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p100

Issue 114

Inside

pages of expert photo technique Portraits,urban, still-lifes & more! p31


C@ntrol MSS

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Bring out the beauty OCF Beauty Dish

The new OCF Beauty Dish is a collapsible and more portable version of the classic Profoto Beauty Dish. When is comes to bringing out the beauty of your subject, it is second to none. Learn more: profoto.com/offcameraflash


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Editorial

Editor Daniel Lezano daniel.lezano@dslrphotomag.co.uk Art Editor Luke Marsh luke.marsh@dslrphotomag.co.uk Senior Contributing Editor Caroline Schmidt caroline.schmidt@dslrphotomag.co.uk Contributing Editor Jordan Butters jordan.butters@dslrphotomag.co.uk Editorial Consultant Jo Lezano jo.lezano@dslrphotomag.co.uk Other editorial contributors this issue:

Gregory Boratyn, Lee Frost, Ross Hoddinott, Richard Hopkins, Richard Pelham & Paul Ward

Advertising & Production

Display/Classified/Advertising: 0207 907 6651 Commercial Brand Manager Alex Skinner alex_skinner@dennis.co.uk Account Manager Finan Tesfay finan_tesfay@dennis.co.uk Production Executive Sophie Valentine sophie_valentine@dennis.co.uk

Publishing

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Welcome

WELCOME TO THE MAY 2016 issue of DigitalSLRPhotography. What’s the longest exposure you’ve ever taken? Half a second; a minute; half an hour? My guess is that if I’d asked you this a few years ago you’d most likely have revealed you rarely – if ever – used a shutter speed longer than 30 seconds. However, since the arrival and subsequent popularity of extreme Neutral Density (ND) filters like the Lee Filters Big Stopper, chances are you’ll have experienced exposure lengths running into minutes. These filters have enabled long-exposure photography – once restricted to night techniques – to be carried out during daylight hours and has opened up a whole new area of creative photography. To help you take full advantage of this popular creative technique, we’ve two major articles with all the ideas, inspiration and advice you need for taking your own stunning images. With the weather being so changeable at this time of year, we’ve also provided a real mix of indoor and outdoor photo skills for you to try this month, from using puddles and shadows as a key part of your images, through to putting your creativity to the test and shooting landscapes with a 50mm lens. We hope you have fun taking great images. All the best!

Daniel Lezano Editor

Join a growing community OVER600,000FOLLOWERSANDGROWING!Getonlineandinteractwiththeexpertsat DigitalSLRPhotography.YoucanfollowusonFacebook(facebook.com/digitalslrphoto),tweet . You can follow us on Facebook (facebook.com/digitalslrphoto), tweet usonTwitter(@digitalslrphoto),joinusonFlickr(flickr.com/groups/digitalslrphoto)oremailus us on Twitter (@digitalslrphoto), join us on Flickr (flickr.com/groups/digitalslrphoto) or email us (enquiries@dslrphotomag.co.uk)tokeepuptodatewithallthat'sgoingoninphotography.

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Long-exposurephotography hasgonefrombeinganiche formofphotographytoone ofthemostpopularinonlya fewyears.LeeFrost,whoshot thismonth’scoverusingan extremeNDfilter,isamaster oftheart.Seehowareader benefitsfromhisexpert adviceonpage52.

Youcangetyourmonthlyfix ofDigitalSLRPhotography inspirationandadvicedirect toyourdoorormobiledevice bysubscribingtoourprint and/ordigitaleditions. Wealwayshavesomegreat money-savingoffersor freegiftsforsubscribers,too! Fordetails,seepage94.

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May 2016 Digital SLR Photography 5


Contents MAY2016/ISSUE114

5 EDITOR’S PAGE WelcometothelatestexcitingissueofDigitalSLR PhotographyfromthepenofEditorLezano… 8 PORTFOLIO Thebestimagesfromaroundtheworld!Fromanimal portraitstomajesticlandscapes,it’sbeenagoodmonth 16 SNAPSHOTS Competitionwinners,toptipsandtricksandallthat’shot andhappeninginthebigwideworldofphotography 25 LOCATION GUIDE OurdestinationistheremoteIsleofEiggintheScottish InnerHebrides,aswerevealthephotopotentialwithin 60 EXPERT CRITIQUE Wantsomefeedbackonyourphotos?Submitthemto ExpertCritiqueforinvaluableadvicefromtheexperts 65 READER SUBMISSIONS Howtocontributeimagesortakepartinourworkshops 77 TEN GEMS FOR LONG EXPOSURES Capturelongexposuresthatlastminutesatatimewith thehelpofourtoptips,ideas,inspirationandadvice 86 NIKON STORY: GREGORY BORATYN Insearchofwildlandscapes,Nikonphotographer GregoryBoratynguidesusthroughunchartedterritory andtheincrediblevistasofPatagonia,SouthAmerica 146 NEXT MONTH ReadwhattreatsJune’sissuehasinstoreforyou!

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25

66

36

40

Phototechnique 32 PHOTO SKILLS: SHADOWS ProfessionalportraitphotographerPaulWardshowsyou whyyoushouldn’tbeafraidofshadowsinthestudio

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36 PHOTO SKILLS: PUDDLE REFLECTIONS CarolineSchmidttakestothecobbledstreetsof Cambridgeinsearchofcaptivatingreflections 40 PHOTO SKILLS: PRO CHALLENGE NEW PhotographerRossHoddinottisstrippedofhisprecious kittoseehowhefaresrestrictedtoasingleprimelens 47 PHOTO SKILLS: COFFEE SPLASH JordanButtersshowsyouhowtobringstill-lifestolife,by injectingasplashofdynamicaction.Onesugar,ortwo? 50 EDIT SKILLS: SPLASH COMPOSITE Ifyou’vefollowedourcoffeesplashtutorial,here’show toeditandcompositeyoursplashimageinPhotoshop 52 PRO WORKSHOP: LONG EXPOSURES TimeblursasLeeFrostoffersoneluckyreaderessential adviceoncapturinglong-exposurelandscapes 66 BEGINNER’S GUIDE: EXPOSURE MODES Oneofthemostfundamentalstepstocapturingimages ispickingthecorrectexposuremodeforthejob…

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CONTRIBUTINGTHIS MONTH: Daniel Lezano With over 30 years’ experience as an enthusiast SLR photographer and 20 years on photo magazines, editor Lezano is as passionate as ever about photography, in particular portraits. Caroline Schmidt With extensive experience as a magazine journalist, contributing editor Caroline is passionate about photography and delivering an inspiring magazine each month. Jordan Butters With a finger always on the pulse of all things photography, Jordan turns his hand to most things: he’s our social media master, features guru and talented pro photographer. Ross Hoddinott OUTDOOR He’s not only an award-winning nature photographer, a leading expert in landscape and wildlife photography, he’s a top tutor, too. rosshoddinott.co.uk Helen Dixon LANDSCAPES Helen is living the dream, having given up a full-time job to live in Cornwall and become a professional landscape photographer. helendixonphotography.co.uk

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Ben Hall NATURE A renowned wildlife photographer, author and tutor, Ben applies his expert knowledge to help improve your wildlife photography skills. benhallphoto.com

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Paul Ward PORTRAITS A pro photographer, Paul is a creative genius and expert on lighting. This month, he takes to the studio to add mystery and interest with shadows. paulwardphotography.com

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Gear:Tested&Rated 99 PRODUCT NEWS AfirstlookatanewCanonDSLR,LeeFiltersNDanda bevyoftemptingopticstoadmireandcovet 100 PRO TEST: CANON EOS-1D X MK II TheSun’sChiefSportsPhotographer,DickiePelham, putsCanon’slatestflagshipprofessionalbodythroughits pacesacrossarangeofdemandingsportsdisciplines 106 ACCESSORIES TEST Wetestandrate thebestbackpacksover£160inthis comprehensivegrouptest.Seewhichcomesoutontop

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94 SUBSCRIBE TODAY! Takeadvantageoftheverylatestsubscriptionoffers

Lee Frost LANDSCAPES A long-standing regular contributor, Lee is a fountain of knowledge when it comes to shooting landscapes and delivering expert tutorials. leefrost.co.uk Dickie Pelham SPORTS Chief Sports Photographer for The Sun newspaper, this month Dickie’s been trying out Canon’s new flagship pro body to see if it’s up to speed. dickiepelham.com Gregory Boratyn LANDSCAPES A software engineer and outdoor photographer, Gregory talks to us about the hidden depths and beauty of Patagonia’s vast landscape. eveningphotography.com Richard Hopkins TESTS With more than 30 years’ experience testing cameras on photography magazines, Richard’s one of the UK’s leading technical experts on photo kit, in particular lenses. May 2016 Digital SLR Photography 7


Portfolio Eye To Eye

By Carlos Santero www.carlos-santero.com

“I'm used to photographing models with flash, but it was my first time photographing cheetahs using it! These are tame creatures living on a private reserve in Toledo, Spain. My girlfriend, Tassja, who is a landscape photographer, had the idea of using the flash so we checked with the animal's handler if it was OK to do so first. I used two flashguns inside two small softboxes to light them against the setting sun.� Canon EOS 6DwithTamron SP24-70mm f/2.8 DiVC USD lens. Exposures:1/100secatf/16(ISO125).


Portfolio

10 Digital slr Photography May 2016


Bjarnarhafnarfjall by Carsten Meyerdierks carsten-meyerdierks.de (Above) “When I was last in Iceland I wanted to photograph

Kirkjufell mountain, but spotted Bjarnarhafnarfjall mountain instead on the way back to our accommodation in Borganes. The reflection in front of me was incredibly impressive. It was almost midnight and the light from the sun hovering above the horizon was just heavenly!” CanonEOS60DwithCanonEF17-40mmf/4Llens.Exposure:1/15secatf/8(ISO100).

Godafoss Sunset by Carsten Meyerdierks (Right) “This impressive waterfall is located in the north of Iceland, near Akureyri. I wanted to capture a long exposure, but I forgot my tripod plate! Since I couldn't find a substitute in Iceland, I bought rubber bands that are actually used for Chinese jump ropes. I managed to use them to tie my camera down onto the tripod to get my long exposure!" CanonEOS60DwithCanonEF17-40mmf/4Llens.Exposure:15secondsatf/9(ISO100).

Tuscany -The Path by Carsten Meyerdierks (Bottom right) “My wife and I almost drove straight past this beautiful little house in Tuscany, Italy. The soft evening light and the brooding, dramatic sky painted the ideal picture. I used the path leading up to the house as a lead-in line, directing the viewer's eye through the foreground of the image and adding depth and dimension.” CanonEOS60DwithCanonEF17-40mmf/4Llens.Exposure:1/30secatf/10(ISO100).

Phantasm by Daniel James Greenwood www.luminarylightcollective.com (Left) “This location in Vancouver, BC, is a spot that I spent hours and hours at learning to use my camera. Every day and night I would further my ability, understanding and creative vision at this location. This image is the result of multiple exposures, which were then manually blended.” CanonEOS6DwithEF24-105mmf/4LISlens.Multipleexposuresatf/8(ISO100to2500).

May 2016 Digital SLR Photography 11


Portfolio

Maiden by Nikki Harrison chasinglightactions.com (Above) “Shooting with continuous lighting allows me to utilise

a wonderful shallow depth-of-field. This was lit in the studio with a Westcott Spiderlite stripbox hung from an overhead boom as the model laid across an ottoman below. We wanted a floral theme, so the bodice and skirt were made by me and I used my own floral overlays to add to the effect.” CanonEOS5DMkIIIwithSigma50mmf/1.4 Artlens.Exposure:1/100secatf/1.4(ISO160).

Ruby Siren by Nikki Harrison (Left) “This was a spur of the moment shoot, using only natural light. We actually shot it on the street outside of the clothing designer's store! It was a simple shot – I positioned the model in the shade for even lighting whilst retaining the dappled background light, and used a wide aperture.” CanonEOS5DMkIIIwithCanonEF135mmf/2Llens.Exposure:1/200secatf/2(ISO160).

Silent Ancients by Nikki Harrison (Right) “As with the previous shot, this was taken on the street

using natural light. I made sure the model faced the bright sky with her back to a dark background. I think the whole shoot with these two ladies took less than 30 minutes. Most of my images are finished in processing using Alien Skin software.”

CanonEOS5DMkIIIwithCanonEF135mmf/2Llens.Exposure:1/320secatf/2(ISO200).

500px Perfect for photos Every photographer featured in Portfolio receives a year’s Awesome membership to online photo community, 500px. The Awesome membership includes unlimited uploads, advanced statistics, Google Analytics support, a customisable portfolio and the option to licence your images through 500px Prime. 500px is the perfect place to discover, share, buy and sell inspiring images from the best photographers from around the world. Formore information on 500px memberships,visit:www.500px.com/upgrade

12 Digital slr Photography May 2016


Portfolio


Dreams by Valentino Grassi valentinograssi.4ormat.com (Above) “This is a self-portrait, taken at the top of Mount

Petrano in Marche, Italy. The light was perfect, however it was very windy, making capturing the image a challenge. I used a tripod to take a photograph of myself holding a red ball and then, in processing, selected the ball and multiplied it several times, adding blur to match the depth-of-field.” CanonEOS5DMkIIwithSigma35mmf/1.4Artlens.Exposure:1/640secatf/6.3(ISO100).

Rebirth by Valentino Grassi (Right) “Sometimes it's the images that you don't plan that

work out the best. A friend and I visited an abandoned house with a different shot in mind, however we didn't like the result. With the addition of a smoke bomb we were able to create this moody effect and highlight the light rays bursting in through the window.” CanonEOS5DMkIIwithSigma35mmf/1.4Artlens.Exposure:1/500secatf/2(ISO250).

Lumen et Umbra by Valentino Grassi (Below right) “Another abandoned place – this time I was by

myself. I find that derelict locations spur my creativity. By chance, I found a light bulb on the floor and this idea came about at that moment. I attached the bulb to a piece of thread and shot it in multiple positions, before taking a self-portrait. The glow was added during processing.”

CanonEOS5DMkIIwithSigma35mmf/1.4Artlens.Exposure:1/100secatf/2.5(ISO500).

Breaking Dawn by Siân Monument fb.com/imagesbysianmonument (Left) “This tree is popular for local photographers and is hidden along Llyn Padarn in Llanberis, North Wales. During the winter the sun rises in the middle of Snowdonia's mountain range. I arrived early to secure my spot and I'm glad I did as there were at least seven of us lined up. Then it happened! The lake was still, giving me perfect reflections.” NikonD5300withTokinaAT-X11-16mmf/2.8lens.Exposure:0.4secondsatf/10(ISO100).

May 2016 Digital slr Photography 15


/ YourmonthlYphotodigest

Into

the Deep Fromlong-Forgottenwreckstocuriousdeep-seacreatures,vibrant marineliFeandamazingwide-angleviews,theresultsoFthisyear’s underwaterphotographeroFtheyearawardareasighttobehold

t

here’s a strong relationship between water and photography. landscape photographers often flock to rushing rivers, serene still lakes or the constantly changing coast in search of stunning photographic potential. puddles can also be the source of interesting images (see p36 for details), a sudden downpour is known to create brilliant bokeh, while a long exposure can render moving water an ethereal blur (see p77 for more on this, too). But there are even more possibilities when you take your camera below the water's surface, as attested to by the winning images from this year’s Underwater photographer of the Year (UpY) awards. When you consider that around 71% of the earth’s surface is covered by water and that our oceans, rivers and lakes contain some of the most mesmerising and vibrant species of

wildlife on the planet, subsurface photography is a match made in heaven! it’s now even easier than ever to capture this other world's glorious light, with dedicated underwater cameras and marine housings available for all manner of Dslrs and mirrorless models. this year’s UpY award was split into eight categories covering a spectrum of disciplines, from macro to wide-angle, wrecks to shots taken with a compact camera, with special categories for images taken in UK waters. there were also four special awards: Most promising Underwater photographer, Up & Coming Underwater photographer, British Underwater photographer and overall Underwater photographer of the Year 2016. prizes ranged from scuba gear to specialist photography kit and even diving holidays in the Maldives and egypt!

Wide-AngleCommended:icebreaker by tobiasFriedrich. "weperformedthisdiveinaprilingreenlandtophotograph theicebergs.thewaterwasaround-2°cbutassoonaswe sawtheicebergduringthedive,theicytemperaturewas quicklyforgotten.thestructuresofthegianticeberg shimmerblue-greenishinthestrongsunlight." toBias FrieDriCh WWW.BeloW-sUrFaCe.CoM


© DaviDe Lopresti/UpY 2016

s sn naps pshot hots s / The world of photography

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18 Digital slr Photography May 2016

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© trevor rees/UpY 2016

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© Dan BoLt/UpY 2016

1)UPYOverallWinner:Gold by DavideLopresti. ”OvertheyearstheMediterranean’sseahorsepopulationhas drasticallyreduced.Areasoftheseahavenowbeensetasideas protectedfromharmfulfishingmethods,suchastrawling,allowing vulnerableanddelicatecreatures,likeseahorses,toreturn.Thisis whatIhopedtocelebratewiththisimage.” 2)Up&ComingUPYWinner:ThreePillars by PierMane. “Iwantedsunrays,dramaticforeground,dramaticperspectiveand tocapturethe'masterofthehouse'inallofitsmystique.Thethree spongeswerewell-positionedtosetthescenebeneaththeboat andittookcountlessshotstobalancetheelementsIwanted.“ 3)BritishUPYWinner:CatsharkSupernova by DanBolt. "JustoffaheadlandatThurlestone,Devon,isareefsystemfavoured asalayinggroundfortheeggs,or'mermaidspurse', ofthesmallspottedcatshark.Positioningmystrobetooktimebuttheresulting imageshowsthehiddenbeautywithinthisreproductivesystem.“ 4)MostPromisingBritishUPYWinner:Firedupand'almost'readyto go by MartyEngelsDunmore. “Itisn'teasytoproduceauniqueimageoftheUSSKittiwakewreck. Thiswastakenwithoutanystrobesbutwiththeaidofmydive-torch, whichIpositionedwithintheenginetogiveanextrafocalpoint.“ 5)WrecksCommended:RoziTugboat by TrevorRees. “TheRozitugboatwreckatĊirkewwainMaltaliesonasandysea bed30-metresdeep.Acooperativedivebuddyhasposedforme toaddabitofinterestandscaletotheimage.Visibilityatthetimewas excellentandjustavailablelighthasbeenusedforexposure.”

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© MartY engeLs DUnMore/UpY 2016

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© pier Mane/UpY 2016

italian Davide Lopresti fought off competition from 54 other countries to take the overall top honours for his image, entitled gold (above), which also won the international Macro category. Davide’s image, which combines a slow shutter speed with intentional camera movement and a burst of flash, shows a bright yellow spiny sea horse against a wash of aquamarine blue. speaking of the winning image, UpY judge Martin edge commented: "Blue surrounds the entire four corners, which helps to keep the eye of the viewer firmly focused on the detail of the sea horse. the eye cannot escape the frame, it continues to rotate in circles. Complementary colours of blue and yellow are entirely responsible for the 'wow factor', which this image has from first viewing." submerse yourself in this selection of our favourite images from the award, but remember to head to the UpY London website and check out the rest of the images for yourself by visiting: www.underwaterphotographeroftheyear.com


sn pshots

overallWINNer:Elena Marimon Munoz © eLena marImOn munOZ

The2015BriTishLife PhoTograPhy awards announced getaglimpse ofwhatrealbritish life is like withan insightfularrayof photographs

W

hat makes us British a multi-cultural society? It’s one of the questions the sony-sponsored British Life Photography awards set out to visually answer through a series of categories that capture the diverse lifestyle, landscapes and lunacy that make us great. From rural and street life to the British face and weather, the categories attracted a wide cross-section of photographers and subjects, documenting real life through original and illuminating imagery. In its second year, the competition has become a true celebration of British life and culture with all its wit and poignant subject matter. Photographers of all abilities are able to enter up to 40 images across ten categories to have a chance at winning a slice of a £10,000 prize fund, with each single-image entry costing £5 or 20 images for £20. this year’s winner, elena marimon munoz, won a sony X9 4k 55in television, a7s full-frame camera and a Zeiss Fe 24-70mm lens (totalling nearly £6,000) for her past-present image of stonehenge. each of the category winners won a sony a6000 kit or a sony Cyber-shot camera. this year’s images were judged by magnum photographer Chris steele-Perkins, editorial photographer and filmmaker David Yeo and picture editor from British Vogue, mike trow, which is quite the line-up. We’ve a selection of the winners and shortlisted entries here, but you can see the full collection at the Banbury museum, in Oxfordshire, 25 march to 9 July. Or you can purchase the BLPa Book from the website. entries to the 2016 contest open 1 July. www.blpawards.com

youNgWINNer:Luke Dray © Luke DraY

urbaNlIfeWINNer:Nick Isden © nICk IsDen

May 2016 Digital slr Photography 19


Snapshots / The world of photography GooGle is watchinG supercomputertaughthow toidentifyimagelocations

the seasons have seemingly been all over the place recently, but one thing you can usually count on here in the uk is the arrival of april showers. if the heavens open you needn’t pack your camera away – make the most of the moisture by trying these creative ideas (just remember to pack your waterproofs, a 'brolly' and a rain cover for your camera!).

Backlightfor Bokeh

Shutter Speed

using a wide aperture during a downpour is one sure-fire way of creating bokeh, but to make the most of the out-of-focus precipitation, you simply need to add some backlighting. Street lamps, a quick pop of flash or the setting sun are all ideal. Place your subject between the camera and the light source to capture nice rim-lighting and the frozen specks of water in the air.

how rainfall is portrayed is entirely down to your choice of shutter speed, and you can use this to creative effect. use a slower shutter speed – between 1/60sec and 1/160sec – to capture the rain as long streaks, implying motion. alternatively, increase the iSo, pick a wide aperture and a fast shutter speed – 1/1000sec, for example – to freeze the droplets in mid-air. helen dixon

wavebreakmedia / ShutterStock

rainyportraitS

rainy day portraits can be worth getting wet for! the good news is that the light is soft due to the cloud cover. try photographing your subject through a rain-splattered window for a moody effect, or ask them to don wellies and joyously jump in a puddle, timing your shot to capture the splash. reflections in puddles, kids holding umbrellas – there’s loads of potential ideas.

four SeaSonS landScape

the world around us changes a lot over the course of a year, and a great way to document this (and to strengthen your photographic resolve!) is to take on a long-term photo project. it's simple – pick a landmark or scene and photograph it at regular intervals over 12 months. Popular subjects include village scenes, wide vistas or the classic solitary tree. You could capture four images depicting the typical weather for each season, or visit monthly to show the scene changing throughout the year. if you’re feeling dedicated you could even shoot every day to make a time-lapse video. whatever you decide, for consistency, make a note of the focal length that you use and remember the position that you shoot from so that the final images match up.

Striking SunSetS

clear blue days make for uninteresting sunsets – with no cloud in the sky there’s simply no drama. the perfect weather for a picturesque sunset is scattered showers and sun, so if the forecast looks right it’s time to grab your camera. the right ingredients are there – warm light, sunset colours, moody grey rain clouds and even the potential for a rainbow – all you have to do is capture it! Stanimir G. Stoev / ShutterStock

Try it yourself...

20 Digital Slr Photography May 2016

Stone36 / ShutterStock

GriGoriev ruSlan / ShutterStock

humans have an uncanny ability to guesstimate roughly where in the world any photo was taken. we use clues learnt over the years – terrain, road markings, signs, geology and buildings – to form an educated guess. california-based tech giant Google has now managed to teach this very human ability to a computer, so that it is able to recognise a location simply by looking at an image. Google's Photo Geolocation with convolutional neural networks system (Planet, for short) analyses pixels to identify landmarks and formations. it’s really quite clever: first, Google's scientists divided the world into a grid of 126,000 areas, with popular locations occupying smaller grids and areas less often photographed covered by a large grid. then, 126-million geotagged images were fed in to ‘teach’ the a.i. the system, which works solely on visuals and doesn’t read metadata, was tested using 2.3-million Flickr images – 3.6% of the images were identified with street-level accuracy, 10.1% were correct at city-level, 28.4% were in the right country, and 48.0% were placed in the right continent. impressive! Google also put Planet to the test using GeoGuessr (geoguessr.com) and, when given 50 random locations to identify, it was found to be more accurate than a human opponent at 28 locations. Planet averaged just 1131.7km off the mark, while the median human error was 2320.75km! with Planet 'learning’ all the time, how long will it be before it can successfully identify any location on sight alone? to read more about the project, visit: http://goo.gl/llwujZ

What toShoot:aprilShoWerS


The world of photography \

Snapshots

StaniSlav Duben / ShutterStock

ThePhoToShow

Smile with

MAkEuSLAugHFORACHANCEOFWiNNiNgASAMSuNg64gBSDXCPROPLuSMEMORyCARD!

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aMSunG’S lateSt Pro Plus SD cards are designed for ultra-fast data transfer, with read speeds up to 95Mb/sec and write speeds up to 90Mb/sec, making them ideal for highresolution images and 4k video. Plus they're waterproof, temperature-proof, X-ray-proof and magnetic-proof, so you can be sure of their reliability no matter the conditions. So you can experience this superior card for yourself, Samsung is generously giving one away. all you have to do is come up with a witty caption for the image above. email it with subject 'Smile this May' to enquiries@digitalslrphotomag.co.uk by 17 May 2016 and, if you make our sides split, you’ll scoop a Samsung Pro Plus 64Gb SDXc card worth over £80. uk entries only. www.samsung.com

Around 30,000 photographers headed up to the Birmingham NEC to attendThe Photography Showin late March.The event allowed punters a chance to touch and trya range ofproducts including cameras, lenses, lighting and printers. This included recent releases such as Canon’s EOS 80D, Fuji’s X-Pro2 and Sigma’s 50-100mm f/1.8 premium zoom.Among the manyevents and talks, the highlightwas on the Nikon stand where Helen Sloan, Principal Stills Photographer forGame OfThrones, captivated a packed audiencewith details ofherworking life. Digital SLR Photography had several contributors at the showincluded Ross Hoddinott,who provided critiques on the Nikon stand and Brett Harkness, whowas on the Pentax stand to talk about the 645Z medium-format camera.With showdeals to be had, too, it certainlyproved to be a great dayout fordedicated photographers.

What We’ve been Watching LOOkiNg FORviSuALiNSPiRATiON? HERE’SWHATTHE DiGiTaLSLR PhOTOGRaPhyTEAM HAvE BEENWATCHiNgTHiS MONTH…

LandScaPeTraveLPhoTograPhy vLog:TromSø inwinTer bythomas heaton british professional landscape photographer thomas heaton’s popular Youtube vlog (video + blog = vlog) channel is a great place to start if you’re looking for a behind-thescenes peek at the workings of a modern landscape photographer. in this episode, thomas visits tromsø in norway in search of epic landscapes, sharing the ups and downs of his trip. http://bit.do/DSLR_1141

cameraTriPodS: howiT’S made byScience channel a tripod is something photographers tend to take for granted, but have you ever thought about the manufacturing process that goes into creating these precise and essential tools of our trade? this short and informative video takes a trip into the Manfrotto factory and shows, albeit in a very matter-of-fact and americanised manner, how tripods are made by man and machine working in harmony. http://bit.do/DSLR_1142

waTch: PoLar Bear chargeS naTgeo PhoTograPherS bynational Geographic if there’s one thing you don’t want on your tail when carrying a load of heavy camera equipment, it’s a hungry polar bear. Members of National Geographic's crew found themselves the subjects of a huge polar bear’s interest in the russian arctic. they narrowly escape with some of their kit while the bear takes an interest in a camera left on the beach. http://bit.do/DSLR_1143 May 2016 Digital Slr Photography 21


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The world of photography \

PhotoEssentials

7WAYS TOPROTECT YOUR IMAGES 1 OURWORKISONEOFOURMOSTPRECIOUSASSETS–CAMERAS ANDLENSESCANALWAYSBEREPLACED,BUTIMAGESOFTEN CANNOT!TOPREVENTTHEHEARTACHEOFLOSINGPHOTOS, FOLLOWTHESESTEPS–IT’SBETTERTOBESAFETHANSORRY…

QUALITY COUNTS Whilenobrandisfault-free,you minimisetheriskofacorruptimages bystickingtopremiumbrands–SanDisk, Lexar,Transcend,PNYandSamsungto namebutafew.Ifacardshowssignsof occasionallycorruptingimages,throwit away–it’slikelytobeonthewayout.

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USESMALLERCAPACITIES Ratherthanusingonehighcapacitycard,splityourshooting overseveralsmallercards.Thatway,if onecardfailsorgoesmissing,you’veonly lostsomeofyourwork,ratherthanallof it.It’sthephotographicequivalentofnot puttingallofyoureggsinonebasket!

ESTABLISHAWORKFLOW Putinplaceanimportingroutine andestablishanorganisedfolder systemonyourcomputerandsticktoit. Software,suchasAdobeLightroom, makestheprocessflowsmoother– imagesarestoredwithinacatalogue, includinganyprocessingchanges.

DOUBLEUP IfyoushootbothRawandJPEG andtheRawfilescorrupt,atleast youstillhaveJPEGversions.Ifyour cameraofferstwocardslotsthenshoot tobothofthem,splittingyourfilesover bothcardseitherviatheBackupoption, orRawtooneandJPEGtotheother.

USEMULTIPLEDRIVES Harddrivefailureisfarmore commonthanyouthink.Avoiddata lossbybackinguptomultipleexternal drives–eitherusingaRAIDfilesystem, whichwritestoseveraldrivesatonce,or byimportingnewimagestotwodrives eachtimeratherthanjustone.

DON’TDELETE Don’tformatyourcardsuntilyour imagesaresafelytransferredtoa computerandyou’vecheckedthemover andbackedthemupagain.Problemscan occurduringtransfer,andharddrivescan failwithoutnotice,soit’sbesttoleave thembeuntilyouneedthespaceback.

Snapshots

Photo Fact: Didyouknow? Canon’s premium L-series range of lenses are easily identifiable by their red ring, while many of the large telezooms are also painted an off-white colour. While the ring is cosmetic, the light colouring on larger telephoto L lenses actually serves a purpose – heat dissipation. As the glass elements within lenses can expand with heat, the light colour is designed to keep the lenses cool when being used in warm climates. With smaller lenses this doesn’t cause too much of an issue, but with larger telezooms with bigger elements, this can push the elements outside of the tolerances for optimum performance. So now you know!

BACKUPTOTHECLOUD Usingmultipleharddrivesisn’t foolproof,especiallyifthey’rekept inthesameplace–whathappensif there’safireortheft?Investincloud storage,suchasBackblaze,CrashPlanor Dropbox.Thesecanbescheduledto automaticallyback-upforafee.

Quick E Ed dit

Switching layers shortcut

When working with multiple layers in Photoshop it can become a bit of a bind to have to keep moving your cursor over to the Layers palette to switch between layers. Fear not – there is an easier way. Simply hold down the alt key whilst pressing either the [ or ] keys to cycle back and forth between your visible layers. Just think of the wear and tear on your mouse you'll save! May 2016 Digital SLR Photography 23


Focal length: 35mm Exposure: F/1.8 1/15sec

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The LocationGuide

TheIsleofEigg EiggisawildandwindsweptislandoffthewestcoastofScotland.It’salsohometosomeofthemoststunning coastallandscapesintheBritishIslesandtheperfectplacetospendafewdaysexploringandshooting LOCATION: INNER HEBRIDES, SCOTLAND / OS REF: OS EXPLORER 397 OR LANDRANGER 39


The TheLocationGuide LocationGuide

The Isle of Eigg Located some ten miles off the Arisaig coast and measuring roughly five miles by three, Eigg, along with Rum, Canna and Muck, make up the Small Isles of the Inner Hebrides. From a geological point of view, Eigg is fascinating and also has a great variety of habitats that support wildlife including golden eagles, corncrake, otter and over 500 species of flowering plants. The present permanent human population is around 75. If you look at Eigg on Google Earth you’ll see that it’s a very barren, rocky island and most of the land can only be accessed on foot. A single-track road runs from Galmisdale in the south-east corner, where the ferry docks, up to Cleadale, the main settlement in the north of Eigg, with side roads to farms at Kildonan and the abandoned settlement of Grulin. There are two main coastal locations on the island – Laig Bay (pronounced Lag Bay) and Camus Sgiotaig (Singing Sands), both relatively close together and located on the north-west coast. There are other places worth a visit, which we’ll come to later, but the bulk of your time should be spent at these two. Why? Because the coastal scenery is varied and beautiful. Begin with a visit to Laig Bay. If you’re staying at Lageorna guesthouse (see panel) you can walk down a track past the church and postman’s house and be on the beach in ten minutes. If you’re cycling around the island, you could probably ride all the way down to the bay, or leave the bike near the church and walk the last bit. Laig Bay features a broad, sandy beach with shallow outflow streams that run out over the sands and create beautiful, filigree patterns. Directly across the water is the island of Rum. Its distinctive mountainous outline will feature in many of your images made along this stretch of coastline. In fact, the main challenge on Eigg is to take a great shot that doesn’t include Rum! You can visit Laig Bay at any time of day for successful shots. At sunrise the sun is behind you as the beach faces west/north west. In clear weather, first light hits Rum, which can work really well if you use an ND grad over the sky and Rum so the shady foreground of Laig Bay isn’t underexposed. If there’s broken cloud around you may get some soft colour bleeding through the westerly skies over Rum too. Due to its aspect, however, late afternoon/early evening is a much better time to visit Laig Bay as you can catch the evening light as the sun drops in the sky. Then shoot sunset and twilight (the colours in the sky reflect beautifully in the wet sand and sea) and the ‘blue hour’ until darkness falls. 1)LAIGBAY: AsviewedbathedineveninglightwithRuminthe distance. 2)LAIGBAY: Makinguseofthestormyskiesand reflections. 3)THEHARBOUR: Hometosomeofthemost photogenicweatheredoldboats. 4)CLEADALE: Asseenfrom nearthesummitofAnSgurrwithSkyeinthedistance. 5) LaigBay’serraticsprovidegreatforegroundinterest. 6)ARDNAMURCHAN: ShotfromthesummitofAnSgurr.

26 Digital SLR Photography May 2016

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LeeFrost:“WhyIloveEigg” “I’ve had a fascination with freedom and isolation that small islands offer since I was a child. Eigg is particularly interesting because it’s privately owned by the islanders, many of whom aren’t native or even Scottish but chose Eigg as their home as it offers a very different lifestyle. It’s a quirky place with a strong New-Age/green vibe. The island’s history is fascinating too: tales of famine and massacre going way back to the days of the clan wars and clearances. This has nothing to do with photography, but does make a visit to Eigg more interesting as it’s like a living museum, with evidence of its evolution and settlement stretching back centuries. Of course, the main reason to visit with a camera is the beautiful coastal scenery. There aren’t lots of locations to choose from, so you keep going back to the same ones. But for me that’s a good thing because you get to see them at different times of day and in different weather conditions; after a few days you feel like you’ve really got to know the place.”


The LocationGuide ALL IMAGES: LEE FROST

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Useful Information Where is it? Eigg is the second largest of the Small Isles (after Rum) in Scotland’s Inner Hebrides and is located off the west coast of Scotland, south of the Isle of Skye and north of the Ardnamurchan Peninsula. Getting there: You’ll need to take the daily ferry as a foot passenger from the port of Mallaig, which is approx 150 miles (3½-hour drive/five hours by train) from Glasgow and approx 45 miles (1½-hour drive/two hours by train) from Fort William. The ferry is operated by Calmac (www.calmac.co.uk), takes 75 minutes and costs £7.70 return. Getting around: Visitors can’t take their own vehicles to Eigg – you’ll have to leave your car at Mallaig ferry terminal. There’s no public transport on the island either, though there is a minibus taxi service. Your best bet is to hire a bicycle – you can do this at the pier – so you can get about, or stay at a B&B on the west coast so you can walk to the main locations. B&B owners offer a pick-up/drop-off service to guests. Places to eat and sleep: You can wild camp on Eigg. There is a well-stocked shop and café/pub by the ferry pier where you can buy supplies. There are three B&Bs on the island. Lageorna (www.lageorna. wordpress.com) is the best located for Laig Bay and Singing Sands if you’re on foot and also serves great food. Tig an Sithean (01687 460049) is also well located and has log cabins as well as a guesthouse. Kildonan House is the third option (www.kildonanhouseeigg. co.uk). There are many self-catering properties, too. Visit www.isleofeigg. net for more information about the island and its facilities. Local camera shops: None locally. Ffordes Photographic Ltd, Inverness-shire, 01463 783850 (www.ffordes.com); Webster of Oban, 122-124 George Street, Oban PA34 5NT, 01631 562917.

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In terms of subject matter, at the point you enter the beach from the track there’s an outflow stream that offers great foreground potential. Maybe use a slow shutter speed to blur the water as it flows over the sand and creates gentle patterns, or use the jagged sandy edge of the stream as a lead-in line that carries the eye towards the sea and Rum on the horizon. Be careful where you walk as boot prints in the sand can take days to clear. It’s impossible not to leave your mark as the sand’s soft, but be careful not to spoil foreground that you might want to use. It’s safer to stand in the stream (wellies will be handy) and bed your tripod legs down

as the movement of the water continually smooths out the sand and will hide any trace you were there once you step out. If you head left of this stream the beach extends for half a mile to a farm at the end. All along this vast tract of empty beach you can find wonderful patterns in the sand that make great foreground interest, or images in their own right – you could spend hours just shooting sand patterns. Keep walking and you’ll find another wide, shallow outflow stream where the water creates herringbone patterns as it flows over the sand. Any weather other than heavy rain can yield good shots on this beach. When the

weather’s stormy it has a dark, dramatic feel to it and Rum looks menacing with clouds swirling around its peaks. In overcast weather the light is soft and the sand patterns really stand out. It’s also a great place to shoot long exposure images with a ten-stop ND filter, to blur the outflow streams, soften the sky and capture cloud streaks. Turn right at the first outflow stream and within metres you encounter a rocky foreshore. There’s an area of flat rock with ridges, boulders and rock pools that make strong foreground interest in wide-angle views. Get down low with a 16-35mm or equivalent lens on your DSLR and you can May 2016 Digital SLR Photography 27


The TheLocationGuide LocationGuide

The Isle of Eigg really make a feature of the foreground, while an ND grad will take care of the sky. At low tide you can walk around the coast towards Singing Sands. If the tide’s up though, the beach will be submerged and you’ll be forced to scramble over rocks, which can be hard and dangerous. You have to somehow explore the stretch of coastline between Laig Bay and Singing Sands as it’s home to some amazing features. The variety of rocks is incredible: sandstone cliffs, erratics, concretions, rock pavements with rock pools, long dykes and boulders. The easiest way to reach it is to head north on foot along the clifftop near the church, above Laig Bay, then after you cross a rock stream, look out for paths in the grassy bank and make your way down to the foreshore. The afternoon is best as you can shoot as the sun drops and stay though sunset and twilight. You’ll run out of time before you run out of foreground options! Be sure to take a torch because if you stay until the light fades, you’ll be walking back towards the church in darkness – it’s a 20 to 25-minute walk. To reach Singing Sands, stay on the road that passes Lageorna guest house then when it forks, take the left fork and follow it to the end. From there you can walk across the fields to the clifftop and follow the path roughly north until you see the beach below. There’s a clear view of Rum from the clifftop path – you can shoot great panoramas from there too before going down to the beach. Singing Sands gets its name from the fact that when you walk across it the sand sometimes squeaks, as though its singing. Arrive mid-late afternoon so you have time to explore and watch the light change and improve. Walk left and you’ll find boulders, dykes, rock pools and pristine sand to use as foreground. There’s also a beautiful waterfall that cascades the cliffs and into a narrow gorge that’s wide enough for one person and a tripod. Even in harsh sunlight the waterfall is usually softly lit, though you do get some sunlight reflecting through a hole in one side of the gorge and this can look beautiful. Singing Sands is a superb location for sunset. Use gentle sand ripples as foreground interest and capture the colours in the sky reflecting in wet sand, shallow pools and waves lapping at the shore. Inland, the crofting landscape on Eigg is typical of Hebridean life. Isolated crofts are scattered around, some ruinous and with farming machinery that can be viewed as an eyesore or great subject matter – ideal for infrared shots. An excursion can also be made to the abandoned 17th Century township of Grulin, which nestles under the southern cliffs of An Sgurr and can be found west of the pier at the end of a single-track road. If time and weather permit, it’s worth walking up towards the summit of An Sgurr, a 1,200ft-high basalt ridge that dominates the island. Travel towards Grulin and pick up the path near a farm. The walk takes 40-60

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minutes and involves crossing heather moorland on a rough path that rises steadily with only a few steeper gradients – nothing difficult unless you’re carrying too much kit! The path leads to a saddle about halfway along the ridge where you can enjoy stunning views of Eigg and beyond to Rum, Skye, Muck and the Mainland. Mull, Coll, Tiree and the Treshnish Isles can also be seen on a clear day. The walk from the saddle to the summit takes another 15-20 minutes, though it doesn’t offer significantly different images or better views.

Finally, the harbour near the pier is worth a visit. There are a few old abandoned boats that can be the source of interesting detail images or used as foreground interest in wider views. On a dull day this is a good spot to shoot images to convert to black & white. There are 790 islands off the coast of Scotland. Eigg isn’t the biggest, the smallest, the wildest, or the most remote. However, it is a fantastic place to base yourself for a few days, to leave crowds and traffic, and by the time your stay is over we guarantee you’ll have some images to be proud of.


The LocationGuide ALL IMAGES: LEE FROST

Start Shooting... Things to shoot: Stunning coastal scenery such as sandy beaches, views back to the mainland and ruined crofts. You can expect to photograph rocky foregrounds, sand patterns, outflow streams, rock details, rusting farm machinery, dramatic skies, great sunrises and sunsets. When to go: The Isle of Eigg is a fantastic place any time of year. The summer months (July and August) are perhaps the least interesting weather-wise, but September and October can be great for the light and weather. Eigg never gets busy but most visitors do go during the summer months. Recommended kit: Wide-angle, standard and telezoom lenses; a sturdy tripod and head; remote release; ND grads, polariser and ten-stop ND filter; waterproof sheet to put your bag on when you’re shooting on wet sand; wellies.

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Tide info: You will find that most of the photography on Eigg is coastal and some of the locations are tide-dependent so it’s handy to know the tide times. This info is readily available via smartphone apps such as AyeTides, or on websites such as: www. seabritain.co.uk/eigg-islandhighland/weather-and-tides and http://bit.do/DSLR-Eigg-weather.

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7)SINGINGSANDS: Apanoramicimageshotfromanearby coastalpath. 8) TheHiddenWaterfallatSingingSandsis almostalwaysinshade,lendingitselfnicelytolong exposures. 9) SingingSandsatsunsetandlowtideoffer upbeautifulsandripplesforforegroundinterest. 10)THEMAINLAND: AsphotographedfromGlebeBarn.

Keep shooting! Other great locations near the Isle of Eigg (*All distances measured from Isle of Eigg)

1)ROADTOTHEISLES

The 43-mile drive from Fort William to Mallaig is one of the most stunning in Scotland, taking you through ‘Bonnie Prince Charlie’ country. You can make stops along the way to photograph Ben Nevis and Loch Eil at Corpach, the Caledonian Canal, The Glenfinnan Monument and Glenfinnan Viaduct.

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The town where you catch the ferry to Eigg is worth an hour or two of your time – consider spending the evening before a morning ferry. Take a stroll around the busy harbour to photograph the boats, then wander along the waterfront. The Mallaig Circuit Walk has great views over the harbour and Loch Nevis to Knoydart.

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3)ARISAIG

It’s about 17 miles from Mallaig but the drive between the two places will reward you with some breathtaking sea views and at Arisaig there’s a beautiful white sand beach – Camusdarach – with dunes, streams and views to the Small Isles. It’s where the scenes from Hamish MacBeth and Monarch of the Glen were filmed. May 2016 Digital SLR Photography 29


Sony A7r mkII, 16-35mm @ 18mm. 1/80 sec @ f/8, iso 100

St Andrews Bay A remote island lost in the south Atlantic, South Georgia is a world-class synthesis of coast, mountains and glaciation. It is also home to the earth’s largest colonies of Kings, arguably the most charismatic penguin species of them all.

LEE 0.6 ND very hard grad filter

As a tripod-loving landscape photographer, tackling this tremendous wildlife/landscape opportunity was always going to be tricky, especially as our arrival at St Andrew’s Bay coincided with some brilliant – and contrasty – early morning light. Unsurprisingly, wild creatures do not generally pose for pictures and are in constant motion, so this, and other images had to be shot hand-held, moving around them and trying to keep a respectful distance too, no easy task. A very hard 0.6 ND graduate (two stops) bridged the contrast conundrum, with its abrupt step ‘dissolving’ nicely in the scene just above where the mountain meets the sea. I was able to retain highlight detail in the sky and had perfect exposure on the Kings, pretty important for retaining feather texture in the darkest shadow zones. Such accurate control of light is why I carry as many as ten grads on a shoot, with gradients from very hard to soft. Very hard grads were once made only to order, but are now being made available to all. You may not be able to p-p-pick up a King penguin, but you can obtain a very hard step LEE grad. Happy days! NEW Very hard grad filter Joe Cornish

www.joecornishgallery.co.uk

www.leefilters.com


PH TO SKILLS ideas &advice for better photos

make a splash p50

essentialphotoshopstepsfor mergingastill-lifesplashsequence

p32 shadoWplaY:hoWtousecreativeshadeinyourportraits

p47 acupofjoe:composeandcompositeastrikingstill-life

p36 puddles:turnyourscenesontheirheadsforaneWvieW

p40 prochallenge:Whatopportunitiescanonelensoffer?


PH TO SKILLS

Shadow play professionalportraitphotographer paulWard shoWsyou hoWto bringyour creativityoutofthe shadoWs using propsandasimple one-lightset-up Camera: nikon d800 / Lens: nikkor af-s 24-70mm f/2.8 / aCCessories: nikon sb-26 flashgun

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triking the balance between light and shadow is the essence of perfecting portrait lighting. controlling the placement of shadows to flatter, sculpt and create mood, versus light to illuminate features and create contours, is a life-long learning process for many portrait photographers. but occasionally, we like to toss the rule-book out and look for ways to use different densities of shade to cast creative shadows for style rather than substance. adding stencilled subjects, such as lace, venetian blinds, mesh or even foliage in front of a light to cast shadows on a model, may not create the most flattering of shadows but they add interest, intrigue and creativity. getting desirable results isn’t as simple as putting a lace doily in front of flash; the power of the light, the type of light, the distance of the light to the stencil and to the subject will all impact on the results. as every scenario is different, you’ll need to adjust the angle of your model to get the best shadows and also apply the inverse Square law (iSl) while trying to establish the strongest and sharpest shapes. in brief, iSl states that for every unit of distance an object is away from your flashgun, the intensity of light it receives is 1/distance2, for example: if the subject is a metre away and the flashgun is at full-power, then if you move your flashgun two metres away the subject is receiving the equivalent of ¼ power. it’s often difficult to grasp in theory, but you’ll see what we mean once you get started.


PH TO sKIlls

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TesTThe lighTs Before the model is ready, experiment with different lighting types to assess what set-up provides the sharpest and strongest shadows. A lace tablecloth worked well to give me an idea of what the best light modifier and distance would be, without needing my subject to be in place. A flashgun was a clear winner, with a studioflash and snoot close second. The wider and closer the light to the lace, the larger and softer the shadows tended to be.

howToediTyourporTraiT Althoughthehatwillalwaysoverexpose asit’sclosesttotheflash,byshootingin Rawyoucaneasilyrecoverthehighlights. Finishyourgraphicportraitbyconverting toblack&whiteforsimplicity. Exposure:1/125secatf/5.6(ISO100)

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seT-upAs a flashgun’s small surface area provided the sharpest shadows, I opted to use a Nikon SB-26 that I had picked up on eBay for a steal. Place your flashgun on a stand with a radio trigger attached so you can use it off-camera and position it high and in front of the model, pointing down on the hat with the subject almost directly beneath the light. I placed the flashgun 2ft away and approximately 3ft higher than the model. Toodark

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Cameraand flash seTTings The further the flashgun is from the subject, the sharper the shadows can be, but this means you need to set your flash to a high power for enough light to reach the subject (Inverse Square Law). With my camera and flashgun set to manual mode, I dial in 1/125sec and 1/8 power, with an aperture of f/5.6. If I move the flash, I adjust the light’s power or camera’s aperture to find the right balance between light and shade.

TweakingThe pose The subject’s pose and position can affect how the shadows fall, so it requires a bit of trial and error as some shadows can look very unappealing. I found because the flashgun had to be so high that the model couldn’t look down too far or the shadows were too dark on her face; placing the flash to the side also caused similar problems, so both the angle of the flash and the model’s pose needs experimenting with.


timetotrysomethingdifferent‌ set-up

Withthearrivalofspring,delicate blossombranchesofferscopefor castingshadows.Useaclampand clothesrailtopositionthebranch betweenthesubjectandtheflashgun, usingthesametechniquesoutlinedin thistutorial.Iftheshadowofwhatever isholdingtheblossominplacealso appearsonthebackground,youmay needtopositionasecondflashgunat thebackdroptogetridofany unwantedcasts.Tryincludingthe blossomintheshotorshooting throughthepetalsfordifferentresults.

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PH TO SKILLS

PuddleograPhy takeanalternativeviewofyour surroundingsandyouare likelyto findamultitude ofwaysto changethe perspective ofyour images. caroline schmidtheadsto cambridgeto showyou how Camera: nikon d800 / Lens: nikkor af-s 24-70mm f/2.8g ed

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owering skyscraPers, majestic cathedrals and colourful abstracts all hold potential for a splash of puddle photography. it’s too easy to get conditioned to shooting at eye level, but any discerning photographer will tell you changing your view can transform your pictures. shooting from a skewed angle or high and low vantage point are obvious ways, but a bit of lateral thinking can go a long way. scenes reflected in windows and water can reveal more than a straight shot, with even more intrigue. in towns and cities where bodies of water are sparse, puddles are aplenty at this time of year. a heavy downpour, followed by parting of clouds, is the ideal condition for getting

down to street level to see what’s being reflected from above. uneven paving stones, cobbled streets and descended curbs are perfect places to find the odd puddle, but it’s equally as important to assess how photogenic the surroundings are as that’s the subject of your shot. you could compose your frame to show only the puddle and its reflection or include the whole subject as a backdrop. often revealing the top-half of the subject in the puddle and bottom-half as the backdrop results in compelling pictures, while reflecting the whole scene in a large puddle can create striking symmetry. while dramatic rain clouds often accompany a downpour, sporadic showers

can pass as quickly as they arrive leaving nothing but blue sky and crisp reflections. Beautiful! it’s worth spending time experimenting with angles and approaches to each puddle you find; there may be some surprising results or stronger reflections from one angle compared to another, depending on the direction of the sun. in terms of lenses, a standard zoom is ideal: at its wide end you can include the scene behind and at its longest end you can isolate the puddle – it also offers decent variety, especially as the apertures you’re most likely to use are between f/3.5 and f/5.6. grab your brolly and brace the rain, for if the forecast says 60% chance of showers you’re in the game!


PH TO sKIlls

Puddleography

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Look for puddLes Seeking out puddles in appropriate places is easier said than done. You need to be on site after a downpour: too soon and the raindrops will cause the puddles to ripple; too late and you’ll find most puddles have dried up. Streets with uneven surfaces offer you the best chance, but pack a bottle of water in case you need to top up any if they’re too shallow. Once you’ve found a puddle, walk around it to decide on the best angle of view as there are different shots a puddle can offer.

setupFind a location that offers interesting reflections. Cities are a favourite as there’s plenty going on and usually a range of architecture for different styles of shots. Cambridge’s majestic buildings, uneven cobble streets and alleyways with their diffused lighting, make it a good spot. It also meant I could be less concerned about cars – though the bicycles posed their own hazards! If you cannot reach a city then a church, festival, street event and even just people playing in a park all have potential.

wronGfocus

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GetLow, reaLLyLowThe lower your view, often the stronger the reflections so you’ll need to compose your picture using LiveView, unless you’re willing to lie on the ground. A vari-angle LCD screen is very useful here. If you’re concerned about getting grubby, pack a waterproof mat to sit on. For your camera settings, aperture-priority mode and multi-zone metering will set you on the right track.

correctfocus

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focusinG Your aperture depends on the lens you use, your proximity to the puddle, the extent of your angle, the reflection’s size and whether you want the background in focus. Aim for f/3.5-f/8, depending on the desired effect, and increase your ISO if light levels are too low to handhold the camera. Use single-point AF to focus on the reflection or manual focus if the reflection is low in contrast.

aLternativecompositionstotry

1)Lowandwide:Includethereflectioninthe foregroundandlow-levelcontextinthebackground. Alteryourangleuntilyougetthekeyfeaturesyouwant reflected.You’llneedafocallengthof24mmorwider.

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2)fLipandfiLL:It’softenenoughtoofferaglimpseat what’sinthesurroundingscenebyjustzoominginto focusonthepuddlealone.Flippingtheimage upside-downcanalsoproduceinterestingresults.

3)chanGeyourfocus:Asyounearsunset,you mightfindthatstreet-andshoplightsbegintoswitchon, soevenifyou’renotabletoincorporateacolourfulsky reflectedinthepuddlethelights’bokehaddsinterest.


toptip Ifyoucannotfindapuddle, lookoutforpeoplehosing offpavementsorstreetcleaningvehiclesthatleave waterintheirwake

ReflectonyouRshots Oncetheskyhascleared,it’samazing thepossibilitiesthatapuddleofwater canprovideyourphotography. Exposure:1/1000secatf/3.5(ISO100)


PH TO SKILLS

ONE-LENS CHALLENGE

AREYOU KNOWN FORTAKING EVERYOPTIC FROM 10MMTO 300MM ONAPHOTO SHOOT,JUSTIN CASE?WHATIF YOU LEFTALLBUTONE PRIME LENSATHOME –WHATOPPORTUNITIESWOULDAWAITYOU?THIS IS EXACTLYWHAT WETASKED PROFESSIONALPHOTOGRAPHER ROSS HODDINOTTTO DO. INTHIS MONTH'S PHOTO SKILLS PRO CHALLENGE, HE STEPS OUTSIDE OF HIS COMFORTZONE, PLACES HIS HIGH-END OPTICSASIDEAND HEADS OUT WITH ONLYA50MM. FIND OUTIF LIMITING HIS LENS CHOICE RESTRICTS HISVIEWOR BROADENS HIS PERSPECTIVE


PH TO sKIlls

PRO tiP 50mmlensesgenerallyhave asmallfilterthreadsizeinthe regionof52-58mm,meaning compatiblescrew-intypefilters arerelativelycheaper

A50mmlens givesAsimilAr Angle-of-viewto thehumAneye,so itprovidesAvery nAturAl-looking perspective

I

will let you into a little secret: i bought a 50mm lens over five years ago, yet – until recently – it remained boxed and idle, gathering dust on my office shelf. Shameful i know! why did i buy it? A standard lens is renowned for being fast, optically superb, light and compact. it is a handy focal length and relatively cheap too. i opted for the niKKoR AF 50mm f/1.8D, which you can find for under £100 secondhand. overall, they are a bit of a bargain. However, while the lens was bought with good intentions, i just never got around to using it…until now. when the good people at Digital SLR Photography magazine invited me to participate in their Photo Skills One-Lens Challenge, i quickly accepted, knowing full well which focal length i would use. My brief was to use a single lens for one day and capture a range of results. it had to be a lens that i rarely-to-never used, so my neglected niKKoR AF 50mm f/1.8D was the obvious choice. As an outdoor photographer most accustomed to shooting wide-angle landscapes and close-ups, i rely heavily on

42 Digital slr Photography May 2016

28mmlens

my 17-35mm ultra wide-angle zoom as i normally enjoy exaggerating perspective, while a dedicated macro lens is my mainstay for shooting close-ups. therefore, being restricted to using just one, unfamiliar focal length would undoubtedly take me out of my comfort zone and test my creativity. A 50mm lens gives a similar angle-of-view to the human eye, so it provides a very natural-looking perspective. However, it lacks the dynamism of wider focal lengths and the

magnification and power of a telephoto. As a result, 50mm is often considered a boring lens. However, it is only boring if you allow it to be. A standard length can be perfectly suited to a wide range of scenes, not to mention still-life, street and people photography. with this in mind, i coupled the 50mm to my nikon D810 and set my alarm in preparation for a day shooting with just one lens! i decided to spend my day by the coast. i wanted to capture variety using the 50mm,


Above&left:I’vealwaysoptedforawideapproachwhen I’veshotthislighthouse.However,whenyougowide,the lighthouseappearssmallerandlesssignificantintheframe. Usinga50mmlengthallowedmetocapturethelighthouse prominentlyyetit'sstillwideenoughtocapturelovelycontext. IusedaLeeFiltersBigStoppertogeneratealengthyexposure tocreativelyblurtherisingtide. Farleft:Whilemybagwasmuchlighterintheabsenceofso muchglass,Istillbroughtallmyessentialkitincludingasturdy tripod,remoterelease,filtersandlensclothsforseaspray. Right:Theweightandportabilityofa50mmencouragesyou toshoothandheldandcomposefreelyandspontaneously. Inormallyrelyonatripod,butfoundmyselfshootingwithout asupportwhencapturingthetexturesandpatterns.

and the beach is often a great place to capture interesting detail, sweeping views and water motion. I’m so accustomed to lugging around four or five lenses that it made a refreshing change to carry such a light backpack – having less gear certainly encourages you to walk and explore further. I started the day in Bude (North Cornwall) where there is a harbour, breakwater and beach huts – all good spots for finding interesting, photogenic detail. Although I carried a tripod, I found myself working May 2016 Digital slr Photography 43


usingonlyonelensisresTricTive.However,doing sowillmAkeyouTHinkAndworkHArder,AndHelp prevenTyoufromgeTTingsTuckinyourwAys handheld. The 50mm is so light and compact, that I found I could shoot at relatively slow shutter speeds and still capture sharp results. Without the hassle of setting up a tripod, I framed scenes more freely and quickly; the little 50mm is a liberating lens. It was a fairly dull, overcast morning, but the low-contrast lighting was well suited to the subjects I wanted to capture, such as boats, chains, and rope. Normally for these types of subjects, I would use a macro, but – like most standard lenses – my 50mm has good close-up ability, focusing to within 45cm, making isolating interesting patterns and detail easy. Had I needed to get closer, I could have attached a close-up filter. I like simplicity, so focused my time on shapes and patterns like coils of rope, which I later converted to black & white to simplify further. The keyhole of an old beach hut appealed too, as did the shape and colour of a bright, blue fishing boat. Being so used to using zooms, it did take me a little while to adjust to using a single, fixed focal length. It wasn’t long, however, until I was able to identify the type of scenes and subjects that suited the lens. When using prime optics, you quickly learn to zoom with your feet! My next stop was Trevose lighthouse – a scene I knew well and one I thought would suit 50mm. Previously, I’ve instinctively opted to go wide; it is easy to get into a habit of doing things in a certain way. You can find yourself visiting exactly the same viewpoint, or using the same lens choice, just because that is what you’ve done before. We are all guilty of doing this from time to time. Using handheld

44 Digital slr Photography May 2016

Above:Whileforthemostpartthe50mmletmeshoot handheld,whenlightwaslowatripodwasstillessential. Top:Withthesunsetbeingdisappointing,Ilookedatother waystogenerateinterest.Iattachedmy50mmtomyNikon D7100toextenditseffectivepowerto75mmandcreated someintentionalcameramotionbypanningthecamera smoothlyduringatwo-secondexposure. Below:AttimesIoverestimatedmyabilitytokeepthecamera stillwhenshootinghandheld.Theshutterspeedwas1/15sec, butoncloserinspection,myinitialeffortswerequiteshaky. IsetupmyGitzolegs,composedtheshotandtriggeredthe shutterknowingthistimetheresultwouldbepin-sharp.

just one lens type can help and encourages you to look at scenes differently and to try new things. I found 50mm really suited the lighthouse, rendering it larger and more prominent in frame. I attached my filter system and used a ten-stop ND filter to generate a two-minute exposure that blurred the rising tide. For the sake of comparison, I also shot the same scene using a focal length of 28mm. I still liked the result, but – due to the stretched perspective – the lighthouse is less eye-catching. Also, using a wide-angle lens has caused distortion, with the building withtripod

pro tip Ifyouwanttoextendthelens’s range,attachittoaDSLRwithan APS-Csizedsensor.Doingso willincreaseitseffectivefocal lengthby1.5x(Canon:1.6x)

Above&right:Thelens’sfastmaximumapertureoff/1.8 providedabrightviewfinderimage,usefulforcomposingthis low-lightshotofthesesilhouettedrocks.Exposurelengthwas naturallylongduetothetimeofday,soIdidn’tneedtoattach anyfilters,butatripodwasessential.

clearly leaning due to convergence. A 50mm lens causes minimal distortion when shooting buildings and scenery. I headed back to the beach for last light. Unfortunately, I wasn’t rewarded with the sunset I hoped for: the cloud had completely vanished and the sky was empty. The warm afterglow was pleasant, though, so I continued shooting after the sun had disappeared. Like the majority of standard lenses, the NIKKOR 50mm boasts a fast f/1.8 maximum aperture. This is not only useful for producing a shallow depth-of-field, but helps provide a bright viewfinder image in low light. As a result, I was able to compose and focus my shots despite the low light levels. For a more arty result, I took a few frames using intentional camera motion (ICM), panning the camera during a twosecond exposure to create attractive blur.


PH TO SKILLS

My final images were silhouettes of the breakwater, where the lens's standard focal length let me take photos safely away from the onrushing waves. The discipline of using one fixed focal length had proven to be a real eye-opener. From one viewpoint, using just one lens is restrictive. However, doing so will make you think and work harder, and help prevent you from getting stuck in a rut. If you have a lens getting dusty at home, my advice would be to stop neglecting it and spend a day getting to know its full potential – go take on your own one-lens challenge. May 2016 Digital SLr Photography 45


“THIS NEW X-PRO2 CAMER CAMERA BRINGS THE ORIGINAL X-SERIES CONCEPT BANG UP TO DATE, DATE AND I’M IMPRESSED”

DAMIEN LOVEGROVE, X-PHOTOGRAPHER

CAMERA: X-PRO2 LENS: XF90mm EXPOSURE: 1/125SEC AT F2.0, ISO 400

#XPRO2 #5YEARSOFXSERIES WWW.FUJIFILM.EU/UK/X-PRO2


PH TO SKILLS

Making a splash AddingAdAsh ofActiontoyour still-life imAges isn’tAs hitAnd missAsyou mightthink. AcAffeine-fuelledJordAn Butters showsyou howto shootAnd edityour own liquid splAsh Camera: nikon d750 / Lens: Af-s 50mm f/1.4g / FLash: JinBei discovery dc-600 ii


PH TO sKIlls

H

ALF The bATTLe with still-life images is bringing the scene to life. Unless the composition, props, lighting and aesthetics of the scene are just right, staged still-lifes can seem flat and dull – more like a snapshot than a purposefully composed piece. One popular technique that adds interest is to include some dynamic liquid splashes. With a pristine set, and liquid flying about all over the place, you might wonder if success is a case of being first-time lucky or many, many retakes involving lots of liquid and a lot of prop cleaning – well, it’s actually neither! here’s how you go about setting up, shooting and, over the page, editing your liquid splash still-lifes – it’s far easier than you might think.

1

Setupyour Scene Compose your stage near a window if you plan to use natural light – sidelighting is more pleasing than lighting from the front. You’ll need your tea or coffee cup; I recommend using a saucer too as it will catch some of the splash. Making a mess is inevitable, so don’t use props that you don’t want to risk getting wet. I add some coffee beans and cups, saucers, books and plants to the foreground and background to set the scene.

toptip

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checkthe expoSure Set up your camera on a tripod and focus on the cup. I find that using LiveView helps when tweaking the composition. Use aperture-priority mode to select a wide aperture – f/4 or wider – and a low-to-mid ISO. Take a test shot and survey the results, but more importantly check the shutter speed. In my instance there isn’t enough light and it’s far too slow to record a crisp splash, so I decide to use flash instead.

reAdyto ShootOnce you’re happy, take a shot of the set-up as it is – this is your ‘clean’ frame, and you’ll need this during editing. Fill a container full of your chosen liquid; I’ve used cold tea as it’s more opaque than coffee. Attach a remote release and, as you pour the liquid into the cup from above, trigger the shutter a few times. Check the results but take care – it’s important that you don’t move the camera or any props just yet.

48 Digital slr Photography May 2016

Add flASh I set up my studioflash with a strip softbox to mimic the window light and set it to its lowest power. If you have to use flash too, bear in mind that a flashgun is actually better suited to capturing a crisp splash than a studioflash (see panel, opposite). Use manual mode to select your camera’s sync speed and a low ISO rating, and take test shots to find the right flash power, distance and aperture to use.

MAkeASplASh You may have made the odd splash or two when pouring the liquid, but we want bigger! With your cup between 3/4 to full of liquid, it’s time to make some proper splashes. You’ll need some small objects to drop into the liquid – I’ve used coins, but anything that will make a splash will do. Drop the objects one at a time from directly above, timing the triggering of the shutter to coincide with the splash.

Ifyou’reshootingJPEG, remembertosetamanualWhite Balance–Daylightusuallyworkswell. Ifyou’reshootingRaw,thenyoucan settheWhiteBalancemanually, orsimplysynctheWBofthe filesduringprocessing


Caffeineboost Thisistheresultofcombiningseveral splashframestogether.Turnoverto learnmoreoncreatingthiscomposite. Exposure:1/200secatf/4(ISO100)

flashduration

6

rinseand repeatIt’ll take a few tries, but you’ll get the hang of the right timing. Keep going until you’ve captured a selection of splashes flying out at different angles. You can refill the cup and keep going until you’ve got what you need, just remember not to move anything. Don’t worry about any mess in the saucer or on the set around you – that was the purpose of the ‘clean’ frame we took earlier. All done? It’s time to process your final image over the page…

Inmanysituations,mainsorbattery-powered studioflashtrumpssmallflashguns.Thisissimply becausetheyofferapowerfulpunchoflightthat flashgunscan’tmatch.However,withtechniques likethis,flashgunsareactuallybettersuited,and becauseyouhaveyourlightsourcecloseand you’reusingawideaperture,youdon’treallyneed power.Theflashisfreezingtheactioninthiscase andthefastertheflashduration,themore‘frozen’ yourliquidwillappear.Allflasheshaveafaster flashdurationatlowpowerthanhighpower,but bytheirnatureflashgunshaveafasterduration thanstudioflashoutright.Sonowyouknow!

May 2016 Digital slr Photography 49


Composite your splash

Compositeasplashstill-lifeshot

YOU’VE CAPTUREDYOUR SPLASHES, NOW’STHETIMETO BRINGTHEMTOGETHER USING LAYERSAND MASKING

T

HE NEAT ONES amongst you might be tempted to tidy up the mess you've made before you start editing. Personally, I’m always too eager to see what I’ve captured so cleaning up can wait! Plus, if for whatever reason the editing doesn’t work out as expected, it’s easy to head back to the camera and try again if the props are all still in place. Let’s presume you’ve captured a great selection of splashes and you’re happy with the outcome – here’s how you go about compositing them into one image in Photoshop…

WE ALL MAKEMISTAKES! Oftenthesplashingresultsinthecup and/orsaucermovingslightlybetween frames.Sometimes,usingEdit>AutoAlignLayerswillovercomethis,butif notyoumayhavetocarefullyblendthe splashesusingasmallbrush–by revealingthesplashandnotthecup youcangetawaywithit.

1

CHOOSE THE IMAGES With your images downloaded, preview them and select the ones with the best splashes, along with your ‘clean’ frame and the pouring shot. If you shot in Raw, then sync the White Balance across these files so that they all match. This is easy to do in Lightroom or Adobe Camera Raw using the Sync function.

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COPYAND PASTE Open your 'clean' frame in Photoshop. Then, open your first splash image and go to Select>All then Edit>Copy. In your clean frame go to Edit>Paste to paste the first splash as a new layer. Next, align the layers by going to Select>All Layers before going to Edit>Auto Align Layers, selecting Auto and clicking OK.

REPEAT Repeat the previous two steps for each splash image, first pasting them into place, then selecting and aligning all layers before using a ‘Hide All’ Layer Mask (hold down the alt key, remember) and the Brush tool to reveal the splash. Take care using a smaller brush or lower opacity where the splashes overlap to make it look realistic.

50 Digital SLR Photography May 2016

MASK AND BRUSH In the Layers palette click on the splash layer and, holding down the alt key, click on the Add layer mask button at the bottom. This will mask the layer. Select the Brush tool and, with White as your Foreground Color, brush in the splash to reveal it. Switch the Foreground Color to Black and brush back over if you go too far.

FINAL ADJUSTMENTS Finally, paste and mask the pouring image in the same fashion, if you wish. Once you’re done, use Adjustment layers such as Curves, Hue/Saturation and Photo Filters to achieve the final look that you want. Remember to sharpen (Filters>Sharpen> Unsharp Mask) and save your image before closing!


milk and two sugars Capturingthiskindofsplashstill-life withouttheaidofPhotoshopwould bealmostimpossible! Exposure:1/200secatf/4(ISO100)


The PhotoWorkshop

LONGEXPOSURES USINGATEN-STOPNDFILTERLIKETHELEEBIGSTOPPERTOCREATELONG-EXPOSUREIMAGESISAHUGELYPOPULAR TECHNIQUE.GETTINGTOGRIPSWITHITCANBETRICKYTHOUGHASTHERE’SALOTTOREMEMBERIFYOU’RETOAVOID MESSINGUPYOURSHOTS.FORTHISMONTH’SPHOTOWORKSHOP,READERMILTIVESHEADSTOTHESOUTHCOAST WITHLONG-EXPOSURELANDSCAPEEXPERTANDREGULARCONTRIBUTORLEEFROSTTOSEEHOWIT’SDONE THEEXPERT: LeeFrost

THEPUPIL: Milt Ives

LeeisoneoftheUK’sbest-known landscapeandtravelphotographers. Duringacareerspanningthree decadeshehaswrittenalmost20 books,100’sofmagazinearticlesand ledmorethan150photoworkshopsandtours aroundtheworld.www.leefrost.co.uk Lee’skit:CanonEOS5DS,CanonEF16-35mm f/4LISUSM,EF24-70mmLISUSMandEF 70-300mmf/4-5.6LISUSM,LeeFilters,Gitzo carbon-fibretripodandF-Stopbackpack.

MiltisaHRconsultantlivinginKent. Hehasnumeroushobbiesthat includephotography,cycleracing andtravel.Afewdaysafterthis workshophewasheadingto NorthernFinlandto(hopefully)photograph goldeneaglesinthewild. Milt’skit:NikonD800,NIKKORAF-S24-70mm f/2.8GandAF-S70-200mmf/2.8G,LeeFilters system,GitzoGT3541LStripod,Acratechballhead andLoweprobackpack.


M

ANY CREATIVE PHOTOGRAPHIC techniques come and go, often for the best! However, one to emerge in recent years that seems to be here to stay is the use of ‘extreme’ neutral density (ND) filters. Like normal ND filters, extreme NDs reduce the light entering our lenses but enables us to open the shutter for minutes at a time during broad daylight to create amazing long-exposure images. I first started using this technique almost a decade ago, when it was virtually unknown and the Big Stopper was but a twinkle in its maker’s eye. These days, every photographer worth his salt owns a ten-stop ND filter, be it the Lee Big Stopper, the Hitech Prostop IR ND

10, the B+W 110 3.0, the Tiffen aXent ND 3.0, the Cokin Nuances ND1024 or one of the numerous others brands now available. The idea behind using these extreme ND filters is that instead of freezing time, as photographs normally do, we can record the passing of time by holding the shutter open for several minutes. Choppy sea smooths out and turns to milk, drifting clouds record as delicate streaks of colour or tone painted across the sky, while blowing trees appear like ghosts in the landscape. The effects can be stunning, turning everyday scenes into wonderful works of fine-art that you will be happy to hang on your wall. The only snag is that using a ten-stop ND filter is quite tricky.

You need to work in a different way to how you would with regular filters, so it’s easy to make mistakes. A lot of photographers also overuse their ten-stop ND, seeing it as a way of turning a sow’s ear into a silk purse. As a result, we see lots of images where the technique has been applied for the sake of it. To get the best from your extreme ND filter, you need to think carefully about what you’re doing, practise and learn from your mistakes. You also need to choose the right kind of subject matter. With that in mind, I met up with a regular reader for a day by the sea. The forecast was for wind and cloud – perfect! All he had to do was complete three challenges and produce a great shot for each one.


The PhotoWorkshop

1

CHALLENGE1:MASTER THETEN-STOPTECHNIQUE

"The coastline is ideal for long exposures because you can always find both static and moving elements in the same scene that contrast well – jetties, piers, posts, groynes, rocks on the beach and so on, all surrounded by the sea and sky. "After years of living in Northumberland, I’m now based in Surrey, so my local coastal stomping ground is Sussex and Kent. Our first stop was Shoreham-by-Sea, a few miles west of Brighton. It’s a very industrial location, but I’d heard about a set of posts off the coast there that would make a good subject and having located them on Google the night before, I knew where to head. "The tide times weren’t in our favour. I’d seen shots of the posts that suggested the tide needed to be high for them to be partially submerged, but our workshop happened to coincide with high tide being at times of complete darkness! "On arrival my hunch about the tide was correct – the concrete jetty was clearly visible. However, as it spends much of its life underwater it was covered in barnacles, which added texture and interest to its surface, so all might not be lost. I suggested to Milt that we set up by a barrier at the beach end of the jetty and use a wide-angle lens to stretch perspective so its parallel sides converge and carry the eye into the scene. "The key to using a ten-stop ND filter is to adopt a routine then practise until it's

UsinganNDgradfilter Adramaticskyisoftenoneofthemainfeatureson long-exposureimages,soyouneedtomakesure yourecordplentyofskydetail,whichyoucanthen emphasiseduringpost-production.Thatmeans usinganNDgrad,asyouwouldforconventional landscapes.Alignthegradasnormal,soyoucan seewhatyou’redoing,beforeputtingtheten-stop NDfilterintheholder,andtakeanexposuretest shot.Usethesecondslotfromthelensandleave theslotclosesttothelensfortheten-stop,which youcancarefullyslotinonceyou’rereadytoshoot. Youcanseefromthiscomparisonwhatadifference anNDgradmakestotheuneditedimage.

54 Digital slr Photography May 2016

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1)Miltcomposesandtakesatestshotwitha0.6NDgradon thelenstorecordthedramainthesky.2)MiltinsertstheBig Stopperintothefilterholderslotclosesttothelens.3)The shutteristrippedusingaremotereleaseandlockedopenon Bulbmode.4)Theexposureistimedusingthestopwatchon aniPhone.SomeDSLRsandremoteshaveabuilt-intimer.

second nature to avoid mistakes. The filter itself is virtually opaque in all but bright sunlight, so once it’s on the lens you can’t see anything. Autofocus and metering don’t work either with a ten-stop ND in place. To overcome this, you need to set up the shot, compose, focus and calculate the correct exposure before slotting in your filter.

wITHOUTNDGRAD

wITH0.6NDGRAD

"The sky was looking good but I knew it would need an ND grad to capture the drama. I suggested that Milt used a 0.6ND grad – with the horizon clearly visible, a hard grad would be best. With the grad aligned and the lens focused, Milt took a test shot in aperture-priority mode. This came out at 1/8sec at f/22 (ISO 100). A quick check of the ND Calc app on my iPhone told us he needed to open the shutter for two minutes at f/22. With the clouds clearly moving across the sky, and the sea very choppy, I reckoned this would be long enough to get a nice effect, although by setting the ISO to Low (ISO 50) he could have used an exposure time of four minutes. "With the focus set to manual and the shutter to Bulb mode, Milt opened the shutter with a remote release and we started timing the exposure using his iPhone's stopwatch. Two minutes later the shutter was closed and we waited with baited breath to see the final image. It was totally blown out – a sea of white! What happened? Ahh, in his haste, Milt forgot to actually slot the


majestic mono Convertingtoblack&whiteand someselectiveeditinggivesthislong exposuresomedramaandmood. Exposure:Twominutesatf/22(ISO100)

challenge1Pro verdict

originalimage

"Milt’snostrangertothistechnique,buthisLee BigStopperhadn’tbeenoutofitstinforalmost threemonthssowhenwefirstgotstarted,hefelt alittlerustyandmadesomeelementary mistakes–likeforgettingtoputthefilterin beforemakingthefinalexposure,notclosing theviewfinderblind(resultinginflare)andsoon. Itdidn’ttakelongtogetbackintheswingofit and,whenhedid,heproducedagreatimage andfeltconfidentforthenextchallenge!" ten-stop ND into his filter holder altogether! An easy mistake to make and one that further demonstrates how simple it is to forget one step and to lose a potential image. "With that issue sorted, he opened the shutter and tried again. The second time around, it worked a treat. The sky looked nice and streaky and the sea was smooth and milky. With some careful postprocessing I reckoned it would look great, and Milt had his ten-stop mojo back!" May 2016 Digital slr Photography 55


The PhotoWorkshop

1

challenge2: DRaMaTIc SeaScaPe

"After using the old jetty and posts to help Milt get into the swing of things again, I knew a location even better for the next challenge – the remains of Brighton’s West Pier, which sadly fell into disrepair after being closed in 1975 and was then destroyed by fire in 2003. I’d photographed it once before and knew it would be an ideal subject for a dramatic long-exposure seascape given the weather conditions we were facing. "Parking in Brighton is a pain – and an expensive one at that! Having located a spot close to the pier, it then took half an hour to get a ticket as the machine didn’t work and I had to find a newsagent with a pay point. The clock was ticking and I could see Milt was eager to get to work, so with the car finally immune from a hefty parking fine, we made a beeline for the beach. "Conditions couldn’t have been better, with a stiff wind blowing clouds across the sky and waves washing up the beach. Following the set-up procedure from the first challenge, Milt was soon busy shooting. He managed to fog the first long-exposure after forgetting to close the viewfinder blind again – this happens because light actually enters the camera through the eyepiece, causing a hotspot on the image. Closing or blocking off the eyepiece solves this. "The light levels had increased a stop from earlier, so instead of shooting at ISO 100, Milt set his Nikon D800 to the lowest ISO possible – effectively ISO 50. This doubled the exposure from one minute at f/22 to two minutes and made a big difference to the level of motion captured. "Underexposure is common when you’re shooting with a ten-stop ND filter – often you need to give more exposure than you’ve calculated. It’s tempting to think ‘Oh, I’ll sort it later’ because it’s a faff to re-shoot, but the key to success with these images is in the post-processing, and if you start out with a well-exposed Raw file, you’re more

56 Digital slr Photography May 2016

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1)Miltgetshiscamerasetupandtheshotcomposed. 2)A0.6NDhardgradisagainusedtoenhancethedramaof thesky.3)Seasprayiscommononthecoast,soyouneedto checkandcleanyourfiltersfrequently.4)Miltcheckstheshot onhispreviewscreenusingaHoodmanscreenloupe.

likely to produce a strong final image. The sky is especially important, which is why I advocate the use of an ND grad. A blownout sky is as good as useless when a dark, moody image is your goal. "When I convert my own long exposures to black & white I tend to use simple Photoshop edits. Image>Adjustments> Black & White is used to make the initial conversion. Next, I'll use the Lasso or Quick Selection Tool to select different areas of the image and adjust Levels or Curves – sometimes Auto Levels or Auto Curves does a great job, especially on the sky. I explained this to Milt and showed him some of my own images created using this technique. He was itching to get home to his computer and see what he could come up with, but before he could do that we had one last challenge to tackle…"

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challenge2Pro verdict "OnceMilthadgotsomepracticeunderhisbelt hestartedtofeelmoreconfident,whichmeant hecoulddedicatemoretimetothecreativeside ofimagemaking,ratherthanthetechnicalside. Ireallylikedhisshotofthepierframedbythe posts(seepanel,right)anditalmostbecamethe finalshot,butIwaskeenforhimtotryasimpler compositionwithjustthepiersurroundedby theangryseaandsky.It'sasuperbimage–the onlyproblemwasIwishI’dtakenit!"


A-pier-Anceiseverything Nowthat’sadramaticshot!Whenyougetthe techniqueright,thelocationrightandthe weatherright,theresultscanbespectacular. Exposure:Twominutesatf/22(ISO50)

pre-editimAge

Trydifferentcompositions It’srarethatthere’soneperfectshotatalocation, sobepreparedtoexperimentwithdifferent compositions–yourfirstimpressionsmaynot alwaysbethebest.Assoonaswearrivedatthe beach,Miltspottedtheconcretejettyandthe posts.Firsthetriedusingthejettyasalead-in line.Itworksokay,butIthinkitwouldbebetter travellingbottomlefttotopright.Nextheframed thepierremainsbetweenfouroftheposts. Thiscompositionworksreallywell,withthe symmetricaluseofnaturalframingfocusingall ofyourattentiononthepier.

May 2016 Digital slr Photography 57


The PhotoWorkshop

1

challenge3: createanatypicalimage

"Having grasped the ten-stop technique and used it to create a dramatic black & white image, I challenged Milt to come up with something a little different. There were plenty of other subjects along the beach to chose from, such as posts and weathered groynes, but there was a danger of the images looking too much alike. "Fortunately, as we drove from Shoreham back to Brighton, we passed row after row of beach huts facing the sea, so we decided to check them out. From the back they appeared quite boring, all painted uniform green, but from the front the doors were different colours, some solid, some striped. "The weather was very dull due to heavy cloud and the light soft, so the idea of producing a full-colour image wasn’t really on the cards. It would be a shame not to take advantage of those colourful huts though, so after a few minutes of head scratching we came up with the idea of shooting a long-exposure image then, during post-production, turning everything apart from the huts to black & white. "Milt wasn’t sure how he’d achieve this, but I explained that as the roof line of the huts formed a series of straight lines, it would be really easy to select the sky in Photoshop, using the Lasso Tool, then remove the colour from the sky and play around with Levels and Curves to boost contrast and emphasise the motion in the clouds. The path could also be selected in a similar way and converted to mono. "Wasting no time, Milt set up his camera 3

2

1)CheckingMilt’shandyworkonthebackofhisD800. 2)Miltgetstoworkonhisshotofthebeachhuts.3)His exposuretestshotlooksokay,exceptthegradistoolowon theleftsideoftheimage.4)Miltsolvestheproblemby anglingthefilterholdertofollowtheslopeofthehutroofs.

with the tripod lower to the ground, so he was looking slightly up at the beach huts and could include more sky. A 0.6ND grad was inserted into his filter holder and a test shot taken. The exposure looked okay, but there was evidence that the grad was too low in the holder as it had darkened the top of the huts nearest to the camera. This happened because the grad was aligned horizontally, but the roof line of the huts sloped down to the right. I pointed this problem out to Milt and explained that if he angled the grad to follow the line of the beach huts, it would do its job on the sky but not affect the huts. After a couple more shots the grad was perfectly aligned, so Milt carefully inserted his Big Stopper, locked-up the camera’s mirror and opened the shutter to make the exposure. The first shot, exposed for 60 seconds at f/11, came out too dark, so a second exposure was made for almost double the time and 4

with the lens aperture 1/3 stop wider. It worked! Of course, the image on Milt’s preview screen looked nothing like the final image would, but a check of the histogram confirmed that the exposure was good and he had a decent Raw file to work from. "With the weather closing-in and light fading, we decided to pack up and head home. Milt had completed his challenges and bagged some great shots – all he needed to do now was download them to his computer and let the magic happen!"

challenge3Pro verdict "Thiskindofimageisn’teveryone’scupoftea, butIchallengedMilttocomeupwith somethingdifferentandthat’sexactlywhathe did!Keepingthecolourinthebeachhuts workswellinthiscase,andthoughthefinal imagehasatotallydifferentfeeltotheother two,there’sstillevidenceofthelongexposure inthatwonderfulstreakysky.WelldoneMilt!"

58 Digital slr Photography May 2016


spot the difference! Desaturating the sky and path really makes the colours of the beach huts stand out and the motion in the sky is more dramatic in black & white. Exposure:104secondsatf/10(ISO100)

workshopsummary: Milt Ives

pre-editimage

“Iloveminimalist,creativeseascapes andlandscapesthatcanbeachieved usinganextremeNDfiltersuchas theLeeFiltersBigStopper.Whenwe began,Iwasall‘fingersandthumbs’ andthedaybroughthometheimportanceof havingamethodicalapproachtoproducing quality,long-exposureimages.AsIfoundout, it’ssoeasytomakesillylittleerrors,suchas leavingtheviewfinderblindoff,incorrectly positioningthefilter,notcheckingsharpness, andsoon.Thebeachhutswerenotanobvious subjectthatIwouldhavetriedwithaten-stopND but,withLee’shelp,Ithinkthestrongdiagonalof thecolourfulhutswiththemonofastmoving cloudshascreatedaneye-catchingimage.My favouriteshotofthedayisprobablytheironshell ofBrightonPier.Thelongexposurehas transformedthecloudandwatertoproducea powerful,surrealimage.Ilearntagreatdealfrom Leeanditwasanextremelyenjoyableday.”

May 2016 Digital slr Photography 59


wantyour shots critiqued bythe digital slr photographyexperts? turn to page 65 to find out how

London Morning CoMMuters by Aleem Yousaf

NikonD800withNIKKORAF-S50mmf/1.4lens. Exposure:30secondsatf/11(ISO100).

What we think: Shooting traffic trails is a good way to capture rush hour creatively, especially during the winter months. Aleem has the right idea here – he's shot during the blue hour and exposed for the scene well, capturing mostly unbroken trails. However, the composition is distracting – the white trails disappear too early while the road signs and streetlights draw the eye away. The same technique, applied in a better location, would work well, we think.

Why it works Busy street with plenty of trails to capture Shot in the blue hour to retain colour Exposure time correct for full trails

60 Digital slr Photography May 2016


by Helen Mulvey

NikonD5100withNIKKORAF-S18-55mmf/3.5-5.6lens. Exposure:1.3secondsatf/13(ISO100).

What we think: Iceland is full of majestic waterfalls, and Skogafoss is one of the most popular. We love the sense of scale that Helen provides here, emphasised by the tiny people in the frame. There are a couple of distractions, however. The person in the red jacket to the right immediately attracts your attention, as does the blurred green coat to the left. A monochrome conversion might fix this issue or alternatively they are easily cloned out in Photoshop.

Why it works long exposure blurs water motion Drawn back view shows falls in entirety People in foreground add scale

landScapeexpert

RossHoddinott

“SkogafossinIcelandisa beautifulanddramatic location.Iknowfrom experiencethatitisatricky placetoshootduetoitspopularity –thereisaregularstreamoftourists whowalkuptoseethefalls.I’m guessingonereasonwhyHelenshot fromfurtherawaywastoreducethe impactofthepeople.However,several canstillbeseenandIwouldbe temptedtoclonethemout–theoneor twothatareblurredarethemost distracting.IthinkHelenmighthave beenbetteroffgettingcloserand waitinguntilonlyoneortwopeople werestoodinframe,usingthem intentionallytoaddcontextandscale. Asitis,Ithinkthatthereistoomuch emptyspaceintheforeground."

KrISTIAn Bell/SHuTTerSTocK

SkogafoSSWaterfall

May 2016 Digital slr Photography 61


NikonD7100withTamronSP150-600mmf/5-6.3lens. Exposure:1/4000secatf/8(ISO400).

What we think: This is an atmospheric wildlife image – good work Kevin! All the ingredients are here: lovely, low golden backlighting, mist rising off the water and a flock of silhouetted birds bobbing along the surface. The areas of shade at the top and bottom of the image frame the picture too, adding depth and drawing your eye in. There's an odd number of birds, which tends to create a more pleasing image than an even number, and the triangular formation of the flock is quite pleasing to the eye too, creating a well-balanced composition.

Why it works Warm, low backlighting Atmospheric mist Balanced composition

62 Digital slr Photography May 2016

v

Ben hAll

EllEsmErE Cormorants

by Kevin Lyth


wildlifeexpert BenHall “Ireallylikethisshot.Kevin hasdone welltoarriveonlocationintimeto capturethebestlight.Thegolden lightcoupledwithawispyveilof mistrisingoffthesurfaceofthewaterhas createdawonderfulatmosphere.Shooting intothelightinthissituationwasdefinitelythe rightchoice,andhasallowedKevintocapture thewarmhuesofthelightandcreatesimple, butstriking,wildlifesilhouettes.Thedark foregroundandbackgroundalsoworkswell andpullstheviewer'seyetowardsthesubject, actinglikeanaturalvignette.IfIwasreally nit-pickingatthisimageIwouldhavelikedto possiblyseealittlemoreseparationbetween thegeese,butthiswascompletelyoutofthe photographer'scontrol.Overall,itisan evocativeimagethatsaysmuchmorethana straightforwardrecordshot.Itisatmospheric, wellcomposed,perfectlyexposedandan altogethercrackingwildlifepicture.Greatjob, Kevin–onetobeproudof!"

more tender

by Alexey Morozov

1 2

NikonD90withNIKKORAF-S50mmf/1.4DAFlens. Exposure:1/350secatf/3.3(ISO200).

What we think: Sometimes you need to discard the 'rules' of photography – an image that captures emotion or a moment is stronger than a technically perfect picture that shows neither. Alexey's composition here is good, despite his subject's face being up in the top corner. Her pose is natural and the light flooding in gives the image a crisp, clean feel. Sure, there are blown highlights, but it doesn't detract from the image – the exposure on her face is spot-on. The only criticism we have is that the tone on her right hand looks a little cold, but this is an easy fix.

3

Why it works 1) Subject placed near a bright window 2) Bounced light on face is soft 3) Natural pose and composition May 2016 Digital slr Photography 63


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Submissions

DigitalSLRPhotographyneedsyou! IFYOU WOULDYOU LIKE THE CHANCE TO SEEYOUR IMAGES IN DIGITAL SLR PHOTOGRAPHY, OR TAKE PART IN ONE OF OUR READER ARTICLES, THEN NOW'SYOUR CHANCE TO GET INVOLVED!

HOW TO GET YOUR IMAGES TO US... EMAIL: If you want to email

submissions, send them to: submissions@dslrphotomag.co.uk Please only email images at a maximum of 1,000 pixels along the longest edge (note: your email will be rejected if the total size of attachments exceeds 8MB). Tell us which article(s) you’re submitting to in the subject line and include your name, address and daytime number.

FACEBOOK: Join us on Facebook at

www.facebook.com/digitalslrphoto. Become a part of the community and post your best shots to our wall. We regularly monitor the page and will be in touch if your work catches our eye!

FLICKR: Visit: www.flickr.com/

groups/digitalslrphoto to upload your images to our Flickr group.

Digital SLR Photography contact form Tick a box and fill in your details if you would like to submit images or take part in Photo Workshop.

Workshop

Name: Phone:

Portfolio

ExpertCritique

General

Address: Postcode: Email:

Fora full set ofpicture guidelines, orto ask anyquestions, please email enquiries@dslrphotomag.co.uk

POST: Burn your high-res images as

JPEGs onto a CD/DVD, including a ‘mugshot’, and produce a contact sheet with location and technical details. Put it all in an envelope with a covering letter, including the submission form below and post to: Digital SLR Photography, PO BOX 1327, Stamford, Lincs PE2 2PT. Enclose an SAE if you’d like them returned.

Checklist If submitting images by post, remember to include your 'mugshot' and contact details (name, address, email and daytime number). Please don't send us high-res images by email: resize your shots to 1,000 pixels along the longest edge and if we see something we like, we'll request the high-res file from you! Emails exceeding 8MB total size might not arrive, so split your submission down into two or more emails to ensure they get through. Please don't send us your entire portfolio – as you may appreciate we receive a lot of submissions and aren't able to look through hundreds of images – narrow the selection down and pick your best shots only.

May 2016 Digital SLR Photography 65


The Beginner’s Guide

EXPOSURE MODES Yourcamera’sexposuremodeshelpYoutoachievecorrectexposure, buteachonedoesitdifferentlYtotheothers.thismonthweexplain howthosemodesworkandtowhichsubjectstheY’rebestsuited

D

igital SlRS aRe packed with features, so much so that the user’s manuals are often as thick as a phone book (and just as interesting to read!). Many of those features are nothing more than gimmicks that you’re unlikely to need or use, but there are certain core functions that all DSlRs share that you’ll use every time you take a photograph. Of these features, which you need a thorough understanding of what they do and why they do it, exposure modes are high on the list. the primary job of your DSlR’s metering system is to ensure precisely the right amount of light reaches the sensor to record a correctly-exposed image. this is achieved using an aperture and shutter speed combination: the aperture controls how much light enters the lens and the shutter speed controls how long that light is allowed to fall on the sensor. this task is carried out using an exposure mode. DSlRs typically have five main exposure modes: aperture-priority, shutter-priority, manual, program and full-auto, plus a range of specialist subjectbased program modes such as Sport, landscape, Portraits and Close-up. all these modes are designed to achieve the same goal, but where they differ is in the amount of control you have over the aperture and shutter speed selected, and also how quick and easy they are to use. to help you get to grips with all your camera’s exposure modes, we’ve put together this detailed guide explaining what each one does, so you can pick different modes for different subjects and get the very best from your camera.

iMage: lee fROSt


The Beginner’s Guide

APERTUREPRIORITY

THEMOSTUSEFULEXPOSUREMODE OFALLISTHEONETHATLETSYOU DECIDEWHICHAPERTURETOUSE

WE’RE COVERING THIS mode first because it’s the most versatile for general use and the one that serious/experienced photographers tend to use all the time in favour of all the other exposure modes. As you might guess from the name, when you set this mode, priority is given to the aperture selected. In other words, you decide which aperture (f/number) to set, then once you’ve done that, your camera automatically chooses and sets a shutter speed to achieve correct exposure. The aperture and shutter speed set will be displayed in the camera’s viewfinder and also on the top-plate LCD and rear LCD preview screen so you’re fully aware of both, even though you’ve only chosen the aperture. Aperture-priority is the best exposure mode to use when you want to control depth-of-field (how much of the image is in focus). If you need the whole scene to record in sharp front-to-back focus, all you do is select a small aperture such as f/11, f/16 or f/22. Conversely, if you only want a limited area to come out sharply focused, you need to minimise depth-of-field by setting a wide aperture such as f/4 or f/2.8. Because your camera instantly adjusts the shutter speed to maintain the correct exposure when you change the aperture, you can work quickly – shooting at a small aperture (and slower shutter speed) one minute then switching to a wide aperture (and faster shutter speed) the next. This is why aperture-priority is the best exposure mode for general use.

Av

THEROADTOLANDSCAPESUCCESS Aperture-priorityisthemodeofchoice forlandscapephotographerslooking tomaximisesharpnessinthescene. Exposure:1/15secatf/18(ISO100)

WHEN TO USE APERTURE-PRIORITY MODE

68 Digital SLR Photography May 2016

2

Ifyou’reshootingthelikesofportraits,candids, wildlifeorothersubjectmatterandyouwantto throwthebackgroundintosoftfocus,setawide aperturesuchasf/2.8andleavethecameratoworry abouttheshutterspeed.

REBECCA ASHWORTH / SHUTTERSTOCK

It’sidealforsubjectswhereextensivedepth-of-field isrequired,suchaslandscapesandarchitecture, becauseyoucansetasmallaperturetocontroland maintainthezoneofsharpfocus.Usehyperfocal focusingtomaximisedepth-of-field.

LEE FROST

LEE FROST

1

3

Ifyouneedafastshutterspeedtofreezesubject movementandyourDSLRissettoaperture-priority mode,openthelensuptoitswidestapertureandthe camerawillautomaticallysetafastshutterspeedfor you.Stillnotfastenough?IncreasetheISOrating.


toptip Ifyou’reshootingin aperture-prioritymodeandyou needtousetheexposure compensationfacilitytoincreaseor reduceexposure,thecamerawill adjusttheshutterspeedtoachieve thissotheapertureremains unchanged.Brilliant!

lee frost

aperture-priority: things to Watch out for

Aperture-priorityisthebestexposuremodetouse forslow-syncflasheffects.Adjusttheaperturetoget aslowenoughshutterspeedandanyTTLflashgunwill automaticallyadjustitsoutputtoensuretheflash exposureremainsaccurate.

lee frost

dubassy / shutterstock

4

Themainthingtobeawareofwhenusingaperture-priority modeisthatasyouselectasmalleraperture,theshutterspeed willbecomeslower,increasingtheriskofcamerashakeand blurryimages.Toavoidsuchaproblem,getintothehabitof checkingwhichshutterspeedthecamerahassetandmake surethatitmatchesthefocallengthyou’reshootingwith,for example:1/60secfor50mmorless,1/125secfor100mm, 1/250secfor200mmandsoon.Iftheshutterspeedistooslow tohandholdyoucanmountthecameraonatripod,useawider f/stopforafastershutterspeedor,ifthat’snotpracticalasyou needtomaintaindepth-of-field,youcanincreasetheISO rating.Forexample,ifyou’reshootingatISO100andthe exposureis1/15secatf/8,increasingtheISOto200allowsyou touseashutterspeedof1/30secatf/8;increasingtheISOto 400willuptheshutterspeedto1/60secatf/8;andincreasing theISOto800willgiveyouashutterspeedof1/125secatf/8. Rememberwhenusingflash,theaperturecontrolstheflash exposuresoyoucanadjustthef/stopifyouneedmoreorless flashtoachievecorrectexposure.DedicatedTTLflashgunswill adjustflashoutputautomaticallysoyouneednot worry.

May 2016 Digital slr Photography 69


The Beginner’s Guide

SHUTTER-PRIORITY

WANTTOCAPTURETHEACTION?THISISTHEMODEOFCHOICEWHENYOUNEEDTOCONTROLTHESHUTTERSPEED WHEN TO USE SHUTTER-PRIORITY MODE

Halfframe acrosspath

45° to camera

Head-on

Person jogging

1/250sec

1/125sec

1/125sec

1/60 sec

Trotting horse

1/250sec

1/125sec

1/125sec

1/60sec

Cyclist/sprinter

1/500sec

1/250sec

1/250sec

1/125sec

Car/bike 40mph

1/500sec

1/250sec

1/250sec

1/125sec

Car/bike 70mph

1/1000sec

1/500sec

1/500sec

1/250 sec

Galloping horse

1/1000sec

1/500sec

1/500sec

1/250sec

Train

1/2000sec

1/1000sec

1/1000sec

1/500sec

Naturephotographersoftenuseshutter-priority modewhenphotographingbirdsinflight,or animalsinaction,sothatastheymovethecamera aroundtotrackthesubject,theshutterspeedremains constantnomatterhowlightlevelschange.

Ifyou’reshootingasportingevent,shutter-priority modeisyourbestoptionasitgivesyoufullcontrol overtheshutterspeedneededtofreezeyoursubject. Thehighertheshutterspeed,thewiderthelens apertureandshallowerthedepth-of-field.

3

Ifyou’reusingthepanningtechniquetocapturea movingsubject(sothebackgroundisblurredand thesubjectsharp)it’sbesttouseshutter-prioritymode sotheshutterspeedisfixedandyougetamore consistenteffectfromshottoshot.

LEE FROST

Fullframe acrosspath

2

1

CHERYL ANN QUIGLEY / SHUTTERSTOCK

Subject

MAXIM BLINKOV / SHUTTERSTOCK

Tv

BEN HALL

THIS EXPOSURE MODE does exactly the opposite to aperturepriority. It gives priority to the shutter speed so you can choose the one you want and the camera then sets the aperture required to achieve the correct exposure. This makes shutter-priority an excellent mode to use when you need to control the shutter speed, usually to freeze a moving subject, but also to combat camera shake when using heavy telephoto lenses. When you use shutter-priority, both the aperture and shutter speed are displayed in the camera’s viewfinder, on the top-plate LCD and on the rear LCD preview screen, so you can see the aperture the camera has set as well as the shutter speed you’ve chosen. If light levels alter, and thus the exposure has to be increased or reduced, the shutter speed remains constant and the camera will change the aperture to compensate. The same happens if you decide to use the exposure compensation facility: the f/number is increased or reduced and the shutter speed remains unchanged. With fast-moving subjects you’ll usually want to freeze movement by choosing a high shutter speed such as 1/500sec or 1/1000sec. The actual shutter speed you need depends on how fast the subject is moving and its direction of travel in relation to the camera. Use the chart below as a guide. Of course, shutter-priority can also be used to capture a sense of motion, in which case you’ll need a slower shutter speed such as 1/2sec, one second or several seconds, depending on the light levels and the effect you want to achieve.

4

Movingwaterinrivers,waterfallsandtheseaisoften photographedusingaslowshutterspeed,soit recordsasamilkyblur.Ineachcasethere’susuallyan optimumshutterspeedtoachievethebestresult,and shutter-prioritymodewillallowyoutosetit.

SHUTTER-PRIORITY: THINGS TO WATCH OUT FOR

70 Digital SLR Photography May 2016

BEN HALL

Iftheshutterspeedyou’vesetisn’tfastenoughtofreezeyoursubject,setafasteroneandthecamerawillseta wideraperture.Ifthelensisalreadyatitswidestaperture,theothercontrolatyourdisposalistheISOsetting– byincreasingtheISOyoucansetafastershutterspeed.Forexample,ifthefastestshutterspeedyoucansetat ISO100is1/125sec,atISO200it’llbe1/250sec,atISO400it’llbe1/500secandatISO800it’llbe1/1000sec. Inbrightweatherconditions,youmayfindthatyoucannotgetaslowenoughshutterspeedtoachievethe effectyouwant–suchasblurringawaterfall–becausethelensisatitssmallestaperture.Togetaroundthiseither setalowerISOoruseaNeutralDensityfiltersoyou’reforcedtosetaslowershutterspeed(seep77fordetails) Whenyou’reusingshutter-prioritymode,it’salsoimportanttokeepaneyeontheaperturethecamerahas set.Ifyou’reshootingatthefastestshutterspeedyoucanmanage,forexample,yourlensisalsogoingtobeset toitswidestaperture,whichmeansdepth-of-fieldisminimal.Thiswillusuallybeabenefitifyou’reshooting sportornaturesubjects,asyourmainsubjectwillbeisolatedfromthebackground,butifdepth-of-fieldistoo shallowyoumaynotrecordenoughofyoursubjectinsharpfocus.Ifthat’sthecase,increasingtheISOwillallow youtouseasmallerlensaperturebutmaintainthathighshutterspeed.


toptip

Stephen Cullum / ShutterStoCk

Ifyoulikeshutter-prioritymodeyou canuseitinsteadofaperture-priorityin situationswheredepth-of-fieldcontrolis important.Allyoudoisadjusttheshutter speeduntilthecamerasetstheaperture youwant!Theonlydownsideisthatif youuseexposurecompensation, theaperturewillbeadjusted.

going withthe flow Selectingtheappropriateshutterspeed usingshutter-priorityisthebestwayto controlhowmotioninasceneiscaptured.


The Beginner’s Guide

TOPTIP Manualisagoodmodetousewhen you’reworkinginfixedlightingand don’tneedtoworryaboutexposureerror, suchasshootingportraitsorstill-lifes againstawhiteorblackbackgroundthat wouldfoolyourcamera’smeter. Establishthecorrectexposure,setit manuallyandstartshooting.

MANUAL

IFTOTALCONTROLISYOURGOAL, MANUALISTHEMODETOMASTER ANDIT'SNOTASTRICKYASYOUTHINK

IN ANALOGUE DAYS, many cameras only had manual exposure mode! Today it still features in all DSLRs, but compared to the likes of aperture-priority and shutter-priority mode, it’s a much slower process to use. That said, it does have its applications, so don’t dismiss it just yet. If you set your camera to manual mode, you have to select both the aperture and shutter speed using dials and/or buttons on the camera's body. On higher-end cameras, manual tends to be easier to use than on entry-level machines where you might have to press a button and turn a dial to adjust the aperture or shutter speed. An indicator in the viewfinder, on the top-plate LCD and usually on the rear LCD preview screen (if you set the correct display mode), tells you which aperture and shutter speed has been set. It will also show if the combination you have chosen has achieved 'correct' exposure, or how far over or under ‘correct’ exposure you are so that you can make further adjustments to the settings if you feel necessary. Manual mode was popular with film photographers who used medium- and large-format cameras as they could take exposure readings with a handheld meter and then set the exposure on the camera. We rarely need to use handheld meters these days as a DSLR's integral metering is fantastic. However, there are specialist subjects where manual exposure mode comes into its own.

MIKHAIL KOLESNIKOV / SHUTTERSTOCK

M

WHEN TO USE MANUAL MODE

Ifyou’reshootingasequenceofimagesandyou needtomakesuretheexposureforeachframeis exactlythesame,manualisthemodeyou'llneedto manage.Thisincludesshootingimagesforstitched panoramasoractionsequences.

72 Digital SLR Photography May 2016

2

Forexposureslongerthan30secondsyou'llneedto useBulb(B)mode.WithmostDSLRs,itisfoundatthe endoftheshutterspeedrangeinmanualmodeandis essentialforcapturinglongerexposures,suchas fireworks,traffictrails,startrailsandpaintingwithlight.

KIUIKSON / SHUTTERSTOCK

SHININGBLACK / SHUTTERSTOCK

VENTURA / SHUTTERSTOCK

1

3

Inthestudio,workingwithflash,manualmodeis oftenthemostpracticalchoicebecauseyoucanset yourcamera’sshutterspeedtothecorrectflashsync speed(oraslowershutterspeed)andsettheaperture andflashpowertogiveyourimagetherightexposure.


thesky’sthelimit Manualmodeallowsyoufullcontrolof yourexposure,makingitthebest choicewhenshootingtrickysubjects.

manual: things to Watch out for

You'llneedtousemanualexposuremodeifyou’re shootingtheMilkyWayorauroraborealissothat youcansetafixedexposurethat'snotinfluencedbythe changingambientlightlevels.Balancetheaperturewith theshutterspeedformanageableexposuretimes.

lee frost

lee frost

4

Somephotographersusemanualmodebecausethey believethattheircamera'smeteringsystemismore accuratethanitisinothermodes.Thisisnonsense.The selectedmeteringsystemmeasureslightinthesameway regardlessoftheexposuremode.Theonlywayyoucan changehowyourDSLRmeasureslightisbychangingthe meteringpatternandthat’sadifferentsubjectaltogether. Themainthingyouneedtorememberaboutmanual modeisthatwhenyousettheexposure,nothingwill changeitapartfromyou.So,iflightlevelschangeoryou alteryourpositionandpointthecamerainadifferent direction,theexposureyousetremainsthesamerather thanautomaticallychangingtomaintainacorrect exposure.Thismakesmanualmodeversatilebutalso morepronetoexposureerror.Ifyouneedtheexposure tobefixed,andnotinfluencedbyfluctuatinglightlevels orotherfactorsthatcauseexposurechanges,thenit’s brilliant,butyoucanalsomessupgreatshotsbygetting theexposureverywrong. Inexperiencedhands,manualisausefulmode becauseitkeepsyouincontrolofshutterspeedand aperture.Iftheexposureneedstobeoverriddento correcterror,youcandothisbychangingone,theother orbothinsteadofrelyingonthecamera’sexposure compensation.Forbeginners,however,it’sprobably bestavoidedunlessnoothermodewilldothejob.

May 2016 Digital slr Photography 73


The Beginner’s Guide

PROGRAM&FULL-AUTO

IFYOUPREFERTOLETTHECAMERADOTHE'THINKING'FORYOU,LOOKNOFURTHERTHANTHESEAUTOMATICMODES LEE FROST

LEE FROST

FULL-AUTOMODE:Take a look at the mode dial on your DSLR and you’ll probably find a little green rectangle. Turn the dial to that square and you’ll set full-auto mode, also fondly known as ‘idiot’ mode because once selected, all you have to do is point and shoot – the camera takes care of everything else. As well as setting the aperture and shutter speed, full-auto mode may set the ISO and change it as light levels fluctuate to maintain a decent shutter speed. It also often controls the autofocus, White Balance and uses multi-zone metering. In low light, the flash will automatically fire too and your camera may even set the image format to JPEG. Even though you’ll find full-auto on some pro-spec DSLRs, it’s a beginner’s mode really that allows you to snap away without setting any camera functions or rarely having a clue about what you’re doing. If you’re at a party or special event and want to make life easy you could use it, but for any photographer with even a little knowledge and experience it’s simply too automated.

PROGRAM MODE WITH FLASH

PROGRAMMODE:This mode sets the aperture and shutter speed automatically – all other camera functions are left alone. The only downside of program mode is that the aperture and shutter speed are selected seemingly at random. Fortunately, you can regain a little control by changing the combination of settings using a dial on your DSLR – usually the one by the shutter release – to give you a smaller aperture/slower shutter speed or wider aperture/faster shutter speed. It can be as quick and versatile as aperture-priority or shutter-priority mode, but you need to remember that the camera is in the driving seat until you take over! If you need to increase or reduce the exposure whilst working in program mode you can still use the camera’s exposure compensation facility. It will usually change the shutter speed to compensate the exposure, the same as it does in aperturepriority mode, but if you’d rather change the aperture you can adjust the aperture and shutter speed combination before shooting.

P

Inmostcases,assoonasyouturntheflashon, programmodewillsetashutterspeed between1/60secandthefastestflashsync speedofthecamera–usually1/125secor 1/250sec.Iflightlevelsarehigh,aburstof fill-flashwillbedeliveredwhichmaygiveyou agoodbalancebetweenthefill-flashand ambientlight.However,iflightlevelsarelow theburstofflashwillbemorepowerfulto compensate,resultinginawell-litsubjectbut underexposedbackground.Youcan’tuse slow-syncflashinprogrammodeandthe aperture/shutterspeedcombinationsetby thecameracannotbeadjustedinmanycases. Thismakesprogrammodelimitingforflash photographyotherthanpartysnaps!Manual, orthesemi-automaticaperture-priority,are bettermodestousewithflash.

WHEN TO USE PROGRAM MODE

74 Digital SLR Photography May 2016

LEE FROST

Programisidealfortakingphotographsatparties, specialevents,whileonholidayandsoon,whenyou donotnecessarilywanttothinkaboutthetechnicalities ofphotographybutyoudowantgoodqualityimages. It'sadecentfail-safemode,especiallyfornovices.

LEE FROST

NATALIA KIRICHENKO / SHUTTERSTOCK

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2

Programcanalsoworkwellifyou’rewandering around,shootingavarietyofdifferentsubjects,or ifyouneedtoactfastwhentakingphotographsatthe likesofcarnivalsorfestivalsandaremoreinterestedin gettingdecentshotsthancreatingworksofart.

3

Forgeneralusesuchaslandscapes,portraits,action andnature,programmodecandoahalf-decentjob, butyouneedtoremembertotailortheaperture/shutter speedcombinationtosuityoursituationasthecamera can’tmakethatdecisionforyou.


The Beginner’s Guide LEE FROST

FUN MODES Somedigitalcamerasofferextraautomatic modeswithspecificapplications.Forexample: Fireworkmodesetsalongexposuretorecord fireworkdisplaysbutyouneedtouseatripod; Snowmodehelpstoavoidexposureerror whentakingphotographsinsnowandadjusts WhiteBalance;Underwatermodemakessure yougetwell-exposedandsharpimages underwater;Sunsetmodeisabrightscene modethatensuresyourimageswillnotbe underexposed;Partymodeusesaslower shutterspeedtocaptureatmosphereandalso setsflashwithred-eyereduction.

ALEKSEY SAGITOV / SHUTTERSTOCK

SCENEMODES:Entry-level and consumer DSLRs also offer a range of Scene modes that are basically automatic exposure modes biased towards specific subjects – the idea being that if you’re a newcomer and you want to try your hand at a specialist subject, like landscapes or portraits, you can select the relevant mode so that the camera settings are tailored to you. For example, Landscape mode sets a smaller aperture to increase depth-of-field and flash is disabled, whereas Portrait mode sets a wider aperture to throw the background out of focus and may trigger the integral flash if the camera's metering detects low light. Night Portrait mode combines a burst of flash from the camera’s built-in flash to light the person and sets a slow shutter speed to record detail in the background. Sport mode uses a faster shutter speed to freeze action, while Close-up mode opts for a smaller aperture so you get more depth-of-field. These modes are okay for beginners but are limiting for experienced photographers. You can do everything they do using the more controllable exposure modes.

Functions General settings

FullAuto

Portrait

Landscapes

Close-up

Action

Aperture&shutterspeed

Program *

ISOrating WhiteBalance

Focusing

One-ShotAF

--

ContinuousAF

--

AI-Focus

---

--

--

--

--

--

--

AFpointselection Multi-zone Exposure

Spot/Partial

--

--

--

--

--

Centre-weighted

--

--

--

--

--

Exposurecompensation

--

--

--

--

--

AEB&AE-Lock

--

--

--

--

--

Singleframe Drive

Continuous

---

--

--

--

Self-timer Auto-flash Built-in flash

Table key:

--

Forced-on

--

--

Flash-off

--

--

Set automatically

--

----

User-selectable -- Not available * Program Shift May 2016 Digital SLR Photography 75


Student, Anna Sellen

Open College of the Arts 0800 731 2116 oca.ac.uk


master long-exposure photography conquerexposureskillsthatletyoucapturetheworldinawaythehumaneye couldneverseeitbyworkingyourwaythroughourtoptentechniques image: ross hoddinott


masterlong-exposure photography

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eW tecHnIques InstIl new outdoor photographers with more trepidation than long-exposure photography – but why? one word: manual. Gifted with intelligent cameras, it’s easy for photographers to become reliant on auto or semi-automatic modes with perhaps some minor manual overrides. However, for the most part, long-exposure photography demands that you calculate your own exposures and use your own judgement and filtration. For some, it feels like a literal shot in the dark, but there’s nothing to fear and a lot to enjoy if you give it a try. mastering long-exposure photography is a skill to hone. It can turn drifting clouds into delicate streaks of colour, illuminate the night sky and clear cities of people. You can use it with filters, flash or make the most of available light; there’s a multitude of ways to manage your exposures for creative effects – so what are you waiting for…

Exposure time

No filter

Equipmentchecklist: DigitalcamerawithBulbmode/ Sturdytripod/Stopwatchortimer/ SelectionofNDgraduatedand solidNDfilters/Remoterelease/ Lenscloth/Extrabatteries/ NDCalculatorapp/Headtorch/ Warmoutdoorclothing

ND filter Three-stop

Six-stop

Nine-stop

Ten-stop

13-stop

16-stop

20-stop

1/1000sec

1/125sec

1/15sec

0.5sec

1 second

8 seconds

1 minute

16 minutes

1/500sec

1/60sec

1/8sec

1 second

2 seconds

16 seconds

2 minutes

32 minutes

1/250sec

1/30sec

0.25sec

2 seconds

4 seconds

32 seconds

4 minutes

1 hour

1/125sec

1/15sec

0.5sec

4 seconds

8 seconds

1 minute

8 minutes

2 hours

1/60sec

1/8sec

1 second

8 seconds

16 seconds

2 minutes

16 minutes

4 hours

1/30sec

0.25sec

2 seconds

16 seconds

32 seconds

4 minutes

32 minutes

8 hours

1/15sec

0.5sec

4 seconds

32 seconds

1 minute

8 minutes

1 hour

16 hours

1/8sec

1 second

8 seconds

1 minute

2 minutes

16 minutes

2 hours

32 hours

1/4sec

2 seconds

16 seconds

2 minutes

4 minutes

32 minutes

4 hours

64 hours

0.5sec

4 seconds

32 seconds

4 minutes

8 minutes

1 hour

8 hours

128 hours

1 second

8 seconds

1 minute

8 minutes

16 minutes

2 hours

16 hours

256 hours

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gear

Moving water For landscape photographers, water is

perhaps the most used subject for long exposures and, more often than not, optical filters are required to perfect the effect. depending on the style of motion you want to capture and the ambient light level, you'll likely need to use neutral density (nd), nd grads, polarising filters, or a combination to balance and extend exposures past one second. metering systems aren't reliable through high-density nds, so use our at-a-glance exposure chart above to help you if you get stuck. Here's a few techniques to get your started…

Waterfalls although a waterfall’s streaks of silk are stunning, they’re deceptively difficult to capture. You need a polarising filter to give you around a two-stop advantage, to eliminate reflections from the water and rocks, as well as saturate surrounding foliage. You may find if your waterfall is in a bright location that you need to add a low-density nd filter such as an nd2 (one-stop) or nd4 (two-stop) as well. In shutter-priority or manual mode, aim for an exposure of three to five seconds for angel-hair mist. When composing your shot, include the waterfall as a feature in the surroundings and look for low or high angles to help emphasise its height.

78 Digital slr Photography May 2016

adam burton

streams White-topped creeks, or rivers and streams flowing around rocks can make tranquil and idyllic pictures. usually such places are under the shade of a woodland canopy, so longer exposures tend to be easier to achieve, especially if it’s also an overcast day. You’ll need a polarising filter to control any reflections on the water and foliage, and possibly an nd2 filter or an nd grad filter if it looks like you may need to shoot towards the light. set your camera to shutter-priority mode, if you don’t feel confident in manual mode, and start with a shutter speed of one second. While this will smooth the water’s surface, for an even softer texture you may want to add a higher density nd filter, depending on how bright the ambient light is, or extend the exposure to a couple of minutes with your camera set to bulb mode.


Mliberra / shutterstock adaM burton

SeaScapeS nd grad filters are used to lower the level of contrast between sky and foreground to within the camera’s dynamic range, making it possible to capture detail throughout high-contrast scenes. in the case of long exposures, they’re invaluable if you want to extend the exposure of the sea without overexposing the sky. it's worth remembering, however, for natural-looking results the sky should remain at least a stop brighter than the sea. For some low-light scenes, an nd grad is enough to strike the balance between blur and texture, which tends to be in region of one and ten seconds depending on the tide and light. however for more extreme effects, which we detail on p82, you can also attach an nd filter like the lee Filters' six-stop little stopper. When composing, it’s often best to find foreground interest like rocky outcrops or wet boulders and to wait for the tide to start retreating before you press the shutter; the receding tide can create strong lead-in lines.

May 2016 Digital slr Photography 79


masterLong-exposure photography

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Light trails

If you’ve never before experienced the creative side of shooting at night, then photographing light trails is a great way to start. Light trails are recorded during a long exposure, when the camera’s sensor picks up a light source moving through the frame. The results, depending on your subject and the length of your exposure, can range from a brief streak of illumination to a winding, twisting, spinning blur of colour and light. If it lights up and moves, then you can create light trails using it. Traffic trails is one of the

80 Digital slr Photography May 2016

most common types – by setting up your camera on a tripod in a safe position overlooking a busy road, you can record streaks of white light in one direction and red tail lights in the other as they wind their way towards and away from the camera. Pick a road that curves and try to get up high to see the effect disappear into the distance. Another popular spot to shoot light trails is the fairground – almost every ride lights up multiple colours and spins, flips or rotates, yielding the potential for some very dynamic imagery. Your choice of shutter speed will

dictate how much motion is conveyed, so use shutter-priority mode to create subtle streaks, or unrecognisable blurs. If your exposure is longer than 30 seconds then you’ll need to use a locking remote release and Bulb mode. Finally, the best time to shoot light trails isn’t actually at night at all, but rather during the blue hour – the hour or so following sunset – when there is still some colour, light and interest in the sky. And then there's painting with light. Grab yourself an LED torch or glow stick, lock open the shutter, and give it a swirl!


kaRT31 / ShuTTeRSTOCk

FAQ Howlongisalongexposure? Generallyalongexposureisanything longerthanonesecond,afterwhichyour camera’slongexposurenoisereduction normallykicksin.Youcansetexposuresup to30secondsinshutter-priorityor manualmode,butafterthatyou’ll needtoswitchtoBulbmode anduseastopwatch.

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Physiograms

a physiogram might sound like something you’d have a doctor perform on you, but it’s actually a fun light-painting technique that you don’t need any medical training to try! You’ll need a dark room, a small led torch and a length of string, as well as something above to hang the string from. The idea is that you set up your camera, either on a tripod or lying on its ‘back’, facing up at the ceiling, and dangle the torch from the string above it. with the torch switched on you gently swing it and record a long exposure with your camera, capturing an intricate circular pattern of light above. do you remember Spirograph toys? Think that, but drawn with light! To shoot your physiogram, select manual exposure mode and choose a 30-second exposure, a mid-aperture of between f/5.6-f/8 and an ISO of 100-200. Focus on the dangling torch before switching to manual focus and you’re ready! Try sticking coloured plastic over the torch’s lens to create colourful patterns, too. RYSzaRd FIlIpOwICz / ShuTTeRSTOCk

bebOY / ShuT TeRSTOCk

long-exposure noise reduction ROSS hOdInOTT

Long-exposureimages,evenwhenshotwithalowISOrating, oftensufferfromhotpixelsandlong-exposurenoisereduction minimisestheeffectonyourimage.Incrudeterms,ittakesa second'dark'frameimmediatelyafterthefirsttoanalyseand erasethesepixels.Thelongertheexposure,generallythemore noiseyouhave;however,you’llalsoneedtowaittwiceaslong toviewyourimage–nottooconcerningwitha30-second exposurebutafterseveralminutesthewaitcangetarduous. Youmayprefertotryyourluckatshootingyourowndarkframe andusingitasreferenceforreducingnoiseinpost-production.

Withoutnr

Withnr

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Motion blur portraits

It’s not just landscapes that call for long exposures – whether it’s ghostly semi-transparent figures or combining flash with a long exposure, there are opportunities for creativity with portraits, too. One popular shot is to capture the motion of dancers, which you can do in one of two ways: keep the shutter open for a fusion of colour and shapely motion blur, using a continuous light source, or drag the shutter but freeze the subject with flash. The former is simple if you’ve a dark space and soft light; a mid-aperture provides sufficient depth-offield and around a three-second exposure should suffice, but be prepared to experiment. If flash is more your fancy, you’ll ideally need a dark backdrop and to light your subject in a way that it keeps the background dense for separation and clean blur. You’ll need to set your flash to Rear Curtain Sync mode, or Slow Sync mode, to fire the flash at the end of the exposure. May 2016 Digital slr Photography 81


FAQ

Lee FRoST

ShouldIusemirrorlock-up? Inshort,yes.ByraisingaDSLR’s mirrorbeforebeginningalong exposureyoureducetheriskof camerashakecausedbythe mirrormovementatthestart oftheexposure.

5

Minimalist mono seascapes An article on long-exposure

photography wouldn’t be complete without a mention of using a ten-stop Neutral Density filter for silky smooth coastal landscapes. If you’ve read our Photo Workshop this issue, you’ll know that such filters let you artificially increase the exposure by x1000 for some incredible effects. For instance, if your unfiltered exposure is 1/30sec, a ten-stop ND filter will boost this to 32-seconds or, similarly, a 1/8sec exposure will be transformed into a two-minute minimalist masterpiece (see panel on p78). Using such a filter does have its challenges, so be sure to refer to the practical advice of our expert Lee Frost on page 52 to give you a head-start. If you’ve a Lee Filters system, you may want to consider investing in the illustrious Big Stopper but also consider looking at alternatives such as Hitech’s Prostop IRND10 or brands such as B&W, Cokin and Tiffen as most have jumped in on this now long-running ten-stop trend.

A dramatic sky can be the main feature of a long exposure, which is why patchy cloud or a brewing storm can be the best conditions to shoot in. Try capturing a scene made up of mostly sky by placing the landscape on the bottom third of the frame and transform drifting clouds into delicate streaks of colour over a few seconds. Alternatively, head into the city and with a ten-stop ND filter attached, point your lens at the sky. Capture stunning architectural shots over several minutes and see the sky turn to a wash of colour. When shooting architecture, you want mostly blue sky and about 40% cloud; while for landscapes opt for a day with 80% cloud for the best results. Seascapes look incredible if can shoot in-between storms as you’ll find the tone-rich clouds move much quicker.

82 Digital slr Photography May 2016

R. NAgy / SHUTTeRSToCk

IM_PHoTo / SHUTTeRSToCk

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Big sky

7

Capture a crowd

In a busy location, you can capture hurrying people as they pass through the scene as streaks of movement. Unless you’re shooting in bright sunshine, it’s unlikely you’ll need as much filtration as a Lee Filters' Little Stopper but a two- or three-stop ND filter is a good start. Try to combine the shoot with golden-hour light and you might not even need filtration. In shutter-priority or manual mode, you need to dial in a shutter speed of one or two seconds with a mid-aperture. For the effect to be successful, you want the crowds to be blurred just enough to be recognisable as figures without looking like streaks of colour or identifying faces. Posing a person looking at the camera amidst the moving people, and asking them to stay perfectly still as you expose the shot, can add further interest.

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Foreground interest

If there’s a decent breeze, instead of opting for a fast shutter speed to freeze any subject movement, utilise it by extending the exposure for even more interesting images. Wheat fields, waving grasses, avenues of trees, rapeseed oil and poppy fields all work well with a subtle level of blur to create a wash of colour and atmospheric movement. Use the crop rows as lead-in lines and experiment with shutter speeds until you find the painterly effect that best suits your scene. During the golden hours or on shady overcast days, you may find all you need is an ND grad filter to balance the sky with the foreground if you want texture and blur. For more profound 'watercolour' effects, add an ND filter to your ND grad and perhaps a polariser on days when a vivid blue sky is calling out to be saturated.


masterLong exposure masterLong-exposure photography

ross hoddinoTT

9

Empty spaces There’s something eerie about seeing places

that are usually bustling with people completely void of any sign of life. it's reminiscent of a scene from a post-apocalyptic blockbuster and, best of all, it’s a pretty straightforward effect to achieve with your dsLr (or mirrorless camera) and a ten-stop nd filter. in scenes where there is a constant ebb and flow of people, an extreme nd filter allows you to use a sufficiently lengthy exposure, completely blurring the moving people out of their surroundings. it all depends on the light levels in your environment, and the speed at which people are moving. To try it for yourself, find a busy area – such as a train station, shopping centre or city street – mount your camera on a tripod and select shutter-priority mode and a low iso rating. Fit your nd filter and start with a 30-second exposure and take a test shot before reviewing the results. if there’s still movement recorded you may have to choose a slower shutter speed using Bulb mode until you remove all traces of life from the scene. if in doing so you overexpose the shot, you'll need to stack multiple nd filters. if anyone is standing still during your exposure they’re likely to be recorded, but it's worth persisting with the technique. Giuseppe Torre / shuTTersTock

May 2016 Digital slr Photography 83


masterLong exposurephotography masterlong-exposure

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The final frontier

Capturing images that depict our planet in context with the vast universe are becoming more obtainable to photographers with modest equipment. Long exposures reveal stars tens of thousands of light years away, many of which aren't visible to the human eye. That is, of course, providing the correct technique is applied in capturing them.

the milky Way Modern cameras and lenses have opened up a whole galaxy of creative potential to photographers. What used to be the pursuit of those with specialist knowledge and kit can now be enjoyed by all and the Milky Way can be photographed in incredible detail from several places in the UK. The ideal time of year to practise Milky Way photography in the Northern Hemisphere is during the summer months, when it rises above the horizon and the nights are warmer. Head to a location free from light pollution on a clear night during a new or crescent moon, kill all the lights and spend a few minutes staring up into the sky. Before long your eyes will adjust and you’ll be amazed at how many stars you’ll see – our cameras can see even more! Use a smartphone app such as Night Sky, Sky View or Starwalk to locate the Milky Way. Look in the southern sky for the constellations of Scorpius and Sagittarius as the core of the Milky Way rises above the horizon between these two star formations. In terms of 84 Digital slr Photography May 2016

framing, look for features in the landscape to anchor your composition, or a body of still water to reflect the night sky in. In order to successfully photograph the Milky Way, you’ll ideally need a fast wideangle lens – 24mm or wider for APS-C or 35mm or wider for full-frame sensors. It sounds expensive, but manufacturers such as Samyang and Sigma make high quality, fast, wide-angle lenses for a reasonable price. Finding the right settings to shoot the Milky Way takes a bit of trial and error – focus manually on infinity and then use LiveView to zoom in on a star and fine-tune the focus carefully. Select your lens’s widest aperture and a high ISO – between ISO 3200 and 6400 – then use the 500 Rule (see right) to find the maximum shutter speed that you should use. Images may look dark on the back of the camera, so use the histogram to judge exposure. Almost all Milky Way images need tweaking during processing to bring them to life – so don’t delete any images until you’ve tinkered with them on a computer.

the 500rule AstheEarthisalways rotating,ifyouchoose ashutterspeedthat istoolongyourisk blurringthestars.The bestshutterspeedto usedependsonyour focallengthandcanbe calculatedusingthe500Rule. Simplydivideyourequivalent focallengthby500tofindthemaximumnumberof secondsyoushouldexposefortoavoidstartrails.For example,ifusinga24mmlensonafull-framecamera youwouldcalculate500/24=21,thereforea 21-secondexposureisthemostyoushoulduse.Ifyou useacrop-sensorcamera,remembertocalculatethe equivalentfocallengthfirst.Forexamplea24mmlens ona1.5xAPS-Csensorwouldequatetoa36mmfocal lengthsoyourcalculationwouldbe500/36=14 seconds.Itsoundscomplicated,butonceyou’veused thecalculationafewtimesyougetanideaforwhat shutterspeedsareacceptable.


gear Recommendedlenses: Tokina11-16mmf/2.8AT-XProDX Canon24mmf/1.4LUSM NIKKORAF-S12-24mmf/2.8G Samyang14mmf/2.8EDASIFUMC Samyang24mmf/1.4EDASIFUMC Samyang35mmf/1.4EDASUMC Sigma24mmf/1.4Art Sigma35mmf/1.4Art

inigocia / shutterstock

StartrailS shooting star trails is an alternative way to creatively capture our galaxy and show the movement of our planet in relation to the universe. stars are recorded as streaks of light as the earth spins and orbits and are at their most effective when Polaris, or the north star, is included in the frame. as Polaris is very close to our north celestial pole, its position in the sky doesn't move as the other stars rotate around it, creating a circular pattern. there are two ways to capture star trails. the first method involves leaving the shutter open for a long period, sometimes hours at a time. this records the movement of the stars in one image, so requires less processing, however it introduces a substantial amount of noise as the sensor gets hot during that time. the second technique involves capturing lots of shorter exposures one after another, recording shorter trails, and then 'stacking' the exposures using Photoshop's Lighten Blend Mode or dedicated stacking software, such as starstaX. siPPakorn / shutterstock

May 2016 Digital slr Photography 85


POSTCARD PATAGONIA From

UNPREDICTABLECLIMATE,VASTISOLATEDLANDSCAPESANDROUGHTERRAIN:IT’SEASYTOUNDERSTAND WHYADVENTURERSTREKTHROUGHPATAGONIA,BUTISITAPLACEFORMILD-MANNEREDPHOTOGRAPHERS? CAROLINESCHMIDTSPEAKSTOPHOTOGRAPHERGREGORYBORATYNABOUTTAMINGTHISWILDFRONTIER


PhotoStoryGregory Boratyn

S

traddling argentina and Chile, Patagonia provides photographers more variety than they could dream of in one place. From rolling grasslands, desert plains and impressive glaciers to secluded glacial lakes, temperate rainforests and some of the most epic granite peaks in the world, Patagonia is a photographic hidden gem. However, it’s not a place for the faint of heart. The remote 1,043-million km2 wilderness is home to a handful of hotels and a sparse 2,000,000 people - that’s a landmass 4.3x larger than the UK with about 1:35 of its population; your chances of finding signs of civilisation are far and few between. For those photographers who like their home comforts, a photo expedition around Patagonia might sound like a foreboding nightmare but for many photographers, like semi-pro gregory Boratyn, with a sense of

88 Digital Slr Photography May 2016

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adventure and a yearning for the epic and uncivilised, it’s idyllic. For the last six years, greg, an aerospace software engineer by day and photographer at play, has been building his portfolio with annual april visits to Patagonia – often taking clients as part of a workshop to help fund his adventures. and it’s these dramatic landscapes that have won him high acclaim. anyone who knows anything about Patagonia will know it first for its beautiful no-man’s land but also for its incredibly unpredictable climate. “Patagonia is renowned for its high winds and relentless rain,” remarks greg. “Some people call it bad weather, but it’s an opportunity: you can expose for much longer and use nd filters to capture the movement of clouds over several minutes. it’s very difficult to shoot in high winds, however, so you’ll usually find me hiding behind a small

2

1)TheCordilleraPaine,intheTorresDelPaine,shotusinga warmingpolariser.2)FitzRoyandCerroTorremountains shotlateeveningwithlenticularclouds.3)Asitwasraining withhighwinds,Iusedaten-stopNDtocapturethemotion inthecloudsduringa40-secondexposure.

mound or hill to shield my camera kit – thankfully my nikon d810 and lenses are robust and handle the elements well. last year i was shooting in 70mph winds and that was very difficult as everything shakes, even with a tripod. You take a lot of pictures and hope you get one sharp. You can capture amazing drama, though, especially on the lakes that are typically very calm, as they develop beautiful waves. during april, you also get lots of lens-shaped lenticular clouds around the peaks, which look incredible with colour in the sky.” april in South america is autumn and, having been to Patagonia at different times of year, greg says no other season is more


Patagoniaisrenownedforits highwindsandrelentlessrain. somePeoPlecallitbadweather, butit’sanoPPortunity

Biography Aerospacesoftwareengineer GregoryBoratynhasdevelopedhis photographicpastimeoverthelast 15yearsintoabusinessthatfundshis ‘hobby’andmanyadventures.LivinginOrange County,California,hehasnoendoflandscape possibilitiesonhisdoorstep,andaglanceathis websiteshowsaninspirationalrangeof US-basedimages,butit’shisworkinSouth America’sPatagoniathatstandsoutas incredible.Forthelastsixyears,Gregoryhas beendeliveringyearlyphotographicworkshops aroundhisfavouriteshootingground, Patagonia,successfullysellinghisprintsat festivalsandbuildingaloyalclientbasehehopes toencouragetonewworkshopdestinations, suchasAfricaandAntarcticainthecomingyears. www.eveningphotography.com

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PhotoStoryGregory Boratyn

There’snolighT polluTionandso manysTarsThaTThe visibiliTyissTunning, Thenyou’refaced wiThaglorious sunriseoverThe mounTains

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“out of this world”. “You really don’t see sights like it anywhere else – the crimson reds and deep oranges of their native trees against the blue glacial waters and a sky ablaze at sunrise or sunset is spectacular,” he adds. “Depending on the weather conditions, you can shoot throughout the day. When it’s overcast, you don’t get the harsh shadow transitions and as Fitz Roy mountain – the tallest peak in Argentina – is cloudy most of the time, too, I am able me to shoot with a ten-stop ND filter in midday sun to capture the movement of the clouds.” Not surprisingly, extreme ND and ND grad filters

90 Digital slr Photography May 2016

are an essential part of Greg’s arsenal, along with a Nikon D810 and his NIKKOR AF-S 14-24mm f/2.8 that’s rarely off his camera. Not wanting to carry too much on hikes, Greg keeps his kit to a 'golden trio' of lenses (see panel) and since switching to Nikon, back in the day of the D3, he’s never looked back: “I was astounded by how smooth and beautiful the D3 worked and its image quality, so I switched brands with no regrets. The glass is superior, and slightly cheaper to what I was using before and the 36-megapixel D810 has everything a landscape photographer could want.

When faced with such epic landscapes, loaded with interest front to back and side to side, it’s quizzical how Greg decides what to leave in and what to leave out of his shots – and the answer is, very little. As well as using filters to balance the exposures, he’s not shy of exposure blending and focus stacking. “When you’ve got a foreground subject that’s very close to you, and you’re shooting close to the ground for impact, you have to do a two- or three-shot focus stack to get sufficient depth-of-field. Similarly if there’s a lot of light in the background, but you want to expose for a subject close to the


5

camera, you have to use NDs or blend multiple exposures for the foreground, waves and mountain peaks in postproduction. Often I can get away with f/16 and a single shot, but if I’m using an ultra wide-angle lens like my NIKKOR AF-S 14-24mm, which makes the foreground imposing when shot close up, I’ve little choice but to focus stack. I don’t like to go above f/16 as you start to lose a lot of quality through diffraction,” Greg explains. During his workshops, Greg ensures his clients see both sides of Patagonia: the Chilean and Argentinian. “We go to the most

attractive parks in Patagonia: The Los Glaciers National Park in Argentina and Torres Del Paine in Chile. Both have lots to offer including several waterfalls, blue glacial ice and epic mountain ranges, like Fitz Roy and the Cordillera del Paine in Chile.” Compared to a solo tour of Patagonia that would usually comprise of survival gear and days of uphill hiking, workshops are relative luxury with a pre-booked bus and hotels. Greg uses a logistics manager to organise the trip so his sole job is to show how to take beautiful pictures of locations he knows are accessible and easy to compose, such as

4)AnightsceneofFitzRoyandCerroTorremountains exposedforfiveminutes.Thisisatwo-imagecomposite. 5)TheCordilleraPaineofTorresDelPaineatsunrise.

Cerro Torre and the Fitz Roy mountain, which is fronted by a glacial lake for beautiful reflections. “Most people who come on a workshop are retired, so while they need decent fitness the hiking is not overly strenuous; we do a 12-mile-round trip over a seven-hour hike at night, so it’s not difficult and the land is absolutely beautiful. There’s no light pollution and so many stars that the visibility is stunning, then you’re faced with a glorious sunrise over the mountains.”


PhotoStoryGregory Boratyn

9

92 Digital slr Photography May 2016

Being in the middle of nowhere has its benefits for astrophotography, so it’s no surprise Greg takes advantage of the sparkling skies.“The southern sky is quite different to the Northern Hemisphere; in addition to the Milky Way you can also see the Maggellanic Clouds, which are two dwarf galaxies orbiting our Milky Way. As I have to use extremely long exposures, I use an Astrotrac to track the movement of the sky and then I blend the image with another exposure of the ground. It allows me to expose the sky for at least ten minutes or more to capture more stars and deep galaxy clouds. Without an Astrotrac, I could use a very high ISO but that causes noise and due to having such a high-megapixel camera, it’s unavoidable to get some visible movement, even when using the 500 Rule.” With six national parks to choose from, each with their own unusual charm, Patagonia has a lot to discover. While Greg plans to extend his workshops elsewhere, he’s also keen to return to Patagonia on his


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it’squitepossibly oneoFthebest-kept secretswhenit comestolocations Forlandscape photography own to go further afield. “I want to go alone soon to do some more hiking and exploring. When you’re with a workshop, you do a day of mild, levelled hiking around the Cerre Torre mountain range, followed by a day of rest at a campsite, before hiking again. You’re never going to get to a location that few people have discovered by doing that, so I’m planning my own expedition. “There’s a couple of waterfalls near Fitz Roy I want to explore as foreground interest to the river that leads towards the mountains and the Chilean Marble Caves: a rare, natural

8

wonder. It’s said to be a beautiful vibrant blue cavern, partially submerged in the turquoise waters of Carrera Lake. I’d need to take a flight to Chile and drive to the Marble Caves, rather than fly into Patagonia, as there are no towns between making it impossible to find a gas station,” he says, starkly reminding me of how isolated the feature-filled landscapes in his photographs actually are. “Patagonia is a place calling out to be explored. It’s truly one of the most epic destinations in the world,” exclaims Greg. “It’s hardly ‘touched’ by human presence, so much so that you stumble upon remnants of its previous life millions of years ago in the form of fossilised branches and trees, now rocks. It is an ultimate photographic destination with some of the most breathtaking scenes on Earth. In fact, it’s quite possibly one of the best-kept secrets when it comes to locations for landscape photography,” he says, before laughing “Well, not anymore”. Formore images,visit:www.eveningphotography.com

6)ShotfromtheshoreofasmallislandonthePahoeLakeinthe TorresDelPaineNationalPark.7)Aclose-upofthecloudyFitz Roymountain,takenthreemilesfromthetrailheadinEl Chalten.8)The'horns'ofTorresDelPaineNationalParktaken fromtheroadside.9)PaineMassifcapturedfromthesaltyshore ofLagunaAmarainChile.

IN THE BAG... “I’vewhatIcallmy ‘goldentrio’oflenses: NIKKORAF-S14-24mm f/2.8G,whichInever leavehomewithout; NIKKORAF-S24-70mm f/2.8GED;andNIKKOR AF-S70-200mmf/2.8G EDVR,whichItakeon everytrip.IalsohaveaNIKKORAF-S 200-500mmf/5.6EEDVRthatI reserveforChileanwildlife,butusually leavebehindonhikes.Ipairthesewitha 36-megapixelD810foritsincredibleimage qualityandlow-lightperformance.” www.nikon.co.uk


Gear

photo kittesteD & rateD byexperts

Canon EoS-1D X Mark II Canon'slatestflagshipDslrisaimeDataCtionanDwilDlifepros.sowhobetter tofielDtestitthanriCharDpelham,Chiefsportsphotographerforthesun

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Product news \

CANON EOS 1300D ENTRY-LEVELMODELOFFERS BANG FORTHE BUCK CANON HAS RELEASED its latest entry-level DSLR which, despite its low price, sports both Wi-Fi and Dynamic NFC for simpler sharing of images. Considering it costs under £300 (body only), the EOS 1300D offers a fair range of features that should more than cater for the needs of beginners. This includes an 18-megapixel APS-C CMOS sensor, DIGIC 4+ processor, digital creative filters, Full HD video capability and an ISO range of ISO 100-6400 (expandable to ISO 12800). The AF system is based around nine AF points (with a central cross-type sensor), metering options include 63-zone Evaluative, Partial and centreweighted patterns and continuous shooting is possible at three frames-per-second. The EOS 1300D is available now, body only, for £290, or in a kit with the EF-S 18-55mm f/3.5-5.6 DCIII (£330) or EF-S 18-55mm f/3.5-5.6 IS II (£370). www.canon.co.uk

SIGMA BOKEH MACHINE

FAST MAXIMUM APERTURES are usually the reserve of expensive primes, and the likes of the great nifty fifty, however Sigma has seemingly mastered the art of achieving a fast f/1.8 aperture from a telephoto zoom! The Sigma 50-100mm f/1.8 DC HSM Art looks set to be the ideal telezoom for APS-C users wanting to shoot in low light or create fantastic bokeh. The lens boasts an equivalent 75-150mm focal length and features 21 elements in 15 groups, including three FLD (F Low Dispersion) elements and one SLD (Special Low Dispersion) element. It focuses to 95cm and sports nine rounded diaphragm blades for pleasing bokeh. Available now, the Sigma 50-100mm f/1.8 DC HSM Art costs £780. www.sigma-imaging-uk.com

SIGMAUPDATETELEZOOMS IF YOU’RE LUCKY enough to own one of Sigma’s 150-600mm Contemporary or Sports series lenses then there’s now a firmware update available to improve autofocus performance by 20-50%, depending on shooting circumstances. The update is free, and if you own the Sigma USB Dock then updating is a DIY job. If not, you can contact Sigma Imaging UK via their website for details on how to update. If you don’t own either Sports or Contemporary 150-600mm lenses, then there couldn’t be a better time to buy, as Sigma has just announced bundles pairing the lenses with Sigma’s 1.4x teleconverters. Expanding the lenses’ focal length to 210-840mm, the 150-600mm f/5-6.3 DG OS HSM Sports + Tele Converter TC-1401 kit will set you back £1,650 and the 150-600mm f/5-6.3 DG OS HSM Contemporary + Tele Converter TC-1401 kit will cost £1,350, respectively.www.sigma-imaging-uk.com

30MMFORMICROFOUR-THIRDS IF YOU’RE A Micro Four-Thirds shooter you need not feel left out on Sigma’s latest innovations in lens technology, and they need not cost you the Earth either! New from Sigma is the bargain-priced 30mm f/1.4 DC DN, designed for MFT and Sony E-mount cameras. The 60mm equivalent focal length (45mm on Sony) and fast maximum aperture makes this a street photography, portrait or general-purpose lens. Best of all, it’ll only set you back £240 and is available now. www.sigma-imaging-uk.com

Gear

THE SUPER STOPPER LEE FILTERS – the long-exposure fanatic’s favourite filter brand – has realised its whopping 15-stop Super Stopper to accompany its incredibly popular ten-stop Big Stopper and six-stop Little Stopper. The Super Stopper will allow practically any scene, no matter how bright, to be captured as a long exposure. On sunny days, you can use the Super Stopper to extend an exposure of 1/1000sec to 30 seconds, while 1/125sec becomes four minutes. And in case you were wondering, an exposure of 1/4sec would be extended to over two hours! With the optical glass of the Super Stopper made to the same standards as the other Stopper filters, you can be assured of optimal image quality. Demand is expected to be very high, so if you fancy one, don’t delay your order! The Super Stopper costs around £70 for the Seven5 System, £104 for the 100mm size and £132 for the SW150 System. www.leefilters.com

IRIXWIDEANGLE Astrophotographersprepare togetexcited–thenewIrix 15mmf/2.4isanultra wide-angle,fastaperture manualfocuslensfromTH Swiss. The lens features a 110° Swiss.Thelensfeaturesa110° field-of-view,15elementsin11groups,weatheranddust-sealingandbothfrontfiltermountand rearfilterslot.Twoversionsareavailable– Blackstoneisapremiumedition,weighinginat around685gandofferingadurablealuminium/ magnesiumbodyandengravedfluorescent markings,whereasFireflyisslimmeddownto around608g.AvailableinCanonEF,NikonFand PentaxKfull-framefittings,theirpricinghasyetto www.irixlens.com beconfirmed.www.irixlens.com

HOODOOYOU DO Tamrachasannouncedits latestadventurephoto backpacks,quirkilynamed Hoodoo.Strangechoiceof nameaside,thisrangeof quitesnazzywater-resistant waxed canvas bags is designed for waxedcanvasbagsisdesignedfor DSLRs and mirrorless models. Available in DSLRsandmirrorlessmodels.Availablein twosizes,theHoodoo18andHoodoo20,andin threecolours,thebagsarePUcoatedandfeature high-gradecomponentsthroughout.Both modelsareconfigureddifferently,sowe recommendvisitingyourlocalphotodealerand tryingthemout.Availablenow,theHoodoo18 costs£90whiletheHoodoo20is£130. www.tamrac.co.uk

May 2016 Digital SLR Photography 99


Gear/ Professionalfieldtest

CANON EOS-1D X MARK II

TheSun’sChiefSportsPhotographer DickiePelhamprovidesanexclusive firsttestofCanon’slatestflagship professionaldigitalSLR Test: DICKIE PELHAM

SPECIFICATIONS GuidePrice:£5,200 Imagesensor:Full-frameCMOS(35.9x23.9mm) Resolution:20.2-megapixels Maximumimageresolution:5472x3648pixels AFsystem:61-point(41cross-type/fivedual-crosstype) Metering:216-zoneEvaluative,partial,spotand centre-weightedaverage) ISOrange:10-51200(expandsto50-409600) Shutterspeeds:1/8000sec-30seconds&Bulb Framerate:14fps(16fpsLiveView/mirrorlock-up) Storage:Dualslot(CFandCFast2.0) Size:158x167.6x82.6mm Weight:1340g Website:www.canon.co.uk

I

SWITCHED TO Canon in 2013 and since then have been using three Canon EOS-1D X bodies and an assortment of lenses for covering sports in the UK and abroad for The Sun. I’ve had my hands on the EOS-1D X Mark II for around three weeks and have been using it extensively to shoot a variety of sports in different lighting conditions. So far, I’m very impressed. When the camera arrived, I decided the best way to compare it to the original EOS-1D X was to set it up in exactly the same way. The only major difference in how I initially used it was that I had to shoot in JPEG rather than Raw, not for any other

100 Digital SLR Photography May 2016

reason than the Adobe Raw plug-in was yet to be released. I’m not a lover of JPEG and so I always shoot in Raw to get the very best image quality. That said, I’m actually very pleased by the quality of camera's JPEG files – in fact they are so good that I might actually consider switching from shooting Raw to shooting JPEG permanently in the future. I’ll need to test it further though before I commit to making that jump. The camera made its debut at the Emirates Stadium for the Champions League game between Arsenal and Barcelona. It was a massive test but I came away thinking I might just have shot the best

Right:Whiledesignedprimarilyforsportsandaction,the Canonisequallyadeptforuseinstudioconditions,suchas forthisportraitofprofessionalboxerAnthonyJoshua. Belowleft:Thecamera'sperfectforfastactionlikefootball.

football player in the world (Messi) using the world’s best camera. Since then I’ve used it to shoot Premier League games, both during the day and under artificial lighting, as well as boxing at the world title fight between Carl Frampton and Scott Quigg and studio shoots with athletes. The three key lenses I’ve used it with are the EF 24-70mm f/2.8L USM, EF 70-200mm f/2.8L ISM and the EF 400mm f/2.8L. The design of the camera is very similar to its predecessor and for me that’s no bad thing – it balances beautifully, feels very robust and is quick and easy to operate. Having used it continuously in heavy rain and encountered no problems, despite it getting drenched, I can vouch for its weatherproofing too. The viewfinder hasn’t changed from the original but that’s fine with me as I’ve always found it to be superb, giving a very bright image, 100% frame coverage and comprehensive exposure information. In use, I’ve nothing but praise for the camera. The 61-point AF system has been overhauled – I’m told it now sports Dual Pixel CMOS AF (I’m not overly technical so can’t explain the theory of this system) – but what I can state is that it has improved the AF responsiveness by a significant margin. The autofocus accurately locks and follows focus whichever lens I use, including the 400mm. That’s highly impressive with


the metering system on the previous eos-1d x was excellent and with the new mark ii it seems equally as impressive sports like football, where subjects move erratically. My favourite set-up is to select AI Servo AF and set the centre point with a small group of active AF points around it, then I use the toggle joystick on the camera’s rear to move the group around the frame to focus on off-centre subjects. This system works brilliantly – I’ve fired bursts of over 20 frames and found every one was sharp. This brings me on nicely to the motordrive, which has also been improved. The maximum frame rate has been increased from 12 to 14 frames-per-second,

while the mirror action at these rapid bursts is smoother and less clunky than the original. The metering system on the previous EOS-1D X was excellent and with the new Mark II it seems equally as impressive, although as I’m often shooting in controlled lighting, I haven’t been able to test it fully. The full-frame CMOS sensor has seen a slight increase in resolution, boasting 20.2-million pixels as opposed to 18-megapixels on the original EOS-1D X. I’m very happy with this resolution – not only is 20.2-megapixels more than high enough to

give a large image file, even after cropping, but also it’s an ideal size for when I need to transmit images through 3G/4G when Wi-Fi/ Ethernet isn’t available. Also, a higher resolution would result in far longer transmission times – with agencies demanding near-immediate access to images, this could prove to be a problem. While some might have expected a bigger jump in resolution, it’s worth noting that Canon already has the EOS 5DS models with their ultra-high 50.6-million pixel sensors, so there was no need to provide a super-high May 2016 Digital slr Photography 101


Gear/ Professionalfield test

resolution on the EOS-1D X Mark II. Instead Canon have designed a camera that meets the needs of pros, like myself, who work in the fields of sports/action and news. Where speed is of the essence, this camera delivers. Image quality, as you would expect, is excellent. In fact the JPEGs are so good, I can’t wait to see how much better the Raw files will be. Colour reproduction and skin tones have improved, while I also noted more details in the deep shadows; with the boxing images, I could make out detail such as sweat droplets against the backdrop that would have been indistinguishable before. Noise levels have also been improved, from my tests I’d say noise is two stops better than on the original, with low-light images revealing much cleaner shadows and blacks. The 3.2in LCD monitor is very sharp – the 1,062,000-dot screen has great resolution and the comprehensive menu is easy to navigate. The lack of touchscreen for general use is a bonus in my book; I’m often shooting in the rain and having to wipe clean the screen, so a touchscreen facility could cause me problems when wiping its surface. Without a doubt, for my line of work, one of the most important improvements with the camera is remote editing. With the original I couldn’t crop images in-camera,

102 Digital slr Photography May 2016

I’ve fIred bursts of over 20 frames and found every one was sharp so had to send the full file. Now I can use the LCD monitor to crop before transmitting. This not only means the file sizes are smaller so are quicker to send but also I’m supplying an image that’s composed as I want it, rather than leaving it to a picture editor to crop. Most sports stadiums have Ethernet points around the ground, so you connect an Ethernet cable direct into the socket on the camera body. If there is no Ethernet you can fit the current WFT-E6B Wi-Fi transmitter (or future WFT-E8A unit) to send them wirelessly. The Canon features built-in GPS, which is important for syncing image data at major events. Most agencies, such as Reuters and AP demand cameras are synced for data calibration, as they have rolling galleries of images from sporting events and need shots from different photographers to seamlessly sync into their events timeline. Another major benefit is the ability to use CFast 2.0 cards rather than standard

CompactFlash cards. I’ve been using the EOS-1D X Mark II with Lexar’s 3400x CFast 2.0 cards and they’re much faster than CF cards. I believe the CFast cards were originally designed for 4K video but they’re also suitable for still images and are about three times faster than the best CompactFlash cards. If I wanted to, I could shoot bursts of 170 frames in Raw before the frame rate started slowing and with JPEGs it allows for continuous shooting with no drop in speed. The faster cards also speed up my workflow as they transfer images to my laptop so quickly. They’re big and tough cards too: they’re very robust and well designed and much better than the CF or QXD cards I’ve used in other cameras. The camera’s processing power is handled by Dual DIGIC 6+ processors, with another DIGIC 6 processor used to handle the 360,000-pixel metering sensor. It's powerful enough to allow for 4K shooting at up to 60p or Full HD at up to 120fp, which is great for slow motion video. I’m looking forward to trying the video facility soon. The Canon is powered by a large lithium-ion cell that slips into the base. The new battery looks the same as the one in the original EOS-1D X but has been improved to allow for 14fps shooting and I’ve found the


Left:Theautofocussystemandfastmotordriveallowsmeto rattleoffsequenceswitheveryframesharp. Above:Theworld'sbestplayercapturedinsharpdetail. Right:AthigherISOratingsnoiseisverywellcontrolled.

capacity lasts a whole football match with a little charge to spare. The old battery can be used but won’t shoot at the max frame rate. I’ve had less than a month with the Canon EOS-1D X Mark II but it’s clear it raises the bar in performance, with the autofocus in particular standing out as a major benefit. I’ll certainly be looking to upgrade my current models and getting at least two bodies – in such a competitive area of photography you need your kit to give you every edge you can get and in the Canon, I couldn’t ask for more. FollowRichard Pelham onTwitterat: @dickiepelham

ConClusion I’ve used Canon EOS-1D X's for three years and have been very happy with their performance, but the Mark II has made me want to upgrade them as soon as possible. It offers a number of improvements, in particular its superior AF system and image quality, that give it a cutting edge in the competitive world of sports photography.

May 2016 Digital slr Photography 103


The House of Nikon

Nikon D5

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£419.00 £335.00 £219.00 £229.00 £99.00 £225.00 £745.00 £945.00 £635.00

AF-S FX Silent Wave Nikkor Lenses

AF-S 20mm f/1.8G ED....................................................... £539.00 AF-S 24mm f/1.8G............................................................. £579.00 AF-S 24mm f/1.4G ED....................................................... £1,475.00 AF-S 28mm f/1.8G............................................................. £475.00 AF-S 35mm f/1.4G............................................................. £1,290.00 AF-S 35mm f/1.8G ED....................................................... £369.00 AF-S 50mm f/1.4G IF......................................................... £319.00 AF-S 50mm f/1.8G IF.......................................................... £159.00 AF-S 58mm f/1.4G............................................................. £1,149.00 AF-S 85mm f/1.8G............................................................. £349.00 AF-S 85mm f/1.4G............................................................. £1,129.00 AF-S 14-24mm f/2.8G IF-ED.............................................. £1,345.00 AF-S 16-35mm f/4G ED VR............................................... £825.00 AF-S 17-35mm f/2.8D IF-ED.............................................. £1,295.00 AF-S 18-35mm f/3.5-4.5G.................................................. £515.00 AF-S 24-70mm f/2.8G IF-ED.............................................. £1,245.00 AF-S 24-70mm f/2.8E ED VR............................................. £1,649.00 AF-S 24-85mm f/3.5-4.5G ED VR...................................... £365.00 AF-S 24-120mm f/4G ED VR II.......................................... £725.00 AF-S 28-300mm f/3.5-5.6G ED VR.................................... £669.00 AF-S 70-200mm f/2.8G VR II IF-ED................................... £1,669.00 AF-S 70-200mm f/4G VR IF-ED......................................... £975.00 AF-S 70-300mm f/4.5-5.6G VR IF-ED................................ £409.00 AF-S 80-400mm f/4.5-5.6G VR II ED................................. £1,749.00 AF-S 200-400mm f/4G VRII IF-ED..................................... £4,799.00 AF-S 200-500mm f/5.6E VR ED......................................... £1,099.00 AF-S 200mm f/2G VR II IF-ED........................................... £3,999.00 AF-S 300mm f/4E PF ED VR II.......................................... £1,490.00 AF-S 300mm f/2.8G VR II IF-ED........................................ £3,995.00 AF-S 400mm f/2.8E VR FL ED........................................... £8,295.00 AF-S 500mm f/4E FL ED VR.............................................. £7,795.00 AF-S 600mm f/4G VR IF-ED.............................................. £6,495.00 AF-S 600mm f/4E FL ED VR.............................................. £9,490.00 AF-S 800mm f/5.6E VR FL ED (inc. TC800-1.25E ED teleconverter) ........................................................................................... £12,445.00 TC-14E III 1.4x teleconverter.............................................. £379.00 TC-17E II 1.7x teleconverter............................................... £299.00 TC-20E III 2x teleconverter................................................. £329.00

AF & AF-S Micro-Nikkor Lenses AF-S 40mm f/2.8G DX Micro.............................................. 60mm f/2.8D Micro............................................................. AF-S 60mm f/2.8G ED Micro.............................................. AF-S 85mm f/3.5G VR DX IF-ED Micro............................. AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................ 200mm f/4D AF Micro IF-ED..............................................

Nikon Speedlights

SB-5000 Speedlight.......................................... Pre-Order SB-910 Speedlight.............................................................. SB-700 Speedlight............................................................. SB-500 Speedlight............................................................. SB-300 Speedlight............................................................. SB-R1C1 Close-Up Commander Kit.................................. SB-R1 Close-Up Remote Kit.............................................. SU-800 Wireless Speedlight Commander.......................... SB-R200 Wireless Remote Speedlight..............................

£195.00 £325.00 £365.00 £335.00 £599.00 £1,175.00 £499.00 £375.00 £225.00 £185.00 £99.00 £499.00 £399.00 £269.00 £159.00

Manual Focus Nikkor AIS Lenses 20mm f/2.8 Nikkor.............................................................. 24mm f/2.8 Nikkor.............................................................. 28mm f/2.8 Nikkor.............................................................. 35mm f/1.4 Nikkor.............................................................. 45mm f/2.8P Nikkor, chrome.............................................. 50mm f/1.4 Nikkor.............................................................. 50mm f/1.2 Nikkor..............................................................

£901.00 £608.00 £615.00 £1,227.00 £325.00 £597.00 £743.00

Zoom-Nikkor Manual AIS Lenses 28-85mm f/3.5-4.5 Zoom-Nikkor ........................................

£599.00

Special Purpose: Perspective Control & Micro-Nikkor Lenses 24mm f/3.5D PC-E ED Nikkor............................................ 28mm f/3.5 PC Nikkor........................................................ 45mm f/2.8D ED PC-E Nikkor............................................ 55mm f/2.8 Micro-Nikkor.................................................... 85mm f/2.8D ED PC-E Nikkor............................................ 105mm f/2.8 Micro-Nikkor.................................................. 200mm f/4 Micro-Nikkor.....................................................

£1,325.00 £1,195.00 £1,345.00 £541.00 £1,199.00 £1,047.00 £895.00

PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control

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Gear/ Premiumbackpacks

BACKPACKS B OVER £160

ASWEFOUNDINOURBUDGETBACKPACKGROUPTEST(MARCH2016, ISSUE112)YOUCANGETGREATBAGSFORUNDER£150.BUTIFYOU SPENDEXTRA,YOU’LLGETFARMORE,ASTHISGROUPTESTREVEALS...

106 Digital SLR Photography May 2016

Test: RICHARD HOPKINS

udget backpacks offer a lot for the money, but if you're a dedicated outdoor photographer, you may want to spend more on bigger, better quality bags with heavier grade fabrics and top-grade zips, extra features and some clever innovations. More expensive bags tend to have a more single-minded purpose too, concentrating just on storage of camera equipment with less space allocated to general leisure and non-photo related items. All the main design types are tested here. There are conventional models, that


Premium backpacks\ traditionally open from the front. At this level, features like tripod straps, a 15in laptop slot, and load tensioners on the harness are more or less standard. A popular alternative is to have the main compartment unzip from the rear, which has advantages. It's secure and more resistant to pick-pocket theft when wearing and, along with a good waist strap, it's possible to slip off the shoulder harness and rotate the pack around to your front, where is can be opened right in front of you. There's full access to the main compartment this way, without having to take the pack completely off and put it down where it might get wet and muddy. Some backpacks

are better at this than others, notably those where the waist straps are attached to the sides of the pack, rather than the back panel. In the latter case, there may not be enough support and the pack will hang down too low unless it can be rested on something. Another option is the semi-sling design, with access ports ďŹ tted to the sides. If you slip off one side of the harness, then pull the pack around towards the front, you can reach inside and grab the camera or an extra lens. Some models take this a stage further with shoulder straps that can be detached at the base and swapped left-to-right, converting them into a sling-type pack.

Gear

The test procedure was straightforward enough, and as real-world as we could make it: load them up with camera gear, put them on, adjust the harness, and set off on an urban safari. Then we weighed them and measured them, and put an estimate on the capacity of the main camera compartment in litres. For comparison, a regular tin of baked beans is almost exactly 0.5 litres. Don't be surprised if our measurements differ slightly from the manufacturer's quoted specs, as they often do. Backpacks and bags are hard to measure exactly due to the way they naturally stretch and compress, so allow a centimetre or two either way.

May 2016 Digital SLR Photography 107


Gear/ Premiumbackpacks ANATOMYOFABACKPACK 1)Grabhandle:Aconvenientwaytoholdyourbag 2)Sidepocket:Additionalstorageforsmallitems 3)Compressionstrap:Stabilisestheload 4)Drinkspocket:Usefulstorageforrefreshments 5)Ventilatedback:Helpstokeepyourbackcooler 6)Largefrontpocket:Fordocuments,mapsandtablet 7)Frontopening:Mainaccesstoyourequipment 8)Frontorganiserpockets:Handyeasy-accessstorage 9)Memorycardwallet:Securestorageforsparecards 10)Interiorpockets:Additionalstorageforaccessories 11)Sideport:Allowsfastaccesstoyourcamerakit 12)Velcrodividers:Allowsforfastandeasyadjustments 13)Loadtensioner:Raisespackforbetterbalance 14)Laptopslot:Dedicatedcompartmentforyourlaptop 15)Accessoryattachments:Forattachingaccessories 16)Trolleyloop:Forsecureattachmenttotrolleyhandle 17)Adjustablesternumstrap:Maximisescomfortandfit 18)Waiststraptensioner:Maximisesstabilityandsupport 19)Tripodattachment: Easywaytocarryyourtripod

FEATURES TO LOOK FOR Extra features can make all the difference. Look for benefits like a padded slot for laptops, which are commonly found on medium and large backpacks, big enough for a standard 15in laptop. Most smaller packs have space for a standard iPad or similar tablet. Straps for a tripod are another feature well worth having, as is a rain cover and smaller elements that are easily overlooked, such as grab-handles, a trolley strap to hook over the handle of a roller suitcase, and simple accessory hoops to attach small items

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like a filter wallet or oddments bag. Along the same lines, elasticated side pockets are handy for drink bottles, and can also take another lens or flash, at least temporarily as they don't usually offer much protection. Then there's the harness, and comfort, which is a personal judgement; a backpack that's perfect for one person might not suit another. There are some general rules though. Wider shoulder pads spread the load and should have plenty of firm padding, and on the back panel too. A chest or sternum strap, which is height adjustable, can make a big difference. Better harnesses also have

load tension adjusters at the top that allow you to modify the height and balance. Waist straps come into their own in uneven terrain, preventing the weight from swinging. If possible, it's a good idea to try before you buy. Load up the backpack with a reasonable amount of gear, adjust the straps and see how it feels. It's hard to judge exactly what it'll be like over a long hike, but you can be sure that if a backpack is uncomfortable for a quick test, then it will only be worse after a few hours. Finally a word of caution: if you're new to backpacks, carrying weight high up can upset your balance until you get used to it.

LoweproProTactic350AW Streetprice:£170 Overallsize(HxWxD):44x30x19cm Capacityofmaincompartment(approx):12.1litres Weight:2kg Website:www.lowepro.co.uk

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HE PROTACTIC RANGE includes three size options, with this 350 version in the middle. The main features are four-way access ports – through the bottom-left side flap, bottom-right, via the domed top, or unzip the back to access the whole 12L main compartment. It's a nifty design though, to make it work properly, the interior needs to be arranged so that frequently used items are accessible through one or other port. Lowepro has done its best to BEST help with a plentiful supply of Velcro'd FEATURE dividers. It's easy to open the side flaps by Four-wayaccess slipping off one side of the harness, and ports to get atyour you can also reach the top this way, gearquickly without having to take the whole thing off. Because the waist belt (removable, with two handy little pockets) is attached to the back rather than the sides, the trick of releasing the harness and pulling the pack around to the front for 'easy' access doesn't work so well as it hangs too low. The outer front and sides are covered with extra webbing, stitched to form a multitude of attachment loops for Lowepro's SlipLock attachment system for accessories. Some SlipLock items are already included such as a tripod attachment, a drinks holder and a small accessories bag.

108 Digital SLR Photography May 2016

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VERDICT Once you've configured it so that most used items are accessed through the side ports (not difficult), it's a great design for fast access with big load capacity. And it's very well priced, too.

Build quality Features Performance Value

Overall


Premium backpacks

Gear

ManfrottoProLight3N1-35PL Streetprice:£170 Overallsize(HxWxD):45x33x29cm Capacityofmaincompartment(approx):13litres Weight:2.2kg Website:www.manfrotto.co.uk

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HIS IS ONE CLEVER backpack, stuffed with innovative and useful design features. At the heart of it is the clever harness system, where the shoulder straps detach at the base and can be crossed over. It can be used as a regular backpack with both straps across the front in an 'X' shape for extra stability, as a sling bag (left- or right-sided) with only one strap, or as a handbag with all straps tucked neatly away behind the rear padding – the latter option makes it more compact BEST when stowing the bag away too. FEATURE In sling-bag configuration (or with one Flexibleharnesssystem shoulder strap slipped off) the pack can foreasyconversion be pulled down and around for direct toaslingbag access to the main compartment, through one of the left- or right-side hatches, which works well. There are two similar models available also, and this 3N1-35 is the larger version. In addition to the well-appointed 13L main storage area, there's a padded top compartment offering another 4L or so of space, either for more photo equipment, or a handy amount of leisure gear. There are extra little organiser pockets in there to keep everything tidy, as well. The other front and side pockets are useful, if not massive, and a laptop slot sits against the back, easily taking a 15in model.

VERDICT Arguably, there are better regular backpacks and improved customdesigned sling bags, but nothing can touch this Manfrotto in the all-round versatility department.

Build quality Features Performance Value

Overall

LoweproProRunner350AWII Streetprice:£180 Overallsize(HxWxD):45x31x21cm Capacityofmaincompartment(approx):9.9litres Weight:2.5kg Website:www.lowepro.co.uk

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T £180, THE Lowepro ProRunner 350 AW II falls towards the lower end of the budget. It's the smaller of two backpacks in the upgraded ProRunner II range, alongside the 450 model that's also available with a wheels/handle option. The ProRunner 350 has a narrower width and is quite compact, without side pockets to catch on things, though there are SlipLock loops to attach small accessory cases. The streamlining has also deleted less essential features like BEST harness load tensioners. Inside, at first it FEATURE appears impossibly tight, but there's a lot Slimmerwidth for of 'give' in the extra-fat partitions – just squeezing through push firmly and an amazing amount of crowds gear squeezes into the 10L compartment. There's a separate zipped case for tidying up bits and bobs, nice quality too, which fits neatly across the bottom, plus a lot more space for accessories in the numerous front pockets, including a 13in laptop slot. The specification of the ProRunner is nothing too adventurous. It has a sound set of features with all the basics covered, and the whole bag has been treated to an extra dollop of quality with top-grade fabrics and zips. It has MaxFit dividers, a thicker outer shell, extra harness and waist belt padding, as well as comfortable grab handles.

VERDICT A bag that's well designed and manufactured just for camera equipment, with a good amount of storage space in a neat, very easy to use, and more compact package than the 450 AW.

Build quality Features Performance Value

Overall

May 2016 Digital SLR Photography 109


Gear/ Premiumbackpacks ManfrottoProLightBumblebee220PL Streetprice:£180 Overallsize(HxWxD):51x34x30cm Capacityofmaincompartment(approx):18.3litres Weight:3.1kg Website:www.manfrotto.co.uk

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HE PROLIGHT BUMBLEBEE features Manfrotto's CPS Camera Protection System that's "engineered to provide maximum protection for the most vulnerable equipment in the centre of the bag." CPS adds two stiffened humpshaped dividers running up the middle of the main compartment to resist crushing forces. Some backpacks are weak here, away from the protection of the side walls, so this could be invaluable, say in an aircraft hold. Camera bodies sit BEST in-between the central humps, with lenses FEATURE stored in two padded zippered bags on CPSCamera either side. It works for sure, with solid ProtectionSystem protection on all sides, though access is addsextrasecurity less convenient and CPS protection isn't always necessary. The Bumblebee is front loading, opening left-to-right rather than top-to-bottom, which is fine. With CPS, internal layout of the main compartment is not as space-efficient as it could be, but it's a big backpack overall so it can still swallow a lot of gear. At 3.1kg, it's the joint heaviest on review. Elsewhere, it's a more conventional backpack, with useful front and side pockets, a 15in laptop slot and all the other expected features. The harness and straps can be neatly tucked back behind the rear padding, and (mostly) hidden away.

VERDICT If you entrust your backpack to an airline hold or a similar fate, then the CPS feature is well worth having. If not, there are more conventional designs that are more effective.

Build quality Features Performance Value

Overall

TenbaShootout24L Streetprice:£180 Overallsize(HxWxD):45x32x26cm Capacityofmaincompartment(approx):16.8litres Weight:2kg Website:www.tenba.com/uk

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F THE THREE Tenba Shootouts, the 24L sits in the middle of the range (the smaller Shootout 18L was Highly Rated in our March issue). It's medium-sized but has a relatively large 16.8L main compartment, with lots of Velcro'd partitions, enough to configure around pretty much any outfit. It's a conventional front-opening design, with large flat pockets in the front flap, and they're all quite useful, with a fair amount of natural 'give'. There's a neat little detachable memory card BEST wallet in one, which is a nice bonus. The FEATURE gusseted side pockets are equally handy, Side-hatch allows and also in the side is a laptop slot, claimed camera access on to hold a 15in model though it may be a bit the move tight. What sets this backpack apart is the zippered hatch at the bottom of the left side, giving direct access to the camera, with just about any lens attached, without taking the backpack off. Or more accurately, without removing it completely but slipping the harness off the right shoulder and pulling the pack around sling-style. It's not a perfect solution, that's very hard with a backpack, but it works and can be a real boon. Tenba claims a high standard of comfort for the harness and waist belt. This fact is confirmed, although most backpacks at this level are well provisioned.

110 Digital SLR Photography May 2016

VERDICT The Tenba Shootout 24L is a quality backpack with lots of storage space and useful touches, at a very good price. The side-hatch for access on the move seals the deal.

Build quality Features Performance Value

Overall


Premium backpacks\

Gear

ThinkTankPhotoShapeShifter Streetprice:£185 Overallsize(HxWxD):49x32x9-19cm Capacityofmaincompartment(approx):16.2litres Weight:2kg Website:www.snapperstuff.com

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HEN UNLOADED, THE Shape Shifter shrinks down to just three inches deep – much easier for squeezing through crowds, or just taking up less space in the cupboard under the stairs. Undo the zip and there's another 10cm of extra depth, and you have a full-sized backpack on your hands, with a large 16.2L main compartment. Think Tank has had to reconfigure the interior storage and the usual Velcro'd dividers are replaced with five large and squashy sewn-in drawstring pouches. There's room for a BEST gripped DSLR body (without lens), FEATURE a second body or two flashguns, and Undotheperipheral three large lenses such as the classic zip,andit'safullTrinity of wide-, standard- and tele-zooms. sizedbackpack Protection is excellent; without a rigid structure, the Shape Shifter can seem a bit floppy, but it's perfectly fine on your back. There are lots of other pockets on the front, many with expandable gussets to accommodate a fair amount of extra gear, including a large laptop up to 17in (maybe even 18in). All other aspects of the Shape Shifter are as expected from a premium quality backpack, with a fully-featured harness and waist belt, including load tensioners all round, attachment loops and D-rings for accessories, plus tripod straps.

VERDICT If the shrinking trick appeals, and your outfit suits the pre-ordained layout, then the Think Tank Photo Shape Shifter makes a good, big and comfortable backpack.

Build quality Features Performance Value

Overall

F-stopAjnawithICULargeSlope Streetprice:£200 Overallsize(HxWxD):59x33x28cm Capacityofmaincompartment(approx):14.5litres Weight:2.5kg Website:www.paramo-clothing.com

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T'S A REAL DAY-glow orange that the rescue helicopter will see from miles away! Or blue, black, or khaki-green if you don't want to tempt fate. It makes the point about F-stop though – serious bags and backpacks for hiking in all conditions and perhaps the best feature is they're waterproof without needing a rain cover (F-stop says with "unprecedented weather resistance"). F-stop backpacks are modular, built on an aluminium chassis, BEST and the waterproof fabric with Aquaguard FEATURE zips is unpadded. Equipment protection Waterproof– is provided by a zipped and padded ICU without the need (Internal Camera Unit) that's securely fora rain cover! attached with Velcro tabs, accessed from the rear-side. ICUs come in different shapes and sizes, this one being the Large Slope, and gear is organised with the usual Velcro'd dividers. For comfort, there are load tensioners on the shoulder harness and a wide waist belt, with good ventilation for your back. There's a lot of storage space around the ICU for leisure and hiking clobber, accessed through the top, front and sides, with a hydration system and room for a 13in laptop. There are tripod straps and multiple attachment loops that can be used for camera accessories, but are actually intended for ice axes and trekking poles!

VERDICT F-stop are not the most convenient backpacks, but if you need to keep going in all weathers, and carry more than just cameras, they're an excellent backpack to consider.

Build quality Features Performance Value

Overall

May 2016 Digital SLR Photography 111


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Premium backpacks\

Gear

MindShiftBackLight26L Streetprice:£205 Overallsize(HxWxD):53x27x23cm Capacityofmaincompartment(approx):15litres Weight:1.9kg Website:www.mindshiftgear.com

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INDSHIFT IS A SISTER-company to Think Tank Photo, specialising in premium quality backpacks with innovative designs and cool features. There's usually an attractive colour option too, including this rather classy grass-green, or dark grey if you prefer. With backpacks like this, that have both a waist strap and a rear-opening storage compartment, a popular trick to gain access without taking everything off (and putting it down in the BEST mud) is to slip off the shoulder harness and FEATURE then rotate the whole thing around your Easytoslipoffthe waist to the front. The rear of the backpack harnessandrotatetothe then opens up right in front of you and the frontforfullaccess MindShift BackLight 26L is designed to make this easier, with attention to detail for smooth and easy movement, and thoughtful VERDICT touches like an elasticated neck strap to hold the back open. Inside there is just one large 15L storage compartment The emphasis is on serious with plenty of dividers offering different configuration photo equipment storage options to accommodate a comprehensive high-end DSLR over leisure gear, and with outfit. On the front is storage for a 15in laptop, a tablet too, access to everything on and there's plenty of 'give' to stuff in clothing or other items. the move. Mission There are two generous elasticated drinks pockets, plus accomplished, and in style, fittings to carry a tripod on the back or down either side. too. Nice one MindShift!

Build quality Features Performance Value

Overall

MindShiftRotation-180Horizon Streetprice:£205 Overallsize(HxWxD):59x29x24cm Capacityofmaincompartment(approx):5.6litres Weight:2kg Website:www.mindshiftgear.com

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HIS WORLD'S-FIRST innovation from MindShift is basically a combined backpack and waist bag. It has a mechanism that quickly releases the waist bag so it can be pulled around to the front for instant direct access, then swung back again and clipped away securely. It's a simple enough concept, but where MindShift has been particularly clever is the combination of a hinged flap and magnetic clip that make it all work. It functions very well using just BEST one hand – fast, easy and foolproof – FEATURE what a great design feature! There is one The instant-access downside, though, and that's the waist bag is a great inevitably bulky 'packaging' that leaves innovation quite a lacking storage area in the waist bag itself. At around 5.6L capacity, it's the smallest here by a long way, with room for a pro-spec DSLR and a couple of lenses, but not much more. The waist bag can be detached and used alone. There's a lot of space in the top compartment that could take plenty more camera gear, but it's unpadded and best suited to general hiking and leisure items. In addition, there's a custom pouch for a 3L hydration reservoir and tripod straps. There are five models in the MindShift Rotation range, including one larger and three smaller than this Horizon version.

VERDICT The rotation waist bag is a brilliant concept, and well executed. Though with space for camera equipment somewhat limited, it's a primarily a hiking backpack.

Build quality Features Performance Value

Overall

May 2016 Digital SLR Photography 113


Gear/ Premiumbackpacks TamracAnvilSlim15 Streetprice:£230 Overallsize(HxWxD):48x29x24cm Capacityofmaincompartment(approx):13.7litres Weight:2.1kg Website:www.intro2020.co.uk

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AKING THE BUDGET well over £200, the Tamrac Anvil Slim 15 sits in the middle of six in the Anvil range, which was introduced by Tamrac last year. They all have features in common, but are different sizes and shapes. The Anvil Slim 15 is a conventional front-opening backpack with a large BEST main compartment dedicated to photo FEATURE equipment. It's well supplied with Velcro'd Tamrac'sARCaccessory dividers and can be configured any which casesaddcustomised way, with plenty of length to take a accommodation super-telephoto or 150-600mm zoom. The full-length front pocket takes a 15in laptop, a tablet too, and maybe a spare jumper, though the other three front pockets are more for batteries, cards and filters than much in the way of leisure items. Any side pockets are conspicuous by their absence, but instead there are attachment loops for Tamrac's range of ARC accessory bags and pouches, allowing you to choose custom-designed cases for extra lenses, flashguns and so on, and they can be removed or swapped around. These cost more (£25 each), but the end result is a better and more versatile custom backpack. There are extra ARC attachment points on the waist strap, too, that can be removed and used as a utility belt.

VERDICT The Tamrac Anvil Slim 15 is a capable backpack that can be further enhanced with Tamrac's ARC accessory cases. This adds cost, but the customised result is worth it.

Build quality Features Performance Value

Overall

MindShiftFirstLight40L Streetprice:£270 Overallsize(HxWxD):54x39x25cm Capacityofmaincompartment(approx):24.5litres Weight:3kg Website:www.mindshiftgear.com

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INDSHIFT'S LARGEST BACKPACK – and it's huge – is designed for comprehensive outfits including very long lenses, up to 600mm f/4. It's better suited to transporting equipment between locations rather than working out of on the trail (it's claimed to be carry-on friendly with most airlines) though the limiting factor will be your own strength and stamina. It's extremely heavy when full, though MindShift has done its best to spread the load with extra adjustments and load tensionsers BEST on all straps, plus an innovative torso length FEATURE feature that aims to cater for all body Big and robust shapes and sizes (there are 11 adjusters in perfect forheavy total). The main storage compartment is super-telephotos massive at around 24L, significantly bigger than anything else here, mostly due to the extra depth. It will take gripped camera bodies with ease, or a 70-200mm zoom standing upright (just!). In fact it's generally suited to larger gear, and smaller items may need extra wrapping to stop them rattling around inside the deep compartments. A laptop goes in the large front pocket, and there are stretchy side pouches, tripod attachment straps and a hydration reservoir. Other packs offer similar capacity, but the MindShift's build quality, with heavy gauge fabrics and high-density foam, is hard to beat.

114 Digital SLR Photography May 2016

VERDICT All your gear travels first class in this big, heavy-duty and high-quality backpack from MindShift. Very heavy when fully loaded, ideally suited to travelling between locations.

Build quality Features Performance Value

Overall


Premium backpacks\

Gear

TenbaRoadieHDSLR/Video Streetprice:£270 Overallsize(HxWxD):49x40x27cm Capacityofmaincompartment(approx):13.8litres Weight:3.1kg Website:www.tenba.com/uk

T

HE SPEC SHEET of the Tenba Roadie really doesn't want for much. It has a very decent 13.8L rear-loading camera compartment, padded top compartment with another approximate 3L for photo or other equipment, four usefully-sized side pockets, two front pockets for a 17in laptop plus more pockets within pockets. There's a detachable waist belt with two more oddments pouches, harness load tensioners, tripod strap, rain cover, waterproof base, large grabhandle, roller suitcase loop, and more! BEST FEATURE With all this and the durable construction, it's the heaviest (3.1kg) backpack on test, Thegreatall-rounder, and expensive at £270. It's also the widest, withapocketfor everything so needs care in crowded places. It offers a lot of very usable space, with plentiful and versatile dividers and sub-dividers in the main compartment. The top compartment offers quick access and will just about take a DSLR with lens attached, and all those other pockets are mostly of a good enough size and depth to be more than just token. As a whole, it all works very well, with one exception. The waist belt is attached to the back, not to the sides of the backpack, meaning that the trick of releasing the shoulder harness and pulling the pack around to your front to get inside, doesn't really work.

VERDICT Is the Tenba a 'Jack of all trades' or a great allrounder? It is certainly more of the latter, although there are some things that more focused backpacks do better.

Build quality Features Performance Value

Overall

Testconclusion

W

ITH A GENEROUS budget from upwards of £160, these are some of the finest backpacks on the market. Outstanding in fact. Which has meant we've been stricter than ever in how we've rated each backpack – in theory every one could have scored a Highly Rated or Best Buy award. They're really all that good. In price order, first on our list of group test winners is the Lowepro ProTactic 350 AW, with its four-way access ports that address the tricky problem of getting at your gear while still wearing the backpack. The ProTactic shows that it can be done, without costing a lot, to earn a Best Buy award. Three of the backpacks under £200 stand out as being particularly great value and gain Highly Rated awards – the Manfrotto ProLight 3N1-35PL, the Lowepro ProRunner BP 350 AW II and the Tenba Shootout 24L. Next up, in price order at least, is the F-stop Ajna. It's not like any other backpack, if only because it's waterproof without needing a rain cover, but will carry and protect a lot of equipment, photo or otherwise, in the harshest environments, so it deserves a Highly Rated award. Our second Best Buy is the mid-sized and medium-priced MindShift BackLight 26L that takes an old backpacker's trick and really makes it work well – the technique of pulling the pack around to the front and opening it backwards. Its stablemate, the Rotation-180 Horizon, with its cunning pull-out waist bag just misses out on a Highly Rated award due its somewhat limited capacity. It’s worth noting that all the other bags are excellent too, but perhaps get pipped to the post for one or two features. As mentioned, the high standard of the group meant we were extremely stringent on which bags gained awards – those that didn’t, missed out by the smallest of margins.

Lowepro ProTactic 350AW

MindShift BackLight 26L

Manfrotto 3N1-35 PL

Tenba Shootout 24L

May 2016 Digital SLR Photography 115


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Experts in photography 20.2 MEGA PIXELS

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20.9

4K

3.2”

The EOS-1DX Mark II is Canon s most advanced DSLR ever. ever It s a professional workhorse that produces unbelievable images and is perfect for wildlife and sports photography. As the fastest EOS ever, you ll never miss a moment.

MEGA PIXELS

NEW & EXPECTED APRIL 2016

Canon EOS 80D

Canon EOS 7D Mark II Canon EOS 6D

24.2

24.2 MEGA PIXELS

7 FPS

24.2 10 FPS

£100

NEW! Body Only

£999.00

+ 18-55 IS STM

£1,089.00

Add a Canon BG-E14 battery grip for only £149.00

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50.6

MEGA PIXELS

£250

MEGA PIXELS

£250

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£1,928.00* £2,583.00* *Prices include £250 cashback from Canon. Ends 18.05.16.

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£1,529.00 £385.00 £1,199.00 £455.00 £129.00 £379.00 £389.00 £989.00 £1,799.99 £399.00 £129.00 £995.00 £237.00 £88.00 £107.00 £201.00 £314.00 £853.00 £1,499.00 £237.00 £358.00 £373.00 £635.00 £699.00

5 FPS

£150

Body Only + 24-105 IS STM

£969.00*

£1,339.00*

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£1,049.00 £4,399.00 £569.00 £4,799.00 £959.00 £7,698.00 £6,999.00 £889.00 £6,899.00 £8,895.00 £9,899.00 £1,599.00 £1,479.00 £1,099.00 £1,124.00 £915.00 £189.00 £410.00 £2,799.00 £531.00 £1,064.00 £721.00 £549.00 £532.00

NEW & EXPECTED APRIL 2016

Nikon D5500

Nikon D7200

Nikon D610

24.2

24.2

24.2

MEGA PIXELS

MEGA PIXELS

MEGA PIXELS

6 FPS

£50

Body Only + AF-P 18-55 VR

£499.00

Body Only

£569.00

£714.00

Add a Nikon EN-EL14a spare battery for only £40.00

+ 18-105 VR

See web

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Only

£325

.00*

For ink & paper, see website

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£454

.00*

24.3

36.3

20.8

MEGA PIXELS

£250

MEGA PIXELS

MEGA PIXELS

MEGA PIXELS

*Price includes £75 cashback from Canon. Ends 18.05.16.

CANON ACCESSORIES Flashguns

Speedlite 90EX £109.00 Speedlite 270EX II £135.00 Speedlite 320EX £185.00 Speedlite 430EX III-RT £219.00 Speedlite 600EX-RT £354.00* * Price after £75 cashback from Canon

Battery Grips

£2,649.00* £3,699.00* *Prices include £250 cashback from Canon. Ends 18.05.16.

EF-S 18-55 IS ll (No packaging) £79.00 EF-S 18-135mm IS STM £329.00 EF-S 18-200mm f/3.5-5.6 £385.00 24-70mm f/2.8L II USM £1,400.00 24-70mm f/4.0L IS USM £699.00 24-105mm f/4.0L IS USM £749.00 24-105mm (White Box) £729.00 24-105mm f/3.5-5.6 IS STM £375.00 28-300mm f/3.5-5.6L IS £1,795.00 EF-S 55-250mm f/4-5.6 IS STM £225.00 70-200mm f/2.8L IS II USM £1,499.00 70-200mm f/2.8L USM £945.00 70-200mm f/4.0L IS USM £805.00 70-200mm f/4.0L USM £459.00 70-300mm f/4.0-5.6 IS £368.00 70-300mm f/4.0-5.6L IS USM £904.00 70-300mm DO IS USM £1,118.00 75-300mm f/4.0-5.6 III £188.00 75-300mm f/4.0-5.6 III £219.00 100-400mm L IS USM II £1,899.00 200-400mm f/4.0L USM £8,598.00 1.4x III Extender £314.00 2x III Extender £302.00 EF 12II Extension Tube £79.99

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BG-E11 (5D III, 5DS/R) £225.00 BG-E13 (6D) £174.00 BG-E14 (70D) £149.00 BG-E16 (7D Mark II) £249.00 BG-E18 (7D Mark II) £115.00 For even more grips, see website

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LP-E4N (1D X, 1D C) £139.99 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

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50.6

imagePROGRAF PRO-1000 (A2 printer)

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£75

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Nikon D750

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4K

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AF-G 10.5mm f/2.8G ED DX £549.00 AF-D 14mm f/2.8D £1,199.00 AF-D 16mm f/2.8D Fisheye £625.00 AF-S 20mm f/1.8G ED £579.00 AF-D 20mm f/2.8 £463.00 AF-D 24mm f/2.8D £369.00 AF-S Nikkor 24mm f/1.4G £1,379.00 AF-D 28mm f/2.8 £245.00 AF-S 28mm f/1.8G £495.00 35mm f/2 AF Nikkor D £255.00 AF-S 35mm f/1.8G ED £399.00 AF-S 35mm f1.8G DX £151.00 AF-S 40mm f/2.8G ED £199.00 AF 50mm f/1.4D £244.00 AF-S 50mm f/1.4G £349.00 AF-D 50mm f/1.8 £109.00 AF-S 50mm f/1.8G £179.00

AF-D 60mm f/2.8 Micro £368.00 AF-S 60mm f/2.8G Micro ED £439.00 AF-S 85mm f/3.5G DX £389.00 AF-S 85mm f/1.8G £399.00 AF-S 105mm f/2.8G VR £659.00 AF-DC 105mm f/2 Nikkor £805.00 AF-D 135mm f/2.0D £1,029.00 AF-D 180mm f/2.8 IF ED £695.00 AF-D 200mm f/4D IF ED £1,179.00 AF-S 200mm f/2G ED VR II £4,099.00 AF-S 300mm f/2.8G ED VR II £3,999.00 AF-S 300mm f/4 D IF-ED £999.00 AF-S 300mm f/4E PF ED VR £1,499.00 AF-S 400mm f/2.8 FL ED VR £8,999.00 AF-S 500mm f/4G ED VR £5,849.00 AF-S 500mm f/4E FL ED VR £8,149.99 AF-S 600mm f/4E FL ED VR £9,649.99

NIKON LENS CASHBACK AF-S 24mm f/1.4G ED AF-S 35mm f/1.4G AF-S 58mm f/1.4G AF-S 85mm f/1.4G AF-S 12-24mm f/4 G IF-ED AF-S 14-24mm f/2.8G ED AF-S 16-35mm f/4G ED VR

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Prices updated DAILY! See www.parkcameras.com/dsp for details. 180mm f/3.5L USM 200mm f/2.0L IS USM 200mm f/2.8L USM/2 300mm f/2.8L USM IS II 300mm f/4.0L USM IS 400mm f/2.8L USM IS II 400mm f/4.0 DO IS II 400mm f/5.6L USM 500mm f/4.0L IS MK II 600mm f/4.0L IS MK II 800mm f/5.6L IS USM TSE 17mm f/4.0L TSE 24mm f/3.5L II TSE 45mm f/2.8 TSE 90mm f/2.8 8-15mm f/4L Fisheye USM EF-S 10-18mm IS STM EF-S 10-22mm f/3.5-4.5 EF 11-24mm f/4L USM EF-S 15-85mm f/3.5-5.6 IS 16-35mm f/2.8L II USM 16-35mm f/4.0L IS USM 17-40mm f/4.0L USM EF-S 17-55mm f/2.8 IS USM

3.2”

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CANON LENSES 14mm f/2.8L II USM 20mm f/2.8 USM 24mm f/1.4L Mk II USM 24mm f/2.8 IS USM EF-S 24mm f/2.8 STM 28mm f/1.8 USM 28mm f/2.8 IS USM 35mm f/1.4L USM 35mm f/1.4L II USM 35mm f/2.0 IS USM 40mm f/2.8 STM 50mm f/1.2 L USM 50mm f/1.4 USM 50mm f/1.8 II 50mm f/1.8 STM 50mm f/2.5 Macro EF-S 60mm f/2.8 Macro MP-E 65mm f/2.8 85mm f/1.2L II USM 85mm f/1.8 USM 100mm f/2 USM 100mm f/2.8 USM Macro 100mm f/2.8L Macro IS 135mm f/2.0L USM

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The Nikon D500 has a 20.9 megapixel sensor, 10fps continuous shooting, 4K UHD video recording, and an impressive ISO range of 100-51,200 (50-1,640,000 equivalent).

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AF-S 800mm f/5.6E FL ED VR £12,990.00 AF-S 10-24mm f/3.5-4.5G £639.00 AF-S 16-80mm f/2.8-4E ED VR £769.00 AF-S 16-85mm f/3.5-5.6G £499.00 AF-S 17-35mm f/2.8 IF ED £1,347.00 AF-S 17-55mm f/2.8G DX £979.00 AF-S 18-35mm f/3.5-4.5G £519.00 AF-S 18-105mm VR £204.00 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 £549.00 AF-S 24-85mm VR £359.00 AF-S 28-300mm ED VR £699.00 AF-S 55-200mm f/4-5.6G VR II £229.00 AF-S 70-200mm f/2.8 VR II £1,579.00 AF-S 70-300mm IF ED VR £429.00 AF-S 200-400mm VR II £5,199.00

£829.00* £1,049.00* £1,699.00* £734.00* £1,429.00* *Prices listed include cashback £884.00* from Nikon UK. Offer available £1,649.00* 17.03.2016 - 29.07.2016

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Sony a6000

Sony a7R II

20.1

24.3

42.4

MEGA PIXELS

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MEGA PIXELS

MEGA PIXELS

5 FPS

NEW! Expected April 2016!

See web for details Register your interest for FREE to receive one of the first cameras 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 F2.8 Macro G FE OSS 10-18mm f/4 OSS 16-50mm f/3.5-5.6 OSS

£169.00 £679.00 £949.00 £199.00 £618.00 £969.00 £629.00 £259.00

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Body Only

£439.00

+ 16-50mm

£489.00

Body Only

£2,599.00

See website 0% finance!

Add a Sony LCS-EBE body case for only £38.00

Add a Metabones Canon EF E-Mount T IV adapter for £100.00

16-70mm f/4G ZA OSS £725.00 18-200mm f/3.5-6.3 P. Zoom £849.00 24-70mm f/4 FE Vario-Tessar T* £805.00 24-240mm f/3.5-6.3 FE OSS £749.00 28-70mm f/3.5-5.6 FE OSS £449.00 28-135mm f/4 G FE PZ OSS £1,899.00 55-210mm f/4.5-6.3 OSS £239.00 70-200mm f/4 G FE OSS £999.00

Alpha-Series 30mm f/2.8 SAM 1:1 Macro DT £150.00 35mm f/1.8 DT £149.00 50mm f/1.4 Carl Zeiss £1,099.00 11-18mm f4.5-5.6 DT £509.00 16-35mm f/2.8 Carl Zeiss T* £1,399.00 24-70mm f/2.8 II Carl Zeiss T*£1,799.00 55-200mm f4.0-5.6 SAM DT £179.00 70-200mm f/2.8 G SSM II £2,199.00

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


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Olympus E-M10

Olympus E-M10 II

Olympus E-M5 II

16.1

16.1

16.1

MEGA PIXELS

MEGA PIXELS

8 FPS

MEGA PIXELS

8 FPS

The K-1 features a 36.4 megapixel full-frame sensor with an AA fi filter lter simulator, Full HD video, a new SR II 5-axis shake reduction mechanism, and is compatible with numerous lenses. 36.4 IS 3.2” HD MEGA PIXELS 5 FPS

Ricoh WG-M2

4K

IS

EXPECTED APRIL 2016

Pentax K-S2

Pentax K-3 II

16.1

24.3

MEGA PIXELS

MEGA PIXELS

8 FPS

NEW! Body Only

£299.00

+ 14-42 EZ

£399.00

Body Only

£549.00

+ 14-42 EZ

£649.00

Body Only

£769.00

+ 12-50mm

£950.00

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Olympus E-M1

Olympus 300mm f/4.0 IS PRO

Olympus TG-4

16.3

Body Only

£399.00

Add a Pentax D-Li109 spare battery for only £59

£849

.00

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£1,359

.00

Claim a FREE Olympus HLD-7 grip from Olympus! Ends 31.03.2016.

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Only

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Sigma 50mm

Sigma 18-300mm

f/3.5-6.3 DC Macro OS HSM

f/1.4 DG HSM (Art)

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

NEW!

Add a Sigma 77mm DG MC UV filter for only £18.97

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4.5mm f/2.8 Fisheye EX DC £599.00 8mm f/3.5 Circ. Fish EX DG £599.00 15mm f/2.8 Diag F/eye EX DG £499.00 19mm f/2.8 DN £119.00 20mm f/1.4 DG HSM £629.00 24mm f/1.4 DG HSM £599.00 30mm f/1.4 DC HSM Canon £299.00 30mm f/2.8 DN £119.00 35mm f/1.4 DG HSM £599.00 50mm f/1.4 DG HSM (Art) £579.00 60mm f/2.8 DN £119.00 85mm f/1.4 EX DG HSM £619.00 105mm f/2.8 EX DG OS HSM £329.00 150mm f/2.8 OS Macro £649.00 180mm f/2.8 EX DG OS HSM £1,099.00

300mm f/2.8 APO EX DG £2,199.00 500mm f/4.5 APO EX DG £3,599.00 800mm f/5.6 APO EX DG HSM £4,299.00 8-16mm f/4.5-5.6 DC HSM £499.00 10-20mm f/4-5.6 EX DC £279.00 12-24mm f/4.5-5.6 II DG HSM £529.00 17-50mm f/2.8 DC OS HSM £279.00 17-70mm f/2.8-4 DC OS £319.00 18-35mm f/1.8 DC HSM £549.00 18-200mm f/3.5-6.3 DC OS HSM £249.00 18-250mm DC Macro OS HSM £279.00 18-300mm f/3.5-6.3 DC Macro £349.00 24-35mm f/2 DG HSM Art £699.00 24-70mm f/2.8 IF EX DG £549.00 24-105mm f/4 DG OS HSM £599.00

50-500mm f/4.5-6.3 OS HSM £849.00 70-200mm f/2.8 OS £729.00 70-300mm f/4.0-5.6 APO Macro £149.00 120-300mm f/2.8 DG OS HSM £2,499.00 150-500mm f/5.0-6.3 DG OS £494.99 150-600mm f/5-6.3 DG ¦ S £1,199.00 150-600mm Sport + 1.4x £1,299.00 200-500mm f/2.8 EX DG £12,999.00 300-800mm f/5.6 EX DG HSM £5,499.00 1.4x Teleconverter APO EX DG £179.00 1.4x Teleconverter TC1401 £229.00 2.0x Teleconverter APO EX DG £199.00 2.0x Teleconverter TC2001 £269.00 USB Dock £39.99

HD

3.0”

Fujifilm Fujifi lm X-T10

Fujifilm X-T1

16.0

16.0

16.0

MEGA PIXELS

3.0”

£549.00

In stock at only £739.00 See website for details.

8 FPS

Fujifilm Fujifi lm X-E2s

Body Only In stock at only £349.00 See website for details.

£849.00

Add a Pentax D-BG5 battery grip for only £149.00

The fantastic Fuji X-Pro2 features multiple newly designed features including a new sensor, image engine, and advanced Hybrid Multi Viewfinder. Limited stock now available! £1,349.00

£80

MEGA PIXELS

3.0”

trade-in bonus

In stock at only £579.00 See website for details.

+ 18-55 WR

£769.00

24.3 MEGA PIXELS

Add a Li92B batt for £44.99

Body Only

Add a Pentax remote control F for only £21.90

NEW! Body Only

+ 18-50 WR

See web

See our website to watch our unboxing video!

4x 5 FPS

MEGA PIXELS

Expected Spring 2016!

See web for details

£50

MEGA PIXELS

3.0”

£100

cashback

+ 18-55mm

Body Only

£749.00

£399.00*

Trade in your old, working DSLR & get £80 off the X-E2s! See web.

+ 18-55mm

£665.00*

*Prices include £50 cashback from Fujifilm. Ends 31.05.16.

cashback

Body Only

£705.00*

+ 18-55mm

£949.00*

*Prices include £100 cashback from Fujifilm. Ends 31.05.16.

Panasonic LUMIX GX8

Packing a 20.3 megapixel sensor, Dual I.S and 4K Video/Photo recording capability, this camera will capture your subjects in the best way possible. Its sophisticated design will satisfy even the most experienced photographers. 20.3 MEGA PIXELS

3.0”

Panasonic FZ330

Body Only

IS

£699.00

£929.00

+14-140mm

£899.00

Panasonic LUMIX GX7 Panasonic LUMIX G7 16.0

24x 5 FPS

+14-42mm

16.0

MEGA PIXELS

MEGA PIXELS

Visit our website for full details on all the Sigma lenses, as well as special deals on filters! Prices updated DAILY! See the full range of Tamron lenses in store or online.

Tamron 18-270mm f/3.5-6.3 Di II VC PZD

Tamron SP 24-70mm Tamron 150-600mm f/2.8 Di VC USD f/5-6.3 Di IV USD

Body Only

£439.00

Add the BLC12 batt for £49

Add a Panasonic DMW-BLC12E spare battery for only £49.00

Panasonic GH4R 16.0

In stock at only £269 See website for details.

In stock at only £679 See website for details.

Add a Hoya 62mm UV(C) HMC filter for only £16.87

FREE Cokin P-Holder (BP501) when purchasing this lens

.00

.00

In stock at only £799 See website for details.

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360FLY

Metz 44 AF-2

In stock at only £429.00

In stock at only £159.00

Tamrac Anvil 17 In stock at only £209.99

£423.00

+ 20mm

£499.00

Add a Panasonic DMW-BLG10E spare battery for only £59.99

Body Only

£467.00

+ 14-42mm

£529.00

Add a Panasonic DMW-FL360LE external flash for only £249.00

Panasonic 100-400mm Panasonic TZ100 LEICA f/4.0-6.3 16.0 10x MEGA ELS 5P I XFPS

MEGA PIXELS

.00

FREE Kenko case & Plustek P60 scanner (whilst stock lasts)

+14-42mm

NEW!

NEW! Body Only

£1,049.00

Add the MS2E mic for £279

Add a Panasonic DMW-BGGH3 battery grip for only £229.00

NEW & COMING SOON!

Limited stock now available!

Learn more about this new lens by visiting parkcameras.com

Add a Panasonic DMW-BLG10E spare battery for only £59.99

See web for details

only £549.00

For low prices on Epson printers, ink and paper, visit www.parkcameras.com/epson

FOR PRE-LOVED CAMERAS, LENSES & MORE AT LOW PRICES, VISIT WWW.PARKCAMERAS.COM/USED For a whole range of tips and tricks and news all all the latest new products, visit blog.parkcameras.com


Tel:

01803 852400 info@mifsuds.com

PHONE LINES OPEN

MON -FRI 8am - 5pm, SAT 9am - 4pm, SUN 10am - 1pm.

Email -

www.mifsuds.com

U.K. Stock Only

Mifsuds Photographic Limited 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

SHOP OPEN

MON -FRI 9am - 5pm, SAT 9am - 4pm. SUN 10am - 1pm.

PART-EXCHANGEWELCOME WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE

FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED For speediest response please email your equipment details to... info@mifsuds.com

NEW FROM CANON Canon EOS 1DX MKII Full Frame

Canon EOS 80D APS-C

Full Frame Body only

£1099

Canon EOS 7D MKII

Canon EOS 70D

£215 BG-E13 Grip

£1177

BG-E16 Grip

£198

Nikon D5 Full Frame

£5198 APS-C

Body only £1239

Body only £1794

Plus 24-120 f4 VR

MBD-12 Grip (D810/800/E) £279

MBD-16 Grip

Nikon D7200

Nikon D5500

150-600 F5/6.3 OS Contemporary £739

£798 Plus 18-55 VRII £228 Plus 18-140 VR

Nikon DL 18-50

Due June Camera without EVF

X-Pro 2 body...................£1348 X-T1 body Graphite.........£997 X-T1 blk + 18-135mm..£1098 NEW X-Pro 2 X-T1 blk + 18-55mm ....£1048 X-T1 body Black................£799 X-T10 black/silver + 18-55mm ........................£723 X-T10 body Blk/silv..........£448 NEW X-E2S X-E2S + 18-55mm............£748 X-E2S body.........................£548 10-24mm F4 XF ................£679 14mm F2.8 XF ...................£647 NEW 100-400 16mm F1.4 XF ...................£685

£1846 £228

APS-C Body only £489

Plus 18-105 VR

£749

£528 £699

Full Frame

£679

Nikon DL 24-85

f1.8/2.8 20.8MP CX EVF Kit

£555 £699 Due June Camera without EVF

£549 £669 Nikon 300mm

f2.8 AFS ED VRII

f2.8/5.6 20.8MP CX £2479

£125

Nikon D750

Full Frame

£799 Nikon DL 24-500

Body only price

BG-E14 Grip

Body only £449

Nikon D810

f1.8/2.8 20.8MP CX EVF Kit

£719 £928

Plus 18-55 STM Plus 18-135 STM

MBD-15 Grip

Nikon D500

APS-C Body only £677 Plus 18-55 STM Plus 18-135 STM APS-C

APS-C Body only £709

Body only price

£129

Canon EOS 750D

£539

Due June

£3998

16-55mm F2.8...................£698 18mm F2 XF.......................£349 18-55mm F2.8/4 OIS no box..................................£349 18-135mm F3.5/5.6 XF...£549 23mm F1.4 XF ...................£599 27mm F2.8 XF ...................£289 35mm F1.4 XF ...................£366 35mm F2 R WR..................£298 50-140mm F2.8 R OIS..£1029 55-200mm F3.5/4.8 OIS XF...................................£466 56mm F1.2 R APD............£897

NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . .£548 10-24 F3.5/4.5 AFS G . . . . . . . .£638 16-80 F2.8/4 AFS ED VR. . . . . .£766 16-85 F3.5/5.6 AFS VR . . . . . . .£498 18-55 F3.5/5.6 AFS VR . . . . . . . .£99 18-105 F3.5/5.6 AFS G no box£199 18-140 F3.5/5.6 AFS VR . . . . . .£399 18-300 F3.5/6.3 AFS VR . . . . . .£548 35 F1.8 AFS G . . . . . . . . . . . . . . .£169 40 F2.8 AFS G macro . . . . . . . .£209 55-300 F4.5/5.6 AFS VR . . . . . .£268 NIKON FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . £1459 16 F2.8 AFD Fisheye . . . . . . . . . £624 16-35 F4 AFS VR . . . . . . . . . . . .£899 18-35 F3.5/4.5 AFS G . . . . . . . .£549 20 F1.8 AFS G ED. . . . . . . . . . . .£579 24 F1.4 AFS . . . . . . . . . . . . . . . £1599 24 F1.8 AFS G ED. . . . . . . . . . . .£629 24 F3.5 PCE . . . . . . . . . . . . . . . £1464 24-70 F2.8 AFS G ED VR. . . . £1789 24-70 F2.8 AFS G ED. . . . . . . £1189 24-85 F3.5/4.5 AFS VR . . . . . . .£399 24-120 F4 AFS G ED VR . . . . . .£699

28 F1.8 AFS . . . . . . . . . . . . . . . . .£494 28-300 F3.5/5.6 AFS VR . . . . . .£729 35 F1.4 AFS G . . . . . . . . . . . . . £1399 35 F1.8 AFS G . . . . . . . . . . . . . . .£154 35 F2 AF-D. . . . . . . . . . . . . . . . . .£254 50 F1.4 AFS G . . . . . . . . . . . . . . .£349 50 F1.8 AFS G . . . . . . . . . . . . . . .£179 58 F1.4 AFS G . . . . . . . . . . . . . £1299 60 F2.8 AFS . . . . . . . . . . . . . . . . .£439 70-200 F2.8 AFS VRII . . . . . . £1798 70-200 F4 AFS G ED VR . . . . £1079 70-300 F4.5/5.6 AFS VR . . . . . .£439 80-400 F4.5/5.6 AFS G VR . . £1798 85 F1.4 AFS G . . . . . . . . . . . . . £1198 85 F1.8 AFS G . . . . . . . . . . . . . . .£399 105 F2.8 AFS VR macro . . . . . .£659 200 F2 AFS ED VRII . . . . . . . . £4199 200-500 F5.6 AFS E ED VR. . £1097 300 F2.8 AFS ED VRII . . . . . . £3998 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . . £8199 500 F4 E AFS FL ED VR . . . . . £7777 600 F4 E AFS FL ED VR . . . . . £9648 R1C1 CDR. . . . . . . . . . . . . . . . . . .£489 TC14EIII converter. . . . . . . . . . .£428 TC17EII converter . . . . . . . . . . .£307 TC20EIII converter. . . . . . . . . . .£349

CANON EF FULL FRAME LENSES

£2699 Plus 24-105 f3.5/5.6 IS £1498

APS-C Body only

8-15 F4 L USM Fisheye. . . . . . .£899 11-24 F4 L USM . . . . . . . . . . . £2649 16-35 F2.8 MKII L USM. . . . . £1059 16-35 F4 L IS USM. . . . . . . . . . .£679 17-40 F4 L USM . . . . . . . . . . . . .£498 20 F2.8 USM . . . . . . . . . . . . . . . .£369 24 F1.4 L II USM. . . . . . . . . . . £1139 24 F2.8 IS USM . . . . . . . . . . . . . .£419 24 F3.5 L TSE MKII . . . . . . . . . £1469 24-70 F2.8 L II USM. . . . . . . . £1379 24-70 F4 L IS USM. . . . . . . . . . .£674 24-105 F3.5/5.6 IS STM . . . . . .£369 24-105 F4 L IS USM no box . .£699 28 F2.8 IS USM . . . . . . . . . . . . . .£388 35 F1.4 USM LII . . . . . . . . . . . £1699 35 F2 IS USM. . . . . . . . . . . . . . . .£389 40 F2.8 STM . . . . . . . . . . . . . . . .£149

50 F1.8 STM . . . . . . . . . . . . . . . . .£96 50 F1.8 II . . . . . . . . . . . . . . . . . . . .£74 70-200 F2.8 IS LII USM. . . . . £1479 70-200 F2.8 non IS L USM. . . .£897 70-200 F4 L IS USM. . . . . . . . . .£796 70-200 F4 L USM . . . . . . . . . . . .£438 70-300 F4/5.6 L IS USM . . . . . .£893 85 F1.2 USM L II. . . . . . . . . . . £1349 85 F1.8 USM . . . . . . . . . . . . . . . .£236 100 F2.8 IS L USM macro. . . . .£618 100 F2.8 Macro USM . . . . . . . .£372 100-400 F4.5/5.6 IS LII U . . . £1789 200-400 F4 IS L USM . . . . . . £8499 200 F2.8 II L USM . . . . . . . . . . .£568 300 F2.8 IS L USM II . . . . . . . £4599 300 F4 L IS USM. . . . . . . . . . . . .£958 400 F2.8 IS L USM II . . . . . . . £7599 400 F4 DO II IS USM . . . . . . .£6899 400 F5.6 L USM . . . . . . . . . . . . .£884 500 F4 IS L U II . . . . . . . . . . . .£6799 600 F4 IS L USM II . . . . . . . . . £8794 1.4x III conv. . . . . . . . . . . . . . . . .£299 2x III conv . . . . . . . . . . . . . . . . . .£299

10-18 F4.5/5.6 IS STM . . . . . . . £179 18-55 F3.5/5.6 IS STM no box£139 18-135 F3.5/5.6 IS STM no box£279 24 F2.8 STM . . . . . . . . . . . . . . . .£128

Plus 24-105 f4 IS U L

Body only

NEW FROM NIKON

50 F1.2 L USM . . . . . . . . . . . . . .£994 CANON EF-S NON FULL FRAME LENSES 50 F1.4 USM . . . . . . . . . . . . . . . .£236

Full Frame Body only

APS-C

£999

Canon EOS 5Ds

Full Frame

Body only £2499 Canon EOS 6D

Canon EOS 760D

Body only price

More Sigma on website

Body only £2949 Canon EOS 5D MKIII

BG-E11 Grip

£5198

£1728

Full Frame

£2198

Body only price

Plus 16-80 VR

Canon EOS 5Ds R

56mm F1.2 XF ...................£679 60mm F2.4 XF ...................£404 90 F2 R LM WR ..................£615 100-400 F4/5.6 OIS WR ..£1398 1.4x XF TC WR....................£328 11mm Ext tube.............£69.99 16mm Ext tube.............£69.99 EF-20 flash............................ £98 EF-X20 flash .......................£168 EF-42 flash..........................£168 X100T Black/Silver...........£795 X70 Black/Silver................£549 X30 Black/Silver................£283

16-300 f3.5/6.3 Di II VC PZD £398 150-600 f5/6.3 SP VC USD £798 18-200 f3.5/6.3 Di II VC......... £169 28-300 f3.5/6.3 Di VC USD CAF/NAF/Sony........................ £419 Kenko Converters 1.4x or 2x Pro 300 ea ............ £149 Auto ext tube set..................... .£99

An excellent range of new books dealing with all aspects of equipment and photography are available either in-store or via our website

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 24/03/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)


Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 24/03/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

www.mifsuds.com Subscribe to our newsletter - email your address to info@mifsuds.com.

QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand. Used Canon

EOS 1DX body M- box

£3399

Used Canon

EOS 1D MKIV body

£1799

Used Canon 24mm f1.4 LII M- box

£849

Used Canon 24-70mm f2.8 LII M- box

£1199

Used Canon

28-300mm f3.5/5.6 L IS USM

£1399

Used Canon 85mm f1.2 LI USM M-

£899

Used Canon

100-400mm f4.5/5.6 L IS USM

£699/849

Used Canon

300mm f2.8 LII IS USM

£3899

Used Canon

300mm f2.8 L IS USM

£2799

Used Canon 300mm f4 L IS USM box

£649

Used Canon

400mm f2.8 L IS USM

£3999/4299

Used Canon 400mm f4 DO

£2199

Used Canon 500mm f4 LII IS USM

£5999

Used Canon

EOS 5D MKIII body box

£1499/1699

Used Nikon

D4s body box

£2999

Used Nikon D4 body box

£2399

Used Nikon D3s body box

£1799

Used Nikon

D800 body box

£999/1199

£999/1199

BRONICA ETRS 645 USED ETRSi + 75 F2.8 PE + RFH £399 40 F4 MC..............................£149 45-90 F4/5.6 PE box.........£349 50 F2.8 E...............................£149 105 F3.5..................................£99 135 F4 PE .............................£199 150 F3.5 E ..............................£99 150 F3.5 PE M- Box...........£149 200 F4.5 PE..........................£199 E14 or 28 ext tube each ...£49 120 RFH..................................£69 Polaroid Back .......................£39 Plain prism ............................£59 Rotary prism.......................£129 AEII Prism...............................£79 Angle viewfinder E...........£129 Winder early .........................£79 Speed Grip E.........................£39 Tripod adapter E .................£39 Winder early .........................£49 Metz SCA 386.......................£49 BRONICA SQ 6x6 USED SQB complete....................£399 40 F4 S ..................................£299 50 F3.5 S...............................£149 135 F4 PS M-.......................£249 150 F3.5 S ..............................£79 150 F4 PS ................... £149/199 200 F4.5 PS M- box ..........£199 2x PS converter M-...........£179 36mm ext tube....................£79 135N back ...........................£139 SQAi Polaroid back.............£79 SQAi 120 RFH .......................£79 SQA 120 RFH ........................£49 45° Prism box .....................£129 Plain Prism S Boxed ...........£69 AE Prism Early ......................£79 ME Prism Finder ..................£69 Metz SCA 386.......................£49 Pro shade S ...........................£59 Lens Hood 65-80.................£20 SQAi Motorwinder ...........£149 Speed grip S .........................£69 CANON DIGITAL AF USED 1DX body M- box...........£3399 1D MKIV body box ........£1799 1D MKIII body box............£599 7D body ...............................£399 5D MKIII b/o box £1499/1699 5D MKI body box ......£399/499 760D body box ....................£449 550D body .............................£239 450D body box ....................£149 400D body ...............................£99 300D body ...............................£79 70D body................................£549 60D body................................£399 50D body................................£299 20D body................................£119 BG-E2...........£39 BG-ED3.....£39 BG-E4..........................................£79 BG-E6........................................£119 BG-E7..........................................£99 BG-E8..........................................£69 G10 compact ..........................£99 CANON AF USED EOS 1HS body....................£149 EOS 1n body.......................£129 EOS 600/650 body ea .......£39 10-22 F3.5/4.5 U................£299 17-40 F4 L............................£399 17-85 F4/5.6........................£179 18-55 F3.5/5.6 IS EFS .........£89 18-55 F3.5/5.6 IS STM............ £99 18-55 F3.5/5.6 EFS .................. £59 20-35 F3.5/4.5 USM..............£199 24 f1.4 LII M- box...................£849 24 F2.8 IS USM........................£369 24-70 F2.8 LII M- box........£1199 24-70 F2.8 box........................£649 24-70 f4 IS L USM..................£579 24-105 F4 L...............................£499 28 F1.8 USM box...............£259 28-90 F3.5/5.6 ......................£79 28-300 F3.5/5.6 L IS U ..£1399 35-135 F3.5/4.5....................£99 50 F1.8 MKII ..............................£49 55-250 F4/5.6 ISII M- box..£129 60 F2.8 EFS..........................£239 70-200 F4 IS U L ................£499 70-200 F4 U L .....................£299 70-300 F4.5/5.6 DO IS .....£399 75-300 F4/5.6 MKIII U........£99 85 F1.2 L MKI M- ...............£899 85 F1.8 M-............................£199 100 F2 M- box....................£279 100 F2.8 USM .....................£299 100-300 F4/5.6 USM ..........£99 100-400 F4.5/5.6 L IS U................................£699/849 135 F2 M- box....................£549 200 F2.8 LII U........................£429 200-400 F4 M- box..........£7299 300 F2.8 LII IS U ................£3899 300 F2.8 LI IS U..................£2799 300 F4 L IS USM box......... £649 400 F2.8 L IS U.......£3999/4299

400 F4 DO...........................£2199 400 F5.6 L box............£599/699 500 F4 LII IS USM .............£5999 1.4x extender MKII ............ £199 2x extender MKII................ £199 Teleplus 2x DG conv..........£89 Kenko ext tube set DG......... £89 LC-4 wireless kit ..................£89 PB-E2 drive............................£99 Tripod mnt adapt A (W)...£59 SIGMA CAF USED 8-15 F4.5/5.6 DC box...........£349 10-20 F4/5.6 HSM box .£199 15-30 F3.5/4.5 DG................. £199 17-70 F2.8/4 DC OS HSM...£199 17-70 F2.8/4.5 DC .................£149 18-35 F1.8 DC M-......................£399 18-50 F2.8/4.5 DC OS............ £99 18-50 F3.5/5.6 DC box........ £49 18-250 F3.5/6.3 DC OS .....£169 24-35 F2 DG Art box..........£599 24-70 F2.8 HSM....................£469 24-70 F2.8 EX.........................£249 50 F1.4 EX DC........................£249 50-150 F2.8 DC HSM........£269 70-200 F2.8 EX DG HSM...£429 120-300 F2.8 EX DG .........£699 120-400 F4/5.6 DG ...........£399 150 F2.8 macro.....................£429 180 F3.5 EX macro................£399 800 F5.6 EX DG....................£2499 1.4x EX DG conv ....................£129 2x EX DG conv........................£129 Kenko Pro 300 1.4x conv..... £99 OTHER CAF USED TAM 28-300 box................£179 TAM 70-300 F4/5.6 ............... £99 TAM 90 F2.8 Di......................£249 TAM 200-500 M- box........£399 CANON FLASH USED CP-E3 batt pack...................£49 ST-E2 transmitter ................£89 ML3 non digital...................£49 270EXII....................................£89 430EXII..................................£169 430EZ non digital ...............£39 580EXII..................................£279 580EX box ...........................£179 600EX RT box .....................£329 CANON FD USED A-1 body ................................£99 T90 body................................£99 28 F2.8 ....................................£49 35-70 F3.5/4.5 ......................£49 50 F1.4 ...................................£99 70-200 F4...............................£79 100 F4 macro .....................£179 100-300 F5.6.........................£99 299T or 300TL flash ea......£29 CONTAX MF USED 40-80 F3.5 AE .....................£199 FUJI DIGITAL USED X-T1 body graphite box .£799 X-M1 body blk box...........£189 16-50 F3.5/5.6 XC M-.........£149 18-55 F2.8/4........................£279 27 F2.8 XF M- box.............£199 Samyang 8 F2.8.................£149 X100s ....................................£399 X10 black box ....................£179 FUJI MED FORMAT USED GS645S .................................£399 GSW690 III...........................£599 HASSELBLAD XPAN USED Centre filter 49mm.................£129 X-Pan leather case..................£129 HASSELBLAD 6x6 USED 503CW body chrome + 80 F2.8 CFE + A12 .....£1699 PME90 box ..........................£329 PM5 prism 45°....................£149 PME prism box...................£149 45° Prism late .....................£149 45° Prism early.....................£69 NC1 prism..............................£69 WLF late ...............................£110 WLF chrome late.................£99 WLF early...............................£49 A12 chrome latest............£299 A12 late blk/chr.................£129 Polaroid back .......................£79 40 F4 CF FLE ....................£1099 50 F4 CF FLE .......................£849 50 F4 blk T*.........................£349 60 F3.5 chrome..................£399 60 F2.8 chrome..................£249 80 F2.8 CF............................£479 100 F3.5 CF .........................£549 100 F3.5 Black T*...............£399 150 F4 CF box ....................£499 150 F4 chrome...................£199 250 F5.6 chrome ...............£199 Vivitar 2x conv .....................£69 Lens hoods various..... £20/50 LEICA M COMPACT USED 35 F2 M- box (M39).......£1799 50 F1.4 6 bit.....................£1199 LEICA SLR USED Angle finder R box .............£99

LEICA BINOCULARS USED Trinovid 10x40...................£799 Ultravid 8x42 HD................£799 LIGHTMETERS USED Minolta Flashmeter V......£199 Minolta Spotmeter M......£199 Sekonic L308........................£79 MAMIYA 645 MF USED Plain prism (645 Super)....£39 WLF 645N/1000S/J.............£49 WLF Pro TL etc .....................£79 Polariod Back HP401 .........£29 Polaroid back .......................£29 120 Insert...............................£20 HA401 120 RFH Box...........£49 120 Back.................................£39 Winder....................................£79 50 F4 shift............................£349 55-110 F4.5 box.................£299 120 F4 macro .....................£299 150 F2.8 A............................£249 150 F3.5 N .............................£79 210 F4 N M- ..........................£79 Ext Tube 1, 2, 3S each .......£29 Teleplus 2x converter........£49 Vivitar 2x converter............£39 MAMIYA TLR 6x6 USED C330 F Body + WLF ..........£149 55 F4.5 ..................................£199 65 F3.5 box late .................£199 65 F3.5 serviced.................£149 80 F2.8 late serviced........£139 180 F4.5................................£149 250 f4.5 late serviced.......£249 250 f4.5 early serviced.£179 Prism .......................................£99 Paramender ..........................£49 Porrofinder............................£59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF.....................£699 80 F4.5 L M- box................£699 150 F4.5 M- .........................£399 Panoramic kit .......................£49 MAMIYA RB 6x7 USED Pro SD + 127 KL + RFH + WLF.......................£549 Pro S + 90 + RFH + WLF .£449 Pro SD comp M-................£649 Pro S body...........................£149 Pro S body scruffy ..............£99 WLF..........................................£79 120 645V back .....................£99 90 F3.5 KL ............................£249 127 F3.5 KL..........................£299 Ext tube 2.................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH............................£499 RZ Pro body ........................£149 120 RFH Pro II.......................£99 120 RFH Pro I........................£49 WLF..........................................£79 FE701 AE prism .................£179 Winder II.................................£69 50 F4.5 W .............................£199 65 F4 box M- ......................£399 90 F3.5 W M- box..............£299 127 F3.5 box.......................£299 180 F4.5 W box..................£199 Pro shade...............................£49 MINOLTA/SONY DIGITAL USED Sony RX100 MKII................ £279 Sony A7 RII body box.....£1899 Sony A7R body................... £799 Sony A77 body box .......... £399 Sony A700 body................. £199 Sony A350 body................. £149 Sony VGC1EM ..................... £149 Sony VGB30AM .....................£79 Sony VGC70AM .................. £139 Sony HVL-F58AM.................. £179 Sony HV56AM........................ £179 Sony F42AM............................ £149 Sony HVL-F32X.........................£69 SONY NEX USED Sony A6000 body .................£329 NEX 5 body ..............................£129 FE 16-35 F4 ZA OSS..............£849 FE 16-70 F4 ZA OSS..............£549 FE 24-70 F4 ZA OSS..............£599 FE 28 F2 E box.........................£269 FE 35 F1.8 OSS box...............£279 FE 50 F1.8 OSS E ....................£169 FE 70-200 F4 GSS ..................£749 Samyang 85 F1.4...................£199 Samyang 100 F2.8 macro.£249 Sigma 60 F2.8 box.................. £99 MINOLTA/SONY AF USED Dynax 9 body M- box .....£379 9000 body .............................£79 800Si body ............................£69 700Si + VC700......................£69 700Si or 7xi body ea..........£49 Dynax 5 body...........................£39 505Si Super ............................ £25 300Si or SPXi body ea.......£19 20 F2.8 box .........................£199 20-35 F3.5/4.5 M- box.....£249 24-50 F4 .................................£99

28 F2.8 ....................................£99 28-80 F4/5.6..........................£39 28-85 F3.5/4.5 ......................£99 28-100 F3.5/5.6 D ...............£49 35-70 F4 .................................£39 35-70 F3.5/4.5........................... £25 35-80 f4/5.6................................ £25 35-105 F3.5/4.5 ........................ £99 50 F1.4........................................£169 50 F1.7 AF................................... £89 50 F2.8 macro.........................£149 75-300 F4.5/5.6 ........................ £99 85 F1.4 box...............................£549 100-300 F4.5/5.6 APO.........£149 500 F8 mirror...........................£349 VC700 grip.................................. £49 VC600 grip.................................. £39 RC1000S/L cord ....................... £15 AW90............................................. £49 MD90 + BP90-M...................... £79 Angle finder VN........................ £99 SONY LENSES USED 16-35 F2.8 ZA SSM box......£899 16-50 F2.8 SSM.......................£279 18-55 F3.5/5.6 SAM................ £59 18-200 F3.5/6.3 DT ...............£199 24-70 F2.8 ZE SSM................£699 50 F1.4 box...............................£189 55-200 F4/5.6 DT..................... £89 75-300 F4.5/5.6 ......................£129 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6......................£79 28-300 F3.5/6.3 mac......... £149 50 F1.4.................................... £149 50 F2.8 EX DG...................... £169 55-200 F4/5.6 .........................£69 70-300 F4/5.6 DG OS ......£189 170-500 F5/6.3...................£299 600 F8 ...................................£179 1.4x EX conv .........................£99 TAM 10-24 F3.5/4.5 DiII ..£239 TAM 70-300 F4.5/5.6 Di box......................................£79 TAM 90 F2.8 .............. £179/249 Teleplus 1.4x conv..............£69 Teleplus 2x conv .................£79 Kenko 1.4x Pro 300DG....£149 Min 3600HSD.......................£39 Min 5400HS ..........................£69 Min 5600HSD M-.................£99 NIKON DIGITAL AF USED D4s body box..................£2999 D4 body box....................£2399 D3s body box..................£1799 D3 body box...........£999/1199 D2Xs body box..................£379 D2X body box....................£299 D810 body box...............£1649 D800E body box ...............£999 D800 body box......£999/1199 D700 body box..................£599 D600 body M- box ...........£699 D300s body box................£399 D300 body box..................£299 D200 body box..................£199 D100 body box....................£99 D7200 body M- box.........£599 D7100 body box ..... £399/449 D7000 body.............. £299/349 D5500 body M- box.........£399 D5200 body........................£249 D5000 body........................£169 D3200 body red ................£149 D3100 body........................£149 D90 body.............................£199 D80 body.............................£169 D70 body...............................£79 D70s body.............................£79 MBD-15 M- box .................£169 MBD-10 grip M- box........£149 MBD-200 box .......................£79 MBD-100................................£49 NIKON AF USED F4 body ................................£349 F4E body..............................£299 F4S body.................... £249/399 F801s body ...........................£39 F801 body ...................... £29/59 F601 body .............................£29 12-24 F4 DX............................£399 14-24 F2.8 AFS ................£999 16-35 F4 AFS VR .............£769 16-85 F3.5/5.6 AFS VR...£299 17-35 F2.8 AFS ......................£699 17-55 F2.8 AFS ......................£399 18-55 F3.5/5.6 VRII..................£99 18-70 F3.5/4.5 AFS ..............£119 18-105 F3.5/5.6 AFS............£149 18-140 F3.5/5.6 VR DX M- £249 18-200 F3.5/5.6 AFS VRII...£399 18-200 F3.5/5.6 AFS VRI....£199 20 F2.8 AF...................... £299/329 24 F2.8 AFD............................£299 24-50 f3.5/4.5 AF.....................£99 24-70 F2.8 AFS box.............£849 28 F1.8 AFS G..........................£399 28-80 F3.3/5.6 G....................... £69 28-85 F3.5/4.5 AF.................... £99 28-100 F3.5/5.6 AF G............. £69

28-105 F3.5/4.5 AFD box...£149 28-300 F3.5/5.6 AFS VR ......£599 40 F2.8 AFS DX M- box.......£149 50 F1.8 AFD...........................£99 50 F1.8 AF..............................£79 55-300 F4.5/5.6 AFS VR...£199 60 F2.8 AFD.........................£249 60 F2.8 AF............................£199 70-300 F4/5.6 VR M- ........£329 70-300 F4/5.6 AFD ...........£129 70-300 F4 G...........................£79 80-200 F2.8 early .... £249/329 80-400 F4.5/5.6 AFS VR£1299 80-400 F4.5/5.6 VR ...........£449 85 F1.4 AFS M- box ..........£979 85 F1.4 AFD............... £499/549 85 F1.8 AF............................£169 85 F3.5 DX M- box............£269 105 F2.8 AFD......................£369 180 F2.8 AFD M- box.......£449 200-400 F4 AFS VRI.......£2499 200-500 F5.6 M- box........£949 300 F2.8 AFS VRII M-.....£3499 300 F2.8 AFS VRI ............£2799 300 F2.8 AF ED...................£749 300 F4 AFS M- box ...........£699 300 F4 AFS box..................£599 400 F2.8 AFS E FL ED VR£6799 500 F4 AFS VR .................£4799 500 F4 AFS Mk1..............£1999 TC14EII..................................£379 TC17EII..................................£269 TC20EIII M- box .................£279 TC20E box ...........................£149 SIGMA NAF USED 12-24 F4.5/5.6 EX DG ..........£379 18-50 F2.8 EX DC Mac.........£199 18-200 F3.5/5.6 DC OS......£169 18-250 F3.5/6.3 DC OS......£199 28-300 F3.5/6.3 early..........£129 50 F1.4 DG Mint ......... £199/239 50 F1.4 Art...........................£479 50 F2.8 EX............................£119 50-500 F4/6.3 DG OS.......£499 50-500 F4/6.3 DG..............£399 70-300 F4/5.6 Apo DG ......£99 120-400 F4/5.6 DG OS ....£449 1.4x EX DG M-.........................£119 1.4x EX conv .............................. £99 2x EX DG conv........................£159 TAMRON NAF USED 10-24 F3.5/4.5 DiII.................£239 16-300 F3.5/6.3 PZD ............£319 17-50 F2.8 XR Di.....................£199 18-250 F3.5/6.3 ......................£149 18-270 F3.5/6.3 PZD ............£199 28-300 F3.5/6.3 ...............£99/169 70-300 F4/5.6............................ £79 90 F2.8........................................£199 OTHER NAF USED TOK 10-17F3.5/4.5 ATX...£249 TOK 12-24 F4 ATX pro.....£299 TOK 12-28 F4 ATX DX......£399 FLASH / ACCESSORIES USED SB-24...............................................£49 SB-25...............................................£49 SB-80DX....................................... £79 SB-600.........................................£149 SB-700 M- box........................£199 SB-900.........................................£269 SB-910 box...............................£279 SD-8 batt pack.......................... £49 DR-6 angle finder..................£139 DR-5 angle finder..................£139 DR-3 angle finder.................... £69 MB-16 M- box........................... £89 MB-23 (fits F4)........................... £79 MC-30 remote .......................... £39 MF-23 (date back F4) ............ £79 Sigma EM140DG ring.........£169 NIKON MF USED F3HP body...........................£199 F3 body ................................£149 FM2n body chr box..........£349 FM2n body chr ..................£179 28 F2.8 AIS.............................£99 28 F3.5 AI...............................£99 28 F2.8 E box........................£69 28-85 F3.5/4.5 AIS.............£199 35 F2.8 AI box ......................£99 35-70 F3.3/4.5 AIS.............£149 35-70 F3.5 AIS ......................£99 35-105 F3.5/4.5 AIS............£99 45 F2.8 P silver M- ............£249 50 F1.4 AI.............................£129 50 F1.8 AIS.............................£89 50 F1.8 AIS pancake.........£139 50 F1.8 E.................................£59 105 F2.8 AIS macro ..........£249 105 F2.5 AIS ........................£229 180 F2.8 AIS ED scruffy...£179 200 F4 AIS macro..............£249 200 F4 AIS............................£149 200 F4 AI................................£99 500 F8 late orange ring..£399 500 F8 early ........................£279 TC14A....................................£129 TC14B....................................£149 TC200 ......................................£49

TC301 ....................................£169 SC-17 TTL lead.....................£25 DW-3 WLF find fit F3 .........£99 DW-4 6x mag find fit F3...£99 PK-13/12/11 ext tube ea..£29 OLYMPUS DIGITAL USED E3 body box........................£349 E520 body ...........................£149 11-22 F2.8/3.5 M-..............£379 12-60 F2.8/4 SWD.............£379 14-42 F3.5/5.6 ......................£49 14-45 F3.5/5.6 ......................£79 14-50 F3.8/5.6 ....................£199 14-54 F2.8/3.5 ....................£149 35 F3.5 ....................................£99 40-150 F4/5.6 .......................£49 50 F2 macro........................£279 25mm ext tube....................£79 Sigma 105 F2.8 EX DG M_ £249 OLYMPUS PEN USED OMD-EM1 body M- box .£599 OMD E-M5 body box.......£349 OMD-EM10 body..............£299 Pen E-PM1 + 14-42 M- ....£149 Pen E-PM1 body..................£99 Pen E-P3 body ...................£169 12-40 F2.8 Pro....................£549 40-150 F2.8 Pro .................£849 75-300 F4.8/6.7 box.........£279 1.4x conv MC-14 ...............£199 OLYMPUS OM USED OM-4Ti body ......................£249 OM-2SP body.....................£149 OM-2n body .......................£149 OM-1n body .......................£149 24 F2.8 ..................................£169 28-48 F4 .................................£99 35-70 F3.5/4.5 ......................£79 35-105 F3.5/4.5....................£99 50 F3.5 macro ......................£89 200 F4 .....................................£79 300 F4 ...................................£169 PANASONIC DIGITAL USED LX7 compact box..............£219 G3 body box.......................£129 G1 body box.........................£99 GF1 body ................................. £79 14 F2.5 .......................................£169 14-42 F3.5/5.6 ......................£79 14-45 F3.5/5.6 ....................£149 14-140 F3.5/5.6..................£299 20 F1.7 ...................................£179 45-200 F4/5.6 box ............£199 100-300 F4/5.6...................£299 BG-GH3 grip .........................£99 FZ-200...................................£199 PENTAX DIGITAL AF USED K5 II body box....................£399 PENTAX 35mm AF USED MZ5N body...........................£69 10-17 F3.5/4.5 ED .............£239 16-50 F2.8............................£379 17-70 F4 SDM M- box .....£299 18-55 F3.5/5.6 ......................£29 18-135 F3.5/5.6 WR..........£269 28-70 F4 AL................................ £59 28-80 F3.5/5.6 ......................£49 28-90 F3.5/5.6 FA ................£69 40 F2.8 Limited M- ............£219 50-135 F2.8 SDM...............£379 55 F1.4 SDM M-.................£469 55-300 F4/5.8 ED box......£229 70 F2.8 Limited..................£349 70-300 F4/5.6 .......................£79 100-300 F4.5/5.6 .................£99 540FGZ flash ......................£239 SIGMA PKAF USED 12-24 F4/5.6 EX DG Mint ..£399 50-500 F4/6.3 DG..............£429 TAM 17-35 F2.8 XR Di......£179 PENTAX 645AF USED 645N body ..........................£399 PENTAX 645 DIGITAL USED 645Z + 55 F2.8 Mint unused....................£5299 PENTAX 645MF USED 645 + 75 F2.8......................£249 645 body + insert .............£199 45-85 F4.5............................£299 55 F2.8 ..................................£249 150 F3.5 EX++....................£149 200 F4 ..................................£149 120 Insert M- box................£49 PENTAX 67 USED 165 F4 leaf latest...............£249 200 F4 latest .......................£169 200 F4 early.............................£99 300 F4 early scruffy............. £99 Pentax rear conv 1.4x........ £249 2x rear converter...............£179 Auto ext tubes .....................£49 Vivitar 2x conv .....................£49 SAMSUNG USED NX10 + 18-55 .....................£129 50-200 F4/5.6 III M- box....£99 VOIGTLANDER USED 15 F4.5 + VF M- box.........£269 MORE ON WEBSITE WWW.MIFSUDS.COM

Used Sony

Used Sony

Used Hasselblad

Used Hasselblad

Used Hasselblad

Used Leica

A7 RII body box

£1899

503CW + 80mm f2.8 16-35mm CFE + A12 f2.8 ZA SSM box

£849

£1699

40mm

50mm f4 CF FLE

f4 CF FLE

£1099

£849

Used Nikon

D3 body box

35mm f2 M39 M- box

£1799

Used Nikon 14-24mm f2.8 AFS

£999

Used Nikon

80-400mm f4.5/5.6 AFS

£1299

Used Nikon

85mm f1.4 AFS M- box

£979

Used Nikon

200-400mm f4 AFS VRI

£2499

Used Nikon

300mm f2.8 AFS VRII M-

£3499

Used Nikon

300mm f2.8 AFS VRI

£2799

Used Nikon 300mm f4 AFS

£599/699

Used Nikon

400mm f2.8 AFS E FL ED VR

£6799

Used Nikon 500mm f4 AFS VR

£4799

Used Nikon 500mm f4 AFS MKI

£1999

Used Pentax

645Z + 55mm f2.8 Mint unused

£5299

Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.


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EOS 760D

EOS 7D Mk II

Black, Red or Grey

EOS 700D

20.2

megapixels

£100

10.0 fps 1080p

Cashback*

movie mode

7D Mk II

£1179

7D Mark II Body £1179 £1079 inc. £100 Cashback*

24.7

18.0

megapixels

5.0 fps

5.0 fps

760D 760D Body

£549

750D Body 750D + 18-55mm 750D + 18-135mm

£459 £529 £709

From £379

700D Body 700D + 18-55mm IS STM 700D + 18-135mm IS STM 700D + 40mm STM

£379 £449 £599 £799

EOS 80D

NEW

22.3

megapixels

6.0 fps

£250

Full Frame Sensor

Cashback*

5D Mk III

£2178

20.2

megapixels

£150

4.5 fps

6D

EOS 5DS

EOS 1D X Mk II

NEW

NEW 80D

£999

NEW 80D Body NEW 80D + 18-55mm NEW 80D + 18-135mm

£999 £1089 £1349

G7 X Mk II

NEW

5.0 fps

£250

Cashback*

From £2699

5DS Body £2699 £2449 inc. £250 Cashback*

24.1

megapixels

megapixels

5.0 fps

5.0 fps

6.0 fps

D3300

From £248

D3300 Body

£248

D5500 Body

£499

D7100 Body

£573

D3300 + 18-55mm AF-P

£319

D5500 + 18-55mm AF-P D5500 + 18-140mm VR

£569 £749

D7100 +18-105mm VR

£799

D7200

D5500

From £499

24.3

24.3

megapixels

megapixels

6.0 fps 1080p

6.0 fps 1080p

6.5 fps Full Frame Sensor

movie mode

D7200

From £749

D7200 Body D7200 + 18-105mm

£749 £888

D810

D610

From £999

D610 Body D610 + 24-85mm

£999 £1499

NEW

D5

20.8

D750

20.9

megapixels

megapixels

7.0 fps

12.0 fps

10.0 fps

Full Frame Sensor

4.2x

Full Frame Sensor

Full Frame Sensor

Full Frame Sensor

optical zoom

1D X MK II NEW 1D X Mk II Body

G7 X Mk II

£5199 £5199

£549

NEW G7 X Mk II Body G5 X Body

£549 £579

D810

From £1795

D810 Body D810A Body

£1795 £2699

NEW D5 NEW D5 Body

£1240 £1566 £1829

NEW

D500

megapixels

20.1

From £1240

D750 Body D750 + 24-85mm VR D750 + 24-120mm VR

16.0 fps

megapixels

From £573

D750

D610

24.2

D7100

megapixels

36.3

20.2

megapixels

24.2

megapixels

movie mode

7.0 fps

£1119

6D Body £1119 £969 inc. £150 Cashback*

50.6

24.2

megapixels

Cashback*

Full Frame Sensor

5D Mk III Body £2178 £1928 inc. £250 Cashback*

5DS

700D

From £549

D7100

D5500

24.2

megapixels

EOS 6D

5D Mark III

Full Frame Sensor

Black or Red

D3300

megapixels

£5199 £5199

D500

From £1729

NEW D500 Body

£1729

Canon Cashback* offer ends 18.05.16

Canon Lenses

Nikon Lenses

35mm f1.4 L II USM ..................................... £1799 £1649 inc. £150 Cashback* EF 16-35mm f2.8L Mk II USM ........................ £1060 EF 70-300mm f4-5.6L IS USM........................ £876 EF 24mm f1.4L II USM.................................... £1099 £949 inc. £150 Cashback* EF 50mm f1.4 USM......................................... £232 EF 100mm f2.8 L IS USM Macro.................... £619 £544 inc. £75 Cashback* EF-S 10-22mm f3.5-4.5 USM ......................... £377 EF 16-35mm f4 L IS USM. ............................. £682 EF 11-24mm f4L USM .................................... £2799

Photo Bags & Rucksacks

Perfect for carrying a pro DSLR with lens attached, 4-6 additional lenses, a flashgun and accessories.

Whistler BP 350 AW Backpack

Whistler: BP 350 AW .............................£257 BP 450 AW .............................£286

Tripods & Tripod Heads

MT055XPRO3 ...................£139 MK055XPRO3 + X-Pro 3-Way Head .........£209 MK055XPRO3 + 498RC2 Ball Head..........£169 MT055CXPRO3 Carbon Fibre......................£269 MT055CXPRO4 Carbon Fibre......................£280 MT190 Series: MT190XPRO3 ...................£129

EF 24-70mm f4.0 L IS USM ............................ £675 EF 70-200mm f4.0 L IS USM ........................... £795 EF 100-400mm f4.5-5.6 L IS II USM ................ £1799 EF 70-200mm f2.8 L IS II USM......................... £1499 EF 24-105mm f4.0 L IS USM............................ £727 EF 24-70mm f2.8L II USM ................................ £1400 EF 50mm f1.2L USM......................................... £995 £885 inc. £110 Cashback* EF-S 10-18mm f4.5-5.6 IS STM ....................... £179 EF 180mm f3.5 L USM Macro ......................... £1049 EF 85mm f1.8 USM .......................................... £237 £197 inc. £40 Cashback*

Photo Sport BP 200 AW Black Perfect for carrying a DSLR with lens attached, an additional lens, flash, accessories, a 2-litre hydration reservoir (not included), plus extra gear such as a bike helmet, jacket, snacks and a compact tripod.

Photo Sport BP: 200 AW...............................£118 300 AW...............................£147

Anvil Slim Professional Backpack

Anvil: Anvil Slim................................. £189.99 Anvil Super.............................. £189.99 Anvil Pro.................................. £209.99

SB5000 £499

Lumimuse LED Lights From £44.95

Ezybox Speed-Lite 2 £49.95

Nikon Cashback* offer ends 29.06.16

For 2-year warranty on any camera and lens kit simply register your new Nikon within 30 days of purchase. Offer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register

Manfrotto Pro Light 3N1 Backpacks

Designed to hold a digital SLR with battery grip and mid-range zoom lens attached, 3-4 additional lenses, a flashgun and iPad/ tablet.

3N1-25..................................£139 3N1-35..................................£199

F-803 RuggedWear

Hadley Pro Original Canvas Khaki/Tan

Hadley: Canvas/Leather: Khaki/Tan, Black/Tan, Black/Black. FibreNyte/Leather: Khaki/Tan, Sage/ Tan, Black/Black. Digital .................................. £109 Small ................................... £139 Large ................................... £154 Pro Original ......................... £169 Tripod Strap Black or Tan.... £19

GT3542L • 178cm Max Height • 16cm Min Height Mountaineer Carbon eXact Tripod: GT0532 ...................................... £269 GT1532 ...................................... £339 GT2542 ...................................... £599 GT3542L .................................... £709

L308s £139

Plus III Set £199

RuggedWear: F-5XB ................................. £72 F-5XZ ................................. £99.95 F-6 ...................................... £99 F-803 .................................. £139 F-2 ...................................... £149

Pre-Loved

cameras

SLR Zoom • Flexi-Tripod legs • 25cm Closed Length • 3Kg Max Load

327RC2 Joystick Head

Gorillapod: Compact....................................... £17 Hybrid (Integral Head).................. £29 SLR Zoom .................................... £39 Focus GP-8 .................................. £79

Ball Heads: 494RC2 ..................................£45 498RC2 ..................................£74 324RC2 ..................................£99 327RC2 ..................................£135

Lighting & Accessories

430EX III £219.99

80-400mm AF-S Nikkor f4.5-5.6 G ED VR ........ £1859 £1709 inc. £150 Cashback* 18-300mm f3.5-6.3 G ED VR AF-S DX ............. £549 55-300mm f4.5-5.6 G AF-S DX VR ................... £269 16-80mm f2.8-4 G AF-S VR ED DX .................. £869 24-70mm f2.8 E AF-S ED VR ............................ £1849 £1699 inc. £150 Cashback* 200-500mm f5.6 E ED VR AF-S ........................ £1179 24mm f1.8 G ED AF-S ....................................... £629

We sell tripod accessories including plates and spiked feet on our website!

MT190XPRO3 • 160cm Max Height • 9cm Min Height MT190XPRO4 ...................£159 MT190CXPRO3 Carbon Fibre......................£229 MT190CXPRO4 Carbon Fibre......................£235 MT190XPRO3 + 496RC2 Ball Head..........£139 MT190XPRO4 + 496RC2 Ball Head..........£189

85mm f1.8 G AF-S ............................................. £399 105mm f2.8 G AF-S VR IF ED Micro................. £659 10-24mm f3.5-4.5 G AF-S DX............................ £669 18-200mm f3.5-5.6 G ED AF-S DX VR II .......... £549 18-300mm f3.5-5.6 AF-S ED VR ....................... £749 24-70mm f2.8 G AF-S ED.................................. £1399 £1249 inc. £150 Cashback* 70-200mm f2.8 G AF-S ED VR II....................... £1799 70-300mm f4.5-5.6 G AF-S IF ED VR ............... £449

3m Heavy Duty Gemini Pulsar Background Tx 500R Kit £949 D-Lite RX 4/4 Urban Collapsible Stand Tx 500 Pro Kit £1199 Softbox Set £699 Background £165 £89

Quality used cameras, lenses and accessories with 12 months warranty*

www.wex.co.uk/ pre-loved *Excludes items marked as incomplete or for spares

Terms and Conditions All prices incl. VAT at 20%. Prices correct at time of going to press. FREE Delivery** available on orders over £50 (based on a 4 day delivery service). For orders under £50 the charge is £2.99** (based on a 4 day delivery service). For Next Working Day Delivery our charges are £4.99**. Saturday deliveries are charged at a rate of £8.95**. Sunday deliveries are charged at a rate £13**. (**Deliveries of very heavy items, N.I., remote areas of Scotland & Ch. Isles may be subject to extra charges.) E. & O.E. Prices subject to change. Goods subject to availability. Live Chat operates between 9.30am-6pm Mon-Fri and may not be available during peak periods. †Subject to goods being returned as new and in the original packaging. Where returns are accepted in other instances, they may be subject to a restocking charge. ††Applies to products sold in full working condition. Not applicable to items specifically described as “IN” or incomplete (ie. being sold for spares only). Wex Photographic is a trading name of Warehouse Express Limited. ©Warehouse Express 2015. *CASHBACKS Are redeemed via product registration with the manufacturer. Please refer to our website for details. Showroom: Drayton High Road, (opposite ASDA) Norwich. NR6 5DP. Mon & Wed-Sat 10am-6pm, Tues 10am-5pm, Sun 10am-4pm


THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

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THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

On sale l now! Order your copy direct from

MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle


DaVinci Resolve 11 now adds professional nonlinear editing to the world’s most powerful color grading system! DaVinci Resolve 11 combines the world’s most advanced color corrector with professional multi track editing so now you can edit, color correct, finish and deliver all from one system! With its legendary image quality, real-time GPU accelerated performance, and support for more wide dynamic range RAW formats than any other system, DaVinci Resolve has the creative tools professional editors and colorists need to work on Hollywood’s most demanding projects!

Native Camera RAW

Integrated Editing and Grading

DaVinci Resolve works natively with all major RAW formats! Featuring the industry’s most advanced de-bayer algorithms, Resolve preserves every detail captured by the camera’s sensor. That means you can adjust exposure, shadows, highlights and mid-tones long after the camera stops rolling! With Resolve, you can create looks that simply aren’t possible on other systems. The native RAW workflow means your final masters are literally first generation renders from camera original files!

DaVinci Resolve 11 gives you professional editing and color correction all in one system so you can move between editing and grading with a click of the mouse! No more importing, exporting, or conforming ever again! Teams can have multiple colorists and assistants working with an editor on the same sequence at the same time! You get a true nonlinear workflow that lets you edit, grade and finish faster than ever before!

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Professional Nonlinear Editing DaVinci Resolve’s multi track timeline lets you quickly ripple, roll, slip, slide, extend and shorten edits. The context sensitive trim tool changes automatically based on the position of the mouse to make editing faster! Dynamic JKL trimming works on multiple tracks and can be done in the same direction or asymmetrically. Whether you use the mouse or keyboard, Resolve is easy to learn and has all of the tools professional editors need!

Hollywood’s leading studios choose DaVinci Resolve because it handles incredibly high resolution images and massive amounts of data easily on super tight deadlines. Resolve is scalable and works on laptop’s up to massive multi GPU systems connected to shared storage. Whether you’re working on HD, 4K or beyond, DaVinci Resolve has the power, performance and creative tools you need to get the job done!

DAVINCI RESOLVE 11 LITE

DAVINCI RESOLVE 11 SOFTWARE

DAVINCI RESOLVE 11

Free download with unlimited nodes. Supports 1 GPU.

Full Resolve with unlimited nodes and multiple GPUs. Use 3rd party control panels.

Full Resolve with colorist control surface for the most advanced facilities.

Free Download

£665*

£19,975*

www.blackmagicdesign.com/uk *SRP is Exclusive of VAT


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All prices include VAT. Shipping not included. We reserve the right to change prices or correct pricing errors. Avenso GmbH, Ernst-Reuter-Platz 2, 10587 Berlin, Germany. All rights reserved. *Not valid in combination with any other offers or discounts. Photographer: Marc Krause

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ORIGINAL PHOTO PRINT ON ALUMINIUM DIBOND 30 x 20 cm just

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HIGH DEFINITION GRADIENTS FOR HIGH PIXEL COUNT SLR CAMERAS

KOOD A FILTER TO FIT ALL COKIN A SIZE SYSTEMS

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 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 2) Casting system eliminates all bleach so no loss of density or colour over time 3) Batch tested every 12 filters to maintain good neutrality 4) All filters packed in between card, in wallets which allow no movement or dust 5) KOOD Manufactures its own filters from casting to packing

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

DOUBLE EXPOSURE AND MASKS A A A A

Double Exposure Double Mask 1 Double Mask 2 PSF

DIFFUSERS AND FOGS A A A A

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

POLARIZERS

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 Infra Red 720 Optical Glass

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

SPOTS

Blue Clear Spot Clear Spot 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 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

COLOURS

COLOURS

Yellow Orange Green Red Skylight Sepia

DIFFUSERS AND FOGS

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

Double Exposure 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

CAN BE ORDERED FROM ANY INDEPENDENT RETAILER

KOOD

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

KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EY Tel: 01727 823812 Fax: 01727 823336 E-mail: info@koodinternational.com / koodinternational@gmail.com

www.koodinternational.com

KOOD BRAND PRODUCTS ARE EXPORTED WORLDWIDE

KOOD SUPPLIES EVERY PART OF THE PHOTO TRADE - HOME AND EXPORT. EMAIL: info@koodinternational.com FOR DETAILS OF STOCKIST IN YOUR AREA OR, IF YOU ARE A CAMERA EQUIPMENT TRADER, SEND YOUR DETAILS FOR ACCOUNT APPLICATION AND TRADE SUPPLY PRICES

|

TRADE AND IMPORTERS CAN PAY BY


LE SA

X T E 2016 NE SUMAY IS 10

N O

Beginner’s Guide

ES APERTURES MADE EASY!

Master how to use apertures to control depth-of-field and you will be well on the way to improving the aesthetic quality of your images. Don’t miss our comprehensive guide packed with all the expert advice and inspiration you could need to use apertures like a pro! IMAGE: HELEN DIXON

Plus PRO INSPIRATION

Witness the stunning scenics of Albert Dros and the incredible action adventures of photographer and filmmaker Corey Rich

STUDIO PORTRAITS

One lucky reader undertakes a set of portrait challenges under the expert guidance of professional photographer Paul Ward

FUJIFILM X-PRO2

Fuji’s latest mirrorless model sports an innovative hybrid viewfinder and a wealth of features. We reveal if we think it’s the best CSC yet

ESSENTIALPHOTOADVICETO HELPYOU IMPROVEYOUR PHOTOGRAPHY


Digital slr photography may 2016  

WELCOME TO THE MAY 2016 issue of Digital SLR Photography. What’s the longest exposure you've ever taken?

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