Digital SLR Photography September 2017

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Issue 130
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September 2017 Digital SLR Photography 5

Contents SEPTEMBER2017/ISSUE130
5 EDITOR’S PAGE
EditorLezanotalksaboutvitalphotoaccessories
8 PORTFOLIO
Stand-outlandscapesandmarvellousmacros.Onlythe
bestimagestolandinourinboxoverthepastmonth
16 SNAPSHOTS
Photoawards,newsandtastytitbitsfromthewide,
wonderful,andsometimesweirdworldofphotography
52 EXPERT CRITIQUE
Submityourimagestoreceivevaluablephotofeedback
57 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
58 BEGINNER’S GUIDE: FILTERS
Feelingconfusedaboutfilters?Thismonth’sguidecovers
allyouneedtoknowaboutgettingitrightin-camera
70 PHOTO WORKSHOP: PORTRAITS
JamesAbbottandoneluckyreadervisitCambridgein
searchofcapturingthreecaptivatingdaytimeportraits
80 PET PAWTRAITS
Ahostofinspiration,tips,tricks(andtreats)tohelpyou
capturegreatimagesofpetsandanimals
90 MAIN INTERVIEW: ERIK JOHANSSON
Theleadingprofessionalconceptualphotographer
offersaninsightintohowhisfantasticideascomeabout
138 NEXT ISSUE PAGE 58
Asneakpeakatsomeofnextmonth’sarticles
16 28 32
36
Phototechnique
28 PHOTO SKILLS: GET IN THE FRAME
Atutorialontakingaselfie!Surelynot?There’smoreto
thison-trendoutdoortechniquethanmeetstheeye
32 PHOTO SKILLS: MONO MACRO
Captureclose-upsworthyofyourwallwithoutediting
software.CarolineSchmidtshowsyouhow
36 PHOTO SKILLS: HAZY BLOOMS
JordanButterssharesamultiple-exposuretechniquefor
capturingdreamyandvibrantfoliagethissummer
40 PHOTO SKILLS: EYE SPY
CarolineSchmidtoffersafantasticwayofcapturing
40 portraitswithadifference–fromabug’sperspective! 80
44 EDIT SKILLS: MAGNIFICATION EFFECT
Followingonfromourbug’seyeshootingtutorial,here’s
thefinishingtouchestoperfectyourportraitinPhotoshop
46 EDIT SKILLS: THE PEN TOOL
Oftenmisunderstood,butpowerfulwhenmastered.
Here’swhythePenToolcouldbeyourbestally
48 EDIT SKILLS: BORDER PATROL
ExploitLightroom’sPrintmoduletoaddtastefulborders
andframestoyourpictureswithease
6 Digital SLR Photography September 2017

REGULAR CONTRIBUTORS
Daniel Lezano
With over 30 years’ experience as
an enthusiast SLR photographer and
20 years on photo magazines, editor
Lezano is as passionate as ever about
photography, in particular portraits.
Caroline Schmidt
With extensive experience as a
magazine journalist, contributing
editor Caroline is passionate about
photography and delivering an
inspiring magazine each month.
Jordan Butters
With a finger on the pulse of all
things photography, Jordan’s our
social media master, features guru
and a talented pro photographer.
jordanbutters.co.uk
Ross Hoddinott OUTDOOR

He’s not only an award-winning
nature photographer, a leading
expert in landscape and wildlife
photography, he’s a top tutor, too.
rosshoddinott.co.uk
Lee Frost LANDSCAPES

A long-standing regular contributor,
Lee is a fountain of knowledge when
it comes to shooting landscapes and
delivering expert tutorials.
leefrost.co.uk
Ben Hall WILDLIFE

A renowned wildlife photographer,
104 author and tutor, Ben applies his
90 expert knowledge to help improve
your wildlife photography skills.
benhallphoto.com
Helen Dixon LANDSCAPES

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

You either want to be photographed
70
Gear:Tested&Rated by him or shoot like him. A master of
103 PRODUCT NEWS portraits, fashion and weddings, Brett
Newsofthelatestphotographygear,excitinggadgets runs regular photo workshops.
andmust-haveaccessoriestolaunchinthelastmonth brettharknessphotography.com
104 NIKON D7500
James Abbott PORTRAITS
Itseemsthatbarelyamonthgoesbywhenwedon’tseea
James is an award-winning editorial,
releasefromNikon–isthenewD7500worththefuss?
advertising and commercial
108 GROUP TEST: LOCATION FLASH photographer, specialising in portrait
Canyougetbangforyourbuckwhenitcomestolocation and landscape photography.
flash?Wetestfivemodelsunder£700tofindout jamesaphoto.co.uk
119 MINI TEST: SIRUI TRIPOD
Offeringqualitythatbeliesitspricetag,isSirui’sReporter Erik Johansson CONCEPTUAL
carbon-fibretripodactuallyanygood? He’s made an artform of bringing
surreal visions to life. Read all about
how Johansson comes up with his
crazy concepts on page 90.
108 erikjohanssonphoto.com
Richard Hopkins TESTS

With over 30 years’ experience
testing cameras for photography
6 98 SUBSCRIBE TODAY!
magazines, Richard’s one of the
UK’s leading technical experts on
Takeadvantageoftheverylatestsubscriptionoffers
photo kit, in particular lenses.

Portfolio
The Quiraing
by Pascal Bobillon
500px.com/pascalbobillon
“The Quiraing is a geological formation in the north

of the Isle of Skye in Scotland. After more than three
hours of waiting in the wind and rain, the sun finally
pierced through the clouds. The low light of
November sculpted the reliefs. The use of a polariser
saturated colours and controlled reflections, while a
graduated ND filter was used to better bring out the
deep clouds dramatising the scene.”
Nikon D800withTamron SP24-70mm f/2.8 lens.
Exposure: 1/30sec at f/11 (ISO 100).
Portfolio
River Sligachan by Pascal Bobillon
500px.com/pascalbobillon
(Above) “The Sligachan River originates in the Cuillin mountain

range on the Isle of Skye. I focused using the hyperfocal
distance, which with a wide-angle lens and small aperture,
gives sharpness throughout the scene. A two-second
exposure is enough to give the torrent a beautiful yarn,
while the water's direction echoes that of the clouds.”
NikonD800withAF-S14-24mmf/2.8lens.Exposure:Twosecondsatf/18(ISO100).
Loch Etive by Pascal Bobillon

(Right) “The arrival at Loch Etive from Glen Coe is always
spectacular and offers beautiful reflections on a calm day.
It's pure chance to see this place in these conditions and
under this warm late autumn light. The curves guide the eye
to the bottom of the mountain. Using a graduated ND filter
balances the exposure between the top and bottom.”
NikonD800withAF-S14-24mmf/2.8lens.Exposure:1/4secatf/14(ISO100).
Reflection on Lake du Val by Pascal Bobillon

(Bottom right) “I was on the road to the Cascade du Hérisson in
Jura, France, when I had the chance to see this beautiful
autumn reflection on the Lake du Val. I often have my 50mm
mounted on my camera and this focal length was perfect
for the composition. The band of mist, ideally positioned,
allowed me to compose this almost symmetrically.”
NikonD800withAF-S50mmf/1.4lens.Exposure:1/80secatf/5.6(ISO200).
Fana Head Lighthouse by Pascal Bobillon

(Left) “The Fana Head Lighthouse is in Ireland, on the north
coast of County Donegal. A polarising filter softens the
contrast and saturates the colours on this early morning
winter scene. It called for a vertical composition and the use
of the wide-angle lens. The lighthouse is positioned on a
strong compositional point, and aligned with the horizon.”
NikonD800withTamronSP24-70mmf/2.8lens.Exposure:120secondsatf/16(ISO100).
September 2017 Digital slr Photography 11

Portfolio
Over Under by Shabdro Nga
www.flickr.com/shabdro
(Above) “I was shooting from the road above when I noticed

an area below me where I could stand away from traffic.
The way that one road was high and the other low made for
an interesting composition. In the early morning, downtown
LA (DTLA) is mildly bustling. An hour later, it would be overrun
with buses and heavy Los Angeles commuter traffic.”
CanonEOS5DMkIVwithEF16-35mmf/2.8LIIIUSMlens.Exposure:30secondsatf/8(ISO100).
110 Aerial to DTLA by Shabdro Nga

(Right) “My first helicopter tour of LA yielded some amazing
photos. To the lower right is the popular Park Row Drive
Bridge. High above the 110 Freeway, the bridge gives an
iconic view of the skyline, with traffic leading into the city.
I wanted to show this from a different vantage point. This
aerial adventure was the start of many more to come.”
CanonEOS5DMkIVwithEF24-70mmf/2.8LUSMlens.Exposure:1/2000secatf/2.8(ISO100).
200MM by Shabdro Nga

(Bottom right) “Snow-covered mountains in Los Angeles,
really? I know, I wouldn't have believed it either. This is a
two-shot panoramic, with DTLA and the snow-capped San
Gabriel mountains in the distance. The compression from
my 70-200mm telephoto zoom makes the mountains look
much closer to the city than they actually are.”
CanonEOS5DMkIVwithEF70-200mmf/2.8LIIlens.Exposure:1/80secatf/5.6(ISO200).
Overpass by Shabdro Nga

(Left) “This pedestrian overpass in south central LA is a
photographers' oasis and has become popular with the
selfie-seekers of social media. Breaking the rule-of-thirds,
I chose a straight down-the-barrel composition. No low
angle. No off-centre subject. Just simple leading lines. There
was a humidity in the air that provided a sombre mood.”
CanonEOS5DMkIVwithEF70-200mmf/2.8LIIUSMlens.Exposure:1/8secatf/8(ISO100).

Portfolio
Heterochaeta Orientalis by Matt Doogue

www.facebook.com/mattsmacro
(Right) “The Praying Mantis make for excellent portraits. This is a

six-stacked image at 3x magnification. Stacking can be tricky with live
subjects, but as this Mantis mimics a stick it stays pretty still. I used
diffused twin macro flashes mounted to the end of my lens.”
Canon EOS 6Dwith MP-E 65mm f/2.8 macro lens. Exposure: 1/160sec at f/8 (ISO 320).
Damselfly on Oxide Daisy by Matt Doogue

(Bottom left) “Macro isn’t always about getting extra close. Sometimes
pulled-back images can be just as pleasing. I wanted to capture the
damselfly with some of the environment, making for beautiful bokeh.
This is a seven-image stack, made possible by the dormant insect.”
Canon EOS 6Dwith 70-200mm f/2.8LIS USMwith extension tubes. Exposure: 1/500sec at f/4 (ISO 640).
Mayfly With Eggs by Matt Doogue

(Bottom centre left) “I’m fascinated by what I uncover when out with my
macro gear. I photographed this mayfly in my garden on a blade of
grass, getting low to take advantage of the light shining through the
water drops. It wasn’t until later that I noticed the cluster of eggs.”
Sleepy Caterpillar by Matt Doogue

(Bottom centre right) “I was trying my hand at abstract patterns using
dandelions when I noticed this caterpillar. I got parallel and tried to
capture its character as best I could. I shoot handheld, which helps
with mobility, although this can be tricky when using natural light.”
Jumping Spider by Matt Doogue

(Bottom far right) “Lake Kerkini in Greece is my favourite place to go for
macro photography; its full of amazing wildlife. I try and photograph
jumping spiders looking down the barrel of the lens. Diffused flash is
my choice when shooting spiders as they move so quickly.”
500px Perfect for photos

Every photographer featured in Portfolio receives a year's
Awesome membership to online photo community, 500px.
The Awesome membership includes unlimited image uploads,
advanced statistics and insights, online classes and webinars and
the option to license your images through 500px Marketplace.
500px is the perfect place to discover, share, buy and sell inspiring
images from the best photographers from around the world.
Formore information on 500px memberships,visit:www.500px.com/upgrade
14 Digital slr Photography September 2017

/ YourmonthlYPhotodigest
Perfect award
results
Pawtraits
AsThe KennelClub’s Dog PhoTogrAPher ofTheYeAr
winnersAreAnnounCeD,Thewinning imAges show
ThATiTTAKes moreThAnACAmerAAnDAPoCKeTfull
ofTreATsTo DeliverAwArD-winning PooCh PhoTos
2ndplaceassistancedogscharitycategory:
AlwaysByMySidebyJohnFerrett,UK:"Iwantedtocapture
thebondbetweenRenowithhisowner,adoubleamputee.
HisownertellsmethathetrainedRenotoaidhimineveryday
lifeandthatRenoisagodsendandamassivepartofhislife."
© john ferrett/the Kennel Club
snapshots
I
f you’re a dog-ownIng photographer, then it’s highly likely that
you spend at least a good portion of the time with your camera
focused firmly on your furry little friend. and who can blame you?
dogs are characterful creatures that can make for great
photographic subjects, providing you’ve either got them well-trained
or possess an inhuman amount of patience. The saying about never
working with animals and children? It definitely applies to photography!
This year’s The Kennel Club dog Photographer of the year awards is a
showcase of talented pooch photographers who have definitely got the
knack for capturing stunning pet portraits. divided into ten categories, it
covers everything from puppies to portraits and dogs at play through to
older animals. working dogs, assistance dogs, special categories for
photographers under 11 and 12-17 years of age, as well as an interpretive
category called Man’s Best friend, are also among the ten.
rosettes at the ready: the overall winner for this year’s award went to
an entry from the latter category – Maria davison ramos from Portugal
netted the top prize for her defiantly-titled image ‘a girl’s Best friend’,
showing yzma, a cross-breed rescue dog lying shyly on the kitchen
floor next to a slightly-chewed shoe. with her win, Maria secures a
display at The Kennel Club art gallery in Mayfair, a SmugMug business
account, a one-to-one mentorship with leading dog photographer
andy Biggar and an original oil painting of her image by award-winning
artist Sara abbott. and yes, she does get a rosette too!
other victorious category winners include: uK photographer
Sarah Caldecott in the dogs at work discipline for her image of rita the
Pointer, called 'on The Move'; Mirjam Schreurs from The netherlands
in the Puppies category for her image of Tyson the Boxer; and Kaylee
greer from the uSa in the dogs at Play category. Kaylee also managed
to take third place in the rescue dogs category too.
If you’re looking at the winning images and thinking that your own
capture of a four-legged friend deserves to be amongst the final
selection, then there’s always next year’s competition. It is due to open
in october, with exact dates, categories and prizes to be confirmed.
for more information, and to see the full list of winning and
commended entries, visit: www.dogphotographeroftheyear.org.uk
1)Winnerofthedogsatplaycategory:Splash!byKayleeGreer,USA:“Peteyclumsily
jumpedintothewater,beckoningmetocomealong.Ifollowedhiminandgiggledashewould
pushhispawdownintothewarm,saltywater,sendinglittlecrystaldropletsflyingthroughtheair.”
2)Winnerdogphotographeroftheyear:AGirl’sBestFriendbyMariaDavisonRamos,
Portugal:“MyfriendhadjustadoptedYzmaandwewerechattinginthekitchen.Thelocationand
thelightwerefarfromperfect,butIendedtakingoneofthephotosI’mmostproudof.”
3)2ndplaceoldiescategory:LifebyIgorAbramovich,UK:“Thisphotowastakenonavery
hotdayinUkraine.Mygrandmother'sdog,Rex,whomygrandmothertookinasastray,spent
mostofthedaymotionlessinhisdoghousetryingtohideintheshadowsfromtheburningsun.”
4)2ndplacerescuedogscharitycategory:FreeSpiritbyMartinTosh,UK:“Flywasan
unwantedpetbeforebeingtakeninbyafarm.Unfortunatelyhedidn’ttaketosuchwork.Henow
hasamuchbetterlifeafterbeingrescuedbymysisterandherpartnerinThePeakDistrict.”
5)3rdplacedogsatWorkcategory:EyesonthePrizebyPeterSteffensen,Denmark:
“ThisisMarley,whohadasecondchancewhenavetrefusedtoputhimtosleep,andfounda
lovinghomeforhim.Henowenjoysoodlesoftimeinthefields,doingwhatheloves:herding!” 1
© Kaylee greer/The Kennel CluB
2 3
© MarIa davISon raMoS/The Kennel CluB © Igor MySenhevyCh/The Kennel CluB

4 5
© Martin tosh/the Kennel Club © Peter steffensen/the Kennel Club

The world of photography \ Snapshots
GOOGLE CREATES AN Photo

event
AI PHOTOGRAPHER SUMMERTPOTY
EVENTS IN LONDON
There’s not much in this life that can
THEBOFFINSATGOOGLEHAVECREATEDTHEWORLD'SFIRSTEVERARTIFICIAL be had for free, but if you’re in or
around London over the next couple
INTELLIGENCELANDSCAPEPHOTOGRAPHER.AREWEALLTOBEOUTOFAJOB? of months and fancy a gander at some
incredible travel photography without
having to spend a single penny, then a
visit to the Travel Photographer of the
Year exhibition is surely on the cards?
The prize-winning images will be on
display seven days a week at the
University of Greenwich at
10 Stockwell Street, London, SE10
8BD until 3 September 2017.
TPOTY is also hosting a series of
photographic events in the city over
the summer, from evening talks to
workshops and photo walks. For more
information on its exhibition and the
summer events, visit: www.tpoty.com
PORAS CHAUDHARY/TPOTY.COM
C
AMERAS ARE GETTING smarter and
more advanced all the time, but how Call for
about software so clever that it entries
doesn’t even need a photographer to
find compositions? That’s what the smart
white coats at Google have been working
on recently, and they’ve experienced some
CULINARYDELIGHTS
success already thanks to Machine Learning Calling all food photographers –
(ML). While ML can be taught skills where the prestigious Pink Lady Food
there’s a definitive right or wrong answer, Photographer of the Year competition
Google has managed to teach its Artificial has officially opened its doors for
Intelligence (AI) to find, compose and edit entries for 2018! If you’re a budding
landscape images, a subject which, in itself, foodie with a taste for mouth-
is entirely subjective. watering images, then head to the
Using Google Street View, the AI roams Top:Google'sAIfound,croppedandeditedthislandscape competition website for information
the virtual landscape, looking for potential fromGoogleStreetViewentirelyonitsown–creepystuff!. on the categories, rules, new judges
Above:OriginalGoogleStreetView(a);cropforcomposition and prizes. Do it now – entries for the
vistas. Once located, it then assesses the
(b);saturationandHDR(c);selectivemaskingapplied(d). award close on 6 February, 2018.
composition, crops in, adjusts colour and
contrast, applies dynamic effects and composition, lighting etc, right up to ‘Pro www.pinkladyfoodphotographeroftheyear.com.
selective adjustments to make the image photographer’. The results showed that
what it deems ‘aesthetically pleasing’, all of photos that were rated highly by their
which is done with zero human intervention! machine were also judged to be between
The AI’s judgement of what makes for good ‘semi-pro’ to ‘pro’ by approximately 40% of
photo editing was also self-taught, by way the real photographers too.
of inputting professional landscape photos, So, are the machines taking over? Do
rather than showing it ‘before’ and ‘after’ we need to find and protect John Connor?
versions of edited images. Well, we’re not quite there just yet. Google is
Google tested its AI’s new-found hoping that this technology could actually
photographic skills by mixing its creations be used in the future to aid photographers
with other photos of varying quality and in finding and capturing better images, as
ADRIAN LANDER
asking professional photographers to opposed to doing all of the hard work for
rate each image on a scale from 'point- us. To geek out and find out more about the
and-shoot' without consideration for project, visit: http://bit.do/DSLR_ML

The world of photography \ Snapshots
The BesT Camera Is The

seBasTiaNo TomaDa
One ThaT’s WITh YOu

Thisyear'siphonephoTographerofThe
yearawarddriveshomeThismessage…
T
here will always be those fleeting, chance
moments that we all come across when we wish
we had our Dslrs out and poised, ready to capture
a high-quality, high-resolution recording of what we’re
seeing. But, realistically, who wants to, or even can, carry
their camera around with them wherever they go. For
this reason alone smartphones are a godsend – in the
modern age, many of us carry around a better camera in
our pockets than professionals used back at the dawn of
digital – besides, the best camera you have is the one
that’s with you, right? The annual international iPhone
Photography awards (iPPa for short) lives by this motto,
and seeks to acknowledge and reward those who have
captured truly amazing images with their phones.
From vivid portraits to wonderful scenes in nature,
harrowing war-torn villages to light-hearted moments,
this year’s selection of shortlisted and winning images
are certainly varied, and belie their relatively simple
method of capture in both quality and execution.
The 2017 Grand Prize winner was named as sebastian
Tomada of New york City, Usa for his impactful image
'Children of Qayyarah', showing children on the streets
of a town ravaged by isis, whilst ireland’s Brendan Ó sé
of Cork took first place as Photographer of the year for
his gritty monochrome image, 'Dock worker'.
There’s no rest for the snap-happy, however, and
next year’s iPPa is already open for entries. so if you’re
handy with your iPhone and fancy a chance, head to
www.ippawards.com to find out how to enter – there
are top prizes include gold bars to be won!
Left:IPPAGrandPrizeWinner2017:ChildrenofQayyarahbysebastiano
Tomada,takenwithaniphone6s.childrenroamthestreetsinQayyarah
nearthefireandsmokebillowingfromoilwells,setablazebyisismilitants.
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September 2017 Digital Slr Photography 23

Vivid,
true-to-life colours
in an elegant design
227E7QD (22")
246E7QD (24")
276E7QD (27")
323E7QD (32")
www.philips.com/monitors
The world of photography \ snapshots
Photo app
Later
price:free/platform:iosandandroid
If you’re an enthusiast photographer vying to get your images
noticed, or a professional wanting to find new clients and a wider
audience, then social media is one of the most cost-effective ways
of getting your images seen by potentially millions of eyeballs.
Within the realm of social media there are plenty of platforms to
choose from, but arguably one of the most popular options at
present is Instagram. The problem is that feeding the social media
beast becomes a full-time job in itself – in order to run a successful
account you need to post good-quality content regularly and then
engage with not only your own followers, but also actively use the
platform to like, comment and follow other people too. So when are
we supposed to find time to take photos?! Thankfully, Later can help
with the social media side of things. Seeing as the official Instagram
app doesn’t allow you to schedule posts in advance, Later has filled a
void. By loading your images into the app, you can write captions, add
hashtags and schedule images to post at any day and time. Now, due
to Instagram’s API, Later can’t post directly to the platform for you, but
rather it sends you a notification at the time you’ve scheduled the post
to go live. You then open Later, which copies the caption and image
across to Instagram, allowing you to hit the ‘Share’ button manually.
In practice, it works very well, and is a big help in keeping your
social media accounts looking well-stocked and active. Even better,
for single-account users wanting to post up to 30 times per month
it’s completely free, with power user and business accounts offering
more options and starting at USD $9 per month. If you want to get on
top of your ‘gramming', then it’s well worth a shot.
What We’ve been Watching

Looking forvisuaLinspiration? Here’swHattHe DigitalSlR PhotogRaPhyteam Has beenwatcHingtHis montH…
AWAKENTrAilEr4K 7SEcrETlighTroomTipS producTphoTogrAphyTuToriAl

By Tom Lowe By photoshopCAFE By Karl Taylor
Awaken is an upcoming feature film by Despite Adobe Lightroom’s user-friendly Still-life photography is simple, right? Wrong!
celebrated time-lapse photographer interface, there are a lot of handy hidden Especially when it comes to photographing
Tom Lowe and, in this three-minute taster, tricks that you can do to make the user highly reflective surfaces in fine detail, such
Lowe demonstrates some of the incredible experience a bit more enjoyable, and most as bottles, metal objects and glassware.
time-lapse and videography techniques that of them Adobe doesn’t even tell you about! Here, commercial photographer Karl Taylor,
he’s developed. From time-defying aerials to Fear no more – in this video you’ll learn along with a veritable shed-full of Broncolor
underwater, astrophotography and more seven super secret tips and tricks to speed lighting kit, shows you how it’s done in the
– you name it, Awaken uses it. Award- up your editing process – from making professional world. With no less than six
winning photographer and filmmaker more precise adjustments to improving the lights, with various modifiers, Karl runs
Vincent LaForet has been quoted as saying screen layout and even editing video! Think through his lighting process one-by-one,
“Minds will be blown. I saw stuff that’s never you know Lightroom inside out? Watch this demonstrating the effect that each light has
been done before”. Kudos indeed. and we guarantee you’ll learn something. on the product. Really interesting stuff.
http://bit.do/DSLR_1301 http://bit.do/DSLR_1302 http://bit.do/DSLR_1303

PH TO
SKILLS
IDEAS &ADVICE FOR BETTER PHOTOS
p44:EDITINGTRICKSFORAMAGNIFIEDMASTERPIECE
p28:SELFIESONAGRANDSCALE:GETINTHESHOT p32:CAPTUREMOODYMONOMACROIMAGES
p46:PIXEL-PRECISESELECTIONSWITHTHEPENTOOL
p36:VIBRANTOUTDOORMULTIPLEEXPOSURES p40:TAKEABUG'SEYEVIEWOFTHEWORLD p48:ADDASIMPLEFRAMEBORDERINLIGHTROOM

PH TO
SKILLS
get In
the FraMe
AburgeoningtrendinlAndscApephotogrAphyisforthephotogrAphertostAndinthescene
forscAle.JAmesAbbottshowsyouhowtoshootsuccessfullywhenyouArepArtoftheimAge…
Camera:nikond610/Lens:nikkorAf-s16-35mmf/4gedVr
L
andscape photography is a generally being the ‘best’ times of day to When the job of outdoor and adventure
hugely popular genre because so shoot landscapes. For instance, strong, model falls in your hands you simply need
many of us enjoy being outdoors with bright light can work well with photographs your standard landscape photography gear,
a camera to document our adventures. and of people in the landscape. so at the very least you’re going to need a
what better way than capturing yourself in Including a figure in the landscape has tripod, a kit lens or an ultra wide-angle zoom.
the scene. We’re not talking cheesy selfies long been a successful way of adding a If you have one, a wireless remote to fire the
or awkwardly composed record shots, but human factor to landscapes, as well as shutter will be a great help although not
carefully considered landscape images adding a sense of scale with locations where essential because you can use the camera’s
worthy of inclusion in your portfolio. it’s difficult to judge the size of the elements self-timer. nd grads and a polarising filter
the aim is first and foremost to shoot a within the scene. In recent years, and with the will also be useful for maintaining sky detail
stunning landscape at the best time of day for rise of social media, this technique has at different times of the day, but again these
the location. For some this will be at sunrise, become hugely popular. While it’s always are optional. having all the kit you need, let’s
while for others it will likely be sunset. But easier to have someone posing in the shot take a look at the skills and techniques you
don’t forget some locations are best shot in for you, there will always be times when you can use to guarantee stunning images of
the morning or afternoon, despite these not are the only person available. yourself standing in the landscape.
PH TO
SKILLS
1 COMPOSITION Carefully compose the shot knowing where you’ll be

standing in the scene. If possible, place yourself so that your position
conforms to the rule-of-thirds. To get the perfect position you may
need to take a test shot and adjust the camera angle as necessary. Using
LiveView is a great way to compose because you get such a large clear
view of what’s going on in the frame and can ensure the horizon is level.
2 CAMERASETTINGS Shoot in aperture-priority mode at around f/11,

which will provide good image quality and a sufficient depth-of-
field. Set ISO to 100. To focus, select a point in the scene that’s one third
of the distance into it from the point in the foreground you want to be
sharp. Set manual focus and magnify the desired point in the scene
using the LiveView image on the LCD monitor for precise focusing.
3 USE FILTERS If you have filters for landscape photography now is the
time to attach and adjust them as required. ND grads will be most
useful for scenes where the sky is much brighter than the ground, which
4 ENTERTHE SCENE You’ll ideally have a wireless remote to release the
shutter, but if not set the camera’s self-timer to 20 or 30 seconds
to allow you time to walk into position and take a test shot. If you’re
is common at sunrise and sunset. However, if you’re shooting around standing on the edge of a rock or close to a drop, like in this image, then
midday, you will most likely find that a polarising filter is most effective take a great amount of care. If you’re using the self-timer and struggling
for maintaining sky detail and reducing glare. to get into position in time, don’t rush and consider another location.
30 Digital SLr Photography September 2017

All bymySElf…
Imageslikethishelptheviewerto
envisionthemselvesinthelandscape,
offeringagreatsenseofadventure.
Exposure:1/4secatf/13(ISO100)
WiRElESSREmOtES
Wirelessremotesaregreatwhen
shootingyourselfinthelandscape
becausetheyallowyoutorelease
theshutteratdistancesoftenupto
around100m.Thismeansyoucan
becomfortablyinpositionandonly
releasetheshutterwhenyou’reready,
ratherthanracingtheself-timer.You
canevencombinethetwo:usea
remotewithafive-secondself-timer
soyoucanhidetheremotebefore
theshutterisreleased.Anotheroption
forreleasingtheshutteristousea
WiFiappforyourcameraifithasthis
5 ASSESS EXPOSURE You may find the exposure is different with you
in the frame. Apply exposure compensation to lighten or darken
the shot as necessary and use the histogram to help assess exposure,
functionality.Thekeyadvantagehere
isthatyougetLiveViewandaccessto
camerasettingssoyoucanmaintain
making sure either end isn’t butted up against the edge, indicating ahighlevelofcontrolwithouthaving
shadows or highlights have been clipped. Shadows are represented to towalkbacktothecamera.
the left of the histogram, while highlights are indicated on the right.

PH TO
SKILLS
MOODY
MONO
MACRO
TUCKPHOTOSHOPAWAYANDLETCAROLINESCHMIDTSHOWYOUHOW
TOCAPTUREHIGH-CONTRASTBLACK&WHITECLOSE-UPSIN-CAMERA
CAMERA:NIKOND800/LENS:NIKKORAF-S50MMWITH35MMTUBE
A
RE YOU NEW to editing and get frustrated
by tutorials that require you to tweak your
images to get a decent outcome? Well, you
needn’t be. Whilst shooting in Raw and converting
your images to black & white post-capture remains
the best way to retain high image quality and a
strong tonal range, you can capture and control
your conversions all in-camera using presets. Your
camera’s Picture Styles/Picture Controls give you
presets to apply to your JPEGs that are designed for
boosting colour, improving portraits and converting
images to monochrome. But did you know you can
customise these settings to your personal style on
most camera models? Here I’ll show you how to
capture a moody monochrome image in-camera.
PH TO
SKILLS
1 Choosingyour kitIf you don’t have a dedicated macro lens,

extension tubes with a 50mm lens are an ideal cost-effective
alternative if you dabble in this type of photography. If you have an auto
2 Camerasettings Your basic camera settings should be aperture-
priority mode, f/6.3 – f/9 to retain depth-of-field, and since you’ll
likely be shooting handheld you’ll need to increase your ISO rating
extension tube (with electronics to retain AF/metering) attach it to your to a workable shutter speed. For a moody image with punch and
camera first, followed by your 50mm prime lens. The extension tube contrast, you may benefit by applying up to a stop of negative exposure
will allow you to focus much closer to the subject than a 50mm on its compensation too to deepen the shadows. Alternatively, once you’ve a
own, increasing the magnification. I used a 35mm extension tube. starting exposure why not try your hand using manual exposure mode.
3 Customise PiCture style

In your camera’s Menu
system, select Manage
Picture Style (or your model’s
equivalent) and select
Monochrome and OK. You
can then adjust settings
such as Tint, Sharpening and
Contrast to reveal maximum
detail and add extra pop to
your in-camera pictures.
Only add one or two stops
of contrast, then take a test
shot to assess the shot as you
want to avoid the highlights
from being blown out.
4 takeyour shotWhen you’re done, press Save

and give the new style a name. Back at the
Menu, select Set Picture Style and pick your new
preset. Now you’re ready to shoot. Find a subject
that has good tonal range and looks strong in
black & white, such as a white flower or, in this
case, a poppy seed. Use single-point AF, focusing
on a mid-point, and compose your image,
experimenting with angles and cropping.

in-camera creation
Astheimageshouldlookstrong
in-camera,you’lllikelyneedlittletono
editing,butsometimesalittlebitmore
contrastcanhelptoseparatethetones.
PH TO
SKILLS
hAzY
blooms
Withbrilliantbloomsandbrightdaysuponus,noW’stheperfecttimetotry
outacreativemultiple-exposuremethod.Jordanbuttersshareshistechnique…
Camera:nikond750/Lens:af-s70-200mmf/2.8gedvrii
S
hootIng multIPle exPosures as vibrant blooms and flowers, it can create that you do need in order to achieve this
harks back to the days of film some really interesting results. You don’t effect in-camera is a camera that supports
photography, when photographers need to capture particularly stunning multiple exposures, which many newer
would – either by accident or for creative specimens either, as with this effect it’s all models do. If you don’t have access to one,
effect – expose the same film frame twice, about colours and shapes – my images were then you can duplicate the effect in
creating a half-opacity overlay of two captured using a vibrant patch of wildflowers Photoshop (see panel over the page). If you
scenes together. At times it can look like a (or maybe weeds – I’m no botanist!) in a aren’t sure, or don’t know how to activate it,
hot mess, but with the right subject, such local nature reserve. however, one thing then consult your camera’s user manual.
PH TO protip
SKILLS FakeittoMakeit
Ifyourcameradoesn’toffermultiple
exposures,thensimplyphotographtwo
separateexposuresusingtheinstructionshere,
andmergetheminPhotoshop.Todothis,copy
andpastebothimagesontothesamefileas
separatelayersandchangetheBlendingMode
ofthetoplayertoScreen.Youcanthenuse
LevelsorCurvesadjustmentsonthetwo
layerstochangehowtheyblend.
1 handheld ortripod If you’re shooting on a bright enough day, then

a tripod isn’t essential. Although we’re merging two exposures, they
don’t have to line up exactly, so maintaining the same position between
shots isn’t essential. In fact, shooting two exposures in completely
different directions can have interesting results. Having said all that,
old habits die hard, so I’ve opted to use a support today!
2 pickalens This technique works with any lens, from a standard

50mm to a telephoto, or a macro lens. As telephotos compress
perspective, and create more pronounced bokeh, I find that longer
focal lengths create more pleasing results. I’ve also opted to use a
circular polariser – this isn’t essential, but doing so will saturate the
colours in the blooms – turn to page 62 for more on polarising filters.
3 switch on Multiple exposures In your camera’s menu switch its

Multiple Exposure mode to ON. Set the shots to two or three,
depending on how many you want to blend. With Auto Gain set to ON,
4 settings I’ve left Auto Gain turned off. When in Multiple Exposure
mode, the camera will only show you the final results once you’ve
shot all of the exposures. The mode is also indicated on some models
the camera compensates for the number of exposures by reducing the by a small icon (shown next to the aperture above). Set your camera
exposure of each. However, this doesn’t work for all subjects and can to aperture-priority mode and select a wide aperture. Focus on your
cause underexposure – try both options and see which works for you. chosen focus point either manually or using autofocus.

a colourful creation
Thecolourfulbokehblendswiththe
detailsinthesharpexposure,creating
thisinterestingandvivideffect.
Exposure:1/640secatf/2.8(ISO100)
flipped motion
5 focusand defocus Once focused, switch to manual focus, capture

your first image and then rotate the focusing ring whilst looking
through the viewfinder to defocus the scene. Then capture your
6 experiment You don’t have to stick to the focus-defocus method.
Try capturing one exposure sharp with a fast shutter speed, and then
one longer exposure with the blooms swaying in the breeze. Or you
second exposure (defocus again the other way if you chose three could shoot handheld and intentionally blur the image on the second
exposures). It takes trial and error to get good results, but the images exposure. How about one with the camera the right way and one with it
should show a focused bloom surrounded by a soft haze of colour. upside down? You won’t get the same result twice, guaranteed!

PH TO
SKiLLS
eye SPy
LittLe detectives and bug hunters wiLL rejoice at the idea of modeLLing for this shoot.
caroLine schmidt shows you how to have a fair bit of fun with a magnifying gLass
i
f you’ve got children, or you’re a closet range. As image quality tend to deteriorate at
Disney Pixar fan (honestly, who’s not?), Camera:nikond800/Lens:af-s16-35mmf/4ged the edges of such lenses, you’ll also want to
you’ve most likely enjoyed the bug’s-eye compose your pictures with the person as
view of films such as A Bug’s Life, Ants – or, what’s further away. the wider the lens, the central in the frame as possible.
for the old-school among us, Honey, I more pronounced the effect is, and for this to minimise post-production, try to invest
Shrunk The Kids! Replicating this unique tutorial you’ll want to go as wide as possible in a high-quality handheld magnifying glass,
perspective is quirky and fairly easy to do (here I’ve used a focal length of 16mm), with a magnification factor of 2.5x or more.
with the right kit, plus it can be a lot of fun to which means being conscious of what’s the better the natural magnification, the less
engage little bug-hunters with this summer. included in this extensive field-of-view. likely you’ll need to work in any Photoshop
the exaggerated perspective comes from you’ll want to compose the image to give magic to enlarge the view within its lens.
utilising the properties of a wide-angle or the insect world context by including the Keep a lens cloth handy too, especially if the
ultra wide-angle lens which, in the simplest underside of flowers etc, but you’ll also need magnifying lens is well-used, to get rid of any
form, enlarges what’s closest to it and shrinks to be careful of anyone standing within smudges and fingerprints.
PH TO
SKILLS
1 Location Before you enlist a little helper with an attention span that
will only give you a handful of frames, test the set-up yourself. You’ll
want to find an area in your garden that fills the frame with foliage in
2 camerasettings You’ll need to fire the camera remotely. You can
do this by using a remote trigger or by using the camera’s built-in
self-timer mode. By delving into your camera’s settings (refer to your
the foreground but has enough open space for the subject behind to manual for details), select self-timer and set the camera to a ten-second
be visible. If possible, find a shady spot so that the subject isn’t backlit, delay, to shoot four frames, and to fire the shots every 0.5 seconds. You
making the exposure easier to manage. can then review the images before setting the shots up again.
3 exPosure If you’re pointing your lens to the sky, your subject is

likely to be backlit and thus underexposed, unless you override the
exposure by adding a stop of positive exposure compensation. Shoot
4 Focusing Switch your lens to manual focus and use the lens’s focus
distance scale to set focus on the distance your subject will be
from the lens – this and the mid to small aperture setting you’ve chosen
in Raw, set centre-weighted or spot metering and, in aperture-priority will do the rest. Failing that, focusing on infinity with a narrow aperture
mode, pick a mid-aperture. As it’s an overcast day, the ISO is bumped to should work too. Be aware of your lens’s minimum focusing distance to
640 for a 1/250sec shutter speed to freeze slight subject movement. avoid your subject from being too close to the lens (as shown above).
6 taketwo shots
If the image within
your magnifying glass
mainimage
is soft, the glass looks

mucky or has distracting
reflections, or the
distances haven’t been
spot-on to exaggerate
features, you might
need to consider using
Photoshop. Often when
working with children,
it’s a case of making eyesinset
the best of what you’ve
got, and no one has
fun if you stress about
them not performing
perfectly. Once you
5 Position This shoot takes trial and error, considering you cannot
see what you’re capturing. For this reason, shoot a burst of frames
altering focus distances between shots before reviewing the images.
have a decent portrait,
take another shot closer
to the camera with or
To get the best effect you need the magnifying glass about half-an- without the magnifying
arms length from the subject’s face and the minimum focusing distance glass, to merge in
away from the lens. Try to help by showing them where to position it. Photoshop (see p44).

Eye Spy
BUG’S EYE VIEW

Pairingsomequalitybug-hunting
timewithyourphotographyisthe
perfectwaytospendanafternoon.
COMMON PROBLEMS aNd hOW tOhaNdLE thEM...
1) SMUdGESaNd SMEaRS You can get the shot right 2) PLaCEMENtThe magnifier’s position overthe 3) dIStaNCE Byhaving the magnifying glass almost
in-camera ifthe distance betweenyoursubject and subject’s face isveryimportant.Youwant the emphasis at arm’s length,you can see howthe results could be
magnifying lens is spot-on, so don’t be let down by to be on theireyes, so ask them to look through the capture in-camerawith persistence. However, having
dirtyglass. Even ifit looks clean, once held against a middle ofthe glass so theirfeatures are clearlyvisible the subject standing makes him fartoo small in the
dark surface (like a face) the tiniest smudge markswill – tilting theirhead and one eye toward the magnifying frame; ask them to bend down overthe camera’s lens
bevisible. Keep a lens cloth handy. glass can help to make it more pronounced. and hoveruntil theyhearthe last shutterclick.

/ Shoot & edit
1 TAKE TWO If it’s not possible to get your shot in-camera, be it

because of the magnification or a mucky magnifier, you have the
option to merge two exposures. At the capture stage, take one shot
with the magnifying glass and another without. Then, in Photoshop,
with the new shot on top of the original, use the Move tool to scale and
reposition. Reduce the Opacity slider to 40% to aid with alignment: this
bit should be easy if your subject didn’t move between shots.
Mergeyour
exposures
CAROLINESCHMIDTSHOWSYOUASIMPLEMETHOD
FORMERGINGMULTIPLEIMAGESTOGETHERWITHOUT
THENEEDOFSELECTIONTOOLS,ONLYLAYERMASKS
S
OMETIMES ALL THE best intentions cannot create the
images you envision. Backlit images tend to blow out the
2 MASK IT OFF Click the top layer in your Layers palette and add a Layer
Mask (Layer>Layer Mask>Hide All to turn it black). The layer you’ve
added will now be hidden. Select the Brush tool set to white paint, with
sky and underexpose subjects, often young subjects will
rarely do exactly what you want and never more than once, so
you can be forced to shoot multiple images and merge them
a medium-sized brush with soft edge, and brush over the magnifying together. Building on our last tutorial, here’s a user-friendly guide
glass. Zoom in to the image to be sure you cover all the edges around for using Layer Masks to make your images more dynamic…
the magnifying glass. If you find the alignment isn’t right, use the Move
tool (or Edit>Free Transform) to resize and skew until it looks authentic.
3 BALANCE THE EXPOSURES As it’s likely the two merged shots won’t
be equally exposed, add a Levels adjustment layer and link it to the
Background layer. To do this, click and drag a new Levels adjustment
4 ADD SKY You can leave it there, but as the sky has been overexposed
in the original shot (often a side-effect of exposing for a backlit
subject) I wouldn’t mind adding detail back in. I pull out an earlier test
layer above the Background layer in the Layers palette and press the shot whereby I’ve exposed for the sky to reveal clouds and blue sky,
alt key whilst clicking the adjoining line between the layers. Tweak the and repeat steps one and two to carefully reveal the sky around the
exposure until the tone of the main image is similar to the added image. subject. Change the layer’s Blend Mode to Multiply and you’ll be able
Here, I deepened the shadows as the shot was slightly overexposed. to see how the overlaid sky aligns more easily.

5 EDITTHE IMAGE AS A WHOLE Invert the Layer Mask (Cmd+I) and use
white paint to reveal the sky. Zooming into the image and varying
the size of the Brush, its Flow and Density helps here. You can tell by
6 CONTASTAND CLONE To finish the image off, add some contrast
via a Levels adjustment layer, perhaps boost the saturation or add
Vibrance to the colours for extra pop. Don’t be afraid of using multiple
looking at the Layer Mask the areas you may have missed. Next, click Adjustment Layers and their Layer Masks to selectively edit parts. Finish
on the bottom and top layer in the Layers palette while holding down by adding a New Layer and use the Clone Stamp tool to hide any areas,
Shift, then press (on a Mac) cmd, alt, shift and E keys to merge to a new like marks on the leaves or face, by sampling a nearby area by clicking
layer. Now any adjustments you make will affect the whole image. the alt key before covering the area you want to hide.

/ Adobe Photoshop CC
UnderstandingthePentool
IT'SAFAVOURITEWITHDESIGNERS,BUT
DAN GOLD/UNSPLASH
ORIGINAL
DIDYOUKNOWTHATTHEPENTOOLIS
GREATFORACCURATESELECTIONSTOO?
W
HEN IT COMES to making selections
in Adobe Photoshop, as with many
techniques, there are numerous ways
to get the job done. For simple selections, you
have the automated options such as the Magic
Wand or Quick Selection tools. For more involved
selections there are the various Lasso tools. For
when you need to make precise and accurate
selections, however, often the best tool for the job
is the Pen tool. The Pen tool is often avoided or
overlooked by photographers as it’s either seen as
a design tool (rather than a photo-editing tool) or
because it’s a bit tricker to get to grips with. Once
you’ve mastered it, however, there’s no better way
to make accurate selections in your images.
1 PICK UP THE PEN In this image I want to change the colour of the car.
To isolate the car from the rest of the image, I’m going to use the
Pen tool to select it, before making my adjustments. The Pen tool can
2 FIRST STEPS You’ll notice a small asterisk next to the pen cursor – this
indicates that you’re about to draw a new shape. Click once to lay
your first anchor point and the asterisk disappears – each point from
either be used in Freeform mode (allowing you to draw freehand), or here will automatically be connected to the previous point by a thin
by way of creating anchor points that are then joined up – we’re going line. To demonstrate this above, I’ve clicked four times to draw three
to concentrate on the latter. Click on the Pen tool to select it from the sides of a square. Hovering over the original anchor point shows a circle
toolbar, and decide where you’re going to start drawing from. next to the icon, indicating that clicking again completes the shape.
3 PRACTISEIf you hover over any of the existing points, a minus symbol
appears – clicking on the point will delete it, and the line will make
a new connection between existing points. If you hold down the cmd
4 DRAW A CURVE Press the delete key twice to delete the entire shape.
Find a curved or wavy part of your image to select. Lay your first
anchor point at the start of the curve, and then your second at the end
key (Mac) or ctrl key (Windows) then you can move any existing points of the curve. Then, click anywhere along the line between the two
around to fine-tune them. All of this is good if you’re only selecting points to add a third anchor point. Hold down the cmd key (Mac) or ctrl
areas which have straight lines and sharp angles, but what about key (Windows) and move this middle anchor point out to the middle of
selecting curves? Well, this is the real power of the Pen tool… the curve – you'll notice the line will bend around this middle point.

PIMP YOUR RIDE!
Theshapeofthecarwouldhave
otherwisebeentrickytoselect,but
thePentoolmadelightworkofit.
5 ADJUSTTHE CURVE You can add more anchor points along the line to
adjust the curve. Alternatively, always keeping the cmd/ctrl key held
down, you can move the two additional control points either side of
6 MAKE A SELECTION Once you’re done adjusting, continue to add
anchor points before clicking back on the first anchor point to
complete your shape, as before. To convert this shape into a selection,
the anchor point to adjust the length of the curve. Have a play and you’ll hold the ctrl key and then mouse click (Mac) or right-mouse click
see what we mean – it takes some time to get used to how the curves (Windows) anywhere inside your shape and select Make Selection. In
react. To select an anchor point at any time to move or adjust it, always the options box you can set the Feather Radius – usually 3-5 pixels is
hold down the cmd/ctrl key first, or you’ll delete that point. good for a smooth selection, or 1-2 pixels if you need a sharper edge.
7 SUBTRACT FROM SELECTION The Pen tool can also be used to subtract
areas from the selection, such as the car's windows here. With the
selection active (the marching ants moving) use the Pen tool, as before,
8 TIME FOR A PAINT JOB Now to change the colour of the car, go to
Layer>New>Layer Via Copy to copy the bodywork onto a new
image layer before going to Image>Adjustments>Hue/Saturation.
to draw your shape. Once done and the shape is complete, right-click Check Colorize and adjust the Hue and Saturation sliders, to change
(ctrl-click on a Mac) on this shape and select Make Selection again. the colour of the selection. You could also adjust contrast, saturation
This time, in the options box, check the Subtract from Selection option or a number of other adjustments too. With practice, the Pen tool can
– this area is now removed from your existing selection. become an essential part of your image editing workflow.

/ Adobe Lightroom CC
Addingaborder A DOBE LIGHTROOM IS more a tool for making traditional

photography edits than for adding creative effects. It's fantastic
for exposure changes and tweaks to contrast, saturation,
withLightroom
shadows and highlights but quite often in order to add finishing
touches, or presentation effects to your work, you need to move the
image across into Photoshop, Affinity Photo, or one of the many other
editing options out there. There is, however, one classic finishing effect
that you can carry out from within Lightroom and it only takes a few
ADOBELIGHTROOMISAHUBFORPRACTICALITY,BUT minutes to do from start to finish – here’s how to add a traditional
IT'SNOTWITHOUTAFEWCREATIVETOUCHESTOO… photographic border from within the software…
1 EDIT YOUR IMAGE Before adding your

border, carry out any editing that you
need to do from within the Develop module,
2 USE THE PRINT MODULE The Print module
isn’t just for printing – you can also use
it to effectively 'print to' JPEG files too. With
3 SET UP THE PAGE Scroll down to the Print
Job tab. Change Print To to JPEG, Set
Print Sharpening to Low and Media Type
as you usually would. The important part here your image active or selected in either the to either Matte or Glossy, it doesn’t matter.
is that you decide on the crop and aspect Develop or Library modules, click on Print in Custom File Dimensions below are used
ratio of your image before heading into the the top toolbar. To prepare the page, on the to set the aspect ratio. If your image has an
Print module – it can be altered at a later point right-hand side under the Layout Style tab, aspect ratio of 3:2, for example, then for an
if you change your mind, but it’s easier and select Single Image/Contact Sheet, and then, even border you need to set the Custom File
saves a lot of time if you get it right now. All under the Layout tab, set the Page Grid to 1 Dimensions to the same ratio – for example
ready? OK, time to add the border. Row and 1 Column. 4x6in, or 8x12in, so on and so forth.
4 SET YOUR RESOLUTION Image size is

determined by the File Dimensions x File
Resolution. For example, if you’ve set your
5 SET YOUR BORDERS Back under the Layout
tab, move the Cell Size sliders all the way
to the right – this ensures that the image fills
6 ADD A SECOND BORDER Finally, you can
choose to add a stroke border to your
image too – this sits between the white
longest edge to 10in, and your File Resolution the page. Then use the Margins sliders to set border and your photograph. To do this, head
to 300ppi, then your image will be 3000px the border width. Lightroom can add a title back up to the Image Settings tab and tick
on its longest edge. You can adjust either File too, but doesn’t do this part too well – you Stroke Border. You can then use the picker
Resolution and/or the File Dimensions to can use Photo Info under the Page tab lower to choose your border colour, and the Width
control this, just remember your aspect ratio. down – select Custom Text and add your title, slider to set the width of this border. All done
Here I’ve selected 200ppi at 12in tall, so my if you wish. There’s not much control for title and happy? Go to Print To File at the bottom,
final image will output at 2400px high. position or font, so I’ve decided not to. choose your save location and press Save!

want your shots critiqued by the
digital slr photography experts?
turn to page 57 to find out
how to submit images
RoscaRbeRy gulls
Ben hall
by Ron Giesbers
CanonEOS60DwithSigma150-500mmf/5-6.3OSlens.
Exposure: 1/15sec at f/22 (ISO 100).
What we think: Ron has done a fantastic
job of seeing an everyday, somewhat
mundane, subject and coming up with a
creative and unique way of recording it.
By stopping down his lens all the way, and
using a low ISO rating, he has been able to
use a relatively slow shutter speed in
daylight to capture the motion of the
seagulls as painterly brush strokes. The
tricky thing here is selecting a shutter
speed that renders the scene recognisable
whilst recording an intentional-looking
level of blur. Choose a shutter speed that's
too fast and it looks like accidental camera
shake, too slow and you can't tell what it is
you're actually looking at. Ron has got it
spot on here, and the results speak for
themselves – top job!

wildlifeexpert BenHall ilfrarock
“Imagesthatdepictmovementcan by Matt Lewis
givearealsenseofartistryand CanonEOS6DwithEF24-105mmf/4LISUSMlens.
creation.Personally,Ihavealways Exposure:15secondsatf/9(ISO100).
beenabigfanofthistechnique,and
Ronhasmanagedtoportraythemotionin What we think: Matt's choice of scene,
1
thesegullsperfectlyhere.Thiscanbea composition and exposure here are spot on,
technicallydifficultstyleofimagetogetright; but it's that gentle warm, orange glow
thebalancebetweentheshutterspeedandthe creeping in to the left-hand side of the frame
speedofthesubject'smovementisabsolutely that adds oodles of atmosphere to this 2
critical.However,Ron'schoiceof1/15sechas jagged coastal image. The blurred water
givenjusttherightamountofmotionblurto contrasts lovely with the stoic, sharp rocks,
thebirds.Theresultsarethathe'screateda as does the pastel tones in the sky and water
dynamicimagewhereitisimmediatelyobvious against the dark greys of the stone. A bit of 3
whatthesubjectis,yettheviewerhastolook interest in the sky wouldn't have gone amiss
closelytoseethesubtledetailthatisevidentin – just imagine that light bouncing off the
theimage.Ifeelthatitwouldbenefitfrombeing bottom of colourful clouds. Still, with the
lightenedslightlyinpost-processing,especially conditions given, this is a great image.
intheshadowareas,tocreatemoreofa
high-keylook.Otherthanthat,hatsofftoRon Why it works
foradifferentandcompellingshotofa 1) Warm glow of sunlight creeping into frame
commonsubject!” 2) Good, balanced composition
3) Long exposure suits scene

crocus cropped
by Nicole Barge
CanonEOS7DwithCanonEF300mmf/4LISlens.
Exposure:1/500secatf/4(ISO160).
What we think: Long-lens close-ups are a
great technique to try out during spring and
summer. You don't need a specialist macro
lens, just a telephoto prime or zoom with a
reasonably wide maximum aperture – f/4 or
faster is ideal. By getting down low, carefully
focusing on a single, pristine bloom and
shooting wide open, Nicole has rendered
the foreground and backdrop a lovely field
of pastel bokeh. The foreground bokeh has
reduced contrast slightly, so we would be
tempted to boost this selectively while
processing. Otherwise, a lovely image!
Why it works
Low perspective
Wide aperture and long focal length
Great choice of specimen

Husky in BlueBells
by Aga Glowala
2
CanonEOS5DMkIIIwithTamronSP90mmf/2.8DiVCUSDlens.
Exposure: 1/250sec at f/2.8 (ISO 125). 3
1
What we think: Aga found a nice backdrop
for this pooch portrait and in getting down
low using a telephoto lens, she has achieved
a nice perspective. The exposure is good too
– not easy when shooting white fur against a
dark background. It would have been nice to
see backlighting illuminate the bluebells and Why it works
the husky's fur, while there are a few 1) Bluebells are a great background
distracting branches in the background that a 2) Good exposure and focusing
slight reposition might have avoided. 3) Bokeh due to long lens and wide aperture
nature expert HelenDixon

“'Lessismore'astheysay,andthisis
certainlytrueofNicole’simage.
PersonallyIlovethistypeof
simplisticshot.It’squiteadifficult
techniquetomasterandIapplaudNicolefor
achievingsuchabeautifulresult.Nicoleuseda
300mmlenswithawideopenaperture,which GoldfincH
isidealforisolatingyoursubject–italsohelps 3
by Andy Brown
blurouttheforegroundwhenkeptclosetothe 1
frontelementofthelens.Itprovesyoucan CanonEOS7DMkIIwithEF100-400mmf/4.5-5.6LISIIUSMlens.
achievegreatimageswithoutusingamacro Exposure: 1/2000sec at f/7 (ISO 2500).
lens.ThereissomuchIloveabouttheimage;
thepastelcolours,thediffusedlightandthe What we think: Just by looking at the
focusonthesinglecrocusarespoton.IfIhave settings used you can see that Andy knows 2
justonesuggestionIthinktheshotcouldeasily what he's doing. By raising the ISO he's
affordtolosesomeoftheblankspaceonthe afforded a fast enough shutter speed to
rightsideandbottompartoftheframe,atighter freeze the bird's motion. The mid-aperture
cropallowstheeyetofocusmoreonthe setting offers maximum image quality and
crocuswhilstkeepingthesenseofspace good depth-of-field. The backdrop is nicely Why it works
aroundtheflower.ThatsaidNicolehas diffused and the lighting soft, yet bright. 1) Good technical skills
achievedanoutstandingresult,welldone.” We love the hint of motion in the tips of the 2) Diffused backdrop
wings and the central composition is strong. 3) Subtle motion adds dynamism

Now available
TTL & HSS for Olympus
Attach this small unit to your Olympus camera’s hotshoe to
wirelessly integrate your Profoto Air TTL flash with your
camera. The Air Remote TTL-O gives Olympus users full
functionality with the entire range of Profoto Air TTL flashes.
Find out more: profoto.com/air-remote-ttl-o

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

EMAIL: If you want to email FACEBOOK: Join us on Facebook at POST: Burn your high-res images as
submissions, send them to: www.facebook.com/digitalslrphoto. JPEGs onto a CD/DVD, including a
submissions@dslrphotomag.co.uk Become a part of the community and post ‘mugshot’, and produce a contact sheet
Please only email images at a maximum your best shots to our wall. We regularly with location and technical details. Put it
of 1,000 pixels along the longest edge monitor the page and will be in touch if all in an envelope with a covering letter,
(note: your email will be rejected if the your work catches our eye! including the submission form below and
total size of attachments exceeds 8MB). post to: Digital SLR Photography,
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Digital SLR Photography contact form Checklist

Tick a box and fill in your details if you would like to submit images or take part in Photo Workshop.
If submitting images by post,
remember to include your 'mugshot'
and contact details (name, address,
email and daytime number).
Please don't send us high-res
images by email: resize your shots to
1,000 pixels along the longest edge
and if we see something we like, we'll
request the high-res file from you!
Emails exceeding 8MB total size
might not arrive, so split your
Workshop Portfolio ExpertCritique General submission down into two or more
emails to ensure they get through.
Name: Address:
Please don't send us your entire
Postcode: portfolio – as you may appreciate we
✁
Phone: Email: receive a lot of submissions and

aren't able to look through hundreds
of images – narrow the selection
down and pick your best shots only.
Fora full set ofpicture guidelines, orto ask anyquestions, please email enquiries@dslrphotomag.co.uk

The Beginner’s Guide
FilterS For
landScapeS
IF you've ever wondered what stands between you and achIevIng the IncredIble landscape
photographyyou admIre, you may FInd It's as sImple as FIlters – vItal pIeces oF kItthat have the
power to transForm your photography. thIs month's guIde tells you allyou need to know
S
aturated Colours, controlled Words: Caroline sChmidt & jordan butters over your exposures either by reducing the
reflections, balanced exposures and light reaching your sensor for extended
creative movement are just some of there are many types of filters that offer exposures, or by compressing the exposure
the reasons optical filters are as practical and creative applications, but the range to within a sensor's dynamic range.
essential for any landscape photographer as main types you want to pay attention to are Filters, such as nd grads (page 64) for
the lenses they choose. but the vast offering circular polarisers (CPl), graduated neutral instance, balance a bright sky with darker
of filters available can make picking the right density (nd grads) and solid neutral density land so you can record as much detail as
kit for your budget tricky. in this month's (nd) filters, as with these you will see possible and capture a scene authentically
Beginner's Guide, we'll tackle the essentials incredible differences in your images that in camera. You can also pair these with solid
that will help you choose and use filters for a can rarely be replicated in post-production. nd filters for long exposures, or a polariser
dramatic improvement on your landscapes. Filters, at their simplest, give you control to eliminate glare. Your options are plentiful…
image: Ross Hoddinott
CHOOSING YOUR FILTERS USEFULKITFOR FILTER USERS

TRIPOD
WEEXPLAINTHEFUNDAMENTALSOFFILTERTYPESTOMAKEYOURCHOICESIMPLE Adding filtration
W
ITH THE INCEPTION of digital, many Next should be a 0.3 and 0.6ND grad often results in
photographers thought optical filters (p64), which used individually or together exposure times
might go the way of film and be will help ensure detail in the sky is captured extending beyond
replaced with a digital equivalent, but whilst in even the most extreme lighting. But if silky what is a safe shutter
some positive effects from filters can be water surfaces and wispy waterfalls are your speed for handholding a camera.
replicated in post-production, there’s no goal, you'll want standard or extreme ND Longer shutter speeds require your
substitute for the real thing. Consequently, filters (p66), some of which are capable of camera to be stabilised, so always
since filters are still a key part of a landscape extending exposures up to 20 stops! pack your tripod to avoid camera
photographer's arsenal, there's no shortage You also need to decide on the best shake and, if you plan to shoot from a
of options for you to choose from – with system to suit your budget and working shoreline, consider packing counter
different types and styles to suit all budgets, practice, whether it's screw-in or slot-in weights to help stabilise your tripod
image styles and preference of approach. filters, and finally a brand. Cokin, Tiffen, against strong winds.
So where should you start? First up, you B+W, Lee Filters, Heliopan, Hitech, Hoya and REMOTE RELEASE
need a circular polariser (turn to p62 for Mirumi are among the most highly regarded In low light or when
details). This filter alone cuts through glare brands. Some, such as Tiffen, Mirumi and you’re using extreme
on the surface of water and foliage, saturates Hoya, primarily offer screw-in filters while Neutral Density filters
colours and deepens blue skies. It's also Cokin, Hitech and Lee Filters are known for (filters with a light
dense enough to extend your exposure their brilliant slot-in systems. The choice of loss of six stops or
times by up to two stops for creative effect. which to go for is yours… more), you may find exposure times
runs to several seconds or minutes.
The slightest camera movement will
THE MAINTYPES OFFILTER cause blur, which is why we
recommend using a remote release
rather than risk pressing the shutter
release button.
LO
ONG-EXPOSURE
CAL
CALCULATOR
Ther
here’s no need to
do mental arithmetic
when working out
your long exposures,
as there are plenty of apps to help you
do this quickly and accurately (see
page 69). Long exposure calculators
are essential aids when applying
Neutral Density filters or when you
SCREW-IN Fitting directlyon to the thread ofyourlens, SLOT-INTypicallysquare orrectangularpieces ofglass want to stack filters. Thankfully with
screw-in filters are made ofhigh-qualityoptical glass. oroptical resin, slot-in filters are securedvia a filterholder Through-the-Lens (TTL) metering
Depending on howmanylensesyou own, however, and that attaches toyourlensvia an adaptorring. One ofthe you don’t need to do any calculations
iftheyhave different filterthreads,you mayneed to invest biggest advantages ofthis filtersystem is that allyour for the likes of polarisers or ND grads,
in the same type offilterto fit different lenses,which can filterswillworkwith all ofyourlenses thanks to the as the camera will work it out for you.
beveryexpensive.An alternative is to invest in a ‘step up’ inexpensive adaptorrings. However, they're largerand
ring,which is an adapterthat letsyou fit a large filterto a much more fragile than screw-in filters. Most filter MICROFIBRE CLOTH
lenswith a smallerfilterthread, reducing the numberof holders are also designedwith multiple slots, making it When shooting by
filtersyou potentiallyneed.These'step up'rings, quick and easyto combine filterswithout anyvignetting, the coast, seaspray
however, are notorious forgetting stuck on lenses. which is commonwhenyou attach two ormore screw-in can be a problem,
While screw-in filters are smaller, easierto store, faster filters at the same time. Manyholders also comewith especially if you're
to attach and can be usedwith a lens hood,you’ll space to attach a circularpolariser,which is often the composing by rocks
potentiallyend up carrying a lot more filters oradapters. preferred style forthis type offilter. and crashing waves. Any splashes of
The screw-in system isn’t quite as future-proofas the Slot-in systemsvaryin size, the most popularbeing water that land on your filter will show
slot-in system eitheras ifyou upgradeyourlens,you may the 100mm systems byCokin, Hoya and Lee Filters.The in your images, so pack a microfibre
findyourfilterthread changes too, forcingyou to invest adaptorrings are available invarious thread sizes and the chamois cloth and cleaning solution.
again in newfilterswith different sizes offilterthreads. holders are known forslotting on and off easily.
OTHER FILTERTYPES…
Aside from the core filters mentioned UV/ SKYLIGHTThese COLOUR FILTERS SPECIALEFFECT
previously, practicallyall brands offer screw-in filters have no Instead ofadjusting Ifyouwant a fierysunset
countless others promising protective, filterfactorso theydon't in-c
in-cameraWhite orto turn dayto night,
corrective and creative benefits.Although aff
affectyourimage's Balanc there are
Balance, ther a filterforthat.
there’s
such an extensive range ofcreative filters exposure.What theydo warming and cooling Enhance specific
mayseem tempting and fun to playwith, is protect the front ofyourlens from filters that allow
allowyou to compensate for colours, add an overall tint and simulate a
a lot ofthe results from the special-effect damage, but it's a debated issue as to different lighting temperatures.There are sunsetwith a coloured graduated filter.
filters can be recreatedwith somewhat whethertheydegrade image quality. Both also filters dedicated to enhancing the There are also optical andweathereffects
ease in post-production so they're not types filterultraviolet light andwere used contrast and tone ofa monochrome like starbursts and mist aswell as infrared
essential, unlessyou're determined to get morewith film; they're less beneficial image at the point ofcapture byfiltering filters – a cost-effective alternative to
everything spot-on in camera. nowthatwe haveAutoWhite Balance. differentwavelengths oflight. permanentlyconverting a camera.

protip
Whatisa‘filterfactor’?
It’sanindicationofhowmuchlightthe
filterabsorbs.Thehigherthefactor:the
greaterthelightloss.Polarisers,forinstance,
havea4xfactor,whichmeanstheyabsorb
approximatelytwostopsoflight.We’ve
tablesthroughoutthisguidethatwill
showyouthefilterfactorinrelation
totheamountoflightloss.
Breathtaking images
Combiningfilterscancreatesuperb
results:tryaddinganNDgradwitha
solidNDforalongexposurelikethis.
image: adam burton
Polarisers
AcirculArpolAriseriswithout
doubttheonefilterthAtevery
photogrAphershooting
lAndscApesneedstoown
i
T can be argued that, with advancements
in sensor technology, digital techniques,
and editing software, the effects of some
filters such as nD grads and, to an extent, nD
filters themselves, can be replaced during
Above:Acircularpolariseristheperfecttoolforthediscerning
post-processing. bracketing and exposure
outdoorphotographer,whatevertheweather.
blending can simulate graduated nD filters,
whilst multiple exposures over time can because, in doing so, a polarising filter can
create an effect remarkably similar to that of be used to block glare and reflections, to cut
using an nD filter to achieve a long exposure. through haze and to saturate the colours in
However there’s one filter that simply cannot your images. not to mention the two-stop
be replicated – the circular polariser (cPL). light loss offers added creative benefits.
In order to fully understand how a There are two types of polarising filter –
polarising filter works, we need to explain a linear polariser and a circular polariser.
a little bit about how light works, and the When it comes to digital cameras, only
different types of polarising filters available. circular polarisers should be used; using a
Light consists of both electric and magnetic linear polariser can play havoc with metering
waves and, in unpolarised light, these waves and autofocus systems. a circular polariser
are travelling in chaos, oscillating on multiple comprises two filter rings that can be rotated
planes. Direct light waves that are reflected independently of one another – the front
off nonmetallic surfaces, such as glass, ring contains the polarising filter, whilst the
water or foliage, are partially polarised and rear-most ring holds a quarter-wave plate.
reflected largely across one plane. a cPL Rotating the polarising filter allows you to
filter blocks these light waves from reaching control the direction of polarised light,
your sensor at certain angles, depending on effectively like an on-off polarisation dial.
the filter orientation, effectively sorting out The quarter-wave plate then converts this
the chaotic and perpendicular waves, linear light into circular polarised light,
allowing only light waves on a single plane allowing your camera’s autofocus and
to pass through. Why does all of this matter? metering functions to operate properly.
no Polariser witH Polariser

ROss HODDInOTT
ROss HODDInOTT
How to use a Polariser
1 Fit tHeFilterMostcircularpolarisersarescrew-on,
withtherear-mostfilterringusedtoattachordetach
thefilterfromthelens,andtheforemostringusedtoadjust
2 Get tHeriGHtanGlepolarisersworkbestwithyour
subjectat90°tothesun.Aneasytricktorememberthis
istoforman‘l’shapewithyourthumbandforefinger.point
3 adjustuntilHaPPylookthroughtheviewfinder
androtatethefrontfilterringtoadjustthepolarisation.
you’llseetheeffectthatthishasonglareorreflections,as
theangleofthepolariser.don’tscrewitontootightas yourforefingeratthesun,andanydirectionthatyoucan wellasthesky.yourcamera’smeteringworksasnormal,
somecanbetrickytogetoffagain–fingertightisfine. pointyourthumbinisidealformaximumpolarisation. butyoumayneedexposurecompensationtoperfectit..

Watch out for...
Using a polarising filteris fairlyeasy, but

there are still problems and issues that can
arise ifyou’re not aware ofthem…
Wide-angle lenses: Take carewhen
using a polariserwith awide-angle lens
and including a lot ofskyin the frame.The
field-of-viewforthese lenses is often so
vast that it can include both polarised and
unpolarised parts ofthe sky, creating
patchyand unnatural results.
Panoramics: Polarisers are best
avoidedwhen stitching panoramics as
the skyis unlikelyto be evenlypolarised
from the left to the right ofthe frame –
this creates a difference in tone and
exposure in the sky, leavingvisible joins
orstrange dark areas in the sky.
loss oflight: Because a CPL
blocks lightwaves, there’s a loss oflight
associated – this is usuallybetween 1.5
and two stops. Forthis reason, keep an
eye onyourshutterspeed in lowlight.
This also means that a CPLcan be used as
a makeshift ND filterforlongerexposures.
flare: Aswith anyoptical filter, adding
blue skies and rich colours a CPLcan cause sun flare. Most CPLfilters
Whenusedcorrectly,apolarisingfilter
are coated to help prevent this, but
canreallymakealandscapepop,
saturatingcoloursandremovingglare.
cheaperoptions maynot be so it’sworth
buying a good model from a reputable
brand. Use a lens hood, oryourhand, to
shield direct light and help prevent flare.
Whento use a Polariser

adam burton
adam burton
adam burton
Water:Acircularpolarisingfilterwillallowyoutosee foliage:Acircularpolarisercanbeutilisedto blueskies:Somelightispolarisedbytheelectronsin

throughtheglareonthesurfaceofwater,revealingdetail saturatecoloursinfoliage,especiallyifit’sshinyorwet. airmolecules,meaningthataCPLcanbeusedtoadd
initsdepths.Thiscanbeespeciallyusefulforincluding Youdon’tnecessarilyneedtobeindirectsunlighteither contrasttoskiesaswell.Itworksespeciallywellondays
foregroundinterestinyourlandscapephotography. –theyworkwondersonovercastdaysorinshadetoo. withblueskiesandwhite,fluffyclouds.

graduated Nd filters traNsitioN streNgtHs

GraduatedNDfiltersareavailableinarangeof
bALANCINGTHeexposuReoFTHeLANDANDskyIsANIMpoRTANTpARToF differenttransitions.Thisvariationhasnobearing
LANDsCApepHoToGRApHy,ANDGRADuATeDNDFILTeRsALLowyouToDoTHIs onthefilter'sdensity,butratherdescribeshow
harshthetransitionisbetweenthefilteredpart
G
raduaTed nd filters are the landscape andtheunfilteredpartofthefilter.
photographer’s mainstay. Traditional
soft:Featuresawideandgradualtransition.
graduated filters are dark at one end,
Typicallythesearebestusedforinland
and clear at the other, with a transition part in photography,whenthehorizonisuneven,
the middle. The idea behind them is that, by orforasubtleblendbetweenlandandsky.
aligning the darkest part of the filter with the
brightest part of the scene in front of you, i.e Hard:Displaysastrongandhardtransition.
the sky, they balance the exposure between Thesearethemostpopulartypesofgraduated
sky and land. in doing so, they’re a method of filtersandarewellsuitedtocoastalphotography,
bringing the dynamic range of a scene to whenthehorizonistypicallyflatandstraight.
within your sensor’s limits – reducing MediuM&VeryHard:LeeFiltershasrecently
'blown-out' highlights and dark shadows. releasedanextendedrangeofgradfilters,
Graduated nd filters are available in includingMediumandVeryHardgraduations.
slot-in or screw-in types. While screw-in ThenewMediumgradtypelookstobevery
filters are often more practical for other filter versatile,whereastheVeryHardgradsaremoreof
Above:GraduatedNDfiltersaretypicallyavailableinthree
types, such as polarisers or solid nds, aspecialistchoice,andwillrequireverycareful
strengths–onestop,twostops,andthreestops,respectively.
graduated nd filters are usually more useful placementinexactlytherightsituations.
in slot-in form, as they can be easily pushed bit-by-bit as and when you need them. reVerse:Traditionalgradfiltersstartfromdark
up and down and rotated to align with the Graduated filters are available in different atthetopandtransitiontolightatthebottom.
horizon. They can also be stacked so you transition types (as explained on the right) and Conversely,reverseNDgradsaredarkestinthe
can use several filters at once. slot-in filters in different strengths – typically, one, two or middleandfadelighteratthetop.Theyalso
tend to be more expensive initially, as you three-stops. You’ll often find that a two-stop featureahardlinebelow,similartoahardND
need a filter system holder to use them, hard grad is the most used variety, so if you’re grad.ReverseNDgradsareusedwhenshooting
however once you’ve got your initial set-up, going to buy just one nd grad, make it one of directlytowardssunriseandsunset,whenthe
they are far easier and more efficient to use, these! one-stop filters are often too subtle brightestpartoftheskyisclosetothehorizon.
and you can add filters to your system and three-stop often too dramatic.
ross hoddinoTT
Nofilter oNe-stopNdgrad two-stopNdgrad tHree-stopNdgrad
How to use graduated Nd filters
1 useatripodIt’simportanttouseatripodwithND
gradssothatyoucanaccuratelylineupthefilterwith
yourcomposition.Assessthesceneanddecidewhethera
2 MeterfroMtHelaNdFityourfiltersystemholder.
Inaperture-priority,selecttheapertureandselectspot
metering.Takeanexposurereadingfromamidtoneinthe
3 MeteriNgfroMtHeskyRepeatthisprocessby
pointingyourcameraatthesky–don’tplacethespot
onthebrightestpartofthesky,butchooseamidtone,
softorhardNDgradisbest–softNDgradssuituneven landbyplacingthecentralmeteringzoneontheareaand suchasadarkercloudorareaofbluesky.Takeareading,
horizons,whereashardgradssuitmoredefinedhorizons. half-holdingtheshutterbutton.Notetheshutterspeed. asbefore,andmakeanoteoftheshutterspeedagain.

ross hoddinoTT
tHe sky’s No loNger tHelimit

WithoutagraduatedNeutralDensity
filter,theskywouldbefartoobright
fortheforegroundatthisexposure.
NamiNg staNdards table

Confusingly,there’snostandardnamingconvention
forNDorNDgradfilters.Instead,thefilterstrengthis
displayedasopticaldensity,orfilterfactor(orsometimes
both!).Herearethosevaluestranslatedintostopsoflight.
Stops reduction Opticaldensity Filterfactor
1 0.3ND ND 2
2 0.6ND ND 4
3 0.9ND ND 8
4 1.2ND ND 16
5 1.5ND ND 32
6 1.8ND ND 64
4 workouttHediffereNceCountthedifferencein
stopsbetweenthetwometeredshutterspeeds.This
tellsyouthemaximumstrengthfiltertouse.Fornatural
5 PositioNtHefilterSwitchyourcamerabackto
multi-zonemeteringandslidetheNDgradfilterinto
place.Lookthroughtheviewfinder,oruseLiveView,to
7
8
2.1ND
2.4ND
ND 128
ND 256
9 2.7ND ND 512
results,goingonestopunderoftenworksbest,asoureyes alignthefilterwiththehorizon.Youcannowuseexposure
areusedtoseeingtheskyasbrighterthantheland. compensationtofine-tuneyourexposure,ifneeded. 10 3.0ND ND 1024

Solid Nd FilterS
IfyouwantafIlterthatoffersyouflexIbIlItyandcreatIvIty,thesolIdnd
fIlterIstheoneforyou.learnwhyastandardndIssopopular…
W
hile a graduated Nd filter is a – typically blocking between two and eight
mainstay for practical photography, stops of light – by rotating its built-in ring,
solid Neutral density filters are an negating the need for extra Nds. this
essential piece of kit for photographers with convenience does sometimes come at the
creativity in mind. like most filters, Nds allow cost of slight loss of image quality, however.
you to reduce the amount of light reaching Nd filters are come in a range of densities
the sensor, but unlike a graduated Nd it does – typically one (0.3 Nd), two (0.6 Nd) and
so across the entire frame. three-stops (0.9 Nd) being the most versatile
Above:theseniftysquaresmakecreativelandscapesadoddle
Solid Nd filters are designed to absorb all and popular for everyday photography.
asthey'retransparentenoughtoretainttlmetering.
the colours in the visible spectrum equally to Beyond six stops, Nd filters are stepping into
reduce the brightness of the light, often the arena of ‘extreme' Nds, reaching
without creating a colour cast. But why is this upwards of 15 stops (turn to p68 for more). compariSoN cHart
a benefit? Quite simply, for creative effect. By in most circumstances, you should find a
using such filters you’re forcing your camera 0.9 Nd (three stops) or equivalent filter likendgrads,solidndsarereferredtoviatheiroptical
to record a longer exposure than the scene combination is more than sufficient to density(e.g0.3nd)orlightlossinstops. hereyoucansee
would typically call for, allowing you to blur render moderately-fast moving water a howthefilterfactoraffectsshutterspeed.
and exaggerate subject motion such as an milky blur in low light, and still retain texture
ND Filter Stopsreduction Shutterspeed
outgoing tide, cascading waterfall, floating and detail. the higher the filter factor you
no filter 0 ev 1/60sec
clouds or swaying crops. choose, the longer the exposure and the less
You can purchase slot-in and screw-in Nd detail and more surreal the images become. 0.3nd 1 ev 1/30sec
filters, but we would recommend the slot-in For most photographers long exposures are 0.6nd 2 ev 1/15sec
system for versatility and ease of use, as it lets a love-or-hate technique, polarising opinion 1.2nd 4 ev 1/4sec
you combine multiple filters quickly and on what is deemed an ‘acceptable’ level of 1.8nd 6 ev one second
easily. if budget is a concern, however, there blur, but there’s no doubt adding intentional
2.4nd 8 ev fourseconds
are screw-in variable Nd filters that let you movement to your landscapes adds interest
control how much light the sensor receives and instantly makes them more dynamic. 3.0nd 10 ev 15 seconds
wHeNto uSe Solid Nd FilterS How to uSeaSolid Nd Filter

roSS hoddiNott
roSS hoddiNott
NoFilter
two-StopNd
solid nd filters are especiallyuseful in bright lighting than the tide,you mayonlyneed a one ortwo-stop with nd filters up to six stops in density,you can usually
conditions,whenyouwant to avoid losing details in nd to renderitvelvety-smooth compared to a three, see enough to composeyourimage through the
highlights becauseyouwant to blurmotionwith a oreven six-stop nd, forthe same effect in stiller viewfinder, aswell as use autofocus andttlmetering –
longerexposure.what densityoffilteryou choose waters. similarly, crops moving in a breeze rarely the same cannot be said forextreme ndswhereyou'll
largelydepends on the available light level, the speed need an exposure longerthan 1/15sec, unlessyou need to go manual all theway(page 68).
ofthe motionyou're capturing and the effectyou want to renderthem as awash ofcolour. attachyournd filtertoyourlens and setyourcamera
want to create. In lowlight, like during the golden It's important to include sharply-focused to aperture-prioritymode. select the camera’s lowest Iso
hours, a 0.9nd is likelyto renderwaterwispywith a stationarysubjects inyourscene, too, so as to offer rating togetherwith a small aperture fordepth-of-field
little texture, but the same filterduring the daymaybe an anchorpoint forthe eye.this could be rocks, land, and the camera should giveyouyourslowest shutter
enough to soften thewater's surface to implymotion: a jettyeven tree trunks amongst moving leaves. don't speed based on available light and the filterfactor. by
it all depends onyourunfiltered shutterspeed and be afraid to combine filters too forthe best results: a using a solid 0.6nd filter, the shutterspeed is extended by
howslowyouwant to take it. Ifthe subject is naturally 0.6nd grad maybalance the exposure, but add an two stops – taking it, in this instance, from 1/50secwith
moving fast, forinstance awaterfall moves farquicker nd to the mix andyou'll see newcreative possibilities. no filterto 1/10sec, softening thewater's surface and
making the crashingwaves appearelegantlywispy.

protip
ColourCasts
WhilstNDfilterslookgreyincolourand
aredescribedasbeingneutral,somecan
provideaslightlyblueororangecolourcast.
Toremedythis,youcancreateacustom
WhiteBalancesettingincameraoradjust
theRawfilepost-capture.You’llfind
thecastpredominantlyin
extremeNDs.
smoothly does it
Fastmovingwater,lowlightand
astandardNDfilterisarecipefor
capturingbeautifulwaterfalls.
image: adam Burton
extreme
protip
Knowyourfilter
nd filters
It’srarethatyoufindanextremeNDfilter
thatisexactlythenumberofstopsadvertised.
Thereforeitcantakesometrialanderrorwhen
youfirststartusinganewfilterbeforeyouknow
whethertogoslightlyoverorunderyour
DOyOuwaNT TOShOOTrEallylONg calculatedexposuretime.Keepacheckon
ExpOSurES?TImETOgETExTrEmE… thehistogramtoseeifyourshotsare
T
under-oroverexposedand
ypical solid Nd filters come in adjustaccordingly.
densities ranging from one to three
stops. above those, you have what we
call 'extreme Nds'. The phrase ‘extreme Nd’ is
a bit of a catchall term used to describe any Nd
filter with a density of six stops or more. While
less opaque filters have their place in all sorts
of photography, including portraiture, extreme
Nds tend to be the reserve of landscape and
outdoor photographers. They are used to
severely extend exposure times, meaning that
you can capture exposures heading into
minutes long, even in broad daylight.
The most common extreme densities are
six stops, ten stops, and 15 stops, but 20-stop
filters are available! What does this mean for
exposure times? Well, an unfiltered exposure
of 1/50sec with a six-stop filter becomes a
1.3-second exposure, with a ten-stop filter
it's a 20-second exposure, and with a 15-stop
filter it’s ten minutes and 40 seconds!
Because extreme Nds are so dark, you can’t
see through them, and neither can your
camera’s autofocus. Therefore, composition
and focusing must be done before fitting the
filter. you always need to use a solid tripod and
a remote release too for sharp images.
Above:No,it'snotasquareblackhole–aten-stopNDfilter
reallyisthatdark!Evenonbrightdaysyoucan'tseethroughit.
How to usean extreme nd filter

when using an extreme ND filter, there are several key
heleN dixoN
unfiltered ten-stopndfilter
things thatyou need to rememberto do before pressing
the shutterbutton.you'll often not realise thatyou've
forgotten one until reviewing the image, often many
minutes later, and have to do it all overagain!
lockoffyourcameraonatripodandattachyour
remoterelease,thencomposetheshotandfocus.Setthe
lenstomanualfocustostopthecamera'saFrefocusing.
Takeatestshotwithoutthefilteratyourchosenaperture
andchecktheexposure.Ifyou'rehappy,notetheshutter
speedanduseanexposurecalculator(seepanel,opposite)
toworkoutwhatthistranslatestowiththeextremeNDin Unfiltered Six-stopND Ten-stopND 15-stopND
place.FittheextremeNDintothefilterslotclosesttothe 1/500sec 1/8sec Two seconds One minute
lenstopreventlightfor'leaking'aroundit.SimplysetBulb 1/125sec 1/2sec Eight seconds Fourminutes
mode,dialintheaperturethatyouusedbefore,andthen 1/50sec 1.3 seconds 20 seconds Ten minutes, 40 seconds
usetheremotereleasetomakeanexposure,timedtothe 1/10sec Six seconds One minute, 40 seconds 53 minutes, 20 seconds
rightlength.Oh,andremembertocovertheeyepieceup 1/2sec 30 seconds Eight minutes Fourhours, 16 minutes
too–seethe CommonMistakespanelontheright! One second One minute 16 minutes Eight hours, 32 minutes

ross hoddinott
there’sanappforthat
Longgonearethedays
whenyouhadtoworkout
exposuretimeswhen
usingextremeNDs,
allthankstoclever
smartphoneapps!The
mostpopular,andoneof
thesimplesttouse,isthe
LeeStopperappbyLeeFilters,
whichistailor-madeforexposure
timesforsix-,ten-and15-stopfilters.Onceyou've
usedtheapptoworkoutyourfilteredexposure
length,there’sevenabuilt-intimerandalarmtoo.
Bestofall,it’scompletelyfreeoniOSandAndroid.
Common mistakes
Coverthe eye pieCe: An extreme ND filteris so dark
that the small amount oflight entering the camera’s
eyepiece can reach the sensor, creating a faint circle oflight
in the middle ofthe image. Some camera straps have an
eyepiece cover, but ifnot draping a lens cloth, orholding a
filtercase overthe eyepiecewill do the trick too.
the rightsCene: It’s tempting to use extreme NDs
as a crutch to make a dull composition more interesting,
howevertheiruse almost always requires the right sort of
scene, and conditions, to make the imageswork. Focus on
achieving a strong composition and an interesting image
first, and then decide ifan extreme NDwill add to the effect.
Don’trush: There are manythings to rememberwhen
using an extreme ND, and all ofthem need to be done
before fitting the filter! It’s all too easyto start the exposure
and forget something important, like focus!Worst ofall,
you then have to go through thewhole long and agonising
wait to realiseyourmistake, and then do it all again!
Colour Casts: There’s reallyno such thing as a neutral
extreme ND – all rendersome form ofcolourcast.This can
be trickyto fix manually, therefore it’s a good idea to carrya
greycard – take a shot ofthe greycardwith the filter
attached and then, during processing, use this asyourWB
reference point. Or, just convert to black &white!
time passes by slowly Changing light: Be carefulwhen shooting long
AnextremeNDfilterallowsyouto exposures in changing light, such as at middayon a cloudy
creativelyrecordverylongexposures, daywhen the scene in front ofyou is being cast in and out
eveninbrightlightingconditions. ofshade. Ifyou meterforthe scene in shade and startyour
long exposure and the scene is then in bright direct light for
the duration,you mightwell find it severelyoverexposed.
whento use extreme nDs

ross hoddinott
adam burton
jordan butters
water:ExtremeNDfiltersareperfectforturning movingClouDs:Lookskywardandcapturethe urbanlanDsCapes:Modernarchitecturelooks

movingwaterintoablurred,silkymist.Thisapproach motionofthecloudsabove.Theidealconditionsare greatthroughanextremeNDfilter.Muchlikewaterand
worksespeciallywellwhentherearesolidobjectsinthe blueskiesonpartiallycloudydays,withamoderateto coastalscenes,thecontrastbetweenmovingclouds
watertojuxtaposeagainstthemotiontoo–think strongbreeze.Positionyourselfwiththecloudsmoving andstaticbuildingsworkswonders.Useawide-angle
woodenjetties,piers,seawalls,androcksatthecoast. towardsorawayfromyoufordramaticeffect. lensupcloseforunusualandabstractviewsofthecity.

The PhotoWorkshop
OUREXPERT: James Abbott OURREADER: Mez Solanki

Jamesisaprofessionallandscape MezisaconsultantforaUKdefence
andportraitphotographerbasedin company.Hecaughtthephotobug
Cambridge.Despitebeinglocated afterbeingintroducedtoitbyhis
inoneoftheflattestpartsofthe wife.Thisquicklyturnedintoa
country,hecanoftenbefound passion,andafterphotographing
shootinginthehillsoftheMidlandsand Asianweddings,Mezfanciesamoveintoportraits
northernEngland.www.jamesaphoto.co.uk andfashion.www.illustriousimages.co.uk
James’skit:NikonD610withbatterygrip, Mez’skit:CanonEOS5DMkIII,EF85mmf/1.8,
AF-S85mmf/1.8G,AF-S50mmf/1.8G,AF-S EF50mmf/1.8,EF24-70mmf/2.8,Yongnuo
16-35mmf/4G,NiSifilterssystem,Manfrotto flashgun,Godox80cmOctabox,ManfrottoPro
CarbonOnetripod,TamracAnvilbackpack. LightRedBee210backpack.
UNIVERSITY
CHALLENGE
WE’REOFTENTOLDNEVERTOSHOOTPORTRAITSATMIDDAYWHENTHELIGHTISHARSHANDSHADOWSSTRONG.BUT
WEREN’TRULESMADETOBEBROKEN?WETOOKPORTRAITANDFASHIONENTHUSIASTMEZSOLANKITOCAMBRIDGE
WHEREHEHADTOTACKLETHEDIFFICULTLIGHTINGCONDITIONSASWELLASSWARMSOFTOURISTSHEADON!
M
AD DOGS AND ENGLISHMEN go out Flexibility and the ability to think on your just a 15-minute walk from the city centre.
in the midday sun, but photographers feet are essential on all shoots, but when With the sun high in the sky when we met at
are often wise enough to avoid this you’re shooting portraits in bright conditions 10am, we knew the light was against us, but
most challenging time of day. We all know you have to be even more adaptable than that was the whole point of the challenge.
that midday is difficult at best, but that usual. If you’re unfamiliar with the sun’s The main difficulty of shooting in a busy
doesn’t mean you cannot or should not position in relation to time of day and the city like Cambridge is the sheer number of
shoot portraits at this time – you just need to locations you intend to use, you will tourists on the streets. Of course all cities
know how to turn things around to make the inevitably find yourself moving around have visitors, but in places like Cambridge
light work for, rather than against you. looking for alternative locations on the hoof. they often arrive on coaches and remain in
There are a number of techniques that And while this takes you away from your huge groups. This means that one minute
can be used in these conditions, from original plan, it has the advantage of bringing you’re working in a relatively quiet location,
shooting in the shade or dappled light under new ideas and outcomes to the table. and the next there’s a large crowd of people
trees, to using flash and more. The key is to We took our reader Mez to the beautiful walking between you and the model making
choose the right technique for the type of city of Cambridge where there’s an shooting impossible. So armed with
portrait you’re aiming for, alongside finding abundance of diverse locations ranging reflectors and off-camera flash equipment,
a location that works with the desired effect. from its historic streets at its hub to farmland it was time to join the masses…
The PhotoWorkshop
2 3
4 5
CHALLENGE1:FLAsH light made a white lace top and black shorts

the obvious choice, accessorised with bare
manual at full power, which is a much more
effective way of overpowering bright light.
The original plan was to start with feet – we planned to ask Millie to dip her toes As soon as Mez switched to manual mode
natural-light challenges, but after helping into the water to give the image a whimsical we started to get more light onto the model
our model Millie find parking we found look. Millie went off to get changed and but the flashgun was too far away from her.
ourselves on the outskirts of the city centre Mez and I finished setting up the light and I folded up the legs on the light stand and
beside the River Cam. Rather than doubling discussing what I wanted Mez to do. held it in position as close to Millie as possible
back on foot, we decided to tackle off- Mez explained he’d only used off-camera without entering the frame. Mez also
camera flash and tackle natural light later. flash at dusk and never in bright sunlight, switched his camera to shoot in landscape
We headed to the water’s edge in a quiet and had never thought of doing so. Millie format, which allowed me to get even closer.
field near the Millpond on the River Cam. returned from getting changed and I showed Now the exposure was much better it was
Looking away from the millpond there was her where to sit and left Mez to set up his time to experiment more with poses. I made
a clean natural background, and the sun was exposure. Mez started with his flashgun set a few suggestions and Mez fired away.
pointing in our direction, so I was hopeful to high-speed sync TTL mode, which meant Since we were shooting with the flash at
we could use it as rim light by backlighting he was able to set exposure to 1/2500sec at full-power it was taking longer to recycle –
the model to help create depth and contrast. f/2.8 with the ISO at 100. Unfortunately the about ten seconds – plus the first flashgun
I’d asked Mez to bring his off-camera flash flashgun wasn’t powerful enough for these overheated! Luckily Mez had a second flash,
equipment with him so he could shoot with settings in the bright conditions because of so we quickly swapped over and carried on
familiar gear. He had two flashguns, TTL the way high speed sync (HSS) ultimately shooting. Off-camera flash always takes
triggers, light stands and an 80cm octabox. reduces flash output during the longer flash longer to shoot with than natural light, so
While setting up the lighting we looked at duration it creates. I suggested he stop down we were aware that we’d used too much
the clothing options Millie had brought with the aperture and shoot with the shutter at the time already. With good shots in the bag we
her. The summery location and the bright camera’s flash sync speed with the flash set to packed up and moved on.

DIp In to off-camera flash
UsingflashhasallowedMeztocapture
anicelybalanceddaytimeportrait.
1)Jamesditchesthelightstandandholdstheflashclose. wIthout flash wIth flash

2)Mezsetsuphisflashgun,firingbackwardsintoasmall
octabox.3)Mezexperimentswithsettingstofindtheright
balancebetweenflashandambientlight.4)Wirelessradio
triggersallowMeztomovefreeofcables.5)Sometimes
gettingtherightanglecanbeabitprecarious!
challenge1 Pro verdict

“Whatevertimeofdaywecoveredoff-camera
flash,itwasalwaysgoingtobeatoughchallenge.
Weweredealingwithdifficultnaturallightand
limitedpoweroutput,butbytakingamanual
ratherthanTTLapproach,Mezwasabletopush
hiskitandexposurestothelimittocreateasetof
imagesinawayhe’dnevertriedbefore.Luckily
Mez’sexperienceofusingoff-cameraflash
meanthewascomfortablewithstartingoffwith
thischallenge,andheworkedmethodically
throughthedifficulties.Withthetoughest
challengeoutofthewaytherestofthesession
wouldbeeasy.Orsowethought.”

The PhotoWorkshop
challenge2:shade
The second challenge was selected
because it would allow us to exploit one
of the simplest methods for shooting on
sunny days – open shade! Unfortunately
my chosen location was partially bathed in
light, so we had to think of somewhere else
instead. I suggested the famous Trinity Lane
with the row of chimneys that would be in
the background, and when we arrived both
Mez and Millie agreed it looked great. Not to
mention it was in full shade – perfect.
No sooner had Mez taken his camera
out of his bag when what appeared to be a
coach-load of tourists gathered behind us 1
to get their trophy shot of one of the most
photographed streets in the city. This was 2 3
a sign that it wasn’t going to work, so we
walked down Trinity Lane and around to
the pretty alley that runs between King’s
College and Gonville & Caius.
This new, third location for challenge two
was perfect in terms of light, but with one
small problem – it was busy with people.
Mindful that we’d already spent too long on
the first challenge, I suggested that we use
the crowds to our advantage by shooting at
a slow shutter speed. If Millie remained still
the people would be dynamically blurred 4 1)MezsetsupJames'sborrowedNikononatripodandlines
around her. Mez loved the idea so we began upthecomposition.2)TheuseofavariableNDfiltermeant
to set up for the shoot. Mezcouldcontrolthefiltration,andsubsequentlytheshutter
Luckily I had a tripod and variable ND with speedneeded.3)WithouttheNDfilter,theshutterspeedwas
fartoofasttorecordmotion.4)Milliechecksouttheresults.
me. It didn’t fit Mez’s Canon 85mm f/1.8, so Below)Thistrickytechniquerequirestrialanderror–by
I suggested he use my Nikon kit because shootingplentyofframesyoustacktheoddsinyourfavour.
the ND fitted my 85mm lens. The idea was
to shoot at f/2.8 to knock the background
out of focus, but test shots revealed that challenge2 Pro verdict
this didn’t allow for sufficiently slow shutter
speeds, and dialing up the ND too much “Thischallengeshouldhavebeentheeasiestof
made it impossible to focus on Millie’s face. thethree,butproblemswithourpre-planned
Millie had already changed into a bright self-timer with a five-second delay. locationsmadeittougherthanIanticipated.By
red dress that contrasted beautifully against Mez ended up with a lot of dud shots, thinkingonourfeetwecameupwithanewidea
the warm yellow/grey tones of the buildings which is common with this type of thatwasultimatelymorecreativethanthe
around us and really made her stand out. technique. There are so many variables original.Anddespiteshootingwithacamera
We stopped the lens down to f/3.2, giving us involved that you just have to shoot lots he’dneverusedbefore,Mezquicklylearnedthe
an exposure of around half a second, which of frames until you get the one that looks controlsandbegantogetafeelfortimingthe
allowed just enough blur but not too much. right. Just before we finished, Mez shot an releaseoftheshuttersettotheself-timersothe
Even tiny movements made by Millie were image that had blurred people either side delayallowedpeopletowalkintotheright
captured, so I suggested counting her in so of Millie, and although she wasn’t pin-sharp positionbeforehetoldMillietoremainstill.
she knew when to remain completely still. because she’d moved a tiny amount, she Thiswascamera-basedmulti-taskingon
Mez’s shots were also suffering a little from was acceptably sharp and the three of us anotherlevel–andhedidafantasticjob.”
camera shake so I set the drive mode to the were happy and excited by the result.
subjectobscured notenoughmovement toomuchmovement

A city in motion
Milliestandsoutagainstthecrowd
thankstothisclevertechniquerecording
motioninthebusystreet.Greatjob!
The PhotoWorkshop
challenge3:
DappleDlight
We’d had a lot of fun shooting the blurry
people image, but we knew the city centre
was going to be too busy for a shot with just
Millie in the frame. And with the clock
counting down, we didn’t have time to wait
for quiet moments. I suggested that we head
to Grantchester Meadows, which is both
close to where we’d parked and would
provide a completely different backdrop.
As the name suggests, Grantchester
Meadows is a number of meadows offering
long grass and open space, not to mention a
cow or two. Being mostly open space, it was
always going to prove a challenge, but tree
cover around the edges would hopefully
provide the dappled light I was hoping for
Mez’s third and final challenge.
We entered the first meadow and quickly
noticed a tree-lined walkway that had great 1
potential, thanks to a clean background with
high-contrast dappled light and no 2 1)Multi-taskingMezanglesthereflectorwhilstcapturingthe
distractions. Millie walked into position and images.2)Shootingwideopenatf/1.8madethemostofthe
Mez fired off a few test frames to see how lightavailableintheshade.3)Meztriesoutanalternative
shootingangle.Below)Youcanseethecleardifference
everything looked. With Millie standing in
madebyintroducingacarefully-positionedreflector.
the shade it was obvious that we needed to
throw some light back onto her using a
reflector. The challenge here was to find an challenge3Pro verdict
area where Millie was in the shade and there
was a patch of light bright and large enough “Thethirdchallengeturnedouttobethe
to be bounced back. quickestandeasiestofthedaybyfar,which
The first position we tried was great in wasagreathelpwithtimeagainstusatthis
every way except for a large bright patch of point.Withfewervariablestoworryabout,Mez
3
light behind Millie and to her left. It was wasforthefirsttimeabletoconcentratepurely
unfortunately too distracting so I suggested onthemodelandhiscamerasettings,rather
moving behind it and using this patch of light thanhavingtoworryaboutaflashfiringor
with the reflector. We changed position and peoplewalkingorindeednotwalkingintothe
the improvement was immediate – the shot.Usingoneofthemostbasicaccessories
bright patch of light made it easier to bounce availabletoportraitphotographers–a
light into the shade and onto the model. At reflector–Mezwasabletotakealmostfull
first we tried shooting with Mez holding the controlofnaturallighttoachieveshotswitha
reflector, but this restricted shooting so I moreprofessionallookingfinish.”
took over the job to allow Mez to focus
purely on capturing great images.
The only downside was that Millie wasn’t shoot a full-length portrait without going
completely in shade like before, so there too wide and suffering from strong dappled workshopsummary:
were a few hot spots of dappled light on her hotspots in the background. Throughout
arms, but this was a small price to pay for our time at this location, Millie’s red dress
MezSolanki
everything else falling into place. Mez took had contrasted beautifully against the “Thechallengesfocusedon
some more shots before I suggested wood's green and brown tones. And howtouselighteffectively
changing to a crouching pose to get a although this was what she was wearing for whenshootinginstrong
completely different look from the location. the previous challenge, the end result sunlight,anditquickly
Asking Millie to crouch allowed Mez to couldn’t have been more different. becameclearthatthe
locationwasanincredibly
no reflector with reflector importantfactor.Theflash
challengewasatatimewherethesunwas
almostatitspeak,butbehindthesubject.We
usedtheoctaboxtofillintheshadowsenough
tostilllooklikeitwasnaturallylit.Thesecond
challengewascontrollinglightusingaslower
shutterspeed,usinganNDfiltertohelpcapture
motionblur.Thiswasharderthanitlooksasit
wasallabouttimingandtrialanderror.There
weresomanyvariableswehadtoaccountfor
untilperseverancepaidoff.Thefinalchallenge
wasundertreesandprovidedgreatdappled
light,successfullycontrolledusingareflector.
Eachchallengehaditsowncomplexitiesand
withhelpfromJames,Iwasabletolearnhowto
overcomeavarietyofharshlightingconditions.”

naturetrail
Shootingindappledlightcanbetricky,
butbycontrollingthemodel'sposition
andusingareflector,Mezcopedwell.

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image: ammit Jack/shutterstock
Homeproject:
pets
lovedonescomeinallshapesandsizes,especiallywhenwe'retalkingabout
ourfamilypets.whetheryourfavouritecompanionisadog,cat,budgieor
goldfish,ourideasandtechniqueswillhelpyoutakeyourbesteverpetphotos
Words: Daniel lezano
Pets
ProtipwithNikon
VisaruteAngkatavanich
Fish photography
2 The wonders
of waterworld
While your average fish isn't the
most photogenic of creatures, the
same can't be said for many species of
aquarium fish. Their sleek shape, bright
colours and flowing fins offer a very
unique beauty – if you're able to
overcome the obstacles of a glass tank
and water between you and your
subject. Thankfully, the equipment and
techniques you need to shoot striking
images of fish are much simpler than
you might think and the following is
my set-up when shooting Siamese
fighting fish. Lighting is the most
important element – a flashgun is the
best option. Aiming the flash at the
glass will cause a reflection and can
harm the fish, but placing it above the
tank and triggering it wirelessly solves
JIRI FOLTYN/SHUTTeRSTOcK
both problems and reveals details in
the fish's scales and fins. Use a card to
block the output from the flash directly
reaching the lens. With your camera
set to manual mode, select a shutter
speed around 1/160sec and
1
a very small aperture, such as f/22 or
Capture classic behaviour The one thing you can guarantee with pets are the f/32, to maximise depth-of-field. A
idiosyncrasies in their behaviour that bring pleasure to their owners on a daily basis. macro lens, like the NIKKOR AF-S
Whether it's the way a cat's curiosity can be guaranteed to see it trespass into boxes, 105mm f/2.8G Micro VR, will help
cupboards or bags, or the way in which you can be sure your dog will sleep in a comical position ensure the sharpest possible results.
or stare wide-eyed at you as you eat, there are plenty of ways in which you can capture cute and Handhold the camera so you can
insightful images of your pet. Because you know how your pet will react to certain stimuli or track the fish's movement and use
situations, you can set up some shots and wait for your pet to take the bait. Whether it's by continuous AF to track the subject –
having someone hold a ball of wool out of frame so your cat reaches up for it, or being more if it struggles, switch to manual focus.
direct and placing them in an empty box and shooting them peering out, cute shots are relatively
easy to achieve. Just remember to work fast and reward them for their cooperation!
3 Use fill-flash outdoors

Mixing flash with ambient light is a very
effective way of capturing dramatic
images of your pet outdoors. It can be tried
at any time of day, but we'd suggest giving it
a go as the sun sets as the warm backdrop
provides a very attractive setting. It's a
relatively easy technique to achieve and
involves setting a manual exposure for the
ambient light, then setting up one or two
flashguns to provide the exposure that suits
your subject. You can choose between using
the flash in TTL or manual, but we'd suggest
the latter for consistency and control.
Nikon's range of Speedlights, from the
SB-300 to the SB-5000 all offer a multitude
of modes designed to ensure accurate flash
exposures. Find a suitable location – your
local park is ideal – and set your flash on a
stand – a softbox will help spread and soften
the output. Set a manual exposure for the
ambient light that keeps the flash below its
sync speed – underexpose slightly to darken
the scene and add mood. Sit your subject in
place and try the flash at different power
JORdAN BUTTeRS
settings until your subject is nicely lit, then,

while you have its attention (and before you
run out of treats), capture as many exposures
as you can before the sun disappears.

image: Visarute angkataVanich

Pets
ronnachai palas /shutterstock

4 Catch ‘em young as adorable as
adult pets are, it doesn't come close to
matching their cuteness when in their
early stages of life. Whether it's a kitten, puppy
or baby-bunny, their small bodies, oversized
eyes, ears and paws and general 'hugability'
makes them the ultimate subjects for pet
photographers. use their scale to your
advantage by including them small in the
frame to highlight their size and vulnerability
in the big bad world, or place them close to
an adult animal for a strong and appealing
contrast. also, take full advantage of how
much easier they are to manipulate and
handle by capturing fun shots such as dressing
them up, placing them in props such as flower
utopia_88/shutterstock
pots, Doctor Martens boots or any other
suitable object that adds to the 'aww' factor.
also be sure to try some frame-filling
close-ups of their faces, as their huge eyes,
looking straight at the lens, can lead to
incredibly powerful portraits.
5 Isolate your subject if you

reptiles4all /shutterstock
want to capture a striking image of

your pet in a way you've most likely
never tried before, then why not place
them in a clean, white environment. While
it might look a little alien at first, the setting
allows you to focus full attention on your
subject. if you're photographing small pets
like rabbits, tortoises, lizards or hamsters, a
light tent is all you need, while for larger
pets, a white background roll is the most
practical solution. Whichever you go for,
you'll find leD light panels or studioflash is
the best option. keep it simple and use
two lights, angled at 45° and placed either
side of the subject, to give a clean, even
light that reveals the texture of your
subject's fur, features or scales. a standard
zoom should be suitable for all but the
smallest subjects, in which case a macro
lens is the best choice.

6
Studio pawtraits
Ever considered a studio set-up for high-brow
portraits of your pet? The technique is pretty much the
same as for people: position your lights, have your
subject sit where you want them, then capture amazing
studio-lit images. Of course, there is one major difference –
it's much easier to have a person pose than it is an animal!
Preparation is vital if you're going to get good results. Have
someone sit in so you can set up your camera and get the
lighting right, then place your subject where you want
them and fire off some frames. If your pet is docile, you
should be able to shoot from different angles, or if
they're restless only one or two frames at a time
may be possible. Dogs are easily coaxed with
treats or a toy – have an assistant hold it
over your head so your pet
looks at the camera.
IMAGE: ElkE VOGElsAnG
Pets
VyASeleVA elenAV/SHuTTerSTock
7 Watch the birdie! The colourful plumage and svelt outlines of birds such as parrots,
budgies and canaries means they are incredibly photogenic. If they're tame enough to be
allowed outside of their enclosure, then capturing great images of them sat on the floor,
on a table or even a person's head is relatively easy. However, what if they're always caged?
Well, it's far more tricky to get decent results, as the bars will mess with the AF and will look
awful in the shots, but it's not impossible to get good results. The key is to use manual focus to
ensure the bird is sharp in the frame, then use as wide an aperture as possible to minimise
depth-of-field and blur the bars. Shoot when the bird is central in the cage as the further from
the bars it is, the easier it is to blur them. Place the cage near a window to increase light levels
and consider placing coloured card or material behind the cage for a colourful backdrop.
FAmVeld/SHuTTerSTock
PAm mAckInnon
8 Fast action hero If you regularly

take your dog to the park, you'll know
what an exhilarating sight it is to see
them running at full pelt. capturing this on
camera isn't easy and, as with many other
techniques covered here, having help with
you makes things easier. If your dog likes
fetching a ball, stand – or better still crouch
– around 20m away and using a telezoom
place your subject centrally in the frame. Set
a fast shutter speed of 1/500sec (raising the
ISo rating if required) to freeze the dog's
motion, then use continuous AF to track its
movement and set continuous shooting to
shoot a sequence. Have your companion
throw the ball in your direction and once
the dog begins its sprint, fire the shutter. A
telezoom like the nIkkor AF-P 70-300mm
f/4.5-5.6e ed Vr provides enough pulling
power to allow the subject to fill a large area
of the frame, while the versatile zoom range
allows you to widen the focal length as it
gets closer so you can shoot for longer.

9 Highlight the family bond
Britain is a nation of pet lovers and the
bond we have with our family pet is
second only to that which we have with our
parents, siblings and children (sometimes, it's
even closer!). Viewing a cat or dog simply as
an animal companion doesn't come close to
describing the love and affection many
owners share with their pets. Therefore,
what better way of highlighting this unique
bond than by capturing an evocative image
revealing the relationship between human
and beautiful beast. A person holding,
standing or sitting with their pet is the most
obvious way of doing this and a very
successful one, especially when captured
with carefully considered composition and
framing. Look for other ideas too, such as
pet and owner dozing or playing together, or
some inter-species cuddling and affection.
Use lighting to add mood – shoot during the
magic hour and the warm, golden light can
add an extra dollop of atmosphere and
emotion. Needless to say, young people
or animals guarantee additional cuteness.
BesTPhoTosTUdio/shUTTersTock

Pets
Theperfectway
toaddnewskills!
The Nikon School at the newNikon Centre
ofExcellence in central London offers a
wide range ofphotographycourses and
workshops.Whynot treatyourselforsomeone
you love to a Nikonvoucherthat can be used
at the Nikon School. Forfurtherdetails,
visit:www.nikon.co.uk/training
VIC MeLDReW
10 Classic window lighting Many of the techniques for photographing pets

are directly transferable to those used for photographing people. That's no surprise
when you consider that many of us view pets as valued members of our family, so
want to capture them in similar ways. A favourite form of portraiture is using diffused window
light along with a wide aperture to produce attractive portraits with a shallow depth-of-field.
11 Get down to their level
We're used to seeing our pets
from the same viewpoint: our
head height, so a good way to capture
While it can be difficult to pose your subject, it's quite likely that your cat or dog has a favourite an unusual image of your pet is to shoot
spot by the window in which they snooze or gaze from. If they regularly have one, you just need them from a different perspective. The
to be ready to grab a shot or two when they're settled. Use aperture-priority and a fast lens set to easiest option here is to get down low
its maximum aperture for the best results. A prime such as the NIKKOR AF-S 50mm f/1.8 or so that you're on their eye-level, or you
85mm f/1.8 is a great choice. You can often coax an animal into position by having a family could even lie on the ground looking
member stand outside, close enough to the window to attract your pet's attention. upwards at your subject for a really
different perspective! A camera with a
vari-angle LCD monitor, like the Nikon
Bepreparedforperfectpetpictures D5600, is ideal for capturing this kind of
image, as you can place the camera close
to ground-level and use LiveView to
Aswe can see, there is no shortage ofideas and techniques to trywhen compose the image without getting
capturing great shots ofyourpets. It's a challenging subject, in particular down and dirty yourself. Get in close and
ensuring thatyou can lock sharp focus onyourflightyfriends. Nikon's use the wider end of your standard zoom
range ofdigital SLRs are the ideal tool inyoursearch forprized pet to capture a moderately wide-angle
photos, boasting sophisticatedAFsystems able to lock on orfollowa perspective. Another option is to shoot
moving subject.All offermulti-pointAF,with several boasting 39-point from up high, looking directly down at
and 51-pointAF-systems designed to accuratelytrack moving your subject – standing on a wall, ladder
subjects. Nikon's latest DSLR, the DX-format D7500, boasts 51AF or in a tree with your pet below can give
points and a continuous frame rate of8fps forgreat action shots. an alternative view too – just be careful!

SIKORSKI FOTOGRAFIe/ShuTTeRSTOcK
12 Wacky wide-angles
While we'll normally work towards
capturing the most flattering
images possible of our pets, never pass up
the opportunity to create something a little
more light-hearted whenever possible.
Getting in close with a wide-angle lens, or
better still an ultra wide-angle like the
NIKKOR AF-S 10-24mm f/3.5-4.5G DX,
allows you to distort your pet's features to
produce fun and eye-catching results. For
dogs with long snouts, this can be
particularly effective, as the nose will look
disproportionately large compared to the
rest of the face and the body. The technique
works well too with pets with flat faces. Try
different angles and get in close to make the
most of the distortion that is created. We'd
suggest setting the lens to manual focus and
using it at minimum focus, then selecting a
mid-aperture of f/8 to give extensive
depth-of-field. Keep the creature central in
the frame for the best results, get as close as
you can, have lots of treats to hand and have
some fun capturing wacky results! Just
watch for snout marks on your lens!
DuDARev MIKhAIl/ShuTTeRSTOcK

The BigInterview
Figmentsof
imagination
SwediShphotographererikJohanSSonbrokeintocommercialphotography
byrealiSinghiSimaginationthroughperSonalphotographyproJectS.
carolineSchmidtSpeakStohimabouthowhebuildShiSincrediblecreationS
Erik Johansson
T
he word ‘fanTasTic’ is not
one thrown around lightly to
vistas, he photographs them all showing
exceptional vision beyond a single frame.
it’s the idea that matters
describe a photographer's some of erik’s personal pictures take the most and then you
work; the standard of images
these days is so high that it can
more than a year to complete as he seeks out
the right missing elements to photograph.
photograph all the different
be hard to find ones that are such foresight and problem solving makes details to bring it to life
truly extraordinary. But as fantastic also his images seem even more remarkable for
means imaginative – remote from reality – someone who's just a photographer, but Allimages:Commercialprojects(left)arecreatedaround
it's safe to say, in every sense of the word, once erik told me about his background in selling,liketheseimagesforaSwissmentalhealthcompany,
erik Johansson’s images are fantastic. Purist computer engineering, it all made sense. butErik'sideasforhisprojectsoftenevolvefrom'whatif'
photographers might discount erik’s works “i always had a need for visual expression thoughtslike:Whatifpowerlinesdidmorethanjusttransport
electricityorwhatifwecouldpeelbackthelandscape?
as photography at all and thrust it into the since having my first camera in 2000,
margins of digital art, as after all it’s created but i didn’t think it was something you while erik now uses a hasselblad
in a computer rather than a camera – right? could do as a job. i developed an interest in h6d-50c and his images comprise hundreds
But what if i was to tell you that in almost all computers for a career and studied computer of layers, it was only a few years ago he was
his images, every element was a photograph engineering, but whilst it’s not something using a canon eos 5d Mark ii, and a few
first. every detail meticulously planned and i use today, the problem-solving approach years before that when he was creating
photographed with the end image in mind, is something i still rely on for finding ways to composites from only two images, proving
from the models and the studio sets to the capture things that don’t exist, but i need to you don’t need to be a computer whiz or
handmade miniatures and epic natural make it look as if they do.” shoot medium-format to create

professional-looking composites. “It’s
the idea that matters the most,” says Erik,
“Every time I think of like to bring a purpose, story or realism to
the image by placing people in the picture or
“and then you photograph all the different some connection, I sketch things that make the viewer think about the
details to bring it to life. The most important
factor is being consistent with perspective
it out and maybe one of world I’ve created,” explains Erik.
This is even truer for Erik’s commissioned
and lighting. There are a lot of things you those many ideas might images, however he tends to work in
can change in post but having all the images
shot in the same type of light, from the
turn into something reverse. He’s given the story to start with
and needs to find a way of executing it.
same angle with the same lens really helps One striking example is ‘Endless Story’,
to make it look realistic. For instance if you absurd ideas come naturally to him, born created for The Swedish Childhood Cancer
shoot the main scene on a cloudy day, you from finding a tenuous connection between Foundation. Based around a five-year-
need to photograph the rest of the elements random subjects and combining them to old girl, Julia, who is in remission from
in similar conditions or replicate the soft form the unexpected. “Every time I think Leukaemia, the foundation wanted to raise
light with a really large softbox. I also build of some connection, I sketch it out and funds and awareness for the charity and
my scenes in a logical way, starting with the maybe one of those many ideas might turn in turn help more children to survive and
background and working forward as this into something,” says Erik. “For instance, realise their dreams – in Julia’s case that’s
makes changing the sky and other elements I was out walking one day and saw some reading all the books in the world! With such
easier. My process isn’t complicated either: power lines, which looked unnatural in the a brief and after the initial sketch, days were
I simply use selection tools, Layer Masks landscape, and thought what if they had a spent stockpiling books into the studio to set
and Adjustment Layers to blend the images different purpose other than transporting the scene. Detail shots of suspended books
together, so it’s rather straightforward once electricity? Somehow this led to their and the oval library were shot separately
I’ve collected all the pieces.” similarities to guitar strings, which then led and it was all merged together with some
Inspired by surrealist painters from a to a few months of trying to figure out how impressive compositing skills.
young age, Erik’s learned to see the world I could turn it into an interesting picture. “When you create work for a client it’s
in a way that’s different to most people. The It’s not enough to have a crazy idea, I usually usually supposed to sell a subject, positive

Erik Johansson
Allimages:FormostofErik'simages,eachelementis
photographedseparatelyforinstance,'EndlessStory'(above)
wasphotographedinastudiowhile'LoyalMail'(topright)isa
blendofanepiclandscape,modelballoonsandbuilding.
solution or emotion,” says Erik, “but

my personal work has the freedom to be
whatever it needs to be. You’ll usually find
my love of illusions running through both.”
Erik’s fascination with perspective illusions,
and how the brain tries to make sense of the
world, is clear from many of his personal
and commissioned works, but most notably
in his image called ‘Architect’ that shows
a house inside out. Inspired by a simple
geometric drawing of a cube, he noted
how the cube looks as if it’s simultaneously
reaching away and towards you. It's simple
concepts like this, Erik explains, that plant
a seed and from it surrealism grows.
“While, in this case, I had to create the
paradoxical house in Photoshop as it was
impossible to photograph, I did shoot the
other elements, such as the person outdoors
with flash and the snowy landscape.
However, the biggest misconception

Erik Johansson
with my work is that it’s all created in

Photoshop. This software is a part of my
and van and set up in time for sunset. Light
bulbs gave the lamps their glow the darker
I want my images to
workflow but I want my images to look the ambient light got, and then Erik replaced look realistic, and the
realistic, and the best way to do this is to
capture as much of it as possible in-camera.
the rice lamps with moon surface textures.
For the times when it is impossible to
best way to do this is to
I always try to build it, photograph it and photograph elements, such as specific hot-air capture as much of it as
then take it one step further in post. This balloons or sinking trees, Erik reverts to possible in-camera
is why I do the behind-the-scenes videos model-making. In his image ‘Landfall’,
to really show how much planning and having shot the background image from a Allimages:IttakesalotofPhotoshoplayerstoblendErik's
shooting goes on behind the images.” high vantage point, he proceeded to create exposures,forinstance 'DriftingAway'(topleft)ismadefrom
One image Erik uses to exemplify the level a model mock-up of the same scene from 123layers! Gettingasmuchrightin-camera,however,evenif
of photography that goes into his composites the same perspective and lit it with flash itmeansbuildingminaturemodelslikein'Landfall'(bottom
right)makestheprocessfareasierandimagesmorerealistic.
is ‘Full Moon Service’ (see opening spread). where the sun was, then made a mixture of
Inspired by the magical world in children’s water, flour and coconut flakes for a textured understandable why Erik only tackles six to
books and the idea of having a moon- ‘landfall’. He applied it to the model, shooting eight personal projects a year. He’s pretty
replacement service, it took a couple of years it pouring down in stages, to which he later secretive about the images he’s creating
to work out how to make the story look applied to his original larger landscape this year, but one thing’s for sure, they’ll
realistic. In the end, having found a location, photograph. With the thought process, undoubtedly look incredibly fantastic!
he bought a bunch of rice-paper lamps, planning and hard work that clearly goes ToseeErik’sworkandwatchbehind-the-scenesvideos
painted moon logos on the model’s outfits into each and every one of his images, it’s ofhis images,visit:www.erikjohanssonphoto.com

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Gear
PHOTO KITTESTED & RATED BYEXPERTS
NIKON D7500
ANAPPARENTMERGEROFTHEPOPULARD7200ANDTHEEXCELLENTANDCAPABLE
D500,DOESTHENEWD7500STRIKETHERIGHTBALANCEFORNIKONENTHUSIASTS?
Plus
GEAR NEWS: New EOS models from Canon and all the latest photo kit news Page 103
GEARTESTED:
GEAR TESTED: Fiv
Five sub-£700 budget lo
Fivesub-£700budgetlocationflashsystemsareputtothetest
location
tion flash systems
st are put to the test Page108
Page 108
MINITEST: WegetourhandsonSirui'snewprofessionalcarbon-fibretripod Page119
Product news \ Gear
CANONLAUNCHESEOSDUO NIKON ZOOM
CANON HAS ANNOUNCED the EOS 6D Mark Ma II STEPS UP
and EOS 200D, both available now. The EOS 6D 6
NIKONHASUPDATED
-old EOS
Mark II is the successor to the four-year-ol OS
6D, so enthusiasts can expect an extensive itstelezoomrangewith
number of improvements. It boasts a full-frame
full-f the(£750)NIKKORAF-P
26.2-megapixel CMOS sensor with extended
extend 70-300mmf/4.5-5.6EED
dynamic range and a 45-point AF system using i g VR.Sportingalightweight,
Dual Pixel CMOS AF. The DIGIC 7 image weather-resistantbuild,it's
processor is claimed to aid more accurate te AF aimedatsports,wildlifeandtravelphotographers
tracking and allows for an impressive shooting
shoo g lookingforalightandcompactzoomwithafast,
rate of 6.5 frames-per-second. Videographers
Videograp will responsiveAF-PSteppingMotor.Thelensofferthe
be disappointed that Full HD is the highest resolution
l i standardVRfunctionbutalsobenefitsfrom
for movie recording, although 4K time-lapses
time-lap are SPORTVR,amodethataidstrackingmoving
possible, which along with the integral intervalometer subjects.Otherfeaturespasseddownfrompro
allows for creative options such as star trails in 4K. It's also the first full-frame EOS to include opticsaretheelectromagneticdiaphragmfor
built-in five-axis movie stabilisation to reduce shake when shooting handheld. preciseexposuresathighframeratesandA/Mand
Other features include a vari-angle 3in LCD monitor with 1,040,00-dot touchscreen, M/Afocusmodes,thatallowsformanualfocus
top ISO
O rating of ISO 102,400, GPS, Wi-Fi, Bluetooth and NFC. The EOS overridewiththelensinAF.Thelensissuitablefor
6D Mark
ark II costs £2,000 body-only or £2,400 with EF 24-105mm STM. FX-andDX-formatDSLRs,givinganeffectivefocal
Aimed at first-time DSLR users coming from smartphones or lengthof105-450mmwhenusedwithAPS-C
compacts, the EOS 200D is a compact and lightweight gateway sensors.www.nikon.co.uk
into high-quality photography. It sports a 24.2-megapixel APS-C
CMOS sensor, DIGIC 7 processor, 5fps shooting rate and a 3in
LCD monitor with touchscreen. A guided interface is available to
aid novices, while Bluetooth, Wi-Fi and NFC allows for easy image INBRIEF...
transf
transfer to smartphone or tablet. It's available for £580 body-only
or £680 with EF 18-55mm zoom. www.canon.co.uk NOVO’S FOOT
NOVO has released the (£25)
MVS-01, a monopod stand/
LATEST TENBA BAGSROLLIN foot that attaches to its own
monopod ormodels sporting a
TENBA HAS LAUNCHED a revamped series of Roadie rolling 1/4in screwfrom otherbrands.
bags, with five models in the initial range. All sport a drop-in Made from high-grade metal, it
tripod carrier, replaceable shock-absorbing rubber wheels features a swivel and panning mini-head that
and high carbon-steel bearings, heavy-duty also allows it to be used as a table-top tripod.
aircraft-grade aluminium handle, water- and www.novo-photo.com
abrasion-resistant base panel, steel security
cable and lock, and rear battery compartment. NEED PROTECTION?
The robust and durable bags are made from a Needafiltertoprotectyour
water-repellent 1680D ballistic nylon exterior, preciousoptics?Marumi's
with waterproof full-grain leather trimmed ExusSolidfiltersuses
handles for comfort and improved grip. Four hardenedglassthatisupto
of the five models meet airline carry-on size seventimesstrongerthan
requirements and feature a removable photo gear conventionalfilters.Theglasshasan an
module. The Tenba Roadie 21in Hybrid has the added versatility of conversion into a backpack. ultra-lowreflectionrateof0.2%,andahighquality,
The Roadie range is available now, with prices ranging from £280 to £370.www.tenba.com water-andoil-repellentanti-staticcoating.Exus
Solidfiltersarecurrentlyavailablein13sizesfrom
37mmto82mm,withafurtherthreesizesto
CLASS GLASS NDS FROM LEE FILTERS

follow.Pricesstartat£54.www.kenro.co.uk
BENRO COMBO
LEE FILTERS HAS launched the ProGlass IRND range of premium glass ND filters for the Benro has relaunched its
Seven5, 100mm and SW150 systems. Originally designed for the film industry, ProGlass Combination carbon-fibre
IRND filters are widely-acclaimed as the best in the world and block both infrared and tripods, designed forheavier
ultraviolet light, providing black blacks and clean whites. Available in strengths of two outfits requiring a sturdy
(0.6ND), three (0.9ND), four (1.2ND), six (1.8ND), ten (3.0ND) and 15 stops (4.5ND), the six-, support.The (£400) three-
ten- and 15-stop versions come with a foam seal to prevent long exposure light leaks. section and (£410) four-section legs
The ProGlass IRND filters cost £158 (Seven5), £180 (100mm) and £415.www.leefilters.com support an 18kg load, extend to around 150cm
andweigh approx 2.1kg. www.benro.com
NIKON D750 RECALL

Nikon has issued a service
advisoryregarding a potential
problemwith the D750's
shutter.This is the third this
possible problem has surfaced.
Ifyou are a D750 owner, check to
see ifyourcamera is affected byentering its serial
numberhere: http://bit.do/DSLR_D750

Gear/ Enthusiast-leveldigital SLR
NIKON
D7500
Nikon’supgradeforthetwo-year-old
D7200featuresamodestupdatein
specification.Isitenoughtooffer
acompetitiveedge?Wefindout…
Test: DANIEL LEZANO
SPECIFICATIONS
GuidePrice:£1,299(body-only)
Imagesensor:APS-CCMOS(23.5x15.7mm)
Resolution:20.9-megapixels
Maximumimageresolution:5568x3712pixels
AFsystem:Multi-CAM3500IIAFsensormodule.
AFpoints:51(including15cross-typesensors)
Meteringsystem:TTLusing180,000-pixelRGBsensor
Meteringpatterns:3DColorMatrixIII,spot,
Highlight-weighted&centre-weighted
ISOrange:100-51200(expandableto50-1640000)
Shutterspeeds:1/8000sec-30seconds&Bulb/Time
Integralflash:GuideNumber:12(ISO100,m)
LCDmonitor:TFT3.2in922,000-dottouchscreen Above:TheweatherproofD7500sportscleanlines,nice
Framerate:Uptoeightframes-per-second handlingandarelativelycompact,lightweightbody.Withseveral
Storage:SD(SDHC/XC) featurespasseddownfromtheAPS-CflagshipD500,it'ssureto
Size:135.5x104x72.5mm beapopularmodelwithenthusiastsandsemi-professionals.
Weight:720g(includingbattery&card)
Website:www.nikon.co.uk capabilities improve, is actually slightly
I
lighter; in part due to the single monocoque
F YOU ARE in the market for a feature- construction. While maintaining rigidity, it
packed digital camera, then you're spoilt might feel ever so slightly plasticky to some.
for choice, with all the major brands The body handles nicely and its pronounced be tilted up and down by
offering a solid range of models to suit all grip provides a very assured hold, with the 170°, although it can't be swung to either
levels of photographer. While this is great textured panels on the handgrip and side. The high quality screen boasts an
news in most respects, it also adds to the thumbrest offering added purchase. excellent resolution of 922,000-dots,
confusion when it comes to trying to The neat layout of controls means even although it should be noted this is lower
shortlist the models best suited for you. inexperienced photographers shouldn't than the 1,229,000-dots on the D7200,
Highlighting just the Nikon range for have many problems getting around the although in practical terms the difference is
example – there are currently 13 digital SLRs camera's many functions. The set-up will be negligible. A welcome bonus, and the likely
to choose from – along with three familiar to anyone who has used Nikon reason for the drop in pixels, is the addition
mirrorless models. While it's easy to reduce DSLRs before, with only a few changes to of a touchscreen facility.
the options of which are best for you simply where certain buttons have been placed. The viewfinder is great too, providing a
by deciding on price and sensor size alone, The main exposure dial remains on the left bright and clear image with a large
this still leaves a wide choice. If you want a side of the top-plate, with a central locking magnification of x0.94 and 100% coverage.
full-frame model, you've six models to button preventing accidental movement The screen overlay and exposure info along
choose from, with a similar number of and the shooting mode dial (with locking the bottom ensures you've a wealth of
entry-level options. For enthusiasts looking pin) beneath it. On the right side is a large focusing and exposure information.
for a highly-specified DX-format (APS-C) info LCD panel and ahead of it, before the On the left side of the body are covers
DSLR, the number reduces to three, but the shutter button and on/off switch, are a small hiding ports for the HDMI, USB, microphone,
choice is no less confusing. The recently- selection of buttons for ISO, exposure headphone and remote sockets, while on
introduced Nikon D7500 is an update of the compensation, and video. Most other the right side is the SD card slot. Surprisingly,
two-year-old (£860) D7200 and shares a controls are located on the rear, although the dual-slot of the D7200 has been
number of features with it, as well as with the there are a few on the front too. While there replaced with a single SD card slot.
(£1,729) D500, the flagship of the DX range. are a significant number of controls, all are The major (good) news about the
Therefore choosing between this new well marked out and shouldn't take long to specification is that the heart of the camera
model or one of the established cameras get used to. It's also worth noting that this – its sensor and processor – is the same as
isn't so clear-cut. We'll cover the similarities includes two customisable function buttons that found in the superb D500. The
in terms of features as we go along, but for on the front, which can be ignored if you 20.9-megapixel CMOS sensor (without
now, let's take a look at the D7500's build decide you don't need to use them. optical-pass filter) may have a lower pixel
quality, handling and ease of use. The large 3.2in LCD monitor dominates count than the D7200 (24.2-megapixels),
The D7500 looks similar to the D7200 the rear and benefits from being placed on a but that shouldn't be a concern, as the
and, despite having seen its weatherproofing hinged vari-angle platform that allows it to D500's image quality has proven. The

WHAT’STHE DIFFERENCE?
TheD7500isanupdateoftheD7200with
featurespasseddownfromtheD500,Nikon's
flagshipAPS-Cmodel.Sowhatarethemajor
differencesbetweenitandthetwoolder
models?The20.9-megapixelsensorand
EXPEED5processoristhesameasthatonthe
D500,asisthe180,000-pixelRGBsensor.The
51-pointAFisthesameasthatontheD7200.
The8fpsrateisfasterthantheD7200(6fps)but
slowerthantheD500(10fps).Allhavea3.2in
LCDmonitor,butonlytheD500andD7500
haveatiltingfacilityandtouchscreen.The
D7500'sscreenisthelowestresolutionofthe
three.It'salsotheonlymodelofthethreewitha
singleratherthandualSDcardslot.TheD7500
isthelightestat720gramsandisalsothemost
compact,buttheonlymodelthatcannottake
anoptionalbatterygrip.Itsclaimedbattery
capacityof950shotsisexcellent,butthe
lowestofthethree(D500:1,240shots;D7200:
1,110shots).TheISOrangeofISO100-51200
(expandableto50-1640000)isthesameasthe
D500andwiderthantheD7200's.
CLOSEST RIVALS
• PENTAXKP:Slightlymoreaffordableat
around£1,100body-only,thiscompactand
weather-resistantDSLRiswellworthalook.
• NIKOND500:ManyoftheD7500'sfeatures
arepasseddownfromthisbrilliantDSLR,which
alsoboastssuperb153-pointAF.At£1,729
body-only,itsconsiderablymoreexpensive,
whichhighlightstheD7500'svalue-for-money!
• CANONEOS7DMARKII:Thisweatherproof
DSLRoffersa20.2-megapixelresolution,
65-pointAFanddualcardslots(CompactFlash
andSD).It'saformidableperformer,butslightly
moreexpensiveat£1,349body-only.
• FUJIFILMX-T2:Oneofthebestmirrorless
modelsonthemarket,thiscompactbeauty
boasts a24.3-megapixelsensor,4Kvideoand
widerangeoffeatures.£1,400body-only.
EXPEED 5 image processor is highly capable pattern, which prioritises the brightest
too, and proven at delivering clean images elements in the scene. Other features worth VERDICT
free of noise, even at higher ISO ratings. In noting are the multi-mode integral flash, the
this latter respect, the sensitivity range of the first on a Nikon that supports Advanced If you're in the market for an
D7500 is extensive, so no cause for Wireless Lighting control, as well as Wi-Fi, advanced DSLR and aren't
bothered by full-frame, then the
complaint there. Video capability has been Bluetooth and SnapBridge (Nikon's bespoke
D7500 should be on your shortlist,
improved, with 4K (UHD) recordings at 30, app) connectivity, but there's no NFC.
especially if you already have a collection
25 and 24p possible, along with 4K interval With so many features borrowed from
of Nikon lenses. It's smaller, lighter and
timer and time-lapse mode. the D7200 and D500, it's no surprise that the most importantly far more affordable than
While it doesn't boast the incredible D7500 turns out to be a very accomplished the D500, but delivers similar high image
153-point AF system of the D500, it does use performer. It handles extremely well, with quality thanks to using the same sensor and
the D7200's 51-point system and sports a the twin input dials, four-way control, processor. A great, all-round camera.
group-area AF mode that aids tracking custom buttons and touchscreen providing
moving subjects. Sports and wildlife a wide range of fast and easy to use controls. Handling 18/20
photographers will appreciate the eight The autofocus system is fast and responsive Ease of use 18/20
frames-per-second drive and a buffer that with static and moving subjects and the Features 18/20
can handle bursts of up to 50 Raw files. Matrix metering system is also highly
accurate. The level of detail in images is Performance 19/20
The Advanced Scene Recognition system
links the AF and metering systems for excellent, as is dynamic range and colour Value 18/20
improved acuracy and the D7500 benefits reproduction, while noise control is among
from a Highlight-weighted metering the best of any APS-C sensor. Formidable.
Overall 91/100

Special Edition D5 Body
S y £7699.00
£
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with presentation
p case
Special Edition f/2.8 lens set: AF-S

Sp A 14-24mm
2 f/2.8G
2 • AF-S 224-70mm f/2.8E
2 ED VR
A
AF-S 70-200mm
2 f/2.8E
2 FL ED VR £ £7699.00
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
Special
Sp
Special
pecial
Edition
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dit
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on
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Pr od
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duc uct
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Sp i l Edi
Special Edition
i AFAF-SS 70
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200 f/2
f/2.8E
8 FL VR
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LIMITED
AVAILABILITY
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Special Edition D500 Body
S y £2599.00
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Flickr: Grays of Westminster LinkedIn: Grays of Westminster Google+: Grays of Westminster Pinterest: nikonatgrays
Gear/ Location Flash
LocationFlash\ Gear
LOCATION FLASH
UNDER £700
RIDINGAWAVEOFNEWTECHNOLOGY,BATTERY-POWEREDFLASHJUSTGOTSERIOUS.
NOWWITHBIGPOWERANDPERFORMANCETOTAKEONANYTASK,INDOORSOROUT
Test: RICHARD HOPKINS
F
LASH HAS MOVED outdoors. And with it,
environmental portraiture has taken on a
whole new dimension, sports and action
photography can be given high-quality
lighting with HSS (High-Speed Sync) and
auto-TTL takes care of the fast-changing
exposures. The result is that remote locations
have just become amazing outdoor studios.
In the last couple of years, key technologies
have converged with Lithium-ion batteries at
the heart of it. Small and light, with plenty of
power, and fast recycling for hundreds of
flashes, these batteries pack punch. Then IGBT
(Insulated Gate Bipolar Transistor) power
control, which is used in flashguns for auto-TTL
exposure and High-Speed Sync, has found a
way of handling really big wattage. And finally,
radio remote control and triggering is now even
more versatile and reliable.
This is not to say it's easy; it is challenging and
rewarding in equal measure. It's basically about
balancing flash with daylight, and the difficulty is
that the sun is very bright! This means flash
needs much more power than in a studio, and if
you want to over-power the sun for that moody
sky look, then you need a real wallop of flash.
Around 400Ws is a good yardstick for success,
although waiting for the sun to go down,
shooting in shade or overcast conditions, makes

life a whole lot easier. Location flash is a fast
growing market sector, with new products
rolling out of China all the time, sometimes
14
from unfamiliar brand names, and often the
13 12
same products are also available under
various different labels. There's nothing wrong 11
with that, and Godox is one example of a
10
manufacturer whose products are also sold as
Flashpoint or Cheetah in the US – or Pixapro
in the UK, which is a brand exclusive to the big
9
Essential Photo dealership.
Prices vary, and it's tempting to go for the 5
cheapest by mail-order from a Far Eastern

4
seller, but warranty promises and service
back-up might not amount to much, and
you'll need to ship everything off on a slow
boat to China. Bear in mind location flash
units are more prone to damage as they get
taken out regularly, not to mention the
6
probability, of them crashing down from
a stand on a breezy day. But to take
15
Pixapro as an example, Essential Photo 16 3
1
looks like a safe pair of hands, and they
tell us that to date all repairs have been
successfully handled by them in the UK.
2
4
17
6
7
1
3
8 5 2
Keyfeatures: Flash unit 11)Chargingsocket:Usealongwithchargersupplied.

Somecanbeusedwhilestillattachedtotheunit.
1)Bare-bulbflashtube: Radiatesinalldirectionsfor 12)Slavesensors:Usedforopticaltriggering.
evenspreadoflightinsideasoftboxorbeautydish. 13)USBdataport:Usedwhenupdatingfirmware.
2)S-typemodifiermount: AlsoknownasBowensfit. 14)Syncport:Standard3.5mmfittingcanbeused
Hundredsofdifferentlightmodifiersavailable. withanymanual-onlytriggerorhard-wiresynccable.
3)LEDmodellinglamp:Verysmallandefficient.The 15)Vents:Helpskeeptheunitcool.Maybefan-assisted.
bestonesputoutenoughlightforuseinstudios. 16)Modifierreleasecatch:Releasesattachment.
HOWWEDIDTHETESTS 4)LCDpanel:Showsmodestatusandsettings.This 17)Tiltlockinghandle: Someadjustfreely,while
onelooksexactlylikeaflashgun,whileothersfollow othersadjustinmoresecurenotchedincrements.
Watt-seconds (Ws) is a measure of energy in conventionalstudioflashdesigns.
the capacitors, which doesn't translate directly
to flash brightness, so total light output was
5)Controlpanel:Controlsallsettings.Witha
dedicatedradiotriggerfittedonthecameraoffering
Keyfeatures:Flashtrigger
measured in a custom rig – two softboxes thesameoptions,there'softennoneedtousethis. 1)LCDpanel:Showsgroupflashsettings.
joined face to face, with the flash fired at one 6)Umbrellashaft:Runsasclosetotheflashtubeas 2)Controls:Selectorbuttonsandscrollwheel.
end and metered at the other. Care was taken possibleforbestpositioningandhasalockingknob. 3)Switches:ForPoweron/offandAF-assistlight.
to ensure all the light could disperse freely 7)Tiltinghandle:Largeandeasytograsp.Theseheads 4)Accessoryhotshoe:Withsignalpass-through.
without obstructions in the first softbox, then arequiteheavyandyouneedafirmgrip. 5)Hotshoemount:Withlockingcollar.
it's collected in the second and funnelled 8)Standmount:Withtheuniversal5/8infitting. 6)StatusLED:Indicateswhetherthetriggerisreadyto
down through five custom diffusion panels to 9)Modernbatteries:Lithium-ion,goodforhundreds fire,orreceiving,eitherwithasolidorflashinglight.
eliminate hotspots. This provides a level offull-powerflasheswithfastrecycletimes. Batterycompartment(base):FortwoAAbatteries.
playing field for accurate comparisons with all 10)Batterychargeindicator: Tellsyouhowmuch RedLEDAF-assistlight(front):AidsAFinlowlight.
types of flash. Brightness is expressed as an f/ powerisleft.Notknownforgreataccuracy. USBdataportandco-axialsyncsocket(side).
number plus decimal, at ISO 100; so f/16 +0.5
is halfway between f/16 and f/22. Test figures
are similar to the kind of exposures you'd get midday sun at EV 14.7. Taking all variables into accurate, though it tends to understate at
with a medium 80-100cm double-diffuser account, exposures with different cameras both maximum and minimum power
softbox or white umbrella, at 1m distance. might change EVs by half a stop or more. outputs, making the flash duration appear
High-Speed Sync can't be measured with a Flash durations are difficult to compare longer than its true equivalent shutter speed.
normal meter, and effective brightness varies accurately to real shutter speeds, as the flash Recycle time is how long the flash takes to
slightly according to the camera model's pulse doesn't switch on and off instantly. The recharge 100%. This is often slightly longer
individual shutter characteristics, among industry uses two reference standards to than the flash-ready beeper indicates. Colour
other things. A Canon EOS 7D was used to simulate actual shutter speeds – known as accuracy was tested with a Macbeth Color
shoot the test rig calibrated to mid-grey, and 't.5' and 't.1' flash durations, measured on an Checker, measured in Adobe Lightroom.
brightness is given in Exposure Values at ISO oscilloscope. T.5 is the time the flash pulse Exposure accuracy in auto-TTL mode wasn't
100 (one EV is one stop). As above, exposures stays above 50% of peak brightness, and is included as it isn't really a flash function.
are similar to a medium-sized softbox. For notoriously optimistic. T.1 is the time above Exposure is metered and set by the camera
reference, the Sunny 16 Rule puts bright 10% of peak brightness and is much more and the flash simply responds to instructions.

LocationFlash\ Gear
PixaproPIKA200
SPECIFICATIONS
Price:£295(bare-bulbandFresnelheadssupplied)
Trigger:PixaproST-IIITTL-T,£45
Power:200Ws(IGBT-regulated)
Lightoutput(ISO100):Fresnelhead:testedmax
powerf/22+0.0.Barebulbf/16+0.4
Recycletime:Tested2.2secsto100%charge
Batterycapacity:Approx500maxpowerflashes,
2900mAhlithiumbattery
Flashdurations(t.1):Fresnelhead:Testedmaxpower
1/230sec,1/8thpower1/3440sec,
min1/128thpower1/15450sec.Barebulb:max
power1/225sec,1/8thpower1/3360sec,
min1/128thpower1/10450sec
Colour:Fresnelhead:Tested5900-6200K.
Barebulb6000-6300K
Auto-TTLcontrol:Yes,forCanon,Nikon,Sony,
Fujifilm,Olympus/Panasonic
Above:Theflashgun-esque
High-SpeedSync:Fresnelhead:Testedoutputmax
PixaporPIKA200featuresa
EV15.3.BarebulbEV14.8 modularFresnelhead.
Second-curtainsync:Yes
Strobomulti-flash:Yes
Trigger/Remotecontrol:Integralradio,
opticalslave,syncport
Modellinglamp:Fresnelhead:LED, than a big Speedlight, and the
heads swap over easily. The
TestedoutputmaxEV1.4
Fresnel head has the advantage
Fancooled:No
of small size, and is claimed to
Modifierfitting:Minibayonet,oroptionalPixapro cover a 35mm field-of-view,
SmartAdapterforS-typeorElinchrom though actually 50mm is more
Dimensions:17x8x5cm(mainbody) like it. It's also brighter than the
Weight:0.8kgincbattery bare-bulb option and puts out a usefulus f
Warranty:Twoyears 0.6 stops more total light in the test
tes rig:
g f/22
/
Website:www.essentialphoto.co.uk +0.0 versus f/16 +0.4. The differen nce is
much the same in HSS mode too, with the
N
O BIGGER THAN a good flashgun, the Fresnel head recording EV15.3 and the VERDICT
PIKA200 packs twice the punch with a bare-bulb EV14.8. On the other hand, the
true 200Ws of power. The innovative bare-bulb head is better for working with The PIKA200 is very small
modular design includes a bare-bulb head studio-style modifiers, and is able to fill big and light, but with punchy
that's compatible with Pixapro Hybrid360 softboxes more evenly. power and good value.
accessories, and a Fresnel head which Recycling is fast at 2.2secs to full charge, Innovative modular options
accepts MagMod etc. and flash durations are typical with the can build into an amazingly versatile and
The PIKA200 kit comes in a nice quality Fresnel head recording 1/230sec at max capable lighting system. Great value.
zipped case with both flash heads, lithium power, down to a very fast 1/15450sec at
battery plus charger for 500 full-power min (t.1). The bare-bulb head is very similar Build quality
flashes, and a swivel/tilt adapter with except at low power settings where it Features
umbrella shaft and standard spigot that topped-out with 1/10450sec. Colour Performance
screws into one of the two 1/4in mounting accuracy is high and consistent throughout
points. Another option is to use the very the power range – the Fresnel head was Value for money
good (£28) Pixapro Smart Adapter, which is actually the most neutral on test, while the
available in S-type or Elinchro om-fifitt bare-bulb recorded very slightly cooler.
Overall
versions, and just announced is i a double
d bl
adapter (£50) to fit two PIKA200
PIKA units side
by side – delivering 400Ws of o power while
adding twin LED modelling lamps.
l This
Thi
makes the PIKA200 the mostmos versatile
e sa e
flash system on the market and a
the whole Pixapro family
ough
– from Speedlights through
to studioflash – operates
with the same remote
control triggers (see Pixaproo
Hybrid360 review).
It's well made and feels Above:AcompactrearLCD
solid, roughly 50% heavier screendisplayssettingsclearly.

PixaproHybrid360TTL Below:TheHybrid360TTL’s
externalbatterypackhelps
reducetheweightofthehead.
SPECIFICATIONS
Price:£360(non-TTLversion£285)
Lightoutput(ISO100):Testedmaxpowerf/22+0.0
Recycletime:Tested5.4secsto100%charge,
2.7secswith2-to-1poweradapter
Flashdurations(t.1):Testedmaxpower
Colour:Tested6400-6700K
Auto-TTLcontrol:Yes,forCanon,Nikon,Sony,
Fujifilm,Olympus/Panasonic
High-SpeedSync:TestedoutputmaxEV15.4
Trigger/Remotecontrol:Integralradio,
Modellinglamp:No
Fancooled:No
Modifierfitting:Minibayonet,oroptionalPixapro
SmartAdapterforS-typeorElinchrom
Dimensions:Flashmainbody22x10x8cm
Weight:0.8kg.Battery0.6kg
Warranty:Twoyears
Website:www.essentialphoto.co.uk
B
Y SPLITTING OFF the battery unit,
weight of the head is greatly reduced
and this opens up a few options. With
the battery over your shoulder, you can use
the Hybrid360 TTL on a camera bracket,
hold it up in your left hand, or even pop it
directly into the hotshoe (Canon or Nikon
only). These are popular methods for run 'n'
gun type events where the Hybrid360 TTL
behaves much like a flashgun (on steroids)
with the auto-TTL control adjusting to
fast-moving situations. The mini 12cm
reflector produces softer shadows than a
flashgun, and the head has a full range of
swivel and tilt movements for bouncing.
Alternatively, when mounted in the
Pixapro Smart Adapter (shown on opening
pages), the bare-bulb Hybrid360 TTL will fill
any softbox or other studio-type light
modifier (though there's no modelling trigger, that also operates with all Pixapro
lamp). Power is equal to three or four flash units and has both a better screen and VERDICT
flashguns, enough to battle outdoor sun, more direct-access buttons. It does HSS,
checking in with f/22 +0.0 at ISO100, with but doesn't offer auto-TTL. As mobile as a flashgun
a handy EV15.4 in HSS mode. Recycling is quite slow as standard, but with 4x the power.
Then attach the Pixapro
With a radio receiver built-in, full remote taking 5.4secs to 100% charge, but with the
Smart Adapter and the bare-
control of all functions comes with the (£45) (£16) 2-to-1 adapter cable, which links both
bulb flash tube works great in any
Pixapro ST-III TTL-T trigger available for all power outlets, this drops to a much studio-type modifier. A versatile option.
popular camera brands – Canon, Nikon, improved 2.7secs. Flash durations are very
Sony, Fujifilm and Olympus/Panasonic. It's similar to the PIKA200 and bare-bulb head, Build quality
neat and better made than most, if a bit with t.1 times running from 1/235sec at full Features
fiddly to use, with a small screen that's hard power, through 1/2840sec at 1/8th power,
Performance
to read from some angles. Though a revised to 1/10900sec at 1/128th output. Colour
version is rumoured to be in the pipeline, in accuracy is high with just a hint towards Value for money
fairness it actually works very well, but blue, but consistent throughout the power
another option is the (£50) Pixapro ECO2.4 range at 6400-6700K.
Overall

LocationFlash\ Gear
PixaproCITI600TTL
SPECIFICATIONS
Price:£615(non-TTLversion£450)
Lightoutput(ISO100):Testedmaxpowerf/32+0.0 +0.0
(1.8secswithmainsadapter)
Auto-TTLcontrol:Yes,forCanon,Nikon,
Sony,Fujifilm,Olympus/Panasonic
High-SpeedSync:TestedoutputmaxEV16.5
Trigger/Remotecontrol:Integralradioreceiver,
Modellinglamp:10wLED,testedmaxEV5.3
Fancooled:Yes
Modifierfitting:S-type
Dimensions:25x22x13cm(mainbodyincbattery),),
Weight2.7kg
Warranty:Twoyears
Website:www.essentialphoto.co.uk
I
F IT’S POWER you’re wanting, the
CITI600 TTL offers a whopping 600Ws,
in a very well made and compact Above:Theoptionalextensionheadtransformsthe
package stuffed with top-spec features. CITI600TTLintoatwo-piecebatteryandheadstudioflash.
To get the most out of the CITI600 though,
down to 1/9050sec at 1/256th output.
a low-profile speedring mount adapter is
That's a huge range of nine stops, and very
needed as the flash tube is more recessed
useful to have, but unsurprisingly colour
than other S-type heads. We used a
balance tends slightly towards blue at
DynaSun mount adapter (£12, eBay) that
minimum power, though easily corrected.
also has a polished surface as opposed to a
Some notable optional extras include a
dull grey alloy, and it was fitted from the
(£70) 2.4m extension head (shown above),
inside facing out, to position the flash tube
which turns the CITI600 into a two-piece
a couple of cms further forward. Thus
unit (shoulder bag, £20) similar to the
cleared of obstructions, output
Pixapro Hybrid360, and is also ideal on a and reduces the recycle time from a
immediately jumped by 0.4 stops to f/32
boom stand. The inevitable power loss in respectable 2.6secs at full power down to a
+0.0 at full power – in line with
the cable is only 0.2 stops. Then there's a nippy 1.8secs. If 600Ws isn't enough, then a
expectations for 600Ws at ISO 100.
(£130) mains adapter that clips on in place of head is available that couples two CITI600
In HSS mode, we got an equally meaty
the battery (good for 500 full power pops) units for 1200Ws! We'll be testing this soon.
EV16.5, a high figure that puts the
CITI600 well up on the list lis for
outdoors action. For comments
com VERDICT
on the Pixapro trigger
options, see the The most capable
Hybrid360 review. all-rounder yet, for both
The 10w LED outdoors and studio.
modelling lamp is the Very high spec delivers on
brightest here at EV5.3, all fronts, with big power and no serious
and while that's still a stop weaknesses, at a very fair price.
or so down on a good mains mai
powered studioflash, it's Build quality
perfectly adequate as a working
w g Features
light and greatly enhances
enhance the CITI600's
C 600'
Performance
functionality as a total lighting
ligh g solution.
Flash durations tend to get ge longer
l g as power Value for money
goes up, and true to form the CITI600
C 600 TTL
delivered t.1 times of 1/18 p
/185sec at full power,
Overall

LocationFlash\ Gear
InterfitS1
SPECIFICATIONS
Price:£650(incmainsadapter)
Trigger:InterfitTTL,£80(£40withhead)
Lightoutput(ISO100):Testedmaxpowerf/22+0.6
(samewithmainsadapter)
Auto-TTLcontrol:Yes,forCanon,Nikon,Sony
High-SpeedSync:TestedoutputmaxEV15.8. Above:TheInterfitS1islackinga
Downto1/4poweronly.Noauto-TTL coupleofthemoreadvanced
Second-curtainsync:Yes featuresofferedonneweroutfits.
Strobomulti-flash:No
Trigger/Remotecontrol:Integralradioreceiver,
Fancooled:Yes
Dimensions:34x23x13cmoverall
Weight:2.9kgincbattery
Warranty:Oneyear
Website:www.interfitphotographic.com
A
N EARLY ENTRANT to this market
sector, the Interfit S1 now finds itself
missing a couple of features found on
more recent models, such as High Speed
Sync that is only available down to quarter
power, and is manual-only with no
auto-TTL control. As flash exposure is very
sensitive to distance with moving subjects
where fast shutter speeds might be needed, lamp is the least bright in this group at EV3.6 time and the 4500mAh lithium battery is
it's a consideration. and is marginal for studio working. good for a handy 350 full power flashes.
The S1 doesn't lack power though, with Flash durations are uncharacteristic of The Interfit S1a, a mains-only powered unit,
500Ws hitting f/22 +0.9 in the test rig, and a most IGBT-controlled heads and don't is also available, at £450.
massive nine-stops range down to 1/256th reduce in line with power in the same way Build quality is good, well constructed
power. In HSS mode, it recorded an equally as expected. However, they're still plenty with a metal body and clearly-designed
impressive EV15.8, though at maximum fast enough for most things (see figures in control panel. Perhaps a small thing, but the
output there was some evidence of slight panel). Oscilloscope traces reveal unusual mount-locking knob is infinitely adjustable,
darkening towards the top of the frame. IGBT behaviour, possibly to help maintain smooth and secure – a welcome change
Recycle time is a little slower than some at consistent colour. It does that well, and from the usual ratcheted variety.
3 3secs to 100% full charge,
3.3secs charge but quickly while there's a slight tendency towards
20
speeds up with 2.0secs at halff and 1.4secs at magenta, it's consistent and easy to correct.
quarter power. The 10w 0 LED modelling Interfit's S1 trigger is neat and light, with a VERDICT
small but clear black-on-green screen.
With more direct-access buttons than Flash technology is
average it's easy and logical to use. The advancing incredibly
S1 also comes with a mains AC fast, and the spec of the
power adapter included, once-cutting edge Interfit S1
plugging into the side of has been overtaken. It does what it does
the head. It's a as well as ever, but new rivals offer more.
welcome addition to Build quality
have in reserve,
though it doesn't Features
reduce the recycle Performance
Above:Amainsadaptoris Value for money

includedforwhenyou're
shootingnearapowerpoint.
Overall

iLUXSummit600CII
SPECIFICATIONS
Price:£654
Trigger:iPortTX-C01(included)
Lightoutput(ISO100):Testedmaxpowerf/32++0.33
Recycletime:Tested6.9secsto100%
charge,half-power2.8secs
Batterycapacity:Approx400maxpowerflashe ashes,
Flashdurations(t.1):Testedmaxpower1/160se
1/160sec,
1/8thpower1/2130sec,min1/128thpower
1/4780sec.FP1toFP5,1/18900secto1/4500sec 500sec
Colour:Tested6450-7050K.FP1-5,5850-7600K 7600K Above:Withitsaluminium
Auto-TTLcontrol:Yes,forCanononly body,theSummit600CIIfeels
High-SpeedSync:TestedoutputmaxEV17.0 lightweightandrobust.
Trigger/Remotecontrol:Integralradioreceiveer,
Fancooled:Yes
Dimensions:25x11x11cm(mainbody)
Weight:2.4kgincbattery
Below:Thetriggerinterface
Warranty:Twoyears canbeabittrickytogetto
Website:www.photomart.co.uk
omart.co.uk graspswithatfirst.
T
HE ILUX SUMMIT 600C 00C II
might be the smallest
smalles
and lightest of
full-size units here (if not
by much) but it also
manages to be the
most powerful –
recording a stonking
f/32 +0.3 in the test
rig. That's a third of a
stop up on the potent power range and not a problem. radio trigger that you work with, to access
Pixapro CITI600, also ra rated at Price includes a tough metal case auto-TTL and other features, and these
600Ws, and it held a similar and the iLUX Summit 600C II is quality functions are only available to Canon users.
advantage in HSS mode at EV17.0. built with the white body of aluminium The trigger certainly works well enough but
The downside is the a longer recycle rather than plastic. While none of these it's not particularly clear or intuitive.
time of 6.9secs to 100% charge, though bigger battery powered units are exactly Unfortunately this is a common criticism
that reduces dramatically at half power to light, the iLUX's lower 2.4kg weight is and most remote controllers haven't
2.8secs – where it's still putting out more noticeable and welcome, and the mounting properly caught up with their new role as
light than the Pixapro Hybrid360 – and only handle gives a good grasp. The control the main user-interface, which deserves
1.4secs on quarter power. The battery is panel is large and clear, but it's actually the higher priority when being designed.
good for 400 full power flashes, with ov over
1,000 claimed at half power. The 5w LED
modelling lamp measured EV4.1. VERDICT
The high output also affects flash
Very powerful, with
durations that are a bit longer too, with
strong all-round
1/160sec at full power (t.1) down to performance. Only serious
1/4750sec at 1/128th power. weakness is long recycling
However, much shorter durations are times at full output, though with power
provided by the five FP manual to spare workarounds are easier.
modes, from FP5 at 1/4500sec down
to 1/18900sec at FP1. The FP modes are e Build quality
very handy to have, though brightness is Features
low with FP5 being equivalent to around
ound
Performance
1/25th output, down to something like
1/500th power at the fastest FP1 setting
setting. Value for money
Colour balance tends a little towards co cool,
but consistently so throughout the normnormall
Overall

LocationFlash\ Gear
GROUPTESTCONCLUSION
T
HE MODULAR DESIGN of the approach to a total lighting solution we've excellent Pixapro product range, from
Pixapro PIKA200 makes it the most yet seen. Very powerful, and with a flashguns upwards. This is an immensely
versatile flash unit on the market. specification that ticks all the boxes, it's capable strobe, for use indoors or out, and
No bigger than your typical flashgun, it has easier to list its weaknesses. Compared to is a Best Buy for sure.
twice the power and 200Ws is a well a mains powered studioflash, it doesn't The Interfit S1 was an early pioneer in this
judged output for a great variety of tasks, recycle quite as fast and the modelling fast developing sector. And it still performs
using the Fresnel head on its own with lamp isn't quite as bright, but that's all and to a high standard even if others have
maybe the optional gel and barn-doors neither are serious drawbacks considering raised the bar. It has plenty of power, but in
kit (not shown), or in a softbox using the the upsides. As a battery-powered flash HSS mode there are some limitations – it
bare-bulb option. If you need more for use on locations it beats all-comers, loses auto-TTL control, only operates
power, then the new twin-head mount not to mention the options of a (faster) down to quarter power, and there's some
allows you to clip two together for 400Ws mains AC adapter, an extension head, and shading down the frame at max output.
plus LED modelling lamps, and it's then the ability to couple two units together for Depending on your needs, none of these
transformed into a beefy and fully-fledged an astonishing 1200Ws (review soon). The things are necessarily deal-breakers, but
studioflash. Given the performance, master triggering system is available for all newer products now have them covered.
quality and cost, the PIKA200 is the most the leading camera brands now, and is The modelling lamp is of marginal
exciting new flash unit for a long time and compatible with other units in the brightness as a working studio light too.
it fully deserves a Best Buy rating. The iLUX Summit 600C II is another very
Pixapro's Hybrid360 TTL two-unit capable all-rounder. In performance terms,
design offers a very appealing mix of big
bare-bulb power in a highly mobile
GIVENTHE it has one major asset – masses of power,
in HSS mode too. And one drawback –
package, with the battery slung over your PERFORMANCE,QUALITY long recycle times. But given the high
shoulder. It's tailor-made for wedding and output, you shouldn't need full power that
events photographers, where it's become ANDCOST,THEPIKA200IS often, so an easy workaround is to turn it
almost standard equipment. It's also THEMOSTEXCITINGNEW down a bit and the recycle time will be
equally at home on a studio stand with the dramatically reduced. The other thing is,
Smart Adapter, though it lacks any kind of FLASHUNITFORALONG it's really Canon-only and key functions
modelling lamp. Recycling can be slow at
high-power settings, but the two-to-one
TIMEANDITFULLYDESERVES are lost when used with other brands.
Prices are correct at time of publication,
adapter cable fixes that. ABESTBUYRATING but they can go both down and up quite
The Pixapro CITI600-TTL is the closest frequently, so do check this online.

Accessories \ Gea
G
Ge
ear
SIRUIR-3213X
REPORTERX
Ahigh-specificationcarbon-fibre
professional-qualitytripodlookingto
temptprosfromthelikesofGitzo
Test: JORDAN BUTTERS Available in five different sizes, the three- easy to use and position accurately. The
section R-3213X on test is the shortest of the rubber feet are grippy and sturdy, and can
Price:£530 models on offer, topping out at 141cm tall, be unscrewed and replaced with supplied
Legsections:Three and dropping down to 11.5cm with the legs metal spikes for extra purchase when
Construction:Ten-layercarbonfibre fully splayed. The height can be further shooting on soft ground. When you’re
Centre-column:Removable,included boosted by using the included removable done, the whole lot folds down to a
Maxheight:141cm(179cmwithcentre-column) carbon centre-column, taking the total compact 61cm tall and fits neatly into the
Min.height:11.5cm vertical reach up to 179cm, excluding head. supplied tripod carry bag – very posh.
Closedsize:61cm Also included is a half-bowl for levelling a I found using the R-3213X immediately
Maxload:22kg tripod video head. If you need taller still, the familiar, and after a few moments I realised
Weight:1.8kg larger four-section RX models reach up to a why – it bears more than a passing
Website:www.sirui.de/en/home/ whopping 200cm, with an extra 63.5cm resemblance to Gitzo’s Systematic range,
C
from the optional centre-column! The both in appearance and operation. This is
HOOSING A GOOD tripod is probably R-3213X is constructed with ten layers of not a bad thing, as the Systematic is one of
one of the more important kit carbon-fibre, which makes the tripod not the best tripods out there. When you
decisions that you have to make as a only very strong and capable of supporting compare the price of the Sirui RX range to
photographer. And, because all types a 22kg payload, but also incredibly light, with the equivalent Systematic, Sirui’s range wins
of photographers have different demands this model weighing in at only 1.8kg. on price considerably.
from their tripod, there’s no definitive ‘buy Operation of the R-3213X is quick and
this’ label we can give to any make or model. easy: fold out the legs and then use the
After being introduced to Chinese brand twist-locks to release the leg sections VERDICT
Sirui’s range at this year’s The Photography one-by-one. The legs slide out by gravity It’s hard to find faultwith the Sirui
Show, the Digital SLR Photography
tography team alone, making it fast to set up using only one R-3213X.The legs are quick and free
were so impressed by the selection on offer hand. Splaying the legs is also simple – the to operate, and the twist-lock system
that we thought it best to try one of their new leg angle locks pull out, and click past three makes it simple to extend orretract. I’ve
models: the (£530) Sirui R-3213X Reporter X. ratchet steps until you find the right angle, tried itwith a D800 and 300mm f/2.8 telephoto lens
The Sirui brand has been established in down to a maximum of 82° on my test and it handled theweight perfectly.The onlything I'd
Europe for some time now. In fact, it’s one model (85° on the four-section models). have liked to have hadwas a bit more height, as I prefer
of the most popular and highly-regarded A built-in spirit level lets you know when not to use centre-columns, but this is a minorniggle.
brands in Germany and, on paper, the RX you’ve lined things up. In practice, this quick
series certainly has a lot to shout about. and versatile adjustment makes the tripod Overall

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£399.00 £419.00* £509.00* £764.00* £1,164.00* medium format digital cameras.
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Tough Adventure Pack from Olympus. Ends 15.07.17 from Olympus. Ends 15.07.17 Full Frame DSLR or Digital Medium Format camera! NOW IN STOCK!
Fujfiilm X-PRO2 Fujfiilm X-T2 XF 14mm f/2.8 £689.00

OLYMPUS LENSES Book a FREE Olympus XF 16mm f/1.4 R WR £769.00
Cash After test drive today! XF 27mm f/2.8 £329.00

You pay Ask in store or see wow.olympus.eu 24.3 24.3 XF 35mm f2 R WR £349.00
17mm f/1.8 £369.00
Back
£60
Cashback
£309.00
MEGA
PIXELS
MEGA
PIXELS
4K XF 56mm f/1.2 £769.00
XF 10-24mm F4 OIS £768.00
30mm f/3.5 Macro £249.00 £40 £219.00
Body only Graphite Body only Graphite XC 16-50mm O.I.S £199.97
45mm f/1.8 £199.00 £40 £159.00
XF 18-135mm WR £619.00
9-18mm f/4-5.6 £479.00 £75 £404.00 £1,349.00 £2,149.00 £1,399.00 £1,649.00 XC 50-230mm O.I.S £299.00
75-300mm f/4.8-6.7 II £389.00 £75 £314.00
Extra £200 bonus when you Extra £200 bonus when you XF 50-140mm O.I.S £1,329.00
For even more lenses at low prices, visit our website trade in your old camera! trade in your old camera! XF 100-400mm O.I.S£1,442.00
All prices include VAT @ 20%. For opening times and store addresses, visit www.parkcameras.com/dsp.
All products are UK stock. E&OE. * = Please mention “Digital SLR Photography” for this special price
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
Visit our website - updated daily Phone one of our knowledgeable sales advisors
www.parkcameras.com/dsp Monday - Saturday (9:00am - 5:30pm)
or e-mail us for sales advice using
sales@parkcameras.com 01444 23 70 58
UK’s largest independent photo store Award winning customer service Family owned & Run
36.4
MEGA 3.2” 1080p Panasonic 20.3
MEGA 3.2” 4K
LUMIX GH5
PIXELS 4 fps PIXELS 9 fps
The K-1 features a 36.4MP full-frame

ame sensor with Delivering incredible 18 MP 6K Photo stills,
an AA filter simulator, Full HD 1080p video, recording 60p 4K Video – and silent & unobtrusive
a new SR II 5-axis shake
e reduction mechanism, quick focus make this an outstanding camera for
and Pixel Shift Resolution System. photographers and videographers.
FREE D-BG6 battery grip when purchasing the K-1! In stock from £1,999.00 Add a Panasonic DMW-BLF19E battery for £65.00 In stock from £1,699.00
Pentax K-70 Pentax KP Pentax 645Z Panasonic TZ90 Panasonic GX8 £100 Up to
o
NEW! cash
24.2 24.3 51.4 20.3 20

back
£100
MEGA
PIXELS
MEGA
PIXELS
IS MEGA
PIXELS
MEGA
PIXELS
MEGA
PIXELS CASHBA
SHBACK
SHBA CK
on selected
selected Panasonic
Body only +18-50mm Body only Add a Pentax Body only +55mm New & now in stock! Body only +12-60mm
D-BG7 battery cameras
as this Summer!
£599 .00
£729 .00
£1,099 .00 grip for £259.00
£5,799 .00
£6,699 .00
£399 .00
£699 .00
£699 .00*
FREE 50mm f/1.8 lens when FREE 35mm f/2.4 AL lens See website for 24 months 5 year warranty from *Price after £100 cashback. See websit
ebsite
e for details.
bought with the K-70! when bought with the KP! 0% finance! Panasonic! Ends 30.06.17 Offer ends 04.09.17 T&Cs
Cs apply
apply.
24.2 Used Equipment at Park Cameras

MEGA 3.0” IS 4K We offer a wide range of used & second-hand cameras, all thoroughly quality checked, tested
PIXELS 20 fps & cleaned, including a full sensor clean on all cameras. Our quality assurance processes
have been established to ensure that when you buy used cameras from Park Cameras, the
This mechanism-free camera can deliver experience is stress and hassle free, & with a six-month warranty on most of our photography
a-class-above performance conventional equipment, including on second hand cameras and lenses, you can buy with confidence. See
mechanical SLRs have only sought. below for just some of the products currently in stock (images for illustration purposes only)!
FREE 2 year warranty with the Sony a9! Canon EOS-1D IV Canon EOS 5D Fujfilm Olympus
Learn more at www.parkcameras.com/sony-a9 Now in stock! £4,499.00 Body only Mark III X-T1 OM-D E-M1
Sony RX100 V £100 Sony a7R II NEW LOW Sony a99 II

cash PRICE!
back
from from from from
20.1 42.4 42.4 £999 £1,099 £439 £499
MEGA
PIXELS
4K MEGA
PIXELS
MEGA
PIXELS
4K
Body only See website Body only See website for Body only For the range of
for our finance 12 months lenses available, For even more cameras & a variety of lenses, visit www.parkcameras.com/used
£999.00 options £2,499.00 0% finance £2,999.00 see our website
*Price after £100 cashback FREE 1 year extended Add a Sony NP-FM500H Want to sell or part exchange your gear in just 3 easy steps?
from Sony. Ends 05.09.17 warranty with the a7R II spare battery for only £59! Visit www.parkcameras.com/sell-or-part-exchange & receive a quote within 72 hours!
Vanguard
nguard Alta Pro 2 Vanguard Havana 48 Vanguard Alta Fly
Manfrotto Nitrotech N8
+263CT Backpack 49T Roller Bag NEW!
Fluid Video Head See in store
NEW!
• Fluid video head with continuous to learn
counterbalance system (0-8 Kg) more!
In stock at only In stock at only In stock at only • Variable fluid pan & tilt drag system
£289.00 £99.00 £229.00 • Side lock plate attachment
For even more Vanguard For even more Vanguard For even more Vanguard • 3/8” easy link connector for accessories
Tripods, see in store or online Bags, see in store or online Bags, see in store or online • Flat base mount ideal for various In stock at only £449.00
Prices updated DAILY! Visit us in store, online at Prices updated DAILY! Visit us in store, online at
TAMRON LENSES parkcameras.com or call us on 01444 23 70 58 SIGMA LENSES parkcameras.com or call us on 01444 23 70 58
Tamron 10-24mm Tamron SP 24-70mm Tamron 16-300mm Sigma 105mm Sigma 17-70mm Sigma 150-600mm
f/3.5-4.5 Di-II VC HLD f/2.8 Di VC USD f/3.5-6.3 Di II VC PZD f/2.8 EX DG OS HSM f/2.8-4 MACRO OS HSM f/5-6.3 DG OS HSM | C
£50 £30
NEW! cash cash
back back
Coming soon! 77mm filters In stock! Available in In stock! Available in In stock at Available in In stock at Available in In stock at Available in
available from Canon, Nikon Canon, Nikon Canon, Nikon Canon, Nikon Canon, Nikon
£579.00 £29.99 £749.00* or Sony fit £399.00* or Sony fit £359.00 or Sigma fit £349.00 or Pentax fit £789.99 or Sigma fit
Learn more about this lens at *Price after £50 cashback *Price after £30 cashback Learn more about this lens at Learn more about this lens at Add a Sigma 1.4x converter
www.parkcameras.com from Tamron. Ends 30.06.17 from Tamron. Ends 30.06.17 www.parkcameras.com www.parkcameras.com (TC-1401) for only £100
4.5mm f/2.8 Fisheye EX DC £699.00 17-50mm f/2.8 DC OS HSM £329.00

Tamron 70-200mm Tamron 150-600mm Tamron 150-600mm 8mm f/3.5 Circ. Fish EX DG £699.00 18-35mm f/1.8 DC HSM £649.00
f/2.8 Di VC USD G2 f/5-6.3 Di VC USD f/5-6.3 Di VC USD G2 15mm f/2.8 Diag F/eye EX DG £599.00 18-200mm DC OS HSM £289.00
£75 £100
19mm f/2.8 DN £149.00 18-250mm DC Macro OS HSM £349.00
NEW! cash cash 20mm f/1.4 DG HSM £699.00 18-300mm f/3.5-6.3 DC Macro £369.00
back back 24mm f/1.4 DG HSM £649.00 24-35mm f/2 DG HSM Art £759.00
In stock! 77mm filters In stock! Available in In stock! Available in 30mm f/1.4 DC HSM £359.00 24-70mm f/2.8 IF EX DG £519.00
available from Canon, Nikon Canon, Nikon
£1,349.00 £29.99 £754.00* or Sony fit £1,240.00* or Sony fit 30mm f/2.8 DN £149.00 24-105mm f/4 DG OS HSM £599.00
Learn more about this lens at *Price after £75 cashback *Price after £10 cashback
35mm f/1.4 DG HSM £649.00 50-100mm f/1.8 DC HSM £949.00
www.parkcameras.com from Tamron. Ends 30.06.17 from Tamron. Ends 30.06.17 60mm f/2.8 DN £149.00 50-500mm f/4.5-6.3 OS HSM £1,099.00
85mm f/1.4 EX DG HSM £999.00 70-200mm f/2.8 EX DG OS £899.00
Tamrac Hoodoo 18 Metz 64 AF-1 360FLY HD 150mm f/2.8 OS Macro £779.00 70-300mm f/4.0-5.6 DG £129.00
Backpack Flashgun Action Camera 180mm f/2.8 EX DG OS HSM £1,239.00 70-300mm f/4.0-5.6 APO £179.00
300mm f/2.8 APO EX DG £2,599.00 120-300mm f/2.8 OS HSM £2,699.00
500mm f/4 APO EX DG £4,999.00 150-600mm f/5-6.3 Sport £1,329.00
8-16mm f/4.5-5.6 DC HSM £599.00 150-600mm Sport + 1.4x £1,429.00
In stock at Available in In stock at Available in In stock at Add the
10-20mm f/3.5 EX DC HSM £339.00 300-800mm f/5.6 EX DG £6,499.00
a variety of a variety of floating hand
£89.95 colours! £309.00 different fits! £299.00 grip for £44.95 12-24mm f/4.5-5.6 II DG HSM £649.00 1.4x APO EX DG £199.00
For a whole range of tips and tricks and news all all the latest new products, visit blog.parkcameras.com
01803 852400
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Te MON -FRI 8am - 5pm,
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QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
CANON DIGITAL AF USED CANON EOS M USED 16-35 F4 L IS U M- box......... £699 70-300 F4.5/5.6 L USM......... £899 18-125 F3.8/5.6 OS DC ............. £149 TAM 18-250 F3.5/6.3 DiII..... £149
Used Canon 1DX MKII body box .............£3999 M5 + 15-45...................................£799 17-40 F4 L................................. £499 70-300 F4.5/5.6 IS USM ....... £249 18-200 F3.5/6.3 DC..................... £149 TAM 18-270 F3.5/6.3 VCII.... £169
1D MKIII body ......................... £499 M3 + 15-45 box..........................£329 17-55 F2.8 IS USM EFS ......... £499 75-300 F4/5.6 MKII ...................£99 24-70 F2.8 HSM............................ £469 TAM 70-300 F4/5.6 Di USD VC. £219
EOS 1DX 1Ds MKII body......................... £699 EF-M 11-22 F4/5.6 IS STM......£249 17-85 F4/5.6 EFS .................... £199 85 F1.2 L USM ......................... £899 28-105 F2.8/4...................................£69 TAM 70-300 F4/5.6 ........................£99
MKI I body 7D MKII body box.................. £899 EF-M 55-200 F4.5/6.3 IS STM£229 18-55 F3.5/5.6 IS EFS ....................£99 85 F1.8 M-................................. £269 28-135 F3.8/5.6 ...............................£99 TAM 200-500 F5/6.3................... £399
7D body box............................ £499 EF-M 28 F3.5 IS STM macro ..£229 18-135 F3.5/5.6 IS USM EFS ... £299 100 F2.8 USM box.................. £339 28-200 F3.5/5.6 Asph ..............£99 TOK 100 F2.8 ATX........................ £299
box 6D body .................................... £999 EF-EOS M mount adapter ........£79 20 F2.8 USM................................... £349 100-400 F4.5/5.6 LII IS U....£1599 50 F2.8 EX macro ................... £149 Zeiss 50 F1.4 ZE box .................. £499
5Ds body box........................£1999 EVF-DC1 viewfinder.................£149 24 F3.5 TSE MKI box................... £699 100-400 F4.5/5.6 L IS U........ £899 50-500 F4/6.3 EX DG OS...... £699 Zeiss 50 F2 ZE box...................... £499
£3999 5D MKIII body box................. £1699 CANON AF FILM BODIES USED 24-70 F2.8 L USM box............... £799 135 F2 L USM box.................... £779 50-500 F4/6.3 EX DG ............ £399 Kenko Pro 300 1.4x conv............£99
5D MKII body ..............................£799 EOS 3 body M- box ............... £299 24-85 F3.5/4.5 USM.................... £149 300 F2.8 LII IS U ......................£4799 70-300 F4/5.6 APO DG............£99 Kenko ext tubes..............................£79
5D MKI body box ......................£399 EOS 1n HS body..................... £199 24-105 F4 L IS.......................... £599 300 F2.8 LI IS U........................£2999 80-400 F4.5/5.6 EX DG OS .. £399 Teleplus 1.5x conv....................£79
Used Canon 60D body box.............................£399
50D body box.............................£299
EOS 5 body .................................£69
EOS 600/650 body each.........£39
28-80 F3.5/5.6 ............................£79
28-90 F3.5/5.6 black ................£99
300 F4 L IS USM box............... £799
400 F2.8 IS USM L .... £3999/5999
105 F2.8 EX DG macro ......... £219
120-300 F2.8 EX DG.............. £799
Teleplus 2x DG conv................£89
CANON FLASH USED
EOS 7D 550D body ...................................£199 EOS 1000 body..........................£29 28-135 F3.5/5.6 IS USM ....... £199 500 F4 IS L USM....................£4799 120-400 F4/5.6 DG ................ £399 TC-80N3 remote........................£85
BG-E2.........£39 BG-E2N..............£49 PB-E2 drive M- box................ £199 28-300 F3.5/5.6 IS USM L ..£1199 1.4x extender MKII box........ £249 150 F2.8 EX DG OS mac........... £549 ST-E2 transmitter ......................£79
MKII BG-E3.........£39 BG-E4 box ........£69 PB-E2 drive fits EOS1/3........ £149 50 F2.5 macro ......................... £169 2x extender MKIII..................... £339 150-600 F5/6.3 DG OS Sport£1099 MT-24EX.................................... £499
body BG-E5.................................................£49 CANON AF LENSES USED 65 F2.8 MP-E............................ £849 2x extender MKII box............. £239 150-500 F5/6.3 DG OS.............. £449 MR-14EX ringflash................. £299
BG-E7.................................................£79 10-22 F3.5/4.5 USM EFS ...... £329 70-200 F2.8 IS USM LII .......£1499 SIGMA CAF USED 180 F3.5 EX DG HSM mac....... £399 550EX........£149 580EX box £179
bo
box BG-E8.................................................£69 14 F2.8 USM LII box ............£1499 70-200 F2.8 IS USM L............ £999 10-20 F4/5.6 HSM box.............. £249 TC1401 1.4x conv........................ £189 580EX MKII ............................... £299
£899 BG-E11 box ..................................£169
BG-E16 box ..................................£169
15-85 F3.5/5.6 IS USM EFS.. £449
16-35 F2.8 USM LII................. £899
70-200 F2.8 USM L ................ £799
70-200 F4 IS USM................... £699
17-50 F2.8 OS DC box............... £249
17-70 F2.8/4 DC OS.................... £249
OTHER CAF USED
TAM 18-200 F3.5/6.3 VC ...... £149
MORE ON wEbSITE
www.MIFSUDS.COM
NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
NIkON DIGITAL AF USED MBD-10 grip ...............................£79 18-200 F3.5/5.6 AFS VRII..........£399 85 F1.8 AFS .............................. £329 18-200 F3.5/6.3 DC mac C...... £199 28-300 F3.5/6.3 XR Di................ £149
Used Nikon D4 body box..........................£2199 MBD-80 grip ...............................£49 18-200 F3.5/5.6 AFS VRI...........£299 85 F1.8 AFD.............................. £249 24-35 F2 DG Art box .................£599 70-300 F4/5.6 SD Di VC............ £199
D4 body D3X body box.......................£1499 MBD-200 grip.............................£49 18-300 F3.5/5.6 VR .....................£649 85 F2.8 DN PC-E ...................£1099 24-70 F2.8 EX DG HSM.............£469 70-300 F4/5.6...................................£79
D3s body box........................£1499 NIKON AF FILM BODIES USED 28 F1.8 AFS G................................£399 105 F2.8 AFS VR...................... £579 24-105 F4 DG OS HSM.............£499 OTHER NAF USED
box D3 body box.................£999/1199 F5 body ..................................... £399 24-70 F2.8 AFS box....................£999 200 F2 AFS VR .......................£2799 28-200 F3.5/5.6 early................... £69 TOK 10-17 F3.5/4.5 ATX....... £249
D2xs body box........................ £399 F4E body inc MB-23.............. £399 24-85 F3.5/4.5 VR ........................ £329 200 F4 AFD............................... £899 35 F1.4 DG Art..............................£499 TOK 11-16 F2.8 ATX Pro DXII £349
£2199 D810 body box.....................£1799 F90X body...................................£99 24-120 F4 AFS VR........................ £699 200-400 F4 AFS VRII............£4299 70-200 F2.8 EX DG................. £399 TOK 12-24 F4 ATX Pro .......... £329
D800E body box ..................£1499 F60 body......................................£49 24-120 F3.5/5.6 G VR................. £299 300 F2.8 AFS VRI ..................£2999 70-300 F4/5.6 APO DG............£99 FLASH / ACCESSORIES USED
Used Nikon D800 body box.....................£1399
D700 body box....................... £699
F801/F601 body each .............£49
NIkON AF LENSES USED
28 F1.8 AFS G................................ £449
28-100 F3.5/5.6 AF G....................£69
300 F4 AFS box....................... £549
400 F2.8 G E FL ED VR ........£8499
105 F2.8 EX DG OS ..................... £279
105 F2.8 EX DG............................. £199
SB-24............£49 SB-25..................£49
SB-26....................................................£69
D3 body D610 body box....................... £899 10.5 F2.8 DX ..................................£429 28-300 F3.5/5.6 VR...................... £599 400 F2.8 AFS VR....................£4999 150-500 F5/6.3 DG OS.............. £499 SB-28....................................................£69
D300s body ............................. £349 10-24 F3.5/4.5 DX.......................£599 35 F1.8 AFS G................................ £349 400 F2.8 AFS non VR...........£3999 150-600 F5/6.3 DG OS cont... £749 SB-80DX..............................................£79
box D300 body box....................... £299 14 F2.8 AFD...................................£999 35 F1.8 DX....................................... £149 500 F4 AFS VR .......................£4999 150-600 F5/6.3 DG OS SB-600............................................... £169
D200 body box....................... £149 14-24 F2.8 AFS M- box..........£1099 35 F2 AFD ....................................... £199 600 F4 AFS VR .......................£5499 Sport box ......................................£1079 SB-700............................................... £199
£999/1199 D7000 body............................. £399 14-24 F2.8 AFS box....................£999 55-200 F4/5.6 AFS DX VR .... £149 600 F4 AFS II non VR 170-500 F5/6.3 D......................... £299 SB-900............................................... £249
D5000 body box .................... £199 16 F2.8 AFD Fisheye..................£499 58 F1.4 G AFS .......................... £999 serviced...................................£3799 TC-1401 1.4x converter............ £179 SB-R1 Ringflash M- box .......... £359
Used Nikon D90 body.................................. £199
D60 body.................................. £149
16-85 F3.5/5.6 AFS VR...............£399
17-35 F2.8 AFS box....................£899
60 F2.8 AF................................. £199
70-200 F2.8 VR II box..........£1349
TC14EII box .............................. £299
TC17EII....................................... £249
1.4x converter EX DG................ £149
2x EX converter...............................£99
SU-800 commander.................. £299
SD-8A battery pack.......................£89
D800 body D50 body.....................................£99 17-55 F2.8 AFS .............................£499 70-300 F4/5.6 AFD ................ £129 TC20EIII M- box ...................... £329 TAMRON NAF USED DR-5 angle finder........................ £149
box D40X body ..................................£99 18-35 F3.5/4.5 AFD ....................£299 70-300 F4/5.6 G non VR..........£99 TC20EII....................................... £199 10-24 F3.5/4.5 DiII....................... £239 DR-3 angle finder...........................£59
MBD-14 grip ............................ £149 18-55 F3.5/5.6 AFS VR................ £99 80-400 F4.5/5.6 AFS VR......£1299 SIGMA NAF USED 11-18 F4.5/5.6............................... £219 MB-10 (fits F90)...............................£29
MBD-12 grip ............................ £279 18-70 F3.5/4.5 AFS .....................£129 80-400 F4.5/5.6 AFD............. £699 10-20 F3.5 EX DC HSM............£269 18-250 F3.5/6.3 ............................ £149 MB-23 (fits F4)..................................£69
£1399 MBD-10 grip M- box............. £129 18-140 F3.5/5.6 AFS VR............£399 85 F1.4 AFS M- box ............... £999 17-70 F2.8/4 DC mac OS.........£199 19-35 F3.5/4.5..................................£99 MC-30 remote .................................£49
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED Sony LA-EA4 mount adap ... £189 35-70 F3.5/4.5..................................£25 10-20 F4/5.6 EX DC ................. £249 E510 body ................................ £149 HLD-7 grip box....................... £119
Used Fuji X-Pro2 body box..................£1099
X-Pro1 body box.................... £399
Sony HV56AM........................... £169
Sony HVK-F42AM .................... £119
35-80 f4/5.6.......................................£25
35-105 F3.5/4.5 ...............................£99
18-35 F1.8 Art............................ £549
28-135 F3.8/5.6............................£79
E500 body ................................ £129
11-22 F2.8/3.5 ......................... £349
HLD-6 grip...................................£99
PANASONIC DIGITAL USED
X-Pro2 X-T1 body black...................... £499 SONY NEX USED 50 F1.7 AF..........................................£89 28-300 F3.5/6.3 macro........... £149 14-42 F3.5/5.6 ............................£49 GH2 body ................................. £299
body X-T1 body black...................... £449 A6000 body box.......................... £329 50 F2.5 macro............................... £179 50 F1.4.......................................... £149 14-45 F3.5/5.6 ............................£79 G6 body black......................... £299
box X-T10 body box ...................... £299 NEX 5 body .................................... £129 85 F1.4 G box ................................ £649 50 F2.8 EX DG macro ............. £149 14-50 F3.8/5.6 ......................... £199 G3 body box............................ £199
X-E2 body silver box............. £299 FE 16-35 F4 ZA OSS E................ £999 100-300 F4.5/5.6 APO............... £179 50-150 F2.8 EX DC MKII......... £399 35 F3.5 ..........................................£99 GX80 body ............................... £369
£1099 X-E1 body silver ..................... £199 FE 16-50 F3.5/5.6 EZ .................. £149 100-300 F4.5/5.6.......................... £149 55-200 F4/5.6 ...............................£69 50 F2 mac................................. £349 GX7 body.................................. £349
10-24 F4 OIS box.................... £649 FE 28-70 F3.5/5.6 OSS............... £299 500 F8 mirror................................. £349 70-300 F4/5.6 DG OS............ £169 25mm ext tube..........................£99 GM1 body silver..................... £299
Used Olympus 16-50 F3.5/5.6 OIS MKII ....... £149
18 F2 WR box .......................... £299
FE 70-200 F4 G OSS box.......... £999
FE 90 F2.8 macro......................... £799
VC700 grip.........................................£39
RC1000S cord...................................£29
70-300 F4/5.6 APO DG............£99
1.4x EX conv ...............................£99
VA-1 angle finder......................£89
OLYMPUS MICRO 4/3 USED
GF3 body black .........................£99
14-42 F3.5/5.6 ......................... £199
OM-D E-M10 18-55 F2.8/4 XF ...................... £399 Samyang 100 F2.8 macro....... £229 SONY LENSES USED TAM 10-24 F3.5/4.5 DiII ....... £239 Stylus 1F.................................... £299 14-42 F3.5/5.6 ............................£79
body blk or 27 F2.8 box .............................. £249 MINOLTA/SONY AF USED 10-18 F4 E OSS ............................. £599 TAM 90 F2.8 ............................. £249 OMD-EM1 body M- box ...... £599 14-45 F3.5/5.6 ......................... £149
silv each 35 F1.4 R box........................... £399 7xi body .......................................£49 16-50 F2.8 DT SSM...................... £349 TAM 90 F2.8 ............................. £179 OMD E-M5 MKII body box.. £499 20 F1.7 ....................................... £199
60 F2.4 macro box................. £429 7000i body..................................£39 16-80 F3.5/4.5 ZA DT................. £499 TAM 200-500 F5/6.3.............. £399 OMD E-M5 body box............ £249 25 F1.4 ....................................... £379
£249 EF42 flash box......................... £119 300Si body ..................................£19 18-55 F3.5/5.6 SAM.......................£59 Teleplus 1.4x conv....................£69 OMD-EM10 body blk............ £249 35-100 F4/5.6 .......................... £199
MINOLTA/SONY DIGITAL USED 11-18 F4.5/5.6 AFD DT......... £259 18-70 F3.5/5.6..................................£89 Teleplus 2x conv .......................£79 OMD-EM10 body silv ........... £249 45 F2.8 ....................................... £469
Used Sony Sony H400 .................................. £169
Sony RX100 MKIII box............ £449
24-50 F4 .......................................£99
24-85 F3.5/4.5 ......................... £149
18-135 F3.5/5.6 DT SSM........... £329
18-200 F3.5/6.3 DT ..................... £199
Kenko 1.4x Pro 300DG......... £149
MINOLTA FLASH USED
E10 body................................... £279
12 F2........................................... £479
45-200 F4/4.5 box ................. £199
100-300 F4/5.6........................ £349
A7R II Sony A7R II body box...........£1799 28 F2.8 ..........................................£99 55-200 F4/5.6 DT SSM .................£69 Minolta 5200i.............................£29 14-42 F3.5/5.6 ......................... £169 FZ2000 box.............................. £899
body box Sony A77 body box ................ £799 28-75 F2.8 AFD ....................... £299 75-300 F4.5/5.6 ............................ £129 Minolta 5400HS.........................£39 17 F2.8 ....................................... £159 FZ1000 box.............................. £429
Sony A350 body....................... £169 28-80 F4/5.6................................£39 100 F2.8 macro............................. £299 Minolta 5600HSD M-...............£99 25 F1.8 ....................................... £269 FZ200 ......................................... £249
Sony VG-C70AM....................... £139 28-85 F3.5/4.5 ............................£99 SIGMA MIN/SONY AF USED OLYMPUS 4/3 USED 40-150 F2.8 Pro ...................... £899 MORE ON wEbSITE
£1799 Sony VG-C77M.......................... £149 35-70 F4 .......................................£39 10-20 F3.5 EX............................. £269 E3 body ..................................... £299 HLD-8 grip................................ £149 www.MIFSUDS.COM
MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED For more used equipment listings please see website www.mifsuds.com
Used Hasselblad bRONICA ETRS 645 USED
ETRSi + 75 PE + WLF
50 F3.5 PS ................................. £299
50 F3.5 S.................................... £149
503CW winder........................ £199
45 degree prism late ............ £299
150 F3.8 NL leaf...................... £299
210 F4 N M- ................................£79
Pro S body................................ £149
Pro S body scruffy ....................£99
645 body + insert .................. £199
200 F4 ........................................ £149
503CW + 120 RFH................................. £399 110 F4.5 PS macro................. £399 45 degree prism early.............£99 Ext Tube 1....................................£29 Plain prism late....................... £199 300 F4 ........................................ £249
Millennium ETRS body ................................ £119 135 F4 PS M-............................ £229 Sports viewfinder .....................£69 ext tube 2 ....................................£29 WLF. ...............................................£79 1.4x converter......................... £199
50 F2.8 PE ................................. £349 150 F4 PS ......................... £149/199 Chimney.......................................£89 Ext tube 3S..................................£29 120 645V back ...........................£99 PENTAX 67 USED
+ 80 F2.8 75 F2.8 PE ................................. £149 200 F4.5 PS M- box ............... £199 A16 (6x4.5 120 back) chr .... £199 Teleplus 2x converter..............£49 90 F3.5 KL ................................. £299 6x7 body + prism................... £599
CFE + A12 105 F3.5........................................£99 2x PS converter M-................ £179 A12 chrome latest................. £349 Vivitar 2x converter..................£39 127 F3.5 KL............................... £299 45 F4 latest M- ........................ £499
£2799 135 f4 PE................................... £249 135N 35mm film back ......... £119 A12 late blk/chr...................... £199 MAMIYA TLR 6x6 USED 180 F4.5............................................ £149 45 F4........................................... £399
150 F3.5 E ....................................£99 SQAi 120 RFH .............................£79 Polaroid back 100.....................£79 65 F3.5 box late ...................... £199 Pro SD ext tube 2 82mm............£99 135 F4 macro late .................. £249
Used Mamiya 150 F3.5 PE M- Box................ £149
200 F4.5 PE............................... £199
SQAi prism late....................... £299
45° Prism box .......................... £129
50 F4 CF FLE ............................ £849
150 F4 chrome serviced...... £199
65 F3.5 serviced...................... £149
80 F2.8 late serviced............. £139
Pro SD ext tube 1 45mm............£99
Ext tube 2...........................................£49
165 F2.8 latest M- .................. £499
200 F4 latest ............................ £169
RB67 Pro SD + E14 Ext tube ...............................£49 Plain Prism S Boxed .................£69 Ext tube 21, 55 each................£39 180 F4.5..................................... £149 MAMIYA RZ 6x7 USED 200 F4 early...................................£99
90 KL + WLF E42 Ext tube ...............................£49 AE Prism Early ............................£79 Vivitar 2x conv ...........................£49 250 f4.5 late serviced............ £249 RZ Pro body ............................. £149 300 F4 early scruffy................... £99
120 RFH........................................£69 ME Prism Finder ........................£69 Lens hoods various........... £20/50 250 f4.5 early serviced ......... £179 120 RFH Pro ................................£99 Pentax rear conv 1.4x........... £249
+ Back Polaroid Back .............................£39 Metz SCA 386.............................£49 MAMIYA 645 MF USED Porrofinder..................................£59 Polaroid back .............................£79 2x rear converter.................... £179
£549 Plain prism ..................................£59 Pro shade S .................................£59 Plain prism (645 Super)..........£79 MAMIYA 6 & 7 RF 6x7 USED FE701 prism............................. £299 Auto ext tubes ...........................£49
Rotary prism...............................£99 Lens Hood 65-80.......................£20 Polariod Back HP401 ...............£29 50 F4.5 L + VF.......................... £699 WLF................................................£79 Vivitar 2x conv ...........................£49
Winder early ...............................£79 SQAi Motorwinder ................ £149 Polaroid back .............................£29 80 F4.5 L M- box..................... £699 Winder II.......................................£69 Wooden grip ........................... £169
Used Rollei Speed Grip E...............................£59 Speed grip S ...............................£79 120 Insert.....................................£20 150 F4.5 M- .............................. £399 65 F4 box M- ........................... £399 ROLLEI 6x6 TLR USED
3.5F 6x6 Tripod adapter E .......................£39 SQAI winder............................. £149 HA401 120 RFH Box.................£49 MAMIYA Rb 6x7 USED 90 F3.5 W M- box................... £299 3.5F White Face serviced...£1699
White Face Winder early ...............................£49 HASSELbLAD 6x6 USED 120 Back......£39 Winder.........£79 Pro SD + 90 KL 180 F4.5 W................................ £199 3.5F Planar..............................£1399
serviced Metz SCA 386.............................£49
bRONICA Sq 6x6 USED
503CW Millennium
+ 80 F2.8 CFE + A12 ...........£2799
45 F2.8 N................................... £199
150 F2.8 A................................. £199
+ WLF + back .......................... £549
Pro S + 90 + WLF
Pro shade.....................................£49
PENTAX 645MF USED
MORE ON WEBSITE
£1699 40 F4 S ....................................... £299 501C + 80 CB + A12............£1699 www.mifsuds.com
150 F3.5 N ...................................£79 + back ........................................ £399 645 + 75 F2.8........................... £249
35MM & MISCELLANEOUS USED Please contact us to determine availability before making a lengthy journey
CANON FD USED 25mm or 50mm ext tube ea £29 Televid 77 + 20x60................ £649 F3 body ..................................... £199 500 F8 mirror........................... £249 50-135 F2.8 SDM.................... £379
Used Lighting A1 body serviced................... £199
AE1 Program body...................£99
2x Extender B.............................£49
177A flash....................................£20
Trinovid 10x42........................ £599
LIGHTMETERS USED
F2 Photomic body box........ £399
FM2 body chrome box ........ £399
600 F5.6...................................£1499
TC300 ......................................... £149
55-300 F4/5.8 ED WR............ £229
55-300 F4/5.8 ED box........... £199
Bowens
ens Esprit 24 F2........................................... £299 244T flash....£20 277T flash..£25 Minolta Autometer IV F....... £149 FM2n body chr box............... £299 TC301 ......................................... £149 70 F2.8 Limited....................... £349
1000 twin 24 F2.8 ....................................... £149 300TL flash..................................£49 Sekonic L308 B ..........................£99 FM2n body chr ....................... £249 SC-17 TTL lead...........................£25 SIGMA PkAF USED
28 F2.8 ..........................................£49 Winder A......................................£20 MINOLTA MD USED FE body chrome........................£99 DW-3 WLF find fit F3 ...............£99 18-250 F3.5/6.3....................... £199
head kit 35-70 F3.5/4.5 ............................£59 Winder B ......................................£30 XD7 body black...................... £199 20 F3.5 AI.................................. £199 DW-21 fits F4........................... £149 PENTAX MF USED
35-70 F4 .......................................£69 Angle finder B............................£49 X300 chrome body ..................£49 24 F2.8 AIS M- box ................ £249 OLYMPUS OM USED LX + prism serviced .............. £299
35-105 F3.5 .............................. £149 CONTAX 35mm RF USED X300s black body .....................£49 24 F2.8 AI.................................. £199 OM-4T body ............................ £249 50 F1.4 PK....................................£99
£499 50 F1.4 ..........................................£99 90 F2.8 G................................... £299 X700 black body .......................£69 28 F2.8 E box..............................£69 OM-2SP body.............................£99 50 F4 macro PK..........................£99
50 F1.8 ..........................................£49 CONTAX 35mm USED XGM chrome body...................£49 28-85 F3.5/4.5 AIS.................. £199 OM-2n body blk/chr each .. £149 50 F2..............................................£49
Used Nikon 50 F2..............................................£49
50 F3.5 macro ............................£99
28-70 F3.5/4.5 MM ................ £169
HASSELBLAD XPAN USED
28 F3.5 MD..................................£39
50 F1.7 MD..................................£49
35 F2.8 PC................................. £349
35-70 F3.3/4.5 AIS.................. £129
24 F2.8 ....................................... £199
35-70 F4 .......................................£79
STUDIO LIGHTING USED
Bowens Esprit 1000 twin
500mm F4 AIS 70-150 F4.5 .................................£29 Centre filter 49mm........................£129 50 F2 MD .....................................£49 35-70 F3.5 AIS ............................£99 35-105 F3.5/4.5..........................£79 head kit ..................................... £499
75-200 F4.5 .................................£49 LEICA M USED 70-210 F4 MD.............................£99 35-105 F3.5/4.5 AIS..................£79 7, 14, 25 man ext tube ea......£20 TAMRON ADII USED
£1399 85 F1.8 ....................................... £199 IIIf Red Dial ST serviced 2x Converter...............................£79 50 F1.4 AI.................................. £199 14 or 25 auto ext tube ea......£29 28 F2.5 ..........................................£49
100 F2.8..................................... £149 chrome body........................... £479 Ext tube for 50 F3.5..................£29 50 F1.8 AI.................................. £149 PENTAX 35mm AF USED 35-135 F3.5/4.2..........................£99
100-300 F5.6...............................£79 LEICA SLR USED Ext tube set.................................£49 50 F1.8 E.......................................£59 16-45 F4 .................................... £199 90 F2.5 SP ................................. £149
135 F3.5........................................£49 R8 body black box................. £499 Auto bellows 1...........................£99 55 F2.8 AIS................................ £199 17-70 F4 SDM M- box .......... £299 500 F8 ........................................ £149
135 F3.5 (Breechlock)..............£39 LEICA OPTICS USED NIkON MF USED 180 F2.8 AIS ED scruffy........ £179 18-55 F3.5/5.6 ............................£69 MORE ON wEbSITE
200 F4 ...........................................£69 Televid APO 77 body only ...... £549 FE2 body chrome .................. £349 500 F4 AIS...............................£1399 28-80 F3.5/5.6 ............................£49 www.MIFSUDS.COM
ITEM YOU REqUIRE NOT LISTED? PLEASE GIvE US DETAILS OF wHAT YOU ARE LOOkING FOR AND wE wILL CONTACT YOU wHEN THAT ITEM bECOMES AvAILAbLE.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
visit wex.co.uk
01603 208762
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm
THE WEX PROMISE: Over 18,000 Products • Free Delivery on £50 or over** • 30-Day Returns Policy • Part-Exchange Available • Used items come with a 12-month warranty†† †
EOS 800D EOS 77D EOS 80D K-1 A99 Mark II A9
24.2 mp 24.2 mp 24.2 mp 36 mp 42.4 mp 24 mp

6.0 fps 6.0 fps 7.0 fps 6.5 fps 12.0 fps 20.0 fps
800D From £779 77D From £829 80D From £999 K-1 Body £1999 A99 Mark II Body £2999 A9 From £4499
800D Body £779 77D Body £829 80D Body £999 K-1 Body £1999 A99 Mark II Body £2999 A9 Body £4499
800D + 18-55mm IS STM £869 77D + 18-55mm IS STM £919 80D + 18-55mm IS STM £1079
77D + 18-135mm IS USM £1149 80D + 18-135mm IS USM £1329
EOS 7D Mark II EOS 6D Mark II 5D Mark IV GFX 50S

D610 D750
20.2 mp 26.2 mp 30.4 mp 51.4 mp 24.3 mp 24.3 mp

10.0 fps 6.5 fps 7.0 fps 3.0 fps 6.0 fps 6.5 fps
1080p Full Frame Full Frame 1080p 1080p Full Frame
7D Mark II £1349 6D Mark II From £1999 5D Mark IV £3349 GFX 50S Body £5999 D610 From £1299 D750 From £1629
7D Mark II Body £1349 6D Mark II Body £1999 5D Mark IV Body £3349 GFX 50S Body £5999 D610 Body £1299 D750 Body £1629
6D Mark II + 24-105mm IS STM D610 + 24-85mm VR £1699 D750 + 24-85mm VR £2099
£2379 D750 + 24-120mm VR £2279
6D Body £1399
6D + 24-105mm IS STM £1699
EOS 5DS EOS 1D X Mark II G7 X Mark II

D810 D500 D5
£25
Cashback*
50.6 mp 20.2 mp 36.3 mp 20.8 mp
5.0 fps 16.0 fps 20.1 mp 7.0 fps 20.9 mp 12.0 fps
Full Frame Full Frame 4.2x zoom Full Frame 10.0 fps Full Frame
5DS From £2949 1D X Mark II £4799 G7 X Mark II £541 D810 Body £2399 D500 Body £1729 D5 Body £5209
5DS R Body £3149 1D X Mark II Body £4799 G7 X Mark II £541 D810A Body £2899 D500 Body £1729 D5 Body £5209
£516 Inc. £25 Cashback*
G5 X £599
Canon Lenses Nikon Lenses

EF 24mm f1.4 L II USM.................£1499 EF 11-24mm f4 L USM .................£2699 EF 24-70mm f4 L IS USM ...........£725 20mm f1.8G AF-S ED .............................. £659 16-80mm f2.8-4 G AF-S VR ED DX ........ £899
EP 35mm f1.4 L II USM ..............£1799 EF-S 15-85mm f3.5-5.6 IS USM...£564.99 £560 Inc. £165 Cashback* 24mm f1.8 G ED AF-S ............................. £649 16-105mm f3.5-5.6 G ED VR AF-S DX ... £239
EF 50mm f1.2 L USM....................£1272 £514.99 Inc. £50 Cashback* EF 24-105mm f4 L IS USM...........£799 35mm f1.8 G AF-S DX ............................. £179 18-200mm f3.5-5.6 G ED AF-S DX VR II £649
EF 50mm f1.4 USM.......................£349 EF 16-35mm f2.8 L III USM ..........£2099 EF 24-105mm f4 L IS II USM........£1065 50mm f1.8 G AF-S ................................... £199 18-300mm f3.5-6.3 G ED VR AF-S DX ... £629
EF-S 60mm f2.8 USM Macro........£350 EF 16-35mm f2.8 L Mk II USM .....£1429 EF-S 55-250mm f4-5.6 IS STM ....£269 50mm f1.4 AF-S ....................................... £359 24-70mm f2.8 G AF-S ED........................ £1379
EF 85mm f1.2 L II USM.................£1769 EF 16-35mm f4 L IS USM.............£819.15 EF 70-200mm f2.8 L IS II USM.....£1799 58mm f1.4 G AF-S ................................... £1419 24-120mm f4 G AF-S ED VR................... £999
EF 85mm f1.8 USM.......................£327 £739.15 Inc. £80 Cashback* EF 70-200mm f4 L IS USM ..........£1049 60mm f2.8 G AF-S ED Micro ................... £529 28-300mm f3.5-5.6 G AF-S ED VR ......... £829
EF 100mm f2.8 L IS USM Macro..£869 EF-S 17-55mm f2.8 IS USM .........£718 £969 Inc. £80 Cashback*
85mm f1.8 G AF-S ................................... £399 70-200mm f2.8 G AF-S ED VR II............. £1998
EF 135mm f2 L USM.....................£859.97 EF 17-40mm f4 L USM..................£619 EF 70-300mm f4-5.6 IS II USM ...£449
105mm f2.8 G AF-S VR IF ED Micro....... £769 80-400mm AF-S Nikkor f4.5-5.6 G ED VR..£2199
EF 180mm f3.5 L USM Macro ......£1229 EF-S 18-55mm f4-5.6 IS STM ......£219 £399 Inc. £50 Cashback*
300mm f4 E PF ED VR AF-S................... £1529 200-500mm f5.6E ED VR AF-S ............... £1249
EF-S 10-18mm f4.5-5.6 IS STM ...£213 EF 18-135mm f3.5-5.6 IS STM.....£379 EF 70-300mm f4-5.6 L IS USM.....£1279
£188 Inc. £25 Cashback* £329 Inc. £50 Cashback* EF 100-400mm f4.5-5.6 L IS II USM £1845 10-24mm f3.5-4.5 G AF-S DX.................. £745
EF-S 10-22mm f3.5-4.5 USM .......£499 EF-S 18-200mm f3.5-5.6 IS ..........£439 14-24mm f2.8 G AF-S ED........................ £1449
£449 Inc. £50 Cashback* EF 24-70mm f2.8 L II USM ...........£1849 *Canon Cashback ends 31.08.17 16-35mm f4 G AF-S ED VR..................... £1029
Photo Bags & Rucksacks Anvil Slim

F-803
Pro Runner BP 350 ProTactic 450 AW Professional
RuggedWear
AW II Backpack Backpack Backpack Hadley Pro
Manfrotto 3N1-36 Original
Designed to fit PL Backpack Canvas Khaki/Tan
Purpose-built
to organise and 1-2 Pro DSLRs
protect more (one with up to 3-in-1 backpack Hadley: Canvas/Leather: Khaki/Tan,
gear, and provide 70-200mm lens for commercial Black/Tan, Black/Black.
more options for attached), up to 8 photographers, FibreNyte/Leather: Khaki/Tan, Sage/
manoeuvring in lenses/speedlights, videographers
a 15” laptop, tripod and drone users.
Tan, Black/Black.
busy airports and
crowded streets. and accessories. Digital .................................. £119 RuggedWear:
Anvil: Small ................................... £149 F-5XB ......................................£69
Pro Runner: Anvil Slim...............................£122 3N1-36 PL ............................£159 Large ................................... £154 F-6 ...........................................£79
BP 350 AW II ..........................£139 Photo Sport BP: Anvil Super............................£134 3N1-26 PL ............................£149 Pro Original ......................... £189 F-803 .......................................£139
BP 450 AW II ..........................£169 450 AW...............................£178 Anvil Pro................................£129 Hadley One ......................... £265 F-2 ...........................................£129
Tripods & Tripod Heads We sell tripod accessories including plates and spiked feet on our website!
Trade in,
MT055XPRO3 ...................£159
MT190XPRO3
• 160cm
Max Height
• 9cm
Min Height
SLR Zoom
• Flexi-Tripod legs
• 25cm Closed Length
327RC2
Joystick
to
trade up Competitive
MT055CXPRO3 Series 3 4S XL Head prices
• 3Kg Max Load
Carbon Fibre......................£329 • 202cm Max Height Free collection
MT055CXPRO4 of your gear
• 10cm Min Height
Carbon Fibre......................£348
Fast turnaround
MT190 Series: New Systematic Tripods: Gorillapod: Ball Heads: of your quote
MT190XPRO3 ................... £149 and credit
Series 3 4S XL ......................... £764 Compact..................................£16.99 494RC2 ............................ £49
MT190XPRO4 ................... £159
MT190CXPRO3 MT190XPRO3 Series 4 4S L............................ £759 Hybrid (Integral Head).............£29 496RC2 ............................ £64.95
Carbon Fibre...................... £299 + 496RC2 Ball Head.......... £139 Series 5 4S L............................ £845 SLR Zoom ...............................£44.99 XPRO Ball Head 200PL... £109 wex.co.uk
MT190CXPRO4 MT190XPRO4 Series 5 6S G........................... £1099 Focus GP-8 .............................£89 327RC2 ............................ £169
Carbon Fibre...................... £318 + 496RC2 Ball Head..........£189
Terms and Conditions All prices incl. VAT at 20% Prices correct at
time of going to press. Free Delivery** available on orders over £50
Lighting & Accessories (based on a 4 day delivery service). For orders under £50 the charge
is £2.99** (based on a 4 day delivery service). For Next Working Day
Delivery our charges are £4.99**. Saturday deliveries are charged at
a rate of £7.95**. Sunday deliveries are charged at a rate £8.95**.
(**Deliveries of very heavy items, N.I., remote areas of Scotland &
Ch. Isles may be subject to extra charges.) E. & O.E. Prices subject
to change. Goods subject to availability. Live Chat operates between
9:30am-6pm Mon-Fri and may not be available during peak periods.
†
Subject to goods being returned as new and in the original packaging.
Where returns are accepted in other instances, they may be subject
to a restocking charge. ††Applies to products sold in full working
condition. Not applicable to items specifically described as “IN” or
incomplete (ie. being sold for spares only). Wex Photographic is a
trading name of Warehouse Express Ltd (registered as company
430EX III 3m Heavy Duty no. 03366976. VAT number 231 9471 12). ©Warehouse Express Ltd
£249 Lumimuse LED Background Gemini Pulsar 2017. *CASHBACKS Are redeemed via product registration with the
Ezybox Speed-Lite 2 L308s Plus III Set Stand 400Rx Kit £569 D-Lite RX 4/4 Urban Collapsible manufacturer. Please refer to our website for details. Showroom:
£219 Inc. SB5000 Lights
£179 £229 £99 500R Kit £949 Softbox Set £725 Background £165 off Drayton High Road, (opposite ASDA) Norwich. NR6 5DP.
£30 Cashback* £499 From £44.95 £49.95
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Digital SLR Photography September 2017

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RATED: NIKON D7500 GROUP TEST:LOCATION FLASH KITS

The Profoto B1X improves on the B1 in three significant areas:

Discover the B1X at profoto.com

Advertising & Production

Join a growing community

Digital SLR Photography is produced for Dennis Publishing

September 2017 Digital SLR Photography 5

6 Digital SLR Photography September 2017

Ross Hoddinott OUTDOOR

Lee Frost LANDSCAPES

Ben Hall WILDLIFE

Helen Dixon LANDSCAPES

Brett Harkness PORTRAITS

Richard Hopkins TESTS

September 2017 Digital SLR Photography 7

“The Quiraing is a geological formation in the north

(Above) “The Sligachan River originates in the Cuillin mountain

Loch Etive by Pascal Bobillon

Reflection on Lake du Val by Pascal Bobillon

Fana Head Lighthouse by Pascal Bobillon

September 2017 Digital slr Photography 11

(Above) “I was shooting from the road above when I noticed

110 Aerial to DTLA by Shabdro Nga

200MM by Shabdro Nga

Overpass by Shabdro Nga

September 2017 Digital SLR Photography 13

Heterochaeta Orientalis by Matt Doogue

(Right) “The Praying Mantis make for excellent portraits. This is a

Damselfly on Oxide Daisy by Matt Doogue

Mayfly With Eggs by Matt Doogue

Sleepy Caterpillar by Matt Doogue

Jumping Spider by Matt Doogue

500px Perfect for photos

14 Digital slr Photography September 2017

© MarIa davISon raMoS/The Kennel CluB © Igor MySenhevyCh/The Kennel CluB

18 Digital slr Photography September 2017

© Martin tosh/the Kennel Club © Peter steffensen/the Kennel Club

September 2017 Digital slr Photography 19

GOOGLE CREATES AN Photo

September 2017 Digital SLR Photography 21

The BesT Camera Is The

One ThaT’s WITh YOu

samsung is generously giving one away.

September 2017 Digital Slr Photography 23

What We’ve been Watching

AWAKENTrAilEr4K 7SEcrETlighTroomTipS producTphoTogrAphyTuToriAl

September 2017 Digital slr Photography 25

p36:VIBRANTOUTDOORMULTIPLEEXPOSURES p40:TAKEABUG'SEYEVIEWOFTHEWORLD p48:ADDASIMPLEFRAMEBORDERINLIGHTROOM

1 COMPOSITION Carefully compose the shot knowing where you’ll be

2 CAMERASETTINGS Shoot in aperture-priority mode at around f/11,

30 Digital SLr Photography September 2017

September 2017 Digital slr Photography 31

1 Choosingyour kitIf you don’t have a dedicated macro lens,

3 Customise PiCture style

4 takeyour shotWhen you’re done, press Save

34 Digital SLr Photography September 2017

1 handheld ortripod If you’re shooting on a bright enough day, then

2 pickalens This technique works with any lens, from a standard

3 switch on Multiple exposures In your camera’s menu switch its

38 Digital SLr Photography September 2017

5 focusand defocus Once focused, switch to manual focus, capture

September 2017 Digital slr Photography 39

3 exPosure If you’re pointing your lens to the sky, your subject is

is soft, the glass looks