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Issue 113 www.digitalcameraworld.com
THE NIKON MAGAZINE TRY IT TODAY!
Make amazing photos
NIKON D6
NEW PRO DSLR RATED! BIG TEST
Lenses for landscapes 8 of the best wide primes and zooms
Learn how to create your own reality with toys and miniatures FREE VIDEOS 6 PHOTO PROJECTS TO TRY AT HOME
NikonSkills EXPERT TIPS
Pro masterclass
One lucky reader spends a day learning how to shoot windmills and waterways
Keep it fresh
Try something new in your images p38
Win! Win! Win! Photo backdrops worth £1000! p40
Worth a shot
All About Photo comp winning Nikon pix p16
APPRENTICE
SUPER SHOT #2
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Camera:
Nikon D810
Lens:
24mm f/1.8
Exposure:
0.6 sec, f/8, ISO100
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WINDMILLS & WATERWAYS
YOU’VE BEEN FRAMED As they prepared to pack up and leave Thurne, the golden light illuminated the mist rising from the river and they passed a sailboat moored up at the water’s edge as they wandered along the riverbank. It was too good an opportunity to miss. “I’m a sucker for a ‘picture within a picture’,” Tom B announced, setting up his tripod to frame the mill within the triangle formed by the mast and rigging used to hoist the boat’s sails. As he placed his focus point on the mill Tom M stopped him. “So here it’s the boat in the foreground that’s important, the windmill is secondary. In this instance you need to take into account that the boat must be sharp, from front to back. For that, you ought to be focusing around a third of the way into the scene. Focusing on the blue canopy should be about right.”
TIGHTEN IT UP After examining the image on the Nikon’s rear display to ensure that the critical parts of the scene were in focus, Tom M elaborated. “At wide angles, such as the 24mm lens you’re using, f/8 will give you a surprisingly large depth of field. Narrower apertures will increase this further, but I’ll rarely go narrower than f/16, unless I want to create a sunburst effect. I wouldn’t necessarily use a narrow aperture, even to increase depth of field, because I know this will add softness to the image; instead I’ll focus stack two images by taking one shot focusing on the subject, and another refocusing on
KILLER KIT REVERSE ND GRAD FILTER Tom M says… A regular ND grad transitions from dark at the top to clear at the bottom, and is used for holding back bright skies to create a more even exposure with the foreground. However, when you’re shooting at dawn or dusk, when the sun is low in the sky, then it’s actually the horizon that’s by far the brightest part of the scene. With a reverse ND grad the darkest part of the filter is in the middle, with the sky portion slowly fading out in strength, which helps gives a much better balanced image.
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The rising mist and low morning sun afforded plenty of photo opportunities.
the foreground, then merge the sharpest parts of each image in Photoshop. Tom B’s initial framing was quite wide, with part of a neighbouring boat in the shot, so Tom M encouraged him to really think hard about his composition: “You only want to have things in the frame that actually add to the main subject, and if you have a lot of extraneous detail or negative space it’s not necessarily going to make for a strong composition.” Moving in a little bit closer to the boat removed the clutter, resulting in Super Shot #2.
A TALL ORDER The sun was beginning to rise rapidly, and the clouds burning off with it, so the pair moved onto their next location, Benet’s Mill – although the ‘windmills’ that are a regular feature of the Broads landscape are technically ‘windpumps’;
3-stop ND grad
3-stop reverse ND grad
their function is to drain the low-lying land for agricultural use. Reed beds are another dominant feature of the Broads, and at this time of year they grow extremely tall. So tall, in fact, that Tom B was unable to get a composition without the reeds in the foreground jutting into his scene. “You’re gonna need a bigger tripod!” Tom M exclaimed, cranking up his Gitzo to its full two-metre-plus extent. The problem now was that the shutter button was out of reach, and looking through the viewfinder was out of the question, so he switched to the Live View mode on his D850 and tilted the rear display downwards, meaning they could see the composition on the screen. Using a drainage channel to reflect the mill created an image they were happy with, then Tom M showed Tom B he could focus and shoot by tapping the rear of the display. After examining the initial shot, they increased the aperture to f/11, ensuring the scene was sharp from front to back to get enough depth of field to have the windpump and foreground reeds in focus. The final result was Super Shot #3. It was now 6am and the sky was getting brighter. “We won’t get much more this morning,” reasoned Tom M. “At this time the sun becomes so bright that the light flattens out on the landscape. We’ve already had the best part of the day – early mornings are just magical on the Broads. There’s nobody about, and that’s part of the beauty. We’ll head back for some breakfast and to catch up on some sleep before reconvening for our sunset shots.”
LIGHT UP THE LIGHTHOUSE Sunset was due at around 9pm, and well rested, the pair met up early evening to head to Happisburgh Lighthouse, an iconic red-and-white striped building on the Norfolk coast. As they made their way to the location, Tom M explained the
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How to shoo t‌ STILL LIFES
Create a relationship between the objects you are using. If one of the objects is a vintage item, try to keep that theme consistent 30
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BEAUTIFUL BACKGROUNDS
(perhaps it’s something modern, or maybe something old and vintage). You’ll also want to think about the lighting you’re going to use and the mood you want. You can use the same objects in different settings and tell different stories, just by changing the lighting and composition. When choosing what to use in your composition, look for things that are related in some way. Elements that work together will be more visually pleasing. Each and every object has its own story. For example, if you want to create vintage nostalgia, something used or broken will work more efficiently than something that’s brand new.
Backgrounds I often look for backgrounds with a backlight, ensuring it’s not too bright. I love natural backgrounds, like foliage. While shooting wide open and defocused, the sunlight peeks through leaves to create a bokeh effect. I also make sure there are no distracting colours or elements in the background. Remember, the background is there to complement your subject, not compete with it.
Form a bond Create a relationship between the objects you are using. If one of the objects is a vintage item, try to keep that theme consistent by including other old-fashioned items. Usually old objects look very good in a still life composition because they often have interesting textures such as rust, chipped paint and faded surfaces. When we see them it evokes a sense of nostalgia and makes the viewer wonder what they have been through. This is why I love to use old broken toy cars and bottles. But, of course, there are exceptions and you can experiment with breaking the rules by mixing objects that contrast and are from different time periods.
Break from tradition Don’t feel you have to stick with traditional subject ideas like flowers in a vase, or wine in a glass. Use
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Left: Both the rustic nature of this wooden violin and its warm tones pair perfectly with the autumnal backdrop. Below: Both of these images contain very similar subjects, but different uses of lighting, colour and composition have all combined to create totally different narratives.
objects you feel you can tell a story through and that speak to you. Think more about what your subjects symbolize. I personally like to use unexpected subjects, like teacups, to evoke the viewer’s curiosity. I also tend to use objects that are timeless. This means no matter where you place them, they will still be there as a familiar object. In every single object, there is a sense of human presence, emotion and stories that are invisible but very clear. So think about what kind of story and emotions you want to express and try to be creative with them.
BEAUTIFUL BACKGROUNDS You could have the most beautiful subject, but without a good background it will simply be an object. It’s easy to ignore the background and focus all of your attention on the subject. But a nice
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CREATIVE TECHNIQUES
ORIGINAL
NEGATIVE
The Mission –C onvert a digital image into a cyanotype
Time – T wo hours
Skill level – Intermediate
Kit needed – Fotospeed Cyanotype Process Kit – Printed negative – Watertight tray – Picture frame
VIEW THE PROJECT VIDEOS ONLINE www.bit.ly/NPhoto113
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CYANOTYPE
P roje c t two: Crea tive tech niq ues
Still got the blues?
Mike Harris converts a digital image into a cyanotype print, with Fotospeed’s Cyanotype Process Kit We’ve talked a lot about contemporary printing over the past few issues, but now we’re looking at a historic printing process that’s a great entry point into the world of printing and a fun project to do at home. The cyanotype printing process dates back to the Victorian era, where it was discovered by scientist and photography pioneer Sir John Herschel. It was adopted as a way to copy technical drawings – hence the term blueprint – but
is perhaps most famous as botanist Anna Atkins’ medium of choice, for what would become the world’s first photoillustrated book. Today, it’s a simple and cost-effective way to try your hand at contact printing. And with the help of modern editing software, you can quickly convert and print a digital image as a negative. If you can’t print your own negatives at home, try using an online printing service, or simply place objects (like
flowers) onto the coated paper to form perfect silhouettes. Cyanotypes are made using a UV-sensitive iron solution, and Fotospeed’s Cyanotype Process Kit (www.bit.ly/2YqlTwy) contains everything you need to get started, including a readymade bottle of sensitizer. Make sure you apply the solution in a dark room; you can use a red light source if you need to. Finally, make sure you wear adequate protective clothing, such as gloves and goggles.
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CYANOTYPE EXPOSURES
Negative vibes Whether you’re using an online printer or you’ve decided to print at home, the first step is to convert your digital image into a negative. We loaded our photograph into Photoshop and selected Image> Adjustments>Invert. The Burn tool was used to darken a few areas to help increase the detail a little bit. Remember, with negatives, darker areas will appear lighter when exposed later on.
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A place in sun
Coat the paper Set up in a dark room that’s free of UV light. Decant a little sensitizer into a container and use the supplied coating rods (or a paintbrush) to spread the solution over a sheet of Fabriano paper. Place this inside the Process Kit box to dry in the darkness. Repeat when applying the second coat.
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Place your negative over the dried Fabriano paper and expose it to natural light. Eight minutes is a good starting point in direct sunlight, but exposure times will vary depending on the intensity of the light. We placed our shot in a frame to ensure the negative didn’t move and soften the edges.
Hang it out to dry The final step is to place your print back under running water, but for six minutes this time. We’d then recommend hanging your print to dry for 24 hours, before placing it under a few heavy books to flatten out any crinkles that might have developed. The shadows and highlights will intensify during the drying process, leaving you with a rich, blue cyanotype print.
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Acidic solution While your print sits in the sun, place 40g of citric acid crystals in a deep tray and cover them with a litre of water. Carefully mix the solution until the crystals have dissolved. When your print is exposed, place it under running water for around three minutes to begin the development process.
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Quick Tip Citric acid tray It it is now time to use the citric acid tray you prepared earlier. Gently place your print in the solution – it will need to stay here for about two minutes. We used a plastic implement to constantly disturb the print, ensuring none of the liquid spilled over the sides of the tray. It’s imperative that you always wear gloves and goggles when working with harmful liquids.
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If you’re unable to obtain or print a digital negative, why not take a leaf out of Anna Atkins’ book? The botanist – and arguably first female photographer – is famed for using cyanotypes to document plant life. By following the steps here, but placing a plant onto a coated piece of paper instead of a negative, you’ll make perfect cyanotype silhouettes.
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Tom Mackie
On Location
Tom is an awardwinning professional photographer, best known for his high-quality landscape work for advertising, editorial and design clients. More info at: www.tommackie.com
Good things come to those who wait Discover how waiting for the right moment can net you the shots of your dreams
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he rain lashed against the windscreen as we drove through the beautiful undulating countryside. I was taking my small group of photographers to our base deep in Tuscany for a week’s workshop. Someone mentioned that the weather forecast for the week was rain, which was the last thing I wanted to hear at the start of a workshop. “Wonderful!” I replied, “that’s just what we need. You can’t have rainbows without a little rain.” As we were getting settled into our hotel, I looked out to see a double rainbow. I alerted everyone to grab their cameras and follow me to capture the rainbow over the valley. What a great start to the week, and the following day also produced another double rainbow. On the third day we were coming back from photographing villages in overcast skies, which creates a soft light that’s ideal for capturing details. One of the guys asked if I thought we would have another double rainbow today, as it seemed to be becoming an everyday occurrence. It didn’t look likely, with the grey skies, but as we were coming up to the Chapel Madonna di Vitaleta, it was worth a try. As we sat in the van chatting about the day’s adventures a sudden downpour descended. Within minutes it stopped and I noticed cumulus clouds forming. That’s a good sign the weather front is passing and clearer skies are approaching. I told everyone it’s time to set up tripods and cameras and just wait
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to see what happens. In the distance, I could see sunlight hitting the landscape, so hopefully it was only a matter of time before it would light the scene before us. Then, as if someone switched a light on, the sunshine hit the landscape and a double rainbow appeared. It looked stunning, but it was difficult to convey it within the context of the chapel, as it made it look too small. I switched from a 24-70mm lens to my 70-200mm and only included a bit of the rainbow. The conditions were changing by the minute and soon something happened that I’d never experienced before. The rainbow started to fracture, with strong sunbeams tracking across the hillside
heading for the chapel. I just had to wait and hope the intensity of the light would hold out until it reached the chapel. As I fired off the shutter, I knew we had experienced something special.
Out on a limb I have an affinity for lone trees in the landscape, so as I’m driving around I make a note of trees with potential, then go back when the conditions are right. The class and I were going out to shoot the Abbey of Sant’Antimo when we passed one of my noted trees on the side of a distant hillside. I explained that I’d wanted to shoot that tree for four years, but every year the conditions weren’t right. Today, though, it looked good. It can be hard to visualize an image, due to your position, so it’s a good idea to imagine what it’s like from different spots. Viewed from the road, the tree was set against the hillside and didn’t stand out, but from the base of the hill, the tree took on a different perspective, standing out on the brow against the sky. As I watched the clouds drift, I thought it would be interesting to have one right over the tree for a strong symmetrical composition. It was just a matter of time. Eventually, the perfect one floated over… Landscape photography is a waiting game, and the more you play the game the better your photography.
It was worth waiting around for this spectacular natural phenomenon. Here, Tom used a polarizing filter to increase the saturation of the scene and really enhance the rainbow.
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Photography: © Tom Mackie
ON LOCATION – TOM MACKIE
Landscape photography is a waiting game, and the more you play the game the better your photography Tom used a polarizing filter to increase the saturation and make the cloud stand out against the deep blue sky.
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YOUR STORIES
Camera:
Nikon D500
Lens:
105mm f/2.8
Exposure:
1/125 sec, f/20, ISO100
[1] Simon’s favourite subject is currently the Mezco Toyz Popeye, which features plenty of articulation for dynamic posing.
Toy stories Simon Sweetman uses camera trickery and clever lighting to breathe life into plastic action figures
MISSION: Use locations, props and photography techniques to bring action figures to life PHOTOGRAPHER: Simon Sweetman LOCATION: Burnley, Lancashire KIT USED: Nikon D7100, Nikon D500, Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM | C, Sigma 105mm f/2.8 EX DG OS HSM Macro INSTAGRAM: @sjs_toy_photography
started taking photos seven years ago when I bought my first DSLR, a Nikon D3200. The hobby quickly turned into a passion and I joined Burnley Camera Club, where I’m still a member. I soon progressed onto a Nikon D7100 and in the last few weeks have upgraded again to a D500. I photograph all
I
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types of genres, but toy photography has become my forte. I initially photographed tiny HO-scale figures (the ones you see on model railways) before moving onto larger six-inch Star Wars and horror-themed action figures. However, a recent favourite is the Mezco Toyz Popeye. You don’t need the most expensive kit to take some great toy photographs. I take most of my images with a Sigma 18-200mm f/3.5-6.3 | C and Sigma 105mm f/2.8 Macro, and often light my images with a few Lume Cubes. Figures vary in price, as do the props, but the most important piece of kit is your imagination.
Tiny tips and tricks I’m not a Popeye fan, but I fell in love with this figure when I first saw it [1]. The
potential for images is endless. It’s quite difficult to get hold of, so I was lucky to have found one. I wondered what Popeye would do during lockdown, and decided he’d relax in the garden and enjoy the lovely weather! I used only natural light. The tiny props are 1:12 doll’s house accessories (the same scale as the figure). The recent It adaptations are two of my favourite films, so I had to have a figure of the main antagonist, Pennywise. This one [2] is made by NECA, which makes some extremely good horror figures. I wanted the image to look dark and moody, so I used a single Lume Cube on a low setting, placed slightly to one side of the figure. The smoke was added in Photoshop, although I sometimes use smoke pellets as a practical effect. Here, I used a pop-up studio cube to provide constant all-round lighting and a plain white background to focus the viewer’s attention on the figures [3]. I try to put humour in some of my images, to add a human element to characters we usually only see on the big screen. Surely stormtroopers would have families, right? This photo was inspired by a scene from the new Star Wars trilogy [4]. I took it on holiday last year, when touring the Hebrides. I always try to have a couple of figures in my camera bag, because you never know when you’ll get an idea or come across the perfect location.
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TOY PHOTOGRAPHY
Camera:
Nikon D7100
Camera:
Nikon D7100
Lens:
18-200mm f/3.5-6.3
Lens:
18-200mm f/3.5-6.3
Exposure:
2.5 secs, f/13, ISO100
Exposure:
1/8 sec, f/14, ISO100
Camera:
Nikon D7100
Lens:
18-200mm f/3.5-6.3
Exposure:
1/400 sec, f/14, ISO800
Simon’s Top Tips • Create interest by using your image to tell a story. Props and locations will help develop your narrative. • Pose and compose your figures as if you were shooting a real person. Dynamic poses will prevent your figures from looking lifeless. • Be inspired by others. Instagram is home to lots of great toy photographers, such as @sgtbananas, @hot.kenobi and @mitchelwuphotography.
[2] Top left: Moody lighting is the key to this portrait of creepy It antagonist Pennywise the Dancing Clown. [3] Top right: Placing larger-than-life characters in normal, everyday situations is a great source of humour. [4] Left: The Isle of Lewis forms the backdrop for this image of spherical Star Wars droid BB-8.
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ON ASSIGNMENT
Yellow iris, in visible light, UV light and ‘bee vision’, using a combination of filters.
Do you see what I see? Wildlife, natural history, botanical and scientific imaging photographer Adrian Davies shares his tricks of the trade for macro magnificence
I
am a natural history/wildlife photographer and have always looked to photograph my subjects in different ways to set myself apart from the competition. I’m fascinated by all natural history, particularly plants, and how they might appear to other animals, such as insects. I have been shooting flowers and other plants under ultraviolet light for several years to show this, and have developed my own techniques to show the subjects as insects might see them. The primary aim of my book Photographing the Unseen World is to show readers how to shoot otherwise ‘invisible’ subjects with readily available, or easily (and cheaply) modifiable equipment. Some of the techniques are rarely used today (such as UV reflected), and I wanted to show how easy this could be, and how valuable and interesting the results can be. All the studio shots were taken in my small log cabin in my garden, while the
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location images were shot in a variety of places in the UK, and some overseas locations such Costa Rica. I went to Costa Rica specifically for hummingbirds and bats. For the former, I knew that I did not want to produce the classic-razor sharp images of hummingbirds hovering in front of flowers. Instead, before going, I tested flash/daylight setups to produce a photo where the body of the bird is sharp and the wings blurred, to show movement.
It’s a tiny, tiny, world Almost all the images were shot specifically for the book. I made an image list for each chapter at the start and then spent several months compiling the resources – growing plants or finding the right subjects. I have always used Nikon equipment, starting with a Nikkormat FTN in the ’70s. I find Nikon kit to be always reliable and I use their cameras and flashguns almost exclusively: my D810 and D850 cameras for visible light, while I have had my D300 and D800 full-spectrum cameras converted for UV and IR. The cameras produce superb
results, often in difficult conditions. I mainly use 105mm and 200mm Micro lenses for close ups, and elderly EL Nikkor enlarging lenses for UV reflected work, among other Nikon lenses. I also use Nikon SB 5000 and SB 900 flashguns, and the Nikon SU 800 Macro flash kit. All these flashguns give excellent results, and can be linked together in a variety of different ways very easily. I really enjoyed the sheer variety of subjects and techniques I had to cover to shoot the book; when I wasn’t able to shoot infrared, I could work on high-speed shots in the studio. But there were frustrations too; some subjects had to be shot many times and others didn’t work the first time around – triggering the camera for highspeed work was often rather hit and miss!
Photographing the Unseen World by Adrian Davies (£18.99, www.crowood.com), shows how you can shoot a range of subjects and see the world as never before.
Some of the techniques are rarely used today (such as UV reflected), and I wanted to show how easy this could be www.digitalcameraworld.com
ADRIAN DAVIES
This green-crowned brilliant hummingbird (Heliodoxa jacula) was photographed in Costa Rica. The exposure is a mixture of flash and daylight to show the blurring of the wings.
Above: A carnivorous pitcher plant in visible and UV light; it is thought the fluorescent ring may guide insects to the pitcher in a dark rainforest.
Images: © Adrian Davies
Left: Snowdrop discharging pollen during ‘buzz pollination’, where the vibration of a bee’s wing causes the pollen to be discharged, but here triggered with a tuning fork. Far left: Author Adrian Davies holding the world’s largest carnivorous plant (Nepenthes rajah) in Borneo. www.digitalcameraworld.com
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REVIEW
Specifications Sensor 20.8Mp full-frame CMOS Autofocus (viewfinder) Phase-detect AF with 105 focus points (all cross-type) Autofocus (Live View) Contrast-detect AF at all points in frame ISO range 100-102,400
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(exp. 50-3,280,000) Max image size 5568×3712 Metering modes Matrix, Centreweighted, Spot (not available for movie), Highlight-weighted Video 4K (UltraHD) 30/25/24p • 1080p (FullHD) 60/50/30/25/24p Viewfinder Pentaprism
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Memory card 2x CFexpress (Type B)
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Nikon D6
The rugged magnesium alloy construction ensures a durable body that can withstand the elements.
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Connectivity Wi-Fi (2.4 and 5GHz), Ethernet up to 1000BASE-T Size 160x163x92mm
Nikon’s latest top-of-the-range pro DSLR, aimed at sports and news pros, has arrived – but is it more evolution than revolution?
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Max burst 14fps Bluetooth, USB-C, HDMI mini, gigabit
£6299/$6499
he Nikon D6 was originally planned to be in the hands of the world’s best sports shooters to coincide with the 2020 Olympics, which were due to open at the end of July. The Games may have been put off until 2021, thanks to coronavirus calling a halt to pretty much all sporting events the entire world over, but the camera launch has still gone ahead, if delayed by a couple of months due to the knock-on effects of the pandemic. To the average Nikon enthusiast, the camera doesn’t look all that exciting on paper, with a 20.8Mp sensor out-resolved by even the most entry-level Nikon and none of the innovations from Nikon’s mirrorless marvels making it across to the DSLR, as is the case with the recently
or XQD
launched D780. But the truth is that this is not a camera designed for the average enthusiast, it’s designed first and foremost for pro sports shooters who will have a very different set of priorities from the rest of us. That 20.8Mp resolution is just fine for printing in the sports pages of the papers, and makes file sizes smaller and improves low-light performance. What pros want boils much down to three areas: speed, reliability and autofocus performance. So, taken on its own merits, what does the Nikon D6 have to offer – and how much does it truly improve on its D5 predecessor?
Weight 1270g body only • 1450g with battery and two CFexpress cards Price £6299/$6499
frames per second – an improvement of 2fps over the D5’s already-pretty-nippy 12fps. And while that might not sound a lot, anyone who has shot professional sports or wildlife will tell you that those ‘frames between the frames’ can be the difference between an award-winning cover shot and a missed also-ran opportunity. That’s a significant improvement on the D5, but all those extra frames are no use if
KEY FEATURES At first glance, it’s easy to see how many consumers were nonplussed by the Nikon D6’s specifications. However, there’s much more to this camera than is revealed by a spec sheet alone. The first key selling point of the D6 is the improved continuous shooting speed of 14
There’s a host of connectivity options, including USB-C and gigabit Ethernet.
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NIKON D6
Primarily aimed at sports shooters, the D6 will prove to be a popular camera for news photographers, too.
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The durable weather-sealed body enables shooting with confidence in wet and wild conditions.
you don’t have an autofocus system that can keep up with the action. Fortunately, the D6 houses Nikon’s best-ever AF engine within its chunky body, powered by the new Multicam 37K sensor and 105 cross-point AF system, representing 1.6x greater density of coverage. Adding to the autofocus system’s robustness is the fact that Eye AF is available in 3D Tracking and Auto AF area modes. And you can further stack the subject acquisition deck in your favour with 17 customizable group area AF choices. All of this services the same 20.8Mp sensor from the D5, though it is bolstered by the all-new Expeed 6 imaging processor. There’s more to ‘speed’ than simply the number of frames per second the camera is capable of shooting at. Also new is support for blisteringly fast CFexpress memory cards – and the manufacturer has finally
Features 1 The control layout is very similar to the D5,
so pro shooters will feel instantly at home. 2 The rear LCD is now touch-sensitive, which
is useful for navigating settings. 3 There are fewer AF points than the D5, but
all 105 are cross-type and selectable. Contrast-detect autofocus is disappointing in Live View and video modes, though. 4 The maximum frame rate has increased
from 12fps to 14fps. 5 The full-frame sensor within has the same
20.8Mp resolution as the D5. 6 The built-in vertical grip duplicates the
While Wi-Fi is built in, the optional WT-6 connects to networks up to 200m away.
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main controls and houses a huge battery.
got the knack of SanDisk’s Type B cards, which have been problematic on the Nikon Z 6 and Nikon Z 7. You can also use XQD cards, as these are also compatible, should you already happen to have a stash of them. In terms of connectivity, which is where the rubber meets the road for working pros, the D6 has all the bases covered. In addition to supporting fast USB-C, it now has built-in 5GHz Wi-Fi and GPS (both of which required external modules on the D5), with gigabit Ethernet supporting 1000BASE-T – achieving a claimed 15% faster communication than its predecessor.
BUILD AND HANDLING While inwardly it’s packing plenty of new tech, outwardly the Nikon D6 is almost indistinguishable from the D5. Obviously that’s a good thing for established users, as muscle memory means that a sense of continuity is critical, so moving all the buttons around to unfamiliar locations would have caused some gritted teeth. The D6 is every bit as bomb-proof as you’d hope and expect. It’s a hulking body, even by pro DSLR standards, and when you hold this thing you know that you could drive over it with your car or use it to break into a building – it’s that solid and robust. The pentaprism is large, bright and comfortable to use, and we had no problems with eye strain (something that can’t always be said for electronic
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BIG TEST
Take the wide view Choose a lens that lets you see the bigger picture he most obvious choice for a landscape lens is an ultra-wideangle zoom. You certainly can’t beat a zoom lens for versatility, enabling you to tailor the viewing angle with just a twist of the zoom ring. Even so, many photographers only tend to use ultra-wide zooms at, or near, their shortest focal length. With that in mind, there’s something to be said for buying a prime lens instead of a zoom. There are some high-quality manual-focus primes for both DX and FX cameras, which can work particularly well for landscape photography, where the lack of autofocus (AF) isn’t really a problem. We often want to keep the entire scene as sharp as possible, from front to back. At medium to long focus distances, the depth
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of field stretches about twice as far behind the point of focus as it does in front of it. A popular rule of thumb is therefore to focus on a point that’s about a third of the way into the area of the scene that’s covered by the image frame. Autofocus is generally the preferred option, but manual focusing can work equally well. Manual-focus lenses tend to have a larger rotational travel for their focus rings, making precise adjustments easier. They generally have a focus distance scale and most add depth of field markers. This lets you use ‘zone focusing’, setting the minimum and maximum distances that’ll be rendered sharply. When shooting landscapes, you’re more likely to align the infinity point of the focus distance scale at
the longer position indicated by the depth of field markers. This sets the lens to its ‘hyperfocal distance’, where everything from half the focus distance setting to infinity will be sharp. Exposure settings can be tricky when the sky is much brighter than the land beneath. A common solution is to use an ND Grad filter to create a better balance. However, many ultra-wide-angle lenses have an integral hood and no filter attachment thread, requiring an expensive, specialist filter system. Or you can shoot in Raw, with an exposure setting that retains detail in both highlights and lowlights. You can then create light and dark versions of the image during Raw processing, and merge them, using masks in a program like Photoshop.
What to look for…
Tame landscapes with these key features FOCAL LENGTH A shorter focal length delivers a wider viewing angle, and even a millimetre or two can make a noticeable difference. The 1.5x crop factor of DX format cameras is an important consideration.
FOCUS TYPE Autofocus lenses are most common, but manual-focus lenses work well for landscapes. Built-in electronics for the latter enable illumination of focus assist lamps in the viewfinder.
PRIME OR ZOOM? A zoom lens is generally the more popular choice and certainly gives greater versatility. However, prime lenses can work very well and are often less expensive to buy.
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FILTER THREAD An accessory attachment thread enables the easy fitment of filters. However, this is lacking in ultra-wide lenses that have an integral hood to protect a protruding front element.
APERTURE RATING Faster aperture ratings are usually preferable but result in bigger, pricier lenses. For landscapes, you’re more likely to shoot at medium to narrow apertures for increased depth of field. OPTICAL STABILIZATION This is a great feature for beating camera-shake in landscape photography, saving the need to carry a tripod if you’re trekking into the wilds to find scenic photo opportunities.
Mirrorless choices
For Z 6 and Z 7 cameras, there’s a standout ultra-wide winner An attraction of Nikon’s mirrorless full-frame Z-series cameras is that their supporting cast of S-line lenses is so magnificent. The Z 14-30mm f/4 S is no exception, delivering astounding levels of sharpness in the central region of the frame throughout the entire zoom range. Narrow the aperture by a single f-stop and excellent sharpness extends to the extreme corners as well. Build quality and handling are also superb, with extensive weather-seals, a Nano Crystal Coat, and a customizable control ring. Unusually for such a wide-angle lens, it features a filter attachment thread and removable bayonetfit hood. It’s the perfect landscape lens and is well-priced at £1139/$1297. If you need a cheaper native Z-mount option, go for the manual Samyang MF 14mm f/2.8 at £359/$349. www.digitalcameraworld.com
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LANDSCAPE LENSES
Nikon AF-P DX 10-20mm Samyang 10mm f/2.8 ED f/4.5-5.6G VR AS NCS CS £259/$279
A compact, lightweight, affordable DX lens his remarkably compact ultra-wide zoom weighs just 230g, employing a plastic rather than metal mounting plate, but it still packs in some useful features. Unlike Nikon’s older and heavier AF-S DX 10-24mm lens, it adds 3.5-stop VR that can save a lot more weight, avoiding the need to lug a tripod around with you. Autofocus is based on a stepping motor that gives quick performance for stills and smooth, near-silent, transitions while shooting movies. As usual for this type of system, manual override and fully manual focusing are available via an electronically coupled focus ring. Also typical of ‘AF-P’ AF lenses, there’s no focus distance scale. Three aspherical elements are included in the optical path, which features 14 elements in total.
Sharpness
Performance Although undercutting the price of all the other DX format lenses on test by quite a margin, the little Nikon punches above its weight in terms of performance. Sharpness is very good and aberrations like colour fringing and distortion are fairly minimal.
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N-Photo verdict This budget-friendly Nikon packs good performance and useful VR into a light, budget, package.
Sharpness
Distortion
Performance
Distortion
Barrel distortion at 10mm is a little worse than from the other DX format lenses.
Centre-sharpness is good rather than great throughout the aperture range, with the sweet spot being at f/5.6. Levels of sharpness are very consistent across the whole image frame, with fairly little drop-off even in the extreme corners of the frame.
You’ll often find that distortion is lower in primes compared with zooms, but not here.
Fringing Fringing at the corners of the frame isn’t as low as from the other DX format lenses here.
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N-Photo verdict
Build & handling Performance
www.digitalcameraworld.com
A rare ultra-wide prime for DX bodies ltra-wide prime lenses for DX format cameras are thin on the ground, and Nikon itself doesn’t make one at all. The best option is this 10mm manual-focus lens from Samyang, which combines a short 10mm focal length with a wide f/2.8 aperture rating. This enables aperture control from the camera, and unrestricted use of all shooting modes. It also empowers the focus assist and confirmation lamps in the viewfinder. Quality glass includes two aspherical elements and one ED (Extra-low Dispersion) element, plus nanostructure coatings. The focus distance scale has depth of field markers for apertures of f/2.8, f/4 and f/5.6. Build feels solid, although the lens lacks any weather-seals and its integral hood precludes a filter attachment thread.
Levels of centre-sharpness are very good, even when shooting at the widest available apertures.
Features
Value
4
£379/$399
Overall
This Samyang DX 10mm is the pick of the manual-focus bunch, its internal electronics making it easier to use.
Sharpness is pretty average overall, but at least it’s highly consistent across the entire image frame.
Fringing Colour fringing is restrained, but can be noticeable towards the corners of the frame.
Features Build & handling Performance Value
4
Overall
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