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SHOOT ICONIC LANDSCAPES Master the camera skills you need to create a showstopper


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GEAR REVIEWS • Fujifilm X-A10 • Nikon 360 camera • 50mm primes • Roller bags

• Make abstract art • Shoot vibrant florals • Learn about drones • Take fantasy portraits

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N ÒIt was a little cold, but our band of photographers were happy to shoot at Durdle Door (below) with CanonÕs fabulous 5D MkIV DSLR.Ó

othing stands still in the world of photography. Perhaps that’s why it’s such a wonderful hobby and lifestyle to be involved with. So, it’s with a heavy heart that I have some sad news. After 15 years and 216 issues, this will be the last edition of Digital Photo. It’s fitting that the last cover image be taken by a reader from our fantastic Shoot The Cover event, and you can read all about the location day on page 16. After all, it’s you (the reader) that inspired the Digital Photo staff to produce all those excellent issues and tutorial videos. We know you’ll be sorry to see Digital Photo go, but there is a silver lining and the good news is that you’ll be able to find all the best bits from Digital Photo (including a 32-page Photoshop Genius section) in our sister magazine,


WELCOME Practical Photography. You can find out more about this exciting proposition on page 24. But for our last issue, we’re going out on a high with an inspiring feature on mono photography, plus we’ll show you how to capture stunning skylines, and impressive structures. Our Photoshop Genius section will help you make the most of this month’s big gift – an exclusive set of Lightroom Split-tone Presets that can easily be applied to an image to give it an instant retro look. So, from the whole Digital Photo team, thanks for your support and photography enjoy your photography.


This month’s cover was captured by Digital Photo reader Chris Sweet, at our fantastic Shoot The Cover event, which was supported by Canon. Read all about on page 16.

Matty Graham, Managing Editor matty.graham@bauermedia.




Shoot the Cover



8 Planet photo Get loads of fresh, new inspiration from some of the world’s best photographers – here’s how they create their sublime.

16 Meet the winner of our

Shoot the Cover competition! How reader Chris Sweet caught the judges’ eye and snapped his way to winning an amazing Canon 5D MkIV camera kit bundle!

26 Black & white beauty laid bare Discover how ditching colour for a dramatic and refreshing change can help you become a master of monochrome.


34 Shoot it now – abstracts Go all arty and compose a surreal image by making ng reflections with a tablet screen. r


36 How to shoot architecture Use our tips and inspiration to help you capture your best-ever citybreak shots full of buzz and beauty. y y.

48 Shoot it now – floral detail Get out some coloured card and a desk lamp to create colourful indoor blooms.

46 Out of the ordinary Take on our themed photography challenge. This month, we get creative with toothbrushes.

50 Photo Q+A Expert advice on using drones, legal urban exploration, lead-in lines, polarising filters, Colour Space options and much, much more.




58 76 68

EDIT 56 Add a perfect portrait backdrop Create simple, striking portraits with a clean, black background. We show you how.

58 Play with scale in landscapes


CREATE 24 Subscribe today! Find out how you can get a great deal when you subscribe to the all-new and improved Practical Photography magazine.

84 How did they do that? Here’s how artist and professional photographer Ben Heine creates amazing pr projects that merge stills and sketches.

Combine a landscape with a close-up shot to compose a compelling illusion

92 Your pictures Our experts take a look at readers’ images and give practical tips for making them even better.

98 Next steps – copyright Where do you stand if your pictures are used without your permission? Discover the rights inherent on your images – and how to enforce them.

128 Next month Discover a cracking new photo deal.

62 Create a retro slide Relive the golden era of the photo carousel projector by making your own sliders.

66 Give your images zing Use Photoshop or Element’s Zoom Blur filter to inject dynamism to static shots.

68 Use your free split-tones Lend atmosphere to your images with our Lightroom Split-toning Presets.

70 The power of Dehaze Lightroom CC’s powerful new Dehaze slider will transform your misty images in minutes..

74 Easy ways to amazing mono Discover how to produce high-quality black and white conversions with Silver Efex Pro 2.

76 Beginner’s guide: colours

Gear ffocus ocus news ws 106 Gear ne The lat es photo photo ne ws and latest news announcements from announc ement fr om the the digital digi al world. world.

109 Nifty Fiftys Discover prime D isc ver why yyou ou need a 50mm pr me lens kit bag. ens in n your your ki

Adv enture awaits Adventure 114 Adventur W e ttest es the the amazing amazing Nikon Ni on We KeyMission action Ke yMiss on 360 ac on cam cam

op gear of 2016 114 TTop A llook ook back back at tthe he best best gear of last last year ear that hat has rocked rocked our worlds! worlds

roller bags 118 Gadget & gizmos bestt roller 112 5 of the bes W ant the the ultimate ult mate in in portability portabilit tabi and Want nd protection? pr ot ctio ? You You need a ‘pull along’! along’!

pick Our pi k of up-to-the-minute up-to- he-minut photogr phot photography ography ac accessories accessories. essories.


Release your inner artist by giving images a colourful digital respray.

78 You’re a Photoshop genius Discover how to produce high-quality black blac and white conversions with Silver Efex Pro 2.

82 Photoshop rockstar Tips from an editing master.

109 118






Boost your photo skills with our in-depth video lessons, all brought to you by the magazine’s team of expert photographers. Pop the disc in your PC or Mac and get set for the ultimate learning experience... 1




& t in r p ll fu e h t in s o e id Watch exclusive v y h p a r g o t o h P l a ic t c a r iPad editions of P 9 .9 3 £ d e ic r p w o n le b magazine – Availa M k

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Learn to harness the power of Dehaze so you can enhance detail in washed-out scenes.

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Create mono conversions using the free Nik Silver Efex Pro 2 plug-in from Google.

Change colours with a digital respray and learn about Layers and Blending Modes too.


Also on your interactive disc... Start images

Use these files to practise the projects in this issue with your own software.




Inspiring pics from Digital Photo readers.


Reader gallery

Use our Presets to add atmosphere to your images in just a few clicks.

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PLANET PHOTO Your fresh fix of inspiration from the world’s best photographers



High in the city New York is home to many famous locations, so how do you make the most of these wonderful scenes? As French photographer Beatrice Preve discovered, shooting at the right time of day can make a huge difference. “This image was taken early in the morning, during a magnificent sunrise,” she explains. Beatrice captured four bracketed images and blended them manually using Photoshop. The use of a ultra wide-angle lens helped Beatrice capture more of the amazing Brooklyn Bridge and its lead-in lines. Camera Nikon D810 & 14mm lens Exposure Various @ f/11, ISO 64 Visit

GET THIS SHOT The bridge’s metalwork is a good example of lead-in lines, which guide the viewer’s eye towards a main focal point in the image.


An early wake-up call was rewarded with a stunning sunrise.


PLANET PHOTO Animals can be unpredictable, so shots like this have to be carefully controlled.


Snarl for the camera


They say never work with animals or children, but Ukraine-based photographer Sergey Polyushko managed to capture this image of man’s best friend looking remarkably fierce. A fast shutter speed ensured the snarly portrait was captured nice and sharp, without any camera shake. By shooting in a blizzard, the falling snow added further interest and texture to the frame. Camera Canon 5DMkII & 70-200mm lens Exposure 1/320sec @ f/2.8, ISO 250 Software Photoshop Visit polyushkosergey

GET THIS SHOT When working with animals you should always exercise caution. To avoid getting up close, use a telephoto lens like Sergey’s 70- 200mm optic.


Sometimes close-up images tell more of a story than a wider composition.



The feel of the wheel Travel images tell stories of journeys, adventures and, most of all, people. Kajin K captured this meserising frame in a small village outside

the city of Bengaluru in India. “The native people still practise pottery in the old traditional way, without using the modern technology. I decided to visit the village and witness the beautiful art,” explains the

photographer. Kajin used Google’s Nik Collection to enhance the image. Camera Nikon 5100 & 50mm lens Exposure 1/250sec @ f/4, ISO 400 Software Nik Collection Visit

GET THIS SHOT Kajin used a 50mm lens to take this image, which was the perfect optic as its large maximum aperture allowed for a fast shutter speed in low light.


PLANET PHOTO Alina’s portrait is full of atmosphere, thanks in part to the neon signs.


Fine-art fashion

Lighting is a key component in photography, and pros will try and control this element as much as they can. However, as Alina Tsvor knows, sometimes it can pay to use the artificial lighting in the scene as well. “This portrait was taken in Hong Kong and was part of a personal project,” explains the Chicago-based shooter, who took advantage of the neon signs to add interest to the frame. “In Lightroom I tweaked the Exposure and colours, brightened up the subject’s face just a little, and played with the hue.” Camera Nikon D800 & 85mm lens Exposure 1/100sec @ f/3.5, ISO 800 Visit



When shooting portraits in low light, use the Spot metering mode. It will help exposure your subject correctly, as they are the most important part of the frame.


© Andreas Lundberg

Always up to speed Profoto D2 A photographer faces many different challenges every day. It’s with that in mind we created the Profoto D2. It’s a breakthrough, because it’s the world’s fastest monolight. So for the first time, no matter what the assignment, speed is always on your side. You can freeze action with absolute sharpness, shoot in super quick bursts, sync with the fastest camera shutter speeds available, and shoot fast and easy with HSS and TTL. So whether you’re shooting sports, food or fashion: with the D2 you’re always up to speed. Learn more:



White in the night


Looking like it was built by Disney for a Christmas movie, the fishing village of Reine was actually captured by Daniel Kordan while on a trip to the Norwegian archipelago of Lofoten. “Usually in winter you could also see the Northern Lights above mountains, but even without them the village looks like a festive paradise town with small fishing boats and charming sea atmosphere,” explains Daniel, who shot five vertical images and then stitched them together in Photoshop. Camera Nikon D810 & 14-24mm lens Exposure 20sec @ f/4, ISO 800 Visit

GET THIS SHOT Capturing a vast scene is often impossible with even a wide-angle lens. Instead, follow Daniel’s method and shoot a panorama by taking vertical images, overlapping by 20%, and merging them during the editing process.


Because it’s in the Arctic Circle, in peak winter Lofoten rarely sees any daylight at all!


A DAY OUT WITH CANON Three readers head to Dorset to do battle. At stake is the honour of seeing their image on the front cover and to walk away with a Canon 5D MkIV WORDS BY MATTY GRAHAM



few months back we set you a challenge – send in your best landscape images. At stake was a once-in-a-lifetime prize. Three readers who had shown great technical skills were to be selected to take part in a special location day event in Dorset. To create a level playing ďŹ eld, each of the three were given a Canon 5D MkIV plus a lens for the day to explore the area and capture some amazing images. Now, this is where the stakes were upped. Under the guidance of Andy Farrer, a winner of the Landscape Photographer of the Year award, the readers competed to take the best shot of the day, which you can see on the front cover of this issue. This is the story of a fantastic day of photography...



The contenders

Chris Sweet

Jeremy Flint

Matt Parry

Age: 38 Location: Weston-super-Mare Job: Mechanic “I’ve been interested in photography ever since my dad used to let me carry round, and occasionally use, his Canon AE-1.”

Age: 40 Location: Oxford Job: Accountant “I’ve been interested in photography seriously since 2008 when I bought my first DSLR. Photography helped inspire me when faced with serious illness.”

Age: 38 Location: Middlewich, Cheshire Job: Marketing manager “I’ve been interested in photography since 2008 and shoot mainly urban landscapes.”



Durdle Door proved itself to be an epic location for the day.

The location

The camera

Durdle Door is a World Heritage site on the south coast of the UK. Famed for the natural stone arch, Durdle Door is a Mecca for landscape photographers who visit to photograph the arch, the beautiful shingle beach and the tall cliffs. The location does, however, have its challenges that our readers endeavoured to overcome. The Door, even on a cold winter day, is never quiet and photographers have to work around a steady flow of tourists and their selfie-sticks. What’s more, because of the southerly position, there is often a high contrast between light and shade, which means exposures have to be well controlled to avoid over/underexposures. Lastly, on our challenge day, the readers were greeted by waves of mist – a rare occurrence at this location.

While knowledge of composition, light an and aperture are all hugely important, there’s th no escaping the fact that great gear helps raise the quality bar to new heights. The Can Canon EOS 5D MkIV is the camera of landscape photographer’s dreams thanks to its ccuttingedge technology, amazing image quality and an robust build. Each of our readers were kitted kitt out with a EOS 5D MkIV that they paired with a selection of Canon L lenses, including in the 16-35mm and 24-105mm.


Why the 5D MkIV is perfect for or photographers phot of the ultimate landscape in pursuit ape shot... pur Key features: • Canon’s brand-new full-frame 30.4 megapixel CMOS sensor with high-exposure latitude creates more detail and larger print sizes • Stay connected with built-in Wi-Fi, NFC and GPS

• Engineered eered tto perform with the e innovative inn Dual Pixel CMOS OS AF and Dual Pixel RAW quality mirror • High ISO, ISO, build quality, lockup, and an remote accurate colour olour reproduction. reproduc See more ore at a


The Canon 5D MkIV is the perfect landscape photography DSLR.

The group were greeted with misty conditions. Below: Cold conditions were braved to capture amazing shots.

The three readers had six hours in which to capture their best images.


The view from the pro


Andy Farrer er is an award-winning landscape photographer. Based in Dorset, Andy actually won the 2015 Landscape Photographer of the Year award for an image taken at Durdle Door… “The Canon 5D MkIV sees a big step forward as Canon’s 5D line-up continues to evolve. I started with the original 5D before moving to the MkII and then the MkIII and now the MkIV is a camera that’s even more tuned up for landscape photographers. The

Chris Sweet This image from Chris shows his aptitude to pack the foreground of the frame with extra interest. 20 DIGITAL PHOTO

Jeremy emy Flint Jeremy demonstrated excellent ability in mixing light with shade, which is an impressive skill.





key highlights for me are the addition of GPS and Wi-Fi. GPS especially is important for landscapers because you’re often shooting in the middle of nowhere and being able to tag your location means you can easily find it again. But it’s the dynamic range that really separates the 5DMkIV from its peers. The ability to rescue shadows and highlights from the RAW file gives photographers the confidence to shoot in high-contrast scenes.”

Matt Parry arry Matt mixed classic landscape techniques with long exposure for a varied set of excellent images. DIGITAL PHOTO 21




CAPTURE THE MOMENT! Shoot golden scenes with our expert landscape skills guide

SEE THE WORLD IN MONO Transform views by going black & white


Go to town with architecture photography



• Get abstract reflections • Shoot powerful colours • Learn about drones • Try fine-art fashion


• Sox vcxcv xvc9 II • Olyx vcxcv xcv 1 MkII • Fujx vxcv xcv0S


With the day finished, it was time to review the images and pick a winner from our three talented readers... Picking an overall winner was an almost impossible job. Each of our three readers took amazing shots, but one image stood out. Chris Sweet’s stunning image shows the photographic X-factor and his ability to react to a situation and turn it into a photo opportunity.

And much more...

FEBRUARY 214 2016 ISSUE XXX £4.99

So Chris, how does it feel to have won? “I still don’t feel like my feet are back on the

ground yet! Honestly, when Matty told me I had won, you could have knocked me down with a feather. I want to thank Matt and Jeremy for being great sports and Andy for his advice on the day.” Tell us about your shot... “The idea behind the image came to me late in the day. I was searching for something a little different when I noticed two paddle boarders. The sun was getting low and I visualised a shot with them in the frame near the arch so I thought, ‘if you don’t ask, you don’t get’ and approached the boarders. They obliged and the image worked out perfectly.”


Andy Farrer was on hand to offer essential advice.


Chris (pictured here and above) turned in a great set of images.



Here it is, our winning shot. Truly a golden moment indeed!


GET 3 ISSUES OF FOR ONLY £5 The UK’s biggest and best photo magazine is packed with advice, inspiration and in-depth reviews.




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BEAUTY LAID BARE Discover how ditching colour will help you become a master of monochrome!





Give your subjects a completely fresh and dramatic look by embracing the wonderful world of black & white.


magine if you had something in your kit bag that could amplify the emotion in your shots, reveal hidden narratives and transform scenes lost to dull and lifeless light into images with drama and impact. You’d call on this gizmo a lot, right? Well, every photographer has this invaluable tool at their disposal already, but it’s often overlooked when in the midst of shooting. This transformative tool is the serene simplicity of black & white and photographers disregard its power at their peril. Modern cameras are brilliant at capturing colour. The trouble is, viewing the world in colour often acts as a distraction to the intrinsic beauty beneath. Our eyes are instantly drawn to vibrant hues rather than

the photographer’s intended focal point, or the raw feeling of a shot. By switching an image into monochrome, the viewer is forced to focus on the shape, texture and emotion of the frame, and the substance of the photo becomes more powerful. A mono image engages us more directly, and encourages us to think about the shot for that bit longer, and that little bit deeper. So, next time you’re out shooting, forget colour for one day and see how switching to mono can shake up your photography. Not only will you be sure to craft some compelling images, but you’ll also hone a variety of your skills, too – making you a more accomplished and assured photographer. Let’s get started...



Set yourself the challenge of shooting in B&W and see how it can transform your photography FOLLOW OUR


For the best mono images, set your camera to shoot RAW. This means you’ll actually be capturing a colour file and while at first this may seem counter-intuitive, you can create a better black & white conversion when you have the full colour information of a RAW to work from. RAW gives you more control over tones and contrast, lets you rescue lost highlight and shadow detail and doesn’t suffer image compression, so your shots don’t ditch any data when they are saved and maintain maximum quality. To help you visualise your final shots and see how they might look, set your camera’s custom Picture Controls to Monochrome in the shooting menu. This means the image displayed on the back of your camera will be in black & white, but the RAW file recorded to your memory card will still be a full colour file. To save the mono version you view, set your camera to shoot RAW + JPEG. The RAW file is your master copy to edit from, with the JPEG acting as a sketch to show how the final image might look. Having set up your file format, you need to set the exposure. For most mono shots, it’s best to use Aperture priority. This gives you control over

A tripod keeps your camera steady, which is essential during long exposures.

the depth-of-field and the light sensitivity of the camera, but the shutter speed will be set automatically to produce a balanced exposure. The depth-of-field is governed by the selected f/ number. A low f/number, like f/4, means the lens has a wide aperture which produces a shallow depth of field, so the space behind and in front of your focal point falls off into a soft blur. Use this when shooting portraits or street scenes to smooth out background clutter. A high f/number, like f/16, means the aperture is narr narrow and a larger depth-of-field is created, which is ideal for landscapes and architecture




where you want to have sharpness throughout the image. When shooting with a narrow aperture, less light is able pass through the lens and your camera will be using a slower shutter speed which puts you at risk of camera shake, so it’s advisable to use a tripod to stabilise it. With your chosen aperture selected you need to also set the ISO, which controls the sensitivity of the camera. Under most circumstances you want to keep your ISO setting low to prevent Noise from appearing in your shots, or the image quality will suffer. You can always add grain later on when editing your shots if that’s the look you’re after.

Look for contrast, shape and texture

Successful black & white images rely on contrast to draw the viewer’s eye into the shot. A colour image grabs attention with vibrant hues or opposing colours, like red and green, but in a monochrome image both these colours likely have a similar brightness so the shot appears flat and dull straight from the camera. When shooting RAW, though, it’s easy to change the brightness of individual colours to put contrast back into the mono image if needed. While it’s possible to rescue washed-out shots, it’s better to seek out subjects that have a strong tonal contrast for instant impact. This could be anything with lots of bright tones and lots of dark tones, or subjects that are illuminated by a strong directional light. Concentrate on eye-catching shapes to create a powerful mono image. Look for strong lines, arching curves or geometric patterns, and frame up to create an intriguing composition that leads the eye towards the main point of interest. Repeating patterns have a strong visual impact, while texture adds depth and detail to a shot. Try to side-light texture where possible to create strong contrast and make detail even more prominent.



Always use a tripod


Mono forces viewers to examine structure.



The great thing about shooting black & white images is that you don’t rely ondynamic light to add interest to a scene. While exciting lighting will enhance any frame, plenty of shots look flat in colour but find a new lease of life when converted to mono. Dull, grey days are often not considered good shooting conditions, due to minimal contrast and muted colours, but in mono you can control the contrast afterwards to inject some punch, transforming the scene into a worthwhile capture. In the same way, mist makes for washed-out colour images but converted to mono they’re incredibly atmospheric, with a soft romantic feel. Bright sunny conditions are well-suited to mono as there’s a big differential between the lightest and darkest parts of a scene, so there’s a ready-made contrast to be utilised. An overhead noon sun makes for unflattering

colour shots, as the contrast is at its strongest, but when transformed to black and white the image has more potential. Stormy conditions usually make for fantastic black & whites as there’s plenty of contrast in the sky, and lots of dark, brooding tones. Find some texture, like choppy waves or coarse grasses, to use in the foreground to enhance your mono image. If you’re shooting in low-light conditions with a high ISO, converting to black & white will help hide a few image quality issues. A high ISO means lots of Noise – a loss of colour detail, a strong grain in the shadows and detail looking softer – which makes for a disappointing colour image. Transforming the image to mono, however, will negate the loss of accurate colours, boosting the blacks will diminish the visible grain and increasing the contrast will help sharpen the shot.

Protect your highlights

It can be difficult to not lose detail when you’re shooting scenes with a high contrast, especially in the brighter areas. This is because a camera’s Dynamic Range is limited, so it can only capture a restricted bandwidth of tones in a single exposure. To check you’re not losing tonal detail, look at the histogram. This is the graph of tones attached to each image as you look through the playback options. If the tones are heavily bunched to the right your shot will be overexposed and highlight detail lost. If tones are clumped to the left-hand side, the image will be underexposed with detail hidden in the shadows. Many cameras offer a Highlights Warning feature to draw your attention to areas of your shot that have lost detail, by making those pixels flash in black when you look at the image on the rear LCD. To fix this, dial in -1 stop of exposure compensation to darken your image, then shoot and check again. In tricky lighting with strong contrast, set up your camera to shoot a Bracketed sequence set to different exposures, some underexposed and some overexposed, to preserve detail in the highlights and shadows. Then blend these images in Photoshop to create images that expand beyond a camera’s Dynamic Range.

Filters can help balance the exposure in an image.



Use filters to enhance drama

Make the most of mono scenes with filters to modify the light entering the lens. A Polarising filter screws into the thread on the front of your lens and will boost blue skies and enhance cloud detail, while cutting back on reflections from water or glass. These filters are a fantastic way to pack further punch into your shots, and prices for polarisers start at around £30. You can also severely restrict the amount of light entering your camera with a Neutral Density filter (ND), which will allow you to shoot with a much longer shutter speed. They’re available in a number of strengths – or ‘stops’ – and prices start at around £35 for a 77mm thread fit. A ‘big stopper’ reduces the light by 10 stops, allowing for ultra-long exposures, but costs a little more with prices starting at around £65. Shooting with a longer shutter speed means you can blur movement, so pedestrians can be rendered invisible, the sea transformed into a misty blur and clouds turned to artistic streaks. These type of effects work particularly well in black & white and produce truly eye-catching and dramatic images, so a filter is a worthwhile investment. DIGITAL PHOTO 29



Create powerful images in any light



PHOTOSHOP is the best program to use if you have taken your image in JPEG format. When converting a file, use a Black & White Adjustment Layer as this will make it easier to start over if you make a mistake.




You can use various software programs to convert your colour images to black & white. Here is our pick of the best on the market...

Lightroom LIGHTROOM is the best software for converting RAW files to black & white. You can create Presets that will convert a file with just one click. Plus, you can add local adjustments to small areas of the frame.

ACR ADOBE CAMERA RAW (ACR) has a lot of the same functions as Lightroom, but is a little more clunky to use. However, you can still convert RAW files to mono with ease.


GETINSPIRED Ready to grab the camera and go shoot some black & white? Here’s a selection of subject ideas to get you started...


ne of the many fantastic things about monochrome is that its transformative power is near-universal, in that it improves shots in every genre and gr authenticity to creates a greater images. With the distraction of colour gone, it’s easier for the viewer to ‘read’ your image and discover subtle narratives so your image can take on a greater meaning and create a deeper emotional impact.

transforms the banal into the brilliant and everyday occurrences take on poetic narrative.

10-stopper, makes for particularly strong mono images as any motion is artistically blurred.

2 Portraits aits can become gut-punchingly powerful when colour is removed, as the emotion of the shot rushes to the surface, creating an instant connection with the viewer. Mono can also create more flattering pictures too, as any blemishes or red marks on the ar less noticeable. skin are

4 Close-up and still life images work superbly in black & white, too, as the texture and shape of subjects can be seen a lot clearer without colour, allowing the eye to focus more on outlines and the composition of the image.

1 Street scenes enes and reportage shots are excellent subjects for the mono treatment as they take on a timeless feel, and any emotion or narrative can be more easily read without narr colour competing for the viewer’s attention. Shots like these also have a more artistic feel when converted to mono, as the process

3 Landscapes apes benefit from the black & white treatment as the contrast can be given a major boost, which is a great fix for flat and lifeless light. Stormy brooding skies also look fabulous in mono as the cloud texture becomes much more apparent. Shooting scenics with a Neutral Density filter, especially a super-strong


5 Architectural al shots usually look way better when displayed in mono, as buildings are all about shape, line and texture, and this can be seen much more clearly without the interference of colour. ‘Statement’ images like these also take mor graphical, or fine art, appearance on a more when viewed in black & white, adding an extra dimension to the image.


Mono lends itself well to street photography.


Grab a friend and shoot some portraits.

Head for the coast for some landscape views.



Go to town with some architecture.




Get close up with a flower still life.



Get creative by switching your camera to mono and using a tablet or phone to capture surreal reflections.

SHOOT AN ABSTRACT ARTWORK Create a surreal image by making reflections with a tablet screen TECHNIQUE & PIC BY BEN DAVIS



ere’s a technique that will get your artistic juices flowing and all you require is your camera and a smartphone or tablet. And, even better, you can create abstract images like this one without any Photoshop trickery. All you need to do is use the powered-down black screen of a smart device to create reflections in front of your lens, which makes for wonderful surrealist imagery. To add to the fine-art feel, you can use your camera’s picture controls to capture striking black and whites packed with contrast, without the need for any post-processing, saving you time afterwards. Before you get going, though you’ll need a phone or tablet screen free from fingerprints, so dig out a microfibre cloth and give it a polish! micr


Expert tips


Set up your camera’s Picture Controls

Go into the shooting menu. On a Nikon look for Picture Controls, on a Canon go to Picture Style. Other cameras vary, so check your manual. Select Monochrome and increase the contrast to shoot moody black and whites.



Switch to Program to set the exposure

Set your shooting dial to Program mode (P) so the camera selects both the aperture and shutter speed, leaving you free to concentrate on finding creative compositions. If you notice the shutter speed is too slow, increase your ISO.


Create abstract reflections and shoot!

Hold up your smart screen in front of your lens, covering the lower half. Adjust the angle to see what different reflections you can capture. When you come across an abstract-looking frame, just press the shutter to take the shot.

When shooting in monochrome, look out for subjects that have lots of natural contrast, such as bare tree branches against a bright sky. This will create a clear and graphical image, which makes for perfect instant abstract art! Play around with the settings within your camera’s Picture Controls to fine-tune the brightness and contrast, so you don’t need to do any post-processing to your shot.


CITIES & ARCHI Want better citybreak shots? Use our tips and inspiration to help you capture the beauty and the buzz of our urban spaces Words by Ben Davis



ities have a particular buzz about them. It’s not just the purr of engines, humming livewires and the hustle and the bustle, but an unmistakeable energy; a genius loci, and it’s this spirit which is truly spellbinding for photographers to capture. Each city offers an abundance of images, from soaring skylines to splendour of its architecture. And as over 90% of us now reside in a concrete jungle, it’s a far more accessible subject than the hinterland. This makes it the perfect opportunity to sharpen your shooting skills and create images that will mesmerise the viewer.


But there are many challenges to overcome when it comes to photographing cities and architecture with confidence. The components that combine to make exciting urban images extend way beyond camera settings. Most enthusiasts will recognise a broad depth of field and a sturdy tripod are essential, but it takes time to know the secret of the art inside out. So we’ve put together this guide for you, to act as a shortcut on your journey to more showstopping city shots. So point your lens towards the place you live. It doesn’t matter if it’s Clitheroe or Tokyo, the techniques are the same no matter the location, and the joy arrives in equal measure.


A broad depth of ďŹ eld and a sturdy tripod are essential to capture vibrant city shots.



Top kit for urban photography Using the right kit can make a big difference when it comes to capturing cities like a pro, but you definitely don’t need a top of the range camera. While it’s nice to have one, the truth is any DSLR or CSC will do. The most important thing is a wide-angle lens. They allow you to capture much more of a scene, which is a real benefit when working in tight city spaces, and also

A wide-angle lens is the ideal optic for capturing a broad view of city scenes and architecture.

produce a deep depth of field for front-toback sharpness in your shots. For a full frame camera the Tokina 16-28mm f/2.8 lens is priced at £579 and offers a good focal range for viewing the city. If you’ve an APS-C-sized sensor, then you’ll need aa lens lens that matches. The Sigma 10-20mm f/3.5 has a full frame equivalent focal length of 15-30mm, and costs £329. You’ll also need a solid tripod to keep your camera steady during slower exposures so you don’t ruin your images with camera shake, the bane of slow shutter speeds. A lightweight set of sticks is ideal, and carbon fibre tripods offer the best solution. Prices start at around £230 which may seem steep, but your back will certainly thank you later on. A tripod is also a must if you’re using any lens filters, and these are an essential bit of kit if you want access to some truly awesome effects. With a Neutral Density

Lens filters modify the light entering your camera and produce highly creative effects.

filter (from £30), you can blur movement so much that pedestrians are invisible in your frame, and clouds drift to an artistic fuzzy smudge. With a Polarising filter (from £40), you can control glare and reflections from glass and water and simultaneously boost the blue of the sky. These effects aren’t possible to achieve in Photoshop, so you need to be sure you can capture them in-camera with filters.

Dials and settings for cities


The shooting mode most suited to capturing city scenes and architecture is Aperture priority (A or Av on the mode dial), as this lets you easily affect the depth of field in a scene. Within Aperture priority, you take control of the opening in the lens, indicated by the f/number, and also the ISO, which dictates the sensitivity of your sensor. The shutter speed is automatically set by your camera to create a balanced exposure. To set up your camera to create a large depth of field which offers front to back sharpness, you need to select a narrow aperture – designated by a high f/number – like f/16. While this gives a deep zone of sharpness to capture detail, the narrow aperture lets less light

Setting your camera to Aperture priority is the best way to take control when shooting cities.


through. The solution is to either increase your ISO to obtain a shutter speed fast enough to hand hold without encountering camera shake, but accept you’ll be introducing Noise to the shot and lowering the sharpness. Or, keep the ISO low to maximise image quality, and use a tripod to keep your camera steady during slower exposures. For the most pleasing images, it’s better to use a tripod rather than a higher ISO, but sometimes it’s not always possible, and so a compromise must be made. Although a tripod’s primary aim is to keep the camera stable and avoid the blur of camera shake, it also has a number of other secondary benefits. By setting up in this way it allows you to fine-tune the composition, paying more attention to horizontal lines and clutter around the edges of the frame. Using a tripod also slows your entire shooting process down, and when you’re working at a gentler pace you’re more likely to notice other elements to tie into the shot as you build the composition. When setting up a shot on a tripod, it’s also often best to use Manual focus. Not only is it more accurate – especially in low light situations like night shooting – it stays locked once set. Autofocus needs to be set every time a new shot is taken, and as the distance between your camera and subject isn’t altering this task is unecesarry. AF systems can also be fooled if another object enters the frame, and the focus can be set inaccurately. So switch your focusing to it’s M/MF setting, and activate your camera’s Live View. Use the magnify tools to zoom into an area of detail in the image, and rotate the focusing ring to set your desired focus – easy!

Selecting a deep depth of field is essential when it comes to capturing front to back detail in urban or architectural shots.



HOW TO SHOOT Shooting with a Neutral Density filter lets you capture 30sec exposures during the day to blur out passing pedestrians.

Get creative with lens filters If you really want to make your city pictures stand out from the crowd, then you need to use a lens filter. These are plates of glass or resin that attach to the front of your lens either via the screw thread if they’re circular, or with an attachable filter holder if they’re square, and modify the light as it enters your camera. The two types of filter most suited to enhancing urban shots are ND (Neutral Density) filters and Polariser filters. ND filters are darkened plates of glass that reduce the amount of light entering the camera, and work just like a pair of sunglasses. They’re available in different strengths (‘stops’) and prices start at around £30. Because they let less light through to the sensor, it means you need to use a longer shutter speed for a balanced exposure. 40 DIGITAL PHOTO

With a ND filter it’s easy to shoot with a shutter speed of 30 seconds or longer during bright daylight. This means you can blur movement in the shot so clouds become intriguing smudges. The biggest benefit for city shooting is that any moving people will be rendered invisible in your image. A Polariser filter (from £40) screws onto the thread on your lens and works by cutting out reflected light. They’re great for boosting sky detail to enhance the drama, and also allow you to control reflections from glass and water so you can get really creative with your city shots.

Filters sit in front of your lens to modify the light passing through.

Consider your composition camera’s Live View to see your composition. Creating a dynamic composition is a fun For an aesthetically pleasing frame, a good challenge when shooting in cities, because starting point is to use the rule-of-thirds. This there are lots of elements to work with to tie divides the frame both horizontally and into your shot. If you want a skyline image of vertically into three equal slices, and key a city – one that will be instantly recognisable components of the composition should be to the viewer – you’ll need a clear viewpoint placed along these lines. For example, you on your scene. One way to do this is to get might place the key point of interest on above the city, by seeking out tourist a vertical ‘thirds’ line, and the skyline on the observation decks, multi-storey carparks or upper horizontal ‘thirds’ line. This helps to higher ground if the terrain allows. create an off-centre composition that is more Riverfronts also offer brilliant opportunities pleasing to the eye, producing both balance for unobstructed views of city skylines, and and complexity without making the you can also bring in reflections or image look too busy. use a long shutter speed to Also look out for lead-in lines artistically blur the water. to use in your city shots. These Alternatively, try framing up are any linear elements that from a low angle so the city begin by the edge of your frame looms high in your image. Find and lead towards the main an element of foreground point of interest, helping to interest, like cobbles, pavement guide the viewer’s eye. You can art or even painted parking use roads, railings or any other restrictions, to lead the viewer into Find lead-in lines to architectural structure that serves your image. When shooting from guide the viewer’s eye into the image. this purpose to build a better shot. a low angle it helps to use your

Converging verticals When you’re shooting nearby buildings with a wide-angle lens, you’ll encounter the problem of converging verticals. This makes buildings appear as if they are leaning backwards due to the effect of perspective on vertical lines that race away from your camera, and it’s most noticeable when you angle your camera up. There are however a number of solutions to beat it. A tilt-shift lens is designed to counteract this problem are they’re able to move the lens axis (or optical centre) to compensate for the distortion, but they usually cost a few thousand pounds. You can also easily fix these issues by using the Transform controls in Photoshop or Lightroom. This will produce a crop on your image, so leave extra room in the frame when you take the shot.

Zoom with a telephoto While a wide-angle lens is usually the preferred optic for city shots, great images can be captured when you switch up to a telephoto lens, like a 70-200mm zoom. A lens like this will allow you to move in tight to architectural details to pick out amazing abstracts, intriguing patterns or pleasing shapes. A telephoto is also great for zooming into the skyline to pick out juxtaposing buildings like a church spire or tall chimney. The other benefit of a telephoto for shots like these is that you don’t suffer the same distortion as a wide-angle lens so won’t produce any converging verticals – the effect that makes buildings look as if they are leaning backwards. At longer focal lengths you are more at risk from camera shake, so if you’re not using a tripod you’ll need to use a faster shutter speed, so increase your ISO.

Use a telephoto lens to zoom into a scene and pick out interesting patterns in architecture to create abstract city shots.

Look inside public spaces for unusual shapes and patterns to frame up on.

Inside space Architectural photography isn’t restricted to buildings’ fascia, so seek out exciting shots inside public buildings or places where photography isn’t restricted. Look for abstract patterns, interesting lines, shapes and contrasting textures. Heading indoors is also an appealing option when bad weather sets in, so there’s no reason to curtail your shooting if you get caught in the rain. Usually there’s less light to work with indoors, so you’ll either need to increase your ISO to get a faster shutter speed, or use a tripod to keep your camera still. However, it’s not always suitable to use a tripod indoors – and you can be sure the security guards will tell you if it isn’t! Another challenge when shooting inside is setting an accurate White Balance (WB), because there’s usually a mix of light sources from daylight coming through the windows, halogen spotlights or tungsten bulbs. All of which produce a different colour temperature, so there may be areas of your image that are ‘warmer’ or ‘cooler’ than others. If shooting RAW, you’ll have more control over the WB when editing shots.


HOW TO SHOOT An aperture setting of f/22 has produced a big depth of field for front to back sharpness.


Three simple steps to capture the city A deep depth of field is the foundation of any engaging city shot. Follow these steps to start shooting like a pro



apturing a vibrant city shot is a wonderful memento of a visit somewhere, as well as an opportunity to show off your shooting skills! With the right approach, it’s easy to create engaging and exciting images of any urban space, whether it’s Manchester or Manhattan: size doesn’t matter, it’s how you shoot that counts. Before you start setting up your camera, it’s worth spending some time to find the perfect viewpoint. This can be difficult at street level, so look to get up higher, or shoot across the open space created by a river. Also consider what time of day would be best for your shot. One of the most aesthetic hours for cityscapes is dusk when the electric lights begin to shine.



Set up your camera

Switch your camera to Aperture priority (A or Av on the mode dial) and select the highest f/number possible – usally f/22 on most lenses – to create a large depth of field for sharp detail throughout the frame. Set your ISO to its lowest setting, on most cameras this is ISO 100 and will produce the best image quality free from grain. For the most control when you edit your shots, including rescuing detail and White Balance (WB) control, it’s best to set your camera’s Image Quality to RAW rather than JPEG within the shooting menu.


Frame up on a tripod

To keep a subject pin-sharp use a tripod to keep your camera steady during the exposure. When using a tripod, it’s always best to use the thickest legs first, and only the thinner legs if you need the height. You’ll also remain more stable if you refrain from extending the centre column. Hanging your kitbag from the hook below the centre column will also weigh the tripod down for added stability. To avoid any shake in your shots, you should set a 2sec self-timer or use a shutter release cable when it comes to taking the shot.

Photography around the clock


One of the fantastic things about city photography is that unlike landscapes, you’re not restricted to only shooting in daylight hours. Our urban spaces are illuminated from dusk until dawn and once the sun has faded a new set of creative opportunities arise. The darker conditions mean a longer shutter speed can be set without the need for filters, so you can easily shoot dynamic images like rushing traffic trails. A single 30sec exposure is long enough to transform a busy motorway into a beautiful river of lights. The night also brings a new palette of colours to the city as different light sources bleed into one another creating really vibrant images. One of the best times of day for skyline shots is the ‘blue hour’. This is the period after sunset but before the night fully sets in, and the sky has a cool blue hue to it. The lights of the city will already be sparkling, and you can capture a wonderful interplay between dusk and the electric lights below. For general city shooting and


Focus and shoot!

To set the focus with fine precision it’s best to do it manually. Select Manual Focus by setting the AF/M switch on your camera or lens to the M position. Activate Live View and use the magnify controls to zoom into the image, and navigate with the D-pad to the area you want to set as the focal point. Twist the rotating focus ring on the front of your lens to set the focus. Exit Live View to save your battery, and you’re now all set up to shoot – so capture the scene and admire the results!

For keen photographers there’s opportunities for great city shots at any time of the day or night.

architectural images, the ‘golden hour’ offers the most flattering light. It’s at its richest 30mins after sunrise and 30mins before sunset. The low angle of light produces a pleasing contrast to illuminate buildings with a warm glow. To capture shots of famous landmarks free from people you’ll need to be an early bird and rise before the sun. Dawn, especially in summer months, is a wonderful time for city photography as you’ll find you have most places to yourself.

Practise your shooting skills As the vast majority of the UK population lives in cities and built-up areas, we’re surrounded by opportunities to test our urban and architectural photography skills. There’s captivating images to be captured in any town, regardless of its size or status. So point your lens towards the place you live, practise these techniques and hone your compositional eye. That way, next time you’re away on a citybreak or business trip you’ll be sure to create images that impress. For location inspiration it’s worth taking a look at what other photographers have shot before, either with a Google Image search or on photography sites like This will usually reveal information on interesting vantage points or compositional elements to tie into your own shot. Use this inspiration and set out to take a better image than the ones you saw online.

Whether you prefer interesting architectural shapes or iconic landmarks, there’s lots to be captured in our cities and urban spaces

Decide what time of day might work better, or how adjustments to the composition will result in a more engaging image, and get out there to put your skills into practice.



BLOOMING DETAIL Use coloured card and a desk lamp to create colourful indoor florals TECHNIQUE & PIC BY BEN DAVIS


Placing some brightly coloured card under the flower, then lighting it with a desk lamp makes it easy to create vibrant shots like this.


pring is still around the corner, but that’s no reason to prevent you from shooting fantastic florals crammed full of colour and detail. This project is perfect for a glum, rainy day and can be created on your kitchen table with just a handful of basic props. It’ll help you fine-tune your skills with regard to depth of field control, manual focusing and staying free of camera shake, and you’ll be sure to capture some top-notch shots in the process! All you need is a flower in a small vase, a sheet of colourful card or fabric, a desk lamp, a tripod and your camera. Set up in a suitable indoor space and angle your desk lamp so the light comes from one side at a 45º angle to produce a contrast that picks out the bloom’s detail.


Expert tip


Use Aperture priority mode to control detail

Select Aperture priority (A or Av on the mode dial) and dial in a value of f/18 to create a large depth of field to hold detail sharp; your camera will set the shutter speed. Set your ISO to its lowest setting for maxium image quality.



Keep sharp and steady with a tripod

To avoid camera shake, use a tripod to keep your camera stable during the exposure. Turn off any Image Stabilisation systems your lens or camera has as they’ll be counterproductive.


Focus up using Live View and then shoot!

Set your lens to Manual focus using the switch on the barrel, and select Live View. Zoom in tight using the magnification buttons and rotate the focus ring to set the focal point. Set a 2sec self-timer and take the shot.

To create a more flattering lighting effect, it helps to diffuse the light to make it less harsh. A fantastic low-cost solution is to use a sheet of baking paper taped to a fr frame. Either use a picture frame minus the glass, or cut your own frame out of a piece of cardboard. This can be held in front of the desk lamp to create a wider and softer spread of light, reducing strong highlights or shadows.

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Take our creative challenge today


t’s fun to take a walk with your camera and snap interesting things as you go, but there’s another type of photography that involves planning every element of the shot from start to finish. This approach exercises your creativity as well as your technical skills, forcing you to think outside the box, so the team here at Digital Photo decided to set ourselves a challenge. The rules are simple: every month, three members of the DP team are tasked with creating beautiful, memorable or thought-provoking images from everyday objects – the more mundane the better! Using the most powerful tool in every photographer’s arsenal – imagination –


Something to get your teeth into – a toothbrush...

each must attempt to make an image that inspires and delights. In doing so, the chosen trio demonstrate how you, too, can make creative thinking part of your photography toolkit. Processing negatives has always been a vital part of the creative process – this was as true in the analogue era as it is today – so the participants are free to post-process their shots if they like. All that’s important is to make a great picture. With our experts’ images fresh in your mind, it’s then over to you to put your own spin on the ideas they’ve used and create your own image. Working within limitations will force you to shoot things in a way you’d never considered before!

OUR THREE PHOTOGRAPHERS The team share their creative approach to making pics

Shot 1

Andy gets creative to produce a retro movie poster Shot 2

Matt makes a mess but it’s all worth it for a great pic Shot 3

Matty goes macro to brush up his close-up shot technique 46 DIGITAL PHOTO

Andy creates a When the team were given this month’s Digital Photo challenge, I looked around for inspiration and visual links everywhere, and I have to admit it was a tough one as I wanted to avoid the obvious, standard brush shot. Being a big sci-fi movie fan of old and new genres, I started to think about how alien and scary a toothbrush can be to kids who just don’t want to clean their teeth, and how it could be a great paranoia-style ‘invasion’ movie from the 1950s-60s era. I found inspiration in the many wonderful B-movies and posters that are out there. Films such as Attack of the... Killer tomatoes... 50ft woman... Swamp thing... Giant Leeches...and so on, you name it, it attacked earth once. But wouldn’t it be great if they came in a giant toothbrush-shaped ship? So I looked for a classic, old, foggy London shot of Big Ben and the Houses of Parliament. Once I had my image, I cloned out a couple of people walking on the bridge to SHOT


Andy merged multiple images using Photoshop to create his scary poster.

sci-fi invasion classic replace them with a blurry, panicking crowd scene. I repeated the silhouettes to create more panicked figures, and the created a movie poster typographic title, which can be done in Word or Indesign, and exported as a JPEG. That allowed me to import it into Photoshop and ‘distort’ the layer using the Edit, Distort setting to create a UFO beam perspective. With some work in a Curves Layer to boost the London scene, I was ready to shoot the brushes. I did this by propping them up with Blu Tack and getting the brushes angled correctly before cutting them out with a Selection tool. The rest is movie history... and remember, The Tooth is Out There...


Distorting a text JPEG layer gave that 60s movie feel, as did blurred silhouettes of me running

Lessons learned Creating a typographic poster-style headline, then importing it as a JPEG was much easier than trying to make up the text in Photoshop. As a JPEG, it allowed me to experiment with distorting the shape. One tip is to save a much taller canvas than you think you need. Using good old Blu Tack to hold props in place is also a good tip to keep props steady.



Matt produces a messy masterpiece As my girlfriend would be happy to testify, I can get rather carried away when brushing my teeth. Let’s just say, I’m liberal in my use of toothpaste. I decided to produce an image that encapsulated my approach to this morning routine, and have some fun with this month’s theme too. The concept? A long, excessive line of paste falling onto a brush! Using an adjustable clamp, I positioned a toothbrush in front of an infinity curve created from blue card. After affixing my camera to a tripod, I pre-focused on the brush and switched to manual focus to lock its distance in place. Set to its manualshooting mode, I then selected an aperture of f/8 on the camera and a shutter speed of SHOT


“THE CHALLENGE WAS TO PERFECTLY TIME A SQUEEZE OF PASTE TE WITH THE SECOND THAT MY IMAGE WAS CAPTURED” 1/160sec. Arranging studio lights to either side of my subject and above it, I balanced their power levels for a well-exposed image. The challenge was then to perfectly time lar squeeze of paste from above the a large brush, with the same second an image was taken. Using the device’s self-timer, I got everything in position and took my first shot. I was far too slow. Several attempts later and I had my timing perfected; my successful RAW file was now in the bag. Dropping the image into Lightroom I began my processing by lifting the image’s Shadows and Blacks for more high-key feel. I then boosted a mor the Saturation of its colours before adjusting the Hue of the background for a fresh and ‘minty’ look. The final image looks ‘Photoshopped’, but was created entirely in-camera using a fast shutter speed and a well-timed exposure.


The final toothpaste image took several attempts to perfect.

Lessons learned The camera’s self-timer was essential in this photo’s creation, enabling me to trigger the shutter and get the toothpaste into position before the exposure was captured.

A shift to the image’s Hues helped to give the background its minty blue colour.

Placing the toothbrush on a glass surface resulted in a very cool reflection

Matty brushes up on some science The humble toothbrush is an everyday item we take for granted. But there’s actually a lot of science that goes into the twice-daily scrub of your gnashers. First, there’s the technology of the brush – those subtle angles are there for r Next, there’s the toothpaste, packed a reason. with essential ingredients to whiten and freshen. So for my image I thought a scientific take on the toothbrush would be in order. And you can’t get more scientific than a macro, close-up image. This was a really easy image to set up. I put a black background in place in the studio, and a glass surface on my table top to give a cool reflection of the brush in my image. I then secured secur the brush to the table top with a bulldog clip, because the brush really didn’t want to lay SHOT



flat and I didn’t want it moving once there was paste on it. The toothpaste that I went for was that translucent blue stuff (no brand names here), and this gave me the idea to arrange my strobes and backlight the scene to create a glow through the paste and brush. With the camera set to manual, I only needed to take a few test shots to get the lighting perfect for the sort of exposure I wanted. Back at the computer, there was a little work to be done. I had to use the Spot Healing brush to get rid of some imperfections on my 99p brush, and I also darkened the background so it was pure black. What worked extremely well, though, was boosting the blues in the frame to make the paste zing. Although I shot this image in a studio, it’s actually incredibly easy to replicate at home on the kitchen table. A good tip for a reflective surface is to use the glass from a picture frame. So this technique is definitely a ‘must-do’ to get your teeth stuck into.

A bulldog clip helped keep my toothbrush from toppling over and one strobe was enough to provide the lighting.

Lessons learned I learned that toothpaste comes out of pressurised tubes at an uneven rate, so it’s better to go slowly with this element of the technique and have some paper towels ready to clean up any accidents.




YOUR PHOTO EXPERTS TT HIGGS With his MATT in-depth knowledge of all the latest gear, Tech Ed Matt can advise on all aspects of camera kit. MATTY GRAHAM Managing Editor Matty is never seen without his DSLR, and is brimming with shooting tips. KINGSLEY SINGLETON For shooting and Photoshop queries, pro shooter Kingsley is on hand to help solve any problems you have.

Your problems solved by our expert team Expert advice on photography drones, legal access issues, improving composition skills, polarising filters and Colour Space selection


Are consumer drones useful for photography?


I know there are professional drones out there that can hold a DSLR, but these seem to cost thousands and thousands of pounds. Are the more affordable models that are available any good for shooting stills, or are  they a waste of money? Michael Herring l Matt says Offering shooting perspectives that would have previously required a helicopter to reach, camera drones have been used to create some of the most impressive images of the last few years. While professional drone rigs capable of

might not offer the same dynamic range as those created by larger sensor cameras, they still provide excellent detail capture and plenty of scope for processing. If your budget will stretch to one, it’s worth opting for a model with a stabilised camera gimble. These gimbles can dramatically reduce the impact of camera shake during flight for sharper shots, and make it easier to achieve desired compositions through angle control that’s independent of the drone itself. Costing less than most professional lenses, drones can be a great investment for any photographer searching for a unique perspective on a scene.

Three drones for photographers to consider

1 DJI Phantom 4

Able to shoot 12Mp DNG RAW files as well as 4K video at 30fps, this drone priced at £1289 is one of the most popular with those looking to capture quality stills from the air. Simple to operate, it boasts a 3-axis gimble for shake-free shots and camera control and a 28min maximum flight time. It can even avoid obstacles automatically!


2 Yuneec Typhoon Q500 4K 3 Parrot Bebop 2 With a competitive price tag of £800, this drone shoots 4K at 30fps and records 12Mp DNG RAWs. It has a 3-axis stabilised gimble, and comes complete with a dedicated handheld controller, 16GB micro SD card, handheld SteadyGrip and incar charger. With its ‘No-Fly zone’ feature it’ll also stop you from inadvertently breaking regulations.

Weighing only 500g and costing just £439, the Parrot Bepop 2 is both compact and affordable. Recording Full HD video (1080p) at 30fps, it also captures 14Mp stills with the option to save them as DNGs, RAWs or JPEGs. Providing 25mins of flight time from fully charged, it’s a great place to begin embracing the possibilities offered by drones.



supporting full-size DSLR setups are prohibitively expensive for many photographers, you’ll be surprised at the kinds of shots that are still possible with models available under the £1500 mark. Many of these smaller devices come complete with a lightweight camera bundled into their price, and are ready to fly with minimal practice straight out of the box, making them well suited to those new to drone piloting. Below are three of the most popular consumer drones fitted with cameras currently available on the market. All of these models offer the option to shoot RAWs as well as JPEGs. While the files produced by them


Shooting locations from an angle that usually goes unseen by the human eye is a great way of producing stunning imagery.




The decay of spaces that were previously buzzing with life can be great for photos.


Can you tell me if urban exploration by photographers is legal? I want to start using some more interesting locations for my fashion shoots and know there’s a stunning stately home that’s deserted nearby. A few of my friends have visited it before, and it’s not fenced off, but I wondered if walking around it with a model would be illegal? Malcolm Tunde


l Matty says Abandoned property still belongs to someone, and exploring these private places without permission is illegal.

That said, as long as your access and presence on these (non-military) sites causes no damage, and you leave things exactly how they were found, the only offence you are committing is trespass. As a saying that’s popular among urban explorers goes “Take nothing but photos, leave nothing but footprints”. Trespassing is a civil offence in England and Wales, not a criminal one, so for that crime alone you cannot be arrested, only asked to leave a site. For this reason, some photographers are willing to accept the risk of being caught in the hunt for unique locations.

However, many of these sites do have restricted access as they are potentially hazardous, and by entering them you may run the risk of being harmed due to things like structural instability, broken glass and asbestos. For this reason we would recommend that you only ever visit places that you have acquired permission for in advance from the properties’ owners. There are several websites dedicated to urban exploration with further advice, forums and techniques for the photography of abandoned places, which can be a great source of further information and discussion on the subject. One of the most popular websites for anyone interested in the genre is

Expert advice Take part in an or organised Urban Ex event One of the most popular ways to get a taste of urban exploration without flying close to the law or risking your safety is to join an organised visit to a place that’s usually closed off to the public. Local councils, museums, societies and architects regularly run ‘Hidden Space’ events in many of the UK’s major cities. In the capital, the London Transport Museum plans trips to deserted tube stations, bomb shelters and offices (www., while Birmingham’s Hidden Spaces project (www.hidden-spaces. has previously arranged visits to closed cinemas, swimming pools and even banks. Many of these experiences are planned with photographers in mind.




What are leading lines in an image?


I want to improve my composition skills to make my pictures more exciting. I understand the basics to do with the Rule of Thirds, but I’m a little unsure of what lead-in lines do. Can you help? Trevor Jeffries l Kingsley says Leading lines are a compositional tool that many photographers use to create more dynamic and engaging images. They work by guiding the viewer’s eye on a journey through a scene. Your leading line can be anything that’s linear in nature, like a stream, a drystone wall, a length of rope or something similar that you can tie into a shot. In order for leading lines to work, they need to flow towards a photo’s focal point (in this example the

sunset on the horizon) and not just run aimlessly through the frame or they’ll be ineffective or even damaging to your composition by dragging the eye away from where you want it to go. They also work best when they begin just outside your image, so that they can carry the viewer’s eye right from the shot’s edge to the heart of the picture, and are usually more effective if they begin at the bottom of the shot. These lines are easy to find at locations, and if nothing is immediately obvious a quick walk around a subject will often reveal lots of elements that could be used as potential leading lines. This compositional device only needs to be a subtle element of the final picture, but used correctly they can be a powerful tool that gives a scene a much greater impact.


What do polarising filters do?


I’m interested in advancing my photography skills by using lens filters to create different effects. I’ve heard of polarisers but I’m not sure if this is what I am after. What do they do and should I get one? Helen Scaife l Matty says Using lens filters is a superb way of expanding your creativity, and polarisers can create effects that can’t be replicated in Photoshop. Once

attached to the front of a lens they boost colour saturation and reduce reflections, making them great for a wide range of subjects including landscapes, coastal scenes and city shots. There are two types of polariser available, circular and linear, but the circular variety is the only one of use to photographers. They screw into the front of your lens and filter out sunlight reflected at certain angles. Cutting out this light often makes for much better images. The effect is controlled by

rotating the front element of the filter, and its strength is relative to the angle of the sun compared to your camera. With a polarising filter you can make water appear more clear, the sky look more blue and clouds more defined by reducing glare. Vegetation also appears more green and verdant, and you can even shoot through glass without worrying about reflections. This makes these lenses invaluable pieces of kit capable of transforming your photography.

Not all leading lines have to be straight, a strong curved line like this will lead the eye on a more flowing journey.

Which colour space to use?


I noticed in my camera menu there are two Colour Space options: sRGB and Adobe RGB. Which should I use? Hollie Hicks l Matty says The Colour Space offers a range of colours that can be displayed in an image. For nearly all circumstances you should leave your camera set to sRGB. This is the industry standard format and all printers and monitors are set up to display sRGB. Adobe RGB actually offers a wider rrange of colours by about 35%, but fewer devices are capable of reading this Colour Space. If you were to upload an image to the web using the Adobe RGB format, then it would be converted to sRGB and the loss of colours would render it muted. A JPEG can display up to 16.7 million colours regardless of which Colour Space is selected, but the difference would be the range of colours available.


PHOTOSHOP Inspiring projects that really work! On your exclusive PhotoSkills CD you’ll find video lessons for all the step-by-step projects in this section.

INSIDE a new background 56 Add How to produce a perfect portrait backdrop.

with scale 58 Play Merge large and small pics to make optical illusions.

a retro slide 62 Build Use our free templates to add your image into a slide frame.


energy with zoom-blur 66 Inject Add movement to a frame using this easy technique.

your Split-tone Presets 68 Use Use Lightroom and our free Presets to add mood to pics.

power of Dehaze 70 The Learn how the Dehaze tool reveals detail in hazy scenes.

66 76


ways to amazing mono 74 Easy Use free Nik Silver Efex Pro 2 for mono conversions.

guide: changing 76 Beginner’s colours We show you how!

a Photoshop genius 78 You’re Here’s what you’ve been doing with Digital Photo’s projects.

rockstar 82 Photoshop Tips from an editing master.




ADD A PERFECT PORTRAIT BACKDROP If you want to create simple, striking portraits a clean black background can work wonders. Here’s how to add one in Photoshop... TECHNIQUE & PICS BY KINGSLEY SINGLETON


t’s not always possible to get the backdrop you want when shooting a portrait, and if it’s distracting it can clash or fight the subject for attention. Simple colours, like those of painted walls, can often work best, but even then you might find that the hue is not to your liking. Fortunately, it’s straightforward to improve backgrounds in Photoshop or Elements, and it all starts off with a making a good Selection of the subject, or the background if easier.


To edit the example image, I used the Quick Selection tool to make a selection of Lola the boxer dog, then improved the selection using the Select and Mask command (you can also use Refine Edge); this helps when selecting a subject with fur or other awkward edges. Finally, a Solid Color layer was used to add the black and, because of the way the latter works, you can change the colour to whatever you like, as well as changing the Opacity and Blending Mode.

Make a Selection of the subject

Pick the Quick Selection tool (W) and using a fairly small tip (you can change this in the Options bar), run it over the subject. Use short strokes for greater accuracy, but don’t worry if it’s not perfect at the edges. If you select chinks of the background by mistake, hold Alt to switch to Remove from Selection mode and paint over them. When all the subject is selected, click on Select and Mask in the Options bar (or Refine Edge in older versions; the controls are similar). In the palette, click the Smart Radius box and increase the Radius setting until the edge looks good. If you need to, click on the Refine Edge Brush tool ool and paint over any awkward parts. Finally add 0.5px Feather, set the Output Settings to Selection and click OK.




• Software Photoshop or Elements • Image type pe A portrait that needs a change of background


Darkening or changing the colour of the background can easily change the look of a portrait, whoever your subject is.

Apply a Solid Color Adjustment Layer

With the Selection made, press Ctrl+Shift+I to invert it, then in the Layers palette (Window’Layers), click the Create New Fill or Adjustment Layer icon and choose Solid Color. Choose the colour you want from the Color Picker er (solid black here), then click OK. You should now have a perfectly coloured background, but make sure to check around the subject for any parts that are missing. If you find something, either repeat the process (practise makes perfect), or pick the Brush tool (B), set its colour to black and paint over. Set White to correct a mistake. Lower the layer’s Opacity if required, then go to Layer’Flatten Image to finish.



After After selecting a subject, the new background can be added to make it really stand out.



PLAY WITH SCALE IN LANDSCAPES Combine a landscape with a close-up shot to create a compelling illusion thatÕll raise a smile TECHNIQUE & PICS BY ANDY HEATHER

• Software Photoshop or Elements • Image type A landscape and a close-up shot • Start images Try out the project using the Play With Scale BG.jpg and Play With Scale Brush.jpg, which are provided in the Start Images folder


f you want to brush up on your Photoshop skills and are looking for a fun project to try, we’ve got a great idea for you. It’s all about playing with scale by combining two disparate images in an unlikely and amusing way. The idea is to take a shot of a familiar object taken close up, and another of a landscape. With lateral thought, you can often find a fun way to blend the two and create a composite image that’ll brighten up your social media pages.




After By compositing the images and adding some blur to the landscape, we’ve made the image look like a miniature.

Before We use a landscape shot featuring a clearly defined path and another featuring a hand holding a paint brush. ANDY HEATHER

If you don’t have any images that fit the bill, try it out first with the start images that’re provided free with this issue. You’ll learn how to make a selection and cut out an object, how to relight it and even how to make it look like a miniature with the cunning use of lens blur. In a matter of minutes you can transform two prosaic images into a magical, whimsical composite.




Open your images into Layers

Open Photoshop or Elements and go to File’Open and navigate to the Start Images folder. Double-click on Play With Scale BG.jpg. When the image appears on screen, go to File Place (that’s File Place Embedded for Photoshop CC users) and double-click on Play With Scale Brush.jpg. Hit Enter er to place it on top of the background. Make sure you can see your Layers Panel anel by going to Window w and making sure that Layers s is ticked. Select the Magic Wand tool ool (W). If you can’t see it in the Toolbox, it may be obscured by the Quick Selection tool. To select it in Photoshop, click and hold on the Quick Selection tool ool and a flyout menu will appear, from which you can select the Magic Wand tool. If you’re using either Photoshop or Elements, hold down the Alt key click on the Quick Selection tool until the Magic Wand tool appears. Untick Contiguous and click anywhere in the white area of the shot to create a selection around all of the white pixels.

the hand 3 Relight to match the scene

The lighting in the two shots doesn’t quite match, so we need to do a little subtle relighting to help blend the two images together. To do that, create a new Layer (Shift+Ctrl+Alt+N). Now clip that new Layer to the hand and brush Layer by holding down the Alt key and click on the line between the two Layers in the Layers Panel. You’ll know you’ve done it right if a little downward-pointing arrow appears next to the top Layer’s thumbnail image. The effects of this Layer will now be visible only on the hand Layer and not on the background. With a soft, white brush (B) paint some white over the arm and any surface that’s facing the sky. These surfaces would naturally be brighter than anything that’s facing down. When you’re done, change the Layer’s Blending Mode to Overlay erlay and the Opacity to 20%.



Create a selection and mask out the hand holding the brush

To cut out the hand and the brush, we need to create a selection around them. The selection we need is the inverse of the selection we have, so go to Select’Inverse. If you hit the Add Layer Mask icon now, you will cut out the hand but the edges will be too hard and there may be a white outline visible. To prevent this, go to Select’Modify’Contract. Input a value of 1px and hit Enter er to shrink the selection by 1 pixel. Next, we’ll soften the edge so it doesn’t look unnaturally hard. Go to Select’Modify’Feather eather (in Elements that’s Select’Feather) and use a value of 0.6px and click OK. With our selection made, all we have to do is click on the Add Layer Mask icon and Photoshop will create a Layer Mask that hides the unselected area.

some 4 Add bounce light

If you really were to shoot a hand near to a green miniature, there would be some bounce light causing a subtle green colour on the underside of the hand and on the reflective metal on the brush. This is barely perceptible to non-photographers, but it’s the kind of tiny touch that can really help to sell an illusion. To recreate that reflected light, create e another new Layer (Shift+Ctrl+Alt+N) and again clip it to the Layer below by Alt-clicking on the line between the two Layers. This will cause all of the effects on Layer 1 and Layer 2 to apply only to the hand image and not the background. With the Brush tool ool (B) still selected, hold down Alt to activate the Eye Dropper and click on the grass to select its colour. Paint this green onto surfaces that face the grass. Finally, reduce the Layer’s Opacity to 20%.




Adding a subtle, bounce light and some reflected colour to an object that you cut out of one scene and place into another can be an extremely effective way to sell the illusion, and trick the viewer’s eye into believing it was really there.


the tip of the brush into some 5 Dip paint that matches the colour of the path To make it look like the paint brush in the shot is actually painting the path onto the landscape, we’ll need to add some virtual paint to the tip of the brush. To do that, zoom in (Ctrl+Plus) and create a new Layer (Shift+Ctrl+Alt+N). Clip it to the Layer beneath (Alt-click Alt-click on the line between the two Layers). With the Brush tool ool (B) still active, Alt-click on the path to select its colour, then paint that colour onto the end of the bristles. Keep painting until there are no dark bristles visible where the brush meets the

Create a blurred background Layer

To make the effect more convincing, use Lens Blur to make the entire landscape look like a miniature model. To do that, select the Background Layer er and hit Ctrl+J to duplicate it. Go to Filter’Blur’Lens Blur. Set the Iris Shape to Hexagon. Use a Radius of 34, a Blade Curvature of 51 and a Rotation of 121. Leave Brightness s on 0, Theshold on 255, Noise on 0 and Distribution on Uniform. Click OK to apply the blur. You now have a blurred background Layer on top of a sharp background Layer. Next, we’ll need to mask out part of the blurred Layer so that part of the sharp Layer beneath shows through.

path. There should be a seamless transition from the path to the paint. Next, Alt-click on the peach colour at the edges of the path and paint that colour onto a few of the bristles. These should be fairly subtle lowlights, so resize your brush with the [ and ] keys to make it the right size. Try to get the path and brush to blend together convincingly. To check the effect, occasionally hit Ctrl+0 to fit the shot to the window so you can see it ‘from a distance’, then zoom back in (Ctrl+Plus) to keep painting.

out part of the blurred Layer 7 Mask to create cr a tilt-shift, miniature effect

Hit the Add Layer er Mask icon to add a Layer er Mask to the blurred Layer. Select the Gradient tool ool (G). In the Tool Options Bar, select Black, White, Reflected Gradient, and leave Reverse e unticked. Click on the path below the tip of the brush, hold down the Shift key and drag up to the top of the hand. When you release the mouse button you’ll create a linear gradient on the mask that goes from white to black then white again. This will hide a thin strip of the blurred image, revealing the sharp image below, and create a tilt-shift effect that makes the landscape look like a miniature. All that’s left is to save your shot, so go to File Save As. Select the JPEG (JPG) format to create a small file that’s perfect for sharing online. Choose the Photoshop Document (PSD) format to keep the Layers intact for later editing.



CREATE A RETRO SLIDE Relive the golden era of the photo carousel projector by creating your own sliders in Photoshop. TECHNIQUE & PICS BY ANDY HEATHER

• Software Photoshop or Elements • Image type pe A holiday snap or family photo you’d like to frame for posterity


back in the old days before digital photography, we used to gather our friends and families together on the sofa, barricade the door and subject them to our holiday shots on a carousel slide projector. Nowadays we’re able to share our shots with the world at the touch of a button, but for those of you who are nostalgic for the days of film photography (and captive

audiences) it’ll no doubt be exciting to discover that there is a way to create a classic photo slide in Photoshop. It’s simple to do and will make your shots look pretty striking, especially to those people who remember the film days. Sadly, we can’t guarantee your family will sit through your entire portfolio, but it might just net you a few Facebook likes!


You can find a number of the slide templates in the Start Images folder. These retro slides would’ve been slotted into a carousel projector and displayed on a white screen or wall for enthralled groups of friends and relatives.




After We composited one of our holiday shots into the slide and added a couple of effects to make it look like the real thing.




Any Layer can be made to look like it’s below another if you add a drop shadow


Open your shots

Go to File’Open in Photoshop or Elements, navigate to the Start Images and double-click your chosen slide template. Go to File’Place in Photoshop and Elements (File’Place Embedded in Photoshop CC) and double-click on the image you want to place into the slide. Hit Ctrl+T to activate Free Transform and drag the corner handles to resize the shot so it’ll fit in the frame. Hit Enter er when you’re done. Click on the eye icon next to the top Layer thumbnail in the Layers Panel to hide the image. Click on the Background Layer then activate the Quick Selection tool ool (W) and click on the hole in the slide to make a selection around it. Select the top Layer again and click the Add layer er mask icon to hide part of the image that falls outside of the hole. Reduce the Layer’s Opacity to 20%.

highlights to 3 Create make the slide vivid

the Layer and create 2 Duplicate a shadow

With the the selection still active, hit Ctrl+J to duplicate the Layer. Change the Layer’s Blending Mode to Overlay erlay and set the Opacity to 50%. This will make the slide looks more solid and vivid. Create a new Layer (Shift+Ctrl+Alt+N) and set the Opacity to 40%. With a soft, black brush (B) paint around the edges of the image to create the shadow that would naturally be caused by the frame. Use [ and ] to resize your brush to keep the shadow small. The shadow will create the illusion that the landscape image (in our case) is slightly further from the lens that the cardboard case that’s containing it.

With the selection still active, create a new Layer (Shift+Ctrl+Alt+N) and with a soft, white brush (B). Paint four curved lines on the Layer to replicate the highlights that appeared on the reflective, slightly uneven surface of a slide. Reduce the Layer’s Opacity to 40%. Go to Filter’Blur’Gaussian sian Blur and input a value of 20px, then click OK Hit Ctrl+D to remove (or deselect) the selection. Click on the slide Layer to select it, then hit Ctrl+J to duplicate it. Drag it to the top of the stack, change the Blending Mode to Hard Light and reduce the Opacity to 40% to make the shot look more vivid, but still translucent.


a photo filter 4 Add and save your shot

Go to Select Reselect ect to select the hole in the slide again. Click on the Create new fill or adjustment layer er icon and select Photo Filter. It’ll appear with a Layer Mask attached, which limits the effect of the Photo Filter on the slide and leaves the background untouched. Set the Filter er to Warming Filter (81) and leave the Density on 25%. This will make the slide look a bit warmer, so it matches the background. Now you’ve done it once, try it again with one of the other templates in the Start Images folder. Even better, make a retro slide out of one of your own shots to give a cool, vintage look. When you’ve got a result you want to save, go to File Save e As and save it as a JPEG (.JPG) if you want to share it online, or as a Photoshop oshop Document (.PSD) if you want to keep the Layers intact so you can tweak it to your heart’s content at a later date.


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ADD ENERGY TO IMAGES WITH ZOOM-BLUR Give static shots a really dynamic sense of movement with a quick processing technique that blends sharpness and blur TECHNIQUE & PICS BY MATT HIGGS

• Software Photoshop or Elements • Image type pe Static-looking photos that lack a sense of energy

1Duplicate your image

However, we can create a very similar look using Photoshop or Element’s Zoom Blur filter during editing, with much greater control over the blur’s strength and positioning. This technique takes only minutes to perfect and, with it producing plenty of contrast between a sharp subject and a blurry scene, is ideal for adding impact to images. Follow the three simple steps below and try adding some zoom-blur to your images today…

Open the image that you want to add the zoom-blur effect to in Photoshop or Elements by choosing File’Open and double-clicking on the file name. When it loads, click on its layer in the layers panel and drag it onto the Create A Ne New Layer er icon, this looks like a blank page with an upturned corner. Select this new layer and then click Filter’Blur’Radial Blur..., a window for control of this filter will now open. Under the Blur Method option tick Zoom and then set Quality to Best.




roducing blur that makes it look as though the photographer is speeding towards a subject, zoom bursts are a popular in-camera effect created by changing the selected focal length of a zoom lens during an exposure. This technique can give an otherwise static scene a real sense of energy and intrigue. The dynamic results of this lo-fi technique, though, can be hard to manage and predict, often resulting in photos that appear more abstract than considered.


The original file made good use of lead-in lines in its composition and was perfectly focused, but it lacked a real sense of energy.

2 Create Radial Blur

Click and drag the Blur Centre so that its pattern roughly emanates from your image’s focal point, in the example photo this was the word Slots. Drag the Amount slider to the right to increase the strength of the Radial Blur that you are creating. We chose a level of 35. Press OK to apply this filter to your image. If you feel that the blur that has been produced is too strong or weak, tap Ctrl+Z on the keyboard to undo it, then recreate your filter with a new Amount.



After With zoom-blur now added, the ďŹ nal image has a sense of drama that better suits its subject.

Project ideas

Emphasise a sense of speed This technique is not only good for adding a sense of movement to static shots, but also for increasing it in images with speedy subjects. To capture the image on the left a fast shutter speed was needed, but this resulted in a scene where everything appeared sharp, nullifying the sense of action. By adding a zoom blur to the image and selectively removing the subjects from it, we’ve increased the impact it has and simultaneously blocked out the distractions in the background.

To stop the image from being just an abstract blur, we need to restore some sharpness to its subject. Make sure that the top layer is selected in the panel and then click the Add Layer Mask button; its icon is a rectangle with a circle in its centre. Press B in Elements or K in Photoshop to activate the Brush tool, press D to set it to its default colours, then choose black. With a soft brush type and Opacity set to 80%, carefully paint over the areas of your image that you want to reveal clearly. If you remove an area of blur accidently, set the brush to white and repaint to reintroduce the blurring.


3 Restore sharpness to subject

With zoom blur added the sharp subject in the image has more impact.



INJECT MOOD BY USING SPLIT-TONING Add atmosphere and give your images an instant retro makeover by using our free Lightroom’s Split-toning Presets TECHNIQUE & PICS BY MATTY GRAHAM

• Software Lightroom • Image type pe Any image in need of atmosphere



However, to make life even easier for you, we’ve created 10 exclusive split-toning Presets, which can be found on the disc. This means all you have to do to add the split-tone effect to your image and fill the frame with mood is click the mouse button one time. Pretty simple eh! Once you’ve mastered the basics of using the Presets, you can then fine-tune the settings and controls further to get the best possible final look for your newly-edited image.

Access the Lightroom Split-tone Presets

When the CD icon appears on the screen, use the mouse to double-click on it. The pre-programmed actions are located in a folder called Lightroom Spit-tone Presets esets so double-click on this folder. Start up Adobe Lightroom on your computer. If you’re on a PC, go to Edit’Preferences. On a Mac that’s Lightroom’Preferences. In the Preferences dialogue box, click on the Presets esets tab at the top then, under Location, click on Show Lightroom Presets Folder. A finder window will appear. Drag the Lightroom Split-tone Presets folder straight into the Develop Presets esets folder.





f you’ve never heard of split-toning before then don’t worry. Essentially it’s just the name given to the process of adding colour to the shadows and highlights in your image. This can help add much-needed mood and atmosphere to a photo and, in Adobe Lightroom, it’s really easy to achieve this technique. In the Develop Module, you’ll find a dedicated Split-toning tab where a hue, and the saturation of this colour, can be applied and adjusted.

This urban landscape can be found in the Start Images folder on the CD. It’s a nice view, but needs an injection of atmosphere.

Try out a Mono Preset

Once imported, your images will appear in the Library ary module. To use the presets you need, switch to the Develop Module. The presets are visible at the left of the interface. Locate the one you’d like to use, click on it and the shot will be transformed. There are 10 Presets to choose from, so take your time and try a few of them out to work out which one fits with the theme of your images and the look you’d like to achieve.



After With one click (and our free presets) the image has been transformed.

Project ideas

Make split-tone presets Making your own Split-tone Presets in Lightroom is incredibly easy. Once you’ve made adjustments to the Highlights and Shadows sliders in the Split-toning tab, go to the left-hand side of the Lightroom interface. To the side of the Presets tab click on the Plus (+) option. A dialogue box will appear so give the preset a name and select where you would like to save it. This will now be added to your list of presets on the left of the interface and will be ready to use straight away.


Experiment, then Export your image

The Lightroom Split-tone Presets will transform your images in one click. To edit the image further, work through the controls in the Develop Module, which is found on the right-hand side of the Lightroom interface. Once you’re happy with your image, export it by clicking File’Export. You can choose to save the file as a JPEG, TIFF or a DNG file, depending on whether you plan to continue to make edits to the image.

Save time and energy by making your own Presets.



After By setting the Dehaze slider, the image now has much more detail in the foliage areas, and increased atmosphere over the misty river.





Use Lightroom CC’s powerful new Dehaze slider to enhance detail in misty, washed-out scenes TECHNIQUE & PIC BY BEN DAVIS

• Software Photoshop CC or Lightroom CC • Image type A misty, foggy or hazy shot with washed-out detail





misty scene is always a delight to shoot as there’s atmosphere in abundance, however the lack of contrast makes for a flat-looking image when viewed straight out of the camera. Lightroom CC – and the latest version of Adobe Camera Raw in Photoshop – now offers users the Dehaze slider. You’ll find it in the Effects tab if you want to make global adjustments, or it can be used with the Graduated filter, Adjustment brush and Radial filter if you want to make local adjustments. It works by altering the contrast in hazy, washed-out areas of an image. You can use it to reduce the captured mist to bring back detail, or you can increase the mist effect to enhance the atmosphere, allowing you to get extra creative with your processing.

The start image, found on the CD, suffers from washed-out detail, a lack of contrast and colour, and lots of distracting sensor dust spots.



colour and a RAW file into 2 Control tones in the Basic tab 1 Import Lightroom and apply Lens Corrections To start you need to Import a RAW file into Lightroom. You’ll find the pic China River.dng in the Startt Images folder. Just click Import at the bottom left of the Library ary module, navigate to the Source of the file, choose Copy and pick a Destination for where you want the RAW file to be saved. Click Import at the bottom right to add the file to the Lightroom Library. Once in, hit Develop to enter the editing module and open the Lens Corrections ections tab. Tick Enable ections and Remove Chromatic Aberration to fix lens distortion. Profile Corrections Under Profile check the Nikon 18-200mm f3.5-5.6G ED VRII lens is selected.


Use the Graduated filter to apply Dehaze

Select the Graduated filter er by clicking on it (or press M for a shortcut) and double-click Effect to reset all the tool sliders. Set Temp to 12, ws to Contrastt to 20, Highlights to 50, Shadows -50, Clarity to 35, Dehaze to 35, Saturation to 10 and Noise to 50. Click and drag the Graduated filter across the image from the top towards the bottom, with the feather area fading over the river. Click New ew and double-click Effect to clear the sliders. Set Highlights to -100, Shadows ws to -70, Whites es to 10 and Dehaze to -20. Pull a Graduated filter from the bottom over the river area, feathering out as it reaches the treeline. Click Done to exit the tool.


Open the Basic tab and begin by increasing the Temp slider to 5,200 to make the image warmer. Push the Highlights slider to +100 to make these tones brighter as at this start point the dynamic range of the image is very compressed. Increase the Whites es slider to +60 to lift the white point and pull Blacks to -60 to add depth to the darker tones. Below within the Presence sliders, set Clarity to -25 to reduce microcontrast add to the soft feel of the image. Push the Vibrance slider to +40 to add intensity to the more muted colours in the image.


Customise contrast in the Tone Curve tab T

Open the Tone Curve tab and click the icon at the bottom right which lets you manually adjust the Point Curve. Select the tool at the top left of the tab which lets you adjust the Point Curve by dragging in the photo. Hover your mouse over a darker area of foliage, then click and drag down to darken these tones: you’ll see a Control Point added to the curve in the shadows. Now hold your mouse over a much lighter area of the foliage, then click and drag up to lighten these tones: again, you’ll see another Control Point added to the curve. To lift the black point, pull the very start of the Point Curve up just a fraction. To make the whites a little brighter, pull the far end of the Point Curve slightly to the left.




Remove dust and distractions with the Spot Removal tool


Select the Spot Removal al tool from the toolbar (press Q for a shortcut) and set the brush to Heal. Adjust the Size of the tool to suit the object you wish to remove from the image with the scroll-wheel of your mouse. Set Feather eather to around 35 and Opacity to 100. Click the tool over any sensor dust spots and Lightroom will automatically select a sample area to copy pixels from. If it hasn’t chosen a suitable area you can manually drag the sample area to a new position. To remove longer objects like the overhead wires, you can click and drag the tool to select a larger area. When completed, click Done to finish.



Control the colours in the Adjustment tab

Click on the HSL/Color/B&W or/B&W tab, choose or and click All. Under Yellow, set the Color Hue to +40 to give the yellow pixels more gr of a green tint and set Luminance to +40 to make them brighter. Under Green, set Luminance to +40 to make the greens lighter.

To make using the Spot Removal tool easier, set Tool Overlay to Selected to hide all of the previous pins, which can prove a little distracting.

Set Sharpening and Noise Reduction sliders

Open the Detail ail tab and use the Target tool to zoom into an area of detail, like the man on the boat. Under Sharpening, set the Amount slider to 100, leave Radius and Detail in their default positions, and set Masking to 80. Hold Alt as you move the Masking slider to see an edge mask so you know precisely where is being sharpened: set it so only the edges of notable detail has sharpening applied. Under Noise Reduction, set the Luminance slider to 30 to cut back on any grain in the image.


Export your pic

To finish editing, you need to Export your image from Lightroom. This creates a new version elsewhere with all the adjustments locked in, leaving the original RAW file untouched, so you can always make as many edits as you like. Simply click File’Export and select an Export Location, such as your Desktop. Under File Naming select Custom Name e. Under File Settings and type a name you’d like to give your new file. choose JPEG and set Quality to 80, then click Export to finish.



QUICK & EASY WAYS TO AMAZINGMONO Discover how to create superb, high-quality black and white conversions using the FREE Nik Silver Efex Pro 2 plug-in from Google TECHNIQUE & PICS BY JON ADAMS

• Software Photoshop or Elements, plus the Gooogle Nik Collection free download • Image type pe An architectural or still-life shot with plenty of texture and detail


he Nik Collection from Google is a suite of pro-quality effects for Photoshop, Elements and Lightroom. The full package of of seven plug-ins used to cost $500 but, back in March 2016, the technology giant decided to make it free to download from Silver Efex Pro 2 is the black and white option in the suite and has long been used by enthusiasts and professionals to create fantastic-looking mono pics with a nod to the


film stocks and darkroom techniques of yesteryear. Once downloaded and installed, it appears at the bottom of the Filter er menu in Photoshop or Elements, and clicking on it launches the plug-in’s interface. In this tutorial, we look at the basic workflow of Silver Efex Pro 2, and reveal how to create and control a great-looking mono effect. The finish will emulate the grain structure of fast film and we’ll add a subtle border to give an authentic fine-art feel.

Pick an existing Preset from the Library

Open your colour image into Photoshop or Elements, and when it’s on screen, go to Filter’Nik Collection’Silver Efex Pro 2. The image will appear in the plugin’s interface. On the left is the Preset Library, with 38 options. Select All at the top and click on the Preset or use the cursor keys to scroll through, until you find the general kind of look you want for your image. It doesn’t have to be exactly right, as you can fine-tune the effect. For the example image, we picked the 032 Film Noir 3 Preset. You’ll see a preview of the effect in the main window in the middle of the screen. pr




Taken in the Chapter House of Wells Cathedral in Somerset, the oblique angle and detailed stonework lends itself well to an arty mono treatment.

Make your adjustments

At the bottom-right of the interface, select Loupe in the Loupe & Histogram panel, and scroll around to get a detailed view of the scene. At the top-right, click the arrow next to Global Adjustments tments to show Brightness, Contrastt and Structure. These options can be further expanded with the arrow alongside, and you can fine-tune the settings to get the effect you want. To make a change to a small part of the scene, expand Selective Adjustments, click the Control Points oints icon, and then click on the pic. Move the sliders on the floating menu to make your changes. To duplicate a Control Contr Point, hold Alt and drag the icon to another area.




The contrast and grain structure of fast mono film gives a satisfying, fine-art finish.

Project ideas

Save your own Presets

Once you’ve created a black and white effect you like, it’s easy to save it as a Preset so you can apply it to any picture in future. To do this, first mix up the effect you like, using the existing Presets on the left of the interface and the controls on the right. When you’re happy, before clicking OK to process the effect, click on the + icon alongside the Custom panel at the bottom left of the screen. Give your Preset a suitable name, such as Stone Interior, and click OK. By loading an image and selecting this custom preset, you can now apply this effect.

3 Set the film type and finish off

In the Film Types ypes panel, click the dropdown box to choose from different film stocks. If you wish, adjust the film’s character by expanding the menus beneath. With this done, expand the Finishing Adjustments tments panel, and you can add colour toning, darken the edges with Vignette or Burn Edges, and choose from 14 different types of Image Borders. In each case, you can fine-tune the settings sliders. Once you’ve got a great looking image, click OK, and the effect will be processed. It’ll appear on a separate Layer in Photoshop, so you can quickly compare it to your original pic.

Creating your own custom presets in Silver Efex Pro 2 is easy to do and allows you to apply effects you’ve created with a single mouse-click.





CHANGING COLOURS Release your inner artist by conducting a digital respray, and learn about Layers and Blending Modes at the same time TECHNIQUE BY JON ADAMS

• Software Photoshop or Elements • Image type pe Any pic in need of colour correction, or with a subject you want to recolour


head shot, respray your car with a fresh paint job, or even see how your house would look with different coloured walls and trim. All these – and many more effects – can be achieved with this editing process, and what’s more, it introduces the deeper workings of Photoshop in the form of Layers, Selections and Blending Modes. In essence, this technique is like a mini course in editing, but we’ve broken it down into simple steps that you’ll master in no time!

Adjust the colour to add warmth

With your pic in Photoshop or Elements, open the Layers panel (Window’Layers) and click the Adjustment Layer er icon (the half dark/half white circle). Choose Levels els from the list, and in the palette, select the grey (middle) eyedropper tool. Click on a neutral tone in the pic, and you’ll quickly adjust the colours to get a natural look. You can also achieve a warm or cool look by clicking on slightly blue or slightly yellow tones. We settled for neutral colours by clicking on the cabin’s door. You can click wherever you like so, if in doubt, just do this until you get the colour balance you like.






hether you want to warm up an image to make it more welcoming or add a dash of paint to a subject, knowing how to correct, enhance and even change colours is a vital skill for all photographers. Although it’s really easy to do, you can create striking effects that will add bags of impact to your pictures, and the same core technique covers all kinds of images. You might want to change the eye colour on a

The colour balance has very cool tones. It would be fun to o try the sculpture sculptur with bolder colours.

Paint on your new look

With the colours corrected, now pick a subject you want to repaint, and click around it with the Polygonal Lasso tool ool until it’s surrounded with ‘marching ants’. In the Layers panel, click the Create a New Layer icon and a new Layer will appear. Click where it says Normal and change the Blending Mode to Color. Go to Window’Swatches ches and pick a colour you want to use from the palette. Select the Brush tool, adjust brush size with the square brackets, and paint the subject. If you wish, choose other colours and paint these into the subject in the same way.


After The image is warmer and more inviting, and the cabin is transformed!

Refine your 3a natural colours for natur finish Hit Ctrl+D to lose the Selection. If your new paint job looks unnatural, you can tone down the results. Click the Adjustment Layer er icon and select Hue/ Saturation, then hold Alt and click on the line between the new Layer and the Layer below. The Adjustment Layer will jump to the right, indicating that it’s ‘clipped’ and will only affect the Layer beneath. In the Hue/Sat palette, reduce Saturation for a more mor natural look. To alter the colours, adjust Hue. To make the changes more subtle, click on the colour Layer to make it active, and reduce the Opacity slider to around 70%.



Readers show us what they’ve been doing with Digital Photo’s creative techniques!

On parade

by Clare McEwen From Banbury Tell us about your image I’m a total beginner at photography, and I am really trying to improve both my photography and editing skills. I captured (and edited) this shot of our Remembrance Day parade in Banbury and really liked the result. I used a Sony A6000 body with a Samyang 12mm f/2 wide-angle lens. Back at the computer, I converted the image to mono in Lightroom using some Presets, which I then tweaked until I was happy with the final frame.


EDIT Clare used an ultra wide-angle lens to capture this sombre scene.


PHOTOSHOP GENIUS A simple table lamp was used to illuminate this leaf.

Beauty in decay by Brian Elliott

From Somerset Tell us about your image This shot is my interpretation of the Out Of The Ordinary challenge from the December issue of Digital Photo. I particularly

like Andy Beswick’s decaying leaf and I this is my version. My leaf was very delicate so I used an LED from the side to provide the illumination and a simple sheet of blue card for the backdrop. The only post editing to the RAW file was to add some Contrast and Clarity.

Park portrait by Dave Hicklin

From Derbyshire Tell us about your image I am a keen amateur photographer and find myself drawn to portraiture and location work using natural light and, often, off-camera flash. This image is of my granddaughter shot in natural light, one of many pictures I took on this shoot at my local park. I pr processed the image in Photoshop and was happy with the result. I could have stopped there, but wanted to go further to create digital art using layers, textures and blending modes. Once I was happy with the image, I then added some typography for additional interest. Dave added text to the image for extra interest.



Magic or what? by Roy Fidler

From Suffolk Tell us about your image I was really inspired by a light bulb image in the November 2016 issue of Digital Photo [see below] and thought I could add to the idea. I set up my Canon 7D with a Sigma 24-70mm on a tripod in front of a black background. I positioned a table lamp to the side and used white paper to diffuse the light. I made a device to hit the bulb, smash it into pieces and trigger my camera so it captured the high-speed image. As I didn’t have a sophisticated sound trigger I got over the problem by firing the camera at 10 frames a second and pulling the trigger, hoping that one pic would be OK. It was!


Roy had a smashing time using ash.

Chorley Astley Hall

by Douglas Arnold From Lancashire Tell us about your image I really liked your leaf border technique in the December 2016 issue of Digital Photo and the free fr template that accompanied it. I wanted to try my own o interpretation, so I tried the technique with a different differ subject matter. For my image, I created my border bor with shells. The subject placed inside the border is Chorley Astley Hall, near Blackburn in Lancashire. Lancashir



“The last clean air...” Image-editing expert Antti Karppinen shares his surreal take on the environment


his image is called ‘Last clean air on earth’ and is the first of a series of images that have been brewing in my head for a while now. This idea sparked when I saw a statue made by an amazing artist called Will Ferreira. Seeing this statue of an apocalyptic character sucking the air out of the last tree on earth, I could almost hear it calling me to do my own version of it. The vision in my head was of a posh, rich, upper-class woman wearing a decorated nasal cannula connected to a glass orb she is holding. Inside that orb would be some sort of a plant, dying slowly but still generating some air to breath. I wanted the woman to look like she is already sick because of  the pollution and from the background you could see that the end of the planet is near.

Model subject

Creating the background I started creating the background from various stock images. First I created the desert and then added the doorway to bring more depth into the image. I also included the real shadows from the studio shot for a more natural finish to the background.

Finding the right model for this image was easy, as I’ve worked with my trusted model, Laura, before and knew that she could bring my vision to life. To help her achieve the ‘look’, I collected a Pinterest board of ideas for the dress and make-up and bought the props.

Details and touches I merged images together, matching the tones of the backdrop to the subject. I also added some interesting light areas into the image by using coloured gradients in Screen Blending mode.


shot in a studio with Elinchrom flashes. I used silver reflective umbrellas to cast coloured edgelight to the image, one blue and the other orange. The main light was a strobe with a 100cm-deep octabox for a more concentrated effect. I shot versions with the glass orb cover on and off so I could get better control of the plant inside the dome and the reflections.


Lighting the scene The main image was

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AN EYEFOR A PICTURE Ben Heine combines his passions of photography and drawing to produce amazing abstracts WORDS BY MATTY GRAHAM


en Heine is a photographer, illustrator and music producer based in Belgium. “I started taking photos during my studies in journalism. I had been drawing and painting since I was a child so I wanted to combine these two passions, and this is how my ‘Pencil vs Camera’ project was born in 2010,” explains Ben. The talented artist says he has a set workflow to create these amazing photo/sketch fusions: “I make a quick sketch and then I choose a specific location and take a photo of my hand holding the sketch in front of the chosen subject. It seems so simple, but it takes a lot of time to get the lines to match.” We asked Ben to share his favourite creations...

I saw this man fishing alone with a huge sea in front of him. I instantly thought I could add some great elements in front of him. It was a perfect composition and background for my sketch. The final image is a metaphor of terrorism. Everything is connected in this image and the smallest fish at the top is asking for help. I took the photo near Sousse in Tunisia. I had to do some post production retouching for the photo to have the sea line look that curved but I didn’t use a fisheye or other similar lenses. 84 DIGITAL PHOTO



“Shark fishing”



Ben used the curvature of the earth to add a twist to this quirky image.



“Tools of the trade” There was just a plain white backdrop to start with in the background, and I wanted to create a simple and powerful image. Since I love photography and drawing, I decided to composite a photographer and an illustrator, each holding the tool of their trade. I used a model that I photographed on one side using my Canon 5D MkII and then I drew the other character in a 3D illusion. I had to match the giant 3D drawing to the model using the anamorphosis trick, meaning the image only appears in perspective from one specific point of view. I didn’t have the right spot and lighting for that photo, so I used a few torches to light up the model and the final result is not too bad.



Ben took hours to painstakingly draw the photographer on a roll of white paper. The 3D effect is only visible from one angle, so precision was key.



“From Russia with love” This image features St Basil Cathedral, a famous monument in Moscow, which symbolizes Russia and its people. The challenge was to find something as good that I could add next to it. I finally decided to choose something simple, sweet and smooth (the angel with a camera bringing a big heart), because it contrasts with the image Western people have of Russia and Russian people. Western media don’t depict Russia and Russian people in a positive way but I was positively surprised when I stayed there for a couple of weeks during my exhibitions.

Ben had to change his original idea to avoid offending the locals.


“Peace, love and a DSLR” With this image, I used the same approach as the St Basil Cathedral creation. It’s a legendary and well-known monument in Hong Kong (Tian Tan Buddha), so was a perfect candidate to play with and make something cute. The cultural difference was a big challenge. This image was exhibited in Harbour City, one of Hong Kong biggest shopping malls. My first idea was to draw a Buddha making a peace and love sign with his fingers, finger but the exhibition organizer told me I couldn’t do that because it would shock the Hong Kong visitors. So I decided to do something sweet and soft. The real challenge with the shoot was coping with the super-hot heat that day.



creative perfection



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“Just the two of us...” They say never work with animals, but Ben got on fine with his four-legged friends.

These two really funny donkeys are part of the same family (mother on the left and young son on the right). This scene is a perfect candidate because these donkeys always stay together side by side and that was great to prepare my sketch and take the final photo. Also, it symbolizes the fact that in every duo

there is always one that’s a bit more crazy than the other. When working with animals it is always hard to pose them and I struggled a bit to arrange the donkeys in the position I wanted. This image was actually shot on my older camera – a Nikon D70 with a wide focal length of 18mm.

“A taste for a good picture” pictur Chocolate is full of symbolism and I wanted to associate it with passion, so drew a loving couple sitting on a giant praline being the stars of their own life with film-makers around them. This image was part of my exhibition ‘From love to true love, from cocoa to chocolate’ in Hong Kong. I did hundreds of different tests of positioning the chocolate pralines and then photographing them. This was to ensure they were ultimately placed exactly as I wanted to leave enough space on the arrangement of chocolates so my drawing would perfectly fit in and complement it. Of course, when the shoot was finished I ate all the chocolates!

Ben made very good use of the leftover props!


YOUR PICTURES Top tips from our photography experts who offer friendly and constructive advice on images received from DP readers


Get the most from your camera and equipment with help from Digital Photo’s technical editor Matt and managing editor Matty, who provide their insightful shooting and editing tips to enable you to make your best shots even better.

S.O.S. by Brandon Yoshizawa What was used Camera Nikon D750 and Nikkor 20mm f1.8 lens Exposure 15secs at f/2.8, ISO 3200 Software Lightroom

I love capturing images of the night sky, and I’ve been shooting astrophotography for about four years now. While it’s a difficult subject, it’s also very rewarding; a real step into the unknown. This was taken on a frosty winter night in the middle of the Californian desert. It was set up to mimic a crash landing with a person signalling for help towards the sky. A lantern was used to illuminate the cockpit while a high-powered flashlight was used for the beam. I think the human element not only adds to the story but also shows the scale of how large this aircraft is! Matt says This is, quite frankly, a marvellous piece of work. And this being the last issue of Digital Photo, let’s just say that Brandon has officially ‘won’ the Your Pictures section. Congratulations. Everything from the choice of subject and location, to the skill of capture is top-notch and I take my hat off to Brandon (more of whose splendid work can be seen at There’s even a nice bit of narrative and, as Brandon says, the figure adds much-needed scale to the scene, showing the size of the derelict B-52E in its desert graveyard. When it comes to the technique involved,


I can’t really fault Brandon’s efforts either. The 15sec shutter speed has kept the tapestry of stars nice and sharp, coming in well under the ‘500 Rule’ which would, in theory, allow speeds down to 25sec while still giving acceptably sharp stars. The 500 Rule is used by astrophotographers to work out what speeds they can shoot at and render stars as points of light, rather than trails; 500 is divided by the focal length (20mm) to give the shutter speed (25secs).

After Brandon’s shot is a real corker, mixing great technique and a superb subject, so there was not too much editing required. All we did was add a little shadow detail on the fuselage and a boost to the saturation.

EXPERT ADVICE Add detail where it’s needed The exposure in Brandon’s shot is really good and he’s used lanterns inside the B-52E’s fuselage to bring out the detail there. Some areas of intriguing detail are still a little dark, though, so here we’ve duplicated the photo with Ctrl+J and used Image>Adjustments>Shadows/Highlights to add +10 on the Shadows slider. To localise this, we went to Layer>Layer Mask>Hide All, adding a black layer mask to the layer, and then used the Brush tool set to White to paint into the darker areas as required. We also gave a boost to the colours by adding a Hue/Saturation Adjustment Layer and increasing the Saturation by +25.

The Shadows/Highlights command is easy to abuse, but when used with care it’s a valuable tool.

The focusing, which can be tricky at a light-sucking f/2.8 aperture, is pin-sharp. And while of course there’s a trade-off when it comes to using high ISO settings, ramping up the gain of the sensor is part and parcel of shooting static stars. It’s possible that Brandon could have saved himself a stop of ISO by opening the aperture wider and using a slower shutter speed, but there would have been a trade-off in critical sharpness from the lens, and more movement in the sky. Either way, the grain isn’t overpowering, but it’s always worth making sure you don’t

sharpen the sky in shots like this, as that area will degrade in quality more noticeably than the foreground. The only changes I would make are minor, adding a little more detail in the shadowy recesses of the broken fuselage and increasing the saturation. Finally, UK readers, don’t feel too crushed; there are plenty of dark sky spots on our isles where you can cook up shots just as striking as this, with the pick of the crop being Kielder Water in Northumberland, along with the Brecon Beacons, so get out there and get shooting!



After Cropping Mark’s scene to a squarer format improves the composition and leads the eye through the picture.

EXPERT ADVICE Straighten aighten up while cropping If you’re cropping an image you can straighten up the horizon at the same time using the Crop tool. Hit C or pick it from the toolbox, and then drag it out over the image, deciding on the parts to keep and those to lose (greyed out, below). Next, position the cursor outside the bounding box, and click and drag to rotate. When you do so, you’ll see a grid overlay and all you need to do is line up the horizon with a line, then click the tick.

Adventure Island by Mark Thomasson

What was used Camera Fujifilm FinePix S3 Pro and Sigma 10-20mm f/3.5 lens Exposure 1sec at f/11, ISO 100 Software Photoshop

This picture was shot at dusk at Adventure Island amusement park, Southend-on-Sea, Essex. I’ve always been interested in capturing twilight scenes, and chose to capture this one because of the combination of the bright details and the lights in the fairground rides, contrasting with the inspiring sunset behind. Matty says Just as Mark intended, the first thing that strikes me about this shot is the richness of the colours, not just in terms of



the overall saturation but the contrast of man-made and available light. The natural glow of the sunset balances the sparkle of the tungsten and neon lights below it, and it’s a very satisfying mix. I also like the contrast in terms of detail. The lower third is a chaotic jumble of

“THE NATURAL GLOW OF THE SUNSET BALANCES THE SPARKLE OF THE TUNGSTEN AND NEON LIGHTS BELOW IT” energy; rides and stalls, and mixed lighting, but the upper two third are tranquil, with warm pastel shades and a haziness out over the water. I would, however, suggest tightening the crop, so the picture is in a squarer format. If done correctly, this will create a sweeping line for the eye to follow up through the image, starting at the dark fence, connecting with the rollercoaster, on to the

pier and finally coming to rest on the Isle of Grain power station on the horizon. I can’t quite decide whether the theme park’s sign is helping or hindering this sweeping line, but have chosen to leave it in situ for the moment as it’s the title of the place and, in some ways, works like a postcard, strengthening the sense of place. While cropping, I would also straighten up the horizon, which is a few degrees out. Other minor improvements that could help to make this fantastic picture even better include darkening off the sky a little using Adjustment Layer, but not too much as you don’t want to lose the subtlety there. I would also use the Shadows/Highlights command to add some shadow detail to the foreground, giving it even more sparkle. Finally it’s great to see that Mark shot this excellent night scene on a Fujifilm Finepix S3 Pro, one of the earliest DSLRs. This camera is still a great performer to this day, thanks to its innovative SuperCCD SR sensor which in some ways was a precursor to the successful X Series.


Kimmeridge Bay by Tony Wiles

What was used Camera Nikon D800E & 24-70mm f/2.8 lens Exposure 60secs @ f/14, ISO 100 Software Photoshop

This image was taken at Kimmeridge Bay, which is one of the best stretches of coastline in Dorset. I used an ND filter to get a long exposure of 60secs. Matt says Tony has gotten so much right here, but there’s a central flaw in the processing. The location is superb and, despite the skewiff lead-in that takes the eye out to sea rather than to Clavell Tower, and the horizon slipping off the level, the composition is grand, with the slick rocks reflecting the evening colour and anchoring the scene. Tony’s timing is excellent, too and there’s no landscape snapper who wouldn’t lap up that sunset glow. Tony has used a long exposure of 60secs and that’s smoothed out the water in the bay as well as adding movement to clouds. Altogether it makes for a pleasingly restful scene. That is, until you look closely. Zoom in on the details (see panel, right) and you’ll see that there’s lots of break up in the tones, some of which look to have inverted while whole areas, particularly the reds on the headland, have blocked out, losing detail

entirely. It’s tough to know how Tony’s pic came to look this way, but my best bet is that he’s working on an uncalibrated monitor so the colours probably look fine on his screen, but start to look unnatural on others. It’s possible he’s simply pushed things too far in processing on purpose, but with the rest of the landscape elements so attractive that seems unlikely. Fortunately, all Tony needs to do is properly calibrate his screen using either software or

“THE SUBJECT HERE SUITS ABLACK AND WHITE TREATMENT REALLY WELL” some calibration hardware, and then go back to the original RAW file for another go. Not having access to the original, I went for monochrome as removing the colour hides a multitude of sins, and the subject here suits a black and white treatment really well. I then used the Dodge tool to give a milky tone to the water and added some film grain to further mask the broken-up areas. But what I really want to see is Tony’s properly edited shot, because I think it will be a stunner.

EXPERT ADVICE Avoid colour clipping

Unnatural, grey-looking highlights and clipped colours (where areas that should be detailed fall into solid red, green or blue), are usually the product of editing while using a badly calibrated monitor. In Tony’s shot, the problem can be seen in the foreground and in the huts on the horizon, too. To avoid these problems occurring, ensure that your screen is properly calibrated, using a device such as the excellent Datacolor Spyder 5 Elite, and you’ll immediately see a huge difference in your edited images.


After The best course of action for Tony would be to calibrate his screen and re-edit the original RAW file, but a mono conversion can hide some of the problems, too.



Lazy day

by Mohan Nath Hathnapitiya What was used Camera Nikon D700 & Tamron 150-600mm f/5-6.3 lens Exposure 1/125secs @ f/6.3, ISO 400 Software Capture NX2

I shot this image at my home in the garden. This Indian palm squirrel is a regular visitor to a feeding nest, so I was well prepared when he arrived. I used the long end of my Tamron super-zoom lens, along with the maximum aperture, and shot in RAW then edited the image using Nikon’s Capture NX2 to make tiny corrections to the exposure. l Matty says Despite the title of Mohan’s shot, I think anyone who’s tried snapping squirrels will know they’re anything but lazy! Small, moving subjects like these can cause havoc with framing and focusing as they scurry about the branches. Mohan, however, is obviously experienced in photographing wildlife and has placed a feeding nest in his garden that will attract the animals, keeping them in a predictable zone which makes taking pictures of them easier.

“ THE IMAGE QUALITY IS OBVIOUS WITH FINE DETAIL AND SMOOTH BACKGROUND BLUR” The Tamron 150-600mm lens he’s used is a great choice for wildlife photographers, one of a new breed of affordable superzooms that bring huge enlargements to DSLR shooters, and the quality in the image is obvious with lots of fine detail at the point of focus and smooth background blur. I think it’s an excellent animal shot and, in terms of improvement, there’s not much to add. Although Mohan has done well to fill the frame I think I would crop in a touch more, and also remove the branches at the edges of the frame. These branches are blurred, but still a bit of a distraction for me, and they’d be easy to remove in Photoshop. The tool I would use for removing a distraction like this is the Patch tool (J), which is grouped with the Healing Brushes, among others. Run this around the area you want to remove, just as you would the Lasso tool, and then click and drag that area to a ‘clean’ part of the frame. The change will be made automatically. In addition, I would slightly darken the image for more dramatic impact using Curves and add some Saturation, too. 96 DIGITAL PHOTO

After By removing the branches at the edges of the frame, the composition is cleaner and much more striking.


EXPERT ADVICE Use the Patch tool to fix large areas Photoshop’s Patch tool ool (J) works like a cross between two tools; the Lasso and the Healing Brush. In this way it helps you remove large, irregularly shaped objects. But large areas of the frame are better selected piecemeal, so on Mohan’s lovely image, for instance, I selected half the lower branch, then dragged the selection upwards to copy a chunk of the background over it, then selected the other half and did the same.



& YOUR RIGHTS What do you actually own when you take a photo? And how do you protect the assets that you create? We run you through the basics… WORDS BY MATT HIGGS


What is copyright? A quick guide to licensing…



Above The copyright licensing of images is a major source of revenue for many freelance photographers, it’s also how the stock photo libraries like Getty, iStock and Alamy make their money.


pon its capture, every image has a series of rights that are attached to it – entitlements to do something with the shot. Copyright is one of these, and gives its owner the exclusive ability to exploit the photo in a number of ways, including its sharing and copying both online and off, and the right to act against those who infringe this. Usually, the person who created the image (you) will be the copyrights initial holder, but this changes if the shot was produced as part of the creator’s employment or under certain contracts. The owner is able to assign or transfer their copyright to another person or organisation, or license it’s use to them, usually in return for a payment and for a specific


period of time. Picture or ‘Stock’ libraries like Getty or Alamy make money by licensing images on an owner’s behalf and with their permission, in return for a fee. The copyright of images in the UK lasts for the life of the creator plus 70 years from the end of the calendar year of their death. The owner of the copyright can choose to leave it, in a will, to whoever they like following their death. Finally, the copyright symbol or creator’s name does not have to be present next to an image’s use for it to be covered by it and protected. You can find out more information online about copyright and images from the UK government’s Intellectual Property Office at

A licence is a contract that grants the licensee specific rights to use an image. It does not assign the photographer’s copyright to anyone else, just agrees a set of circumstances under which a client can use a photo. It’s perhaps easiest to think of this as renting out an image, rather than selling it outright, so the photo remains your property. This type of contract is usually agreed in return for a fee that reflects what the client intends to do with the photo, and how large an audience is likely to see it. A licence will stipulate how a shot can and can’t be used, the length of time it can be used, and any constraints you may wish to place on its use. Without these points made clear, the licensee is able to interpret the contract how they deem fit. Licence agreements can be exclusive, restricting how the photographer can continue to licence the image in the future, or non-exclusive.



Photos of popular figures like band members are a common target for image thieves.


Jason Wilder – the pro music photographer Jason Wilder is a live music shooter and advocate for photographers’ rights based in Florida. He also developed the Copyright Infringement Finder add-on to help fellow togs find their stolen images online.

Should photographers ever give away the use of their photos for free? No. I strongly believe that if you work for free it means that you place no value on your own photography. Some magazines try offering credit (a name alongside an image) only, and will say that it will be great exposure for you, but in reality the only people that will ever read your name in a credit is yourself and other photographers. The bottom line is we all have bills to pay, and photo gear is costly, so you should always charge for your images. A few exceptions include charitable work. What is your opinion on Creative Commons? I think Creative Commons licensing meant well when it was created. While it can be good for

things like software, it’s pointless for photography as it has a lot of potential to be abused. For example, what’s to stop someone from using your image on an internet tabloid article which states something that’s false? This could lead to you being blacklisted from ever photographing the subject of your shot again, and could certainly damage your reputation. The worst part about this potential situation is that you cannot legally ask them to remove it if they followed CC’s rules, because its licence lasts forever. Personally, I’d rather have full control of my images and offer one-time licences for specific uses. There is nothing that a CC licence can provide, that your own licence can’t. How much of an issue do you feel that image theft is for working photographers? I feel that it’s an epidemic. People think that if a photo is posted online then it’s fair game to do with whatever they please. A lot of companies steal photos for commercial use, and would rather play a game of cat and mouse until they get caught, and then claim ignorance, rather than pay a licensing fee upfront. The way they see it is

that if they only get caught once in 500 times, they save the expense of 499 licensing fees. How do you go about discovering infringements of your copyright? Google reverse image search seems to be the best, it’s as simple as dragging and dropping your photo into a browser. There are also multiple plug-ins available that make it easy to scour the net for your images. What steps do you take upon discovering a stolen image being used by someone else? If it’s personal use on a site I normally just send a takedown notice to its hosting server, who will have it removed. If it’s being used commercially, I’ll take screenshots to document everything, then send the takedown notice to have it removed. Then I’ll send invoices for the copyright infringements that have taken place to the company. This normally results in negotiation for damages. What do you think the future holds for photographers protecting their copyright? I think it will be a constant uphill battle.





How do I find stolen images?

A search on Google revealed several places this image was being used without permission


With an abundance of professional photography on the internet that can be easily copied and used elsewhere, the theft of images and the infringement of their copyright is at an all-time high. Unfortunately if you’re sharing your work online it’s very difficult to stop it from being at risk, and often the first you’ll know about a theft is seeing your shot used in a way that you never agreed. Thankfully, there are some tools on the internet that can make it much easier to find any infringements of your work. Google Images ( allows users to upload a photo, and search the internet for webpages where it is being used. This works whatever their size and also returns a list of similar images on the internet, helping to catch infringements where shots may have been altered with a crop, filter and so on. This relieves you from having to manually scour pages hoping to catch a thief. Another similar service is Like



How can I enforce my rights?

Once you have found an infringement of your rights, the first thing that you should do is to make screenshots of the webpage using your images. This will be your evidence should the site’s owner choose to quickly remove the offending image following your initial contact. It’s also worth deciding at this point what you want the outcome of your pursuit to be as this will set the tone of your dialogue. If the image’s thief has placed it on a per personal site you are unlikely to achieve more than getting them to remove it. If it’s a company that’s using it to advertise or sell something, your aim may be to acquire damages. Next, find contact details for the page’s owner. This may be listed on the site itself, while further details including its internet service provider (ISP) can be found by using services like


If you just want the image removed, a DMCA (Digital Millennium Copyright Act) Takedown Notice may be the best place to start. Once sent straight to the ISP of the violator, this notice forces them to remove the infringed content from the site without any need to speak directly to the domain’s owner. An automatically generated form can be created at for this purpose. While the DMCA was originally intended for use in the United States, most UK ISPs will also abide by it. If you want to pursue someone for damages, example letters for chasing this and further advice can be found at Your email should list the infringements that have taken place and requested damage payment at a level deemed suitable for the time taken to create the work, and what it would realistically have been licensed for.


TinEye can be used via most popular web browsers to find infringements.

Work out your rates...

Figuring out how much to charge for your work is a problem that all photographers have faced at one point or another, you neither want to over nor under-price yourself. Having a figure decided in advance is essential for when you chase any infringements, so it’s best to regularly recalculate it in order to be prepared for any surprise commission or theft. A useful place to begin this process is feesguide/phcalc.html. This page has an Excel document that will automatically calculate your costs, helping you decide what you need to charge in order to break even and make money. In the case of infringements, it can often be essential to prove the damages that you seek are realistic so a well-calculated day rate and, ideally, a history of charging it will make this much easier.

An expenses calculator can help you to work out a realistic day rate.



Protecting your photos Sometimes things aren’t as clear-cut as they may seem. We tackle some of the most common questions…

With a team creating images together, confusion can arise about who owns an image’s copyright.

Who owns an image’s copyright if it’s an assistant who pressed the shutter? Usually in this situation, unless a contract stated otherwise, the copyright would be attributed to the person that made the creative decisions when setting up the shot and selecting the chosen camera settings. This is because the outcome of the image was preconceived and planned before the shutter was pressed on the camera itself. That said, depending on the arrangements of a shoot, it’s possible for multiple people to own the copyright of an image. Can ideas be copyrighted? No. The only thing covered by copyright is the expression of an idea. Just because you thought about taking a similar shot to someone else, even if it has the same composition, processing and so on, doesn’t mean that they’ve infringed your rights. Do I need to get a model to sign a release? If you intend to sell an image commercially, or think that perhaps one day you might, it’s almost always essential to have signed a model release form for anyone that’s clearly identifiable in the shot. This contract protects you from future lawsuits in which the person featured may claim things such as defamation of character. It will state


Google’s image search, this website allows users to upload an image, or a web link to one, and find any uses of it online by searching over 16.6 billion indexed images. TinEye also offers a plug-in for web browsers including Firefox and Internet Explorer, allowing the option to right-click on an image to carry out an automated search quickly. Other plug-ins available which use these two search engines to find stolen images and others are Who Stole My Images ( and PhotoTracker (

the terms under which you may choose to exploit the image, and any exceptions that they object to. This agreement is usually made in return for either prints or a payment to the subject for their time. What is meant by ‘orphan work’? Images that are classed as ‘orphan works’ are copyright protected, but whose rights holders can’t be traced or contacted. Through the government’s Intellectual Property Office a licence to use these photos commercially or non-commercially can be applied for in return for a fee, following a diligent search for their owner. If you are a rights’ holder and believe your image has been licensed as an orphan work you can stop further licences being granted and claim any fees that have already been paid. Why does a local lab want me to prove that the images I’m printing are mine? Photo labs have a legal obligation to ensure that they don’t infringe copyright laws by making prints of protected images. For that reason, many labs will have a disclaimer or waiver for their customers to sign if they suspect that an image may be protected, and these forms must be completed before labs agree to make a copy for you.


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The latest product announcements from across the photo world.

It’s one of the most popular lenses ever created, but which 50mm prime should you buy? We advise…

Looking for protection and portability? Then check out these practical pull alongs...



A full review of Nikon’s entry to the action camera market with its impressive KeyMission 360.

The Digital Photo team take a look back at last year’s product releases and pick their personal favourites.

We review the latest photo accessories to hit the shelves.





Fuji’s miniature miniatur hero CSC


uji has added yet another model to its popular X-series range with the launch of the X-A10 – a compact and lightweight mirrorless camera that offers offer 16.3-megapixels with an APS-C size sensor. The rear LCD boasts a 180-degree slide and tilt mechanism, which is perfect for composing self-portraits, and the camera also offers eyedetection autofocus to nail that perfect selfie. Despite its small dimensions, the X-A10 is big on style with a retro-chic design and an attractive attrac textured grip area. Small cameras often struggle struggl with battery life, but the X-A10’s battery is rated tto shoot 410 frames on a single charge – more than enough for a day’s photography. The X-A10 also offers a total of six Film Simulation modes, including Provia, Velvia and Classic Chrome, which allows the photographer to experiment with different looks without the need for any image-editing software. Lastly, as well as full HD video recording,the Fuji X-A10 shoots RAW files and has an electric shutter which allows for a fast maximum shutter speed of 1/32000sec. On sale now, the X-A10 with the XC 16-50mm f/3.5-5.6 OIS II – which is great for close-up macro shots – is priced from £499.

The rear LCD flips up180˚ for taking perfect self-portraits.


Lomography looks to history with an arty new optic If you’re looking for a lens with a difference you’ll be pleased to hear that, after a successful Kickstarter campaign, Lomography has launched the Daguerreotype Achromat 2.9/64 art lens. This is an optic that has its roots steeped in history. It shares the characteristics of an optical design from 1839 by Daguerre and Chevalier which was, in fact, one of the first-ever modern lens designs. The lens has a maximum aperture of f/2.9, which helps create ethereal bokeh that’s perfect for portraits and fine-art still-lifes. Focus on the lens is manual


and, as the name suggest, it has a focal length of 64mm, which on a full-frame camera body gives an optical perspective that is similar to what the human eye sees. Available to fit Canon EF, Nikon F and Pentax K mounts, the optic will also work with lens adapters so it can be used on Sony Alpha cameras, and Micro Four Thirds CSCs. The lens is available in a brass or plain black finish and has a filter thread of 40.5mm. Available to buy now, the Daguerreotype Achromat 2.9/64 art lens is priced at £399.

The X-A10 even has a built-in flash for low light portraits.

With manual focus and a f/2.9 aperture, this creative lens produces ethereal bokeh.


Metz goes compact


hird-party lighting manufacturer Metz has pulled the covers off a compact but lightweight flashgun, the Mecabitz M400. Suited Suit to mirrorless camera that are lighter and smaller small than DSLRs, the M400 is powered by four AA-sized NiMH rechargeable, alkaline-magnesium or lithium batteries batt and has a maximum Guide Number of 40 (ISO 100). Depending on the make and model of your camera, the strobe s offers TTL metering to give accurate power output, plus it ccomes with an adjustable LED modelling light. Other ffeatures of note include high-speed sync capability and a USB slot sl so you can update the flashgun’s firmwar firmware. Available for Canon, Nikon, Micro Four Thirds, Pentax, Sony S and Fuji fittings, the M400 is on sale now at around£239.

Leica Premium lens manufacturer Leica has released something a bit different. The APOSummicron-M 50mm f/2 ASPH is a special edition prime lens in a red anodised finish limited to 100 copies. On sale now, it’s priced at £7,575. The small unit has a powerful Guide Number of 40.


Manfrotto get colourful Manfrotto has released a new set of lightweight and compact aluminium tripods, the BeFree Color range. These travel-size tripods are available in four colour options – grey, green, red and blue. Each can support payloads of up to 4kg and can extend to a maximum height of 144cm. What’s more, they fold down to a mere 41cm and weighs in at only 1400g, meaning they slip into your kit bag with ease. Priced at £139.95, the sal now. BeFree Color is on sale www.manfrotto.c www.manfrotto.couk


New gear from Cullmann for 2017 Accessories manufacturer Cullmann are set to launch a range of new product lines for 2017, including new tripods, photo bags, LED video lights and a new Cullmann flashgun. First up is the Mundo tripod, which will cost £179 and is available in black, silver, orange and blue. Featuring an integrated monopod, the Mundo is aimed at landscape, portrait and architectural photographers. phot The second new ne tripod range from Cullmann is the Neomax (starting from £60), which features three travel tr tripods in various sizes. Each Neomax tripod has an aluminium ball head with camera camer quickrelease system and comes c with a case. Cullmann’s range r of Stockholm photo phot bags (priced from £50) includes a rucksack and four shoulder bags in various sizes, all of which are made from fr water-repellent material, ideal for f use in challenging conditions. Moving on

to lighting, and Cullmann are pulling the covers off five sizes of CUlight LED video lights. Priced from £50, three of the lights are daylight temperature and two are bi-colour. Lastly, a new flashgun, the CUlight FR60 priced around £250, features a high Guide Number of 60 and is available for Canon, Nikon and Sony cameras. It includes an integrated radio adio remote control, which works over a distance e of 100m and doesn’t require e a line-of-sight link.

SLIK Slik’s new LITE Travel tripod has an enlightening twist, featuring an integrated and removable LED torch in its design, housed in the central column. Priced from around £122.

Lume Cube Behold the Lume Cube, a lightweight but powerful LED light source for stills and video work. It features a 6000K colour temperature, with brightness that can be adjusted from 0 to 1500 lumens. A single Lume Cube is priced from around £90, with twin-packs from £170.


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The classic 50mm prime has admirers in almost every photographic genre and we take a look at some of the most popular models available… WORDS BY MATT HIGGS


EF 50mm f/1.8 STM £97 This prime will be the perfect next step from a kit lens for many Canon shooters, offering them all the creative opportunities made possible by large apertures at a highly affordable price. Opening to f/1.8, extremely shallow depths of field can be achieved by this lens for beautifully blurred backgrounds, while it’s also an ideal optic for low-light shooting. The rendering of bokeh is also made aesthetically pleasing thanks to seven rounded aperture blades. Compatible with both full-frame and APS-C devices, its equivalent focal length of 80mm on a crop-sensor camera makes it well suited for portraiture. While it’s predominantly manufactured from plastic, the lens’ mount is metal, six elements in five groups form its optical construction. Weighing just 160g and measuring a mere 4cm in length it’s extremely compact , making it a great walkabout lens. A new Stepper Motor (STM) means that this lens’ autofocus is smoother and quieter than previous generations, something sure to appeal to videographers. While it displays some softness and vignetting across the frame wide-open, by f/4 central sharpness is excellent and vignetting has subsided. Both chromatic aberration and barrel distortion are visible in images, but mild enough to cause little concern. A great-value lens that will more than meet the needs of many users.

Quickspec Street price £97 Fits Canon Aperture range f/1.8-22 Dimensions 69.2x39.3mm (DxL) Weight160g Visit

Canon’s 50mm f/1.8 STM is as compact as it is capable. apabl



50mm f/1.8G AF-S Nikkor £136

A competitively priced optic with great central sharpness from wide-open.

On a full-frame device the Nikon 50mm f/1.8G captures a similar perspective to the human eye, making it a great choice for a wide variety of everyday subjects, while on an APS-C body its 75mm-equivalent focal length is well suited for portraits. Like the Canon, it too has a maximum aperture of f/1.8 for dramatic depth-of-field control, and a rounded 7-blade aperture for pleasing bokeh. An AF-S autofocus motor ensures fast and silent focusing, while manual focus override is possible at all times. The lens’ selected focus distance is displayed via a window on its side. This lens is primarily constructed from plastic, but it does have a metal mount and features a rubber gasket to aid its weather and dust sealing. The 50mm f/1.8G comes with a dedicated lens hood and soft storage pouch. Wide-open this lens provides a respectable level of centre sharpness, though at the edges of the frame performance is softer and vignetting visible. Upon stopping down, sharpness across the frame increase to impressive levels, hitting its sweet spot at f/5.6 by which point vignetting has also subsided. Chromatic aberration and barrel distortion are both visible in this optic’s images, but could be quickly removed during post-processing. A quality lens, so every enthusiast Nikon shooter should have three in their kit bag.

Quickspec Street price £136 Fits Nikon Aperture range f/1.8-16 Dimensions 72x52mm (DxL) Weight 185g Visit


Composer Pro & Sweet 50 £229 Combining two different products available to buy separately as well as together, a 50mm optic and a lens body, the Composer Pro with Sweet 50 is something of a unique proposition. This selective focus lens allows the user to creatively control the exact positioning and size of a frame’s in-focus area, achieved via a ball and socket joint that allows users to tilt it independently of a camera’s body. While control of this area and focus distance is entirely manual, once you’ve got your head around it the results possible are breathtaking. With an f/2.5 apertur aperture and a 12-aperture blade design, stunning bokeh radiates from the selected focal point, no matter where in an image it is positioned, helping to draw stylish attention to a subject. Admittedly, the sharpness produced by the lens doesn’t compare to the other optics featured in the round-up, remaining fairly soft even in the centre at narrower apertures, but that doesn’t negatively effect the dreamy and surreal aesthetic of its images. Compatible with crop and full-frame sensors, the Composer Pro is available in a wide variety of fits including Canon, Nikon, Sony, Micro 4/3 etc. Its plastic and metal construction feels refined but less durable than some options. A ‘Nifty 50’ unlike anything else, it’s ideal for those looking to try something a bit different.

Quickspec Street price £229 Fits Most major brands Aperture range f/2.5-22 Dimensions 64x57mm (DxL) Weight 161g Visit


This creative optic enables total control of an image’s sweet spot of focus.


50mm f/1.4 AS UMC £309 While it may be manual focus only, this larger 50mm prime offers an extremely wide f/1.4 maximum aperture that allows all for improved light gathering and the creation of even shall shallower depths of field. One of Samyang’s more premium optics, opt it’s available in a wide range of camera mounts and weighs w in at a fairly hefty 575g. With no electronic contacts, the selection sel of focus distance and aperture are both controlled contr via dedicated rings on the barrel. While this manual proces process may deter some shooters, for videographers and others, it i may be of less concern. This lens has an eight-blade aperture apertur and 9 elements in 6-group construction, including 1 aspherical aspheri lens. Wide-open this 50mm provides good sharpness in the centre c but does display some edge softness. Sharpness improves impr across the frame dramatically by f/2, and hits an excellent level at f/4-5.6. Mild chromatic aberration is present but can be quickly removed from shots during editing, while vignetting is strong at f/4 but reduces quickly upon being stopped down. Compared to the Canon EF 50mm f/1.4 USM (£279) and Nikon AF-S NIKKOR 50mm F1.4G (£385) that are both autofocus capable, the Samyang may seem a little pricey, but for those who particularly enjoy the handling of a dedicated manual lens it will be sure to appeal.

Quickspec Street price £309 Fits Most major fits Aperture range f/1.4-22 Dimensions

This Samyang offers a super-wide f/1.4 maximum aperture.

82x75mm (DxL) Weight 575g Visit


50mm f1.4 DG HSM Art £571 Sigma’s Art series range of lenses has a reputation built on merit as some of the best glass available. The 50mm f1.4 DG HSM Art may be the most expensive ‘nifty fifty’ in this round-up but it puts in an unrivalled optical performance. Wide-open at f/1.4, sharpness across the frame is very impressive indeed, even at the edges of the image it’s captured at a highly pleasing level. This only improves as the lens is stopped down, tack-sharp results being produced from f/2. Distortion and chromatic aberration are also controlled well, and while vignetting is present wide-open, it’s not any stronger than that displayed by all its rivals. A 9-blade aperture creates attractive background bokeh, and automatic focusing is fast, accurate and near-silent thanks to a hypersonic motor (HSM), and can be fine-tuned if needed using the brand’s USB dock available to buy separately. For those who prefer to focus manually, a lar large rubberised focus ring allows delicate control, while the currently selected distance is displayed in a window on the side of the barrel. This lens is easily larger and heavier than anything else featured, but with a high-quality matte finish it does feel premium. A top-quality optic for those that demand the best performance possible, it’s shipped with a hood and soft carry case.

It’ss both the largestt and best performing orming lens in the group.

Quickspec Street price £571 Fits Canon, Nikon, Sony A, Sigma Aperture range f/1.4-16 Dimensions 85 x100mm (DxL) Weight 815g Visit




ROLLERBAGS ROLLER BAGS For the ultimate in protection and portability, a roller case just can’t be beaten. Here’s the best on the market... WORDS BY MATTY GRAHAM


oller bags are often the last item of photographic equipment that most snappers buy. And it isn’t because these bags aren’t extremely useful – they are – so it’s more likely to be down to a combination of price and that they are mainly used by advanced enthusiasts and pro photographers. Often called ‘pull alongs’, these bags typically have wheels on the bottom and a pull-up-push-down handle at the top – a little like the suitcase you take on your summer holidays.

What to look for When picking a roller bag, there are several important elements to consider. For a start, look at the amount of kit you’ll be able to fit in it, and consider how much protection it will provide in guarding against bumps, knocks and the elements. Is it waterproof, dustproof, padded in all the right places, easy to pull along and get at your gear? Lastly, if price is an issue, search about for a bag that does all what you want and is the best value for money. Our top five choice of bags all offer something special, so let’s find out more about them...




National Geographic On Board Roller £160

Vanguard Xcenior 41T Trolley £179

Made by Manfrotto, but part of the National Geographic range, this large Africa roller suitcase is built to carry both camera gear and personal items such as clothes and possessions. A removable padded insert holds and protects a DSLR camera with media accessories, while the large main compartment holds clothes and travel gear. There is a handy oversized central handle and the bag exterior is made from high-quality, durable materials. An extended warranty of up to five years is available, which helps offer peace of mind for this purchase. This roller is suited to those photographers who want an even split of storage between their camera equipment and their personal belongings.

The Vanguard Xcenior is a versatile roller case that combines great build quality with compact dimensions. Meeting international carry-on regulations, this is the perfect roller for whisking through the departure lounge and loading into the overhead compartment with ease as you head off on a jet-setting photography trip. Capable of holding at least two DSLR or CSC bodies, up to five extra lenses, two tripods and a 12in laptop, the Vanguard boasts a zipped mesh fly to stop kit rolling forward and tumbling out when the bag is opened. Oversized wheels help with movement and a dual-stem handle provides great support to pull the bag along with. A zipped front pouch holds extra gear and the bag comes with a combination lock included.



Weight 3880g Carry-on compatible? Yes

Weight 3950g Carry-on compatible? Yes

Carry handle Single, central Warranty Five years

Carry handle Dual, central Warranty Five years

External dimensions (WxHxD) 39x57x27cm

External dimensions (WxHxD) 49x43x29cm





Pelican 1510 Protector Carry-On Case £169

Manfrotto Reloader-55 Roller £300

ThinkTankPhoto Airport TakeOff £289

Pelican cases are some of the strongest and most robust cases on the market. Along with professional photographers, they are also used by scientists and doctors out in the field because they can easily take the bangs and knocks of hard-core outdoor use. Watertight, crushproof and dustproof, the build quality is backed up with a lifetime warranty. The Pelican 1510 meets international carryon regulations and has holes for a padlock to be attached to further protect the roller when you are travelling far from home. Photographers have the option of buying a fitted divider set, but this does cost more money. For ultimate protection, the Pelican 1510 can simply not be beaten by any rivals.

If you need a roller bag that helps you transport a large amount of equipment, this Manfrotto pull along could be the perfect solution. It can hold three DSLRs, plus a raft of extra lenses and accessories. What’s more, the foam dividers can be rearranged to hold a pro-spec DSLR fitted with a long 400mm prime telephoto lens or the Canon C100 light stands. Meeting international carry-on regulations, this roller boasts bags of style, a combination lock and a four-stage handle so it can be set to different heights as required. Wheels can easily be replaced if they get damaged, and the two exterior storage panels on the front of the Pro Light Reloader-55 can hold a 17in laptop and 10-in tablet respectively.

Can’t decide between a roller bag or a standard photo rucksack? Well, with the ThinkTankPhoto Airport TakeOff, you can have the best of both worlds because it includes integrated shoulder straps that can be zipped away when you want to use the bag as a pure roller. This feature is incredibly useful, especially if you are travelling far with your bag and have to climb up steps and so on. The TakeOff holds two pro-spec DSLRs or three smaller mirrorless bodies, plus up to six extra lenses or other accessories. Foam dividers can be rearranged to hold a 400mm telephoto lens and there’s a handy large front pocket that can swallow a 17in laptop. A seam-sealed rain cover provides extra protection protection from the elements.




Weight 5400g (without foam) Carry-on compatible? Yes

Weight 4900g Carry-on compatible? Yes

Weight 3900-47000g Carry-on compatible? Yes

Carry handle Single, central Warranty Limited lifetime

Carry handle Dual, central Warranty Five years

Carry handle Single, central Warranty Five years

External dimensions (WxHxD) 35x56x23cm

External dimensions (WxHxD) 35x55x23cm

External dimensions (WxHxD) 36x53x22cm




Combining a rugged body with immersive 360° stills and video capture, is the star of Nikon’s new Keymission range the best action camera ever built? We find out… BY MATT HIGGS


p until now brands like GoPro, Olympus and Ricoh have dominated the action cam market, but it’s a pie that Nikon obviously want a part of with the launch of its highly anticipated KeyMission range. Heading up their new three-part line-up of cams is the KeyMission 360, a device that touts dual lenses for 360° VR (virtual reality) capture of a scene. The immersive all-angle stills and video it produces places viewers in the centre of a 3D world, allowing them to experience a place or journey like never before. While this kind of technology has been seen in devices like the 360Fly and Ricoh Theta, none of them had the same kind of rugged credentials, leaving

Key features Nikon of the Nik KeyMission KeyMission360 Ke yMission 360 Dual llenses enses Using dual 8.2mm equivalent llenses enses equivalent positioned back to back, this ccamera amera simultaneously simultaneously captures aptur es and sstitches titches aptures together ogether tw two o images or a 360 file. file. for High definition 360˚f 360˚foot ootage 360˚footage As w ell as 23.9Mp well JPEG stills, stills, the de device vice aptures 4k/UHD captures video at 24fps.


Connectivity The 360 has both Wi-Fi Bluetooth. and Bluetooth.

their use limited to rather mundane activities. This camera arrives on the promise that it will record action the way you remember it, in almost any conditions thrown at it.

Main features Waterproof to 30m, shockproof to 2m, freezeproof to -10°C and dustproof, all without additional housing, the KeyMission 360 can take a battering and keep going with ease. Weighing in at just 198g and measuring a mere 6.6cm on its longest dimension, it still remains impressively portable and comes with a variety of mounts for attachment to numerous surfaces. To produce its stills and video, the camera has a dual setup of back-to-back lenses and sensors that simultaneously record when activated, with their output automatically stitched together in-camera for a single file. Each of its two optics is a fixed 1.6mm f/2 (8.2mm full-frame equivalent) lens with a 180˚ angle of view (the overlap from the


two used for clean stitching). Anything beyond 30cm away from the front of the device will appear in focus in images, while things particularly close to the camera’s top, bottom, or sides might not appear in images at all as they’re outside the angle of view. Stitched stills from the KeyMission 360 are output as JPEGs, while video can be captured

in 4K UHD resolution at 24fps or Full HD at 24fps, both saved to Micro SD. The camera benefits from digital stabilisation, although this does not work when set to shoot 4K. While at first it might seem strange that this camera has no display and its external controls are limited to ‘on/off’ and ‘Record’ buttons, it reflects how the device is best


Quickspec Street price £419

ISO 100-1,600

Connectivity Wi-Fi, NFC and Bluetooth

Resolution 21.14Mp (7,744 x 3,872px)

Autofocus range From 1ft - infinity

Storage MicroSD/SDHC/SDXC

Format JPEG & .MOV

Vibration reduction Electronic

Battery 230 shots (CIPA) or 70mins video

Sensor 1/2.3-in. type CMOS X2

Monitor No

Weight 198g with battery & SD card

Lenses 1.6 mm f/2 (8.2mm equivalent)

Viewfinder No

Dimensions 66x61x61mm (WxHxD)

Shutter speed 1/8000–1 sec

Video UHD 4K (2160) at 24fps


used. While it can be operated solo, many people will want to control it via a smart device. Unlike a standard camera, the all-encompassing perspective that it captures means that successful composition requires a new process. Rather than carefully aligning a scene’s focal points using a classic technique like the rule-of-thirds, it becomes much more important to consider the exact placement of the camera itself, and how its proximity to subjects make them appear to the viewer in an image. A live video stream to help users judge their creations can be seen using Nikon’s 360 SnapBridge smart device app for this purpose. This app also allows remote control of basic camera functions including white balance and exposure compensation, and the wireless

transfer of images. The KeyMission 360’s battery life is rated for 230 shots or 70 minutes of video.

around 10 feet. This will often limit how the camera can be operated if you don’t want to appear in the shots yourself. Performing best in well-lit conditions, free of heavy contrast due to it’s limited dynamic and ISO range, the KeyMission 360 is capable of some great quality results. On playback, a seam from the stitching of the two camera feeds was visible in images and video, but it's subtle enough not to be too much of a concern for most users.

Handling and performance Once a connection is established, controlling the KeyMission 360 via a phone or tablet is simple and straightforward. However, it’s in making this initial connection that frustration can often arise. While the in-box guide to the camera offered little help in the process, Nikon have, thankfully, now released more in-depth instructions on their website to aid first-time users. Also frustrating was the range of connection, which was slightly disappointing, regularly dropping out if the distance between the 360 and smart device was further than

Verdict For the price, it's a well-built camera that’s capable of some very impressive and immersive footage so it's a great buy for action fanatics. It’s a shame that connecting it to an external device is a bit of a faff, as it’s otherwise an extremely solid action cam.

Features & Build Performance Image quality Value for moneyy Overall score

✪✪✪✪✪ ✪✪✪✪✪ ✪✪✪✪✪ ✪✪✪✪✪ ✪✪✪✪✪ DIGITAL PHOTO 115


TOP GEAR TOPGEAR OF 2016 The Digital Photo team take a look back at last year’s product releases and pick their personal favourites…


EOS 1DX MkII DSLR £4,899

Managing editor Matty Graham says: The title of ‘greatest DSLR on the market’ isn’t given lightly, but Canon’s flagship DSLR camera is truly at the top of its game. Pro photographers simply can’t afford to take gambles and the 1DX MkII is packed with impressive features such as a 20.2-megapixel full-frame sensor and a lighting-fast 14 frames-persecond burst mode. But the impressive features aren’t reserved for stills photography as the 1DX MkII can also record ultra high-quality 4K footage. It’s the fastest full-frame camera on the market and one that boasts robust build quality for use in harsh environments. No wonder it gets my pick!


The 1DX MkII is a camera that will stack the odds in your favour.


D500 £1,739 Technical editor Matt Higgs says: Offering many of the professional features found in Nikon’s flagship D5, but in a more compact DX-format body, the D500 blends blistering performance speeds with an affordable price tag. Capable of incredible-quality 20.9MP stills and 10fps-burst shooting, it also touts internal 4K UHD video recording and a highly accurate 153-point AF System. Throw in SnapBridge support for wireless image transfer, a tilting touchscreen display and an XQD memory card slot, and its all-encompassing feature set knocked us for six when we reviewed it last August. For wildlife shooters and those uninterested in full-frame sensors, it’s virtually the perfect tool.

The D500 sits at the top of Nikon’s APS-C line-up with a host of advanced features.


DJI Phantom 4 Pro £1,589

Art editor Andrew Beswick says: 2016 was the year that drones really came of age. Previously they could be seen by some as a risky investment, but the latest models are safe, reliable and actually not that expensive. My pick of the bunch is the Phantom 4 Pro from market leaders DJI. Its camera can record 4K footage and it has a maximum flight time of 30mins - more than enough to get some amazing aerial photography. The Phantom 4 has a top speed of 72 Km/h and can capture 20-megapixel stills from the Exmor CMOS sensor. With technology built in to help the drone sense (and avoid) obstacles, it’s not hard to see why photographers are snapping these up quickly. Aerial photography used to be the reserve of the rich who could afford helicopters, but this drone brings that exciting genre of photography to everybody.

The Phantom 4 is a speedy drone that shoots 4k.


GADGETS&GIZMOS We review the latest photo accessories to hit the shelves TESTS BY MATT HIGGS, MATTY GRAHAM AND BEN DAVIS


Leica Sofort Features es 34mm-equivalent lens with two focus settings, inbuilt flash, lots of creative shooting modes and settings Visit

A mirror on the front ont of the Sof Sofort is designed to make e taking a selfie easier easier.


n the last couple of years instant photography has come back into fashion in a huge way, something that Leica, arguably the most coveted of camera manufactures, have embraced with its latest product, the Sofort. While the device’s design is a little boxy, its refined build, retro styling, trio of available colours (mint, orange and white) and visible red dot are optimised to appeal to discerning hipsters. Shooting Fuji Instax Mini Film (roughly 75p per shot), as well as Leica’s own mini film (£1 per print), it transforms fun moments into memories that can be held in the hand, while managing to keep them cheap enough that you may even consider giving them away. As seen previously in Fuji’s own cameras that accept this type of film, print quality from the Sofort is highly competitive with

An LED indicator ator on the back displays the remaining emaining shots available

“A HIGHLY CAPABLE DEVICE THAT PRODUCES PLEASING QUALITY PRINTS,BUT IT’S NOT EXACTLY A BARGAIN BUY” good definition and strong colours, albeit with photos looking much softer than what most digital shooters will be used too. The Sofort’s lens is a fixed 60mm (34mm full-frame equivalent) optic that provides an angle of view not too dissimilar to the human eye with an f/12.7 aperture, while there are two focus settings selectable by a ring on the barrel, one for standard distances and one for close-up work. Alongside its optical viewfinder sits a flash for use in tricky light conditions, while there’s a raft of shooting modes including creative options like multiple-exposure, bulb and macro. Other advanced features are a self-timer and a rear LCD that displays the current battery level and remaining shots. More intuitive


to use than Impossible Project’s recent I1, and much smaller, the Sofort keeps handling simple and portable. At £229, it’s the cheapest way to pick up a new device from Leica, but with many similar products available under £150, the Sofort is one of the more expensive options within its niche. In fact, this camera is similar in terms of look and function to Fuji’s own Instax Mini 90 priced at £119, something that may give pause for thought before shelling out for it.

All in all, we found the Sofort to be a highly capable device that produces pleasing and quality prints, but it’s still not quite the bargain you might hope for.

Verdict By far the cheapest way to own a new piece of Leica luxury, the Sofort combines the brand’s refined styling and build quality with the timeless joy of instant photography.



TRIED&TESTED TRIED& Used. Abused. Rated


MeFOTO RoadTrip Air Features Bluetooth remote, compact collapsed size, support for loads of up tto 6kg Visit


eFOTO has introduced a new lightweight tripod designed with travel in mind – meet the RoadTrip Air. It’s an extremely portable set of sticks, with key features including reverse folding legs, which give it a diminutive collapsed length of 29cm, and a weight of just 1.13kg. Despite being so compact, the RoadTrip Air reaches a working height of 155cm when fully extended thanks to five telescopic leg sections, and can support a load of up to 6kg. The tripod offers a super-fast set-up with a new HyperLock design, letting the user twist the legs counterclockwise to unlock and extend and, once pulled out to the desired length, twist back to tighten. This tripod also has a surprise up its sleeve in a centre column that can be easily removed and extended to create a Selfie Stick. Included in the bag is a smartphone holder which attaches to the tripod plate, and clipped to the leg is a Bluetooth remote to pair with

your mobile to trigger the camera, meaning you’ve one less accessory to pack on your travels. The RoadTrip Air’s quickrelease plate is Arca-Swisscompatible for extra ease of use, and it comes in seven different colours. Competitively priced and good value for money, it’ll cost you £140 including a five-year manufacturer’s warranty.

Verdict A highly portable and stylish tripod that’s perfect for all your travel needs.



VIDEO RIG / £399

LOKI One Bundle attachments, carry case Visit


Matt says If you’re looking for a unique way of displaying your photos, look no further! Whitewall now offer printing straight onto untreated birch, the grain of this natural material shining through images, giving them a stunningly distinctive finish. Ready to hang upon delivery, they’re guaranteed to turn heads.

Manfrotto XPRO Photo Monopod + Full Fluid Base £135 Matty says Monopods can make the difference erence between a sharp or a blurry image and this one is both well-built and lightweight. The leg locks can be tightened if they come loose and the handgrip negates cold fr fingers on a frosty morning. Well worth the price and one of the best on the market.

Features es Camera rig, dolly wheels, cage bar

irtually every camera released in the last few years is capable of recording Full HD video or better. So, perhaps it’s no surprise that more and more people are starting to embrace the creation of moving, as well as still images. If there’s one key thing that sets apart pro-shot footage to amateur clips, though, it’s stability. Offering the option to be used as a shoulder rig, cage and even a table dolly for cinematic tracking shots, the Loki One is

Whitewall wall Direct Print On Wood From £5

a versatile support setup that ensures smooth and shake-free footage. Collapsing down to no larger than the average DSLR battery grip, it’s also surprisingly portable, making it a great choice for run and gun videographers. Cameras are fitted to it using a standard ¼in thread, while further threads lining the rig allow w accessories to be attached as desired. Manufactured from lightweight aluminium and d finished to an impressive standard in matte tte black, it comes in its own carrying case.

Samsung Flash Drive Duo From £12.40 Ben says Available in sizes of 32GB, 64GB and 128GB, this compact flash drive offers transfer speeds of up to 130MBPS. Setting it apart from similar devices are its dual USB and Micro USB connections, which allow it to be used with smartphones and tablets as well as desktops and laptops.

Verdict A versatile rig ideal for those starting to take their video work more seriously.




HUNDREDS OF PLACES WHERE YOU CAN SELL YOUR PHOTOS FOR CASH! OUT NOW! The latest edition of The Freelance Photographer’s Market Handbook Described as the photographer’s bible, this 208-page BFP Handbook has hundreds of markets where you can sell your pictures for £££s. It includes magazines, greetings card and calendar publishers, picture libraries, newspapers, book publishers etc. The Freelance Photographer’s Market Handbook gives full details of the type of photos – subject matter etc – being sought, fees paid, and exactly where to send your pictures. Price: £15.95 + £2.00 P&P

NEW! The BFP Freelance Photography Course While the BFP Handbook (above) will show you WHERE to sell your photos, this lavishly illustrated manual will show you HOW to sell them. It’s a practical course with 16 lessons covering everything you need to know to sell your pictures to magazines, greetings cards, calendars, newspapers, books etc. When ordered from the BFP, it comes with a set of tutorials to guide you through the lessons. Price: £25.00 + £2.00 P&P

SPECIAL OFFER: Join the Bureau of Freelance Photographers (BFP) and get 14 months membership for the price of 12! For almost 50 years, the BFP has been helping photographers like you to sell their photos. As well as getting the 208-page Freelance Photographer’s Market Handbook with hundreds of markets for photos, you’ll also receive our monthly Market Newsletter keeping you up to date with current picture needs. You may also take advantage of our Advisory Service offering personal help on any aspect of selling photos. All for just £54 per annum. Join now and get 14 months membership for the price of 12!

To join the BFP ■ To order BFP books Go to Phone 01707 651450 Or send a cheque to: Bureau of Freelance Photographers Freepost Vision House PO Box 474 Hatfield AL10 1FY



Take on 3 of wales most iconic mountains in one weekend! Climb Pen y Fan, Cadair Idris & Snowdon in aid of PCRC! Every year 40,000 men are diagnosed with Prostate Cancer in the UK alone. The Prostate Cancer Research Centre is the only charity funding research solely focused on the fatal spread of Prostate Cancer. By funding this world class research, we are working towards increasing the survival and quality of life of men with Prostate Cancer.

@ThePCRC #snowdon500 Charity reg. 1156027

Registration: £45 £35 OR CALL 0207 848 7546

THE WALKING CURE Walking an hour a day adds up to 1000 miles in 12 months. But it also... HEAD Boosts memory, creativity, self-esteem and sociability, and reduces your risk of stroke by a third.

HEART Cuts your risk of heart attack in your fifties and sixties by half.




MILES 2017

LUNGS Reverses decades of aerobic capacity decline.


Boosts bone density – reducing the chance of hip fracture by 40%.

Cuts your risk of obesity in half and Type 2 diabetes by 60%.



Prevents muscle wastage, triggers cells’ anti-ageing processes and even repairs DNA.

JOINTS Supercharges your joints with your body’s own anti-inflammatory lubrication.

Could prevent 10,000 cases of breast and bowel cancer a year in the UK.


Sign up FREE to join the community, get advice, get a progress chart, enter competitions and share your pics

Images by Christine Widdall, Austin Thomas & Tom Barnes

Bring your photos to life with PermaJet. With an inkjet media to suit every image and printer, custom ICC Profiles, & 100% acid free boxes that double as storage, we’ll enable you to create the perfect print that lasts a life time. Test packs available for just £11.95. Find a paper to suit you at

Stand F91

For more info call us on 01789 739200, or drop us an email



A Filter Holder Set Adapter Rings Only Fit Kood Holder A Filter Holder Cap A Filter Holder Hood A Adapter Ring 37mm A Adapter Ring 38.1mm A Adapter Ring 40.5mm A Adapter Ring 46mm A Adapter Ring 49mm A Adapter Ring 52mm A Adapter Ring 55mm A Adapter Ring 58mm A Adapter Ring 62mm

GRADIENTS 0.3 ND Gradient Soft 0.3 ND Gradient Hard Cut 0.6 ND Gradient Soft 0.6 ND Gradient Hard Cut 0.9 ND Gradient Soft 0.9 ND Gradient Hard Cut Light Blue Graduated Dark Blue Graduated Cool Blue Gradient Light Green Graduated Dark Green Graduated Light Mauve Graduated Dark Mauve Graduated Light Red Graduated Dark Red Graduated Light Tobacco Graduated Dark Tobacco Graduated Light Fog Graduated Strong Fog Graduated Light Yellow Graduated Dark Yellow Graduated Light Sunset Graduated Dark Sunset Graduated

POLARIZERS Linear Polariser Filter Circular Polariser Filter

NEUTRAL DENSITY Neutral Density 2 Neutral Neutral Density 4 Neutral Density 8 STARS AND DIFFRACTIONS Star x 4 Star x 6 Star x 6 with centre spot Star x 8 Difraction 2x Difraction 36x Difraction 4x Difraction Star 4 Difraction Star 8 Difraction Square Difraction Halo

CLOSE UP’S Close Up 1 Close Up 2 Close Up 4 Split Field

MULTI IMAGE AND SPEED Multi Image 3 Multi Image 5 Multi Image 7 Speed

COLOURS 20 x Polyester colour set Yellow Orange Green Red Sepia Sky

1) KOOD uses small untoughend,thick Pilkington Optical Glass Mold’s to produce the highest possible optically flat resin Filters without curvature to ensure infinity focus Casting system eliminates all bleach so no loss of density or colour over time Batch tested every 12 filters to maintain good neutrality All filters packed in between card, in wallets which allow no movement or dust KOOD Manufactures its own filters from casting to packing

2) 3) 4) 5)

CONVERSION 20 x Wratten polyesters set 80A 80B 80C 81A 81B 81C 82A 82B 82C 85A 85B 85C FLB FLD FLW


Double Exposure Double Mask 1 Double Mask 2 PSF


light Diffuser Strong Diffuser Fog 1 Fog 2

NETS Net Net Net Net Net Net Net

Blue Grey Green Orange Red Violet White

SPOTS Oval Spot Blue Oval Spot Clear Oval Spot Grey Oval Spot Red Oval Spot White Spot Blue Spot Clear Spot Grey Spot Green Spot Orange Spot Red Spot Violet Spot White Wide Spot Blue Wide Spot Clear Wide Spot Grey Wide Spot Green Wide Spot Orange Wide Spot Red Wide Spot Violet Wide Spot White P SYSTEM TO FIT ALL COKIN P SIZE SYSTEMS

P Size Holder Kood Adaptor Filter Rings + Cokin Holders P Adapter Ring 38.1mm P Adapter Ring 49mm 49m P Adapter Ring 52mm P Adapter Ring 55mm P Adapter Ring 58mm P Adapter Ring 62mm P Adapter Ring 67mm P Adapter Ring 72mm P Adapter Ring 77mm P Adapter Ring 82mm

Light Mauve Graduated Dark Mauve Graduated Light Red Graduated Graduated Dark Red Graduated Light Tobacco Graduated Dark tobacco Graduated Light Yellow Graduated DarkYellow Graduated Light Sunset Graduated Dark Sunset Graduated


Linear Polariser Circular Polariser

NEUTRAL DENSITY ND400 9 Stops (Japanese Glass) available Round (Back Slot) Square (for use with PL, star etc) ND16 4 Stops (Japanese Glass) Neutral Density x2 Neutral Density x4 Neutral Density x8 Neutral Density x8 (Glass)

INFRA RED 720 P FILTER 0 Optical Glass Infra Red 72 720

STARS AND DIFFRACTIONS Starburst x4 Starburst x6 Starburst x8 Difraction 2x Difraction 36x Difraction Double Halo Difraction Halo Difraction 4x Star Difraction Filter DS8 Difraction Square

CLOSE UP FILTERS Close up +1 Close Up +2 Close Up +4 Split Field


Blue Clear Spot Clear Spot Spo Green Clear Centre Spot Grey Clear Spot Orange Clear Spot Clear Oval Spot Grey Oval Spot White Oval Spot Red Clear Spot Violet Clear Spot White Clear Spot Z 100 MM FILTERS GRADIENTS 100 X 125MM

0.3 ND Gradient Soft 0.3 ND Gradient Hard Cut 0.6 ND Gradient Soft 0.6 ND Gradient Hard Cut 0.9 ND Gradient Soft 0.9 ND Gradient Hard Cut Light Blue Graduated Dark Blue Graduated Light Green Graduated Dark Green Graduated Light Tobacco Graduated Dark tobacco Graduated Graduated Light Sunset Graduated Dark Sunset Graduated

NEUTRAL DENSITY Neutral Density 2 Neutral Density 4

DIFFUSERS AND FOGS Diffuser Light Diffuser Strong Fog 1 Fog 2



Yellow Orange Green Red Skylight Sepia


Light Diffuser Strong Diffuser Light Fog Strong Fog

CONVERSION FILTERS 80A 80B 80C 81A 81B 81C 82A 82B 82C 85A 85B 85C FLD FLW FLB


Double Exposure p Solar Eclipse Filter

Yellow Orange Red Green Sepia Skylight

CONVERSION FILTERS 80A 80B 80C 81A 81B 81C 82A 82B 82C 85A 85B 85C FLB Spot Clear Spot Oval Spot White



GRADIENTS 0.3 ND Gradient Soft 0.3 ND Gradient Hard Cut 0.6 ND Gradient Soft 0.6 ND Gradient Hard Cut 0.9 ND Gradient Soft 0.9 ND Gradient Hard Cut Light Blue Graduated Dark Blue Graduated Cool Blue Graduated Light Green Graduated Dark Green Graduated Light Grey Graduated Graduated

KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EY Tel: 01727 823812 Fax: 01727 823336 E-mail: /





Visit our state of the art stores in Burgess Hill (West Sussex) and Central London Visit our website for directions and opening times for both stores

Experts in photography 30.4



Unbeatable stock availability


7 fps



3.0” 4K



No matter what you’re shooting, be assured of uncompromising image quality and a thoroughly professional performance.

In stock at £3,599.00

See in store or apply online to learn more.


Canon EOS 80D

Canon EOS 750D









Body only

+ 15-45mm

Body only

+ 18-55mm IS STM





NOW IN STOCK!! FREE Canon EF-EOS M adapter!

Canon EOS 7D Mark II 20.2


Body only

+ 100-400 L IS II

See web

See web

FREE G-Technology 3TB Hard Drive with the EOS 7D II! See website

Canon EOS 6D





Body only


Body only See website for low prices on lenses



Body only

CASH BACK! + 18-55mm IS STM

See web See web *Prices after £80 cashback from Canon UK. Offer ends 18.01.17


Body only

+ BG-E11 Grip

See web

*Prices after £100 cashback from Canon UK. Offer ends 18.01.17

Visit us in store or online to see how you can claim Canon lens rewards!

Canon EOS-1D X Mark II 20.2



Body only See website for low prices on lenses


FREE G-Technology 3TB Hard Drive with the EOS 5Ds! See website

FREE G-Technology 3TB Hard Drive with the EOS 5Ds! See website


Body only

+ LP-E19 Battery

£4,899.00* £5,048.00* 24 Months interest free finance available! See website for details

Create your ultimate kit bag with up to £160 cashback on selected Canon lenses! See web for details. Available 19.10.16 - 18.01.17


+24-85 VR

+24-120 VR


Nikon D610






Body only

+ 18-105mm VR



+18-55mm VR + 18-140mm VR



Add a spare Nikon EN-EL14a spare battery for only £44.00

Nikon D810





Body only



Body only

+ MB-D12 Grip

+ 24-85mm VR

£1,269.00 £1,699.00

*Prices after £85 cashback from Nikon UK. Offer ends 22.01.17

Add a Nikon MB-D12 battery grip for only £229.00.

Nikon D500



Nikon D5





In stock

Body only

XQD Type

+ 16-80mm VR

In stock

CF Type

£2,319.00* £2,618.00*

£1,729.00 £2,479.00

£5,199.00 £5,499.00

*Prices include £85 cashback from Nikon UK. Offer ends 22.01.17

Save an extra 5% on accessories! See website for details.

12 Months interest free finance available! See website for details

NIKON LENSES AF-G 10.5mm f/2.8G ED DX AF-D 14mm f/2.8D AF-D 16mm f/2.8D Fisheye AF-S 20mm f/1.8G ED AF-D 20mm f/2.8 AF-D 24mm f/2.8D AF-S Nikkor 24mm f/1.4G AF-D 28mm f/2.8 AF-S 28mm f/1.8G 35mm f/2 AF Nikkor D AF-S 35mm f/1.8G ED AF-S 35mm f1.8G DX AF-S 40mm f/2.8G ED AF 50mm f/1.4D AF-S 50mm f/1.4G AF-D 50mm f/1.8 AF-S 50mm f/1.8G

£599.00 £1,329.00 £699.00 £669.00 £499.00 £379.00 £1,799.00 £259.00 £569.00 £269.00 £439.00 £169.00 £239.00 £259.00 £389.00 £119.00 £189.00

Prices updated DAILY! Visit us in store, online at or call our expert team on 01444 23 70 55 AF-D 60mm f/2.8 Micro £429.00 AF-S 60mm f/2.8G Micro ED £499.00 AF-S 85mm f/3.5G DX £429.00 AF-S 85mm f/1.8G £429.00 AF-S 105mm f/2.8G VR £749.00 AF-DC 105mm f/2 Nikkor £879.00 AF-D 135mm f/2.0D £1,149.00 AF-D 180mm f/2.8 IF ED £749.00 AF-D 200mm f/4D IF ED £1,249.00 AF-S 200mm f/2G ED VR II £4,769.00 AF-S 300mm f/2.8G ED VR II £4,849.00 AF-S 300mm f/4 D IF-ED £1,149.00 AF-S 300mm f/4E PF ED VR £1,549.00 AF-S 400mm f/2.8 FL ED VR £9,999.00 AF-S 500mm f/4E FL ED VR £8,499.00 AF-S 600mm f/4E FL ED VR £10,999.00 AF-S 800mm f/5.6E FL ED VR £14,799.00

AF-S 10-24mm f/3.5-4.5G £729.00 AF-S DX 12-24mm f4 G IF-ED £979.00 AF-S 16-80mm f/2.8-4E ED VR £869.00 AF-S 16-85mm f/3.5-5.6G £579.00 AF-S 17-35mm f/2.8 IF ED £1,499.00 AF-S 17-55mm f/2.8G DX £1,329.00 AF-S 18-35mm f/3.5-4.5G £599.00 AF-S 18-105mm VR £219.00 AF-S 18-140mm ED VR DX £429.00 AF-S 18-200mm ED DX VR II £534.00 AF-S 18-300mm f/3.5-6.3 VR £629.00 AF-S 24-85mm VR £429.00 AF-S 28-300mm ED VR £799.00 AF-S 55-200mm f/4-5.6G VR II £259.00 AF-S 70-200mm f/2.8 VR II £1,999.00 AF-S 70-300mm IF ED VR £499.00 AF-S 200-400mm VR II £6,149.00

Epson SureColor SC-P600 A3+ Printer

In stock at only

In stock at only




*Price after £30 cashback from Canon. Ends 18.01.2017

For low prices on paper and ink, visit us in store or online

For low prices on paper and ink, visit us in store or online

The SureColor SC-P600 combines exceptional image quality, high-speed output, and the most complete range of mobile printing capabilities — all in an affordable and easy-to-use package.

Canon accessories


Bags £219.00 £429.00 £539.00

*Prices include £85 cashback claimed from Nikon. See website for details. Ends 22.01.2017

Visit to learn more.

In stock at only

Speedlite 430EX III-RT Speedlite 600EX-RT Speedlite 600EX-RT II

1080p 3.0”

Claim up to £170 cashback on selected Nikon lenses!





Nikon D7200




+ 24-105 IS STM


PIXMA iP8750



£1,514.00* £2,014.00* £2,214.00*



See web See web




Body only

Nikon D5600

Canon EOS 5D Mark III

Canon EOS 5Ds r

Canon EOS 5Ds


*Prices after £70 cashback from Canon UK. Offer ends 18.01.17




6.5 fps

UK stock

Free your vision with the fast, versatile, and agile D750. In a world where anything is possible, this full-frame 24.3-megapixel powerhouse gives you the freedom to dare.

12 months 0% finance is available on this camera!

Canon EOS M5

Competitive low pricing



Backpack BP100 Holster HL100 Shoulder Bag SB100

£59.99 £26.49 £29.99

Battery Grips

Spare batteries

BG-E11 (5D III, 5Ds/r) £279.00 BG-E13 (6D) £174.00 BG-E14 (70D) £149.00 BG-E16 (7D Mark II) £198.00 BG-E18 (750D / 760D) £99.00 For even more grips, see website

LP-E19 (1D X Mark II) £149.00 LP-E6N (5D III, 7D II, 6D) £69.00 LP-E8 (700D, 600D) £35.00 LP-E10 (1300D, 1200D) £39.99 LP-E17 (760D, 750D, M3) £44.00 For even more batteries, see website

CanoScan LiDE 220 CanoScan 9000F Mark II

£89.00 £179.00

Printers PIXMA iP8750 £199.00 PIXMA TS8050 £179.00 PIXMA TS9050 £279.00 PIXMA PRO-100s £375.00 PIXMA PRO-1 £599.00 imagePROGRAF PRO-1000 £999.00 For even more Printers, see website

Why choose Park Cameras?

• Touch & try stores in London & West Sussex • UK’s largest independent photography store • Award winning customer service • Experts in photography • Unbeatable stock availability • Extensive product range • UK stock with UK warranty • Competitive low pricing • Unbeatable stock availability • Experts in photography • Family owned & run since 1971 • All the top brands • FREE delivery on orders over £50* *Free delivery available to UK mainland addresses on a next working day basis.


11 fps



Special price £549.00*

IS 3.0”

3.0” 4K

With unerring autofocus, unshakeable stability, and intuitive touchscreen operation crafted to fit in a palm, the α6500 is so ideal everywhere that you never need to miss a moment. Body only




NEW AND NOW IN STOCK! See website to learn more.

Sony RX100 V 20.1


Sony a7s II 12.2


In stock at Spread the cost with


our finance options!

Add a spare Sony NP-BX1 battery for £35 on mention of this advert E-Series 16mm f/2.8 Pancake 24mm f/1.8 ZA Carl Zeiss 24mm f/2.0 Carl Zeiss T* 50mm f/1.8 OSS 55mm f/1.8 FE Sonnar T* ZA 90mm f/2.8 Macro G FE OSS 10-18mm f/4 OSS 16-50mm f/3.5-5.6 OSS

£199.00 £889.00 £999.00 £259.00 £749.00 £949.00 £699.00 £279.00


In stock at

+ 24-70 f/2.8 GM

£2,899.00 £4,848.00* Add a spare Sony NP-FW50 battery for £59 on mention of this advert 16-70mm f/4G ZA OSS £799.00 18-200mm f/3.5-6.3 P. Zoom £949.00 24-70mm f/4 FE Vario-Tessar T* £899.00 24-240mm f/3.5-6.3 FE OSS £849.00 28-70mm f/3.5-5.6 FE OSS £449.00 28-135mm f/4 G FE PZ OSS £2,099.00 55-210mm f/4.5-6.3 OSS £269.00 70-200mm f/4 G FE OSS £1,249.00

Available on selected Sony lenses. See in store or online for details. Alpha-Series 30mm f/2.8 SAM 1:1 Macro DT £169.00 35mm f/1.8 DT £149.00 50mm f/1.4 Carl Zeiss £699.97* 11-18mm f4.5-5.6 DT £599.00 16-35mm f/2.8 Carl Zeiss T* £2,200.00 24-70mm f/2.8 II Carl Zeiss T* £2,000.00 55-200mm f4.0-5.6 SAM DT £246.00 70-200mm f/2.8 G SSM II £2,799.00

All prices include VAT @ 20%. For opening times and store addresses, visit All products are UK stock. E&OE. * = Please mention “Digital Photo” for this special price

Prices correct at time of going to press; Prices subject to change; check website for latest prices.

Visit our website - updated daily

Phone one of our knowledgeable sales advisors

Monday - Saturday (9:00am - 5:30pm)

or e-mail us for sales advice using

01444 23 70 55

UK’s largest independent photo store 3.0”


IS 3.0”




Learn more & place a pre-order at

Olympus E-M5 Mark II 16.1 MEGA PIXELS

Olympus PEN-F









Body only

+ 12-60mm



Panasonic GX80






Panasonic GX8 £100



Body only

+ 14-42mm EZ

Body only

+ 12-50mm

Body only

+ 17mm f/1.8

Body only

+ 12-32mm

Body only

+ 12-60mm











*Prices after £75 cashback from Olympus UK. Offer ends 15.01.17

Get £50 off selected M.Zuiko lenses when bought with the PEN-F.

Up to £75 cashback available on Olympus Lenses 25mm f/1.8 9-18mm f/4.0-5.6 ED 75-300mm 1:4.8-6.7 ED II 14-150mm 1:4.0-5.6 ED II 60mm f/2.8 Macro ED

£349.00 £549.00 £479.00 £549.00 £429.00



14 fps


Ask in store or see

SD 3.0” card








Body only

+ 18-55mm

Body only

+ 18-55mm





*Prices after £40 cashback from Fujifilm UK. Offer ends 31.01.17

Leica M Monochrom 24.0 MEGA PIXELS




Body only

+ XF 56mm

£1,249.00* £2,099.00*

*Prices after £125 cashback from Fujifilm UK. Offer ends 31.01.17

Leica M 28mm

*Prices after £100 cashback from Fujifilm UK. Offer ends 31.01.17

Limited stock now available!



Add a Panasonic DMW-BLH7 battery for only £44.99

Add a Panasonic DMW-BLC12E battery for only £49.00

f/1.4 Summilux

Tamron SP 24-70mm

Tamron 150-600mm

f/1.8 Di VC USD

f/2.8 Di VC USD

f/5-6.3 Di VC USD G2 NEW!

In stock at only

Spread the cost with our finance options. Call us on 01444 23 70 55




Add a Hoya 82mm UV (C) filter for £29 on mention of this advert

Visit our website to learn more about this new lens!

SP 35mm f/1.8 Di VC USD £599.00 SP 45mm f/1.8 Di VC USD £599.00 SP 60mm f/2.0 Di II LD [IF] Macro £599.00 SP 90mm f/2.8 Di VC USD £599.00 SP 90mm f/2.8 Di MACRO VC USD £369.00 SP AF 10-24mm f/3.5-4.5 Di II LD £419.00 14-150mm f/3.5-5.8 Di III £439.00 SP 15-30mm f/2.8 Di VC USD £929.00

Sigma MC-11


Visit either of our stores or call 01444 23 70 55 to learn more

See website for full details, and the range of accessories available

36.4 5 FPS


The K-1 features a 36.4 megapixel full-frame sensor with an AA filter simulator, Full HD video, a new SR II 5-axis shake reduction mechanism, and is compatible with numerous lenses.

Body only


Receive a FREE voucher book with over £1,500 worth of vouchers to use against selected lenses!


Starts 5pm: Saturday 24th December 2016 Visit to learn more!

16-300mm f/3.5-6.3 Di II VC PZD £429.00 SP AF 17-50mm f/2.8 XR Di II VC £399.00 SP AF 17-50mm f/2.8 XR Di II LD £399.00 18-200mm f/3.5-6.3 Di II VC £299.00 18-200mm f/3.5-6.3 Di III VC £389.00 18-270mm f/3.5 -6.3 Di II VC PZD £299.00 SP 24-70mm f/2.8 Di VC USD £799.00 SP AF 28-75mm f/2.8 XR Di LD £399.00

AF 28-300mm f/3.5-6.3 XR Di LD £599.00 28-300mm f/3.5-6.3 Di VC PZD £599.00 SP 70-200mm f/2.8 Di LD [IF] £549.00 SP 70-200mm f/2.8 Di VC USD £1,099.00 70-300mm f/4-5.6 Di LD MACRO £129.00 SP AF 70-300 f/4-5.6 Di VC USD £299.00 SP 150-600mm f/5-6.3 Di VC USD £829.00

Prices updated DAILY! Visit us in store, online at or call our expert team on 01444 23 70 55

Sigma 35mm

f/1.4 DG HSM - Canon fit

Sigma 150-600mm f/5-6.3 DG OS HSM | C


In stock at



Canon / Nikon fit now in stock!

Add a Hoya 67mm UV (C) filter for £19 on mention of this advert

Mount Converter Available in Black or Silver!

from Panasonic when purchasing selected lenses with selected G-series bodies. See in store or online for details.

Tamron SP 85mm

NEW! In stock at

Receive up to an additional

Prices updated DAILY! Visit us in store, online at or call our expert team on 01444 23 70 55






In stock at only

In stock at only


14mm f/2.5 II Pancake £329.00 20mm f/1.7 II ASPH £249.00 45mm f/2.8 Macro £539.00 42.5mm f/1.2 O.I.S £1,099.00 7-14mm f/4.0 ASPH £769.00 12-60mm f/3.5-5.6 ASPH £359.00 14-140mm f/3.5-5.6 £405.00 35-100mm f/2.8 O.I.S £799.00 45-175mm f/4.0-5.6 O.I.S £299.00 100-300mm f/4-5.6 O.I.S £399.00 100-400mm f/4.0-6.3 £1,349.00 See website for even more lenses!

£100 cashback



Fujifi Fujifilm lm X-PRO2


In stock


3.0” 4K

See website for the latest information on availability

Fujifilm X-T1

*Prices after £100 cashback from Panasonic UK. Offer ends 09.01.17



Book a FREE Olympus test drive today!


Panasonic FZ2000


The outstanding X-T2 is the fl flagship agship model of the X-Series and boasts a 24.3MP sensor without a low-pass filter, 4K video recording, & offers numerous technical improvements over its predecessor, the X-T1.

Fujifilm Fujifilm X-E2s

*Prices after £100 cashback from Panasonic UK. Offer ends 09.01.17

Panasonic LX15

Cash After Back Cashback £50.00 £299.00 £75.00 £474.00 £75.00 £404.00 £75.00 £474.00 £50.00 £354.00






You pay

3.0” 4K

Spread the cost with our finance options. Learn more at


*Prices after £75 cashback from Olympus UK. Offer ends 15.01.17

IS 3.0”

Wherever your adventure takes you, the G80 packs state-of-the-art 4K Photo capabilities and the latest Dual Image Stabilisation technology into a weather sealed body.

Next-generation OLYMPUS engineering has created the Micro Four Thirds camera of the future – today: the new OM-D E-M1 Mark II. An advanced system of innovative technology and features designed to forever change the power of photography.

Olympus E-M10 Mark II

Panasonic LUMIX G80

3.0” 4K





In stock at only

In stock at only




Purchase unboxed for only £179.00! Call us on 01444 23 70 60.

Lens supplied with MC-11 FE mount adapter to fit it to your Sony body

Available in Canon, Nikon or Sigma fits. See website for details.

4.5mm f/2.8 Fisheye EX DC 8mm f/3.5 Circ. Fish EX DG 15mm f/2.8 Diag F/eye EX DG 19mm f/2.8 DN 20mm f/1.4 DG HSM 24mm f/1.4 DG HSM 30mm f/1.4 DC HSM 30mm f/2.8 DN 35mm f/1.4 DG HSM 60mm f/2.8 DN 85mm f/1.4 EX DG HSM 105mm f/2.8 EX DG OS HSM 150mm f/2.8 OS Macro 180mm f/2.8 EX DG OS HSM

£599.00 £599.00 £499.00 £119.00 £629.00 £599.00 £299.00 £119.00 £599.00 £119.00 £619.00 £319.00 £649.00 £1,099.00

In stock at only

300mm f/2.8 APO EX DG £2,199.00 50-100mm f/1.8 DC HSM | Art 500mm f/4.5 APO EX DG £3,599.00 50-500mm f/4.5-6.3 OS HSM 8-16mm f/4.5-5.6 DC HSM £499.00 70-200mm f/2.8 APO EX DG OS 10-20mm f/3.5 EX DC HSM £329.00 70-300mm f/4.0-5.6 DG Macro 12-24mm f/4.5-5.6 II DG HSM £529.00 70-300mm f/4.0-5.6 APO Macro 17-50mm f/2.8 DC OS HSM £279.00 120-300mm f/2.8 DG OS HSM 17-70mm f/2.8-4 DC OS £319.00 150-600mm Cont. + 1.4x 18-35mm f/1.8 DC HSM £549.00 150-600mm f/5-6.3 DG | S 18-200mm f/3.5-6.3 DC OS HSM £249.00 150-600mm Sport + 1.4x 18-250mm DC Macro OS HSM £279.00 300-800mm f/5.6 EX DG HSM 18-300mm f/3.5-6.3 DC Macro £336.00 1.4x Teleconverter APO EX DG 24-35mm f/2 DG HSM Art £699.00 1.4x Teleconverter TC1401 24-70mm f/2.8 IF EX DG £549.00 2.0x Teleconverter APO EX DG 24-105mm f/4 DG OS HSM £599.00 2.0x Teleconverter TC2001

£829.00 £849.00 £729.00 £99.00 £149.00 £2,499.00 £849.00 £1,199.00 £1,299.00 £5,499.00 £179.00 £229.00 £199.00 £269.00

Visit our website for full details on all the Sigma lenses, as well as special deals on filters!

Lowepro Flipside Trek BP 450 AW

Outdoor camera backpack for photographers who need to bring a balance of pro DSLR photo equipment plus personal gear for a day’s adventure in nature.

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Digital Photo UK – February 2017