Interview with Olympus Photojournalist Max Peef Welcome | 3

The official magazine from Olympus UK • February 2015

THE TOTALLY INTERACTIVE DIGITAL MAGAZINE

NEW LAUNCH! E-M5 Mark II Why you’ll want to splash out on the latest OM-D

INTERVIEW WITH OLYMPUS PHOTOJOURNALIST MAX PEEF WELCOME | 3

E-M5 Mark II THIS ISSUE Get connected! COVER SHOT: Make the most of your kit’s clever controls and get your work The new OM-D E-M5 noticed. Whether you’re looking for feedback from like-minded Mark II is here – to find out all about the latest in togs or profit from your pics, we explore the ways to get you there. the popular OM-D range, Plus a first look at the new OM-D E-M5 Mark II! turn to page 4 now.

OLYMPUS MAGAZINE FEBRUARY / THE LATEST KIT / MAX PEEF INTERVIEW / NICO GOODDEN TALKS TWITTER / GO WIRELESS

UPFRONT 5 OF THE BEST WHAT’S ON

OUR GIFT TO YOU † CIPA Standards as of 12/2014 READERS’ GALLERY INTERVIEW PROJECT 51/2 YEAR WARRANTY & OM-D MESSENGER* BAG WORTH £230 WHEN YOU PRE-ORDER BEFORE 01/03/15

YOU ARE FREE Follow your creative visions with the new OM-D E-M5 Mark II. Capture spur-of-the-moment photos and movies in breathtakingly clear quality thanks to the world’s most powerful 5-axis image stabilisation†. This OM-D is also ready to go wherever you go, in any situation. The compact build won’t SNAP SHOT BEHIND THE SHOT COMPETITION weigh you down, while the robust construction is set for taking on the elements: dust, splashes and freezing temperatures. Freedom has never felt so free – with the OLYMPUS OM-D.

Find out more at your local dealer or visit olympus.co.uk/omd Created by Bright for Olympus UK CLICK HERE TO DOWNLOAD * 31/2 year warranty in addition to standard 2 year product warranty. Available on redemption. While stocks last. Terms and conditions apply. Visitolympus.co.uk/promotions for further details. OFFLINE VERSION*

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■ News ■ Reviews E-M5 UPFRONT ■ Awards MARK II SPEC CLICK HERE

NEW LAUNCH! SHOOT SHAKE-FREE 40-MEGAPIXEL STILLS CLICK HERE TO SEE THE E-M5 MARK II IN ACTION!

VERSATILE VIDEO IMPROVED HANDLING E-M5 MARK II KIT OPTIONS ACCESSORIES

ANNOUNCED CLICK The original OM-D has been given a makeover. Available from the end of February, the new LATEST TOUGH FOR FULL E-M5 Mark II features an updated specification that takes key functionality from the range- STORY topping E-M1 and blends it with some exciting new capabilities, including enhanced image ANSWERS CALL stabilisation and video options. Externally, existing E-M5 users will instantly notice a number of key differences. The Mark II offers OF THE WIDE!

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NEW LAUNCH!

E-M5 MARK II ANNOUNCED the same weatherproof capabilities of its predecessor, being dust, splash and freeze resistant, but now the rear LCD is a vari-angle offering for greater compositional freedom, plus there are a number of changes to buttons and dials, for improved handling. To see the full details on the changes, plus information on a Mark II version of the M.Zuiko 14-150mm superzoom, click HERE to visit the Olympus website.

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SHOOT SHAKE-FREE The original E-M5 was no slouch when it came to overcoming camera shake, but the Mark II version takes Olympus’s 5-axis stabilisation technology a stage further. Now even videographers can be confident of capturing shake-free footage without the need of a tripod thanks to the world’s most powerful image stabilisation system. Shake is eliminated in all five planes of movement with the compensation effect now equivalent to an impressive five stops. Being body-integral also ensures this powerful capability isn’t restricted to one or two lenses – more than 40 Zuiko lenses benefit. With such powerful image stabilisation, the E-M5 Mark II becomes the ultimate way to travel light. The body weighs just over 400g, while the Micro Four Thirds format lenses are equally compact and lightweight, and with the need to carry a tripod or support negated users can create the ultimate go-anywhere outfit.

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40-MEGAPIXEL STILLS The E-M5 Mark II sports a 16-megapixel Live MOS sensor yet, thanks to some under-the- bonnet jiggery-pokery, is capable of delivering 40-megapixel still images. This is made possible by the TruePic VII processor taken from the OM-D E-M1 and the powerful image stabilisation system. Eight images are captured, with the camera moving the sensor by 0.5 pixels between each frame. The shots are then combined in-camera to create one highly detailed shot unrivalled by any other compact system camera.

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VERSATILE VIDEO Significant enhancements have been made to the Mark II’s video functionality to underline the camera’s dual capture credentials. Whereas the original E-M5 recorded Full HD video at a maximum of 30p and 20Mbps (megabits per second), the Mark II records at up to 60p and 77Mbps. The former gives greater capability to capture high-quality slow-motion video, the latter ensures video quality is higher as the greater the number the more data is dedicated to a second of video. Improvements to the rear LCD also enhance the video shooting experience. The three- inch vari-angle display features 1.04 million dots for a bright, sharp and colour-accurate image, while in-movie focusing is easy thanks to the touchscreen capability.

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IMPROVED HANDLING A series of design tweaks improve the handling of the E-M5 Mark II. The electronic viewfinder has almost one million more dots than the original model for a more detailed and vibrant image, plus there have also been changes to the layout of buttons and dials. The main top-plate dials are now deeper and have locks to prevent accidental movement, the On/Off switch has moved to the left of the pentaprism and there are now four top-plate function buttons, two of which feature switchable dual functions. Finally, on the front of the camera, there’s an electronic depth-of-field preview button and a socket to use off-camera flash.

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KIT OPTIONS When the E-M5 Mark II goes on sale at the end of this month it will be available body only in silver or black for £899.99 or in a variety of kits. One of these kits will feature the new M.Zuiko 14-150mm f/4-5.6 II lens and will cost £1249.99. The upgraded 10.7x superzoom offers improved image quality, a quieter autofocus performance and can capture subjects just 50cm away. It’s also weatherproof, making it the ideal match for the new camera yet, at just 285g and 83mm long, it still keeps weight and bulk to a minimum.

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■ News ■ Reviews UPFRONT ■ Awards E-M5 MARK I AND MARK II KEY SPEC DIFFERENCES:

OM-D E-M5 OM-D E-M5 Mark II

Processor TruePic VI TruePic VII EVF resolution 1.44 million dots 2.36 million dots Max. frame rate 9fps 10fps Top shutter speed 1/4000sec 1/16,000sec Rear LCD Tiltable, 610,000 dots Vari-angle 1,037,000 dots Weight (body only) 373g 417g Max. video bitrate 20Mbps 77Mbps Max. video frame rate Full HD, 30p Full HD, 60p AF points 35 81

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■ News ■ Reviews UPFRONT ■ Awards RECOMMENDED ACCESSORIES

Power Battery Holder, HLD-8 This handsome grip extends battery life and can be used in the portrait or landscape position for added stability on uneven ground.

Large detachable, all-metal grip, ECG-2 This screw-on grip makes it easier to hold the camera securely, especially when using a larger telephoto lens. The grip also incorporates a headphone output and allows quick access to the battery.

Compact electronic flash, FL-600R A lightweight, classically designed flash unit with a wireless control option, auxiliary light for movie shooting and settings controlled directly from the display.

Underwater case, PT-EP13 Dive with your OM-D to 45 metres with this waterproof casing that has two optical fibre connectors.

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■ News ■ Reviews UPFRONT ■ Awards RECOMMENDED ACCESSORIES

Dot sight EE-1 A framing assistant that takes the hard work out of tracking a moving subject. Especially useful for shooting at a distance.

Detachable large eyepiece, EP-16 Ideal for glasses wearers, this soft-rubber EVF attachment is an effective shield against bright light.

Genuine leather body jacket with full-cover case CS-46 FBC Designed exclusively for the E-M5 Mark II, this stylish protective case is fixed securely to the underside of the camera by a metal screw. To start shooting, simply raise the front flap. The case consists of two separate parts, a body jacket and removable front cover, and the camera can also be used with the body jacket alone. The whole case is available in black or brown.

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LATEST TOUGH ANSWERS CALL OF THE WIDE! The Stylus Tough range now features the world’s widest wide-angle compact following the introduction of the TG-860. The new model goes on sale next month for £229 (CHECK) and features all the rugged hallmarks of a Tough model, but also offers a 5x optical zoom with an ultra- wide setting of 21mm (35mm equivalent) making it perfect to capture super-wide scenes and group selfies. The TG-860 is waterproof to 15m, shockproof to 2.1m, crushproof to 100kg, freezeproof to -10°C and dustproof, making it ideal for thrill seekers or families who want great results without having to worry about their camera getting damaged. In additional to the ultra-wide lens, it also

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LATEST TOUGH ANSWERS CALL OF THE WIDE! has a Sportcam Mode for capturing widescreen videos, is specifically designed so it’s easy to use one-handed, features a tilting LCD for simple selfies and has built-in GPS so it’s easy to pinpoint your location no matter where you are in the world. Picture quality is assured thanks to the 16-megapixel sensor and 5-axis image stabilisation, plus there are plenty of creative options on tap including seven Art Filters, time-lapse and Wi-Fi connectivity for hands-free shooting with a smartphone. The optional Sport Holder also enables you to attach the camera to a harness or backpack so you can easily capture action-packed movies.

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If you want to get your work out to a wider audience it goes without saying that you’ll need to put it somewhere where people can access it – ie., online. Flickr is a great starting point as the majority of its users are enthusiast or pro photographers (in 5 OF THE BEST fact, the most popular compact system camera owned by Flickr users over the last two years was the OM-D E-M5, so they must be a reputable bunch). 500px is also a If you love taking photos and want to popular platform for photographers and if you’re worried about copyright you can add a WAYS TO GET NOTICED watermark or limit the size at which people can download your images. share them beyond your friends and family, you could try to get your work noticed Alternatively, why not start a blog on something like Tumblr which is simple to use by other togs in the industry for honest opinions and potential future opportunities and designed to be image-led? You’ll need to commit to updating it regularly though!

Present and correct 1 Present and correct GET YOUR WORK OUT THERE GET YOUR WORK OUT THERE

Be neighbourly 2 INVOLVE YOURSELF IN THE 1 ONLINE COMMUNITY Members only 3 JOIN YOUR LOCAL CAMERA CLUB

Love local 4 EXHIBIT AT A LOCAL BUSINESS

5 Hot off the press GET PUBLISHED

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So, you’ve got your best shots online, now what? Wondering why kind words from strangers aren’t flocking in? One of the things that’s really crucial to getting your work noticed online is in fact, noticing other people’s work. Once you embed yourself in this 5 OF THE BEST photographic community you’ll soon realise that it’s actually a pretty small network. Whether you’re sticking to commenting on images within Flickr or broadening your If you love taking photos and want to horizons to other social networks like Facebook, Twitter or Instagram, start liking and WAYS TO GET NOTICED giving (constructive) feedback and it won’t be long before the favour is returned to you. share them beyond your friends and family, you could try to get your work noticed If you’re posting your images on social media sites, don’t forget to use hashtags like by other togs in the industry for honest opinions and potential future opportunities #OlympusUK #olympusPENgeneration to get seen by like-minded photographers.

1 Present and correct GET YOUR WORK OUT THERE

Be neighbourly Be neighbourly 2 INVOLVE YOURSELF IN THE ONLINE COMMUNITY BUILD A COMMUNITY, NETWORKING, COURSES

Members only 2 3 JOIN YOUR LOCAL CAMERA CLUB

Love local 4 EXHIBIT AT A LOCAL BUSINESS

5 Hot off the press GET PUBLISHED

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As almost everyone takes photos nowadays you’ll need to delve a little deeper to weed out the genuine photographers from the (i)phoneys. Camera clubs are a great way to meet friendly people with similar interests and to develop your skills. Most places in the 5 OF THE BEST UK have at least one club – try the Photographic Alliance of Great Britain to find out where the best meetup is, local to you. If you love taking photos and want to Once you join a club you’ll likely gain access to a number of talks, seminars, WAYS TO GET NOTICED competitions and events – many even orchestrate annual exhibitions which provide a share them beyond your friends and family, you could try to get your work noticed fantastic platform to get your best work seen by many and provide an insight into the by other togs in the industry for honest opinions and potential future opportunities hanging and exhibiting process: perfect for your next big opportunity.

1 Present and correct GET YOUR WORK OUT THERE Members only JOIN YOUR LOCAL CAMERA CLUB Be neighbourly 2 INVOLVE YOURSELF IN THE ONLINE COMMUNITY

Members only 3 3 JOIN YOUR LOCAL CAMERA CLUB

Love local 4 EXHIBIT AT A LOCAL BUSINESS

5 Hot off the press GET PUBLISHED

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If you feel like you’ve got a bit of experience in printing and hanging your images (perhaps via your camera club’s annual exhibition) why not broaden your horizons even further? Approach a local business, perhaps a café or hotel, and enquire about 5 OF THE BEST exhibiting some of your work in one of their spaces. Don’t feel offended if they don’t offer you pride of place in their reception area, remember that spaces like the restroom If you love taking photos and want to and corridors typically get the most footfall. WAYS TO GET NOTICED If exhibiting sounds like too much, too soon, you could always print some postcards share them beyond your friends and family, you could try to get your work noticed of your images for sale in a local post office or tourist information centre – check out by other togs in the industry for honest opinions and potential future opportunities Vistaprint for budget brilliance or Moo for a more premium product.

Be neighbourly 2 INVOLVE YOURSELF IN THE ONLINE COMMUNITY

Members only 3 JOIN YOUR LOCAL CAMERA CLUB

Love local 4 EXHIBIT AT A LOCAL BUSINESS

5 Hot off the press 4Love local GET PUBLISHED EXHIBIT AT A LOCAL BUSINESS

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Seeing your pictures in print can be a really satisfying accolade for photographers at any level – but don’t think that it’s only for the pros! Start small and find yourself a niche. Like photographing birds? Contact the RSPB to see if they need any images 5 OF THE BEST for their quarterly magazine, but do your research first and find out the name of the editor. Local magazines are also regularly in need of photographers so try offering your If you love taking photos and want to services here too, they may even have a small budget for this. WAYS TO GET NOTICED If you’re reading this magazine you probably shoot on an Olympus camera so you share them beyond your friends and family, you could try to get your work noticed should definitely submit your best work to our Readers’ Gallery. Remember to take by other togs in the industry for honest opinions and potential future opportunities screenshots of any coverage you get to build yourself a portfolio of published work.

1 Present and correct GET YOUR WORK OUT THERE SEND US YOUR BEST IMAGES NOW

Be neighbourly 2 INVOLVE YOURSELF IN THE ONLINE COMMUNITY

Members only 3 JOIN YOUR LOCAL CAMERA CLUB

Love local 4 EXHIBIT AT A LOCAL BUSINESS 5Hot off 5 Hot off the press the press GET PUBLISHED GET PUBLISHED

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Here’s our pick of the best events and workshops to attend over the next couple Click here to visit the Image Space of months, guaranteed to get you inspired. website for the latest Olympus UK For more info and events don’t forget to events and happenings

Olympus events to improve your photography for the year ahead THIS MONTH follow @OlympusUK on Twitter

URBAN LANDSCAPE/ SNAP PHOTO FESTIVAL MACRO & CLOSE-UP ARCHITECTURE WORKSHOP 13-17 April PHOTOGRAPHY WORKSHOP 6 March – RHS GARDEN HARLOW CARR 11 August

ALL ABOARD THE TAYLOR WESSING PORTRAIT MARRAKESH EXPRESS! PRIZE EXHIBITION, FEATURING 19-22 July OM-D USER GABRIELLE MOTOLA Until 22 February

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When: 6 MARCH 2015, 9.30AM-6PM Where: SALFORD QUAYS Cost: £125

Join landscape pro and Olympus user Steve Gosling and develop your photography skills on this workshop based in Salford Quays. Learn techniques and tips on getting artistic images of the urban landscape. As an Olympus ambassador, Steve can also offer you unique access to a range of OM-D cameras and a wide assortment of lenses for the day as well as specialist input and guidance on both the equipment and the photographic process. Ideal if you’re already an Olympus user and want to learn how to get the best from your equipment, and you’ll have the chance to use different lenses too. If however you’re considering the move to Olympus Micro Four Thirds, then this is also a great chance to borrow a camera and ‘try before you buy’. For more information, click here.

When: 13-17 APRIL Where: CARDIGAN, WALES Cost: F R O M £115 0

Top wedding photographers and Olympus brand ambassadors John Nassari and Rob Pugh are teaming up for a four-day photo event aimed at telling you everything you need to know about wedding photography. Both Rob and John will be running workshops across the entirety of the Snap Photography Festival, with the Olympus imaging team on hand with plenty of camera bodies and lenses to lend to anyone wanting to try out the latest gear. Taking place on a beautiful 200- acre woodland camp at Fforest Farm in Cardigan, Wales, there will be unrivalled opportunity to pick up tips and tricks from the photographers. Stunning accommodation is available for the four-day event and bed and breakfast is provided, or alternatively tickets can be purchased without accommodation. For more information, click here. MACRO & CLOSE- UP PHOTOGRAPHY WORKSHOP – RHS GARDEN HARLOW CARR

When: 11 AUGUST, 10AM-5PM Where: RHS GARDEN HARLOW CARR, HARROGATE Cost: £125

Learn all about macro and close- up photography in the wonderfully picturesque setting of the RHS Garden Harlow Carr with Olympus ambassador, Steve Gosling. Spend the day with a small group, learning the tips and techniques to create stunning imagery. If you’ve already got an Olympus set-up, this is a great opportunity to try out some new lenses – or if you don’t have an Olympus, why not borrow a camera outfit for the day and discover how the Micro Four Thirds system can benefit your photography? There will also be the opportunity to use a set of Lee Seven5 filters – these are small, light, high-quality filters that perfectly complement the OM-D system. For more information, click here. ALL ABOARD THE MARRAKESH EXPRESS!

When: 19-22 JULY Where: MARRAKESH, MOROCCO Cost: £296

Crosby, Stills & Nash famously sang about it, but now you and your camera lens will also have the opportunity to soak up the sensory overload that is Marrakesh. Up to eight photographers are invited to join photographer Rob Pugh on a scintillating photographic street walk. The cost is £296 for the weekend (hotel and flights not included). There will be plenty of opportunity to explore souks, watch snake charmers, and marvel at the exotic architecture. Staying in Medina, with the snow- capped Atlas Mountains visible from the rooftops, added highlights will include exploring narrow alleyways lined with brightly coloured spices and artisans, the call to prayer, touring the exterior of the Marrakesh Royal Palace, and marvelling at the reflecting pools of the Jardins de l’Agdal. Places are limited.

For more information, click here.

When: UNTIL 22 FEBRUARY Where: THE NATIONAL PORTRAIT GALLERY, LONDON Cost: FROM £2

A picture of Freyja Haraldsdóttir, politician, project manager, and disabled rights activist, by Gabrielle Motola, Olympus ambassador, was selected for the Taylor Wessing Portrait Prize 2014. Gabrielle’s photograph was one of only two shot on an Olympus camera that were selected for the prize. If you can’t get to the National Portrait Gallery before 22 February, Gabrielle’s collection, ‘Women of Iceland’, is on display at the Embassy of Iceland, London, until mid June. An emotive photographic exploration of some of the dynamic minds to emerge from Icelandic society, the project discusses progressive ideas about topics such as education, business and art. Admission is free, by appointment. Contact 020 7259 3999.

WANT TO SEE YOUR FAVOURITE PICTURES FEATURED? Readers’ Gallery Send us a selection of your best Olympus shots, or a link to your work HERE. A selection of photos taken by Olympus users – click the images to see the bigger picture…

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CAMERA: PEN E-P5 LENS: M.ZUIKO 75MM F/1.8 EXPOSURE: 1/800SEC AT F/1.8, ISO 200 CLICK FOR MORE PRODUCT INFO

ABDULKADIR ÖRS LIFE IN TIME Using the PEN E-P5 and bright 75mm lens, Abdulkadir shot this beautiful image in Turkey

“Cumalıkızık is a historical village that is on the World Heritage List by Unesco. This is a place I had really wanted to visit, and when I did, I took my camera to document my time there. I usually do street photography, and some portraits, but the colours and other worlds in the clocks here made me stop and take this photo. I think that the M.ZUIKO 75mm is the best lens in the Micro Four Thirds system; if you have this lens, you don’t have to think about technicalities like sharpness, bokeh, colours etc, it’s all there. The E-P5 is by far the best PEN body. For good photography, first you must like your equipment – especially your lens – if you like your kit, you will take the photos with your feelings.”

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CAMERA: OM-D E-M1 LENS: M.ZUIKO 60MM F/2.8 MACRO EXPOSURE: 1/500SEC AT F/4, ISO 400 CLICK FOR MORE PRODUCT INFO

BARRY FRYER HOAR FROST DAWN Barry took his E-M1 with him on an early morning dog walk, and shot this abstract image

“It was the first hoar frost to appear this winter and I thought there might be some interesting shots to be had walking through the woods. The light becomes patchy, with interesting pools of light sometimes breaking through the trees. For this image I really liked the way the dappled light was playing on the frost crystals. I thought that a really close macro with a very shallow depth-of-field would make an interesting shot but I had to work quickly as the rising sun was quickly melting the tiny ice crystals. “I like the fact that with some macro work (particularly the very close 1:1 ratio possible from the 60mm Olympus macro) the subject becomes abstract and just a fascinating study of light, shade, texture and colour. My E-M1 and 60mm lens worked perfectly in this tricky light situation with the camera focusing in a heartbeat; the in-camera stabilisation worked perfectly and I was able to choose the focus point quickly using the grid system on the rear screen. “In the past I would not have been able (or had the confidence) to take this type of macro shot without a tripod but I was very happy with the handheld results on this frosty morning.”

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CAMERA: ST YLUS XZ-1 EXPOSURE: 1/2000SEC AT F/3.5, ISO 400 CLICK FOR MORE PRODUCT INFO

ANDREJ DURICEK MAN AND HIS DOG A great example of street photography, Andrej captured this in the capital of Slovakia

“This picture was taken in the biggest open market of Bratislava, in Mileticova Street. I like to look around at the people, the vendors and find that in every moment there is always something interesting to see and, of course, to photograph. For Bratislava´s people the market of Mileticova is something like the oasis of the old times. There is also a very fresh atmosphere in comparison with the big supermarkets which are so cold and anonymous. I find the Olympus PEN cameras very clever for this kind of street photography, but also my little XZ-1 does a very good job, like with this shot.”

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CAMERA: OM-D E-M1 LENS: M.ZUIKO 12-40MM F/2.8 PRO EXPOSURE: 1/1000SEC AT F/8, ISO 200 CLICK FOR MORE PRODUCT INFO

CHRIS ATKINSON MOODY DR LOOKING FOR BOATS

Chris combined his lightweight E-M1 with 12-40mm Pro lens for this stunning shot

“This photograph was taken during a photo walk with friends from Penarth Pier, across Cardiff Bay Barrage, to Bae Teigr (now rebranded Cardiff Bay). Here has been built the new Doctor Who Experience with its wonderful curving metal roof reflecting nicely in the post-storm sunlight. Next door to it is the entrance to the World of Boats museum. With a history ranging from rocks that are 200 million years old to ultra- modern architecture, there is a lot of interesting things to photograph. Added to this were some stormy weather fronts that brought heavy rain and dark moody skies, interspersing an otherwise cold, bright sunny day. “I loved the strong composition of the curving roof, with all its vertical lines, with the highlight of the sunlight creating a visual highlight that metaphorically reflected the waves on the nearby Severn Estuary. This curve was mirrored by the smaller curve of the trees and shrubs to the left, while the arched entrance to the museum created a central curve that unites the two sides. The clouds added a bit of moody drama as the rainstorm passed by.”

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CAMERA: OM-D E-M1 LENS: 11-22M M F / 2. 8 -3 . 5 EXPOSURE: 1/60SEC AT F/5.6, ISO 200 CLICK FOR MORE PRODUCT INFO

JOHN MARSHALL OLD TOOLS With a love of architecture, John shot this image on a recent photography trip

“This was my second visit to Blists Hill Victorian Town at Ironbridge, a trip I took specifically to take pictures. I have a real passion for taking architectural photography, including windows – particularly for the reflections they can produce. This particular image caught my eye not only for the reflection but the condensation on the window and the old wooden surround. My OM-D E-M1 is a joy to use for this type of excursion, and when walking around buildings it’s discreet and easy to carry due to its small size and ease of use, even when combining it with the slightly bigger Micro Four Thirds lenses.”

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CAMERA: PEN E-P2 LENS: M.ZUIKO 17MM F/2.8 EXPOSURE: 1/320SEC AT F/9, ISO 200 CLICK FOR MORE PRODUCT INFO

PETER HARGRAVES ON THE ROB ROY WAY Documenting the scenery on a group walk, Peter shot this atmospheric image in Scotland

“This shot was taken while walking the South Loch Tay section of the Rob Roy Way, a 72-mile route from Drymen to Pitlochry. This scene summed up our day: the weather continually changed and provided brief glimpses of atmospheric scenery. You can just see my walking group heading down the hill towards a mist- covered Loch Tay. I decided to get a good camera when I retired two years ago and bought the PEN E-P2 with a viewfinder, which is brilliant as I like taking scenic shots while out walking and find it much better than relying on a screen (especially when your eyes aren’t as good as they used to be!). The image quality through the viewfinder is remarkable and the E-P2 is compact enough for carrying around.”

Why not showcase your shots on – find out morehere .

CAMERA: OM-D E-M1 LENS: M.ZUIKO DIGITAL ED 75-300MM F/4.8-6.7 EXPOSURE: 1/320SEC AT F/6.7, ISO 320 CLICK FOR MORE PRODUCT INFO

PETER SWAIN WHITE-FRONTED BEE-EATER Fresh from a photo walk with Rob Pugh, Peter set off to take pictures in Africa

“Having recently retired, and previously had nothing more than a point and shoot camera, I did some research online and decided to buy the OM-D E-M1 because of size and inbuilt image stabilisation, with the intention of taking wildlife pictures in Africa. With no more experience than a read of the manual and a day’s photography outing at Borough Market with Olympus and Rob Pugh, I set off for Tanzania. “The picture here was taken late afternoon on a boat trip down the Rufiji river in Selous Game Reserve. The bee-eaters form colonies in the sandy river banks and introduce some spectacular colour to the scenery. I particularly like this picture as it was one of my first attempts to put into practice the guidance given by Rob and the Olympus staff on using aperture- priority mode to focus on the subject and blur the background – the success probably says more about the quality of the camera than the current skill level of the photographer! However I aim to improve and more trips to Africa are planned this year.”

Why not showcase your shots on – find out morehere .

CAMERA: OM-D E-M5 LENS: M.ZUIKO 14-42MM F/3.5-5.6 II R EXPOSURE: 1/50SEC AT F/8, ISO 1600 CLICK FOR MORE PRODUCT INFO

TIM SLATER FROSTY MORNING Making the most of the cold English weather, Tim shot this frosty picture late last year

“I took this shot early one Saturday morning in December last year. I opened the curtains and saw frost, so decided to nip outside and take some photos in the garden. It didn’t appear quite so frosty once up close, however I persevered and took the shot from ground level using the flip-up rear screen, which is handy as you don’t need to lie on the floor! “I like to photograph anything and everything really, using the E-M5 or an E-PM2 which I bought last year to replace my way too heavy DSLR equipment. I can comfortably carry all of my kit now including lenses from 14mm up to 300mm and a macro. I tend to post images on Flickr, Facebook or Twitter and for this normally use Snapseed on the iPad to process the images as this is very quick and easy.” 12 | INTERVIEW INTERVIEW | 13

Backstage at Cirque Du Soleil’s Zumanity show, created for an adult audience

When commercial photographer and photojournalist Max Peef takes a photo, it’s with no holds barred. He laughs with his subjects, cries with them and takes genuine and honest snapshots of the scenes he finds in front of him. Newly arrived in London from his native Italy, we caught up with Max to find out more

Max Peef PHOTOGRAPHER BIO Who: Max Peef Location: What were London your early experiences of Genre:photography? Commercial and photojournalism Camera:It started OM-D with a E-M1 fight with my family who didn’t even know what photography was at the time. I’m talking about 27 years ago. My father still doesn’t actually know what I’m doing, he doesn’t understand how I can make a living out of photography! I had to convince people around me first of all that I was a photographer and that wasn’t easy, especially when your family wants you to get a degree and go to school. It was hard for me to make the decision to turn my passion and hobby into my career and initially I wasn’t that keen on making money out of something I in the deeply loved. That’s why I moved to London for the first time from my home in Italy to assist photographers at the very beginning of my career.

You started out working in fashion and advertising photography, but then you branched out to photojournalism – what provoked the shift in focus? I began taking documentary photos about THICKWORDS MEGAN CROFT IMAGES MAX PEEF OF IT 12 years ago; I wanted to take pictures

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Backstage at Cirque Du Soleil’s Zumanity show, created for an adult audience

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I’m a person who makes decisions very quickly, when I decide to do something there’s no waiting around

for a good reason and to be useful to other people who hadn’t been as lucky as me. I wanted to support humanitarian crises as well as help NGOs deal with the aftermath of war – I got a substantial amount of photographic content through that. Unfortunately I forgot my bank account details during that period, so I’m now trying to find a balance between documentary photography and commercial work to support myself.

Do you remember your first Portrait of children living photojournalism commission? in poverty I’m a person who makes decisions very quickly, when I decide to do something there’s no waiting around. When I decided to get into photojournalism, I first contacted a friend who’d set up an NGO in Israel right after the Second Intifada [the second Palestinian uprising against Israel] at the border with Lebanon. I went as a volunteer to see the situation for myself and worked there for a couple of months; through photography I helped towards fundraising operations in Nazareth. It was a similar situation with other NGOs that I worked with later. I’ve been to the Democratic Republic of Congo, Nigeria, Ethiopia, Yugoslavia; it quickly become one after the other, as soon as I’d finished a job I was moving straight onto the next.

A soldier in the United Nations In poverty stricken Benin, West A lot of your documentary images are Interim Force in Lebanon (UNIFIL), Africa, children are vulnerable black & white, why do you favour mono? dispatched to restore peace after the to being sold into the sex trade, withdrawal of Israeli forces under the guise of domestic To give you an example, a black & in Lebanon work in cities.

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white shot of blood on a child starving at the side of the road will describe the general situation. A colour shot of the same scene will ask you to concentrate on the details, it drives you inside the pictures in a material way. Black & white only asks you to perceive the situation, shooting black & white for me means being graphically honest.

Do you shoot black & white in camera or convert it in post? I do it in post-production using Photoshop. I don’t really like post-production though, I can’t stand being on the computer for more than two or three hours. My brain thinks in an analogue way when shooting and I’m always trying to capture as close to the final image as possible, but with the E-M1 I am changing my approach because it offers such a range of creative solutions From a series taken in Milan that I want to use and explore more. on a fashion shoot You’ve used Olympus cameras for a long while now, when did you first get into the brand? I started in photography with analogue cameras and when I was looking to switch over to digital, I spoke with Olympus who were really keen to support my work and help me improve it. They supported me with cameras and lenses and helped me to work in digital. Now I use the OM-D E-M1 and I love working with it. I believe it’s the camera for documentary and street photography.

What makes the E-M1 so well suited to those genres? It’s incredibly fast; I really trust the E-M1, I feel like it’s an extension of myself. It’s Captured as part of Another Side incredibly light, I don’t like having long of Cirque du Soleil, a behind- the-scenes look at the show for Performers in Cirque du Soleil’s lenses and heavy DSLRs, I love to be Vanity Fair magazine Zumanity show

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dynamic and no camera compares to the E-M1 in that respect.

You mostly use the ZUIKO Digital ED 7-14mm f/4.0 and the M.ZUIKO Digital ED 12-40mm f/2.8, why those lenses in particular? I never like to shoot pictures from far away, I need to be close to the subject, as close as possible. Although that has often gotten me into trouble in the past, I’ve been bitten and hit by people before for taking their portrait. But I need to be in close to the action. I don’t like shooting from far away, I need to be part of it.

Are you carefully considering each frame or are you just snapping away? Very often I don’t even look in the camera, I just shoot. Knowing the camera, knowing the lens and the aperture, I am confident in just shooting. I often find myself shooting without watching. That doesn’t mean that I’m not considering the frame or the picture, but it’s more important for me to be in the right place, in the right position, at the right time. I work a lot on that skill. Whether it’s travel documentary or F1 photography, I need to know exactly the right place to be in. When I go somewhere, I’ll go there a couple of days or sometimes a week early to get to know the place, I don’t start shooting straight away.

Are there some sights that you just won’t capture, do you self-censor? No, not at all. It might be difficult, but the pictures need to be taken and I’ll do that. What I’ve seen happen often though is both war and social photographers setting up the pictures. For example I An ordinary moment in the life have seen a photographer placing a teddy of the elderly population

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I think you should take the photo as it comes, only very rarely do I ask people to move

bear near to a child that was crying and dying just for the picture. I often witness photographers directing subjects too, even in a documentary situation. I think you should take the photo as it comes, only very rarely do I ask people to move. In tough social situations, you need to photograph what you see, that’s what you need to document.

Do you ever find that some images are difficult to take? To put myself into the pictures means to suffer as well, I often find myself crying whilst I’m shooting in emotional situations. If I do that, I know that I’m capturing an honest depiction of what I’m seeing. The difficulty for me is holding in the tears – and the laughter as well – because I empathise so much with the subjects.

What are you working on now? I’ve just shot a campaign in Italy for cycling clothing, which was very interesting because the company gave me a blank canvas. Even though everything was set up – make-up, lighting, hair – to me the very last word comes from the feeling that I create with the subject and that’s the picture. I love the freshness and spontaneous attitude of the people in this campaign, it was set up but it wasn’t posed. The camera is between us but it doesn’t feel like it. I’ll often shoot without Images taken with the OM-D watching in the studio too, the most E-M1 for a commercial campaign spontaneous photos are the best. to promote cycling wear

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Fashion designer Paul Smith Bernie Ecclestone, the chief I’ve also just moved back to London, exec of the Formula One Group my professional homeland, from Italy, which is very exciting.

What’s the most memorable project you’ve worked on recently? I’ve been doing some work in London with F1 Racing magazine, which I love because I love engines, but a funny situation happened when I was last shooting F1 at the racetrack. There was this photographer with huge cameras with big lenses and both of us were shooting from the same spot, me with my small E-M1 with my small lenses and him with his enormous set-up. He couldn’t believe that I was a pro with such a small kit, so I challenged him to see who could take the best pictures from the same viewpoint. It was funny because he judged me for having a small camera, but he was so impressed with the images I showed him. By the end of it he said he wanted my camera!

What advice would you give someone looking to get into documentary photography? I think trying to work out how to be in the right place at the right time and respecting the situation you are in, that will make the picture. If you have to wait hours to get pictures, that’s also part of the picture. I don’t feel like people should do documentary if they think too much about the picture, they just have to think about the story they want to tell. Storytelling is the most important thing.

www.maxpeef.it

Motorsport director of Pirelli Paul Hembery

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14 | PROJECT PROJECT | 15

Get inked TOP TIPS We know the weather isn’t to get you started great at the moment – so how about a fun project CHOOSING A FOCUS FALL IN LOVE WITH PHOTOGRAPHY that’s possible to carry out TARGET (AF AREA) Photographer’s block – we’ve all been there. You want to take great pictures but you find from the comfort of your Your Olympus camera offers yourself in a creative slump. Here are some seasonal ideas to get your photo mojo back! own home to whet your lots of clever ways in which visual appetite? Dropping to control how you focus and coloured ink into water is shoot – making the capture of THE PERFECT STORM SHOOT, REPEAT NEW BLOOMS a really simple activity to great photographs easy. Using do, but the results look the super control menu, you amazing. Set up using the can easily navigate the various 60mm macro lens and options on offer. get a large clear glass filled with water. Choose an aperture of around

Locate the AF Area button on your super control menu, then press OK to display the AF target. Press INFO, then use up and down arrows to navigate the various options.

Though February is still a little chilly, it’s For seascape shots like this it’s well an excellent time of year for moody skies worth setting up on a tripod, and extending Pooch perfect in your landscape shots. Check your local your shutter speed to get a smooth effect All Targets/Auto weather forecast and try and get out on the water – try around eight seconds to Those of us with pets love to use our furry friends The camera will automatically just before, and also after a storm. What begin with. If you’re feeling like braving even as mini models for practising our portraits, but don’t choose from the full set of you want to capture is that incredible rougher weather, remember that the new forget that there are great photo opportunities even focus targets, or you can ‘apocalypse’ moment where the sun breaks OM-D E-M5 Mark II is weather proof, and in seemingly mundane situations. Washing your select the smaller Group through the dark clouds, and if you’re lucky can take some serious splashes – meaning dog? Grab your camera and see if you can capture you may even capture a rainbow too! you can keep shooting in all weather. some beautiful moments with man’s best friend.

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Get inked TOP TIPS f/14, and a shutter speed to get you started from 1/600 to 1/200sec – you want to freeze the Target where the camera will FALL IN LOVE WITH PHOTOGRAPHY movement, but not lose focus within just that area. Photographer’s block – we’ve all been there. You want to take great pictures but you find details. Switch to manual yourself in a creative slump. Here are some seasonal ideas to get your photo mojo back! focus and use your finger to prefocus on a point in the glass. Once you’re ready, THE PERFECT STORM SHOOT, REPEAT NEW BLOOMS drop food colouring into the water and snap away! Play with your settings until you get the look you’re happy Single Target with, you can introduce When selecting Single coloured backdrops too. Target, a small square target will appear which you can move around manually with the arrow keys – you can see this on the live screen, or in your viewfinder, making adjustments intuitive.

Face Priority Off Face priority off Face Priority On Face priority on The autofocus system selects the pupil Face & Eye of the eye closest to the camera for Priority On face-priority AF The autofocus system selects the pupil Face & R. Eye of the eye on the right for face-priority Priority On AF Face & L. Eye The autofocus system selects the pupil Priority On of the eye on the left for face-priority AF Face & Eye Priority Within the same shooting screen you will find a little If you’re stuck for inspiration, giving yourself men wearing flat caps, dogs tied up logo of a face. This is the Face a photographic brief can really help to get outside shops, or even other people taking & Eye Priority button, which you back on track. Thinking of a theme, pictures. There’s plenty to choose from, enables the camera to detect accessory or subject matter to shoot with but the trick is to stick with it and build up features within your frame to the plan of putting the pictures together as a set of at least six images. You may even automatically focus on. a set can be really good fun, and the results find yourself carrying on this side project for You can even choose look striking. years – just imagine how many you could to prioritise between the You can choose anything such as collect! Flickr is a great place to coordinate street photography featuring red scarves, albums in this way.

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TOP TIPS to get you started

subject’s left and right eye – FALL IN LOVE WITH PHOTOGRAPHY magic! Photographer’s block – we’ve all been there. You want to take great pictures but you find yourself in a creative slump. Here are some seasonal ideas to get your photo mojo back!

THE PERFECT STORM SHOOT, REPEAT NEW BLOOMS

Touchscreen shooting Locate the tab on your live guide shooting menu and tap it to discover the various shooting options for touchscreen control.

Touch screen operations disabled. Tap a subject to focus and automatically release the shutter. This function is not available in mode. Tap to display an af target and focus on the subject in the selected area. You can use the touchscreen to choose the position and size of the focus frame. Photographs can be taken by pressing the shutter button.

Using touchscreen shooting is a fast and effective way to perfectly capture your subjects in a split second.

It feels like we haven’t seen any flora for but it can be difficult to shoot them in an a rather long time, but don’t despair – unusual way; try getting low for a worm’s- snowdrops can already be found lurking eye view – using your tiltable screen will in damp soily areas and bloom until March save from grubbing around in the dirt here. in some areas. Research your nearest Or why not even try taking some artificial National Trust site or open garden, don lighting with you for a heightened back your wellies and head out – camera in hand glow? This could even be as simple as a – to hunt down these delicate flowers. pocket torch. Keep an eye out for crocuses Snowdrops make such a pretty subject to add colour to your shots too.

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We know you’re a fan of your E-M1’s Wi- Fi function John, how do you make the most of it? SNAP SHOT I use the Wi-Fi function in different ways. One We delve into the wireless world of commercial shooter John Nassari to find out how way I use it is at weddings and sometimes on his E-M1’s Wi-Fi function helps him connect with clients. We also hear how social portrait shoots to export the images through media whizz Nico Goodden benefits financially from Twitter the Olympus Image Share app straight to my phone. I can then show clients immediately the images that I’ve taken that I like; I get great responses from that and people are really impressed. I did it recently on a portrait shoot, as I was going through the images on the back of the camera with the client and tagging the ones they liked. I downloaded them using the Are there some dos and don’ts when it SHOOT app and they were amazed by how good it comes to sharing your images online? looked without any retouching. There is this debate about when to share I’ve also used it at a wedding for a group images online. In the old days I might have shot of 60 people. Some photographers take shared quicker at a wedding, on the day AND SHARE ladders, or they climb upstairs and shoot from or the week after, but now I think because Don’t be shy, share those stellar shots! The high-performing OM-D E-M1 a window, I put my camera on my tripod and of where my brand has gone it’s important makes sharing simple thanks to its Wi-Fi connectivity. Photographer asked my colleague to hold the tripod in the to be more discreet and not share so John Nassari gives us an insight into how he gets ahead with the air. I then used the Wi-Fi function to remotely quickly. And of course the bride and groom function as well as his top tips for making a splash online. control the camera on my smartphone. It was should see the images first rather than you brilliant. I’d like to do more shots like that. tweeting them.

REMOTE TRIGGERING: OFF-CAMERA FLASH ially S Soc avv John Nassari is a big advocate of the e WITH y off-camera flash: it’s small, easy to use B and takes your pictures to a whole other NICO GOODDEN level. We take a look at John in action to see exactly how it works in this video. Nico Goodden speaks to The Phoblographer about how he made Twitter work financially for his photography, and how it can work for you too Click here to find out more and to purchase the kit John used CLICK TO READ ON

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Would you share your photos with the bride or the groom on the day? I do that a lot and I like that, it particularly SNAP SHOT gets guests out of my hair. I’ll be shooting We delve into the wireless world of commercial shooter John Nassari to find out how at a wedding and a guest will ask if I can his E-M1’s Wi-Fi function helps him connect with clients. We also hear how social shoot him and his wife, which I’ll do then media whizz Nico Goodden benefits financially from Twitter they’ll ask me to send the pictures to them. I’ll hand them a card and say contact me in a month when they’ll be done, then two days later they’ll send me an email asking for it. Now it’s so much easier, I shoot it, I Wi-Fi it over and then email it straight from my phone to them. Sometimes I have emailed it straight to the bride in the SHOOT morning to show her a preview.

Do you ask for credit when you share? AND SHARE I do, but with most people there is Don’t be shy, share those stellar shots! The high-performing OM-D E-M1 an unspoken understanding of that. makes sharing simple thanks to its Wi-Fi connectivity. Photographer Sometimes my admin team might also John Nassari gives us an insight into how he gets ahead with the put up a sneak preview of a set of photos function as well as his top tips for making a splash online. online, a little teaser of what we’ve done and tag those involved.

OLYMPUS MAGAZINE ■ FEBRUARY 2015 See back issues at olympusmag.co.uk Click here to subscribe for free OLYMPUS MAGAZINE ■ FEBRUARY 2015 16 | SNAP SHOT SNAP SHOT | 17 SNAP SHOT We delve into the wireless world of commercial shooter John Nassari to find out how his E-M1’s Wi-Fi function helps him connect with clients. We also hear how social media whizz Nico Goodden benefits financially from Twitter

Do you use Wi-Fi connectivity at all in shooting remotely using my smartphone SHOOT your personal work? comes in handy. I’ve shot 20 images so I’m doing an Alter Ego project and I use far, I want to do 40 so I can make a book it along with the Olympus app to convert or an exhibition. my smartphone into a remote control, I’ve AND SHARE used that for every image I’ve taken. In the What about online presence, any Don’t be shy, share those stellar shots! The high-performing OM-D E-M1 finished images for the project, my subject advice on getting your name out makes sharing simple thanks to its Wi-Fi connectivity. Photographer appears twice: once as themselves and once there and work noticed? John Nassari gives us an insight into how he gets ahead with the as their alter ego. To capture the impression I think social media is important, although function as well as his top tips for making a splash online. of interaction between the two, I step into you can tell whenever a photographer has the image with the subject, which is where bought followers and that can actually work

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against your brand. Social media can take up a lot of time though, but it is also possible to pre-programme your tweets, so you can SNAP SHOT decide what you want to say on a Sunday We delve into the wireless world of commercial shooter John Nassari to find out how night, programme them to go live throughout his E-M1’s Wi-Fi function helps him connect with clients. We also hear how social the week and then you don’t need to do media whizz Nico Goodden benefits financially from Twitter anything more. I now have a PR so I don’t do that anymore. I do personal tweets but my team promote my work on my behalf through their own social media, connecting their own followers Are there any sites that you’d with me and my work. They have thousands recommend? of followers, which raises my profile. It’s I think Instagram is excellent. You can tell also about who they know, who they are a story which is beyond the moment of SHOOT connected with and who they can introduce the image: it could be backstage, it could you to. be a picture of me working on location or something. Your website is your portfolio but you can use somewhere like Twitter to AND SHARE interact with others and tell a story about Don’t be shy, share those stellar shots! The high-performing OM-D E-M1 what kind of person you are – the same makes sharing simple thanks to its Wi-Fi connectivity. Photographer with Instagram, it provides a wider context John Nassari gives us an insight into how he gets ahead with the to your work. It’s about my brand and the function as well as his top tips for making a splash online. wider story as well as the way I work and what I’m working on.

OLYMPUS MAGAZINE ■ FEBRUARY 2015 See back issues at olympusmag.co.uk Click here to subscribe for free OLYMPUS MAGAZINE ■ FEBRUARY 2015 BE SOCIALLY SAVVY “Most of my paid photography jobs have come through social media and more precisely, Twitter. I’ve always loved photography, but then who doesn’t. After all we are all photographers. Find me one person who will say ‘Nah… I don’t like photography, I don’t take photos.’ “When I started shooting urban/street photography a little more seriously around 2008, all I thought about was, well, shooting. Looking back at the photos I took back then, I often cringe – yet it’s a valuable reminder of how far I’ve come. “In 2010, when I realised that I was progressing and receiving encouraging feedback on Flickr, I thought to myself: ‘Right, it’s time to set up a home for my London photography’ (a bit like going from having a market stall to owning a shop), and so my photography website was born. Immediately then I opened a Twitter account and Facebook page to promote it. I guess I understood early the power of social media as the company I worked with at the time was quite focused on it. What’s strange is that I actually really didn’t like the idea of Twitter, probably because my (limited) understanding of it back then was that people write 140 characters like ‘I’m having a coffee and it’s good, I like coffee!’ It’s a bit boring isn’t it? “I’m sure that just like looking at my old photos, if I looked back at my old tweets I’d want to hide under a desk. But again, that’s just an evolution, I’ve developed. Gradually, as I worked hard on improving my portfolio and technique, I grew a following and an understanding that people, although they may like my work, may not want me to only talk about myself. It’s a mistake a lot of people, and worse, major brands do when it comes to social media. They’re self-centred. So I started interacting with people. Sharing their work to my followers, sharing my followers’ work, lending a helping hand when I could and generally posting interesting snippets of information regularly (and that’s key if you want people to keep coming back) and with a focus: photography and/or London. Because as a London urban photographer, this is my niche (something we all need to identify). “I believe in what I like to call ‘social media karma’ – you get as much as you give. I then focused on following and interacting mostly with people within my niche to make my efforts more relevant and rewarding. I thought to myself ‘who are the people/companies most likely to hire me for a photography job?’ So there I went chatting away on Twitter with PR companies, creative agencies, restaurants (I am a trained chef and photographer… see where I’m going?), interior designers, architects, etc. “Bear in mind I didn’t approach them saying ‘Hey check my photos and give me jobs’. No, I looked at their tweeting patterns, and tried to respond, retweet, engaging in the best possible way. This led to some of them checking out my work, liking it and hiring me. It’s hard work but it pays off – eventually. Twitter also led me to become an Olympus ambassador which has been extremely beneficial in terms of exposure. “I shoot with an Olympus camera. After a while Olympus, who I engaged with for about a year, decided to involve me and promote me as I was in turn indirectly promoting their cameras through my photographs shot with an OM-D. “What I am getting at here is that Twitter has an immense power which can only be harnessed by being used wisely. We are all time short and Twitter is ideal for making quick to the point contact. You have 140 characters, use them wisely. It’s the Internet’s equivalent of the Elevator Pitch.

CLICK HERE TO READ ON Nico’s top 10 Twitter TIPS FOR PHOTOGRAPHERS

1. If you decide to share photography news, tips and info, 7. To counter-balance the people you follow, find apps you don’t want to search for it for hours. Lists are the to help you manage your Twitter account. Some for answer. That way you can have a feed populated only example allow you to unfollow any user who’s been with the right tweets and links, easy to share. inactive for say six months. There’s nothing wrong with doing that since they are clearly not active. 2. Don’t give people a hard time, it’s not cool and it can severely backfire. Be nice even when you’re having a bad 8. If you post something on Twitter, you can only delete day (good life advice in any case). it if it hasn’t been retweeted. That should stress the importance of never posting something you’ll regret. 3. If you shoot Olympus, let them know by sharing your Once someone retweets it, delete it if you wish but it will best photos, if you print on a Canon printer, let them always be around to haunt you (not that I would know!). know by showing off your prints… Getting in touch with companies whose products you believe in may possibly 9. Don’t be a pest. If you see someone doesn’t interact, open doors. It works for me anyway. give it a rest and move on, don’t harass them.

4. Add (relevant) photos of yours to your tweets. A tweet 10. Finally, and possibly the most important: be yourself with a photo gets retweeted a lot more than one without. and let your personality shine through. It’s the only way people will buy into you (alongside having a quality 5. Figure out the best times to tweet. I find early portfolio). mornings and late afternoons often to be a commute time so people are on their phone. Sunday mornings around 11am, people having a coffee… again on their phones, tablets, laptops. Lunchtime is also a good one. Avoid Friday and Saturday night for obvious reasons. CLICK HERE TO VISIT THE PHOBLOGRAPHER FOR NEWS, REVIEWS, TIPS AND MORE. 6. Twitter allows you to follow up to 1000 people a day, make good use of it. Don’t just follow anyone of KEEP UP TO DATE WITH NICO HERE course. Follow camera companies, creative agencies, PR AND OF COURSE ON TWITTER companies – anyone likely to be interested in your work. M.ZUIKO 12MM F2 M.ZUIKO 75MM F1.8 CLICK FOR MORE PRODUCT INFO CLICK FOR MORE PRODUCT INFO

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18 | BEHIND THE SHOT BEHIND THE SHOT | 19

Olympus pro Damian McGillicuddy shares his insider tips and tricks... Discover how the professionals craft pictures using their BEHIND THE SHOT Olympus cameras… This month Damian demonstrates one of his favourite and most effective lighting techniques, proving that you don’t need dozens of lights to create dazzlingly illuminated images

It’s probably a little bit late now to wish you a happy new year – and despite all my years taking fashion images for publications all over the world, I’ve still yet to master the art of being fashionably late. Still, I hope that the year is off to a great start for you and your photography. As you might imagine, I had barely put up my 2015 calendar before I was back in the thick of it!

I’m writing this column as Olympus holds centre stage at the SWPP Convention in London, where I’ve been creating my usual mayhem at one of the industry’s most important events. If you were at the event you will have seen my team doing everything from hurling paint at fashion models to creating serene snaps of slumbering tots. And if you weren’t, you might just be reading about it in the next issue!

For now, however, I’d like to give you the skinny on what I consider to be one of the best images I shot in 2014, taken late last year on one of our three-day Olympus Big Shoot Experience monthly events. I won’t go into my sales pitch here, but suffice to say that these commercial- scale shoots are well worth going out of your way for – you can find out about these and all the events we offer via my website, damianmcgillicuddy.com.

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Discover how the professionals craft pictures using their BEHIND THE SHOT Olympus cameras…

As I’ve mentioned, I’ve spent the best part of 30 years travelling around the world and taking pictures for some of the biggest brands in fashion and photography. And while I’m enormously proud of the reputation I’ve earned for creating striking imagery and manipulating light, sometimes it’s a double-edged sword. With this image, for example, one of my Facebook followers asked me, “So, how many lights did you use – 30 or 40?”

The truth is, there’s always a time and a place for using dozens of lights (though 40 may be a bit excessive even for me!). That said I spend my working life using the OM-D system and enjoying the benefits of the size, speed and efficiency that the Micro Four Thirds format affords me. So it seems to defeat the purpose of using a camera system I can fit in one bag if I’m still going to fill the car with umpteen lights and stands!

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Discover how the professionals craft pictures using their BEHIND THE SHOT Olympus cameras…

The fact is that this image was lit using just two humble speedlights and an umbrella. It really is that simple! I’ve said it time and time again: creating great images is a matter of being considered, not complex. Sure I could have dragged out X number of lights just for the sake of it, but honestly – when you can light something this effectively with just a pair of speeds and a brolly, why would you want to make life more difficult for yourself?

Of course, there always has to be a method to the madness. Otherwise showing up with just two speedlights for a publication shoot like this really would be madness! That method is something that’s very important to my work and is part of the reason I was genuinely won over by the OM-D system, because unlike some other brands you can invoke it in-camera at the push of a button: second curtain sync.

You might also know it as rear curtain sync or, if you’re one of our American cousins, you may know it as pop and burn. This technique enables us to drag the shutter and, in the case of this shot, use the natural ambient illumination (which includes the architectural mood lighting) to create a depth of colour and an area of luminosity –controlled by the shutter and shutter speed.

The slower the shutter speed, the more we drag the shutter and the more ambient light is allowed into the camera. We can get away with that using the OM-D system for two reasons: firstly we can turn on second curtain sync without having to put something in the hotshoe

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Discover how the professionals craft pictures using their BEHIND THE SHOT Olympus cameras…

and, more importantly, we’ve got the 5-axis image stabilisation in the camera itself, with five magnets making the sensor, in essence, float in a magnetic field. So it doesn’t just give us up-and-down and side-to-side stability, it also gives us pitch, roll and yaw. This enables us to essentially take two exposures in a single frame – the shutter speed is controlling the level of ambient light that’s allowed into the picture, while the aperture is controlling the flash output – and this is the reason that second curtain sync is so important and why I keep it on my camera all the time.

If you have first or front curtain sync, you press the shutter button, the shutter opens and the flash goes off, the shutter gathers any ambient light and then it closes. So essentially you get the sharper flash exposure, because the flash output speed is perhaps 1/6000sec, and then whatever time is left gathering the ambient light can be affected by camera shake, impacting the picture.

With second curtain sync, however, you depress the shutter and the blinds (or the curtains) open, the camera gathers all the ambient light, and then just before the shutter closes the flash fires. So the potential motion-blur effect is overridden by a sharp flash exposure that’s overlaid at the end – and frankly at my age, with pointing cameras at pretty girls all the time, that second curtain sync really can be useful! That’s a simplified explanation of what’s happening but suffice to say it gives you the idea.

So, onto our two lights – and the bit that’s really important here is the barefaced speedlight

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Discover how the professionals craft pictures using their BEHIND THE SHOT Olympus cameras…

positioned behind our subject. As you can see from the shooting diagram – created on the fly using the shiny new Olympus Big Dog app for iPhones and iPads, which will be available soon – it was equipped with barn doors from my trusty McGillicuddy Portaflex Kit to create light that just skims past the curvature of the model’s back, highlighting the shape and form.

Buried through the doorway to camera right is a single translucent umbrella affixed with a CTO (colour temperature orange) gel. This brolly is serving to soften the light – it’s creating just a ‘kiss’ of light to illuminate the mask of the model’s face that, from the shooting angle, appears to be a blade of light down her face that adds depth, shape, form and dimension to the image. And that’s what great photography is all about. Shooting through the doorway also aids in controlling and channelling the spread and direction of my light, a little like giant barn doors. FIND OUT MORE By dragging the shutter I’m allowing the depth ABOUT THE of shadow in the image to be controlled by the OLYMPUS BIG amount of ambient light I allow to be recorded; the slower the shutter, the more light allowed DOG APP HERE into the mix and the lower the contrast in the image.

The image was shot with the 17mm f/1.8 at 1/15 sec at f/3.2, ISO 200, handheld. This was aided by a custom white-balance and the vintage Art Filter blended with a blurred edges overlay. The key light modifier is the translucent brolly component from the soon-to-be-released McGillicuddy BIG softie and the accent light had

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Discover how the professionals craft pictures using their BEHIND THE SHOT Olympus cameras…

a barn door on it from the McGillicuddy Portaflex kit to control spill.

It’s only just begun, but 2015 is already shaping up to be a fantastic year. I daren’t say too much, but there are some absolutely brilliant things about to be revealed that I can’t wait to share with you. Christmas came early for me last year when I got the first 40-150mm f/2.8 to play with, and now it looks like my birthday might have come early this year as well with the exciting launch of the OM-D E-M5 Mark II.

Enjoy your photography and keep creative.

Until next time,

Click here to find out more and to purchase the kit Damian used

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WIN AN EXCLUSIVE CANVAS BY SUSIE LOWE WORTH OVER £500!

Susie Lowe is an artist, illustrator and muralist, living in London – and although predominantly a painter, she also customises Vespas, helmets and bicycle wheels; designs packaging, album covers and clothing; and does the odd ‘live art’ performance at events across the UK and Europe.

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Olympus collaborated with Susie on the Art Edition PEN, where she covered a Vespa and PEN in beautiful artwork. Susie also joined in at the Olympus New Year graffiti party at the end of last year, creating this stunning split canvas exclusively for Olympus. This beautiful one-off design is now up for grabs. To win it, send us your best street/urban shot.

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HOW TO ENTER Send your best photograph, under the genre of street photography, to: [email protected] or tweet your entry to @OlympusMagazine using the hashtag #olymagcomp

CLICK HERE FOR TERMS & CONDITIONS CLICK HERE to see December’s winner! WINNER! Congratulations to Paris Iliopoulos who won the beautiful Elizabeth Dunn camera strap – enjoy! TERMS & CONDITIONS: Olympus Magazine competitions are only open to residents of the UK. Any entrants under 18 years old must have permission to enter from a parent or guardian. The winners will be notified by email and the results will be published in the magazine and on social media. Only one entry allowed per competition, per reader. Employees of Olympus and Bright and their immediate families cannot enter. Entries must be received by 18.03.2015. Entries not in accordance with the rules will be disqualified: by entering the competition, competitors will be deemed to have agreed to be bound by the rules. The prize must be taken as offered with no alternative. In the event that the prize cannot be supplied, no liability will attach to Bright.