DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

© Leica

 

In 2015, Leica Camera AG launched the Q-Series and introduced a completely new family to its collection. Now in its third generation, the compact full-frame Leica Q3, with a fixed focal length of 28mm, inspires people all over the world. In addition to the unrivalled standards of design, workmanship, image quality and operation, the success of the Q-Family is especially attributed to its close dialogue with its users, and so with this new launch, Leica fulfils a frequently expressed wish by introducing the Leica Q3 with a 43mm fixed focal length.

At the heart of the new Leica Q3 43 is the specially developed lens. The APO-Summicron 43 f/2 ASPH. not only joins the family of the legendary Leica APO lenses, which rank among the best in the world, but also stands out in the current Leica portfolio, as the focal length mirrors the natural perception of the human eye. This allows for the realistic composition of distortionfree motifs through the high-resolution OLED viewfinder. As a result, the versatile 43mm focal length is perfectly suited for street photography and portraits.

The Leica Q3 43 creates extraordinarily sharp, high-contrast images in any lighting condition and still maintains its compact, lightweight form, even with the complex construction of the apochromatically corrected lens with four aspherical lenses. Also, as with its sister model the Leica Q3, the Leica Q3 43 also features an integrated macro mode for close-ups.

 

© Leica

 

The new APO lens delivers superior performance at its maximum aperture of f/2. making it possible to separate subjects from the background with a harmonious bokeh. Combined with its outstanding ISO performance, the APO lens enables short exposure times, even in low light.

Photos and videos can be taken at the 43, 60, 75, 90, 120 and 150mm focal lengths by using the frame lines displayed in the 5.76MP OLED viewfinder, or on the tiltable monitor with the touch function. That way, an image with a resolution of approximately 5 megapixels is created with the highest selectable sensor resolution of 60 megapixels. This high resolution is maintained even at the maximum 150mm focal length, offering exceptional flexibility for photography and filming in an extremely compact form.

In addition to having a different lens than the original Leica Q3, the Leica Q3 43 also has a new grey leather outer, which contrasts elegantly against the black camera body whilst honouring the timeless design for which Leica cameras are globally renowned.

With easy-to-use Wi-Fi and Bluetooth connectivity, the Leica Q3 43 ensures a seamless mobile workflow, especially with iOS devices. Certified as a 'Made for iPhone® and as an iPad®' accessory, it offers an exceptionally smooth connection experience. When connected to the Leica FOTOS app, data can be transferred quickly and reliably, and creative Leica Looks can be easily loaded onto the camera. The launch of the Leica Q3 43 is complemented by the introduction of a new Leica Look: Leica Chrome, which can be applied to the JPEG and gives images an analogue charm. The expanding range of Leica Looks allows for the creation of unique, creative and striking images directly in the camera, ready to be instantly shared with the world via the Leica FOTOS app.

Both Leica Q3 models carry the same DNA. Like the Leica Q3, the BSI CMOS full-frame sensor with Triple Resolution Technology in the Leica Q3 43 gives you a choice between a resolution of 60, 36 and 18 megapixels. The camera's ISO range of 50 to 100,000, coupled with a highprecision, fast hybrid autofocus system, and a tiltable 3-inch high-resolution touchscreen, makes this robust IP52-rated device the perfect tool to capture your unique perspective. In addition, the Leica Q3 43 offers the possibility to connect external RØDE microphones via USBC. Whether you're shooting in 8K resolution or capturing stunning photos, this Germanengineered camera seamlessly integrates into your daily creative routine, allowing you to capture stylish shots with unparalleled Leica quality in any situation.

 

© Leica

 

The Leica Q3 43 fits comfortably in your hand, especially with the new optional multifunction protector crafted from sleek black leather. It features an integrated grip, provides direct access to the battery, and can be swiftly mounted on tripods with a compatible quick-change clamp thanks to its Arca-Swiss compatibility. The Leica Q3’s practical, comfortable and stylish accessories are also available for the Leica Q3 43. These accessories include a unique wireless charging handgrip that works with the elegant Drop XL Wireless Charger for inductive charging, a range of protectors and carrying straps in various leather colours, and a selection of stylish thumb rests, soft release buttons, and colourful round retro lens hoods, all of which enhance the individual look of the Leica Q3 43.

The Leica Q3 43 is available globally at all Leica Stores, the Leica Online Store and authorised dealers from today, for the retail price of £5,900.00 including VAT. The retail price for the new multifunction protector with integrated handgrip is £220.00 including VAT.  

For more information, please visit the Leica website.

 

    1. Be Patient  Photographing lively animals like cats is all about patience – try not to get frustrated if your animal won't do what you want. Remember, it is at heart a wild animal and they won't always do what you want them to do. You might want to sit around with your camera without taking photos a few times too so they get used to seeing the camera and won't attack it or run away when you take it out of its bag.   2. Be Ready The most difficult thing about photographing animals, no matter how large or small, is that they move at the most inopportune moments. Setting your camera to continuous shooting mode may help you capture a good shot as they run off in a different direction. DSLRs feature quick continuous shooting modes but don't worry if you're not a DSLR owner as many compacts also have a continuous shooting mode built-in. Compact camera owners can also switch to sport/action mode to increase your chances of getting a blur-free shot.    

 

3. Ask For Assistance 

If you are looking to capture some action or movement shots, get someone else to play with your cat, distracting them so you can get some shots of them swiping and jumping without them going for your camera. Try getting your cat to run by throwing a toy or treat, and snap it in full run. Quicker shutter speeds or switching to sports/action mode will help you freeze your cat's movement. To further enhance the feeling of speed, pan your camera, following your cat as they run. This will, hopefully, keep your cat sharp while the background is thrown nicely out of focus. If you don't want to have a go at panning, pre-focus on a spot where you know your cat will run through and hit the shutter button when they come into frame.

 

4. Candids & Close-Ups

Another technique, to create a more wild effect, is to watch your cat outside for a while and snap more candid style shots of it hunting or climbing on a wall. Try shooting side-on so you can get a shot just as it leaps into action.

If you want some close-up shots of your feline friend, try dangling a toy above it to get it to look up from the ground. You could also try getting your cat to paw at you to give the impression that it's leaping. Dangling a toy will also encourage your cat to keep still and keep its attention focused, to stop it from wandering off. For less action-based shots, why not try capturing it lying down or stretching. Some really lovely shots can be taken while they're resting/sleeping, for example.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition  

© Artur Stankiewicz / Nikon Comedy Wildlife Awards

 

Nikon is delighted the announce the highly anticipated shortlist for the 2024 Nikon Comedy Wildlife Awards. The selection from this year's finalists features 40 standalone images, 4 portfolio images, and 3 video entries – each capturing the remarkable beauty and humour found in the world's most extraordinary wildlife.

Once again, the world's most entertaining wildlife photography competition has attracted a record-breaking number of exceptional and amusing entries. Nearly 9,000 submissions from 98 countries are competing for this year's top prize – a once in a lifetime, one-week safari with Alex Walker's Serian in the Masai Mara. Among this year's standout entries include a cheetah playfully hiding behind a tree, a pair of bears sharing a warm embrace, a fish in pursuit of an eagle across the sky, and even a tiny flying squirrel exuding the confidence of a Mafia boss.

Stefan Maier, Nikon Europe Senior General Manager Marketing says: "We are thrilled to unveil the finalists for the Nikon Comedy Wildlife Awards, showcasing the incredible talent and creativity of photographers from all around the world. These images capture not only the humour and charm of wildlife, but also highlight the importance of conservation in a way that resonates with people of all ages and from all different walks of life. At Nikon, we are immensely proud to be part of a competition that brings both joy and awareness to the wonder of our natural world."

 

© Jörn Clausen / Nikon Comedy Wildlife Awards

 

The final shortlist will be reviewed by a panel of industry-leading photographers, including Nikon Creators such as Cameron Whitnall, Lara Jackson and Roxy Furman, along with Nikon Ambassadors Daisy Gilardini and Charie Hamilton James. The public can also have their say and vote for their favourite entry online, as voting is now officially open for the People's Choice Award, sponsored by Affinity Photo. This offers the public the opportunity to vote for their favourite comedic photo from the finalists, whilst also entering a free prize draw for the chance to win £500! Simply head to the website and vote via the People's Choice link.

The overall winner, along with the category and highly commended winners, will be announced on Tuesday 10th December at a dedicated awards night in London. This will be followed by a glorious, free exhibition, taking place for one week only from the 10th - 16th December, where Nikon will showcase the magnificent work of the 2024 Award Finalists at the Gallery@Oxo.

Each year, the competition supports a sustainable conservation organisation and once again, Nikon, in partnership with the Comedy Wildlife Awards, is delighted to be working with Whitley Fund for Nature (WFN - a UK charity that supports conservation leaders working in their home countries across the Global South.

 

© Philippe Ricordel / Nikon Comedy Wildlife Awards

 

Competition Categories include: 

• Alex Walker's Serian Mammals Category 
• Spectrum Photo Birds Category 
• ThinkTANK Reptiles and Amphibians Category 
• Fish and Other Aquatic Species 
• Insects Category 
• Nikon Young Photographer (up to 25yrs.) 
• Nikon Junior Category (up to 16 yrs.) 
• Amazing Internet Portfolio Category 
• Video Category 
• Affinity Photo People's Choice Award (after Finalists announced)

 

The punchy shades of autumn give a photographer the perfect opportunity to capture images with a much more arty feel. For those who enjoy playing around with Photoshop there's a way to turn your autumn forest shots into streaks of bold colour in a few easy steps, or you can create a similar look in-camera if you prefer. If you're out on a breezy day there's a third way you can create autumn abstracts by capturing the movement of leaves. 

 

1. Move Your Camera And Lens

This technique is better known as a drag landscape and we have tips on how to do this in a previous article we published back in the spring. To summarise, you set the exposure going then drag/pan the camera in a particular direction. By doing so the trees will be turned into strong lines of colour that give a twist to the normal autumn shot.

You can also focus in on the leaves and play around with your panning directions to create movement in the image. Moving in a circular motion can work particularly well when you're working with the canopy which tends to have less prominent lines and hard edges. Experiment with the size of the circle you 'draw' as again, this will alter the shapes in the image. 

  2. Create The Look In Photoshop

If you've got a few autumn shots hiding away in your computer's folders you can recreate the look the above technique creates in Photoshop. For step-by-step tips on how to do this, take a look at this tutorial: Abstract Autumn Shots In Photoshop

While you have Photoshop open, why not turn your Autumn drag landscapes into a Triptych too? 

  3. Take Your Images On A Windy Day 

Instead of worrying about wind movement of trees spoiling your shot, take advantage of the weather and emphasise the movement. A long exposure will render the autumn leaves into a creative blur. If you're going for a landscape shot where trees are featured but you do have other parts of the scene you don't want to be so blurred, do make sure you take plenty of images as you don't want to head home and find out nothing was actually sharp in frame. You can then just delete the ones you don't want to keep. You will also have to experiment with shutter speeds to ensure you get movement in the leaves but not in other parts of the image. You could achieve the desired result with multiple exposures, too.    

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to CarltonR (Day 15 - High-Up).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 10

Music Photography

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Day 11

Shopping

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Day 12

City Skylines

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Day 13

Stairs & Steps

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Day 14

Lights

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Day 16

Rugged Landscape

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Techno (Day 25 - Motion).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 24

Market Stalls

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Day 26

Good Weather

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Day 27

Mountain Landscapes

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Day 28

Forests

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Day 29

Arboretum

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Day 30

Autumn Close-Ups

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

 

When buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

 

1. Composition - Don't Forget The Basics 

When shooting upwards expect the building to slope inwards at the top, especially when a wide-angle lens is used. Move to a higher position to reduce the distortion or use a special shift lens that's designed to correct perspective but these are expensive and aren't really a sensible option for the casual shooter.

Try to include the whole building by using a wider angle lens or stepping back to a more suitable viewpoint. Choose the position carefully. The same building could be shot head-on, at an angle of, say, 3/4 or by using a telephoto to capture a section with a more graphical feel. Don't forget you can zoom with your feet as well as your lens, too. When it comes to focusing, manual is your best option. 

  2. Exposures

When the sun goes down the light changes in two ways; firstly the exposure time required increases and secondly the colour of the light becomes warmer. Let's first look at the exposure. In low light, the shutter speed that's necessary to ensure a good exposure will usually be too long to avoid camera shake when hand-holding the camera. Using a tripod enables you to shoot at these long exposure times of between 1/15sec and several seconds or even minutes. If you don't have a tripod you can usually find a wall, lamppost or tree to support the camera, which can help considerably. Or you can try switching to a higher ISO as most cameras now cope well in the higher ranges. This means that in low light situations, such as shooting buildings at night, you can take photos with minimal noise or blurring. You'll also want to put your camera's self-timer into action or use a remote release if you have one as even pressing the shutter button can introduce shake that'll leave your with blurry shots. Consider using the Mirror Lock-up function, too which can be accessed via your camera's menu. 
 

3. Metering

Low light can also fool the camera's meter and this happens because it looks at the mass of dark and tries to compensate to make it mid-grey. By doing so, you get an exposure time that is too long for all the illuminated parts of the scene, such as neon lights, street lights or spotlit areas of a building as they become grossly overexposed.

To avoid this, you need to compensate for it. As a guide, use your exposure compensation setting to reduce the exposure by a couple of stops when most of the area is in darkness and by one stop when the building has a medium coverage of illumination.

 

4. Colour Balance

Illuminated buildings offset against a dark sky can look great, but you have to be careful with the colour as there can be a slightly orange or yellow cast created. Buildings illuminated by artificial light can also be problematic, depending on the lighting used in them. Two popular types are Fluorescent and Tungsten. Fluorescent tend to be used inside in offices and Tungsten in spotlights that part illuminates buildings.

With digital cameras, you can preview the image to check the colour balance and if it doesn't look right, just change the white balance setting you're using. Cloudy will warm your shots up while the Tungsten options will give your images a more blue tone. 

  5. Security

Take care when carrying a camera around at night, especially if you're venturing off the beaten track. Keep alert and where possible, take a friend with you.

  6. What To Capture 

Look for tall buildings you can shoot from. From up high you'll be able to shoot skylines as well as focus on single buildings. For something different, try to shoot the same location in daylight and in the evening. You'll soon see how buildings have a very different feel at night. Cropping in on illuminated buildings can make the image more striking and reduce the black from the surrounding, unlit areas. To give streetlights a 'starburst' use a small aperture which will also give you front-to-back sharpness in your shots too. Exposure times will be longer but if you have your tripod, this won't be an issue. If people are still exploring the city you can use them to add more interest to your shots. Get creative with silhouettes against well-lit structures or how about using slightly longer shutter speeds, say 1/2 a second, to blur the movement of people who pass through your shot. Don't increase your exposure times too much if you want to keep the patterns people create passing through your images though as anything above 15 seconds will probably remove them from your image. Bridges can be used to draw the eye through the image to a particular structure or focus your attention on famous buildings and landmarks which are guaranteed to be lit-up at night.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition  

 

1. Gear Suggestions

• Wide-angle lens
• Polarising filter – Helps boost colour
• ND Grad filter – Balances the exposure of the sky and foreground
• Waterproofs – It rains a lot in the UK!

  2. When To Take Your Shots

Early morning or the end of the day is perfect for autumnal photography as the warm colour temperatures of the setting or rising sun boost the autumnal shades. The end of the day tends to be warmer than early morning too which is good news for those stuck in offices all day. Keep an eye on the weather forecast for the evening before you plan on heading out as a cool night helps the autumn shades develop.

Another advantage of heading out of the door early in the morning or later in the evening is the light is more diffused which means the difference between light and shadow areas isn't as extreme. It's still worth keeping an eye on your histogram, something which can be done in Live View on many cameras which means you can see the histogram display change as the scene in front of you alters or as you make tweaks to the exposure. This not only saves times but is a lot easier than making changes, taking a shot then checking the histogram. 

If the sky's proving to be a problem as it's too light, fit an ND filter to your lens to balance the exposure. Of course, if you're not an early riser and don't fancy heading out after your tea you can use editing software to boost the autumn colours in your shots too.
 

3. Where To Go

The Lakes, Peak District and the Brecon Beacons look particularly impressive during autumn but really you just need to go somewhere that gives you a little bit of height and a few breath-taking views.

 

 

4. White Balance

Switch from auto to cloudy or shade to add an extra level of warmth to your shots that really boosts the autumn shades.

5. Look For Contrast

If you're shooting sweeping shots of a forest canopy from a hillside have a look for spots where the oranges and yellows are broken up with greens. Lower down, shoot at the forest's edge, using the shades of a field to contrast with the orange tones of the forest.

Golden coloured leaves pack some punch when framed against a blue sky but don't dismiss dark skies either as overcast days can give you moody, richer looking images. Rain clouds look great on the horizon and once the rain has passed, colours naturally become more saturated. If there's a breeze blowing have a go at using slower shutter speeds to capture the movement of leaves and branches as they blow in the wind to give your images a more abstract feel.

 

6. Foreground Interest

For sweeping scenic shots, it's important to have foreground detail to add depth and to fill what can be a big empty space in front of the lens. It can also add a sense of scale to a shot but don't fill it too much as your shot will end up looking too busy and it'll be hard for the viewer of your shot to find a single point of focus on.

Large rocks and tree stumps work well as foreground interest or you could try setting up your composition with an object that can lead the eye from the front to the back of the shot. Paths created by walkers, streams, walls, fences and bridges all work well. Just remember to use a small aperture (bigger f-number) such as f/11 to keep front to back sharpness.

If you don't want to shoot wide pick up the telephoto lens and use it to focus on a particular point of interest, using its pulling power to isolate your subject.

Remember: Get out of bed early or be prepared to stay out later if mornings aren't your thing, use foreground interest, keep it simple and think about composition before hitting the shutter button.
 

.photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } A wideangle lens allows you to include all the elements of this street scene, but the aggregation doesn’t make a great picture – it’s most useful as a description of the place. But there are lovely pictures to be made of details – the columns of the old courthouse (white building behind the bus), the elaborate redbrick building, and the ironwork on its roof, the lights and louvres on the bus. Even the coloured road surface and markings offer pictures, with a standard or short telephoto lens.  

Greed is one of the seven deadly sins for Christians, and I hope to show you that it is also a photographic sin. It can take several forms, but the word was applied to pictures by one of the photographers who came along to my Sunday photo walks. She used it to mean trying to fit too much into the frame, and this is certainly something that I’ve been guilty of at times. Occasions when there are just so many lovely elements in a scene that one is left trying to decide what to omit, what to edit out. Although the picture is really about the breakwaters and the waves, the sky above has lovely clouds in it and it is very difficult indeed to decide to crop them out.

I’ve written before about the importance of paring the image down to the bare essentials, and my admiration for those photographers who can do this. This process starts with taking the image, and continues in editing as we realise which elements of the image may not be essential, and which may be a positive distraction. Part of the art of making any picture is to give the subject a degree of isolation from its surroundings, even when those very surroundings provide the context in which the subject needs to be seen.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Hungarian professional model Fanny Mueller, photographed at Basford Hurst Cottage Studio, using a Sigma 105mm f/1.4 lens at full aperture to separate her from the wood panelling behind her. The wide aperture has allowed detail in the background to blur, even though it’s less than three feet behind Fanny.  

How to achieve that isolation? One way that I love a lot is to use a wide aperture lens and throw the background out of focus. This is one of the reasons (but only one) why portrait photographers prefer to use a short telephoto for faces, because they offer greater defocussing of the background than lenses with shorter focal lengths. Another is that a more distant camera position means that different parts of the subject’s head are all similar distances from the camera, which gives more natural perspective. A wideangle lens very close to the face may mean that the ears are twice as far from the camera as the nose, giving the model a very large nose indeed.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Three views of the Kelpies in Falkirk (although the right-hand image is simply a cropped version of the middle picture). A wideangle lens close up minimises the size of background objects, and thus makes them less prominent in the picture.  

Another is to look very carefully at the available angles and distances for shooting the subject, and to choose as plain a background as is possible. There’s no substitute for knowing the territory if you want to shoot in a hurry: in one day, my friend Roy (whose screen-name is kaybee on this site) showed me excellent and unusual vantage points for the Kelpies, the Falkirk Wheel, and the three bridges over the Firth of Forth. I won’t say that a keen shooter couldn’t find all the vantage points we used, but I reckon that it would have taken a couple of days to do so.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } You might walk down the right street to see the two houses with a see-through garage space allowing a view of the Forth Bridge – but my friend Roy knew that it was there, and led me to it…  

A second form of greed is to want to take all the possible photographs of a subject before leaving it. Sometimes, that’s entirely justified – most Apollo astronauts didn’t get the chance to go back and take another shot of Earthrise! But usually the photographer has the chance to take many more pictures than are necessary: As our mothers taught us when we were learning to feed ourselves, it’s important to know when to desist. It’s important to work the scene (as Gil Grissom always said in CSI), but once we’ve been thorough it’s time to stop (can you hear William Petersen’s American pronunciation? That’s a real mark of an excellent TV series!).

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Too many similar shots, and none of them any good: my attempt at ‘spray and pray’ with an unfamiliar action subject. I’d have done far better to take a couple of single shots. But at least this was a moving subject: so often, I’ve seen a photographer taking the same shot time and again, rather than stopping and trying to find a slightly different way to make a picture. It’s a particular risk with newcomers to studio work with female models.  

There’s a subset of this form of greed which comes into play when there’s a popular subject, and only one place to stand… I’ve heard tales of the places where there are rows of photographers seeking the same landscape with their tripods interleaved. At that point, why bother? All of the pictures are going to be substantially the same, and it’s not a matter of finding a different way of seeing... A very similar thing can happen at group shoots and workshops, where, if one person finds an innovative pose or angle, everyone else wants to copy it. As the person running a workshop, I’ve found this both time-consuming and annoying – if it isn’t dealt with quite firmly and rapidly, it can end up with everyone getting two runs at each setup or idea, and a general loss of direction.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } I’m not sure exactly who I was copying with this shot… there have been so many images of similar subjects stacked up, and I’m sure that someone else has taken a row of Post Office vans in early sunshine. It’s always worth a frame or two, even if you don’t think the results will win a club competition. Every image is a learning experience.  

An aside: when you’re starting out with any given genre, it’s obviously a good learning tool to copy someone else. How many art and craft classes at school do you remember where the teacher showed you an example, and you then copied it in every detail to learn the techniques that you could go on to apply to your own ideas? I still have the tray that I made at school, with the oak sides and ends dovetailed together, and just like all the other trays (so much like each other that someone swapped his wood for mine, because my joints were a little better than his…)

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } The English Lake District is full of beautiful places, and of tourists, many with cameras. But you don’t necessarily have to rush to the hot spots: there is beauty to be found anywhere there’s a tree that stands out and adds punctuation to the landscape.  

And that leads on to a further form of greed, prevalent with landscape and wildlife photographers, who want to visit every one of the places that have become famous for the images made there. Yosemite National Park in the USA, Ashness Bridge in the Lake District, and Lofoten come to mind. With all such places, it may be an entirely valid desire to go and experience the place – but does one need a camera for that? And even then, in our increasingly climate-challenged world, is that a responsible choice as opposed, for instance, to a week in Scarborough or Tenby?

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } A small religious community in a remote Italian village? It’s actually Caldey Abbey, on the lovely island of Caldey, 25 minutes’ boat ride from Tenby. ‘The road less travelled’ (to quote the title of Robert Frost’s poem) is often rewarding, and frequently surprising. And that has made all the difference…  

Maybe if one is visiting any of these tourist traps, the challenge (should you wish to accept it) is to find a different image, maybe of the people. And I wonder if it would deter the flocking photographers if there were Disney-style signs saying ‘Take your photographs from HERE’? Maybe Greenpeace will start erecting them in the interest of protecting the landscape from erosion…

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } What is ‘too much’ equipment? Each of the lenses in this bag has a purpose and particular applications, but on any given occasion, I’m likely to take only one or two of them with me.  

A final form of photographic greed is the desire to have every lens or every flash modifier in our possession. More than once I have admitted to being too much of a collector of equipment, But with advancing years, I am slowly learning that most of the time I don’t need very much kit at all. Some people are born collectors, and they find it really difficult to own less than the full range of this or that. This tends to lead to an excessively heavy camera bag, with consequent back problems. What is less obvious is that in the time that it takes to decide on and fit the ideal lens, one could have taken a really good picture with the lens that’s on the camera already.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } I own a number of camera systems, and that means that certain focal lengths are duplicated between systems. It’s unlikely, though, that any photographer would want to take all of these out on a shoot. The Alpha 7 is the mainstay of my shooting these days, and the Alpha 900 shows deficits in several areas compared with the newer design, as does its Planar 85mm lens.  

To make matters more complicated for the equipment addict, there are sometimes multiple lenses of the same focal length available in the same range: do you really need a massively wide aperture with a 24mm lens? For some people, the answer will be yes, definitely, nothing else will do. But for many of us (including me), a shorter lens allows lower shutter speeds, and differential focus isn’t much needed with wider views, so my Samyang f/2.8, weighing less than 100 grams and reasonably sharp, is a no-brainer for my camera bag. If I had a Sigma f/1.4 Art lens (three times the price, five times the weight), I’d probably leave it at home quite often! Choosing the lens that is good enough is often the sensible choice.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Trudy UK at PGD Studio in Leicester. I turned up with three or four bags of equipment (as I usually do), but I could have shot everything with my normal standard lens, an 85mm f/1.8.  

I know one or two photographers who routinely turn up with one body and one or two lenses, and then proceed to use them with immense talent. They don’t need more. I find that sometimes, it works like this (it certainly did when I first met TrudyUK in a traditional studio – no sets, just various coloured paper backgrounds, one or two props and chairs. We spent the time experimenting with poses and lighting, and if I had not made a deliberate effort to use three other lenses, the 85mm that tends to live on my camera would have worked for everything). But mostly, I find employment for at least half a dozen different lenses over a couple of hours, and often more.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Who could resist a Hasselblad at the right price? It’s blessed (or cursed) with a quite complex set of controls, all of which have a purpose. And it remains a superb tool for medium format film shooting.

I suppose that if we take a slightly sideways look at our hobby, there may be a different sort of greedy… I own two cameras that have been described as ‘camera porn’ – they have the same things as other cameras, but there are just more and bigger everything. The term was originally used to describe my Hasselblad C/M 500, which always makes me wish that I had three hands, because the controls are so intricate and different from anything else most people have seen. You can’t release the shutter without a film back attached, and film inserted, and even loading the magazines is far more complex than in other rollfilm cameras… (Not to mention being unable to release the shutter with the darkslide in the magazine, and unable to remove the magazine from the camera WITHOUT the same darkslide in position!)

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } As a left-hander, I loved the idea of the Exakta with winding lever and shutter release on the left of the body from the start. Like the ‘Blad, it’s a wonderfully tactile object to use for making pictures, although the ergonomics are singularly poor. It’s not a camera for action shooting!

The other camera that confounds expectations is my Exakta – it’s left-handed, has two shutter speed dials, and has the shutter release on the front of the camera instead of the top. I’ve written about it at length, and it continues to delight me, so long as I don’t think about the ergonomics. It’s full of interesting solutions to problems that you might not have realised exist…

I have to admit that modern cameras can go to the opposite extreme. Rather than wondering what various knobs and dials are for, you might well enquire where and how you can change this or that which you’re used to having easy access to. Typically, this is because the adjustment can only be effected through the menu… a mark of a serious camera, these days, is that it has more dials and buttons than the entry level models. The cynic might suggest that this is a manifestation of a different kind of greed – the kind where the buyer is offered less than she may want, but at a similar price to the previous model.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Kym Williams at Bodyline Studios, for a lighting workshop. This picture could have been more brightly lit, could have shown all of Kym’s face, more of her tattoos, and could have included her nipples. But all of these things would make it a different picture, and might have made it less involving.

And I have one late addition to the list of greedinesses: wanting clarity, to see it all. In my specialised area, studio work with models, there’s often too much: too much light, when darkness can add mystery (and propriety!); too much revealed, when a more effective picture is all about teasing and concealing. Capturing the right mood depends on giving enough, but not too much information.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Choose your place, and find a relaxed way to look around the area. It’s fine to shoot when you first see a subject – but make sure that you then think, and go back to see if you can do better…

To sum up: it’s worth giving a little bit of thought to your photographic aspirations, and how to achieve them. If you want spectacular landscapes, find a good area, plant yourself for a couple of weeks, and explore on foot, looking for detail, and waiting for the light.

If you hanker after a full set of lenses, think how much they cost, and how much they will weigh, and maybe hire one for a week before deciding to buy it.

And, whatever you shoot, with whichever camera and lens, take pictures with care, making each one count, either in terms of either beauty, or learning.

Then, when you get home and process the pictures, see how finely you can hone them, gently shaving away unnecessary bulk and distractions, so that your subject can shine in an unpolluted sky.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } It’s the Lake District – but my poor choice of an overcast day to take the image means that the colour version is not especially appealing, and I had to work hard to make an image with a reasonable amount of appeal. A photographer who knows an area and its weather will do far better, matching light and mood in a way that I failed to manage: a wise newcomer would spend time in the landscape, exploring the changes during each day, and in different weathers. John Duder

John continues to keep hold of his old cameras, including the Contax RTS that he bought in 1976, selling two Pentax bodies and taking a year's HP agreement out to do it. These days, it’s usually loaded with very fast film to give strong grain.

Occasional lighting workshops divert him, and with a bit of luck interest other photographers enough for them to go along and pay. He particularly likes spectacular, angular low key setups, with deep shadows retaining a few secrets.

As well as still shooting a bit of film, John particularly loves using some of the more characterful film-era lenses on his digital cameras. Almost without exception, they are lenses that their manufacturers are probably rather ashamed of.

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