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Issue 123

page 64

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Inside

page 76

Exposing to the right, multiple exposures, still-lifes & more! Starts p37

page 104


© Andreas Lundberg


Always up to speed Profoto D2 A photographer faces many different challenges every day. It’s with that in mind we created the Profoto D2. It’s a breakthrough, because it’s the world’s fastest monolight. So for the first time, no matter what the assignment, speed is always on your side. You can freeze action with absolute sharpness, shoot in super quick bursts, sync with the fastest camera shutter speeds available, and shoot fast and easy with HSS and TTL. So whether you’re shooting sports, food or fashion: with the D2 you’re always up to speed. Get up to speed at profoto.com/d2


With young children to take care of there was no way I could attend university. People ask me how I manage everything; it is challenging but studying with the OCA makes me really happy. Sarah-Jane Field

LIVE | LEARN | CREATE

oca.ac.uk/dslr


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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:

Adam Burton, Mark Bauer, Matthew Cattell, Lee Frost, Ross Hoddinott, Richard Hopkins & Catherine MacBride

Advertising & Production

Display/Classified/Advertising: 0207 907 6651 Commercial Brand Manager Alex Thomas alex.thomas@dslrphotomag.co.uk Account Manager Finan Tesfay finan_tesfay@dennis.co.uk Sales Executive Heather Shearer heather_shearer@dennis.co.uk Senior Production Executive Sophie Valentine sophie_valentine@dennis.co.uk

Publishing

Felix Dennis Founder James Tye CEO Brett Reynolds COO Ian Westwood Group MD John Garewal MD Technology & Imaging David Barker Newstrade Director SUBSCRIPTIONS UK SUBSCRIPTIONS: 0844 249 0482 The subscription service is open six days a week: Monday to Friday (8am-8pm); Saturday (9am-1pm) Order online at: http://subscribe.digitalslrphoto.com Standard subscription rate: 12 issues for £43 (UK only) OVERSEAS SUBSCRIPTIONS: +44 (0)1795 414953 Europe £45; Rest of World £60; USA $99. USA & Canada subscriptions: Phone: 1-888-428-6676; Fax: 1-757-428-6253; Email: cs@imsnews.com; Web www.imsnews.com. ONLINE SUBSCRIBER SERVICE: www.subsinfo.co.uk Use this to manage your existing subscription, including changing your address, renewing your subscription or reporting problems. This should be your first port of call if you have any queries about your subscription. If you require further help, email: dslr@servicehelpline.co.uk

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BACKISSUES Back issues for UK cost £5 (includes p&p). To order by credit card, phone: 0844 249 0482 or send a cheque, stating the back issue you’d like, and made payable to Dennis Publishing Ltd, to: FREEPOST RLZS-ETGT-BCZR, Digital SLR Photography Back Issues, 800 Guillat Avenue, Kent Science Park, Sittingbourne ME9 8GU. Digital SLR Photography is produced for Dennis Publishing by Red Creative Media Ltd. Digital SLR Photography is published on the second Tuesday of every month. Digital SLR Photography is published under license from Halo Publishing Ltd, a wholly owned subsidiary company of Dennis Publishing Ltd, UK. All rights in the licensed material belong to Felix Dennis, Halo or Dennis Publishing and may not be reproduced, whether in whole or part, without their prior written consent. Digital SLR Photography is a registered trademark. © Copyright Halo Publishing Ltd which is a subsidiary of Dennis Publishing Limited. Digital SLR Photography is a trademark of Halo Publishing Ltd. ISSN number: 1751-8989 Digital SLR Photography is printed in the UK. Does anyone read our secret message each month? If so, tweet us @DigitalSLRPhoto and you might win a prize… The publisher makes every effort to ensure the magazine’s content is correct. All material published in Digital SLR Photography is copyright and unauthorised reproduction is forbidden. The editors and publishers of this magazine give no warranties, guarantees or assurances and make no representations regarding any goods or services advertised in this edition. No responsibility can be accepted for images or correspondence lost or damaged in post or transit. Audit Bureau of Circulation member When you’ve finished enjoying this magazine please recycle

Welcome

WELCOME TO THE FEBRUARY 2017 issue of DigitalSLR Photography. As we enter into a new year, I wonder what new features manufacturers will add to cameras to make us want to upgrade our current kit, which, let’s be honest, is already pretty amazing. Wi-Fi has been the main addition in the last couple of years and, while useful at times, I don’t view it as a game-changer. A common question I’m asked by readers about cameras is which feature I think is the most useful. My answer has always been the LCD monitor. As someone who started out shooting on 35mm, I had to wait until my film had been processed before being able to review my shots. Usually that meant between a day or a week, depending on the film type. Nowadays, we know within seconds. This, for me, is the biggest game-changer in photography. We now have the facility to know if our technique was sound or if we need to alter settings to get a better result. This allows us to learn, in moments, skills which once took days or weeks. I certainly think it’s the key reason why the standard of photography has improved so much and why, whatever is next in photography, I for one can’t see it being as important as the humble LCD screen. All the best!

Daniel Lezano Editor

Join a growing community OVER650,000FOLLOWERSANDGROWING!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.

ONTHIS MONTH'S COVER...

SUBSCRIBETODAY!

Ifthereisonethingthatevery photographer coulddoto instantlyimprovethestandard oftheirphotography,it’sto shootinRaw.Ifyouwantyour imagestodisplaythesame mood,detailanddynamic rangeasourcoverimageby DanielHerr,thenshootingin Rawisagreatplacetostart.

Youcangetyourmonthlyfix ofDigitalSLRPhotography inspirationandadvicedirect toyourdoorormobiledevice bysubscribingtoourprint and/ordigitaleditions. Wealwayshavesomegreat money-savingoffersor freegiftsforsubscribers,too! Fordetails,seepage94. February 2017 Digital SLR Photography 5


Contents FEBRUARY2017/ISSUE123

5 EDITOR’S PAGE DanielLezanowelcomesyoutoanotherissueand revealshisfavouritefeatureondigitalcameras 8 PORTFOLIO Theverybestimagesfromaroundtheworld,from landscapestonatureandportraits,allcuratedeach monthforyourenjoyment.Preparetobeinspired… 16 SNAPSHOTS Award-winningimages,proprojects,news,tipsand tricks.Amedleyofeverythingphotographyawaitswithin 31 LOCATION GUIDE OftenoverlookedinfavourofneighbouringDartmoor, weshowyouwhyExmoorshouldbeonyour‘to-visit’list 58 EXPERT CRITIQUE Submityourimagestoreceivevaluablefeedbackfromthe professionalsandexpertsbehindthemagazine 63 READER SUBMISSIONS Howtocontributeimagesortakepartinourworkshops 76 IN-CAMERA SKILLS NEW Forgetpost-processingtrickery!Hereareahandfulof inspirationalideastohelpyouimproveyourcameracraft 86 INTERVIEW: MATTHEW CATTELL The2016LandscapePhotographeroftheYearshareshis viewsonoutdoorphotographyintheUKandwhyphoto competitionsshouldbeoneveryone’sradar

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86

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44

Phototechnique

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38 PRO CHALLENGE: LEAD-IN LINES LeadinglandscapephotographerRossHoddinotttackles adayoutatthecoastusinglead-inlinesinlandscapes. Pickuphisprotipsandcompositionaltrickshere… 44 PHOTO SKILLS: CHASING RAINBOWS Thewinteryweathercanstifleyourcreativity.Still-life expertCatMacBrideoffersasimpleindoortechniqueto helpkick-startyourcreativityfortheNewYear 48 PHOTO SKILLS: EXPOSE TO THE RIGHT WanttogetthebestfromyourRawfiles?ETTRisapro techniqueforextractingmaximumdetailandclarity 52 PHOTO SKILLS: NIGHT LIGHTS JordanButtersshowsyouhowtoaddnightlightsinto yourgoldenhourimages,usingmultipleexposures 56 EDIT SKILLS: BLEND EXPOSURES Learnhowtoquicklyandseamlesslyblendtwoexposures togetherinPhotoshopforrealisticresults 64 BEGINNER’S GUIDE: RAW StillshootinginJPEG?Here’severythingyouneedto knowaboutRawandmore–shootingtechniques, workflow,editingandthebestsoftwaretouse

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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 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

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Catherine MacBride STILL-LIFE A professional still-life and stock photographer from Dublin, Ireland, Cat is a master at creative compositions and brilliant ideas. catherinemacbride.com

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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

Gear:Tested&Rated

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99 PRODUCT NEWS Thelatestandgreatestkitfromtheworldofphotography 100 LONG TERM TEST: CANON EOS 6D CanCanon’sonlyenthusiastfull-framemodelholdits ownagainstthenewDSLRsoftoday?Let’sfindout… 104 GROUP TEST: MESSENGER BAGS Whenyouwanttocarryyourkitbutdon’twantthehassle ofabackpack,youneedamessenger-stylebag 113 MINI TESTS Ahigh-endfilmscannerfordigitisingyourslidesand negativesandabudgetHSSflashtriggerarerated

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94 SUBSCRIBE TODAY! Takeadvantageoftheverylatestsubscriptionoffers

Matthew Cattell OUTDOOR Matthew has recently been thrust into the limelight, winning the 2016 Landscape Photographer of the Year award. Read his story on page 86. matthewcattellphotography.com Mark Bauer LANDSCAPES One of the UK’s leading landscape photographers and a celebrated author, Mark enjoys photographing the south west of England. markbauerphotography.com Paul Ward PORTRAITS A pro photographer, Paul is an expert on lighting. He specialises in studio and location portraits, as well as commercial photography. paulwardphotography.com Richard Hopkins TESTS With over 30 years’ experience testing cameras on photography magazines, Richard’s one of the UK’s leading technical experts on photo kit, in particular lenses. February 2017 Digital SLR Photography 7


Portfolio The Ships

by Milen Dobrev 500px.com/narval

“These rock formations are located in Bulgaria, near the village of Sinemorets. Legend says that locals used the rocks to loot ships – they would light a fire on the rocks, to simulate a lighthouse. The ships would then crash into the rocks and the cargo looted. This photo is made up from 42 frames of 30 seconds each. The rocks are lit by a nearby village." Nikon D750with a NikkorAF-S 16-35mm f/4G lens. Exposures: 42 exposures of30 seconds at f/4 (ISO 5000).


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Portfolio Sunrise Rock by Milen Dobrev 500px.com/narval (Left) “During late winter the sun rises over this rock, which works with the lead-in line from the foreground. I had some luck in that there was a nice sky and proper waves, which added interest to the water. I used a 0.9ND soft grad and 0.9ND filter to record the motion of the water.” Nikon D750with a NikkorAF-S 16-35mm f/4G lens. Exposure: 1.6 seconds at f/9 (ISO 100).

Lavender by Milen Dobrev (Below far left) “The lead-in lines of the rows of lavender are a great

compositional aid. I planned to photograph sunrise, but the sky was full of clouds. Sunrise passed and I starting packing my kit away when, with a stroke of good luck, the sun dramatically pierced the clouds."

Nikon D750with a NikkorAF-S 16-35mm f/4G lens. Exposure: Five seconds at f/13 (ISO 100).

Rhodopi Mountain Bridge by Milen Dobrev (Below centre left) “This bridge is from the Middle Ages, built on the ruins

of a Roman bridge. As this spot is quite commonly photographed, I sought to find a more unorthodox position beside the bridge, and picked the stones as the foreground. I used a Lee Filters solid 0.9ND.”

Nikon D750with a NikkorAF-S 16-35mm f/4G lens. Exposure: 0.4 seconds at f/16 (ISO 100).

Serenity by Milen Dobrev (Below centre right) “This serene spot is in the mouth of the Ropotamo

River in Bulgaria, where it flows into the Black Sea. The dead tree, dragged by the river, did wonders for the composition, both as a foreground and as a lead-in line. I used a nine-stop ND filter.”

Nikon D7000with a NikkorAF-S 10-24mm f/3.5-4.5 lens. Exposure: 30 seconds at f/8 (ISO 100).

Monolith by Milen Dobrev (Below right) “Taken during sunrise near the ancient town of Sozopol in

Bulgaria. The monolith in the sea, the nice light, interesting clouds and the waves all contributed to the beautiful scenery. I used 0.9ND soft grad and solid 0.9ND filter to capture the movement of the water.”

Nikon D750with a NikkorAF-S 16-35mm f/4G lens. Exposure: 1/3sec at f/8 (ISO 100).

500px Perfect for photos Every photographer featured in Portfolio receives one year of 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 Marketplace. 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

February 2017 Digital slr Photography 11


Portfolio

Natasha by Anton Zhilin 500px.com/anton-zhilin (Above) “I took Natasha on a journey to a

picturesque site I discovered near my home town. We gathered a bouquet of dry autumn grass and Natasha wore a head scarf to create an atmosphere of warmth and comfort. The low sun and light clouds produced a soft, lovely illumination. Out of the whole set, I favour this image for its combination of emotion, eye contact, composition, pose and the lighting.” CanonEOS5DMkIIwithaCanonEF24-105mmf/4LISUSMlens. Exposure: 1/125secatf/5.6(ISO400).

Tanya by Anton Zhilin (Right) “Captured in a studio in Saint Petersburg,

I worked with a stylist and experimented with mixed lighting, using a blue filter on the flash to create unique lighting. The warm glow comes from continuous lights behind the model. During processing, I adjusted White Balance and adjusted the colour and tones to reduce the excessive blueness on the model's skin. I think the experiment was a success!” CanonEOS5DMkIIwithaCanonEF24-105mmf/4LISUSMlens. Exposure: 1/125secatf/4(ISO400).

Nastya by Anton Zhilin (Far right) “I wanted to carry out a themed photoshoot in a garden cottage, so I found a model with a gentle look and we styled the clothing together. I used the soft and diffused natural light coming in through a window. The model's face was positioned at a certain angle to compliment the portrait, and balance the contrast between light and shadow.” CanonEOS5DMkIIwithaCanonEF24-105mmf/4LISUSMlens. Exposure: 1/100secatf/4(ISO400).

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Portfolio


My Winter by Daniel Herr www.danielherrtravel.org (Above) “Sunrise and sunset on a winter's day in Iceland can be colourful and atmospheric. Fujifilm systems offer great sharpness and dynamic range, so processing was easy – no burned-out sky and simple shadow correction. Many people use ultra-wide lenses and cram too much into landscapes. I prefer to use lead-in lines and considered composition.” FujifilmX-T1withaFujinonXF16-55mmWRlens.Exposure:Fivesecondsatf/8(ISO200).

Nightfall Spirit by Daniel Herr (Centre left) “One of my first images using a ten-stop ND filter. I had no idea how it would turn out – I wanted a still lake with no movement. The image represents a perfect summer day in Norway. I'm normally not a fan of summer, I prefer the mood of autumn and more wild landscapes than this, but I love the atmosphere and serenity here.” CanonEOS70DwithaSigma10-20mmf/4-5.6lens.Exposure:62secondsatf/11(ISO100).

Drowning in Colours by Daniel Herr (Bottom left) “It was a strange day during my second visit to this

small lake in southern Norway. We had stormy conditions every day, up until the last evening when everything became calm and peaceful. The sunset colours were very intense and I used a ten-stop ND filter to get this mirrored effect on the water. I feel it's a simple but powerful image.”

SonyAlpha7withCanonFD17mmf/4lens.Exposure:12seconds atf/11(ISO100).

October Delights by Daniel Herr (Opposite) “Kirkjufellsfoss is now an overcrowded location,

with lots of people choosing the same perspective – the so-called 'classic view'. This vertical composition was something new for me. It was a struggle to get the hyperfocal distance correct – I'm conservative and don't like focus stacking or compositing multiple exposures.”

FujifilmX-T1withaFujinonXF14mmf/2.8Rlens.Exposure:3.5secondsat f/5.6(ISO400).

February 2017 Digital slr Photography 15


/ YourmonthlYphotodigest


Under f the sea DramaticunDerwaterimagesecures granDprizeofNatioNalGeoGraphic’s naturephotographeroftheYear2016 © greg lecoeur / national geographic nature photographer of the year 2016

rom thousands of entries submitted, a spectacular underwater image of predators feasting on the annual sardine migration on the Wild coast of south africa has been chosen as National Geographic’s grand prize winner in the nature photographer of the year 2016 competition. the image, captured by greg lecoeur of nice, france, which also won the action category, was two weeks in the making while lecoeur patiently waited for the right moment during the migration to capture his beautifully composed moment. “during the sardine migration along the Wild coast of south africa, millions of sardines are preyed upon by marine predators such as dolphins, marine birds, sharks, whales, penguins, sailfishes and sea lions,” lecoeur explained. “the hunt begins with common dolphins that have developed special hunting techniques to create and drive bait balls to the surface. in recent years, probably due to over-fishing and climate change, the annual sardine run has become more and more unpredictable.” as grand-prize winner, lecoeur bags himself a ten-day trip for two to the galápagos with National Geographic expeditions. Toviewtherestofthewinningimagesfromthisyear’saward,visit:natgeo.com/photocontest


Sn pshots

TPoTyoverallWinner:joelsanTos © Joel sanTos / Travel PHoToGraPHer oF THe Year 2016

wanderlusT

TopTravelphoTographersare recognisedas presTigious 2016TravelphoTographer ofTheYear isannounced

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ravel is one of the most popular niches in modern photography. The abundance of cameras and smartphones has facilitated everyone to record their journeys, experiences and adventures, no matter where they are in the world, allowing the rest of us to live vicariously through their lenses. From lava flows on Hawaii to swirling snow in new York, Mongolian horse riders to rare and endangered species – it’s safe to say that there’s barely a stone unturned when it comes to images of our wonderful planet! The 2016 Travel Photographer of the Year award recently named the winners for its latest competition, and we, for one, will never get tired of seeing the fruits of photographers' labours. This year’s overall winner was a first – Joel santos became the first Portuguese winner, and also captured the first winning images shot using a drone. Joel’s no stranger to travel photography however, having won several national and international awards and published numerous books. Joel entered two portfolios – one in the land, sea, sky category, capturing ethiopia's Danakil Depression from the air, and a second in the Journeys & adventures category, showing an insight into Ghanaian fishermen on lake Bosumtwi. Joel nets himself a £4,000 prize along with a host of other goods from the award sponsors. alongside the main prize, there were also ten category winners, including a category for HD video and a category for images taken on smartphones or tablets. This year the winners represented 20 different countries and entries came in from 123 countries in total, demonstrating the wide reach that the award now boasts. notable UK winners included Jeremy Woodhouse for Best single image in the Mankind category, alison Cahill in the new Talent eye-to-eye category, luke Massey in the Wildlife & nature category, rufus Blackwell in the HD video category and Craig easton in the land, sea, sky Portfolio category. Craig’s wonderfully minimalist images of West Kirby in england bagged him a Fujifilm X-series camera and lens of his choice! We’d suggest visiting the TPoTY exhibition to see the images as they were intended. The exhibition’s first stop is in Hull for the City of Culture celebrations from 18 May to 30 June 2017 before it returns to the University of Greenwich from 4 august to 3 september 2017. www.tpoty.com

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youngTPoTy15-18runner-uP:Zijiegong © ZiJie GonG / Travel PHoToGraPHer oF THe Year 2016


youngTPoTyoverallWinner:DarpanBasak © darPan Basak / Travel PhoTograPher of The year 2016

youngTPoTy15-18Winner:CourtneyMoore © CourTney moore / Travel PhoTograPher of The year 2016

mankindBesTsingleimage:JereMyWooDhouse © Jeremy Woodhouse / Travel PhoTograPher of The year 2016

mankindrunner-uP:panosLaskarakis © Panos laskarakis / Travel PhoTograPher of The year 2016

land,sea,skysPecialmenTion:Martinsiering © marTin siering / Travel PhoTograPher of The year 2016

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Snapshots / The world of photography

ian norMan

rob WhitWorth

New tech

3DPrintYour own Lenses

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photographertakesdiytothe nextlevelwithcustomlens

PurenightfiLter if you're into your night sky photography then you'll know that light pollution is a big problem. the good news is that there could be a solution on the horizon (pun not intended). Photographer ian norman has come up with the Purenight filter, a premium glass filter constructed from didymium glass designed to specifically reduce the transmission of light from sodium vapour lamps. the example images look impressive! the filter is being made available in standard 85mm and 100mm versions, and is currently undergoing crowdfunding. to find out more, visit: lonelyspeck.com/purenight/

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he increasing availability and affordability of 3D printing technology is fantastic, and has allowed inventors and those with an engineering mind to design and produce their own gadgets and products entirely from scratch, without heavily investing in prototypes and tooling. in his search for unique optics, French experimental photographer and youtuber Mathieu stern made his own. Mathieu is a fan of weird and wacky lenses, and had long dreamed of making his own lens. With the help of a cardboard mock-up, a 3D printer and a single lens element from an old 1890s optic, he did just that. the result is a simple home-made 135mm f/1.8 lens that features screw-adjustable manual focus, a razorsharp image centre and attractive swirling bokeh and softness towards the edges. it probably won’t win any awards for pixelpeeping performance, but it’s ideal for

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stylised portraits and actually looks to give better results than many of the trendy ‘toy’ lenses on the market! it just goes to show that with a little creativity, and an old lens, you can make something new and really quite impressive! to see more of Mathieu’s lens experiments, visit: mathieustern.com


The world of photography \

Snapshots

Master of tiMe FRoMhiSFiRStviDeototheBBCin juStFiveyeaRS,tiMe-LapSeexpeRt RoBWhitWoRth’SWoRkiSBeaMeD intohoMeSaRounDtheWoRLD

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f you’re a fan of nature documentaries, or photography and filmmaking in general, then you might have seen an episode or two of the BBC’s fantastic Planet Earth II series, narrated by Sir David attenborough, which finishing airing on BBC one just before Christmas. The show not only showcases the amazing sights and feats of the natural world, but also features some of the most impressive and breathtaking camera work on television. More often than not you’d have found yourself asking your TV set – how on earth did they film that? for the final show in the series, the BBC called upon time-lapse photographer and filmmaker rob Whitworth to create several advanced sequences using his signature 'flow motion' time-lapse techniques. Through a combination of technical camera work using multiple cameras with different focal lengths, advanced post-processing and a dash of editing trickery, rob guided some 12 million uK viewers, and a global audience of up to 600 million on a high-speed journey through the streets of Hong Kong at night, as well as several other segments of the episode. each composition is seamlessly integrated into the next, creating a mesmerising piece, comprised of seemingly impossible camera movements. This isn’t the

Above:MultipleDSLRsshootingtime-lapseatvariousfocal lengthswereusedtocreatethetechnicalsequences.

first time we’ve featured rob’s work either, as he’s received great success with previous videos, however this is certainly his biggest audience to date. “Working for Planet Earth II is pretty unbelievable,” rob told Digital SLR Photography. “five years ago I launched my first video online, uploaded from the jungle in central Vietnam. Within three days that video had received 700,000 plays and worldwide media attention, and here we are today. It's an amazing time to be a creative, with cheap technology and kit and the ability to create and share globally. If it's good it will get the attention it deserves.” rob’s Planet Earth II Hong Kong sequence took a total of 13 days to film, and comprised of over 70,000 raw files. over 140 hours was spent editing the footage to create the one minute and 20 seconds seen in the show. In case you missed the episode, or to watch it again, the series is available on BBC iPlayer in the uK. To view the sequence of Hong Kong, visit: http://bbc.in/2h35Bpy, or for more of rob’s work, visit: robwhitworth.co.uk

doityourself 1)Mathieu's3D-printedlensattached tohisSonya7ii.2)thelensfeatures customslot-inbokeh-shapingfilters. 3)ashallowzoneoffocusandswirling bokehmakethelensahitforportraits.

all IMageS: MaTHIeu STern

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Snapshots / The world of photography original

QuickEdit

edited

Paintaselection

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enter Quick mask mode Open your image in Photoshop and press the Q key to enter Quick Mask mode, then double-click on the Quick Mask icon at the bottom of the toolbar on the left. In the box that opens, tick Color indicates: Selected Areas and then press OK.

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GarY BENDING

Photoshop’s Layers and masking tools are fantastic for when you want to edit just one part of your image – you might need to change the colour of a single item in your photograph, adjust the exposure in another, increase contrast locally or sharpen/blur the image selectively. While Photoshop makes all of this relatively easy, you still need to be accurate with your selections so that the software knows which parts you want to edit and which to leave alone. If you find the Lasso, Magic Wand and Quick Selection tools aren’t cutting it, did you know that you can actually just paint your selection using the Brush Tool? Here’s how you do it…

Paintyour selection Choose the Brush tool, set your Foreground Color to Black and choose your brush softness, shape and opacity – these all affect your selection. Next, simply paint onto your image the area that you wish to select. Selected areas will show up red.

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selection made Once done, press the Q key again to turn this area into a selection. You can then press Shift, cmd & I (Mac), or Shift, ctrl & I (Windows) to invert the selection, and tidy up the edges of the selection using Select>Modify, if you wish.

reader Q&a:taking stock Q

Around six months ago I started to upload some of my images to a stock website, and I’ve added a handful each month, as and when I think I have something interesting. However I haven’t made a single sale yet. What am I doing wrong, and is there a way to ensure my images sell? David C, Bristol

A

Hi David, as you’re probably starting to realise, stock photography is a tough market to make money from – there’s simply so much out there that the chances of your images getting into the right hands are remote from the start. It’s a numbers game – the more images you upload, the more chance you have of making a sale. You’re also unlikely to make it rich from selling one or two images, but selling lots of images at a lower price can be a way to add little extra

22 Digital Slr Photography February 2017

pocket money every once in a while. There are some things you can do to stack the odds in your favour however. Firstly, make sure you’re adding relevant content – most stock agencies publish blogs that tell you what people are buying and which images are on-trend at present – read these and use them as guidelines. Secondly, make sure that you are keywording and tagging your images efficiently – use a mixture of both general and specific keywords, and think about what people who might want to buy your image would type in. Thirdly, make sure you have signed model releases for any people in your images, or at least when you include people, make sure they aren’t recognisable. Showing a recognisable person in an image without a model release severely limits who can license and use your image. Good luck!

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converttoamask To translate this selection into a Layer Mask, simply add your adjustment layer using the Create New Fill or Adjustment Layer button at the bottom of the Layers palette. Everything outside the selection will be automatically masked. Done!


WiRatChai Wansamngam/shutteRstoCK

The world of photography \

Smile with Samsung

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 high-resolution 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 what the conditions. 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, right. email it with subject 'smile this February' to: enquiries@dslrphotomag.co.uk by 1 march 2017 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

thinK oF toP architectural photography and your mind probably travels straight to large, airy buildings with crisp, clean lines and cutting edge design. however, urban explorer and photographer matt emmett has shown that beauty can be found in everything by winning the 2016 arcaid architectural Photography awards with an image of a Victorian subterranean reservoir in london! matt’s winning image was taken on a Pentax 645Z and recently received the most votes at the World architecture Festival in Berlin, germany. www.arcaidawards.com

PhotograPher sues Facebook it is common knowledge amongst photographers that once you upload an image to Facebook you’re potentially waving goodbye to it. the nature of social media means that it's possible for images to reach a huge audience via sharing, however what often happens is that images are downloaded and then re-uploaded, with no link to the creator. this is compounded by Facebook stripping all eXiF image data upon upload, including the copyright and contact info. this could be about the change, as a german photographer has taken Facebook to court over the issue, and won. this means that Facebook can no longer remove copyright eXiF data from images, in germany at least. Berlin photographer Rainer steußloff, with the backing of german photographers’ association Freelens, argued that removing the copyright data violates german Copyright law. the judge agreed and Facebook didn't contest, so the ruling stands. Facebook could now face up to a €250,000 fine for every time it violates the ruling. at present, the judgement only applies in germany, as laws protect ‘information provided by photographers in order to pursue their copyrights’, however this could set a precedent for Facebook to alter their practices. let’s hope so – keeping copyright data embedded in our images is one extra step that makes it harder for photographers’ work to be stolen!

matt emmett / aRCaiD aRChiteCtuRal PhotogRaPhY aWaRDs

building SucceSS

Snapshots

February 2017 Digital Slr Photography 23


avazza is best known as one of the world’s leading premium coffee brands, and since 1993 has also produced one of the finest photography calendars. We Are What We Live, created in collaboration with slow Food, reveals the symbiotic relationship between humans and their environment. the third and final in the earth Defenders series, set in asia, was photographed by French photographer Denis Rouvre and follows on from steve McCurry’s images in africa (2015) and those of Joey L in Central and south america (2016). the calendar is formatted to show striking portraits of the asian earth Defenders alongside the environment in which they live and work. Denis Rouvre is the winner of numerous international awards, including World Press Photo 2010, 2012 and 2013. speaking with

i wanted to explore in the 2017 Lavazza Calendar, through the formal juxtaposition of two images: on one hand, the person’s portrait, without any frills or artifices of any kind, and on the other the environment in which they live and work.” one of the key areas the earth Defenders project focuses on is the urgency of climate change and the need for local communities to tackle such change and minimise the environmental impact. the use of portraits alongside locations provides a fascinating insight into the lives of the individuals and the harsh environments in which they exist, and provides a powerful reminder of how climate change will totally affect their lives. For more images and stories and to donate to The Earth Defender project, visit: www.Calendar2017.lavazza.com

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Digital SLR Photography, he revealed he captured the images over 40 days on two trips, the first to indonesia, Laos and vietnam, followed by a second to india and sri Lanka. the images were captured on a Hasselblad using a Phase one iQ 180 digital back. the portraits were captured on location in a temporary studio Rouvre set up using black fabric and lit by two softboxes. on location, Rouvre discovered strong traditions and a very powerful link between these workers of the land and their environment. He revealed: “During the trip to southeast asia, i clearly felt that the environment there directly forges the lives of these men and women who work and protect their land every day. the environment forges their character and models their faces. it is this symbiotic relationship between people and nature that

aLL iMages: © Denis RouvRe/ Lavazza CaLenDaR 2017

theearthDefenDers

Wetakealookatlavazza’s 2017 calendar, WeAre WhAtWe Live, photographed bydenis rouvre


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The world of photography \

Sna n ps pshot hots s S

Ann-Britt/shutterstock

My Favourite Lens

WEASkEDTHE DigitaLSLR PhotogRaPhyTEAMWHATOnE LEnSTHEy COuLDn’TgO On SHOOTIngWITHOuT. HERE’SWHATTHEySAID… ROSSHODDinOTT / Landscapes i shoot a wide range of subjects, big and small, so i need a versatile range of lenses. if i had to choose one, i’d opt for my nikkor 200mm f/4 micro. the focal length allows me to work further from my subject – perfect for timid wildlife, like insects. Also, its angle-of-view helps capture diffused backdrops with a shallow depth-offield, perfect for isolating subjects.

DinABeLenkO / Creativestill-life if i had to choose one lens, it would be my nikkor AF-s 105mm f/2.8G. it’s perfect for still-life photography. Besides the fact that it can handle my beloved backlighting well, the focal compression turns a relatively small sheet of plywood into a background big enough for a whole scene. that's convenient if you work at home – all of my backdrops are relatively small.

ALBeRTDROS / Landscapes i love wide-angle lenses. My current favourite is the sony Zeiss 16-35mm f/4 *tessar. More than 90% of my landscape images are captured with this lens. it offers the ideal focal range for almost any scene, plus it’s compact, sharp across the entire zoom range, renders colours and detail brilliantly and is light weight in combination with my sony A7r ii. i couldn't want more!

BReTTHARkneSS / Portraits the canon eF 50mm f/1.2L is attached to my camera 99% of the time. For me, 50mm is the right focal length on full frame – 35mm is too wide and 85mm too close. You have to be careful when shooting portraits, and make sure you're the right distance from your subject. Around f/2 to f/2.5 is the sweet spot, but it’s definitely not a lens for the faint-hearted!

HeLenDixOn / Landscapes As much as i do love the versatility of a good zoom, i wouldn't be without my Zeiss 21mm f/2.8 t* Distagon ZF.2. As it's a prime, i find it challenges you to think about composition and what to include, because you don't have the added benefit of being able to zoom and remove unwanted elements! it’s the perfect focal length for landscapes and pin-sharp too.

JORDAnBUTTeRS / Automotive this is tough! i bet the majority of my images are shot on my nikkor AF-s 70-200mm f/2.8G eD Vr – it’s an incredibly versatile and capable workhorse. however i think i’d opt for my sigma 35mm f/1.4 Art. i find 35mm is the ideal focal length – great for reportage and lifestyle, works for big landscapes, and good for portraits too, providing you don’t get too close.

What’syourfavourite? Here’swhat some ofthe Digital SLR Photography Facebook communityhad to say… Luis Orense: Canon EF35mm f/1.4 – images are always sharp, and colours are perfect! MattWalkley: Myfavourite is the Leica 50mm f/2 Dual Range Summicron used on myM3. Gilbert de Bruijn: Tamron 90mm f/2.8 Di. I use it allyearround on the most beautiful subjects. Jonathan Henchman: 600mmf/4–itfillsthe voidwheremykidneysusedtobebeforeIhadit! MarkAWaller: My150-600mm, as I love photographingwildlife more than landscapes. Uwe Schreiber: Sigma 18-300mm f/3.5-6.3 DC MACRO OS HSM – it's the onlylens I use! MartinTemp: MyCanon EF85mm f/1.2L. It’s the best portrait lens that I've everused.

DAnieLLezAnO / Portraits/macro As i predominantly shoot portraits, the canon eF 50mm f/1.8ii is my most used lens, but the one optic that i've been using most regularly in 2016 is the canon eF 100mm f/2.8 macro. having set a photo resolution at the start of the year to spend more time capturing the garden in close-up, i've enjoyed the incredibly sharp high-magnification images it delivers.

CAROLineSCHMiDT / Portraits it’s my nikkor 50mm f/1.4G that i reach for almost every time. the 50mm is reliably suitable for nearly every portrait. Whether it’s studio or lifestyle, the 50mm is my go-to lens. it’s got beautiful bokeh, flattering perspective, and provides an ideal working distance for frame-filling portraits – far enough not to intrude but close enough to retain a connection.

February 2017 Digital Slr Photography 27


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The world of photography \

snapshots Flickr

Snow Girl

By Martinohemmi http://flic.kr/ps/34btJb

martino’sseasonalportraitcaught ourattentioninthe DigitalSlR Photographyflickrgroup– fantasticstyling,litwelland mesmerisingeyecontact–allthe keyelementsforasuccessful portrait!whileitlookslikeachilly momentcapturedoutdoors,thisis martino’swifeandtheimagewas actuallyshotintheirlivingroom. martinousedtwosmallsoftboxes withcontinuouslightsata45° angleatthemodel’sheadheightto lighttheportrait.greatstuff martino–keepupthegoodwork! CanonEOS5dMkIIwitha CanonEF50mmf/1.4lens Exposure:1/100secatf/9(ISO500)

What We’ve been Watching Looking forvisuaLinspiration? Here’swHattHe DigitalSlR PhotogRaPhyteam Has beenwatcHingtHis montH…

RISE – OREgOnAERIAl4K By Michael Shainblum Michael Shainblum is a name that frequently pops up in photographic circles – the filmmaker and photographer is best known for his astrophotography and time-lapse videos. More recently, Shainblum has been exploring the skies with his drone, and the fruits of his labour are here for all to see in this short video exploring the beautiful state of Oregon from above. Rugged terrain, cascading waterfalls and stunning coastlines – we’re not sure if we’re more envious of Shainblum’s talent, or the area in which he gets to practise his craft! http://bit.do/DSLR_1231

FOOd StylIng: MAKE PROP FOOd lOOK gREAtOn CAMERA

StREEtPhOtOgRAPhER EStEvAn ORIOl

By RocketJump Film School There’s a world of difference between snapping a quick phone photo of an appetising dish in a restaurant and the meticulous, completely unappetising world of professional food styling. RocketJump Film School looks into some of the tricks, and methods for making food look perfect for the camera. Super Glue, food colouring, washing up liquid, hair spray and tampons (we kid you not) are all secret ingredients in the food styling world. Yuck! Just remember, when you’re done shooting, don’t eat it! http://bit.do/DSLR_1232

By UPROXX “Here I am with my PhD in photography, and PhD stands for push here dummy”. Much like his gritty, real style of portraiture, street and celebrity photographer Estevan doesn’t make nice, mix his words or beat around the bush. This short video draws parallels between the self-taught work of Estevan and his photographer father, Eriberto Oriol. While the two photographers have different styles, there’s a consistent narrative in their work that seems to have been passed on through the generations. Interesting stuff. http://bit.do/DSLR_1233 February 2017 Digital slr Photography 29


The LocationGuide

Exmoor

WiththedistinctionofbeingboththeUK’sleast-visitedNationalParkandalsooneofitssmallest,and straddlingwestSomersetandnorthDevon,ExmoorinSouthWestEnglandisahiddengemforlandscapes LOCATION: SOUTH WEST ENGLAND / OS REFS: ORDNANCE SURVEY EXPLORER – OL9

1)PORLOCKCOMMON: OverlookingtheBristolChannel, PorlockCommonoffersablendof moorlandandcoastalscenery.


The TheLocationGuide LocationGuide

Exmoor First up, is the moorland to which the National Park takes its name. The most notable difference between Exmoor and nearby Dartmoor is the complete absence of granite tors. Without such obvious and dramatic focal points, Exmoor’s moorland areas are gentle and rolling, and therefore more consideration needs to be given as to how to best photograph them. Exmoor has many upland areas; those of particular interest for landscape photography would be Porlock Common, Winsford Hill and Withypool Common. Perhaps the best known and most accessible area of moorland, Dunkery Beacon, is also the highest point in Somerset. A narrow moorland road climbs up over Dunkery Hill, leaving only a short walk of ten minutes or so to reach the summit. From up here, magnificent views stretch out in all directions, giving you an all-encompassing view of the coast, countryside and moorland that make up the National Park. Be sure to bring a telephoto lens to focus on far off details within the landscape, but pay attention to camera shake as this area can be very exposed on windy days! Despite the breathtaking views all around, Dunkery Beacon can feel a little vast and empty for more typical wide-angle photographs. A large summit cairn offers limited potential as a focal point, but lower down near the road several windswept hawthorn trees make excellent subjects

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AdamBurton: “WhyIloveExmoor” “As somebody who loves rolling countryside, Exmoor was always going to appeal. Soon after moving to Devon, I embarked on a book project to photograph Exmoor over the course of one year. I spent most of my days in the Park, exploring its variety of landscapes. It was refreshing to explore new locations, and that remains much of Exmoor’s appeal to this day. While many viewpoints in other National Parks can be busy with photographers year round, Exmoor slips under the radar. This could be due to its proximity to the delightful Cornish coastline; visitors fly down the M5 past Exmoor’s rolling hills with their minds firmly set on the coast. Or possibly it’s larger and better-known neighbour Dartmoor plays a part, with people assuming Exmoor is more of the same. Whatever the reason, it certainly isn’t due to any limited appeal of the National Park. Despite its petite dimensions, Exmoor manages to cram in a wealth of photogenic delights, and offers a wide variety of subject matter.”

32 Digital SLR Photography February 2017

for wide-angle photos. Hawthorns can be found over many areas of Exmoor’s moorland and always help to break up the rolling empty landscape. During winter, the gnarled and twisted bare branches of these tiny trees make dramatic shapes for photographs, while in late Spring the fresh green leaves and white flowers give the trees an altogether different feel. If you are struggling for subject matter when shooting the moorlands, look out for Exmoor ponies. These free roaming ponies can be found all over the moor, and make iconic photographic subjects. An image of ponies grazing in flowering heather makes the perfect Exmoor photograph! Below the high moorland areas, much of Exmoor’s landscape is given over to a patchwork of rolling countryside. Farmland can be difficult to photograph up close,

partially because access is restricted. Although the farmland sits within the National Park, it is private land and should only be entered with permission. Some fields will have footpaths running through them, which are of course accessible to the public. Farmland tends to look its best in the summer months, with fields full of crops or livestock and hedgerows colourful with wildflowers. These subjects are always complemented by rich morning/ evening sunlight, as opposed to a fiery sunset sky when the landscape below is dark and shadowy. With farmland so plentiful in Exmoor you can find subjects to photograph anywhere in the National Park, but some of the finest countryside can be found in the Vale of Porlock. Before heading out with your camera spend some time researching an Ordnance Survey map,


The LocationGuide ALL IMAGES: ADAM BURTON

Useful Information

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Where is it? Exmoor National Park is located in the southwest of England, straddling the counties of Devon and Somerset. Getting there: By road: Exmoor can be easily reached from various exits off the M5 motorway. From the Bridgwater exit, the A39 runs west into the National Park via Minehead, and follows the coastline all the way to Lynmouth, before veering inland southwest towards Barnstaple. Further south, the Taunton exit off the M5 leads to the A358 which joins the A39 in Williton. Alternatively, from the south, exit the M5 at the Tiverton Junction, and follow the A361, then the A396 north into Dulverton. By rail: Although not in the National Park, the nearest train stations are at Tiverton Parkway, Taunton and Bridgwater. Places to eat and sleep: Located centrally in Exmoor, The White Horse Inn at Exford (TA24 7PY) is a wonderful place. Owned by professional photographer Peter Hendrie, whose pictures adorn the walls, the White Horse is a wonderful hotel to inspire you. There are many places to eat; try the Blue Ball Inn (EX35 6NE) at Countisbury (between Lynmouth and Porlock). Local camera shops: Exmoor Photography, The High Street, Porlock, TA24 8PT. Tel: 01643 862026 6

looking for footpaths through fields. Often the best way to photograph rolling countryside is from a high vantage point. From an elevated perspective, a good network of well defined fields far below looks unbelievably appealing. Fortunately, Exmoor’s upland areas provide countless opportunities from which to do this well, meaning you don’t have to hire a helicopter, or buy a drone! Armed with a telephoto such as a 70-200mm, the Punchbowl at Winsford Hill can make a fantastic location to shoot from. The high moorland viewpoint drops away suddenly to reveal a gorgeous patchwork of rolling fields stretching all the way to Dunkery Beacon on the horizon. Another special viewpoint can be found just off the A39 at the large County Gate car park. Just yards from your car, armed with a telephoto you can shoot delightful rolling

countryside near the village of Oare. As with shooting in the fields, these landscapes always work well when photographed in the summer with early or late rich side lighting. In addition, from up high farmland can look beautiful in the winter months, and on misty mornings at any time of year. Nestled cosily in deep valleys below the moorland hills and countryside, Exmoor’s combes offer very different photographic potential. A hidden world consisting of lush verdant woodland and fast flowing rocky rivers with tumbling waterfalls await the visitor. The biggest and best known of these locations is Watersmeet, close to Lynmouth on the north Devon coast. As rocky woodland rivers go, Watersmeet is hard to beat. Extensive footpaths run alongside two rivers (Hoar Oak and the East Lyn) as they tumble through some of

2)WINSFORDHILL: HeatherandbrackencoversExmoor’s moorlandinlatesummer. 3)LANDACREBRIDGE: Oldbut beautiful,thebridgespanstheRiverBarle. 4)DUNKERYHILL: AdustingofsnowonSomerset’shighestpoint. 5)WILD PONIES: SynonymouswithExmoor,freeroamingponiesare superbsubjects. 6)WATERSMEETBRIDGE: Onovercastor rainydays,Watersmeetisawonderfullocationtoexplore.

the deepest valleys in England. The two rivers converge at Watersmeet, where an old fishing lodge (now a National Trust tea room) makes an excellent focal point. The rivers here flow swiftly, rushing around and tumbling over moss-covered boulders, sometimes cascading in large waterfalls. Although the waterfalls make obvious subjects to photograph, the whole area offers infinite possibilities for great images, and a good pair of wellies can help you to fully explore the best compositions without having to stay on the path. February 2017 Digital SLR Photography 33


The TheLocationGuide LocationGuide 8

Start Shooting Things to shoot: Exmoor boasts a wealth of options to keep the interest of all photographers. Wide open rolling moorland, dramatic cliff top views, beaches, wooded valleys and patchwork countryside. Oh, and don’t forget the Exmoor ponies! When to go: Depending on where you are shooting, Exmoor can look great throughout the seasons. The coast works well throughout the year; and while the countryside can also look good year round, it’s probably best in the summer months. The wooded combes are beautiful for photography in early spring and again in autumn, but work well in the summer also. As most of Exmoor’s moorland is covered in heather, it always looks most appealing in late summer when the heather is flowering. Also, the moorland can be captured well during cold winter snaps. Recommended kit: Pack lenses covering focal lengths from ultra-wide to telephoto. ND grads and polarisers are essential. Bring ND filters including Lee Filters’ Little and Big Stoppers for shooting the coast. A good tripod is essential, as are walking boots and wellies.

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Exmoor Like most woodland areas, Watersmeet is best photographed on overcast days when light is flat. If you do happen to head there on a sunny day, try and visit early in the morning or late in the evening when sunlight has left the deep valley, otherwise the harsh light will likely spoil your pictures. Another notable Exmoor waterway worth exploring is the River Barle in the south of the National Park. At Tarr Steps, the Barle passes beneath a wide stone clapper bridge, one of Exmoor’s most recognisable landmarks. The ancient footbridge is a simple yet magnificent structure and makes an irresistible subject for photographs. It can be photographed well from either bank, or even in the middle of the river during spring and summer when water levels are low. Perhaps the best viewpoint to shoot the bridge is on the far side of the river to the car park, standing just below the mature beech tree. The leaves of this tree frame the bridge wonderfully, particularly in spring when the foliage is fresh and green, or in the autumn when the leaves are bright yellow. Exmoor’s coastline is the jewel in its crown. Containing the highest cliffs in England, the coastline here is rugged and beautiful, but also extremely varied. On the far western fringes of the National Park, the seaside resort of Combe Martin offers a lovely beach consisting of both sandy expanses and large areas of interesting rocky ledges and rock pools, all squeezed in between dramatic towering cliffs.

34 Digital SLR Photography February 2017

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Further east the well-known Valley of Rocks brings together some of the most magnificent scenery to be found anywhere in the park. A geological oddity, the Valley of Rocks contains a dry valley, which unusually runs parallel with the sea. Sandwiched between the valley and the sea, dramatic cliffs are topped by crumbling outcrops, bearing passing resemblance to long abandoned castle ruins. From high up on these tors, far-reaching vistas can be captured at sunset looking down over Exmoor’s spectacular coastline. Just past the Valley of Rocks, the village of Lynmouth with its pretty harbour and rocky beach are worthy of a brief stop-over. From here the coastline again surges upwards, stretching for around ten remote miles without any access to the shoreline whatsoever. Then, at Porlock Bay, the high cliffs suddenly give way to a wide flat beach comprised of pale round pebbles. Despite not having the dramatic appeal of other areas of coastline, both Porlock Beach on the western side of the bay, and Bossington

8)COUNTRYSIDE: Exmoor’srollinghillslookbeautifulinrich sidelighting. 9)TARRSTEPS: OneofExmoor’srecognisable landmarks. 10)COMBEMARTINBEACH: Anexcellentlocation forrockyseascapes. 11)VALLEYOFROCKS: Dramaticcoastal sceneryatValleyofRocksnearLynton. 12)BOSSINGTON BEACH: ThewoodengroynesatPorlockandBossington.

Beach on the east are among the most photographed areas of Exmoor. At various intervals along the beaches’s wooden groynes, weathered from both time and tide form giant partitions between the pebbles. These posts make fantastic photographic material for seascapes, acting both as intriguing subjects and providing wonderful lead-in lines for compositions. When captured using a wide-angle lens with waves washing around them, the groynes never fail to impress. If you do intend to shoot these posts, plan to arrive on a high tide and shoot the posts as they emerge from the water as the tide moves out. Don’t worry if they are completely hidden beneath the waves when you arrive; with the second highest tidal range in the world, the tide retreats extremely quickly.


The LocationGuide

Keep shooting! Other locations near Exmoor (*distances measured from Porlock) ALL IMAGES: ADAM BURTON

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1)ILFRACOMBE

MILES WEST*

The north Devon town of Ilfracombe enjoys a spectacular coastal setting with dramatic cliffs and a picturesque harbour, and several stunning beaches.

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2)COMBESGATE

MILES WEST*

Not far from the popular Woolacombe Bay, Combesgate is far better for landscapes. There are plenty of jagged rocks, tidal pools and expanses of clean sandy beaches.

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3)KILVE

MILES EAST*

One of the UK’s best ‘secret’ locations for landscape photography, Kilve is bursting with winding cracked ledges and rockpools. All backed by crumbling yellow cliffs. February 2017 Digital SLR Photography 35


PH TO SKILLS ideas &advice for better photos

p38 prolandscapechallenge: rosshoddinott'sguidetolead-inlines

p44 prismrainbows:asparklingindoorideatotryout

p48 exposetotheright:extractmaximumdetailfromraws

p52 night&day:thebestofbothwithmultipleexposures

p56 night&dayediting:blendingexposuresinphotoshop


PH TO SKILLS

LEAD-IN LINES WETAKE PROFESSIONALLANDSCAPEAND OUTDOOR PHOTOGRAPHER ROSS HODDINOTTOUTOF HIS COMFORT ZONEAND CHALLENGE HIMTOADAYSPENTSHOOTING USING ONLYLEAD-IN LINES. LET'S SEE HOWHE FARES…

O

NE OF THE BIGGEST challenges landscape photographers face is how to make their images look threedimensional and lifelike. Let's face it, poorly composed photographs look flat, static and boring – something we all want to avoid at all costs. So how exactly do we inject energy and convey a sense of depth in our shots? Geometry can play a key role. Shapes, angles

CAMERA: NIKON D810 / LENS: NIKKOR 17-35MM F/2.8 and lines can prove to be highly powerful compositional tools, helping photographers to imply depth and direct the viewer’s eye into the image space, or guide them to a key focal point. Including a lead-in line is a particularly popular and useful compositional

trick – our eyes are naturally drawn to them and follow their path through an image. To highlight the potential impact, value, variety and importance of lines, the Digital SLR Photography team kindly set me a challenge: I would have one day to shoot a variety of lead-in lines, to showcase how varied they can be and the types you might find while out taking landscape photos. Not easy!


protip Althoughlinesareagreatcompositional aid,ontheirowntheydon'tguarantee amazingshots.Goodcompositionstypically haveabeginning,middleandanend.Lead-inlines willnormallyformyourbeginning,buttheyideally shouldleadsomewhere.Forexample,apredefined pointofinterest,likeabuilding,person,headlandor mountainpeak.Remember,compositionisall abouttakingtheviewer’seyeonavisualjourney throughyourimage,andyouwilldiscover thatlinesareagreatwayof orchestratingthis.

StMichael’SMount:When the magazine first set me this challenge, St Michael’s Mount was one of the first places I thought of. At low water, the stone crossing to the Mount is revealed. It creates an obvious and photogenic lead-in toward the tidal island. By opting for the wide end of my 17-35mm wide-angle, I was able to distort perspective, placing emphasis on the foreground and making the mount look less dominant. The stretched perspective really helps emphasise the foreground – a useful trick when using lead-in lines. I took a range of shots from different positions. While they each share a common theme – with the causeway directing the eye into the composition – the shots still vary. The image where I’m looking directly along the causeway is my favourite. By carefully positioning myself in the middle of the crossing, with the causeway leading into the frame from both bottom corners, it creates a powerful triangular foreground, with the edges of the causeway converging and vanishing. This guides the viewer’s eye with great effect. The shot illustrates just how well lines can imply depth in a landscape photo.

40 Digital slr Photography February 2017


PH TO sKIlls

I

f I’m honest, I both love and hate challenges. on one hand, I hate being confined – restrictions can handicap you, and force you into making compromises. however, on the other hand, the discipline of a challenge really focuses your attention and encourages you to be more innovative. You should try it for yourself. this challenge wouldn’t leave me short of choice, though. Lines, both natural and man-made, are found throughout the landscape. Roads, walkways, walls, hedges, crops, rivers, jetties, railings and ledges are just a few things you can use to strengthen compositions. there are different types of lines. Converging, vertical, diagonal, zigzags and s-curves will each add their own individual effect and quality to a composition. A wide-angle perspective often suits shooting lines, helping to emphasise and exaggerate depth. therefore, if you fancy replicating this style of composition, pack a wide-angle in your bag and try getting close to foreground lines. I mostly rely on a 17-35mm wide-angle, on a full frame body. other essential kit is a tripod – legs will help you refine and perfect your composition. Living close to the sea, I decided I would focus my attention on the coast and locations I knew. my initial ideas were to show how the tide and onrushing waves can create lines, while rocky shelves, ledges and causeways were other good options. maybe lines or ripples in the sand would be another possibility, or railings and breakwaters. however, to achieve variety, I decided to cheat ever so slightly. Although the challenge was meant to be over just one day, I decided I would split the day over two. At this time of

year, the day length is short, restricting how far I could travel by car for fear of wasting valuable time. to visit the locations I had in mind, I needed a bit more time, so spreading the day over two was the logical solution. the actual time I spent behind the camera would be roughly the same, though, so I didn’t feel I would be stealing much of an advantage. It's our little secret, though – don’t tell the good people at Digital SLR Photography magazine! the first location I decided to visit was st michael’s mount in West Cornwall. the stone crossing is an obvious lead-in line – providing me with a nice easy start to the challenge. I timed my visit for low water to ensure the causeway was revealed. I tried different viewpoints, first placing the walkway so that it led from left to right and then shooting directly down its length. Doing so effectively created a vanishing point, with the path neatly leading the eye toward the mount and then disappearing into the distance. I preferred this viewpoint and I felt it illustrated the effectiveness of including lines. Afterwards, I travelled north. the conditions were quite cloudy and dull. When you don’t have great light or colour to add impact to your shots, the need for strong composition is even greater. I visited summerleaze beach in Bude where there's a little bridge, with iron railings. Its not the most attractive subject, but again provided strong lines to photograph and, using a Lee filters Little stopper, I selected a long one-second exposure to creatively blur the rising tide. By going wide and getting close to the railings, I was able to exaggerate their shape. the sky remained cloudy, so I decided to visit

Myinitialideasweretoshowhowthetideand onrushingwavescancreatelines,whilerockyshelves, ledgesandcausewayswereothergoodoptions lowtide

HigHtide

CraCkingtonHaven:these two images on the left were taken within ten minutes of each other. While the ledges create strong lines, without water rushing along the channels, the lines don’t appear very defined in the flat, overcast light. however, higher water makes a huge difference, and with the rushing tide filling the gaps between the ledges, your eye naturally finds and follows the lines in the foreground. February 2017 Digital slr Photography 41


PH TO sKIlls Crackington Haven – a rocky beach just a few miles south. This beach is home to some stunning ledges, which grow more defined when the tide rushes in – I just had to wait for the right tide height and time my exposure. The results looked great, with the ledges leading toward the distant headland. Don’t worry if you don’t have a beach close to you with this type of geology, even a simply row of boulders has a similar effect, creating an implied line for the eye to instinctively follow. The following day I popped to Dorset for a bit of coastal variety. I began by visiting Burton Bradstock. The orange cliffs here always look great bathed in evening light, but there is very little foreground interest on the beach at higher tides, making it tricky to capture good shots. Therefore, I decided to generate my own foreground interest and lead-in line by using the shoreline and waves as makeshift interest. It took me a number of frames to get just the effect I wanted, but the result was a far more stimulating result. In stark contrast to the day before, the evening sky was completely cloudless, so there was no great sunset or colour to speak of. On my drive home, I decided to make a quick pit-stop at Lyme Regis to photograph the Cobb at dusk. This distinctive and photogenic S-shaped breakwater provided another effective lead-in. By placing the edge of the breakwater in the bottom right corner, the eye follows the line as it snakes into the image, encouraging it to explore the rest of the scene. I opted for a low shooting angle – a ploy that often helps to creatively distort foreground lines.

IdecIdedtogeneratemy ownforegroundInterest andlead-InlInebyusIng theshorelIneandwaves asmakeshIftInterest

Bude:Lead-in lines can be natural or man-made. I had actually popped down to Summerleaze beach with the idea of finding and photographing lines in the sand. The tide was higher than I anticipated, though, so I had to improvise, shooting this little bridge and using the railings as strong parallel lines to create depth. I tried to keep the composition clean and simple to create a minimalist result, with the long exposure smoothing the sea. BurtonBradstock:In some instances, you can generate lead-in lines through your timing and shutter speed. This is especially true when creating implied lead-in lines from moving elements in the landscape, such as water or swaying crops. The image to the right took several attempts to capture – the wave often washing over the foreshore looking messy with no real depth or direction. The timing here was just right – as a result, it creates a wavy lead-in line from the bottom corner into the image. Diagonals are particularly dynamic, so the line strengthens and enhances an otherwise relatively empty scene. thecoBB:Lines can prove particularly dynamic when placed leading from a corner of the frame. In this instance, I carefully composed my shot so the edge of the breakwater began in the bottom right corner. Your eye then follows this line as it snakes through the composition. Its worthwhile experimenting with different angles to see which creates the best effect. In this instance, a lower perspective definitely worked best.

42 Digital slr Photography February 2017


proTip Yourchoiceoffocallengthand/or viewpointcanhelpcreateorexaggeratelines. Wide-angleswillstretchperspective,distorting thesizeofnearbyobjects,shapes,linesandangles. Whenyouknowthis,youwillunderstandthatby gettinglowandclosetoforegroundobjectsyouare abletoplacemoreemphasisandweightonnearby linesandobjects.Usingatelephotolenswilldo theoppositething,foreshorteningperspective. However,incertainsituationsthiscan helpexaggeratetheimpact,roleand influenceoflineswithin yourcomposition.


PH TO SKILLS

Chasing Rainbows IfthemIserableanddullwInterweatherhasretIredyourcameratotheshelf,catherInemacbrIde offersanIndoorphotoactIvItytoaddadashofcolourandkeepyourcreatIvejuIcesflowIng Camera: canon eos 5d mk III / Lens: canon ef 24-105mm f/4l Is usm


PH TO SKILLS

I

’Ve been WeARInG glasses for as long as I can remember, and I think that it’s because of this that I’ve have long had a fascination with lenses, prisms and crystals, in fact anything that could bend, distort, divide or reflect light. You can see the effect for yourself if you place a pair of glasses down on a surface in direct sunlight – the rays of light are focused through the lenses, sometimes even splitting into the individual colours of the light spectrum. Over the years I’ve been shooting, I’ve collected various prisms and crystals, which are all scattered throughout my house, intermittently catching sunlight through a window and casting spontaneous colourful rainbows and surprise rays of light on the walls around my home. One way to use prisms in photography is to stick one in front of your lens and shoot partly through them, adding reflections, distortions, flares and colours to images. However, I also

Playing with light find them interesting to photograph as objects in a still-life, especially when there’s a patch of direct sunlight for them to sparkle in. When you do this, the prisms themselves aren’t your subjects, but rather the colours and beams of light become the main focal point – you’re essentially creating a subject out of light itself! If you want to try this for yourself then it’s worth making a note of which windows in your home get direct sunlight and at what times it can be there. Living in Ireland myself, a country with unreliable sunshine, makes it worthwhile having this shot set up and ready to go for whenever the sun does finally decide to appear! It’s also worth mentioning that the position of the sun will change constantly as you shoot, and you will have to move everything accordingly until you get the shot you want. On a few occasions I have ended up on the opposite side of the room to where I started in as I followed the path of the sun!

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ArrAngeyour setGather together your prisms and crystals onto a table by a window. Any kind of teaching prism will work, as will clear quartz crystal and cut glass – these can be found online relatively cheaply. A large white sheet of paper or card makes for an ideal backdrop – you can also use coloured paper, or more tactile surfaces like wood, metal or slate if you wish. It’s worth setting up the prisms on your background before the sun arrives in the window.

shAdowplAyIncorporate and work with any shadows cast from your window frame, or objects outside (I had a tree outside mine which added interesting dappled light). Instead of fighting against them or cropping in too tight on your subjects, try incorporating the shadows into your image to add extra interest. The shadows cast by window frames can ideally be used to frame your subjects. Vertical venetian blinds cast long, thin shadows which add further interest too.

46 Digital SLr Photography February 2017

set-up

ComposetheshotWhen the direct sunlight arrives, set up your camera on a tripod and use the camera’s LCD monitor to compose your shot. Rotate the prisms, turning them so the light shines through them until they cast rainbows or interesting rays of light out of the other side. You can also look to direct the light from one prism to the next to create natural lines and paths around your set. Move the pieces one by one until you achieve a pleasing composition.

settings I prefer manual exposure mode to keep the exposure consistent, however you can use aperture-priority with a mid aperture of around f/8 – just be aware that the bright background might trick the metering system, so use exposure compensation to get around this. Keep an eye on the highlights – the rays of light are the main interest, so it’s important they aren’t blown out. Underexposing slightly can really make the colours pop.


prismbreak Ifyou’veexposedwellin-camerathen editingshouldbeminimal.WhiteBalance, aslightcontrastboostandatouchof Vibrancetomakethecolourspop. Exposure:1/160secatf/8(ISO250)


PH TO SKILLS

Camera:canoneos5ds/Lens:canonef16-35mmf/4lIsusm

expose to the right

Words: jordan butters / Image: mark bauer

Ifyou’ve skIpped forwardtothIs month’s Beginner’s guide,thenyou mIghtbewonderIngwhat ettr Isand howyou do It. pullupapewand fInd outhowto InjectmaxImum detaIlIntoyour Images

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here is a digital technique that pro photographers use to capture the absolute maximum detail possible, and it’s exclusive to shooting in raw. that’s right, if you’re capturing jpegs then this method simply doesn’t work. if that’s you, then we’d suggest you flick forward to this month’s Beginner’s Guide to Raw and pop back here once you’re up to speed on what you’ve been missing out on. now, you might not think that the type of file your camera records would have a bearing on how you capture a scene, but you’d be wrong. While you could use your camera in exactly the same way whether recording raws or jpegs, ettr is a technique that ensures that you eke out the best possible image quality.

exposing to the right, or ettr, refers to the practice of intentionally overexposing a scene to a point and then recovering the exposure during processing. Why do this and how does it work? simplified, it’s because your camera’s sensor records more tonal values at the bright end of its dynamic range than at the dark end. images that are overexposed to a certain degree, and then recovered in post-processing, contain more detail, and less noise, than images which are exposed normally or, worse, underexposed and then bumped up in processing. try this for yourself by shooting the exact same scene twice, once underexposed and once overexposed, and then correcting the exposure of both during processing so that

they meet in the middle. Zoom in and you’ll notice the overexposed image is cleaner and crisper, with less artefacts and noise. the ettr method isn’t without its faults – firstly there needs to be enough light to expose to the right, without resorting to opening the aperture past the desired point, or worse, increasing the iso. a tripod is often essential. ettr is only effective at base iso, usually iso 100. a normally-exposed image at iso 100 will still retain better detail and quality than an ettr image at iso 200, for example. secondly, ettr requires care and attention – if you overexpose too much, then clipping can occur – this is when overexposure is so great that image data is lost. at this point it becomes unrecoverable.


PH TO sKIlls

Expose to the right

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readyto shootWith your camera set up and composition locked down, select your base (lowest possible) ISO and aperture-priority mode. Chose an aperture appropriate for the scene, in this case f/11. Attach any filters you to balance the exposure, and select the multizone metering pattern to meter from the whole scene.

reviewthe resUlts Assess the test shot on the back of the camera. Some people prefer to switch on the ‘blinkies’ (highlight warnings) rather than the histogram, but using both together is good practice, as above. Consult your camera manual for how to turn on the highlight warnings. Areas that flash are too overexposed to recover.

add compensation Using the exposure scale in the viewfinder or LCD monitor, or on LiveView, press down the exposure compensation button (usually on the top plate) and turn the thumb dial to add positive exposure compensation. Stop when the exposure scale reaches the right-hand side, as shown, and take a test shot.

adjUstas reqUired If the histogram touches the right of the graph, or if the blinkies are flashing, then dial back the exposure compensation by a third of a stop and retry. If the histogram doesn’t quite reach the right then dial up the exposure by a third of a stop. We want to overexpose the scene to the point just before data is lost.

Understandingthehistogram rawstandard

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processthe file Load the Raw file into your chosen software and use the Exposure slider to dial down the exposure so that the image looks correct. The file is now correctly exposed and you can perform any additional edits that are required. Your Raw file will be cleaner and more detailed than had you exposed the file normally.

50 Digital slr Photography February 2017

rawettr

ExposingToTheRightrequiresanunderstandingofyourcamera’shistogram. Thehistogramisagraphoftonalvalues,fromcompleteblackontheleftofthe graph,tototalwhiteontheright.Whenexposingtotheright,theeasiestwayto judgeexposureistopayattentiontothehistogram,andstopthegraphwhen ittouchestheright-handedge.However,toaddfurthercomplication–the camera’shistogramisactuallycreatedfromanin-cameraJPEG,ratherthan fromtheRawfile(evenifyourcameraissettorecordRawonly).BecauseRaw filesofferanincreaseddynamicrangeoverJPEGs,you’llprobablyfindthatyou canpushtheexposurepastthehistogram,andstillrecoverhighlightdetail.This isrisky,however,andrequiresagreatunderstandingofyoursensor’sdynamic range.Tobeonthesafeside,werecommendgoingbywhatthehistogramsays.


therightstuff! Thedifferencebetweenaregularexposure andanETTRfileissubtle,butifyouwantthe bestqualitypossible,ETTRistheway. Exposure:0.4secondsatf/11(ISO100)


Let there be Lights Wantto capture boththe nightlightsand golden daWn light inasingle shot?Jordan butters shoWsyou hoWto capture and editmultiple exposurestaken overaperiod oftime

Camera:nikond750/Lensaf-s24-70mmf/2.8ged/aCCessories:giottosmtl9351btripod


PH TO SKILLS


BlUehoUr:6:50am.Thebridgeandshore areilluminatedbytungstenlamps,butthe sceneisdarkandtheskylooksabitboring. Exposure:Foursecondsatf/10(ISO100)

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hen IT COMeS to landscape photography, timing is crucial. The perfect light and conditions can occur at any moment, and last for the briefest of times too. That’s why it’s always important to be on location well in advance of when you plan to shoot. For sunrise or sunset it’s best to be in position at least an hour before. It’s not all standing around either – it’s the ideal time to explore angles, perfect your composition, and observe the changing light. The perfect image doesn’t have to be a single moment in time at all, but rather a combination of moments, especially true at dawn or dusk, with the light changing quickly. This scene is a good example – the Menai Bridge in north Wales looks great when the lights illuminate the structure at night, however when it’s light enough the lights turn off, rendering the bridge more of a silhouette. This often coincides with when the sky is at its best. The solution? Two exposures taken over an hour apart combined to include the lights with the vibrant sunrise sky. This technique suits a range of scenes: cityscapes with man-made illumination, structures such as this, and harbours or quays at night with the lights reflected in the water. It works for both sunrise or sunset – the important thing is that you capture two exposures – one for the sky and one that captures the lights. here’s how to capture and edit your own multiple-exposure sunrise (or sunset) image.

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arrive earlyUse a tripod and compose the shot, allowing room for the colour that’ll (hopefully) flood the sky, and any reflections beneath. Make sure you’re happy with your framing – after capturing your first exposure you can’t move the camera for some time! If you’re shooting sunrise then you’ll capture the night-lights first, whereas for sunset you’ll record the colourful scene first, and the lights after.

54 Digital slr Photography February 2017

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Planning Find a suitable location in advance – harbours and bridges are ideal, as the lights reflect in the water or wet sand beneath, but any floodlit building or illuminated location works. Check sunrise time, direction of the light and weather conditions – scattered cloud is perfect for an interesting sky. If shooting near tidal waters, as I am, then check the tide times too so you don’t get in trouble!

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Shootthe lightS Blue hour is the ideal time to capture the first exposure. Select aperture-priority mode and ISO 100. Pick a mid-aperture (around f/8-f/11), focus and then lock to manual focus to stop the lens hunting. Trigger the shutter and check the LCD. Aim to underexpose the scene for a good exposure of the lights (see ‘blue hour’ image above) – add negative exposure compensation if needed.


PH TO SKILLS

sunrise:7:40am.Theskyandscene isfullofgorgeouscolour,butthelights haveallbutdisappeared. Exposure:2.5secondsatf/11(ISO100)

There’sanappforThaT

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Be paTienTIt’s now a waiting game! Leave your camera in position and sit tight – the best colours are likely to appear just as the sun rises over the horizon, but before the light strikes the scene. You may have to wait for an hour or more for the right light, so take along a good book or spare camera to kill the time. Providing you don’t move your camera, you could try long exposures using an extreme ND filter!

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BalanceThe exposure As the sky brightens, take a test shot and check the results – the sky will get brighter far quicker than the land. You may now need to use an ND grad filter to balance the scene. I’d recommend switching on bracketing (AEB) too, to capture three frames at -1EV, 0EV and +1EV – this gives you scope to use multiple exposures if the scene exceeds your camera’s dynamic range.

sunseeker:£7.99/iOS&Android Viewsunrise,sunsetandshadow anglesforanylocationanddate– past,currentorfuture–includinga satellitemapoverlapor3D augmentedrealityfeature.Veryuseful. MyTideTimes:Free/iOS Stayuptodateonhighandlowtide timesformostpopularlocations, includingtideheight,foruptofive daysinadvance.Alsodisplayssunrise, sunset,moonphaseandweatherinfo. accuWeather:Free/iOS&Android Standardweatherappshavenothing onAccuWeather–minute-precise forecasts,includingrainfall,visibility andradar.You’llwonderhowyou managedwithoutit.

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capTureThe colour When the sky looks its best – start shooting! The best colour in the sky will appear before the sun, and might only last a few seconds, so be ready. After shooting, check the image preview, histogram and preview for overexposure warnings to ensure that you don’t blow the highlights. If you do, use a more dense ND grad, or try underexposing slightly using exposure compensation.

turn ovEr for your guidE to Editing your ExposurEs


Nowcreateyour night&dayshot

FINALLYBACKINDOORS,IMAGESREADYTOGOANDAWARM BEVERAGECLOSETOHAND...HERE’SHOWTOQUICKLYAND EASILYBRINGYOUREXPOSURESTOGETHERINPHOTOSHOP

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MAKE INITIAL EDITS Load your images into Adobe Lightroom or Camera Raw. First work on your sunrise image, and apply any Raw changes such as White Balance, Lens Corrections and Exposure adjustments. Then, sync these changes to the blue hour image too. You can tweak the exposure of the blue hour image, if necessary.

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COMBINE EXPOSURES Open both images in Adobe Photoshop and copy and paste the blue hour frame onto the sunrise frame as a new layer. In the Layers palette, double-click on the Background layer and press OK to unlock it. Then, select both layers in the Layers palette and go to Edit>Auto-Align Layers. Select Auto and click OK.

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BLEND THE LAYERS In the Layers palette, select the blue hour layer and change its Blend Mode to Lighten. You’ll notice that the lights are now overlaid onto the sunrise image, and for some images it’s job done. However, there may be some areas of the sky that were brighter during blue hour than at sunrise. If so, we need to mask them off.

56 Digital SLR Photography February 2017

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ADD A MASK Hold down the alt key and click on Add layer mask in the Layers palette to mask the layer entirely. Then, using a softedged Brush, with White as your Foreground Color, brush over the areas where the lights are. Right-click on the layer mask in the Layers palette at any time to disable/enable it to see where you’re going.


BRIDGINGTHEGAP Asingleimagewiththebest ofbothworlds–thecolourof dawnmixedwiththenightlights.

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SELECTIVE CONTRAST If your lights need contrast adjustments, click on the Add new fill or adjustment layer icon on the Layers palette and select Curves, or Levels. First click on the Clip to layer button at the bottom of the Adjustments palette so that the adjustments only affect the layer directly beneath, and then make your changes.

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UNIVERSAL CONTRAST If the lights don’t quite look right, you can always adjust the Opacity of the layer in the Layers palette. You may also want to adjust global contrast on the finished image – simply add another adjustment layer, but this time don’t clip it to the layer beneath. Finally, a small crop removes excess canvas from the edges. February 2017 Digital SLR Photography 57


want your shots critiqued by the digital slr photography experts? turn to page 63 to find out how to submit images

NikonD500withNikkor80-400mmf/4.5-5.6lens. Exposure:1/1600secatf/8(ISO900).

What we think: The puffins of Skomer are a delight – it's no wonder camera-toting wildlife fans flood the small island between May and July each year. Lesley's mid-flight shot of a puffin returning to its young with a mouth full of sand eels is a Skomer classic, and she's done a good job on a technical level. The bird is sharp and nicely frozen, while the slight bit of motion to the wings makes the image dynamic. The composition could be improved – with the bird dead centre in the frame it's a bit bland, but this is easily sorted with a crop during processing.

Why it works Sharp focus on subject Movement in wings adds dynamism Great timing to capture bird in flight

58 Digital slr Photography February 2017

ben haLL

Skomer puffin

by Lesley Danford


wildlifeexpert BenHall “Capturingabirdinflightisnever easy,andbeingsuchsmallbirdsand fastflyers,puffinsareaverytricky subjectindeed!Shutterspeeds needtobekeptfastinordertofreezetheir movement,andthisimagelooksniceand sharp,especiallyontheeyeswhereit'smost crucial.Thetimingisspoton,thewingsspread createaniceshapeandthebeakfullofsand eelsistheicingonthecake.Thesubjectis centralintheframethough.Iwouldhave preferredtoseemorespaceinfrontofthebird foritto‘moveinto’. Thisalmostalwayscreates amoreeffectivecompositionasitallowsthe subjectroomtobreathe,andcreatesasense ofspace.Iwouldbetemptedtocropthisimage, takingsomeofftherightandalittleoffthetop oftheframe,sothepuffinsitsonthetopright intersectingthird.Thiscreatesastronger composition,givingtheimagemore immediateimpact.Overall,agreateffort!"

Shutterwide Shutpartii

by Simon Hadleigh-Sparks

CanonEOS5DMkIIIwithCanonEF17-40mmf/4Llens. Exposures:1/1000secatf/4(ISO200).

What we think: Simon's cool toning is nice – it works well with the futuristic structures in the image. Compositionally, Simon has some of the more prominent lines coming directly from the lower corners, which is the right thing to do. Maybe the gap in the top of the buildings would be stronger placed around the upper right third of the image? That would also remove the distracting green dash in the top right corner. Stopping down to f/8 or f/11 would render the image sharper and offer greater depth-of-field. Still, a nice architectural abstract Simon!

Why it works 1) Strong lead-in lines from corners 2) Exposing for highlights adds tonal depth 3) Blue toning works really well with scene

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February 2017 Digital slr Photography 59


trust by Ian Barsby CanonEOS50DwithCanonEF50mmf/1.8IIlens.Exposure:1/250secatf/1.8(ISO125).

LifestyLeexpert CarolineSchmidt “Ashotsuchasthiscanbehardertoachievethanitlooks whenworkingwithawrigglynewborn;kudostoIanfor composingtheshotsobeautifully.He'sclearlyplayedclose attentiontotheplacementofthehandsandchosenanicewideaperture topinpointthosetinytoes.However,thereareafewthingsIthinkcould beimproved.Whilethepanoramiccropworksokay,atightercropwould drawthefocustowardsthefeetevenmore.Atthemoment,themother's handontheleftleadstheeyeawayfromthefeet,inpartbecauseit'sthe brightestbitoftheimage.Afrontallightsource,asopposedtoside lighting,wouldhavebeensofterandmoreevenacrosstheimage,but croppingthepicturehelpstosolvetheproblem.Thebackgroundisalso ratherdistracting.Atricktotakingashotlikethisistohavetheperson holdingthebabywearablackshirt,ortodrapeablackclothovertheir bodytogiveyouamakeshiftseamlessbackground.Ianmusthavetried somethingsimilartogethisbackgrounddark,butthevarianceintone behindthefeetandtopleftcornerpullstheeyeaway.Croppingthe imageandselectivelydarkeningtheseareaswouldhelp.Finally,andthis ispurelypersonalpreference,thepinktoningisalittletoogrittyforthe delicatesubjectforme.Iwouldhavepreferredtoseeawarmblack& whiteconversion,orasoftermorenaturalfleshcolour.�

60 Digital slr Photography February 2017


caLedonian cLassic by Philip Ure CanonEOS6DwithEF24-105mmf/4LISUSMlens.Exposure:90secondsatf/11(ISO100).

Landscapeexpert RossHoddinott “EileanDonanCastleisoneofthemostphotographed buildingsintheUKandit'seasytoseewhy–it'saniconic setting.Ilovethesnow-cappedmountainsinthedistance, butthecastleisplacedtoocentrallyinmyopinion–myeyeisn’tsure whethertotravelleftorright.Thelongexposurehasgeneratedsome decentmotioninthescuddingcloud,butthebrightpatchesofclearsky inthetopleftoftheframeareawkwardlyplaced,provingdistractingand leadingtheeyeawayfromthecastle.Iliketheletterboxaspectratio–it suitsthelocationwell–butthecompositionoveralllooksabitcramped. Thecastle’sreflectioniscutoffabruptlyand,personally,Iwouldliketo seeatinybitmorebreathingspaceandcontext.IsuspectPhiliphasopted foratightercroptoeliminatethemessyforeshore.However,abetter optionwouldbetoreturnataslightlyhighertidewhenit'seasierto achieveagoodreflectedimageofthecastleintheforeground.Iknow that'seasyformetosaybut,asalandscapephotographer,yourtiming canprovethedifferencebetweentakingagoodshot,oragreatone!" Ross Hoddinott

February 2017 Digital slr Photography 61


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.

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Name: Phone:

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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.

February 2017 Digital SLR Photography 63


The Beginner’s Guide

RAW

UsingaDigitalslR,miRRoRlessoRcompactcameRawithRawcapabilities anDshootinginJpegmoDeislikebUyingasUpeRcaRanDonlyDRivingitin fiRstgeaR.it’sniceenoUgh,bUttoReallyUnleashitspotential,yoUneeD totakefUllcontRol.welcometothewoRlDofRawpoweR… Words: Jordan butters /Image: ross hoddinott

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ven if you’re fairly new to photography, you’ll have most likely already heard all about raw. for many starting out, being told that they should really be shooting in raw is an unnecessary complication to add to an already large and daunting list of things to learn, adapt and get used to. Plus, why would you bother with raw when your camera produces perfectly adequate JPeGs that knock the socks off the images taken by your smartphone or compact camera? it’s true, the JPeGs that your camera produces are great for when you’re first starting out, or if you don’t want to bother editing your photos at all. however, in reality, shooting in raw is actually a far more beginner-friendly way of working than leaving your camera to decide on how to process the image. from White balance to

contrast, exposure and sharpening, you’ve a far bigger safety net underneath you when shooting in raw than JPeG. that aside, switching over to raw unlocks your camera’s ability to deliver cleaner, crisper and sharper files. When you’re ready to start harnessing the full power and potential of your camera, then it’s time to delve into the world of raw. shooting in raw will not only change how you edit your images, but can also affect how you record them in-camera too. taking advantage of this knowledge is down to more than simply selecting raw over JPeG in the menus. through understanding what raw files are, how they work and the limits to which they can be pushed and pulled, you can learn how to control raw image data to get the absolute best from every single frame you take.


The Beginner’s Guide

AN INTRODUCTION TO RAW

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EFORE WE DELVE into the techniques you can use to take full advantage of Raw, we should establish a better understanding of what exactly is a Raw file, and how does it differ from other image formats. Think of a Raw file as a digital negative. It’s an undeveloped image, much like when you shoot on film, that needs processing in order to be presented. This negative can then be reprocessed and adjusted as many times as necessary and in as many different ways as you see fit, without any detrimental effect on the file.

WHATISARAWFILE?

Quite simply, a Raw file is the raw, uncompressed data from the camera’s sensor. Raw files not only contain the image data at the point of capture – that being, the light recorded by the sensor – but also hold information about the camera and lens used to record the image, the time, date and (with compatible cameras) location where the image was taken, as well as the exposure info, White Balance settings, copyright information and other settings used to capture the image.

While all of this additional information that’s packed into each Raw file can be useful, the most important advantage that Raw files have over JPEGs is that they're uncompressed, and they offer a large scope for adjustment – from White Balance to exposure, distortion correction and detail. Even when you shoot in JPEG, you're still really shooting in Raw, it's just that your camera converts that Raw file and compresses the data in order to store the image as a JPEG. You’re effectively handing over the processing side of the Raw file to your camera, without having much, if any, say in how it handles the file. Raw files are larger in size than their JPEG counterparts, and in achieving the JPEG’s smaller file size, the camera discards any data deemed unnecessary. The issue with this is that some of the discarded data can have a negative effect on image quality. For example, if you capture a JPEG file and the image is poorly exposed, or taken with the wrong White Balance, then there’s only a small amount of recovery you can do before quality degrades. With a Raw file, these parameters can be adjusted to a greater degree with far fewer negative effects on image quality.

SETTING UPYOUR CAMERATO SHOOTRAW

THE FACTS: RAW VS JPEG RADEK GRZYBOWSKI

DOYOUKNOWYOUR.CR2SFROMYOUR.NEFS?IFTHECONFUSINGACRONYMS ARELEAVINGYOUDAZED,ALLOWUSTOEASEYOUINGENTLY,INPLAINENGLISH…

Raw:Pros Allimagedataretained Uncompressed Greatscopeforediting Improvedquality Raw:Cons Largerfilesizes Requireprocessing JPEG:Pros Improvedcameracontinuousburstspeed Noneedforprocessing Smallerfilesizes JPEG:Cons Compressedfiles Imagequalitydegraded Editinglessforgiving

WHAT’S INANAME? LUIS LLERENA

Getting readyto shoot in Rawis easy!The exact process involved forsetting upyourcamera to shoot Rawdoesvary slightlyfrom camera to camera, but these steps shouldwork formost. Ifin doubt, consultyourusermanual forfull details.

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Withthecamerareadytoshoot(notplaybackmode), presstheMenubuttontoaccessthemainmenu.

Fromthelist,selectRawtoshootinRawonly,orRaw +JPEG(fine)ifyouwishtorecordbothfiletypes.

66 Digital SLR Photography February 2017

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There'susuallyadedicatedshootingmenu–navigate tothisandlookfortheImageQualitysettings.

Ifyourcamerahasdualcardslots,youcansetitto recordRawtoonecard,andJPEGtotheother.

Whenwe referto Rawfiles,you’d be forgiven for thinking that all Raws are created equal, orthat they’re even called Rawfiles in the first place! Each camera brand has its own Rawfile format, which can even change from camera to camera within the same brand.What’s more, there’s no standard forthe content ofRawfiles either, and most manufacturers encrypt large segments oftheirRawfiles so that theycan't be reverse-engineered bycompetitors.The closest type to a standardised Rawfile isAdobe’s DNG (Digital Negative),with manycameras now offering the option to shoot in DNG format, alongside the model's own file type. Here are the Rawfiles that some ofthe main brands output… Camera brand Adobe

Rawfile output .DNG

Canon

.CR2

Fujifilm

.RAF

Nikon

.NEF

Olympus

.ORF

Panasonic

.RW2

Pentax

.PEF

Sony

.ARW


Readytobeunleashed:Shootingin Rawistheprofessional'schoicewhen maximumimagequalityisessential. image: adam burton


The Beginner’s Guide

choose the right raw software

There’sapleThoraofprocessing andediTingsofTwareopTions ouTThere,buTwhichoneisrighT foryou?hereareTheTopchoices ThaTareavailablerighTnow...

M

ost digital slRs come packaged with Raw processing software. Canons are bundled with digital Photo Professional (dPP), while Nikons come with Capture NX-d and Fujifilm cameras use Raw File Converter. While all of these programs are free, and can be useful for when you’re first starting out, truth be told they’re not actually all that great once you really get into working with Raw files. there’s a huge amount of choice out there when it comes to Raw processing and editing software, and the bonus of using third-party programs (aside from the extra tools and power they offer) is that they can recognise Raw files from many different cameras and manufacturers, so you don’t need to completely relearn the software should you change cameras or brands in the future. We've focused more attention on adobe here, simply because a greater number of photographers put their faith in adobe software than any other. For this reason alone, it’s often the software you'll see used in editing tutorials in this very magazine. Here’s a rundown of your options when it comes to Raw processing software, including adobe’s fares, and some other great options you should also consider.

adobe creative cloud Price:from£8.57permonth OS:MacosX/windows adobe Creative Cloud (or CC) is a subscription-based service that gives you access to various adobe products (based on your level of subscription). You can install the software on up to two computers, and any updates and upgrades (including Raw file support for new cameras) are automatically downloaded for free. adobe currently offers a one-year Photography Plan, which includes Photoshop, lightroom and several mobile apps, for £8.57 per month. it represents good value for money.

68 Digital slr Photography February 2017

adobe lightrooM Price:£8.57permonth(withccinc.photoshop) OS:MacosX/windows Before lightroom was launched in 2007, photographers often used adobe Bridge for file management, and Photoshop for editing. adobe lightroom combines the best of both, with a slick workflow for importing, storing, and editing Raw files. it supports many formats, including JPEgs, tiFFs and many video file formats too. When Raw files are imported into lightroom they're added to a catalogue. lightroom supports the adding of keywords and tags, as well as ratings and colour labels, making it easy to search through your images, providing you put in the right info when you import them! it’s a program that’s popular with professionals who capture large numbers of images at a time and need to be able to sort them efficiently, and find them again in the future. alongside lightroom’s workflow advantages (turn to p70 for more on this), it also uses the adobe Camera Raw processor,

capture one pro Price:€335 OS:MacosX/windows developed by Phase one, Capture one Pro offers advanced Raw processing, some of the best sharpening tools out there, and is great for precise, professional colour management. it’s extremely popular with commercial, studio and fashion photographers for whom maximum detail and colour accuracy is key. there’s a cataloguing system which, although not quite up to lightroom’s system, works well for keeping track of image files. it currently supports over 400 different cameras.

much like Photoshop. any images processed in lightroom are done so non-destructively. that means that you can return to the image and reprocess again and again, without ever reducing image quality. lightroom also makes it easy to edit in batches, so you can make the same changes across several images in a few clicks. the software boasts all the editing tools you’re likely to need, although it does lack the more advanced options offered by Photoshop. Many photographers use lightroom alongside Photoshop when more advanced edits are required – if you subscribe to adobe's CC (see below) you get both bundled together. once you’ve finished editing, lightroom offers a large range of publishing tools. You can export images as JPEgs for web or print, upload direct to social media, attach images to emails, publish books directly through the on-demand printer Blurb, export slideshows, create contact sheets, or even publish images straight to websites, all from within lightroom.

photo Mechanic Price:usd$150 OS:MacosX/windows it’s clunky, awkward, quite basic and not user-friendly at all, yet it’s favoured by lots of pros for importing and basic editing of their Raw files. Why? speed! Photo Mechanic renders and displays full-sized Raw files before other software has even considered importing them – it's that fast. it’s popular with press and sports pros alike as it allows for quick sorting, tagging and keywording of Raw files, as well as basic editing. Not for the faint-hearted, or those who don’t require the absolute fastest solution out there.


Adobe PhotoshoP Price:£8.57permonth(withCCinc.Lightroom) OS:MacOSX/Windows Photoshop is synonymous with editing images. It even made it into the dictionary as a verb – 'to alter (a photographic image) digitally'! The software comes in two sizes – Photoshop Elements and Photoshop. Elements (£55) is a scaled-down version of the full package, aimed primarily at beginners. It offers many of the key functions, but with some tools and options missing, or simplified. The Elements user interface is also very different, and is far more user-friendly if you’ve never used the software before. For many, Elements offers the introduction into

AffinityPhoto Price:£40 OS:MacOSX/Windows(currentlybeta-only) Affinity Photo is the most wallet-friendly third-party software on offer here. Offering a Raw processor, as well as similar layer and layer-masking functionality to Photoshop, it certainly reads well on paper. There’s a whole host of editing tools and options available to you, as well as an advanced selection system, blending modes, photo stitching, stacking and retouching tools, as well as HDR and panorama options – the list goes on – it looks to have all bases covered. And you can’t sniff at the idea at that price!

Photoshop, which they can move onto when they have the need or the experience. Within both Elements and Photoshop (as with Lightroom) you have Adobe’s Raw processing engine – Adobe Camera Raw. Load a Raw file in and you’re presented with adjustments and parameters you can tweak (see p72 for a guide on this), from White Balance to Exposure, Lens Corrections, Sharpness, and even some selective adjustments using gradients and brushes. For many people, Camera Raw is as far as they need to go, as it offers most of the tools needed to process and correct your images. From Camera Raw you can save the changes

on1 Photo RAw Price:USD$120 OS:MacOSX/Windows ON1 Photo Raw is the first all-new, built from the ground-up, Raw image processing engine we’ve seen for over a decade, and it looks to offer plenty of features to shout about. Initial impressions are that it appears visually similar to Lightroom, but boasts improved workflow speeds over Adobe’s offering. There’s no importing images into a catalogue, and you can apply all of the usual edits, including stackable preset plug-ins and filters. We’ll have a full review and test done as soon as we can get our hands on a copy!

to the Raw file (non-destructively, as with Lightroom), export your image as a JPEG or other image format for web or print, or choose to open the Raw file in Photoshop. This final option loads the Raw file into the full software, including any changes you made in ACR, ready for you to use Photoshop’s full array of tools on it. The tools on offer within the main version of Photoshop come with varying degrees of difficulty, but whether you need to make basic adjustments to colour, or composite elements from another image, anything is possible from within Photoshop, providing you have the skills and patience to do it!

MAcPhun LuMinAR Price:£44 OS:MacOSXonly Macphun offers a handful of image-editing programs, many of which provide Raw support. Luminar is the pick of the bunch for Raw processing and general editing, and boasts all the tools you’ll ever need and more. One of Luminar’s key features is its ‘Adaptive UI’, which allows the interface to be altered to suit your skill level. It also offers non-destructive editing, layers and masking, presets, filters, texture overlays, and lots more. There’s a large list of supported cameras and the price is nice, too! February 2017 Digital slr Photography 69


The Beginner’s Guide

make light of raw o files in lightroom sortingthroughrawscanbecumbersome.Perfect yourworkflowinlightroomtoProcesslikeaPro

ne of the questions that people ask when starting out working with Raw files is – which is better, Lightroom or Photoshop? truth be told, there’s no right answer; it depends on what you need to do. In terms of Raw processing, Lightroom offers exactly the same tools as Adobe Camera Raw, as found in Photoshop. Where the two differ is in Lightroom’s file handling, and Photoshop’s image editing tools (not to be confused with ACR’s processing tools). As the Raw editing capabilities of both are the same, let’s have a look at a workflow for importing and cataloguing Raw files using Lightroom…

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seleCtthe sourCe Raw files need to be imported into Lightroom’s catalogue. from the Library module, click on Import in the bottom corner. You can either import files that are already on your hard drive, or import directly from a memory card or camera. In the window that opens you’ll see a list of file locations and sources on the left hand side. Select the source, and folder, to import your Raw files from.

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Build previews on the right, you have file handling options. Choose whether you want Lightroom to build Minimal (quick to import, slow when editing), Standard (average import and edit time) or 1:1 (slow to import, quick when editing) previews. You can also choose to build Smart Previews, so you can edit even when the hard drive with the Raw files on isn’t attached – handy when you’re away from home.

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piCkand rejeCtonce done, an easy way to initially sort through your images is using the flag keyboard shortcuts. Use the P key to pick an image and the X key to reject it. the U key resets the selection for that image and you can use the arrow keys to navigate back and forth. once done, select Attribute at the top and click on the first flag (the white one with the tick by it) – this shows only your picked images.

70 Digital slr Photography February 2017

Choosethe images files that aren’t already in Lightroom’s catalogue will be ‘checked’ for import – Lightroom recognises and ignores duplicates. You can uncheck images that you don’t wish to import, or Check/Uncheck All with the buttons at the bottom. You can also select individual files using the small tick box in the top right corner of the previews. Double-click on any image to view a larger preview.

importpresets Apply During Import can help speed up things. You can apply Develop Settings (handy when you find yourself making the same changes to every file during processing), alter the metadata (add your copyright or contact info), and add keywords, making your images easier to find in the future. Pick a Destination for the files to be stored, click Import and sit tight while Lightroom imports the files.

rateyour favourites You can also rate each image to narrow them down further. Use the 1-5 keyboard keys (the 0 key resets the rating), again using the arrow keys to navigate. You can also add colour flags using the 6-9 keys. once done, display images with certain ratings using the Attribute function again – for example, you could show only picked images with a red flag and a 4* rating or above.


The Beginner’stoptip Guide AtthetopoftheImport window,selectCopyas DNGtoconvertyourRaw filestoDNGfiles uponimport.

Gowiththeflow:You'llfindaRaw workflowthatworksforyou,butthese stepswillgetyouontherighttrack. ALEjANDRO EsCAMiLLA

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Edityour raws Now you’ve narrowed down your images to just your favourites, you can set about editing them. Pressing the D key will load the Develop module. The controls on the right will be familiar if you’ve used Adobe Camera Raw previously (see p72). Make any changes to your images before using the filmstrip at the bottom to select the next image. All changes are automatically saved.

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ExportfinalimagEs Press the G key to return to the Library module. From the thumbnails, select the images that you wish to Export – to select all, press cmd & A (Mac) or ctrl & A (Windows). Right-click on any selected image and go to Export>Export… From here you can select where you want to save your image, resize it, change the quality, and add watermarks. Once you’ve chosen your options, click Export. February 2017 Digital slr Photography 71


The Beginner’s Guide

Process raws with adobe camera raw

rawFile

GetthemostoutofyourcamerabyharnessinGthe powerofrawdurinGprocessinG.withpractice,it’s farquickerandeasierthanyoumiGhtthink…

w

orking with raw files in Photoshop can initially be a bit confusing. when you open a raw file, you’re met with a completely different workspace to when you open a JPEg, or any other image file. this is adobe Camera raw. any changes made in this part of Photoshop are non-destructive, so you can experiment with multiple edits of a raw file as many times as you want, and save different versions, all the while leaving the original intact. therefore if you need to make changes, we would advocate making them in aCr wherever possible, before moving into the main body of Photoshop. once you open the image in the main part of Photoshop, you are working on a copy of the original file and any changes made from then on must be saved as a new file. the bonus is that this makes it virtually impossible to do irreversible damage to your original raws – perfect!

Above:theoriginalrawfilestraightfromcamerawithoutanyediting.Right:thefinalimageafter rawprocessinginadobecamerarawandsomecloningandcleaninginadobephotoshop.

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aPPlylens corrections open your raw file in Photoshop and adobe Camera raw will load. on the right, just under the histogram, you’ll see a row of small icons. Click on the Lens Corrections icon (shown) and check the Enable Profile Corrections box. Providing aCr has your camera and lens profile on file, it will automatically apply corrections for distortion and vignetting. You can also click on Remove Chromatic Aberration to fix any colour fringing in your image.

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adjustexPosureand contrast Use the Exposure slider to make any universal exposure adjustments. this is where you’ll correct the exposure if you’ve used the Ettr method (see p48 for more). You can then add or remove contrast using the Contrast slider, or using curves under the Tone Curve tab. a handy trick for setting the white and Black points is to hold down the alt key while moving the Whites and Blacks sliders – when the pixels start to appear you know you’ve gone too far.

72 Digital slr Photography February 2017

setthewhite balance Click on the Basic tab above to adjust white Balance, Exposure, Contrast and Vibrance/Saturation. white Balance should be your first port of call – it can be adjusted using the preset settings, via a custom temperature and tint setting, or using the White Balance Tool at the top (shown). to use the tool, click on it to select it, and then click on a known neutral part of your image, such as a white, grey or black. aCr will use this area to set the white Balance.

addaGraduated Filter if selective adjustments are needed, these can also be handled by aCr. to add a graduated filter to the sky, click on the Graduated Filter tool (or press the G key). then, select the settings you intend to apply on the right, for example Exposure -0.50. Click and hold where you want your transition to start and then release where you want it to end. You can readjust it at any time, or tweak the settings, by clicking on one of the dots to select it.


The Beginner’s Guide

TOPTIP PressthePkeyatanytime foraquickbefore/after comparison,ortheQkey tocyclethroughbefore/ aftersplits.

JORDAN BUTTERS

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USETHEADJUSTMENTBRUSH The same goes for dodging and burning. Select the Adjustment Brush at the top, and use the [ and ] keys to set the brush size. You can adjust the brush’s Feather, Flow and Density on the right too. Pick the settings you wish to apply (Exposure +0.20 is good for dodging, or Exposure -0.20 for burning). To remove an adjustment, click on the small dot on your image and press the Backspace key. Or to add multiple brushes, click New at the top.

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OPENAS SMARTOBJECTWith your changes made in ACR you can save your image as a JPEG or TIFF using the Save Image button in the lower right, or you can open the image into the main body of Photoshop by pressing Open Image to carry out cloning, compositing and so forth. If you hold down the Shift key as you press Open Image it opens the image as a Smart Object, so you can revisit ACR at any time by double-clicking on the thumbnail in Photoshop’s Layers palette. February 2017 Digital SLR Photography 73


The Beginner’s Guide

EIGHT TIPS TO RAW SUCCESS

ASSHOT

READYTOMAKETHEMOVEFROMRAWROOKIETOPROCESSINGPRO?HEREARE SOMEADDITIONALHANDYRAWHINTSANDTIPSTOHELPYOUALONGTHEWAY…

DANIEL KRASON/SHUTTERTSOCK

AUTOWB

CLOUDYWB

DAYLIGHTWB

FLASHWB

FLUORESCENTWB

SHADEWB

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BACK ITUPBecause Raw files are essentially digital negatives, they are the key to being able to reprocess and reproduce those images in the future. When looking to back up your images, we would recommend backing up your Raw files as a priority – the images that you output as JPEGs or TIFFs can be reproduced at any time, providing you have the Raw file. You could either purchase an external hard drive, upon which you store duplicate Raw files, or subscribe to a cloud storage service, such as Backblaze or CrashPlan. Or do both, for the ultimate peace of mind!

TAKEASNAPSHOTIf you have several Raw edits in mind, but can’t decide which to go for, use ACR and Lightroom’s Snapshot function to help you chose. Simply apply your changes, and then create a new Snapshot – you’ll find it in ACR under the Snapshots tab (the Create Snapshot button is at the bottom and looks like a piece of paper), or in Lightroom it’s on the left hand side (click the + icon to save a Snapshot). You can save as many Snapshots as you need and toggle between them to see which edit you prefer before you save your final image.

74 Digital SLR Photography February 2017

JORDAN BUTTERS

JORDAN BUTTERS

2

TUNGSTENWB

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PRESETS One way to ensure consistent processing between multiple images is to use Presets. Once you’ve made your changes to an image, create a new Preset in ACR using the Presets tab (the Create Preset button is in the same position as the Create Snapshot button, described left) and pick which changes you wish to save within the preset. In Lightroom you’ll find the Presets option on the left. When you load in subsequent images, simply select the preset from the list and the changes will be applied. Easy when you know how.

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SHOOTBOTH! Your camera offers you the option of applying picture styles or filters, such as sepia, monochrome, saturated colour and so forth. If you shoot in JPEG then these filters are locked into the file and can't be undone. Shoot in Raw only and the changes are applied on the LCD preview, but not when you load in the Raw file for editing. Shoot in both JPEG + Raw and you’ll have a JPEG file with the filters applied and a Raw file alongside it to work on separately, should you wish. The same goes for White Balance too – so when in doubt, shoot both!


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CONTROLWHITE BALANCE One of Raw’s most powerful tools is being able to alter White Balance. This means you can leave your camera in Auto White Balance and correct the WB at any time. It’s a good fail-safe, in case you set the wrong White Balance or forget to change it the next time you use the camera. To set a custom WB in your Raw processing software, first photograph a neutral surface, such as a grey card, in the same light that you’re shooting in. Then, use the WB eyedropper to set the WB from this part of the image. JORDAN BUTTERS

FUTURE-PROOFINGDigital Raw files are still a fairly new technology, in the grand scheme of things – if you’d have told a photographer 20 years ago that film would be nearly obsolete, they’d have called you mad. Who knows what formats we’ll be using in 20 years' time? For this reason, many photographers convert their brand-specific Raw files (CR2/ NEF/RAF/AWR, etc) into the universal Digital Negative (DNG) format, just in case support for other file types falls from the mainstream. Download the free DNG converter at www.adobe.com to do the same.

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XMPFILES When you alter a Raw file in Lightroom or ACR, adjustments are saved alongside your Raw file, as an XMP file. ACR looks for and reads XMP files each time you load the Raw file, in order to present the file as you last left it. Lightroom works differently, in that changes are stored as part of the catalogue. To save changes made in Lightroom so that ACR can see them, in Lightroom you need to go to Metadata>Save Metadata to File. Conversely, to load in changes made outside of Lightroom, go to Metadata>Read Metadata from File.

JORDAN BUTTERS

JORDAN BUTTERS

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SYNCING SETTINGS Did you know you can open several Raw files at once in ACR? If you do this they will appear as thumbnails on the left-hand side. This is useful for when you wish to sync the same processing settings across several Raw files at once. Simply make your Raw adjustments, and then, holding down the cmd or ctrl key, select all of the images you wish to sync. Right-click on any image thumbnail and select Sync Settings from the menu before selecting exactly which changes to sync. The method is much the same in Lightroom too. Voilà! February 2017 Digital SLR Photography 75


Masterkeyskills

Words: daniel lezano / Image: ross hoddinott

In-camera inthisdigitalage,it'seasytofallbackonpost-processingpackageslikephotoshoporlightroomtohelp edityourshotsintophotographicmasterpieces,butit'sfarmoresatisfyingandrewardingtouseyour skillswithacameratocreateit.weofferyou12greattechniquestohelptakeimageswithimpactandstyle


In-camera skills

ProtipwithNikon Ross Hoddinott Landscape expert While it's an effect that is loathed by some, extreme blurring of water to create a 'milky' effect is an extremely popular technique with a huge number of landscape photographers. The effect doesn't involve the release of several pints of semi-skimmed, but rather the use of an extremely slow shutter speed to blur the motion of water. To lengthen the shutter speed, select a low ISO rating and a narrow aperture setting. If the shutter speed is still too fast, use an Neutral Density filter to further extend the exposure. These are available in various densities with two- and four-stop NDs among the more popular, while for even longer shutter speeds, use an extreme ND boasting a five or ten-stop density, such as Lee Filters' Stopper series. The shutter speed you use will depend on how much motion the water has – with still water a longer exposure is required to achieve the same effect as with fast-moving water. Whether you're trying out the effect on the coast or with rivers, be sure to include static elements in the frame, such as boulders, coastline or groynes, to further emphasise the water's smoothness.

78 Digital slr Photography February 2017

OLexaNDer KOzaK/ShuTTerSTOcK

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Master milky water


Super prIN/ShuTTerSToCk

3

Shoot an abstract close-up Abstract photography is all about capturing

commonplace objects or scenes in an unusual and creative way. Successful abstract close-up photography involves capturing everyday subjects with a fresh perspective that surprises, intrigues and impresses the viewer. Normally, when shooting macro images, you're trying to reveal, in detail, miniature subjects that aren't so evident to the human eye. however, with abstract close-ups, you're purposely cropping and composing the image so the subject isn't so clearly recognisable. A macro lens such as the AF-S Micro-Nikkor 105mm f/2.8g is the ideal choice as it allows high-magnification images from mere centimetres away, meaning you can crop in tightly for truly abstract results. experiment with natural subjects such as a butterfly's wings or man-made objects like kitchen utensils or a keyboard and practise creating intriguing abstracts that make the viewer really work at identifying your subjects.

roSS hoDDINoTT

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Add some fantasy flash

ArTogrAphY /ShuTTerSToCk

The sophistication and ease of use modern flashguns offer, along with advances in wireless triggering, mean it's possible to capture stunning results with a modest outfit. A popular technique with lifestyle and wedding photographers in recent years has been to shoot a night scene, where the subject is illuminated by light reflecting off a white umbrella that they're holding. It's a set-up that isn't too difficult to achieve – one flashgun, set up behind your subject (and out of view of the camera) and pointing upwards into the brolly, is enough to illuminate the subject. You'll need to trigger the flashgun wirelessly using a set of triggers, or the wireless triggering mode built into your camera, if it has it. Several Nikon cameras, such as the D7200 and D810, offer wireless flash control with compatible Speedlights such as the SB-700 or SB-910. You can use Nikon's iTTL Creative Lighting System or adjust the flash power manually, it's up to you.

February 2017 Digital slr Photography 79


In-camera skills

pKpROJECT /ShUTTERSTOCK

4

Try painting with light

When it comes to experimenting with your in-camera skills, few techniques offer as much fun and diversity as painting with light. This involves shooting subjects or scenes in the dark and illuminating them with a light source. From small subjects like flowers to larger objects like cars or even buildings, this technique is one that offers interesting results every time. To get set-up, place your camera on a tripod, set it to manual, then choose a mid-aperture and slow shutter speed (seconds long). Fire the shutter and use a torch to illuminate your subject by moving it randomly in different directions. Keep the torch out of the frame to simply illuminate the subject, or move it within the image area to capture light trails too. Experiment with exposure times and the direction of illumination, and review images to see how you can improve on previous efforts. LED torches give a clean 'white' light compared to older bulbs, while fitting a gel over the light will colour its output.

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Add colour to portraits with gels

Every dedicated portrait photographer needs to develop their skills with flash. Using flashguns like the Nikon Speedlight SB-910 opens up a wealth of creative possibilities. Once you've become proficient with flash angles, balance and power, your next step might be to experiment with the colour of your flash output. You'll find various manufacturers like Rosco and Rogue make sets of colour gels to fit the heads of flashguns like the Nikon Speedlight series. Using coloured gels allows you to add an extra dimension to your portraits, in a variety of ways. You can add bold colours like blues, greens and reds to your backdrop to add mood, or add one or more colours to the flash falling on your subject to give a sassy fashion style. Alternatively, backlight your subject with a CTO gel on your flash to mimic the light from a setting sun. Just be careful not to overdo the effect – go too strong and you'll cross the fine line that separates creativity and crudeness.

80 Digital slr Photography February 2017


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Create a splash!

One indoor technique that requires preparation and a modicum of luck is freezing droplets of water. While this might not sound exciting, the results can look amazing and it's a great way of developing your skills with timing and flash. Capturing droplets of water as, or after, they hit a body of water can produce wonderful images, especially if you use colourful or patterned backdrops, and/or food colouring in the water, for added visual appeal. Use a simple arrangement – set up your camera in front of a tray of water at a slightly higher level. Set a flashgun at an angle to either side of the tray and fit wireless triggers to fire them. Your droplets will come from a bag filled with water, fixed above the tray, with a small hole pierced to give a slow, steady drip feed. Set the flash sync speed, use a macro lens set to f/8 for sharpness and try the flash at various low power settings for the perfect exposure. Then, it's down to a spot of luck to capture the perfect drop! MindaUgaS MaTUTiS/ShUTTerSTOCk


In-camera skills

Theperfectway toaddnewskills!

The Nikon School at the newNikon Centre ofExcellence in central London offers a wide range ofphotographycourses and workshops.Whynot treatyourselforsomeone you love to a Nikonvoucherthat can be used at the Nikon School. Forfurtherdetails, visit:www.nikon.co.uk/training

roSS hoddInoTT

7 STUdIo10ArTUr/ShUTTerSTock

Capture graphic silhouettes Shooting a subject so that it's correctly exposed isn't always the best way to record it. Sometimes, you can get far more effective results by grossly underexposing the subject so it appears as a solid, or near-black silhouette. For this technique to work, your subject needs to be backlit, so when shooting outdoors in ambient light, wait until the sun is low and use the sunset as a golden backdrop. Take a test shot with your camera set to multi-zone metering and check the exposure on the Lcd monitor. You'll most likely need to dial in exposure compensation of -0.5 or -1eV to ensure your subject is properly underexposed, as too much visible detail can weaken the result. choose your subjects carefully – only those with distinct outlines or shapes will work – palm trees, church spires, people and animals are popular as they're clearly recognisable when they're in silhouette. If you've never given it a try, this time of year is ideal as the sun sets relatively early on in the day.

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heLen dIxon

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Bokehlicious portraits

Some of the most captivating and powerful portraits are those that exhibit an extremely shallow depth-offield, giving a smooth, blurry background effect, commonly termed bokeh. As well as being aesthetically pleasing, this characteristic helps isolate the subject from the background and add a strong sense of three-dimensionality to the image. If you want to give this technique a try, then you'll be glad to know that achieving the effect is relatively simple. Use aperture-priority mode and pick a wide aperture – the faster the lens, the better. The effect is more pronounced with longer focal lengths, and is boosted further by getting closer to your subject. While background blur is attractive, the bokeh effect can be enhanced by including lights, such as street lamps or fairy lights, in the background, which creates beautiful specular highlights.


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Make plastic look fantastic!

If you've never tried cross-polarisation, set aside a couple of hours one evening and give it a try. It involves using polarising filters to reveal stress lines in plastic objects that aren't normally visible. To make it work, you'll need to sandwich your plastic subjects within two polarisers and backlight the set-up to reveal the stress lines. A lightbox is a good way to backlight the subject, as it provides plenty of space on which to arrange your subjects. Invest in a sheet of polarising gel (available online) and use masking tape to fix to the lightbox, then rest objects on it. (You can use a computer monitor on its back too, as it produces polarised light!) Attach a camera to a tripod and place directly above the lightbox. Fit a polarising filter to the lens, and with room lights off, rotate the polariser on your lens to reveal the colourful stress lines in the plastic and make the lightbox turn black. Use aperture-priority and set f/8 for sharpness. You'll find you'll most likely need to apply exposure compensation to avoid exposure error. February 2017 Digital slr Photography 83


In-camera skills

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Backlight a still-life

A fun and easy way to capture colourful and interesting still-lifes is to shoot translucent objects on a lightbox. It can be tried with a wide variety of objects, such as leaves or sweets – all you need to do is ensure that light can pass through them. While you can use off-camera flash behind the subject, a lightbox makes it far easier – they're available via eBay or various online retailers. If your subjects are small enough, you can also use a nightlight app on a tablet. Arrange objects carefully on the lightbox to create interesting patterns. You can completely obscure the lightbox's surface or leave areas exposed to create a clean, white backdrop. Set the lightbox on the floor and set up your camera on a tripod directly above it. Use aperture-priority, set a mid-aperture like f/8 and low ISo rating for optimum results and review results on the lCd monitor. You'll probably need to apply +1/2 to +1eV of exposure compensation as the metering will be fooled by the relative brightness of the scene. experiment with subjects and patterns and have some fun!

LetyourDSLRguideyou!

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Tomakethemostofyourcamera–andmaximise thepotentialofyourphotography–youneedto haveaclearunderstandingofthevariousmodes andfunctionsavailabletoyou.Bydoingso,you're abletoprepareyourset-uptocapturethebest imagesmosteasily.Theinstructionmanualisa greatsourceofreference,butit'snotalwaysto hand,whichiswhyNikonaddedaGuideModeto anumberofitscameras,includingtheD3300and D3400.Byfollowingtheclearinstructions,you're abletoquicklyandeasilyprepareyourcamera's set-uptogivethebestpossibleresults.

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Spin your child! Kids make for great portraits, but holding their attention long

enough to pose for pictures isn't always easy. With toys, TV and countless other things offering far more entertainment than sitting for pictures, you need to make your photo shoot fun to entice them to take part. If your child is young and small enough, spinning them around at arm's length and capturing their excited expression is fun for them and makes for great shots. As you'll be holding your child's hands while you spin them, you'll need to use your camera hands-free – either use a chest harness or two camera straps, one around each shoulder, to hold it in place. Set aperture-priority and a mid-aperture for sufficient depth-offield, activate the self-timer and start spinning. Alternatively, have someone else fire the shutter via a remote release. Finally, if the lighting is dull, pop up the integral flash to fill in shadows.


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Use differential focus

A great way to emphasise a particular subject or area of the scene is differential focus. This involves using a wide aperture to produce a shallow depth-of-field, and combine this with precise focusing to isolate the subject from everything else in the foreground and background. It's ideal for busy scenes when you want to draw the viewer's eye towards a particular point and is a relatively simple yet effective way to add your own artistic impression to a scene. It's particularly popular with lifestyle and wedding photographers, as well as close-up enthusiasts. The faster your lens the better – a 50mm f/1.8 is a great budget option – use wide open, compose the scene and ensure you focus carefully; it's critical that the area of interest is perfectly in focus. Try it with subjects in the background as well as the foreground, and you'll be surprised how well this technique can work. Ross hoddInoTT


The BigInterview

You’vegotto beinittowinit OnthebackOfhisrecentaward,wecatchupwithenthusiastphOtOgrapherandtakea ViewLandscapephOtOgrapherOftheYearwinnerMatthewcatteLLtOfindOutabOuthis award-winningiMageandhistakeOntheiMpOrtanceOfphOtOgraphYcOMpetitiOns… Words: Jordan butters


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inning a top photography award is an achievement that many leading professionals aspire to, and is considered somewhat of a pipe dream for many amateurs and enthusiasts just starting out. Having your hard work recognised and respected by leading industry professionals is a great honour, and can be a pivotal moment in many photographers' careers; many of the top awards bring with them huge media attention, thrusting winning photographers into the limelight and opening doors for them along the way. For enthusiast photographer and architect Matthew Cattell, it’s a world that he’s unexpectedly entered into, as Matthew was recently named as the take a View Landscape photographer of the Year 2016. “it was, embarrassingly, the first time my phone has ever gone off in the middle of a meeting with clients,” Matthew recalls as he relives the moment he found out the news. “i didn’t answer the phone, but instead i googled the number sitting in the car after the meeting. it came up as Light and Land, Charlie Waite’s photographic tour and workshop company. i thought it might be a marketing call to try and get me to book a course, but i rang back and the lady on reception was very excited to hear from me, which i thought was odd! a few moments later i got a call back from Charlie himself. i thought i might have been shortlisted or commended for a category but as he spoke my excitement grew – when he told me i’d won Landscape photographer of the Year, i was absolutely speechless. it was a little bit embarrassing – i physically couldn’t speak! Previouspage)ARedFoxattheBritishWildlifeCentre,Surrey. 1)ThewinningLandscapePhotographeroftheYearimage. 2) AvantagepointaboveBorrowdaleduringthewinter. 3)Ayoungreddeerstagfeedsfromawillowtree.

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i’dwon Landscape photographerof theYear, i was absolutely speechless. it was a little bit embarrassing–i physically couldn’t speak! it was absolutely unexpected – here i was chatting to a legendary photographer, having won a top landscape photography award myself and all i could be was silent!” Matthew’s winning image, Starling Vortex (top), was chosen from thousands of other entries, and was captured during a trip to Brighton specifically to record the annual starling murmuration at the coast. The natural phenomenon occurs every year during the winter months as the starlings return to the seafront to roost amongst the

Brighton piers, swarming in large numbers above the seaside town, and forming mesmerising clouds and shapes in the sky. “i set up on palace pier, and had intended to photograph the birds in front of a glorious sunset out to sea, however it was very windy, so i didn’t have high hopes. The birds ended up congregating much closer to land, so i framed the shot with the old West pier in the background. in retrospect it was a good decision, as the pier helps to locate the image – otherwise it could have been taken


Matthew Cattell 3


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anywhere in the world, but the skeletal pier makes it unmistakably Brighton. I had my camera with 70-200mm lens on a tripod and just waited to see what happened. I focused on the pier, set my aperture and then used the ISO rating to experiment with different shutter speeds. I enjoy incorporating motion into my images; you don’t really see what you’ve got until afterwards. I took a lot of photos and half a dozen were quite appealing, but there’s a lot of luck involved – thankfully, that evening it was windy, so the sea was rough, which turned the water white and worked really well. That’s something that Charlie pointed out to me – on any other day without the rough swell and silvery-grey weather, the birds wouldn’t have stood out against the water. The winning image ended up being one of the last that I processed. I actually originally processed it in black & white, but reverted it to colour for the competition.” Matthew’s winning image combines both wildlife and landscape photography – a theme that runs throughout his portfolio.

Photographing wildlife has taught me to slow the process down and appreciate what I’m looking at 1)OneofSkomer'smanypuffins‘gaping’atthecamera. 2)AstonecirclearrangedontheshorelineofDerwentWater. 3)WavesrecedearoundaconcretewalkwayatMablethorpe. 4)AburningreddawnatTewitTarnintheLakeDistrict.

His background in photography is largely steeped in a fascination with the outdoor world. For as long as he can remember he’s had a camera in his hands, and through his upbringing and outdoor pursuits such as doing the Duke of Edinburgh Award and being a scout leader, it’s only natural he developed an appreciation for wildlife and the landscape around him. Now, as a

part-time enthusiast photographer, these are the subjects that he finds himself gravitating towards. He believes that the two are disciplines that have a lot in common. “I’ve photographed wildlife increasingly over the past few years,” he explains. “More so than anything it’s a discipline that requires a degree of patience. I consider wildlife photography to have had a hugely positive impact on my landscape photography too. Previously, landscape photography for me involved a lot of rushing around trying to capture different locations. I almost expected to visit a place and there to be perfect light and conditions straight away so I could get the shot and move on to the next one. Photographing wildlife has taught me to slow the process down and appreciate what I’m looking at. Patience and perseverance are key – having the ability to wait for that perfect moment, or revisit a spot over and over again until you get the right conditions, or light. That and an appreciation for nature and the outdoors – you have to want to be out there. If you February 2017 Digital slr Photography 91


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don’t possess those qualities then I’d imagine being a successful landscape photographer would be very difficult.” Due to his location in Bracknell, Matthew currently spends most of his time photographing the coastal landscapes of the south coast, as well as the wildlife of London’s deer parks, but occasionally he scoots off to the Lake District to seek out landscapes, or heads to Skomer to photograph the famous puffins. Rather than seek out more exotic lands and species (and warmer climates!) he firmly believes that the United Kingdom offers some of the greatest opportunities for outdoor photography in the world. “Photography has taught me to really appreciate the country that we live in,” Matthew says. “It’s a small island but there is a huge range of different landscapes, all within four to five hour’s drive. You’ve got the south coast, Cornwall, the Peak District and Lake District, Scotland, Northumberland and many more. Whilst it’s a very wellphotographed country, the potential of the locations on offer combined with the dramatic and changing weather conditions we have here, I think, make it fairly unique. If I come away with an award-winning picture or even a half-decent image then it’s a bonus; I just enjoy being out in our wonderful landscape. I think if I spent the rest of my days photographing landscapes and wildlife in the UK I’d be perfectly happy.” Since Matthew’s award-winning image was announced, he’s been enjoying the spoils of the attention – he’s been bombarded for quotes and interviews by phone and email,

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I think if I spent the rest of my days photographing landscapes and wildlife in the UK I’d be perfectly happy 1)TwonestingcootsbelowawillowtreeinBushyPark. 2)KittiwakessquabbleintheairabovetheFarneIslands. 3)Areddeerstagcallingthroughthemistduringtherut. 4)CloudsbreakafterseveraldaysofrainintheLakeDistrict.

and has appeared on the radio. He’s also had lots of interest from potential clients and parties indicating that his photographic future might end up being more than just part-time. Photography awards and competitions can sometimes get a bad rap within the community, as occasionally their terms and conditions can treat the rights of photographers somewhat liberally. However, Matthew’s case in point is the perfect example of how entering awards can help boost your photography, and turn it from a hobby to a profession. “Take A View was the first competition that I’d entered the year before,” Matthew explains. “I also entered the British Wildlife Photography Awards and had a couple of images shortlisted, but hadn’t got anything back from the landscape award before. I wasn’t going to enter this year as I was busy with work, but I had a grey day with nothing to do. I gathered some pictures

together and entered them. I genuinely didn’t expect anything at all – I just thought it was a good use of some spare time!” Picking out the right images to enter is obviously crucial, and it’s something that many professionals struggle with. Matthew has his own methods of selection, as he explains: “The image needs to please me first and foremost. I don’t go out trying to take award-winning pictures, I take photos that I enjoy, that record a moment both physically and for my own recollection. I’d also say that you need to offer images that are a bit more challenging and different. You hear all the time about how you need to stand out from the crowd and I do think that's important. Your images need to offer something a bit extra, be it a special moment, amazing light or conditions or even elements interacting with the landscape, as with my image. I think that’s the key: offer something a bit different, not just a pretty landscape. When I’ve got an image that I’m happy with I might share it on social media or Flickr and, if they get a good response, that ticks a box and makes me consider it being an image to enter. My wife helps me with my selections too – although the one that won this time was one that she wouldn’t have chosen!” The most important thing if you’re considering entering an award or competition is to actually do it! “That’s the number one rule, first and foremost – have a go – if you don’t enter, you can't win. My case is a very good example for this.” Formore ofMatthew’swildlife and landscapework, visit:www.matthewcattellphotography.com


Matthew Cattell 4


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UJIFILM’S POPULAR X-SERIES has a new mirrorless model to add to its ranks, in the X-A10. It sports a clean, slimline and lightweight design, a simplified yet versatile two-dial control layout and is aimed at beginners to interchangeable lens cameras. Features include a 16.3-million pixel CMOS sensor with Full HD video capability, integral flash and an impressive close-up facility. Aimed at newcomers, it’s no surprise to see Wi-Fi included for easy sharing of images, but the Fuji also sports a 3in LCD monitor that tilts 180° allowing for ‘selfie’ photos and video. The X-A10 also offers Fuji’s popular Film Simulation modes, advanced filters like toy camera and fisheye, an ISO range of 200-6400 (extendable to ISO 25600) and an energy-efficient design that is claimed to provide over 400 shots on a single charge. The X-A10 is supplied with the XC16-50mmF3.5-5.6 OIS II standard zoom and is available now for around £500.www.fujifilm.co.uk

NANGUANG’S RINGS OF POWER IF YOU’VE ALWAYS wanted a ringflash to use for soft, diffused portraits, then NanGuang’s new LED lights is an affordable option. The £228 CNR480C has an external head diameter of 45.6cm and internal diameter of 30.5cm, allowing it to give a soft, diffused, continuous light source suitable for portraits, close-ups and product photography. It features 480 LEDs, stepless brightness, colour temperature control of 3200-5600K and a maximum power output of 48W. It comes with a smartphone clamp and mirror that mounts in the centre, making it ideal for make-up, while a £24 optional bracket securely mounts the camera in the centre of the ring light on a light stand. The £264 NanGuang CNR640 is larger, with a 59cm diameter light head, 640 LEDs, daylight 5600K colour temperature, stepless dimmer control and 38.4W power rating. www.kenro.co.uk

LIGHTITUPWITHLUME THE LUME CUBE is a powerful, portable LED light that works as either an external flash or a continuous light. It has a colour temperature of 6000K, the brightness can be adjusted up to 1500 lumens and the rechargeable battery lasts 20 minutes at full brightness and over two hours at 50%. The Lume Cube app lets you control flash, duration and brightness of multiple cubes on Apple or Android and can be used as a slave for your DSLR. Waterproof to 100ft, it features a tripod mount and optional accessories are available. A single cube costs £90, a twin-pack £170 and a quad-pack £330. www.intro2020.co.uk

POCKETPOWER FROMMETZ MetzhasreleasedtheM400,acompactflashgun designedformirrorlesscamerasbutsuitablefor anyonelookingforasmallmodel.Itsportsa swivelhead,aGuideNumberof40(ISO100,m) atthemaximumendofits24-105mmzoomhead, adjustableLEDvideo/modellinglight,bounce cardandintegratedwide-anglediffuser.With certaincameras,themaster/slavefunctionalso giveswirelessTTLcontrol.Availablenow,it’s availableforCanon,Nikon,MicroFour-Thirds, Pentax,SonyandFujiusersandcosts£122. www.intro2020.co.uk

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MANFROTTO ADDS COLOR Manfrotto’sBefreerange ofaluminiumtravel tripodsarenowavailable infourdifferentcolour combinations:red,grey, blueandgreen.TheBefree Colorsupportsaloadof4kg, extendstoaheightof144cm fromastoredheightof41cm, usesrubberfeettoprovideadditionalgripandhas analuminiumhookunderthecolumntoadda weightforincreasedstability.Availablenow,the BefreeColorcosts£140. www.manfrotto.co.uk

February 2017 Digital SLR Photography 99


Gear

/ Long-term test

Canon EoS 6D

Ifyouthoughtallfull-frameDSLRs wereexpensive,bulkybeaststhen you'dbewrong.DanielLezanoreveals whythisrelativeveteranstillrepresents agreatoptionforgeneralphotography Test: DaniEl lEzano

SpecificationS GuidePrice:£1,350(body-only) ImageSensor:Full-frameCMOS(36x24mm) Resolution:20.2-megapixels Maximumimageresolution:5472x3648pixels AFsystem:11-point(centralcross-type) Metering:63-zoneDualLayerSPC Meteringmodes:Evaluative,Partial(8%), Spot(3.5%)andcentre-weighted ISOrange:100-25600(expandsto50-102400) Shutterspeeds:1/4000sec-30seconds&Bulb Framerate:4.5frames-per-second Storage:SD(SDHC/SDXC) Size:144.5x110.5x71.2mm Weight:755g(includingbattery&card) Website:www.canon.co.uk

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ith a DozEn DSlRs in its EoS range (as well as a couple of mirrorless models), Canon is heavily invested in the interchangeable-lens camera market. and with so many options, ranging from the budget aPS-C EoS 1300D to the 50.6-megapixel EoS 5D S, prospective Canon users are spoilt for choice. So it may be surprising to know that given the option of any model to use for a long-term test, i opted for the three-year-old Canon EoS 6D. this DSlR is a veteran in the Canon ranks and is the only full-frame model to be placed by Canon in its enthusiast-level range, (between the EoS 80D and EoS 7D Mk ii), rather than being classed as one of its prestigious professional set. this fact – along with its age – shouldn't put you off considering it, as having used it regularly for months in a wide variety of situations, i can confirm it still has much to offer. When it originally launched in early 2013, the EoS 6D cost £1,800 body-only and its main competition was nikon's D600 and D700, and the Sony alpha 99. Since then, the market has become even more crowded, with several newer full-frame options competing against it, including the highly capable nikon D750. the EoS 6D now costs around £1,350 (£1,250 if you include the current £100 cashback), giving it the advantage of being the cheapest full-frame model on the market. on the flip side, being one of the oldest amongst its peers means its specification lags behind rivals. the question is: by how much?

100 Digital slr Photography February 2017

Aneatpackage:Thethree-year-oldCanon EOS6Dboastsafull-framesensorandasolidset offeatures,makingitgreatvalue,ifalittledated.

Well, the Canon's handling is as favourable today as it was at launch. the robust feel of its body and relatively compact size means it's as suitable for travel as many aPS-C models, whilst its very neat control layout is as beginner-friendly as a highly-specified model could be. Canon has refined its controls over the years and i for one find the set-up extremely logical and easy to use. if you're moving up from an aPS-C Canon model, you'll feel instantly at home. Buttons for a number of the key functions, like iSo, metering patterns and aF modes are found by the info lCD panel on the top plate, while the Q button on the rear allows you to rapidly change various other modes via the rear lCD monitor and the four-way control. also on the rear is a large control dial, which allows for very fast changes of variables such as aperture or exposure compensation. Press the Menu button to get to the depth of the camera's features, with the clean menu system allowing access to an extensive range of options. Despite being three years old, the resolution of the 20.2-megapixel sensor still stands up well to newer models. Certainly, i've never looked at any of the images i've shot on the camera and thought that the quality was inferior. Far from it, the EoS 6D's images boast excellent sharpness, colour reproduction and contrast. it also handles noise extremely well, so you can use it at up to iSo 1600 without any major concerns. the Evaluative metering system is very consistent, so much so that i rarely switch to an alternative. When some adjustment is needed, the aE-lock button and rear dial are conveniently within easy reach. the lack of a built-in flash isn't a big deal

for me either, as when using flash i prefer to do so off-camera. For those wanting decent flash control, you'll find the Canon's menu system offers plenty of options. Where the Canon does show its age is in the autofocus department. the EoS 6D sports only 11 aF points, with just the one cross-type sensor, located at the centre. With my main interests being portraits and close-ups, i didn't find this particularly limiting, but it's certainly something to note as the majority of cameras boast far more aF points. While the aF is fast and accurate for general use, it's not so good at tracking subjects, which along with the relatively slow 4.5fps shooting rate, means it's not such a great option for tracking wildlife and action. and, while the liveView aF is good, it's still slow and erratic compared to rivals. the EoS 6D was one of the first models with integral Wi-Fi, with an app providing remote control of functions. While it can work oK, i do find it a tad glitchy at times. at launch, the Full hD capabilities of the EoS 6D was on a par with rivals, but since then, 4K has become far more prominent. this, along with the mono mic and lack of headphone jack means this won't be the first choice for dedicated videographers.

concluSion There are many newer and better specified cameras on the market, boasting a wider range of features and better overall performance. But there isn't a full-frame model as affordable as the EOS 6D, which, despite its age, still delivers great results. If you do consider buying one, keep an eye out for a further price drop, as it wouldn't be a surprise if a Mark II arrives soon.


Imagequality:(Top)WhiletheAFsystem maybeatadbasicbytoday’sstandards,it hasnoproblemlockingonstaticorslow subjects.(Below)TheEOS6Disperfectfor portraits,recordingahighlevelofdetail, withlownoiseandexcellenttonalrange.


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0% or Low Interest Finance

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Nikon D5 DSLR body - 12 Months 0% Finance Until 31st Jan 2017 ............................................................................................ £5,149.00 Nikon D810A (Astrophotography) DSLR body.................... £2,999.00 Nikon D810 DSLR body...................................................... £2,375.00 Nikon D810 + MB-D12 Grip Kit........................................... £2,649.00 Nikon D810 + AF-S 14-24mm f/2.8G ED Nikkor................. £3,899.00 Nikon D810 + AF-S 24-70mm f/2.8G ED Nikkor................. £3,649.00 Nikon D810 + AF-S 14-24mm f/2.8G & AF-S 24-70mm f/2.8G ED Nikkor Kit............................................................................. £5,199.00 Nikon MB-D12 Grip for D810.............................................. £299.00 Nikon D750 DSLR body...................................................... £1,649.00 Nikon D750 + MB-D16 grip Kit............................................ £1,845.00 Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit........... £2,089.00 Nikon D750 + AF-S 24-120mm f/4G ED VR Kit.................. £2,285.00 Nikon D610 DSLR body...................................................... £1,289.00 Nikon D610 + MB-D14 Grip Kit........................................... £1,449.00 Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor..... £1,669.00 MB-D14 Grip for D610........................................................ £209.00 Nikon D500 DSLR body - £150 Trade In Bonus until 31st Jan 2017 ............................................................................................ £1,699.00 Nikon D500 + 16-80mm f/2.8-4E ED.................................. £2,470.00 Nikon MB-D17 grip for D500............................................... £349.00 Nikon D7200 DSLR body.................................................... £829.00 Nikon D7200 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... £999.00 Nikon D7200 + MB-D15 Grip Kit........................................ £1,045.00 Nikon D7100 DSLR body.................................................... £689.00 Nikon D7100 + MB-D15 Grip Kit......................................... £869.00 Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... £849.00 Nikon D7100 + 18-140mm f/3.5-5.6G VR DX ED Kit.......... £1,095.00 Nikon D5500 body only....................................................... £549.00 Nikon D5500 body + AF-P 18-55mm f/3.5-5.6G VR DX Kit...... £619.00 Nikon D5500 AF-S 18-140mm f/3.5-5.6G VR DX Kit.......... £799.00 Nikon D5300 DSLR body.................................................... £419.00 Nikon D5300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £495.00 Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit....... £665.00 Nikon D5200 DSLR body.................................................... £299.00 Nikon D5200 + AF-S 18-55mm f/3.5-5.6G VRII DX Kit....... £369.00 Nikon D3400 DSLR body.................................................... £349.00 Nikon D3400 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £439.00 Nikon D3300 DSLR body.................................................... £279.00 Nikon D3300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £349.00 Nikon Df + AF-S 50mm f/1.8G Special Edition.................... £2,195.00 Nikon Df DSLR body, chrome or black finish..................... £1,995.00 Nikon Df + AF-S 50mm f/1.8G SPECIAL GOLD Edition..... £5,000.00

Nikon 1 System

Nikon 1 V3 10-30mm + Grip Kit.......................................... Nikon 1 AW1 + 11-27.5mm f/3.5-5.6................................... Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8............. Nikon 1 J5 + 10-30mm PD Zoom lens, black...................... Nikkor VR 6.7-13mm f/3.5-5.6............................................ Nikkor VR 11-27.5mm f/3.5-5.6........................................... Nikkor VR 10-30mm f/3.5-5.6............................................. Nikkor VR 30-110mm f/3.8-5.6............................................ 1 Nikkor VR 70-300mm f/4.5-5.6........................................ 1 Nikkor AW 10mm f/2.8..................................................... f/2.8............................................ 1 Nikkor 10mm f/2.8............................................................ f/1.8.......................................... 1 Nikkor 18.5mm f/1.8......................................................... f/1.2............................................ 1 Nikkor 32mm f/1.2............................................................ 1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ Nikon SB-N7 Speedlight......................................... Speedlight..................................................... Nikon GP-N100 GPS Unit......................................... Unit................................................... FT1.............................................. Mount adapter FT1.............................................................

Nikon n Coolpix Coo

Nikon Coolpix A...................................................................

£795.00 £549.00 £695.00 £345.00 £375.00 £149.00 £225.00 £179.00 £745.00 £245.00 £179.00 £145.00 £599.00 £529.00 £119.00 £99.00 £199.00 £849.00

AF-S & AF DX Nikkor N Lenses

10.5mm f/2.8G AF DX ED Fisheye..................................... £559.00 AF-S 35mm f/1.8G DX........................................................ £159.00 AF-S 10-24mm f/3.5-4.5G IF-ED DX.................................. £689.00 AF-S 12-24mm f/4G IF-ED DX........................................... £939.00 AF-S 16-80mm f/2.8-4E ED VR DX.................................... £839.00 AF-S 16-85mm f/3.5-5.6G ED VR DX................................. £525.00 AF-S 17-55mm f/2.8G DX IF-ED......................................... £1,225.00 AF-P 18-55mm f/3.5-5.6G VR DX....................................... £199.00 AF-P 18-55mm f/3.5-5.6G DX............................................. £149.00 AF-S 18-55mm f/3.5-5.6G VRII ED DX............................... £149.00 AF-S 18-105mm f/3.5-5.6G VR DX IF-ED.......................... £225.00 AF-S 18-140mm f/3.5-5.6G VR DX ED............................... £445.00 AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED....................... £595.00 AF-S 18-300mm f/3.5-5.6G ED VR DX............................... £795.00 AF-S 18-300mm f/3.5-6.3G ED VR DX............................... £575.00 AF-S 55-200mm f/4-5.6G DX ED VR II............................... £229.00 AF-S 55-300mm f/4.5-5.6G DX VR..................................... £289.00 AF-P 70-300mm f/4.5-6.3G ED VR DX............................... £299.00 AF-P 70-300mm f/4.5-6.3G ED........................................... £259.00

Prices include 20% VAT. Prices Subject to Change. E.&O.E.

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm

AF FX Nikkor Lenses

14mm f/2.8D AF ED............................................................ 16mm f/2.8D AF Fisheye.................................................... 20mm f/2.8D AF.................................................................. 24mm f/2.8D AF.................................................................. 28mm f/2.8D AF.................................................................. 35mm f/2D AF..................................................................... 50mm f/1.8D AF.................................................................. 50mm f/1.4D AF.................................................................. 105mm f/2D AF-DC............................................................ 135mm f/2D AF-DC............................................................ 180mm f2.8D AF IF-ED......................................................

£1,270.00 £625.00 £469.00 £375.00 £249.00 £255.00 £109.00 £249.00 £825.00 £1,009.00 £699.00

AF-S FX Silent Wave Nikkor Lenses

AF-S 20mm f/1.8G ED........................................................ £635.00 AF-S 24mm f/1.8G.............................................................. £599.00 AF-S 24mm f/1.4G ED........................................................ £1,775.00 AF-S 28mm f/1.8G.............................................................. £485.00 AF-S 35mm f/1.4G.............................................................. £1,489.00 AF-S 35mm f/1.8G ED........................................................ £415.00 AF-S 50mm f/1.4G IF.......................................................... £365.00 AF-S 50mm f/1.8G ............................................................. £179.00 AF-S 58mm f/1.4G.............................................................. £1,325.00 AF-S 85mm f/1.8G.............................................................. £399.00 AF-S 85mm f/1.4G.............................................................. £1,290.00 AF-S 105mm f/1.4E ED..................................................... £1,825.00 AF-S 14-24mm f/2.8G IF-ED.............................................. £1,545.00 AF-S 16-35mm f/4G ED VR............................................... £939.00 AF-S 17-35mm f/2.8D IF-ED.............................................. £1,399.00 AF-S 18-35mm f/3.5-4.5G.................................................. £585.00 AF-S 24-70mm f/2.8G IF-ED.............................................. £1,375.00 AF-S 24-70mm f/2.8E ED VR............................................ £1,799.00 AF-S 24-85mm f/3.5-4.5G ED VR...................................... £409.00 AF-S 24-120mm f/4G ED VRII........................................... £839.00 AF-S 28-300mm f/3.5-5.6G ED VR.................................... £739.00 AF-S 70–200mm f/2.8E FL ED VR.................................... £2,649.00 AF-S 70-200mm f/2.8G VR II IF-ED................................... £1,849.00 AF-S 70-200mm f/4G VR IF-ED......................................... £989.00 AF-S 70-300mm f/4.5-5.6G VR IF-ED................................ £469.00 AF-S 80-400mm f/4.5-5.6G VRII ED.................................. £1,939.00 AF-S 200-400mm f/4G VRII IF-ED..................................... £5,350.00 AF-S 200-500mm f/5.6E VR ED......................................... £1,125.00 AF-S 200mm f/2G VR II IF-ED........................................... £4,495.00 AF-S 300mm f/4E PF ED VR............................................. £1,425.00 AF-S 300mm f/2.8G VR II IF-ED........................................ £4,190.00 AF-S 400mm f/2.8E VR FL ED........................................... £9,450.00 AF-S 500mm f/4E FL ED VR.............................................. £7,990.00 AF-S 600mm f/4E FL ED VR.............................................. £9,635.00 AF-S 800mm f/5.6E VR FL ED (inc. TC-800-1.25E ED teleconverter) ...................................................................................... £13,985.00 TC-14E III 1.4x teleconverter.............................................. £390.00 TC-17E II 1.7x teleconverter............................................... £339.00 TC-20E III 2x teleconverter................................................. £369.00

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

Nikon Speedlights

SB-5000 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...............................

£225.00 £399.00 £469.00 £415.00 £679.00 £1,190.00 £459.00 £229.00 £179.00 £95.00 £545.00 £399.00 £265.00 £149.00

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 £855.00

Special Purpose: Perspective Control & Micro-Nikkor Lenses

24mm f/3.5D PC-E ED Nikkor............................................ £1,445.00 28mm f/3.5 PC Nikkor......................................................... £1,195.00 45mm f/2.8D ED PC-E Nikkor............................................ £1,379.00 85mm f/2.8D ED PC-E Nikkor............................................ £1,279.00 105mm f/2.8 Micro-Nikkor................................................... £1,047.00 200mm f/4 Micro-Nikkor...................................................... £895.00 PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control

TO ORDER TELEPHONE 020-7828 4925

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The New Nikon

£150 TRADE IN BONUS WHEN YOU TRADE IN ANY DSLR OR CSC IN GOOD WORKING ORDER FOR A NEW NIKON D500. THIS OFFER IS VALID UNTIL 31ST JANUARY 2017. Flagship power—DX agility. Go further with the D500 Key features include:  New 20.9mp DX format sensor.  153 Autofocus point system with 99 cross-type AF sensors.  Up to 10 frames per second in Continuous High speed shooting mode.  200 NEF (RAW) file capacity buffer allowing for never before possible continuous shooting capabilities.  A standard ISO range of 100 to 51,200, extendable up to 1,640,000 ISO equivalent.  Thanks to a brand new EXPEED 5 processor one can shoot at high ISOs with low noise.  A new 2359k-dot LCD touch screen which offers touch operation in review and Live View modes.

Find us on Facebook: www.facebook.com/graysofwestminster

 4K/UHD high definition D-Movies (3840x2160 pixels) can be recorded at 30p/25p/24p as well as 50p and 60p in (full HD) 1080p, and the camera offers clean HDMI output in all qualities.  Fitted with XQD and SDHC card slots as standard to handle the camera’s 200 RAW file frame bursts.  Compatibility with Nikon’s new wireless SnapBridge technology which allows for seamless viewing and sharing of photos to a smart device, even while the camera is switched off.

Nikon D500 DSLR Body £1,699.00 inc. VAT

ORDER YOUR D500 TODAY

020-7828 4925

Visit our website: www.graysofwestminster.co.uk


Gear/ Messenger Bags

MESSENGER BAGS THEYAREFASHIONABLEFORSURE,BUT MESSENGERBAGSAREALSOPRACTICAL ANDCOMFORTABLE.WEREVIEWANDRATE EIGHTBAGS,FROMSIXLEADINGBRANDS, ATPRICESRANGINGFROM£60TO£180

Test: RICHARD HOPKINS

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ESSENGER BAGS ORIGINATED as delivery bags used by newspaper boys. They had a big fold-over front flap and a flattish profile, with the strap worn over your head on the opposite shoulder, and then slung around your back to centralise and spread the load. Many of today's laptop and workaday bags have adopted this comfortable and efficient style – and camera bags too, with a few design tweaks along the way. One popular change is to add front pockets, gusseted and padded, for more accommodation and better access to larger accessories. And in much the same vein, side pockets are also handy, some more than others. These vary from basic elasticated netting for a drinks bottle to much more useful zipped and gusseted pockets that can take quite substantial items like a flashgun, at least occasionally. If you only have smaller accessories, like spare cards and batteries or maybe a couple of filters, then they will slip neatly inside much narrower slot-pouches. This helps keep the bag profile slim for easier navigation through crowds and doorways. Almost all bags have a padded slot for a laptop and/or tablet. Laptops tend to quote the length of the screen diagonal as a size reference, but it's not an accurate guide to full dimensions, so be sure to check. Good shoulder straps are adjustable at both ends, so you can better position the buckles for left- and right-sided use, and allow the shoulder pad to slide freely when you sling the bag around to your back. The best shoulder pads are both grippy and also breathable, so they don't get sticky in warm weather. A recently popular feature is a removable main compartment that simply pulls out, complete with all your camera gear (but leaving the laptop slot behind), for instant conversion into a general leisure or work bag. The dual-purpose functionality is certainly appealing and comes without any major downside, apart from a very slight reduction in total capacity. All these bags are capable of efficient accommodation of a typical three-lens outfit, and often more. The difference is mostly in the details, the smaller differences that turn a good bag into a great bag, safely transporting all your bits and bobs with everything readily to hand. For more details, see the section on Features To Look For.

104 Digital SLR Photography February 2017


MessengerBags\

Gear

HOWWE DIDTHETESTS Forourtestsweusedathree-lensoutfit–aCanon EOS5DMkIIIwithEF24-105mmf/4LISlens,plus EF17-40mmf/4LandEF70-200mmf/4LIS.Dimensions givenarethosequotedbymanufacturers,withthecapacity simplyWxHxDofthemaincompartment,convertedtolitres. Manufacturers'figurescansometimesbemisleading,with thingslikeinteriorsizegivenwithoutremovable compartmentsinplaceandweightsquotedwithall removableitemstakenout.Significantdeviationsare noted.Forratings,dual-purposebagswerejudged primarilyascamerabags,withsecondary rolesnoted,butconsideredmoreof abonusoverall.

February 2017 Digital SLR Photography 105


Gear/ Messenger Bags FEATURES TO LOOK FOR

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N ADDITION TO the main points covered in the introduction, there are a number of additional features to consider when buying a bag, depending on your needs. Grab-handles are useful, particularly those that carry the weight over the centre for good balance, and the type that run along the length of the bag can usually be positioned either inside or outside the cover flap so they can be used with the bag open, while you're working. Make sure the bag will stand upright when loaded and not topple over. Direct-access zips through the top are handy, provided they're long enough to open wide so you can actually get your hand inside and pull out larger items without a struggle. Most bags have a raincover. The cottonbased canvas used for a lot of messenger bags has water-repellent coating and a waterproof internal lining, but if you get caught in a real downpour some water may soak in and take a while to dry. The downside to raincovers is that you can't use the bag when they're in place. The Tenbas here have a new type of Quiet Velcro, originally developed for the military. It's not the same as Velcro silencer flaps, effective though they are, that simply disable it. Quiet Velcro sticks just like the ordinary stuff, but instead of ripping apart with that loud tearing noise, you first pull down slightly to disengage the specially designed little hooks and it then comes away quietly. It's been dubbed 'Vicar-friendly Velcro'!

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ANATOMY:MESSENGERBAGS 1)Pull-outcompartment:Convertsfromcamerabagto generalleisurebagwhileretaininglaptopcompartment. 2)Raincover:Protectsagainstpersistentrainthatcan soakintocotton-canvas.Youcan'tusethebagwithiton. 3)Sidepockets:Gussetedsidepockets,eitherelasticated orzipped,andbigenoughforaflashgun,canmakeabig differencetototalstoragecapacity. 4)Frontpockets:Extraspaceforaccessories,easily accessible,andusuallypadded. 5)Frontslotpouches:Foraccessorieslikebatteries,cards andfilters,plusquickaccesstotraveldocuments. 6)Directaccesszip:Directtopaccess.Reallyusefulif largeenough,andcontentsarepositionedaccordingly. 7)Shoulderpad:Bothgrippyandbreathableisgood,soit doesn'tstickinwarmerweather,andslidingonastrap adjustableatbothendsforpositioningoptions.

8)Interiordividers:Themorethemerrier,andofdifferent sizes,tomakebestuseofthespace. 9)Grabhandle:Veryuseful,preferablypositionedinthe centreforgoodbalance.Grab-strapsrunningalongthe lengthcanbeusedwiththebagopenorclosed. 10)Documentspocket:Alarge,flatslotforA4papers, magazinesandtraveldocumentsetc. 11)QuietVelcro:ItsticksjustlikenormalVelcro,but whisper-quiet.Pulldownbeforepullingout,anditcomes apartalmostcompletelysilently. ClipsorVelcroclosures:Messengerbagscanhaveeither, orboth.Personalchoicereally. Velcrosilencers:Adjustabletabstoreduceoreliminate therippingnoise.ThenewQuietVelcroisanotheroption. Trolleysleeve:Asleeveorstrapthat allowsthebagtobe hookedoverthehandleofarollersuitcase. Laptopslot:Extraprotectionforalaptopand/ortablet. Sizeestimatesvary,sobesuretodouble-check.

CullmannSydneyProMaxima425+ Cullmann Sydney Pro Maxima 425+ StreetPrice:£60 Overallsize(WxHxD):36x28x17cm Maincompartment:35x23x11cm Capacity:Ninelitres Weight:1.05kg Website:www.intro2020.co.uk

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TRICTLY SPEAKING, THIS is not quite a messenger bag, lacking the hallmark fold-over flap, but it offers a good deal of well organised storage at an attractive price. BEST Access to the main compartment is FEATURE through a full-length waterproof zip and Main compartment the flaps fold out of the way. All the zips pulls out quicklyand have large easy-pull rings attached. With easilyforconversion some expansion of the flexible sides, into a leisure bag there's well cushioned accommodation for a DSLR and three lenses, and the padded compartment simply lifts out for conversion into a general leisure or work bag, while leaving the 13in laptop slot intact. There's a little space available between the pull-out compartment and the outer bag, with organiser pockets. The front has a large zipped pocket, ideal for an iPad or flashgun, plus another document slot on the rear. There's a zipped side pocket for filters and batteries on one side, and a stretch pocket for a drink on the other. A rain cover pulls out from above the waterproof base, and on top there are two well positioned grab-handles that can also drop over the handle of a trolley suitcase. The shoulder strap is not as adjustable as some.

106 Digital SLR Photography February 2017

VERDICT A functional bag with sufficient storage for a typical outfit, offering good protection and convenient access, with easy conversion for general leisure or work use. Build quality Features Performance Value

Overall


MessengerBags\

Gear

ManfrottoStreetMessengerL StreetPrice:£80 Overallsize(WxHxD):37x28x18cm Maincompartment:36x26x16cm Capacity:15litres Weight:0.95kg Website:www.manfrotto.co.uk

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ANFROTTO'S STREET SERIES of bags and backpacks is unashamedly fashion-inspired – the actual design is quite straightforward. Inside the roomy main compartment is a sewn-in 13in laptop slot and a separate BEST padded and zipped camo-coloured FEATURE camera module of about 3.5 litre Street-inspired style capacity. This will take a DSLR with in armygreenwith standard zoom and a small prime tucked cool camo-coloured underneath, but not much more. It fills internal lining about two-thirds of the main

compartment width, so there's plenty more space for other items, though they'll need individual wrapping for protection. With the module lifted out, the whole main compartment is available for general leisure gear. In front, there's a zipped and flashgun gusseted pocket to take something like a fl ashgun at the bottom and a fair amount of smaller accessories in the organiser pouches, though it's unpadded and unlined. Another very large pocket on the front flap, zipped and camo-lined, can take a telezoom or similar, and there's a document slot on the back. There's a handy direct access zip on top, a grabhandle, and waterproof base – but no side pockets.

VERDICT More of a dual-purpose leisure and workaday bag, with a modest amount of dedicated and protected camera storage. Decently made, with a nice style. Build quality Features Performance Value

Overall

ManfrottoBeFreeMessenger StreetPrice:£100 Overallsize(WxHxD):44x30x18cm Maincompartment:42x29x15cm Capacity:18litres Weight:1.2kg Website:www.manfrotto.co.uk

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ERE'S A CAVERNOUS 18 litres of storage. Apart from the obvious storage benefit, an advantage of bigger bags is that, when lightly loaded, everything is easier to get at. BEST FEATURE The design is dominated by the large fold-over front flap, plus side attachment Space, space and more clips. It can get in the way a bit, but offers space. It's the biggest bag on test bysome good weather protection (raincover included) distance and the side clips act as compression straps, pulling the whole bag together for a more fitt and slimmer profi profile. flap secure fi le. The fl ap has a large front pocket, and a direct-access zip on top. Inside, there's a 15in laptop slot (and another one on the back) and two mesh pockets. Two zipped side pockets are big enough to take most flashguns, flashguns, and another large zipped pocket on the front has internal organisers. On the front/bottom, an innovative 'tunnel' folds out to take a small tripod, with the head and feet protruding out at either end, secured with elasticated ties. It's nicely padded and also makes a cosy home for a telezoom. The exterior is waterrepellent nylon with a smooth finish so the bag slides around your body easily, but equally, it can slide off your back when cycling.

VERDICT Lots of storage, lots of good pockets and not so much money. The large fl ap can flap sometimes be awkward, though the long top access zip helps speedy access. Build quality Features Performance Value

Overall

February 2017 Digital SLR Photography 107


MessengerBags\

Gear

TenbaMessengerDNA15Slim StreetPrice:£120 Overallsize(WxHxD):41x28x13cm Maincompartment:38x25x10cm Capacity:Ninelitres Weight:1.5kg Website:eu.macgroupus.com

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ENBA'S DNA RANGE includes sizes 8, 11, 13 and 15, plus Slim versions of the 13 and this 15 Slim. Made of weather-resistant synthetic canvas and available in four classy dark-toned BEST colours, they're wider and taller than most, FEATURE but not so deep, with slimmer front slots Direct-access zip runs instead of more accommodating gusseted the full length ofthe pockets. The DNA's layout is ideal for top – big enough to wearing over your back and there's a be reallyuseful secondary strap that clips underarm for extra security when cycling. The actual camera compartment has a seven litre capacity, and pulls out to create a dual-purpose leisure bag, leaving the sewn-in 15in laptop and iPad slots intact. There's just enough space for a DSLR and three lenses, though the 9cm depth is tight. There's plenty of give in the flexible flexible walls though, and the Velcro'd partitions can facilitate some expansion. A handy direct-access zip runs the full length of the top, and the main flap is secured with easy magnetic clips, plus that excellent new military-spec Quiet Velcro. There are lots of secondary pockets, and though slender and unpadded, most of them are large with organiser slots.

VERDICT The DNA's flatter profile gives excellent comfort and security on your back, though the extra depth of the non-Slim versions is better suited to larger cameras. Build quality Features Performance Value

Overall

LoweproStreetLineSH180 StreetPrice:£130 Overallsize(WxHxD):42x36x14cm Maincompartment:39x34x12cm Capacity:16litres Weight:0.8kg(1.05kgastested) Website:www.daymen.com

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OWEPRO'S FOUR-STRONG StreetLine range includes this messenger bag, finished in soft graphite-grey poly-cotton canvas. The design emphasis is on a slim profile for BEST progress through crowds, and also as a FEATURE dual-purpose workaday or leisure bag Streamlined profile where the internal dividers simply fold helps make good back out of the way (but leaving the 13in progress through laptop and iPad slots in place). In fact the bustling crowds whole bag can flattened down to almost nothing for stowing in a suitcase. The interior dividers hinge out to form just one or two fixed compartments. It's not the most versatile, but that's actually all you need for a DSLR and standard zoom in the middle, a telezoom on one side, and a wide zoom in the vacant area on the other. There's room for more if it's separately wrapped for protection. Three front pockets can each take a flash-sized flash-sized item, though this ruins the slim profile. profile. There's one small side pocket for a drink, a rear panel for comfort on your back, and a good handle. Lowepro has paid close attention to weather-protection with water-resistant fabric and zips, rain flaps and a waterproof base.

VERDICT Slender style suits a multi-purpose city bag, and it's surprisingly uncompromising for a typical three-lens camera outfit. Nice quality fabric and finish. Build quality Features Performance Value

Overall

February 2017 Digital SLR Photography 109


Gear/ Messenger Bags TamracApache6.2 StreetPrice:£130 Overallsize(WxHxD):36x24x13cm Maincompartment:33x22x13cm Capacity:Ninelitres Weight:0.8kg(1kgastested) Website:www.intro2020.co.uk

T

HE 6.2 MODEL may be the largest Tamrac Apache but it's slightly smaller than most other bags here. Yet it still packs a lot of storage space beneath the rich brown canvas, with practical layout and a generous number of BEST FEATURE good size pockets and pouches. For starters, there's a large zipped pouch Elasticated and outside the front that'll take a flashgun or gusseted side pockets greatlyexpand the similar. The front flap is secured by Velcro storage options (with silencers), opening up to reveal a full-width front pocket and inside there's another zipped pocket and organiser slots. The main compartment looks slightly tight on the depth, but the soft fabric has plenty of give to accommodate a DSLR and three lenses, with lots of dividers supplied. Along the back is a padded slot for an iPad Pro or 11in laptop. On the rear is a documents slot and each end has elasticated and gusseted pockets that can easily take a flashgun or drinks bottle. So actually, a lot of usable storage and some quality touches like the waterproof base (and separate raincover), the tethers to prevent the cover flap dragging in the dirt and the grippy shoulder pad that slides on the strap or can be taken off.

VERDICT A deceptively compact and quality made bag that can take on quite a load, thanks to good design that makes full use of every storage opportunity. Build quality Features Performance Value

Overall

ThinkTankPhotoRetrospective7 Think Tank Photo Retrospective 7 StreetPrice:£140 Overallsize(WxHxD):34x24x18cm Maincompartment:32x22x13cm Capacity:Ninelitres Weight:1.4kg Website:www.thinktankphoto.com

T

HINK TANK'S RETROSPECTIVE range pretty much reinvented the messenger style with soft fabrics and un-camera-bag looks, and Retrospectives now come in several sizes and BEST colours. The cotton canvas is weatherproofed FEATURE with a PU coating inside to keep your gear dry, Most stylish messenger though the fabric can get wet in a downpour bag in pinestone, (separate raincover provided). The black sandstone, black, blue version is 100% polyester and more rain slate orleather resistant. The layout is straightforward with a big front flap secured by Velcro with silencers. It folds right back to reveal the main compartment with plentiful Velcro'd dividers, plus a roomy accessories pouch in front and a zipped documents pocket at the back. A handy grab strap, adjustable and removable, runs down the middle. In front of the main compartment is a very large and deep-gusseted pocket with ample room for both a spare camera body and flash. It's unpadded though the lined canvas offers some protection. On the back is a padded and zipped slot for a 12in laptop. Downsides are the small and hard to access side pockets and the main flap that hangs open so low it can get dirty dragging on the ground.

110 Digital SLR Photography February 2017

VERDICT A modern classic and still a great bag with its bohemian good looks and plentiful accommodation, but now facing strong competition in the premium sector. Build quality Features Performance Value

Overall


MessengerBags\

Gear

TenbaCooper13DSLR StreetPrice:£180 Overallsize(WxHxD):37x27x17cm Maincompartment:34x24x14cm Capacity:11litres Weight:1.3kg(1.5kgastested) Website:eu.macgroupus.com

T

HIS IS THE second largest bag in the Cooper range. Full of features and superbly fi finished nished in dark grey poly-cotton canvas with waterproof leather base and trims, they're beautifully soft and tactile. All external BEST FEATURE surfaces are weather-proofed, and there's a separate raincover. Kit is held in a Military-spec Quiet pull-out compartment (leaving a classy Velcro is cleverstuff. general purpose shoulder bag) of about Easy, secure – and reallyquiet! an eight litre capacity – enough for a DSLR and three lenses with good extra storage in the gusseted front pockets, a large zipped pouch in the front flap, a documents slot, and rear slot for a 13in laptop. The end pockets are unusually useful, with zipped gussets that expand to take a flash, flash, extra lens or drink. The camera compartment has a secondary zipped cover for protection and security, which can be folded completely out of the way. Other notable features include a directaccess zip in the top, a handy leather trimmed grab strap (detachable) that runs down the middle, accessory attachment loops on the sides, and those cunning Quiet Velcro closures that open silently when you pull them down and outwards.

MANFROTTO BEFREE MESSENGER

Conclusion

A

LL THESE BAGS are capable of transporting and protecting a typical three-lens outfit perfectly well. With the best ones though, it's more about the details that can make such a difference to how they function and feel - and it's those small things that often push the price up. Our pick of the Best Buys is the Tenba Cooper 13 DSLR, coming in at a cool £180. It's full of useful detail touches like the excellent new military-spec Quiet Velcro closures, quick conversion to a general leisure/work bag, and the best

VERDICT A real treat with lots of luxury touches. It looks good, feels great, and works well with versatile storage and access options. But it doesn't come cheap. Build quality Features Performance Value

Overall

TAMRACAPACHE 6.2

TENBACOOPER 13 DSLR

side pockets that substantially expand capacity. The soft poly-cotton canvas with leather accents feels sumptuous. The Tamrac Apache 6.2 is another Best Buy of similar size and layout to the Cooper, in soft chocolate brown canvas. It has a couple less features, but is also usefully cheaper at £130. Our third Best Buy is the Manfrotto BeFree Messenger that offers huge capacity for a keen £100 price. When not filled to the brim though, the bag is able to mould closer to your body in true messenger style, holding position better and spreading the weight. Much the same can be said of the Tenba

Messenger DNA 15 Slim that comes Highly Rated. It holds a little less, costs a bit more at £120, but is a handsome bag in a range of attractively understated colours, and with an underarm strap that cyclists will appreciate. The Lowepro StreetLine SH 180 is an appealing, high quality bag and comes Highly Rated at £130. Its fold-flat dividers work very well at converting quickly to a workaday/leisure holdall, but that does compromise versatility as a dedicated camera bag. And the Think Tank Retrospective 7 is also Highly Rated, having lost none of its uniquely special character over the years.

February 2017 Digital SLR Photography 111


Accessories\

Gear

PlustekOpticFilm120

Scaninyourfilmslidesandnegativesathomewithprofessionalresults Test: JORDAN BUTTERS

SPECIFICATIONS Price:£1,600 Opticalresolution:5300dpi Softwareresolution:10,600dpi Colourdepth:48bit/pixel Connection:USB2.0 Inthebox:Scanner,SilverFastAiStudio8software, calibrationslide,filmholders:35mmfilmstrips, slides,and120/220mmfilm Dimensions:210x374x189mm Website:http://plustek.com/uk/

F

ROM THE OUTSET I’ll say that if you just want to scan in a handful of old holiday snaps, then this is probably overkill. If, however, you’ve a large collection of film slides and negatives and want to retain a professional-level of quality, then you’ll find few better than the Plustek OpticFilm 120 at this price point. Inside the large box you’ll find the scanner, six film holders and one slide holder (which holds up to five slides) as well as the related software and cables. Setting up is easy as pie – simply plug the scanner in, switch it on and connect it up to your computer. The drivers for your PC or Mac

are on the disc, or on Plustek’s website. The bundled software is Silverfast Ai Studio 8, and it’s aimed at both entry-level and advanced users. While you can simply start scanning at the push of a button, it also offers endless parameters that allow you to tweak exposure, contrast and colour, as well as remove dust and scratches, sharpen and reduce grain and noise, before saving the output as a JPE JPEG or uncompressed TIFF format. There are also presets that account for the colour profiles of popular films too. Of course both negatives and positives are supported. Operation of the scanner itself is easy and, thanks to the batch facility, it's quick to use. Simply use the relevant film holder to load in your negatives or slides and gently feed it into the scanner. The film holders are good quality and do a great job of holding the film in place while the scanner works – they’re also easy to load and unload. The software initially performs an index scan, which allows you to make changes to each slide or frame via a preview window. These adjustments are stored and applied to the batch upon final scan, with it typically taking between one and three minutes to complete each run of film, depending on

the output resolution that you select. As you might expect, quality is very high – detail is very good in the resulting files, as is colour and contrast providing you’ve chosen the right settings. The OpticFilm 120 can scan up to an incredible 10,600dpi, if required – the resulting files weigh in at over 420MB each! Obviously this is overkill for most, and thankfully can be adjusted for those without unlimited disk space!

VERDICT Atthisprice,theOpticFilm120isprobablythereserve ofprosorenthusiastswithdeeppocketswhowishto digitisetheirfilmcollections.It’snotasadvanced(or expensive)asthehigh-endscannersusedbylabs,butit’s agreathomesolutionthatoffershighqualityresults.

Overall

YongnuoYN622FlashTransceiver

TTLflashtriggeringandHighSpeedSynconabudget.Toogoodtobetrue? Test: JORDAN BUTTERS

SPECIFICATIONS Price:£60(twinpack) FlashModes:TTL,ManualFlash,Multi-Flash SyncModes:1stCurtain,2ndCurtain,HighSpeedSync WirelessChannels:Seven GroupControl:Threegroups SyncSpeed:1/8000sec Input:Hot-shoe(TTL,maincontact) Output:Hotshoe,PCport. Dimensions:89.5x53x39mm Weight:80g Website:www.hkyongnuo.com/e-aboutus.php

T

HE PRICE-SAVVY amongst you will have probably heard of Yongnuo. The Chinese manufacturer has made a name for itself with incredible value flash kit. I’ve used a set of Yongnuo RF-603 flash triggers for years now. At roughly £20 per pair they’re a no-frills solution to triggering off-camera flash. However, they lack functions that would be useful on location, such as TTL, multiple groups and channels and, crucially, high speed sync. Cue the slightly more expensive, but still reasonably-priced Yongnuo YN622 transceivers. The spec is impressive –

2.4GHz radio, 100m range, seven channels and three groups, TTL control, remote flash compensation control, group power output selection, a TTL pass-through function and high speed sync up to 1/8000sec! Best of all, a pair of transceivers can be had for around £60 via eBay or Amazon. There’s also an optional controller that allows you to set power for each flash remotely, although I’m yet to try this out. Available in two variants – the YN622C (for Canon) and YN622N (for Nikon) are identical in operation. Each unit is powered by two AA batteries – handy as I can use the same rechargeables as in my flashguns. The units are chunky and solid, with a glossblack finish – they are substantially bigger than the RF-603s, but there’s a lot more going on inside. There's also a hotshoe lock – a feature that the RF-603s lacks. An on/ off switch kicks the transceivers into life as they display the channel and group that transceiver is in briefly. Pressing the channel button cycles between the seven channels, and the group/mode button on the opposite side changes the group. There’s also a test button so you can confirm whether the flash is firing, as well as a built-in AF assist beam – nice!

Do they work? Simply – yes, very well! In TTL and manual modes I had no trouble in firing the flash indoor or out. Enabling HSS on the Nikon model is as easy as setting the sync speed to Auto FP on the camera. You then select any shutter speed and away you go. Both small flashguns and a location studioflash had no problem syncing up to 1/8000sec, reliably too – more than can be said for triggers from some major brands!

VERDICT There’snotmuchtogrumbleabouthere –remoteTTLflashwithcontrol, multi-channeltriggeringandreliablehigh speedsync!Theonlyslightdownsideisthe trigger’sbulkysize,butthisisaminorpoint.

Overall February 2017 Digital SLR Photography 113


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

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

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£499.00

£599.00

£1,099.00

Prices updated DAILY! Visit us in store, online at parkcameras.com or call our expert team on 01444 23 70 58

Tamron SP 24-70mm f/2.8 Di VC USD

Tamron 150-600mm f/5-6.3 Di VC USD G2

NEW! In stock at only

In stock at only

Canon / Nikon fit now in stock!

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

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

Visit our website to learn more about this new lens!

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

Sigma MC-11

In stock at

Available in Black or Silver!

Add a Panasonic DMW-BLG10 battery for only £59.99

CASH BACK!

£779.00

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

SIGMA LENSES

Leica SOFORT NEW!

£5,798.00

£541.00

£749.00

£100

MEGA PIXELS

CASH BACK!

£620.00*

+ 12-32mm

Tamron SP 85mm

Fujifilm X-PRO2

MEGA PIXELS

Body only

£447.00

f/1.8 Di VC USD

Fujifilm X-T1

£100

TAMRON LENSES

3.0” 4K

PANASONIC LENSES

20.3

MEGA PIXELS

MEGA PIXELS

See website for the latest information on availability

MEGA PIXELS

3.0” 4K

IS 3.0”

Panasonic GX8

12.8

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

Fujifilm Fujifi lm X-E2s

3.0”

Spread the cost with our finance options. Learn more at www.parkcameras.com/ap

Panasonic LX100

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

3.0”

MEGA PIXELS

3.0”

£799.00

MEGA PIXELS

Up to £75 cashback available on Olympus Lenses You pay

3.0”

+ 12-60mm

£699.00

16.0

MEGA P I X E L S 10 FPS

CASH BACK!

Body only

Panasonic GX80

20.3

£75

IS

16.0

MEGA PIXELS

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

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

Olympus E-M10 Mark II

Panasonic LUMIX G80

3.0” 4K

IS 3.0”

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

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

Sigma 35mm

Mount Converter

£1,340.00

f/1.4 DG HSM - Canon fit fit

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

In stock at only

In stock at only

In stock at only

Purchase unboxed for only £169.00! Call us on 01444 23 70 58.

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

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

£199.00

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

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

£699.00

£739.00

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

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

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

Lowepro Flipside Trek BP 450 AW

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

For a whole range of tips and tricks and news all all the latest new products, visit blog.parkcameras.com

75

3.0”

15 fps

Family owned & Run

£1

20.4

MEGA PIXELS

Award winning customer service


Tel:

01803 852400 info@mifsuds.com

PHONE LINES OPEN

MON -FRI 8am - 5pm, SAT 9am - 3pm, SUN 10am - 1pm.

Email -

U.K. Stock Only

www.mifsuds.com

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

SHOP OPEN

MON -FRI 9am - 5pm, SAT 9am - 3pm. 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

CHOOSE MIFSUDS FOR... DSLR, Mirrorless, Bridge Cameras

from brands such as Canon, Nikon, Fuji, Panasonic

CHOOSE MIFSUDS FOR... Lenses, Flash, Converters

from brands such as Canon, Nikon, Sigma, Tamron

CHOOSE MIFSUDS FOR... Tripods, Monopods, Heads, Bags

from brands such as Manfrotto, Lowepro,Vanguard

CHOOSE MIFSUDS FOR... Binoculars, Telescopes

from brands such as Opticron, Vanguard, Steiner, Canon, Olympus, Bushnell

CHOOSE MIFSUDS FOR... Filters, Books

from brands such as Hoya, Cokin, Sigma, Kenko

For latest pricing please take a look at our website,

ww.mifsuds.com but for great advice please ring or visit us

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Open 7 Days Per Week. Prices Inc VAT - Correct 14/12/2016. P&P Extra. E&OE. FULL PRODUCT LISTINGS AVAILABLE ON WEBSITE - UPDATED DAILY. 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 14/12/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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

EOS 5D MKIII body box

£1399/1799

A workhorse full frame camera ideally suited to both amateur and professional users

Used Canon

EOS 1DX body box

£2299/2799

Used Canon

EOS 5D MKIV body box ox

£2899

Used Canon

1D MKIV body box

£1299/1499

Used Canon 5D MKII body

£599/899

Used Canon 16-35 f2.8 USM LII

£899

Used Canon 70-200mm f2.8 LI IS USM

£899

Used Canon

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

£899

Used Canon

300mm f2.8 LI IS USM

£2799

Used Canon 300mm f4 L IS USM box

£849

Used Canon 500mm f4 LI IS USM

£4499

BRONICA ETRS 645 USED 40 F4 MC.............................£149 50 F2.8 E..............................£149 75 F2.8 PE ...........................£149 105 F3.5................................. £99 135 F4 PE M- box.............£249 150 F3.5 E ............................. £99 150 F3.5 PE M- Box..........£149 200 F4.5 PE.........................£199 E14 or E42 ext tube ea..... £49 120 RFH................................. £69 Polaroid Back ...................... £39 AEIII prism ..........................£199 Plain prism ........................... £59 Rotary prism........................ £99 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 SQA + 80 + back + prism £249 40 F4 S .................................£299 50 F3.5 PS ...........................£299 50 F3.5 S..............................£149 110 F4.5 PS macro...........£399 135 F4 PS M-......................£229 150 F3.5 S ............................. £79 150 F4 PS ...................£149/199 180 F4.5 PS.........................£399 200 F4.5 PS M- box .........£199 2x PS converter M-..........£179 135N back ..........................£119 SQA Polaroid back............. £59 SQAi 120 RFH ...................... £79 SQA 120 RFH ....................... £49 SQAi prism late.................£299 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 MKII body............... £4499 1DX body box.....£2299/2799 1D MKIV body.....£1299/1499 1D MKIII body ...................£699 7D body ..............................£499 5D MKIV body box ....... £2899 5D MKIII b/o box£1399/1799 5D MKII body .......................£799 5D MKI body box ...............£499 60D body...............................£399 50D body...............................£299 30D body...............................£129 500D body ............................£199 450D body ............................£149 G3X...........................................£479 EVF-DC1 for G3X ................£169 BG-E2......................................... £39 BG-E2N...................................... £49 BG-E4 box................................ £69 BG-E5......................................... £49 BG-E6......................................... £89 BG-E7......................................... £89 BG-E8......................................... £69 BG-E9 box................................ £79 BG-E11.....£169 BG-E13 ...£119 BG-E16 box ...........................£149 CANON AF USED EOS 1V body M- box ......£699 EOS 3 body M- box .........£299 EOS 1n body......................£149 EOS 30/5 body each......... £69 EOS 650 body ..................... £39 EOS 600 body ..................... £39 EOS 50E/300V body each£29 EOS 500N/1000 b/o each£29 10-18 F4.5/5.6 IS STM.....£159 10-22 F3.5/4.5 U...............£279 16-35 F2.8 USM LII...........£899 16-35 F2.8 USM LI............£749 17-40 F4 L...........................£449 17-55 F2.8 EFS IS USM ...£449 17-85 F4/5.6.......................£199 24 F3.5 TSE MKI box............£749 24-70 F2.8 L USM box........£799 24-85 F3.5/4.5 USM.............£149 24-105 F4 L..............................£599 28 F1.8 USM box..............£259 28 F2.8 .................................£129 28-90 F3.5/5.6 ..................... £79 28-135 F3.5/5.6 IS USM .£199 50 F1.2 L USM box...........£999 50 F1.4 USM.......................£239 50 F2.5 macro ...................£149 55-250 F4/5.6 EFS............£139 60 F2.8 USM EFS mac.....£279 70-200 F2.8 IS USM LI.....£999 70-200 F2.8 USM L ..........£799 70-200 F4 U L ....................£399 70-300 F4/5.6 L IS U£699/849 70-300 F4/5.6 DO IS U....£399 70-300 F4.5/5.6 IS USM .£299 75-300 F4/5.6 MKII ............ £99 85 F1.8 M-...........................£219 100 F2.8 USM box............£319 100-400 F4.5/5.6 L IS U.. £899 135 F2 L M- box................£549

180 F3.5 L mac................... £899 300 F2.8 LI IS U.................£2799 300 F4 L IS USM box........ £849 400 F4 DO ISII L U...........£5799 400 F5.6 L box.................... £799 500 F4 LI IS USM..............£4499 Lifesize converter.................£99 12mm ext tube II box ........£59 25mm ext tube II box ........£99 1.4x extender MKIII .........£279 1.4x extender MKII ..........£239 2x extender MKIII.............£249 2x extender MKII............... £219 2x extender MKI...............£169 Teleplus 2x DG conv......... £89 Kenko ext tube set DG........ £89 PB-E2 drive M- box..........£199 PB-E2 drive fits EOS1/3..£149 SIGMA CAF USED 10-20 F4/5.6 HSM box £219 12-24 F4.5/5.6 EX DG .........£399 17-70 F2.8/4 DC....................£129 18-125 F3.8/5.6 OS DC ....£149 18-200 F3.5/6.3 HSM OS.£149 24-70 F2.8 HSM...................£469 28-135 F3.8/5.6 ..................... £99 50 F1.4 EX DG Art...............£499 50 F1.4 EX DC.......................£249 50 F2.8 EX macro .............. £149 50-500 F4/6.3 EX DG ......£399 70-200 F2.8 EX DG .........£399 105 F2.5 EX DG OS box .£269 120-300 F2.8 DG OS Sport box......................... £1899 120-300 F2.8 EX DG ........£749 120-400 F4/5.6 DG ..........£399 150 F2.8 EX DG OS mac..£499 150-500 F5/6.3 HSM.........£499 150-600 F5/6.3 DG OS.......£999 170-500 F5/6.3 APO DG....£299 180 F3.5 EX DG HSM mac£399 1.4x or 2x EX DG conv ea.£149 1.4x or 2x EX conv ea........... £99 Kenko Pro 300 1.4x conv.... £99 Kenko ext tubes...................... £79 OTHER CAF USED TAM 18-270 F3.5/6.3 VCII £169 TAM 28-75 F2.8 XR Di.....£199 TAM 28-300 F3.5/6.3 PZD £399 TAM 70-300 F4/5.6 .............. £99 TAM 90 F2.8 ..........................£249 TAM 150-600 F5/6.3 USD£649 TAM 200-500 F5/6.3..........£449 CANON FLASH USED ST-E3 transmitter box ....£189 ST-E2 transmitter ............... £79 MR-14EX ringflash...........£349 MT-24EX ringflash ...........£549 380EX..................................... £69 430EXII.................................£169 550EX...................................£149 580EX box ..........................£179 600EX RT box ....................£279 CONTAX 645 AF USED 45 F2.8 .................................£499 CONTAX 35mm AF USED 90 F2.8 .................................£299 CONTAX MF USED 28-70 F3.5/4.5 MM ..........£169 FUJI DIGITAL USED X-Pro2 body box........... £1099 X-T1 body graphite box £499 X-T1 body black.......£449/499 X-T10 body box ................£379 X-E2s body silver..............£369 10-24 F4 ..............................£599 16-55 F2.8 box..................£699 18-55 F2.8/4 XF ................£399 27 F2.8 XF box ..................£199 35 F1.4 R box.....................£399 50-230 F4.5/6.7 XC box .£169 55-200 F3.5/4.8 R.............£449 60 F2.4 macro box...........£429 1.4x converter...................£269 X-T1 vertical grip................ £99 HASSELBLAD XPAN USED Centre filter 49mm................£129 HASSELBLAD 6x6 USED 500C body chrome .........£199 WLF late ..............................£110 WLF chrome late................ £99 WLF early.............................. £49 Sports viewfinder .............. £69 Chimney................................ £89 A12 chrome latest...........£299 A12 late blk/chr................£129 Polaroid back tatty............ £79 50 F4 CF FLE ......................£849 80 F2.8 CF...........................£479 140-280 F5.6 CF................£799 150 F4 chrome serviced£199 250 F5.6 CF ........................£399 Ext tube 21, 55 each......... £39 Vivitar 2x conv .................... £49 Pro shade 6093................... £99 Lens hoods various.....£20/50 LEICA DIGITAL USED Q Typ 116......................... £2999 LEICA SLR USED R7 body black ...................£299 R5 body black ...................£179 LEICA OPTICS USED Televid APO 77 + eyepiece............................£799

Televid 77 + 20x60..........£649 Trinovid 10x42..................£649 Ultravid 8x32 HD .............£849 LIGHTMETERS USED Minolta Flashmeter V.....£199 Polaris .................................... £99 Sekonic L308....................... £99 Sekonic L408.....................£149 MAMIYA 645 MF USED 645 Prol TL + 80 + prism + winder box.....................£399 Plain prism (645 Super)... £39 Polariod Back HP401 ........ £29 Polaroid back ...................... £29 120 Insert.............................. £20 HA401 120 RFH Box.......... £49 120 Back................................ £39 Winder................................... £79 45 F2.8 N.............................£199 55-110 F4.5 box................£299 120 F4 macro ....................£269 150 F2.8 A...........................£199 150 F3.5 N ............................ £79 150 F3.8 NL leaf................£299 210 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 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 MAMIYA RB 6x7 USED Pro SD + 127 KL + WLF + back M-............................£649 Pro S + 90 + WLF + back£449 Pro S body..........................£149 Pro S body scruffy ............. £99 Plain prism late.................£199 WLF. ........................................ £79 Chimney................................ £99 120 645V back .................... £99 50 F4.5 .................................£199 90 F3.5 KL ...........................£299 127 F3.5 KL.........................£299 180 F4.5.....................................£149 Pro SD ext tube 2 82mm.... £99 Pro SD ext tube 1 45mm.... £99 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 Polaroid back ...................... £79 FE701 prism.......................£299 WLF......................................... £79 Winder II................................ £69 50 F4.5 W ............................£249 65 F4 box M- .....................£399 90 F3.5 W M- box.............£299 180 F4.5 W..........................£199 Pro shade.............................. £49 MINOLTA/SONY DIGITAL USED Sony RX10 MKII box............£899 Sony A7RII body box.....£2299 Sony A6300 body............. £799 Sony A200 body................ £129 Sony VGB30AM ....................£69 Sony VG-C70AM................ £139 Sony HV56AM.................... £169 SONY NEX USED A6000 body............................£329 NEX 5 body .............................£129 FE 16-35 F4 ZA OSS E.........£999 FE 16-50 F3.5/5.6 EZ ...........£149 FE 55-200 F4.5/6.3...............£149 FE 90 F2.8 macro..................£799 Samyang 100 F2.8 macro£229 MINOLTA/SONY AF USED Dynax 9 body box...........£299 800Si body ........................... £69 7xi body ................................ £49 7000i body........................... £39 300Si body ........................... £19 20 F2.8 .................................£199 20-35 F3.5/4.5 M- box....£249 24 F2.8 AF...........................£199 24-50 F4 ................................ £99 24-85 F3.5/4.5 ...................£149 28 F2.....£299 28 F2.8 ....... £99 28-80 F4/5.6......................... £39 28-85 F3.5/4.5 ..................... £99 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 F1.7 AF.................................. £89 50 F2.8 macro........................£149 75-300 F4.5/5.6 ....................... £99 85 F1.4.......................................£549 100-300 F4.5/5.6 APO........£149

VC700 grip................................. £39 RC1000S/L cord ...................... £15 AW90............................................ £49 MD90 + BP90-M..................... £79 Angle finder VN....................... £79 SONY LENSES USED 16-80 F3.5/4.5 ZA DT..........£499 18-55 F3.5/5.6 SAM............... £59 18-200 F3.5/6.3 DT ..............£199 55-200 F4/5.6 DT SSM ......... £69 75-300 F4/5.6.........................£129 SIGMA MIN/SONY AF USED 10-20 F4/5.6 EX DC .......... £229 18-35 F1.8 Art..................... £449 28-135 F3.8/5.6.....................£79 28-300 F3.5/6.3 macro.... £149 50 F1.4................................... £149 50 F2.8 EX DG macro ...... £149 55-200 F4/5.6 ........................£69 70-300 F4/5.6 DG OS .....£169 70-300 F4/5.6 APO DG.....£99 150-500 F5./6.3 DG .........£499 170-500 F5/6.3..................£299 500 F4.5 APO.....................£799 1.4x EX conv ........................ £99 TAM 10-24 F3.5/4.5 DiII .£239 TAM 18-200 F3.5/6.3......... £99 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 5200i.............................. £29 Min 5400HS ......................... £39 Min 5600HSD M-................ £99 NIKON DIGITAL AF USED D4s body box................. £3699 D4 body box................... £2499 D3X body box................ £1999 D3s body box......£1499/1799 D3 body box................... £1199 D2xs body ..........................£399 D2x body ............................£349 D800 body ...................... £1399 D700 body box.................£699 D600 body box.................£799 D300s body box...............£429 D300 body box.................£299 D200 body box.................£149 D7000 body..............£299/349 D5500 body box ..............£479 D5000 body.......................£169 D90 body............................£199 D50 body.............................. £79 MBD-15 grip ......................£169 MBD-14 grip ......................£179 MBD-12 grip ......................£229 MBD-10 grip M- box.......£149 MBD-10 grip ........................ £89 MBD-100............................... £39 MBD-200............................... £69 Coolpix P900 compact ..£399 NIKON AF USED F4E body.............................£299 F4 body ...............................£249 F65 body............................... £39 F801 body ......................£29/59 F601 body ............................ £29 F55 body............................... £25 10.5 F2.8 AFS DX box .....£399 10-24 F3.5/4.5 AFS DX ...£549 14-24 F2.8 AFS M- box.£1099 14-24 F2.8 AFS ............... £999 16 F2.8 Fisheye AFD.... £499 16-35 F4 VR...................... £799 16-85 F3.5/5.6 AFS VR..£399 17-55 F2.8 AFS .....................£499 18-35 F3.5/4.5 AFS .............£479 18-35 F3.5/4.5 AFD ............£299 18-55 F3.5/5.6 AFS VR.........£99 18-105 F3.5/5.6 AFS VR....£169 18-200 F3.5/5.6 AFS VRI...£249 20 F2.8 AF...............................£279 24 F2.8 AFD...........................£299 24-70 F2.8 AFS box............£849 24-85 F3.5/4.5 VR .................£329 24-85 F3.5/4.5 AFS...............£229 24-120 f4 AFS VR..................£699 24-120 F3.5/5.6 AFD...........£199 28 F1.8 AFS G.........................£479 28-100 F3.5/5.6 AF G............ £69 28-105 F3.5/4.5 AFD...........£149 35 F1.8 DX................................£139 35 F2 AFD ................................£199 35-70 F3.3/4.5 AF................... £59 40 f2.8 AFS Micro.............£169 50 F1.4 AFD........................£199 50 F1.8 AFD.......................... £99 50 F1.8 AF............................. £79 55-200 F4/5.6 AFS VR ....... £99 55-200 F4/5.6 AFS ............. £79 60 F2.8 AFS ........................£349 60 F2.8 AFD........................£249 60 F2.8 AF...........................£199 70-200 F2.8 AFS VRII.... £1349 70-200 F2.8 AFS VRI........£899 70-200 F4 AFS VR.............£899 70-300 F4/5.6 VR..............£369 70-300 F4/5.6 AFD ..........£129 70-300 F4 G.......................... £79 80-200 F2.8 AFD...............£349 85 F1.4 AFD........................£499 85 F1.4 AFS ........................£329

85 F1.8 AFD........................£249 85 F3.5 DX M- box...........£269 105 F2 AFD.........................£649 105 F2.8 AFS VR................£579 105 F2.8 AFD.....................£399 135 F2 AFD box................£799 180 F2.8 AFD M- box......£449 200 F4 AF............................£999 200-400 F4 AFS VRII..... £3799 300 F2.8 AFS VRI ........... £2699 300 F4 AFS M- box ..........£699 300 F4 AFS box.................£599 400 F2.8 AFS VR serviced£5799 400 F2.8 AFS non VR.... £3999 600 F4 AFS VR serviced... £5799 600 F4 AFS II non VR grey serviced.................. £3499 TC14EII.................................£299 TC20EIII M- box ................£249 TC20EII.................................£199 TC20E ...................................£149 SIGMA NAF USED 10-20 F4/5.6 EX DC .............£239 15 F2.8 EX DG ........................£399 18-50 F2.8 EX DC Mac........£149 18-200 F3.5/6.3 DC OS.....£199 18-250 F3.5/6.3 DC OS.....£149 24-70 F2.8 EX DG................£249 28-300 F3.5/6.3 early.........£129 30 F1.4 EX DC.......................£199 35 F1.4 Art..............................£499 50 F1.4 Art M- box..............£499 50-500 F4/6.3 DG....£399/499 70 F2.8 EX DG ...................£149 70-200 F2.8 OS DG..........£599 70-200 F2.8 EX DG...........£399 70-300 F4/5.6 APO DG..... £99 80-400 F4.5/5.6 DG OS ..£399 105 F2.8 EX DG OS ..........£269 105 F2.8 EX ........................£199 120-300 F2.8 DG OS .... £1199 120-400 F4/5.6 DG ..........£399 150 F2.8 EX DG OS mac....£499 150-500 F5/6.3 DG OS.......£499 1.4x or 2x EX DG conv ea.£149 1.4x or 2x EX conv each...... £99 TAMRON NAF USED 10-24 F3.5/4.5 DiII................£239 11-18 F4.5/5.6........................£219 18-250 F3.5/6.3 .....................£149 19-35 F3.5/4.5.......................... £99 24-70 F2.8 USD......................£599 28-300 F3.5/6.3 XR Di.........£149 70-300 F4/5.6........................... £79 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX.£249 TOK 11-18 F2.8 ATX Pro.£329 TOK 12-28 F4 ATX DX.....£399 TOK 80-200 F2.8 ATX Pro£299 FLASH / ACCESSORIES USED SB-24..............................................£49 SB-25..............................................£49 SB-28............................................ £69 SB-80DX...................................... £79 SB-500 box..............................£149 SB-600........................................£169 SB-800........................................£129 SB-900........................................£249 SB-R1 kit M- box...................£429 SD-8 batt pack......................... £49 DR-3 angle finder................... £59 MB-10 (fits F90)....................... £29 MB-23 (fits F4).......................... £69 MC-36 remote ......................... £79 MC-30 remote ......................... £39 MF-23 (date back F4) ........... £79 NIKON MF USED F3 body ...............................£199 FM2n body box................£349 FM2n body chr .................£249 FE body chrome................. £99 F301 body ............................ £99 20 F3.5 AI............................£199 24 F2.8 AI............................£199 28 F2.8 AIS..........................£199 28 F3.5 AIS............................ £99 28 F2.8 E box....................... £69 28-85 F3.5/4.5 AIS............£199 35-70 F3.3/4.5 AIS............£129 35-70 F3.5 AIS ..................... £99 35-105 F3.5/4.5 AIS........... £79 50 F1.4 AI............................£199 50 F1.8 AIS pancake........£139 50 F1.8 E................................ £59 55 F2.8 AIS..........................£199 85 F1.8 AI.............................. £99 105 F2.8 AIS macro .........£199 180 F2.8 AIS ED scruffy..£179 500 F4 AIS........................ £1499 500 F8 mirror early..........£279 TC200. .................................... £49 TC301 ...................................£149 SC-17 TTL lead.................... £25 DW-3 WLF find fit F3 ........ £99 DW-21 fits F4.....................£149 Nikon bellows II box......... £89 OLYMPUS 4/3 USED E10 MKII body...................£349 E10 body.............................£279 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

35-100 F2 M- box.............£999 40-150 F4/5.6 ...................... £49 50 F2 macro.......................£279 25mm ext tube................... £79 FL-36 Flash .........................£119 OLYMPUS MICRO 4/3 USED Stylus 1F..............................£299 OMD-EM1 body M- box £479 OMD E-M5 MKII b/o box£549 OMD E-M5 body box......£279 OMD-EM10 MKII body...£349 OMD-EM10 body.............£279 EP-M2 body .......................£199 12-50 F3.5/6.3 ...................£149 14-150 F4/5.6 ....................£399 17 F2.8 .................................£159 45 F1.8 box ........................£199 40-150 F2.8 Pro ................£949 60 F2.8 .................................£299 75-300 F4.8/6.7 MKII.......£299 1.4x converter...................£249 FL600R flash box..............£179 HLD-8 grip..........................£149 HLD-7 grip box.................£109 HLD-6 grip..........................£119 VF-2 viewfinder ................£129 OLYMPUS OM USED OM-4T body ......................£249 OM-1n body chr...............£169 OM-2SP body....................£149 OM-2n body blk or chr..£149 OM-1n body ......................£149 28 F3.5 ................................... £49 35-70 F3.5/4.5 ..................... £79 35-105 F3.5/4.5................... £79 50 F3.5 macro ..................... £79 200 F4 .................................... £79 7, 14, 25 man ext tube ea£20 14 or 25 auto ext tube ea£29 PANASONIC DIGITAL USED FZ200 Bridge camera.....£199 GH2 body ...........................£199 G6 body black...................£299 G3 body box......................£129 GX7 body............................£399 GX1 body box...................£149 GF7 body silver box........£199 GF3 body black .................. £99 GF1 body .................................£79 GM body silver .................£299 12-35 F2.8...........................£549 14 F2.5 .................................£199 14-42 F3.5/5.6 ..................... £79 14-45 F3.5/5.6 ...................£149 20 F1.7 .................................£199 35-100 F4/5.6 ....................£199 45-200 F4/4.5 box ...........£199 100-300 F4/5.6..................£349 LVF2 viewfinder................£149 PENTAX DIGITAL USED Km body .............................£149 PENTAX 35mm AF USED MZ5N body.......................... £69 10-17 F3.5/4.5 ED ............£239 16-45 F4 ..............................£199 17-70 F4 SDM M- box ....£299 18-55 F3.5/5.6 ..................... £29 28-80 F3.5/5.6 ..................... £49 50-135 F2.8 SDM..............£379 55-300 F4/5.8 HD DA ED WR ..................................£249 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 ................ £89 SIGMA PKAF USED 10-20 F4/5.6.......................£229 18-250 F3.5/6.3.................£199 TAM 70-300 F4.5/5.6 Di ... £79 PENTAX 645AF USED 645N body .........................£399 AF500FTZ flash................... £79 PENTAX 645MF USED 645 + 75 F2.8.....................£249 645 body + insert ............£199 55 F2.8 .................................£249 150 F3.5 EX++...................£149 200 F4 ..................................£149 300 F4 ..................................£249 1.4x converter...................£199 120 Insert M- box............... £49 PENTAX 67 USED 67 II + AE prism box........£999 45 F4 latest.........................£399 105 F2.4 latest...................£449 135 F4 macro late ............£249 165 F2.8 latest...................£399 200 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 TAMRON ADII USED 90 F2.5 SP ...........................£149 VANGUARD SCOPES USED Endeavour HD65A...........£269 Endeavour HD82A...........£339 VOIGTLANDER USED 15 F4.5 + VF M- box........£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box.................... £1499

More items listed on our website: www.mifsuds.com Buy with confidence - all of our used items are carefully cleaned and tested before despatch

Used Nikon

D4s body box

£3699

Dazzling levels of speed and low light performance make this a great buy

Used Nikon D4 body box

£2499

Used Nikon D3X body box

£1999

Used Nikon D3s body box

£1499/1799

Used Nikon D3 body box

£1199

Used Nikon D800 body

£1399

Used Nikon 14-24mm f2.8 AFS M- box

£1099

Used Nikon

200-400mm f4 AFS VRII

£3799

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 400mm f2.8 AFS VR serviced

£5799

Used Nikon 600mm f4 AFS VR serviced

£5799

ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF wHAT YOU ARE LOOKING FOR AND wE wILL CONTACT YOU wHEN THAT ITEM BECOMES AVAILABLE. 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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THE WEX PROMISE: Over 17,000 Products | Free Delivery on £50 or over** | 30-Day Returns Policy | Part-Exchange Available | Used items come with a 12-month warranty†† †

EOS 760D

EOS 7D Mark II

Black, Red or Grey

EOS 700D D3300

20.2 mp 10.0 fps 1080p

24.7 mp 5.0 fps

7D Mk II 7D Mark II Body

£1149

760D Body

£1149

760D Body 750D Body 750D + 18-55mm 750D + 18-135mm

18.0 mp 5.0 fps

£529 £529 £519 £549 £799

24.2 mp 5.0 fps

700D Body

£419

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

24.2 mp 5.0 fps

D3300

From £289

D3300 Body D3300 + 18-55mm AF-P

£419 £479

D5600

£289 £369

30.4 mp 7.0 fps

20.2 mp 4.5 fps Full Frame

5D Mk IV

£3499

5D Mk IV Body

£3499

EOS 5DS

6D 6D Body 6D + 24-105mm

20.2 mp 16.0 fps

Full Frame

Full Frame

5DS

From £2799

1D X MK II

£2799 £2999

1D X Mk II Body

5DS Body 5DS R Body

£1149 £1149 £1599

80D Body

£819

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

£819 £1029 £1219

D7200

G7 X Mk II

20.1 mp 4.2x zoom

£4899 £4899

D610

From £849 £849 £1099

D7100

From

D7100 Body D7100 +18-105mm VR

£729 £729 £899

G7 X Mk II

£549

G7 X Mk II G5 X Body

24.3 mp 6.5 fps Full Frame

From £1299 £1299 £1699

D5

36.3 mp 7.0 fps

20.8 mp 12.0 fps

Full Frame

Full Frame

D810

From £2399

D810A Body

£549 £579

D750

D610 Body D610 + 24-85mm

D810

£2899

D750

From £1599

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

£1599 £2099 £2299

D500

20.9 mp 10.0 fps

NEW D5

£5099

NEW D5 Body

£5099

D500

£1729

NEW D500 Body

£1729

Nikon Lenses EF-S 10-18mm f4.5-5.6 IS STM . £229 EF-S 10-22mm f3.5-4.5 USM ..... £399 EF 11-24mm f4L USM ................ £2699 EF-S 15-85mm f/3.5-5.6 IS USM £579 EF 16-35mm f2.8L III USM ......... £2020 EF 16-35mm f2.8L Mk II USM .... £1199 EF 16-35mm f4 L IS USM........... £879 EF-S 17-55mm f2.8 IS USM ....... £699 EF 17-40mm f4 L USM................ £669 EF 18-135mm f3.5-5.6 IS STM... £379 EF-S 18-200mm f3.5-5.6 IS ........ £389 EF 24-70mm f2.8L II USM .......... £1899

EF 24-70mm f4.0 L IS USM ...... £769 EF 24-105mm f4.0 L IS USM...... £799 EF 24-105mm f4L IS II USM....... £1065 EF-S 55-250mm f4-5.6 IS STM .. £269 EF 70-200mm f2.8 L IS II USM... £1849 EF 70-200mm f4.0 L IS USM ..... £1149 EF 70-300mm f4-5.6L IS USM.... £1029 EF 100-400mm f4.5-5.6 L IS II USM £1795 For details on the Canon Cashback please visit www.wex.co.uk/cashback

Photo Bags & Rucksacks Pro Runner BP 350 AW II Backpack Purpose-built to organise and protect more gear, and provide more options for manoeuvring in busy airports and crowded streets.

Anvil:

Pro Runner:

BP 350 AW II ..........................£149 BP 450 AW II ..........................£169

Photo Sport BP:

450 AW...............................£199

Tripods & Tripod Heads

MK055XPRO3 + Xpro Ballhead + MBAG75N Bag ..................£199 MT055XPRO3 ...................£199.95 MT055CXPRO3 Carbon Fibre......................£289 MT055CXPRO4 Carbon Fibre......................£279 MT190 Series: MT190XPRO3 ................... £139 MT190XPRO4 ................... £159 MT190CXPRO3 Carbon Fibre...................... £229

24mm f1.8 G ED AF-S ....................................... £629 50mm f1.8 G AF-S ............................................. £189 35mm f1.8 G AF-S DX ....................................... £175 58mm f1.4 G AF-S ............................................. £1349 105mm f2.8 G AF-S VR IF ED Micro................. £749 10-24mm f3.5-4.5 G AF-S DX............................ £729 14-24mm f2.8 G AF-S ED.................................. £1619 16-35mm f4 G AF-S ED VR............................... £1019 16-80mm f2.8-4 G AF-S VR ED DX .................. £860 16-105mm f3.5-5.6 G ED VR AF-S DX ............. £219 18-200mm f3.5-5.6 G ED AF-S DX VR II .......... £625 18-300mm f3.5-6.3 G ED VR AF-S DX ............ £629 24-70mm f2.8 G AF-S ED.................................. £1599

Anvil Slim Professional Backpack

ProTactic 450 AW Backpack Designed to fit 1-2 Pro DSLRs (one with up to 70-200mm lens attached), up to 8 lenses/speedlights, a 15” laptop, tripod and accessories.

Anvil Slim................................. £139 Anvil Super.............................. £139 Anvil Pro.................................. £149

70-200mm f2.8 G AF-S ED VR II....................... £1999 80-400mm AF-S Nikkor f4.5-5.6 G ED VR ........ £2089 24-120mm f4 G AF-S ED VR............................. £939 50mm f1.4 AF-S ................................................. £385 60mm f2.8 G AF-S ED Micro ............................. £499 200-500mm f5.6E ED VR AF-S ......................... £1179 105mm f2.8 G AF-S VR IF ED Micro................. £749 85mm f1.8 G AF-S ............................................. £430 300mm f4E PF ED VR AF-S.............................. £1489 20mm f1.8G AF-S ED ........................................ £649 28-300mm f3.5-5.6 G AF-S ED VR ................... £829 18-300mm f3.5-6.3 G ED VR AF-S DX ............. £629

Hadley: Canvas/Leather: Khaki/Tan,

Black/Tan, Black/Black. FibreNyte/Leather: Khaki/Tan, Sage/ Tan, Black/Black. Digital .................................. £109 Small ................................... £129 Large ................................... £154 Pro Original ......................... £169 Tripod Strap Black or Tan.... £19

Advanced Travel ..................£69

We sell tripod accessories including plates and spiked feet on our website! MT190XPRO3 • 160cm Max Height • 9cm Min Height

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

327RC2 Joystick Head

Mountaineer Carbon eXact Tripod:

Gorillapod:

Ball Heads:

GT5542LS.................................. £719 GT3542-S3................................. £619 GT3542LS-S3 ............................ £639

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

494RC2 ............................ £49 496RC2 ............................ £65 XPRO Ball Head 200PL... £114.95 327RC2 ............................ £139

GT3542LS-S3 • 146.5cm Max Height • 9.4cm Min Height MT190CXPRO4 Carbon Fibre...................... £249 MT190XPRO3 + 496RC2 Ball Head.......... £139 MT190XPRO4 + 496RC2 Ball Head..........£189

Lumimuse LED Ezybox Speed-Lite 2 Lights £49.95 From £44.95

L308s £179

Plus III Set £229

3m Heavy Duty Background Gemini Pulsar Stand Tx 500R Kit £949 £89 Tx 500 Pro Kit £1199

D-Lite RX 4/4 Softbox Set £725

F-803 RuggedWear

Hadley Pro Original Canvas Khaki/Tan

Manfrotto Advanced Travel Backpack - Grey is made up of two compartments; the bottom takes photographic equipment and the top section holds all of your personal belongings.

Lighting & Accessories

SB5000 £499

£799 £989

24.3 mp 6.0 fps 1080p

D7200 Body D7200 + 18-105mm

Canon Lenses EF 24mm f1.4L II USM................ £1499 EF-S 24mm f2.8 STM ................. £136 EP 35mm f1.4 L II USM ............ £1799 EF 40mm f2.8 STM ................... £169 EF 50mm f1.2L USM................... £1184 EF 50mm f1.4 USM..................... £349 EF 85mm f1.2 L II USM............... £1649 EF-S 60mm f2.8 USM Macro...... £379 EF 85mm f1.8 USM..................... £349 EF 100mm f2.8 L IS USM Macro £799 EF 135mm f2 L USM................... £949 EF 180mm f3.5 L USM Macro .... £1187

430EX III £219

From £799

D610

24.2 mp 6.0 fps 1080p

24.2 mp 7.0 fps

EOS 1D X Mk II

50.6 mp 5.0 fps

24.1 mp 6.0 fps

D5600 + 18-55mm D5600 + 18-140mm

D7200

Full Frame

D7100

EOS 80D

EOS 6D

5D Mark IV

D5600

RuggedWear:

F-5XB ......................................£79 F-6 ...........................................£89 F-803 .......................................£139 F-2 ...........................................£139

Trade in, to trade

up

Competitive prices Free collection of your gear Fast turnaround of your quote and credit

wex.co.uk/part-ex

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 £7.95**. ◊Sunday deliveries are charged at a rate £8.95**. (**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 (registered as company no. 03366976. VAT number 231 9471 12). ©Warehouse Express 2016. *CASHBACKS Are redeemed via product registration with the manufacturer. Please refer to our website for details. Showroom: Urban Collapsible off Drayton High Road, (opposite ASDA) Norwich. NR6 5DP. Background £165 Mon & Wed-Sat 10am-6pm, Tues 10am-5pm, Sun 10am-4pm


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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


EB RU AR Y

NE SA IS LE S X 14 U T F E O N

MASTER STUDIOFLASH STUDIOFLASH SYSTEMS HAVE NEVER BEEN SOVERSATILE OR GOODVALUE, SO IFYOU’VE FANCIED USINGTHEM FOR PORTRAITS BUTWEREN’TSURE HOW,YOUWON’TWANTTO MISSTHE NEXTISSUE.WE’LLCOVERALLTHE BASICSYOU NEED TO KNOWAND PROVIDEASERIES OFSIMPLETECHNIQUES GUARANTEEDTO PRODUCE STUNNING RESULTS

Plus IMPROVEYOUR SKILLS

Take better pictures by testing your techniques on a variety of skills, including how to enhance your landscapes with an ND grad filter

CANON EOS 5D MARK IV

Canon’s latest professional DSLR boasts 30.4-megapixels and a full house of features. We find out if it’s worth the £3,500 price tag

READERWORKSHOP

A Digital SLR Photography reader teams up with a leading pro and heads outdoors to take on a number of photo challenges

ESSENTIALPHOTOADVICETO HELPYOU IMPROVEYOUR PHOTOGRAPHY



Digital SLR Photography - Feb 2017