Volume 71 Number 3, 2015 www.avhub.com.

au

EvErything Old
is nEw AgAin
Hasselblad breathes Digital life Into Its Classics e t
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#dysturb’s Judy Annear’s
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unique Take on
Photojournalism
epic Survey of early
Australian Photography or
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Volume 71 No.3, 2015
A recommended publication of the

Editor/Technical Editor
Paul Burrows, Hon.FAIPP
[email protected]
Art Director David Fisher
Production Editor Edgar Kramer
Regular Contributors
Andy Cross, Robyn Hills, Rosemary Ann Ogilvie,
Bruce Usher, Alison Stieven-Taylor
Advertising Sales Lewis Preece
Advertising Traffic Diane Preece
[email protected]

Contents Volume 71 No.3, 2015

Division General Manager Jim Preece
[email protected]

Production Manager Peter Ryman

Circulation Director Carole Jones
Group Editor Jez Ford 06 News & New Products
PROPHOTO SUBSCRIPTIONS Making headlines in this issue is Canon’s XC10 ‘crossover’ video and stills
1300 361 146 or +61 2 9901 6111 camera, Blackmagic’s first actioncam, a baby brother for Fujifilm’s award-winning
Locked Bag 3355, St Leonards NSW 1590
X-T1 called the X-T10, Elinchrom’s latest portable flash system, Leica’s upgraded
Subscribe online: www.avhub.com.au
Monochrom B&W camera, all the results from the latest TIPA Awards, and
FOR iPAD, ANDROID, PC/Mac
www.zinio.com/prophoto OR Apple Newsstand much more. For the latest news from the imaging industry, subscribe to our
e-newsletter by following the links on www.avhub.com.au

Level 6, Building A, 207 Pacific Highway, 20 Profile – Creating A Dysturbance

St Leonards, NSW 2065 A novel initiative has seen large black and white posters featuring a single image
Locked Bag 5555, St Leonards, NSW 1590 with a caption and credit pasted on walls around some of the world’s largest
Telephone (02) 9901 6100 Fax (02) 9901 6198 cities, including Paris, New York – and recently Melbourne. Alison Stieven-Taylor
www.nextmedia.com.au
meets the founders of #dysturb to learn more.
Chief Executive Officer David Gardiner
Commercial Director Bruce Duncan 29 On Trial – Hasselblad CFV 50c
ProPhoto is published 8 times a year by nextmedia Pty Ltd, ACN The CFV capture backs have been around for a while, but the latest 50c model –
128 805 970. ©2015. All rights reserved. No part of this maga-
zine may be reproduced, in whole or in part, without the prior still with the classic Hasselblad film magazine styling – enables just about any V Featured on this issue’s cover is
permission of the publisher. ProPhoto is entirely produced in
System film camera to step into the digital era with 50 megapixels capture and all Hasselblad’s latest CVF – the 50c –
Australia, and is designed on an HP workstation xw6200 using
digital back which turns any 500 Series
Adobe InDesign. Printed by Bluestar WEB Sydney, distributed by the performance benefits of a CMOS sensor.
Network Services. The publisher will not accept responsibility classic into a contemporary digital
or any liability for the correctness of information or opinions medium format camera, exploiting all
expressed in the publication, the content of any published 38 SUBSCRIBE AND SAVE the benefits of a CMOS sensor.
images, or for the loss or damage to any item submitted for Our road-test starts on page 29.
publication or review. Correspondence and manuscripts are wel- Can’t always find ProPhoto in your newsagent or haven’t got time to look?
come and books, apparatus and materials may be submitted for If you subscribe, you’ll have the printed magazine delivered straight to your
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mailbox and ready to read… and in a lovely traditional ink-on-paper form too!

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Privacy Policy. We value the integrity of your personal informa-
tion. If you provide personal information through your participa-
tion in any competitions, surveys or offers featured in this issue
39 Advertising promotion – Get Protected
Well known in the photography industry for its practical approach to insuring

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of ProPhoto, this will be used to provide the products or services camera equipment, PPIB has now come up with an insurance policy for
that you have requested and to improve the content of our

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magazines. Your details may be provided to third parties who photographers themselves.
assist us in this purpose. In the event of organisations provid-
ing prizes or offers to our readers, we may pass your details
42 Profile – The Photograph And Judy Annear

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on to them. From time to time, we may use the information you
provide us to inform you of other products, services and events
The exhibition The Photograph And Australia at the Art Gallery Of NSW represents

ld
our company has to offer. We may also give your information
to other organisations which may use it to inform you about an extensive survey of Australian photography, especially of the pioneering days.

or
their products, services and events, unless you tell us not to so.
You are welcome to access the information that we hold about Bruce Usher talks to curator Judy Annear about how she brought such a major
you by getting in touch with our privacy officer, who can be undertaking to fruition.
contacted at nextmedia, Locked Bag 5555,
St Leonards, NSW 1590.

© 2015. ISSN 1328-715X 03

Online at www.avhub.com.au
 FIRST FRAME
VOLUME 71 NUMBER 3, 2015

Keeping It Real
When the world’s premier press photography and comfort of a design studio actually has the
competition is rejecting one in every five entries effect of diminishing the efforts of somebody who
due to the use of digital manipulation in one way does the same thing but for real.
or another, we have a problem. And then, just to further cement these
For starters, it’s disturbing that there are docu- thoughts, I was asked to open an exhibition of
mentary photo-graphers who apparently think it’s landscape photography in my home town in the
OK to make a few tweaks here and there, altering Blue Mountains. The photographer, Peter Hill, has
reality in order to create, supposedly, a better picture. been trying to capture the elusive qualities of Blue
More worryingly, photojournalism is pretty well Mountains landscapes, which has involved lots
the last bastion of photographic integrity, because of pre-dawn rising, tricky descents into canyons
wholesale manipulations are pretty well endemic and long waits in cold and damp conditions. This
elsewhere, including in landscapes. It’s this that has is because Peter creates his pictures in-camera
prompted Ken Duncan – whose commercial success (interestingly, he frequently uses a tilt/shift lens)
in landscape photography is well documented – and has similar views to Ken Duncan about post-
to launch his own awards, focusing on what he camera manipulation, but inevitably he’s tarred with
calls “photo realism”. Ken defines these images as the Photoshop brush too. Everybody – as in the
those in which “…the use of digital manipulation viewing public – now just expects that if an image
should be minimal to preserve the integrity of looks truly amazing or dramatic it has to have been
our photographic records”. The distinction is with created via some form of manipulation. We’re rapidly
“photo illustration” where “…a photo is used in becoming conditioned to the idea that something
the creation of an artwork with no limitation on ‘out of this world’ can’t possibly have been created
post-processing techniques”. in this world.
You can read more about the REAL Australia Adventure or extreme sports film-making may
Landscape Awards in this issue’s news section, but just be the last bastion of pictorial integrity,
after receiving the press release from Ken Duncan, although documentaries as a whole would still
a couple of things happened which, I think, further generally be considered to have a high level of
highlight the problem. Firstly, I attended the Banff believability. And, sadly, perhaps now increasingly
Mountain Film Festival, which was an evening’s also news clips versus the press photo.
screening of documentaries, all on the theme of But can we put the manipulation genie back
mountains, either the environment aspects or the in the bottle? Given how endemic and insidious
associated extreme sports. Some of the films were it’s now become, it’s very unlikely, but press
quite short, but what struck me was that there was photography may continue to be protected by
no room for fakery here… you can’t fudge free- ever-vigilant judges in competitions such as the
climbing a new route up a sheer granite pinnacle World Press Awards rigorously enforcing the rules.
and you can’t fudge the filming of it, not if you’re It may be already too late for landscape photo-
going to convincingly convey the effort, the risks graphy, although perhaps if enough people get
and the dramas. It’s all about the camera work and, involved with Ken Duncan’s awards it will be seen
in some situations, the cinematographer is doing as as an endorsement of the need to return to
much as the adventurer in order to capture the real an emphasis on camera work performed on
essence of what’s going on. location. And certainly the judges of other
A couple of days later it was more than
interesting to read David Stratton’s review of the
new Mad Max film in the Review section of The
photography competitions need to stop being
seduced by the fantastical and get back to
evaluating the real elements of photography,
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Weekend Australian newspaper. This is, of course,
very far removed from making a documentary
namely what goes in the camera.
It’s the camera that makes photography

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about extreme sports, but here too, perceptions unique and, without it, we’ve got nothing.
of realism are an issue.
He makes this observation… “In the two
extended chase sequences that comprise most of
the film, the stunts are often amazing, though in this

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era of CGI and visual effects it’s not always easy to
judge the genuine stunt from the digitised artifice.”

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In other words, the idea that you can create
something fantastical or risky-looking in the warmth Paul Burrows, Editor

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BEHIND EVERY POWERFUL IMAGE
IS A POWERFUL STORY
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The Canon Light Awards is a programme of challenges created and judged by photographers.
Be inspired, challenge yourself, improve your skills and become better storytellers through
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to be won. See the latest brief and submit your entry at www.canon.com.au/lightawards
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photography. Winners receive feedback from our Masters, plus there are over $150,000 in prizes

Photo: Darren Jew, Canon Master

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06 NEWS
IMAGING PRODUCTS

Canon's Olympus Delivers

‘Crossover’ New PRO Lenses And
Video/Still Limited Edition E-M5 II
Camera Micro Four Thirds users already enjoy the most
extensive choice of lenses in the mirrorless world and
Olympus has now added a further two, delivering on the
We’ve discussed the
pair of PRO Series models announced last year.
convergence of video and still
Both the new M.Zuiko Digital ED 8.0mm f1.8 PRO and
cameras before in this magazine,
the M.Zuiko Digital ED 7-14mm f2.8 PRO replicate lenses
and Canon’s new XC10 looks like another step in this direction.
that were in Olympus’s FT D-SLR system and represent
It’s still primarily an enthusiast-level or semi-pro video camera, but unlike
another reason for the remaining E-5 users to switch to
Canon’s Cinema EOS models, it can also shoot stills and it’s capabilities in this
the OM-D system.
area aren’t just an afterthought. The body shape is a mixture of both D-SLR and
The M.Zuiko Digital ED 7-14mm f2.8 PRO – which
camcorder form factors with, for example, a handgrip which rotates from the
has an effective focal range of 14-28mm – incorporates
vertical to the horizontal to accommodate different shooting configurations. It
a complex 14-element optical construction including
also has a tilt-adjustable 7.66 cm touchscreen monitor which can be fitted with
two DSA (‘Dual Super Aspheric’ which are doubled sided
a viewfinder loupe for eyelevel use.
aspherical), one EDA (Extra-Low Dispersion Aspheric),
The XC10 is based around a newly-developed one-inch (the imaging area is
two Super HR (Super High Refractive) and three Super
9.6x12.8 mm), 13 megapixels CMOS sensor which is mated with Canon’s next-
ED types. Olympus says distortion is minimal across the
generation DiG!C DV5 processor. The lens is a fixed 10x optical zoom with a focal
full focal range. It has minimum focusing distance of 7.5
range equivalent to 24.1-241mm for still photos and 27.3-273mm for video. It
centimetres and weighs 534 grams.
incorporates an optical image stabiliser, built-in ND filter and the maximum
The M.Zuiko Digital ED 8.0mm f1.8 PRO is the world’s
aperture range is f2.8-5.6.
fastest fish-eye lens and has an effective focal length of
As a video camera, the XC10 can record UHD standard (3840x2160 pixels)
16mm. It’s a rectilinear design giving a full 180-degrees
4K footage at 25 fps to a CFast 2.0 memory card at up to 305 Mbps, or Full HD
angle-of-view. The 17-element optical construction
(1920x1080 pixels) footage at 50 fps to an SD-type card at up to 50 Mbps, with 8-bit
includes three Super ED, two ED, one aspherical, one
4:2:2 colour sampling. It employs Canon’s new XF-AVC H.264 codec for both 2K
Super HR and two HR types which are designed to
and 4K recording and is designed to enable easy integration into industry-standard
minimise distortion and chromatic aberrations. The
non-linear editing systems. The XC10 can record in Canon Log Gamma, Wide DR or
minimum focusing distance is just 2.5 centimetres.
EOS Standard picture modes for increased versatility in colour correction, and also
Local availability will be from the end of June and
easier matching with footage from the Cinema EOS cameras. The XC10 also offers
prices have yet to be announced
12-stop dynamic range Canon Log recording and 4K 25p movie playback via its
Olympus has also announced a limited edition
HDMI 1.4 output terminal. It also offers a selection of slow and fast motion record-
version of the recently-released OM-D E-M5 Mark II with
ing modes – up to 1200x fast motion in 4K/Full HD, and up to 1/4x slow motion in
a titanium body colour. Only 7000 units will be built and
HD – as well as time-lapse shooting. The sensitivity range is equivalent to ISO 160
the edition pays homage to the legendary OM-3Ti, the
to 20,000, and five-axis electronic image stabilisation is available when shooting
last of the ‘serious’ 35mm OM system SLRs. It had actual
HD video. A built-in stereo microphone is supplemented by a 3.5 mm stereo audio
titanium top and bottom plates and remains highly
input plus there’s an output for monitoring purposes. Pro-level video features
sought after by collectors. The limited edition E-M5 II
include a zebra pattern generator, colour bars, focus peaking displays (in a choice
retains a magnesium alloy body, but Olympus says its
of colours), index marking and time-coding.
titanium-look finish recreates the “unique colour” of the
As a stills camera, the XC10 delivers 12 MP images (as well as 8.29 MP frames
OM-3Ti. The camera is packaged with a bespoke strap
derived directly from the 4K footage) with a full choice of ‘PASM’ exposure control
and a special numbered card in a leather case.
modes, as well as nine scene modes. Continuous shooting is possible at up to 3.8
It’s priced at $1899 body only. If you want one, it’s
fps and the shutter speed range is 60-1/2000 second (via a dedicated focal plane
probably worth getting in quick.
shutter). Continuous autofocusing with face detection is available and EOS system
Speedlite flash guns can be used via the XC10’s ISO-standard hotshoe. For more information visit www.olympus.com.au
Additionally, the XC10 uses the NP-E6 lithium-ion battery pack which is also
compatible with a number of higher-end EOS D-SLRs, includ-
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ing the 5D Mark III, 7D Mark II and 5DS/R. As is now
increasingly fashionable, there’s a built-in WiFi

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module which enables both wireless data
transfer and remote camera control.
The Canon XC10 is expected to be
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available in Australia from the middle
of June and, while no local pricing
has been announced, in the USA it’s

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priced at US$2500.
For more information visit
www.canon.com.au
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08 NEWS
IMAGING PRODUCTS

New B&W Leica M Has

Canon’s C300 Live View And Video
Mark II Steps
L
eica has upgraded its B&W-only M Mono-
Up To 4K… chrom digital rangefinder camera to a new
CMOS-type sensor which allows for both
And More live view functions and Full HD video recording.
The new Typ 246 model has a 24 megapixels full-

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hile it maintains much the same modular 35mm size CMOS sensor which, as before, doesn’t
form factor as its C300 predecessor, have any RGB filters so records in monochrome. The
Canon’s new Cinema EOS C300 Mark II incorporates a long list sensor is matched with the same high-speed Leica Mae-
of revisions and new features. Powered by a pair of latest-generation ‘DiG!C stro image processor as is used in the current colour
DV5’ processors, the C300 Mark II records 10-bit 4:2:2 files internally at up to Typ 240 M. The sensitivity range is equivalent to ISO 320
410 Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of to 25,000. The new Typ 246 also has an increased buffer
dynamic range via the new Canon Log Gamma 2 profile. The new camera memory capacity of two gigabytes and is capable of
uses Canon’s new XF-AVC H.264 codec for both 2K and 4K recording and continuous shooting at up to 3.0 fps for a burst of 30
data is stored on dual CFast 2.0 memory cards, replacing the CF types used images. The camera uses SD format memory cards with
previously. 4K video can be recorded in either 3840x2160 pixels broadcast support for the HC and XC types.
resolution or 4096x2160 pixel DCI cinematic resolution. The C300 Mark II can Also revised is the LCD monitor which is now a 7.62
record 4K files to the memory card while simultaneously recording 4K RAW cm TFT panel with a resolution of 921,600 dots. The live
files to an external recorder. Additionally, it has the ability to record 8-bit 4:2:0 view screen allows for focus assistance via a magnified
2K/Full HD proxy files to an internal SD card. image (up to 10x) and a focus peaking display. The new
The new Canon-designed ‘Super 35mm’ 9.84 megapixels (total) CMOS M Monochrom records Full HD resolution video (in B&W,
sensor has an increased sensitivity range of ISO 100 to 102,400, giving en- of course) at either 24 fps or 25 fps (PAL TV standard) in
hanced low light recording capabilities. The read-out speed is twice as fast the Motion JPEG format. The camera’s built-in micro-
as before and further reduces rolling shutter distortion. The new sensor also phone is mono, but an external stereo mic can be fitted
enables ‘Dual Pixel CMOS AF’ autofocusing using phase-difference detec- and manual level control is available. As before, still
tion and covering approximately 80 percent of the frame both vertically and images can be captured as JPEGs (in one of four sizes)
horizontally. Face detection AF operation is also available. or as Adobe DNG RAW files.
Canon’s new XF-AVC H.264 codecs are designed to be compatible with Beyond the digital elements, the new Typ 246 main-
industry standard non-linear editing (NLE) systems, enabling the easier tains all the classical elements of a Leica M RF camera.
integration of both 4K and 2K/Full HD footage into workflows. The options are The top deck and baseplate are machined from solid
XF-AVC Intra for 4K recording, and XF-AVC Long GOP and Proxy for 2K/Full HD brass blanks and finished in black chrome while the
recording. Users can select the resolution and codec which best suits the type main body is made from magnesium alloy. The monitor
of production, with C300 Mark II capable of shooting at up to 30 fps in 4K or up screen has a scratch-resistant sapphire crystal cover
to 120 fps in 2K/Full HD a significant improvement over the previous model. and is treated with an anti-reflection coating. The optical
The new camera supports a wide range of colour space options, including viewfinder provides automatic parallax correction
BT.2020, the Canon Cinema Gamut and DCI-P3. On the audio side, four-chan- and has brightline frame pairs for the 35mm/135mm,
nel recording is available in either 16-bit or 24-bit and at 48 kHz. 28mm/90mm, and 50mm/75mm lenses with the choice
Other notable features include built-in electronically controlled glass neu- of red or white colours. It has magnification of 0.68x and
tral density filters (up to ten stops), an tiltable OLED-type EVF with a resolution a base length of 47.1 millimetres. There’s the choice of
of 1.17 megadots, a 10.1 cm LCD monitor screen with a resolution of 1.23 centre-weighted average or spot metering plus, when in
megadots, zebra pattern and focus peaking displays, colour bar generator, live view, multi-zone measurements. Exposure control is
waveform monitor display, a genlock input, and time code input/output. The via aperture-priority auto or manual modes. The shutter
EF mount makes the C300 II compatible with more than 90 current EF and EF speed range is 60-1/4000 second with flash sync up to
Cinema (CN-E) lenses. Additionally, it’s equipped with Canon Cine Servo zoom 1/180 second.
lens support. Conversion to PL mount is available as an after-sales service. The Leica M Monochrom (Typ 246) is available
The Cinema EOS C300 Mark II is expected to be available in Australia from from Leica Boutiques and authorised dealers, priced
September and local pricing has yet to be announced.
For more information visit www.canon.com.au Camera Australia Pty Ltd, telephone (03) 9248 4444.
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at $10,500 (body only). Distributed in Australia by Leica

.
For more information visit www.leica-camera.com

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BRIEF EXPOSURES
Nikon has announced the development of a new firmware for the D4S, D810 and
D750 D-SLRs which will provide support for recording command function with
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HDMI output to external recorders. Nikon plans to release the new firmware in
succession later this year. The firmware will enable synchronisation of recording

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start and stop with HDMI output from these models. As video recorders will
recognise camera operations, recording start and stop commands of the external
recorder can be synchronised with the similar commands of the camera.
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10 NEWS
IMAGING PRODUCTS

Blackmagic
Gets In On
Also new from Blackmagic
Design is the URSA Mini, a compact Pentax Debuts
The Action(cam)
and lightweight ‘Super 35’ format
pro-level video camera available
Pixel Shift On
Among a flurry of new
in a number of configurations,
including with a new ‘4.6K’ sensor
New D-SLR
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products announced by Blackmagic which captures at 4608x2592 hile the promised full-35mm format
Design at the recent NAB 2015 pixels and up to 60 fps. A dynamic Pentax D-SLR is still to come, parent company Ricoh
show in Las Vegas is the company’s range of 15 stops is available when Imaging has launched an updated version of the
first foray into the action camera shooting in the rolling shutter mode K-3 ‘APS-C’ format D-SLR flagship. While the K3 II carries over
business. The ultra-compact (13 in the global shutter mode). a lot from the previous model – sensor, processor, AF system,
Micro Cinema Camera is based The URSA Mini has dual CFast metering, dual memory card slots and pentaprism-based optical
on a ‘Super 16mm’ sensor 2.0 memory card slots and viewfinder – it also sports a number of important new features.
and is specifically designed for supports open file formats such For starters, the sensor-based image stabilisation system
applications such as being carried as CinemaDNG 12-bit RAW and has been significantly upgraded and now gives a claimed 4.5
aloft on a drone. A unique feature ProRes 4444 XQ to 422 Proxy. stops of correction for camera shake. As on the Olympus OM-D
is the provision of an expansion It also features all standard E-M5 Mark II, Pentax is using the enhanced precision of the new
port enabling use of PWM or S.Bus connections, including dual XLR IS system to drive a pixel shift function whereby the sensor is
model aircraft radio controllers mic/line audio inputs with phantom fractionally moved as multiple exposures are made. However,
to operate the camera wirelessly. power, a 12G-SDI output for unlike the Olympus, Pentax isn’t using the function to boost
The multiple channels of these monitoring with a camera status resolution, but rather to record full colour information at each
controllers can be mapped to overlay, and 4-pin XLR power pixel location, thereby eliminating colour moiré effects and
any camera or lens function – for output for viewfinder power. Other interpolation artefacts while improving both the sharpness and
example, focus, aperture, audio features include sensor cooling colour fidelity. To achieve this, the K3 II’s ‘Pixel Shift Resolution’
level and record start/stop. The (for optimising dynamic range), function records four exposures with the sensor shifted by one
expansion connector include four a 12.7 cm fold-out monitor with pixel up, down, left and right (unlike the E-M5 II which takes eight
PWM channels for all brands of touchscreen controls and Full exposures, the additional four made with half-pixel shifts to give
model aircraft RF controllers while HD resolution, built-in stereo an increase in resolution). As with the Olympus though, there’s
the single S.Bus connection can microphones, the choice of EF or PL still the requirement for both the camera and the subject to be
accommodate up to 18 channels lens mounts, and ¼-inch mounting completely static during the process.
of control. Another interesting points on the top and bottom of the Ricoh is also using the K3 II’s image stabilisation system to
aspect of the MCC’s design is camera for attaching accessories deliver another interesting new feature. The new camera loses a
the placing of its controls on the such as matte boxes or rails. The built-in flash because this space is now used to accommodate
front for easier access once the URSA Mini is also available with a GPS receiver, and there’s also an electronic compass built-in.
camera is mounted, for example, Blackmagic’s existing 4K sensor. Along with the camera’s orientation sensors, these components
on a helmet. Despite its small size, Local pricing has yet to be drive a feature called ‘Autotracer’ designed for use with astro-
the MCC has an active Micro Four announced, but in the USA the photography, shifting the sensor during long exposures so that
Thirds lens mount and its pro-level URSA Mini starts at US$2995 (4K stars are essentially ‘tracked’ in-camera. This ensures they’re
features include 12-bit RAW and sensor/EF mount) while the Micro recorded as pinpoints of light and not as trails as would normally
ProRes recording, a switchable 60 Cinema Camera will sell for US$995 happen even with comparative short exposures. Clever or what?
fps rolling shutter or 30 fps global when it becomes available in July. Apart from the changes to the pentaprism profile, the K3
shutter, HDMI connector, 3.5 mm For more information visit II has essentially the same compact and fully weather-sealed
stereo audio input and an SD www.blackmagicdesign.com magnesium alloy bodyshell over a stainless steel chassis as its
memory card slot. predecessor. As noted as the outset, it also retains the same
24.7 megapixels CMOS sensor (24.35 MP effective), ‘PRIME III’
The new Blackmagic Design image processor, 27-point ‘SAFOX 11’ AF module, 86,000 pixels
Micro Cinema Camera has an
RGB metering sensor, 8.3 fps continuous shooting speed and ISO
expansion port which allows
100-51,200 sensitivity range. The dual card slots are for SD format
for remote camera operations
via an RC model
aircraft controller
devices. Also carried over – and again derived from the sensor-

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based image stabiliser – is the ‘AA Filter Simulator’ function which
(either PWM
or S.Bus).

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corrects for moiré patterns via sub-pixel shifting. The system has

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three settings – ‘Off’ which is obviously for prioritising resolution;

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‘Type 1’ which is designed to balance resolution and moiré
correction by shifting the sensor in a linear direction; and ‘Type
2’ which oscillates the sensor in a circular motion in order to

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optimise the blurring effect and, as a result, moiré correction.
Local availability and pricing for the Pentax K3 II have yet

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to be announced. Pentax and Ricoh products are distributed in

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Australia by C.R. Kennedy & Company.
For more information visit www.pentax.com.au
 JULY 31-AUG 2 I SYDNEY SHOWGROUND

ExpEriEncE lifE-Enhancing tEchnology

at australia’s nEw tEch EvEnt!
There is someThing
PhoTo & home
for everyone car audio
aT new-Tech! imaging TheaTre

eco science &

audio gaming
Living fuTure Tech

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tEchnology towarDs toMorrow

w www.chestergroup.org e [email protected]
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 12 NEWS
IMAGING PRODUCTS

Fujifilm Unveils Lower-Priced X-T

No doubt buoyed by the huge success $1499 with the 18-55mm f2.8-4.0 XF
of its X-T1 mirrorless camera, Fujifilm has zoom.
introduced a “little brother” model called the Fujifilm has also introduced its
X-T10. It has the same 16.7 megapixels ‘X-Trans latest X Series interchangeable lens,
CMOS II’ sensor and ‘EXR Processor II’ as the the 16mm f1.4 fast prime wide-angle,
X-T1, but a smaller and lighter magnesium alloy which is also the latest addition to
bodyshell, a smaller EVF and a lower-res LCD the WR line-up of weather-protected
monitor screen. If anything, the X-T10’s design lenses for use with X-T1. It has a total
is even more retro with Fujifilm referencing of nine seals as well as a barrel design
the 1970s-vintage Fujica ST801 35mm SLR as a that enables operation in temperatures
source of the main styling cues. However, un- down to -10 degrees Celsius. The effective
like the X-T1, the X-T10’s bodyshell isn’t sealed focal length is 24mm and the optical con-
against the intrusion of moisture or dust. struction comprises 13 elements in 11 groups.
The control layout is still mainly dial-based, Two elements are aspherical types to correct
but an important difference is the provision of for distortion and two are extra-low dispersion
a lever which engaged fully automatic expo- glass to minimise chromatic aberrations. The 16-55mm f2.8 R OIS WR and XF 50-140mm f2.8
sure control in one hit (i.e. instead of turning new 16mm f1.4 also features Fujifilm’s HT-EBC R OIS WR. Fujifilm says it will have a total of
the shutter speed dial and lens aperture collar multi-coating to reduce ghosting and flare. It 21 X-Mount lenses (plus a 1.4x teleconverter)
to their ‘A’ settings). Fujifilm says it is targeting has a ‘floating’ focusing design which employs available by the end of 2015, including the XF
the X-T10 at a younger audience capitalising to two groups of focusing elements to maintain 100-400mm telezoom (equivalent to 200-
on the growing interest in all things retro, but image quality across the focusing range. The 600mm) and the 120mm f2.8 macro.
in reality this is a consumer-level version of the minimum focusing distance is 15 centimetres. For more information about the Fujifilm
primarily pro-level X-T1. It’s priced at $1299 The XF 16mm f1.4 R is the fourth WR lens, X Series cameras and X Mount lenses
with the 16-50mm f3.5-5.6 XC zoom lens or joining the XF 18-135mm f3.5-5.6 R OIS WR, XF visit www.fujifilm.com.au

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14 NEWS
IMAGING PRODUCTS

Datacolor Unleashes Next-Gen Spyder X-T1 Gets

If you’re at all serious about your printing, Spyder5PRO offers more advanced features,
Improved AF
accurate calibration of your computer’s monitor including an integrated ambient light sensor for With New
screen is essential. One of the leaders in this
field is the US company Datacolor which has just
room light monitoring, an extensive range of
calibration settings, display analysis and the ability
Firmware

F
introduced the latest version of its Spyder monitor to import images for before-and-after evaluation. ujifilm has been diligent with its
calibration solution, aimed at users who want the Spyder5ELITE offers a built-in tripod mount firmware upgrades for the X Series
highest levels of colour accuracy and ultimate to easily calibrate front projector displays. Expert cameras, including no fewer than
control of the calibration process. . features include an unlimited range of calibration 14 for the X-Pro1… exactly what should
Datacolor Spyder5 is available in three versions settings, comprehensive display analysis, happen to keep a model as current as
called Express, Pro and Elite. All versions adjust, or advanced before-and-after evaluation of imported possible. Now Fujifilm has introduced
calibrate, monitors to an industry colour reference images, monitor matching and tuning, and perhaps one of the most significant
so colours are accurate, and both shadow and optimised gray balance routines. firmware upgrades ever – this time for
highlight details are preserved. With true screen Datacolor products are distributed by the X-T1 – and it gives the camera’s AF
colour, photographers can more accurately edit Kayell Australia and the new Spyder5EXPRESS, system a significant overhaul.
photos and achieve better print matching. Spyder5PRO and Spyder5ELITE are available at Firmware Version 4.0 for the X-T1
The next-generation Spyder5 colorimeter is photography and consumer electronics retailers, adds a ‘Zone’ mode to the single-shot
compact, portable and protected for use on all or online and continuous AF operations, and
laptop and desktop monitors. Datacolor says it has from www. also a ‘Wide’ mode for the latter. The
redesigned the Spyder’s patented seven-detector kayellaustralia. ‘Zone’ mode allows for the selection
optical engine to deliver up to a 55 percent com.au Pricing of clusters of focusing points – 3x3,
improvement in tonal response, resulting in more starts at $225. 5x3 or 5x5 – for enhanced tracking
accurate shadow detail and smoother gradients. with smaller-sized moving subjects
Spyder5EXPRESS is a cost-effective tool for and when panning. The ‘Wide’ mode
photographers who want an easy-to-use colour enables tracking of a subject across
accuracy solution through a simple, interactive the camera’s full 77 focusing points
four-step process guide. Using its before-and- with any direction of movement, in-
after feature, users can evaluate calibration cluding closing in or moving away. The
results using a professional Datacolor composite phase-detection pixels have improved
image. Spyder5EXPRESS also supports multiple detection of tonal differences, now just
monitor calibrations. 0.5 EV compared to 2.5 EV previously.
The single AF points are divided into
smaller sections for more precise
ON THE MOVE WITH determinations of a subject’s distance.
ELINCHROM’S ELB 400 Eye-detection is added along with an

T
he latest development of Elinchrom’s Ranger Quadra battery- auto macro mode which eliminates
powered portable flash system, the ELB 400 offers a number the need to be manually activated
of performance improvements as well as new features in- via the camera’s Macro button. As a
herited from the ELC Pro HD monoblocs, including strobe, delay and result, this control can be assigned to
sequence modes. another function. The algorithms for AF
Weighing just two kilograms, the ELB 400 is a compact power operation when shooting video have
pack with a maximum flash output of 424 joules over two flash head also been refined, enabling smoother
outlets with 2:1 asymmetry. One output can be adjusted over a range adjustments.
of 14 to 280 joules, the other over a range of one to 140 joules, giving Firmware Version 4.0 also
a combined range of 21 to 424 joules. Adjustments are made in 1/10 provides a couple of improvements
stop increments and the recycling times range from 0.3 to 1.6 seconds in the to the X-T1’s exposure control, namely
Fast mode. The shortest flash duration is 1/5700 second (depending on the that the compensation dial can now
head). The ELB 400 is powered by a 14.4 volts lithium-ion battery back which
delivers up to 350 full-power flashes and fully recharges in 90 minutes. Bat-
be used to make exposure adjust-

e t
ments when using Auto ISO, and the
tery packs easily and conveniently clip or unclip from the base of the pack.
Other features include a new OLED-type information display panel, the
. n
‘T’ setting on the main mode dial

s
allows for the full range of shutter
next generation of Elinchrom’s Skyport RF remote triggering system (20 chan-
nels in four groups), a programmable timer for the modelling lamps and Eco/Fast recycling
modes. The ELB 400 is compatible with ultra-compact Quadra Action and Quadra Pro heads g
speeds – from 30 seconds to 1/32,000

a
second – can be selected via the input
wheel (with hybrid focal plane/sensor
which have high-efficiency LED modelling lamps (equivalent to 50 watts halogen) and weigh just
280 grams. A range of light-shaping accessories can be fitted via the Quadra Reflector Adapter.
The Elinchrom ELB 400 is available now in a choice of four one or two head lighting kits with

ld m
shutter operation).
The latest firmware upgrade
for the X-T1 will be available

or
prices starting at $2995. Elinchrom products are distributed by Kayell Australia and for more for free download from the end
information visit www.kayellaustralia.com.au of June. For more information
visit www.fujifilm.com.au
 e t
s. n
a g
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or
16 NEWS
TIPA AWARDS

2015 TIPA Awards Announced

The Technical Image Press Association (TIPA) Pentax 645Z (Best Medium Format Camera), The TIPA group currently comprises 28
has announced the winners in its 2015 Awards Samsung NX1 (Best CSC Professional), Profoto member magazines, representing 15 countries
which recognise excellence and innovation B2 TTL (Best Professional Lighting System), on five continents. It also has a co-operative
in imaging product design. This year’s awards Sony Alpha 7S (Best Photo/Video Camera partnership with the CJPC (Camera Journal
cover 40 categories and were judged by the Expert Professional), Zeiss Loxia Series lenses Press Club) which represents 11 photography
editors and technical editors from 24 member (Best CSC Prime Lens), Phase One’s Capture magazines in Japan.
magazines (which include sister publication One Pro 8 (Best Imaging Software) and Zenfolio For more information visit www.tipa.com
Camera), representing 16 countries. (Best Photo Service).
Among the major winners are Canon, The Leica T won the award for best camera
Nikon, Fujifilm and Epson which each won design and the Lytro Illum was voted the best Nikon D810 – Best
D-SLR Professional,
three categories. Nikon’s D810 was judged best innovation of the year.
TIPA Awards 2015.
professional D-SLR while Canon’s EF11-24mm
f4.0L USM won the award for best professional
D-SLR lens. The Fujifilm X100T was judged best
premium camera while the Epson SureColour
SC-P600 was voted the best photo printer.
Other notable winners this year include the

• Best D-SLR Entry-Level – Nikon D5500

• Best D-SLR Advanced – Pentax K-S2 Canon EF11-24mm f4.0L USM – Best
• Best D-SLR Expert – Canon EOS 7D Mark II Professional D-SLR Lens, TIPA Awards 2015.
• Best D-SLR Professional – Nikon D810
• Best Entry-Level D-SLR Lens – Sigma 18-300mm f3.5-6.3 DC Macro OS HSM
• Best Expert D-SLR Zoom Lens – Canon EF100-400mm f4.0-5.6L IS II USM
• Best Expert D-SLR Prime Lens – Sigma 24mm f1.4 DG HSM ‘Art’
• Best Professional D-SLR Lens – Canon EF11-24mm f4.0L USM
• Best Medium Format Camera – Pentax 645Z
• Best CSC Entry-Level – Sony Alpha 5100 Profoto B2 TTL –
• Best CSC Advanced – Panasonic Lumix DMC-GM5 Best Professional
• Best CSC Expert – Olympus OM-D E-M5 Mark II Lighting System,
• Best CSC Professional – Samsung NX1 TIPA Awards 2015.
Pentax 645Z – Best
• Best CSC Entry-Level Lens – Tamron 14-150mm f3.5-5.8 Di III Medium Format
• Best CSC Expert Zoom Lens – Fujinon XF 16-55mm f2.8 R LM WR Camera, TIPA
• Best CSC Prime Lens – Zeiss Loxia Series Awards 2015.

• Best Easy Compact Camera – Canon IXUS 160/165/170 Series

• Best Expert Compact Camera – Fujifilm X30
• Best Superzoom Camera – Nikon Coolpix P610
• Best Rugged Camera – Panasonic Lumix DMC-FT6
• Best Premium Camera – Fujifilm X100T
• Best Photo Printer – Epson SureColor SC-P600
• Best Inkjet Photo Paper – Canson Infinity Photo Lustre Premium RC 310gsm
• Best Photo Projector – Epson EH-LS10000
• Best Photo Scanner – Epson Perfection V850 Pro
• Best Imaging Software – Phase One Capture One Pro 8
• Best Accessory – Uniqball UBH ball heads
• Best Tripod – Manfrotto BeFree Carbon Fibre Series
•
•
Best Storage Media – Eyefi MobiPRO WiFi SD memory card
Best Photo/Video Camera Expert – Panasonic Lumix DMC-LX100
Zeiss Loxia Series –
Best CSC Prime Lens,

e t
•
•
Best Photo/Video Camera Expert Professional – Sony Alpha 7S
Best Mobile Imaging Device – Sony ILCE-QX1
TIPA Awards 2015.

s. n
g
• Best Professional Lighting System – Profoto B2 TTL

a
• Best Portable Lighting System – Nissin Air System
• Best Photo Monitor – LG Digital Cinema 4K, Model 31MU97Z

m
• Best Photo Bag – Think Tank Photo Airport International LE Classic
• Best Photo Service – Zenfolio
•
•
•
Best ActionCam – Ricoh WG-M1
Best Imaging Innovation – Lytro Illum
Best Design – Leica T (Typ 701)
Epson SureColor
SC-P600 – Best
Photo Printer, TIPA
Awards 2015.
or ld
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18 NEWS
IMAGING PRODUCTS

New Photo Contest Promotes Real Landscape Photography

Dismayed by the number of highly-manipulated ism, the use of digital manipulation should be is hoping these awards will become a
images winning in major photography com- minimal to preserve the integrity of our photo- prestigious annual event and, in future years,
petitions, acclaimed landscape photographer graphic records, whereas in Photo Illustration, a he anticipates the entry period will probably
Ken Duncan has decided to launch his own photo is used in the creation of an artwork with be shortened. In 2015, however, the
awards, specifically to promote what he is no limitation on post-processing techniques.” competition is running for three months,
calling “photo realism”. He is proposing to have Ken cites the recent revelation that one with selected mages being showcased on
images that have been extensively changed in every five entries to the latest World Press the Real Photo Awards Website at www.
post-camera labelled as “photo illustration”. Photo Awards was rejected by the judges due realphotoawards.com, as well as in leading
While he claims that he’s not against “new to digital manipulation of one form or another photographic and travel magazines.
digital creations”, Ken believes the time has come as an indication of just how much the integrity A generous $40,000 prize pool (which
to make the distinction before consumer confi- of photography “as an accurate recorder of includes five days of one-on-one tuition on
dence in photography is irreparably damaged. history” is under threat. location with Ken) is expected to encourage
“Consumers these days are often con- The REAL Australia Landscape Awards a large number of entries from keen photo-
fused about what they are looking at; they are are designed to provide a platform for people graphers who subscribe to the theory that
unsure what is real and what’s not”, he says. who want to express their creativity through “natural is best”.
“Historically, the art of photography has served Photo Realism – presenting images that are Entries can be submitted online at
as a crucial means of documenting places and “believable” and that give a true interpretation www.realphotoawards.com and
events for future generations. In Photo Real- of the scene with minimal post-processing. Ken the closing date is 30 June 2015.

ZEnfolio JudgEd “We are honoured to be recognised

BEst Photo sErvicE by such a diverse and respected
international body," says Zenfolio’s
in 2015 tiPA AwArds
marketing director, Nataly Huff. "Our

Z
enfolio has struck gold over the last current efforts include making our
year, winning a total of five major websites available for the major
industry awards, most recently the languages spoken around the world."
sought-after TIPA award Recent innovations include the
for Best Photo Service. launch of the company’s first client-
The award-winning photography
hosting and e-commerce platform
facing app called Photo Moments –
Your Digital Photos Delivered, a
ProPhoto 45 Years Ago
has proven to be a winner with streamlined Edit View for the back There’s nothing like a dip into the archives to
photographers who want to elegantly and end, and a polished app for its users. reveal just how much things have changed in the
professionally display and sell their work
online in an intuitive and streamlined
Zenfolio has also recently been
awarded Best Professional Product,
imaging industry, especially over the last couple
of decades. In the early 1970s, pros were getting to
e t
way. With users all over the world and
Websites made available in multiple
Best Professional Customer Service
and Best Professional Website Provider
grips with the idea of shooting with colour film
and – gasp! – automatic camera functions. This

s. n
languages, the service has proven to be
the solution for photographers in a wider
variety of fields and markets.
at the 2015 Societies Trade Awards;
and Best Website Provider at the 2014
Advanced Photographer Awards.
a g
is a snapshot of the May/June 1970 issue. when it
was called Professional Photography in Australia.

TIPA has a worldwide membership of

27 photography and imaging magazines
from 16 countries across five continents,
Photographers are invited to
sample Zenfolio’s service via a
free two-week trial.

ld m
covEr PhotogrAPh: Ronald Armstrong Studio, Perth, WA.
tEst rEPorts: Sinar P large format camera system
PEoPlE And PlAcEs: National Model Of The Year

or
competition /// 1970 IAP Directory Of Photographers
and once a year, the editors of TIPA’s
/// Ronald Armstrong Studios, Perth.
member magazines meet to vote for the visit www.zenfolio.com
thE issuEs: Duplicating transparencies
best photo and imaging products. for more information.
Photograph by Peter Eastway, G.M. Photog. Edited on Cintiq Companion 2

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 Crea
PROFILE
#DYSTURB

Taking it to the streets, #dysturb

is attracting attention to
photojournalism by posting
extra-large B&W images in
busy locations around major
cities, including recently in
Melbourne. Alison Stieven-
Taylor talked to the co-founders
about their objectives.

I
n the main, photojournalists are #dysturb’s
a resourceful bunch, and many co-founder, French
are undeterred by the so-called photojournalist
‘crisis’ in journalism. This is espe- Pierre Terdjman.
Photograph by
cially true of freelancers who, by
Marty Williams,
the very nature of their work, are
copyright 2015.
adept at finding ways to tell the
stories that are important to them, and to
seek new ways to engage the public.
One of the most exciting examples of
#dysturb poster
this ingenuity is #dysturb, an initiative that at St. Kilda.
sees large black and white posters featuring Photograph
a single image with a caption and credit
pasted on walls around some of the world’s
by Alison
Stieven-Taylor,

e t
n
largest cities, including Paris and New York. copyright 2015.
In February it was Melbourne’s turn, as
the co-founders of #dysturb, French photo-
journalists Pierre Terdjman and Benjamin

g s.
Girette, set about bringing their unique
concept to the streets and alleyways of
Melbourne’s inner suburbs, as guests of
Photobook Melbourne festival.
ma
#dysturb began in March 2014 when
Terdjman, who is an award-winning photo-
journalist, had just returned from the
Central African Republic.
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20
ating A Dysturbance

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Being published and showing your work is very
s. n
a g
important – no matter if it is in a magazine or on the

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Internet or on a wall, it is important for people to see
what you did and for yourself to show to the people.

or 21
 PROFILE
#DYSTURB

#dysturb poster at South Yarra.

Photograph by Alison
Stieven-Taylor, copyright 2015.

“I had my pictures
published in Paris Match,” he
says, “but I wanted to show
more images, as I felt the public
didn’t really understand what
was going on there. I wanted
to give it more attention.”
His idea was to turn these
images into large posters and
paste them around the streets
of Paris. Collaborating with Girette, the pair photo-journalists. Many of those we are For #dysturb to be successful it has to
decided it would be “…more interesting working with and who are giving us pictures be non-political, contends Terdjman, and
to include work by other photojournalists are colleagues. We know how we work, the group never pastes pictures about
also”. Tapping into their network – photo- we know ethically the people that give us national news in the countries that the
journalists tend to stick together – they pictures are not playing with the pictures or photographs were taken in.
quickly assembled a number of participants altering the reality of the picture.” “We don’t want people to feel or think
all eager to share the work they were Ethics and photojournalism continues we are militants or politically involved.”
passionate about. to be a hot topic. The day before I met To illustrate the point, Girette discusses
“Many of our colleagues are working with Terdjman and Girette, the winners of the large poster of the Charlie Hebdo
on issues that are not promoted by the this year’s World Press Photo awards were protests that took place in Paris earlier this
media,” says Terdjman. “Being published announced along with the revelation that year. This picture was pasted in London the
and showing your work is very important 20 percent of finalists were disqualified day after the protests.
– no matter if it is in a magazine or on the for manipulating their images. It is a sore “We can print and send images very
Internet or on a wall, it is important for point for those photojournalists who follow fast. People can look at the date on the
people to see what you did and for yourself the creed of the profession, particularly in pasting and see it was yesterday… with
to show to the people.” light of the negative public reactions that this picture we were faster than even some
manipulated news images have drawn in [print] newspapers and magazines.”
Simple Formula recent years. The effectiveness of the platform, and
The formula is simple and inspired at the “Photojournalism isn’t like fine art, their non-profit status, has seen the major
same time – source the image, print the everything doesn’t have to be perfect, agencies like Getty Images and Magnum
poster, find a blank wall in a location that that’s the point. You can make a beautiful Photos get behind #dysturb and there is
sees a lot of foot traffic. Many of the sites picture without manipulating it. What hope others will follow also. While some
that #dysturb chooses see thousands of you see is what you get,” states Terdjman. of the biggest names in the business such
people passing each day. Girette adds, “Removing objects from as Paolo Pellegrin and Moises Saman are
“Magazines in France or in the USA pictures is just stupid.” contributing images, the platform also
with big circulations only sell maybe 50,000 allows lesser-known photojournalists an
copies,” says Pierre Terdjman. “We paste the Non-Political opportunity to show their work.
pictures in places where everyday people The ambiguity of the photograph and the “We give them visibility they can’t
cross the street, so 15,000 people a day, or issue of captioning has been another point afford or can’t get,” says Girette.
more, will see the pictures. In this way we of contention for the profession. Terdjman
gain much greater visibility for the work and Girette are at pains to ensure that the Provoking Curiosity
and create more opportunities to get the captions on the #dysturb posters carry the #dysturb is an interesting exercise in what
attention of the public.”
Pasting often happens under cover
journalism doctrine of the five Ws – who,
what, when, where and why.

e t
Pierre Terdjman terms “inverse social media”.
“We use the street as social media.

n
of darkness. While this carries the cachet “In contemporary or fine art you can From the street we tell the people to go
of a subversive act, the #dysturb team are
completely forthright with authorities and
local residents.
have an untitled picture and allow your
audience to interpret the image,” states
Benjamin Girette. “But with photojournal- .
to the Internet to get more information.

s
It’s not the Internet driving people to the
street.”

g
“We don’t run away from the police, we
have nothing to hide,” says Girette. The pair
has been arrested and told to take down
the posters a couple of times, but given
ism you have to orient the audience to the
points you want to explain. If you don’t put
a caption on the picture, five people will
pass by, and five will interpret the picture in
m a
Perhaps not initially, but many people
take photos of the #dysturb pastings and
share them on their social media networks.
This provokes curiosity, and people are
they’ve pasted more than 250 images the
odds are in their favour.
Terdjman adds, “I don’t think we’d have
the credibility that we do if we weren’t
a different way. The caption tells them what
they are looking at and then they decide
what to see and how to feel about it. For us,

or
misinterpretation of the picture is a disaster.”
ld
actively going in search of the pastings as a
result. To capitalise on this interest #dysturb
now has a mobile site that tells you where
they have been in your city.

22
How do you stand
out from the crowd?
It has recently been suggested that of all the photographs
ever taken in the world... 10% were taken in the year 2012!

e t
Tell them you are a professional, show them you
are a professional and demonstrate to them what a
s. n
professional can do.

Make 2015 the year a g

Images from top left © Melissa Neumann, Kelly
Brown, Sandra Lea, Kimberly Munro, Zachary
Couyant, Charmaine Heyer, Peter Barnes, Bambi

m
Wixon, Keren Dobia, Samantha Panciera, Tony
Hewitt, Robyn Smith, Peter Coulson, Tyler Alberti,

YOU join the AIPP!

ld
Pamela Martin, Simon Bull, Peter Eastway, Jeremy
Byrnes Rene Mitchell Pitman, Scott Leggo, Leanne
Clements, Tony Hewitt, Glen Knoblaunch Elizabeth

or
Bull, Jeremy Byrnes, Damian Caniglia, Gerrie
Cooney, Charmaine Heyer, Christian Fletcher,
www.aipp.com.au Warren Bellette, Justin Blank and Stuart Westmore
 PROFILE #dysturb was involved in this year’s
Photobook Melbourne festival and its large
#DYSTURB black and white posters were seen pasted
in a number of locations around the city.
Photo courtesy of #dysturb, copyright 2015.
“We are using the platforms that exist
to tell the story via other people”.
The momentum of #dysturb has seen its
co-founders travel extensively over the past
year attending numerous festivals around
the world. In addition to pasting posters in
the cities they visit, the pair gives talks on
the opportunities for social documentary
photography and community engagement.
They have also instituted a schools program
that is being rolled out in France.
In each city they visit, Terdjman and
Girette also collaborate with local photo-
journalists sharing the #dysturb dogma –
this is not just an exercise in pasting
pictures. There are ethical and environ-
mental considerations.
“Every aspect of the pasting is taken
into consideration,” explains Girette, from
where to paste and how to navigate
questions from the public and police,
right down to the type of glue used –
in this case water-based adhesive.
“If we are to preserve this way of
publishing and the dialogue it creates then
we have to be consistent in our approach.”
“We’d like to see it get to the stage
where there are monthly pastings in the
cities we are already working with,” says
Terdjman. “That way people will get used
to it and the audience will anticipate it, be
hungry for it. That is already the case in
Paris where people who are living around
the areas we paste are asking when we are
going to paste again.”
It is not surprising with all this activity
that Terdjman says #dysturb has become a
full-time job albeit one that doesn’t come
with a pay packet. He and Girette have
backed the project with their own money.
They’ve also found a very sympathetic
printer in Paris. But while festivals invite them
to collaborate and cover their expenses,
they are patently aware that a permanent
funding base needs to be established if
#dysturb is to continue to flourish.
“For the moment we can’t give the
baby to someone else because we need to
work on the foundation, but sometime in
the future we will have someone manage
it for us worldwide,” says Terdjman, hopeful
they will be successful in finding a sustain-

e t
n
able model. And once they’ve handed the
‘baby’ over?
“We both want to go back to taking
pictures.”

g s.
Alison Stieven-Taylor is a photographer
and writer based in Melbourne. You
ma
can read her weekly blog on www.
photojournalismnow.blogspot.com and see
her own work at www.realityillusion.com

or ld
24
Photojournalism isn’t like
fine art, everything doesn’t
have to be perfect, that’s
the point. You can make a
beautiful picture without
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you see is what you get.

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 ON TRIAL
HASSELBLAD CFV 50C

Back To
WHEN HASSELBLAD WAS BUILDING
its iconic mechanical 6x6cm SLRs in
Gothenburg in Sweden, it was building
them to last. Legions of profession-

The Future
als earned their living with 500 Series
cameras, backed by the performance of
the Zeiss-made lenses, and Hasselblad
can lay claim to almost as many history-
changing photographs as Leica… and
exclusivity as far as man’s exploration

HASSELBLAD CFV 50C of the Moon thus far. Then along came
the H Series of 6x4.5cm SLRs, Imacon
and digital capture, the closed-loop
architecture of the H3D digital camera

Forget retro-look styling. With the CFV 50C system onward, and the somewhat
controversial repackaging of various
you can have 21st century capture technology Sony digital models.
on your genuine vintage 1960s, ’70s or ’80s For a while there, it looked like
Hasselblad had forgotten where it had
Hasselblad 500 Series camera body. come from – the tradition which helped
make it what it is today and which, like it
REPORT BY PAUL BURROWS or not, is an integral part of the marque.
We’ve seen Land Rover do much the
same with the Defender which has its
roots in the vehicle that built the brand.
Leica, in comparison, is revelling in its
past glories – of which there are a great
many – and its heritage is at the heart
of its current activities… thereby, for
instance, giving the ‘clean slate’ model T
mirrorless camera a far greater relevance
than Hasseblad’s Sony-bred Lunar. Well,
for starters, the T is actually a Leica…

CMOS Advantages
The good news is that Hasselblad does
appear to again be recognising that its
‘legacy’ products do have a place in its
current activities so now we have the
H5X – a contemporary H Series body
which accepts a film magazine (or non-
Blad capture backs) – and the CFV 50c.
What’s encouraging about both these
products is that Hasselblad recognises
the need to have them. There was, ap-
parently, an H4X, but the H5X brings all

e t
the upgrades of the H5D system body to
a camera that, for many, is a more flex-

n
ible option. Likewise, there have been a

.
couple of previous CFV backs (including

s
the previous CCD-equipped CFV 50), but

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the new 50c model gives the owners of
classic V Series bodies access to the 50
megapixels Sony-made ‘medium format’

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CMOS sensor that’s also on offer from
Phase One, Pentax and Mamiya Leaf, as

or
well as being used in Hasselblad’s own
H5D-50C camera system. The CMOS-type
sensor brings a number of important

29
 ON TRIAL
HASSELBLAD CFV 50C

The classic 500 Series camera

bodies are pretty affordable these
days so even factoring in buying a
couple of lenses, the sub-$20k
CFV 50c is a comparatively
affordable route in digital
medium format photography.

The EL motorised
cameras require the
use of an optional
battery adapter plate to
clear the cameras’ own
battery compartment
housing.

The styling of the

CFV 50C exactly
mimics that of the Hasselblad 500EL/M
classic Hasselblad film with A12 film magazine
magazines complete attached (below) and with
with chromed the CFV 50C capture back
brightwork and fitted (above). The cable
leather-look inserts. shown with the capture
back isn’t necessary for
normal shooting and is
only needed for remotely
controlling a tethered
camera using the supplied
The memory card Phocus software.
compartment is
concealed behind a
panel which repli-
cates a detail on the
film magazines. The
back accepts Com-
pactFlash memory

t
cards and supports
UDMA high-speed
data transfer.

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30
or
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 ON TRIAL
HASSELBLAD CFV 50C

advantages to digital medium format and made possible by utilising the

photography and now you can have same mechanical tab linkage used in
them on any vintage 500 or 2000 Series the film magazines. Here it served to
’Blad dating back to 1957 and the original detect whether the darkslide had been
500C. OK, so in reality, you probably removed; locking the shutter if it hadn’t.
wouldn’t press an original 500C back into On the CFV 50C it essentially ‘wakes up’
service, but a 1970s-build 500C/M could the digital back in readiness for an expo-
still have plenty of life left in it, and this is sure to be made. This applies to all the
certainly the case with the later 503 and ‘analog’ 500 Series models from the 500C
501 models, likewise the EL/M and ELX to the 553ELX. If you want to go further
motordriven bodies. All are fully mech- and control the camera remotely (i.e. in
anical and can be fitted with metering a tethered situation) via Hasselblad’s
prisms, but the 503 Series have TTL-OTF Phocus software, then the supplied
flash metering built into the camera bod- Exposure Cable EL is required for the
ies as do the motorised 500ELX, 503ELX, EL/M and ELX motorised cameras; or
553ELX and the last-of-the-line 555ELD. the Exposure Cable 503CW for, logically,
As all these cameras rely on leaf-type
shutters in the lenses, flash sync is at
all shutter speeds. If you like the idea of
using an EL ’Blad, make sure that any
500EL/M or 500ELX you look at has been
converted to use standard AA-size bat-
teries (they originally used proprietary
The level of detailing maintained at
NiCd cells made by Varta). the higher ISOs is another benefit of
The 2000 Series have focal plane
shutters, but were never equipped with the bigger sensor versus, say, a D-SLR Test images captured as 3FR
metering of any sort. This came with the RAW files and processed as
later 200 Series (starting with the 205TCC with a full-35mm format imager. TIFFs in Phocus. Hasselblad
500EL/M with Zeiss Planar
in 1991), but these cameras were never
80mm f2.8 T* and Distagon
built in big numbers so they’re harder to 50mm f4.0 lenses. The benefits
locate second-hand than the much more of a big sensor with big pixels
The control panel
numerous 500 Series models, but all are evident in the dynamic
is simplicity itself.
have built-in TTL metering and aperture- range, tonal gradations and
All navigation and
low noise across the sensitivity
priority auto exposure control (except setting operations
range. Compared to the
are performed via
for the entry-level 201F). The 500 Series previous CCD-equipped CFV
the combination of
camera bodies are pretty affordable back, the new 50c delivers a
four-way keypad
these days so even factoring in buying a superior image quality at ISO
and plus/minus
couple of lenses, the sub-$20k CFV 50c is 6400 than it did at ISO 800.
rocker (seen at
Hasselblad’s ‘Natural Colour
a comparatively affordable route in digital centre).
Solution’ profiling delivers
medium format photography or, more excellent colour fidelity across
specifically, Hasselblad digital medium the spectrum.
Menu system is
format photography. This is even more easy to navigate.
the case if you’re reviving a camera kit Note the default
that’s been in retirement for a while. setting for
the maximum the 503CW when it’s fitted with the
Classical Good Looks exposure duration.
Winder CW. Obviously, the non-motor 500
As with the previous CFV capture backs,
the 50c is styled to look like a Hasselblad

e t
cameras can’t be remotely controlled
from Phocus, and the 2000/200 models
film magazine complete with chromed
brightwork and leatherette inserts. It
matches all the detailing on the camera
Exposure Cable EL
is supplied with the n
all require a flash input cable to sync with

.
the digital back. However, the 200 Series

s
models can be modified to allow cable-
bodies so only the 7.62 cm monitor
screen and buttons on the back panel are
the give-away. The compartment cover
back and facilitates
camera control from
Phocus with the
free operation.

a g
The CFV 50C is powered by a
camcorder-style battery which clips to its

m
motorised 500 Series
for the memory card slot is particularly cameras from the base, but the EL cameras all have a rear

ld
cleverly done and its shaping exactly EL to the 553ELX. extension from their own battery com-

or
matches the curve of the film magazines. It’s not required for partments which prevents this happen-
the ‘digital ready’
In many circumstances the operation ing so these models require an optional
555ELD.
is cordless, a first for V System bodies L-shaped adapter plate. This moves the

32
 ON TRIAL
HASSELBLAD CFV 50C

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 ON TRIAL
HASSELBLAD CFV 50C

battery connection bay through a little

over 90 degrees into a near-vertical
it’s reasonable to assume it’s the same
460,320 dots TFT LCD panel as is used on
Whether the CFV 50C will convince
orientation so the pack is now located
just behind the camera body’s extension,
the H5D-50C.
many pros to dust off their old
but still largely positioned under the cap-
ture back. It adds a bit more visual bulk,
Lenses And
Viewfinding
mechanical Hasselblads is perhaps
but doesn’t have any adverse effect on The sensor is also the same so it delivers debatable, but there are plenty of
the handling or operations such as get- a maximum resolution of 8272x6200
ting the camera on or off a tripod head. pixels (51.2 megapixels) and has an other photographers who have
Set Up And
imaging area of 32.9x43.8 mm which
represents a focal length magnification maintained their affection for
Getting Started
There is a small, but critical set-up re-
factor of 1.45x on 6x6cm format lenses.
The widest-angle lens available for the V
these truly classic cameras.
quirement which involves making a set- System is the Zeiss Distagon CF 30mm
ting in the back’s menu for the particular f3.5 – fiercesomely expensive in its day,
type of camera in use – i.e. ‘ELD’, ‘ELX’, and still not cheap now – which becomes
‘500’ or ‘200’ – primarily because the a 43.2mm or, in 35mm terms, a 27.9mm.
exposure sequencing varies from model OK, so not ultra-wide, but still OK. First
to model. Without the correct camera though, find your 30mm Distagon so,
type setting selected, the back and body more likely than not, you’ll end up with
simply won’t talk to each other. the 40mm f4.0 which is a little more
By default, the back is set to a slow- affordable, especially the older versions.
est exposure time of 1/8 second so if you It becomes a 58mm and is equivalent to
know that you’re going to be shoot- 37.3mm in 35mm terms so going down
ing with longer exposures, a new limit the CFV 50C route does mean some
needs to be preset in the menu. With limitations on wide-angle capabilities.
exposure times longer than 1/8 second, And the prospect of any new wider-angle
you encounter one of the limitations of V System lenses is approximately zero.
cable-free shooting, namely that the sen- While we’re here, another issue
sor is being exposed to light both before is that the sensor isn’t square (and it Preview options
and after the actual exposure which can doesn’t rotate) so you can either select comprise (from
top) an image
cause colour shifts and other problems. this aspect ratio in the Custom Options
overlaid with RGB
A hit-and-miss solution is to increase menu, thereby introducing another histograms, an
the exposure time by between ten to 20 cropping factor, or live with mostly image with a full
percent, but a better solution for anybody shooting in the horizontal orientation… set of histograms
regularly using longer exposure times is classic Hasselblads having never been (brightness
shown by the
to switch to using the flash sync cable designed with vertical handling in mind.
grey background
which precisely controls when the sensor It’s easier to use one of these cameras graph), or a set of
is active (but the camera setting has to in the vertical if it’s mounted on a tripod, RGB histograms
be changed to ‘Flash Sync’). Neverthe- and this is where the live view function accompanied
less, beyond this, set-up is very straight- really comes into its own as you can by- by basic capture
details.
forward and many users probably won’t pass the viewfinder and use the monitor
have to worry about the camera type screen instead. However, when using
setting ever again. the finder, the back is supplied with a
Subsequently, it’s a case of navigat- dedicated Acutematt split-image focusing
ing the Settings menu to configure all the screen which has masking for the full
usual items such as the display options,
audible signals, date and time, and power
sensor area and the cropped square
image. Live view wasn’t initially available

e t
management. The CFV 50C’s menus are
reasonably logically arranged and easy to
navigate via a four-way keypad, although
as a standalone feature, but all CFV 50C
backs shipping now have the necessary
firmware upgrade. Zooming function

s. n
why the all-important Menu/Exit button
is simply marked “o” is a bit of a mystery.
Once you’ve selected a function, a plus/
With its 5.3 micron pixels, the CMOS
delivers an extended sensitivity range
equivalent to ISO 100 to 6400 and a
assisted by an
inset image with a
reference target.

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minus rocker switch is used to cycle
through the options.
massive 14.5 stops of dynamic range. The
maximum exposure duration is extended

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or
The 7.62 cm monitor screen takes up to 12 minutes and the continuous shoot-
most of the back’s rear panel, and while ing speed increases marginally to 1.5 fps.
the resolution isn’t quoted in the specs, The CFV 50C captures 16-bit RAW files in

34
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 ON TRIAL
HASSELBLAD CFV 50C
SPECS
HASSELBLAD CFV 50C
Data Compression: Lossless on Hasselblad 3F RAW Colour’ generic profile, ‘Instant Approval Architecture’
Type: Fully portable digital camera back for files. Typical file size is 65 MB. JPEG compression on visual and audible feedback indicators, FireWire 800
one-shot RGB capture. 12.5 megapixels ‘print ready’ files. connection, long exposures up to 12 minutes, digital
Supported Cameras: Hasselblad V System (i.e. Sensitivity Range: ISO 100 - 6400. lens correction for Zeiss lenses (distortion, lateral
most 500-series models since 1957). The 2000 and Shooting Speed: 1.5 frames per second. chromatic aberrations and vignetting) in supplied
200-series models with some limitations. View and White Balance: Presets for Daylight, Cloudy, Shade, Phocus software, 14 stops of dynamic range.
wide-angle cameras via V System adaptor plate. Flash, Fluoresent and Tungsten. Manual colour tem- Dimensions (WxHxD): 91x92x57 mm
Sensor Type/Size: CMOS, 32.9x43.8 mm. perature setting from 2000 to 10,000 degrees Kelvin. Weight: 530 grams (excluding battery and
Number of Pixels: 50 million (6200x8272 pixels). Custom setting via grey card. memory card)
Focal Length Conversion Factor: 1.45x with 6x6cm Power Source: Rechargeable lithium-ion battery. Price: $18,995 which includes Phocus software,
format lenses. Features: Styled to replicate the look of a classic V dedicated focusing screen and Exposure Cable EL.
A/D Conversion: 16-bit per RGB colour. System film magazine, cable-free connection, 7.62 cm L-shaped battery adapter plate costs $440.
Storage Medium: CompactFlash memory cards with TFT LCD monitor (460,320 dots), live view, real-time Distributor: C.R. Kennedy & Company Pty Ltd,
UDMA speed support. histogram, overexposure indicator, ‘Hasselblad Natural telephone (03) 9823 1555, www.hasselblad.com.au

the Hasselblad 3FR format with the op- lenses, various corrections for most Zeiss Not surprisingly, there can be some lens performance issues –
tion of appending a ¼ resolution (i.e. 12.5 CF, CFE, CFi, F and FE lenses are available mostly notably chromatic aberrations and colour shifts – which
megapixels) JPEGs. in Phocus which overcomes some of their the DAC correction in Phocus deals with pretty effectively. It’s
Hasselblad’s ‘Instant Approval Archi- film-era performance characteristics and probably self-evident, but the Phocus software is very much part
tecture’ system provides both visual and deficiencies. These comprise distortion, lat- of the whole package as far as the CFV 50C is concerned.
audible confirmation of good exposures. eral chromatic aberrations and vignetting.
Alternatively, the preview options include Phocus also has moiré pattern removal The Verdict
the option of separate RGB histograms and Hasselblad’s one-size-fits-all ‘Natural Marrying mechanical cameras with their origins in the 1950s
or a combined RGB graphic or, thirdly, Colour Selection’ profile (which analyses with the latest in 21st century digital capture technologies is
a brightness histogram over which are image content) to determine the most suit- never going to be without compromises, but in reality Hasselblad
laid the RGB channel traces. There’s also able reproduction and correction. You can has done all it can to minimise them. The CFV 50C is a com-
the choice of a full screen preview or a use Adobe Lightroom for processing the pletely cable-free solution on the 500 Series bodies that were
standard preview which includes the file 3FR RAW files, but the all-important DAC the most popular in their time so, for many potential buyers, the
number, basic capture information (i.e. lens corrections aren’t supported. in-the-field experience isn’t all that different to shooting with
ISO and WB) and a number of indicator We’ve now experienced this 50 MP rollfilm. Certainly the handling and basic camera operations are
tiles – relating to the control panel – for CMOS sensor in various capture devices, unchanged and, of course, the visual integration of the old and
performing subsequent actions. Browsing but each obviously uses different proces- the new is very well done.
is via the navigator keypad and there’s a sors to manage digitisation and noise The smaller (than 6x6cm) sensor size and its aspect ratio
zooming function with an insert view pro- reduction (performed on-chip), and aren’t issues unique to Hasselblad and are the same if you
viding a position reference, a nine-image compression and colour management. choose to fit a Phase One IQ250 or a Mamiya Leaf Credo 50 to a
thumbnail screen or a folder view. This amount of resolution delivers lots V System camera body. The simple solution in many cases would
of crisply-defined fine detailing, and the be simply to shoot in the landscape format and crop the image
Performance wide dynamic range – particularly im- later or as required given there’s ‘room to move’ in terms of the
We used the CFV 50C on a 1982-vintage pressive in terms of the shadows – once resolution. Incidentally, compared to the Phase One and Mamiya
500EL/M which obviously required the again proves the value of big sensors Leaf products, the Hasselblad back is hugely affordable, even
battery adapter plate. After a little toing- with big pixels. The colour reproduction, more so if you already have the bodies and lenses. The Pentax
and-froing with creating the camera type once Phocus has done its stuff, is excep- 645Z is more affordable again (and, it has to be said, much more
setting we were off and running with no tional and surprisingly transparency-like, capable), but after purchasing a couple of lenses the costs start
further problems. It’s as simple as switch-
ing on the back, selecting the desired
a quality that’s perhaps partially down to
the contrast and colour of vintage Zeiss Whether the CFV 50C will convince many pros to dust

e t
adding up and then the difference isn’t all that great in the end.

ISO and white balance (there’s a choice

of presets or manual colour temperature
settings from 2000 to 10,000 degrees Kel-
optics. Noise levels are negligible up to
ISO 1600 and still acceptably low at ISO
3200 and 6400, sensitivity ‘speeds’ you
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off their old mechanical Hasselblads – assuming they actu-
ally kept them – is perhaps debatable, but there are plenty of

s
other photographers who have maintained their affection for
vin), and then setting the apertures and
shutter speeds on the lens. You can use
the back as an exposure ‘meter’, deter-
could never explore when a film maga-
zine was attached to your 500 Series
SLR body. And the CCD-equipped back
g
these truly classic cameras. Thus the great joy of the CFV 50C

a
is being able to use the likes of the 500C/M and 500EL/M again
and re-acquaint yourself with just how right these designs still
mining exposures by trial and error, but
it’s probably much quicker to simply use
struggled at ISO 800… even at ISO 6400
the 50c looks better. The level of detailing

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feel. Despite how much camera tech has arrived since, the 500
Series ’Blads provide a degree of comfort and convenience that

or
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Returning briefly to the discussion of a D-SLR with a full-35mm format imager. in there somewhere.
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39
BEHIND EVERY
POWERFUL IMAGE
IS A POWERFUL
STORY...

April Winners
Brief by Krystle Wright:
The Bigger Picture

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Submit your entry at www.canon.com.au/lightawards
 Start
telling
your
Story.

over
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 PROFILE
THE PHOTOGRAPH AND JUDY ANNEAR

The Photograph And Judy Annear t

. n e
The first major survey of Australian photography since 1988, The

a
Photograph And Australia explores the medium’s early years and its g s
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influences on both art and society. Bruce Usher talks to curator Judy
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Annear about how she brought such a major undertaking to fruition.

42
 PROFILE
THE PHOTOGRAPH AND JUDY ANNEAR

Unknown
photographer.
Carte de visite.
Australian
scenery, Middle
Harbour, Port
Jackson, c.1865.

Unknown
photographer.
Hand-tinted
daguerréotype.
Isabella Carfrae
on horseback,
Ledcourt Stawell,
Victoria, c.1855.
National Gallery
of Australia,
Canberra.

I
t’s the opening night of The Pho- launched into a passionate speech about In a way, we are just
tograph And Australia exhibition
at the Art Gallery Of NSW and
his mother, Freda Glynn, who in the 1960s
used to spend Saturday afternoons travel- starting to write the
e t
n
I’m feeling both proud and a bit ling from pub to pub in Alice Springs with a
history of Australian
overwhelmed at the enormity of
the show. I’m particularly proud
of our visual heritage – even
camera concealed in a box. She was aborig-
inal and only allowed in the pubs because
she had a camera. Later on, she would print
s.
photography. This show
g
though I was brought up on a diet of Euro-
pean and American photographers. Curator
Judy Annear has done an amazing job from
sowing the first seeds of this huge exhibi-
and display her images, particularly to her
aboriginal friends who were not allowed
inside. Warwick’s mother co-founded
the Central Australian Aboriginal Media
m a
is not a chronology,
it’s thematic and very
tion about four or five years ago to bringing
it to the ‘pointy end’ tonight.
The guest speaker, film director
Warwick Thornton (Samson And Delilah)
Association and was Director of Imparja
Television for its first ten years. Warwick also
spoke of seeing the original of the famous
Truganini portrait and was visibly moved.
or ld
heavily 19th century.

43
 PROFILE
THE PHOTOGRAPH AND JUDY ANNEAR

Mervyn Bishop was also nearby in the everything is morphing… images are going Judy Annear begins the exhibition
audience. Back in 1975 he was a staff pho- to keep expanding. The impulse is very with a collection of portraits and self-
tographer at the Department of Aboriginal similar to what was happening in the ’60s, portraits of the photographers who are
Affairs and photographed Gough Whitlam but I think the difference is now that the represented in the show.
pouring soil into the hands of traditional photograph is so ubiquitous, people take “It’s so easy to think of the photo as a
land owner, Vincent Lingiari, at Wattie Creek it for granted. Whereas, because it’s ubiqui- window or a mirror, but actually it’s made
in the Northern Territory. Then came the tous, we need to really understand it. by someone, a photographer. It’s an intro-
voice of Geoffrey Gurrumal Yunupingu We shouldn’t take it for granted, it’s become duction to the fact that everything in the
with its “transcendental beauty” filling the as important as words. exhibition has been made by somebody.
Art Gallery’s ground floor before guests “I think that most of us understand It’s not an exhibition about seduction, nec-
descended to the exhibition. that it’s important to have knowledge of essarily… even if Frank Hurley’s Antarctica
language – the words that we use – and carbon prints are out of this world.
Taking Stock we need to do the same with photogra- “When you look at those early
Four weeks earlier I had interviewed a very phy… with the image. Now there are photographs and see what evolves in
energised Judy Annear who is Senior Curator billions, if not trillions of images out there. terms of people trying to figure out how
of Photographs at the Art Gallery of New The spam of earth that’s going to be to photograph each other and the way
South Wales. This year she celebrates 20 received by the aliens. technology was changing. How photo-
years of working with the AGNSW and over “It’s a really important point in time to graphy started being used by astronomers
Photograph by
this time she has presented major photog- take stock of what we have got in photog- or geologists. What was being sent to the
J.J. Dwyer. Gelatin
raphy exhibitions featuring Albert Stieglitz, raphy so we can be better prepared for the world fairs in the 19th century… these are
silver photograph.
Kalgoorlie’s first Lewis Morley, Man Ray and Bill Henson. future. There are some really great stories a really important part of the show because
Post Office, c.1900. “The period we’re living in now – in to be told in this show, the subtext is how it was about mining, land and people. It
the middle of this digital revolution – photography invented a nation.” was how you could promote the colonies
All historic images from the exhibition The Photograph And Australia are reproduced courtesy of the Art Gallery Of NSW.

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 Photograph by Charles Bayliss.

PROFILE Albumen photograph. Lawrence

Hargrave’s trochoided plane
THE PHOTOGRAPH AND JUDY ANNEAR model, 1884. Museum of Applied
Arts and Sciences, Sydney.

Photograph by
James Short.
Gelatin silver
photograph. The
Moon, c.1890-
1922. Museum of
Applied Arts and
Sciences, Sydney.

Opening night
attendees
viewing the
portrait of
Truganini. Photo
by Bruce Usher,

e t
copyright 2015.

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 PROFILE
THE PHOTOGRAPH AND JUDY ANNEAR

Photography by Frank Styant Themes

Browne. X-ray. Hand, 1896. The Photograph And Australia is divided into
Queen Victoria Museum and four thematic areas – Aboriginal and settler
Art Gallery. Launceston
relations, Exploration (mining, landscape
and stars), Portraiture, and Transmissions.
“The first three are genres,” Judy
in Europe to get more investment explains. “The forth is really the activity,
and migration. what the photograph makes possible.
Richard Daintree was the first What you can do with it! The collecting
Government geologist for North impulse to catalogue, categorise and then
Queensland and a pioneer in the use of disseminate information. It now started to
photography during field trips. Judy has be possible to sort all sorts of things that
several of his painted albumen photo- had never been sorted before and that
graphs in the exhibition. information even if it was totally spurious
“They’re so clunky, but they were really to be transmitted.
important. That’s how a lot of people in “Even thought this is a big show, it’s
Europe in the 19th century saw the colo- just a drop in the bucket. I’m really just
nies… through these weirdly painted pho- scratching the surface and everyone is
tographs shown at world fairs.” going to have an opinion about the show.
Daintree’s photographs formed the They’re going to ask, why isn’t this in it?
basis of Queensland’s contribution to the Why isn’t that in it? I had an email from WA
Exhibition Of Arts And Industry in 1871. The asking if I had included any images from
Australian colonies had been “enthusiastic that state! I said that I have many, includ-
participants” since they first exhibited in ing lots of tintypes, and the first known
London’s Crystal Palace in 1851. But, in Daguerréotype taken in Perth. Silence.
1893, 42 years later, only New South Wales “It’s been a really hard show to do.
exhibited at Chicago on a large scale. The Structuring it has been quite complicated
Chicago fair featured the work and cultures because Gael Newton, Alan Davies and
of 46 countries, was spread over 600 acres Helen Ennis have all done wonderful jobs on
and was visited by 27 million people over the history of photography in Australia. Since
its six-month run. Gael did Shades of Light in 1988, there’s been
“While photographic images of various things happening, but nobody has
Australia appeared in earlier exhibitions, attempted another one of these nation-wide
they made a significant impact in the surveys from collections around the country.
1876 Centennial Exhibition It’s been really daunting.
in Philadelphia,” writes “What would make me very happy is
Louise Douglas, an if this show inspires people to dig further
associate of the into archives, because the state libraries of
National Museum of NSW and Victoria –and a lot of other places
Australia’s Centre of – have fantastic material. We need research-
Historical Research. ers. In a way, we are just starting to write
“American Edward C. the history of Australian photography. This
Bruce observed that ‘… show is not a chronology, it’s thematic and
no American state could very heavily 19th century. Because I felt that
show anything to com- most people have a rough idea who Harold
pare with these pictures Cazneaux is, or Max Dupain, or David
of the face of the country Moore, but they’re from the middle of the
and its structure’.” 20th century. But what was before that?

I think that most of us e t

understand that it’s important
s. n
to have knowledge of language
– the words that we use – and a g
we need to do the same with
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photography… with the image.

47
 PROFILE
THE PHOTOGRAPH AND JUDY ANNEAR

I tried to do a lot of research through my

international colleagues, but I am sure there
are Kilburn and Goodman daguerréotypes
still out there in boxes somewhere.

Some of us would know Charles Bayliss and how intimate they were… the way people Undiscovered Material
The Holtermann project – largely through would build up the image and the kind of I ask Judy if she had a free hand to shape
the work of Alan Davies – but many people papers and cards they used and, of course, the exhibition or had to play the ‘Devil’s
don’t know anything about these earlier before that the daguerréotypes, the amber advocate’ with her selections.
photographers. types and the tintypes.” “I guess this is one of the few virtues
“In Melbourne they might know about of being around for a while. I could argue
Fred Kruger who was one of the lead- Shooting For The Stars the case and people – internally, at least –
ing landscape photographers of the 19th There are 730 photographs in the exhi- weren’t too fussed with what I was doing.
century. Kruger migrated from Germany in bition and around half came from the It’s always hard getting loans. Major
1860 and, a few years later opened, a pho- AGNSW’ own collection, including 300 collections are always concerned about the
tographic studio in Carlton, Melbourne. cartes de visite. Popular in the middle of care of the work. The early work is really
“There are a few other names popping the 19th century, these comprise a thin precious. All these images are from institu-
up here and there. It’s not really part of paper photograph – usually an albumen tions. I didn’t have time to hunt through
the general consciousness, but when you print – mounted on thicker paper, the size personal collections.
think of how intrepid those photographers of a visiting card. “So this is the thing, you have all the
were, with really clumsy technology, drag- These images may have been pro- small collections out there – the histori-
ging all that gear around, making people duced from portrait sittings to give away cal societies and private collections – and
stand under bright sunlight for minutes to friends or family, or may have been I didn’t have a chance to get to those
at a time… trying to get something. It purchased. In 1840 in the USA alone, three people. I’m very dependent on the libraries,
deserves acknowledgment. Once we got to million cartes de visite were produced from the art galleries and the museums. There’s
the 1850s… as soon as people could figure daguerréotypes. Judy Annear describes material from New Zealand and England,
it out, they would go outside and photo- them as “fantastic gems”. but not a lot. I tried to do a lot of research
graph the tree on the property, turn the Carolyn Murphy, the Head Conservator, through my international colleagues, but
camera around and photograph the kids says her team had to treat 100 of these cartes I am sure there are Kilburn [he established
on the front verandah… do all the things de visite for minor tears in preparation for the Victoria’s first professional photograph-
that people still do with photographs. show. However, she notes that daguerréo- ic studio in 1847] and Goodman daguerréo-
Another interesting thing is the mish-mash type street scenes are not common. types still out there in boxes somewhere.
between amateur and professional. George “There is a great image though, from Goodman took thousands, but we only
Goodman was a professional photographer, 1848 by J. W. Newland of a dark and moody know of about a dozen. Kilburn didn’t take
but equally were all those people floating Murray Street in Hobart, looking down to thousands, but there are still many more
around in the 19th century. They would Battery Point and the old Gaol. During this than what we know about.
pick up a camera for a year or two, play period, public executions were carried here.” “A lot of the things that were sent
around and see what they could do. I asked Judy Annear if the first astro- overseas to world fairs never came back.
“The other thing I find interesting is nomical photographs came from Sydney So I’m sure there’s actually a lot of undis-
people trying all the time to make the or Melbourne? covered material.”
photography do things. If it’s so close to “Well, that’s a very interesting question,”
the real world, then why can’t we make it she answers, whilst laughing. Periods Of Change
still closer? So we had binocular vision or
making it bigger or colouring it. A lot of the
“Trying to get the facts right here is
hard because the colonies were competing
Judy Annear is interested in photography
from a number of perspectives, especially

e t
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time, these results are clunky, but nonethe- against each other in the 19th century, and the periods in history of major technologi-
less, the motivation, the spirit of invention
and the desire to play around with this
medium is there.
in astronomy as much as anything else.
But the first photos were in Melbourne
in 1883, although they had so-called ‘star
cal change, the invention of the printing
press and the invention of photography.
“You couldn’t have modern science or

g s.
“For example, the beautiful Charles
Bayliss photos of Lawrence Hargrave’s fly-
ing machines. Bayliss could do anything…
he was a bit of an unsung hero. There’s
cameras’ in both Sydney and Melbourne
from the 1870s.
“But before the technology was so
clunky, and it would have been pretty diffi-
modernism if you didn’t have photography.
But at the same time I think it’s interesting

m
to consider what somebody thought they
were doing when they made a print. It’s
a
his amazing photo of Sydney Heads and
photographs from the Murray Darling area.
All vintage, original images. I want people
to get a real sense of these objects and
cult and complicated. But before the inven-
tion of photography, they had to sit there
with their eyes screwed to the telescope
and draw what they were seeing.”
ld
not that I’m a purist necessarily, or think

or
that the hand of the artist is always the best
thing. But I think it’s really interesting to
be close to the source and consider what

48
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 PROFILE
THE PHOTOGRAPH AND JUDY ANNEAR

people were doing in terms of ideas,

history, techniques and styles.”
All the exhibitions Judy has curated
have actually challenged her in one way
or another. Dealing with a living artist, an
artist’s estate or with collections all present
different challenges.
“The Alfred Stieglitz show probably
took me ten years to put together,” she
recalls. “Because of the nature of Stieglitz
and his approach to photography, I knew I
had to get the best available prints. He was
such a perfectionist and had such a par-
ticular approach and every image meant
something. Whereas someone like Man
Ray was such a trickster, he played so many
games. In a way then, why would you be
such a purist about Man Ray? A lot of those
images were contact prints that he was
just playing around with, looking at how it
might be cropped differently. With Stieglitz,
it’s about the finished thing… about how
perfect it can be.
“Every photographer or artist has a way
of working. It’s not just one thing. August
Sander was a commercial photographer, and
totally different from Man Ray or Stieglitz.
What I found really interesting was his uto-
pian vision of photography as a medium
for cataloguing the entire human race and
where they lived. He was using where he
lived as a kind a microcosm for the mac-
rocosm and despite everything… the First
World War, the huge economic upheaval
in Germany, the Second World War and its
aftermath. In a way, he never finished the
project and I supposed he realised that
he could never finish it. He still believed
in the power of the image to convey a
certain kind of image about people and
the lives they lived.
“As a photographer of his time, some-
one who learnt his craft at the end of the
19th century and perfected it in the early
20th century, he was a quite conventional
studio photographer. But he just tweaked it
a bit; the way he posed people, the lighting
and it became something else.”

What You Make Of It

Thirteen hours after I left the art gallery the
previous evening, I’m back, having a cof-

e t
n
fee beneath a large Frank Hurley print of a
mushroom iceberg that’s hung in the café,
and back to where I left off.
The Photograph And Australia may
prints from Ricky Maynard’s Portrait Of A
Distant Land series, positioned high on the
wall of the third room. Opposite him are
where it might be the MOMA New York’s
view of what contemporary photography
was in the sixties and the seventies. But

g s.
Photography
by Nicholas
Caire. Albumen

a
photograph.
consist predominately of 19th century Tracy Moffatt’s, Beauties In Cream, Beauties In really, through its 175-year-old life, photo-
Fairy scene at the
images, but there are some obvious and Wine and Beauties In Mulberry. Anne Ferran’s graphy is whatever you want to make it.”
Landslip, Black’s
not-so-obvious 20th century and later
gems. These include a total of 47 Sue Ford
self-portraits taken from 1960 to 2006, obvi-
images of undulating ground at the site of
the Ross Female Factory from the series Lost
To Worlds and printed on aluminium subtly m
In many ways too, The Photograph
And Australia is whatever you make it.
You will be surprised.

ld
Spur, c.1878. National
Gallery of Victoria.
Melbourne.

or
ously showing Sue’s physical changes as creep up on you.
well as her changing tools of choice. There Just as we were finishing the interview, The exhibition runs at the AGNSW in
are ten large and luscious black and white Judy comments, “We go through periods Sydney until 8 June 2015.

50
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