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ISSUE 51ISSN 1839-5899
10 YEARS AUSTRALIA’S LEADING PHOTOGRAPHY MAGAZINE
PhotoReviewA U S T R A L I A
www.photoreview.com.au
Lands before TimeDAVID LAZAR
Tony Hewitt: A Photographic Journey Deb Bonney: Staying in the Moment
REVIEWS
� Canon EOS-1D X vs Nikon D4
� Canon G1X, Panasonic GX1
� Pentax Q, Nikon 1 V1
� Olympus PEN Mini E-PM1
� PLUS 7 Lenses
$9.95 Incl. GST MAR-MAY 2012
HOW TO:
� Shoot superb coastal scenes
� Get great results from a compact
� Print big for a quality fi nish
� Add artistic fi lter effects
contents
2 Photo Review AUSTRALIA ISSUE www.photoreview.com.au
ISSUE 51ISSN 1839-5899
10 YEARS AUSTRALIA’S LEADING PHOTOGRAPHY MAGAZINE
PhotoReviewA U S T R A L I A
www.photoreview.com.au
Lands before TimeDAVID LAZAR
Tony Hewitt: A Photographic Journey Deb Bonney: Staying in the Moment
REVIEWS
Canon EOS-1D X vs Nikon D4
Canon G1X, Panasonic GX1
Pentax Q, Nikon 1 V1
Olympus PEN Mini E-PM1
PLUS 7 Lenses
$9.95 Incl. GST MAR-MAY 2012
HOW TO:
Shoot superb coastal scenes
Get great results from a compact
Print big for a quality finish
Add artistic filter effects
Cover image by David LazarSee page 12.
Display your images on Photo Review’s gallery at www.photoreview.com.au.
For magazine submissions,send Don a link to your images [email protected]
20
29
01 Editorial
05 Products & TrendsA look at some of the more interesting new releases from the 2012 CES show in Las Vegas, and other notable recent events in the world of imaging.
08 Photo ChallengeIn this issue we challenge readers to tell a story involving doorways and thresholds.
INSPIRATION12 DAVID LAZAR:
LANDS BEFORE TIMEIn his travel and portrait photography, David Lazar is drawn to subjects that don’t refl ect the modern world.
20 TONY HEWITT: A PHOTOGRAPHIC JOURNEYAIPP Grand Master Tony Hewitt explains how the ‘journey of capture’ starts the minute one thinks about a picture, and doesn’t end until post-production and media choice.
28 DEB BONNEY: STAYING IN THE MOMENTStreet photographer Deb Bonney is living proof that it’s possible to unlock your creativity very quickly indeed.
INSIDE
contents
3Photo Review AUSTRALIA ISSUE www.photoreview.com.au
Editor Don Norris [email protected]
Technical Editor Margaret [email protected]
Trade News Editor Keith [email protected]
Contributor Steve Packer
Creative Director Darren Waldren
Publisher David O’[email protected]
Publication Manager Pauline [email protected]
Accounts Manager Heather [email protected]
Media [email protected]
AdvertisingPhone (02) 9948 [email protected]
SubscriptionsOne year (4 issues) $29.00 including GST and delivery in Australia.See page 33 this issue or phone: (02) 9948 8600 or online:www.photoreview.com.au
Photo Review Australia is printed on Monza Satin Recycled Paper with ISO 14001 Environmental AccreditationPrinted by Pegasus Print Group
Design by itechne [www.itechne.com]phone (03) 9421 8833
Distributed by NDDPhoto Review website by itechne
All content in Photo Review Australia is protected under copyright and cannot be reproduced in any form without written consent from the publisher.
Photo Review Australia is published by
Media Publishing Pty LimitedABN 86 099 172 577Office 4 Clontarf MarinaSandy Bay Road, Clontarf NSW 2093 AustraliaPh: (02) 9948 8600 Fx: (02) 9948 0144 Em: [email protected] Review website:www.photoreview.com.au
INSIDER38 HOW LARGE SHOULD YOU PRINT?
An overview of the factors infl uencing the maximum output size for your images.
TECHNIQUE41 SHOOTING WITH COMPACT CAMERAS
Not all compact cameras are created equal – we look at the features and functions which deliver superior images and photographer control.
46 SHOOTING: COASTAL PHOTOGRAPHYHow to make the most of photo opportunities when you’re close to water.
49 EDITING:ONE IMAGE, MANY MOODSHow to use fi lter effects in editing software to add artistic effects to your photos.
BUYERS GUIDE
DSLRS52 CANON EOS-1D X & NIKON D4 COMPARED
We compare the latest ‘full frame’ Pro DSLR cameras from Canon and Nikon.
LENSES
54 SIGMA 12-24mm f/4.5-5.6 II DG HSM
54 PENTAX DA 35mm f/2.8 Limited Macro
54 PANASONIC LUMIX G X VARIO PZ 14-42mm f/3.5-5.6 ASPH/POWER OIS
55 PANASONIC LUMIX G X VARIO PZ 45-175mm f/4-5.6 ASPH/POWER OIS
55 TOKINA AT-X 16-28mm f/2.8 PRO FX
55 TOKINA AT-X 17-35mm f/4 PRO FX
MIRRORLESS INTERCHANGEABLES
56 CANON POWERSHOT G1XA new G-series camera with a large, 14.3-megapixel high-sensitivity CMOS Sensor, 4x optical zoom lens, 14-bit RAW shooting and Full HD movie recording.
58 PANASONIC LUMIX DMC-GX1A feature-rich, customisable, G-Micro series camera designed for photo enthusiasts.
59 PENTAX QThe smallest, lightest interchangeable-lens camera system currently available.
60 NIKON 1 V1
60 OLYMPUS PEN MINI E-PM1
ADVANCED COMPACTS
61 CANON POWERSHOT S100
61 FUJIFILM X10
PRINTERS
62 CANON PIXMA PRO-1Canon’s latest A3+ printer is more economical to run and produces better-looking prints, particularly on glossy papers.
NET EFFECT64 OUR WEBSITE FINDS
Our editor was ‘just browsing, thank you’ when he came across this basket-full of gems!
Aaron Riches
$36.00
35
Design by Impressive Print [email protected]
Distributed by Network Services
Pacesetter Satin Paper with
12 Photo Review AUSTRALIA ISSUE www.photoreview.com.au
Inspiration
‘I remove shades of colours in unimportant parts of the photo and boost colours in parts where I want the eye to look.’
Our World Girls from a hill tribe in Sapa, north Vietnam.
13Photo Review AUSTRALIA ISSUE www.photoreview.com.au
Inspiration
Lands before timeBRISBANE PHOTOGRAPHER DAVID LAZAR TALKS TO STEVE PACKER
ABOUT HIS STUNNING, AWARD-WINNING TRAVEL WORK.
By Steve Packer
14 Photo Review AUSTRALIA ISSUE www.photoreview.com.au
Inspiration
Burmese Elegance In a fi sh market in Sittwe, Myanmar.
We think your travel photography is among the best we’ve ever seen. What pushes your buttons in terms of subject matter?
When I look back over my work, I realise I’m drawn to subjects that don’t refl ect the modern world. I like to capture scenes that could have been taken 100 years ago – landscape and people shots that have no bearing on the modern, civilised western world. Subjects like Buddhist monks or scenes from rural Bangladesh. They have a ‘land before time’ feel to them. This type of subject is very different from my usual life in Australia, and I enjoy capturing and sharing these scenes that most people don’t get to see.All of your work is extraordinarily rich in colour and tone. Although you’re using digital cameras,
it’s as though you’re a master of the old Fuji Velvia fi lm. How do you achieve such gorgeous exposures?
I suppose the answer is careful Photoshop work on the images to achieve this look. My goal with Photoshop is to never have the photo look obviously edited, but rather just perfectly exposed, like a painting would have been created. The camera generally takes the photo in a way that is not quite what’s in my mind’s eye, so I need to work with the colours and lighting in post-production. I remove shades of colours in unimportant parts of the photo and boost colours in parts where I want the eye to look. The same applies to brightness. I darken parts of the photo that are less important and add brightness to subjects as if a studio light was in place,
illuminating where I want the viewer to look.A good example is the ‘Monk Eyes’ photo.
I’ve de-saturated certain tones and darkened the background. The face and eyes have been brightened, and shadows on the face and robes have been darkened to give nice contrast and defi nition. I usually just enhance the natural light that was already captured by carefully making the brighter parts brighter and the shadows darker.Do you tend to take a lot of photos while travelling or are you very selective? I know you sometimes go to some trouble to capture people on location at their very best, sometimes setting up situations.
I shoot as many frames as I can to get the perfect shot. I try different angles and poses as long as the
‘ I like to capture scenes that could have been taken 100 years ago…’
Myanmar Light Late one afternoon in Sagaing, Myanmar.
15Photo Review AUSTRALIA ISSUE www.photoreview.com.au
Inspiration
subject is keen and willing. I choose faces that have character and are aesthetically interesting.
As for set-ups, it’s true that nearly all of my people photos are posed. In close-up portraits, I like to show deeper emotions than just ‘smiling for the camera’ type poses. Since it’s quite a western concept to do this, it’s not hard for most of my subjects to give these serious, introspective looks – even though they’ll probably burst out laughing after the photos are taken.
I also like the idea of being an invisible spectator, as if we are viewing the person in their personal space, so I often ask the subject to look away from the camera. I fi nd that people generally like being given a little direction, which is fortunate because it’s benefi cial to move people into the right light or
against a better background.How important is establishing a personal relationship with the people in your travel photos?
It’s very important. I think it’s the key to getting successful portrait photos.
How do you do it? Smile, engage and be interested in the people you want to photograph and what they are doing. It’s all about your demeanor and attitude. If I interact with people and try to use phrases in their language, or comment on what they are doing through gesture and just be open and sincere, it can go a long way to gaining trust and eventually a photograph. It’s all about making the process fun and lighthearted so people can relax and enjoy being a part of it. I often hand my camera to people I’m photographing so they
can have a play with it and take some photos of their own.You obviously like travelling. Is it mainly to take photos, and where have you travelled to? I know you’re in South Africa as we speak.
Even if I was denied taking my camera for some reason, I would still keep travelling. I enjoy being around people of different cultures and seeing how people live in circumstances different to what I’m familiar with. I generally fi nd people to be happier, warmer and more welcoming in countries that are not as wealthy as the western world. I’ve been privileged to be invited into people’s homes in developing countries more times than I could count.
I’ve been to a lot of places in South and South-East Asia, including three times to India and twice to
This shot comes from a raw fi le taken with a Canon PowerShot G10 at ISO 80, 8mm focal length, 1/640 second at f/3.2. To prevent under-exposure and emphasise the misty conditions, +0.3EV exposure compensation was applied.
41Photo Review AUSTRALIA ISSUE www.photoreview.com.au 41Photo Review AUSTRALIA ISSUE www.photoreview.com.au
tips: shooting
Many snapshooters feel they need a sophisticated, interchangeable-lens
DSLR to take good pictures. Yet most photographers have proved over time that equipment plays a relatively minor role in creating successful shots. As long as the lens is sharp and the camera has adequate resolution you can produce great shots with a compact camera and even print some of them at A2 size.
Compact cameras have plenty of advantages. They’re easier to carry than DSLRs and more manoeuvrable. They are also much less conspicuous, allowing you to take pictures without being noticed – or intimidating subjects.
Smaller, simpler cameras are particularly good when you’re travelling. They take up less space, are easier to carry and are less likely to be stolen because it’s easier to fi nd somewhere to store them out of view.
Photojournalists use compact cameras in diffi cult and dangerous environments for all these reasons. Small, unobtrusive cameras allow them to move in close to the action and they’re easy to slip into a pocket if the going gets tough.
shooting tips:
Shooting with Compact CamerasSOME THOUGHTS ON TAKING INTERESTING PHOTOS WITH A POCKETABLE CAMERA.
By Margaret Brown
The larger (17.3 x 13mm) sensor in the Olympus E-P1 provided a wide enough dynamic range in this shot to capture details in both highlights and shadows without visible noise. Shot at ISO 640 with 28mm focal length at f/6.3 and a shutter speed of 1/125 second.
42 Photo Review AUSTRALIA ISSUE www.photoreview.com.au
tips: shooting
For the purposes of this feature, we’ve defi ned a compact camera as being small enough to fi t into a jacket pocket. This stricture excludes ‘super-zoom’ digicams but includes some mirrorless cameras when fi tted with a ‘pancake’ lens. Cameras with larger sensors but non-interchangeable lenses like the Fujifi lm FinePix X100 and Canon’s new G1X are also included.
Key features to consider when choosing a compact camera are:
1. The size of the sensor. The smaller the sensor, the less light it can capture, which means there’s less light signal and more systems noise. Dynamic range is also reduced but depth of fi eld increases, making it more diffi cult to blur backgrounds. Although larger sensors deliver better image quality and provide greater control over depth of fi eld, they also require larger camera bodies and larger lenses. Your task is to balance performance against portability.
2. The zoom range. Unless the lens retracts, you can’t expect much more than 5x optical zoom, even with a tiny sensor. Cameras with larger sensors usually have short zooms – or no zoom at all.
3. The control suite. Many compact cameras are designed for point-and-press operation. Make sure the camera you choose has all the controls you need – and they’re readily accessible.
4. File formats. While it’s OK to shoot JPEGs for everyday snapshots, when you’re after optimal image quality you must shoot raw fi les wherever possible, particularly when using a small-sensor digicam. RAW+JPEG capture provides you with
the best options for photographing subjects in challenging light conditions. You have a JPEG fi le for easy sharing, plus a raw fi le to edit.
5. The monitor. The higher the resolution of the monitor the better; avoid monitors with less than 460,000 dots. Brightness adjustability is an asset but can’t overcome the diffi culty of using a monitor in bright outdoor lighting. Adjustable monitors are convenient in many situations.
6. A decent viewfi nder. Ideally, it should be built into the camera but a clip-on fi nder is acceptable as long as it doesn’t compromise the camera’s portability and functionality. The best fi nders show 100% of the sensor’s fi eld of view and are bright enough to use in low light levels. Unfortunately, this combination is relatively rare.
7. Stabilisation. Smaller cameras can be diffi cult to keep steady when shooting hand-held. Even with wide-angle lenses, sensor-shift or lens-shift stabilisation is advantageous when shooting in dim lighting. It’s particularly important in small-sensor digicams as it allows you to keep ISO settings low.
8. Flash. You may seldom use it, but a built-in fl ash with adjustable output levels can save shots
in challenging lighting conditions. Because light falls off with the square of the distance, a subject twice as far from the camera will receive half the light intensity from the fl ash. By about six metres, the additional light from the fl ash will have no effect whatsoever on the exposure.
What to look for in a compact camera
Digicams with retracting, extended-range zoom lenses are great for travel photography and enable you to shoot close-ups of people without attracting attention. Sony DSC-HX5 with 39mm focal length, ISO 320, 1/60 second at f/3.5.
Combining a large sensor with a small, fi xed-lens camera body, the Fujifi lm FinePix X100 is ideal for street photography because it’s quiet and inconspicuous to use. Taken with ISO 250, 23mm focal length, 1/90 second at f/3.5.
Whatever it is, there’s always a new way to see it.
Introducing the world’s first fisheye lens offering both circular and full-frame images: the EF 8-15mm f/4L Fisheye USM Lens.
Head in-store today.
