Vol 1 No 3 photoworld Winter 2004/5

Photo by R J Bull 10% off repairs and servicing for Photoworld club members

he Konica Minolta Photoworld TClub Camera Check Scheme Information on this page is printed in each General Insurance Company. Some runs all year round, taking the sea- Checks & parts for older models are now no sonal load off the service department. issue for your benefit – please use it. longer available, and Konica Minolta Service will give Club Checks have to restrict these warranties to ‘absolute priority’ and these Call 01908 200400 for service! the list below. If your equipment is will normally be accomplished more recent, but now out of warranty, within 3-4 days of receipt. Warranties call the Service Dept for advice This is great news but please film transport, AF operation, self Extended Warranty on 01908 200400. If you wish to be sure to allow a little more timer, flash synchronisation and find out more about the warranty time – and please do not send all other key operational aspects The Minolta Extended Warranty terms, ring Domestic & General’s equipment to the Kelso address. of the camera. External cleaning Scheme is available on new equip- Helpline on 0181 944 4944. As a Photoworld subscriber you of camera and lens is undertaken, ment. However, you may be able to Please note this is NOT the have a permanent 10% discount along with loose dust removal. take out an warranty on a camera same number as for our Camera off all repairs and servicing if you Equipment which passes the which has just been repaired, or Equipment Insurance facility. deal directly with Konica Minolta tests will receive a Test Certificate overhauled. The warranty is an Please enquire to the Service Dept Photo Imaging (UK) Limited. and may qualify for the Extended optional extension of the usual about earlier Konica products. We The Service Address is: Warranty (right). If problems six-month repair guarantee to a full shall be publishing details for Konica Konica Minolta Photo needing repair are found, you will two years. This offer is administered owners in future Photoworld editions. Imaging (UK) Ltd be contacted with an estimate – the and underwritten by Domestic & Á Service Department Club Check cost is deducted from Unit 7 Tanners Drive the cost of the repair if you decide KONICA MINOLTA EXTENDED WARRANTY SCHEME Blakelands to go ahead. You also get your 10% Milton Keynes MK14 5BU. discount. See also new informa- SLR BODY AF 35-70/3.5-4.5 Dimage RD-3000 Tel 01908 200400 tion about direct repairs, below. Dynax 9, 7 and 5 ACCESSORIES Dimage RD-175 If you ask for the discount, your 800si, 700si, 600si VC-600, VC-700, Dimage 2330 membership status will be checked Direct Repairs 500si & Super VC-7, VC-6, VC-9 Dimage 2300 and validated. If this is disputed, you 505si Super Dimage V may ask the Service Department to If you know your gear needs to be 300si, 303si MD LENSES Dimage 1500EX check with us, and we will confirm repaired, remember that a repair 404si MD 100/4 macro Scan Multi, II, Pro your paid-up status or enable you always includes a full service X-700, X-370S MD 50/3.5 macro Scan Elite, II to renew your subscription if has and a 6 month guarantee on the MD 135/2.8 tele Scan Speed lapsed not more than six months ago. whole item. If you have equipment COMPACT MD 28/2.8 Scan Dual, II Equipment under 1st year which you think needs repair, Zoom 70, 70EX MS 100-300/5.6-6.7 Quick Scan, Plus warranty can be sent in directly, you can send it for a Club Check Zoom 90, 90EX MD 35-70 accompanied by any document show- service, enclosing your payment. Zoom 105, 105EX MD 70-210 PHOTOMETERS ing the date of purchase, including You can also send items Zoom 115 MD 50/1.7 Flash Meter V Colour credit card statements etc, even if directly to the service department Zoom 125 also 220X flash Meter II Colour Meter you have not returned your guarantee for repair estimates outside Zoom 150 IIIF Flash Meter III, IV card. But you should always this scheme. Konica Minolta Photo Zoom Pico VECTIS Spotmeter F complete and return warranty Imaging (UK) Limited will accept AF-25, AF-35 Vectis 40, 300, 300L, Spotmeter M documents after buying equipment. equipment directly from readers F-25, F-35BF 3000, 2000, 30, 25, Autometer IV-F and provide estimates, it is not F 35ST Super 260, 200, 20, 100BF, Autometer III, IIIN Club Checks necessary to go through a dealer. If Weathermatic, GX-1, Autometer III Flash the estimate is not accepted then a AF FLASH GX-2, GX-3, GX-4. Vectis The cost of a Club Check, inclusive of charge of £5.88 is payable for return. 5600HS S1, S-100, V lenses BINOCULARS VAT and return insured carriage, is: There is a difference between 3600HS 400RF, 22-80, 50 macro, Activa: 8x42DWP, £18.68 for camera + lens the Photoworld Club Check and 5400HS 28-56, 25-150, 56-170, 10x42WP, 7x35W, £25.85 for all video a Service. The check may show 1200AF Macro 80-240, SF-1 flash 7x50, 8x40W, 10x50W, and digital products that your shutter speeds and so 12x50W, 7-15x35, Club Check tests include shutter on fall within ISO tolerances, but AF LENSES DIGITAL 8-20x50, 8-22x27, speed accuracy, aperture accuracy, a Service may allow adjustment to AF 100-300 (D) Dimage 7, 5 10-30x27, Pocket metering accuracy, and focusing better than ISO standards. It also AF 24-105 (D) Dimage S304 8x25WP, Pocket accuracy. They also include checks allows lubrication, tightening of AF 75-300 (D) Dimage E203 10x12WP, 8x25FM, for correct electronic operation, screws, cleaning and adjustments. AF 28-80 (D) Dimage E201 Î

photoWORLD 2

MinIFCMay04.indd 2 21/12/04 11:45:22 am Contents Vol 1 No 3 Winter 2004/5

Page 12 Page 32 Photoworld Gallery, our space for Club Events your own pictures… with prizes Duncan McEwan and our spon- of Konica Minolta film, inkjet sored lecturers line up for more supplies and CD-ROM media. events you can attend in 2005.

Page 16 Page 34 Perserverence Pays Quest Workshops Duncan McEwan shows a seasonal We continue to sponsor this example of his method for stalk- dual-location series of tuition ing the light in landscapes. days and photo trips, run by Utah red rock canyons in winter by long-time Minolta user Colin Robert J Bull – see story. Page 21 Westgate, with a new base in Essex Red Rock Winter as well as the familiar Seaford. Page 2 Robert J Bull reports on organised Service and Repairs Information winter tours to the dramatic Page 37 landscapes of the American West. Fisheye Business Page 4 Peter Karry shows how the 16mm Who’s Who Page 26 fisheye lens on full frame film Konica Minolta Photo Imaging (UK) Slide copying with digital gives unique results. So don’t Ltd and Photoworld Club info Michael Gilroy has been using accuse us of being too digital! his Dimage Xt close up facility Page 5 to make excellent ‘scans’ from Page 41 Test Report – Dynax 7 Digital rollfilm and 35mm slides. Photoworld Club Postal Lens Hire Accompanied by pictures from The only such service we know of! ‘early adopters’ round the world, Page 30 David Kilpatrick’s review of the new Water Colour City Page 42 35mm SLR digital camera reveals Venice goes naturally with wet proc- Battery Buster what may be the best 6 megapixel essed film! David & Shirley Kilpatrick Essential data for everyone. model yet made. Anti-shake, fantastic rediscover the unique colours of sil- performance at high ISO settings, ver imaging – and one of the best des- Page 43 and Dynax 7 style control! tinations for photography this winter. Free Subscriber Small Ads

KONICA MINOLTA photoworld Published by With the support and assistance of Icon Publications Limited Konica Minolta Photo Imaging (UK) Ltd Maxwell Place, Maxwell Lane Plane Tree Crescent Kelso, Scottish Borders TD5 7BB Feltham, Middlesex TW13 7HD Tel: 01573 226032 Fax: 01573 226000 SERVICE DEPARTMENT: e-mail: [email protected] Konica Minolta Photo Imaging (UK) Ltd Service Department PICTURE EDITOR & SUBSCRIPTIONS MANAGER Unit 7 Tanners Drive Shirley Kilpatrick MSc (Colour Science), BA Hons (OU) Blakelands North Milton Keynes MK14 5BU TEChNICAl EDITOR & ClUB DIRECTOR David Kilpatrick FBIPP AMPA Our thanks to Laurie Moore, Paul Genge, Bernard Petticrew and colleagues at Konica Minolta Photo Imaging ADVERTISING MANAGER (UK) Ltd for their help and support. Richard Kilpatrick – 01450 371169 Whilst every care is taken of MSS and photographs submitted all submissions remain the responsibility of the sender. Return postage and packing must be included. The SUBSCRIPTION £19.95 PA (UK) views expressed in this magazine are those of individual contributors and do not represent the views or policies of Konica Minolta Photo Imaging (UK) Ltd unless Tel: 01573 226032 otherwise stated. All offers and arrangements made by the Club are subject to Fax: 01573 226000 availability and limited to paid-up subscribers of KONICA MINOLTA PHOTOWORLD unless specifically stated otherwise.

Subscription to KONICA MINOLTA PHOTOWORLD This issue © 2004 Icon Publications Limited. provides free membership of: All rights reserved. No part of this publication may be reproduced by any Konica Minolta Photoworld Club UK means without permission.

3 photoworld Who’s Who @ Konica Minolta Photo Imaging UK and the Photoworld Club

he headquarters of Konica The address for Konica Minolta Websites and email club site called Konica Minolta Minolta Photo Imaging Photo Imaging (UK) Ltd is: Photo World which requires regis- T(UK) Ltd are the former Plane Tree Crescent There are Konica Minolta websites tration (a simple process of fi lling in Konica offi ces at Feltham, Feltham operated in the UK, Europe, an on-screen form) to use. This is at: Middlesex, close to Heathrow Middlesex TW13 7HD the USA and Japan. The cor- www.konicaminoltaphotoworld.com Airport, the M25 and London. and the main switchboard rect web address to use is: and is available in English, French From 1980 on, Minolta (UK) number is 020 8751 6121. http://www.konicaminolta.co.uk/ and German. There are monthly Limited was based in Milton Keynes We shall keep you updated but since the merger the sites con- competitions which can be entered and the Service Department remains on services for owners, contact tinue to develop, and separate areas on-line, together with all the latest there along with distribution. names and telephone numbers. still exist for Minolta and Konica. At product information, a range of For Club members, your two key Please use the the Konica Minolta the time of going to press you can technical background articles and contacts will still be at Milton Keynes. website, if possible, to look for also access www.minolta.co.uk and some profi les of Konica Minolta users. Bernard Petticrew is Technical solutions before calling directly. www.minoltaeurope.com directly. You can join a Minolta discus- Support Manager, and has a database Technical support, software sion group at www.yahoogroups. of information on Minolta products The Photoworld Club and fi rmware downloads, com; fi ll in Yahoo membership, going back to the SR system and product news and information which is free, and you will fi nd beyond. He is the man to contact The Minolta Club of Great Britain are all available on-line. this group founded in 1998 now for advice on conventional (silver was founded in the mid-1960s by You can download digital has nearly 5,000 members. imaging) photography, and to obtain Japanese Cameras Limited, and camera samples taken by David There is another Web Minolta instruments manuals or literature. published its magazine Photoworld Kilpatrick by visiting http://www. mailing list called the Minoltians, His direct line is 01908 208 325. until shortly after the formation pbase.com/davidkilpatrick available at www.theminoltians. John Baker is Service Centre of Minolta (UK) Ltd, when the title There is also a European owner com, with on-line galleries. Manager. You should contact John was changed to Minolta Image. with any queries about repairs With the merger of Konica or service in progress (it is not and Minolta, and the existence necessary to telephone before sending of more than one other magazine equipment in for a Club Service called Image, the magazine has Check). He is on 01908 208 352. been returned to its original name The Konica Minolta Photoworld and the club is now the Konica Club continues to be free to subscrib- Minolta Photoworld Club UK. ers to Konica Minolta Photoworld The directors are David and (formerly Minolta Image). For Shirley Kilpatrick, who are membership queries or advice on independent of Konica Minolta photo technique and camera use, call Photo Imaging (UK) Ltd. David and David Kilpatrick on 01573 226032 Shirley have been writing and editing or email [email protected]. photographic magazines and books Paul Genge, who has dealt with for 30 years and are directors of digital technical help in the past Icon Publications Ltd, based in the and will be known to many readers, Scottish Border town of Kelso. is now Product Manager of Konica You can email David via Minolta UK, and digital helplines [email protected], or are 0870 0104107 for the UK, 1850 telephone 01573 226032 during Konica Minolta has launched a whole new reviatlised range of inkjet papers and 946478 for Eire. Feltham is now HQ offi ce hours, for subscription speciality products including T-Shirt transfers, label sheets, professional media and for both the UK and Southern Ireland. help and general photo advice. double sided photo gloss. Look for the new branding in retailers now. Technical Help Digital – UK 0870 0104107 Film – 01908 208 325 Brochures and details of your nearest stockists 0208 751 6121 Service and Repairs 01908 208 352 Photoworld Club Bernard Petticrew, Technical Support John Baker, Service Centre Manager, Paul Genge 01573 226032 Manager – 01908 208 325 01908 208 352 Product Manager

photoWORLD 4

whoswho.indd 4 21/12/04 4:20:28 pm Dynax 7 Digital: the best 6 megapixel DSLR made

s a publisher and editor of Size is not all that matters in of very fine detail without compres- two photographic magazines sion artefacts works in the D7D’s Aentirely unconnected with the world of megapixels. Quality favour. The result is as detailed as a Konica Minolta, I have to be typical 8 megapixel image, with far objective in reviewing or testing counts. The long-awaited Konica superior natural colour rendering. equipment. I can’t show favourit- Noise at high ISO settings has ism, and when Canon or Nikon – or Minolta D7D delivers the cleanest, been a big issue with CCD-based whoever – produce a good product cameras as opposed to CMOS sensor it gets the praise it deserves. most highly detailed files in its models, where shooting at 800 or If anything I have tended to hold 1600 ISO has been more of a practical back on Minolta (and since the class. David Kilpatrick reports. proposition. The Dynax 7D is the first beginning of 2004 Konica Minolta) 6 megapixel CCD sensor camera to as I buy and use the system myself, achieve a working ISO range from and anyone will tend to be biased 100 to 1600 with ultra low noise. towards the kit they work with. We It is grainless (if that term can be have bought, and use, two other used) at 100 or 200 settings, very makes of DSLR already since no such smooth at 400, better than a typical item existed in the Konica Minolta CMOS sensor at 800 and perhaps a range before the Dynax 7 Digital. little more prone to noise at 1600. When I tried the D7D at The noise is unobtrusive and does photokina, I was pleasantly surprised. not destroy resolution of fine detail, The latest offerings in other systems which the D7D retains at this setting. have generally been very expensive, It is possible to boost the ISO large file size professional models to 3200 (a menu option unlocks or budget specification entry-level this extension to the speed range) innovations. The D7D is a semi-pro- and noise becomes strong at fessional DSLR, with a far superior this setting. Even so, it remains build quality, viewfinder and control film-like in its graininess, and layout. Handling this camera even does not disrupt the image. briefly is enough to allow any The purest detail from the D7D is potential buyer to understand why it obtained by setting both the Contrast costs almost twice as much as some and Sharpness options to -2 rather ‘rival’ 6 megapixel models. Looking than the default of 0, which is ideal through it, the focusing screen size for making prints directly from and brightness is so far superior to your memory card. There is a Noise the alternatives that it has persuaded Reduction function which works on existing owners to change systems to If the image out of the camera D7D Extra Fine JPEG up against the longer exposures, and helps eliminate Konica Minolta. This is not a myth; did not match the superior build and best JPEG from a rival 8 megapixel coloured noise; officially this has no I’ve corresponded by email with pho- ergonomics, there would be little camera, the Konica Minolta image effect on normal shots, but we found tographers who have switched from point in that switch. Cameras are processing and colour management there is a hint of smoothing applied both of the established DSLR brands now offering 8 or more megapixels. gives it a distinct edge. Print both to fine textured detail, and if you are after trying the Dynax 7 Digital. The D7D has only 6. When you line a to the same size, and the retention not making exposures longer than 1/30th it is best to turn NR off. While shooting raw files (.MRW) ensures you can make adjustments later on including white balance, sharpness, contrast and exposure there is no visible difference between Extra Fine JPEG

This is the actual size of the rear LCD display, here showing full information (the standard view is even clearer when shooting). To the left, the size of a review im- age, which can be magnified. The magnifier automatically homes in on the point of autofocus at maximum zoom, to check sharpness in a single action.

1 photoworld “You can never have too many pictures of meerkats”, someone commented when I placed this image on Internet to be examined in its full size – not sharpened – form. You can view this image and others from my D7D tests by going to:

http://www.pbase.com/davidkilpatrick/d7d

the password for the galleries is: hypo1

The data are: 1/200th at ƒ8 with 100-300mm Apo D lens set to 200mm, ISO sensitivity 400, noise reduc- tion turned off, Anti Shake turned on, -1 stop exposure compensation, Sharpness set to minus 2, contrast set to minus 2. Here the image is reproduced to 8.5 x 12.75 inches in size and cropped; it is at about 240 dpi resolu- tion, similar to a typical inkjet print requirement.

photoworld 2 and a file processed usingDimage Motion sensors and information Viewer 2.37 at camera settings. from the lens – ideally a modern D The raw file does hide some extra type – provide a calculation of the dynamic range, particularly in the necessary movement and direction, highlights, which is a good reason constantly updated in a time which to shoot raw when exposure and engineers described as ‘microsecond’ lighting conditions are difficult. response. Even during the exposure, Fortunately, the D7D has the changes in the shake vector are largest and clearest image review compensated for. Since the focal screen of any DSLR. At 2.5 inches length and focus distance both have diagonal, it provides a clear view an effect on this calculation, AF ‘D’ of each picture and an accurate lenses are best suited. Older lenses indication of colour and exposure. do not provide the same accuracy You can easily tell whether a second of input, and in some cases such shot with adjustments is needed. as the original 50mm and 100mm The screen also doubles as an macro lenses the Anti Shake will information display, and intelligently not be fully effective for close-ups. switches itself off or on as you lift the I found that it gave a major camera to your eye or drop it down improvement in hand held shots with to view the settings. The characters many older lenses despite this. As these are shown in are so large that a long-term user of Minolta AF and someone like me, normally wearing Dynax who has never felt the need glasses to correct for short sight, to upgrade many excellent bits of does not need to ‘lift the specs’ to original 1980s kit (the system was view the screen. For anyone with less designed in 1985) I have both those than comfortable accommodation macros, the 70-210mm ƒ4, 24-50mm to viewfinder, distant and close-up ƒ4, 35-70mm ƒ4, 50mm ƒ1.4 and vision this large screen is good news! 24mm ƒ2.8. Why would I have a 24mm ƒ2.8 and also a 24-50mm The secret weapon Jonathan Hilder of Piers Photography, Lacey Green, Buckinghamshire, took this ƒ4? Before digital, we had to shoot superb theatrical shot hand-held at the side of the auditorium from a production slides and negatives, or maybe I don’t think anyone who has of ‘Grease’ by Pipers Corner School in which 184 children took part. “It was a great colour and black and white… two reviewed the camera will disagree way to test my new camera and some 750 pictures later I was really very pleased cameras! The 24-50mm allowed two with my view that the D7D has the – worth the wait, I thought”, he says. The exposure was 1/40th at ƒ5.6 with a zoom matched lenses when teamed up with best 6 megapixel performance set to 300mm, ISO 800. the 24mm, 35-70mm, or 50mm. to date. Two other cameras were Below: member Magnus Wedberg of Skaerholmen, Sweden, took this great winter With the D7D, the 24-50mm launched at the same time using the street shot with a 24-50mm ƒ4 zoom lens set to 40mm, and the Dynax 7 Digital becomes a very useful 35-75mm same Sony CCD – one a rangefinder at 1600 ISO. The result was a sharp exposure at 1/6th second. White balance was equivalent. The 100mm ƒ2.8 macro digital in Leica M mount, the other a set to Auto, which does not cancel out genuine warm colour casts like this. Both is a wonderful lens (150mm 1.5:1 compact SLR – and it is fair to assume photographs submitted as JPEGs by email. macro in effect!) and the 70-210mm that they may also have ‘come the performs quite well. I added two new distance’. CCDs like this have been lenses to my outfit with the 7 Digital in use for a couple of years, and – a Minolta 100-300mm ƒ4.5-5.6 Apo gradually improved in quality. The D zoom, and an independent 14mm technology for processing the images ƒ2.8 straight line wide angle, both at they produce has improved too. very reasonable prices from Mifsud Konica Minolta do, perhaps, have in Devon. I would have hesitated at the benefit of studying all the previous buying the non-Minolta ultra wide at generations of other makes using a its normal price of almost £800, but similar sensor. Maybe they also have at a mere third of RRP it fills a gap the leverage to secure a special level until a Konica Minolta ultrawide for of quality control. Whatever the case, the digital format becomes available. with CxProcess III and this sensor, The Anti Shake truly finds its forte Konica Minolta have raised the bar with the 100-300mm Apo lens, which for 6 megapixel CCD image quality . is bitingly sharp, and shows it when This might be enough to the picture is stabilised. This lens is make the camera worth it. equal to a 150-450mm when used on In fact, you get more – far more. the D7D, giving a ‘pull’ for my favour- The Dynax 7 Digital incorpo- ite zoo subjects which far exceeds the rates in-body Anti Shake, image 200mm setting of my Dimage A2. stabilisation using chained piezo It is all too easy to forget just how actuator motors. These clever elec- much difference the 1.5X cropping tronic device are based on crystals factor makes in terms of magnifica- which expand or contract when a tion, which includes a reduction in current is applied. A single crystal depth of field and greater sensitivity to hardly moves at all, but by ganging up camera shake combined. At 450mm, a whole row of them with appropriate a normal camera would need 1/500th leverage, the CCD assembly in the shutter speed to be reasonably sure D7D can be shifted up to 5mm off of a sharp picture, and this is what centre in any direction. Two piezo should be used with the D7D and a devices provide the movement. 300mm lens. In practice I was shoot-

3 photoworld ing at 1/60th or 1/125th at 300mm, with perfect results, and even going down to speeds like 1/20th with one in three pictures acceptable. Combine Anti Shake with fast ‘legacy’ lenses such as the 100mm ƒ2 or 35mm ƒ1.4, add noise-free ISO 800 performance, and you have a combination which no other DSLR can match. Image stabilisation built into lenses is either extremely expensive (on lenses such as a 300mm ƒ2.8) or requires a relatively small aperture. It’s possible on long telephotos because their design means they have small rear elements, and the moving glass parts can be placed at this point. But you can’t so easily build an image stabilised fast zoom, or ultra-fast portrait lens. Anti Shake built in to the D7D body provides image stabilisation with all lenses, no matter how wide in aperture. It is currently the only DSLR image stabilising system which allows you to shoot at a faster Pako Dominguez Faura shot this using the 24-105mm D zoom, ISO 400, 1/15th at disengages the autofocus as soon aperture than ƒ2.8, or a focal length ƒ4.5 hand held in an art gallery in New York. See: www.phototeka.net as the first pressure on the shutter shorter than 28mm; no ‘IS’, ‘OS’ release has locked on to the target. or ‘VR’ lenses exist beyond these If you now continue to hold first limits. Nor is there such a thing as pressure, focus will not change, an image stabilised macro lens. so slight distance adjustments are The typical cost of an image possible by moving the camera a stabilised version of one lens can little. You can also focus the lens be twice that of a non-stabilised using its manual focus ring at this design. The D7D brings Anti Shake point, and then release the shut- stabilisation to even the lowest-cost ter, after which the mechanism M-AF fit optics and once bought with returns to AF for the next shot. the camera, it is there for every lens Having grasped these two main you use, at no further expense. points – that the D7D gives exposure similar to that needed for slide film, Performance in use and that the focus sensor areas are large – the incidence of disappoint- Because there is now an internet ing shots drops to around zero. community of Konica Minolta Lens choice is critical to users, a great deal of feedback on performance. Some of the older performance and problems with lenses are not as well suited to digital the new camera has been shared. capture as the new designs released While reviews in the press have with the camera. The best results made adverse comments on exposure are given by apochromatic zooms, metering, this is not supported macros and telephotos where the by user experience, and seems to rear element is a long way from the be a matter of reviewers failing CCD sensor. Fast, top quality lenses to understand digital exposure like the 85mm ƒ1.4, 50mm ƒ1.4 or requirements. Over-exposure is Andy Johnson took this with his 500mm RF AF lens – the Minolta mirror lens for 100mm ƒ2 are superb when teamed unacceptable with digital images, the AF system, equivalent to 750mm when used on the digital format. The image up with Anti Shake and ISO 800. and the D7D doesn’t overexpose. is cropped square. Details were: AS off, tripod mounted, 2 second mirror lock-up, Fixed focal length wide-angles have Focusing accuracy using autofocus 1/500, ISO 160 (on auto), spot metering. Taken on 25th November 2004, the day been proved excellent, with great has been a problem with all digital before full moon. You can see a full size version at: results coming from the 20mm ƒ2.8. SLRs, because examination of image www.ukexpert.co.uk/photopost/showphoto.php?photo=9841 The least satisfactory results come files at 100 per cent view shows from the lower cost zooms, and some the smallest focus differences very the area of the sensor indicated by early wide-to-tele zoom designs. clearly. The Dynax multiple sensor, the viewfinder illumination, and with Independent lenses of lower quality intelligent AF system works very wide area AF, information from D can be very disappointing; we have well but requires understanding, lenses and multiple AF sensors may an 18mm ƒ3.5 which was acceptable including ‘read the manual’! The red be used to set an optimum focus. enough on film, though no match targets which glow in the viewfinder This works extremely well with for a real Minolta lens, and on the are not pinpoint focus spots. They many difficult subjects including D7D it proved almost unusable. represent the centre of a larger, action shots and ‘grabbed’ candids. The camera has been sold pack- rectangular focus sensor in every For critical focusing, use the DMF When using AF, you need to be aware aged with the budget 28-100mm D case. The highest contrast within the (Direct Manual Focus) option in S that the illuminated markers show the series lens, which is quite acceptable, subject may be at any point within (single shot focus) AF mode. This centre of each larger AF sensor zone. but the new 17-35mm ƒ2.8-3.5 and photoworld 4 28-75mm ƒ2.8 D optics are specially change the settings later with raw; designed to cut internal reflections they are not reversible with JPEGs. and colour fringing. These new Files can be saved as AdobeRGB (a lenses are D series ADI chipped, with wide gamut suitable for professional circular edge iris diaphragms, and work), Natural sRGB (ideal for both the prices are a fraction of the earlier computer monitor and photo printer Minolta G series closest equivalents. use) or Natural+ sRGB (the same with It can not be over-emphasised that ‘increased contrast and acutance’). digital shooting requires as much There also a feature called Zone care with technique as 35mm – and Matching, which makes the D7D more. You are in reality working uniquely appealing to wedding and with half-frame film! Tripod use, portrait photographers. You access working at ISO 100 when possible, A quick ISO 1600 auto white balance this by changing the function of the bracketed exposure, stopping down anti-shake snapshot – the first with my ISO button, in the camera menus, to one stop more than your instinct D7D, 100mm ƒ2.8 macro lens. The choose either High Key or Low Key tells you, careful manual focusing on section represents a 12 x 18 inch print. and work at a fixed ISO 250 or 100 the excellent acute matte screen… It’s much better than film! setting with Natural sRGB JPEG save. all these things will pay dividends. high gives extra data capacity to the highlights and bright tones, while Storage and speed brightening the image overall – it simultaneously pulls white highlights The Dynax 7 Digital uses such as a wedding dress into range, CompactFlash cards or Microdrives, but ensures they don’t go grey, and and of the two I prefer CF because that full textural detail is recorded. it is more durable and the latest low opens up shadows for cards are very fast. I’m using a predominantly dark, moody lexar 1Gb 80X Professional with images without lightening the Write Acceleration, though the D7D whole picture, keeping a rich does not support this function. black and normal highlights, Because there is no speed penalty while adding extra separation to whatsoever for shooting RAW+JPEG, I darker tones in that critical range use this setting. Having the extra JPEG which is so difficult to print well. file is a useful back-up which permits Typical uses would be High enlarged viewing on the camera’s for a bridal portrait, or Low screen and direct printing. It takes for a moody studio shot of a under 7 seconds to write a full size Louis Armstrong lookalike. raw file, thumbnail and Fine JPEG What High and Low do in-camera to card. The 128Mb memory buffer (with the benefit of a histogram check accepts nine shots at 3 frames per on the LCD screen to show you the second before you need to pause. big difference they make) is replace The manual states that if you do time consuming raw conversion not have a memory card inserted, exposure and gamma adjustments, the shutter will not fire. On the or Photoshop Levels tweaking. D7Ds delivered in 2004, it has been Using Zone Matching, you can take possible to shoot freely with no card a card straight from the camera loaded: the only warnings given are a and print from it without needing a small E in the finder and the absence PC to make standard corrections. of ‘shots left’ information. Shots writ- The control of the D7D does not ten to the buffer are not transferred end with this sophistication. The to the card when loaded. It is very Auto White balance is naturally not important to double check that a very ‘total’ (DSLRs can not read from card is loaded. We are hoping that a the CCD to do this) but preset White firmware fix will implement the shut- Balances are comprehensive and have ter lock-out when no card is loaded. a superb plus/minus adjustment for The USB 2.0 cable connection is In the studio, the ISO 100 setting is very useful. This photograph was taken at ƒ16 warmer or cooler – Tungsten -2 is neatly placed in a sliding window using the standard 50mm ƒ1.4 lens and three Elinchrom studio flash heads (300 subtly different from Tungsten +2, set within the card door. The door + 300 side softbox and background gelled, 600 overhead softbox) at 1/4 power, but not all tungsten lamps are the provides additional support to this ISO 100, daylight white balance. same, and this is a wonderful function small connector. Recognition on our – five different tungsten settings! Macintosh systems was instant and but in two months of discussion by Colour and contrast As if this is not enough, you can transfer of files, when connected new D7D users on internet email opt to adjust in Kelvins (the colour to a USB 2.0 port, faster than most lists, this never emerged as an Introducing this camera is dif- temperature scale) in 100 degree hard drives. This is where the Lexar issue – nor have we lost a single ficult because it does more than increments from 2500 to 9900. 80X card shows its speed. It can’t image due to card errors. In my you imagine. Like the Dimage 7/A Combined with the Hue setting and make the camera process and write experience, formatting in another series, it allows Digital FX to be set. options for Custom White Balance files faster, but for downloading camera, in a PC card reader, or These include Contrast, Sharpness by reading from a grey card, the images from the camera to a using specific card readers are the and Hue adjustments. Such settings D7D offers the most comprehen- USB 2.0 computer, the faster the most likely sources of file reading only affect JPEGs directly, but give sive colour control around. card you can get, the better. errors. Fortunately the D7D in USB raw .MRW files some embedded This is taken even further by Amateur Photographer’s review Mass Storage mode seems rock solid instructions which are passed to the Dimage Viewer 2.37 which includes reported some corrupted images, – just plug in the cable and go! Dimage Viewer application. You can instructions for using a Konica

5 photoworld Minolta colour temperature meter, and the CC scales provided, to adjust raw images to an exact setting. While you might assume the raw file is not affected by camera settings, how embedded or non-embedded profiles are handled byDimage Viewer makes some difference. The Natural+ sRGB setting, for example, results in a raw file being opened with the Saturation control set to zero, but more saturated colours calculated. One thing is certain – no DSLR offers a wider range of colour balance and image control options than the Dynax 7 Digital. Exposure control With the usual PASM settings the D7D has the familiar Program Shift func- tion, and like the Dimage A models, can have its front and rear control wheels assigned different functions. There is a substantial main and flash exposure compensation dial to the left hand side of the prism housing, as on the Dynax 7. This gives full control over over-rides and is normally locked in zero position. For routine plus/minus adjust- ments, it is much easier to give one of the control wheels this function (I use the front one). Then all you have to do is move a finger off the shutter release, and turn this to step to the over or under setting you want. With control wheels set up (via simple Menu Screen commands) there is really no need for me ever to switch from Program exposure except for Manual shots such as studio flash. The display in the viewfinder shows you exactly what's set, and the camera does not switch off during normal operation; there is no need to have a finger activating the shutter while turning a control, a problem I have found on some other cameras. This set-up eliminates any need for a plus-minus button press, The excellent ISO 1600 performance of the Dynax 7 Digital makes shots which would once have been impossible or unsat- and in fact the whole design of the isfactory on film come to life. Desmond Lim shot this using Anti Shake, 1/3rd of second at ƒ8, 24-105mm lens set to 30mm. D7D means you will hardly ever Chijmes, Singapore, a national heritage site. need to press one button then turn another control. Everything is either depth of field preview, studio flash does not require your nose pressed new cells, I can only report that it a sequence, or a single action. synchronisation via a PC socket, against the LCD just to see the screen. seems to have an excellent life but I mains adaptor operation, an The tripod bush is centred on have not yet taxed it enough to run Professional features optional vertical grip with additional the lens axis, there is a CCD plane it down quickly. Users say 300-400 battery capacity, and wireless focusing index for macro, and the shots should be possible on a charge. The 7D includes many of the multi-head flash compatibility. strap lugs are positioned for good In 2005, superior Dimage professional features of the Dynax 7, Autofocus can be set to be intel- balance with popular lenses. The Master software will be available adapted for within the constraints of ligent (auto-sensing for movement strap comes with leather-type for raw file conversion. At the time digital. It has a 2 second mirror-up or fixed subjects), continuous, or protectors for the body finish, and is a of writing, I have not seen what delay in place of a full mirror up pre single shot; manual focus is easily substantial width for comfort. A clear features this will offer. Tethered release mode; this is sufficient, with set, or automatically available using protector is provided to snap over the operation linked by USB 2.0 to the well damped mirror, to ensure DMF. Spot metering, spot focus, user LCD screen, but mine was lost with a PC system is also promised. vibration free tripod exposures even selected focus sensor, and compre- a week. It appeared firmly clipped Overall, the Dynax 7 Digital makes without a cable or remote release. hensive exposure adjustments all in place; then one day it was gone. up for a long wait by winning ‘best of It has time-lapse functions, meet the most critical requirements. The NP-400 battery is the same breed’ where 6 megapixel DSLRs are capable of unattended photography The dioptric focusing eyepiece has cell as the A1 and A2 take, and since concerned. It will not disappoint you. of a subject at intervals. It has a wide range, good eye relief, and I immediately mixed up my old and Á photoworld 6 MWAD02_210x297 17/12/04 3:58 pm Page 1

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PHOTOGRAPHY BY NICK SIMPSON • TATTOO BY MO COPPOLETTA OF THE FAMILY BUSINESS • SHOT ON A PHASE ONE P25 – H101 DIGITAL BACK SUPPLIED BY DTEK SYSTEMS LTD photoWORLD gallery Earn Konica Minolta film, inkjet paper & CD-R media with your pictures

inter-friendly subjects welcome you to our Wquarterly Photoworld Gallery open reader competition – and one is digital, one shot on film. You may now enter pictures taken on Konica equipment as well as Minolta, and this is retrospective – vintage Minolta pictures were always eligible, and the same goes for vintage Konica. You may also enter pictures from other camera brands made on Konica films and (if colour negative rather than slide) processed and printed by a Konica photofinisher, normally a High Street mini-lab using Konica paper and chemicals. See the new entry rules on page 14. Each picture used will receive a prize of Konica Minolta supplies – E6 35mm slide film, 35mm colour nega- tive film, inkjet paper or CD-R media. Film entry winners will be sent films, and digital winners will be sent paper or CD-Rs (or both). The prize packs are at the discretion of Konica Minolta Photo Imaging (UK) Ltd. As always, all entries remain your own property and we require only single rights use in the context of the Photoworld Gallery pages. Slides are returned (you must send return p&p); prints and digital entries are only returned if you ask for them to be, and enclose return p&p.

Right: taken at Didcot Railway Centre Photographers’ Evening, February 20th 2004, by Brian Turner of Filton, Gloucestershire. Brian used a Minolta Dimage 7i, set to ISO 200, -1 EV, 2 second exposure at ƒ4, 90mm equivalent focal length, tungsten light bal- ance, processed from raw. Facing page: Peter Karry set up this home studio example using a Dynax 9xi with 90mm macro lens, exposing for 30 seconds at ƒ16 using tungsten lights. photoworld 12 13 photoworld Gallery Rules You may enter a maximum of three slides, three prints and three digital images every quarter. Slides must be in non-glass mounts, clearly labelled with your return address on each slide, and protected in a plastic sleeve or wallet. Prints must be no larger than 12 x 8"/A4, on glossy photographic paper NOT inkjet paper, unmounted, with name and address and caption details on the reverse. Digital images should be on an ISO 9660 Mac/PC readable CD-R, in RGB JPEG or TIFF form, file resolution set to 300dpi and should be a minimum of 1600x 1200 pixels in size. A printed contact sheet, or reference prints, must accompany your CD. Slides must be accompanied by return post and packing; prints and digital entries should be accompanied by return post and packing only if you require their return. Otherwise, they may be filed or destroyed as seen fit. Konica Minolta Photo Imaging (UK) Ltd and Icon Publications Ltd accept no financial responsibility for the receipt, safety or return of entries. We suggest entries are sent in within two months after receiving your magazine at the latest, but it’s best to enter shortly after getting your edition. You may send single digital entries consisting of a high quality JPEG from any Konica Minolta digital camera to [email protected] stating ‘Photoworld Gallery Entry’ in your email subject header, and including your postal address and all caption details in your email. Á

Top: our first entry from a Dynax 7 Digital user – St Andrew’s Church, Hertford, by Andy Johnson. Andy used the new 17-35mm ƒ2.8-4 D lens, at full aperture for 1/5th of a second at 800 ISO setting. See http://www. ukexpert.co.uk/photopost/showgallery. php?si=km+7d for more of Andy’s D7D photos.

Right: by Chris Mole of Danehill, Sus- sex. Chris has graduated from film to digital, being one of our regular con- tributors to Minolta Image many years ago, and later returning to ‘active service’ with the Dimage 5. He is now using a Dimage A1 – this great action shot is ‘Dive’, taken off the coast near Fiscardo, Kefalonia; 1/640 sec at ƒ8. photoworld 14 Above: Snow Deer, by Steve Bright. Scanned from film and submitted on CD – a seasonal subject submitted in September, just the right time to do so. Below left: the qual- ity and capabilities of the Dimage A2 are shown clearly in this shot by Barbara Mellor, a moth through a conservatory window in Devon. ISO 125, 200mm focal length equivalent, 1/200th at ƒ3.5. Bottom right: Hibiscus close-up by Tony Jones, Dimage A1, tele macro setting, ISO 100, ƒ5.6, natural light, Anti-Shake used.

15 photoworld Patience pays

t is always a difficult decision to make – whether to take a shot Iand move on, or hang around hoping conditions might improve. Such decisions are made all the more difficult if you are in the company of non-photographers or if the weather is cold, midgey, wet or misty – even more so when leading a photographic workshop, where a wrong decision could lead to much disappointment. Mist is always a frustrating element to work with and there are two, possibly three, tactics to consider. One is to drive around trying to find the edges of the mist where light quality and atmosphere is most dramatic. This can be expensive on fuel, especially if you find yourself driving in the “wrong” direction. An alternative approach is to decide on the image you want and to sit tight until the mist lifts and conditions improve. The problem here is that the mist may persist for Duncan McEwan is used to waiting for the light the rest of the day! In hilly locations, there is the option of climbing higher – it’s a trade secret for landscape specialists. to get above the mist – looking down on mist-filled valleys or But when do you pack in and go home?

photoworld 16 Left hand page top: the view from the roadside, the first sighting of the potential shot. Lower shot: viewed from within the field, from path leading from the entry gate. This page: above, the desired angle of view, with simplified foreground. Below: improved foreground clumps and better lighting as time passed, with the addition of a 0.6D (2 stop) neutral density graduated filter over the sky to reduce the brightness of the mist.

17 photoworld glens can be most impressive. brightness of the mist and introduce Such decisions were faced in a more varied density to this area, producing the images in this article. but the benefit was not convincing. The morning mist was fairly thick, but As the light brightened, some quite high, giving some opportunity colour began to creep into the for lochside and frosted tree pictures, scene. A polarising filter was added even although the lighting was very to remove reflections from the wet flat. Because of its variable thickness, surface of the roof, pulling as much it looked possible that the mist colour as possible from the rusty iron. might gradually burn off letting the The same effect was evident on the sun come through, but every time it bases of the rushes and the polariser looked promising, the thinning gaps also emphasised the touch of blue would close as the mist thickened up sky that was now appearing through again. A decision was made to hang the mist. As the mist cleared on the around the area, moving only short left, the shape of the tree assumed distances, rather than rushing around a much more dynamic form with looking for the edges of the mist. branches and twigs stretching out I actually drove passed the small into the top left corner and standing barn and tree, barely giving it a out more clearly against the blue. second glance, but half a mile down When the sun emerged fully, the the single track road the image of scene was instantly transformed it crystallised in my mind and an and the pace of change accelerated immediate about-turn was made. rapidly. The frost melted at an Once the scene had been assessed, amazing rate and it was just as well I it was easy to accept that this could was already in place, because within be the opportunity of the day and, minutes everything was dripping with every indication that the mist wet. With the frost gone and the mist would lift, I was prepared to wait for burned off, a clear blue sky with loch as long as it took. The next two hours and mountains beyond suddenly passed remarkably quickly, capturing emerged. A lovely scene in its own the scene as conditions changed. right, but I never took a shot, probably The composition from the mesmerised by what had preceded it. roadside appeared somewhat weak Did I anticipate the image I and a stronger foreground was ended up with? The honest truth envisaged by being closer. Entry to is “no”. However, I did appreciate the small field through the gate gave that the scene had potential and that an oblique approach which seemed should be a strong enough trigger for interesting, with three rams adding anyone. Recognising potential and an extra element to the scene. After then making shrewd judgements is a initially appearing inquisitive, they powerful combination of attributes proved rather timid and moved off that can produce rewarding results. stage which was rather disappoint- It had been a cold couple of ing. In the flat, grey light, the scene hours, but with no wind, it was not lacked colour but looked inviting and uncomfortably so and a flask of coffee various compositions were explored. added to the pleasure. Patience and A 0.6 ND graduated filter was tried anticipation had been rewarded. in order to reduce the uniform Á

Left: the same composition as the previous shot (bottom of page 17) but without the neutral density filter, giv- ing a more natural appearance.

Above: the final shot. Emergence of direct sunlight and slight lifting of the mist, aided by a polariser used to strengthen the blue of the sky and the contrasting colour of the rusty roof.

All photographs by Duncan I. McEwan. Duncan is leading various workshop weekends photographing Scottish landscape in 2005 – see club events page for details. photoworld 18 See website for CANYONS landscape shots you ve YELLOWSTONE Nigel Turner www.photographyholidays.co.ukIN THE USA always dreamed of taking Landscape Photography Holiday Workshops CANYONS ROCKY MOUNTAINS CALL NOW FOR NEW 2005/6 BROCHURE 01635 528355 n Winter in the Canyons 5 - 19 February 2005 n Springtime in the Canyons 2 - 16 April 2005 n California in Spring 14 - 28 May 2005 n Rocky Mountains in Fall Colours 10 - 24 September 2005 n Yellowstone & Grand Tetons in Fall Colours 1 - 15 October 2005 n Canyons in Fall Colours 5 - 19 November 2005 n Yosemite and Death Valley in Winter 14 - 28 January 2006 See article in this issue Pages 21-23 Windsor & Neate Travel. 107, Bartholomew St, Newbury. RG14 5ED

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In Arches National Park Utah. Above: Bryce Canyon

21 photoworld photoworld 22 perceptions, and if your choice lies before you quit the UK. The red rock invaluable. If I were doing it again, I’d a camera backpack seems the best between yet another lens, or a woolly country of Utah and Arizona may want a zoom that goes out to 300mm solution. If you are hiking further, hat, leave the lens at home. I was very be a rite of passage for landscape instead of 210. Monument Valley is I advise a regular pack because it glad of my heavy insulated jacket. photographers, but it suffers a another big landscape, but parts of carries better and has more room for Wise photographers take their curious dearth of camera shops. A it along the 17-mile loop road, most extra clothes, lunch, first-aid kit and supplies with them, including the film famine can spoil your entire stay, of Zion Canyon, and Arches National so on. In this mode, camera gear goes inevitable batteries and cleaning so be warned that consumer print Park offer mid-range and smaller into a photo “bum bag” augmented kit. Cable releases for manual focus film and maybe a little Ektachrome landscapes that will not especially if necessary with a small camera bag cameras can also, wearily, be labelled Elite is all you will easily find. tax your lens set. Cohab Canyon is a or pouches inside the rucksack. consumables, but electric ones are Your lens arsenal need not be gem of smaller-scale rock detail. Finally, if you want to load the far too expensive, so take care of extraordinary, but however much Carrying kit is invariably uncom- dice in your favour, don’t be yoked them. My favourite film stock is lateral freedom you have, perching fortable and inconvenient, and the with aesthetically constipated normal Kodachrome 25, now discontinued. on the rim of a canyon pins you at a best way to carry something through normals who don’t grasp the need With the Yellow God apostate, I pay fixed distance from an often distant air travel is not necessarily the best to freeze your tabs off at unearthly my tribute at the Green Shrine. If you subject. Longer lenses are more for field use. On the sort of tour where hours of the morning just to get do, too, stock up with ammunition useful than short ones, and zooms you rarely go far from your transport, your holiday snaps. Choose a photo tour run by someone who knows the area, arranges the logistics, and gets you up in time for the pre-dawn glow. I travelled with Nigel Turner Photography: point your browser at www.nigelturnerphotography.com or contact his agents Windsor & Neate Travel on 01635-528355. Á

Facing page: Bryce Canyon National Monument. This page: Arches National Park. Both national parks in Utah. Robert Bull used Minolta XE-1 or X-700 bodies with Minolta MC or MD 17mm, 24-35mm zoom, 50mm f1.4, and independent 90mm macro and 70- 210mm zooms. ‘Manfrotto 055 tripod used invariably’, he adds.

23 photoworld Minolta_DPS.qxd 13/9/04 9:54 am Page 1 Minolta_DPS.qxd 13/9/04 9:56 am Page 2 The Digital Jungle and how to cut through it.

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newspreadad.indd 24 20/12/04 2:56:19 pm Minolta_DPS.qxd 13/9/04 9:54 am Page 1 Minolta_DPS.qxd 13/9/04 9:56 am Page 2 The Digital Jungle and how to cut through it.

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newspreadad.indd 25 20/12/04 2:56:46 pm From slides and prints to digital – Xt copying

ot even owning a mobile Michael Gilroy found that the transparencies which had been duped phone, far less a computer, to approximately 6 x 7, and I started NI was reluctant to try Dimag Xt close focus and zoom out by photographing some of these digital photography. After giving using a small lightbox and an old up photographing animals for a allows copystand digital dupes Cullman camera support bracket. living and having sold all my 35mm The zoom was used at its full equipment plus a 3000APS compact from 6 x 7cm and larger originals 3X extension and the camera set which I have been happy with for at its closest focus. The camera the past couple of years, I had an handled these well and I was very open mind as to the next purchase. pleasantly surprised by the results. However, since it has become With a copy stand and lights possible to make your own prints instead of a transparency lightbox, without a computer, I thought I old prints can easily be copied. To would like to try out a small digital make digital copies from 35mm compact. I wanted something that slides a better camera – such as was small enough to fit into a shirt the Dimage A2 or Dynax 7 Digital pocket, was of good enough quality – is needed with the addition of to give reasonable prints and was a slide duplicator attachment. not to complicated for a beginner. By now the weather was Having studied all types of small improving so I could move outside digital cameras and reading as many and take some close-ups of garden reports as possible, I found that once flowers using a monopod. All the again my preference was Konica pictures were taken on fine quality Minolta – the Dimage Xt to be pre- and the other settings on auto. cise and this was the one I settled on. I remain very pleased with the When I purchased the camera camera and am glad I made the the weather was as usual, vile, rain Aquarium shots copied using the Xt – below left, Mink Tang; below right, Dusty move to digital and look forward and high winds but, being anxious Angel; above, Lion Fish. Michael’s original slides were Minolta 35mm shots copied to taking many more pictures. to try it out, I had some old 35mm to 6 x 7cm slide dupes – difficult to scan, but quick to digitise this way. Á

photoworld 26 This column – top, Mongolian Gerbil. Readers who keep small animals will have seen Michael Gilroy’s distinctive pictures in the most popular pet-keeping guides. Above: Family group, an old slide converted to digital using the Xt without needing a slide scanner, and with very natural results. Right hand column, butterflies: top, Lime Swallowtail; centre, Red Lacewing; bottom, Australian Cruiser.

27 photoworld Times move fast in digital and the Xt at 3.2 megapixels is now superseded by the Dim- age Xg with 5 megapixels as the top camera in the pocketable X range. It’s what we are still using at Photoworld though, as the results are more than adequate for ‘notebook’ use and reproductions up to 7 x 5 inches. For close-ups, composition on the rear LCD screen is recommended.

Top left: the grain of the enlarged slide shows in this copy of a close-up of a robin. Lower left: not a copy, but amongst the first direct digital shots Michael made with the Xt – Camelia flower. Right hand side top – Apple blossom. Above – Clematis. photoworld 28 INSURE YOUR KIT WITH US SUPERB VALUE PHOTO OUTFIT INSURANCE WITH A KONICA MINOLTA APPROVED POLICY INSURING A DYNAX 4 AND LENS could cost you as little as £12.00 a year under the repair service – this frequently happens with other insurers, because they negotiate a deal new Konica Minolta Photoworld revised Insurance plan. This is the basic premium for cheap repairs across the board. With our insurance you do not run that risk. In the event for a camera worth up to £300, and offers fantastic coverage for anyone travelling of any dispute, Photoworld is always there to provide impartial advice on the best course on regular holidays including long winter breaks, with 60 days abroad included of action. Photoworld does receive annual commission on the insurance scheme and this even if taken in a single block. goes directly into the budget to fund our sponsored lecturers, meetings and events, so by With a low excess of only 10% (minimum £35) and theft from locked vehicles using this insurance plan you are also supporting the Photoworld Club. covered subject to a higher minimum excess of £100, the policy is also suitable for semi professional users at slightly higher rates with a minimum excess of £50 Konica Minolta Photoworld Club Insurance offers: (but still at 10% beyond this). Typical premiums for amateur users are £45 a year • WORLDWIDE COVER – up to 60 days abroad at any one time for an outfit worth up to £1,600 or £100 a year to cover £3,500. Best of all, any • Cover for equipment left in your car (subject to conditions) repairs or replacements are guaranteed to be Konica Minolta specific, and the scheme • Low Excess level of 10% subject to minimums offers a unique ‘new for old’ provision as long as the premium reflects the value. Full Replacement (New for Old at insured value) Be sure to insure the value of digital cameras as an outfit. You may have bought • extra memory cards, flash, case and accessories like portable image storage drives • Genuine Konica Minolta Service Department repairs – all these can be insured as part of the your camera kit. Enquire for premiums to • ‘No Claim Discount’ of up to 15% cover your PC, laptop etc. • You may include non-Konica Minolta items which are part of your outfit If your camera is an older model, the nearest modern compatible equivalent Premiums start at £12.00 per year for a £300 value kit will be its ‘replacement value’. You must, however, insure it to this value. A vintage Konica Minolta Photoworld Insurance Scheme SRT303b with 50mm ƒ1.4 lens, for example, should really be insured for £500 and Glover & Howe Limited, 1 Culver Walk, Colchester, Essex CO1 1XJ not for its original cost of half that, or current value of around £150. That’s because a new SLR with 50mm ƒ1.4 is a surprisingly expensive item. If your equipment Tel: 01206 814502 Fax: 01206 814501 requires a repair under insurance, this will always be a Konica Minolta service If you are freelance, semi professional or professional, cover can also be offered, just department repair. You will never be required by your insurance to use a third party contact the above for a proposal form.

29 photoworld The water colour city

ur fi les of slides have been The Venice Carnival 2004 is from fi lm emerged with its unique palette busy recently as I extract of colours. Not one of the fi lm images Oand scan the best images January 28th to February 8th. looked as if it could have been taken for the picture library Alamy. While with a digital camera. The detail in digging, I found twenty or more Venice is uniquely suited to the 100 megabye images (big enough fi lms from a trip to the Venice for an A2 poster) was often held down Carnival which the Minolta Club traditional fi lm photography, as to grain level by the superb Minolta organised in the mid-1990s. AF lenses used on our 9xi and 7xi The Dimage Scan Elite 5400 David Kilpatrick has rediscovered. bodies. No matter how good a digital has transformed my ability to turn fi le from a professional digital camera archive slides into marketable digital may be, it can never look like this. fi les. By recording every grain of the It may look ‘better’ in some ways fi lm sharply at 5400 dpi, creating but for the atmosphere and antique images over 100 megabytes in size, colours, mist, light and drama of and simultaneously removing all Venice that strange assortment scratches and dust from E6 type of slide fi lms just hit the mark. transparencies, it enables me to That is not to say digital offer perfect shots. A little retouch- photographers should avoid a trip to ing work is sometimes needed, and the Carnival! It was revived again in I show one example here where a 1999 after a period of problems with darker sky was blended with a lighter funding, and the last few years have foreground and many TV aerials seen it grow back to its old status. removed. Most pictures only need Whether or not any of those Venice a little attention to fi ne detail. images sell through the library, The fi lms Shirley and I used I greatly enjoyed rediscovering for that Venice Carnival trip were 1000 speed grainy fast fi lm, polarisers (dichroic), graduated them with the help of the scanner extremely assorted. They included two different brands of 50 ISO colour fi lters and a wide range of and learning why I should not, 160 speed tungsten light fi lm with fi lm, and every speed between. lenses from 20mm to 300mm. perhaps, abandon fi lm for good! a conversion fi lter in daylight, We also used polarisers, colour Through the scanner, each type of Á

The original slides as scanned

Left and top: by Shirley Kilpatrick. Slide fi lm gives unique colour renderings. Below: a fi ltered tungsten fi lm shot by David Kilpatrick.

photoWORLD 30

venicedk.indd 30 17/12/04 2:44:17 pm Grand Canal view composed from two exposures scanned and merged, by David Kilpatrick. Bottom left: by David – see the original scan. Lightness and The water colour city colour adjusted in the area outside the campanile refl ection the emphasise the effect. Bottom right: shades of Casanova, by Shirley Kilpatrick. The new fi lm will make Venice a big attraction especially for the 2005 Carnival.

31 photoWORLD

venicedk.indd 31 17/12/04 2:44:55 pm the QUEST for perfection Photoworld sponsors Colin Westgate’s Quest workshops which welcome Konica Minolta users of all abilities. The Autumn programme includes a full course on digital imaging covering four days.

DIGITAl MONOChROME: To book any of these workshops and receive information on the difficulty or otherwise of ThE FINE PRINT on the 2005 programme, write to: Quest Photography, printing any particular negative. As with Les Mclean Colin Westgate, 2 Marine Parade, Seaford. East Sussex this workshop is time and materials (1 or 2 days, at Seaford) BN25 2Pl – or telephone 01323 897812 mentioning that intensive, it is restricted to TWO Monday/Tuesday 21/22 you have seen this in Konica Minolta Photoworld. PEOPLE ONLY, and this is reflected March 2005 in a higher than normal price. Les Mclean is best known for his Price £158 (deposit £50), superb darkroom work, but over the your ‘difficult’ negatives – even those split grading and paper flashing, includes sandwich lunch and past few years he has been using the that you might consider impossible to prints can be made from virtually all materials. 2 places only. computer to make many of his mono- print! As every negative is different, any negative, (providing there is chrome pictures. Building on his you will learn not only from Les detail on it!) including those which SPRING IMPRESSIONS darkroom experience and using high printing your negative, but also may previously have been dismissed with Colin Westgate quality pigment inks he is now pro- from those of other participants. as ‘hopeless’. The quality of today’s (1 day, at Leonardslea, nr. ducing prints he is happy to designate N.B. This workshop may be booked Multigrade and Variable Contrast Horsham, West Sussex) as ‘fine art’. In this workshop, he will either as one day, or both days. paper is now excellent, and the Tuesday 26 April 2005 demonstrate his techniques, includ- Price £125 both days (deposit amount of control and versatility This workshop will demonstrate ing a practical method of monitor £40), £65 either single day available is such that ‘graded’ the beautiful impressionistic effects calibration, scanning, use of curves, (deposit £20). 10 places (OFFER papers are now virtually obsolete. which can be obtained by using tonal controls and layers. He will also – book both days and come to Price £48, (deposit £20). various diffusion methods. The show how to make large negatives for Picture Forum for only £15!) Includes sandwich lunch & vibrant spring colours of the exotic contact printing and for alternative all materials. 4 places flowers at Leonardslea make an ideal processes, such as cyanotype. His lANDSCAPE PhOTOGRAPhY subject for this. After viewing work approach will be to replicate the con- with Colin Westgate EXhIBITION PRINTING and discussing techniques, we will trols employed in the darkroom - this (1 day, at Seaford) IN MONOChROME spend the rest of the day photograph- workshop is not a Photoshop tutorial, Wednesday 30 March 2005 with Colin Westgate ing in the gardens. Slide or negative but a practical means of learning Landscape photography is often (2 days, at West Mersea, film, or digital, can be used. This is how to obtain the finest aesthetic thought to be fairly simple and nr. Colchester) your opportunity to try something results. The second day will be spent indeed, it is not difficult to obtain Tuesday/Wednesday really different and exciting, with using negatives (or transparencies) ‘straightforward’ pictures. However, 5/6 April 2005 lovely images virtually guaranteed. from participants and working with results are often disappointing and to (subject to demand, additional dates Price £48 (deposit £20), 10 the author, making the best possible make outstanding landscape pictures by arrangement - please enquire) places. (Price includes Gardens images from them. A digital projector requires vision, and perhaps a new Quest’s ‘top of the range’ printing entrance fee and refresh- and large screen will be used so that way of seeing. In this workshop, we workshop, designed to enable you to ments (but not lunch) . all procedures will be clearly seen. will discuss the principles of land- get the maximum from your negatives Price £95 both days (deposit scape photography applicable to both and to make prints up to 16” x 12” ThE hIDDEN lANDSCAPE £35) £52 either single day monochrome and colour, including (40 x 30 cm.) in size, suitable for with David Lane (deposit £20). 20 places (OFFER the uses of various lenses and filters, use in exhibitions or for sale. Fibre (1 day, at Seaford and 1 day – book both days and come to choice of subject matter, selection of based papers will be used for the at West Mersea, Essex) Picture Forum for only £15!) viewpoints, principles of exposure, highest quality, and prints will be Saturday 30 April 2005 use of light, dealing with movement archivally processed and optionally at West Mersea NEW WORKShOP! etc. A review of participants pictures selenium toned for maximum depth. Sunday 1 May 2005 DARKROOM MASTERClASS will also be undertaken. After lunch, Advanced techniques, such as split at Seaford with Les McLean we will go into the landscape for grading, pre and post flashing will be There are probably more people (1 or 2 days, at Seaford) some field work, where you will be employed as necessary. The number photographing the landscape than Wednesday/Thursday able to put into practice what you have of prints produced will depend any other subject - yet it remains 23/24 March 2005 learned from the morning session. Despite the rush to digital, the Price £48 (deposit £20). 10 places darkroom is very much alive and kicking, and a well crafted mono- ADVANCED MONOChROME chrome print has a quality all of its PRINTING own. Les McLean is a highly qualified with Colin Westgate printer, having spent many years (1 day, at West Mersea, making fine prints, using techniques nr. Colchester) such as split grading, post and pre Monday 4 April 2005 flashing with white light, two bath (subject to demand, additional development and many more. In this dates by arrangement – please ask) workshop, he will demonstrate these This workshop is intended for techniques by using his own negatives photographers wishing to improve and a selection from participants. and expand their printing skills. Photo by Colin Westgate You are therefore invited to bring Using advanced techniques such as photoworld 34 one of the more difficult areas of the the past few years, but by request, Topics covered will include scanning, these problems, so that you can be art. Results are frequently disap- it is again being included. This will selections, layers, masking, hue & confident of getting good results. pointing, with the camera failing to therefore be your opportunity to saturation, levels and curves. Hugh Hugh will outline his techniques for adequately portray what was seen by photograph an attractive model in has exhibited his digital pictures using the material, illustrated by the photographer. David Lane’s vision a stunning beach location, and in extensively in recent years and has examples of his work. He will then of the landscape is rather different to one or more other settings. The been extraordinarily successful, show you how to load and handle most – he seeks the intimate detail workshop will be under the direction winning numerous medals. A the film, which has to be done in usually overlooked by others, some- of Eddie Sturgeon, for whom this digital projector and large screen controlled, dark, conditions. The times moving to within inches of his type of photography is a speciality. will be used so that the procedures afternoon will be taken up by location subject, . His pictures are subtle and Help and guidance regarding poses, demonstrated can be clearly seen. work in the nearby landscape. sensitive, and not nearly so weather angles and exposure will be given, Some previous experience is Hugh Milsom has been making dependent as in normal landscape and everyone will have time with the recommended but is not essential. pictures with infrared and Technical photography. Photographers attending model to request individual poses. Price £48 (deposit £20) Pan for many years, and is the this workshop can hardly fail to be Furthermore, if you would like to includes lunch. 20 places. author of two book – “Earthsong”, inspired. David will initially show bring along a model of your own, you Creative Monochrome (1995) and his his work, which will be followed by would be most welcome to do so. INFRARED PhOTOGRAPhY second, a definitive guide to infrared practical field work in the landscape.. Price £62 (deposit £20). 8 places. and TEChNICAl PAN FIlM photography, was published in 2001. David Lane lives in Tynemouth, with Hugh Milsom MFIAP Price £58 (deposit and his work is highly acclaimed. DIGITAl COlOUR (1 day, at Seaford) £20). 10 places. Many of his pictures are held in ThE FINE PRINT Friday 17 June 2005 SPECIAL OFFER – both private collections and galleries. with Hugh Milsom MFIAP (date to be confirmed – please Hugh Milsom workshops £90 Price £62 (deposit (1 day, at Seaford) check before booking) (deposit £30) – save £16! £20) 10 places. Thursday 16 June 2005 Infrared and Technical Pan are both Á (date to be confirmed – please specialised films capable of giving NEW WORKShOP! check before booking) superb, but different, pictorial results. MODEl ON lOCATION Hugh Milsom’s digital colour prints The effects obtainable with mono with Eddie Sturgeon LRPS have a wonderful subtle quality not infrared film are often very distinctive (1 day, at Seaford) often seen elsewhere and in this and artistic, but can be unpredictable Saturday 7 May 2005 workshop, he will demonstrate the and difficult to handle. Hugh’s many We have not run this workshop for techniques used to make them. years of experience have resolved

35 photoworld he danger, in using any fisheye twice than risk having an extra lens, so everyone is advised, is unattached arm entering the image. Tthat the photographs tend to 180 degrees If you are using digital, the fisheye become too stylised and repetitive. lens is not as effective because you So when I had the opportunity to buy do not get the full frame but it can a 16mm Minolta full-frame fisheye still be used for wide-angle work and lens, I was almost put off from the special utilities for Photoshop allow purchase. The full-frame version is and no you to straighten out the curved lines. not the instantly recognised circular Of course, one of the early image, but fills the full frame across problems was that I got my own feet the 36 x 24mm film. My advice to appearing at the bottom of picture, you now, after going ahead with my especially when using the vertical purchase, is not to be diverted. shade… format. Another typical problem is You can differentiate the types casting your own shadow into the of photographs you take with this frame – what a good reason for not accessory, and it is such a fun lens to Peter Karry looks at one of the taking photographs with the sun use that it becomes a danger to the behind you! The old rule of having health of your other lenses. On the unique benefits of shooting film the sun behind you when taking pho- basis that the more you use any lens, tographs really does not apply most the healthier it becomes, you may just – the fuil frame 16mm fisheye of the time in my photography, but find yourself using it over and over there may be no option with a fisheye. again. Obviously with such a short If the image you want to capture focal length, giving an ultra-wide is directly opposite the location of angle of view, there are several pitfalls the sun, you may need to get down to watch out for. Although it does not low and shoot upwards, or hide your quite reach across 180° horizontally own shadow amongst other naturally (it is only this on the diagonal) it is cast shadows by the scenery around very easy for unnoticed items to come you. What you can do, and that I into view. You must watch the edges of really enjoy, is more easily to shoot your camera viewfinder much more into the sun’s rays (“contre-jour”). often than you normally do. This dis- This can be controlled because the cipline must extend to doing this even sun’s disc becomes so small, that you after taking the shot, and if there is a can hide it behind some aspect of suspicion that something new and dis- your photo. I have hidden it behind a tracting has crept into the image, wait fountain, and even behind the cables until it has disappeared or adds to the that supported a bridge. The danger composition, and take the shot again. The curved lines created by the fisheye lens are well suited to subjects which are of flare stills exists if you have the In these circumstances, film is curved to start off with, like these fishing boats which Peter found at the Algarve vil- sun’s disc in the picture, but because cheap, and better to have your picture lage of Armacao de Pera. Both photographs with Dynax 8000si and 16mm AF lens. it is small, from many places the

37 photoworld This page: a vertical view can work well in cities – Admiralty, Hong Kong, skyscrapers, 16mm AF at ƒ11 on 8000si.

Facing page top: curved lines, and a nearly central horizon, reduce the distortion effect in this shot at Agra Fort in India. Bottom: a sea horizon does the reverse and really shows the curvature but the rocks at Ponte de Piedade, Algarve, look good.

photoworld 38 amount of flare is still minimised. (or averaging) metering. the closer they are to staying straight, your shots can take this approach. In all situations, extra care of the Often, you will find this lens being and some lines appear straight Another benefit lenses like those exposure needs to be taken. used to take landscape and architec- because they fall on a radius of the made by Minolta in the past for both I would always use the camera’s tural photos. Straight lines tend to be image. There may be a good case for MD and AF systems, is that they have spot metering facility if avail- bent by the fisheye, and the nearer to having the horizon in the centre of built-in filters. The yellow and the able, to check what exposure to the edge of the frame, the more they the picture, which is opposite to the orange are really effective with black use – although 1 may just take curve. Conversely, the closer radiating normal advice, because this will then and white photography, but can also 2 shots, one with spot metering, lines are to the centre of either the be straight. If the picture is balanced, be used as a creative tool when using and another with centre weighted short or the long side of the frame, forget the rule-book, and see whether colour film. You can use the benefit

39 photoworld There are many compositions which can look natural with a 16mm fisheye. Above, suspension bridge in Portugal – note how the radial lines appear straight. Below left, paperweights – round objects which work well in curved renderings. Below right, central horizon at the Taj Mahal. It’s clearly a fisheye shot but still acceptable.

that the lens will focus to items very lens extends beyond the lens rim, it is close to it, by taking close-up shots. very easy to catch dirt or fingerprints With the great depth of field, this on it. A soft cover is provided to pro- means that subjects can be kept tect against this, but it still happened sharp, especially if you use depth of to me. The small amount of smudge field techniques to maximise this. did however significantly increase ‘People photography’ is extremely the flare, so I could see the impact, popular, and another occasion and it became really necessary to when you can find the fisheye of correct this. I preferred to send it enormous benefit, is when you find back for cleaning and checking to yourself in the middle of throngs Konica Minolta, rather than risk using of people, and want to portray the any chemicals to clean it myself. vastness of the crowds. Once again, So, by using this specialist lens, you will need to be very disciplined creativity can be encouraged, in and watch for extraneous details terms of breaking the rules, and creeping into the shot. You will building up individual style. This is end up with some aspects of the quite the converse of what many peo- crowds becoming very dominant ple think. If you feel like giving it a – usually the nearest heads, but this try, you could always hire one, before effect can have its own impact. deciding to buy it – so good luck! Because the front element of this Á photoworld 40 BATTERY BUSTER Dynax (Maxxum) series autofocus SLRs Autofocus and Focus-free compacts (modern series) Konica Film Cameras

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