With winter drawing in I’m missing the

garden, so I’m getting ready for spring by

building a few features to make it great tophotograph wildlife. First is a bird bath that will look like a natural feature.

There is plenty you can do to photograph the wildlife in your garden or local park, and onpages 10-15 Richard Peters talks us through his backyard safari and how you can embark on your own. Richard Sibley, deputy editor

Send us your pictures If you’d like to see your work published inAmateur Photographer , here’s how to send us your images:Email Email a selection of low-res images (up to 5MB of attachments in total) to [email protected] .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 18.Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 18.

C O V E R P I C T

U R E S © L

U K E A U S T I N A N D R I C H A R D P E T E R S

ONLINE PICTURE OF THE WEEK

© A

D R I A N C L A R K E

I M A G E S M A Y B E U S E D F O R P R O M O T I O N P U R P O S E S O N L I N E A N D O N S O C I A L M E D I A

‘This image was taken on a mistymorning over Doxey Marshes,a local nature reserve managedby Staffordshire Wildlife Trust,’ saysAdrian. ‘I often ride through on my

way to work to see what’s around.I had hoped for a shot like this aftertaking a similar image of a tuftedduck, but on this day I was lucky thatall the conditions came together –the mist, the perched cormorant,the stillness of the lake and mebeing there! I wanted to capturethe solitude and serenity of a mistymorning on the marshes and showthe wildlife in its environment ratherthan filling the frame.’

You can visit Adrian’s Flickrat www.flickr.com/photos/92460969N05.

All By Myself by Adrian ClarkeCanon EOS 7D, 150-600mm,1/320sec at f/6.3, ISO 250

ach week we choose our avouritepicture on Facebook, Flickr or

the reader gallery using #appicoftheweek.PermaJet proudly supports the online pictureof the week winner, who will receive atop-quality print of their image on the finestPermaJet paper. It is important to bringimages to life outside the digital sphere, so we

encourage everyone to get printing today! Visitwww.permajet.com to learn more.

in


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Mexican crime photos ‘treasure trove’A photographer who found atreasure trove of Mexican crimephotos from the 1950s haspublished more than 100 in abook. Stefan Ruiz saw the photosin a market in Mexico City.Mexican Crime Photographs fromthe archive of Stefan Ruiz costs£25. Visit ww w.gostbooks.com.

DxO updateImage enhancement specialist DxO has announced a softwareupdate to support a range of new cameras. DxO OpticsPro v10.5.2

supports seven new modelsincluding thePanasonic LumixDMC-GX8, Pentax645D, PanasonicLumix DMC-TZ70(pictured) and iPhone6s. To download, visitwww.dxo.com/us/dxo-one.

IS project underwayArchaeologists battling to saveancient sites from destruction

by Islamic State have createdthe first 3D images fromcameras sent to volunteers inthe Middle East (see AP News ,19 September). The team plansto capture up to 20 million 3Dimages of ‘at-risk’ objects andarchitecture by the end of 2016.

Stunning Sony awards photosStunning photos from the 2016 Sony World

Photography Awards have been revealed.Amateurs have until 5 January 2016 to enterthe Open category, while the Professionalsection closes a week later. The judgesinclude Emma Lynch, picture editor at theBBC global news website, and Fiona Rogers,global business development manager atMagnum Photos. Visit ww w.worldphoto.org/about-the-sony-world-photography-awards.

McCurry escapes Paris terror attacksRenowned photographer SteveMcCurry has told how he feared

for his life amid the attacks atthe Stade de France in Paris on13 November. McCurry was atFrance’s national stadium whenexplosions occurred outside.Speaking to CBS News , he said:‘It was a stampede of peoplerunning and screaming and Ithought I was going to die… I wasgetting pushed to the ground…’

4 5 December 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

Freelensing Freelensing involves taking the lens off your

camera, holding it up to the lens mount (by no

more than a ew millimetres) and angling the lens

away rom the camera body a little, so it’s possible

to shif the ocal plane in weird and wonderul

directions. I you want to try it out, you’ll need a

prime lens (standard to moderate telephotos work

best), but you can mix and match brands, as thelens and camera don’t have to be attached. It can

even work to your advantage – some people preer

Nikon primes on a Canon DSLR, or instance, as the

ange ocal distance is different. I you plan to try it

out, there isn’t really any difference in technique

regardless o the system you’re shooting, although

you may experience the odd quirk.

1Every movement of thelens will alter focus, soshoot in continuous mode

to boost your chances. With thecamera set to manual mode, dialin the maximum aperture of thelens and then set the correctshutter speed for the scene.

2Set the maximumaperture on the lensand set focus to infinity.

Find focus by gently tilting thelens back and forth rather thantrying to manually adjust focusone-handed. Once that’s alldone, you’re ready to detach.

NEWS ROUND-UP

WEEKEND PROJECT

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0 1 5 P I E R R E S U U

© R E N G G A M A R A N T I C A

© I S T O C K P H O T O . C O M

/ J O E L C A R I L L E T

© U N K N O W N P H O T O G R A P H E R C / O S T E F A N R U I Z

The week in brief, edited by Chris Cheesman

© D A V I D C

L A R K


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3Movements of a fewmillimetres will make abig difference to the

plane of focus. Tilting the lens tothe right will mean the left sideof the frame retains focus, tiltingdown will mean the top arearetains focus and so on.

4Be aware of dust. Havingthe sensor exposedcarries with it the risk of

dust incursion, and this ismagnified the further away youmove the lens, so try to keep theamount of time your sensor isexposed to a minimum. ©

P H I L H A L L

A photographis a moral

decision takenin one eighthof a secondSalman Rushdie

Author

b 1947

While there have beenseveral headline-grabbing

stories of 2015 (phone hacking,the refugee crisis, Charlie Hebdo),perhaps the one that will come to

dominate the annals of this year’shistory will be the terror attacks inParis on Friday 13 November. Thehorrific attacks left 129 peopledead and hundreds injured. In thefollowing days the world attemptedto come to terms with not just theloss of life, but also with the realitythat we’re facing an enemy we stilldon’t fully understand. On Monday16 November the Eiffel Tower wasilluminated in blue, white and red inhonour of the victims, as shown inthis image by Pierre Suu. Othercountries followed suit in support ofFrance by illuminating significantbuildings in the colours, as well asobserving a one-minute silence.

BIG

picture

£300Panasonic’s maximum cashbackpledge on 4K cameras until6 December 2015. Visit www.panasonic.co.uk/promotions

Paris turns blue, white

and red for the victims

of terrorist attacks

Words & numbers

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 5 December 2015 5

Want to experimentwith a different technique? Tryfreelensing


6/846 5 December 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

AP READERS havea rare opportunity

to meet renownedphotographer SteveMcCurry – and get asigned copy of his latestbook – as he discusseshis love affair with Indiaon 8 December 2015.

The award-winningphotographer will talkabout his long-standinglove and commitment torecording India’s wondrousdiversity with AP EditorNigel Atherton at theBarbican Theatre, London.

McCurry has returned toIndia over 80 times sincehis first visit in 1978.

This is a rare chance tohear the internationallyrenowned National

Geographic and Magnumphotographer present hislatest body of work.

The event is being held ina tie-up with Nikon Schooland Phaidon Press.

Entry will be from6:15pm. Tickets cost£40, which includes acopy of Steve’s book.Visit www.nikon.co.uk/training/booking.

Chance to meetSteve McCurry

Brazil’s homeless turn

to street photography ORGANISERS of a photography project thatfocused on London’s homeless have taken their

groundbreaking concept to the streets of Brazil aftersparking interest in similar schemes worldwide.

Café Art, which connects homeless people with thewider community, has for the past three years focusedits attentions on a London-based calendar.

Earlier this year, the 2015 ‘My London’ projectwent viral after Amateur Photographer’s coveragetriggered interest from as far afield as Hong Kong,Australia and Thailand. It was also covered by The

Today Show in the USA.A subsequent Kickstarter campaign to fund printing

costs stunned organisers after it unexpectedly raisedmore than £17,500 from over 850 backers.

Buoyed by the calendar’s success, Café Art directorPaul Ryan travelled to São Paulo in Brazil, where he ran

a similar project. Ryan was part of a UK delegation puttogether by With One Voice – an organisation that workswith Brazil’s arts and homeless sector in the run-up tothe 2016 Olympic Games in Rio de Janeiro.

Launching the street photography project on the CaféArt website, organisers said: ‘Following the success ofour Kickstarter campaign this year, Café Art had beeninundated with requests for advice on runningphotography contests and calendars.’

The ‘My São Paulo’ mission saw 100 Fujifilm single-use film cameras handed to people affected by

homelessness, with help from the UK’s RPS.Participants were asked to photograph their city over

two days, with the best photos to be chosen for anexhibition and calendar.

Among those who took part was Rudnei Barbosa, whotook a photo called ‘Feet on the Ground’ (top left), of hisfeet and sandals on the street, to deliver a message.

Barbosa told project organisers that the image ‘alludesto the Brazilian people, always dreaming… but to achieveyour goals, you need to set aside the illusions and putyour feet on the ground’.

Matheus Leandro Barbosa took a portrait (left) of ahomeless man sitting on a pavement in Glicério, aborough of São Paulo known for its high number of

homeless people.‘The money raised here will go 100% to art projects

run by homelessness-sector organisations in São Paulo,’Café Art’s Paul Ryan told AP. ‘While it was paid for by WithOne Voice and The People’s Palace Projects [charity],the money will go directly to the Brazilian projects.’

The calendar will be launched at the São PauloHuman Rights Festival on 10 December.

Arts lover DinoJosé said theunnamed dog isowned by a fruitand veg seller

Rudnei Barbosadescribed thecontest as a‘positive’ step

Cristiano Vicentewas drawn by

these reflections

This housereminded Diogo

Virolli of hisformer home

© S T E V E M C C U R R Y

Visit amateurphotographersubs.co.uk (or see page 36)

Subscribe to

SAVE42%

*

* when you pay by UK Direct DebitA portrait of a homeless man on a pavement in Glicério

© M

A T H E U S L E A N D R O B A R B O S A

© R

U D N E I B A R B O S A

© D I O G O V I R O L L I

© C R I S T I A N O V I C E N T E

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I N O J O S É


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LEICA has revealed a new full-frameM camera, which dispenses with

video recording and live view in a modelcosting £4,050.

The Leica M (Typ 262) joins the LeicaM and M-P (Typ 240) and Leica MMonochrom (Typ 246).

Leica said: ‘The new M Typ 262)


Wolf Conservation TrustThe Wolf Conservation trust has ten wolves including Arctic,European and north-western wolves. Open on Wednesdays, thereare guided tours and talks throughout the day and you can evensee feeding at 2pm. No booking is required and you pay on the day.

Enchanted ChristmasWestonbirt has one of the most

beautiful collections of trees in theworld and on Friday, Saturday andSunday evenings throughout Decemberthe trees will be lit up with artificiallights. It’s a great trip forphotographers and all the family.

Bill BytsuraNew York-based photographerBill Bytsura is looking forKickstarter funding. Pitch inand help him produce a bookof black & white imagesdocumenting the people andstories behind the AIDS activistmovement from 1989-1998.

David HurnVisit the Magnum Print Roomat 63 Gee Street, London EC1V3RS and take in the workof influential Magnumphotographer David Hurn.The exhibition is a fantasticcollection of some of thephotographer’s work.

RSPB Health WalkTake some inspiration from nature with ahealth walk around the RSPB North WarrenNature Reserve, which should also offergreat photo opportunities. Meet at 10.30amon the green beside Thorpeness Meare,Suffolk. Dogs are allowed on a short leash.

BERKSHIRE

KICKSTARTER LONDON

EAST ANGLIA

GLOUCESTERSHIRE

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I L L B Y T S U R A

© D A V I D H U R N / M A G N U M P H O T O S

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K W O R L D C O N S E R V A T I O N T R U S T

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O H N R I C H A R D S O N

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U R P L E E L L A

Wednesday 9, 16, 23, 30 December or 6 January, www.ukwolf.org

www.kickstarter.com(search for ‘Bill Bytsura’)

Until January 29,www.magnumphotos.com

Wednesday 9 November,www.rspb.org.uk/northwarren

Until 20 December, www.forestry.gov.uk/westonbirt-christmas

The most interesting things to see, to do

and to shoot this week. By Oliver Atwell

Leica launches new M camera

Paris galleries respond to terror attacks

AS WE went to press,

dozens of galleriesacross Paris were set to join forces to stage specialexhibitions in response tothe 13 November terroristattacks that forced theParis Photo art fair toclose early.

This year’s Paris Photowas set to feature 173exhibitors and include thework of 1,258 artists –among them famedphotographers AnselAdams and Diane Arbus.

But the atrocitiesbrought an early end tothe fair, which was forcedto close its doors in theweekend after the attacks.

Organisers say manygalleries pledged to hostspecial exhibitions ofwork from the show on28 and 29 November.

In a statement, ParisPhoto said it shares the

‘general disappointment ofthe closing of the 19thedition of Paris Photoafter only three days,which were to beannounced as the mostsuccessful to date’.

Organisers added:

‘Because such eventscannot and must notdeprive us of the mostimportant cultural events,at the initiative of theGalerie Alain Gutharc,

and with the immediateparticipation of the GalerieLes Filles du Calvaire andFrançoise Paviot galleries,a number of Parisiangalleries invite thepublic to discover theirexhibitions in their private

venues where theartworks will be displayedas they had beenimagined for ParisPhoto 2015…

‘This will be the

occasion for collectorsand photographyaficionados, who did nothave the opportunity tovisit the fair at the GrandPalais, to discover theseexceptional artworkswithin their galleries.’

For the latest news visit www.amateurphotographer.co.uk

The Leica M (Typ 262) is ideal for‘available light situations’

Get up & go

Lee Friedlander’s photograph ‘Lake Louise, Canada’,2000, was on show in early November at Paris Photo

represents Leica M photography inits purest form, concentrating on the

most essential features, combined withintuitive handling and discreet styling.

‘This allows users to focus onthe fascination of M photographyand, ultimately, on capturing thedecisive moment.’

Leica added: ‘As with the otherdigital-M cameras, the Leica M(Typ 262) features a high-resolution CMOS full-frame

sensor, designed exclusively forrangefinder photography, butexcludes video recordingand live view.’

The Leica M (Typ 262)is due out now.

© L E E F R I E D L A N D , C O U R T E S Y F R A E N K E L G A L L E R Y , S A N F R A N C I S C O A N D E R I C D U P O N T G A L L E R Y ,P A R I S



New BooksThe latest and best books from the

world of photography. By Oliver Atwell

Dench Does Dallasby Peter Dench, The Bluecoat Press,£55, hardcover, 176 pages,ISBN 978-1-90845-729-5

PETER Dench is no stranger tothe oddities of everyday humanlife. Look back through hisimages and you’ll soon seeyourself confronted by theborderline absurdity of our

ordinary lives. More thananything, Dench is able to draw out the humour, andthat’s the key to his new volume Dench Does Dallas.Dench usually focuses his attention on the UK, buthere he’s turned his lens to the USA’s Dallas, Texas,and he’s quite clearly in his element. The garish,overwhelming and at times heavily politicised cityprovides ample fodder for his images. The book actsas a visual travelogue of the photographer’s journeyand often you feel like you’re next to him, drinking inthe weird atmosphere. If you’re a fan of reportage,this is a great purchase.+++++

T H E V I E W S E X P R E S S E D I N T H I S C O L U M N A R E N O T

N E C E S S A R I L Y T H O S E O F A M A T E U R P H O T O G R A P H E R M A G A Z I N E O R T I M E I N C .

( U K )

Do you have som ething you’d like to get off your chest

Send us your thoughts in around

500 words to the address o n page 18 and win a year’s digital subscription to AP wor th £79.99

Brooklyn: A Personal Memoirby Truman Capote and David Attie, The LittleBookroom, £19.81, hardcover, 108 pages,ISBN 978-1-93694-111-7

BACK in 1958, the greatwriter Truman Capote pennedan essay detailing his loveaffair with Brooklyn, NewYork. David Attie was thephotographer who was taskedwith illustrating the article.Flash forward to 2015 and

we’re finally able to see the lost photographs from that

piece. This gorgeous book is a fine little time capsule,one that’s able to communicate so much about along-gone time, and its images are a perfectcomplement to Capote’s stylish prose. The essayand images are bookended by enlightening andmoving essays, including one from David’s son, Eli .It may have been a long time coming, but it wascertainly worth the wait.+++++

© P E T E R D E N C H

If I were blindfolded and askedto identify my very first cameraamong a variety of objects, I’didentify it instantly by its smell. And

considering I had it back in 1979, whenI was 15, that ’s not bad going. I’ve no ideawhat gave the Zenit EM its peculiar aroma,but I disliked it almost as much as thecamera itself. Its talent for tearing upmy films’ sprocket holes was sadly notmatched by its skill at providing accuratemeter readings. Or perhaps it was me. Ourrelationship wasn’t helped when I got aSatu

rday job at the local professional

studio which gave me unli

mited

access to itsCano

n F-1

system.It’s

very

difficult toconvey to

younger

generationsthepervadingfear

we felt

back in the197

0s

about thethre

at of nuclear war and like many

teenagers

of

that

era

I

supported

CND

.But deep down, I actually harbouredgrave doubts – based on my Zenit

camera’s performance – that Russiannuclear missiles were even capable ofhitting England from Siberia. If cameraswere anything to go by, I fancied ourchances against Russia much more thanI did against countries like Japan.

But as underwhelming as the Zenitwas, it wasn’t until the arrival of digitalphotography that we came to understandhow terrible cameras could be. True,there was the ghastly Olympus OM-101SLR of 1988, with its thumbwheel-controlled power focusing (which offeredall the battery drain of autofocus, but

none of the benefits). Yet whenmanufacturers suddenly had to

accommodate sensors and electronics,which many clearly had little aptitude for,we started to see some real stinkers. Itwould be easy to name names but the

truth is no manufacturer

canhold up its

hands

andsay w

ith astraightface

that ithas never

made aterriblecam

era.And cha

ncesare

thatits worstexam

pleswere

produced du

ringthe opening decade

of

the

21st

century

.Today there are no really bad cameras,

only less good ones – excluding the

cheap Chinese tat, of course. We’re nowspoilt for choice, with a greater variety ofoutstanding models than ever before. Thechallenge is now to identify each camera’sstrengths and weaknesses, for no cameracan be great at absolutely everything.

But great can be boring. It’s often morefun to ridicule failure than celebratesuccess. Back in the day, a well-crafteddemolition of a terrible camera wouldoften have me in stitches. So, just for oldtimes’ sake, let’s celebrate mediocrity.Send in your nominations for the worstcameras of all time and why they were

so bad. There will be prizes for the bestsuggestions. Over to you…

Nigel Atherton is the Editor of Amateur Photographer

What’s the worst camera you’ve ever owned,and why was it so terrible? Nigel Athertonreects on the days when there wereplenty of bad ones to choose from

Viewpoint Nigel Atherton

‘Its talent for tearing upmy lms’ sprocket holes was sadly not matched by its skill at providing

accurate meter readings’


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KIT LIST▲ ▲

Richard PetersRichard is a professional wildlife photographer whose workhas won him numerous awards. Most recently he was namedwinner of the Urban category of Wildlife Photographer of theYear 2015, and was also named the GDT European WildlifePhotographer of the Year. www.richardpeters.co.uk

Camtraptions PIR sensorThis is an incredibly simple plug-and-play way to triggeryour camera. This sensor will detect movement of yoursubject and trigger the camera as it walks past.

Camtraptionswireless ash triggerTo keep your camera trap as simple andas flexible as possible, these wirelessflash triggers will allow you to placeflashguns easily anywhere.


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WILDLIFE Technique

▲ ▲ ▲


With a wealth of wildlife rightunder your nose, Richard Peters reveals how to take advantage of

what can be an overlooked subject

W ith so many photosof exotic wildlife fromaround the world filling websites and social media

timelines every day, it’s easy to forget that beautiful wildlife photography can betaken anywhere. Our very own gardensare a perfect example of this, with a wealth of photographic opportunitieshappening right under our noses andall without us even realising it. Once you know it’s there, it just takes a bitof thought and a different approach toreignite your creativity.

There are, of course, many ways to takeadvantage of this wildlife, but to injecta new perspective, camera traps can bea good way of seeing your subjects ina different way. Although this techniquecan seem a bit daunting at first, once you work through the initial hurdlesof connecting up motion sensors andflashguns, it’s actually easier than it firstappears and your perseverance will berewarded with an entirely new visionof the wildlife around you.

Pixel componorIf a hard-wired connection is preferred,

these let you connect yourflashgun to your

camera with RJ45Ethernet cables,which are muchcheaper thantraditional flash

sync cables.

FlashgunsYou don’t need a fancy or

expensive flash. However,because you could be leavingcameras out all night, a flashthat can remain on for 12 hourswithout going into standbymode is essential. Plus you’llneed to ensure it fires on thefirst shutter activation.

Rechargeable batteriesDepending on how often youuse your camera trap, you’llfind that you go throughbatteries very quickly. Usinggood-quality rechargeableswill prove to be far more costeffective (and environmentallyfriendly) in the long run.

Backgardensafari

An inquisitive city foxventures onto my patio

to investigate thisindoor scene

Nikon D810, 18-35mm,1sec at f/8, ISO 400,

2x flashguns



On your doorstep You may find yourself looking

out of the window and imagining your garden to be a wildlife wasteland. And you’re not alone ifthat is the case. When I moved tomy current house I considered my back garden to be an uninspiringphotographic void. But then, a yearafter moving in, a friend stayed for

the weekend. One morning he spotteda fox in my garden, and several weekslater I saw it too. I grabbed a photo ofit with my iPhone and straight awayI knew this was going to be the startof a long-term project. I had no ideaat the time just how big the project would become, nor how it wouldchallenge my technical and creativeabilities, but to begin with I simplyrevelled in the concept of being ableto take wildlife photos without havingto travel anywhere.

This prompted me to put a handful

of peanuts out each night, in orderto encourage the foxes and birds intothe garden. I made sure not to putout too much, so as to keep it asupplementary source of food only. Alongside this, I set up a trail camerain order to monitor activity 24 hoursa day and I could barely believe my

Buy a trail cameraEVEN if you’re lucky enough to have a garden that’svisited frequently by a variety of subjects by day, it canbe a real eye opener to monitor activity at night. Youmay well find that you have all manner of subjectsright on your doorstep, regardless of whether you live

in an urban or more rural area. Trail cameras operateby detecting motion and then either taking a photo orrecording a video clip. Because they also t ime-stampthe files they produce, you can quickly build up apicture of what’s visiting and when. To help encouragewildlife, use bird feeders or put out some peanuts andwater. Then simply point the trail camera at these foodsources and see what visits.

Trail cameras time-stamp images, givingyou an idea of what’s

visiting and when

Under a star-filled sky, an urbanbadger goes on patrol

Nikon D750, 18-35mm, 30secs atf/9, ISO 1600, 3x flashgun

A L L P I C T U R E S © R I C H A R D P E T E R S


13/84subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 5 December 2015 13

WILDLIFE Technique

Be responsiblewith ashWHEN combining flash photography with wildlife,always take precautions. Every situation, subject andimplementation is different so it’s essential to workresponsibly. This includes stopping immediately ifyour subject reacts or shows any signs of distress.With that said, it is advisable to work with thefollowing in mind:

PowerNever set flashguns to full power. If more brightnessis required, use the aperture and ISO to increase thecamera’s sensitivity to the flash output. Working inthis way can allow you to get ample illumination ofthe animal, even with the flashgun set as low as 1/64of full power in some situations.

PositionWhenever possible, place flashguns at distance. Thenposition the flash units up above the subjects’ headheight, looking back down towards them.

DirectionAngle flashguns in from the extreme sides of thesubject, so they’re on the periphery, ensuring there’snever more than one light being picked up persubject’s eye. This also has the visual appeal of notproducing multiple catch lights, which can be adistracting element in an image.

DurationKeep your DSLR in single-shot mode to reduce theamount of frames taken when the trap is activated,which in turn reduces the amount of times theflashgun fires. A flash firing once every five secondsis better than five times a second.

eyes when, only a week or so aftersetting up, I discovered my gardenalso played host to some local badgersunder cover of darkness. At firstI simply monitored their activity, butafter several weeks I knew I neededto somehow start photographing mynew nocturnal visitors.

Getting up closeIf you’re used to photographing wildlife with a more traditionaltelephoto lens, switching to usinga wideangle can feel a little alien atfirst. However, doing so is not onlyessential for working with cameratraps, but also it gives you a freshperspective on the urban world theseanimals call home. A telephoto lensprovides a very narrow view of the world, often disconnecting yoursubject from the surrounding reality.By using a wideangle, you can givereal context to your images and helptell a story that’s impossible with along focal length. There’s a nicecontrast between having an isolatedsubject popping from a bokeh-filledframe, and a gritty, texture-filledimage where even your house or shedcould play as important a role in thefinal image as the animal.

Something that also becomesapparent straight away is that the

sound of the camera will, at first, be your biggest enemy. The sound of theshutter firing, especially at night, will

be very unusual to any wildlife thatcomes within range. As such, tryingto dampen the noise of the shutterand mirror mechanism will initiallyhelp increase your success. Wrappinga couple of T-shirts around thecamera, then placing a plastic bagover the top to try to muffle the soundcan make a small difference. More so,placing your camera and tripod ongrass will dampen the sound quitesubstantially, as the vibrations areabsorbed into the ground. Comparethis, for example, with woodendecking, where the vibration isamplified down the tripod legs by the wood and the difference in noise between the camera firing on bothsurfaces is quite apparent. This isactually one of those times thathaving a lower-end DSLR is anadvantage, because it often offers afar quieter shutter than its moreexpensive equivalent. Foxes and badgers will require more time toacclimatise to these noises than birds, but before long your local wildlife will learn that the camera meansthem no harm and they will ignore it.

Working at nightIt is possible to use camera traps indaylight, but using them at nightmakes the most of their potential and

offers a chance for very dramaticimages. This requires the use offlashguns, advantageously giving

Keep your DSLR in single-shot mode when using flash

Never set the flashgun to full power – increase the ISO instead

By concentrating only on the shadow, this urban fox photo gained recognition

in both the European and WildlifePhotographer of the Year competitions

Nikon D810, 18-35mm, 30sec at f/8,ISO 1,250, 1x flashgun



HOW TO SET UP A CAMERA TRAP

DON’T be put off by the thought of using acamera trap, as the process of setting one upis very simple. Once you’ve done it a handfulof times it becomes second nature and you’llquickly find yourself able to pre-visualise theimage you want to capture, and you’ll knowexactly how to set up for it.

Remember, though, that like manyaspects of wildlife photography, the more youexperiment using camera traps, the morefamiliar you’ll become with what does and

doesn’t work. So, rather than let what appearsas initial complexity put you off, follow thesesimple instructions to get yourself up andrunning quickly and easily. You don’t evenneed to invest in a lot of kit, as a wideanglelens (as opposed to a large and expensivetelephoto) is the perfect choice here tocapture your back-garden visitors.

1 Frame the cameraThe most obvious element is the framing.Often you’ll be working with wide angles, andlow-level perspectives. Try to compose yourimages to include the environment, not just thesubject. Setting the scene for urban wildlife isas an important as the subject itself.

2 Position the sensorWith your framing set, position the sensorso it will trigger the camera when theintended subject walks into the correct partof the frame. A quick tip is to place a hoodover the sensor, to help make its detection zone more directional.

you full control of the main lightsource while opening up a whole

new world of creative opportunity. A scene that may appear dull andordinary by day can suddenlytransform into an atmospheric and visually striking image by night. It’s because of this that even the mostunphotogenic of outside spaces canlend themselves to this technique,not just those with a beautifullymanicured garden. Often, the moremessy and urban the surroundings,

the more interesting an image becomes, thanks to the way flashgunscan be used to light objects byshowing off textures and shapes.

Taking it a step further, combiningthe light of your flashguns with longexposures to capture ambient lightcan be very dramatic. This isespecially the case if you’re luckyenough to live in an area where streetlights aren’t too overpowering. Usingthis method, the light from the flash will freeze the subject in place within

Some subtle lighting and the lick of the lips helped

create an interestingportrait of an urban fox

walking across the deckingNikon D810, 50mm,

1/250sec at f/8, ISO 200,2x flashguns

Using wideangle lenses andincorporating the surroundings

can help you put a very different twist on familiar subjects

Nikon D810, 18-35mm, 1/250sec atf/8, ISO 200, 2x flashguns



WILDLIFE Technique

the image, then the long exposure will capture the low ambient lightand stars in the sky. It’s very effectiveif you can pull it off, and adds anotherdimension and point of interest to anyresulting photos.

Watch the weather

Weather also needs to be taken intoaccount because the very nature ofcamera traps requires equipment to be left outside, unattended. Evenduring the summer condensation can

be a problem, so it’s always advisableto cover the camera and flashguns. Asimple plastic bag will suffice, and inthe case of the lights clear zip-sealfood bags are perfect. Even whenprotected, it always pays to monitorthe weather forecast. Although aplastic bag will keep the rain off yourcamera body, the front element needsto be kept dry in order to maintain ausable image. Placing the cameraunderneath an umbrella can work well, or you can use a custom camera

housing if you aren’t quite as keen onthe DIY route.

Camera trapping at home is,ultimately, a lot of fun. It allows youto photograph subjects from a newperspective and be as creative as you wish. You can capture images thatmight ordinarily be tricky to get on acamera and it allows you to do this while you carry on with your everydaylife. This means that it’s a techniquethat, once mastered, lets even those with little spare time improve

their wildlife portfolio.

3 Setting exposureExposure will vary depending on the type ofimage you want. If you require no ambientlight, use the fastest flash sync speed of yourcamera, usually around 1/250. If you wantto include ambient light, you’ll need a muchslower shutter speed, sometimes up to 30secs.

4 Set the ashWith the camera exposure set, take somephotos to set the flashgun output to light thescene as required. If you find yourself needingtoo high a flash power, open up the apertureand increase the ISO, rather than upping theflash too high.

5 Test if it worksWalk in front of the camera trap to ensure itfires. With so many things to connect and turnon, never walk away unless you’re sure thecamera will activate when your subjects walkpast. It’s all too easy to fail at the last hurdlebecause you forgot to turn on the sensor!

Richard has written anebook, Back Garden Safari ,price £16.79, to help youmake the most of your owngarden wildlife. AP readerscan get it for the discountedprice of £13.19 by entering‘apmbgs’ at the checkout.Visitwww.richardpeters.co.uk/ebook

On a budgetIT’S ALSO possible to take photos at night bytriggering the camera manually. Although this canmake the process a little more time consuming, it doesallow you to act ivate the camera remotely withoutspending a large amount of money. If you have asmartphone, the TriggerTrap mobile dongle and app isperfect for this as it allows you to tether your phone toyour DSLR. Although the supplied cable isn’t very long,it’s possible to buy very cheap extension cables online,which can result in manual camera activation frommore than six metres away.

Think about shootingearly in the dayNikon D810, 70-200mm, 1/250secat f/3.5, ISO 400

Even a single flashgun canbe used to great effect

Nikon D810, 50mm,1/250sec at f/10, ISO

400, flashgun


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Competition composition

With ultra-fast performance, the new Samsung 16GB E VO SD card,Class 10, Grade 1, offers up to 4 8MB/sec transfer s

eed and has aten-year warranty.www.samsung.com

C

B

D

EF

A


Inbox

Eye for EVFI would like to draw yourattention to a photographicproblem that doesn’t seem tohave been given any coverage

in photo magazines – that ofrestricted dark adaptation inolder people’s eyes.

Most people in their 70ssuffer from this condition(I am 77), which means thatthe irises no longer open aswide or as quickly as theyused to, with the consequencethat, on a bright, sunny dayI cannot see the image in anEVF. Conversely, in dimsurroundings, images throughoptical finders are no longer

as visible as they once were.So it may puzzle some of

your older readers that yourreviewers rave over theeffectiveness of the newercameras with electronic-onlyfinders, while we oldies findthat we can’t see through

them. In my case this meansthat many of the latest andmost desirable cameras areeffectively useless.

However, there is light at

the end of the VF tunnel.I now use a Fujifilm X-Pro1,whose hybrid finder meansthat I can use the OVF insunlight and switch to the EVFin dim lighting. At presentthere’s no other choice on themarket, but I am hopeful thatthe X-Pro2 may be on theway with a tilting LCD screenand built-in dioptre correction.Ivan Strahan, County Down

It’s worth checking the

settings of the EVFs onsome cameras, as many willhave a brightness control that could make a lot ofdifference. Also, many havean adaptive control thatwill brighten or darken inspecific circumstances, so

if any other readers have the same problem, tryseeing if these settingsmake a difference. However,you are right, the X-Pro1

has a fantastic solution to the problem, as does theX100T, so, as you haverightly said, there may be,some very literal, light at the end of the, viewfinder, tunnel – Richard Sibley,deputy editor

Fujifilm fan boyGiven my great interest inphotography (and even morein cameras) for around 65years, it won’t come as a

surprise that your Blast fromthe Past feature is of realinterest to me. It reminds meof just how many camerasI have owned over the years.

So I simply couldn’t believemy eyes when I saw my,then beloved, Fujifilm

Email [email protected] and include your full postal address

Write to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU

LETTER OF THE WEEK

In AP 14 November we askedHas your camera equipment everaffected the way you take images?You answeredA Yes, the limitations of my camera

or other equipment forced me totake certain shots in a particular way 33%

B I have never really thought about it 22%

C No, I have never beenrestricted by my equipment 21%

D Yes, but I have always found a wayof getting shot I want without compromise 10%

E Sometimes particular productshave hindered me, so I have changed them 7%

F Yes, because of my camera I developeda particular style of photography 7%

What you said‘There have been times when the lenses I have chosenhave made a shot difficult, but there’s always a way’

‘Yes, although I think my 65mm macro lens has hadmore to do with it than any of my cameras’

‘It’s affected not just the way I take pictures, butalso the pictures I take’

Join the debate on the AP forumThis week we ask

Have you ever set yourselfa photographic project?Vote online www.amateurphotographer.co.uk

I couldn’t believe it when I opened theAP 7 November issue and looked at yourfeature on the Take a view LandscapePhotographer of the Year competition, onlyto see what I thought was my very ownentry to APOY’s ‘Lie of the Land’ round!

It was a photo of South Gare, Teesside, byPaul Mitchell, the winner of Adult Urbanview (see right). On closer inspection,however, there are some differences.Paul’s image is in black & white (mysubmission was in colour, although I hadtaken some black & white versions) andhis was a slightly different viewpoint thathad some nice billowing smoke.

I had thought my shot of South Garestood a good chance in APOY, but thesubtle differences in Paul’s compositionand choice of medium makes it a

deserving winner. Well done, Paul!Thanks AP and keep up

the competitions – they challenge meto keep improving.David Scrivener, Kent

Sometimes it’s the tiny things that make the difference in an image. One day youcan go to a spot and things are perfect,while at other times you have to keep

going back until you get the shot youwant – Richard Sibley, deputy editor

Every other week we post an old AP cover on ourFacebook page and all you have to do is guess theissue date (day/month/year). To guess the date of thiscover (above), head over to www.facebook.com/Amateur.photographer.magazine . Forum memberscan also enter via the Forum.

The camera in AP 14 November was a ZeissIkon Contaflex IV. The winner is Enigma-Imaging Chris, whose correct guess wasthe first drawn at random

Guess the date

Win!

© P A U L M I T C H E L L



INBOX

© J

U S T I N M I N N S

ContactAmateur Photographer, Time Inc. (UK), Blue Fin Building,110 Southwark Street, London SE1 0SUTelephone 0203 148 4138Email [email protected] returns: Telephone 0203 148 4121Email [email protected]

SubscriptionsEmail [email protected] 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

Test ReportsContact OTC for copies of AP te st reports. Tel: 01707 273 773

AdvertisingEmail f [email protected] Innovator on 0203 148 3710

Editorial teamGroup Editor Nigel AthertonGroup Editor’s PA Christine LayDeputy Editor Richard SibleyTechnical Editor Andy WestlakeDeputy Technical Editor Michael TophamTechnical Writer Callum McInerney-RileyFeatures & Technique Editor Phil HallSenior Features Writer Oliver AtwellNews Editor Chris CheesmanProduction Editor Lesley UptonChief Sub Editor Meike AbrahamsArt Editor Mark JacobsDeputy Art Editor Sarah FosterDesigner Antony GreenStudio Manager Andrew SydenhamPicture Researcher Rosie BarrattOnline Manager Karen SheardDigital Art Editor Simon WarrenDigital Production Editor Jacky PorterVideo Production John LaytonPhoto-Science Consultant Professor Robert NewmanSenior contributor Roger Hicks

Special thanks to The moderators of the AP website AndrewRobertson, lisadb, Nick Roberts, The Fat Controller

AdvertisingAdvertisement Manager Felix Barlow 0203 148 2508Account Manager Simon Gerard 0203 148 2510Senior Sales Executive Sophia Freeman 0203 148 2637Production Coordinator Dave Smithers 0203 148 2674

MarketingMarketing Manager Samantha Blakey 0203 148 4321

Publishing teamChief Executive Officer Marcus RichManaging Director Oswin GradyPublishing Director Alex RobbGroup Magazines Editor Garry Coward-Williams

Printed in the UK by Polestar GroupDistributed by Marketforce, 5 Churchill Place, London E14.Telephone 0203 787 9001

All contributions to Amateur Photographer mus t be original, not copies or duplicated to otherpublications. The editor reserves the right to shorten or modify any letter or material submitted.Time Inc. (UK) or its associated companies reser ves the right to re-use any submission sent to theletters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED,ELECTRONIC OR OTHERWISE Amateur Photographe r® is a registered trademark of Time Inc. (UK)© Time Inc. (UK) 2015 Amateur Photographer (incorporating Photo Technique & Camera Weekl y)Email: [email protected] Website: www.amateurphotographer.co.uk Time Inc.switchboard tel: 0203 148 5000 Amateur Photogra pher is published weekly (51 issues per year) onthe Tuesday preceding the cover date b y Time Inc. (UK), Blue Fin Building, 110 Southwark Street,London SE1 0SU. Distributed by Market force (UK) Ltd, 5 Churchill Place, London E14.ISSN 0002-6840. No part of this publication may be reproduced, stored in a retrieval or transmittedin any format or medium, whether printed, electronic or otherwise, without the prior writtenpermission of the publisher or the editor. This is considered a breach of copyright an d action willbe taken where this occurs. This maga zine must not be lent, sold, hired or other wise disposed of ina mutilated condition or in any authorised cov er by way, or by trade, or annexed to any publicationor advertising matter wi thout first obtaining written permission fr om the publisher. Time Inc. (UK)

Ltd does not accept responsibility for loss or damage to unsolici ted photographs and manuscripts,and product samples. Time Inc. (UK) reser ves the right to use any submissions sent to AmateurPhotographer Magazine in any format or medium, including electronic. One-year subscription(51 issues) £150.55 (UK),e259.99 (Europe), $338.99 (USA), £221.99 (rest of world). The 2015US annual DEU subscription price is $338.99, airfreight and mail ing in the USA by named AirBusiness Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA.Periodicals postage paid at Jamaica N Y 11431. US Postmaster: Send address changes to AmateurPhotographer, Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd floor,Jamaica, NY 11434, USA. Subscriptions rec ords are maintained at Time Inc. (UK), Blue Fin Building,110 Southwark Street, London, SE1 0SU. Air Busine ss Ltd is acting as our mailing agent.

X-Pro1 in that columnrecently! Even more so,

now that I consider myself aFujifilm fan boy.

It made me think about just what my needs are at80 years of age, where

mobility and load carryingcapacity are in question. Evengiven the pace of change,surely the Fujifilm X-Pro1remains at the pinnacle ofcamera qualities today?There’s no doubt, however,that it will justifiably continueto be remembered in thefullness of time as a Blast from the Past .

Having said all that,I decided to lighten the loadand settle for its fixed-lenscompact cousin – the FujifilmX100T (having graduatedfrom the X100 and X100S).Ron Kennett, Hertfordshire

Although generally the Blast from the Past column ismeant to highlight classic orvintage cameras, we alsoreserve the right to discussa few cameras from morerecent history that arenoteworthy. However, you

may be right, as perhaps the Fujifilm X-Pro1 is a little too new. After all, it’s stilla current camera, and as this week’s Inbox shows,it is still very popular– Richard Sibley,deputy editor

Ruined itI loved your Beautiful Ruins article (AP 7 November), but

there was an omission inJeremy Walker’s top tenlocations. Tintern Abbey in theWye Valley, Gwent, is stunning,especially at this time of year.

To help address the‘mistake’, I’ve included acouple of images (above)

I’ve taken of the abbey.Iain McCallum, via email

I’m sure there are countless

other locations around thecountry, and we’d love tohear about them. But whenphotographing such places,make sure you’re safe and that you have permissionif you need it – RichardSibley, deputy editor

Leica SL (Typ 601) We put Leica’s top-endfull-frame compactsystem camera throughits paces in our lab test

Edge of the world Alex Bernasconi talksabout his epic journeysand the stunning imageshe took while travellingacross Antarctica andSouth Georgia

APOY winner We talk to 2015’s AmateurPhotographer of the Year winner Lee Acaster, whoreceives a Sigma SD1Merrill and lens worthmore than £2,000

In next week’s issue On sale Tuesday 8 December

Iain’s images ofTintern Abbey

in Gwent

B O T H P I C T U R E S © I A I N M C C A L L U M

Winter tipsFive experts offer advice on how tomake the most of the cold conditions


19/84subscribe 0330 3334555 I www.amateurphotographer.co.uk I 00 Month 2015 19

orrect exposure

Choosing the right part of a scene

to meter from can be tricky. This

is where the grey card becomes

invaluable. However, there is

slightly more to the process than

simply holding the grey card in front of

your subject and taking a reading. First, you need to

fill the frame as much as possible. Go into your

shooting menu and set the camera metering to

Spot, then press the AEL or ‘*’ button on the back

of your camera. This will lock the metering onto the

grey card. Now remove the card, recompose your

image and take the picture. The tones will be

perfectly represented and not influenced by any

predominantly white or dark areas in the image.

White balance

in

video

Aim to white balance at the

beginning of every shoot,

and every time the lighting

conditions change. It’s

especially important to

re-establish white balance

when moving between

indoors and outdoors, and

between rooms lit by

different kinds of lights.

Point your camera at the

white card, so that most of what

you’re seeing in the viewfinder is white (between 50

and 80 of the frame is fine). Then activate the

custom white balance setting and take a reading.

We show you how

your free set of car

balancing imageswh

shooting digitallyw h

any kind of lightin

FINDING the extent of your tonal ranplacing your black, white and midton some of the most important tasks in g

capture. Follow the tips below to ens y

do so when using your set of grey, wand black cards free in this week’s is

White balance

To achieve a correct custom white balance

either in-camera while shooting or when

processing raw files, simply photograph the

cards as a reference for each lighting situation.

If your lighting is in a controlled studio

environment, have your subject hold the card

near their face and take a reference shot. I f

shooting a still life, place the cards next to your

subject. So long as the light ing doesn’t change,

you’ll only need one reference image.

With mixed lighting sources that include

daylight, fluorescent or tungsten, use the same

process. Further image adjustments may be

necessary, but the reference shot can be used

as a neutral guide. Select all your images in your

editing program, then click on the white or grey

card using the White Balance tool.

Manipulate tonal range

Exposure meters in our digital cameras are

calibrated to reproduce the metered area as a

medium tone, so if you take a reading from a grey

card it will appear as midtone grey in the image.

Meter from the white or black cards and you’ll get

darker or lighter results, but ensure you maintain

detail in the corresponding parts of your image.

This approach gives you the option to manipulate

the tonal range so it’s represented as you want it

to appear in the final image.

FREE

WITH THIS

WEEK’S

ISSUE

your grey,white and black cards

How to use


20/84

One of the fourimages from Luke’swinning portfolio, taken on thesouthern tip of New Zealand’s SouthIsland. ‘I wanted thisimage to encapsulate

what this grove of trees is oftensubjected to – gale-force winds andheavy rain,’ says Luke


21/84

LANDSCAPES

21

A L L P I C T U R E S © L U K E A U S T I N

T rying to make it inthe world of landscapephotography is notfor the faint-hearted:

competition is intense; there are alot of amateurs with high-qualitykit who will give images away forfree; and even established namesare struggling to make a livingfrom stock sales. Luke Austin, a young Australian who was recentlynamed International Landscape

Photographer of the Year 2015, isa good example of how landscapephotographers have to combineseveral income streams in orderto pay the bills. He combinesprint sales and workshops with aseparate business as a carpenter.

‘I don’t mind this, actually, as

when I was trying to earn a livingfrom photography full-time it tookthe enjoyment out of it,’ he explainsfrom his base in Perth, Australia.‘I ended up not wanting it to be mysole income, as it changed the wayI photographed and took thepassion away. I’d obviously love tosupport myself by shooting whatI want, but it’s a lot morechallenging than that.’

Minimalistic but dramaticLuke explains that he’s always beenan outdoors type, so landscapephotography was a naturalprogression. ‘I went around Australiain a camper van for a year when I was younger, bought a camera,and really got it into it,’ he says.

Luke Austin, International Landscape

Photographer of the Year 2015, shares

some tips with Tom Smallwood

Austi Powers

This image is the result of years of patience. It is an iconic location on the shores of theSwan River, Perth, depicting Crawley Edge boat shed during a ferocious storm


22/84

LANDSCAPES


‘I had enjoyed photographyfrom a young age, but I took it

really seriously from 2004. I pickedup the basics of digital photographyfrom reading magazines, andlearning from my mistakes.’

US photographer Jim Brandenburghas been a big influence on Luke.

‘I remember I was working for anoffice furniture company whenI saw a copy of National Geographic that featured one of Jim’s projects, in which he went around New Englandfor three months,’ he says. ‘It was a beautiful body of work and it reallyinspired me.’

A good description of Luke’s styleis minimalistic but dramatic, so is ita conscious decision of his to

emphasise drama within clean,deceptively simple-lookingcompositions? ‘Yes, definitely,’ hesays. ‘I’m always trying to simplifycompositions. I prioritise a coupleof key elements, and like to use onelead-in line to the main subject.I define as much as possible. I’ve

done a lot of dramatic landscapes,and am still looking for the dramain the scene, but I’m also looking forquieter scenes that I can put myown spin on. I like scenes wherethere is little clutter, with not toomuch for the viewer to take in.’

Take your time with framingLuke is equally adept at both black& white and colour landscape

photography, but admits to havinga preference for monochrome. ‘I love black & white, but I’m very criticalof my work, and I’ll only convertimages that I think are strongenough,’ he says. Luke is also notedfor using square compositions. ‘Ifind that the square format can help

generate more “artistic-looking”images and lends itself better to thefine-art market,’ he adds. ‘That said,it can be challenging to find imagesthat work well in the square format– you can’t just apply it willy-nilly,and the elements need to work well within the confines of the square.’

When it comes to choosinglandscapes to photograph, Luke believes that amazing images can

Above left: The52-storey BankwestTower, one of thebuildings thatdominates thePerth city skyline

Above right:Another of Luke’simages from hiswinning portfolio.This circular groupof rocks is found on the southern coastof New Zealand’sSouth Island

Quindalup is 220kmsouthwest of Perth. The

town’s boat rampis pictured here during

a thunderstorm

‘MY MAIN camerais a Nikon D800Eas it’s got suchgreat resolution,and is tough,’Luke explains.‘I keep my lenschoice to aminimum asI prefer not to beweighed down by lots of gear. I favour Nikon’s14-24mm, 45mm tilt-and-shift and 70-200mmf/4 optics. I ended up selling a lot of lenses,as I was supposed to be going on a

backpacking trip to South America, but itnever happened, which was annoying.’ When itcomes to filters, in the past Luke used Lee NDgraduated filters, but now prefers to manuallyblend exposures in Photoshop. ‘That said,I do use a Lee Big Stopper sometimes anda polariser for the 14-24mm, but generallyI try to minimise the use of filters.’

LUKE’S KIT BAG



LANDSCAPES

BEING named International LandscapePhotographer of the Year 2015 has reallyhelped to raise Luke’s profile and reputation,so we wondered if he had any tips for readersconsidering entering competitions. ‘Obviously,you have to be pretty critical, and pick outeverything that is potentially wrong with an

image,’ he explains. ‘The judges are looking forthings to dislike.’ It’s also really important to getfeedback from other photographers. ‘I’ve donethis a lot,’ he adds. ‘Don’t go asking mum anddad – they won’t give you honest feedback.Also try getting feedback from various onlineforums, but some are far better than others.’

be captured anywhere if you lookhard enough, even in harsh light.‘However, as Perth is dry and sunny,I am really drawn to snowscapes!’he laughs. ‘Snow simplifies things,and enables me to get moreminimalist images. When you’relooking for landscapes to shoot, it’s

important to always look for lightand physical patterns, and the waythat light illuminates the land.’

Composition is something thatLuke has always taken veryseriously. ‘It was something I reada lot about when I was starting out,’he says. ‘Obviously you read about“rules”, like the rule of thirds, butfrom there it’s a case of working out when you can break those rules. Youneed to be patient to be a goodlandscape photographer, and beprepared to go back to a scene time

and time again to get the image.’ As already mentioned, Luke’s

main source of photographic incomeis from image sales, with workshops becoming more and moreimportant. ‘People from all walks oflife buy my prints,’ he explains. ‘It’simportant to market them correctly.I sell open editions, which are moreaffordable at smaller sizes, whileI have a different pricing structurefor limited editions. I used to sellimages to stock libraries, but nowI don’t have much time to keep on

top of this.’ Along with many other landscape

and travel photographers – genresthat have been hit by the declinein stock image sales and editorialcommissions – Luke is doing moreand more teaching. So whatare the main mistakes he sees

Succeeding in landscapephotography competitions

‘Inaudible’,Glenorchy, SouthIsland, New Zealand

‘Ancestry’, Glenorchy,South Island,New Zealand

Lake Quinalt,Washington, USA



participants making on his workshops? ‘I don’t really see

them as “mistakes”, but more aspart of the process of learning,’ he

explains. ‘One of the biggest errorsI see, however, is when studentsstart shooting the moment theyarrive at a scene. I suggest they’relikely to get better results if they just walk around a bit, and have a lookfor elements with potential. Theyneed to get a feel for an area, andnot just focus on the obvious, eventhough it may have attracted theminitially. It’s really important that you spend some time lookingthrough the viewfinder and workout possible compositions before

you start shooting.’Luke is also careful to allow

participants to figure out what works best for them when it comesto compositional techniques. ‘I’lltalk about stuff like the rule ofthirds, but it depends where theyare photographically – if they’ve

just started out, I’ll call it a guide,not a rule,’ he adds. ‘I encouragestudents to compose in any way,shape or form that works for them,

so long as they understand that theyhave to balance all the elements.’

Looking with fresh eyesLuke’s favourite places to takelandscape photographs includeCanada, as he lived in the RockyMountains for a couple of years andloved it there, and New Zealand.

‘I got some particularly goodresults at a place called Castle Hillon South Island,’ he explains. ‘I’dseen a few snapshots of the boulderfields in the area and thought it just

looked like one big playground.I purposely didn’t delve any furtherinto researching the location or anyother images from the area, asI didn’t want to have my experienceinfluenced by other photographersor travellers.

‘I like to take this approach as

often as I can when visiting andshooting a new location. I spentabout four hours walking around,scouting compositions and getting

a feel for the place. I laterdiscovered that the Dalai Lamadescribed Castle Hill as “thespiritual centre of the universe” when he visited it in 2002.’

When back home, Luke lovesshooting the beautiful sand dunesat Lancelin, near Perth. ‘It’sfascinating to see how they changeaccording to the wind and lightingconditions,’ he says.

This is something he sees inother elements of nature, too.‘I mentioned earlier that I’m

fascinated by snow,’ he adds. ‘I’dreally love to get to Japan in the winter, or Finland, SwedishLapland or Antarctica. The colderand snowier the better. I’m doingsome workshops in Norway andIceland in February, and amreally looking forward to it.’

To see more of Luke’s

work, visitwww.

lukeaustin

photography.com,

where there are also

full details of his

forthcoming workshops

to Scandinavia. For

information aboutInternational Landscape

Photographer of the Year,

see www.international

landscape

photographer.com

‘The Wanderer’,Lancelin Sand

Dunes, WesternAustralia –

a composite ofseveral images


25/84

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26/8426 December 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

KIT LIST

▲

▲

LensesA range of lenses can be very useful from wideangleto your longest telephoto. A lens of at least 400mm

is recommended for images of roosting flocks

Knot roosts A knot roost is an impressive spectacle as the birds twist and pulse in the sky. David Tipling offers tips on how to capture it

IT’S AN exhilarating experience to watchthousands of knots swirl over mudflatsas they are rapidly inundated by anincoming tide. As the mud becomescovered with water the birds fly to roost,and photographing this spectacle offersa variety of creative opportunities. Theserange from isolating a lone oystercatcher– a splash of colour amid a sea of grey –to using a slow shutter speed to create afeeling of motion within the flock as ‘rivers’of birds stream through the throng.

HabitatThere are a few locations in Britain whereknots roost in large flocks from earlyautumn through to late winter, with bigroosts only occurring on the highest tidesof the year (spring tides). At Snettisham in

Norfolk, roost sites are islands and spitson a large gravel pit just behind the shore.Here, thousands of birds stand shoulder-to-shoulder, moving in restless waves.

Best time to shootKnots respond to the tides rather thannight and day, which means photographycan be very productive from at least twohours before high tide. If a hunting raptoris around, then flocks may swirl over theestuary. These resemble dense plumes ofrising smoke when viewed from adistance. This behaviour can makeinteresting images when set in the contextof the landscape. Once the tide hascovered the mudflats, head for higherground and look for rivers of knotsmoving restlessly throughout the flock.

WILDLIFE WATCH

Use a slow shutter speed to create a feeling of motion within the flock

TripodA good sturdy tripod isrecommended whenusing slower shutterspeeds, gaining a gooddepth of fieldand creatingmotion-blurimages.

David TiplingDavid is one of the most widely publishedwildlife photographers in the world. Hispictures appear on hundreds of book andmagazine covers, and have been used invarious other ways, from wine labels tobeing projected in New York’s TimesSquare. www.davidtipling.com

A knot roost canlook like a plume ofsmoke if a raptor is

hunting nearby

A lone oystercatcheramong a sea ofroosting knots

A L L P I C T U R E S © D

A V I D T I P L I N G



WILDLIFE WATCH Technique

With thousands ofbirds in a flock, a

knot roost is animpressive sight

Get there early

It’s best to arrive well before the birdsto scout out roosting locations. Oncea roost starts forming, action can be fastand sometimes fleeting. It may requirea couple of visits to the same locationto find the best spot to shoot from.

Be alertOnce settled at their roost, knots willremain until the tide turns and mudstarts to appear. But be alert duringthis high-tide period as a maraudingsparrowhawk or peregrine falcon maycreate sudden panic, pushing the whole

flock into the air.

Depth of eldUsing a wide depth of field whenphotographing a large flock will imparta feeling of depth to your image.Conversely, a shallow depth of field canhelp to single out individuals or small

groups of birds when used in conjunction

with a long lens.Try using a slow shutter speed of

1/15sec or less to create beautiful blursand give a real sense of motion whenphotographing restless knots, or when bigflocks are on the move. Never ventureaway from paths to approach a roost.Not only will you leave without photos,but you’ll also be very unpopular withothers hoping to enjoy the spectacle.

Knots are foundalong muddyestuaries

Knots in their coppery-red breeding plumage

The knot is a lit tle larger than a starling. Breeding plumage isa striking coppery red, but by late summer the birds havemoulted into a grey winter plumage.

● Location Knots can be found along large, muddy estuariesacross the UK. For a world-class spectacle, head to SnettishamRSPB Reserve on the Wash in Norfolk.● Size Approximately 23-26cm, with a wingspan of 47-53cm.● Nests They roost on spits.● Diet A mixture of shellfish and worms.● Population In recent years the average annual peakpopulation has been about 320,000 across the UK.

About the knot

Shooting advice


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COASTAL PHOTOGR APHY

T

he act of walking isa method that can trulyput a person in touch

with his or her landscape. A great number of writers and artiststhroughout history have whiled awaythe hours taking inspiration from thelandscape that passes before theireyes. As you’re reading this, one suchperson is making his way aroundBritain’s coast, capturing everythingthrough the lens of his camera. Architectural photographer QuintinLake is walking his way around thecountry armed with a Canon EOS6D, a series of lenses and a tripod. Heis making it his mission to show just

what a truly diverse and exceptionalland we inhabit. I caught up with himto find out how he’s getting on so far.

How long is this journey and how long do you see it taking? Where did you start and where will you end?

The whole journey is 10,000km andI estimate it will take about five years based on walking 60 days per year.

I started in St Paul’s Cathedral inLondon, as it was my end pointfor a previous journey on foot fromthe source of the Thames to London.I’m walking it in sections rangingfrom a single day to a couple of weeks to fit around my architecturalphotography work and family life. At the moment, I’ve walked 800km,having completed the Kent, Sussexand Hampshire coastline.

How do you think your background in architectural

photography will influence the images you’re taking on your journey? Very much, both in subject aestheticand technique. I’m drawn tostructures along our coast. I alwayslook for an underlying geometryto my compositions and tend to

Notes

Quintin Lake is on an ambitious ve-year

mission to walk and document Britain’s

diverse coast. He talks Oliver Atwell

through his progress so far

A L L P I C T U R E S © Q

U I N T I N L A K E

smallfrom a

island

Fawley Oil Refinery fromHook Park, Hampshire



Drinks on the shore,Ferring, West Sussex

The Net Shops,Hastings, East Sussex

Shipping marker IV,Dungeness, Kent

Sea wall III,Kingsgate Castle, Kent

Beachy Head,Eastbourne, East Sussex


32/84

OMP TITION


walking the Thames in 2012(visit http://blog.quintinlake.com/2012/09/02/sweet-thames-run-softly-till-i-end-my-song).The Thames isn’t an especiallygrand river as a photographicsubject, but by walking its length,I noticed the subtleties in how the water surface changes – somethingI wouldn’t have noticed if I weren’t walking. The images sold well, butmore importantly, I knew in myheart that the combination of

walking and photography heldgreat inspiration for me.

Sometimes when I viewcontemporary fine-art photography, where so much is staged ortheatrical, it seems as if the artist believes there is nothing new orinteresting by photographing the world as it is. My project is a littleprotest against this notion where, just by putting one foot in frontof the other, I’m encountering beautiful and strange things unlikeanything I’ve seen before.

I can imagine there’s a degreeof ‘psycho-geography’ at work

here. Walking must put youmuch more in touch with the

landscape and the ways in which the societies you encounterengage with it.

Yes, that’s very true. On one day inKent, I passed two nuclear powerstations, then a live firing range, with red flags flying and the soundsof automatic gunfire. Momentslater, I was walking on a beach with surfers and families lickingice creams. I also keep a notebookof overheard conversations andimpressions. Accents slowly butsurely change on the journey, andthe shifts in affluence and attitudeare very apparent. The most

interesting places are the liminalspaces, of which there are manyalong our coast. It can be a verysudden delineation between theindustrial, residential and natural.

What is it about the coastalregions that make them ofparticular interest?The coast has been our first line ofdefence, where we take our childrenon holiday, where we choose tocommit suicide, where we generatethe energy for our nation, where we

train the military, where we retire if we have money, where we end up if we have none, where the rocks ofthe millennia are exposed, where wego to dream or forget or set sail fornew horizons. To me, the searepresents the wild and the infinite,and tracing the edge where one

‘Just by putting one foot in front of the other,I’m encountering beautiful and strange things’

favour a pared-down aesthetic. Architectural photography is

very much about how changes in

focal length and light quality affectthe appearance of an object, so I’malways conscious of these factors when looking at any subject.

When did your interest in walking start? And what isit about the

Documents

Amateur Photographer – 5 December 2015