amateur photographer - 12 september 2015

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Saturday 12 September 2015

L u m i x F Z 3 3 0Panasonic’s la tes t bridge

camera ge ts 4K video

Passionate about photography since 1884

AP guide tomonitorsAll you need to know

Buildingblocksdit 4K video on an old computer ● EISA Maestro Photo competition winner

Three experts offer essential

architectural photography advice

Sightseeinghe best photos from this year’s

National Geographic hoto competition

monitorseviewed

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7days A week in photography

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In this issue11 10 architectural

commandments

Whether you’re shootingnew structures orthe classics, theseinspirational tipsfrom three top proswill help you builda solid foundation

22 Faraway places

We take a look at some

of the incredible entriesfrom the 2015 NationalGeographic TravelerPhoto Contest

30 Videomasterclass

Richard Sibley shows howyou can edit 4K video onan ageing PC or Mac

34 EISA Maestrocompetition 2015

The top three internationalwinners’ images on thetheme of family

40 Evening class

Martin Evening sorts outyour photo-editing andpost-processing problems

44 Monitors forphoto editing

A good monitor is oneof the most importantinvestments you can makefor your photo-editingworkstation. Ed Chesterputs five to the test

51 Panasonic Lumix

DMCFZ330The Panasonic LumixDMC-FZ330 has plenty ofuseful features, includinga 4K photo mode andwater-resistant sealing.Audley Jarvis finds outhow it performs in use

Regulars3 7 days

18 Inbox42 Accessories55 Technical

support82 Final analysis

I once had a conversation with someone who comparedarchitectural photography to‘turning up to an art gallery

and photographing theexhibits’. His point was that a building issomeone else’s work of art, and all thatphotographers were doing was taking recordshots of that. To some extent he had a point. We’re all guilty of standing in front of a building and snapping a photo. However,the key to taking a good architectural

photograph is to make that artwork yourown. To do this you need to approach yoursubject as you would a landscape. You maynot have created the lakes and mountains,

but you can wait for the right light, choosethe right exposure, look for the best angle,and use filters and editing to adjust thecolour and contrast.

On pages 11-17, three expert architecturalphotographers reveal their secrets to gettingthe best shots. There’s some great advice inthere. Richard Sibley, deputy editor

Send us your pictures If you’d like to see your work published in Amateur Photographer , here’s how to send us your images:Email Email a selection of low-res images (up to 5MB of attachments in total) to [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 19.

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 19.

ONLINE PICTURE OF THE WEEK

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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 shot is of Fladda Lighthouseand was taken on the Sound of

Luing on the west coast of Scotlandat dusk,’ says Matt. ‘I wanted a longexposure to smooth out the sea andsky, so used a 10-stop ND filter toallow for a long shutter speed. Thelighthouse is quite far away, so I shotit with my 180mm, which was thelongest telephoto lens I had withme. I exposed the shot without thefilter and then did some maths

(using my fingers) to work out theright exposure. Keeping the tripod

sheltered from the wind was quitetough as there was no cover, apartfrom myself, so I made sure I stoodreally close to the camera for thewhole exposure.

‘The length of the exposure,coupled with long-exposure noisereduction, meant that I only reallyhad time to take one or two shotsbefore the light was gone.’

The Lighthouse by Matt McGarrNikon D610, 180mm, 268secs at f/16, ISO 100

Each week we choose our favouritepicture 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 weencourage everyone to get printing today! Visitwww.permajet.com to learn more.

Win!


4/844 12 September 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

Re-process an old imageWhen it comes to starting out in image editing, we’veprobably all been in the same boat. Getting to grips

with the soware, particularly when it’s a powerful

package like Adobe Photoshop or Lightroom, can be

a daunting process, with so many tools to learn. And

in the early days, while still trying to understand the

program, images you edited may not have always

been processed as well as they could be. Besides,

with the array of new controls that appear as editing

packages are upgraded, you’re now sure to get even

more out of the image than before.

So this weekend, why not go back and find an

image from your archives you may have processed

when you were less experienced? Re-edit an image,

transferring all the knowledge and skills you’velearned since and see what you come up with.

1When you open the raw

file, make sure you revertto the default settings, so

everything’s back to zero. Youdon’t want to be influencedby what you thought wasacceptable a few years ago.Instead, start from scratch.

2You may find thatcomplex Photoshoplayer masks are no

longer necessary. With controlslike the Adjustment Brush inCamera Raw and Lightroom,

you can make adjustments thatare much easier to control.

NEWS ROUND-UP

WEEKEND PROJECT

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Funny photo questEntries are open for the ComedyWildlife Photography Awards,for images that combine

technical excellence withamusing content and captions.First prize is a photographicsafari to Tanzania, plus a NikonD750 DSLR kit. Visit www.comedywildlifephoto.com.

Olympus pixel planOlympus may produce a CSCwith an imaging sensorexceeding 16MP. AlthoughOlympus Europe would not bedrawn on future developments,a spokesperson told AP: ‘TheOlympus 16-million-pixel imagesensor produces high-qualityimages, especially incombination with [the] TruePicimage processor and lenses.Although Olympus currentlyuses a 16MP sensor, with futuretechnology advances it might

be possible to produce a modelwith a higher resolution.’

Carnival boycottAs we went to press,photographers were set toboycott this year’s NottingHill Carnival in protest ofthe newly introduced £100accreditation fee (see News ,

AP 5 September). Instead, theyplanned to cover the event from public areas. Roger Tooth, head ofPhotography at The Guardian , told AP: ‘We will be working fromthe streets… I don’t like the idea of buying a pass to cover a newsevent.’ Andrew Moger, executive director of the News MediaCoalition (NMC), had urged organisers to ‘rethink’ the rules.

Lomo instant-print camera launchedThe new Lomo’InstantMontenegro Edition camera

delivers credit-card-sizedinstant prints and is compatiblewith Fujifilm Instax Mini film. Itboasts a built-in lens designedto deliver the 35mm viewingangle of a 27mm optic and ispriced £139. Visit www.shop.lomography.com/gb/lomo-instant-montenegro.

The week in brief, edited by Chris Cheesman

DxO updateImage-enhancement softwarespecialist DxO has released anupdate that is compatible withsix new cameras, including theCanon EOS 750D, EOS 760D,Pentax K-3 II and Leica T.

DxO OpticsPro v10.4.3, DxOFilmPack v5.1.5 and DxOViewPoint v2.5.7 for Mac andWindows (including Windows10) also support the EOS M3and Nikon 1 J5. To download,visit www.dxo.com/us/photography/download.


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Original

3Be honest with the

images you work on: ifit requires too much

work to make it look halfdecent, then it’s probably notworth bothering with. Rather,move on and find another imagehat shows more potential.

4Remember to applyadjustments like LensCorrections. In the

past, you may not have beenable to correct for this, but nowhere’s a good chance you’ll be

able to find your lens profile ormake corrections manually. ©

P H I L H

A L L

When I havea camera

in my hand, I know no fear

Alfred Eisenstaedt

American photographerand photojournalist

1898-1995

Justin Gardner took thisamazing shot, titled ‘Man

vs Nature’, from his terrace inFigueretas, Ibiza, during the town’sAssumption of Mary celebrations.

‘I went outside to the sound offireworks and was blown away bythe storm in the distance in anawesome display from both

man and nature,’ says Justin, aprofessional photographer.‘I used a long exposure andmade a few adjustments to thecurves, crop and sharpening tocreate the final image.’

The photographer, who mainlyworks at music events, useda Canon EOS 5D Mark III witha 35mm f/1.4L lens, shootinga 5sec exposure at f/4.5 andISO 100.

Asked to share advice forcapturing such images, Justinreplied, ‘Patience and a tripod’.

To view more of his work, visitwww.justingardner.co.uk/#1.

BIG

picture

$10billion

Reported value of world’s largest

consumer drone maker DJI

Photographer captures

epic storms in Ibiza, Spain

Words & numbers

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Re-edit

Work on the original image with

its default settings, so you’re notinfluenced by your previous edits

S O U R C E : F O R B E S



LEICA has launcheda new version of its

professional medium-format camera, the LeicaS, adding a new imagingsensor, processor and 4Kvideo (in Super 35 format).

The Leica S (Typ 007)

boasts a burst rate of up to3.5 frames per second and‘exceptional image qualityat all ISO settings’.

The Leica S – aprototype of which was firstunveiled at the Photokinaphotography fair in 2014– also features a 2GBbuffer memory and fasterAF for moving subjects,according to Leica.

Other features includebuilt-in Wi-Fi, GPS anda 3in, 921,600-dot display

offering increased contrastand brightness.

The Leica S housesa 30x45mm Leica ProFormat imaging sensor,a Maestro II imageprocessor and is due outnow, priced £12,900.

Striking photos taken by homeless people go viral

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Leica S (Typ007) cameraunveiled

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A Y O F L I G H T

A KICKSTARTER campaignto raise funds for a calendar,

showcasing photos taken by peopleaffected by homelessness, went viralwithin days of an article publishedon the AP website.

In July, 100 people affected byhomelessness were handed Fujifilmsingle-use cameras and tasked todocument what London meansto them for a competition.

The best images, chosen frommore than 2,500 entries, are dueto be published in the Café Art

2016 My London calendar.Café Art – an organisation that

connects homeless people withthe wider community throughart – turned to Kickstarter to raise£4,500 towards the £10,000 itwill cost to print 5,000 calendars.

The campaign quickly raised morethan twice its target figure, frommore than 500 backers, with weeksto go before the fundraising deadline.

Café Art director Paul Ryan saidorganisers were contacted by mediaworldwide after AP ran an articleabout the campaign, with interest

from as far afield as Hong Kong,Australia, Thailand and Canada.

Among the winners is Goska Calik,who took a photo at the base of theIsis sculpture in Hyde Park (below).The sculpture represents theEgyptian goddess of motherhood andGoska said she felt her own shadowsymbolised her homelessness.

Goska became homeless whenshe lost her job due to illness. After‘sofa surfing’ for several months she

was finally directed to Crisis, thenational charity for single homelesspeople, where she was helped tofind a place to live.

Goska was taught photographyby her father in Poland and is nowstudying counselling and workingpart-time as a support worker forpeople with mental health problems.

Ellen Rostant photographed a boot

on the road (above). She thought itwould make a nice picture because,‘How can someone lose a boot?Somebody’s out there and they’vegot one boot left.’

Ellen, 16, who is set to studyphotography at Leyton Sixth FormCollege, added: ‘I want to do art,photography and geography atcollege. Hopefully, I will be able togo into something like landscapephotography, or maybe portraits or

art stuff. I don’t have a camera –I use my phone.’

Another entrant, known as Ray ofLight (ROL), captured a dog at theCutty Sark in Greenwich (below right).

‘He likes to go around Londonchecking out all the touristic [sic]places,’ said ROL, a former chef whohas had a photo in every My Londoncalendar since 2013.

The public voted for their favouriteimages from a shortlist, 12 of whichwill be published in the calendar.

An exhibition of the best photosis due to take place at SpitalfieldsArts Market in east London from12-18 October.

The Café Art calendars have raisedmore than £45,000 for art groups,artists and vendors since 2012.

Visit www.kickstarter.com and typein ‘café art’ to view the final images.

Photographer Ray of Light’s image of his friend’s dog at the Cutty Sark , Greenwich

Ellen Rostant, 16, took this dramatic image and is set to study art and photography

‘Shadow of Self’by Goska Calik

will star as theDecember image


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CANON has revealed a new versionof its 35mm f/1.4L reportage lens,

an optic it applauds for achieving

legendary’ status.The new EF 35mm f/1.4L II USM

s the first lens to incorporate BlueSpectrum Refractive optics – technologyeaturing an ‘organic optical material’.

This aims to significantly reducechromatic aberration and deliver sharpermages by the refraction of blue light,according to Canon.

The nine-blade-aperture lens includesa full-time manual-focusing ring and aring-type ultrasonic motor for ‘extremelyquick and near-silent autofocus’. Canonsays the lens is the ultimate choice for

photojournalists, sports and weddingphotographers. The weather-sealednewcomer, which has been designedfollowing feedback from professionalphotographers, is due out in October,priced £1,799.99.

ZSL AnimalPhotography exhibitionThe Zoological Society of London is setto unveil the winning images in its fourthannual ZSL Animal Photography Prize.Go along to ZSL London Zoo to see the

finalists’ stunning images on display.

Touch-Line: Rugby World Cup 2015Photographer Michelle Sank is

capturing a visual record of thepreparations for, and enjoymentof, Rugby World Cup games heldat Exeter’s Sandy Park Stadium.Catch the images at the RoyalAlbert Memorial Museum.

Collecting NowIt’s your last chance to see thisselection of images from 20th

century photographer PaulStrand, at the Scottish NationalPortrait Gallery. As one of thephotographers responsible forestablishing photography as anart form, Strand’s workdefinitely shouldn’t be missed.

Young Travel Photographers CompetitionIt’s never too early to start inspiring kids to take great photos,so why not put them up for the Young Travel Photographers

competition? Thereare categories for

under-11s andunder-17s, and aPanasonic wearablecamera to be won.

EDINBURGH

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11-20 September, www.southamptonboatshow.com

19 September-4 November,www.rammuseum.org.uk/exhibitions/touch-line

Until 20 September,www.nationalgalleries.org

Until 14 October,www.youngtravelphotographers.com

From 18 September, www.zsl.org

The most interesting things to see, to do

and to shoot this week. By Jon Stapley

Canon revamps lens legend

Unseen AgathaChristie images

IMAGES that havenever been seen

before from AgathaChristie’s private collection,which include the famousauthor surfing, have beenrevealed to mark the125th anniversary of theQueen of Crime’.

The pictures will beexhibited at Torre Abbeyn Torquay, Devon, from11-20 September aspart of the InternationalAgatha Christie Festival.

It has taken fouryears to sort throughthe author’s archive,which had lain in variousboxes and cupboards,according to AgathaChristie’s grandsonMathew Prichard.

The exhibition, calledAgatha Christie:Unfinished Portrait,eature images of Agatha.

However, speaking toAP, Prichard explainedthat his grandmother was

a keen photographerherself who had enrolledon a photography coursen London.

She also acted as theofficial photographer onarchaeological excavationsn Syria and Iraq

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

Get up & go

undertaken by her secondhusband, Max Mallowan.

It is believed Agathaused a Leica camera andwas especially keen onlandscape photography.

Prichard, who looksafter the Agatha ChristieArchive, said: ‘Thesewonderful photographs

form a key part of theArchive and it’s verymoving to see thempresented so beautifullyfor everyone to enjoy.’

He added: ‘I cannotthink of a more fittingway to celebrate mygrandmother’s life in this125th anniversary year.’

Southampton Boat ShowBritain’s biggest boat show once again boasts a packedprogramme with plenty of nautical attractions to turn your lens

on this year. With luck, the weather will hold and the spectatorswon’t end up wetter than the boats.

HAMPSHIRE

DEVON

Agatha Christie playing a mandolin, circa 1898

Canon’s revamped EF 35mm f/1.4L lens

LONDON

EVERYWHERE



New BooksThe latest and best books from the world

of photography. By Miles Atherton

Meinrad Schade:

War Without Warby Nadine Olonetzsky, University ofChicago Press, £40, hardcover, 264 pages,ISBN 978-3-85881-452-4

WAR IS an area of photographycommonly explored byphotographers around the world.However, this book, by Swissphotographer Meinrad Schade, takesa different approach to the genre: itshadows the lives of those who

survived the Second World War and investigates theeffect it had on cultures and societies. Schadeexplores themes such as disability, patriotism and warculture in this revealing account, which features a

variety of landscape, architectural and portraitphotography. War Without War not only serves as ameans of remembrance, but also makes a statementabout the devastating effects of all wars. The diversityof its images, in addition to the detailed informationthe book contains, makes it a recommended read forall photographers.+++++

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 something you’d like to get off your chest? Send us your thoughts in around500 words to the address on page 19 and win a year’s digital subscription to AP, worth £79.99

Night Photographyand Light Paintingby Lance Keimig, Focal Press, £21.99, paperback,246 pages, ISBN 978-0-41571-898-1

LANDSCAPES in the dimness of

night often provide inspiration tophotographers and, if shot well, canmake for excellent images. Followingthis manual is likely to improve yournight shooting, as it’s a clearlystructured and comprehensive guide

to both capturing and editing night photos. The author,Lance Keimig, expertly details a brief history of nightphotography to give the subject context, beforeexploring a broad range of themes, including litarchitecture, light painting and astrophotography.There’s detailed advice on the recommended camerasettings, tips on photographing particular subjects –like the moon – and a chapter on improving yourphotographs in post-production. It also features many

stunning and innovative photographs. A great read forthose interested in night photography.+++++

The rise of the smartphoneas the world’s most popularcamera has not only led tocountless camera and image

editing apps, but also the development ofa sizeable hardware accessory industry.Over the years we’ve seen all sorts ofproducts, which, we’re promised, will boostour smartphone photography. There areattachable lights and flash units, tele-conversion lenses, fisheyes, macros andwideangles, microphones for better videoand, of course, the infamous selfie-stick.

You can buy entire rigs with tripodadapters that other accessories canconnect to and we’ve even seen aviewfinder that attaches to the iPhonescreen via a suction-cup. RecentlyI received a press release about a wirelessflash trigger for the iPhone, allowing youto use high-end flash guns and studiostrobes with your Apple device.

With all those gadgets it seems there’sno photographic job that can’t be donewith a smartphone camera. However, inmany cases the manufacturers and usersof these products are trying to fit a squarepeg in a round hole. A smartphonecamera can be a great photographictool in the same way the 35mm filmrangefinder camera was one for thephotographers of the previous century.It’s small enough to carry around and notbe intrusive, making it a great option forsocial and street photography. Basically,it’s good for all types of photography thatallow you to use your ‘sneaker zoom’ anddon’t require anyadditional equipment.Once you attachbulky accessories,you take away itsadvantages.

There is nopoint tryingto make asmartphonecamera work

for sports and wildlife photography,high-end portrait work or similarequipment-heavy tasks. You can easilyspend lots of money on accessories andstill end up with disappointing results. Usea DSLR or other interchangeable-lenscamera instead, and both process andresults will be much more pleasant.

Don’t get me wrong – smartphonecamera accessories can be very useful forspecific applications. I use tripod adaptersfor my testing all the time and some ofthe products mentioned above allowmobile journalists, who need to travel withminimal equipment, to create content thatnot too long ago would have required anentire team and a van of hardware.However, for general smartphoneshooters, most accessories just meanadded weight and bulk. So try to leave theset of conversion lenses and the plug-inflash at home, use your feet to zoom, getback to basics and enjoy smartphonephotography in its purest form.

Lars Rehm is a freelance photographer and writer,

contributing to publications in the US, UK and Germany.

In his former role as part of DPReview’s 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

It’s time to stop complicating your photography,get back to basics and ditch those

smartphone camera accessories

Viewpoint Lars Rehm

‘Bulky accessories takeaway a smartphonecamera’s advantages’

This viewfinderaccessory attaches to an iPhone viaa suction cup


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For further information, and special offers and competitions visit www.amateurphotographer.co.uk/fujifilm-x

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A T T H A R T

Shoot for yourself Take thepictures that please you. If youstart worrying about what otherpeople want or like, you won’t

shoot pictures that you’re happywith. It’s quality time by yourself,so invest it in something you enjoy.

Don’t chase the light Go outwhen you least expect to get agreat picture. Go out when theweather is bad. Don’t always look

for that fabulous, wonderful light,because from my experience, itrarely happens. It may meanalways standing in the rain, but

you’ll get completely differentpictures to other people – mostare fair-weather photographers.

Challenge yourself One thingI enjoy doing is taking my leastfavourite lens and just shooting onthat. Not allowing myself to shoot

on anything else for a couple ofweeks. It forces you to change theperspective from which you shootand it makes you think about your

photography, your positioning andthe way the lens works.

Avoid your comfort zone Tryshooting landscapes at F2.8; trya montage or multiple exposures.Just take yourself out of thatcomfort zone, that rut, that can

make your photography becomebland and predictable. You’ll getan absolute load of rubbish to startwith, but all of a sudden it’ll click.

You’ll start to see things differently,and then you’ll be inspired.

Make it fun Challenge yourself bysetting tasks that are only relevantto you. You don’t need to showthem to anybody, but it’ll force youout of your comfort zone.

X-pert shooting

adviceFujifilm X-Photographers Damien Lovegrove,Paul Sanders and Matt Hart reveal their tips

PAUL SANDERS FINEART LANDSCAPESPaul le his role as Picture Editor of The Times in 2012 to

pursue his passion for fi ne-art landscape photography

MATT HART STREET AND EVENTSMatt is based in Liverpool where he puts hispassion for black & white into practice andruns street photography workshops

DAMIEN LOVEGROVE PORTRAITDamien has forged a successful career asa lighting expert and high-end wedding andportrait photographer

Make a connection Connect withthe person you’re photographing.Put the camera aside, have a cupof tea, have a cup of coffee, have aaugh with them. Really get toknow them and then bring thecamera into the frame.

Perspective The perspective in aportrait isn’t related to what lensyou’ve got on the front of thecamera. A wideangle is going to bethe same as a telephoto indelivering perspective, but whatmatters is you relative to your

subject. If you use a long telephotoens, you’ll find that to get amid-shot you’ll have to shoot fromquite a long way back. It’s

flattering, but you don’t get thatconnection, that intimacy. Youneed to work at just beyond arm’slength to get something reallybeautiful. I work with theFUJINON XF60mm F2.4,XF35mm F1.4 and XF23mmF1.4 lenses and only go to theXF56mm F1.2 if I wantsomething a little bit tighter.

Plan your style Decide on thelook you’re aiming to achieve fromthe outset, such as high-key, rimlit or moody. Once you know what

you hope to achieve from theshoot and have a clear idea of thelook you’re after, it makes the restof the process that much easier.

Review Assess each shot usingthe camera’s screen. Does thepicture have the look you want? Isthe contrast right? What couldmake it better? Zoom in andcheck the detail andshadow information.Is the shot sharp? Arethe highlights clipped?Get it right in-camera.

Blend in I like to go out and lookquite miserable. I keep a pokerface, not making eye contact withanyone. It helps me blend into thebackground. As soon as you’rehappy and jolly out on the street,smiling at people, they notice you.

Low profile I also keep mycameras out of sight. As soon apeople see a camera, they noticeyou. So I try to keep my kit beloweye level at about waist height, andthen look for my subject beforebringing the camera up to shoot.

Change location If you’re a streetphotographer and you shoot in thesame town, everyone starts to getto know you. Although, on theother hand, this can be a benefit:

you start blending in so much,people just ignore you – you justbecome a part of the furniture.

Fast lenses A fast aperture isreally a requirement. I don’t shootall the way at F1.4; I generallykeep it around F2. However, thatF1.4 aperture gives you morelatitude for when it gets darker.

These tips came from Damien, Paul and

Matt during their workshop at the Fujifilm

X-perience day at the AP offices. Attendees

had the chance to shoot with a host of Fujifilm

kit under their expert guidance. If you’d

like to attend future events, please email

[email protected]


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Technique


10 Whether you’re working for a client,producing fine art,shooting new

structures or theclassics, theseinspirational tipsfrom three top pros

will help you builda solid foundation

commandments

of architecturalphotography


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Technique

Janie AireyJanie is a London-based architectural,lifestyle and portrait photographer who hasbeen shooting commercially for 16 years.In 2012 she was commissioned by theOlympic Delivery Authority to shoot the

venues for the Olympic Games. She also works for design agenciesand a range of prestigious publications. www.janie-airey.com

A L L P H O T O S T H E S E P A G E S : © J

A N I E A I R E Y

1 Be creative with compositionI often use a long lens when shooting architectureand try to create good, simple graphic shots, where I canbe more playful with the forms. I’ve illustrated this with afew of the shots from the Olympic Stadium just beforethe 2012 Games. It ’s important to think about the spacebefore you start shooting – try to keep it quite simple.Space within a two-dimensional image is important tome, so you have an uncluttered visual that creates asimple and relaxing photograph. Don’t make a shot toobusy. You don’t have to get everything in frame each

time. Think about division of space in the image; theclassic golden ratio in painting works in photography too,while diagonal lines coming in from the corner of theframe can really help the dynamic.

2 It’s about morethan ‘great’ lightLight is important, but youcan shoot architecture atany time of day. Someexteriors have a qualitythat looks great on a greyday. You don’t have to havea bright-blue sky and fullsunshine, or wait until dark

to get that luminosity.Occasionally, shootingcontre-jour can work too.Early or late light is alwayslovely, but when you’reworking commercially youcan’t always camp out andwait so getting strong shotswithout relying on dramaticskies is important. If thelight isn’t in your favour,then take time to shootgraphic slices of thebuilding and return to yourgeneral wide shot later. It’s

important to tell the wholestory of a building.

Use specificsections of

a building to

create stronggraphic images

Aim for a simple,uncluttered shot.

Diagonal lines willhelp the dynamic



3Think aboutwhere you’re

shooting fromt’s easy to just stand atyour own head height/eyeevel and shoot from there,because that’s your usualviewing platform. Playaround a bit. Sometimesying down at ground level

will present some greatines into your frame, orust seek out good spots toget a fresh vantage point.That could be up high orrom another building.

Find other parts of thebuilding, as it’s not alwaysthe façade that looksgreat. I recently had muchmore fun producing shotsn the car park of abuilding rather than themain construction. Benquisitive and don’t be

afraid to go off piste… up,down and sideways!

4Tell the storyArchitectural work

has different elements thatneed to be captured andpresented when you’reworking to a brief or for acommercial client. First ishow the building sits in the

environment. Second is thefabric of the build and itsform (which is where I tendto have the most fun), andthird is the building’s useand its relation to thepeople who use it. It’sobvious that buildings aredesigned for people, socapturing this element isalso important. That said,it’s much harder to shoot abuilding ‘cleanly’ once it ’sbeen lived in for a while.You just have to be more

selective with your cropsin-camera. For me, thereare no rules to getting agood photograph and noright or wrong, but it isimportant to know whenyou get a good shot why itworks and how you did it.You may often get happyaccidents, but you needto be able to recreatethat success.

Play aroundwith your vantagepoint. Find ways to

make the most ofinteresting angles

How the building sits inits environment and thefabric of the build all add to the visual story


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Technique

14

Joel TjintjelaarJoel is an internationally recognisedblack & white fine-art photographerfrom the Netherlands and co-authorof the book From Basics to Fine Art:Black and White Photography –

Architecture and Beyond . Visit www.bwvision.com for histutorials on black & white and architectural photography.

Look for buildings that spark emotionwith the viewer

Photograph a buildingfrom a specific angleand it can take ona whole new look

Choose a building tophotograph that you

really connect with

A L L P H O T O S T H E S E P A G E S : © J

O E L T J I N T J E L A A R

5 Photograph a building thatevokes an emotion – not just because it ’s trendy

A lot of architectural photography that could be classedas ‘fine art’ seems to be more about the building thanabout the artist. That’s great if you’re a commercialphotographer, but when you pretend to be a fine-artphotographer using architecture as subject matter, thenthe artist behind the camera matters. Don’t shoot abuilding just because it ’s considered modern, or veryhigh, or simply because everyone else shoots it.Photograph a building that you can connect to. Choose abuilding that really evokes something inside of you, theartist. Don’t just go for modern architecture, either.There’s so much more in classic architecture, probablybecause all these buildings have a rich legacy and historybehind them. For example, the Pantheon in Rome (seeright), or the Chrysler Building in New York can spark

emotion in the viewer. They connect us in some way.


15/8415

Make sure you havestraight verticals inyour image. This isLa Grande Arche dela Défense in Paris

Shooting straight up to the sky can createdramatic tension

You may need to use a tilt-and-shift lens to

avoid convergingverticals, such as in this shot of the theSalk Institute, USA

7If you shoot straight forward, make sure allthe lines are straight

There are a few ways to approach architecture. You can shoot straight upto the sky and emphasise the dramatic converging lines with the cloudsas a backdrop. This approach is far more suitable for modern architecturalphotography, especially in combination with long exposures, where thestreaks of clouds can create a nice visual tension while also forming a subtlebackground. Since there’s no horizon line in your frame you can come up withany kind of composition from any kind of vantage point, without having tomaintain straight verticals and horizontals. Another more difficult approach,mostly used by commercial photographers, is to shoot straight forward, asif shooting a landscape, making sure you always have straight verticals andhorizontals. It’s more difficult, because usually if you want to capture the wholebuilding you’ll need a wideangle lens, but you can’t stand too far from thebuilding as then it’ll look too small. Too close and you have to tilt your camerato capture the whole building, which will ruin the straight lines. And then there’sthe surrounding environment that’s often hard to avoid. The solution is to use a

tilt-and-shift lens so you can shift the lens upwards to maintain the straightlines while still keeping the whole building in your frame.

6Hear the ‘music’ of architectureKeep in mind the famous quote by Goethe: ‘Music is

iquid architecture; architecture is frozen music’. Interestingarchitecture always has some musicality to it. This doesn’tmean that straight lines and boring flat concrete don’t work.They do. The space these buildings take up as a whole isalso important to consider. For example, the Salk Institute inCalifornia, USA by architect Louis Kahn (see below) consists

of several concrete walls. It’s almost boring if you only lookat the individual parts, but they are inspiring and almostmagical when you see the structure as a whole and areactually there, overlooking the Pacific. This photo I tookfrom The Hoftoren in The Hague in the Netherlands, on theother hand, is a typical nondescript modern building, but theines seen from a specific angle make it look interesting.


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Technique

9 Include an interestingforegroundOnce you’re in front of a building,there’s a simple technique you canuse – shooting from a low angle.Low-angle shots give a spectaculareffect by stressing the movements ofbase lines and by enlarging thesubject. While taking a photo just bypointing the camera upwards seemsvery simple, you’ll need to go beyondthis simple process and make sure youdon’t forget the rules of composition.Certain buildings are photographed a

lot, often from the same point of viewand at the same angle. As a result,they become very boring to look at.One way to photograph thesebuildings in a more creative way is tofind an interesting foreground – aframe within the frame. If you manageto find this, your low-angle pictures willbe more successful. To amplify theeffect, use a short wideangle lens, oreven an ultra-wideangle lens. Forthis image (left), for instance, I useda 12mm lens at f/8.

Eric ForeyEric, aka Kala, is famed for capturingstriking geometric patterns and colourfulabstract shapes in modern architecture.He continues to work in his nativesouth-east France, as well as many other

parts of the world. His books include Serial Photographer andhe is also an accomplished street photographer. Visit Eric’s

site at www.kalaphoto.fr

You don’t have to look at the

building as a whole.Focus in on details

Don’t just point youcamera upwards –look for someforeground interest

A L L P H O T O S T H E S E P A G E S : © E

R I C F O R E Y

8 Isolate detailsSometimes you might want to put aside thespectacular architecture and dynamism of the city toconcentrate on details taken in isolation. Architecturalphotography consists of trying to see our environment ina new way, to perceive it differently. To extract and isolatedetails, you will have to learn to look at what you don’tusually look at – things to which you do not pay attention.It is always stimulating to extract interesting details ofbuildings, not only doors and windows (even if they oftengives good results), but also try to summarise thearchitectural style by ‘cutting out ’ a small piece.

You can approach this either as a search for interestinggraphic elements or minimalist details, or as asupplement to more conventional visions of the building.By cutting or slicing out details, you set in place yoursubjective vision. To extract these kinds of details, youneed to spend time going around the building, andimmerse yourself in the architect’s philosophy. It’s easierto extract details with a telephoto lens, but if you manageto do it with a short wideangle, the results can be reallysurprising and spectacular.



10

Get high

Identify places or buildings that offer you a highpoint of view. Climb all the staircases you come across,and don’t hesitate, access permitting, to get as far as youcan into tall buildings. High ground and bridges can serveyou well, too. When you are up high, make the most ofthe downward view as it can offer very unusual andgraphic effects. People never bother to look for thesepoints of view, so it’s up to you as a photographer toreveal these surprising viewpoints. These elevated viewsenable you to make the most of some basic elementsof architecture, such as this staircase in a public parkingot. You can use a telephoto lens or a wideangle. Thetelephoto enables you to isolate the subject and findminimalist or abstract effects. Meanwhile, a wideangleens enables you to get spectacular effects simply by

amplifying the perspectives. Again, I used a 12mmwideangle lens here.

Don’t hesitate toget up as highas you can ontall buildings forunusual viewpoints



Put your foot in it

With ultra-fast performance, the new Samsung 16GB E VO SD card,Class 10, Grade 1, offers up to 48MB/sec tr ansfer speed and has aten-year warranty.www.samsung.com

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Inbox

ArmageddonavoidanceWith RPS and othercorporations putting out such

a powerful message in your Digital Armageddon feature(AP 15 August), I feelphotographers need a slogan.The best I can come up withso far is, ‘No print? No photo.’

That keeps it simple. Ofcourse, there are slides andnegatives. Kodachrome,because it was chemicallysimilar to a silver-halide print,was nearly archival. Othertypes of slide film are muchless archival. And negativesare a safe halfway house.

There are 6x4in homeprinters that use a dye-sublimation process, andother home printers thatuse pigment rather than dye.Images from both typesshould easily hold out for 100years with sensible storage. Ifat that point they are worthpreserving for posterity, nodoubt someone will duplicatethem. And has anyonethought about images thatend up in books andmagazines? Is a copy of AP

an archive of photos?Do we have the balance

wrong? We often put hugeeffort into producing animmaculate image via hoursof post-processing, but areleft with something that

will cease to exist in a fewdecades. At the end ofpost-processing we havereached only the midpoint;time now to turn our imageinto an archival artefact – astable print. Like I said: ‘Noprint? No photo!’Peter Hancock, Guernsey

ArmageddonacceptanceI’m one of your older readerswho grew up with film

cameras, and my first camera,at age three, was a KodakBrownie Box. I spent hours inthe darkroom with my fatherand went on to have myown darkroom. Thisis long gonenow, and

certainly not missed.Printed images aren’t

permanent; they fade, thepaper degrades and, more tothe point, most youngsters

have absolutely no interest inanything that isn’t connectedto an app. They live for todayand the next ‘selfie’.

I sometimes help a friendwith house clearance and oldfamily photographs are simplythrown away, along withbooks. Printed media haspassed its sell-by date.How many of those peoplechampioning printing actuallylook through the piles ofphotographs they musthave? Who’s looked at their

expensive wedding albumrecently? I could ‘t even tellyou where my old albums are.

Times change, we mustaccept that – and don’t fret

Email [email protected] and include your full postal addressWrite to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU

LETTER OF THE WEEK

As a Micro Four Thirds user, I read withinterest your review of the new PanasonicLumix DMC-GX8 and its host of newfeatures (AP 22 August). One feature reallycaught my eye: the 4K pre-burst, whichgives 30 frames in the second before Ipress the shutter. Great, now I can emulateall those odd frames of Kodachrome that Icaptured when rushing to change the film

and fired off a couple of shots as I woundthe film on. And at least now, my feet – the

usual subject of these shots

– will be sharp thanks to autofocus!Martin O’Keeffe, Shropshire

You may mock, sir, but I can assure youit is a useful, and fun, feature to have.I used it recently when photographinga model throwing powdered paint in theair, and being able to capture the precisemoment I wanted, thanks to the

pre-burst, was very useful. And nota blurry photo of my foot in sight– Richard Sibley, deputy editor

Win!

Fears over digitalstorage have led to one reader’s

slogan of ‘Noprint? No photo’

In AP 22 August we asked…

Do you feel comfortable takingstreet photographs?You answered…A No, I feel nervous and awkward taking photos ofstrangers. I’d do it more if I were more confident 35%

B No, but I still take many street photos as I’velearnt to shoot well within my comfort zone 19%

C I don’t take street photography, as it’s ofno interest to me 18%

D Yes, it’s never been a problem 16%

E Yes, but I haven’t always been. It’s takentime to grow in confidence 12%

What you said‘Not only do I feel awkward about taking photographsin the street, but the authorities have also managed tocreate paranoia about being photographed bystrangers – no matter how public the area may be’

‘I won’t take street photos any more as I’ve been calledall sorts of names. My hat goes off to people who do’

‘I’m quite happy to take street photos, whether thereare people in them or not’

Join the debate on the AP forum

This week we ask

Would you ever consider buyinga bridge camera purely to havea very long focal length lens?Vote online www.amateurphotographer.co.uk

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 22 August was theLytro Illum. The winner is Lee P Brown

from Merseyside, whose correct guesswas the first drawn at random.

Guess the date



INBOX

©

E R I K J O H A N S S O N

ContactAmateur Photographer, Time Inc. (UK), Blue Fin Building,110 Southwark Street, London SE1 0SUTelephone 0203 148 4138 Fax 0203 148 8128Email [email protected] returns: Telephone 0203 148 4121Email [email protected]

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AdvertisingEmail [email protected] telephone 0203 148 2929. Fax: 0203 148 8158Display telephone 0203 148 2516. Fax: 020 3 148 8158Inserts call 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 PorterStaff Writer Jon StapleyVideo 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

AdvertisingAdvertising Director Mark Rankine 0203 148 2516Advertisement Manager Felix Barlow 0203 148 2508Account Manager Simon Gerard 0203 148 2510Production Coordinator Dave Smithers 0203 148 2674

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All contributions to Amateur Photographer must 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 reserves 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 Photographer® is a registered trademark of Time Inc. (UK)© Time Inc. (UK) 2015 A mateur Photographer (incorporating Photo Technique & Camera Weekly)Email: [email protected] Website: ww w.amateurphotographer.co.uk Time Inc.switchboard tel: 0203 148 5000 A mateur Photographer is published weekly (51 issues per year) onthe Tuesday preceding the cover date by T ime Inc. (UK), Blue Fin Building, 110 Southwark Street,London SE1 0SU. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London E14.ISSN 0002-6840. No part of this publication may be reproduced, s tored 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 and action willbe taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed of ina mutilated condition or in any authorised cover by way, or b y trade, or annexed to any publicationor advertising matter without first obtaining written permission from the publisher. Time Inc. (UK)Ltd does not accept responsibility for loss or damage to unsolicited photographs and manuscripts,and product samples. Time Inc. (UK) reserves 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 2 015US annual DEU subscription price is $3 38.99, airfreight and mailing in the USA by named AirBusiness Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd floor, Jamaica, N Y 11434, USA.Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Am ateurPhotographer, Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd floor,Jamaica, NY 11434, USA. Subscriptions records are maintained at Time Inc. (UK), Blue Fin Building,110 Southwark Street, London, SE1 0SU. Air Business Ltd is acting as our mailing agent.

about family photos as they’llall be on the internet anyway!Joan Thirlaway, Cumbria

Two slightly opposing viewson the role of print, butat the very least I think it’sgood that we’re having this

discussion. Personally, I tryto get an annual photobookprinted of that year’shighlights – a mixture offamily photos and niceshots I’ve taken. They getthumbed through and willhopefully be passed downthrough at least ageneration or two. Unlesswe have work that is ofhistoric value, perhapsthat’s all we can ask for– Richard Sibley,deputy editor

Guide ’n’ seek’m a newbie to photographyas a serious hobby, havingonly just swapped mycompact for a DSLR. I have somuch to learn, so I thought I ’dstart with the abundance ofmagazines available. However,was disappointed to find how

many focused heavily onpost-editing. Of course, a littleweaking is a positive aspect

of digital, but I’m notnterested in the attitude of

fixing it later’ as I really wanto be able to take a decent

picture in-camera. There alsoseemed to be many reviews of

expensive kit, with even‘budget’ pieces being £400– which is out of my reach.

I started to feeldisheartened. ThenI happened to see yourmagazine. I flicked through itin the shop, expecting much

of the same, but waspleasantly surprised. I boughtit to read in more detail, andloved it! The mix of how-to,reader portfolios andinterviews was excellent. I’vefound my photography guide.Acaycia Lewis,Nottinghamshire

Flattery will get youeverywhere! Thank you for the kind comments. Westrive to keep a mix in themagazine so we can interest

photographers of allpassions and levels. As forpost-production editing, it’san important aspect, but

we’d much rather be out there taking photos thanediting them, especially in the summer! – RichardSibley, deputy editor

APOY elationI have just found out that my

macro image has won APOYRound 5 ‘Up close’ (AP 29August). I am totally blownaway by this – I truly didn’texpect my image to go downso well. Thank you!Aaron Bennett, Hampshire

Congratulations, Aaron, it’sa great image that reallyimpressed the judges. Wemay be a few rounds in,but for those of you whohaven’t already entered around of APOY, please do.

We enjoy seeing your workand there are still fantasticprizes to be won – RichardSibley, deputy editor

Photoshop wizard

WaterfallsJeremy Walkeroffers expertadvice on gettingspectacular shots

of watercoursesNikon

behemoth lensMichael Topham tests thegiant Nikon AF-S Nikkor600mm f/4E FL ED VR

60 years ofthe TV Times As the much-lovedentertainment magazinecelebrates six decades, we take a look at iconicimages from its archives

In next week’s issue On sale Tuesday 15 September

Aaron Bennett’swinning macro image

in APOY Round 5

© A A R O N B E N N E T T

We take a look at howErik Johansson combinesphotographs to createsurreal images

FREE24PAGE GUIDE

TO FILM AND

PRINTING


20/84

Never missa moment

againI

t was Henri Cartier-Bressonwho coined the phrase‘the decisive moment’ todescribe that split-second

when all the elements of a story

come together within theviewfinder. We have plenty ofexamples of his skill at capturingthat meaningful but fleetingoccurrence, but we rarely hearabout the shots he missed. A manwho had a camera with him all thetime, there must have been plentyof images on his contact sheets inwhich he had shot just a fraction ofa second too soon or too late, andthe elusive moment had slippedbetween the frames to escapeand never be seen again.

I’ve always thought there are

two principal skills to capturinga decisive moment – identifyingthat a decisive moment is about to

occur, and actually pressing theshutter release as the momentcomes together. Cartier-Bressonwas clearly pretty good at both,but I’m certain that if he had been

in a position to use Panasonic’s 4KPhoto mode his hit–rate wouldhave been astonishing. Recordingat 30 frames per second, 4KPhoto simply makes sure everymoment is captured, so all youneed to do is recognise the bestframe from the sequence andextract it using the back screenof the camera.

But where is the skill/fun in that,and isn’t that cheating? If you use4K Photo mode to capture imagesthat you could have caught usingyour sense of timing and single

shot mode, then yes that might beconsidered lazy. However, in streetphotography some situations

develop too suddenly and withoutenough warning for even the mostskilled photographer to be able toshoot the perfect frame.

There are times when the only

way we can see something clearlyis by replaying a second ofmemory – our eyes see the worldin video mode, and our memoryallows that video to be played backso we can examine events that just happened. And that’s howPanasonic’s 4K Photo modeworks. I sense that something isabout to happen, I set myself up,arrange the frame where I think itis going to happen and pressrecord until the event takes place.It could be someone walkingaround a corner, someone

stepping into a tiny patch of light,a silhouette walking in to a thinbright space or the coming

together of two or moremoving elements that can’t beseen beforehand.

These events I know are goingto happen and I can get in a

position to capture them, but it ’simpossible to predict the exactmoment things will come together,and once they do and I’ve seen itthe moment has passed. With 4KPhoto those moments never haveto slip through my fingers, andI can tackle shots that previouslyI would have just filled a card withrubbish trying to get right.

No soware requiredIt has been possible to extract stillsfrom video for some time, but withnormal HD video the pictures are

very small and you need tounderstand movie software to beable to do it. With 4K Photo the

Photographer and journalist Damien Demolder

explores the decisive moment and how to

make the impossible easily achievable

Baker Street series: I wanted to silhouette these rushing commuters, and using Panasonic’s 4K Photomode allowed me to capture a bumper crop of frames so I could pick the ones that worked best


21/84

At a glance

● 20MP resolution● Large, bright and

clear tiltableviewfinder

● Vari-angle rear screenthat allows shootingfrom all angles

● Excellent handlingthanks to dial controlsand sizeable grip

● Image stabilisationthat combines in-bodyand in-lens

compensation

ndividual frames have 8 millionpixels and can print to 11x8in evenwith strict 300ppi photo-qualityresolution. And you don’t evenneed to download the movie toextract the stills, as it’s all donen-camera. You can use AdobeLightroom now to play thesequences and pull-out frames, butt’s actually far easier to do it on theback of the camera. You play themovie and use stop/start buttons tocontrol the flow. When you find themoment you want, you can scroll

through frame by frame, forwardor reverse, to make sure you haveprecisely the best frame in whicheverything comes together.

Going to work –Baker Street seriesshot these images (left) outside

a train station during the rush hourone morning in the summer.The sky was a fabulous blue andnoted that when I crouched

down in a shop doorway I couldsilhouette the rushing commutersagainst that inky background,

using just their shapes to describetheir visual identities.

I find you can read a lot abouta person from their silhouette, andI love how that level of informationcontradicts the graphic minimalistmystery of the blacked-outshapes. As the people areextremely underexposed weshould be able to learn nothing,but what the shapes and outlinesreveal is often surprising.

On this occasion I wanted tocombine the black silhouettes ofthe people coming towards mewith the lit-up details revealed

where the sun caught the peoplewalking by in the other direction.I could see these interactions withmy eyes as they happened, but aseveryone was moving so quickly,and appearing without warningaround a corner, there was no wayI would have been able to recordthose moments in single-frameshooting mode. Instead,I positioned myself and thecamera to create a frame with thecanopy of the station and allowedroom for the people to move intowhere I knew the sun was catching

the faces going from right to left.When a train arrived a rush

ensued, and I recorded the activitythat passed through the frame.I was looking for interestinghairstyles, hats, bulky headphones,

bags and all the other accessoriesthat humans use that make theirshapes interesting and revealing.

As I was filming I could seemoments happening, and mademental notes to go back to findthem afterwards. I shot about sixclips of between 10 and 30seconds on this occasion, andharvested a bumper crop offrames that just worked.

While I had a good idea of whatI wanted from the session, I alsolike the element of surprise thatcomes when I find images that

I couldn’t even have wished for.They are all variations on theoriginal concept, but as I had nocontrol over who would walk intothe frame and where, or how theywould be positioned, the finalelement in the picture, as withnearly all photography, is luck. Andthe 4K Photo mode allows me tomake the most of that luck and toreap the benefits of my originalidea – I rarely have to come homewithout the shot that I was looking

for. In fact, without 4K PhotoI probably wouldn’t haveattempted the shot. The newmode allows me to take pictures

that I wouldn’t otherwise be ableto consider. What is remarkable isthe shortness of the magicmoment. Even at 30 frames persecond the subjects are in theright places in only one frame –the frames before and after aretotally different, and have none ofthe magic of the decisive frame.

Cameras with4K Photo modeThe new 20MP PanasonicLumix DMC-GX8 isn’t theonly Lumix with this feature. The

Lumix GH4 also has 4K Photomode, as does the new Lumix G7.For those who like smaller models,try out the Lumix LX100 premiumcompact camera or the LumixCM1 connected camera with its1in, 20MP sensor.

To find out which model suitsyou, visit your local retailer orlook out for Panasonic Lumixevents where you can try onefor free. Alternatively, visitlumix4k.panasonic.co.uk.

All the pictures on thesepages were shot with the

new 20MP PanasonicLumix DMC-GX8 compact

system camera

ADVERTISEMENT FEATURE

‘The ability to record a sequence of 8-million-pixel images at such a rate has allowed me tocapture moments that, previously, I wouldnever have been able to record’


22/84

Grand PrizeWhale Whisperers byAnuar Patjane Floriuk

‘This image shows us diving with ahumpback whale and her newborn calfwhile they cruise around Roca Partida inthe Revillagigedo Islands, Mexico,’ saysAnuar. ‘The islands are a unique locationfull of pelagic life. It’s so important that weaccelerate the incorporation of the islandsinto UNESCO as a natural heritage site.In this way we can increase their

protection against the prevailing illegalfishing corporations and big-game fishing.’ ©

A N U A R P A T J A N E F L O R I U K


23/84

PHOTOGRAPHY AWARDS

National Geographic is aname synonymous withgroundbreaking travelphotography and in-

depth reportage. Here we see some

of the stunning entries from the2015 National Geographic Traveler

Photo Contest, a competition opento amateurs that saw the judgessift through 18,000 photographsin order to discover the mostunusual and breathtaking views

of the world. The overall winner was Mexican photographer Anuar

Patjane Floriuk, who wins an eight-day National Geographic PhotoExpedition to Costa Rica and thePanama Canal for two. To enternext year or to view the entries,

visit travel.nationalgeographic.com/photo-contest-2015.

Faraway placesWe take a look at some of the incredible entries fromthe 2015 National Geographic Traveler Photo Contest


24/8424

13 June 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

PHOTOGRAPHY AWARD S

There’s a magical qualityto this scene of white frost

blanketing the landscape of Pesteravillage in Romania. What is, of course,particularly striking here is the

disparity of colours. The verdant greenfields and hills are a beautiful contrastto the delicate off-white tones of thefrost-dusted foliage. Above that thereis a vast canvas of marble sky, anelement that adds to the fairy-taleatmosphere of the overall scene.Romania is a land of ample folkloreand legend, so it’s fitting that Eduardshould choose to represent thecountry in this manner.

Romania, Landof Fairy TalesEduard Gutescu

Merit


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PHOTOGRAPHY AWARDS © F A I S A L A Z I M

© A

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

© S

T E F A

N E B E R U B E

© E D U A R D G U T E S C U

This strong image fromFaisal Azim, taken in

Chittagong, Bangladesh, is agreat demonstration of creativeportraiture. Here we can seethree gravel workmen lookingthrough the window of theirworking place. Viewing theseworkers through the dust andsand-stained glass very subtlyshows us what it must be liketo work in these chokingconditions. Their environment is,understandably, full of dust and

sand. It’s everywhere.

‘ Kushti is a traditional formof Indian wrestling,’ says

Alain. ‘Wearing only a well-adjusted loincloth ( langot ), thewrestlers ( pelwhans) enter a pitmade of clay, often mixed withsalt, lemon and ghee (clarifiedbutter). At the end of a workout,wrestlers rest against the walls ofthe arena, covering their headsand bodies with earth to soak upany perspiration and avoidcatching cold. This relaxationceremony is completed with

massages to soothe tired musclesand demonstrate mutual respect.’

‘The night before I took thisphoto, we tried all day to get

a good image of the endangeredwhite rhino,’ says Stefane of thisintimate shot. ‘Skulking throughthe grass carefully, trying to stay30 feet away to be safe, didn’tprovide me with the photo I washoping for. In the morning,however, I woke up to find that allthree rhinos were grazing right infront of me at Ziwa RhinoSanctuary, Uganda.’

Gravel WorkmenFaisal Azim

Second Place

Indian WrestlingAlain Schroeder

Merit

White RhinosStefane Berube

Merit


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PHOTOGRAPHY AWARDS

The Rifugio Lagazuoi saunasits 2,800 metres high in the

heart of the Dolomites on MonteLagazuoi, Cortina, in the easternItalian Alps. It’s fair to say that it’sthe highest sauna in the world, asmuch as that can be somethingto boast about. It’s a location thathas become famous for the factthat visitors can relax while taking inthe spectacular panoramic view.

In this beautifully captured imagewe see two boys trying their

hardest to catch a duck in the streamof a waterfall. Sarah’s image was taken inNong Khai Province, Thailand, and worksso well because of the beautiful lightingfalling upon the scene. The burst of theduck’s white feathers really stands outand contrasts wonderfully with thenear-chiaroscuro lighting. It’s also

perfectly timed.

‘The night before returning toWindhoek, we spent several hours

at Deadvlei in Namibia,’ says Beth. ‘Themoon was bright enough to illuminatethe sand dunes in the distance, but theskies were still dark enough to clearlysee the Milky Way and MagellanicClouds. The camel thorn trees arebelieved to be about 900 years old,but have not decomposed becausethe environment is so dry.’

In this fine example of bothportraiture and documentary

photography, we find a simpleexploration of traditional haymakingin Poland. According to Bartáomiej,many people in the area continue touse a scythe and pitchfork to sort thehay. These anachronistic details are areal visual draw, as is Bartáomiej’sunusual method of framing the

woman looking into the lens.

Sauna in the SkyStefano ZardiniMerit

Catching a DuckSarah WoutersMerit

A Night at DeadvleiBeth McCarleyMerit

HighlandersBartłomiej JureckiMerit

Camel Ardah

Ahmed Al ToqiThird place‘Camel Ardah, as it’s called in theArab country of Oman, is one of thetraditional styles of camel racing thatfeatures two camels controlled byexpert riders,’ says Ahmed. ‘The fastercamel is the loser, so they must berunning at the same speed on thesame track. The main purpose ofArdah is to show the beauty andstrength of the Arabian camels, as wellas the riders’ skills. Ardah is consideredone of the most risky events, since the

camels’ reactions are unpredictable.Sometimes they get a little wild and jump towards the audience.’

© S

T E F A N O Z A R D I N I

© S

A R A H W O U T E R S

© A

H M E D A L T O Q I

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E T H M C C A R L E Y


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Technique VIDEO MASTERCLASS

If you’ve ever shot video, you’veprobably experienced a unique kindof frustration. You try to edit a videoon your computer only to find that it

skips and jumps, making it virtually impossibleto edit with any real finesse. Obviously, the idealsolution is to buy a new computer, but that’s

rarely possible. Alternatively, it may be the casethat you want to edit 4K video on your laptop

while on the go, and your machine simply isn’tpowerful enough to do so.

Thankfully, there is a way you can still edit4K footage, or any other high-resolution videofor that matter, on a computer that is a littleunderpowered and doesn’t quite pack thepunch needed. On these two pages I’ll explain

how I’m able to edit 4K video on a 2011Apple MacBook Air.

Editing 4K: the basicsIf you’re not able to edit 4K video properly,the best way to get around it may be bymaking use of proxy files and offline editing.This basically means making copies of the 4Kvideo files at a lower resolution. You then loadthese lower-resolution files to your editingsoftware and edit using these. Before youexport your finished edited video, you replacethe low-resolution (proxy) files with thefull-resolution 4K ones, do a final colour editand export the final 4K file.

With this technique you can edit and exporta 4K video even if you don’t have a computeror monitor that’s suitable for editing 4K video

directly. I’ll take you through a step-by-stepguide to doing it in Adobe Premiere.

Your camera may shoot 4K video, but does yourcomputer have the power to edit the footage?Richard Sibley explains how, with a little trick,it’s possible to edit 4K on almost any PC or Mac

Editing 4K videoon an ageing PC



4 Sequence propertiesmport the proxy clips to Adobe Premiere and drop

a clip to the timeline. Go to Sequence>SequenceSettings and change the Video Settings to the 4Kesolution and frame rate, in this case 3840x2160

25fps. Also change the preview settings to matchhe proxy files, in this case 1280x720 25fps.

7 Warning screenYou’ll know that you’ve successfully made the clipsoffline when all the clips are replaced with a redwarning screen stating as much. It’s now time to linkhe clips on the timeline with the original 4K footage.

2 Designated folderSave the new files to a folder called ‘Proxy’ within thesame folder as the original 4K videos. It’s important touse a separate folder, as this way all the low-res filescan maintain the same file name rather than having touse a suffix. Keeping the names the same will make

linking to the 4K footage later a lot easier.

1 Create your proxy filesThe first job is to create the lower resolution, orproxy, files that you’ll be using. Open Adobe MediaEncoder application (which comes with AdobePremiere), go to Preferences and in the General tabick the Specify Output Destination box and choose

where you’d like the files to go.

5 Scale to fitDrag all your clips onto the timeline. However, asthey’re lower resolution than the 4K sequencesettings, they’ll only take up a fraction of the frame.To fix this, select the clips, right-click (or control clickon a Mac), and select ‘Scale to Frame’ size. This willstretch the videos so they fill the frame.

8 Link the filesRight-click on the clips again and this time select LinkMedia. In the pop-up box, click on Locate and in thenext window navigate to the folder containing the 4Kfiles. Adobe Premiere is intelligent enough to look for

the missing files by matching the file names to thename of the proxy files. Simply click OK.

3 Set resolutionChoose a suitable resolution and file type to use forthe proxy files. I’ve chosen the YouTube ‘720p 25fps’option. My MacBook Air can easily handle thisresolution and the 25fps matches the frame rate ofthe 4K footage. Load all the 4K video files and hit the

Play button to begin processing.

6 Edit and make offl ineYou can now edit all your video clips just as youusually would. Then, once the sequence is edited,it’s time to replace the footage with your original 4Kfootage. Select all the video clips, right-click andchoose Make Offline.

9 Final 4K video footageAll the video files should now be the 4K originals. Ifyou need to make any colour adjustments do so now,as you should always do this to the original footage.This shouldn’t be too intensive a task as you only

preview the effects on an individual frame at a time.Finally, all that’s left to do is export at 4K.

A STEP-BY-STEP GUIDE TO EDITING 4K VIDEO IN ADOBE PREMIERE


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