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7daysA week in photography
JOIN USONLINE
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In this issue10 New Years
resolutionsGreat ideas for yourphotography this year
18 Beyond the sea
Matty Smiths imagesreveal a beautiful worldjust beneath the
oceanssurface. Oliver Atwelltalks to him
24 VideomasterclassProfessional videographerVictoria Grech takes
a lookat how to capture steadyvideo footage
26 APOY resultsround 9We reveal the winnersof our night
photographyround of APOY
34 Film-makerson a rollBrandon and Brian Wrightof CineStill Film
have high
hopes for a new film thatgets great effects undercontinuous
artificial light
37 Evening classMartin Evening sorts outyour photo-editing
andpost-processing problems
39 Competition
Win a Billingham 550bag worth 600
46 Pentax KS1
It may seem to be allflashing lights, but
underneath its modernskin the K-S1 is a seriouscamera. We test
it out
55 Corel PaintShopPro X7
We reveal what PaintShopPro version 7 has to offer
Regulars3 7 days
16 Inbox40 Reader Portfolio44 Accessories59 Technical
Support82 Final Analysis
THIS time last year I sharedwith you, perhaps unwisely,my New
Years resolution
for 2014. After more than adecade editing a purely
digitalphotography magazine, I would shoot, processand print a roll
of film for the first time sinceabout 2005. How did I get on? Well,
not sowell. I did buy a roll of black & white film,and I did
take a few pictures, but the film isstill in the camera. I did
visit a darkroom,
though at the superbly equipped facilitiesof The Camera Club in
Londons Kennington(thecameraclub.co.uk), just a short stroll
from
the AP office and I reacquainted my nostrilsto the smell of
fixer.This year I intend to complete my mission
and make some prints. Hopefully, Ill makesomething good enough
to put on the wall.So whats your photographic resolution? Dowrite
in and tell us.Nigel Atherton, Editor
Send us your picturesIf youd like to see your work published in
Amateur Photographer, heres how to send us your images:EmailEmail a
selection of low-res images (up to 5MB of attachments in total) to
[email protected] .CD/DVDSend 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 17.
Via our online communitiesPost 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 17.
This picture of grass by Grant SimonRogers was uploaded to our
Flickrpage. All my photographs aredaytime pictures, and this image
wastaken in a London park near Brixton,says Grant. I find that
taking images
helps me switch off from my day job.With the aperture ring set
to f/8-11and the shutter speed between1/500sec and 1/2000sec, I get
areally dark picture in all but thebrightest of sunlight.
My digital Leica cameras have asmall built-in flash above the
lens,which I used to illuminate theforeground detail and
createdefinition in the middle ground. Thiscreates the theatrical
Day for Nightlook. The large aperture gives me awonderful depth of
field to play with,so most of my subject is in focus.
Each weekwe will chooseour favouritepicture posted
on the AP Facebook and Flickrcommunities and the AP forum.The
winner will receive a yearsdigital subscription to APworth
79.99.
ONLINE PICTURE OF THE WEEK
Win!
G
RANTSIMONROGERS
Terra Incognitaby Grant Simon RogersLeica Digilux 2, 28mm
(equivalent), 1/500sec at f/8, ISO 100
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Walk in the woodsAs the colder weather starts to set in and
wintertakes hold, many of the plants in a forest will die
down. However, until early January there is still
the chance to see, and photograph, a number of
woodland fungi, such as the one pictured right.
In addition to the species of fungi, there are
other interesting subjects to photograph in our
woodlands, from evergreen plants to dying
bracken and a variety of berries. Be sure to look
on the ground, around fallen trees, on tree trunks
and in dense areas of foliage to maximise your
chances of finding the right subject. Taking a long
walk around local woodland with a camera and a
spare lens can be very enjoyable at this time of
year particularly if the weather is cold andsunny. Dont forget
to look out for wildlife, too.
1
If you have a macro lens,
make sure you rememberto take it with you whenout on a woodland
walk. Thereare lots of small subjects tophotograph in a forest and
amacro lens will allow you tocapture the intricate detail.
2It is important whengoing for a long walk towrap up warm.
Being
cold while you are shooting isuncomfortable, and if your mindis
thinking about how cold you
are then you wont be in themood to get decent shots.
NEWS ROUND-UP
WEEKEND PROJECT
IMAGEBYSCOTTOLSON2
014GETTYIMAGES
GMBAKASH
Theft alertPhotographers should be on thelookout for new cameras
beingsold at suspiciously low prices
after thieves escaped with tensof thousands of pounds worthof
gear from Castle Cameras.Contact 01202 526 606 for theBournemouth
branch and 01722339 909 for the Salisbury one.
Drone threatDrone users may fallfoul of harassment,or even
voyeurismlegislation. Chief Inspector NickAldworth, of the
MetropolitanPolice, told a House of Lords
committee that, in the absenceof privacy legislation in the
UK,users of the unmanned devices could fall foul of the 2003
SexualOffences Act, or harassment under the Public Order Act.
Hewarned that drone technology has opened up opportunities
fornegligent, reckless or malicious use.
Flickr under firePhotographers blastedFlickr after the
websitebegan selling photographsavailable for use under aCreative
Commonslicence. Flickr ownerYahoo made more than 50million images
availableto buy. It ticked me offthat somebody else is selling them
when I was giving them away,US-based amateur photographer Liz West
told The Wall Street
Journal.Creative Commons is a non-profit body that offers
analternative to full copyright, according to
creativecommons.org.
Hell factory spotlightBangladeshi photographer GMBAkash has
pocketed $2,500 forwinning the inaugural NeutralDensity Photography
Awards. Hiswinning image, Angels in hell, is ofchildren working in
Bangladeshi
factories. Visit ndawards.net.
Manfrottocolour splashManfrotto has made some of
its tripods available in differentcolours, including blue
andpink, allowing photographers topersonalise their kit bag.
TheBefree, Pixi, Pocket seriesand Compact Light rangeare now out in
a variety ofcolours. For more detailsvisit www.manfrotto.co.uk.
The week in brief, edited by Chris Cheesman
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January 2015 5
3
As a lot of foliage will
have died down, it willbe easier to see, and
herefore photograph, birds andother wildlife. Using a
telephotoens will help you get close-up
shots of your subjects.
4As the leaves ofdeciduous trees andshrubs will have
dropped, its important to keepan eye out for colour. Look
forcolourful subject matter, such
as evergreens and berries, tobrighten up a dull
environment.C
ALLU
MMCINERNEY-RILEY
Use a macrolens and flash to
take detailedpictures of fungi
Landscapephotographyis the supreme
test of thephotographer
and oenthe supreme
disappointmentAnsel Adams
American photographer
(1902-1984)
This powerful imagefrom Getty photographer
Scott Olson encapsulates thefrightening tension building inmany
US cities as people reactedto what they felt was a miscarriageof
justice. A police squad car wasturned over by demonstratorsduring a
protest on 25 November2014 in Ferguson, Missouri.Protesting turned
into riotingfollowing the grand juryannouncement not to
indictofficer Darren Wilson in theMichael Brown case. Brown,an
18-year-old black man,was killed by Wilson, a whiteFerguson police
officer,on 9 August. At least 12 buildingswere torched and more
than50 people were arrested duringthe night-long rioting.
BIG
picture
8,000The number of pieces of
photographic equipment inthe RPS Collection in Bradford,
West Yorkshire
Tensions reach boiling
point in Ferguson,
Missouri, in the US
Words & numbers
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SONY has confirmedthat the Alpha 7 II will
cost 1,500, body only,when it goes on sale inthe UK in
January.
The Sony Alpha 7 II willalso be available as a kitwith a 28-70mm
lens,priced 1,700.
Unveiled in November,
the Sony Alpha 7 II isclaimed to offeroutstanding image
qualityin a compact size andlight build.
The 24.3-million-pixelmodel features 5-axisimage stabilisation
and a117-point, focal-plane-phase-detection AFsystem with an
improvedalgorithm, allowing AF tobe 30% faster than inprevious Sony
cameras.
Sony confirmsAlpha 7 II price
Historic RPS imagesgo on show, at a cost
HISTORIC images plucked fromthe Royal Photographic Societys
famous collection have gone onshow at the Science Museum
inLondon, as organisers defend the8 entry cost.
Drawn by Light features morethan 200 exhibits from the
RoyalPhotographic Society Collection,which has been housed at
theNational Media Museum (NMM) inBradford, West Yorkshire, since
itsmove there 11 years ago. The RPSitself was founded in 1853.
The show includes images
dating back to the earliest days ofphotography, captured by
pioneerssuch as Julia Margaret Cameronand British photography
inventorWilliam Henry Fox Talbot, whoseexperimental cameras are on
display.
It also showcases the work ofmodern-day photographers suchas Don
McCullin, Terry ONeilland Martin Parr.
The Science Museum says theshow will allow the public to
discoverstories behind some of the worldsmost famous photographers
andtheir works, and explore how
photography has fundamentallyshaped our perception of the
world.
Entry to the exhibition, which takesplace at the Media Space
Gallery
inside the museum, costs 8 amove that has drawn criticism fromat
least one observer.
When the exhibition opens at theNMM in Bradford next year,
entrywill be free, according to the RPS.
Photographer Andy Blackmorecriticised organisers over the
entryfee. He told AP: Its disgusting. Itshould be a voluntary
charge They[the images] should be availableto see, for free.
Among those positive about theshow, however, is Emma McLean,an
entertainment agency account
manager, who turned to Twitter afterseeing a preview. She wrote:
So
excited to see the masters of theRPS collection If you are
aphotography fan, you cannotmiss this show.
Asked why there is an admissionfee for access to images that
formpart of the National PhotographyCollection, a Science
Museumspokeswoman told AP: Incomegenerated by the
exhibitionsprogramme is fed back into therunning of Media Space for
theproject to be sustainable.
Although a large number ofworks on show in the Media
Space throughout the year arefrom the National
PhotographyCollection, there are also loanson display.
She added: The preparation of amajor exhibition involves
shipping,insurance, research, conservationand installation
costs.
The Virgin Media Studio inthe Media Space is a free
offer,changing throughout the year, andrepresenting different
aspects ofphotography and the NationalPhotography Collection.
The Media Space offers
concessions, and discounts atcertain times of the week.
The Bradford-based RPS Collectioncontains more than 250,000
images
Moving the RPS exhibits to London came at a price
The show will be free to visit when it opens in Bradford
LEICESTERSQUARE1896PA
ULMARTINNATIONALMEDIAMUSEUM/SSPL
Visitamateurphotographersubs.co.uk/15E or call 0330
333 4555 and quote 15E
Subscribe to
SAVE
35%*
* when you pay by UK Direct Debit
More than 200exhibits range fromserene landscapes
to exquisite nudes,say organisers
NUDEONSAND
OCEANO
,CALIFORNIA1936
EDWARDWESTON
CHIMNEYC1934NOELGRIGGS
NATIONALMEDIAMUSEUM
,BRADFORD/SSPL
PORTRAITOFCHRISTINA1913
LIEUTENANTCOLONELMERVYNOGORMAN
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January 2015 7
A BRITISH artist is among thoseshortlisted for the Deutsche
Brse
Photography Prize 2015.UK-born Patrick Waterhouse
collaborated with South Africanphotographer Mikhael Subotzky for
anintimate and deeply evocative socialportrait of a 1970s
Johannesburgapartment block that reportedly becamea centre of
crime, prostitution and drug
dealing, and a symbol of urban decay.The pairs work, called
Ponte City
2008, also drew on architectural plans,plus archival and
historical materialabout the building and community.
The project appeared in the pairspublication,Ponte City, earlier
this year.
Also shortlisted for the DeutscheBrse Photography Prize 2015
areRussian photographer Nikolai Bakharev,Zanele Muholi (South
Africa) and VivianeSassen (Netherlands).
The winner/winners of the 30,000cash prize will be announced at
The
Photographers Gallery in London on28 May 2015.
The work of shortlisted photographerswill go on show at The
PhotographersGallery from 17 April-7 June. See alsothe exhibition
in Edinburgh (right).
The Deutsche Brse PhotographyPrize rewards a photographer, of
anynationality, who has made a significantcontribution, in
exhibition or publicationformat, to photography in Europe from1
October 2013-30 September 2014.
Londons New Years Day ParadeHappy New Year! You may be reading
this after the big calendar
flip, but if youre not, and you anticipate being able to stand
onNew Years Day, why not head out to photograph some of
thecelebratory parades that take place?
Ponte City: Mikhael Subotzkyand Patrick WaterhouseTwo artists
document five years in the lifeof South Africas tallest skyscraper,
the54-storey Ponte City, in Johannesburg.Once a symbol of
prosperity, the buildinghas fallen into decay, and its
refugeeinhabitants face an uncertain future.
People of IndiaThree series of photographsdocument India,
spanning thepast 150 years. Anchoring thedisplay is Jason Scott
Tilley,who contributes his own streetportraits and also shots
takenby his great-grandfather.
Mobile PhotographyEtons Rhubarb and Custardgallery open
exhibition focuseson photographs taken usingmobile phones. If youd
like tosee one of your mobile imagesmounted on their wall, head
tothe website for details.
Shoot Winter FlowersIts no doubt tempting to shake off
thosepost-Christmas blues by staying resolutelyindoors and
polishing off the booze
reserves, but youll have much more luck ifyou venture outside
and get some shots offlowers that appear at this time of year some
nice snowdrops, for example.
LONDON
COVENTRY BERKSHIRE
EVERYWHERE
J
ASONSCOTTTILLEY
MIKHAELSUBOTZKY/PATRICKWATERHOUSE
M
ATTSPRAKEPHOTOGRAPHY
R
BGKEW
1 January. ww w.londonparade.co.uk
Until 11 January.www.theherbert.org
Until 28 February.www.rhubarbandcustard.com
January-February
Until 26 April. www.nationalgalleries.org/portraitgallery
The most interesting things to see, to do
and to shoot this week. By Jon Stapley
Brit on 30k photo shortlist
Flashgun maker Metzin financial trouble
FLASHGUN makerMetz may be rescued
rom insolvency afterattracting considerablenterest from
potentialnvestors, AP has learned.
A source close to Metzsaid the insolvency filing isexpected to
affect around600 jobs, but added thatthe administrator is incontact
with potentialnvestors and that therehas been considerablenterest
in the company.
Metz makes flashunits for amateur
and professionalphotographers worldwide,rom compact flashes
to
handheld flashguns. Italso makes TVs.
The German office ofnsolvency administratorJoachim Exner had
yetto comment.
Metz was formed over75 years ago by PaulMetz who, in 1947,
beganmaking radio sets beforeexpanding to other linesof
business.
Today, the owner-led
company focuses on threeareas: entertainmentelectronics,
photoelectronics and plasticstechnology.
Paul Metz died in 1993,after which his wifeHelene took over
therunning of the business.
Speaking last year,Helene Metz said: My
husband and I have always
invested in the companyand promoted itscontinued
development.
Independence wasimportant to us. At thesame time, we
alwaysplaced great importanceon excellently trained,highly
motivatedemployees. And nothingwill change these values
in the future.
For the latest newsvisit www.amateurphotographer.co.uk
Get up & go
The GermancompanyMetz makestelevisionsas well asflashguns
EDINBURGH
MIKHAELSUBOTZKY&PATRICKWATERHOUSE,
COURTESYGOODMANGALLERYMAGNUMPHOTOS
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Ifinally have my own darkroom.Well, technically Ive had
adarkroom since I was ten years old,but that was just my bedroom
with
a blanket draped over the curtains to helpkeep the street lights
at bay. Now, though,I have a room dedicated to the art andscience
of photography a room thatcan act as a focus for my endeavours
and,more importantly, a room for all my junk
(my wifes word) thats been spread aroundthe house for most of my
life.
Why now? Surely, with everything soshiny and digital, Id be
better off puttingthe money into a decent photo printerand a pint
or two of ink? I beg to differ,and heres why.
Digital photography is great, wonderful,invigorating. It allows
me to photographsubjects and events that I would reallystruggle to
capture with the best of myanalogue kit and some of that is
verygood. The trouble is, the ease with whichI can capture images
digitally sometimessuckers me in to the old Photoshop
Two-Step a dance in which you openthe file, look blankly at it,
click Enhanceand Auto Levels, let some unknownsoftware engineer
decide just howmuch it needs sharpening then doa Save As. Game
over. I have a picture. Itlooks OK, the histograms are spot on andI
know just how it will print on the devicesIve loaded profiles
for.
For rapid professional gigs, this is alifesaver. I know
immediately that Ive gotthe image and can deliver it in the way
thecustomer wants, when he wants it. There
is no more double-shuffle with twocamera bodies and two film
stocks just incase a shutter blind sticks or the aperturefails to
close. No more prayers as youopen the developing tank to check
theresults. In many ways, life is good.
But perhaps its too good. When Imnot running to someone elses
deadline, Ienjoy taking time over my photography.I like to plan how
to get the image right
in-camera, so that what I capture reflectswhat I saw or imagined
at the time,rather than ending up with a picture thathas passed
through the assumptions,preferences and compromises of thehundreds
of other folk who design ourcameras and write our software.
Theyhave their own agenda: they assume wewant deep blue skies,
sharp faces, shadowdetail, synchronised smiles all greataspects of
your holiday pics, but notnecessarily helpful if you are
pursuingyour own ideas.
Hence the darkroom. By returning tomy roots in monochrome
photography,
using manual cameras and hand-printingthe results, I feel much
closer to being acreative person. Ill never stop using digital it
makes me a useful income but whilethe me photography is slower,
morepainful and has fewer results, it gives meimages that I feel
great satisfaction in.Which I guess is what it is all about.
Are you someone whos guilty of doing thePhotoshop Two-Step?
Heres why a return to the
darkroom might benefit your photography
ViewpointJohn Gilbey
Johns darkroomwill free him upto shoot theway he wants
John Gilbeyis a writer and photographer living in west
Wales. His work has appeared in Nature, New Scientist,
The Guardianand a number of other publications. You
can follow him on Twitter @John_Gilbey.
Do you have something youd like to get off your chest?Send us
your thoughts in around500 words to the address on page 17 and win
a years digital subscription to AP, worth 79.99
Aer the Agreement:Contemporary Photographyin Northern Irelandby
Sarah Tuck, John Duncan, Mary McIntyreand Donovan Wylie, Black Dog
Publishing,19.95, paperback, 978-1-90896-691-9
DURING any conflict, there arealways photographers who are
eager to document what theysee. While in the case of
newsphotography this is a necessity,contemporary art
photographyrequires some distance. The eventsmust be absorbed and
considered.
Only then can artists communicate what they havelearned. This is
part icularly true of the Troubles inNorthern Ireland, and that is
what makes this book sucha vital addition to the conversation. The
book draws ona series of talks by the photographers John
Duncan,Mary McIntyre, Donovan Wylie, Paul Seawright,Kai Olaf Hesse
and David Farrell. It is a fantasticopportunity to explore the role
that contemporaryphotography plays in our understanding of the
events.
Light reading it is not, but was it ever going to be,considering
the subject matter?+++++
New BooksThe latest and best books from the
world of photography. By Oliver Atwell
Josef Koudelka: ExilesThames & Hudson, 39.95, hardback,
180 pages, ISBN 978-0-50054-441-9HOW CAN it be that
aphotographer dealing with themesof desolation, waste, departureand
alienation is able to producesuch exceptionally beautifulimages?
The reason is simple:
everything Czech photographer Josef Koudelkacaptures speaks
deeply of the endurance of thehuman spirit. The photographs were
taken duringKoudelkas years of wandering through Europe and
theUnited States after leaving his native Czechoslovakia.The images
communicate much about the world thatKoudelka found on his travels,
but perhaps say moreabout the photographer, indeed any
photographer,
who suffers from an insatiable desire to see. Typically,each and
every frame is perfectly beautiful. Masterphotographer is a term
thats bandied around far toomuch, but here it is more than
justified.+++++
BOTHPICTURESJOHNGILBEY
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Technique SET YOURSELF GOALS
2
1
Back up your images
onto external drives
New YearsresolutionsThe New Year is the perfect time to set some
goals for
your photography. Here are some ideas to get you started
WE PUT an awful lot of faith in the reliabilityof hard drives,
and while many of us will belucky to experience only minor issues,
whena hard drive does fail (and they do a lot) itcan be an
emotional experience, to put itmildly. That is, unless youve backed
up allyour images (and other important data) onan additional drive.
If your hard drive doesfail and youve backed up your data, the
onlymajor loss is the original drive and the factyouve got to buy a
new one not thedrama and pain of realising youve lost every
single image youve taken, including thoseall-important test
shots of the cat.
We suggest you avoid storing images onyour computers hard drive
too, and insteadstore them on a dedicated external drive,and also
invest in a second drive to mirrorthe first. It may seem like a bit
of an outlay,but the cost of memory has droppedsignificantly over
the past couple of yearsand ultimately, what price do you put
onyour images?
Make archiving images part of yourworkflow. Maybe once youve
copied theimages across to one drive, you repeat the
same step onto the other, or schedule inweekly updates to mirror
your main drive.
Improve your image selectionTHERES nothing quite like the
satisfaction of asuccessful shoot that buzz of seeing a stackof
potentially great images on your rear screencan be incredibly
gratifying. However, oncehome and theyve all been loaded ontoyour
computer (and backed up!), it can beextremely difficult to nail
down which shotsto edit and which ones to leave out.
The trouble is, were often too close to them,having invested so
much time and energy inthem, but being ruthless with your images
willmake you a better photographer. Coming awaywith one strong shot
will be better than havinga host of mediocre or almost-there
pictures.
A good starting point is to select a number ofimages, even
processing them, before walking
away and coming back to them some timelater ideally getting a
good night s sleepbefore you take another look at them. Youll
besurprised how the shots differ from the onesyou remember. In some
cases, they wont hitthe mark quite as much as you imagined,
whileothers will naturally come to the surface andperhaps stand out
more than they did before.
Back up your images
Step back fromyour imagesand look at
them againlater
P
HIL
HALL
G-TECH
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January 2015 11
3
4Revisiting this shot
has produced a
better result
Processed three years ago,this shot has benefitedfrom another
look a few
months ago (above)
WHILE the thought of a folder simply called pictures,with reams
of images stored inside, is enough to senda shiver down the backs
of many of you, for some thishorror is a reality.
Categorising and sorting images can be a thanklesstask, but
while the nights are long nows the time to getyour photographs
sorted out. Establish your own filingsystem everyone will have
their own method, but makesure you follow it. Good practice is also
to drop files intheir respective folders at the time of import
ratherthan trying to remember to do it later. Programs
likeLightroom will also allow you to add keywords to imagesand
create collections, making finding and retrieving
mages so much easier especially if youre dealingwith a large
back catalogue.
YOU CAN end up with masses of old and unedited photos
languishing on your harddrive, so why not take the time to sift
through your old files?
Chances are there will be some good shots nestled among the old
pictures thatyou missed at the initial pass or have just forgotten
about. Also, the various editingtricks and treatments youve picked
up since you last looked at them means youllfeel comfortable enough
to really go to town on an image and get the best from it.
Organise
your images
Rediscover old shots
P
HILH
ALL
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Technique SET YOURSELF GOALS
5
6
7
Study other imagesWHETHER youre simply flicking through a
magazine, studyinga beautiful photography book or visiting an
exhibition, if you seean image that captures your attention, take
time to really studyit and try to work out what makes it so
special. How was it lit?
What works about the composition? What lens do you thinkwas
used? What image adjustments have been applied?Analysing an image
in this way will help you to betterunderstand how a picture has
been constructed and allowyou to think about applying this to your
own photography.
WHILE sharing images has never beeneasier, they always seem to
be locked ona screen, never seeing the light of day.A print,
especially if it is mounted andframed nicely, has much more
impactcompared to simply swiping through
images digitally, so why not pick out twoor three of your
favourite shots and getsome framed prints made? After all, aprint
is one of the very foundations of
photography and youll be surprised howmuch more connected you
feel to theimage when viewed in this way.
You can either make the printsyourself and choose a frame to
match,or why not use a specialist service like
Loxley Colour (www.loxleycolour.com)to produce a gallery-quality
print. Thecompany also offers a range ofcontemporary finishes.
Start aphoto project
Print and frame your images
RATHER than just shooting for the sake of it, why not
setyourself the challenge of a long-term project over theyear and
build up a coherent body of work. While theresno denying the joy of
capturing a stunning one-offimage, a body of work will produce a
much moresatisfying sense of achievement.
Before you get started, though, think carefully aboutyour
subject matter. Regardless of what you intend tophotograph, its a
good idea to have a keen interest inwhatever it is youre planning
to shoot as this will help you
when things may not be going quite how you want themto you need
to think about access as well.
Framing andhanging yourwork can be
very rewarding
Justin Minns visitedthis location numeroustimes before he gotthe
shot he wanted
J
USTINMINNS
TIMEINC/DAVIDGILES
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January 2015 13
9
8Be persistentWEVE all experienced the excitement of a new
location or subject,only to get there and find the light is not
quite right, the weathersnot playing ball, the tides wrong or
someones decided to leave acar parked in the middle of your shot,
leaving us dejected and
without the images we envisaged. Whatever the reason,
though,dont throw in the towel if things dont work out first time.
If thingswere easy it wouldnt be half as rewarding, would it? So
bepersistent and youll be rewarded with the shot youre after.
Thismay involve a couple of trips to the same location, but on the
daythe stars align and the conditions are perfect, then the
satisfactionof getting that special shot will be even greater.
Try out a newlens or cameraWHILE equipment reviews are
incredibly valuable whenchoosing a piece of new kit, theres nothing
quite like gettingyour hands on a camera or lens and putting it
through itspaces yourself. Only in that way can you get a real
sense ofhow it performs for your needs.
You might be lucky and be able to try a friends covetedcamera or
lens, but if not, why not hire one for the weekend?Companies like
HireACamera.com stock hundreds of items ofkit, from accessories to
exotic lenses, so whether you want totry the latest DSLR youve got
your eye on or youve got a one-
off shoot where a pricey 400mm f/2.8 lens is needed, then fora
fraction of the price you can try it out for yourself.
Why not try a new lens or
camera over the weekendbefore you buy?
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Technique SET YOURSELF GOALS
12 As well as social platforms,think about setting upyour own
website
10
11You could alwaysenter APs own APOYcompetition and wina great
prize
AvoidtheclichsWHEN planning a visit toa new location, its all
too
easy to get swept up in theexcitement of looking atwhat other
people havecaptured of the samescene. Whether thatsflicking through
imageson sites such as Flickr orthe pages in AP, youll findthat
these images will leadyou to visualise the shotthat you want so
youllalmost have tunnel visionwhen you arrive at yourlocation,
preventing youfrom considering any
other angle.Theres nothing wrong in
rattling off a few frames inthis way, but also try tostep back
and survey thescene, looking for analternative viewpoint
orinterpretation of thesubject that will make yourshot different
and special.
Enter a photo competitionTHERES no better way to get a wider
audience for your images than if youresuccessful in a photo
competition, with national and, in some cases, international
coverage. Also, the thrill and excitement of seeing your image
displayed on agallery wall is pretty special. So why not promise
yourself youll enter a least onephotographic competition this year?
There are a host of contests out there,covering an incredibly broad
range of subjects, so youve got no excuse.
Manage youronline presenceWITH the likes of Flickr, Twitter,
Facebook, Instagram,Tumblr and 500px all offering some form of
imagesharing, its impractical to participate in each
onesuccessfully. However, try them all to begin with andyoull soon
get a feel for which works best for you, so youcan then focus your
attention on building up a followingand integrating yourself into
that online community.
Dont forget about setting up your own website if youhavent
already there are a host of dedicated websitephotography hosting
sites that can be easily customised,while domain names are
relatively affordable.
To ensure you keep your online presence fresh and upto date, try
to incorporate it into your workflow. Onceyouve processed your
image, for instance, and yourehappy with it, upload it the likes of
Lightroom even
offer simple drag-and-drop options to do this, so try toget into
the habit.
Hartland in north Devonis well known for its longlines of jagged
rocks, but
Russ Barnes decided toconcentrate on a moreabstract view that
stillcatches the dangerous
jagged lines of the rocks
RUSSBARNES
MARKHELLIWELL
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INBOX
C B
AD
In AP 6 December we asked
Have you ever risked yoursafety for the sake of a picture?You
answeredAYes, I have done in the past and would do again 32%
BYes, but I wouldnt do it again 16%
CNo, but I might if it was a once-in-a-lifetime shot 21%
DNo, it isnt worth taking risks for a photo 31%
What you saidYes, but not in terms of standing in front of
speedingrace cars, swimming with sharks or attending
riotsituations. More often clambering over slippery rockson the
coast
At the time I did not think so. Though my insurancecompany
tripled my premiums
I went up the new lighthouse at Dungeness beforethey had fitted
the light. There was just a small slab ofconcrete with a hole in
it. It felt like standing on thetop of a flagpole in the wind
Yes, but at the time I wasnt really aware of the risks
No photograph is worth losing your life for
Join the debate on the AP forum
This week we ask
What photo gear are you thinkingof buying this year?Vote
onlinewww.amateurphotographer.co.uk
Guess the date
Every week we post an old AP cover onour Facebook page and all
you have to do
is guess the issue date (day/month/year). The personwho is
closest to the exact date wins a years digitalsubscription to AP,
worth 79.99. To guess the date ofthis cover (above), head over
towww.facebook.com/Amateur.photographer.magazine. Forum memberscan
also enter via the Forum.
Win!
The cover in the 6 December issue wasfrom 13 August 1958. The
winner is Gary
Costello from Manchester, who was closestto the correct date
with 19 July 1958.
Tripod torment
With ultra-fast performance, the new Samsung 16GB E VO SD
card,Class 10, Grade 1, offers up to 48MB/sec transfer speed and
has aten-year warranty.www.samsung.com
Inbox
Film is not deadIt was pleasing to see AndrewSandersons recent
series onreturning to film. Coincidently,I had arranged a
darkroomcourse with Andrew beforereading the articles and I
would like to take thisopportunity to express mythanks to him
for three daysof enjoyment and immensesatisfaction going through
thewhole film developing andprinting process.
I was last in a darkroom(which also functioned as thefamily
bathroom) many yearsago, and the trepidation of thewhole process
and therequired equipment soondisappeared after enteringAndrews
darkroom. I came
away with some prints that Iam very happy and proud to
call my own, and I now havethe confidence to startprinting
myself.
The internet, for all its faults,is providing an inexpensiveway
to return to or start usingfilm. However, the digital
generation has left a holein the film world where weare losing
the skill of theprinter and the ability to passthese skills on to
the nextgeneration. Film is not deadand magazines need tounderstand
this as APhas recently affirmed.David Cliffe, Clwyd
For those of us without ourown darkrooms (which, Idguess, is
most of us), JonBentley recently highlighted
a website called www.localdarkroom.com that
lists darkrooms that areavailable to hire all over thecountry,
some of which alsooffer tuition NigelAtherton, Editor
Droning onDespite the legal minefieldsurrounding them, the use
ofdrones to take pictures has tobe one of the most
excitingdevelopments in photographyin years. Only a few days
afterId read your excellent Gameof dronesfeature in AP22 November,
I saw aphotographer using a DJ1Phantom drone on
theNewcastle/GatesheadQuayside. He was a friendlyguy who was happy
to showme his efforts. Clearly very
experienced at operating thedrone, his shots were terrific.
[email protected] and include your full
postal addressWrite toInbox, Amateur Photographer, Time Inc. (UK),
Blue Fin Building, 110 Southwark Street, London SE1 0SU
LETTER OF THE WEEK
I was interested to read Bob Riachs problemswith private
security staff while takingphotographs (AP 15 November) as I
recentlyhad a similar experience on Londons SouthBank near
Westminster Bridge, although theissue was using a tripod.
I was taking some bracketed exposuresfor later HDR processing
(see right) whentwo security guards informed me that the
use of tripods was forbidden between theLondon Eye and
Westminster Bridge byorder of the private landowner. Thisprompted
me to think about why the use oftripods should be banned. I could
only thinkof two explanations: that I might suddenlyswap my camera
for a tripod-mountedmachine gun; or that unrestricted use oftripods
could lead to obstruction.
The second option is the only plausibleexplanation, although in
my view not justifiedso long as photographers with tripodsremember
to be considerate to others andnot block popular viewpoints for any
lengthof time. So long as we take our shots and
move on, I can see little justification for thebanning of
tripods. However, if we dont actconsiderately, I fear it will
happen more andmore.Martin Sharpe, London SW16
To find out what you can and cant film,with and without a
permit, and whichareas are private land, see filmlondon.org.uk. The
South Bank website has adedicated page
(www.southbanklondon.com/photography-film) that lists what youcan
and cant do and where to ask forpermission Richard Sibley, deputy
editor
Win!
Martins image of Londons Westminster Bridge
MARTINSHARPE
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January 2015 17
INBOX
MARKBAUER
ContactAmateur Photographer, Time Inc. (UK), Blue Fin
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Editorial teamGroup Editor Nigel AthertonGroup Editors PA
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News Editor Chris CheesmanProduction Editor Lesley UptonSenior
Sub Editor Oliver CottonArt Editor Mark JacobsDeputy Art Editor
Sarah FosterDesigner Antony GreenStudio Manager Andrew
SydenhamPicture Researcher Rosie BarrattOnline Manager Karen
SheardOnline Production Editor Paul NuttallDigital Art Editor Simon
WarrenDigital Production Editor Jacky PorterStaff Writer Jon
StapleyVideo Production James FennPhoto-Science Consultant
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Special thanks toThe moderators of the AP
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Street, London SE1 0SU. Tel:0203 148 3333All 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) 2014 A mateur Photographer (incorporating Photo Technique
& Camera Weekly)Email: [email protected] Website:
ww w.amateurphotographer.co.uk Time Inc.switchboard tel: 0203 148
5000 Am ateur Photographer is published weekly (51 issues per year)
onthe Tuesday preceding the cover date by T ime Inc. (UK), Blue Fin
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OSU. ISSN 0002-6840. No part of this publication may be reproduced,
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Photographer Magazine in any format or m edium, including
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Classics revisited 1I have been interested to read your Classics
revisitedfeatures.I was inspired to revisit Man Rays Noire et
Blanche afterphotographing a model at my camera club (see images
above).Neil Scott FRPS, via email
Classics revisited 2In the spirit of your Classics
revisitedseries, the image (belowright) is a self-portrait in the
style of Philippe Halsmansself-portrait (below left). Ive titled it
The unbearable lightness
of being as a pun inspired by the famous Kaufman movie,given the
reading of the scales.George Parapadakis, via email
Its great to see you re-creating classic images, inspired byour
series. Keep them coming! Nigel Atherton, Editor
The camera used was aGoPro Hero 3, and after ourchat I clicked
the must-buybutton in my brain, remindingmyself to buy one.
Interestingly,as I watched the guy at work,wo police officers
paused to
watch him too. Thankfully, heappeared not to be breakingany
laws, as one of the officers
asked, Got any good uns?Im up for some drone
photography myself. Therouble is, my husbandeckons Ive turned
into a bit
of a drone myself, bangingon about them.Chrissie Patten,Tyne and
Wear
Drones look like great funo use and they enable uso get pictures
that cant
be taken any other way, butn irresponsible hands they
can be a danger to publicsafety and a threat toprivacy. It will
be interestingo see how the law reacts ashey become more
popular
Nigel Atherton, Editor
Add impact to
your landscapesLandscape pro Mark Bauer shareshis tips for
better composition
Premiumcompactsgroup test
Canons PowerShotG7 X, Fujifilms X30,Panasonics LumixDMC-LX100
and SonysCyber-shot DSC-RX100III go head to head
Being EnglishPatrick Wards look atEnglish eccentricities
CreativePhotoshopThe story behindanother great digital
darkroom creation
In next weeks issue On sale Tuesday 6 January
Man Rays original Noir et Blanche (left), with Neil Scotts
version (right)
MANRAY
NEILSCOTT
GEORGEPARAPADAKIS
PHILIPPEHALSMAN
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Shooting at eithersunrise or sunsetgives Matty thebest results
whenbalancing exposuresNikon D300S,
10.5mm, 1/200secat f/22, ISO 100
UNDERWATER PHOTOGRA PHY
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Jellyfish are a popular subject in the projectNikon D300S,
10.5mm, 1/320sec at f/13,ISO 320
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2015 19
ALLPICTURESMATTYSMITH
Beyondseathe
The ocean is, in its ownway, a region of the planetthat is still
utterly alien tous. Beneath the surface,
creatures that seem almost beyondthe scope of our imagination
driftwith the currents. Weve all seenthese creatures before, but
imagesof them can still hold our attentionand make us marvel at
thecomplexity of our world.
This is particularly true ofthe images taken by
UK-bornphotographer, and recent winnerof the Invertebrates category
in
Wildlife Photographer of the Year2014, Matty Smith. Mattys
project,called Over/Under, features aseries of photographs that
functionon dual levels. The title of the seriesis to be taken
literally. Each imageis framed in such a way as to revealthe world
above and the worldbelow both earth and sea.
I love to make picturesunderwater while scuba diving, saysMatty,
from his current home inAustralia. I love to show the worldthe
amazing life and the events thattake place beneath the waves. But
I
feel that when I show people thesepictures they view it in a
kind ofamazement, that its a place faraway and unreachable to
them.The reality is that these scenes arehappening around every
coastlineand around every country in theworld. You dont need
fancyequipment and qualifications.Just put on a mask and
snorkel,and have an adventure.
The key thing for Matty is context.In the lower half of the
frame wehave the alien world of the ocean. Inthe top half we have
the familiar:
our own world of earth andsky. Over/Under joins the two
Matty Smithsimages reveal a beautiful world
just beneath the oceans surface. Oliver Atwell
talks to him fresh from his win at this years
Wildlife Photographer of the Year competition
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UNDERWATER PHOTOGRA PHY
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worlds together, with Mattyslens acting as a kind of
wormhole between dimensions, or,as Matty himself says, linking
the
unknown with the known.
Timing is everythingMattys images were mostly takenin rock pools
around Port Kemblaand Shellharbour in New SouthWales, Australia.
But as Mattypoints out, the location is almostincidental. He takes
these images inthese locations purely because hehappens to live in
Australia, havingemigrated there in 2007.
The important thing to realiseis that images like this
dontnecessarily have to be taken in the
ocean, says Matty. Had I still beenliving in the UK, Id be
shootingthese types of images in ponds andstreams around the
Midlands,which is where Im originally from.There is a wealth of
freshwatersubjects I can think of that wouldwork equally as well:
frogs, newts,tadpoles, even goldfish in a gardenpond. These could
be great subjects.
However, you also have to put alot of research into looking for
agreat location, he adds. Its goodhaving wonderful goings-on
underthe water, but the above part also
has to be interesting. You have tolook at an image as a
landscape shot
Below: Having aninteresting aboveview is crucial tobalancing out
thevisual interest ofthe belowNikon D300S,10.5mm, 1/160secat f/16,
ISO 500
The reflective bodiesof fish present achallenge whenworking with
flashNikon D300S,50mm, 1/320secat f/4.5, ISO 100
more than anything. Thats why Iwait for great skies, such as
sunrisesand interesting cloud formations.
Matty points out that the best
time to shoot is just after sunriseand just before sunset. At
thesetimes, there is enough light for ahandheld sky exposure but
not toomuch to make to whole scene overlycontrasty. High sunshine
breaksup and dapples the seabed withshadow and hotspots he says.
Idont like the effect and find itshard to expose for. The
important
thing to take into consideration iswhere the sun will rise and
setwhen scouting for locations.
Seeing the lightGreat skies or not, all these imageswould be
lost were it not for Mattysaccomplished handling of light,which is
the real key to the successof Over/Under. On more than oneoccasion
the images look almost asif they are two images splicedtogether to
form a whole. Despitethe extraordinary look of thephotographs,
Mattys approach tolighting is, by his own admission,relatively
straightforward. Hewill normally expose for theabove part of the
image and use
waterproof flashes to light theunderwater section.
I always use my camera inmanual mode and take a meterreading
from the sky to make surethat element is exposed correctly,he says.
The underwater part isoften several stops darker than thesky, so I
will adjust the power onmy flashes to suit. The underwatersubject
has to be close to thecamera for this to work. Light fallsoff very
quickly through the waterand even the most powerful flasheshave an
effective range of only a
couple of feet in water.The underwater flashes I have
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January 2015 21
UNDERWATER PHOTOGRA PHY
STARTING OUT
are nothing too special, he adds.They are standard equipment
thatany dive photographer might use.Mine are made by Inon and
are
the Z-220 model. I like the Inonflashguns. Theyre very
compactcompared to other models. Thatsimportant with this type of
workbecause you are often workingbetween rocks in tight spaces.
With all this in mind, can anyunderwater subject work in
Mattysimages? Given the varying degreesof complexity and appearance
ofthe creatures that inhabit theocean, it stands to reason that
somesubjects will look better than othersunder the glare of a
flash.
Jellyfish and anemones are
big favourites of mine as theirtranslucent bodies absorb the
lightreally well and always expose with acertain colourful glow, he
says.They are naturally very bright andare great eye-catchers. Fish
are a
little trickier. Their highly reflectivebodies are like shooting
into amirror and its very easy to burnthem out, especially as they
are
constantly on the move. Flashexposure can vary greatly as
theymove closer or further away.
Through the lensOf course, the lighting is just onetechnical
consideration that Mattymust face when exploring hisunderwater
worlds. A goodcombination of camera, lensand underwater housing
arevital components.
I use various Nikon DSLRcameras and lenses for all
myphotography, he explains, although
it has to be a fisheye lens for theOver/Under work. The
underwatersubject is often right in front of thecamera, so if I
want both it and thehorizon sharp, I need the depth offield only
possible with a fisheye.
I FIRST got into photography in my late teens,around the
mid-1990s, says Matty. I hadalways been attracted to the ocean from
as farback as I can remember, so it was only naturalthat it would
become my muse. But it wasntuntil around 2004 that I first started
getting inthe water with my camera. I used to shootsurfers around
the coast of the UK on myNikon F80 in an Ikelite or Liquid Eye
housing.Back then, you only had 36 frames so you had
to choose carefully what you shot! It wasa long swim in to
change film!
Matty Smith was bornn the UK, but currentlyives in Australia
where
he continues to buildhis portfolio of imagesaken underwater.
To
see more of Mattysmages, visitwww.mattysmithphoto.com
A sharp horizon isvital to achieve depthin Mattys imagesNikon
D300S,10.5mm, 1/80secat f/22, ISO 200
The translucentbodies of jellyfish
absorb lightincredibly wellNikon D300S,
10.5mm, 1/100secat f/22, ISO 200
The physics of the refraction of lightunderwater and the way it
changesthe focal distance of a submergedsubject is another problem
that afisheye lens overcomes with itsimmense depth of field.
As Matty is using DSLRs ratherthan an underwater camera, his
most important piece of kit is anunderwater housing,
whichprevents the corrosive anddamaging effects of seawater
fromruining his camera after each shoot.
Good water housings alwayscome in two parts: the mainhousing
body that the camera bodysits in and the lens port [short
forportal] that houses the lens, Mattyexplains. I use Aquatica
housings,which are built like bricks. They aremade out of marine
aluminium they have to be. This is veryimportant, as gear gets
bashed
around in marine environments.Climbing in and out of
boats,scrambling though rocks, gettingtossed about in the ocean,
sunexposure and sometimes extremetemperature change are all par
forthe course. However, coming froman engineering
manufacturingbackground, I have started todesign and build my own
housingsand lens ports. This allows me tocustomise my gear to my
personalpreferences.
Tips for shooting underwater
As Matty has already said, shootingthese underwater scenes need
notbe complicated. In fact, he has aseries of tips for people
looking todip their toe into the world ofunderwater
photography.
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UNDERWATER PHOTOGRA PHY
The first thing I would sayis safety, safety, safety, says
Matty. Only enter the ocean toshoot if youre a competentswimmer
and never do it alone! Itseasy to get distracted taking yourshot
and not realise youre driftingoffshore and into danger. If
youre
shooting around rock pools, checkthe swell and waves. Dont
getcaught out and washed into theocean. It happens to rock
fishermanaround here all the time. Alwaystake someone with you and
letsomeone know where you aregoing and for how long.
Next, Matty suggests keepingwarm by investing in a good
wetsuitand boots two things that willalso protect you from the sun
andany bumps and scratches you mightget from sharp rocks. Even
intropical climates a diver can still
get a chill and cramps if theyre inthe ocean for a few hours. Id
alsosay to make sure your equipment iswell protected, he adds. Buy
thebest water housing you can affordif youre going to get serious.
Youdont necessarily have to buy abrand-new one. There are somegood
underwater photographywebsites that have classified forumson them
where you can often pickup a second-hand bargain. Itstempting to
buy a cheap plasticbag-type waterproof coat, butremember its the
only thing
between your beloved cameraand the harsh elements.
Mattys final piece of advice is toinvest in a good-quality lens,
ratherthan spending all your hard-earnedcash on a
bells-and-whistles camera
body. Start with a good wideanglezoom, something in the
10-24mmrange, he says. Then add to that afisheye and a mid-range
macro lens.There is no use for a telephoto asyoull always want to
be as closeto your subject as possible.
One of the great benefits of
talking to someone like Matty is therevelation that his images
are notonly relatively simple in theirexecution, but they are also
whollyaccessible for anyone looking toachieve something similar.
Ashe says, the location is almostirrelevant. These could be
donejust a mile or two from your owndoorstep with a simple
camerahousing and small flash unit.Maybe thats the most
importantlesson: there are alien worlds allaround us and every one
of themis ripe for exploration. All it
takes is an inquisitive mind.
COLOUR CONSIDERATIONS
LIGHTING is important underwater, says Matty. Its a lot darker
andless contrast y than in air, so youll want to invest in some
form ofunderwater flash i f youre shooting any more than a few feet
deep.Anything red will appear a dirty brown/grey when submerged
more thana foot or two down without the aid of flash. As you go
deeper, orangesand yellows go too until everything looks blue when
no flash is used.
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Below: Mattys
winning imagefrom the WildlifePhotographerof the YearNikon
D300S,10.5mm, 1/15secat f/13, ISO 250
Left: Colours in yourimages can oftenchange unless youare aided
byartificial lightNikon D300S,10.5mm, 1/250secat f/22, ISO 200
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Technique DSLR MOVIES
Iwas a stickler for steady footagewhen I started filming. I
decidedthat my style of work would bemore Hollywood than vintage,
as
I felt the vintage look made it easier tohave slightly shaky
footage, which wasthe essence of that look and feel at thetime. I
wanted something cinematic to sit
Professional videographerVictoria Grechtakes
a look at how to capture steady video footage
IMAGECOURTESYOFVICTORIAGRECH
Videomasterclass
Partfive
Safety firstTripods are the safestway to ensure that yourshot is
stable. However,the downside is thattripods do not allow youto move
easily. Bending
down, clipping andlevelling off the legs canbe
time-consuming,especially if you arefilming children. Tripodsdo
have their place,though for speechesat weddings or someinterviews,
for example.They also give me theability to shoot solo, asI can
quite happily set upmy frame, camera andlighting, and then
sitbeside the camera to
interview the personand record audio.
alongside my photography. I was in lovewith well-lit, composed,
meaningful scenes
of classic and iconic films I had watchedin the past. Items that
help to stabilise acamera, such as tripods, monopods andsliders,
are great, but just owning themdoesnt make your footage stable.
Youneed to know how best to use them.
MovementWhen it comes to movement, I like to usea slider. The
trick is to push and pull withthe same amount of force, and
moveslower than you think you should. I likeholding the base of the
video head on theslider rather than the camera body. I also
count one and two and so on (for howeverlong your slider is) in
one direction, andthen the same pace and speed in thereturn
direction. The downside to sliders isthat the larger they are, the
more difficultthey are to carry and fit into luggage
whentravelling. For thisreason, I only everuse a half-metreor
smallslider.
Stabilising a monopodIt can take a bit of getting used to, but
for me its about trying tohave as many points of contact as
possible with a monopod.I use the adjustable arm underneath my
armpit and the LCDviewfinder as the second point of contact. The
third is my hand onthe actual camera body, the fourth my hand on
the focus ring, myfifth is my foot on one of the legs of the
monopod and the sixth
involves resting the monopod on the edge of my knee for
extrasupport if I am not moving.
IMAGEBYDADEFREEMANK
RYSALISPHOTOGRAPHY
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January 2015 25
Next month, I will walk you through my four trusted methods to
focus any shot. One is so easy it doesnt even involve touching the
manual-focus ring!
Tricksof the tradeRapid shooting/on-the-go capturehave used a
monopod out of a car window
before, positioned upside down, holding onto thebottom part of
the pole. I can capture great andunusual footage quickly like this,
and while itdoes look a little shaky (even with a stabilisedens),
you can actually use a warp stabiliser inthe edit to remove any
further little shakes.
Upside downoften turn the monopod upside down and
vertical to the floor, with the lens facing up. Its anice
perspective, always using a 16-35mm lensset to infinity focus so
that I know everything isncluded. These shots are ones that you
learn toset up over time.
Use your environmentSometimes the height of what I am
filming
means I need to be low down, so I willfind a wall on which to
steady my bodyand then the monopod leans on me.Sometimes just a
desk or shelf works
with the camera alone. Very low floor shotsare usually taken
with just the camera
placed on the floor. Use what you havearound you and think about
stability. Youcan have the most beautiful scene orperson in front
of you, but with an unsteady
image you will make the viewer feel likethey are in a washing
machine. Remember,
the viewer watches the entire frame andits easy to see when
horizons are wonkyand shaking. Our brain naturally tellsus that
this is wrong.
Cranes and jibsCamera cranes, or jibs, are great for filming
from above, or swooping inor out of a scene. Because of the
pivoting design, they can also be usedto move the camera smoothly
forwards and backwards. Professionalmodels cost thousands of
pounds, but enthusiast models are nowavailable for just over 100. I
learned to simulate a low-level, crane-typeeffect using a monopod
on the first wedding I filmed solo in Cuba. Thetrick is to have the
video head loose, but the arm tight so it moves thewhole head. Now
move the camera forward while focusing one way, andthen focus the
other way when you move it back. It s a really fun trick toplay
with but it does take some practice. I have some free video
tutorialson how this works on my website at
fusionphotographytraining.com.
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THE UKS MOST PRESTIGIOUS COMPETITION FOR AMATEUR
PHOTOGRAPHERS
Svetlana Volkova, from Rigain Latvia, is the winner ofour Night
Photographyround of APOY 2014.
Svetlana will receive an OlympusOM-D E-M10 with a 14-42mmEZ
Pancake zoom, a 45mm f/1.8portrait lens, a 40-150mm zoom,a 9mm
fisheye lens, a macro adapterand a street case in which to carryit
all. Thats a prize package witha retail price of 1,200.
The E-M10 has a 16.1-million-pixel, four thirds-sized CMOS
sensorand a TruePic VII image-processingsystem, while the
1.44-million-dotEVF displays a 100% field of viewand has a 120fps
refresh rate. The14-42mm EZ Pancake zoom lensis a slim and compact
optic that isequivalent to a 28-84mm lens inthe 35mm format. The
45mm f/1.8portrait optic is ideal for low-lightpeople shots without
flash, while the40-150mm zoom has high-speedAF and is optimised for
movies andstills. The 9mm fisheye lens is ideal
for capturing wideangle scenes.Our second-placed winner
is Wenpeng Lu from Paris inFrance. Wenpeng will receive
anOlympus Pen E-PL5 camera plusa 14-42mm and 40-150mmtwin-lens zoom
kit worth 500.
The E-PL5 offers seriousimage quality with its
powerful16.1-million-pixel sensor anda new OM-D component in
theTruePic VI image processor.The camera has
lightning-fastautofocus, a touch-sensitive
LCD screen and full HD video.John Robinson from
Cambridgeshire takes third place inthis round. He wins an
OlympusStylus SP-100EE Ultra Zoomcamera, with an
impressive16-million-pixel sensor and3in LCD screen. Worth 350,
thecamera includes a handy autofocuslock so you need never lose a
shotdue to fuzzy focusing. Featuringa 50x optical Ultra Zoom
lenswith a focal length ranging from24mm to 1,200mm, the
StylusSP-100EE also has a built-in
Dot Sight to make it easier tofocus on subjects.
Our readers met the challenge to
create images taken at night. We look
at APOY round 9: Kept in the Dark
OF THE YEARCOMPETITION
In association with
1 Dan Deakin 193pts
2 Chris Wood 185pts
3 Mark Helliwell 184pts
4Angela Nelson 180pts
5 Jevgenijs Scolokovs 151pts
5 Aaron Bennett 151pts
7 Bertrand Chombart 135pts
8 Farid Sani 127pts
9Gerard Sexton
117pts10Richard Craze 110pts
The 2014 leaderboardJust 13 points separate the top four on our
leaderboard. Dan Deakinremains in first place, but Chris Wood has
jumped up to second fromfifth. Mark Helliwell, who was second last
month, has dropped one placeto third, while Angela Nelson, who was
sixth last month, is now in fourth.
NIGHT PHOTOGRAPHY
2 Wenpeng Lu France49ptsCanon EOS 5D Mark II, 35mm, 1/80sec at
f/2.8, ISO 400
This image has so much going for it. The subject, a night
market, isfascinating enough, but Wenpeng has succeeded in
presenting it insuch an engaging way that we had to put it in out
top three. One ofthe key things about night photography is knowing
how to treat theavailable light. Once the light is handled, the
colour is the nextthing to think about. How do the two complement
each other?
Wenpeng has got them both exactly right and has presented
aperfect composition as well.
2
1 Svetlana VolkovaLatvia50ptsCanon EOS 5D, 135mm, 0.3sec at
f/7.1, ISO 400
Night photography is perhaps oneof the most challenging genres
aphotographer can attempt. There area number of factors to
consider, suchas light, subject and the appropriate
settings to shoot in such low-lightconditions. Thankfully, we
receiveda number of excellent entries andSvetlanas image stood out
from therest due to its light, subject, colour and,above all,
intriguing atmosphere. Its abeautiful photograph and a more
thanworthy winner.
1stPRIZE
1
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January 2015 27
3John RobinsonCambridgeshire48ptsFujifilm XPro1, 1855mm,1/8sec
at f/3.6, ISO 2000
John tells us that thisshot features preservedindustrial
steam
locomotives at the Rocksby Rail Museum inCottesmore, Rutland,
onthe night of 15 November2014. By exposing for thesmoke in the
background,John has managed tocapture these twosilhouettes hard at
work. Itsan image that looks almostlike it could have beentaken
decades ago and, asa result, it is imbued with abeautiful
atmosphere.
2ndPRIZE
3rdPRIZE
3
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THE UKS MOST PRESTIGIOUS COMPETITION FOR AMATEUR
PHOTOGRAPHERS
4Gary Turner West Yorkshire 47ptsCanon EOS 7D, 1020mm, 20secs at
f/8, ISO 160
Garys stunning black & white scene shows theM62 at night. It
s a wonderful take on theleading-lines technique
5Aaron Yeoman North Yorkshire 46ptsSony Alpha 77, 1020mm, 15secs
at f/4, ISO 3200
Aarons extraordinary night scene shows a lone
tree on Egton Moor in the North YorkshireMoors with the Milky
Way in the background
6Angela Nelson Tyne and Wear 45ptsCanon EOS 60D, 50mm, 1/160sec
at f/16, ISO 100
Shot with just one light, Angela has created anintense and
brooding portrait of her subject
7Lucie Brooke Greater London 44ptsNikon D7000, 11mm, 30secs at
f/6.3, ISO 1000
Lucie has created a stunning example of lightpainting here,
using some simple tools and anatmospheric location
8Mick Davis Shropshire 43ptsNikon D800, 70200mm, 1/20sec at
f/2.8, ISO 1000
Taken in Bergen, Norway, Micks Nordic Noirimage is seeping
atmosphere and intrigue
9Sergei Bogomyakov Russia 42ptsNikon D7000, 1116mm, 53secs at
f/14, ISO 100
The subtle detail of the coloured reflectionsleads our eye up
through the frame and intothe city on the horizon
10Steve Gresty Cheshire 41ptsNikon 7100, 1755mm, 8secs at f/13,
ISO 100
In this extraordinary image, Steve has chosenthe right moment
for a subject to fall withinthe natural spotlight of the moon
11Andrew Barton Anglesey 40ptsCanon EOS1D X, 1635mm, 55secs at
f/3.5, ISO 1600
Penmon lighthouse in Anglesey has made agreat subject here. The
subtle colour tones
are utterly absorbing
12Hayri Kodal Turkey 39ptsSony Alpha 850, 1/25sec at f/2.8, ISO
1250
Light and shadow have worked togetherto reveal and conceal the
series ofinterconnected lines and shapes
13Steve Webb West Midlands 38ptsNikon 1 S1, 30110mm, 4secs at
f/3.8, ISO 140
Steves wonderful abstract shot shows themoonlight falling upon a
garden structure.
14Marius Vieth Germany 37ptsCanon EOS 5D Mark II, 50mm, 1/200sec
at f/1.8, ISO 1600
This wintry image eschews the usualconventions of images of snow
by featuring
strong pockets of warm colour15Chris Wood Gloucestershire
36ptsCanon EOS 500D, 1855mm, 3mins at f/4, I SO 100
Chriss image succeeds due to its simplicityof subject and
composition
16George Digalakis Greece 35ptsNikon D7000, 1116mm, 30secs at
f/13, ISO 100
This is a different take on a common shot.The burning candles
give the image an extralevel of detail that adds visual
interest
17Alland Dharmawan Indonesia 34ptsNikon D7000, 18105mm, 30secs
at f/3.8, ISO 1600
The layers of sky, illuminated clouds and cityhave created a
scene that looks like it couldbe the setting for a science-fiction
film
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THE UKS MOST PRESTIGIOUS COMPETITION FOR AMATEUR
PHOTOGRAPHERS
18Nicolas Casana London W9 33ptsCanon EOS 7D, 1635mm, 6secs at
f/11, ISO 400
The lights of Canary Wharf reflected in thewater are a great
counter to the subtle texturesand tones of the rocky bank
19Satpal Singh India 32ptsNikon D7100, 18105mm, 716secs at
f/3.5, ISO 200
The tents in the foreground are a lovely point
of interest that contrast with the sweepingstar trails in the
sky
20Mihail Kopychko Russia 31ptsCanon EOS 5D Mark II, 1635mm,
30secs at f/2.8, ISO 3200
By shooting from this angle and area, Mihailhas created an
almost abstract study of thelandscape and sky
21Adrian Sadlier Dublin 30ptsNikon D7000, 500mm, 1/1600sec at
f/3.5, ISO 160
This oddly mesmerising shot works beautifullydue to the fact
that each viewer will seesomething different in the shape of the
flames
22Richard CrazeMid Glamorgan 29ptsHalina 35X, 1sec at f/3.5,
Ilford HP4
This is a blast from the past. The shot wasactually taken in the
1960s and shows asilhouette behind a window in LondonsOxford
Street
23Mark Cornick Surrey 28ptsCanon EOS 550D, 1750mm, 6secs at f/8,
ISO 100
Mark has created a nice link between theBoris Bike and City Hall
in the background
24Michael Marsh Kent 27ptsCanon EOS Mark II, 2470mm, 1/125sec at
f/4.5, ISO 3200
Michael has captured a lovely scene using thelight from the
window to illuminate the couple
25Christian WilkinsonWest Yorkshire 26ptsCanon EOS 5D Mark II,
28mm, 13secs at f/3.2, ISO 400
Christian used an off-camera flash with a gel topaint the tree
from different angles
26Christophe Lemieux France 25ptsCanon EOS 5D Mark II, Lensbaby
with 500mm doubleglass optic, 1/30sec at f/4, ISO 1000
A Lensbaby can give a scene a truly surrealeffect and here we
see it put to great useon a cityscape found in Taiwan
27David Queenan West Lothian 24ptsNikon D610, 1835mm, 40secs at
f/16, ISO 100
These horse heads are an extraordinarysubject to focus on. The
striking light hasemphasised the powerful structures
28George Taylor Nottinghamshire 23ptsFujifilm X100S, 23mm,
1/125sec at f/2.8, ISO 3200
This deli shot is strongly reminiscent of EdwardHoppers famous
Nighthawkspainting
29Suiyi Zhang Australia 22ptsNikon D600, 14mm, 15secs at f/2.8,
ISO 1600
The northern lights are a popular subject forphotographers, but
here Suiyi has used awideangle lens to capture the
extraordinarydisplay as well as the Icelandic landscape below
30Dominic Byrne Norfolk 21ptsNikon Df, 1424mm, 25secs at f/3.2,
ISO 2000
VW Camper vans are always a great thing tofeature in any
photograph. As a result, thisimage had to go into our top 30.
This is a blast from the past.The shot above was actuallytaken
in the 1960s and showsa silhouette behind a windowin Londons Oxford
Street
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72 25'(5 7(/(3+21(
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5 MINUTES WITH
Brandonand Brian WrightofCineStill Film have high hopes for
a new film that gets great effects
under continuous artificial light,
as Tom Smallwooddiscovers
Digital is now thedefault technologyfor most
amateurphotographers
and pros, so its easy to forgetthat there are people outthere
still making innovativephotographic film. Brandonand Brian Wright
are greatexamples. The Hollywood-based twins have
developedCineStill 800T a stockthat claims to be the only
high-speed (ISO 800) colourfilm currently made that iscompatible
with incandescent/tungsten light.
This opens up a whole newworld of possibilities
forphotographers, says Brandon.You can shoot with the filmcameras
you love in limitedavailable light, or in the studiowith continuous
hot lights,similar to those used on theset of a movie.
Brandon and his brotherstarted delving into
photography about 15 yearsago, after they found their
dadsOlympus OM-1. We asked hima few questions, and kind offigured
it out ourselves fromthere, adds Brandon. Westarted shooting photos
of eachother skateboarding, trying toreverse-engineer the
creativephotography in skateboardingmagazines, by hackingtogether
our own lighting.
We have collaborated
together our whole lives,and that transitioned intophotography
as well. Ourmain interest is photographingpeople. We have also shot
manyweddings on film, mostly stillsbut some Super 8 and 16mmvideo.
Thats what got usinterested in using cinemafilms to do colour
filmphotography in low light.
Movie heritageOriginal beta testing forCineStill began in 2012,
but the
concept of using motion-picture
film for still photography andoriginal development testsbegan
years before, when thetwins started shooting KodakVision3 500T 5219
emulsion.
We did this by shootinglong-roll, 250-exposure,bulk-film backs
and throughdeveloping a specialrelationship with a
localmotion-picture lab, saysBrandon. We did this becauseof the
costly minimum lengthsrequired by motion-picturelabs, and because
the more
splicing that occurred, the
more the film became damagedand contaminated.
When people begancontacting the twins about howthey could use
this film, theywere inspired. We came to theconclusion that we had
to finda way to make it usable instandard 135 canisters
withstandard photo developing,adds Brandon
In order to make thistechnology accessible for anyfilm
photographers workflow,and avoid the need for costly
Film
makerson a roll
1
2 3
ALLPICTU
RESB
RANDONANDBRIANWRIGHTUNLESSOTHERWISESTATED
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January 2015 35
5 MINUTES WITH
1An example of shooting under
artificial light from Canadian portrait
photographer Sandy Phimester
2CineStill film lends itself beautifully
to portraits shot in either daylight or
studio-based settings
3CineStill is a repackaged and
reworked 35mm Kodak Vision3
500T 5219 movie film
4If shooting in daylight conditions,
you will need an 85B (orange) filter
to lift the film from 3,200K to 5,600K
Our secret sauceBRANDON reckons thebiggest technical challengein
developing CineStill 800Twas removing the black rem-jet
backing. This protectivebacking allows for cinemacamera films to
move throughthe camera quickly withoutbecoming scratched
ordeveloping static electricitythat would then spark andexpose the
film, he explains.This rem-jet must be
removed in order to make itsafe for standard
processing.Furthermore, this must be donein darkness, without
allowing
any chemical contaminationor damage to the highlysensitive
emulsion. How wedo this is the trickiest part ofall and is sort of
our secretsauce. It is a bit laborious andvery meticulous, but
increasingdemand is motivating us tobecome more efficient.
Brandonand Brian Wrightbecame interested in photography
after messing around with their dads old Olympus OM-1 film
camera,
before deciding to develop their own film for great results
under
artificial light. They have set up a company called CineStill
Film and
are currently expanding their business and product range. For
more information anddetails of retailers, see
www.CineStillFilm.com
ong-roll processing with
motion-picture labs, the twinshad to find a way of makingtheir
film compatible witha standard stills lab. Brandonadds: After years
of R&D, tensof thousands of feet of wastedfilm and thousands of
hours ofexperimentation, efficient andclean Premoval of the
rem-jetayer was achieved.
Film resistanceBrandon believes CineStill800T came about
becausephotographers have very
imited options when shootingn artificial continuous light.
At
a wedding, for example, mostfilm photographers end upswitching
to a combination ofhigh-speed black & white filmand high ISO
digital colourphotography to capture low-litreceptions, he says.
Althoughthis works OK, CineStill 800Tallows for beautiful
low-lightresults. Brandon reckons thesuccess of CineStill 800Twill
help achieve a loftier goal,too. You are investing in the
future of analogue photographyand fuelling the film
renaissance, he adds.While its great that many
people still shoot film, is therereally a film renaissance?
Brianthinks there is. As we enter intowhat I call the post-digital
era,digital is no longer a new andshiny revolution, and people
arenow discovering that allimportant things in reality havean
analogue beginning and
end, he says. People are nowtaking new technology andblending
all the benefits ofdigital and analogue, old andnew. It is an
exciting time withgrowing possibilities and apassionate
community.
CineStill, while not exactlycheap at about 10 a roll, putsless
strain on the pocket thansome specialist film. If its sodifferent,
why didnt the twinspeg the price higher? We wantthe film to be
accessible and toinspire photographers to shoot
more, Brandon counters. Weare trying to produce
something we ourselves wouldbe willing to buy and use.
No presetsDespite the popularity offilm-emulation
Lightroompresets from companies suchas VSCO, Brandon is wary
ofproducing a CineStill preset.We have known the creatorof VSCO for
a while, and
understand all that goes into
creating the preset, he explains.
Wed love to see a preset thatwould try to match CineStill,but we
also know that no presetwill ever replace the nuance,dynamics, and
experience ofshooting film. Anothercompany, MastinLabs, is
alsoworking hard to help film/digital shooters match theirdigital
snaps to the film imagesthey capture. It really isimpossible to
match withouthaving a standard to rely on.This is why it is
important tohave film around, to keep
digital in line!
People are now discovering that allimportant things in reality
have ananalogue beginning and end
4
SANDYPHIMESTER
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Our flexible cover allows you to build your policy to meet your
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January 2015 37
Photoshop guruMartin Eveningsorts out your photo-editing and
post-processing problems
Evening Class
1Basic panel adjustmentsbegan by opening the raw NEF file via
Camera
Raw and applied some Basic panel tone and colouradjustments. The
photograph needed to be lightened aot, so I set the Exposure sl
ider to +1.05. I then reducedhe Highlights slider to preserve the
delicate highlight
detail and raised the Shadows to bring out more
shadownformation. I also increased the Contrast slightly.
2Tone Curve adjustmentThe default white balance setting looked
rather cold,so I went to the white balance menu in the Basicpanel
and selected Daylight. I next went to the ToneCurve panel and
applied the parametric settingsshown here for a boost in contrast.
I adjusted the
tone range sliders to accentuate the contrast at theextreme
highlight and shadow ends of the curve.
3Add a darkening vignetteFinally, I went to the Effects panel
and added adarkening vignette. More specifically, I selected
theHighlight Priority from the Style menu, where I set theAmount to
-32 and increased the Feather amount to+76. This combination of
settings produced a nice
soft-edged vignette, which helps focus the viewerseye towards
the centre of the frame.
THERE is a lot of fantastic detail in this photograph
fromAsheque Ahsan, although the dark exposure settingdoes mean that
some of this is somewhat lost in theshadows. It also doesnt help
that there is some mixedighting to contend with because there are
fluorescentelectric light bulbs illuminating the interior mixed
with the
daylight. The approach I used here was to use CameraRaw to
lighten the image and bring out more detail inthe interior. I then
introduced a darkening vignette toconcentrate the eye more on the
centre of the scene andgive the photograph depth. It also helped to
adjust thewhite balance so that the final version had more
warmth.
Lighting upan interior
AFTER
BEFORE
Submit your images
Please see the Send us yourpictures section on page 3 for
details or visit www.amateurphotographer.co.uk
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YOUR PICTURES
CHECKING the camera metadatafor this photograph, I notice
thatAaron Sims shot it using an earlySony compact digital camera.
Thecomposition is great and its abeautiful subject, but there is
alot of work that needs to be donein order to deal with the
highcontrast between the fast-flowingstream and the
surroundingforest. This is furthercompounded by the fact it
lookslike this photograph was takenon a damp, overcast day and
thewater was probably throwing up
a lot of mist. It also looks to meas if there may have been
somefingerprint marks or smudges on
the lens filter, which caused thephotograph to appear extra
misty.The following steps show how I
processed the original imagein Camera Raw and Photoshopto
overcome these problems.
Demistingtechnique
BEFORE
THE High Pass halo effect(step 3) is useful for
controllingmidtones. It relies on the factthat blend modes such
asOverlay, Hard Light and SoftLight have a neutral effect wherethe
source is neutral grey. If youapply any of these blend modeswhere
the source is neutral grey,nothing will happen. But wherea layer
is, say, slightly darker or
lighter than grey, the blend modewill affect the target. Here,
theHigh Pass filter turned everythingneutral grey, except where
itdetected edge detail and builtup a halo edge according to
the pixel radius that was set.When this is combined with
one of the above blend modes,you can add soft halo contrastto
detailed edges. In theexampl