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DIGITAL PHOTO OCTOBER 2016 ISSUE 212

FREE STAR TRAILS GENERATOR VIDEO CD EXCLUSIVE ONE-CLICK ACTION TO ADD STAR TRAIL EFFECTS TO YOUR OWN IMAGES

OVER 60 MINS OF TUTORIALS

FIRST LOOK

CANON 5D MKIV SEE PAGE 112

GET CREATIVE WITH NEW SKILLS

Get creative with

NEW SKILLS

Cutting edge camera & editing techniques to breathe new life into your landscapes

SHOOT A PERFECT PANORAMA

LEARN TO SHOOT THE PERFECT PANORAMA MAKE THE MOST OF EPIC SCENES

CAPTURE YOUR BEST EVER FAMILY PICS

Have your images been stolen? How to avoid a photographer’s worst nightmare

Capture your best ever family pics From newborns to teenagers to grandparents

“I want to make art from food” Meet the man making photos good enough to eat

OCTOBER 2016 ISSUE 212 £4.99

PLUS WWW.DPMAG.CO.UK

Dehaze underwater photos

Convert to mono the free way

Add a retro twist to landscapes

INSPIRING TECHNIQUES AND STUNNING IMAGES!

Pro lighting tips revealed

Easy 30-minute ideas to shoot today


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

Year Warranty

Introducing two new F/1.8 fast-aperture fixed focal length lenses with superior optical performance and unprecedented close-focusing capability integrated with VC (Vibration Compensation). www.tamron.co.uk www.facebook.com/TamronUK


SPECIAL

BEST EVER FAMILY PICS

WELCOME H

ere’s a question, and be honest – when was the last time you gathered all the family together and took a great portrait to hang on the wall? Still being honest, probably longer than it should have been, right? Family are not only the most precious people in life, they also act as free and willing models, and the really great thing is that taking more family portraits will improve your people photography while filling up the photo album at the same time. Our capture feature (page 30) shares pro tips to help you capture the best side of every member of the family – whether they’re 8 days young or 80 years old! Elsewhere in the magazine, we’ve got a real low light treat for you that’s perfect to try now the nights are Family shoots can be fun and creative – this image was captured on a family walk. drawing in. With our free star trail

MATTY GRAHAM / BAUER

See p30

generator (found on the CD), you can add that magical circular star trail effect to any of your own low light pictures. This amazing gift saves you the hassle of standing in a cold field for hours on end capturing the multiple images to be merged together – all you need is Photoshop or Elements to add the effect to any frame in a matter of minutes. Elsewhere, we’ve got our usual mix of creative projects, inspiring images and honest reviews to keep you entertained all month. Enjoy the issue.

£3.30 AN ISSUE

This month’s cover was captured by Yannick Leferve, who shot this low light scene of Cinque Terre, Italy, on his Nikon D700, paired with a 16-35mm lens.

Matty Graham, Managing Editor matty.graham@bauermedia.co.uk matty.graham@bauermedia.c

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CONTENT NTS S OCTOBER 2016

30

08

Get inspired by some out-ofthis-world photography

46

16

How to capture your best ever family portraits

Discover the art of food photography

Make the most of wide scenes with a perfect panorama

Inspiring Ideas

Camera Techniques

8 Planet photo

92 Photo answers

30 The family way

Your fresh fix of image inspiration from the world’s best photographers.

16 How did they do that?

Expert advice on using off-camera flash, protecting your camera around water and finding out if your images have been stolen. If you have a photo-related question, we can answer it!

Family pictures are the most precious you will ever take. This feature will help you capture great portraits, whether your subject is 8 days young or 80 years old.

Food photographer Wesley Dombrecht shares the secrets behind his mouth-watering shots.

99 Next month

22 Your pictures

A sneaky peek at what’s coming up in the next great issue of Britain’s best photo magazine.

It’s the camera that’s always to hand! We show you how to get the best results from smartphone photography.

Constructive critique of readers’ images from our expert duo, with practical tips and suggestions for making them even better.

28 Subscribe today! Get a year’s supply of your favourite photo mag for only £3.30 an issue!

58

Get creative with this month’s photo challenge

42 Shoot with a smartphone

46 Master your camera Make more of epic landscape locations by learning to capture the scene with a perfect panorama.

52 Bucketlist locations Discover the UK’s best spots to take stunning shots. This month we’re in the Lake District.

56 Why this shot works

54 Shoot it now

Take a trip to the top of the world to discover why Daniel Kordan’s landscape works so well.

Create a scene that’s low on budget, but sky high on colour, and can be captured in just 30 minutes.

88 It works for me

58 Out of the ordinary

Readers share the images they’ve created after being inspired by Digital Photo projects.

Take on the challenge of shooting a TV. Our experts share their approach, and invite you to have a go too!

4 DIGITAL PHOTO


FREE

112

STAR TRAILS GENERATOR ON THE CD

106

72

103 114 80 Gear Focus

Photoshop Skills

102 Gear news

64 Inject contrast with the Dehaze tool

Our roundup of all the latest photo news and announcements from the digital world.

76

VIDEO LESSONS ON THE CD

84 Take a step back in time

Learn how to make the most from your underwater images.

Add a stylish vintage effect to an environmental-based landscape using Lightroom’s selection of sliders.

Serious about image-editing? Then you need a new monitor, and we’ve rounded up the best on the market to help you choose your next investment.

68 Create virtual trees

130 Photoshop 60 second fix

Is your image missing a focal point? No worries, this technique will create one!

Straighten up wonky lines and compositions using Photoshop or Elements in under a minute!

106 Photography backpacks

72 Add star trails

Camera backpacks protect your kit and help you spread the load when you’re on the move. We test six of the best – all for under £160.

Use our free star trails generator to add this magical effect to your landscapes.

112 Canon 5D Mk IV

Discover how to use the free Nik Collection software to convert an image to black & white with precision.

104 5 of the best monitors

The wait is over – take your first glance at Canon’s newest DSLR.

114 Gadgets & gizmos

76 Go mono with Nik

80 Make a creative split-frame portrait

LandscapePro software, the Gitzo Series 3 ball head and Manfrotto’s Lykos LED panel go under Digital Photo scrutiny.

Use the power of Photoshop’s Layers feature to create a portrait with a difference.

114

84 DIGITAL PHOTO 5


8

VIDEO TUTORIALS ON YOUR FREE CD

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

2

74

MINUTES OF EXPERT ADVICE

3

FREE

STAR TRAILS GENERATOR ON THE CD

Inject contrast into underwater shots to using Photoshop CC’s Dehaze tool.

4

Transform landscapes by adding a custom-made tree with Photoshop CC’s Render Trees tool.

5

Boost the impact of a landscape’s night sky by adding star trails with our free kit.

6

L L U F E H T IN S O E ID V E WATCH EXCLUSIV O T O H P L A IT IG D F O S PRINT & IPAD EDITION OW PRICED £3.99 MAGAZINE – AVAILABLE N ilable on the ng video content is only ava Please note: Accompanyi as sold via the versions of Digital Photo iPad and Kindle Fire HD atively it is res / Newsstands, or altern Sto p Ap n azo Am d an ple Ap nt magazine. panying each monthly pri om acc CD e fre the on available Digital Photo ntly available on or for the Video content is not curre Play Newsstand; these platforms: Google digital editions, as sold on Shoot creatively with off-camera flash to get the best possible portrait shot in any lighting conditions.

tly, Readly; Kobo. Subsequen Google Play Apps; Zinio; digital versions on these please note that the ‘Lite’ d to take this into account. platforms are discounte itions about any of our digital ed If you have any questions ia.co.uk azinesupport@bauermed please email digitalmag ble. answer as quickly as possi and we will endeavour to

Improve a scene in seconds by fixing awkward compositions and flat colours in two simple steps.

Get the latest photography tips and techniques, and gear news in our free podcasts.

Go to www.dpmag.co.uk today!

Also on your interactive disc this month...

Start images Use these files to practise the projects with your own software. 6 DIGITAL PHOTO

Reader gallery Inspiring pics from Digital Photo readers.

EDWARD BROCKWELL

You’ll find more even more video lessons on our new website


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

ABSTRACT ACTION

CHRIS GARRISON

Making a splash

At first look, you could be forgiven for thinking this mesmerising frame is some sort of abstract art. In fact, the stunning capture is actually a wakeboarder performing under some lights. The creative genius behind this frame is Chris Garrison, who shoots for Red Bull, among others. “The images needed motion to create the blur of the water and athlete as well as burn in the colour of the Sharpy lights – about 3 to 6 seconds of motion to be exact. This style of shooting required me to mount the camera to the 12ft boom we had rented to keep the camera stable,” explains Chris. Camera Nikon D4 & 24-70mm lens Exposure 3secs @ f/5, ISO 320 Visit chrisgarrisonphotography.com

GET THIS SHOT

Action shots require cameras that can shoot rapid bursts of frames to maximise the chance of capturing the perfect moment. Chris’ Nikon D4 can fire 11 frames per second.

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Chris fired his studio flash lights to illuminate his subject using some PocketWizard triggers.

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PLANET PHOTO A chance encounter at the zoo lead to this amazing image of the photographer’s son.

ANIMAL PORTRAITS

Bear hug

STEPHEN HIKIDA

As you’ll see on page 30, there are many ways to capture portraits of family members that go beyond a standard pose. Stephen Hikida captured an amazing moment when he took his family to Columbus Zoo and Aquarium in the USA. “My four-year-old son, Zander, wanted to run down to the lower level, which was abandoned as the bears were on the upper level,” explains Stephen. “After adjusting my settings for a picture there was a large splash and the polar bear swam seemingly staring down at him, before turning and swimming away.” Camera Nikon D3300 & 55-200mm lens Exposure 1/800sec @ f/4, ISO 200 Software Photoshop

GET THIS SHOT Stephen used a shallow aperture of f/4. This allowed more light through the lens and enabled him to use a fast shutter speed of 1/800sec without increased noise.

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ANTTI KARPPINEN

Antti’s composite takes inspiration from Dutch graphic artist M.C. Escher.

STORY BEHIND THE SHOT

The story started with the weird things long holidays do to the brain!

Finnish photographer Antti Karppinen shares the story behind an this optical illusion composite creation... How did this image come about? The story of this image started with the weird things long holidays do to the brain. Generally a vacation tends to get your creativity in full speed. For me it means that I see ideas for images everywhere. This time around, I wanted to create a M.C. Escher–style optical illusion, but use Photoshop to make the creation look more real via a composite image.

Talk us through the elements... My initial sketches were about the Penrose triangle, but the idea of the endless steps won me over after doing some simple outlines in Photoshop. Drafting the steps, I thought it might be a good idea to add water flowing from one step to another, and also add some small paper boats too to show how the river actually never goes anywhere. I took

pictures of my son with a paper boat in his hands and fitted him in the picture, sitting on the edge of the river. How long did it take to create? The hardest challenge was to create the textures in the water. From start to the finish, the whole project took around three days to complete. Software Photoshop Visit www.anttikarppinen.com

GET THIS SHOT Antti used Photoshop to merge together separate images into one final picture – this is called a composition. When using lots of Layers, naming each one is the best way to easily identify which part of the image you’re editing.

DIGITAL PHOTO 11


PLANET PHOTO AERIAL VIEW

Harvesting a new view How do you get a new take on a classic? Jerome Courtial has the answer. “I went to Valensole hoping to get a new angle, rather than the classic view,” he explains. “I knew this was harvest season so I looked for tractors and waited patiently until some started to harvest in a pattern that would create a pleasing composition from above.” Camera DJI Phantom 4 Exposure 1/100sec @ f/2.8, ISO 160 Software Photoshop Visit www.jcmtagency.com

The contrast between the purple and green adds to the energy of Jerome’s image.

JEROME COURTIAL

GET THIS SHOT Great images don’t happen by accident and Jerome’s research of the area was the key to the shot. Use resources like Google Maps, and weather apps to plan your pics.

CANINE CLASSIC

Man’s best friend Christoph Eberl’s fine-art pet portraits have netted the German photographer over a million views on his 500px page. His emotive and engaging captures of man’s best friend boast a signature style of warm golden hour light and shallow depth-of-field. This frame was shot in Bavaria and makes excellent use of the maximum f/1.4 aperture on Christoph’s lens. Camera Canon 6D & 35mm f/1.4 lens Exposure 1/4000sec @ f/1.4, ISO 100 Software Photoshop Visit www.500px.com/christoph-eberl

In Lightroom, Christoph intensified the colours to make more of the golden light.

12 DIGITAL PHOTO

CHRISTOPH EBERL

GET THIS SHOT Multiple images shot using a very shallow depth-of-field can be merged together to create the Brenizer effect. Learn more about this on page 50.


Š Frederico Martins

Add colour to your palette OCF Gels Add colour to your Profoto flash with the new OCF Gels. Use them to balance your flash light with ambient light, or boost your creativity with our set of colour effect gels. Learn more: profoto.com/offcameraflash


PLANET PHOTO

URBAN LANDSCAPE

BLAKE PLEASANT / MOLLY PORTER

A flood of inspiration Great photo opportunities can appear in an instant and it’s up to you to make the most from them. Photographer Blake Pleasant had nipped out for a bite when he captured his intense frame of a classic American subject, the yellow taxi. “I was standing inside a pizzeria when it started pouring with rain in downtown Chicago. I had my camera with me as I always do and I wanted to capture the intense mood of the flash flood happening outside the restaurant window. I waited for something interesting to appear, saw this yellow taxi cab, and took this shot,” he explains. Camera Canon 6D & 24-105mm lens Exposure 1/100sec @ f/4, ISO 1600 Visit www.blakepleasantphoto.com

GET THIS SHOT In low light, you may have to raise your camera’s ISO. This increases the sensor’s sensitivity to light, but introduces noise. Most modern cameras can produce usable images at levels up to ISO 3200.

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The street lights and rain on the window help supercharge the intensity of this scene.

DIGITAL PHOTO 15


HOW DID THEY DO THAT?

THE ART OF FOOD Photographer Wesley Dombrecht creates amazing art by bringing food to life. Anyone a bit peckish yet?

WORDS BY MATTY GRAHAM

J

ust looking at Wesley’s mouthwatering food images will have you checking your watch and wondering how long it is until your next meal. Based in Belgium, Wesley is a professional culinary photographer whose education was in cooking and gastronomy, rather than aperture and shutter speed, although he carried a dual passion for food and cameras. After he graduated from his studies, Wesley worked in restaurants and began his own catering business. But his passion for photography helped him combine his two loves in the perfect recipe. “When I just started out, I had very little equipment – a DSLR, a portable stand and some cheap flashes,” he explains. But these days, Wesley cooks up amazing composites in a purpose-built studio and is ready to reveal the secret ingredients behind his best creations...

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“The brief was to make the burger look heroic...” This shot was for a food company and the brief for the shot was to make the burger look heroic. So the solution I came up with was to use a low camera angle to make the subject look large and dominating in the frame. I used a big light source (an Elinchrom light with a big Octabox) at the left of the camera and another flash towards the right to create a lot of diffused light. With these kinds of shots, there needs to be a lot of prepping and styling. It is important to select all of the best ingredients so I don’t lose time when I do the shoot because the food very quickly loses its freshness. This means cooking bacon and prepping salad so it’s all ready on time. First I used a mock up to make sure the lighting was all correct and only when this was right did I bring out the fresh subject and capture the image. In processing, I applied some toning to make the colours pop with the help of different Blending Modes.

SECRETS BEHIND THE SHOT

It’s critical for Wesley to work quickly, before the food loses its look of freshness.

Wesley incorporates some clever pro tricks like placing the cheese into a bowl of hot water to melt it, before adding it to the burger.

DIGITAL PHOTO 17


HOW DID THEY DO THAT?

“A great tip is to “A use chops chopsticks” When I shoot images of glasses, I always use a diffusion material in front of a stripbox and studio flash. This gives a nice graduated light on the side of the glass. On the opposite side, I add in a large piece of a white card to reflect the light back onto the subject. To accentuate the labels, I use mirrors or add a snoot modifier to the flash. One excellent tip I learnt from a man called Rob Grimm helped me over the problem of the beer head disappearing too quickly, and this was to use chopsticks to whip up the foam and keep it looking at its best for a little longer.

SECRETS BEHIND THE SHOT

Wesley added in the background using Photoshop.

Wesley uses mirrors to direct flash directly onto specific areas of the subject, such as labels, making them stand out.

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One strip light was all that was needed to illuminate this image.

“The technique helped add depth to the frame” This image was part of a personal project I have been working on. The set-up was a little experimental – the coffee beans were shot separately. I made multiple layers of the beans with some sheets of transparent glass, scattering them out in an arrangement over the glass sheets before capturing the images. This technique helped create a feeling of depth in the frame that adds an extra dimension to the photo. The beans were lit with just one strip light softbox paired with a studio flash. The cup image was a stock shot I created a while back. In Photoshop it was easy to select the beans from the various shots before pasting them into place on one file. It was very important to keep the position of the Layers in the correct order so that the cup didn’t obscure any of the beans. I always finish an image by adjusting the Contrast and adding some selective Sharpening before saving the image for good.

SECRETS BEHIND THE SHOT

Multiple sheets of glass were used to change the distance of the beans from the camera, creating depth.

DIGITAL PHOTO 19


HOW DID THEY DO THAT? The drops on the glass are actually glycerin, not water.

“Glycerin is a pro trick that cr creates eates natural droplets” I developed this image for my portfolio because I wanted something vibrant and energetic. Again, I used some diffusion material to soften the light from the studio flash – doing reduces the risk of strong reflections or flare on the glass. Once I had taken some test images and was happy with the lighting, I gave the glass a spray with a glycerin mixture (half glycerin, half water). This added some nice droplets to the glass that wouldn’t have held their shape if just pure water. Another trick is to use acrylic ice cubes instead of real ones which would obviously melt quickly. The rest of the image was shot in steps, so one exposure captured the pour of the cocktail, and then more images captured the splashes. The best images were then merged together in Photoshop. This needed some precision editing, so I used my Wacom tablet and Pen, which does the job much better than using a regular mouse.

20 DIGITAL PHOTO

SECRETS BEHIND THE SHOT

Capturing the ice cubes falling into the glass required perfect timing and a little trial and error.


Studio flash was used to help freeze the motion of the macaroons.

“I merged pics together” This shot was an artistic print for a bakery store. The aim was to show the texture and the inside of the macaroon and that’s why I arrived at the idea of it breaking up as it fell. For this photo, I decided to use a black background, as this helped the bright colour of the macaroon stand out in the frame. Each element of the image was captured separately using the same lighting set-up, which was one studio flash with a strip light softbox. In Photoshop, the various elements were pasted into one file and the Blending Mode of the Layers was changed to Screen, merging them together seamlessly. The trick with this image was to make sure all the falling pieces kept the right perspective so that the odd bit of macaroon wasn’t too big or too small. The last touch was to apply a Curves adjustment to all the Layers to blend them in correctly.

SECRETS BEHIND THE SHOT

This image was built up in stages, with Wesley picking the best frames for a realistic blend.

DIGITAL PHOTO 21


YOUR PICTURES Get some friendly, constructive advice from our experts! We pay for every pic published, so send your best shots to dpimages@bauermedia.co.uk

YOUR EXPERTS

Digital Photo’s technical editor Matt and assistant editor Matty are on hand to help with insightful shooting and editing tips. To have your work shown and assessed in Your Pictures, email a selection of no more than five images to the address above, and put Your Pictures es in the subject box.

Dusk at Durdle e Door by Guy Brennan What was used Camera Canon EOS 5DS & 24-70mm lens Exposure Various shutter speeds @ f/7.1, ISO 100 Software Photomatix Pro, Photoshop & Lightroom

Arriving at the famous Durdle Door in Dorset an hour before sunset, the scene was quite poorly lit as the sun had gone down behind the cliffs. Undeterred, I used the old steps (which are rather dangerous I might add) as a lead-in line. Due to the lack of contrast in the cove, I decided to shoot it as an HDR image. I ran the exposures through Photomatix Pro and was surprised at the amount of detail it produced. l Matt says It’s always frustrating when you visit a great location and then realise the conditions aren’t quite what you wanted. For Guy it was both the sun’s position and some thick cloud blotting out the sunset colours which conspired against him, but I think he’s faced up to those problems and done well considering the shooting conditions. The composition is very solid, and aside from the horizon being a little off the level (and that I think it could do with a bit more of the steps), it’s got plenty going for it, especially that strong, sweeping lead-in line that takes your eye into the distance. On another day – maybe a little earlier or later in the year when the sun would be further to the south – it would have been an immediate winner. And it’s picking when to shoot that would be my first tip –

22 DIGITAL PHOTO

dealing with unexpected weather is an inevitable part of landscaping, but there are some factors you can rely on all year round, and one of them is the position of the sun. Get yourself an app like the Photographer’s Ephemeris (www.photoephemeris.com), which is free for the desktop version and only a few pounds on your phone or tablet, and you’ll be able to work out the position of the sun at any given moment, then plan accordingly.

Before

After While the image still benefits from the HDR treatment, the mono version is less distracting.


“THE HDR TREATMENT HAS DONE A GOOD JOB OF DEALING WITH THE HIGH CONTRAST IN THE SCENE”

Exposure wise, the HDR treatment has done a good job of dealing with the high contrast between the bright clouds and the darker foreground and gives an ideal starting point for further editing. For instance, you can see that the lighting is a bit patchy as it often can be after tonemapping, and overall the colours are too cool. For me, the best route forward would be to go monochrome (see panel), as I think it’s better to embrace the fact that the colours weren’t great than to force the issue by adding saturation. It’s a dramatic scene, so the mono treatment is perfectly suited here, making sense of those washed out colours and allowing you to apply some traditional darkroom style hand-printing techniques to strengthen that lead-in line. Good effort Guy!

EXPERT ADVICE Turn dull colours into magnificent mono First, I desaturated the picture with Ctrl+Shift+U, and then added a series of Curves Adjustment Layers. For the first couple of Curves Layers, I dragged the curve down to darken the picture, then painted black into the attached mask to bring back the shape of the lead-in, and the bright cliffs and clouds that are the focal point from the Layer below. Then I added a final Curves Layer with the curve pushed up to lighten, again masking so it followed just the highlights. Some subtle sepia toning and a simple black border finish off this classic view.

DIGITAL PHOTO 23


After A cleaner crop makes more of the converging lines.

Amble Pier by Aaron Lambert

Before

What was used Camera Nikon D7100 & 18-55mm lens Exposure 60secs @ f/11, ISO 100 Software Photoshop & Google Nik Collection

I shot this at Amble in Northumberland on Father’s Day this year. It’s a special place for me and I was visiting with my partner and children to celebrate the occasion. I liked the contrast in the hard concrete foreground and the repetitive pattern of the railings converging. As the sea was choppy, I opted for a long exposure with my Lee Big Stopper filter. Via Photoshop I used the Google Nik Collection plug-ins to brighten and saturate the beacon, and add a slight vignette. l Matty says Being a Northumberland native I know this stretch of coast very well and, as Aaron’s shot shows, it’s an ideal location to make use of long exposures. Assessing the scene, as Aaron says in his description, a regular exposure would have kept too much texture in the waves, so going for a long exposure was right on the money here. In terms of improvement, my main tip would be strengthening in the composition. Given the striking lead-in lines and the strong focal point of the beacon, this has all the ingredients of a superb fine-art landscape, but there’s 24 DIGITAL PHOTO

something acting against the calmness that the long exposure has introduced via the misted water. I think this is down to the angle of shooting and the way the railing breaks the horizon line and obscures the beacon, which is the natural focal point. That’s not to say it’s not a strong composition, it’s just not a relaxed one, almost as though the aggressive angles are trying to force the issue. We talk a lot about shooting low to increase foreground

“IT’S NICE TO SEE A CHANGE FROM THE GO-TO MONO LOOK OF MANY LONG EXPOSURES” detail, but here, I’d try elevating the position as much as possible, giving the elements in the scene some breathing room. Cropping to a squarer framing would certainly help too, as described in the panel. Back to the plus points and I think it’s really nice to see a change from the go-to monochrome look of many long exposures, and the muted blues contrast beautifully with the bright red of the beacon.

EXPERT ADVICE Cropping opping to a square format To push Aaron’s shot further into the fine-art mould, I’d opt for a square crop and this means adding a little sky, too, but with the smooth clouds that’s no problem. After cropping and leaving some blank space at the top, select the Rectangular Marquee tool and duplicate the layer with Ctrl+J. Hit Ctrl+T to enter Free Transform. Drag the corner handles out to stretch the sky and then hit Return. Go to Layer’Flatten Image and then save.


YOUR PICTURES

EXPERT ADVICE Adding clarity with the High Pass filter The High Pass filter is a useful way of adding greater clarity to an image and it works by increasing the contrast around the subject. To use it, hit Ctrl+J to make a copy of the Background layer and then go to Filter’Other’High Pass. Using the preview, increase the Radius until the subject becomes clearer (1-2px should do the trick), then hit OK. Now, in the Layers palette, click Normal and choose Overlay. If the effect is too great, simple lower the Opacity of the High Pass Layer.

Before

After The High Pass filter has added much-needed Clarity to the scene.

Bringers of Light by Bota Dorin What was used Camera Nikon D610 & 16-28mm lens Exposure 1/60sec @ f/5, ISO 500 Software Photoshop CS6

Shooting in the early evening light, I was struck by how the elements of the scene formed a natural frame around the swans. The golden hour created gorgeous colour and, in editing, I added a vignette then improved the colours and adjusted the shadows. l Matt says This is a lovely moment, and it has the kind of rich atmosphere that only comes with shooting in the right conditions. I love the warm, fading light and how the

swans are serenely sailing through it. Their bright, white plumage certainly puts them centre stage and there’s some amazing contrast going on between them and the evening colours. The only thing acting against the image is that, on close inspection, you can

“IT HAS RICH ATMOSPHERE THAT ONLYCOMES OMES WITH SHOOTING IN THE RIGHT CONDITIONS”

see the swans are a little out of focus. This is probably down to a focusing error combined with the f/5 aperture, which won’t have held all that much of the scene in focus even at the wide angle focal length used. Unfortunately, you can’t bring the blurred parts of the scene back into focus in Photoshop, but you can give them the look of increased clarity using tools like the High Pass filter (see panel). This is a frame filled with atmosphere – well done, Bota. DIGITAL PHOTO 25


YOUR PICTURES

After This idyllic travel image includes a local feel to the frame.

Mount Kinabalu by Sharif Putra What was used Camera Canon EOS 5D Mark III & 16-35mm lens Exposure 1/160sec @ f/8, ISO 320 Software Lightroom

This picture was taken in Kota Belud in Malaysia and features Mount Kinabalu, the highest mountain in Southeast Asia. In the foreground I framed the paddy fields and a farmer crossing a suspension bridge – and this meant waiting quite a long time under the bridge. l Matty says This is a very nice travel image and much of that comes from the human element. Composing the wider views with local people going about their business, as Sharif has done, gives the location personality and also adds a sense of scale to the scene. When it comes to the composition, it’s certainly a good effort, but a few minor changes would have pushed it on further. For starters, although Sharif waited patiently for the farmer to appear on the bridge, he feels a little too close to the edge of the frame to me,

Before

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EXPERT ADVICE Localised alised editing in Lightroom

so waiting a fraction longer would have helped. I would also have shot from a slightly lower angle, and from a few metres to the left. This would have given some more separation between the walkway and the hills, and also brought out more texture in the foreground leaves. As most of the interest is along the horizontal centre of the frame, with the view

“WAITING A FRACTION LONGER WOULD HAVE RESULTED IN AN IMPROVED COMPOSITION” naturally reading from right to left in the direction the farmer is walking, I would also go for a panoramic crop here. This can be done in Lightroom by unlocking the Aspect ratio (the padlock icon in the Crop tool options). The colours in the scene are nice and bright and there’s some good contrast between the green foreground and blues in the mountain and sky. However, looking at the scene, I can’t help thinking how much more atmospheric it would have looked in the more golden light of late afternoon. The scene can easily be warmed using various Lightroom sliders (see panel).

Sharif’s picture is a great scene, but it’s in need of some processing to bring out the best. In Lightroom you can use the Local Adjustment tools for this. After cropping to a panoramic format, I used the graduated Filter (Temp to -10 and Exposure -1.00), dragging it over the sky and foreground to darken and cool them, drawing attention to the centre of the frame. Then I used the Adjustment Brush (Temp +21, Contrast +10, Shadows +12) across the middle of the image, and another Adjustment Brush, set to +21 Clarity and +30 Dehaze on the mountain.


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“ FAMILIES GIVE THE OPPORTUNITY TO CAPTURE A WIDE RANGE OF PORTRAIT SUBJECTS”

30 DIGITAL PHOTO


THE

WAY

As the family photographer, you’ll be called on to capture every moment, from newborn arrivals to family group shots. Here’s how to do it right!

T

here’s nothing more important than your nearest and dearest but, when it comes to photography, many of us can be guilty of not keeping the family album as up-to-date as it should be. What’s more, family photography can sometimes be seen as too formal, and a little stuffy, but it doesn’t have to be this way. Families present the opportunity to capture a wide range of subjects and, in turn, improve your portrait photography. From delicate newborns shot in DIY studio set-ups, to kids running wild in the local park, and from creative group shots to classic frames of the grandparents, you should never be short of willing subjects. Depending on the age of the subject a different approach is needed so read on and we’ll arm you with all the techniques, kit know-how and expert tips you’ll need. With our help, you’ll have all the skills and confidence to capture brilliant images of your loved ones – and soon your family album will be bursting with great shots.

DIGITAL PHOTO 31


CREATE MEMORIES WITH There’s no greater excitement than a new arrival in the family, and a careful and considered approach is necessary to get the best images of newborns

nlike older members of the family, newborns can’t follow instructions, so all the posing is best left to mum. Remember, newborns can’t support their own heads, and safety is absolutely key when it comes to any photoshoot. What’s more, babies have their own schedules, so it can be tricky to plan effectively. A more relaxed and versatile approach is to invite the family over and when baby nods off to sleep, that’s your cue to bring out the camera. As babies can’t move around, studio shoots are a suitable setting, but this

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doesn’t mean you need the keys to a posh bells-and-whistles setting with pro lighting. Instead, you can easily turn any room of your house into a mini studio. Simply buy a roll of white or coloured paper for around £10, or head down to your nearest market and buy some fabric for even less. Arrange either to form a curved background, as this will produce a clean backdrop and help your subject stand out in the frame. For lighting, you can choose to use window light or flash, depending on your budget and the look you’re hoping to achieve.

CASE

STUDY

Kerry Unwin is a prof professional newborn photographer apher based in Lincolnshir Lincolnshire…

Q

photography aphy business. busines My first shoot was a maternity ernity client and it was at that moment that I realised ealised photography phot was my one true passion. I photogr ographed my first newborn a year ago and I lovved every moment of it, capturing apturing all the precious pr little details that you forget once theyy grow. gr I now offer newborn sessions through ough to t sitters, ‘cake smashes’, older children en and families. f Every session is different ent and I thrive thriv upon it.

Play with scale in newborn portraits.

32 DIGITAL PHOTO

Q

What are the biggest challenges in photographing newborns? Patience! You are totally at the whim of a very small person. Sure, you can plan the session as much as you like, but if they don’t want to be in a certain position then you quickly have to change tack, think on your feet and be one step ahead. Throw into the equation that they need feeding, changing, winding and settling frequently and one session can easily run to four hours!

Q

KERRY UNWIN

Tell us a little about yourself and how you got into newborn photography… I’ve always loved photography, but it wasn’t until I became a mum that I truly realised how important good photographs are. I wanted to capture precious memories of my boys and freeze that image of them forever. I started doing the same for friends and then friends of friends asked me to do shoots for them, so I had some training and then, a couple of years ago, I set up my

What items of kit do you find come in really handy? I use my 50mm f/1.8 lens for most sessions and my other essential pieces of kit are a giant bean bag and several different blankets and backdrops. Oh, and baby wipes – I love to capture every detail and naked babies have a tendency to make a mess sometimes! I also use a customised background stand. This holds


YOUR BEST EVER FAMILY PICS

Q

What newborn photography advice would you give our readers? I would recommend professional training. You can learn from YouTube, but if you want to achieve those amazing curled-up poses that you’ve seen then I believe professional training is priceless. The safety of the babies is paramount throughout my sessions, and I wouldn’t feel happy posing the babies the way I do without having had training from a professional first. Other than that it’s the same as any other aspect of photography – practice, practice and more practice!

Don’t forget the bump You don’t have to wait until a baby arrives to capture some great family memories. Maternity photography is becoming more and more popular as it affords mums-to-be an opportunity to capture the precious pregnancy months.

MATTY GRAHAM

the backdrop up on three sides, allowing me to shoot at various angles without having to add backgrounds into Photoshop afterwards.

TIP

KERRY UNWIN

Newborn shoots requires patience and plenty of fluffy props.

DIGITAL PHOTO 33


KICK IT WITH

hild photography is all about revealing the ever-forming character of a little one. With personalities developing, it’s up to you as the photographer to progress from simple portraits to frames that help tell a story. While your mini subjects can take a little direction, all kids get distracted easily, so photoshoots also have to be fun! The first step down this road is moving out of a formal studio environment and finding a location where kids can run around freely and burn up energy. Sprinting around the

TIP

C

local park or woods will yield far more natural smiles than prompting them to say ‘cheese’ in an studio setting. What’s more, being in the outdoors affords photographers the ability to take advantage of great natural lighting. If you shoot first thing in the morning or at dusk, the low golden light can be used as fantastic back-lighting. Be wary of shooting in the midday sun though as the harsh light can cause unflattering shadows – instead, seek out shade under trees to save yourself extra work in post processing.

MATTY GRAHAM

As the kids grow, new photo opportunities present themselves. Here’s how to keep your images creative…

Shooting siblings? Get them to interact with each other naturally through a game of peekaboo.

Top kit for location shoots – get these products in your bag Reflector

Telephoto zoom lens

Flashgun

A 5-in-1 reflector will help you bounce light back onto your subjects to lighten shadows. What’s more, the diffuser inside the reflector can be used on its own to soften bright light, again reducing shadows and preventing the subject from squinting into the sun. Reflectors cost from £10, but the best brands to look out for are Lastolite and California Sunbounce.

The trick with location shoots is to give your subjects space to enjoy their surroundings. This is far easier with a telephoto zoom as you can stay still and zoom in when a smile is cracked. A telephoto zoom is any zoom lens with a starting focal length longer than 50mm, so an affordable 55-300mm is a good example. In practice, a 70-200mm f/2.8 or f/4 is an ideal optic to go for.

Even if you’re shooting outdoors, it can pay to pack a flashgun. If you’re shooting under trees on a cloudy day, light levels can be low, so a pop of fill-in flash can really save the day. Third-party flashguns are often more affordable and brands to look out for include Nissin and Metz.

34 DIGITAL PHOTO


YOUR BEST EVER FAMILY PICS When shooting into the light, be mindful of lens flare. If you own one, add the hood to the lens.

Use props that are close to hand – a handful of autumn leaves kept this chap entertained.

‘‘ CAPTURING PICS OF THE KIDS IS ALL ABOUT REVEALING THEIR CHARACTER. THIS IS WHY CREATING A NATURAL SETTING IS SO IMPORTANT” Fast memory card There’s nothing worse than firing off a burst of images, only for the memory card to clog up and halt your shooting. Not all memory cards are created equal, so if you’re starting out, look for a model with a fast write speed (90Mb per second and upwards).

Props If your subjects start to get a little bored, introduce a prop to the photoshoot. This could be a football, bike, toy tractor – anything to get them excited and smiling again. If there’s a dog in the family, get them involved to create some fun frames.

Kids aren’t professional models and need regular breaks or they’ll flag. Pack juice, snacks and remember to take a break when necessary.

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Refreshments

Involve the parents Rather than have the parents stand on the sidelines watching the shoot, ask them to join in with the fun. With the whole family laughing together and having a good time, your odds of capturing natural smiles – a key ingredient in family shots – will sky rocket.

DIGITAL PHOTO 35


TIP

“WITH THE RIGHT APPROACH, YOUR TEENS WILL PROUDLY DISPLAY THEIR PORTRAITS TO FRIENDS”

How to create a cool portrait with strong flash lighting

1

Find a great location

Ask your subject what they think is a cool location. It may be a subway with graffiti, chain-link fences, crumbling brick walls... anything with texture, colour and a cool factor will work well.

36 DIGITAL PHOTO

2

Set up the flash

Add a trigger to your flashgun and position it off-camera, at a 45-degree angle to your camera. You can choose to keep the flashgun in its default TTL mode or change it to Manual for more precise control over the strength of the output.


YOUR BEST EVER FAMILY PICS

GET COOL

WITH

When teenage years arrive, family members can be reluctant to smile for the camera. The answer is to adjust your approach...

T

here’s no getting away from it, teenage years can be an awkward time. Teens are often self-conscious in front of the camera, even though they’re more than happy to strike a pose for an endless amount of ‘selfies’! So when it comes to recording great family moments, you just have to be a little more creative about things. Instead of heading to the park and snapping away like you would with younger children, the key is thinking more carefully about what is important in a teenager’s world and making sure these elements are present in the portraits.

For example, if the subject is really into horse riding, find a way to incorporate their pony in the image. If your teen is a big music fan, have them strap on their electric guitar. Also think more carefully about the style of the portrait. With toddlers, well-lit outdoor scenes are preferred, but with teens, a more moody, flash-lit feel can work better. With these little changes, you’ll find your subject will not only be more enthusiastic about the photoshoot, but will be sharing the pics with their friends on Instagram, Facebook and all the other popular sites they frequent.

TIP

Heavy flash gives the portrait a ‘cool’ factor.

3

Dial in settings and shoot

Add the radio trigger to your hotshoe, switch the camera to Manual mode and set the shutter to its flash sync speed (usually around 1/160sec). Set the ISO to 100 and, with the aperture at f/11, take a test shot. For a more intense look to the flash, change the aperture to f/7.1 and to reduce the intensity, change it to f/16.

Radio triggers & colour gels

Adding a colour gel to the flash and using it on the background can give your portrait a pro-quality feel.

Radio triggers can be expensive, but there are more affordable models on the market, too. Brands such as Hahnel, Yongnuo and Phottix are great value for money and prices start from as low as £25. Add a colour gel (from £5) to the flash head and you can throw a livel livelyy colour cast onto the scene.

DIGITAL PHOTO 37


THE

PHOTO

Creating the best family group portraits can be challenging, so taking control of the settings and scene will give you an easy route to successful family shoots...

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G

roup shots are the most precious of family photos because there’s something so special about the whole clan being in once place together.

However, from an imaging point of view, the more people in the frame, the more potential for problems. Despite giving a 3,2,1 countdown, there’s a high chance someone in

Before The classic group shot faux pas, with some subjects looking at the camera and some looking away.

the picture will be blinking or not looking at the camera. In the days of film, you’d have to make do, but with the power of Photoshop or Elements, you can make it all better!

Fix group shots in seconds Use Photoshop to merge multiple portrait shots

1

Open your images

Open a batch of images taken in sequence with the same focal length, focus and exposure settings. You have one image where most of the subjects look okay, but there’s one subject looking away or blinking. Now search through your sequence until you find a frame where the problem subject is looking at the camera.

2

Copy and paste

Use the Polygonal Lasso tool and draw around the subject on the ‘donor’ image. Click Ctrl+C and then close this image down. Return to your base image and press Ctrl+V to paste in your selection, which will automatically create a new Layer. If the images were taken at the same focal length, simply pick the Move tool and drag the new Layer to fit perfectly.

38 DIGITAL PHOTO

3

Resize to change proportions

If there’s a difference between the focal lengths, you may need to resize the donor Layer slightly. Simply press Ctrl+T to enter Free Transform mode and then drag the corner handles to resize. Once you’re finished, hit Return and then go to Layer’Flatten Image before saving your corrected image.


YOUR BEST EVER FAMILY PICS After

TIP

By shooting multiple images, you can cover your back in case you need to merge files.

Top group shot tips

If subjects are standing in front of one another, don’t use a wide aperture (such as f/2.8) as this may cause one of them to be out of focus. Instead, switch to a medium aperture like f/7.1 and focus on the subject at the front. If the sun is causing subjects to squint, ask them all to close their eyes and open them after a 3,2,1 count down. This should reduce the need for image editing (see panel).

Take some time to arrange group portraits carefully. Try to balance a group by placing shorter members in the middle and ‘bookending’ the group with taller members. Kids and older family members are better placed at the front.

“GROUP SHOTS ARE THE MOST PRECIOUS OF ALL FAMILY PICTURES”

A reflector can do a great job of lighting a single subject, but won’t stretch to a whole group. Flash is an option, but positioning them in shade will create more even light with a lower risk of encountering any shadows on subjects’ faces.

DIGITAL PHOTO 39


SUPER When it comes to family portraits, there’s no reason for grandparents to be left out. Discover the secrets to successful senior shots right here…

J

around like younger subjects. As the photographer it’s up to you to solve these challenges, motivate your subjects and create some beautiful frames. Of course, there are some tips and techniques you can take advantage of to stack the odds of capturing impressive photos in your favour. On the capture side, avoid flash and when it comes to image editing, sepia and mono conversions work well...

TIP

ust like photographing newborns, capturing impressive portraits of older family members needs a degree of planning, forethought and consideration. This may be down to the reluctance of an elderly relative towards having their picture taken, or it could be because of more physical limitations – perhaps they’re not as steady on their feet and certainly don’t want to move

Sensitive image editing – how not to upset granny...

After

1

Add the Sharpening

Open the image in Photoshop or Elements and duplicate the Layer by clicking Ctrl+J. Go to Filter’Sharpen’ Unsharp Mask (Enhance’Unsharp Mask in Elements) and when the dialogue box appears, adjust the settings to Amount 100%, Radius 1.0 Pixels and Threshold 0 Levels before hitting OK.

40 DIGITAL PHOTO

There are obvious processing elements that don’t work well for seniors and the chief culprit is sharpening, followed by any over-saturation. If you feel the image does need sharpening, use a Layer Mask to remove the effect on all areas except Before for the eyes.

2

Add a Layer Mask

The whole of the new Layer will be sharpened so go to the Layers palette and add a Layer Mask by clicking on the ‘circle within a square’ icon. A secondary thumbnail will appear in the Layers panel and the Mask will be automatically selected, ready for you to work on.


YOUR BEST EVER FAMILY PICS

“IT’S UP TO YOU TO MOTIVATE YOUR SUBJECTS AND CREATE SOME BEAUTIFUL FRAMES”

TIP

Elegant mono conversions

3

Brush out the pixels

Sepia works well, but there’s nothing quite like a classic black & white portrait. The simplest way to convert to mono in Photoshop is to hit Ctrl+Shift+U, but this can leave images looking flat so add contrast to beef up the impact.

Select a soft Brush, set to black and use it to paint over the image, hiding the sharpened pixels in all areas except for the eyes. Flatten the Layers (Layer’Flatten Image) and then head to your Actions tab (Window’Actions). Click on the Sepia Toning option and Flatten the image again before saving the file.

DIGITAL PHOTO 41


QUESTION: WHICH OF THESE IMAGES WAS TAKEN WITH A

42 DIGITAL PHOTO


SHOOT WITH A SMARTPHONE

SMARTPH NE? FIND OUT OVER THE PAGE...

DIGITAL PHOTO 43


ANSWER: ALL OF THEM S martphones are the cameras that we carry with us all day, everyday. In fact the chances are that yours is within easy reach as you read these very words! Sure they can’t match all of the features of a bells-and-whistles DSLR but, thanks to advances in technology, you’ll be surprised by exactly what these pocket-sized cameras can achieve.

8

TIPS FOR SHOOTING GREAT IMAGES WITH YOUR SMARTPHONE...

Use HDR

See more detail in the highlights and shadows by shooting multiple images and merging them into one file. Apps like Snapseed let you control the strength of the effect.

3

2

Avoid flash Although most camera phones offer a flash mode, this direct light can cause shadows and reduce image quality. It can be tempting to use, but turn off the feature for best results.

4

Try burst mode Hold down your phone’s shutter button to capture a rapid sequence of multiple images. Great for action photography when you don’t want to miss that vital moment.

See more with panoramas Capture the vastness of a wide scene in one single image with the panorama shooting mode. If an automated system isn’t for you, turn to page 46 for a shooting guide.

BEST SMARTPHONES FOR PHOTOGRAPHY Interested in smartphone photography and want to take it further? Here’s our pick of the three top cameraphones… 44 DIGITAL PHOTO

APPLE iPHONE 6S

SAMSUNG GALAXY S7 EDGE

NOKIA LUMIA 950 XL

Cost £539 Resolution 12Mp Video 4K Max aperture f/2.2 Image stabilisation Yes www.apple.com

Costt £549 Resolution 12Mp Video 4K Max aperture f/1.7 Image stabilisation Yes www.samsung.com

Costt £320 Resolution 20Mp Video 4K Max aperture f/1.9 Image stabilisation Yes www.nokia.com

ANDY KIRBY, MARIE MARSH, ANDREW BESWICK, MATT HIGGS

1

As it’s always at hand, your smartphone brings with it endless opportunities for capturing great images wherever and whenever you see them. Here are the key tips and techniques to help you capture the best possible images with your phone’s camera, and then, with the images safely stored in your camera roll, we take a look at the best free image-editing apps that allow you to polish your pixels on the go.


SHOOT WITH A SMARTPHONE

BEST FREE IMAGE-EDITING PHONE APPS

Instagram

Snapseed

The social media app that allows you to add one-click retro filters to images, as well as more complex adjustments, before sharing them to the web.

Owned by Google, Snapseed enables photographers to make many adjustments you’d find on Photoshop, including cropping and adjustments to selective areas of the frame.

6

5 7

Select a point of focus Don’t leave it up to the camera to select a point of focus. Line up your composition and then tap on the focal point via the screen to establish focus.

VSCO Cam The shooting app gives images a classy analogue feel reminiscent of old film cameras. The app is free, but there is a charge for extra preset bundles.

Prisma Prisma enables photographers to add abstract, painterly effects to their images, from sketch-effect looks to more complex pop-art makeovers for big transformations.

Keep it steady

Like any camera, it’s important to keep the smartphone steady when shooting to avoid blurring in an image – especially when shooting in low light conditions. If you need to, rest the camera on a nearby pillar, bench or wall.

Go wide

If the standard camera lens doesn’t give you enough of your scene, there are plenty of third-party wideangle adaptors available to expand the view. These range in effect from wide to fish-eye so pick the right one for your scene.

8

Never compress the image Phone images aren’t huge to begin with, so try to resist the temptation to save space by reducing the file size of an image to a lower resolution. This will noticeably affect its quality, so keep the file size as large as possible.

SMART FACTS OF SMARTPHONE iPHONES 92%USERS TAKE PICS ACCOUNTED FOR WITH THEIR PHONES &

42%

OF ALL IMAGES UPLOADED TO FLICKR IN 2015*

80%

THEN SHARE** THEIR SHOTS

ADOBE NOW OFFER

SMARTPHONE OWNERS

PHOTOSHOP

TAKE PICTURES MORE OFTEN BUT

APPS FOR

STILL TAKE MORE

& LIGHTROOM CAMERA OWNERS PHOTOS OVERALL SMARTPHONES

***

sources: *Flickr Year in Review 2015, **Samsung Marketing, ***Treat.com

DIGITAL PHOTO 45


MASTER YOUR CAMERA

PANORAMAS Learn the key techniques to shoot and stitch a wider angle of view TECHNIQUE & PICS BY BEN DAVIS

VERTICAL 9STITCHED IMAGES

TOGETHER

S

ome scenes are just too expansive to cram into a single frame, and when that’s the case you need to create a panorama. It could be a soaring city skyline, a sweeping sandy bay or a medieval citadel hemmed in by towering mountains. Whichever mesmerising view you prefer to point your camera towards, understanding how to shoot and stitch the frames required for a panorama is essential for any photographer. Thankfully, the capture process is simple, and software makes stitching the composite images together straightforward, so it’s easy to create a panoramic picture.

fair bit of distortion and it’s not the most aesthetic perspective for distant views. Instead, by shooting a sequence of more zoomed in frames and joining together when you process your pics, you can create images with a much higher resolution than that of your sensor. This means your shot has more eye-catching detail, you can produce far bigger prints, and even crop out subsequent images from your much wider composition.

original 4x3 dimension. They can also help with composition, as sometimes there isn’t worthy foreground interest to include in a scene, or the sky is lacking enough impact to enhance the shot. With a panorama, you can include only the detail that matters.

What do I need? Any camera that offers manual controls will allow you to create stunning panoramas, but a

“A PANORAMA OFFERS A MUCH HIGHER RESOLUTION SO YYOUR IMAGE HASS MORE EYE-CATCHING EYE-C DETAIL”

What’s the benefit of panoramas? The most obvious and immediate benefit of creating a panorama is that you can include much more of a scene within your frame than your lens allows. It may be tempting to shoot with an ultra wide-angle lens and crop your image to a panoramic format, but there are a number of disadvantages with this ‘cheat’. Not only are you reducing the resolution of your image, wide-angle lenses also produce a 46 DIGITAL PHOTO

You can also create a panorama with any lens, so if you’re out shooting landscapes you can travel lighter by leaving your wide-angle behind. Longer focal lengths – like 50mm – also produce less perspective distortion, so you can create a more natural looking image. Creating images with a panoramic aspect ratio also means your shot stands out, when the vast majority of photos reside in their

DSLR or CSC with a prime lens will yield the best results. A tripod or monopod will help keep your shots steady and consistent for stitching, but isn’t essential. Most compact cameras and smartphones now offer a panoramic mode, which lets you swipe your lens across a view and in-device processing stitches your vista for you, but nothing beats the satisfaction of creating one yourself.


MATTY GRAHAM

IMPROVE YOUR PANORAMAS

Three simple steps to shooting a panorama Creating your very own panoramic image is incredibly easy but, in order for your final image to be a success, you need to follow a few basic rules when shooting. If you don’t, then the images you capture may not be consistent in terms of exposure, colour balance and focus, and won’t create a seamlessly stitched panorama, as there’d be obvious tonal or sharpness differences in various parts of the frame. You also need to make sure your shots will line up correctly, so you need to compose with care. Failure to do this may make it impossible for software to accurately stitch the frames together, especially if there isn’t enough of an overlap for the software to work with. Try to avoid subjects with lots of movement, such as a busy town square or crashing waves, as this will also make it difficult for your software to create a good stitch. If this will be an issue for your shot, capture the frames with a slow shutter speed to blur any moving detail into invisibility.

STEP 1 SET MODE DIAL TO MANUAL EXPOSURES

STEP 2 FOCUS AND THEN SWITCH TO MANUAL

STEP 3 ENSURE A GOOD OVERLAP OF FRAMES

For a consistent exposure, set your camera to Manual mode (M). Set aperture to f/11 and meter from a section of your scene of average brightness. Dial in a shutter speed for a balanced exposure, and take a test shot to check the tones are correct. If your shutter speed is slower than 1/200sec, increase the ISO to avoid camera shake.

It’s important to keep your focus set to the same distance for your shots so the zone of sharpness consistently aligns. Set your AF mode to its Single setting (One Shot/AF-S) and focus up on your scene by half pressing the shutter button. With the focus set, change the AF switch on your lens to the MF position to lock it.

Consider your composition before you start shooting and plan where your start and end points will be. Begin with the left side of your scene and take the first shot. Without taking the camera from your eye, rotate to frame up on the next segment of the panorama. Make sure there’s at least 30% overlap across the two frames for an easy stitch in software.

DIGITAL PHOTO 47


MASTER YOUR CAMERA

Shooting panoramas amas and avoiding parallax error To ensure your frames will align correctly, the camera needs to be rotated around its optical centre, which is sometimes referred to as the ‘nodal point’. This is so the perspective remains consistent throughout the sequence. If it isn’t, then you may well encounter distortion and the software won’t be able to make a seamless stitch – this problem is known as parallax error. If you’re shooting handheld, it’s essential you pivot the lens around the same axis. Imagine a vertical line running through the centre of the front element. Keep your elbows tucked into your sides, and rotate the lens around this axis as you shoot, so the front of the lens remains in the same place.

If shooting handheld, keep your elbows tucked in and rotate the lens around its vertical axis.

This simple technique will minimise the chance of encountering parallax error. You stand a better chance of a problem-free panorama if you use a tripod or monopod. It’s paramount that the tripod is dead-level, so check this using the spirit level bubble included on most tripod heads. If you’re not lined up straight, then as you rotate around your horizon will start to plunge off to one

“YOU STAND A BETTER CHANCE OF A PROBLEM-FREE PANO, IF YOU SHOOT WITH A TRIPOD” side. Make sure your tripod head is loose enough to freely pan from one side of the vista to the other. Also use a shutter release cable to minimise the chance of camera shake. For the best results, with maximum height in your frame, you should shoot your images in portrait format. You’ll need more frames to create the final stitched image, but it’ll be of a much higher resolution, and will allow you more options if you want to crop your panorama. Make a mental note of points within each frame, so you can be sure you get a good overlap of detail between each shot.

Use a panoramic head For the best chance of creating a perfect panorama free from parallax error, you’ll need to use a dedicated panoramic head on your tripod. This screws onto the mount section on the tripod legs, in place of your regular tripod head. It’s designed to perfectly rotate your camera around the lens’ nodal point, so that the point of perspective remains consistent across your sequence. But they’re not cheap, so you’ll need to be really keen on shooting panoramas to make the investment worthwhile. Prices vary from £100-£500, depending on the features on offer. The Manfrotto 303SPH (£409) rotates horizontally and vertically around the nodal point, so multi-row panoramic photo sequences can be captured with ease.

How can I stitch my shots together with software? Once you’ve captured your sequence of images, it’s time to stitch them together to create your panorama. There’s a plethora of programmes available to blend your images into a much larger file, and you may already have software capable of doing it. Both Elements and the full version of Photoshop contain Photomerge, the Adobe tool for multiple image stitching. To access it, simply click File’Automate’Photomerge and select the files you want to use in your

panorama. Choose Auto and hit OK, and Photoshop will create your pano as a new file. You can also stitch files together in the latest versions of Lightroom, too, meaning you can make RAW edits to panoramas after they’ve been stitched. This gives you much more control over the tones and final look of your image. To do it in Lightroom, simply select your files in the thumbnail bar, then right-click on one of the images and choose Photomerge’Panorama.

Photoshop, Elements and Lightroom all have built-in panorama stitching controls, and there’s lots of third party software options too.

Create panoramas the easy way with a compact or smartphone If you don’t have access to panoramic stitching software, some cameras are able to do the work for you. Many compacts and smartphones, and even some enthusiast-level DSLRs offer a Panorama Scene mode, which lets you capture a wider view automatically. When the mode is selected, instructions appear on screen informing you

48 DIGITAL PHOTO

which direction to sweep the camera. Providing you pan steadily through your scene, the camera uses its own on-board software to stitch the images together and create the panorama. This is a great way to instantly create a super-wide image with minimal effort, but the results are unlikely to be as accurate as

shooting separate frames and stitching them together yourself. The Panoramic stitching software within cameras tends to be much clumsier than computer based programmes. Any Panorama Scene mode will also create your final image as a JPEG, but for more control and better results it’s best to shoot RAW. That way if there are any inconsistencies in terms of colour balance or brightness, it’s much easier to fix them and create a seamless final image.


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MASTER YOUR CAMERA

BEN DAVIS

The Brenizer effect will add a medium format look to your images.

Learn to shoot the ‘Brenizer’ technique Use the Panoramic method to emulate the Medium Format look

T

he Brenizer technique is a version of panoramic shooting that requires overlapping images captured both horizontally and vertically to create a much larger image. This method was made famous by wedding photographer Ryan Brenizer, and is a popular way of mimicking the look of Medium Format cameras. They are characterised by huge files with an enormous resolution, and the larger sensor allows for more bokeh (background blur). It’s primarily intended for portraiture, and is sometimes referred to as a Bokeh Panorama, or the portmanteau Bokehrama, owing to the amount of background blur that can be produced. Once stitching is complete, the final image provides a wide angle of view in conjunction with a shallow depth-of-field, which wouldn’t ordinarily be possible to achieve with a DSLR or CSC set-up. To create as much background blur as possible, it’s best to use a lens like a 50mm f/1.8 or a 85mm f/1.4, as these focal lengths and narrow apertures produce a good amount of bokeh to begin with. To emphasise the effect even further, you’ll need to stand fairly close to your subject so the zone of sharpness is close to your camera and the background is more blurred. With less of your subject in each frame though, you’ll require more images to create your final Bokehrama. Remember to leave a big enough overlap between shots so your stitching software can accurately align the images and produce a good result.

50 DIGITAL PHOTO

To shoot yyour own wn Brenizer style image, you’ll need to capture at least nine images using a very shallow depth-of-field. If you want to create a larger final image with a wider angle of view, you may need to shoot at least 25 overlapping images. Set up your camera

manually, jus just as you would ould a panor panorama. Start with the torso, or what you want to be the centre of the frame, and then move up and around your subject in a clockwise rotation, taking care to make sure your camera stays on the same axis.


BUCKETLIST LOCATIONS

This month we’ve handed over the Bucketlist reins to reader Tim Fields, who captured this image for our Share Your Shots campaign

WORDS BY MATTY GRAHAM

CONISTON JETTY LAKE DISTRICT Why it’s a gem One of the quintessential scenic Lake District locations, the jetty at England’s third largest lake Coniston Water, is a symmetrical gem begging to be captured. The vastness of the lake guarantees big skies, which are perfect for capturing a balanced landscape image.

How to get there Take the A593 towards the village of Coniston. While the main parking and facilities are to be found at the Boating Centre, the jetty itself is just over a kilometre south along the shoreline in Torver Common Wood.

When to shoot The jetty faces towards the east, so the best golden light will be in the morning rather than at dusk. But because of the expanse of sky, this location can produce great images during the middle of the day, too. A sky full of fluffy clouds adds interest to the upper half of the frame.

To make the most of the wooden jetty’s texture, it can pay dividends to shoot multiple images and create an HDR blend using Lightroom or a third-party plug-in called Photomatix, which offers enhanced levels of control over the tone-mapping.

52 DIGITAL PHOTO

TIM FIELDS

Local Knowledge


SHARE YOUR SHOTS! Browse our pick of the UK’s best landscape locations at www.dpmag.co.uk To join in, upload your pics to Twitter or Instagram & add #ShareYourShotsUK

Ò ONE OF THE QUINTESSENTIAL SCENIC LAKE DISTRICT LOCATIONS, CONISTON JETTY, IS A SYMMETRICAL GEM BEGGING TO BE CAPTUREDÓ

DIGITAL PHOTO 53


SHOOT IT NOW

A pack of sharp crayons in a careful arrangement can create a frame bursting with colour.

M GO ARTY TO BOOST COLOUR TECHNIQUE & PIC BY MATTY GRAHAM 54 DIGITAL PHOTO

aking the most of colour in your frame is a natural consideration when you’re out and about shooting a dramatic sunset, or if you have a striking model lined up in front of the lens. But there are ways to create pictures bursting with colour without even leaving the house. This project is all about letting the hues of your simple subject bring the impact, and all you’ll need is a pack of pencil crayons, which are cheap to buy from the supermarket. Your kit lens will get you


How to create a frame filled with colour...

1

Set up your colourful props

2

Secure the camera

Find a background colour that will help the brightly coloured pencils stand out in the frame. A black sheet would be ideal, but as you don’t need too much space, you could use the back of a dark shirt or even a paper napkin. The pencils need to lay flat, so slip a cutting board or similar underneath to create a stable surface. Next, arrange your pencils to your liking.

Attach the camera to a tripod and position it over the pencils. If your tripod has the function, adjust the centre column to 90-degrees to allow you to look directly down on the scene. In this position, tripods can be a little unsteady, so add ballast to the bottom of the centre column to make it sturdy again. Focus on your subjects by half-pressing the shutter and then switch to Manual Focus (MF).

3

Dial in your settings

Switch to Aperture priority mode (A or Av on the mode dial) and then dial in an f-number of f/5.6. Keep the ISO as low as possible (preferably ISO 100) and, to prevent any camera shake when pressing the shutter, set the Self-timer mode. To create more even light on the pencils, you can add a reflector or some white card to the side, which will bounce light back onto the scene. Finally, take your shot.

close enough to the subjects. To make this technique really come alive, some delicate preparation will pay dividends. Taking that extra moment to line up your pencils in neat parallel arrangements will add a pro finish to the frame. Also take some time to consider which colours will complement others in the arrangement – placing similar shades next to each other will take away some of the impact, whereas boldly different colours can make each other stand out. These few simple steps will guarantee a striking result.

EXPERT TIP Experiment with your composition The great advantage digital has over film is that you’re not limited to 36 shots. This gives you the freedom to experiment with alternative set ups. Try creating a circle of colour or, if you have enough pencils, create a wave effect across your canvas. Your camera’s Live View feature can help you line up the pencils as it gives you a real-time preview of the frame, so if your camera has this option, make use of it.

DIGITAL PHOTO 55


WHY THIS SHOT WORKS WORK ORKS Learn what makes Daniel Kordan’s golden hour landscape such an epic capture... WORDS BY MATTY GRAHAM

A

D

A Using the Rule of Thirds

The Rule of Thirds is a composition aid that splits the frame into intersecting thirds and encourages the photographer to place focal points on these intersections. Daniel has followed this tried and tested rule, and the result is an expertly composed shot that feels perfectly balanced. He also had the foresight to place the horizon on a vertical third adding yet more balance.

B Seeking golden light

Shoot a landscape in the midday sun and results can be poor, with the scene often suffering from harsh shadows. Daniel not only waited for a low sun – which didn’t dip any further during the night due to his northern latitude – to bathe the scene in warm light that revealed texture, but he also made the sun a feature in the image to add more mood and atmosphere to the frame.

C Travelling to an exotic location

Good landscape pictures can be captured anywhere, but really great images need a little more adventuring. Daniel travelled all the way to Senja in the very far north of Norway to climb Keipen mountain and the reward was this fantastic view.

D Adding scale to a scene

Often it can be hard to get a true sense of how vast a view this one really is. Daniel’s solution was to include himself in the frame to add a sense of scale. By looking away from camera into the distance, his pose also helps build a story into the frame.

What was used Camera Nikon D800 & 14mm lens Exposure Various Software Photoshop Visit www.500px.com/kordan

56 DIGITAL PHOTO

C


PHOTO INSIGHT

B

By including himself in the frame, Daniel captured an epic mountain-top selďŹ e.

DIGITAL PHOTO 57


OUT OFTHE ORDINARY 3 EXPERTS 1 EVERYDAY SUBJECT

SHOOTING THE SMALL SCREEN Take our creative challenge today

I

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

THE SUBJECT Take inspiration from a television...

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

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

Shot 1

Matt uses refraction for a vivid abstract creation Shot 2

Andy gets playful with some high-tech buttons Shot 3

Matty invents a custom-made photography remote 58 DIGITAL PHOTO

Matt creates a In an age where it’s easy to get hung up on high-resolution perfection, there’s something that has started to appeal to me about the analogue TVs of the 80s and 90s, and the error-prone broadcast signals they displayed. The crazy colours, grainy noise and image distortion that flashed on screen during a malfunction annoyed me as a kid, but fascinates me as an adult. Apparently I’m not the only one as several websites – such as getmosh.io – have sprung up, offering to apply these psychedelic effects to your images at the click of a button. I like to take total control of my editing though, and decided to process an image in homage to all that’s glitchy. After choosing a portrait from my archive I selected strips of the image using the Rectangular Marquee Tool (M), activated the Move Tool (V), and shifted them slightly across the frame to produce an interference-style SHOT

1


The processing of Matt’s portrait image harks back to TV’s analogue era.

glitch inspired edit effect. I then created a new layer, and chose the Rectangle Tool (U). In the tool’s menu I changed its Opacity to 20%, and set the Foreground Colour to blue. I drew several downward stripes across the image that stretched from its top to its bottom, changed the colour to red and repeated, then green and did the same. I was careful, when doing this, not to have any edges of the stripes falling across the pupils of the model’s eyes, so as not to distract from the focal point of the image. With this layer selected, I

“THE ERROR-PRONE ANALOGUE SIGNAL ANNOYED ME AS A KID, BUT FASCINATES ME AS AN ADULT”

chose Filter’Noise’Add Noise and ticked the Gaussian box. Gently I increased the Amount slider until the preview displayed a level of noise that was obvious but didn’t remove all detail, then tapped OK to apply it. Finally I used the Horizontal Type Tool (T) to create a text box in the corner of the image on the new layer. With its font set to MS Reference Specialty, I typed in several letters. I then duplicated this layer, reduced its opacity, and using Free Transform (Ctrl+T) skewed it off to an angle.

All colour and noise effects were created on a separate Layer placed above the portrait. Only the frame shifting was carried out directly on the image layer itself.

Lessons learned When processing in such an experimental way it’s easy to get carried away. For the best results that maintain your subject’s clarity, take a reserved approach to the effects you create initially, and only increase their strength after you have finished layering them.

DIGITAL PHOTO 59


OUT OFTHE ORDINARY Andy created a composite shot reminiscent of an 1980’s American science fiction film.

Andy dabbles with some weird science It has become something of a tradition for me to create Photoshop composites inspired by movies, so when I found out that this week’s subject was TV, my mind immediately went to the iconic image of Sadako, the ghostly, long-haired woman who crawls out of TVs in the Japanese horror movie Ring. However, I wondered if the image might be a little too scary and potentially even confusing for people who haven’t yet seen the movie. Protip: it’s a classic, you should definitely check it out! I decided to keep the idea of the girl crawling out of the TV, but to change the tone from a horror movie to an 80’s caper film along the lines of Weird Science – also a classic, by the way. The first step was to ask my model to lie face down on some studio paper and to raise her head and shoulders SHOT

2

“I ADDED SOME SMOKE FROM THE DP SMOKE BRUSH PACK THAT WE GAVE AWAY FREE WITH THE AUGUST ISSUE” 60 DIGITAL PHOTO

off the ground as if she was crawling out of a TV. I then dug up a photo of a living room with a TV in it. I made a selection around the girl using the Pen Tool in Photoshop and then hit the Layer Mask button to cut her out. I then dropped that shot onto the living room image and resized it to fit. Without any lighting work, the illusion was far from complete, but once I painted some shadows under the model and some ‘glow’ coming from the TV screen, things started to look a lot more natural. I did some dodging and burning on the model to make it look like she was being lit from behind and I added some smoke from the Smoke Brush Pack that we gave away free with the August issue of the Digital Photo. This, and adding a few white dots with the Brush Tool, gave the shot a magical look. I also added a Layer above the model and painted some ‘glow’ over her legs to create the illusion that the light was spilling out of the screen and added a lens flare to complete the 80’s movie effect.

Andy blended a shot of a model with another of a living room, before adding highlights and shadows using the Brush tool.

Lessons learned Using a wooden floor was really handy when it came time to create shadows under the model and the remote control. I was able to use the lines of the floorboards as perspective guides, which meant my shadows were all pointing in the right direction!


Matty gives photographers a tool to help them change a scene at the touch of a button!

SEND US YOUR PICTURES! Now you’ve seen what the team has produced, have a go yourself. Send us your shots and they could appear in the UK’s top photo mag! Email pics to: dpimages @bauermedia.co.uk

Matty reaches for a photographer’s remote To be completely honest, I don’t watch a lot of TV, as I like to spend what little spare time I have out with the camera. However, one film I enjoyed was called Click and the plot involved the star finding a TV remote that he could use to control aspects of his life – using the volume control to reduce the sound of his wife’s voice was one aspect in particular that made me chuckle. So when the theme of TV was decided upon, I got to thinking how great it would be if there was a TV remote designed especially for photographers. Imagine being able to set the aperture or even select some golden light in the sky all at the touch of a button. My first challenge was to shoot a couple of images, one of the remote being held and the SHOT

3

“I GOT TO THINKING, HOW GREAT WOULD IT BE IF THERE WAS A REMOTE ESPECIALLY FOR PHOTOGRAPHERS”

other of a nice landscape background that the remote would be placed against. This was simple enough, but it was Photoshop text work that would prove trickier. To start with, I had to remove all the existing text on the buttons and to do this, I used a brush, set to the colour of the individual buttons, as this would give a more natural look. The next job was to use Photoshop’s Text tool to add in my new button options. With the text written, I had the familiar problem of it looking a little unnatural so the solution was to lower the opacity of the text Layer. Some of the buttons were off-kilter and this meant the text had to read at a different angle. This time the solution was to get the text to around the right size and then enter the Free Transform mode to rotate it to the right angle. As there were a lot of Layers, it really helped that I named them correctly, as this saved the hassle of editing the wrong Layer and having to go back and undo the mistake. So there we go – if only there was a remote for everything in life, eh!

The Lasso tool enabled me to select the remote from my image so it could be placed on the background landscape image.

Lessons learned Finding the right font is a key element to this little project. Avoid script fonts as they are much harder to read. As there was text on the remote that I intended to leave untouched, finding a matching font was the key to a successful image.

DIGITAL PHOTO 61


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Inspiring projects that really work!

PHOTOSHOP

IMPROVE EVERY SHOT IN PHOTOSHOP

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On your exclusive PhotoSkills CD you’ll find video lessons on all the projects. Watch them come to life on your computer screen!

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Add star trails to the night sky of a landscape with our free kit

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PHOTOSHOP GENIUS

USE DEHAZE TO

INJECT CONTRAST Don’t let haze leave you with poor contrast. Photoshop’s latest feature is here to help TECHNIQUE & PICS BY DAN MOLD

• Software Photoshop CC & Lightroom 6 • Image type An underwater image in need of some clarity

H

ave you ever taken a picture only to be disappointed by its lack of contrast back at your computer? Haze softens details and can give your shots a faded, cloudy look. This means your subject can struggle to leap off the page, or computer screen for that matter. This tends to happen when a substance such as mist or fog gets between your camera’s lens and your subject, softening the details, reducing contrast and desaturating your colours. This also happens in photos taken underwater. If you’ve taken an action cam for a dip this summer, you’ll no doubt be familiar with this

disappointing, image-dulling trait. Luckily, there’s a handy feature in the newest versions of Photoshop CC and Lightroom called Dehaze, and it’s designed to inject the wow factor back into your shots. Dehaze is found within the RAW editing interfaces of Lightroom and Adobe Camera Raw, but you can load JPEGs into either of these programs if you didn’t shoot in RAW at the time. It’s also best to add some local dodging and burning to make your subject stand out even further. A final boost to the brightness and saturation finishes the job nicely. Are you ready to make your pictures pop? Here’s how…

Before

The start image is a nice reminder of an underwater adventure, but it lacks contrast and suffers from a soft, hazy feel to the frame. Don’t worry, this can be fixed.

64 DIGITAL PHOTO


IMPROVE MISTY SHOTS

VIDEO LESSON ON THE CD

After Using Dehaze and other Photoshop tweaks, you can breathe new life into underwater pics.

“ DEHAZE CAN REINTRODUCE CONTRAST TO AN UNDERWATER SCENE IN AN INSTANT“

DIGITAL PHOTO 65


PHOTOSHOP GENIUS

1

Dehaze your picture

In Photoshop CC, open your RAW file to bring it into the ACR interface. On the right of the interface you need to click on the Effects ects tab. Here you’ll see the Dehaze slider. For Lightroom users, go to the Library tab and hit Import, then navigate to the image you want to work on, make sure it’s ticked and hit Import. In the Effects tab find the Dehaze slider. A value of +30 works well on misty shots, but for underwater pictures, use +60. Dehaze works well on all images, even if they’re not particularly hazy! A low value of +5 can add extra bite.

3

Tidy up any distractions

Dehaze increases contrast, and brings back details you may not want to see. This includes dust spots or dirt on the lens. To remove these distractions from your picture, go to the Toolbox and click on the Spot Healing Adjustment tool. Leave the Tool Options set to the default values and hover your cursor over any blemish you’d like to remove. Now use the square bracket keys to resize the brush until it’s slightly bigger than the imperfection. Give your mouse a left-click and Photoshop will replace it with nearby pixels to blend it in.

5

Dodge the highlights

With the shadows burnt, it’s time to brighten the highlights. Click on the Burn tool and change it to the Dodge tool from the Tool Options. Now set the Exposure to Midtones ones and Exposure to 3%. With a brush size of 200px, paint over the bright areas of your picture that you’d like to be brighter. Again, like in the previous step, you need to paint over the area a few times to see the effect because ause the Exposur Exposure is set quite low. Now set the Range to Highlights and again paint over the brightest areas.

66 DIGITAL PHOTO

2

Make a basic RAW conversion

In Lightroom or ACR go to the Lens Corrections ections tab and tick Enable Lens Profile Corrections, this will help remove distortions and vignetting. Now, in the Basic tab adjust the Exposure to your liking, increase Contrastt to +50, boost Clarity to +20 and set Vibrance to +30. Set Highlights to -30, Shadows ws to +30, Whites es to +20 and Blacks to -5. At this point if you’re using Photoshop hit Open. If however you’re using Lightroom, go to File’Export and export the image, then open your exported image into Photoshop or Elements.

4

Burn the Shadows

Go to the Toolbox and click on the Burn tool. If obstructed by the Dodge or Sponge tools, click on the tool and select the Burn tool. Choose a soft Brush and set the Range to Midtones. Drag the Exposure slider to 3% and start with a brush Size of 200px. Now brush over any midtones within the picture you’d like to be a little darker. As the Exposure is very low you‘ll need to brush over the areas a few times to see any difference. Next, set the Range to Shadows, leave the Exposure at 3% and paint over the areas you’d like to make darker.

6

Tweak the brightness and colour

Next, hit Ctrl+L to bring up the Levels panel. Drag the middle Midtones slider to the left to brighten the picture or to the right to darken it. This helps you control how bright or dark you want the image to be. The example image was too bright, so dragging the Midtones ones slider to 0.90 helped darken it a little. When you’re happy with the Levels adjustment hit OK to apply it. Lastly, finesse the colour by hitting Ctrl+U to bring up the Hue/Saturation panel and drag the Saturation slider to the right to boost, or left to mute colours. Now save your file.


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PHOTOSHOP GENIUS

CREATE VIRTUAL TREES IN PHOTOSHOP CC Found out how to improve any landscape composition by creating entirely new elements in software TECHNIQUE & PICS BY ANDY HEATHER

• Software Photoshop CC • Image type A shot with lead-in lines pointing towards where a focal point should be

S

ometimes when you’re editing a shot you notice that there are leading lines drawing the viewer’s eye to nothing in particular. You may also notice the occasional area where a line of trees would help the eye to move around the frame. It’s a good idea to compose in ‘triangles’, which means giving the eye three focal points to move between. The absence of a point of interest where you need one can

disrupt the ‘flow’ of the image. Luckily, Adobe has created some incredible new ‘Render’ features that allow you to create realistic, virtual objects entirely in Photoshop CC. This tutorial is dedicated to the Render Tree feature, which is available in Photoshop CC. It’s a feature you could spend hours experimenting with, but for a quick introduction to the basic concept, read on and try it out for yourself.

ANDY HEATHER

Before

The original image has some clear leading lines and is somehow appealing in its own, minimalist, way. However, with the power of Photoshop CC, it’s possible to find out what it would look like if there had been a tree growing in the middle of the footpath.

68 DIGITAL PHOTO


RENDER TREES

VIDEO LESSON ON THE CD

After The edited image has a new, virtual focal point which helps break up the heavily horizontal composition.

DIGITAL PHOTO 69


PHOTOSHOP GENIUS

1

Open your landscape shot and create a new Layer

First, open one of your landscape images into Photoshop CC (File’Open). Ideally, it should include some lead in lines that point towards a place where a focal point of some kind should exist but doesn’t. In our case it’s these beaten tracks leading to a place where we could do with a nice tree to break up the monotony of the flat, horizontal composition. Create a new Layer on which to place your tree (Shift+Ctrl+Alt+N). You want this to be on a separate Layer, so you’ll be able to move or Free Transform your tree without also transforming the background image.

3

Mask out the trunk to create a natural transition

Hit Ctrl+T to activate Free Transform and resize your tree so it looks right in the landscape. Activate the Move tool ool (V) and drag it around to reposition it if necessary. Click the Add Layer Mask icon at the bottom of the Layers Panel. Activate the Brush tool ool (B) and then click on the downwardpointing arrow next to the brush preview in the Tool Options Bar. Click on the gear icon, then click on Faux Finish Brushes. Photoshop will ask you if you want to replace the current brush set. Click OK. Select the Veining Feather 2 brush. With black as your foreground colour, paint over the trunk of the tree. The Layer Mask is selected, so painting black hides the current Layer. Keep painting black to make it look like the trunk is emerging from the grass.

70 DIGITAL PHOTO

2

Create a virtual tree on the new Layer

With your new Layer still selected, go to Filter’Render’Tree to open the Render Tree dialogue box. Use Basic Tree Type: Oak Tree, es Amount slider on and then set your Light Direction to 95. Put the Leaves 77, the Leaves Size slider on 98, the Branches anches Height slider on 75, and s slider on 100. Make sure that Default Leaves es is the Branches Thickness ticked (beneath that it’ll say Leaves Type: 1: Leaves 1). Also make sure that Randomize Shapes is ticked. The branches and leaves are randomised every time you move a slider or create a new tree. This ensures that no two trees will look exactly the same, meaning your tree will look similar to the one above, but not identical.

4

Darken the underside of the tree

Create a new Layer (Shift+Ctrl+ Alt+N) and then hold down the Alt key and click on the line between the new Layer and the one beneath. This clips the new Layer to the one beneath and ensures that any changes you make to this Layer will only affect the tree and not the background. Go back to the Brush Preset Picker as you did in the last step and hit that gear icon again. This time, select Basic Brushes, hit OK, and choose a soft, round brush. With black as your foreground colour (D) paint into the trunk and the underside of the branches. Finally, change the Blending Mode to Soft Light and reduce the Layer’s Opacity to 70% to soften the shadows a little.


RENDER TREES

5

Paint some highlights into the top half of the tree on another new, clipped Layer

6

VIDEO LESSON ON THE CD

Create a Hue/ Saturation Adjustment Layer

Create another new Layer (Shift+Ctrl+Alt+N), and then Alt-click on the line between this new Layer and the one beneath to create another clipping mask. Now both this Layer and the one beneath it will only affect the tree Layer and not the background. This time, set your foreground colour to white (D then X) and use a soft, round brush to paint some highlights into the top erlay and then set the of the tree. Change the Layer’s Blending Mode to Overlay Layer’s Opacity to 60% to soften the highlights and help them to match the lighting in the rest of the shot.

Create a Hue/Saturation Adjustment Layer, by hitting the Create new fill or adjustment layer er icon and then selecting Hue/Saturation. Alt-click again to create a Clipping Mask as you did in the previous steps. Now any hue or adjustment changes you make will only affect the tree and not the background image. Drag the Hue slider until the greens of the rendered tree match the greens of the other foliage in your image. For our shot, that was a Hue value of -6.

7

8

Create a shadow under the tree

Create a new Layer on which to create a shadow under the tree. We want the shadow to appear outside the bounds of the tree, so this time we won’t clip this Layer to the tree Layer. With a soft, black brush (B), draw a shadow on the ground. Make sure you position it where it would naturally fall. Look at the other shadows in the shot for a guide. In our shot, the sun is roughly overhead and obscured by cloud, so the shadow needs to be directly below the tree and quite diffuse. Follow the contour of the land if it isn’t perfectly flat to help sell the illusion. Set the Layer’s Blending Mode to Soft Light and set the Opacity to 75% to soften the shadow a little.

Blur the shadow to soften it, then save your image under a new name

For diffuse lighting conditions like this, you’ll need to soften the shadow a bit, so go to Filter’Blur’Gaussian sian Blur and input a Radius of 20px to keep it soft. The last thing to do is to save your file under a new name. Go to File’Save e As and type in a descriptive new name. Use the JPEG (JPG) format for sharing your shot online. It’ll merge all the Layers to one and compress the image to create a small file size. If you want to keep a high-quality copy of the image with all the Layers intact, use the Photoshop Document (PSD) format.

DIGITAL PHOTO 71


PHOTOSHOP GENIUS

After The contrast of the round star trails and the angular frames create a compelling composition.

72 DIGITAL PHOTO


CREATE STAR TRAILS

VIDEO LESSON ON THE CD

ADDSTARTRAILS TO

LANDSCAPES Boost the impact of your night photography with our free Photoshop star trail Action TECHNIQUE BY ANDY HEATHER

• Software Photoshop or Elements • Image type You’ll need a night landscape or cityscape shot with lots of visible sky in it

I

love shooting at night. There’s something beautiful about pinpoints of light shining out of a dark cityscape. If you’re lucky, your chosen vantage point will include Polaris, the North Star, allowing you to shoot a longexposure star trail image and your shorter exposure cityscape shot from the same spot. However, if your composition happens not to include Polaris, all is not lost. It’s possible to

create a star trail in Photoshop or Elements with a little help from the Digital Photo Star Trail Effect Kit that’s free with this month’s issue of the magazine. All you need to do is import our free Photoshop Action and hit the play button to create your own star trail in a matter of moments. Over the page, we’ll show you how to blend your virtual star trail with any photo to make it look as natural as possible in four simple steps.

TONY WEBSTER

Before

The original image is an interesting night shot with a central vanishing point drawing the eye and lots of negative space to contrast with the dense shapes.

DIGITAL PHOTO 73


PHOTOSHOP GENIUS TIP

Easily arrange all your open images into tabs by going to Window’ Arrange’ Consolidate All to Tabs

1

Import and run the Star Trail Action

Using Windows Explorer (or the Finder if you’re a Mac user), navigate to the Start Images folder and drag the DP Star Trails ails action file to a convenient location on your hard-drive. Open Photoshop or Elements and go to Window’Actions. In the Actions Panel that pops up, hit the top-right icon and a flyout menu will appear. Select Load Action. Navigate to the DP Star Trails action you saved to your hard-drive and double-click it to ails folder import it. In the Actions Panel, locate the DP Star Trails and click on the arrow to open it. Select DP Star Trail Creator. Click the play button at the bottom of the panel. Photoshop will create a new document and render a star trail on it.

3

Change the Blending Mode and add a Layer Mask

Change the Blending Mode of the star trail Layer to Lighten and hit the Add Layer er Mask icon in the Layers Panel. With a soft, black brush (B), paint over any elements of the foreground that should be in front of the stars. Click once with a brush, then hold down the Shift key and click again to draw straight lines. Make sure the star effects is hidden wherever the foreground should be visible. In the above example, that required us to paint over each ool (L) of the square frames. For hard edges, switch to the Polygonal Lasso tool and click around the object to select it, then switch back to the Brush tool ool (B) to paint black into the selection.

74 DIGITAL PHOTO

4

2

Place the star trail onto a background photo

Go to File’Open and double-click on your background image. Go to Windows’Arrange’Consolidate All to Tabs. Click on the star trail image’s tab to view it. With the Move tool ool (V) active, click on the star trail image and drag it up to the background image tab. Photoshop will show you the background image. Hover your mouse over the image and release the left button to drop the star trail image onto your background photo. Hit Ctrl+T (that’s Command+T on a Mac) to activate Free Transform and drag the corner handles to make the star trail image the same size as the background. In Photoshop, hold down the Shift key to maintain the aspect ratio. In Elements, tick the Constrain Proportions oportions box.

Duplicate and rotate

Duplicate the Layer (Ctrl+J) and then click on the chain icon between the Layer thumbnail and the Layer Mask. This will allow us to transform the star trail Layer without moving the Layer Mask. Hit Ctrl+T to activate Free Transform. Hover your mouse outside the bottom-right corner of the frame. When you see a double-headed, curved arrow click and drag downward to rotate te the star trail image by 9 degrees. Hit Enter er to commit to the changes. Select the lower star trail Layer and reduce its Opacity to 50%. All that remains is to save your image under a new name by going to File’Save As. Select the JPEG option for a compressed, easy-to-share file.


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PHOTOSHOP GENIUS

GO MONO WITH NIK SILVER EFEX PRO 2 Before

MATTY GRAHAM / BAUER

Grab a free copy of the Nik Collection and use it to create rich, professionallooking mono images

TECHNIQUE BY ANDY HEATHER

Silver Efex Pro 2, available free in the • Software Sil Google Nik Collection You’ll need an architectural shot with • Image type Y plenty of blue sky visible

A

n essential part of mastering Photoshop is getting to grips with plug-ins. One of the most fullyfeatured and capable collections of plug-ins available is called the Google Nik Collection, and the best part is that Google has made it free to download! To claim your copy, type the following into your web browser’s address bar: 1 www. google.com/nikcollection/

The original shot features some interesting lines and shapes in the bottom of the frame and a beautiful blue sky above, which makes it ideal for a black and white conversion.

On that page, click the Download button 2 and then double-click the installer to install the software and follow the on-screen instructions. It can be used as a Photoshop plug-in or as a standalone app. The following tutorial assumes you have Photoshop installed and takes you through an image enhancement using Silver Efex Pro 2, which is specifically for mono conversions.

How to download and install the FREE software

A 1

76 DIGITAL PHOTO

2


USING NIK COLLECTION SOFTWARE

VIDEO LESSON ON THE E CD

After Take your time with mono conversions and the results can be jaw-dropping.

DIGITAL PHOTO 77


PHOTOSHOP GENIUS

1

Open your shot and apply a filter

Search your hard-drives for an architecture shot with some blue sky in it and open it into Photoshop or Elements by going to File’Open and double-clicking on your selected image. Once it’s open, go to Filter’Nik Collection and click on Silver Efex Pro 2. Photoshop or Elements will launch Silver Efex Pro 2 and the interface will open up on top of the Photoshop or Elements window. The benefit of opening the file from Photoshop or Elements is that your edited mono shot will be returned to Photoshop at the end of the process, so you can carry on making adjustments before saving your final image.

3

Adjust the sliders to darken the sky

The Control Point has several sliders attached to it. The top one controls the size of the effect. Drag it to its largest size or until the sky is covered. The software will intelligently apply your edits to parts of the s slider down shot that have similar tone and hue values. Drag the Brightness to -49%, the Contrastt to 54%, the Structure to -70%, the Amplify Whites slider to 34%, the Amplify Blacks slider to 37% and the Fine Structure slider to -100%. These settings darken the sky and add contrast to create that dramatic, dark sky. The low Structure and Fine Structure values help to make the sky look soft, which creates an interesting contrast with the hard, defined angles of the building.

78 DIGITAL PHOTO

2

Apply a preset and create a Control Point

On the left-hand side you can see the Preset Library. Make sure that All is selected so you can see the full library of presets that come preinstalled with the Google Nik Collection. Clicking on any of these will instantly apply a range of adjustments to your shot. For this tutorial, click on 015 Fully Dynamic (harsh) to apply the preset to your image. The shot looks pretty good already, but there’s more that can be done. Click on the icon next to Control Points oints and then click on the sky in your shot. You’ll see Control Point 1 appear below the Control Points icon.

4

Create a second Control Point over the building in your shot

Click on the Control Point oint icon again, then click on the building somewhere to create Control Point 2. The adjustments we make here will only affect the building. Drag the top slider until the circle covers the entire structure. Set the Brightness s slider to 27%, the Contrastt to -59%, the Structure to 100%, the Amplify Whites es to 32%, Amplify Blacks to 100%, and the Fine Structure to 100%. This will bring out lots of detail in the building, making it look crisp and sharp, to contrast with the softer, wispy effect we created in the sky. Try dragging this Control Point to other locations on the building until you have the best effect.


USING NIK COLLECTION SOFTWARE

5

Apply a Film Type and a Colour Filter

Just below the Selective Adjustments section of the Adjustments panel you’ll see a Colour Filter section. Press the Green Colour Filter. Below that you’ll see Film Types. Click on the little arrow next to where it says Neutral and from the dropdown menu select Agfa APX Pro 100. This will emulate the look of an old, analogue film stock and add the effect to the adjustments you’ve already made. el slider to 355 and leave the next Under Grain, drag the Grain per pixel slider halfway between Soft and Hard.

TIP

Use Control Points to ensure that each area of the shot is edited according to its own particular tones, hues and details, rather than applying settings globally

6

VIDEO LESSON ON THE CD

Adjust luminosity per colour to further boost the sky

In the Sensitivity section, leave the Red, Yellow w and Green sliders on 0%. Drag the Cyan slider to 45% to brighten some of the cloudier areas of the sky and drag the Blue slider to -30% to darken the other parts of the sky. Leave the Violet et slider on 0%.

7

Check the strength of the effect and save

Under Finishing Adjustments, set the Toning to Blue Toner 7, leave the Vignette set to Off, set Burnt Edges to All Edges 1 and leave Image Borders set to Off. Click OK to return to Photoshop or Elements. You’ll see your background image on the bottom Layer with a padlock icon indicating that the Layer is locked. Above it you see a Layer named Silver Efex Pro 2. You can continue to make any necessary changes such as Levels adjustments or Crops. When you’re ready to save your image, go to File’Save e As and give your shot a new name. Use the PSD format if you want to keep your Layers intact for future editing. If you want to share your shot online, use the JPEG format to compress your image and flatten the Layers for a smaller file size that’s ideal for uploading to Facebook.

DIGITAL PHOTO 79


PHOTOSHOP GENIUS

USE LAYERS FOR A SPLIT PORTRAIT Overlay multiple images for a surreal effect using this quick four-step composite technique TECHNIQUE & PICS BY MATT HIGGS

Before

• Software Photoshop or Elements • Image type You’ll need two shots of the same location, one with the subject, one without

E

nabling content to be easily stacked and blended, Layers is one of Photoshop’s most powerful features, and one of its most creative too! By using it to introduce new elements into a scene, interest can be added to an image that would otherwise hold little intrigue for viewers. In this technique, we’ll show you how to selectively overlay images in order to reveal the world behind a subject in a head-turning special effect. To begin with you’ll need two

1

photos taken at the same location, one with your subject it in it, and one without. The closer these two start images are in terms of their composition and the settings used to capture them, the more convincing your final blended file will be. Frames within the frame are the perfect place to apply this effect, that’s why we got our model to create one out of her fingers, but you could also ask your subject to hold up a photo frame, mobile phone, or anything else with a defined edge.

Overlay the two files and make basic editing adjustments

Open your two images in Photoshop. Start by working on the portrait. Press Ctrl+A to select the entire frame, and Ctrl+C to copy it. Now click onto your background image and hit Ctrl+V to paste the portrait above it on a new layer. Make any basic adjustments to your image that you would as standard to suit your scene (things like Curves, Hue/Saturation Layers etc.), but avoid making any changes that will affect the imageÕs proportions such as crops or transformations.

80 DIGITAL PHOTO

2

Secure your camera on a tripod and shoot in manual to ensure that your exposure settings and composition remain the same for both shots.

Select the area of your first image ready for deletion

Select the Layer with your portrait on by clicking on it in the Layers panel. Next, select the Polygonal Lasso tool. Zoom into the area of your image that you want to remove by pressing Ctrl+plus, you can zoom back out by pressing Ctrl+minus, and navigate around by holding the space bar and dragging around the frame. Now left-click to start your selection at the edge of the area you wish to remove, and click at regular intervals to make points for your selection. Close the loop to complete the selection.


MAKE A SPLIT-IMAGE PORTRAIT

VIDEO LESSON ON THE CD

After

MATT HIGGS / BAUER

Individually our start images didnâ&#x20AC;&#x2122;t hold much interest, but combined they really turn heads.

DIGITAL PHOTO 81


PHOTOSHOP GENIUS TIP

3

Refine the edges of the selected area

With your selection made you can make additions to it by holding Shift and drawing another loop, or remove areas from within it by holding Alt and drawing a loop. Once you’re happy with the selection, click the Refine Edge button in the Lasso Tool’s menu. In the pop-up dialogue box, set Feather to 10Px to make its edge a little softer for a better blend. Using the Shift Edge slider you can also shrink the edge of the selection inwards or expand it outwards slightly if desired. Press OK to apply this adjustment to your selection. Tap Delete to remove the chosen area from your image, revealing the background image behind it.

4

Add a vignette to draw attention to the image’s centre

Take your time when making selections, jagged edges will quickly ruin the illusion of the effect

Press Shift+M to activate the Elliptical Marquee Tool, and draw a large circle around your subject. Press Shift+Ctrl+I to inverse your selection, and then open the Refine Edge menu. Feather your selection so that it has a very gradual edge. Now click on the Create new fill or adjustment layer er icon and select the Hue/Saturation option. A new Hue/Saturation adjustment layer will be created with the area inside your circular selection masked. Drop the Lightness level slightly to add a subtle vignette. All that’s left is to save your file, got to File’Save As, give your image a name, and select your chosen file type before hitting Save.

Project ideas

Why not try blending images from different shoots for a striking portal effect!

Replacing a reflection with a sky has given this shot an otherworldly feel.

82 DIGITAL PHOTO

Once you’re comfortable selectively overlaying similar files, you can try out some more complex image blends. Wellexecuted, surreal composites of two completely different photos, like those in the image to the left, can produce great fantasy scenes. This kind of editing has been made popular by famous photographers like Storm Thorgerson, but does require an eye for detail. For a seamless edit, the creator of this image had to add a blue glow of light to the underside of the model’s chin and hands to match with the sky.


PHOTOSHOP GENIUS

TAKE A STEP BACK IN TIME Use the Tone Curve and other RAW processing tools to create a stylish vintage finish to your pictures TECHNIQUE & PICS BY BEN DAVIS

• Software Lightroom 5/CC or Photoshop CS6/CC • You’ll need A RAW file that would suit some vintage charm

I

84 DIGITAL PHOTO

Before

BEN DAVIS

ronically, the vintage look never gets old, and applying a retro-styling to your images is incredibly easy to do in Lightroom. Not only does the film aesthetic help to create a timeless and classic feel to a scene, but it can give an ordinary but flat RAW file an interesting and stylish new twist. In this tutorial you’ll learn how to use the Tone Curve to control the contrast and colours in a scene, to emulate the look of the pre-digital days. You’ll also discover how to use the Graduated Filter to produce lens effects and help focus attention where it’s needed most, as well as smart RAW processing skills.

This RAW file is somewhat flat, with a strong contrast and a lack of detail in the highlights and shadows. As it’s a RAW file though, this is easy to fix!


LEARNING LIGHTROOM

VIDEO LESSON ON THE CD

After By using the Tone Curve you can control the colour and contrast to create a cool retro ямБnish.

DIGITAL PHOTO 85


PHOTOSHOP GENIUS

1

Import your RAW file and apply any Lens Corrections

To begin you need to Import a RAW file into Lightroom. You can do this by clicking File’Import Photos and Video and selecting the Source for where your images are located. You can decide whether you also want to Copy your shots to a new location (select if you are importing from a memory card) or simply Add them to the Lightroom Library if they are on your hard-drive. Then just click Import at the bottom right to complete the task. Next, select the image you wish to work on, and then click Develop to enter the editing ections tab and tick Enable Profile module. Scroll down to the Lens Corrections Corrections ections and Remove Chromatic Aberration. Under Profile, check the correct lens has been detected (Nikon 35mm for the Brancaster.dng .dng start image), and within the Upright controls click Auto to align the horizon.

3

Adjust the Tones and Saturation in the Basic tab

Open the Basic tab and brighten the image by pushing the Exposure slider to +0.50, and increase the Contrastt to +30. Pull Highlights to -100 and push Shadows ws to +100 to reveal the maximum amount of detail in the image. Pull Whites es to -40 to make these tones darker and set Blacks to -40 too to deepen these tones. Pull Clarity to -15 to soften detail slightly, then push Vibrance to +40 to boost the more muted colours, and pull Saturation to -25 to dampen all colours.

86 DIGITAL PHOTO

2

Fine-tune the composition with the Crop Overlay tool

4

Use the Tone Curve to create vintage-looking colour and contrast

To give your shot a crop, press R on the keyboard or select the Crop Overlay erlay tool from the toolbar. Press the L key twice to enter the fully darkened Lights Out mode, to remove all distractions from the edge of the image. Pull on the edges of the bounding box to adjust the size of your crop, then hit Return to exit the Crop tool. Press L on your keyboard once more to return to the normal view.

Select the Tone Curve and click the icon at the bottom right to manually edit the Point Curve. With the Channel set to RGB, click to add control points at the first, central, and latter intersections. Lift the start of the Tone Curve – which controls pure black – upwards, halfway to the first quarter line to lighten the blacks. Gently pull the curve down at the first control point, and nudge it slightly upwards at the third control point to increase the contrast. Switch the Channel to Blue, and lift the start of the tone curve up and pull the end of it down, both halfway towards the closest quarter line. Push the line up at the first quarter intersection to increase blues in the shadows, and pull it down at the upper quarter intersection to make the highlights warmer.


LEARNING LIGHTROOM

VIDEO LESSON ON THE CD

TIP

To help your image ‘pop’, only sharpen the edges of items that you want to make stand out with the Masking slider

7

5

Enhance Sharpening and Noise in the Detail tab

ail tab, and click the icon at the top Head to the Detail left and use it to zoom into an area of detail so you can more closely monitor the sharpening process. Under Sharpening increase the Amount slider to 95, to boost the sharpening effect. Hold down Alt on your keyboard as you adjust the Masking slider to see an edge mask. Only the white areas are being affected by sharpening. Set the Masking slider to 45 so most areas except the sky are sharpened. As the ISO of the image is very low, there isn’t much Noise in the image. However, to smooth out some of the grain, increase Luminance to 10.

Create a lens effect to help focus attention

er still, click Within the Graduated Filter New ew to set up a new filter, then doubleclick Effect ect to reset all sliders. Pull Sharpness s to -100, then click and drag a Graduated Filter over the upper portion of the image, with the effect feathering out towards the centre where the people are. Right-click on the pin and pick Duplicate. Pull another Graduated Filter up across the lower portion of the frame towards the centre, and Duplicate this to double the effect. Once you’re finished with the Graduated filter, click Done to exit the tool.

8

6

Create a moody sky with the Graduated Filter tool

Selected the Graduated Filter er from the toolbar (press K for a shortcut), and double-click Effect ect to reset all tool sliders. Decrease Exposure to -0.40 and pull Highlights to -100 to darken the sky and reveal more detail. Push Shadows ws to 100 to lift detail in the darkest areas, and boost Saturation to 20 to make the sky more vibrant. Now click and drag the Graduated Filter down over the sky with a fairly wide feather area, indicated by the three parallel lines. Toggle O on the keyboard to see an overlay mask. Right-click on the central pin and select Duplicate to double up the effect.

Add photo effects and Export the image

ects panel and add a Open the Effects dark vignette to the edges of the frame by pulling the Amount slider to -40. Set Midpoint to 40, Roundness to +50 and both Feather eather and Highlights to 100. Under Grain, increase Amount to 25. To complete the edit, you need to Export your image, so click File’Export and choose a location for where your new file will be created. Give it a Custom Name so you can ormat select JPEG and set Quality to easily identify it later on. Under Image Format 85 to reduce the final file size. Click Export to create your image as a JPEG.

DIGITAL PHOTO 87


IT WORKS FOR ME! Show us what you’ve been doing with Digital Photo’s creative techniques & win great Lexar prizes! Send your best shots to us at dpimages@bauermedia.co.uk

Belinda’s camera club-inspired image is creative and fun.

The adventure journal template gave a new context to Alan’s travel shot.

X marks the spot by Alan Coates

Oh, what a lovely pear by Belinda Ewart From North Uxbridge, Middlesex Tell us about your image I took this shot as part of my local camera club’s ‘pairs’ theme last year, but was pleased to see it also fits with the recent Digital Photo challenge to create an image along the theme of ‘Focus on glasses’ in the September 2016 issue. I suitably ‘dressed’ my pears – that was the fun part – and then took the shot with 88 DIGITAL PHOTO

my Canon 70D and 100mm macro lens. Once I was happy with the composition, I added the reflection into the lenses of the glasses in Photoshop, being careful to take into account the perspective distortion of the lens and also the light reflecting in it. I credit my camera club with broadening my range of shots and giving me the confidence to try out new ideas. For the same reason, it’s inspiring to see the challenges in the magazine, and finding out how others create their best images.

From Kirkby Stephen, Cumbria Tell us about your image The ‘Turn photo editing into an adventure’ technique in the September 2016 issue of the magazine gave me the idea and template I needed to make use of a previously unusable shot. I’d taken the shot in 2008 with my Sony Alpha 100 and 75-300mm lens, but hard light in the desert doesn’t make for very attractive images, and I wasn’t very pleased with the resulting image. I have long been fascinated by the legend of the Lost Dutchman’s Goldmine in the Superstition Mountains of Arizona and so I thought it would be fun to create a ‘treasure map’ style image. The travel journal idea really brings it to life. I began by placing my shot into the journal template and using the Free Transform tool to reshape it until it


Original pic was a perfect fit. To give the ragged, aged look to the photo, I added a Layer Mask and painted into it to create a wiggly line around the edge of the photo to give the effect of torn paper. I then adjusted the contrast and colour of the image, muting the colours to add a vintage look to tie in with the template. Finally, I added the ‘x’ to mark the entrance to my ‘lost goldmine’, completing the story of my adventure journal.

“THE TEMPLATE WAS ALL I NEEDED TOO MAKE USE OF A PREVIOUSLY UNUSABLE SHOT” DIGITAL PHOTO 89


Park bench by Paul Blackwell From Loughborough, Leicestershire Tell us about your image I had been browsing Flickr for shooting inspiration and spotted the crystal ball idea, so I bought one from Amazon and decided to give it a try. I took this shot at my local park, Queen’s Park in Loughborough, with my trusty Canon EOS 550D. Then, reading the ‘New adventures in landscapes’ article in the September 2016 issue of the mag, I was surprised to see that Tip 1 was to shoot through a crystal ball! So here’s my previous effort, and now I have plenty of inspiration from all of the other tips in the article. Paul used the crystal ball as his focal point, and the bench as a strong lead-in line.

Kerry’s sympathetic enhancements have turned a flat RAW file into a colourful image.

Flypast duo by Kerry Turner From Farnborough, Hampshire Tell us about your image This duo flew as part of the 75th anniversary of the Battle of Britain, and I knew it was an occasion that wouldn’t be repeated, so I took a shot with my Nikon D800 and 150-500mm lens. Knowing that the sky was dreary, and that the image would need some substantial enhancements, I shot in RAW and applied a series of edits as suggested in the ‘Get it right with RAW’ article in the June 2016 issue for the final result.

Original pic

90 DIGITAL PHOTO


IT WORKS FOR ME

Starry night by Tom Wright

From Preston, Lancashire Tell us about your image I shot the original image, looking up at the Marine Way Bridge in Stockport, with my Canon EOS 350D and kit lens. Although the blue sky looked fine, I wanted to add a bit more interest, and so decided to apply the ‘Create a starfield in Photoshop’ technique from the August 2016 issue. First I created a Layer of Noise, before making a new Layer of glowing ‘stars’. I added a Layer of ‘clouds’, painted in some nebulae and finally placed the sky into my shot.

Tom’s bright daytime shot has acquired a realistic-looking star-filled sky.

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Original pic

Winter in July by Tim Davis

From Cheltenham, Gloucestershire Tell us about your image When travelling through Switzerland on holiday, I crossed the top of the Alps through some snow storms. On the way, I took this shot with my Nikon D750 and 24-120mm lens. When I came home, I followed the ‘Enhance landscapes using Nik Color Efex’ tutorial in the August 2016 issue to transform my flat RAW file into an accurate depiction of the scene I saw at the time of capture – a dramatic cloudy blue sky and pure white snow against the lush greenery of the mountainside.

Google’s free editing software, the Nik Collection, offers some great tools for improving images.

Original pic

DIGITAL PHOTO 91


YOUR PHOTO EXPERTS

PHOTO OT OTO ANSWERS

MATT TT HIGGS With his in-depth knowledge of all the latest gear, Tech Ed Matt can advise on all aspects of camera kit. MATTY GRAHAM Managing Editor Matty worked as a professional automotive photographer, and is brimming with shooting tips.

Your problems solved by our expert team

ANDY HEATHER THER Andy worked as a commercial photographer in Japan, and is overflowing with advice.

If you’d like to benefit from our expert advice email your query to dp@bauermedia.co.uk o.uk and put PhotoAnswers in the subject box

Why use flash when there’s daylight?

l Matt says Many associate the use of flash with low-light shooting situations, but it can also be a great creative tool during daylight. While natural light can be manipulated and directed to a certain degree with the help of

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1

reflectors and scrims, its intensity and angle can limit your freedom as a photographer over the images that you are able to create. Strong sunlight can also cause problems with overexposure in skies, leaving them void of detail, but this is something that can also be tackled with flash. For these reasons, many portrait photographers will incorporate a flashgun into their setups. On-camera flash can illuminate a backlit model, enabling the use of lower ISOs and faster shutter speeds that reduce the intensity of ambient light captured for a sky that’s well-exposed. However, its fixed position

directly above the lens can lead to harsh, flatly lit shots unless an adjustable head is used to bounce and diffuse the light off a nearby surface. It can also cause unattractive shadows when shooting with the camera set to a portrait orientation, as the light comes from an angle that’s off to one side of the lens. For greater control of a flashgun, an off-camera flash cable or – even better – wireless triggers are recommended. Using these devices, and light modifiers like portable soft boxes, it’s possible to achieve almost studio-style lighting on location, with total control over the light’s strength and angle.

How to use off-camera flash for creative lighting

Get your camera set up

Set your camera to its Manual shooting mode, and select an aperture that will produce the depth-of-field that you want. Now choose the ISO and shutter speed combination that will properly expose the scene. To maintain detail in a sky, expose for this area. Be careful not to set a shutter speed faster than the camera’s flash sync speed. 92 DIGITAL PHOTO

2

Take a test shot

Attach your flashgun to either an off-camera flash cable or a wireless receiver, then affix the other end of the cable or the wireless transmitter to your camera. Set the flash to its manual mode, and choose a mid-range power level. Move the flashgun so that its light will come from the desired angle and take a test shot.

3

VIDEO LESSON ON THE CD

Adjust the lighting

Check the image that you have taken on the camera’s display. If the subject appears overexposed, select a lower power level. If they appear underexposed, select a higher power level. Also look for unattractive shadows and, if present, consider moving your flash to an angle that removes them, or positions them better.

MATT HIGGS / BAUER

I was out walking through a local park the other day and noticed a photographer that was taking some images of a model. It was a bright and sunny morning but she had some flashguns that were going off while shooting. Why would someone choose to use flash in these lighting conditions? Tony Stoner

MATT HIGGS / BAUER

Q

CREATIVE SHOOTING ADVICE


YOUR PROBLEMS SOLVED With camera settings chosen to maintain detail in the bright sky, ï¬&#x201A;ash has been used to properly exposure the subject in the foreground.

DIGITAL PHOTO 93


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YOUR PROBLEMS SOLVED

Q

SOFTWARE

What are the colourful lines in my photos? I’ve just come back from holiday and have started to edit my shots from the trip. One thing I’ve noticed, though, is when I zoom into 100% , lots of the subjects in my images have colourful lines around their edges. Could this be a problem with the camera or lens that I was using? Tanya Norris

l Andy says These coloured lines sound like a prime case of chromatic aberration, an optical problem that occurs to varying degrees on many lenses, also known as ‘colour fringeing’. Different colours of light travel at different speeds as they pass through a lens. The ideal optic would manage to focus all of them onto a single point on the same focal plane but, when it can’t, this can result in coloured edges around objects and blurring. Chromatic aberration tends to be most visible in high contrast scenes – photos of subjects taken against bright skies or white backgrounds will usually display it worst. Many modern lenses use special extra-low dispersion elements to try and minimise its presence, but it’s an issue that’s still very common. Stopping down your

An example of chromatic aberration or ‘colour fringeing’ at the edge of a building.

aperture, or using focal lengths in the middle of a zoom range can help to reduce it when possible, but may not stop it entirely. While the impact of chromatic aberration may not be particularly noticeable when images are printed or viewed at smaller sizes, decreasing its presence can improve sharpness and image quality dramatically. There are several types of chromatic aberration that can appear, but only ‘Lateral’ can be easily removed. This occurs as dual colour fringeing around subjects, and increases in strength towards the edges and corners of the frame.

Remove chromatic aberration in Adobe Lightroom

Chromatic aberration is often a shade of purple or green.

How does Lightroom’s Lightr s clarity feature work? One of my favourite adjustment settings in Lightroom is Clarity. I love the gritty look it can add to images. But what does it actually do? William Fletcher

Q

1

Enable auto-correction

After importing your file into Lightroom, click on the Develop op windo window. Now w pr press Ctrl and + to zoom into your image. Hold Space Bar, then click and drag the preview window so that an area of your file with chromatic aberration is displayed. Navigate down to the Lens Correction module in the adjustment panel and tick the Remove Chromatic Aberration box to apply an automatic reduction. You may find this has removed its presence completely. If so, that’s all you need to do. If not, move on to step 2.

2

Take total control

In the same adjustment module click on our tab. If you can still see a purple the Colour fringe increase the Amount slider that sits above Purple Hue until you see it disappear. If you see a green fringe, do the same but with the Amount Slider that’s positioned above the Green Hue. You can also try using the eye dropper tool to do this automatically once more. Click on its icon to select the tool, and then click on one of the remaining areas of fringeing in your image’s preview to reduce it.

l Andy says Clarity adds depth to an image by increasing a file’s level of local contrast, with a particular focus on its midtones. It works a bit like a large-radius unsharp mask, and can help images to look crisper and ‘pop’ a bit more. Used heavily it can produce the gritty effect you like, but its overuse can also create unnatural looking halos near the edge of a shot’s details. To avoid this, zoom into 100%, and monitor your image as you gradually increase its strength for the best results.

DIGITAL PHOTO 95


PHOTO ANSWERS

ISTOCK

Many stunning views can only be captured from the water.

KNOW-HOW

How can I protect my DSLR when using it around water? I have two passions in life – photography and kayaking. I’d love to be able to combine them both and capture better quality images while on my adventures. I own an action cam already, but want to start taking my DSLR out and into the water. What would I need to keep it safe? Jamie Kidd

Q

l Matty says Being able to use your DSLR or CSC safely on, and even under, water can open up a whole host of fantastic creative

opportunities (see page 64 to learn how to edit underwater shots). There are two main choices when it comes to protecting your gear – waterproof camera cases, and dedicated underwater housing. Waterproof camera cases made by respected firms can be bought for many DSLR models with shorter lenses for between £60-90. They offer a reasonable level of protection through their watertight seals, enabling the use of devices several metres under the water. Many also act as a buoyancy aid, helping the camera to float should it be dropped into the water by

accident. Thin and flexible, the bag-like design of these affordable cases allows camera operation through their sides. For the best level of protection and total peace of mind, dedicated underwater housing will let you venture hundreds of feet into the deep safely. These rigid, but lightweight plastic shells maintain access to most major controls through dedicated and watertight buttons, with many even featuring the option to attach an external flash to the device. Different ‘ports’ which can be switched out also allow the use of different length lenses. The downside to these housings is their restrictive pricing which, at £1000-2000, may deter all but those seriously considering specialising in this area.

Expert advice Lens choice for underwater photography

ISTOCK

Most underwater photographers tend to favour either a wide-angle or macro lens over a telephoto. The reason for this is that water is denser than air, and if you’re trying to shoot through a lot of it, images start to lose contrast and colours become more muted. Therefore, by having a lens that enables you to focus and get much closer to a subject, you can help to minimise the water you are looking through, ensuring that shots have clarity and more vivid hues. A wider angle of view can also produce more intimate photos of smaller subjects, while keeping larger subjects within a frame, without forcing you to move further away from it.

96 DIGITAL PHOTO


YOUR PROBLEMS SOLVED

What is backbutton focusing? A quick search on TinEye revealed this shot being used on several sites.

KNOW-HOW

How can I find stolen images online?

Q

I was tipped off recently that a company was using an image of mine online to market a product. I was able to come to a quick arrangement to license its use, but I wondered if you had any tips for finding further infringements of my photos on the net? Tony Parkinson l Matt says For many photographers, finding and tackling copyright infringement on the internet has become an essential part of managing their portfolio. I even know several who have made more money from enforcing this copyright than they have through client commissions! Thankfully, there are various tools available to help you track down photo thieves online. One of the simplest to use is Google’s

reverse image search function. Visit images.google. com in a browser, click the camera icon, upload the file that you want to check, and the search engine will return any websites that are using the shot. It also lists photos that are visually similar so, if watermarks have been removed or a crop has taken place, it should still be able to find them. Another recommended site that works in a similar way to this is www.tineye.com. Photographer Jason Wilder has created a free add-on for the Firefox browser called the ‘Copyright Infringement Finder’. This tool allows users to right-click on their images online and find out where else they’ve been used. It’s great for files you fear may have been ripped from your own website. It can be found for download at mzl.la/2auznCT

DSLR SKILLS

Which are better, OVFs or EVFs?

Q

I’m considering moving from a Nikon D7000 to a Sony A7, but one of the things I’m unsure about is its electronic viewfinder. Will it be better or worse than an optical finder? Francis Moses l Matt says While early electronic viewfinders (EVFs) often had limited resolutions, their specifications and performance have dramatically improved in recent years. It’s now

not uncommon for fans of both optical finders (OVFs) and EVFs to tout their favourite as the best choice. Ultimately each has its own pros and cons, and which will suit you comes down to personal preference and the photography that you do. Among the advantages of an EVF is 100% coverage of the frame for accurate composition (something not always matched by OVFs), exposure simulation that displays exactly what will be captured using the selected camera

Q

I’ve heard back-button focus mentioned a few times recently, but have no idea what it is. Any help? Debbie Jones l Matty says As standard, cameras usually focus when the shutter button is halfpressed, and capture an image when it’s fully pressed. With back button focusing selected, the shutter no longer activates focusing at all, but instead assigns this function to another control on the back of the camera. It can be useful for situations where the distance between the photographer and the subject remains unchanged for several consecutive shots. It allows users to lock focus to a selected distance, without having to switch to manual focus on the lens or camera. Many cameras allow this feature, with it usually enabled through their custom setting menu.

Join us on our podcast Love hearing about photography tips and techniques and the latest new gear? Listen to our new FREE podcast, which comes out every Thursday. Head over to the iTunes store and search for ‘Digital Photo’. Click ‘Subscribe’ and you won’t miss an episode.

settings, and the option to overlay much more shooting information. They can also be used when shooting video, and take up much less physical room than an OVF, allowing smaller camera designs. The main drawbacks to an EVF however, are the slight lag that can occur between what’s happening in a scene and what’s displayed, their increased use of battery power, and sometimes poor quality display of a scene when shooting in extremely dark conditions.

DIGITAL AL PHOTO PHO 97


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No part of the magazine nor its CD-ROM may be reproduced in any form in whole or in part, without the prior permission of Bauer. All material published remains the copyright of Bauer and we reserve the right to copy or edit any material submitted to the magazine without further consent. The submission of material (manuscripts, images, etc) to Bauer Media whether unsolicited or requested is taken as permission to publish that material in the magazine, on the associated website, any apps or social media pages affiliated to the magazine, and any editions of the magazine published by our licensees elsewhere in the world. By submitting any material to us you are confirming that the material is your own original work or that you have permission from the copyright owner to use the material and to and authorise Bauer to use it as described in this paragraph. You also promise that you have permission from anyone featured or referred to in the submitted material to it being used by Bauer. If Bauer receives a claim from a copyright owner or a person featured in any material you have sent us, we will inform that person that you have granted us permission to use the relevant material and you will be responsible for paying any amounts due to the copyright owner or featured person and/or for reimbursing Bauer for any losses suffered as a result. Please note we accept no responsibility for unsolicited material which is lost or damaged in the post and we do not promise that we will be able to return any material to you. Finally, whilst we try to ensure accuracy of your material when we publish it, we cannot promise to do so. We do not accept any responsibility for any loss or damage, however caused, resulting from use of the material as described in this paragraph.

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HUNDREDS OF PLACES WHERE YOU CAN SELL YOUR PHOTOS FOR CASH! SPECIAL OFFER: Join the Bureau of Freelance Photographers (BFP) and get 14 months membership for the price of 12!

OUT NOW! The 2016 edition of The Freelance Photographer’s Market Handbook Described as the photographer’s bible, this 224-page BFP Handbook has hundreds of markets where you can sell your pictures for £££s. It includes magazines, greetings card and calendar publishers, picture libraries, newspapers, book publishers etc. Now in its 32nd year, The Freelance Photographer’s Market Handbook 2016 gives full details of the type of photos – subject matter etc – being sought, fees paid, and exactly where to send your pictures. Price: £14.95 + £2.00 P&P

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

For almost 50 years, the BFP has been helping photographers like you to sell their photos. As well as getting the annual 224-page Freelance Photographer’s Market Handbook with hundreds of markets for photos, you’ll also receive our monthly Market Newsletter keeping you up to date with current picture needs. You may also take advantage of our Advisory Service offering personal help on any aspect of selling photos. All for just £54 per annum. Join now and get 14 months membership for the price of 12!

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

www.cameraclean.co.uk t Telephone 01793 855663 Sensor Cleaning Swabs Dust Patrol’s range of Alpha Premium Sensor Cleaning Swabs feature:

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E&OE


Expert verdicts you can trust on the latest cameras & kit

News, tests & reviews on the kit you need to know about

106 Photography backpacks Why you can trust our reviews & verdicts Technical editor Matt Higgs oversees rigorous tests in the field and the studio. An experienced journalist and expert photographer, he has an in-depth knowledge of what users really want to see in the latest products. All reviews are thorough, unbiased and objective.

Quality assured tests & awards – since 1997 Our tests are recognised by TIPA (the Technical Image Press Association), a highly respected international body of 28 technical photo publications, so you can be sure only the very best products receive the coveted Digital Photo Gold and Silver awards. We’ve been providing the best tests in photography since 1997.

102 Gear news 1Canon 12 Exclusive – 5D MkIV

1044 5 of the best monitors

114 Gadgets and gizmos DIGITAL PHOTO 101


ENTRY-LEVEL DSLR

D3400 announced

U

pdating 2014’s D3300, the D3400 is Nikon’s newest entry-level DSLR. This camera features a 24.2Mp APS-C sensor, an EXPEED 4 processor, 5fps continuous shooting and Full HD (1080p) video recording at 60fps. Despite these respectable specifications, it measures just 12.4x9.8x7.6cm (WxHxD) and weighs only 295g (body only), making it surprisingly portable. It’s also Nikon’s first entry-level DSLR to boast SnapBridge, allowing the wireless transfer of images from the device to a smartphone via Bluetooth for speedy social media sharing. With an ISO range of 100–25,600, the D3400 offers a one-step increase over the maximum ISO capability offered by the D3300, but does lose the microphone input that was found on that model. Its Multi-CAM 1000 phase-detect autofocus system, has 11-points and offers 3D tracking, operating down to -1EV. The camera also has a 3in 921k-dot rear display and a pop-up flash. Thanks to the camera’s low-energy design and high-capacity battery, it can capture an impressive 1200 shots from one full charge, keeping users shooting long after most CSCs would have given up. For those that are new to DSLR photography, the camera’s Guide Mode demonstrates how to adjust settings in order to capture great photos and movies, making it a great device for developing professional skills. The D3400 hits the shelves of retailers on the 15th September, priced at £399.99 body-only, or £469 with a 18-55mm AF-P lens. www.nikon.co.uk

The Nikon D3400 can record Full HD footage at 60fps.

“FOR THOSE NEW TO DSLR PHOTOGRAPHY THIS CAMERA IS A GREAT PLACE TO START LEARNING SKILLS ” The D3400 is Nikon’s first entry-level DSLR to boast SnapBridge.

DSLR LENSES

Nikon debuts a pair of lightweight superzooms affordable telezooms are also the first Nikon optics of their kind to sport the brand’s AF-P stepping motor technology, which Nikon claim ensures smooth, fast autofocus. The quieter stepping motor will also be of interest to videographers, as the decreased audio caused by the lens focusing is less likely to be picked up by a mic when footage is recorded. The effective focal length of the lenses is105-450mm, which puts the optic firmly in the sights of aspiring wildlife photographers. Despite this long focal length, the lenses remain lightweight, with the AF-P DX Nikkor 70-300mm f/4.5-6.3 ED tipping the scales at 400g and the AF-P DX Nikkor 70Both lenses offer a long focal length with an affordable price-tag. Nikon has announced two new lenses for users of its DX-format DSLRs. The AF-P DX Nikkor 70-300mm f/4.5-6.3G ED and the AF-P DX Nikkor 70-300mm f/4.5-6.3G ED VR are essentially the same lens, but the VR model offers image stabilisation technology. The

102 DIGITAL PHOTO

300mm f/4.5-6.3 ED VR at just 415g. To enhance image quality, the lenses feature an extra-low dispersion (ED) glass element for enhanced colour control. Another interesting feature found, or rather not found, on both lenses is the absence of a AF/MF (autofocus/manual focus) switch – users select the focus mode via the camera body. This means there’s no risk of the photographer accidentally knocking anything mid-operation. The lenses are compatible with D3000 series cameras from the D3300 onwards, D5000 series cameras from the D5200 onwards, and D7000 series cameras from the D7100 onwards. The AF-P DX Nikkor 70-300mm f/4.56.3 ED costs £299.99 and the AF-P DX Nikkor 70-300mm f/4.5-6.3 ED VR costs £349.99 – both are available from mid-September. www.nikon.co.uk


NEWSBYTES 360° CAMERA

360fly go 4k

I

nnovative imaging company 360fly has announced the launch of its 360fly 4K camera, which was first debuted at the Consumer Electronics Show in Las Vegas earlier this year. The new version of the camera sees the inclusion of a powerful new sensor that quadruples the resolution of the earlier generation model and produces 2880x2880, 360-degree 4K video footage. Along with the jump in resolution, the new version also includes a host of other noteworthy features. The 360fly 4k can stream live footage via the LIVIT mobile app, offers a timelapse mode where the intervals can be selected between 0.5-60 seconds and an Accelerometer Activate mode, which starts recording footage when the camera detects acceleration. celeration. This mode would

be useful for a skier, setting off on the start of a mountain run, for example. Internal memory has been expanded to 64GB and there is a built-in GPS to track where footage has been recorded. Users can even track altitude, speed and use third-party applications to overlay the data into their existing 360-degree The 360fly 4K records video content. The 360fly high-resolution footage. 4K camera has rugged credentials and is waterproof down to 30 feet – it also boasts a battery life of up to an hour and a half. Available now, the 360fly 4K costs £599.99. www.360fly.com

Manfrotto Digital Director update Manfrotto has released Version 2.1 of its Digital Director app. It adds new features for time-lapse and bracketing, an intervalometer and a depth-of-field preview to its device to turn iPads into an external DSLR monitor. www.manfrotto.co.uk

CANON LENSES

Two new w L series optics tto hit the shelves

SOFTBOXES

Interfit launches new line With 13 sizes to choose from, ranging from a 24in square model to an 84in octobox, Interfit’s new range of Professional softboxes are designed to offer a lighting solution for every scenario. Each one is made from heat-resistant polyester, rather than nylon as commonly used in low-quality softboxes. This heat-resistant material is rated to 1000-Watts, allowing photographers to use their softbox safely with virtually any flash or continuous light source. This thicker material also results in increased durability, helping the softboxes to hold their shape and rigidity through years of use. Every model in the range is shipped with UV-coated diffusers, eliminating colour-casts, and honeycomb grids as standard, reducing light spill and creating a soft and directional light with dramatic fall-off. This is the only line of softboxes available on the market to offer all of these features straight out of the box. Despite this prices are kept competitive, a 24in square model costing only £85.99. www.interfitphotographic.com

Alongside the much anticipated unveiling of the 5D Mark IV (see page 112), Canon have also revealed two new L series lenses, the EF 24-105mm f/4L IS II USM and the EF 16-35mm f/2.8L III USM. The 24-105mm focal length and f/4 aperture of the first lens is ideal for a variety of day-to-day scenes, subjects and lighting conditions, while improved 4-stop image stabilisation and quiet aperture adjustment will mean it particularly appeals to videographers. Designed for high resolution sensors, the 16-35mm f/2.8L III USM is sure to be a hit with landscape and event photographers as well as photojournalists who need to work at close distances. With its fast, constant aperture, it also makes an obvious choice for those who regularly find themselves shooting in low light. The EF 24-105mm f/4 L II USM will be priced at £1,129 and released in the fourth quarter of 2016, while the EF 16-35mm f/2.8 III will cost USM £2349, and goes on sal sale in October. www.canon.co.uk

Nikon W100 The COOLPIX line has been expanded with the 13.2Mp W100, a camera designed for adventurers of all ages. Waterproof to 10m, shockproof to 1.8m and coldresistant to -10°C, it features one-touch controls and a simplified menu. It’s available from September and priced at £129.99. www.nikon.co.uk

Student photo awards open Calumet’s Student Photographer of the Year Award 2016 is now open for entries until 14 October. Created to recognise up-andcoming talent from across the UK, there are £11,000 worth of prizes up for grabs. calphoto. co.uk/student-awards

DIGITAL PHOTO 103


5

OF THE BEST

MONITORS Serious about creating high-quality photos? Then a good monitor is one of the most important parts of your setup WORDS BY MATT HIGGS

W

hen photographers fantasise about upgrading gear they tend to think in this order: lenses, cameras, tripods, bags... and probably end up somewhere near camera straps before a new monitor creeps onto their wishlist. That’s madness, and here’s why. If you expect good results from your editing, a good monitor is vital. After all, how can you apply changes to colour and contrast if your screen isn’t displaying them correctly. That would be like trying to compose through a broken lens. You don’t need to get rid of your old monitor either; you can link the new with the old and spread your view across both.

How to choose a new screen There’s plenty to consider – how large does it need to be for comfortable viewing and what resolution? What type of input is needed? Other specifications like contrast ratio, brightness and viewing angle are also important, as are ergonomic features such as raising the height. Here are some top options...

104 DIGITAL PHOTO

EIZO

ASUS

ColorEdge CS230 £399

PA249Q £420

This affordable model packs in some great features and, though it’s aimed at entry-level users, it borrows a lot from Eizo’s higher-end displays. At 23in and with a maximum resolution of 1920x1200 (via a DV or Display Port connection; 1920x1080 with HDMI), there’s plenty of working space, but the screen’s footprint is kept to a minimum at 54x35x7.5cm. The screen has a contrast ratio of 1000:1 so there’s plenty of tonality in the highlights and the shadows areas and, as it uses an IPS type LCD display, the viewing angle is good, with little loss of brightness and colour. Unlike some models, there’s no calibration built in, but there is a Self Correction sensor which maintains settings when used with the bundled ColorNavigator software. The screen is easy to adjust in height, tilt, and swivel, and can also be used in landscape or portrait orientation.

This 24in wide-screen monitor offers a maximum resolution of 1920x1200 and, thanks to its Advanced High-Performance In-Plane Switching (AH-IPS) it claims superior colour accuracy and a bright output of 350cd/m². The default contrast ratio is also good and allied to this is ASUS’ Smart Contrast Ratio which dynamically enhances brightness according to the image content. The panel has an excellent viewing angle of up to 178º vertically and horizontally, can be pivoted through 90º, and is pre-calibrated for high colour space reproduction (99% Adobe RGB and 100% sRGB is claimed). Input options are extensive, with DisplayPort, HDMI, DVI, and D-sub as well as four USB 3.0 connections. These multiple connections allow some fun stuff like picture-in-picture display from other devices, and a joystick-style 5-Way Navigation Key makes settings easy to enter.

Quickspec

Quickspec

Screen size 23in Max. resolution 1920x1200 Contrast 1000:1

Screen size 24in Max. resolution 1920x1200 Contrast

Viewing angle 178/178° (H/V) Inputs DVI-I, DisplayPort, HDMI

(Dynamic) 80,000,000:1 Viewing angle 178/178º (H/V) Inputs

Max. height adjustment 15.4cm Dimensions

DVI-I, Displayport, HDMI, D-Sub Max. height adjustment

54.4x35.3x7.5cm Visit www.eizo.co.uk

10cm Dimensions 55.7x36.3x6.2cm Visit www.asus.com


MONITORS MINI GUIDE

“A NEW MONITOR IS OFTEN WAY DOWN A PHOTOGRAPHER’S WISHLIST, AND THAT’S MADNESS” DELL

BENQ

NEC

P2715Q £499

SW2700PT £499

Multisync P242W £549

With a 27in IPS panel design and an ‘Ultra HD’ resolution of 3840x2160 you can expect a wonderful level of detail while editing with this screen. At over 8 million pixels in total, it’s four times the resolution of a ‘Full HD’ model and the difference will be clear as soon as you switch it on. You can also look forward to bright, natural colours and tones via its 1000:1 contrast ratio, 350cd/m² output and wide gamut (99% coverage of sRGB), with a total of 1.07bn colours available. Connection to a host of devices is easy, with DisplayPort, Mini DisplayPort and HDMI inputs, plus there’s a DisplayPort Out for easy linking of monitors, and five USB 3.0 ports (four downstream and one upstream) for other devices. Ergonomically, the screen has plenty to offer, too, with height, tilt (5° forward or 21° backward), swivel and 90º pivot control. There’s even built-in cable-management for a tidier desk.

This 27in display has a ‘QHD’ resolution producing a maximum 2560x1440 view, so it offers penty of crisp detail. Colour and tonality are also excellent with a 10-bit display mode providing natural shading and smooth transitions between colours. The contrast ratio is rated at 1000:1 and in terms of colour output, 99% of Adobe RGB is achieved with a total of 1.07bn colours produced. The SW2700PT doesn’t disappoint when it comes to inputs either with DVI, HDMI and DisplayPort options on board. To quickly switch between Adobe RGB, sRGB, and Black and White (for truer monochrome editing and review), the display comes with a remote control, and there’s a hood included for more accurate calibration, and easier viewing in strong ambient light. Also onboard is hardware calibration, keeping calibration data separate from your PC’s graphics card for truer results.

With an AH-IPS 24in LCD panel and a maximum resolution of 1920x1200, this model offers a 99.6% coverage of the sRGB gamut. Contrast is rated at 1000:1 and the brightness at 350cd/m². Together with the Full HD resolution this gives richly detailed, true-to-life images with natural colour and tones. There’s a wide range of input options including DisplayPort, VGA, HDMI and DVI-D as well as three USB 3.0 ports allowing you to link with other displays or computers, and make the most of picture-in-picture options from other sources. Multiple colour spaces can be used thanks to five switchable display profiles and the monitor supports 10-bit colour signals via its DisplayPort connection. First-class ergonomics haven’t been overlooked either and alongside its swivel, tilt and a 90º pivot function, the display’s stand offers a height adjustment of 15cm.

Quickspec

Quickspec

Quickspec

Screen size 27in Max. resolution 3840x2160 Contrast 1000:1

Screen size 27in Max. resolution 2560x1440 Contrast 1000:1

Screen size 24in Max. resolution 1920x1200 Contrast 1000:1

Viewing angle 178/178º (H/V) Inputs DVI-I, DisplayPort, Mini

Viewing angle 178/178º (H/V) Inputs DVI, DisplayPort, HDMI

Viewing angle 178/178º (H/V) Inputs DVI-I, Displayport, HDMI

DisplayPort, HDMI Height adjustment 11.5cm

Height adjustment 13cm Dimensions 65.3x44.5x32.3cm

Height adjustment 15cm Dimensions 55.7x36.2x8.5cm

Dimensions 64.1x38x5.2cm Visit www.dell.co.uk

Visit www.benq.co.uk

Visit www.necdisplay.com

DIGITAL PHOTO 105


PHOTOGRAPHY BACKPACKS Never be forced to leave a lens at home again! We check out six of the market’s best full-size photo bags available for less than £160... TEST BY MATT HIGGS

I

f you’re heading outside to explore the world with your camera, a dedicated bag to carry it in is essential. Offering protection for your gear from the elements, as well as knocks and drops, camera bags help to keep your equipment close to hand and in optimum condition. While many shoulder bags would struggle to hold a professional DSLR with a 70-200mm lens attached, most photo backpacks can take one with ease, as well as plenty of extra optics and accessories. Spreading the weight of a heavy load over two shoulders, they also offer unrivalled comfort and support for sustained use. All under £160, we chose six of the best available and put them head-to-head to discover which

packed the best blend of features, protection and value. Read on to find out which took our coveted Digital Photo Gold Award...

How we did the test First, each bag was packed with a professional DSLR body and a selection of lenses and accessories. It was then taken out onto location for a day’s landscape photography, where its comfort and operation were assessed under real-world conditions and demands. Protection from the elements was then tested more rigorously by subjecting the bag to a continuous light spray of water for five minutes with its protective cover fitted.

WHAT TO LOOK FOR Protection Thicker dividers and external walls help keep gear safe from knocks and drops.

Support

PIXDELUXE / ISTOCK

Well-cushioned shoulder straps and back support are a must for sustained use.

Pockets Looking for somewhere to store accessories as well as your camera? Choose a bag that has plenty of space for personal items.

106 DIGITAL PHOTO

Capacity If you have multiple lenses you can’t bear to leave at home, look for a large, padded, internal compartment.


BACKPACK GROUP TEST

“CAMERA BACKPACKS PROTECT YOUR KIT AND MAKE IT MORE COMFORTABLE TO CARRY LARGER LENSES AND BODIES” MATT HIGGS, GEAR EDITOR

DIGITAL PHOTO 107


THINK TANK

MANFROTTO

Pro Light Bumblebee-220 £139

Trifecta 10 £136 Despite being the smallest bag featured, Think Tank’s Trifecta 10 is both a highly competitive and affordable option. Its secure internal space with padded and adjustable dividers can safely store a DSLR with 70-200mm lens and between 2-4 additional lenses. Full access to this area is via its back panel, while two side zips can also be used to access one half of this space in its shipped configuration. The bag’s top compartment, while not the largest, will store a light jacket or some lunch with ease, while a pouch for a tablet up to 10in is built into the rear. Several smaller pockets found throughout the bag

will hold plenty of spare batteries or memory cards, while a large netted area on its front is designed to hold a travel tripod with the aid of an accessory strap. Thanks to plenty of padding on its back and shoulder straps, the Trifecta 10 offers very comfortable use, even when packed full. A separate rain cover protects the bag’s contents reliably, while all of its exterior fabric has been treated with a durable waterrepellent (DWR) coating for extra protection. Perhaps not as stylish in its design as some of its rivals, this well-made and practical bag would suit those with CSC and smaller DSLR setups.

Offering the greatest capacity in the test, the Bumble-220 can impressively hold two DSLRs and up to 7 lenses, including one attached up to 500mm with its tripod mount dismantled. Very well padded and featuring two removable cocoon pouches alongside its dividers, the main space is accessed via a zip on the bag’s front. Larger than its rivals, it remains small enough to be taken on as hand luggage on most airlines. Full-size laptops (up to 17in) can be fitted into a dedicated compartment at the back of the bag, while an accessory cup can be attached to hold a tripod. An

This bag can take laptops up to 17in.

The Trifecta 10’s design allows quick access though either side.

Verdict PROS Offers fast access to gear, comfortable to use CONS One of the smaller internal spaces on offers

108 DIGITAL PHOTO

array of pockets on the bag’s side and front will hold a vast amount of personal effects and accessories. The Bumblebee-220 has foam harness straps, which may appeal to some users, but sat less comfortably than fabric straps on my shoulders during testing. A sternum strap and padded waist belt are a welcome addition though, aiding support with the bag crammed full. Manufactured to a high quality, its materials have been treated with a water-repellent coating, while a separate rain cover comes shipped with it. Other than a slight gripe with its straps, this bag is a fantastic offering.

DESIGN & BUILD CAPACITY CITY COMFORT VALUE FOR MONEY OVERALL SCORE

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Verdict PROS Greatest capacity on offer, removable cocoons CONS No quick access, straps could be more comfortable

DESIGN & BUILD CAPACITY CITY COMFORT VALUE FOR MONEY OVERALL SCORE

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BACKPACK GROUP TEST

VANGUARD

TAMRAC

Anvil 17 £149

The Heralder 48 £139 If your looking for a bag that will hold a range of electronics and not just your camera, the Heralder 48 may be the perfect fit. Alongside padded space for a pro DSLR with 70-200mm attached and up to four additional lenses, it has dedicated compartments for both a 15in laptop and tablet, and a pouch on its strap for a smartphone. The main internal space can be customised with internal dividers and is accessed through a front zip, while a zip on its side provides quick entry to the camera. The top third of the bag is set aside for personal items, however, only separated by a divider, it’s better suited for

a jacket than small accessories. Alongside several pockets on its exterior, the Heralder 48 features a pullout tripod pocket on its side, and a removable accessory pouch that comes inside the bag. A waterresistant material at the bottom of the Heralder 48 protects items when it’s placed on the ground, while a rain cover pulls out from its base to shield it from the elements. Very well padded, the back panel, shoulder straps and waist belt ensure comfortable sustained use. A solid all-rounder for tech lovers, but one that falls just slightly short of the greater protection and capacity offered by some rivals.

The bag’s back support and straps feature a meshed ‘Air System’ that aid air circulation.

Verdict PROS Lots of dedicated space for laptops and tablets CONS Small storage area for cameras and lenses

With its professional-looking styling, the Anvil 17 can store 2 camera bodies and up to 5 lenses with ease, including a 70-200mm. With no quick access like some of the other bags on test, access to its internal compartment is via a zip on its front. This main space features some reassuringly tough feeling and well-padded internal dividers, which should offer great protection. On the underside of the front flap are three slim clear pockets, ideal for batteries and memory cards etc. A full length pocket on the front of the bag offers adequate, but not amazing protection for a laptop up to 15in in size or other larger items.

In front of this sit three further pockets for camera accessories and personal items. With a quick release strap, a travel tripod can be attached to the bag for transportation. While the shoulder straps and back of the bag feature plenty of cushioning for support, its heavily padded waistband did make its use slightly uncomfortable, pushing into the lower of the back. Thankfully this can be removed as desired. Manufactured from weather-protected materials, the bag comes with a separate rain cover. A well-made and subtle camera bag that is only really left lacking in terms of its comfort.

Tamrac’s range of Arcc accessory pouches and lens cases ases can be attached ached to the Anvil 17.

DESIGN & BUILD CAPACITY CITY COMFORT VALUE FOR MONEY OVERALL SCORE

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Verdict PROS Stylish design that offers solid protection CONS No quick access, uncomfortable waist belt

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© Rodrigo Diaz Wichmann

WARRANTY


BACKPACK GROUP TEST

TENBA

LOWEPRO

ProTactic 350 AW £153 Uniquely, the ProTactic offers four access points to its main compartment that keeps all of your gear close to hand. The bag has a turret-loading top, quick access panels on both sides, and secure entry to the entire space on the rear. Internally, there’s enough protected capacity for two DSLRs and up to four lenses as well as a flashgun and accessories. On the underside of the rear panel there are several pockets for smaller items, while another pocket is built into its top, and two small pouches can be found on the removable waist belt. Bundled with the ProTactic 350AW are a water bottle

Shootout 18L £159

pouch, accessory case, tripod cup and cinch straps, all of which can be attached to the bag’s external webbing as desired. Despite lacking the same level of padding as some rivals, the bag’s shoulder straps provide comfortable use, while its ActivZone system ensures excellent support for the shoulder blades and lumbar. A rain cover is built in, while the materials used in the bag’s construction feel pleasingly durable. Manufactured to a high quality, this bag combines a solid though not group-leading capacity, with excellent ergonomics and an innovative design. It convincingly takes our Gold Award.

A 13in laptop can be slotted into a dedicated compartment built into the bag’s back panel.

Verdict PROS Comfortable to use, innovative modular system CONS Capacity falls short of some rivals

It may be compact, but the Tenba Shootout 18L is a refined proposition. Its pivot-fit harness straps automatically adjust to different shoulder shapes, and when combined with Airflow back support padding and a waist strap, ensure ergonomic use. The bag has one main internal compartment that can be customised with numerous dividers to hold up to two DSLRs with three to four lenses. A side zip enables quick access to a camera, while a front zip reveals the whole space. On the reverse of its side and top flaps are several small accessory pockets, and while there is no secondary compartment

internally, a deep pocket on the bag’s front is large enough for a light jacket. Two butterfly pockets also on the front take further accessories, while a removable memory card pouch and microfibre cloth come bundled in its price. Built into the back panel is space for a tablet or laptop up to 13in, while a tripod can be attached to the bag’s side. A rain cover is hidden in the abrasion and moisture resistant base, while the rest of the bag is manufactured from water-repellent twill and ripstop nylon. While it lacks the capacity of the Manfrotto, the Shootout’s build quality and comfort impress.

With an abundance of abundanc internal dividers divider the Shootout Shoot 18L can be customised for f any setup.

DESIGN & BUILD CAPACITY CITY COMFORT VALUE FOR MONEY OVERALL SCORE

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Verdict PROS Comfortable support, very well manufactured CONS Lower capacity than some rivals

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THIS IS MARK IV

CANON 5D MK IV / £3629 / RELEASE DATE SEPTEMBER

The wait is over as Canon unveils the hotly anticipated update to its popular 5D line WORDS BY MATT HIGGS

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eplacing 2012’s Mk III, the longawaited EOS 5D Mk IV offers wideranging additions and improvements over its forebear, which should cement its place at the top of many Canon shooters’ wishlists. Standout features include a brand new 30.4-megapixel CMOS sensor that’s claimed to offer an exceptionally wide exposure latitude, internal 4K recording, built-in Wi-Fi and GPS. So what else does this landmark camera have to offer?

Features Previous to its official announcement, the rumours surrounding the EOS 5D Mk IV’s resolution were diverse and hotly debated. At 30.4Mp, it’s now clear that its sensor has seen an increase of roughly 36% over the 5D Mk III, with its new pixel count putting it more in line with Nikon’s 36.3Mp D810. It’s also the first EOS camera to feature Canon’s new Dual Pixel RAW file format, which is touted to 112 DIGITAL PHOTO

‘allow photographers to fine-tune images in post-production by adjusting or correcting the point of sharpness, shifting the foreground bokeh or reducing image ghosting’. This sensor is paired with a DIGIC 6+ processor, the same type as that found in the flagship 1D X Mk II. A new native ISO range of 100-32,000 is available, while burst shooting has also seen

-2EV, the Mk IV’s continues to operate at -3EV during viewfinder shooting, or -4EV in Live View mode. This is something that will please those who often find themselves working in low light situations. This camera also enables f/8 AF with all 61 points, including 21 cross-type for greater precision, a welcome addition for wildlife photographers using

“WITH IMPRESSIVE IMPROVEMENTS ACROSS THE BOARD, THERE’S A LOT TO TEMPT USERS TTO UPGRADE FROM THE MK III OR TO TRADE UP FROM OM AN APS-C CANON C DSLR” a slight improvement at 7fps for an unlimited amount of JPEGs or 21 RAWs. Like the 5D Mk III before it, this camera has a phase-detect autofocus system with 61-points of which 41 are cross-type, albeit now with a greater coverage of the frame and dual pixel AF technology as found on the 1D X Mk II. While the Mk III’s system operated down to

teleconvertors. Additionally, the camera features an advanced 150K RGB+IR metering sensor for accurate exposures, and has ‘silent high’, ‘silent low’ and ‘silent single’ shooting modes, keeping noise minimal when needed. Internal 4K video recording at 30fps has been added with a maximum duration of just under 30mins. From this footage it’s possible


CANON 5D MK IV The 5D Mk IV offers improved burst shooting speeds and buffer capacity.

A wide exposure latitude would make scenes like this much easier to capture.

The rear display is now touchscreen.

to grab 8.8Mp JPEG stills. Full HD video can also be captured at 60fps, while lower resolution footage can be recorded at 120fps. Combined with inputs for a microphone and headphones, these specs will ensure the camera will appeal to videographers. An optical pentaprism with 100% coverage has been paired with a 1620K-dot -dot 3.2-inch LCD for composition. omposition. This display y has full touch-panel operation tion across all of the camera’s era’s menu systems. Other new ew features come

Connectivity has been improved with Wi-Fi, NFC and GPS inbuilt.

in the shape of built-in Wi-Fi that enables remote operation and secure file transfer (FTPS/FTP) via a smart devices using the Canon Camera Connect app, and NFC which provides instant connection between compatible devices. The GPS tags each image’s EXIF data with the camera’s current longitude, latitude, elevation, and Coordinated Universal Time. Enhanced water and dust resistance will endear this camera to those working in challenging terrains, while it’s also slightly lighter than the Mk III at 890g (body only).

Early verdict With improvements across the board, there’s a lot found in the 5D Mk IV to tempt users to upgrade from the Mk III or move up from an APS-C Canon. That said, at £3629 (body only), it’s a more expensive camera than the brand’s 50.6Mp 5DS and 5DS R DSLRs. Some may also be surprised there hasn’t been greater advancements in things like its burst capabilities, but with improved autofocusing, video options, and the intriguing Dual Pixel RAW format, we’re still counting down the days until we can give it a full test.

Quickspec Street price £3629 body only

ISO Native 100-32,000 with

tracking for 21 RAWs

Storage Compact flash and SD/

Release Date September

50- 102,400 expanded

Monitor 3.2in 1620K-dot Clear View

SDHC/SDXC slots

Resolution 30.4Mp

Shutter 30-1/8000sec & Bulb mode

II touchscreen LCD

Weight 890g (body only)

Format RAW & JPEG

AF system 61-point phase detect

Viewfinder Optical Pentaprism

Dimensions 151x116x76mm

Sensor Full-frame CMOS with

with 41 cross-type points

Video 4k at 30fps, 1080p at 60fps

(WxHxD)

primary colour and low-pass filters

Burst rate 7fps with AF/ AE

Connectivity Wi-Fi, NFC and GPS

Visit www.canon.co.uk

DIGITAL PHOTO 113


GADGETS&GIZMOS We review the latest photo accessories to hit the shelves TESTS BY MATT HIGGS & MATTY GRAHAM Using the software’s intuitive selection tools and preset options, dramatic edits can be applied to images in minutes.

EDITING SOFTWARE / FROM £29.95

LandscapePro Features es Style presets, sky replacement, light and time of day changes Visit www.landscapepro.pics

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reated by Anthropics Technology, the company behind the popular Portrait Pro series of applications, LandscapePro is a piece of software designed to simplify and speed up the processing of landscape shots. While the Standard edition (£29.95) supports JPEGs and works standalone, the Studio Edition (£49.95) can handle RAWs and DNGs too, and also operates as a plug-in for Adobe Photoshop, Lightroom and Elements. With an intuitive and straightforward interface, users first choose a file for editing,

Landscape Pro is best used alongside your existing editing software.

114 DIGITAL PHOTO

and then label the landscape’s features in an image by dragging tags over them, such as Sky, Water, Rocks etc. These areas are then automatically and individually selected, with several tools allowing any edges to be refined if needed. This system makes quick localised adjustments possible later on, while in a final

complete with starry sky. Each previously selected area can also be dramatically edited individually with a series of adjustments that can effortlessly transform the look of the landscape. In practice though, the default intensity of most global effects have to be reduced for natural looking results, while for

“PRESETS VARY FROM MONO CONVERSION ONVERSION TO MORE DRAMATIC EFFECTS THAT ADD CLOUDS OR A STARRY SKY TO A SHOT” selection step a horizon line is specified. Once these selections have been fine-tuned and confirmed, onfirmed, an editing window with modules for adjustments is entered. Similar to Lightroom or Camera RAW, most of the adjustments available are attached to either a slider or activation box that keeps their control simple. Alongside basic exposure and white balance corrections, there are options to reduce the impression of depth in a photo or apply a vignette. A Global Presets option includes 17 effects that can be applied att the click of a button to the whole shot. Presets vary from simple mono conversions and subtle saturation enhancements, to more dramatic effects that add clouds to a shot, or even produce a day-to-night transformation

seamless local adjustments, selection refinement is almost always essential. This all means for truly professional looking results, it’s likely you’ll still need to be using additional software alongside LandscapePro to add the final layer of polish to your files, despite the powerful features it packs. A free trial of Landscape Pro for Mac or PC can be downloaded from it’s website at www.landscapepro.pics

Verdict Fun to use, Landscape Pro is a fantastic way to try out complex edits quickly. In fact, it’s with its most dramatic effects like sky replacement that it really shines, rather than subtle adjustments.

Rating

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TRIED&TESTED Used. Abused. Rated

TRIPOD HEAD / £379

Nissin Universal shoe cord SC-01 £39.99

Gitzo Series 3 Ball Head

Matty says Enabling me to position my flashgun off-camera, this 1.5m cable with dual hotshoes opens up a world of creative lighting possibilities. Compatible with Canon, Fuji, Nikon, Pentax and Samsung cameras and flash units, it lives in my kitbag and comes on every shoot I do. www.nissindigital.com

Features Safely supports loads of up to 18kg, takes Arca-Swiss style plates Visit www.gitzo.co.uk

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f you’re looking for the kind of tripod head that can hold virtually any setup with ease, and still provide silky smooth movement and adjustment, then look no further. What the ‘Center Ball Head Series 3 Quick Release D’ (GH3382QD) lacks in affordability and a catchy name, it certainly makes up for in its near-faultless engineering. Supporting loads of up to 18kg, its ball is treated with a Tungsten Disulfide coating that minimises the jerky ‘stick-slip’ movement seen on some cheaper heads. A friction dial and lock control the speed of this movement, and tighten to a strength that we couldn’t budge (despite trying) during testing. A separate pan lock also sits on the side, while at the top of the head is a bubble level for straight horizons in landscape orientation. Featuring a quickrelease adaptor, it’s compatible with all of

Gitzo’s D profile plates and fits most ArcaSwiss plates from other brands. Manufactured predominately from aluminium it weighs in at 770g. Pair this head with a Pro tripod and never be left frustrated by camera creep or composition control again.

Verdict The GH3382QD puts in a professional performance, but carries a price tag to match.

Rating

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PHOTO BOOK / FROM £9.90

White Wall photo book Features es A range of premium paper types

Visible Dust EZ CurVswab Kit £27.99 Matt says Regularly cleaning your camera’s sensor is one of those things that often gets overlooked, but can have a huge impact on the image quality that you capture. I’ve been using this CurVswab kit recently that comes complete with swabs and liquids for a tip-top clean that ensures every photo I capture is as pristine as can be. www.visibledust.co.uk

and cover finishes Visit uk.whitewall.com

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hitewall has built a reputation for itself as one of the most popular online print labs, but up until now, photo book creation has been missing as a service it offered. Now producing books starting from £9.90, we tested a ‘Standard Landscape’ hardcover book with a matte cover finish that cost £32.90 with 24 pages. Measuring 21x29.6cm, this book featured the company’s standard glossy paper and white book end pages, but premium gloss, matte and uncoated page options are also available at a premium, as are handmade bright white book ends. There are two methods for designing the book – PDF submission aimed at pros, and a browser based book wizard that keeps creation simpler. This online book creator has lots of templates for page layout, and allows

the import of photos from a hard drive or social media accounts such as Facebook and Flickr. Simple to use, it’s as intuitive as any of the similar programs offered by rivals. Upon delivery of our book we were impressed by the print quality, easily bettering that of some of the more affordable online book producers, with rich colours, deep blacks and plenty of detail.

Verdict One of the better photo book creators, only beaten in quality by digitally exposed options.

Rating

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Lexar Multi-card 25in-1 reader £15.99 Matty says I picked up this 25-in-1 card reader several years ago, and barely a day has gone by since that I haven’t used it. Compatible with all of the most popular memory card formats, it can handle the transfer of files through its USB 3.0 connection at speeds of up to 500MB/s. It features a pop-up mechanism that allows you to protect the card slots when not in use. www.lexar.com

DIGITAL PHOTO 115


LED LIGHTING / £299

Manfrotto Lykos daylight Features es 1600lux at 1m output, 5600K colour temperatur temperature, weighs only 426g Visit www.manfrotto.co.uk

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icking out an impressive 1600lux aat 1m, the Lykos daylight is Manfrotto’s m most powerful unit in its LED range. Providing wide and constant illumination, it’s effective at far greater distances than many smaller panels. The current brightness level is displayed on a full-colour LCD on its rear, and can be dimmed using a dial on its side. Balanced for daylight with a colour temperature of 5600K and a CRI (Color Rendering Index) accuracy of 93%, it’s perfect for use as a main or

“THX LYKOS IS MANFROTTO’S MOST POWERFUL UNIT IN ITS RANGE OF LED LIGHTING” secondary light source alongside natural light. Two orange filters also come bundled that allow its colour temperature to be warmed up for use alongside artificial light sources without colour casts. The new generation SMT (Surface-Mount technology) it takes advantage of is claimed to ensure long LED life, energy efficiency and flicker-free functionality. Powered by an AC adaptor, it’s

WIN

A Plustek ePhoto Z300! We have two to give away

The ePhoto z300 will scan an A4 sc print in 5secs.

116 DIGITAL PHOTO

The Lykos daylight is designed for both photography and video use.

This constant light is ideal for still-life shoots.

also compatible with Sony’s Li-ion L-Type mount batteries (not included) and, with an optional Bluetooth dongle (£79), it can be controlled via an iPhone or iPad. A ball head comes with the Lykos daylight, and features a coldshoe and thread for attachment to a light stand or camera. Extremely lightweight at just 462g and measuring 26x15x4 (WxHxD) it remains very portable despite its output.

Verdict There’s no doubting the power or portability of the Lykos daylight but, for the price it’s a shame that Bluetooth connectivity isn’t built-in and there’s no bundled battery for wireless use.

Rating

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PRINT SCANNER / £186

Plustek ePhoto Z300

S

pecifically designed to digitise printed photos without damaging them, the Plustek ePhoto Z300 gently scans prints up to 8.5x11in at 300DPI. Just place your photo or document into its sheet eet feeder, and the device detects and d scans instantly, the whole process ess taking 2secs for a 4x6 photo o or 5secs for an A4 one. It even en automatically recognizes standard dard sizes, and corrects for any y possible skewing. Mac and PC compatible, ompatible, it comes with the brand’s newly designed ePhoto

software, allowing scanned photos to be quickly edited with variety of adjustment tools, and shared to online social networks. This impressive software can even turn documents into searchable PDF file formats! Measuring just 29 x16cmx15cm (WxDxH) and weighing less than 1.5kg, it’s the ideal size for homes and small offices. www.plustek.com For your chance to be one of two lucky winners, email dp@bauermedia.co.uk with the subject line ‘I want an ePhoto Z300’ and include your name and address in the message. Closing date 20th October.


that really adds up Did you know the average cost of a funeral in the UK is now £3,693? It has almost doubled in 11 years.** With today’s hectic lifestyle, we reckon you’d rather spend your time enjoying life than worrying about life cover. But it’s worth thinking about sooner rather than later, so we created the SunLife Guaranteed Over 50 Plan – no-nonsense life cover that can provide a cash gift or help towards funeral costs. We’ve got you covered. We guarantee it. If you’re 50–85, we guarantee to accept you, with no medical. And your guaranteed cash sum is payable on death, provided you’ve paid into the plan continuously, and for at least two years. If you stop paying, your plan ends

of

+ + + +

Say 90% r s e our c us t o m

*

Effortlessly effective life cover

+

THE GUARANTEED OVER 50 PLAN

and you get nothing back. Also, remember you could pay more in than the plan pays out, depending on how long you live. And, as the cash sum is fixed, inflation will reduce its value over time. The UK’s No.1# The SunLife Guaranteed Over 50 Plan is the nation’s favourite, with more than 880,000† people choosing this cover. And 94%†† of new customers say they’d recommend us – maybe that’s because our plan is so straightforward and affordable – or, as we call it straightfordable.

First month FREE

Worry-free life cover for your peace of mind: You choose how much you want to leave Fixed monthly premiums never pay a penny more

Take a minute to apply online It’s simple and straightforward, and you’ll get a quote in less than 60 seconds. Visit sunlife.co.uk/press to find out more.

From less than £4 a month among the most affordable of its kind

Choose a gift card◊ worth £75 when you take out a plan:

◊ Terms and conditions apply.

Quote:

0800 169 2044 Call FREE today 179777 sunlife.co.uk/press Visit us online

Free pen (RRP £9.99)

Cover provided by AXA Wealth Ltd. **Average of quotes for standard funeral arrangements from a sample of funeral directors. SunLife Cost of Dying Report June 2015. *SunLife Continuous Research Program 2015, based on a sample of 752 new policyholders. #Most popular whole of life guaranteed acceptance plan bought directly. ABI statistics – 12 months up to 31.12.2015. †As at 25.02.2016. ††Source - SunLife Continuous Research Program, New Policyholders Mar 2016, based on a sample of 150 new policyholders. ‡Amazon.co.uk is not a sponsor of this Programme. For complete Gift Card terms and conditions, see amazon.co.uk/gc-legal. All Amazon ®, ™ & © are IP of Amazon.com, Inc. or its affiliates AXA Wealth Services Ltd, trading as SunLife, distributes financial products and services. AXA Wealth Services Ltd is authorised and regulated by the Financial Conduct Authority and is entered on the Financial Services Register (registration no. 465753). Registered office: 5 Old Broad Street, London EC2N 1AD. As part of SunLife’s commitment to quality service and security, telephone calls may be recorded.

Prefer the post? Fill in this coupon to request your information pack Complete and send in a sealed envelope to FREEPOST SUNLIFE. You don‘t need to add a stamp, address or postcode. PLEASE TICK

Mr

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FULL NAME

ADDRESS TEL. NUMBER INC. AREA CODE

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The Guaranteed Over 50 Plan is only available to UK residents aged 50-85

We may use this to send you marketing information

Use of your personal information: AXA Wealth Ltd and AXA Wealth Services Ltd will use the information you provide to respond to your enquiry. For information about how AXA Wealth Ltd and AXA Wealth Services Ltd use and share your personal information you can find a copy of SunLife’s Privacy Policy at www.sunlifedirect.co.uk/privacy-policy. If you don’t have internet access call us and we’ll post you a copy. By returning this coupon you consent to this use of your personal data. From time to time, we’d like to send you details of special offers and information about products and services of ours and other companies within the AXA Group by post, phone, email or text. If you do not want us to contact you for marketing purposes, either call us on free phone 0800 904 7652 or write to PO BOX 7054, Willenhall WV1 9ZH. Ref: 179777 DigitalPhoto08Sep16


PHOTO PRINTING / FROM £4.78

Lumejet Landscape Print Features es High-quality prints on a range of papers Visit www.lumejet.com

T

hanks to the internet it’s now simpler and more affordable than ever to have professional prints of your favourite images produced. Using their own uniquely developed S200 printers, Lumejet can make borderless copies of digital files at sizes of up to 39”x12”, using a premium 400dpi silver halide process. Prices begin at £4.78 for a single 8x6in print, and significantly reduce as the number of reprints of a file is increased. A free trimming service is also on offer, should the default dimensions of print sizes available not meet your needs. After uploading our images to Lumejet’s browser based software, we opted for several 16x10in prints on Fujifilm Crystal

Archive DPII Matte and Gloss paper types. This system was straightforward straightfor to navigate, and featured a warning system sy that notified users if a file’s resolution was too low for the selected selec print size. Text could also be added to an image imag if desired, while the current creation could be saved as a project for the future, should you decide to complete the order process at a later date. Upon delivery, we were left highly impressed by the finish quality of both the mono and colour files that we submitted. Perhaps this is something that shouldn’t have come as a shock though, given all prints are manually checked and inspected before leaving Lumejet. Unlike the halftone

prints offered by some som cheaper services, images were pleasingly smooth with no visible dot structure, details appeared crisp, colours vivid and blacks deep.

Verdict Impressive quality print production at highly competitive prices.

Rating

✪✪✪✪✪

FLASHGUN ACCESSORY / £49.95

Lastolite Ezybox Speed-Lite 2 Features es Two diffusion layers, folding mechanism for fast set-up Visit www.manfrotto.co.uk

B

uilding on the success of the original Ezybox, the SpeedLite 2 is a portable Softbox designed to fit directly onto the front of almost any flashgun. With two removable diffusion layers which can be used individually or combined, it reduces the intensity of light by up to 2 stops for softer more flattering subject illumination and improved catchlights in eyes. While the first Ezybox was attached via several Velcro straps, the new design incorporates a single silicon strap and tensioning dial for a more secure fit. It

now also sits higher on the flashgun, making it easier to adjust the angle of the head and ensuring that it doesn’t obstruct the unit’s AF-assist beam an and metering sensors. 22x23cm assembled, a n new mechanism which incorporates hinged side incor walls allo allows the Speed-Lite 2 to ccollapse down in a split second for easy secon transportation in its transpor included carr carry case. Manufactured from a Manufac durable ripst ripstop material and 30% lighter light than the previous model, it weighs prev only 250g. Suitable for use on flashguns on an and off camera, this lightweight cam

Verdict A refined improvement over the original Ezybox Ezybo Speed-Lite, this highly effective lighting accessory ac remains small and light enough to pack into int a kitbag.

Rating 118 DIGITAL PHOTO

✪✪✪✪✪

softbox would be an ideal accessory for on-location event photography and strobist set-ups. A lighting accessory we wouldn’t hesitate to recommend.

This new model features a silicon strap combined with a tensioning dial for a secure fit on your flashgun.


ACCESSORIES

Photographic Backgrounds Hard wearing l low crease l Washable

STUDIO HIRE ww

TH SI E GN NE U au NOW WSL P TO ls- A ETT st T ER

w. p

ud

io

.co

.u

STUDIO ONE TO ONE COURSES AVAILABLE

k

To place

classified advertisement contact: Zaher Khan on 01733 366404

RETAILERS

Plain 8’ x 8’ ..... £15 8’ x 12’ ... £24 8’ x 16’ ... £29

plus P&P plus P&P plus P&P

cloudEd 8’ x 8’ ..... £27 8’ x 12’ ... £44

10 colouRs inc black, WHitE & cHRoma colouRs Model: Bexie Williams

your

20 colouRs

plus P&P plus P&P

sPEcial oFFER: 8 x 12 cloudEds 2 FoR £80 oR 3 FoR £115

01457 764140 for a FREE colour brochure or visit...

www.colourscape.co.uk HOLIDAYS & COURSES

• BASIC STUDIO STARTER • PORTRAIT & STUDIO LIGHTING • BASIC STUDIO STARTER COURSE • GLAMOUR & NUDE • BOUDOIR PHOTOGRAPHER PRIMER COURSE • ART NUDE CREATIVE COURSE • NUDE, EROTIC & ADULT COURSES • CUSTOM COURSES • ALL COURSES AVAILABLE WEEKDAYS EVENTS & WEEKENDS “I thoroughly enjoyed the course the other evening. The model was charming and I got out of the course everything I had hoped. From a pleasant and enjoyable experience point of view I cannot make any suggestions to improve it. You hit the nail on the head with my expectations, but with others you may like to ask them to give you their expectations on a mail before they arrive and then you can modify to suit.” Gary “The course easily catered for me as a studio beginner. Nothing was taken for granted, without teaching me how to such eggs! The model Paul had chosen, was the most patient person on earth and kept smiling throughout the shoot. At the end of my time I left with a lot of excellent photos and a confidence to carry on with this type of photograpy”. Sam

WWW.PAULS-STUDIO.CO.UK STUDIO@PAULS-STUDIO.CO.UK 07930 462906 •STUDIO HIRE • MODEL PHOTO SHOOTS • STUDIO EVENTS • GLAMOUR & NUDE LOCATION GROUP SHOOTS

HOLIDAYS & COURSES

4x4 Off-Road Deer Photography Safaris With Sussex Wildlife Trust photographer David Plummer

www.davidplummerimages.co.uk

With exclusive access to the Knepp Wildlands Project Booking now for the October Rut 01273 49 47 53 or 07957 484 737


Finance example: 12mths, 0% APR: Cash Price £1475, 10% Deposit £147.50, Monthly Payment £110.62, Total Amount Payable £1475. • 24mths, 9.9% APR: Cash Price £1475, 10% Deposit £147.50, Monthly Payment £60.93, Total Amount Payable £1608.82 36mths, 19.5% APR: Cash Price £1475, 10% Deposit £147.50, Monthly Payment £47.95, Total Amount Payable £1873.70 See website for details: www.uttings.co.uk/Information/Finance. Finance is subject to status, terms & conditions apply.*

*Consumer credit service provided by Pay4Later in association with Close Brothers Retail Finance. Pay4Later is licensed by the Financial Conduct Authority (Consumer Credit Licence: 0616240) Finance provided by Close Brothers Retail Finance is a trading name of Close Brothers Limited10 Crown Place, London EC2A 4FT.


See website for Remotes, Batteries & Chargers

See website for more lenses

E+OE Prices subject to change. Goods subject to availability

See our website for full details & specifications


Mail Order :

01803 852400 info@mifsuds.com Email -

U.K. Stock Only

www.mifsuds.com

PHONE LINES OPEN

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

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

MON -SAT 9am - 4pm, 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

NEW FROM CANON Canon EOS 1DX MKII Full Frame

Full Frame

Body only price

£198

APS-C

Plus 18-55 STM Plus 18-135 STM

£578 £718

Body only £1388

Body only £2144

Plus 24-120 f4 VR

MBD-12 Grip (D810/800/E) £279

MBD-16 Grip

Nikon D7200

Nikon D5500

£348

Nikon 24-70mm

£8888

X-T2 blk + 18-55mm ........... £1649 X-T2 body Black .................... £1399 Above items pre-order X-Pro 2 body .......................... £1348 X-Pro 2 X-T1 blk + 18-135mm ......... £1079 X-T1 blk + 18-55mm ........... £1049 X-T1 body Black .......................£799 X-T10 + 18-55mm ...................£715 X-E2S X-T10 body Blk/silv.................£449 X-E2S + 18-55mm ...................£729 X-E2S body ................................£548 10-24mm F4 XF .......................£768 100-400 f4/5.6 14mm F2.8 XF R .....................£668

£228

£885 Plus 18-55 VRII £198 Plus 18-140 VR

f2.8 AFS G ED VR

f2.8 G E FL ED VR

£1946

APS-C Body only £489

£1747 Nikon 400mm

Body only price

£348 Full Frame

Full Frame

MBD-15 Grip

APS-C

Plus 18-55 IS II

Nikon D750

Nikon D810

Plus 18-105 VR

Nikon D500

BG-E18 Grip £115

Canon EOS 1300D

APS-C Body only £746

£5198

More Sigma on website

£548

BG-E18 Grip £115

Nikon D5

105 F2.8 EX DG OS HSM . £329 150-600 F5/6.3 OS Contemporary . . . . . . . £739 150-600 F5/6.3 OS Sport£1199

APS-C

Body only

Canon EOS 750D APS-C Body only £478 £1088 £1328

£129

Canon EOS 760D

APS-C Body only

BG-E16 Grip

NEW FROM NIKON

50-100 F1.8 DC HSM Art . £829

£215 BG-E13 Grip

£1177

Body only price

10-20 F3.5 EX DC HSM . . . £329 18-35 F1.8 DC HSM Art . . £549 20 F1.4 DG HSM Art . . . . . £629 24 F1.4 DG HSM Art . . . . . £599 24-35 F2 DG HSM Art . . . . £699 35 F1.4 DG HSM Art . . . . . £598 50 F1.4 EX DG HSM Art . . £569

CANON EF FULL FRAME LENSES

Full Frame Body only

Canon EOS 7D MKII

£555 £699

Nikon 200-500mm

f5.6 AFS E ED VR

£1169 Nikon 500mm

f4 AFS FL ED VR

£8099

16mm F1.4 XF ..........................£768 16-55mm F2.8 ..........................£848 18mm F2 XF..............................£379 18-55mm F2.8/4 OIS .............£468 18-135mm F3.5/5.6 XF..........£618 23mm F1.4 XF ..........................£688 27mm F2.8 XF ..........................£278 35mm F1.4 XF ..........................£428 35mm F2 R WR.........................£299 50-140mm F2.8 R OIS ......... £1158 50-230 F4.5/6.7 OIS ................£247 55-200mm F3.5/4.8 OIS XF..........................................£528

CANON EF-S NON FULL FRAME LENSES 10-18 F4.5/5.6 IS STM . . . . . . . . . . . . £198 18-55 F3.5/5.6 IS STM no box . . . . . .£139 18-135 F3.5/5.6 IS U Nano . . . . . . . . .£448 18-135 F3.5/5.6 IS STM no box . . . . . . .£279 24 F2.8 STM . . . . . . . . . . . . . . . . . . . . . .£128

Body only £2697 Canon EOS 6D £1298

BG-E11 Grip

APS-C

MBD-17 Grip

Canon EOS 5Ds

Full Frame

Plus 24-105 f3.5/5.6 IS £1578

Canon EOS 80D

£1728

Body only £2888 Canon EOS 5D MKIII £2298

£5198

Plus 18-55mm Plus 18-135mm

Full Frame

Full Frame Body only

Body only price

£998

Canon EOS 5Ds R

11-24 F4 L USM . . . . . . . . . . . . . . . . . £2789 16-35 F4 L IS USM. . . . . . . . . . . . . . . . .£698 17-40 F4 L USM . . . . . . . . . . . . . . . . . . .£548 20 F2.8 USM . . . . . . . . . . . . . . . . . . . . . .£389 24 F1.4 L II USM. . . . . . . . . . . . . . . . . £1158 24 F2.8 IS USM . . . . . . . . . . . . . . . . . . . .£449 24-70 F2.8 L II USM. . . . . . . . . . . . . . £1458 24-70 F4 L IS USM. . . . . . . . . . . . . . . . .£674 24-105 F3.5/5.6 IS STM . . . . . . . . . . . .£369 24-105 F4 L IS USM no box . . . . . . . .£699 28 F2.8 IS USM . . . . . . . . . . . . . . . . . . . .£388 35 F1.4 USM LII . . . . . . . . . . . . . . . . . £1798 35 F2 IS USM. . . . . . . . . . . . . . . . . . . . . .£377 40 F2.8 STM . . . . . . . . . . . . . . . . . . . . . .£148 50 F1.2 L USM . . . . . . . . . . . . . . . . . . £1097 50 F1.4 USM . . . . . . . . . . . . . . . . . . . . . .£268 50 F1.8 STM . . . . . . . . . . . . . . . . . . . . . . . £96 70-200 F2.8 IS LII USM. . . . . . . . . . . £1598 NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . . . . . . . .£548 10-24 F3.5/4.5 AFS G . . . . . . . . . . . . . .£638 16-80 F2.8/4 AFS ED VR. . . . . . . . . . . .£766 16-85 F3.5/5.6 AFS VR . . . . . . . . . . . . .£498 18-55 F3.5/5.6 AFS VR . . . . . . . . . . . . . . £99 18-105 F3.5/5.6 AFS G no box . . . . . .£199 18-140 F3.5/5.6 AFS VR . . . . . . . . . . . .£399 18-300 F3.5/6.3 AFS VR . . . . . . . . . . . .£548 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . .£169 40 F2.8 AFS G macro . . . . . . . . . . . . . .£209 55-300 F4.5/5.6 AFS VR . . . . . . . . . . . .£268 NIKON FX FULL FRAME LENSES 14-24 F2.8 AFS G ED. . . . . . . . . . . . . £1459 16 F2.8 AFD Fisheye . . . . . . . . . . . . . . £624 16-35 F4 AFS VR . . . . . . . . . . . . . . . . . .£899 18-35 F3.5/4.5 AFS G . . . . . . . . . . . . . .£549 20 F1.8 AFS G ED. . . . . . . . . . . . . . . . . .£579 24 F1.4 AFS . . . . . . . . . . . . . . . . . . . . . £1599 24 F1.8 AFS G ED. . . . . . . . . . . . . . . . . .£629 24 F3.5 PCE . . . . . . . . . . . . . . . . . . . . . £1464 24-70 F2.8 AFS G ED VR. . . . . . . . . . £1747 24-70 F2.8 AFS G ED. . . . . . . . . . . . . £1189 24-85 F3.5/4.5 AFS VR . . . . . . . . . . . . .£399 24-120 F4 AFS G ED VR . . . . . . . . . . . .£849 28 F1.8 AFS . . . . . . . . . . . . . . . . . . . . . . .£494

6<67(0 56mm F1.2 R APD ................ £1078 56mm F1.2 XF ..........................£768 60mm F2.4 XF ..........................£459 90 F2 R LM WR .........................£688 100-400 F4/5.6 OIS WR ..........£1448 1.4x XF TC WR ...........................£328 2x XF TC WR ..............................£349 11mm Ext tube ...........................£64 16mm Ext tube ...........................£64 EF-20 flash ....................................£98 EF-X20 flash ..............................£168 EF-42 flash .................................£168 EF-X500 flash ............................£449

70-200 F2.8 non IS L USM. . . . . . . . . .£944 70-200 F4 L IS USM. . . . . . . . . . . . . . . .£898 70-200 F4 L USM . . . . . . . . . . . . . . . . . .£498 70-300 F4/5.6 L IS USM . . . . . . . . . . £1028 85 F1.2 USM L II. . . . . . . . . . . . . . . . . £1498 85 F1.8 USM . . . . . . . . . . . . . . . . . . . . . .£278 100 F2.8 IS L USM macro . . . . . . . . . .£698 100 F2.8 Macro USM . . . . . . . . . . . . . .£398 100-400 F4.5/5.6 IS LII U . . . . . . . . . £1798 200-400 F4 IS L USM . . . . . . . . . . . . £8597 200 F2.8 II L USM . . . . . . . . . . . . . . . . .£578 300 F2.8 IS L USM II . . . . . . . . . . . . . £4797 300 F4 L IS USM. . . . . . . . . . . . . . . . . . .£998 400 F2.8 IS L USM II . . . . . . . . . . . . . £7666 400 F4 DO II IS USM . . . . . . . . . . . . . £6997 400 F5.6 L USM . . . . . . . . . . . . . . . . . . .£958 500 F4 IS L U II . . . . . . . . . . . . . . . . . . £6997 500mm F4 IS L UII

600 F4 IS L USM II . . . . . . . . . . . . . . . £8894 1.4x III converter . . . . . . . . . . . . . . . . . .£328 2x III converter. . . . . . . . . . . . . . . . . . . .£328 12mm EF MKII ext tube. . . . . . . . . . . . . £64 25mm EF MKII ext tube. . . . . . . . . . . .£119 MR-14EX MKII Ringflash . . . . . . . . . . £449 430EX III RT Speedlight . . . . . . . . . . . .£217 600EX-RT Speedlight . . . . . . . . . . . . . .£428 28-300 F3.5/5.6 AFS VR . . . . . . . . . . . .£729 35 F1.4 AFS G . . . . . . . . . . . . . . . . . . . £1399 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . .£154 35 F2 AF-D. . . . . . . . . . . . . . . . . . . . . . . .£254 50 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . .£349 50 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . .£179 58 F1.4 AFS G . . . . . . . . . . . . . . . . . . . £1299 60 F2.8 AFS . . . . . . . . . . . . . . . . . . . . . . .£439 70-200 F2.8 AFS VRII . . . . . . . . . . . . £1798 70-200 F4 AFS G ED VR . . . . . . . . . . £1079 70-300 F4.5/5.6 AFS VR . . . . . . . . . . . .£439 80-400 F4.5/5.6 AFS G VR . . . . . . . . £1858 85 F1.4 AFS G . . . . . . . . . . . . . . . . . . . £1198 85 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . .£399 105 F2.8 AFS VR macro . . . . . . . . . . . .£659 200 F2 AFS ED VRII . . . . . . . . . . . . . . £4199 200-500 F5.6 AFS E ED VR. . . . . . . . £1169 300 F2.8 AFS ED VRII . . . . . . . . . . . . £4247 300 F4 AFS E PF ED VR. . . . . . . . . . . £1548 400 F2.8 G E FL ED VR . . . . . . . . . . . £8888 500 F4 E AFS FL ED VR . . . . . . . . . . . £8099 600 F4 E AFS FL ED VR . . . . . . . . . . . £9494 TC14EIII converter. . . . . . . . . . . . . . . . .£428 TC17EII converter . . . . . . . . . . . . . . . . .£307 TC20EIII converter. . . . . . . . . . . . . . . . .£349 SB500 flash . . . . . . . . . . . . . . . . . . . . . . .£189 SB700 flash . . . . . . . . . . . . . . . . . . . . . . .£228 SB5000 flash. . . . . . . . . . . . . . . . . . . . . .£428

16-300 f3.5/6.3 Di II VC PZD £398 150-600 f5/6.3 SP VC USD £737 18-200 f3.5/6.3 Di II VC......... £169 Kenko Converters 1.4x Pro 300 converter ......... £149 2x Pro 300 converter ............ £149 Auto ext tube set ..................... .£99

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

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 15/08/2016. P&P Extra. E&OE. FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)


Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 15/08/2016 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

www.mifsuds.com Subscribe to our newsletter - 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. Used Canon 500mm f4 LI IS USM - £4499

Ñ Excellent++ condition. Ñ Supplied with box and case. This is a very serious pro quality lens. It has Canon’s acclaimed image stabilisation system on board and incorporates Canon’s Ultrasonic Motor (USM). This was the world’s first lens based motor to harness ultrasonic oscillation energy. Electronic vibrations created by a piezoelectric element power the mechanical action of the lens. This technology makes focusing precise, virtually noiseless and incredibly quick.

Used Canon EOS 1DX body box

£2699

Used Canon 1D MKIV body box

£1699

Used Canon EOS 5D MKIII body

£1399/1599

Used Canon EOS 7D MKII body

£899

Used Canon

11-24mm f4 L U M- box

£2299

Used Canon 16-35 f2.8 USM LII

£849

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

£899

Used Canon

300mm f2.8 L IS USM

£2799

Used Canon 300mm f4 L IS USM box

£649

Used Canon 400mm f4 DO

£2199

BRONICA ETRS 645 USED ETRSi + 75 F2.8 PE + RFH ....£399 40 F4 MC..................................£149 MC ..................................£149 50 F2.8 E...................................£149 E...................................£149 105 F3.5...................................... F3.5...................................... £99 135 F4 PE M- box..................£249 box ..................£249 150 F3.5 E .................................. £99 150 F3.5 PE M- Box...............£149 200 F4.5 PE..............................£199 PE..............................£199 E14 ext tube ............................. £49 120 RFH...................................... RFH ...................................... £69 Polaroid Back ........................... £39 Plain prism ................................ £59 Rotary prism............................. prism ............................. £99 Angle viewfinder E...............£129 E...............£129 Winder early ............................. £79 Speed Grip E............................. E............................. £39 Tripod adapter E ..................... £39 Winder early ............................. £49 Metz SCA 386........................... 386 ........................... £49 BRONICA SQ 6x6 USED SQAi complete.......................£499 .......................£499 SQA + 80 + back + prism .....£249 SQB complete........................£399 complete ........................£399 40 F4 S ......................................£299 50 F3.5 PS ................................£299 50 F3.5 S...................................£149 S...................................£149 110 F4.5 PS macro................£399 macro ................£399 135 F4 PS M-...........................£229 M-...........................£229 150 F3.5 S .................................. £79 150 F4 PS ........................£149/199 180 F4.5 PS..............................£399 PS..............................£399 200 F4.5 PS M- box ..............£199 2x PS converter M-...............£179 M- ...............£179 S36 ext tube ............................. £79 135N back ...............................£119 SQA Polaroid back.................. back.................. £59 SQAi 120 RFH ........................... £79 SQA 120 RFH ............................ £49 SQAi prism late......................£299 late ......................£299 45° Prism box .........................£129 Plain Prism S Boxed ............... £69 AE Prism Early .......................... £79 ME Prism Finder ...................... £69 Metz SCA 386........................... 386 ........................... £49 Pro shade S ............................... £59 Lens Hood 65-80..................... £20 SQAi Motorwinder ...............£149 Speed grip S ............................. £69 CANON DIGITAL AF USED 1DX body box..................... ..................... £3399 1DX body box..................... box ..................... £2699 1D MKIV body box ............ £1699 1D MKIII body box................£499 1Ds MKIII body box........... box........... £1199 7D MKII body .........................£899 7D body ...................................£399 6D body ...................................£899 5D MKIII b/o box.....£1399/1599 box .....£1399/1599 5D MKII body ...................£599/899 5D MKI body box ...........£399/499 700D body M- box.................. £349 550D body ................................. £199 450D body box ........................ £149 400D body ....................................£99 350D body ....................................£99 300D body ....................................£79 70D body box........................... box ........................... £549 60D body.................................... body .................................... £399 50D body.................................... body .................................... £299 40D body.................................... body .................................... £169 1100D body............................... body............................... £149 BG-E2...............................................£39 BG-E2 ...............................................£39 BG-ED3............................................£39 BG-E4 box......................................£79 box ......................................£79 BG-E6...............................................£89 BG-E6 ...............................................£89 BG-E7...............................................£89 BG-E7 ...............................................£89 BG-E8...............................................£69 BG-E8 ...............................................£69 BG-E9 box......................................£79 box ......................................£79 BG-E13 ......................................... £139 BG-E16 ......................................... £159 G9 compact............................... compact ............................... £119 EOS M + 22 F2 + 18-55......... 18-55 ......... £199 CANON AF USED EOS 650 body .......................... £39 EOS 600 body .......................... £39 EOS 50E/300V body each.... each .... £29 EOS 500N/1000 b/o each .... £29 10-18 F4.5/5.6 IS STM..........£169 STM..........£169 10-22 F3.5/4.5 U....................£299 U ....................£299 11-24 F4 L USM M- box ... £2299 16-35 F2.8 USM LII................£849 17-40 F4 L................................£399 L ................................£399 17-55 F2.8 EFS IS USM ........£399 17-85 F4/5.6............................£179 F4/5.6............................£179 18-55 F3.5/5.6 IS EFS ............. £89 18-55 F3.5/5.6 IS STM................. STM................. £99 18-55 F3.5/5.6 EFS ....................... £59 18-135 F3.5/5.6 IS.......................£219 20-35 F3.5/4.5 USM...................£179 USM...................£179 24 F2.8 IS USM.............................£369 USM.............................£369 24 F3.5 TSE box........................£1199 box ........................£1199 24-70 F2.8 L USM box..............£549 box ..............£549 24-85 F3.5/4.5 USM...................£149 USM...................£149 24-105 F4 L....................................£549 L....................................£549 28 F1.8 USM box...................£259 box ...................£259 28-90 F3.5/5.6 .......................... £79

28-135 F3.5/5.6 IS USM ......£229 28-200 F3.5/5.6 USM ...........£169 35 F1.4 L USM ........................£799 35 F2 USM ...............................£329 50 F1.4 USM............................£219 USM............................£219 50 F1.8 MKII .............................. £49 70-200 F2.8 IS USM LI..........£899 70-200 F4 IS U L ....................£599 70-200 F4 U L .........................£299 70-300 F4/5.6 L IS USM.......£799 70-300 F4.5/5.6 IS USM ......£279 75-300 F4/5.6 MKII ................. £99 85 F1.8 M-................................£199 M-................................£199 100 F2.8 USM box.................£319 100-400 F4.5/5.6 L IS U........ £799 135 F2 M- box........................£549 box ........................£549 300 F2.8 LI IS U...................... £2799 300 F4 L IS USM box..............£649 box ..............£649 400 F4 DO............................... DO ............................... £2199 400 F5.6 L box..........................£699 box ..........................£699 500 F4 LI IS USM................... £4499 2x extender MKII.....................£199 MKII .....................£199 2x extender MKI....................£169 MKI ....................£169 Teleplus 2x DG conv.............. conv .............. £89 Kenko ext tube set DG.............. DG .............. £89 LC-4 wireless kit ...................... £89 PB-E2 drive fits EOS1/3.......£149 EOS1/3 .......£149 SIGMA CAF USED 10-20 F4/5.6 HSM box ......£219 17-70 F2.8/4 DC OS................... OS...................£179 £179 17-70 F2.8/4 DC..........................£129 DC ..........................£129 18-125 F3.8/5.6 OS DC ..........£149 18-200 F3.5/6.3 HSM OS.......£199 OS.......£199 24-35 F2 DG Art M- box........£599 box........£599 24-70 F2.8 HSM.........................£469 HSM.........................£469 50 F1.4 EX DC.............................£249 DC.............................£249 50 F2.8 EX macro ....................£149 70-200 F2.8 EX DG mac......... £349 70-300 F4/5.6 DG.................... DG.................... £79 120-400 F4/5.6 DG ...............£399 150 F2.8 EX DG HSM mao...... mao ...... £399 150-500 F5/6.3 HSM...............£499 HSM ...............£499 180 F3.5 EX DG HSM mac......£349 mac......£349 1.4x EX conv ................................... £99 2x EX conv....................................... conv ....................................... £99 Kenko Pro 300 1.4x conv.......... conv.......... £99 OTHER CAF USED TAM 28-75 F2.8 XR Di..........£199 ..........£199 TAM 28-300 box....................£149 box ....................£149 TAM 45 F1.8 Di VC....................£379 VC....................£379 TAM 70-300 F4/5.6 ....................£99 TAM 90 F2.8 ................................£179 CANON FLASH USED CP-E3 batt pack....................... ....................... £49 ST-E2 transmitter .................... £79 430EXII......................................£169 430EXII ......................................£169 430EZ non digital ................... £39 580EX box ...............................£179 600EX RT box .........................£279 CANON FD USED A-1 body .................................... £99 28 F2.8 ........................................ £49 35-70 F3.5/4.5 .......................... £49 35-105 F3.5 .............................£129 50 F1.4 ....................................... £99 70-200 F4................................... F4 ................................... £79 100-300 F5.6............................. F5.6 ............................. £79 135 F2 .......................................£399 2x extender B........................... B ........................... £49 299T flash .................................. £25 300TL flash................................ flash ................................ £25 CONTAX 645 AF USED 45 F2.8 ......................................£999 CONTAX AF USED 45 F2..........................................£399 ..........................................£399 90 F2.8 ......................................£299 CONTAX MF USED 28-70 F3.5/4.5 MM ...............£199 40-80 F3.5 AE .........................£149 FUJI DIGITAL USED S5 Pro body box....................£229 ....................£229 X-T1 body graphite box .....£699 X-T1 body black.....................£599 X-M1 body blk box...............£149 14 F2.8 R XF box.......................£529 16-55 F2.8 XF R WR ..............£699 18 F2 R......................................£199 R ......................................£199 27 F2.8 XF box .......................£199 56 F1.2 XF................................£599 XF ................................£599 60 F2.4 macro ........................£369 Samyang 8 F2.8.....................£149 F2.8 .....................£149 X100 silver box ......................£349 X-T1 vertical grip...................£129 grip...................£129 FUJI MED FORMAT USED GSW690 III...............................£599 ...............................£599 HASSELBLAD XPAN USED Centre filter 49mm...................... ...................... £129 HASSELBLAD 6x6 USED 503CW chr + 80 F2.8 CF +A12....................................... +A12 ....................................... £1699 PM5 prism 45°........................£149 PME prism box.......................£149 45° Prism late .........................£149 45° Prism early......................... early ......................... £69 NC1 prism.................................. £69 WLF late ...................................£110 WLF chrome late..................... late..................... £99

WLF early................................... early ................................... £49 Sports viewfinder ................... £69 Chimney..................................... £89 A12 chrome latest................£299 latest ................£299 A12 late blk/chr.....................£129 blk/chr .....................£129 Polaroid back ........................... £79 Winder Cw...............................£229 Cw...............................£229 50 F4 CF FLE ...........................£849 50 F4 CF ...................................£599 80 F2.8 CF................................£479 CF ................................£479 100 F3.5 CF .............................£549 100 F3.5 Black T*...................£399 T* ...................£399 140-280 F5.6 CF.....................£799 150 F4 chrome.......................£199 chrome.......................£199 250 F5.6 CF .............................£399 Ext tube 16, 21, 55 each....... each ....... £39 Vivitar 2x conv ......................... £49 Pro shade 6093........................ 6093........................ £99 Lens hoods various..........£20/50 various ..........£20/50 LEICA M COMPACT USED IIIg body chrome ..................£849 5cm F3.5 ..................................£299 50 F1.4 6 bit......................... bit ......................... £1199 CF flash....................................... flash ....................................... £49 LEICA SLR USED R7 body black ........................£399 R5 body black ........................£199 LEICA BINOCULARS USED Trinovid 10x42.......................£799 .......................£799 Ultravid 8x32 HD ..................£999 LIGHTMETERS USED Minolta Flashmeter V..........£199 ..........£199 Minolta Spotmeter M..........£199 MAMIYA 645 MF USED Plain prism (645 Super)........ ........ £39 Polariod Back HP401 ............. £29 Polaroid back ........................... £29 120 Insert................................... £20 HA401 120 RFH Box............... Box............... £49 120 Back..................................... Back..................................... £39 Winder........................................ Winder ........................................ £79 50 F4 shift................................£299 shift ................................£299 55-110 F4.5 box.....................£299 120 F4 macro .........................£269 150 F2.8 A................................£199 A................................£199 150 F3.5 N ................................. £79 210 F4 N M- .............................. £79 Ext Tube 1, 2, 3S each ........... £29 Teleplus 2x converter............ 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 serviced ............£139 180 F4.5....................................£149 F4.5 ....................................£149 250 f4.5 late serviced...........£249 250 f4.5 early serviced .....£179 Prism ........................................... £99 Paramender .............................. £49 Porrofinder................................ Porrofinder ................................ £59 MAMIYA 7 RF 6x7 USED 50 F4.5 L + VF.........................£699 .........................£699 80 F4.5 L M- box....................£699 150 F4.5 M- .............................£399 Panoramic kit ........................... £49 MAMIYA RB 6x7 USED Pro S + 90 + RFH + WLF ..... .....£449 £449 Pro SD comp M-....................£649 M- ....................£649 Pro S body...............................£149 body ...............................£149 Pro S body scruffy .................. £99 WLF.............................................. WLF .............................................. £79 Chimney...................................£179 120 645V back ......................... £99 90 F3.5 KL ................................£249 127 F3.5 KL..............................£299 KL..............................£299 Ext tube 2......................................... 2......................................... £49 MAMIYA RZ 6x7 USED RZ ProII + 90 + WLF + 120 RFH................................£499 RFH ................................£499 RZ Pro body ............................£149 120 RFH Pro II........................... II........................... £99 120 RFH Pro I............................ I ............................ £49 WLF.............................................. WLF .............................................. £79 Winder II..................................... II..................................... £69 50 F4.5 W .................................£199 65 F4 box M- ..........................£399 90 F3.5 W M- box..................£299 box ..................£299 127 F3.5 box...........................£299 box ...........................£299 180 F4.5 W box......................£199 box ......................£199 Pro shade................................... shade................................... £49 MINOLTA/SONY DIGITAL USED Sony A77 body ........................£399 Sony A350 body......................£149 body......................£149 Sony VGB30AM ......................... £79 Sony VG-C2EM.........................£179 VG-C2EM .........................£179 Sony VGC70AM .......................£139 Sony HV56AM..........................£169 HV56AM ..........................£169 Sony F42AM..............................£129 F42AM..............................£129 SONY NEX USED NEX 5 body ...................................£129 FE 16-50 F3.5/5.6 EZ .................£149 FE 50 F1.8 OSS E .........................£169 FE 70-200 F4 GSS .......................£749 FE 55-210 F4.5/6.3.....................£159 F4.5/6.3 .....................£159 Samyang 100 F2.8 macro......£229 macro ......£229

Used Nikon 200-400mm f4 AFS VRII - £3499 Ñ Mint- condition, minimal signs of use. Ñ In full working order. Ñ Supplied with lens soft case, hood, tripod mount, front lens cover, rear lens cap. Ñ Sold with a 3 month warranty. This lens covers a very popular range of focal lengths so saving space and weight for photographers on the move. It has a fast f4 maximum aperture which will be particularly useful for action, sports, wildlife photographers etc. MINOLTA/SONY AF USED Dynax 9 body box................£299 ................£299 800Si body ................................ £69 7xi body ..................................... £49 7000i body................................ body ................................ £39 300Si body ................................ £19 SPXi body .................................. £19 20 F2.8 ......................................£199 20-35 F3.5/4.5 M- box.........£249 box .........£249 24-50 F4 ..................................... £99 28 F2..........................................£299 F2..........................................£299 28 F2.8 ........................................ £99 28-80 F4/5.6.............................. F4/5.6.............................. £39 28-85 F3.5/4.5 .......................... £99 28-100 F3.5/5.6 D ................... £49 35 F1.4 ......................................£399 35-70 F4 ..................................... £39 35-70 F3.5/4.5................................ F3.5/4.5 ................................ £25 35-80 f4/5.6..................................... f4/5.6 ..................................... £25 35-105 F3.5/4.5 ............................. £99 50 F2.8 macro..............................£149 macro ..............................£149 75-300 F4.5/5.6 ............................. £99 85 F1.4.............................................£599 F1.4 .............................................£599 100-300 F4.5/5.6 APO..............£149 APO ..............£149 500 F8 mirror................................£349 mirror................................£349 VC700 grip....................................... grip....................................... £39 RC1000S/L cord ............................ £15 AW90.................................................. AW90 .................................................. £49 MD90 + BP90-M........................... BP90-M ........................... £79 Angle finder VN............................. £79 SONY LENSES USED 16-50 F2.8 DT SSM.....................£279 18-55 F3.5/5.6 SAM..................... SAM ..................... £59 18-200 F3.5/6.3 DT ....................£199 55-200 F4/5.6 DT SSM ............... £69 70-400 F4/5.6 G SSMII box ....................................£1249 85 F1.4 ZA......................................£699 ZA ......................................£699 SIGMA MIN/SONY AF USED 28-135 F3.8/5.6.......................... .......................... £79 28-300 F3.5/6.3 macro..........£149 macro..........£149 50 F1.4.........................................£149 F1.4 .........................................£149 50 F2.8 EX DG macro ............£169 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 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.............. F3.5/6.3.............. £99 TAM 70-300 F4.5/5.6 Di box.......................................... £79 TAM 90 F2.8 ...................£179/249 Teleplus 1.4x conv.................. conv .................. £69 Teleplus 2x conv ..................... £79 Kenko 1.4x Pro 300DG........£149 300DG ........£149 Min 5200i................................... 5200i................................... £29 Min 3600HSD........................... 3600HSD ........................... £39 Min 5400HS .............................. £39 Min 5600HSD M-..................... £99 NIKON DIGITAL AF USED D4s body box...................... ...................... £2999 D4 body box........................ box........................ £2499 D3 body box........................ box........................ £1199 D810 body box................... box................... £1799 D700 body box......................£599 box......................£599 D610 body box......................£899 box......................£899 D300 body box......................£299 box......................£299 D200 body box......................£199 box......................£199 D7000 body...................£299/349 body ...................£299/349 D5100 body............................£249 body ............................£249 D5000 body............................£169 body ............................£169 D3200 body black box .......£199 D80 body.................................£149 body .................................£149 MBD-15 grip ...........................£149 MBD-12 grip ...........................£229 MBD-10 grip M- box............£149 box ............£149 MBD-10 grip ............................. £89 MBD-200 box ........................... £69 MBD-100.................................... MBD-100 .................................... £39 NIKON AF USED F4 body ....................................£349 F4E body..................................£299 body ..................................£299 F801 body ...........................£29/59 F100 body + MB-15 .............£199 F601 body ................................. £29 F55 body.................................... body .................................... £25 10.5 F2.8 AFS DX...................£419 DX ...................£419 10-24 F3.5/4.5 AFS DX ........£529 12-24 F4 DX ............................£399 14-24 F2.8 AFS M- box....... box ....... £1099 14-24 F2.8 AFS .....................£999 16-85 F3.5/5.6 AFS VR ........£299 17-55 F2.8 AFS ...........................£499 18-35 F3.5/4.5 AFS ...................£449 18-55 F3.5/5.6 VRII.......................£99 VRII.......................£99 18-70 F3.5/4.5 AFS ...................£119 18-135 F3.5/5.6 DX...................£149 18-140 F3.5/5.6 VR DX M-.....£229 M- .....£229 18-200 F3.5/5.6 AFS VRI.........£199 VRI .........£199 20 F2.8 AF.....................................£279 AF.....................................£279 24 F2.8 AFD.................................£299 AFD .................................£299 24-70 F2.8 AFS box..................£849 box ..................£849 24-85 F3.5/4.5 AFS VR..............£329 VR ..............£329 24-120 f4 AFS VR........................£699 VR ........................£699 28 F1.8 AFS G...............................£399 G ...............................£399

28 F2.8 AFD...................................£129 AFD...................................£129 28-100 F3.5/5.6 AF G.................. G .................. £69 28-300 F3.5/5.6 AFS VR ...........£649 35 F1.8 AFS DX box..................£129 box..................£129 35-70 F3.3/4.5 AF......................... AF ......................... £59 40 F2.8 AFS DX M- box............£149 box............£149 50 F1.8 AFD............................... £99 50 F1.8 AF.................................. AF .................................. £79 55-200 F4/5.6 AFS VR ............ £99 55-200 F4/5.6 AFS .................. £79 55-300 F4.5/5.6 AFS VR.......£199 VR.......£199 60 F2.8 AFD.............................£249 60 F2.8 AF................................£199 AF ................................£199 70-200 F2.8 AFS VRII......... VRII ......... £1299 70-300 F4/5.6 AFD ...............£129 70-300 F4 G............................... £79 80-200 F2.8 AFD....................£299 AFD....................£299 85 F1.4 AFD.............................£499 85 F1.8 AFS .............................£349 85 F1.8 AFD.............................£249 85 F3.5 DX M- box................£269 box ................£269 105 F2.8 AFS VR.....................£549 VR.....................£549 105 F2.8 AFD..........................£369 AFD ..........................£369 180 F2.8 AFD M- box...........£449 box ...........£449 200-400 F4 AFS VRII.......... VRII .......... £3499 300 F2.8 AFS VRII M-......... M- ......... £3199 300 F2.8 AFS VRI ................ £2699 300 F2.8 AFS........................ AFS ........................ £1699 300 F4 AFS M- box ...............£699 300 F4 AFS box......................£599 box......................£599 400 F2.8 AFS VR.................. VR.................. £5499 500 F4 AFS VR ..................... £4499 600 F4 AFS VR ..................... £4999 600 F4 AFS II non VR......... £3499 TC17EII......................................£249 TC17EII ......................................£249 TC20EIII M- box .....................£249 TC20EII......................................£199 TC20EII ......................................£199 TC20E ........................................£149 SIGMA NAF USED 12-24 F4.5/5.6 EX DG ...............£379 18-50 F2.8 EX DC Mac..............£199 18-200 F3.5/6.3 DC OS...........£199 OS ...........£199 28-300 F3.5/6.3 early...............£129 30 F1.4 EX DC.............................£199 DC .............................£199 50 F1.4 Art M- box....................£499 50 F1.4 DG Mint .............. £199/239 50-500 F4/6.3 DG..................£399 DG..................£399 70-300 F4/5.6 APO DG.......... DG.......... £99 120-400 F4/5.6 DG ...............£399 135-400 F4.5/5.6.........................£299 F4.5/5.6.........................£299 150-500 F5/6.3 DG OS.............£499 OS .............£499 150-600 F5/6.3 OS Sport........£999 Sport ........£999 500 F4 EX DG ............................£1999 1.4x EX DG M-..............................£119 M- ..............................£119 2x EX DG box ...............................£149 TAMRON NAF USED 10-24 F3.5/4.5 DiII......................£239 ......................£239 11-18 F4.5/5.6..............................£219 F4.5/5.6 ..............................£219 16-300 F3.5/6.3 VC PZD ..........£319 18-250 F3.5/6.3 ...........................£149 70-300 F4/5.6................................. F4/5.6 ................................. £79 OTHER NAF USED SAMYANG 14 F2.8 ................£199 TOK 10-17 F3.5/4.5 ATX......£249 ATX ......£249 TOK 11-18 F2.8 ATX Pro......£329 Pro......£329 TOK 12-24 F4 ATX pro.........£299 pro .........£299 TOK 12-28 F4 ATX DX..........£399 DX ..........£399 FLASH / ACCESSORIES USED SB-24....................................................£49 ....................................................£49 SB-25....................................................£49 SB-25 ....................................................£49 SB-28.................................................. SB-28 .................................................. £69 SB-80DX............................................ SB-80DX ............................................ £79 SB-500 box....................................£149 box ....................................£149 SB-700 box....................................£199 box ....................................£199 SB-900..............................................£269 SB-910 box....................................£289 box ....................................£289 SD-8 batt pack............................... pack............................... £49 SU-800.............................................£179 SU-800 .............................................£179 DR-5 angle finder box..............£149 DR-3 angle finder......................... finder......................... £59 GP-1A box......................................£149 box......................................£149 MB-10 (fits F90)............................. F90) ............................. £29 MB-23 (fits F4)................................ F4)................................ £69 MC-30 remote ............................... £39 MF-23 (date back F4) ................. £79 Coolscan LS-50 box ..................£349 NIKON MF USED F3 body ....................................£199 FM2n body chr box..............£349 FM2n body chr ......................£249 15 F3.5 AIS...............................£799 28 F3.5 AIS................................. £99 28 F2.8 E box............................ 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................ AIS ................ £79 50 F1.8 AIS pancake.............£139 50 F1.8 E..................................... E..................................... £59 105 F2.8 AIS macro ..............£249 180 F2.8 AIS ED scruffy.......£179 scruffy .......£179 200 F4 AI..................................£149 AI ..................................£149 500 F4 AIS............................. £1499 500 F8 early ............................£279 TC200 .......................................... £49 TC301 ........................................£149 SC-17 TTL lead......................... lead ......................... £25

DW-3 WLF find fit F3 ............. £99 DW-4 6x mag find fit F3....... F3 ....... £99 DW-21 fits F4..........................£149 F4 ..........................£149 Nikon bellows II box.............. box .............. £89 OLYMPUS DIGITAL USED 11-22 F2.8/3.5 M-..................£379 ..................£379 12-60 F2.8/4 SWD.................£379 SWD .................£379 14-42 F3.5/5.6 .......................... £49 14-45 F3.5/5.6 .......................... £79 14-50 F3.8/5.6 ........................£199 14-54 F2.8/3.5 ........................£149 35 F3.5 ........................................ £99 35-100 F2 box..................... box ..................... £1099 40-150 F4/5.6 ........................... £49 50 F2 macro............................£279 macro ............................£279 25mm ext tube........................ £79 OLYMPUS PEN USED Stylus 1S compact................£299 ................£299 OMD-EM1 body M- box .....£499 OMD E-M5 body box...........£299 OMD-EM10 body..................£299 body ..................£299 Pen E-PM1 + 14-42 M- ........£129 Pen E-PM1 body...................... body...................... £99 12-40 F2.8 Pro........................£549 Pro ........................£549 12-50 F3.5/6.3 ........................£149 40-150 F2.8 Pro .....................£799 40-150 F4/5.6 .........................£119 HLD-7 grip box......................£119 box ......................£119 VF-2 viewfinder .....................£199 OLYMPUS OM USED OM-4Ti body ..........................£249 OM-1n body chr....................£169 chr....................£169 OM-2SP body.........................£149 body .........................£149 OM-2n body ...........................£149 OM-1n body ...........................£149 24 F2.8 ......................................£169 28 F3.5 ........................................ £49 35-70 F3.5/4.5 .......................... £79 35-105 F3.5/4.5........................ F3.5/4.5........................ £79 50 F3.5 macro .......................... £79 200 F4 ......................................... £79 300 F4 .......................................£169 PANASONIC DIGITAL USED G6 body black........................£199 ........................£199 G3 body box...........................£129 box ...........................£129 G1 body box............................. box ............................. £99 GX1 body box........................£149 box ........................£149 GF7 body box ........................£199 GF3 body black ....................... £99 GF1 body ...................................... £79 12-32 F3.5/5.6 ........................£149 14 F2.5 ......................................£199 14-42 F3.5/5.6 .......................... £79 14-45 F3.5/5.6 ........................£149 25 F1.4 ......................................£329 LVF2 box ..................................£149 BG-GH3 grip ............................. £99 PENTAX DIGITAL USED K5 body box ...........................£299 PENTAX 35mm AF USED MZ5N body............................... ............................... £69 10-17 F3.5/4.5 ED .................£239 16-45 F4 ...................................£199 17-70 F4 SDM M- box .........£299 18-55 F3.5/5.6 .......................... £29 28-80 F3.5/5.6 .......................... £49 50-135 F2.8 SDM...................£379 SDM...................£379 50-200 F4/5.6 ........................... £99 55 F1.4 SDM M-.....................£469 M- .....................£469 55-300 F4/5.8 ED box..........£229 box..........£229 70 F2.8 Limited......................£349 Limited ......................£349 70-300 F4/5.6 ........................... £79 100-300 F4.5/5.6 ..................... £89 SIGMA PKAF USED 10-20 F4/5.6............................£229 ............................£229 18-250 F3.5/6.3......................£199 F3.5/6.3......................£199 24-70 F2.8 EX DG mac ........£249 PENTAX 645AF USED 645N body ..............................£399 45 F2.8 FA ................................£399 AF500FTZ flash........................ flash ........................ £99 PENTAX 645MF USED 645 + 75 F2.8..........................£249 ..........................£249 645 body + insert .................£199 55 F2.8 ......................................£249 150 F3.5 EX++........................£149 EX++ ........................£149 200 F4 ......................................£149 120 Insert M- box.................... box.................... £49 PENTAX 67 USED 135 F4 macro late .................£249 200 F4 latest ...........................£169 200 F4 early................................. early ................................. £99 300 F4 early scruffy................. scruffy ................. £99 Pentax rear conv 1.4x............. 1.4x .............£249 2x rear converter...................£179 converter...................£179 Auto ext tubes ......................... £49 Vivitar 2x conv ......................... £49 SAMSUNG USED 50-200 F4/5.6 III M- box........ ........ £99 TAMRON ADII USED 90 F2.5 SP ................................£149 500 F8 .......................................£169 VOIGTLANDER USED 15 F4.5 + VF M- box.............£269 .............£269 ZEISS USED Victory Diascope 85 T* FL + 20x60 box......................... box ......................... £1799

Used Nikon D4s body

£2999

Used Nikon D4 body box

£2499

Used Nikon D3 body box

£1199

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

£1099

Used Nikon

300mm f2.8 AFS VRII M-

£3199

Used Nikon

300mm f2.8 AFS VRI

£2699

Used Nikon 300mm f2.8 AFS

£1699

Used Nikon 400mm f2.8 AFS VR

£4499

Used Nikon 500mm f4 AFS VR

£4499

Used Nikon

600mm f4 AFSII non VR

£3499

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.


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

Experts in photography 20.2 MEGA PIXELS

Unbeatable stock availability

24.2

1080p

3.0”

10 FPS

MEGA PIXELS

+ 100-400mm L IS II USM

24 months interest free credit available! See in store or online for details

£1,179.00 £2,799.00 Canon EOS 750D

Canon EOS 760D

24.2 MEGA PIXELS

MEGA PIXELS

Body only

+ 18-55 IS STM

£529.00

£549.00

Add a Canon LP-E17 spare battery for only £44.00!

Canon EOS 80D 7 FPS

MEGA PIXELS

5 FPS

Body only See website for low prices on lenses

£549.00

Add a Canon LP-E17 spare battery for only £44.00!

7 FPS

Nikon D7200

24.2

24.2

MEGA PIXELS

MEGA PIXELS

Nikon D610 24.3 MEGA PIXELS

6 FPS

Body only

+ 18-55 IS STM

Body only

+ AF-P 18-55 VR

Body only

+ 18-105 VR

Body only

+ 24-85 VR

£799.00

£579.00

£649.00

£869.00

£1,069.00

£1,299.00

£1,699.00

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

Add a Panasonic EN-EL14a spare battery for only £40.00!

Nikon D750

Add a Nikon MB-D15 battery grip for only £229.00!

Nikon D500

Nikon D5

22.3

24.3

20.9

20.8

MEGA PIXELS

MEGA PIXELS

MEGA P I X E L S 10 FPS

AF MEGA PIXELS POINTS

NEW!

Body SRP £1,729.00

+ 24-105 IS STM

£999.00

£1,089.00

£1,276.00

£1,579.00

Add a Canon BG-E13 battery grip for only £174.00!

Canon EOS 5Ds r

Body only

+ BG-E11 grip

Body only

+ 24-120mm VR

£2,299.00

£2,504.00

£1,699.00

£2,299.00

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

Canon EOS-1D X Mark II

50.6

50.6

20.2

MEGA PIXELS

MEGA PIXELS

MEGA P I X E L S 14 FPS

Body SRP £5,199.00

Body only

NEW!

See website for low £2,699.00 prices on lenses

See website for low £2,899.00 prices on lenses

NOW IN STOCK!!

Add a Canon BG-E11 battery grip for only £225.00!

Add a Canon WFT-E7 wireless file transmitter for only £599.00!

Claim a FREE SanDisk 64GB Extreme PRO CFast 2.0 Card and Reader!

CANON LENSES 14mm f/2.8L II USM 20mm f/2.8 USM 24mm f/1.4L Mk II USM 24mm f/2.8 IS USM EF-S 24mm f/2.8 STM 28mm f/1.8 USM 28mm f/2.8 IS USM 35mm f/1.4L USM 35mm f/1.4L II USM 35mm f/2.0 IS USM 40mm f/2.8 STM 50mm f/1.2 L USM 50mm f/1.4 USM 50mm f/1.8 STM EF-S 60mm f/2.8 Macro MP-E 65mm f/2.8 85mm f/1.2L II USM 85mm f/1.8 USM 100mm f/2 USM 100mm f/2.8 USM Macro 100mm f/2.8L Macro IS 135mm f/2.0L USM 180mm f/3.5L USM

£1,599.00 £385.00 £1,159.00 £455.00 £127.00 £379.00 £379.97 £959.00 £1,799.00 £379.00 £149.00 £995.00 £245.00 £97.00 £349.00 £779.00 £1,499.00 £279.00 £349.00 £373.00 £699.00 £769.00 £1,099.00

Prices updated DAILY! Visit us in store, online at parkcameras.com or call our expert team on 01444 23 70 55 200mm f/2.0L IS USM 200mm f/2.8L USM/2 300mm f/2.8L USM IS II 300mm f/4.0L USM IS 400mm f/2.8L USM IS II 400mm f/4.0 DO IS II 400mm f/5.6L USM 500mm f/4.0L IS MK II 600mm f/4.0L IS MK II 800mm f/5.6L IS USM TSE 17mm f/4.0L TSE 24mm f/3.5L II TSE 45mm f/2.8 TSE 90mm f/2.8 8-15mm f/4L Fisheye USM EF-S 10-18mm IS STM EF-S 10-22mm f/3.5-4.5 EF 11-24mm f/4L USM EF-S 15-85mm f/3.5-5.6 IS 16-35mm f/2.8L II USM 16-35mm f/4.0L IS USM 17-40mm f/4.0L USM EF-S 17-55mm f/2.8 IS USM

£4,350.00 £549.00 £4,799.00 £999.00 £7,698.00 £6,999.00 £959.00 £6,699.00 £8,895.00 £9,899.00 £1,589.00 £1,479.00 £1,099.00 £1,049.97 £939.00 £185.00 £399.00 £2,799.00 £539.00 £1,060.00 £769.00 £549.00 £599.00

EF-S 18-135mm IS STM £329.00 EF-S 18-135mm f/3.5-5.6 IS USM £449.00 EF-S 18-200mm f/3.5-5.6 £385.00 24-70mm f/2.8L II USM £1,459.00 24-70mm f/4.0L IS USM £675.00 24-105mm f/4.0L IS USM £735.00 24-105mm f/3.5-5.6 IS STM £375.00 28-300mm f/3.5-5.6L IS £1,879.00 EF-S 55-250mm f/4-5.6 IS STM £229.00 70-200mm f/2.8L IS II USM £1,599.00 70-200mm f/2.8L USM £999.00 70-200mm f/4.0L IS USM £899.00 70-200mm f/4.0L USM £499.00 70-300mm f/4.0-5.6 IS £356.00 70-300mm f/4.0-5.6L IS USM £1,029.00 70-300mm DO IS USM £899.97* 75-300mm f/4.0-5.6 III £188.00 75-300mm f/4.0-5.6 III £219.00 100-400mm L IS USM II £1,799.00 200-400mm f/4.0L USM £8,598.00 1.4x III Extender £329.00 2x III Extender £339.00 EF 12II Extension Tube £79.99

Speedlite 90EX Speedlite 270EX II Speedlite 320EX Speedlite 430EX III-RT Speedlite 600EX-RT Speedlite 600EX-RT II

£109.00 £135.00 £185.00 £219.00 £429.00 £539.00

Printers PIXMA PRO-100s PIXMA PRO-10s PIXMA PRO-1

Spare batteries

BG-E11 (5D III, 5Ds/r) £225.00 BG-E13 (6D) £174.00 BG-E14 (70D) £149.00 BG-E16 (7D Mark II) £199.00 BG-E18 (7D Mark II) £78.97* For even more grips, see website

LP-E19 (1D X Mark II) £149.00 LP-E4N (1D X, 1D C) £139.99 LP-E6N (5D III, 7D II, 6D) £69.00 LP-E8 (700D, 600D) £35.00 LP-E10 (1300D, 1200D) £39.99 LP-E17 (760D, 750D, M3) £44.00 For even more batteries, see website

£59.99 £26.49 £29.99

Scanners CanoScan LiDE 220 CanoScan 9000F Mark II

£89.00 £168.00

See website for latest information on availability!

Eligible for 12 months interest free credit. Call 01444 23 70 60 for details

Receive a FREE 32GB XQD Card & USB 3 Card Reader when pre-ordering

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

Sony RX100 IV

Sony a6000 24.3

20.1

MEGA PIXELS

MEGA PIXELS

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

Body only

+ 16-50mm

In stock at only

£499.00

£849.00

Protect your screen with Sony PCK-LM17 LCD protectors for £13.00

See website for RX100 IV cases

Sony a7S II

IS

£1,349.00

MEGA PIXELS

Add a Sony NP-BX1 spare battery for only £38.00

12.2 MEGA PIXELS

Add a VG-C2EM grip for £289

Add a Sigma mount converter MC-11 (Sony E  Canon EF) for only £189 E-Series 16mm f/2.8 Pancake 24mm f/1.8 ZA Carl Zeiss 24mm f/2.0 Carl Zeiss T* 50mm f/1.8 OSS 55mm f/1.8 FE Sonnar T* ZA 90mm f/2.8 Macro G FE OSS 10-18mm f/4 OSS 16-50mm f/3.5-5.6 OSS

£199.00 £889.00 £999.00 £259.00 £799.00 £949.00 £699.00 £279.00

Body only

Body only

+ 16-50mm

£1,249.00

Add a Sony NP-FW50 spare battery for £659.00

Sony a7R II MEGA PIXELS

Add a Sony F43M flash for £260

4K

£1,069.00

42.4

IS

£2,899.00

Sony a6300 24.2

2.9x

£419.00

Body only

Battery Grips

Backpack BP100 Holster HL100 Shoulder Bag SB100

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

NEW!

Body SRP £5,199.00

For Nikon accessories including batteries, grips, cases, remotes, microphones and more, visit our website

MEGA PIXELS

Prices updated DAILY! See www.parkcameras.com/dphoto for details.

Bags £365.00 £529.00 £628.00

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

153

See website for latest information on availability!

NIKON LENSES

24.3

Terms and conditions apply. Products can be purchased separately at any time during promo period. Offer available 23.03.2016 - 31.01.2017. See www.parkcameras.com for details.

CANON ACCESSORIES

Add a Nikon MB-D16 battery grip for only £244.00!

Sony a7 II

Up to £590 cashback available when purchasing selected lenses with selected Canon DSLRs

Flashguns

Visit www.parkcameras.com/used for pre-loved D610 bodies

20.2

Body only

Body only

6 FPS

MEGA PIXELS

+ 18-55 IS STM

Canon EOS 5Ds

1080p

£699.00

Canon EOS 5D Mark III

Body only

Add the Canon CS100 media station for only £124.00! Ends 31.08.16.

card

NEW & Expected Mid-September - see website for details

Nikon D5500

20.2

Canon EOS 6D

24.2 MEGA PIXELS

Canon EOS 70D

24.2 5 FPS

SD

3.0”

5 FPS

UK stock

The D3400 makes it spectacularly easy to shoot and share DSLRquality images. Nikon’s SnapBridge keeps the camera connected to your smart device via Bluetooth® so you can actually sync photos as you shoot. Pick up your phone and the photos are there, ready to share: no fuss, no waiting.

Built for those with a love of speed. Be the first to capture the extraordinary, and grab the moments that other photographers miss. Whether it’s stills or movies, express your creative side like never before.

Body only

Competitive low pricing

IS

Body only

£2,999.00

Add a Sony NP-FW50 for £56

Add a Metabones Canon EF to E-mount T IV Adaptor for only £200

Limited numbers back in stock! See website for availability

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 £229.00 70-200mm f/4 G FE OSS £1,249.00

Alpha-Series 30mm f/2.8 SAM 1:1 Macro DT £118.97* 35mm f/1.8 DT £149.00 50mm f/1.4 Carl Zeiss £699.97* 11-18mm f4.5-5.6 DT £599.00 16-35mm f/2.8 Carl Zeiss T* £2,200.00 24-70mm f/2.8 II Carl Zeiss T* £2,000.00 55-200mm f4.0-5.6 SAM DT £246.00 70-200mm f/2.8 G SSM II £2,799.00

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

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


Visit our website - updated daily

Phone one of our knowledgeable sales advisors

www.parkcameras.com/dphoto

Monday - Saturday (9:00am - 5:30pm) or Sunday (9:30am - 4:00pm)

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20.3 MEGA PIXELS

IS

Body only

1080p

+17mm f/1.8

16.1 MEGA PIXELS

8 FPS

IS

Panasonic GX80

16.0 MEGA PIXELS

FREE

cashback

GX80 + 12-32mm Twin lens kit

Body only

+ 12-40mm

£829.00

£1,199.00

OLYMPUS LENSES

Learn more about this lens in store or at www.parkcameras.com/ap

See website for even more Olympus lenses!

36.4 MEGA PIXELS

5 FPS

£549.00*

Claim a FREE Olympus HLD-7 batt. grip from Olympus! Ends 30.09.16

£679.00*

*Price includes £50 cashback from Panasonic. Ends 05.09.16.

Olympus TG-4 T

Panasonic LX100

£50

Body only

+ 12-60mm

Body only

+ 14-140mm

£819.00*

£949.00*

£1,299.00*

*Price includes £50 cashback from Panasonic. Ends 05.09.16.

In stock at only

Available in red, or black

£264.00

£499.00

Olympus CSCH-122 Silicone case for £24.99

Add the MS2E mic for £279

Add a Panasonic DMW-BLG10 spare battery for £59.99

In stock at only

£449.00

Add the BLC12 batt for £49

Add a Lexar 32GB 1000x UHS-II Pro SD card for only £25

24.3

1080p

MEGA PIXELS

14 FPS

*Prices include £50 cashback from Panasonic. Ends 05.09.16.

PANASONIC LENSES

Special price!

In stock at only

cashback

£769.00

24x

MEGA PIXELS

14mm f/2.5 II Pancake £299.00 20mm f/1.7 II ASPH £269.00 45mm f/2.8 Macro £498.00 42.5mm f/1.2 O.I.S £1,099.00 7-14mm f/4.0 ASPH £739.00 12-60mm f/3.5-5.6 ASPH £359.00 14-140mm f/3.5-5.6 £405.00 35-100mm f/2.8 O.I.S £799.00 45-175mm f/4.0-5.6 O.I.S £279.00 100-300mm f/4-5.6 O.I.S £378.00 100-400mm f/4.0-6.3 £1,349.00 See website for even more lenses! Body SRP

SD

3.0î

4K

card

The K-1 features a 36.4 megapixel full-frame sensor with an AA î¿¢NVGTUKOWNCVQT(WNN*&XKFGQCPGY54++CZKUUJCMGTGFWEVKQP mechanism, and is compatible with numerous lenses.

6JGQWVUVCPFKPI:6KUVJG CIUJKROQFGNQHVJG:5GTKGUCPFDQCUVU C/2UGPUQTYKVJQWVCNQYRCUUî¿¢NVGT-XKFGQTGEQTFKPIQHHGTU NVGT-XKFGQTGEQTFKPIQHHGTU numerous technical improvements over its predecessor, the X-T1.

Limited stock now available!!

PRE-ORDER & receive £100 off the price of the battery grip when purchased together! See YYYRCTMECOGTCUEQOHWLKNOZV

Body SRP £1,599.00

Pentax K-S2

Pentax K-3 II

16.1 MEGA PIXELS

16.7

24.2

MEGA PIXELS

8 FPS

(WLKî¿¢NO:6

Pentax K-70

24.3

MEGA PIXELS

MEGA PIXELS

FREE LENS!

Body only

+ 18-50mm WR

Body only

+ 18-135mm WR

Body only

+ 18-135mm WR

£529.00

£709.00

£1,009.00

£559.00

£799.00

Receive a FREE Pentax 50mm f/1.8 if bought before 11.09.2016. See web

Add a Pentax D-Li109 spare battery for only £64.00.

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

TAMRON LENSES

24.3

£100

MEGA PIXELS

4K

8 FPS

£100

TRADE-IN BONUS

For a SPECIAL LOW PRICE, visit us in our London or Burgess Hill stores!

For a SPECIAL LOW PRICE, visit us in our London or Burgess Hill stores!

Receive £100 off the X-T1 when trading in selected cameras! See web.

Receive £100 off the X-PRO2 when trading in selected cameras! See web.

SIGMA LENSES

£1,399.00

NEW!

(WLKî¿¢NO.GPUGU

(WLKî¿¢NO:241 TRADE-IN BONUS

NEW!

£469.00

Add a Pentax remote control F for only £21.90.

4K

8 FPS

£50

cashback

Panasonic FZ330

12.8

4x

IS

3.2î

£50

GRIP

£849.00

12mm f/2.0 £549.00 17mm f/1.8 M. ZUIKO £349.00 25mm f/1.8 M. ZUIKO £279.00 45mm f/1.8 £179.00 60mm f/2.8 Macro £349.00 7-14mm f/2.8 PRO £837.50 12-40mm f/2.8 PRO £719.00 14-42mm f/3.5-5.6 II R MFT £269.00 40-150mm f/4-5.6 R M. ZUIKO £199.00 40-150mm f/2.8 PRO + 1.4x £1,249.00 75-300mm f/4.8-6.7 ED II £349.00

Panasonic GH4R

Panasonic GX8 MEGA PIXELS

+ 12-50mm

Add the Olympus HLD-8 battery grip for the E-M5 II for £194.00

£549.00

MEGA PIXELS

Body only

£362.00

Ava blac ilable in k or silve r

In stock at

MEGA PIXELS

£749.00

In stock at only

4K

20.3

£549.00

SRP £529.99

IS

3.0î

16.0

+14-42mm

f/4-5.6 Micro Four Thirds

10x

16.3

Body only

Olympus 9-18mm

MEGA PIXELS

At home in fast-paced city break or out in nature, the powerful 10x optical zoom and high-performance 1-inch sensor makes travel moments unmissable.

Olympus E-M1

£449.00

See website for the limited edition Fox Brown version!

20.1

Family owned & Run

Explore freedom capturing every moment with a camera that moves as you do.

Olympus E-M5 Mark II

16.2

Panasonic LUMIX TZ100

0 tra bon de-in us!

*Prices include an extra £100 discount when you trade in any working digital camera. Offer ends 30.09.2016.

£899.00* £1,099.00*

Olympus E-M10 Mark II MEGA PIXELS

£10

The stylish Olympus PEN-F is the most powerful PEN to date, with a PGY%TGCVKXG&KCNHQTCFXCPEGFî¿¢NVGT options. Its boasts a 20.3MP sensor, and category-leading 5-axis image stabilisation and response time.

3.0î

10 FPS

Award winning customer service

XF 14mm f/2.8 £639.00 XF 16mm f/1.4 R WR £749.00 XF 23mm f/1.4 £669.00 XF 35mm f/2 R WR £299.00 XF 56mm F1.2 APD £1,069.00 XF 90mm f/2 R LM WR £669.00 XF 10-24mm f/4 OIS £719.00 XF 50-140mm f/2.8 WR OIS £1,149.00 XF 100-400mm f/4-5.6 WR £1,399.00 (QTGXGPOQT QTGXGPOQTG(WLKNONGPUGU NONGPUGUXKUKVWUKP store or at www.parkcameras.com/dphot stor .parkcameras.com/dphoto .parkcameras.com/dphot

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Tamron SP 10-24mm

Tamron SP 15-30mm

Tamron 16-300mm

Sigma MC-11

Sigma 50-100mm

Sigma 150-600mm

f/3.5-4.5 Di II LD Asph. [IF]

f/2.8 Di VC USD

f/3.5-6.3 Di II VC PZD MACRO

Mount Converter

f/1.8 DC HSM | ART

f/5-6.3 Sports + TC-1401 Kit

NEW!

NEW!

See website to see our latest low price!

See website to see our latest low price!

See website to see our latest low price!

Limited stock now available!

£199.00

£829.00

£1,299.00

Add a Hoya Hoya 77mm REVO UV î¿¢NVGTHQTcQPOGPVKQPQHVJKUCFXGTV

Learn more about this lens at www.parkcameras.com

Add a Hoya 67mm UV(C) HMC î¿¢NVGTHQTcQPOGPVKQPQHVJKUCFXGTV

Use your Canon / Sigma lenses with a Sony E-mount camera

Available in Canon, Nikon or Sigma î¿¢VU5GGYGDUKVGHQTFGVCKNU

Available in Canon, Nikon or Sigma î¿¢VU5GGYGDUKVGHQTFGVCKNU

Visit our website for full details on all the Tamron lenses, as well as our latest LOW PRICES!

Velbon CX-888 Tripod

Tamrac Anvil 27 Backpack

CamRanger Wireless Camera Control

was £269.00

.00

NEW LOW PRICE! £199

360FLY 4K Action camera

.00

In stock ock at only £34

Tamrac Aero Zoom 20

.99

In stock ock at only £239

Steiner Observer Binoculars 8x42

Toploader case Black

.00

In stock ock at only £599

4.5mm f/2.8 Fisheye EX DC 8mm f/3.5 Circ. Fish EX DG 15mm f/2.8 Diag F/eye EX DG 19mm f/2.8 DN 20mm f/1.4 DG HSM 24mm f/1.4 DG HSM 30mm f/1.4 DC HSM 30mm f/2.8 DN 35mm f/1.4 DG HSM 50mm f/1.4 DG HSM (Art) 60mm f/2.8 DN 85mm f/1.4 EX DG HSM 105mm f/2.8 EX DG OS HSM 150mm f/2.8 OS Macro 180mm f/2.8 EX DG OS HSM

£599.00 £599.00 £499.00 £119.00 £629.00 £599.00 £299.00 £119.00 £599.00 £579.00 £119.00 £619.00 £329.00 £649.00 £1,099.00

Limited stock now available!

(£1,428 when bought separately)

300mm f/2.8 APO EX DG £2,199.00 70-200mm f/2.8 OS 500mm f/4.5 APO EX DG £3,599.00 70-300mm f/4.0-5.6 DG Macro 8-16mm f/4.5-5.6 DC HSM £499.00 70-300mm f/4.0-5.6 APO Macro 10-20mm f/3.5 EX DC HSM £329.00 120-300mm f/2.8 DG OS HSM 12-24mm f/4.5-5.6 II DG HSM £529.00 150-500mm f/5.0-6.3 DG OS 17-50mm f/2.8 DC OS HSM £279.00 150-600mm f/5-6.3 DG | C 17-70mm f/2.8-4 DC OS £319.00 150-600mm Cont. + 1.4x 18-35mm f/1.8 DC HSM £549.00 150-600mm f/5-6.3 DG | S 18-200mm f/3.5-6.3 DC OS HSM £249.00 150-600mm Sport + 1.4x 18-250mm DC Macro OS HSM £279.00 300-800mm f/5.6 EX DG HSM 18-300mm f/3.5-6.3 DC Macro £349.00 1.4x Teleconverter APO EX DG 24-35mm f/2 DG HSM Art £699.00 1.4x Teleconverter TC1401 24-70mm f/2.8 IF EX DG £549.00 2.0x Teleconverter APO EX DG 24-105mm f/4 DG OS HSM £599.00 2.0x Teleconverter TC2001 50-500mm f/4.5-6.3 OS HSM £849.00 USB Dock

£729.00 £99.00 £149.00 £2,499.00 £494.99 £739.00 £849.00 £1,199.00 £1,299.00 £5,499.00 £179.00 £229.00 £199.00 £269.00 £39.99

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In stock ock at only £6

.99

In stock ock at only £299

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INSIDER KNOWLEDGE

After The lines of the symmetrical image are all in order and the colours have been boosted too.

PH0TOSHOP

60 60 SECOND FIX

FIX UP A PIER PIC Discovered your picture is suffering from a wonky composition? Don’t worry, we’ve got a simple, twostep Photoshop tutorial that’ll straighten things up and improve the overall quality of the image...

MATTY GRAHAM

Before

1

Balance the exposure and enter the Skew mode

Open your photo in Photoshop or Elements and duplicate the Layer by hitting Ctrl+J. Go to Image’Adjustments’Shadows/ Highlights or Enhance’Adjust Lighting’Shadows/Highlights in Elements to balance the exposure. Enter the Skew transform mode by selecting Edit’Transform’Skew (Image’Transform’Skew in Elements) A bounding box will appear around the frame.

130 DIGITAL PHOTO

2

Straighten up the frame and crop

Use the mouse to drag the handles of the bounding box around to straighten up the wonky composition. Complete the action by hitting Return. Once done, there may be areas of white space at the edges of the frame so select the Crop tool ool and trim away the edges of the frame. Hit Ctrl+E to merge the Layers then give the colours a boost by clicking Ctrl+U. Drag the Saturation slider towards the right then hit OK and save the image.


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▼Digital Photo - New Skills