Minolta Image Autumn 2003

Vol 4 No 36 AUTUMN 2003 Dimage 7i photo by David Kilpatrick 10% off repairs and servicing for MI

MEMBERSHIP IN FOR MA TION MA FOR MEMBERSHIP IN readers he Minolta Club Cam era may be able to take out an war- TCheck Scheme now runs Information on this page is printed in each ran ty on a cam era which has just all year round, taking the been repaired, or over hauled. seasonal load off the serviceClub issue for yourChecks benefi t – please use it. &The war ran ty is an op tion al department. We are now told ex ten sion of the usual six-month that Service will give Club Call 01908 200400 for service! repair guar an tee to a full two Checks ‘absolute priority’ years. This offer is ad min is tered and these will nor mal ly be digitalWarranties products There is a difference between and un der writ ten by Do mes tic accomplished with in 3-4 Club Check tests include the Club Check and a Service. & General In sur ance Com pa ny. days of receipt. This is great shut ter speed accuracy, ap- The check may show that your Some parts for older mod els are news but please be sure er ture ac cu ra cy, metering ac- shutter speeds and so on fall now no longer avail a ble, and to allow a little more time cu ra cy, and focusing accuracy. within ISO tolerances, but a Konica Minolta have to re strict – and please do not send They also include checks for Service may allow ad just ment these war ran ties to the list be- equip ment to the Club’s cor rect electronic operation, to better than ISO stand ards. It low. If your equip ment is more Kel so address. fi lm transport, AF operation, also allows lu bri ca tion, tightening re cent, but now out of war ran ty, As a Minolta Club member self timer, fl ash syn chro ni s- of screws, cleaning and adjust- call the Serv ice Dept for ad vice you have a per ma nent 10% a tion and all other key op er a - ments. on 01908 200400. If you wish to dis count off all repairs and tion al aspects of the camera. fi nd out more about the warranty servic ing if you deal directly External cleaning of camera Extended Warranty terms, ring Do mes tic & Gen er al’s with Konica Minolta Photo and lens is undertaken, along Hel pline on 0181 944 4944. Imaging (UK) Limited. with loose dust removal. The Minolta Extended War- Please note this is NOT the same The Service Address is: Equipment which passes the ran ty Scheme is available on number as for our Camera Equip ment Konica Minolta Photo tests will re ceive a Test Cer- new equipment. However, you Insurance facility, see p35. Imaging (UK) Ltd tifi cate and may qualify for the Service Department Ex tend ed Warran ty (right). If MINOLTA EXTENDED WAR RAN TY SCHEME – PRODUCT LIST Unit 7 Tanners Drive prob lems need ing repair are SLR BODY MD LENSES Scan Speed Blakelands found, you will be con tact ed Dynax 9, 7 and 5 MD 100/4 macro Scan Dual, II Milton Keynes MK14 5BU. with an es ti mate – the Club 800si, 700si, 600si MD 50/3.5 macro Quick Scan, Plus Tel 01908 200400 Check cost is deducted from 500si & Super MD 135/2.8 tele If you ask for the discount, the cost of the repair if you 505si Super MD 28/2.8 PHOTOMETERS your membership status will de cide to go ahead. You also 300si, 303si MS 100-300/5.6-6.7 Flash Meter V be checked and validated. get your 10% discount. See also 404si MD 35-70 Colour Meter II If this is disputed, you may new information about direct X-700, X-370S MD 70-210 Colour Meter IIIF ask the Service De part ment repairs, below. MD 50/1.7 Flash Meter III, IV also 220X fl ash Spotmeter F to check with us, and we will COMPACT Zoom 70, 70EX Spotmeter M confi rm your paid-up status Direct Repairs Zoom 90, 90EX VECTIS Autometer IV-F or enable you to renew your Zoom 105, 105EX Vectis 40, 300, 300L, Autometer III, IIIN subscription if has lapsed not If you know your gear needs Zoom 115 3000, 2000, 30, 25, Autometer III Flash more than six months ago. to be repaired, re mem ber Zoom 125 260, 200, 20, 100BF, Equipment under 1st year that a repair always includes Zoom 150 Weathermatic, GX-1, BINOCULARS warranty can be sent in di- a full service and a 6 month Zoom Pico GX-2, GX-3, GX-4. Activa: 8x42DWP, rect ly, accompanied by any guarantee on the whole item. AF-25, AF-35 Vectis S1, S-100, V 10x42WP, 7x35W, document showing the date If you have equip ment which F-25, F-35BF lenses 400RF, 22-80, 7x50, 8x40W, of purchase, including credit you think needs repair, you can F 35ST Super 50 macro, 28-56, 25- 10x50W, 12x50W, 150, 56-170, 80-240, 7-15x35, 8-20x50, card statements etc, even if send it for a Club Check serv ice, AF FLASH SF-1 fl ash 8-22x27, 10- you have not returned your en clos ing your pay ment. 5600HS 30x27, Pocket guar an tee card. But you You can also send items 3600HS DIGITAL 8x25WP, Pocket should al ways com plete and di rect ly to the serv ice de- 5400HS Dimage 7, 5 10x12WP, 8x25FM, re turn war ran ty doc u ments part ment for repair es ti mates 1200AF Macro Dimage S304 10x25FM,12x25FM. after buying equip ment. outside this scheme. Konica Dimage E203 Standard: 7- Minolta Photo Imaging (UK) AF LENSES Dimage E201 15x35EZ, 8- Club Checks Limited will accept equip ment AF 100-300 (D) Dimage RD-3000 20x50EZ directly from readers and pro- AF 24-105 (D) Dimage RD-175 Classic II: 7 x 35W, Dimage 2330 7 x 50, 8 x 40W, 10 The cost of a Club Check, vide estimates, it is not neces- AF 75-300 (D) AF 28-80 (D) Dimage 2300 x 50W. in clu sive of VAT and return sary to go through a dealer. If the AF 35-70/3.5-4.5 Dimage V Compact II: 8x25, in sured carriage, is: estimate is not accepted then ACCESSORIES Dimage 1500EX 10x25. £18.68 for camera + lens a charge of £5.88 is payable for VC-600, VC-700, Scan Multi, II, Pro Pocket II: 8x22, £25.85 for all video and return. VC-7, VC-6, VC-9 Scan Elite, II 10x25. Î

Minolta Image Autumn 2003 • 2 no36 autumn 2003 CONTENTS 2 Camera Check, Servicing & Repair Info 4 Who’s Who + Editorial 5 News and New Products Konica Minolta Photo Imaging (UK) Ltd – news of the merger between the two companies The A to Z of Digital – the new DiMAGE A1 and DiMAGE Z1 are very different cameras approaching electronic SLR viewing in very different ways 8 The Image Space More of your star pictures in our completely open gallery of Minolta Club work. We continue to have a problem with loads

of fi lm to give away as prizes, and a big shift in entries to �� digital… this may just become a digital contest soon! �� 14 Test Report: Dynax 3L and Astia 100F MI #36. Birks of Roslin Glen, photographed in November 2002 Ailsa Kilpatrick travels with a lightweight combination of the by David Kilpatrick using a Tiffen Dynax 3L and new 28-100mm D lens, to test Fuji’s new Astia Redhancer fi lter on the Minolta 100F fi ne-grained, soft contrast slide fi lm. DiMage 7Hi camera. See feature, page 17, on enhancing autumn 18 Enhancing Autumn colours using fi lters and Photoshop. David Kilpatrick demonstrates some methods for boosting colours selectively using special fi lters or digital processing 20 Portfolio: Autumn by Steve Bright ARPS Steve Bright has been using Minoltas from manual system days onwards and has an eye for strongly composed and colourful slides. 22 Just Sliding Away… Eric Houlder talks about 40 years of slide presentations and his work in archaeological photography – a subject which offers audiences more than just a pictorial experience. 25 Make your own Digital Christmas Cards On-Line Paper pre-creased cards offer a quick way to inkjet greetings cards. 26 Camera Test: the DiMAGE A1’s Anti-Shake function David Kilpatrick thinks that the killer feature of the new A1 is the image stabilisation which permits exposures of 1/25th with 200mm telephoto setting to be sharp. He’s tested it to much more extreme limits with a fair success rate, as these results show. 30 Ray’s Way: a return to monochrome Ray Lea on the merits of black and white for winter photography in the coming months. 32 Quest Workshops – 2003/2004 Programme Colin Westgate introduces the tenth year of Minolta Club sponsored Quest events. 34 Club Events 35 Membership, Subscriptions & Website Information Don’t forget that your Photostore, Club Lens Hire, battery compatibility, special logo branded Minolta goods and similar ‘cut out and send’ type offers are all contained in your Offers Supplement.

Minolta Image Autumn 2003 • 3 INTRO who’s Update FROM THE EDITORIAL TEAM

n my last editorial I ranted on about who? the problems we have with CDs, and KONICA MINOLTA PHOTO IMAGING (UK) LTD – that’s the name of the new II am happy to say that all the CDs company for the UK, following the merger of the two Japanese corporations. submitted for Image Space this issue were But of course, your camera still says Minolta on the front, and we are still the fully readable, except one broken one. Minolta Club of Great Britain. Konica is a fi lm manufacturer, and that brand will Minolta’s program CD for the DiMAGE continue for their fi lm, but if early plans are carried through it’s possible that A1 was not. Nor was Extensis’s Portfolio all the group’s cameras will be Minolta by label in future. We may even wel- 6 installer CD. So don’t blame yourself come Konica owners as readers – and we’ll certainly cover some Konica history. if anyone using Mac OS X has problems with your CDs – it seems our system Help with subscriptions, missing magazines etc is about as picky as possible when it Anything related to Minolta Club subscriptions should be addressed to Icon comes to reading and mounting them. Publications Limited, Maxwell Place, Maxwell Lane, Kelso TD5 7BB. Tel e phone Fortunately Shirley’s older Mac happily calls should be during normal offi ce hours – we suggest 10.00am to 12.30pm eats them and feeds the contents to my and 2.00pm to 4.45pm, Monday to Friday – on 01573 226032. Fax: 01573 226000 fl edgling over our ethernet. To replace these problems, we promptly Help with camera repairs, warranties, service got internet spam and virus plagues this Warranty repairs should always be taken to your dealer. MI subscribers qualify summer, starting on August 18th. Many for a 10% discount on repairs sent directly to Konica Minolta Photo Imaging businesses will remember that date. (UK) Ltd, and servicing (except for the Club Service Check scheme, which is It’s the fi rst day when most btconnect already at a special price). Your contact for repairs at Konica Minolta is the users, amongst others, found a couple of Service Department, 01908 200400 or fax 200391. See pages 2 and 35. hundred unwanted emails fl ooding in. Since then, btconnect has managed to Help with operating or technical problems fail to anything about problems which Your man at Konica Minolta in charge of digital matters and digital technical appear almost unique to itself. We pay assistance is Paul Genge on 01908 200400. Only call if your dealer can not help. very highly for services; about £400 a Bernard Petticrew or another technically expert member of staff (on the same year for three Anytime and Anytime Lite switchboard number) can help you with conventional photography (35mm and accounts, and some £3,000 a year for APS). Make it clear whether you think the problem is a camera fault, or your our six ISDN lines and their associated own un der stand ing of how to operate the camera. Always try your dealer fi rst. telephone services, plus the vital non- digital fax line. Add around £1,200 a year Instruction manuals for mobile phones (three) and telecomms Orders for re place ment in struc tion manuals should now be sent to the Camera is one of our bigger overall overheads. Service department (see new address details, page 35) (01908 200400). The Nor can we get cable, or broadband, or charge is now £5.00 for SLRs and £3.50 for other items, in clu sive of postage anything else to make it more effi cient in and packing. For out-of-print items Minolta will usually refer you to OldTimer our particular town. Cam er as, a special ist dealer with stocks of older camera instruction books. Multiply our business by the thousands of companies and individuals who have Solutions to photographic problems the same or greater telecomms demands, Minolta Club director David Kilpatrick can not always deal with telephone en- and you would think the industry would quir ies directly, but will do so when available. It is probably better to tel e phone pull out every possible stop to block than write. Call 01573 226032. For PC system advice – on computers and not fl oods of repeated, identical, immediately about cameras or software specifi cally – call Richard Kilpatrick on 01450 371169 identifi able rubbish which for two (new number). Al ter na tive ly, email [email protected] months almost crippled their systems. But no. Even as I go to press now in Queries about magazine contributions or contests October, we continue to have to clean Enquiries about receipt or return of competition entries can not be answered off thousands of email spam-virus until each quarterly result is published, unless you have written your name and messages – the same one all the time, address on the outside of the submission envelope. Mag a zine con trib u tors from countless new sources. Spotting (po ten tial or established) should submit outlines, portfolios or spec u la tive arti- your own emails amongst these, or those cles, with a varied selection of photographs, to MI editor Shirley Kilpatrick. which get past our automatic junk fi lters, is not easy. Lens Hire Service & Photostore (for minor accessories) Fortunately, the Demon account given Adrian Paul manages these from PO Box 348, Doncaster DN4 6XX, tel 01302 in the column on the left has been almost 738334, fax 01302 768671. Mobile – 07970 291997. See offers sup ple ment. spam-free. It’s had none of the problems KONICA MINOLTA PHOTO IMAGING (UK) LTD Photographic Division sales, marketing and tech- or unerasable email and repeated receipt ni cal support de part ments are at the Rooksley offi ce in Milton Keynes. The service centre remains in of multiple copies of messages, which the Blakelands offi ce. The postal address remains un changed, except for the company name itself. If have plagued our btconnect addresses. you are returning a camera or fi lm scanner for repair or service please continue to use the Blakelands So all your email queries have probably address. If you are collecting or de liv er ing equipment personally please call in at our Blakelands offi ce. Bernard Petticrew who many of you know, has moved to Rooksley. Therefore if you wish to call in been received, and answered. If not, I for a product dem on stra tion this should be at the Rooksley offi ce and not at the service centre based apologise. You were lost in the fl ood. in Blakelands. However, these can only be arranged by prior appointment. Please see page 35 for full Submerged in infected spam… address details. The photocopier showrooms are no longer ‘Minolta’ and are not listed now. – DK Î

Minolta Image Autumn 2003 • 4 NEWS

f you have bought a brand new Minolta’s products and mornings). Leeds came originally from Minolta camera recently, you will a background with a larger amateur already have seen the new logo familiar back-up customer case, Calumet from the KJP and Iabove – Konica Minolta. Pelling & Cross companies which were On 5 August 2003, Konica Corporation continue as two ‘dry’ by comparison. and Minolta Co. Ltd. in Japan merged to This merger will hardly affect any of our form a new, integrated holding company, Japanese imaging members – few buy bulk professional Konica Minolta Holdings, Inc. fi lm, and the pro dealers have never A further stage in this historic merger is giants team up stocked Minolta to any great extent nearing completion with the integration (light meters and scanners being notable of Konica and Minolta subsidiaries exceptions). in Europe. The merger celebrates with Mr. Akihiko Nezu as Managing the natural synergy between the two Director. He looks forward to taking up The death of fi lm companies. It is designed to strengthen his new post there in the near future. brand competitiveness, enhance product HEADQUARTERS ADDRESS: Kodak, internationally, has announced development and provide added value Konica Minolta Photo Imaging (UK) Ltd. its intention to become a digital imaging to customers, helping the company to Plane Tree Crescent company and not a fi lm company in the position itself as one of the foremost Feltham next few years. companies in its main business areas. Our own club members, and Minolta Just last month this news hit the press, In the UK this means that Konica UK owners, should continue to deal with the who really should be able to see the Ltd. and Minolta (UK) Limited merge Milton Keynes offi ce which remains the writing on the wall for fi lm sales, but have on 1 October 2003 to form a unifi ed base for all Minolta camera brand related been concerned about the damage to photographic imaging, medical imaging service and assistance. the existing industry which speculation and advanced sensing company. The new logo (top of this page) could lead to. As a result, very few This newly integrated company has has been designed to achieve global articles saying ‘look, fi lm is really a dying been legally registered as Konica recognition. It refl ects the new Company’s technology’ have appeared. Minolta Photo Imaging (UK) Ltd and is objective to maintain a reputation of Now Kodak has said so offi cially. responsible for photo imaging, camera, innovation and leadership in the global Here at Minolta Image, we are medical imaging and instrument systems marketplace, recognised by its customers essentially fully digital. We still use fi lm business. as a source of reliable and constantly cameras, but mainly only to test those Konica and Minolta have both played a evolving products in the fi eld of imaging cameras or the fi lms. If no-one produced key role in shaping the imaging industry and communication. a new fi lm camera, or a new type of fi lm, as we know it today with a series of world The corporate slogan is to be ‘The we would have no reason at all to use any fi rsts across digital, SLR and compact Essentials of Imaging’. fi lm. The Minolta digital camera range cameras, fi lms, papers, minilabs and “Konica Minolta is set to be a global will do everything we want, with 12 x chemistry. market leader in the fi eld of advanced 16 prints from the Dimage 7Hi beating The new company will take its place image-making technology and a anything which our darkroom used to among the top UK photographic valued corporation held in high regard yield. companies, providing an unequalled worldwide”, is how the new company We also went entirely fi lmless (in Kelso range of optical, digital and medical closes its press release (mostly printed at least) for our magazine production. products for both the consumer and here without any amendments – this is Knowing that impending legislation business-to- business markets. the offi cial statement, in full). would soon make our use of silver fi lm Digital cameras now account for the and photo chemicals illegal without very most explosive area of growth in the Another merger expensive disposal arrangements, we industry and the new company has set sold off all the equipment. The darkroom itself the target of achieving a major This year is proving momentous for was sold long ago on the same basis. share of the market. This determination photo imaging in Britain, though the European laws will make it a serious has already been demonstrated by an amateur user may yet be unaware. The offence to chuck used fi lm cans or ends array of leading edge products that have two major professional trade counter of fi lm away by the end of next year been, and will be, launched by the end chains, Calumet and Leeds PhotoVisual, – it is already one to dispose of photo of 2003. Since the Konica Minolta group have merged with the closure of many chemicals without a licence. Just about is in the business of image capture and former branches. anything containing silver, even old output, the company also plans further The new name will be Calumet, and it prints, will be a controlled waste. developments in its digital minilab remains be seen whether Calumet policy The future is silverless, which for the business to help promote a new imaging (for example, being closed on Saturdays moment means digital. It does not mean culture. and Sundays) takes over entirely from SLR-less, or low in quality. But – you will The new company’s headquarters will the old Leeds ethos (originally open not be using fi lm 10 years from now. be established at Feltham, Middlesex Saturdays and recently opening Saturday –DK

Minolta Image Autumn 2003 • 5 NEWS THE A to Z of DIGITAL he DiMAGE A1 – successor to the 7 series 7, 7i, and 7Hi – uses a new 5.3 million pixel 2/3 type Tprogressive primary colour CCD which has enabled a top shutter speed of 1/16,000th to be achieved. In addition, the DiMAGE A1 has 14 bit A/D conversion and new CxProcess II image processing technology, which gives much smoother tones and extra latitude. Its Advanced 3D AF, the fastest in its class, offers Subject Tracking AF with 3D Predictive Focus Control, Full Time AF and an 11 point ultra wide focus area. The new The DiMAGE A1 also marks the Dimage A1 introduction of an Anti Shake CCD shift has a tilitng rear system to provide the sharpest possible LCD screen, and image, and has the same superb 28- inside, a secret 200mm equivalent zoom lens as its weapon in the form earlier stablemates. of Anti-Shake – a The speed of operation of the DiMAGE CCD based image A1 will impress converts from the earlier stabilisation system models. Full time AF continually focuses when the grip sensor is activated, and Shutter speeds up to 30 with this, the 3D Predictive Focus Control seconds can be selected, as well as 30 works to track moving subjects after the second bulb exposures made manually, shutter release is fully depressed, until and the aperture can now be set a true the exposure is made for optimum focus. ƒ11 at all focal lengths instead of being Partial depression of the shutter release limited to ƒ9.5 for studio fl ash (as in the engages the subject lock and motion 7Hi). The DiMAGE A1 is compatible with modes can capture three JPEG or fi ve is then tracked, regardless of direction. the Minolta Program Flash 3600HS (D) 5 megapixel RAW images at a rate of 2 You can see the focus cross hair whizzing or 5600HS (D) units as well as the latest frames per second. At the heart of the around following the action as you view. addition to the line, the Program Flash DiMAGE A1 is a new high speed image The AF system works in low light 2500 (D). For close-up photography, the processing LSI for increased conditions without the need of a Macro Flash Controller can be coupled performance. special AF illuminator. The monitor and with the Macro Ring Flash 1200 or the viewfi nder images are automatically Macro Twin Flash 2400 lighting sets. amplifi ed in these conditions so the For long periods in the fi eld, an external subject is always visible. battery pack is available to power the This camera also incorporates Direct camera, but the new shape of the body Manual Focus for fi ne tuning, and you houses a new Lith-Ion battery pack which can turn off the tracking AF for still life or has a far superior life to the 4 AA NiMHs landscape shots. of the earlier models. CxProcess II, Minolta’s new image The new Anti Shake function minimises processing technology, controls the the effect of camera shake when the essential qualities of colour, contrast and camera is handheld. The Anti Shake sharpness, while minimising noise to system is valuable when shooting ensure optimum results. Noise reduction at long focal lengths or in low-light can be turned on or off, as it does have a conditions without a tripod. It allows the penalty in image sharpness under some camera to be handheld with exposures conditions. approximately eight times longer than A new 2080 x 1560 image size gives usual. When using the camera at the the photographer the ability to switch telephoto 200mm setting, approximately between 5 megapixel, 3 megapixel and 2 90% of the images recorded will be sharp The controls and dials are laid out megapixel images smoothly to match the with a shutter speed of 1/25s. entirely differently from the 7 series, fi nal use of the image with the optimum The Anti Shake button glows to indicate and will look much more familiar to fi lm resolution. A 640 x 480 (VGA) image size the function is active. camera users. After a month of use, we is also available for web images. The continuous advance drive feel that the new positions are superior

Minolta Image Autumn 2003 • 6 but of course, with both a 7Hi and the A1 The new Z1 used side by side confusion is easy! has the same

Two control dials (thumbwheels) are resolution as the NEWS located on the front and back of the grip Dimage 5 but for quick changes to camera settings, a very different eliminating the need for complicated body style and button presses to change aperture viewfi nder alteration to shutter speed adjustment. Separate buttons have been added for exposure compensation and custom white balance settings and a new switch makes it easy to change between single AF, continuous AF and manual focus modes. The redesigned Digital Hyper Viewfi nder gives the camera the same feel as an SLR; we felt it had a little less shadow detail, but a more eye-friendly image structure than the older version. It can be tilted between 0° and 90° for comfortable shooting at low angles or in confi ned spaces. The viewfi nder has a new precision 235,000 pixel TFT monitor. The DiMAGE A1 back is fi tted with a 1.8 inch low temperature high contrast colour LCD monitor that can be tilted The DiMAGE Z1 is the fi rst Minolta powerful fl ash built into a Minolta digital from –20° to +90°. The monitor has an digital camera to be equipped with the camera yet, with a guide number of 12 extended colour gamut, contrast and new 10x Mega-zoom lens. With a focal in metres. The fl ash can illuminate a dynamic range which does give a better range of 5.8mm to 58mm, it is equivalent subject up to approximately 6m away impression of scenes than the viewfi nder. to a 38 - 380mm 35mm camera lens. when used at the wide angle position The monitor has a wide viewing angle so When combined with the seamless 4x with autoexposure and auto camera that the camera does not need to be held digital zoom, it has an amazing 40x zoom sensitivity. It is compatible with the perpendicularly to clearly view the live range, equivalent to a 38 – 1520mm lens. Minolta Program Flash 3600HS (D) or image. The Super Macro mode lets you focus 5600HS (D) units as well as the latest The DiMAGE A1 is wrapped in a down to 4cm from the front of the lens. addition to the line, the Program Flash magnesium alloy case with a professional This opens up a whole new world for you 2500 (D) – see photo, below. black fi nish. The camera has been to explore. The DiMAGE Z1 is not limited to completely redesigned, and the body Rapid AF uses a passive AF sensor capturing still generally feels and handles well. to instantly estimate the distance to images. High quality The new Flex Digital Magnifi er (FDM) the subject and the camera’s CCD to VGA (640 X 480) can enlarge a section of the live image determine the precise focus point. A high movies at 30 fps can by two or eight times so sharpness can speed drive focuses the lens quickly and be recorded. be judged in manual focus or when using smoothly. The CCD uses a 60fps sampling Easy to fi nd AA DMF. The LCD preview can also now be rate to determine the optimum focus, batteries power enlarged to 8x which makes examination twice the rate of most digital cameras the DiMAGE Z1. of critical sharpness even easier. on the market today. All this translates Ubiquitous alkaline Most other details of the A1 are shared into a 0.3 second focusing time at a or rechargeable Ni- with the 7Hi, and for £999 all one can say focal length of 5.8mm and 0.4 seconds at MH can be used. No is that nothing has been lost and much 58mm, giving the DiMAGE Z1 the world’s matter where you are added. The camera is faster – including fastest AF among digital cameras with a in the world, you will card save on fast cards like the 52x built-in 10x or greater optical zoom.* never have to worry RiData 512mb card we have been using The DiMAGE Z1 is equipped with about fi nding extra – the image is superior and the Anti- Minolta’s unique Switch Finder. This batteries. Shake mode is the single factor we feel unique system allows the camera’s LCD CxProcess II, Minolta’s new image makes this a camera worth buying to monitor to be viewed directly or through processing technology, is employed to replace a 7Hi if you can afford it. the viewfi nder. Since a single monitor is bring out the best in the 3.3 megapixel used, you need not worry about the 1/2.7 interline primary colour CCD, which The Z1 – a new approach colour, contrast and resolution difference has a speed range from 50 to 400 ISO between separate rear and viewfi nder equivalent. The DiMAGE Z1 is the fi rst in a series monitors. Because of the viewfi nder’s To extend the versatility of the powerful of easy-to-use powerful SLR-type digital large apparent angle of view, the monitor 10x Mega-zoom, an optional 0.75x cameras where one LCD monitor does image is large and clear. wide converter is available. This lens all the work for the SLR-style viewing, or Minolta’s new drive mode, Progressive attachment increases the lens’ angle conventional ‘groundglass screen’ review. Capture, makes sure you never miss of view giving it a maximum coverage Designed around Minolta’s new 10x the action. Six frames are saved when approximately equal to a 28mm lens on a Mega-zoom, the DiMAGE Z1 possesses using standard continuous advance and 35mm camera. The adapter ring supplied advanced technology and Rapid AF so 10 frames when using UHS continuous with the wide converter allows 52mm you can capture images in virtually any advance. Standard continuous advance fi lters to be used with the camera. situation. High quality 30fps VGA movies records at approximately 1.5 fps at any The Z1 seems a worthy replacement expand its capabilities even more. This image size or quality setting. UHS (Ultra for the Dimage 5, and has a cost of only compact, stylish digital camera has the High Speed) continuous advance records £329.99. imaging tools to capture the pictures you 1.2 megapixel images at 10 fps. More news on Page 13 want. The DiMAGE Z1 packs the most Á Minolta Image Autumn 2003 • 7 IMAGE SPACE IMAGE

Minolta Image Autumn 2003 • 8 Left, Autumn Refl ections, byPeter Karry. [MINOLTA DYNAX 9XI, 100- 300MM LENS, 1/15 AT ƒ16, KODAK EKTACHROME EBX 100]

Below: View from the Thames: SPACE IMAGE Tower Bridge by Andrew Adams of Clayhall, Essex. Our open gallery [MINOLTA DIMAGE 7I, LENS SET TO 28MM WIDE ANGLE EQUIVALENT 7.2MM, pages for the SRGB COLOUR SPACE, ISO 100 – 3 best of your SpaceSpace SECONDS EXPOSURE AT ƒ8] slides, prints and digital images. Enter up to nine images each quarter.

NEXT DEADLINE NOV 23RD 2003

IMAGE SPACE COMPETITION RULES: IMAGE SPACE is open only to Minolta Image subscribers. Maximum entry: 3 colour prints, 3 slides and 3 mono prints in any one quarter. Digital material is acceptable but only with a hard-copy print accompanying the disc or CD-ROM. All entries must be identifi ed and captioned, with camera, lens, exposure and fi lm data, on the back of the print or on the slide mount. Do not send slides in glass mounts. Maximum print size is A4 or 8 x 12”. Entries will only be judged and returned if a stamped, self-addressed envelope is included with your submission. You must enclose an SAE. Image Space Minolta Image Icon Publications Ltd, Maxwell Place Maxwell Lane Kelso Scottish Borders TD5 7BB Any queries about the save arrival of your submission has reached us can only be answered if your name and address are on the outside of the envelope. These are not opened until judging time – usually about two months after the appearance of the previous Minolta Image. All pictures featured in Image Space pages will from this issue onwards receive prizes of Kodak E100G/GX fi lm (or, if available, appropriate digital supplies).

Minolta Image Autumn 2003 • 9 IMAGE SPACE IMAGE Space

Above: Folly, Trees and Sheep – a 6 x 4 monochrome print by Alan Gadd of Dunstable; MINOLTA X-300, MINOLTA 35-70MM ZOOM AT 50MM, FUJI NEOPAN 400 FILM. Below: dragonfl y byAllan Taylor of Leeds. MINOLTA DIMAGE 7HI, SRGB COLOUR, ISO 100, LENS SET TO MACRO 200MM EQUIVALENT, 1/180TH AT ƒ5.6. Top right: Sunset, Stoupa, Greece by Craig Elshaw of Kendal. MINOLTA DIMAGE 7HI, SRGB COLOUR, ISO 100, LENS SET TO 200MM EQUIVALENT, 1/250TH AT ƒ6.7. Bottom right: Scott’s View Early Morning, by John Gilkerson of Newcastle upon Tyne. MINOLTA 700SI, KODAK ELITECHROME EBX 100, 24-105MM D ZOOM AT 35MM, 1/45TH AT ƒ16, TRIPOD. Taken during Duncan McEwan’s Minolta Club Scottish Border weekend workshop 2003.

Minolta Image Autumn 2003 • 10 IMAGE SPACE IMAGE

Minolta Image Autumn 2003 • 11 Left – really risking a digital camera! Splash, by Chris Mole of Haywards Heath; MINOLTA DIMAGE 5, SRGB COLOUR SPACE, ISO 100 SETTING, 7.5MM WIDE-ANGLE (EQUAL TO 35MM LENS) – EXPOSURE 1/512TH AT ƒ6.

IMAGE SPACE IMAGE Below: Bay Bridge by Steve Bright ARPS of Hook, Hampshire. MINOLTA 9000AF, FUJICHROME 100, 28-85MM ZOOM LENS, SCANNED TO CD. A shot taken in 1989 which does not date, and by modern scanning is translated to a digital fi le.

Minolta Image Autumn 2003 • 12 Protect fromrain,dustandsnow All Weather (AW) Cover primary colourCCD. megapixels andthesame1/2.7interline compact digitalcamera,alsowith3.3 THE Dimage E323 THE AtoZofDIGITAL “no trace” trekking andcamping inthe wilderness areas. oftheenvironment, andencourages allphotographersto practice andpreservation Lowepro is firmlycommittedto the conservation DIMAGE E323 Digital Digital to go… D-Res 240 AW andD-Res6 Create yourvirtual office isanewpocketable TM (patented) can produce interpolation 6 megapixel The E323 fi lesby to go… a fourtimesdigitalzoom. (36-108mm equivalent)isaugmentedby a 6megapixelimage.Its3xopticalzoom interpolation systemwhichcanproduce the qualityoftheseyet. conserve cardspace).We have notseen (and smallerfi lesizesareoptionalto – whilethenormalfi lesizeis2048x1536 yet producedbyaMinoltadigitalcamera x 2160megapixels–thelargestfi lesize a rangeof50-200,andithasfasthigh Tel +44(0) 1902 864646 • e-mail: [email protected] [email protected] e-mail: • 864646 1902 Tel+44(0) Lowepro. For information or a dealer in your area visit our website: our visit area your in dealer a or information For Film speedsontheE323arelimitedto Unlike theZ1,E323hasabuilt-in The E323costsonly£249.99. Cases fortheDigitalWorld D-Resbagsandpouches…abrand-new Lowepro’s evolutionarycasesletyoutake …wherever gois computer, mobilephone,palmorganiser, solution forprotectingandcarryingyour your digitalstillorvideocamera,laptop memory cards,accessoriesandmore. Go anywhere…knownoboundaries. interpolated imagesizeis2880 www.lowepro-uk.com www.lowepro-uk.com digital andelectronicgear. We’ll helptakeyouplaces. shutter speed of 1/2,000th (compared to theZ1’s 1/1,000th) but

is limitedto a maximum exposure of 2 seconds cards. (compared 15). Ituses to theZ1’s SD memory The large – DK a greatspecforthemoney. camera forparty, familyorholidayuseit’s zoom lensandforthosewantinga£199 the familiarexcellentnonextending3X for easyworldwidereplacement.Ithas motordrive camera, and uses AA batteries set scale. into anotherinaselectedplaceandto Image Pasting,whichwillputoneimage such asakindofdouble-exposurecalled X. Itdoeshavesomeunusualfeatures, budget pricedsuccessortotheoriginal know isthatthisanew2megapixel, Simplicity’ butwhatyoureallyneedto THE Dimage X20 It’s alsoalivewebcam,multi-shot DIMAGE X20 contd Point, shootand go D-Res 50 AW pockets formemorycardsandbatteries Protective, ultra-softliningplus isbilledas‘Funand Á

NEWS CAMERA & FILM A DELICATE Ailsa Kilpatrick mixes Dynax 3L lightness TOUCH with Fuji’s Astia 100F HE great thing about the new Dynax 3L is how light and small it Tis – especially when teamed up with the latest 28-100mm D series zoom lens. As the least expensive Dynax SLR in the new D-compatible range (giving advanced fl ash metering functions, and making it suitable for SSM lenses) the 3L may be aimed at colour negative users, but a test of six rolls of the new Fujichrome Astia 100F fi lm in the varied and diffi cult lighting conditions of Tenerife proved that the matrix exposure metering copes with pretty much anything you choose to frame. Many cameras will expose into-the- light shots like the beach view (right), or sunsets (overleaf) much too dark. The Dynax’s metering recognises these conditions reliably and gave sheets of slides which showed no more than a couple of failures per fi lm. The new Fujichrome Astia 100F is a very neutral slide fi lm, with medium to low contrast. It has the fi ne grain associated Above: shadow and highlight detail are with Provia 100F and the new Velvia 100F, well captured by Astia 100F. Right, and also but it is far less contrasty and saturated. above: the out of focus image quality given This makes it more tolerant to small by the circular diaphragm 28-100mm D exposure errors, and diffi cult lighting. It lens is very smooth, at all apertures. Below is also one of the most natural fi lms for left: it was diffi cult to induce fl are right into shooting the colours of fl owers, and has a the sun, even with a UV fi lter fi tted. Sun just delicacy which sets it apart. out of the frame; the worst it got! The 28-100mm D lens is fairly large – a little bigger than a 28-85mm – but a constant width, so it looks neat. It uses 55mm fi lters, and it is at its most compact when set to 50mm focal length. Although it has no focusing scale, and is intended for full time AF use, there

Minolta Image Autumn 2003 • 14 produced aperfectexposure. Dynax 3Lmeteringsystem,whichhas silhouette –andtopmarkstooforthe absence offl areinthisbeach (shown right,fi ttedtothe3L)for Top markstothe28-100mmlens

CAMERA & FILM Sunset behind the clifs of Los Gigantes. 100mm focal length on the 28-100mm D lens, full ƒ5.6 aperture, hand-held at 1/30th. Not totally sharp, but the Fujichrome Astia 100F has given good colours, and the atmosphere is just right. Below: a close-up frame of a lemur is sharp with fi ll-in auto fl ash, and can be selectively enlarged for a print (left) with better composition. Bottom right, a Macbeth Color Checker test of the Fujichrome Astia 100F slide fi lm shows excellent neutrality and natural colours, with open shadows. CAMERA & FILM

is a manual focus ring for adjustment. details showing in the unlit areas. The – but the Dynax 3L did not prove too The close focusing is excellent – capable sharpness of the lens at full aperture bulky or heavy. It also went everywhere, of shooting a postcard to fi ll the frame – which the program will set much of the with the Xt sharing a small Billingham – and portraits of small monkeys and time, especially with fl ash – was good shoulder bag. lemurs in the Cactus Park and Tenerife enough for A3 (12 x 16) prints. My only disappointment was that after Zoo, Los Christianos (by far the best The only problem with the camera may months of digital-only shooting, a week’s place to visit for direct ‘no barriers’ be that the very light weight and small wait to see the slides seemed a very long shots of animals) showed only a few size encourage a bit of camera shake, time, and then it was necessary to get failures from excess curiosity. The 3L’s especially at 100mm (the sunset above is chosen ones scanned, because I like to built-in fl ash activates automatically not pin-sharp because of this). I did not have to my pictures on my dotphoto.com in such conditions, providing just the take a tripod, and resting on a balcony pages for friends and family to see. right amount of fi ll-in as shot after was not enough to make 1/30th of a Next time, I shall get scans and CDs shot proved. Even in deep shade under second shake-free. made by Lab 35 when they process the trees, the balance between subject and I am now used to small digital cameras fi lm; hybrid fi lm and digital! background was kept open, with some – and carry the Dimage Xt everywhere Á Minolta Image Autumn 2003 • 16 Z1.Final.297x210(A4) 12/9/03 10:57 am Page 1

The Dimage Z1. A new generation of digital camera that guarantees you get a better picture. THE DiMAGE Z1. Just when you thought you’d seen it all before… bingo, along comes the 3.2 megapixel Dimage Z1. A camera that, although tiny in size, positively brims with the very latest in digital technology. And it’s dead easy to use. No crash course in digital technology required here. A Mega 10x Optical Zoom lens extending to a massive 40x digital zoom. Now thanks to the Z1’s incredible zoom power you need never worry about getting closer to your subject again. Just press the zoom button and the big, no let’s be honest, mega 38-380mm lens will take you all the way in. Ten times closer in fact. And if that’s not close enough for you, you can extend it to a truly massive 40x. It really is a Mega Zoom that’s super smooth and very very quick. IT LOOKS LIKE NO OTHER CAMERA YOU’VE SEEN BEFORE. A Rapid Auto Focus system means you always capture the picture you want...in focus. In countless situations, autofocus performance can make all the difference between a great shot and a missed opportunity. But not anymore. Enter Minolta’s Rapid AF. This advanced technology uses a beam (you can’t see it but take our word for it it’s there) that searches out the subject to tell it exactly how far away it is. And it does it in less than a blink of an eye. So now not only will you always get your shot… you’ll always get your shot in focus. S-VHS quality movies complete with audio. At its highest movie recording resolution, the Dimage Z1 produces clips with S-VHS quality that, as you might expect, look and sound great on TV. And, thanks to the Rapid AF, your subject will always be in focus. So now you can do practically anything that takes your fancy, right down to editing movie clips. IT HANDLES LIKE NO OTHER CAMERA YOU’VE HANDLED BEFORE. Complete control over all situations. If you want complete control switch to aperture– priority, shutter–priority, or manual. If you don’t, switch to Program mode and let the Z1 do the lot. So, no worries, just more time for you to concentrate on getting the shot you want. A fantastic package. A truly Mega Zoom, fantastic auto-focus, S-VHS quality movies, a flash that can reach out more than 14ft and more modes than you can shake a stick at. It’s all here in the Z1, and it’s all yours for an unbelievable price of… wait for it… just £329.99 THE DiMAGE Z1. IT DOES THINGS NO OTHER CAMERA THE NEXT GENERATION OF DIGITAL CAMERA. AT THIS PRICE COULD DO BEFORE. (And... wait for it... it’s dead easy to use.) www.dimage.minolta.com The essentials of imaging TECHNIQUE ENHANCING David Kilpatrick looks at ‘redhancers’ and AUTUMN digital fi ne-tuning HIS YEAR our Autumn issue may be too late for Autumn. Certainly, the warm summer meant that we Tsaw oak trees turning golden in late August in Scotland, and fall colours have been well advanced. However, it’s not for the usual causes – the autumn colours are usually triggered by cold nights, and these early colours were a result of drought. The cover photograph on this issue was taken last November at Roslin Glen, near Edinburgh; late October and early November are, these days, the main season for autumn colours in Scotland. I’ve noticed that other parts may get the colour change, and the leaf fall, earlier – and this year may be unusual. For the cover shot, I used a Tiffen Redhancer fi lter on my Dimage 7Hi. The Redhancer was originally bought in the USA when visiting Sedona, which has red rocks. It’s a didymium glass fi lter, and supposedly has the ability to boost Adobe Photoshop offers controls, used on this Dimage A1 the intensity of warm colours without ‘Vivid’ sRGB shot. Top, the original image – late evening affecting the rest of the shot. sun on Virginia creeper. Left, the Selective Color adjustment It did little good to the red rocks of slider for Yellow turned to 100 per cent extra black darkens Sedona without also creating the slightly the green leaves (high yellow content). Below – the adjusted purple sky of Sedona – so much for its shot used Yellows -50M, -50 Black, +50Y, +50C (to enhance neutrality! On the digital camera, the the green leaves); and Reds +50 Cyan, Magentas +50Red, Auto Levels and Auto Color features to enhance the leaves. The Minolta Dimage Scan program of Photoshop could be used to remove has equally powerful selective colour control. any such cast – and in fact, the fi lter did prove to boost autumn colours just a little. It was a difference of around 5- 10 on that 0-255 level scale for the red channel of an RGB picture, on typical red detail. Having tried the special fi lter, I began to wonder whether digital controls – either in a scanner or in Photoshop – could actually be more useful. The answer is that they can, and it’s not the obvious things like Color Filter effects or Hue and Saturation shifts which work. The secret weapon is Selective Color adjustment, which can change the balance of each single main group of colours (like Yellows, Reds or Blues) in your picture yet leave all the other colours untouched. My fi rst experiments were disappointing – I selected ‘Greens’ and tried altering the colour intensity of various components of green, and saw nothing happen. Being thorough, I did not give up by tried each different colour selection in turn. It turns out that the best choice for

Minolta Image Autumn 2003 • 18 TECHNIQUE

The Tiffen Redhancer is designed to boost reds and warm colours without affecting the rest of the shot. Using a fi xed ‘Daylight’ white balance (or else the fi lter would have affected this) the shots above show a normal picture, left, and a Redhancer shot, right. These are unmodifi ed. Below, Kirk o’Field in Edinburgh in November; Dimage 7Hi, Redhancer and Polarising fi lter used together. making green leaves more vivid is to work on the Yellows colour control, not the Greens. And this experience is repeated, with different results, for all the natural colours you fi nd in images. It is not always the colour you expect to need to adjust which will produce the best effect. Another secret is the Black content control of the Selective Color adjustment – this has a huge effect. It seems to govern Luminosity as much as black! Anyway, the point is that with a little effort, some superb dramatic autumn images as possible with digital post production. Another secret – applicable to fi lm or digital – is the humble polarising fi lter. Never forget the power of this. Autumn colours, and winter skies, are profoundly affected by polarising fi lters. In the next six months, you will be able to get clarity and saturation which you rarely fi nd in midsummer. The polariser can be used to cut through refl ective sheen, on the surface effectively than with a UV or Haze fi lter; of the digital camera to Cloudy, even of all leaves and foliage, to reveal the the result is similar to using an orange though you are shooting in full evening intense colours beneath the waxy layer. fi lter on black and white, for anyone who sunshine. This produces a natural warm When this happens to be combined with can remember those days. effect which really catches the feel of a strong blue sky, the results are more It is possible to combine a redhancer, or evening sun. One problem with digital than exceptional. a warm-up fi lter, with a polariser. Do not cameras, and scanned printing from negs, One of our best exponents of polarised forget that a 1A, 1B or 81A fi lter will warm is the tendency to iron out attractive landscape work is Duncan McEwan; his up colours – progressively, the 81A being colour casts by forcing a neutral balance pictures often have a crispness which quite strong. You can also use (on the on the image. Locking the white balance looks like super-clean air! The polariser Dimage 7i, Hi and Ai) simulated fi lters to Daylight or Cloudy cures this problem can do this too, if the air is clear to which will act like a warm-up – or use the for sunsets and autumn scenes alike. start with. Distant haze is reduced more simple trick of setting the White Balance Á Minolta Image Autumn 2003 • 19 TECHNIQUE

Autumn images by Steve Bright

These pictures are from a CD submitted by Steve Bright ARPS, of Hook, Hampshire. They are all great Autumn pictures scanned from fi lm. Above – Sweet Chestnuts, October 2002, Dynax 9xi, 24-85mm, Fuji Provia 100; below, Acer ‘party frock’, November 2002, 9xi, 24- 85mm, Rovia 100 (Westonbirt Arboretum); facing page Massachusetts, November 1993, 9xi, 28-85mm, polariser, Fuji Sensia 100.

Minolta Image Autumn 2003 • 20 TECHNIQUE

Minolta Image Autumn 2003 • 21 ACTIVITIES JUST SLIDING ERIC HOULDER on 40 years of specialist AWAY… slide presentations attended my fi rst illustrated lecture in 1957. Those brilliant Kodachromes (it was 10 ASA then, and only Irecently upgraded from 8 ASA), hand fed into an upright Aldis projector had a lasting effect, to the extent that I am still hooked on the projected image, chiefl y as an illustrative tool. I use it as an adjunct to history, but chiefl y to illustrate history’s scientifi c offspring, archaeology. Beginning in 1960 with the occasional talk I have gradually expanded my commitment, and now being retired am often out two or three evenings a week visiting historical, archaeological and photographic groups, as well as Women’s Institutes, Rotary Clubs, Probus Clubs and other general interest organisations. I also still love seeing other people’s presentations, especially at my local photographic and archaeological societies. Quite early on, I realised that to achieve the optimum in screen brightness and sharpness I would have to supply my own hardware. Over the years this has ranged from a 300 watt push/pull Specto, via Hanimex, GAF and Jessops’ own, to my current Ektalite machine. In the early days I travelled on an LD Lambretta with the projector in a padded box strapped on behind. Soon, however, this was replaced by four wheels enabling me to also carry a solid projector stand, a high folding stool, and a six foot tripod screen. However, I am still dependent upon my hosts for parking, blackout, and power supplies, with often hilarious results. To compound my problems, one of my most popular presentations uses two projectors and two screens, so that I specify quite clearly in the confi rmation letter what extra items I need. I also state that I require close parking and at least thirty minutes setting up time, and the same at the end. It is amazing how ‘fl exibly’ these bald statements can be interpreted. Sadly, it is nearly always the women’s groups that get Above: action shots also go down well with audiences. In this case, an apparently casual it wrong. Photographic societies have snapshot was a carefully thought-out picture in which both the drawing-board and a touch been faultless in their arrangements and of fl ash fi ll-in were used. Minolta X-500, 24mm lens, Kodak Ektachrome Extra Colour 100. facilities, and bend over backwards to help. Readers may take it for granted that Facing page:an early eighteenth century ship being excavated on the bed of the river Aire. the following comments do not apply to This picture appeared on the cover of ‘Current Archaeology’. People love to see pictures their particular club. that they are familiar with, and hear about how they were taken. Minolta X-500, 35-70mm On one recent occasion I arrived the lens, Fuji Sensia. specifi ed thirty minutes early to fi nd the

Minolta Image Autumn 2003 • 22 ACTIVITIES to improve the situation, but few of the organisations of which I write have their own projector, relying upon a member who is invariably equipped with an ancient Hanimex; excellent for home use, ACTIVITIES but not really up to a public hall and a ten foot screen. My own kit includes a 70-120mm zoom, useful for home use and smaller venues, and a 180mm prime lens which serves the medium sized and larger halls. Of course, the best lenses and projectors in the world will struggle in poor or non-existent blackout. You will not be surprised when I say that this is another absolute that has a fl exible meaning, especially, (again!) with some women’s groups. “Oh yes, we do have good blackout,” is a mantra that I hear regularly, and sometimes it is true, but not always. After years of frustration I Professor Mick Aston of Time Team fame, photographed one Christmas visiting a medieval have to be really confi dent about this hermitage. Audiences love to see famous people, and hear about their exploits. In this before I speak in the summer months. picture, they ask why they ca nnot see the famous jumper! Minolta X-500, 24mm lens, TTL One of the least desirable ‘improvements’ fl ash on Fuji Sensia. that I have seen in further education centres is the replacement of black venue locked and a bonfi re in progress occasional speaker asked to borrow ‘a curtains with vertical blinds. OK for close by (it was November 5th). I waited, Carousel,’ I politely refused. I was using viewing overhead projectors or television, and as the start-time approached several mine at the time, but on principle never but a disaster for slides. Progress does ladies sauntered up, one with a key. loan out even the toughest equipment to not always mean improvement. Inside was chaos. Seats had to be set out, people who are not familiar with its use. I have read many books and articles on and then re-arranged after I discovered However, further conversation revealed slide showmanship, and indeed written that my layout plan had been mislaid or that he only needed a Carousel tray a few myself, but until now no-one has ignored. The six foot tripod screen which – easily solved as I have a garage full, bothered to discuss the most important had been promised had miraculously acquired at car boot sales. part of being an itinerant speaker, namely shrunk to a 1960s Boots three foot screen Speaking of Carousel trays, I was once getting there. I always request a map, with one stretcher missing, and no consulted after the event by the members and usually, nowadays, get a good one stand. How anyone avoided eye damage of a local history society who had had either the local town map or a print- I still wonder; imagine two EXR bulbs, to cancel a talk by a visiting speaker out from one of the excellent software 82 volt 300 watt, both shining at once, because they could not get the projector packages now available. However, there each giving a picture only three feet (which came with the room) to work. I seems to be no halfway house in the across. To compound the confusion, the took a tray of my own, and found it to be directions game. What about the society screen distance was necessarily much faultless. secretary who does not drive, trying to shorter so the projectors were in front of I then checked out the tray supplied give directions that can be followed by a the audience. Meanwhile the fi reworks with the projector, to discover that the stranger to the North’s busiest city in the continued outside! Finally, collapsing base-ring had not been zeroed. It was a dark? It is theoretically possible, but add hoarse and weary, I was thanked for a new one, still in the yellow box with full spidery miniscule handwriting in to the ‘fi lm show.’ instructions printed on it. Yet several equation, and the result was confusion, I always ask for ‘close parking.’ This bald people, most with degrees and at least i.e. I got lost. statement appears totally unequivocal, one with a PhD had been stumped! I once had to visit a society in another but not to certain members of a national Still with Carousels, there seems to busy city, and was assured that their AA organisation dedicated to further be a misapprehension in some quarters man member would send me directions. education (not the WEA, for whom I work that any projector with a rotating tray is He did, but from Wakefi eld, a distant and have the greatest respect). At one a Carousel. In fact, only Kodak, Simda, town many miles in the opposite venue in a busy city, I was expected to Elmo and other specialised licenced direction. Why? Because I happen to have stop outside, on double yellows, sound professional projector makers use the a Wakefi eld post-code! the horn and wait for someone to come geneuine Kodak Carousel and Ektamatic Do not believe from my experiences and guide me to the NCP ‘only a few rotary trays. Hanimex, GAF, Braun and so that showing your slides in public hundred yards away.’ Someone else, on are not the same thing. is always fraught with perils and meanwhile was expected to unload my Thus I have been furnished with misadventures. It has taken forty years to equipment and see to its being carried anything but the real thing; the same accumulate these tales, and I must admit into the building. As I never let the people never, ever, supply a spare bulb that I still look forward to going out to equipment out of my sight, I refused to with the projector, assuming that the give a talk or listen to one. continue with the charade. existing one will last forever. Someone once asked why I do not When it comes to projection lenses, the go digital, but have you seen the price Roundabout requests average speaker-fi nder not only has no of data-projectors? Why pay more for idea, but apparently does not care. I have a noticeably inferior screen image? I What do you understand by a ‘Carousel’? attended talks in which the slides were can still get the most useful benefi ts of Until I started requiring an extra one projected via a home machine through PowerPoint by straight copying. No, my for the two projector presentation, I took an 80mm lens, the whole assembly tilted audiences prefer the originals, not fuzzy it for granted that everyone involved in so much that the image was twice as copies. lecturing and booking speakers actually long at the top than the bottom. The Long may they continue to do so! knew. How wrong can one be? When an advent of zoom lenses has done much Ï Minolta Image Autumn 2003 • 24 © Gary and Joanie McGuffin *not recommended for prolonged submersion. with theinkjettablesurfaceoutermost(of like ourEpsonStylusPhoto950. used withEpsonseven-colourprinters surfaces, andtheCraneMuseo,when favourites aretheSomersetEnhanced ‘printer maker’s paper’waybehind.My you willknowtheyleavetheregulation Linen’ and‘CraneMuseo’. Textured’, ‘SomersetSatin’,‘Coarse Emboss’, ‘Bockingford”,‘Somerset ‘Photo Smooth’and‘Watercolour standing vertically. fold toA6,148mmhighby105mmwide, inkjet paper, pre-creasedinthecentreto stuff –infoldableA5cardform. papers –notyourusualglossyfl imsy launched someverychunkyprestigeart (www.on-linepaper.co.uk) havejust cards. Papersuppliers is tomakeyourowndigitalChristmas project youcanputinplacerightnow calendars. and fold-upwalletstodoityourself M DIGITAL CHRISTMASCARDS The papersassuppliedaresingle-sided, If youhavetriedanyofthesepapers, There aremanytypesofpaperoffered, These comeas210x148mmsheetsof With Christmasapproaching,one Don’t be scared... be Don’t kits. TheserangefromCDlabels are nowofferingspecialpurpose ANY suppliersofinkjetpapers On-Line Paper The First Waterproof* Camera Backpack! Camera Waterproof* First The Smaller photographers. travel adventurous most the to photographers outdoor water,and near nature photographs from who anyone for have must a this make harness backpack ergonomic adjustable fully and holder tripod tuck-away The protection. weather and water total provides zipper,bag TIZIP™ camera patented this a and New The DryZone redefines dry. With sealed seams dry.sealed redefines With 200 DryZone LowePro 100 . Go with the Pro the with Go available. now printer aseachofthesespecialpapers try variouspapersettingsonyourown lettering abitfuzzy. You willneedto inside laiddowntoomuchinkandleft leaving theprinterseton for theinside.Thisgavesharpprint; photograph onthefront,and or to usetwodifferentsettings– to makeneededsometextinside,Ihad course). SincethesamplecardsIwanted creased A5fi neartpapers Cards printedonOn-LinePaper pre Photo QualityGlossyFilm Photo for themain Plain Paper Photo Paper ! for the  Lowepro (UK) Ltd (UK) Lowepro cards withseasonalgreetings;tryit. sending yourownhand-madephoto Epson borderlessoption.Nothingbeats folding toA5,whichwouldworkwiththe Christmas, andOn-LinePapermakeA4 A6 envelopes.Largercardslookbetterfor bet. Theywereaperfectfi tforstandard that aneat1/4inchmarginwassafer (it isnotalistedpapersize)andfound print driverworkproperlywithA5paper fold. Iwasunabletomaketheborderless done. Thepre-creasinggivesaperfect friend) lookedveryprofessionalonce but thefi rsttrial(agetwellcardfora orientation rightforoutsideandinside, dry foranhourortwobeforefolding. texture! Allthepaperswerebestleftto inside thecardwasnotimprovedby great butdidnotfoldveryfl atandwriting and Somerset;theCoarseLinenlooked fl attestlayingpaperswereBockingford a spray. Thistendstocurlthepaper. The unprotected inkimagesunlessyouuse Matt worked betterthanthelogical colour; Ifoundtheglossyfi lmpreset does needsomefi ne-tuningforperfect – DK Protective Cases for Photo and Electronic Gear Electronic and Photo for Cases Protective eMail:[email protected] It tookmeafewtriestogetthe The papersmustsurvivewith , forexample. ...your camera ...your won’t get wet get won’t  tel: 01902 864646 tel:01902  web:www.lowepro-uk.com Archival  Á fax: 01902 864647 fax:01902

DIGITAL IDEAS TEST REPORT STEADY AS SHE GOES David Kilpatrick tests the Anti-Shake function of the A1

F YOU are wondering whether the Dimage A1 is a worthwhile upgrade from a 7, 7i or 7Hi there is one single Ikiller feature of this camera which provides the answer – the Anti-Shake mode. Camera shake is a very complex thing. For a start, it is not a slight displacement of the camera which causes unsharpness. If you accidentally move a camera 1mm, then whatever the distance of the subject, the amount of blur will only be 1mm. In a portrait, that means eyelashes disappear – but the number plate of a distant car will be perfectly legible. If you rotate camera a fraction of a degree – tilt or swing it, with the middle of the camera as a sort of pivot point – then the effect is far worse. A degree of rotation might blur 5mm on a portrait at 1m distance (I haven’t worked out the actual fi gure, all you mathematicians out Convalescent white cat and window nets (taken chez our favourite pedigree cat breeders, there!) but would blur 50mm of detail on Pam and Neil, whose house is full of subjects like this!). Whisker sharp with AS on. a subject 10m away and 500mm of detail on a distant object 100m away. Whatever motion the A1’s anti-shake system is set up to detect, it has to Camera Rotational camera operate in real time – there is no point in shake which shake – as the having a system which says ‘the camera involves a diagram clearly just shifted this way’ and THEN moves movement of shows – produces the CCD to compensate. It actually the camera less visible effect detects shake AS it happens, and instead laterally (left) on close subjects of moving a lens element like many or vertically, as and more on distant image stabilising systems, it moves the a unit, does not ones, though in fact CCD sensor using tiny piezo actuators. produce much the physical amount If you press the white button on the unsharpness of blur on the image back which is marked with a “hand shake” at a distance is identical for all. symbol, it lights up (defaulting to being though more is This is the kind on or off depending on the setting when visible on close of shake which is you last turned the camera off). You will ups. There is most common, and hear, as you compose your image through no rotation on which the Anti- the excellent new electronic viewfi nder, the lens axis. Shake function of a slight chattering whisper from inside This kind of the A1 can correct the camera. This is the anti-shake shake is rare, most effectively. The mechanism shifting the CCD constantly, but can be movement of the tracking the shake of your own hand. caused by a CCD compensates The amounts of movement involved moving vehicle for the blur on all are at level it’s hard to understand – the or standing areas of the image. entire CCD is only 6 x 9mm, and the on a shaky This diagram shows correction for shake is at pixel level. platform. 2 degrees of rotation. It’s literally moving the sensor over

Minolta Image Autumn 2003 • 26 Anti-shake off Anti-Shake on TEST REPORT

The gorilla test image shown in full. Our enlargements represent 19 x 25 inch prints. distances like 1/500th of a millimetre (the pixels themselves are about 1/300th of a millimetre apart). I think that this system is an engineering and electronic feat without any parallel in a consumer optical product costing as little as the A1 does. The big question is – does it work? It does, down to exposures around ten times as long as the recommended setting for 35mm cameras. It seems to be safe to shoot with the 200mm tele Turning on Anti-Shake for this shot also changed the Program mode setting at 1/20th to 1/30th of a second; Auto Film Speed setting and seemed to alter the white balance and normally 1/250th would be advised as a contrast. Left, no AS – 1/50th, ƒ3.5, ISO 125. Right – AS mode on, safe shutter speed for sharp, shake free 1/125th at ƒ3.5, ISO 200. Nothing else was changed. These results at 200mm angle of view. reproductions are at 100 dpi, three times the enlargement we normally First of all, my tests showed that with use for digital images in a magazine. On the left is a reproduction of the shake function switched off, the the maximum recommended size for high quality printing from this 5 mirror-free, shutterless action of a digital megapixel fi le. camera provides a much better chance of a sharp image anyway. Some of my shots at 1/30th and 200mm were so sharp I couldn’t tell which had the Anti- Shake switched on. This is a good start; it confi rms what I have thought about digicams all along – that you can shoot with longer exposures and get away with a sharp image. With Anti-Shake switched on, the A1 behaves differently anyway. It appears to be programmed to boost the fi lmspeed to 200 (the maximum on the auto adjust setting), which in turn changes the way white balance and contrast are handled. The gorilla test pair, taken in rapid succession, show that with Anti-Shake on the shot was far superior as the camera had captured more shadow detail as well as more sharpness. There is a battery-drain penalty for leaving the Anti-Shake switched on, but the new LithIon rechargeable pack seems to have a superb life anyway. Assuming that Anti-Shake is imperceptibly working to sharpen images taken at 1/125th, you This test produced no fi lmspeed changes, but AS decided to use a smaller can’t go wrong having it on. aperture and the AS image was slightly darker. Left, without Anti-Shake – 1/10th As my tests have shown, it is possible at ƒ5.6, ISO 200 auto set. Right – with Anti-Shake, 1/10th at ƒ6.3, ISO 200. For to get away with handheld pictures at this shot, the Program Shift (front wheel) option was used to force the camera to 200mm focal length and speeds like 1/10th; normally, of course, the Program would have used full ƒ3.5 aperture and 1/10th of a second. That is incredible. a faster shutter speed. Our reproduction here is even larger – at 72dpi, it is pixel The A1, in other respects, has many for pixel, exactly the same as a 100 per cent size view in Photoshop. The small features which are an advance on the repro shows the section of the image at a normal 7 series. Most people will fi nd the reproduction size. For comparison with conventional viewfi nder image more comfortable, the cameras, the reproduction on the right shows the LCD tilting screen is superb, and the new Dimage A1 fi le at 24 x 36mm – the same actual layout of controls follows Minolta SLR size as a 35mm slide. Our repros above would be logic for effortless familiarity! equivalent to projecting on a 60 inch screen – now Á try that with a slide and study it from six inches! Minolta Image Autumn 2003 • 27 KonMinA1OutdoorPhotoA4Tiger.2 9/9/03 3:08 pm Page 1

�� KonMinA1OutdoorPhotoA4Tiger.2 9/9/03 3:08 pm Page 1

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�� RAY’S WAY A TIME FOR RAYMOND LEA advocates mono for B + W winter impact t’s a long time since I last wrote about the creative pleasures of b and w photography but a Irecent experience reawakened my conviction, held for so many years, that there remains a strong case for exploring the unique qualities of this ancient medium. A friend recently returned from a trip to Iceland showed me the pictures he had taken with his digital camera. The quickly produced A3 laser prints may not have done full justice to colour rendition but they were remarkably sharp. Many of the shots showed the rugged terrain and abundant waters of Iceland, largely in tones of restrained greens and greys. With few if any features in some cases, the pictures relied very much upon their good composition and clarity. But evidently the terrain and waters were highly textured with expansive formations of rock and teeming waterfalls. I suggested trying a b and w print of one particular waterfall shot. I felt sure that the elimination of all colour, and the strengthening of contrast, would render the scene much more graphically (that favourite b and w term) than any colour print – however realistic that might appear. In my darkroom days I would have resorted to a contrasty grade of printing paper and other techniques to obtain the print I wanted. But my friend simply got to work with his computer, able to see all changes to settings for tone and contrast on the monitor and when both of us were satisfi ed printed off a pure b and w version. This undoubtedly conveyed more of the atmosphere, form and texture of the teeming waters and the rocks they roared over. The sky in the colour version lacked Black and white is the perfect medium for emphasising line and atmosphere. Here the much defi nition in the clouds and this omission of the sky, and the low key treatment, help make the bright rails stand out. had been enhanced by separation to produce a more dramatic result. Overall, photographically every aspect of life from apart from creative photography is, in despite the qualities of the colour print, growing fl owers to scientifi c experiments. print form, the obvious choice for family everyone who saw the b and w felt the Success was due largely to using the best snapshots. But, there is the proviso that monochrome print was superior in the lighting to depict the subject and to fuss- even family snaps can be made a bit impression it created. free, eye -concentrating composition. different by using b and w with suffi cient A largely colourless subject, of course, Nowadays, alas, the apparent sheer skill to make a picture rather than a snap. is something you would expect b and naturalness of colour can lead to a Generally speaking, the great fun and w to be specially suited to. You have lazy attitude to these vital aspects of creativity of monochrome comes in also to remember that in pre-colour photography. taking pictures which, like the waterfall, days monochrome had to capture every I certainly do not advocate taking all make a more striking impression in subject but colour and a mastery of the your shots in monochrome these days.. lacking rather than having colour content. medium resulted in being able to depict Colour is a wonderful medium, and It is a medium of light and shade, of form

Minolta Image Autumn 2003 • 30 RAY’S WAY

With winter months ahead, black and white is worth trying. It is at its best with stark, graphic textures and clear air. and texture, of tonality and contrast, of it is the lighting that forms the subject A strongly composed, well printed back- extremely fi ne grain structure or, when in that strong side-lighting presents an lit picture, be it a character portrait, a suitable, aggressive granularity. object, large or small, in such an enticing fl ower study, a shot of refl ections in water I fi nd great refreshment in looking at b way you simply have to photograph it for or a shapely tree silhouetted against a and w pictures, and in taking them. They its quality of light and shade alone. And bright winter sky can have an impact and are wonderful at depicting atmosphere back-lighting, when you take a picture a creative force that sets it apart from and character, which has made mono a with the camera aimed towards the light anything taken in colour. Or so it seems favourite medium with those who capture source (though the lens must be shielded to me. I do advise any keen photographer human life in all its forms but especially and of course you must never look at the to try black and white, and to study as people who are less than well off or sun) has all the magic of long foreground many good examples as they can for choose a simpler, often nomadic lifestyle shadows, brilliant highlights, rim-lighting inspiration. This is a tradition that goes back to the and terrifi c textures. Á early days of photography, when enthusiasts took wonderful shots of farm Look for low, oblique sunshine. White Horse Hill in Oxfordshire. workers, engineering works, gypsies etc. Although colour can be highly effective, the sheer lack of colour and emphasis on light and tone in mono can still depict such subjects with a truth and a compositional certainty that leads to a superior result There is also a strong tradition in using b and w for superbly evocative and informative landscapes and revealing, dramatic architectural pictures. I fi nd many of today’s plu-perfect colour landscapes hard to concentrate on for more than a second or two – it’s a type of “so-what” reaction. But reduce a scene to half-tones, throw in shadowy side-lighting emphasising contours and textures, enclose in a tightly observed composition and the result can display a truth and a beauty that can be viewed again and again. Light is such a vital element in b and w photography (as it is in colour) that often

Minolta Image Autumn 2003 • 31 CLUB ACTIVITIES beautifully subtleHighland showing howheproduceshis day event,whileHughwillbe more comprehensivetwo has beenexpandedtoamuch workshop lastyear, butthis Les leda‘FineArt’digital darkroom backgrounds. of whomhaveestablished Hugh Milsom(colour),both Mclean (monochrome)and new workshopsfromLes tuition, withtwoexciting additional demandfordigital yet. is likelytobeforsometime printing isaliveandwell However, monochrome in theamateurdarkroom. seems tobealmostextinct for colourprinting,whichnow resulted inalackofdemand of digitalimaging.Thishas the increasingpopularity particularly withregardto changes overtheyears, the MinoltaClub. with thehelpofsponsorslike decade laterstillgoingstrong 3 to5years,butherewearea to sustaintheworkshopsfor that itwouldprobablybeable W WORKSHOPS Quest hasrecognisedthe There have,ofcourse,been Join fellowMinoltaClubmembers on oursponsoredworkshopsand travel activitieswithQUEST mentioning that youhaveseenthisin Seaford. EastSussexBN25 2PL– write to:QuestPhotography, ColinWestgate, 2MarineParade, receive informationonthe 2003/2004programme, To bookanyof these workshopsand it wasanticipated established in1994, hen Questwas include everythingfrom continually popular, and George McCarthy, are expert wildlifephotographer nature workshopstoo,ledby booking isessential!The immensely popular, andearly ‘holiday weeks’havebecome the Algarve(Portugal).These Skye, Northumberlandand as Glencoe,andtheIslesof spectacular scenicareas,such there areweeklongtripsto in additiontotheabove, in thenewprogramme,as is somethingforeverybody Westgate. Asbefore,there workshops fromColin are monochromeprinting in materials,andthere the latestdevelopments Rudman, catchingupwith new LithworkshopfromTim neglected, however, witha Barrie respectively. in Yorkshire, ledbyLesand organising digitalworkshops Quest is,forthefi rsttime, so muchindemand.And of workshops,whichare lead theusualQuestseries returning intheautumnto to Australia, butwillbe again ashasnowemigrated Thomas intheprogramme to beableincludeBarrie pictures. We are very fortunate The darkroomisnotbeing or telephone Minolta Image 01323897812 QUEST photographs takenonthe of thebookcompletewith theme, tothefi nalproduction conception ofasubjector made books,fromtheinitial covering themakingofhand exciting new3dayevent, of JohnBlakemorewithan programme isthereturn of InfraRedwork. will be unveiling the mysteries & Projects’,andHughMilsom workshop, aswell‘Essays ‘Candid StreetPhotography’ leading theeverpopular Les Mcleanwillalsobe to fungianddragonfl ies. photographing adders can bedetailedhere-browse and enjoytheworkofothers. happy, sociableatmosphere to showyourownworkina days offeryouthechance Day andPictureForum-these don’t forgettheQuestOpen (Abstract Photography).And Format) andPriscillaThomas tutors, ChrisShore(Large and wewelcometwonew Chris Bacon(StudioLighting), Lane (HiddenLandscape), (Church Architecture),David (Publishing), CliveTanner back, includingRogerMaile workshop. Another highlightinthe There ismuchmorethan Many Questregularsare Photos byColinWestgate QUEST OPENand available. advantage ofthediscounts you, anddon’tforgettotake sure ofagreatwelcome! are a‘fi rsttimer’,youcanbe appreciated. However, ifyou and enthusiasmisgreatly Quest eventandthisloyalty previously experienceda 80% ofparticipantshave tuition apriority. Well over atmosphere, withindividual in afriendlyandinformal workshops arecarriedout make yourchoice!Quest through theprogramme,and attends islikelytoinclude each) andaccordingtowho and slides(about15minutes short presentationsofprints others. Thedayconsistsof from theexperiencesof and wewillenjoylearn results ofourphotography very pleasingtoseethe compare notes..Itisalways everyone tosharetheseand and thisistheopportunityfor Quest workshopsandtrips are takenonthevarious Literally hundredsofpictures Sunday 23November2003 (1 day,atSeaford) REUNION DAY We willbedelightedtosee – ColinWestgate their printingskills.Using to improveandexpand for photographerswishing This workshopisintended arrangement -pleaseask demand, additionaldatesby 1 April2004 November 2003andThursday Two dates-Wednesday26 (1 day,atSeaford) with ColinWestgate PRINTING ADVANCED MONOCHROME places only. sandwich lunch and all materials. 2 higher than normal price. ONLY, and this is refl ected in a it is restricted to TWO PEOPLE time and materials intensive, negative. As this workshop is of printing any particular on the diffi culty or otherwise prints produced will depend as necessary. The number of post fl ashing will be employed such as split grading, pre and depth. Advanced techniques, selenium toned for maximum processed and optionally and prints will be archivally used for the highest quality, Fibre based papers will be use in exhibitions or for sale. x 30 cm.) in size, suitable for make prints up to 16” x 12” (40 from your negatives and to enable you to get the maximum printing workshop, designed to Quest’s ‘top of the range’ enquire) dates by arrangement - please (subject to demand, additional 30/31 March2004 2003 andTuesday/Wednesday Monday/Tuesday 24/25November (2 days,atSeaford) with ColinWestgate MONOCHROME EXHIBITION PRINTINGIN arrangements.) inclusion in ‘early booking’ discount booking. Westgate print)Payableinfullon lunch andfreeraffl eforaColin to look!) welcome tocomealongjust own work,youaremorethan or don’twishtoshowyour attended aworkshopbefore, (And evenifyouhaven’t relaxed dayviewingpictures. your work,andenjoyagentle So comealong,letussee Dragonfl iesandmuchmore!. Fungi, Seals,Butterfl iesand Skye, Glencoe,NorthWales, pictures ofNorthumberland, Price £155 (deposit £50), includes (NB. Thisdayisnoteligiblefor Price £18(includespubbuffet

(subject to amount ofcontroland is nowexcellent,andthe and Variable Contrastpaper quality oftoday’s Multigrade dismissed as‘hopeless’.The may previouslyhavebeen it!) includingthosewhich (providing thereisdetailon from virtuallyanynegative, fl ashing,printscanbemade as splitgradingandpaper advanced techniquessuch staying intheGlenCoeHotel, from everyone.We willbe will bespentshowingpictures weather dependent.Evenings as itwilltosomeextentbe will, however, bekeptfl exible, near BenNevis.Theitinerary the cablecartoAonochMor, the priceincludesatripon Etive andGlenNevis, Glencoe, RannochMoor, Glen well. We willconcentrateon waterfalls shouldbefl owing mountains, andtherivers the forbiddingmoodof usually possibletocapture even inbadconditions,itis weather playsavitalpart,but good pictures!Ofcourse,the area shouldguaranteesome a weekofphotographyinthe landscape inthewinter, and chance toseethisstunning photographers nevergetthe by acoveringofsnow. Many the yearitisusuallyenhanced Kingdom, andatthistimeof anywhere intheUnited and spectacularscenery some ofthemostmagnifi cent February toSun.7March2004 22 February2004andSat.28 January 2004,Sat.14toSun. Three trips-Sat.10toSun.18 destination) Free minibustravelto&from overnight stopseachway. (Hotel based,8nights,including with ColinWestgate MOOR, SCOTLAND GLEN COEandRANNOCH WINTER LANDSCAPE, places. sandwich lunch&allmaterials.4 virtually obsolete. that ‘graded’papersarenow versatility availableissuch The GlenCoeareacontains Price £48,(deposit£20).Includes SPRING INTHEALGARVE, week. put down,andtravelduringthe Minibus travelisfreefrompickup, be madeclearattimeofbooking. require asingleroom,thismust single roomsupplement.Ifyou shared roombasis,thereisa£75 Price isforaccommodationon on journeytoandfromGlenCoe. cost ofmealsand/orrefreshments in GlenCoe.Itdoesnotinclude all mealsandaccommodation accommodation eachway,,and by £50) independently, thepriceisreduced those wishingtotravelGlenCoe (deposit £100),8places.(For cost. way, andareincludedinthe will bemadeatHawickeach arrangement. Overnightstops will bemadeelsewhereby home, duetolocality, they ups cannotbemadefrom passengers enroute.Ifpick wherever possible,collect Saturday morning,andwill, will leaveSussexearlyon Glencoe village.Theminibus close toLochLevenand cuisine overaleisurelylunch the delightsofPortuguese if youwish,beabletoenjoy as photography, youwill, life isslowertoo,soaswell spring fl owers,Thepaceof groves, andawealthof buildings, corktrees,orange intimate villages,old rollers, fi shingharbours, rugged cliffs,mightyAtlantic matter inthearea,including yet thereisplentyofsubject for landscapephotography, thought ofasalocation The Algarveisnotnormally 18 March2004 Thursday 11Marchto (7 nights,hotelbased) Purbrook With ColinWestgate andTony PORTUGAL Price includesenrouteovernight Price £545,singlesupp.£75 there ifdesired.Thepriceofthe hotel -althoughdinnerisavailable for mostpeopleisnottoeatinthe experience lastyear,thepreference lunch anddinner,asbasedonour or sharedtwin),.Itdoesnotinclude B&B accommodation(doubleroom transportation inPortugaland from Gatwick,transfers,all places. including fl ightfromGatwick.10 with adifference! never fi nd.A‘landscapeweek’ that thecasualtouristwould ‘off thebeatentrack’locations will enableustovisitthose knowledge ofthearea.This and whohasanintimate the Algarveforover15years, photographer who has lived in week willbeTony Purbrook,a minibus. Ourguideforthe during theweekwillbeby class hotelandtransportation Accommodation isinagood and theclimateisequable. tourists’ havenotyetarrived the Algarve,as‘beach ideal timetophotographin in theevenings.Springisan many restaurantsinthearea and samplesomeofthe December -pleaseenquire. possible toacceptbookingsafter15 terms. deposit indicatesacceptanceofthese after thisdate.Paymentofyour you willbeliableforthefullcost out suitabletravelinsurance,as therefore, inyourowninterest,take have tobepurchased.Youmust, that dateasnamedfl ighttickets and therecanbenorefundsafter cost isdueby15December2003 single occupancy,seaview,is£95. supplement foratwinroomwith do notincurasupplement.The this. Singlerooms,landviewonly, workshop hasbeenreducedtorefl ect Price includes:fl ight Price £675(deposit£200), LATE BOOKINGS-itmaybe Please notethatthebalanceof Á

CLUB ACTIVITIES CLUB DIARY CLUB CLUB EVENTS SOUTH EAST REGION Sponsored lectures at camera clubs Contact John Watterson on 0208 859 4385 Even if you are not a member of a camera club, our sponsorship of these lecturers for details of future planned meetings in permits you to attend on the same terms as members of the host club. the region. Duncan McEwan has a programme of Minolta Club sponsored lectures in Scotland and the north for the autumn and winter season. Contact the club or SOUTH WEST REGION Duncan early to ensure a seat. 29th October, 2003 – Perthshire Photographic Society; “Scotland: Land of Tony Byram has agreed to be organiser Landscapes” for meetings and events in SW. He can be 16th November, 2003 – Wirral Photographic Association; “Scotland: Land of contacted on tel/fax 0117 956 1896. Landscapes” 9th December, 2003 – Dunfermline Photographic Association: “Landscape SCOTTISH REGION 2003 events Commandments” 25th February, 2004 – Mid Argyll Camera Club (Lochgilphead): subject tba Highland Autumn Weekend 15th March, 2004 – Kirkcaldy Photographic Society: “City Lights” 24th-26th October 2003 Peter Karry visits Bromsgrove Photographic Society on Tuesday October 28th Moness Country House Hotel, Aberfeldy 2003, 7.45p for 8.00pm at the Avoncroft Arts Centre, Redditch Road. Contact Peter Moness House and Country Club has Owens, 0121 453 3647 for details. He will be at Esher Photographic Society on proved to be an ideal base for an autumn Tuesday December 9th 2003, at 19.45 for 20.00 hrs at United Reformed Church photographic weekend, with comfortable Hall, Speer Road, Thames Ditton, Nr Kingston on Thames, Surrey. Contact Robert en-suite accommodation and good Burgess, Hon Sec, tel 01372 464947 for information. food, combined with a relaxed, friendly When lecturers are sponsored by Minolta Club, members are admitted to the atmosphere. The course starts with lecture on the same terms as members of the host club – normally free. dinner on Friday 24th at 7.00pm and concludes with afternoon tea at 4.00pm Î on the Sunday. This course may be fully booked – enquire to fi nd out – but Duncan is already planning 2004 events. Now is the time to get in touch as he also lecture for Inversnaid, the photo centre on Loch Lomond. His workshops and weekends frequently sell out well in advance but produce superb pictures (see this issue’s Image Space for one example!). Price: £186.00 for 2 nights dinner, bed and breakfast, picnic lunches, Sunday afternoon tea and inclusive of course fee and VAT. There is a £10.00 per night single room supplement. A booking deposit of £50.00 is required, payable to Duncan McEwan. Á Details of all courses and meetings can be obtained from: Duncan McEwan, Dunarden, Horsewood Road. Bridge of Weir, Renfrewshire PA11 3AT. Tel/Fax: 01505-612673. E-mail: Photograph by Duncan McEwan [email protected] �� We think you’ll love these 5 new fine art inkjet papers from St Cuthbert’s Mills & Crane. TRY 5 NEW Somerset ‘Enhanced’ is 100% pure cotton NEW DIGITAL FINE ART CARDS PAPERS IN 225g and is pH neutral (better than acid free) so excellent archival properties. Available FROM THE LEADING DPA MANUFACTURERS OUR £17.65 in Satin, Velvet and Textured (great surface • HAHNEMUHLE • SCHOELLESHAMMER characteristics) finishes. Test pack £17.65 has • ST CUTHBERTS (SOMERSET) • CRANE TEST PACK 4 sheets of each finish plus 4 sheets of new • IMAJET Bockingford 190g inkjet paper which is scuff SEE resistant & unusually coated both sides, WEB PRE-CREASED plus 4 sheets 250g Crane Museo Fine Art. ✔ SITE NEXT DAY FOR AVAILABLE IN: A4 25 SHEETS DELIVERY PRICES ✔ NEW A5 50 SHEETS ✔ PRICES START SOMERSET ENHANCED AROUND £20 SATIN, TEXTURED & VELVET FINISHES ENVELOPES & CLEAR VELVET WINS GOLD ✔ CELLOPHANE PRESENTATION AWARD DP6/03 POCKETS AVAILABLE MAKE & SELL PERSONALISED OCCASION CARDS! ��

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Subscription to MINOLTA IMAGE provides membership of: The Min ol ta Club of Great Brit ain Icon Publications Limited Maxwell Place Maxwell Lane Kelso TD5 7BB Published by Tel: 01573 226032 Icon Publications Limited Fax: 01573 226000 Our thanks to Carole Trillian and colleagues Maxwell Place, Maxwell Lane at Konica Minolta Photo Imaging (UK) Ltd Kelso, Scottish Borders TD5 7BB With the support and assistance of Marketing De part ment for input and help Tel: 01573 226032 Konica Minolta Photo Imaging (UK) Ltd Fax: 01573 226000 Precedent Drive Whilst every care is taken of MSS and photographs Internet e-mail: Rooksley, Milton Keynes MK13 8HF submitted all sub mis sions remain the re spon si bil i ty [email protected] of the sender. Return postage and packing must be Tel: 01908 200400 included. The views expressed in this magazine are Fax: 01908 200391 those of individual con trib u tors and do not represent the PICTURE EDITOR views or policies of Konica Minolta Photo Imaging (UK) Shirley Kilpatrick MSc, BA (Hons, OU) SERVICE DEPARTMENT: Ltd unless otherwise stated. All offers and arrangements Konica Minolta Photo Imaging (UK) Ltd made by the Club are subject to availability and limited TECHNICAL EDITOR Service Department to paid-up subscribers of MINOLTA IMAGE unless David Kilpatrick FBIPP AMPA Unit 7 Tanners Drive specifi cally stated otherwise. Blakelands North This issue © 2003 Icon Publications Limited. ADVERTISING MANAGER Milton Keynes MK14 5BU All rights reserved. No part of this publications may be Richard Kilpatrick – 01450 371169 see inside front cover reproduced by any means without permission.

Minolta Image Autumn 2003 • 35 MinScnElt5400/A4/3mmBld 09/06/2003 10:03 am Page 1

The essentials of imaging

There are 5400 good reasons to own it.

The new Dimage Scan Elite 5400. Producing 40 Megapixel digital images from your 35mm shots.

Converting your 35mm shots to digital images of unparalleled chrome Scan button on the facia of the scanner. quality has never been easier or more affordable. Should your pictures have scratch and dust blemishes, the The DiMAGE Scan Elite 5400 can scan 100% of the exposure ICE™ technology will remove them delivering sharp images. Activate area of your images at 5400dpi and produce file sizes in the the Multi Sample Scan to ensure you record only the information region of 100MB. These images can then be printed on an inkjet actually on the film especially in the highlight and shadow areas. printer up to A4 at 600dpi or higher and A3 at over 400dpi. Older films that have suffered from a colourshift through poor The DiMAGE Scan Elite 5400 has a maximum scanning storage or high ISO films that have coarse grain can be given a resolution of 5400dpi, this is an optical resolution not involving new lease of life. The Minolta exclusive technologies of Pixel interpolation. A digital camera would require 40 Million pixels to Polish and Grain Reduction will minimise these problems. produce an image that contains this much information. When you want to scan a continuous strip of 6 unmounted Coupled with the 16 bit per RGB channel and the 4.8 images the batch scan facility will take care of it for you. This (computed) dynamic range this scanner has the power to extract feature can also work with 4 individual slides; the end slide is the detail from your colour negatives and transparencies or black interchangeable without having to eject the holder from the and white images. scanner. The operating software is very versatile and can cater for any Data transfer is quick via either USB2.0 or Firewire user. Maximum control and flexibility from the standard utility will (IEEE1394). A standard transfer rate via USB 1.1 is also possible. produce professional results. Easy Scan helps occasional users to With superior specification to any other dedicated 35mm complete the scanning process with little worry in the quickest of desktop film scanner you could be forgiven for thinking it’s out of time. Batch scanning can make scanning multiple images a your price range. Not at £599.99 it isn’t. doddle. All three options can be started quickly by pressing the For more details visit our website below.