Claimyourbundle&editwithSilverEfexPro,AnalogPro&more!

p81

Issue 115
 C@ntrol MSS

© Frederico Martins
Add colour
to your palette
OCF Gels

Add colour to your Profoto flash with the new OCF Gels.
Use them to balance your flash light with ambient light,
or boost your creativity with our set of colour effect gels.

Learn more: profoto.com/offcameraflash

Contact us
Like us on Facebook: www.facebook.com/digitalslrphoto
Follow us on Twitter: @DigitalSLRPhoto
Visit us on Flickr: www.flickr.com/groups/digitalslrphoto
Visit us online at: www.digitalslrphoto.com
Write to us or send in your images to:
Digital SLR Photography,
PO BOX 1327, Stamford, Lincs PE9 2PT.
Email us: enquiries@dslrphotomag.co.uk
SUBSCRIPTION QUERIES: 0844 249 0482

Editorial
Editor Daniel Lezano
daniel.lezano@dslrphotomag.co.uk
Art Editor Luke Marsh
luke.marsh@dslrphotomag.co.uk
Senior Contributing Editor Caroline Schmidt
caroline.schmidt@dslrphotomag.co.uk
Contributing Editor Jordan Butters
jordan.butters@dslrphotomag.co.uk
Editorial Consultant Jo Lezano
jo.lezano@dslrphotomag.co.uk
Other editorial contributors this issue:
Dina Belenko, Adam Burton, Albert Dros, Lee Frost,
Brett Harkness, Ross Hoddinott, Corey Rich & Paul Ward

Advertising & Production

Display/Classified/Advertising: 0207 907 6651
Commercial Brand Manager Alex Skinner
alex_skinner@dennis.co.uk

Welcome
Account Manager Finan Tesfay
finan_tesfay@dennis.co.uk
Production Executive Sophie Valentine
sophie_valentine@dennis.co.uk

Publishing
Felix Dennis Founder
James Tye CEO
Brett Reynolds COO WELCOME TO THE JUNE 2016 issue of DigitalSLRPhotography.
Ian Westwood Group MD
John Garewal MD Technology & Imaging
While technology has allowed more people than ever to take
David Barker Newstrade Director high-quality photos, the automation behind the process means
SUBSCRIPTIONS many never learn the fundamental principles and skills to creating
UK SUBSCRIPTIONS: 0844 249 0482
The subscription service is open six days a week: stunning images. When I started out taking pictures on a film SLR
Monday to Friday (8am-8pm); Saturday (9am-1pm)
Order online at: http://subscribe.digitalslrphoto.com (a very long time ago!), the only modes available on my camera
Standard subscription rate: 12 issues for £43 (UK only)
OVERSEAS SUBSCRIPTIONS: +44 (0)1795 414953 were program, aperture-priority and manual, meaning I was forced to learn the
Europe £45; Rest of World £60; USA $99.
USA & Canada subscriptions: Phone: 1-888-428-6676; basics of apertures and shutter speeds from the start. The result was that I quickly
Fax: 1-757-428-6253; Email: cs@imsnews.com;
Web www.imsnews.com. learned how these variables affected results and I soon came to appreciate the
ONLINE SUBSCRIBER SERVICE: www.subsinfo.co.uk
Use this to manage your existing subscription, including importance of choosing the right settings for the scene at hand, in particular
changing your address, renewing your subscription or
reporting problems. This should be your first port of call if aperture choice. It took no time at all before aperture-priority mode was my
you have any queries about your subscription. If you require
further help, email: dslr@servicehelpline.co.uk go-to exposure mode and it remains my favourite to this day. This month’s guide
LICENSING&SYNDICATION to apertures (page 68) covers everything you need to help you take full control of
Digital SLR Photography is available for licensing overseas.
Syndication Senior Manager Anj Dosaj-Halai
this fundamental feature and improve the aesthetic quality of your images. With
anj_dosaj-halai@dennis.co.uk; +44 (0) 20 7907 6132
Licensing Manager Carlotta Serantoni
plenty of other technique guides, inspirational pro interviews, expert advice,
carlotta_serantoni@dennis.co.uk; +44 (0) 20 7907 6550 gear reviews and stunning photography in this issue, we’re sure you’ll have a
Licensing & Syndication Assistant Nicole Adams
nicole_adams@dennis.co.uk; +44 (0) 20 7907 6134 very busy month improving your skills and taking great photos. All the best!
BACKISSUES
Back issues for UK cost £5 (includes p&p). To order by Daniel Lezano Editor
credit card, phone: 0844 249 0482 or send a cheque,
stating the back issue you’d like, and made payable to
Dennis Publishing Ltd, to: FREEPOST RLZS-ETGT-BCZR,
Digital SLR Photography Back Issues, 800 Guillat Avenue,
Kent Science Park, Sittingbourne ME9 8GU.

Digital SLR Photography is produced for Dennis Publishing

Join a growing community
by Red Creative Media Ltd.
Digital SLR Photography is published on the second OVER640,000FOLLOWERSANDGROWING!Getonlineandinteractwiththeexpertsat
Tuesday of every month. Digital SLR Photography is DigitalSLRPhotography.YoucanfollowusonFacebook(facebook.com/digitalslrphoto),tweet
. You can follow us on Facebook (facebook.com/digitalslrphoto), tweet
published under license from Halo Publishing Ltd, a wholly
owned subsidiary company of Dennis Publishing Ltd, UK. usonTwitter(@digitalslrphoto),joinusonFlickr(flickr.com/groups/digitalslrphoto)oremailus
us on Twitter (@digitalslrphoto), join us on Flickr (flickr.com/groups/digitalslrphoto) or email us
All rights in the licensed material belong to Felix Dennis,
Halo or Dennis Publishing and may not be reproduced, (enquiries@dslrphotomag.co.uk)tokeepuptodatewithallthat'sgoingoninphotography.
whether in whole or part, without their prior written
consent. Digital SLR Photography is a registered trademark.
© Copyright Halo Publishing Ltd which is a subsidiary of
Dennis Publishing Limited. Digital SLR Photography is a
trademark of Halo Publishing Ltd. ONTHIS MONTH'S COVER... SUBSCRIBETODAY!
ISSN number: 1751-8989
Digital SLR Photography is printed in the UK. OurBeginner’sGuide Youcangetyourmonthlyfix
Many happy returns ma’am! (page68)coversoneofthe ofDigitalSLRPhotography
The publisher makes every effort to ensure the magazine’s
content is correct. All material published in Digital SLR
keyfundamentalsofgreat inspirationandadvicedirect
Photography is copyright and unauthorised reproduction photography–aperture toyourdoorormobiledevice
is forbidden. The editors and publishers of this magazine
give no warranties, guarantees or assurances and make no control.Thismonth’sclose- bysubscribingtoourprint
representations regarding any goods or services advertised
in this edition. No responsibility can be accepted for images
upcoverimage,takenby and/ordigitaleditions.
or correspondence lost or damaged in post or transit. MirkaWolfova,showshow Wealwayshavesomegreat
Audit Bureau of
understanding apertures money-savingoffersor
Circulation member anddepth-of-fieldcanreally freegiftsforsubscribers,too!
enhanceyourphotography. Fordetails,seepage104.
When you’ve finished enjoying
this magazine please recycle

June 2016 Digital SLR Photography 5

Contents JUNE2016/ISSUE115

5 EDITOR’S PAGE
EditorLezanodiscussesoneofthekeystogreatimages
andwhat’sinthelatestissueofDigitalSLRPhotography
8 PORTFOLIO
Ourselectionofthebestimagesfromaroundtheworld
16 SNAPSHOTS
Fromhighflyerstominiaturemodels,quickfixesto
fantastictech–what’shotintheworldofphotography
24 SONY WORLD PHOTOGRAPHY AWARDS
Amazingimagesfromtheprestigiousphotocontest
31 LOCATION GUIDE
WetakeatripoverseastotheidyllicislandofSantorinito
showyouwhatpotentialthereisforaphotoadventure
62 EXPERT CRITIQUE
Wantsomefeedbackonyourphotos?Submitthemto
ExpertCritiqueforinvaluableadvicefromtheexperts
67 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
88 NIKON STORY: COREY RICH
Theadventuresportsphotographertalksaboutclimbing
mountains,bothfigurativelyandliterally
96 BIG INTERVIEW: ALBERT DROS
Thetravellandscapesandjourneysofasemi-pro
146 NEXT MONTH 42
ReadwhattreatsJuly’sissuehasinstoreforyou!

24 38 46

31
Phototechnique 52
38 PHOTO SKILLS: CLOUDS OF COLOUR
Professionalstill-lifephotographerDinaBelenkoisnot
alittlebitchilliaboutsharingthetricksofhertrade
42 PHOTO SKILLS: SUNSET SILHOUETTES
Learnhowtoexposefortheextradimensionofagraphic
silhouetteandmakeyourspringtimesunsetsstriking
46 PHOTO SKILLS: SHOOT A SEQUENCE
PhotographerJordanButtersshareswithyoutheskills
youneedtoknowtoshootyourownactionsequence
50 EDIT SKILLS: SHOOT TO STITCH
Ifyou’vefollowedouractiontutorial,here’showto
mergeyourseriesinPhotoshopintoasingleframe 68
52 PRO WORKSHOP: STUDIO PORTRAITS
ProPaulWardtakesonereaderunderhiswingtoshowhim
howtocreatestrikingportraitswithmulti-lightset-ups
68 BEGINNER’S GUIDE: APERTURES
Understandinghowaperturesworkandhowtocontrol
themcreativelyiskeytoimprovingyourphotography
81 NIK COLLECTION: EDIT LIKE A PRO
Mastertheplug-insofaprofessionalphotographerwith
ourin-depthguidetousingthenowfreeNikCollection

6 Digital SLR Photography June 2016

 CONTRIBUTINGTHIS MONTH:
Daniel Lezano
With over 30 years’ experience as
an enthusiast SLR photographer and
20 years on photo magazines, editor
Lezano is as passionate as ever about
photography, in particular portraits.

Caroline Schmidt
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 always on the pulse of
all things photography, Jordan turns
his hand to most things: he’s our
social media master, features guru
and talented pro photographer.

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

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

Adam Burton LANDSCAPES

81 110 One of the UK’s leading landscape
photographers and author of four
books, Adam shoots throughout the
UK and runs international workshops.
adamburtonphotography.com

Paul Ward PORTRAITS

A pro photographer, Paul is a creative
genius and expert on lighting. This
month, he guides a reader through
the intricacies of studio lighting.
paulwardphotography.com

Lee Frost LANDSCAPES

A long-standing regular contributor,
88
Gear:Tested&Rated Lee is a fountain of knowledge when
109 PRODUCT NEWS it comes to shooting landscapes and
Aninitial,brieflookatallthelatestphotogear-related delivering expert tutorials.
newsandnewkitreleases leefrost.co.uk
110 FUJI X-PRO2 Dina Belenko STILL-LIFE
EditorLezanoputsFujifilm’slatestflagshipCompact Russian still-life photographer Dina is
SystemCameratothetesttoseehowitholdsuptothe a creative genius when it comes to
hypeandreallycomparestousingadigitalSLR bringing everyday items to life and
114 ACCESSORIES TEST creating stunning compositions.
Wetestandrate thenew20.2-megapixelDxOONE 500px.com/arken
cameraforiPhonesandBenro’slatestshoulderbag
Corey Rich ADVENTURE SPORTS
A stills photographer and filmmaker,
96 Corey Rich is used to shooting in
extreme conditions. Read about his
latest adventures in Nikon Story.
coreyrich.com

Albert Dros LANDSCAPES

114 This Dutch photographer has been
causing quite a stir online since he
first picked up a camera four years
104 SUBSCRIBE TODAY!
ago. FInd out why on page 96.
Takeadvantageoftheverylatestsubscriptionoffers
albertdros.com

June 2016 Digital SLR Photography 7

 Portfolio
Under The Blood Red Sky
by Pawel Zygmunt
500px.com/pawelzygmunt

“At least once a year I go on a trip to discover the

beauty of Ireland. Mount Errigal in County Donegal is
one of the most iconic Irish mountains. I arrived at
this location the night before and grabbed a couple
of hours sleep in the back of my car. As the sun rose
behind Errigal, it gave the clouds and mist a bloody
red colour. I used a Lee Filters 0.9ND soft grad to
balance the sky and land. It was a perfect morning.”
Nikon D750withTokinaAT-X 16-28mm f/2.8 lens.
Exposures:Eightsecondsatf/22(ISO100).
Portfolio

Abstract by Alessandro Di Cicco

www.diciccophotography.com

(Above) “The biggest challenge in creating this image was

finding the right model. Here, she's laying on red carpet,
which fills the gaps in her hair well. I sprinkled glitter over the
model's face and hair to add sparkle and interest. I shot this
using only natural light, wide open at f/4 to provide enough
depth-of-field for this interesting perspective."
CanonEOS5DMkIIwithCanonEF24-105mmf/4Llens.Exposure:1/200secatf/4(ISO100).

Ginger Girl by Alessandro Di Cicco

(Above left) “When I'm driving around I'm always looking for
photoshoot locations. I spotted this rusty fence and thought
it the ideal location for photographing a redhead; I always
strive to make colours work together in images. I love her
pose – I don't usually offer much direction, as the model's
natural behaviour often makes the strongest photos.”
CanonEOS5DMkIIIwithCanonEF85mmf/1.2Llens.Exposure:1/500secatf/1.6(ISO100).

Love Me, Love Me Not by Alessandro Di Cicco

(Below left) “I really like to create movement in my images.
I had already imagined the finished photo long before I shot
it, but I had to find the right place to create a good blurred
background and also a nice red dress to fit the colour of the
petals, which were actually added in Photoshop. I had to
match the sharpness of the petals to the depth-of-field.”
CanonEOS5DMkIIIwithCanonEF85mmf/1.2Llens.Exposure:1/160secatf/1.6(ISO100).

Sweet Italian Girl by Alessandro Di Cicco

(Right) “This photo was not planned at all. At the end of a
photoshoot the model and I went to a bar where there was
fantastic light; I asked the model if we could take some more
photographs. In the end, I loved these more than the
planned images we took during the shoot! I love how the
lines of the bench draw you towards her.”
CanonEOS5DMkIIIwithCanonEF85mmf/1.2Llens.Exposure:1/1000secatf/1.2(ISO100).

10 Digital slr Photography June 2016

Portfolio
The White Dragon’s Fury by Ulises Sandoval
500px.com/ulisessandoval1

(Above) “The water formed an S-shape around the rocks in

this part of Puerto Vallarta, Mexico, which were beautifully
detailed thanks to the low sun. This is a panoramic of five
vertical images – it took timing and many attempts to
capture the water motion right so that the images blended.”
CanonEOS6DwithCanonEF17-40mmf/4Llens.Exposure:2.5secondsatf/13(ISO50).

Roaring Of The Sea by Ulises Sandoval

(Right) “Also taken in Puerto Vallarta, Mexico, this image was
originally planned as a panoramic but I decided on a vertical
image instead to emphasise the foreground water. I love the
contrasting blue and orange tones. I got a bit too close
however and the water soaked my camera – it took four
months to resolve the issues that this caused!”
CanonEOS6DwithCanonEF17-40mmf/4Llens.Exposure:1/2secatf/13(ISO320).

Lava by Ulises Sandoval

(Left) “On the day that this image was taken the sky was dull
and uninteresting, but just as the sun approached the
horizon the clouds rolled in and the sky turned a deep
reddish orange. I found this interesting rock formation,
which the water rushed through, creating a lead-in line with
the motion of the water in the foreground.”
CanonEOS6DwithCanonEF17-40mmf/4Llens.Exposure:1/3secatf/11(ISO200).

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 uploads, advanced statistics,
Google Analytics support, a customisable portfolio
and the option to licence your images through 500px
Prime. 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

June 2016 Digital slr Photography 13

Portfolio

Colour Rhapsody by Jokin Romero

www.jokinromero.com

(Above) “By the time I got off the bus in Venice, the sun had
already started to rise. This meant I had to run all the way to
Piazza San Marco. Even though I missed the best light, I was
still able to capture some colours in the sky. In order to get
the paradoxical effect of calm water and moving gondolas,
I decided to use an ND filter to increase the exposure time.”
CanonEOS6DwithCanonEF24-105mmf/4Llens.Exposure:30secondsatf/11(ISO100).

The Dutch Farm by Jokin Romero

(Above left) “After visiting Amsterdam, I could sense that the
light and clouds in this area would be perfect for capturing
the sunset. So I decided to try my luck at the famous Zaanse
Schans. It's a classic Dutch scene: the bridge leading up to
the farm with the windmills in the background. I used a soft
ND grad filter to balance the sky and the foreground.”
CanonEOS6DwithCanonEF16-35mmf/2.8LIIlens.Exposure:0.6secatf/10(ISO100).

Explosion by Jokin Romero

(Below left) “On the way to Croatia I made an unplanned stop
in Provence, France, as there are a few days at the end of
July when an explosion of colour occurs. I was driving
around for ages to find the perfect spot to capture the
lavender at sunset. By the time I found this view, it was windy
so I had to raise the ISO to freeze the flowers in motion."
CanonEOS6DwithCanonEF16-35mmf/2.8LIIlens.Exposure:1/25secatf/10(ISO400).

Flame Tree by Jarrad Seng

500px.com/jarradseng

(Right) “I was travelling with Emilie Ristevski (@helloemilie) in

Darwin, Australia as part of an Instagram meet tour. As soon
as we saw this Poinciana tree we just had to stop the car. We
started with a 50mm lens, but moved onto the 135mm and
continually moved backwards for that compressed look.”
CanonEOS5DMkIIIwithCanonEF135mmf/2Llens.Exposure:1/5000atf/2(ISO100).

14 Digital slr Photography June 2016

June 2016 Digital SLR Photography 15
/ YourmonthlYphotodigest
Urban
Drones have come into a bit of bother recently (see page 19) but there's no disputing their ability to offer
new and incredible perspectives. hong Kong has long captivated urban photographers, but we’ve never seen it
shot like this before. aerial photographer andy Yeung sent his DJi Phantom 3 Professional skyward as a blanket
of fog engulfed the city, capturing a series of stunning images of the night lights illuminating the haze. “i was

Fog
flying back from europe and had an aerial view of hong Kong. i had the idea of creating a series offering an aerial
pictUre glimpse into living in one of the most densely populated parts of the world,” andy told Digital SLR Photography.
special “Flying above the city might subject the drone to interference, so i took off on victoria Peak, a mountain that
overlooks the city.” You can see more of the Urban Fog series here: andyyeungphotography.com/UrbanFog/
Snapshots / The world of photography

SirPaulMcCartneydiscoveredinloft!
PREVIOUSLYUNSEEN IMAGES OF

CLIVE ARROWSMITH
LEGEND FOUND GATHERING DUST

W
HILE MOST OF us have attics filled
with boxes of old toys, clothes and
other bric-a-brac we can’t part with,
some hold more treasured items within their
cobwebbed beams. Fashion photographer
and Digital SLR Photography contributor
Clive Arrowsmith made the news following
the discovery of long-lost images he shot of
Sir Paul McCartney and Wings. Clive found
the previously-unseen pictures while
searching for material for his latest book.
The photographs were captured in two
separate sessions, at the end of a shoot for
the Wings At the Speed of Sound album in
1976 and for McCartney’s Off the Ground
album in 1995. The images show Clive’s
close working relationship with Sir Paul,
while also revealing the
superstar’s sense of
humour as well as his close
bond with wife Linda.
Clive revealed to us the
happiness and memories
these long-forgotten images
brought back to him. "Paul
and I worked together several
times and we had great fun
putting the pictures together.
Paul has a fantastic sense of
humour and the fun we had on
our shoots really come out in
the images. In one shot, Sir Paul,
wife Linda and other Wings Hofner guitar. So I shot him in the studio, of the shoot. The fun we were all having,
bandmates pose donning beards and with the ropes hanging down from the plus Paul and Linda's closeness; it's the
costumes. "Paul asked my stylist to find ceiling, then went up in a plane, shot the naturalness of the pictures that is the key to
loads of uniforms and costumes to dress up background and merged the two images.” their success," he adds.
in. It was a crazy, wonderful day” reveals The black & white images of Sir Paul with Clive also revealed that he has discovered
Clive. In another shot, Sir Paul appears to be his wife Linda were taken three years before many other images of equal interest that
bungee jumping, guitar in hand. “That was Linda passed away and the close bond they have yet to be revealed and may form the
also his idea,” recalls Clive. “He turned up share is clearly evident. “I remember taking basis for a follow-up to his successful
with a bungee rope and said he liked the this photograph, seeing Paul looking up at Arrowsmith: Fashion, Beauty and Portraits,
idea of being photographed bungee Linda and thinking how in love they were. published by ACC Editions in 2015. For
jumping from a great height holding his These images capture the seminal moments further info, visit: clivearrowsmith.com

MAKE SUREYOU GETONE’S GOOD SIDE

CELEBRITYPHOTOGRAPHERANNIE LEIBOVITZ PHOTOGRAPHS
HER MAJESTYAND FAMILYFOR 90TH BIRTHDAYCELEBRATION
HIRING A PHOTOGRAPHER for a milestone birthday is a nice treat, and
captures the event for future posterity. But when you’re The Queen and
it’s your 90th birthday then only the best will do! Renowned celebrity
photographer Annie Leibovitz was recently drafted in to photograph
The Queen in her signature, much admired style for her 90th birthday.
This isn’t the first time Leibovitz has photographed Her Majesty, however
these images are far more informal than the last. The previous shoot
showed HRH in full ceremonial attire, and was the root of controversy
when a BBC documentary was edited to make it seem as if The Queen
stormed out of the photoshoot, an incident now known as ‘Crowngate’.
Three images have been released from the latest shoot: Her Majesty
with the youngest royals in a drawing room at Windsor Castle, walking the
grounds with her dogs and an intimate portrait with her daughter, Princess
Anne. Happy birthday from everyone at Digital SLR Photography ma’am!
ANNIE LEIBOVITZ/PA

18 Digital SLR Photography June 2016


JaG_cz / ShuttERStocK
crowdedskIes
UK drone rUleS Come Under SCrUTInYAfTer neAr dISASTerATHeATHrow
I
f you watch the news you will no doubt
have seen that police are investigating an
incident whereby an alleged drone collided
with a British airways airbus a320 near
heathrow airport. the flight from Geneva
was carrying 132 people when it struck an
airborne object at around 580m above
Richmond Park in London. thankfully, the
aircraft landed without serious damage.
although it's speculated to be a drone, the
incident has raised concerns about the rising
popularity in drones, and out-of-pace laws.
there is currently no requirement for pilots
to be registered, tested or licensed before
their drones take to the skies. Digital SLR
Photography contacted drone manufacturer
and market leader DJI for its opinion on the
matter: "Regulation should be made based
on facts, including the tens of millions of safe
flight hours logged, as well as the weight of
the craft," said adam Najberg, DJI’s global
director of communications. "we and
regulators want the same thing — safe skies.
and we look forward to a harmonisation of
rules across the E.u. Everyone who flies, from
hobbyists and enthusiasts to commercial
operators, needs to know the rules. But we
believe safe operation comes from a culture
of compliance among drone operators, with
clear safety standards and operating rules."
uK-based professional RPQ-s and caa-
certified aerial filmmaker, Danny cooke,
thinks that an overhaul of the current
regulations is needed: "the issue for me is
that the regulations should be far more
proactive for people that have taken the time
to get qualified. at the same time, if you just
want to pick up a drone and learn to fly I think
that there should be designated areas where
...You’renotmuch
saferontheground!
Photographing planes coming into land at the famous
GustafIII airport on the island ofSt. Bart’s, in the
Caribbean, is a populartourist attraction, as the short
runwayrequires pilots to flyincrediblylowon approach.
Arecent 360video released onYouTube byCatersTV
shows one photographerwho got a bit too close for
comfort,when a small plane dipped lowerthan expected
as itwhizzed centimetres overhead.Viewthe incredible
video foryourselfat : http://bit.do/closecall
Snapshots
futuretechnologY
BlInktech
Theideaofdiscrete
wearabletechnologystill
seemslikeafuturistic
dream,butitcouldbe
closerthanyouthink.
Technologywebsite
Sammobile.comreports
thatSamsunghasfileda
patentfornewcontactlens
technology.Thepatentreferstoaugmented
specIal realityfeatures,andthecontrolandoperationofa
report camerabyeyemovement,aswellaslinkingthe
lensestoasmartphone.we’reafewyearsoffyet,
butifyouseesomeonesuspiciouslyeyeingyou
upanddownorwinkingatyouinthestreet,they
couldbetestingoutanewprototype!oryou
mightjusthaveanadmirer…
you can do so, as a hobby. then when you
have a licence you can fly in more public
dualoIs
areas. Sadly, it takes one idiot to mess it up for
Imagestabilisation
those that adhere to the rules – to fly next to
continuestoimproveatan
an airport without permission is stupid!"
impressiverate,with
there are rules in place – the civil aviation
moderncamerasand
authority states that small unmanned aircraft
lensesboastingfiveor
(7kg or less) "must not fly in (a) class a, c, D or
morestopsof
E airspace unless the permission of the
stabilisation!website
appropriate air traffic control unit has been
Canonrumors.comrecently
obtained; (b) within an aerodrome traffic
discoveredapatentfiledby
zone during the notified hours of watch of
Canonthathintsatanewdevelopment–dual
the air traffic unit (if any) at that aerodrome
opticalstabilisedlenses.ratherthanonesetof
unless the permission of any such air traffic
stabilisedopticswithinalens,thepatentdescribes
control unit has been obtained; or (c) at a
two.onesetwouldseeminglybeworkingallthe
height of more than 400 feet above the
time,whileasecondsetwouldactivateonlywhen
surface unless it is flying in airspace described
required,possiblyatlongerfocallengths.
in sub-paragraph (a) or (b) above and in
Hopefullywe'llseethistechmakeittomarket…
accordance with the requirements for that
airspace." further regulations cover the
operation of drones near people, buildings
or vehicles, and built-up areas. PhotoHack!
things are moving in the right direction,
however: DJI has installed software in its
No_tyPoGRaPhIc_maN
latest models to stop flight near airports and
flight zones. "Enhancing aviation safety is
DJI’s top priority, which is why we have
proactively incorporated geofencing
technology into our drones," says Brendan
Schulman, DJI’s vice president of policy and
legal affairs. "No-one has business operating
a drone without authorisation near an airport
flight path, and we have supported proposals
to criminalise hazardous operation in those
circumstances." the question that remains is
whether the caa and aerial community can
reach a solution that allows drone use to
continue in a safe manner. for more on reverseYour lenses
drones and the law, visit: www.caa.co.uk
Did you know that you can reverse
any lens to improve its close-
catERStV / youtuBE
focusing ability? there are dedicated
reversing rings available that allow
you to mount any lens back-to-
front, but in a pinch you can hold a
lens the wrong way in front of your
camera and shoot through it
detached. It works best with a 50mm
prime, as it’s easy to hold in place.
you’ll have to guess the exposure
manually too as the camera’s
aperture will read f/0, but the results
can be surprisingly good!
June 2016 Digital Slr Photography 19
Snapshots / The world of photography

JAROMIR CHALABALA / SHUTTERSTOCK

Quick E
Ed
dit
AUTOADVANCE
Here’s a handy hint to save time in Adobe
Lightroom – when scrolling through your
images and either rating, colour labelling or
flagging them, make sure that the Caps Lock
key is turned on to enable Auto Advance. This
automatically loads up the next image in the
sequence. Also, in case you didn’t know, the
1-5 and 0 numeric keys rate images, the 6-9
numeric keys colour label images, the
P key flags an image, the X key rejects it and
the U key unflags a flagged or rejected image.

Smile with
MAKEUSLAUGHFORACHANCEOFWINNINGASAMSUNG64GBSDXCPROPLUSMEMORYCARD!

S
AMSUNG’S LATEST Pro Plus SD cards are designed for ultra-fast data transfer, with read
speeds up to 95MB/sec and write speeds up to 90MB/sec, making them ideal for high-
resolution images and 4K video. Plus they're waterproof, temperature-proof, X-ray-proof
and magnetic-proof, so you can be sure of their reliability no matter the conditions. So you can
experience this superior card for yourself, Samsung is generously giving one away. All you have
to do is come up with a witty caption for the image above. Email it with subject 'Smile this June'
to enquiries@digitalslrphotomag.co.uk by 21 June 2016 and, if you make our sides split, you’ll
scoop a Samsung Pro Plus 64GB SDXC card worth over £80. UK entries only. www.samsung.com

PhotoBasics:Teleconvertersexplained
THEY PROMISE TO EXTEND THE REACH OF YOUR EXISTING LENSES, BUT WHAT
THEYPROMISETOEXTENDTHEREACHOFYOUREXISTINGLENSES,BUTWHAT
ARETELECONVERTERS,WHATDOTHEYDOANDSHOULDYOUUSETHEM?

Q What is a teleconverter? Teleconverters

are small optical devices that sit between
your camera body and lens and magnify the
@200MM

focal length by a set amount – usually 1.4x, 1.7x

or 2x. So a 1.4x teleconverter used with a 50mm Teleconvertersarea
quickandinexpensive
lens gives you a 70mm equivalent focal length. waytoincreaseyourfocal

Q What are the downsides to using one? The

higher magnification your teleconverter,
the less light reaches the sensor – this can
length.Buttheyaren’t
withouttheirpitfalls.
@200MMWITH2XCONVERTER
cause problems with image blur, as a slower
shutter speed is required. A 1.4x converter loses
one stop of light, so a f/4 lens becomes an f/5.6
lens and a 2x teleconverter drops two stops of
light, so that f/4 lens becomes an f/8 lens.
You're also adding more glass between you and
the subject, which can soften images a little.

Q Will autofocus still work? Most big-brand

teleconverters include autofocus, however
most camera autofocus systems need a
maximum aperture of f/5.6-6.7 to function
correctly. Bear this in mind when pairing a
slower lens and teleconverter together.

Q What are the plus points? Increased reach

for relatively little outlay. A teleconverter is
ROSS HODDINOTT

a relatively inexpensive, and compact way to

increase your reach. We’d recommend sticking
to 1.4x variants and only using them with fast
maximum aperture f/2.8 or f/4 lenses.

20 Digital SLR Photography June 2016


What We’ve been Watching
Looking forvisuaLinspiration? Here’swHattHe DigitalSlR PhotogRaPhyteam Have beenwatcHingtHis montH…
Impact– BehIndthe SceneS
by Erik Johansson
Photographers recording behind-the-scenes
videos of shoots is becoming more popular,
and it’s a trend that we’re enjoying. Few do it
as well as conceptual artist and retoucher
Erik Johansson, whose behind-the-scenes
videos themselves are a work of art and have
incredible cinematic effects and transitions
– and that’s before you even consider the
skills involved to create his images. Enjoy!
http://bit.do/DSLR_1151
hIghVelocItyaerIalFIlmIng
byBlue Sky Aerial
We’re big fans of gadgets, so a film shot using
a GSS 250 five-axis gimbal is already pretty
cool. But, strap that gimbal to the side of a
fighter jet and film another fighter jet cruising
through the sky and, well, that’s just the
coolest thing ever. Shot on a RED Dragon 6K
camera with Canon CN 70-300mm lens, the
GSS 250 delivers silky-smooth shots at over
300 knots and during 2.5G turns. Incredible!
http://bit.do/DSLR_1152
Snapshots
aphotographISa
clIckaWay.agood
photographISa
thouSandclIckSaWay
andaBetterone,a
mIllIonclIckSaWay
KowthamKumarK
Flickr
AReptilian eye
By gavinJamesduncan
www.flickr.com/photos/42975474@n02/
anyself-respecting cityorarchitectural
photographercan appreciate a good spiral
staircase, and gavin has found a corkerhere!
we love thevibrant colours ofthis industrial-
looking spiral, and the image title isvery
fitting! shot inside the spiral staircase of
the Lighthouse in glasgow, scotland, gavin
had to increase the iso and prop himselfagainst
a guardrail to gain a decent exposure and a
sharp shot. keep up the goodwork gavin.
nikon d800withaF-S 24-70mm f/2.8g lens
exposure: 1/10sec at f/4.5 (ISo 2500)
photographer captureS
StunnIngarctIcWIldlIFe
by National Geographic
There are worse ways to spend a spare ten
minutes than watching wildlife photographer
Vincent Munier trekking through the Arctic,
photographing the native creatures. Not a
single word is uttered in this beautiful film, but
it doesn’t need to be – it captures the barren
landscape and showcases some wonderful
wildlife work from Vincent’s ‘Arctique’ project.
http://bit.do/DSLR_1153
June 2016 Digital Slr Photography 21
 Fusion Photo OC Lite II
From £1099.99
For full spec please visit:
www.chillblast.com/photooclite

Blazingly quick performance backed up by award winning

customer service and 5 year warranty.

Chillblast
www.chillblast.com/photooclite
01202057274
Intel, the Intel Logo, Intel Inside, Intel Core, Core Inside,are trademarks of Intel Corporation in the U.S. and/or other countries.
Prices are correct at time of going to press (24-03-16) E&OE

TravellingCars
We catch upWithyoung instagram sensation Kim Leuenberger,Whose
Travelling Cars series is catching peopLes’imaginationaroundtheWorLd
What's your background in photography?
Photography was never a career plan. It
started out as a hobby, and it wasn’t until
when Instagram really took off that I started
going out specifically to take photographs,
rather than just casually shooting when I saw
something. I shared my images online and
started getting nice feedback – that triggered
me to go out more and get creative. Four
years on and I’m studying photography in
London and doing freelance work.
Where did the Travelling Cars idea originate?
There was a weekend on Instagram where
we took photographs to raise awareness for
autism. I received a camera for my birthday a
few weeks before so I took some props from
my bedroom to shoot and one of them was
a toy car. I posted the images on Instagram
and it got a lot of attention so I started taking
that car everywhere. I was travelling quite a
bit at the time, so had plenty of interesting
locations, and before long I was buying more
cars and taking them with me too.
It's a really fun idea! How has it evolved, and
where's the series heading now?
When I started, I was shooting a lot of the
images at the beach. A lot of the toys have
surfboards on them, so it made sense. I was
using a Canon EOS 5D and a 50mm f/1.4
lens, shooting everything wide open to
freeze the splashes and create bokeh. I
probably shot a bit too much at the beach at
first! I like to make the location a bigger part
of the images too now, by not always relying
on a shallow depth-of-field. I’m also always
on the look out for interesting, or amusing
locations and situations for the cars.
The world of photography \
projeCT
insighT
Have you always had an interest in travel?
I’ve travelled throughout my life; I inherited
wanderlust from my parents. When we visit a
new place we can’t stay still – we always rent
a car and travel by our own rules.
Do you have a selection of cars nearby at all
times, just incase a shot presents itself?
I have lots of different-sized cars – some big,
some handbag-sized – those are the ones
that usually end up going everywhere with
me. When people see me laying on the floor
photographing a little toy car I get a lot of
curious looks and people asking "are you
OK?", but I don’t pay attention to what
people think. It’s funny – when I shoot in
London no-one looks twice if you’re laying
on the floor shooting a toy car in the street!
What’s been the reaction to Travelling Cars?
People tell me that the images are dream-
like. I think it takes people back to their
childhood in a way. The cars look quite
animated and have an expression too, so you
can relate to them. The images make people
smile and feel happy. That’s why I continue
with it. I’ve had mostly positive feedback and
the series has garnered quite a bit of press
too. It’s just really good fun.
You’ve amassed quite the following thanks
to Travelling Cars – your personal Instagram
account (@kim.ou) has over 115,000 fans
and Travelling Cars (@travellingcars) almost
30,000 – what’s this attention been like?
When I’m at university it’s like my secret life –
I don’t talk about my online presence as I’m
always scared what people might think! I now
get a lot of requests from agencies that want
Instagrammers in their portfolio. It’s odd how
snapshots
the world of marketing is changing. I think
brands are finally clambering onto the
bandwagon and realising the audience
they're missing. The biggest downside is that
maintaining a large social media presence is
time-consuming and higher pressure than it
should be. I get stressed out if I don’t have
time to interact with followers properly, so
sometimes I just don’t end up posting for
periods on end, even when I have new
content to share.
You’ve recently been working with several
brands – Olympus, Leica, Thomson Cruises,
Netflix to name but a few – how do these
partnerships come about?
Some of the work comes through agencies,
and some of it I pitch to the brands direct.
I've just been involved in promoting the
launch of the new Huawei P9 smartphone
too – they're really focusing on the mobile
photography side of things. I take the most
pride when I pitch a project myself and it
comes to fruition – I enjoy taking the lead
and creating an idea from scratch to make
one of my own ideas come true.
What do you think the future holds for
yourself and Travelling Cars?
Recently, I've been doing freelance work in
the travel industry, so I get to go on some
crazy adventures. I think I would be scared to
do just photography full time as I wouldn’t
want to get bored of it. At the moment, I’m
just having fun taking the pictures and
sharing them. I’m not thinking I’m going to
change the world or anything. I’m not taking
it too seriously.
FollowKimonInstagramat@kim.ouand@travellingcars
June 2016 Digital slr Photography 23
 awards
special

Worldof
opportunity
theannualsonyworldphotographyawardsrecognisetheworld'sbestphotography,andactsasa
platformforphotographerstogainincredibleexposure.wefindoutwhotoppedoffthepodiumthisyear

1)SmileWinner:wakeupcall by alexingle.
"it'seasterandafteralargecelebratorymealamoment's
peaceisanopportunityforanap.theyoungestmemberof
thenawrotfamily,havingnoneofit,climbsontothesofaand
preparestowakehisgrandfather.thebriefmomentbefore
jumpingonhisgrandfather'slegsisoneofpurejoy."
© aLEXaNDER INGLE / 2016 SoNy WoRLD PhotoGRaPhy aWaRDS
Awards Special

© MINH NGO THANH / 2016 SONy WOrld PHOTOGrAPHy AWArdS

2 3

© HeNdrA PerMANA / 2016 SONy WOrld PHOTOGrAPHy AWArdS © SAI AuNG MAIN / 2016 SONy WOrld PHOTOGrAPHy AWArdS

26 Digital slr Photography June 2016

 © salvo bombara / 2016 sony World PhotograPhy aWards

4
© dikky oesin / 2016 sony World PhotograPhy aWards

1 5

T
1)ShortlistedforOpenArtsandCulture:LightingDream he sony World Photography awards When it comes to strikingly beautiful imagery,
by MinhNgoThanh.Candlesarereleasedonariverduring has become one of the most respected however, the open competition holds the
VuLan,anannualBuddistfestivalinVietnamwherebypeople competitions on the photo circuit, it main visual appeal; photographers of all ages,
prayfortheirdepartedfamilymembers.
attracts record numbers year-on-year from backgrounds and experience levels entered
2)ShortlistedforOpenSmile:GreenSmile by Hendra
Permana.TakenatFatahillahMuseumYardinJakarta, professionals to enthusiasts around the from 186 countries to compete in one of its
Indonesia,thisstreetentertainerwearsgreensuitsand globe. the 2016 competition was no ten categories – and the standard was
make-upandactslikeasoldierfortouristswantingpictures. different, with a record-breaking 230,103 spectacularly high.
3)ShortlistedforOpenLowLight:Consider by SaiAungMain. images seen, sorted and assessed to create a We did have our fingers crossed that 2016
AnoldmansmokingatatempleinBagan,Myanmar,isbacklit shortlist of inspiring talent and exceptional might be the year for british photographers,
byshaftsofwindowlight. images, resulting in two overall winners for as the World Photography organisation
4)ShortlistedforOpenEnhanced:TheLightKeeper by Salvo
Bombara,Italy.Photographedunderwater,themodelisan the open and Professional category. announced a 135% increase in brit entries
ItaliandancercalledElvisFrancescoSkenderovic. the Professional shortlist comprised compared to 2015. of those who entered,
5)ShortlistedforOpenPanoramic:TheWavesofSawarna serious photographers who have submitted 21 were shortlisted: 12 for the Professional
by DikkyOesin.ThiswasshotatalocationnamedCoralTaraje a series of works across 14 categories, most competition, six for the open, and three in
inSawarna,Indonesia,famousforitslargecoralshapedlike addressing political and contemporary issues the youth competition (for photographers
stairs,bigwaves,beautifullandscapeandstunningsunsets. that resonate with the viewer. From Current aged 19 and under). however, only three
YoucanpurchasetheSonyWorldPhotographyAwards
affairs to the environment and Conceptual went home with awards: alexander ingle,
book,featuringallthewinnersfromtheNational,Youth, art to Portraiture, the range is powerful, who won the smile open category; david
OpenandProfessionalawardsaswellasjurycomments, creative and arguably higher brow than we’ve Chancellor who took second place in the
onlinefor£35at:www.worldphoto.org. come to expect from the open competition. Professional Campaign category; and lucy

June 2016 Digital slr Photography 27

Awards Special
Nicholson who came in third place for
Professional Environment.
It was Japan's Kei Nomiyama who won the
title of Open Photographer of the Year and
USD$5,000. Iranian photojournalist Asghar
Khamesh received the highly coveted prize
of the L’Iris d’Or Professional Photographer of
the Year and USD$25,000 prize fund. All
other winners received the latest in Sony
imaging equipment.
Professional entries were subject to tough
scrutiny by an all-new line-up of judges,
including photography critic for the Evening
Standard, Sue Steward as chair, and seven
award-winning photographers, critics and
picture editors. Industry professionals
assessed the Open, Youth, National Award
and Student Focus competitions.
When speaking about the competition,
Scott Gray, CEO, World Photography
Organisation said: “The awards consistently
provide an incredible array of work, from a
multitude of countries, and most importantly
provide the chance for photographers to be
discovered and extend their careers. I hope
that the winning work this year can provide
an inspiration to other photographers,
28 Digital slr Photography June 2016
1)ShortlistedforProfessionalEnvironment:RespecttheTusk
by MohammedYousef,Kuwait.Thelovestorybetweenthe
lionandthelionessinMaasaiMaraisfascinating.Angerinthis
caseistranslatedasromanceandcare.Thisimageispartofa
seriesofwildlifepicturessubmittedtotheProfessionalawards.
2)PeopleOpenWinner:CubaBeach by AlexandreMeneghini.
PeopleswimintheseainHavanainApril.Cubaregistereda
temperatureof39.7°C,0.1°Clessthantheisland'shistoric
record,accordingtoJoseRubiera,directoroftheNational
ForecastCenteroftheInstituteofMeteorologyofCuba.
3)OpenPhotographeroftheYear:EnhantedBambooForest
by KeiNomiyama.TheseasonofafireflyinJapanisatthe
beginningofarainyseason.Thisfireflyspecies,calledLuciola
Parvula,canbefoundinbambooforestsanditspopulation
decreaseseveryyear.Thispicturewastakenunderalittle
moonlightandwasshortlistedfortheLowLightcategory.
4)ShortlistedforOpenSplitSecond:TooMuchPractice...
by KhairelAnuarCheAni.TakenduringtheBaliMelastiFestival,
thisimageisoftheyounggirlswaitingtheirturntoperform.
5)ShortlistedforOpenArchitecture:StairwaysfromHeaven
by MartinSeraphin.ShotunderabridgeinBelgiumwithaSony
A7II&Zeiss16-35mm.
helping to push their creative boundaries,
whilst also serving to build the wider
appreciation of photography.”
The winners will now feature in a travelling
exhibition, due to be announced shortly. The
2017 Sony World Photography Awards open
for entries on 1 June. www.worldphoto.org 2
 © MohAMMed youSef / 2016 Sony World PhotogrAPhy AWArdS

3
© Kei noMiyAMA / 2016 Sony World PhotogrAPhy AWArdS

1 4
© KhAirel AnuAr / 2016 Sony World PhotogrAPhy AWArdS

5
© AlexAndre Meneghini / 2016 Sony World PhotogrAPhy AWArdS © MArtin SerAPhin / 2016 Sony World PhotogrAPhy AWArdS

June 2016 Digital slr Photography 29

Focal length: 90mm
Exposure: F/5.6 1/2000sec

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

The VC-System (Vibration Compensation) makes it

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

For Canon, Nikon and Sony mounts

(Sony mount model without VC)

Di: For APS-C format and

full-frame DSLR cameras

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

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

www.tamron.co.uk
 The LocationGuide

Santorini
Withitsfamousblue-domedchurches,whitewashedhousesandspectacularsunsets,theislandofSantorini
shouldbeoneveryphotographer’sbucketlist.WepackourbathingsuitsforanoverseasLocationGuide…
LOCATION: SOUTHERN AEGEAN SEA, GREECE, EUROPE
 The
TheLocationGuide
LocationGuide

Santorini
You may never have visited the island of
Santorini, but we bet our bottom dollar
that you’ve seen images of it. It may have
been on the cover of a travel magazine or
brochure, it could have even been at the
cinema or on TV. Santorini is regularly used
as a filming location (Tomb Raider: The
Cradle of Life, Indiana Jones and the Fate of
Atlantis; Sisterhood of the Travelling Pants,
to name a few). It may even have been in
your local supermarket, on packaging for
pitta bread, feta cheese or another Greek
delicacy, as images of Santorini are often
used to symbolise the Greek islands’ beauty.
Santorini is basically a barren lump of rock
in the middle of the Aegean Sea – the remains
of a mammoth volcano that gloriously blew
its stack about 3,600 years ago. Most tourists
arriving in Santorini will be heading to the
busy coastal resorts of Perissa and Kamari, as
that’s where the best beaches are. If you’re
on a budget, they’re good places to stay as
there are lots of cheap hotels and restaurants
but, photographically, you’ll be spending your
time on the western side of the island.
The best part of Santorini stretches
from the main town of Fira (Thira), north to
Firostefani, onwards to Imerovigli then up 1 3
to the town of Oia in the northwest. These
whitewashed towns cling perilously to the
rim of the volcano and spill down its steep
slopes towards the sea like paint from a can.
To get your bearings, start out in
Firostefani, which is just north of Fira but
really an extension of the main town these

“WhyIloveSantorini”
2
“I’ve been to Santorini at
least half a dozen times
over the past 15 years and,
although the island is
much busier with tourists
now than it used to be, it’s
still a beautiful and inspiring place. You
just can’t fail to take great shots. The
weather is fantastic and consistent
during the summer and just by
wandering around, getting off the main
streets and finding narrow lanes away days due to urban expansion. If you’ve hired perched on the top of 300m-high cliffs, then
from the main drag, you can find lots to a car or moped, find the Santorini Palace Oia in the far distance, about 15km away.
shoot. The light is strong during the day, Hotel and park in the public car park nearby. This makes a good view at dusk when the
but this can work well for graphic shots
Directly opposite the hotel entrance is one two villages are lit up and sparkle against the
of the architecture against blue sky,
of the most famous views in Santorini, of deep blue evening sky.
which looks amazing when polarised.
the blue dome and arched bell tower of If you look left you’ll see a pathway
For classic views of Oia and Fira it’s
Agio Theodori Church with the caldera that takes you down towards Fira with
worth heading out early – well before
6am in summer. The light is soft and (volcanic crater) in the distance. It’s actually uninterrupted views of the caldera every step
warm and you’ll have the place pretty best photographed in the middle of the day of the way. En route, stop to shoot wide-angle
much to yourself! The classic views are when the sun’s overhead as the dome of the caldera views with the whitewashed rooftops
easy to find if you have a wander around church is well lit and the sea and sky are a of cliff hotels and houses immediately
and do a recce. The sunsets are also to vivid blue – especially if you use a polariser. below you. Sun-bleached driftwood, an old
die for. The best sunset view is over Oia From there, head down to the walkway by rowing boat and terracotta urns on the roofs
from the ruin of the old fort, but it gets the church where you can enjoy spectacular provide foreground interest and break-up the
packed with tourists so either arrive views across the caldera – passing cruise gleaming white.
early or find an alternative view – some ships look good in silhouette against sunlight As you head down to Fira along this
hotels and restaurants have great views shimmering on the sea. walkway you’ll soon encounter another
from their balconies.” If you look right you can see Imerovigli beautiful domed church perched on the

32 Digital SLR Photography June 2016

 The LocationGuide

Useful Information

ALL IMAGES: LEE FROST

Where is it? Santorini is one of
the Cyclades islands in the
southern Aegean Sea, 120 miles
southeast of the Greek mainland and
north of the island of Crete. It covers
an area of approx 28 sq miles and has a
population of around 16,000.
Getting there: There’s an airport
just four miles from the main
town of Fira and you can fly there from
various UK airports. EasyJet flies out of
London Gatwick and Manchester
direct (www.easyjet.com). There are
also direct flights from London,
Newcastle and Birmingham with
British Airways, Thomson and Thomas
Cook. Flight time is approx four hours.
Getting around: The easiest way
to travel is by hiring a vehicle on
the island so you can come and go as
you please. There are car hire
companies at the airport, or you can
book online beforehand – avis.co.uk,
easyjet.com, santoriniholidaycars.
com. Hotels on the island can also
arrange car hire or you can pop into
one of the many hire places in the
town of Fira. A popular way to explore
Santorini is by moped or quad bike and
there are plenty of hire companies
around the island.
Places to stay: Santorini is a
holiday island so there are
dozens, if not hundreds, of places to
stay, with prices to suit all budgets. Oia
is the most expensive (but beautiful)
town, followed by Imerovigli and Fira.
Firostefani is a good base too. If you
want to be close to the beach, check
out the resorts of Perissa and Kamari.
Places to eat: There are cafes,
bars and restaurants in all the
towns and villages – you’ll see them as
you walk around. If you want dinner
with a caldera view in Fira and, even
more, in Oia, then book in advance.
4

1) TheviewfromFirostefanitowardsImerovigliandOiafrom 5
theCalderapathwaytoFira. 2) ThebeautifulchurchofSt
Stylianos,bathedineveninglightwiththecalderainthe
background. 3) ThecatholiccathedralinFiraframedbya
nearbyarchway. 4) Thefamousblue-domedchurchofAgio
Theodori. 5) ThisistheFiratownintheglowofanotherlovely
sunset,taken fromthefootpathbetweenFirostefaniandFira.

cliff edge – the church of Saint Stylianos. Its

graceful curves and pastel colours will get
your creative juices flowing, and it’s best
photographed in the softer evening light,
during the last hour before sunset. Experiment
with angles – details of the church can be just
as effective as shots of the whole thing.
Continuing along the walkway, Fira will
soon appear in the distance. The best shots
of the town are from this walkway at various
points along the way. You’ll see the spots
where the clear views are, the final one being
close to where the cable car carries tourists
down the cliffs to the port. Shoot Fira bathed

June 2016 Digital SLR Photography 33

 The
TheLocationGuide
LocationGuide

Santorini
in the soft evening light as the sun sets, then
wait a little while for twilight and shoot some
low-light images of the town as man-made
illumination starts to take over.
It’s worth having a wander around Fira
in search of architectural detail shots – and
there are more churches scattered around
the town. The best one is set above the town
– you’ll see its peach and pale blue panels and
impressive bell tower as you walk down the
pathway from Firostefani by looking over
the wall to your left. Once you get to Fira,
veer left and you should find the church. It’s
actually the Catholic Cathedral of Saint John
the Baptist – ask a local if you can’t find it. This
building will keep you occupied for a while as
you explore it from different angles, capturing
the dome and tower against the sky or framing
it with a nearby archway – use a polariser to
deepen the blue sky so the colours really pop.
Heading north up the coast, Imerovigli is
really just a scattering of stylish whitewashed
hotels that have been built to take advantage
of the amazing caldera views. It makes a
good base for this reasons, as well as the
fact that it’s between Fira and Oia. If you
do stay, try to get a room with a balcony
view so you can shoot the stunning sunset 6
over the caldera with Oia in the distance.
Other than that, Imerovigli is a great place to 6) ThisiswhataclassicsunsetoverOia lookslikefromthe 7
shoot details and abstracts during the day of castleruins;youcanseewhyitattractsthecrowds.Arrive
whitewashed walls and blue doors against thereearlyifyouwantagoodview. 7) Theearlymorningview
alongthecoastfromOiatowardsImerovigli. 8) Twilightover
Oiaasthelightscomeon,shotfromFirostefani. 9) Atypical
houseinFirostefani. 10) ThisisoneofOia’sclassicviewsof
Keep shooting! AgioTheodori,shotintheshortlightofearlymorning.

Island hop to Mykonos the sky, flights of painted steps, plant pots
with colourful flowers; you get the idea. Your
LEE FROST

polariser will be a permanent fixture on your

70
MILES
NORTH
There’s enough to keep you occupied,
photographically, on Santorini for four
to five days. Go for a long weekend and
you’ll be fine, but a week can be too
long. You could always put your camera
away and sunbath for a few days, but if
that’s not your bag, another option is to
take a boat to the island of Mykonos for
a day or two. There are various sailing
options – check them out at: www.
seajets.gr, www.hellenicseaways.gr
and www.gtp.gr. You don’t need to
book accommodation on Mykonos
as hotel and guesthouse owners wait
at the dock for the ferries to arrive and
offer cheap rooms. Mykonos town
is the most interesting location, with
its harbour of colourful fishing boats,
whitewashed buildings and churches,
windmills and the beautiful waterfront
area of Little Venice, which is especially
photogenic at sunset and twilight.
lens and the middle of the day is as good a
time as any to be out and about as the strong
light and short, dense shadows, suit the kind
of subjects you’ll be shooting. 8
The jewel in Santorini’s crown is the
stunning village of Oia, up on the northwest
corner. You’ll probably spend more time
there with a camera than anywhere else, but
be warned – from June to September it gets
crazy busy with cruise-ship tourists. Literally
thousands of them arrive at all times of the
day in streams of coaches and fill the main
street to bursting point – it’s like a football
match has ended as the fans head home!
To avoid the crush, get there before sunrise
– in June that’s by 6am, for example – and the
place will be quiet until about 9am. The light look for routes to get to specific spots –
is also much nicer – soft and warm. Park in there are some beautiful churches, colourful
one of the public car parks on the main road painted houses, flights of stone steps and
in to Oia – the closest one to town is free and great little details of doors, windows, painted
will be almost empty so early in the day. Head gates and plant pots. The more you wander
towards the main street, walking beyond the and meander, the more you’ll find.
shops and you’ll get an immediate feel for Back on the main walking street, if you
the place. There are a couple of big churches keep going you’ll eventually see the dusty
worth shooting on this street, but your best ruins of Oia Castle. That’s the place to head
bet is to turn left off the main street and go for the classic views of Oia – whitewashed
for a wander down one of the narrow streets. houses and cave hotels spilling down the
Within seconds you’ll be greeted with great edge of the volcano rim with the deep blue
views of the village and caldera, then you can sea and sky beyond. The light’s actually better

34 Digital SLR Photography June 2016


9 10
in the afternoon than morning and a polariser
is again a must. In fact, it’s worth checking out
the same locations and views that you shot
early in the morning during late afternoon, as
some can work well at both ends of the day
and others are better in the afternoon.
The shot most photographers want to
take at Oia is of the beautiful sunset that
occurs pretty much every evening through
the summer. Annoyingly, so do hundreds
of other visitors. It has become a ritual on
Santorini to watch the sun set from Oia so the
place gets packed. Up to two hours before
sunset, tourists start to gather at the old castle
for the best view, then along the nearby
streets. They climb on walls, occupying
every inch of space. From June to the end of
August, if you turn up an hour before sunset
there will be nowhere to set up a tripod or
enjoy the view. Your only option is to grab
some food and cold drinks and stake your
claim at least two hours before sunset, ideally
by the castle ruins. It’s worth the effort as
you’ll be rewarded with beautiful images, and
if you keep shooting during twilight Oia lights
up against the darkening sky.
The LocationGuide
ALL IMAGES: LEE FROST
Start Shooting...
Things to shoot: Stunning views
of the caldera and the towns of
Oia, Imerovigli and Fira, beautiful
sunsets, blue-domed churches,
colourful houses, quirky details – plant
pots on ledges against the deep blue
sky, cats snoozing in the shade…
When to go: From mid-May to
the end of August you can
expect blue skies and sunshine every
day, hardly a cloud, no rain and great
sunsets. The island gets very busy in
the height of summer though – cruise
ships dock in the lagoon and literally
thousands of tourists are dropped in
Oia and Fira daily.
Recommended kit: A general
travel kit is what you need – a
DSLR with zooms covering from
16-300mm full-frame (10-200mm
APS-C); tripod and remote release;
polariser; 0.6 and 0.9ND grads.
These main locations on Santorini will
keep you occupied for several days, as
you’ll want to visit and shoot most of them
probably more than once. Don’t ignore the
rest of the island though – the inland villages
of Emporio , Pyrgos, Exo Gonia, Vothanos
and Messaria receive fewer tourists, but
they’re worth exploring as you’ll find a more
traditional way of life there to photograph.
If you’ve time to spare, the ruined Minoan
Bronze Age settlement at Akrotiri is also
worth visiting out of historic interest, though
it offers little photographically.
June 2016 Digital SLR Photography 35
 PH TO
SKILLS
ideas &adviCe for better Photos

p46 shootanactionsequence
CaPturethestagesthatmakeuPasPortingmoment

p38 dissolvableobjects: p42 windMillsilhouette: p50 MergeaMulti-shotsequence:

aCreativestill-lifeideawithatwist strikingshaPesandstunningsunsets CombineyourserieswithPhotoshoP
 PH TO
SKILLS

Clouds of Colour
Puttingthe life back into still-life, creativewhizz Dinabelenko is backto showyou howto
create surrealDissolvingvegetableanD fruitimages,with minimalhelPfrom PhotoshoP

Camera: nikon D800 / Lens:nikkor af-s 105mm f/2.8g micro / FLash: 2x nikon sb-910

I
’m always on the lookout for new and
creative ways to capture still-lifes. so,
when I had the idea of creating an image
that appeared to show the colour dissolving
away from an item, such as a vibrant
vegetable or colourful fruit, I knew I had to
make it a reality. after some trial and error, I
managed to capture a shot I was happy with
and, when I shared it online, I received a lot of
messages asking me if it was a 3d computer
generated model or if it was a composite of
two different images. It gives me great
pleasure to reveal that it was created almost
entirely in-camera, with a little clever trickery.
This trick is very simple and extremely
flexible. you can photograph several objects
at the same time and make a fast-dissolving
salad or you can change the object entirely
and photograph, for example, a martini glass
with a cloud cocktail seeping away from it.
The gear you need is rather simple too: a
camera, tripod and any light source suitable
for shooting at high speed – in my case it’s
two flashguns, a large diffuser and a reflector.
you can use almost any lens you want, but a
lens with good macro capabilities would be
the best choice. a remote release would be a
convenience, too, but not a requirement. as
for props, you will need a main object – for
this tutorial it’s a chilli pepper on a fork (but
any colourful vegetable or fruit will work just
as fine), a fish tank with flat sides, a syringe
and some paint. let’s go!
PH TO
sKIlls

1 PreParethe ProPs Pin your chosen

vegetable or fruit to the fork and secure
it inside the fish tank. Here, the fork is affixed
to a thin sheet of glass with glue. You can use
clamps, but avoid using string or thread as the
props will sway with water motion. Carefully
fill the fish tank with water. If you find bubbles
clinging to the props, use a fine paintbrush to
gently sweep them away.

2 Matchthe colour If you’re using acrylic

paint, as I recommend you should (see
panel, opposite), then use some water to
make the paint less dense and mix the colour
to match the tone of the vegetable or fruit. It
doesn’t have to be 100% correct, just close
enough to trick the eye. Here, a couple of
drops of orange paint were added to increase
the warmth of my colour.

3 Mindthe orientation Keep in mind that

paint will be poured from the top to
the bottom, but the final shot looks more
interesting if the cloud of colour flows from
left to right, or from bottom to the top. It’s
simply a case of rotating the final image to
suit, but at this stage you need to make sure
your camera is angled and composed with
the orientation of the final image in mind.
4 lighting The scene here is lit with two
flashguns, set on low power. The lower
the power, the shorter the flash duration,
which helps to freeze motion. One flashgun
is positioned on the right side of the tank,
with the other behind a large diffuser (which
also serves as the background). Also, there
is a reflector on the left side at the front to
soften any shadows on the pepper.
5 caMerasettings Set your camera to
continuous shooting, focus manually
on the pepper and set a low ISO. If working
with flash, set your shutter speed to the flash
sync speed – usually between 1/160sec
and 1/250sec. From there, take a test shot
to establish the aperture and flash power. If
using natural light, increase the ISO and set
the fastest shutter speed possible.

40 Digital slr Photography June 2016

 dyehardwithavegetable
Shootplentyandyoucanchooseelements
tomaskoveroneanother.Forthisimage,
I’vereplacedthevisiblesyringe
withswirlsofpaintfromanotherframe.
Exposure:1/200secatf/14(ISO200)

Picktherightdye

Differenttypesofdyesbehavedifferentlyinwater.Acrylicpaintisdenserthan

6 StartShooting Check everything is securely fixed in place and

you’re all ready to shoot. Insert the syringe near the subject and
pour some paint slightly behind the prop – ideally, make the paint
touch and flow over the pepper, but try not to let it flow in front of it
too much. Take a sequence of shots while the paint is flowing. Once
the water gets too murky, clear it out and start again if you need to.
waterandformslovelyopaqueclouds.Ink(usuallyspirit-based)islight,
transparentandhardtocontrolandithasatendencytoescapefromthesyringe
beforeyoustarttopushit.Fooddyeisn’tasbrightasinkandhasexactlythesame
densityaswater.Therefore,Ifavouracrylicpaint—Iassumethatifchillipepper
reallywoulddissolveinwater,itwouldproduceadense,colourfulcloud!

June 2016 Digital slr Photography 41

 PH TO
SKILLS

SunSet
SilhouetteS
capturingastriking silhouette isallaboutspotting identifiable shapesand pairingthemwith
astunning sky.Jordan butters showsyou howto be preparedwhenthe conditionsare right

Camera: nikon d800 / Lens: nikkor af-s 24-70mm f/2.8g ed

T
he laSt light of the day is somewhat
magical, i’m sure you’ll agree. after the
sun drops below the horizon the sky
can seemingly dance with colours as the light
bends around our atmosphere. Watch it
closely and the colours ebb and flow in
intensity, shifting from orange to pink and
purple, contrasting with the dark blue of night
rolling in. needless to say, it’s the ideal time to
be out there with your camera!
Many photographers stop shooting when
the sun dips from sight, but that’s when things
really start to get interesting. What’s more, if
you’re presented with a landscape that offers
recognisable shapes and outlines then you’re
in the prime position to shoot a silhouette.
Silhouettes are created when a subject or
landmark is lit from behind, so that all the
camera sees is a two-dimensional shape, void
of detail. For that reason, silhouettes typically
work best when the scene in front of you is
recognisable from its shape alone. Church
spires, buildings, cityscapes, trees and, of
course, windmills all make suitable subjects.
to shoot a successful sunset silhouette you
ideally need to be below the level of the
landscape you’re shooting – if you’re too high
up then the shapes won’t stand out enough
against the sky. You might find that this
involves a bit of walking around to find the best
approach, or that you have to shoot with your
tripod on a lower than usual setting.
i was photographing this windmill during
the golden hour when i noticed that there
were wispy clouds forming in the western sky.
Rather than pack away as the light went, i
decided to hang around and see what the sky
did. Moving down the hill to a lower position
revealed good potential for a silhouette.
PH TO
sKIlls Sunset silhouettes

1 setupquicklyColour can come and go quickly during a sunset,

and sometimes you’ll only have a moment to capture the sky at
its best. Set up your camera and quickly find your composition. As the
foreground will be dark, opt for a big sky composition by placing the
landscape at the bottom of the frame. Using the rule-of-thirds is a
good method for placing key features in the landscape, too.
2 camerasettings Select aperture-priority mode and a mid aperture.
A large depth-of-field isn’t critical, but your lens will be at its
sharpest between f/8 to f/11. If you’re using a tripod then choose a low
ISO, but if you’re hand-holding then you may need to increase the ISO
to achieve a workable shutter speed. Use single-point autofocus to
focus on your subject and zoom in using LiveView to check focus.

3 avoid shake Shooting close to sunset, you’ll find that your shutter
speed is still quite fast, however once the light dips you’re better
off using a remote release to prevent any camera shake. Alternatively,
use your camera’s two-second self-timer mode to ensure that your
hand is free from the camera when the shutter fires. If available, using
the Mirror Lock-up facility will help to produce even sharper images.
4 keepshooting Even once you’ve bagged a good shot, don’t pack
away just yet. The sky will change constantly and quickly for 30-45
minutes after sunset. You may have to adjust your focal length and/
or your angle to line up the silhouette with the best sky behind it. It’s a
fine balancing act between capturing the silhouette’s shape at the best
angle and showing the sky off to its full potential.

White Balance
SwitchingWhiteBalancefromAutoto cloudy daylight Fluorescent shade tungsten
Daylightshouldprovideyouwitha
truerepresentationofthecoloursin
frontofyou,butdon’tbeafraidtouse
the‘wrong’WhiteBalanceforcreative
effect.CloudyandShadeWBwill
warmuptheimagewhileTungsten
canturntheskydeepbluesandpinks.
Fluorescentoftenprovidessome
interestingresultstoo.Ifyou’re
shootinginRawyoucanadjustthe
WhiteBalanceduringprocessing,but
it’sgoodpracticetohavethecamera
settoapresetsoyoucanidentify
whenthecolourslooktheirbest.

44 Digital slr Photography June 2016

 redskyatnight
Ifyou’vefoundtheperfectscene
toptip forasilhouette,allyouneedisa
Dependingontheprominenceof stunningsunsettofinishitoff!
yoursilhouetteintheframe,yourfocal Exposure:1/20secatf/9(ISO100)
lengthandtheratiooflandtosky,youmay
needtoapplynegativeexposure
compensationtoensurethattheshadows
falltoblack.Around-1EVshoulddoit.
Thishasthebenefitoffurther
saturatingthecoloursofthesky
andrevealingclouddetailin
thehighlights.
 PH TO
SKILLS

action Sequence
ShootingaSequence iSacreativewayto photographactionand conveyanathlete in motion.
Jordan ButterS ShowSyou howto Setup, Shootand editaframe-filling SportS Sequence…

R
ather than Show a single moment
of action, or convey motion using a
slow shutter speed, sequences capture
several points in time and blend them into one
frame, showing an athlete’s path and series of
movements. Mountain biking, skateboarding,
surfing, base-jumping, snow sports and pretty
much any action that involves running and/or
jumping works well for this technique. the
images tend to be at their strongest when you
Camera: nikon d750 / Lens: af-S 16-35mm f/4g
capture an athlete travelling up to a point,
performing an action or trick, and moving on
after that action – think of it as shooting a
beginning, middle and end.
Shooting a sports sequence involves
capturing frames at high speed, so camera
speed is essential. any digital SLr capable of
3fps or faster should be up to the job, but
entry-level models may need a helping hand.
using a fast memory card ensures that the
camera can empty the image buffer quickly,
and you may need to switch to JPeG mode,
rather than raw, to aid performance.
with the assistance of fellow professional
photographer and avid mountain biker Dean
Smith, i head to chicksands Bike Park in
Bedfordshire to show you how it’s done…
PH TO
sKIlls

1 pickalocation Identify the best angle to

photograph the sequence. The more
of the athlete’s path that you can see from
your point of view, the better. Therefore, a
distanced position, or alternatively a wide-
angle lens, will allow you to fit more in the
frame. If your view includes a drop or a jump,
then include this in the frame, and consider a
low angle to emphasis the air-time.

2 balancethe settings Shutter speed is your

priority, so select shutter-priority mode
and choose an increased ISO. You need a
shutter speed that freezes the action yet
you need enough depth-of-field to capture
the athlete sufficiently sharp. For a side-on
shot, an aperture of f/5.6 will do; whereas if
you’re at an angle to your athlete’s line then a
narrower aperture may be required.
it’s all Downhill Fromhere
Oncecompiled,youractionsequenceshould
looksomethinglikethis–turnoverthepage
tofindouthowtocompositeitalltogether!
Exposure:1/640secatf/5.6(ISO800)

3 shutter speeD The athlete’s speed, as

well as their angle of approach, dictates
the best shutter speed, so take test shots to
establish the correct settings. A shutter speed
of at least 1/640sec is required to freeze
Dean when shooting side-on, whereas at
least 1/800sec is required at an angle. I’m at
ISO 800, which allows me to utilise a faster
shutter speed than if I was at ISO 400.
4 cameraspeeD With your
exposure established, transfer the settings
into manual mode to lock them in and set
your camera to its high-speed continuous
burst mode. Set your point of focus to
match the athlete’s peak moment during the
sequence – for example, mid-jump or during
a trick – and switch the camera to manual
focus to stop it ‘hunting’ between shots.
5 useatripoD You can either shoot
sequences handheld or from a tripod.
If you’re shooting handheld, some extra
processing will be required to align all of the
images. Using a tripod tends to be easier
and also prevents your composition from
wandering as the athlete passes through the
frame. Lock your camera in to position and, if
you’ve one to hand, attach a remote release.

48 Digital slr Photography June 2016


6 cApturethe imAges Signal the athlete
to begin and get ready to trigger the
shutter. Keep the shutter button held down
until they’ve completed their run. Before
moving the camera, repeat this two or three
times – shots from different runs can be used
to fill gaps in your image during processing.
Turn the page to find out how to put your
sequence together in Photoshop.
AlternAtivetechnique
Analternativemethodofcapturing
asportssequenceistoshoot
handheldinvertical(portrait)
orientationandpanyourcamera
withtheathleteastheymove
throughthescene,keepingthemin
themiddleoftheframeeachtime.
Theseimagescanthenbeblended
intoonepanoramiclandscape-
orientatedsequenceduring
processing.Techniqueisvitalso
thatpartsofthescenesdon’tget
missed,andthere’smore
processinginvolvedinaligningand
stitchingtheimages,butthe
advantagesarethatthismethod
providesahigherresolutionfinal
imageandyouavoidthelens
distortionfromwide-anglelenses.
June 2016 Digital slr Photography 49
 Edit a sports sequence

Compositeamulti-shotsequence
SHOTS INTHE BAGAND BACK HOME IN FRONTOFYOUR COMPUTER, IT’STIMETO PIECEYOUR SEQUENCETOGETHER

T
HANKFULLY, THE DIFFICULT part is
done having already captured the
images. The editing stage can be as
easy or as complex as you decide to make it.
How so? Well, all that’s left to do is overlay the
images and mask them off one by one so that
only the athlete is visible from each frame. For
sequences where there’s good separation
between the athlete’s various positions you
can be quite lazy when it comes to masking
and will be finished in minutes. However, for
sequences where the athlete’s position
doesn’t change much between frames, and
possibly even overlaps, much more careful
1 CHOOSE THE FRAMES I find this stage is
easily done in Lightroom, however Adobe
Camera Raw is fine too. Select all of the frames
2 PASTE AS LAYERS Open all of the frames in
Photoshop and consolidate them into
the first image in the sequence. This is easily
masking is required. If your sequence is tightly that you’re going to use and ensure that any done by opening each frame in order, then
packed and you don’t fancy complicated Raw changes are synced across all of the going to Select>All, and Edit>Copy before
masking then you can simply use every other, frames. The most important to me are White pasting each frame onto your first frame as a
or every third frame to make processing Balance and Lens Corrections, as any further new layer via Edit>Paste. Check the layers are
easier. Let’s get into it… changes are easily made post-masking. in order in the Layers palette.

3 ALIGN THE LAYERS Go to Select>All Layers and then Edit>Auto-Align

Layers. Select Auto when prompted and click OK – this will align
any slight shifts caused by camera movement. Then, hold down the
alt key and click on the eye icon next to the Background layer in the
Layers palette – this hides all of the sequence except the first layer.
4 ADD A MASK Click on the eye icon for the layer above to make it
visible. Hold down the alt key again and click on the Add layer mask
icon at the bottom of the Layers palette to mask that layer. Then, select
the Brush tool and choose White as your Foreground Color. Zoom in
to the image and choose a brush size using the [ and ] keys.

5 BRUSH IT IN Brush over your image to reveal the athlete in the next
frame. Change the Foreground Color to Black and brush back
over if you go too far. If there’s overlap between the athlete in this
frame and the previous one then zoom in, pick a smaller brush and
carefully mask around the athlete. It's tricky when they're on a bike!
6 RINSE AND REPEAT Repeat this process for each new frame – make
the layer visible, add a mask and brush the athlete in. If your athlete
overlaps and it’s causing problems masking then consider only using
every other frame to make things easier. Once done, make final
adjustments such as Curves and sharpening. Save your final image.

50 Digital SLR Photography June 2016

SportSInMotIon
Closely-packedsequencesinvolvingbikes
canbeverytrickytomask.Othersportsand
morewidelyspacedsequencesmaybeeasier.
Exposure:1/640secatf/4(ISO1000)
 The PhotoWorkshop
STUDIO
PORTRAITS
EACHMONTHWEGIVEONEREADERTHECHANCETOTEAMUPWITHALEADINGPROFESSIONAL
FORANEXCLUSIVEONE-TO-ONEPHOTOWORKSHOP.THISMONTH,PROFESSIONAL
PHOTOGRAPHERPAULWARDANDREADERDAVEDONNELLYTACKLEARANGEOFSTUDIO
PORTRAITS,BUILDINGTHEIRSET-UPFROMONELIGHTTOFOURFORMORECOMPLEXRESULTS
S
TUDIOFLASH CAN BE exceedingly
complicated and off-putting to even
the most seasoned of natural-light
photographers, let alone a novice
portrait photographer. With so many
modifiers, types of equipment and lighting
permutations, it’s easy to see why it’s often
overwhelming and avoided. A simple tweak
in lighting angle or power can mean the
difference between a successful portrait and
a shocking fail, which is why most group
studioflash workshops create the ‘ideal’
set-up for photographers to step into, along
with providing guideline exposure settings to
ensure half-decent results. It's a good way to
get a basic understanding, but a hands-on
approach is much more practical.
Using flash rather than ambient light gives
you more control over how your subject is lit.
It takes different vision, skills and confidence
in creative decisions, mainly as there’s time to
second-guess yourself and infinitely refine
results, but also as rarely will you know
THEEXPERT: PaulWard
Birmingham-basedcommercial
photographerPaulWardhasyears
ofexperienceshootingprofessional
portraitsforeditorial,fashionand
commercialclients.Workinghis
magicoutofhislargestudio,he’stheideal
professionaltoleadourstudioflashworkshop.
www.paulwardphotography.com
Paul’skit:NikonD800,NIKKORAF-S24-70mm
f/2.8,AF-S70-200mmf/2.8;CanonEOS5DMkIII,
EF24-70mmf/2.8,70-200mmf/2.8&50mmf/1.8.
exactly how an image's lighting will look until
it's captured. Photography is quite scientific,
especially where flash is concerned, so
mastering studioflash can be mathematical
before it becomes intuitive, but with time
and practice you can understand how light
behaves and how to manipulate it with ease.
Few of us have the luxury of a large studio
with oodles of creative equipment and
options for different set-ups; at the very
most, many enthusiast photographers have
a white background, a few basic studio lights
and modifiers. With this in mind, knowing
how to build on a basic one and two-light
set-up for more complex and striking results,
or to shoot on varying backgrounds, is a skill
most new studio photographers struggle to
grasp. For this month’s workshop, we met
with natural-light and street photographer
Dave Donnelly at pro photographer Paul
Ward’s studio in Birmingham to explore how
adding lights can dramatically alter the look
of an image. Let’s see how they got on…
THEPUPIL: Dave Donnelly
Astreetandlandscapeenthusiast
photographer,DaveDonnellyisan
avidmemberofhislocalcamera
club.Hehasexperienceshooting
candidportraitsusingnaturallight,
butwantstolearnhowtocontrolandcreate
studioportraitsmoreeffectively.
Dave’skit:OlympusOM-DE-M5,M.ZUIKO
DIGITAL14-40mmf/2.8,ED40-150mm
f/2.8-f/5.6R,ED45mmf/1.8,ED17mmf/1.8
andanED9-18mmf/4-5.6.
The PhotoWorkshop

Challenge1:
Single-lightSet-up
“When we met at my Birmingham studio,
Dave admitted how daunting this one-to-
one workshop was to him, but he was keen
to learn how to set up a studio session from
scratch. He’s been on studioflash workshops
before, but they’ve always had the lights set
up for the photographers, making it more
of a session based on theory and point-
and-shoot activities. We decide that this
workshop would be vastly different. While
I'll show Dave how to set up the lights, it’s 1

up to him to position them and master the

exposures. Each challenge will build on what
he learned from the previous one, until he’s
confident in his basic studioflash skills. With
only two hours to do the crash course, and
pleasantries made with our model Charlotte,
we crack on with the first challenge.
“To get the lay of the land, I wean Dave
with a simple one-light set-up using my
750W Bowens Gemini studioflash and
a 90cm octobox and grid to control the
light’s direction. We start by spending a few
minutes building a rapport with Charlotte
and throwing a few subtle tips Dave’s way,
for instance asking her if she has a favourite
side, as it’s always better to light the subject
on their ‘best’ side. While you might have
a clear idea of what you want to create,
or how you want to light, if it doesn’t suit
the subject it simply won’t work. With
the studioflash set to her right and Dave
already suggesting it should be at 45°, high
and angled down, there's no need for me
for me to add my thoughts on the matter
as that positioning should create a nice
spread of light. Instead we dive straight into
discussing camera settings. His Olympus
OM-D E-M5, a Micro Four-Thirds camera,
has a sync speed of 1/250sec but I suggest
using 1/125sec or 1/200sec as the shutter
curtain may still cause problems at the
maximum sync speed. With the ISO set to
200 (its lowest rating) we go about deciding
on an aperture. I prefer to use test shots over
a handheld light meter, so we start at f/10 to
assess the results. With the flash power set
to 1/2, Dave’s test shot is a little overexposed
so we stop down to f/16 but decide to settle
on f/14 for a far better result.
“Charlotte is incredibly good at what she
does and flicks through poses with ease,
letting Dave concentrate on his settings.
But Dave isn’t communicating much at all
2 3
1)ApieceofwhitecardisplacedunderneathCharlotte’sface
tobouncelightunderherchinandeyes.2)Lookingatthe
LCDmonitorandhistogramshowsthatf/10overexposes
Charlotte'sskintone.3)Withthelightangledaway,asilver
reflectorfillsinsomeofthedenseshadow(seebelow).
so I suggest he offers her a little guidance
as to what he wants, and maybe counts
her in to when he’s going to take a shot.
If Charlotte wasn’t a professional model,
chances are the subject would be feeling
very awkward and not know the types of
poses and expressions Dave is looking for.
Within a few frames Dave’s getting the hang
of it and capturing some lovely images; he’s
certainly finding his confidence as he asks if
he can reposition the light, moving it to the
side for added contrast. As a self-confessed
black & white lover, Dave wants to create
an image that will suit a monochrome
conversion and is therefore trying to create
more contrast in Charlotte’s face. As he’s
shooting in Raw + JPEG, he sets his JPEG
to shoot black & white to give him a clearer
idea of what his processed images might
look like. He removes the grid to see how it
affects the shot, but then adds it back in to
better control the spill of light. By turning
the studioflash away from Charlotte, he
casts strong shadows on her face, which
is rarely flattering for a woman, so I explain
how the direction of light is key to how the
1
model is positioned to control highlights
and shadows. I suggest that he turn the light
back around to 45° but to bring it closer to
Charlotte for more contrast, adjusting the
exposure to suit, and to also bring in a large
silver reflector to help fill in some of the
dense shadowing on her left side.
“After a little more playing around, I
suggest Dave tries a clamshell technique
by placing the light above and in front
of Charlotte with a white sheet of card
underneath to lighten any shadows under
her eyebrows – the results are lovely. For
a first challenge, designed to ease Dave in
to studio lighting, he’s tried three variations
of a one-light set-up and is clearly getting
a firm grip on what he wants from his
portraits. I think he’ll be spoilt for choice
when selecting his favourite image!”
Challenge1Pro verdict
"Davehasdonereallywellforsomeonewith
limitedexperienceworkinginastudio.He
clearlyhasanideaofwherethelightshouldbe
comingfromandadistinctivetasteforwhathe
likes.Hewasthinkingalittlebittoofaroutsideof
theboxattimes,resultinginsomeharshand
unflatteringshadows,buthisfinalshotsshowa
remarkableimprovement."

f/10 f/14 norefleCtor withrefleCtor

54 Digital slr Photography June 2016

 simple elegance
Onesoftlightsourceisaflatteringand
easywaytocapturestrikingportraits.
Dave'sfinalshotisbeautiful!
Exposure:1/125secatf/14(ISO200)
The PhotoWorkshop

challenge2: 3 4

Two-lighT seT-up
“The first challenge provided a mid-grey
backgrop, due to Charlotte’s position about
8ft from the white background and because
we limited the spill of light reaching it. For
this second challenge, I want to see how
Dave copes with applying what he’s learned
to light Charlotte, while also lighting the
background for a more high-key finish. We
move Charlotte within a couple of feet from
the background and Dave opts to keep the
clamshell lighting in place. He positions a
second studioflash to point at the backdrop;
as it’s only 500W, I suggest setting it to 3/4
power instead of 1/2 power like the 750W
Bowens Gemini we’re using as a key light.
Dave is great at asking plenty of questions,
which is allowing him to start making more
of his own creative decisions. Having taken
a few test shots, with just a reflector on the 1)Daveexperimentswiththeangleofthekeylightandthe high-key
background light, Dave rattles off some reflector.2)UsingtheLCDpreviewimagetoassessthe
lovely high-key portraits, managing to background'sbrightness.3)Daverepositionsthelightonthe
control the highlights using his histogram backgroundafterseeingthisshot.4)Thepowerofthe
backgroundlightistoolow,resultinginamid-grey.
and by reducing the studioflash’s power.
“Dave spends some time experimenting Charlotte, asking her to turn her face
with the key light on Charlotte to vary the towards the flash for a broader light. We
results. He’s vaguely familiar with the also use an angled reflector to fill in some
Inverse Square Law and wants to vary the shadow on the opposite side of her face.
distance of the light from Charlotte to “Dave is whizzing through this challenge
control its brightness. However, I explain with ease, so I throw another variation into
how the closer the light is to a subject the the mix by suggesting he adds a grid to the
softer it will be, because the surface area of reflector on the background to create a
the light is larger in relation to the model; hotspot. He jumps right in, taking control
conversely, the further away the light is the over the set-up and asking me to move the
harsher it will be. So if brightness is a light higher so the spotlight is at Charlotte’s
concern, rather than the shape of the light, head height. Dave then varies the distance
I urge Dave to stick with adjusting the flash and power of the studioflash until he
power or his aperture. To change the shape achieves the brightness and size he wants.
of the light, Dave removes the grid from the Within a few more minutes he’s got a variety
octobox and positions it 45° to the right of of great-looking two-light portraits.”

noreflecTor wiThreflecTor
challenge2Pro verdict
"Foranyonewhohasn'tbeeninastudiosetting
much,it'snaturaltofeelembarrassedwhen
communicatingwithamodel,butonceDave
realisesitcanhelphimgetgoodshots,he's
doingitmoreandmoreshowingthathe's
findinghisconfidence.Hehasaclear
preferenceforblack&white,butIthinkit'sbest
togetitrightincolourfirstasitalmostalways
producessuperiormonochromeconversions
whenconvertedduringediting."

56 Digital slr Photography June 2016

picture perfect
Davemakesthejumpfromonetotwo
lightsseemeffortless.Astrikinghigh-key
resultusingtheclamshelltechnique.
Exposure:1/125secatf/14(ISO200)
The PhotoWorkshop

challenge3:Three and TwolighTs fourlighTs/noreflecTor

four-lighT seT-up
"It’s truly amazing how fast Dave has moved
through the first couple of challenges, so I
make plans for a bonus round at the end.
For the time being, though, we add a third
500W studioflash to our set-up to act as a
hair light to Charlotte’s left. I get Dave to
position the light where he thinks it should
be and to choose the power (1/2); he opts to
have it about 90° to Charlotte, but notices
that it’s not creating the halo he wants. He
removes the grid from the reflector to
widen the spill of light and moves the light
even closer to Charlotte, but its angle is
causing some unsightly shadows in the
middle of Charlotte's face. I show him the
effect moving the light higher, 45° behind
Charlotte and in line with the background
light gives. Within a few test shots he’s got
the light at the right height, angle and
intensity (now 3/4 power), so the next step is
to add a fourth light to the right to mirror the 2 fourlighTs/wiThreflecTor
hair light on the left. This creates edge
lighting, for even more dimension.
"The fourth light is set equal distance
behind Charlotte on her opposite side with a
grid attached to the reflector and set to 3/4
power, too. We’re still using a reflector
underneath Charlotte’s chin to help fill in the
shadows created by the high octobox and it
makes quite the difference! At the moment,
Charlotte’s hair shows a kiss of light on either
side but to really emphasise the rim light so it
outlines the contours of her neck and challenge3Pro verdict
shoulders, I show Dave the difference simply
"Addingmorelightsdidcomplicatetheset-up
putting her hair up has. Well done Dave! He's
initiallyandDavehadatendencytopositionthe
gone from a single-light set-up to using four lightssotherewerelotsoflightandshadowon
studioflashes in less than two hours!" theface.It'seasytogetcarriedawaywithcreative
1)Buildingonwhathe'salreadylearned,Daveaddstworim
lightingandforgetthatyourjobistomakethe
lightstohighlighttheedgesofCharlotte'sprofile. modellookgood.Oncewemovedthelights
2)Bothrimlightsareapproximately3ftand45°behind aroundhecouldseetheimprovedaesthetics
Charlotte,highupandangleddownforbestresults. betweenhisextremelightingandmine."

58 Digital slr Photography June 2016

 Dave’s favourite
Withfourlightsandminimalediting,
Davehastransformedanaverageshot
intoonemuchmorestriking.
Exposure:1/125secf/14(ISO200)
The PhotoWorkshop

1 2

challenge4:Usea horribleshadows wrongangle

blackbackgroUnd
"Up until now, we’ve been using a white
background but by applying what Dave’s
learned to a black backdrop he’s about to see
how similar light can behave very differently.
Sitting Charlotte a few feet from the black
background illuminates the backdrop and
turns it to a patchy grey. I suggest that Dave
moves her at least a couple of metres away
from the backdrop to make the background
colour denser as less light will reach it, which
it does. Dave is compelled to want to shoot
his final set of portraits in low-key black &
white but I convince him to shoot in colour
first and convert later. Before we know it, he's
tempted by his tastes for extreme light and
shadow again by placing the octobox
side-on to Charlotte, which doesn't look
favourable. However, he wants to also add a
hairlight to create some separation between betterlighting
the black background and Charlotte’s brown challenge4Pro verdict
hair – good thinking! – so I let him play it out.
"Dave initially sets up the second head "OverallDavehasdonereallywell,struggling
mostlywithhisdesireforhigh-contrastlighting.
with a grid quite close to the background,
Whileitcanworkformen,asofterlightisoften
behind Charlotte, but this causes flaring. I mostflatteringforwomen.High-contrast
remind him that the light may be best lightingpicksoutextremedetailmakinglines,
placed quite high and close (but out of sight poresandunevenskintonevisibleevenon
of the lens to avoid flare), and only slightly near-flawlessskin.ButDavegraspedthe
behind Charlotte's head. Often using the conceptsquicklyandwastryingtoputhisstyle
modelling light can help judge where the oneachset-up,whichisadmirablegiventhe
highlights fall on the hair and dialling the shorttimehe’sworkedwithstudioflash."
power down low can provide a sufficiently
focused kiss of light.
"Dave wants ‘Rembrandt-like’ lighting on
Charlotte's face and is concerned that the
workshopsUmmary:
light from the octobox is too broad. But Dave Donnelly
instead of moving the studioflash or altering “ThankyouDigitalSLRPhotography
his settings, Dave directs Charlotte to turn forselectingmeforthisworkshop,
her face away from the light, casting half her andPaulWardforhisexcellent
face into deep shadow. I remind him that by guidance.Itwasextremelyusefulto
moving the softbox closer to Charlotte it 1)Dave'sfirstsetofshotsaretoohighincontrast,casting seehowIcanbuilduponaone-light
creates a softer, more flattering light by Charlotte'seyesintoshadow.Itdoesn'tmakeherlookgreat, portrait;usingmultiplelightswasadaunting
effectively increasing the size of the light soweconcentrateontweakingtheset-up.2)Davepositions challengingbutPaulmadeitseemmuchless
source relative to the model. By having theoctoboxtoofartoCharlotte'srightanddoesn'tadjusther complicatedthanIhadexpected.Seeingthe
positionsufficientlytogiveflatteringlight. differenceagridcanmake,notonlyonthemodel
Charlotte turn towards the light, Dave is able
butthebackground,wasbrilliant,andbeingable
to still get some shadows but with much the box and asking Charlotte to swish her toworkwithCharlotteasopposedtoahobbyist
smoother, more flattering transitions. backlit hair for some movement. Clearly modelwasveryenlightening.Workingwitha
"By reviewing the LCD preview, Dave can Dave is comfortable with the set-up and professionalmodelmakesahugedifferenceto
immediately see the comparison between directing Charlotte now, so I call it a wrap achievingthedesiredimagesandproductivity,
his last series of shots and is happy with his knowing he has some great images from butIstillneedtoworkonmycommunication.
final image. With the remaining minutes to the session. Great shoot Dave, well done; Itwasagreatexperience,thankyou!”
experiment, Dave is back to thinking outside time for a late lunch."

60 Digital slr Photography June 2016

 black beauty
IttookDavesometimetocontrolthe
balancebetweenlightandshadowin
thislow-keychallenge,buthedidit!
Exposure:1/125secatf/16(ISO200)
 want your shots critiqued by the digital slr photography
experts?turnto page 67to find outhowto submitimages
Anne
by Ralph van Katwijk
CanonEOS5DMkIIIwithEF70-200mmf/4LISUSMlens.
Exposure:1/160secatf/8(ISO200).
What we think: This is a good example of
nice, simple studio lighting. Ralph has used
two softboxes to light Anne, with his key
light coming from a gridded softbox to
camera left, which has been feathered for a
softer light. The light opposite is providing an
even fill. It's not the most dramatic lighting
set-up, but it works well. Processing is clean,
but we're not sure on that reddish/sepia tint.
Maybe a straight monochrome conversion
would be more timeless?
Why it works
1) Softbox grid controls light spill
2) Key light is nicely feathered for soft light
3) Balanced fill removes harsh shadows
62 Digital slr Photography June 2016
DunstAnburgh Morning
1 by Keith Saint
CanonEOS5DMkIIIwithEF17-40mmf/4LUSMlens.
Exposure:15secondsatf/16(ISO50).
What we think: Dunstanburgh castle,
3 and the boulder-ridden coast leading to
it is a classic Northumberland view, and
one that any self-respecting UK
2 landscape aficionado will have lined up at
some point or another. Keith's image has
all the right ingredients – a gorgeous sky,
lovely light, misty water, gloss black
reflective boulders and a castle silhouette
on the horizon. Let's see what local
landscape expert Lee Frost has to say…
Why it works
Golden hour light and interesting sky
Water motion captured as ethereal blur
Light on rocks adds foreground interest
Landscapeexpert LeeFrost
lee frost

“Iknowthislocationverywell,havinglived
afewmilesawayfromEmbletonforovera
decadeandphotographedthisveryscene
moretimesthanIdaretoremember!It’sa
classicBritishcoastalviewandoneofthebestonthe
Northumberlandcoast–thispartofthecountryhas
noshortageofamazinglocationseither!Keithhas
producedagreatshothere–thedawnskyisstunning
andIlikethewaythatlightreflectsofftheslick
boulderssotheydon’tappeartoodark.Thatsaid,I
thinkthere’stoomuchblurringinthewatermotion–
it'safinebalancingact.Maybeeighttotenseconds
insteadof15wouldhaveworkedoutbetter,recording
abitmoretextureinthewatersoitdidn’tturntomist.
Ialsofeelthatthecastleistoofartotherightofthe
composition.Iwouldhavepositioneditusingthe
rule-of-thirdsformorebalance,thoughcroppingthis
imagefromtheleftsideandfromthebottomwould
getclosetothattoo.GoodjobKeith!”

June 2016 Digital slr Photography 63

 Filaments
by Steve Palmer
PentaxK5IIwithDFA100mmMacrof/2.8WRlens.
Exposure:1/500secatf/2.8(ISO400).
What we think: Wow! Steve's image jumped
right off the screen at us when we first saw it.
The vibrant, graduated colours, the
pin-sharp details and the beautifully soft and
smooth bokeh combine to make this macro
image a winner. The filaments rise from the
bottom left corner of the image, which is
typically the point at which your eye starts
exploring the frame, making them an
effective lead into the image. The colours
work beautifully together and blend into one
another and the band of focus, although
narrow, is pin-sharp. Great work!
Why it works
1) Colourful, diffused background bokeh
2) Sharp focus and shallow depth-of-field
3) Fantastic composition
64 Digital slr Photography June 2016
Bowness
1 by Dave Wilson
CanonEOS5DMkIIwithEF17-40mmf/4Llens.
Exposure:Foursecondsatf/9(ISO100).
What we think: This is a simple, yet
effective composition. Dave has filled
2 the frame with interest too – we
especially like the submerged jetty in the
foreground as it zigzags across the
frame. We'd be interested to see what's
to the right of the frame, as the jetty
could make for a great lead-in line. The
reflected lights in the water add interest
and there's a few nice clouds above, but
otherwise the sky is a bit bland. We'd
3 imagine this scene looks great with the
sky full of colour and drama!
Why it works
Good, frame-filling composition
Jetty adds interest to foreground
Harbour lights reflected in water
landscapeexpert AdamBurton
AdAm Burton

“Thisisanexcellentlandscape
photographDave,andworksverywell
indeed.Icanseethatagreatdealof
thoughthasgoneintothecomposition
andtheendresultworksreallynicely.Thezigzag
jettyisveryquirkyandfillstheforegroundwith
interestingdetail;Iespeciallyliketheplatformbeing
slightlysubmergedinthewater,yetstillvisible.The
backgroundworkswellalso,withnodistracting
elementsandjusttherightamountofspacing
aroundtheframe.ThereisonlyonethingIwould
havepossiblydonedifferentlyandthatistohave
usedaNeutralDensity(ND)graduatedfilter.AnND
gradwouldhaveheldbackthebrightertophalfof
thepictureandenabledyoutoshootalonger
exposuretolightentheforegroundalittle.Avery
similareffectcaneasilybeachievedinLightroom
orPhotoshopbyapplyinganinverteddigital
graduatedfiltertolightenthebottomhalfofthe
picture.Besuretoaddsomenoisereduction
though,aslighteninganunexposedareaofan
imagecansometimesintroducenoise."

June 2016 Digital slr Photography 65

 Student, Anna Sellen

Open College of the Arts

0800 731 2116
oca.ac.uk

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
submissions, send them to:
submissions@dslrphotomag.co.uk
Please only email images at a maximum
of 1,000 pixels along the longest edge
(note: your email will be rejected if the
total size of attachments exceeds 8MB).
Tell us which article(s) you’re submitting
to in the subject line and include your
name, address and daytime number.
Digital SLR Photography contact form
Tick a box and fill in your details if you would like to submit images or take part in Photo Workshop.
Workshop Portfolio
Name: Address:
✁
Phone: Email:
Fora full set ofpicture guidelines, orto ask anyquestions, please email enquiries@dslrphotomag.co.uk
Submissions
FACEBOOK: Join us on Facebook at
www.facebook.com/digitalslrphoto.
Become a part of the community and post
your best shots to our wall. We regularly
monitor the page and will be in touch if
your work catches our eye!
FLICKR: Visit: www.flickr.com/
groups/digitalslrphoto to upload
your images to our Flickr group.
ExpertCritique General
Postcode:
POST: Burn your high-res images as
JPEGs onto a CD/DVD, including a
‘mugshot’, and produce a contact sheet
with location and technical details. Put it
all in an envelope with a covering letter,
including the submission form below and
post to: Digital SLR Photography,
PO BOX 1327, Stamford, Lincs PE2 2PT.
Enclose an SAE if you’d like them returned.
Checklist
If submitting images by post,
remember to include your 'mugshot'
and contact details (name, address,
email and daytime number).
Please don't send us high-res
images by email: resize your shots to
1,000 pixels along the longest edge
and if we see something we like, we'll
request the high-res file from you!
Emails exceeding 8MB total size
might not arrive, so split your
submission down into two or more
emails to ensure they get through.
Please don't send us your entire
portfolio – as you may appreciate we
receive a lot of submissions and
aren't able to look through hundreds
of images – narrow the selection
down and pick your best shots only.
June 2016 Digital SLR Photography 67
The Beginner’s Guide

apertures
made easy
lightiscentraltoeverythinginphotography,andthemostimportantfactor
incontrollinglightisyourchoiceofaperturesetting.itneednotbecomplicated,
andafterreadingthismonth'sguide,youwillbeanapertureexpertinnotime

W
hat exactly Is an aperture, in photographic
terms? It is a word you will regularly come
across as a photographer, but do you really
know what it is – or the huge, influential role
apertures play in all types of photography? If you don’t
fully understand what the aperture controls, or the
significance of its effect, your images will undoubtedly
suffer. therefore, we have dedicated this month’s
Beginner's Guide to explaining them in depth; by the
time you taken in all the information covered, you will
feel confident and in control of your aperture selection.
aperture is the common term relating to the iris
diaphragm of a lens. It is constructed from a number of
thin blades that can be adjusted inward or outward to
alter the size of the near circular hole through which
light passes. this adjustable hole, controlling the
amount of light passing through it, is the lens aperture.
effectively, the aperture is the eye of a camera. In fact, it
can be useful to think of an aperture like the pupil of an
eye – its size can be increased or reduced to regulate
light. not only does the size of the hole affect shutter
speed, but varying aperture size also alters depth-of-
field – the zone of sharpness found within your photos.
It is no surprise then that having a good, confident
understanding of apertures and their effect is essential
for creative photography.

Image: ross hoddInott

The Beginner’s Guide
THEBASICSOFAPERTURES
IFYOUWANTTOTAKECONSISTENTLYGOODPHOTOSANDBEINCONTROLOF
HOWYOURRESULTSLOOK,THENMASTERINGAPERTURESISAPREREQUISITE
L
ENS APERTURE IS one of the three pillars
for controlling exposure – the two others
being shutter speed and ISO. Lens
apertures are represented by numbers in the
form of f/stops. Often, this scale ranges from
f/2.8-f/22. However, it varies depending on
the lens itself, with some lenses having larger
and/or smaller settings. Rather confusingly,
small numbers – like f/2.8 or f/4 – represent
a large hole/aperture; while larger numbers
– like f/16 or f/22 – indicate a smaller
aperture. The following f/stop scale, below,
represents the most common settings and
relates to whole stop adjustments – we will
look at what ‘stops’ are in more detail later on.
When you make an adjustment from one
whole stop to the next, you are effectively
increasing or decreasing the size of the
aperture by half its size. For example, if you
adjust aperture size from f/2.8 to f/4, the size
of the aperture is halved – allowing 50% less
light through the lens. In contrast, if you
F/2 F/2.8
F/8 F/11
70 Digital SLR Photography June 2016
change aperture from f/22 to f/16, the size of
the hole in the lens will double, allowing
twice as much light through. Therefore,
changing aperture helps dictate shutter
speed. Larger f/stops (i.e. f/2.8 or f/4) allow
light to pass through the lens quickly,
producing faster corresponding shutter
speeds – useful if you are shooting action or
wildlife. When a smaller aperture is selected
(i.e. f/16 or f/22) it will take longer for
sufficient image-forming light to reach the
sensor, so shutter length is prolonged.
Adjusting aperture size doesn’t simply
affect the speed in which light enters the
lens, though. It is also the overriding control
for depth-of-field, with a large aperture (for
example, f/2.8, or f/4) producing a shallow
zone-of-focus and a small aperture (for
example, f/16 or f/22) generating a larger,
wider depth-of-field. We will take a closer
look at depth-of-field, and its hugely
influential role, over the coming pages.
F/4 F/5.6
F/16 F/22
ROSS HODDINOTT
HOWDOIADJUSTAPERTURES?
ROSS HODDINOTT
DigitalSLRshaveavarietyof
exposuremodesthatallow
youtoprioritisethesettingyou
control.Aperture-priority(Aor
AV)modeisthebestmodeto
selectinsituationswhereyour
choiceofapertureisthekey
decision–forexample,when
shootingportraits,architecture,
landscapesandclose-ups.Having
selectedthisexposuremode,youarethenableto
quicklyandeasilyregulateaperturesizebyrotatingthe
camera’smaincontrol/inputdialorthumbwheel.
Apertureandshutterspeedhaveareciprocal
relationshipwithoneanother.Inotherwords,adjusting
onesettingrequiresanequalandoppositeadjustmentof
theothertoachievethesamelengthofexposure.
EMBRACETHEBOKEH Aperture-priorityisasemiautomaticmode,meaning
Theterm'bokeh'referstothesoftareas youmanuallyselectthef/stopyoudesire,whilethe
ofanimagethatareoutoffocus.Thisis cameraautomaticallyadjustsshutterlengthtomaintain
achievedbyusingalargeaperture.
thecorrectlevelofexposure.Youcanalsoselectthe
Exposure:1/800secatf/4(ISO400) apertureusingmanual(M)exposuremode,butshooting
infullmanualwillrequireyoutore-adjusttheshutter
speedeachandeverytimeyouchangethef/number.
 stoppingdoWnatthebeach
Landscapephotographersoftenfavour
smallapertures(highf/stopnumbers)
forextensivedepth-of-field.
exposure:Onesecondatf/14(ISO64)

Whatisastop?
A‘stop’isacommonterminphotographysoit'svitalyou
helen dixon

understandwhatitisreferringto.Astopishow
photographersmeasurelight.Adjustingbyonestopis
theequivalenttodoublingorhalvingthequantityof
lightenteringthecamera–eitherthroughthesizeofthe
aperture,shutterspeedorISOrating.Forexample,ifyou
reducethesizeoftheaperturebyonestopfromf/8to
f/11,youarehalvingthesizeoftheapertureandthe
speedlightcanenterthecamera.Ifyouincreasethesize
oftheaperturebyonestopfromf/8tof/5.6,theholein
thelenswilldoubleinsize,allowinglighttoenterthe
lenstwiceasfast.Originally,youcouldonlyadjustthe
aperturescale(f/2.8,f/4,f/5.6,f/8,f/11,f/16andf/22)in
incrementsofanentirestop.However,todayitisalso
possibletoadjustaperturesizeineither1/2or1/3-stop
incrementsforgreaterexposurecontrol–forexample,
f/3.2andf/3.5are1/3stopsincrementsbetweenf/2.8
andf/4.‘Stoppingdown’and‘openingup’arefrequently
usedtermsinphotography,referringtoadecreaseor
increaseinaperturesize.Ifyoudoubleorhalveshutter
lengthorISOvalues,thisisalsoequaltoastopoflight.
Right:Understandinghowstopsaffectsexposurehelpswith
sceneswhereexposurecompensationmaybeneeded.

June 2016 Digital slr Photography 71

The Beginner’s Guide
unDErstanDingDEpth-of-fiElD
ifyouwantcompletecontrolofwhat'sinandwhat'soutoffocus,youneedtounderstanddepth-of-field
Y
ou should noW understand that
aperture size regulates the speed at
which light can pass through the lens.
Exposure time is faster with larger f/stops
(small number, large hole) and slower with a
small aperture (large number, smaller hole).
Changing aperture size also has a very visual
effect on your images, helping to control the
amount of the scene that is recorded in sharp
focus. this is better known as depth-of-field.
depth-of-field is one of the most
important things to understand and control if
you wish to capture consistently good and
creative results. it is closely related to
aperture selection, although lens focal
length, camera-to-subject distance, and
point of focus also directly affects the zone
of focus. At large apertures – like f/2.8 or f/4
– depth-of-field will be shallow, with
foreground and background detail quickly
drifting out of focus. this can help place
emphasis on your subject or point of focus,
while reducing the impact of distracting
elements within the frame. At smaller f/stops
– like f/16 or f/22 – depth-of-field will be
large and extensive. using a small aperture
will help you to create a large zone of focus,
perfect in shooting situations where you
wish to record everything within the frame
sharply. You can see the effect of aperture
choice on depth-of-field in the panel below.
the simplest and most effective way to
regulate depth-of-field is by adjusting the
f/number. however, other things influence it
too. shorter focal lengths appear to have far
more extensive depth-of-field, even at
relatively large f/stops. Wide-angles, in the
region of 17-35mm, are well known for
producing a large zone-of-focus, making
them a great favourite among landscape
photographers who regularly want images
with front-to-back sharpness. in contrast,
telephotos foreshorten perspective and
ExamplEofthEEffEctofapErturEsonDEpth-of-fiElD
f/2.8 f/4
f/11 f/16
72 Digital slr Photography June 2016
create a narrower zone-of-focus – an effect
photographers can use to help their subject
standout from their surroundings. Camera-
to-subject distance also influences
depth-of-field. the closer you are to the
subject, the less depth-of-field you are able
to achieve. this is most apparent when
shooting close-ups of small objects using a
high level of magnification. it is one reason
why it can be tricky achieving sufficient
subject sharpness when shooting close-ups
of insects and flowers – even when using a
small aperture. the final key thing affecting
depth-of-field is point of focus. this effects
just where your wedge of focus will fall in the
final image. if you place it too close, you risk
wasting the depth-of-field in front of that
point, but if you focus too far into the scene,
you will waste the zone-of-focus falling
behind it. Why is this? Well, typically,
depth-of-field extends from one-third in
front of the point of focus to around
two-thirds beyond it, so by placing your point
of focus thoughtfully, you can maximise
depth-of-field. there is even a technique
called the hyperfocal distance, which is
designed to help you maximise depth-of-
field for any given focal length and aperture
combination. there are exceptions to this
one-third, two-third split, though. For
example, when shooting at higher
magnification, the extent of depth-of-field is
more evenly split either side of the focal point.
depth-of-field has a huge influence on
our images. too little, or too much, can have
effects on a photo’s visual impact. this is why
it is so important to be in total control of
aperture selection when taking photographs
– if you leave your camera on Auto, it can
only guess at what you are trying to achieve.
understanding and mastering depth-of-field
is essential for your photography and
creativity to develop and progress.
f/5.6
f/22
DEpth-of-fiElDprEviEw
2
whenyoupeerthroughthe
viewfinder,youarenot
normallyreviewingthetrue
extentofdepth-of-field.whyis 1
this?well,inordertoprovidea
brightviewfinderimagetoaidfocusing
andframing,thelensissettoitswidest
(maximum)aperture.onlywhenyoutriggerthe
shutterdoesthelensstopdowntotheselected
aperture.thankfully,therearewaystocheck
depth-of-fieldbeforetakingashot.
mostslrshaveapreviewbutton(1),
designedtohelpyouassesswhetherthe
selectedaperturegivessufficientdepth-of-
field.oncethebutton–normallylocatedbythe
lensmount–ispressed,thelensstopsdownto
thechosenf/stopsoyoucanreviewsharpness.
doingsodarkenstheviewfinderimage,
though,whichcanmakeittrickytoproperly
assessdepthoffocus.ifyouareusingatripod,it
isbettertopreviewdepth-of-fieldvialiveView
(2).somedslrsprovidelivedepth-of-field,
allowingyoutoseechangestothezone-of-
focusassoonasyouadjustf/number.with
othermodels,youneedtodepressthepreview
buttonintandemwithliveViewtoassessthe
extentofdepth-of-fieldonyourlcdscreen.
eitherway,thefunctionisusefulforhelpingyou
toselectthemostsuitablef/stopforthesubject.
ross hoddinott
f/8
f/32
 The Beginner’s Guide

ROSS HODDINOTT
APERTURES:QUICKREFERENCE

ROSS HODDINOTT
USEALARGEAPERTUREWHEN…
Youwanttoisolateyoursubject:Alargeaperturewill
createashallowzone-of-focus,meaningyoursubjectwill
popfromitsbackground.
Youwantafastshutterspeed:Alargeapertureallows
morelighttoenterthecamera,producingfastshutter
speeds–idealwhentryingtocapturefastactionor
preventingcamerashakewhenshootinghandheld.
Youwishtocreateattractivebokeh:Ashallow
depth-of-fieldcancreatebeautifullydiffused,outoffocus
backgrounds.Youcancreateartylookingresultsby
controllingwhatisandisn’trecordedsharp.

LEE FROST
USEAMIDAPERTUREWHEN…
Youwanttomaximiseimagesharpness:Duetothe
technicalaspectsoflensdesign,mid-rangef/numbers–
AROCKANDAHARDPLACE f/8andf/11–tendtoyieldthesharpestresults,often
Landscapeswithforegroundinterest beingthelens’soptical‘sweetspot’.
oftencallforextensivedepth-of-field. Youareshootinghandheld:Amid-rangeapertureof
Exposure:15secondsatf/13(ISO250) f/8isoftenagoodoptionwhenshootinghandheldin
goodlight,offeringusefullevelsofdepth-of-field,and
generatingapracticallyfastshutterspeed.
ROSS HODDINOTT

WHATISDIFFRACTION?
Onceyouunderstandthatsmallerf/stopsproducemore
MARK BAUER

depth-of-field,itseemslogicaltoselectyourlens’sminimum
apertureinanysituationwhenyouwantextensivezone-of-
focus.However,thiswouldactuallybeanerror.Whilesmall
f/stopsdoindeedprovideawiderzone-of-focus,theywon't
producethesharpestresults,duetoanopticaleffectknownas
diffraction.Thisiscausedwhenimage-forminglight,passing
throughtheaperture,strikestheedgesofthediaphragm
bladesandgetsscattered,ordiffracted.Diffractionsoftens USEASMALLAPERTUREWHEN…
imagequalityandatlargerf/stopsthepercentageoflightthatis Youwanttheentirescenetobeinfocus: Asmall
scatteredgrowsproportionally.Therefore,despite aperturewillcreateextensivedepth-of-field,perfect
depth-of-fieldincreasing,imagesactuallybecomesofter,not whenyouareshootinglandscapesandcityscapesand
sharper.Wewouldsuggestyouavoidthesmallestapertures. requirefront-to-backsharpness.
Instead,relyonyourlens’soptimumapertures–thef/numbers Youwantaslowshutterspeed: Smallerf/stopsrequire
thatsufferleastfromtheeffect.Thiscanvary,dependingon alongercorrespondingshutterspeed–usefulifyou
thelens.Doyourowntests–shootaseriesatdifferent desirealongerexposuretocreativelyblursubjectmotion.
apertures,andthenenlargeeachtocompare.Asaguide,users Youwantastarburst:Ifyouwanttoaddastarburst
ofAPS-Csensorsarebesttoavoidf/numberssmallerthanf/11 effecttoyourshots,selectyourlens’ssmallestaperture.
–andfull-frameusersshouldaimtogonosmallerthanf/16. Theeffectofdiffractionwillrenderanypointsourceof
lightwithintheframe–likethesun–asastarburstshape.

June 2016 Digital SLR Photography 73

The Beginner’s Guide

Apertures&lAndscApes
ChoosingtheCorreCtapertureforthesCeneisoneofthemost
importantdeCisionstomakewhenshootinglandsCapes. here'swhy…

Y
our choice of aperture has the
ability to make or break your landscape
photographs. A broad depth-of-field
allows you to highlight a landscape’s design
and complexity, enabling you to draw
attention to texture, form and fine detail
throughout the scene to help convey a true
understanding of the location and its setting.
it is no surprise, therefore, that the use of
smaller f/numbers is commonplace in
landscape photography. however, as we will
discover, using a shallower depth-of-field
can sometimes be the better option.
Landscape photographers will often want
to capture images with a genuine three-
dimensional feel – shots that appear so sharp
and lifelike that it looks like you could literally
walk into them. To create this style of image,
you will normally want to use a wide-angle
lens. Short focal lengths possess an inherently
large depth-of-field, which help create this
remarkable level of image sharpness –
starting from the foreground and extending
right through to the distant horizon. A small
aperture is also required, though. one in the
region of f/11-f/16 will provide sufficient
depth-of-field for the vast majority of scenes,
while still avoiding the lens’s smallest f/stop,
which is most prone to the image-degrading
effects of diffraction. A good general rule is to
select the largest aperture possible that
provides adequate depth-of-field for your
scene. for example, if you can shoot at f/8
and achieve the desired zone-of-focus, do so
– critical sharpness will be better than if you
shoot using a smaller aperture.
As previously mentioned, depth-of-field falls
roughly one-third in front of the point of
focus and two-thirds beyond it. Therefore,
focusing approximately one-third of the way
into the scene will help maximise depth-of-
field. While this technique is not perfectly
precise, it is surprisingly reliable and works in
most scenarios. it is certainly a far better
option than simply allowing your camera’s
Af system to lock-on to a random part of the
scene. however, to truly maximise depth-of-
field, you should calculate and then focus on
the hyperfocal point – see below. This is the
distance in the scene that provides
maximum sharpness for any given aperture
and focal length combination.
While landscape photographers often
prioritise a small aperture, a large depth-of-
field won’t always create the most creative
results. There is certainly no rule stating that
landscape images need to be sharp from
foreground through to infinity. Therefore,
avoid always selecting small f/stops simply
through habit. instead, choose the f/number
most suited to the composition – something
you should do on a scene-by-scene basis.
A shallow zone-of-focus has the ability to
direct your audience to key, predefined
elements – a lone tree, flowers or a building,
perhaps. A narrow depth-of-field can help
simplify scenes and disguise complexity.
When you wish to generate a shallower slice
of focus, it is normally best to combine a
wider aperture with a longer focal length –
for example 70-200mm. using this type of
medium telephoto length will help
roSS hoddinoTT

using a wide-angle lens and small f/stop exaggerate the effect. This combination can
still doesn’t always guarantee you will keep work particularly well in woodland, when
everything in the frame sharp, though. you just want a specific tree to standout
You need to focus in the right place too. within its busy wooded environment.

HYperfocAldistAnce
formanylandscapeshots,front-to-backsharpnessisaprerequisite.
roSS hoddinoTT

however,sharpnessprogressivelyrecedeseithersideofyourpointof
focus.tohelpensureyoudon’twasteanyofthedepth-of-fieldavailable
toyou,calculateandfocusonthehyperfocaldistance–thepointwithin
thescenethatwillmaximisedepth-of-fieldforyourchosenfocallength
andaperturecombination.whenyoucorrectlyfocusonthispoint,
depth-of-fieldwillextendfromhalfthisdistancetoinfinity.
ifyou'reusingaprimelens,focusingonthehyperfocaldistanceis
normallystraightforward–justaligntheinfinitysymbolfoundonthe
distancescalesonthelensbarrelagainsttheaperturemarkingofthe
selectedf/stop.however,mostlandscapephotographersrelyonthe
versatilityofzooms,whicharedesignedwithoutadequateorreliable
depth-of-fieldscales.asaresult,photographersneedtocalculateand
estimatethedistancethemselves.thankfully,youcandownload
hyperfocalchartsoruseaconvenientmobileapp,suchasidofCalc,
dofmasterortruedof.Justenteryoursensortype–full-frame,aps-C
microfour-thirdsandsoon–andthenthefocallengthandaperture.
theappwillcalculatethehyperfocaldistanceforyou.inordertosetthe
hyperfocaldistance,focusonanobjectthatyoujudgetobethisdistance
away.adegreeof‘guestimation’mayberequiredanditisbettertoallowa
littlemarginforerrorbyfocusingslightlybeyondthecalculateddistance.

74 Digital slr Photography June 2016

 rocksolidtechnique
Selectingtherightfocallengthand
apertureforthescenecanhelpto
ensurefront-to-backsharpness.
exposure:1/15secatf/18(ISO100)

adam burton

Meet the pro...

Adam Burton
Landscape expert
"While thevast majorityofmy
landscape images are taken
using narrowerapertures to generate a
generous depth-of-field forfront-to-back
sharpness, there are several situationswhere
a shallowzone-of-focus is a farmore
effective approach.While focusingwhen
using awide aperture, such as f/2.8 orf/4,
needs to be more precise, I enjoydoing so to
place emphasis on a specific point orsubject
within the scene.This technique helps my
subject to stand out sharply,which is useful in
busyscenes. I normallytryto select an
aperture that is sufficientlywide to throwmy
subject’s surroundings out offocus,while still
keeping detail recognisable enough to retain
a feeling ofplace and context."

June 2016 Digital slr Photography 75

The Beginner’s Guide
Apertures&portrAits
PickingthePerfectaPerturesettingcanreallyhelPyourPortraitimagesstandoutfromthecrowd
p
retty much every professional
portrait photographer shoots in
aperture-priority (or manual mode) for
the simple reason that having control of the
aperture is paramount to the aesthetic quality
of their images. In most situations, the aim is
to focus on the eyes to make sure they’re
pin-sharp, and then select a suitable aperture
to tie in with the nature of the portrait.
For most general portraits, the emphasis
is on the subject and not the backdrop, so
choosing a wide aperture to limit depth-of-
field is the common option. this allows the
subject to really stand out from the
background and focuses the viewer’s
attention on the person(s) in the frame.
the added benefit of a wide aperture is
that the shutter speed is increased, which
means less risk of shake adversely affecting
the image – this is especially important as
telephoto focal lengths are often used in
portraiture for their flattering perspective.
Because shooting at a wider aperture is the
preferred choice with portrait photographers,
it is little wonder so many invest in fast primes
or zoom lenses. For many, a 24-70mm or
70-200mm zoom with a maximum aperture
of f/2.8 is their lens of choice, although fast
primes like the 50mm f/1.4 or f/1.8, or the
85mm f/1.2, f/1.4 or f/1.8 are very popular too.
these lenses all sport very fast maximum
apertures, which allows for extremely shallow
depth-of-field, so that features on the face
can be sharp but lead to a fast fall-off of in
detail from the ears beyond. the effect can
look stunning, but requires very precise
focusing on the eyes due to the narrow zone
Meet the pro...
Brett Harkness
Portraits expert
“i regularlyshootwith the
lens aperture setwide
open, as i love the effect that this can
give. myfavourite lens formanyyears has
been the canon ef50mm f/1.2, a
super-fast prime that i've used for
countless portraits, ranging from travel
through to fashion and lifestyle.what i
love about it is the incrediblyshallow
depth-of-field that's possible thanks to
its lightning-fast f/1.2 maximum
aperture. carefullyfocus on the eyes and
it smoothlythrows the rest ofthe face
out offocus. it's also idealwhen iwant to
use differential focus in an image.
whetheryou're using daylight, orare
shooting in the studio oroutdoorswith
flash, understanding howapertures
affectyourimage should be at the top of
yourlist ofkeyskills to learn. ifyouwant
to make the portraitsyou take stand out
from the crowd, masterapertures!"
76 Digital slr Photography June 2016
of sharpness. you should try this effect with
close crops of the face and head-and- DifferentiAlfocus
shoulder compositions – using a bright
backdrop to create diffused glow can
Brett hArKneSS
enhance the effect too. And before you say,
“it’s all good and well, but I can’t afford a fast
lens” – check out our budget portrait lenses
panel below – you may be surprised!
Of course, there are times where you may
want to add some context of the scene in
your portraits, or where critical sharpness
and image quality is required and, in these
situations, a smaller aperture may be the
better option. A location shoot is a good
example, as is a fashion or family shoot
where there is more than one subject placed
at different distances from you, or a fashion
or beauty studio shoot with plenty of light
available. In these cases mid-aperture
settings (around f/8) should provide
adequate depth-of-field. When shooting
multiple subjects in a group, try focusing on
the subject nearest to you or the mid-
distance subject and magnify the preview
image on the LcD to check the group are differentialfocusingisapopulartechnique
sufficiently sharp. Keep an eye on the shutter involvingtheuseofawideapertureandcareful
speed to ensure that blur isn’t a risk, increase focusing.theprinciplebehinditisrelatively
the ISO rating and turn on image stabilisation simple:thesubjectisplacedtowardsthebackof
– or use a tripod – if you think shake might thescene,ratherthandominatingthe
present a problem. foreground.youthenchooseawideaperture
your main consideration when choosing settingbeforefocusingcarefully.youcan
an aperture should always be how your choosetofocusonthesubjectthusthrowing
subject relates to the backdrop: if it's a theforegroundobjectoutoffocus,orfocuson
distraction, opt for a wide aperture; if you theobjectandrecordthemainsubjectasablur,
want to link the two, choose a smaller asintheexampleabove.it’sacleverwayof
setting. If in doubt, shoot a sequence and addinganinventive twisttoyourportraits.
compare. that way, you can’t go far wrong.
Brett hArKneSS
BuDgetportrAitlenses
Brett hArKneSS
ifyou’reseriousabout
portraiture,you’llwantto
investinafast(wideaperture)
lensassoonasyoucanafford
to.thankfully,there'sanideal
optiontosuitthesmallestof
budgets.the50mmf/1.8is
compactandlight,hasexcellentopticsandis
veryaffordable–youcanbuynewforunder
£100orusedforclosetohalfthat.withaPs-c
sensors,theeffectivefocallengthofaround
75mmisincrediblyflatteringforportraits.ifyou
canspendalittlemore,anotherexcellent
optionisthe85mmf/1.8or50mmf/1.4,both
availableforbetween£250to£300.
Grashalex / shutterstock the eyes have it
Whenshootingportraitswithawide
aperture,it'scrucialtoachievesharp
focusonyoursubject'seyes.
Exposure:1/1600secatf/1.8(ISO100)
The Beginner’s Guide

Apertures&Close-ups
macrophotographybringswithititsownaperturechallenges…

D
epth-of-field is in short supply at
higher magnifications and achieving
just the right amount can be a real
challenge. too little, and your subject won’t
be recorded sharply; too much, and the
subject’s surroundings will grow too obvious
and distracting. therefore, you need to
consider your choice of f/stop very carefully
when shooting close-ups.
While your choice of aperture will affect
depth-of-field most, the magnification level
will also influence how far it extends. the
zone of focus grows progressively shallower
as subject magnification is increased, so
macro photographers have to think carefully
about which f/number to employ and also
focus with great precision. When shooting
close-ups, depth-of-field is more evenly split
either side of the point of focus, so you can
disregard the ‘focusing a third-way into the
frame’ theory. instead, it is far better to focus
directly on your subject or focal point.
Although the zone-of-focus is inherently
narrow, this is not always a bad thing. A
shallow depth-of-field will help your subject
stand out from its surroundings and reduce
the impact of unwanted background
objects. A shallow zone-of-focus can help
achieve very simple and beautiful results.
therefore, don’t necessarily select a small
aperture in order to compensate for the lack
of depth-of-field. in fact, exaggerating the
effect by using a very large aperture can
prove very effective. try using an aperture of
f/2.8 or f/4 and throwing everything but your
point of focus intentionally out of focus. this
is a technique known as selective focusing
and is an excellent and efficient way to direct
the viewer’s eye to a key focal point, or for
highlighting texture, form or exquisite
miniature detail. depth-of-field will be
wafer-thin, though, so you need to focus
with great care, preferably with the aid of a
good tripod and liveView focusing.

All imAges: ross hoddinott

1 2

FoCusstACking
Focusstackingisapopularwaytoartificiallyextenddepth-of-field.itisa
picfAir / robert deering

goodoptionwhenyouareunabletoachievesufficientfocusin-camerain
asingleframe.itiswellsuitedtoclose-upsofstaticsubjects,likeflowers,
andstudiowork.however,itcanbeusefulforlandscapeandarchitectural
imagestoo.thecameraneedstobeinafixedposition,soatripodisamust.
stackingisanimage-blendingtechniquerequiringthephotographerto
captureasequenceofimages,eachtakenatdifferentfocaldepths.by
varyingthepointoffocusinsmallincrements–fromjustinfrontofthe
subjecttobehindit–thephotographerisabletocaptureaseriesofimages
thatcollectivelycontainthedatarequiredtogenerateonefinalimage
wherethesubjectappearssharpthroughout.theamountofimagesyou
needtotakeinordertocreateyourstackwillvarydependingonthe
subject,yourapertureandthelevelofmagnification.however,itisoften
besttotakeintheregionofeightto12frames–ifyoudon’tcapture
sufficientsharpnessoverlappingbetweenshots,yourcompositewillnot
beasnaturallooking,and‘ghosting’canappeararoundtheedgesofdetail.
havingcapturedyourstack,youneedtheappropriatesoftwaretoalign
andblendtheimagestogether.thelatestversionsofphotoshopallowyou
tostackimageseasily.therearealsodedicatedprogramslikecombineZm
andheliconFocusdesignedtostackimagestogetherseamlessly.

78 Digital slr Photography June 2016


1&2)Accuratefocusingismoreimportantthaneverin
macro,duetotheshallowdepth-of-field.Slightadjustments
tofocuscanhaveamassiveeffectonsharpness,sotakecare.
There are other, more practical, reasons
why you will not always want to select a
small aperture. For example, the likelihood of
diffraction is enhanced and shutter speeds
will grow longer, increasing the risk of
camera shake if you are shooting handheld.
Also, if you are photographing close-ups of
moving subjects like bees or butterflies, you
will require a shutter speed fast enough to
freeze their movement. Just as with any
other subject, there is no golden rule as to
which aperture is best to select when
shooting close-ups. Every picture taking
opportunity is unique – there will be
occasions when a large depth-of-field will
work best, and others when shallow
zone-of-focus creates the most aesthetically
pleasing result. The subject, situation and the
result you are hoping to achieve should
dictate your exact choice of f/stop.
Capture ClassiC Close-ups
Withsubjectsmerecentimetresacross,
sharpnessfallsoffincrediblyquickly.
exposure:1/15secatf/18(ISO100)
ross hoddinoTT
Meet the pro...
Ross Hoddinott
Close-up expert
“As a close-up specialist, I’m fairly
accustomed toworkingwith a
shallowdepth-of-field. Evenwhen using smaller
f/stops, the zone-of-focus isverynarrow.
Therefore, it is often important to make the most
ofthe available depth-of-field bypositioning
yourcamera correctly.Afterall, a lens can only
focus on one distance, meaning there is only
one geometrical plane ofcomplete sharpness.
Therefore, ifyouwant to recordyourclose-up
subject sharplythroughout,youwillwant to place
as much ofit as possiblewithin this focal plane.
You can do this bycarefullyplacingyourcamera
parallel to the subject – so just take a moment to
consideryourshooting angle in relation to the
subject beforeyou triggerthe shutter."
June 2016 Digital slr Photography 79
THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

On sale
O l now!!
Order your copy direct from

MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle

 top tip
getthenikcollection
thenikcollectionisavailablefor
macandWindows,simplyvisit:
www.google.com/nikcollection
todownloadtodayforfree!
followtheinstructions,select
lightroomorphotoshop,
andgetbusy.

TheNikCollection
How to edit
like a pro
You’reinforatreat.Wantquicker,morecreativebutsimpleWaYsto
perfectYourpost-productiontoproqualitY?getreadYtolosehours
toYourimagesasWesharethemarvelthatisthelatestnikcollection
it’s been said a few times that the best things in life are free, but if they weren’t
before they certainly are now! if you’ve ever been tempted to invest in google’s nik
Collection plug-in bundle, but found it tough to justify the $149, we’re about to make
your day. google has made the bundle – typically used by professionals – free to
download for all. Photo enthusiasts rejoice! Comprising seven desktop plug-ins for
lightroom and Photoshop, the nik Collection has a powerful range of editing tools
and filters for colour, retouching and creative effects, not forgetting sharpening and
noise reduction. it’s a creative’s all-in-one dream workflow solution, when combined
with adobe’s powerhouse. so what’s the catch? there isn’t one really, except that it’s
somewhat painful for those who invested in nik software pre-2016 (those who
bought the bundle this year are being refunded). google are planning to focus on its
mobile editing tools, google Photos and snapseed, which means nik software is now
likely to go without future updates – so let’s make the best of it.
image: lee frost
thenikcollection
1

Silver 2

EfexPro2
For easyand eFFective black
&white conversions, silver
eFex Pro isthe choice oFmany
ProFessionalPhotograPhers
For FastPost-Production
with stunning results

l
ightroom haS PlEnty of black &
white presets and Photoshop has a
plethora of ways to convert an image,
so why do you need yet another solution?
Frankly, because the algorithms and range of
results in Silver Efex Pro 2 are strong and far
exceed lightroom in one-click solutions.
Whether you want a high-contrast treatment,
to add an nD grad with a single click or to be
creative with darkroom plate effects, the
software serves them up on a silver platter.

worksPacelayout
most of the nik Collection plug-ins feature
similar interfaces, divided between a presets
panel, preview and adjustment panel, along
with a few common, useful features:
1)Preview:View your edited image on its own,
side-by-side with the original or as a
split-screen by clicking these buttons.
2)Presets:Click on one of the preset
thumbnail previews to see the effect applied
– Silver Efex Pro 2 has 38 modern, Classic and
Vintage styles to choose from.
3)custom:if you designed a treatment you’d
like to apply to other images, once you’ve
built the effect click the ‘+’ icon to add it to
your Custom preset panel. read about Color 3
Efex Pro 4’s similar recipes function on p86. 4
4)imPorted: if you’ve any custom presets 5
other photographers have shared, click the
‘+’ icon to add them to your workspace. 6
5)history:View a step-by-step record of
your current editing session and click on
any to revert to older states. mastersilverefex'sadjustmentPanel
6)settings:most of the settings in here you
can ignore, but after Clicking oK allows you
to change whether you apply your effects to
your original image or as a separate layer in
Photoshop for editing. We suggest keeping it
as a separate layer to edit with a layer mask.
7)louPe&histogram:View a magnified
preview of your image (good for assessing
noise) and evaluate your image's exposure.
8)Brush: if you want to apply your edits as a
new layer that can be selectively adjusted
using a layer mask, click Brush instead of oK. 10)gloBaladjustments:Whether you apply a 11)selectiveadjustments:it’s a rare image that
9)ok:once you’re happy with the result, click preset or not, the adjustment panel offers a doesn’t need selective adjusting. Place a
oK to apply the effect as a new layer in range of refining options. to tweak the overall Control Point on the area that needs refining
Photoshop (see Settings). Back in Photoshop, Brightness, Contrast or Structure (detail and to access a tree of adjustment sliders. Click
a Selective tool palette should show up that texture), refer to global adjustments. if your the Control Point icon again to hide the
offers shortcuts to the other nik plug-ins with highlights or shadows are close to losing point. Deselect your Control Points to view
a single click, allowing you to build your detail, use the Tonality Protection sliders to before and after results or click the Mask icon
overall result with ease. limit any adjustments affecting those areas. to see the areas that are being affected.

82 Digital slr Photography June 2016


12)Colourfilter:If you like the results that
coloured optical and darkroom filters have
on the contrast of black & white images, the
Colour Filter adjustment is where you want to
look for the effects you get when you apply
the likes of a red, green or blue filter. You can
take control over the effect by using the Hue
and Strength sliders.
13)filmtypes:Click and scroll down the
drop-down menu under Film Types to
access and preview many favoured films
organised by ISO sensitivity. You can emulate
your own film effects by using the Grain slider
to adjust noise, increasing or decreasing the
sensitivity of six different colours, as well as
the contrast using Levels and Curves.
10
11
12
13
14
toP tiP
HowtoaccesstHeplug-ins
inphotoshop:GotoFilter>Nik
Collection>[selectyourchoiceofplug-in]
toaccesstheworkspace
inlightroom:EditIn>
NikCollection>[selectyourchoice
ofplug-in]toaccess
theworkspace.
7
8 9
14)finishingAdjustments:Here you can tone
your image, add a vignette, burn the edges or
add an image border. If you’ve used a heavy
preset, it’s unlikely you’ll need to use all of
these but for creating a custom look there are
some effective options. There are 24 different
toning options, seven types of vignettes and
14 frames – you’re spoilt for choice!
June 2016 Digital slr Photography 83
thenikcollection

toP tiP
AnalogPro2 youcanusecontrolPoints
withBasicadjustments,
Dirt&scratches,lightleaks
andPhotoPlatetoselectively
DoyoulikeyourclassicanDquirkycameras?WhateveryourtasteinfilmsanD alteryourresults
camerafeatures,analogPro2isyourone-stoPshoPforcreativevintageeffects

A
re you An Instagram or Hipstamatic
addict, lomo lover or still enduring the
painful loss of film? Analog efex Pro 2
was created with you in mind to explore and
emulate the look of your beloved classic
cameras, films and lenses.
on opening the interface, your options
look minimised to nine Classic Camera
presets, but click the arrow at the top of the
Cameras panel and you'll gain access to so
many combinations: different lens types; toy
and vintage camera presets; and creative
effects like Motion and Wet Plate. you can
even build your own camera! on top of the
presets there's Basic Adjustments, tools for
Lens Distortion, blur, frames and vignettes.
Suddenly you have an apparent infinite
number of permutations to work with.

1)theanalogPro2workspacehasanoceanofoptionsfor
customstylesandeffects.2)thisimagewastreatedwitha
subtlefilmtypeandfinishedoffwithafilmstripframe. 1

fiveeffectstotry
To apply an effect, click on your chosen tool
in the Camera Kit palette to open its custom
workspace. you’ll be faced with lots of
options, effects and sliders to customise the
preset to your image. A blue box may also
appear on your image to let you move and
resize the overlaid effect: just click and drag!
under Camera Kit will be all your available
tools for quick access; to combine effects,
hover over the tool you want and click the
‘+’ icon to add them to your Adjustments
panel. Conversely, click the ‘-‘ icon to
1)Bokeh To customise your blur to emulate a 2)lightleAks old uncoated lenses come with
remove them or uncheck the effect in the
shallow depth-of-field, the circle tool is ideal popular and unpredictable effects, but there’s
Adjustment panel to hide the effect.
for portraits and the horizontal tool is perfect no need to buy the likes of M42 lenses when
How to randomise results for landscapes and tilt-shift effects. you can you’ve nik's Analog Pro as there are three
If you're stuck for choices, manually alter the size of your point of focus different styles of flare and light leaks, and
click I’m feeling lucky or hold the using the guides that appear on your image, within them you’ve 20 or so colourful options
Shift key when you click Vary to adjust the intensity of the blur using the Blur to choose from. use the blue box on your
let nik pick the effect for you. Strength slider and to brighten highlights. image to click and drag the effect in to place.

3)Multi-lens Just as quirky and beloved as a
toy camera, a multi-lens camera gives you a
few options for splitting your image.
Combine with Dirt & Scratches, Film Type and
Frames to create unique results; every time
you use these filters you’ll be hard pushed to
replicate the effect, so press Save once you’re
done to add to your Custom presets for later.
4)PhotoPlAte Wet Plate photography is a
classic darkroom technique that looks
fantastic but can be tricky to replicate digitally
without multiple layers, effects and textures.
Analog gives you different textures to apply
with one click, and works beautifully when
combined with a black & white Film Type.
use the sliders to customise the results.
5)DouBleexPosure yes you can, and probably
should, shoot a double exposure in-camera
but this filter is faster to use and lets you select
any images from your back catalogue to
blend together. Click on Second Exposure to
upload another picture to overlay and tweak
the Exposure and Exposure Balance sliders
to get the effect you want.

84 Digital slr Photography June 2016

2
FREESHARPENINGPLUG-INS
SHARPENERPRO3
Noit’snottimetocheckyourprescription,that’s
justhowgoodNikSoftware’ssharpeningtoolsare:
ifyouthinkyourhi-resimagesaresharpenough,
trythisplug-inforsize.Aswithanysharpening
tools,youneedtobewatchfulofintroducing
artefactsthatdegradequalityasyousharpenthe
details.Theplug-inhastwoelements:Raw
Pre-sharpenerforRawfilesandthemore
aggressiveOutputsharpenerforweborprint.
BothsupportSmartFilters,sobeforeapplying
eitherwesuggestconvertingyourimagetoa
SmartFiltersoyoucanre-adjustsettingsatany
pointinyoureditingprocess.Todothisgoto:
Filter>ConvertforSmartFiltersandclickOK.
RAWPRE-SHARPENER
WeallknowRawfilescontainnoin-camera
adjustments,unlikeJPEGS,whichisoneoftheir
benefits,butitdoesmeansharpeningisessential.
Ifyou’veshotinRaw,thisfilteristhefirstofa
two-stageprocessthatshouldbeapplied
immediatelyafterprocessingaRawfileandnoise
reduction.Ifusingthisfiltermakesurethatyou
don’tapplyanysharpeninginAdobeCamera
Raw.Thisstageofsharpeningshouldbevery
minimalasyou’rejustcompensatingforanyloss
insharpnessatcapture;theOutputSharpening
featureiswheretheworkisreallydone.
OUTPUTSHARPENING
Pickyourtypeofsharpeningrequired:Display
(web)andInkjet(print)arelikelytobeyourmost
commonselections.Fromhereyoucanrefineit
evenfurtherfromviewingdistance–thefurther
awayanimagewillbeviewed,themoreitcanbe
sharpened–papertypeandprinterresolution.Set
yourimagetoviewsidebysideorassplitscreento
compareresultswithyouroriginalshot.Whileyou
cansimplyalterthestrengthofthesharpening,
oneofNik’sstrengthsisitsfine-tuningoptions:
Structure(controllingfinedetailsandtextures),
LocalContrast(alterstheedgesofsmallobjects)
andFocus(controlstheadaptivesharpeningof
fineimagedetailsandlargeareasoftheimage).
Ifglobaladjustmentsaren’tneeded,youcanuse
thesesametoolswithaControlPointtoisolate
subjectsinyourimagetosharpen.

REDUCENOISEWITHDFINE2
Asafinishingtouch,especiallyfornightor
long-exposureimageswithhighISOs,
checkoutNik’snoisereductionplug-in.
It’sagoodideatosplitthescreenhereand
usetheLoupefeaturetokeepacloseeye
ontheresults.Assoonasyouopenthe
image,Dfinemeasuresthenoiseand
automaticallyappliesareductionwhere
it'sneededthemost.Hoveryourmouse
HAVE FUNWITHVIVEZA2
overtheimagetoseetheareainthe Possiblyformany,Vivezaistheruntofthelitter
Loupe.Youdon’tneedtodoanymorethan butit’sstillfuntoplaywith.Thegeneralprinciple
thatunlessyouwantmoreprecisecontrol isthesameaswhatyoucandoinLightroomand
overContrastandColorNoiseseparately. PhotoshopusinganAdjustmentBrushorLayers
ByclickingReduceandsettingMethod:ColorRangesyoucan andmasking,respectively;Vivezaletsyou
selectthecoloursyouwanttoworkonpreciselyusingtheEye selectivelyaffectapartofanimagewithout
Droppertool;youcanaddasmanycoloursasyouwantbypressing touchingtherest.YouhaveaccesstoLevelsand
the‘+’icon.It’sgreatforsmoothingoutwaterorsky,butremember Curves,Brightness,Contrast,Saturationand
thetrade-offwithaggressiveadjustmentsisalossindetail. Structureslidersforglobaladjustments.For
Ifautomaticadjustmentsarefine,youdon’tevenhavetoenter selectiveediting,youcanuseControlPointsthat
Dfine2toapplythem.InPhotoshop,refertotheSelectiveTool youdroponareasoftheimagethatyouwantto
palette,whichoffersyouoptionstoreducenoiseinskin,sky, adjust.Expandthesliders(press Ekey)totonethe
background,hotpixelsandshadowswithasingleclick;usetheLayer image,adjustthehueaswellasthewarmth.
Masktoaddorremovetheadjustmenttospecificareasoftheimage.

June 2016 Digital SLR Photography 85

thenikcollection
NikColorEfexPro4
WAnTTo gETCREATIvEWITH CoLouR? CoLoR EFEx PRo 4 ConTAInSALLTHE RIgHTTooLSAnDTRICkSTo gIvE
youR IMAgESAn InSTAnTMAkEovER. uSE PRESETS oR CoME uPWITHyouR oWn RECIPES,THE CHoICE ISyouRS…
1 Apply chAnges Before transferring your
image into Color Efex Pro 4, tackle any
exposure, White Balance, vignetting and lens
distortion issues; you can use Photoshop
but we're using Lightroom. Then right-click
on the image and select Edit In>Color Efex
Pro 4, select the Edit a Copy with Lightroom
Adjustments option and click Edit.
3 Adjust control points Presets can be
applied selectively. To do this, click on
the + Control Point button on the right.
Conversely, to add a Control Point that masks
the effect from an area, click on - Control
Point. You can adjust the Control Point using
the sliders on the image. Here, the effect has
been masked from the foreground rocks.
hdr eFeX pro2
TheinterfaceinHDREfexPro2isverysimilarto
ColorEfexPro4,butthereareacoupleofkey
differencesinhowtheywork.Firstly,ifyou
wanttoeditanimageinHDREfexPro2from
Lightroom,youneedtoright-clickonthe
imageandgoto Export>Google>HDREfex
Pro2,asopposedtousingtheEditInmenu
(inPhotoshopyoustillusetheFiltermenu).
Secondly,onceinHDREfexPro2,youdonot
needtouseapreset–aHDReffectisappliedby
default,whichcanthenbeadjustedusingthe
parametersontheright.ControlPointscanbe
addedundertheSelectiveAdjustmentstab,and
there’sahandyHDRMethodtabwithsimple
sliderstocontroltheextremityoftheeffect.
86 Digital slr Photography June 2016
aDam BurToN
originAl
2 View presets And Apply In Color Efex Pro,
use the options in the top left to narrow
down the preset list. Clicking on the name of
the effect will apply its default setting, but by
clicking on the small rectangular icon to the
right of the name you’ll be offered a selection
to choose from. We’ve added Dynamic
Contrast from the Pro Contrast preset.
4 Add A second preset To add a second
preset, click on Add Filter on the right –
this will cue up a second filter slot. If you don’t
5 Add more presets You can continue to
add as many presets as you like. We’ve
added a Subtle Skylight preset, which boosts
do this, you will overwrite the first! Choose saturation, and a Bi-Color filter using the
your second filter from the presets – we’ve Violet/Pink setting. Bi-Color filters are tinted
added a Polarization filter, simulating the grad filters – the colours can be adjusted, as
effect of a circular polariser. Each filter can be can the opacity, rotation and hardness of the
adjusted using the control panel to the right. graduation, all using the panel to the right.
Cook uPyouR oWn RECIPES
Ifyou’vediscovered
acollectionof
presetsthatwork
welltogether,you
cansavethemasa
Recipe.Simplyclick
SaveRecipeonthe
right,giveitaname,
andit’llappearinthe
Recipestabinthe
bottomleftcorner.
you'llalsofindsome
ready-maderecipes
intheretoo!
 final edit
Onceyou’rehappywithyour
image,clickSaveinthebottom
rightandit’llimportbackinto
Lightroomasafresh.TIFFfile.
The climb
To The Top
OneOfthewOrld’sleadingadventurespOrtsphOtOgraphersand
filmmakers,COreyriCh,talkstOCarOlinesChmidtabOuthisrising
CareerandtherOleOfvideO&phOtOgraphyintheindustrytOday

A
lmost two decades ago, I planted both feet firmly in the world of falling
snow, moving water and massive stone. as extreme sports entered the
american mainstream, I was there to tell the stories of athletes such as
climbing legend chris sharma, kayaking pioneer eric Jackson and world
champion surfer lisa anderson. editors at National Geographic Adventure, The New York
Times Magazine and Sports Illustrated regularly turn to me to bring them startling,
memorable images from the world’s wild edges. I've waded across crocodile-infested
rivers in Papua New Guinea, lost cameras to saharan desert sand storms and suffered
through blizzards in the andes in an on-going odyssey of unforgettable stories, dawn
light, and timeless images,” says the animate Nikon Usa ambassador, corey Rich.
It sounds amazing: being able to create visual stories that shape multi-million dollar
print campaigns and capturing compelling commercial video, all the while doing
what you’re passionate about. It definitely seems like a hazy line between work and play.
But who would have thought such a career started with a school pull-up competition?
“It’s an unlikely beginning, but winning led to being invited on a rock-climbing trip
when I was 13 and I completely fell in love with the sport and its culture. I very quickly
wanted to share my incredible adventures with friends and family – but a verbal story just
wasn’t enough,” explains corey. “I borrowed my dad’s camera and, with what free time I
wasn’t rock climbing, I was mastering photography – not just the techniques but how to tell
a story. The parallel passion was born.” That was 27 years ago and since then corey’s career
has been one incredible, evolving and barely believable adventure after another.
PhotoStoryCorey Rich
Even if you're not 'hot' on adventure
sports, most people will unknowingly
recognise Corey for his coverage of the
history-making 19-day climb up Yosemite
National Park's El Capitan's Dawn Wall,
which attracted a media frenzy. Despite the
3,000-vertical-foot climb, mostly at night,
and his ten days living on the wall within a
portaledge camp, Corey assures me it was by
far the simplest of all his recent projects.
“Hanging from a wall and using a Nikon
camera to shoot stills is where I’m most
comfortable – it’s my wheelhouse. When a
friend as accomplished as Tommy Caldwell
calls to say the weather is perfect to do the
longest, hardest rock climb known to man
you drop everything to be there. Within
48 hours I'd flown from Brazil, driven to
Yosemite and joined them on the wall. We're
still scratching our heads somewhat over the
amount of media attention we received by
posting footage and images on Instagram
and Facebook,” says Corey.
90 Digital slr Photography June 2016
For Corey, no two days are ever the same.
One day he could be shooting in Lebanon's
Baatara Gorge, studio portraits or vertical
mapping for Google, the next he's directing
a film for the release of Nikon's flagship D5
or their new Snapbridge software. But
shooting in a vertical space is still one of the
most creatively challenging environments
according to Corey. “You’re limited as to
where you can move and you're stuck on a
rope. Safety is paramount so you spend an
enormous amount of time getting to your
location and triple-checking everything is
safe. You’re always anticipating what to
shoot next as it’s often elaborately
complicated to get 10ft to the left, right or
above on a rope system. You’re worried
about the environment that you’re in: is
there falling ice or rock, is the sun pounding
on your face, how will you get food or go the
bathroom, where are you hanging relative to
the athlete? Then after you’ve considered all
of that, you need to become a photographer
and be creative. You need to block out all the
risks and discomfort, look through your
viewfinder and focus on the story, the
exposure, what lens to use and start making
moments. The extraordinary effort it takes
before you can make a picture is the price of
admission, but when you do capture
incredible images, it tastes so much sweeter
as you’ve really earned it,” says Corey.
“I believe everything falls into place if you
wholeheartedly commit to doing what you
care about,” he remarks, proven by his
unwavering dedication to photography and
rock climbing from an early age. From
landing a job at his local newspaper, aged 16,
shooting real estate with his first Nikon
outfit, to studying photojournalism at college
and mastering an internship at a broadsheet
newspaper, it was still the call of the cliffs
that pulled him from a 'safe' career in favour
of a route many ways more risky. Albeit the
eventual seed of his success, taking a
semester off college to use his last few
 youneedtoblock
outalltherisks
anddiscomfort,
lookthroughyour
viewfinderandfocus
onthestory
1 2

openingimage)Restingbeforeattemptingafreeascentofthe 3
DawnWalltoreachthesummitofElCapitan.1)Thispitchofthe
DawnWallwasthemostdifficult.2)ClimbingDawnWallrelied
onanetworkofriggedropes.Eachafternoontheylefttheir
portaledgeasthesundippedaroundthecorner.3)Climber
TommyCaldwelldangleshisfeetofftheedgeofhisportaledge.

Biography
Afilmmakerandphotographer,
CoreyRichisaUSNikon
ambassadorspecialisingin
adventuresportsandlivesin
SouthLakeTahoe,California.
Overthelasttwodecades,
he’sbecomeknownforhisimaginativeand
authenticvisualstorieswhethercreatedinstills
orHollywood-gradefilm.Coreyhasworkedin
everythingfromphotojournalismto
documentaryfilmandadventurestillsinsomeof
thewildestandmostdangerouslocationsonthe
planet.SomeofCorey’sclientsinclude:NBC,
Nike,TheNorthFace,Patagonia,Energizer,Ford
andColumbiaSportswear.www.coreyrich.com
 PhotoStoryCorey Rich
thousand dollars to drive around the best
climbing areas in the western United States
to photograph rock climbing, is what put
him on the road to where he is today.
“At the end of my six months, I’d shot 100
rolls of film, returned to college and whittled
down my best 20 action images, best 20
lifestyle slides and made a blind, unsolicited
submission to Climbing magazine and
Patagonia Catalog, the clothing company.”
With zero expectations, other than a
rejection letter, Corey was surprised by a
phone call from Patagonia’s founding photo
editor Jennifer Ridgeway heralding his work
as exceptional. This was soon followed by a
call from Climbing magazine’s picture editor
to use one of his images on the cover, which
they knew I was a kId In college wIth all the tIme
In the world, energy and passIon for what I was
doIng and used to send me on IncredIble trIps
1
turned out to be the best-selling issue of any
US-based climbing magazine to date.
Cheques for thousands of dollars arrived
and, in two submissions, Corey could afford
to hit the road again for a year if he wanted.
The more he shot, the more he earned and
the lower his grade-point average went.
“When you’re 18 years old, your brain
works in a simple way and that is to do what
you love. Quickly a week of schooling
became five days shooting and two days of
crammed classes. Both publications became
incredible clients; they knew I was a kid in
college with all the time in the world, energy
and passion for what I was doing and used to
send me on incredible all-expenses-paid
trips, like to shoot surfing in Central America
and climbing in Australasia, all on spec.
I’d send the rolls of unprocessed film back to
them to pull the slides they wanted and the
next I knew the images were printed, and
three months later I had a hefty cheque in
the mail.” Within a couple of years, Corey’s
images were making up a third of the
Patagonia Catalog and a third of Climbing
magazine's issues, his images expanded to
competitors and advertising campaigns,
which eventually led to his first commission
for a dot-com company at the age of 21.
“I’d never had an assignment before and
when I met the company’s directors in San
Francisco, I’d not a clue what to do. The
main man asked: ‘How much to get you to
the Sahara desert in Morocco? We want to be
the first company to broadcast adventure
content live on the internet. At this point,
the internet isn’t even viable – you need to
understand computer code to use an e-mail
address. Advised by a more experienced
commercial photographer, I sceptically
pitched $1,000 and was amazed when he
responded with $800. I’m disciplining
myself not to jump up and down in my seat,
but before I can count to three in my head,
he says ‘alright $900, that’s all we can
2

1)ClimbinginYangshuo,China,shotat35mm,1/500secat 3
f/5.6.2) BoulderinginRocklands,SouthAfrica.Thisimagewas
shotat120mm,1/200secatf/3.2.3)ShotaspartoftheNikon
D4launchwherebyCoreyRichProductionstravelledto
Mexica,UtahandCaliforniatodocumentthreeathletes.

afford…and you do realise it’s for 30 days;

he meant $900 a day! Truthfully, I would
have paid them $900 to go to Morocco to do
this shoot. Despite it failing to broadcast live,
it put my career in a different stratosphere.”
Corey’s brave 'say-yes-and-figure-out-
how-to-do-it- later' ethic forced him to
stretch his skillset and led to more than a
decade of shooting storytelling stills, before
making the transition to incorporate video.
“I’d experimented with audio when I was
driving across the US and had loved the
power of adding sound to a story, but was
always disappointed with the quality of
camcorder footage. It was an article in TIME
magazine about Nikon’s D90 that was the
turning point. The headline read: 'The Within a couple of years, he had developed a on travelling the globe on other assignments.
camera that will change filmmaking small-footprint production whereby he’d He’s also a majority shareholder and
forever'. The camera was debut as the first shoot video in-between stills , or sometimes president of Novus Select, which is a global
video-enabled digital SLR camera capable of brought someone along to shoot video while network of photographers, filmmakers and
cinematic footage with the beauty of a he directed and shot the stills. The projects production specialists whom produce
shallow depth-of-field photograph. It sold started getting larger and larger with more multimedia creatives for large and leading
me. I bought one immediately and it gave me resource to work with, and transformed in to brands, agencies and publications.
the same feeling I got when I was 13 years old what he now calls his ‘sweet spot’ video Building a multimedia empire, however,
with my dad’s camera and I fell in love with projects, with seven -to-ten people on a has its drawbacks.“The larger the
taking pictures. My videos sucked, but I crew that he’s solely directing. “Sometimes production, the less time I’m physically
understood the potential for being able to I’m shooting stills or video, but the larger the operating a camera, although I often can’t
capture compelling footage and audio, and crew, the greater the resources and the help myself. A career builds on what you’ve
all of a sudden I could do all my favourite higher the production value. As a one-man done in the past and my career certainly
things in one camera body,” recalls Corey. band you can create incredible content, but it does that. Directing is incredibly satisfying,
At this time in the industry, video was a takes infinitely more time,” he explains. Of stimulating and quite challenging mentally
slow burner. Corey had to convince clients it Corey's many achievements, he now runs and physically as you’re leveraging all your
would be an asset to let him shoot a little Corey Rich Productions – comprising a experience and communicating to the crew
footage each day as part of their stills shoots. six-strong crew allowing him to concentrate what to accomplish. I’m convinced you

can’t do that effectively unless you’ve spent
time operating a camera. I may not touch a
camera much anymore, but I’m staring at
monitors, looking at the footage or what
three or four cameras are doing, talking to
the DPs and coaching them through shots.
“That hunger for still photographs doesn’t
go away either. Every three months or so I
need to spend at least a week on a hands-on
project, as the other 11 weeks I’m in the office
or directing a project with a crew. If I wasn't
hands on sometimes, I worry I’ll forget the
nuances of operating a camera and my
muscle memory would slow down.”
As opposed to stills, with video Corey is
involved from inception to delivery – he
helps dream up the concept, capture the
content and help build the final product’s
narrative. It’s an amazingly complex process
with many layers according to Corey: “How
I approach a shoot, whether it’s for stills or
video, is almost identical. If I’m hired to
shoot an emotional, compelling still
photograph of somebody rock climbing,
94 Digital slr Photography June 2016
MytiMeasastills
photographeristhe
biggestbuildingblock
forwhatidotoday
withVideoasallthe
saMerulesapply,it's
JustMorecoMpleX
2 3
1)ShotatAbeGreenspanatKirkwoodMountainResort,Lake 4
Tahoe,California.2)ClimbingTrangoToweronthenorthside
oftheBaltoroGlacierinBaltistan.3)RebeccaRuschridesher
mountainbikethroughasandstonearchoutsideofMoab,UT,
fortheNikonD4launch.4)DavidLamaattemptstomakethe
firstfreeascentofTheCompressorRouteinPatagonia.
I’m my own director. You try to anticipate
what’s going to happen, you want the right
location, the right person, light, set-up,
equipment but you’re not concerned about
the sound. You’re concerned about that one
decisive moment. As soon as that lever gets
switched to video, no-one hires you to shoot
one frame they’re hiring you to shoot a
sequence – they want a wide, a medium and
a tight: they want a story arch. All the same
planning is involved but it's infinitely more
complex with video. With stills, 270° around
you could be a very unappealing location but
that doesn’t matter as long as where you’re
pointing your lens works. With video, those
270° are pretty important as you’re probably
not going to build a sequence with a narrow
field of view. My time as a stills photographer
is the biggest building block to what I do

today with video as all of the same rules
apply, it’s just more complex whether one
guy’s working a camera or ten guys are
working in a crew. The more people you add,
the more complex it becomes as you have to
ask more questions, like: Where is the sound
guy going to be?; How are we going to keep
him out of the shot?; And what’s the primary
and secondary camera angles?”
It’s not just the logistics that are more
complex, the lighting is too. Whereas with
stills photography a flashgun can be powerful
enough to overpower sunlight if you’re close
enough to your subject, doing the same is a
massive production with video. Small
productions can often get away with a few
LED LitePanels or utilising available light, but
for the big productions where you have to
light a large environment or overpower
daylight, you need so much continuous light
that it’s impossible to light it alone.
“I’m not talking down stills photography
or saying it’s easy; making an amazing still
photograph is as hard as making an amazing
film, it’s just a different discipline,” he
emphasises. However, according to Corey,
dedicated stills shoots will be a thing of the
past: “A lot of clients are happy to pull a still
from raw 4K and 6K footage, and while it’s
not as good as a still shot on a Nikon D810 or
D4 – in part because the filmmaker’s not
focused on shooting still photos – it’s the new
reality of the industry. With the flagship
Nikon D5, I can now pull an eight-megapixel
file from its 4K footage and it’s great as it’s
answering to the requirement of the industry.
“I do think, especially given what we’ve
noticed happen in the last five years, stills
are going to be phased out. I couldn’t tell you
if it would be in four or ten years’ time, but
it’s certainly getting harder to justify a stills
photographer and a filmmaker on set when
you can pull quality stills from HD video. As
HD-SLRs continue to improve, there will be
no need for a photographer and the demand
is depleting already," concludes Corey.
To view Corey's films and more of his
portfolio, visit: www.coreyrich.com
PHoToSToryCorey Rich
IN THE BAG...
“Myclientsexpectnothing
lessthanexcellencefrom
me,soIexpectnothingless
thanexcellencefrommy
gear.Ifit’sjustmeona
mountain,IloveNikon’s
D750–it’sprobablymyfavouriteNikon
camera–it’slightweightwithastunning
photofileandisprettydarnportable.Ifthere’sa
reasonIneedhigherresolutionthenI’lldefaultto
theNikonD810or,ifIneedspeed,I’llusetheD5.
IfI'mcarryingthekitonmyback,I’llpacka
NIKKORAF-S70-200mmf/2.8EDVRII,AF-S
16-35mmf/4G,50mmf/1.4D,NDfiltersanda
ME-1microphone.Ifit’sabiggerproduction,
I’lltaketheAF-S200-400mmVRandmaybea
fish-eyeand,ifI’mfeelingambitiousandwilling
tocarrymoreweight,I’lladdanotherprimeor
twosuchastheAF-S24mmf/1.4G.Whenit
comestolightingstills,IusetheNikonSB-910
flashgunwithanSU-800WirelessSpeedlight
Commander.” www.nikon.co.uk
 The BigInterview

pursuit for
perfection
fouryearsagoalbertDrosDiscovereDaninterestinphotography.
nowhe’sanawarD-winningphotographerwithahugesocial
followingonthevergeofbeingafull-timeprofessional.
JorDanbutterscatchesupwithhimaboutthesecrettohissuccess
Albert Dros
I
n the ever-connected world we
live in there’s no shortage of amazing
images. Photographs that once would
have been unique and stood the test of
time are captured, shared and forgotten
about on a daily basis. We’re effectively
spoilt for choice when it comes to stunning
visuals which, in my eyes, is a double-edged
sword. on one hand there are undeniable
swathes of inspiration and information;
researching great locations and finding the
best angles, conditions and times of day to
shoot them has never been easier. If you’re
only interested in capturing nice images
then it’s a great time to be a photographer.
however, if your desire happens to be to
capture images that stand out from the
masses, then things can become a bit more
difficult. For semi-professional dutch
photographer Albert dros, this is the
ultimate goal, and he’s found the right path.
98 Digital slr Photography June 2016
1 2
Albert’s background, and his full-time
current occupation, is in video and television
production. his journey into photography,
however, is more of a recent adventure, and it
all started when he moved to hong Kong in
2012. Albert found inspiration surrounded
him, and reached for his camera as a creative
outlet. “Photography is a big part of the
culture in hong Kong,” Albert explains.
“There’s lots of atmosphere and interest from
neon lights to the faces in the street. There are
endless views to shoot, especially when it
rains at night and lights are reflected all
around. There are big cityscapes and, a few
miles outside of the city, beautiful
landscapes. hong Kong offers a lot of
photographic variety.”
Upon returning to his native homeland,
the netherlands, Albert found himself in a bit
of a dip, devoid of the constant buzz and
photographic fodder offered by the big city.
Ineed to capture
somethIng ‘extra’
In my photos, and
I always strIve to
take one of my best
Images from each
locatIon I vIsIt
1)"TherocksandtexturesatMonoLakegiveitadramatic
atmosphere." 2)"Thewell-knownGoldenGatebridgeinSan
Franciscoduringanicesoftsunset." 3)"Abeautifulsunsetover
thecityofAmsterdam.Thebirds'timingwasperfect." 4)"Zaanse
SchansisaverypopulartouristattractionintheNetherlands."
In a way, this move shaped him into the
photographer that he is today; it forced him
to travel and to look and work harder to find
interesting compositions and images. “It
was around this time that I picked up my
first full-frame Sony – the A7,” he says.
“I started capturing some really nice shots in
my home country – these were places that
I’d seen photographed a hundred times over
so I knew I had to capture something a bit
more special to stand out. I still stand by this
mentality today – I need to capture
something ‘extra’ in my photos, and I
always strive to take one of my best images
from each location I visit.”
Albert's soon started to enjoy success –
3 4

June 2016 Digital slr Photography 99

 1 2
3 4
his Hong Kong street photography was
picked up by a handful of websites and the
Dutch media were taking note of his images
from the Netherlands. He struck up a
relationship with Sony Netherlands, and
started working to promote, test and advise
on Sony products, however there was one
image that really tipped the balance and
gained Albert a lot of attention overnight.
And, as he explains, it was almost completely
unplanned: “I decided to head out and
capture the Perseid meteor shower. My
friend and I were taking portraits in front of
the Milky Way when a streak of light passed
overhead. I checked the LCD screen and I had
captured it – I wasn’t sure what it was but I
processed the image and checked online
with astronomy enthusiasts. The time and
angle of the photo coincided with the orbit
of the ISS – I had captured a portrait with the
Milky Way and the International Space
Station in my home country!”
Albert knew he had something unique.
He posted the image online with a short
100 Digital slr Photography June 2016
1)"Thelongexposuremakesthisscenelookstraightoutofa
sciencefictionmovie!"2)"Afriend,theMilkyWayandtheISS
passingby."3)"ValdiFunesintheItalianDolomitesisoneofthe
mostbeautifulvillagesintheworld." 4)"Mytakeononeofthe
mostphotographedspotsintheNetherlands." 5)"Therewards
ofgettingupearlyinMonumentValley,southwestUSA."
story straight away. Almost overnight the
image went viral on social media and the
story had been picked up by the Huffington
Post, the Daily Mail, National Geographic and
TIME magazine. Albert was flung head first
into the limelight. “I really wasn’t prepared
to make the most of it,” he confesses. “TV,
radio, websites and magazines kept calling
me and emails came in faster than I could
answer them. Everyone wanted to buy my
photo - it was very stressful and I couldn’t
handle the pressure. I had to negotiate prices
and, at one point, I was just sending out
copy-and-paste emails with a fixed price so
I could respond as quick as possible. I had a
lot of people asking questions on blogs about
the image, and I tried to respond to as many
as I could. Then I had to deal with the
naysayers online telling everyone that it was
fake or Photoshopped.”
More important than the attention it
garnered, this brief and frantic experience
was a crash-course in social marketing, and
gifted Albert the knowledge to push his
subsequent work out with further success.
“A lot of people ask how I grew a big following
so quickly,” comments Albert. “I tell people
that even when you have a good image there’s
a chance no-one will notice it, but if you have
an interesting story too then you have a much
better chance of getting it seen. So, I learned
how to write stories to go with my images.
Once you have a story then you can submit it
to blogs. Blogs are underestimated, but they
have a large influence on modern media.
Look at the DailyMail website for example –
one of the biggest news sites in the UK – they
source most of their daily content from social
media. So with a strong image, an interesting
story and exposure on a decent-sized blog,
you’ve got a much better chance of getting
featured in mainstream media.”
 Albert Dros
5

whenyouhaveagood
imagethere’sachanceno
onewillnoticeit,butif
youhaveaninteresting
storytoothenyouhave
amuchbetterchanceof
gettingitseen

No matter how good the story, it’s Albert’s
photography that's the real star of the show.
He describes his style as “colourful, strong
and dynamic” and is refreshingly proud of
the role that processing plays in creating his
images. Albert belongs to a new wave of
photographers, raised shooting digital and
using computers to bring their images to life.
“My background is in graphic design and
video effects, so processing is an important
part of my photography,” he explains. “I do
anything within my ability to make a photo
look as good as possible, or at least how I
think it should look. Sometimes people ask
me where I draw the line – I’ll enhance light
and colour, and even layer multiple shots to
achieve focus stacking or expand dynamic
range to make the moment perfect. But, I’m
not interested in adding elements that aren’t
there – such as compositing the Milky Way
above a city. It has to be possible and be there;
I don’t add anything fake into my photos.
“Otherwise, my approach isn’t that
different to traditional photography,” he
continues. “The most important elements are
light and composition – the most boring
scene can look amazing if the light is right
102 Digital slr Photography June 2016
1
2 3
and the composition is strong. The third
thing that I look for when shooting is
something extra, and there’s a certain
amount of luck involved in capturing it.
Take the ISS appearing in my Milky Way
shot, for example – my timing was lucky, but
I stacked the odds in my favour by actually
being there and shooting. I’m not saying you
need the ISS in all of your photos of course!
That something extra can be a burst of light,
a flock of birds, or a rainbow, for example.
When he visits a location Albert persists
with getting the shots that he wants,
spending days capturing one image. He'll
visit at sunrise and sunset, and if it’s not good
he’ll go again the next day. “I spend hours
hiking to find new angles and locations,” he
says. “I’m a perfectionist, I think. But if you
shoot a lot and chase the shots you want, you
increase your chances of getting lucky.”
Making a full-time living as a landscape
photographer isn’t easy, so Albert still does
freelance video work, but he’s learning
important lessons about the business of
photography, and says he’s on the cusp of
being able to jump into it full-time. “I do a
lot of work with local tourism agencies and
theworldisa
muchsmallerplace
nowandyoucanbe
standinginfrontof
anamazinglandscape
inanothercountry
withinafewhours
companies in the Netherlands, but with
travel and landscape photography there’s
so much more than just taking the photos,”
he explains. “That’s 10% of everything you
do – there’s promotion, keeping in contact
with people, sending emails, processing,
invoicing, licensing, selling prints, planning
shoots, and so on. I want to get more into the
teaching side of photography. I’ve noticed
that’s a route that making a living from
photography is going down. I currently hold
seminars for local clubs and for Sony in the
Netherlands, but I’m looking at doing travel
workshops in other countries in the future.”
Travel is a big part of Albert’s life and,
alongside occasional trips back to Hong
Kong, he explores the world as much as
budget and time allows. For now, making
the trips worthwhile is achieved through deft
frugality. “I love travelling, and get bored
easily so I’m always itching to experience
new places,” says Albert. “When I’m
browsing online I’ll check out the discount
flight websites to see if there are any cheap
flights,” he reveals. “I’ll then look for
inspirational images, scout using Google
Street View and see if there are possibilities
 Albert Dros

1)"ThecolourfulharbourofNyhavn,Copenhagen." 2)"The 4
foregroundrocksgiveextradimensiontothisshot,takeninthe
Dolomites." 3)"It'snotalltulipsintheNetherlands!Hyacinths
areajoytophotographtoo." 4)"Heatherturnspurpleforafew
weekseachyear.Coincidingitwithearlymistisachallenge!"

to take nice photos there. If there aren’t many

good photos already it’s not a turn off, it
actually means that getting a unique image is
all the more possible. So if I see a flight or hotel
at a good price I’ll just book it and go – the
world is a much smaller place now and you
can be standing in front of an amazing
landscape in another country within a few
hours for relatively little outlay.
“I’ve got a long list of places that I want to
visit – it grows faster than I can tick things
off! I want to go back to Tuscany, and see
other parts of Italy too – it’s such a beautiful
country. I’m also planning to see Loch Ness
and the Isle of Skye in Scotland. Then there’s
the Lofoten Islands in Norway, which are
incredible. Further afield I want to see
New Zealand and the Canadian Rockies. My
motivation is beautiful images, and if I can
capture one of the best images at a location,
there’s a good chance it'll get licensed.”
Formore ofAlbert’swork,visit:www.albertdros.com

June 2016 Digital slr Photography 103

 Gear
phoTo kiTTesTed & raTed byexperTs

FUJIFILm X-Pro2
Thefollow-upTofujifilm'sflagshipreTro-sTyledigiTalrangefinderhas
finallyarrived,andThisTimeiT'sagamechanger.findouTwhyonpage110…

Plus
Gearnews:Thelatestphotographygearnewsandreleases Page109
accessorytests:isthedxoonethenextbigthingformobilephotography? Page114
 Plus £10 trade-in bonus*

We trade
almost
anything
with absolutely no fuss

Realise the value of your old photo equipment. Contact us

for a fast quote, and if upon inspection we find that your
gear is in better condition, we will increase our offer. And,
Fast quotation with the UK’s largest range of photo equipment - over 17,000
within 24 hours products, including all the latest models - upgrading with
Wex is quick and easy.
Receive an extra £10 Trade-In Bonus by entering code
DSP10 in the Comment Box on our Quote page.
Free collection of
your pre-loved gear
Visit www.wex.co.uk/bonus to submit a quote
or call us on 01603 486413 Monday†-Friday 8.30am-6pm
Terms and Conditions: †Except Bank Holidays. *Promotional code is only applicable on part-exchange quotations that are accepted by you the customer
We credit your Wex and Warehouse Express Limited, this offer ends 30th June 2016. A full inspection of your exchange will be carried out by highly trained staff before any
credit will be released. Wex Photographic is a trading name of Warehouse Express Limited (registered as company no. 03366976). Registered office: 13
account swiftly Frensham Road, Sweet Briar Industrial Estate, Norwich, Norfolk, NR3 2BT. © Warehouse Express Limited 2016.

TIPAREVEALS
2016HONOURS
TOPCAMERASAND LENSES OF2016 REVEALED!
THE WINNERS OF this year’s TIPA (Technical Image
Press Association) awards have been announced,
with a wide selection of manufacturers represented.
In the DSLR category, the Sony A68 was awarded
best entry-level model, with the Nikon D500 taking
best expert APS-C and the Pentax K-1 (3) nabbing
best expert full-frame DSLR. Nikon's D5 (1) took best
professional action DSLR with the Canon EOS 5DS/R
duo being awarded best professional high-res DSLR.
Notable Tamron lenses included the 18-200mm
f/3.5-6.3 Di II VC, which was named best entry-level
DSLR lens, and the 35mm f/1.8 Di VC USD (5), which
won best DSLR prime. Sigma also triumphed in the
DSLR lens categories, taking best wide-angle lens
(24-35mm f/2 DG HSM Art), best telephoto lens
(50-100mm f/1.8 DC HSM Art), and best professional
lens (20mm f/1.4 DG HSM Art)(2).
As expected, Fujifilm scored well in the mirrorless
stakes – the X-T10 (6) was named best entry-level
model and the new X-Pro2 (tested on page 110) best
expert CSC. The Olympus OM-D E-M10 Mk II
impressed as the best advanced CSC, and the Sony
A7R II (4) was top dog in the professional CSC award.
For a full list of all category awards, visit: www.tipa.com
IT’SAWHOPPERFORCANON!
FOTODIOX PRO HAS just announced the
Wonderpana FreeArc XL filter holder, designed
specifically for the Canon EF 11-24mm f/4L
ultra-wide zoom. The huge holder features an
aircraft aluminium lens collar, which accepts
gigantic 186mm circular filters! With the addition
of WP80 filter brackets, you can use huge
200x260mm square grads, available in 0.6 and
0.9ND hard and soft varieties. It costs around
£400, including holder, lens cap, brackets, one
square grad and a circular ND. www.wonderpana.com
RETROLENSES
ACHROMATICS
Lomography'slatestproductis
areinventionoftheworld’sfirst
photographiclens.Thenew
DaguerreotypeAchromat64mmf/2.9Artlens
featureschangeablebokehplates,whichalterthe
shapeofout-of-focushighlights.AKickstarter
campaigntofundthelenstippedUSD$760,000
atthetimeofprint! http://bit.do/DSLR_achromat
TWISTITBABY!
ThenewLensbabyTwist60
(£250) isametal-bodied
full-framelensthatfeaturesa
largecentralfocusareaandtwistingfall-offthat
emulatestheswirlingbokehseenonoldPetzval
lenses.ThelensisavailablenowinSony,Nikon
andCanonfittings,orasanopticforLensbaby’s
OpticSwapSystem(£150). www.lensbaby.co.uk
1 4
2
3 5
LEDTHERE
BELIGHT!
KENRO HAS
ANNOUNCED it will
distribute NanGuang
LED lighting, aimed at
portrait and still-life
photographers and
videographers, with
two kits initially
available. The £180 CNT96-3 kit contains
three heads and has been specially created
for desktop still-life photography, while the
£600 NanGuang LED Luxpad 43 kit is
designed for video and stills photography and
includes two slim-design Luxpad 43 heads
and two CN20FC Fresnel heads. The Luxpad
43 heads give soft, diffused light, ideal for
portrait photography, while the CN20FCs
have adjustable Fresnel focusing, running
from flood to spotlight. All lights have stepless
dimmers and colour control. www.kenro.co.uk
Product news \ Gear
6
MOBILESNAPPERS
GETAGRIP
Miggo’sPictaraimstorelease
the potential of iPhoneography.
thepotentialofiPhoneography.
Viaanapp,thePictar
communicateswiththeiPhone
withultrasound,usinglessbattery
thanBluetooth/Wi-Fi.TheDSLR-stylegrip
featuresprogrammabledialsandatwo-stage
shutterrelease.It’scompatiblewithiPhone4
to6Swithsupportforfuturemodels.Ordervia
KickstarterforUSD$90.www.mymiggo.com
IT’SABEAST!
Designedforanysmartphone,
theBeastgripProfeaturesalens
mountcompatiblewithavariety
ofconversionlensesandfilters,
aswellasacoldmountfor
seatingLEDlightsormicrophones.
Therearethreekits:rigonly(£140);rig
plus0.43xwide-anglelens(£170)andrigplus
0.43xwide-angleandfisheyelenses(£200).
www.intro2020.co.uk
HUAWEI & LEICADUAL
MobilemanufacturersHuawei
hasannouncedthefirst
dual-camerasmartphone,
co-engineeredwithLeica.The
dualcamerassimultaneously
shoot12-megapixelimages–one
capturescolourandtheothersnaps
monochrome–toimprovecontrastandthe
amountoflightdetected.TheP9isavailable
now,for£450,SIM-free. www.huawei.com/uk
June 2016 Digital SLR Photography 109
Gear/ ProfessionalCompact SystemCamera
fUJifilM
X-Pro2
Fujifilm'sX-Seriesofmirrorless
marvelsarehailedbymanyasa
seriousalternativetoDSLRs.Weput
itslatestflagshipmodeltothetest
Test: DaNiEl lEZaNo
SPECIFICATIONS
Price:£1,349(bodyonly)
Imagesensor:APS-CX-TransCMOSIII(23.6x15.6mm)
Resolution:24.3-megapixels
Maximumimageresolution:6000x4000pixels
AFsystem:IntelligentHybridAF
Meteringsystem:256-zone,spot&centre-weighted
ISOrange:200-12800(expandsto100-51200)
Shutterspeeds:1/8000sec-30seconds&Bulb
Continuousframerate:Eightframes-per-second
LCDmonitor:3in1,620,000-dot
Storage:DualSD(SDHC/SDXC)
Size:140.5x82.8x45.9mm
Weight:495g(includingbatteryandcard)
T
HE arrival of mirrorless Compact
System Cameras (CSCs) a few years
ago hasn't seen the demise of digital
Slrs, as some suspected, but has given
serious photographers an alternative choice
of interchangeable-lens camera system.
Sony and Panasonic have proven to be the
two biggest brands in the CSC market, but
it's the fujifilm X-Series that seems to have
caught the imagination of the photographic
community. Since the launch of the original
X-Series camera, the X-Pro1, in 2012, the
retro-styled system has proven to be
incredibly popular with hobbyists, serious
enthusiasts and professionals alike. With a
long heritage in film photography, fujifilm
has proven innovative in the digital age too
and is one of only a small number of brands
that builds cameras around its own sensors,
rather than those developed by others.
The fujifilm X-Pro2 joins five other fuji
CSCs in the range and sits at the top of the
pile. as we'll discover, while it may look
similar to the previous flagship model, it
offers many improvements over the X-Pro1.
There are several cameras available that
offer retro styling but few merge form and
function as deeply as the X-Pro2, which truly
is a rangefinder for the digital age. Unlike
models like the X-T1 and X-T10, which are
styled more like retro DSlrs, the X-Pro2
offers a completely different way of
composing images. other CSCs use an
electronic finder as an alternative to the lCD
monitor for image framing, but the X-Pro2
boasts a hybrid viewfinder that combines an
optical and electronic viewfinder. You'll find
more details in the panel on the opposite
page, but what this highly innovative system
110 Digital slr Photography June 2016
allows you to do is use a neatly position lever
on the camera's front to switch between an
electronic finder and an optical rangefinder
with digital frame lines and exposure info,
much like fuji's X100/S/T compacts. it takes
a little getting used to, but once you suss it, it
works superbly. Plus you get the liveview
option on the lCD monitor, too, which
boasts a large 3.2in, 1,620,000-dot screen,
but no tilt or touch facility.
You can't help but love the robust feel and
the assured balance of the X-Pro2. The
magnesium-alloy body feels tough enough
to withstand a bullet, while the buttons are
proud and dials well-sized. The controls are
fast and easy to access too. Choosing
exposure modes is done via the pronounced
dial on the top plate (which sports a collar
for iSo selection) and the aperture ring on
the lens. Set both to a for program, set the
lens aperture for aperture-priority mode, the
shutter speed for shutter-priority mode or
set both for manual. old school.
a four-way control on the rear provides
you with access to the majority of camera
functions. fuji has updated its menu system
and the newer version is far easier to
navigate. That's a good thing too as there are
no shortage of options on the camera. it
may look like an old rangefinder, but it's
rammed with current technology.
at its heart is a 24.3-million pixel X-Trans
CMoS iii sensor – the highest resolution in
the range – which has no optical low-Pass
filter for further sharpness. The X-Processor
Pro is a new imaging engine that claims to
deliver images with minimal noise, improved
raw processing, more responsive autofocus
and faster operational speeds.
STylIShlITTlENumbEr
Despiteitsretrorangefinderdesign,thenew
X-Pro2ispackedwithadvancedtechnology
andfeatures,andoffersalargedegreeof
controlcustomisationforitsusers.
autofocus is handled by 77 af-points
that cover approximately 40% of the image
frame. a toggle knob on the rear allows you
to quickly change af point and as well as
having all or single points active, you can
select small groups of sensors for improved
performance when tracking subjects. There
are also extensive options available to
customise both autofocus and manual
focusing to your liking.
as well as 256-zone metering, the fuji
offers spot, centre-weighted and average
metering, which should cover pretty much
every exposure situation. along with
exposure compensation, aE-lock and
exposure bracketing, you can also bracket
the dynamic range, iSo or White Balance.
The latter aren't common options, but one
setting that will likely get regular use is the
film simulation function that allows images
to have characteristics resembling classic
fujifilm emulsions, such as Provia and velvia.
run through the specifications and it's
hard not to be impressed by what's on offer.
The maximum frame rate of eight frames-
per-second is impressive considering the
large file sizes, full HD video recording at
1080p60 is available, Wi-fi is included,and
there are not one but two SD card slots. if
you're a fan of in-camera effects, you'll find
toy camera, miniature and soft focus effects
amongst the advanced filters menu.
one feature that is missing from the
X-Pro2 is an integral flash, although a
hotshoe is present for attaching an external
flashgun, along with a PC socket on the side
for connection to studioflash.
There's plenty of customisation and nifty
little set-up tricks to discover. The fn button

on the top-plate can be set to one of a
number of functions, while the Q button on
the rear allows for fast access to key
features. But there are other custom options
too, such as changing the exposure
compensation to +/-5-stop increments via
the rear input dial, as opposed to +/-3 stops
on the main dial. The more time you spend
with the X-Pro2, the more you discover
hidden within its menus.
There aren't many cameras that are so
enjoyable to use that you're actively looking
for reasons to go out and use it, but the
X-Pro2 is one of them. The combination of
traditional controls, classic design and
cutting-edge technology makes it hard to
put down for too long. While I'll admit I took
a little time getting accustomed to the hybrid
viewfinder's options, once I had it set up to
my liking, I found it to be incredibly useful
and easy to switch from optical to electronic.
The classic control layout is very intuitive to
Exposure:1/200secatf/2.4(ISO200)
Exposure:1/400secatf/2.4(ISO1000)
use, especially if you're my age and grew up
using cameras with similar ergonomics.
Along with the excellent range of options
and features available, you'll find yourself
immersed in the enjoyment of picture-
taking. Your happiness won't fade when you
view your images either, as the sensor
delivers a very high level of detail, excellent
colours and good contrast. The metering
and White Balance systems are very
consistent, noise is well controlled (up to
ISO 3200) and dynamic range is good. The
AF system is very quick and accurate,
although I was slightly disappointed at how it
struggled at times when close focusing with
the 60mm macro lens, although that's the
case with many camera systems.
Apart from the odd handling niggle (the
rear input dial is too far recessed in my
opinion), I was incredibly impressed with the
performance of the Fuji and found it
thoroughly enjoyable to use.
HYBRIDVIEWFINDER
TheX-Pro2istheworld'sonlyinterchangeable
lenscameratoofferaviewfinderwithbothan
opticalviewfinderwithelectronicrangefinder
andanelectronicviewfinder,givingthree
viewingoptions.Withtheopticalviewfinder,
theframeguidelinesandmagnification
automaticallychangeswhenyouswitch
lenses.Withtheelectronicrangefinder,asmall
electronicimageappearsinawindowinthe
cornerofthescreen,allowingyoutocheck
focus,WhiteBalanceandexposureinrealtime.
Switchingtotheelectronicviewfinder
activatesa2.36-milliondotdisplaypackedwith
awealthofexposureinformationneatlyand
logicallyarrangedintheframe.
CLOSESTRIVALS
• SONYALPHA7II:Availableforaround£1,200
bodyonly,this24.3-megapixelCSCboastsa
full-frameCMOSsensorandispackedwith
features,includingbody-integralfive-axis
stabilisation,3intiltingLCDandWi-Fi.
• PANASONICLUMIXGX8:Adropinpriceto
£700(bodyonly)hasmadethis20.3-megapixel
CSCanevenmoreattractiveoption.Stunning
design,excellentbuildqualityandgreatsetof
featuresmakesitonetoconsider.
• OLYMPUSPENF:Releasedearlierthisyear,
thedistinctivePENFsportsasnazzyretro
design,five-axisstabilisation,Wi-Fi,FullHD
videoanda20.3-millionpixelCMOSsensor.
Availableforaround£1,000bodyonly.
• FUJIFILMX-T1:Recentpricedropsmakethe
X-T1(andX-T10)veryattractivealternatives.The
X-T1sportsa16.3-megapixelAPS-Csensor,Full
HDvideoandabodyonlypriceofaround£800.
VERDICT
I've no doubt that the new
flagship in Fuji's X-Series will be
a hit. The hybrid viewfinder is
far better than I expected and the
camera's handling is excellent. The X-Pro2's
range of features leaves you wanting for
little and its performance won't disappoint
either. What makes it stand out is that
it's one of only a few cameras that has that
special something that makes it truly
enjoyable to use. Well worth consideration.
Handling 19/20
Ease of use 18/20
Features 18/20
Performance 18/20
Value 17/20
Overall 90/100
June 2016 Digital SLR Photography 111
The House of Nikon
Nikon Digital Cameras
Nikon D5 DSLR body.......................................................... £5,199.00
Nikon D810A (Astrophotography) DSLR body.................... £2,699.00
Nikon D810 DSLR body...................................................... £2,145.00
Nikon D810 + MB-D12 Grip Kit........................................... £2,425.00
Nikon D810 + AF-S 14-24mm f/2.8G ED Nikkor................. £3,445.00
Nikon D810 + AF-S 24-70mm f/2.8G ED Nikkor................. £3,335.00
Nikon D810 + AF-S 14-24mm f/2.8G & AF-S 24-70mm f/2.8G ED
Nikkor Kit............................................................................ £4,625.00
Nikon MB-D12 Grip for D810..............................................
Nikon D750 DSLR body..................................................... £1,385.00
£285.00
Nikon D750 + MB-D16 grip Kit............................................ £1,595.00
Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit........... £1,719.00
Nikon D750 + AF-S 24-120mm f/4G ED VR Kit.................. £1,939.00
Nikon D610 DSLR body...................................................... £999.00
Nikon D610 + MB-D14 Grip Kit........................................... £1,179.00
Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor..... £1,360.00
MB-D14 Grip for D610........................................................ £195.00
Nikon D500 DSLR body...................................................... £1,729.00
Nikon D500 + 16-80mm f/2.8-4E ED.................................. £2,479.00
Nikon MB-D17 grip for D500.............................................. £429.00
Nikon D7200 DSLR body.................................................... £739.00
Nikon D7200 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit £889.00
Nikon D7200 + MB-D15 Grip Kit......................................... £955.00
Nikon D7100 DSLR body.................................................... £589.00
Nikon D7100 + MB-D15 Grip Kit......................................... £790.00
Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit .... £775.00
Nikon D7100 + 18-140mm f/3.5-5.6G VR DX ED Kit.......... £1,095.00
Nikon D5500 body only....................................................... £499.00
Nikon D5500 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £559.00
Nikon D5500 18-140mm f/3.5-5.6G VR DX Kit................... £735.00
Nikon D5300 DSLR body.................................................... £379.00
Nikon D5300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £449.00
Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit....... £599.00
Nikon D5200 DSLR body.................................................... £299.00
Nikon D5200 + AF-S 18-55mm f/3.5-5.6G VRII DX Kit....... £369.00
Nikon D3300 DSLR body.................................................... £229.00
Nikon D3300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... £299.00
Nikon Df + AF-S 50mm f/1.8G Special Edition................... £1,895.00
Nikon Df DSLR body, chrome or black finish...................... £1,775.00
Nikon Df + AF-S 50mm f/1.8G SPECIAL GOLD Edition..... £5,000.00
Nikon 1 System
Nikon 1 V3 10-30mm + Grip Kit.......................................... £725.00
Nikon 1 S1 11-27.5mm Kit.................................................. £475.00
Nikon 1 S1 11-27.5mm + 30-110mm Kit............................. £595.00
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6................................... £499.00
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8............. £619.00
Nikon 1 J5 + 10-30mm PD Zoom lens, black.....................
Nikkor VR 6.7-13mm f/3.5-5.6............................................
£375.00
£345.00
Nikkor VR 11-27.5mm f/3.5-5.6.......................................... £139.00
Nikkor VR 10-30mm f/3.5-5.6 PD-Zoom............................. £199.00
Nikkor VR 30-110mm f/3.8-5.6........................................... £165.00
1 Nikkor VR 70-300mm f/4.5-5.6........................................ £689.00
1 Nikkor AW 10mm f/2.8..................................................... £229.00
0% or Low
F
1 Nikkor 10mm f/2.8............................................................ £159.00
1 Nikkor 18.5mm f/1.8......................................................... £129.00
1 Nikkor 32mm f/1.2............................................................ £549.00
1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ £469.00
Interest
Nikon SB-N7 Speedlight..................................................... £129.00
Nikon GP-N100 GPS Unit................................................... £99.00
Mount adapter FT1............................................................. £199.00
Finance
Nikon
n Coolpix
Coo
Nikon Coolpix A................................................................... £849.00
Nikon 1 J5 + 10-30mm PD Zoom Lens – Black.................. £375.00
AF-S & AF DX Nikkor
N Lenses
10.5mm f/2.8G AF DX ED Fisheye..................................... £495.00
AF-S 35mm f/1.8G DX........................................................ £145.00
AF-S 10-24mm f/3.5-4.5G IF-ED DX.................................. £619.00
AF-S 12-24mm f/4G IF-ED DX........................................... £839.00
AF-S 16-80mm f/2.8-4E ED VR DX.................................... £755.00
AF-S 16-85mm f/3.5-5.6G ED VR DX................................. £465.00
AF-S 17-55mm f/2.8G DX IF-ED........................................ £1,075.00
AF-P 18-55mm f/3.5-5.6G VR DX......................................
AF-P 18-55mm f/3.5-5.6G DX............................................
£199.00
£149.00
AF-S 18-55mm f/3.5-5.6G VR ED DX................................ £125.00
AF-S 18-55mm f/3.5-5.6G VRII ED D.................................
AF-S 18-105mm f/3.5-5.6G VR DX IF-ED..........................
£149.00
£189.00
AF-S 18-140mm f/3.5-5.6G VR DX ED.............................. £395.00
AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED....................... £525.00
AF-S 18-300mm f/3.5-5.6G ED VR DX............................... £699.00
AF-S 18-300mm f/3.5-6.3G ED VR DX.............................. £495.00
AF-S 55-200mm f/4-5.6G DX ED VR II.............................. £225.00
AF-S 55-300mm f/4.5-5.6G DX VR.................................... £249.00
AF FX Nikkor Lenses
14mm f/2.8D AF ED............................................................ £1,189.00
16mm f/2.8D AF Fisheye.................................................... £615.00
Prices include 20% VAT. Prices Subject to Change. E.&O.E.
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
Nikon D5
20mm f/2.8D AF..................................................................
24mm f/2.8D AF..................................................................
£449.00
£335.00
28mm f/2.8D AF.................................................................. £219.00
35mm f/2D AF..................................................................... £239.00
50mm f/1.8D AF.................................................................. £99.00
50mm f/1.4D AF.................................................................. £225.00
105mm f/2D AF-DC............................................................ £765.00
135mm f/2D AF-DC............................................................ £975.00
180mm f2.8D AF IF-ED...................................................... £635.00
AF-S FX Silent Wave Nikkor Lenses
AF-S 20mm f/1.8G ED........................................................ £539.00
AF-S 24mm f/1.8G.............................................................. £579.00
AF-S 24mm f/1.4G ED....................................................... £1,475.00
AF-S 28mm f/1.8G.............................................................. £465.00
AF-S 35mm f/1.4G............................................................. £1,290.00
AF-S 35mm f/1.8G ED....................................................... £369.00
AF-S 50mm f/1.4G IF.......................................................... £339.00
AF-S 50mm f/1.8G IF.......................................................... £159.00
AF-S 58mm f/1.4G.............................................................. £1,199.00
AF-S 85mm f/1.8G............................................................. £349.00
AF-S 85mm f/1.4G............................................................. £1,139.00
AF-S 14-24mm f/2.8G IF-ED.............................................. £1,345.00
AF-S 16-35mm f/4G ED VR............................................... £839.00
AF-S 17-35mm f/2.8D IF-ED.............................................. £1,295.00
AF-S 18-35mm f/3.5-4.5G.................................................. £515.00
AF-S 24-70mm f/2.8G IF-ED.............................................. £1,275.00
AF-S 24-70mm f/2.8E ED VR............................................. £1,725.00
AF-S 24-85mm f/3.5-4.5G ED VR...................................... £365.00
AF-S 24-120mm f/4G ED VR II.......................................... £799.00
AF-S 28-300mm f/3.5-5.6G ED VR.................................... £669.00
AF-S 70-200mm f/2.8G VR II IF-ED................................... £1,669.00
AF-S 70-200mm f/4G VR IF-ED......................................... £990.00
AF-S 70-300mm f/4.5-5.6G VR IF-ED................................ £419.00
AF-S 80-400mm f/4.5-5.6G VR II ED................................. £1,779.00
AF-S 200-400mm f/4G VRII IF-ED..................................... £4,849.00
AF-S 200-500mm f/5.6E VR ED......................................... £1,165.00
AF-S 200mm f/2G VR II IF-ED........................................... £4,049.00
AF-S 300mm f/4E PF ED VR II.......................................... £1,390.00
AF-S 300mm f/2.8G VR II IF-ED........................................ £3,989.00
AF-S 400mm f/2.8E VR FL ED........................................... £8,390.00
AF-S 500mm f/4E FL ED VR.............................................. £7,890.00
AF-S 600mm f/4G VR IF-ED.............................................. £6,495.00
AF-S 600mm f/4E FL ED VR.............................................. £9,490.00
AF-S 800mm f/5.6E VR FL ED (inc. TC800-1.25E ED teleconverter)
........................................................................................... £12,425.00
TC-14E III 1.4x teleconverter............................................. £390.00
TC-17E II 1.7x teleconverter.............................................. £299.00
TC-20E III 2x teleconverter................................................ £329.00
AF & AF-S Micro-Nikkor Lenses
AF-S 40mm f/2.8G DX Micro.............................................. £199.00
60mm f/2.8D Micro............................................................. £359.00
AF-S 60mm f/2.8G ED Micro.............................................. £419.00
AF-S 85mm f/3.5G VR DX IF-ED Micro............................. £359.00
AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................ £629.00
200mm f/4D AF Micro IF-ED.............................................. £1,169.00
Nikon Speedlights
SB-5000 Speedlight............................................................ £469.00
SB-700 Speedlight............................................................. £215.00
SB-500 Speedlight............................................................. £185.00
SB-300 Speedlight............................................................. £99.00
SB-R1C1 Close-Up Commander Kit.................................. £499.00
SB-R1 Close-Up Remote Kit.............................................. £399.00
SU-800 Wireless Speedlight Commander.......................... £269.00
SB-R200 Wireless Remote Speedlight............................... £159.00
Manual Focus Nikkor AIS Lenses
20mm f/2.8 Nikkor.............................................................. £901.00
24mm f/2.8 Nikkor.............................................................. £608.00
28mm f/2.8 Nikkor.............................................................. £615.00
35mm f/1.4 Nikkor.............................................................. £1,227.00
45mm f/2.8P Nikkor, chrome.............................................. £325.00
50mm f/1.4 Nikkor.............................................................. £597.00
50mm f/1.2 Nikkor.............................................................. £743.00
Zoom-Nikkor Manual AIS Lenses
28-85mm f/3.5-4.5 Zoom-Nikkor ....................................... £599.00
Special Purpose: Perspective
Control & Micro-Nikkor Lenses
24mm f/3.5D PC-E ED Nikkor............................................ £1,375.00
28mm f/3.5 PC Nikkor........................................................ £1,195.00
45mm f/2.8D ED PC-E Nikkor............................................ £1,345.00
55mm f/2.8 Micro-Nikkor.................................................... £541.00
85mm f/2.8D ED PC-E Nikkor............................................ £1,199.00
105mm f/2.8 Micro-Nikkor.................................................. £1,047.00
200mm f/4 Micro-Nikkor..................................................... £895.00
PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control
TO ORDER TELEPHONE 020-7828 4925
Follow us on: @NikonatGrays
Nikon we have been expecting you...
 New 20.9mp DX format sensor.
 153 Autofocus point system with 99 cross-type AF sensors.
 Up to 10 frames per second in Continuous High speed shooting mode.
 200 NEF (RAW) file capacity buffer allowing for never before possible continuous shooting capabilities.
 A standard ISO range of 100 to 51,200, extendable up to 1,640,000 ISO equivalent.
 Thanks to a brand new EXPEED 5 processor one can shoot at high ISOs with low noise.
 A new 2359k-dot LCD touch screen which offers touch operation in review and Live View modes.
 4K/UHD high definition D-Movies (3840x2160 pixels) can be recorded at 30p/25p/24p as well as 50p and 60p in (full HD)
1080p, and the camera offers clean HDMI output in all qualities.
 Fitted with XQD and SDHC card slots as standard to handle the camera’s 200 RAW file frame bursts.
 Compatibility with Nikon’s new wireless Snapbridge technology
which allows for seamless viewing and sharing of photos to a smart
device, even while the camera is switched off. ORDER YOUR D500 TODAY
020-7828 4925
Nikon D500 DSLR body £1,729.00 inc. VAT

Find us on Facebook: www.facebook.com/graysofwestminster Visit our website: www.graysofwestminster.co.uk

Gear/ iPhonecamera

DXO ONE
SoftwarespecialistDxOhasreleased
auniquecamerathatpromisestotake
iPhonephotographytoanewlevel
Test: DANIEL LEZANO

SPECIFICATIONS
Price:£400
Sensor:20.2-megapixel1in(13.2x8.8mm)CMOSBSI
Imageresolution:5406x3604pixels
Videoresolution:1080pat30fps;720pat120fps
Focallength:11.9mm(full-frameequivalent:32mm)
Aperturerange:f/1.8tof/11(six-bladeiris)
Focusrange:20cmtoinfinity
Autofocus:contrast-detection,usingfacedetection
Meteringpatterns:Multi-zone,spot&centre-weighted
ISOrange:ISO100-12800(expandabletoISO51200)
Imagestabilisation:Electronic
Shutterspeeds:1/8000secto15seconds
Cameramodes:Auto,Sports,Portrait,Landscape,
Night,program,aperture-priority,Speed-Priority,
manualandSelfiemode
Videomodes:FullHD,Slowmotion
Dimensions:67.5×48.85×26.25mm
Weight:108g
Website:www.dxo.com

L
IKE MANY ENTHUSIAST photographers,
I've come to recognise and appreciate
the convenience and quality that
comes from having an iPhone to hand for
times when a digital SLR is unavailable or
unsuitable. A recent upgrade to the iPhone
6S coincided with the release of a unique
and promising iPhone-compatible camera
from DxO, designed to enhance and widen
the photo possibilities of using an iPhone
(or iPad for that matter) for photography.
The DxO ONE is a sleek-looking camera
that attaches to the Lightning port at the
base of the iPhone and, once paired with
the app, allows the iPhone screen to be
used as a monitor. Boasting a 32mm lens,
20.2-megapixel 1in sensor and DxO's famed
processing, the camera is claimed to deliver
DSLR-quality images, which was a
statement that I was keen to check out.
Its design is minimalist, with a shutter
button, lens cover, OLED display and a rear
flap hiding the Micro SD card and USB port
being the only features – all of the other
controls are accessed via the iPhone screen.
If, like me, you've a case protecting your
iPhone, you may need to remove it to
connect the DxO ONE. This isn't ideal, and
increases the chances of damaging your
phone. Once connected and the app
opened, the iPhone screen converts into a
large, touch-sensitive viewfinder, with a
simple arrangement of icons allowing
settings to be changed easily and quickly.
Set on a swivel mount, the DxO ONE can
swivel +/-60° for shooting from high or low
angles, while removing it and re-attaching it
to face the user switches it to Selfie mode.
Handling while using the DxO ONE is
okay but isn't ideal – you'll need both hands
to hold the phone and camera and you'll
often find your finger straying in front of the
lens. While the tilting action is good, it could
do with offering slightly more angle of tilt.
Other niggles include having to unlock
the iPhone before connecting the DxO
Above:TheDxOONEconnectsviatheLightningportsothe
iPhone'sscreencanbeusedasanelectronicfinder.
Right:Thisimage,takenatthemaximumaperture,shows
excellentsharpness,whiletonesarenaturallyreproduced.
ONE to allow the app to open and the
occasional crashes.
The lens, which offers a slightly narrower
focal length than the iPhone camera, has
the advantage of aperture choice, from f/1.8
down to f/11, allowing you to control depth-
of-field in a way that's impossible with the
iPhone camera. This is its biggest advantage,
along with the improvement in image
quality. You can shoot in Raw and JPEG, with
Raw files being stored on the Micro SD card
and JPEGs on the card or the iPhone.
While images from an iPhone are good,
those from the DxO ONE are far superior.
Image sharpness is excellent, with lots of
detail being recorded. Distortion is handled
well, as is chromatic aberration, a clear
indication of the quality of the optics and
processing. Colour reproduction is excellent

Above:ArecentfirmwareupdateallowstheOLEDscreentobeusedasarudimentary
compositionalaid.Right:TheoptionalDxOFilmPackisaneasytousepackagethat
allowsyoutoedityourimageswiththecharacteristicsofpopularfilmemulsions.

114 Digital SLR Photography June 2016


and noise is well controlled – you'll feel
comfortable shooting at ISO 1600 if pushed.
The DxO's internal battery is recharged via
USB. My recommendation is if you're
planning to take lots of images, it's worth
taking an external battery pack to recharge
from, as the life of the DxO's battery isn't
great – I got about 150 shots per charge.
Incidentally, a neat feature is that you can
use the DxO ONE without the iPhone, but
only in full auto mode – while the OLED can
be used to aid composition (if you've
updated the software to v1.3).
Finally, it's worth noting that if purchasing
from DxO's website, one of the optional
items is DxO's £99 FilmPack 5 Elite software
package, which allows you to quickly and
easily edit images to look as if shot on a range
of popular colour and B&W film emulsions of
days gone by. I'd suggest considering this
package as it represents great value.
Exposure:1/500secatf/5.6(ISO100)
Exposure:1/400secatf/1.8(ISO100)
Top:TheDxOONEprovidesmuchbetterimagequalitythan
theiPhone'sstandardcamera.We'vemagnifiedasmallarea
oftheframetorevealthedetailthatcanbecaptured.
VERDICT
IwasreallyexcitedtogetmyhandsontheDxOONEand
seehowitcouldtakeiPhoneographyforward.Intermsof
imagequality,it'sfarbetterthantheiPhone'scameraand
notfaroffaDSLR.However,handlingnigglesandbattery
lifedampenmyenthusiasmforusingit.However,these
areareasI'msureDxOwilladdressonafuturemodel–if
theydo,thatcouldbethecameraIhopedthiswouldbe.
Build quality
Features
Performance
Value
Overall
Accessories\ Gear
BenroSmart20
Compactshoulderbag/Holds
DSLR,twolenses,flashandtablet/
Water-repellent1000DNylon
Test: DANIEL LEZANO
Price:£40
Contact:www.benroeu.com
While copious
capacity is usually
a key requisite
when choosing
your primary
gadget bag,
when choosing
a second bag for
travelling light,
the opposite is true.
Benro's Smart 20 is designed to hold
the essentials for days when you don't
need to cart around an arsenal of optics
and it's one of the best of its type that
we've tested. It neatly holds a DSLR (or
CSC) with prime or standard zoom
attached, along with a couple of other
lenses and a flashgun within its main
compartment, with a slim section at its
rear housing a tablet or small laptop.
Padded walls allow for some flexibility
in arrangement while a zip along its top
gives access without having to release
the main clip and two large Velcro grips
on the main flap. Lift this flap and in
front of the main section is a slim
compartment to hold documents, with
four elasticated pouches to hold pens,
spare batteries and other small items.
On the bag's rear is another slim
pocket, while one end has a elasticated
pouch for a small (500ml) drinks bottle.
The Benro is very stylish, the quality
of the materials is excellent and the
layout is simple yet highly practical.
Along with a shoulder strap (with nicely
padded grip), there's a thick carry
handle as well as a small side handle.
While available in different colours,
I have to say I'm smitten by the coffee
colour (with grey trim and interior) of
the sample I reviewed.
There isn't much I can think of that
I'd want to change on the bag, bar
swapping one or two of the elasticated
inner pockets for a zippered option so
as to more securely store memory
cards or valuables.
VERDICT
Ifyou're looking fora small shoulderbag fordays
out,you can't go farwrongwith the Smart 20. It's
stylish,verywell put together, holds a useful
numberofitems and isverygoodvalue.
Overall
June 2016 Digital SLR Photography 115
 01803 852400
PHONE LINES OPEN

Tel: MON -FRI 8am - 5pm,

info@mifsuds.com
Email - SAT 9am - 4pm,
SUN 10am - 1pm.
www.mifsuds.com SHOP OPEN
U.K. Stock Mifsuds Photographic Limited MON -FRI 9am - 5pm,
Only 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ. SAT 9am - 4pm. SUN 10am - 1pm.

PART-EXCHANGEWELCOME
WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE
FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED
For speediest response please email your equipment details to... info@mifsuds.com

NEW FROM CANON Canon EOS 5Ds R

Full Frame
Body Body
Canon EOS 5Ds
Full Frame
CANON EF-S
NON FULL FRAME LENSES
10-18 F4.5/5.6 IS STM . . . . . . . £179
50 F1.4 USM . . . . . . . . . . . . . . . .£236
50 F1.8 STM . . . . . . . . . . . . . . . . .£96
70-200 F2.8 IS LII USM. . . . . £1498

Canon EOS
18-55 F3.5/5.6 IS STM no box£139 70-200 F2.8 non IS L USM. . . .£944
only only 18-135 F3.5/5.6 IS U Nano . . .£449 70-200 F4 L IS USM. . . . . . . . . .£796
£2888 £2697 18-135 F3.5/5.6 IS STM no box £279 70-200 F4 L USM . . . . . . . . . . . .£438
1DX MKII Canon EOS 5D MKIII
Full Frame
Canon EOS 6D
Full Frame
24 F2.8 STM . . . . . . . . . . . . . . . .£128
CANON EF
70-300 F4/5.6 L IS USM . . . . . .£893
85 F1.2 USM L II. . . . . . . . . . . £1498
85 F1.8 USM . . . . . . . . . . . . . . . .£236
Full Frame FULL FRAME LENSES
Body only 8-15 F4 L USM Fisheye . . . . . .£899 100 F2.8 IS L USM macro . . . .£618
Body only
Body only £2198 £1118 11-24 F4 L USM . . . . . . . . . . . £2649 100 F2.8 Macro USM . . . . . . . .£372
100-400 F4.5/5.6 IS LII U . . . £1789
Plus 24-105 f3.5/5.6 IS £1498 16-35 F2.8 MKII L USM. . . . . £1059
price BG-E11 Grip £215 BG-E13 Grip £129 16-35 F4 L IS USM. . . . . . . . . . .£679 200-400 F4 IS L USM . . . . . . £8499
200 F2.8 II L USM . . . . . . . . . . .£568
17-40 F4 L USM . . . . . . . . . . . . .£498

£5198 Canon EOS 7D MKII

APS-C
Body only
Canon EOS 760D
APS-C
20 F2.8 USM . . . . . . . . . . . . . . . .£369
24 F1.4 L II USM. . . . . . . . . . . £1139
24 F2.8 IS USM . . . . . . . . . . . . . .£419
300 F2.8 IS L USM II . . . . . . . £4599
300 F4 L IS USM. . . . . . . . . . . . .£958
400 F2.8 IS L USM II . . . . . . . £7599

Canon EOS 80D £1168

BG-E16 Grip £198
Body only
£539
24 F3.5 L TSE MKII. . . . . . . . . £1469
24-70 F2.8 L II USM. . . . . . . . £1379
24-70 F4 L IS USM. . . . . . . . . . .£674
400 F4 DO II IS USM . . . . . . .£6899
400 F5.6 L USM . . . . . . . . . . . . .£884
500 F4 IS L U II . . . . . . . . . . . .£6799
APS-C 24-105 F3.5/5.6 IS STM . . . . . .£369 600 F4 IS L USM II . . . . . . . . . £8794
Canon EOS 750D Canon EOS 1300D 24-105 F4 L IS USM no box . .£699 1.4x III converter . . . . . . . . . . . .£299
Body only APS-C APS-C 28 F2.8 IS USM . . . . . . . . . . . . . .£388 2x III converter. . . . . . . . . . . . . .£299
price Body only £449 Plus 18-55 35 F1.4 USM LII . . . . . . . . . . . £1699 12mm EF MKII ext tube. . . .£59.99

£998
35 F2 IS USM. . . . . . . . . . . . . . . .£389 25mm EF MKII ext tube. . . . . .£109
Plus 18-55 STM £528 IS II 40 F2.8 STM . . . . . . . . . . . . . . . .£149 430EX III RT Speedlight . . . . . .£428
Plus 18-135 STM £699 £369 50 F1.2 L USM . . . . . . . . . . . . . .£994 600EX-RT Speedlight . . . . . . . .£428

NEW FROM NIKON Nikon D810 Nikon D750 NIKON DX 28 F1.8 AFS . . . . . . . . . . . . . . . . .£494
Full Frame NON FULL FRAME LENSES 28-300 F3.5/5.6 AFS VR . . . . . .£729
Full Frame 10.5 F2.8 DX Fisheye . . . . . . . .£548 35 F1.4 AFS G . . . . . . . . . . . . . £1399
Body only Body only £1388 10-24 F3.5/4.5 AFS G . . . . . . . .£638 35 F1.8 AFS G . . . . . . . . . . . . . . .£154

Nikon D5 £2144
MBD-12 Grip (D810/800/E) £279
Plus 24-120 f4 VR
MBD-16 Grip
£1946
£228
16-80 F2.8/4 AFS ED VR. . . . . .£766
16-85 F3.5/5.6 AFS VR . . . . . . .£498
18-55 F3.5/5.6 AFS VR . . . . . . . .£99
35 F2 AF-D. . . . . . . . . . . . . . . . . .£254
50 F1.4 AFS G . . . . . . . . . . . . . . .£349
50 F1.8 AFS G . . . . . . . . . . . . . . .£179
Full Frame Nikon D7200 Nikon D5500 18-105 F3.5/5.6 AFS G no box£199 58 F1.4 AFS G . . . . . . . . . . . . . £1299
18-140 F3.5/5.6 AFS VR . . . . . .£399 60 F2.8 AFS . . . . . . . . . . . . . . . . .£439
APS-C APS-C
Body only 18-300 F3.5/6.3 AFS VR . . . . . .£548 70-200 F2.8 AFS VRII . . . . . . £1798
Body only £739 Body only £489 35 F1.8 AFS G . . . . . . . . . . . . . . .£169 70-200 F4 AFS G ED VR . . . . £1079
price 40 F2.8 AFS G macro . . . . . . . .£209 70-300 F4.5/5.6 AFS VR . . . . . .£439

£5198
Plus 18-105 VR £885 Plus 18-55 VRII £555 55-300 F4.5/5.6 AFS VR . . . . . .£268 80-400 F4.5/5.6 AFS G VR . . £1798
MBD-15 Grip £228 Plus 18-140 VR £699 85 F1.4 AFS G . . . . . . . . . . . . . £1198
NIKON FX 85 F1.8 AFS G . . . . . . . . . . . . . . .£399
Nikon 24-70mm Nikon 200-500mm FULL FRAME LENSES 105 F2.8 AFS VR macro . . . . . .£659
200 F2 AFS ED VRII . . . . . . . . £4199
Nikon D500
f2.8 AFS f5.6 AFS E 14-24 F2.8 AFS G ED. . . . . . . £1459
16 F2.8 AFD Fisheye . . . . . . . . . £624 200-500 F5.6 AFS E ED VR. . £1097
G ED ED VR 300 F2.8 AFS ED VRII . . . . . . £3998
16-35 F4 AFS VR . . . . . . . . . . . .£899
APS-C 18-35 F3.5/4.5 AFS G . . . . . . . .£549 300 F4 AFS E PF ED VR. . . . . £1497
£1189 £1097 20 F1.8 AFS G ED. . . . . . . . . . . .£579 400 F2.8 G E FL ED VR . . . . . £8199
Body only Nikon 500mm
24 F1.4 AFS . . . . . . . . . . . . . . . £1599 500 F4 E AFS FL ED VR . . . . . £7777
Nikon 400mm 24 F1.8 AFS G ED. . . . . . . . . . . .£629 600 F4 E AFS FL ED VR . . . . . £9648
price f2.8 G E FL f4 AFS FL 24 F3.5 PCE . . . . . . . . . . . . . . . £1464 TC14EIII converter. . . . . . . . . . .£428

£1728
24-70 F2.8 AFS G ED VR. . . . £1789 TC17EII converter . . . . . . . . . . .£307
ED VR ED VR 24-70 F2.8 AFS G ED. . . . . . . £1189 TC20EIII converter. . . . . . . . . . .£349
24-85 F3.5/4.5 AFS VR . . . . . . .£399 SB700 flash . . . . . . . . . . . . . . . . .£228
Plus 16-80 VR £2479 £8199 £7777 24-120 F4 AFS G ED VR . . . . . .£849 SB5000 flash. . . . . . . . . . . . . . . .£498

150-600 F5/6.3
X-Pro 2 body...................£1348
OS Contemporary X-T1 blk + 18-135mm..£1079
X-T1 blk + 18-55mm ....£1049
£739 NEW X-Pro 2 X-T1 body Black................£805
X-T10 + 18-55mm............£715
X-T10 body Blk/silv..........£449
X-E2S + 18-55mm............£748
X-E2S body.........................£548
NEW X-E2S X-E2 + 18-55mm ..............£547
X-E2 body ...........................£398
10-24mm F4 XF ................£679
More Sigma
on website
14mm F2.8 XF ...................£607
NEW 100-400 16mm F1.4 XF ...................£679
Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 25/04/2016. P&P Extra. E&OE.
FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)
16-55mm F2.8...................£699
18mm F2 XF.......................£299
18-55mm F2.8/4 OIS ......£424
18-135mm F3.5/5.6 XF...£557
23mm F1.4 XF ...................£599
27mm F2.8 XF ...................£279
35mm F1.4 XF ...................£367
35mm F2 R WR..................£299
50-140mm F2.8 R OIS..£1029
50-230 F4.5/6.7 OIS.........£247
55-200mm F3.5/4.8
OIS XF...................................£467
56mm F1.2 R APD............£875
An excellent range
of new books
16-300 f3.5/6.3 Di dealing with all
56mm F1.2 XF ...................£679 II VC PZD £398
60mm F2.4 XF ...................£399
aspects of
90 F2 R LM WR ..................£615
100-400 F4/5.6 OIS WR ..£1468 150-600 f5/6.3
SP VC USD £798 equipment and
1.4x XF TC WR....................£328
11mm Ext tube................... £64
16mm Ext tube................... £64 18-200 f3.5/6.3 Di II VC......... £169
photography are
EF-20 flash............................ £98
EF-X20 flash .......................£168
28-300 f3.5/6.3 Di VC USD available either
CAF/NAF/Sony........................ £419
EF-42 flash..........................£168
X100T Black .......................£795 Kenko Converters in-store or via our
1.4x or 2x Pro 300 ea ............ £149
X100T Silver.......................£795
X70 Black/Silver................£538 Auto ext tube set..................... .£99
website
 Although we are the best stocked dealer in the West Country,
we cannot always have every item listed in stock at all times, so
we are happy to reserve new & used items for customers
planning to visit. Prices correct 25/04/2016 but subject to
change without notice. See website for up to date prices. E&OE.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
Used Canon Used Canon
EOS 1DX EOS 5D
body MKI1I
box
body
£3399 £1399/1599
5 x 4 USED
Used Canon 5x4 Amiga / Toyo kit........£299
Fuji 90 F8 SW......................£199
24mm Fuji 180 F5.6 .......................£199
BRONICA ETRS 645 USED
f1.4 LII ETRSi + 75 F2.8 PE + RFH £399
M- box 40 F4 MC..............................£149
50 F2.8 E...............................£149
105 F3.5..................................£99
£849 135 F4 PE .............................£199
150 F3.5 E ..............................£99
Used Canon 150 F3.5 PE M- Box...........£149
200 F4.5 PE..........................£199
E14 or 28 ext tube each ...£49
24-70mm 120 RFH..................................£69
f2.8 LII Polaroid Back .......................£39
Plain prism ............................£59
M- box Rotary prism.......................£129
AEII Prism...............................£79
Angle viewfinder E...........£129
£1199 Winder early .........................£79
Speed Grip E.........................£39
Used Canon Tripod adapter E .................£39
Winder early .........................£49
28-300mm f3.5/5.6 Metz SCA 386.......................£49
L IS USM BRONICA SQ 6x6 USED
SQB complete....................£399
40 F4 S ..................................£299
50 F3.5 S...............................£149
135 F4 PS M-.......................£249
£1199 150 F3.5 S ..............................£79
150 F4 PS ................... £149/199
Used Canon
200 F4.5 PS M- box ..........£199
2x PS converter M-...........£179
36mm ext tube....................£79
85mm f1.2 135N back ...........................£139
SQAi Polaroid back.............£79
LI USM SQAi 120 RFH .......................£79
SQA 120 RFH ........................£49
45° Prism box .....................£129
£899 Plain Prism S Boxed ...........£69
AE Prism Early ......................£79
ME Prism Finder ..................£69
Used Canon Metz SCA 386.......................£49
100-400mm f4.5/5.6 L
Pro shade S ...........................£59
Lens Hood 65-80.................£20
IS USM SQAi Motorwinder ...........£149
Speed grip S .........................£69
BRONICA RF 645 USED
RF645 + 65 F4 ....................£599
CANON DIGITAL AF USED
£699
1DX body box.................£3399
1D MKIII body box............£599
Used Canon
7D MKII body box.............£949
7D body ...............................£399
200-400mm f4 M- box 5D MKIII b/o box £1399/1599
5D MKII body ..............£599/899
5D MKI body box ......£399/499
760D body box ....................£449
750D body box ....................£399
700D body M- box..............£349
450D body box ....................£149
£7299 400D body ...............................£99
300D body ...............................£79
Used Canon
60D body................................£399
50D body................................£299
300mm f2.8 LII IS USM 20D body................................£119
BG-E2.........£39 BG-ED3.......£39
BG-E4........£79 BG-E6..........£89
BG-E7........£89 BG-E8..........£69
BG-E11 .....................................£189
BG-E13 .....................................£119
BG-E16 .....................................£169
£3899 G5X compact box...............£399
G12 compact box ...............£199
Used Canon CANON AF USED
EOS 600 body ......................£39
300mm f2.8 L IS USM EOS 650 body ......................£39
10-22 F3.5/4.5 U................£299
17-40 F4 L............................£399
17-55 F2.8 EFS IS USM ....£399
17-85 F4/5.6........................£179
18-55 F3.5/5.6 IS EFS .........£89
£2799 18-55 F3.5/5.6 IS STM............ £99
18-55 F3.5/5.6 EFS .................. £59
Used Canon 20-35 F3.5/4.5 USM..............£199
24 f1.4 LII M- box...................£849
300mm f4 L IS USM 24 F2.8 IS USM........................£369
box 24-70 F2.8 LII M- box........£1199
24-70 F2.8 box........................£649
24-105 F4 L...............................£499
28 F1.8 USM box...............£259
28-90 F3.5/5.6 ......................£79
28-135 F3.5/5.6 IS USM ..£219
£649 28-200 F3.5/5.6 USM .......£169
28-300 F3.5/5.6 L IS U ..£1199
Used Canon 35-135 F3.5/4.5....................£99
50 F1.8 MKII ..............................£49
400mm f2.8 L IS USM 55-250 F4/5.6 ISII M- box..£129
60 F2.8 EFS..........................£249
70-200 F2.8 L IS II U.......£1199
70-200 F4 IS U L ................£499
70-200 F4 U L .....................£299
75-300 F4/5.6 MKIII U........£99
85 F1.2 L MKI......................£899
£3999/4299 85 F1.8 M-............................£199
Used Canon Used Sony
500mm f4 LI IS USM A7 RII
body
box
£4499 £1899
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.
Used Canon
7D MKII
body
box
£949
100 F2 M- box....................£279
100 F2.8 USM .....................£299
100-400 F4.5/5.6 L IS U... £699
135 F2 M- box....................£549
200 F2.8 LII U........................£429
200-400 F4 M- box..........£7299
300 F2.8 LII IS U ................£3899
300 F2.8 LI IS U..................£2799
300 F4 L IS USM box......... £649
400 F2.8 L IS U.......£3999/4299
400 F4 DO...........................£2399
400 F5.6 L box............£599/699
500 F4 LI IS USM...............£4499
1.4x extender MKII ............ £199
2x extender MKII................ £199
Teleplus 2x DG conv..........£89
Kenko ext tube set DG......... £89
LC-4 wireless kit ..................£89
PB-E2 drive..........................£149
Tripod mnt adapt A (W)...£59
SIGMA CAF USED
8-15 F4.5/5.6 DC box...........£349
10-20 F4/5.6 HSM box .£199
17-50 F2.8 EX DC OS ...........£239
17-70 F2.8/4 DC OS HSM ..£199
18-35 F1.8 DC M-......................£399
18-200 F3.5/5.6 DC OS .....£149
24-35 F2 DG Art M- box...£599
24-70 F2.8 HSM....................£469
24-70 F2.8 EX.........................£249
50 F1.4 EX DC........................£249
50-200 F4/5.6 DC HSM OS.£99
70-200 F2.8 EX DG HSM...£429
70-300 F4/5.6 DG................£79
105 F2.8 EX DG..................£199
120-300 F2.8 EX DG .........£699
120-400 F4/5.6 DG ...........£399
150 F2.8 macro.....................£429
150-500 F5/6.3 APO DG.....£499
150-600 F5/6.3 DG Sport ..£999
180 F3.5 EX macro................£399
800 F5.6 EX DG....................£2499
1.4x EX DG conv ....................£129
2x EX DG conv........................£129
2x EX conv.................................. £89
Kenko Pro 300 1.4x conv..... £99
OTHER CAF USED
TAM 18-250 F3.5/6.3 DiII£149
TAM 28-300 box................£179
TAM 70-300 F4/5.6 ............... £99
TAM 90 F2.8 Di VC...............£299
TAM 90 F2.8 Di............£199/249
TAM 200-500 M- box........£399
CANON FLASH USED
CP-E3 batt pack...................£49
ST-E2 transmitter ................£89
430EXII..................................£169
430EZ non digital ...............£39
580EXII..................................£279
580EX box ...........................£179
600EX RT box .....................£329
CANON FD USED
A-1 body ................................£99
T90 body................................£99
28 F2.8 ....................................£49
35-70 F3.5/4.5 ......................£49
50 F1.4 ...................................£99
70-200 F4...............................£79
100 F4 macro .....................£179
100-300 F5.6.........................£99
299T or 300TL flash ea......£29
CONTAX MF USED
40-80 F3.5 AE .....................£199
FUJI DIGITAL USED
X-Pro 1 body.......................£299
X-T1 body black.................£599
X-E1 body silver ................£199
X-M1 body blk box...........£169
16-50 F3.5/5.6 XC M-.........£139
18-55 F2.8/4........................£279
18-135 F3.5/5.6..................£449
Samyang 8 F2.8.................£149
X100 silver box ..................£379
FUJI MED FORMAT USED
GS645S .................................£399
GSW690 III...........................£599
HASSELBLAD XPAN USED
Centre filter 49mm.................£129
HASSELBLAD 6x6 USED
503CW body chrome
+ 80 F2.8 CFE + A12 .....£1699
PM5 prism 45°....................£149
PME prism box...................£149
45° Prism late .....................£149
45° Prism early.....................£69
NC1 prism..............................£69
WLF late ...............................£110
WLF chrome late.................£99
WLF early...............................£49
A12 chrome latest............£299
A12 late blk/chr.................£129
Polaroid back .......................£79
40 F4 CF FLE .......................£999
50 F4 CF FLE .......................£849
50 F4 blk T*.........................£349
60 F3.5 chrome..................£399
Used Sony
503CW + 80mm f2.8
16-35mm
CFE + A12
f2.8 ZA
SSM box
£849
Used Nikon
D4
body
box
£2299
60 F2.8 chrome..................£249
80 F2.8 CF............................£479
100 F3.5 CF .........................£549
100 F3.5 Black T*...............£399
150 F4 chrome...................£199
250 F5.6 chrome ...............£199
Vivitar 2x conv .....................£69
Lens hoods various..... £20/50
LEICA M COMPACT USED
IIIg body chrome ..............£899
5cm F3.5 ..............................£299
35 F2 M- box (M39).......£1699
50 F1.4 6 bit.....................£1199
LEICA SLR USED
R7 body black ....................£449
R6.2 body black.................£449
R5 body black ....................£249
LEICA BINOCULARS USED
Trinovid 10x40...................£799
Ultravid 8x42 HD................£799
LIGHTMETERS USED
Minolta Flashmeter V......£199
Minolta Spotmeter M......£199
Sekonic L308........................£79
MAMIYA 645 MF USED
Plain prism (645 Super)....£39
WLF 645N/1000S/J.............£49
WLF Pro TL etc .....................£79
Polariod Back HP401 .........£29
Polaroid back .......................£29
120 Insert...............................£20
HA401 120 RFH Box...........£49
120 Back.................................£39
Winder....................................£79
50 F4 shift............................£349
55-110 F4.5 box.................£299
120 F4 macro .....................£299
150 F2.8 A............................£249
150 F3.5 N .............................£79
210 F4 N M- ..........................£79
Ext Tube 1, 2, 3S each .......£29
Teleplus 2x converter........£49
Vivitar 2x converter............£39
MAMIYA TLR 6x6 USED
C330 F Body + WLF ..........£149
55 F4.5 ..................................£199
65 F3.5 box late .................£199
65 F3.5 serviced.................£149
80 F2.8 late serviced........£139
180 F4.5................................£149
250 f4.5 late serviced.......£249
250 f4.5 early serviced.£179
Prism .......................................£99
Paramender ..........................£49
Porrofinder............................£59
MAMIYA 7 RF 6x7 USED
50 F4.5 L + VF.....................£699
80 F4.5 L M- box................£699
150 F4.5 M- .........................£399
Panoramic kit .......................£49
MAMIYA RB 6x7 USED
Pro S + 90 + RFH + WLF .£449
Pro SD comp M-................£649
Pro S body...........................£149
Pro S body scruffy ..............£99
WLF..........................................£79
120 645V back .....................£99
90 F3.5 KL ............................£249
127 F3.5 KL..........................£299
Ext tube 2.................................... £49
MAMIYA RZ 6x7 USED
RZ ProII + 90 + WLF
+ 120 RFH............................£499
RZ Pro body ........................£149
120 RFH Pro II.......................£99
120 RFH Pro I........................£49
WLF..........................................£79
FE701 AE prism .................£179
Winder II.................................£69
50 F4.5 W .............................£199
65 F4 box M- ......................£399
90 F3.5 W M- box..............£299
127 F3.5 box.......................£299
180 F4.5 W box..................£199
Pro shade...............................£49
MINOLTA/SONY DIGITAL USED
Sony RX10 box.................... £399
Sony A7 RII body box.....£1899
Sony A7R body................... £799
Sony A700 body................. £199
Sony A350 body................. £149
Sony VGC1EM ..................... £149
Sony VGB30AM .....................£79
Sony VGC70AM .................. £139
Sony HVL-F58AM.................. £179
Sony HV56AM........................ £179
Sony F42AM............................ £149
Sony HVL-F32X.........................£69
SONY NEX USED
Sony A6000 body .................£329
NEX 5 body ..............................£129
FE 16-35 F4 ZA OSS..............£849
FE 24-70 F4 ZA OSS..............£599
FE 35 F1.8 OSS box...............£279
FE 50 F1.8 OSS E ....................£169
FE 70-200 F4 GSS ..................£749
Used Hasselblad
£1699
Website altered daily inc. manufacturers cashback & promotions
www.mifsuds.com Subscribe to our newsletter - email your address to info@mifsuds.com.
Used Nikon
D3X
body
box
£2199
Samyang 85 F1.4...................£199
Samyang 100 F2.8 macro.£249
Sigma 60 F2.8 box.................. £99
MINOLTA/SONY AF USED
9000 body .............................£79
800Si body ............................£69
700Si + VC700......................£69
700Si or 7xi body ea..........£49
Dynax 5 body...........................£39
505Si Super ............................ £25
300Si body ............................£19
SPXi body ..............................£19
20 F2.8 ..................................£199
20-35 F3.5/4.5 M- box.....£249
24-50 F4 .................................£99
28 F2.8 ....................................£99
28-80 F4/5.6..........................£39
28-85 F3.5/4.5 ......................£99
28-100 F3.5/5.6 D ...............£49
35-70 F4 .................................£39
35-70 F3.5/4.5........................... £25
35-80 f4/5.6................................ £25
35-105 F3.5/4.5 ........................ £99
50 F1.7 AF................................... £89
50 F2.8 macro.........................£149
75-300 F4.5/5.6 ........................ £99
100-300 F4.5/5.6 APO.........£149
500 F8 mirror...........................£349
VC700 grip.................................. £39
RC1000S/L cord ....................... £15
AW90............................................. £49
MD90 + BP90-M...................... £79
Angle finder VN........................ £89
SONY LENSES USED
16-35 F2.8 ZA SSM box......£899
16-50 F2.8 SSM.......................£279
18-55 F3.5/5.6 SAM................ £59
18-200 F3.5/6.3 DT ...............£199
24-70 F2.8 ZE SSM................£699
50 F1.4 box...............................£189
55-200 F4/5.6 DT..................... £89
75-300 F4.5/5.6 ......................£129
85 F1.4 ZA.................................£799
SIGMA MIN/SONY AF USED
28-135 F3.8/5.6......................£79
28-300 F3.5/6.3 mac......... £149
50 F1.4.................................... £149
50 F2.8 EX DG...................... £169
55-200 F4/5.6 .........................£69
70-300 F4/5.6 DG OS ......£189
150-500 F5./6.3 DG ..........£499
170-500 F5/6.3...................£299
600 F8 ...................................£179
1.4x EX conv .........................£99
TAM 10-24 F3.5/4.5 DiII ..£239
TAM 70-300 F4.5/5.6
Di box......................................£79
TAM 90 F2.8 .............. £179/249
Teleplus 1.4x conv..............£69
Teleplus 2x conv .................£79
Kenko 1.4x Pro 300DG....£149
Min 3600HSD.......................£39
Min 5400HS ..........................£69
Min 5600HSD M-.................£99
NIKON DIGITAL AF USED
D4 body box....................£2299
D3X body box.................£2199
D3s body box..................£1799
D3 body box...........£999/1199
D2Xs body box..................£379
D810 body box...............£1649
D800E body box ...............£999
D700 body box..................£599
D610 body box..................£799
D600 body M- box ...........£699
D300 body box..................£299
D200 body box..................£199
D100 body box....................£99
D7100 body box ..... £399/449
D7000 body.............. £299/349
D5100 body........................£249
D5000 body........................£169
D3200 body red ................£149
D3100 body........................£149
D90 body.............................£169
D80 body.............................£149
D70 body...............................£79
D70s body.............................£79
MBD-15 grip .......................£169
MBD-14 grip box ..............£149
MBD-10 grip M- box........£149
MBD-200 box .......................£79
MBD-100................................£49
NIKON AF USED
F4 body ................................£349
F4E body..............................£299
F801s body ...........................£39
F801 body ...................... £29/59
F100 body + MB-15 .........£199
F601 body .............................£29
12-24 F4 DX ........................£399
14-24 F2.8 AFS ................£999
16-85 F3.5/5.6 AFS VR...£299
17-55 F2.8 AFS ......................£399
18-55 F3.5/5.6 VRII..................£99
18-70 F3.5/4.5 AFS ..............£119
Used Hasselblad
40mm
f4 CF
FLE
£999
Used Nikon
D3s
body
box
£1799
18-105 F3.5/5.6.....................£149
18-140 F3.5/5.6 VR DX M- £249
18-200 F3.5/5.6 AFS VRII...£399
18-200 F3.5/5.6 AFS VRI....£199
20 F2.8 AF................................£279
24 F2.8 AFD............................£299
24-70 F2.8 AFS box.............£849
28 F1.8 AFS G..........................£399
28 F2.8 AFD..............................£129
28-80 F3.3/5.6 G....................... £69
28-85 F3.5/4.5 AF.................... £99
28-100 F3.5/5.6 AF G............. £69
28-300 F3.5/5.6 AFS VR ......£599
35 F1.8 AFS box .....................£129
40 F2.8 AFS DX M- box.......£149
50 F1.8 AFD...........................£99
50 F1.8 AF..............................£79
55-300 F4.5/5.6 AFS VR...£199
60 F2.8 AFD.........................£249
60 F2.8 AF............................£199
70-200 F2.8 AFS VRII
M- box ...............................£1399
70-200 F4 AFS VR M- .......£799
70-300 F4/5.6 VR M- ........£329
70-300 F4/5.6 AFD ...........£129
70-300 F4 G...........................£79
80-400 F4.5/5.6 VR ...........£449
85 F1.4 AFS M- box ..........£979
85 F1.4 AFD............... £499/549
85 F3.5 DX M- box............£269
105 F2.8 AFD......................£369
180 F2.8 AFD M- box.......£449
200-400 F4 AFS VRI!......£3999
200-400 F4 AFS VRI.......£2499
300 F2.8 AFS VRII M-.....£3499
300 F2.8 AFS VRI ............£2799
300 F2.8 AFS....................£1699
300 F4 AFS M- box ...........£699
300 F4 AFS box..................£599
500 F4 AFS VR .................£4699
500 F4 AFS Mk1..............£1999
600 F4 AFS II non VR.....£4299
TC17EII..................................£249
TC20EIII M- box .................£279
TC20E ....................................£149
SIGMA NAF USED
12-24 F4.5/5.6 EX DG ..........£379
18-50 F2.8 EX DC Mac.........£199
28-300 F3.5/6.3 early..........£129
50 F1.4 DG Mint ......... £199/239
50 F1.4 Art...........................£479
50-500 F4/6.3 DG OS.......£499
50-500 F4/6.3 DG..............£399
70-300 F4/5.6 Apo DG ......£99
120-400 F4/5.6 DG OS ....£449
150-500 F5/6.3 DG OS........£499
500 F4 EX DG .......................£2299
1.4x EX DG M-.........................£119
2x EX DG conv........................£159
TAMRON NAF USED
10-24 F3.5/4.5 DiII.................£239
17-50 F2.8 XR Di.....................£199
18-250 F3.5/6.3 ......................£149
28-300 F3.5/6.3 ...............£99/169
70-300 F4/5.6 Di VC USD...£249
70-300 F4/5.6............................ £79
90 F2.8 Di ..................................£269
OTHER NAF USED
TOK 10-17F3.5/4.5 ATX...£249
TOK 12-24 F4 ATX pro.....£299
TOK 12-28 F4 ATX DX......£399
FLASH / ACCESSORIES USED
SB-24...............................................£49
SB-25...............................................£49
SB-80DX....................................... £79
SB-600.........................................£149
SB-700 M- box........................£199
SB-900.........................................£269
SD-8 batt pack.......................... £49
DR-6 angle finder..................£139
DR-3 angle finder.................... £69
MB-16 M- box........................... £89
MB-23 (fits F4)........................... £79
MC-30 remote .......................... £39
MF-23 (date back F4) ............ £79
NIKON MF USED
F3HP body...........................£199
F3 body ................................£149
FM2n body chr box..........£349
FM2n body chr ..................£179
28 F3.5 AI...............................£99
28 F2.8 E box........................£69
28-85 F3.5/4.5 AIS.............£199
35-70 F3.3/4.5 AIS.............£149
35-70 F3.5 AIS ......................£99
35-105 F3.5/4.5 AIS............£99
50 F1.4 AI.............................£129
50 F1.8 AIS.............................£89
50 F1.8 AIS pancake.........£139
50 F1.8 E.................................£59
105 F2.8 AIS macro ..........£249
105 F2.5 AIS ........................£229
180 F2.8 AIS ED scruffy...£179
200 F4 AIS macro..............£249
200 F4 AIS............................£149
200 F4 AI................................£99
Used Hasselblad
50mm f4 CF FLE
£849
Used Nikon Used Nikon
D3 D800
body body
box box
£999/1199 £999/1199
500 F8 late orange ring..£399
500 F8 early ........................£279 Used Nikon
TC14A....................................£129 14-24mm f2.8 AFS
TC200 ......................................£49
TC301 ....................................£169
SC-17 TTL lead.....................£25
DW-3 WLF find fit F3 .........£99
DW-4 6x mag find fit F3...£99
PK-13/12/11 ext tube ea..£29
OLYMPUS DIGITAL USED £999
E3 body box........................£349
11-22 F2.8/3.5 M-..............£379
12-60 F2.8/4 SWD.............£379 Used Nikon
14-42 F3.5/5.6 ......................£49 85mm f1.4 AFS M- box
14-45 F3.5/5.6 ......................£79
14-50 F3.8/5.6 ....................£199
14-54 F2.8/3.5 ....................£149
35 F3.5 ....................................£99
40-150 F4/5.6 .......................£49
50 F2 macro........................£279
25mm ext tube....................£79 £979
Sigma 105 F2.8
EX DG M- .............................£229
OLYMPUS PEN USED
Used Nikon
OMD-EM1 body M- box .£599 200-400mm f4 AFS VRII
OMD E-M5 body box.......£349
OMD-EM10 body..............£299
Pen E-PM1 + 14-42 M- ....£149
Pen E-PM1 body..................£99
12-40 F2.8 Pro....................£549
40-150 F2.8 Pro .................£799
40-150 F4/5.6 .....................£119
£3999
OLYMPUS OM USED
OM-4Ti body ......................£249 Used Nikon
OM-2SP body.....................£149 200-400mm f4 AFS VRI
OM-2n body .......................£149
OM-1n body .......................£149
24 F2.8 ..................................£169
28-48 F4 .................................£99
35-70 F3.5/4.5 ......................£79
35-105 F3.5/4.5....................£99
£2499
50 F3.5 macro ......................£89
200 F4 .....................................£79
300 F4 ...................................£169 Used Nikon
PANASONIC DIGITAL USED 300mm f2.8 AFS VRII M-
LX7 compact box..............£219
G3 body box.......................£129
G1 body box.........................£99
GX1 body box....................£149
GF1 body ................................. £79
14 F2.5 ..................................£199
14-42 F3.5/5.6 ......................£79 £3499
14-45 F3.5/5.6 ....................£149
14-140 F3.5/5.6..................£299
45-200 F4/5.6 box ............£199 Used Nikon
100-300 F4/5.6...................£299 300mm f2.8 AFS VRI
LVF2 box ..............................£149
BG-GH3 grip .........................£99
FZ-200...................................£199
PENTAX DIGITAL AF USED
K5 II body box....................£399
K7 body................................£199
PENTAX 35mm AF USED £2799
MZ5N body...........................£69
10-17 F3.5/4.5 ED .............£239
16-45 F4 ...............................£199 Used Nikon
16-50 F2.8............................£379 300mm f2.8 AFS
17-70 F4 SDM M- box .....£299
18-55 F3.5/5.6 ......................£29
18-135 F3.5/5.6 WR..........£269
28-80 F3.5/5.6 ......................£49
28-90 F3.5/5.6 FA ................£69
50-135 F2.8 SDM...............£379
50-200 F4/5.6 WR................£99 £1699
55 F1.4 SDM M-.................£469
55-300 F4/5.8 ED box......£229
70 F2.8 Limited..................£349
Used Nikon
70-300 F4/5.6 .......................£79 300mm f4 AFS
100-300 F4.5/5.6 .................£99
D-BG4 grip ............................£69
SIGMA PKAF USED
24-70 F2.8 EX DG mac ....£249
28-300 F3.5/6.3 DG mac...£99
50-500 F4/6.3 DG..............£429
PENTAX 645AF USED
£599/699
645N body ..........................£399
PENTAX 645MF USED Used Nikon
645 + 75 F2.8......................£249
500mm f4 AFS VR
645 body + insert .............£199
45-85 F4.5............................£299
55 F2.8 ..................................£249
150 F3.5 EX++....................£149
200 F4 ..................................£149
120 Insert M- box................£49
PENTAX 67 USED £4699
200 F4 latest .......................£169
200 F4 early.............................£99
300 F4 early scruffy............. £99 Used Nikon
Pentax rear conv 1.4x........ £249 500mm f4 AFS MKI
2x rear converter...............£179
Auto ext tubes .....................£49
Vivitar 2x conv .....................£49
SAMSUNG USED
50-200 F4/5.6 III M- box....£99
VOIGTLANDER USED
15 F4.5 + VF M- box.........£269 £1999
Used Leica Used Nikon
600mm f4 AFS II
35mm f2
non VR
M39
M- box
£1799 £4299
 Retailer of the Year, Gold Service Award winner 2015 CALL CENTRE NOW OPEN SUNDAYS
and Best Online Retailer 2002-2014.
Good Service Awards winner 2008-2015. 01603 208762
Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm
visit www.wex.co.uk
THE WEX PROMISE: Over 16,000 Products | Free Delivery on £50 or over** | 30-Day Returns Policy | Part-Exchange Available | Used items come with a 12-month warranty†† †

Black, Red Black

EOS 760D or Grey or Red
EOS 7D Mk II EOS 700D
D3300 D5500 D7100
20.2
megapixels
24.2 24.2 24.1
megapixels megapixels megapixels
10.0 fps 24.7 18.0
megapixels megapixels 5.0 fps 5.0 fps 6.0 fps
1080p
movie mode 5.0 fps 5.0 fps
D3300 From £248 D5500 From £499 D7100 From £569
7D Mk II £1179 760D From £549 700D From £379 D3300 Body £248 D5500 Body £499 D7100 Body £569
7D Mark II Body £1179 760D Body £549 700D Body £379 D3300 + 18-55mm AF-P £299 D5500 + 18-55mm AF-P £569 D7100 +18-105mm VR £799
750D Body £459 700D + 18-55mm IS STM £449 D5500 + 18-140mm VR £749
750D + 18-55mm £529 700D + 18-135mm IS STM £599
750D + 18-135mm £709 700D + 40mm STM £799

5D Mark III EOS 6D EOS 80D

D7200 D610 D750
NEW
22.3 24.2 24.3 24.3
megapixels megapixels megapixels megapixels
20.2
6.0 fps megapixels 6.0 fps 6.0 fps 6.5 fps
4.5 fps 24.2 1080p 1080p Full Frame
Full Frame megapixels Sensor
Sensor movie mode movie mode
Full Frame
Sensor 7.0 fps
D7200 From £714 D610 From £999 D750 From £1389
5D Mk III £2178 6D £1119 NEW 80D £999 D7200 Body £714 D610 Body £999 D750 Body £1389
5D Mk III Body £2178 6D Body £1119 NEW 80D Body £999 D7200 + 18-105mm £888 D610 + 24-85mm £1499 D750 + 24-85mm VR £1716
NEW 80D + 18-55mm £1089 D750 + 24-120mm VR £1979
NEW 80D + 18-135mm £1349

EOS 5DS EOS 1D X Mk II NEW G7 X Mk II NEW NEW

NEW D810 D5 D500
50.6 20.2 36.3 20.8 20.9
megapixels megapixels megapixels megapixels
megapixels
5.0 fps 20.1 7.0 fps 12.0 fps 10.0 fps
16.0 fps megapixels
Full Frame Full Frame Full Frame Full Frame
Sensor Full Frame
Sensor
4.2x Sensor Sensor Sensor
optical zoom

5DS From £2699 1D X MK II £5199 G7 X Mk II £549 D810 From £2139 NEW D5 £5199 D500 From £1729
D810 Body £2139 NEW D5 Body £5199 NEW D500 Body £1729
5DS Body £2699 NEW 1D X Mk II Body £5199 NEW G7 X Mk II £549
D810A Body £2699
5DS R Body £2899 G5 X Body £579

Canon Lenses Nikon Lenses

35mm f1.4 L II USM ..................................... £1799
EF 16-35mm f2.8L Mk II USM ........................ £1060
EF 70-300mm f4-5.6L IS USM........................ £876
EF 24mm f1.4L II USM.................................... £1099
EF 50mm f1.4 USM......................................... £232
EF 100mm f2.8 L IS USM Macro.................... £619
EF-S 10-22mm f3.5-4.5 USM ......................... £377
EF 16-35mm f4 L IS USM. ............................. £682
EF 11-24mm f4L USM .................................... £2799
EF 24-70mm f4.0 L IS USM .......................... £675
EF 70-200mm f4.0 L IS USM ......................... £795
EF 100-400mm f4.5-5.6 L IS II USM .............. £1799
EF 70-200mm f2.8 L IS II USM......................... £1499 85mm f1.8 G AF-S ............................................. £399 80-400mm AF-S Nikkor f4.5-5.6 G ED VR ........ £1859
EF 24-105mm f4.0 L IS USM............................ £727 105mm f2.8 G AF-S VR IF ED Micro................. £659 £1709 inc. £150 Cashback*
EF 24-70mm f2.8L II USM ................................ £1400 10-24mm f3.5-4.5 G AF-S DX............................ £669 18-300mm f3.5-6.3 G ED VR AF-S DX ............. £549
EF 50mm f1.2L USM......................................... £995 18-200mm f3.5-5.6 G ED AF-S DX VR II .......... £549 55-300mm f4.5-5.6 G AF-S DX VR ................... £269
EF-S 10-18mm f4.5-5.6 IS STM ....................... £179 16-80mm f2.8-4 G AF-S VR ED DX .................. £869
18-300mm f3.5-5.6 AF-S ED VR ....................... £749
EF 180mm f3.5 L USM Macro ......................... £1049 24-70mm f2.8 E AF-S ED VR ............................ £1849
EF 85mm f1.8 USM .......................................... £237 24-70mm f2.8 G AF-S ED.................................. £1399
£1249 inc. £150 Cashback* £1699 inc. £150 Cashback*
200-500mm f5.6 E ED VR AF-S ........................ £1179
70-200mm f2.8 G AF-S ED VR II....................... £1799
70-300mm f4.5-5.6 G AF-S IF ED VR ............... £449 24mm f1.8 G ED AF-S ....................................... £629
Nikon Cashback* offer ends 29.06.16
For 2-year warranty on any camera and lens kit simply register your new Nikon within 30 days of purchase.
Offer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register

Photo Bags & Rucksacks Photo Sport BP Anvil Slim

F-803
200 AW Black Professional
RuggedWear
Backpack Hadley Pro
Whistler BP 350 Perfect for
Manfrotto Original
AW Backpack carrying a DSLR
Pro Light 3N1 Canvas Khaki/Tan
with lens attached,
Perfect for Backpacks
carrying a pro an additional lens,
Designed to hold
DSLR with flash, accessories,
a digital SLR with Hadley: Canvas/Leather: Khaki/Tan,
lens attached, a 2-litre hydration
battery grip and Black/Tan, Black/Black.
4-6 ad- reservoir (not
mid-range zoom
ditional lenses, included), plus FibreNyte/Leather: Khaki/Tan, Sage/
lens attached, 3-4
a flashgun and extra gear such Tan, Black/Black.
additional lenses, a RuggedWear:
accessories. as a bike helmet,
flashgun and iPad/ Digital .................................. £109 F-5XB ................................. £72
jacket, snacks and
tablet.
a compact tripod. Anvil: Small ................................... £139 F-5XZ ................................. £99.95
Whistler: Photo Sport BP: Anvil Slim................................. £189.99 Large ................................... £154 F-6 ...................................... £99
BP 350 AW .............................£257 200 AW...............................£118 Anvil Super.............................. £189.99 3N1-25..................................£139 Pro Original ......................... £169 F-803 .................................. £139
BP 450 AW .............................£286 300 AW...............................£147 Anvil Pro.................................. £209.99 3N1-35..................................£199 Tripod Strap Black or Tan.... £19 F-2 ...................................... £149

Tripods & Tripod Heads We sell tripod accessories including plates and spiked feet on our website!
MT190XPRO3 Pre-Loved
• 160cm
Max Height cameras
• 9cm SLR Zoom Quality used
Min Height • Flexi-Tripod legs 327RC2
MT055XPRO3 ...................£139 Joystick cameras,
• 25cm Closed Length
MK055XPRO3 GT3542L Head lenses and
• 3Kg Max Load
+ X-Pro 3-Way Head .........£209 MT190XPRO4 ...................£159 • 178cm Max Height accessories
MK055XPRO3 MT190CXPRO3 with 12 months
• 16cm Min Height
+ 498RC2 Ball Head..........£169 Carbon Fibre......................£229
MT055CXPRO3 MT190CXPRO4
warranty*
Mountaineer Carbon eXact Tripod: Gorillapod: Ball Heads:
Carbon Fibre......................£269
MT055CXPRO4
Carbon Fibre......................£235
MT190XPRO3
GT0532 ...................................... £269 Compact....................................... £17 494RC2 ..................................£45 www.wex.co.uk/
Carbon Fibre......................£280 + 496RC2 Ball Head..........£139 GT1532 ...................................... £339 Hybrid (Integral Head).................. £29 498RC2 ..................................£74 pre-loved
MT190 Series: MT190XPRO4 GT2542 ...................................... £599 SLR Zoom .................................... £39 324RC2 ..................................£99 *Excludes items marked as incomplete
MT190XPRO3 ...................£129 + 496RC2 Ball Head..........£189 GT3542L .................................... £709 Focus GP-8 .................................. £79 327RC2 ..................................£135 or for spares

Terms and Conditions All prices incl. VAT at 20%. Prices correct at
Lighting & Accessories time of going to press. FREE Delivery** available on orders over £50
(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 £8.95**. Sunday deliveries are charged at
a rate £13**. (**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 Limited.
3m Heavy Duty ©Warehouse Express 2016.
Lumimuse LED Background Gemini Pulsar
*CASHBACKS Are redeemed via product registration with the
430EX III SB5000 Lights Ezybox Speed-Lite 2 L308s Plus III Set Stand Tx 500R Kit £949 D-Lite RX 4/4 Urban Collapsible manufacturer. Please refer to our website for details.
£219.99 £499 From £44.95 £49.95 £139 £199 £89 Tx 500 Pro Kit £1199 Softbox Set £699 Background £165 Showroom: Drayton High Road, (opposite ASDA) Norwich. NR6 5DP.
Mon & Wed-Sat 10am-6pm, Tues 10am-5pm, Sun 10am-4pm
 MORE THAN JUST A
PHOTOGRAPHIC SHOP…

EOS-1D X Mark II EOS 5DS R EOS 5DS D5 D810 D500

NEW NEW NEW

Canon
non EOS-1D X Ma
Mark
k II Bod
dy Canon EO
Ca EOS 5DS R Bod
dy Canon EOS 5DS Bod
ody Nik
Nikon D5 Bod
ody Nik
Nikon D81
D810
0 Bod
ody Nik
Nikon D500
D500 Bod
ody
£5,199.00 £2,899.00 £2,699.00 £5,199.00 £2,139.00 £1,729.00

NEW

EOS 5D EOS 7D D750 BODY £1,,389.00 D610 BODY £999.00 X-PRO 2 BODY £1,,349.00 X-T1 GRAPHITE £919.00 ALPHA 599 00 ALPHA
MARK III BODY £2,178.00 MARK II BODY £1,179.00 D750 BODY
D
DY A7R II BODY £2,599.00
£2 A7S II BODY £2,499.00
£2 499 00
+ 24-85MM £1,716.00 D610
+ 24-85MM £1,499.00 X-T1 BLACK £805.00

NEW

EOS 6D BODY £1,,119.00 EOS 80D BODY £999.00 D7200 BODY £714.00 D5300 BODY
£714.0 £373.00 X-100T X-T10 BLACK/
CK
CK/ A HA
ALPHAA7IIBODY
A7IIBODY
D £1
DY £1,,179 00 CYBER-SHOT
179.00
EOS 6D BODY + £1,499.00 EOS 80D BODY £1089.00 D7200 L R £794.00 SILVER
BLACK/SILVE
LVE L BODY
LVER £449
4 .00
449
D £1,728.00 RX100 IV
£759.00
24-105MM + 18-55MM + 18-105MM £888.00 D5300 BODY +
18-55MM £459.00 A HAA7IIBODY
ALP
+ -240MM
+24
DY

Canon Lenses Nikon Lenses Fujifilm Lenses Sony Lenses

EF 50mm F1.4 USM £239.00 Fujifilm XF
EF 50mm F1.8 STM £97.00 16-55mm F2.8WR
Nikon 300mm
EF-S 60mm F2.8 USM Macro £305.00 F4E PF ED VR £699.00 Sony FE
EF 85mm F1.2L II USM £1,,499.00 24-240mm
EF 100mm F2.8L IS USM Macro £619.00
£1,470.00 14mm F2.8 XF £607 00
£607.00 F3.5-6.3 OSS
EF 8-15mm F4.0L USM Fisheyye £899.00 18mm F2R XF £349.00 £749.00
EF 16-35mm F2.8L USM II £1,,060.00 23mm F1.4 XF £599.00
EF 17-40mm F4.0L USM £498.00 14-24mm F2.8G AF-S ED £1,,459.00 27mm F2.8 Black or Silv
il er XF
ilv £279.00
EF 24-70mm F4L IS £675.00 16-35mm F4G AF-S ED VR £899.00 35mm F1.4R XF £367.00
EF 24-70mm F2.8L II USM £1,,400.00 18-35mm F3.5-4.5G AF-S ED £549.00 56mm F1.2 XF £679.00 24-70mm F4 ZA OSS Vario-Tes
T sar T* FE
Tes £799.00
EF 24-105mm F4.0L IS USM £727.00 18-200mm F3.5-5.6G AF-S VR II £519.00 56mm F1.2R XF APD £875.00 35mm F2.8 ZA Sonnar T* FE £513.00
EF 24-105mm F3.5-5.6 IS STM £375.00 18-300mm F3.5-5.6G AF-S ED VR £699.00 60mm F2.4R Macro XF £399.00 55mm F1.8 ZA Sonnar T* FE £618.00
EF 70-200mm F2.8L IS USM II £1,,499.00 24-70mm F2.8G AF-S ED £1,,299.00 10-24mm F4 R XF £679.00 70-200mm F4 G OSS FE £999.00
EF 70-200mm F4.0L IS USM £795.00 28-300mm F3.5-5.6G AF-S VR £729.00 18-135mm F3.5-5.6 WR £557.00 90mm F2.8 Macro G OSS FE £899.00
EF 70-300mm F4.0-5.6 IS USM £356.00 70-200mm F2.8G AF-S VR II £1,,799.00 50-140mm F2.8 WR OIS £1,,029.00 16-35mm F4 ZA OSS Vario-Tes
T sar T* FE
Tes £1,,079.00
EF 70-300mm F4.0-5.6L IS USM £894.00 70-200mm F4G AF-S ED VR £999.00 50-230mm F4.5-6.7 OIS Black or Silv
il er XC
ilv £289.00
EF 100-400mm F4.5-5.6L IS USM II £1,,799.00 80-400mm F4.5-5.6G ED VR £1,,895.00 55-200mm F3.5-4.8 R LM OIS XF £467.00

Manfrotto Tripods & Heads Studio Lighting

*Befree
efree Aluminum
Travel Tripod MT190XPRO3 Trippod £129.00
Profoto D1 Studio Bowens Gemini
MT055XPRO3 Trippod £139.00
Kit 250/250 Air 500/500R Twin Head Kit
190GO Trippod £149.00
XPRO Ball Head
XPRO3W 3 Wayy Geared Head
£114.00
£149.00
£1,999.00 £949.00
MT190XPRO4 Tripopod £159.00
Befree Befree MT190CXPRO3 Carbon Fibre Tripo
ipod £229.00 Pro
r foto B2 250
ro Bowens Gemini
Aluminum Carbon Fibre AirTT
ir L To
irTT T -Go Kit 400/400Rx Umbrella Kit
MT190CXPRO4 Carbon Fibre Tripo
ipod £235.00
Travel Tripod
£119.00
Travel Tripod
£248.00
MT055CXPRO3 Carbon Fibre Tripo
XPRO 3 Wayy Head
H
ipod £269.00
£99.00
£1,495.00 £569.00

NATIONWIDE PRICE PROMISE TRADE IN.. TRADE UP...

STORES If you find an identical product available at a lower price Looking to upgrade your equipment? Why not part
Visit us in store at anyy of our at a UKK based retailer simplyl tell us who the competitor
ly exchange your old kit towards the latest model?
locations for expert and advice is and their price and we’ll match it*. Even if you find it Visit www.calphoto.co.uk or for further information
from our specialist team. cheaper up to 7 days afterer purchasing! on our trade in process.

CONTACT US Call: 0333 003 5000 Click: www.calphoto.co.uk Follow us on:

All prices include VAT at 20%. Prices correct at time of going to press. E&OE. *T&Cs apply. 0876-0615
 DaVinci Resolve 11 now adds professional nonlinear editing
to the world’s most powerful color grading system!
DaVinci Resolve 11 combines the world’s most advanced color corrector with professional multi track editing so now
you can edit, color correct, finish and deliver all from one system! With its legendary image quality, real-time GPU
accelerated performance, and support for more wide dynamic range RAW formats than any other system, DaVinci Resolve
has the creative tools professional editors and colorists need to work on Hollywood’s most demanding projects!

Integrated Editing and Grading Native Camera RAW

DaVinci Resolve 11 gives you professional editing
and color correction all in one system so you can
move between editing and grading with a click of the mouse!
No more importing, exporting, or conforming ever again!
Teams can have multiple colorists and assistants working
with an editor on the same sequence at the same time!
You get a true nonlinear workflow that lets you edit, grade
and finish faster than ever before!
DaVinci Resolve works natively with all major RAW
formats! Featuring the industry’s most advanced
de-bayer algorithms, Resolve preserves every detail captured by
the camera’s sensor. That means you can adjust exposure, shadows,
highlights and mid-tones long after the camera stops rolling! With
Resolve, you can create looks that simply aren’t possible on other
systems. The native RAW workflow means your final masters are
literally first generation renders from camera original files!

Professional Nonlinear Editing Scalable Power

DaVinci Resolve’s multi track timeline lets you
quickly ripple, roll, slip, slide, extend and shorten
edits. The context sensitive trim tool changes automatically based
on the position of the mouse to make editing faster! Dynamic JKL
trimming works on multiple tracks and can be done in the same
direction or asymmetrically. Whether you use the mouse or
keyboard, Resolve is easy to learn and has all of the tools
professional editors need!
Hollywood’s leading studios choose DaVinci
Resolve because it handles incredibly high
resolution images and massive amounts of data easily on super
tight deadlines. Resolve is scalable and works on laptop’s up
to massive multi GPU systems connected to shared storage.
Whether you’re working on HD, 4K or beyond, DaVinci Resolve
has the power, performance and creative tools you need to get
the job done!

DAVINCI RESOLVE 11 LITE DAVINCI RESOLVE 11 SOFTWARE DAVINCI RESOLVE 11

Free download with unlimited nodes. Full Resolve with unlimited nodes and multiple GPUs. Full Resolve with colorist control surface
Supports 1 GPU. Use 3rd party control panels. for the most advanced facilities.

Free Download £665* £19,975*

www.blackmagicdesign.com/uk
*SRP is Exclusive of VAT
 QUOTE DSLR6 FOR
AN EXTRA £10
ON TOP OF OUR
VALUATION

Time for a Spring Clearout

WE BUY MORE…
...Most Digital SLR’s, Mirrorless cameras, Advanced Compacts, Classic 35mm SLR’s, Vintage cameras,
Medium Format cameras, AF & MF lenses, high quality camera bags, tripods & many accessories!

It really is as easy as...

1. GET IN TOUCH 2. GET COLLECTED 3. GET PAID

Give us a call and have a chat. Pop it in the post or we can Take advantage of one of our
Or fill out our simple form at collect it when convenient* super Trade-Up Offers, or just
www.cameraworld.co.uk/used *Dependant on value. take the money and ENJOY!

· Classic Rangefinder Design

· Advanced Hybrid Multi ViewFinder
· 24.3 MegaPixel APS-C X-Trans
CMOS III Sensor
· Weather Resistant Body £100
· 1/8000th sec. Mechanical Shutter Trade In Bonus*
Body: £1,349
*Trade in any working
interchangeable lens camera/DSLR

EXCLUSIVEOFFER CARBON FIBRE TRIPOD DEALS

Alta Pro Alta Pro Alta Pro
Ultrek SAVE 253CP
with Pan Head
254CB
with Ball Head
283CT
with Ball Head
Travel Tripod
UT-43D II GM £90
with Ball & Socket Head
SAVE SAVE SAVE
EXTRA £100 £170 £161
£10 OFF Folds
Voucher code: UL10 to only
27cm!
RRP £249.99 RRP £339.99 RRP £360

£89 WAS £99

RRP £179 £150 £170 £199

LONDON 020 7636 5005 Goods and delivery services subject to stock and availability.
Prices subject to change. Pictures are for illustration purposes only.
14 Wells Street (off Oxford Street), London W1T 3PB All prices include VAT@ 20%. E. & O.E.
sales@cameraworld.co.uk
CHELMSFORD 01245 255510
High Chelmer Shopping Centre, Chelmsford, Essex CM1 1XB
chelmer@cameraworld.co.uk www.cameraworld.co.uk
THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

On sale
O l now!!
Order your copy direct from

MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle

THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

On sale
l now!
Order your copy direct from

MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle

All prices include VAT. Shipping not included. We reserve the right to change prices or correct pricing errors. Avenso GmbH, Ernst-Reuter-Platz 2, 10587 Berlin, Germany.
All rights reserved. *Not valid in combination with any other offers or discounts. Photographer: Marc Krause

Ever worked with ORIGINAL PHOTO PRINT

ON ALUMINIUM DIBOND
a real control freak? 30 x 20 cm

There’s nothing better. just

Experience your photos in

£ 31.95
gallery quality.
Made in the photo lab of the pros.

uk.WhiteWall.com
Save £10
Voucher code: WW14SLR11

Minimum order value: £70,

valid until 31.12.2015*.
THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

On sale
O l now!!
Order your copy direct from

MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle

THE IDEALCOMPANION FOR YOUR DIGITALCAMERA

On sale
l now!
Order your copy direct from

MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle

 HIGH DEFINITION GRADIENTS FOR HIGH PIXEL COUNT SLR CAMERAS

KOOD
1) KOOD uses small untoughend,thick Pilkington Optical Glass Mold’s to produce the highest possible
optically flat resin Filters without curvature to ensure infinity focus
2) Casting system eliminates all bleach so no loss of density or colour over time
3) Batch tested every 12 filters to maintain good neutrality
4) All filters packed in between card, in wallets which allow no movement or dust
5) KOOD Manufactures its own filters from casting to packing

A FILTER TO FIT ALL CONVERSION Light Mauve Graduated DOUBLE EXPOSURE

COKIN A SIZE SYSTEMS Dark Mauve Graduated Double Exposure
20 x Wratten polyesters set Light Red Graduated
80A Solar Eclipse Filter
Dark Red Graduated
80B Light Tobacco Graduated
80C SPOTS
Dark tobacco Graduated Blue Clear Spot
81A Light Yellow Graduated
81B Clear Spot
DarkYellow Graduated
81C Green Clear Centre Spot
Light Sunset Graduated
82A Dark Sunset Graduated Grey Clear Spot
82B Orange Clear Spot
82C POLARIZERS Clear Oval Spot
A Filter Holder Set 85A Linear Polariser Grey Oval Spot
Adapter Rings Only 85B Circular Polariser White Oval Spot
Fit Kood Holder 85C Red Clear Spot
NEUTRAL DENSITY Violet Clear Spot
A Filter Holder Cap FLB
A Filter Holder Hood FLD ND400 9 Stops (Japanese Glass) White Clear Spot
A Adapter Ring 37mm FLW available Round (Back Slot) Square
A Adapter Ring 38.1mm (for use with PL, star etc) Z 100 MM FILTERS
A Adapter Ring 40.5mm DOUBLE EXPOSURE AND MASKS ND16 4 Stops (Japanese Glass) GRADIENTS 100 X 125MM
A Adapter Ring 46mm A Double Exposure Neutral Density x2
A Adapter Ring 49mm A Double Mask 1 Neutral Density x4 0.3 ND Gradient Soft
A Adapter Ring 52mm A Double Mask 2 Neutral Density x8 0.3 ND Gradient Hard Cut
A Adapter Ring 55mm A PSF Neutral Density x8 (Glass) 0.6 ND Gradient Soft
A Adapter Ring 58mm INFRA RED 720 P FILTER 0.6 ND Gradient Hard Cut
A Adapter Ring 62mm DIFFUSERS AND FOGS 0.9 ND Gradient Soft
Infra Red 720 Optical Glass 0.9 ND Gradient Hard Cut
GRADIENTS A light Diffuser
A Strong Diffuser STARS AND DIFFRACTIONS Light Blue Graduated
0.3 ND Gradient Soft A Fog 1 Dark Blue Graduated
Starburst x4
0.3 ND Gradient Hard Cut A Fog 2 Light Green Graduated
Starburst x6
0.6 ND Gradient Soft Dark Green Graduated
0.6 ND Gradient Hard Cut NETS Starburst x8
Light Tobacco Graduated
Difraction 2x
0.9 ND Gradient Soft Net Blue Difraction 36x Dark tobacco Graduated
0.9 ND Gradient Hard Cut Net Grey Difraction Double Halo Light Sunset Graduated
Light Blue Graduated Net Green Difraction Halo Dark Sunset Graduated
Dark Blue Graduated Net Orange Difraction 4x Star
Cool Blue Gradient Net Red
NEUTRAL DENSITY
Difraction Filter DS8
Light Green Graduated Net Violet Difraction Square Neutral Density 2
Dark Green Graduated Net White Neutral Density 4
Light Mauve Graduated CLOSE UP FILTERS
Dark Mauve Graduated SPOTS Close up +1
DIFFUSERS AND FOGS
Light Red Graduated Oval Spot Blue Close Up +2 Diffuser Light
Dark Red Graduated Oval Spot Clear Close Up +4 Diffuser Strong
Light Tobacco Graduated Oval Spot Grey Split Field Fog 1
Dark Tobacco Graduated Oval Spot Red Fog 2
Light Fog Graduated COLOURS
Oval Spot White
Strong Fog Graduated Spot Blue Yellow COLOURS
Light Yellow Graduated Spot Clear Orange Yellow
Dark Yellow Graduated Spot Grey Green Orange
Light Sunset Graduated Spot Green Red Red
Dark Sunset Graduated Spot Orange Skylight Green
Spot Red Sepia Sepia
POLARIZERS
Spot Violet DIFFUSERS AND FOGS Skylight
Linear Polariser Filter Spot White
Circular Polariser Filter Wide Spot Blue
Light Diffuser CONVERSION FILTERS
Strong Diffuser 80A
NEUTRAL DENSITY Wide Spot Clear Light Fog
Wide Spot Grey 80B
Neutral Density 2 Strong Fog
Wide Spot Green 80C
Neutral Density 4
Wide Spot Orange CONVERSION FILTERS 81A
Neutral Density 8
Wide Spot Red 80A 81B
STARS AND DIFFRACTIONS Wide Spot Violet 80B 81C
Star x 4 Wide Spot White 80C 82A
Star x 6 P SYSTEM TO FIT ALL
81A 82B
81B 82C
Star x 6 with centre spot COKIN P SIZE SYSTEMS 81C
Star x 8 82A 85A
Difraction 2x P Size Holder 82B 85B
Difraction 36x Kood Adaptor Filter Rings + Cokin 82C 85C
Difraction 4x Holders 85A FLB
Difraction Star 4 P Adapter Ring 38.1mm 85B Spot Clear
Difraction Star 8 P Adapter Ring 49mm 85C Spot Oval
Difraction Square P Adapter Ring 52mm FLD
FLW Spot White
Difraction Halo P Adapter Ring 55mm FLB
CLOSE UP’S P Adapter Ring 58mm
P Adapter Ring 62mm
Close Up 1 P Adapter Ring 67mm
Close Up 2 P Adapter Ring 72mm
Close Up 4 P Adapter Ring 77mm CAN BE ORDERED FROM ANY INDEPENDENT RETAILER
Split Field

KOOD
P Adapter Ring 82mm
MULTI IMAGE AND SPEED
GRADIENTS
Multi Image 3
Multi Image 5 0.3 ND Gradient Soft
Multi Image 7 0.3 ND Gradient Hard Cut
Speed 0.6 ND Gradient Soft
0.6 ND Gradient Hard Cut KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EY
COLOURS 0.9 ND Gradient Soft
20 x Polyester colour set 0.9 ND Gradient Hard Cut Tel: 01727 823812 Fax: 01727 823336
Yellow Light Blue Graduated E-mail: info@koodinternational.com / koodinternational@gmail.com
Orange Dark Blue Graduated
Green Cool Blue Graduated

www.koodinternational.com
Red Light Green Graduated
Sepia Dark Green Graduated
Sky
Light Grey Graduated KOOD BRAND PRODUCTS ARE EXPORTED WORLDWIDE

KOOD SUPPLIES EVERY PART OF THE PHOTO TRADE - HOME AND EXPORT.
EMAIL: info@koodinternational.com FOR DETAILS OF STOCKIST IN YOUR AREA OR, IF YOU ARE A CAMERA EQUIPMENT TRADER,
SEND YOUR DETAILS FOR ACCOUNT APPLICATION AND TRADE SUPPLY PRICES | TRADE AND IMPORTERS CAN PAY BY
 NE SUJUN
O
Beginner’s Guide

N
IS 14
SA

X T E E 2016
LE
RULESOF
COMPOSITION
Ever wondered why some images work while others don’t make the grade? More often
than not, success or failure can be down to where key focal elements are placed in the
frame. In next month’s Beginner’s Guide, we’ll show you how the masters compose

IMPROVEYOUR SKILLS
From shooting abstracts to portraits,
we’ve a range of indoor and outdoor
tutorials to help you improve your
camera and editing techniques
Plus
INFRARED INDULGENCE
With spring in full flow and summer
on its way, now’s the time to try out
infrared photography. Lee Frost
shows how in our photo workshop
CANON EOS 80D
Is Canon’s latest mid-range DSLR
the best choice for enthusiasts and
semi-pros? We find out how good
this 24.2-megapixel DSLR really is

ESSENTIALPHOTOADVICETO HELPYOU IMPROVEYOUR PHOTOGRAPHY

 Sony A7r mkII, 16-35mm @ 18mm. 1/80 sec @ f/8, iso 100

St Andrews Bay
A remote island lost in the south Atlantic, South Georgia is a world-class synthesis of coast, mountains
and glaciation. It is also home to the earth’s largest colonies of Kings, arguably the most charismatic
penguin species of them all. LEE 0.6 ND
very hard grad filter
As a tripod-loving landscape photographer, tackling this tremendous wildlife/landscape opportunity
was always going to be tricky, especially as our arrival at St Andrew’s Bay coincided with some
brilliant – and contrasty – early morning light.
Unsurprisingly, wild creatures do not generally pose for pictures and are in constant motion, so this,
and other images had to be shot hand-held, moving around them and trying to keep a respectful
distance too, no easy task.
A very hard 0.6 ND graduate (two stops) bridged the contrast conundrum, with its abrupt step
‘dissolving’ nicely in the scene just above where the mountain meets the sea. I was able to retain
highlight detail in the sky and had perfect exposure on the Kings, pretty important for retaining
feather texture in the darkest shadow zones. Such accurate control of light is why I carry as many
as ten grads on a shoot, with gradients from very hard to soft.
Very hard grads were once made only to order, but are now being made available to all. You may not
be able to p-p-pick up a King penguin, but you can obtain a very hard step LEE grad. Happy days!

NEW
Very hard grad filter

Joe Cornish
www.joecornishgallery.co.uk

www.leefilters.com