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UK Photographers image ownership rights threatened by new legislation

Posted on May 8, 2013 by Damon (Editor) | 3 Comments

Copyright legislation may allow legalised theft of your images

UK Government lets down photographers.

In an unprecedented move a recent piece of UK legislation threatens photographers’ ownership of their own image. The Act potentially legalises online theft of images from amateur and professional alike. The legislation, which gained Royal Assent on the 25th of April 2013, will enable “orphan works” to be claimed on the basis of a copyright search. The person claiming the image will be able to re-licence it and claim full compensation for its use or resale if the copyright owner is not found.

Enterprise and Regulatory Reform Act

The new Act, which comes into force early 2014, is a “framework” Act addressing various legislative issues. The copyright section of the Act provides the power for the Government to introduce licensing of orphan works. The Act leaves detail to be inserted later through secondary legislation. Photographers are angered that this small section of the Act has allowed this rights-changing Act to be sneaked in under the radar.

The new licensing powers will be an important re-mapping of UK copyright law. The existing emphasis on assumed copyright ownership will be shifted toward the users of copyrighted works. This represents a change of copyright ownership from a “property right” under author control to a new condition where copyright becomes a licensing/sales tool with the owner having less control over end use.

The detail of this shift in emphasis is yet to be determined. The secondary legislation will define a “diligent search” which will be needed to find the originator/copyright owner. Also to be clarified is how orphan works will be re-registered to new owners; to what extent images will be under the control of new copyright owners and how the transfer of copyright might occur.

One concern is how the process of monitoring, transferring and re-licensing orphaned images would be administered and the sort of organisation to do the work. This also raises other spectres…

Will works need to be registered to avoid them becoming orphaned?
What sort of costs are going to be involved?
Will artists and photographers working alone be able to register or bear the cost?
To what extent will amateurs be protected?

There are many more questions that need answers too.

Photographers concerns…

Last year a backlash occurred against the photography social networking site Instagram. The site implemented terms and conditions potentially passing usage rights to Instagram. In the end Instagram backed down in the light of public and user anger. Many people have seen a similar rights grabbing move in this new UK Act.

The cost of litigation against copyright abusers is prohibitive. Small photography businesses and amateurs do not have resources to fight expensive court battles. So corporations rip people off and smaller organisations hide in the tide of online images.

Photographers are worried that tide will make this legislation a free-for-all thieves charter. The concern is that anyone could claim “diligence” when searching for a copyright holder by simply doing a Google search. No immediately obvious copyright owner being found would enable them to apply for a licence to take over the copyright.

This legislation seems likely to create a new market for third party organisations to move in and manipulate the ownership of creative works. That represents a money-making bonanza for big business interests in the creative industries. It will also be a total disaster for the little guy trying to protect their life’s work and income. Amateur interests in particular are likely to be badly hit. Great images will be ripped off because amateurs will not be in a position of knowledge or resources to protect themselves.

The social media area is a particular concern. There are very real fears that the volume of images online are so huge that carrying out effective copyright searches in social media websites will not identify most image creators. This will make copyright takeovers the norm, rather than the exception, a position reinforced by weak protection for image creators.

What every UK photographer can do

This new Act is the start of a long road where the nature of copyright in the UK could change for the worse. At the moment the new landscape is shrouded in fog. However, the fact that this Act has been implemented in this way, under the radar, does not suggest a great outcome.

On the HM Government website a petition has been posted that tackles the issue. Help us raise awareness by signing the petition and telling your friends about it too. The more photographers who understand the issues the more likely we will be to ensure we have a voice in future secondary legislation on this issue. Visit this UK Government petition at:

Stop Legalised Theft of Copyrighted Works

Please sign the petition and keep your eyes open for more information in the coming months.

Further articles on the subject…
Will I get my images stolen online?
UK.Gov passes Instagram Act: All your pics belong to everyone now
Photographers’ anger at law change over ‘orphan works’
Is The UK Government Trying To Kill Off Photographers
There is still life left in copyright: clearing up the misunderstanding surrounding the Enterprise and Regulatory Reform Act and ‘orphan works’
Stop Legalised Theft of Copyrighted Works

By Damon Guy (author and editor)

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
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Posted in Background Info., Insights, Opinion, Photography, Things to try, Tips Tutorials & Techniques

Tagged Act of Parliment, Files, Legislation, Petition

Do you have an intention for your photographs?

Posted on May 1, 2013 by Damon (Editor) | 3 Comments

• Retired Aeroplane •
Going wide really brings out certain features of a shot
Click image to view large.
• Retired Aeroplane • By Netkonnexion on Flickr

Consider the reason for taking a photograph…

I had cause to consider the nature of several photographs this evening. A judge was discussing the photographs in a competition. On several occasions he referred to photographs he was judging as “record shots”. This is not a negative term.

I have made several references to this type of shot in past posts. Here is a definition from the Photokonnexion Photographic Glossary… Record Shot. This is a type of shot that you might use to remember something as it was. It is a type of shot that is a legitimate representation of the subject but without any deliberate artistic interpretation. But, there is the rub. What on earth is artistic interpretation?

It surprised me when a judge in a competition called the photograph above a record shot. I enjoyed taking this photograph. I had seen the aircraft on a previous visit to The Imperial War Museum at Duxford . It is a replica of one of the wonderful fighter aircraft of World War II – a Spitfire. I had considered it for some time and had lined up this shot in my head for some weeks before my arrival. I was fortunate to be blessed with a great sky. The angle of the shot was in line with the movement of clouds in the sky. I put on a wide angle lens and took about 10 shots along the lines I had planned. I wanted to make the wing disproportionate to the fuselage to give it foreground weight and invest depth in the picture. With a wide-angled lens this would make the wing seem really wide and long.

I may not be an artist in the traditional sense. I know I tend to take a rather geometric view in my pictures. It’s my signature, my style and my pleasure. However, it is also my interpretation. In this shot I really took my interpretation to some length. The body is distorted, the wing out of proportion. The sky deliberately elongated by the perspective of the wide angle lens. But to me this view showed the plane off in a unique way and presented a powerful perspective. I think this picture is heavy on interpretation and personal vision. Call it what you will, one thing it was not, is a record shot.

So, this evening when I was considering a judges words on what he called a record shot I was suddenly reminded of my picture above. It struck me that very often the viewer reads into the photograph more than the author has to say on a particular subject. In the case of my picture above the viewer saw a straight forward representation of a great aircraft. I on the other hand saw an opportunity to display, in a unique way, the wonderful geometry that made this aircraft great – its superb flying design.

The two views, my geometric tribute and the judges record of a great aircraft, may not seem too far apart to you, the reader. Yet, to me it signalled that I had failed in my duty as a photographer to represent my vision. I had not convinced the judge that I had invested my personal view, my artistic impression, in this photograph.

As photographers we are communicating a point of view with every shot. It may be appropriate to devote time and effort to faithful reproduction, equivalent proportion and careful exactitude to create a record shot. That is a worthwhile endeavour.

It is equally important that at other times we express our interpretation of our subject in a manner that brings out our unique view, comment or observation about a subject. There are two issues to keep in mind. First, we should always have a clear vision about what we are trying to achieve with a shot. Second, we should be finding the strongest and clearest way to express that intention, lest our viewers miss the point of the shot.

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Art is fickle but viewers are more fickle…

Yes, throughout the ages art has been misinterpreted. And, we must sometimes acknowledge that the viewer may not understand our point of view. You will never convey your meaning to 100% of the viewers. However, I believe that viewers have a right to expect that you make every possible effort to communicate your intention for the photograph and make your point as clearly as possible.

The difference between a record shot and an artistic impression may be a thin line. But if your photograph is to succeed there should be no such lack of clarity when conveying your communication or meaning.

Related articles/links:
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Photokonnexion Photographic Glossary – Definitions and articles.
• Retired Aeroplane • By Netkonnexion on Flickr

Definition: Record Shots

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Posted in Background Info., Composition, Opinion, Photography

Tagged Communication, Emphasis, Intention, Meaning, Portraiture

How to buy a new camera…

Posted on April 20, 2013 by Damon (Editor) | 5 Comments

Buying a new digital camera

Buying is a big decision.

Photographers should be wary of the simple answer. Buying a camera is a deeply personal matter and a big investment. You live with the consequences for a long time. Look carefully at considerations that really matter to you and your performance as a photographer. Impulsive buys may spoil your photography. If you’re comfortable with your buy you will be more likely to get to know it, use it and have fun with it.

1. Work out what you need

Impulsive buying means something will not match your need, then you won’t get the use you want. The points below will help refine your thoughts. Write down your ideas to ease your research later.

Budget: Fix a budget – it may define the type of camera you can buy. So write down what you want to spend before starting. Change your mind later, but start with an idea to guide initial research.

Usage: What type of photography will you do? There are broadly two types of photographer…
The ‘point-and-shooter’:

Interested in recording fun, family, events and memories.
Love things they do when they have a camera around.
Take pictures as reminders. (Holidays, family, fun, action, friendship).
The camera is an accessory to the activity.
The camera is easy to use, probably in auto mode.
Simple controls – lighter, lifestyle-type design.
Less interested in the art of photography, more the style of life.

The ‘photographer’:

Take pride in every shot.
Indulges other passions through photography.
Wants more equipment.
Interested in “functions” and “controls” – technical cameras/DSLRs.
Camera is an essential part of the activity. (Landscapes, macro, action, nature, still-life, fine art…).
Loves photography for its art, technology, skills and techniques.
Documents passions and communicates interests through photography.
Take pride in camera control.
Enjoys the technical aspects of the capture as much as the images.

Each has an associated type of camera. A heavy DSLR is not well suited to the carefree life of the point-and-shooter. A compact, colourful, wrist-strap camera is not suited to landscape shots and large prints. Preferences and lifestyle should be shorted out early on. Are you are a point-and-shooter or a committed photographer (DSLR style)?

Conditions: Indoors/outdoors, weather, underwater, holiday, abroad, air travel? The situations in which you use the camera affects what you buy. Consider protection, travel, camera size and special equipment needs.

Experience: Skill level affects purchase – your aspirations for your future photography will too. If you’re just starting out, buying a camera with a bewildering range of functions is daunting. Take simple steps. Entry level DSLRs provide for years of growth into your hobby and produce great images. This allows you to develop skills without confusion.

Features/flexibility: Spending more on a camera means more features and flexibility. However, while this gives more control it increases cost for relatively little increase in picture quality for starters. Don’t waste your money. Focus on what you need, not “feature bloat”.

Physique/fitness: When buying you don’t get a feel for using a camera. Little, disabled, or not very fit people may find big cameras unusable. Fit, but not shooting daily? You might struggle to hold up a big camera for long periods. Buy a camera you can hold steady and use all day (if necessary). I know people who bought great cameras and had to sell them again to buy another great, but lighter, camera. Also ensure you can grip it properly and comfortably. Can you reach all the buttons easily?

Size of prints: More megapixels is NOT a better camera today. Good quality cameras have sensors to produce great images. High megapixels are only necessary for high resolution pictures – mostly for large prints. You pay a lot of money for top-megapixel cameras. Only buy them if you frequently do big prints in high definition. Don’t worry about megapixels in the market mid-range.

Lenses: To a committed photographer lenses are key. Buying the right lenses is more important than a camera body. Lens investment pays you back for a lifetime, or many camera bodies. Spend less on the body than you intended and save money for better quality lenses (not more lenses). Consider retaining at least half your budget for lenses.

Other equipment and accessories: New cameras require other items affecting your budget. Consider…

Lenses (Wide angle, Zoom, macro etc)
Camera/equipment bag
Tripod
Spare batteries (two)
Light modifiers (diffusers), filters, reflectors
Specialist equipment for specific interests
Memory cards (at least two – eg. 2×16 Gb not 1×32 Gb – cheaper and more secure)
Off-camera flash (pop-up flash is rarely useful)
Remote trigger to fire the flash/camera

There may be other things too.

Compatibility: Is your existing equipment compatible? Buying a camera could mean buying those extras again, straining your budget. Consider the camera brand you want to buy. That may affect the other equipment you buy later. Lenses are a particular consideration. Top brands make good lenses, but other brands may not. That could be important for your buying strategy.

Picture quality: Quality digital cameras produce great picture quality. However, large, high resolution images (especially for printing) may need larger digital-sensor size (cropped or full frame?) and type of lens and lens quality. Buy up-market lenses as far as you can. For a point-and-shoot camera consider the quality of zoom. ‘Optical zoom’ is best, the lens does the enlarging. The quality will be better with a good optical zoom. With a large digital zoom component expect lower quality prints. Digital zooms crop the picture in-camera to make the picture appear bigger. You will see more detail, but the picture may be a lower definition/resolution.

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2. Research

Now look at what is available. examine a range of reviews on different websites. Check out what’s popular around the web and get a “best fit” camera to your specification from above. Talk to experienced photographers. Join a club. Leave questions on Internet forums. Ask in shops.

Be prepared for this stage to take quite a long time. You may be committing to a brand for a quite a few years, or your career. Take it slowly so you can understand all implications. Keep notes and be prepared to check definitions and learn about features.

3. Try it out

Once you have identified your dream machine, see if you can try one out. Beg, borrow or hire. You will be unlikely to try everything but spend a weekend or week with it to really get a feel for it. That will help you to feel confident about your ideas or start new research. Ensure you are on the right track.

4. The purchase

From a shop: Local camera shops often have deals and committed staff. They will have knowledge and experience too. Remember they are on commission and a different focus to you. So go to a shop with a really good knowledge from the above before you buy.

Online: There are some great deals but also a lot of scam artists. Consider…

Who you are buying from.
Does the site cover losses?
Is delivery and packaging good?
Delivery times?
Are there proper cancellation and returns procedures?
Transit/purchase insurance (the company or your credit card)
Is the online store reputable and well known?
Do not click from email ads to the site – insecure.
Check with friends to see which online stores they used.

If it sounds too good to be true, it probably is. A reputable company will have protections built into the purchase and made clear on the site.

When you are ready consider negotiations. Lots of websites will do deals. Shops will too. Make sure you get the right deal, but don’t compromise security or safety.

5. After purchasing

Check your purchase properly – has everything arrived? Retain all paperwork and orders for future reference, returns and insurance. Test to see that it works properly. Get signed receipts and correct paper work for returns, delivery shortages or damage.

Satisfied you have the correct equipment and it works? Put it through its paces in a logical way. In Getting started with a new lens I show how to work through testing and getting to know new lenses. Many of the principles apply to the purchase of a camera and help you get to know your camera properly.

Other ideas?

Please share your other ideas, tips or experiences on buying a camera with us below in the comments…

By Damon Guy (author and editor)

Damon Guy (Netkonnexion)

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Posted in Background Info., Camera control, Disability & Access, Equipment, How to..., Opinion, Photography, Shooting specific subjects, Technology

Tagged Accessories, Buying, Buying a camera, Buying a camera lens, Buying equipment, Camera, Camera Body, DSLR, Features, Flash, Flexibility, How it works, Ideas, Lenses, Point-and-shoot, purchase, purchasing, Technology, Tripod

31 ways to use composition in your photography

Posted on March 17, 2013 by Damon (Editor) | Leave a comment

A peregrine falcon swooping - an image using the power of the Rule of Thirds. Try to place the eye on one of the intersections. This helps to balance the shot.
Click to see large.

A successful image is based on a successful composition.

When we take a photograph what we like guides our capture. Composing our photograph helps us to bring out the best of the subject. Getting the composition right is the way we grab the viewers attention. So it’s worthwhile understanding what composition is all about.

On the “composition resources page” we have a whole range of links dedicated to composition (also look under “Subject/Articles” in the menu above). Each of the articles cover ideas to help you compose great photographs. However, I am sometimes asked “what is composition?”. The simple answer is composition is the arrangement of the elements of the picture through conscious planning or framing of the shot.

Tips for Composition by Joe McNally

The video below gets the view of Joe McNally, an acclaimed photographer with over 30 years experience. In the interview he tells us some of his ideas about composition. He has ideas that are spot on.

Silber Studios

Putting it into practice

Of course understanding what ‘composition’ means is not the same as actually being able to do it. To help you out I have designed a 31 day programme. Each day one subject is provided for you to photograph. Each of these subjects is intended to be used to draw out a compositional situation. There is no right or wrong way to do it. But, it should be easy for you to use the subject to draw out good composition.

The Photokonnexion 31 Day Photography Challenge

Day 1. Deep red
Day 2. An item of clothing
Day 3. Something with special meaning
Day 4. Night lights
Day 5. Pet eyes
Day 6. Love is…
Day 7. Candles
Day 8. Circles
Day 9. Many people
Day 10. Tree
Day 11. Light at dawn
Day 12. Silhouette
Day 13. Black and white
Day 14. Power
Day 15. High-tech
Day 16. Long shadows
Day 17. Strong blue
Day 18. Roads
Day 19. Your favourite room
Day 20. A good thing
Day 21. A bad thing
Day 22. Humour
Day 23. Jewellery
Day 24. Self portrait
Day 25. Fame
Day 26. Bird
Day 27. Change
Day 28. Distance
Day 29. Wooden
Day 30. Your love
Day 31. Open space

If you have an online place where you have published these daily photographs we would love to see your results. Leave a link in the comments below. If we get lots of links we will find a way of publishing some. Good luck and have fun…

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Composition resources on Photokonnexion
Composition resources on Photokonnexion

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Posted in Background Info., Composition, How to..., Information posting, Opinion, Shooting specific subjects, Starters School, Things to try, Tips Tutorials & Techniques, Video included

Tagged 31 day Challenge, Composition, Practice, Video

How to work with your camera settings – a simple, fun lesson

Posted on March 15, 2013 by Damon (Editor) | 3 Comments

CameraSim – website to try out exposure settings.

Camera settings can be confusing without guidance. This website provides camera simulations allowing you to vary settings and learn the relationships between them. It’s interactive – try it – it’s fun!

The simulation above is a fully working version from the website. You can also go to the CameraSim website and try it there. If you cannot see the simulation please comment below. Then try it on the CameraSim website instead.

Trying it out

As you can see above the controls allow two types of set up. Lets walk through an introduction.

On the left are the controls that allow you to set the lighting and the the focus controls for your distance-from-subject and focal length for your lens. The light level allows you to simulate the ambient light levels. Set the light and your distance/focal length points first.

The girl on the screen moves continuously and so does the windmill. This allows you to try out settings for capturing movement. The two different rates of movement give you a chance to try freezing one or both or allowing some movement blur. It gives you a controllable situation so you can experiment.

By selecting ‘manual control’ you give CameraSim no control over the settings – just like a real camera. Click ‘Manual’ control now. I will explain a few points.

In the centre of the viewfinder screen is a green scale and figures. If you cannot see it press the silver button to return to the viewfinder view. The ‘needle’ is centred below the scale. If you now move any of the ISO, Aperture or Shutter Speed settings you will see the needle shift to indicate the exposure setting. If it moves to the right it will be over exposing (by up to two stops of light). If you change a setting and the needle moves left you will be similarly under exposing. Also, moving a slider will change the corresponding value on the green settings shown.

Try selecting Aperture Priority (A) – slide the aperture slider. You will see the needle in the screen does not move. In ‘A’ mode exposure is controlled by the camera. If you slide either the ISO or ‘A’ setting the shutter slider is set by the camera. As they slide, the needle in the viewer window stays centred. When this happens the camera is keeping the exposure constant at an ‘ideal’ position. It keeps this position by moving the Shutter Priority (Tv) or Time Value setting to compensate. So, if you move the aperture slider to the right this makes the aperture smaller and reduces the incoming light. CameraSim moves the shutter slider to the left. This means the shutter is open longer to let in more light to compensate.

If you select the Shutter Priority slider the same situation occurs. The Aperture Slider is disabled. Now the camera controls aperture if you change the Shutter speed (Tv).

Pressing the shutter button on any setting and you can take a picture. When you do, the exposure created by the shown settings is captured. The screen then turns into a simulation of DSLR back-screen showing you the exposure. Press the silver button to return to the settings/viewfinder.

A lot of thought is needed to master settings. Practice and understanding takes time. CameraSim is a great idea – it allows you to play with settings and get a feel for them.

The picture of the girl and playground is a bit limited. However, it allows you to explore the settings with a constant view. This simple situation lets you test different scenarios without confusing variation of scenes.

No such thing as a perfect exposure

CameraSim has a few shortcomings. Cameras with Auto-mode, ‘A’ and Tv settings make it look like there is a perfect exposure – when the needle is centred. In reality the perfect exposure does not exist. There are lots of times when you want to over or under expose a scene for dramatic effect, mood or other scene-setting. Normally, to achieve these using AP or Tv, you would use “exposure compensation” which is not available in CameraSim. Of course it is possible to set under/over exposure by using the “Manual” control – that’s worth exploring.

Focus on the subject is limited only to the girl. So it is difficult to practice landscape shot-simulation. However, if you ignore the girl and move the ‘distance’ slider you can, sort of, practice the focus and control over the background. It would be quite a nice idea to have a few other types of views to try out. However, there is another version of CameraSim under DSLR Explainer In this version you can see how the camera works while still tweeking the settings (only manual mode). In this simulation you can adjust the light settings (upper left of the picture). As you adjust the setting you also get a different picture view. You can go through the simulation step-by-step and it shows you how the camera works for ISO, A, and Tv. This version is not quite so easy to use and takes a little working out. It is worth trying out anyway.

Overall…

The CameraSim site is about a year old. It is still under development so we will hopefully see some great ideas in the future. It has great potential for teaching exposure and there is lots of fun to be had with personal experiments. There are some explanatory notes under the simulator on the site itself. So it is worth reading those or following the links below to the exposure information on Photokonnexion.

I like CameraSim. It is a great idea. However, I think it will be most useful for people working with an instructor or experienced friend. Some guidance and explanation is useful while you are experimenting to help you understand the exposure relationship. The author recognises this and suggests it is a great way to use the simulator. So maybe you will see it in a photography class soon. Do have a go, it helps you think about exposure in a very worthwhile way.

By Damon Guy (author and editor)

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How to succeed at street photography in 5 Minutes

Posted on March 13, 2013 by Damon (Editor) | Leave a comment

• Determined •
Going for the best pictures with what you know guarantees some great results.
Click image to view large
• Determined • By Netkonnexion on Flickr

Sounds like a tall order… 5 minutes?

Actually its simple. Photographers develop a style. They know what they like to shoot, quickly getting good at it. To get some good street shots, start with what you know and enjoy.

It is supposed to be fun!

Most photographers starting with street shots feel a lot of pressure to do the the “street photog” thing. Actually there is no such ‘thing’. When you are out on the streets you are a street photographer. You can shoot whatever you like. In fact the more you do what you like the more you will enjoy the experience. Concentrate on what you enjoy from your existing experience first. If you are a landscaper then shoot long wide street shots. If you like still life, then concentrate on the detail in the shops. There are also shots of buildings, vehicles, clothing and the streets themselves… anything you enjoy.

I really enjoy portraiture. Much of my street photography concentrates on shots that portray the people walking past. I love to capture the street expressions of people. The photograph above was shot with a 200mm lens from street seating in a wide precinct. Sitting there I was an unthreatening observer of street life, comfortably out of the way but still a part of the scene.

Work on what you know and enjoy first

If you’re worried about taking people shots at the start, learn to enjoy the streets for other interests first. OK… so now you have given yourself permission to get out there and do some sort of ‘photog’ stuff. With your previous experience and skills you can get some great shots. Getting good pictures and being comfortable on the streets will build your street experience and confidence for the next step.

Once you have made a start, and got some good pictures using your existing skill-set, start to stretch yourself. Try a few shots you consider daring. Push the limits. Make it feel exciting, enjoy the rush. Even if these few challenging shots don’t return great images, you have started to develop your experience. You can build on it next time.

It’s about extending your experience

If you come back from your street trips with some pictures you have enjoyed, and some you have pushed yourself to get, then the trip has been a success. As with other types of photography extend your experience bit by bit. Enjoy yourself, challenge yourself and move forward.

For further information on street photography visit the Street Photography Resources page. It is available on the main menu above under “Articles”.

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Focus On Imaging NEC Birmingham 3 – 6 March 2013

Posted on March 5, 2013 by Damon (Editor) | Leave a comment

Focus On Imaging 2013
National Exhibition Centre Birmingham 3 – 6 March 2013

A broad range of new equipment.

It appeared from busy aisles at this years Focus On Imaging Exhibition that photographic business is actively fighting off the economic depression, possibly even in rude health. With around one hundred and sixty exhibitors there was plenty to see. There was a whole range of new developments as well as the old favourites.

A Key aspect of the show this year was the new ranges of cameras. Leading manufacturers were actively promoting mirrorless cameras. The gradual shift away from the point-and-shoot market also seemed to continue. The camera market appears to be changing. Heavy duty technologies from the top-of-the-range DSLRs are being used in the lower end cameras. The market seems to be shifting in favour of high resolution processing right through the full range.

The economic climate is obviously still impacting. A predominant theme on retail stands was deals and offers. There was plenty on offer too. In previous years many of the accessories available in the UK seemed to be expensive compared to current prices. Today imported goods appear to be impacting the market. Exhibitors were showing equipment which appeared robust and very competitively priced. The shift in the camera market also appears to be creating deals. There were very good prices offered on cameras in all segments of the market. Many of these deals reflect depressed prices in the market in general but the many of the stands were offering greater reductions than even shop prices.

The show organisers unfortunately failed to publish the event list this year. Show goers were left to pick up what information they could about various talks and demonstrations from stands themselves. It made choosing how to spend our time was a little difficult. However, I managed to see three interesting demonstrations. There was a lot of emphasis on lighting techniques this year. Some very good models and backdrops were shown and lots of people were taking photographs. If you are going to go to the show take your camera for some additional fun.

Aside from impressive stands by Canon and Nikon, Sigma had an impressive spread of lenses available. There were some excellent tripods on show this year on several stands. Despite the reluctance of beginners to buy them, the tripod market is both competitive and innovative. Tripod heads are getting smoother and there are some very interesting new ideas, particularly in the high-engineering end of the market. However, the top tripod head units were weighing in at around £500… not a price to be taken lightly.

Other stands of interest included the extremely active Disabled Photographers’ Society. That society fosters a wonderful camaraderie and energy among its members. The Royal Photographic Society were also at the exhibition showing continuous short events which were well attended. They also are in active recruiting mode.

My overall impression of the exhibition this year was one of great energy. There was a lot of business being transacted and show-goers were being dynamic on all the stands. It was an enjoyable day, and one that will help to keep me informed about products and trends in this business.

Related articles/links:
Start Photokonnexion email subscription now!
Photokonnexion Photographic Glossary – Definitions and articles.
Focus On Imaging

exhibition 2013
Disabled Photographers’ Society

Royal Photographic Society

By Damon Guy (author and editor)

Damon Guy (Netkonnexion)

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Posted in Insights, Opinion, Report, Review, Tips Tutorials & Techniques

Tagged Camera, Disability, Disability photography, Mirrorless, National Exhibition Centre, NEC, Point-and-shoot, Royal Photographic Society, Tripod, Tripod head, Tripods, Vocabulary

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