photoreview.com.au Winter 2019
Depth of experience Geoff Comfort Rockin’ all over the world Dara Munnis
$12.95 incl. GST Issue #80
Winter in Hokkaido
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his editorial started to coalesce in my Slipping back into Technical Editor mode, mind while I was seated in a dentist’s FOR THE VERY LATEST Margaret digs into the details of in-camera T chair. As he busied himself with the PHOTO NEWS AND REVIEWS focus control options in the second of her instruments he’d need for our subsequent – as it Our Newsletter three-part series on the technology behind our were – interaction, the dentist, the hygienist and I www.bit.ly/prnewsletter cameras’ autofocus systems. If you’ve ever chatted about matters photographic. As a picture- On Twitter wondered what exactly focus points, focusing taker himself, he has more than a passing interest www.twitter.com/photoreview areas and focus modes are all about, Margaret www.twitter.com/mr_realsurf in the finer points of photographic practice. will give you the wherewithal to tweak your His office, I should add, has a nice view Our RSS feed camera’s autofocus system to perfection. www.photoreview.com.au/rss/list down one of those urban canyons that are When it comes to matching an image with the On Facebook characteristic of all big city CBDs. It was a lovely www.facebook.com/photoreview.au most appropriate printing media, photographers day outside, with picturesque clouds appearing are confronted with a vast array of options where On Instagram now and then in the little notch of sky visible www.instagram.com/photoreview.au the paper is concerned. As a skilled printer herself from the chair where I now reclined, sporting a and as an author of Pocket Guides on the topic, pair of dashing protective dark glasses. Margaret has the direct experience and breadth Our pre-procedure conversation drifted onto of knowledge to succinctly set out the key the topic of the ‘photographic eye’ – who had it, pictures even while waiting for the dentist, I was, decision points you’ll need to have in mind next who didn’t and how one might improve one’s own. to borrow a musical metaphor, practicing my time you’re pairing an image with the right paper. As it happened, I’d only recently finished scales. Looking for interesting pictures – even My brother once memorably described the Inspiration profile on Geoff Comfort when you aren’t carrying your camera – should the typical amateur video recording as being (see page four) and something he’d said about be reflexive for anyone interested in cultivating ‘write-once, read-never’ media. Happily, even cultivating the habit of looking at the world their photographic eye. if you only occasionally shoot video, the state ‘photographically’ no matter where you were Speaking of matters musical, writer, of modern video editing tools is such that and what you were doing, came to mind. photographer and working musician Steve you really have no excuse not to knock your But before I could share the thought with Packer’s Inspiration profile for this issue is Dara footage into a presentable state. Following on my dentist, he had me bite down on a fibrous Munnis, a musician turned photographer of from last issue, Margaret Brown provides a cylindrical object with a faintly minty flavour. musicians (see page 14). Standing out in the comprehensive overview of the decision making So, while waiting for the topical anesthetic to hyper-competitive music photography business process you’ll want to go through before tackling diffuse into my gum, I studied the street scene it unsurprisingly turns out is not easy. Along your first editing project. visible below my dental aerie. The light was with a selection of his vivid work, Dara was also Finally, as you’ll have noticed, we’ve used doing wonderful things; raking across facades, happy to share some practical advice for aspiring the occasion of our 80th issue to update our playing cat and mouse with pedestrians, performance shooters. masthead with a fresh new look courtesy of our reflecting from one side of the street to the Striking a seasonally appropriate note, talented designer, Melissa Kallas. Naturally we other and generally creating a constantly Margaret Brown’s Locations feature takes us to hope you like it as much as we do! changing set of potential pictures. the fairytale snowy wonderland that is Japan’s Now I’ve no idea if any of those untaken Hokkaido in winter. Along with her beautiful pictures would in fact have measured up as images, Margaret covers off the practicalities Don Norris interesting images. But that isn’t the point. of accommodation and transport for winter Editor What mattered was that by looking for possible visitors to the country’s northernmost island.
National Archives, Mitchell, ACT. Image: Geoff Comfort CONTENTS
Inspiration location insider
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4 Depth of experience From boat builder to AIPP Grand Master of Photography, Geoff Comfort shows 29 how to cultivate the habit of looking at the world ‘photographically’. 28 14 Winter in Hokkaido Rockin’ all over the world Japan is one of the best places in the Along with a selection of his vivid world for photography and its northernmost music photography, Dara Munnis shares island Hokkaido provides a wide range of some practical advice for aspiring appealing subjects. performance shooters. 36 42 24 Going for cold NPPP 2019 Courtesy of Olympus 40 The National Photographic Portrait Prize Lisa Michele Burns travels from the freezing Understanding autofocus promotes the best in contemporary depths of a Finnish winter to warmer climates – Part 2 photographic portraiture by both professional and into the eyes of a magnificent South We investigate AF point arrays and the modes and aspiring Australian photographers. African lion. and adjustments most cameras provide.
photoreview.com.au Winter 2019
Depth of experience GEOFF COMFORT Rockin’ all over the world DARA MUNNIS On the cover
$12.95 incl. GST Issue #80 Photograph by Dara Munnis Tash Sultana WINTER IN HOKKAIDO
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2 #80 photoreview.com.au Technique competitions
subscribe TO WIN See page 50
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47 60 45 56 Working with video footage Image Review Tips on computer set-up, monitors, software, Selected images from Nino Xerri, Blane editing, using 4K for stills, and how to Coulcher, and Mark Ditcham, plus your chance produce enjoyable movies. to win a Fujifilm mirrorless camera. 64 51 60 Photo Challenge 64 Choosing suitable Winner and runners up for our Repeat Recommended sites printing papers Yourself Challenge, where readers were There are an estimated 1.67 billion How to select inkjet printing media that will asked to photograph repetitive patterns in websites online right now – but these six complement your images. the natural world. are actually interesting.
Editor Subscriptions All content in Photo Review Australia is protected under Don Norris | [email protected] One year $39 including GST and delivery in Australia. copyright and cannot be reproduced in any form without See page 50 this issue or phone: (02) 9948 8600 written consent from the publisher. Technical Editor or visit www.photoreviewmag.com Margaret Brown | [email protected] Photo Review Australia is published by Advertising Contributor [email protected] Steve Packer Photo Review Australia is printed on Titan Plus Satin Paper Creative Director with ISO 14001 Environmental Accreditation. Printed in Melissa Kallas Australia by Pegasus Print Group. Media Publishing Pty Limited ABN 86 099 172 577 Accounts Manager Design by Cirasa Design PO Box 4097 Kerrie Pook | [email protected] [email protected] Balgowlah Heights NSW Australia 2093 Publisher Distributed by (02) 9948 8600 | [email protected] David O’Sullivan | [email protected] Integrated Publication Solutions www.mediapublishing.com.au Media Releases Executive Accounting Solutions www.photoreview.com.au [email protected] [email protected] Digital edition ISSN 2208-424X CONTENTS
Depth of experience From boat builder to AIPP Grand Master of Photography. Don Norris
Building details, ANU Mt Stomlo Observatory, Canberra, ACT. 6 #80 photoreview.com.au INSPIRATION
ong before he became a professional and after a couple of months wondered why photographer, Geoff Comfort was a they weren’t assisting on fashion shoots in the L competitive dinghy sailor. Bahamas or somewhere like that. ‘When I finished school, I had a short stint in ‘The course CIT ran then was very technical, the public service, but felt dissatisfied there. and because of my boat building background I I left that position and started my boat building quite enjoyed that side of things. career which tied in with my involvement in ‘It didn't teach me a lot of creativity, racing sailing dinghies,’ he explained. For the first because the course was based around training 20 years of his working life he raced and built photographers for government departments that boats. ‘I didn't have much interest in photography employed photographers and had in house before that. But then I did a black and white processing and printing facilities. When I photographic course, and that inspired me to was studying at CIT in the early 1990s, if you think about changing my career, getting out of wanted to learn about the art of photography, my boat building business. you would've gone to the Australian National ‘Some aspects of boat building aren't that University School of Art. They would've taught nice, especially the fiberglass. I was living in you about being an artist, but you wouldn't Sydney then, but at that stage in my life, I had have had a terribly good grasp of the technical a mortgage and there's no way that I could aspects of photography.’ get a job as a photography assistant in Sydney While many of the tools he mastered at – and study.’ CIT (4x5 and medium format cameras for So, Geoff moved back to Canberra where instance) are no longer relevant to most his parents lived and enrolled at the Canberra modern commercial photography, there was Institute of Technology. ‘While I was studying, one area of expertise that proved very helpful I did some boat repair work to pay the bills,’ when digital burst on the scene. he said. But that era of his life was drawing Working with colour transparency film to a close. requires very precise exposure calculations ‘Towards the end of my studies I bought a because the material has a very limited small studio, and started to get some paying exposure latitude. You must get exposure jobs. When people started to pay me, that's exactly right every time. ‘People who learnt to when I thought that this could be a viable photograph on colour transparency made the business, it's something I'd like to do. I'd like switch to digital very quickly and very cleanly,’ to earn money doing this.’ said Geoff. ‘People who shot on black and white Getting into photography as a (comparatively) or colour negative film weren't always able to do mature age student meant that he had something that. Often your poor exposures would be fixed of an edge. ‘Very few people finished our three at the processing lab. But when you're shooting year course,’ he said, ‘probably because they in colour transparency, the exposure had to be were mostly young kids who came in from school, extremely accurate.’
Left: Building detail, Brindabella Business Park, Canberra, ACT.
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‘When people started to pay me, that's when I thought that this is a viable business, it's something I'd like to do.’
8 #80 photoreview.com.au Aerial photo, spring blossom, National Arboretum, Canberra, ACT, 27 September 2017.
#80 photoreview.com.au 9 INSPIRATION
National Arboretum, Camberra, Voices in the Forest, 12 November 2011, for the ACT Government.
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‘People who learnt to photograph on colour transparency made the switch to digital very quickly and very cleanly.’
‘I know there are a lot of images constructed emphasis now, especially for beginners. as possible and understand that this can help and corrected in post-production - but if you We want our students to try and create a good your photography,’ he said. ‘And it's not just want to be recognised as a photographer, I think photo using the camera in a semi-automatic photography. It's paintings, it's sculpture, it's you need to get the best possible image you can mode; aperture priority or shutter priority. architecture, it’s film, it's all those sorts of in camera,’ Geoff said. ‘Otherwise you would Initially, we spend more time on composition things, all of those creative outlets. You need more correctly call yourself a photographic than on the technical aspects. Now at some to be constantly exposed to it. The very first illustrator or something like that. I won't say I point, they will find their technical knowledge photographers had a lot of technical difficulties dislike being at the computer, it is a necessary isn't enough, but at that stage they'll have a to overcome, but they also had a massive evil to finish the process. The more effort put better grasp of using the camera. exposure to art. They could use that knowledge into taking the photos in the first place, the ‘Because we launch into composition very for posing and lighting and so on.’ better the end product is, and the more you can early on in our workshops, we initially go Knowing compositional basics and having make a claim to being a photographer.’ through a set of – I don't like to use the words an awareness of the wider visual arts needs, The best photographers must, Geoff said, “rules” or “laws” – but of composition ideas and in Geoff’s view, to be coupled with the very ‘have a high standard of visual literacy.’ concepts. We teach about the importance of way in which one looks at things in day to day Where many fall down, he noted ‘is not on the line, the importance of format, the importance life. ‘When I'm driving around,’ he said, ‘I look technical aspects, but on the visual reading of of colour, the importance of centre of interest, at things and think about how I could make a the image.’ the importance of unifying the image, the really interesting photo out of the scenes that I Along with friend and fellow photographer importance of being able to freeze or blur see. I think one of the things that's driven me to Ben Kopilow, Geoff runs Better Photo Workshops motion, the importance of depth of field and do that is my enthusiasm for entering photos in which offers individual and small group tuition so on. Of course, as soon as we say “depth of the APPAs and the state APP Awards. and mentoring. field”, there's a little bit of technical stuff they ‘There are many, many photographic Over the years, as the technology has need to learn, but that's the way we ease into competitions around but I think APPA has stood advanced, the two partners have changed the it. With a bit of experience, they become easier the test of time. It’s probably recognised as learning paradigm. Now their focus is very much concepts to master.’ being one of the best and toughest photographic centred upon developing visual literacy. ‘In our Along with the compositional examples competitions in the world. It's certainly the best early photo workshops, we were really adamant and ideas, Geoff remarked that both he and run. It's a very good judging system, given that about people having a good understanding of Ben underline the importance of cultivating a it's such a difficult thing to judge photographs. the manual controls available on a camera,’ wider knowledge of the visual arts. ‘You need It's not like timing a runner with a stopwatch. Geoff said. ‘But we've gone away from that to expose yourself to as much art and design It's far more subtle than that.’
#80 photoreview.com.au 11 INSPIRATION
Data Centre, Canberra, ACT, 17 April 2017.
The discipline of creating work worthy of awards, because it's just not interesting enough. ‘We spend placing before APPA’s flinty-eyed judging panels Commercial briefs can be quite limiting. If the is something Geoff’s been imposing on himself opportunity arises, I will always try to create more time on for many years. ‘When I was a student at CIT, at least one ‘silver image’ for my clients, even I entered [the APPAs] and I've entered them every if it falls outside the brief’ he said, explaining year since – both at ACT level and national level.’ ‘There's a very high standard of photographic composition than Noting that he’s been setting himself the craft required in the APPA Awards, and those challenge of competing in the awards for over photos are examined with far more intensity than on the technical 25 years now, Geoff said that in that time he’s most clients would ever do. We're always trying noticed an interesting phenomenon. ‘It's pretty to create better and better images there, with a aspects. ’ hard to come up with something new each year, greater sense of depth of narrative, than perhaps and every year there's a raft of images that are client photos need to have.’ copies of a successful style from the year before Conceding that the typical category-winning – and generally they don't get scored very well. APPA image is probably too complex and nuanced You really have to try and be in front of the mob to appeal to the average commercial client, with your images.’ Geoff said that work of such a high standard is Although his well established business nevertheless important. ‘There's no coincidence as an architectural, aerial, commercial and - people who do well at APPA generally do well in corporate photographer in his home city of their businesses, because they can create great Canberra ensures that he’s making photographs images for their clients.’ continuously, the paying work is not often a w www.geoffcomfort.com source of images for his APPA entries. ‘I can't use much of my commercial work in these w www.betterphotoworkshops.com.au
12 #80 photoreview.com.au FULL-FRAME WITHOUT COMPROMISE
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Hozier.
14 #80 photoreview.com.au Rockin’ all over the world From Ireland to Australia, Dara Munnis has made his way in music photography with a documentary approach that has paralleled his subjects’ paths from obscurity to success. Steve Packer
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f you have any interest in what’s happening ‘In mid-2016 I was doing some work for a radio she was back in Sydney for a festival performance, in Australian music, you will very probably station in London when I met an Australian girl and I shot that and a series of press portraits, and Ibe aware of Tash Sultana’s spectacular rise who stole my heart,’ he says. ‘I went to visit her in I was subsequently asked to join her touring party.’ to fame. And if you have seen a photo of her in Sydney, we started a long-distance relationship Since then, Munnis has accompanied Sultana ecstatic flight on stage somewhere in the world, and I ultimately decided to move to Sydney. and her crew on three tours to North America, chances are it was taken by Dara Munnis. She introduced me to Tash’s music. to New Zealand, on a European tour, and on Munnis, who was born and raised in Dublin, ‘Then in mid-2017, I saw that Tash was playing headline and festival tours in Australia. Sultana Ireland, has been building his career as a music in Dublin, so I went to the show, made my works on a one-month-performing, one-month- photographer for seven years. In a tough, highly connections and took some photos. I promised off basis, and at time of writing, Munnis was competitive field, he was doing better than most to reconnect once I’d moved to Sydney, and Tash preparing to return to North America with her. when, three years ago, he met the first of two ended up using a photo from that gig as a tour Then to Europe. Then back to the United States… Australian women who were destined to change poster for the next six months or so. ‘South Africa and South America are in there his life. One of them is Sultana. The other… ‘Two months after I moved, Tash played too. I have a three-year calendar with her,’ he Well, it’s best that Munnis tells the story at Sydney’s Hordern Pavillion and I was hired says. ‘And it’s still only starting. She’s just going himself (in his typically warm, lilting Irish accent). to shoot the show. Two months after that, to get bigger. That’s the way I see it anyway.’
Left: Gavin James | Above: Scroobius Pip
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18 #80 photoreview.com.au INSPIRATION
‘I usually shoot wider to get some of the crowd and the room into it, to get some context, to get the atmosphere.’
Ed Sheeran
#80 photoreview.com.au 19 Above: Snarky Puppy | Right: Tash Sultana
Witnessing bands on the road to stardom to distract them from the fact they’re having ‘I photographed isn’t new to Munnis. He was once a musician their photo taken.’ himself, until photography intervened. When young photographers ask him how maybe 50 bands ‘My parents both worked in the music they can break into the industry, he tells them industry and I started piano lessons at three to ‘go to as many shows and photograph as years old. In high school I played in local bands many bands as you can, be easy to work with, in Dublin – often and got deeply involved in the Dublin music and then one of those bands might become scene, which, per capita, is one of the most successful and take you with them’. for no charge – vibrant in the world. With an old film SLR my In his case, it was the Irish singer-songwriter father gave me and point-and-shoots, I started Hozier. ‘I photographed maybe 50 bands in and the law of taking photos of my friends. Then I bought my Dublin – often for no charge – and the law of first digital camera and that was when people averages was that one of them was going to noticed that some of my photos stood out from get somewhere. I shot a music video and a few averages was other people’s photos. portraits of Hozier before he was anyone. In the ‘Eventually, taking photos of bands and space of six months, he blew up from playing that one of them musicians became full-time. I started my own to 10 people to playing to thousands. When he business in Dublin and began travelling the world hit the road in Europe, he brought me with him, was going to get on tour. I’m primarily known for live performance and that put my name in front of other people.’ and creative portraiture, and tour diary and music Munnis has since worked for record labels, videos, which I shoot with the same digital SLRs.’ management companies, promoters, venues somewhere.’ Munnis attributes his ‘edge’ to the approach and magazines, involving acts including he took right from the get-go, developing a Ed Sheeran, Niall Horan (One Direction), natural, non-interventionist style more related The Who, Stereophonics, Kodaline and to photojournalism than the contrivances of hundreds of others. industry-driven rock star image-making. ‘For a good while, I had a day job in IT,’ ‘Since the bands were all my friends, I had he says, ‘but when Hozier wanted me, I quit. an inside look. Most band members don’t know I’ve had to do other jobs as well, photographing how to pose, they don’t know how to look good. restaurants and food, fashion or whatever, to But they were at their ease with me. And even supplement my income. But 90 per cent of my today, I find it’s best to keep people talking, time has been in music.’
20 #80 photoreview.com.au #80 photoreview.com.au 21 INSPIRATION
So when Munnis packed up and moved to Barnett, John Butler, Rolling Blackout Coastal lighting the crowd. Do they have any special Sydney, how confident was he about picking up Fever... Ocean Alley are going to be massive in effects or pyrotechnics, and when are they where he’d left off? the next year or so.’ happening? Is there any part of the show you ‘I was absolutely terrified,’ he says. ‘But it Gearwise, Munnis uses two Canon 5D Mark IIIs think looks especially good? Give yourself every comes back to the same thing as quitting my with fast prime lenses: 24mm f/1.4, 35mm f/1.4, advantage possible to know what’s going to day job. You have to make it work. 50mm f/1.2, 85mm f/1.2 and 135mm f/2. happen, then work out where to stand. ‘The first job I got in Australia was ‘Like a lot of people, I started off with a cheap ‘I’m usually hired by the band, so I can avoid photographing in a nightclub, starting at 2 a.m. 50mm, and I always loved that lens because of having to shoot from the pit in front of the It’s the worst job I’ve ever done. It had a list of its limitations. It makes you think more about stage, where there’ll be 20 people taking the requirements – only girls, only big crowds, and what you’re doing and more considerate of same photos, focused on the singer’s face, “cleavage, legs”. I lasted four nights at 60 bucks composition. If you need to get closer, walk over which could be anywhere. I usually shoot wider a night. But I had to do whatever I could to keep there. As someone once told me, “zoom with to get some of the crowd and the room into it, me going until something better came in.’ your feet”.’ to get some context, to get the atmosphere. Which, of course, it did. As well as working The lenses need to be fast because of the And if I’m on stage, I hide behind a guitar amp with Sultana, he’s been photographing and typical light limitations. ‘I have a flash, but it often or in the wings. I think it’s important not to filming acts including Sydney reggae fusion takes away from the documentary style and is a interfere with what’s going on.’ band Ocean Alley, which recently topped the last resort. Quality of light comes first. On stage, w To see more of Dara Munnis's photos, Triple J Hot 100. it’s whatever the stage lighting is. Otherwise, visit www.daramunnis.com ‘The Australian music scene is in a great I might look for window light or whatever. state of play, with all these acts that are killing ‘If you’re doing artists on stage, talk to the it, and in totally different genres. Tash, Courtney lighting director first. Ask them when they’re
Hozier
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EXHIBITIONS
The National Photographic Portrait Prize 2019
he National Photographic Portrait Greta in her kitchen, The exhibition of 39 portraits was on Prize is an annual event intended to 36 weeks 2018 display at the National Portrait Gallery T promote the very best in contemporary Alana Holmberg photographic portraiture by both professional from 23 February to 7 April 2019 and is Digital print now on tour to the following locations: and aspiring Australian photographers. Pregnancy carried my sister into a new There were 40 finalists selected from Collie Art Gallery (WA) chapter of her life and she welcomed 3.113 entries and the 2019 winner was 26 April – 9 June 2019 it warmly. Effortlessly. Ready for things Alana Holmberg for her portrait ‘Greta In Her Geraldton Regional Art Gallery (WA) to change. We’d spent much of our late Kitchen, 36 weeks’. Alana received a $30,000 27 July – 22 September 2019 twenties debating the ‘right time’, if there cash prize along with $22,148 worth of Canon was even such a thing, but she’d found Port Pirie Regional Art Gallery (SA) photographic equipment. it. This portrait is an attempt to depict 4 October – 17 November 2019 The highly commended award was won by the tranquillity in Greta’s transition into Blue Mountains Cultural Centre (NSW) Alex Vaughan for ‘Sumbawa Pride – Life on motherhood, and her trust in the future. 25 January – 22 March 2020 a Boat With Eleven Kids’. Alex will need to find room on his vessel for his prize, an Eizo ColorEdge monitor. The People’s Choice Award went to Kate Atkinson for her portrait ‘The textiles scientist’. Kate picked up a $7,451 lighting kit from Sun Studios. w Entries for the National Photographic Portrait Prize 2020 will open in October 2019. For entry details see https://nppp.portrait.gov.au.
24 #80 photoreview.com.au EXHIBITIONS
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Sumbawa pride – life on a boat with eleven kids 2018 Alex Vaughan Digital print Beccie, Steve and their eleven children left rural Tasmania behind to take to the high seas on their thirteen-metre boat and full-time home, Sumbawa. Three day-old baby girl ‘Squeak’ is the first of the siblings to be born on the boat. Here, they take a break from their travels, anchoring off Chinamans Beach in Sydney, Australia in February 2018.
The textiles scientist 2018 Kate Atkinson Digital print Ruth Baig was one of two females doing a science degree at Manchester University. In her thirties she travelled solo around India; she wept when she saw the Taj Mahal. The image is part of my ongoing project – The 8 x 10’s portrait series – which is about conversations, connections and stories. It explores the importance of relationships, and how vital they are to human happiness and existence. In our society, the elderly become seemingly invisible, but within these people are histories – exciting, incredible, rich lives… if only we take the time to ask.
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LOCATIONS
Winter in Hokkaido Japan is one of the best places in the world for photography and its northernmost island, Hokkaido provides a wide range of subjects for your camera.
Margaret Brown
Why visit Ranging from Hakodate in the south to speak the language, the people are courteous Spending a week or two in Japan during Wakkanai in the north, Hokkaido boasts the and friendly. Tourist visits peak between mid the Northern Hemisphere winter is a great longest winter season in Japan, making it a January and early March and many attractions way to escape summer's heat and humidity, magnet for anyone interested in snow sports. are crowded at this time. find exciting new subjects for your camera Visitors can participate in activities like skiing, If you've never been to Japan before we and experience a different culture that is snowboarding, snowmobiling, snow rafting, recommend taking an organised tour to enable interesting and engaging. Hokkaido, blessed ice fishing, dog sledding and drift ice sightseeing you to come to grips with Japanese culture, with an abundance of ice and snow, dramatic cruises where the winter scenery is, literally, transport, accommodation and food. A Google landscapes and seascapes and opportunities breathtaking due to sub-zero temperatures. search will provide plenty of tours to choose from, to photograph wildlife close-up, is located Fortunately, Hokkaido is safe, clean, and ranging from budget-priced through mid-level to between the Sea of Japan, the Sea of Okhotsk, easy to get to. It has excellent public transport, ventures offering top-flight facilities. Specialised and the Pacific Ocean. delicious and healthy food and even if you don't tours for photographers are also available.
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Left: The annual Sapporo Snow Festival attracts millions of visitors from Japan and across the world. The theme for the 2019 festival was Finland and the highlight was this huge replica of the Great Cathedral in Helsinki. Above: Hokkaido's northerly latitudes ensure you'll be able to photograph snowy scenes if you visit between late November and early March.
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Getting there ‘Sapporo... hosts its annual Snow Direct flights go from Tokyo to the main airport at Sapporo, and to regional airports at Hakodate, Festival in mid-winter... the city's Kushiro, Obihiro, Asahikawa, Ozora, and a couple of smaller airports. It's cheapest to take the one centre is filled with spectacular hour 40 minute direct flight to Sapporo and go on to other places by train or bus. Alternatively, if you have a Japan Rail Pass you snow and ice sculptures’ can take the JR Tohoku/Hokkaido Shinkansen from Tokyo to Shin-Hakodate-Hokuto (4 hours) and transfer to the Hokuto limited express to Sapporo (3.5 hours). Without the JR pass, the fare is roughly double the cost of a flight Tour options Small-group tours are generally better for to Sapporo – similar to the air fare to the A Google search on 'photography tours photographers since they provide greater regional airports. in Japan in winter' will bring up plenty of flexibility and there's more chance of getting There are also long distance ferries between tour options; some designed for ordinary the shots you want with fewer people to various ports in Honshu and Hokkaido, members of the public and others dedicated get in your way. It's also easier to tailor providing a more leisurely and inexpensive to meeting the needs of photographers. parts of the tour to meet specific needs. option. Departure ports include Niigata, Most cover roughly two weeks, although If you opt for a tour, its pace will be Oarai (Ibaraki Prefecture), Sendai, Nagoya, a few are only a week long, which is the dictated by the slowest member(s) in the Maizuru (Kyoto Prefecture) and Tsuruga shortest time we think you should allow for. group. Check beforehand to find out the (Fukui Prefecture). Most ferries arrive either Since prices are variable you need to have typical age range of participants to ensure in Otaru, 30 train minutes west of Sapporo a clear idea of what you want in the way you're a good match. or Tomakomai, 45-60 train minutes south of places visited, experiences offered and Note that day tours are available in many of Sapporo. creature comforts. Low-to-mid-priced tours of the areas listed in this feature. An internet will often require you to use public transport, search on individual places should show Getting around sleep and eat Japanese-style (i.e. on tatami you what's available. Some day tours can be If you're taking a tour, transport and mats) and buy the occasional breakfast or pre-booked online. accommodation are part of the package lunch from a convenience store (to make and you will usually be met at the start of the time available for shooting opportunities). tour and taken to your chosen transport at the end of the tour. If you opt for independent travel, consider investing in a Japan Rail Pass, which provides unlimited travel on the JR Railway, selected JR buses and ferries. It's available from a number of online outlets, which are easily found. Passes are offered in two levels, Economy and Green Class (which is more up-market). When this issue of Photo Review was published, prices for seven-day passes started at AU$365, with 14-day passes at $582 and 21-day passes costing $744. They work best for travellers who want to cover a lot of ground in a short time. JR passes include travel on all but two of Japan's 15 shinkansen train lines, which cover the entire country from Hokkaido in the north to Kagoshima in the south. Trains on these lines can reach speeds of 320 km/hour so you can cover a lot of ground quickly. Details can be found at www.bit.ly/pr80-shink-trains. Highway buses are another alternative and cover most of Japan. They are relatively cheap and comfortable. Best of all, you can find timetables and pre-book tickets. Visit www.bit.ly/ Small-group tours can include excursions into the drift ice, where it's easy to get close-up shots of Steller's pr80-japan-buses for more information. Sea Eagles, attracted to the boat for feeds of fish. This shot was taken just off the coast near Rausu. Sapporo is particularly easy to navigate, with streets laid out on a rectangular grid
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and numbered according to the points of the compass. 'North 7, East 9' indicates the 7th block north and 9th block east of the apex at the eastern end of Odori Park. There are also three subway lines, a tram line and several bus companies (JR Hokkaido Bus, Hokkaido Chuo Bus and Jotetsu Bus), and you can purchase pre-paid cards that give you discounted 'unlimited' use on the subways and buses. Three-, five- and seven-day train passes are available for those without JR passes. They're also accepted on most JR buses. Buses are a cheaper way to travel more widely to explore the smaller cities and towns and visit scenic attractions. In most towns it's easy to find the bus station and ask about your next destination. Signage is usually in both Japanese and English, the station masters are helpful and the buses are comfortable and always on time.
Where to go Sapporo, the capital city of Hokkaido hosts its annual Snow Festival in mid-winter. In 2020 it will open on Friday 31 January and end on Wednesday 12 February. During the festival, the city's centre is filled with spectacular snow and ice sculptures that attract more than two million visitors from Japan and across the world. They are illuminated between dusk and 10pm every day. Stages at intervals along the main site in Odori Park present entertainment that can range from ski-jump demonstrations through to pop-groups and dancing. Interspersed between them and the sculptures are stalls selling food, with the occasional souvenir outlet. A secondary site at Susukino, one subway stop south of Odori Park, has about 100 sculptures, while another site at Tsu Dome adds snow slides and snow rafting to additional snow sculptures. Shuttle buses to the Tsu Dome Site depart from the Odori Site and from Sapporo Station roughly every 15-30 minutes. If you're staying in Sapporo for a few days, it's worth visiting the Historical Village of Hokkaido, an open-air museum that is easy to reach by train and bus. On display are 53 typical buildings from all over Hokkaido, dating from the Meiji and Taisho Periods (1868 to 1926). There are four different sections: a town, fishing village, farm village and a mountain village.
Above right: This J-pop group attracted both fans and photographers to the temporary stage near the middle of Odori Park. Right: Visitors emerging from the subway in Sapporo to view the snow sculptures in Odori Park.
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A 30 minute train trip from Sapporo in the evening will take you to Otaru, a historical port town for the Otaru Snow Light Path Festival, which runs for 10 days in February. During this time, the city becomes decorated in lights and small snow statues, which provide attractive subjects for your camera. There are two main areas for viewing the hand-made lanterns, both located within a fifteen minute walk of the train station. The closer is the Temiyasen Kaijo area, which stretches for about half a kilometre along the tracks of the abolished Temiyasen railway line. More popular is the Unga Kaijo area, which runs for about 300 meters alongside the town's iconic Otaru Canal. Visit www.bit.ly/pr80-otaru-snow- light for more information. Organised day tours are the best way to see the main attractions in Abashiri, which is reached by a 5-hour train trip from Sapporo. Located on the northeast coast, Abashiri boasts a couple of historical museums plus opportunities to experience snowshoeing, ice fishing and drift ice walks. Rausu, on the eastern edge of the Shiretoko Peninsula facing the southernmost of the disputed Kuril Islands, has a bit more to offer A child enjoys one of the snow lantern displays in the Temiyasen Kaijo area during the Otaru Snow Light Path Festival. and is worth visiting not only for its scenery but also for its wildlife. In winter, you can participate in snow-shoeing trips through pristine forest – where you may see deer and Ural owls. Another option is a Drift Ice and Bird Watching Cruise, which takes you out through the drift ice for one to two hours. You'll be guaranteed close-up views of White-tailed eagles and Steller’s sea eagles drawn to the ice-strengthened boat for feeds of fish. Hokkaido is also famous for the dancing red-crowned cranes, which congregate at Kushiro Marsh near Tsurui. Like the eagles, the cranes are fed to keep them in the area and there's a facility operated by the Wild Bird Society of Japan where you can view and learn about them. A popular place for photographing them is the Otowabashi bridge, which gets crowded with photographers by sunrise, when the cranes leave their night-time roost. For more information, visit www.bit.ly/pr80-kushiro-marsh.
What gear to take Most modern camera equipment should be able to withstand Hokkaido's sub-zero temperatures. However, it's wise to stick with weatherproofed gear as you'll want to range You can take a sleigh ride through the streets of the Historical Village of Hokkaido to help you decide what out into the landscape or on the sea to get you'd like to photograph. the best pictures.
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‘Expect crowds of photographers wherever there are opportunities to photograph wildlife.’
A lens with a focal length equivalent to 600mm in 35mm format was needed to obtain this shot of the cranes, which still hadn't flown an hour-and-a-half after the bridge shot was taken.
Popular destinations can be crowded during the peak tourist season. These photographers are attempting to photograph the red-crowned cranes from the Otowabashi bridge just before 7am when the birds were due to leave their overnight resting place.
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your camera's auto ISO range to enable you to shoot hand-held in the lighting conditions you're likely to encounter. During the day, when there's plenty of light reflected from the snow, the auto ISO will default to the lowest 'native' value (ISO 100 or ISO 200). At night, you will probably need to use settings above ISO 1600 and often even higher. Adjust your camera to minimise the risk of camera shake in each situation. Take advantage of all stabilisation options available, whether in the camera or in the lens – or both. Concentrate on your shooting Warm clothing is essential if you want to take part in snowshoeing excursions. The peak of Mount Rausu can be technique when faced with slow shutter speeds; seen in the distance in this shot. hold the camera steady, keep your elbows in and squeeze down on the shutter button. Use single-shot mode, particularly in bright We'd recommend light equipment; M4/3 interfere with other photographers' ability outdoor lighting. Even though storage is or APS-C cameras and lenses, rather than to get shots and a tripod, in particular, will relatively cheap, burst shooting is wasteful more bulky full-frame gear. For one thing light impair your mobility causing you to miss good and, if your shooting technique is well refined, gear is easier to carry and many places will shooting opportunities. unnecessary in most situations. The noise be crowded, making it difficult to manoeuvre Make sure you're warmly dressed with a scarf from the camera during continuous shooting your way into a prime position for shooting. All and/or beanie to keep your head and neck is distracting – and may cause your subject images reproduced here were taken with an warm. Fingerless gloves with pull-over mittens to take off. Olympus OM-D E-M1 II camera and either the are great for shooting in cold environments. Aim to 'nail' each shot with a combination M.Zuiko Digital ED 12-100mm f/4.0 IS PRO Snow boots are also essential both for keeping of timing and careful framing. All of the general-purpose zoom lens or the M.Zuiko your feet warm and for preventing you from shots reproduced in this feature were taken Digital ED 75-300mm f/4.8-6.7 II. slipping on icy paths. in single-shot mode. Make sure you have a comfortable camera Check the brightness histogram before and bag that provides good protection against rain Shooting tips after each shot. AE systems can perform poorly and snow. Unless you have a specific shooting Turn off everything that might distract you if left to their own devices in snowy conditions. situation in mind where they might be required, from composing your shots so you can Don't be surprised if you have to apply between leave your flash and tripod at home. Both can concentrate on shooting. Start by setting +0.7 and +3.0EV of exposure compensation. Shoot raw files as well as JPEGs to ensure you have the widest range of tones to work with when editing shots. Snowy scenes containing areas of dark shadows can have brightness ranges in excess of 15 stops, which is beyond the range of most sensors. When the histogram is jammed up against both sides of the graph, the brightness range is wider than the sensor can record. The AE system will average the values, causing you to lose both highlights and shadows. We think it's best to ensure highlight details are recorded, particularly if they occupy a large part of the picture. You can 'bring up' shadow details when editing, although they might contain visible image noise. But that's better than having large areas of detail-less white dominating the shot. Most cameras include high-dynamic-range (HDR) modes for handling wide brightness range subjects. However, they usually involve combining multiple exposures so they're not Check the histogram regularly when shooting in snowy conditions, making sure the tonal bias is towards the right suitable for moving subjects. The results can of the graph but not hard against the right hand edge. Highlight details will be lost if that occurs. also look unnatural.
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With 32,000 Instagram followers, an extensive performed amazingly. My battery level never blurring a waterfall. The traditional solution website devoted to the craft of travel photography, dropped below 70%, which is exactly what you is to reduce the scene brightness by fitting a and a thriving tourism and travel photography need when shooting in cold climates.’ neutral density (ND) filter to your lens. business, Olympus Visionary Lisa Michele Burns Wintertime in the far north is synonymous ‘The live ND filter is one of my favourite was an obvious candidate to put the new OM-D with gloomy, short days but Lisa found that the features of the E-M1X,’ Lisa says. ‘It is so fun E-M1X through its paces in the months before E-M1X was up to the task. ‘The major feature to play with at the beach while watching the it launched. that exceeded my expectations was the seven waves blur through the frame. I’ve never been ‘I booked a trip to Finland to test out the stops of image stabilisation which not only one to fiddle around with filters and tripods, E-M1X, to see if it would stand up to the freezing allowed me to shoot during the low light polar so having the built-in live ND filter has allowed conditions of Lapland mid-winter. I’d previously night conditions, but to capture 10-15 second me to capture long exposures without the fuss. photographed Swedish Lapland in January and handheld exposures of the northern lights. I can’t Any solid or still objects in the scene remain totally fell for the arctic conditions and frozen imagine doing that with any other camera. To be unaffected, while any moving elements are wonderland, so this was a great excuse to outside, in -20 degree temperatures, shaking blurred. It’s seriously impressive and one revisit the region. from the cold but being able to stand tripod free reason the E-M1X will come with me on every ‘Finnish Lapland is known for its fells and photograph dancing waves of aurora above, trip this year.’ [high and treeless mountain landscapes] it was insane!’ When you spend hours every day shooting, and I spent almost two weeks snowshoeing In less gloomy climes, photographers can the size and weight of your gear becomes a and cross-country skiing with the E-M1X run into situations where the scale from significant consideration. While it doesn’t tip the in my backpack. Even after I fell in a deep darkest shadow to brightest highlight becomes scales to the same extent as most professional hole of snow and the camera got completely a problem – particularly when you want to gear, the E-M1X is a little heavier than Lisa’s covered, its weatherproofing held up and it still use a slow shutter speed for such effects as OM-D E-M1 Mark II, but she doesn’t mind.
To be outside, in -20 degree temperatures, shaking from the cold but being able to stand tripod free and photograph dancing waves of aurora above, it was insane!
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38 #80 photoreview.com.au OLYMPUS SPECIAL PROMOTION
Staring through the electronic viewfinder and seeing a male lion gazing back was one of the most incredible moments of my life.
‘Despite the size increase from the E-M1 ‘The E-M1X will however be my first call for Antarctic continent (on a plane because I get Mark II, the E-M1X surprisingly doesn’t feel that capturing landscapes and wildlife due to the new seasick) for a date with my E-M1X to photograph much heavier,’ she says. ‘It’s nowhere near as hand-held high-resolution mode which captures Paradise Harbour, an iceberg filled bay near heavy as my previous Nikon gear that made my files at 50-megapixel resolution. I’ll also use it for Lemaire and Bryde islands. Actually my number back seize up after a day of shooting. Even after any action and high-speed shooting situations. one dream destination is Socotra Island in a full day of carrying it while snowshoeing and While shooting with the E-M1X in South Africa, Yemen. Obviously due to safety concerns it’s hiking, the E-M1X felt similar to the E-M1 Mark it was so incredible to have the intelligent impossible to visit at the moment but one day, II and didn’t cause me any pain.’ AF system and the image stabilisation when my fingers are crossed I’ll wander the rugged Asked where the new E-M1X fits into her bouncing around the African savannah in a dunes and bizarre landscapes of this untouched gear collection, Lisa says that it will be sharing safari vehicle – it was a game changer!’ gem in the Indian Ocean. space in her camera bag with her E-M1 Asked where would she go if she could w www.lisamicheleburns.com Mark II. ‘I photograph a lot of underwater and somehow magically visit any place in the world split-level photographs, so at this stage it for an afternoon, Lisa responds, ‘this year I’m www.instagram.com/the_wanderinglens won’t completely replace the E-M1 Mark II which working on a project that showcases landscapes w www.olympus.com.au has the dedicated underwater housing and still carved by climatic conditions. Ideally a dream performs really well as a professional body. afternoon would include popping over to the
#80 photoreview.com.au 39 INSIDER
Understanding autofocus - Part 2 A follow-on from the previous issue's Insider, investigating AF point arrays and the modes and adjustments most cameras provide.
Margaret Brown
aving outlined the different and accuracy. Because cross-type points autofocusing systems used by today's require a fairly high light level to detect focus, H cameras, we turn our attention to they work best with fast lenses. the in-camera focus controls. These are many Most cameras will autofocus at the widest and varied and include focus points, focusing available aperture, regardless of the aperture modes, focus area settings and the facilities in setting you select. This can create problems camera menus that allow settings within these with AF systems that rely extensively on cross- categories to be tweaked. type points. If you use a slower lens with an AF point Focus point arrays array designed to be most sensitive at f/2.8, The term 'focus points' refers to the tiny for example, the cross-type points will usually sensors that pick up the information needed default to operating like line sensors, reducing for focusing. In a DSLR camera, these sensors their accuracy. This is why cross-type points are are usually phase-difference detectors, which usually specified as being able to function at are located below the secondary mirror that sits particular lens apertures. behind the reflex mirror and is used to reflect In professional cameras, cross-type points light down to the AF sensor array. Entry-level in the centre of the frame can remain DSLR cameras have simple arrays, often with operational at apertures as small as f/5.6 fewer than 12 points. or f/8. This makes it easier to use telephoto Mirrorless cameras tend to rely on contrast lenses in conjunction with teleconverters detection but an increasing number have (which reduce the effective lens aperture), phase-detection pixels embedded in the surface An example of a complex AF point array in a even when the latter applies a one- to two-stop professional DSLR camera. The top section of the of the image sensor. Entry-level mirrorless reduction in the light reaching the sensor. illustration shows the AF point array the photographer cameras usually have between 25 and 100 sees overlaid on the scene in the viewfinder, while Camera manufacturers often specify a sensor points. Higher-featured cameras in both the lower section explains the function of various AF 'working range' for their AF sensor arrays, categories have more focus points in more points and clusters of points. (Source: Canon.) measured in exposure values (EV) and given complex configurations. at a standard sensitivity and temperature – Professional cameras enjoy more complex, collect data on both vertical and horizontal usually ISO 100 at 23°C because heat can highly configurable AF systems, many of them lines. Dual cross-type points have two crosses affect AF sensor modules. The lower this figure, with separate contrast- and phase-detection at each location. Normally there will be one the better the camera will be able to focus in focus points. Dedicated processing chips horizontal line, one vertical line and two diagonal low light levels. running sophisticated algorithms process data lines, which combine in an asterisk-like shape. Hybrid AF systems in today's mirrorless from each set of sensors. Because they collect data on both axes, sensors cameras address most of these issues by As well as the number of points in the array, with all cross-type points are more accurate combining contrast and phase detection the types of points are also important. There are across the AF point array. sensors. They can also extend the areas of these two main types: line and cross-type. Line sensors Cross-type sensors are essential for tracking arrays right up to the peripheries of the frame, can only detect contrast on lines perpendicular moving subjects and the more of the sensor which can make it quicker to capture off-centre to their orientation, whereas cross-type sensors they cover, the greater the tracking AF speed subjects and when tracking moving subjects.
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Focusing modes AF point coverage intensity of light towards the edges of the Three focusing modes are found in today's cameras: single-area or 'One shot' AF (AF-S), While it might appear desirable to have AF frame. AF sensors require sufficient light to continuous AF (AF-C) and manual (M) focusing. points all over the image frame, in practice operate and, particularly with wide-angle As expected, the AF-S mode focuses upon a there are some technical reasons why this lenses, there may not be enough in poorly-lit single area in the scene when the shutter is isn't possible, due to geometry and optics. situations to provide usable signals. half-pressed. Focus is locked at that point. Note that the following limitations apply 3. The size of the secondary mirror in Because single-area AF acquires focus only to phase detection systems; CDAF a DSLR camera and the area of the PDAF once just before the shot is captured, systems are immune. array can also influence the accuracy of it's ideal for photographing static subjects. 1. Distortion. It is rare to find a lens that is phase-detection focus point signals. The photographer selects a point or area to immune from rectilinear distortion (almost 4. Larger AF sensors are more focus on and half-presses the shutter (or the all cameras provide auto corrections susceptible to changes in temperature, AF button) to lock focus before capturing the for JPEGs). Both barrel and pincushion which causes them to increase or decrease shot. If the subject moves subsequently, the distortions can reduce the accuracy of AF in size, reducing the accuracy of the AF lens must be re-focused. point signals around the edges of the frame. system overall. 2. Vignetting. Similarly, almost all lenses vignette to some degree, which reduces the
An example of a camera that provides combinations of focusing modes, in this case single AF + manual focus and Continuous AF + tracking. Note the second manual focus (MF) mode that returns the lens to a pre-set focus position. Note also the additional autofocus adjustments listed down the left side of the screen.
Some cameras include combinations of settings while others provide priority selections, usually focus or release priority. The former locks the shutter if focus is not acquired, while the latter records a frame even if the lens isn't focused. The AF-S mode is the only mode that is usable with flash in most cameras and the only mode that works with AF-Assist illumination. Continuous or 'AI Servo' AF automatically analyses the subject while the shutter button is half-pressed, readjusting focus whenever the photographer or subject (or both) move and focusing on a predicted point. This enables the system to track subject movement. The AF-C modes in more sophisticated cameras are highly configurable (see overleaf) Typical AF point arrays from a high-featured DSLR camera (top) and a allowing photographers to set parameters for similar mirrorless camera (below) showing differences in the amount of different types of subject movements. This makes the image frame covered in AF points. Note the areas covered by the focus them the preferred option for shooting sports, detectors as well as the combination of phase- and contrast-detection points are larger in the mirrorless camera. wildlife and other moving subjects. Most cameras include a manual focus mode in which the photographer makes all the focusing
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decisions and adjustments. Some cameras and lenses also support manual focus override in their autofocusing modes, which eliminates the need to select manual focus and makes focusing adjustments much quicker.
Focus area settings Modern cameras generally provide several focus area selections; typically wide, zone, centre and spot. More sophisticated cameras allow users to move the zone and spot selections around in the frame. Some provide a joystick control that can be used while looking through the viewfinder (an EVF is normally required). Others rely on touchscreen monitors and touch AF controls.
Nikon's Dynamic Area AF mode is ideal for photographing fast-moving subjects because it lets the camera use surrounding focus points to track subject movement.
Most cameras will outline the selected focus An example of the AF area modes provided in area to show you which sensors are being used. sophisticated DSLR cameras. (Source: Canon.) Some let you adjust the size of the spot and zone areas, either by touch or with the direction buttons on the arrow pad or another selection tool. Face and eye detection AF modes can also be included in the AF area settings, each being self-explanatory. Some systems even let you choose which eye to focus upon. By default, the central point in an AF point array is the most sensitive. When you choose the single-point or spot mode, the lens will The central AF point (shown here in green) is clearly normally be focused on that point by default. identified in the viewfinder with LED illumination. The It should be easy to move the focus point up, area of sensitivity can usually be expanded outwards down, left and right to place it over the area in to cover more of the subject and moved around the the scene that must be sharp. The camera will frame to focus upon off-centre areas within the AF acquire focus only on that particular focus point point array (shown in grey). in spot AF mode. While single-point AF works well for photographing landscapes, architecture and tracking, AF point expansion and AF point auto- other stationary subjects, it's less effective switching options to deal with scenarios such as for moving subjects and recording movie subjects that change speed or direction rapidly, clips, where most photographers will swap to subjects that move erratically and subjects continuous AF mode and select a larger area of that enter the frame from different directions. sensors (focus zones). Nikon cameras include a There's also a default setting for general Dynamic Area AF mode, which lets users select purpose shooting. Face and eye detection AF modes make it easier to from several clusters of AF points to deal with focus quickly on human faces and even individual eyes, as shown in this illustration. These modes different subject types. Next issue in the final article in this series have a range of applications that include sports and Canon has a similar Zone AF that can be we'll look at factors that can cause autofocusing events photography and all kinds of portraiture. configured to provide acceleration/deceleration to fail, and how to deal with them.
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AU-Profoto-B10-Product-325x240mm.indd 1 18/10/2018 16:44 EDITING TIPS
Working with video footage We follow-up on last issue's video feature with some tips on how to utilise recorded footage.
Margaret Brown
ew people find watching raw video footage satisfying, so editing is essential. F Although many cameras come with built-in editing capabilities, these are usually limited to trimming and combining clips, which won't necessarily produce enjoyable movies. Camera manufacturers also 'bundle' video software, normally making it available as a free download in the same way as they provide raw file converters. But, like raw file converters, the supplied software can vary between useful and best avoided. The software you choose will depend on the operating system your computer uses, your graphics card and the editing functions you require. Your computer needs to be powerful enough (and have enough RAM) to handle the large amount of data that needs to be processed. Recording formats can vary from camera to camera and will determine which editors you can use and the specifications of your editing hardware. Both home and professional video editing suites require powerful computers with plenty of RAM and fast If you're editing footage from smartphones graphic cards. Dual monitors and graphics tablets (as shown in the illustration above) can make working with and 4K action cameras, the demands on your video clips easier. (Image source: EIZO.) computer should be relatively low as the bit rates are often similar to low compression HD. Cameras that support high bit-rate (10- or 12-bit) and ensure both GPU rendering and multiple to four times the size of the source footage recording require much more computing power processors are supported. The GPU needs of a project. The minimum capacity is for a to handle files. enough reserve power to drive your display computer with 120GB SSD or 256GB hard When choosing a computer, we suggest the monitors in addition to rendering the video. drive running at 7200 RPM onboard plus at following minimum specifications: • RAM is relatively cheap so don't skimp here. least 1TB of external storage. • CPU: Multi-core (at least four-core) Intel i5/i7 Most video editors are RAM hungry. An absolute • Monitor: A calibrated 4K screen will display your models (i7 is best). minimum is 8GB, but 16GB is better, and be footage accurately, although most people can • Graphics card: Most editing software supports prepared to go to 32GB or more when working initially manage with slightly lower resolution. GPU (graphics processing unit) rendering, with UHD or high frame rate video. The ability to reproduce 100 percent of the which uses the processing power of the • Storage: Your storage needs depend on how sRGB colour space is essential for colour graphics/video card. Make sure your graphics much source footage you expect to be working grading. Pro users should look for screens that card is compatible with your editing software with. Generally, you should allow for three support the DCI P3 colour space.
#80 photoreview.com.au 45 EDITING TIPS
‘An uninterrupted power supply with voltage monitoring and filtering will prevent the loss of your work in the event of a power failure.’
An uninterrupted power supply with voltage monitoring and filtering will prevent the loss of your work in the event of a power failure.
Video software If you just want to view recorded footage and take the occasional frame grab, we can recommend the MPC-HC media player, which is a free download from https://mpc-hc.org/. Designed for Windows, it supports all common video and audio file formats available for playback and is customisable, spyware free and free of ads and toolbars. Photographers who want to make movies will find there are plenty of third-party video editors, most of which are available as trial downloads that provide up to 30 days of free usage. We recommend checking out Adobe Premiere Elements, the various versions of Corel VideoStudio and Nero Video for starters as these programs are designed for consumer use. The Adobe software is available for Windows This screen shot shows the MPC-HC media player, a lightweight freeware application that is handy for viewing and Mac but the cheaper Corel applications video clips and taking frame grabs. are for Windows only. Apple's bundled iMovie software is ideal for Mac OS users. Purpose-designed editors normally include features like animated transitions, filters that enhance colours or apply creative effects, distortions and picture-in-picture (PiP) displays. They may also support chroma-keying (or green screening), the technique that lets you layer a subject over any background by filming it in front of a green backdrop. Many video editors include functions like stabilisation, slow-motion, speed-up and reverse time effects. Other relatively standard inclusions include corrections for fish-eye lenses and colour correction for underwater footage. More sophisticated editors will support colour grading and time coding. Many on-board audio chipsets pick up Adobe continues to refine its popular Premiere Elements software, adding a simplified Sceneline interface noise from the computer's motherboard so that leads users through the steps of trimming a video and combining clips, photos, titles, music and more we recommend using an external sound card. into a finished production. All video editors should be able to separate
46 #80 photoreview.com.au EDITING TIPS
‘Title insertion and editing are offered in even basic applications and many provide a wide range of title effects.’
audio and video tracks so you can clean up background noise and add commentary, environmental audio effects, pre-recorded audio or background music. Most editors will provide 'canned' background music to use for soundtracks. Some include an auto-ducking feature, which lowers background music during dialogue to create a more professional impression. Title insertion and editing are offered in even basic applications and many provide a wide range of title effects, including 3D title creation, transparency, gradient colour, border, blur level and reflection effects. Multi-camera editing, which lets you switch between different angles of the same scene shot with several cameras, used to be exclusive to pro-level software but is now being supported by some consumer-level programs. The latest version of Corel VideoStudio Ultimate includes professional standard colour grading capabilities for Split screens are supported in many video editors. ensuring continuity of colour reproduction when clips are joined. At the end of the editing process, the footage has to be 'rendered' into a movie that will play on devices ranging from HDTV sets to laptops to portable 'smart' devices. Most recently-released editors can speed up the editing process by creating a proxy file at lower resolution, to prevent editing and previewing from being slowed down by huge full-resolution files.
Using 4K for stills One of the best features of 4K video is that each frame recorded can be printed at A3 (420 x 297 mm) size, something that simply isn't possible with a FHD frame. The 3840 x 2160 pixel resolution of consumer 4K has the same resolution an 8.3-megapixel still picture, while each DCI 4K frame is 4096 x 2160 pixels, which equates to a little over 8.8 megapixels. You can do a lot with such high resolution as Panasonic – the pioneer in this area – has More sophisticated video editors like Corel VideoStudio Ultimate 2019 include split screen layouts with demonstrated in its 4K Photo and 6K Photo keyframe-based controls. modes, which make use of the camera's fast frame rates (up to 30 frames/second in most cases but as fast as 60 fps in some high-end models) to provide some useful shooting functions.
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The 6K Photo mode records with a frame size of approximately 6000 x 3000 pixels, which is equivalent to 18 megapixels and allows more of the data from the camera's 20-megapixel sensor to be used without downsampling. Still frames are easy to extract from bursts in playback mode and each JPEG image complies with the naming and EXIF data management requirements for still images. Frames grabbed from other video recordings seldom meet these requirements. Many cameras include a Post Focus mode, which records roughly one second of MP4 video while the camera's Depth from Defocus (DFD) scans the subject, moving from the foreground to the background to cover the entire scene. A Focus Stacking function lets you stack some or all of the images together and obtain a picture that is sharp from the closest point at which the lens can focus to the background. Users can also select individual frames in A single frame from a consumer 4K video clip can produce an 8.3-megapixel still picture, which is printable at A3 size. the sequence and save them as JPEGs or use automated detection to pick out a human face or a motion and set a marker to make it easy to find in subsequent playbacks. Multiple frames can be sequenced to produce a so-called 'stromotion' effect for recordings of moving subjects.
An example of using the Post Focus mode to obtain maximum sharpness from the closest focus to the background. The five frames above the merged image have been selected from a 6K sequence recorded in the Post Focus mode to show how the point of focus changes as the shots are recorded.
48 #80 photoreview.com.au
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Choosing suitable printing papers Advice on how to select inkjet printing media that will complement your images.
Margaret Brown
here's no 'right' printing paper for every Paper thickness provide alternative single-sheet slots for use image and every situation, although Paper weight is usually specified in grams when printing on 'fine art' media. Check your T you can make informed choices based per square metre (gsm) and thickness in printer's specifications to find out its limitations. on quantifiable data as well as unquantifiable millimeters (mm) – and there's no accurate 'artistic' qualities. Both play a role in the correlation between these measurements. Some Ink choices mastery of the craft of printing. manufacturers use gsm, while others use mm. The type of printer you're using determines Navigating a path through the wide diversity Heavier papers have a more substantial and whether you use dye or pigment inks. Printers of inkjet media can be difficult because the tactile feel that implies higher quality, while that use dye-based inks deliver the maximum sheer breadth of options can be overwhelming. lighter papers are more easily bound into amount of detail and boldest colours on glossy But once you understand the key criteria, books. At least 260 gsm is recommended for and lustre (semi-gloss) papers. Dye-based matching a particular image to a specific paper A3+ prints and 310 gsm for A2 prints. prints are also more robust when handled will become much more straightforward. The ideal paper weight for books that are because the dyes are absorbed into the The most critical selection criteria are the printed double-sided is between 170 and paper's surface coating. thickness and surface of the paper and its 230 gsm, depending on page size. Watch out Pigment ink printers work best with matte inherent tonality. The surface and tonality have for “show through” where the image is visible and lightly-textured papers but they can also the greatest influence on the appearance of the on the reverse side of the sheet. be used with heavier 'fine art' media. Because printed image. But both are affected by the type of Many consumer-level printers can't handle pigment inks lie on top of the coating layer, ink your printer uses, so that's where we'll begin. thicker, heavier papers and most photo printers these papers have enough surface roughening to hold the particles of pigment in place. Nevertheless, prints require careful handling to prevent the pigments from flaking. Spraying the surface of the print with a fine coat of preservation lacquer is recommended. Being liquid rather than solids in suspension, dye-based inks will usually render finer details than pigment inks. But the difference is marginal and modern pigment inks are capable of reproducing fine details when used on the right paper. Pigment inks offer superior fade-resistance and tend to be preferred when long-lasting prints are required. Interestingly, under optimal conditions the latest dye-based inks from Canon (Chromalife) and Epson (Claria) come close to the durability of their pigment-based counterparts and will often produce more vivid colours, which can ‘Darkroom specialists’ like Ilford offer a wide range of high-quality inkjet media, of which a few examples are shown be advantageous in some landscape prints. in the illustration above.
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Paper surfaces lustre papers are a little more reflective with a Paper surfaces range from high gloss through light texture on the paper's surface that helps semi-gloss, lustre, pearl and satin to smooth hide fingerprints. matte. Fine art papers are also available, When used with high-end pigment-ink printers, along with 'metallic' papers that have a special 'metallic' papers can reproduce wider colour surface that contains particles of mica to reflect gamuts than matte and lustre papers and light and produce an iridescent sheen. increase the viewer's perception of contrast and You can also buy 'baryta' papers that edge sharpness, yielding prints that look almost simulate the surfaces of traditional silver halide three-dimensional. They are most suited to papers and are ideal for B&W printing, as well photos of snowy scenes and scenes containing as papers with textured surfaces like canvas, sparkling water. linen and silk. Recently, a few suppliers have offered papers that simulate the 'hand-made' Paper tonality look of traditional Japanese 'washi' paper and The basic tone of printing papers reflects are made with fibres derived from bamboo, the materials from which they are made. In sugar cane, mulberry or hemp. this respect, they share many characteristics If you're printing an image that contains a with traditional watercolor, printmaking, and lot of detail, papers with smooth surfaces will photographic papers. The cheapest papers are enable details to be reproduced. Heavily-textured made from wood pulp (also known as alpha papers will work against such subtleties and cellulose). Fine art papers are usually made of Canson's Baryta Photographique paper has a surface rag pulp (100% cotton being the most common) that looks and feels like traditional photographic paper. distract the viewer's attention from the image. This paper has low levels of optical brightening agents. But they can work well for images with broad but may also have an alpha-cellulose base. tonal gradations and areas of high contrast. Inkjet papers are usually classified as warm or Give some thought to the reflectance of the cool tone. Warm inkjet paper normally retains the paper's surface if the print won't be displayed subtle, pale buff colour of its source materials. behind glass. When prints are behind glass, the Cool papers are brighter and as close as possible paper's surface is largely negated, especially when to pure white in colour, usually because they normal glass is used. Special low-reflectance contain optical brighteners (see box on page 54). (or non-reflective) glass is available but it tends Papers made from wood pulp can also to tone down the contrast and saturation in the be made whiter by bleaching or through the printed image. addition of pigments such as titanium dioxide or Pictures of landscapes normally look best barium sulphate ('bartya'), which adds a subtle on papers with smooth surfaces that have sheen to the surface of the paper. Baryta photo low reflectance. Under bright lighting, glossy papers tend to reproduce deeper blacks and surfaces can produce specular reflections that more detail, particularly with pigment inks. will be distracting. They are also vulnerable to The choice between warm and cool is picking up fingerprints if not carefully handled. subjective and depends on the overall look you Minimal or no reflection from a print will help want for the print. Most landscape photos look the viewer to focus on the details in the image. best on cooler toned papers because they allow Matte paper always has very low reflectance the brightness of clouds and highlight areas to and high resistance to fingerprints. Semi-gloss shine through. They also make colours appear and pearl papers have a smooth surface with more saturated and 'punchy' and provide the less reflectance than glossy papers. Satin and optimal perceived contrast.
Detailed subjects look best when printed on smooth surfaces (left). Even a lightly-textured surface (right) can counteract the impression you want to create.
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‘The basic tone of printing papers reflects the materials from which they are made.’
However, some images of natural settings and objects work better on warmer paper, particularly those in which warmer hues and subtle tones predominate. Shots of autumn colours come to mind, although you may need to increase colour saturation when printing them if you want the colours to appear as Landscape shots which rely on accurate reproduction of fine details and subtle tones look best when printed on strong and punchy as you remember them. papers with smooth surfaces. Paper 'brightness' Inkjet papers are often rated for 'brightness' by shining a beam of light from a source calibrated at a wavelength of 457 nanometers onto the paper at a 45 degree angle. The reflectance of the paper is gauged by a separate detector and rated on a scale of one to 100. Higher ratings indicate more light is reflected and this will intensify the vividness of colours and depth of black in printed images. Brightness ratings are more relevant to the graphic arts industry and can be misleading to photo printers because many inkjet paper suppliers don't provide them and different manufacturers' figures don't necessarily correlate. Paper surfaces also play a role in 'brightness' measurements, which means a paper with a rating of 92 can look brighter than one with a 95 rating. Use brightness ratings as a guide, remembering that human vision can't determine a specific level of brightness in normal viewing conditions, although it can compare brightness levels of two or more papers when viewed together. Papers with high brightness ratings are more likely to contain optical brighteners than those rated at 90 or lower. Snowy scenes can look almost three-dimensional when printed on metallic papers.
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‘Differences in paper tonality can affect the ways in which viewers respond to a particular subject.’
Differences in paper tonality can be quite subtle but with some subjects they can affect the ways in which viewers Portraits often look best when printed on warm-toned respond to a particular subject. We've emphasised the differences between the warm tone (left) and the cool tone papers, which bring out the natural colours of the (right) in this illustration. subject's skin.
Optical brighteners creamy because fluorescence – if it occurs UV protective glass or acrylic. Nonetheless, Optical brightening agents (OBAs) are – is at a much lower level. OBA-free paper is recommended for archival added to the coatings on inkjet media to Fluorescence causes OBAs to decay over printing and any other applications where make them appear bright white in tone. time, making the paper revert to its natural consistency must be maintained over time, OBAs are chemicals that fluoresce under buff. As this takes place, the printed image regardless of the display lighting. invisible ultraviolet light, emitting visible will experience colour shifts and is likely to be OBA-free paper is usually more expensive light at the blue/white end of the visible affected by metamerism (when images appear and these papers may not reproduce the spectrum, which overpowers the paper's different under different light sources). original brilliance in printed images because natural buff tone. Keeping prints in dark storage or only they're not quite as 'white'. But many fine Prints made on papers with OBAs will displaying them under lighting that has low art photographers prefer them, not only appear to have a wider colour gamut, UV levels will delay the reversion to the natural because they maintain consistency of colour increased saturation and denser blacks, colours. But these conditions prevent viewers over time but also because their cream- although the full benefit of OBAs is best from seeing the benefits of the OBAs. coloured natural surfaces complement the seen under light with high levels of UV, High quality papers with low levels of OBAs printed images. such as sunlight or fluorescent lighting. will produce beautiful images for medium-term w See more information and a list Viewed under lights with little or no UV, displays and photographers can increase the of OBA and OBA-free papers at prints on these papers can appear longevity of their images by framing prints under www.bit.ly/pr80-obas
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COMPETITIONS
Image review
Penny For your thoughts Don’s response By Blane Coulcher That delicately posed simian hand really Olympus E-M1 Mark II; 40-150mm lens + converter at 210mmm; makes Blane's picture work for me. At the risk 1/250s; f/5.6; ISO 1600 of straying into anthropomorphising, I can't help but feel that this little creature really was I took this photo in Sri Lanka, in a forest glade where there was a looking back at the camera with a kind of family of monkeys all hollering. Amongst all this cacophony I was curious regard that is very familiar to those of able to focus on one individual who seemed very pensive and I us in the human clan. A moment of connection was able to take this shot as the monkey looked directly at me. between two worlds well captured.
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Burnt out tree Don’s response By Mark Ditcham Mark Ditcham’s old-school determination Fuji X-T10; 18-55mm lens to get the best photograph he could of this plucky little tree standing alone in a bleak Near Port Hedland in Western Australia, I saw this tree from the and otherwise empty landscape has been road while driving by. I turned around and drove over the burnt amply rewarded. The warm late afternoon terrain to get to it. First attempt wasn't successful due to poor light gives the foliage a subtle glow and to my light as the setting sun was covered by cloud. I went back again eye a pleasant, soft quality. The vignetting of the next day at sunset and managed to capture this shot in the the sky, reminiscent of an older photographic last rays of light. era, helps to frame the subject and further enhances the end of day mood.
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St Kilda Pier Don’s response By Nino Xerri It may have been a lens testing exercise, but Nino Xerri's strong image Third winner Image Review 10 of the much photographed St Kilda pier is beautifully composed and Sony a6000; E 55-210mm f/4.5-6.3 OSS lens @ superbly executed. The crisp details of the reef and the choppy water 73mm; 1/160s; f/5; ISO 100 (tripod used) give the foreground an engaging tactility, while the straight out of central casting dramatic sky compliments the exuberant Edwardian architecture Image taken a few years ago to trial the of the pier. Proof positive that it is possible to see -- and then capture -- above lens and to judge for myself why even the most famous landmarks in engaging and interesting ways. this lens was getting such mixed reviews. Needless to say, I am pleased with the results produced and still have the lens.
ENTER TO Win a Fujifilm X-T100 with XC15-45mm lens Simply submit up to three of your favourite images for your chance WIN to win one of four Fujifilm X-T100 with XC15-45mm lens RRP $1049 each. (See more on the X-T100 at www.fujifilm.com.au) Send your images to [email protected] • jpeg, minimum 200mm on the longest side, at 300 DPI • your name and image title in the jpeg file name • camera/lens used and image description/comments
Image Review 11 First winner will be selected 3 September 2019. See terms and conditions at www.imagereview.com.au
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COMPETITIONS
Photo Challenge: Repeat Yourself
40,000 years ago one of our ancient In its modest way our Repeat Yourself challenge study of seagrass was similarly complex and hominid forbearers used a shark tooth taps into this 5400-century long tradition. delicate in its use of repetition. Susan Shanta 5 to carefully incise a series of repeating Asked to seek out such patterns in the picked up an honourable mention for the way geometric shapes into the surface of a mollusc natural world, our winner Amanda Keesing she contrasted the spiral pattern of a rolled shell. It’s about 300,000 years older than found a marvellously subtle repetition in the leaf against those lines in the background. any other known artwork and therefore the breast feathers of a Painted Button quail. Alan Knoepfler’s simply titled image invited our earliest example of the use of repetition. First Runner-Up Ingrid Makowski’s mirror-effect contemplation too.
WINNER
Breast feathers of a Painted Button quail By Amanda Keesing
60 #80 photoreview.com.au COMPETITIONS
First Runner-Up Seagrass Reflections By Ingrid Makowski
HONOURABLE MENTION Spiral By Susan Shanta
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HONOURABLE MENTION Nature Pattern 3 By Alan Knoepfler
HONOURABLE MENTION Succulent By Amanda Keesing
62 #80 photoreview.com.au Introducing Canon’s smallest and lightest Full Frame EOS Camera! $300 CASH Canon EOS RP BACK* INCLUDES EF Lens Full Frame Adaptor The new edition to Canon’s Value $150 Mirrorless Kit mirrorless evolution, the EOS RP, is with RF 35mm F1.8 Macro Lens Canon’s smallest and lightest Full Frame With the use of EOS Camera, it pairs the new RF lens mount this adapter, & EF Lens Mount Adaptor users can and a full-frame image sensor for a unique and mount any of sophisticated multimedia camera. their EF or EF-S lenses to their new EOS LESS $300 CASHBACK* R camera, with Autofocus and The EOS RP features a high-resolution 26MP full-frame IS performance maintained. TED’S Containing no optics, this PRICE CMOS sensor along with a DIGIC 8 image processor. The adapter allows the adapted combination of these technologies offers a wide sensitivity lens to maintain its existing $ 95 optical quality. $2699.95 range, fast continuous shooting to 4 fps, and UHD 4K video *VIA2399 REDEMPTION FROM CANON recording. In addition to imaging, the sensor also offers an advanced Dual Pixel CMOS AF system, which uses ” 4779 selectable points for quick and accurate focus. This MP 3.0 4779 26FULL FRAMES4 VARIANGLE POINT 4K focusing system is also sensitive down to EV -5 for working FRAME PER SEC SCREEN AF VIDEO in impressively dark conditions.
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There are an estimated 1.67 Billion websites online right now – but these six are actually interesting.
Built World In Focos Old Japan } www.bit.ly/pr80ne1 } www.bit.ly/pr80ne2 } www.bit.ly/pr80ne3 Architectural photography has a rich history and This is one for those of you with an iPhone or In 1853 following the entry of Admiral Perry even if you aren’t a keen building picture-taker an iPad. Focos leverages Apple’s latest phone into Tokyo Bay, Japan permitted foreigners yourself, a few minutes spent browsing the and pad hardware to achieve some interesting access to the country – and their new technology, short listed works from the World Architecture post-processing effects that are reminiscent of photography. The New York Public Library has Festival (WAF) Architectural Photography Awards lightfield photography cameras. The full cost made available a substantial collection of should prove inspirational. version (USD11.99) allows access to the full hand-tinted photographs from one of the first suite of after-shot focus and aperture effects Japanese photographers, Kusakabe Kimbei. that include synthetic bokeh and the capacity Screen resolution images are free to download. to change the plane of focus(!).
Astro-whiz Head man Landscape tipster } www.bit.ly/pr80ne4 } www.bit.ly/pr80ne5 } www.bit.ly/pr80ne7 Angelo Perrone’s Astro Panel plugin for Peter Hurley is one of those cool, confident Serge Ramelli is a Parisian photographer who Adobe Photoshop looks like something of a New York photographer dudes with a popular runs a YouTube Photoshop tutorial channel out must-have for night sky photography enthusiasts. YouTube channel. He’s a headshot specialist of Los Angeles. Articulate and energetic, Ramelli, Priced at EUR30 (about AU$47), it’s packed with which, you might think, wouldn’t leave him who pitches his videos at photographers who 150 functions (including a couple of one-click with much to say. But you’d be wrong. His most have at least a nodding acquaintance with auto enhance options). The tool kit is impressive popular video is a 15+ minute deep dive into Photoshop and Lightroom, manages to pack a for its range of options and fine grained control. the importance of the jawline, which has been tremendous amount of useful information into Be warned, the site and support materials are viewed 3.7 million times. Seriously. Well worth a a small amount of time. It’s guaranteed that in Italian, so if that’s not one of your languages, look next time you have to do some headshots you’ll be hitting Pause frequently! you’ll need to use your browser’s translate for a friend’s website or portfolio. A037 function to get the full story.
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64 #80 photoreview.com.au AIRPORT SECURITYV3.0 ROLLING CAMERA BAGS
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