FIRST LOOK!

FREE RETOUCHING VIDEOS PANASONIC

OVER 60 MINUTES OF EXPERT GUIDES TO IMPROVE YOUR EDITING SKILLS LUMIX
G80
Practical advice for enthusiasts and pros

www.dphotographer.co.uk Issue 180

ARE YOU PLAN, SHOOT & EDIT

METERING COASTAL
CORRECTLY? LANDSCAPES
Find the light, shoot into the Sun and
Rediscover the essentials of exposure refine the frame with our expert guide

CANON NIKON
EOS-1D X D5 LEICA
MARK II M-D
TESTED &
RATED
STEPS FOR
AERIAL SCENICS
Shoot a stunning sunset with a drone
PERFECT HIGH-KEY
10 HABITS OF
SUCCESSFUL PROS

PRO SKILLS FOR

IMPROVE SKIN TONES
INVEST WISELY IN KIT

LIGHTING
PORTRAITS
ISSUE 180

Soft and hard light

Work with nudes
Use projectors
Pose couples
 Winner of the TIPA Award

Best Photo Lab Worldwide

Awarded by the editors of 28 leading international photo magazines
All prices include VAT. Shipping costs not included. All rights reserved. We reserve the right to change prices and correct errors.
Room: BoConcept. Pictured: 585833397@gettyimages. AVENSO GmbH, Ernst-Reuter-Platz 2, 10587 Berlin, Germany

Dont just take photos, show them o.

In gallery quality.
80 awards and recommendations. Made in Germany. Gallery quality trusted by
20%Voucher
21,500 professional photographers. Discover us at WhiteWall.com
Code: WW16DPHUK10
Valid until 31.01.2017
Only for first-time customers
WhiteWall.com Single use only. Cannot be combined.

Its little wonder that the human form has inspired
artists of all disciplines throughout the ages
One of the things that separates
humankind from other animals is
our degree of self-awareness.
We are able to reflect upon the
nature of our existence and all
that it entails, from our emotional
lives through to our physical form.
Its little wonder, then, that
the human form has inspired
artists of all disciplines throughout the ages. Creative
depictions of the body are as much about questioning
who we are and what it means to be human as they
are about celebrating and exploring the aesthetic
aspects. Starting on p30 of the magazine, youll
find our guide to capturing beautiful portraits of the
human form.
GET IN TOUCH Ask a question, share your thoughts or showcase your photos
@DPhotographer Tweet www.facebook.com/ Instagram:
your opinions or images and DigitalPhotographerUK @dphotographermag
see them printed Share your thoughts and shots Another way to follow us
WELCOME
Anton Belovodchenko
Youll discover how to use lighting and posing
techniques for truly stunning results, and youll also
learn some compelling creative approaches.
If youre a fan of coastal landscapes, youll want to
head to p40 of the magazine to read our pro guide to
the skills you need to master in order to produce the
best possible images.
Sometimes, its easy to overlook the basics of
photography, and thats why weve put together
some essential tips for metering. Youll find it on p50.
Elsewhere, youll find our usual wide selection of
shooting tutorials, editing tricks and reviews.
Dont forget to upload your own images to
dphotographer.co.uk until next time, enjoy the issue!
Matt Bennett, Deputy Editor
Email: Website:
team@dphotographer.co.uk Share your images for free at
Have the subject clearly marked www.dphotographer.co.uk
3
 Focal length: 90mm
Exposure: F/5.6 1/60sec

BUILT TO IMPRESS
A new range of prime lenses with advanced features
and craftmanship for the next generation
Perfectly balanced, lightweight design for sharpest images
and a beautiful bokeh even at maximum aperture

The VC-System (Vibration Compensation) makes it

possible to take photographs handheld in dim light
and to make optimal use of slower shutter speeds

For Canon, Nikon and Sony mounts

(Sony mount model without VC)

Di: For APS-C format and

full-frame DSLR cameras

SP 35mm SP 45mm SP 90mm SP 85mm

F/1.8 VC F/1.8 VC F/2.8 MACRO VC F/1.8 VC

www.tamron.co.uk
 SHOOT REPORTAGE
Imagine Publishing Ltd
Richmond House 33 Richmond Hill
Bournemouth Dorset BH2 6EZ
% +44 (0)1202 586200
Web: www.imagine-publishing.co.uk
www.dphotographer.co.uk
www.greatdigitalmags.com

Magazine team
Deputy Editor Matt Bennett
matt.bennett@imagine-publishing.co.uk
% 01202 586286
Production Editor Rachel Terzian
Reviews Editor Rebecca Greig
Designer Kym Winters
Photographer James Sheppard
Editor in Chief Amy Hennessey
Senior Art Editor Will Shum
Publishing Director Aaron Asadi
Head of Design Ross Andrews
Contributors
Mark Bauer, Jon Scott, Lauren Scott, Mark Scadding,
Will Paltridge, Peter Eastway, Simon Skellon, Matt
Golowczynski, Natalie Denton, Mark White, Steven Clarey,
Kevin Carter

Cover images
Main image Jack Hier
Inset landscape Mark Bauer

FileSilo.co.uk
Assets and resource files for this magazine can be found
on this website. Register now to unlock thousands of
useful files.
Support: filesilohelp@imagine-publishing.co.uk

Advertising
Digital or printed media packs are available on request.
Head of Sales Hang Deretz
% 01202 586442
hang.deretz@imagine-publishing.co.uk
Account Manager Luke Biddiscombe
% 01202 586431
luke.biddiscombe@imagine-publishing.co.uk

International
Digital Photographer is available for licensing. Contact the
International department to discuss opportunities.
Head of International Licensing Cathy Blackman
% +44 (0)1202 586401
licensing@imagine-publishing.co.uk

Subscriptions
For all subscription enquiries:
digitalphotographer@servicehelpline.co.uk

Mark Bauer
% (UK) 0844 848 8407
% (Overseas) +44 (0)1795 592 862
www.imaginesubs.co.uk
Head of Subscriptions Sharon Todd

Circulation
Circulation Director Darren Pearce
% 01202 586200
Production
Production Director Jane Hawkins
% 01202 586200
Finance
Our contributors
Finance Director Marco Peroni REBECCA JON MARK SCADDING
Founder GREIG SCOTT & WILL PALTRIDGE
Group Managing Director Damian Butt Website: Website: Website:
Printing & Distribution dphotographer.co.uk 500px.com/ dephotographic.com
Southernprint Ltd, 17-21 Factory Road, Upton Industrial JonathanJScott
Estate, Poole, Dorset, BH16 5SN
Whenever Rebecca The Double Exposure
has had a spare One of the great Photographic team
Distributed in the UK, Eire & the Rest of the World by:
Marketforce, 5 Churchill Place, Canary Wharf, London, moment from advantages of Mark Scadding
E14 5HU (www.marketforce.co.uk) her duties as the of modern and Will Paltridge are
% 0203 148 3300 magazines Reviews Editor over the digital technology is that it enables studio experts, and in this issue theyve
Distributed in Australia by: Gordon & Gotch Australia Pty last few weeks, shes been taking a photographers to capture images that written a guide to the difficult art of
Ltd, 26 Rodborough Road, Frenchs Forest, NSW 2086,
Australia (www.gordongotch.com.au) look at the skills involved in portrait would never have been possible before. producing successful images with high-
% +61 2 9972 8800 photography, focusing in particular on Drone photography is a good example, key lighting, explaining in six steps how to
Disclaimer the human form. Turn to p30 to read and on p58 Jon Scott demonstrates how create a compelling portrait. Head to p64
The publisher cannot accept responsibility for any unsolicited material
lost or damaged in the post. All text and layout is the copyright of Imagine
her feature. to capture a sunset. to read their advice.
Publishing Ltd. Nothing in this magazine may be reproduced in whole or part
without the written permission of the publisher. All copyrights are recognised
and used specifically for the purpose of criticism and review. Although the
magazine has endeavoured to ensure all information is correct at time of
print, prices and availability may change. This magazine is fully independent
STEVEN LAUREN MARK
and not affiliated in any way with the companies mentioned herein. CLAREY SCOTT BAUER
If you submit material to Imagine Publishing via post, email, social network or Website: Website: Website:
any other means, you automatically grant Imagine Publishing an irrevocable,
perpetual, royalty-free license to use the images across its entire portfolio, in stevenclarey.com laurenscott.info markbauerphotography.com
print, online and digital, and to deliver the images to existing and future clients,
including but not limited to international licensees for reproduction in international,
licensed editions of Imagine products. Any material you submit is sent at
One of the Freelance writer Mark Bauer is one
your risk and, although every care is taken, neither Imagine Publishing nor its
employees, agents or subcontractors shall be liable for the loss or damage.
toughest aspects and photographer of the industrys
Imagine Publishing Ltd 2016 ISSN 1477-6650
in photography is in Lauren Scott is a most respected and
capturing compelling regular contributor popular landscape
action images. Steven Clarey knows to Digital Photographer magazine, and photographers. Hes spent many years
plenty about this, and on p114 of the in this issue shes taken a look at the capturing the coastline near his Dorset
magazine he reveals some of the key principles behind metering. Turn to home and in this issue of the magazine
secrets of his success and explains why p50 to read her feature, while you can hes put together a guide to the some of
working with mirrorless cameras has also discover her advice for success as a the secrets of his success. Head over to
transformed his luggage. photographer on p72. p40 to discover his advice.

5
 YOUR FREE
ASSETS
10 Reader
showcase

40
Turn over to get hold
of your bonus Plan, shoot & edit
content coastal landscapes

Contents
Your Images Techniques
10 Reader showcase 30 Pro skills for
The pick of some of our favourite lighting portraits
images that youve taken Shoot incredible studies of the human
form with our in-depth guide

In Focus 40 Plan, shoot & edit

18 Story Behind The Still
Andy W Langton discusses his
compelling travel image
20 News
First looks at the Olympus OM-D E-M1
MKII, Panasonic LUMIX G80 and more
24 Red Bull Illume
We showcase the category winners
from the prestigious awards
coastal landscapes
Mark Bauer reveals the pro secrets
50 Master metering
A look at the essentials of exposure
Shooting Skills
58 Create a stunning
aerial coastal sunset
Learn how to use a drone in the field

104 Kit focus 64 Shoot a creative

Achieve the desired exposure effect high-key portrait
using variable ND filters Master this potentially tricky style

Go Pro Edit & Share

72 10 habits for success 70 Buy a pro printer
Discover the essential characteristics Photographer Peter Eastway explains
that can help foster a better career what features to look out for

76 Invest wisely in kit 66 Improve skin tones

Equipment can be a costly business, Banish red and blotchy complexions
so heres our common-sense advice using Photoshop

50
114 Pro Column 68 Create cinematic effects
Steven Clarey on capturing striking Discover how Lightroom can be used to Are you metering
action images with mirrorless cameras produce dramatic results
correctly?
6
 30 Pro skills for
lighting portraits

24
Red Bull
58
6 steps for
94
Leica
Illume aerial scenics M-D

Reviews
86 Head to head
86
Head to
head
We try to separate Canons EOS-
1D X Mark II and Nikons D5

94 Leica M-D
This intriguing new model is put
through its paces

98 Sony a68
Does this single-lens
translucent camera impress?

106 UV filters tested

We take a look at five models to Subscribe
see how they compare
and save

50%
108 Software
Our views on the latest editing
tools available to photographers
Turn to page 78, or go online
110 Accessories and buy direct from
A guide to some fun-yet-
functional kitbag extras
 Free with
your magazine
Instant access to these incredible free gifts
Photoshop and Exclusive Tutorial files and All of this
Lightroom assets video tutorials test shots is yours
Apply free actions and Improve your skills with Follow our tutorials and Over 60 minutes of in-depth editing
presets to your imagery in-depth editing videos analyse review results video tutorials including creative
Photoshop projects and
Lightroom tips
160 Lightroom presets
78 Photoshop actions
Our test shots from the
reviews section
Image files so you can follow along
with our tutorials

Log in to www.filesilo.co.uk/digitalphotographer
Register to get instant access Free
to this pack of must-have for digital
creative resources, how-to
readers too!
Read on your tablet,
videos and tutorial assets download on your
computer
 An incredible gift
for subscribers
The home of great
downloads exclusive to
your favourite magazines
from Imagine Publishing
Secure and safe online
access, from anywhere
Free access for every
reader, print and digital
Download only the files
you want, when you want
All your gifts, from all
your issues, in one place

Get started
Everything you need to
know about accessing
your FileSilo account
Unlock
every
issue

01 Follow the instructions

Subscribe today & unlock the free

on-screen to create an
account with our secure FileSilo
system. Log in and unlock the

gifts from more than 35 issues

issue by answering a simple
question about the magazine.

Access our entire library of resources with a money-saving

subscription to the magazine thats more than 2,000 free resources

Over 28 hours 750+ Lightroom 1,550+ editing

of videos presets actions
02 You can access FileSilo
on any computer, tablet
or smartphone device using any
Perfect your editing skills Transform your photos in Quickly enhance your
popular browser. However, we with our free guides Adobe Lightroom images in Photoshop
recommend that you use a
computer to download content,
as you may not be able to
download files to other devices.

Head to page 78 to subscribe now

03 If you have any
problems with Already a print subscriber?
More than
accessing content on FileSilo, Heres how to unlock FileSilo today More
take a look at the FAQs online
or email our team at the
Unlock the entire Digital Photographer FileSilo library with your
unique Web ID the eight-digit alphanumeric code that is 2000 reasons added
every
address below.
filesilohelp@imagine-publishing.co.uk
printed above your address details on the mailing label of your
subscription copies. It can also be found on any renewal letters. to subscribe issue
YOUR IMAGES: SHOWCASE

Freelance photograher Michael De Sanctis

discusses his need to capture colour and
beautifully backlit shots

10
 Walking
I saw this man who was walking
by bringing the bike and I took
[the shot] instinctively
All Images Michael De Sanctis

WIN! SAMSUNG 32GB

PRO PLUS SDHC
MEMORY CARD
Every issues reader showcase entry wins
a Samsung 32GB Pro Plus SDHC memory
card worth 50.99, boasting write speeds
of up to 90MB/s perfect for
DSLRs and 4K camcorders. To
find out more information, visit
samsung.com/memorycards.
For your chance to win,
share your photos
with us online at
dphotographer.co.uk!

11
YOUR IMAGES:
IMAGES SHOWCASE

Michael De Sanctis
Gallery name:
michaeldesanctis
Website address:
www.michaeldesanctis.it
Day job:
Freelance photographer

What is your long-term

photography ambition?
My ambition is the same as every
photographer: to one day be
remembered for what I have left and
maybe become very rich.
Above
Have you been interested in The moon
photography for long? on Termoli
My passion for photography was born Just after the
almost by pure accident. I have always sunset you should
been passionate in editing, and in always wait, because
order to improve my Photoshop skills I the sky can be
attended a course at the Roman School coloured in a lovely
of Photography in Rome about ten years manner, then the
ago. I can say with certainty that at that moon does the rest
precise moment my love for photography
Middle
was born.
The door
Can you explain your technique?
on the sky
I liked to imagine a
My photos are almost always marked
surreal scene with
by a backlight. I love photographing the
this door on the sky
sunset and the period of time before
and after, because the light is softer Bottom
and warmer. A very important thing Bath on
is to have an affinity with your own the sunset
camera and know its limits. One trick to The couple at sea,
photograph the backlighting is to read the waves and the
the display and find a medium between Sun setting may
the highlights and shadows in order to we ask for more?
balance the picture in post-production.
Opposite-top
How important is colour for you? The street cat
I love taking my photos in colour, I The scene was so
think many of them have their strength beautiful as it was,
from that. Taking pictures at sunset but that cat staring
means [it] would be impossible for me at me seemed
to communicate what I see in black to have posed,
and white. It is unquestionable that I [which] completed
increase the saturation of my photos in everything
post-production, but the colour is always
there [sometimes it just needs to be Opposite-bottom
enhanced]. Obviously, a photographer Termoli town
should know when its overdone and not A street of the old
fall into the grotesque. town of Termoli

What advice would you give to

aspiring photographers?
The advice I can give is to stop and
look, because there are certainly always
beautiful things to photograph even
where it seems that there is not. Go
out to photograph alone, not in groups.
Perhaps this is what makes our photos
unique and can give us a chance to better
capture what we are observing.

12
13
 YOUR IMAGES

Piotr Trybulowski
DP Gallery name:
Piotr
Image title:
Godrevy

Godrevy Lighthouse is located on a

rocky island about 300 metres from the
All images Piotr Trybulowski

peninsula Godrevy, at the eastern end

of the bay of St Ives, Cornwall. In 1988,
the lighthouse with the neighbouring
buildings was included on the National
Heritage List for England.

14
 TURN
TO PAGE 40
TO READ OUR
IN-DEPTH GUIDE
TO COASTAL
LANDSCAPES

15
 COMPETITION

ONE PERFECT SHOT

Your fantastic entries so far...
Last issue, we asked you to
send us your favourite image Emanuel Ribeiro
your one perfect shot and lots

2x Emanuel Ribeiro
After studying the place
of you have done precisely that. for a long period of time
Thanks to Vanguard, weve got and doing some test
1,035 worth of really great prizes to be shots, I finally decided to
go and shoot it.
won, with the competition winner set to At first it looked like the
receive the top prize bundle comprising sky wasnt going to help, but I decided
the Alta Pro 284CB 100 tripod with to wait and ended up getting the perfect
SBH-100 ball head (RRP 330), the time and shooting it.
new Alta Rise 48 bag (RRP 150), the
VEO AM-264TR monopod (RRP 80)
and 13 issues of Digital Photographer
magazine (RRP 65).
Alongside the winner, there will be
two runners-up who will both receive
the VEO 235AB tripod with TBH-50
ball head (RRP 135) and the VEO 37
camera bag (RRP 70).
The competition has now closed for
entries head back next issue to see
which of the many wonderful images
weve received triumphs to become our
Vanguard One Perfect Shot!

TOP
PRIZE! Derek Michalski
2x Derek Michalski As I turned round I saw
VALUED AT a head of a horse
625 emerging from across
the dune. I had only a
few seconds to change
the camera settings and
shoot. When the horse moved his head
back and looked at me I knew I had the
right shot.

TWO RUNNERS-UP WILL WIN

THIS TRIPOD AND CAMERA BAG

VALUED
AT 205
16
IN ASSOCIATION WITH

Benjamin Waller
Taken in North Leigh,

2x Benjamin Waller
West Oxfordshire, I
tracked this wild deer for
nearly two hours through
dense woodland. I closed
in on it through a neatly
planted evergreen forest where it posed
alertly for me before skipping away into
the countryside.

Mark Cornick
This had been a bucket
2x Mark Cornick list location for a number
of years before finally
being able to make the
trip earlier this year. The
conditions came together
nicely to capture some atmospheric
images, using a Lee Little Stopper to
create a two-second exposure.

17
IN FOCUS

STORY
BEHIND
THE STILL

Photographer: Andy W Langton

Website: www.andywlangton.com
Location: Jeju island, South Korea
Type of commission: Personal work
Shot details: Sony NEX-5N with an 18-55mm at f6.3,
1/200 sec, ISO 100

About the shot: This charming and quirky capture was

selected as the amateur winner of Age Internationals
recent photography contest, Strength For Life.
Sometimes getting a great picture isnt just about having
the right kit or the most accurate settings, and for
Andy W Langton this image was all about the relationship
he built and the story he wanted to tell. A lot of planning
went into this, including learning how to free dive before
the trip to Korea, he explains. Diving with them really
made the difference. I was then accepted, making
photography much easier. I was looking for an image
that would portray their love of the sea, friendship and
energy. Happiest in the water, it seemed the best way to
photograph these amazing women.
Langton continues, I used a Polaroid NEX-5
underwater camera case. By lifting the camera out of the
water and immediately pressing the shutter, I avoided the
water beading and blurring the image. To get more than
just headshots we found a rocky outcrop near the shore,
which enabled them to balance for long enough to stand
a little out of the water. Ja Kang Song is smiling as she
kept falling off the rock!
Fishing for abalone, octopus, oysters and sea urchins
and diving to a depth of 20 metres, they stay under for
an average of two to three minutes. The orange float
enables a collection net to be suspended underwater,
keeping the catch fresh as a days work can often last
for up to six hours. After learning about the women,
Langton says, I felt compelled to meet the Haenyeo
and in a small way tell their story through photography.
The women in this shot are 71 and 72 and this image
represents their personality and zest for life.

Right
Diving women
Winning the competition is a great
opportunity for me to showcase my
photography to a wider audience and helps
All images Andy W Langton

publicise these incredible women, showing

that age shouldnt limit what you can do

18
 STRENGTH
FOR LIFE
The image will also be part of
the Strength For Life exhibition
running from 29 September to 31
October 2016 at St Martin-in-the-
Fields, Trafalgar Square, London.
For more information head to
ageinternational.org.uk.

19
IN FOCUS
Fujifilm goes medium format
Has the popular manufacturer just announced a game-changer?
The development of the GFX has
been revealed. Its a medium-format
mirrorless digital camera system that
promises to deliver the highest image quality in
the history of Fujifilm, and is already being seen
as a bold game-changer. The camera signals
that the manufacturer is ready to appeal to a
different sector of the photo market.
The new series is very much aimed at
professional shooters who wish to create
stunning artwork with precise details the
large format enhances the new GFX 50S
cameras ability to capture texture and
detail, which couldnt be achieved by simply
increasing pixel count. The camera features a
large-diameter G mount and houses a big 43.8
x 32.9mm CMOS sensor. It should produce
quality imagery that will impress thanks to
the 51.4-million pixel count, which can be
20
adapted into a range of different aspect ratios,
including the default 4:3, 3:2, 1:1, 4:5, 6:7 and
6:17, all of which were available in large and
medium-format film cameras. Fujifilm says
that the camera will deliver superior sharpness
and image quality that will satisfy professional
photographers shooting commercial, fashion,
fine art and more. The inclusion of the Fujifilm
X-Processor Pro imaging processor should
ensure colour and tone reproduction performs
at an extremely high level.
The GFX 50S is much lighter compared to
traditional medium-format digital SLR cameras
and is far smaller in form. It follows the Fujifilm
X series in functionality with the inclusion of
numerous buttons and dials together with an
ergonomic grip. This new camera is Fujifilms
first to use a detachable electronic viewfinder,
which can be removed to make the system
A close race?
Will this new offering from
Fujifilm be a camera to rival
the Hasselblad X1D-50c?
The notion of digital, mirrorless,
medium-format cameras is
relatively new, with only the
recently launched Hasselblad
X1D-50c currently posing a threat.
It was announced by Fujifilm that
it is aiming for the GFX 50S to
come in under $10,000, and with
the Hasselblad X1D-50c priced at
around $9,000, they are in a very
similar bracket. The X1D-50c has a
50MP sensor and the new Fujifilm
GFX 50S houses a 51.4MP sensor,
so they are pretty evenly matched
in those terms too.
We havent yet had access to a
full specs list for the Fujifilm GFX
50S, so it is difficult to compare
the two just yet on that front.
However, with impressive features
such as a touch-enabled LCD
screen, Wi-Fi, a shutter speed
range of 60 minutes to 1/2,000sec
and an ISO ranging from 100-
25600 on the Hasselblad X1D-50c,
well be interested to see how the
GFX 50S really compares.
Left
Vertical battery grip
Released at the same time, the VB
grip will enhance functionality
lighter, and this also rotates. It also has a
vertically tilting LCD screen like the X-T2.
The GFX 50S will be introduced along with
six lenses in the Fujinon GF series, which
should increase the functionality of the new
system. The G mount has a short flange back
distance of 26.7mm to shorten the back
focus distance, which should help to prevent
vignetting for edge-to-edge sharpness. The
initial line-up is to include; a standard prime
GF63mm f2.8 R WR, a wide-angle standard
zoom GF 32-64mm f4 R LM WR, a mid-
telephoto macro 1:0.5 GF120mm f4 Macro R
LM OIS WR, a mid-telephoto GF110mm f2 R
LM WR, an ultra wide GF23mm f4 R LM WR
and a wide GF45mm f2.8 R WR lens.
This new GFX system will be available in
early 2017, with the lenses being released at
various intervals throughout the year.
First look at
the Sony a99II
We got our hands on the 42.4MP SLT model
Sony has been developing its
successful a7 series of cameras
recently, but it has just announced an
update to the a99, bringing this model back
into the limelight. The powerhouse SLT camera,
which employs a semi-transparent fixed mirror,
has been updated to have the same back-
illuminated, full-frame 42.4MP sensor found in
the a7R II a huge upgrade from the Mark 1s
24.3MP sensor. It comes without an optical low-
pass filter for enhanced sharpness and has a
standard ISO range of 100-25600 (expandable
to ISO 50-102400) for low-light shooting.
The camera has also had a major update to
its AF system, using two AF sensors to form a
Hybrid Phase Detection AF system: a 79-point
AF sensor and a 399-point focal-plane AF
sensor on the image sensor. It also can shoot
12fps or 8fps in Live View, and has five-axis
image stabilisation, so it could be a solid option
for action and low-light shooters. 4K recording
has been added with full pixel readout and no
pixel binning, so videographers could be looking
OM-D E-M1 Mark II hands-on
The update to Olympus popular CSC has arrived
at this one too. We cant
wait to test the camera in
these areas to see if we
recommend it to them.
During our hands-on time
with an early sample, it was
clear that the robust feel of
the a99 has been maintained
with this magnesium alloy body, although its
a touch smaller than its predecessor. Its
dust and moisture resistant and the three-
axis tiltable LCD monitor felt sturdy, but its a
shame it isnt touchscreen. Playing around in
the menus during our preview showed these
have been cleaned up somewhat, for example
including all the movie options in one screen.
The UK price is TBC but Sony has stated
3,600/$3,199 body only, and it should be
arriving with us to buy from November.
Top-right
A high-res view
The a99II has a 1.3cm electronic XGA OLED
viewfinder that has a 2,359,296-dot resolution
Capable of capturing 20.4MP RAW stills
at 18fps in continuous AF, the E-M1 MKII
is set to be fast, and its also capable of
60fps if you lock the AF. It has a new on-chip, phase-
detection AF system, with 121 all cross-type AF
points, and during our hands-on time it seemed to
be accurate, locking on quickly even in low light. The
EVF was also bright and clear, boasting a response
rate of 6ms and a frame rate of 120fps.
The robust body is splash-, dust- and freeze-proof
and is comfortable to hold, with a familiar menu and
button layout. It is able to shoot 4K movies up to
30p frame rate and has a Pro Capture mode, which
provides instant shutter response, recording up to
14 frames before the shutter release is fully pressed.
We liked what we saw in our preview but we cant
wait to test more, such as the five-axis IS system
and the promise of improved noise performance.
Pricing and availability has yet to be announced.
Left
Shoot for longer
The updated model comes with
two SD card slots and the battery
is said to last 40 per cent longer
21
IN FOCUS
Panasonic G80 roadtest
We took the brand-new CSC out for a hands-on first look
The new Panasonic Lumix G80 sits
above the GX80 in the Lumix line-up,
yet it shares the same 16MP sensor. It
also has no low-pass filter for sharper shots and
comes with five-axis Dual IS 2, which combines
in-body and in-lens image stabilisation to
reduce blur from your photos.
As well as Panasonics usual 4K Photo
options, the G80 also introduces 4K Photo
Bulk Saving. This allows you to save all frames
from your video as stills. It can shoot 9fps in
full resolution and economy mode lets you take
approximately 900 shots on one battery charge.
We recently got to take a pre-production
sample of the G80 out for a test, and while we
cant comment on image quality until we test
the final product, these are our initial thoughts.
The G80 uses Contrast AF with DFD
Technology and it seemed accurate and fast.
It is stacked with useful focusing options,
including Custom Multi, Face/Eye Detection,
Low Light and more.
It also comes with Post Focus technology,
which allows you to change your focus point
after you shoot. This now has a focus stacking
option, which worked well during testing.
Unlike the GX80s rangefinder style, the G80
opts for a DSLR-style look. In fact, its design
is very similar to the G7, with just a few minor
22
In other
news
More snippets of
photo news from
around the world
GOPRO INTRODUCE
HERO5 AND DRONE
The Hero5 line can auto-update
photos and videos to GoPro
Plus and is said to be the most
powerful GoPro ever. Karma is a
compact drone and includes an
image stabilisation grip. GoPro
says it features a painless out-
of-the-box experience unlike any
other drone on the market.
NIKON ADDS TO
KEYMISSON RANGE
Two new action cameras are
set to join the KeyMission 360,
launched earlier this year. The
KeyMission 170 and KeyMission
80 will introduce the user to new
ways of experiencing adventures,
according to Nikon, and all three
will be available from 31 October.
changes. You now get 4K Photo and Post Focus
options on the drive mode dial, which was very
useful for quick access. The grip is also deeper
than the G7s and it proved comfortable to hold
during our testing. Especially noticeable with
longer lenses attached, theres a wider gap than
youd find on the G7 between the grip and the
lens, giving your fingers better purchase.
The build quality felt high too, as the camera
Above
comes with a magnesium body on the front
Flash button
side as well as splash and dust proofing. It has a The button for
0.74x 2,360K OLED LVF and a free-angle 1,040K the flash was NEW ART LENS
FROM SIGMA
LCD touchscreen, and much like the rest of the easily moved
The 85mm f1.4 DG HSM Art will
by mistake, so
camera this screen felt of a sturdy quality. The be the ultimate lens for portraits
could do with and more, according to Sigma.
G80 is available now, body only for 699. being sturdier The wide aperture should please
portrait photographers that strive
Panasonic GH5 previewed
for attractive bokeh, and the
bokeh is so precise that you can
focus on the pupil of the subjects
The worlds first 4K 60p/50p video recording eye while blurring the eyelashes.
CSC featuring 6K PHOTO is on its way
Scheduled to become available early 2017, the GH5 will KEEP
feature Panasonics new 6K PHOTO an approximately INFORMED
18MP-equivalent still-image extraction from an ultra- For more news and
high quality video, which has around nine times higher updates, be sure to pay
a visit to our website, www.
resolution than Full HD. The new camera is said to be
dphotographer.co.uk, and
silent too, so we cant wait until it arrives so we can test
if youve got a story for
this, and more, for ourselves.
us, you can email us at
team@dphotographer.
co.uk.
 SHOWCASE
RED BULL ILLUME
A roundup of the category winners from the prestigious
photography awards
Photographer: Lorenz Holder Athlete: Senad Grosic Location: Gablenz, Germany
OVERALL WINNER & CATEGORY WINNER - MASTERPIECE BY YODOBASHI
Lorenz Holder, Germany
Website: lorenzholder.com
instagram.com/lorenzholder
Biography: I was a semi-professional
snowboarder back in the day, until I injured
myself badly and I pretty much had to quit
snowboarding for a whole season in 2003. In
that time I discovered the pleasure of photography.
I was fascinated by photos that could describe a
whole scene, a whole story or even a whole week in
just one small moment caught on film. This fascination
was one of the biggest motivations for me to start my
career as a professional photographer.
I like to show the viewers the beauty of the
environment where athletes perform. Im a huge fan of
landscape and architectural photography and I try to
combine those genres with action sport. I think a great
location is one of the key elements for a great action
picture. Right now I work as a staff photographer for
Nitro Snowboards.
24
Above
Camera: Canon EOS 5D Mark III
Lens: EF 24-70mm f2.8L USM
ISO: 500
F-Stop: 8.0
Shutter Speed: 1/640
The Shot: Senad and I were on the way to a different
location early in the morning, when we passed this
scenic spot. We saw a sign from the street and I had
some pictures in mind that Id seen from this bridge
on the internet. When we got there the Sun was just
above the trees and it was lighting up the full colour
spectrum of the autumn leaves in a very soft way.
One thing that was a little annoying was that the
lake was covered with leaves which had fallen from
trees, so the reflection of the bridge in the lake was
just not there. But sometimes you just need a bit of
luck I had been on a fishing trip some days before
and still had my fishing boots and a net in the car, so
[I] got the stuff and tried to clean the lake by hand.
It took a while until it was almost perfectly clean at
least where it was relevant for the picture. Luckily
the Sun was still very soft, so we had good light for
the shot.
Id chosen a very low camera position to get an
almost perfect mirrored scene on the water surface.
The bridge looked like a perfect circle and the light
was still very good. When Senad was on the bridge,
it took us two or three tries to get the shot. There
was also no more time for another try because the
wind came up and the perfect reflection on the water
was gone.
We jumped back into the car and drove towards our
originally planned spot. It was an awesome feeling to
have shot this picture with more or less pure luck.
 Photographer: Lorenz Holder Athlete: Senad Grosic Location: Senftenberg, Germany
CATEGORY WINNER
PLAY
GROUND

Right
Camera: Canon EOS 5D Mark III
Lens: EF 24-70mm f2.8L USM
ISO: 500
F-Stop: 6.3
Shutter Speed: 1/400

The Shot: I shot this unique location a couple of

months before this action shoot as a landscape
picture, because I just liked the whole structure and
the way it was integrated into the landscape. Its a
viewing platform made of steel that has rusted over
the years. You can walk up the stairs to enjoy the
view over the lakes that surround the area.
I knew somehow that there was the potential for
it to be a location for an action photo. My first idea
was to shoot snowboarding in it, but that was just
impossible because of the limited space. I almost
gave up on the idea, but then I bumped into Senad
Grosic in Berlin one day and we talked a bit about
sports and stuff. I showed him the landscape picture
and he told me that we need to go back there to see
whats possible.
So Senad and I took a road trip and drove all the
way to Senftenberg. We discussed and fine-tuned
a plan that would look rad on photo. Senad had the
idea to be dressed all white to give it more contrast,
because I didnt want to use flashes to keep the
structure as evenly lit as possible. The angle is almost
the same angle I chose for the landscape picture. Its
actually an architectural picture with the spice of
action sports in it.

Vegard Aasen, Norway

Photographer: Vegard Aasen Athlete: Unknown Location: Hakuba, Japan

Biography: I am 24 years old and

CATEGORY WINNER define myself as a student, skier, climber
MOBILE and photographer.
I started taking photos when I was a kid.
At first, I found macro photography fascinating
After a while, I bought a zoom lens and started taking
photos of birds and other animals. Later on, I started
skiing and climbing, and my photography went in
the same direction The last couple of years, I have
focused on filming and photographing skiing, climbing
and other action and extreme sports, as well as
landscape and nature.

Right
Camera: HUAWEI P8
ISO: 64
F-Stop: 2.0
Shutter Speed: 1/3200

The Shot: This winter some friends and I went

to Hakuba in Japan to ski some deep powder and
big mountains. The day this shot was taken was a
really windy one but the snow was still really good,
so we went out into the backcountry. One of my
friends brought his DSLR camera, so I decided to not
bring my camera because I wanted to ski instead of
taking photos.
We hiked for a while, and discovered a group hiking
across the ridge above us. The wind and the clouds
looked amazing, so my friend took out his camera and
started shooting. I hated myself for not bringing my
camera. Luckily I had my mobile phone in my pocket

25
 SHOWCASE

Dean Treml, New Zealand

Photographer: Dean Treml Athlete: Jonathan Paredes Location: Copenhagen, Denmark

Website: treml.co.nz
facebook.com/deantreml
instagram.com/deantreml

Biography: I like carrying a small kit and

not worrying about lots of gear slowing me
down my mindset is to try and give an
inside perspective of any sport or event I
cover and tell a story, particularly the personal human
element. Im not a big fan of preconceived ideas I
enjoy the challenge and buzz of just turning up to
shoot a different sport or event, regardless of the
location or conditions, and adapting. Ive been working
as a photographer for nearly 30 years now Ive
been really fortunate that its introduced me to some
amazing colleagues, taught me about journalistic CATEGORY WINNER
integrity [and] shown me the world, from shooting ENHANCE
Olympic Games to international rugby amidst a
crowded stadium, to a lonely skateboarder trying to
nail a kick-flip or kids playing football in a slum.

Top the small form of the diver and the huge cantilevered The Shot: I travelled to kayaking mecca Norway for
Camera: Canon EOS 5D Mark III roof dominating the frame, and even discussed it a few days to shoot and hang with my Kiwi mate Ben
Lens: EF 70-300mm f4-5.6L IS USM at the time with my wife (the photographer Romina Brown, one of the worlds most prodigious adventure
ISO: 400 Amato) who was also there. kayakers. As fate would have it he dislocated his
F-Stop: 5.6 As I am editorially focused the integrity of the shoulder the day I arrived, but luckily he was
Shutter Speed: 1/4000 image is paramount, so the platform stayed, but while travelling with some brilliant paddlers so I still had
reading the categories of Red Bull Illume this image subjects to shoot. On the last day we found ourselves
The Shot: Jonathan Paredes of Mexico dives from jumped into my mind at this spectacular waterfall, where five others made
the 28-metre platform on the roof of the Copenhagen the run, then Josh went off. After a good entry the
Opera House, during the first practice session of the Below nose of his kayak was thrust up and he flat landed
second stop of the Red Bull Cliff Diving World Series, Camera: Canon EOS 5D Mark III at the bottom, the impact breaking his back. His
Copenhagen, Denmark on June 20th 2013. Lens: EF 24mm f1.4L II USM colleagues were immediately on hand to assist and
I remember while I was originally scoping out the ISO: 400 stabilise Josh, and Ben, who had previously suffered
location for this event thinking how surreal images F-Stop: 2.0 a similar injury, was able to reassure Josh while a
could look without the diving platform jutting out, just Shutter Speed: 1/2500 helicopter was summoned.
Photographer: Dean Treml Athlete: Josh Neilson, Barnaby Prees, Sam Sutton, Tim Pickering, Ben Brown, Jamie Sutton and Jared Seiler Location: Storulfossen, Norway

CATEGORY WINNER
SPIRIT

26
CATEGORY WINNER
LIFESTYLE
Jody MacDonald,
Canada
Website: jodymacdonaldphotography.com
facebook.com/
jodymacdonaldphotography
instagram.com/
jodymacdonaldphoto
Biography: In 2004 I began sailing
around the world For almost
a decade I have called a 60ft
catamaran my home as Ive sailed
to the wildest corners of the planet on a
global kiteboarding, paragliding and surfing
expedition thats taken me to over
60 countries I am currently a Nat Geo
Creative photographer.
Above
Camera: Leica X-U (Typ 113)
Lens: 23.0mm f1.7
ISO: 100
F-Stop: 7.1
Shutter Speed: 1/500
The Shot: Our risky rail journey started
from the iron-mining centre of Zourat in
the Sahara, and snaked through the barren
desert toward the port of Nouadhibou
on the Atlantic. We wanted to get to the
coast to try to find some unexplored surf
breaks and capture the spirit of adventure
and exploration through this incredible
landscape I photographed this image with
Leicas new X-U all-weather camera with a
fixed 23mm lens. I used a shutter speed of
1/500 to stop the motion of the train.
Photographer: Jody MacDonald Athlete: Ken MacDonald Location: Choum, Mauritania
Denis Klero,
Russian Federation
Website: klero.ru
facebook.com/denis.klero
instagram.com/denisklero
Biography: Thanks to my
athlete friends in Krasnoyarsk,
I became interested in shooting
extreme sports.
Since 2007 Ive been working with Red Bull,
which helps me to improve my skills not only
in action sports, but photography in general.
In recent years I have travelled around the
world covering many events. A highlight? That
has to be a BASE jump project on Everest
with the athlete Valery Rozov.
Left
Photographer: Denis Klero Athlete: Rustam Gelmanov Location: Fontainebleau, France
Camera: Canon EOS 5D Mark III
Lens: EF 50mm f1.2L USM
ISO: 160
F-Stop: 16.0
Shutter Speed: 1/160
The Shot: The main instruments in rock
climbing are your hands and arms. It was
a deal wed shoot a close-up of his hands.
With the help of two medium softbox sets
on both sides I focused on the hands and
fingers, their owner hiding in the shade. I
wanted the viewer to see more than just the
hands of the athlete.
In this picture colour is not important, the
contrast is. This is why the photo is in black
and white. Curiously, the frame was shot in
CATEGORY WINNER the lobby of the hotel where we were staying.
CLOSE UP
27
 CATEGORY WINNER
NEW
CREATIVITY
Photographer: Ale Di Lullo Athlete: Aaron Chase Location: Brooklyn, NY, United States
Luke Shadbolt,
Australia
CATEGORY WINNER Website: lukeshadbolt.com
facebook.com/lukeshad
ENERGY
instagram.com/lukeshadbolt
Biography: In my short career
in surf photography, I have been
awarded the Nikon/Surfing
Australia Surf Photo of the Year
(2014), as well as being recognised as the
Bodyboarding Photographer of the Year by
both Le Boogie Bodyboarding Magazine and
Riptide Bodyboarding Magazine (2014). I
have recently worked on creative campaigns
for brands including Audi Australia, Veuve
Clicquot, Samsung and Lancome.
Left
Camera: Canon EOS 5D Mark III
Lens: EF 400mm f2.8L IS USM
Photographer: Luke Shadbolt Athlete: Renan Faccini Location: Rio De Janeiro, Brazil
ISO: 160
F-Stop: 8.0
Shutter Speed: 1/1000
The Shot: At each end of the beach were
sheer cliffs that would refract the swell
causing crossed-over peaks, perfect for
bodyboarding. The swell seemed to line
up directly into this small crevice in the
southern cliff and plumes of spray would
catapult out at varying angles. Shooting
from down the beach trying to capture some
of these abstract formations, I didnt even
notice Renan (pictured) in the shot until
afterwards. Its got a kind of duality to the
meaning; it could be seen as a salute to the
power and randomness of the ocean, or it
could be seen as a mocking attempt at some
kind of manipulated sorcery, showing mans
unending quest to control nature.
Ale Di Lullo, Italy
Website: aledilullo.com
facebook.com/
AleDiLulloPhotography
instagram.com/
aledilullophotography
Biography: My work has
been displayed in almost every
mountain bike magazine on the
planet, with quite a few covers,
too Ive been working for some top film
crews and been lucky enough to be
awarded some prizes such as 1st place at
Whistler 2014 Deep Summer Photo Challenge
contest and a top 250 shot in the 2013 Red
Bull Illume.
Above
Camera: Canon EOS-1D X
Lens: EF 8-15mm f4L Fisheye USM
ISO: 640
F-Stop: 5.6
Shutter Speed: 1/1600
The Shot: Nobody had done an extreme
sport shot from inside the car having the rider
riding on the windshield. I understood that a
shot like this had to be made in an iconic spot
and the spot had to be in a city, so it was clear
that New York City with all its bridges was the
place. And what could have been better than
a NYC cab to shoot from?
Choosing Aaron Chase as the rider was
natural. He has been a friend for a long time
and happened to be a pioneer of street riding
in our sport and is almost a local in New York.
It took us one year of preparation, one full day
of work But I kept shooting fearing I would
break the windscreen, and 12 attempts later I
nailed this shot.
Daniel Vojtech,

Photographer: Micky Wiswedel Athlete: Jamie Smith Location: Cape Town, South Africa
Czech Republic
Website: danvojtech.com
facebook.com/danvojtechphoto
instagram.com/danvojtech

Biography: After school I started to shoot

for different magazines and brands such
as Maxim, Red Bull, Nikon and many more.
Currently I am based in Prague where
I have my own studio but work almost everywhere
on the planet. I love shooting action sports, lifestyle
and commercials as well. I love clean pictures,
geometric compositions, hard light and concepts.

Below
Camera: Nikon D5
CATEGORY WINNER
Lens: 16mm f2.8 AF Fisheye WINGS
ISO: 640
F-Stop: 5.6
Shutter Speed: 1/250

Above
The Shot: Red Bull asked me to do some portraits
and action photos of the Flying Bulls. We had an Micky Wiswedel, S.Africa Camera: Canon EOS 5D Mark III
air-to-air photoshoot and I knew it would be great Website: facebook.com/MickyWiswedelPhotography Lens: EF 16-35mm f2.8L USM
for a sequence. An aeroplane is the only place from instagram.com/shootmickshoot ISO: 400
where you can see something like this. I did one F-Stop: 3.5
fast attempt. After I stitched the sequence it Biography: About five years ago I took the Shutter Speed: 1/1600
was great, but I could still be a little bit closer. full plunge and went full time. At the same
We had another photoshoot on another day time I branched out into documentary, The Shot: My buddy Jimbo had been opening new
so we tried it again but I was much closer to the corporate and lifestyle photography hard routes in the area and we wanted to try and
planes in front. It was cloudy so the final image Currently I work with a number of international clients capture some of the climbs We had planned to grab
looks very dramatic. The pilot also turned on the [and] am a contributing photographer to Stocksy, a some cool climbing shots, but in the end this image
smoke so you can see the trail behind. photographer-owned co-op through which I won Sport of Jimbo mid-air was the shot we felt captured the
Photographer of the Year in 2015. intensity of the climb.

CATEGORY WINNER
SEQUENCE
BY SONY

Photographer: Daniel Vojtech Athlete: Miroslav Krejci, Jan Rudzinskyj, Stanislav Cejka and Jan Tvrdik Location: Jaromer, Czech Republic

29
TECHNIQUES

PRO SKILLS FOR

LIGHTING
PORTRAITS
Learn how to create artistic images of the body with our in-depth feature

F
or centuries, portraiture has inspired artists and photographers,
and the nude human form has proved to be a particularly
popular genre, from Michelangelos David to Titians Venus
of Urbino and Picassos Les Demoiselles dAvignon. Everyone
is unique, so photographing the human form is a great way to both
celebrate our diversity and explore the human anatomys beauty
and complexity.
For photographers, the nude human form has much to offer and
there are many challenges to take on, including mastering the right
balance of light and shade, working with texture and even including
elements of movement. Creating something that appears tastefully
artistic rather than exploitative, and something that looks unique as
opposed to generic is a big part of what makes the human form such
an appealing subject matter for anyone who loves portrait photography.
Professional photographer Bruno Birkhofer (bruno-birkhofer.ch)
says, Nude photography is all about the light, the poses and the
feelings. I like to see curves and I like to see the shapes of a human
body in harmony I will never understand why so many people
see a naked body as offensive. We are all born in a naked body, it is
something natural we should respect and honour.
There is much to consider if you want to take great photographs
of the human form, but the next few pages will look in particular at
the factors pertaining to lighting, from soft and gentle lighting with
an octabox to the more dramatic lighting created by a grid or set of
barndoors. Along the way, though, youll also discover some of the
posing concepts that experts in the field make use of, as well as
learning how to take your images a step further by abstracting the
human form through more creative poses and the use of projectors.

Right
Sensual body
The female form is made up of delicate
curves and shapes your lighting and
setup should reflect and enhance this
Jack Hier

30
31
TECHNIQUES

CAPTURE THE
FEMALE FORM
Discover how to enhance ONE LIGHT ON THE LEFT ONE CENTRAL LIGHT ONE LIGHT ON THE RIGHT
the female body with an
effective lighting setup
The main objective when shooting artistic
shots of the female form is to create a sensual
and evocative image rather than an explicit
one, so it is important to consider posing,
lighting and camera angle carefully.
The female body is generally more delicate
than the male body it is made up of smooth
lines and curves that flow seamlessly around
the body. These pleasing shapes are what
you should strive to enhance in your imagery
through lighting and posing. Curved shapes
are typically the hallmark of female nude
photography, as opposed to the muscle
separation often associated with nude studies A light with a large octobox Here the light was pointed This has been shot with a
of male subjects. has been positioned to directly at the model, which large octobox positioned to
Creating artistic nude images is all about the left of the model nicely has created a rather flat the right of the model. This
control when it comes to the lighting and its highlighting the left edge of her shot with less interest in the suits the models pose as she
important to mould the shadows around the body. The image was taken at shadows. This is best avoided is leaning her body towards
body, creating a high-contrast look of dark 1/125sec, f9, ISO 100. in a one light setup. the light.
shadows and bright highlights. Birkhofer says,
When I have full control of the light in the
studio, my aim is perfection and my goal is to Add depth with a
place the shadows exactly where I want them
to be. Photography of a naked human body
two-light setup
is all about shadows in the right place. In my Use an additional light to define texture and
opinion the difference between a cheap flat separate the model from the background
image and a nude art image is the placement
of the lighting and the shadows. In this setup a large striplight softbox has been
The female body is softer and shapelier positioned to the left of the model, and a large
compared to the male body, so using octobox softbox to the right at a 45-degree angle
more diffused light that blends in with the to the model. You can instantly see that theres
curves delicately is a must. Consider using more texture and depth in this shot than the
a rectangular or strip softbox, octabox or image with just one central light. Using two lights
umbrella to soften and diffuse the light turn helps to highlight her curves and smooth lines as
back the power of your strobe and use a small well as separate her from the background.
softbox or striplight to light the subject. A
striplight gives you complete control of the THE STUDIO SETUP
spill of light, which will help you select the
details you want to highlight easily.
There is no need to create overly elaborate
lighting setups. One or two lights will be
BACKGROUND
enough for this kind of photography, as
shadow is a vital component your aim STRIP
LIGHT
should be something delicate, with the lighting
used to highlight shape. To enhance the
shadows and highlights you should position
your lighting off to the side of your model, as
OCTOBOX
this will help to accentuate their curves. My
light almost always comes from the side (from MODEL
a 90-degree angle from the camera), explains
Birkhofer. You can also try placing a light
behind your subject in order to create a rim
lighting effect that can be ideal for highlighing CAMERA
shape and form. With portrait lighting, youll
learn quite quickly if you experiment.

32

PRACTISE
ON AN EGG
Believe it or not, practising
your one-light setup on an egg
can help you perfect your female
shots. The curve and texture of
an egg is very similar to that of
a female body. Move the light
around to see how it
affects the egg.
PRO SKILLS FOR LIGHTING PORTRAITS
Create an S-curve
Enhance the femininity and form
of your female model
The poses you choose are just as important as the
lighting in your setup, as they help to emphasise the
curves and shapes of the body. Anton Belovodchenko
(500px.com/belovodchenko) says, The forms that
the models take are designed to show the beauty of
their bodies.
Creating an S-curve with the female form is a key
pose to include in your shoot as it accentuates the
feminine curve of the models hips, bust and slims the
waist. It has been depicted in works of art for centuries;
for example, it can be seen in the ancient Greek
sculpture the Venus de Milo. The pose is characterised
by an extended hip and tilted shoulder.
When posing your model it is also essential to ensure
the poses remain natural. I have my favourite poses,
but it is much more important to me that the model
feels good with the poses and that they are natural to
her, explains Birkhofer. I strongly believe that being
a photographer is not about telling a model exactly
which pose she has to take up. I love sensuality, I
love feelings and I want to see the models soul in my
pictures. If I am correcting and guiding too much, I
often start to feel as if I am taking pictures of a robot
and not a human. So I tell her what I want then let
her go, and if there are poses I dont like, I wont say
anything to correct it because there will always be a
pose or a movement that is unique and great.
Anton Belovodchenko
Above
Attractively curved
Here the model has extended her hip
and tilted her shoulder to create
an attractive curve and
line in her back
Above
Water lily
Birkhofers image has been kept
very simple so that all the attention
is on the model and her shape
Bruno Birkhofer
33
 TECHNIQUES

WORK WITH
THE MALE FORM
Use harder lighting to
accentuate muscle definition
Historically, the female nude has tended to be
photographed in the context of gentle beauty,
with soft s-shaped curves, while the male
form has tended to be cast in terms of muscle
definition and depictions of strength.
You shouldnt be restricted in your
photography through gender stereotypes,
but you can explore harder lighting thats
designed to accentuate muscle definition
when photographing the male body, and there
are plenty of useful skills you can develop
through working in this way.
When it comes to posing, male nudes
are often depicted in terms of depictions of
strength, which is then exacerbated further
with the lighting. Birkhofer says that he is
often more demanding when it comes to
directing the man in order to achieve the
correct expression and pose.
Use the lighting to mould the shadows and
highlight the models muscles and muscle
tone. As when photographing female nudes,
you can avoid images that are too explicit
by using the shadows (and the poses you
choose) to hide parts of the body and use
Create hard
directional light
Discover the lighting modifiers
that you should consider for
photographing male nudes
Bare bulb For a truly
bold lighting effect, you
can try shooting with
a bare bulb. This will
the highlights to trace the structured lines. create very harsh light
Sometimes artistic nudes are more about but with some work
the parts of the body that remain hidden you can produce stark
in darkness, as they leave something to the lighting effects, which
imagination and help to create more intriguing can suit the male form
and artistic pictures. Technically a good nude well with the right pose.
image has light and shadows wrapped around
the human body in perfect harmony. The Barn doors
human body has to be shown with respect These are fixed to
and sensitivity. I also want to see the models the front of the strobe
soul, explains Birkhofer. and can be opened
In a very general sense, hihglighting and closed to precisely
interesting shapes in the male body requires refine the light.
more nuanced lighting to create deep
shadows to pull out the muscle detail. The Gridspot You can fit
shape of the body doesnt have the immediate a gridspot to the front
shape of the female form. Birkhofer explains of your lens to control
that this informs his lighting approach for the light beam hitting
male nudes. The lighting setups for men your subject. It creates
and woman are rather similar, but I often use a hard focused light
smaller light modifiers for men to get even that can be used to light
stronger shadows. the subject without
Dont assume that you must always show affecting the mood of
male models in a context of strength and the background.
virility, however be creative and avoid cliches.

Consider your lens

Pick the correct choice of focal length for the exact effect you want to create

A wider optic can be

used to get in closer If you want to focus
to your subject and in on a part of the
treat the human body human form without
almost as a landscape giving rise to any
that boasts a series issues of distortion
of complex and or if you want to give
fascinating features. yourself a greater
Very wide-angle lenses working distance from
can create a degree the model then a
of distortion and this telephoto lens will be
can also be used for ideal. You may have
creative effect. This to work harder to
sort of lens should ensure tha the image is
Martin Jackson
Kym Winters

ideally be paired with sufficiently dynamic as

a pose which leads the these optics present a
WIDE-ANGLE LENS TELEPHOTO LENS
eye through the frame. more voyeuristic effect.

34
 PRO SKILLS FOR LIGHTING PORTRAITS

Below
Muscle definition
Here Birkhofer has posed the
male model on the tips of his
toes so the muscle detail in his
calves is prominent
Bruno Birkhofer

GO
MONO
Converting your nudes to
black and white is a great way
to accentuate the way the light
falls on the body. All that remains
is the light and tonalities
of the skin. It can also
flatter the model, as it will
smooth skin and hide
blemishes.

35
 TECHNIQUES

Left Above
A second look Body language
This stunningly creative capture will make Photographing a
3x Bruno Birkhofer

the viewer look twice. It is hard to tell on male and female model
first glance which limbs belong to the man together is a great way of
and which belong to the woman. Posing showing off the differences
two models together is also a great way to in their body shape and
ensure their modesty is maintained muscle definition

POSE COUPLES
ARTISTICALLY
Find out what you should consider
when posing two models creatively
When it comes to photographing nude
couples it can be challenging to create an
image that is entirely focused on the human
form, while looking artistic and sensual rather
than erotic as always with portraits like this,
the lighting and posing is key.
The lighting should kept simple and
converting the images into black and white is
a great way to make them look far less sexual
and explicit. Low-key lighting works best as it
encourages shadows to mould and shape the
body and bright, harsh lighting can sometimes
make the images look a little pornographic,
especially when multiple models are present.
The poses you choose will help to convey
the mood and tell the story of the shot, so for
this style of photography you should stick to
positions that show off the models strength
and form rather than their sexuality. Big
exaggerated poses often work best as they
will show off the muscle tone and definition
far better, which will accentuate their form.
Maintaining some sort of connection between
the models is also important whether it is
with eye contact or touch as this will add an
emotive dimension for a more sensual result.
In Birkhofers images the couples have
taken up quite abstract positions, which
makes the viewer really have to think about
what they are looking at. By choosing big
abstract poses the nakedness will come
second to the human form on display, so the
image remains all about the body.

36
 Kym Winters
BLACK AND WHITE LANDSCAPES

FOCUS ON
ABSTRACTIONS
Pick out details and
create abstract shapes for
creative and artistic results
Choosing to focus on details and
abstractions of the human form is a
far less overt way to photograph nudes
while still celebrating the body. The
aim here should be so that the
nudity in the image is secondary BACKLIGHTING
to the composition and impact Create an abstract image by
of the image. The viewer should backlighting your subject. You
be challenged and forced to can create a silhouette on a light
background by metering for the
explore the shapes, shadows
light, or use the light to trace
and highlights instead of being
the outline of your subject
confronted with the nudity. when shooting on a dark
The body is a versatile tool that background.
can be shaped, contorted, bent and
lit in order to create beautiful abstract
shapes. Your lighting should create an
image that makes the viewer explore the
tonality in the skin and the lines of the body,
and by converting the final image to black and
white you will emphasise the tonality of the
image further. Essentially when you convert
a high-contrast nude to black and white, only
the light and form will remain for a stunningly
artistic and sensual image.
For abstract nudes it is even more
important to avoid lighting from the front,
because front lighting can be rather flat,
uninteresting and make images look a little
too real and in-your-face. Front lighting wont
enable you to carve the same shapes out of
the shadows as lighting from the back or side
will. Back and side lighting adds drama and
depth to the image and using just one light
helps to create a high-contrast nude with
deep shadows and bright highlights, which
emphasises the form of the nude. When
lighting abstract nudes you should avoid light
diffusers like softboxes and instead use barn
doors to control the beam of light, or even
just a plain strobe, for both male and female
abstract shots.

Top
Bodyscape
The focus should be entirely on the body
to keep the setup simple. Use a plain
background (black is very effective) and
just use one light the simpler the better

Right
Shapes and poses
Abstract shots dont just have to be an
individual detail, but can also involve asking
your model to distort their body into a position
Anton Belovodchenko

that doesnt look natural at first glance

37
 TECHNIQUES

USE THE BODY

AS A CANVAS
Project images and colour
onto the skin for artistic
abstractions of the body
While simple images that focus completely on
the form of the human body create stunning
pieces of photographic art, projecting images
onto the body will take this further for a truly
unique look. Using the body as a canvas will
still highlight the form of the body, but the
added colours or images will add another
artistic dimension and abstraction to the final
shot. The projected images also help to cover
the overt nakedness of the body.
I think that projection is a great way to
develop your own interest, adding a whole
new way to challenge yourself and add a new
level of creativity, explains pro photographer
Martin Jackson (mjartphotography.co.uk).
A key part of the process is selecting images
and colours to project onto the model and
a suitable pose that will show off both the
projection and also the form of the body.
Jackson says that composition is important
as the repositioning of a projected image,
even just slightly, can have a huge impact on
your final shot. A line on the chest will be
very different to a line on the shoulder. It is
not simply, project the image and be done, it
is about finding what works, says Jackson.
The body is a canvas and this is what must
be considered at all times. The pose is
important, the expression too, but these
DP
are only part of the shot.

Right
Wild lines
Some shots can benefit from a saturated or
even black-and-white look, explains Jackson.
The splash of red really draws the viewer in

Project perfection
Martin Jackson explains what to consider when projecting images onto the body
What colours work best?
Red makes the model look
angry, green makes them
look like the Hulk. Yellow can
look quite poorly and white
can be a little boring, but it is
always about testing and experimenting with
what you have found. Even with these issues,
you still need to trial things and see what
2x Martin Jackson
What should photographers consider when
choosing the image?
Images to project should be sharp and as
high a pixel count as possible. Anything
under 1,000 by 1,500 is going to look odd. I
have tried writing which is okay grunge-
type graffiti which was great angry red
cuts, numbers, dots, skylines and faces on
faces. Some worked and some did not.
spend far more time thinking about what to
project and how it could look on the model.
What else must photographers consider?
You have to mindful of the noise and the fact
that if you are projecting a smaller image,
the overall shot may be very dark. Obviously
more colour and brightness from the image
you project will create a brighter shot. Some

they look like. It is personal taste too. The images I use post work is usually needed too to possibly
after about my tenth projection shoot are clean up the noise and consider how an
very different to what I used in shoot one. I image can be made more vivid.

38
 Our PCs come recommended,
ready & with next day delivery!
Fusion Photo OC VII
Photo Editing PC
- Intel Core i7-6800K Processor
- 32GB DDR4 Memory
- NVIDIA GeForce GTX 1070
- 256GB M.2 PCIe Solid State Drive
- Windows 10 Home
2139.99 INC VAT
For full specs visit:
www.chillblast.com/photooc7
The UKs most awarded PC manufacturer
Prices are correct at time of going to print (27-09-16) E&OE
Chillblast Fusion Core i7
Custom Video / Photo Editing PC
BEST FOR: Photo and video editing,
power users, gaming after hours!
1599.99 INC VAT
Monthly Payment Options Available
For full specs visit:
www.chillblast.com/FusionCorei7
Next Day
Delivery!
Fusion Photo OC Lite II Chillblast Photo OC Mobile 3
Photo Editing PC Laptop
- Intel Core i7-6700K Processor - Intel Core i7-6700HQ Processor
- 16GB DDR4 Memory - 16GB DDR3 Memory
- NVIDIA GeForce GTX 750Ti - NVIDIA GeForce GTX 950M
- 128GB M.2 PCIe Solid State Drive - 128GB M.2 PCIe Solid State Drive
- Windows 10 Home - Windows 10 Home
1299.99 INC VAT 999.99 INC VAT
For full specs visit: For full specs visit:
www.chillblast.com/photooclite2 www.chillblast.com/ocmobile3
Chillblast
www.chillblast.com
01202 057 275
TECHNIQUES

40
 SHOOT STUNNING

COASTAL
LANDSCAPES
Follow our comprehensive guide to getting professional results by the sea

P
eople seem naturally drawn to water,
and the coast in particular. We love
spending our holidays there and for
many people, there is nothing more
relaxing than being by the sea, just watching
the waves roll up onto the shore.
Photographers are no different when it
comes to this fascination with the ocean,
and if you look at the portfolios of most
landscape photographers, youll almost
certainly find a substantial collection of
coastal images.
The appeal is easy to understand. There is
often a real sense of drama at the coast its
one place where you can really appreciate the
raw power of nature. With its ever-changing
weather and tides, no place will ever look the
same on different days and the long-term
effects of coastal erosion mean that changes
can be both permanent and substantial, with
the very essence of a location changing
significantly over time.
There is also a huge variety of landscape on
the coast there are sandy beaches,
shingle beaches, rocky coves, clifftop
locations, geographical features such as
rock stacks and man-made subjects such as
lighthouses and other coastal architecture.
Perhaps the best thing about shooting by
the sea, though, is that it looks good in almost
all conditions and at many different times
of day. Whereas some locations very much
depend on golden light or colourful skies, with
a little creativity, stunning coastal shots can
be made in conditions ranging from violent
storms to bright sunshine.

Left
Clifftop drama
The coastline is constantly changing, with different
weather and tides at every visit. There are seasonal
highlights too, such as the thrift on this Cornish cliff top
All images Mark Bauer

41
TECHNIQUES

Plan and prepare Key kit

To make the most of your
Leaving nothing to chance is especially coastal shoots, make sure
important with coastal landscape photography you have the following items
Wide-angle lens
Good photographs are usually the result of have come at a different time of day or year. A These let you get in
careful planning rather than chance. This is lot of research can be done online searches close to foreground
especially true of coastal photography where in image libraries can give you an idea of what interest in order to
there are so many variables, such as the to expect from a location and perhaps some create dramatic
weather and tides. inspiration for compositions. perspective in your
Preparation begins with packing the right kit. Try not to be too influenced by what coastal shots.
You will need lenses covering a range of focal others have done before, though; it is much
lengths from wide angle to telephoto. Wide more satisfying to create your own original
angles enable you to get in close to foreground images than copy other peoples. There is no Polarising filter
interest and create dramatic perspective. substitute for scouting a location yourself; find Bright reflected
Telephotos are useful for picking out details, compositions, work out what tide heights will highlights on water
such as waves breaking over rocks. suit them and where the light should ideally are a major headache
Next in your bag should go a set of filters, fall. You can then use tide tables and apps such when shooting by the
including a polariser for reducing glare on as The Photographers Ephemeris to find out sea. A polariser can
the water, graduated filters for dealing with when to visit. help to reduce glare.
contrast and neutral density filters to let you Check the weather forecast and plan
extend exposure times for creative effect. accordingly. There is no ideal weather for Geared tripod head
A sturdy tripod is essential and you should coastal photography, but some locations will A sturdy tripod is a
make sure you take a cleaning cloth and some suit particular conditions more than others. must, but a good
lens cleaning fluid to deal with the inevitable head to go on it is also
build up of sea spray on lenses and filters. Above important. A geared
Check the weather forecast
Good research is vital there is no point Weather forecasts cant predict colourful sunrises, but
head lets you make
turning up at stunning bay to find out that by looking at the level of cloud cover, you can increase precise adjustments.
most of it is in shadow and that you should your chances of being in the right place at the right time

42
 SHOOT STUNNING COASTAL LANDSCAPES

Protect your
equipment
Conditions can be harsh
by the sea, so look after
your kit carefully

Cleaning lenses and filters

Filters and lenses often get coated with sea
spray on coastal shoots. A lens cloth alone
1
wont get them clean, so bring some good-
quality cleaning fluid with you.

Chamois leather
If a wave hits your kit, you need to dry it as
quickly as possible. A chamois leather is
perfect for wiping down damp camera gear.

Cheap rain cover WIND

The shower caps that are supplied in hotel
bathrooms make cheap and very effective
WARNING
Many coastal locations are
rain/spray guards, so pick one up next time
2
very exposed. Strong gusts can
youre travelling.
cause camera shake or even knock
over a tripod; adding extra weight by
hanging your camera bag from the
tripod provides extra stability. Use
Consider the light a bungee cord so the bag sits
on the ground and doesnt
1 Early morning light With the Sun just knock the tripod legs.
breaking the horizon, the light is warm and
golden. The low side lighting picks out the
details and enhances the texture of the cliff.

2 Middle of the day Overhead lighting at

midday is less flattering: contrasty with little
textural relief, and the colour temperature
is somewhat cooler. However, contrasting
areas of light and shade add some depth.

3 Overcast light In overcast evening light

the whole scene looks rather flat. Without
the contrast of highlights and shadow, and
no direct light to reveal form and texture, the
image lacks depth.

43
3
TECHNIQUES
Expose a coastal scene
Working close to the sea can present particular
challenges that need to be overcome
In some ways, digital exposure is very
straightforward: simply be guided by the
histogram to make sure that you dont clip
highlights or shadows.
Coastal images, however, present some
unique problems. The tonal range can
be extreme, ranging from deep blacks on
rocks, particularly in shadow areas, to bright
highlights reflecting off water. Skies can be
extremely bright, especially at sunrise and
sunset. Capturing the full range of tones
requires excellent exposure technique,
using graduated filters to tone down overly
bright skies and polarisers to reduce glare
on the water.
Graduated filters (grads) are often
preferred to exposure blending for controlling
contrast, as there are many moving elements
in coastal scenes that can cause problems
when merging exposures. Using grads
accurately requires some skill you need to
Understand filter transition zones
Grads are available with different strength transition zones but how to choose the right one?
Soft transition
With the horizon broken by a large
cliff, a soft-transition grad is needed to
prevent the transition zone being visible.
Positioning the filter at an angle also helps.
44
choose the correct strength filter and position to produce maximum polarisation, but this can
it so that it blends in with natural features often lead to unnaturally dark skies or water,
unobtrusively. There are also different types so you need to use your judgement and turn
of grad designed to suit different the polariser enough so that glare
topography, with harder or softer is reduced, but not so far that it
transitions from the dark to BACK- looks unnatural.
light areas, and choosing the TO-FRONT In addition to getting
correct type for the scene SHARPNESS technically correct
youre shooting is vital. exposures, there are also
Coastal landscapes look great
Remember that artistic considerations
if you can keep the image sharp
contrast does not from foreground to background.
when shooting on the
necessarily reduce when To maximise depth of field, use coast. By using full
the Sun is below the a wide angle, a small aperture neutral density filters,
horizon. In this situation, such as f16 and focus about its possible to extend
the sky is lit from below, but a third of the way into exposure times to creatively
there is no direct light falling the scene. blur the movement of waves
on the foreground, so the tonal as they wash up on the shore
range can be extreme and filtration or around rocks. Depending on the
still necessary. length of exposure, waves can be recorded
Using polarisers properly also requires some as white trails leading out to sea or as an
thought. Its tempting to simply rotate the filter ethereal mist swirling around rocks.
Hard transition Very hard transition
With relatively straight horizons, a hard- With an absolutely flat horizon at sunset
transition grad works best. Here the cliff (or sunrise) the filter needs to be at
breaks the horizon slightly, but not so much maximum strength on the horizon so a
that the transition zone becomes visible. very hard transition grad is the best choice.
 SHOOT STUNNING COASTAL LANDSCAPES

Interpret
histograms
In extremely contrasty scenes,
knowing which highlights to let
clip is an important skill
Extreme contrast
In very contrasty scenes such as this,
it can be impossible to record the full
tonal range, even when using graduated
filters; you need to allow some
highlights to clip.

Clipped highlights
Histograms show that highlights have
been clipped, but not which ones.
Activate the highlight alert in your
cameras menu so blown highlights
flash on the review screen. You can
then decide if they are important. If
the Sun or bright reflective highlights
are blown, ignore them only severe
underexposure of the rest of the scene
would prevent them clipping.

Shoot towards the Sun

Meter carefully and ensure you select the
correct strength graduated filter

1 Meter the scene

You will need the correct
strength filter for the
filtration to look natural. Take
meter readings from the
foreground and sky (excluding
the extremes) to establish
difference in brightness, and
then select your filter.
2 Position the grad filter
Decide whether you need a
soft or hard grad and then put
it in the filter holder here the
horizon was flat enough to use
a hard grad. Place transition
line on the horizon moving
the grad up and down can help
you see the transition line.
3 Final image
Review the image and
histogram. Check that, as
far as possible, you have
managed to capture a full
range of tones, but you may
need to let extremely bright
highlights, such as the Sun
itself, clip as is the case here.
TECHNIQUES

Compose
a coastal
landscape
Each distinct
type of scene
requires its own
individual approach
Although we usually think of the coast as a 1
single entity, there are in fact three distinctly
different types of landscape: the clifftop, the
shore and coastal architecture. The shoreline
can also be divided into sandy or pebbly
beaches and rocky bays. A slightly different Framing ideas
approach is needed for each one. to consider
Panoramic clifftop views can be
breathtaking; above a drop, use a wide-angle 1 Foreground interest Getting in
lens to exaggerate the height of the cliff, with close to foreground interest on the
waves crashing down below and headlands shoreline helps to create a sense of
stretching out into the distance. Wide angles scale and depth and leads the eye to
are also useful for placing emphasis on the the background focal point.
foreground, by getting in close to elements
such as wild flowers or rocks. Telephotos can 2 Clifftop drama Wide-angle
be used to compress perspective, reducing lenses can exaggerate the height of
the apparent distance between headlands, or cliffs and create a sense of drama.
to focus attention on waves crashing over the Including some foreground interest
rocks below. can enhance this.
With sandy and pebbly beaches, the key
to success is to keep compositions simple, 3 Leading lines Using a slow-ish
excluding any unnecessary elements. Place shutter speed in this case, ten
horizons and focal points such as headlands seconds as waves drawing back
or sea stacks according to the rule of thirds, across rocky ledges can create
to balance the frame and look for strong dynamic, leading lines in a composition.
foreground interest: boulders, rock pools, tidal
pools, ripples in the sand and so on. Beaches 2
are usually best shot at low tide, which creates
a feeling of space. If you arrive as the tide is
falling, you can shoot before the clean sand is
spoilt by other peoples footprints.
A similar approach works in rocky locations,
but tide height is really important; it should
be high enough to cover distractions but low
enough to reveal interesting features. Shoot
waves as they wash back out to sea to create
lead-in lines as water rushes through gullies.
The coast has its own unique architecture
piers, lighthouses, harbour walls and groynes.
These all make excellent foreground interest,
background focal points or subjects in their
own right. Lighthouses and piers make
fantastic minimalist studies. Use wide-angle
lenses to make piers and groynes stretch out
to a vanishing point on the horizon, and give
plenty of space around lighthouses to enhance
the feeling of isolation and their openness to
the elements.

46
3
Work with
movement in water
Many photographers use motion
blur to add mood, but its also a
useful compositional device
Using neutral density (ND) filters to
extend shutter speeds and blur water
movement is a popular technique. It
can enhance the atmosphere of an image,
but the right amount of movement also
works as a compositional device adding
texture to the foreground and drawing the
eye into the shot.

1 Too fast 1
A shutter speed of around half a second
is not enough to blur any movement in
this image and the water doesnt really
add anything to the composition.

2 Too slow
Thirty seconds is a little too much for this
scene; the water is completely smooth
and appears motionless, so fails to draw
the eye.

3 About right
An eight-second exposure as waves
wash over the rocks creates a subtle
texture on the water, which breaks up
the foreground rocks and leads the eye
into the composition.

Go vertical
We generally feel more comfortable
shooting in landscape (horizontal)
format. However, shooting in
portrait orientation can create very
2
dynamic images, emphasising
the foreground to create more
apparent depth.

47
3
TECHNIQUES
Think creatively
Adapt your images to suit the many different
conditions you can encounter on the coast
Provided there is some texture in the sky,
bad weather on the coast can be seen as
an opportunity to shoot great images. Long
exposures transform scenes, so fit an ND
filter and, depending on its strength (extreme
densities of up to 15 stops are available),
exposure times will extend to several minutes.
Calm water will be recorded as a smooth,
glassy surface, often picking up reflections
the eye cannot see; waves in rougher water
will take on a misty appearance, or can create
trails across the waters surface. Simple
compositions work well; make sure you leave
enough space around the main subject for the
moving elements in the composition.
To enhance the atmosphere of these shots,
set your white balance to Daylight so that the
48
1 3
naturally cool tones of cloudy conditions are
captured. An alternative to this is to convert
your images to monochrome. Many of these
scenes are naturally monochromatic, so lend
themselves perfectly to black and white. You
can also push the contrast a lot more in a
monochrome image than you can a colour
one, so this is a very good way to deal with
low-contrast scenes.
Dont let yourself be constrained by
your cameras aspect ratio. Often, if youre
struggling to see a composition, it could
be that the elements in the scene dont fit
neatly into the standard 3:2 ratio. Consider a
square crop, which suits many coastal scenes,
especially those which contain structures
DP
and have natural symmetry.
Shoot for
the scene
1 Black and white
In overcast weather or flat lighting, you can
add punch to your images by converting
them to mono and increasing contrast.
2 Square crop
Not all scenes suit the standard 3:2
ratio; many coastal scenes work well in
a square crop, especially architectural
subjects which have natural symmetry,
such as this jetty.
3 Long exposure
Waves crashing on the shore have
been turned into mist by this 90-
second exposure and the colour has
spread across the sky.
TECHNIQUES

MASTER
METERING
Refresh your technique with this look at
the essentials of exposure
50
T
he digital age has made it easier
than ever for photographers to let
their cameras meter and expose
automatically, but there are so many
good reasons to be more aware of how your
device reads a scene and take back control.
While this approach might take fractionally
longer and require a bit more brain power, the
results youll achieve when you meter smartly
for the scene at hand can be breathtaking.
Understanding your DSLRs light meter
is key to achieving consistent and accurate
exposures, but these go beyond what the
camera thinks is the correct choice. Your
cameras in-built light meter determines
the optimum shutter speed and aperture
for the conditions at hand, but it doesnt
work creatively and can easily be fooled by
challenging lighting scenarios.
In this feature youll rediscover the essentials,
exploring the common camera metering
options and covering which lighting conditions
each fail or excel in no matter what the
genre. Where you take your readings from is
important, so well also discuss the difference
between incident and reflective metering.
Over the next few pages, step up your
technique when combating challenging high-
contrast scenes, and discover how exposure
compensation can be used to avoid highlight
clipping and shadow noise. Metering smartly
might seem like a tricky task whether you
use a handheld device or rely solely on your
camera, however understanding it undoubtedly
improves your photographic intuition. Follow
our advice through this feature, and with a little
practice youll soon be able to expose a myriad
of frames without hesitation.
Above
In control
Understand how to meter effectively, taking control of
your exposures to expand your creative potential. Here
Tom Tich (tomastichy.com) used negative exposure
compensation to avoid clipping highlight detail
Tom Tich
51
TECHNIQUES

All modern DSLRs measure the amount exposure, however theres no one correct
of light being reflected from the scene back shape to aim for. Pay attention to the
to the camera, but as landscape shooter distribution of tones, rather than the shape of
Johan Eickmeyer (johaneickmeyer.com) the curve, to ensure it matches your artistic
points out, there are still two intent. For example, a silhouette might
separate metering systems have a histogram thats skewed largely
within. I tend to avoid to the left, but this would still be
using the viewfinder 18% GREY? correct for the effect you desired.
metering unless I am Middle grey is the midtone Still-life expert Sam Barnes
trying very hard to perceived to be halfway (sambarnesphotography.com)
conserve battery power. between black and white, and uses a flash meter to set up the
Otherwise, I place the defined by an 18% reflectance initial exposure. A key aspect
camera into Live View in visible light. Your cameras is using the RGB values on my
metering system will always set
mode and use the [Capture One] software. He
the exposure so that your
image sensor itself to also utilises the histogram to
subject appears as
meter the scene. middle grey. assess the contrast and colour
Given the sophistication content of individual areas, taking
of modern DSLRs, a handheld care not to lose image information. I
light meter might seem like a find traditional flash metering most useful on
redundant addition to your kitbag, but location shoots, although these days camera
itll enable you to read a wide range of previews make it almost as easy to simply take
lighting conditions with greater accuracy. a test shot, evaluate it, then adjust accordingly.
Look for a compact device with a sliding
hemisphere that can hide or reveal the light Right
sensor, and therefore facilitate both incident Be cautious of automatic metering
Tom Tich relies mainly on Matrix metering
or reflected measurements. mode. The exposure metering system is usually
Whichever your metering method, the tricked by contrasting light, and negative exposure
histogram is an invaluable guide for checking compensation is necessary

Incident versus reflective light readings

Understand the basic differences between these two metering methods
Incident measurement Reflective
Incident light refers to measurement
the light thats hitting Both handheld reflected
your subject, whether light meters and built-in
it comes from the Sun camera meters measure
or a studio flash. Take the light intensity thats
an incident reading by reflecting off of a subject.
using a handheld meter Because they take in a
positioned by the subject, wide area however, the
so that it measures the reading can sometimes
intensity of light falling be biased by bright
directly on them. backgrounds or objects.

Tackle flash metering Use a light meter

Get to grips with guide numbers
when you meter artificial light sources
Every flashgun has a set guide number, which is a
measure of its power. This number equates to the
f-stop multiplied by the distance at ISO 100. For
example, a guide number of 30 would produce
pleasing results using f5 for a subject thats six
metres away. Make use of an online flash power
calculator if youre unsure, as you can input the
variables and let it calculate the correct settings.

Right
Studio success 1 Choose camera settings Select your
chosen ISO and set the meter to the same
Sam Barnes

E-TTL metering excels in many situations, but setting flash value. You can shoot in any desired manual
power manually is a useful skill. If your work regularly involves
mode, but should decide whether to prioritise
artificial lighting, invest in a meter with a flash sync port
the shutter speed or aperture.

52

Measure ambient lighting with a handheld device for more accurate results every time
2 Prep the meter Press Mode to select
the Ambient Light mode. Slide the white
domed Lumisphere mounting across to take a
reflected light reading, or keep it in position for
incident light mode.
3 Measure the light For a reflective
reading, hold the meter by the camera,
directing it towards your subject. Incidental
measurements should be taken by the subject,
with the Lumisphere pointed at the camera.
MASTER METERING
Tom Tich
4 Tweak the result Toggle the reading to
reach your desired aperture or shutter, and
set the camera accordingly. An E.U reading
indicates insufficient light, so increase the ISO
and re-meter if this happens.
53
 TECHNIQUES

Paul Toma

without blowing out any of the highlights. I also

LINK THE
SPOT METER
Many cameras enable you to
link the Spot metering region to
the active focus point. Ensure
that the autofocus mode is set
to Single-Area, and position
the focus point over an
area that should be
a midtone.
Evaluative (or Matrix) metering is the default
mode on most cameras, and while it generally
does a good job at finding the correct light
value in balanced lighting, it cant predict the
subject or your creative intentions. Knowing
when to choose one metering mode over the
other depends on how much time you have,
your subject size and your personal preference.
For example, Spot metering excels when
you need total control over the outcome and
theres no urgency required.
Eickmeyers approach to landscapes is fairly
make sure that I have taken a second brighter Should you use
exposure if there are any deep shadows that
need to be blended into the final image.
centre-weighted?
The ideal mode also depends on how much This metering mode can still
of the frame your subject fills; landscapes be useful for some subjects
require you to balance a whole scene, whereas
Despite measuring light intensity across
portraits usually have a smaller emphasis and
the frame, the meter concentrates
disregard surrounding details. Professional
more attention to the middle of the
Paul Toma (tomapaul.com) recommends
viewfinder area, so can be helpful for
using Spot metering to expose the model,
some compositions. It doesnt rely on the
but does change his approach depending on
same complex algorithms of Evaluative
the composition. If the subject area is bigger
metering, so its results can be more
than 40 per cent of the picture I prefer to use
predictable, but for general shooting
Multi-matrix mode, or Centre-weighted mode if
Evaluative metering will normally be
the subject is in centre of the frame.
preferred. Spot metering is more precise.
Provided youre standing in the same light
as your model, you can take a meter reading
of your own palm. Sometimes youll expose
effectively for your subject, but then want
to recompose. Make use of the Exposure
Lock function, first filling the frame with
your subject, pressing the Auto Exposure
Lock button, then reframing the shot with the
final composition.
Jiri Tulach

simple, as he shoots in a fully-manual way. I

have my cameras set to either Evaluative
or Average metering [and] always use Live
View histograms or image review histograms
whenever possible. This approach enables
him to get the brightest possible image
Above
Experiment with metering modes
Distinguishing between options means youll
quickly identify the best one to use for a given
shot. Toma used Evaluative mode, placing the
Sun just outside the frame
Above
Consider the subject
Choose Centre-weighted metering when you have a
defined subject in the middle of your composition

54
 MASTER METERING

Evaluative metering
Also called Matrix metering, it splits the whole
frame into zones, analysing the range of tones.
A good all-purpose choice for working quickly,
but produces biased results if the scene
contains large light or dark areas such as snow.
For example, here our subject is underexposed.
Centre-weighted metering
About 60 to 80 per cent of the reading is
weighted to the middle of the viewfinder, and
feathered out to the rest of the frame. This
mode provides very consistent results for well-
defined central subjects. The bird is central, but
still remains underexposed against the snow.
3x Lauren Scott
Spot metering
This provides precise control, basing the
exposure on just one localised part of the
scene, useful when you want one area taken
into account and the rest ignored. It may be
based around a focus point or the centre of the
frame, so read the cameras manual to be sure.

Retain tone information

Use exposure compensation in semi-automatic modes to record the maximum tonal range

AVOID HIGHLIGHT CLIPPING BEFORE

Before
Overly bright recording In the
initial image, the cameras meter
overexposed the bird, causing
some of the feather detail to be
clipped and lost.

After
Avoid clipping A negative exposure Inset
of -1 stop was dialled in, meaning Use negative
that highlight details were captured compensation
and the overall shot could be edited When light areas are
overexposed, they appear as white, blown
more successfully.
highlights without tone information.
AFTER Reducing the exposure by a stop protects an
image from clipped colour channels

AVOID SHADOW NOISE BEFORE

Before
Dark tone loss Although the
cameras meter has generally
exposed effectively, its still a good
idea to check the important shadow
areas for loss of detail.

After
Minimise shadow noise By adding a Inset
stop of light to the exposure, it was Use positive
possible to make sure the important, compensation
As tones get increasingly
darker areas of the birds plumage darker, they contain higher levels of
were recorded in full. noise. Avoid this by setting an exposure
AFTER thats several stops higher than the
recommended value

55
TECHNIQUES

Whether its a setting Sun or model against

a bright window, every photographer has at
some point tried to capture a high-contrast
scene and been frustrated with the results.
This is because the human eye can perceive
over 20 stops of tonal range, whereas digital
sensors are limited to about five.
Take an average reading of the scene or use
exposure bracketing to fire several frames
at varied exposures, as this will provide you
with the potential of blending them together
in post-processing. Fine-tune the amount of
bracketing so that you record the full tonal
range but still achieve a realistic result. If you
have the time, try firing several shots with
Auto Exposure Bracketing, then turn it off to
compare the results.
In high-contrast situations Eickmeyer also
activates the Highlight Alert function. I can
review the image on the LCD, and it will blink a
black mask over areas in the image which have THE SUNNY
been overexposed. 16 RULE
Eickmeyers ultimate advice is simple but The basic idea is that in clear
sage. Always shoot in RAW. Get the brightest daylight at an aperture of f16,
possible image without blowing out any of the Johan Eickmeyer
the correct exposure can be
highlights. When the highlights are captured, Above achieved with a reciprocal shutter
Beware of direct sunlight speed to the ISO speed youre
make sure to get a second brighter exposure If Im uncertain about the cameras ability to capture a wide enough
for any clipped blacks. When uncertain, using. For example, ISO
dynamic range, I take an additional exposure one to three stops
DP 200 would require
always bracket exposures. brighter to bring out deep shadows with less noise, Eickmeyer shares
1/200sec.

Balance high-contrast scenes Take several readings then find the average to ensure a correct result

1 Set the camera Use your DSLR in Spot

metering mode. Switch to Manual, then
choose an aperture and ISO that complements
the subject and lighting conditions.
2 Read the scene Select and position the
focus point over an area of shadow, noting
the given shutter speed. Repeat this process to
3 Use the middle ground Find an average
of the two readings; for example, between
1/160sec and 1/640sec, the exposure would
meter a highlighted portion of the scene. be 1/320sec. Shoot and review the histogram.

Bracket the exposure Record scenes with a high dynamic range in all their detail

1 Compose the scene Find your ideal

position and mount the camera on a tripod
to ensure the different exposures are framed
identically. Focus and compose the shot.
2 Prepare the camera In Aperture Priority,
select the best aperture and ISO for the
scene. Find the Auto Exposure Bracketing
3 Shoot the frames Dial in the strength
of the bracketing, starting with a one-
stop increment. Fire the shutter three times.
(AEB) function from the shooting menu. Choose the best frame or merge to HDR.

56
SHOOTING SKILLS

58
Create a
stunning
aerial coastal
sunset
Everything you need to
know to shoot a dramatic
scene using a drone
Drones, multicopters, UAVs
(unmanned aerial vehicles) call
them what you like, but there is no
denying their ever-increasing popularity, and
you cant argue with some of the stunning
imagery that they can create. What a few years
ago was only achievable with a helicopter and
a huge budget is now within the reach of the
everyday photographer. Capturing coastal
shots with a drone is fairly straightforward
and, with a bit of research, good timing and
a little luck, you should be able to get some
spectacular results.
Other than the purchase of a drone there
is little other equipment needed, however, it
can be all too easy to start flying your new
drone without proper care and consideration
to others, as well as the laws and rules set
out by the UKs Civil Aviation Authority (CAA).
However, as long as you use common sense,
are sensible and observe the rules, capturing
a stunning coastal sunset shot is extremely
exciting as well as creatively rewarding. It
literally gives you a whole new perspective
on coastal photography.

Left
Atlantic coast, south Devon
This aerial shot is the result of careful
planning, picking the right time and a three-
shot bracketed exposure

What youll need

Drone with a built-in
camera or ability to add
one (e.g. GoPro)
Mobile device to view and
compose photos on
Memory cards
Lightroom, Photoshop or
image editor of your choice

59
SHOOTING SKILLS

Shooting 1 2

steps
1 Evaluate your scene With aerial
photography you are restricted
with reasonably short flight times,
therefore youll want to do a bit of
preparation before you start shooting.
Do a recce of your location and
use tools like Google Earth and The
Photographers Ephemeris to pick the
best time and place to shoot.

2 Make sure its safe and prep

your drone Coastal shots are
well suited to aerial photography
as they are usually free of vehicles
and buildings. Make sure you do
not fly within 50 meters of people
or structures. Once youre happy its 3 4
safe and legal, set up your drone so
its ready to fly.

3 Dial in your settings You want

to maximise your time in the air
for shooting, so its a good idea to
roughly dial in your settings before
taking off. The camera on the DJI
Phantom 3 is a fixed f2.8 aperture,
so ISO 100 and a shutter speed
of around 1/800th second gives a
balanced exposure.

4 Take off and get into position

When you are ready, carefully
take off and position your drone to
capture the scene. If you have a live
feed you can adjust and tweak your
composition to suit. Make sure you
keep an eye on the drone and your
surroundings at all times.
5 6

5 Adjust exposure and shoot

brackets If you are shooting
a high-dynamic scene such as
straight into the Sun, you will be best
shooting three bracketed exposures
two stops apart by adjusting the
shutter speed. These three images
are shot at 1/125th, 1/500th and
1/2000th second.

6 Experiment with shots and

then land Aim to get around
eight to twelve shots (less if shooting
bracketed exposures). Try different
compositions and exposure settings
for your scene but keep a close
eye on your surroundings and your
battery. Aim to land with at least
20% battery still remaining.

60
 CREATE A STUNNING AERIAL COASTAL SUNSET

PICK YOUR TIME OF DAY

As with landscape photography, golden
hour usually produces the best results,
so be sure to plan your shoot in advance

TAKE OFF AND HOVER

Before flying away to get your
shot, let your drone hover for
a short while to check that
everything is working as it should

CHOOSE A SAFE SPOT

Make sure you are in an area that is

The
safe with no overhead cables, large
trees or structures, and you are at
least 50m away from other people

setup
What to watch out for
Drone photography can have its
pitfalls; heres what to try and avoid
Sudden changes in weather (wind and rain)
Flying too close to people or buildings
Not being aware of your surroundings (e.g.
crashing into a tree behind you)

In addition, a popular question concerning

drone photography is what happens if your
battery runs out. You will need to keep a vigilant
eye on your battery life as it is very easy to get
caught up in taking photographs. You need to
get in the habit of continually checking you
battery level and making sure you have enough
left to return to home, especially if you have
to fly into the wind to get back to your starting
position, otherwise your drone could crash
and cause a lot of damage. It is a wonderful
experience to take photos from a drone, but
that shouldnt come at the expense of paying
attention to your flight.

61
SHOOTING SKILLS

1 2

Editing
steps
1 Combine your brackets Using
your image editor of choice,
in this case Adobe Camera Raw,
combine the three bracketed
exposures to produce a balanced
high-dynamic-range shot of your
sunset scene.

2 Tweak exposure and contrast

Here a small amount of
contrast has been added using
curves, and saturation has been
boosted to bring out the colours 3 4
within the scene.

3 Clean up any imperfections

When combining bracketed
exposures you may get a few
imperfections or ghosting of fine
details. Here the Clone Stamp and
Spot Healing Brush tools have
been used to clean up the image.

4 Dodge and burn to finish A

final bit of dodging and burning
has been used to draw attention
to the centre of the image and
highlight the detail in both the
surface of the ocean and the land.

Below
Before and after
Bring out the colours, contrast and detail
in your image to create a stunning aerial
coastal sunset photograph

BEFORE AFTER

62
At first I wanted to make better looking photographs,
I discovered the pleasure of creating more
meaningful images. Stephanie DHubert

LIVE | LEARN | CREATE

SHOOTING SKILLS

Learn to light a
high-key portrait
How to set up and shoot a vibrant studio image
Capturing a high-key portrait is
about creating a contemporary,
clean image of a person that carefully
balances high intensity of light with a dynamic
and interesting pose. Good high-key images
are not necessarily all about blasting the
background to oblivion, which is easy to do.
On the other hand, you do not want a muddy
or underlit background either. Problems can
often occur when two lights are used for the
background, but this is not necessarily a
requirement for all high-key portraits. In this
tutorial, just one light has been employed.
When tackling high-key images, its important
wherever possible to work in stages and to
shoot tethered. In doing so, its easier to control
the various lights introduced, and make critical
judgements on light intensity as you go which
ultimately will lead to a better shot. An image
of this style should be well lit, with fill light in
the shadows and some interesting highlights. In
this example, we have used a key light, fill light,
two rim lights and a background light. Start by
positioning the lights on the model first, in this
case the beauty dish, fill and strip softboxes,
then begin to light the background until you
reach a light intensity you like.

1 Find a white
background The
easiest way to start
is by rolling out some
clean white Colorama.
This will take light
easily, and quickly
begin to reflect light
back toward the
camera to give a nice
white background. Roll
2 Get a good portrait lens The basic
requirement is to use a longer (preferably
prime) focal length lens. Choose an optimum
3 Position the lighting Get a light on the
background, behind the model, then place
the strip lights on either side of the studio
out as much as you working aperture and get some depth of field facing in to where the model will stand. Direct
need and lock it off. involved, weve gone with f4. the beauty dish toward where the face will be.

4 Light the model Point two strip

softboxes back toward and off to the
side of your model. Turn on the beauty dish
light and increase the power until you have a
soft distribution of light cast on the face.
5 Light the background Start with a mono
block behind the model and begin to
increase the light output. Use your highlight
warning, histogram or even the trusty old light
meter to get the desired clean background.
6 Adjust lighting and shoot Finally, adjust
the lighting. Check the key light, fill light,
strip highlights and background light levels. If
you need to adjust, go up and down in tenths
to fine-tune the overall look.

64
 XXXXX

AFTER
Effective high-key
An image of a model shot in the
studio with a high-key style aesthetic,
interesting make-up and a thoughtful
expression. Note the defining rim
lights and clean background

65
EDIT & SHARE

Banish blotchy skin tones

Use Photoshops brushes and blend modes to deal with uneven complexions
The question of how much we should
be editing portraits has always been
a topic for contention. How far from
the truth should we change someones natural
appearance? The answer will be in part down to
the model, just as much as it is decided by the
photographer. The model may actually request
their skin be retouched to improve complexion
or reduce redness. Importantly, making these
corrections doesnt take years of experience, as
Photoshop makes this a fairly painless process
that anyone can put into practice. Using soft
brushes combined with colour-sensitive blend
1 Add a layer Open up Photoshop and load
your portrait. Were going to be working with
brushes and adjustments, so its important to
2 Set up tool Set the new layers blend
mode to Hue, as this will help us adjust the
colour with any brushwork. Select the Brush
modes and adjustment layers, we can disguise create a blank layer on top of the background tool (B) and make sure its Hardness is set to
unwanted colour tones in minutes. layer first by pressing Cmd/Ctrl+Shift+N. 0% and its Opacity is 20%.

3 Sample the skin Select a colour of

unaffected skin tone by pressing Opt/Alt.
If there isnt any normal skin tone to sample
from, input # daad9a into the Color Picker
palette for a skin tone colour to use instead.
4 Fade the red Start to brush over the
red blotchy skin to apply the new colour.
You should start to see the redness fade.
Increasing the Brush tools Opacity up to 30%
will help to apply more colour.
5 Utilise Clone Stamp Set this tools
Opacity to 30% and add another new
layer. Set the blend mode of that new layer
to Lighten in order to prevent removing the
highlights on the face.

6 Retouch uneven tones Use the Clone

Stamp tool to sample areas of blemish-
free skin by pressing Opt/Alt. Gradually brush
over uneven skin tones to fade out any heavy
blotches that still remain.
7 Create new adjustment layer Add a
Hue/Saturation adjustment layer from
the bottom of the Layers palette, and set its
blend mode to Lighten. Inside the adjustment,
change Master to Red.
8 Reduce saturation Lower the Saturation
slider to -20, then click the adjustments
mask and press Cmd/Ctrl+I to invert it. Use
the Brush tool set to white to brush over any
leftover red areas to remove them.

66
 BANISH BLOTCHY SKIN XXXXX
TONES

BEFORE
AFTER
Skin discolouration
Natural as it may be, the subjects The end result
skin tones appear reddish purple, Working with existing skin
which could be enhanced by odd tones, we can create an
lighting or poor white balancing effect thats natural and
still maintains the lighting

67
EDIT & SHARE

Create captivating
cinematic effects
Learn how to inject detail and drama into your
images using the Develop module in Lightroom
Cinematic can mean many different attention to colour, but more about making the
things, but here you will learn how action a focal point.
to create a dramatic, high-contrast
result. We have to look to Lightrooms detail BEFORE
and colour adjustments to create this faded yet
crisp dramatic style.
On the one hand you want to avoid losing
detail, but on the other hand you want
to create a subtle softness that reduces
the appearance of an image fresh out of
the camera. To do this, you can combine
adjustments such as Dehaze and Clarity, and
https://pixabay.com/en/bike-motocross-speed-outdoors-1164927/
then Sharpness, to give you a good starting
Above
point. Its about keeping colours bright without Action shots
applying too much saturation, because this This effect works great with outdoor action shots that
type of effect is not so much about drawing feature overcast skies, interesting colour and movement

1 Tweak exposure Load up your image into

Lightroom and head to the Develop module.
Under the Basic tab, boost up the Exposure
slider to +0.44 and Contrast to +53 to increase
the overall brightness and impact.
2 Expose the detail To control the brighter
regions, reduce the Highlights slider
to -55. Set Shadows to +46, Whites to +40
and Blacks to -17. This will create a certain
amount contrast and add detail to midtones.

3 Colour and clarity In order to boost the

detail further, increase the Clarity slider up
to +70, Vibrance to -28 and Saturation to +9.
This will help give a cinematic appeal to the
overall image.
4 Vignette for impact Inside the Effects
section of the Develop module, add a
vignette by setting the Amount slider to -20
under Post-Crop Vignetting. The options can
be altered to reshape the vignette if desired.
5 Dehaze for depth The Dehaze slider gives
this effect further strength by boosting it
up to +22. Going too high with this slider will
reduce the shadows to a solid black. Going in
the opposite direction will add a mist effect.

68

6 Sharpen up To add a dose of sharpness,
head to the Detail tab, slide Amount to
41 and then set Radius to 1. Set Detail to 15.
The image should appear sharper and more
refined as a result.
CREATE CAPTIVATING CINEMATIC EFFECTS
7 Adjust details Under Noise Reduction,
set Luminance to 43, Detail to 73 and
Contrast to 25. To smooth out any colour
distortion, slide Color to 23, Detail to 50 and
Smoothness to 75.
AFTER
Cinematic appeal
Using colour and contrast
adjustments, and Lightrooms
Detail and Effects options, you
can really bring the subject alive
8 Colour corrections If a particular colour
is overpowering, such as the greens or the
yellows, go into the HSL section and reduce
the Saturation of the colours down to between
-30 and -40. This helps create a cinematic style.
69
 EDIT & SHARE
HOW TO BUY
A PRO PRINTER
What produces the best prints and what
features should you look out for?
T
he world of photography takes on new
dimensions when you begin to print
your work at home, but what type of
printer is best? What features do you
need and, importantly, what are your options?
There are lots of special features, like
Wi-Fi connection, battery powered, roll paper
support and printing directly onto DVDs, but
whats really most important is the print
quality itself, the size of the print and being
able to use a range of different paper types.
Lets deal with print quality first. This is why
you need to purchase a photo-quality printer,
rather than a general office printer. Office
printers typically have four ink colours and
print at 600 or maybe 1,200 dpi (dots per
inch). Photo-quality printers may have up to 12
ink colours and print at 1,440, 2,400 or even
9,600 dpi, resulting in far more realistic and
photographic prints. This is what you want.
The next question is how big do you want to
print? While A4 sounds great in comparison to
a postcard-size print, A3+ and A2 size printers
70
will enable you to make large, impressive
prints and you can still use the printer with
smaller paper sizes. The two companies that
have most strongly supported photo-quality
printing are Canon and Epson. In addition
to their large, industrial printers, they offer
smaller, desktop printers that will fit easily
in the home. Check out the imagePROGRAF
PRO-1000 as being Canons ideal A2 desktop
printer at around 999. From Epson, the
SureColor SC-P800 is a brilliant A2 desktop
model, or you may prefer the smaller SC-
P600 or SC-P400 models (shown above).
There is also a range of less expensive
Expression Photo models from Epson too.
So, should you splash out for the
top-of-the- range model? Print quality is so
good today that your printer will last for many
years, so if you bought a top-of-the-range
printer, you probably wouldnt need to buy
again! On the other hand, if youre wondering
if printing is for you, then the cheaper models
are capable of providing excellent quality too.
HOW BIG CAN YOU
MAKE YOUR PRINTS?
If you are very serious about printing for
exhibitions, you might want to consider
one of Canon or Epsons larger professional
printers. They take up the floor space of a
large lounge and typically come in widths of
24, 44 and 60 inches.
Pigment ink is best
The top photo printers use inks
that will last a lifetime
There are three key things to understand
about inks. Firstly, pigment inks (found in
the more expensive photo printers) last
longer than dye-based inks (found in the
less expensive models). Secondly, you cant
put pigment inks into the less expensive
models, so if you want to use pigment inks,
you have to buy the correct printer. Thirdly,
some cheaper third-party inks do not last as
long as the manufacturers inks.
 CREATE THE IMPOSSIBLE
w w w. p h o t o s h o p c r e a t i v e . c o . u k

Available
from all good
newsagents and
supermarkets

ON SALE NOW
Striking imagery Step-by-step guides Essential tutorials
PHOTO EDITING DIGITAL PAINTING PHOTO ART TOOL GUIDES BEGINNER TIPS

BUY YOUR ISSUE TODAY

Print edition available at www.imagineshop.co.uk
Digital edition available at www.greatdigitalmags.com
Available on the following platforms

facebook.com/PhotoshopCreative twitter.com/PshopCreative
GO PRO
10 habits of
successful
photographers
Discover the traits that separate achievement
from aspiration in the world of image-making
The definition of success is different for
everyone, but theres no doubt that some
photographers are always fully booked,
brimming with new ideas and able to
overcome adversity, while others struggle
to get their portfolio off the ground.
Although its easy to think that luck plays
a part, in truth the most skilled or well-
equipped photographers arent always the
most sought-after.
Over the next few pages well uncover
the common traits of accomplished
professionals, as they share their insights
into what makes their talents seem effortless.
Fortunately, many of these habits can be
learned over time, although youll also need
optimism and plenty of patience before you
start to see the results of your hard work.
High achievers understand how to blend
a strong head for business with their visual
creativity, but arent afraid to ask for help.
Even if photography can sometimes be an
isolated pursuit, forging partnerships with
others is one way to fill gaps in your expertise
and keep motivation high. If you want to
stand out from the crowd in a saturated
visual world, read on and explore how you
can acquire your own slice of success.
1 Think of yourself commercially
Investing effort into the business side of
things doesnt always come as second nature
to photographers, but its a vital habit for
establishing a prosperous career. Commercial
thinking goes further than simply having an
attractive website and business cards though,
and the most successful practitioners value
their time as well as that of their customers.
Make use of free, online productivity tools
that can streamline your routine work, for
example Defrozo (defrozo.com). This particular
platform enables photographers to manage a
portfolio website, social media accounts,
media library and blogs all from one place.
Similarly, you could optimise your workflow
speed by using automation tools such as
72
IFTTT (ifttt.com), or simply by using saved
Matthew Joseph
presets when editing.
London-based wedding photography Nick
Ray (nickrayphotography.co.uk) knows how
essential it is to keep on top of your workload,
especially during the busy periods, and to
stay motivated when you have a backlog. We
are photographers first, and businesspeople
second, [but] its also important not to neglect
your marketing and promotion.
2 Seek help from others
The life of a photographer can be fairly
solitary, so from a morale point of view
its really helpful to put yourself out there,
recognises London-based practitioner Matthew
Joseph (matthewjoseph.co.uk), noting however
that an alliance has to work for both parties.
Two photographers may be a conflict of
interest, but if theres a stylist or retoucher that
wants to collaborate it could be a really good
thing. He explains that good partnerships are
formed when you have mutual skills to offer,
but also your own individual strengths.
Landscape photographer Chris Moore
(exploringlight.com) also enjoys collaboration,
using it to seek regular feedback. The advice
of others has been invaluable in fine-tuning
compositions in the field and on processing for
the final product. Ask for critique from fellow
photographers, your clients and friends alike,
as a fresh set of eyes can often highlight room
for development that you might not have seen.
3 Constantly learn
As with all crafts, the most successful
are those who continually hone their skills.
Photography is something that you can
never truly master and there is always
something new to learn, explains wedding
shooter Nick Rose (nickrosephotography.
com), who regularly attends workshops, online
courses and peruses books and magazines to
further his expertise.
The world wide web is of course a fantastic
starting point, awash with free blogs, tutorials
Chris Moore
 10 HABITS OF SUCCESSFUL PHOTOGRAPHERS
Left
Find your niche
Joseph feels its easier to build
a business capturing similar
subjects. Variety actually isnt
helpful. As a professional its
really helpful to know who you
are and what you offer
Below
Work smarter
Dont see efficient working as
a sacrifice on quality, but rather
an opportunity to develop a
more consistent approach that
will save you time and money in
the future
Chris Moore
5 reasons to ask
for help
Photographers often work
alone, but there are times when
teaming up is beneficial
To save time Outsourcing some
elements of a commission can
sometimes be faster, for example image
retouching. Although youll be paying for
this service, itll leave you free to pursue
other tasks and could potentially save
money overall.
To request feedback An important
method of personal development is
knowing how to view your portfolio
accurately and act on feedback. Ask
for critique from people of all ages,
professions and lifestyles, not just
fellow photographers.
To find inspiration By collaborating or
simply communicating with other artists
on a regular basis, youll sharpen your
visual awareness and open yourself up to
new ways of thinking.
To stay up to date When youre busy,
its easy to lose sight of the rest of the
photographic community. Make time to
join local photography meetings, trips or
workshops, and explore what others are
working on.
To fill a skills gap Its impossible to be
an expert in every aspect of your field.
When appropriate, work with specialists
such as stylists and make-up artists and
youll appreciate the difference between
average and stunning end results.
Above
Teamwork
Chris Moore frequently shoots with others when
its appropriate. I think collaboration is very
important in every phase of the process
73
 Matthew Joseph
GO PRO

Opposite
Make
connections
Ray considers
industry contacts
to be vital.
Building bonds
of professional
friendship is great
for referrals of
work from other
photographers,
and there is a
great sharing
of knowledge

Meet the pro

and ideas

Right
International wedding Share your skills
photographer Nick Rose reveals Embrace the
opportunity to work
how practice can help you grow collaboratively.
Feeling like youre
Where do you look part of a team
for inspiration? heading towards
Great images are so an end goal can be
more satisfying,
much more accessible says Joseph
2x Nick Rose

through social media

these days, and were Below
exposed to far more art Create personal
on a daily basis. As a projects
Matthew Josephs
result of this, inspiration is everywhere.
belief is that you
It is important to try and inspire yourself have to shoot
though, and this really comes down things for yourself,
to practice. Looking at a scene and not for anyone else.
thinking about what you can do to make His debut photo
book, Tideway,
it more interesting or give it a different is available now
perspective is what is going to help you to purchase on
grow as a photographer. his website

Why is it important to know your gear

inside out?
For something like weddings, where so
many things are happening, you do not
want to have to keep looking at your
equipment to change settings or check
things. This comes with lots of practice,
but once you can completely forget about
your gear and focus on the scene then
your work will improve dramatically.

Above
Discover fresh ideas
Rose explains that there are so many resources
Matthew Joseph

out there and so many great photographers that

are willing to share, which makes it so easy to keep
educating yourself

74
and articles. Aim to consistently experiment
with new styles or techniques, and your
professional work will subconsciously benefit
from the fresh skills.

4 Show only the best

The end use of your portfolio usually
determines how you curate it, and because
Moores imagery is destined for high-quality
prints, he strives for some variety. I aim to
produce work that appeals to different tastes,
as people differ on what they like to hang on
their walls. I usually only post one photograph
for a particular composition, unless the
conditions warrant otherwise.
Joseph advises that everything that leaves
your hard drive has your name and brand
attached to it. Be selective. Know that the
client doesnt see everything you see, so only
show them what you want to.

5 Master your tools

The busiest photographers arent sought
after because they have the best camera,
but the best handling and problem-solving
skills. Understanding how to use your gear
sounds obvious, but Joseph knows it can be
the difference between nailing a shot and
missing an opportunity, which could have
the potential of opening doors for you. Each

time you add a new bit of equipment to your
kitbag, test it extensively before introducing
it to a commission. Things go wrong, gear
breaks. We can never be perfect but we can all
minimise our risks of missing something.
Moore agrees that knowing gear inside out
is paramount to reacting quickly. Many of [my
most compelling photographs] were captured
at a last-minute dash to a nearby location as I
saw the light changing. Had I needed time to
meter the scene, I would have missed the shot.
use online outlets such as Google Trends
and Trend Hunter (trendhunter.com) to
keep abreast of the latest developments.
Professional photographers document,
represent and mirror the world around them,
so its vital to be aware of the fashion, tech and
news stories that are shaping it.
Nick Ray
explaining that these are what keep both you
and your business moving forward. Rose sets
himself both short and longer-term targets,
which he believes has helped him to achieve
things that I did not think would be possible,
such as booking international weddings. I set
myself smaller targets to help me get there.
The hard part is figuring out what those small

6 Value personal work

For those who successfully turn their love of
8 Seek inspiration
Although a lot can be learned by following
the work of popular photographers, the most
steps need to be, but having clear goals helps
you to focus on what you need to do.

photography into a career, this is an important

habit to form so that the practice doesnt lose
its appeal. Joseph realised he had been making
himself too busy with commissioned work at
the detriment to his creativity. Continue to
push and develop your ideas. Im finding that
when pitching for new clients, they want to see
what is you, not what someone has paid you
to shoot. When your practice starts to feel like
a chore, set aside time to try projects that you
find fun, interesting or challenging.
sought-after visual creatives find inspiration
everywhere in their daily life. Make use of
a rich variety of sources and art forms,
including poetry, books, films and music.
No matter what the source, stimulation is
just as important for the originality of your
portfolio as it is for motivation levels, as Ray
can attest to. Its important to follow your own
instincts and create the photographs you want
to, rather than trying to re-create the work of
others. Keeping an open mind to new ideas
is vital to keep your work improving and to
10 Plan and prepare
Every shoot requires some attention
to logistics, and if you input a high level of
forward thinking youll face less surprises on
the day. Josephs initial prep involves dealing
with the client and making sure everyone is
on the same page in terms of the brief, idea,
approach and reference images. Then its
logistics: studio hire, timings, working out the
route in Google Maps, confirming the parking
situation. Finally, its the gear every shoot is a
different combo of gear so I spend a lot of my

7 Move with the times

While the classic rules of photography will
always ring true, staying up to date with the
latest visual trends is an important habit to
keep in all fields, particularly for commercial
and lifestyle shooters. Look to the latest
magazine and television adverts for visual
clues, immerse yourself in news articles and
avoid becoming stuck in a rut. Its easy to work
within your comfort zone and produce safe
results, but without pushing your boundaries
time unpacking and repacking kit.
Although Moores subject matter is different,
his approach to prep is still there. My most
you will never improve. successful shoots are usually in places I have
visited several times. Spending the daytime
9 Set goals and targets
When you run your own business, goals
and targets are crucial, emphasises Rose,
hours scouting the locations extensively allows
me to fine-tune my compositions based
on the light and weather. DP

75
GO PRO
Career advice
Freelancer photographer Lauren Scott offers her tips
for spending wisely and investing in the right kit
What should
I upgrade?
I bought my DSLR several years ago
when I first got into photography, and
feel Ive now outgrown it. Ive noticed
that many lenses can cost more than a
new camera, so am I making the right
choice by upgrading my body, rather
than spending a lot on just one lens?
Karl Jenson
This is a common question to ask when
you want to advance your image-making,
but unfortunately the answer is different
for everyone. Before youre enticed by a
shiny new model, consider whether you
have any technical need to upgrade. What
is it about your current kit thats limiting
you? A camera with a faster continuous
frame rate might facilitate wildlife
captures, for example, but if your main
subject is people, money could be better
spent on a professional portrait lens.
Although quality lenses can initially
be an expensive outlay, they generally
become outdated more slowly than
cameras do. Consider carefully what
element of your kitbag is restricting your
practice, then remedy it accordingly.
Before making any big purchases, jot
down the reasons for doing so, ensuring
any upgrade will enable you to take the
new shots you want. Unless you have
a specific reason to upgrade, challenge
yourself with the kit that you do have first.
Above
Read trusted reviews and hire
out kit where possible before
you invest, to decide if its a
good fit for you
Lauren Scott
76
Choose the right lens
Ive always been an enthusiastic portrait
photographer, but having recently started
taking on paid commissions, Im finding my
zoom lens just isnt up to scratch in terms
of quality. I can only afford to buy one prime
lens for now, but dont know where to start.
What would be the best addition to give me
some versatility? Should I opt for a brand that
matches my camera?
Josie Cope
Its hard to recommend one specific lens
without knowing your budget, camera and
preferred way of shooting. Whatever these
parameters are, however, its important to
Dont neglect accessories
Im an aspiring landscape photographer who
loves to shoot both coast and countryside.
Ive recently made some money selling prints
of my work, and want to invest the money
back into kit so I can try out some new
techniques. As I have plenty of lenses, would
I be better off buying accessories? If so, what
could you suggest?
Jonathon Cathorpe
As you enjoy landscapes
particularly, it might be
worth investing in a
premium filter set, which
you can add to over time.
The LEE filter system,
for example, requires a
holder and adapter to
Elizabeth Halford
choose glass that will not only serve you now,
but grow with you. A good place to start is to
determine the focal length you need. Use your
existing telephoto at set focal lengths such as
50mm and 85mm, and dont zoom in or out
while shooting. You should naturally find a focal
length that you feel more comfortable using,
then youll know what length prime to look for.
When comparing options, ask yourself
whether a product will retain its value further
down the line. Pay attention to the lens mount
itself, ensuring that it will be compatible with
any future DSLR upgrades. For example, lenses
built specifically for a crop sensor will produce
heavy vignetting on a full-frame camera.
get started, but then you can choose to slot
in a wide range of combinations, from neutral
density to warming options.
Its likely you own a remote shutter release
already, but have you tried working with an
intervalometer? Remember that smaller
accessories dont have to be expensive or
technical to help you achieve new results.
Specialist equipment such as head torches and
waterproof clothing might be worth investing in
to enable you to reach new locations.
Remember to consider whether any of your
essential gear needs upgrading. A decent
tripod is easy to overlook, but its one of the
most important tools in this genre. Premium
models such as those with in-built spirit levels
wont necessarily help with new techniques, but
theyll certainly make your shoots smoother.
 CAREER ADVICE

Do I need a new camera?

Talented wedding photographer Elizabeth Halford considers when to upgrade your body
How do you know when its
time for a camera upgrade?
When I started my business,
I upgraded my camera every
time something new came
out. Only upgrade if you feel
there are reasons why a different camera
will enhance your ability to create art, if you
need a second model or youre nearing the
end of your cameras life expectancy. When I
upgraded from the Canon EOS 7D to the 5D
Mk II, I wanted to move to a full frame for the
added DOF and noise reduction benefits.

Do you think you get what you pay for in

terms of lens quality?
Yes! When comparing lenses, including colour
quality and sharpness, its a no-brainer that the
more you spend on a lens, the better quality all

3x Elizabeth Halford
of these things will be.

Is it worth choosing the best lens you

can afford, then growing into it?
If you have some money to invest in your
photography and can only afford the lens or
the camera, go for the lens. Even the highest-
end camera is only as good as the glass
attached to the front. As an example,
excellent low-light photography is only
made more possible by faster lenses than
by better cameras.

www.elizabethhalford.com
www.graciemayphotography.com

Opposite-top
Extra creativity comes with a
price tag, however a carefully
chosen lens will give your
portraits a new lease of life

Opposite-bottom
Dont overlook the power of
smaller investments. Filters
are especially beneficial
and versatile, enabling new
methods to be tried

Above
If youre going to get a new
camera, make sure you know
exactly why youre doing it
and how it will truly benefit
your art

Left
If you feel like your
photography is missing
something and you cant put
your finger on it, its probably
an issue of lens choice rather
than camera

77
 ENJOY MORE OF YOUR FAVOURITE PHOTO

SUBSCRIBE *
& SAVE
UP TO 40%
S
MINS OF VIDEO NIKO
K N D5 PUT TO
THE TEST 115+ MINS OF
+
SHOULD THIS FLAG

FREE 90
SHIP DSLR BE YOUR
NEXT CAMERA?
READ OUR FULL
REVIEW FREE VIDEOS,
os
ts and pr PRESETS
r enthusias Practical advice for
advice fo enthusiasts and pros & MORE
Practical

Issue 176

www.dphotographer.
co.uk
er.co.uk
otograph
PHY
Issue 175
www.dph

OTOGRA
BIRD PH
A7S II

N
NY

SHARPE
SODoe active
s this attr the
ress in
camera imp
field? We
find out
WIN!
ER MANFROTTO
A CAREIE

SKILLS
E SK S CAPTURE VIVID KIT WORTH
IN TH
500
VISTAS
r
from you
ke money
Ma hy rap
ial photog
love of aer

Learn how to use light,

techniques for colourf location and pro
NIQUES ul landscapes

OTO TECH
TELEPH PANNING
T
PERFEC G FREE 80+ MIN
CUSIN
FAST FO THE ULTIMATE GUID
TO E UTE CREATE
S OF V
LIGHTROOM
AN ONLINE
GALLERY

RN
EDIT
IDEOS EXCLUSIVE
NEWBO
WEDDING
IMAGES
ENHANC
Practic
EXPER !
MASTER ITS
E BLACK
Refine your workflo al advic & WHITE
T
PORTRA
w and perfect your
pictures with our step-by e for en
PORTRAITS thusiasts RETOUC
-step tips & tricks and pro HING
WITH PRISMS s TUTORIA
ls PANASONIC L
of the professiona
the secrets GX80 RATED www.dphotograp
Discover MAKE THE MOST her.co.uk
To
AGE Php Lightroom
OF CLOUD STOR

PORTRAITS
otosho
Learn to p trick&
s
deal withcreate gritt
distractio y portraits
ns easil and
y Issue 174

LANDSC
Improv
e
urban your
in-depth
skills
From arch
itect

BY NIGAPES
featureure to street,
has all our
you need

SHAPETH
E

LIGHT HT
a studio
Become our guide
expert with
E
ENHANCHES 16/06/2016
09:49 SHOOT BETTER Cr
EYELAS TH PHOTOS WITH OURstillealiftive MASTER
WORK WI S
ISSUE 176
IN-DEPTH ADVICE e Work with CAPTUR THE MILKY WA
ND GRAD ING
produce shadows
E
FOCUS STAR TRAIL Y
dramatic to

USE CLIPPS
effects
BALANCE FLASH IN THE S
BETTER HIGHLIGHTS DARK
WARNING EXPOSURES
WITH APERTURE CONTROL THE
al.indd
2 AMBIENT LIGHT USE BACKLIGHTIN
_covers_Fin EFFECTIVELY G
001_DP176 001_DP175_covers_
wk4.indd 2

LENSESUSE REVERS
DEVELO FOR MACROE
18/05/2016 10:14 PRESSP A STRONG
FIND THEPORTFOLIO
ND FILT RIGHT VARI
KEY SK ER FOR
CAPTUR ILLS YOU

PORTRA E PRO
Take your
next level male mod
ITS
el shot
with our prac s to
tical guidthe
001_DP e
174_co
vers_F
INAL.in NEW FU
X-E2S JIFILM
dd 2
ISSUE 174

Is it a case RATED
revol of evolu
ution from tion or
Fujifilm?

20/04/2
016 09:50

*US Subscribers save up to 37% off the single issue price.

See more at: www.greatdigitalmags.com

GRAPHY MAGAZINE FOR LESS WHEN YOU SUBSCRIBE!

Every issue
packed with
Top shooting techniques from photography professionals

Step-by-step editing guides to help enhance your skills

Interviews and tips from the pros

Free resources, including in-depth video guides and much more

Why you should

subscribe...
Save up to 40% off the single issue price

Immediate delivery to your device

Never miss an issue

Available across a wide range

of digital devices

Subscribe today and take advantage

of this great offer!

Download to your device now

 - also available from -

For more information visit

www.intertphotographic.com
 ONE OF MANY
REASONS TO
JOIN THE RPS
PROMOTE YOUR WORK
Gain global recognition
through RPS competitions
Create an online portfolio
to promote your work
RP
15 %
US S M
Marc Aspland HON.FRPS | Louis Smith

EC EM O
WW DE D BER FF
O

Enter members monthly W. IGP SH

S.O O16 IP
RP H
365 competition, winners RG AT

published in our Journal

MARC ASPLAND HON.FRPS

Chief Sports Photographer, The Times Newspaper

I still pinch myself about being a member of The

Society, to win an award, any award, makes me Discover all the membership benefits at
rps.org/join-us
the most happiest snapper. Its a true honour to be
recognised by the Royal Photographic Society.

INSURANCE

Capture something special

25%Intro
Put your insurance in perspective. With cover
suited to hobbyists and professionals from as
low as 4.05 per lunar month and with a 25%
introductory discount*, insuring your
photographic equipment is affordable and
Discount* easy.

All policies include:

Cover for Theft
Cover for Accidental Damage & Loss
New for Old
Public Liability

Get a quote TODAY

Worldwide cover
Personal Accident

www.kamkit.co.uk/DP2016 Professional cover also features:

Professional Indemnity

03300 241 858

Business Interruption & Prop cover
Accidental Damage to Portfolio

Kamkit is a trading name of The Equine and Livestock Insurance Company Limited (registered in England and Wales
no:294940), Thorpe Underwood Hall, Ouseburn, York, YO26 9SS . *25% introductory discount applicable on new
policies only. Premium based on minimum insurable value with all available discounts.
 INSURANCE COURSES

EXPERIENCE SOUTH INDIA

Photographer
Digital
18 - 27 JANUARY 2017
Share the experience of a lifetime, with a small group led
by internationally acclaimed photographer Sam Harris.
Photograph coffee pickers in lush forested mountains,
vibrant flower and spice markets, traditional wood
carvers, colourful temple rituals, fishermen at sunrise
and so much more in this great-value workshop.

The
The
right insuranceright
Theinsu
r
for YOU? for YOU?
With a full rangeWith
of specialist policiesa full range With of special a f
for Photographers,
for Video-makers,
Photographers,
Film for Video-m Photo
Processing Labs
Processing
and everyone involved in Labs Processing and everyone
Image-making,
Image-making,
Imaging makes insurance Imaging
Image-ma mak
If you have any doubts about coming to India by yourself or you want
simple, effective and hassle
simple,
free. toeffective and
challenge yourself and take your photographysimple
to the next level, has
I
highly recommend joining this workshop. If you are looking for a
workshop thats relaxed and gives you the opportunity to get a feel
Imaging strives
Imagingto give you excellent cover,strives Imaging
to
for the place and give
immerse yourself you
in the culture, this is it! st
ex
service, security and
service,
value for money. security and service, value
- Jason C (Experience India 2015)

samharrisworkshops.com

STUDIO

CLASSIFIED ADVERTISING 01202 586442

For a quote
Foror more information,
a quote orFor
more
a qu
inf
call Imaging
callInsurance now
Imaging
on... call Imag
Insurance
01277 0
243016
1277 0
243
12
Or visit our website... Or visit our websi
Or
www.imaginginsurance.co.uk
www.imaginginsuran www.im
Imaging Insurance
Imaging
is a trading name licensed to Vantage
InsuranceInsurance Services Limited (VISL)
isbya Nichetrading
Insurance Services Limited.name licensed
Imaging
to Vantage
Insurance
Insurance Services
is a trading
Limitednam
(VIS
VISL is authorised and regulated by theVISL
Financial Services Authority.
is authorised
VISL is registered in England, No 3441136.
and regulated by the Financial VISL Services
is authorised
Authority. VISL
andisreg
reg
VISLs registered address is: 5th Floor, 41 Eastcheap, London, EC3M 1DT VISLs registered address is: 5th Floor, 41 Eastcheap, VISL
London
s
Imaging Insurance can be contracted
Imaging
at: 2nd Floor, Juniper House,Insurance
Warley Hill Business Park, Brentwood,
canCM13 3BEbe contracted at: 2nd Floor Imaging
, Juniper
Insurance
House, Warley
canHill
be Bus
co
Tel: 01277 243016, Fax: 0207 6558060, Email: info@imaginginsurance.co.uk Tel: 01277 243016, Fax: 0207 6558060, Email: info@imaging Tel: 0127
REVIEWS

86
 HEAD
GROUP
TO HEAD
TEST

Canon EOS-1D X
Mark II vs Nikon D5
These two models represent the pinnacle of current DSLR technology, but is it
really possible to separate them for the action-shooting professional?
Released just in time for the 2016 summer
Olympics, the Nikon D5 and Canon EOS-1D X
Mark II each provide pro photographers with the
most advanced technology to capture even the fastest
moving action. The two share many commonalities; not
only is each bestowed with a fresh sensor to handle all
manner of scenes and lighting conditions, but each has also
introduced a touchscreen and 4K video to their ranges.
Unlike Canons EOS 5DS and Nikons D810, whose
higher-resolution sensors mean that theyre intended
more for studio and landscape photographers, the focus
for these models is on speed and responsiveness, thus
suiting them to any kind of sports and action photography.
Both have the familiar pro-DSLR shape that allows them
to be used vertically with the same level of comfort as
they can horizontally, while also providing a better support
for telephoto lenses. Both are also extensively sealed
against inclement weather and dust, and both come with
high-capacity batteries to ensure they keep on working
throughout longer assignments.
In terms of speed and responsiveness this is about
as good as it gets in the DSLR world, so one of the key
tests will be how accurately and quickly each camera can
focus, as well as how quickly each can adapt when the
situation changes. Furthermore, with modest pixel counts
and broad ISO ranges, we would expect good things from
high ISO performance. Well also be taking a look at how
the introduction of touch control and 4K video rounds off
the package.

87
REVIEWS

Below
Colours and metering
The brighter exposures from the
Mark II help when scenes are
dominated by darker details

SRP: 5,199 / $5,999 (body only)
Canon EOS-1D X Mark II
With an improved AF system and a faster burst shooting rate, the
EOS-1D X Mark II takes the baton from its predecessor in style
The EOS-1D X Mark II joins the D5 in arriving with a
wealth of upgrades over its acclaimed predecessor.
Its 20.2MP pixel count is slightly lower than the D5s
20.8MP (although this doesnt make any significant
difference in practice) and its 61-point AF system, which
includes 41 cross-type points, might sound a little
behind too. Yet, it offers a faster 14fps burst rate as
standard that increases to 16fps in Live View, and also
records both 4K and Full HD video to higher frame rates,
the latter allowing for very pleasing slow-motion footage.
The cameras focusing system can be exhaustively
configured to requirements, with focusing points
and various AF area modes showing up clearly in the
viewfinder. It works diligently when faced with a moving
subject, doing well to keep up as it moves around the
scene, and studying images afterwards shows a fine hit
rate. Its perhaps just a shade behind the D5 overall, but
its certainly capable of producing just as fine results.
The body is as solid as expected and, as with the D5,
there are only a few minor things to fault with regards to
HEAD TO HEAD
handling. Turning on the camera, for example, is
a little more awkward by comparison as the power
switch is located towards the base of the back plate.
The top-plate LCD lamp is also more awkward to
access, which may bother those working in dark
conditions. Yet, the rear control dial makes fast
scrolling effortless and those used to the 1D-series
bodies should be satisfied overall.
The viewfinder appears very slightly brighter than
the D5s, although both are highly usable. Similarly,
while the rear LCD screen cant match the D5s for
resolution, its difficult to appreciate any difference
between the two. The touchscreen shows good
response and, thanks to the Dual Pixel CMOS AF
system, this works impressively when selecting the
focusing point in Live View and for video.
The cameras metering system does a decent job
in different scenarios, although its clearly calibrated
to produce slightly brighter exposures than the D5
as standard. This leaves some highlight lost in high-
contrast scenes (though Highlight Tone Priority can
be called upon here), but with darker subjects it helps
to deliver more balanced exposures.
This means that colours are usually brighter but
not as saturated as those from the D5, although
when exposures are at a similar level the difference is
slight. Reds in particular are rendered very pleasingly
by the Canon.
With such a sparsely populated sensor, noise
control is very good throughout the ISO range and
sensibly tops out at a reasonable level. Its just slightly
behind the Nikon at its highest options, but the
difference is only noticeable by comparison.
Video quality is also strong, with plenty of detail and
a clear, faithful reproduction of the scene, together with
acceptable audio. The camera changes exposure a little
more rapidly (and thus noticeably) than the D5, but its
focusing system is far more discreet while recording.
Left
Control assortment
The Mark IIs body is packed
with many physical controls,
and while some are small,
all are clearly marked and
have good travel
89
REVIEWS

Below
Colour depth
Slightly darker exposures than the
EOS-1D X IIs, although this helps to
deliver wonderfully deep colours

SRP: 5,199 / $6,500 (body only)
Nikon D5
With an unprecedented AF system and super lofty ISO options, this
4K-shooting DSLR appears to be ready for whatever you can throw at it
The Nikon D5 made quite the impression when it was
announced, with chief upgrades over the previous D4S
being a new 20.8MP FX-format sensor, 4K video and
a 153-point AF system that contains an impressive 99
cross-type points.
The latter feature was one of the main surprises, and
its particularly welcome to find that it performs to a
standard very much befitting a camera of the D5s class.
Together with a super-responsive shutter, images can be
focused on and captured rapidly but its when tasked
with moving subjects where it really shines.
The system does an impressive job of quickly
identifying and adhering moving subjects, even fast-
moving ones that dont occupy too much of the frame.
Even when set to its maximum 12fps burst mode,
focusing between frames is maintained and many
bursts show an excellent hit rate. You can also notch this
up to 14fps with the mirror locked up, but without AF.
The cameras grip feels slimmer in the hand than
the EOS-1D X IIs, and some with larger hands may
HEAD TO HEAD
find this lacking. Still, theres practically nothing of any
significance to fault about its build quality. Furthermore,
the manner in which controls are arranged does make
certain tasks easier than on its rival; buttons are clearly
marked and have good travel, although the small size
and unyielding nature of the multi-selector pad on the
back may irk some.
The LCD is bright and very clear, and a side-by-side
comparison with the EOS-1D X Mark II shows its touch
functionality to be a little more sensitive. The viewfinder
is big and bright, and its exposure information cleverly
adapts in brightness as the scene changes.
The cameras mammoth ISO range, from settings
equivalent to ISO 50-3,280,000, is perhaps the other
most-discussed feature of the D5s feature set. Sadly,
while performance is strong in the commonly used
range and just slightly better than the EOS-1D X Mark
IIs results at the highest few settings show Nikon
hasnt found a magic formula to make these usable.
Still, theres plenty to enjoy about image quality
elsewhere. The cameras metering system, while
generally fine, leans a little towards underexposure,
although this does keep highlights in check. In
comparison with the brighter files from the Canon, this
approach also shows colours to remain a little bolder.
Also impressive is white balance, with just a handful of
scenes showing minor shifts between images taken in
quick succession.
Video quality is excellent, with crisp details and
with plenty of control over recording. The sensitive
touchscreen makes focus-point selection easy, while
the large, virtual, touch-sensitive play button that
appears on the screen when reviewing videos makes
initiating playback easy. The camera smoothly
transitions when adjusting exposure while recording,
although without a system equivalent to Canons Dual
Pixel CMOS AF, focus changes while recording are a
little less fluid by comparison.
Left
As tough as it gets
Not only does the body feel
like its been carved out of
a solid block of metal, but
controls are sensibly arranged
and most operate pleasingly
91
REVIEWS

CLOSE
CALL
Picking a winner out
of these DSLRs proved
impossible theyre both
top-quality models, so it
must come down to
personal choice.

Canon EOS-1D X
CANON EOS-1D X MARK II
Mark II Nikon D5
Megapixels Features Megapixels Features
20.2 Its AF system might not 20.8 From the high-
Max resolution be as well rounded as the Max resolution performing sensor and
5472x3648 D5s, but the 14/16fps 5568 x 3712 superb AF to cracking
burst rate and excellent video quality, the D5
Sensor Sensor
video impresses has a very solid core
Full-frame CMOS FX-format
Shutter speed Shutter speed
30-1/8,000sec, 30-1/8,000sec,
Build quality Build quality
bulb bulb
While it feels different Pretty much as good
ISO sensitivity in the hands to the D5, ISO sensitivity as it gets. Its hard to
50-409600 the body is just as solid 50-3,280,000 imagine the camera
(expanded) and should handle the (expanded) coming to any serious
Exposure modes same abuse Exposure modes harm through use
P, A, S, M P, A, S, M
Metering options Metering options
E, CW, P, S Handling M, CW, S, Highlight- Handling
Flash modes Some controls are weighted Some may prefer a
a little awkward to beefier grip and more
E-TTL II Auto, Flash modes
access, but the rear freely moving multi-
Manual quick-control dial is SS, RE, RE SS, FC, selector pad, but these
Connectivity an advantage RC, Slow RC arent significant issues
USB 3.0, HDMI, Connectivity
ethernet USB 3.0, HDMI
Weight Weight
Quality Quality NIKON D5
1,340g body only of results 1,405g with battery of results
Dimensions Great noise control, and two XQD cards Delivers whats expected:
158 x 167.6 x predictable metering, Dimensions pleasingly coloured,
82.6mm accurate white balance 160 x 158.5 x detailed images and top-
Batteries and excellent video 92mm quality video to match
Li-ion Batteries
Storage Li-ion
CompactFlash,
Value for money Storage
Value for money
The leap from the EOS- Not a cheap camera
CFast 1D X isnt as significant as Dual XQD or CF when compared with
LCD expected, but you get a LCD its accomplished
1,620K dots sound performance for 3.2in, 2,359K dots FX-format siblings, but
Viewfinder the money nonetheless Viewfinder it performs brilliantly
100% coverage 100% coverage

Overall
While it excels in different areas
to the Nikon D5, the EOS-1D X
Mark II is a highly capable tool that
deserves equal praise.
Overall
A superb camera, with a focusing
system that easily handles even
the fastest moving subjects and a
plethora of additional merits.

92
 Special
overseas
offer All titles
just lCh4rist9 .9ift,9
The idea mas g
Give a that lasts all year

this Christmas and save up to 17%

With free delivery Direct to their doorstep, every month

13 issue subscription 12 issue subscription 13 issue subscription 12 issue subscription 12 issue subscription
Save 10% Save 17% Save 15% Save 17% Save 17%

13 issue subscription 12 issue subscription 13 issue subscription 12 issue subscription 12 issue subscription
Save 4% Save 17% Save 4% Save 17% Save 17%

Order securely online www.imaginesubs.co.uk /xmas161

Unlimited offer: Grab as many subscriptions as you want! These offers will expire on

Call +44 1795 592 869

Saturday 31 December 2016

Please quote code xmas161

REVIEWS

Opposite
Port free
The Leica M-D is a rare
camera that offers neither
USB nor HDMI ports

Left
Simplicity
Minimal in design, the camera
even lacks the iconic red dot on
its front plate

94
SRP: 4,650 / $5,995
Leica M-D
(Typ 262)
By stripping down controls to the bare minimum, Leicas M-D
(Typ 262) lets you focus on nothing but capturing your image
Now heres something different to the
norm: a digital camera with no LCD
screen that offers little more than
just aperture, shutter speed and sensitivity
controls. The Leica M-D (Typ 262) is a
rangefinder based on the same M-System as
the companys legendary film models, with
a 24MP full-frame sensor at its heart. The
companys reasoning behind its stripped-down
feature set is to focus solely on the essentials,
so that the photographer considers nothing
but the image they are taking.
Clearly this also provides an experience
reminiscent of shooting on film, even more
so when you consider that the camera only
records images in Digital Negative (DNG)
RAW format, rather than outputting instantly
processed JPEG files. In an age of ever-
expanding filter effects, confusing menu
options and LCDs that stretch out in all kinds
of directions, some may find this rudimentary
setup refreshing.
As you may imagine, the option to record
video of any kind has also been left out,
although you can program the camera to fire
continuously at a rate of 3fps, or set it on a
self-timer. The only other features of note are a
hotshoe that enables flashguns to be mounted
and a lever that lets you see what framing
would look like with a different focal length.
Metering is centre-weighted and white
balance is permanently set to auto, with just
Manual or Aperture Priority exposure options
available. There is the option to use exposure
compensation, however, and you can lock the
exposure by keeping the shutter release half-
pressed and recomposing the image.
Lines in the viewfinder indicate what the
lens will capture, with two focal lengths
displayed at any one time. In the middle of all
this a small bright rectangle the metering
field is superimposed over the scene; not
only does this show you where the camera
is metering, but it also enables you to focus
on the scene. To do this, you just focus until
the details in this rectangle match up with
those behind it. Those used to modern
autofocus systems may find this awkward,
although in most conditions its perfectly
usable. Only when shooting repetitive or
very low-contrast details can it be difficult to
check focus accurately.
Although there is no LCD, small LEDs at the
base of the viewfinder notify you of exposure
settings, as well as how many shots you have
remaining (which pops up immediately after
you take an image) and if theres a problem
with the card. In place of the LCD, Leica
has added an ISO dial; this is flat and stiffer
than expected, but its very unlikely to move
inadvertently because of this.
In the right
hands and with
a little effort, it is
unquestionably
capable of
great things
FEATURES
SHUTTER SPEED DIAL
The M-D sports a physical dial that changes shutter
speed between 8-1/4,000sec. Theres also an A
setting to set the camera to Aperture Priority mode.
SD SLOT
SD, SDHC and SDXC cards are inserted into the
camera through the removable bottom plate.
MAIN SWITCH
This is set to single-frame shooting as standard.
Moving this enables you to alternate between 3fps
burst shooting and a self-timer option.
BRIGHT LINE FRAME
Marks in the viewfinder indicate the framing of two
lenses at any one time: 35mm and 135mm; 50mm
and 75mm; and 28mm and 90mm.
FOCAL LENGTH LEVER
A lever on the front plate enables you to quickly
alternate between the three combinations of bright
line frames in the viewfinder.
FUNCTION BUTTON
This button on the top plate works in conjunction
with the rear command dial to change exposure
compensation. This is possible over a -/+3EV range.
SHUTTER SPEED DIAL
95
REVIEWS
ISO
RESULTS
With a maximum sensitivity
of ISO 6400, noise isnt too
much of an issue, even at higher
settings. You can start to see some
coloured texture at around ISO
800, but this only increases
moderately with each
ISO setting.
ISO 800
TALKING POINT
M-mount
As with Leicas other M-series rangefinders, the M-D
is equipped with an M-mount that makes the camera
compatible with over 60 years worth of lenses. These
range from 16mm to 135mm, with the vast majority of
these being prime lenses manufactured by Leica, although
there are further options from other companies that
have at some point also used the M-mount for their own
cameras. There are a few M-series lenses that are either
not compatible or compatible with restrictions, although
you can also use the camera in conjunction with lenses
designed for other systems via adapters, such as older
screw-mount lenses. Modern M-series lenses also have a
six-bit code at their rear; this provides lens information that
can be stored as part of an images metadata, and also
used to correct any vignetting from the lens.
JOIN THE DEBATE ON OUR SOCIAL MEDIA NOW:
96
At 720g with its battery in place the model
is fairly heavy for its size, although this is
easily explained by its all-metal construction.
Everything is built to the highest standard,
from the solid thumb wheel on the top plate
that changes shutter speed, to the thick
metal base plate that comes away to reveal
the battery and memory card compartment.
Leica was good enough to supply the
camera with the Summilux-M 28mm f1.4
ASPH and Summilux-M 50mm f1.4 ASPH
lenses. We found the latter far easier to use;
not only was its corresponding bright line
frame easily viewable the 28mms frame
is very close to the peripheries of the
viewfinder but the 28mm lens hood
obscured a good deal of the right-hand
corner, which made composition more
awkward. Having said that, its a shame the
50mm lens was not supplied with its own
hood, as certain images taken with it showed
extraneous light creeping in and reducing
contrast. The cameras maximum shutter
speed of 1/4,000sec also makes the use of
wide apertures in brighter conditions an issue.
With a full-frame sensor on board and
compatibility with a range of high-quality
lenses, it should come as little surprise that
images captured with appropriate technique
show a high level of detail across the frame,
with both distortion and chromatic aberrations
either very low or non-existent. RAW files
suggest the camera does employ an anti-
aliasing filter in front of the sensor, in contrast
to many recent models that do not, although
these files only typically require a gentle
nudge of the sharpening slider to get them
to their best.
ISO 6400 We found overexposure and underexposure
more common than with other cameras,
@DPhotographer www.facebook.com/DigitalPhotographerUK
 LEICA M-D (TYP 262)

although nothing that would be outside

of the scope of processing RAW
files. Similarly, the auto white balance
system strays a little more than expected,
particularly in mixed lighting conditions,
although most images display faithful
colours that only need a slight boost to bring
100%
them more in line with that of the average in-
camera JPEG.
Overall, while the M-D makes life easy while
shooting by only offering basic control, the
need to process files and rectify any missteps
afterwards means that it might not save the
photographer as much hassle as it may initially
appear. Nevertheless, in the right hands and
with a little effort, it is unquestionably capable
of great things.

Above-inset
Detail
M-series lenses are noted
for their quality, so it follows
that images display very good
detail across the frame
Right
Colour
Despite some auto white
balance issues, images show
good colours that just need a
little boost in RAW processing

Leica M-D (Typ 262)

Megapixels Features 2
24 Being light on features does work to
Max resolution its advantage, but some may prefer
a few additional controls
5976 x 3992
Sensor information
Full-frame
Build quality
CMOS sensor Leicas cameras have always been
Shutter speed designed to an exemplary standard,
8-1/4,000sec, bulb and the all-metal M-D is no exception
ISO sensitivity
200-6400
Exposure modes Handling
Great to look at and solid in the hands,
A, M
but the minimal design means its not
Metering options as comfortable as it could be
Strongly centre-
weighted
Flash modes Quality of results
N/A A decent starting point for further
Connectivity processing, but it has unpredictable
N/A metering and white balance systems
Weight
720g (with battery)
Value for money
Dimensions It has a great sensor and a build that
Approx 138.6 x 42 x will ensure it lasts, but even without
80mm a lens its a pricey proposition
Batteries 3
Rechargeable
lithium-ion Overall
Storage
Leica models are 1 VIEWFINDER
Images are composed
ISO DIAL
2 This dial allows you to
SD, SDHC, SDXC traditionally intended for through a viewfinder that adjust ISO between a range
LCD a niche market and the offers a 0.68x magnification of ISO 200-6400
N/A M-Ds simplicity takes this
Viewfinder even further. It may be
hard to love, but some will BOTTOM PLATE
Bright-line viewfinder
be won over by the idea. 3 ASTATUS LAMP
small lamp that blinks when
4 This entire plate comes away
with automatic parallax
writing images is concealed in from the camera to provide
compensation, 0.68x the back plate access to the battery and card
magnification

4
97
REVIEWS

SRP: 629 / $600 (body only)

Above
Exposure correction
The D-Range Optimizer is an ideal
solution for battling the cameras
predisposition for underexposing
Top
Sharp and colourful
With a little finesse the Sony a68 is
capable of capturing sharp, colour-
accurate shots
Sony a68
We find out if Sonys latest budget-saving SLT offers
enough to entice demanding amateurs this autumn
Its been a while since Sony refreshed
its DSLR-lookalike SLT range (Single-
Lens Translucent) for its ambitious
amateur audience, but borrowing its 24MP
APS-C sensor and autofocus features from
its higher-spec a77 II stablemate, the new
Sony a68 looks to be a key contender in
the midrange market. Certainly looking the
part, the a68 presents the aesthetics of a
DSLR but instead incorporates Translucent
Mirror Technology; a fixed see-through mirror
that allows light to pass straight through to
the sensor, enabling for faster shooting with
continuous use of its phase-detection AF.
For a camera at this price point consumers
would be forgiven for thinking the a68 would
be lightweight and uncomfortably small, yet it
actually exudes a sturdy presence and sports
dimensions akin to more advanced models
such as Sonys own a77 II. The concession
here is that there is obviously no magnesium-
alloy chassis and instead the model is crafted
from plastic, but it feels solid nonetheless and
a chunky indented grip and rubberised areas
are there for improved control. A light-up LCD
perches on the cameras top plate presenting
all the key need-to-know values, a welcome
addition to the midrange sector.
When it was launched this spring, the a68
offered the highest density of AF points: 79,
15 of which are cross-type a boast which
has now been exceeded by Nikon and Sony
itself, but nonetheless equates to a fast AF
system that offers greater frame coverage,
continuously holding focus while shooting up
to 5fps full resolution or reduced at 8fps. We
found the focus easy to control, and tracking
the subject regardless of how quickly they
moved consistently proved effective, making it
a tempting buy for photographers of an action,
sport or wildlife persuasion.
On the whole the a68 offers a comfortable
handling experience and there are only a few
problems that could deter shoppers. The first
is that the shutter is extremely sensitive, so
much so it can be painstakingly problematic
to judge the focus half-way point, often firing
prematurely. When the shot is fired there is a
noticeable lag between processing and being
able to adjust settings for the next frame. The
last point of contention is the low-end LCD.
Its tiltable, but only in two directions and its
noticeably lower res (461K) than the market
average (921K) weve come to expect.
Despite its few flaws the camera is capable
of consistently producing high-quality imagery.
Touting specs of ISO 25600 we were wary
of how well the intermediate unit would fare
with noise, but first signs of spawning werent
obvious until ISO 1600 for JPEGs. In terms of
metering, there is evidence to suggest that the
a68 natively underexposes, favouring to save
the details in the highlights, but the in-built
D-Range Optimizer function can rectify this.
Finally, thanks to the plethora of AF points and
in-body image stabilisation, detail sharpness
was not an issue, and when the a68s features,
design, performance and results are weighed
on balance, the SLT undeniably makes for an
exciting budget-busting buy.

PIN-SHARP FOCUS FEATURES

PIN-SHARP FOCUS
With a 79-point phase-detection
AF system, the a68 rarely falters
in maintaining a pin-sharp focus.
FASTER SHOOTING
Sony favours its fixed, translucent
mirror design here, enabling
slightly faster shooting.
READY, STEADY, PRINT
With 24.2MP, photographers
can produce full-resolution prints
as large as 50 x 33cm.
LOW LIGHT
Perfect for low-light enthusiasts,
the a68 can go as low as EV-2,
equivalent to a moonlit night.
KEEP NOISE DOWN
Delivering a sensitivity gamut of
ISO 100 to 25600, the a68 deftly
dealt with noise up until ISO 1600.
TOP-CLASS CLIPS
Shooters can record using the
XAVC S format for Full HD at 50
Mbps (60/50p, 30p/25p, 24p).
 SONY A68

THE RIGHT
ANGLE
The adjustable LCD screen
moves 135 degrees up and 55
degrees down, which comes in
extremely handy for over-the-head
and ground-level shots, however
the surface can suffer pretty
badly with glare on
sunny days.

Sony a68
Megapixels Features
24.2 The a68 has a strong sensor, a
Max resolution fast and wide AF system and
impressive movie-making tech
6000 x 4000
Sensor information
23.5 x 15.6mm
Build quality
Exmor CMOS In spite of its plastic build the a68
Shutter speed feels durable, and the 1.44 million-
30 - 1/4,000sec dot EVF helps to regain favour
ISO sensitivity
100- 25600 (stills),
100-12800 (movies) Handling
User-friendly and comfortable, but
Exposure modes
the over-sensitive shutter and low-
Auto, P, A, S, M end rear LCD can present issues
Metering options
CW, S, MS
Flash modes Quality of results
A, Fill, RE, Fon, Foff, SS, Reproduces pin-sharp details with
RS, Wireless, HSS little evidence of noise distribution
Connectivity for the majority of situations
USB, Mic
Weight
Value for money
596g (body only) At such an affordable price
Dimensions consumers are getting a bundle of
142.6 x 104.2 x high-end tech for their buck
82.8mm Above
Batteries Control
Rechargeable Li-ion
Storage
Overall Reassign 11
customisable buttons
An ideal shooter for to activate any of the
Memory Stick XC-HG demanding amateurs on 49 functions
Duo/PRO Duo/ a budget. The screen and
PRO-HG Duo, SD, shutter may cause issues,
but on the whole its a Right
SDHC, SDXC
very capable DSLR with a Light it up
LCD The illuminating Top
host of high-end features.
2.7 TFT LCD Display Panel is a
Viewfinder helpful addition to the
1.44 million-dot, 0.39 midrange camera

99
REVIEWS

DOWNLOAD THE TEST SHOTS

www.filesilo.co.uk/digitalphotographer

SRP: 299 / $200

Sony FE 50mm f1.8

An accessibly priced addition to Sonys full-frame E-mount range
Arguably the 50mm f1.8 is one of Left
the least glamorous lenses in any Optimum performance
When stopped down to f5.6, this lens
makers line-up, however, there is a lot has excellent definition and edge-to-
to like about this offering from Sony. Although edge to sharpness on a par with more
extremely light in weight it has a metal lens expensive offerings
mount and, even with an outer shell made
mainly from plastic, its relatively well made. Bottom-left
Maximum aperture
Focusing on the a7 II we used for the review Wide open the lens is almost as sharp at
isnt perhaps quite as fast as the equivalent the edges as it is the centre, but its not
Canon, and as a unit-focusing model theres bitingly crisp until stopped down to f5.6
some noise, hunting and barrel extension. Still,
the extending barrel feels firm and secure.
More of an issue is that the lens stops down Technical specs
to focus, so it can be slow to focus in low light. Manufacturer Sony
Manual focusing is responsive however, and it Model FE 50mm f1.8
has a long focus throw of around 200 degrees. Web www.sony.co.uk
While thats good for things like portraiture and Elements/construction 6/5
still life, it can be a little restrictive for other Angle of view 39.6 degrees (horizontal)
genres, and like others in the FE range that Max aperture f1.8
are designed to accommodate the tolerances Min aperture f22
between bodies, there are no hard stops and Min focus distance 0.45m
the lens resets after powering off. The most Mount Sony E (Full Frame)
impressive thing about this lens, though, is Filter size 49mm
the optical quality. Its not just that the Length 59.5mm
sharpness and fine detail rendering are high, Diameter 68.6mm
but the fact that it delivers this throughout the Weight 186g
aperture range. Even wide open its very good,
though like many others at this price youll
have to stop down to f5.6 to get corner-to-
Summary
corner sharpness. Other issues were likely Optically this lens is very good, but the design
to see in lenses like this (such as distortion and handling are slightly less impressive; stopping
and chromatic aberration) are low, which is down to focus may reduce aperture-dependent
intriguing at this price. focus shift, but AF in low light is a struggle

100
 LENSES

SRP: 1,349 / $1,800

Panasonic
Leica DG
Vario-Elmar 100-400mm
f4-6.3 ASPH Power OIS
Panasonic has introduced the first micro four-thirds lens to reach 400mm
Although made in Japan, Panasonics
premium lenses produced in Left
Mid-range
conjunction with Leica tend to bump The lens really delivers around 300mm,
up the price; but even then this lens, which with crisp-clear pictures and barely any
is effectively a stabilised 200-800mm, looks chromatic aberration
attractively priced. Being not much larger
than a full-frame 70-200mm f2.8, this lens Bottom-left
Max focal length
is relatively compact. With a metal exterior The lens performs well even if it doesnt
complete with a nicely designed removable have the small structure contrast seen at
tripod foot, its really well made. It also features shorter focal lengths
an unusual collar design that houses the focus
limiter and stabilisation controls, so that even
when the lens is rotated theyre always visible. Technical specs
Theres even a built-in hood with a separate Manufacturer Panasonic
add-on shade, like you see with some of the Model Leica DG Vario-Elmar 100-400mm f4-6.3 ASPH Power OIS
big telephoto lenses from Canon and Nikon, Web www.panasonic.com/uk
although its a bit fiddly in use. Sometimes Elements/construction 20 / 13
zoom lenses like this can be slow to focus, Angle of view 10.3 - 2.6 degrees (horizontal)
but thats not case here. Indeed, AF acquisition Max aperture f4-6.3
and tracking on the Lumix GX8 used for testing Min aperture f22
targets was often excellent, but at times it Min focus distance 1.3m
would lock and focus onto another target so Mount MFT
quickly that it was often simpler to switch to Filter size 72mm
manual and use peaking instead. But what Length 171.5mm (minimum)
about the optical quality? Lenses like this Diameter 83mm
rarely perform that well at longer focal lengths. Weight 985g
Admittedly, it is a better performer at the short
end, but it certainly isnt bad at the long end.
Wide open at 400mm it has excellent large
Summary
structure contrast, but it lacks some of the fine The Panasonic 100-400mm f4-6.3 might not be
structure or micro contrast of the dedicated a match for a super telephoto prime in optical
telephotos, and doesnt really improve much quality, but its so much smaller and more versatile
on stopping down. that youre more likely to use it

101
 REVIEWS
SRP: 230 / $250
Capture the action in 4K
Shoot video in superb resolution with YIs latest foray into the market
The YI 4K action camera is both
lightweight in its physicality yet
heavy in its ability and potential.
On initial impressions, the design, body
construction, lens and weight are all pretty
much in the same style or at least ballpark as
the GoPro and its many imitators. It has an
intuitive menu selection to operate and uses
microSD for storage.
The most obvious exception is that the
YI doesnt come with any accessories other
than a charging cable, meaning you wont be
opening the box and leaping into the pool with
it. What it will allow you to do though is shoot
up to 4K, and thats the big selling point here.
So, investing in some seriously fast microSD
cards as well as waterproof housing wouldnt
be a bad idea to help you to get the most out
of your filming.
With the 4K filming at 30fps with a 60Mbps
write speed, the YIs ability to generate
such high-speed results comes down to the
Ambarella A9SE75 processor and the Sony
IMX377 12MP sensor. When the high-spec
computing within the YI is combined with the
seven-piece LCE glass lens construction, you
really do have a triple threat.
102
Its easy-to-operate, 2.19-inch touchscreen
and 5GHz Wi-Fi connection to your smartphone
via app support only strengthens the YIs
position in the action camera market its a
far above-average action camera, but there is
always room for improvement, and this comes
in the form of battery life and quality of the
results captured. The YIs ISO range is limited,
but still adequate for indoor and outdoor
shooting though as it ranges from 100 800.
However, once you start shooting at the more
sensitive end of the spectrum, expect some
grainy results. As with the ISO, the white
balance control will also enable you a degree
of manual over-ride in selecting your preset
temperatures, however the results appear
somewhat oversaturated, meaning that in
low light results can be slightly garish. In
terms of battery life, the included battery
has an operational life of around two hours,
which can be lengthened a bit by not using
the Wi-Fi or the screen, but if you are on
location at an event or simply filming nonstop,
then investing in a back-up battery would be
highly recommended.
If you compare the spec sheets of the YI
4K, the GoPro Silver and the GoPro Black,
you will find a lot of overlap. The Black doesnt
have a touchscreen and the Silver doesnt
shoot in 4K, so that really leaves the YI as the
main attraction, as it has both. If you then
factor in the price difference as well, you are
looking at a serious contender.
Above
Shoot fast, or shoot slow
Not only can you shoot in 4K,
but you can also capture life in
smooth slow motion a perfect
addition for adventurers, cyclists
or simply for filming something
a little more creative
Summary
Ease of use
Value for money
Features
Quality of results
Overall
It may have its faults, but for under 300 a 4K
action camera that films in slow motion with
manual control is certainly worth consideration
 From the makers of

Canon
The

Camera
The Canon Camera Book is the ultimate guide to getting the
most from your camera. From choosing the best model to
mastering all the essential modes and functions, this new
edition will get you started.

Also available

A world of content at your fingertips

Whether you love gaming, history,
animals, photography, Photoshop,
sci-fi or anything in between, every
magazine and bookazine from
Imagine Publishing is packed with
expert advice and fascinating facts.

BUY YOUR COPY TODAY

Print edition available at www.imagineshop.co.uk
Digital edition available at www.greatdigitalmags.com
KIT FOCUS

Use variable ND filters

Take control of the light entering your lens and perfect your exposures
FITTED

Variable ND filter
Neutral-density filters are often The vari-ND filters screw onto the
associated primarily with landscape front of your lens, which means that
you wont get any light leaking in
and seascape photography, however from the edge like you can get from
they can be applied to many genres and are VARIOUS SIZES ND filters that fit into a bracket
an essential addition to any photographers kit These come in a
variety of sizes
bag. Carrying a whole set of ND filters around in order to fit
can be a bit of a pain though, which is where on a multitude of
different lenses
variable ND filters come in.
Regular ND filters are available in various
strengths, from one stop to ten or more, and
are fitted to the front of the lens via the thread
or an extra bracket. They are used to control
the amount of light entering the lens. A vari-ND
filter is an all-in-one alternative that enables
the photographer to simply increase or
decrease the amount of light entering the lens
by rotating the front element you can switch ROTATING RING
from using a one-stop filter to a five-stop filter The filter will turn easily and
will have markings on the
with one simple twist. Essentially this means edge so you can choose
you could replace all of your ND filters with a the density youd like
single variable ND.
By limiting how much light gets through Without a filter, during the day youd have One of the many benefits of using a vari-ND
the lens will mean you will be able to use to choose a narrow aperture and a low filter over a set of regular ND filters is the
wider apertures in bright conditions ISO to shoot a long exposure, in fact that youll only have to carry one filter in
and shoot with longer exposures order to limit the amount of your kit bag. The time spent on your shoot
to create motion blur, all HOW IT light entering the lens. By will also be reduced because you wont have
while avoiding overexposure. WORKS using an ND filter youll to constantly clean the filters you switch and
Seascape photographers Place a circular polarising be able to have a long swap while you search for the correct exposure
often use ND filters in order filter on your lens followed by a exposure as well as a and density for your chosen scene all you
to smooth moving water. cheaper linear polarising filter wider aperture because need to do is rotate it. Usually when you use an
However, they can also when you rotate the top one they the filter will limit the light. ND filter with a strong density you have to pre-
be applied to portrait and work together just like a variable Similarly, if you want to focus, compose and meter before attaching
street photography you ND filter, but the colours can take a portrait on a bright the filter, but with a vari-ND filter simply twist it
could shoot a street scene be negatively affected. day then you will probably to the minimum density to set up the camera.
using a long exposure to blur be forced to use a narrow Theres a wide range of vari-ND filters on the
all of the moving people for a aperture to prevent overexposure, market from budget-friendly to the high-end
creative image, or you can but with an ND filter youll be able to professional offerings choosing the right one
use ND filters to control the ambient light use a wider aperture for a more pleasing result really depends on the result you are after and
when capturing a portrait with a wide aperture. with bokeh. the strength you plan to use it at.

Blur motion Learn how to create attractive effects using a variable ND filter

1 Compose the shot Make sure you use a

tripod to keep your camera steady. With the
filter set at its minimum density compose your
2 Set up the camera Set the camera to
your desired ISO and aperture then take a
meter reading. Before you alter the density of
3 Calculate exposure Turn the filter to the
five-stop position. If you metered 1/250 sec,
change your shutter speed to 1/8 sec. Apps like
shot and focus on your subject. the filter ensure that your camera is in Manual. Triggertrap can help with calculating exposure.

104
 USE VARIABLE ND FILTERS

HOYA Above
Smooth water
Vari-ND filters make
altering settings and
filter strength far
easier than having
to swap between
multiple ND filters

Far-left
Hoya vari-ND
Some ND filters can
add an unwanted
hue to your imagery.
There is a slight tint
on the top right of
this seascape

Bottom-left
Kenko vari-ND
There is a slight tint
KENKO of colour in this shot
too. This can usually
be avoided by staying
away from the
higher strengths

Left
Blurred water
One of the most
pleasing uses of ND
filters is the blurring
of flowing water
waterfalls often look
the most impressive

105
 REVIEWS

UV filters
Protect your lens and block out ultraviolet light

Tiffen Digital HT 77mm

SRP: 65 / $58
The Tiffen filter boasts a titanium finish
making it feel like the most durable
filter on test. There are only eight sizes
available making it the least flexible
option, but its general performance is
good better than the Kenko AIR.
Overall
Kenko AIR UV Filter
SRP: 17 / $22 (approx)
Although it can be difficult to see the
affect of a UV filter, we found that results
shot with the Kenko AIR had reduced
contrast and also added lens flare. It is
the cheapest filter, but wed recommend
spending a little more for better results.

Overall

Hoya Pro1
Digital
SRP: 69 / $39
Marumi UV Haze The Hoya filter feels very well made and
SRP: 47 / $45 has ridges down the edges, which help
you grip it for removal or application.
This UV Haze filters black rim is a bit
The silky black aluminium frame
sturdier compared to some of the others
combined with the black-rimmed glass
on test. It is most suited to shooting
reduces light reflecting off the edges.
landscapes, mountains and seascapes in
nice, bright weather. There are 16 sizes
available ranging from 37mm to 95mm.
Overall

Overall

B+W XS-PRO
UV Haze
SRP: 85 / $52
This filter absorbs UV rays and the
blue colour cast that is often found in
daylight, and it comes in 17 sizes. This
is the most expensive filter on test and
unless you need the size flexibility wed
be more likely to buy the Hoya lens.

106 Overall
SAVE RHINOS NOW
10% OF OUR PROFITS HELP FIGHT POACHING

An animal in crisis Make a difference today Join World of Animals BUY

In eastern Africa, poachers use Ol Pejeta is a leading conservancy World of Animals magazine takes a TM

automatic weapons to slaughter
endangered rhinos. The animals
are shot and the horns are hacked
away, tearing deep into the rhinos
flesh with the rhino left to die.
Buy World of Animals at all good shops now
worldofanimalsmag
fighting against this cruelty.
It needs more funds so more
rangers and surveillance can be
deployed on the ground to save
rhinos from this horrible treatment.
@WorldAnimalsMag
stand against these atrocities and
is proud to be in partnership with
AND HELP
the Ol Pejeta Conservancy 10%
of our profits go towards saving FIGHT
rhinos in the fight against poaching POACHING
@ animalanswers.co.uk justgiving.com/olpejeta
REVIEWS

Above
Presets
Choose from a range of
pre-chosen effects by using
the preset panel located at the
bottom of Aurora HDR

Aurora HDR 2017

Explore the world in HDR using Macphuns impressive software package
SRP: 69 / $99 OS: OS X 10.9.5 or later

Macphun software is renowned for
being easy to use, yet versatile for
a range of different editing needs.
Whatever the project, Macphun offers some
of the most powerful sliders of any software
packages on the market, as well as its
equally powerful presets and Creative Kit
collection of apps.
Macphuns Aurora software though is
designed as a standalone, one-of-a-kind
program for giving your pictures an HDR
spin. As youd expect from Macphun, its
heavily weighted towards sliders with plenty of
presets for ease of use, and it offers a wealth
of adjustment options to help you create
HDR images with a sense of realism that the
medium can frequently struggle to attain.
Macphun has endeavoured to enhance
the software to include features that are
increasingly found in other editing packages.
The Polarizing Filter is just one new feature
added to the 2017 edition of the software
that can help create an HDR masterpiece in
seconds. Its fairly unique to Aurora too in
one slider, it can re-tone your pictures to
remove glare and glow, while giving an all-over
darker, moodier feel. Theres less noise with
the effects in 2017s Aurora too, meaning that
you can go for drastic changes in colour and
contrast without having to worry about how it
will affect your shot. Tone mapping is far easier
with sliders now reacting quicker and giving
more accurate results than ever.
While Aurora has always had the fun aspect
of the other Macphun products in the past,
this new version brings Batch Processing,
which makes it so much easier not only for
experimenting with edits, but for the more
workflow-conscious photographer too. The
whole software package has been streamlined
for speed, but this really shows with Batch
Processing, which is not only quick to work
through but extremely easy to navigate.
All in all, Aurora HDR is perhaps the best
of Macphuns software, because it combines
such ease with amazing quality. This is an app
that is obviously fantastic for HDR edits, but
with such depth and so many options, its
great for even the subtlest of edits too.
www.aurorahdr.com
Top-left
Favourite presets
Click the star within the preset previews to save them
as favourites; this way you can return to your most-
used ones without having to scroll through them all
Summary
Ease of use
Value for money
Features
Quality of results
Overall
Macphun software is powerful and user-friendly,
and Aurora is their finest app yet. It feels more
refined than ever and has awesome new features

108

PortraitPro Body
Contour your subjects with this software from the makers of PortraitPro
SRP: 29.95 / $39.95 (launch price) OS: Windows Vista or later, OS X 10.7 or later
PortraitPro Body is the latest in
a series of retouching packages
designed for such an edit. A direct
sequel to PortraitPro in many ways, this is a
program that can be used with its predecessor
to deliver a complete edit of any person in
your picture; and though the idea of warping a
subjects body might suggest unnatural results,
PortraitPro Body feels more tasteful, as it
offers more subtle edits than you might expect.
Just as with other PortraitPro packages,
the main interface of the software shows a
range of sliders to edit your shots with they
are located within different groups to deal
with different sections of the body. The most
obvious of all the editing options are of course
the body contouring controls that can warp
your subjects, creating more or less curves;
these are extremely easy to use and can be
applied with real control, but best of all, they
dont warp the surroundings when used.
As well as actually editing the body,
PortraitPro Body is useful for other kinds of
fix that can improve the overall posture and
feel of your subject. The skin correction sliders
SOFTWARE
are fantastic for editing out blemishes and
leaving a clear and smooth finish, and height
can be adjusted too. Though the emphasis
of the software is on the body, you can also
reshape and adjust the lighting on your
subjects face too, which means that you can
create an overall cohesive edit in your picture.
The results remain true to life, and the lack of
image distortion makes this package perhaps
the best on the market for a full-body retouch.
www.portraitprobody.com
Summary
Ease of use
Value for money
Features Top
Quality of results Skin smoothing
As well as edits you can make to the actual body, this program
Overall is great for smoothing over skin, using a brush technique
before applying sliders
Above
Possibly the best option available for editing Face control
bodies, PortraitPro Body is in-depth, simple to use You can edit the lighting and shape of your subjects face
and delivers incredible results using the specific sliders
App Focus
Lightroom Mobile
Price: Free
OS: iOS 9.3 or later, Android 4.1
or later
With smartphone photography
becoming ever more popular,
Lightroom Mobile is a must-have
app for anyone wanting to make
quick edits on the go. Though it
doesnt have some of the power
of its desktop version, the app
can deliver simple photo edits,
such as adding contrast, toning
and applying vignettes.
The quality of your edits are
amazing for a mobile app,
and sharing between the
mobile and desktop
version is easy using
Creative Cloud.
109
 2
3

4

Accessories
A collection of the best fun-yet-functional
products out there for photographers
5
1 Sunpack Action Camera
5 Piece Accessory Kit
ACCESSORIES
Website: www.intro2020.co.uk
Price: 58 / $80
The selfie wand feels really sturdy and youll be able to
use it for getting extra reach with your filming as well as
capturing selfies. The action grip feels comfortable in
the hand for smooth recordings, the tripod mount will
come in handy when you want some hands-free
stability and the LensPen will mean you can ensure that
your lens is always clean. Our only issue was with the
suction cup, as we were able to easily pull it off of the
surface it was attached to.
2 Custom SLR Slim Strap quick-adjust
leather camera strap
Website: www.customslr.com
Price: $30 / 23 (approx)
The strap is lightweight while still feeling sturdy, it has
a quick-adjust slider for versatility and can be worn
as a sling or around the neck. It works with any strap
mounting point and is a great choice for mirrorless
and compact camera users, but avoid teaming it with
mirrorless cameras with big lenses as it becomes
uncomfortable to wear with heavier loads and doesnt
feel as strong. The leather on the strap does not feel
well finished and only features on a small section.
3 Gepe Card Safe Extreme All in One
Website: www.gepe.com
Price: 22 / $25
This provides the ultimate protection and security
for your memory cards and memory sticks. The card
safe promises to be waterproof and crushproof, and is
made out of anti-static material with viewing windows
that enable you to see whats inside. The safe has
four multicard compartments that can hold a range
of different memory cards including microSD, SD and
CompactFlash. The card safe feels very sturdy and
will fit comfortably in most kit bags. At 22 it is an
investment worth making.
4 JJC 3-in-1 Digital Cleaning Kit
Website: www.jjc.cc
Price: 9 / $15
This handy kit from JJC includes a lens-cleaning
pen, microfibre cleaning cloth and a dust blower.
The pen features a brush for getting rid of dust
and dirt together with a round pad that has been
manufactured with a gentle cleaning liquid, and
the dust blower has a heavy-duty blower bulb that
produces high-quality blowing strength thanks to its
double valve system. A bag or small pouch for the kit
would be ideal, but this is a minor quibble.
5 Bird Photographer of the Year book
Volume 1
Website: www.bto.org
Price: 25 / $33 (approx)
Packed full of avian beauty and artistry, Volume 1
of the Bird Photographer of the Year is a must-have
for wildlife photographers and bird enthusiasts. The
book was published by William Collins on papers that
are natural and recyclable and were made from wood
grown in sustainable forests. The book is laid out
beautifully with a foreword from Chris Packham, all of
the images are stunningly presented and the prints
are of the highest quality.
Reader Survey
Have
your
say!

Join our team today!

Take our three-minute survey and
Get 10% off our books and magazines
Get access to an exclusive monthly subscription offer
Become eligible for exclusive competitions & free gifts
Each and every issue, we do our best to
create a magazine that you love to read,
and were always looking for ways to make
it even better. Once again, wed like your
help in improving Digital Photographer, and
all you need to do is answer some very
quick questions about yourself were really
looking forward to hearing from you.

Matt Bennett
Deputy Editor
 Reader Survey
Four changes
Its quick and easy you asked for
in 2015
t o take t he survey Last year we used your input

on any device to make some fantastic

improvements, including

1 More Lightroom
Many of you requested a
greater amount of Lightroom
content, to which weve recently
devoted an entire feature

Only
takes 3
mins!
Take part in our 2016 reader survey and you
can enjoy these fantastic benefits 2 More about lenses
92% of you expressed
particular interest in lenses, so we
Exclusive discount subscription to the magazine now have more lens group tests as
Incredible savings for new and existing subscribers. well as our recent lenses feature
Plus Free delivery direct to your door.
Exclusive savings on mags and books
Get a 10% discount code to use at our online shop 3 More techniques
You told us that shooting skills
and techniques were important to
Competitions Free gifts Have your say you, so weve made this even more
Get the chance Become eligible for Gain a place on our of a focus in the magazine
to enter exclusive free gifts including reader panel, giving
competitions for digital editions for you regular input on
money-cant-buy prizes phones and tablets the magazine

Step 1 Step 2 Step 3

Complete Get Earn
survey involved rewards

Complete our survey & join the team today

www.dphotographer.co.uk/survey2016
4 Actions and presets
With your feedback in mind,
were making sure we give you
plenty of free Photoshop actions
and Lightroom presets on FileSilo
PRO COLUMN
PREDICT THE ACTION
Professional photographer Steven Clarey discusses learning his
craft and capturing dramatic sports shots
I
was a late starter to photography. In my
teens and as I child I never really used a
camera I did the odd snap here and there
on a phone or disposable camera, but
nothing substantial. It wasnt until I joined
university in 2010, when I was 25, that my
passion for photography kicked off.
Being a big fan of extreme sports and action
sports, it was only natural that my first area
of photography was shooting surfing at home
in West Wales. During university I didnt really
partake in the whole university lifestyle; I never
really went out partying and spent all my
time and money out shooting either surfing,
skating, kayaking or astro photography. I think
its important for anyone with an interest in
photography to spend as much time actually
using a camera as possible; lectures, books
and the theory side of things is great, but I
believe you only start learning when youre
actually shooting and making mistakes. I made
a ton of mistakes when I started off and I still
make a lot of mistakes today. I dont really look
at photography as something that can ever be
114
All images Steven Clarey
perfect though, and I see flaws
in everything I shoot.
I started off with a budget
DSLR and now Ive moved over
to mirrorless, which is a lot lighter
and much easier to travel with.
When I was using traditional
DSLRs I would have to spread
my kit out in multiple bags when
getting on planes. Now I have
switched to mirrorless, I have all
my kit including two laptops and
a ton of other stuff in one bag
that I can take on the plane as
hand luggage!
I dont think the camera you
are using plays a huge part in
anything, though. Yes, its great to
have the biggest sensor with the
most megapixels crammed into it
with the best glass available, but I
believe you can shoot great shots on
any camera, phone, action camera,
disposable camera anything! A
good shot is a good shot whatever
its shot on; I follow this guy on
Twitter who uses an old school
pin-hole camera, and he gets
stunning results.
I like to shoot a lot of super-
wide action sports shots. I think
when you get really close to the
PRO BIO
Clarey is a professional action it adds something to the
photographer and shot, it makes it more dramatic.
filmmaker based in Wales.
He has worked with a large
You have to really trust the athlete
number of clients including to get the best shot though, and
IMG Worldwide, Monster you have to predict what you are
Energy, Ford Performance,
Hayfisher Productions, going to do to frame it in the way
Panasonic Europe and you want. It helps to really know
many others. He is a
Panasonic Lumix, Kowa the athlete and their discipline;
Optics and every athlete will do a trick or a
Benro ambassador. manoeuvre differently. I work with
stevenclarey.com
a surfer called Alex Morris a lot;
as hes surfing down a wave Im looking at the
sections in front of him and his body position,
and from his body position I can tell where
hes going next whether its a hack or a big
air, I have my camera ready to capture it.
 Photo Louis Amore

Your images, printed and framed.

9.8 out of 10 on Trustpilot DP readers get 10 off your rst order using offer code
dpoffer10 when you check out. Min order amount 15.

www.point101.com 020 7241 1113

The quality and value was fantastic. I received them beautifully packed and within two days! First class service from a rst
class lab - Peter Goldsmith. My gicle print looks beautiful, just like a painting. It was delivered quickly and very well
packaged. I am a pro photographer and will denitely include this option in my range of products. - Benita Gower Images.
 Andreas Lundberg

Always up to speed
Profoto D2
A photographer faces many different challenges every day.
Its with that in mind we created the Profoto D2. Its a break-
through, because its the worlds fastest monolight. So for the
first time, no matter what the assignment, speed is always on
your side.

You can freeze action with absolute sharpness, shoot in super

quick bursts, sync with the fastest camera shutter speeds
available, and shoot fast and easy with HSS and TTL.

So whether youre shooting sports, food or fashion: with the

D2 youre always up to speed.

Learn more: profoto.com/d2