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Issue 124


© 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 with TTL. 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


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Editorial

Editor Daniel Lezano daniel.lezano@dslrphotomag.co.uk Art Editor Luke Marsh luke.marsh@dslrphotomag.co.uk 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:

James Abbott, Adam Burton, Mark Bauer, Lee Frost, Ben Hall, Ross Hoddinott, Alex Stead & Jeremy Walker

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 Junior Production Executive Maisie Harvey maisie_harvey@dennis.co.uk

Publishing

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Welcome

WELCOME TO THE MARCH 2017 issue of DigitalSLRPhotography. Unless you’re one of our overseas readers or were fortunate enough to enjoy a winter’s break abroad, you’ll have endured freezing conditions this month, with weather forecasts suggesting we’ve a few more weeks of it to come. While this might make shooting outdoors less than desirable for some photographers, the more dedicated among you will be taking advantage of the opportunities this time of year presents and head to the coast to capture stunning results. The colder weather means there are less people at popular locations, while the shorter days mean later dawns and earlier sunsets, so you can capture these golden moments at reasonable times. Because there is no better time than now to shoot coastlines, we’ve dedicated a variety of different articles to this topic. From shooting coastal close-up abstracts in PhotoSkills (page 40) to our PhotoWorkshop (page 70) on piers to our ideas-rich MasterCoastlines (page 80), we’ve all the expert advice and inspiration you need to make the most of the coast. We’ve plenty of other subjects to shoot too, including studioflash portraits and misty woodland, so you’ve no excuse not to take lots of great images this month. 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!

KimmeridgeBayinDorsetis oneoftheUK’smostpopular coastallocationsforlandscape photographers.Ourstunning coverimageshowsthescene bathedinthebeautifulcolours ofsunset.Itwascapturedby contributorRossHoddinott usinganexposureof20 secondsatf/22(ISO200).

Youcangetyourmonthlyfix ofDigitalSLRPhotography inspirationandadvicedirect toyourdoorormobiledevice bysubscribingtoourprint and/ordigitaleditions. Wealwayshavesomegreat money-savingoffersor freegiftsforsubscribers,too! Fordetails,seepage98. March 2017 Digital SLR Photography 5


Contents MARCH2017/ISSUE124

5 EDITOR’S PAGE EditorLezanothinksnow’sthetimetovisitthecoast 8 PORTFOLIO Theverybestimagessubmittedandcuratedbytheteam overthepastmonth.Savourtheirbrilliance! 16 SNAPSHOTS We’vesqueezedinbotanicbeauties,competition winners,quicktips,news,gossipandproprojects! 54 EXPERT CRITIQUE Submityourimagestoreceivevaluablefeedbackfrom theprofessionalsandexpertsbehindthemagazine 59 READER SUBMISSIONS Howtocontributeimagesortakepartinourworkshops 70 PHOTO WORKSHOP: PIERS LeeFrostandaluckyreaderheadtothecoasttocelebrate thegreatBritishpier.Toptechniqueandadvicewithin 80 MASTER COASTLINES Bitesizeprofessionaladviceandinspirationformaking themostofaphotographictriptothecoast 90 INTERVIEW: ALEX STEAD This21-year-oldBritishprotravelstheworldshooting formajorbrands,thankstothepowerofsocialmedia 138 MAGIX PHOTOSTORY DELUXE Tensoftwarepackagesfordigitalslideshowsupforgrabs!

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16

80

40

44

Phototechnique

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34 PHOTOGRAPHING WINTER BIRDS Award-winningwildlifeprofessionalBenHallgearsup toofferinvaluableadviceforphotographingthemyriad winterbirdsthatflocktoourshoreseachyear 40 PHOTO SKILLS: COASTAL ABSTRACTS RossHoddinottgetscreativeatthecoastbyseekingout corkingcompositionsinthesmallestofdetails 44 PHOTO SKILLS: A RAY OF LIGHT LeeFrostheadstoamistywoodlandandshareshis professionaladviceonphotographingcrepuscularrays 48 PHOTO SKILLS: HOW TO USE NEUTRAL DENSITY GRADUATED FILTERS JordanButterscoversthebasicsofmeteringforand usingNDgradfilterstoimproveyourlandscapes 52 EDIT SKILLS: SWAP A SKY Learnhowtoquicklytransformanyoutdoorimageby swappingaboringskyforonewithabitmorepunch 60 BEGINNER’S GUIDE: STUDIOFLASH Wanttotakeyourportraitstothenextlevel?Thismonth’s Beginner’sGuideintroducesyoutostudioflashand showshowtocapturestunningportraitswithease

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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 on the pulse of all things photography, Jordan’s our social media master, features guru and a talented pro photographer. jordanbutters.co.uk 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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Ben Hall WILDLIFE A renowned wildlife photographer, author and tutor, Ben applies his expert knowledge to help improve your wildlife photography skills. benhallphoto.com

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Helen Dixon LANDSCAPES Helen is living the dream, having given up a full-time job to live in Cornwall and become a professional landscape photographer. helendixonphotography.co.uk

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Gear:Tested&Rated 105 PRODUCT NEWS Newproductsandthelatestandgreatestkitfromthe ever-changingworldofphotography 106 CANON EOS 5D MK IV TheEOS5Dishelddeartomanyphotographers’hearts. Canthelatestversionliveuptoloftyexpectations? 110 DJI MAVIC PRO Wegethandsonwiththelatestmust-haveaerialdrone. Butwhat’sitliketoflyandshootwith?Findouthere 113 MINI TESTS Manfrotto’sMonopod+withFLUIDTECHbaseandthe NovoDura400hardrollingcasearereviewedandrated Novo Dura 400 hard rolling case are reviewed and rated

98 SUBSCRIBE TODAY! Takeadvantageoftheverylatestsubscriptionoffers

110

Alex Stead TRAVEL & SOCIAL A social media master, Alex’s photography has quickly amassed hundreds of thousands of followers. Read his story on page 90. alexstead.co.uk Adam Burton LANDSCAPES One of the UK’s leading landscape photographers and author of four books, Adam shoots throughout the Uk and runs international workshops. adamburtonphotography.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 James Abbott PORTRAITS James is an award-winning editorial, advertising and commercial photographer, specialising in portrait and landscape photography. jamesaphoto.co.uk March 2017 Digital SLR Photography 7


Portfolio The Bathing House by Calum Gladstone

www.fb.com/CalumGladstonePhotography/

“The sky was pretty flat when I arrived at The Bathing House in Howick, but I decided to go down onto the rocks and set up anyway. It's treacherously slippery along the tide line, so it takes time to get into position. Eventually, after almost an hour of waiting, the sun broke through the cloud, creating gorgeous colours and highlights across the clouds above.� Canon EOS 6Dwith Canon EF 17-40mm f/4Llens. Exposure: Fourseconds at f/10 (ISO 50).


Portfolio

Dunstanburgh Castle by Calum Gladstone www.fb.com/CalumGladstonePhotography/ (Above) “The sky was beautiful upon arrival, so I made my way

to the waters edge – easier said than done, photographers call them the ‘death rocks’ for good reason! I set up and waited in anticipation. The area to my right started to flood, isolating the boulders, and reflecting the vibrant sky.” CanonEOS6DwithCanonEF17-40mmf/4Llens. Exposure:1.6secondsatf/9(ISO100).

Blyth Pier by Calum Gladstone (Left) “It was a frosty morning in Blyth, perfect conditions for shooting the south pier. I chose a spot where the planks had detail and character, being careful not to leave footprints in the area I wanted to shoot. I chose a low angle to capture the wood's detail and frost glistening in the morning light.” CanonEOS6DwithCanonEF17-40mmf/4Llens. Exposure:1/5secatf/9(ISO100).

Rippling Light by Calum Gladstone (Right) “I wanted to capture Bamburgh Castle with water

movement in the foreground, so upon arrival I headed straight to the water's edge. I chose portrait orientation for a nice lead-in to the shot and kept moving out further into the wash, until I was happy with the motion and composition.”

CanonEOS6DwithCanonEF17-40mmf/4Llens. Exposure:1/4secatf/8(ISO640).

500px Perfect for photos

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

10 Digital slr Photography March 2017


Portfolio

Cascade Du Herisson by David Gianos 500px.com/davidgianos (Above) “This waterfall is called 'Château Garnier', on the site of the Hérisson waterfalls. I took this shot in autumn as the fog faded, giving a special atmosphere to the place. I chose this framing to integrate the foliage, the shapes of rocks sprinkled by water, and the pretty colours of the season.” CanonEOS6DwithCanonEF17-40mmf/4LUSM.Exposure:Onesecondatf/18(ISO100).

Waterfall BW by David Gianos (Centre right) “The Tufs waterfall is a site near Baume-lesMessieurs in the Jura region, France. I chose to stitch several frames together to form a panoramic in order to capture as much as possible in the frame as possible. The weather was very dull and dreary, with rain and fog, so I felt that black & white was the best medium to convey this atmosphere.” CanonEOS6DwithCanonEF17-40mmf/4LUSM.Exposure:Onesecondatf/8(ISO100).

Les Tufs Givres by David Gianos (Bottom right) “This waterfall, also in Jura, is beautiful and looks very different according to the seasons. When I captured this image it was very cold – around -13°C! Unfortunately, my gear did not appreciate the extreme cold, and every drop of water and spray that splashed on the camera froze instantly, eventually putting an end to the session!” CanonEOS6DwithCanonEF17-40mmf/4Llens.Exposure:Foursecondsatf/22(ISO100).

Freckles by Alex Heitz www.fb.com/malandrophotodesign (Left) “This was a spontaneous shoot. I had seen this model on social media, and happened to be passing her hometown. So I asked if she was interested in a quick photo session. We only shot together for around an hour, but captured some fantastic photos and had a lot of fun. I love her freckles – in black & white they're even more apparent.” CanonEOS5DMkIIIwithSigma50mmf/1.4Artlens.Exposure:1/1000secatf/1.4(ISO250).

March 2017 Digital slr Photography 13


Portfolio

Long and Winding Road by Sophia Spurgin 500px.com/sophiaspurgin (Above) “This little cricket lived on a Dahlia in my garden all

summer. I took it into my conservatory, which I use as a photo studio because it has lots of natural light but is out of the wind. It was difficult to keep the cricket in frame as they like to jump! Using a low ISO, yet with a narrow aperture, I had to use a slow shutter and wait until he was very still.” CanonEOS5DMkIIIwithCanonEF100mmf/2.8LUSM.Exposure:1/15secatf/14(ISO160).

Catching the Light by Sophia Spurgin (Centre left) “I like to take fungi photos in my local wood in the autumn. For a different angle, I lifted the fungi attached to its twig and put it on a fallen branch so I could position my camera below and see the gills underneath. I lit the fungi with a Manfrotto Lumimuse LED light and the bokeh came from Christmas lights with coloured sweet papers on them.” CanonEOS5DMkIIIwithCanonEF100mmf/2.8LUSM.Exposure:1/20secatf/22(ISO125).

Queen of Flowers by Sophia Spurgin (Bottom left) “This anemone is from my garden. I wanted to

take a photo that showed the flower’s softness. I tried using a wide aperture but too little was in focus, so I opted for f/5.6 and blended part of a separate photo taken at f/11 for a bit more detail in the stamen. I used a coloured card as the backdrop to keep the composition simple.”

CanonEOS5DMkIIIwithEF100mmf/2.8LUSMlens.Exposure:0.3secondsatf/5.6(ISO100).

Marbled White by Sophia Spurgin (Right) “There is a chalk hill not far from where I live. I decided

to visit during the hottest day last year and there were butterflies everywhere – it was beautiful! I had to lie down, with my camera level to the ground for this shot. The butterfly landed for the briefest of moments so I had very little time to get into position, focus, and get the shot.”

CanonEOS5DMkIIIwithEF100mmf/2.8LUSMlens.Exposure:1/200secatf/5.6(ISO100).

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/ YourmonthlYphotodigest

The great

outdoors GrandGardens,wildflower-pepperedlandscapes andbotanicalbeautiesarecelebratedasthelatest internationalGardenphotoGrapheroftheYearis announced.ladiesandGentlemen,Yourwinners… image: © Francis Taylor/www.igpoTy.com

picture special

C

elebraTing iTs TenTh anniversary, the annual international garden photographer of the year award is the world’s premier photographic competition, embracing all things botanical. From sweeping vistas with explosions of wildflowers to macro details of specimens grown in humble back gardens, and a wide gamut of disciplines in between, in its ten years in rotation, the igpoTy never fails to impress and inspire photographers the world over. operated in conjunction with Kew royal botanical gardens in london, the award not


only aims to reward those with a keen eye for capturing all things green, but also looks to educate and inspire, with exhibitions, workshops and lectures around the UK. When the award began in 2007 it accepted only UK-based entries, but the following year was opened up to a worldwide audience. This year’s award attracted photographers from over 50 countries! Entrants vied for recognition across eight categories, plus an additional category for under 16s – Young Garden Photographer of the Year – and an extra portfolio award for series of images.

This year’s overall winner was named as Lee Acaster from the Norfolk/Suffolk border. Lee secured himself the title of International Garden Photographer of the Year 2017 as well as a £7,500 cash prize for his artistic interpretation of an autumn birch against a murky lake in the Snowdonia National Park, Wales. There were also winners announced across the individual categories, including Digital SLR Photography regular contributor Ross Hoddinott, who took first place in the Wildlife In The Garden category, as well as being named as a finalist in the Wildflower

Landscapes category – well done Ross! The winning images will go on display at the Royal Botanical Gardens in Kew until 12 March, before heading overseas to venues in The Netherlands, Italy and Gibraltar! Should you miss the exhibition fear not, the International Garden Photographer of the Year Collection 10 hardback book is available now, priced at £20. Entries for the Collection 11 award open on 20 February 2017. For more information on how to enter, the IGPOTY exhibition and the book, visit: www.igpoty.com


© ROSS HODDINOTT / WWW.IGPOTY.COM

Snapshots 1)WildlifeintheGarden1stPlace MarbledWhiteButterflybyRossHoddinott.DunsdonNational NatureReserve,Devon,England,UK.“Ifoundthismarbled whitebutterflyrestingamongthegrassesonadewysummer morning.Iwantedtocaptureaclose-upwhichshowed context,habitatandscale.Iusedthemultipleexposuresetting onthecameratocreateasoft,dreamyeffect.” NikonD810 with200mmmacrolens.1/2000secatf/4.2(ISO640). 2)Bountifulearth3rdPlace TheMiaoTerracesbyMingliTian.GuizhouProvince,China. “Thisphotographwastakeninthehighlymountainousregion ofsouth-westernGuizhouprovince.HerelivetheMiaopeople, anethnicminority,whohavebeenpresentforthousandsof years.Everyspringtheyplantriceintheirterraces,whichfillup withrainwaterandcreateadazzlinglandscape.” NikonD750 with24-70mmlens.1/250secatf/10(ISO200). 3)GreeninGthecity1stPlace Goodnight,BudapestbyZsoltVaranka.Budapest,Hungary. “Iwantedtoshowhowitispossibletofindnaturalbeauty thrivinginacityandclosetohumanactivity.Iventuredintothe hillsaroundthesuburbofBudaörstogettheviewIwantedand foundthisgroupofPulsatillagrandislookingoutoverthecity atnightbelow,inspectingtheirdomain.” NikonD750with 16-35mmlens.13secondsatf/4(ISO400). 4)theBeautyofPlants1stPlace BergeniabyDianneEnglish.NewSouthWales,Australia. “IspottedthisBergeniainmygardenandwasdrawntoits curvedstemandgraceful,fallingflowers.Icreatedmyown pastelbackgroundtexturetoreplacethedulloriginal.” NikonD90with90mmlens.Foursecondsatf/18(ISO200). 5)BeautifulGardensfinalist FirstRaysbyVolkerMichael.Jistrum,Friesland,Netherlands. “WhenIreachedthegardenIsawthisbeautifullight.This momentwasunique,andIrealisedthatitwouldneveragain existinthisform–itjusthadtobephotographed.” CanonEOS 5DMkIIIwith24-105mmlens.1/13secatf/18(ISO400). 6)BreathinGsPaces3rdPlace BreakingLightbyFrancisTaylor.MillstoneEdge,PeakDistrict NationalPark,Derbyshire,UK.“Iwasstruckbythewell-defined beamoflightbreakingthroughtheclouds,whichilluminated thevibrantbellheatheronMillstoneEdge.” CanonEOS5D MkIIIwith16-35mmlens.1/60secatf/11(ISO100).

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© VOLKER MICHAEL / WWW.IGPOTY.COM

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1)WildfloWerlandscapesHigHlycommended GoldenGrassbyMarcioCabral.ChapadadosVeadeiros NationalPark,Goiás,Brazil.“Thesoftdarknessofdawnwasa perfectcontrasttothegoldengrassandpinkhues.Iintensified thecoloursusingfilterstocreateastrikinglandscape.” Nikon D200with12-24mmf/4lens.Foursecondsatf/11(ISO100). 2)BreaTHingspacescommended WindowwithaViewbyGloriaKing.SaltSpringIsland,BC, Canada.“HastingsHouseissituatedonthewaterfrontofthe GangesHarbourandthepropertyissurroundedwithbeautiful gardens.Itwasatrulyidyllicsetting.” SonyNEX-7with 18-55mmlens.1/80secatf/7.1(ISO100). 3)Trees,WoodsandforesTs2ndplace NoirFlohaybyBartHeirwig.NoirFlohay,BaraqueMichel, Belgium.“NoirFlohayisaforestburnttwiceduringthepeat firesof1968and2011.Theflamesleftbehindasurreallocation fullofbarepinetreesandblackenedtreetrunks.” NikonD4S with80-400mmlens.1/1250secatf/4.5(ISO200). 4)igpoTyoverallWinner LeftbyLeeAcaster.SnowdoniaNationalPark,Wales.“Itwasa darkandwetmorning,butautumnoffersopportunities.The darkwaterbehindthelakeisolatedtheformandtextureofthe treewhilstprovidingcontrasttothedazzlingindividualleaves.” SonyA7Rwith70-200mmlens.0.6secsatf/11,ISO100. 5)WildlifeinTHegardenfinalisT AHappyEndingbyMarekMierzejewski.Gdańsk,Poland. “Thisgrasshoppersuddenlyfrozewhenitrealisedjusthow closeitwastoaspider.Afterstayingstillforamoment,itwisely changeddirectionandjumpedtosafety.” CanonEOS60D with100mmmacrolens.1/160secatf/5.6(ISO125).

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Snapshots / The world of photography PhotoBasics

Lord Snowdon 7MARCH1930–13JANUARY2017

GETTOGRIPSWITHAUTOFOCUS ANDENJOYCAPTURING CONSISTENTLYSHARPERIMAGES

W

HILE MODERN AUTOFOCUS systems continue to become increasingly more advanced and smarter, you still need to have a grasp on the basics in order to be able to set your camera up to perform. Selecting the correct number of focus points to use to accurately record your subject in tack-sharp detail is step one. Here are the basic AF point options summarised…

AUTOMATIC SELECTION

In this mode, the camera chooses a point or points to focus on for you, with zero user input. It can be hit and miss, and is probably only useful when you need a quick shot and don’t have time to choose where to focus! Some cameras offer a face-detection feature for portraits.

SINGLE POINT

ANOIR CHAFIK

WILLIAM STITT

GROUP-AREA/ZONE

Activates a single AF point in the centre of the frame by default, but can be moved around. It's useful for precisely picking the exact point in a scene to focus on, for example a subject's eyes. And popular with professionals across all walks of photography due to its precision.

Activates a group of AF points based around a single main point that can be positioned across the frame by the user. On some cameras, this mode will give priority to the closest subjects. Useful for situations when positioning a smaller single AF point may become tricky. GABRIEL SANCHEZ

KIRK MORALES

British photographer and filmmaker Lord Snowdon passed away, aged 86, in his Kensington home on Friday 13 January. Snowdon’s documentary work offered an insight into the lives of celebrities and royalty, as well as a visual commentary on English society. Born Antony Charles Robert Armstrong-Jones, his photographic career began at Tatler magazine in 1952. He went on to meet Princess Margaret after being commissioned to photograph the royal family, and the couple married in 1960. ArmstrongJones took the title 1st Earl of Snowdon, and was known as Lord Snowdon from then on, however his marriage to Princess Margaret ended in 1978 when the two divorced. During his career he photographed a number of notable world figures, including Queen Elizabeth II; Diana, Princess of Wales; Barbara Cartland; Laurence Olivier; Elizabeth Taylor and David Bowie. His work can be seen in The Sunday Times, Vogue, and Vanity Fair to name but a few. London's National Portrait Gallery holds over 100 of Snowdon’s portraits and he was also an Honorary Fellow of the Royal Photographic Society. Alongside his photography, he also co-designed an aviary at London Zoo, holds a patent for an electric wheelchair and was an avid campaigner for disabled rights.

FOCUSMODES EXPLAINEDPARTI

KAZUEND

OBITUARY

Photo Fact: Didyouknow? Queen Victoria and Prince Albert were big fans of photography. In fact, the Queen embraced the up and coming art form to such a degree a darkroom was added at Windsor Castle.

DYNAMIC/EXPANSION

Select an area of the frame to tell the camera where the subject is and the camera uses the middle AF point primarily, calling on the surrounding points when needed. Nikon’s Dynamic Area also uses the surrounding points to track moving subjects within the zone.

3D TRACKING (NIKON)

Works alongside Dynamic AF-Area to actively track subjects across the whole frame using colour and contrast information, allowing you to recompose while tracking. Good for photographing erratic moving subjects, but isn't as fast to react due to extra processing power.

ALLPHOTOGRAPHSAREACCURATE. NONEOF THEMISTHE TRUTH RichardAvedon

22 Digital SLR Photography March 2017


The world of photography \

Snapshots

howinventive! canontopslistoFsuccessFul patentsasoneoFthemost innovativecompaniesintheu.s.

theProfessionAls

FujiFilmlauncheseuropeanproFessionalservice,oFFeringuk-based Fujiphotographerssupport,quickrepairsandloanequipment

I

t wasn’t that long ago that mirrorless cameras were seen as the reserve of amateurs and enthusiasts, and that professionals only used DsLRs or bigger. however times are changing, and the advancements in mirrorless technology alongside the desire for smaller, lighter and more portable kit has seen mirrorless models boom in popularity with professional users too. Fujifilm is one of the brands at the forefront of this movement, having relentlessly campaigned for mirrorless by consistently innovating and launching improved models across its range, including the world’s first mirrorless medium format, the Fujifilm GFX 50s, available in March. now, Fujifilm has announced that it is joining the likes of Canon and nikon in

“Adobe, editMyPhotos”

launching its own Professional service scheme in the UK and Europe. the Fujifilm Professional service, which will go live on 1 March in the UK and major European markets, will be offered for free for the first two years to qualifying professional photographers, and also to those who own a GFX system or at least two professional camera bodies and three XF lenses. Following that, the service will cost £260 per year and includes a guaranteed speedy turnaround time for camera and lens repairs, free loan kit if the turnaround cannot be met, free health check and sensor clean for up to two products per year, dedicated telephone support and a 15% discount on all out-ofwarranty repairs. Great stuff! Formoreaboutthenewservice,visit:www.fujifilm.eu/uk

when it comes to innovative, inventive and avant-garde companies, you’d probably say the big tech giants of silicon Valley are up there as the most proactive – we’re talking apple, Google and Microsoft. But how about Canon? the annual IFI Claims ranking, which orders companies in terms of copyright patents granted in any one year, revealed that Canon had the third highest Us patents granted of any company in 2016, with over 3,660 successful applications. the Japanese firm was topped only by samsung with 5,518 patents and IBM with 8,088 successful applications. so what does this mean? well, while patents are a good indicator that a company has come up with ideas or concepts worth protecting, quite often these don’t end up materialising into anything groundbreaking for the consumer. also, Canon’s business extends beyond photography, so not all 3,665 patents will relate to new cameras or lenses. still, fingers crossed for some exciting new technology from Canon in 2017!

AdobeintelligentAssistAnt

Intelligent virtual voice assistants are set to become a hot trend in 2017, with apple’s siri, Microsoft’s Cortana and amazon’s alexa allowing users to control their devices and homes just by talking. Imaging software specialists adobe look to be not far behind either, and they’ve released a short video to help you envision where they’re heading. the virtual assistant is shown to help the user by cropping, flipping and rotating an image, controlled by voice alone, before uploading it to Facebook. while this technology is still in development, and is something that we can’t see being introduced to adobe’s fully fledged desktop products, it’ll be interesting to see what it leads to. to view the short video for yourself, visit: http://bit.do/adobeVoice

March 2017 Digital Slr Photography 23


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The world of photography \

Snapshots BEnjAmIn Von Wong

PhotograPhy againstPlastic photographervonwong createsmermaidmasterpiece using10,000plasticbottles

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EgulAR REAdERS mIgHt have heard of Benjamin Von Wong – the Canadian conceptual photographer has made quite a name for himself for tackling unusual or technically challenging shoots and getting his work to successfully go viral online. We’ve also featured several of his projects in this very magazine. more recently, Von Wong has been using his photographic prowess and skill to raise awareness for charitable and environmental issues. From the Saving Eliza campaign that Von Wong spearheaded to raise funds for pioneering treatment for Sanfilippo syndrome, to his underwater portraits with sharks in aid of shark conservation, and storm-chasing portraits, raising awareness for the effects of climate change. Behind each and every one of Von Wong’s ambitious projects is an important message – what better way to utilise the attention that his work receives than to invoke change? Von Wong’s latest project is an undertaking itself; how do you make the issue of plastic pollution seem interesting and garner attention for the cause? the answer – an elaborate underwater world comprised of some 10,000 plastic bottles and a mermaid, of course! Von Wong persuaded a waste management centre to lend him the bottles, which he and an army of volunteers spent days removing the labels from, thoroughly cleaning and sorting into colours. Von Wong found a warehouse to shoot in, a model and make-up artist as well as a costume designer

to supply the mermaid tail too. While the underwater world for each image was carefully created on the floor from the coloured plastic, Von Wong’s Sony camera was rigged and hoisted to the ceiling, pointing straight down, to be triggered via an iPad app connected to a 52in tV. “If the average American uses 167 plastic bottles a year, in 60 years they will have used 10,000 plastic bottles,” Von Wong states on his blog. “I knew plastic pollution was a boring topic and I had

to find a way to make it more interesting. Alone, I was just a photographer – but thanks to the help of amazing individuals we transformed a lifeless pile of used garbage into a message: #mermaidsHatePlastic.” It just goes to show that with a creative idea and a strong enough will, photography can be used to do good. to find out more, visit: mermaidshateplastic.com, or to see more of Von Wong’s excellent and varied work, visit: blog.vonwong.com

QuickEdit

Inthenameof transparency

Shortcut keys make it quicker to navigate and work in Photoshop – pressing a key is always faster than moving your mouse across the screen and clicking on something. Here’s a useful shortcut – did you know you can instantly change a layer's opacity using just the keys on your keyboard? As long as the tool you’ve selected doesn’t have its own opacity option (for example the Brush, Fill or Eraser tools) then pressing the 1-0 keys will set the opacity for the active layer accordingly. So, 1=10%, 2=20% and so forth, until 0=100%. Pressing two number keys in quick succession enters that exact value, for example 3 and then 4 sets the opacity to 34%. If you do have the Brush or similar tool active, then the 1-0 keys set the opacity for that tool instead. Easy! March 2017 Digital Slr Photography 25


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


BOn APPeTIT/SHuTTerSTOCK

Sn pshots

Sub-zero Snapping WhetherWe’re experiencinga chillysnapathome oryou’re headedto colder climates in search ofWonderfulWinter images, make surethatyou're prepared forthe chill! folloW ourtipsto keepon shooting Whenthe mercurydrops…

3) KeepingBatteriesWarm

6) acclimatisinggear

Cold conditions are a battery’s worst enemy, sapping all power reserves even when the device isn’t powered up! Always fully charge your kit before heading out and pack more batteries than you think you’ll need. Keep batteries that aren't in use close to your body rather than in your camera bag – the inside pockets of your jacket are ideal, or even under your armpits! Your body heat will help prevent power loss from the cold.

Suddenly taking your gear from your warm house or car into the freezing cold often causes condensation to form inside your camera and lenses, rendering them useless until they dry out! Avoid this by acclimatising kit slowly; sit your camera bag outside for 30 minutes before unpacking. Before returning indoors, seal your kit inside zip-lock bags. The moisture will form on the outside of the bags rather than inside your kit!

1) KeepyourlensesWarm

4) KeepingyourselfWarm

7) gloves

Optics can often attract condensation in extreme cold conditions, even after careful acclimatisation (see point 6). One neat trick is to use a dedicated lens warmer to keep the optics toasty. If you don't have one, then hand warmers also work just as well – just secure them to the lens barrel using an elastic band. Finally, fitting a lens hood can also help as it blocks some of the cold air from passing across the front element.

Hiking to locations can be great exercise, but when you’ve found your composition and are waiting for the right light – that's when you feel the cold! Make sure you wrap up warm; wear several thin synthetic layers that you can strip off, or add to, to adjust your temperature, and avoid cotton clothing as it retains moisture! Protect your extremities with warm socks and gloves and a hat. Make sure outer layers are waterproof.

Pro tip: always pack two pairs of gloves – a thicker, waterproof pair for when you’re walking to or from a location, and a thinner pair for operating your camera with. Fingerless gloves allow you to easily handle memory cards and filters without negatively affecting dexterity. Alternatively, if you use a camera with a touchscreen, consider touch-conductive gloves that allow you to retain this functionality.

2) tripodinsulation

5) exposure

8) enjoythegoodlight

This might not come as news to you, but metal things tend to get cold quickly! Luckily, most aluminium tripods come with at least one leg insulated by foam. If not, or if you wish to improve on this, head to a local hardware store and pick up some thinwalled foam pipe insulation – simply wrap it around each leg to avoid the cold touch! Oh, and don’t be tempted to lick your tripod in the cold; nothing good will come of it!

Snow and ice can make for wonderful winter images, however it can also play havoc with your camera’s metering system. Your camera may mistake the blanket of white for bright light, which will cause it to underexpose the scene. Pre-empt this by adding positive exposure compensation – between +0.7 and +1.5 should do, but keep a close eye on the histogram to ensure you don’t blow out, and lose, highlight detail.

During the winter months the days may be shorter, but the sun is lower in the sky for longer, offering warm light, long shadows and plenty of definition. It’s the perfect light for portraits, landscapes and pretty much anything you fancy photographing outdoors! Sunrises and sunsets are also at a reasonable hour in the winter, so make the most of this. Wrap up warm and get out shooting during the best light of the day! March 2017 Digital Slr Photography 27


Hot shot

The world of photography \

sna n ps pshot hots s s

faLcon 9 rocKeTLandinG How'sthisfortimingandalignment?what’s moreimpressiveisthatboththerocketandfloating platformarecontrolledautonomously,andthephotowas capturedremotely!privately-fundedaerospace manufacturerspaceXsuccessfullylandedits falcon9rocket onthedroneshipinJanuaryinthe pacificocean.oftheten attemptsatlandingthereusablerocketsonadroneship,five havebeensuccessful.thistime,aremotecanoneos6D withrokinon14mmf/2.8eDlenswasmountedonboard thevesseltocapturethesequence.withtheabilityto controltherocketandlandingpadprecisely, we’reguessingtheperfectalignmentwith thesunwasmorethanjusta happyaccident.

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)

©SpACE X

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

TheUGLYSideofLandScape phoToGraphY By Thomas Heaton Vlogger Thomas Heaton is becoming somewhat of a regular, and for good reason – the British landscape photographer is one of the most relatable photographers in the vlogosphere (that’s a made-up word). In this slightly melancholy episode, Thomas shares something that all landscape photographers feel at some point – disappointment. It’s not all glory and award-winning images you know! Give it a watch, safe in the knowledge that you’re not the only one who has bad days… http://bit.do/DSLR_1241

phoToGraphinGLiqUidMoUnTainS

WanderLUST4K

By Great Big Story

By Tony and Chelsea Northrup

You might remember that a couple of issues ago (January 2017, Issue 122) we featured sports photographer-turned-wave connoisseur Dave Sandford, whose Lake Erie project has taken the internet by storm. Dave has teamed up with The Weather Channel to create a video showcasing behind the scenes of his craft, and what goes into the making of the photographs. If you haven’t already, go back and read Dave’s interview and then watch this video – it’s a great insight into the lengths he goes to! http://bit.do/DSLR_1242

WANDERLUST 4K isn’t one video. It's more of an ongoing mini-series (shot in 4K, if you hadn’t guessed), so it’s worth subscribing to Tony and Chelsea Northrup’s YouTube channel if you like it. The series follows the couple as they travel to exciting locations around the world, obviously taking photos as they go. The duo share tips on travelling, photography and life, as well as anecdotes of things that happen along the way and the images that they create (along with technical info such as exposure settings). http://bit.do/DSLR_1243 March 2017 Digital slr Photography 29


sHutterstoCK

The world of photography \

Snapshots

Wouldyou Work for free?

Smile with Samsung

makeuslaughforachanceofwinningasamsung64gBsDXcProPlusmemorycarD!

S

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 march' to: enquiries@dslrphotomag.co.uk by 1 april 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

For most people across a range of jobs and skills, you’d assume the resounding answer to the above question would be ‘no’. However, a recent survey by software start-up approve.io discovered an amazing 87% of freelance photographers in the uK were asked to work for free last year. What’s even more shocking is that 16% of them agreed! the survey, conducted of over 1,000 freelancers working in the uK, reported that photographers were the most likely to be asked to work for free, followed by graphic designers and copywriters. the results also revealed that women (55%) were more likely to be asked to work for free than men (44%), and are also more likely to say yes to the proposition (59% compared to 40%). age was also found to be a big factor – under 25's were twice as likely to agree to working for free – and location came into it too, with Belfast, liverpool and glasgow-based freelancers most likely to be approached without remuneration and london, manchester and Brighton the least likely. the most common cause for this behaviour? social media. most surveyed said they were approached to use their work online in return for credit, with some saying they would do the work for free to help grease the wheels for future opportunities. You can read the results of the survey for yourself at http://approve.io/blog

HappyMondayS retailerweXPhotograPhicreveals its2016PhotograPheroftheyear uK Camera retailer Wex Photographic has revealed the winner of its Photographer of the Year competition. the norwich-based specialist has been running its weekly #Wexmondays competition on twitter for three years now, with photographers entering their favourite images from each week using the competition hashtag. in total, over 17,000 images were entered in 2016! the best images each week are selected by a team of judges, assigned a points value and the corresponding photographers correlated into an ongoing league table. at an awards ceremony and exhibition at truman Brewery in london in January, the winner was announced as neil Burnell from south west england, who only started entering the competition in 2016. neil bagged himself £1,500 worth of vouchers to spend at Wex Photographic!

above:winnerneilBurnellmeetswexchiefcustomer officerlouiswahlatthelondonexhibition,right.

other winners included tony sellen from london in second place and tom lowe from Whitley Bay, tyne & Wear in third. the winning images from the 2016 #Wexmondays competitions are on display at the gallery at munro House in leeds until 10 march 2017. For more information on Wex’s weekly #Wexmondays photo competition, follow @wextweets on twitter, or head to www.wexphotographic.com March 2017 Digital Slr Photography 31


PH TO SKILLS IDEAS &ADVICE FOR BETTER PHOTOS

p44 WOODLANDRAYS: LEEFROSTGETSBEAMEDUPINWOODLAND

p34 WINTERBIRDS:BENHALL'SGUIDETOCAPTURINGWINTERBIRDS

p40 COASTALABSTRACTS:ROSSHODDINOTTHEADSTOTHEBEACH

p48 USINGNDGRADS:HOWTOMETERFORANDUSENDGRADS

p52 SKYSWAP:TRADEBLANDFORBRILLIANTINTHISEASYTUTORIAL


PH TO SKILLS

Winter Birds photographing our feathered friends is far fromafair-weather pursuit. professionalwildlife photographer ben hallbravesthe coldto bringyouan expertguideto photographingwinter birds


PH TO sKIlls

I

believe we are very lucky to live in a temperate part of the world, with our four distinct seasons, each of which offers new photographic possibilities. when autumn fades and temperatures fall, winter arrives, and it's my favourite season for wildlife photography. whether it's golden light combined with cold, crisp days, ethereal mist or blankets of snow, our often unpredictable weather at this time of year can create a truly magical atmosphere. To make the most of winter shooting, it's a good idea to have a few select locations in mind. local areas will likely prove to be the most productive as their proximity will allow you to visit numerous times and at short notice. when seeking out a new spot, it pays to visit several times in advance. Take a notebook and some binoculars with you and scan carefully for potential subjects. Note the position of the sun at different times of day and generally try to develop a feel for the place and the potential images that it might hold in store. wetland centres such as wwT reserves are excellent places to start, as winter sees the arrival of thousands of swans and geese. These can make fantastic and relatively accessible winter subjects. as birds become emboldened by the cold weather and the need to find food, even your own back garden can provide plenty of winter opportunities. by placing a few bird feeders out you might be surprised at the variety of species it's possible to attract,

even in an urban garden. To make your images as natural as possible, seek out some attractive perches such as lichen-covered branches and set these out around the bait. it's important to take the background into careful consideration. Make sure that it's distant enough to appear completely diffused. Using a wide aperture will help to ensure that it's well out of focus, thereby eliminating any distractions and keeping emphasis on your subject. regardless of the selected location or subject, one factor that can make or break an image is the quality and availability of the light. The sun remains low enough in the sky to shoot all day in winter, a major advantage for this time of year! The warm hues help to cut down contrast, making exposure easier, too. backlighting can be an effective way of highlighting the form of your subject, especially when lit with a low, winter sun. when exposing for such backlit images, try to be creative. by exposing for the rim-lighting around the edge of your subject and dialling in some negative exposure compensation, you may find it possible to create images of a very graphic nature. when done correctly, only the outline of your subject should be visible, with the shadows appearing a deep black, yielding a very dramatic result. Never be afraid of shooting in extreme weather. Falling snow, deep mist or even rain can create atmosphere and help to tell a story about your chosen subject.

Whetherit'sgoldenlightcombinedWith cold,crispdays,etherealmistsorsnoW,our oftenunpredictableWeathercancreateatruly magicalatmosphereatthistimeofyear EssEntialkit:a DSlr with the ability to shoot relatively noise-free images at high iSO ratings offers an undeniable advantage when shooting in low levels of winter light. an aPS-C sensor will help too, when shooting subjects that are difficult to approach, as it will provide extra reach. when it comes to action, a fast burst rate will make it easier to capture the decisive moment. while 5fps is enough to cope with most situations, the faster the frame rate, the better. Depending on your chosen subject, focal lengths ranging from 200mm to 600mm will prove most useful. Fixed telephoto lenses with a wide maximum aperture are better suited to action shots, but they are by no means essential. Telezoom lenses such as a 70-200mm or 100-400mm will prove more flexible than a fixed lens, making it easier to fine-tune your compositions. The more comfortable you feel, the longer you will be prepared to stay out shooting, so it really does pay to wrap up warm. waterproofs are essential when shooting in rain or snow, and i would also recommend investing in a waterproof, camouflaged lens and camera cover to protect your kit from the elements.

36 Digital slr Photography March 2017

spEciEstolookoutFor:

GardEnbirds:Gardenbirdsbecomemorevisible inwinterasthefoliagedropsfromthetreesandthey becomemoredesperatetofindfood.As theyareused tohumans,theyareusuallyeasiertoapproach,too. Puttingsomefeedersoutwithavarietyoffoodislikely toattractanumberofdifferentspecies.Peanuts,fat andsunflowerseedsareallfirmfavourites.

FiEldFarEs&rEdwinGs:Aswellastheusual suspectssuchasvarioustitsandfinches,keepaneye outforfieldfaresandredwings.Thesebeautifulbirds arepartofthethrushfamilyandmigratesouthto spendthewinterintheUK.Choppedapplescanbe usedforbait,buttheyalsoliketofeedonberries,so keeponeyeonrowanbushesandhedgerows.


birdsjust WannaHavefern! Thewintermonthsofferwildlife photographersfantastic opportunitiestorecordbirdsagainst anatmosphericwinterbackdrop.

all images: ben hall

WaxWings:Waxwingsaddawelcometouchof theunusualandexotic,andcanoftenbeseeninlarge flocksduringthewintermonths.Theyareparticularly gregariousbirds,andcansometimesbefoundinthe mostunlikelyofplaces,suchasgatheringinlarge supermarketcarparks,wheretheygorgethemselves onberriesfromnearbybushesbeforemovingon!

sWans&geese:Winteringgeeseandswansarrive inautumnandremainthroughoutwinter,providing greatopportunitiesforatmosphericimages.Thereare WWTwetlandreservesdottedaroundtheUKthat haveexcellenthides,offeringcloseupviews,suchas MartinMereinLancashire,Slimbridgein GloucestershireandCaerlavalockinScotland.

Herons:Heronsbegintonestveryearlyintheyear. ThenestbuildingusuallystartsinJanuaryandactivity continuesthroughouttherestofthewinter.The nestingsiteisknownasaheronryandthesearedotted aroundthecountry,alwaysincloseproximitytowater astheirmaindietisfish.Theselargebirdsareeasily spottedstandingatthewater'sedge,orwheninflight.

March 2017 Digital slr Photography 37


PH TO sKIlls

All IMAGES: BEn HAll

baCklitswans&geese: During the golden hour, backlighting is a favourite of mine. Shooting a bird in flight against the light reveals its delicate form, and its wings can appear almost transparent. Exposure can be tricky, so switch to spot metering and meter directly from the bird itself, which should prevent the highlights from over-exposing. Remember to check your histogram regularly, as the light and background tones can change in an instant. Don’t dismiss wider shots. The conditions at dawn following a cold, clear night can be spectacular. Mist can form on water and in the right light this can create a wonderful atmosphere. Shoot towards the sun to capture the golden hues, and if there are surrounding trees, look for rays of light filtering through the branches.

38 Digital slr Photography March 2017

CapturebehaviourFor an image to be really successful, it should instantly grab the viewer’s attention. Images that show interesting bird behaviour have the ability to excite and stir emotion, and ultimately, help to create a connection between the subject and the audience. As winter progresses, food becomes more and more scarce. During particularly harsh spells of weather, it's a common sight to see birds squabbling and fighting over food. This offers great opportunities to capture some action and will give a real insight into your subject’s life cycle. Birds of prey such as buzzards will lock talons over prey. When ponds and lakes are frozen over, herons will compete with each other for fish, and can even be baited. However, it's not only fighting behaviour that you will see in winter, since some species of bird begin to pair up very early in the year. Great crested grebes, for instance, begin their elaborate courtship displays as early as February, offering the chance for evocative images of their intricate displays on a misty lake. To freeze action you'll need to pay attention to your shutter speed. I keep to a minimum of 1/800sec and increase it for fast moving subjects. Keep your camera set to continuous drive so you can fire off a burst of frames; this increases your chance of capturing that perfect moment.


Birdsinflight:Capturing the beauty of flight is one of the most challenging areas of wildlife photography, but one that holds great rewards. Large birds such as swans, geese and herons have relatively slow wing beats. Compared with smaller birds, they're an easier target, making them great for honing your skills. Developing a smooth panning technique should be your first goal. Stand with your feet shoulder-width apart and tuck in your elbows to increase stability. As your subject passes, swivel your top half in one smooth motion. Your camera should be set to predictive focus and continuous drive. Wing position is vital, as a shot can be ruined with an awkward wing shape, so firing a rapid sequence of shots increases your chances of success. In low light, or snow, I prefer to use the central focus point as it's the most sensitive. Depending on your camera, you may be able to expand the focusing area. This offers a greater margin for error when maintaining the focus point on the bird.

rEvEalingmotion:To create images that appear painterly in appearance, experiment with slow shutter speeds. I would recommend shutter-priority mode, and trying various speeds between 1/15sec and 1/60sec, depending on the speed of your subject. By panning in a smooth motion, you should find it possible to capture definition in the subject, but reveal the motion in the background. For a more abstract result, photograph a flock of birds as they're taking off. You may find this more successful with an even slower speed of between 1/5sec and 1/15sec. This type of image can be hit and miss, so don’t be afraid to experiment and take plenty of shots! Deliberately moving the camera during the exposure can also create interesting results.

shootinginsnow:Knowing how to exploit different weather conditions can transform an otherwise humdrum image into a work of art. Snow can create a special kind of atmosphere and convey a sense of wildness and extremity. Calculating the exposure is critical in snow as the pale tones fool the camera into under-exposure. You will need to increase the exposure using exposure compensation by up to two stops depending on the amount of white in the frame. A white swan surrounded by snow for instance, will need more positive exposure compensation than a darker subject. Pay attention to the histogram and push it to the right as much as possible, taking care not to clip the highlights. Falling snowflakes can lend a painterly look, and can look different depending on the shutter speed used. To freeze the snowflakes, opt for a fast shutter in excess of 1/1000sec, but slower speeds can be as effective too, as they render the snow as streaks falling through the frame.

EnvironmEntalcompositions: Frame-filling portraits can work beautifully, and many hold immediate impact, but a well-composed image of a bird in its natural environment can be even more compelling. Such images show the relationship between bird and landscape, and help to tell a story. Long lenses are not a prerequisite; I find that mid-zooms, such as a 70-200mm or 100-400mm, will give greater flexibility and allow you to refine the composition with ease. Wide-angle lenses shouldn’t be dismissed either. These can be used to great effect with birds that allow a close approach. By getting close, using wide optics, the subject will appear large in the frame but the perspective will allow you to include the surroundings. Framing your subject within the environment requires careful forethought. To avoid the bird from becoming lost in the picture, set it against an area of diffused colour, or look for contrasting background colours. Lead-in lines can be used to lead the viewers eye towards the subject. And look out for elements to use as a natural frame, too: branches, foliage, and trees can all be used to good effect. When positioning your subject, the rule-of-thirds can work particularly well, but try not to let these guidelines dictate your picture taking. Instead, be creative and experiment as much as possible. March 2017 Digital slr Photography 39


PH TO SKILLS

COASTAL ABSTRACTS

IT’S NOTALLLONG EXPOSURESAND BIGVIEWS. ROSS HODDINOTTSHOWSYOU HOWTO GETCREATIVEATTHE COASTBYFOCUSING ONTHEABSTRACT. IT’SANAPPROACHTHATWORKS INALLWEATHER, SO GRABYOURWELLIES!

W

E ALL KNOW THE coast is a great place for landscape photography. Large sandy bays, dramatic rocky ledges and large crashing waves all make great subject matter in wide-angle vistas. It’s also a great place to capture colourful skies, and practise using filters – particularly NDs to creatively blur water motion. However, did you realise that the seaside is also home to a wealth of interesting detail, shape and form? If not, the next time you visit the coast, pack a macro lens or telezoom in order to capture eye-catching coastal abstracts. It can be hard to ‘see’ beyond the big view when you visit the coast, but you need to take a closer look around you. Naturally, the opportunities will vary from beach to beach, but among the things to look for are wavy patterns in the sand, colourful pebbles, seaweed, shells, fishing rope and driftwood. If you wish to capture coastal detail and abstracts, you will typically want to get up close, filling the frame with your subject to help maximise impact. The long end of a telezoom will suffice for many subjects,

CAMERA: NIKON D810 / LENS: NIKKOR 105MM F/2.8 but if you want to get close-ups of smaller detail, like whelks, barnacles and shells, a macro lens will be better suited. A cut-price alternative is to use a close-up attachment, such as extension tubes. You will also want a good tripod, although don’t overlook shooting handheld. So long as your shutter speed is fast enough to eliminate camera shake, shooting handheld will give you more freedom and encourage spontaneity, allowing you to quickly alter your angle and change perspective or framing. If necessary, increase the ISO rating to generate speeds fast enough to allow handheld shooting. Also experiment with apertures. Using a large aperture, like f/4, will create an attractively shallow depth-of-field, which can help direct the eye to a key point of interest. When capturing images of detail and form, technique is often less important than having a good, creative eye. When shooting any type of abstract, there is

absolutely nothing dictating your approach – you don’t have to record your subject in its entirety, completely in focus, and it doesn’t even have to be recognisable. As they say – form is primary, content irrelevant. When visiting the beach, always check tide times beforehand. Not only is this a good idea from a safety viewpoint, but low water will reveal more potential subjects – avoid high tides, as much of the beach will be submerged. Wear wellies too; they are far more practical when working close to water and for wading through rock pools. While you can shoot coastal abstracts at any time of the day, and in any light, I would recommend visiting in the morning or evening. The sun’s lower angle will produce warmer, more dramatic light. Side light is often best for shooting detail, as it highlights shape, form and texture. A warmer colour temperature, like your Cloudy or Shade WB preset, also tends to suit coastal abstracts, particularly those including sand. So what are we waiting for? Lets head to the beach and see what we can find…


PH TO sKIlls

1

CheCk tides This advice might seem elementary, but before heading to the coast, always be sure to check the tide times. Low tide is best for shooting coastal abstracts, as more subjects are revealed. By checking the tides in advance you can avoid disappointing or wasted trips. There are various mobile apps and websites available that offer tide times. I use an app called AyeTides, which gives accurate tide height, range and also sunrise and sunset times.

Coastal abstracts

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Be prepared! The beach is sandy and wet – no surprises there then! Therefore, wear wellies because they’re useful for wading through pools and prevent wet feet if you get caught out by a big wave. To avoid your kit bag and straps from getting damp and sandy when you put it down to access your kit, keep a waterproof cover attached, or place it on a bin-bag or sheet of plastic. The latter also comes in handy if you need to kneel to get low and close to your subjects. autoWB

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look for patterns When shooting coastal abstracts, search closely for interesting shapes, repetition, contrast and exquisite small detail. Sand provides one of the most obvious and photogenic coastal patterns. I quickly found this area of interesting wavy lines in the sand, which I was able to isolate using a 105mm macro lens. By arriving at the beach nice and early in the morning, not only was the light better, but there were fewer footprints spoiling the sand.

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Cloudy WB

White BalanCe issues The sun’s low position, side-lighting the beach, created a nice degree of contrast, which helped to reveal texture. Although the sand looked warm and orange, the images looked pale on my screen. This was due to Auto White Balance mistakenly neutralizing the warmth of the sand – a common error with AWB when the frame is dominated by just one colour. I switched to a Cloudy WB setting to capture more pleasing, realistic tones.

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identifya foCalpointWhile happy with my shots, I felt they lacked a focal point. I wandered along the shoreline, looking for more patterns. I found an area where smooth pebbles were embedded into the beach. I tried a number of compositions before identifying this shot, which I captured handheld. The circular pebble acts as a key point of interest, harnessing the composition. Within just two hours, I had taken a variety of abstracts – see below for some more ideas.

thingstolookforattheCoast

peBBles: Oftenthebiggestskillis‘seeing’theshotin thefirstplace,ratherthanthetechniquerequiredtotake it.Pebblesontheshorecanlookveryphotogenicin close-up,creatinginterestingpatterns.Ifnecessary, arrangethemtoproduceamorepleasingshot.Inthis instance,Icombinedashallowdepth-of-fieldwithalow viewpointtocreateamoreartisticandinterestingresult.

42 Digital slr Photography March 2017

seaWeed: Inclose-up,shiny,reflectiveseaweedis beautifullydetailedandphotogenic.Lookforair bladdersandwavylinestoaddafocalpoint,or interestingrepetitiontoyourimages.Considerusinga circularpolarisertoo–thiswillhelpregulateoreliminate unwantedreflectionsfromshinysurfaces,suchaswet seaweedandreflectiverockpools.

roCkformations: Geologycanprovidegreat abstractopportunities.You’llfindinterestingpatterns andtexturewithinrockyledgesandclifffaces,sotakea closelookwhenyounextvisitthecoast.Filltheframeto disguisescaleandcontext.Andforpin-sharpresults, positionyourcameraparalleltothesurface–thiswill placemoreofthesubjectwithintheplaneoffocus.


life’s a beach Compositioniscrucialwithsuchsimple scenes.Slowyourselfdownandreally thinkaboutwhattoincludeintheframe. Exposure:1/125secatf/13(ISO400)


PH TO SKILLS

WOODLAND SUNBURSTS SUNLIGHTBURSTINGTHROUGH MISTYWOODLAND CREATES SPECTACULAR BUTFLEETING PHOTO OPPORTUNITIES. LEE FROSTEXPLAINS HOWTO MAKE SUREYOU’RE INTHE RIGHTPLACEATTHE RIGHTTIME AND RETURN HOMEWITHAMAZING IMAGES Camera: CANON EOS 5DS / Lens: CANON EF 16-35MM F/4L IS USM

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f yOU gO DOWN to the woods today – well, you might actually bag yourself some amazing images! Woodland offers great potential as a photographic subject. from close-ups of patterns, details and textures to stunning foliage colour and studies of sturdy old trees, there is something for everyone, and no two days are ever the same. However, if you want to take the top prize and scoop the creative jackpot, then nothing beats woodland on a misty morning or afternoon with golden rays of sunlight bursting through the branches. It’s such an amazing spectacle that you could almost be tempted to leave your camera packed away and just savour the moment. I did say ‘almost’ though, because there’s no way on earth any photographer could ever resist the temptation to capture this sight. The UK has a lot of woodland, so no matter where you live – even the middle of a busy city – you should never have to travel far to hug a few trees. I live half an hour outside London these days, but I only have to walk a few minutes up the road and I’m in the middle of lovely woodland, which is where these images were captured. getting to know a local patch of woodland is useful because you can predict when it might be worth a visit to shoot particular images, and you don’t have to travel far to get there. for misty sunburst shots like these, all you need is a damp day followed by a clear, cool night so moisture rises through the trees and is trapped by cool air to form mist, followed by a sunny morning. Autumn is often the best time to shoot woodland sunbursts as you have the added benefit of beautiful foliage colour as well, but you can also get fantastic results in winter when mist is plentiful, the sun low in the sky and the trees skeletal in appearance. you need to be on location around sunrise so you can wait for conditions to be right. Initially the mist may be so dense that no sunlight can penetrate, but be patient because as the sun rises its warming rays will often start to burn the mist away, and eventually those beams of light will find their way through. Don’t just limit yourself to morning either – on a misty day you may get sunbeams as the sun sets in the evening. Technically, shots like this are easy to take as everything is there. you don’t need to use filters or fancy techniques – simply mount your camera and start shooting. It’s that easy!


PH TO sKIlls

Woodland sunburst

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ON LOCATION Get to your chosen location nice and early so that you have plenty of time to find a suitable spot to shoot from. Mount your camera on a tripod and attach a wide-angle zoom – in this case a 16-35mm zoom was used on a full-frame DSLR – and fit a lens hood to reduce the risk of flare.

RE-TAKETHE SHOTIn this case the first shot was underexposed due to the bright area in the centre of the frame fooling the camera’s metering into giving too little exposure. The problem is easily and quickly solved by increasing the exposure by +1EV using the camera’s exposure compensation facility.

USEHDRTOCAPTUREMOREDETAIL Whenyoushootintothelightinmistywoodland, contrastisveryhigh,makingitalmostimpossibleto capturedetailintheshadowsandthehighlightsina singleframe.It’snobigdealifyoudon’tbecausethe imagescanstilllookfantastic,asyoucanseefrom thesehere,butifyoufancycapturingmoredetail, HDR(HighDynamicRange)isthewaytogo.Some DSLRshavein-cameraHDR–myCanonEOS5DSand EOS5DMarkIIIbothdo–andIuseitregularlyinhigh contrastsituationstoseeifitwilldoabetterjobthan asingleframe.Oftenitdoes.Theonlydownsidewith in-cameraHDRisthattheimageproducedisaJPEG ratherthanaTIFFfile.However,youcansetthecamera sothethreeRawfilesitshootstocreatetheHDRare retained,thencombinethemlaterusingHDRsoftware suchasHDREfexPro2(partofthefreeNikCollection byGoogle–https://www.google.com/nikcollection/) andsavethefinalimageasaTIFF.IfyourDSLRdoesn’t havein-cameraHDR,simplyshootabracketed sequencefrom,say,-3stopsto+3stopsinfullstop incrementsthencombinethemusingHDRsoftware.

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READYTO SHOOTSet your DSLR to multipattern metering and aperture-priority (Av) mode. This is a good approach as you choose the aperture to control depth-of-field and the camera sets the exposure. Stop the lens down to f/8 or f/11 then compose your shot and focus using autofocus.

SHOOTALTERNATIVE IMAGES Once you’ve got the first scene spot-on, try some alternatives by varying your viewpoint, lens focal length and camera format. Shoot portrait as well as landscape format, get down low, go wider – but work quickly as the sun’s warmth can soon burn away the mist.

TAKETHE SHOTWith the camera ready, let’s shoot. Use a remote release to trip the shutter or set the self-timer to a two-second delay and press the shutter release. The delay reduces the risk of vibrations that can cause camera shake. Check the preview image and histogram to see how the shot turned out.

IMAGE PROCESSING Once home, download the images to your computer and start editing. In Adobe Camera Raw (ACR), increase Clarity to emphasise the sunbeams and Vibrance to enhance the colours. Experiment with colour temperature and use the Shadows slider to reveal more detail in the shadows.


beam me up scotty! Nothingbeatsaclassicdisplayof morninglightburstingthroughmisty woodland.Getoutandshootyourown! Exposure:1/50secatf/5.6(ISO800)


PH TO SKILLS

How to use graduated filters EvEnintoday’sdigitalagEofpostprocEssingEffEcts,graduatEd nEutraldEnsityfiltErsarEalandscapEphotographEr’sbEstally. JordanbuttErsgivEsyouthElowdownonhowtousEthEm Camera:nikond750 /Lens:af-s24-70mmf/2.8gEd/FiLters:lEEfiltErs100mmsystEm


PH TO SKILLS

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ACK IN THE DAYS of film, if you were a landscape photographer, you never left home without your graduated ND filters. You probably had a full set of soft grads, a set of hard grads and then various coloured filters for creative effects, such an enhancing sunsets. Since the advent of digital, cameras with incredible dynamic range and software with powerful effects mean that we can now replicate optical ND grad filters during editing. Yet, you’ll find a vast number of professional photographers still use graduated ND filters – why is this? Simply, it’s often down to the ethos of getting the image as close to the final result as possible in-camera. You don’t need to carry a large range of filters and using ND grads enables you to spend more time crafting outdoors rather than in front of your computer, manipulating sliders. For most, a set of four grads – a 0.6ND and 0.9ND in both hard and soft varieties – is often enough. Of course the downside of optical filters is that you have to get it right at the point of capture. With digital filters you can adjust the effect at any time, but with optical filters once you press the shutter the filtration is applied. That’s why it’s key to understand how to meter, apply and adjust ND grad filters to suit the scene you’re capturing.

Filterstrengths explained bybrand Stops

Optical (Lee Filters,Tiffen)

Filterfactor (Cokin, Hoya, B+W)

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0.3ND

ND2

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0.6ND

ND4

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0.9ND

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ND1000

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COMPOSE With a suitable scene in front of you, attach your camera on a tripod and compose the shot. Depending on the direction of the light, you might not need to use filters for a balanced exposure, but as you can see here, when I meter for the land, the sky is overexposed. Select aperture-priority exposure mode and you’re ready to go.

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METER FROMTHE LAND You don’t need a light meter – your camera can do that! First we need to meter from the foreground. You can either use multi-zone metering and point the camera at the ground, so it fills the frame, or if you’re a Nikon user then you can select spot metering and move the single AF point over a mid-tone in the foreground, as I have. Make a note of the shutter speed.

CHOOSEAFILTER Select the strength of filter based on your metering. For example, my foreground metered at 1/6sec at f/11 (ISO 100), and the sky metered at 1/50sec at f/11 (ISO 100) – that’s a difference of three stops, so I’ve chosen a two-stop ND grad. Some photographers prefer the sky one to two stops brighter than the land, others like a more dramatic sky. If in doubt, try both!

50 Digital SLR Photography March 2017

METER FROMTHE SKYRepeat this for the sky, pointing the camera up so that the sky fills the frame. If you’re using the Nikon spotmetering method, then don’t meter from the brightest part of the sky, as the reading will be incorrect for the majority of the sky. Once again make a note of the shutter speed. The difference in stops between the foreground and sky will dictate your filter strength.

ALIGN FILTER Decide on whether a hard or soft grad will suit the scene. Correct filter alignment is crucial. Use LiveView, or look through the viewfinder whilst holding down the depth-of-field preview button and slowly positioning the filter to find the correct alignment. Don’t push the filter down too far, or it may overlap with the land, or objects that jut above the horizon, creating a dark band.

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SHOOTIf you used spot metering earlier on, then remember to move the spot back over the foreground so that the reading is taken through the clear part of the filter. If you’re using multi-zone metering, then the scene should now be evenly exposed. Take a test shot and check the results. You can make adjustments to the overall exposure using exposure compensation.


Using ND graduated filters

which type? Hard:Boastsasuddentransition betweenfilteredandclear–idealfora flathorizon,suchascoastalviews. Soft:Hasagradualtransition–usefulwhen featuresorstructuresjutabovethehorizon. Reverse:Strongestinthemiddle,and weakertowardsthetopandbottom. Usefulforsunrisesorsunsets,when theexposureisbrightestnear thehorizon.

balance it out Addingsubtlefiltrationtotheskyadds detailandinteresttothecloudsand preventsdetailfromblowingout. Exposure:1/160secatf/8(ISO250)

nDgraDuateDfilters:thingstolookoutfor...

1) filtertoo low Positionyourfiltertoo lowand you’ll see a dark band inyourimage.Adjust the filter, using LiveVieworlooking through theviewfinder.

2) filtertoo strong The skyis brighterthan the land, so ifyou add too much filtration it often looks unnatural.Aim fora skythat’s 1-2 stops brighter.

3) enhance in processing You can enhance filtration during processing, although it’s fareasier to increase filtration digitallythan to reduce it.

March 2017 Digital slr Photography 51


Skyswap

REPLACEMENTSKY

ORIGINALIMAGE

DOYOUHAVEAPOTENTIALLYGREAT LANDSCAPEIMAGESPOILTBYABORING SKY?HERE’SHOWTOQUICKLYAND EASILYSWAPASKYINPHOTOSHOP

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F YOU’RE A STEADFAST optical filter aficionado then the idea of replacing one sky with another might not hold much appeal. And if you’ve read our tutorial on p48, then you’re fully up to speed on how to correctly meter for and use ND grad filters. So what use is knowing how to swap a sky? Well, of course, in ideal situations you’re always packing your ND grads and the light and clouds are just right, but we all know that reality doesn’t always work like that, and this is an editing trick that could turn a drab sky,

a scene in which filter use wasn’t possible, or one captured with the wrong exposure, into something worth sharing. Before we start you’ll need two images – your landscape and then a replacement sky with sufficient interest. Ideally these will be images you’ve shot yourself, but you can also peruse stock photography sites for candidates if you’ve nothing suitable.

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MAKE SURE THE SKYWORKS If you’re trying to inset a sunset sky in a midday landscape, then it’s going to look wrong straight away. Or, if the landscape was shot with a relatively shallow depth-of-field and the sky is pin-sharp, or vice versa, it’ll look off. Also pay attention to the direction of light in both images – is it coming from the left or right, high or low? Match your sky selection to your image or it will immediately look fake.

ADD A GRADIENT The sky probably looks a bit rough at the horizon, so let’s fix that. Start by right-clicking on the Layer Mask thumbnail for your sky in the Layers palette and selecting Apply Layer Mask. Then, click on the Add layer mask button to add a fresh mask. Select the Gradient Tool and, with a white-to-black gradient active, drag downwards near your horizon to create a transition between sky and land.

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SELECTTHE BORING SKY Open both your landscape and sky images. On your landscape image, use the Quick Selection Tool to draw across the sky. If the sky is clear it should select it in one go. Use the Zoom Tool on the horizon and check for any areas which haven’t been selected. If there are any, paint over these too. If the tool has selected something it shouldn’t have, hold down the alt key and paint back over to deselect it.

TIDYTHE HORIZON You can apply the gradient over and over until you get it right, and you can also adjust the mask manually using the Brush Tool with White or Black set as your Foreground Color. It might be that your sky now looks just right, but for my image, I need to adjust it further so that it matches. The sky is too saturated, so I click the Create new fill or adjustment layer button in the Layers palette and select Hue/Saturation.

PASTE IN THE NEW SKY Open your sky donor image and use the Rectangular Marque Tool (M) to select the sky before going to Edit> Copy. Then, in your main image, go to Edit>Paste Special>Paste Into. The sky will be dropped within the boundaries of your selection. You can then use the Move Tool to reposition the sky, or press cmd + T (Mac) or ctrl + T (Windows) to transform and scale, flip or rotate the sky as needed.

SELECTIVE ADJUSTMENTS In the Adjustment window that opens, first click on the Clip to Layer button (shown) so that the adjustment only affects the sky layer, then make your adjustment as needed, judging by eye. My sky also needed a bit of extra contrast to match the scene, so I added a second adjustment layer, this time selecting Curves, and again clipped it to the sky layer before adding contrast. All done!


The sky’s noT The limiT Thisquickandsimpletechniqueis onewaytochangeyouroutlook!


Golden silence

by Peter Henry

NikonD600withNikkorAF-D80-200mmf/2.8lens. Exposures:1/15secatf/9(ISO200).

What we think: Peter's climb to the summit of Latrigg in the Lake District has been rewarded with a gorgeous sky and reflection in Derwentwater below. Using a telephoto lens has compressed perspective, creating a layered effect and bringing the distant Borrowdale valley into the composition. It's a lovely tranquil image, but we can't help but wonder what the scene looked like bathed in light a few minutes later? Perhaps it didn't materialise, but a touch of direct light would have helped define the landscape better. Regardless, lovely image Peter.

Why it works Stunning elevated viewpoint Focal length compresses perspective Beautiful light and colour in sky

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aDam BURton

want your shots critiqued by the digital slr photography experts? turn to page 59 to find out how to submit images


landscape expert AdamBurton “Welldoneforgettingtoanelevated locationfordawnonachillyday. Topmarksforusingalongerlens too;fromthisviewpointatelephoto offerslotsofpotential.Compositionally,the imageworkswell.Thetelephotohasallowed Petertomaximisethereflections,andhelpsto conveythemountains'magnificenceinaway thatawide-anglesimplycouldn't.Theinclusion ofthefrostyfieldsintheforegroundisanice touchthatemphasisesthecold,butI’dliketo seeatightercroptoremovethedistracting apartmentblocksalongthebottom.Thetrees andmountainslookabitdark;Ithinktheimage couldbenefitfromlighterprocessing.Itlooks asthoughPeterhassetwhiteandblackpoints; generallyagoodpracticebutinsomesituations itisn’tnecessary. Afrostymorningisusually accompaniedbypasteltones,andinsuch situationsI'dleavetheblackpointasitistokeep theimagelightandnaturaltothescene.”

arayof light

by Ali Yamaner

CanonEOS5DMarkIIIwithCanonEF24-105mmf/4LISUSMlens. Exposure:1/160secatf/4(ISO800).

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What we think: A classic Vatican City moment, beautifully captured with considered composition! Any selfrespecting photographer who has visited St Peter's Cathedral on a sunny day has sat and waited for someone to pass through one of the iconic beams of light. Ali has handled the exposure well – the dark interior can cause overexposure of the crucial point in the photo. The timing is spot on too. Our only criticism would be that if the figure captured in the light was someone in religious attire, the image would be near-perfect!

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Why it works 1) Good composition and angle 2) Tricky exposure has been handled well 3) Timing is spot-on

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March 2017 Digital slr Photography 55


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secret garden

edIted

by Arthur Kantemirov CanonEOS7DwithCanonEF50mmf/1.4USMlens. Exposure: 1/250sec at f/1.6 (ISO 100).

What we think: Arthur's portrait has been thoughtfully captured and processed. The model's pose is natural, and the setting works well for the whimsical feel he's gone for. We're not sure the central composition works at this angle – maybe if the foliage filled the other side of the frame too, as per the example on the right, it would be more balanced. Also, the focusing is ever so slightly off – easily done at such a wide aperture.

Why it works 1) Natural pose and expression 2) Tastefully processed with good skin tones 3) Setting adds interest

Into the mornIng lIght

by Becca Fulcher

CanonEOS7DMarkIIwithTamronSP150-600mmf/5-6.3lens. Exposure:1/400secatf/5.6(ISO800).

three wIde Into druIds

by Paul Babbington

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NikonD750withNikkorAF-S300mmf/2.8GVRlens. Exposure: 1/200sec at f/3.2 (ISO 100).

What we think: There are few UK racetracks with the dips and drops of Brands Hatch, and this is a classic angle for this circuit. Paul's low angle has captured the cars at bumperheight, which adds drama and depth. His timing is spot on too – the three cars are neck and neck going into the next corner! Usually we'd suggest the jaunty angle of the camera is a bit much, but it works here as the track is so extreme anyway! Good job!

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Why it works 1) Angle of composition adds dynamism 2) Perfect timing with all cars equal 3) Low angle adds depth

What we think: In terms of atmosphere, Becca has captured a lovely wildlife image – the warm dawn light, the frost-coated bracken, the attentive stag with just a touch of moss hanging from his antlers and his warm coat creating a fine steam in the cold air. Perfect! Her composition is good – she has allowed space in the frame for the stag to 'move into', although the crop is a little close on the right-hand side. The slight flare of light passing through the tree on the left adds great interest and depth too. The only thing we'd advise watching out for is focusing accuracy in backlit situations such as this – Becca has slightly forward-focused, so the ferns in front of the stag are pin-sharp, and the animal itself is ever so slightly soft.


ben hall

Wildlife expert BenHall “Thisisabeautifulportraitofareddeer stag.Theearlymorninglighthascasta goldenglowovertheimage,and showsjusthowmuchofadifference shootingduringthegoldenhourcanmake, especiallywhenthesubjectisbacklit.Themisthas helpedtokeepcontrastdownandtheexposure looksaccurate,withdetailinboththeshadows andhighlights.Theoutoffocusbranchesinthe topleftoftheframehelptogivetheimagesome depthwithoutbeingdistracting,butIdofindmy eyebeingslightlydrawntothebottomrightofthe framewhereanobjectcutsacrossthepicture. Beccamayhavebeenabletoeliminatethisby movingpositionslightly.Thestagispositioned wellintheframe,butIthinktheimagewouldhave slightlymoreimpactifthedeerwaslooking directlyintothelens.Aslightlylowershooting anglewouldalsohavehelpedtoaddsomeextra intimacy.Overall,thisisabeautifullyevocative imagethatBeccashouldbereallyproudof.�

March 2017 Digital slr Photography 57


Submissions

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

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

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

FACEBOOK: Join us on Facebook at

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

FLICKR: Visit: www.flickr.com/

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

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

Workshop

Name: Phone:

Portfolio

ExpertCritique

General

Address: Postcode: Email:

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

POST: Burn your high-res images as

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

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

March 2017 Digital SLR Photography 59


The Beginner’s Guide

STUDIOFLASH: THE BASICS INTHEFIRSTPARTOURBEGINNER’SGUIDETOSTUDIOFLASH,WESHOW YOUTHEBASICSOFUSINGSTUDIOHEADSANDHOWTAKINGCONTROL ALLOWSYOUTOCAPTUREPROFESSIONAL-LOOKINGRESULTSWITHEASE

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Words & images: JAMES ABBOTT

VERY PHOTOGRAPHER’S AIM is to capture the best light possible. Whether you’re a landscape, wildlife or portrait photographer, our goals are essentially the same. So wouldn’t it be amazing if you could take full control of light? Unfortunately for landscape and wildlife photographers, they are usually at the mercy of the elements. Portrait and fashion photographers have a huge advantage – they can use a studio. A photo studio, whether a small home set-up or a professional rented studio, offers complete control of absolutely everything, from lighting to background and environment. And, depending on the size of the studio, you can create tightly-cropped images, or pull back for more dramatic full-length shots with lots of creative negative space. For portrait photographers, the studio is a haven of potential. Learning how to use studioflash is an essential skill for portrait and fashion photographers. Not only because it means you can shoot at any time of the day or night and in any weather conditions, but it also expands your creative potential. There are many lighting effects and styles that can be achieved in the studio that are difficult to produce outdoors, if not impossible. One of the most important aspects of studio lighting is that it provides you with a blank canvas on which to paint your subject with light. The word photography itself loosely means light drawing, and that’s exactly what we’re going show you here.

STUDIOHIRE

Notowningstudiokitor havingspaceathome isn’tareasontonottry yourhandatstudioflash photography.Hiringa studioisanaffordableandpracticaloption,and allowsyoutoshootusingarangeofstudiogearin aspacedesignedsolelyforphotography.Studio6 inLetchworth,Hertfordshireisoneofthenewest studiosintheUKandboastsanextensivearray offacilitiesandequipment,aswellasplentyof spaceinwhichtoprepareandshoot.Weusedit to shoot all ofthe Beginner’s Guide to Studioflash and can thoroughlyrecommend it to readers of all levelswanting to tryout studio photography. With 2,000ft studio space, awhite cove,various backdrops, changing areas, several Elinchrom lights, alongwith an extensive range offlash modifiers, it’s the ideal place to shoot studio portraits.We'll be using them again soon! Formore details on the range facilities available at Studio 6,visit:www.studio6-photo.com


The Beginner’s Guide

AN INTRODUCTION TO STUDIOFLASH

LEARNINGTHEBASICSOFUSINGSTUDIOFLASHWILLHELPYOULEARNTOLIGHTWITHEASEWHENSHOOTINGINTHESTUDIO

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UYING YOUR FIRST studioflash kit is exciting because it’s a move that will completely change the way you shoot portraits, for the better. Weather and light conditions will no longer be a problem because you’ll be able to control everything. LED lighting is growing in popularity, with some photographers making the move to continuous light sources. But while they offer several advantages, these heads can’t produce the same intensity of light as flash, and remain much more expensive. With studioflash it’s possible to find options at every price point ranging from a couple of hundred, all the way up to a few thousand pounds and everything between. Plus there’s a wide variety of lighting modifiers available to help you to control and shape light.

MAINTYPESOFSTUDIOFLASH

When it comes to buying photographic kit there are always a few considerations, and studioflash is no exception. The most common type of flash head is a selfcontained unit that plugs into the mains, with all controls, slave cell and sometimes cooling housed in a single unit, known as a monoblock or monolight system. This type is popular, but for photographers producing a large number of flashes a separate power pack and head solution is more common. Professional photo studios often use a pack and head flash system, which uses a power pack that plugs into the mains to deliver power to the flash heads. This means that flash recycle times are quicker than with a monoblock flash head, and power output is often much higher. The downside is that they're not as portable as the all-in-one type. If the ability to take your studio to literally any location is important then a batterypowered solution may be what you need. This type of flash works along the same lines as a pack and head system, although the difference is that the pack is a high capacity battery. This type of flash is ultra-portable, but flash power is often lower and recycle times slower than the other two options.

ANATOMYOFASTUDIOFLASH HEAD 1) Poweroutput: On some flash heads there’s a digital readout forpoweroutput, while on others poweris denoted on a dial. 2) Powercontrol: Forflash headswith a digital readout therewill be simple up and down controlstosetpoweroutput. 3) Modellinglampon/off:Turnsthe modellinglamponoroff,andsetsitspower outputproportionaltotheflashortomanual. 4)Modellinglamppower:Allowsyouto manuallyadjustthepoweroutputofthe modellinglightwhensettofree(manual). 5) Slave cell on/off: Ifyou’re using several flash heads the slave cell can be used to fire themwhen the triggered flash fires. 6) Slave cell receptor: You’ll find awhite dome on most flash heads, and this is simply the eye cell receptorthat ‘sees’otherflashes. 7) Sync socket: This iswhereyou plug in a traditional sync cable orwireless trigger to sync the flash toyourcamera. 8) Main on/off: This is the masteron/off switch and everyflash head has one. 9)Test button: Pressing this button fires the flash soyou can check it’sworking, orto discharge the flash cell. 10) Charge readybeep on/off: You can set the flash head to beepwhen the flash has recharged and is readyto be fired again. 11) Modelling bulb: The modelling bulb produces light that allowsyou to see how the flash lightwill fall on the subject. 12) Flash tube: The flash tube is the bulb that creates the flash light.These are expensive to replace so take carewith them. 13)Accessorymount: Modifierssuchas softboxesandbeautydishesattachtothefront offlashunitsusingtheaccessorymount. 14)Tilt handle: Whenattachedtoastand flashheadscanbetiltedbackwardsand forwards,andthishandlelockstheirposition. 15) Mount screw: Flash heads attach to light standsvia a lockable bracket. Thiswill keep them firmlyin positionwith even heavymodifiers attached.

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CAMERASET-UP

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SETMANUALMODE: Turn the mode dial onyour camera to M formanual.This mode allowsyou to set both the shutterspeed and aperture, and thesewill remain on the chosen settings untilyou change them. To get started set the ISO rating to 100 foroptimum image qualityinyourshots.

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SELECTSHUTTER SPEEDANDAPERTURE: Set the shutterspeed to the flash sync speed.Thiswill be around 1/160sec, 1/200sec or1/250sec – checkyour camera's manual. Next set the aperture to f/11. For most studiowork f/8 orf/11 is favoured foroptimum lens sharpness. Set theWB to Flash ifshooting inJPEG.

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CONNECTTOTHE FLASH: Whenyou release the shutteryou need the flash(es) to fire at the same time. Onewayto do this is using a sync cable that plugs into a PC sync socket onyourcamera.Abetter wayoffiring studioflash is to use awireless triggeron the camera,with a receiveron one ofthe flashes.


The Beginner’s Guide

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HeN SHOOTINg OUTdOORSwith just a camera, metering is a fairlystraightforward affair. But in the studioyou’reworkingwith light that hasn'tyet been emitted bythe light source, and you’reworkingwith manual camera settings, so howdo you achieve a correct exposure?Working out exposure in the studio is actuallyeven easierthanwhen shooting undernatural light because light remains the same for everyshot, unlessyou change poweroutput orthe position ofone ormore ofthe flash heads.There are two ways to assess exposure.The first is to take test shots and use the LCd screen to judge exposure, and thisworks well. However, ifyouwant to knowthatyou’re achieving perfect exposures a handheld light meteris useful.

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takeatestshot: Setyourcamera to manual mode with the shutterat the flash sync speed. Ifyou’re unsure set 1/125sec orcheck the camera manual. Next set aperture at f/11 and ISO to 100.This givesyou a good start exposure.Take a shot ofthe model and look at the image on-screen to see howthis test exposure looks.

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assessandadjust: Use the previewimage and, if you're confident enough, the histogram too, to judge whetherit’s too light ortoo dark. Ifit’s too dark open the aperture to f/8, orincrease flash power, and take another test shot. Ifit’s too bright reduce flash powerratherthan stopping down. Repeat until the exposure looks good.

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a) easymethod: Find a suitable exposurewith trial and errorusing the LCd monitor. B)accurate method: Use a handheld meter,which indicates the ideal exposure.

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essentialtechnique: howto meter for perfectstudioflash exposures

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selectthe desired settings: Aftermanually dialling the desired settings intoyourcamera, set the ISO rating on the light meterto match that ofyour camera –we'd suggest ISO 100. Next select a shutter speed close to the sync speed ofyourcamera.This doesn’t need to be exactwhenyou're shooting indoors.

syncthe meter: Ifusing awireless flashmeterpair itwith the flash head. Ifnot, plug the sync lead into the flash at one end and the flashmeterat the other. Hold the meterin front ofyourmodel’s face facing the directionyou’ll be shooting from and press the fire button to triggerthe studio head(s) to fire.

change exposure: Arecommended aperture settingwill showon the meter's screen.You can either set this aperture on the camera oradjust the flash power output to allowyou to useyourdesired settings.The latteroption is usuallypreferable becauseyou remain in control.Take anothertest shot to confirm it's OK. March 2017 Digital slr Photography 63


The Beginner’s Guide

STUDIOFLASH MODIFIERS TAKEAGREATERAMOUNTOF CONTROLOVERHOWLIGHT BEHAVESBYUSINGMODIFIERS

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HEN CONSIDERING LIGHT it can help to think of it being like water. Whatever you pour that water through will influence the way it comes out of the other end. A funnel concentrates water into a tight stream, and that’s exactly what a snoot does for light. Light modifiers are essential for controlling and shaping light, and there’s a variety of options available. Light is much more complex than water, so while thinking of it being like water to be able to visualise the way modifiers affect it, you also have to consider how materials placed in front of it will make it behave. Material softens light, while honeycomb grids narrow and direct it. To fast track you straight to in-depth knowledge of how modifiers affect light we’re going to show you exactly how different modifiers control and shape light. At the consumer to professional end of studioflash there are two main mounts for accessories modifiers – Elinchrom and Bowens S. The accessory mount isn’t a key consideration when buying a lighting kit, but once you have chosen one be sure that the modifiers you buy will fit your flash heads.

WHITE WHITEREFLECTIVEBROLLY: REFLECTIVE BROLLY: Producing a wide, soft spread of light, white reflective brollys are small, lightweight and ultra-portable compared to large softboxes. They’re perfect for lighting larger scenes in the studio and outdoors, but for more controlled light they fall behind softboxes that are available in a variety of shapes and sizes.

SILVERREFLECTIVEBROLLY: SILVER REFLECTIVE BROLLY: This is essentially the same as a white brolly, although the very fact that the reflective surface is silver rather than white means light will be slightly harder and more concentrated. This means a silver brolly will be more commonly used as a fill or rim light where the highlight needs to stand out from the key light.

SOFTBOX: Softboxes are one of the most popular light modifiers available, and for good reason. They produce soft even light, and since they’re available in a variety of shapes and sizes, it’s possible to achieve a number of lighting effects and styles. A standard square or octagonal softbox produces a fairly wide spread of light.

STRIPLIGHT: A striplight is a type of softbox that’s long and thin to produce light that, you guessed it, is spread over a long and narrow area. This makes them ideal for rim lighting in portraits. Where a regular square softbox would spread light too much, the striplight keeps it concentrated in the right area – the very edges of the model.

BEAUTYDISH: As a staple in fashion photography, beauty dishes are similar to softboxes in the way they direct light. But light is slightly harder with more defined shadows and less wrap-around light. They're available in white or silver, with the white option producing slightly softer light than their silver counterparts.

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The Beginner’s Guide

YOUR LIGHT’S BEST FRIENDS Inthestudiolightmodifiersarethesecret behindachievinganyandalllighting stylesandeffectsusedbyprofessionals.

SPILLKILL/ REFLECTOR: To stop light from spilling out in all directions when using a bare flash or umbrella, a spill kill / reflector dish is essential. These are usually included in studio lighting kits, and force light to move forwards rather than spilling out at the sides. They're available in a variety of shapes and sizes for different purposes.

SNOOT: For lighting small parts of a larger subject a snoot is the best modifier by far. This cone-shaped modifier forces light into a small circle. To further control the light, some snoots also come with a detachable honeycomb grid. If using the modelling lights take care when removing the snoot as they become extremely hot.

HONEYCOMB GRID: Honeycomb grids are available to fit onto spill kills, softboxes and also beauty dishes. The grid focuses and directs light so that it doesn’t wraparound the subject as much as it would without. This helps to create a hard graduation from the most lit area of the image to the shadow area. March 2017 Digital SLR Photography 65


single light set-ups

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The Beginner’s Guide

Buildyourstudioconfidence andknowledgewithaselection ofone-lighttechniquesthat providepowerfulresults

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he adage ‘don't run before you can walk’ holds strong in many areas of life, and photography is no exception. Keeping things simple will pay dividends because you have fewer variables to contend with. When it comes to lighting starting with one light is perfect for beginners because you can focus all of your attention on it. as your experience grows you’ll inevitably want to introduce more lights to achieve a range of effects. But it’s worth remembering that you should always start with one light and build from there. Introduce a simple reflector into the mix and the possibilities increase exponentially. In the examples on the right we show you how the position, angle and height of a light source can drastically change the light. With just a small softbox, and the occasional reflector, it’s amazing how much can be achieved with a single studioflash. For camera settings head back to page 62.

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Abovewith reflector: Straight-on with the light above the model and facing down at a 45° angle is a classic set-up. Ideally, you’ll see a small and light triangular shadow appear below the model’s nose. The shadow under the chin shouldn't be strong with this lighting, so you can position a reflector on the model’s lap to fill the shadows.

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litfrom below: Used independently of a second light, lighting from below can create unflattering hammer horror movie style lighting. To get the best results ask the model to look down towards the light. and for an even better effect, use this technique in conjunction with a second studioflash.

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side-litwith reflector: a reflector is your best friend in the studio because it can equate to another light source. With the studioflash positioned 45° to the side of the model and using a reflector to fill the shadows, you get a well-lit portrait with shape and form across the model’s face. an assistant is useful for holding the reflector.

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rembrAndtlighting: 45° to the side and lit from above – the aim of this lighting style is to have one side of the face well-lit with a triangle of light below the eye opposite the light source. It’s the simplest way to create pleasing results, and can be achieved with a single light or a light and a reflector.

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side-lighting: This is a popular lighting style for black & white male portraits with a dark background because half of the face appears to be emerging from the darkness. as you move the light away from the model towards where you’re standing, more light will be able to reach the other side of the model’s face to illuminate it.


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The Beginner’s Guide

March 2017 Digital slr Photography 67


two light set-ups

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The Beginner’s Guide

TakeeveryThingyoulearned wiThonelighTasTepfurTherby inTroducingasecondheadfor evenmorecreaTiveresulTs

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ith single light techniques under your belt, it’s time to move on to slightly more advanced effects requiring two lights. What we’ll be doing here is introducing a second flash head to do the shadow-filling work of a reflector in single light set-ups, and to also help add shape and form by introducing highlights. it’s with two lights where sculpting with light begins to take place. When working with two or more lights it pays to set them up one at a time, getting the position and exposure correct before setting up the second. this makes it quicker and easier to make adjustments as you go, rather than turning both lights on and not knowing which light needs to be adjusted. some photographers even set up and meter for the first light, switch it off to do the same for the second, before turning both on to check them and make any final adjustments.

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Cross lighting: this lighting is achieved by positioning a light in front of the model at 45° to the side, and one behind at the same angle but diagonally opposite. the result is a dramatically-lit model using a technique that can be set up in a few minutes using brollys softboxes, or even spill kills for harder lighting and ultimately more edgy results.

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sCissor lighting: With lights either side of the model, at an equal distance and identical angles, the result is clean and even with no shadows. You can also reduce the power of one of the lights to help to create more definition – reduce the power of one of the lights by half or a full stop.

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ClAmshelllighting: For even lighting with few shadows this is a great way to take the single light and reflector technique a step further. One light is positioned in front and above the model aiming down at a 45° angle. the second light mirrors this but from below to eliminate all shadows. Use equal power or vary for different effects.

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strAightonAnd hAir: introducing a light to catch the outline of the model’s hair is a classic technique that remains as popular as ever, and can be applied with any main light set-up, whether straight on or at an angle. if using a softbox for a hair light, aim it at the back centre of the model’s head and adjust as necessary to refine the result.

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Above sideAnd rim: this is a variation of cross lighting but rather than having both lights straight, the main light is raised and aimed down slightly to allow more light to reach the other side of the model’s face. the rear light catches the hair and shoulder to add contrast and helps separate the model from the background.


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March 2017 Digital slr Photography 69


The PhotoWorkshop

PIERPRESSURE LIKECANDYFLOSSANDKISSMEQUICKHATS,PIERSAREAQUINTESSENTIALPARTOFTHEBRITISHSEASIDE.THEY’REALSO AFANTASTICPHOTOGRAPHICSUBJECT,OFFERINGENDLESSCREATIVEPOTENTIALATANYTIMEOFDAYORYEAR.TO PROVEIT,WESENTREADERRICHARDNEWMANOFFTOTHESUSSEXCOASTWITHTHECHALLENGEOFPRODUCINGFOUR GREATIMAGESOFBRIGHTONPIER.PROPHOTOGRAPHERLEEFROSTJOINEDHIM.HERE’SWHATHAPPENED…

OUREXPERT: LeeFrost

OURREADER: RichardNewman

LeeisoneoftheUK’sbestknown landscapeandtravelphotographers aswellastheauthorofalmost20 booksandhundredsofmagazine articles.Leeleadsworkshopsand toursallovertheworld.www.leefrost.co.uk Lee’skit:CanonEOS5Sand5DMkIII,CanonEF 16-35mmf/4LISUSM,EF24-70mmf/4LISUSM andEF70-300mmf/4-5.6LISUSM,LeeFilters systemwithpolariser,NDandNDgrads,Gitzo carbon-fibretripodwithReallyRightStuffball head,F-StopLokabackpack.

RichardisadirectorofaleadingUK CivilEngineeringConsultancy.His interestinphotographydeveloped moreseriouslyaboutfiveyearsago andhespendsmuchofhisfreetime pursuinghispassionforlandscapephotography. Richard’skit:NikonD750,TamronSP24-70mm f/2.8,NikonAF-S70-200mmf/4GED,Nikon AF-S16-35mmf/4GED,Manfrotto055XPRO carbon-fibretripodwithManfrottoXPRO magnesiumballheadandLoweproFlipside 500AWbackpack.


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IERS PROVIDE A walk on the sea without the disadvantage of being seasick and are havens of fresh air and freedom we can ill afford to lose,” said the late great poet Sir John Betjeman. With that in mind, Betjeman founded the National Piers Society in 1979 to protect a vital but disappearing part of our coastal heritage. It’s still going strong, as are most of the 59 piers that still remain, dotted around the coast of England, Scotland and Wales. The great thing about seaside piers is they're so full of character. In the summer they're thriving subcultures, packed with holidaymakers soaking up the sun, spending their hard-earned cash and generally having fun. Big wheels spin gracefully against the deep blue sky, amusement arcades buzz with activity, kids lick away at monstrous ice

creams, the bright, glossy paintwork glistens in the sun while flags flutter in the breeze to create a sense of joy, warmth and happiness. By night the bass thud from the dance hall shakes the pier's very foundations, while young couples get intimate and carve love hearts on benches worn smooth by overweight backsides. Colourful man-made illuminations stretch from end to end, reflecting in the shiny boardwalks and creating shimmering reflections on the sea. Then winter comes and the mood of the place is transformed. Choppy seas snap at pier supports like a pack of angry dogs. The once-busy walkways lie quiet, frequented by the odd solitary dog walker or couple wrapped up in their woolies out for a breath of salty sea air. The wind whistles and groans as it snakes through broken windows leaving

deck chairs flapping furiously in its wake, as dark clouds pass overhead. No matter what season of the year and no matter what the weather's doing, the good old British pier is packed with potential. And making the most of it couldn't be easier. Many subjects demand planning or prior knowledge, but not this one. Whether you're on a flying visit to the seaside or there for the duration, all you have to do is spend an hour or two wandering and you’re guaranteed to come away with some great images. To show you what can be achieved, we sent reader Richard Newman off to Brighton – home to one of England’s most popular piers (and the derelict West Pier that was destroyed in 1985). His challenge was to come up with four inspiring images before nightfall. Lee Frost joined him to offer help and advice.


The PhotoWorkshop

CHALLENGE1:COLOUR

When you plan a shoot like this in winter, it’s anyone’s guess what the weather might be doing on the day – blowing a gale, pouring with rain, or snowing! Fortunately for Richard, none of the above applied because on arrival in Brighton, he was greeted with a cloudless blue sky and bright winter sunshine – it could have been summer! Had we been shooting landscapes, such conditions would have been met with a deep sigh as they’re far from dramatic or atmospheric. However, for a subject like Brighton Pier, which is bold and architectural, sunny weather is actually a bonus, and changes in the direction and quality of light throughout the day can be put to good use. I purposely avoided telling Richard what his challenges were until we met on Brighton seafront on the day of the shoot. I didn’t want to tempt fate with the weather and put ideas in Richard’s head that he might have to change at short notice if conditions weren’t as expected. Checking the weather forecast the night before, it became quite clear that we’d be enjoying clear, dry and sunny conditions, so I decided that we’d kick the day off with Richard producing an image that exploited colour. Towards the end of Brighton Pier there are fairground rides so Richard immediately started heading along the boardwalk. Access was restricted by maintenance work taking place in certain areas, but Richard was able to wander around most of the fairground rides, checking them out from different angles against the sky. After a few minutes of exploration, Richard stopped by a fantastic carousel and Helter Skelter and put down his tripod. Both fairground rides were packed with colour and also bathed in sunlight, which made them look even better. I suggested trying to juxtapose their bold shapes against the blue sky by shooting from low down with a wideangle lens, so Richard locked a 24-70mm zoom onto his Nikon DSLR and got to work. The angle he’d chosen meant that the sun was off to one side of the camera – perfect to get a good effect from a polarising filter. Realising this, Richard had a quick rummage

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CHALLENGE1Pro verdict

1)Richardhitsthedecktocapturethescenefromalowangle. 2)Adjustingthepolarisertodeepentheblueskyandboost coloursaturation.3)Richardadjustshisangleandcarefully composestheshotusinghisDSLR’sLiveViewfacility.

in his backpack and seconds later a polariser was screwed onto his lens. The first couple of shots Richard took lacked impact. There was too much space between the two fairground rides, which resulted in the central area of the composition being empty – just sky. This was partly because Richard wanted to include the distant tower of Brighton’s latest tourist attraction, The i360, but it was so far away that it made no contribution to the shot. I suggested that Richard change position slightly so the two fairground rides were closer together, and also experiment

“Whenyou’reunderpressuretoproducea strongimageinashortspaceoftime,it’seasyto getintoapanic–especiallywhenthere’s anotherphotographerbreathingdownyour neck.ButRichardremainedascoolasa cucumber,scoutingthelocationforasuitable subjectthatwouldmeetthebriefthencarefully andconfidentlyproducedtheimage.Itwas interestingtoseeitevolveandIthinktheend resultisareallyvibrant,eye-catchingimagethat Iwouldhavebeenhappytotakemyself.” with quirky camera angles so the rides would be leaning dramatically. This is a handy trick to employ when you want to make a composition more dynamic and abstract – the final image becomes more about shapes and colour rather than the subject matter it includes. Richard took this idea on board immediately and within minutes had bagged a fantastic shot that captured all the fun of the fair!

Polariserpower Whenthesun’sshining,apolarisingfiltercanbea greatallyasitnotonlydeepensbluesky,butalso cutsthroughglareonnon-metallicsurfacesso coloursappeardeeperandcrisper,while eliminatingreflectionsinwater,glass,metaland othersurfaces.Togetthebestresultsfroma polariser,thesunneedstoberoughlyat90°tothe lensaxis(justkeepittoonesideofthecamera), whiletoeliminatereflectionstheanglebetween thereflectivesurfaceandlensaxisshouldbe around 30°.Rotatingthepolariserslowlywhile lookingthroughthecamera’sviewfinderoratthe LiveViewimagewillallowyoutovaryandgaugethe effect.Whenyoulikewhatyousee,stoprotating andshoot.Polariserslosetwostopsoflight,sobe carefulwhenshootinghandheldastheshutter speedcanslowdown,resultingincamerashake.

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LEAN ON ME Thelowviewpointandquirkycamera anglecreateadynamiccomposition, whilethecoloursreallypopagainst thatpolarisedsky. Agreatfirstshot. Exposure:1/60secatf/11(ISO100)


The PhotoWorkshop 2

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CHALLENGE2:HDR

One downside of bright, sunny weather is that you can easily end up producing very similar shots. But the whole point of this Photo Workshop is to show versatility and come up with different photographs, so with that in mind I challenged Richard to produce an HDR image – about as far removed from his first shot as you could get! Piers are a popular subject for HDR, especially when they’re shot from underneath, as contrast is usually strong and it’s near impossible to capture a full range of detail in a single frame. Brighton Pier was no exception. The sun was pretty much over the pier when we wandered under it, which meant that the pier itself was effectively casting its own shadow on the sea beneath, making it dark and murky. Beyond the pier, however, light levels were extremely high and, to compound matters, the sun was shining on the sea to the right of the pier, creating shimmering highlights. It turned out Richard was no stranger to HDR, so he knew the score. To create a successful composite you need to shoot a set of images of the same scene, each at a different exposure, so the darkest frame records detail in the highlights (though in this case we decided to ignore the sunlight on the sea as that was only ever going to come out white) and the lightest frame records detail in the darker shadows. How many frames you need to shoot depends on the contrast in the scene. In this case, Richard took some test shots

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1)Richardsetsuphiscameraunderthepier.2)Checkingthe cameraisreadytostartshooting.3)Bracketingexposuresto producetheHDRsequence.4)It’stemptingtogoOTTwhen producingHDRimages–butyoudon’thaveto.

and established that he’d need to shoot a sequence of seven frames from EV-3 to EV+3 stops in full stop increments. The best way to produce the exposure sequence is by setting your DSLR to aperture-priority and then either using Auto Exposure Bracketing (AEB) set to the required parameters, or manually adjusting the exposure for each frame using the exposure compensation facility, starting at the darkest or lightest exposure. It’s important to use aperture-priority mode because that way, the aperture you set remains unchanged so depth-of-field is the same for each shot. If you use shutterpriority mode, the camera will keep the shutter speed constant and change the aperture (f/number) for each frame to change the exposure. This can cause problems with alignment if the images as depth-of-field will vary with each frame. It’s also a good idea to set focus to manual rather than using AF, just in case the lens has trouble focusing. Richard discovered this to his peril when he shot the first exposure sequence, as the darker frames were out of focus. Had he not realised, they would have been impossible to merge. Focusing the lens manually prevents this. Finally, it goes without saying that the camera should be on a tripod so that there’s no camera movement between

Intheearlydays,HDR(HighDynamicRange) hadareputationforproducinghorrible,over thetopimagesthatlookedtotallyunrealistic andreliedontechniquefarmorethancontent. Fortunately,HDRsoftwarehascomeonalong wayinthelastfewyearsandgivesyoutheoption toproducefarmoresubtleeffects–aswellas wackyonesifyouwantto.HDREfexPro2is especiallygood,andcanbedownloadedfor freealongwiththerestoftheGoogleNik Collection(www.google.com/nikcollection/). Allyoudoisopentheapplication,selectthe imagesyouwanttocombinethenletitdoits stuff.Withinaminuteortwoyou’llhaveadefault HDRimage,plusacoupleofdozenother smallerimagesontheleftsideofthescreenthat havebeencreatedusingdifferentHDRpresets. Justchoosetheoneyoupreferthentweakit usingthecontrolsontherightsideofthescreen. Easy!PhotomatixPro5isanothergoodoption andcosts£72forafulldownload–thoughyou cantrybeforeyoubuy(www.hdrsoft.com/ order.php).Anddon’tforgetthe‘MergetoHDR’ optioninthemorerecentversionsofAdobe CameraRaw(ACR),theRawprocessorfor PhotoshopandLightroom,or‘MergetoHDR Pro’undertheFile>Automatemenuin Photoshop.Bothworkwelltoo.

CHALLENGE2Pro verdict “Insunnyweather,middaylightcanbebland. Richardcompletedhisfirstchallengebefore 1:00pm,whichmeanttherewouldbeseveral hoursbeforethequalityoflightstartedto improve.Ratherthankickourheels,Isetthis challengeasIknewit'dbepossibletocreatean interestingimageunderthepier.Richardhad oneortwoteethingtroublesbuttheywere soonovercome.He’sdoneagreatjob, revealingfantasticdetailunderthepierwhile retainingasenseofrealism–itdoesn’tlook overdone.Thewidecompositionisstrongtoo.” frames that would make alignment difficult. Having overcome those initial teething troubles, Richard bagged a perfect set of images, using his 16-35mm zoom at 16mm, so he could include lots of the pier’s boardwalk as well as the criss-crossing pattern of legs and struts supporting the pier and the waves sloshing beneath it. All that remained was for him to combine the images at home to create the final HDR photograph, which he did using the excellent HDR Efex Pro 2, part of the free Nik Collection by Google (see panel, above). With challenge two complete it was time for a well-earned lunch break.


UNDER THEBOARDWALK Wow,justlookatthedetailandcolouron theundersideofthepier!Thisisagreat exampleofwhereHDRworksbrilliantly. ExposureVariousspeedsatf/13(ISO100)


The PhotoWorkshop

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challenge3:SUnSeT

After a well-deserved lunch break to warm up and fuel up, we headed back along Brighton seafront to the pier to ready ourselves for sunset – due to happen at a very respectable 4:30pm! With almost an hour to go there was no mad panic, but I personally like to be on location with plenty of time to spare instead of rushing around like a headless chicken. Not only does rushing reduce your risk of taking a great shot, but it also removes the option to scout a location for different viewpoints, give your shots some thought, set up your gear in a relaxed manner and also be ready to take advantage if anything interesting happens before the actual event you’re there for. During the last hour before sunset, for example, the quality of light can be amazing – it’s not called the golden hour for nothing! In our case, things started to get interesting once the sun dropped low enough in the sky that it was visible between the pier legs and sent a golden shimmer of light across the sea towards us. Initially the sun was very bright and caused flare, but after a few minutes it dropped into a slight winter haze, which took a lot of the sting out of it so that it stopped flaring and burning out. Richard took advantage of this window of opportunity. On checking his initial images, I pointed out that the sky looked overexposed and the sea was a little dark. The reason was simple – Richard wasn’t using a Neutral Density (ND) grad. In situations like this an ND grad is almost essential as it reduces the contrast between the sky and foreground so you can capture a more balanced image. Richard had a set of excellent Lee Filters ND grads in his backpack, so he grabbed them, slotted a 0.6ND grad into his filter holder, carefully aligned it using LiveView and re-shot the scene. It made a big difference to the shot (see panel, opposite) and stayed in place for the rest of the sunset shoot. A lot of photographers assume that you need to change the exposure when you’re using ND grads, but you don’t. The whole point of the grad is to effectively darken the sky so that when you correctly expose the foreground –in our case the beach and sea – the sky also comes out correctly exposed.

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1)Richardsetsuphiscameraandtripodasthesunstartstosink towardsthehorizon.2)RichardalignsanNDgradinhisLee Filterssystem.3)ThesceneasshowninLiveViewontheback ofRichard’sNikonD750,withtheelectroniclevelactivated.

You can choose to take a meter reading from the foreground, setting it on your camera in manual mode, then position the ND grad and take the shot. However, an easier option is to set your camera to aperture-priority mode, position the grad in the holder and let the camera work out the exposure – more often than not you’ll get a perfectly exposed shot, providing you've chosen the right filtration for the scene (see panel on the right). Anyway, back to Brighton. Once the sun gets close to the horizon, it doesn’t take long before it sets. It almost seems to speed up! Richard wasted no time and continued shooting, changing camera position a couple of times. A few streaky clouds drifted in and there was a chance they would be up-lit by the setting sun. They did turn pink for a few minutes, but Brighton is on the flight path for planes landing at Gatwick

challenge3Pro verdict “Iknewfrompreviousvisitsthatthesunwould setinanidealpositioninrelationtoBrighton Pier,soitwaswellworthstayingonuntil sundown.Richarddefinitelymadethebestof theconditionshewaspresentedwithto produceahighlyatmosphericshot.I particularlylikehisuseofasolidNeutralDensity filtertoincreasetheexposuresohecould smoothoutthesea–thesmoothseagoeswell withthesmoothskyandgivestheimpression thatthepierisalmostfloating.” Airport, so we also ended up with numerous chemtrails in the sky as well, which spoiled it somewhat. Not that it mattered because Richard had already bagged some great shots and as the light levels started to drop, a beautiful warm glow developed behind the pier, adding atmosphere to the scene. Richard had completed his third challenge. Normally that marks the end of the workshop, but we weren’t done just yet!


golden SHot Forhisfinalimage,Richarduseda four-stopNDfiltertoslowtheexposure downandblurthelappingwaves. Exposure:25secsatf/22(ISO100)

NDgradfilters

nofilter

0.3ndgrad

Whenyou’reshootingintothesunatsunriseand sunset,thecontrastbetweentheskyandlandscapeis oftenhigh.Thisusuallymeansthatifyoutakeashot thatcorrectlyexposesthesky,thelandscapewillbe underexposedandifyouexposeforthelandscape, theskywillbeoverexposed.Thisproblemisn’tquite sobadwhenyou’reshootingbywaterbecausethe wateritselfreflectslightfromthesky,butyoustill needtobeawareofitandaddressit.Thesolutionisto useanND(NeutralDensity)gradfiltertobalancethe skyandforeground.Theytendtocomeindensitiesof 0.3,0.6and0.9,whichreducethebrightnessofthe skybyone,twoandthreestopsrespectively.The imageshereshowtheeffecteachNDgradhadonthe Brightonpiersceneatsunset.Asyoucansee,withno gradfiltertheskyistoolightandthebeachtoodark. Witha0.3NDgradtheskylooksbetterbutthebeachis stilltoodark.Witha0.6NDgradtheskyandbeachare wellexposedandbalancedsothiswasthecorrect densityofNDgrad.Witha0.9NDgrad,thebeachis wellexposedbuttheskyistoodark–whichmeans theNDgradwastoodenseforthisparticularscene.

0.6ndgrad

0.9ndgrad

March 2017 Digital slr Photography 77


The PhotoWorkshop

1

CHALLENGE4:NIGHT

We could have happily packed up after the sun went down in Brighton. But as any photographer worth his salt knows, once the sun sets and daylight levels fade, urban scenes are transformed by colourful man-made illumination and you’d be a fool to turn your back on them. Piers are no exception. In fact, in some ways, piers look even better at night than they do during the day, thanks to all those dazzling lights strung from one end to the other, so I threw one last challenge at Richard – to take a great night shot of Brighton Pier. Was he up for that challenge? What do you think? The best time to take night shots isn’t really at night, but during the crossover period between day and night when man-made lighting has an obvious effect on a scene, but there’s still enough daylight around to help fill in the shadows and there’s still colour in the sky to provide an attractive, contrasting backdrop to the warm glow of the artificial illumination. If you wait until the sky fades to black, it’s too late because the sky looks bland and contrast goes through the roof. Whether the day has been sunny or cloudy, the sky is usually a deep blue colour during this crossover period. Consequently, it’s often referred to as the blue hour, although don’t be misled by the title because you rarely get a whole hour to shoot before the colour in the sky fades to black – often it’s more like the blue half hour, especially during winter, when darkness seems to creep up very quickly. The direction you’re facing makes a difference – shoot towards the western sky, where the sun went down, and the sky stays

78 Digital slr Photography March 2017

2

1)Richardgetsset-upinthefadingsunset.Lightlevelsdrop quicklysoRichardmakesthemostofeveryminute.2)Aquick checktoseehowtheshotsarelooking.3)Thecolours intensifiedaftersunset.4)Lightlevelswerejustaboutperfect whenRichardtookthisshot.5)Oncedaylightlevelsdroptoo low,contrastincreasesandit’stimetocallitanight.

brighter for longer than if you shoot towards the eastern sky. Also, cloudy skies darken faster than clear skies, regardless of the direction you shoot, because they’re naturally darker than clear sky. As Richard had been busy shooting sunset, he was already on location and set up to resume shooting as soon as the balance between man-made and artificial lighting was right. Initially he started out shooting at the wide end of his 24-70mm before zooming towards the 70mm end and capturing sections of the pier. Happy with the results, Richard then decided to wander a little further along the beach and look for a different angle. It was while doing this that we stumbled upon an old, barnacle-encrusted and sea-worn concrete jetty that was being lapped by waves. The tide was going out and I

3

suggested that the jetty would make an interesting foreground feature, as it was wet and reflecting some light from the sky above and the nearby road. Richard agreed and promptly got himself set up. Although the sunset itself didn’t exactly set the world on fire, within 20 minutes the colours in the sky had intensified significantly, graduating from deep blue to rich orange at the horizon. Richard zoomed back to 24mm, moved in close to the concrete jetty and composed the scene. As the sky and foreground were well balanced by this stage, an ND grad was no longer needed so it was a straightforward shot –


at Day’s enD Agreatwaytoendtheday!Naturaland man-madelightinginperfectharmony, vibrantcolour,astrongcomposition– whatmorecouldyouaskfor? Exposure:30secondsatf/11(ISO100)

4

camera in aperture-priority, lens set to f/11 to provide sufficient depth-of-field to record the whole scene in sharp focus, with the shutter fired via remote release and the exposure time determined by the camera. As expected, it produced the perfect result. By 5:30pm, just an hour after sunset, it was game over. The sky was heading toward black and contrast was too high to handle. Richard had a very productive day though, completing three different challenges and producing a great image for each. All that remained was to battle through the Brighton traffic at rush hour to get home and process them!

5

workshopsummary: Richard Newman

challenge4Pro verdict “Richard’senthusiasmdidn’tfalterwhenI suggestedanextrachallenge.Infact,Ialmost hadtodraghimoffBrightonBeach!Hisfinal imageisfantastic.Thecoloursaresuperb,the exposurespotonandthebalancebetween naturalandman-madelightisperfect.Ialso likethecomposition–thatgnarledslabof concreteechoestheshapeofthepier,adding scaleandbalanceaswellasforeground interest.I’mpleasedwedecidedtostayon becauseforme,thisisthebestshotoftheday.”

“Ilookedforwardtothisworkshop havingspenttendayswithLeein Icelandlastautumn.Ifoundhis enthusiasmandinstructionagreat inspiration.Closertohome, BrightonPierseemedmoreofachallenge. Luckilytheforecastforthedaywasgood,andit provedsowithplentyofbrightsunshine.The colourfulpieragainstabluesky,enhancedwith apolarisingfiltergaveplentyofopportunity. Thewackyfairgroundattractionsfavoured angledcompositions–theyseemedtosuitthe quirkiness.IfoundattemptsatHDRtobringout thedetailintherustystructureunderthepier morechallenging,giventhehugerangein contrast.Theconditionssuggestedapromising sunset,butthefullrichnessofthecoloursdidn’t appearuntilthesunhaddroppedbelowthe horizon.Still,theever-changinglightallowed metocaptureshimmeringsunlightacrossthe seaandpebbles,andthenfinallytherichglow ofthelightsonthepierandtheskybeyond.”

March 2017 Digital slr Photography 79


Master...

Words: daniel lezano / Image: jeremy walker

Coastlines in the UK, We're blessed With having the coastWithin atWo to three hoUr drive at most, no matter Where We live. this means that Whatever the season or Weather, the potential to captUre great images is never too far aWay. to get yoU started, We offer yoU a dozen inspirational ideas on hoW to captUre the coast


Coastlines

ProtipwithNikon Jeremy Walker Landscape expert lighthouses tend to be in dramatic or interesting locations. Lets face it, they are there to warn and protect shipping from hazardous waters or dangerous coastlines. So find a lighthouse and hopefully you already have an inspiring location to shoot. Lighthouses symbolise the ocean, so include plenty of sea, rocks or coast in your image; it will help tell the story and keep the lighthouse in context. Don’t be afraid to leave plenty of space around the structure; they can be solitary and remote and their scale is effective in a big landscape. Because lighthouses are designed to be illuminated try shooting just before dawn to capture the predawn glow of a sunrise with the lamp still shining. The same applies at sunset, shooting just as it gets dark will help with the mood and feel of the image. The conditions and tides will play a huge part in how your image looks – storm clouds and big waves are ideal! Play with shutter speeds and adjust them for the conditions – fast shutter speeds freeze the motion of crashing waves while slower shutter speeds add blur and motion to the water and clouds.

82 Digital slr Photography March 2017

roSS hoDDinoTT

1

Lighthouses By their very nature,


Theperfectway toaddnewskills!

jeremy walker

2

Dramatic viewpoints

3

Coastal close-ups

when you're presented with a stunning coastline, it's natural to fit the wide-angle and look to capture as much of the scene as possible. however, you should also consider doing the opposite and focus on a very small part of the scene instead. Coastlines are areas that are in constant flux due to the effects of tidal water and exposure to the elements. signs of this are evident if you take the time to look for them. Fit a macro lens, such as the nikon aF-s 105mm f/2.8G micro, and you're able to fill the frame with interesting close-up details that you wouldn't find anywhere else. Pebbly beaches make for ideal patterns, while rock surfaces have interesting shapes, lines and patterns that look great in close-up. on sandy beaches, look for ripples and channels, or debris such as seaweed that can make for attractive still-lifes, and shoot early or late in the day to accentuate shapes with shadow and light. the ever-changing nature of the coast means you can find potential images on each and every visit.

ross hoddinott

while shooting on the actual beach or shoreline offers a wealth of potential, you shouldn't ignore coastal images that include the landscape in the foreground. By placing the coast in the backdrop, you can add depth and scale to your images. not only that, but shooting in spring or summer, when flowers, plants and even weeds are in bloom, allows you to include vibrant colours, which contrast with the darker, or more neutral tones of the beach and sea. you'll find many photogenic coastal locations are accessed via paths winding down to the beach, so stop on your journey to the beach and use the pathway as a lead-in line to the beach in the distance. a moderate wide-angle, like a nikon aF-s 16-35mm f/4G is ideal, and to ensure you avoid washed out skies, fit a nd grad filter. (see p48 for more on this). Use a small aperture, such as f/16, to maximise depth-of-field, with your camera on a tripod to minimise shake.

ross hoddinott

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

March 2017 Digital slr Photography 83


Coastlines

HELEN DIxoN

head to shoot in bad weather than the coast, when a combination of strong winds, high waves and dramatic skies all work together to produce images that reveal the awesome power of nature. Brooding clouds make for strong backdrops, while waves crashing against the shore and into the air add to the drama. Using a fast shutter speed is the preferred option, as it freezes the motion of water and helps reveal the power of the storm. Photographing waves hitting the promenade and crashing over railings adds scale to the scene. Needless to say, no image is worth risking your life for, so take extra care, stay away from exposed areas and heed all warnings – waves can hit at any moment and drag you and your equipment out to sea, so be sure to keep a safe distance. Using a telephoto lens, such as the Nikon AF-S 70-300mm f/4.5-5.6G ED VR, you can fill the frame while avoiding any risk of harm.

5

Beached boats and shipwrecks

Low tide is a wonderful time to explore the beach for subjects to include as foreground interest or as the centre piece to your image. Favourites include fishing boats or larger vessels resting on or in the sand. Boats, in particular those that bear evidence of exposure to the weather and sea, are particularly photogenic, boasting character and feeding the viewer's imagination of voyages past. While most beaches might only host one or two beached boats at any given time, certain locations, such as Dungeness in Kent, are known for their abundance of semi-permanently beached craft. If you're lucky, you'll find near-wrecks sunk in the beach – with their beams poking out of the sand, they can have the appearance of the skeletons of large marine creatures – the wreck of the Helvetia in Rhossili, Gower, is one famous example in South Wales. Shoot as a silhouette against a sunset or try creating atmospheric monochrome images with a timeless quality.

84 Digital slr Photography March 2017

LEE FRoST

4

Storm power! There is no better place to


6

Rock pool revelations

Head to the beach as the tide recedes and look for large rock pools or puddles in the sand to use as foreground interest. What makes these appealing elements in coastal images are the reflections on the water's surface, which can add depth. Sunsets, with their glorious array of colours, are ideal as the striking hues in the reflection contrast with the earthy tones of the sand or rocks. However, any time of day is suitable – blue skies with puffy clouds also work. Use a wide-angle lens, like the Nikon AF-S DX 12-24mm f/4G, and adopt a low viewpoint to maximise impact. You'll want a mid-aperture to make the most of depth-of-field, and a tripod is recommended as the shutter speed may be relatively slow. A polarising filter will help control the reflection and maximise saturation. RoSS HoDDiNott


Coastlines

lee FroST

discover large chunks of driftwood have washed up on the beach. These gnarled, weathered and barnacle-encrusted chunks of wood have a unique shape and character and can make for great subjects, so take advantage of them before they're removed. There are several ways that you can use driftwood in your images – if it's a particularly interesting looking sculpture, as most of them tend to be, consider making it the central point of focus in the image and place it directly in the centre of the frame. Get in close with a wide-angle to exaggerate its scale against the backdrop and set it against a colourful sunset to contrast its tones with the sky. alternatively, fit an extreme ND filter and create a mono masterpiece with the dramatic, static nature of the craggy driftwood contrasting with the smoothness of the skies and sea. most Nikon DSlrs sport an electronic level to ensure horizons are perfect.

8

Coastal harbours & towns

Shooting the coast shouldn't be limited to beaches and rural scenes – although you can't argue against wanting to spend most of your time photographing them! you should also make time to visit small villages located by the coast, as they offer a wide variety of different subjects to photograph. Small fishing villages have a quaint character all of their own, so look to capture it using a wide view that includes the harbour, boats, narrow streets, houses and surrounding landscape. Then move in closer and shoot tighter compositions such as a solitary boat with the harbour setting behind. Finally, look to capture individual elements that reveals life in a fishing village, such as nets, signs, boat close-ups and lobster baskets. and, should there be any fishermen around, take the opportunity to capture an environmental portrait – weathered faces and all. Be sure to take their details and send them a print as a courtesy!

86 Digital slr Photography March 2017

jeremy walker

7

The delights of driftwood after particularly rough storms out at sea, you may


xxxxx

ProtipwithNikon Jeremy Walker Landscape expert

9

Long exposures Turning water

HeLeN DixoN

and clouds into a milky blur is not everyone's cup of tea, but it can be an effective technique, especially on an overcast day on the coast when it is difficult to shoot an expansive landscape image. To make a long exposure shot work well you need two main ingredients, an appropriate location where you have a contrast of subjects: one that will move and one that's stationary. The other ingredient is a filter that will allow you to increase the time element of your exposure. The speed and movement of your subject will influence just how long an exposure you capture, and how your subject will look. Unless the light levels are falling fast or it's a gloomy day, you'll need to use a Neutral Density filter to increase your exposure. Lee Filters make the famous range of ‘Stopper’ filters with densities from six through to fifteen stops. A fifteen-stop filter enables an exposure of several minutes, even on a bright and sunny day – clouds will blur and water will become misty and silky. A sturdy tripod and a remote release will also be needed, as will a deal of patience, but the results are often well worth the wait! March 2017 Digital slr Photography 87


Coastlines

lee frost

10

Pier potential! As you'll have noted if you've already read our Photo Workshop on p70, piers make for extremely interesting coastal subjects, with no shortage of ways of having them form the central focus in your images. old, disused piers are ideal for graphic black & white images and are particularly suitable for long exposures taken using extreme Neutral Density filters. Modern piers also work in this respect, but also provide great subjects set against a sunset or sunrise, depending on which coast they're located. At twilight, combine the lights on the rides and attractions with the colours in the sky behind for additional interest. Don't forget to actually take a walk on the pier, when you can use the boards on the walkways as lead-in lines into the frame and capture candids of visitors and pier workers. As you'll soon discover, you can easily spend hours discovering new ways to capture interesting pier images.

11

Simple symmetry

88 Digital slr Photography March 2017

lee frost

there are times when less is more and capturing a scene with minimal elements in the scene can be visually, very effective. one perfect example is capturing groynes that are partly submerged in water. By fitting an extreme ND filter, such as the six-stop lee filters little stopper, you can use an extremely long exposure running into minutes that totally blurs any detail in the water and the sky. look to convert the image into black & white. If you shoot on an overcast day, you can capture images with the sky as a solid white, while on sunny days the backdrop takes on an attractive uniform grey. By placing the groynes centrally in the frame and cropping the shot into a square format, you can create a minimalist image that has very little in the frame, but maximum impact. Nikon Dslrs have a trim feature in the retouch menu that allows in-camera crops.

Prepareforthecoastwithweatherproofcameras Shootingonthecoastoffersrealpotentialtocaptureamazingimages,butthereisalsoariskofdamagingyour camera,duetoscenesbeingexposedtotheelements,includinghighlycorrosivesea-spray.Thankfully,Nikon camerasarehighlyreliableanddesignedtohandleavarietyofconditions.Some,liketheD610andD7200,have bodiesthatboastadditionalsealsandgasketstopreventwater,saltandsandfromcreepinginbetweencontrols andinsidethecamera.Thisallowsyoutokeeponshooting,eveninpoorconditions,withouthavingtoworry.


12

Fill the foreground

One thing you shouldn't have trouble finding when composing classic coastal images is suitable foreground interest. Depending on the location, you'll find all manner of natural subjects to provide a strong foreground presence. Boulders are one such example; their rounded shapes and dark tones contrast with the lighter colours of the sea, sky and land. And with long exposures, you create the impression of swirling mist. Sandy beaches offer ripples and rock pools. Certain locations, such as St Michael's Mount in Cornwall, provide stony pathways that can be used as lead-in lines. Channels of water through the sand can be used for the same purpose, while locations like Trebarwith Strand in Cornwall have rocky outcrops that act as strong, natural lead-ins. Wherever you shoot on the coast, you shouldn't find it too difficult to locate foreground interest that can add real visual impact and depth to your shots. jereMy WAlker


The BigInterview

The

Social Network TravellingTheworldandshooTingadverTisingcampaignsforbig brandsisadreamjobformany,buTiT’snowarealiTyfor21-yearold briTishphoTographerandsocialmediaexperTalexsTead. jordanbuTTerscaTchesupwiThhimToTalkabouThissuccesssofar…

T

here’S No diSpuTiNg that social media has changed the world as we know it. it’s a phenomenon that, just 20 years ago, was completely unheard of, and is now so deeply ingrained in our lives that it’s hard to imagine a world without it. even those most steadfast antagonists of the likes of Facebook, instagram and Twitter can’t avoid its effect. From the news we read to the television programmes we watch, our interactions with other people and even the world of photography, social media affects everything, and is one of the defining trends of the 21st century. For better or worse it’s here, and it’s here to stay. in the world of photography, social media is now hugely important. it has not only changed how people consume images and how photographers share their work, but it’s also hugely important to professionals in the industry. Social media has allowed professional photographers to essentially become their own in-house pr agency, and reach a huge audience, and potential future clients, for very little outlay. For young Cornwall- and London-based professional photographer Alex Stead, social media is the backbone to his photographic career so far, and has provided the platform to propel the 21-year-old’s work from A-Level photography projects to working with worldwide brands and travelling the globe for a living in just five years. “photography for me all started when i was in school, at the age of 13 or 14,” Alex tells me. “i studied the subject at gCSe and A-Level before taking a gap year before university. unfortunately, a back injury put my travel plans on hold and so i started doing a lot of personal photography projects. i would travel to London and spend the days and evenings shooting in the city, meeting other photographers and trying out tutorials and techniques. photography in school was very arty and reliant on editing and processing, whereas this personal time allowed me to concentrate more on in-camera techniques. it was nothing serious, just something i enjoyed that allowed me to discover photography and find my style.”


Alex Stead

A

lex wAsn’t keeping his endeavours to himself, however. At the age of 16 he joined instagram, registered the username @nikon_photography_ and started uploading his images to the social network. Before long, his following started to increase at a rapid pace. There was no grand plan or scheme in place, instagram was simply an outlet for Alex to share his work. “i would upload an image a day, or sometimes more, and would share my settings and locations in the images to connect with other photographers,” Alex explains. “i think this approach, coupled with the fact that i use nikon and had a memorable username, helped my following grow quickly. i wasn’t hugely into it at first to be honest, but before i knew it i had around 100,000 followers and started to realise that there was potential in social media. when i left school i started working with brands who were just starting to see the benefits of instagram’s reach. My big boost came when i got my first sponsorship with Us-based camera retailer Adorama. They funded my first trip to Canada to travel and photograph around the Rockies for a few weeks. The trip provided a huge boost to my photography, helped me build a portfolio and develop a plan for what i wanted to do. it taught me that if you have a large social media following, people and brands tend to trust you a bit more, especially if you’re young and relatively new to the industry.” now, just five years after first stepping foot into the world of social media, Alex is an online favourite with several big-name brands from the photographic, travel and adventure industries; the likes of lufthansa, lowepro, nikon, Mercedes Benz, sanDisk and Vodafone, to name but a few. He gets to travel frequently, shooting in adventurous locations from the pacific northwest of America to iceland and beyond.

92 Digital slr Photography March 2017

Before i knew it i had around 100,000 followers and started to realise that there was potential in social media

Above:Alex’sessentialphotographytravelkitforwhenhe visitedthewestcoastoftheU.S.onbehalfofAdorama.

At first, Alex’s work mostly involved shooting and promoting products and services on his own channels, however more recently he’s finding more and more enquiries are coming in specifically for his photographic services. “i find brand content creation far more enjoyable than competitions and link-throughs from my own account,” admits Alex. “i’m doing a lot of work shooting campaigns for travel destinations or services, creating online imagery for car companies, hotels, airlines and outdoor and adventure companies, as well as several clients in the photographic industry, such as Adorama, as mentioned before. There’s a fair amount of variety in what i do, but it’s mostly based around the travel and adventure lifestyle. Different brands give you different levels of creative freedom, but most trust my judgement and are happy for me to go out and shoot creative content for them. nikon has also been a great help, supplying equipment and support whenever i need it.”


March 2017 Digital slr Photography 93


Alex Stead


Alex’s style of photography is tailored specifically for online and social media consumption, and it’s a market that he understands well. “Two of my biggest influences are adventure photographers Chris Burkard and Alex Strohl – both have very simple styles that command your attention online,” Alex tells me. He also explains that images shot for a brand’s Instagram or Facebook account, or for inclusion on blogs or email newsletters have to instantly grab the viewer’s attention – an approach dictated by how viewers use these platforms. “There’s simply so much content out there, and everyone is so busy now – we’re bombarded with visual imagery every minute of the day, when someone is quickly scrolling through social media you want them to stop on your image. I mostly shoot outdoor, adventure and urban photography, and composition is crucial. Simple and impactful always works best. People want instant gratification on social media, so compositions that are too complex, busy or take too much time to explore don’t tend to do as well.” “Another approach that I find does well in my adventure images is including a person

I find that adding that human element not only adds a sense of scale to landscapes, but it also helps to make the connection between the viewer and the scene or people in landscapes. I find that adding that human element not only adds a sense of scale to landscapes, but it also helps to make the connection between the viewer and the scene. The idea is to make the viewer want to be that person enjoying the great outdoors, so I’ll always consider what the person is wearing and making sure they fit the image, such as dressed in outdoor gear, wearing a backpack, holding a camera and so forth. The aim is to sell that outdoor lifestyle.” While for most people social media is just a bit of fun, or a welcome distraction from everyday life, for the new pioneers of social photography, such as Alex, it represents work and an important part of his business. Playing devil’s advocate, I present Alex with the notion that placing great importance in a third party platform, such as Instagram or

Facebook, is surely a risky approach, is it not? What happens if an algorithm changes, his account is compromised or the platform falls out of popularity? “As with any market, it’s hard to predict what’s going to happen with social media,” Alex comments. “I think at the start, when the likes of MySpace and Bebo were around it was quite volatile. Now it’s much more stable. Facebook owns most of the major channels and they’re now so big that I can’t see it falling out of favour for a while. I think Instagram will keep growing. Year by year people have said it’s a fad that’ll fade but I don’t think it’ll happen and it’s a constantly evolving and improving platform. Still, I want to expand my horizons and work more in offline campaigns too. I don’t want to rely on my following, I want people to be interested in my content and March 2017 Digital slr Photography 95


Alex’sTopInsTAgrAmTIps

I enjoy being outdoors and taking pictures. Most of the time I’m out shooting because I enjoy learning new things and moving my photography forward my photography, and I’m increasingly finding that brands aren’t hiring me for my numbers, but more for what I can create for them. It’s been a huge part of my work so far, but I don’t want to rely on social media.” Alex’s future in photography is looking bright, and he’s achieved a lot in a short period of time given his age. Along with his photographic ability, his social media prowess has given him a head start in a niche that many other professionals are still struggling to get their heads around.

96 Digital slr Photography March 2017

Meanwhile, he has already began branching out into aerial photography and even video, after recently completing another project for Adorama. “My friend and I shot a video blog series whilst travelling the west coast of the USA over the course of five weeks and Adorama has just commissioned a second series, to be set in New Zealand,” Alex reveals. “I’m also investing more time in video. I think it’s important to keep up with competition and develop a range of skills; I always want to keep on improving rather

Collaboratewithothers–besocialwiththe communityandsupporteachother’swork. Youneverknowwhoyou’llmeetthroughnew contacts–I’vemadecontactwithbrandsjust frommeetingothercreativepeople. Chooseausernamethatstandsoutand reflectsyou.no-oneisgoingtoremember Alexstead_993886.Createacleanbio containingyourrealname,yourspecialityand alinktoyourwebsiteoremail. Don’tpostimagesforthesakeofit.onlypost anewimageeverytwotothreedaysratherthan once,orseveraltimesperday.Ifoundthisleads toincreasedinteractionsanduploadsfeeling morespecialratherthanforced. Understandyouraudience.Wherearethey from?Whenaretheylikelytobeonline?Time uploadstocoincidewiththis.Ittakestimeto understandyouraudienceandwhattimesof dayworkbest,soexperiment. Beconsistentinwhatyoushareandyour style.Yourphotographicfollowersdon’twant toseeyournightsout,orphotosofyour children,socreateaseparatepersonal accountforthesememories. than just sitting still. Above all, I want to continue shooting for myself. I think a lot of photographers can get lost in trying to continuously churn out social media content to appease their followers. I did it myself at one time, but then I had a hard think about what I enjoyed doing. I enjoy being outdoors and taking pictures. Most of the time I’m out shooting because I enjoy learning new things and moving my photography forward.” To keep upwithAlex, follow@Nikon_Photography_ on Instagram, orvisitwww.alexstead.co.uk


Alex Stead


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M AR CH

NE I X SA S LE S T 14 U E O N

Part two

MASTER STUDIOFLASH FOLLOWING ON FROMTHIS MONTH’S INTRODUCTIONTO USING STUDIOFLASH, WE BRINGYOUAVARIETYOFTECHNIQUES USING MULTIPLE FLASH HEADSAND ACCESSORIESTHATWILLHELPTAKEYOUR STUDIO PORTRAITSTOTHE NEXTLEVEL

Plus TAKE BETTER PICTURES

Improve your photo skills by trying out a number of new techniques, including handling flare outdoors and building your own ringlight

TIMETO GRABABAG!

Our group test of shoulder bags tests a selection of the latest models from leading brands to find out which offers the best value

READERWORKSHOP

We ask a leading pro to venture into the great outdoors and assist a Digital SLR Photography reader with a variety of photo challenges

ESSENTIALPHOTOADVICETO HELPYOU IMPROVEYOUR PHOTOGRAPHY


Gear

photo kittested & rated Byexperts

canon eos 5d MaRk IV

Boastinga30.4-millionpixelfull-framesensorandawiderangeoffeatures withinaweatherproofBody,thiscouldBetheidealchoicefortheeverydaypro

Plus Gearnews:we'vethelatestonseveraldslrandmirrorlesscameraslaunchesthismonth Page105 MInI tests:weratethedJimavicpro,amanfrottomonopodkitandnovo'shardrollingcase Page110


Product news \

Gear

FUJI EXPANDS X-SERIES

1

NEWCAMERASAND LENS BOLSTER FUJIFILM'S X-SYSTEM

F

UJIFILM’S IMPRESSIVE X-SERIES has proven a hit with photographers of all levels and continues to expand with the launch of several new products. The X-T20 (1) is its latest mirrorless model, updating the highly popular X-T10 and boasting a 24.3-million pixel APS-C X-Trans CMOS III sensor, X-Processor Pro imaging engine and 4K video capability. The enhancements also see an improvement in the speed of the AF system, processing and 2 image quality. Designed with a stylish retro-SLR layout, with large dials on the top-plate giving it a very traditional look, it's a very compact and lightweight model available in silver or black. The 3in LCD monitor boasts a tilting facility and touchscreen with 1,040,000-dot resolution, while the 2.36-million-dot electronic finder offers a bright, instant and lag-free display. Other features include Wi-Fi, Film Simulation modes, an interval timer and advanced filters. The Fujifilm X-T20 is available from 23 February for £800 body only, £899 with XC16-50mm lens, or £1,099 with XF18-55mm. The X100-series has long been a popular choice of premium compact and the latest version, the X100F (2), is its finest incarnation yet. Available for £1,249 in black or silver, it sports a 24.3-megapixel X-Trans CMOS III APS-C sensor and X-Processor Pro, so you can be assured of a top quality performance. The Fujinon 23mm lens (35mm equivalent: 35mm) has eight glass elements in six groups, including a double-sided aspheric lens and features both an aperture ring and control ring to quickly change settings, as well as built-in ND filter. A digital teleconverter can be activated to boost the angle of view to an equivalent of 50mm or 70mm. It's packed with a range of features

including Wi-Fi, Advanced Hybrid Viewfi nder, Viewfinder, Film Simulations and a 3in LCD monitor. Along with the two new cameras, Fujifilm 3 launched the (£449) Fujinon XF50mm f/2 R WR (3), which has an equivalent focal length of 75mm and boasts nine elements in seven groups. Digital SLR Photography was at Fujifilm's European launch and had the chance to try out all the new products. We'll be running full reviews once available, and with first impressions of handling and image quality being very favourable, we can't wait to give them a proper test. Also revealed were two new variants of existing models: the (£1,649) X-T2 Graphite Silver Edition and (£2,149) X-Pro2 Graphite Edition. Finally, Fujifilm UK also confirmed that the previously announced 51.4-megapixel medium-format mirrorless GFX 50S will be available in March for £6,199, body-only, along with three lenses: the (£1,399) GF63mm F2.8 R WR, (£2,199) GF32-64mm F4 R LM WR and (£2,599) GF120mm F4 R LM OIS WR Macro. www.fujifilm.co.uk

PANASONIC’SDYNAMICDUO

LEICAUNLEASHES LATESTM-SERIES THE LEICA M-SERIES has been around since the middle of the 20th century and the latest digital incarnation, the M10, looks like it could have come from the same era. Looking like a classic rangefinder, the traditional body hides a 24-megapixel full-frame CMOS sensor with a sensitivity range of ISO 100-50000 and an electronic finder with a 2.4-million-dot resolution display. It's the first Leica M with Wi-Fi built-in and can be used with the Leica M-App companion app to transfer images, including Raw files. The Leica M10 is available to order now and costs £5,600 body-only. www.leica-camera.com

PANASONIC HAS ANNOUNCED two new Lumix mirrorless Micro Four-Thirds models. The GH5 (1) is its latest flagship model and sports a 20.3-megapixel sensor, integral five-axis stabilisation and a high resolution 3.68-million-dot electronic fi nder. Geared for video as finder. much as stills photography, it's packed with features and modes for dedicated videographers, including Cinema 4K recording at 60fps. The GX800 (2) has a 16-megapixel sensor and offers both 4K video capability and Panasonic's 4K Photo mode, as well as Wi-Fi and a tilting 3in monitor. Both are available late March; the Lumix GH5 will cost £1,700 body-only or £1,900 with 12-60mm lens, 2 www.panasonic.couk while the GX800 will cost £500.www.panasonic.couk

1

ALL-NEWPENTAXKPLAUNCHED ALL-NEW PENTAX KP LAUNCHED LAST YEAR'S FULL-FRAME K-1 proved a success for Pentax and it will be hoping that its latest DSLR, due late February, enjoys similar fortunes. Priced at around £1,100, body-only, and available in black or silver, the KP features a 24.32-megapixel APS-C sensor sans anti-aliasing filter, PRIME IV imaging engine, Full HD video and an ISO ceiling of 819200. Despite being compact, the KP boasts dust- and weather-proof seals and claims to work in temperatures as low as -10°C. Other features include a body-intergal five-axis Shake Reduction II system, which gives five-stops of stabilisation, a glass prism viewfinder with near-100% coverage, 27-point AF system with 25 cross-sensors and a tilting 3in LCD monitor. We'll be testing it as soon as review models are available. www.ricoh-imaging.co.uk March 2017 Digital SLR Photography 105


Gear/ Full-frame digitalSLR

CANON EOS 5D MARK IV ThelatestCanonfull-frameDSLR replacesoneofitsmostpopular modelsandaimstobethebest all-roundchoiceonthemarket Test: DANIEL LEZANO

SPECIFICATIONS GuidePrice:£3,500(body-only) ImageSensor:Full-frameCMOS(36x24mm) Resolution:30.4-megapixels Maximumimageresolution:6720x4480pixels AFsystem:61-point(41cross-types) Metering:150,000-pixelRGB+IRmeteringsensor Meteringmodes:252-zoneEvaluative,Partial(6.1%), Spot(1.3%)andcentre-weighted ISOrange:100-32000(expandsto50-102400) Shutterspeeds:1/8000sec-30seconds&Bulb Framerate:Sevenframes-per-second Storage:Dualslot(1xCompactFlash,1xSD(SDHC/XC) Size:150.7x116.4x75.9mm Weight:890g(includingbattery&card) Website:www.canon.co.uk

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ANON’S EXTENSIVE RANGE of digital SLRs ensures that whatever you want, it has one or more models that should fit the bill. If you've a need for speed, you have the 20.2-megapixel EOS-1D X Mark II, capable of 14 frames-persecond. For the ultimate in resolution, then the 50.6-megapixel EOS 5R/SR is the one. While for full-frame seekers on a budget, the EOS 6D is a more than capable option. This latest model updates the incredibly popular four-year-old EOS 5D Mark III and looks to satisfy the general photographer looking for the ultimate all-round performer. Four years is a long time for the semi-pro EOS 5D Mark III to remain on the market, so you'd expect the Mark IV to offer significant improvements. The fact is, that while it doesn't bring anything too revolutionary, the benefits on offer are extensive and make it a highly appealing model for those shooting a wide variety of subjects. This latest Canon looks much like its predecessor and controls are very similar too, but improvements have been made to the handling. In particular, weather- and dust-proofing has been enhanced through the use of additional seals and gaskets. As with the majority of cameras of this ilk, the body feels incredibly robust and heavy, although its worth noting the Mark IV is marginally lighter (by around 75 grams) than the Mark III. While there are a few minor alterations, the main dial and function buttons are pretty much unchanged, so if you've used Canon EOS models before, you won't need long to locate everything.

106 Digital SLR Photography March 2017

To speed up access, the top-plate buttons by the small LCD panel have dual uses – rotate the rear dial to change one variable, or use the front control dial to change the other. The Q button on the rear provides instant access to a number of key functions, selected quickly using the toggle stick, while the Menu button offers access to the extensive and neatly laid out menu system. The EOS 5D Mark IV's 3.2in LCD monitor boasts a touchscreen, which is a massive bonus in terms of speed and ease of use. Its 1,620,000-dot resolution screen provides a sharp and bright display. There's no tilting action, most likely as this could compromise build quality and weatherproofing. The viewfinder uses Canon's Intelligent Viewfinder system, which overlays information on the screen. This, along with the large size and 100% frame coverage, provides a very clear and informative display that aids image composition. At the heart of the camera is a 30.4-million pixel CMOS sensor, which represents a good jump over the 22.3-megapixels of the Mark III. Bucking the trend, it retains use of an anti-aliasing filter to minimise the risk of moiré. As well as stills photography, video is greatly improved, with 4K recording at both 24p and 30p, with the option to extract 8.8-megapixel stills from the recordings. The sensor boasts Canon's Dual Pixel AF, which can be used with Servo AF when shooting still images. The system works incredibly well for both accurate LiveView AF and when shooting video. The Dual Pixel system also brings with it an additional

Above:Basedaroundamagnesium-alloychassis,the weatherproofCanonEOS5DMarkIVisacameraforallseasons. Right:EvenatahighISO,coloursandskintonesarenatural.

feature of interest – shooting Dual Pixel Raw files that are double the size of a standard Raw file. This isn't to increase resolution to over 60-megapixels, but rather to offer some quirky additional features. Because the system works by having each pixel split in two, each records the image at a slightly different perspective. Using Canon's software, you can render the image at a slightly different point of focus – in theory allowing you to correct focus when capturing images with very shallow depth-of-field. This micro-adjustment is an interesting concept but in real terms, the difference is so miniscule that I can't see any practical uses for it in general photography. Of more practical use is ghosting reduction, which allows you to reduce flare in certain situations by replacing affected areas with unaffected areas. Unfortunately, we weren't able to test this due to time constraints. The main AF system is based on that of the flagship EOS-1D X Mark II, which is a favourite with sports pros. It uses 61 AF points covering a wide expanse of the


Full-framedigitalSLR\

Gear

HOWDUALPIXELRAWWORKS DualPixelRawusesbothphotodiodesonthe EOS5DMarkIV’sDualPixelCMOSAFsensor. TheDualPixelsensor’spixelshaveadual photodiodeconstruction,receivinganAandB signalfromthesubject.Itdetectsanyphase differencesbetweenthetwosignals,allowing ittofocusaspartoftheDualPixelAFsystem. Whencapturingtheimage,thesensorobtains thepicturedatafromthecombinedAandB imagesignals.WithDualPixelRaw,asingle Rawfilesavestwoimagesintothefile.One imageconsistsoftheA+Bcombinedimage dataandtheotheronlytheAimagedata.Using Canon'ssoftware,userscanusetheDualPixel dataformicroadjustmentsofimagesharpness.

CLOSESTRIVALS

Exposure:1/125secatf/4(ISO1000)

image frame and of the 21 cross-type sensors, five at the centre sport more precise dual cross-type sensors. There is an extensive array of options available to suit specific uses, which is a bonus for dedicated action or wildlife photographers, but may be confusing for less dedicated shooters. Processing power is enhanced by the use of two DIGIC imaging engines. A DIGIC 6+ processor handles image processing, while a DIGIC 6 works in conjunction with the 150,000-pixel RGB+IR metering sensor to produce accurate exposures. The improved processing means that despite the higher resolution, the maximum frame rate has been increased to up to seven frames-persecond (fps), or 4.3fps in LiveView. Along with built-in GPS, the Canon also sports Wi-Fi and NFC, providing control of the camera from smart devices or can be used for wireless image transfer.

The AF system is excellent, proving fast and responsive with static and moving subjects. In particular LiveView AF shows a real jump in accuracy and speed. The metering system is first-class too, with Evaluative providing a near faultless performance. Strong backlighting provided the main problem, as it does with every multi-zone system. Colour reproduction and tonal rendition is excellent, as is exposure latitude and dynamic range. Noise is very well handled and shots at ISO 3200 retain decent colours and only show slight softening to detail. As with all Canons, JPEGs deliver very good results but to get the most of the sensor, you should process your Raw files. The Canon has much to like and little to fault. Apart from the inclusion of a standard CF slot rather than a faster CFast 2.0 slot, there is very little to complain about.

• NIKOND810:Amodernclassicthathas provenpopularwithenthusiastsandprosalike. Boastsafull-frame36.3-megapixelsensorand impressivedynamicrange.TheNikonisastrong rivaltotheCanonandcheaperat£2,400. • SONYALPHA7II:Thismirrorlessmarvelisa popularchoiceforshootingstillsandmovies andboastsa24.3-megapixelfull-framesensor, FullHDvideoandbody-integralstabilisation. Itcostsaround£1,350body-only. • PENTAXK-1:At£1,800,thePentaxismuch cheaperthantheCanon.Itsportsafull-frame 36.4-megapixelresolutionsensorandFullHD video.AFisn'tnearlyasgoodthough. • CANONEOS5DMARKIII:Justbecauseit's beingreplaced,itdoesn'tmeanyoushould neglectthe22.3-megapixelEOS5DMarkIII, especiallyasit'savailableforaround£2,250.

VERDICT There are several full-frame models at the top of the Canon range, but this one represents the best option for the serious general photographer. It handles well, offers good weatherproofing and boasts a very wide range of features. Above all, its performance is excellent in every regard. If you need a high-resolution full-frame model, then this one definitely needs to be on your shortlist. Handling

19/20

Ease of use

18/20

Features

19/20

Performance

19/20

Value

18/20

Overall

93/100

March 2017 Digital SLR Photography 107


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Nikon D5 DSLR body.......................................................... £5,095.00 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...................................................... £1,595.00 Nikon D750 + MB-D16 grip Kit............................................ £1,839.00 Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit........... £2,045.00 Nikon D750 + AF-S 24-120mm f/4G ED VR Kit.................. £2,275.00 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...................................................... £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 D5600 SLR body....................................................... £649.00 Nikon D5600 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £699.00 Nikon D5600 + AF-S 18-140mm f/3.5-5.6G VR DX ED Kit..... £899.00 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 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..................................................... 1 Nikkor 10mm f/2.8............................................................ 1 Nikkor 18.5mm f/1.8......................................................... 1 Nikkor 32mm f/1.2............................................................ 1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ Nikon SB-N7 Speedlight..................................................... Nikon GP-N100 GPS Unit................................................... Mount adapter FT1.............................................................

£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

AF-S & AF DX Nikkor 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 DX..................................... £259.00

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

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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..................................................... £1,775.00 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........................................ £4,545.00 AF-S 400mm f/2.8E VR FL ED........................................... £9,690.00 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............................................................. ............................................................. AF-S 60mm f/2.8G ED 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.............................................. ..............................................

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

19mm f/4E (Tilt/Shift-Perspective Control) ED Nikkor........ £3,195.00 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

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Photography by Tony Hurst

The Shop with the Dragon FM2 NIKON FM2 MILLENNIUM EDITION – YEAR OF THE DRAGON To celebrate the new Millennium Year 2000 (The Chinese Year of the Dragon), Nikon released the Nikon FM2 Millennium Edition. The camera has special markings: a Chinese-style golden Dragon sits above the self-timer and has matching serial numbers for the camera body and 50mm f/1.4 Nikkor AIS lens. It is presented in a rich gold maker’s box with a red satin lining, a white outer shipping carton, warranty card, instruction manual and certificate of authenticity signed by Mr. Michio Kariya, President Nikon Imaging Company, Japan. The Dragon is one of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar, and the only animal that is legendary. The Year 2000 is a Chinese Golden Dragon Year. NEW £3,000.00

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Gear/ Camera drone

DJI MAVIC PRO It’sthelatestmust-haveconsumer cameradronetohitthemarket.But doesthecompactDJIMavicProsoar intotheskyorsinklikeastone? Test: JORDAN BUTTERS

SPECIFICATIONS GuidePrice:£1,100 ImageSensor:1/2.3inCMOS(6.17x4.55mm) Resolution:12.35-megapixels Maximumimageresolution:4000×3000pixels Videoresolution:C4K(24p),4K(upto30p),2.7K (upto30p),1080p(upto96p),720p(upto120p) ISORange:100-1600(photo),100-3200(video) Maximumspeed:40mph(sportmode) Maximumserviceceiling:5km(abovesealevel) Maximumtransmissiondistance:7km Maximumflighttime:27minutes Size:83x83x198mm(folded) Weight:734g

Above:TheDJIMavicProgoesfromfoldedawayto ready-to-flyinseconds,simplybyfoldingoutthefourarms. Below:ItsportabilitymeansthatIrarelyleaveitathome. Thecontrollerandinterfaceareeasytounderstandanduse.

C

ONSUMER UAVS, OR DRONES, have burst onto the market in the last five years, taking aerial photography from an expensive pursuit reserved solely for professionals to a fun and relatively low-cost hobby for anyone. Chinese company DJI were the first to capture the attention of the consumer market, with the launch of the DJI Phantom back in 2013. While the Phantom range has continued to grow and improve year-on-year, it always suffered from one downfall – its size. Cue the DJI Mavic Pro. Announced late last year, the DJI Mavic Pro is a compact consumer drone that makes it easier to get flying without the hassle associated with drone size and setting up. While DJI’s Phantom series demands a large case or bag, and removable propellers for transport, the Mavic Pro simply folds down, propellers intact, and fits neatly into your camera bag – in fact, it’s only around the size of a 24-70mm lens! Although lead times for the DJI Mavic Pro were tedious at first due to high demand, orders are now coming through at a reasonable pace, and I’ve had my Mavic for long enough to have given it a thorough test in a number of different situations and conditions. The Mavic Pro is supplied with all you need to get flying, including a single battery and controller. The controller is far more compact than the Phantom’s – the Mavic can be controlled by the controller alone, or you can slot in your smartphone and view the Mavic’s camera feed in real time via the DJI Go app. This also allows you to change parameters, as well as configure the drone, monitor performance, height and speed, set waypoints and routes, or view where the drone is in relation to your position on a map. There are intelligent modes that can follow, track or circle around a person or

110 Digital SLR Photography March 2017

point of interest, as well as a tripod mode for selfies or videos. The app and interface is fairly intuitive too. Alongside the main flight controls, many of the functions can be accessed by the controller itself, such as camera tilt, exposure compensation, image capture, or the Mavic’s Return To Home function, which safely and automatically brings the craft back to wherever it took off from. You can also control the Mavic using your smartphone alone, without the controller, albeit with reduced functions, although I’ve had no desire to try this yet. In terms of image quality, the Mavic Pro packs a 12.35-megapixel 1/2.3in Sony Exmor R CMOS sensor and 28mm f/2.2 fixed focal length lens with an ISO range of 100-1600 for photo and 100-3200 for video. There is Cinema 4K video recording at 24fps, or UHD 4K at up to 30fps and Full HD at up to 96fps, and stills can be saved as JPEG or DNG Raws. There are also creative stills effects available, such as Burst mode, Auto Exposure Bracketing and an interval timer. The idea of sending over £1,000 skyward can be a bit daunting, but the DJI software and Mavic’s ease of use make it simple for beginners to take to the skies. There are safety measures, such as a Beginner Mode which limits speed, height and distance.

Once you progress into full control, the safety guides remain in place to help you, with legal altitude restrictions (400ft), geofencing to stop you flying where you shouldn’t and sensors that automatically halt the Mavic when you get too close to something. In fact, the Mavic boasts five positioning cameras, GPS and GLONASS (Global Navigation Satellite System), two ultrasonic range finders, 24 computing cores as well as up to seven kilometres of controller range! An added reassurance is the Mavic’s incredible stability and precision, which I found far out-performed my previous drone, the Phantom 3 Pro. Even in windy conditions, the Mavic hovers exactly in position, and using the automatic Return To Home sees the UAV land within centimetres of its take-off location – impressive. Operating the camera is easy, with the smartphone interface allowing you to eye up compositions. A tap of the screen activates autofocus, and exposure compensation can be applied via a scroll wheel on the controller, or on the touchscreen. You can also shoot in manual exposure mode for extra control. Image quality is good – not quite up to the standard of an APS-C or full-frame sensor, but still of sufficient detail and clarity to be printed or viewed at a good


Cameradrone

size. With heavy editing the files do fall apart slightly, especially if shot in low light. Video quality is exceptional, delivering crisp and clean 4K footage. Half the battle is practising with the controls to create smooth sequences, but the on-board gimbal does an amazing job of stabilising the footage, given its tiny size. Battery life is good too – I find that I get around 20 minutes of flight per full charge, allowing for a 20%

safety margin before returning to land. For me, the area in which the DJI Mavic Pro shines is portability. Whereas with my Phantom I had to plan ahead and carry a large case with me, the Mavic Pro is small enough to go into my bag ‘just in case’. It’s also quick to set up – I can be in the sky in under a minute. My flight time with the Mavic has already exceeded that of the Phantom, simply due to its ease of use and portability.

Gear

VERDICT Ifyou’re in the market fora UAVfor photographyorvideo, thenyou can’t go farwrongwith the Mavic. Easyto fly, light and compact, and delivering impressive image quality, there’s not a lot to fault!

Overall March 2017 Digital SLR Photography 111


Accessories\

MANFROTTOXPRO MONOPOD+ WITH FLUIDTECH BASE

Test: DANIEL LEZANO

Manfrotto’sprofessionalcarbon-fibre,five-sectionmonopodwith optionalFluidTechfootprovidesastablebasewithfluidaction

M

ONOPODS DON’T RECEIVE the same amount of exposure as their three-legged cousins, but are an useful accessory in certain shooting situations, and can sometimes be a more appropriate support for your camera than a tripod. Manfrotto produces an extensive range of monopods, including the five-section carbon-fibre XPRO model reviewed here. It also has an innovative fluid base, compatible with a number of models in the range, that not only provides additional stability, but offers a fluid action that has benefits for the professional photographer and videographer. At £175, this is one of the more expensive monopods, so what do you get for your money? Well, height for one thing – with all five legs sections extended you'll reach 1.76m, which is more than enough for most. And thanks to its carbon-fibre construction, it's extremely lightweight and very stable, which is an ideal combination. Plus the large, rubberised handle provides a very assured grip that's also warm to the touch when used in cold conditions. Large Quick Power Locks are used to release/tighten the legs after altering the height and are very fast and positive in use. For those looking for a lightweight, fast to use monopod with a good height, it's a great choice on its own, but is made all the more versatile if used with the FluidTech Base. This innovative base attaches via a simple yet secure mechanism. A collar holds the Monopod+ in a vertical position that, as I found, can be left freestanding if the MANFROTTO XPROMONOPOD+ camera has a short lens fitted, although it's not designed to do Price:£175 so. Raise the collar and you can tilt Productcode:MPMXPROC5 it in any direction up to 19°. With Material:Carbon-fibre the collar raised or lowered in the MinimumHeight:49cm lock position, you can rotate the MaximumHeight:176cm monopod to follow action, with LegSections:Five the FluidTech system giving a very LegLocks:QuickPowerlock smooth action. This is ideal for Load:5kg wildlife and action photographers Weight:620grams panning their subject, as well as Website:www.manfrotto.co.uk videographers following moving MANFROTTO XPROFLUIDBASE subjects. It's also a very useful Price: £75 set-up if you use a flashgun or Productcode:MVMXPROBASE small location flash unit like a Material:Aluminiumandsteel Godox on location, as it's a MinimumHeight:10.5cm simpler, faster and less wieldy MaximumHeight:11.5cm set-up to use than a lighting stand. PanoramicRotation:360° This combo is a lightweight and FrontTilt:+/-19° easy set-up to use, so if the cost Load:8kg isn't prohibitive, you're sure to find Weight:385grams it very useful on location.

VERDICT Thecombinationofapremiummonopodandinnovativefoot providesaveryusefulyetexpensivesupportsystemforphotoor videouse.Ifyouneedstabilityyetfreedomtofollowsubjects, it'sanexcellentoption,albeitforaconsiderableoutlay.

Overall

Gear

NovoDura400 Novo Dura 400

m/ Rollingcase/Waterprooff to5m to5m/ ABS/556x358x230cm Test: DANIEL LEZANO

Price:£219 Contact:www.novo-photo.com HARD CASES TEND to be less accessible and more expensive than your traditional fabric-based types. But, when the ultimate in protection is required, hard cases are ideal, able to withstand being submerged in water or driven over by a car. Peli is the market leader, but others, like Novo, offer a wide range of attractive options, including this Dura 400 rolling case. The Dura 400 features a retractable handle, press-pull safety latches that allow for fast access and stainless steel protectors that allow you to fit padlocks for additional security. As well as being impact-resistant, the tough ABS injection moulding, along with the silicon rubber seal, means the Dura 400 is waterproof to 5m, and it also features an automatic pressure valve. It's a good sized case, with external dimensions of 556x358x230mm meaning it is cabin-friendly on many airlines, although check the weight limits as empty it weighs 5.7kg. Open the case via the easy to use latches and you'll find a well-sized interior (518x295x188mm) packed with pre-cut diced foam inserts. I managed to place two camera bodies, four lenses, including two large zooms, with room for a flashgun and smaller accessories. The foam insert meant that everything was stored securely with no risk of movement or damage. It's removable too, so you can replace it if you ever need to create new layouts. The rubber wheels give a smooth ride and, while I didn't risk driving a car over it, I did stand and jump on it all in the name of science, without causing damage.

VERDICT Ifyou frequentlytravel and need a tough and durable storage option foryourcamera equipment, then theDura400isanexcellentoption. It’s a good size fora medium outfit and is sure towithstand heavyuse.

Overall

March 2017 Digital SLR Photography 113


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The D500 features a 20.9 MP sensor, 10fps continuous shooting, 4K UHD video recording, and an impressive ISO range of 100-51,200.

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CANON LENSES £1,999.00 £449.00 £1,499.00 £433.00 £136.00 £359.00 £389.00 £1,799.00 £469.00 £169.00 £1,184.00 £349.00 £106.00 £379.00 £849.00 £1,649.00 £349.00 £405.00 £373.00 £799.00 £949.00 £949.00

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200mm f/2.0L IS USM £5,799.00 200mm f/2.8L USM/2 £549.00 300mm f/2.8L USM IS II £5,799.00 300mm f/4.0L USM IS £1,139.00 400mm f/2.8L USM IS II £8,389.00 400mm f/4.0 DO IS II £6,999.00 400mm f/5.6L USM £1,099.00 500mm f/4.0L IS MK II £8,299.00 600mm f/4.0L IS MK II £9,615.00 800mm f/5.6L IS USM £11,899.00 TSE 17mm f/4.0L £1,999.00 TSE 24mm f/3.5L II £1,520.00 TSE 45mm f/2.8 £1,199.00 TSE 90mm f/2.8 £1,239.00 8-15mm f/4L Fisheye USM £1,199.00 10-18mm IS STM £229.00 10-22mm f/3.5-4.5 £399.00 11-24mm f/4L USM £2,699.00 15-85mm f/3.5-5.6 IS £579.00 16-35mm f/2.8L II USM £1,199.00 16-35mm f/2.8L III USM £2,020.00 16-35mm f/4.0L IS USM £879.00

17-40mm f/4.0L USM £2,020.00 17-55mm f/2.8 IS USM £749.00 18-135mm IS STM £379.00 18-135mm f/3.5-5.6 IS USM £449.00 18-200mm f/3.5-5.6 £389.00 24-70mm f/2.8L II USM £1,899.00 24-70mm f/4.0L IS USM £769.00 24-105mm f/4L IS II USM £1,129.00 24-105mm f/3.5-5.6 IS STM £729.00 28-300mm f/3.5-5.6L IS £2,249.00 55-250mm f/4-5.6 IS STM £269.00 70-200mm f/2.8L IS II USM £1,849.00 70-200mm f/2.8L USM £1,189.00 70-200mm f/4.0L IS USM £1,149.00 70-200mm f/4.0L USM £499.00 70-300mm f/4.0-5.6 IS £419.00 70-300mm f/4.0-5.6L IS USM £1,029.00 70-300mm f/4.0-5.6IS II USM £499.00 75-300mm f/4.0-5.6 USM III £259.00 100-400mm L IS USM II £1,795.00 200-400mm f/4.0L USM £9,799.00 1.4x III Extender £359.00

Up to £590 cashback available when purchasing selected lenses with selected Canon DSLRs T&Cs apply. Products can be purchased separately at any time during promo period. Offer extended until 31.01.2017. See www.parkcameras.com for details.

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A 1.0 type sensor, bright f/2.0-4.9 lens and superior DIGIC 7 ensure DSLR-like creativity with as much or as little control as you like. Available in Black or Silver designs! Visit our website to learn more.

Expected February £449.00

£2,703.00

£200 bonus trade-in! Offer ends 28.02.17

AF-G 10.5mm f/2.8G ED DX £599.00 AF-D 14mm f/2.8D £1,329.00 AF-D 16mm f/2.8D Fisheye £699.00 AF-S 20mm f/1.8G ED £669.00 AF-D 20mm f/2.8 £499.00 AF-D 24mm f/2.8D £379.00 AF-S Nikkor 24mm f/1.4G £1,799.00 AF-D 28mm f/2.8 £259.00 35mm f/2 AF Nikkor D £269.00 AF-S 35mm f/1.8G ED £439.00 AF-S 35mm f1.8G DX £169.00 AF-S 40mm f/2.8G ED £239.00 AF 50mm f/1.4D £259.00 AF-S 50mm f/1.4G £389.00 AF-D 50mm f/1.8 £119.00 AF-S 50mm f/1.8G £189.00

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Prices updated DAILY! Visit us in store, online at parkcameras.com or call our expert team on 01444 23 70 58 AF-D 60mm f/2.8 Micro £429.00 AF-S 60mm f/2.8G Micro ED £499.00 AF-S 85mm f/3.5G DX £429.00 AF-S 85mm f/1.8G £429.00 AF-S 105mm f/2.8G VR £749.00 AF-D 135mm f/2.0D £1,149.00 AF-D 180mm f/2.8 IF ED £749.00 AF-D 200mm f/4D IF ED £1,249.00 AF-S 200mm f/2G ED VR II £4,769.00 AF-S 300mm f/2.8G ED VR II £4,849.00 AF-S 300mm f/4 D IF-ED £1,149.00 AF-S 300mm f/4E PF VR £1,549.00 AF-S 400mm f/2.8 FL ED VR £9,999.00 AF-S 500mm f/4E FL VR £8,499.00 AF-S 600mm f/4E FL VR £10,999.00 AF-S 800mm f/5.6E FL VR £14,799.00

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

For a range of refurbished Nikon cameras and lenses at low prices, visit our website and search ‘REFURBISHED’

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With unerring autofocus, unshakeable stability, and intuitive touchscreen operation crafted to fit in a palm, the a6500 is so ideal everywhere that you never need to miss a moment. Add a Sony FE 50mm f/1.8 lens for only £199.00 when bought with the a6500! Normally £229.00.

In stock from £1,499.00

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

Add a Sony NP-FW50 spare battery for only £54! 16-70mm f/4G ZA OSS £799.00 18-200mm f/3.5-6.3 P. Zoom £949.00 24-70mm f/4 FE Vario-Tessar T*£899.00 24-240mm f/3.5-6.3 FE OSS £849.00 28-70mm f/3.5-5.6 FE OSS £449.00 28-135mm f/4 G FE PZ OSS £2,099.00 55-210mm f/4.5-6.3 OSS £269.00 70-200mm f/4 G FE OSS £1,249.00

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Add a Sony NP-FW50 spare battery for only £54! Alpha-Series 30mm f/2.8 SAM 1:1 Macro DT £169.00 35mm f/1.8 DT £149.00 50mm f/1.4 Carl Zeiss £699.97* 11-18mm f4.5-5.6 DT £599.00 16-35mm f/2.8 Carl Zeiss T* £2,200.00 24-70mm f/2.8 II Carl Zeiss T*£2,000.00 55-200mm f4.0-5.6 SAM DT £246.00 70-200mm f/2.8 G SSM II £2,799.00


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£399.00

£499.00

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Olympus PEN-F

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Olympus TG-Tracker

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SIGMA LENSES Sigma 105mm

Available in Green or Black

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Sigma 150-600mm

f/3.5 EX DC HSM

In stock at

f/5-6.3 DG OS HSM | C

In stock at

£319

Add a Sigma 62mm WR UV filter for only £39.99 4.5mm f/2.8 Fisheye EX DC £619.00 8mm f/3.5 Circ. Fish EX DG £599.00 15mm f/2.8 Diag F/eye EX DG £599.00 19mm f/2.8 DN £129.00 20mm f/1.4 DG HSM £629.00 24mm f/1.4 DG HSM £599.00 30mm f/1.4 DC HSM £319.00 30mm f/2.8 DN £129.00 35mm f/1.4 DG HSM £599.00 60mm f/2.8 DN £129.00 85mm f/1.4 EX DG HSM £999.00 105mm f/2.8 EX DG OS HSM £319.00 150mm f/2.8 OS Macro £649.00 180mm f/2.8 EX DG OS HSM£1,099.00

300mm f/2.8 APO EX DG £2,599.00 500mm f/4 APO EX DG £4,999.00 8-16mm f/4.5-5.6 DC HSM £499.00 10-20mm f/3.5 EX DC HSM £329.00 12-24mm f/4.5-5.6 II DG HSM £529.00 17-50mm f/2.8 DC OS HSM £279.00 17-70mm f/2.8-4 DC OS £319.00 18-35mm f/1.8 DC HSM £549.00 18-200mm DC OS HSM £269.00 18-250mm DC Macro OS HSM £279.00 18-300mm f/3.5-6.3 DC Macro £349.00 24-35mm f/2 DG HSM Art £699.00 24-70mm f/2.8 IF EX DG £549.00 24-105mm f/4 DG OS HSM £599.00

f/3.5-4.5 Di-II LD Asph.

f/3.5-6.3 Di II VC

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

In stock at

In stock at

£377.00

£199.00

Add a Hoya 77mm Pro-1D UV filter for only £44.95

Add a Hoya 62mm UV(C) filter for only £15.95

£599.00 £599.00 £599.00 £599.00 £369.00 £439.00 £929.00

50-100mm f/1.8 DC HSM £829.00 50-500mm f/4.5-6.3 OS HSM £1,099.00 70-200mm f/2.8 EX DG OS £729.00 70-300mm f/4.0-5.6 DG £99.00 70-300mm f/4.0-5.6 APO £149.00 120-300mm f/2.8 OS HSM£2,499.00 150-600mm Cont. + 1.4x £849.00 150-600mm f/5-6.3 Sport £1,199.00 150-600mm Sport + 1.4x £1,299.00 300-800mm f/5.6 EX DG £6,499.00 1.4x APO EX DG £179.00 1.4x Teleconverter TC1401 £229.00 2.0x APO EX DG £199.00 2.0x Teleconverter TC2001 £269.00

Tamron 18-200mm

In stock at

16-300mm f/3.5-6.3 Di II VC SP 17-50mm f/2.8 XR Di II VC SP 17-50mm f/2.8 XR Di II 18-200mm f/3.5-6.3 Di II VC 18-200mm f/3.5-6.3 Di III VC SP 24-70mm f/2.8 Di VC USD SP 28-75mm f/2.8 XR Di LD

£429.00 £399.00 £399.00 £299.00 £389.00 £799.00 £399.00

£159

.00

Tamrac Anvil 27 Backpack

Panasonic GX800

16.0

16.0

Add a Kenko 95mm Digital MC UV filter for only £119.00 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 70-200mm f/2.8 Di VC USD £1,099.00 70-300mm f/4-5.6 Di LD £129.00 SP 70-300 f/4-5.6 Di VC USD £299.00

£109

NEW!

Body only

+ 12-32mm

+ 12-32mm

£447.00

£549.00

£499.00

MEGA PIXELS

Add a BLH7 battery for £44.99

Expected March 2017! See website to pre-order.

24

3.0”

MEGA PIXELS

5 fps

ISO

SETTING DIAL

3.0”

Body only

+ 12-60mm

£699.00

£799.00

Save 10% on selected lenses with this camera! See web.

SD 3.0” card

3.0”

Compact dimensions, improved performance and the new ISO setting dial on the top plate offer M-Photographers what they wish for from an M-Camera.

51.4

MEGA PIXELS

15 3.0”

FILM MODES

3.0”

£5,600.00 3.2”

3.0”

1080p 3.0”

Tamrac Apache 4.2 Shoulder Bag

£99

NEW!

Introducing the ultimate high-end mirrorless camera: a compact and lightweight body which overturns common perceptions of medium format digital cameras. Expected to arrive late February! See website for full details & our pre-order offer

Available from £6,199.00

Win a 14 day trip to Antarctica

with Andy Rouse and Natural World Safaris

Enter for FREE at www.parkcameras.com/antarctica-competition-2017 Competition open from 27th January until 30th April 2017. Rules apply

Have the chance to WIN a Canon PIXMA PRO-100S in our February Calendar Competition Enter for free at www.parkcameras.com/calendar-competition-2017

Competition open from 1st February until 28th February 2017. Rules apply

Why choose Park Cameras? • Touch & try stores in London & West Sussex • UK’s largest independent photography store

Shoulder Bag

.00

Panasonic GX8 20

MEGA PIXELS

Save 10% on selected lenses with this camera! See web.

Add a BLC12 battery for £49.00

FREE 5 year warranty! See website for details.

£1,340.00

For even more Tamrac bags at competitive prices, visit us in store or visit www.parkcameras.com/ap Tamrac Anvil 15 Tamrac amrac Backpack Stratus 15 .95

£199.00

£579.00

FREE 5 year warranty! See website for details.

Panasonic GX80

LEICA M10

Our price

Add a BLH7 battery for £44.99

£599.00

Save 10% on selected lenses with this camera! See web.

Add a Sigma 92mm WR UV filter for only £119.99

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

TAMRON LENSES Tamron SP 10-24mm

.00

Add a Sigma 82mm WR UV filter for only £29.99

Our price

Available in Black or Silver

16x

Call us on 01444 23 70 60 for latest availability!

£719

.00

MEGA PIXELS

NEW!

In stock at

£329

.00

SP 35mm f/1.8 Di VC USD SP 45mm f/1.8 Di VC USD SP 60mm f/2.0 Di II LD [IF] SP 90mm f/2.8 Di VC USD SP 90mm f/2.8 Di MACRO VC 14-150mm f/3.5-5.8 Di III SP 15-30mm f/2.8 Di VC USD

Book a FREE Olympus test drive today!

Sigma 10-20mm

f/2.8 EX DG HSM

MEGA PIXELS

MEGA PIXELS

Body only

Expected March 2017

• Award winning customer service • Experts in photography

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


Tel:

01803 852400 info@mifsuds.com

PHONE LINES OPEN

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

Email -

www.mifsuds.com

U.K. Stock No Grey Imports

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

SHOP OPEN

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

PART-EXCHANGE WELCOME

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

Canon EOS 1DX MKII Full Frame

£998

Plus 18-55 STM Plus 18-135 STM

Plus 24-120 f4 VR £2297

Nikon D810

Full Frame

Body only £2398

Canon EOS M3 APS-C

M3 + 15-45

£528

EOS 5DsR body..................................£2897 EOS 5Ds body ....................................£2797 EOS 6D body......................................£1447 EOS 6D + 24-105 f3.5/5.6 IS U STM ..£1697

£1597

£1399

£419

Plus 18-55 STM £628 Plus 18-135 STM £798

Canon EOS Full Frame Bodies

Body only

M5 + 18-150 £1079 £1298

APS-C Body only

£3494

Nikon D750

APS-C

Canon EOS 750D

Body only price

Full Frame

Canon EOS M5

APS-C Body only

Full Frame

£4797

£1049

Plus 15-45 £1149

Canon EOS 80D

Canon EOS 5D MKIV

Body only price

APS-C

£1239

£4797

Full Frame

APS-C Body only

Body only

Body only price

Nikon D5

Canon EOS M5

Canon EOS 7D MKII

Canon EOS M LENSES

Canon EOS 760D

11-22 f4/5.6 IS STM ....................... £317 15-45 f3.5/6.3 IS STM .................... £219 18-55 f3.5/5.6 IS STM .................... £199 18-150 f3.5/6.3 IS STM.................. £429 22 f2 STM ....................................... £198 28 f3.5 Macro IS............................. £289 55-200 f4.5/6.3 IS STM.................. £268

APS-C

Body only

£548

Nikon D500

CANON EF-S NON FULL FRAME LENSES 10-18 F4.5/5.6 IS STM . . . . . . .£228 18-55 F3.5/5.6 IS STM no box £169 18-135 F3.5/5.6 IS U Nano . . . £448 18-135 F3.5/5.6 IS STM no box £349 24 F2.8 STM . . . . . . . . . . . . . . . . £138 CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . . . £979 11-24 F4 L USM . . . . . . . . . . . .£2649 16-35 F2.8 L USM MKIII . . . . .£1997 16-35 F4 L IS USM. . . . . . . . . . . £866 17-40 F4 L USM . . . . . . . . . . . . . £668 20 F2.8 USM . . . . . . . . . . . . . . . . £447 24 F1.4 L II USM. . . . . . . . . . . .£1478 24 F2.8 IS USM . . . . . . . . . . . . . . £429 24 F3.5 LII TSE. . . . . . . . . . . . . £1499 24-70 F2.8 L II USM. . . . . . . . .£1897 24-70 F4 L IS USM. . . . . . . . . . . £747 24-105 F4 L IS USM MKII. . . .£1049 24-105 F3.5/5.6 IS STM . . . . . .£378 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F1.4 USM LII . . . . . . . . . . . .£1798 35 F2 IS USM. . . . . . . . . . . . . . . . £468 40 F2.8 STM . . . . . . . . . . . . . . . . £189 50 F1.2 L USM . . . . . . . . . . . . .£1249 50 F1.4 USM . . . . . . . . . . . . . . . . £328 50 F1.8 STM . . . . . . . . . . . . . . . . £108 70-200 F2.8 IS LII USM. . . . . .£1848 70-200 F2.8 non IS L USM. . .£1097

70-200 F4 L IS USM. . . . . . . . .£1018 70-200 F4 L USM . . . . . . . . . . . . £648 70-300 F4/5.6 L IS USM . . . . .£1188 70-300 F4/5.6 IS USM II . . . . . . £498 85 F1.8 USM . . . . . . . . . . . . . . . . £338 100 F2.8 IS L USM macro. . . £749 100 F2.8 Macro USM. . . . . . . £448 100-400 F4.5/5.6 IS LII U . . . .£1779 200-400 F4 IS L USM . . . . . . .£9699 200 F2.8 II L USM . . . . . . . . . . . £649 300 F2.8 IS L USM II . . . . . . . .£5777 300 F4 L IS USM. . . . . . . . . . . .£1138 400 F2.8 IS L USM II . . . . . . . .£8997 400 F4 DO II IS USM . . . . . . . £6497 400 F5.6 L USM . . . . . . . . . . . .£1098 500 F4 IS L U II . . . . . . . . . . . . £8197 600 F4 IS L USM II . . . . . . . .£10444 1.4x III converter. . . . . . . . . . . £376 2x III converter . . . . . . . . . . . . £376 12mm EF MKII ext tube. . . . . £69 25mm EF MKII ext tube. . . . £128 CANON FLASH & DSLR GRIPS MR-14 EX II . . . . . . . . . . . . . . . . .£448 MT-24 EXII . . . . . . . . . . . . . . . . . .£748 430EX III RT Speedlight Speedligh . . . . . .£218 600EX-RT II Speedlight Speedligh . . . . . . £538 BG-E20 (fit 5D MKIV) . . . . . . . . £279 BG-E16 (fit 7D MKII) . . . . . . . . . £179 BG-E18 (fit 750/760D) . . . . . . . . £99 BG-E14 (fit 80D). . . . . . . . . . . . . £178 BG-E13 (fit 6D) . . . . . . . . . . . . . . £147

8-16 F4.5/5.6 DC HSM . . . . . .£478 10-20 F3.5 EX DC HSM . . . . . .£328 12-24 F4 DG HSM Art . . . . . £1647 12-24 F4.5/5.6 II DG. . . . . . . . .£528 17-50 F2.8 EX DC OS. . . . . . . .£278 18-35 F1.8 DC HSM Art . . . . .£547 18-300 F3.5/6.3 DC mac OS .£335 20 F1.4 DG HSM Art . . . . . . . .£629 24 F1.4 DG HSM Art . . . . . . . .£598 24-35 F2 DG HSM Art . . . . . . .£698 24-70 F2.8 EX DG . . . . . . . . . . .£548 35 F1.4 DG HSM Art . . . . . . . .£598 50 F1.4 EX DG HSM Art . . . . .£569 50-100 F1.8 DC HSM Art . . . .£828 50-500 F4.5/6.3 DG OS. . . . . .£848 70-200 F2.8 EX DG OS . . . . . .£728 70-300 F4.5/5.6 Mac DG . . . . . £99 70-300 F4.5/5.6 APO Mac DG £149 85 F1.4 DG Art. . . . . . . . . . . . £1189

105 F2.8 EX DG OS HSM . . . .£318 150 F2.8 EX DG OS. . . . . . . . . .£647 150-600 F5/6.3 OS Cont. . . . .£697

DX NON FULL FRAME LENSES

10.5 F2.8 DX Fisheye . . . . . . . .£599 10-24 F3.5/4.5 AFS G . . . . . . . .£729 16-80 F2.8/4 AFS ED VR. . . . . .£858 16-85 F3.5/5.6 AFS VR . . . . . . .£568 18-105 F3.5/5.6 AFS G no box£239 18-140 F3.5/5.6 AFS VR . . . . . .£458 18-300 F3.5/6.3 AFS VR . . . . . .£628 35 F1.8 AFS G . . . . . . . . . . . . . . .£178

APS-C

Body only price

£1728

FX FULL FRAME LENSES

Nikon D5600 APS-C

Plus 18-55 AF-P £798 Plus 18-140 VR £989

Nikon D3400

APS-C Plus 18-55 AF-P

£438

Nikon DSLR Cameras APS-C Format D7200 Body only ..............................£848 D7200 + 18-105 VR .........................£1087 D5500 Body only ..............................£578 D5500 + 18-55 VRII ...........................£648 D5500 + 18-140 VR ...........................£797

14-24 F2.8 AFS G ED. . . . . . . £1638 16-35 F4 AFS VR . . . . . . . . . . £1018 18-35 F3.5/4.5 AFS G . . . . . . . .£618 20 F1.8 AFS G ED. . . . . . . . . . . .£647 24 F1.8 AFS G ED. . . . . . . . . . . .£628 24-70 F2.8 AFS G ED VR. . . . £1598 24-120 F4 AFS G ED VR . . . . . .£897 35 F1.8 AFS G . . . . . . . . . . . . . . .£438 50 F1.4 AFS G . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . .£188 70-200 F2.8 AFS VRII . . . . . £1898 70-200 F4 AFS G ED VR . . . . £1178 70-300 F4.5/5.6 AFS VR . . . . . .£497 70-300 F4.5/6.3 AFP VR . . . . . .£288 70-300 F4.5/6.3 AFP non VR .£259 85 F1.8 AFS G . . . . . . . . . . . . . . .£428 105 F2.8 AFS VR macro . . . . . .£748 200-500 F5.6 AFS E ED VR. . £1178 300 F2.8 AFS ED VRII . . . . . . £4897 300 F4 AFS E PF ED VR. . . . . £1497 400 F2.8 G E FL ED VR . . . . £10398 500 F4 E AFS FL ED VR . . . . . £8447 600 F4 E AFS FL ED VR . . . . . £9699

16-300 f3.5/6.3 Di II VC PZD .£388 18-200 F3.5/6.3 Di II VC..........£189 70-300 F4/5.6 Di VC USD.......£289 70-300 F4/5.6 Di AF.................£129

150-600 F5/6.3 OS Sport . . £1197 500 F4 DG OS HSM Sport . £4997 500 F4.5 EX APO DG HSM. £3499 TC1401 converter. . . . . . . . . . .£228 TC2001 converter. . . . . . . . . . .£269 USB Lens dock. . . . . . . . . . . .£39.99

LOTS OF SIGMA LENSES AVAILABLE IN SONY & PENTAX AF FITS 150-600 F5/6.3 VC USD G2 £1349 150-600 F5/6.3 SP VC USD ....£728 Kenko Converters 1.4x Pro 300 converter...........£159 2x Pro 300 converter ..............£159 Auto ext tube set..............£109.99

WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS. X-T2 Body Black £1398 Plus 18-55 £1647 X-Pro2 Body only £1299

X-Pro2 body.................................£1299 X-T2 + 18-55mm ........................£1647 X-T2 body Graphite...................£1649 X-T2 body .....................................£1398 X-T20 + 18-55mm......................£1049 X-T20 body..................................... £799 X-T10 + 18-55mm........................ £798 X-T10 body Blk/silv...................... £485 X-A10 + 16-50mm ....................... £499 X100f compact camera ...........£1249 X System Lenses 10-24mm F4 XF ............................ £766 14mm F2.8 XF R ........................... £788 16mm F1.4 XF ............................... £797

16-55mm F2.8............................... £898 18mm F2 XF................................... £449 18-55mm F2.8/4 OIS .................. £618 18-135mm F3.5/5.6 XF............... £649 23mm F1.4 XF ............................... £788 23mm F2 XF R WR ....................... £418 27mm F2.8 XF ............................... £328 35mm F1.4 XF ............................... £448 35mm F2 R WR.............................. £347 50mm F2 R WR.............................. £449 50-140mm F2.8 R OIS...............£1328 50-230mm F4.5/6.7 XC OIS ...... £247 55-200mm F3.5/4.8 OIS XF....... £597 56mm F1.2 R APD......................£1158

SYSTEM

56mm F1.2 XF ............................... £797 60mm F2.4 XF ............................... £578 90mm F2 R LM WR ...................... £797 100-400 F4/5.6 OIS WR ............... £1439 1.4x XF TC WR................................ £299 2x XF TC WR ................................... £347 11mm or 16mm Ext tube ea.......£64 X System Grips & Flashguns VPB-XT2 Vertical grip.................. £268 VPB-XT1 Vertical grip.................. £119 EF-20 TTL Flashgun........................£98 EF-42 TTL Flashgun..................... £168 EF-X20 TTL Flashgun .................. £168 EF-500 TTL Flashgun .................. £449

GFX50 Medium Format System

For body & lens prices please see website

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 30/01/2017. P&P Extra. E&OE. MORE ON WEBSITE - UPDATED DAILY. FREE U.K. MAINLAND DELIVERY FOR ITEMS OVER £100 VALUE. ALL U.K. STOCK, NO GREY IMPORTS.


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 30/01/2017 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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

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

used canon

EOS 1DX body box

£2299/2799

used canon

EOS 5D MKIII body bo box

£1399/1699

NIKON USED

used nikon D4s body box

£3699

used nikon D4 body box

£2299

used nikon D3X body box

£1799

DIGITAL USED

used fuji

X-Pro2 body box

£999

used olympus

OM-D E-M1 body Mbox

£599

used sony

A7R II body box

£2299

Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale

canon dIgItal af used 1DX MKII body..................... £4299 1DX body box...........£2299/2799 1D MKIV b/o serviced ....... £1499 1D MKIV body.........................£999 1D MKIII body .........................£699 1Ds body ..................................£299 7D MKII body box..................£999 7D body ....................................£499 5D MKIV body Mint box... £3097 5D MKIII b/o box......£1399/1699 5D MKII body ............................. £799 5D MKI body box ..................... £499 70D body box............................ £549 60D body..................................... £399 50D body..................................... £299 30D body..................................... £129 20D body........................................£99 EVF-DC1 for G3X ...................... £149 BG-E2............£39 BG-E2N..........£49 BG-E4 box...£69 BG-E5 .............£49

BG-E6................................................£79 BG-E7................................................£79 BG-E8................................................£69 BG-E11 .......................................... £169 BG-E13 .......................................... £119 BG-E16 box ................................. £149 CANON AF FILM BODIES USED EOS 3 body M- box ...............£299 EOS 1n HS body.....................£199 EOS 30/5 body each............... £69 EOS 650 body ........................... £39 EOS 600 body ........................... £39 EOS 50E body............................ £29 EOS 500N body ........................ £29 EOS 1000 body......................... £29 PB-E2 drive M- box................£199 PB-E2 drive fits EOS1/3........£149 canon af lenses used 10-22 F3.5/4.5 U.....................£279 16-35 F2.8 USM LII.................£899 16-35 F2.8 USM LI..................£699

50mm F4 CF FLE

£849

Used Mamiya RB67 Pro SD + 90 KL + WLF + Back

£549

Used Rollei 3.5F 6x6 TLR

£see web

£499

used Zeiss

Victory Diascope 85T* FL + 20x60 box

£1399

sIgma caf used 10-20 F3.5 EX DC................£269 10-20 F4/5.6 HSM box .......£219 12-24 F4.5/5.6 EX DG II...........£449 18-50 F2.8 EX DC.......................£149 18-125 F3.8/5.6 OS DC ...........£149 18-200 F3.5/6.3 HSM OS...........£179 24-70 F2.8 HSM..........................£469 28-135 F3.8/5.6 ............................£99 50 F2.8 EX macro .....................£149 50-500 F4/6.3 EX DG ............£399 70-200 F2.8 EX DG ...............£399 120-300 F2.8 DG OS Sport box............................... £1799 120-300 F2.8 EX DG ..............£699 120-400 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 EX DG converter................£149 Kenko Pro 300 1.4x conv........... £99 Kenko ext tubes............................. £79 other caf used TAM 10-24 F3.5/4.5 Di II ......... £199 TAM 18-270 F3.5/6.3 VCII ......£169 TAM 28-300 F3.5/5.6 Di VC PZD.......................................£449 TAM 28-75 F2.8 XR Di...........£199 TAM 70-300 F4/5.6 .....................£99 TAM 90 F2.8 .................................£249 TAM 150-600 F5/6.3 USD......£599 TAM 200-500 F5/6.3.................£449 canon flash used ST-E3 transmitter box ..........£189 ST-E2 transmitter ..................... £79 MR-14EX ringflash.................£349 430EXII.......................................£169 550EX.........................................£149 580EX box ................................£179 580EX MKII ...............................£299

MBD-100 grip............................ £39 MBD-200 grip............................ £49 NIKON AF FILM BODIES USED F4S body inc MB-21..............£349 F4E body inc MB-23..............£299 F65 body..................................... £39 F801 body ............................£29/59 F601 body .................................. £29 nIkon af lenses used 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............................ £749 16-85 F3.5/5.6 AFS VR.........£399 17-55 F2.8 AFS ............................£449 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 18-135 F3.5/5.6 AFS G.............£169 18-200 F3.5/5.6 AFS VRI..........£249 20 F2.8 AFD..................................£329 20 F2.8 AF......................................£279

24-70 F2.8 AFS box...................£849 24-85 F3.5/4.5 VR ........................£329 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 28-300 F3.5/5.6 VR......................£599 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 55-200 F4/5.6 AFS ................... £79 55-300 F4.5/5.6 VR DX .........£219 60 F2.8 AFS ..............................£399 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 85 F1.4 AFS M- box ...............£999 85 F1.4 AFD..............................£499 85 F1.8 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 200-500 F5 AFS VR ................£999 300 F2.8 AFS VRI ................. £2699 300 F4 AFS box.......................£549 400 F2.8 AFS VR serviced. £5799 400 F2.8 AFS non VR.......... £3999 600 F4 AFS VR ...................... £6299 600 F4 AFS VR serviced.................................. £5799 600 F4 AFS II non VR serviced.................................. £4499 TC14EII.......................................£299 TC17EII.......................................£249 TC20EIII M- box ......................£249 TC20EII.......................................£199 TC20E .........................................£149

sIgma naf used 12-24 F4.5/5.6 EX DG II.............£449 15 F2.8 EX DG ...............................£399 18-200 F3.5/6.3 DC OS............£199 24-70 F2.8 EX DG serviced....£299 28-200 F3.5/5.6 early...................£69 30 F1.4 EX DC..............................£199 50 F1.4 Art M- box.....................£499 50-500 F4/6.3 DG..........£399/499 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 ..............................£199 120-400 F4/5.6 DG ................£399 150 F2.8 EX DG OS mac...........£499 150-500 F5/6.3 DG OS..............£499 300-800 F5.6 EX DG................£2999 2x EX DG converter....................£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 60 F2 SP Di......................................£229 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-600...............................................£169 SB-900...............................................£249 SB-R1 kit M- box..........................£399 SD-8 batt pack................................ £49 DR-3 angle finder.......................... £59 MB-10 (fits F90).............................. £29 MB-23 (fits F4)................................. £69 MC-30 remote ................................ £39 MF-23 (date back F4) .................. £79

Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol fuJI dIgItal used X-Pro2 body box................... £999 X-T1 body graphite box ..... £499 X-T1 body black..................... £499 X-T1 body black..................... £449 X-T10 body box ..................... £349 X-E1 body black .................... £199 10-24 F4 ................................... £599 18-55 F2.8/4 XF ..................... £399 27 F2.8 XF box ....................... £199 35 F1.4 R box.......................... £399 55-200 F3.5/4.8 R.................. £449 60 F2.4 macro box................ £429 1.4x converter........................ £269 X-T1 vertical grip......................£79 X10 box .................................... £149 MINOLTA/SONY DIGITAL USED Sony A7R II body box..........£2299 Sony A7 II body ....................... £999 Sony A6300 body................... £749 Sony VG-B30AM.........................£69 Sony VG-C2EM......................... £179 Sony VG-C70AM...................... £139

bronIca etrs 645 used 40 F4 MC................................... £149 75 F2.8 PE ................................. £149 105 F3.5........................................£99 135 f4 PE................................... £249 150 F3.5 E ....................................£99 150 F3.5 PE M- Box................ £149 200 F4.5 PE............................... £199 E14 Ext tube ...............................£49 E42 Ext tube ...............................£49 120 RFH........................................£69 Polaroid Back .............................£39 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 40 F4 S........£299 50 F3.5 PS£299 50 F3.5 S.................................... £149 110 F4.5 PS macro................. £399

35MM & MISCELLANEOUS USED canon fd used 28 F2.8 ..........................................£49 used leica R8 body black box

70-200 F4 U L ..........................£399 70-300 F4/5.6 L IS U.....£699/799 70-300 F4.5/5.6 IS USM .......£249 75-300 F4/5.6 MKII .................. £99 85 F1.8 M-.................................£269 100 F2.8 IS USM L ..................£599 100 F2.8 USM box..................£299 100-400 F4.5/5.6 L IS U......... £899 135 F2 L M- box......................£499 180 F3.5 L mac..........................£799 300 F2.8 LI IS U.......................£2799 300 F4 L IS USM box...............£749 400 F4 DO ISII L U.................£5799 400 F5.6 L box...........................£749 500 F4 LII IS USM ..................£6999 500 F4 LI IS USM....................£4499 1.4x extender MKII ................£239 2x extender MKIII.....................£319 2x extender MKII......................£199 Teleplus 2x DG conv............... £89 Kenko ext tube set DG............... £89

We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details nIkon dIgItal af used D4s body box....................... £3699 D4 body box......................... £2299 D3X body box...................... £1799 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 D300 body box.......................£299 D200 body box.......................£149 D7100 body box ....................£499 D7000 body....................£299/349 D5000 body.............................£199 D90 body..................................£199 D80 body..................................£169 D50 body.................................... £79 MBD-15 grip ............................£149 MBD-14 grip ............................£149 MBD-10 grip M- box.............£129 MBD-10 grip .............................. £79 MBD-80 grip .............................. £49

Sony HV56AM.......................... £169 Sony LA-EA4 mount adap .. £189 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 28-70 F3.5/5.6 OSS..............£299 FE 90 F2.8 macro........................£799 Samyang 100 F2.8 macro......£229 mInolta/sony af used Dynax 9 body......................... £299 800Si body .................................£69 7xi body ......................................£49 7000i body.................................£39 300Si body .................................£19 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 F2.8 .........................................£99 28-80 F4/5.6...............................£39 28-85 F3.5/4.5 ...........................£99

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED

Used Hasselblad

17 F4 L TSE M- box............. £1199 17-40 F4 L.................................£449 17-55 F2.8 EFS IS USM .........£399 17-85 F4/5.6.............................£199 18-135 F3.5/5.6 IS USM............£349 24 F3.5 TSE MKI box...................£699 24-70 F2.8 L USM box...............£799 24-85 F3.5/4.5 USM....................£149 24-105 F4 L.....................................£549 28 F2.8 .......................................£129 28-80 F3.5/5.6 ........................... £79 28-90 F3.5/5.6 ........................... £79 28-135 F3.5/5.6 IS USM .......£169 40 F2.8 STM .............................£139 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...........£249 70-200 F2.8 IS USM LI...........£999 70-200 F2.8 USM L ................£799

35-70 F3.5/4.5 ............................£59 35-70 F4 .......................................£69 50 F1.4.........£99 50 F1.8........£49 50 F2..............................................£49 70-150 F4.5 .................................£29 75-200 F4.5 .................................£49 100-300 F5.6...............................£79 135 F3.5 (Breechlock)..............£39 2x Extender B.............................£49 25mm or 50mm Ext tube ea £29 177A flash....................................£20 199A flash....................................£39 244T flash......£20 277T flash£25 300TL flash..................................£49 Winder A.....£20 Winder B....£30 contaX 35mm rf used 90 F2.8 G................................... £299

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 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 ...............................£79 hasselblad 6x6 used Sports viewfinder .....................£69 Chimney.......................................£89 A12 chrome latest................. £299 A12 late blk/chr...................... £129

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 Angle finder VN..............................£69 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 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 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 TAM 150-600 F3.5/6.3 USD ..... £599 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 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.................. £899 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 ..... £599 OMD E-M5 MKII b/o box.... £499 OMD E-M5 body box........... £249 OMD-EM10 MKII body........ £299 OMD-EM10 body.................. £249 12-40 F2.8 Pro........................ £649 12-50 F3.5/6.3 ........................ £149 17 F2.8 ...................................... £159 45 F1.8 box ............................. £199 40-150 F2.8 Pro ..................... £949 40-150 F4/5.6 ......................... £139 45 F1.8 ...................................... £159 60 F2.8 .........................................£99

HLD-8 grip............................... £149 HLD-7 grip box...................... £119 HLD-6 grip..................................£99 PanasonIc dIgItal used GH2 body ................................ £299 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 GM1 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 PentaX dIgItal used Km body .................................. £149

For more used equipment listings please see website www.mifsuds.com Polaroid back tatty...................£79 50 F4 CF FLE ............................ £849 80 F2.8 CF................................. £479 150 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 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................................... £199 120 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 6 & 7 rf 6x7 used 6 body + 75 F3.5..................£1099 50 F4 G ...................................... £599 50 F4.5 L + VF.......................... £699 80 F4.5 L M- box..................... £699 150 F4.5 M- .............................. £399 mamIya rb 6x7 used Pro SD + 90 KL + WLF + back .......................... £549 Pro S + 90 + WLF + back..... £399

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 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

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 PentaX 67 used 45 F4 latest M- ........................ £499 135 F4 macro late .................. £249 165 F2.8 latest M- .................. £499 200 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 rolleI 6x6 tlr used 3.5F ............................. £see website

Please contact us to determine availability before making a lengthy journey

contaX mf used 28-70 F3.5/4.5 MM ................ £169 HASSELBLAD XPAN USED Centre filter 49mm........................£129 leIca slr used R8 body black box................. £499 28-70 F3.5/4.5 R ..................... £399 leIca oPtIcs used Televid APO 77 + eyepiece .... £799 Televid 77 + 20x60................ £649 Trinovid 10x42........................ £599 Ultravid 8x32 HD ................... £849 lIghtmeters used Polaris ...........................................£99 Sekonic L308..............................£99 Sekonic L408........................... £149 mInolta md used X300 chrome body ..................£49 X300s black body .....................£49

X700 black body .......................£69 XGM chrome body...................£49 28 F3.5 MD..................................£39 50 F1.7 MD..................................£49 50 F2 MD .....................................£49 70-210 F4 MD.............................£99 2x Converter...............................£79 Ext tube for 50 F3.5..................£29 Ext tube set.................................£49 Auto bellows 1...........................£99 nIkon mf used F3 body ..................................... £199 FM2n body chr box............... £299 FM2n body chr ....................... £249 FE body chrome........................£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................................ £199 105 F2.8 AIS macro ............... £199 180 F2.8 AIS ED scruffy........ £179 500 F4 AIS...............................£1499 500 F8 mirror early................ £279 TC200 ............................................£49 SC-17 TTL lead...........................£25 DW-3 WLF find fit F3 ...............£99 DW-21 fits F4........................... £149 olymPus om used OM-4T body ............................ £249

OM-1n body ............................ £199 OM-1 body............................... £149 OM-2SP body.......................... £149 OM-2n body blk or chr........ £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 auto ext tube .......................£29 25 auto ext tube .......................£29 PentaX 35mm af used 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 ED box........... £199

70 F2.8 Limited....................... £349 70-300 F4/5.6 .............................£79 100-300 F4.5/5.6 .......................£89 sIgma Pkaf used 18-250 F3.5/6.3....................... £199 TAM 70-300 F4.5/5.6................£69 PentaX mf used 40 F2.8 PK....................................£99 50 F1.4 PK....................................£99 50 F4 macro PK..........................£99 tamron adII used 90 F2.5 SP ................................. £149 vanguard scoPes used Endeavour HD65A................. £229 voIgtlander used 15 F4.5 + VF M- box.............. £269 ZeIss used Victory Diascope 85 T* FL + 20x60 box...........................£1399

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

£1249

760D Body

£1249

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

7D Mark II Body

18.0 mp 5.0 fps

£579 £579 £599 £649 £849

24.2 mp 5.0 fps

700D Body

£469

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

24.2 mp 5.0 fps

D3300

From £289

D3300 Body D3300 + 18-55mm AF-P

£469 £549

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

£1449 £1449 £1699

80D Body

£999

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

£999 £1029 £1219

D7200

G7 X Mk II

20.1 mp 4.2x zoom

£4799 £4799

D610

From £849 £849 £1099

D7100

From

D7100 Body D7100 +18-105mm VR

£699 £699 £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 £629

D750

D610 Body D610 + 24-85mm

D810

£2899

D750

From £1599

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

£1599 £2099 £2279

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 .... £1429 EF 16-35mm f4 L IS USM........... £999 EF-S 17-55mm f2.8 IS USM ....... £749 EF 17-40mm f4 L USM................ £719 EF 18-135mm f3.5-5.6 IS STM... £379 EF-S 18-200mm f3.5-5.6 IS ........ £439 EF 24-70mm f2.8L II USM .......... £1729

EF 24-70mm f4.0 L IS USM ...... £819 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... £1848 EF 70-200mm f4.0 L IS USM ..... £1149 EF 70-300mm f4-5.6L IS USM.... £1289 EF 100-400mm f4.5-5.6 L IS II USM £1899 For Canon-fit Tamron, Sigma or Samyang lenses, visit our website

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 ..........................£159

Photo Sport BP:

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

Tripods & Tripod Heads

MK055XPRO3 + Xpro Ballhead + MBAG75N Bag ..................£185 MT055XPRO3 ...................£199.95 MT055CXPRO3 Carbon Fibre......................£269 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 ......................... £159 Tripod Strap Black or Tan.... £19

Advanced Travel ..................£59

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 ............................ £48.95 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 ................. £149 EP 35mm f1.4 L II USM ............ £1899 EF 40mm f2.8 STM ................... £199 EF 50mm f1.2L USM................... £1369 EF 50mm f1.4 USM..................... £349 EF 85mm f1.2 L II USM............... £1769 EF-S 60mm f2.8 USM Macro...... £419 EF 85mm f1.8 USM..................... £349 EF 100mm f2.8 L IS USM Macro £869 EF 135mm f2 L USM................... £949 EF 180mm f3.5 L USM Macro .... £1329

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 ......................................£69 F-6 ...........................................£89 F-803 .......................................£139 F-2 ...........................................£119

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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IN THE NOT too distant past, photographers would return from their adventures, crank on their projector and put on a slideshow for family and friends. Things have moved on but slideshows remain popular, although now it's in the form of digital presentations viewed on televisions or portable devices. If you've wanted to create your own entertaining and professional videos using a powerful but user-friendly software package, then this month's competition is for you. We're giving ten readers the chance to scoop Magix's latest software package, Photostory Deluxe for PC, worth £55, designed to easily create video slideshows with your photos in resolutions up to Ultra HD, for viewing on a TV, smartphone or tablet. And to have a chance of winning, all you need to do is answer one simple question (see right). Designed with a clean, modern and simple to follow interface, Magix Photostory Deluxe is intuitive to use and powerful enough to produce stylish and slick slideshows. Use it to import photos and videos into your slideshow, then add screen-ready animations, adjust colours, or select the

background music from hundreds of songs and sounds in the software's library. The software is highly versatile, allowing you to add titles and effects, as well as automatically match colours and tonal characteristics to create a seamless look. Along with attractive borders, you can add picture-in-picture effects, HDR, travel route animations and a wide number of transitions/ dissolves. Using Camera MX media transfer, you can wirelessly transmit photos from your Android phone to the software for editing. Photostory Deluxe supports all standard photo and video formats and can even handle 360° panoramic footage. Magix Photostory Deluxe is the ideal software for any photographer looking for an easy way to transform images and video into attractive and entertaining slideshows. To have the chance of winning one, all you need to do is answer our simple question before the closing date of Tuesday 21 March 2017. Please note that this competition is only open to readers living in the UK. Forfurtherinformation on PhotostoryDeluxe and other Magix software,visit:www.magix.com

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WHAT IS THE MAXIMUM RESOLUTION CAPABLE WITH MAGIX PHOTOSTORY DELUXE? A)SD B) HD C)FULL HD D)ULTRA HD Emailyouranswer, alongwithyourname & address, to: competitions@dslrphotomag.co.uk using the subject 'Magix Competition'byTuesday21 March 2017.We'll pick twowinners at random and theywill receive confirmationwithin seven days. Open to UK readers only.

March 2017 Digital SLR Photography 138



Digital SLR Photography N°124 - March 2017