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Camera House : Better Pictures 10
Contents What’s InsIde 3 CONTENTS Editor Cec Busby Art dirEctor Camila Fernandes crEAtivE dirEctor Rob Loughridge AdvErtising MAnAgEr Richard Sossen email@example.com Direct: 02 8197 3707 Mobile: 0411 860 024 dirEctor Nick Cutler firstname.lastname@example.org Direct: 02 8197 3710 Mobile: 0414 539 009 Printer – Webstar PrivAcy stAtEMEnt: © CustomMade Media Australia Pty Ltd. All rights reserved. No article or images may be reproduced wholly or in part without prior written permission from the publisher. discLAiMEr: Published by CustomMade Media Australia Pty Ltd (ACN 138 871 271), address Suite 1/16 Charles Street Redfern NSW 2016 © 2012. All rights reserved. CustomMade Media Australia accepts no responsibility in respect of any products, services or goods which may be presented in this magazine, or any errors, omissions or mistakes in editorial references. Any advice contained in this magazine is general advice only and may not apply to your individual circumstances. Printed on behalf of Camera House Stores. Distributed 4 x per annum through all Camera House stores and available for download at www.camerahouse.com.au Cover image by Chris Bray. fine art inspiration Jackie Ranken’s photography delivers magical, whimsical and innovative images that delight the viewer. A superb enthusiast camera from Canon, the 7D delivers an 18 megapixel CMOS sensor alongside the DiG!C 4 image processor to provide brilliant image quality with superb colour tones. The 19-point AF provides razor sha rp images and an ISO range up to 12,800 ensures low light image s are a snap. The inclusion of HD movie recording makes it a great travel compa nion. This entr y level Macro le ns by Canon ensures macro beginners and enthusiasts will get great results. The Ring USM provides fast and quiet Auto Focus for sneaking up on your subject and this lens delivers life-size (1x) magnification. Those who prefer more control can opt for full-time manual focusing. The large fast aperture delivers a wonder ful bokeh. Creative Masters CanOn eOS 7D CanOn ef 100mm f/2.8 maCrO USm lenS With fond memories of her Dad’s family- themed Christmas cards, Canon EOS Master, Jackie Ranken was bitten by the photo bug at a very early age. “Those photographs still exist, they are really quite funny,” says Ranken. Indeed Ranken admits that these annual Christmas ca rds were her “first introduction to creating a series of work”, something she was to do herself many times in later years. The cards also stressed to Ranken how “important it is to print your images so they exist...” Since earning her stripe s in her fathe r’s home dark room, Ranken has been printing her images ever since. Her first camera was what she laughing refers to as the “e quivalent of a point and shoot’ and as an eage r young photographer she spent years documenting “her frie nds at school and photographing family holidays”. Then whe n she was 16, her Dad bought her a 35mm SLR. “Straight away I was learning how to use aperture and shutter speeds to not o nlyget correct exposure but to help me comm unicate how I felt abo ut a subject.” Three weeks later Ranken had her first weekend job taking snapshots at th e local Greyhound track. “After three weekend’s training I had to get it right on my own. Correct focus, exposure, panning and correct framing of the shot were wh at was required. “There was 22 races each Saturday afternoon so I had 22 chances to get the dog on or near the finish post and then sell the image to the owner. Back then in 1977, a framed print with race details cost $22 and I received $3 commission. It was a great first job.” Today Ranken’s images sell for considerably more than $3 and the photographer finds her inspiration in places othe r than the racetrack. Her work as a landscape and fine art photographer is world-renowned. When asked what inspires her photograhy, Ranken quotes painter Margaret Ollie “ the love of doing”. She explains: I am at my most settled when I have a camera in my hands and have the space, the time and the light to make photographs and print the m. “When I am working on ‘a series’ it’s important that the series work together. It’s important to edit out the images that don’t fit in. As a whole the printed images should be stron ger wh en seen together on a gallery wall or seen in a fine art book.” Ra nken is also renowned for her aerial work. In 2001-2003 she embarked on series of ae rial photographs taken around her hometown of Goulburn NSW. “It was called ‘Aerial Abstracts’. The images I made displayed my natural response to a bstract shapes, lines, textures, shadows as seen from the top of a loop looking down on the ground from 1000 feet. My father, Dick Nell was my pilot and his antique bi-plane was my flying tripod. We made the photographs while flying a loop because the bottom wing was getting in the way of my lens (and it was a lot of fun).” More recent work shows Ranken’s c ontinued love for “the abstract and the surreal”. “I push most of my landscapes into monochrome plus texture plus layers. So the advent of the digital darkroom suits me. At present I am really enjoying the multiple exposure features in my Canon 5D MKIII. “My curre nt fine art landscape work is broken into classic themes. Rocks, grass, trees, water, clouds and objects in the landscape. “ Ra nken once said that ‘creativity is more about JaCKie’s Lan DsCape top 5 tips 1. Avo i d merges,wheretwoormore shapescometogetherandcreatevisual confusion. 2. Createshapesandgraphicsthatyouc an usetomakeinterestingcompositions. 3. L e s s ismore,lessconfusingshapes.Less brightdistractingareas. 4. K e e p itsimple.Makeyoursubjectstrong, simple,sharpandwell-exposedforthe subject .Beawareofanydistracting elementandtrytotakeitout,especially whenit’sontheedgeofframe. 5. Exper i ment , thenchoosethebestshot laterwhenreviewingonacomputer. 12 13 Feature fine art PHOtOS Feature fine art PHOtOS PEOPLE SNAPS Photo Friday winner James Collier unveils his photographic journey. It’s been many years since a young James Collier got a Box Brownie camera with a roll of 620 film from his parents for his eighth bir thday, but the shooter still recalls how amazed he would feel at being able to “capture a moment in time”, saying he always “looked forward to getting my photos back”. Eventually James traded in his trusty Box Brownie for a 35mm compact, with which he wo uld regularly shoot slide film as “it gave great results”. “Slide nights were always exciting when Dad got the projector out. To see your pictures blown up on the screen was always fun to see. This little camera gave me a much better result than the old Box Brownie and from that point on I really started to develop a greater interest in picture taking.” After saving his pennies, Ja mes bought his first SLR “an Olympus OM-10” and his passion for photography really went into overdrive. A job in photo lab followed where James honed his processing skills. Nowadays he’s rarely seen without his camera in ha nd – saying he couldn’t imagine his life without photography. “To be without my cameras would be an unbearable thing – I get immense satisfaction from being out in the elements with my camera and coming home with some great shots!“ One suc h great shot earned him a win in the Photo Friday La ndscape competition. According to James he’d initially intended shooting at a different location, “however there were other people in the area that would have caused some interference to the shot, so I decided to drive on and see what else I could find... I drove past the trees, and the glow in the distance behind them stood out. I stopped the car, set the camera up on the tripod and shot for about 60 minutes.” Serendipity? Perhaps... James believes luck and being in the right place at the right time can often come into play in a great shot. “With the tree star trail I was lucky enough to get a plane flying into the shot and then turn onto its final approach into Avalon airport. That stroke of luck added an extra eleme nt of interest to the image that otherwise wouldn’t have been there.” James adds, “I’m often asked, ‘How did you get that shot?’ My answer is simple. You have to put yourself into a position to get that shot. I spe nd a lot of time driving around looking for locations to shoot. It’s amazing what you can find on country back-roads!” Still he admits shooting land scapes can be tricky. “Landscape photography can be quite frustrating at times. There’s nothing worse than getting to a location and the conditions you were hoping for don’t eventuate. I will often revisit a location many times until I’m happy with the result.” As for James’s notion of an image that packs a punch – he admits that he looks for a n image “that makes me say ‘Wow’.” “A great landscape, portrait or photojournalism image, is a picture that tells a story in a powerful way or shows the power and beauty of nature.” Since joining the Camera House Facebook page, James confesses he’s found plenty of inspiration. “It’s always fun working to a theme, it really makes you think hard about how you tackle a photo. I really enjoy se eing how other photographers interpret the themes and how they approach their image for the final result...” ■ 1. Explore! Some of the best locations I’ve found by scouting for new places! 2. Shoot the location in light that compliments the scene, be prepared to get up early or stay up late. 3. Get down and dirty! Don’t be afraid to shoot from an angle that means you have to lie in the dirt to frame the shot or stand in a creek and get wet feet. 4. Experiment with focal length. Sometimes it’s worth pulling that 500mm lens out of the bag and put the 10mm away! Look deep into your landscape; you might be surprised what you find! 5. Work your landscape, look at it fro m other angles. If you sit in the one spot you may miss a great shot. On a recent sunset shoot, I ran back and forth up and down, over and under during the sunset. The result was a series of shots of the foreground subject that I was really pleased with that I would not have otherwise got if I were stationary, waiting for the sun to set. I was also very puffed! JAMES 5 TIPS FOR SHOOTING GREAT LAN DSCAPES PROFILE PHOTO FRIDAY 23 23 10 4 5 PRODUCTS HOT NEW GEAR PRODUCTS HOT NEW GEAR HOT NEW GEAR The latest camera gear set to sizzle. PENTAX K30 CANON EOS M NIKON COOLPIX AW100 Canon, the last of thebig name camera manufacturers to enter the mirrorless compact systemaffray, launches with a bang!Canon’s newEOS M isaimed fair and squareat the compact user wanting to take astep up in image quality without the complexities that aDSLR camera can bring to the table. Armed with a newlydesigned lens mount –theEF-M – this new compact system camerais released with two new lenses – the EF -M18-55mm f/3.5 -5 .6 IS STMZoomand the EF-M 22mmf/2 pancake.It iscompatiblewith Canon’s entire EF and EF-S lens range, meaning it will also appeal to the DSLR shooter wanting amore compactsolution for everydayuse. It sportsan18 megapixel APS-C Hybrid CMOS sensor for superb image clarity, has an ISO range of 100-12,800(25,600 expanded) and is capable of shooting 4.3 fps; making iteasyto capture the actionevenin lowlight or when shooting fast moving subjects. The inclusion of 1080p full HD recording should also appeal to those wanting to experiment with their inner Spielberg, and theabilityto plug in an external mic allows for fabulous sound qualityto boot. Add to thisa range ofin-camera creative filters which can be previewed live onthelarge3-inch TFT screenand Scene Intelligent Auto functions to set the newbiephotographer on the road to crafting great imagesand you havea compact systemcamerathat’sgoing to flyout the door. Nikon took their time releasing a tough camera but the AW100 was definitely worth the wait. Waterproof, shockproof and freezeproof, the AW100 can take you fromthe snowfieldsto the desert to a deep-sea adventure with ease. Equippedwith a 16 megapixel CMOS sensor and a 5x zoom ED glass lensit serves up crystal clear i mages at the touch of a button. Add to this built-in GPS,an electronic co mpass andeasy to use Action controls and you have a rugged camera that’s ready for life’s adventures. Inspired bytheOlympusclassicOMSLR, the OM-D E-M5 isa new entryto the brand’s 4/3 range but provesitself an entirely different beast.On board you’ll find a 16 megapixel MOS sensor, a revolutionary5 axisimage stabilsation system, continuous shooting speed of up to 9 fps and the ability to shoot in low light with an ISO range up to 25,600.A 3-inch OLED vari-angle touchscreen displaymakesframing up indifficult situationsa snap and improved autofocus with 3D tracking ensuresimages remain sharp as atack.Twin programmable accessdialsadd to ease of useand adedicated movie record button makesshooting HD (1080p) footage simple. OLYMPUS OM-D E-M5 This compact superzoom fromRicoh servesup a 10 megapixel backlit CMOSsensor and a 28-300mm zoom lens. Combine this with fast auto focus,a dedicated movie buttonfor HD recording and Aperture and Shutter Priority modes and you have a compact camera thatis as smart as itis stylish. Alarge VGALCD screen makes framing up your shot easyand it has great visibility when shooting outdoors. RICOH CX6 It’s been a while since Pentax released a new DSLR however the K-30 proves the adage good things come to those that wait. Weather-sealed and able to withstand wind, rain and temperaturesup to -10 degrees, the K-30is ideal for theadventure-seeking shooter that wantsa DSLR that’sableto withstand some rough and tumble.With acontinuous shooting speed of 6 fpsand a1/6000 second shutter speed,this camera can capture anyaction youthrow its way.Programmable front and rear dialsallow rapid setting changesand the 77 segment metering system deliverspin sharp focus. Add to thisHD movie recording at 1080p, ISOspeedsup to 25,600and the factthat it can run on readilyavailable AAbatteries and you have a camera that can go anywhere,shoot anything! Let’sstart with the massive 20megapixels onboard and the new1.0 Exmor CMOS sensor;add to thisthef/1.8 Carl ZeissVario-Sonnar T 3.6xoptical zoomlens and you have a compact camera that is capableof delivering incrediblydetailed imageswith fantastic colour reproduction and resolution. The f/1.8 lens issuperb for use in low light and deliversa great bokeh for portraits.If you wantto takeyour point and shoot photography to thenext level this compact is for you. Manual controls and RAW image capture allowfor greater creativity and the abilityto shoot full HD movies isanother bonus. SONY CYBER-SHOT DSC-RX100 MOVIE MAGIC Make the most of your camera’s HD recording to shoot home movies like a pro. These daysjust about everycamera – fromcompact to professional DSLR – comes with the option of HD video recording, negating the need for a second camera. But how many of us know how to really make the most of our camera’s movie making features? Or even understand the basic premises of filmmaking? While I’m not suggesting you need to sit down and storyboard every frame of your next home movie masterpiece,thereare some basic filmmaking techniques that applyacross the board and will make your DSLR HD movies look better to boot. STORYTELLING 101 Just as you want your still imagesto tell a story, your moviesshould also deliver a clearly defined taleas well – unless you’re shooting in the style of David Lynch – and planning a sequel to Twin Peaks you want aclearly structured narrative with a beginning, middle and end. Make some notes.Work out your major plot pointsand keyscenes. Maybe you’re going to shoot your parent’s twenty fifth wedding anniversary or your son’s fourth birthday... Maybe your sister isgraduating fromUni and you’ve been charged with thetask of capturing her getting her diploma.These are all once in a lifetime moments, so you don’t want to blow it. Askyourself, what are the key elements you need to capture on film? The toast,the candlesbeing blown out, the cake cutting,the diploma... Now, how will you set the scene? GO W ITH THE FLOW A movie that jump cutsfromone scene to the next might work for an action sequence or a movie trailer but it looks alittle haphazard for a film with a narrative.So howdo you get from one scene to the next? Or from one character in your filmto the next and avoid a jump cut? The answer isa transition or acutaway... You could simply chose to fade to blackor white or crossfade to the next scene during theedit, but a simple touch that will make your movies seem more professional isif you shoot sometransition sequences. How do you do this? Say you’re shooting a wedding and you’re moving fromthe ceremony to the dinner. If you shoot some exteriors of the venue, the church exterior, the church emptying of people, thebridal partydisassembling,the bride and groom’s limo leavi ng the church grounds or even get in the limo with them and shoot some footage while theyare in transit, that gives you someoptionsto transition between thetwo locationsand also some establishing shots for your next scene. Similarly cutawayswithin thiscould be of the bride’sbouquet,details on her gown, candleson the dinner table or in the church,as these will help you in the edit to assemble your scene. CUT, PRINT! Howwill you cut together your shots? Slow cutting isnot that popular with Western viewers –i t’s estimated that anyshot over 20 seconds is considered to be overlylong to a Westerner so it’ssomething to keep in mind when planning your shotsand cutting your film. Howlong is that walk down the aisle going to take? Can you set up another camera to record from a different angleto give you the option of a different viewpoint and don’t forget to shoot cutawaysof the wedding guests listening raptly to the couple exchange their vows. Fast cuts between thebride and groom exchanging vows, the priest and the ring bearer all help to tell the story.Fast cuts can be used to change perspective or focus the audience’s attention on a particular moment i n ascene. GET CLOSE. Most of ushave grown upon a diet of film and television andin recent years close ups and extreme close-upshave ruledthe screen. That doesn’t mean there is no use for a mid shot or a wide shot but usually they are used more for establishment than within the main action of a scene. TAKE AN ANGLE The angle that youshoot from can also saya lot about your character. Shoot fromaboveand you can make your subject seem insignificant. Shootfrombelow and you can achieve a sense or dominance or can makeyour subject appear supercilious. If you want your subject to appear ‘normal’ shooting at eyelevel is always best. GET AMO NGST IT. Don’tbe afraid to get amongst your party guests anddo some voxpops. They always make agreat inclusion to any home movieespecially ifthey are friends and family giving adviceor well wishes .■ “You want a clearly structured narrative with a beginning, middle and end.” Start your HD movie making experiencein style with Sony’s A77, which sportsa whopping 24 megapixel APS-C CMOS sensor, and 1080p recording.A tiltable three-wayLCD screen makes framing up simple. Twin SD card slots provide plenty ofspacefor storing your movie masterpiece and D-Movie recording at 24fpsfull HD allows for professional looking results. The latest full-frame enthusiast DLSRfromCanon sports a22 megapixel sensor alongside full HD recording (variable frame rates available) and optsfor the same focussystem as the flagship 1D X. MAXIMUM EXPOSURE SONY A77 NIKON D7000 CANON 5D MK III FEATURE DSLR MOVIES 24 FEATURE DSLR MOVIES 25 4 24 WILD FRONTIER Canon EOS Master Chris Bray left life as an engineer behind to embark on a great photographic adventure. Ideal for use as an all-in-one every day lens, the 18-270mm lens also works exceptionally well if you want to get up close on the action from some distance away. The Piezo Drive makes the auto focus exceptionally smooth and a lock prevents lens creep. This all-purpose zoom lens is ideal for adventurers that want to travel light. Manufactured from a new lightweight polycarbonate, it weighs in at a tiny 470g. The HSM provides smooth fast focusing and multi coated lens elements reduce flare and ghosting. This high-speed wide angle telephoto zoom dishes up great depth pf field. The on-board Vibration Compensation ensures images remain sharp even in low light and provides up to 4-stops gain. Auto focus is smooth, fast and accurate. LENS ESSENTIALS TAMRON 18-270MM F/3.5 –6.3DIIIVCPZD SIGMA 18-250MM F/3.5 – 6.3 MACRO OS HSM TAMRON SP AF 17- 50MM F/2.8 XR DI II VC LD OK, Chris Bray may have studied ele ctrical engineering at Uni, but there was very little chance that this self-confe ssed adventure lover and photographe r would ever really opt for a ‘day job’ in that business. After all he spent five years as a child sailing around the world on his family’s “home made yacht”, where his Dad took happy snaps to accompany articles in various yachting magazines. “I was led to believe that constantly travelling and visiting amazing cultures, la ndscapes and wildlife wa s ‘normal’,” says Chris. “Consequently I got the travel bug early on, a nd photography sprang from a way to share these places with others. The more remote and adve nturous, the more beautiful and inte resting...” It was whilst on an expedition in the Tasmanian wilderness at the age of 20 that Bray began to take photography seriously. “Australian Geographic sponsored my friend and I a camera, and when we got back we published an ar ticle in Australian Geographic Magazine, and even sold a couple of photos to Tourism Tasmania – they were the first photos I ever sold.” Today Bray splits his time between shooting for magazines, acting as a Trustee to the Australian Geographic Society, leading photo safaris and travelling to remote area s of the world to capture them on ca mera for less intrepid souls. Along the way he’s notched up more than a few world-firsts including wa lking across Victoria Island with a mate (which he chronicled in his book, 1000 Hour Day). Currently he’s on a yacht that he bought sight-unseen trave lling back from the Arctic with his soon-to -be wife, Jess. Let’s just say Bray likes a challenge... “I think my current adventure – sailing a little 29-foot junk-rigged yacht through the infamous Northwest Passage in the Arctic with my fiancé Jess has certainly been the most challenging so far – the weather, the icebergs, the unchar ted waters – and the ocean is just so unforgiving... “The ‘1000 Hour Day’ expedition was when my mate Clark Carter and I tried to become the first people to walk the 1000km across the world’s eighth largest, and largely unexplored island, Victoria Island in the Canadian Arctic. It took two atte mpts over four years, and eventually after a ■Uluru storm total of 128 days alone out there, we did it. “We saw polar be ars, were chased by arctic wolves – it was incredible – I wrote a book and the doco’s just coming out now.” Asked what he has learnt from all the se adve ntures and Bray’s answer is simple: “It’s the same from all of my adventures – being out there where you’re stripped back to the essentials, not only do you feel more alive because de cisions suddenly have ve ry real conseque nces, but also everything just becomes so wonderfully simple and brutally honest – you learn to fix what can be fixed, and just accept what cannot, and just keep going. They’re valuable life lessons.” Of course shooting in extreme locations affords its own unique challenges. “Sometimes it’s trying to keep my gear dry and splashes off my lens while at sea on a yacht; or keep batteries wa rm in the Arctic or Antarctic, or simply the fact that sometimes I’m too preoccupied trying to keep myself alive in dodgy locations or situations and photography then becomes secondar y.” He cites an example: “In Borneo a few months back I remember a rather unpleasant shoot, standing inside a cave upon a towering pile of bat and bird cra p lite rally tens of metres de ep, all reeking of ammonia, the surface of which was literally crawling with cockroaches and venomous centipedes as I waited for hours to photograph some bats to emerge and spiral up into the night. To make it worse, the shot didn’t really work out...” So what’s his advice for any budding photographers wanting to capture their exploits in the great outdoors? Get a “really rugged little “We saw polar bears, were chased by Arctic wolves – it was incredible” FEATURE OUTDOORS 16 FEATURE OUTDOORS 17 Through the Lens So you’ve bought a spanking new DSLR, but what lenses should you add to your kit? Even those that are new to photography understand that the type of lens you require depends a lot upon the sort of images you wish to take. Portrait, landscape, scientific photography and action shots – while you could shoot each of these subjects with a general purpose wide angle zoom – you will get better results if you tailor your lens to suit your subject. Portraits If you plan on shooting headshots you’ll need a lens that has a good bokeh so that the background will disappea r and give you that lovely defocused look. A fast fixed focal length lens (f/2 or f/2.8) at 2-300mm is great for getting out amongst it and shoots wonder ful portraits thanks to its wide aper ture. LandscaPe Nothing beats an ultra wide angle lens for shooting landscapes. If you want to achieve a ‘makestic look’ to your photographs you need to opt for a 14-24mm lens for full frame sensors and 10-18mm for cropped sensors. A wide angle perspective adds depth and gives a real 3-dimensiona l feel to your images. It’s par ticula rly useful when shooting landscapes with a strong foreground subject. An 18-55mm (cropped frame) or a 28-70mm (full frame) also work well when you want to achieve a more natural looking landscape. sPorts A telephoto zoom or superzoom is an invaluable tool for the photographer that wants to capture their favourite sports in action. Since you will often be shooting a subject that is some distance away, you ne ed a lens that is able to zoom in on the action without sa crificing detail. It also needs to be highly responsive and able to free ze the action – since most sports move at a whip-cracking pace. A good choice would be a fast ape rture le ns (f/2 or f/2.8) with a motor drive to allow for fast focus (like Canon’s USM le nses a nd Nikon’s SWM). Generally you should aim for a 300- 400mm lens if you plan on shooting sports like football, baseball or rugby. If you nee d greate r distance, you can a lways buy a teleconve rte r. Macro In love with nature? Then you need to add a macro lens to your kit in order to really capture the minutiae of plant and insect life. Some people assume that if they want to shoot macro photography that they will nee d a le ns that is able to focus from just a few centimetres away. This may not nece ssarily be what you desire though, especially when shooting insects, as you don’t want to scare away your tiny subject. Instead consider a 100-110mm lens rather than the 50-60mm macros, as the se will mean you need not get quite so close to your subject. ■ “You will get beter results if you tailor your lens to suit your subject” A superb ultra wide angle lens ideal for crafting breathtaking landscape images with wonderful depth of field. It is an incre dibly sharp lens with great image clarity from e dge to edge and minimal chromatic aberration. The HSM allows for fast silent focusing. Sigma AF 8-16mm F/4.5- 5.6 DC HSm LenS feature lenS eS aware 21 21 16 WILD at Heart Many of us are content to while away our spare time with family and friends, but there is an intrepid band of adventurers that cannot wait to get out among the great outdoors, challenging themselves and testing the limits of their environment and the strength of the human spirit. One such adventurer is Canon Master Chris Bray. Since he first ventured across the Tasmanian wilderness as a teen, Bray has been honing his skills as a thrillseeker and wilderness photographer. His latest journey sees him sailing back from the Canadian Arctic on a small junk yacht with his soon- to-be wife (now, that can be challenging in itself). Of course, Bray’s taken his camera kit along to capture the action and we’re lucky enough to get a first look at some of his pics. He also shares with us his love of nature and wildlife photography, and shows us a few tips that will help improve any shooter’s images. We have another Canon Master on hand for this issue, Jackie Ranken, who reveals the secrets behind her fine art photography. Ranken is a renowned photographer whose work has earned accolades all over the world. It is a delight to get some insight into her creative process and discover how she came to take up photography as her career. As usual, we showcase all the latest, greatest camera gear. This month we shine a spotlight on some fabulous new DSLRs and, of course, Canon’s entry into the mirrorless system range. Enjoy! Cec Busby, Editor HOT NEW GEAR The latest, greatest gear to whet your appetite. fiNE ART iNSpiRATiON Jackie Ranken’s acclaimed fine art and landscape images revealed. Wild fRONTiER Chris Bray and the art of wildlife photography. THROuGH THE lENS Finding the right lens for your shot is easy with our guide. pEOplE SNApS Meet Photo Friday ‘landscape’ assignment winner, James Collier. MAkiNG MOviE MAGiC The secrets of DSLR filmmaking exposed. BiTS & piECES Accessories that will turn your photos from mundane to magic. SHuTTERBuG Introducing Katrina Christ, AIPP APPA prize winner. 4 10 16 21 23 24 27 30 003_Bpics10_contents final.indd 3 4/09/12 1:55 PM
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