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INSPIR AT ION IDE A S IN-DEP TH RE V IEWS

FALL FOR AUTUMN GET CREATIVE WITH SEASONAL COLOURS FOR MAGICAL RESULTS

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JOIN THE CLUB... Welcome to the world’s No.1 weekly digital photography magazine. If you’re already a reader, thanks for your continued support and involvement; if you’re new to Photography Week, you’ve come to the right place! In addition to expert advice, brilliant tips and step-by-step tutorials, every issue features interactive galleries of the best new photos, how-to videos on

essential shooting and editing techniques, and in-depth reviews of the latest camera kit. But that’s not the whole story. Photography Week is more than a magazine – it’s a community of like-minded people who are passionate about photography. To get involved, just follow any of the links below and share your shots and comments – your photo might even appear on our cover!

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CONTENTS FIND OUT WHAT’S INSIDE THIS ISSUE NEWS

THE 35MM SLR IS BACK

Startup announces first new 35mm film camera in 25 years F E AT U R E

THE MAGIC OF AUTUMN

Learn how to shoot stunning ±ĹÚƤÏŅĬŅƚųüƚĬ Ÿå±ŸŅűĬ Ĝĵ±čåŸ PHOTOS

GALLERY

Our pick of reader images üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ

F E AT U R E

I N S P I R AT I O N I N S P I R AT I O N

FEEL THE CHEMISTRY

Videos capture the microscopic beauty of chemical reactions CRASH COURSE

MORE BLUE, LESS GLARE

How to use a polarising filter for detail-rich skies and landscapes

PHOTOS

PHOTOSHOP

GET THE WET LOOK

Give your modern images a ųåƋųŅƤƵåƋěŞĬ±Ƌå ŞųĜĹƋ ĵ±ĩåŅƴåų

CRASH COURSE GEAR

OLYMPUS OM-D E-M10 MARK III

The latest version ŅüƤƋĘå ŞŅŞƚĬ±ų Ƌų±ƴåĬ camera comes with ĉUƤƴĜÚåŅ ÆƚƋ ŸƋĜÏĩŸ ±Ƌ 16MP – so is Olympus keeping up with the competition?

PHOTOSHOP

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W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

THE REFLEX 1 IS THE F IRS T NEW ..ç' *-. 4-3 '03 :& "34 Startup aims to reinvent film photography for the Instagram generation

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ith retro film effects showing no sign of losing their appeal

looking to experiment with the medium. Reflex is the brainchild of the creative

is an interchangeable back that allows for easy film loading. Not surprisingly

team behind the popular photography

for a camera designed to appeal to the

and ‘instaprint’ cameras back in fashion

publisher and social community If

social media generation, there’s also an

with the likes of Fujifilm’s Instax Square,

You Leave, and the Reflex 1 has been

app that enables users to connect their

it was only a matter of time before the

created by a team of photographers,

Reflex to their phones. Among other

35mm film camera made a comeback,

designers, and technologists.

things the app will automatically record

to the Instagram generation,

the camera settings for each shot taken.

and now photography startup Reflex has

The Reflex Kickstarter campaign is

announced the first manual 35mm SLR

Use your legacy glass

film camera in more than 25 years.

The Reflex system incorporates a

up and running, and ends on December

couple of unique features. The Reflex

7. The Reflex 1 will be available to

mechanical and electrical engineering

I-Plate is an interchangeable lens mount

early-bird backers for £350 (around

with the classic design and function of

plate that enables film SLR fans to use

$465), before moving to the standard

an analogue camera”, and is designed to

their legacy glass from brands including

Kickstarter price of £399). Backers will

appeal to both veteran film enthusiasts

Nikon, Canon and Olympus with their

receive their Reflex camera in August

and a new generation of photographers

Reflex camera, while the Reflex I-Back

2018, before it goes on general sale.

The Reflex 1 “combines contemporary

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F O R F U L L D E TA I L S & R U L E S W W W. P H O T O C R O W D . C O M / D C P O T Y

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AMAZING AUTUMN SHOTS

With stunning light, gorgeous colours in the landscape and wildlife spectacles aplenty, the transformative autumn season offers an abundance of outdoor photo opportunities – our essential shooting tips will help you to make the most of them

LANDSCAPES Capture autumnal vistas at their finest

REFLECTIONS Still waters make for stunning scenic shots

WILDLIFE Shoot creatures as they hunker down for winter

ABSTRACTS A little bit of contre-jour never hurt anyone

PEOPLE Have fun in the leaves with friends and family

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LANDSCAPES IN TRANSITION

As greens turn to reds and gold, here’s how to capture the changes

utumn is perhaps the most photogenic season of them all, with misty mornings, fiery sunsets and a spread of red and orange foliage. Because sunrise occurs later and sunset begins earlier than in the summer months, shooting during the golden hour is a less tiring endeavour – at daybreak and dusk, use this warm light to add tranquillity to autumn scenes. While the changing of the leaves is the defining character of autumn, don’t feel limited to photographing dense rural woodland. Urban parks also have their share of mature trees, and by visiting regularly you’ll be able to document the transition more subtly. The usual rules of landscape photography apply, and it’s generally best to capture sweeping vistas with a wide-angle lens and narrow aperture (f/16 or above) for good depth of field. If a misty shoot is on the horizon, use a flexible zoom lens such as a 70-200mm, as this will compress the perspective and enhance the feeling of depth. Keep the ISO to 100 (or as low as possible) too, as mist really shows up grain-like noise.

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WARMING FILTERS We associate autumn with warm colours and tones, thanks to the dramatic change in foliage that occurs at this time. Why not add atmosphere to your landscapes by using a red or orange ĀĬƋåųũ å ĬĜĩå ƋĘå Autumn Tint Set from Lee Filters, which enhances the rich golds, reds and browns that typify the season

WITH FILTER

With blue skies and sunshine, you’ll be able to capture autumn colours at their most vibrant WITHOUT FILTER

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LANDSCAPES IN TRANSITION CONTINUED

PLAN YOUR SHOOT

Autumn may be dramatic, but you shouldn’t just visit a scene at random hoping for great results. Stunning landscape shots rely on stunning light, so make sure you shoot in the right conditions and at the right time of day. Use the popular Photographers Ephemeris app to check what time and in which direction sunrise and sunset will be, scour OS maps for viewpoint symbols, and do a recce for popular landscape locations on sites like 500px.

Shooting through mist at ŸƚĹųĜŸå Ï±Ĺ ĘåĬŞ ÚĜýƚŸå ƋĘå bright sunlight

MISTY MORNINGS Get out early and capture sunrise scenes at their most magical

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PLANNING Check the weather forecast the evening before a shoot. Some sites predict mist and visibility information; otherwise, look for clear, cool, still nights, as these are the ideal conditions for mist to form.

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LOCATION Use your local knowledge or hunt online for a good spot. Mist often forms over large bodies of water and in dense woodlands. Set your alarm early, so that you can get set up well before sunrise.

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CAMERA CONSIDERATIONS Use a tripod and hone your composition with a mid-telephoto lens. Mist can fool your meter, so check the histogram and apply a degree of positive exposure compensation if needed.

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GET REFLECTIVE

Get double the drama by using lakes or other bodies of water as a mirror

On more overcast days, zoom in on a scene ƋŅƤüŅÏƚŸ ŅĹ ƋĘå Ĭ±ĹڟϱŞå ±ĹÚ üŅĬĜ±čå

Shoot with your back to the sun, and use a wider composition to incorporate an attractive blue sky

hat could be better than featuring one autumn palette in ± Ĭ±ĹڟϱŞåũ FĹÏĬƚÚĜĹč ƋƵŅØ Ņü course, and you can double the colour by featuring a reflection. In terms of composition, one approach is to position the horizontal waterline in the centre of the frame, so the reflection has equal weight in the frame, while you could also climb to a high vantage point and shoot downwards to include more of the scene. Lakes surrounded by forests are the perfect spot for these shots. The best time to shoot is early morning, when the light is golden and wind levels are lower; any breeze will disrupt the surface of the water and spoil your reflection.

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For autumn scenes, use a tripod to ensure you capture shake-free shots

FILTERS It’s good practice to carry a range of ĀĬƋåųŸ ƵĜƋĘ ƼŅƚ ŅĹ ±ĹƼ Ĭ±ĹڟϱŞå ŸĘŅŅƋţ åāåÏƋĜŅĹŸ Ï±Ĺ ŅüƋåĹ Æå Ÿåƴåų±Ĭ ŸƋŅŞŸ darker than the main foliage; if this is the case, use a graduated neutral density ĀĬƋåų ƋŅ åƴåĹ ƋĘĜĹčŸ ŅƚƋţ e ŸŅĬĜÚ c% ĀĬƋåų will enable you to lengthen the exposure to smooth out water ripples in a breeze. Lastly, a polarizer will reduce the amount of glare hitting the water, while also giving contrast and saturation a boost.

STEP-BY-STEP kƚų ƋŅŞ ƋĜŞŸ üŅų ϱŞƋƚųĜĹč ųåāåÏƋĜŅĹŸ ±Ÿ ĵŅƋĘåų űƋƚųå ĜĹƋåĹÚåÚ

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POSITION THE CAMERA Set a tripod to a low position and angle ƋŅ ĜĹÏų屟å ƋĘå ±ĵŅƚĹƋ Ņü ųåāåÏƋĜŅĹ ĜĹ ƋĘå ŸĘŅƋţ Ņ ±ƴŅĜÚ Ú±ųĩ ųåāåÏƋĜŅĹŸØ ŸĘŅŅƋ with the sun behind you. Aim to get the waterline straight in-camera.

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USE MANUAL MODE Set the ISO and aperture values depending on the exposure length you want. A fast shutter speed freezes water ripples, whereas a longer exposure blurs ĵŅƴåĵåĹƋ ±ĹÚ ŸŅüƋåĹŸ ųåāåÏƋĜŅĹŸţ

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FIND THE FOCUS åāåÏƋĜŅĹŸ Ï±Ĺ Ï±ƚŸå ± ĬåĹűŸ ±ƚƋŅüŅÏƚŸ to ‘hunt’ around for a target. If this happens, switch to manual focus mode, then zoom into the scene with Live View on and focus ŅĹ ƋĘå ųåāåÏƋĜŅĹ ĜƋŸåĬüţ

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SEASONAL WILDLIFE

Autumn is a busy time for animals as they prepare for the long winter ahead When shooting small creatures in a leafy undergrowth, get down at a low angle so you’re at their eye level – this helps to connect the viewer to the subject

ll creatures, big or small, become more bold at this time of year as they take advantage of natural resources and build up stores for the colder months to come. You’ll have noticed the bountiful hedgerow harvest from September onwards – think berries, rose hips, apples, hazelnuts and seeds – and many species take advantage of this feast to build up reserves of fat for migration or for hibernation. Some animals, such as squirrels, are easy to spot out foraging, but you’ll need to learn the habits and preferences of more reclusive species. You could set up a regular feeding station on your local patch with your target animals’ preferred food source – badgers, for example, thrive on peanuts, dried pet food, fruit and mealworms (a pet shop will stock these). Once established, a feeder provides plenty of photo opportunities with a long lens and wide aperture. If you want to photograph larger mammals such as deer, get in touch with your local wildlife group or nature reserve and make good use of their expertise.

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DOCUMENT BEHAVIOUR

Many animals, including deer and wild boar, seek mates in the autumn months, and their behaviour presents some dynamic photo opportunities. Seek out majestic animals such as red deer in a deer park. The males Ï±Ĺ Æå ŸååĹ ĀčĘƋĜĹč ųĜƴ±ĬŸ ô ųƚƋƋĜĹč ô ƋŅ attract a female, as well as roaring. Keep

your distance by shooting with a telephoto lens, as stags become territorial if they feel threatened. At the other end of the size ŸÏ±ĬåØ Æ±Ƌ ŸŞåÏĜåŸ ŸƚÏĘ ±Ÿ %±ƚÆåĹƋŅĹűŸ ±ĹÚ Brandt’s will sing to females inside caves; a bat detector will pick up the singing better than the human ear.

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SEASONAL WILDLIFE CONTINUED Shoot with your telephoto len’s widest aperture to maximize the light ±ĹÚƤŸåޱų±Ƌå ƼŅƚų ŸƚÆģåÏƋ from its background

LOOK FOR… Autumn rewards wildlife enthusiasts with plenty to marvel at and capture ƵĜƋĘƤƼŅƚų ϱĵåų±ţ )±ÏĘ ŸŞåÏĜåŸ čå±ųŸ ƚŞƤüŅų ƵĜĹƋåų ÚĜýåųåĹƋĬƼØ ƵĘåƋĘåų ÆƼ hunting or gathering food stores, or migrating to sunnier climes.

FLYING DISPLAYS

Starling roosts begin to form in cŅƴåĵÆåų ô ƵåĬĬ ÆåüŅųå ÚƚŸĩ ĜŸ ƋĘå ÆåŸƋ time to arrive if you want to catch them SPIDER WEBS

Head out early to capture moody low-light silhouettes and undisturbed wildlife

Intricate spider webs outlined in dew become dramatically visible on an early morning walk FORAGING ANIMALS

%ƚųĜĹč ±ƚƋƚĵĹ ĵ±ĹƼ ±ĹĜĵ±ĬŸ ƵĜĬĬ Æå busy collecting, burying or hunting for food ahead of winter BIRDS IN FLOCKS

TELEPHOTO LENS

Focal lengths of 300mm or longer enable ƼŅƚ ƋŅ ϱŞƋƚųå ĜĹƋĜĵ±ƋåØ üų±ĵåěĀĬĬĜĹč portraits of shy or small animals from a good working distance. Fast telephoto lenses are the ideal partner for wildlife, but they come at a cost. If a long lens is too pricey, add a 2x teleconverter to your existing lens to double its zoom power.

a±ĹƼ ÆĜųÚŸ üŅųĵ āŅÏĩŸ ųå±ÚƼ üŅų migration. Visit the coast in the early morning for a good spot

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NATURAL DELIGHTS

Striking colours and textures are perfect for a more abstract approach FUNGI

FREELENSING FOR LEAFY ART

Think outside the box by taking the ĬåĹŸ Ņý ƼŅƚų ϱĵåų±ţ BåųåűŸ ĘŅƵñ

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PREP THE KIT Set your lens to manual focus, and ƋĘåĹ ŅŞåĹ ĜƋ ƚŞ ƋŅ ĜĹĀĹĜƋƼſ ± ĂLjĵĵ ŞųĜĵå lens is ideal here. In Manual mode, set the aperture as wide as possible (in our case this was f/1.8).

hile it’s lovely to shoot with a wide-angle lens to capture an expansive autumn scene, this is also the perfect season to get out your macro lens and shoot some colourful close-ups. From focusing on specific leaves on trees to getting down and dirty with fungus in the forest, there are lots of great photo ops. When using a

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BACKLIT LEAVES

macro lens (see the next page) bear in mind that depth of field is radically reduced. This means that rather than shooting wide open at f/2.8, you’ll need to shoot at f/8 or even f/16 to ensure the whole subject is captured sharply. As you’re so close, however, even at these apertures you’ll still get nicely blurred backgrounds.

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TAKE OFF THE LENS Still in Manual mode, set the shutter speed and ISO for a good exposure depending on the scene and the light. If the light is dull, start with ISO400. Remove the lens from your camera.

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MAKE FREE Hold the body in one hand and the lens in the other. Twist and turn the lens in front of the camera, using Live View ƋŅ Ÿåå ƋĘå åýåÏƋţ %ĜýåųåĹƋ ±ĹčĬåŸ ƵĜĬĬ alter the focus and introduce light leaks.

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NATURAL DELIGHTS CONTINUED Set up a home studio and take autumn inside. Use a coloured card ƱÏĩčųŅƚĹÚ ±ĹÚ ±ÚÚ ųåÚ ā±ŸĘ čåĬŸ ƋŅ ± ā±ŸĘčƚĹ üŅų ŸƋųĜĩĜĹč ųåŸƚĬƋŸţ

50MM OR MACRO LENS {ųĜĵå ĬåĹŸåŸ Ņýåų ŸƚŞåųĜŅų Ĝĵ±čå ŧƚ±ĬĜƋƼ ÆåϱƚŸå ƋĘåƼ incorporate fewer moving elements compared to zooms. For close-ups of autumn foliage you’ll need a macro lens – a 100mm focal length means you can shoot comfortably from a little further away, compared to 50mm macro lenses. An optic such as Canon’s EF 100mm f/2.8L IS Macro lens, which has Hybrid IS for sharper handheld shots is ideal; it also maintains sharpness at narrow apertures, which you need in macro shooting to capture anything ĵŅųå ƋʱŠ±Ĺ åƻƋųåĵåĬƼ űųųŅƵ ÚåŞƋĘ Ņü ĀåĬÚţ

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FALL FOR PORTRAITS Take family and friends with you on a shoot

he amazing colours of autumn make it a great time to capture vivid and engaging outdoor portraits. Head to your local woods in early autumn just as the leaves are starting to fall. Use a fast telephoto zoom lens at around 200mm, as this enables you to shoot from a distance without crowding your subjects, and a wide aperture of around f/4 to help you capture a shallower depth of field for a more dreamy portrait style. Shoot handheld for more freedom, but, as it can be fairly dark inside woods, you may need to raise your ISO to 400 or 800 to achieve a shutter speed of around 1/200 sec – any slower when shooting

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at 200mm will likely result in camera shake and blurry shots. If your shutter speed is still too slow, up your ISO even further to get the right speed – don’t be afraid to shoot at ISO1600 or 3200 to get ±ƤŸƚüüĜÏĜåĹƋĬƼ ŸĘ±ųŞ ŸĘŅƋţ

TELEPHOTO ZOOM A telephoto zoom lens is best for outdoor portraits. A focal length of 200mm with a ƵĜÚå ±ŞåųƋƚųå ųåÚƚÏåŸ ÚåŞƋĘ Ņü ĀåĬÚ ±ĹÚ blurs the foreground and background, so your subjects stand out. We love Canon’s fast EF 70-200mm f/2.8L IS II, but any telephoto zoom will do.

Americans don’t call it fall for nothing – and when leaves are falling, getting someone to throw them around makes for some great action portraits

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COLOUR TEMPERATURE

Capture accurate skin tones – or warm things up a little for effect hooting portraits in overcast weather or woods can lead to underexposed pictures. Avoid this by dialling in roughly +1 stop of exposure compensation to ensure skin tones are light enough. Also, set the white balance on your camera to a warmer colour temperature to avoid a blue colour cast when shooting in shaded light – you can increase the colour temperature further when processing your raw files.

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BEFORE

REFLECTOR ŸĜĹč ± ųåāåÏƋŅų ĜŸ ± ÏĘå±ŞØ åýåÏƋĜƴå Ƶ±Ƽ ƋŅ ÆųĜčĘƋåĹ ƚŞ ƼŅƚų ŞŅųƋų±ĜƋŸţ Fü ƼŅƚűųå ŸĘŅŅƋĜĹč ĜĹ ± shaded area to stay out of direct ŸƚĹĬĜčĘƋØ ƼŅƚ Ï±Ĺ ƚŸå ± ųåāåÏƋŅų to bounce the light back onto ƼŅƚų ŸƚÆģåÏƋ üŅų ± ÆųĜčĘƋåų ŞĘŅƋŅţ %ĜýåųåĹƋěÏŅĬŅƚųåÚ ųåāåÏƋŅųŸ ŞųŅÚƚÏå ÏŅŅĬåų Ņų Ƶ±ųĵåų ųåŸƚĬƋŸØ ±Ÿ ƼŅƚ Ï±Ĺ Ÿååñ

AFTER

NO REFLECTOR

Utilise colourful leaves on the ground by getting down low for your compositions

These portraits were all shot at f/2.8, 1/400 sec, ISO100. Shot in total shade, ƋĘĜŸ ĀųŸƋ Ĝĵ±čå ųå±ĬĬƼ Ĭ±ÏĩŸ ĬĜčĘƋţ SILVER REFLECTOR

CLOUDY WHITE BALANCE

ŸĜĹč ± ŸĜĬƴåųěŸĜÚåÚ ųåāåÏƋŅų ƋŅ ÆŅƚĹÏå some light back onto our subject really brightens things up. GOLD REFLECTOR

Rich autumn tones can wreak havoc with your images if you rely on your camera’s Auto White Balance setting, rendering tones too cool or grey in appearance. To boost the richness of colours and capture the autumn atmosphere, select the Cloudy preset.

Compared to the cool light of the silver ųåāåÏƋŅųØ ± čŅĬÚ ųåāåÏƋŅų Ƶ±ųĵŸ ƚŞ Ņƚų subject as well as brightening them.

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XPOSURE THE WEEK’S MOST INSPIRING READER PHOTOS

FACE OF AUTUMN

NICK TURLEY “This was taken on a recent photoshoot in the stunning grounds of The Garden House in Devon, England. It was an damp, overcast day, which made the autumn colours really pop.” http://tiny.cc/tcwioy

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THE WEEK’S MOST INSPIRING READER PHOTOS

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DAVID BALL “I think the lead-in curve MPPLTçGBOUBTUJD BHBJOTU UIF high tide, and is enhanced CZçUIF PWFSGMPX XBUFS DPNJOH through the pipes.” http://tiny.cc/izwioy

NATURAL HARMONICS

CHANCE LAMAR HILL “My partner and I were out in far north-eastern Washington State photographing fall colours. On a late afternoon, we chose the Sweet Creek Trail, which is located a few miles south of the town of Metaline Falls. Capturing this beautiful scene with my Sony A6000, I opted for a wider aperture to achieve a strong foreground and a rather mysterious background.” http://tiny.cc/pgwioy

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THE WEEK’S MOST INSPIRING READER PHOTOS

TERMOLI TOWN

MICHAEL DE SANCTIS “This is a street in the old town of Termoli on Italy’s Adriatic coast, captured at sunset.” http://tiny.cc/c8wioy

TANN M

MIKE DAVIES “This is one of the pictures from a shoot at my studio, for which we wanted to create some dramatic lighing images using gels and the like. Tann’s unusual bra gave a nice focal point to the shot.” http://tiny.cc/utwioy

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THE WEEK’S MOST INSPIRING READER PHOTOS

ALONE AT GRAND ARCH

JEAN-FRANCOIS CLOÜET “Abstract architecture photography offers a new perspective, allowing the viewer’s imagination run wild.” http://tiny.cc/pshloy

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Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to show off? Then join the Photography Week Facebook community and share your best photos today! You’ll get feedback from fellow readers and the Photography Week team, plus the chance to appear in Xposure, or even on our cover!

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I T ’ S C O O L , T H AT Images © Xinzhi Digital Media

THE BEST THING WE’ VE SEEN THIS WEEK

THE ULTIMATE REACTION SHOTS Short films capture the other-worldly beauty of everyday chemical reactions in stunning close-up detail – and there will be a test e’ve featured the remarkable macro images of Beauty of Science before in Inspiration. The educational brand aims to engage students and the wider public with science through photos, videos and graphics, and for its latest project it’s teamed up with the Chinese Chemical Society to produce Envisioning Chemistry, ±ƤŸåųĜåŸ Ņü üĜĬĵŸ ƋʱƋ ϱŞƋƚųå ƋĘå åƋĘåųå±Ĭ beauty of close-up chemical reactions. The mesmerising sequences feature other-worldly colours and intricate patterns

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that by turns are reminiscent of ice crystals, surreal forests or coral reefs. And while you can just sit back and enjoy the show, if you’re interested in the science behind the images the various clips are annotated with the chemical reactions that are taking place. Click to watch the videos at the Envisioning Chemistry website, where you can also learn more about the project. You’ll also find the videos, and lots more amazing short movies, at the Beauty of Science Vimeo channel (http://tiny.cc/ca7loy).

W AT CH T HE V IDEO S h t t p: // t iny. cc /u t jloy

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ESSENTIAL PHOTO SKILLS MADE EASY

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BIG UP THE BLUES A polariser is one of the few filters you can’t fake in Photoshop. Tom Welsh explains how to use one to boost colour and contrast, and reduce reflections

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Circular polarising filters are among the most important MINS lens filters you can buy for your camera. They’re pretty much essential for landscape photography, as they enable you to give skies extra punch, and also help to reduce glare and reflections on shiny surfaces. Polarisers work by filtering out so-

called polarised light (i.e., light waves travelling in a single plane, rather than in all directions). When light reflects off a non-metallic surface, such as water, it becomes partially polarised, and a polarising filter can be rotated so that it blocks this polarised light, but lets light waves travelling in other planes pass through. This helps to reduce glare on

everything from sweaty faces to waxy leaves, and allows the natural colours and details to show through. Similarly, some of the light from the sky is polarised, and filtering out this component of the light darkens the sky. Clouds are less affected, which is why they often look so white and fluffy against the darker blues.

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STEP BY STEP MORE BLUES, LESS GLARE

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SIZE THINGS UP

Circular polarising filters attach to the front of your lens, so you’ll need to choose the correct size to match the diameter of your lens’s filter thread. If your lenses vary in diameter you can get step-up rings that enable you to attach your filter to any lens – these can also help reduce vignetting (see far right).

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CHECK THE EFFECT

It can be tricky to predict how a polariser will affect a scene. Holding the filter up to the sky will allow you to preview the effect, but it’s far easier to see what you’ll get by looking through your camera’s viewfinder as you rotate the filter when it’s attached to the lens.

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FIND THE BEST ANGLE

Polarising filters are most effective when you shoot at 90 degrees to the sun (so basically, keep the sun to one side of you to get the bluest skies possible). Make sure that you don’t look directly at the sun through the viewfinder while searching for the sun’s position.

WATCH THE CORNERS

Another potential issue with circular polarisers is that they can cause vignetting (a darkening of the image corners), åŸŞåÏĜ±ĬĬƼ ŅĹ ƵĜÚåě±ĹčĬåŸ ĬåĹŸåŸ ±Ƌ ƵĜÚå ±ŞåųƋƚųåŸ ô ĜĹ åýåÏƋØ ƋĘå åÚčåŸ Ņü ƋĘå ĀĬƋåų üų±ĵå ÆåÏŅĵå ƴĜŸĜÆĬå ±Ƌ ƋĘå very corners of the image. The obvious solution for this is to use a polariser with a slimmer frame, although generally ŸŞå±ĩĜĹčØ ƋĘå ŸĬĜĵĵåų ƋĘå üų±ĵåØ ƋĘå ĵŅųå åƻŞåĹŸĜƴå ƋĘå ĀĬƋåųţ

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FINE-TUNE THE EFFECT

Once your filter is in place and you’re standing at the optimum angle to the sun, you might think you’re all set to take the shot, but you can still boost the sky some more. Rotate the front ring of the filter to maximise the intensity of the polarising effect.

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AVOID WIDE ANGLES

As mentioned in the introduction, polarisers increase the contrast and saturation of your images, especially in blue skies, but take care: with wide-angle lenses, the strength of the polarising effect can vary across the frame, so it can sometimes look a bit uneven.

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SEE THROUGH WATER

By reducing the reflections from, say, a shallow river, a polariser can help cut through the glare to reveal the rocks in the river bed below. This effect is more noticeable on still water when the sun is 30-60 degrees above the horizon, but it’s also apparent on moving water.

QUICK TIP

Circular polarisers reduce the amount of light entering the lens by a stop or two, so you’ll need to set a slower shutter speed or a wider aperture to let in more light for an accurate exposure

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PH OTOS H O P LEARN ESSENTIAL EDITING SKILLS FAST!

HOW TO...

GIVE YOUR IMAGES THE WET-PLATE LOOK

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Discover four Photoshop techniques to give your modern images the classic look of old, messy and degraded prints he better the image quality from our digital cameras becomes, the more appealing it is to hark back to the early days of photography by recreating the look of

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traditional darkroom effects, complete with all their glorious imperfections. In this video tutorial we’ll show you how to mimic a range of wet plate effects by tinting an image,

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CAMERA TEST EXPERT OPINION ON THE L ATEST KIT

OLYMPUS OM-D E-M10 MARK III Our favourite travel camera gets 4K video www.olympus.co.uk £699/$799 (with 14-42mm pancake zoom) he ‘old’ OM-D E-M10 Mark II regularly tops the ‘best travel cameras’ lists, and this new a±ųĩƤFFF ƴåųŸĜŅĹ ĜŸ ųå±ĬĬƼ ĵŅųå Ņü ±Ĺ ƚŞÚ±Ƌå ±ĹÚ ± ųåüųåŸĘ ų±ƋĘåų ƋʱŠ± brand-new camera. It uses a smaller Micro Four Thirds sensor than rival mirrorless cameras

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and DSLRs, which might put some ŞåŅŞĬå Ņüüſ ÆƚƋ ƋĘĜŸ ŸåĹŸŅų ĜŸ ŸƋĜĬĬ Ƶ±Ƽ bigger than those in regular compact cameras and smartphones, so the ŧƚ±ĬĜƋƼ ÚĜüüåųåĹÏå ÆåƋƵååĹ ƋĘå ĬĜƋƋĬå E-M10 and a DSLR is really not that big. Ęå ±Úƴ±ĹƋ±čå Ņü ƋĘå Ÿĵ±ĬĬåų ŸåĹŸŅų üŅųĵ±Ƌ ĜŸ ƋʱƋ ƋĘå ĬåĹŸåŸ ±ųå Ÿĵ±ĬĬ ƋŅŅ

– which is where rival APS-C camera ŸƼŸƋåĵŸ Ï±Ĺ ü±ĬĬ ÚŅƵĹ ƵĘåĹ ĜƋ ÏŅĵåŸ ƋŅƤŞŅųƋ±ÆĜĬĜƋƼţ The OM-D E-M10 series are the åĹƋųƼěĬåƴåĬ ĵŅÚåĬŸ ĜĹƤkĬƼĵŞƚŸűŸ kaě% range, although they’re actually a lot more sophisticated than most beginner ϱĵåų±Ÿţ Ęå ĩåƼ ĹåƵ üå±ƋƚųåŸ ĜĹ ƋĘå

FULL TEST OLYMPUS OM-D E-M10 MARK III

E-M10 Mark III are 4K video and a more ŞŅƾüųßƚď Äœľ¹Ä?ĂĽ ŞųŅĂ?üŸŸĹ…Ĺł Ć‹Ä˜ÂąĆ‹ Ă†ĹłÄœÄšÄ?Ÿ ĹŽĆ–ĹŽ ¹ƚƋŅßŅĂ?ĆšŸ ĹžĹ…ÄœÄšĆ‹ŸĂ˜ Ć‹Ĺ…Ä?ĂĽĆ‹Ä˜ĂĽĹł ĆľÄœĆ‹Ä˜ a new Bleach Bypass Art Filter and Âą ľŅÚüŸĆ‹ ųüƾĹ…ųĊĜĚÄ? Ĺ…Ăź Ć‹Ä˜ĂĽ Ă?¹ľüų¹ŹŸ exterior and controls. Inside it has the same 16MP Micro Four Thirds sensor. We thought the new camera might get the same 20MP sensor as the more upmarket PEN-F and OM-D E-M1 II models, but clearly kďƟľĹžĆšŸ ÄœŸ ÄŠĂĽĂĽĹžÄœÄšÄ? Ć‹Ä˜ÂąĆ‹ ƹĂ?ÄŠ ßŅų ĚŅƾţ

01

Build and handling The E-M10 III may be small, but it crams Ĺ…Äš Âą ÄŹĹ…Ć‹ Ĺ…Ăź ĂĽĆťĆ‹ĂĽĹłÄœĹ…Ĺł ĂšÄœ¹ďŸ ¹ĚĂš Ă†ĆšĆ‹Ć‹Ĺ…ĚŸĂ˜ ľ¹ĊĜĚÄ? ÄœĆ‹ ÄœĂšü¹ď ßŅų ĂĽÄšĆ‹Ä˜ĆšŸÄœ¹ŸĆ‹ŸĂ˜ ĆľÄ˜ÄœÄŹĂĽ Ć‹Ä˜ĂĽ ųü¹ų Ć‹Ĺ…ĆšĂ?ĘŸĂ?ųüüĚ ¹ĚĂš ÄœĆ‹Ÿ Ć‹Ĺ…ĆšĂ?Ä˜Ä›ĂźĹ…Ă?ĆšŸĂ˜ Ć‹Ĺ…ĆšĂ?ĘěŸÄ˜ĆšĆ‹Ć‹ĂĽĹł Ĺ…ĹžĆ‹ÄœĹ…ĚŸ ¹ųüƤĹžüųßüĂ?Ć‹ ßŅų smartphone upgraders and novices. eĆ‹ Ć‹Ä˜ĂĽ ß¹ų ďüßƋ Ĺ…Ăź Ć‹Ä˜ĂĽ Ć‹Ĺ…Ĺž Şď¹Ƌü ÄœŸ ¹ƤĂ†ÄœÄ? Ĺ…ÄšxĹ…ßß ŸƾÄœĆ‹Ă?Ä˜Ă˜ ĆľÄ˜ÄœĂ?Ę ÄœŸ Âą ųü¹ďďƟ ĚĜĂ?ĂĽ ĂĽĂ?Ä˜Ĺ… Ĺ…Ăź Ć‹Ä˜ĂĽ Ă?ď¹ŸŸÄœĂ? kďƟľĹžĆšŸ ka „X cameras. On the right side is a big metal mode dial and two (yes, two) metal control dials. Most entry-level cameras Ĺ…ßßüų ÄŁĆšŸĆ‹ Ĺ…Ěü ĂšÄœ¹ďĂ˜ ÆƚƋ Ć‹Ä˜ĂĽ )Ä›aĹŽÇˆ FFF ÄœŸ not your ordinary entry-level camera. Small as it is, the OM-D E-M10 Mark III Ę¹ĚĂšďüŸ Ă†ĹłÄœÄŹÄŹÄœ¹ĚĆ‹ďƟţ Â‰Ä˜ĂĽ ĂšÄœ¹ďŸ Ę¹ƴü Âą ĂźÄœųľĂ˜ ŞŅŸÄœĆ‹ÄœĆ´ĂĽ ßüüď ¹ĚĂš Ć‹Ä˜ĂĽ Ă?Ĺ…ÄšĆ‹ĹłĹ…ďŸ ĂšĹ…ĚŹĆ‹ ßüüď Ă?ų¹ľĹžĂĽĂšĹŁ Â‰Ä˜ĂĽ ßŅƚųěƾ¹Ɵ Ě¹ƴÄœÄ?ÂąĆ‹ÄœĹ…Äš ޹Ú on the back is a little on the small side, but it works well. kďƟľĹžĆšŸ ޹Ă?ĊŸ Âą ÄŹĹ…Ć‹ Ĺ…Ăź ƴüųƟ Ÿľ¹ųĆ‹ shooting options into its cameras, and the mode dial now has an AP (Advanced Photo) mode which displays the camera’s Live Composite

02

1 With its EZ 14-42mm pancake zoom lens, UIFç& . *** JT KVTU BçNBTUFSQJFDF PG NJOJBUVSJTBUJPO 2 5IF SFBS UPVDITDSFFO EJTQMBZ TXJOHT PVU PO BçUJMUJOH NFDIBOJTN 3 &OUSZ MFWFM PS OPU UIF & . *** IBT B UFSSJmD L EPU FMFDUSPOJD WJFXmOEFS BOE B TPVQFE VQ QPJOU BVUPGPDVT TZTUFN 4 *T UIJT SFBMMZ B CFHJOOFS T DBNFSB *U IBT GVMM 1"4. NPEFT UXJO DPOUSPM EJBMT BOE BçOFX "1 "EWBODFE 1IPUP NPEF

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FULL TEST OLYMPUS OM-D E-M10 MARK III

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mode, Live Time exposures, multiple exposures, HDR mode, silent mode, panorama and bracketing modes.

Performance The motorised EZ zoom lens slows ÚŅƾĚ Ć‹Ä˜ĂĽ ŸĆ‹¹ųƋƚŞ Ć‹Äœľü ŸďÄœÄ?Ä˜Ć‹ÄŹĆźĂ˜ ÆƚƋ ¹ßĆ‹ĂĽĹł Ć‹Ä˜ÂąĆ‹ Ć‹Ä˜ĂĽ kaÄ›% )Ä›aĹŽÇˆ a¹ųĊ FFF ßüüďŸ extremely responsive. The revised ĹŽĆ–ĹŽÄ›ĹžĹ…ÄœÄšĆ‹ ¹ƚƋŅßŅĂ?ĆšŸ ŸƟŸĆ‹ĂĽÄľ ÚŅüŸ ĚŅƋ Ĺ…ßßüų ŅĚěŸüĚŸĹ…Ĺł ĹžÄ˜¹ŸüěÚüƋüĂ?Ć‹ÄœĹ…Äš ¹ƚƋŅßŅĂ?ĆšŸĂ˜ ÆƚƋ Ć‹Ä˜ÂąĆ‹ ÚŅüŸĚŹĆ‹ Ÿüüľ Ć‹Ĺ… hurt it at all – AF is really quick and ųüŸĹžĹ…ĚŸÄœĆ´ĂĽĂ˜ ¹ďľĹ…ŸĆ‹ ƚĚĂ?¹ĚĚÄœÄŹĆź ŧĆšÄœĂ?ÄŠ ÄœĂź you use the touch-shutter option on the rear screen. It does start to slow down

a little at longer zoom settings in poor indoor lighting, but not by much, and there’s very little hunting. Â‰Ä˜ĂĽ Ć´ÄœüƾßÄœÄšĂšĂĽĹł ÄœŸ Ă†ĹłÄœÄ?Ä˜Ć‹Ă˜ Ă?ďü¹ųĂ˜ Ă?Ĺ…ÄŹĹ…Ćšųßƚď ¹ĚĂš ÄŹÂąÄ?Ä›ßųüü ĜĚ Ä?Ĺ…Ĺ…Ăš ÄŹÄœÄ?Ä˜Ć‹ĹŁ FĆ‹ ÚŅüŸ Ä?ĂĽĆ‹ Âą ÄŹÄœĆ‹Ć‹ÄŹĂĽ ÄŁÄœĆ‹Ć‹üųƟ ÄœĂź ƟŅƚ ľŅƴü Ć‹Ä˜ĂĽ camera quickly in dim, indoor lighting, but it’s unlikely to become an issue ĆšĚďüŸŸ ƟŅƚŹųü Ć‹ųƟĜĚÄ? Ć‹Ĺ… Ć‹ų¹Ă?ÄŠ Âą ß¹ŸĆ‹Ä› ÄľĹ…Ć´ÄœÄšÄ? ŸĆšĂ†ÄŁĂĽĂ?Ć‹ĹŁ The 4K movie mode is a great ÂąĂšĂšÄœĆ‹ÄœĹ…ÄšĂ˜ ¹ĚĂš kďƟľĹžĆšŸŹŸ ÄœÄšÄ›Ă†Ĺ…ĂšĆź ĂźÄœĆ´ĂĽÄ› axis stabilisation system does a great ģŅÆ Ĺ…ßƤĊüüĹžÄœÄšÄ? Ę¹ĚĂšÄ˜ĂĽÄŹĂš ßŅŅƋ¹Ä?ĂĽ ŸĆ‹ĂĽÂąĂšƟţ Even though the E-M10 III doesn’t get Olympus’s latest 20MP sensor, its

1 Detail rendition :PV EPO U HFU 0MZNQVT T MBUFTU .1 TFOTPS CVU UIF .1 VOJU JO UIF 0. % & . DBQUVSFT WFSZ HPPE EFUBJM 2 Exposure 5IF MJHIUJOH JO UIJT TDFOFT QSFTFOUT QMFOUZ PG DIBMMFOHFT CVU UIF & . *** T NFUFSJOH IBT DPQFE QFSGFDUMZ 3 Dynamic range 5IFSF T EFUBJM JO CPUI UIF TIBEPXT BOE UIF DMPVET SFnFDUJOH UIF HSFBU EZOBNJD SBOHF SFTVMUT JO PVS MBC UFTUT

FULL TEST OLYMPUS OM-D E-M10 MARK III

5IF & . *** EFMJWFST HPPE EFUBJM BMPOH XJUI MPWFMZ DPMPVST BOE UPOBM SFOEJUJPO

COLOUR ERROR Olympus E-M10 III

10.1

Canon EOS M5

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'VKJmMN X-T20

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Nikon D5600 SCORES CLOSER TO ZERO ARE BETTER

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RAW SIGNAL-TO-NOISE RATIO 50

DECIBELS

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range mirrorless camera or DSLR, or even some more advanced models. Fü ƼŅƚ ±Ĭųå±ÚƼ ʱƴå ±Ĺ kaě% )ěaŎLj Mark II there’s not much point in upgrading to the Mark III unless 4K ƴĜÚåŅ ĜŸ ± ŞųĜŅųĜƋƼſ ÆƚƋ Ĝü ƼŅƚ ʱƴå ƋĘå original E-M10 Mark I and you love it, ƼŅƚűĬĬ ĬŅƴå ƋĘå a±ųĩ FFF åƴåĹƤĵŅųåţ

Rod Lawton

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RAW DYNAMIC RANGE 14

VERDIC T eƚƋŅüŅÏƚŸ ĜŸ ƴåųƼ ü±ŸƋ üŅų ± ŸĜĵŞĬå contrast-based system and 4K video is a great addition. We’d like to have seen a 20MP sensor, but ƋʱƋ ±ŸĜÚå ƋĘå ÏŅĵÆĜűƋĜŅĹ Ņü ŸĜDŽåØ design and power make the OM-D E-M10 simply ± ģŅƼ ƋŅ ƚŸåţ

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SENSOR 16.1MP MICRO FOUR THIRDS IMAGE PROCESSOR TRUEPIC VIII AF POINTS 121 (CONTRAST AF) ISO RANGE 100-25,600 MAX IMAGE SIZE 4,608 X METERING ZONES VIDEO 4K 6)% "5 '14 VIEWFINDER EVF, , %054 MEMORY CARD SD/SDHC/ 4%9$ -$% */$) 5*-5*/( 506$)4$3&&/ 1,040K DOTS MAX BURST 8.6FPS (22 RAW) CONNECTIVITY WI-FI SIZE 122 X 84 X 50MM WEIGHT (

EXPOSURE VALUE

Ŏƅa{ ŸĘŅƋŸ ±ųå ŸĘ±ųŞ ±ĹÚ üƚĬĬ Ņü ÚåƋ±ĜĬţ Ęå ÏŅĬŅƚų ųåĹÚĜƋĜŅĹ ĜĹ I{):Ÿ ĜŸ ƋåųųĜüĜÏØ Ĝü ±ƤĬĜƋƋĬå Ÿ±Ƌƚų±ƋåÚ ±Ƌ ƋĜĵåŸØ ÆƚƋ ĩååĹ ŞĘŅƋŅčų±ŞĘåųŸ Ï±Ĺ ŸĘŅŅƋ ų±Ƶ üĜĬåŸ ĜĹŸƋå±ÚØ Ņü ÏŅƚųŸåţ ¥Ņƚ ųå±ĬĬƼ ÚŅ čåƋ ± ĬŅƋ üŅų ƼŅƚų ĵŅĹåƼţ FƋƤĵĜčĘƋ Æå ƋĘå ƱŸå ĵŅÚåĬ ĜĹ Olympus’s OM-D range, but really it ʱŸ ƋĘå üå±ƋƚųåŸ ±ĹÚ ÏŅĹƋųŅĬŸ Ņü ± ĵĜÚě

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