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D-SLR VIDEO MAKER –
WHY YOU REALLY NEED A VIDEO LENS
100% AUSTRALIAN CONTENT
FOR PHOTOGRAPHY ENTHUSIASTS
GO BEYOND COLOUR…
HOW
TO SEE
IN B&W
Add another dimension
to your photography
AUSTRALIA’S ONLY
TIPA MEMBER
NIKON’S RETRO Df
LENS CHOICES FOR
PHOTOGRAPHING LANDSCAPES
MAR/APR 2014
GETTING TO GRIPS WITH
SHOW OFF! EXCITING NEW
WAYS TO MOUNT PHOTOS
PHOTOGENIC PLACES
BENALLA’S HIDDEN GEMS
ALSO IN THIS ISSUE:
NIKON D610
·
PENTAX K-50
·
THE CLASSIC NIKKORMATS
™
March/April 2014
p
Editor
Paul Burrows
pburrows@nextmedia.com.au
Designer
David Chew
Production Editor
Edgar Kramer
Advertising Traffic
Diane Preece dpreece@nextmedia.com.au
Te: 02 9901 6151
Advertising Sales
Lewis Preece
Divisional Manager & National
Advertising Sales
Jim Preece jpreece@nextmedia.com.au
Group Editor
Jez Ford
Production Manager
Peter Ryman
Circulation Director
Carole Jones
From The Heart
C
ontrary to what you might
think, the editors of camera
magazines still have to buy
their own cameras. Yes, review
equipment has to be returned and,
no, we don’t get ‘freebies’… as much as we
might like to, editorial independence has to
come before all else, and rightly so.
Recently, it became obvious I could no
longer put off replacing my workhorse D-SLR.
It still worked well enough, but it was now
over five years old and a lot has happened in
D-SLRs during that time… such as being able
to record video. In fact, a lot has happened in
digital camera design more generally because,
when I last purchased a new D-SLR, compact
system cameras didn’t exist. They did a few
months later, but it’s taken a lot longer to arrive at
models considered to be credible alternatives to
a high-end D-SLR. Nevertheless, now there are
alternatives to the traditional D-SLR so, for the
first time in my life, might I buy a working camera
that wasn’t a reflex? Gulp!
The other big shock was that I couldn’t afford
the camera that’s the direct successor to what
I’ve been using… and that’s even taking into
account the aggressive discounting that’s going
on now (and wasn’t five or so years ago). In fact,
I couldn’t even afford the model immediately
below it. What this implies I’m not quite sure, but
the good news is that the ‘padding out’ of D-SLR
line-ups over the last few years has meant there’s
a wider choice of price points. Consequently,
smaller budgets no longer mean slumming it,
particularly in terms of the full-35mm sensor – to
which I’ve been faithfully wedded thus far – so
it’s just a case of being a bit more realistic about
separating the ‘needs’ from the ‘wants’.
Nevertheless, what was clear was that,
unlike any other camera purchase I’d made in the
past, this time it involved a lot more than just a
‘straight’ upgrade. Such has been the evolution
of the compact system camera – a.k.a. mirrorless
designs – that you can have pretty well any
combination of camera style and sensor size you
want. And the performance capabilities of both
the Micro Four Thirds and ‘APS-C’ format sensors
has been greatly enhanced over the last few
years… so is size no longer an issue?
Of course, it’s camera size that’s the big issue
with mirrorless… and not just the camera bodies,
but also the lenses, enabling a fairly extensive
system to be carried without the bulk and weight
issues associated with a comparable D-SLR kit.
And there are quite a few compelling reasons
for travelling light with camera gear these days;
one of them being that none of us our getting any
younger. It’s a dilemma many D-SLR users are
going to face from now on. Mirror or no mirror?
The latter with its clear size-related advantages
and the former with all the benefits of an optical
reflex-type viewfinder. Let’s concentrate on
the OVF for a moment then. What about an RF
type camera. Leica’s lovely M may be beyond
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ISSN 1449-0137 © 2014
D-SLR VIDEO MAKER –
WHY YOU REALLY NEED A VIDEO LENS
100% AUSTRALIAN CONTENT
The main photo on this
issue’s cover is by Andrew
James and his article about
how to create great B&W
A
AUSTRALIA’S ONLY
P
TIP MEMBER
FOR PHOTOGRAPHY ENTHUSIASTS
GO BEYOND COLOUR…
H
O
W
HOW
TO SEE
IN B&W
Add another dimension
to your photography
images begins on page 16.
Also featured is Nikon’s
intriguing retro-styled D-SLR.
Our comprehensive test of
the Df begins on page 22.
most budgets (and the less desirable M-E), but
Fujifilm’s X-Pro1 is in the ballpark in terms of
mid-range D-SLR pricing and it has the advantage
of having a clever hybrid optical/electronic
viewfinder. But are RF camera ergonomics going
to be problematic for somebody who has always
been an SLR user? Well, regular readers will
know the Hasselblad XPan rates as one of my all-
time favourite cameras so, not surprisingly, I love
the X-Pro1 which is the closest thing in the digital
world that there is to an equivalent. But it’s not
an SLR… but then it easily holds its own against
any comparably priced D-SLR. Aaargh!
The reality here is that – and I think even
more so than in the changeover from film to
digital – the recent developments in camera
design force the old conceptions, beliefs and
ideas to be reconsidered. There are now different
ways of doing things and these have to be
evaluated with an open mind… I can think of at
least half a dozen compact system cameras, as
well as the X-Pro1, that I’d own in a flash and
I know they’d do what I wanted them to do.
Yet there is one aspect of camera ownership
that is more powerful than any other… and it
comes down to how we perceive ourselves as
photographers. It’s all about psychology and it’s
inextricably linked to the buying decisions we
make about a lot of things, but as the camera is
an integral part of our creative being, it’s even
more of an influence. It’s why, for example,
styling has become such an important element of
contemporary camera design (ironically drawing,
in many cases, on the recognisably traditional).
These things appeal to us on a deeper level than
the bare specifications.
I don’t know about you, but I have to like…
no, I’d say
love
… any camera I own. As I have to
interact with it so closely and I’m depending on it
totally to seamlessly translate what I’m trying to
say visually, I can’t be the slightest bit ambivalent
about any aspect of its design. I have to feel
totally, completely and unreservedly comfortable
with it, otherwise the relationship won’t work.
For me then, when I dig this deep, the decision
becomes easy… yes, another D-SLR.
Now it’s purchased and in the bag, it’s obvious
that buying a camera can never be an objective
exercise. It can’t just be about price, brand or
even what’s currently fashionable. And beyond
features and functionality – both undoubtedly
important – are emotional elements such as the
‘feel good’ factor and the simple enjoyment of
using something that works for you on every
level. As photographers, our interaction with the
camera is about as intimate as it can get with
an inanimate object so don’t be afraid to let your
heart rule your head. You’ll be happier in the end.
NIKON’S RETRO Df
LENS CHOICES FOR
PHOTOGRAPHING LANDSCAPES
SHOW OFF! EXCITING NEW
A
WAYS TO MOUNT PHOTOS
PHOTOGENIC PLACES
A
BENALLA’S HIDDEN GEMS
NZ $10.99
GETTING TO GRIPS WITH
MAR/APR 2014 $8.50
ALSO IN THIS ISSUE:
NIKON D610
·
PENTAX K-50
·
THE CLASSIC NIKKORMATS
Camera
magazine is a
member of the Technical
Image Press Association.
Visit
www.tipa.com
Paul Burrows, Editor
CONTENTS
Nikon Df
REGULARS
06
//
WHAT’S NEW
Making headlines in this issue are
new entry-level D-SLRs from both
Canon and Nikon, Fujifilm’s SLR-lookalike
e
X-T1, Olympus’s third OM-D model, a
new addition to Sigma’s Art Series lenses
s
and much more.
FEATURES
16
//
IN PRACTICE
Have A B&W Weekend
This is the start of a new series of articles,
designed to provide you with projects for
a weekend of photography. In this issue
Andrew James kicks off with some ideas
about how to think in B&W.
78
//
FUJIFILM SHOWCASE 2013
In every issue there’s a chance to see
one of your favourite photographs in print.
Entering is easy and you can do it online
by submitting your images to
camera@nextmedia.com.au or send us
digital files on a CD or DVD.
10
//
SUBSCRIBE TO CAMERA
If you’re having trouble finding
Camera
at a newsagent or are too busy to trawl
the shelves then why not subscribe and
have every issue delivered straight to
your mailbox?
32
//
PHOTOGENIC PLACES
Benalla, Victoria
It may not be at the top of your list of must-
visit locations, but as Ian Rolfe explains,
Benalla and the surrounding region are
packed with photographic opportunities.
SHOWCASES
26
//
LIGHT WORK
These articles are designed to help you
understand how the professionals tackle
assignments and the techniques they use,
including a few tricks of the trade. In this
issue Trevern Dawes provides some tips for
working in remote landscapes.
80
//
CAMERA BUYER’S CHECKLIST
D-SLRs And CSCs
If you’re in the market for a new
interchangeable lens camera, here’s where
to start your search. Where RRPs are no
longer being provided, we’re quoting an
average of the ‘street prices’ we’ve seen
quoted over the last few weeks. It’s an
imprecise science so expect to encounter
some variations when you go shopping.
48
//
IN PRACTICE
Mounting Up
So you’ve made some great prints of
your favourite images, what’s next?
Jez Ford looks at some of the mounting
options now available to help you put on
an eye-catching display.
4
Sigma 50mm f1.4 HSM
Pentax K50
52
//
IN PRACTICE
D-SLR Video Maker
Just about every current digital
camera can shoot video, but it’s not
t
quite as simple as just flicking a switch.
itch
These articles are designed to help you get
better results and, in this issue, we look
at why video lenses are different to those
primarily designed for photography.
72
//
CLASSICS
From The Nikkormats To FM
As Nikon reprises the styling of one of its
most popular 35mm SLRs, we thought it
was timely to look at the heritage behind the
marque’s consumer level reflex cameras.
58
//
IN PRACTICE
Lens Choices
Selecting the right lens for a particular
subject is critical to achieving the best
results, and in this issue we’re looking at
what works best with landscapes. Nikon
Australia is kindly supplying all the lenses
for us to try out.
40
//
ON TRIAL
76
//
IN PRACTICE
Digital Print Maker
If you’re doing a lot of digital printing, the cost
of ink can quickly become an issue. Trevern
Dawes looks at some strategies for more
carefully managing your ink usage.
Pentax K-50
Pentax continues to nip at the heels of
Canon and Nikon with D-SLRs which
offer exceptional value, and the new
K-50 balances price and performance
even more keenly… plus there’s a choice
of 120 colour combinations!
62
//
INTERVIEW
Ken Duncan
Australia’s best known landscape
photographer talks about his recent
international travels and his role as an
ambassador for Panasonic’s Lumix
compact system cameras.
ON TRIAL
22
//
ON TRIAL
Nikon Df
Few new digital cameras have created quite
so much debate, but Nikon’s retro-styled
D-SLR has lots to like, especially if you once
owned a classic Nikon 35mm SLR.
66
//
ON TRIAL
Nikon D610
The D600 was already the best value
full-35mm D-SLR on the market, and
although the tweaks that have produced
the D610 are still quite small, the result
is an even better camera.
5

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