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Editorial

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

Kiran Bhamra Cox, Ross Hoddinott & Kate Hopewell-Smith

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Publishing

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Welcome

WELCOME TO THE DECEMBER 2017 issue of DigitalSLR Photography. Asweheadtowardstheendoftheyear,notonlyare temperaturesfalling,butdaysarebecomingshorterandnights longer.Whilesomephotographersseethisasanindicationthatit’s timetoslowdownonphotoforays,themorededicatedamongus willappreciatethefreshopportunitiesthatarepresented.Nowis thetime,beforethetrulybitterconditionsofwinterarrive,toheadoutintothe nightandtryoutarangeofphototechniquesthatwillgiveresultsunlikeanything youcouldcaptureduringtheday.hismonth’s Beginner’sGuide(page68)covers awidevarietyofcreativetechniquestotryatnight,includingcapturingmoonlit landscapesandimagesofthenightsky.Withthefestiveseasonnottoofaraway, we’vethefirstpartofourbuyer’sguidetocameras,lookingatninegreatoptions under£1,000.WealsogiveyouahelpinghandtofindtheperfectChristmas presentsforphotographerswithmorethan50greatsuggestionsinour Christmas GiftsIdeas,startingonp105.Alongwithothertutorialsrangingfromshooting greaturbanimages(p53)toavarietyofphotoandeditingskills(p27),we’llhelp youhaveanenjoyableandproductivemonthtakinggreatpictures.Allthebest!

Daniel Lezano Editor

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Asweheadtowardsthelatter monthsoftheyear,thenights becomelonger,providingmore opportunitiesfortakinggreat picturesafterdark.Ourcover showstheVancouverskyline atsunset.Formoreonnight photography,seep68,while fortengreatideasonshooting urbanimages,headtop53.

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December 2017 Digital SLR Photography 5


Contents DECEMBER2017/ISSUE133

5 EDITOR’S PAGE DanielLezanolooksfowardtosomebusynightsahead 8 PORTFOLIO Grabafist-fullofinspirationfromthismonth’s photographicround-up–you’resuchatalentedbunch! 16 SNAPSHOTS We’vecrammedinaward-winningwildlifetomakeyour jawdropaswellasindustrynewsandbite-sizesnippets 53 BECOME AN URBAN EXPLORER Timetohitthetownwithsomeinspiredtechniquesfor shootinggreatphotographsinthecitythisseason 62 EXPERT CRITIQUE Submityourimagestoreceivevaluablephotofeedback 67 READER SUBMISSIONS Howtocontributeimagesortakepartinourworkshops 68 BEGINNER’S GUIDE: NIGHT Fromcreativelongexposuresandcitylightstomoonlit landscapesandthenightsky,we’vetopadviceandgreat inspirationwithin–timetoembracethedarkside 83 IMPROVE SEO: BOOST YOUR BUSINESS LeadingphotographerandentrepreneurKateHopewellSmithhelpsyoutakethefirststepstowardsbetterSEO 138 NEXT MONTH Asneakpeakatwhat’sinourJanuary2018issue

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28

Phototechnique

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28 PHOTO SKILLS: DIY BARN DOORS Saveyourselfafewpoundsandcustomiseyourdramatic lightingwiththissimplebutefectiveflashmodifier– allyouneedissomeducttapeandfoamboard! 32 PHOTO SKILLS: WATER SPLASH CarolineSchmidtshowsyouhowtouseflashtofreeze theimpactoffast-fallingwaterdropletswithease 36 PHOTO SKILLS: CITY CLOSE-UPS JordanButtersputsdownhiswide-anglelensandtakesa closerlookatarchitecturebyzoominginonthedetails

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40 PHOTO SKILLS: LIGHT PAINTING Whetheryouuseatorchorsparklers,lightpaintingisan efectiveandfuntechniquetomaster.CarolineSchmidt showsyouthefundamentalstogetyoustarted 44 EDIT SKILLS: SPARKLING PORTRAITS …Andhowtooverlayyourdesignsonpreviouslyshot imagesusingPhotoshop’sBlendingModes 46 EDIT SKILLS: UNDERSTAND CURVES It’sthego-totoolforcontrastandcolourforlotsof photographers,buthowdoyouuseitproperly?Findout... 48 EDIT SKILLS: DAY TO NIGHT JordanButtersshowsyouhowtoswitchyourdaytime shotstonightandtestyourknowledgeoflighting

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CONTRIBUTINGTHIS MONTH: Daniel Lezano With over 30 years’ experience as an enthusiast SLR photographer and 20 years on photo magazines, editor Lezano is as passionate as ever about photography, in particular portraits. Caroline Schmidt An experienced journalist and photographer, Caroline brings her talent for photography and creating inspiring content to every issue. carolineannphotography.co.uk Jordan Butters With a finger on the pulse of all things photography, Jordan’s our social media master, features guru and a talented pro photographer. jordanbutters.co.uk Ross Hoddinott OUTDOOR He’s not only an award-winning nature photographer, a leading expert in landscape and wildlife photography, he’s a top tutor, too. rosshoddinott.co.uk Lee Frost LANDSCAPES A long-standing regular contributor, Lee is a fountain of knowledge when it comes to shooting landscapes and delivering expert tutorials. leefrost.co.uk

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Ben Hall WILDLIFE A renowned wildlife photographer, author and tutor, Ben applies his expert knowledge to help improve your wildlife photography skills. benhallphoto.com Helen Dixon LANDSCAPES Helen is living the dream, having given up a full-time job to live in Cornwall and become a professional landscape photographer. helendixonphotography.co.uk

Gear:Tested&Rated 91 PRODUCT NEWS Newsofthelatestgear,excitinggadgetsandmust-have accessoriestolaunchinthelastmonth 92 CANON EOS 200D Isthenew24.2-megapixelCanonDSLRthat’sdesigned forbeginnersdestinedforthebestseller’slistorto disappoint?Weputitthroughitspacestofindout 96 CAMERA BUYERS’ GUIDE Ifyou’reonthelookoutforanewentry-levelcamera, we’veanine-strongselectionofthebestwe’vetested 105 CHRISTMAS GIFT GUIDE Inthespiritofgiving,we’vearound-upofourfavourite cameras,accessoriesandphoto-relatedproductswe thinkdeserveaplaceonyourChristmaslistthisyear 115 MINI TEST AlookatLastolite’sinnovativeTriGripdilector

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86 SUBSCRIBE TODAY! Takeadvantageoftheverylatestsubscriptionofers

Kate Hopewell-Smith PORTRAITS A leading professional photographer, businesswoman and former Nikon UK ambassador, Kate ofers her business advice on page 83. katehopewellsmith.com James Abbott LANDSCAPES James is an award-winning editorial, advertising and commercial photographer, specialising in portrait and landscape photography. jamesaphoto.co.uk Gary McParland LANDSCAPES Gary is semi-professional landscape photographer with a portfolio that rivals the best. We adore his moonlit landscapes and advice on page 75. www.garymcparland.com Richard Hopkins TESTS With over 30 years’ experience testing cameras for photography magazines, Richard’s one of the UK’s leading technical experts on photo kit, in particular lenses. December 2017 Digital SLR Photography 7


Portfolio


Portfolio Heaven by Daniel Kay www.500px.com/danielkay (Previous page) “At Mam Tor there are two main compositional aids: the famous gate or a long wooden fence alongside a stone path, acting as a leading line. I chose the fence as it catches first light nicely, whereas the gate gets silhouetted as the sun rises directly behind it.” Nikon D810with NIKKORAF-S 16-35mm f/4GVR lens. Exposure: 1/125sec at f/11 (ISO 100).

Road To Abyss by Daniel Kay (Right) “Capturing the full dynamic range of high-contrast scenes like

this can be challenging. I choose not to use ND grad filters and instead bracketed exposures. I then used luminosity masks in Photoshop to manually blend the bracketed images together.” Nikon D810with NIKKORAF-S 16-35mm f/4GVR lens. Exposure: 0.4 seconds at f/8 (ISO 80).

Autumn Finale by Daniel Kay (Below left) “I had just come down from the Lake District's Loughrigg Fell

and decided to drive down to the River Brathay. I was greeted with stunning hoar frost and rising mist. I used a long lens to compress the scene, getting rid of the blue sky, which didn’t add to the composition.” Nikon D7100with NIKKORAF-S 18-105mm f/3.5-5.6G EDVR lens. Multiple exposures at f/9 (ISO 100).

Crashing On he Rocks by Daniel Kay (Below centre) “Elgol is a location where bad weather can give dramatic

results. Using the D810’s lowest ISO rating and a circular polariser, I was able to capture some slight motion, whilst keeping the detail in the scene. From here, it was a matter of waiting for the right moment.” Nikon D810with NIKKORAF-S 16-35mm f/4GVR lens. Exposure: 0.8 seconds at f/11 (ISO 64).

An Autumn Frost by Daniel Kay (Below right) “Taken from Castlehead, overlooking Derwentwater and

snowcapped Catbells. The location is an easy walk with a rewarding panoramic view at the top. I shot eight vertical frames, each made up of three bracketed images. I merged all of the files in Lightroom.” Nikon D7100with NIKKORAF-S 18-105mm f/3.5-5.6G EDVR lens. Multiple exposures at f/9 (ISO 100).

Affinity Photo Professional photo editing software Every photographer featured in Portfolio receives a download of professional photo editing app Afinity Photo on their choice of Mac, Windows or iOS. Afinity Photo was Apple’s ‘App of the Year 2015', named ‘Best Imaging Software 2016’ by TIPA, and has received thousands of ive-star reviews from professional photographers, editors, artists and retouchers. It’s available priced £48.99 for desktop and £19.99 for iPad, with no subscription. Formore information onAinityPhoto,visit: ainity.serif.com/photo

10 Digital SLR Photography December 2017


December 2017 Digital SLR Photography 11


Portfolio

Before he Storm by Tatyana Nevmerzhytska www.nevmerzhytska.com (Above) “Initially, I imagined a bright and positive fantasy image. We created an umbrella of blooms, found a yellow dress and travelled far from the city to the rapeseed fields. However, during the shoot a storm began. The sky was dark and foreboding, thunder rumbled and lightning flashed. The unexpected storm made the images better than expected!” NikonD610withNIKKORAF85mmf/1.4Dlens.Exposure:1/160secatf/2(ISO100).

Taste Of Autumn by Tatyana Nevmerzhytska (Left) “What do you associate with autumn? For me it's all about mood, sadness, the wind, vintage, yellows and oranges, a cosy feeling, apples and vibrant colours. Hence this concept of a portrait showing a young vintage lady with the basket of apples was born. To contrast with the yellows and reds, I dressed the model in a deep blue vintage dress.” NikonD610withNIKKORAF85mmf/1.4Dlens.Exposure:1/400secatf/2(ISO100).

Melancholy by Tatyana Nevmerzhytska (Below left) “I was disappointed the leaves had fallen come this shoot – the trees looked bare and lifeless. However it played into our hands. To complete a melancholy autumnal mood and add the tonal perspective to the image, we used smoke pellets in the background. In post-processing I emphasised the coldness of the mood by toning the colours to match.” NikonD610withNIKKORAF85mmf/1.4Dlens.Exposure:1/320secatf/2(ISO100).

Blooming by Tatyana Nevmerzhytska (Right) “This shot was made at Kiev Botanical Gardens during the lilac bloom. I saw a rich lilac bush and positioned the model directly inside; her face was so sweet and tender that I associated it with gentle lilac flowers. My initial plan was to crop the shot to square, therefore I captured two horizontal shots and stitched them together in Photoshop.” NikonD610withNIKKORAF85mmf/1.4Dlens.Exposure:1/640secatf/1.8(ISO100).

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December 2017 Digital SLR Photography 13


Portstewart Strand by Paul Killeen www.paulkilleenphotography.com (Above) “I shot a series of images from this spot but this was

my favourite, capturing the movement of the sea flowing through the posts, recording the motion and shape of the water beautifully. I feel that when I am connected to the landscape, it is when I produce my best work. I used a Lee Filters 0.9ND hard grad to achieve the tones and mood.” CanonEOS7DwithEF-S17-85mmf/4-5.6ISUSMlens.Exposure:2.5secondsatf/18(ISO100).

Diamonds Of Jökulsárlón by Paul Killeen (Left) “This is a location that I'd looked forward to visiting for some time, but one I didn’t fully appreciate until I was there. As soon as I saw this line of diamond chunks of ice on the horizon, I had both the title and the finished shot in my head. The chunks of ice are the size of small cars – seeing one of these carried out to sea by the waves really is a unique sight.” CanonEOS5DMkIVwithEF17-40mmf/4LUSMlens.Exposure:Sixsecondsatf/20(ISO100).

Downhill At Dusk by Paul Killeen (Below left) “Taken at Downhill Beach on the north coast of Northern Ireland. It was not what I had in mind, but I was immediately drawn to the sun's rays bursting through the dark clouds and a solitary fisherman immersed in the reflective ripples. This encapsulates the fisherman’s patience and connection to the sea, solely focused on his task.” CanonEOS7DwithEF-S17-85mmf/4-5.6ISUSMlens.Exposure:1/6secatf/22(ISO100).

S Is For San Francisco by Paul Killeen (Right) “Taken on Baker Beach whilst on honeymoon – we timed it that I would be there to shoot sunset. During the golden hour the light hit the Golden Gate Bridge and headland to the right, while darkness loomed ominously above. I love how the surf acted as a lead-in line to the bridge, shaped in an S-curve. My wife gave the shot its title.” CanonEOS7DwithEF-S17-85mmf/4-5.6ISUSMlens.Exposure:0.5secsatf/22(ISO100).

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Portfolio


OutOf thE bluE

aWard results

The NATUrALhisToryMUseUM hAs UNveiLeDThe wiNNers oFThisyeAr’swiLDLiFe PhoTogrAPher oFTheyeArAwArDs. overThe NexTFewPAges we iNviTeyoUToTAkeAwALk oNThewiLD siDe ANDwiTNessThe Power oFMoTher NATUre…

Winner2017earth’senvironments:TheIceMonsterbyLaurentBallesta,France. ThediveteamwereworkingoutoftheFrenchDumontd’UrvillescientificbaseineastAntarctica. Thebergwasstuckintheicefield,unabletoflipoverandsowassafetoexplore.Butittookthree days,invirtuallyfreezingwater,tocheckthelocation,installagridoflinesfromtheseabedtobuoys (sothatLaurentcouldmaintainadefinitedistance)andthentaketheseriesofpictures–147infact –withanultrawide-anglelens–tocapturetheentirescene.Backatthestation,itwasatensewaitat thecomputer,whiletheresultofthisstitchedpanoramacametogetheronscreen.Thefrontofthe vastfootofthefrozenmonster,polishedbythecurrentprobablyoveryears,shoneturquoiseand blueinthelightpenetratingtheiceceiling,dwarfingLaurent’scompanionsastheylititssides. NikonD4Swith13mmf/2.8lens.Exposure:1/30to1/60secatf/6.3(ISO3200).


© LaurentBaLLesta/WiLdLife PhotograPher oftheYear


Winner2017AnimAlPortrAits:ContemplationbyPeterDelaney,Ireland/SouthAfrica. Totticouldn’thavetriedharder.Formorethananhour,heposed,gesturedandcalledtoenticea femaledownfromthecanopy,butnothingworked."Photographinginarainforestwithdimlight andsplashesofsunlightmeansyourexposuresettingsareforeverchanging.Keepingmycamera atitsoptimumISOsettingmeantlowshutterspeeds,andastheparkauthoritiesdon’tallowtripods andmonopods,gettingasharpimagehandheldwasachallenge," Petersays.ItwasonlywhenTotti finallyfloppeddown,wornoutwithunrequitedlove,thatPeterhadhischance."Helayback,hands behindhishead,andrestedforamoment,asifdreamingofwhatcouldhavebeen." FujifilmX-T1withXF50-140mmf/2.8Rlens.Exposure:1/75secatf/2.8(ISO3200).

T

he annual Wildlife Photographer of the Year awards has become synonymous with the very best wildlife photography from all around the world. founded in 1965 by BBC Wildlife Magazine, it joined forces in 1984 with the natural history Museum, london, which now develops and produces the awards in full. The Wildlife Photographer of the Year’s prominent links with this incredible establishment, which also hosts the annual exhibition, plays a big part in showcasing these astounding images and the very real ecological issues that some of them address to an audience that might otherwise not have paid them much mind. The awards’ popularity is never in question either, with an amazing 50,000 entries from amateur and professional photographers alike, across a staggering 92 countries, looding in for the latest competition. This year’s competition was split into 16 adult categories, with additional awards for young entrants, portfolios, photojournalism, best rising star and the highly coveted overall Wildlife Photographer of the Year title. This year’s overall winner was named as Brent Stirton for

18 Digital SLR Photography December 2017

his powerful and heart-wrenching image Memorial to a Species, showing a black rhino in the hluhluwe imfolozi Game Reserve after being killed and having its horns hacked of by poachers. Competition judge Roz Kidman Cox commented: “To make such a tragic scene almost majestic in its sculptural power deserves the highest award. There is rawness, but there is also great poignancy and therefore dignity in the fallen giant. it’s also symbolic of one of the most wasteful, cruel and unnecessary environmental crimes, one that needs to provoke the greatest public outcry.” Brent was given his award during a prestigious ceremony in the natural history Museum’s great hintze hall. for the irst time the ceremony was watched over by the hall’s impressive main feature – a giant blue whale skeleton named hope, which replaced the famous dippy the dinosaur skeleton that occupied the hall since 1905. as well as taking the overall award, and a £10,000 cash prize, he also won the Wildlife Photojournalist award: Story category, and his image will take centre stage at the WPOTY exhibition in the natural history Museum.


Snapshots © Brian Skerry/Wildlife PhotograPher oftheyear

© Peter delaney/Wildlife PhotograPher oftheyear

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©tonyWu/Wildlife PhotograPher oftheyear

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© eilo elvinger/Wildlife PhotograPher oftheyear

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What you see over these pages is only a small selection of the winning and commended images that made it through to the inals. If you’re in the capital, or able to travel to London, we’d thoroughly recommend visiting the Natural History Museum and viewing the exhibition and winning images for yourself, in person. The exhibition is open now, and runs through to spring 2018. Entry to the NHM is free, however exhibition tickets cost £14 for adults or £8 for children and concessions. NHM members, patrons and children under four go free. The images will then embark on an international tour in 2018, with locations and dates still to be conirmed. There will also be a book published to celebrate the winning images. For now, be sure to take in the small selection of stunning images here. You can ind out more about the winning images, as well as information on the awards, exhibition and upcoming book on the Wildlife Photographer of the Year website at: www.nhm.ac.uk/wpy. The next Wildlife Photographer of the Year award is already open for entries until 14 December 2017, so don't miss out!

1)Winner2017Behaviour:amphiBiansandreptiles:TheAncientRitualbyBrianSkerry, USA.nestingleatherbackturtleslayaround100eggseach,butarenotseeneverynightatSandy Point,andwereoftentoofarawayforBriantoreach.Whenaftertwoweekshegottheencounter hewanted–underclearskies,withnodistantcitylights–hehandheldalongexposureundera fullmoon,artfullyevokingaprimordialatmosphereinthistimelessscene. NikonD5withAF-S17-35mmf/2.8lens.Exposure:Tensecondsatf/8(ISO1600). 2)Winner2017Behaviour:mammals:GiantGatheringbyTonyWu,USA.Spermwhales mingleoffSrilanka’snortheastcoast.tactilecontactissociallyimportant,butitalsosloughs offdeadskin,fillingthewaterwithflakes.Morechallengingwasthesmearingofthecamera housingdomewithoilysecretionsandthickcloudsofdung.throughcontinuallyswimmingto reposition,andthetoleranceofthewhales,tonygotauniqueshotofthemysteriousgathering. CanonEOS5DMarkIIIwithEF15mmf/2.8lens.Exposure:1/250secatf/6.3(ISO800). 3)Winner2017BlackandWhite:PolarPasDeDeuxbyEiloElvinger,Luxembourg.from hership,anchoredintheicywatersoffSvalbard,inarcticnorway,eilospottedapolarbearand hercubdrawingcloser.Polarbearsarehunters,buttheyarealsoopportunists.nearingtheship, theyweredivertedtoapatchofsnowsoakedinleakagefromthevessel’skitchen."iwasashamed ofourcontributiontotheimmaculatelandscapeandhowthisinfluencedthebears'behaviour." CanonEOS-1DXwith200-400mmf/4lens.Exposure:1/640secatf/9(ISO6400). December 2017 Digital SLR Photography 19


Snapshots / he world of photography © gerrYPearce/Wildlife PhotograPher oftheYear

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©aaron gekoSki/Wildlife PhotograPher oftheYear

©JuStin gilligan/Wildlife PhotograPher oftheYear

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©aShleigh ScullY/Wildlife PhotograPher oftheYear

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© Marcio caBral/Wildlife PhotograPher oftheYear

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© BrentStirton/Wildlife PhotograPher oftheYear

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1)Grandtitlewinner2017:MemorialtoaSpeciesbyBrentStirton,SouthAfrica. thekillerswereprobablyfromalocalcommunitybutworkingtoorders.enteringthehluhluwe imfolozigamereserveatnight,theyshottheblackrhinobullusingasilencer.Workingfast, theyhackedoffthehornsandescaped.thehornswouldhavebeensoldtoamiddlemanand smuggledoutofSouthafricatochinaorVietnam.forthephotographer,thecrimescenewas oneofmorethan30hevisitedinthecourseofcoveringthistragicstory. CanonEOS-1DXandEF28mmf/2.8lens.Exposure:1/250secatf/9(ISO200).

4)winner2017Behaviour:Birds:TheIncubatorBirdbyGerryPearce,UK/Australia.Most birdsincubatetheireggswiththeirbodies.notsotheaustralianbrushturkey,oneofahandful thatdoitwithanestmound.astheorganicmatterinthemounddecays,heatisgenerated,and thebrushturkeyregularlystickshisheadinandchecksthetemperature.gerryspentfourmonths watchingthemaleandhismound,everydayfromdawn.aftersevenweeks,anddespiteeggraids byalargelacemonitor(lizard),atleastaquarterofthe20orsoeggshatched. CanonEOS7DMarkIIwithEF18-200mmf/3.5-5.6lens.Exposure:1/1000secatf/9(ISO1600).

2)winner2017animalsintheirenvironment:TheNightRaiderbyMarcioCabral,Brazil. clickbeetlelarvaelivingintermitemoundsflashtheirbioluminescent‘headlights’tolureinflying termites.agiantanteater,obliviousofMarcioinhishide,begantoattackthetallmound.luckily theanteaterstayedlongenoughforMarcotomakehispicture,usingawide-anglelenstoinclude thelandscape,alowflashandalongexposuretocaptureboththestarsandthelightshow. CanonEOS5DSRwithAF-S14-24mmf/2.8lens.Exposure:30secondsatf/3.5(ISO5000).

5)winner2017wildlifePhotojournalist:sinGleimaGe:Palm-OilSurvivorsby Aaron‘Bertie’Gekoski,UK/USA.ineasternSabah,ontheislandofBorneo,threegenerationsof Borneanelephantsedgetheirwayacrosstheterracesofanoil-palmplantation.theplantations areamajordriverofdeforestation,squeezingelephantsintosmallerpocketsofforest."they huddledtogether,dwarfedbyadesolateanddesecratedlandscape.ahauntingimage," hesays. NikonD700withAF80-200mmf/2.8lens.Exposure:1/500secatf/3.2(ISO400).

3)winner2017BehaviourinverteBrates:CrabSurprisebyJustinGilligan,Australia. asinglegiantspidercrabcanbehardtospot–algaeandspongesoftenattachtoitsshell, providingexcellentcamouflage–buttherewasnomissingthismassmarch,scavenging whateverfoodlayintheirpath."about15minuteslater,inoticedanoddshapemovingamong thewrithingcrabs," saysJustin."itwasaMaorioctopusthatseemedequallydelightedwiththe unexpectedbounty." NikonD810with15mmf/2.8lens.Exposure:1/100secatf/14(ISO400).

6)winner201711-14yearsold:StuckInbyAshleighScully,USA.deepsnowhadblanketed thelamarValleyinYellowstonenationalPark.everysooftenthisfemaleamericanredfoxwould stop,stare,tiltherheadandlistenforpreybeneaththesnow.ashleighwasalsopoised,her cameralensrestingonabeanbagoutofthebackwindowofthecar.Justasthefoxcameparallel withthecar,shestopped,listened,crouchedandthenleaptintheair,punchingthroughthe snow.CanonEOS7DMkIIwithEF500mmf/4LIIlens.Exposure:1/640secatf/5.6(ISO1000).

20 Digital SLR Photography December 2017


ŠAnthonyBerBeriAn/Wildlife PhotogrAPher oftheyeAr

Winner2017UnderWater:TheJellyishJockeyby AnthonyBerberian,France.inopenoceanfarofftahiti,french Polynesia,Anthonyregularlydivesatnightinwatermorethan 2kmdeeptophotographtinydeep-seacreaturesthatsurface undercoverofdarknesstofeedonplankton.thislobster larva(phyllosoma),just1.2cmacross,wasgrippingasmall mauvestingerjellyfish.thepairweredriftinginthecurrent, thephyllosomasavingenergyandpossiblygainingprotection frompredatorsdeterredbythejelly’sstings.thephyllosoma seemedabletosteerthejelly,turningitaroundasitmoved awayfromAnthony.inseveralhundreddives,Anthonymet onlyafewlobsterlarvae,andittookmanyshotsofthejellyfish jockeytogetacompositionhewashappywith.NikonD810 with60mmf/2.8lens.Exposure:1/250secatf/22(ISO64).


#ITSNOTYOUITSME

TIME TO BREAK-UP WITH YOUR OLD DSLR? The E-M1 Mark II is a powerful, precise and high-speed OM-D which perfectly meets the needs of modern photographers. Find out why so many are making the switch at:

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he world of photography \

Snapshots

LEVON BISS/NIKON SMALL WORLD

WHAT’S IN A NAME? Therehasbeenmuchadoaboutinvestment companyAureliusforpurchasingCalumetlast year,andWEXPhotographicearlierin2017,and nowthetwobrandshavebeenmergedtocreate WexPhotoVideo.ExistingCalumetstoresareto berebrandedand,withtheCalumetDrummond StreetstoreinLondonmakingwayforthenew HS2trainline,anall-new7,000ft2storein Whitechapelisnowunderdevelopment. www.wexphotovideo.com

ALLTHE SMALLTHINGS THEY SAY THAT it’s the small things in life that count, and that’s certainly the case when it comes to the recently-announced winners for the 2017 Nikon Small World Photomicrography competition. In celebration of Nikon Instruments’ 100th anniversary, this year’s awards garnered all manner of incredible imagery on a microscopic scale – from jaw-dropping close-ups of human skin cells to a jumping spider’s eyeballs up close, along with the alien-like head of a tapeworm at a staggering 200x magnification! The winner was chosen as Dr. Bram van den Broek of The Netherlands Cancer Institute, for his photo of a skin cell expressing an excessive amount of keratin, giving a glimpse into the hidden world that exists beyond our own perception. We’re not au fait with the science behind most of the winning images, but they make for compelling viewing. You can take a look for yourself at www.nikonsmallworld.com

LIGHTROOM GETS A REVAMP RICK ADAMS/NIKON SMALL WORLD

NIKON D850 IS TOP OF THE POPS

CANON MILLIONAIRES

LensandsensortestinglaboratoryDxOMarkhas officiallynamedtheNikonD850asthehighestscoringDSLRever.Nikon’slatest£3,500probody scoredanimpressive100pointsinDxOMark’s stringentsensortesting,pippingtheSonyA7RII tothetopspotbytwopoints.TheD850’s predecessors,theD800EandtheoriginalD800, bothscored96.www.dxomark.com

Canon is celebrating two huge milestones – the imaging giant has announced that it has nowproduced over90 million interchangeablelens EOS cameras and over130-million EF-series lenses. Both the EOS camera and EFlens systems debuted in March 1987 and featured theworld’s first fully-electronic mount for 35mm autofocus SLRs. Congratulations to Canon – here’s to the next 90 million! www.canon.co.uk

ADOBE LIGHTROOM REMAINS one of the most popular image organisation and processing softwares out there, and it’s proven key to many professional and enthusiast photographer’s workflows. Adobe has just announced the biggest change so far to Lightroom as we know it – the software is to be split into two diferent forms: Lightroom Classic CC and Lightroom CC. Lightroom Classic is to be the Lightroom that we know and love, except with a claimed speed boost and some new tools – Adobe has acknowledged performance issues with the software and this update sets to rectify that. The new tools include an enhanced Embedded Preview workflow and Color Range and Luminance Masking features. Lightroom CC, on the other hand, is Adobe’s new cloud- and mobile-focused version of the software. Syncronised over desktop, mobile and web, Lightroom CC lets you edit on one platform and pick up on another, much like Serif's Ainity Photo. It also comes with 1TB of cloud storage. Sadly, as a result of this split, standalone Lightroom is set to be no more – with Lightroom Classic and CC now both subscription–based services, Lightroom 6 will be the last version of the standalone software that you can buy, and won’t receive future updates after this year. Lightroom CC costs £9.98 per month, including 1TB cloud storage, while Adobe still ofers its Photography Plan, including Lightroom CC, Lightroom Classic CC, Photoshop CC and a smaller 20GB of cloud storage for the same price. www.adobe.com December 2017 Digital SLR Photography 23


SP150-600 G2 EN

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QuickEdit

REMOVINGA COLOUR CAST WITH CURVES IN ONE OF this issue’s editing tutorials we cover the sometimes confusing world of Curves adjustments, so if you haven’t already then we recommend heading over to page 46 for the full lowdown on Curves. In the meantime, however, here’s yet another Curves trick that you may not be aware of – you can actually use Curves to remove colour casts from your images in Photoshop. Here’s how…

Snapshots

GUNNERL/SHUTTERSTOCK

he world of photography \

1

WithyourimageopeninPhotoshop, gotoLayer>NewAdjustmentLayer> CurvesandclickOKwhenprompted.

Smile with Samsung MAKEUSLAUGHFORACHANCETOWINASAMSUNG 128GBMICROSDXCPRO+MEMORYCARD!

2

IntheCurvesAdjustmentpalette,click ontheGreyPointeyedropper(it’sthe middleeyedropperontheleft-handside).

3

Then,simplyclickanywhereonyour imagewhereitshouldbeaneutral colour,suchasgrey,whiteorblack.Easy!

SAMSUNG’S PRO+ microSDXC cards can be used in a range of equipment, including drones and action cams. Made for ultra-fast data transfer, they boast read speeds up to 95MB/sec and write speeds up to 90MB/sec – ideal for high-resolution images and 4K video. Plus they're waterproof, temperature-proof, X-ray-proof and magnetic-proof. You can try this super card for yourself, as Samsung is generously giving one away. All you have to do is email a witty caption for our image with the subject 'Smile this December' by 19 December 2017 to: enquiries@dslrphotomag.co.uk. If you make our sides split, you’ll win a Samsung Pro+ 128GB microSDXC card worth £119. UK entries only. www.samsung.com/uk/memory-cards/all-memory-cards/

WHAT WE’VE BEEN WATCHING LOOKING FORVISUALINSPIRATION? HERE’SWHATTHE digitalslr photographyTEAM HAS BEENWATCHINGTHIS MONTH…

WHYPHOTOSOFTHEEIFFELTOWER ATNIGHTAREILLEGAL

HOWTODEALWITHCREATIVE JEALOUSY...

ByHalf As Interesting Have you ever wondered why you rarely see photographs of the Eifel Tower in Paris at night? Well, it’s actually illegal to photograph or film it after dark, and it all stems back to France’s strict copyright laws! This short, informative film explains what you can and can’t photograph around Europe, but also why the rules are as they are. Roll on the year 2055 when nighttime long exposures of the tower’s lights are free for all! http://bit.do/DSLR_1331

By Sean Tucker We’ve featured one of photographer Sean Tucker’s excellent opinion videos before, and they really are essential viewing. In this short film, Sean talks about something that almost every creative person will have felt at some stage, but often won’t freely admit: creative jealousy and envy. In today’s world it’s all too easy to compare yourself against others, and Sean has some great words of wisdom if this speaks to you. http://bit.do/DSLR_1332

WOODLANDPHOTOGRAPHYTIPS ByNatureTTL If you dare go down to the woods today, you might just find regular Digital SLR Photography contributor and outdoor pro photographer Ross Hoddinott there with a film crew! Informative as ever and ofering some really solid advice, Ross runs through three of his favourite approaches when photographing in woodland on an overcast day, including photographing streams, intentional camera movement and capturing macro details. A must-see. http://bit.do/DSLR_1333 December 2017 Digital SLR Photography 25


PH TO SKILLS iDeas &aDviCe for better photos

p44:CreatelighttrailoverlaYsinphotoshop

p28:CraftlightwithDiYbuDgetbarnDoors

p32:useflashtofreezestill-lifesplashes

p46:ControlContrastbYlearningCurves

p36:zoominforaCloserlookattheCitY

p40:havefunpaintingwithlighttonight

p48:turnDaYintonightwithphotoshop


PH TO SKILLS

DiyBARNDooRS FoRFlAShGuNS ReADy to Get thRiFty? JoRDAN ButteRS ShowS you how to mAke A GReAt FlAShGuN moDiFieR FoR uNDeR £10 to ADD DRAmA, mooD AND iNteReSt to youR poRtRAitS Camera:NikoND750/Lens:NikoNAF-S50mmF/1.8G

W

hen it comes to portraits, light is everything. the exact same subject in the exact same setting can be used to create all manner of diferent looks and images just by changing how they’re lit. You could lood them with soft light from all angles for a clean, shadow-free portrait; add gels to your lash to inject bursts of colour; or cast them into darkness and side-light them for mood and drama. it’s the latter that we’re going to explore here, and it calls for a method that controls the light precisely. Barn doors are commonly found on ilm and television sets, but they’re also popular with fashion and studio photographers too. they usually consist of four laps, positioned at the front of a light source, which can be opened and closed on hinges. this allows for great control of where the light does and doesn’t hit. By focusing the light into narrow beams they can be used to highlight one small area, or to simulate light coming in from a window, doorway or narrow opening. Barn doors are readily available for bigger, studio lights. You can even buy smaller versions that it lashguns using adaptors now too, but before you go out and splash your hard-earned cash on the proper versions, you could be thrifty by making your own simple lashgun barn doors for well under £10. Give it a try – you can be trying out all manner of atmospheric lash-lit images in a matter of minutes.

protip What you’ll need Flashgun,blackfoamboard, Gaffatape,craftknife,a penorpencilandapair ofscissors


PH TO SKILLS

DIY barn doors for lashguns

1

Cut out the shape Place your lash onto the foam board and draw around the lash head. Then turn it on its side and do the same. Repeat this again and you’ll have four rectangles drawn on the foam board – two wide and two narrow. This will form a ‘box’ around your lashgun. Use a craft knife to carefully cut the four rectangles away from the rest of the board, but don’t cut them away from each other.

2

3

Make the doors Cut two extra pieces of foam board the width of the lash head – these will form the barn doors. Attach them using Gafa tape. The doors are used to focus the light through a narrow gap, and the size of the gap can be adjusted by opening or closing the doors. You can use the lash with the doors open for a wide beam, or use a piece of tape on each side to create a narrow gap, as shown.

4

5

6

CaMera settings Set your camera to manual mode and a low ISO. Set your shutter speed to your lash sync speed (usually around 1/200sec) and choose an aperture of around f/4 – if shooting indoors this will kill most of the ambient light. Take a test shot and adjust lash power and/or lens aperture to control the exposure. Use a slower shutter speed and/or higher ISO to increase the ambient exposure.

30 Digital SLr Photography December 2017

Make the folds Use the craft knife to slice through the outer layer of the board along each join, allowing it to fold along the lines. The result is a rectangular tube, open at both ends. Use a small piece of Gafa tape to complete the box and slip it over your lashgun, making sure that it its snug. If it’s loose then you’ll need to hold it in place with more tape – it doesn’t have to look pretty, as long as it works!

flash set-up Connect your lashgun to a radio trigger and place it on a light stand, or suitable surface. Set it to manual at around 1/16 power and zoom the head to its maximum setting to focus the light further. To make the beam visible on the wall behind your subject, place the lashgun alongside the wall. For a less prominent beam on the wall, move both subject and lash away from the wall.

adjust the beaM For a more narrow, precise beam, leave a small gap between the doors, or move the lash closer to your subject – light spreads out more the further it travels. Remember to adjust lash power to compensate when you change lash-to-subject distance too. If the shadows are too deep use a relector positioned opposite the lash, as I have here, to bounce some light back in.


Beam me up Thistechniquecanbeusedonitsown foramoodyportrait,ormixedwith otherlightsourcesforcreativeefect. Exposure:1/60secatf/3.2(ISO200)


PH TO SKILLS

Make a SplaSH

shOOt what the eye caN’t see wIth a techNIque that’s sO fast, yOu caN capture a water DrOplet IN slOw mOtION. carOlINe schmIDt explaINs hOw…

Camera:NIKOND500/Lens:NIKKOr85mmf/1.4/aCCessOries:remOterelease,trIggersaNDflashguN

W

e’ve plenty of inspiration for outdoor long exposures in this issue, but if you prefer to spend the earlier evenings indoors, then high-speed lash is a quick-ire technique to interesting still-lifes. the set-up for this of-camera lash tutorial is as basic as it comes: your camera, standard lens, one lashgun and triggers – I’m using the inexpensive yongnuo yn622, which gives me the lexibility of using a very fast shutter speed in conjunction with its High-Speed Sync facility. triggers with HSS let you ire your lash faster than your camera’s lash sync speed, which is generally in the region of 1/1601/250sec, eliminating ambient light and the need to ind the right lash duration to freeze the falling drop, as your shutter speed will do that. If you cannot use HSS, you can use you camera’s regular sync speed but you’ll need to shorten your lash duration by using a lower lash power in a dark room – tricky if you’re having to aim the drop manually, which is why I’ve opted to keep the lights on. there are many ways you can use this technique, some more elaborate set-ups incorporate triggers that time the drops and synchronise the lash simultaneously. But we’ve no fancy triggering system here; we’ve a remote release, pipette and a ton of patience. you can drop almost anything into the water, depending on the size of the glass and if you’ve a macro lens you could also try isolating the splash for a close-up. Here, I’ve used poster paint mixed with a little water as the weight makes a bigger splash than food colouring alone; if you don’t want the colour, try just pouring water for a simple shot.


PH TO SKILLS

Freeze frame

1

Set-up Place a white backdrop a foot or so behind a glass, which should be placed on top of a relective surface. Here I’ve used a sheet of perspex on top of black paper, but a granite tile works too. The lashgun will need to go below the table pointing up on to the white background to bounce the light on to the glass as a backlight.

2

3

Lighting Due to the relective nature of glass it’s hard to light, but the easiest way to eliminate these relections is to backlight it using bounced lash. Set your lashgun to manual and half-power. Place it below the glass pointing up – for extra interest, consider adding a coloured ilter or gel to tint the backdrop.

4

5

6

FireyourFrameSIt will take a number of tries but coincide iring your camera via remote release with dropping the paint into the water. Persevere and you’ll get the timing perfect. Keep cloths handy to wipe up any paint splashes and water drops from the glass each time you rinse and reill. Vary the amount of water in the glass for diferent results.

34 Digital SLr Photography December 2017

expoSure Place your camera on a tripod and dial in manual mode. Set a mid-aperture of f/9-f/11 to get the middle of the glass in focus and dial in a shutter speed of 1/2000-1/4000sec to start. If you’re using Nikon, you’ll need to dive into your camera’s Menu system to set lash to HSS mode (Auto FP);some brands let you do this on the lash.

CompoSe With your camera on a tripod, compose your shot so you can see the relection of the glass in the Perspex. Set your camera to single-point AF and focus on the back rim of the glass; if you focus on the front rim, you’re unlikely to get the splash sharp due to the inherent depth of the glass. Once locked, switch to manual focus.

editing It’s likely you’ll have spots of colour on the glass, to clean them up use the Clone Stamp Tool set to 100% Opacity and 20% Flow to copy and blend surrounding pixels. A Hue/Saturation adjustment layer can also let you adjust the colour for your inal shot – here I selected Green, reduced Saturation and increased Lightness.


SplaShlandingS Bysimplyadjustingyourangleand perfectingyourtiming,youcan captureanimpressivesplashtoo. Exposure:1/4000secatf/10(ISO100)


PH TO SKILLS

cITy In deTaIL for a DiffErEnT aPProaCh To arChiTECTUral PhoToGraPhy, Try lEaVinG yoUr wiDE-anGlE aT homE. JorDan BUTTErS hEaDS inTo lonDon for a Day of ShooTinG aT lonGEr foCal lEnGThS Camera:CanonEoS6D/Lens:TamronSP70-200mmf/2.8DiVCUSDG2

I

f you were to head into the city for a day of photography, what lenses would you take? Subject-to-camera distance is a rare luxury in urban areas, so a wide-angle is the natural choice – something that you can use to take in towering skyscrapers in all of their glory, or capture images in tightly-packed spaces at close range. you might even reach for your nifty 50mm too – it’s a good standard focal length that’s ideal for shoot-from-the-hip street photography and people watching. But what about your telezoom? It’s bigger and heavier, and might attract more attention than the rest, but by leaving it behind you’re missing out on lots of architectural image potential. Telezooms are actually really good lenses to try out in inner-city photography. for a start, as a lot of urban photography is shot at shorter focal lengths, your images will have the upper hand at standing out. what’s more, with the extra reach you’re able to isolate parts of the city that can otherwise get lost in the hustle and bustle of such a busy environment. one such subject is architectural details – just because you can’t it the whole of a building in the frame, doesn’t mean that you can’t create interesting images using some of its more intimate details. one great thing about this approach is that you can practise it in just about any light – even during rainfall the water and relections can add interest to architectural details. on overcast days with soft, difused light look for gentle, graduated tones from shadows to highlights, whereas on bright, sunny days with direct light seek out interesting lines and shapes cast within the shadows. Look for relected light too – light bounces all around in built-up areas, and modern architecture can add interesting shapes and colours to relected light.


PH TO SKILLS

Architectural details

2

1

PUT DOWN THE WIDE-ANGLE I spot this building with interesting details in the late-morning light near Monument in London. Given the proximity of surrounding buildings, my first instinct was to reach for my wide-angle to capture it, however the distortion of the lens, along with building work, fences and people in the courtyard meant that the images didn’t do the scene justice. Time to bring out the telephoto.

ZOOM RIGHT IN As I was close to the building I didn’t have to zoom in very far to exclude the clutter and focus on the exterior detail. The result was better, but still wasn’t very appealing – exposing for the highlights (using exposure compensation) resulted in an unnaturally dark sky and showing the building in context with the sky didn’t put enough focus on the details. As you can see to the right, zooming in further to exclude the sky improves the image instantly.

3

TRY A DUTCH TILT Moving around the front of the building, I try shooting from head-on. The light catching the metal spirals was interesting but I could see the clutter inside the building, and the resulting image wasn’t very dynamic. When focusing on details you don’t need to keep the horizon true, so don’t be afraid to try a spot of ‘Dutch tilt’ by shooting with your camera at an angle. Angling the camera so that the lines enter the frame from the corners adds dynamism.

5

CAMERA SETTINGS When using a telezoom, depthof-field appears shallower than with a wide-angle – an aperture around f/9 to f/13 should ensure a nice sharp image throughout. Keep an eye on your shutter speed if shooting handheld (often easier than using a tripod in a city) and up the ISO if it drops too slow. Use exposure compensation to control the exposure and check the histogram and preview warnings to ensure that you don’t clip the highlights.

38 Digital SLr Photography December 2017

4

CONSIDER YOUR ANGLE If you can’t find an interesting image, wander around and see what a diferent angle does for the shot. Here, moving to shoot at 45° to the front of the building is much better, but shooting from the opposite side at the same angle creates a diferent efect, as shown above – this is commonplace in direct sunlight, as reflections and shadows define the shape of the details.

FOURTHINGSTOTRYWITHYOURTELEZOOM REPETITIONRepeatingpatternsand shapesmakeforgreatcitydetails–zoom rightinsothatthepatternfillstheframe, removingcontextfromthescene. COLOURLookforboldandbright hues,orusetheperspectivecompression ofalonglenstopositiontwodistant coloursincloseproximityintheframe. LIGHTANDSHADOWDirectlight workswondersfordetails.Exposefor thehighlightsandletshadowsfallto darknessforrich,interestingimages. Overexposinghighlightsfora high-keyefectcanworktoo. REFLECTIONSLookforreflected lightfromnearbybuildings–shapes, shadowsandcolourscastontothe surroundingscanaddinteresting highlightstosurroundingscenes.


proTip Finding subjecTs Itcantaketimetohoneyoureyeforinding suitablecompositions.Youcanlookatwhat othershaveshot,orresearchonGoogleMaps, butIliketosimplywalkaround,observingpotential subjects.Lookforinterestingtextures,shapesand inishesonbuildings.Ifyou’restrugglingtoind anythingasyouwander,thenityourtelephoto lensandlookthroughtheviewinder–by blockingoutthewiderworldandzooming in,it’seasiertoidentifypotentially greatcompositions.

The devil is in The deTail! Wemightonlyseeasmallsliceofthebigger picture,butusingatelezoomfordetailscan createsomereallyinterestingabstracts. Exposure:1/250secatf/10(ISO100)


PH TO SKILLS

Glow in the dark

the eArly eveNiNgS exteND oPPortuNitieS For PAiNtiNg with light; try it For yourSelF StArtiNg with thiS SimPle techNique exPoSeD By cAroliNe SchmiDt Camera:NikoND500/Lens:NikoNAF-P10-20mmF/4.5-5.6/aCCessOry:NikoNSB-5000


protip Keepsafe Ifyou’reusingsparklers,wear glovesandholdthesparkleratarm’s reachandawayfromotherpeople. Haveabucketofwaternearfor whenthey’veburntoutas they’llstillbehot.


make a note Writingwithalashlightismuch easierthanwithsparklers,asit deliversacontinuouslowoflight.

1

set-up Choose a wide-angle lens to give you a big area within the frame to work in – I’ve used a Nikon AF-P 10-20mm f/4.5-5.6. Set your camera on a tripod and attach a remote release. If you have a helper, have them hold the lashgun of-camera and pointing at you, or else attach the lashgun to the camera’s hotshoe or a light stand.

42 Digital SLR Photography December 2017

2

Location You ideally want an open, clutter-free, dark space – a park, garden or underpass is perfect. Or else pick a location that gives context to what you plan to draw. Turn away from areas of white and visible ambient light (like above) as it may inluence your exposure and could look awkwardly bright in the frame.

3

exposure You’re going to need to control the exposure. Set to manual mode, turn the dial until you reach the Bulb, Time or --- symbol. They all mean the same: you open the shutter with a press of the remote release and close it with another press. Dial in f/8-f/11 to ensure enough depth-of-ield and set a low ISO rating to minimise noise.


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T

here’s nO shOrTAge of sparklers this month, so it’s a perfect time to try some painting with light techniques. hopefully you have some left over from Bonire night but if not, and you can pick some up in the sale, be sure you grab some extras to see you through until next year, as this technique isn’t necessarily a once a year afair. If you’re involving young children in your set-up, however, we’d suggest switching out the sparklers for a small torch, as I have here. The same technique applies but it’s safer and you don’t have to worry about having your eyes on your camera and children at the same time. If you do want to use sparklers, however, opt for the long variety to give yourself more time proTip to ire of a few exposures. Writing with sparklers is like Flip Toread drawing blind without taking Ifyoustrugglewriting your pen of the paper; it’s backwards,writenormallyand tricky. For creating random thenliptheimagehorizontally shapes and squiggles, it’s great, inyoureditingsoftware or for tracing an outline of a –heypresto! subject it’s good too, but it may take several attempts if you’re free-handing it. A handheld torch, however, lets you start and stop throughout multiple areas of the frame during a single exposure without any connecting lines of light – all you need to do is turn the lashlight of temporarily while you move. Whichever method you choose, if you want to include a person in the frame, you’ll either have to ask them to stand as still as a statue as you illuminate them or you will need to factor in some lash. Without lash you’re at high risk of including subject blur from them moving even slightly during the long exposure. A burst of rear-curtain sync lash, on the other hand, means you freeze the subject just before the shutter closes at the end of the exposure. get all your gear ready while you have daylight; check your manual for how to set rear-curtain sync – you don’t want to be doing that by torchlight – and have a irelighter to hand in case it’s too windy for matches. And, inally, enlist some helpers if you can – the rest relies on your creativity.

4

Focusing You may struggle to focus in the dark. If so, try shining a torch on the area you’ll be standing in and then use autofocus, once you have focus, lock it by switching the camera from AF to manual. Alternatively, manually focus your lens to ininity. If you don’t manually focus, the AF will ‘hunt’ each time you come to take a shot.

5

Fire The longer you leave the shutter open, the more background and ambient light you’ll capture. If all you want visible is your sparkler/torch trails, keep the shutter open for as long as it takes you to inish scribbling. If you want to include some of the scene, expose for longer but keep moving or else you’ll be rendered as a blurry streak.

6

Flash To include a person in the shot, set your lash and/or camera to rear-curtain sync mode. In manual mode, dial in ½ or fullpower depending on how much of the scene you want illuminated (a quick test shot will show you). Once you’ve inished ‘drawing’, press the shutter button and a burst of lash will ire just before the exposure ends. December 2017 Digital SLr Photography 43


/ Adobe Photoshop CC

Imagesthatsparkle HAVINGALREADYCAUGHTLIGHTTRAILSONCAMERA,WHY NOTPUTTHEMTOUSEWITHTHISCREATIVEBUTSIMPLESKILL

O

N THE PREVIOUS we showed you how to capture light lines using a torch and sparklers, now it’s time to see how you can combine those frames with other pictures in your portfolio. For weddings and portraits, it’s becoming increasingly popular to include some sort of light painting, usually with sparklers, for added romance and interest, but depending on the shapes you draw it can work on any image. If you’re shooting a sparkler image for the purpose of overlaying on another image, you need to shoot with a short exposure. Use the techniques outlined on page 40 but don’t use flash or leave the shutter open any longer than you need to in order to finish your design. By restricting the ambient light, your camera will record the light trails and keep the environment as dark as possible – the perfect starting point for blending with a diferent photograph. For your main image, you want to also shoot your subjects against a dark background – easy if you’re photographing them at night but, if it’s daytime, look for areas where the backdrop falls in to shadow. A bright backdrop will make the highlights from the sparklers hard to see. Here’s how to prepare your images for pairing…

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OPENYOUR SPARKLER SHOTIf you’re pressing the release before running into position when shooting your sparkler shot, you’ll likely have strands of light leading towards your subject and out of the frame. If you’ve someone else to fire the shutter, this is less of a concern, but you may still want to ‘clean up' your image to remove any unwanted trails.

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TIDYUPYOUR IMAGE Add a new layer and select the Clone Stamp Tool, making sure All Layers is selected from the top toolbar. Zoom in to your image and if you’ve any strands of light that you don’t want, click alt to sample a nearby area and brush over them with Flow and Opacity set to 100% and Hardness between 80-90%.

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E1 ORIGINAL IMAG

ORIGINAL IMAG E2

EXPANDTHE DARKNESS To remove any illuminated surroundings, add a Levels adjustment layer (Layer>New Adjustment Layer> Levels) and pull the Shadows slider to the right and the Highlights slider to the left to brighten the trails. Use the Paint Brush Tool and Black paint to brush over any remaining visible areas.

PLAYWITHTHE COLOUR While you can buy coloured sparklers, you can adjust the light's colour in post-production. Apply a Hue/Saturation adjustment layer (Layer>New Adjustment Layer> Hue/Saturation) and tweak the Hue slider until you find a suitable colour and the Saturation slider to adjust the intensity.


Adobe PhotoshopCC \

KEEPING THE SPARK ALIVE Thisisafastandeasywaytoadd extrainterestanddynamismto yourimages.Tryitwithwordstoo.

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OPENYOUR PRE-SHOTIMAGE Once you’ve finished editing your sparkler shot, flatten the image (Image>Flatten Image). Open and edit your portrait as you would normally, then copy and paste or click and drag your sparkler image on top of the portrait. Change the layer’s Blend Mode to Screen to remove the black, leaving only the light trails.

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RESIZE Using the Move Tool, you can reposition, resize and angle your design as necessary; hold down the Shift key while clicking and dragging the corner widget to shrink or enlarge proportionally. Add a Layer Mask to your sparkler layer and use the Brush Tool with Black paint to remove any areas you may have missed in Step 3. December 2017 Digital SLR Photography 45


/ AffinityPhoto

Learning to use Curves

ORIGINAL

READY TOTAKECONTROLOVERCONTRAST?LET’SGETTOGRIPSWITHCURVES

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HEN IT COMES to controlling contrast, Curves is one of the most powerful tools in any editing software. The problem is that, on the surface, it doesn't appear to be beginner-friendly. With its graphs and lines it looks more like a scientific readout than anything to do with photography! If you find Curves daunting and you’re currently adjusting contrast via the Contrast slider, or Levels adjustments, then don’t worry – you’re not doing it wrong! Both of these methods are fine, and if they work for you then there’s no reason to over-complicate things. However these methods do ofer less control than Curves, especially when it comes to crucial midtone contrast. The Contrast slider, for example, can only adjust contrast across the

board – you can simply add it or take it away. Levels, on the other hand, allows you to adjust shadow, midtone and highlight contrast independently, but doesn’t aford you much control over midtones – you can either make them brighter or darker via one control. Curves allows you to do all of this, as well as add more control points than you’ll ever need in between, so you can isolate a range of tones and only adjust those points should you wish. The Curves interface is reasonably universal too, so no matter what software you’re using, the controls look roughly the same. Here, I’m working in Ainity Photo, but Photoshop, Lightroom, Elements and several other editing suites all ofer similar controls that will work in much the same way.

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INTERFACE The Curves interface features a diagonal line with the histogram in the background. The line represents changes in tones, with the default straight line indicating no changes. The bottom left corner controls the darkest shadows, and the upper right corner the brightest highlights – you can then create control points on the line to move it up and down to change the tones between.

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SETTHE LIMITS Setting the black and white points lets the software know where the darkest shadows (pure black) and brightest highlights (pure white) are in your image. Click on the black point in the lower left corner and drag it to the right until it meets with the start of your histogram graph. Repeat this for the white point in the upper right, dragging it left to be line up where the histogram finishes.

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CLICK AND ADJUST Most software allows you to target certain areas in Curves by manually clicking and dragging on them. In Ainity Photo it’s using the Picker, whereas in Photoshop there’s a small hand icon that does the same thing. By clicking and dragging directly on your image you can afect this area; handy if there’s one tonal region that needs adjusting, for example skin in a portrait.

46 Digital SLR Photography December 2017

COLOUR CONTROL So far we’ve adjusted the master curve, but you can also edit RGB curves too to alter colours. For example, if I select the Blue channel from the menu, and increase the curve in the shadows area, I add blue to the shadows. If I then decrease the curve in the highlights area, I remove blue from the highlights, adding yellow, as yellow sits opposite blue on the colour wheel.

MAKE AN S-CURVE Click on the line at the 25% mark to add a control point, and drag down a small amount. Notice how the whole image gets darker? Now, click on the line at the 75% point and drag it up to its original position. The highlights will look roughly the same, the shadows will be darker, and the midtones slightly darker. Drag the highlights up a bit more and you’ve boosted contrast.

LEARNING CURVES Have a play and see what you can create. If you place a point and don’t like the efect, just click on it and press the Delete key. If you find a good base setting, you can also save a preset to save time in future. You can also alter how Curves afects the image via Blend Modes – for example, altering the Blend Mode to Luminosity makes Curves afect brightness, and not colour.


curves in allthe right places! Withpractice,you'llbeusingCurves likeaproinnotime–noothermethod afordsasmuchcontrolovercontrast.


/ Adobe Photoshop CC

DAY TO NIGHT

WHOTURNEDOUTTHELIGHTS?JORDANBUTTERSSHOWS HOWYOUCANTURNDAYINTONIGHTINPHOTOSHOPCC

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F YOU’VE SKIPPED ahead to our Beginner’s Guide to Night Photography on page 68, then you’ll have already seen that night photography opens up a whole nocturnal world of possibilities. But if you’re stuck with daytime shots on your hard drive and a rainy day (or rather, night) outside, then you can still create nighttime images via the power of Photoshop. Why on Earth would you want to make a daytime photograph look like it was taken at night? Well, although this technique probably has limited uses in most photography, this is a fun challenge to set yourself, and serves as a handy measure for how well you perceive how light falls on surfaces. See if you can create realistic enough results to fool someone into thinking that the photo was actually taken at night!


/ Adobe Photoshop CC JORDAN BUTTERS

ORIGINALIMAGE

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TURNDOWNTHELIGHTS Set the brightness so that it looks more night-like. Add a Brightness/Contrast adjustment layer (Layer>New Adjustment Layer>Brightness/ Contrast) and reduce the Brightness to between -50 and -75. If the sky is visible you can dull it down further by using the Quick Selection Tool to select the sky, and applying another Brightness/Contrast adjustment layer and turning the Brightness down on the sky.

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ADDCONTRAST Your scene might be looking rather night-like already, but you may find that you need to add a bit more contrast to darken the shadows and lift the highlights. Add a Curves adjustment layer (Layer>New Adjustment Layer>Curves), and create an ‘S-curve’, as shown. For more on how to use Curves adjustments, turn to page 46. Judge the efect by eye – you can always come back and adjust it again later, if needs be.

50 Digital SLR Photography December 2017

LOOKITUP Look Up Tables (LUTs) work by changing colours to match a specific colour palette, and Photoshop conveniently ofers a day-to-night LUT – perfect! To apply it, add a Color Lookup adjustment layer (Layer>New Adjustment Layer>Color Lookup) and, in the Adjustment palette, choose the 3DLUT File as NightFromDay. CUBE. Then, in the Layers palette, lower the Opacity of this layer to around 75%.

CREATEALIGHTLAYER For urban scenes you’ll want to add some lighting. In the Layers palette, select the original layer and duplicate it (Layer>Duplicate Layer). Drag this new layer to the top of the Layers palette, before adding a Photo Filter adjustment layer (Layer>New Adjustment Layer>Photo Filter). Set the Photo Filter Color to a warm yellow/ orange and 100% Density and clip it to the duplicate layer using the button shown.

THE DARK NIGHT RETURNS! Theonlylimitisyourpatience andimagination–giveitatry!

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LIGHTSON On your orange/yellow layer, go to Layer>Layer Mask>Hide All. Select the Brush Tool, set White as your colour and Hardness to 0%. Choose a low Opacity, and brush in any areas where light would be seen, such as near street lamps or outside windows. Go slowly and think about how the light falls, fading out the further away from the light source you get. If you make a mistake, switch your colour to Black and brush back over.


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ATTENTIONTODETAIL You might want to add the efect of light coming from a window or doorway too – it’s surprisingly easy. Still working on the layer mask, select the Polygonal Lasso Tool and use it to select a window. Then, with the Brush Tool at 75-100% Opacity, brush over the window with White as your colour. Repeat for as many doors or windows as you like, factoring in where light spills on the surroundings too.

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AFINISHINGTOUCH Go to Layer>New>Layer to add a blank layer at the top of the Layers palette, and fill it with Black. Click on Filter>Noise>Add Noise, choose Amount: 100% and Distribution: Gaussian. Make sure that Monochromatic is checked. Next go to Filter>Blur>Gaussian Blur and set the Radius at 0.3. Set this layer’s Blend Mode to Screen and hide the layer. Back on your original image layer, select the sky, as you did earlier.

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ASTARRYSKY With the sky selected, make the noise layer visible again and add a Layer Mask (Layer>Layer Mask> Reveal All) – the noise will be constrained to the sky. Finally, add a Levels adjustment layer and clip it to the sky noise layer, as before, using the button shown. In the Levels Adjustment palette, increase the black point sliders until the noise resembles a starry sky – you may need to adjust the grey slider too. All done! December 2017 Digital SLR Photography 51


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Urban explorer Whetheryou’reshootingduringthedayoratnight,yourlocaltoWnorcity isameccaforgreatphotography.ifyou’relookingtocaptureWidescenics, abstractsorportraits,you’llfindpotentialaroundeverystreetcorner. inthismonth’sguide,We’veteninspirationalideastogetyoustarted Words: Daniel lezano

image: beboy/shutterstock

Becomean


Urban ideas

ming jun tan

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Fresh perspectives most major cities have several famous landmarks that are easily and instantly

recognisable – London has Big Ben and St Paul’s cathedral, Paris has the Eifel tower and arc de triomphe, and so on. all have been photographed millions of times by tourists and locals – and often from similar viewpoints. Rather than standing shoulder to shoulder with camera-toting tourists, look for imaginative ways to capture these well-known structures to give an alternative and fresh viewpoint. Due to their size and proximity to other buildings, larger landmarks are usually captured using a wide-angle lens, so one option is to use a telezoom and shoot from further away, while another is to shoot from an upper level of a nearby building or multi-storey car park. one neat idea is to make the landmark the backdrop to your image rather than the primary subject – for instance, capture a jogger or pedestrian in the foreground and use a mid-to-wide aperture to throw the background out of focus, yet render it sharp enough to be recognisable. a lens with a good focal length range is ideal – the nikkoR aF-S 18-140mm f/3.5-5.6g ED vR zoom for instance, allows you to shoot everything from classic wide-angle views right through to tighter telephoto viewpoints.

While HDR (High Dynamic Range) photography is a bit of a 'marmite technique', there’s little doubt that it works particularly well with urban scenes. it involves capturing images that extract as much detail as possible from the highlights and shadows to give images with unique characteristics. it’s normally achieved by shooting and combining three images taken at diferent exposures, but can be created from a single Raw ile. urban scenes captured early or late in the day to include artiicial lighting look particularly efective, as can scenes with overcast skies. Some cameras, like the nikon D7200 and D750, have a built-in HDR mode, so be sure to try it out when you ind a suitable scene. if you enjoy HDR photography, check out dedicated software packages like aurora HDR and nik’s HDR Efex Pro, which are designed to make your images really sing.

54 Digital SLR Photography December 2017

S.BoRiSov/SHuttERStock

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Urban scenes in HDR

kiRan BHamRa cox


ProtipwithNikon KiranBhamraCox Professional photographer

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KIrAN BhAMrA COx

Culture & community

Street and portrait photography is for me by far the most rewarding type of photography. I’m always looking for a unique moment, story or person to capture and there are various ways that this is possible. You might ind this in a close, immersing shot that focuses attention on the subject's face, or a wider view that captures more of the surroundings and adds context to the image. I love to mix it up and by using the Nikon 20mm, 35mm and 105mm lenses I’m able to make distinctive styles of images. I often alternate between shooting wide open at f/1.4 or f/2 to a mid-aperture of f/5.6 to f/8. Opening the lens up to f/1.4 for portraits in order to highlight someone’s eyes or features is a great technique. Using diferent lighting situations is another technique I use a lot to get what I want from a photo. Using direct sunlight, shadows, artiicial light will all change the overall aesthetic of the inal image. My go-to kit is my Nikon D810 with the AF-S Nikon 35mm f/1.4G, as this is a great body and a solid all-round focal length for any type of photography. December 2017 Digital SLR Photography 55


Following a rain shower, it’s well worth wandering around the streets and looking down at the ground for puddles that can be used for creative urban photography. Head for locations that have the most chance of providing interesting relections in the puddles – streets with unusual architecture or buildings with neon or other distinctive lighting should be the irst places you visit. City centres are therefore ideal choices, although you’ll have to contend with more pedestrians and traic complicating matters. You’ll want to compose the image to include some of the pavement around the puddle to provide context. A standard zoom, such as the NIKKOR AF-S DX 16-80mm f/2.8-4 ED VR, ofers the moderate wide-angle/short telephoto focal lengths that you need. Use a mid-aperture setting like f/8 for sharpness, raising the ISO rating as needed to ensure handholdable shutter speeds and focus carefully to ensure the relection is in focus. When reviewing your images, try rotating some 180° for an additional abstract element to the result. For more on this, see p72.

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AmAN bHARgAVA/SHUttERStOCK

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Relections & puddles


Urban ideas

heperfectway toaddnewskills!

jOKKI/ShuTTeRSTOCK

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

5 ChRISTIAN DelBeRT/ShuTTeRSTOCK

Planet panoramics Photographers have been shooting panoramics of urban landscapes for generations, but in recent years a new form of panoramic has appeared. Known by various names, including mini-planets, photospheres, planetoids or planet panoramics, these unusual and eye-catching 360° images have become increasingly popular. They suit scenes with large structures and trees that jut outwards from the centre of the sphere and are easy to create in Photoshop. To create a photosphere, you’ll need to shoot a 360° panoramic image by placing your camera on a tripod, ensuring it is level and then taking a series image to create a 360° panoramic image. Then, in Photoshop, select Image>Image Size, ensure you uncheck Constrain Proportion and make the width the same height as the height. Rotate the image so it’s upside down (Image>Image Rotation>180°), then create the photosphere by selecting Filter>Distort> Polar Coordinates (ensure the Rectangular To Polar option is checked) and clicking OK.

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he city never sleeps…

Come the arrival of night, city centres (in particular business districts) are transformed, so be sure to spend several evenings wandering the streets in search of great images. As daylight disappears, street lamps and interior lights illuminate scenes to give them a totally diferent look. using a wide-angle lens, like the NIKKOR AF-S 16-35mm f/4G eD VR, you can create highly photogenic urban nightscapes where windows, neon and streetlights illuminate the scene. If you shoot at dusk you can include colour in the sky too, while for the foreground, include roads for traic trails or water for attractive relections. If you're able to ind a high viewpoint, such as an upper level of a building, you'll be able to capture stunning night cityscapes. Be sure to use a stable tripod and a remote release to trigger the shutter.

PANA VASquez

December 2017 Digital SLR Photography 57


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Urban ideas

criSTian LiPovan/SHUTTErSTock THomaS EdEr/SHUTTErSTock

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PPicTUrES/SHUTTErSTock

Urbex Short for ‘Urban Exploration’, urbex is a form of photography that involves inding abandoned buildings and exploring them for photo potential. You might think that an empty old building has little to ofer photographically, but you couldn’t be farther from the truth. Wandering around these dark, isolated and rundown locations is like having a peek into a world allowed to fall into decay and provide incredibly atmospheric images. Hotels, factories, hospitals and schools take on an apocalyptic appeal that look like something out of a horror movie and are unlike any other type of urban location. Their very nature means you need to take care visiting them – avoid dangerous locations and always visit with one or two companions. You should also avoid trespassing on private grounds – not only is this illegal but it's also very risky, as derelict buildings could be close to collapse or have very unstable and unsafe loors – so be sure to seek permission irst. December 2017 Digital SLR Photography 59


PhOTOmarINe/ShuTTerSTOCK

KIraN Bhamra COx

Urban ideas

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Gritty urban portraits Beyond the bright city lights and spectacular buildings of

a city's rich inancial areas lies the polar opposite of the economic scale – areas that lack investment and are allowed to fall into disrepair and decay. along with being suitable for urbex, these rundown locations are ideal for gritty portraits. If you’re really conident, try asking strangers if they’ll pose and get in close, as Kiran Bhamra Cox has here, with a wide-angle like the NIKKOr aF-S 20mm f/1.8G. Or take along a friend to model for you wearing suitable urban clothing such as hoodies and combat trousers and place them by graiti, fencing or industrial areas to create atmospheric results. add mood by using a high ISO and converting to mono.

Exploreyourlocal urban areaswith the Nikon D500 The Nikon D500 is an ideal choice of camera for urban photography. Its robust, weather-resistant body ensures it can be used in all conditions, while its extensive range of features ensures it can handle all types of subject. Its 153-point AF ensures fast and precise focus, even in low light, while the sensitivity range (ISO 100-51200, expandable to ISO 50-1,640,000) allows for handheld photography no matter the lighting. And with 4K video, time-lapse and multiple exposures possible, there is no shortage of creative options to hand. www.nikon.co.uk

60 Digital SLR Photography December 2017

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Turn people into ghosts

One thing you often can’t get away from when shooting a busy town or city is its teeming population. While shooting early or late in the day is an option when you want scenes devoid of people, sometimes it just isn’t possible. So what do you do if you ind the perfect scene but there are pedestrians walking through it? Well, we’d suggest you put your shutter speed skills to the test and look to blur or even eliminate them from your shots. To do this, set up your camera on a sturdy tripod and compose your scene, then set it to shutter-priority (S or Tv mode) and select a low ISO rating (ISO 100-200). Start with a shutter speed around 1/2sec and after taking the exposure, review the result. Lengthen or shorten the exposure time depending on the amount of blur created and your personal taste. If it's too bright, use an ND ilter to help slow down shutter speeds.


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JOrDan BUTTerS

Funfairs When it comes to noise,

colour, lights, movement and spectacle, few urban locations can match that of a funfair. Wherever you are in the UK, you can expect fairs to visit local cities and larger towns at least two or three times a year. It’s an opportunity to capture all manner of images, from candids of fairgoers to close-ups of decorations to views of the rides in use. We’d recommend you arrive at the fair an hour or so before dusk and wander around looking for the best rides to capture. Dusk is the ideal time to shoot as you can add a colourful sky as a backdrop, rather than a jet-black sky. Set up your camera on a tripod, select shutter-priority (S/Tv) and a low ISO rating (ISO 100-200). To capture the moving rides as blurry streaks, so try out diferent shutter speeds to see which gives the best results – try one to eight seconds then review results and make further adjustments based on the results. Be sure to set up where you aren’t causing a nuisance and if possible, use a remote release and mirror lock-up to minimise the risk of blurry images from shake. For more on funfairs, see p79. December 2017 Digital SLR Photography 61


serres by Michael Horsield 1

NikonD750withNikonAF-S24-70EDVRf/2.8lens. Exposure: 30 seconds at f/11 (ISO 100).

What we think: Michael explains that this is three exposures: one for the clouds during sunset, one for the shadow details and one much later after dark for the window lights and lights on the crag. This multipleexposure technique has allowed him to capture the best elements from the scene and render them in one image, ofering interest throughout. It's really very well done, and shows great technical knowledge. There's nothing more to add – top job!

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Why it works 1) Light on rocks reveals interest 2) Nicely balanced exposure 3) Trafic trails add dynamic interest

Coniston Jetty sunset by Tony Johnston FujifilmX-T2withFujinonXF10-24mmf/4RIOSlens. Exposure:Ten seconds at f/11 (ISO 100).

Bardenas reales by Laurent Bastide 2

CanonEOS6DwithCanonEF16-35mmf/4LISUSMlens. Exposure: 1/4sec at f/11 (ISO 50).

What we think: Laurent's composition is strong here. The light falling on the ground is soft, creating soft graduations between highlight and shadow, adding texture and depth. The sky is distracting however – the motion doesn't look natural and it seems too high in contrast. It's possible that Laurent exaggerated the sky whilst processing, as there are halos where it meets the land. Maybe more sensitive editing is needed?

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Why it works 1) Fantastic landscape 2) Really strong and balanced composition 3) Foreground interest adds to image

What we think: A classic Lake District scene if ever we saw one. Tony's composition is well balanced, with the jetty acting as a strong lead-in line and adding foreground interest. Shooting during the golden hour has also added interest and colour to the sky, landscape and relections, and Tony's use of an ND ilter to extend the exposure has helped to remove the ripples from the water. It's not quite the same as visiting at dawn for that mirror-like surface, but it's a display of great technique given the conditions.

Why it works Composition is strong Lovely light and colours Good use of ND ilter to smooth water


Ross hoddinott

waNT yOUr sHOTs crITIqUeD by THe digital slr photography experTs? TUrN TO page 67 TO fIND OUT HOw TO sUbmIT Images

Landscapeexpert RossHoddinott “I’vestoodinalmostexactlythesame spotandtakenasimilarshot.Lake Districtjettiesarefantastically photogenic,creatingalead-inline andaddingdepthandinteresttolandscapes.This compositionworksnicely.However,Imighthave takenasidewayssteptoavoidthefirsttwojetty uprightsfromoverlapping,andpossiblyalso tightenedupthecompositionslightlytoexclude theshrubareaontheleft.Tonyoptedtousea six-stopNDfiltertotryandsmooththewaterand createreflections.Unfortunately,itisimpossible totrulyreplicatestill,reflectivewaterandthisshot wouldjustbethatlittlebitbetterhadTonybeen luckyenoughtovisitundermorestillconditions. Onelastthing:tomyeye,itlookslikethere'sabit toomuchclarityorsharpening,astherearesome halosaroundthejetty.Therefore,Iwouldprocess theimageslightlymoresensitively.Overall,avery niceshot,though–goodstuff.”

December 2017 Digital SLR Photography 63


Red aRRowS SToRm by Tom Hard CanonEOS80DwithSigma150-600mmf/5-6.3DGOSHSMlens.Exposure:1/1000secatf/7(ISO100).

What we think: Wow. If Tom's image doesn't stop you in your tracks then nothing will. The side-lighting adds bags of texture to the smoke trails and he's got the exposure spot on – the relatively fast shutter speed has preserved the highlights and frozen the action. We're not sure if Tom cropped in or if this is the full-frame but the composition is very good – not easy when shooting several planes banking towards you at speed! There's adequate breathing room around the planes and Tom's allowed space for that glorious smoke too. There's not much we'd change here, Tom's nailed it.

Why it works: 1) Great exposure 2) Good balance and composition 3) Pin-sharp focus

Lough Tay SunSeT by Slawomir Skibinski CanonEOS80DwithSigma18-35mmf/1.8DCHSMArtlens. Exposure:1/15secatf/7(ISO100).

What we think: This is the sort of scene that can test a photographer's resolve. The sun has dipped below the horizon so the land will be several stops darker than the sky. Our eyes handle this no problem, however Slawomir's camera would have struggled to produce a good exposure, without his intervention that is, because of the extreme dynamic range. His approach is methodical and shows technical skill, using bracketed exposures to record the full dynamic range. What's more, this is a panoramic comprised of nine vertical compositions – so that's several bracketed exposures for each of the nine frames. Enough to get even the best photographers into a muddle!

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1 3 2


esemaLditoyo by Víctor Rus García

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NikonD90withNIKKORAF-S50mmf/1.8lens.Exposure:1/2500secatf/2.8(ISO500).

What we think: A portrait with a diference – top marks for Víctor for thinking well outside of the box! The positioning of the mirror is pretty much in line with the rule-of-thirds, so works well. Intentional or not, the model's shoulder strap and arm form a lead-in line from the lower right corner to the mirror and, therefore, her eye contract. The focusing is spot on, and the shallow depth-of-ield adds interesting depth. The model's eye contact is engaging too! Finally, Víctor's handled the tones really well in post-processing – the cool, almost bluish, background contrasts nicely with the model's red hair.

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Why it works: 1) Well executed 2) Good colour grading 3) Shallow depth-of-ield

Landscape expert RossHoddinott “ShotslikethisalwaysservetoremindmethatIreallydon’tshootenoughstitched panoramas.Itissuchaneffectiveaspectratioforbigvistassuchasthis,andstitching hasnowbecomearelativelyeasy,painlessprocessthankstoautomatedactionsin editingsoftwarelikeLightroomorPhotoshop.Slawomirhasfoundalovelyelevated viewpointhere,andwhatamazingconditionshe'switnessedtoo!Itwaswellworththewalkup thehilltoseeandphotographsuchalovelyeveningsky.Therearejustacoupleofminor nigglestomyeye,though.ItisashameSlawomirhasclippedthebottomoftheboulderinthe foreground–Idon'tthinkthiswouldhavebeenhisintention,butratherisaresultofcropping duringthestitchingprocess.Whenshootingpanos,it'simportanttoalwaysremembertoallow alittleextraspacearoundkeyobjectsinthescene,inreadinessforstitching.Tomyeye,thesky looksalittledarkinrelationtotheforeground,too.Theskyisalmostalwaysbrighterthanthe foregroundinreallife,butinthisinstancethelandscapeiscomparablylightcreatingthe appearanceoftheshotbeing‘over-gradded’. Slawomirtoldusthathedidn’tuseanyphysical gradfilters,butmaybehewentalittletoofarwhenblendingexposuresorusingthegraduated filtertoolinLightroom. Eithertheforegroundneedstobemadefractionallydarker,orthesky lightened,toproduceamorenatural-lookingresultoverall.Onelastthing(whichyouprobably won’tnoticeunlessyouenlargetheimage100%onabigscreen!):thesoftwarehasmisaligned theskyintheverytopleftcorner,whichneedstobetidiedup–notabigjob,though,andone thatcanbeaddressedeasilyinamatterofminutesusingtoolsinPhotoshop.Overall,thisisa goodcapturewithgreatdramaandappeal.Slawomirshouldbeproudoftheresults.”

December 2017 Digital slr Photography 65


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

December 2017 Digital SLR Photography 67


image: tudor panait


he Beginner’s Guide

Night

Doesyour photographystopwhen the sun goes Down? If so then It’s tIme to trysomethIng new. over the next 14 pages we’ll showyou howto transformyour nIght photographyanD embrace shootIng after sunset. there’s reallyno reason to be afraID ofthe Dark…

as winter sets in, the days get shorter and we ind ourselves leaving the house for work under the cover of darkness and arriving back home in much the same conditions. however, that’s no excuse to pack the camera away until spring. if you’ve restricted your photography to only the daylight hours, then you’re missing out on an entire genre of exciting and creative photography. after darkness falls everything in the world is seen in a diferent light, quite literally. scenes and subjects that might seem mundane during the day can be transformed into brightly-lit attractions under the cloak of darkness. in cities and towns man-made illumination and motion can add colour and dynamism to streets and buildings, while in rural settings extraterrestrial light comes into its own; a full moon can give a landscape an ethereal glow, or heading out into the deep darkness of the wilderness can reveal galaxies far beyond our own. this might sound like hyperbole, but it’s really not – your digital camera opens up all manner of nighttime possibilities to you, providing you know what to look for and how to record it successfully. over the coming pages we’ll cover a range of diferent techniques and ideas for you to try after night falls, including some fundamental technical advice for getting the most out of your kit, and how to overcome the challenges of shooting at night. when all's done, you’ll come away from this month’s Beginner’s Guide not feeling left in the dark… Words: Caroline sChmidt & jordan butters


he Beginner’s Guide

SHOOTINGATNIGHTCANBETRICKY, BUTREWARDING.KNOWINGYOUR WAYAROUNDYOURCAMERAAND HOWTOGETGREATRESULTSISKEY

L

IGHT IS A NECESSITY for creating images – there’s no escaping that. After all, photography quite literally translates into ‘drawing with light’. Therefore, you’d be right to assume that night photography isn’t without its diiculties and pitfalls, and can be a technical challenge some of the time. Capturing and using light to your advantage when its in short supply calls for an understanding of the techniques required. For example, at night exposure times will typically be much longer than during the day, which introduces the problem of blur – both in the subject and from the camera. Increasing your ISO or using a wider aperture are two ways around this, but both come with their inherent downsides too. Often the solution comes from using a slower shutter speed to add intended motion to your nighttime images, or using the existing illumination in the environment to your advantage. Finally, there’s always the option to add your own light to nighttime scenes – this is often a necessary approach in nighttime portraiture, or when practising creative techniques such as light painting (see page 80 for more on this). More often than not this involves balancing the light that you’re adding with the existing light in the scene and calls for a understanding on how your shutter speed, aperture and ISO control how diferent types of light is recorded. It sounds complex, but don’t worry – we’ll break it down into bite-size chunks so that, with practice, you’ll soon be shooting at night like a seasoned pro.

AVOIDING SHAKE Camerashakeisthenightphotographer’sworst enemy,asslowershutterspeedsinevitably increasetheriskofithappening.Thankfullyit’s easilyavoided–thesimplesolutionistousea stablesupportsuchasatripod.Howeverinsome situationsthisisn’tpossible,soyouhavetomake themostofshootinghandheld.Thereareseveral stepsyoucantaketohelpreducetheissue.Using ahigherISOratingisoneoption,asisselectinga wideraperture,althoughyouwillsacrifice depth-of-fieldindoingso.Usingalenswithimage stabilisationwillreducetheefectsofcamera shakeuptoapointtoo.Otherwise,tuckingyour elbowsintoyoursidesandcontrollingyour breathingasyoushootcanminimisethewobbles. Usetheenvironmentaroundyoutohelpaswell –you’llbesurprisedhowslowyoucanshoot handheldbyrestingyourcameraagainstawall, lamp-postorothersolidobjecttosteadyyourself against.Acombinationofthesestepscanbethe diferencebetweengettingtheshotornot.

70 Digital SLR Photography December 2017

ESSENTIALKITFOR NIGHT SUPPORTS: Asturdytripod is important, nayessential, ifyouwant to use long exposures. Ifyou don’t have one, thenyou’re restricted to using awall or surface forsupport, oreven the floor– obviously you’ll have less control overthe composition and angle ifyou do, although using a small beanbag to prop the camera on can help. REMOTE RELEASE: Whetherusing a tripod, support orhandholding yourcamera, pressing the shutterbutton can be enough to introduce unwanted camera shake and softness.Aremote release removes this contactwith the camera. You can buywired orwireless, but ifyou have neitheryou can always useyourcamera’s self-timermode. Set it to two seconds, press the shutterbutton and stand back. TORCH: Acompact but powerful torch is one ofthe most important bits ofkit fornight photography– it not onlyhelpsyou see whereyou’re going, but it’s invaluablewhen looking forkit inyourbag and can be used to helpyourcamera focus,You can also use it to add illumination toyourscene, or you can tryyourhand at a spot oflight painting byincluding it in the frame – see page 40 for more on this creative technique. HANDWARMERS: When yourlens’s front element becomes coolerthan the airaround it, it draws moisture from the airand can fog up,whichwill ruin yournight photography– holding a hand warmeraroundyourlens using an elastic band or similarhelps prevent it becoming an issue.

EMIL JARFELT/UNSPLASH

EMBRACE THE DARK SIDE

TAKE FULLCONTROL

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ILLUSTRATION: BANGDOLL@FLICKR TEP ONE TO shooting at night is to embrace your camera’s manual exposure mode. Semi-automatic metering modes, such as aperture- and shutter-priority, work extremely well during daylight in most situations, however night photography often involves shooting largely dark scenes punctuated by bright highlights – such as a city street scene with street lamps, or a moonlit landscape. The large diferences in contrast between light and dark at night can flummox even the most advanced metering systems. You could use exposure compensation to correct the camera’s metering, however you’re far better of using manual mode for more control. Lighting usually doesn’t change from one minute to the next at night either, so once you’ve found a good exposure, you can get consistent results. Understanding how each of your camera’s parameters afects the image is incredibly useful in night photography, as your desired outcome afects which settings you change. For example, one way of getting more light into your camera is to use a long exposure, however this has the efect of blurring any motion in the scene, which might not be what you want. The exposure triangle is a way of understanding the three elements that afect an exposure – shutter speed, aperture and ISO. Obtaining a good exposure, night or day, is down to a balance of these three settings.


TheskyaTnighT Motion,coloursandlightsall makenightphotographyan excitinggenretogettogripswith.

aperTure: Awideraperture(lowerf/stop)letsinmore lightthanasmalleraperture(higherf/stop).However,the widertheaperture,themoreshallowthedepth-of-ield. Whentouseawideaperture: Shootinghandheld;night skyphotography;portraitsandinextremelowlight.

JeremY tHomAS / unSPLASH

WeS HicKS / unSPLASH

KYAW tun / unSPLASH

shuTTer speed: Aslowershutterspeedwillrecord morelightthanalongershutterspeed,howeveritwillalso recordanymotion,eitherfromthesubjectorthecamera. Whentouseaslowshutterspeed: Blurringmotion;static scenes;lighttrails;lightpaintingandwhenusingatripod.

isO: ThehighertheISO,themoresensitivethesensoris tolight,butthelowertheimagequalitybecomes.Recent camerascanhandlehighISOratingssurprisinglywell. WhentouseahighISO:Extremelowlight;MilkyWay; auroraborealis;handheldandforcreativeefect. December 2017 Digital SLR Photography 71


he Beginner’s Guide

city at night MAN-MADE illuMiNAtioN MAkEs thE cityAtNightuNMissAblE

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ook at any satellite image of Earth at night and you’ll see hundreds of thousands of bright blemishes on the surface of the planet; a network of streets and roads branching of in every direction. the towns and cities that we live in are a great place to begin your journey into after-dark image making – after all, they’re the brightest places on Earth after the sun sets! While smaller rural towns might provide opportunities for atmospheric lamp-lit scenes, it’s in bigger cities that urban night photography comes to life. Streets and buildings are transformed by light and colour, while traic is rendered as dynamic colourful streaks winding through the scene. the bonus is that cities tend to be quieter after dark too, and exposures are longer, so you can shoot without the bustle of the crowd. It goes without saying that you should stay safe and alert when photographing in a city at night using valuable camera equipment – let friends or family know where you’re going and seek safety in numbers by pairing up with other photographers. Don’t let this put you of, however – urban nighttime photography is an exciting experience, and just one night spent exploring the sights can reward you with a wealth of dynamic images!

PrePareduringtheday you can’t practice night photography during the day, for obvious reasons. What you can do is to make sure that you’re familiar with your kit, allowing you to set up, change settings and pack away in the dark without hassle. only pack what you think you’ll need – your camera, tripod, remote release, a torch and the lenses you’re likely to use. In the darkness it can be easy to leave kit behind, or get lustered, and by travelling light you can work quickly and eiciently.

Whatto shoot

thebluehourthe short period following sunset, or before sunrise, iswhen night images often look their best. During the blue hourthere’s colourand detailvisible in the heavens, helping to create images that are more interesting than those taken undera pitch black sky. be on location and set up in plentyoftime, andyou can time yourcaptures to coincidewith that smallwindowwhen the skyis a deep,vibrant blue and the citylights have just started to come on, enablingyou to capture a balanced exposurewithout exposure bracketing orhDR.

alExanDrE goDrEau/unSplaSh

72 Digital SLR Photography December 2017

hEnrI van avEzaath/ShuttErStock

FrancESco FErrarInI/ShuttErStock

reflectionsArainynight sounds like the perfect excuse to stayat home, butyou’d be foolish to miss an opportunity–wet streets and puddles transform dark expanses ofasphalt into highlyrelective mirrors, illing the imagewith streaked colourand light. get lowand shoot toward the light – ifyourcamera has an articulating screen then this is ideal to line up sceneswithout getting damp knees! Focus on the relection ratherthan the puddle to add depth to cityscenes. colourful neons are a creative gold mine at night forthe cityphotographer.

artificiallightingAt night the magic ofmanmade illumination can transform howtowns and cities look in photographs. buildings, monuments and sculptures are often loodlit at night, making them stand out against the surrounding environment.Judging exposure can be tricky, so expose forthe brightest part ofyoursubject, checking the histogram to ensure that highlight clipping doesn’t occur. ifthe shadows are too dark, consider bracketing exposures and merging them in processing to lift some shadowdetailwithout going full hDR.


he Beginner’s proTip Guide WhiTeBalance Diferentformsofilluminationemitdiferent colourtemperaturesandselectingtheright WhiteBalanceisonewaytocontrolthemoodofthe image.Muchofthetime,leavingyourcamerainAuto WBdoesagoodjob,howeverinsomecircumstances youmightbebetterofmatchingtheWhiteBalance tothemainformoflight–forexample,Tungsten orFluorescent.Asafail-safe,alwaysshootin Raw–youcanthenchangetheWBto yourheart’scontentduring processing.

birdymeo/shutterstock

reflecTs in The ciTy Withlights,coloursandrelections, urbansprawlsareanight photographer'splayground.

day-To-nighTTime-lapse Pozdeyev vitaly/shutterstock

Puk Patrick/unsPlash

TrafficTrailsWhen capturedwith a long exposure, moving lights are rendered as streaks ofillumination, cutting through a scene. Use this toyouradvantagewhen shooting busystreets –vehicle headlights renderas parallelwhite lines,while tail and brake lights arevibrant red streaks.To calculateyourexposure time fortraic trails, count howlong it takes foravehicle to pass throughyourframe and use shutter-priorityorBulb mode to make the exposure.This ensures the trails don’t start orend abruptlypartwaythrough the frame.

Modern urban life translates fantasticallyinto time-lapsevideos.The ‘holygrail’ofa time-lapse is mastering day-to-night transitions,which is especiallydiicult because ofthe diferences in exposure.We’ve not the space to coverit in detail, but there are three methodsyou can try.With aperture-prioritymode, as the scene gets darker the camera automaticallylengthens the exposure to compensate – thisworks, but can cause ‘lickering’, orissues with overexposure as the camera compensates forthe darkness.Alternatively, there's multiple sequences: shoot daylight, golden-hourand night time-lapses and blend them in editing,you’ve full control overthe exposure of each. Finally, there's ‘Bulb ramping’, whereyou use an automated intervalometer,which adjustsyourexposure in Bulb mode as the light changes, creating a smooth day-to-night transition.

December 2017 Digital SLR Photography 73


he Beginner’s Guide protip

Shooting bythe lightofthe moon mightSound likearecipe for noiSeand dark imageS, butthe reSultSare quitethe contrary…

T

hey’re dramatic, slightly surreal and almost always contain the ‘wow’ factor, which is why so many landscape photographers embrace the early nights and use the sun’s sibling at this time of year. true the golden hour and the blue hour hold much appeal, but if you pack up and head home straight after then you'll be missing out on some stunning moonlit scenes. so pack yourself an extra lask of hot cofee, bundle up for the cold night ahead and maximise the potential after dark. the moon may be much weaker than the sun, but it’s still an ample light source for a long exposure. the advantage of it being much weaker is it’s also much softer, reveals more detail and bathes landscapes in light. your best window of opportunity is a full moon as it’s at its brightest, so don’t be discouraged if the weather doesn’t seem ideal – give it a go anyway. Whilst a still, clear night is best, a little moving cloud can add interest during a long exposure as they'll be rendered as stunning streaks in the sky. choppy waters also look beautifully smooth or misty with a long exposure, but subjects like trees that blur as they move in the wind are best avoided as they can be distracting. as with most long-exposure photography, you’ll need to utilise your camera’s Bulb mode so you can control the exposure time and use beyond 30 seconds; without Bulb mode your exposures will be limited. you’ll need a tripod and a remote release to reduce the risk of shake, and a wide-angle lens is useful to capture the whole scene. remember your headlamp and a torch to help you see your camera’s settings and your way back to the car as it was probably daylight when you arrived! the approach and process to moonlit landscapes is very similar to photographing

regular landscapes. you’ll want to scout locations during the day to assess where the moon will rise in relation to the landscape. apps such as Photographer’s ephemeris and PhotoPills (see page 77), and websites such as timeanddate.com, will help you forecast a full moon and its position in the sky. a dark, dramatic location away from light pollution and near water will enhance the painterly light emitted by the moon. On clear still nights, you’ll have a chance at getting that perfect glowing moon shimmer on the water’s surface. the most dramatic light is when the moon is low in the sky – ideally between 30° and 70° – so it’s worth doing your homework before setting out. exposing a moonlit landscape isn’t diicult; it’s composing and focusing in the dark that’s tricky. to expose, you need to use Bulb mode and a wide aperture in the region of f/5.6 so you can attempt to keep your isO low (isO 400-800) and reduce noise levels. We’d suggest keeping Noise reduction switched OFF so you don’t have to wait twice as long to see your image, then do noise control in post-production. how long you expose your image for is trial and error, but a good starting point is around ive minutes (if the moon is out of the frame); or less than 30 seconds if you include the moon. if you expose your moonlit landscapes for long enough, your image could look like it was taken in the middle of the day, but the longer you leave it the more noise that will be introduced. For focusing, use manual focus and focus to ininity or on any distant light whilst in liveView mode. to avoid waiting several minutes before you see your shot to know if it looks decent, take a test shot with your camera set to its highest isO for a few seconds to get an idea if your composition works. then, take your inal shot!

heleN dixON

Moonlit landscapes

We’reontheMove… remember,ifyouwanttoinclude themooninyourlandscapeand yourexposureisasecondor longer,themoonislikelyto overexposeandblurasthe earthrotates.

apro'svieW:GaryMcparland

74 Digital SLR Photography December 2017

gary mcParlaNd

“alotofphotographerspackupandgo homeoncethesungoesdown,butthat doesn’thavetobetheend.ilove shootingscenesearlyatnightwithafull moon–itcanlookmagicalbothwiththe moonintheshotandasalightsourceoutoftheframe. lakesandthecoastwithstrongpointsofinterest,likea lighthouseorboatwreck,workwellasyoucanoften capturethemoon’sreflectionacrossthewater.youneed tokeeptheexposuretimesbelow30secondsorelsethe moonwillstarttostreakinthesky,butioftenshoota coupleofframeswithreallylongexposurestogetthe mistywater,followedbyashorterexposureforthesky, thenblendtheminpost-production.youhavetowiden theapertureandraisetheiSofortheshorterexposures. ifi’mshootingasubjectthat'sbacklit,i’lloftenuseatorch orflashguntolightpaintthefront,too.it’sreally importanttobeprepared:makesureyouhavetheright equipmentandwarmclothing,checkthemoonphases onlineandpackatorchtoaidfocusing,aswellasuse handwarmerstoattachtoyourlenstostopitfogging.”


over the Moon

he Beginner’s Pickingandpreparingforthebestlocation Guide

attherighttimeofthemonthistheperfect recipeformoonlitlandscapestoadore.

PhotograPhing Moon Phases

Tomasz szymanski/shuTTersTock

Shooting a close-up ofthe moon, orwith it large in the landscape, requires the focal compression that comeswith a long telephoto lens such as a 70-300mm on anAPS-C camera.Teleconverters can helpyou get more reach, too, aim for between 600mm-800mm forframe-illing shots. It’s important to expose forthe moon, and not its surroundings, to maximise detail. Photographing moon details actuallycalls forsimilarsetting to daytime photography– it also moves quickly, so a fast shutterspeed in the region of1/125sec – 1/250sec and an aperture off/8 to f/11 are ideal. Depending on the moon's brightness, an ISO of 200-800 is needed. LiveViewcan help assess the exposure and focusing. Exposure bracketing can also help ind the best exposure, and blending said exposures in post-production reveals more detail on the lunarsurface.Anice idea to tryis to shoot each phase ofthe moon overthe month and then composite the pictures using Photoshop to show the progression from a crescent to full moon.

December 2017 Digital SLR Photography 75


he Beginner’s Guide

PHOTOGRAPH THENIGHT SKY PREPARETO BEAMAZED BYWHATYOUR CAMERACAN SEE – FROMTHE SPARKLE OFTHE MILKYWAYTO SPINNING STARSCAPESANDTHE DANCINGAURORA

M

OST AREAS OF photography have been extensively practised since the popularisation of film, but night sky photography is a big exception. It wasn’t really until the advent of digital, and more recently advances in high ISO image quality and noise reduction techniques, that most photographers have been able to shoot the night sky in such fantastic detail. The night sky photographer’s worst enemy is light pollution – that being light emitted by buildings and streetlights flooding up into the atmosphere. So, whether you want to capture the Milky Way, star trails or the aurora borealis, the first thing that you need to do is to get away from civilisation. We live on a fairly densely populated island, but there are still plenty of dark sky havens dotted around – visit www.darkskydiscovery. org.uk for a comprehensive map, but we’ve shared some of our favourites to the right. The key with night sky photography is to show the delights above in context with the landscape beneath – include silhouettes of trees or mountains, or the reflection of the stars in a lake beneath. Due to the darkness it’s often hard to see into the shadows, so advanced photographers often capture the stars before bracketing exposures to bring out more detail in the landscape, and then merge exposures during processing. Ready to delve into the amazing world of extra-terrestrial night-sky photography? Wrap up warm and bring a flask – it’s going to be a long night ahead of you.

TOP 12 12 DARK SKY AREAS IN THE UK 2

5

12 1

4 6 9

3 8

7

11

10

PROTIP

ANTON JANKOVOY/SHUTTERSTOCK

1) Isle ofMan 2) KielderForest Park, Northumberland 3) Brecon Beacons National Park, SouthWales 4) Snowdonia National Park, NorthWales 5) GallowayForest Park, Scotland 6) Shropshire Hills (AONB),West Midlands 7) Bodmin MoorNational Park, Cornwall 8) ExmoorNational Park, Somerset/Devon 9) Pembrokeshire Coast, SouthWales 10) South Downs National Park, East Sussex 11) East Devon (AONB) 12) North Pennines (AONB)

THE500RULE Toensurethatthestarsarerenderedasdots andnottrails,youcancalculatethelongest shutterspeedyoushouldusewiththe‘500Rule’. Todothis,divide500byyourfocallength,and thenrounddown,takingcropfactorintoaccount. Forexample,ifusinga20mmfocallengthonan APS-Ccamera(30mmequivalent),the calculationwouldbe:500/30=16.6,so thelongestexposuretimeshould be16seconds.

WHATTO SHOOT ROBSON HATSUKAMI MORGAN/UNSPLASH

76 Digital SLR Photography December 2017

JOHANNES GROLL/UNSPLASH

ANDREW PREBLE/UNSPLASH

STARTRAILS:As the Earth rotates, the stars move across ourskies and photographers can use this to capture startrails, giving the impression that the universe is swirling around the planet.The North Star, otherwise known as Polaris, is the exception, remaining in roughly the same spot in the sky– startrails seem to rotate around Polaris, givingyou a great focal point.There are twoways to capture startrails – eitherusing onevery long exposure orbystacking multiple shorterexposures. The latteris preferred, as the first causes the sensorto heat up, creating hot pixels and noise. Shooting startrails is similarto MilkyWayphotography,with one diference –wewant the stars to streak. Base settings forstartrails are 30 seconds at f/4 (ISO 3200) or30 seconds at f/2.8 (ISO 1600).Aim to shoot around 60 successive 30 second exposures in total, and use stacking software such as StarStax (www.bit.do/DSLR_starstax) orStartrails (www. startrails.de) to stack the multiple exposures together.

AURORA:There are fewsights more breathtaking than witnessing the aurora borealis, ornorthern lights.To help yourchances in seeing and capturing this phenomenon, you need to head north – the furtherthe better. Locations such as Scotland, Scandinavia and Iceland are ideal, although at times ofstrong geomagnetic activity, the lights can be seen anywhere in the UK.Websites such as www.aurora-service.eu predict aurora activityusing a Kp index – the higherthe number, the furthersouth the aurora could be seen.An aurora level ofKp5 can be seen in northern Scotland,whereas a level ofKp6 orKp7 could reach the Midlands. Ifthe conditions are right, seek out interesting landscapes to align the aurorawith – lakes and surfaces such as ice and snoware ideal as theyreflect the lights. Use a high ISO rating (ISO 1600 orhigher) and awide aperture to keep exposure times short and retain detail in the swirls ofthe lights,whereas longerexposures will capture a brighteraurora, but at the cost ofdetail.

MILKY WAY:In orderto photograph ourgalaxy,you need the right conditions – a clearskyundera newor crescent moon is ideal. In the Northern Hemisphere the mostvisible part ofthe MilkyWayis seen in the south-west between Februaryand September.You’ll need to avoid light pollution too.Awide-angle lens is ideal.The fasterthe lens’s maximum aperture, the better – lenses ofering f/2.8 orf/4 are perfect. First use an app to locate the MilkyWay(see opposite), orlook forthe constellation Sagittarius in the southern sky– the main clusterwill be alongside it. Use a tripod and LiveViewto focus manuallyon a bright star. Set ISO 3200 as a starting point, pickyourwidest aperture andwork outyour shutterspeed using an app, orthe ‘500 rule’(see above). You mayhave to increase the ISO and/orshutterspeed to get the right exposure, and don’t be disheartened bythe LCD – almost all MilkyWayimages need contrast and colourwork in processing to make them reallypop.


gAlAxy quest Forgetspecialistequipment,and telescopes–youcancapture imageslikethiswithanyDSLR.

BulBmode

Apps for stAr hunting gary mcparland

Forexposures up to 30 seconds,your camerawill automaticallyclose the shutterwhen the set exposure time is reached.However,whenyouwant to shoot longerexposures,you need to use Bulb mode. Bulb mode relies onyou timing the exposure and telling the camerawhen to start and stop the exposure. It's often controlled byholding down the shutterrelease on some models, orpressing once to open and once to close on others.You’ll need a remote release to use it – most come with a lock function too, allowingyou to lock the button down. Some models even comewith a timer, soyou can keep an eye on exposure times.

dArk skies iOS &Android / Price: Free Helpsyou towork outwhat shutter speedyou should use to avoid startrailswhen photographing the MilkyWay. Inputyourcamera type and focal length andvoilà – it’ll spit out the corresponding shutterspeed. Simple, and free! photogrApher’s ephemeris iOS &Android / Price: £9 Commonlyused to plan forsunrise and sunset,TPE is also excellent forseeingwhere the moonwill be, and its phase on anygiven date.You can use this info to plan a MilkyWay image, ora moonlit landscape (see page 74). photo pills iOS &Android / Price: £10 Thecompletephotographyassistant. Plansunandmoonpositions,workoutexposures, calculatehyperfocaldistancing,time-lapsesand overlayaugmentedrealitytoseewherethesun, moonandMilkyWaywillbeinyourscene.

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he Beginner’s Guide

Getcreative at niGht Once naturallighthas dimmed, it’stimetOturn On sOme creativityand createyOur Own light. letthe fun begin…

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nce the sun sets, everyday subjects gain a new lease of life, giving you broad realms of creativity and new techniques to explore. We’ve already given you a ton of inspiration for shooting past twilight, but in case you’re in need of some more, we’ve got a few creative ideas for you to hone your skills with. From portraits to landscapes, light trails to light painting, creative low-light techniques are great so don’t drag your feet – it’s time to drag the shutter.

Fireworks: Autumn and winter are best known for ireworks, given their regular appearances during Bonire season and new Year's eve, so you should have plenty of opportunity to shoot explosive pictures. You need to be armed with your tripod, remote release and a piece of black card. Pick a viewpoint where you can capture the irework displays unobstructed – near a body of water can often provide beautiful relections and extra interest. It’s best to recce the location during the day to ind some strong foreground interest or high ground to avoid people’s heads bobbing up into your shot. shooting ireworks has a measure of experimentation, so keep iring frames and you’ll eventually get a winner. set your camera to Bulb mode and set f/8-f/16 for good depth-of-ield with a low IsO. Manually focus on an object within an approximate range of the ireworks, then as the ireworks start exploding, release the shutter. Leave the shutter open for a few seconds to record irework bursts and press the release to end the exposure. If you want to keep the exposure running to capture multiple ireworks over a period of time, carefully place the piece of black card over the lens between explosions to minimise the risk of overexposure. LiGhttraiLs: cities have so much energy at night, and their vibrancy is best captured through movement, most notably traic trails. You need the roads to be busy for continuous streaks of light and if you can use this technique during twilight, when the sky retains some blue, the images will be far better for it. You’ll need to set up with a tripod carefully on the side of a road (make sure to wear relective clothing) or on a bridge or building for a high vantage point. Include buildings in the frame for stationary interest and use an exposure of between 20-30 seconds, depending on the speed of the traic. use a wide-angle lens to include the city’s surroundings.

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BAssKWOng/shutterstOcK


DmITrY TSveTkOv/ShuTTerSTOCk

jASOn Chen

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Portraits: Portraits at night sound challenging but if you’re resourceful in inding pockets of artiicial light or using lash, you’ll be able to capture beautiful portraits at any hour. Street lamps, neon signs or the light from windows make interesting artiicial light. You’ll most likely need to shoot wide open with a high ISO rating, if you want the freedom of photographing handheld. Another option is to combine a burst of difused lash to light your subject with a slow shutter speed – a technique called ‘slow sync’ – to record the ambient light and beautiful background bokeh.

Funatthe Fair: In the build up to Christmas, cities and towns are preparing public centres with twinkling lights, market stalls and fairground rides. These festive illuminations can be so vibrant that you may only need a wide aperture and high ISO rating to capture candids and the hustle and bustle handheld. But if you really want creativity, grab your tripod and use exposures of one to 30 seconds to blur moving people for added atmosphere. If there’s a funfair, experiment with exposures of between ive and 30 seconds to capture movement in the rides with a wide-angle lens. December 2017 Digital SLR Photography 79


caroline schmidt

dominik qn/unsplash

he Beginner’s Guide

addabitofsparkLe: With a wide aperture, sparklers at arms' reach can add some beautiful bokeh interest to portraits – use selective focus to switch between focusing on the person and the sparkler with single-point af. You could also use long sparklers to write, draw and animate subjects during a long exposure – perhaps add a pop of rear-curtain lash to illuminate your subject. see page 40 for more on using sparklers. Lightning: one of mother nature’s visual spectaculars is a lightning show, so it’s no surprise we want to capture it on camera. storms happen all year round, so don’t pack away your wide-angle lens just because it’s cold outside. When you know a storm is approaching, look for a clean view of the action with minimal distractions. You’ll never have quick enough reaction times, so you'll need to use shutter-priority or bulb mode and to keep your shutter open for short, successive exposures until you capture a lightning strike. to improve chances, invest in a lightning trigger that auto ires when the lightning strikes.

federico bottos/unsplash

80 Digital SLR Photography December 2017

Lightpainting: painting with light is the process of manually adding a continuous light source to illuminate speciic elements in a scene. this light source could be as simple as an led torch or striplight, sparklers or wire wool. before you head outside, try the technique in a dark room by drawing around an indoor still-life using a torch – musical instruments, lowers, bottles, anything goes. set the shutter to bulb, dial in a mid-aperture with low iso rating and point the torch at the key areas you want to light. the same principle works outdoors, too, but you may want to use a larger light source depending on the scale of the subject. for instance, you can illuminate entire buildings and landscapes using a one to two-million candle-power torch or a couple of powerful lashguns over a few minutes. You could also try spinning a torch on a string to create spheres, wave sparklers or turn wire wool to create some spectacular scenes. extend your exposure to include multiple designs in a frame and unleash your imagination, but make sure to stay safe and keep your feet moving so as not to include yourself in the frame!


Flash gels: pop some colour into your scene by attaching coloured lash gels to your lashgun. if you don’t have any dedicated coloured gels, try attaching some transparent sweet wrappers with an elastic band to the head of your lashgun. add a gel to an of-camera lash for portraits or illuminate a car or building by iring lash of diferent colours in diferent spaces for creative efect. You could do this by synchronising multiple lash units to ire at the same time, or enlist some help in iring the lashes manually. to get the correct exposure, you may be able to rely on your camera’s ttl metering but if you don’t have access to that facility with of-camera lash, or you’re using one lashgun and manually iring it around the scene, calculate the subject-to-lash distance for the correct exposure. You do this by dividing the lashgun’s Guide number by the aperture. For examples, a Gn of 36 with a shot at f/11, the lash needs to be approximately 3.25m away from the subject. however, as a lash gel absorbs a little light you may need to reduce this proximity and use a test shot to evaluate the best exposure.

phil daint/ShutterStock

December 2017 Digital SLR Photography 81


SEARCH ENGINE OPTIMISATION Running a successful photography business WITH OVER ONE-BILLION WEBSITES ON THE WORLDWIDE WEB TODAY, UNDERSTANDING HOWTO GET RANKED WITH EFFECTIVE SEARCH ENGINE OPTIMISATION (SEO) IS MORE CRUCIALTHAN EVER


he Photo Business Guide

KaTe Hopewell-smiTH KateHopewell-Smithhasa backgroundinTVmarketing, fine-artpublishingandbrand consultancy.Shehasrunher successfulphotography businessspecialisingin portraits,weddingsandboudoirsince2010 (www.katehopewellsmith.com)and representedtheNikonbrandasoneofitsUK Ambassadors.Sheisalsoadirectorofboththe photographyschoolTrainingbyLumiere(www. trainingbylumiere.co.uk)andluxurydestination brand,byLumiere(www.bylumiere.co.uk).

W

ith the photography industry growing fast, and competition for business high, none of us can aford not to do the necessary work to ensure that search engines rank us as highly as possible within our speciality. So how do search engines actually optimise websites? With google using up to 200 ranking factors how can we make sure that we are focusing on the most important ones for photographers? Sadly Seo tends to be quite technical and needs a methodical approach – this is not the most exciting photography skill you will learn this year, but it is certainly a critical business one. the essential starting point for all Seo is keyword research – doing the work to ind out the actual search terms that potential clients enter into search engines when looking for photography services. although this sounds obvious it does involve thinking like a consumer and not a photographer! it might help to look at your existing organic traic to identify the keywords people are using to arrive at your site already. you will need to establish the key generic areas that you would most like to promote, such as 'weddings’, and then try to create a list of keywords or phrases that your target audience might type. For example ‘natural wedding photographer oxford’. google can

84 Digital SLR Photography December 2017

help with this because at the bottom of the results page they always ofer some alternative search terms that people use – when i searched this phrase they ofered up ‘cheap wedding photographers oxford’ as another possibility (there is a whole other topic that i shall cover next month: pricing…). ideally you need to create a list of ‘head terms’, which are one to three words and are often highly competitive, and ‘long tail keywords’, which contain more than three words and often deliver more targeted traic that is speciic to what you ofer. Next it helps to try and ind out which keywords your competitors are successfully ranking for and also which they aren’t putting efort into. how do you do this? get yourself on to www.semrush.com and be amazed at the information that you can ind out about your domain, a competitor domain or any keyword they have in their database. Next get familiar with google adwords Keywords planner and research your list to ind out what search volume and traic estimates you can expect. there are other Diy options or you can do what i do and pay someone to do this bit for you. i use FiVerr (www.iverr.co.uk) to ind keyword researchers for a very small investment. Now you have your keywords, you need to make sure that you actually add them to

Above&below:Allformsofphotography,fromweddings tolifestyletoboudoirarehighlycompetitive,soaddaedge toyourbusinessbyensuringgoodSEOforyourwebsite.

your website/blog – this is where the term ‘optimise’ comes in. on-page Seo is the work you do to make sure your website communicates efectively with search engines (who you are, what you do) and refers to both the content itself, as well as the htML source code. your eforts will be rewarded with improved organic traic. if you already have a website you really need to do an Seo audit – there are plenty of useful resources online to help you with this or you can pay a professional to do it for you. your goal is to place your keywords in the most optimal content areas of your website – the most important of which are: TiTles: title tags are displayed on search engine results pages (Serps) as the clickable headline for a given result, and are important for usability, Seo, and social sharing. Keep them below 65 characters and put your keyword upfront. DescripTions: also known as meta descriptions, these also show in search results but are less useful for rankings than letting people know what to expect if they click on the link. HeaDings & conTenT: these are used for ranking and are also important for potential customers who often scan content for its relevance – again use keywords but don’t overdo it because you could get penalised. Urls: Make your page UrLs user-friendly and include keywords. For example www.katehopewellsmith.com/boudoir imagesTiTles &alTTexT: this is obviously an important one for photographers! image Seo begins with the right ile name – it needs to tell google what is in the image. this might sound obvious but i've had to get many of the businesses i have mentored to completely rename their gallery images from their camera default, eg DSC2039.Jpg. the ile name needs to be descriptive and keyword led – google doesn’t share the ile name on search results so don’t be concerned if they're very long. For example oxford-wedding-photographer-bodleiandivinity-wedding-kate-hopewell-smith.jpg. image loading speeds are important in Seo ranking so be sure to upload images at a reasonable size, because even if your blog creates another (smaller) version the original


RAWPIXEL.COM/SHUTTERSTOCK

The essential starting point for all SEO is keyword research – doing the work to find out the actual search terms that potential clients enter into search engines image does still have to load, and this slows things down. Google has reported that a 0.5 second delay leads to a 20% drop in traic… Considering our content is bound to be image-heavy, should we always caption blog images? Not necessarily – think about the end user and whether it would actually be beneficial to them and don’t be repetitive just because you think you are ticking SEO boxes. Alt text or alt tags however are important because in the event of images not displaying properly it will ensure that no information is lost. Make sure that the alt text includes the keyword for that page or article and does actually describe the image or perhaps why or how you took it to add value? Now you understand the key factors, it is time to introduce Yoast – they exist to optimise websites and have created a very useful plug-in for Wordpress to make it easier for us to improve our websites for our visitors.

Yoast have the opinion that photographers seem to hate SEO because it involves the kind of work that they don’t enjoy. In a warning to us they state that “It all comes down to this: if you want your photos to tell a story, please tell that story to Google in writing”. You also need to make sure that you have some ‘of page SEO’, which is basically what others think about your website by mentioning or linking to your content or brand. The more valuable links that point to your content the more valuable search engines believe your website or blog to be. I have barely scratched the surface, but I hope that you have a sense of why SEO matters and how to go about researching keywords and optimising your content. Finally you then decide if you want to invest in some Google keyword advertising. Next month, we'll deal with another (un)popular topic: how to price your photography.

TRAINING BYLUMIERE

KateHopewell-SmithandBrentKirkman launchedTrainingbyLumiere(www. trainingbylumiere.co.uk)toprovideareal, authenticandcurrentwaytolearntheskillsfor becomingasuccessful,profitableprofessional photographer.TheBuckinghamshire-based schoolprovidesrelevant,intimateand supportivementoringandtraining.Theyoffer asix-monthpart-timeFoundationProgramme, plusarangeofworkshopstofillknowledge gapsthroughouttheyear.Thementoringhelps existingphotographersturntheirbusinesses aroundormoveuptothenextlevel.

December 2017 Digital SLR Photography 85


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Gear PHOTO KITTESTED & RATED BYEXPERTS

CANONEOS 200D

IFYOU'RELOOKINGFORAUSER-FRIENDLYENTRYINTOTHEWORLDOFDIGITALSLRS THENLOOKNOFURTHER–ONPAPER,ATLEAST,THECANONEOS200DISTHEANSWER

Plus GEARNE S: Thelatestproductreleasesandannouncementsfromthephotoworld Page 1 U ERS GUIDE: Lookingfora udgetDSLRorCSC Wereview&rateninepopularmodels Page CHRISTMASGIFTGUIDE: Ourpickofover50greatphotoideasforChristmas Page105 MINITEST DanielLezanoenjoysasix-monthrelationshipwithLastolite MINITEST: DanielLezanoenjo sasix-monthrelationshipwithLastolit ’sTriGripdi sTriGripdiffflector flect Page115


THE COLLECTION THAT KNOWS ITS WAY AROUND THE WORLD

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Product news \

Gear G Gea Ge ear

CANON’S ULTIMATE POWERSHOT CANON HAS ANNOUNCED the G1 X Mark III, the newest flagship in its PowerShot premium compact range. It promises to deliver DSLR image quality with the handling, compact size and lightweight (399g) of a PowerShot, a combination that will cost you £1,149 if you're tempted to buy one. So what do you get for your money? Firstly, despite its small size, it houses a 24.2-million-pixel APS-C sensor similar to the one used in the EOS 80D, is powered by the DIGIC 7 processor, has an ISO range of 100-25600 and captures Full HD video. The weatherproof G1 X Mark III features a 3x 24-72mm f/2.8-5.6 zoom lens boasting nine elements in eight groups and focuses as close as 10cm. The 49-point AF system is aided by the Dual Pixel CMOS AF system that is employed in several EOS models, while the body-integral five-axis image stabilisation promises a four-stop benefit. A central electronic viewfinder has a high-resolution 2.36-million-dot Organic EL display, while the vari-angle 3in LCD monitor boasts a touchscreen facility. Other features include Wi-Fi and Bluetooth, time-lapse and panoramic modes and an integral flash. www.canon.co.uk

LEEREVERSENDS

INBRIEF...

WHEN SHOOTING SUNRISES and sunsets, using standard ND grads can lead to the top part of the frame appearing darker than is natural. The Reverse ND from Lee Filters looks to solve the problem by having the most density in the centre of the filter, rather than at the top. This allows users to precisely control exposure as the sun is low in the sky, ensuring it is balanced with the remainder of the frame. It is particularly suited to coastal scenes but can be used for any scene in which the sun is on the horizon and threatens to afect exposure. It is available in 0.6, 0.9 and 1.2ND densities and costs £98 (Seven5), £137 (100mm) and £150 (SW150). www.leefilters.com

TRAVELWITHMANFROTTO MANFROTTO HAS ANNOUNCED the Elements range of carbon-fibre travel tripods, aimed at photographers looking for a reliable, sturdy and easy-to-use tripod. There are initially two in the series, both featuring a compact design, three leg-angle positions and twist-locks for fast leg extensions. Both also feature an aluminium ball head designed for fast movement and Arca-type quick-release plate. The (£200) Element Traveller Carbon Big tripod has a detachable leg that, when removed and attached to the centre column, becomes a full-size monopod. The (£175) Element Small has a 4kg payload while the Carbon Big takes 8kg and comes with an additional set of spiked feet. www.manfrotto.co.uk

100THANNIVERSARYGITZOGOODIES TO COMMEMORATE ITS 100th anniversary, Gitzo has launched its Century bag collection. Made from cow leather that is crafted to resemble carbon-fibre, and water-repellent nylon, the collection of bags have a premium appeal. The range is made up of the (£250) Gitzo Century Traveler backpack, (£180) Gitzo Century Traveler Messenger and (£150) Gitzo Century Traveler Messenger. Also announced is the (£400) GHFG1 Fluid Gimbal Head, designed for wildlife photography and bird-watching. It uses fluid cartridge technology taken from its video range of products to absorb vibrations and ensure smooth movement and perfect balance, even with heavy equipment. Further centenary products are planned for later in the year. www.manfrotto.co.uk/gitzo

SAMYANGAF35MM F/1.4 Samyang has announced its fourth autofocus lens, the (£599)AF 35mm f/1.4 FE. Designed forSony E-mount mirrorless cameras, including full-frame models, it boasts 11 elements in nine groups and features a numberofpremium optics. www.intro2020.co.uk

PORTRAITPRO 17 The latestversion ofthis popular portrait software adds a number offeatures including advanced presets,vignette, background editing and skin retouching options.All for£30.To save 10%, enterthe code DSLR1217 at: www.portraitpro.com

LIGHTFROMAPIPE NewfromBroncoloristheLitepipeP light-shaper:atube-shapeddifuser kitthatincludescounter-reflectors tohelpmanipulatethelight.It costs£940andisdesignedforuse withPulsoG,Unilite,Litosand MobiLEDlights,aswellastheSiros. www.manfrotto.co.uk/broncolor

LIMITED EDITIONTENBAS To celebrate it’s 40th anniversary, Tenba has released Special Edition versions oftwo ofits best-selling messengerbags.The (£80) DNA8 and (£120) DNA15 Slim, ofering improved styling and the use of TPU-coated fabric throughout its design forenhanced protection. www.tenba.com/uk/

BILLINGHAM 72 At150x130x190mm,the(£100) Billingham72isdesignedforsmall mirrorlessmodelsliketheFujiX-T2 orOlympusOM-Dseries.It's madefromeitherweather-resistant BillinghamcanvasorFibreNyte,and hasafive-yearwarranty. www.billingham.co.uk

December 2017 Digital SLR Photography 91


Gear/ Entry-leveldigitalSLR

CANONEOS200D Canon'slatestentry-levelDSLR isoneofthesmallestandlightest modelsonthemarketandaimsto betheperfectchoiceforbeginners Test: DANIEL LEZANO

SPECIFICATIONS GuidePrice:£560(18-55mmISSTM)/£510(body-only) Imagesensor:APS-CCMOS(22.3x14.9mm) Imageprocessor:DIGIC7 Resolution:24.2-megapixels Maximumimageresolution:6000x4000pixels AFsystem:DualPixelCMOSAFsystem.49AFpoints Meteringpatterns:Evaluative(63zones), partial(6%),spot(2.6%)&centre-weightedaverage ISOrange:ISO100-25600plusAuto. Expandableto51200 Shutterspeeds:1/4000sec-30seconds&Bulb. LCD:3in1,040,000-dotvari-angletouchscreen Framerate:Fiveframes-per-second Storage:SD(SDHC/XC) Size(WHD):122.4x92.6x69.8mm Weight:453gincludingbattery&card Website:www.canon.co.uk

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ITH CHRISTMAS APPROACHING, camera stores will be preparing for the busiest time of the year, with thousands of digital SLRs and mirrorless models set to be purchased. In particular, those towards the budget end of the price range will be the most popular, with many bought as gifts for first-time users who have previously only taken pictures on compact cameras or smartphones. The EOS 200D is Canon's latest entry-level DSLR and updates the popular EOS 100D, which has been around for four years, making it a veritable veteran in today's arena. The EOS 100D's small size and light weight were two of the key factors in its success and so it's no surprise that the latest model is equally diminutive – in fact at launch the EOS 200D is one of the world's smallest and lightest DSLRs with a vari-angle screen. It sits in the range above the (£300) EOS 1300D and (£450) EOS 700D and below the (£570) EOS 750D and (£800) EOS 800D. As you'll discover from the first time you raise the camera and switch it on, this model is targeted at complete beginners. The neat arrangement of clearly-labelled controls and the LCD monitor's interface are designed to help users get to grips with how settings such as apertures afect depth-offield or how shutter speeds afect motion. The small size of the Canon doesn't detract from its handling – it feels well made and the pronounced handgrip provides a secure hold, with single-handed operation

92 Digital slr Photography December 2017

Above&below:Ifyou'reabeginnerlooking foracompactandlightweightDSLRwitha vari-angleLCDmonitor,theCanonEOS200D couldbetheidealcameraforyou.

a breeze thanks to its light weight. While its body lacks more robust materials like magnesium alloy, used in more expensive models, its polycarbonate body feels solid, well put together and not at all cheap. The EOS 200D's control layout looks very similar to most entry-level models from Canon, including its predecessor, but there have been a few changes to the odd control or two to freshen it up. One change is that the on/of/video switch now sits towards the rear of the top-plate, close to the thumb rest, rather than its usual position alongside the exposure mode dial. The biggest change is that the LCD monitor has been upgraded and now sits on a vari-angle platform, for use at awkward angles. Also, a touchscreen facility has been added, which really speeds up access to key functions and will prove very attractive to those who have upgraded from using a smartphone.

One area that hasn't seen any noticeable upgrade is the viewfinder, which is pretty much every other DSLR in this price range. It provides a sharp and clear image, but is quite small compared to the type found on more expensive models and the magnification of only 0.54x is rather low compared to rivals. The specification shows several enhancements over its predecessor, the main one being the image sensor. Its 24.2-million pixel APS-C CMOS sensor is identical to the one used in the EOS 800D and a big step up in resolution to the 18-megapixel CMOS used in the EOS 100D. Its sensitivity range of ISO 100-25600 is more than wide enough for users this camera is aimed at, with a Hi setting of ISO 51200 thrown in for good measure. The image processor is the powerful DIGIC 7, which allows images to be captured at up to five frames-per-second and video recording at up to Full HD quality. As you'd expect, along with the usual semi-auto and fully manual exposure modes, there are plenty of fully-automatic scene modes available for fuss-free photography. With the exposure mode dial set to SCN, the LCD monitor's screen provides clear details on how each mode


AGUIDE FOR BEGINNERS Having an illustrative guide availablevia the camera's LCD isn't a newfeature on cameras, but the Canon EOS 200D boasts one of the best. Guides coverthe shooting screen, menu displayand modes and features, providing a briefyet informative guide to settings and theirefect on the image. Forexample,when you select shutter-priority, an infogram shows a sprintersharp and blurred,with a scale between,while in aperture-prioritythe display helpswith understanding depth-of-field. More experienced users can switch of one orall of the guides if theyprefera traditional display.

CLOSEST RIVALS • NIKOND3400:Releasedlatelastyear,this entry-levelmodelstillholdsupwellagainst newermodels.Compactandlightweight,it ofersa24.2-megapixelresolution,LCDguide forbeginnersandgreatoverallperformance. Testdate:December2016.Testscore:91%. • CANONEOSM6:This24.2-megapixel mirrorlessmodelofersaveryneatpackage, withaspecificationsimilartotheEOS77D. Adropinpricemakesitmuchbettervalue. Testdate:October2017.Testscore:86%. • PENTAXK-70:Atoughall-weatherDSLR sporting24-megapixelsandastrongrangeof features.At£600(body-only),it'sagreatbudget optionforoutdoorphotographers. • PANASONICLUMIXG80:Acompact, weather-sealedmirrorlessmodelwithavery strongrangeoffeatures.However,itsresolution of16-megapixelsfallsshortofrivals. • Turntopage96forabuyer'sguidetoDSLRs andmirrorlesscamerasunder£1,000. Exposure:1/400secatf/2.2(ISO200)

works (see panel, opposite), helping complete novices take better pictures. On the dial alongside it is the setting for Creative Filters, which allows efects such as black & white, Toy Camera and HDR. The EOS 200D uses the Dual Pixel CMOS AF system that proves so capable on other EOS models. When used in LiveView, 49 AF points are active and provide a fast and responsive AF performance with good coverage across the frame. However, when taken pictures when using the viewfinder, the AF system uses just nine AF points in a central diamond formation. This is quite basic in terms of today's technology, was surprisingly slower than LiveView and wasn't especially good at tracking moving subjects. There are no such complaints with the metering system, however, which ofers a comprehensive range of options, with 63-zone Evaluative, spot, partial and

centre-weighted average available. Despite having fewer zones than many rival systems, the evaluative pattern proved accurate and consistent in most situations and can be trusted upon to deliver excellent exposures. Along with Wi-Fi, NFC and Bluetooth is available, with the latter used to connect with Canon's Camera Connect app on a smart device for image transfer and remote control. Important in this day and age. There aren't too many other features of note on the EOS 200D, bar the integral flashgun, a multiple exposure facility and sockets for a remote release and a microphone, but beginners will feel they've been well catered for here. Crucially, image quality from the EOS 200D stands up well compared to rivals – colour reproduction and sharpness is very good, while noise won't be a problem unless you shoot at ISO 3200 or higher.

VERDICT The Canon EOS 200D is set to be a bestseller, not because it boasts any special features of note, but because it ofers a wellrounded and capable camera for beginners. Ease of use in particular is a highlight, with the informative guides sure to prove useful. There's little to complain about, with the exception of the nine-point AF system, which lags behind most rivals, although it will prove good enough for general use. Handling

17/20

Ease of use

18/20

Features

16/20

Performance

17/20

Value

17/20

Overall

85/100

December 2017 Digital SLR Photography 93


“One doesn’t just shop at Grays of Westminster, you’re made welcome and served by people who know and care equally for the Nikon product and their valued customers. And whether you’re buying a filter or the latest camera body, the help and courtesy will be at the same high and all too rare level.” – John Krish 40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm

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Gear/ Buyers’Guide:Budget cameras

buDget camera outfItS unDer£1,000 Ifyou'replannIngonbuyIngaDIgItalSlrormIrrorleSScamerathIS chrIStmaS,you'reSpoIltforchoIce.InthefIrStpartofourbuyers'guide, werevIewnInepopularmoDelSavaIlableInkItformforunDer£1,000

P

op along to your local camera store or online and you'll ind that no matter your budget, you've no shortage of options in terms of digital SlRs and mirrorless models. Whether your preference is for a small, lightweight outit or for one packed with features, all the key brands will have one or more models that meet your needs. Having such a wide choice is great news in one respect, but also means that determining which is the best model for you is made all the more diicult, which is where our Buyers' Guide can help you decide. While we're in no doubt that you could pick any of these models and be happy with the images that they produce, the fact is that there will be some that suit your needs more than others and therefore represent better value for your type of photography. our guide will help you shortlist which models are most likely to fulil your needs. We'd then suggest you visit your local store, handle the cameras and ask any questions that spring to mind. an informed purchase will always ensure you get the very best camera outit for your money.

Buying advice:TopTips for choosingyour BudgeTcameraouTfiT… Cameras in this price bracket are normally sold in kit form with a standard zoom, although some of the more expensive models will also be available body-only. If it's your irst camera, having a standard zoom is useful, but if you're upgrading from another model it's worth trying to ind it body-only to save a little money. a few models may be available in a twin-lens bundle, including a budget telezoom too. Digital SLR or mirrorless?: this remains a popular question and your decision on which format you choose is important. If your primary concern is size and weight, then CSCs (Compact System Cameras) do have an advantage. If image quality is the

96 Digital slr Photography December 2017

most important factor, then models with larger sensors are a better option, with full-frame DSlRs (reviewed next issue) having the edge. If you're looking for a good general-purpose model, then both ofer plenty of choice, with apS-C sensors being the most popular size in both camera types.

Don't make resolution the key factor: Every camera in our review produces high-quality images capable of printing to large sizes. therefore, pay less attention to the pixel count and more on sensor size, the range of features on ofer and general handling and performance.

Try before you buy: our reviews give you an insight into the camera's main features and performance, but nothing beats trying out the camera to help you decide which you like the feel of. So once you have made a shortlist, head to your favourite camera store and give them a try. Check you're happy with how the controls are laid out and their general handling.

Check for ofers: It's not worth pushing for discounts, as the margins retailers work to are very small. Instead, check to see if any models have promotions, such as cashback, which allow you to claim back signiicant amounts from the purchase price. at the time we put together, we noted excellent cashback ofers running until January from Canon, nikon, Fujiilm and Sony.


Buyers’Guide:Budgetcameras \

Gear

CanonEOS1300D Streetprice:£359(with18-55mmISII) Imagesensor:APS-CCMOS(22.3x14.9mm) Imageresolution:18-megapixels Size:129x101.3x77.6mm Website:www.canon.co.uk

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HE CHEAPEST ENTRY-LEVEL model from Canon is a modest upgrade of the EOS 1200D. Aimed at beginners, it ofers a solid range of features for those new to the world of DSLR photography. Its 18-million pixel sensor is the same as that used in its older sibling, which isn't a bad thing since it has proven more than capable of producing excellent images. The metering system remains the same, ofering 63-zone Evaluative, Partial and centre-weighted, as is the nine-point AF system (with central cross-type sensor). While the upgrades are few, there are a couple of useful improvements. At the top of the list is the inclusion of Wi-Fi and NFC, which improves the options for users wishing to share and transfer their images quickly. The image processor has been upgraded from the DIGIC 4 to the DIGIC 4+, improving speed and image quality. And the 3in LCD monitor has seen an increase in resolution from 460,000-dots to 920,000-dots, improving the sharpness

of images being reviewed and scenes previewed using LiveView, as well as how the menu system is rendered. They may not be headline additions but they're welcome improvements. Canon has refined the shape of the camera body and control layout over the years so there is little to criticise the EOS 1300D for in terms of handling. It's well put together, balanced and is very easy to use. The range of features is as you'd expect to find on a starter model – there is everything the novice needs to shoot good quality images of everyday situations with ease, plus some creative filter efects and Full HD video capture too. The EOS 1300D is what you'd expect from Canon's most basic DSLR in the range – a safe bet for the beginner.

VERDICT The Canon EOS 1300D is a no-frills model that builds on the winning formula of the EOS 1200D by adding a few upgrades. Price is its biggest advantage – there are few interchangeable-lens cameras at a similar price point, so for those on a tight budget, it's an obvious choice. It's ideal if you're new to taking pictures and want a simple but capable first camera.

Handling/Ease of use Features Performance Value for money

Overall

NikonD3400 Streetprice:£429(withAF-P18-55mmDX) Imagesensor:APS-CCMOS(23.5x15.7mm) Imageresolution:24.2-megapixels Size:124x98x75.5mm Website:www.nikon.co.uk

N

IKON HAS DESIGNED the D3400 primarily for users who, up to now, have only taken photos on their smartphones or on a compact camera, with an emphasis to appeal to the social media generation. It's a very approachable model, with just the one main dial to select the two semi-automatic modes (aperturepriority and shutter-priority) as well as manual, program, Full Auto and six scene modes. It also sports a Guide facility, which uses images and illustrations on the 3in LCD screen to aid with usage, but there is no touchscreen or vari-angle function. The D3400 is small, and only weighs around 450g. In fact, without a lens attached it’s barely bigger than your average CSC, while the bundled AF-P 18-55mm zoom has a retractable barrel. The DX sensor ofers an impressive 24.2-megapixels, while the AF system uses Nikon’s Multi-CAM 1000 AF sensor, with 11 AF points including one cross-type. Image processing is handled by Nikon’s EXPEED 4

processor, with a top firing rate of 5fps and Full HD video. There’s also an Efects mode, which does the usual toy camera, miniature and colour popping efects for when you fancy getting creative in-camera. With the camera aimed at the smartphone generation, it's no surprise to find it also features Bluetooth, allowing it to wirelessly transfer images via Nikon's excellent and speedy SnapBridge app. Image quality, as you’d expect, is very good – focusing is quick and accurate, colours are punchy and well rendered and contrast is pleasing. The metering and White Balance systems are consistent and accurate, even at high ISOs. Users will be very happy with image quality, but its main selling points are its intuitiveness, size, ergonomics and good range of features.

VERDICT If you find the idea of moving up to a digital SLR daunting, then the Nikon D3400 could well be the model for you. It really couldn’t be easier to get to grips with as the Guide facility ofers a very useful aid. After you’ve mastered the basics, it also ofers all the features you’d want to keep you shooting for years to come, with image quality that is guaranteed to satisfy.

Handling/Ease of use Features Performance Value for money

Overall December 2017 Digital SLR Photography 97


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Buyers’Guide:Budgetcameras\

Gear

NikonD5300 Streetprice:£529(withAF-P18-55mmDXVR) Imagesensor:APS-CCMOS(22.2x14.7mm) Imageresolution:24.2-megapixels Size:125x98x76mm Website:www.nikon.co.uk

D

ESPITE THE D5300 being one of the oldest models in this review, first appearing in 2013, its great all-round benefits means it's still readily available and at a much lower price than when originally released. It's a very well made model: solid without being bulky and balancing nicely thanks to its large handgrip. The way the buttons are laid out will feel very familiar for anyone used to handling Nikon DSLRs, appearing very similar to the D5200 and proving quick and intuitive to use. The exposure mode dial is located on the top to the right of the viewfinder and is able to rotate around 360° to allow quick access to all the modes, while around its edge you’ll also find the LiveView lever, which activates LiveView shooting for capturing stills or recording Full 1080p HD video. The majority of the camera settings are altered on-screen by simply hitting the ‘i’ button seated to the left of the command dial, and using the D-pad to navigate the various parameters.

The 3.2in LCD monitor screen boasts a bright and clear image with impressive clarity and vivid colour, and sits on a vari-angle platform allowing for easier shooting at awkward angles. The 24.2-megapixel sensor has the advantage of no optical low-pass filter, HD video functions have been broadened and the EXPEED 4 processor upgrades speed and image quality (the ISO range can be expanded to 25600), compared to the D5200. The D5300 was also the first Nikon DSLR to include built-in Wi-Fi as standard. Download Nikon's Wireless Utility app and control the camera from your smartphone. The 39-point AF system works quickly and the metering system is reliable. The Auto White Balance does a decent job of keeping skin tones looking natural, too.

VERDICT Despite its age, the D5300 still represents a decent option, thanks in no small part to its lower price. It's well-built, intuitive and with a range of creative features to keep both amateurs and enthusiasts happy. Image quality is excellent, providing plenty of sharp detail and bold colours. A large number of AF points and built-in Wi-Fi could be enough for some to opt for it.

Handling/Ease of use Features Performance Value for money

Overall

PanasonicLumixGX80 Streetprice:£530(withGVARIO12-32mm) Imagesensor:Four-ThirdsLiveMOS(17.3x13mm) Imageresolution:16-megapixels Size:122x70.6x43.9mm Website:www.panasonic.co.uk

T

HE POPULARITY OF the Lumix series of mirrorless cameras has helped Panasonic carve out a good chunk of the CSC market since 2013. The GX80 was released in 2016 and, still ofers a strong range of features compared to newer models. The modern-retro rangefinderstyle design is appealing and its small size means it can be slipped into a pocket as a 'take-everywhere' camera, giving it an edge over competitors. The camera's size means that the buttons are also on the small side, but they're neatly arranged and clearly marked. However, the sheer number of buttons means ease of use could be better. The GX80 is jam-packed with cuttingedge technology for stills and video shooting. Aside from the expected set of exposure modes and metering patterns, it comes with stacks of overrides. The AF system ofers a sophisticated range of options – as well as multi- and single-point selection, you can choose custom AF points or face detection too, or even try

post-focus, a mode that takes a number of frames at diferent points of focus, allowing you to choose the one that best suits your needs. Alongside the exposure system, the autofocus proves to be reliable and accurate. There's little to criticise. The overall image quality captured using the 12-32mm zoom is excellent – with good sharpness and contrast throughout the focal range. Noise is well controlled too, and images up to ISO 1600 are more than good enough for large prints, with higher ISO speeds delivering shots that are more than suitable for web use or smaller prints. We were also impressed by how well the body-integral stabilisation performed. Other features of note include a tilting 3in LCD monitor, Wi-Fi, integral flash, Raw, panoramic mode and a time-lapse facility.

VERDICT The Lumix GX80 is a very impressive Compact System Camera at an attractive price. If you're looking for features, it ofers great value for money. Image and video quality is very high too. Unfortunately, the overly-complicated nature of the LCD icons and function buttons really dampen the enthusiasm of using the camera. Still, well worth consideration.

Handling/Ease of use Features Performance Value for money

Overall

December 2017 Digital SLR Photography 99


Buyers’Guide:Budgetcameras\

Gear

CanonEOSM6 Streetprice:£699(with15-45mm) Imagesensor:APS-CCMOS(22.3x14.9mm) Imageresolution:24.2-megapixels Size:112x68x44.5mm Website:www.canon.co.uk

C

ANON MAY DOMINATE the digital SLR market, but it's not had as much success with its EOS M-series as it would have hoped for. The EOS M6 was launched earlier this year and is aimed at advanced amateurs/enthusiasts looking for a small but well-specified camera. In terms of general specification, it's most similar to the EOS 77D. Unlike many of its retro-styled rivals, the EOS M6 has a smooth, sculpted modern design. It's smaller and slimmer than a DSLR and cleaner too, thanks to fewer buttons and the lack of an optical finder. Clearly marked controls, excellent menu system and touchscreen ensure it's very easy to use. The screen of the 3in LCD monitor is excellent and sits on a tilting platform. While small cameras often feel a little insubstantial to hold, the EOS M6 has a solid build and well-sized handgrip. The EOS M6 features a 24.2-megapixel APS-C sensor, which houses a Dual Pixel CMOS AF system for improved autofocus.

This works with the DIGIC 7 processor to allow smooth and accurate phasedetection AF using LiveView or when shooting video. With this type of camera becoming more popular with vloggers, this feature is an important one. It lacks 4K, with Full HD being the best video resolution. Five-axis digital image stabilisation is available when shooting video. The AF system boasts 49 points with various options and modes and generally proves responsive and accurate. Metering options are excellent and we found the Evaluative pattern to be very consistent. A full range of exposure modes is available to suit photographers of all levels. Other major features include Wi-Fi, NFC and Bluetooth for wireless control and image transfer and a top shooting rate of 7fps.

VERDICT The EOS M6 proves to be an impressive mirrorless model. In terms of size, general handling, range of features and image quality, it scores well. However, the lack of finder and 4K video, as well as limited EF-M lenses, may put of some prospective purchasers. Our biggest criticism when reviewed was its high price, but it's now more afordable, making it far better value.

Handling/Ease of use Features Performance Value for money

Overall

NikonD5600 Streetprice:£729(withAF-P18-55mmDXVR) Imagesensor:APS-CCMOS(23.5x15.6mm) Imageresolution:24.2-megapixels Size:124x97x70mm Website:www.nikon.co.uk

T

HE NIKON D5000-series has been around since 2009, giving novices a more robust and better-specified option to the budget D3000-series. The last model in the series was the D5500, released in 2015 and scoring a 90% Best Buy award in our May 2015 issue. There isn't a huge diference between the handling, features and performance of the D5600 compared to its predecessor, which isn't a negative considering how good the older model is. The biggest change is the addition of SnapBridge connectivity, allowing the camera to stay connected to your smartphone/tablet via the Nikon SnapBridge app. It's a compact unit and at just 465 grams (with battery and card) it is extremely lightweight, yet still feels well put together. There aren't too many buttons to get used to and everything is clearly marked, so if you're looking for a user-friendly model, this one fits the brief nicely. The D5600 sports an excellent 3.2in LCD monitor,

which has a quality 1,037,000-dot touchscreen and sits on a swivel hinge. The viewfinder, while clear, is quite small. The D5600 has the same 24.2-million pixel CMOS sensor (without low-pass filter) as its predecessor and uses the same EXPEED 4 image processor, which ofers a sensitivity range of ISO 100-25600 and a shooting rate up to 5fps. The maximum resolution for video is Full HD (1080p). The AF system features 39 AF points, of which nine are cross-type sensors, and proves fast and responsive. Also impressive is the metering system, with the Matrix pattern being consistent and reliable. While very little has changed between this and the previous model, the D5600 has enough about it to remain one of the very best entry-level models you can buy.

VERDICT If you're a beginner looking for a wellrounded, easy-to-use and compact camera, the Nikon D5600 is a great option. This is especially true if the SnapBridge connectivity is particularly appealing. It's not perfect – the small viewfinder and lack of 4K video being the main negatives – but in every other respect it does a great job. A slight drop in price would be welcome too.

Handling/Ease of use Features Performance Value for money

Overall

December 2017 Digital SLR Photography 101


Gear/ Buyers’Guide:Budget cameras PanasonicLumixG80 Streetprice:£799(withGVARIO12-60mm) Imagesensor:MicroFour-ThirdsCMOS(17.3x13mm) Imageresolution:16-megapixels Size:128.4x89x74.3mm Website:www.panasonic.co.uk

P

ANASONIC’S LUMIX range ofers a strong choice of mirrorless cameras and this mid-range model has plenty to ofer at a reasonable price. The body's construction includes magnesium alloy, giving it a reassuringly solid feel and being weather-sealed means it can be used outdoors in less than ideal weather. It's a compact unit but the large, pronounced handgrip ensures it's easy to hold. The Lumix may initially take a bit of time to get used to, due to the high number of buttons and less than conventional placing of some of the controls. All the buttons are well-labelled and once you find your way around the layout, you'll note features like the two input dials and extra customisation help speed up operation. The electronic viewfinder is excellent, with a bright and sharp 2.36-million-dot OLED display. It's supported by an excellent 3in LCD monitor, which has a 1.04-million-dot touchscreen and an excellent vari-angle platform. At the heart of the Lumix G80 is a

16-megapixel Micro Four-Thirds Live MOS sensor (without a low-pass filter) that can shoot 4K video, as well as a 4K photo mode to capture a short clip and extract eightmegapixel still images from the recording. The G80 has a body-integral five-axis stabilisation and features 49-point AF with a wide array of modes. Exposure modes cover manual, semi-auto and scene modes while spot and centre-weighted supporting the reliable 1,728-zone multi-pattern. Other features include an extensive number of digital filters, integral flash and Wi-Fi for use with Panasonic's Image App. General operation is fast and smooth, while AF is fast, silent and accurate. Image quality is high with the removal of the low-pass filter extracting extra detail from the sensor. Noise isn't an issue below ISO 1600.

VERDICT Apart from its drab appearance and initially tricky getting-to-know-you period, we've nothing but praise for the Panasonic Lumix G80. From handling through to features and performance , it's a strong proposition. It exists in a sector of the market that has several strong models, but you should include it on your shortlist, as it's a camera that is unlikely to disappoint.

Handling/Ease of use Features Performance Value for money

Overall

FujifilmX-T20 Streetprice:£899(with16-50mmMarkII) Imagesensor:APS-CX-TransCMOSIII(23.6x15.6mm) Imageresolution:24.3-megapixels Size:118x82.8x41.4mm Website:www.fujiilm.co.uk

T

HE MID-RANGE X-T20 is based on the flagship X-T2, which scored an impressive 93% in our January 2017 issue. It boasts a retro SLR design and its small, tough body, which includes magnesium plates, feels solid. It balances nicely and is notably much lighter than your average DSLR. Large dials dominate the top-plate and add to its traditionalist looks, while the rear boasts a number of controls and a large LCD monitor. The electronic viewfinder is excellent, providing a sharp, good contrast image with minimal lag. There are no complaints with the 3in LCD monitor either, which provides a very clear, sharp display, decent menu system and responsive touchscreen facility, as well as sitting on a tilting platform. It shares many core facilities with the more expensive X-T2. This includes the 24.3-million pixel X-Trans CMOS III sensor and the X-Processor Pro imaging engine. The sensor's pixel array means it can avoid moiré without the need for an optical

102 Digital SLR Photography December 2017

low-pass filter, ofers a sensitivity range of ISO 200-12800 (expandable to 100-51200) and shoots video at resolutions up to 4K. The accuracy and speed of the 325-point AF system has been improved too. Other features include a built-in flash and external hotshoe, Wi-Fi, an integral interval timer for shooting time-lapses, a multiple exposure mode and a Panorama setting for 120° or 180° panoramics. Plus, there is an excellent choice of Film Simulation modes based on popular Fujifilm emulsions of the past. The X-T20 is a brilliant performer in every area, from its sublime handling through to its excellent AF and metering systems, which both work extremely well. Image quality is first-rate too, producing shots with very high sharpness, wonderful tonal reproduction and very low noise.

VERDICT Fujifilm has a massive (or should that be small?) winner on its hands with the diminutive X-T20. Everything about it is first-rate – from its cool retro looks and nice handling to its range of features and brilliant performance. Plus its price tag represents excellent value for money. It's a superb model that represents the finest mirrorless camera yet.

Handling/Ease of use Features Performance Value for money

Overall


Buyers’Guide:Budgetcameras \

Gear

CanonEOS77D Streetprice:£919(with18-55mmISSTM) Imagesensor:APS-CCMOS(22.3x14.9mm) Imageresolution:24.2-megapixels Size:131x99.9x76.2mm Website:www.canon.co.uk

T

HE CANON EOS 77D was launched earlier this year alongside the EOS 800D, a model that sports an almost identical specification, but has a simpler control layout to appeal more to novices. It looks and handles pretty much like every other upper entry-level EOS of the last few years and has a familiar control layout, suiting anyone upgrading from an older model. It's relatively compact and lightweight, with a good-sized handgrip. There are quite a number of buttons located around the EOS 77D's body, but the clear markings and neat arrangement ensure even newcomers can use this model with ease. A small LCD panel on the top-plate provides all the key exposure info, while the 3in LCD monitor on the rear is mounted on a hinged platform and boasts a 1,040,000-dot resolution touchscreen. Not so great is the viewfinder, which while having a sharp screen, is a little cramped. Where the EOS 77D scores highly is its set of features, many of which are borrowed

from its excellent mid-range cousin, the EOS 80D. It has the same 24.2-megapixel CMOS sensor, while processing is handled by Canon's DIGIC 7 processor, allowing for continuous bursts at six frames-persecond, unlimited in JPEG mode. There's no 4K video though, just Full HD. The EOS 77D uses Canon's Dual Pixel AF system, along with 45 AF points all boasting cross-type sensors. A full set of exposure modes, including scene modes, are available, while there's a choice of four metering patterns: 63-zone Evaluative, spot, partial and centre-weighted. Other features include creative filters, integral flash and a time-lapse facility. The EOS 77D is an accomplished performer, with excellent AF and metering resulting in very high-quality images.

VERDICT The Canon EOS 77D is an excellent upperlevel entry-model. Good for beginners and enthusiasts alike, it’s easy to use, has a solid set of features and produces excellent results. But it does show the odd sign of cost-cutting, in particular the small viewfinder and lack of 4K video. That said, it’s still a great general-use model and definitely one for the shortlist.

Handling/Ease of use Features Performance Value for money

Overall

Conclusion:Which budget kit? Before running through a summary of our review, it's worth pointing out that earlier in this issue we have a review of Canon's latest entry-level model, the EOS 200D, so be sure to also read that test and consider including the EOS 200D in your buying options. Our group test reveals there aren't really any weak models and that each has something diferent to ofer. Although the EOS 1300D scored the lowest marks here, its very low price means it still represents incredibly good value for the beginner photographer. Of the other eight models covered here, there isn't much to choose between them, but we've highlighted two as Best Buys and also two as Highly Rated. The Fujifilm X-T20 is the first of our Best Buys and is our choice of sub-£1,000 mirrorless model. Its range of features, handling and performance are all first-rate. The same can be said for our other Best Buy, the Canon EOS 77D, which proves strong in every department. Our two Highly Rated models are both Nikon DSLRs. The D3400 is a superb entry-level model and the most afordable of our award-winners, so if you're on a relatively tight budget, it represents the best option. The Nikon D5600 has many similarities in terms of features to the D3400, but has a slightly larger, more robust body. Every model in our review delivers great quality and so whichever you decide on, you can be confident that you won't be disappointed with the results. Just be sure to try before you buy as handling is a very personal thing.

FUJIFILM X-T20

CANON EOS 77D

NIKON D3400

NIKON 5600

December 2017 Digital SLR Photography 103


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S REGULAR READERS may know, as much as I enjoy all forms of photography, the one area that I'm most partial to is portraiture. While I'll sometimes shoot with flash, I'll most often use daylight as my main light source. And it's for this reason that I consider lighting aids (reflectors and difusers) to be essential accessories in my photo outfit, with reflectors being most often used. Over the years I've used lighting aids in a variety of shapes, sizes and finishes and until I started using this dilector earlier this year, my favourite aid was a Lastolite silver/ white TriGrip reflector, which I've owned for more than a decade. As I usually shoot solo, the handle on the TriGrip meant I could hold and angle the reflector with one hand while using the camera in the other. The one criticism I had of my early version was the handle, which wasn't particularly well made and over the years had become very loose and unstable.

Thankfully, the latest version of the TriGrip features a much-improved moulded plastic handle that is larger, sturdier and far more comfortable. However there's more to this modern incarnation of the TriGrip than improved ergonomics. Reflectors with metallic finishes like silver and gold are useful, but these finishes do require very careful use to avoid creating too harsh an efect. This dilector sports a Soft Silver reflector on one side that produces an eicient but less harsh efect on subjects that I've grown to love. In shade and in overcast conditions it gives a clean, even and attractive efect that is stronger than standard white but far less harsh than a standard silver finish would give. It's my first choice of reflective finish both indoors or outside, and I rarely find it disappoints. When shooting in bright daylight, I normally use a framed difuser to soften the light and while that's still the case when shooting full-length compositions or groups, when capturing tighter compositions or kids sat down, I've found the other side of the TriGrip to work a treat. If you hadn't already twigged by its 'dilector' name, the other side of this aid

is a difuser. Holding it between the sun and the subject reduces light by two stops and provides a clean, soft efect similar to standard difusion materials. This is all possible due to the clever way in which Lastolite has created the material used in the TriGrip and I've nothing but praise for it. Due to the panel's large size (120cm), it's possible to difuse quite a large area, with the handle allowing you to hold and move it while looking through the viewfinder to ensure the light reaching the subject is correctly difused. If you need both a reflector and difuser and regularly shoot alone, this TriGrip is worth checking out.

VERDICT While the thought ofa lighting aid sporting both a reflectorand difuser might sound like a compromise, the difflectoris anything but. It’s highlyversatile and easy to use thanks to its handle, provides a beautifullyclean reflectancewhile alsoworkingwell as a diffuser. Abrilliant innovation andworthyofits Best Buyaward.

Overall December 2017 Digital SLR Photography 115


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Nikon D850 Full Frame

Body only price

EOS 80D Body.................................£947 EOS 80D + 18-55 STM ..................£1078 EOS 80D + 18-135 STM ................£1297 EOS 800D Body ..............................£768 EOS 800D + 18-55 STM ..................£868 EOS 760D Body ..............................£578 EOS 750D Body ..............................£558 EOS 750D + 18-55 STM ..................£598 EOS 750D + 18-135 STM ................£798

Nikon D500 APS-C

Body only price

£3499

£ASK

Nikon D7500

Nikon D5 Full Frame

£5098

Nikon Full Frame Cameras

D810 Body Only...........................£2398 D750 Body only ...........................£1597 D750 + 24-120 F4 VR ...................£2297 MBD-18 grip (D850) ...................... £368 MBD-17 grip (D750) ...................... £348 MBD-12 grip (D810) ...................... £348

APS-C Body only £1247 Plus 18-140 VR £1578 Nikon APS-C Cameras

D7200 Body only ........................... £838 D7200 + 18-105 VR ......................£1087 D5600 Body Only .......................... £648 D5600 + 18-55 AF-P....................... £728 D5600 + 18-140 VR ........................ £948 D3400 + 18-55 AF-P....................... £438

Nikon 70-200 F2.8 AFS E FL ED VR £2347

Plus 15-45 STM

£698 £918 £1148 Plus 18-150 STM

Canon EOS 200D

Canon EOS 6D MKII

Nikon 8-15 F3.5/4.5 AFS E £1298

APS-C Body only

APS-C

Body only £4798

Body only

Canon EOS M5

Canon EOS 7D MKII

£977

Canon EOS M100 APS-C

Plus 15-45 STM

£568 Canon EOS M System

11-22 f4/5.6 IS STM .................. £317 15-45 f3.5/6.3 IS STM ............... £199 18-55 f3.5/5.6 IS STM ............... £199 18-150 f3.5/6.3 IS STM............. £398 22 f2 STM .................................. £198 28 f3.5 Macro IS........................ £289 55-200 f4.5/6.3 IS STM............. £249 NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . . . .£599 10-20 F4.5/5.6 G VR . . . . . . . . . . .£328 10-24 F3.5/4.5 AFS G . . . . . . . . . .£729 16-80 F2.8/4 AFS ED VR. . . . . . . .£858 16-85 F3.5/5.6 AFS VR . . . . . . . . .£568 18-105 F3.5/5.6 AFS G no box . .£239 18-140 F3.5/5.6 AFS VR . . . . . . . .£469 18-300 F3.5/6.3 AFS VR . . . . . . . .£628 35 F1.8 AFS G . . . . . . . . . . . . . . . . .£178 70-300 F4.5/6.3 AFP VR . . . . . . . .£329 70-300 F4.5/6.3 AFP non VR . . .£299 NIKON FX FULL FRAME LENSES 8-15 F3.5/4.5 AFS E. . . . . . . . . . £1298 14-24 F2.8 AFS G ED. . . . . . . . . £1448 16-35 F4 AFS VR . . . . . . . . . . . . £1018 18-35 F3.5/4.5 AFS G . . . . . . . . . .£618 20 F1.8 AFS G ED. . . . . . . . . . . . . .£647 24 F1.8 AFS G ED. . . . . . . . . . . . . .£628 24-70 F2.8 AFS G ED VR. . . . . . £1598 24-120 F4 AFS G ED VR . . . . . . . .£779 35 F1.4 AFS G . . . . . . . . . . . . . . . £1578 35 F1.8 AFS G . . . . . . . . . . . . . . . . .£438 50 F1.4 AFS G . . . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . . . .£188 60 F2.8 AFS . . . . . . . . . . . . . . . . . . .£528 70-200 F2.8 AFS E FL ED VR . . £2347 70-200 F4 AFS G ED VR . . . . . . £1178 70-300 F4.5/5.6 E ED VR . . . . . . .£699 85 F1.8 AFS G . . . . . . . . . . . . . . . . .£428 105 F2.8 AFS VR macro . . . . . . . .£748 200-500 F5.6 AFS E ED VR. . . . £1248 300 F2.8 AFS ED VRII . . . . . . . . £4399 300 F4 AFS E PF ED VR. . . . . . . £1497 400 F2.8 G E FL ED VR . . . . . . £10398 500 F4 G E AFS FL ED VR . . . . . £8444

CANON EFS LENSES 10-18 F4.5/5.6 IS STM . . . . . . . £197 18-55 F3.5/5.6 ISII no box. . . . £129 CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . . . £969 11-24 F4 L USM . . . . . . . . . . . .£2497 14 F2.8 USM MKII . . . . . . . . . .£1899 16-35 F2.8 L USM MKIII . . . . .£1897 16-35 F4 L IS USM. . . . . . . . . . . £866 20 F2.8 USM . . . . . . . . . . . . . . . . £419 24 F1.4 LII USM . . . . . . . . . . . .£1299 24 F2.8 IS USM . . . . . . . . . . . . . . £399 24-70 F2.8 L II USM. . . . . . . . .£1697 24-70 F4 L IS USM. . . . . . . . . . . £724 24-105 F4 L IS USM MKII. . . . . £997 24-105 F3.5/5.6 IS STM . . . . . .£399 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F2 IS USM. . . . . . . . . . . . . . . . £468 40 F2.8 STM . . . . . . . . . . . . . . . . £159 50 F1.2 L USM . . . . . . . . . . . . .£1249 50 F1.4 USM . . . . . . . . . . . . . . . . £319 50 F1.8 STM . . . . . . . . . . . . . . . . . £97 70-200 F2.8 IS LII USM. . . . . .£1797 70-200 F2.8 non IS L USM. . .£1197 70-200 F4 L IS USM. . . . . . . . . . £997 70-300 F4/5.6 L IS USM . . . . .£1247

400 F4 DOII IS USM £5999

70-300 F4/5.6 IS USM II . . . . . . £448 85 F1.4 L IS USM . . . . . . . . . . .£1568 85 F1.8 USM . . . . . . . . . . . . . . . . £319 100 F2.8 IS L USM macro. . . £797 100-400 F4.5/5.6 IS LII USM £1788 200-400 F4 IS L USM . . . . . . .£9499 200 F2.8 II L USM . . . . . . . . . . . £698 300 F2.8 IS L USM II . . . . . . . .£5399 400 F2.8 IS L USM II . . . . . . . .£9299 400 F4 DO II IS USM . . . . . . . £5999 400 F5.6 L USM . . . . . . . . . . . . . £899 500 F4 IS L USM II . . . . . . . . . £8197 600 F4 IS L USM II . . . . . . . .£10899 12mm ext tube MKII . . . . . . . . . £69 25mm ext tube MKII . . . . . . . . £128 1.4x III extender. . . . . . . . . . . . . £388 2x III extender . . . . . . . . . . . . . . £388 CANON FLASHGUNS/GRIPS MR-14 EX II Ringlight. ingligh . . . . . . .£548 MT-26 EX RT mac twin light ligh £1079 430EX III RT Speedligh Speedlight . . . . . .£238 600EX-RT II Speedligh Speedlight . . . . . . £538 BG-E21 (fit 6D MKII) . . . . . . . . . £197 BG-E20 (fit 5D MKIV) . . . . . . . . £297 BG-E16 (fit 7D MKII) . . . . . . . . . £197 BG-E13 (fit 6D) . . . . . . . . . . . . . . £148

500 F4 IS L USM II

10-20 F3.5 EX DC HSM . . . . . .£328 12-24 F4 DG HSM Art . . . . . £1378 12-24 F4.5/5.6 II DG. . . . . . . . .£648 14 F1.8 DG HSM Art . . . . . . £1678 17-50 F2.8 EX DC OS. . . . . . . .£328 18-35 F1.8 DC HSM Art . . . . .£648 18-300 F3.5/6.3 DC mac OS .£368 20 F1.4 DG HSM Art . . . . . . . .£698 24 F1.4 DG HSM Art . . . . . . . .£648 24-35 F2 DG HSM Art . . . . . . .£758 24-70 F2.8 DG OS HSM Art £1398 35 F1.4 DG HSM Art . . . . . . . .£598 50 F1.4 EX DG HSM Art . . . . .£569 50-100 F1.8 DC HSM Art . . . .£948 70-200 F2.8 EX DG OS . . . . . .£898 85 F1.4 DG Art. . . . . . . . . . . . . .£999 100-400 F5-6.3 DG OS HSM Contemporary . . . . . . . .£798

15-30 f2.8 Di VC USD .....................£897 16-300 f3.5/6.3 Di II VC PZD ........£428 18-200 F3.5/6.3 Di II VC.................£188 18-400 f/3.5-6.3 Di II VC HLD .....£648 24-70 f2.8 Di VC USD G2............ £1247 24-70 f2.8 Di VC USD .....................£747

£8197

105 F2.8 EX DG OS HSM . . . .£358 120-300 F2.8 EX DG OS Sport DEMO NAF FIT ONLY . . . . £2399 135 F1.8 DG HSM Art.. . . . . £1398 150 F2.8 EX DG OS. . . . . . . . . .£778 150-600 F5/6.3 OS Contemp £788

150-600 F5/6.3 OS Sport . . £1328 500 F4 DG OS HSM Sport . £4997 500 F4.5 EX APO DG HSM CAF FIT ONE ONLY. . . . . . . £2797 USB Lens dock. . . . . . . . . . . .£39.99 70-200 f2.8 Di VC USD G2 ......... £1297 70-300 F4/5.6 Di VC USD..............£298 70-300 F4/5.6 Di AF........................£128 85 f1.8 SP Di VC USD......................£747 150-600 F5/6.3 VC USD G2....... £1128 150-600 F5/6.3 SP VC USD ...........£737 Kenko Converters 1.4x or 2x Pro 300 conv each.........£149 Auto ext tube set............................£119

WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS.

X100f

£1248

X-Pro2 body..........................................£1598 X-T2 + 18-55mm .................................£1848 X-T2 body ..............................................£1648 X-T20 + 18-55mm...............................£1039 X-T20 body...............................................£797 X100f Compact....................................£1248

X Series lenses and accessories etc 10-24mm F4 XF ......................................£898 14mm F2.8 XF R .....................................£848 16mm F1.4 XF .........................................£898 16-55mm F2.8.........................................£948 18mm F2 XF.............................................£498 18-55mm F2.8/4 OIS ............................£599 18-135mm F3.5/5.6 XF.........................£718 23mm F1.4 XF .........................................£829

23mm F2 XF R WR .................................£418 27mm F2.8 XF .........................................£398 35mm F1.4 XF .........................................£498 35mm F2 R WR........................................£428 50mm F2 R WR........................................£448 50-140mm F2.8 R OIS........................£1428 55-200mm F3.5/4.8 OIS XF.................£677 56mm F1.2 R APD...............................£1328 56mm F1.2 XF .........................................£898

60mm F2.4 XF macro ...........................£648 80mm F2.8 OIS WR macro ...............£1249 90mm F2 R LM WR ................................£898 100-400 F4/5.6 OIS WR ......................... £1698 1.4x XF TC WR..........................................£388 2x XF TC WR .............................................£398 11mm Ext tube......................................... £75 16mm Ext tube......................................... £75 VPB-XT2 Vertical grip............................£289

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 27/10/2017. E&OE. MORE ON WEBSITE - UPDATED DAILY. ORDERS OVER £100 VALUE INCLUDE UK MAINLAND P&P. ALL U.K. STOCK, NO GREY IMPORTS.


Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 27/10/2017 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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

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

Used Canon

EOS 1DX MKI I body box

£3699/3999

Used Canon

EOS 7D MKII body bo box

£999

NIKON USED Used Nikon D4s body box

£3499

Used Nikon 300mm F2.8 AFS VRI

£2999

Used Nikon box

£1599/1699

DIGITAL USED

Used Fuji

X-Pro2 body box

£999

Used Olympus

OM-D E-M1 body Mbox

£599

Used Sony

A7R MKII body box

£1799

Buy with conidence - all of our used equipment is thoroughly tested and cleaned before being ofered for sale CANON DIGITAL AF USED 1DX MKII body box . £3699/3999 1DX MKI body box ..............£2999 1D MKIV body box ..............£1499 1D MKIII body ......................... £499 1Ds MKII body......................... £599 7D MKII body box.................. £999 7D body box............................ £499 6D body box............................ £799 5D MKIII body box................. £1699 5D MKI body box ......................£399 60D body......................................£399 50D body box.............................£299 600D body ...................................£249 400D body ......................................£99 BG-E2.............£39 BG-E2N..........£49 BG-E4 box....£69 BG-E7 .............£79 BG-E13........£119 BG-E16 box£169 TC-80N3 remote........................£85 Angle finder C......................... £139 Powershot G1X....................... £299

Powershot G12....................... £229 CANON EOS M USED M5 + 15-45...................................£799 EF-M 11-22 F4/5.6 IS STM......£249 EF-M 55-200 F4.5/6.3 IS STM£229 EF-M 28 F3.5 IS STM macro ..£229 CANON AF FILM BODIES USED EOS 3HS body inc PB-E2..... £449 EOS 5QD body box ............... £129 EOS 500/500N/1000f b/o ea.£49 EOS 600/650/1000 body ea..£49 PB-E2 drive fits EOS1/3........ £149 CANON AF LENSES USED 8-15 F4 L fisheye.................... £799 10-18 F4.5/5.6 IS STM........... £179 10-22 F3.5/4.5 USM EFS ...... £329 14 F2.8 USM LII box ............£1349 15-85 F3.5/5.6 IS USM EFS.. £399 16-35 F2.8 USM LII................. £799 16-35 F4 L................................. £749 17-40 F4 L................................. £449

17-55 F2.8 IS USM EFS ......... £449 17-85 F4/5.6 IS USM................... £199 18-55 F3.5/5.6 IS EFS ....................£99 18-200 F3.5/5.6 IS........................ £249 20 F2.8 USM................................... £349 24 F2.8 STM.................................... £109 24-105 F4 L IS.......................... £599 28-80 F3.5/5.6 ............................£79 28-90 F4/5.6................................£99 35-80 F4/5.6................................£39 55-250 F4/5.6 IS STM............ £149 60 F2.8 IS USM EFS................ £279 65 F2.8 MP-E............................ £799 70-200 F2.8 IS USM LII .......£1499 70-200 F2.8 IS USM L............ £999 70-200 F2.8 USM L ................ £799 70-200 F4 L IS USM ............... £699 70-200 F4 L USM.................... £399 70-300 F4.5/5.6 IS USM L .... £849 70-300 F4.5/5.6 IS DO .......... £399 70-300 F4.5/5.6 IS USM ....... £249

75-300 F4/5.6 MKII ...................£99 85 F1.2 L USM ......................... £899 100 F2.8 L IS USM .................. £649 100 F2.8 USM box.................. £299 100-400 F4.5/5.6 LII IS U....£1499 100-400 F4.5/5.6 L IS U........ £799 135 F2 L USM box.................... £699 180 F3.5 L USM macro........... £599 300 F2.8 LII IS U ......................£4699 300 F2.8 LI IS U........................£2999 300 F4 L IS USM box............... £699 400 F2.8 IS USM L .... £3499/4999 500 F4 IS L USM....................£4499 1.4x extender MKIII................. £329 2x extender MKIII..................... £339 2x extender MKII box............. £239 25mm ext tube MKII .................£99 SIGMA CAF USED 10-20 F4/5.6 HSM box.............. £249 17-50 F2.8 EX DC HSM ............. £249 17-70 F2.8/4 DC OS.................... £249

18-125 F3.8/5.6 HSM................. £149 18-200 F3.5/6.3 DC..................... £149 18-250 F3.5/6.3 DC OS ............. £199 28-135 F3.8/5.6 ...............................£99 28-200 F3.5/5.6 Asph ..............£99 30 F1.4 DC HSM...................... £279 50 F2.8 EX macro ................... £149 50-500 F4/6.3 EX DG OS...... £699 50-500 F4/6.3 EX DG ............ £399 70-200 F2.8 EX DG OS Mint box.................................... £749 70-300 F4/5.6 APO DG............£99 120-300 F2.8 DG OS sport £1799 120-300 F2.8 EX DG .............. £699 150 F2.8 EX DG OS Mint box£599 150-500 F5/6.3 DG OS.............. £449 150-600 F5/6.3 DG OS Sport + TC-1401 kit Mint box...........£1099 180 F2.8 EX DG OS ..................... £899 180 F3.5 EX DG HSM mac....... £399 TC1401 1.4x conv........................ £189

1.4x EX DG conv .......................... £149 OTHER CAF USED TAM 10-24 F3.5/4.5 Di II ...... £279 TAM 17-50 F2.8 XR DiII ........ £199 TAM 18-200 F3.5/6.3 VC ...... £149 TAM 18-250 F3.5/6.3 DiII..... £149 TAM 18-270 F3.5/6.3 DiII VC.......£199 TAM 28-300 F3.5/6.3 XR Di.........£199 TAM 70-300 F4/5.6 Di USD VC. £199 TAM 70-300 F4/5.6 ........................£99 TAM 150-600 F5/6.3 VC USD. £599 TOK 100 F2.8 ATX........................ £299 Zeiss 50 F1.4 ZE box .................. £399 Triplus ext tubes set......................£69 CANON FLASH USED MR-14EX Ringflash................ £249 430EX MKIII.............................. £189 430EX MKII ............................... £169 550EX......................................... £129 580EX box ................................ £179 600EX RT box .......................... £349

NIkON DIGITAL AF USED D4s body box........................£3499 D4 body box.............. £1999/2699 D3X body box.......................£1299 D3s body box........................£1299 D3 body box................... £899/999 D2Xs body................................ £399 D810 body box......... £1599/1699 D800 body box......... £1199/1399 D700 body box....................... £599 D610 body ............................... £799 D600 body ............................... £699 D300s body ............................. £349 D300 body box....................... £299 D200 body box....................... £149 D7100 body............................. £449 D7000 body............................. £399 D90 body.................................. £199 D80 body.................................. £169 D60 body.................................. £149 D40X body ..................................£99 MBD-14 grip ...............................149 MBD-12 grip ............................ £229

MBD-10 grip ........................ £49/99 MBD-80 grip ...............................£49 MBD-200 grip.............................£49 NIKON AF FILM BODIES USED F5 body ..................................... £399 F90X body...................................£99 F801 or F601 body each ........£49 F70 body......................................£49 F55 body......................................£29 NIkON AF LENSES USED 10.5 F2.8 DX ..................................£399 10-24 F3.5/4.5 DX.......................£599 14 F2.8 AFD...................................£899 14-24 F2.8 AFS M- box..........£1099 14-24 F2.8 AFS box....................£999 16 F2.8 AFD Fisheye..................£499 16-85 F3.5/5.6 AFS VR...............£379 17-35 F2.8 AFS box....................£899 17-55 F2.8 AFS .............................£499 18-35 F3.5/4.5 AFD ....................£269 18-55 F3.5/5.6 AFS VR................ £99 18-70 F3.5/4.5 AFS .....................£129 18-135 F3.5/5.6 AFS DX...........£169

18-140 F3.5/5.6 AFS VR............£379 18-200 F3.5/5.6 AFS VRI...........£299 18-300 F3.5/5.6 VR .....................£599 24 F3.5 PCE M- box....................£999 24-70 F2.8 AFS box....................£899 24-120 F4 AFS VR........................ £599 24-120 F3.5/5.6 G VR................. £299 24-120 F3.5/5.6 G........................ £199 28 F1.8 AFS G................................ £399 28-80 F3.5/5.6..................................£69 28-100 F3.5/5.6 AF G....................£69 35 F1.8 DX....................................... £149 35 F2 AFD ....................................... £199 50 F1.4 AFS G .......................... £149 50 F1.8 AFS .............................. £149 55-200 F4/5.6 AFS VR ........... £169 58 F1.4 G AFS .......................... £999 70-200 F2.8 VR II box..........£1299 70-200 F2.8 VR I box............. £999 70-200 F4 AFS VR................... £899 70-300 F4.5/5.6 AFS VR........ £369 70-300 F4/5.6 G non VR..........£99 80-400 F4.5/5.6 AFD VR....... £699

85 F1.4 AFS M- box ............... £949 85 F2.8 DN PC-E ..................... £999 105 F2.8 AFS VR...................... £499 200 F4 AFD M- box ............... £999 200-400 F4 AFS VRII............£3499 200-500 F5.6 AFS VR M- box ....................................... £999 300 F2.8 AFS VRII .................£3999 300 F2.8 AFS VRI serviced.£2999 300 F4 E AFS PF VR..............£1299 300 F4 AFS box....................... £549 300 F4 AFD (non AFS).......... £369 400 F2.8 G E FL ED VR ........£7999 400 F2.8 AFS MKII................£3999 500 F4 AFS VR .......................£4999 TC14EII box .............................. £299 TC17EII....................................... £199 TC20EIII M- box ...................... £349 TC20EII....................................... £199 SIGMA NAF USED 10-20 F4/5.6 EX DG.................... £249 18-200 F3.5/6.3 DC mac C...... £199 24-35 F2 DG Art box .................£599

24-70 F2.8 EX DG HSM.............£469 24-70 F2.8 EX DG........................£299 24-105 F4 DG OS HSM.............£499 28-200 F3.5/5.6 early................... £69 70-200 F2.8 EX DG OS Mint box.................................... £749 70-300 F4/5.6 APO DG............£99 105 F2.8 EX DG............................. £199 135-400 F4.5/5.6 DG.................. £299 150 F2.8 EX DG OS Mint box.. £599 150 F2.8 EX DG OS ..................... £549 150-500 F5/6.3 DG OS.............. £499 170-500 F5/6.3 D......................... £299 150-600 F5/6.3 DG OS Sport + TC-1401 kit Mint box...........£1099 TC-1401 1.4x converter............ £179 2x EX converter...............................£99 TAMRON NAF USED 10-24 F3.5/4.5 DiII....................... £239 11-18 F4.5/5.6............................... £219 18-250 F3.5/6.3 ............................ £149 19-35 F3.5/4.5..................................£99 28-75 F2.8 XR Di........................... £229

28-300 F3.5/6.3 XR Di................ £199 70-300 F4/5.6...................................£79 150-600 F5/6.3 Di VC USD...... £599 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX....... £249 TOK 11-16 F2.8 ATX Pro DXII £349 TOK 12-24 F4 ATX Pro .......... £329 FLASH / ACCESSORIES USED SB-24............£49 SB-25..................£49 SB-26...........£69 SB-28................£69 SB-500............................................... £169 SB-600............................................... £169 SB-700............................................... £199 SB-900 box..................................... £249 SB-910 box..................................... £299 SB-R1 Ringflash box.................. £349 SU-800 commander.................. £249 SD-8A battery pack.......................£89 DR-5 angle finder........................ £149 DW-21 fits F4........................... £119 MB-10 (fits F90)...............................£29 MB-23 (fits F4)..................................£49 MC-30 remote .................................£45

FUJI DIGITAL USED X-Pro2 body box.................... £999 X-Pro1 body box.................... £399 X-T1 body black...................... £499 X-T1 body black...................... £449 X-T10 body box ...................... £299 X-E1 body silver ..................... £199 14 F2.8 XF R box..................... £499 18-55 F2.8/4 XF ...................... £399 27 F2.8 XF................................. £249 35 F1.4 R box........................... £399 50-230 F4.5/6.7 XRC ............. £249 90 F2 WR box .......................... £599 EF-42 flash box ....................... £109 EF-20 flash box ..........................£59 MINOLTA/SONY DIGITAL USED Sony RX100 MKIII box............ £449 Sony RX10 MKII box ............... £699 Sony A7R II body box...........£1799 Sony A550 body....................... £199 Sony A350 body....................... £149 Sony VG-C70AM....................... £139 Sony LA-EA4 mount adap ... £189 Sony HVL-43AM box .............. £179

Sony HV56AM........................... £149 Sony HVK-F42AM .......................£89 SONY NEX USED NEX 5 body .................................... £129 FE 16-35 F4 ZA OSS E................ £899 FE 16-50 F3.5/5.6 EZ .................. £149 FE 70-200 F4 G OSS box.......... £899 FE 90 F2.8 macro......................... £699 Samyang 100 F2.8 macro....... £229 MINOLTA/SONY AF USED 7xi body .......................................£99 Dynax 5 body.............................£69 5xi body each ............................£49 7000i or 500Si body each......£39 300Si body ..................................£29 11-18 F4.5/5.6 AFD DT......... £259 24-50 F4 .......................................£99 24-85 F3.5/4.5 ......................... £149 28 F2.8 ..........................................£99 28-75 F2.8 AFD ....................... £299 28-80 F4/5.6................................£39 28-85 F3.5/4.5 ............................£99 35-70 F4 .......................................£39 35-70 F3.5/4.5..................................£25

35-80 f4/5.6.......................................£25 35-105 F3.5/4.5 ...............................£99 50 F2.8 macro............................... £179 70-210 F4.5/5.6 ...............................£69 75-300 F4.5/5.6 ............................ £129 85 F1.4 G box ................................ £649 100-300 F4.5/5.6 APO............... £179 100-300 F4.5/5.6.......................... £149 500 F8 mirror................................. £349 VC700 grip..£39 RC1000S cord..£29 SONY LENSES USED 10-18 F4 E OSS ............................. £599 16-80 F3.5/4.5 ZA DT................. £499 18-55 F3.5/5.6 SAM.......................£59 18-70 F3.5/5.6..................................£89 18-135 F3.5/5.6 DT SSM........... £329 18-200 F3.5/6.3 DT ..................... £199 55-200 F4/5.6 DT SSM .................£69 75-300 F4.5/5.6 ............................ £129 SIGMA MIN/SONY AF USED 10-20 F3.5 EX............................. £269 10-20 F4/5.6 EX DC ................. £249 18-35 F1.8 Art............................ £549 18-50 F3.5/5.6 DC.......................£69

18-250 F3.5/6.3 DC mac HSM £199 28-105 F2.8/4 ...............................£69 28-135 F3.8/5.6............................£79 28-300 F3.5/6.3 macro........... £149 50-150 F2.8 EX DC MKII......... £399 55-200 F4/5.6 DC OS.................£79 70-300 F4/5.6 DG OS............ £169 70-300 F4/5.6 APO DG............£99 150-500 F5/6.3 APO DG ...... £499 1.4x EX conv ...............................£99 TAM 10-24 F3.5/4.5 DiII ....... £239 TAM 24-70 F3.5/5.6 ..................£49 TAM 90 F2.8 ............................. £249 TAM 90 F2.8 ............................. £179 TAM 200-500 F5/6.3.............. £399 Teleplus 1.4x conv....................£69 Teleplus 2x conv .......................£79 Kenko 1.4x Pro 300DG......... £149 MINOLTA FLASH USED Minolta 5200i.............................£29 Minolta 5400HS.........................£39 Minolta 5600HSD M-...............£79 OLYMPUS 4/3 USED E5 body ..................................... £599

E3 body ..................................... £299 E1 body ........................................£79 E510 body ................................ £149 E500 body ................................ £129 11-22 F2.8/3.5 ......................... £349 12-60 F2.8/4 ED...................... £399 14-42 F3.5/5.6 ............................£49 14-45 F3.5/5.6 ............................£99 14-54 F2.8/3.5 ......................... £199 25 F2.8 ....................................... £179 40-150 F3.5/4.5..........................£99 50 F2 macro............................. £299 50-200 F2.8/3.5 ED................ £399 25mm ext tube..........................£89 VA-1 angle finder......................£69 OLYMPUS MICRO 4/3 USED OMD-EM1 body M- box ...... £599 OMD E-M5 MKII body box.. £499 OMD E-M5 body box............ £249 OMD-EM10 MKII body blk.. £349 12 F2........................................... £479 14-42 F3.5/5.6 ......................... £169 17 F2.8 ....................................... £159 25 F1.8 ....................................... £269

40-150 F4/5.6 .......................... £189 MC-14 converter.................... £249 ECG grip .......................................£39 HLD-8 grip...................................£99 HLD-7 grip box..........................£89 HLD-6 grip...................................£79 PANASONIC DIGITAL USED GH2 body ................................. £299 G3 body box............................ £199 GX7 body.................................. £349 GF3 body black .........................£99 GF1 body .....................................£99 GF6 body box silver..............£ASK 14-42 F3.5/5.6 ......................... £199 14-42 F3.5/5.6 ............................£79 14-45 F3.5/5.6 ......................... £149 14-140 F4/5.8 box ................. £399 20 F1.7........£199 25 F1.4..... £379 35-100 F4/5.6 .......................... £169 45-150 F4.5/5.6....................... £149 45-200 F4/4.5 box ................. £199 100-300 F4/5.6........................ £349 PENTAX DIGITAL USED K100d body ............................. £149

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

Used Hasselblad Millennium + 80 F2.8 CFE + A12

£2799

Used Mamiya RB67 Pro S + 90 + WLF + Back

£399

Used Rollei 3.5F 6x6 White Face serviced

£1699

bRONICA ETRS 645 USED ETRSi + 75 + WLF + 120 back................................ £399 ETRS body ................................ £119 30 F3.5 PE ................................. £699 40 F4 E ....................................... £199 50 F2.8 PE ................................. £349 75 F2.8 PE ................................. £149 150 F3.5 E ....................................£99 150 F3.5 PE M- Box................ £149 200 F4.5 PE............................... £199 2x extender.............................. £199 E14 Ext tube ...............................£49 E42 Ext tube ...............................£49 120 RFH........................................£69 135W back ............................... £299 135N back ................................ £169 Polaroid Back .............................£49 AEII prism ................................. £129 Plain prism ..................................£59 Rotary prism...............................£99 Winder early ...............................£79 Speed Grip E...............................£59

35MM & MISCELLANEOUS USED

Used Nikon

400mm F2.8 ED AIS

£1299

Used Nikon 500mm F4 AIS

£1399

CANON FD USED A1 body serviced................... £169 AE1 Program body...................£99 24 F2........................................... £299 24 F2.8 ....................................... £149 24 F2.8 breechlock................ £149 28 F2.8 ..........................................£49 35-70 F4 .......................................£69 35-105 F3.5 .............................. £149 50 F1.2 L.................................... £699 50 F1.8 ..........................................£49 50 F2..............................................£49 50 F3.5 macro ............................£99 70-150 F4.5 .................................£29 100 F2.8..................................... £149 100-300 F5.6...............................£79 135 F3.5........................................£49 135 F3.5 (Breechlock)..............£39 200 F4 macro .......................... £299 25mm Ext tube..........................£29 50mm Ext tube..........................£29

Tripod adapter E .......................£39 Winder early ...............................£49 Metz SCA 386.............................£49 bRONICA Sq 6x6 USED SQB + 80 + WLF + 120 back£399 40 F4 S ....................................... £299 50 F3.5 PS ................................. £299 50 F3.5 S.................................... £149 150 F4 PS ......................... £149/199 200 F4.5 PS M- box ............... £199 2x PS converter M-................ £179 135N 35mm film back ......... £119 SQAi 120 RFH .............................£79 SQAi AE prism late ................ £299 Plain Prism S Boxed .................£69 AE Prism Early ............................£79 ME Prism Finder ........................£69 Metz SCA 386.............................£49 Pro shade S .................................£59 Lens Hood 65-80.......................£20 SQAi Motorwinder ................ £149 Speed grip S ...............................£79 SQAI winder............................. £149

For more used equipment listings please see website www.mifsuds.com FUJI USED G617 inc 105 F8 ...................£1299 HASSELbLAD 6x6 USED 503CW Millennium + 80 F2.8 CFE + A12 ...........£2799 501C + 80 CB + A12............£1699 500CM chrome + 80 F2.8 C + A12.............................................. £799 503CW winder........................ £179 45º prism late.......................... £299 45º prism early ..........................£99 Sports viewfinder .....................£69 Chimney.......................................£89 A12 chrome latest................. £349 A12 late blk/chr...................... £199 Polaroid back 100.....................£79 40 F4 Black T*.......................... £799 50 F4 Black T*.......................... £399 50 F4 CF FLE ............................ £849 100 F3.5 Black T*.................... £399 150 F4 Black T* ....................... £299 150 F4 chrome serviced...... £199 Vivitar 2x conv ...........................£49

Lens hoods various........... £20/50 MAMIYA 645 MF USED 645 Pro TL + 80 + AE prism + back..................... £599 Plain prism (645 Super)..........£79 645 Super WLF...........................£99 Polariod Back HP401 ...............£29 Polaroid back .............................£29 120 Insert.....................................£20 120 Back.......................................£79 Winder..........................................£79 45 F2.8 N................................... £199 150 F3.5 N ...................................£79 150 F3.8 NL leaf...................... £299 210 F4 N M- ................................£79 Ext Tube 1....................................£29 Ext tube 2 ....................................£29 Ext tube 3S..................................£29 Teleplus 2x converter..............£49 Vivitar 2x converter..................£39 MAMIYA TLR 6x6 USED 65 F3.5 box late ...................... £199 65 F3.5 serviced...................... £149

250 f4.5...................................... £179 Porroinder..................................£59 MAMIYA 6 & 7 RF 6x7 USED 43 F4.5 L + VF box ...............£1199 50 F4.5 L + VF box ................. £799 150 F4.5 M- .............................. £399 MAMIYA Rb 6x7 USED Pro S + 90 + WLF + back ........................................ £399 Pro S body................................ £149 Plain prism ............................... £149 WLF................................................£79 90 F3.5 KL ................................. £299 127 F3.5 KL............................... £299 Pro SD ext tube 1 45mm............£99 Pro SD ext tube 2 82mm............£99 MAMIYA RZ 6x7 USED RZ Pro body ............................. £149 120 RFH Pro ................................£99 Polaroid back .............................£79 FE701 prism............................. £299 WLF..............£79 Winder II.......£49 65 F4 box M- ........................... £399

90 F3.5 W M- box................... £299 180 F4.5 W................................ £199 PENTAX 645MF USED 645 body + insert .................. £199 200 F4 ........................................ £149 300 F4 ........................................ £249 1.4x converter......................... £199 PENTAX 67 USED 6x7 body + prism................... £599 45 F4........................................... £399 135 F4 macro late .................. £249 165 F2.8 latest M- .................. £499 200 F4 latest ............................ £169 200 F4 early...................................£99 300 F4 early scrufy................... £99 Pentax rear conv 1.4x........... £249 2x rear converter.................... £179 Auto ext tubes ...........................£49 Wooden grip ........................... £169 ROLLEI 6x6 TLR USED 3.5F White Face serviced...£1699 MORE ON wEbSITE www.MIFSUDS.COM

Please contact us to determine availability before making a lengthy journey 2x Extender B.............................£49 177A flash....................................£20 244T flash ....................................£20 277T flash ....................................£25 300TL flash..................................£49 Winder A......................................£20 Winder B ......................................£30 Angle finder B............................£49 CONTAX 35mm RF USED 90 F2.8 G................................... £269 LEICA M USED IIIf Red Dial ST serviced chrome body........................... £479 LEICA OPTICS USED Trinovid 10x42........................ £699 MINOLTA MD USED XD7 body black/chrome..... £149 X300 chrome body ..................£49 X300s black body .....................£49 X700 black body .......................£99 XGM chrome body...................£49

28 F3.5 MD. .................................£49 50 F1.7 MD..................................£49 50 F2 MD .....................................£49 70-210 F4 MD.............................£99 2x Converter...............................£79 Ext tube for 50 F3.5..................£29 Ext tube set.................................£49 Auto bellows 1...........................£99 NIkON MF USED FE2 body chrome .................. £349 F3 body ..................................... £199 F2 Photomic body box........ £399 FM2n body chrome box ..... £399 FM2n body chr box............... £299 FM2n body chr ....................... £249 FE body black.............................£99 20 F3.5 AI.................................. £199 24 F2 AI ..................................... £299 24 F2.8 AIS M- box ................ £249 24 F2.8 AI.................................. £199 28 F2.8 E box..............................£69

28-85 F3.5/4.5 AIS.................. £199 35 F2.8 PC................................. £349 35-70 F3.3/4.5 AIS.................. £129 35-70 F3.5 AIS ............................£99 35-105 F3.5/4.5 AIS..................£79 50 F1.2 AIS................................ £399 50 F1.4 AI.................................. £199 50 F1.8 AI.................................. £149 50 F1.8 E.......................................£59 180 F2.8 AIS ED scruffy........ £179 400 F2.8 ED AIS ....................£1299 500 F4 AIS...............................£1399 500 F8 mirror........................... £249 600 F5.6...................................£1499 TC300 ......................................... £149 SC-17 TTL lead...........................£25 DW-3 WLF find fit F3 ...............£99 PK-11a ext tube.........................£49 PK-12/PK-13 ext tube each ...£49 OLYMPUS OM USED OM-4T body ............................ £249

OM-2SP body.............................£99 OM40 body.................................£79 OM-2n body chrome... £149/199 24 F2.8 ....................................... £199 35-70 F4 .......................................£79 35-105 F3.5/4.5..........................£79 80 F4 macro............................. £199 135 F4.5 macro....................... £199 7, 14, 25 man ext tube ea......£20 14 or 25 auto ext tube ea......£29 60-116 auto ext tube set .... £199 Tripod mount ring....................£59 PENTAX 35mm AF USED Z50P body...................................£49 SFXN body ..................................£49 16-45 F4 .................................... £199 17-70 F4 SDM M- box .......... £299 18-55 F3.5/5.6 ............................£69 28-80 F3.5/5.6 ............................£49 50-200 F4/5.6 DA......................£99 55-300 F4/5.8 ED WR............ £229

55-300 F4/5.8 ED box........... £199 100 F2.8..................................... £149 SIGMA PkAF USED 18-250 F3.5/6.3....................... £199 28-200 F3.5/5.6....................... £149 PENTAX MF USED K1000 body.................................£99 35 F2 PK box............................ £199 50 F1.4 PK................................. £149 85 F2 PK .................................... £199 120 F2.8 K................................. £199 135 F3.5 PK .................................£69 150 F3.5 PK box...................... £149 50 F1.4 PK....................................£99 50 F2..............................................£49 50 F4 macro PK..........................£99 TAMRON ADII USED 35-135 F3.5/4.2..........................£99

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THE WEX PROMISE: Over 19,000 Products • Free Delivery on £50 or over** • 30-Day Returns Policy • Part-Exchange Available • Used items come with a 12-month warranty†† †

EOS 200D

EOS 800D

24.2 mp 1080p

24.2 mp 6.0 fps

200D

From £509

200D Body £459 Inc. £50 Cashback* 200D + 18-55mm £529 Inc. £50 Cashback* 200D + 18-135mm £849 Inc. £50 Cashback*

£509 £579 £899

800D

24.2 mp 6.0 fps From £769

800D Body £719 Inc. £50 Cashback* 800D + 18-55mm IS STM £769 Inc. £50 Cashback*

£769 £819

80D

From £943

80D Body 80D + 18-55mm IS STM 80D + 18-135mm IS USM

£943 £1055 £1299

7D Mark II

EOS 5DS

30.4 mp 7.0 fps

50.6 mp 5.0 fps

Full Frame

£1349 £1349

£3229

5D Mark IV Body

£3229

Canon Lenses

5DS

£3149

£4799

Pro Runner:

BP 350 AW II ..........................£139 BP 450 AW II ..........................£169

Nikon Lenses

Photo Sport BP:

450 AW...............................£178

Series 3 4S XL • 202cm Max Height • 10cm Min Height New Systematic Tripods:

MK190XPRO3 + X-Pro 3-Way Head ......... £239 MT190XPRO4 + X-Pro 3-Way Head .........£249

Series 3 4S XL ......................... £764 Series 4 4S L............................ £759 Series 5 4S L............................ £845 Series 5 6S G........................... £1099

£184 Inc. £55 C/back*

SB5000 £499

4K

£1729 £1729 £2479

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

L308s £189

Plus III Set £229

OM-D E-M10 III Body OM-D E-M10 III 14-42mm

£629 £629 £699

16-35mm f4 G AF-S ED VR..................... £1059 £989 Inc. £70 Cashback* 16-80mm f2.8-4 G AF-S VR ED DX ........ £909 £819 Inc. £90 Cashback* 18-105mm f3.5-5.6 G ED VR AF-S DX ... £239 18-200mm f3.5-5.6 G ED AF-S DX VR II £649 24-70mm f2.8 G AF-S ED........................ £1610 24-120mm f4 G AF-S ED VR................... £999 70-200mm f2.8 G AF-S ED VR II............. £1998 80-400mm AF-S Nikkor f4.5-5.6 G ED VR..£2199 200-500mm f5.6E ED VR AF-S ............... £1179 *Nikon Cashback ends 09.01.18

F-803 RuggedWear

Hadley Pro Original Canvas Khaki/Tan

Black/Tan, Black/Black. FibreNyte/Leather: Khaki/Tan, Sage/ Tan, Black/Black. Digital .................................. £119 Small ................................... £149 Large ................................... £154 Pro Original ......................... £189 Hadley One ......................... £265

3N1-36 PL ............................£159 3N1-26 PL ............................£149

Gorillapod Kit 1K • Flexi-Tripod legs • 21cm Closed Length • 1Kg Max Load

327RC2 Joystick Head

Ball Heads:

Gorillapod:

Gorillapod 500.........................£35 Gorillapod Kit 1K .....................£52 Gorillapod Kit 3K .....................£86 Gorillapod Kit 5K .....................£172

3m Heavy Duty 5-in-1 Light Multi Background Collapsible Reflector - 56cm Stand £22 £99

OM-D E-M10 III

Hadley: Canvas/Leather: Khaki/Tan,

Lighting & Accessories

430EX III £239

£5999

*Fujifilm Cashback ends 15.01.18

17.2 mp 8.6 fps

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

£5999

GFX 50S Body

OM-D E-M10 Mark III

D500 Body D500 + 16-80mm

20mm f1.8G AF-S ED .............................. £679 24mm f1.8 G ED AF-S ............................. £679 35mm f1.8 G AF-S DX ............................. £179 50mm f1.8 G AF-S ................................... £199 50mm f1.4 AF-S ....................................... £405 58mm f1.4 G AF-S ................................... £1419 £1329 Inc. £90 Cashback* 60mm f2.8 G AF-S ED Micro ................... £529 85mm f1.8 G AF-S ................................... £449 105mm f2.8 G AF-S VR IF ED Micro....... £779 300mm f4 E PF ED VR AF-S................... £1529 10-24mm f3.5-4.5 G AF-S DX.................. £745 £700 Inc. £45 Cashback*

Anvil:

Anvil Slim...............................£122 Anvil Super............................£134 Anvil Pro................................£126

GFX 50S

From £1599

X-T2 Body £1599 £1504 Inc. £95 Cashback* X-T2 + 18-55mm £1749 £1654 Inc. £95 Cashback*

D500

£3499

3-in-1 backpack for commercial photographers, videographers and drone users.

Tripods & Tripod Heads

MT055XPRO3 ...................£159 MT055CXPRO3 Carbon Fibre......................£329 MT055CXPRO4 Carbon Fibre......................£345 MT190 Series: MT190XPRO3 ................... £149 MT190XPRO4 ................... £159 MT190CXPRO3 Carbon Fibre...................... £299 MT190CXPRO4 Carbon Fibre...................... £318

£3499

Manfrotto 3N1-36 PL Backpack

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

Purpose-built to organise and protect more gear, and provide more options for manoeuvring in busy airports and crowded streets.

£1699 £1899 £2199

Anvil Slim Professional Backpack

ProTactic 450 AW Backpack

51.4 mp 3.0 fps 1080p

20.9 mp 10.0 fps

D850 Body

*Canon Cashback ends 17.01.18

GFX 50S

D500

D850

EF 24-105mm f4 L IS II USM........£1065 EF-S 55-250mm f4-5.6 IS STM ....£269 EF 70-200mm f2.8 L IS II USM.....£1899 EF 70-200mm f4 L IS USM ..........£1049 £919 Inc. £130 Cashback* EF 70-300mm f4-5.6 IS II USM ...£429 £344 Inc. £85 Cashback* EF 70-300mm f4-5.6 L IS USM.....£1249 £1099 Inc. £150 Cashback* EF 100-400mm f4.5-5.6 L IS II USM £1789 £1574 Inc. £215 Cashback*

X-T2

X-T2

From £1699

Full Frame

£4799

A9 Body £4499 A7 II Body £1199 £999 Inc. £200 Cashback* *Sony Cashback ends 21.01.18

24.3 mp 6.5 fps

GH5 Body GH5 + 12-60mm f3.5-5.6 GH5 + 12-60mm f2.8-4.0

£4499

A9

£3199

A7R III Body £3199 A7R II Body £2499 * £2199 Inc. £300 Cashback A7S II Body £2499 £2199 Inc. £300 Cashback*

Full Frame

45.7 mp 6.0 fps

1D X Mark II

24 mp 20.0 fps

A7R III

£1999 £2299

D850

Photo Bags & Rucksacks Pro Runner BP 350 AW II Backpack

£1849 £2329

1D X Mark II Body

EF-S 10-22mm f3.5-4.5 USM ......£499 EF 11-24mm f4 L USM ................£2699 EF-S 15-85mm f3.5-5.6 IS USM..£609 EF 16-35mm f2.8 L III USM ..........£1949 EF 16-35mm f4 L IS USM.............£899 £814 Inc. £85 Cashback* EF-S 17-55mm f2.8 IS USM .........£718 EF 17-40mm f4 L USM..................£649 EF-S 18-55mm f4-5.6 IS STM ......£219 EF 18-135mm f3.5-5.6 IS STM.....£379 EF-S 18-200mm f3.5-5.6 IS ..........£439 EF 24-70mm f2.8 L II USM ...........£1684 EF 24-70mm f4 L IS USM ...........£699 £594 Inc. £105 Cashback*

£1999

GH5

From £1849

Full Frame

5DS R Body

EF 24mm f1.4 L II USM................£1499 EP 35mm f1.4 L II USM .............£1799 EF 50mm f1.2 L USM...................£1272 EF 50mm f1.4 USM......................£349 TS-E 50mm f2.8 L Macro ..............£2499 EF-S 60mm f2.8 USM Macro.......£379 EF 85mm f1.2 L II USM................£1747.85 EF 85mm f1.4 L IS USM .............£1569 EF 85mm f1.8 USM......................£339 EF 100mm f2.8 L IS USM Macro.£799 £694 Inc. £105 Cashback* EF 135mm f2 L USM....................£859.97 EF 180mm f3.5 L USM Macro .....£1229 EF-S 10-18mm f4.5-5.6 IS STM ..£199

6D Mark II

20.2 mp 16.0 fps

£2949

K-1 K-1 Body K-1 + 28-105mm

20.3 mp 12 fps 4K

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

A9

42.4 mp 10.0 fps

GH5

EOS 1D X Mark II

Full Frame

5D Mark IV

From £749

Full Frame

7D Mark II Body

5D Mark IV

77D

77D Body £749 £664 Inc. £85 Cashback* 77D + 18-135mm IS USM £1149 £1064 Inc. £85 Cashback*

26.2 mp 6.5 fps

20.2 mp 10.0 fps 1080p

24.2 mp 7.0 fps

A7R III

36 mp 6.5 fps

EOS 6D Mark II

EOS 7D Mark II

EOS 80D

K-1

EOS 77D

D-Lite RX 4/4 Softbox Set £725

494RC2 ............................ £49 496RC2 ............................ £64.95 XPRO Ball Head 200PL... £94.99 327RC2 ............................ £169

RuggedWear:

F-5XB ......................................£69 F-6 ...........................................£79 F-803 .......................................£139 F-2 ...........................................£129

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NEXT ISSUE ON SALE 12 DECEMBER 2017

Improve your photos

WINTER WONDERLAND

THE FREEZING COLD CONDITIONS MAYMAKE ITONE OFTHETOUGHESTSEASONSTO HANDLE, BUTAS OUR GUIDE REVEALS, IFYOU’REWILLINGTO BRAVETHE COLD,YOU’LLDISCOVERWINTER OFFERSTHE POTENTIALTO CAPTURE INCREDIBLE IMAGES

Plus CAMERABUYERS’GUIDE

IMPROVEYOUR SKILLS

The second part of our major buyers’ guide looks at mirrorless models and DSLRs aimed at serious enthusiasts and professionals

Over 40 pages of essential advice and tutorials from leading experts aimed at helping you try out a range of new photo techniques

THE ULTIMATE DSLR?

Nikon’s D850 is the latest ultra-high resolution digital SLR to tempt enthusiasts and pros. We find out just how good it really is

ESSENTIALPHOTOADVICETO HELPYOU IMPROVEYOUR PHOTOGRAPHY


THE NEW PERSPECTIVE

I AM THE NEW NIKON FULL FRAME D850. The powerful combination of high speed and high resolution. With Nikon’s 45.7MP back-illuminated FX CMOS sensor and the speed of 9* fps shooting, the new D850 unlocks a new world of opportunity. Whether you’re shooting weddings or landscapes, commercial, sports or fashion, with ISO 64 to 25600, a class-leading optical viewfinder, 153-point AF, silent mode shooting, long battery life, 8K time-lapse** and full frame 4K UHD video, the D850 captures images and video you’d never have thought possible. Equip your new D850 with your prized NIKKOR lenses to capture more. Learn more at Nikon.co.uk *Requires the optional MB-D18 Multi-Power Battery Pack, EN-EL-18a/b battery, BL-5 battery cover and MH-26a charger. **Requires Interval Timer settings and 3rd party software.


PROFESSIONAL PHOTOGRAPHY THE ESSENTIAL HANDBOOK 2018


WELCOME CONTACT Produced by Digital SLR Photography Email: enquiries@dslrphotomag.co.uk Online: www.digitalslrphoto.com Subscription queries: 0844 249 0482 Facebook:www.facebook.com/ DigitalSLRPhoto Twitter: @DigitalSLRPhoto

EDITORIAL Editor Daniel Lezano daniel.lezano@dslrphotomag.co.uk

Art Editor Luke Marsh luke.marsh@dslrphotomag.co.uk

Contributing Editor Caroline Schmidt caroline.schmidt@@dslrphotomag.co.uk

Contributing Editor Jordan Butters jordan.butters@dslrphotomag.co.uk

Editorial Consultant Jo Lezano jo.lezano@dslrphotomag.co.uk

WELCOME! While it is true that professional photography can be a lucrative profession, the fact is it's never been more competitive. To be a success, not only must you be a first-rate photographer, you also need to be able to run a good business and know how to make the most of your resources. This free guide provides expert advice from several leading brands in the professional market, covering lenses and lighting kit to software and insurance. Using the information in this guide can help you save money, spend wisely and improve the success of your professional photography business.

ADVERTISING&PRODUCTION Commercial Brand Manager Alex Thomas alex.thomas@dslrphotomag.co.uk Phone: 01323 506391

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PUBLISHING Felix Dennis Founder James Tye Chief Executive Oicer Brett Reynolds Chief Operating Oicer Ian Westwood Group MD John Garewal MD Technology & Imaging David Barker Newstrade Director All rights in the licensed material belong to Felix Dennis, Halo or Dennis Publishing and may not be reproduced, whether in whole or part, without their prior written consent. Digital SLR Photography is a registered trademark. The publisher makes every efort to ensure the magazine’s content is correct. All material published in Professional Photography: The Essential Handbook and Digital SLR Photography is copyright and unauthorised reproduction is forbidden. The editors and publishers of this magazine give no warranties, guarantees or assurances and make no representations regarding any goods or services advertised in this edition. No responsibility can be accepted for images or correspondence lost or damaged in post or transit. To license this product, please contact Carlotta Serantoni on +44(0)2079076550;emailcarlotta_Serantoni@dennis.co.uk While every care was taken during the production of this supplement, the publishers cannot be held responsible for the accuracy of the information or any consequence arising from it. Dennis Publishing takes no responsibility for the companies advertising in this supplement. CONRADO/SHUTTERSTOCK

The paper used within this supplement is from sustainable fibre, manufactured by mills with a valid chain of custody. Professional Photography: The Essential Handbook 2018 is free with the December 2017 issue of Digital SLR Photography.

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018

5


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contents

what’s inside ExpErtadvicE for aspiring pros from sEvErallEading brands inthE photo industry

10 fujifilm medium-format has a newchampion in the 51.4-megapixel fujiilm gfx 50s

12 olymPus

14 sigma

16 tamron

fashion pro magic owen on hercreative vision & the olympus om-d E-m1 mk ii

photographerpaul monaghan gets his hands on the sigma sd Quattro h

is thetamron sp70-200mm f/2.8 divc usd g2 the ultimate telezoom forpros?

18 Profoto

20 datacolor

22 chillBlast

could the profotoa1 become the pro’s numberone choice ofportable lash?

shoot and print imageswith perfect colours using the spyder5capture pro

speed upyourimage editing using one ofchillblast’s powerful photo oc pcs

26 affinity Photo

28 macPhun

30 BamBridge

Edit on the gowithainityphoto, a powerful editing suite designed foripad

see howyou can create amazing hdr images usingaurora hdr 2018

looking to set upyourown business? bambridge ofers some essential advice

profEssional photography: thE EssEntial handbook 2018

7


Pro kit

Professional kit Usingthe rightgear can helPyoU stayahead ofthe comPetition. leading Pros & brands offeran insightintothe benefits oftoPgear

Professional PhotograPhy: the essential handbook 2018

9


PREMIUM KIT/Fujiilm GFX 50S

FujiFilm’s view oF the Future OpenyOureyestOagrOundbreaking systemdestinedtOdeliverOptimum medium-fOrmatqualitytOthemany, nOtjustthefew:the fujifilmgfX50s KEYSPECIFICATIONS imagesensor:g-format(4:3)CmOs(43.8x32.9mm) resolution:51.4-megapixels maximumimageresolution:8256x6192pixels ContrastAFsystem:9x13(117points)/17x25(425 points)singlefocuspointsandsixsizesoffocusarea lCDmonitor:3.2in2,360,000-dottiltingtouchscreen storage:dualsd(sdhC/XC) size(whD):147.5x94.2x91.4mm weight:825gincludingbattery&card/920gwithevf FujiFilm has long been on the frontline of innovation and following its success with its X-series mirrorless cameras, it has launched the incredible gFX medium-format system. its irst camera for discerning enthusiasts and professionals, the gFX 50s, is a 51.4-megapixel mirrorless marvel that returns Fujiilm into medium-format photography. so what are the perks of shooting mirrorless medium-format? For one: its sensor size. The Fujiilm g-format Cmos sensor is larger than full-frame, which means more space to pack in pixels for extraordinary image quality and level of detail. Paired with its outstanding X-Processor Pro imaging engine, it delivers outstanding resolution (51.4-megapixels) with exceptional tones and colour reproduction. at its very core, gFX 50s has been cultivated from 80 years of history and cutting-edge digital technology – when paired with high-performance gF lenses, it delivers a 14-stop dynamic range and incredible levels of sharpness that have already impressed many professional photographers in the commercial, fashion and landscape arena. its iso sensitivity is incredible – it handles

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noise unbelievably at higher isos and an extensive range of iso 100–12800 (extendable up to iso 102400). You can also perform in-camera Raw conversions to 8-bit TiFFs, perfect after processing using Fujiilm's unique in-camera Film simulation modes. Fujiilm led the way with ilm in the past, so it’s no surprise you can ind its still ever-so popular emulsions built-in to the gFX 50s. From the soft efects and radiant skin tones of astia, a favourite with wedding photographers, and the vivid colours of Velvia for landscapes to its neopan monochrome option that delivers ine texture, deep blacks and smooth tones, the gFX 50s ofers a wide choice. landscape and portrait photographers can also beneit from the gFX 50s’ cutting-edge shutter – the world’s irst focal-plane shutter speciically designed for medium-format mirrorless cameras. The quiet mechanical shutter can withstand up to 150,000 actuations, speeds of up to 1/4000sec and three shutter types, including electronic. Teamed with its six aF modes, 425 aF points and six diferent Focus area sizes, you’ll have every shooting scenario covered. a real perk for portrait and wedding photographers is the Eye Detection aF, which automatically detects and focuses on a face or eyes. Paired with its 3fps continuous shooting rate and you’ve more than enough to ensure you capture that perfect expression in sharp focus. You might expect the gFX 50s to be a

prOfessiOnal phOtOgraphy: the essential handbOOk 2018


ImaGe: WayNe JOhNS

Theultimatechoice ThelargesensoroftheGFX50S andFujinon'ssuperboptics deliverunrivalledimagequality. TakenontheFujiilmGFX50Swith FujinonGF110mmF2RLMWR.

cumbersome camera, but it’s actually on par with other high-end professional digital SLRs for size – surprising given its larger sensor size. Plus its mirrorless design means it weighs only 740g. Built from magnesium alloy, the body is weather-sealed at 58 points to achieve a high level of resistance to dust and moisture, meaning it’s equally capable on location as in the studio. Whether you get caught in a downpour, shoot in a rustic locale or temperatures as low as -10°C, you can be assured the performance of the GFX 50S will be the last thing on your mind. The GFX system may be new, but it’s not lacking in accessories or FUJINON lenses. Featuring a six-strong range of optics, with ive primes and a zoom, that cover focal lengths from 23mm to 120mm (135 equivalent: 18mm to 95mm), the GF lens range has plenty to ofer, with more to follow soon. The GFX 50S amalgamates the best of Fujiilm history with industry-leading digital technology – what more could you want? www.fujiilm-x.com

Wayne Johns Beauty & fashion photographer “TheGFXsystemhasreinventedmedium-format photography.Forwhatitofersinperformance andtechnology,youwouldn’texpectittobeso compact,lightweightorpricedsoreasonably.It’s size,form-factor,weight,amazingimagequality andcolouraccuracyisincrediblyimportantfor me–theGFX50Sdoesn’tdisappoint.Ishootabout 80%ofallmycommercialworkinthestudioonthe GFX.I’veusedmedium-formatformanyyearsand itsfocusing,speed,imagequalityandfunctionality isfargreaterthanmost.Itsbeautifularrayandevergrowingrangeoflensesisincredible–Iabsolutely lovetheGF110mmf/2RLMWR.Fujiilmcameras havealwaysdeliveredbeautiful,accurateskintones andtheGFXisnodiferent,whileitsdynamicrange isincredible.TheGFXsystemhasopenedupnew opportunitiesandFujiilmaremakingleapsforward thatothermanufacturersarenowherenear." www.waynejohns.com


PREMIUM KIT/Olympus OM-D E-M1 Mark II

AKindAMAgic! MixingavantgardestylewithselftaughttechniqueshasMadeMagic OwenOneOffashiOnphOtOgraphy’s MOsttalkedabOutcreatives PhotograPhy is an industry built on hard work, passion and experimentation and, in this sense, shares a number of parallels with fashion. But fusing the two genres needs something extra to make it a success – that sprinkling of stardust to make images stand out from the crowd. one photographer who’s well on the way to making this dream a reality is Magic owen. the 40-year-old creative explains how her journey to becoming one of the most talked-about fashion photographers in the UK started on the other side of the lens. “My irst experiences of photography were during my teenage years, when i did a lot of modelling. When i moved to the UK after studying at university, i met a photographer called Chris neville who introduced me to my irst camera, an olympus oM10 35mm sLr,” explains Magic, who preferred an organic teaching experience rather than learning from books. “he didn’t have to teach me how to take a good photo, i’ve always had an eye for framing and experimenting with angles, but he did teach me how to develop a ilm.” grasping the basics wasn’t a problem for Magic, but why was she drawn to fashion photography in particular? “it all came naturally to be honest. i know a lot about fashion and i seem to be able to predict upcoming trends before they happen. i spend a lot of time looking at fashion, hair trends and make-up… how can i not combine the two?” she explains. after years balancing a part-time job with her photography, Magic inally made the jump to being a full-time pro three years ago. Despite producing stunning imagery that more than holds its own among her peers and have featured in magazines like British Vogue, InCover and Jute, Magic confesses to being completely self-taught. “My brain somehow

12

Olympus Om-D E-m1 mark II theOlympusOM-de-M1 Markiisetsanamazingnew benchmarkfor photographerscravinga systemthatcandeliver easeofuse,portabilityand professional-levelresults. whetheryou'reapassionate enthusiast,readytotaketheirst stepsonthefashionphotographyladderor anexperienceproshootingonassignment,the OlympusOM-de-M1Markiiwillhelpyoucapture stunningresults.featuressuchasthebeefy 20.4-megapixelMicrofour-thirdsensorhelp deliverimagesrichincolouranddetailthatwill leavepictureeditorswiththeirjawsopen.theaf systemboasts121hyper-sensitivecross-type sensorsandcanshootatanincredible60 frames-per-second–idealforcapturingmoving sequences,suchasamodeljumpingintheair. withallthesehigh-endfeature,it’samazingthatthe OM-de-M1Markiiweighsinatonly500gramsand ofersweather-prooingsoyoudon’thavetostop shootingiftherainstartsduringanoutdoors fashionshoot.itcanalsotakebehindthescenes footagefromshootsinultrahigh-quality4kvideo. theOM-de-M1Markiiisapowerful,preciseand high-speedOM-dthatperfectlymeetstheneedsof modernphotographers.findoutwhysomanyare makingtheswitchat:www.itsnotyouitsme.co.uk refuses to learn all the technical terms. i am certainly not your typical photographer!” exclaims Magic, who reveals that the process of picture-taking starts long before pressing the shutter button, with meticulous planning, creation of moodboards, plus communication with models, make-up artists and hair stylists. a further confession reveals Magic keeps a tight hold on the reigns during shoots to help her ideas come to fruition; “i am a control freak, and as such i am the artistic director for all my shoots, paid and collaborations.” an exploration through Magic’s kit bag sheds light on what gear helps these visions translate into spectacular frames. at the heart of the set-up is the olympus E-M1 Mark ii,

prOfessiOnal phOtOgraphy: the essential handbOOk 2018


a tool Magic calls "the most conigurable camera in the world". Magic explains how the camera’s electronic viewinder helps capture results without the need for an additional light meter, and she’s also a big fan of the AF system too! “The autofocus is fast, accurate and, most importantly for me, the focus points cover the whole frame. The compact size of the E-M1 makes my life easier as I’m always crawling on the loor, or hanging from the ceiling – I need a pro camera that is light, compact with superb image quality.” Magic says her favourite optic is the M.Zuiko 12-40mm Pro lens, but there’s also a few more unusual items to be found in the kit bag, too. Along with spare batteries and SD cards, Magic often uses accessories like gels to add extra colour into a scene, or crystals to place in front of the lens to create quirky difraction efects. It’s this willingness to experiment with unusual kit (as well as styles) that has propelled Magic’s imagery to the next level. But while gear can help capture the image, it’s Magic’s imagination that is her most important tool.

WayneOwen Magic Johns Beauty & fashion photographer fashion photographer BorninFrance,butresidinginOxfordshire, MagicOwenisaprofessionalphotographerwho specialisesinhigh-endfashionandportraiturework foreditorialandcommercialclients.Magic’swork hasbeenpublishedinmanymagazines,including BritishVogue.Magicalsowon2014’steleAwardfor herfashionvideos.www.magicowen.co.uk “People always ask me how I came up with my ideas but my inspiration comes from everywhere. I just have visions and I have to materialise those visions and ideas through my camera otherwise my brain will not stop thinking about them – shooting portraits is a need for me, it is as important as breathing.” So what is Magic's advice to fashion photographers looking to follow in her footsteps? “Listen to your instinct, don’t be afraid to experiment and make mistakes and never compare yourself to others.”


PREMIUM KIT/Sigma sd Quattro series

ULTRA-HIGH A-HIGH RESOLUTION FROM AHIGH-PERFORMANCE CAMERA SIGMA’SLATESTGENERATIONFOVEON X3QUATTRO,THESIGMASDQUATTROH, ISTHEIDEALSTUDIOCAMERAFORTHOSE LOOKINGFOREVENHIGHERRESOLUTION THE NEW SIGMA sd Quattro series of digital cameras leverage the image quality of the Foveon X3 Quattro direct image sensor to build a complete system compatible with all of the Sigma Global Vision high-performance interchangeable lenses. The latest addition, the SIGMA sd Quattro H is the fi rst camera first to feature the newly developed APS-H size Foveon X3 Quattro direct image sensor—with incredible 51-megapixel-equivalent resolution. SIGMA’s cameras are known for producing amazing landscape images but they are also amazing devices to use as a studio or location camera, especially when using flash. Photographer Paul Monaghan has become known for his levitating images and photographic wizardry, earning the nickname as the Foveon Wizard. He has intensive experience using three generations of SIGMA cameras in the studio and explains how the latest model, the SIGMA sd Quattro H, is the best of them all! “Outside of the great build quality and ergonomics of the SIGMA sd Quattro H, the Foveon sensor renders colours and details unlike anything else I've used before due to the lack of Bayer interpolation. Skin tones look more natural and less blurred, fabrics render fine details with no false colour moiré and edges are more defined, giving depth and clarity. So much detail to an image in fact that the 25.6-megapixel sensor found in the SIGMA sd Quattro H can render detail similar to that of a 51-megapixel Bayer chip. “The SIGMA sd Quattro H ofers me greater flexibility with its ability to shoot tethered

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Quattropower!Thelatest SIGMAsdQuattrocameraisthe firsttoboastthenewly-developed APS-HFoveonX3Quattrosensor.

using the free SIGMA Capture Pro software. This capture software enables me to use my computer to control the camera, giving me full control with focusing and LiveView. Viewing images through SIGMA Photo Pro on a large screen helps to produce critical, detailed work and allows me to position the camera in places that normally would have been hard to operate. “When I combine this set-up with the camera’s SFD mode, it easily becomes the best studio camera I have used in my career. The SFD mode enables the camera to capture seven frames to create a new Raw file with more detail and colour when used in static scenes using continuous lighting. “The SIGMA sd Quattro H also provides creative freedom to experiment with bold and bright colours. My inspiration for this

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018


image was to combine studio lighting with movement and colour using dancer Sarah Reynolds as a model. I paired the SIGMA sd Quattro H with the SIGMA 35mm F1.4 DG HSM | Art lens and used an exposure of 1/200sec at f/1.4 (ISO 100). I used a wide aperture to keep the flash power down to shorten the flash duration and since I was in a studio I didn't have to worry about ambient light." “Shooting this was a lot of fun but very messy as you can imagine. It did take a few attempts to get the shot but the tethering

Poetryinmotion:Astunningimagecaptured byPaulMonaghan alongwithassistancefrommembersofCollectiveScotland.

feature let me work closely with my team and helped to coordinate the eforts of all involved. A special behind-the-scenes story on how I create this and other magical Holi powder images is available on the SIGMA Lounge section of the SIGMA UK website.” Formore on the GlobalVision range ofcameras & lenses visit:www.sigma-imaging-uk.com. Formore ofPaul’s images,visit:www.facebook.com/PMonaghanPhoto/


PREMIUM OPTICS/Tamron SP 70-200mm f/2.8 Di VC USD G2

PROFESSIONAL PULLINGPOWER VERSATILITY,SPEEDANDPERFORMANCE –TAMRON’SSP70-200MMF/2.8DIVCUSD G2ISAPROFESSIONALWORKHORSE SPECIFICATIONS Focallength(full-frame):70-200mm Focallength(APS-CCanon):112-320mm Focallength(APS-CNikon):105-300mm Aperturerange:f/2.8-22 Opticalconstruction:23elementsin17groups Angle-of-view:34°21'-12°21(fullframe) DiaphragmBlades:Nine Minimumfocus:0.95m Weight:1,500g(Canon);1,485g(Nikon) Fittings:Canon&Nikon ASK ANY PROFESSIONAL photographer to choose their workhorse telephoto zoom and the answer you’re most likely to get is a 70-200mm f/2.8. Whether shooting sports, wildlife, reportage, portraits or landscapes, the combination of telephoto reach and a fast maximum aperture makes the 70-200m f/2.8 an invaluable optic and Tamron’s premium second generation SP 70-200mm f/2.8 Di VC USD G2 is already winning over photographers from all walks of life. Building on the legacy of the original Tamron SP 70-200mm f/2.8, this model has a 70MM

16

100MM

lot to live up to, and yet somehow manages to improve on what many felt was the ultimate fast telephoto zoom. Featuring the same, sleek, matte-black metal barrel design as the rest of Tamron’s premium optics, the SP 70-200mm f/2.8 Di VC USD G2 ofers users a wide, rubberised zoom ring, allowing for fast, smooth and precise changes in focal length. A focus ring enables manual focusing when needed, complete with manual focus override, and a handy window gives a clear and accurate indication of focus distance – internal focusing ensures that the lens’s extension doesn’t change while zooming or focusing. The sturdy tripod collar is easily rotated to suit any camera orientation, while balancing the camera and lens nicely, and taking the weight of the camera’s lens mount. Tactile switches on the lens barrel aford the user control of focal distance range, switching between autofocus and manual focus, and turning Vibration Compensation (VC) on or of. There are three switchable VC modes, allowing the user to customise the behaviour of the VC system to suit the subject in question, and you needn't let inclement 135MM

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018

200MM


TOP TAMRON TECHNOLOGY

Above&below:TheversatilityoftheTamron'sfocallengthandits supremeopticalqualitymakesitagreatoptionforprofessionals.

weather get in the way, as the SP 70-200mm f/2.8 Di VC USD G2 features Tamron’s dustand weather-resistant sealing. Optical performance is second-to-none too, with Tamron’s wealth of innovative technology ensuring fantastic image quality. The combination of telephoto focal lengths and a fast maximum aperture makes the SP 70-200mm f/2.8 Di VC USD G2 the perfect lens for portraits with beautiful out-of-focus backgrounds. Nine aperture blades provide smooth, rounded bokeh, while advanced optics such as Tamron’s XLD (eXtra Low Dispersion) and LD (Low Dispersion) glass ensures that chromatic aberration doesn’t spoil the scenery. New eBAND ((Extended Bandwidth & Angular-Dependency) coating keeps flare and ghosting in check, helping you to capture pin-sharp images, even in tricky lighting conditions. You'll find you can also get up close and use the second generation’s shorter minimum focusus (down to 0.95m from 1.3m) for incredible detail.

VIBRATIONCOMPENSATION(VC)Withuptofive stopsofshakereductionandoferingthreediferent VCmodestosuitthesubject,Tamron’sVibration Compensationtechnologyisthebestinclass. EXTRALOWDISPERSON(XLD)XLDoptical elementsensurethatchromaticaberrationis eliminatedacrosstheframe,retainingimage qualityandsharpnessfromedgetoedge. EXTENDEDBANDWIDTH&ANGULARDEPENDENCY(EBAND):Thisadvancednanostructuredlenscoatingcoupledwithmulti-layer coatingsunderneatheliminatesflareandghosting whenshootingtowardsabrightlightsource. ULTRASONICSILENTDRIVE(USD): Apowerful andquietautofocusmotorcapableofquicklyand accuratelytrackingmovingsubjects,whileallowing fulltimemanualoverrideforultimatecontrol. TAP-IN:CustomiseyourlenswithTamron’s TAP-inconsole–updatefirmware,changelens preferencesandcreatecustomautofocussettings withthisUSB-connecteddevice(soldseparately). Consistently sharp images are what every photographer strives for, and those shooting moving subjects will be pleased to hear that the SP 70-200mm f/2.8 Di VC USD G2 boasts USD (Ultrasonic Silent Drive) technology to ensure fast and accurate autofocus, while Tamron’s Vibration Compensation ofers an equivalent five stops of shake reduction – there’s even a VC mode to suit panning, so sports photographs can capture dynamic images with background motion blur. Alongside the wide f/2.8 aperture, Vibration Compensation also helps when shooting handheld in low light, so you can maintain a low ISO for maximum image quality. No matter what you chose to focus on, if you’re looking for a fast, versatile and professional premium telephoto lens, then the Tamron SP 70-200mm f/2.8 Di VC USD G2 ofers incredible value and performance – give it a try and we think it’ll soon become your go-to workhorse lens too. www.tamron.co.uk


PRO LIGHTING/Profoto

PROFOTOA1:THEWORLD’S SMALLEST STUDIO LIGHT THENEXTGENERATIONOFPORTABLEFLASHFORPROFESSIONALS PROVIDESUNRIVALLEDPOWERANDPERFORMANCE KEY SPECIFICATIONS: A1 AIRTTL Maxenergy:76W/s Energyrange:Ninef/stops(2.0-10) EnergyrangeHSS:Ninef-stops(2.0-10) Modelinglighttype:LED Batterycapacity:Upto350fullpowerflashes Batterychargingtime:Upto80minutes Size:108x75x165mm Weight:560g(includingbatteries) THE PROFOTO A1 might be the smallest fl flash ash Profoto has ever made, but it’s still built to the same impossibly high standards it has used over the last fifty years. The focus with the A1 was to create a fl ash flash that delivers a truly high quality of light, which is why it features a round head that delivers light that’s both natural and beautiful with a pleasing soft-smooth fall-of fall-of,, that blends seamlessly with the ambient light. Thanks to a smart magnetic mount built into the head, light shaping tools and modifiers can be clicked on and of quickly and easily. Within seconds you’re being creative with light, shaping it. It also has a zoom function that allows you to make fine adjustments to the spread of light by simply twisting the zoom ring on the head, and for accuracy it has a modelling light built-in to the head – so you can see what you’re going to get before you press the shutter. Profoto made it ther mission to make A1 the first on-camera flash that’s easy to use from the box. The user interface is simple and intuitive with a large high-contrast display at its center. The less time you spend learning and fiddling, the more time you’ll spend shooting. And that’s ultimately what counts. Despite its size, or lack of it, the A1 punches

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Itssmallsizehidesaflash capableofincrediblepower. It'stheultimateportable lightingsolutionforpros.

above its weight in several key areas. Battery life is key when a photographer is right in the thick of the action, because the last thing they need to have to stop midflow to change the batteries. The A1 has its own Li-ion high capacity battery built-in, which lasts up to four times longer than AA batteries with no performance fade. So, you can shoot for longer with confidence. And this is a flash that can keep up with you because it recycles four times faster than other on-camera solutions – that’s every 1.2 seconds at full power. Put simply, you can fire away and never miss a shot. And while it’s true to say the Profoto A1 is the brand's very first on-camera solution, it’s also just as efective of-camera as a standalone unit, and integrated into a larger system of lights. That level of versatility is possible because Air Remote is built-in, which

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018


means the A1 ofers seamless connectivity with freestanding lights like another A1 or bigger Profoto lights like the B1X. And with AirTTL you’ll get a perfect exposure super-fast. Better still, you can lock the exposure with a single ‘click’ while still being free to ine tune that exposure in manual, giving you even greater control. So, this is so much more than Profoto's smallest lash yet. This is shooting on the move, shooting with conidence and shooting with light shaping excellence. This is shooting of-camera and for the irst time with Profoto, on-camera. This is the Profoto A1 – the world’s smallest studio light. Forfurtherdetails,visit:www.profoto.com/a1

Features at a glance Roundheadwithsoft,smoothandnaturalfall-of AirTTLandHSSforabeautifulproimagesfast Magneticclick-onmountforLightShapingTools FivededicatedA1LightShapingToolsavailable LEDmodelinglightintegratedtothehead AirRemotebuilt-in RechargeableandexchangeableLi-ionbattery 1.2secsrecyclingtime TTL/MANswitch Builtinmotor-zoomwithhandcontrol Autofocus(AF)assist Largehigh-resolutiondisplay SupportforCanon&Nikon(Sonytofollow)


PRO CAPTURE/Datacolor Spyder5CAPTURE PRO

SHOWYOURTRUE COLOURS WITHTHE SPYDER5CAPTURE PRO DATACOLORPROVIDESARANGEOFSOLUTIONS DESIGNEDTOHELPYOUCAPTUREANDCREATE IMAGESWITHPERFECTCOLOURS SPYDER5CAPTURE PRO is the ultimate bundle that provides all the essentials needed to manage colour from capture to editing in your photography workflow. Calibrate the AF of your camera and lenses with SpyderLENSCAL, use SpyderCUBE to control contrast and White Balance, control colour balance with SpyderCHECKR, and calibrate your monitor with Spyder5ELITE. www.datacolor.com/dslr-phot-hb

WHAT DO YOU GET IN SPYDER5CAPTURE PRO?

SPYDERLENSCAL SpyderLENSCAL provides a fast, reliable method of measuring the focus performance on your camera and lens combinations. To ensure that your lenses are working at their peak performance, it aids in correcting the autofocus on your camera and lens combinations, then stores them in your camera’s custom settings. This device is compact, lightweight and durable, with integrated level and tripod mount.

SPYDER5ELITE Spyder5ELITE is the ultimate colour accuracy solution. The software is designed for calibration perfectionists with wizard or expert mode, unlimited calibration settings, and advanced grey balancing. Room light monitoring determines optimal monitor brightness, ensuring your edited images match your prints. See a 'Before & After' evaluation of your calibration results using your own images in full screen mode.

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PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018


Spyder5CAPTUREPRO:Ensureimagesboasttheultimate sharpnessandperfectcoloursbyusingSpyder5CapturEprO.

SpyderCUBe SpyderCUBE is the portable solution for photographers to provide references to set White Balance, exposure, and black level. It takes the complexity out of image editing by using common tools found in colour-managed applications. Simply take a reference shot with the SpyderCUBE under each unique lighting condition, adjust, save, and apply to the entire series of photos.

SpyderCHeCKr SpyderCHECKR allows photographers to colour calibrate their cameras, perform precision in-camera white balance, record known-colour samples, and obtain consistent accurate colour within a standard RAW processing worklow. For day to day and camera to camera, a custom camera proile provides a more accurate colour reproduction in your images.


COMPUTERS/Chillblast

THE ULTIMATE EDITING WORKSTATION DISCOVERWHYCHILLBLAST PCSOFFERTHEULTIMATE PERFORMANCEFORPHOTO ANDVIDEOEDITING BUYING A NEW PC for editing could be one of the most expensive purchases you make this year, so getting it right and choosing the best tool for the job is extremely important. Many professional photographers and editors end up being overwhelmed at the sheer amount of choice available when it comes to choosing a PC, and end up retreating to the relative simplicity an Apple Mac Pro afords, when in reality this usually isn’t the best option for them (see our panel on Mac vs PC!). The Mac Pro is still using technology forged in 2013. When compared to the latest Intel ‘Skylake X’ and ‘Cofee Lake’ architectures employed in PCs, this leaves much to be desired. Indeed, an entry-level Mac Pro costing £700 more than Chillblast’s flagship ‘Photo OC VIII’ PCbased system ofers half of the performance in video editing and rendering, and 50% less performance in Photoshop or Lightroom. With two simple systems in the range, choosing a Chillblast photo-editing PC is no more diicult than choosing a Mac. Those looking for an afordable solution are well served by the £1,500 Photo OC Lite IV. This system certainly isn’t light in specification, with the brand new six-cored Intel Core i7 8700K CPU, 16GB of 2400MHz DDR4 RAM, an NVIDA GeForce GTX 1050 video card and an ultra-fast 256GB M.2 solid state drive. Technical gobbledegook aside, that adds up to a system that’s up to 40% faster than the Mac Pro and costs half as much. Upping the budget brings the flagship Chillblast machine

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Above:ChillblastofersarangeofphotoeditingPCsboasting incrediblepowerandvalue-for-money.Aboveright:Alookinside theChillblastPCsrevealstheircuttingedgetechnology.

into contention. This system has double the cores of a ‘normal’ Core i7 computer and that makes it a monster for both photo and video editing workloads. It serves up rendering and video editing performance almost double that of the £3,000 Mac Pro, yet costs £700 less. As well as great performance, a great operating system underpins modern PCs. Windows 10 is every bit the match of Mac OS when it comes to stability, security and speed, yet ofers a vastly larger software library and enhanced convenience thanks to features like Cortana personal assistant, biometric logins and better multitasking features. And yes, the start menu is back. All Chillblast workstations are underpinned by the industry’s best warranty; a five-year package with two years collect and return and lifetime UK-based phone support, so if you need help in your transition to the Windows platform, Chillblast is ready to lend a hand. www.chillblast.com

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018


Chillblast\ COMPUTERS

MAC VS PC IN NUMBERS ItiseasytobedrawninbythesveltelinesoftheAppleMacPro,butunderpinningthisunquestionablyattractivecomputer liesPCarchitectureseveralgenerationsbehindtheChillblastPhotoOCVIII,asthedetailscoveredbelowreveal. AppleMacPro

ChillblastPhotoOCVIII

Difference

CPU Cores

6x Intel'IvyBridge-E'cores (2013 specifications)

8x 2017 Spec Intel'Skylake X' cores (2017 specifications)

Up to 40% faster

CPU Clock Speed

3.5GHz

4.3GHz

23%

Memory

16GB

32GB

100% more

Storage

256GB SSD

256GB SSD + 6TB

6TBAdditional

Graphics

2xAMD Firepro D500 3GB

1x GeForce GTX 1060 6GB

4x faster

Price

£3,000

£2,300

£700 cheaper

RelativeAdobe Photoshop performance (transform, resize, filter, edit batch run)

33 seconds

22 seconds

50% faster

Relative Blenderperformance

501 seconds

255 seconds

96% faster

TheApplesystemevencomparespoorlytotheentry-levelChillblastphotoeditingoption,whichcostshalfasmuch. MacPro

ChillblastPhotoOCLiteIV

Difference

CPU Cores

6 x Intel ‘IvyBridge-E’Cores (2013 Spec)

6 x 2017 Spec Intel ‘Cofee Lake’Cores (2017 Spec)

Up to 15% faster

CPU Clock Speed

3.5GHz

4.8GHz

37%

Memory

16GB 1866MHz

16GB 2400MHz

29% faster

Storage

256GB SSD

256GB SSD + 2TB

2TBAdditional

Graphics

2xAMD Firepro D500 3GB

1x GeForce GTX 1050 2GB

2x faster

Price

£3,000

£1,500

£1,500 cheaper

RelativeAdobe Photoshop performance (transform, resize, filter, edit batch run)

33 seconds

26 seconds

26% faster

Relative Blenderperformance

501 seconds

357 seconds

40% faster


#ITSNOTYOUITSME

I NEED MORE STABILITY Photographer: Gabrielle Motola gabriellemotola.com,

gmotophotos

TIME TO BREAK-UP WITH YOUR OLD DSLR? 5-Axis Image Stabilisation Re-developed exclusively for the E-M1 Mark II, the image stabilisation mechanism provides up to 6.5 shutter speed steps of correction performance for reliable camera-shake compensation. Find out why so many are making the switch at:

itsnotyouitsme.co.uk


Pro Advice

Software &ServiceS EnsurEyou makEthE mostofyour imagEsand maximisEthE potEntial foryour photographybusinEss using EssEntialadvicE from ExpErts

profEssional photography: thE EssEntial handbook 2018

25


PRO EDITING/Affinity Photo

AFFINITY PHOTO FOR IPAD TAKEYOURFULLEDITINGSUITEWITHYOU, WHEREVERYOUGO.AFFINITYPHOTOFOR IPADISTHEULTIMATECREATIVETOOL… SPECIFICATIONS Price:£19.99 Systemrequirements:iOS10.3orlater Compatibility:iPadAir2,iPad2017, iPadPro:9.7in,10.5inand12.9in. AFFINITY PHOTO HAS already captured the attention of enthusiast and professional photographers around the world with its desktop image editing application for Macintosh and Windows. Now its available as a powerful and intuitive iPad application too. When it comes to tablet-based editing software, we’re accustomed to receiving watered-down and compromised versions of the desktop stablemates, often making them adequate for performing simple edits, but less useful for detailed editing or perfecting high-quality images. This is definitely not the case when it comes to Ainity Photo for iPad. Open the software and both existing Ainity Photo users or newcomers will feel instantly at home in the slick and spacious interface. For those new to Ainity, the best place to start is in the included interactive introduction and tutorial videos. These are embedded into the app, and cover everything from brushes to selections, layers and adjustments, so there’s no need to head to YouTube to swat up before getting hands on! If you prefer to dive in, the interface is intuitive and well laid out. Ainity Photo manages to pack in lots of features without feeling cluttered or overwhelming, thanks in part to its diferent ‘personas’. These are Ainity’s individual workspaces for diferent editing disciplines, for example: the Photo persona ofers tools that are specific to photo editing, while the Selections persona allows to you make quick and accurate selections. Plus, if you need a little help, there are tool tips that can be switched on and of in a single tap.

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Ainity Photo is designed specifically for the iPad and, as a result, performing edits and adjustments using the touch interface has never felt so right. You can do this using your fingers, the Apple Pencil or both for a spot of speedy ambidextrous editing with MultiTouch gestures! In fact, whether you’re dodging and burning to make selective contrast adjustments, or revealing or hiding layer masks when making composite images, using touch to do so is infinitely more intuitive than using a mouse or trackpad has ever been. The interface now supports a new portrait orientation too, so working on portrait-format images is even easier, plus you can rotate your iPad freely to approach the image from diferent angles. There’s no reason that Ainity Photo for iPad wouldn’t be your main image editing software, rather than the software you use when you’re not near your computer.

POWER,SPEED&PERFORMANCE

All of the editing tools and features that Ainity Photo for iPad packs in are backed up by some impressive processing power, allowing for functions that were previously only possible in desktop software. In fact, pretty much anything that you can do in Ainity Photo for desktop, you can also do on your tablet. Want to edit Raw files on your iPad? Ainity for iPad can do that. Nondestructive 32-bit editing? No problem. Support for all of the main colour spaces, PSD, PNG, JPG, TIFF, EPS, PDF and

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018


WHY USE AFFINITY PHOTO FOR IPAD?

SVG file types, HDR merging, focus stacking, panorama stitching, 360° photo editing – you name it, Ainity for iPad can handle it.

CROSS-PLATFORM&CLOUDSUPPORT

Two of the most convenient features of Ainity Photo are its cross-platform support and cloud integration. The cloud functionality not only makes accessing and importing your images from iCloud, Dropbox or Google Drive easy, but the cross-platform editing means that if you want to start processing your images on your iPad and finish them on your Mac or Windows computer later on, or vice versa, Ainity allows you to do so – you save the file on one platform, and open it on the other with everything intact, right down to your Undo history! This makes Ainity Photo for iPad invaluable for those who edit on the move. ainity.serif.com/photo/ipad

NONDESTRUCTIVEEDITING:Edityourimages nondestructively,aswellasapplyfilterlayersand popularadjustmentssuchasLevels,Curves,Black& White,WhiteBalance,andShadowsandHighlights. EASYSELECTIONS:Whethermaskingoutasky manuallyusingtheintuitivetouchcontrols,or selectingindividualstrandsofhairusinganyoneof theautomatedselectiontools,makingpixel-precise selectionsissimpleinAinityPhoto. REAL-TIMEEFFECTS:AinityPhotoappliesfilters andefectsinreal-time,allowingyoutofine-tune theefectasyouseeit,withouttheagonisingwaitfor ittorender.What’smore,allfilterscanbeused nondestructivelytoo,sotheycanberevisitedand tweakedatanytime. INPAINTING:Removingunsightlyorunwanted distractionshasneverbeenthisquickoreasy.The Inpaintingtoolusessurroundingpixelinformationto seamlesslyremoveanyobjectsorareasyouselect. THEREARENOLIMITS!Performingcomplex exposureblendinghasneverbeensoeasy.Merge multipleexposuresandutilisetone-mapping controlsforHDRimages,stitchtogetherpanoramas orfocus-stackimageswithease. Plusthere’sfull supportfor360°imageeditingtoo.


Software/Macphun Aurora HDR 2018

reAlistiC Hdr mAde eAsy! IntroducIngthelatestversIonoftheworld’smostadvancedhdrphotoedItor Using HigH Dynamic Range (HDR) processing techniques allows photographers to recover shadows, balance out highlights and overcome diferences between what a camera captures and what the eye & brain see. and macphun, one of the world’s leading developers of consumer and professional photographer software, has set the standard for the number one HDR photo editor for macs in the world with aurora HDR. The concept of HDR itself is straightforward and involves taking multiple shots of the same image (each captured at a diferent exposure value), so that you have a good representation of how the image appears to you in real life. Though the idea may seem simple, the software required to post-process the best results must be powerful. That’s where aurora HDR 2018 comes into play – and it’s revolutionising the HDR editing game. co-developed with world renowned HDR photographer Trey Ratclif, the long anticipated aurora HDR 2018 is now available for both mac and Pc. With it, comes a completely Below:aurorahdr2018isidealforrevealingdetailinimagesby removinghazeandmaximisingtheimage'sdynamicrange. Aboveright:addingsaturationiseasywithaurorahdr2018.

PROVEN BY THE PROS TreyraTcliff:Co-developerofAurorA Hdr,pHotogrApHer,pioneerinHdrwitH over16millionfollowers “AuroraHDRisthebestsoftwaretocreate amazingandvibrantHDRimages.” ScoTTKelby:pHotogrApHer,eduCAtor, president&CeoofKelByone “ThisisaneweraofHDR,andAuroraHDR 2018isthetoolthat’stakingusthere.” Sergeramelli:pHotogrApHer&eduCAtor “IabsolutelylovethenewAuroraHDR 2018.It’ssomuchfasterandthenew interfacelooksreallyincredible.” new user interface, speed improvements, a revolutionary tone-mapping algorithm and a wide assortment of exciting new tools. The new HDR Enhance ilter adds details and clarity to images and makes them more vibrant without creating artiicial halos or ‘overcooking’ the result. The new interface brings an eicient and enjoyable experience

before

afTer alik gRiffin

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professIonal photography: the essentIal handbook 2018


DmITRy SyTnIk

before

AfTer

to HDR photo editing, which, alongside the speed improvements, makes the worklow faster, allowing less time spent behind the computer and more time spent exploring new scenes and experiences with your camera. Whether your style is realistic or ultracreative, Aurora can become your one-stop

POWERFUL & FAST RESULTS RevolutionaryToneMapping LensCorrection&TransformTool Dodge&BurnTool SmartHDREnhanceFilter ModernUserInterface TouchBarsupportforMac NewStructureAlgorithm AdvancedRawhandling Non-destructiveEditing

solution, equipped with all the tools you need to not only merge photos, but to edit them as well. It serves as a plug-in or standalone and can work with both brackets and single shots. With Aurora HDR 2018, you’ll be able to make photos that it your own style and unique vision. Whether you’re a seasoned professional or just getting started, Aurora presents an innovative software designed for everyone. From landscape and travel, to cityscapes, macro shots, architecture, interior scenes and more, there are endless possibilities to create, your HDR masterpiece with Aurora HDR 2018. www.aurorahdr.com

ThreeUsefUlTipsforAUrorAhDr

1) Try Aurora HDR on your single shots. 2) Try HDR Enhance Slider to enhance the details and to get the clear, more sharp look. 3) Use Layers for local enhancements.


BUSINESS MATTERS/Bambridge Accountants

ASTEP-BY-STEPGUIDE TOSETTING UPYOUR PHOTOGRAPHYBUSINESS WHENYOUBECOMETHEOWNEROFAPHOTOGRAPHYBUSINESSYOU ARENOTJUSTAPHOTOGRAPHER.YOUAREALSOACEO,AMARKETING DIRECTOR,ACHIEFOFFINANCEANDPRETTYMUCHEVERYOTHERROLE YOUCANTHINKOF. BEINGAWAREOFTHESTEPSYOUMUSTTAKETOSET UPYOURPHOTOGRAPHYBUSINESSLEGITIMATELYANDYOURTAX OBLIGATIONSTHEREAFTERISIMPERATIVEFORYOURBUSINESS’SSURVIVAL BAMBRIDGE ACCOUNTANTS ARE a team of award-winning, chartered accountants based in Covent Garden. With over ten years experience specialising in accounting for Creative Industry Professionals, including many photographers, Bambridge Accountants truly are the experts in your field and know all of the tax exemptions, reliefs and obligations relevant to the photographers' industry. STEP 1: REGISTERWITHHMRC As soon as you begin trading freelance the HMRC regards you are a sole trader. At this point you should register with the HMRC as self-employed, and for Class 2 National Insurance Contributions (NIC). It takes the HMRC ten days to process and complete your registration. Once the registration is complete the HMRC with send you your Unique Tax Reference (UTR) number, this is the number that the HMRC use to identify you. If you are self-employed and have not yet registered as self-employed, go to the link below: www.gov.uk/new-business-register-for-tax STEP 2: RECORDINCOME&EXPENSES When you commit to being a self-employed photographer, you are also committing to keeping proper accounting records. The records are then analysed to make up your tax return. These documents must be fit for HMRC inspection at all time – therefore need to always be kept up to date. Income: It is essential that you document your income not just for your end of year tax

30

return. Keeping an accurate documentation of your income is also essential for other reasons, including when applying for a mortgage, loan or any other sources of credit. Find out more details on how to get a mortgage as a self-employed worker by visiting: www.bambridgeaccountants.co.uk/ blog/2017/8/12/how-to-get-a-mortgageas-a-self-employed-worker-or-freelancer Expenses: The law states that expenses are only claimable when: ‘wholly and exclusively incurred in the performance of the business'. However, the reality of claiming expenses can be a lot more intricate than it first appears. Many think that bookkeeping only plays an important role in avoiding a HMRC audit. Although it is true- properly kept records can keep the HMRC at bay – bookkeeping can also allow you to accurately portion your expenses as claimable expenses. For details on expenses as a photographer visit: www.bambridgeaccountants.co.uk/uk-tax-1/ 2017/10/11/expenses-for-photographers

PROFESSIONAL PHOTOGRAPHY: THE ESSENTIAL HANDBOOK 2018


Step 3: Knowyourtaxdates Missing tax deadlines can cause unneeded expense and stress. Listed below are the HMRC’s tax return deadlines: 31 October: Paper Returns All paper tax returns must reach the HMRC by midnight on 31 October. So for the 2016-17 tax year (ending on 5 April 2017) the deadline is midnight on 31 October 17. 31 January: Online Returns Any online tax returns must reach the HMRC by midnight on 31 January. So for the 2016-17 tax year (ending on 5 April 2017), you must ile your online return by 31 January 2018. 31 January: Tax Payments You must pay any tax you owe by 31 January following the end of the tax year. Payments on account are part-payments towards your next tax bill. You may not have to pay these – it’s dependant on the amount of tax due and the kind of income you receive. The HMRC will usually send you a ‘Self Assessment Statement’

that shows how much you owe, or you can check your tax bill online. 31 July: Second Payment on Account This is your deadline for making any future payments on account. For example, on 31 July 2017, you’d make your second payment on account for the 2016-17 tax year. Step 4: MiniMiseyourtax There are a number of methods you can employ to minimise your tax: Keep your receipts, so that you can claim these on your tax return at the end of the year. If you are going to buy a camera or any other photography equipment, try to do so before the end of the tax year (5 April) so that they can be claimed on your tax return. When you irst start out, it is normal to have more expenses than income. In this instance you can claim the expenses to reclaim the tax you’ve paid over the last three years. www.BambridgeAccountants.co.uk

Professional PhotograPhy: the essential handbook 2018

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