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The world’s favorite photography magazine
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Issue 247 October 2021 • www.digitalcameraworld.com
M ACRO LE NS E S
Our 10 best-buys for every budget
Master these creative skills and capture your best-ever golden season pictures! INTE RVIE W
The Two Worlds of David Doubilet
Macro
Portrait s
Wildlife
Mono
Newborns
P H O T O AC T I V E
10 fun projects to shoot today!
N I KO N Z FC
Full test of 21MP retro mirrorless
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9 all-new tips cards
Photoshop & Affinity video training
32 retro light leak effects
266-page Buyer’s Guide
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Contents
PLUS!
ISSUE 247 OCTOBER 2021
32 RETRO LIGHT LEA EFFECTS K FO PHOTOSH R OP Page 6
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Macro lens group test _ 2021 has been a bumper year for new macro optics – here are our 10 best-buys
CAPTURE THE MOOD OF
AUTUMN Photo skills 10 Pro in Focus
The celebrated photojournalist Harry Benson talks about his new book Paul
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Photo Active Photo techniques from across the spectrum to inspire your next projects
Stay at Home 45
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Autumn special 10 ways to capture your best-ever photographs of the golden season
Camera College 74
Read our masterclass on black-andwhite, then enter our reader challenge
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Practical Photoshop Hands-on tuition for Photoshop and Lightroom, plus our latest digital gift
106 Photo Answers
Reader questions answered, plus Tech Check and Image Rescue
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Practical Photoshop _ Top tutorials on adding light leak effects, applying digital makeup and working with blur
Regulars The Art of Seeing 41
Ben Brain on his ‘carry around’ camera
Hotshots 84
Category winners from ‘Humanity’, the 10th season of the HIPA awards
Shot of the Month 96
‘War Notes’ by Mouneb Taim
Make the best use of your spare time with another fresh batch of projects
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112 In Focus
The latest camera kit and photography accessories to hit the global market
115 Behind the Lens
Documentary photographer Sage Sohier discusses Peaceable Kingdom
116 Jon Devo column
Capturing images to make an impact
136 Interview
Underwater photographer David Doubilet on his new book Two Worlds
148 What the f-stop!
Take on our best photo brain
Gear & tests 118 Nikon Z fc
It’s back to the future for The Big N, and this throwback to the classic film camera aesthetic is bursting with the latest tech
122 Pentax K3 Mark III
New DSLR launches are pretty rare these days, but this 25.7MP APS-C model could well be the esteemed brand’s best-ever
ujinon GF 80mm 126 Ff/1.7 R WR
You’ll be taken to shallow-focus heaven with this new lens for Fujifilm’s fêted medium-format GFX system
128 Group Test: Macro lenses With exciting new models entering the market, we round up the 10 best primes for shooting macro, whatever your budget
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Contents
HURRY WHILE STOCKS LAST!
Subscribe and get a great camera bag! Page 42
This month’s contributors Harry Benson Photojournalist He may have immortalised many of the icons of modern times, but Harry’s latest book is a collection of images of Sir Paul McCartney. Find out more on page 10
Amy Lathrope-Reid Equine photographer
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Her last outing in Digital Camera revealed how Amy captures her signature horse photos. This time, she turns her talents to an eyecatching creative shoot. Page 24
Interview _ David Doubilet’s new book showcases his incredible ‘half and half’ images. The underwater photographer and National Geographic contributor tells us how he developed the style, and looks back over his glittering career
PLUS
Jon Devo
Win a copy of Affinity Photo in our monthly challenge!
Photographer and writer Jon enjoys celebrating the upsides of ever-improving camera tech, but wonders if social media is driving photographers to produce images with less impact. Page 116
Jackie Webster Newborns photographer
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Creating distinctive and original images of newborn babies requires more than just photography skills. Jackie takes you behind the scenes of a shoot on page 38
Camera College _ Explore the basics of photography and understand them from every angle. This issue: how to master shooting in black and white. Then enter our reader challenge, and you could win a copy of Affinity Photo!
Sage Sohier
Photo Active _ 10 inspiring new angles you could approach your own photography from. This issue, discover how to create eye-catching levitation images, get some tips on capturing wildlife, and add fire to your portraits
Photographer Having photographed people in their environments for 30 years, Sage’s new book sees her turn her lens on the bonds between people and animals. See page 115
David Doubilet Underwater photographer As his new book Two Worlds: Above and Below the Sea is released, we catch up with David to find out more about his career and creative vision, on page 136
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Gigi Benson
Pro in focus
Harry Benson CBE Photojournalist & portrait photographer
Harry Benson
Legendary photographer Harry Benson’s career has lasted for over 70 years. Steve Fairclough speaks to him about his work, and his new book on Paul McCartney 10
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Harry Benson CBE
Born in Glasgow in 1930, Harry Benson CBE is an award-winning portrait photographer and photojournalist. He began his career at The Hamilton Advertiser and by 1959 was working for the Daily Express in London. He travelled to the US with the Beatles in 1964, and relocated. He was contracted to Life for 30 years and shot for many other magazines including Time, Vanity Fair, Newsweek, Paris Match, Forbes, People and The Sunday Times Magazine. In 2009, he was made a CBE for services to photography. He’s the only photographer to capture the last 13 US presidents – from Dwight D Eisenhower to Joe Biden. www.harrybenson.com
arry Benson was in a slightly grumpy mood when Digital Camera caught up with him. His beloved Scotland football team had been knocked out of the Euro 2020 championships the previous day – something he described as “the same old story”. Although Benson has lived in the US since 1964 – he arrived on a plane with The Beatles and “never went back” – his Scottish accent hasn’t faded; and, when you consider his first published
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photograph dates back to 1947, you quickly realise that you’re talking to a genuine legend of photography. Benson’s interest in photography was sparked during World War II when he was viewing images of Churchill and “different things going on”. Since then his cameras have captured major moments in history such as the assassination of US senator Robert F Kennedy, the building of the Berlin Wall, and the Watergate scandal. Benson’s prolific career has spanned decades of camera technology – from starting out working with plate cameras www.digitalcameraworld.com
and glass negs through to medium-format cameras, 35mm film SLRs and his digital cameras of today, which he describes as “magic”. His arrival in the US in 1964 proved to be a pivotal point in his career. Benson still lives in New York and, shortly after arriving in the US, he was inspired by the pictorial possibilities the country offered him – from covering the civil rights movement in the 1960s to 9/11 in 2001. His career has been varied, often switching between reportage and his well-known spontaneous celebrity portraits, which are usually shot
Above: Paul McCartney sits quietly on a train leaving Paddington, during the filming of A Hard Day’s Night. London, 1964.
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5 | PHOTOSHOOT
Fire up your portraits
Alistair Campbell lights up his work with flames and off-camera flash in dark environment or many years I’ve photographed people for fashion purposes; more recently that has taken a side-step into photographing performers, musicians and actors. Portraits are a great way to hone your skills with directing others, but throwing in an extra bit of flare can make an image really stand out amongst the crowd. With the world slowly opening up once again, many events performers are keen for new photographs to publicise their work, and shooting with fire can add some truly eye-popping images to your photography portfolio.
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It goes without saying (but we’ll say it anyway): make sure you are working in a safe and controlled environment with professional performers who are fire-trained and safety-savvy – especially if you are shooting with larger costumes, headpieces or props, as these can all be potential problems. Your performers will have all of the safety equipment required in case of emergency – and will also have the best skills to prevent anything from happening in the first place. For this project, I’ll explain some helpful settings, tips and tricks for photographing fire. Model: @suzy.pegler Costume: www.valerianentertainment.co.uk
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STAY AT HOME PHOTOGRAPHY
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Create abstract zoom shots with a telephoto
For a fun alternative to conventional photography, use this flexible optic and camera movement to let your creative instincts shine, says Niamh Cottle
he telephoto zoom has become a camera bag staple for wildlife and sports photographers. It’s prized for its convenience and versatility – one lens can do it all. But in addition to capturing faithful reproductions of far-away subjects, a telephoto zoom can also be used for creative applications. This project uses the focal range of a telephoto to turn you into an artist with your lens. It’s about using movement to capture vibrant colours in a different perspective, and creating an abstract view within a photograph. You will learn a fresh way to portray everyday objects and scenes, using slow shutter speeds and moving around with the camera. Telephoto lenses come in a variety of focal ranges, with 70-200mm models being particularly popular with enthusiast
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and pro photographers. For this project, though, I’m using a Sigma 70-300mm f/4-5.6 DG Macro superzoom: its longer focal range, coupled with the use of slow shutter speeds, will create additional blur and a sense of movement in the images. Another piece of kit I’m using is a Manfrotto Compact Advanced monopod, which will allow me to be more flexible with my movement while capturing my subjects.
WHAT YOU’LL NEED
Digital camera Telephoto zoom with long reach (I’m using a 70-300mm) Monopod or camera support Image editing software of choice Time: Two hours
STEP BY STEP GET READY FOR SLOW-SHUTTER ABSTRACTS A travel-friendly superzoom with a long focal range can turn you into a photographic artist in the time it takes to shoot a few long-exposure images
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Choose the right tool for the job
While many photographers will own a 70-200mm telephoto, I’m using a 70-300mm superzoom with a slightly longer focal range; designed to be travel-friendly, these lenses are inexpensive and widely available pre-owned. The long reach of my 70-300mm is handy for this kind of photography, as it will provide a pronounced ‘abstract’ effect. While image quality can fall off when superzooms are used at their longer focal lengths, it’s not a concern here, as I’m not trying to capture faithful studies of the subjects I’m photographing.
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Explore the use of slow shutter speeds
While shooting my images, I used shutter speeds of between 1/10 and 1/13 sec; and, depending on the brightness of the subject, apertures between f/22 and f/32. There isn’t a ‘correct’ exposure, as such: instead, it’s about being as experimental as possible. Shooting in raw and metering for the whole frame by using the Evaluative or Matrix setting, I would occasionally overexpose the subject to enhance the vibrancy of the image, and make sure the white tones came through. In fact, the overexposure helped when editing my images.
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CAPTURE THE MOOD OF
AUTUMN 10 evocative ways to convey the atmosphere of the year’s most spectacular season. By Jon Adams and Andrew James
utumn is the season photography was invented for. It extends from the tail end of summer greenery right through to frosty mornings; within those boundaries, a vast range of seasonal moods and experiences is just waiting to be captured by your lens. To make the most of autumn’s awesome photogenic display, you have to be on the ball and ready to capture events as they happen, with an eye on the forecast and your camera kit at the ready. Here we suggest 10 great projects anyone can try, regardless of the equipment you have
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or your experience in using it. Follow us on our journey through the many moods of the season, and capture a portfolio of colour, energy and atmosphere. We often think of autumn as the short period between leaves starting to change
CONTENTS Pack the frame with colour page 63 Early-morning starbursts 64 Shoot a seasonal portrait 65 Rainy-day magic 66 Play with colour contrast 67
colour and those same leaves hitting the ground, but there’s more to it than that. Autumn is so bountiful for photographers that choosing just 10 projects seems awfully limiting – but these 10 will lead you onto new paths that are equally rewarding,
The beauty of decay Backlight spider webs Slow-motion streams Share the fun of autumn There’ll be fireworks!
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f/5.6
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Shooting with a shallow depth of field will allow you to frame your shot naturally with defocused leaves.
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PACK THE FRAME WITH COLOUR
Set a wide aperture and create a frame effect that combines a focal point for the eye with an autumnal wash of colour
or vibrant, high-impact shots of autumn colours, overcast or even damp days are perfect. Although this seems counter-intuitive, a blanket of cloud provides low-contrast lighting and avoids the problems of extreme light and shade that sunny days bring. Low-contrast conditions allow you to concentrate on two vital elements: how you arrange the shapes in the scene to create your composition, and how much of the scene you hold in sharp focus. By carefully
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adjusting your camera position, you can shoot through leaves close to the lens and create a natural frame that not only acts as a boundary to hem in the scene, but also subtly leads the viewer’s eye into your shot. Use a short-to-medium telephoto lens (around 70 to 200mm). In Aperture Priority mode (A or Av on the mode dial), set a wide aperture value, such as f/2.8 or f/4. This will give a shallow depth of field: by focusing on the more distant leaves in the centre, you can diffuse your natural frame into a blurry wash of colour.
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Marcus Hawkins Photographer and writer Marcus is a former editor of Digital Camera
The complete guide to modern photography
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Infrared
Colour
Black-and-white
Shooting in colour allows you to recreate the look of classic black and white films in software – including infrared (right)…
Make the move into magical monochrome More than a nostalgia trip to the early days of photography, black-and-white images can be truly compelling – and it’s easier than ever to shot and edit them Creating a black-andwhite or monochrome photo is a deliberate process. Unlike in the earliest days of photography, the default option now is colour. Going mono is an intentional move that shows you mean business. You can use mono to bring a timeless, evocative quality 74
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to landscape images; add grittiness to candid street portraits; or give a still-life a vintage look with a sepia or selenium toning effect. Monochrome is anything but grey and boring, and incredibly versatile. Doing it digitally means that it’s easy to recreate a range of classic looks or just OCTOBER 2021
experiment, then revert back to a colour image and start over. There are two main ways to convert your colour photos to mono: in-camera or in software. If your camera has a set of basic shooting modes, it’s likely to have a black-and-white option that takes care of pretty much everything for you. Step up
to the more creative shooting modes, such as Manual and Aperture Priority, however, and you’ll have more control over the look of your images. You can select a picture style when you use these advanced modes, which is where you’ll find the Monochrome option. You can adjust parameters, such as increasing or decreasing the contrast and sharpness, and use black-and-white filter effects to make certain colours brighter or darker in the final image. You may also be able to apply colour‑toning effects, such as adding a sepia tone. Some cameras have a film simulation option rather www.digitalcameraworld.com
CAMERA COLLEGE
A world in black and white From sunny, high-contrast days to moody misty mornings, there’s always something to shoot When a photograph is stripped of colour, the contrast of light and shadow, texture, shape and form become even more important components of a composition. There’s a world of subjects that can suit this treatment – from landscapes and abstracts to street photography and still-life – and a variety of black-and-white techniques you can use to create more dynamic images. Some subjects are almost monochrome in reality. The muted colour palettes of misty scenics and gritty
cityscapes, for example, makes them a natural fit for black-and-white. Perhaps less so are scenes where strong colour is key – such as a glorious sunset or a treescape in autumn. Previewing the image on the rear screen of a DSLR or in the electronic viewfinder of a mirrorless camera makes it easier to judge what will – or won’t – look striking in mono. Some scenes become a wash of mid-grey when they’re converted, but at least you can spot a potential problem in-camera.
Grey matter Shadow, texture, shape and form become more prominent when you shoot without colour, so look for subjects and scenes where you can exploit these aspects.
When to convert You can choose to record a black-and-white image in-camera, or shoot in colour and go grey later in editing software. The advantage of starting with a colour image is that you get more control over the conversion. You can manipulate individual colours to boost or reduce the contrast between different parts of the picture; and if you don’t like the end result, you can revert back to the original colour image. If you set your camera to mono shooting while you’re recording in JPEG, a black-and-white version of the image
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will be saved to the memory card. Shoot in raw, however, and you get the best of both worlds: a file that contains all the original colour information so that you can do more sophisticated editing, and the opportunity to preview a black-andwhite image while you shoot.
Grey day You’ll be able to set contrast and sharpness to taste, and preview the image with filter effects applied.
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KitZone
Mirrorless Nikon Z fc
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The Z fc has twin recessed control dials: one on the front, and another on the back. 2
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The flat-fronted body looks wonderful, but it doesn’t give your hand much of a grip.
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Even now, Nikon only makes two native DX Nikkor Z lenses. This is the 16-50mm kit lens.
Nikon Z fc £899/$959 Nikon’s first retro-themed Z-mount camera w w w. nikon .co.uk
Specifications Sensor: 20.9MP APS-C CMOS AF points: 209 ISO range: 100-51,200 (expandable to ISO 204,800) Stabilisation: Electronic Vibration Reduction, video only Max image size: 5,568 x 3,712px Video: 4K UHD up to 30p Viewfinder: 0.39-in 2.36-million-dot OLED EVF Memory card: SD/SDHC/SDXC (UHS-I) LCD: Vari-angle touchscreen Max burst: 11fps Size: 135 x 94 x 44mm Weight: 390g body only, 445g with battery and memory card
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ith the likes of Fujifilm, Olympus and Leica cashing in on the retro camera style for years, the time has come (again) for Nikon to follow suit, this time in the form of the Nikon Z fc. We say ‘again’ because it wasn’t so long ago when Nikon tried the same thing, with the Df in 2013. However, while the Df was was a full-frame DSLR camera, the new Z fc is an APS-C Z-mount mirrorless model. The Z fc is also specced to be a better all-round camera than the Df ever was, in an effort to make it just as versatile as its conventionally styled rivals, only with more visual appeal. Anyone who remembers the Df will spot similar styling cues on the new Z fc. It takes the iconic and achingly handsome looks of the Nikon FM series of 1980s 35mm film SLRs, and wraps them around its latest APS-C
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mirrorless camera technologies. That’s not to say the Z fc’s tech is all new, though. This is more of a re-skin of Nikon’s existing Z 50 – although that isn’t necessarily a bad thing: the Z 50 is a great camera in its own right.
Key features
The result of sharing the Z 50’s tech is that the Z fc packs the same 20.9MP APS-C CMOS sensor with low-pass filter, and the same Expeed 6 image processor. That’s around 3MP less than the 24MP sensors in most APS-C rival cameras, while the likes of Fujifilm and Canon offer even higher megapixel counts in some of their mirrorless models. Even so, 20.9MP is still more than enough resolution, while the larger sensor photosites should, in theory, improve the Z fc’s low-light performance and dynamic range. The Z fc also gets the Z 50’s excellent 209-point hybrid AF www.digitalcameraworld.com
Nikon Z fc Mirrorless 4
The rear screen is on a pull-out vari-angle hinge, unlike the tilt-only screen on the Nikon Z 50.
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It’s from the top that the Z fc’s retro design stands out – the ISO dial looks really smart. 8
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The 2.36m dot EVF is not the highestresolution by any means, but it’s perfectly adequate.
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Additional retro-style controls include a shutter speed dial and a dial for exposure compensation . 9
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The four-way circular controller on the back is quite small, but is mostly for navigation not settings. 7
This mini-screen indicates the currently set lens aperture, although there are no aperture dials on the lenses themselves.
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system, equipped with eye-detection for humans and animals. Nikon has slightly boosted its low-light performance relative to the Z 50: the Z fc can now focus down to -4.5EV, while the Z 50 was sensitive to -4EV. Both cameras share the same respectable 11fps max continuous shooting speed, along with identical 4K video recording capabilities. That means the Z fc can record UHD 3,840 x 2,160 footage at a max 30 fps, and does so using the full width of the sensor, so your 4K footage isn’t cropped to a narrower field of view. While the Z fc inherits the Z 50’s 0.39-inch 2.36-million-dot OLED electronic viewfinder, it does offer something extra when it comes to the rear screen. The Z fc is equipped with a fully articulating touchscreen display – it’s a tad smaller than the screen on the Z 50 (3in vs 3.2in) but massively more practical, especially for selfies and vlogging. This marks the first time Nikon has put a vari-angle screen on one of its Nikon Z mirrorless cameras, and you have to wonder why it’s taken the company so long. www.digitalcameraworld.com
There’s one area where the Z fc is radically different to the Z 50: its controls. Most modern cameras are controlled with a mode dial, with shutter speed and ISO settings set via a digital interface. The Z fc relegates the mode dial options to a small lever under a big external ISO dial on the top plate. On the other side of the viewfinder is an equally big shutter speed dial. The only external control you don’t get is an aperture ring, but as Nikon’s Z lenses aren’t equipped with this feature, that’s a compromise you’ll have to make.
Build and handling
As you’d hope for a Nikon camera designed to be a thing of beauty, the Z fc feels like a high-quality product. The silver top plate is indeed metal, though the matching bottom plate is painted plastic. Twisting and turning each retro-themed dial on the top plate is satisfyingly clunky, and those who experienced the film cameras that inspired the Z fc’s controls will no doubt wallow in the nostalgia. What’s more, the front
The Z fc has only 20.9MP, compared to the 24+ megapixels of rival cameras, but in reality its detail rendition still looks pin-sharp, and you’ll rarely notice the difference.
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INTERVIEW
David Doubilet Underwater photographer
Born in New York in 1946, David Doubilet is primarily known for his work for National Geographic since 1971. Doubilet has photographed around 75 stories for National Geographic, and was named a Contributing Photographerin-Residence in 2001. Doubilet’s assignments have taken him all over the world – from interior Africa to remote coral reefs, and from rich temperate seas to more recent projects beneath the polar ice. Doubilet is a contributing editor for several publications and has authored 12 books, including his award-winning book Water Light Time. Doubilet is a former recipient of the Lennart Nilsson Award for Scientific Photography and works alongside his wife Jennifer Hayes, an aquatic biologist, photographer, filmmaker and speaker. He has received numerous awards, including from the Pictures of the Year, BBC Wildlife, Communication Arts and World Press Photo. He is a member of the Academy of Achievement, is in the Scuba Diving Hall of Fame and is an Honorary Member of the Royal Photographic Society.
David Doubilet The underwater photographer’s new book showcases his stunning ‘half and half’ images. Steve Fairclough dives in…
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Digital Camera caught up with David Doubilet via Zoom at his home in Clayton, New York, to discuss Two Worlds, his career, and the major changes he has encountered during half a century of shooting. What drove your initial interest in photography? I wanted to be a diver first. For a short period I spearfished, and was not comfortable killing beautiful creatures. I was interested in, and moved on to dreaming about, making pictures. My father helped me build a housing out of an anaesthesiologist bag from his hospital. It made pictures that you could almost tell what they were… almost!
Above: Chinstrap and gentoo penguins. Danco Island, Antarctica, 2011. David Doubilet says: “Both species feed on declining populations of shrimp-like krill, but the gentoo have adapted to a more diverse diet, allowing their numbers to expand as chinstrap densities decline.”
What motivated you to start shooting in the sea? I had asthma, and hated sports that other kids loved. I went to summer camp in the Adirondacks
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David Doubilet
or 50 years, the cameras and lenses of David Doubilet have been trained on an underwater world that covers approximately 70 per cent of the earth’s surface. In 1971, he joined the National Geographic ranks, with an assignment to shoot garden eels in Israel. Since then his groundbreaking underwater work has been published in 75 National Geographic stories, as well as in 12 books. A collection of Doubilet’s work features in the new Phaidon book Two Worlds: Above and Below the Sea. It includes over 60 of Doubilet’s signature ‘half and half’ images, where the bottom part of the images are shot below the water level, while the top parts of them show what’s happening on or above the oceans.
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