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Issue 128

Tim Kemple
Power in all
the right places
Profoto B1X

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


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that two new OCF reflectors and youll find with the B1X, weve
redefined the on-location flash yet again.

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Art Editor Luke Marsh
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Contributing Editor Caroline Schmidt
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Contributing Editor Jordan Butters
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Editorial Consultant Jo Lezano
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Other editorial contributors this issue:
James Abbott, Ross Hoddinott & Richard Peters

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July 2017 Digital SLR Photography 5


Contents JULY2017/ISSUE128

5 EDITORS PAGE
AwarmwelcometotheJulyissuefromeditorLezano
8 PORTFOLIO
Theverybestimagessubmittedto,andcuratedby,the
teamoverthepastmonth.Preparetobeinspired!
16 SNAPSHOTS
Everythingthatscurrentinthewideandweirdworldof
photography,fromphotoawardstotoptipsandtricks
56 EXPERT CRITIQUE
Submityourimagestoreceivevaluablephotofeedback
61 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
62 BEGINNERS GUIDE:
DAYLIGHT PORTRAITS
Capturenatural-lightportraitsinanyconditionsand
becomeamoreversatileportraitphotographer
74 PHOTO WORKSHOP: THREE PEAKS
JamesAbbottguidesonereadertothePeakDistrictin
searchofthreebrilliantcompositions
82 TRAVEL
Havecamera,willtravel!Satisfyyourwanderlustwithtop
travelideasandadvicefromleadingprofessionals
92 MAIN INTERVIEW: RICHARD PETERS
LeadingwildlifephotographerandNikonambassador
RichardPetersrevealswhatlifeislikeasawildlifepro
138 VANGUARD COMPETITION 82
WinaVanguardALTAbundleworthover400

32 38 42

46
Phototechnique 52
32 PHOTO SKILLS: A DAY IN THE COUNTRY
Nowsthetimetoheadinlandandsharpenyourskillsfor
photographingthegreatBritishcountryside
38 PHOTO SKILLS: DIY REFLECTOR
CarolineSchmidtgetscraftyassheshowsyouhowto
createanduseaDIYshoot-throughreector
42 PHOTO SKILLS: EYE, EYE!
Gotaneyeformacrophotography?JordanButters
showsyouwhyyoudonthavetolookfarforinspiration
46 PHOTO SKILLS: PANORAMIC PORTRAIT
CarolineSchmidtsharesatoptechniqueforshooting
portraitswithincrediblyshallowdepth-of-eld 62
50 EDIT SKILLS: PANO PORTRAITS
Followingonfromourshootingtutorial,hereshowyou
awlesslystitchtogetheryourpanoramicportrait
52 EDIT SKILLS: TOY TOWN
Masterthisclassicopticalillusionandcreateyourown
miniaturetoytowneffectinminutesinPhotoshop
54 EDIT SKILLS: ONE SHOT HDR
ExpandyourdynamicrangeinLightroombycreatinga
realisticone-shotHDReffectfromasingleRawle

6 Digital SLR Photography July 2017


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 nger on the pulse of all
things photography, Jordans our
social media master, features guru
and a talented pro photographer.
jordanbutters.co.uk

Ross Hoddinott OUTDOOR


Hes not only an award-winning
nature photographer, a leading
expert in landscape and wildlife
photography, hes a top tutor, too.
rosshoddinott.co.uk

Lee Frost LANDSCAPES


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

Ben Hall WILDLIFE


A renowned wildlife photographer,
74 106 author and tutor, Ben applies his
expert knowledge to help improve
your wildlife photography skills.
benhallphoto.com

Helen Dixon LANDSCAPES


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

Richard Peters WILDLIFE


Hes quickly established himself as
92
Gear:Tested&Rated one of the UKs top wildlife
105 PRODUCT NEWS photographers, and is now also a
Allthelatesttechnology,kitandgearreleasesfromthe Nikon pro ambassador.
photoindustrytolandinourinboxthismonth richardpeters.co.uk
106 CANON EOS 77D
Paul Ward PORTRAITS
Yetanothermid-rangeenthusiastsDSLRfromCanon.
A pro photographer, Paul is an expert
IstheEOS77Dmoreofthesame,orsomethingnew?
on lighting. He specialises in studio
110 LIGHTING AIDS and location portraits, as well as
Takecontrolofnaturalandarticiallightwithour commercial photography.
comprehensiveguidetothebestreectorsanddiffusers paulwardphotography.com

James Abbott LANDSCAPES


110 James is an award-winning editorial,
advertising and commercial
photographer, specialising in portrait
and landscape photography.
jamesaphoto.co.uk

Richard Hopkins TESTS


With over 30 years experience
testing cameras on photography
6 100 SUBSCRIBE TODAY!
magazines, Richards one of the UKs
leading technical experts on photo
Takeadvantageoftheverylatestsubscriptionoffers
kit, in particular lenses.

July 2017 Digital SLR Photography 7


Portfolio
Explosion of Colour
by Maciej Bartnicki
500px.com/mabart

The autumn colours in the Tatra mountains were


at their peak but I desperately needed some light to
illuminate them. After ten hours of hiking, my hopes
diminished. Clouds covered the sky and the light was
flat and dull. However, at the last moment, the
setting sun broke through the clouds and beautiful
light flooded in. I took a single exposure, which I
processed twice: once for the highlights and once
for the shadows, then blended them together.
Nikon D800with NikkorAF-S 28-300mm f/3.5-5.6 lens.
Exposure: 1/200sec at f/5.6 (iSo 100).
Portfolio
The Empire by Ole Henrik Skjelstad
500px.com/olehenrikskjelstad

(Above) This was one of those moments when everything


comes together and you almost can't believe your luck.
The very still lake perfectly mirrored the beautiful sky and
the rocks worked well to lead the eye through the image.
The main challenge to overcome when processing an
image like this is to not oversaturate or clip the colours.
SonyA7RwithCanonEF16-35mmf/4Llens.Exposure:Onesecondatf/9.5(ISO100).

Water and Fire by Ole Henrik Skjelstad


(Right) Rondane National Park in Norway begs to be
explored I've only seen a fraction of what it has to offer.
This waterfall is called Brudeslret. This is a panorama from
eight vertical exposures. The challenge was to balance the
bright sky and dark rocks. I used a Nisi 0.9ND grad to hold
back the sky, and a Nisi ten-stop ND to smooth the water.
SonyA7RwithCanonEF16-35mmf/4Llens.Exposure:Tensecondsatf/8(ISO100).

Overshadowed by Ole Henrik Skjelstad


(Bottom right) I wanted to shoot this church in Jevnaker,
Norway, bathed in sunset colours for quite a while. There's
a lake below that I chose to omit as it didnt offer pleasing
reflections. I bracketed two exposures and blended them
in post. The highlight exposure added noise to the church,
whereas my shadow exposure offered a cleaner result.
PentaxK-1with70-200mmf/2.8EDlens.Exposures:1/15secand1/60secatf/8(ISO100).

Straws by Ole Henrik Skjelstad


(Left) The sky was almost cloudless on this morning but I
opted to head out anyway. Out of nothing, clouds formed
on the sky and took on colours from the rising sun. Both the
rocks and straws pointed towards the light, so I settled on
this composition. The Pentax K-1 had no issues picking up
the shadows in post-production without adding noise.
PentaxK-1withPentax15-30mmf/2.8EDlens.Exposure:1/13secatf/11(ISO200).

July 2017 Digital SLR Photography 11


Portfolio
Santa Maddalena by Michael Boehmlaender
500px.com/ausserferner

(Above) This private church is located in South Tyrol, Italy.


The light and finding the right composition was challenging.
The sun rises late behind the peaks in the background and
the area is private, so you need to compose from a distance.
This is a stitched panorama of three vertical exposures.
CanonEOS5DMkIIIwithEF70-200mmf/2.8LISIIUSM.Exposure:1/40secatf/13(ISO100).

Cloudcano by Michael Boehmlaender


(Centre right) This location in South Tyrol has been on my
bucket list for a long time. When I arrived, I saw fast-moving
clouds and a strong uprising of fog from the valley. I decided
to use a Big Stopper ND to capture this movement. I couldn't
believe my eyes when I checked the camera afterwards
the long exposure made it look like an active volcano!
CanonEOS5DMkIIIwithEF24mmf/1.4LIIUSM.Exposure:30secondsatf/22(ISO100).

Dream Of The King by Michael Boehmlaender


(Bottom right) There are tens of thousands of shots online of
the famous 'Disney Castle' in Bavaria, but only a handful
from this side, and this secret spot. A precarious hidden path
is the only way up after a heavy hike I arrived late but just in
time for sunset. I was so in awe of the view, I almost forget to
take a shot of the castle with this charming soft sunset light.
CanonEOS5DMkIIIwithEF24mmf/1.4LIIUSM.Exposure:1/10secatf/11(ISO100).

Michelle by Sandra Limberg


www.sollena-photography.de

(Left) I fell in love with this style of Ethno make-up, and


decided to try it on one of my models Michelle Ramone.
She has the perfect face for this style, and we took this
picture during a quick 30-minute session. It was very cold,
so applying the make-up with shivering hands was difficult!
This is part of an ongoing series of portraits in this style.
NikonD610with50mmf/1.8lens.Exposure:1/160secatf/1.8(ISO160).

July 2017 Digital slr Photography 13


14 Digital SLR Photography July 2017
Portfolio

The Flaming Shades of Fall by Enrico Fossati


www.enricofossati.it

(Left) It was a foggy and wet morning in the French Alps. Visibility was
close to zero, so I decided to spend the morning in the forest. Thanks
to my waders I could stand in the river and experiment with new
compositions. A polariser helped to control glare and reflections.
Nikon D800with NIKKORAF-S 14-24mm f/2.8G lens. Exposure: 1/4sec at f/14 (ISO 100).

Towers of Heaven by Enrico Fossati


(Below far left) During a Dolomites workshop with my partner, Erin
Babnik, we guided the group to a dramatic vantage point in front of Tre
Cime di Lavaredo. With light rays bursting through the clouds, a violent
storm was suddenly upon us, and we took refuge in a nearby cave.
Nikon D800with NIKKORAF-S 14-24mm f/2.8G lens. Exposure: 1/100sec at f/16 (ISO 100).

Primal Bay by Enrico Fossati


(Below centre left) While on holiday to Lanzarote, storm clouds guided
me to this coastal location with dramatic black rocks. After a quick rain
storm, the sun breached the clouds with a powerful red light. This
image is comprised of multiple exposures for sky and land.
Nikon D800with NIKKORAF-S 14-24mm f/2.8G lens. Exposure: Multiple exposures at f/16 (ISO 100).

Mists of Rivendell by Enrico Fossati


(Below centre right) My hike in Savoy, France, started out under fair
conditions but a thunderstorm quickly swept in. Because the clouds
were moving so fast and it was so dark, I was forced to raise the ISO.
The title comes from the John Howe artwork Descent To Rivendell.
Nikon D800with NIKKORAF-S 14-24mm f/2.8G lens. Exposure: 1/15sec at f/6.3 (ISO 800).

The Path of Righteousness by Enrico Fossati


(Below right) The island of San Juan de Gaztelugatxe, north of Bilbao.
Throughout the years it has housed a convent, served as a prison for
Basque witches during the Spanish Inquisition, was a defensive post
for the lords of Biscay, and was ransacked by Sir Francis Drake!
Nikon D800with NIKKOR 14-24mm f/2.8G lens. Exposure: 1/6sec at f/16 (ISO 100).

500px Perfect for photos


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

July 2017 Digital slr Photography 15


The TasTe
aWaRd
REsulTs

of success
doyou haveataste For high-qualityFood
photos?thewinning images Fromthis
years pink ladyFood photographer oFthe
yearwillcertainlywhetyourappetite.

WINNER:ThEPhIlIPhaRbENaWaRdfoRfoodINacTIoN:FrancescaBramBillaandserenaserrani
FRANCESCA BRAMBILLA / SERENA SERRANI
snapshots / The world of photography

W
HEN YOU HEAR the phrase food

SHOEB FARUQEE
photography, does your mind
turn to restaurant patrons
angling their smartphones above
a freshly prepared meal in a posh
eatery? Or a heavily Instagram-filtered image
of a swirling, frothy latte on a rustic table in
some East London coffee shop? Everyday
phone snaps aside, food photography is an art
form in itself, and the annual Pink Lady Food
Photographer Of The Year award aims to seek
out those with a penchant for capturing not
only mouth-watering images of food and
drink itself, but also those who can tell the
story behind food, where it comes from and
how it arrives on our plates.
Now in its sixth year, the 2017 Pink Lady
Food Photographer Of The Year award was
presided over by a large panel of industry and
photographic experts, including Vitalie
Taittinger; marketing director for Champagne
Taittinger, Jamie Olivers photographer
David Loftus, celebrity chef Gary Rhodes,
broadcaster and journalist Jay Rayner, Emily overallwinner:ShoebFaruquee
Luchetti; chair of the James Beard Foundation,
and director Nik Powell from the National Film

DARREN HICKSON

HEIN VAN TONDER


& Television School, to name but a few.
This years top prize of 5,000 cash was
scooped up by Bangladesh-based Shoeb
Faruquee, whose image Food for God also
took top honours in the Food for Celebration
category. The competition was fiercer than
ever, commented Andy Macdonald,
managing director of Pink Lady UK. There
were more than 8,400 images entered
internationally, from over 60 countries, and the
standard was phenomenal. Shoebs shot stood
out from the rest in its category, however, for
the way in which he made the subject matter
cooking for the breaking of a religious fast
both incredibly striking and atmospheric.

ThecompeTiTionWasfiercer
Thanever.ThereWereover8,400
imagesenTeredinTernaTionally,
fromover60counTries,andThe
sTandardWasphenomenal winner:Marks&spencerFoodportraiture:darrenhickSon winner:Foodbloggers:heinvantonder

Shoeb received his award at a glitzy


KYRIACOS ARKATITES

Taittinger bash at the Mall Galleries in London,


during which photographers flocked to see
who had won the respective categories. UK
photographers were well represented in the
winners circle, proving weve a host of
homegrown talent when it comes to food
photography. Leading professional food
photographer and Pink Lady Food
Photographer Of The Year judge David Loftus
was also honoured at the ceremony, when he
was awarded the prestigious Outstanding
Achievement Award, too.
Weve provided a small selection of our
favourite images from the awards here, but if
you want to see all of the winning images in
person, head to Westfield London before the
end of June, where several of the finalists
fruits of labour will be on display. The
exhibition will also visit the Ludlow Assembly
Rooms in Shropshire in September, too.
Alternatively to view the online gallery, and
find out more about next years award, visit:
winner:Marks&spencerFoodadventures(Mediterranean):kyriacoSarkatiteS pinkladyfoodphotographeroftheyear.com

18 Digital slr Photography July 2017


winner:errazurizwinePhotograPheroftheYear-PeoPle:mickrock
MICK ROCK
ELFIE HALL
Snapshots

HAPPYBIRTHDAY
MAGNUM PHOTOS
On the 6 February 1947, four now-
legendary photographers came
together to form a photo agency
that would go on to become one of
the most important and inuential
photographic collectives in the world.
Legend has it that Robert Capa, Henri
Cartier-Bresson, George Rodger and
David Chim Seymour toasted the idea
of the agency with a magnum of
champagne, and thus the name stuck.
In the 70 years since, Magnum Photos
has been at the forefront of image
creation, news and documentary
photography. It's represented by some
of the worlds best photographers,
producing some of the most
recognisable images of our time.
Magnum Photos is celebrating its 70th
birthday by way of an anniversary
programme of events around the
world, as well as a celebratory book to
be released later in the year. There are
a number of exhibitions, talks and
workshops with Magnum
photographers in London, and a
large-scale exhibition called Magnum
Manifesto in the International Centre
of Photography in New York. To nd
out more about Magnum's upcoming
events, visit: magnumphotos.com

MEET STEVE
FLORIAN SCHULZ

AMATEURPHOTOGRAPHERSHELPTO
DISCOVERANEWTYPEOFAURORA
WE REALLY SHOULD have learnt from the
Boaty McBoatface saga that when you allow
the public to name something signicant or Above&inset:TheSteveaurora,identifiedbyamateur
photographerswiththehelpoftheSwarmspacecraft.
important, youre probably not going to get

GREEN SCREENS anything as glamorous or prominent as you


might have hoped. Well its happened again
Collating sightings of Steve with data from
the ESAs Swarm satellites, Professor Donovan
with the help of social media, aurora was able to match Steve with a sudden 3000C
IF YOU'RE A believer that photography photographers and the European Space temperature spike in the Earths thermosphere,
can do good then now's your chance Agencys Swarm mission, a new kind of aurora revealing a 25km-long ribbon of gas owing
to prove it. The Environmental has been identied everyone meet Steve. through the atmosphere. Professor Donovan
Photographer of the Year 2017 is now When Professor Eric Donovan from the commented: It turns out that Steve is actually
open for entries, and this year there's University of Calgary met with members of a remarkably common, but we hadnt noticed it
a panel of top names overseeing the Facebook social media group, called the before. Thanks to ground-based observations,
award, including Stephen Fry, Ben Alberta Aurora Chasers, he noticed something satellites, todays explosion of access to data
Fogel, Levi Roots and Steve Backshall, unusual about some of their aurora and an army of citizen scientists joining forces
to name but a few. You have until photographs a purple streak of light that to document it [we could identify it].
8 September 2017 to get your entries stretched across the night sky. The group had So if youre a keen night sky photographer, keep
in, and you could bag up to 3,000 been calling this streak a proton arc, however your eye out for Steve and keep on sharing your
cash as well as photo goodies if you Professor Donovan knew it was something images. Who knows, maybe you will discover
win. For more info, and to enter the different, but not what it was. The group the next big atmospheric phenomenon Dave,
competition, visit: www.epoty.org decided to come up with a name for the anyone? To read more about aurora Steve, visit:
mystery phenomenon they called it Steve. http://bit.do/DSLR_Steve

20 Digital SLR Photography July 2017


The world of photography \ Snapshots

worlds

Kennet rUonA
fastest photo
science

camera
nEvERMiSSAMoMEntAgAin
topSciEntiStSAtLEAdingSwEdiSh
UnivERSitycREAtEAFivE-tRiLLion
FRAMES-pER-SEcondcAMERA

W
hen Sony recently surprised
the world by announcing the
ultra-fast A9, with its 20fps
shooting and no viewfinder
blackout, we were coloured impressed.
While being able to shoot at such a blistering
pace is a sports and action photographers
dream, Sonys latest effort has some way to
go before it can claim the title of fastest
camera in the world. researchers at the
prestigious lund University in Sweden have
created a camera, called FrAMe (Frequency
recognition Algorithm for Multiple
exposures), which can record images at a
mind-boggling five-trillion frames-per-
second, capable of recording events as short
as 0.2 trillionths of a second. to put that into
perspective, the FrAMe camera can (and
has) captured a video of a photon of light
travelling the distance of the thickness of a
sheet of paper. An event which, in real time
takes one picosecond (thats one trillionth of
a second), but can be slowed down a trillion
times to form a one-second clip.
the process of exactly how the FrAMe
camera does this is obviously different to
how regular cameras work, and is somewhat
beyond our scientific comprehension to
explain. thankfully, lund University
explained it for us on its website:
Above&left:ScientistsatLundUniversityworkingonthe
Kennet rUonA

highlycomplicatedhigh-speedFRAMEcamera,capableof
capturinguptofive-trillionframes-per-second.

currently, high-speed cameras capture


images one by one in a sequence. the new
technology is based on an innovative
algorithm, and instead captures several
coded images in one picture. It then sorts
them into a video sequence afterwards. In
short, the method involves exposing what
you are filming (for example a chemical
reaction) to light in the form of laser flashes
where each light pulse is given a unique
code. the object reflects the light flashes
which merge into the single photograph.
Got all of that? Good. the FrAMe camera
will be ready for use in around two years
time, and will eventually be used to
document and explore scientific and
medicinal phenomena that its currently
impossible to record on camera. exciting,
and somewhat confusing, stuff! to see a
short video explaining how the camera
works, visit: http://bit.do/DSlr_FrAMe

July 2017 Digital Slr Photography 21


Snapshots / The world of photography

SHAROMKA/SHUTTERSTOCK
PHOTO CONTEST
OWNERWINS OWN
PHOTO CONTEST
How would you feel if the owner of a
photo contest that youd entered
ended up winning their own contest?
Robbed? Angry? Or is it fair play?
U.S.-based photographer and owner
of the annual ShutterFest photo
conference, Salvatore Cincotta, has
come under a spot of bother from the

Smile with Samsung


photo community recently, when he
ended up winning his own ShutterFest
Image Competition. This wasnt a
one-off scoop either, Cincotta ended
MAKEUSLAUGHFORACHANCETOWINASAMSUNG128GBMICROSDXCPRO+MEMORYCARD! up taking home the Grand Prize
SAMSUNGS PRO PLUS microSDXC cards can be used across a range of equipment, including alongside ve additional category
drones, tablets and action cams. Designed for ultra-fast data transfer, they boast read speeds up wins, four second places, two third
to 95MB/sec and write speeds up to 90MB/sec ideal for high-resolution images and 4K video. places and 12 category merits!
Plus they're waterproof, temperature-proof, X-ray-proof and magnetic-proof. You can While Cincotta hasnt broken any
experience this superior card for yourself as Samsung is generously giving one away. All you competition rules (theyre his rules,
have to do is think of a witty caption for the image, above. Email it with subject 'Smile this July' after all), members of the online photo
to: enquiries@dslrphotomag.co.uk by 18 July 2017 and, if you make our sides split, youll win a community are calling the ethics of
Samsung Pro Plus 128GB microSDXC card worth 119. UK entries only. www.samsung.com entering and winning your own
competition somewhat questionable.
Others are claiming that the contest
QuickEdit was rigged. Disputing the claims on his
blog, Cincotta writes: The images are
shown and judged blindly no logo,
THREE EASYSTEPSTOMANUALLYFIXCOLOURCASTS no one knows the maker of the image,
and no judge can see what the other
Colour casts can be tricky to deal with. If youve used a grey card, or know the Kelvin rating of the judge is scoring. This is not about
light source, then you can set White Balance using these measures. If not, you may have to set it ethics. No money or prizes were
by eye heres a quick and handy method for getting it right in any Raw processing software.
received. This is common practice in
competition and has been for years
JORDAN BUTTERS

BEFORE AFTER
and years. This is not a new idea from
us. WPPI and PPA, among other major
organisations, all work the same way.
Whats your take on this? Was Cincotta
right to enter the competition? And is
the fuss only really an issue because he
won? Tweet us @digitalslrphoto and let
us know. To read Cincottas full
response, visit: http://bit.do/Cincotta

Photo
Jargon

Shooting wide open


1 BOOSTSATURATION
Itsofteneasytospotwhena
colourcastispresent,buttrickytotell
2 ADJUSTTEMPERATURE&TINT
ManuallytweaktheWhite
BalanceTemperatureandTintsliders
3 REMOVESATURATION
ReturntheSaturationsliderto
zerotheWBchangeswillbefar
[Phrase]
| ut wad pn |
exactlywhichcolouriscausingthe toremovethecolourcast.If,for moresubtlenow,butifyoucompare
issue.Aneasymethodistoincrease example,thedominantcolourisblue, beforeandafteryoullnoticethatthe 1. To take a photograph with the lens
theSaturationsliderallthewayto100 thenaddwarmthtoremoveit.Ifits colourcastwillbereduced.Asan set to its widest possible aperture.
thiswillhighlightthedominant magenta,thenaddgreenwiththetint alternative,youcanusetheVibrance 2. Example: I shot this image wide
colourintheimage,sonowyou slider.Youreaimingtoneutralisethe slider,butthisprotectswarmtones, open, look at the amazing bokeh!
knowwhattodotoaddressit. mostdominantcoloursintheimage. somightnotbeasaccurate.

22 Digital SLR Photography July 2017


The world of photography \ Snapshots
JoRdan BuTTERS

raw perfection
Forthebestimagequalityand
ultimatecontrol,shootinraw
andedityourimagesafterwards.

reader Q&a: raw sidecar file

more on rAW
Q Hello Digital SLR Photography, Im
trying to get my head around shooting
in Raw following your article (Beginners
Guide to Raw, Issue 123, February 2017) and
I think I have more or less grasped whats
jpeg
being said. However, I have some questions.

A
My assumption is that in creating an Thanks for the email Valdemar. There with, and image quality deteriorates. Straight
in-camera JPEG, there is a loss in data are a few questions to answer here, and out of camera, however, the JPEG will often
compared to the Raw file. I hope that the some confusion with the difference between look better than an unedited Raw file
camera software has in it the skills to only JPEG and Raw, and how both are created, so because its been tweaked by the camera.
lose the data that makes little to no lets break it down a bit. Firstly, when your When you edit a Raw file on your computer
difference in what I see, and I am presented camera captures an image it's recording it as and save your changes, these changes sit
with a compressed file of lower size and Raw data. If you have your camera set to alongside the Raw file in a separate file, called
great quality. But is the file that is saved Raw, the data remains that way for you to a sidecar file. When the Raw file is loaded up
simply a carbon copy of the Raw data, just download and edit as you see fit. If your again, the software reads the sidecar file and
smaller in size, or is it a manipulated version camera is set to JPEG only, however, then it applies the changes again for you. If you
which has been enhanced? Also, if I choose processes the Raw data, adjusting colour, delete, or remove the sidecar file, the changes
to shoot in Raw, and then edit this file and contrast and sharpening according to the cant be found, and the Raw file appears as it
save it, am I right in thinking I can choose to picture style selected, before saving it as a did originally. The only way to permanently
save it as a Raw file again, or as a JPEG, with JPEG and deleting the Raw data. The smaller apply those changes to the file, for sending on
my enhancements? If I save it as a JPEG at JPEG file doesnt contain the full spectrum of to someone else, for example, is to save that
this point, are the automatic software White Balance adjustments, or as much Raw file in another format, such as JPEG. The
enhancements also applied too, or only my latency in the exposure information (extreme JPEG that you create during processing is
changes? I look forward to hearing from highlights and shadows, for example) as the only enhanced by your adjustments, not the
you, as an annual subscriber of your Raw file, so if you try and edit these cameras, and is simply a more compressed
magazine. Valdemar Papiernik, via email parameters later, you have less data to play version of your edited Raw file.

July 2017 Digital Slr Photography 23


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Photo opinion\ snapshots

Theres money Tobe made


Haveyou evertHougHtaboutmakingalittle extrapocketmoneyfromyour unused or unwanted images?
Jordan butters sHares His initialexperienceswitHatentativeadventure into microstock pHotograpHy
If you're anythIng like

aLeJanDro eScamILLa
me, then you take a lot of
personal photos. Putting the
images that I shoot for work,
or on assignments aside, if Im
out and about somewhere
be it exploring a new area, walking the dog,
on a city break or just out for the day with
friends or family Ive almost always got
some form of camera with me. even when
I'm camera-less, I'm forever eyeing up
compositions and interesting images with
my iPhone, too. Whatever the method of
recording them, quite often Ill shoot dozens
of images on an average day that serve no
real purpose at the time of capture. Im
shooting for the enjoyment of capturing
and recording images time spent with a
camera in my hands is never wasted. But
when Im shooting images like this, I don't
really give much thought as to where the
shots will end up. Sure, some of the better
ones might make it onto social media, or
the more personal and important images of
people will end up printed and in an album,
but for the most part a huge percentage of
my images just sit on my hard drive, many
untouched since being off-loaded from the
memory card in preparation for the next day
outs snapping away.
"I was never really comfortable with this
concept of digital waste, so rather than let
them sit there unused, I thought Id spend a
little time and effort in uploading them to a
microstock website. If none of them sold
then I was no worse off, except for losing a
little time, but any sales I made was free
money, so what did I have to lose? AfewdAyslAter had purchased one of my images uSD$6 in
the bank! It was a nominal amount, but boy it
"youll hear a lot of professional stock
photographers cursing the microstock
AnothersAle,And did feel good to receive free money for
images Id already taken. a few days later
movement, and I can see why an
abundance of stock images, available for
Another,Andthen another sale, and another, and then one for
uSD$95! By the end of the second month Id
very little outlay, has put paid to the days of Abigonefor$95! made a couple of hundred pounds from my
pro stock photographers making six-figure
salaries from image sales alone, for the most bytheendofthe back catalogue of snaps I was halfway to
buying a new lens from the exercise.
part. however, from your everyday Joes
point of view, microstock agencies make it
secondmonthid "I uploaded more images, and started
looking for good stock type shots when I
possible for our images to be purchased by
people and brands that might not have
mAdeAcoupleof was out with my camera. I looked at what
was selling on other stock sites and based
discovered them before. hundredpounds what I was shooting around trends that I
"So, putting a day aside for the task, I sat
down with my Lightroom library and went frommybAck thought would sell. I wasnt dedicating the
time to shooting specifically for stock, but
through, marking every image that I thought
might appeal to image buyers. I ran them
cAtAlogueof every rural vista, coffee cup in a cafe, city
street, even the back of my wifes head
through a basic preset that added contrast,
colour and a bit of sharpening, but didnt
rAndomsnAps looking out over a stunning view became a
potential sale in my mind.
carry out any image-by-image edits. take regular sales through them. By the end of "If youre yet to give microstock a try, I
them as they are, or dont take them at all! the day I was fed up of selecting, exporting, implore you to do so. the small amount of
I chose to upload them to eyeem, which is a uploading and keywording, but the bulk of it money aside, it feels exciting to explore your
photo-based social media network that's was done some 400 images were online, creativity when you have a loose idea of what
linked with getty Images. Why choose complete with model releases where youre shooting for. get good at it, and theres
eyeem? for the sole reason that their needed, and all I had to do was sit back and some healthy pocket money to be made
website was easy to use, their selection wait for the money to roll in. photographys an expensive hobby so every
process more lenient and also Id known "of course it didnt, not for weeks in fact. penny towards that next big investment, or
other photographers who have made But then I received a message that someone trip away with your camera, helps."

July 2017 Digital slr Photography 25


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The world of photography \ Snapshots
PhotoBasics

THE LESSER EVIL 1/20SEC@F/5(ISO800)

IF YOU FIND YOURSELF shooting in a location or situation where theres less than
adequate light then getting clean, sharp images can be tricky. Obviously, the ideal
solution in low light is to use a tripod, or other support, but this is not always
possible or there are times when you've simply not brought a suitable support with
you (see our Photo Hack below for an idea to save you some shake). However, by
using the right techniques its possible to come up with usable hand-held shots in
almost any circumstance. You have three options for combating underexposure:
opening up the lenss aperture, extending the shutter speed, or increasing the ISO.
You can also apply a combination of the above, if required.
All of these options have their downsides, but lets look at which one is the lesser
evil? Using a wider aperture results in a reduced depth-of-eld whether or not
this is acceptable depends on your subject, but youll have an idea of how much of 1/80SEC@F/5(ISO3200)
the scene you want sharp, and shouldnt stray too far from this. Increasing the
shutter speed, however, also increases the possibility of camera shake and motion
blur, resulting in unsharp images. Whereas, increasing the ISO results in added
noise and artefacts. Of the latter two, its almost always better to sacrice some
image cleanliness for a sharp shot, so dont be afraid of increasing the ISO higher
than you usually would before you think about lengthening the shutter speed. Not
only are recent digital cameras getting better at producing clean images from
higher ISOs, but also image noise and artefacts are relatively simple to clean up in
processing, whereas camera shake or blur cant be xed. Therefore, its always
better to get a slightly noisy, sharp image, than a clean, blurry one.

NONOISEREDUCTION WITHNOISEREDUCTION

1/160SEC@F/5(ISO6400)

INSTAGRAM HITS
INK DROP/SHUTTERSTOCK
PhotoHack!
700-MILLION
ONCE UPON A TIME it was a called a fad
a temporary trend that would quickly be
forgotten. Others have been predicting its
demise, well, almost continually since the
day it rst appeared on our tiny smartphone
Neck support screens, forecasting that something bigger
and better would come along. Well, it
When shooting hand-held, camera doesnt look like its going anywhere love
shake is a common problem that gets it or hate it, Instagram is here to stay and
more pronounced the slower the recently clicked over the 700-million user
shutter speed used. As steady as your mark thats almost 10% of the worlds
hands are, there will be a point at population! Theres no sign of its popularity
which you can no longer produce a slowing down either, with over 100-million
sharp shot. One trick that can make new accounts registered in the last four theyre consumed. Arguably, its also
the difference is to use your camera months alone, and more than 400-million continually raising the bar for the quality of
strap as a stabilisation aid. By putting accounts active daily. At the current rate of photos that are taken if you want to stand
the strap around your neck, and growth, the app is set to surpass the out, your images have to be good. Whats
pulling the camera so that the strap is one-billion user mark by the end of 2017. more, the app is an important marketing tool
taut, your neck becomes a third point What does this have to do with for many photographers wanting to get their
of contact. Its no substitute for a photography? Well, lots! As Instagram is images seen by as many people as possible.
tripod for long exposures, but it might solely a visual social network, based around Instagram has created a network where the
allow you to go a stop or two slower, images and videos, its responsible, at least in work of professional image-makers, and
making the difference between part, for shaping the types of photography people just snapping photos on their phone,
getting the shot, and not. and videos that are produced, and how can exist side-by-side.

July 2017 Digital SLR Photography 27


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The world of photography \ snapshots
Flickr

Sunset In
Paradise
By eduardoroja
rodriguez
https://flic.kr/ps/34eaHb
eduardoscolourfulupload
stoodoutamileinourflickr
groupthismonth.the
locationofZaanseschansin
amsterdamispopularwith
photographersand,although
eduardoscompositionisone
thatweveseenbefore,the
conditionsthathescaptured
arewhatreallymakesthis
imagespecial.thelong
exposurehasnotonly
smoothedthewater,buthas
alsocausedthecoloursinthe
skytoblurtogetherasthelight
haschangedduringthe
exposure,almostlikeapastel
drawing.greatjobeduardo!
nikond5300withtokina
11-16mmf/2.8at-Xlens.
exposure:182seconds
atf/22(Iso100).

What Weve been Watching


Looking forvisuaLinspiration? HereswHattHe DigitalSlR PhotogRaPhyteam Has beenwatcHingtHis montH

Landscapephotography- InkInMotIon fIvecaMerahacksInoneMInUte!


do'sanddon'ts ByMacro Room BySheldon Evans
Bye6 Vlogs Mixing ink and water is a macro favourite of If youre a bit short on time then theres a
When it comes to landscape photography, ours the fluids contrasting viscosities lot worse ways to spend one minute than
finding the right location in ideal conditions create a tumbling, swirling clouds of colour absorbing some of photographer Sheldon
and taking a striking shot becomes second that slowly blends together. Captured in Evans top camera hacks. The best thing
nature. But what about when you dont have close-up with a macro lens, the clouds about this short video is that every single
access to those amazing sunrise and sunset create intriguing patterns and shapes trick that he shows can be done with
locations? Photographer Craig Roberts reminiscent of the clouds above us in the everyday household items, from tea towels
presents his landscape photography advice sky, only much more colourful! In this short to matches, and CDs to plastic carrier bags.
in this down-to-earth video. No fancy tricks, film, Macro Room combines this with Its also actually nice to see a short video
no gimmicks, just good, solid landscape slow-motion footage, trick transitions, a presenting these ideas in a concise manner
advice that doesnt rely on you being in an handful of submerged props and the perfect for once without stretching them out
amazing location, or waiting for the perfect soundtrack for a very-well produced macro unnecessarily to fill a 20-minute video!
light. It's refreshing stuff. video. Sit back, hit full-screen and enjoy! Great job, Sheldon.
http://bit.do/DSLR_1281 http://bit.do/DSLR_1282 http://bit.do/DSLR_1283

July 2017 Digital slr Photography 29


PH TO
SKILLS
Ideas &advIce for better photos

p50:stItchtogetheryourbokehrama

p32:spendadayshootIngInthecountrysIde p46:masterthebrenIzertechnIque

p52:createatoytownInphotoshop

p42:It'stImeforyourextremeclose-up! p38:createadIyshoot-throughreflector p54:sIngle-shothdrImagesInlIghtroom


image: karsten wurth
PH TO
SKILLS

A DAy in the
CountrysiDe
When manyof usthink landscape photography,Wetendto picture rugged seascapes
or elevatedvieWs overlooking lakesand mountain ranges. hoWever,theresalso
plentyof photo potentialto be found duringadayshooting inthe countryside

I
ts no surprise that rural landscapes often get only 7% of land in the uK is classified as being urban.
overlooked by British photographers. After all, were And, even if you do live right in the heart of the uKs
on a small island surrounded by thousands of miles biggest cities, youre never more than an hour or sos
of gorgeous coastline, and we also have foreboding drive from beautiful farmland, rolling hills, tranquil
and dramatic mountain scenery never far away. surroundings or picturesque woodland.
however when you think about it, for the majority of its true that shooting in the countryside can be
us that dont live near the coast or have a mountain trickier than at the coast strong compositions can
range on our doorsteps, the countryside and rural be harder to find for a start theres often a lot more
landscapes are probably our most accessible subjects. to consider than, say, when youre at the coast but
its actually surprising just how much of the land theres also plenty more to shoot in the country than
around us is green take a gander out of an aeroplane traditional landscapes. spending a day shooting in the
window the next time you head off or return from countryside can force you to think more creatively,
overseas travels and youll see what we mean. in fact, and can open your mind up to other possibilities, such
the uK national ecosystem Assessment states that as portraits, macro marvels and creative techniques.

proTip
WhaT Topack
Whentrekkingthroughthecountrysideyou
dontwanttoweighyourselfdowntoomuch.youll
needadslrormirrorlesscamera,obviously.packa
wide-anglelens,atelephotoand,ifyouhaveone,amacro
tooifnotasetofclose-upfiltersorextensiontubesare
handyastheydonttakeupmuchroomyetallowyouto
focusclose.alightweight,yetsturdytripodwillcomein
usefultoo,especiallyifyouwanttotrylongexposures
forwhichyoullneedanndfilterortwo.apolarising
filterisalsoveryhandy,especiallyonanice
summersday,asitcansaturatethealready
vibrantcoloursinthelandscape.
PH TO
sKIlls

NazmaNm/SHUTTERSTOCK
HELEN DIXON

Wild-floWermeadoWsWhether its a carpet of bluebells in PassthetimeSometimes its fun to just watch the world pass on
woodland, a sea of poppies or a hillside covered in buttercups, by. Its even more fun if you leave your camera capturing long
cowslips and cow parsley, wild-flower meadows are the perfect exposures while you do so too, obviously! Blue skies with scattered
countryside photographic subjects. Sadly, such sights are in decline due white clouds and a good breeze are ideal conditions, as are colourful
to the increased use of pesticides in farming, but there are still several sunsets with the sky continuously changing colour. Compose your
wild-flower meadows throughout the UK that you can visit an online shot to include plenty of sky two-thirds sky to one-third land works
search will reveal your nearest. You can shoot wide and use them as well and set your lenss smallest aperture and lowest ISO to extend
foreground interest, use a telephoto and selectively focus on a single the exposure time. If you want to go really long, fit an extreme ND filter,
specimen, or grab your macro lens and move in for a close-up, focusing such as the ten-stop Lee Filters Big Stopper. The main ingredients for
on the delicate flowers or the insects that inhabit the meadow. streaky skies are then simply scattered clouds and a good breeze.

34 Digital slr Photography July 2017


ROSS HODDINOTT
natuRaleneRgySome will say theyre a RapeseedfieldsContrary to most landscapes,
blight on the countryside, while others think rapeseed suits sunny days with bold blue
theyre the future of energy. Whatever your take, skies a polariser is a must to make the colours
theres no denying that wind farms with their giant pop, too. Blue and yellow sit opposite one another
white turbines make for interesting landscape on the colour wheel, so rapeseed under a blue
ornaments. One technique for shooting them sky will pack visual punch. Colour theory will help
within a landscape is to visit on a breezy day when shooting portraits too dress your subject
when theyre spinning, and carefully select a slow in cool colours to make them stand out, but
shutter speed that shows just the right amount remember to wait until the light is right mid-day
of movement in the blades. Shoot with the light sun causes harsh shadows. Another option for
HELEN DIXON

behind you, or to one side to ensure theyre nicely rapeseed landscapes is when the sky is dark and
illuminated, or capture them in silhouette by moody the grey storm clouds contrast with the
shooting towards the light, or at sunset. bright flowers, making for eye-catching images.

includingpeople
Landscape photography and
family walks dont mix. While youll
want to set your tripod down, perfect
your composition, adjust your filters
and wait patiently and peacefully for
the best light, your kids will be playing
up, your other half will be hurrying
you on and the dog will be rolling in
something foul. Instead of focusing on
the landscape, use countryside walks
to capture candid photos of loved
ones. Pack light: one camera and one
lens. A 35mm prime is a good choice,
as the field-of-view can include both
subject and environment. Keep a wide
aperture and shoot moments when
no-one thinks youre watching
kids playing, people smiling, the dog
looking up at you playfully. Remember
to include smaller personal and
environmental details too, such
as holding hands, muddy wellies,
signposts or unique elements in the
landscape. Come the end of the trek,
youll have a great selection of tasteful
images to remember your day by, and
with a bit of luck youll all still be talking
to each other too!
CLEM ONOJEGHUO/UNSPLASH

July 2017 Digital slr Photography 35


ROSS HODDINOTT

croPsforcomPositionRows of crops PatchesoflightIf youve ever stood


can be used as lead-in lines to guide still and looked out over a countryside
your viewers through the image. If the lines vista on a partially-cloudy day then youll
lead conveniently towards a feature in the have noticed the light breaking through in
landscape then even better. Adding motion patches and illuminating spots of the land, or
can be a great method of creating foreground shadows rolling across fields and hills as the
interest, too. Use a tripod combined with a clouds momentarily block the sun. With your
slow shutter speed to render the swaying camera set to spot metering mode, carefully
of wheat or grasses as a soft blur but not meter from the brightest patches in the land
too much, mind you. Youll probably need essentially exposing for the highlights before
to use an ND filter to extend the exposure capturing the image. This will underexpose
sufficiently, and a graduated ND filter can the parts in shade, which can have really
help hold back the exposure in the sky. moody and dramatic results give it a try!
ADAM BURTON

lookforsilhouettes
ROSS HODDINOTT

Certain iconic shapes define


the British countryside a church
steeple jutting above a village, a
windmill surrounded by fields,
or a lone tree standing defiant
atop a hill. A great way to capture
recognisable shapes is to render
them in silhouette. Silhouettes
are captured when the brightest
part of the scene is behind
your subject, casting the side
of it nearest you into complete
shadow sunrise or sunset are
ideal times. Look for structures
on elevated ground, and shoot
from lower than your subject
to record them against the sky.
Youll probably find that your
camera will darken the image to
compensate for the bright sky,
recording a nice inky silhouette of
your subject. If not, dial in some
negative exposure compensation
until the shadows are darkened.

36 Digital slr Photography July 2017


PH TO
SKILLS

MistyMorningsMist and
ROSS HODDINOTT

fog are either best captured


from within woodland, or up on
a high vantage point. Mist occurs
on clear, cool nights with low
wind speed. Mist or fog can often
be found near large bodies of
water, such as rivers or lakes. If
you want to capture the suns rays
bursting through woodland then
keep an eye on the conditions
and head to an easterly edge of
woodland for sunrise shoot
towards the light to record the
rays scattered by the trees. To
capture low-lying valley fog,
head to a raised vantage point at
a similar time of day. Countryside
with rolling hills is ideal for this, as
the mist or fog will sit in the dips
of the valleys between the hills.
Use a telephoto lens to compress
the perspective in the scene, and
make the land look like layers
separated by the fog.

July 2017 Digital SLr Photography 37


PH TO
SKILLS

MAKE YOUR OWN


SHOOT-THROUGH
REFLECTOR
WHENYOU WANTA SOFTAND EVEN BEAUTYLIGHT, A SHOOT-THROUGH
REFLECTOR IS THE WAYTO GO. CAROLINE SCHMIDT SHOWSYOU HOWTO
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CAMERA:NIKOND800/LENS:NIKKOR85MMF/1.4G

M
ASTERING THE MANIPULATION of natural light is one of the most
accessible and affordable ways to improve your portrait photography.
Open shade, diffusers, bouncing sunlight off surfaces and reectors:
silver, gold and white all things discussed in this months Beginners Guide (see
page 62) are tools to help you capture beautiful faces without needing ash.
You might think that to light a subjects face they need to be facing the sun, but
a favoured and dynamic lighting technique is using the sun as a backlight but
how do you illuminate the face? Simple: a reector. They come in all shapes,
sizes and styles to suit almost every budget, but generally all do the same thing:
bounce sunlight on to a subject to ll in unattering shadows. Whilst a hand-held
reector will do a ne job especially if its held level with the subjects face
more often than not, youre shooting solo and have to prop the reector up from
the oor. Doing this creates an up-lighting effect that lls some but not all
shadows and slightly unbalances the light. By having the reector parallel with
the subjects face and shooting through it, youll get minimal shadowing.
You can purchase shoot-through reectors for around 100, but you can also
pick up a budget 5-in-1 reector very cheaply online and follow this DIY tutorial.
Ive started with a small opening, and Ill explain why soon, but for more exibility
you may want to make your opening larger but start small and upsize gradually.
PH TO
SKILLS Make a shoot-through reflector

1 DeciDe onthe size ofthe hole If you have a stand or an assistant to


hold the reflector, cutting a hole of about 30cm diameter is more
versatile; you can vary the distances between camera, reflector and
2 Measure As Im shooting alone, cutting a hole the size of my lens
lets me support the reflector in front of my model with ease as the
lens takes most of the weight Ill just need to angle it to catch the
model. However, fitting it to your lens lets you move the reflector and most light. Having found the centre, draw around your template and,
lens simultaneously. Find the centre of your reflector and place an using it as a guide, draw around the outline again approximately 1cm
object the size of your cut-out in the middle a lens cap is ideal! wider to allow the lens to sit loosely inside.

3 cutanD secure Pinch the fabric in the centre of your circle (a circle,
as opposed to a square, can make for more flattering catchlights)
and cut with scissors to allow you to go through all the layers of your
4 caMerasettings Set your camera to shoot in aperture-priority
mode, multi-zone metering and with a wide enough aperture to
get the full face in focus: somewhere between f/3.2 to f/5.6 will work
reflector. If the fabric layers look like they may get in the way of your well. If youre shooting against the sun, you may want to switch to spot
lens, secure the edges of the opening by loosely sewing the fabric metering and even dial in a stop of positive exposure compensation to
together or apply duct tape or electrical tape. control the exposure as it may otherwise underexpose the skin.

noreflector siDereflector frontreflector

5 Pickyour location Using a shoot-through reflector works best


when youre bouncing backlight on to the subject. As I wanted
a dark background to emphases the highlights from the sun in my
6 coMPareanD contrastNot having a reflector meant while the
exposure was accurate, the shadows around my subjects eyes
arent as flattering as they could be. Placing a reflector on the floor
models hair, I positioned her in front of a barn with the sun behind her and angling it upwards, as most of us would do, improves the shot by
at 45 and low enough to act as a soft hairlight. The dark background brightening the skin but doesnt fill in the shadows under the brow and
meant I could use multi-zone metering. around the nose. A shoot-through reflector, however, does.

40 Digital SLr Photography July 2017


Softly doeS it
Theevenlightingandsoftshadows
fromashoot-throughreflectorcreates
amuchmoreflatteringportrait.
Exposure:1/200secatf/3.2(ISO100)
PH TO
SKILLS

thE EyEs
havE It
ratherthaneyeballingupothermacrodelights,whynotlookdownthe
otherendofthelensforachange?evenbetter,grabavolunteerandask
themtositforyouforafewminutes,asJordanbuttersdemonstrates

Camera:nikond800/Lens:nikonaf-s60mmf/2.8gedmicro

M
acro photography has and some a blend of different colours. of us, however, 1:1 will more than suffice.
the amazing ability to reveal some peoples eyes are deep and vibrant, If you dont have a macro lens in your
intricate detail in the natural while others are detailed and intricate, with arsenal, then a close-up filters, a reversing
and man-made world from tiny bugs swirling patterns in the iris converging on ring or extension tubes will also allow you
feeding on leaves to the delicate stamen the pupil. can you see why it makes sense to see all the eyes incredible detail.
of a blooming flower, abstract bubbles to point your lens at a willing subjects oculi? For lighting, both natural light and
floating on liquid or every little groove and In order to do the eye justice you need artificial illumination works. controlling
dimple on the head of a coin. But how two main ingredients: a light source and a natural light is often tricky however, and
about the fascinating beauty of the human dedicated macro lens. tackling the latter as the eye is essentially a reflective sphere,
body? Wait! Before you strip down to your first, a lens with at least a 1:1 reproduction you may end up with unwanted
birthday suit, Im talking about your eyes! ratio will allow you to photograph the eye catchlights or busy reflections. Using
Eyes are fascinatingly detailed subjects in great detail. If youre lucky enough to be continuous light or flash offers you more
for macro photography and, just like able to get your hands on an even more control, but the effects from each are
fingerprints, no two peoples eyes are ever specialist lens, such as the canon Mp-E different continuous light can cause the
the same. they come in all manner of hues 65mm 1-5x Macro then you can enjoy a pupils to contract, whereas using flash in a
some brown, some green, some blue, staggering 5:1 reproduction ratio! For most darker environment records dilated pupils.
PH TO
SKILLS ProtiP
WatchthecatchLight!
Lightpositioniskeyifyoureusinga
lightwithalargemodifier,suchasan
umbrellaorsoftbox,thenpositionthe
lightfromabove,angleddown.Ifthe
catchlightistoolarge,itwill
obscuredetailintheeye.

1 Position First ask your


subject to take a moment
to clean around their eye and
remove contact lenses if
they wish to wear make-up
thats fine, but a macro lens
will exaggerate any clumps
or goo, so a clean eye is often
better unless their make-up
is very tidy, or you fancy
fixing it during processing.
Place a chair against a wall
and ask your subject to sit
upright, with the back of their
head against the wall this
prevents them from swaying
back and forth too much and
moving in and out of focus.

2 Letthere be LightPresuming youre using artificial light (either flash


or continuous), move your light into position and have a look at
the effect that its positioning has on your subjects eyes. Much like
3 Focus careFuLLyWith your light in position, secure your camera on
a tripod, attach your macro lens and a remote release and turn on
LiveView. Manually set your macro lens to its closest focusing distance
landscape photography, having the light on-axis with the camera and carefully move it into position, looking at the LCD screen to judge
flattens detail or texture within the iris, whereas strong side-lighting when your subjects eye comes into focus. Once in position, ask your
highlights detail. Pay attention to the catchlight too, and its position subject to sit very still and carefully fine-tune to focus whilst zoomed
within the eye you dont want it blocking out too much detail, but at into the LiveView preview. You might wish to switch to mirror lock-up
the same time having no catchlight makes the eye look unnatural. mode too, if available, for a sharper image.

44 Digital SLr Photography July 2017


Shootfromanangle

4 SettingS If using flash, set your shutter speed to your flash sync
speed and adjust the flash power and aperture to give you a
good exposure aim for a mid-aperture of f/8-f/11 for maximum
Composing the shot is tricky, but tryshooting the iris from an angle foran
interesting approach. Position the light on the opposite side ofyoursubjects
face to the camera to highlight detail and depth in the eye.As more ofthe eye
sharpness. If youre using continuous light then aim to keep your is off the lenss focal plane,you mayfind that a smalleraperture, such as f/16,
shutter speed above 1/100sec to prevent blur, and increase your is needed to capture more ofthe iris in sharp focus. Oryou can use awider
ISO, or light power (if available) to maintain a mid-aperture. Ask your aperture forcreative effect just make sure thatyou zoom in and check the
subject to look straight ahead, and blink normally to stop their eyes results afterwards, as the smallest movement can renderthe iris out offocus.
from watering. Get your timing right and fire when their eye is open.

July 2017 Digital slr Photography 45


PH TO
SKILLS

Bokeh
Panoramas
Adore extremelyshAllow depth-of-field butAlso portrAits
with Awide field-of-view?you cAn hAve the best of both worlds
with the brenizer method, cAroline schmidt showsyou how

Camera:nikond800/Lens:nikkor85mmf/1.4G
PH TO
SKILLS

H
AnDS uP If youve heard of the Brenizer Method,
otherwise known as Bokehrama or Bokeh
Panorama? Hands up if youve heard of it but
never given it a go because, heck, that looks complicated!
Are both your hands up? Great, nows the time to give it a
go. named after its creator and wedding photographer
Ryan Brenizer, the technique of stitching images together
to create panoramas has been around for decades but,
before Ryan, tended to be used for landscapes.
using his method, you can create an image with the
equivalent depth-of-field of f/1, or less, so you can
expect serious bokeh. You can use any lens, but you can
see the advantages of the technique more with modest
kit that would never provide anywhere near the effects of
a fast lens on a full-frame camera otherwise. So if all you
have is an APS-C DSLR with a standard lens or zoom, but
youre yearning for the bokeh you see from full-frame
beauties at maximum apertures, this is a tutorial for you.

1 pickyour locATion Subject and location are equally


important. Youll be including a lot of the surroundings
so pick an area thats photogenic for a wide-angle view.
Keep an eye on foreground and background objects that
can distract from the subject, too, as well as the position
of the sun to avoid artefacts and washed-out exposures.

2 whATlensTo use?
You can pick any
lens to use, but you
3 besTseTTings
To keep each
frame consistent in
will need to set its exposure and colour,
widest aperture and use manual exposure
maintain the same mode, or Exposure
focal length, which Lock from your first
is why its easier with frame so each frame
a prime lens. If you looks the same, and
do have a telephoto set a WB preset like
lens, however, youll Daylight. As you move
also get compressed the camera from light
perspective, which to shade, Auto WB will
enhances the shallow adjust the settings.
depth-of-field even Initially use single-
further bonus! point autofocus.

originAlcenTred

4 TAkeyour shoTs Position your model and


compose your central frame as if you were
photographing a standard portrait with your
5 AllowAn overlApOverlap at least a 1/3
of the frame to help Photoshop merge
them later. The more frames you take, the
lenss widest aperture. Once you have your more amazing the effect - remember to
central frame, switch the lens to manual focus. move your feet, keeping the camera parallel
Keeping your camera on the same plane, to the scene. Take a shot of your hand after
move it to take shots horizontally or vertically each series before starting another, so that
around your subject in an organised layout. you know where each starts and ends.

48 Digital SLr Photography July 2017


BlueBell Bokehrama
Tofindouthowtoblendyourimages
togetherinPhotoshop,turnoverthe
pageandfollowoursimpletutorial.
Exposure:1/320secatf/1.4(ISO100)
pro tip

BLENd yOuR
Yourimageislikelytobeof
hugeresolution,soblend
Jpegsnotrawfilesto

BOKEhRAMA
avoidslowingyour
computerdownand
fillingstorage.

howtocreateanimagewithawideapertureand
field-of-viewthat'simpossibletocapturein-camera

Y
OuvE PROBABLy hAd a few attempts at shooting a bokeh
panorama before sitting down at your computer, so now youre
faced with potentially dozens upon dozens of frames to filter
through. If you were organised with your shooting process, this part is
likely to be a doddle: youll know each set of images to blend because
youve bookmarked them with shots of your hand and theyve been
taken in a systematic way thats easy for Photoshop to read and blend.
If, however, you skipped a few steps you may have to spend some time
sorting through your pictures and prepare yourself for some manual
blending if your finished picture has some holes. you can do this
technique in Lightroom, but Ive chosen to use Photoshop.

1 Batch edit Once youve organised your series of images, batch


edit them to look consistent. The easiest way to do this is in
Lightroom or ACR. Make sure the exposures, contrast and saturation
are consistent across all the frames. If youve more than a few, sync the
edits to apply them automatically to all of the pictures at once.

2 Merge the pictures Save all the edited images as JPEGs, then open
the files again in Photoshop. Photoshop wont let you merge files
that haven't been saved. Now go to File>Automate>Photomerge.
3 Watch it do its thing It may take a few minutes depending on how
many images youre blending, but once Photoshop it's done you
should be presented with a picture. If youve provided too many images,
Keep Auto checked and either click Browse to select your images youll see these below your final shot. If youve not been systematic in
from a folder or, as Ive done here, choose Add Open Files. Click OK. your shooting, you may find a few gaps that you'll need to fill or crop.

50 Digital slr Photography July 2017


bokeh-lusCious
Mastershootingaseriesof
imagessystematicallyandyou'll
finditbecomesasimpleprocess.

4 Crop and Clone Select the Crop tool and crop your image in a
way that suits it best it could be a square, vertical or horizontal.
Generally the subject looks best placed when there's foreground and
5 Finishing touChes Now you can see the final image in all its glory,
you can apply some global adjustments and sharpening to finish
it off. Ive added some warmth to enhance the natural backlighting,
background out of focus. Use the Patch tool or Clone Stamp tool to increased the Vibrance slider to boost colours and selectively adjusted
blend any visible white picture joints and fill in any missing areas. the exposure of the subject. Save your shot and you're done.

July 2017 Digital slr Photography 51


/ Adobe Photoshop CC

Miniatureworld

PEDRO LASTRA/UNSPLASH
ORIGINALIMAGE

FLEXYOURCREATIVITYANDTRICKVIEWERSINTOTHINKING
THATYOUVECAPTUREDTHEWORLDINMINIATURE

T
HE HUMAN BRAIN is a fascinating thing its incredibly
complex, but at the same time this creative editing technique
demonstrates just how easily it is to fool it into thinking that
its looking at something different to whats actually in front of us.
By adding a lens blur, some creative contrast and colour, we can
make a real-world image look like a toy or model town. To try this
miniature-editing effect, the rst stage is picking the right image
think about how images of dioramas and toy models are shot (from
above and a long distance away, relative to the buildings' size) and
replicate this use a long lens and shoot from an elevated viewpoint.

1 USE QUICK MASK Duplicate your main image layer by going to


Layer>Duplicate Layer. This way youre not destructively editing
the original pixels this step also allows you to ne-tune the effect in
2 ADD A GRADIENT Select the Gradient Tool. In the top menu bar,
select the black to white gradient and make sure Reected
Gradient is active, as shown, and Reverse is ticked. On your image,
a couple of steps using Layer Masks. Once done, press the Q key to click and drag vertically to draw a line and set your gradient. The areas
enter Quick Mask mode the layer will be highlighted red in the in red are the parts that will be blurred, so place an area of interest in the
Layers palette, and the lename will say Quick Mask at the top. clear portion this is the part that will be in focus in your nal image.

3 INTRODUCE LENS BLUR You can keep resetting the gradient until
youre happy it might take a few tries. Once done, press the Q key
again to exit Quick Mask mode and youll see marching ants appear,
4 ITS IN THE DETAILS Depending on the image, and how fussy you
are, you could stop here, however with effects like this a little extra
effort can add realism. As real lens blur is dependent on distance, you
highlighting your selection. Next go to Filter>Blur>Lens Blur. In the may nd that the effect is spoiled by tall buildings rising into the blurred
Lens Blur window, use the Radius slider on the right to control how zone. This is easily xed, with a little patience, by rst applying a Layer
much blur you want I nd that between 30-40 works well. Click OK. Mask to the top layer. To do this, go to Layer>Layer Mask>Reveal All.

52 Digital SLR Photography July 2017


AdobePhotoshopCC \

5 LAYER MASKING Next, choose the Brush Tool, select a soft brush and
your colour to black. Zoom in and carefully brush back over the
buildings or objects that you dont want blurred. Take your time, and
6 ADD A HDR EFFECT As a nal touch, we nd that a slight HDR effect
enhances the trickery. For this, weve used Nik Software HDR Efex
Pro 2, which is free to download from google.com/nikcollection. After
adjust the brush size quickly by using the [ and ] keys. You can also use installing the software and back in Photoshop, go to Layer>Flatten
the 1-0 keys to set the brush opacity. If you go too far, to reduce the Image and then Filter>Nik Collection>HDR Efex Pro 2. In HDR Efex,
background blur, set the brush colour to white and paint back over. choose your preset, click OK and youre all done one tiny toy town!

July 2017 Digital SLR Photography 53


/ Adobe Lightroom CC

Single-fileHDR

joRDAN buTTERS
originalimage

JordanButtersshowshowtocreateanimpactful
hdrimageinlightroomfromasingleexposure

H
EREIN lIES THE cRux landscape scenes shot at golden
hour often look most pleasing when shooting towards the
light, but this causes issues in achieving a balanced exposure.
If you expose for the shadows, or even the mid-tones, then the
highlights will be blown out, resulting in unrecoverable data. The ideal
way to deal with this is to bracket exposures, recording three or more
images at different settings to allow for the extremes of the dynamic
range, however with improved sensors and processing power, an
alternative approach is to expose for the highlights and then create a
pseudo-HDR image in lightroom. Here's how to do just that

highlight detail shadow detail

1 review the image The original image (top right) is underexposed


and almost a silhouette, but the histogram shows that its
recoverable the graph isnt falling off the left-hand side (shadows)
2 shadows & highlights Step one is to bring back the shadows and
the highlights together. Move the Highlights slider all the way to
the left, to -100, and the Shadows slider to the right, to +100. This
and the right is only slightly clipped (highlights). Sliding the Exposure to should result in an image that looks a bit flat and horrible, but look at
+5.00 shows me that theres still detail hiding in the shadows, whereas the histogram youll notice that its looking healthier, with the shadow
moving it to -5.00, I can see that only the sun is completely blown out. and highlight tones pulled more towards the middle.

3 Balance exposure Next, adjust the Exposure slider to find a good


base exposure. My image needed around +1.00 Exposure to look
right by eye. Its already looking much better, and you might have
4 add contrast There are several ways to add contrast, but the
easiest and quickest way is, you guessed it, using the Contrast
slider. Slowly increase the slider until youre happy with the appearance
already arrived at the look you were going for. For me, it is a bit too of your image I find that +35 works in this case. At this point I also
obvious that its a HDR edit, and I want to reintroduce some contrast drop the exposure down slightly, as the added contrast has brightened
into the picture to make it look more natural. the highlights a bit too much for my tastes. We're getting there

54 Digital slr Photography July 2017


AdobeLightroom CC \

before After

5 AdjusttoNAl extremes Things are looking good, but the image is


still a bit flat at the extremes of the tonal range. Using the Blacks and
Whites sliders allow you to affect the darkest shadows and brightest
6 Noise coNtrol In lifting the shadows in step two, you may find that
some noise has been introduced. Scroll down to the Detail tab
and zoom right in on your image. Under Noise Reduction, gradually
highlights without touching the rest of the tonal range. In my case, increase the Luminance slider until the noise starts to fade. Dont go
around -34 on the Blacks slider adds depth back to the shadows, and too far or youll lose detail in your image. Once done, complete any
+25 on the Whites slider gives the sun's flare some punch. final tweaks, such as sharpening, Clarity and Vibrance.

July 2017 Digital slr Photography 55


want your shots critiqued by the
digital slr photography experts?
turn to page 61 to find out
how to submit images

KirKjufellSunriSe
ross hoddINoTT

by Fabio Tomat

NikonD750withNikonAF-S14-24mmf/2.8Glens.
Exposure: 0.5 seconds at f/11 (ISO 50).
What we think: We're incredibly jealous
that Fabio got to visit Iceland with his
camera! This is a classic scene of the
Kirkjufell mountain reflected in the calm
waters beneath Kirkjufellsfoss. Fabio's
dedication in arriving on location early has
been rewarded with magical light, too.
Placing the horizon centrally creates a
nicely balanced composition, however we
feel that positioning of the mountain itself
within the frame could do with a bit of
tweaking. As it stands, Kirkjufell is slightly
off to the left of centre, but not enough to
make it look intentional. Either a perfectly
central composition, or placing it further
to the left would possibly make for a more
interesting image. Nothing a quick crop
can't sort, though. Lovely job Fabio.

56 Digital slr Photography July 2017


LandScapeexpert London SunriSe
RossHoddinott by Matthew Dray
Thisisthetypeoffantastically NikonD810withNikonAF-S24-70mmf/2.8Glens.
beautifulandtranquilscenethat Exposure:1/60secatf/11(ISO100). 3
landscapephotographerswould
selltheirowngrannyfor!Ilovethe What we think: Matthew envisioned and
softpasteltonesinthesky,mirroredinthestill planned this shot specifically, working out
waterbelow.IthinkFabiohasdonejusttheright when the sun would rise in just the right
thingbycentringthehorizondoingsohelps place apparently there's only a narrow
emphasisethefeelingofsymmetry.Infact, window of opportunity to capture this
happening! Matthew has used the small 2
thereisntmuchnottolikeaboutthisshot.
WouldIhavedoneanythingdifferently?Well, gutter at More London as a central lead-in
forme,Kirkjufellisplacedalittletoocentralin line, converging towards London Bridge.
theframe.Imayhavebeentemptedtoplace The wide angle and low perspective
themountainslightlytotheleftofcentreto exaggerate the gutter's size, and offers a
encouragetheviewerseyetocontinue unusual angle on a view thousands see 1
exploringtherestoftheframe.Infact,thatis every day! The lone commuter is well placed
exactlywhatIdidrecentlywhenphotographing too, and Matthew's exposure is spot on.
asimilarshapedmountaininGlencoeasyou
canseefromtheimagetotheleft.Itisafairly Why it works
minorcomplaint,thoughoverall,thisisawell 1) Low perspective aids composition
composedandcapturedlandscape.Topstuff." 2) Low, golden light
3) Good tonal range throughout

July 2017 Digital slr Photography 57


Dog Dramatic man
by Jess Stanton 1 by Ilja Vostrikiv

CanonEOS6DwithEF50mmf/1.8IIlens. CanonEOS5DwithCanonEF50mmf/1.8lens.
Exposure:1/200secatf/2.2(ISO200). Exposure:1/2000secatf/2.8(ISO400).
2
What we think: Jess has found a patient What we think: This is a nice, honest
subject here, although by the energetic look portrait. Ilja's processing has matched the
on the dog's face we suspect this didn't last tones nicely to the subject's red hair and
long! The wide aperture has rendered a fairly freckles. His expression is sincere and the
busy background nicely out of focus, and tears in his eyes (Ilja says it was a windy
Jess has nailed sharpness. The light is soft day) help create a story in the viewer's
and exposure is right dogs with both bright mind. The exposure is good on the whole,
3 although the right side of his face is on the
and dark fur can be difficult to meter for.
There are a couple of changes we'd make verge of blowing out. Adding -0.3
though, such as the angle so the tree isn't exposure compensation would record a
growing out of its head and, if possible, to try touch more highlight detail and still allow
to get pictures before the dog jumps in a you to boost the shadows in processing.
lake clean fur is much more appealing.
Why it works
Why it works Great subject expression and emotion
1) Wide aperture blurs distractions Central composition is engaging
2) Shallow depth-of-field and pin-sharp eyes Good processing and colour grading
3) Good exposure of a high-contrast subject

58 Digital slr Photography July 2017


rawedits PortraitexPert CarolineSchmidt
Iratherlikethisportrait;it'scentral
compositioniscommanding,thetear
istenderandthetoningisgrittybut
complementsthesubject.Theonly
realcriticismisthelighting.Thehighlightonthe
left-sideofhisfaceappearstohaveblownoutand
thisisdistracting.I'dmuchprefertoseeeven
lightingacrosshisfaceratherthandeepshadows
aroundhisnose,eyesocketandbrightspotsof
highlightonhisforeheadandear.Sometimesit's
aneasyfixinAdobeCameraRaw,andIIjahasshot
inRawsoit'spossibletorecoverthesehighlights.
OpentheimageinACRandpulltheWhites
sliderallthewaytothelefttorecoverthebrightest
highlightsintheimage.Dothesameforthe
Highlightssliderbutbeingcarefulnottodullall
thehighlightsintheimage.If,however,adjusting
theseslidersnegativelyaffectstheoverallimage,
usetheAdjustmentBrushtoselectivelytargetthe
brighthighlightsandthenretouchanyburnt
highlightsintheskinwheninPhotoshop.

July 2017 Digital slr Photography 59


Submissions

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

HOW TO GET YOUR IMAGES TO US...


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

Digital SLR Photography contact form Checklist


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

Phone: Email: receive a lot of submissions and


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

July 2017 Digital SLR Photography 61


The Beginners Guide

DaylighT
porTraiTs
IfyouregularlyshootportraItsoutdoors,thenanunderstandIng
ofhowdaylIghtcanbemanIpulatedandcontrolledIsanessentIal
skIlltolearn.InthIsmonth'sbeginner'sguide,weshowyouwhIch
lIghtIngaIdsyou'llneedandthetechnIquestolearntotake
beautIfulresultswItheaseInthevarIoustypesofdaylIght

T
here are countless reasons why daylight is such a fantastic light
source to work with for portraits. the most obvious is that it's free to use
and, unless you're shooting at night, is readily available. it's also incredibly
versatile and capable of delivering a range of lighting effects, from
diffused and flattering light to brighter, more sharply focused effects. the fact is,
the term 'daylight' doesn't refer to a single form of light, but rather a multitude of
lighting conditions that are affected by a variety of factors, including time of day,
season, weather conditions and the environment, to name but a few.
understanding the nature of daylight and how to control and manipulate it,
as well as the constraints it places on you, is a fundamental skill that every
portrait photographer should know. in this month's Beginner's Guide, we cover
the basic characteristics of daylight, the simple lighting aids that you can use to
control and manipulate it, as well as a variety of techniques and ideas to try that
will help you take high-quality portraits using only ambient light. so whether
you're shooting in the open on a bright, sunny day; working in the confines of
shade; or capturing portraits on an overcast day, our expert advice will help you
to make the most of the lighting conditions. as you'll discover, with just a small
outlay on a couple of reflectors and diffusers, you'll have everything you need
to capture professional-looking daylight portraits.

Words & images: daniel lezano


The Beginners Guide

DAYLIGHT CONTROL BASICS LIGHTING AIDS


REFLECTORS: Availableina
IFYOUWANTTOTAKEFULLADVANTAGEOFDAYLIGHTASALIGHTSOURCEFOR varietyofsizes,shapesandreective
variety of sizes, shapes and reective
YOURPORTRAITS,THENYOU'LLNEEDTOUNDERSTANDITSKEYCHARACTERISTICS nishes,reectorsarethemost

L
usefultypeoflightingaidandare
EARN TO TAKE control of daylight and daylight as your light source, such as
anessentialaccessoryforevery
youre well on your way to becoming manipulating its intensity and direction.
portraitphotographer.
an accomplished portrait photographer. This is why understanding the characteristics
Its amazing to think that in the high-cost of daylight in different weather conditions DIFFUSERS:Whenyouwantto
world of photography, one of the greatest and at different times of the day is so softensunlight,nothingdoesabetter
tools in a photographer's arsenal is actually important. On these pages, we cover the jobthanadiffuser.Aswithreectors,
free and readily available! Despite its main types of daylight, the lighting aids you theycomeinavarietyofforms,as
convenience, there are a number of can use to manipulate it and the camera wellasdifferentdiffusionlevels.
challenges you face when wanting to use settings that give you the best results.

AUTOWB
SUGGESTED CAMERA SETTINGS WHITE BALANCE
It's important to remember that the colour
temperature of daylight changes depending
on the climatic conditions, time of day and
the environment you're shooting in.
Therefore it's good practice to regularly
check images to ensure colour reproduction
is accurate, especially if you're shooting only
JPEGs. You can use a grey card and set a
custom WB for the scene, or select the WB
preset that matches the weather/lighting
EXPOSURE MODE: Aperture-Priority(AV/A) conditions. These examples, taken on an
isyourbestoption,asitallowsyoutoquickly overcast day, show the difference that the
managedepth-of-eldforcreativecontrol. selected White Balance preset can make.
METERING PATTERN: Multi-zonemetering SHADEWB DAYLIGHTWB
givesconsistentresultsinthemajorityofdaylight
situations,butdoreviewimagesregularly.
AFSETTINGS: It'sbesttousesingle-pointAF
topreciselyfocusonyoursubject'seyes.Set
single-shotAF(AF-S/S-AF)tolockfocus.
QUALITYSETTING: UseRaw+JPEGto
maximisequalitywithRawles,whileusingthe
JPEGstoreviewWhiteBalanceandexposure.
WHITE BALANCE: TheAutopresetisfine,but
usingthepresetforthelightconditionsprovides
moreaccuratecolours,whichcanbereviewed
ontheLCDscreen(seeright).IfshootinginRaw,
itdoesn'tmatterwhatWBsettingyouselect.

MAINTYPES OFDAYLIGHT
BRO CREATIVE/SHUTTERSTOCK

DMITRY A/SHUTTERSTOCK
ALESHYN ANDREI/SHUTTERSTOCK

1)DIRECTSUNLIGHTManyamateur 2)SHADE Shade is a photographer's ally. 3)OVERCASTWhile cloud covermaynot 4)'MAGIC HOUR'LIGHTWhile the other
photographers believe that shooting on Finding shaded areas is a greatwayto take suit landscapes, overcast days are ideal for main forms oflighting are determined by
bright, sunnydayswill provide the best attering portraits on sunnydayswhen portrait photographerswanting attering theweatherconditions and location, this
results, but nothing could be furtherfrom you haven't a diffuserto hand. It's also a light.With clouds acting as a natural particulartype oflight is based on the
the truth. With the sun onyoursubject's great choice ifyou're subject to showers diffuser,yoursubjectwon't sufferfrom time ofday.The'magic hour'refers to that
face,you'll nd they'll squint and the asyou can keep shootingwhile under harsh shadows and blown highlights, short period oftime just aftersunrise or
harsh shadows cast bytheirnose spoils cover.There can be restrictions, such as althoughyouwill most likelyrequire the just before sunsetwhen the sun is lowin
the shot. Ifyou have to shoot under a lowerlight level and coolercolour use ofreectors to improve portraits. See the skyand has a strong golden tone.
sunlight,you'll eitherneed to diffuse the temperature, butyou canwork around page 70 formore on howyourchoice of Shooting portraits in the sunset's'magic
light (page 68) orbacklightyoursubject. these. See page 72 formore details. reectorcan make a majordifference. hour'producesveryatmospheric results.

64 Digital SLR Photography July 2017


TakeTimeTo reflecT! There is no excuse fornot using
a reflector, even ifyou're onyourown.The SoftSilverside
ofa Lastolite Difflector was used here to provide a subtle
reflectance in overcast conditions. Its collapsible design
means it can be carried everywhere and instantlyopened
readyforuse,while a handle allows forone-handed use.

July 2017 Digital slr Photography 65


The Beginners Guide

LIGHTING AIDS: MAIN TYPES OF REFLECTORS


INEXPENSIVE,LIGHTWEIGHT,COMPACTANDHIGHLYVERSATILE,THEREFLECTORISANESSENTIALLIGHTINGAIDTHATEVERY
PORTRAITPHOTOGRAPHERSHOULDUSE.THEYCOMEINAVARIETYOFTYPESANDSHAPES,ASYOU'LLDISCOVERHERE

W
HO WOULD HAVE thought that in simple round collapsible designs available in The theory behind using reectors is quite
our high-tech age of digital media, different sizes, while more elaborate models simple: you angle them so that they bounce
the basic and humble reector feature handles, frames or other innovations, a light source back on to the subject. In
would still represent one of the most which we'll cover later. The colour of their practice, however, you'll discover that
versatile and value-for-money accessories reective surfaces is important too, there is far more to it than that. The type of
that a photographer could own. This basic inuencing the intensity and nature of the reector you use inuences whether the
contraption, made of highly-reective light falling on the subjects. One of the most light falling on your subject is harsh, soft or
material and an elasticated or metal frame, appealing things about reectors is their has a coloured tone. The angle of
provides a valuable aid in manipulating light, affordability: basic models cost less than reectance can be used to give beautiful,
whether in the studio or on location. 20 and while pro models can set you back attering results when used well or
As you'll see in this Beginner's Guide (and hundreds, you'll nd many clever designs potentially unnatural and unattractive
our Buyers' Guide on page 110), lighting aids closer to 50. We use a selection in this effects when used poorly. Our Beginner's
have evolved from rudimentary bits of kit guide, so you can get an idea of how each Guide will show you a variety of ways of
into a variety of clever designs to suit one works. Our Buyer's Guide also provides manipulating daylight with reectors to
different uses. The most basic reectors are an overview of the various types available. produce stunning results.

MAINTYPES OFREFLECTOR
When it comes to choosing which reector is best for
you, there are plenty of options. Each type has their
pros and cons, so read up on each description and
choose the options that best suits your type of
photography. Most beginners will nd that a standard
collapsible reector, or the similar but superior
grip-handle type is good enough, or may prefer the
versatility of a framed reector, ve-in-one kit or one
of the more unusual designs. We'd suggest that, at rst,
you may be best to buy one or two of the more
affordable reectors, rather than investing in the more
expensive types, to discover which is most suitable.

1) COLLAPSIBLE REFLECTORS 2) GRIP-HANDLE REFLECTORS 3) FRAMED REFLECTORS 4) UNIQUE REFLECTORS 5) FIVE-IN-ONE REFLECTORS
The most popular and An evolution of the Photographers looking While the vast majority of It's impossible to argue
inexpensive reectors standard collapsible for something more rigid reectors t neatly into with the value a 5-in-1 kit
have a simple round or reector is the grip type, and/or larger than a the three previous presents. If you're new to
rectangular design and which has become collapsible reector categories, there are photography and are
come in a range of sizes popular due to the often opt for a framed some that offer unique looking for an
and reective nishes. handling advantages it reector. A very popular features that set them inexpensive lighting aid,
Round reectors are the offers, in particular to choice with enthusiasts apart. These include the this should be your rst
most popular shape, photographers working and professionals, the Lastolite Tri-Flector, a choice. A translucent disc
small sizes like the 80cm alone. The simple frame allows the reector with three can be used as a diffuser,
are good for close-ups addition of a handle reector to be angled panels that sits on a stand while tting one of the
but not so much for makes the reector far very easily, while the and can be angled supplied zipped or
portraits, so look for easier to hold with one larger surface area individually. Westcott's elasticated covers allows
110cm or larger reectors. hand, in particular when allowing it to reect far Omegas are newer you to use it as a white,
Rectangular types are there is wind, allowing more light. Having an models and are large silver or gold reector,
designed for portraits so you hold the camera in assistant hold the frame reectors with a Velcro'd with the black cover
choose the size that suits one hand and while is usually the best way of window that allows you acting as an 'anti-
your needs and budget. looking through the working, as the reector to shoot through it. Also reector', absorbing
Most collapsible reectors viewnder, adjust the can be held up high or check out the California rather than reecting
are silver on one side, reector's position with angled low, while Sun-Bounce Sun-Mover, light. 5-in-1 kits are
white on the other, but the other hand. Check although optional grip which has two handles available in different sizes
other nishes such as the build quality of attachments allow it to allowing it to be used at and shapes see the
mixed silver/gold are also handles as budget be xed to supports or or curved for a more Buyers' Guide on page
available. options can be poor. stands if working alone. focused effect. 110 for further details.

66 Digital SLR Photography July 2017


The Beginners Guide

Which colour reflector is best?


AswellAsbeingAvAilAbleinArAngeofsizesAndstyles,reflectorscomeinAchoiceofcolourfinishes.
choosingtherightonefortheshootingsituAtionisvitAltoensurenAturAlAndAttrActiveresults

W
HEn it comEs to using reflectors, there are times when you need to warm up shaded area you'll be surprised just how
the choice of colour for its reflective the light and gold is a good option in these far reflected light from a metallic surface can
finish is a vital consideration. choose scenarios, but take care not to create an travel! this is especially useful when you're
the wrong one and you face making any unnatural effect. Gold is also effective if you shooting in urban areas, as it allows you to
number of mistakes, from producing too want to mimic the effect of sunlight in the bounce light from sunlight into shaded areas
strong or too weak a reflectance to giving magic hour. Along with gold and silver, there for attractive results. Bear in mind that on
too warm or too cold an effect. As with so are hybrid metallic finishes available too, very bright days, even when shooting in
many things in photography, nothing beats with names such as sunfire or similar. these shade, metallic finishes can prove too strong
experience for learning which colour usually combine silver and gold in different and cause subjects to squint, so in these
reflector works best in different situations, ratios to produce a highly efficient and situations use white instead.
so take some time to experiment with effective reflectance. they're sometimes You'll find that almost all reflectors have
different colours of reflector with a subject more expensive than standard silver and white on one side, with a metallic finish on
placed in different lighting scenarios you'll gold, but if you're regularly shooting the other, although there are a small number
soon note the effect each colour gives. portraits, you'll find the extra outlay well available with two metallic finishes. With
Your main concern is how skin tones are worth it, as the light they produce is better. different lighting conditions benefitting from
affected most of the time you'll want your metallic finishes are far more efficient in the use of different finishes, you'll not be
subject to have very natural tones and that's terms of their reflectance in other words surprised to find we suggest you invest in
when the neutrality of the white finish works they bounce off more light than a more than one reflector so that you have
best. silver is an option too if the light level is nonmetallic surface. this has the advantage every reflective finish at your disposal. And
low, but you need to take care not to make when you're shooting in very flat light as remember, you're free to use more than one
the effect look too cool, which is a real their effect is more evident. it's also very type of finish at the same time just take
possibility if you're shooting in heavy shade. useful for bouncing light from a lit to a care not to produce unnatural results.

A look At the mAiN choices of reflector colours

No reflector: A typical example of a White reflector: the low efficiency of the silver reflector: Held further away due to
portrait captured in shade without the use of white surface requires it being used very its much higher efficiency, the result is not
a reflectors to fill in shadows. the flat light close to the subject. this produces a nice too dissimilar to the white reflector. the
gives a relatively attractive effect but there is and flattering result, softly filling in shadows effect is almost neutral, and clean. Used
definitely room for improvement. and adding a neutral sheen to the skin. right it can give a catchlight in the eyes.

GolD reflector: As with silver, the higher softsilver reflector: this high-efficiency ZebrAGolD/silver reflector: this metallic
efficiency requires careful use. Gold creates reflective finish gives a very clean result that finish combines gold and silver to produce a
an attractive, warm effect that is similar to is very similar to the silver reflector, but is high-efficiency reflectance with subtle
the setting sun, but can look unnatural. still, slightly softer in effect. it's an excellent warmth, without being overbearing.
it's worth a try when shooting in cool light. choice of finish for daylight portraits. Excellent for subjects with lighter skin tones.

July 2017 Digital slr Photography 67


The Beginners Guide

LEARN TO DIFFUSE SUNLIGHT DIFFUSERS &ACCESSORIES


COLLAPSIBLE DIFFUSERS
BEINGABLETODIFFUSEANDCONTROLDIRECTSUNLIGHTISANECESSARYSKILLIF Aswith reectors, there are
YOUWANTTOTAKEATTRACTIVEPORTRAITSOUTDOORSONBRIGHT,SUNNYDAYS several types ofcollapsible

S
diffuser available. The most
diffuseravailable.The
TRONG SUNLIGHT IS often considered them, you place the diffuser so that it is in basic is the round diffuser,
the portrait photographer's foe. It the sunlight's path, instantly creating a which is also availablewith
makes the subjects squint, produces pleasing portrait light. But you should also handles. The central translucent disc that comes
handles.The
harsh shadows across the face and blows pay attention to the angle you use it at, as in a ve-in-one reectorkit can also serve as a
out detail in the highlights. You can of course this will have an effect on how much light diffuser.While suitable, theirsmall surface area
use it to backlight a subject to create passes through it. makes them trickierto use as theyonlyprovide a
portraits with an attractive hair light, but this As you'll see in the panel on the right, smallerarea ofdiffused light. Largerrectangular
technique comes with its own pitfalls and diffusers come in a range of types and sizes. diffusers, such as Lastolite's Panelite,which
limits shooting possibilities as the subject Larger diffusers diffuse a wider area making measures 1.8x1.2m, are farmore practical to use.
has to be placed with their back to the sun. them more versatile, but they're expensive
The best solution when you want to shoot too. Smaller types are easier to hold in place FRAMED DIFFUSERS
in bright daylight is to use a diffuser. These when it's windy, but must be positioned with Frameddiffusersarethe
are translucent panels that are placed care to ensure the diffused light covers the mostpracticalchoicebut
between the sun and the subject and, as whole subject. If you opt for a framed alsothemostexpensive.
their name suggests, act to diffuse the diffuser, you'll be able to swap the diffuser Thesediffusershavealarge
sunlight reaching the subject. Choosing to panel for a reector, as most brands make surfaceareasocandiffusea
use a diffuser means you are free to select both types of lighting aid in the same size. widerareaenoughforcouplesandsmall
any location bathed in sunlight and know Finally, it's worth noting that the material groupsinsomecases.Thematerialis
that you can capture images of subjects that used in diffusers come in different interchangeabletoo,soyoucanapplylessor
morediffusion.Propslikebracketsandpoles
are lit by soft, even lighting that gives an efficiencies that relate to their light-stopping
allowthemtobepositionedhigherandatangles.
incredibly attering effect. capabilities. If you opt for a framed diffuser,
Lastolite'sSkyliteandtheCaliforniaSunbounce
As mentioned earlier, the basic technique you can swap materials to suit your needs.
Sun-Swatteraretwoofthemostpopularkits.
for using a diffuser is simple: after Diffusion factor of two-thirds to 1.5-stops
positioning your subject where you want tend to be the most popular efficiencies. DIFFUSER ACCESSORIES
Whenyou're choosing a

1 DIRECTSUN: In this rst image, oursubject, Bethany,


is photographed in the garden on a bright, sunnyday
without the use ofanylighting aids.The strong sunlight is
diffuser, it'sworth seeing
what accessories are
available. Stands and
unattractive,with harsh shadows.The strong light is brackets are useful ifyou're
causing herto squint, showing a lack ofdetail in the eyes working alone although not ideal inwindy
and too much contrast giving a less than attering result. conditions,while extendible booms allow

2 ADDINGADIFFUSER: I have an assistant hold a large


CalSun Sun-Swatterdiffuserabove Bethany, directly
between herand the direct oflight, so as to diffuse the light.
diffusers to be held farhigherin the air useful
when shooting around noonwhen the sun is
high is the sky.All the majorbrands like CalSun,
This gives a softer, much more attering light and helps Intert and Lastolite offera good range of
reduce the problems ofshadows. However, the slightly brackets, gripheads, arms and booms and
longerexposure caused bylowering the light levels on they'rewellworth consideration.
Bethanyresults in the backdrop appearing bright.

DIRECT SUN WITH DIFFUSER

68 Digital SLR Photography July 2017


withdiffuser andreflector

3 I hold a Lastolite SoftSilverTriGrip reflectorunderthe


diffuserto bounce some soft light towards Bethany.
It adds a pleasant sheen to herskin and detail to hereyes,
while the fasterexposure helps darken the background.
The overall result proves to be farmore pleasing.

July 2017 Digital slr Photography 69


The Beginners Guide

overcast
noreflector WHitereflector

portraits
Cloudydaysmaynotbemost
peoplesChoiCeofweather,
butit'sgreatforportraits,
providingasoftlightthatonly
needsatouChoflightingaid

o
ne of the main challenges you face
when shooting portraits outdoors is
having to control directional light,
but this task isn't one you face when taking
pictures on overcast days. Blankets of cloud
act like giant diffusers, converting harsh
sunlight into non-directional light that's
flattering for portraits. Along with the light's
soft nature, another advantage of this soft
ambient light is that you can face your
subject in any direction, without having to
worry about the position of the sun, giving
you more scope for shooting out on
location. that said, even on overcast days,
you should still be able to make out the sun's
position, so use this when angling reflectors
to bounce light on to your subject. You'll
want to have one or two reflectors to hand
when shooting in diffused light because,
while its soft nature is appealing, it can be
rather flat. Reflectors allow you to bounce 1 no reflector: even though the skyis completely
overcast, the light falling on evelina's face isn't entirely
even.the light is quite flattering, but the eyes are a little in
2 WHite reflector: i startwith awhite reflectorand
the image shows definite signs ofimprovement,with
light nowrevealing the subject's eyes. however,while
additional light on to your subject's face,
illuminating detail and a catchlight. When shadow.the use ofa reflectorshould improve the result. the effect is nice, it's a little too subtle formytaste.
heavily overcast, a silver rather than white
sUnfirereflector silver/WHitereflector
reflector proves more efficient, while a gold
or Sunfire finish can add a touch of warmth.
on days where there are gaps in the cloud
and the sun breaks through, you'll have to
switch between natural diffusion and having
to use diffusers, which can be a pain, but
generally means light levels are higher, so
you've less risk of shake spoiling your
images. In these conditions, flick an eye to
the sky regularly to anticipate when the sun
may appear and plan your next move.

try differentangles

in overcast conditions,while it mayappearthat


light has no direction, that's not the case. in light
to moderate overcast conditions, sunlight still
has a subtle, almost indistinguishable direction.
therefore changing the reflectors position and
anglewill affect the evenness oflight on the face.
ifyouwant to add some soft modelling to the
light, hold the reflectorat an angle facing in the
rough direction ofthe sun.the subtletyofthe
effectwill be based on the efficiencyofthe
reflectorand the light levels.
3 sUnfire reflector: i lose thewhite reflectorand
switch to using a sunfire finish. its higherefficiency
results in a strongereffect.while the light is even, the
4 softsilver reflector: asoftsilver(silver/white)
finish provides a cleaner, more neutral reflectance
that provides averyflattering light. but held so close to
goldenwarmth ofthe reflectance is a little too unnatural. mysubject, its efficiencyproves a little too strong.

70 Digital slr Photography July 2017


take time toreflect!
IaskmysubjecttositandIplacethe
SoftSilverreflectorfurtherawayatasimilar
angle.Theresultisjustasflatteringbutthe
subtleeffectisfarmorenatural.
The Beginners Guide

Shooting in Shade
onbright,sunnydays,lookforshadedareastoplaceyoursubjectand Shootinto SUnlight
usereflectorstomakethemostofavailablelightforgreatresults

W
hen youre PLAnnInG a shoot to where the area of cover meets exposed
outdoors, something we always sky so the end of a passageway or just
recommend is to visit potential inside a doorway for example. This area is
locations at different times of the day to see brighter yet still has soft, flattering light, and
how the sun's position affects areas of light benefits from being close to daylight for
and shade. This is a useful point for portrait easy use of reflectors. The backdrop will also
photographers using only ambient light, as appear darker in the image, providing good
shade provides a soft and comparatively contrast with your subject.
subtle directional light that's very flattering. When working in shade, you'll need to
on sunny days when you've no diffuser experiment with the angles and reflective
Whileit'spossibletocapturestunningimagesin
to soften the light, heading into shade is an finishes to find the best results. Light has
shadeonovercastdays,thebesttimeforshooting
excellent option as the light levels in shade direction, even in shade, so working this out inshadeiswhenit'ssunny.notonlyareambient
will still be relatively high, making it easier to will help you fill in shadows and add a sheen lightlevelshigher,meaningyou'veawiderchoice
work with the light. Plus, with a reflector to skin. on brighter days, start with a white ofshutterspeedsavailable,butyou'vemore
or two placed in areas of sunshine, you can reflector first and if the effect is too subtle, creativeoptionstoo.alongwithbouncingin
use them to bounce light into the shaded switch to silver. If skin tones look too cool, sunlight,asshowninthestep-by-stepbelow,
areas for creative effect. try a sunfire or gold finish. youcanusesunlitareastocreateanattractive
on cloudy days, you can still shoot in Another factor to bear in mind is the backdropand/ortoaddasubtlehairlight.youdo
shaded areas but the light levels will be colour of the surfaces around your subject, needtotakecare,asifthebackgroundistoo
lower, meaning you'll need to set a higher as these have a distinct effect on the light brightitbecomesdistracting.We'dsuggestyou
ISo rating, use a wider aperture or both to reaching your subject. White walls are ideal useaverywideaperturetoblurthebackdropinto
maintain hand-holdable shutter speeds. for clean, neutral light, while grey brick and attractiveshapesandaswellasusingawhite
Whatever the weather conditions, it's concrete are good too, although the level of reflectortofillinfacialfeatures,addasubtle
worth experimenting with placing your reflectance will be lower. Avoid surfaces amountofreflectancefromthesuntobrighten
subject at the edge of the shade. By this we with strong colours, such as green or red, as anareaofthehair,aswedidintheimageabove.
mean having your subject positioned close the skin may display unattractive tones.

USing SUnlightin Shade


Shade WithReFleCtoR WithtWoReFleCtoRS

1 Setting UPin Shade: on a sunnyday, i find an area


ofthe garden that is in shade but is close enough to
an area ofopen sunlight. i set up a bench onwhich my
2 adding SUnlightWithaReFleCtoR:
i introduce awhite reflectorinto the equation and ask
myassistant to stand in an area ofsunlightwith it so that
3 addingan eXtRatoUCh oFlight: i rest another
white reflectoron the arm ofthe bench to evelina's
right. it's positioned so that it can reflect back some ofthe
subject, evelina, can sit.the shaded light is soft and flat, i'm able to provide some extra light on evelina.the effect light bounced in from the reflectorin the sun to fill in the
but even though there is no direct sunlight, the left side of is a marked improvement,with a cleanwhite light shadows on herright cheek and even out the light. it's
evelina's face is brighteras it receives a little reflected revealing detail in evelina's face.While the lighting is ok, amazing howgood reflectors are in shade! i could stop
sunlight from the glass ofa greenhouse a fewfeet away. iwant to fill in some ofthe shadowon herright cheek. here, but iwant to lose the green edge in the backdrop.

72 Digital slr Photography July 2017


A nAturAl beAuty
Aslightshifttomyviewpointeliminatesthe
brightgreenareaattheframe'sedge.The
finalimageisanaturalandflatteringresult
capturedinshadewiththeuseofsunlight.
The PhotoWorkshop

THREEPEAKS
CHALLENGES
THEPEAKDISTRICTPROVIDESADIVERSELANDSCAPEFORPHOTOGRAPHERSWITHINAHIGHLYACCESSIBLEAREA.WITH
SHOOTINGOPPORTUNITIESSTRETCHINGALLTHEWAYFROMSUNRISETOSUNSETANDTHROUGHOUTTHENIGHT,ITSAPLACE
WHEREKEENPHOTOGRAPHERSCANFLEXTHEIRPHOTOGRAPHICPROWESSTHEPERFECTPLACEFORAREADERCHALLENGE
S
UCCESSFUL LANDSCAPE photography With this in mind, we took Scott to three
is a precarious balancing act between completely different locations to put his OUREXPERT: James Abbott
knowledge, skill and a bucket full of landscape skills to the ultimate test.
luck. We took landscape enthusiast Scott has been interested in photography Jamesisaprofessionallandscape
photographer Scott Hughes to the Peak for eight years and made the move from an andportraitphotographerbasedin
District to capture three completely different APS-C to a full-frame DSLR as his interest Cambridge.Withaloveoftraveland
locations that draw on the fundamental and skills grew. With a recent purchase of a theoutdoors,hesaregularvisitor
tothePeakDistrictwithan
elements of landscape photography: Canon EF 17-40mm f/4L ultra wide-angle
extensiveknowledgeoftheregionsbest
composition, light and movement. zoom, he was keen to put his new glass to
locations.www.jamesaphoto.co.uk
The Peak District is one of the most good use and to take advantage of the
picturesque and accessible areas of the UK dramatic, wide eld-of-view it provides, Jamesskit:NikonD610withbatterygrip,Nikon
for landscape photographers. Covering an which makes it perfect for landscape AF-S16-35mmf/4G,NikonAF-S70-300mm
f/4-5.6,ManfrottoCarbonOnetripod,Nisilter
area of roughly 1400km2 and spanning photography. He also brought along his
systemandTamracAnvilbackpack.
Derbyshire and parts of Cheshire, Greater Canon EF 24-105mm f/4L in case he needed
Manchester, Staffordshire and Yorkshire, a slightly longer focal length to achieve the
the varied landscape provides a stunning best compositions possible a wise move
backdrop for photographers and indeed the because you never know what challenges
OURREADER: Scott Hughes
ten-million tourists who visit each year. a location may throw at you. DispatchsupervisorScottHughes
From waterfalls to hills to rocky outcrops Landscape photography is a sum of developedhisinterestin
and more, the area is simply bursting with several parts: location, light, composition photographyabouteightyearsago.
photographic opportunities. and movement are all equally important Portraitshadbeenthekeyfocusof
With most locations in the Peak District elements of great images. A lack of success hisphotographyuntilrecently,
within a one-hour drive, more often than in just one of these areas can reduce a althoughhesbecomingincreasinglyinterested
not, its possible to cover a great deal of potentially great image into a mediocre one. inlandscapephotography.
ground in a single days shooting. The main And even with the greatest will, kit and skills, Scottskit:CanonEOS6D,CanonEF17-40mm
hurdle as ever is light, but with some every landscape photographer is at the f/4L,CanonEF24-105mmf/4L,Canon50mm
locations under the cover of trees and even mercy of the weather, so luck always plays f/1.8,LeeFilterssystem,Manfrotto190XBtripod
hills (as we'll explain later) its possible to an important role in the image-making andLoweproSlingshot200AW.
shoot from one end of the day to the other. process. Lets see how Scott got on
The PhotoWorkshop

CHALLENGE1:MOVEMENT
Landscape photography is often a slow
and considered process. It takes time to
compose a scene, to decide on settings
and the best choice for equipment such
as lenses and filters. But that doesnt mean
the images will lack energy or excitement;
carefully incorporating movement is the
perfect way to achieve dynamic results.
Movement can come in many forms, and
can be accomplished with simple camera
settings depending on the subject or can
require the use of Neutral Density (ND)
filters to achieve a slow shutter speed.
We met at Lumsdale Falls, which is a
great location just outside of Matlock in
Derbyshire, boasting three main waterfalls
to photograph and depending on the
time of year many other opportunities for
nature photographers. When we arrived
the sun was shining with a few small clouds
punctuating the blue sky; this first location
was going to be tough.
The flow of water at the waterfalls was
1
much less than usual but, as there's been
little rain, it was beautifully clear as opposed
2
to the usual yellow/brown colour often
caused by the rain running off the hills.
CHALLENGE1 Pro verdict
With the water clear and the bright sunshine
hitting surrounding rocks, we agreed that a "Scottworkedhardtomakethechallenging
lightconditionsworkforhim.Atfirstheopted
tighter composition would be best.
foralandscape-orientatedshotofthewaterfall,
Scott set up his tripod and camera quickly
whichwouldhaveworkedonanovercastday,
he was raring to go and composed the
butthisincorporatedbrightandburnt-outareas
scene using LiveView to ensure the camera inthescenethatcontrastedheavilywiththe
was level, then took a test shot. The image flowingwaterintheshade.Withthesuggestion
looked good, even without the use of filters, ofshootinginportraitformat,theimage
but there was a patch of bright sunlight on suddenlycametogetherwithamuchtighter
the left-hand side of the frame and a large compositionthatsuitedtheuprightflowof
empty rock face on the right-hand side that 3
water.Thefinalimagelookedgreatwithoutthe
made the picture look untidy and detracted useofanyfiltersthewaterlookedlikewhite
from the focal point. I suggested shooting ribbonscascadingovertherocks."
in portrait rather than landscape format
and, by moving closer to the water, Scotts
image immediately improved. 1)Scottcarefullycomposeshisshotwithhis17-40mmlens
Not only was the composition cleaner attached.2)Usingthehistogramisagreatwaytoensure
highlightshaventbeenblownacommonproblemwith
and stronger, but Scott's basic exposure had
waterfalls.3)SmartphoneandLeeFiltersappattheready,
captured the water beautifully; it looked like ScotttriesusinghisBigStopperNDfiltertoblurthewater.
a large handful of white ribbons had been 4)Theupperfallsprovidedawidershot.5)Aten-stopNDfilter
thrown over the edge of the rocks. With a lengthenstheexposurebutblursthewatertoofarinourview.

4 5 great starting shot in the bag, I suggested


Scott try using his Lee Filter's Big Stopper
to blur the water even more. Being a fan
of long exposures he had his filter holder
attached to his lens in the blink of an eye
and used the Lee Stopper app on his phone
to calculate exposure. The app said one
minute, so he dropped the filter in place,
dialled in the settings with his camera set to
Bulb mode, then released the shutter and
the app timer at the same time.
The resulting image looked fantastic, but
as it was devoid of any water texture, we
agreed that the first unfiltered image was
more dynamic as it captured the movement
of the water. Whilst we were busy chatting
about the pictures, the sun had moved
around the hill and was now falling on the
water itself. We quickly packed up and
walked a couple of minutes up to the next
waterfall at the top of the hill to get a few
more shots before moving on.

76 Digital slr Photography July 2017


DOnt gO chasing waterfalls
WelikedtheeffectoftheNDfilterbut
preferredhowthefastershutter
speedcaptureddetailinthewater.
Exposure:1/4secatf/11(ISO100)
1

CHALLENGE2: 2

COMPOSITION
We jumped into our cars and met again at
Monsal Head, a famous Peak District beauty
spot. But at this time of day,I knew that
the sun would be too bright for traditional TuNNEL vISION!
landscapes. I led Scott down to the Monsal Addingahumanelementtothe
Trail where we entered Headstone Tunnel. dynamictunnelshotaddsastrong
focalpointforthelead-inlines.
Its a disused railway tunnel thats now part
of a walking and cycling route open for Exposure:Sixsecondsatf/8(ISO200)
public use. As we entered the dark tunnel,
lit by fluorescent strip lights, Scott was
unsure about the choice of location. I
explained how it was a great spot to shoot
3 4
in the middle of the day, and a place thats
ideal for honing composition skills.
The aim here was to use the rule-of-
thirds and to incorporate strong lead-in
lines to draw the viewer through the shot.
As soon as Scott knew this he instantly
relaxed and described the shot he was
aiming for. Using the concrete step along
the right side of the tunnel, he set up his
tripod low to the ground to accentuate the
step as it swept along the tunnel that curved
off to the left in the distance.
Scott took a test shot using autofocus
and we reviewed the result on the LCD cyclists to get a clean image with no ghosts 1)ScottusesLiveViewtocomposeinthelowlightconditions.
monitor. The exposure was ISO 200 with caused by moving subjects. 2)Thetunnelentrancebeliesthephotographicpotentialon
the aperture at f/8 and the shutter speed Since it was school holidays the tunnel offerinside.3)Scottfocusesmanually.4)UsingLiveViewto
checkcomposition,exposure,sharpnessandWB.5)Scott
at eight seconds. This produced a well- was busy so shots had to be timed carefully.
andJameswaitpatientlyforthetunneltoclearoftraffic.
exposed, yet dark and moody image, that When Scott had tried a second viewpoint 6)Therule-of-thirdshelpstocreateastrikingcomposition.
matched how the eye saw the scene. and was happy with the results, I suggested
However, by using autofocus the camera incorporating a human element to add a fluorescent lights so that I was illuminated
locked too far in front so the background strong focal point. The easiest way to do and Scott took a test shot. Realising that the
dropped out of focus. I suggested switching this was for me to stand in the shot, wearing light was obscured from my back because
to manual focusing and setting the distance my bright green fleece to contrast with the I was directly below it, he asked me to stand
to between 5m and infinity using the focus dark tones of the tunnel. just beyond the end of the light so it lit me.
distance window on the lens as a guide. He Scott immediately got the idea and The next test shot and the lighting was
took another shot and the image was sharp without any prompting set up his camera perfect, so he tried a few more viewpoints
from front to back. Now it was time to wait in the centre of the path running through before we moved on. Challenge two was in
for the tunnel to be clear of pedestrians and the tunnel. I stood beneath one of the the bag and it looked fantastic.

78 Digital slr Photography July 2017


The PhotoWorkshop

5 6

challenge2 Pro verdict


"DespiteScottsearlyapprehensionaboutthe
location,herosetothechallengeandendedup
takingafantasticimagethatbroketherulesof
compositionwithacentralsubject.Bymoving
awayfromtherule-of-thirds,usingthe
symmetryofthetunnelandthecontrastofthe
wallsagainstmyfleece,hebroughtastatic
locationtolife.Autofocusingwasanissueat
first,butmanualfocusmaximiseddepth-of-
fieldthebestfall-backinanysituationwhere
autofocusisntperforminghowyouneeditto."

July 2017 Digital slr Photography 79


peak perfection!
CurbarEdgeisaclassiclocationfor
climbers,aswellasphotographers
hopingtocaptureastunningsunset.
Exposure:1/5secatf/11(ISO100)

2 3

challenge3:light 4

With an interesting image for the second


challenge, and the sky looking good for
sunset, we headed over to Curbar Edge a
few miles away to capture a classic sunset
shot looking out over Derwent Valley. We
arrived in good time and took the short walk
from the parking spaces along the road up
to the edge to find a good spot to set up for
the final challenge.
The sky was looking great, with clouds
moving in the right direction to fill the empty it was clear that this particular spot wasnt 1)JamesoffersScottahelpinghandastheywaitforsunset.
space, but there was thick cloud along the going to deliver the spectacular golden light 2&3)ScottcarefullyattachedhisLeeFiltersfiltersystemand
horizon that was worrying. With an hour we were hoping for. 0.6NDsoftgrad.4)EvenwiththeNDfilter,theskyisquite
brightpatienceisneededwhilethesundropsintheskyand
until sunset we had plenty of time to find the After walking for just a few minutes we theexposurebalancesout.5)Whiletheglorioussunsetdidn't
best viewpoint and to hope that the band of came across an old millstone surrounded materialise,ScottdidmanagetocapturethisHDRimage
cloud floated away. by rocks that allowed a viewpoint looking incorporatinganoldmillstoneandaclusterofrocks.
Scott selected a viewpoint including a towards the setting sun. As the sun fell
small amount of rock in the foreground, a behind the band of cloud it was clear that
large ledge in the middle ground with the sunset wasnt going to be much more than challenge3Pro verdict
valley below in the distance. He attached his a dim glow. The light was fading fast but we
filter holder and two-stop soft ND grad to agreed to hang in there just in case the sky "Scottencounteredthatnerve-wracking
hold back the sky detail, and adjusted the was momentarily filled with colour after the momentwhenyouhavetomakethetough
position. At this stage the sky still looked sun had fallen behind the horizon, which decisiontostayorgo;willtheconditions
quite bright, despite the filter, but we knew can often be the best part of a sunset. While changeorisitbesttomoveontofindamore
this would change as the sun went down we waited Scott continued to fire off frames effectiveposition?Scottmadetherightchoice
with more detail becoming visible. and decided to try an HDR image using the bymoving.Withconditionsworkingagainst
With less than an hour until sunset, we auto-bracketing feature on his Canon EOS him,hepulledatrumpcardbyshooting
chatted about the challenges and took the 6D to take five shots at one-stop intervals. multipleexposuresforaHDRlandscape,and
occasional test shot to see how the camera As dusk settled in, we decided to call it a theendresultworks.Theearlierphotographs
was capturing the fading light. The light was day. The disappointment of an uneventful oftheledgealsolookedgood,althoughitsa
certainly dropping to reveal more detail in sunset was balanced with optimism at shametheskyisntfilledwithcolourbecause
the sky, but the thick band of cloud on the some good shots on the camera's LCD thebestcompositionreliedontwo-thirdssky
horizon didnt look like it was going screen; you never know what you really andone-thirdground.WelldoneScott!"
anywhere! Scott took a few more shots, but have until you see them on a computer.

80 Digital slr Photography July 2017


The PhotoWorkshop

5
workshopsummary:
ScottHughes
OnarrivalatLumsdaleFallswe
weregreetedbybrightsunshine
withoccasionalcloud.Icaptured
themovementofthewaterusing
justaslowshutterspeed,andthen
aLeeBigStoppertocreateasmoothwater
effect.Onthisoccasionthesimpleslowshutter
speedlookedmoredynamic.Forthesecond
challengeIwassurprisedbythelocationand
neverwouldhavechosenitmyself,but
HeadstoneTunnelturnedouttobegreat.Ifeel
Icapturedmybestimageofthedayherewith
stronglead-inlinesfromthetunnelfloorand
wallsleadingtheeyetothesubject.Itseemed
wedberewardedwithaspectacularsunsetso
weheadedtoCurbarEdge,butcloudobscured
thesettingsun.Overallthedaywasfullof
opportunitiestocapturegreatshots.Wehad
difficultlightingatallthreelocations,butwith
JamesshelpIhopeIovercameit.

July 2017 Digital slr Photography 81


Get set for

TRAVEL
FANCYYOURSELFAPHOTOGRAPHYADVENTURE?DOYOUWANTTODISCOVEREPIC
LANDSCAPESINAFARAWAYLANDORPHOTOGRAPHAWE-INSPIRINGCULTURESCLOSE-UP?
OUREXPERTADVICEWILLHELPYOUMAKETHEMOSTOFYOURTRAVELOPPORTUNITIES
Words: CAROLINE SCHMIDT
IMAGE: SANTI PHOTOS/SHUTTERSTOCK
Travel

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

ANNA Om/SHUttERStOCK

1 Its all about the timing It might be tempting to grab the cheapest flights because
its off-season, but do your research to assess the photo opportunities before you do. You
might want to be present for the poppies in Italy or tulips in Holland, or prefer an African
safari when its not in the blazing heat. Once youve decided on the right time of year, depending
on the type of photography youre planning to do, youll likely need to find out the sunrise and
sunset times for the places youll be visiting, so you have an idea of when to arrive and how late
youll need to stay out. Next to that will be tide times, if applicable, and the prospective weather
forecast to help you decide on what to pack and a shooting schedule. Planning where to
photograph, or scout for locations, on rainy days will make your trip much more productive
and youll be ready for those optimum conditions when they show themselves.
NAttAWAt SPHOtO/SHUttERStOCK
RAWPIxEL.COm/SHUttERStOCK

2 Prepare for success Let the


adventure begin at home. Planning
a trip somewhere new is exciting,
if a little daunting you know there will
be heaps of photographic potential but
you dont want to be paying for a missed
opportunity. Once youve decided on
your destination, pick up a travel guide:
for places abroad, theres a Lonely Planet
for that; but if youre looking elsewhere in
the UK like Cornwall, Scotland or Wales
check out local photography forums,
tourist boards and image-sharing
websites like 500px and Flickr to find great
photo hotspots. No one says you have to
travel far to find new locations, so while
flights to Europe may cost almost nothing
these days and somewhere exotic has its
obvious appeal, dont discount exploring
whats on your British doorstep. If you are
heading to a country where safety/
security is questionable, keep abreast of
the Foreign Offices travel advice.

84 Digital slr Photography July 2017


3 Architecture There are some
landmarks that call to be photographed
from a particular view, such as the
reflected Taj Mahal or New York from the
Rockefeller Centre. But once you have these
key shots, look for new viewpoints and
details to photograph, try different times of
day or a different focal length to step away
from the norm. When photographing a
landmark, make sure it is permitted. Some
buildings restrict tripods, others prohibit
photography entirely, so know your rights.
If you're inside, youll likely need an ultra
wide-angle zoom to capture the interior, but
dont discount a telephoto for zooming in on
architectural details too. If tripods arent
allowed, lean on multiple exposures and
HDR to maximise the light, but dont overdo
it. Your viewpoint is everything, so try to get
higher than your focal point, look for parallel
viewpoints from adjacent buildings or shoot
to the sky with an ND filter attached for
creative effect. Be aware of how converging
verticals can help and hinder your shots, too,
and adjust your perspective accordingly.
lee fRoST

July 2017 Digital slr Photography 85


Travel

lee frost
4 Portraits It's not pleasant to have an
uninvited lens thrust into your face or the
sense youre being stalked by someone
with a camera, so refrain from treating locals
like tourist attractions. If a face full of character
strikes your interest, make sure you ask them
for permission and offer them something in
exchange. Most people will be obliging and
interacting with locals is a great way to gain
insight into their lives. As youll have their
cooperation, it will allow you to get far better
images by asking them to move into shade or
interesting light. Doorways are ideal for getting
dark backgrounds, but look out for colourful
backdrops too. use aperture-priority mode
with single-point Af to focus on their eyes;
alternatively pull back to include context in
their environment. Are they fishermen,
farmers, artists or simply wearing the signs of
wise experience? Having got your close-up,
switch to a wider lens to capture them in their
surrounding environment to add some
context to the image. remember if youre
lee frost

planning to sell any shots as stock, youll also


need to get them to sign a model release.

5 What to pack Be smart about what you pack and dont


be tempted to bring all of your gear. Youll likely have to carry
your kit on your back most of the time and contend with airline
luggage weight limits, so be conservative. As well as a decent
backpack, invest in a carbon-fibre travel tripod its a must for
golden-hour landscapes or if youre planning to shoot interiors.
camera wise, most Dslrs will do a good job but pro models tend
to be heavier the nikon D500 or D750 are great compromises.
You might want to consider a smaller csc, too, or a lightweight
Dslr like the D7000, as youll be able to carry two for a back-up
ross Helen/sHutterstock

and shoot more discretely when paired with a small lens such as a
50mm. Aside from camera kit, take a laptop and portable external
hard disk to back up your images up and, if not, be sure to take
more than enough memory cards for backing up in a dual-slot
Dslr. Dont forget a plug adaptor so you can charge your batteries!

86 Digital slr Photography July 2017


6
Landscapes
When overseas, youre often visiting a landscape for the
first time so you need to know the best viewpoints, times of
day and compositions before you arrive. Check photo sharing
sites, search stock galleries to assess the most photographed
viewpoints and even contact other photographers. The best times
of day will almost always be sunrise and sunset so it's worth
planning around these using apps like Photographers Ephemeris
(www.photoephemeris.com). Expect long days but with time to
scout out your next location and hopefully unique viewpoints. Be
armed with an arsenal of techniques and compositional ideas to
bring a variety of images home, too. For instance, if youre in a
desert, you can play with contrast, abstracts and minimalist
landscapes; if youre near countryside, look out for
prospective morning mist, winding roads or crop lines.
For epic landscapes, try asking a travel companion
to step into the distant scene to help add
scale for more impactful results.
IMAGE: JAroslAW PAWlAk/shuTTErsToCk
Travel

AnnA tAMiLA/ shutterstoCk

7 Capture culture travel is about experiencing new things, foreign traditions and
cultures that set countries and civilisations apart. Planning your trip around key cultural
events makes sense as it will add a flavour to your images that you would have otherwise
lacked. nepal and indias festival of light and colour are perfect examples, as is spains La tomatina
festival. Culture isnt only festivals and religious occasions however, it is food, landmarks, daily
rituals and the little details. Cuba is renowned for its vintage American cars, revolutionary
character and old men smoking cigars so why go and not aim to capture these things? Markets
ross hoddinott

are a great place to see spots of culture, locals and lots of atmosphere but, as long as its safe,
take some time to go off-the-beaten track to people watch. A long telephoto lens means you
can put some distance between you and your subjects, but shooting from the hip is less
obtrusive. should you want to feature someone prominently, however, always ask permission.

8 Shoot a panorama
sometimes a 3:2 aspect ratio is
simply not enough scope to do a
scene justice, and when thats the case
you should look to shoot a panorama.
Common sense might urge you to reach
for your wide-angle lens to maximise
your field-of-view but for a panoramic
picture, try using a telephoto lens like the
nikkor AF-s dX 55-200mm f/4-5.6G to
compress the distant scene, making sure
you keep the focal length the same for
each frame. try to overlap each frame by
30% and shoot in a logical horizontal or
vertical order to make the job easier for
your stitching software. set your camera
to manual mode to maintain consistent
exposures across all the pictures and
attach it to a tripod with a panoramic
head for smooth and level shots. set
White Balance to a preset such as
daylight or a custom kelvin, again for
consistency. if youve a tilt-shift lens use
it to achieve a fantastic field-of-view.
Finish in Photoshop using Photomerge.

88 Digital slr Photography July 2017


ProtipwithNikon
xxxxx

Ross Hoddinott
Wildlife expert

9 Go wild! One of the biggest


challenges for wildlife photographers
shooting abroad is time. Rarely will you
have the luxury to spend more than a week
or two in any one place, so you need to be
organised and efficient to have a productive
trip. Hiring a local guide or joining a workshop
will maximise your photo opportunities.
However, if you are going it alone, research
extensively beforehand. It is important you
know where to go to find the subjects you
wish to shoot. Due to weight restrictions, you
wont be able to take all your gear you will
need to pack thoughtfully. I always opt for the
versatility of a telezoom an 80-400mm is a
good choice. Fast telephotos are big, heavy
and can be impractical. A slower lens is easier
to transport and manoeuvre, but you will
need to increase ISO to compensate. Ideally,
always take a second camera body. If you get
a fault, or damage your only camera early on
a trip, you will endure a frustrating and
wasteful time away. Take plenty of memory
cards and a laptop or portable hard drive so
you can make daily back-ups. When you are
jOn HIckS

traveling you cant be too careful it might


be a long time before you are able to return."

July 2017 Digital slr Photography 89


Travel

lEE FROST

10
WIllyAM BRADBERRy/ShuTTERSTOCK

Lenses to love What do you plan to shoot? If its a bit of everything: portraits,
landscapes, architecture, environmental portraits then consider packing a general
purpose zoom like the NIKKOR AF-S DX 18-140mm f/3.5-5.6G ED VR, plus a nifty fifty
50mm f/1.8 for a fast portrait lens. But having a clear idea of what you want to photograph will
help you to narrow down the best optics and filters to take for best results. An ultra wide-angle
11 Cities There's magic in the
hustle of a city, its landmarks and
architecture. Most cities have
historical areas full of culture and details to
photograph, eclectic people and events
lens such as the NIKKOR AF-S DX 12-24mm f/4G is ideal for architecture and landscapes, while
a telezoom like the NIKKOR AF-P DX 70-300mm f/4.5-6.3G ED VR can be invaluable for full of energy. A weekend city break is also
candids and portraits, and for isolating details in architecture. If portraits are the game, you cant one of the most attainable and affordable
go wrong with a 50mm f/1.8 (or 35mm on APS-C) as its fast for low light, discreet, lightweight ways to travel to new countries, but you
and very sharp. If youre shooting architecture and landscapes, youll also want to pack your will need to do your research. A bolt break
filter system or at least a circular polarising filter and 0.3ND and 0.6ND grad filters. to Rome will give you some wonderful
holiday snaps but know your lighting and
location for worthwhile travel pictures. In
Lightbutnotlimited our hyper-sensitive age, people are a bit
skittish about backpacks and big cameras
so be aware of your rights and the political
Whenyou're travelling overseas,weight is a real consideration as much as climate to avoid being stopped. By day
quality. Ifyouwant to take two DSLRs to have a back-up,you don'twant youll have lots to capture and places to
to be hauling them and an arrayof fast glass in a backpack everywhere recce, but at night is when the atmosphere
you go.Amodest, lightweight outfit is usuallythe best choice the comes alive. Pack your tripod, fast portrait
D600, forinstance, givesyou the high qualityof a Nikon full-frame body and wide-angle lens and head out for
at only850g and forAPS-C the D7200 is perfect at 765g. But forpairing twilight to capture light trails around your
performancewith portability, the Nikon 1 range can't be ignored: the favourite landmarks, commercial strips
J5 offers a DSLR-worthy20.8-megapixel CMOS sensorand an ISO and dazzling cityscapes while theres still
range of 160-12800 certainlya true contenderto consider. a touch of glow to the nights sky.

90 Digital slr Photography July 2017


12 Nature Whether its insects in
the Amazon, lions in the Masai
Mara or puffins on Skomer Island,
nature rarely works with your schedule so its
best to get some local help. You could waste
days waiting for subjects to appear or to
behave well, or you could employ a guide
who knows where and when to find the
subjects you want and how to behave
around them. Native guides are a good
option, but you could also look at joining a
photography workshop for the added bonus
of hands-on help when it comes to
technique and technical pitfalls. Quite often
professional wildlife photographers frequent
the same areas at different times of the year
so have a wealth of knowledge to share and
have done the hard work for you in terms of
research and making local contacts. All you
need to do is turn up and shoot, knowing
youve been handed the best chance of
getting some worthwhile shots. Pack a long
lens such as a 300mm or 400mm with
teleconverters for extra reach, but also a
macro lens in the region of 100mm for those
close-ups you wont want to dismiss.
SeAN PAvoNe/ShutterStock

July 2017 Digital slr Photography 91


The BigInterview

Badgers
&beyond
AwArd-winningwildlifephotogrApherAnd
nikonAmbAssAdorrichArdpeterstAlksto
cArolineschmidtAboutthegArdenproject
thAtsetshimApArt,competitionsAndlifeAs
Afull-timewildlifephotogrApher
Richard Peters

I
f you thought professional wildlife Wildlife Photographer of the year and the
photography comprised a life outdoors, urban category of Wildlife Photographer of
rare species, regular jaunts to the Masai the year in the same year, or even how he
Mara and selling large prints that pay caught the attention of Nikon to become their
your mortgage, I'm sorry to disappoint. Very latest ambassador. his story is a familiar tale
few photographers get this luxury lifestyle of slow-burning hard work and patience.
but that's not to say the many who don't having got a taste for photography when
aren't living the dream. I caught precious he was 17, Richard dipped in and out for
time with rising-star wildlife photographer several years until he made a conscious
Richard Peters, whilst he was hauled up in decision to go for it. I was a fair-weather
his office finalising his new website, to talk photographer for some time it was
winning awards, being a brand ambassador completely a hobby until around 2007
and his destined road to success. when I started to invest more time. Then in
Richard's portfolio is diverse to say the 2010, I decided to concentrate on building
least; he has the expected range of puffins, a name for myself whilst I had a regular
owls and antlers even the stunning black income, says Richard.
& white safari photographs you'd expect Like most aspiring professional
from a high-end professional but what sets photographers, Richard had started off by
him apart from the rest are much closer to submitting work to magazines and in return
home. Richard has much less enthusiasm for received a lot of rejection and silence but
the rare than he does the everyday subjects he admits, looking back, his work wasnt
and most notably badgers! Images of these good enough. Spending much more time
garden visitors are among those that have behind the camera eventually led to more
put Richards name on the radar of major distinctive pictures and his work began to
international competitions, wildlife trusts get noticed it was a long, slow process that
and most recently Nikon. took years and years.
As I speak to him about life as a successful When I got to the point I was spending
full-time wildlife photographer, he doesnt all my time thinking about photography,
boast about his upcoming overseas tours nor taking pictures and writing articles and
provide verbiage about his overly-complex it was even overflowing into my main job
approach, hes humble in the struggles of his I knew I had to make the jump to full-time,
success and how he actually likes nothing says Richard. The rest of his story couldnt
more than shooting whats in his garden. have been written. But while you cant deny
Thats excluding small garden birds, the element of luck, as Richard puts it,
however: they bore me silly, jokes Richard. success came when his years of honing skills
Im more into mammals and larger birds and developing style blended together.
like raptors or birds of prey; but my favourite Around the same time as I won European
subject has got to be the badger. Aside from Wildlife Photographer of the year, the urban
the fact they come into your garden, which category of Wildlife Photographer of the
is amazing, Ive a new-found appreciation year, and Nikon was offering me work, I was
for their personalities and the technical offered voluntary redundancy at my day job.
challenges of photographing them because The timing was perfect and Ive not looked
theyre black & white and only visit at night. back since, explains Richard.
I absolutely love them. And thats certainly Richard's style is very distinctive with
clear from looking at his portfolio. most of his images showcasing tricky
Its not often you get to speak to a leading low-key lighting or off-camera flash.
photographer whos authentic, grounded Animals actually react more to the sound of
and void of ego, but my personable chat about the camera than light from the flash but flash
his rise to fame proved Richard Peters to be in my line of work is a touchy subject. you
one of these few. As a wildlife photographer, cant blast the flash in somethings eyes,
Richards work has become unmistakable you need to place it in the peripheries with
yet his story is rather unremarkable. Theres diffusers on to soften the light, which is what
no magic formula for how he won European I did for my garden Photography project.

94 Digital slr Photography July 2017


I was a fair-weather
photographer for some
time it was completely
a hobby until around
2007 when I started
to invest more time

July 2017 Digital slr Photography 95


Richard Peters
I wanted to show people you dont need to day, he underexposes the sky and
travel far to take good wildlife pictures. As You can do anything with illuminates the subject for more interest.
much as its nice to go to Africa to see a lion, Im quite different from other wildlife
you dont need to in order to take a picture any bit of kit, if you put a bit photographers in that I choose light over the
that people will pay attention to. You also of thought in to it, and thats subject. Im equally content photographing
dont need 10,000-worth of kit or a lot of
time; if its in your garden you can chip away
what I wanted to show a pigeon in good light as I am travelling
halfway around the world to see a lion, says
at it when you have five minutes here and Richard. But with a preference for the dark
there. You can do anything with any bit of exposure that doesnt let in too much and dramatic, how does Richard capture
kit, if you put a bit of thought in to it, and ambient light, then balance it with artificial this creativity with flighty subjects? Most
thats what I wanted to show. light. Theres a lot to think about but the of the time I use manual mode, adjusting the
Having started the project with no flash results are distinctive. The project took a aperture and shutter speed to get the desired
knowledge, Richard set about learning new year to complete and, through lots of trial look, then Auto ISO gives me the exposure
techniques from scratch, and now owns and error, I got at most ten really good value based on those settings. Ill quite often
ten flashguns using four or five at a time. pictures one shot took me six months to look at a scene and know I have to dial in
I set a motion sensor to my camera and capture! explains Richard. Clearly two-stops of underexposure to emphasise
have multiple flashguns set up depending on perseverance pays off, as its that shot of a the brightest parts of the scene by darkening
the look of the picture. The trick of it is you fox's shadow on the wall that won Richard the shadows. When the light is the same and
have to manually expose everything and European Wildlife Photographer of the Year. the subject is likely to stay in the same place,
visualise how you want the image to look as Richard uses diffused off-camera flash on then Ill switch to shooting in fully manual.
you cannot check it on the LCD monitor. location too if he thinks the subject will get Recently Nikon UK made Richard their
For instance, there will be a bit of ambient close enough to his wide-angle lens for it to latest wildlife photography ambassador, so
light even at night so if you want the stars in work. He often uses it as fill-flash when we couldnt leave the topic of kit off the table
the frame, you have to work out a 30-second shooting in to the sun or, if its a really dull so what does his outfit consist of?

July 2017 Digital slr Photography 97


Richard Peters

Ive three bodies two D810s and a D500


with AF-S 400mm f/2.8E FL ED VR, the
new AF-S 70-200mm f/2.8E FL ED and a
300mm f/4 PF VR, which is very lightweight
and easy to carry around. I use the 18-35mm
for most of my wide-angle work and I have a
ton of teleconverters and flashguns. With
the latest 400mm you can use the 2x
converter and stop down to f/7.1 and it be
absolutely fine; it isnt as sharp as an 800mm
or 600mm with a 1.4x but its close enough
that youd struggle to tell the difference.
A 400mm is quite small and light for a
telephoto so with converters its pretty
flexible too its the ideal lens really as you
can travel with it easily, explains Richard.
When in the Masai Mara you have to wait
in the 4x4 for the photograph so the extra
reach is always helpful I think I waited three
hours for a leopard to come down out a tree
once; but Id rather that than watch TV. Nine
times out of ten, there will also be a row of ten
other vehicles behind you too, filled with
people wanting to take the same picture, so I
try to look at the scene differently by using a
different lens or focusing on part rather than
the whole animal. There are also certain
species, like the Caracal Cat, which are
notoriously difficult to get close to so you
must wait for them to come to you. Back
home, subjects like urban foxes bolt off if they
get a glimpse of me so I use a wide-angle lens
and a remote shutter, says Richard.
With wildlife photography there are often
a lot of wasted shots, but sometimes you
might catch a winner and not even know it.
As tastes change and emotions attached to
images detach, I often look back through my

Workshops and talks are


where the business is as its
not about selling pictures
anymore, but using the
pictures to sell yourself
hard drives for a golden nugget I may have
dismissed, says Richard. Which is how he
discovered his frame of a leaping fox that
won him the Mammal Behaviour category in
Wildlife Photographer of the Year 2012.
When I took that picture, I almost deleted it.
Id witnessed this great leap close up and I
didnt think the pictures did it justice. A year
later I reviewed and found this winning
frame and the rest, as they say, is history.
These days having a winning picture, even a
distinctive different picture, isn't enough to
secure an income from wildlife photography,
and with stock photography suffering from a
surge in penny pictures,what's Richard got in
store for 2017? Ill hopefully be doing some
projects with Surrey Wildlife Trust and Ive
upcoming workshops in Africa and Europe,
including Slovenia for bears, Puffins at
Skomer Island and Bald Eagles in America.
Workshops and talks are where the business
is as its not about selling pictures anymore,
but using pictures to sell yourself.
Learn more about Richardsworkshops and download
his newebook at:www.richardpeters.co.uk

98 Digital slr Photography July 2017


July 2017 Digital slr Photography 99
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Gear
PHOTO KITTESTED & RATED BYEXPERTS

CANON EOS 77D


CANONHASLAUNCHEDTHELATESTGENERATIONOFITSPOPULARMID-RANGEDIGITAL
SLR.AREWEINFORMOREOFTHESAME,ORDOESTHEEOS77DSHAKETHINGSUPABIT?

Plus
GEAR NEWS: All of the latest cameras, accessories and gear news fresh to your doorstep Page 105
BUYERS' GUIDE: Find the ideal reectors and diffusersinourcomprehensiv
users in our comprehensive
omprehensiveguide
ehensiveguide
guide Page110
Page 110
Product news \ Gear
SONYSWIDE-ANGLEDUO
SONY HAS ANNOUNCED two ultra wide-angle E-mount zooms for its full-frame Sony
Alpha models. The FE 16-35mm f/2.8 GM wide-angle zoom claims exceptional corner-
to-corner sharpness and boasts ve aspherical elements in its optical design. This includes
two Sony XA elements, two ED (Extra low-Dispersion) glass elements and Sonys original
Nano AR coating that suppresses internal reections. It also features a circular aperture
shape for attractive bokeh, two DDSSMs (Direct Drive Super Sonic Wave Motors) for fast SPARKSFLYATDJI
SPARKS FLY AT DJI
and quiet autofocus, and is dust- and moisture-resistant. The FE 12-24mm f/4 G is Sonys
widest E-mount full-frame lens to date and features an innovative optical design with four Drone specialist DJI is aiming for
aspherical elements to ensure mass-market appeal with the launch of
excellent corner-to-corner the DJI Spark. It's an easy-to-use,
sharpness and resolution. It boasts fun-to-y mini camera drone designed
three ED and one Super ED glass to lift off from the palm of a hand. The
element to minimise chromatic DJI Spark is the rst drone that users
aberration and benets from Sonys can control by hand gestures alone,
Nano AR coating. Like the 16-35mm, making operation and control easier.
it also offers DDSSM AF and is The gesture controls allow you to
dust- and moisture-resistant. The FE control a Spark with hand movements,
16-35mm f/2.8 GM is available in send Spark up and away from you, take
August and will cost 2,300, while the a sele, and return back to you. It's
FE 12-24mm f/4 G is out in July for small enough to t in almost any bag,
around 1,700. www.sony.co.uk weighs only 300g and is available in ve
colours. Its specication is excellent,
with the camera capturing
12-megapixel stills, panoramas and

LIGHTEMUPWITHNANGUANG 1080p HD video. Available this month,


a standard kit (Spark, battery, USB
charger and three pairs of propellers), is
NANGUANG HAS INTRODUCED three new portable LED 519, while the Fly More kit (Spark, two
on-camera hotshoe lights. They use high-efficiency, batteries, four pairs of propellers, a
low-energy LEDs to produce powerful heat-free, remote controller, propeller guards,
icker-free illumination for stills photography and charging hub, shoulder bag and cables)
video. The new range comprises two small panel costs 699.www.dji.com
lights and one powerful on-camera Fresnel
light, powered by various Sony or Panasonic-
t Lithium-ion batteries, or AA batteries via the
supplied battery magazine. They can also be INBRIEF...
powered via an AC 100-240V power adapter
(not included). The (90) CNB144 and (120)
CNLUX1600C have adjustable angle brackets MONOCHROME
and an output of 1005 LM each at 100% MEDIUM-FORMAT
brightness. Both feature stepless dimmer Ifyou've a seriouswad of
control and can also be locked together with other units of the same moneyburning a hole in
type to create a larger, brighter light panel. The CNB144 is supplied with yourpocket andyouwant to
an ultra-soft diffuser, as well as a pink lter and 3200K lter, while the spend it on something few, if
bi-colour CNLUX1600C has an adjustable colour temperature of any, ofuswould everconsider
3200K-5600K. It is also supplied with a diffuser, as well as pink and blue lters. The (240) buying, then Phase One's iQ3
CN8F LED Fresnel Light is designed to be used on-camera or stand-alone and uses a Achromatic is foryou. It's a medium-
single 8W LED light that gives 95 CRI, illumination of 560 LM and a colour temperature of format back that costs 50,000, sports an
5600K. The front Fresnel lens can be adjusted to change the angle of beam between 10 effective resolution of101-megapixels and only
to 60 and brightness from 0 to 100%. Orange 3200K and blue 6500K lters are included, shoots in monochrome.That's right, 50K buys
as well as a gelatine lter holder, barn doors and padded carry case.www.kenro.co.uk you a camera that lacks the abilityto record
colour.The iQ3 is available in limited quantities
from earlyAugust from Phase One stockists.
THINKTANKSBACKPACKBLITZ www.phaseone.com

POPULAR BAG BRAND Think Tank Photo has added a number of


MACPHUN NOW
backpacks to its range. The StreetWalker series sees the addition of FORWINDOWS
the Rolling Backpack V2.0, designed to switch from a backpack to a Macphunhasannounced
roller bag. It holds two DSLRs and several lenses, along with a 15in thattwoofitsphoto-editing
laptop, plus has dedicated pockets for a smartphone and bottles. It is softwarepackagesLuminar
designed to meet most airline carry-on requirements and features a andAuroraHDRwillbe
reinforced telescopic handle, front tripod mount and user-replaceable releasedforPClaterthisyear.Both
components. Think Tank Photo has also upgraded its three classic werepreviouslyonlyMac-compatible
StreetWalker backpacks to benet from the latest features too. Also andhaveprovenverypopularwithintheApple
announced are upgrades of Think Tank Photo's sling bags. Made from communityduetotheirperformanceandeaseof
lightweight, durable materials, the TurnStyle V2.0 range conforms to the use.Luminarisanall-in-oneeditor,whileAurora
body's shape and has a wide shoulder strap. The TurnStyle 5 ts a HDRisaversatilepackageallowingyoutocreatea
mirrorless body plus two to four lenses and an 8in tablet. The TurnStyle 10 varietyofHighDynamicRangeeffectswithease.
holds a DSLR plus one or two lenses and 8in tablet. The TurnStyle 20 ts a www.macphun.com
DSLR plus one to three lenses and 10in tablet.www.thinktankphoto.com

July 2017 Digital SLR Photography 105


Gear/ Mid-rangedigitalSLR

CANONEOS77D
CanonsextensiveEOSrange
welcomesanewmodeltoitsranks,
amid-rangeDSLRboastinga
24.2-megapixelAPS-Csensor
Test: DANIEL LEZANO

SPECIFICATIONS
GuidePrice:829(body-only)/919(with18-55mmIS)
Imagesensor:APS-CCMOS(22.3x14.9mm)
Resolution:24.2-megapixels
Maximumimageresolution:6000x4000pixels
AFsystem:Dual-pixelCMOSAFsystem.Phase
detectionuses45AFpoints(allcross-typesensors)
Meteringsystem:7560-pixelRGB+IRsensor
Meteringpatterns:Evaluative,spot,partial&
centre-weightedaverage
ISOrange:ISO100-25600plusAuto(Hi:51200)
Shutterspeeds:1/4000sec-30seconds&Bulb
Framerate:Sixframes-per-second
Storage:SD(SDHC/XC)
Size:131x99.9x76.2mm TheratherplainappearanceoftheCanon
Weight:540g(includingbattery&card) EOS77Ddisguisesacamerapackedwitha
Website:www.canon.co.uk widerangeofusefulmodesandfacilities.

C
ANON IS THE number one brand in their camera to the latest model, as they'll
terms of digital SLR sales, dominating nd the similar control layout means they
every area from the entry-level can nd their way around it easily. However,
DSLRs for beginners through to while Canon models like the EOS 77D are
mid-range models for enthusiasts and right amongst the easiest to operate, I do nd that
up to top-end cameras for the professionals. they're also slightly boring too everything
Part of this success is down to the quality is so well thought out that there is very little
of the cameras themselves, part of it is down fun using them. Sure, while they may all have
to the fact that Canon manufactures pretty a black exterior, I've found that their
much all of the components, including the operability over the last couple of years is a
all-important image sensors. This latter point little too magnolia for my taste.
is an important one, as most other brands The EOS 77D is a relatively compact and
rely on Sony for the production of the lightweight DSLR, with a good-sized
sensors used in their cameras. One of the handgrip ensuring a rm and secure hold.
biggest factors Canon's DSLR success is the While it's clearly well put together, the body
Wi-FiandNearFieldCommunicationtechnologyallowsthe
sheer size of the range. While most rivals does feel a tad plastic in places, in particular EOS77Dtobeconnectedtosmartphonesandtablets.
have one or two models in each sector, the on/off/video switch, which feels
Canon offers a far more extensive choice somewhat cheaply put together. touchscreen facility. The layout of the
(see panel, opposite), ensuring that for There are quite a number of buttons on-screen icons, the screen's sensitivity and
photographers of every experience level, located around the EOS 77D's body, but the the Q (Quick menu) button allows users to
there is a Canon EOS to suit their needs. clear markings and neat arrangement ensure make major changes at speed. The LCD
The Canon EOS 77D is the latest in the even newcomers can use this model with monitor's 1,040,000-dot resolution provides
line-up and is launched alongside the EOS ease. The top-plate has the main exposure a bright and sharp display, while it's versatility
800D, a model that sports an almost dial on the left, with the on/off switch, menu is further enhanced by the hinged platform,
identical specication, but has a simpler and info buttons located on the rear just which allows it to be angled to your needs.
control layout to appeal more to novices. beneath it. A small LCD panel on the right of Where the EOS 77D's operability isn't so
At around 830 body-only, (920 with the top-plate provides all the key exposure hot is with the viewnder, which is smaller
18-55mm IS STM lens), it has several strong info, with buttons around it handling AF than we're used to seeing on Canon EOS
models to contend with, including Nikon's points, ISO, AE-Lock/Partial metering and the models. It's sharp, has clear markings and a
new D5600, Pentax's K-3 II and Fujilm's LCD illuminator. On the camera's rear, decent level of exposure info, but the
brilliant mirrorless X-T20. However, its alongside the LCD monitor, is a four-way cramped size isn't very appealing.
pedigree as well as its specication, which control with input ring surrounding it, as well Where the EOS 77D scores very highly is
shares many features of the more expensive as buttons for playback, deletion and with its set of features, many of which are
EOS 80D suggests it can handle the ght. magnication of images on-screen, Wi-Fi, borrowed from its excellent mid-range
The EOS 77D looks pretty much like every the Quick menu and LiveView. cousin, the EOS 80D. At its heart is the same
other upper entry-level Canon EOS model The set-up is designed to allow fast and 24.2-megapixel CMOS sensor as used in the
of the last few year. That's great news for easy access to functions and this is further EOS 80D, while processing is handled by
Canon users looking to upgrade/update bolstered by the 3in LCD monitor boasting a Canon's latest imaging engine, the DIGIC 7.

106 Digital SLR Photography July 2017


AN EOS FOR EVERYONE
CanonsrangeofEOSmodelsisextensiveand
withstoressellingoffmodelsthathavejust
beenreplaced,itcanbeconfusingastowhich
arecurrentandwhicharediscontinuedorsoon
tobeontheirwayout.Listedbelowisthe
currentrangeofEOSDSLRmodels:
CanonEOS1300D(369with18-55mm)
CanonEOS750D(600with18-55mm)
CanonEOS800D(869with18-55mm)
CanonEOS77D(920with18-55mm)
CanonEOS80D(1,029with18-55mm)
CanonEOS60Da(viaspecialorder)
CanonEOS7DMarkII(1,249body-only)
CanonEOS6D(1,400body-only)
CanonEOS5DMarkIV(3,500body-only)
CanonEOS5DS(2,800body-only)
CanonEOS5DSR(2,900body-only)
CanonEOS-1DXMarkII(4,800body-only)

CLOSEST RIVALS
FUJIFILMX-T20:This800,24-megapixel
mirrorlessmarvelfromFujilmhasitallgreat
retro-designappeal,awiderangeoffeatures
andbrilliantperformance.OurtestintheMay
2017issuerateditasthisyear'sbestcamera.
PENTAXK-3II:Thissemi-proweatherproof
DSLRcosts849body-onlyand,despitehaving
beenaroundacoupleofyears,isstillwortha
look.Keyfeaturesinitsarsenalincludea
24.35-megapixelsensorandbuilt-inGPS.
NIKOND7200:At859body-only,thisisa
temptingbuy,featuringa24-megapixelAPS-C
sensor,Wi-Fi,dualcardslotsandsuperb
51-pointAF.Allin,averysolidproposition.
CANONEOSM5:Inmanyrespects,thisisthe
mirrorlessversionoftheEOS77D,featuringthe
same24.2-millionpixelCMOSsensor,DIGIC7
processorandDualPixelCMOSAF.
Exposure:1/800secatf/2.8(ISO200)

This allows for continuous shooting at six Wi-Fi allows the camera to be controlled and
frames-per-second, with unlimited bursts images shared with smartphones and tablets. VERDICT
when shooting JPEGs, and sequences of up Other features include creative lters, a
to 27 Raw les. Unfortunately for dedicated time-lapse facility and, for beginners, a The Canon EOS 77D is yet
videographers, 4K recording isn't an option, guided user-interface option. another excellent upper-level
entry-model to swing off Canons
with Full HD being the maximum video With so many tried and tested features
impressive production line. Good
resolution on the EOS 77D. The ISO range of passed down to the EOS 77D, it's no surprise
for beginners and enthusiasts alike, its
100-25600 should cover all practical needs, that is proves to be an accomplished
easy to use, has a solid set of features and
with a high setting of 51200 available. performer. The exposure system is excellent, produces excellent results. But it does show
The EOS 77D uses Canon's Dual Pixel AF with the Evaluative pattern handling all but the odd sign of cost-cutting, in particular
system, along with 45 AF points that all the trickiest lighting situations with ease. The the small viewnder and lack of 4K. That
boasts cross-type sensors. Switching from a White Balance proves accurate too. AF is fast said, its still a great general-use model.
single AF point to using small clusters or and reliable at locking onto static subjects
having all active is simple thanks to the two and while continuous AF is good, it could be Handling 17/20
buttons located near the LCD panel. better. LiveView AF is surprisingly good Ease of use 18/20
A full set of exposure modes, including proving faster and more accurate than Features 18/20
scene modes, are available, while there's a expected. While video is adequate, there are
better options at this price range. Image Performance 18/20
choice of four metering patterns: 63-zone
Evaluative, spot, partial and centre-weighted. quality is very good, with sharpness, colour Value 18/20
As you'd expect, the EOS 77D features an reproduction and noise all scoring well,
integral multi-mode ash, while NFC and although dynamic range falls short of rivals.
Overall 89/100

July 2017 Digital SLR Photography 107


Nikon Actually... Nikon Df
Df

Nikon Digital Cameras AF FX Nikkor Lenses


The widest range Nikon D5 DSLR body.......................................................... 5,085.00 14mm f/2.8D AF ED............................................................ 1,270.00
Nikon D810A (Astrophotography) DSLR body.................... 2,890.00 16mm f/2.8D AF Fisheye.................................................... 649.00
20mm f/2.8D AF.................................................................. 479.00
Nikon D810 DSLR body...................................................... 2,390.00 24mm f/2.8D AF.................................................................. 379.00
of second-hand Nikon D810 + MB-D12 Grip Kit...........................................
Nikon D810 + AF-S 14-24mm f/2.8G ED Nikkor.................
2,699.00
3,899.00
28mm f/2.8D AF..................................................................
35mm f/2D AF.....................................................................
50mm f/1.8D AF..................................................................
249.00
265.00
109.00

Nikon
Nikon D810 + AF-S 24-70mm f/2.8E VR............................. 4,175.00
50mm f/1.4D AF.................................................................. 249.00
Nikon D810 + AF-S 14-24mm & 24-70mm f/2.8E VR Kit..... 5,590.00 105mm f/2D AF-DC............................................................ 859.00
Nikon MB-D12 Grip for D810.............................................. 299.00 135mm f/2D AF-DC............................................................ 1,075.00
Nikon D750 DSLR body...................................................... 1,590.00 180mm f2.8D AF IF-ED...................................................... 729.00
Nikon D750 + MB-D16 grip Kit............................................ 1,839.00
Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit........... 2,045.00 AF-S FX Silent Wave Nikkor Lenses
Nikon D750 + AF-S 24-120mm f/4G ED VR Kit.................. 2,270.00 AF-S 20mm f/1.8G ED........................................................ 635.00
AF-S 24mm f/1.8G.............................................................. 599.00
Nikon D610 DSLR body...................................................... 1,289.00 AF-S 24mm f/1.4G ED........................................................ 1,775.00
Nikon D610 + MB-D14 Grip Kit........................................... 1,349.00 AF-S 28mm f/1.8G.............................................................. 529.00
Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor..... 1,669.00 AF-S 35mm f/1.4G.............................................................. 1,489.00
MB-D14 Grip for D610........................................................ 209.00 AF-S 35mm f/1.8G ED........................................................ 419.00
Nikon D500 DSLR body...................................................... 1,670.00 AF-S 50mm f/1.4G IF.......................................................... 369.00
AF-S 50mm f/1.8G ............................................................. 179.00
Nikon D500 + 16-80mm f/2.8-4E ED.................................. 2,470.00 AF-S 58mm f/1.4G.............................................................. 1,339.00
Nikon MB-D17 grip for D500............................................... 349.00 AF-S 85mm f/1.8G.............................................................. 419.00
Nikon D7500 DSLR Body (sales start June)....................... 1299.00 AF-S 85mm f/1.4G.............................................................. 1,325.00
Nikon D7200 DSLR body.................................................... 829.00 AF-S 105mm f/1.4E ED..................................................... 1,775.00
AF-S 14-24mm f/2.8G IF-ED.............................................. 1,525.00
Nikon D7200 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... 999.00 AF-S 16-35mm f/4G ED VR................................................ 989.00
Nikon D7200 + MB-D15 Grip Kit......................................... 1,045.00 AF-S 17-35mm f/2.8D IF-ED.............................................. 1,490.00
Digital and lm bodies, manual Nikon D7100 DSLR body.................................................... 689.00 AF-S 18-35mm f/3.5-4.5G.................................................. 589.00
Nikon D7100 + MB-D15 Grip Kit......................................... 869.00 AF-S 24-70mm f/2.8G IF-ED.............................................. 1,449.00
and autofocus lenses, speedlights, Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... 875.00 AF-S 24-70mm f/2.8E ED VR............................................ 1,835.00
AF-S 24-85mm f/3.5-4.5G ED VR...................................... 419.00
close-up equipment and Nikon D7100 + 18-140mm f/3.5-5.6G VR DX ED Kit.......... 1,095.00 AF-S 24-120mm f/4G ED VRII........................................... 919.00
Nikon D5600 SLR body....................................................... 649.00
thousands of Nikon accessories Nikon D5600 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... 699.00
AF-S 28-300mm f/3.5-5.6G ED VR....................................
AF-S 70200mm f/2.8E FL ED VR..................................... 2,540.00
769.00

all under one roof. Nikon D5600 + AF-S 18-140mm f/3.5-5.6G VR DX ED Kit...... 875.00 AF-S 70-200mm f/2.8G VR II IF-ED................................... 1,890.00
AF-S 70-200mm f/4G VR IF-ED......................................... 1,139.00
Nikon D5300 DSLR body.................................................... 419.00
AF-S 70-300mm f/4.5-5.6G VR IF-ED................................ 489.00
Nikon D5300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... 495.00 AF-S 80-400mm f/4.5-5.6G VRII ED.................................. 2,069.00
Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit....... 665.00 AF-S 200-400mm f/4G VRII IF-ED..................................... 5,790.00
For more information contact Nikon D3400 DSLR body.................................................... 349.00 AF-S 200-500mm f/5.6E VR ED......................................... 1,135.00
AF-S 200mm f/2G VR II IF-ED........................................... 4,690.00
Nikon D3400 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... 439.00
AF-S 300mm f/4E PF ED VR............................................. 1,439.00
020-7828 4925 Nikon Dff + AF-S 50mm f/1.8G Special Edition....................
Nikon Dff DSLR body, chrome or black nish.....................
2,249.00
1,995.00
AF-S 300mm f/2.8G VR II IF-ED........................................ 4,689.00
AF-S 400mm f/2.8E VR FL ED........................................... 9,890.00
Nikon Dff + AF-S 50mm f/1.8G SPECIAL GOLD Edition..... 5,000.00 AF-S 500mm f/4E FL ED VR.............................................. 7,990.00
AF-S 600mm f/4E FL ED VR.............................................. 9,635.00
Nikon 1 System AF-S 800mm f/5.6E VR FL ED (inc. TC-800-1.25E ED teleconverter)
Nikon 1 V3 10-30mm + Grip Kit.......................................... 795.00 ........................................................................................... 14,390.00

Wanted Nikon 1 AW1 + 11-27.5mm f/3.5-5.6................................... 549.00 TC-14E III 1.4x teleconverter.............................................. 415.00
TC-17E II 1.7x teleconverter............................................... 335.00
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8............. 695.00 TC-20E III 2x teleconverter................................................. 385.00
Nikon 1 J5 + 10-30mm PD Zoom lens, black...................... 345.00

for Cash
Nikkor VR 6.7-13mm f/3.5-5.6............................................. 375.00 AF & AF-S Micro-Nikkor Lenses
Nikkor VR 10-30mm f/3.5-5.6.............................................. 225.00 AF-S 40mm f/2.8G DX Micro.............................................. 229.00
Nikkor VR 30-110mm f/3.8-5.6............................................ 179.00 60mm f/2.8D Micro............................................................. 399.00
AF-S 60mm f/2.8G ED Micro.............................................. 485.00
1 Nikkor VR 70-300mm f/4.5-5.6......................................... 745.00 AF-S 85mm f/3.5G VR DX IF-ED Micro............................. 429.00
1 Nikkor AW 10mm f/2.8...................................................... 245.00 AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................ 729.00
1 Nikkor 18.5mm f/1.8......................................................... 145.00 200mm f/4D AF Micro IF-ED.............................................. 1,239.00
1 Nikkor 32mm f/1.2............................................................ 599.00
1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ 529.00 Nikon Speedlights
SB-5000 Speedlight........................................................... 459.00
Nikon SB-N7 Speedlight..................................................... 119.00 SB-700 Speedlight............................................................. 229.00
Nikon GP-N100 GPS Unit................................................... 99.00 SB-500 Speedlight............................................................. 179.00
Mount adapter FT1.............................................................. 199.00 SB-300 Speedlight............................................................. 109.00
SB-R1C1 Close-Up Commander Kit.................................. 569.00
AF-S & AF DX Nikkor Lenses SB-R1 Close-Up Remote Kit.............................................. 399.00
10.5mm f/2.8G AF DX ED Fisheye..................................... 569.00 SU-800 Wireless Speedlight Commander.......................... 319.00
SB-R200 Wireless Remote Speedlight.............................. 139.00
AF-S 35mm f/1.8G DX........................................................ 165.00
AF-S 10-24mm f/3.5-4.5G IF-ED DX.................................. 709.00 Manual Focus Nikkor AIS Lenses
AF-S 12-24mm f/4G IF-ED DX........................................... 939.00 20mm f/2.8 Nikkor.............................................................. 901.00
AF-S 16-80mm f/2.8-4E ED VR DX.................................... 839.00 24mm f/2.8 Nikkor.............................................................. 608.00
We are always seeking mint AF-S 16-85mm f/3.5-5.6G ED VR DX................................. 539.00
AF-S 17-55mm f/2.8G DX IF-ED........................................ 1,275.00
28mm f/2.8 Nikkor..............................................................
35mm f/1.4 Nikkor...............................................................
615.00
1,227.00
or near-mint examples of AF-P 18-55mm f/3.5-5.6G VR DX....................................... 199.00
45mm f/2.8P Nikkor, chrome..............................................
50mm f/1.4 Nikkor..............................................................
325.00
597.00
AF-P 18-55mm f/3.5-5.6G DX............................................. 149.00
Nikon FM3A, FM2 & F3HP AF-S 18-55mm f/3.5-5.6G VRII ED DX............................... 149.00
50mm f/1.2 Nikkor............................................................... 855.00

cameras and manual focus AF-S 18-105mm f/3.5-5.6G VR DX IF-ED.......................... 225.00 Special Purpose: Perspective
AF-S 18-140mm f/3.5-5.6G VR DX ED............................... 445.00 Control & Micro-Nikkor Lenses
Nikkor lenses AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED.......................
AF-S 18-300mm f/3.5-5.6G ED VR DX...............................
595.00
839.00
19mm f/4E (Tilt/Shift-Perspective Control) ED Nikkor........ 2,990.00
24mm f/3.5D PC-E ED Nikkor............................................ 1,525.00
AF-S 18-300mm f/3.5-6.3G ED VR DX............................... 575.00 28mm f/3.5 PC Nikkor........................................................ 1,195.00
AF-S 55-200mm f/4-5.6G DX ED VR II............................... 219.00 45mm f/2.8D ED PC-E Nikkor............................................ 1,440.00
85mm f/2.8D ED PC-E Nikkor............................................ 1,290.00
Please telephone AF-S 55-300mm f/4.5-5.6G DX VR.....................................
AF-P 70-300mm f/4.5-6.3G ED VR DX...............................
289.00
289.00
105mm f/2.8 Micro-Nikkor.................................................. 1,047.00
200mm f/4 Micro-Nikkor..................................................... 895.00
020-7828 4925 AF-P 70-300mm f/4.5-6.3G ED DX..................................... 245.00 PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control

for our oer today Prices include 20% VAT. Prices Subject to Change. E.&O.E. TO ORDER TELEPHONE 020-7828 4925

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
SPRING TRAVEL & MACRO
CASHBACK from Nikon
Claim up to 130
DESCRIPTION CASHBACK VALUE
D5600 + AF-P 18-55 VR Kit 45
D3400 + AF-P 18-55 VR Kit 45
D3400 + AF-P 18-55 non VR 45
AF-S Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED VR 45
AF-S Micro-Nikkor 40mm f/2.8G 25
AF-S DX Micro-Nikkor 85mm f/3.5G ED VR 25
AF-S Micro-Nikkor 105mm f/2.8G IF-ED VR 45
AF Micro-Nikkor 60mm f/2.8D 35
AF-P DX Nikkor 70-300mm f/4.5-6.3G ED 65
AF-P DX Nikkor 70-300mm f/4.5-6.3G ED VR 65
AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VR II 45
AF-S DX Nikkor 18-300mm f/3.5-6.3G ED VR 45
AF-S DX Nikkor 18-300mm f/3.5-5.6G ED VR 65
AF-S Nikkor 24-120mm f/4G ED VR 85
AF-S Nikkor 28-300mm f/3.5-5.6G ED VR 45
AF-S Nikkor 70-200 f/2.8E FL ED VR 130
AF-S Nikkor 200-500mm f/5.6E ED VR 85
AF-S Nikkor 80-400mm f/4.5-5.6G ED VR 130

Claim cashback on the above qualifying items purchased between 27th April 2017 until 4th August 2017.
Claims must be received by 4th September 2017.
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Gear/ BuyersGuide

LIGHTING AIDS
OURBEGINNERSGUIDETODAYLIGHTPORTRAITSSHOWSHOWLIGHTINGAIDSAREESSENTIALFORPHOTOGRAPHERS
WANTINGTOTAKECONTROLOFAMBIENTLIGHT.WEBRINGYOUACOMPREHENSIVEGUIDEFORWHATSAVAILABLE

I
F YOURE LOOKING to add reectors and official UK warranties, so you should feel
diffusers to your arsenal of photo accessories, condent using any lighting aids featured here. Popularreectorsizes
then youre spoilt for choice. There are plenty Lighting aids come in a vast range of sizes and
of lighting aids to meet the needs of all levels types. The 5-in-1 sets offer amazing value and 30cm..................................................................12in
of photographer and every size of budget, so are a great rst buy, while those sporting a handle 50cm.................................................................20in
youre guaranteed to nd what youre after. are the most practical, especially if you havent 56cm.................................................................22in
This Buyers Guide covers all the major brands an assistant to help hold it in place. The framed 81cm..................................................................32in
so youll have a good idea of what your local reectors and large one-off designs are ideal for 95cm..................................................................37in
camera store has in stock, or can order for you more serious use, but theyre also expensive. 107cm...............................................................42in
on request. Weve excluded the unbranded/ Its worth noting that lighting aids arent just for 120cm...............................................................47in
unknown brands that are available via online use in daylight you can use them in the studio 70x110cm................................................27x43in
retailers like Amazon or auction sites like eBay, as and with ashguns, should you wish. Theyre also 90x120cm...............................................35x47in
were unable to verify their quality and availability. not just for use with portraits still-lifes and 100x165cm............................................39x65in
We have tried some in the past and found that close-up photography can also benet from the 60x90cm.................................................24x35in
after a few months of use, they showed signs of use of lighting aids. These simple accessories are 90x125cm..............................................35x49in
wear and damage that meant they werent t for one of the most inexpensive and versatile tools 100x150cm............................................39x59in
purpose, so wed recommend you stick to one of you could add to your outt, so make sure you 130x190cm.............................................51x75in
the major brands. Our Buyers Guide covers the buy one or more youll soon see how they can 180x245cm.............................................71x96in
vast majority of reputable models that offer make a difference to your photography.

110 Digital SLR Photography July 2017


Buyers Guide\ Gear
California Sunbounce
www.tetenaluk.com
This is the brand most enthusiasts aspire to own and a favourite with many professionals around the world. California Sunbounce, or
CalSun, is renowned for a wide range of high-quality and durable models, from smaller aids for ashguns through to large reectors and
diffusers all the way up to an on-location studio. Reectors range from collapsible handheld through to large framed models with
interchangeable panels so you can swap nishes or switch to a diffuser. CalSuns diffuser range is smaller but offers excellent options.
REFLECTORS: Along with popular silver/ SUN-STRIP
white and gold/white nishes, there are
other nishes available, such as Zebra/
white (Zebra is a mix of gold and silver), as
well as a number of translucent diffusers.
Most are framed, with the Micro-Mini and
Mini being our favourites. The Sun-Mover
is an oval disc with handles that can be
bent to focus or spread the reectance.
SUNBOUNCESUN-MOVER:(84x77cm)
Silver/white: 48; Zebra (gold & silver)/
white: 60
SUNBOUNCESUN-BOUNCERMICRO-MINI
TRAVELLERKIT:(60x90cm) Silver/white:
94; Zebra (gold & silver)/white: 120
SUNBOUNCEMINIKIT: (90x125cm)
Silver/white: 153
Zebra (gold & silver)/white: 186
Zebra reector only (no frame): 126
SUNBOUNCESUN-STRIPMINI:(125x57cm) MICRO-MINI SUN-MOVER
Zebra/white: 223
SUNBOUNCEPROKIT:(130x190cm)
Silver/white: 234
Zebra (gold & silver)/white: 266
Gold/white reector only (no frame): 80
Silver/white reector only (no frame): 126
Zebra reector only (no frame): 160
SUNBOUNCESUN-BOUNCERBIGKIT:
(180x245cm) Silver/white: 288

DIFFUSERS: The king of diffusion in the SUN-SWATTER


Sunbounce range is the Sun-Swatter,
a framed panel that can be attached to
a boom and held with relative ease at
different heights and angles. Its easy
to assemble and designed to be used in
windy conditions. Its available in different
sizes and diffusion efficiencies and is a
fantastic aid, albeit one that is so large it
needs disassembling before transport.
Wed suggest starting with the smaller
Sun Swatter with the 1/3- or 2/3-stop
diffuser material.
SUNBOUNCESUN-MOVER: (84x77cm)
2/3-stop diffusion: 53
SUN-SWATTERMINI (90x120cm)
Super-Saver Sun-Swatter Mini kit with
boom, bag, grip, frame & 2/3-stop diffuser
panel: 175; 1/3-stop screen only: 100
SUN-SWATTERPRO(130x190cm)
SUN-SWATTERMINI SUN-SWATTERRANGE
Sun-Swatter Pro kit (frame & 1/3-stop
screen): 246; Super-Saver Sun-Swatter
Pro kit with boom, bag, grip, frame &
2/3-stop diffuser: 380
SUN-SWATTERBIG(180x245cm)
1/3-stop or 2/3-stop screen only: 259
SUN-BOUNCERPRO(130x190cm)
1/3-stop screen only: 126
2/3-stop screen only: 126
3/3-stop screen only: 142

July 2017 Digital SLR Photography 111


Gear/ BuyersGuide

Interfit LastolitebyManfrotto
www.intertphotographic.com www.manfrotto.co.uk/lastolite
The Intert brand, which specialises in Lastolite is the UKs most popular brand for studio accessories and lighting aids and
photo and studio accessories, offers an incredibly extensive range of products. If you already own a lighting aid, its
disappeared for a while but has now quite likely a Lastolite. The brand offers great value, high-quality products and is a great
returned with a fresh lease of life. Its one-stop brand for all levels of photographer, from beginner through to enthusiast
current range of lighting aids covers and professional. There is no shortage of options when it comes to hand-held
round and rectangular collapsible reectors, with Lastolite producing a range of sizes, styles and nishes. Our guide offers
reectors, 5-in-1 kits and reectors details on the most popular lighting aids, but do check the website for the full range of
with stands and brackets. models plus accessories such as brackets, support arms and stands.
ROUND REFLECTORS: ROUND COLLAPSIBLE PANELITE: If you need
Available in four sizes REFLECTORS: Collapsible a large collapsible
in silver/white, silver/ round reectors are reector or diffuser,
gold and Softsun/ available in 30cm, check out the
white nishes, as well 50cm, 75cm, 95cm and 180x120cm Panelite. It
as a translucent disc. 120cm diameters with costs around 100 and
Prices: 30cm 10; 56cm 16; 82cm the following
nishes:
nishes: silver/white; is available in silver/white, Sun
Sunre/white,
re/white,
20-23; 107cm 26-37. Sunre/silver; Sunre/white, gold/white, Sunlite/SoftSilver, silver/gold, Sunre/
EASY-GRIP: Double- silver/gold and Sunlite/soft silver. A silver, gold/white and two-stop diffuser.
sided 90x60cm two-stop diffuser is also available in all TRIFLIP: Combine the
reector with a thick sizes from 50cm upwards. Guide prices design of the TriGrip
handle, in silver/ are as follows: 30cm 13; 50cm 24; with the versatility of
white, Sunlight/ 75cm 39; 95cm 64; 120cm 79. reective colours and
white, gold/silver BOTTLETOP5-IN-1 KIT: you have the TriFlip, an
nishes, and translucent. Price: 40. Lastolites round 5-in-1 8-in-1 reector and
kit includes a diffuser diffuser combination. Along with a
5-IN-1 REFLECTOR KITS:
panel with elasticated TriGrip two-stop diffuser the kit includes
A round translucent
(rather than zipped) covers that give seven additional nishes:
diffuser disc with a
covers. It is made up of a black, gold, Sunre, Sunlite, silver,
double-sided cover
diffuser panel and two covers: gold/ Softsilver and white. Its available in two
with white, silver,
white and Sunre/silver and comes in sizes: Mini (45cm) 70 and Standard
black and gold
four sizes: 50cm 37; 75cm 49; 95cm (75cm) 94, with the latter available in a
nishes. Prices: 56cm 32; 82cm 44;
65; 120cm 89. Deluxe kit (184) that includes a bracket,
107cm 50.
stand and bag. Also available is the (80)
THREE-WAYPORTRAIT TRIGRIPREFLECTORSAND TriFlip 6-in-1 kit that comes with
REFLECTOR KIT:Has DIFFUSERS: Lastolite Standard (75cm) gold/white TriGrip and
three panels attached TriGrips feature a two double-sided covers.
to a frame that ts to a moulded handle with
securing strap and TRIFLECTOR MKII:
lighting stand. Each
provide for accurate Popular in studios but
90x60cm panel can
positioning of the reector/diffuser with also suitable for location
be positioned. The kit is supplied with
one hand, without the need for a stand shoots, the Triector
one silver/gold panel and two sunlight/
or support .The securing strap also MkII kit consists of a
silver panels. Price: 119.
allows you to support the reector support frame holding
LARGE FLATPANEL without tightly gripping the handle, three collapsible panels on hinges for
REFLECTOR: Designed reducing the pressure on your wrist and individual angling. It all packs away in a
for full-length and ngers when held for a while. Along with case weighing a total of around 1.6kg.
fashion portraits, this reectors and diffusers, TriGrips come in It can be bought with silver/white panels
measures 89x178cm difflector versions too these allow light for around 134 or with Sunre/silver
and is supplied with a to bounce off one side and pass through panels for around 139. An extra set of
stand and a rotating/tilting bracket for a two-stop diffuser fabric on the other. three panels cost between 45-49.
using the panel vertically or They are available in three sizes: SKYLITE: This large
horizontally. Available in gold/silver Mini (45cm): Silver/white, gold/white, framed reector/
and black/white panels. Price: 79. Sunre/silver and Sunlite/soft silver: 45 diffuser panel is great
FLEXI-LITE 5-IN-1: Standard (75cm): Silver/white, gold/ value. Its based around
A stand-mounted white and Sunlite/SoftSilver: 65. a lightweight and
panel reector that Standard difector (75cm): SoftGold durable frame to which
can be used and SoftSilver/two-stop diffuser: 65 you clip on the diffuser material. An
handheld or on Standard diffuser (75cm): (one- and elasticated cord in the frame keeps all
location. Supplied in two-stop): 65. the pieces together and it is quick to
medium (100x150cm) for 120 or Large (120cm): Silver/white, gold/ set-up and dismantles. It's available in:
large (150x200cm) for 165, which white, Sunre/silver and Sunlite/ Small (1.1x1.1m); Medium (1x2m) and
includes silver/white, sunlight/black SoftSilver: 84. Large (2x2m). The standard kit includes
and translucent panels. A kit for 290 Large difector (120cm): SoftSilver/ the frame, silver/white and translucent
includes extra options, such as a two-stop diffuser: 65. fabrics and carry bag, and are priced at
1/2-stop translucent panels, C-type Large diffuser (120cm): (one-stop and 134, 199 and 289 for the Small,
stand and boom. two-stop): 65. Medium and Large respectively.

112 Digital SLR Photography July 2017


Buyers Guide\ Gear

Phottix Profoto CalumetPhotographic


www.phottix.com www.profoto.com/uk www.calphoto.co.uk
Phottix offers a range Best known for their Photo retailer Calumet Photographic
of 5-in-1 kits. All have range of premium stock a small range of own-brand
a translucent disc and studio lighting reector kits alongside many of the
cover with four systems, Profoto also branded items covered in this guide.
nishes: gold, silver, offers collapsible While the range isn't extensive, the
white and black. reectors. Made products are good quality and well
Round 5-in-1 kits comes in 56cm, using high quality materials, the priced, so represent good value for
80cm and 107cm, priced at 24, 35 reectors are constructed around a money. Calumet Photographics
and 46 respectively. A 5-in-1 study metal frame with two range is made up of what it terms
premium round reector kit, which ergonomic handles. Four versions are Zip Discs round collapsible
sports handles, is available in 80cm available: silver/white, Sunsilver/white, reectors with slip-on reective
(35), 107cm (43) and 120cm (55). gold/white and black/white, as well as colours, as well as a relatively basic
A triangular premium kit, also with a translucent diffuser. All are available framed reector system. The Zip Disc
handles, comes in 80cm (38) and in medium (80cm) and large (120cm)
kits are as follows:
120cm (55) sizes. sizes, priced 74 and 112 respectively.
TRANSLUCENTZIP
DISC: A circular
diffuser
diffuser disc that
Westcott sports a handle.
A Zip Disc cover can
www.johnsonsphotopia.co.uk be placed over it.
Prices: 56cm 19; 81cm 27; 107cm
Westcott is one of the leading brands in photo accessories, with an extensive range of 32; 132cm 49.
lighting products to suit the needs of amateur and professional photographers. This
includes a wide and varied range of lighting aids, from simple round reectors and 5-in-1 FOUR-COLOUR ZIP
kits through to unique options with shoot-through apertures at their centre. DISC COVER:
A reversible four-
BASICS ROUND Sunlight and black nishes. It is available colour (gold, white,
REFLECTORS: Westcotts in 50cm (92), 105cm (140) and 130cm silver and black)
collapsible round (180) sizes. Visit the website and sleeve used with the
reectors come in download the price list for full details. translucent Zip Disc. Prices: 56cm 19;
silver/white, gold/white 81cm 29; 107cm 35; 132cm 55.
OMEGAREFLECTOR:
Sunlight/white and
This large (96x114cm) SILVER/WHITE ZIP
black negative ll/Subtractor, as well as a
reector is unusual in DISCWITH HANDLE:
diffuser. Four different sizes are available,
sporting a removable A round re
reector
ector
as shown below: 50cm 18; 75cm 25;
2:3 centre frame with a handle. It has a
100cm 40; 125cm 50.
through which you can silver nish on one
BASICS 5-IN-1 REFLECTOR shoot. It features a one-stop diffusion side and white on the
KITS: The Basics kits have panel with interchangeable white, silver, other. Prices: 56cm 20; 81cm 32;
a circular translucent Sunlight and black covers. With a single 107cm 39; 132cm 59.
diffuser
diffuser disc with a light source, photographers can produce
double-sided zipped GOLD-SILVER/WHITE
a main light and a backlight while
cover offering either ZIPDISCWITHHANDLE:
keeping the reector out of the shot.
gold or Sunlight with white, silver and A round re
reector
ector
Price: 140.
black nishes. Its available in four sizes with a handle. It has a
as follows: Gold 5-in-1: 50cm 23; OMEGA360 REFLECTOR: gold/silver nish on
76cm 35; 100cm 46; 125cm 58; Like the other OMEGA, one side and white
Sunlight 5-in-1: 50cm 35; 76cm 46; this round 101cm on the other. Prices: 56cm 20; 81cm
100cm 58; 125cm 69. reector also sports a 32; 107cm 39; 132cm 55.
central (13in) window
ILLUMINATOR REFLECTOR for shooting through
RANGE: This is Westcotts and is designed for use with daylight and
premium range, using ash. The one-stop translucent disc has
high-quality materials,
a steel-riveted frame
covers with silver, Sunlight, white and
black nishes. Price: 190.
Othermainbrands
and a lifetime warranty.
The Illuminator range is extensive, with a THE EYELIGHTER: Some other popular brands offer a
variety of reective nishes as well as This curved reector limited selection of reector kits.
4-in-1 and 6-in-1 kits available in several (147x84x60cm) sports These include Metz, who produce a
sizes. The reectors range in size from a highly-reective 5-in-1 kit in two sizes: 80cm (40)
14in (23) up to 52in (109) in all the curved silver surface and 92x122cm (60). For further
popular nishes, such as silver/white and and is designed for details, visit: www.intro2020.co.uk.
Sunlight/white. The 6-in-1 kits are beauty and fashion photography. It has Rogue offers a 32in SuperSoftSilver/
designed for shooting portraits and an aluminium frame and is quick and natural white reector and 20x40in
nature, this kit includes two diffusion easy to set up. The curved shape reects silver/white reector, each priced at
panels (one- and two-stops) and two an arched light that gives an arc-shaped 30. For more information, visit:
reversible covers with gold, silver, catchlight in the eyes. Price: 330. gb.colorcondence.com.

July 2017 Digital SLR Photography 113


Visit our state of the art
stores in Burgess Hill (West
Sussex) and Central London
Visit our website for directions and
opening times for both stores

Experts in photography Unbeatable stock availability Competitive low pricing UK stock

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269.00* 349.00* 479.00* 529.00* Summer! 634.00* 899.00 849.00 1,099.00 1,299.00 1,699.00
*Prices after 20 cashback *Prices after 70 cashback See website for details. *Price after 45 cashback Add a Nikon MB-D15 battery Add a Nikon MB-D14 battery
from Canon. Ends 31.08.17 from Canon. Ends 31.08.17 T&Cs apply. from Nikon. Ends 04.08.17 grip for only 229.00 grip for only 229.00

Canon EOS 80D Canon EOS 7D Mark II Canon EOS 5D Mark III Nikon D750 Nikon D810 Nikon D5
FREE LOW
24.2 GIFTS! 20.2 22.3 PRICE! 24.3 36.3 20.8
MEGA MEGA MEGA MEGA MEGA MEGA
PIXELS 7 FPS PIXELS 10 FPS PIXELS 6 FPS PIXELS 6.5 FPS PIXELS 7 FPS PIXELS 12 FPS

Body only +18-55 IS STM Body only Add a BG-E16 Body only Add a BG-E11 Body only +24-120 VR Body only Add a MB-D12 XQD Type CF Type
grip for only grip for only grip for only
999.00 1,099.00 1,449.00 199.00 1,999.00* 249.00 1,599.00 2,279.00 2,399.00 349.00 5,099.00 4,999.00
FREE G-Tech 1TB hard drive & FREE Vanguard Messenger *Price available whilst stock Add a Nikon MB-D16 battery Add a Easy Cover Silicone Save 5% on accessories with
Vanguard Sling Bag! See web Bag & binoculars! See web last! See web to learn more grip for only 229.00 Skin for only 25.95 the D5! See website.

See the range of Canon lenses at parkcameras.com. Prices updated DAILY! Visit us in store, online at
CANON LENSES Alternatively, call us on 01444 23 70 58 NIKON LENSES parkcameras.com or call us on 01444 23 70 58

Canon DSLR lenses AF-G 10.5mm f/2.8G ED DX 585.00 AF-S 400mm f/2.8 FL ED VR 8,797.97
10-18mm f/4.5-5.6 IS STM 213.00 18-200mm f/3.5-5.6 IS 469.00 AF-D 14mm f/2.8D 1,369.00 AF-S 500mm f/4E FL VR 7,999.00
10-22mm f/3.5-4.5 USM 499.00 24-70mm f/4L IS USM 799.00 AF-D 16mm f/2.8D Fisheye 665.00 AF-S 600mm f/4E FL VR 9,999.00
15-85mm f/3.5-5.6 IS USM 649.00 55-250mm f/4-5.6 IS STM 269.00 AF-S 20mm f/1.8G ED 649.00 AF-S 800mm f/5.6E FL VR 14,999.00
16-35mm f/4L IS USM 899.00 70-200mm f/4L IS USM 1,149.00 AF-D 20mm f/2.8 529.00 AF-S 10-24mm f/3.5-4.5G 729.00
18-135mm f/3.5-5.6 IS USM 429.00 70-300mm f/4-5.6 IS II USM 449.00 AF-D 24mm f/2.8D 629.00 AF-S 14-24mm f/2.8G ED 1,599.00
AF-S Nikkor 24mm f/1.4G 1,789.00 AF-S 16-80mm f/2.8-4E VR 859.00
Canon Mirrorless lenses
AF-D 28mm f/2.8 289.00 AF-S 16-85mm f/3.5-5.6G 497.97
22mm f/2 STM 199.00 18-150mm f/3.5-6.3 IS STM 399.00
35mm f/2 AF Nikkor D 279.00 AF-S 17-35mm f/2.8 IF ED 1,549.00
11-22mm f/4-5.6 IS STM 319.00 55-200mm f/4.5-6.3 IS STM 40 269.00
AF-S 35mm f/1.8G ED 449.00 AF-S 17-55mm f/2.8G DX 1,315.00
Purchase the above lenses before 31.08.17 AF-S 35mm f1.8G DX 179.00 AF-S 18-35mm f/3.5-4.5G 619.00
AF-S 40mm f/2.8G ED 239.00 AF-S 18-105mm VR 219.00
and claim up to 165 cashback from Canon UK. T&Cs apply. AF 50mm f/1.4D 259.00 AF-S 18-140mm ED VR DX 429.00
AF-S 50mm f/1.4G 379.00 AF-S 18-200mm ED VR II 534.00
24 months 0% nance* AF-D 50mm f/1.8 119.00 AF-S 18-300mm f/3.5-6.3 VR 629.00
on all Canon L-series lenses Visit us in store or see our AF-S 50mm f/1.8G 189.00 AF-S 24-85mm VR 439.00
AF-D 60mm f/2.8 Micro 409.00 AF-S 28-300mm ED VR 799.00
*Minimum 10% deposit website to learn more! AF-S 60mm f/2.8G Micro ED 499.00 AF-S 55-200mm f/4-5.6 VR II 239.00
AF-S 85mm f/3.5G DX 429.00 AF-S 70-200mm f/2.8 VR II 1,998.00
AF-S 85mm f/1.8G 439.00 AF-S 70-300mm IF ED VR 499.00
20.4
MEGA 3.0 4K AF-S 105mm f/2.8G VR 749.00 AF-S 200-400mm VR II 5,899.00
PIXELS 15 fps AF-D 135mm f/2.0D 1,149.00

A micro four-thirds camera with almighty


AF-D 180mm f/2.8 IF ED 759.00 UP TO 130 CASHBACK
AF-D 200mm f/4D IF ED 1,269.00 Visit us in store, online or call
ability - this will be known for its performance AF-S 200mm f/2G ED VR II 4,969.00 01444 23 70 58 to benet from
in the high speed action eld of photography. AF-S 300mm f/2.8G ED VR II 4,699.00 cashback on a range of Nikon lenses!
AF-S 300mm f/4 D IF-ED 1,099.00
SAVE 100 on Olympus PRO lenses & HLD-9 grip
In stock from 1,849.00 AF-S 300mm f/4E PF VR 1,489.00
when bought with the Olympus E-M1 Mark II

Olympus TG-5
T Olympus E-M10 Mk II Olympus E-M5 Mk II 51.4 15
MEGA FILM 3.2 1080p
PIXELS MODES
12 16.1 60 16.1 85
MEGA NEW! MEGA cash MEGA IS cash Introducing the ultimate high-end mirrorless
PIXELS PIXELS 8 FPS PIXELS
back back camera: a compact and lightweight body
Expected June 2017 Body only +14-42 EZ Body only +12-40mm which overturns common perceptions of
399.00 419.00* 509.00* 764.00* 1,164.00* medium format digital cameras.
Pre-order and receive a FREE *Price after 60 cashback *Price after 85 cashback Receive a 250 bonus when you trade-in your exisiting
Tough Adventure Pack from Olympus. Ends 15.07.17 from Olympus. Ends 15.07.17 Full Frame DSLR or Digital Medium Format camera! NOW IN STOCK!

Fujilm X-PRO2 Fujilm X-T2 XF 14mm f/2.8 689.00


OLYMPUS LENSES Book a FREE Olympus XF 16mm f/1.4 R WR 769.00

Cash After test drive today! XF 27mm f/2.8 329.00


You pay Ask in store or see wow.olympus.eu 24.3 24.3 XF 35mm f2 R WR 349.00
17mm f/1.8 369.00
Back
60
Cashback
309.00
MEGA
PIXELS
MEGA
PIXELS
4K XF 56mm f/1.2 769.00
XF 10-24mm F4 OIS 768.00
30mm f/3.5 Macro 249.00 40 219.00
Body only Graphite Body only Graphite XC 16-50mm O.I.S 199.97
45mm f/1.8 199.00 40 159.00
XF 18-135mm WR 619.00
9-18mm f/4-5.6 479.00 75 404.00 1,349.00 2,149.00 1,399.00 1,649.00 XC 50-230mm O.I.S 299.00
75-300mm f/4.8-6.7 II 389.00 75 314.00
Extra 200 bonus when you Extra 200 bonus when you XF 50-140mm O.I.S 1,329.00
For even more lenses at low prices, visit our website trade in your old camera! trade in your old camera! XF 100-400mm O.I.S1,442.00

All prices include VAT @ 20%. For opening times and store addresses, visit www.parkcameras.com/dsp.
All products are UK stock. E&OE. * = Please mention Digital SLR Photography for this special price
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
Visit our website - updated daily Phone one of our knowledgeable sales advisors
www.parkcameras.com/dsp Monday - Saturday (9:00am - 5:30pm)
or e-mail us for sales advice using
sales@parkcameras.com 01444 23 70 58
UKs largest independent photo store Award winning customer service Family owned & Run

36.4
MEGA 3.2 1080p Panasonic 20.3
MEGA 3.2 4K
LUMIX GH5
PIXELS 4 fps PIXELS 9 fps

The K-1 features a 36.4MP full-frame sensor with Delivering incredible 18 MP 6K Photo stills,
an AA lter simulator, Full HD 1080p video, recording 60p 4K Video and silent & unobtrusive
a new SR II 5-axis shake reduction mechanism, quick focus make this an outstanding camera for
and Pixel Shift Resolution System. photographers and videographers.
FREE D-BG6 battery grip when purchasing the K-1! In stock from 1,999.00 Add a Panasonic DMW-BLF19E battery for 65.00 In stock from 1,699.00

Pentax K-70 Pentax KP Pentax 645Z Panasonic TZ90 Panasonic GX8 100 Up to
NEW! cash

24.2 24.3 51.4 20.3 20


back
100
MEGA
PIXELS
MEGA
PIXELS
IS MEGA
PIXELS
MEGA
PIXELS
MEGA
PIXELS CASHBACK
on selected Panasonic
Body only +18-50mm Body only Add a Pentax Body only +55mm New & now in stock! Body only +12-60mm
D-BG7 battery cameras this Summer!
599 .00
729 .00
1,099 .00 grip for 259.00
5,799 .00
6,699 .00
399 .00
699 .00
699 .00*

FREE 50mm f/1.8 lens when FREE 35mm f/2.4 AL lens See website for 24 months 5 year warranty from *Price after 100 cashback. See website for details.
bought with the K-70! when bought with the KP! 0% nance! Panasonic! Ends 30.06.17 Offer ends 04.09.17 T&Cs apply.

24.2 Used Equipment at Park Cameras


MEGA 3.0 IS 4K We offer a wide range of used & second-hand cameras, all thoroughly quality checked, tested
PIXELS 20 fps & cleaned, including a full sensor clean on all cameras. Our quality assurance processes
have been established to ensure that when you buy used cameras from Park Cameras, the
This mechanism-free camera can deliver experience is stress and hassle free, & with a six-month warranty on most of our photography
a-class-above performance conventional equipment, including on second hand cameras and lenses, you can buy with condence. See
mechanical SLRs have only sought. below for just some of the products currently in stock (images for illustration purposes only)!

FREE 2 year warranty with the Sony a9! Canon EOS-1D IV Canon EOS 5D Fujlm Olympus
Learn more at www.parkcameras.com/sony-a9 Now in stock! 4,499.00 Body only Mark III X-T1 OM-D E-M1

Sony RX100 V 100 Sony a7R II NEW LOW Sony a99 II


cash PRICE!
back
from from from from
20.1 42.4 42.4 999 1,099 439 499
MEGA
PIXELS
4K MEGA
PIXELS
MEGA
PIXELS
4K
Body only See website Body only See website for Body only For the range of
for our nance 12 months lenses available, For even more cameras & a variety of lenses, visit www.parkcameras.com/used
999.00 options 2,499.00 0% nance 2,999.00 see our website
*Price after 100 cashback FREE 1 year extended Add a Sony NP-FM500H Want to sell or part exchange your gear in just 3 easy steps?
from Sony. Ends 05.09.17 warranty with the a7R II spare battery for only 59! Visit www.parkcameras.com/sell-or-part-exchange & receive a quote within 72 hours!

Vanguard Alta Pro 2 Vanguard Havana 48 Vanguard Alta Fly


Manfrotto Nitrotech N8
+263CT Backpack 49T Roller Bag NEW!
Fluid Video Head See in store
NEW!
Fluid video head with continuous to learn
counterbalance system (0-8 Kg) more!
In stock at only In stock at only In stock at only Variable uid pan & tilt drag system
289.00 99.00 229.00 Side lock plate attachment
For even more Vanguard For even more Vanguard For even more Vanguard 3/8 easy link connector for accessories
Tripods, see in store or online Bags, see in store or online Bags, see in store or online Flat base mount ideal for various In stock at only 449.00

Prices updated DAILY! Visit us in store, online at Prices updated DAILY! Visit us in store, online at
TAMRON LENSES parkcameras.com or call us on 01444 23 70 58 SIGMA LENSES parkcameras.com or call us on 01444 23 70 58

Tamron 10-24mm Tamron SP 24-70mm Tamron 16-300mm Sigma 105mm Sigma 17-70mm Sigma 150-600mm
f/3.5-4.5 Di-II VC HLD f/2.8 Di VC USD f/3.5-6.3 Di II VC PZD f/2.8 EX DG OS HSM f/2.8-4 MACRO OS HSM f/5-6.3 DG OS HSM | C
50 30
NEW! cash cash
back back
Coming soon! 77mm lters In stock! Available in In stock! Available in In stock at Available in In stock at Available in In stock at Available in
available from Canon, Nikon Canon, Nikon Canon, Nikon Canon, Nikon Canon, Nikon
579.00 29.99 749.00* or Sony t 399.00* or Sony t 359.00 or Sigma t 349.00 or Pentax t 789.99 or Sigma t
Learn more about this lens at *Price after 50 cashback *Price after 30 cashback Learn more about this lens at Learn more about this lens at Add a Sigma 1.4x converter
www.parkcameras.com from Tamron. Ends 30.06.17 from Tamron. Ends 30.06.17 www.parkcameras.com www.parkcameras.com (TC-1401) for only 100

4.5mm f/2.8 Fisheye EX DC 699.00 17-50mm f/2.8 DC OS HSM 329.00


Tamron 70-200mm Tamron 150-600mm Tamron 150-600mm 8mm f/3.5 Circ. Fish EX DG 699.00 18-35mm f/1.8 DC HSM 649.00
f/2.8 Di VC USD G2 f/5-6.3 Di VC USD f/5-6.3 Di VC USD G2 15mm f/2.8 Diag F/eye EX DG 599.00 18-200mm DC OS HSM 289.00
75 100
19mm f/2.8 DN 149.00 18-250mm DC Macro OS HSM 349.00
NEW! cash cash 20mm f/1.4 DG HSM 699.00 18-300mm f/3.5-6.3 DC Macro 369.00
back back 24mm f/1.4 DG HSM 649.00 24-35mm f/2 DG HSM Art 759.00
In stock! 77mm lters In stock! Available in In stock! Available in 30mm f/1.4 DC HSM 359.00 24-70mm f/2.8 IF EX DG 519.00
available from Canon, Nikon Canon, Nikon
1,349.00 29.99 754.00* or Sony t 1,240.00* or Sony t 30mm f/2.8 DN 149.00 24-105mm f/4 DG OS HSM 599.00
Learn more about this lens at *Price after 75 cashback *Price after 10 cashback
35mm f/1.4 DG HSM 649.00 50-100mm f/1.8 DC HSM 949.00
www.parkcameras.com from Tamron. Ends 30.06.17 from Tamron. Ends 30.06.17 60mm f/2.8 DN 149.00 50-500mm f/4.5-6.3 OS HSM 1,099.00
85mm f/1.4 EX DG HSM 999.00 70-200mm f/2.8 EX DG OS 899.00
Tamrac Hoodoo 18 Metz 64 AF-1 360FLY HD 150mm f/2.8 OS Macro 779.00 70-300mm f/4.0-5.6 DG 129.00
Backpack Flashgun Action Camera 180mm f/2.8 EX DG OS HSM 1,239.00 70-300mm f/4.0-5.6 APO 179.00
300mm f/2.8 APO EX DG 2,599.00 120-300mm f/2.8 OS HSM 2,699.00
500mm f/4 APO EX DG 4,999.00 150-600mm f/5-6.3 Sport 1,329.00
8-16mm f/4.5-5.6 DC HSM 599.00 150-600mm Sport + 1.4x 1,429.00
In stock at Available in In stock at Available in In stock at Add the
10-20mm f/3.5 EX DC HSM 339.00 300-800mm f/5.6 EX DG 6,499.00
a variety of a variety of oating hand
89.95 colours! 309.00 different ts! 299.00 grip for 44.95 12-24mm f/4.5-5.6 II DG HSM 649.00 1.4x APO EX DG 199.00

For a whole range of tips and tricks and news all all the latest new products, visit blog.parkcameras.com
01803 852400
PHONE LINES OPEN

Tel: MON -FRI 8am - 5pm,


info@mifsuds.com
Email - SAT 9am - 3pm,
SUN CLOSED.
www.mifsuds.com SHOP OPEN
U.K. Stock Mifsuds Photographic Limited MON -FRI 10am - 5pm,
No Grey Imports 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ. SAT 9am - 3pm. SUN CLOSED.

PART-EXCHANGE WELCOME
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

REAL Deals From A REAL Camera Shop


Real Plus FREE
Deal Manfrotto
Price Monopod & FREE
XPRO 3 MP
70-200mm 234RC head

897
worth
f2.8 EX DG when you 79.99
OS HSM buy this CAF/NAF
lens* fits only

Real Plus FREE


Deal Manfrotto
150mm f2.8 Price XPRO 3 MP
Monopod &
FREE
777
234RC head
EX DG APO OS when you
worth
79.99
HSM Macro buy this CAF/NAF
lens* fits only

Real Plus FREE


Deal Manfrotto
Price Monopod & FREE
XPRO 3 MP
150-600mm 234RC head

788
worth
f5/6.3 DG OS when you 79.99
Contemporary buy this CAF/NAF
lens* fits only

Real Plus FREE


Deal Manfrotto
Price Monopod & FREE
XPRO 3 MP
150-600mm 234RC head worth
f5/6.3 DG OS
Sport 1329 when you
y
buy this CAF/NAF
lens* fits only
79.99

*To receive your FREE Manfrotto monopod and head, please mention when ordering. Only available with these lenses to personal visitors, telephone orders or via our website - www.mifsuds.com. While stocks last. E&OE.

For cameras, lenses and accessories from a range of brands please see our website... For all the latest prices on new and used

www.mifsuds.com items, plus current cashbacks and


promotions, visit our website NOW!

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 26/05/2017. E&OE.
MORE ON WEBSITE - UPDATED DAILY. FREE U.K. MAINLAND DELIVERY FOR ITEMS OVER 100 VALUE. ALL U.K. STOCK, NO GREY IMPORTS.
Although we are the best stocked dealer in the West Country,
we cannot always have every item listed in stock at all times, so
Website altered daily inc. manufacturers cashback & promotions
we are happy to reserve new & used items for customers
planning to visit. Prices correct 26/05/2017 but subject to
change without notice. See website for up to date prices. E&OE.
www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
Used Canon CANON DIGITAL AF USED
1DX body box........... 1999/2799
BG-E11 box ..................................169
BG-E16 box ..................................169
16-35 F2.8 USM LII................. 899
16-35 F4 L IS U M- box......... 749
65 F2.8 MP-E............................ 849
70-200 F2.8 IS USM LII .......1499
SIGMA CAF USED
10-20 F4/5.6 HSM box.............. 219
1.4x EX DG converter................ 149
Kenko Pro 300 DG 1.4x conv....99
EOS 1DX 1D MKIV body......................... 999 Powershot G5X ..........................449 17-40 F4 L................................. 499 70-200 F2.8 IS USM LI........... 999 17-50 F2.8 OS DC box............... 249 Kenko Pro 300 1.4x conv............99
1D MKIII body ......................... 499 Powershot G3X ..........................529 17-85 F4/5.6............................. 199 70-200 F2.8 USM L ................ 799 17-70 F2.8/4 DC OS.................... 249 Kenko ext tubes..............................79
MKI body 7D MKII body box.................. 899 EOS M3 + 18-55.........................329 18-55 F3.5/5.6 IS.............................99 70-300 F4.5/5.6 DO IS U ...... 399 18-125 F3.8/5.6 OS DC ............. 149 OTHER CAF USED
box 7D body box............................ 499 EOS M body....................................99 18-135 F3.5/5.6 IS USM............ 349 70-300 F4.5/5.6 IS USM ....... 249 18-200 F3.5/6.3 DC..................... 149 TAM 16-300 F3.5/6.3 DiII VC 329
6D body ..................................1099 EVF-DC1 viewfinder.................149 20 F2.8 USM................................... 349 75-300 F4/5.6 MKII ...................99 24-70 F2.8 HSM............................ 469 TAM 18-200 F3.5/6.3 VC ...... 149
5DsR body box .....................2299 CANON AF FILM BODIES USED 24 F3.5 TSE MKI box................... 699 85 F1.2 L USM ......................... 899 28-105 F2.8/4...................................69 TAM 18-250 F3.5/6.3 DiII..... 149
1999/2799 5Ds body box........................2199 EOS 3 body M- box ............... 299 24-70 F2.8 L USM box............... 799 85 F1.8 M-................................. 269 28-135 F3.8/5.6 ...............................99 TAM 18-270 F3.5/6.3 VCII.... 169
5D MKII body ..............................799 EOS 1n HS body..................... 199 24-85 F3.5/4.5 USM.................... 149 100 F2.8 USM box.................. 339 28-200 F3.5/5.6 Asph ..............99 TAM 28-75 F2.8 XR Di........... 199
5D MKI body box ......................399 EOS 30/5 body each................69 24-105 F4 L..................................... 599 100-400 F4.5/5.6 L IS U........ 899 50 F1.4 DG Art ........................ 499 TAM 70-300 F4/5.6 ........................99
Used Canon 70D body box.............................499
60D body box.............................399
EOS 650 body ............................39
EOS 600 body ............................39
28-80 F3.5/5.6 ............................79
28-90 F3.5/5.6 ............................79
135 F2 L USM box.................... 779
300 F2.8 LII IS U ......................4999
50 F2.8 EX macro ................... 149
50-500 F4/6.3 EX DG OS...... 699
TAM 200-500 F5/6.3................... 449
TOK 100 F2.8 ATX........................ 299
EOS 7D 50D body box.............................299 EOS 50E body.............................29 28-135 F3.5/5.6 IS USM ....... 199 300 F2.8 LI IS U........................2999 50-500 F4/6.3 EX DG ............ 399 Zeiss 50 F1.4 ZE box .................. 599
MKII 20D body box................................99 EOS 500N/1000 body each...29 40 F2.8 STM ............................. 139 300 F4 L IS USM box............... 799 70-300 F4/5.6 APO DG............99 CANON FLASH USED
1000D body.................................139 PB-E2 drive M- box................ 199 50 F1.2 L.................................... 899 1.4x extender MKII box........ 249 120-300 F2.8 EX DG .............. 799 ST-E2 transmitter ......................79
body BG-E2...........39 BG-E2N............49 PB-E2 drive fits EOS1/3........ 149 50 F1.4 USM............................. 249 2x extender MKII box............. 239 120-400 F4/5.6 DG ................ 399 MR-14EX ringflash................. 299
bo
box BG-E4 box........................................69 CANON AF LENSES USED 50 F1.8 MKII ................................69 Teleplus 1.5x conv....................79 150 F2.8 EX DG OS mac........... 549 430EXII......169 550EX....... 149
BG-E5..........49 BG-E7...............79 10-22 F3.5/4.5 USM............... 329 55-250 F4/5.6 EFS.................. 149 Teleplus 2x DG conv................89 150-500 F5/6.3 DG OS.............. 449 580EX box ................................ 179
899 BG-E8.................................................69 14 F2.8 USM LII box ............1499 60 F2.8 USM EFS mac........... 249 Kenko ext tube set DG................79 180 F3.5 EX DG HSM mac....... 399 580EX MKII ............................... 299

NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
Used Nikon NIkON DIGITAL AF USED
D4s body box........................3499
D40X b/o .....................................99
MBD-15 grip ............................ 149
18-35 F3.5/4.5 AFD ....................299
18-55 F3.5/5.6 AFS VR................ 99
70-200 F2.8 AFS VRII...........1349
70-200 F4 AFS VR................... 899
TC17EII....................................... 249
TC20EIII M- box ...................... 329
TAMRON NAF USED
10-24 F3.5/4.5 DiII....................... 239
D4s body D4 body box..........................2199 MBD-14 grip ............................ 149 18-70 F3.5/4.5 AFS .....................129 70-300 F4/5.6 VR.................... 369 TC20EII....................................... 199 11-18 F4.5/5.6............................... 219
D3X body box.......................1649 MBD-12 grip ............................ 279 18-105 F3.5/5.6 AFS VR............179 70-300 F4/5.6 AFD ................ 129 SIGMA NAF USED 18-250 F3.5/6.3 ............................ 149
box MBD-10 grip M- box............. 129 18-200 F3.5/5.6 AFS VRI...........299 70-300 F4/5.6 G non VR..........99 24-35 F2 DG Art box .................599 19-35 F3.5/4.5..................................99
D3s body box........................1699
3499 D3 body box.................999/1199 MBD-10 grip ...............................79 18-300 F3.5/5.6 VR .....................649 80-400 F3.5/5.6 AFS VR......1399 24-70 F2.8 EX DG........................299 28-300 F3.5/6.3 XR Di................ 149
D2xs body box........................ 399 MBD-80 grip ...............................49 28 F1.8 AFS G................................399 85 F1.4 AFS M- box ............... 999 24-105 F4 DG OS HSM.............499 70-300 F4/5.6...................................79
D810 body box.....................1799 MBD-200 grip.............................49 24-70 F2.8 AFS box....................999 85 F1.8 AFD.............................. 249 28-200 F3.5/5.6 early................... 69 OTHER NAF USED
Used Nikon D800 body box.....................1399
D700 body box.............. 499/599
NIKON AF FILM BODIES USED
F5 body ..................................... 399
24-85 F3.5/4.5 VR ........................ 329
24-120 F3.5/5.6 G VR................. 299
85 F2.8 DN PC-E ...................1099
105 F2.8 AFS VR...................... 579
35 F1.4 DG Art..............................499
50-500 F4/6.3 DG.......... 399/499
TOK 10-17 F3.5/4.5 ATX....... 249
TOK 12-24 F4 ATX Pro .......... 329
D3 body D610 body box....................... 899 F4E body inc MB-23.............. 399 28 F1.8 AFS G................................ 449 180 F2.8 AFD M- box............ 449 70-200 F2.8 EX DG................. 399 FLASH / ACCESSORIES USED
box D300s body ............................. 349 F60 body......................................49 28-100 F3.5/5.6 AF G....................69 200-400 F4 AFS VRII............3699 70-300 F4/5.6 APO DG............99 SB-24...........49 SB-25...................49
D300 body box....................... 299 F801 body ............................ 29/59 28-300 F3.5/5.6 VR...................... 599 300 F2.8 AFS VRII box.........4199 105 F2.8 EX DG............................. 199 SB-28...........69 SB-80DX...........79
999/1199 D200 body box....................... 149 F601 body ...................................29 35 F1.8 DX....................................... 149 300 F2.8 AFS VRI ..................2999 150-500 F5/6.3 DG OS.............. 499 SB-600............................................... 169
D7000 body............................. 399 NIkON AF LENSES USED 35 F2 AFD ....................................... 199 300 F4 AFS E PF....................1299 150-600 F5/6.3 DG OS cont... 749 SB-800............................................... 149
Used Nikon D5200 body............................. 299
D5000 body box .................... 199
10.5 F2.8 DX ..................................429
10-24 F3.5/4.5 DX.......................599
40 f2.8 AFS Micro................... 169
45 F2.8 DN PC-E ...................1099
300 F4 AFS box....................... 549
400 F2.8 AFS E FL VR
150-600 F5/6.3 DG OS
Sport box ......................................1079
SB-900............................................... 249
SB-R1 kit M- box.......................... 399
D800 body D3100 body............................. 169 14-24 F2.8 AFS M- box..........1099 50 F1.8 AFS box...................... 149 M- box .....................................8299 170-500 F5/6.3 D......................... 299 SD-8A batt pack..............................89
D100 body ..................................99 14-24 F2.8 AFS box....................999 50 F1.8 AFD.................................99 400 F2.8 AFS non VR...........3999 TC-1401 1.4x converter............ 179 DR-3 angle finder...........................59
box D90 body.................................. 199 16-35 F4 VR box ..........................749 55-200 F4/5.6 VR AFS ........... 149 600 F4 AFS VR .......................5499 1.4x converter EX DG................ 149 MB-10 (fits F90)...............................29
D60 body.................................. 149 16-85 F3.5/5.6 AFS VR...............399 60 F2.8 AFS .............................. 399 600 F4 AFS II non VR 2x EX DG converter.................... 149 MB-23 (fits F4)..................................69
1399 D50 body.....................................79 17-55 F2.8 AFS .............................499 60 F2.8 AF................................. 199 serviced...................................3999 2x EX converter...............................99 MC-30 remote .................................39

DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED Sony VG-CE2.............................. 179 35-70 F3.5/4.5..................................25 70-300 F4/5.6 DG OS............ 169 EC-14 converter ........................19 HLD-6 grip...................................99
Used Fuji X-Pro2 body box..................1099
X-T1 body black...................... 499
Sony VG-C77M.......................... 149
Sony HV56AM........................... 169
35-80 f4/5.6.......................................25
35-105 F3.5/4.5 ...............................99
70-300 F4/5.6 APO DG............99
135-400 F4.5/5.6 .................... 299
EC-20 converter ..................... 199
25mm ext tube..........................99
PANASONIC DIGITAL USED
GH2 body ................................. 299
X-Pro2 X-T1 body black...................... 449 Sony LA-EA4 mount adap ... 189 50 F1.7 AF..........................................89 1.4x EX conv ...............................99 HLD-4 grip...................................99 G6 body black......................... 299
body X-T10 body box ...................... 299 SONY NEX USED 70-210 F3.5/4.5 ...............................99 TAM 10-24 F3.5/4.5 DiII ....... 239 VA-1 angle finder......................99 G3 body box............................ 199
box X-E1 body black box............. 199 A6000 body................................... 329 75-300 F4.5/5.6 ...............................99 TAM 90 F2.8 .................... 179/249 SIGMA 4/3 USED GX80 body ............................... 369
10-24 F4 OIS box.................... 649 NEX 5 body .................................... 129 85 F1.4 G box ................................ 649 Teleplus 1.4x conv....................69 50-500 F4/6.3 EX DG HSM.. 399 GX7 body.................................. 399
1099 16 F1.4 XF box ........................ 599 FE 16-35 F4 ZA OSS E................ 999 100-300 F4.5/5.6 APO............... 179 Teleplus 2x conv .......................79 OLYMPUS MICRO 4/3 USED GF7 body silver box.............. 199
16-55 F2.8 WR M- box.......... 729 FE 16-50 F3.5/5.6 EZ .................. 149 100-300 F4.5/5.6.......................... 149 Kenko 1.4x Pro 300DG......... 149 Stylus 1F.................................... 299 GF3 body black .........................99
Used Olympus 18 F2 WR................................... 299
18-55 F2.8/4 XF ...................... 399
FE 24-70 F4 ZA OSS box.......... 699
FE 28-70 F3.5/5.6 OSS............... 299
VC700 grip.........................................39
RC1000S cord...................................29
MINOLTA FLASH USED
Minolta 5200i.............................29
OMD-EM1 body M- box ...... 599
OMD E-M5 MKII b/o box..... 499
GF1 body .....................................79
GM1 body silver..................... 299
OM-D E-M10 35 F1.4 R box........................... 399 FE 70-200 F4 G OSS box.......... 999 SONY LENSES USED Minolta 5400HS.........................39 OMD E-M5 body box............ 249 12-35 F2.8................................. 549
body blk or 55-200 F3.5/4.8 R box .......... 499 FE 90 F2.8 macro......................... 799 16-80 F3.5/4.5 ZA DT................. 499 Minolta 5600HSD M-...............99 OMD-EM10 body blk............ 249 14 F2.5 ....................................... 199
56 F1.2 R .................................. 599 Samyang 100 F2.8 macro....... 229 18-55 F3.5/5.6 SAM.......................59 OLYMPUS 4/3 USED OMD-EM10 body silv ........... 249 14-42 F3.5/5.6 ......................... 199
silv each 60 F2.4 macro box................. 429 MINOLTA/SONY AF USED 18-200 F3.5/6.3 DT ..................... 199 E3 body ..................................... 299 E10 body................................... 279 14-42 F3.5/5.6 ............................79
249 1.4x WR converter M- box.. 239 7xi body .......................................49 55-200 F4/5.6 DT SSM .................69 E510 body ................................ 149 E-P5 body silver......................ASK 14-45 F3.5/5.6 ......................... 149
X-T1 battery grip.......................89 7000i body..................................39 75-300 F4/5.6................................ 129 7-14 F4 ED................................ 499 12 F2........................................... 479 20 F1.7 ....................................... 199
EF42 flash box......................... 129 600Si body ..................................69 SIGMA MIN/SONY AF USED 9 F8 Fisheye................................79 12-40 F2.8 Pro......................... 649 35-100 F4/5.6 .......................... 199
Used Sony MINOLTA/SONY DIGITAL USED 300Si body ..................................19 10-20 F3.5 EX............................. 259 11-22 F2.8/3.5 ......................... 349 12-50 F3.5/6.3 ......................... 149 45-200 F4/4.5 box ................. 199
Sony H400 .................................. 169 24-50 F4 .......................................99 18-35 F1.8 Art............................ 549 14-42 F3.5/5.6 ............................49 14-42 F3.5/5.6 ......................... 169 100-300 F4/5.6........................ 349
A7R II Sony RX100 MKIII box............ 449 24-85 F3.5/4.5 ......................... 149 28-135 F3.8/5.6............................79 14-45 F3.5/5.6 ............................79 17 F2.8........159 25 F1.8..... 269 FL360L flash............................. 139
body box Sony A7R II body box...........1999 28 F2.8 ..........................................99 28-300 F3.5/6.3 macro........... 149 14-50 F3.8/5.6 ......................... 199 45 F1.8 box .............................. 199 FZ200 Bridge camera box .. 249
Sony A7 II body ........................ 999 28-80 F4/5.6................................39 50 F1.4.......................................... 149 35 F3.5 ..........................................99 40-150 F2.8 Pro ...................... 949 FZ72 Bridge camera box..... 199
1999 Sony VG-B30AM..........................69 28-85 F3.5/4.5 ............................99 50 F2.8 EX DG macro ............. 149 50 F2 mac................................. 349 HLD-8 grip................................ 149 MORE ON wEbSITE
Sony VG-C70AM....................... 139 35-70 F4 .......................................39 55-200 F4/5.6 ...............................69 90-250 F2.9 ............................1799 HLD-7 grip box....................... 119 www.MIFSUDS.COM

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED For more used equipment listings please see website www.mifsuds.com
bRONICA ETRS 645 USED 110 F4.5 PS macro................. 399 45 degree prism early.............99 210 F4 N M- ................................79 Pro S body scruffy ....................99 200 F4 ........................................ 149
Used Hasselblad 75 F2.8 PE ................................. 149 135 F4 PS M-............................ 229 Sports viewfinder .....................69 Ext Tube 1....................................29 Plain prism late....................... 199 300 F4 ........................................ 249
501CM chr 105 F3.5........................................99 150 F4 PS ......................... 149/199 Chimney.......................................89 ext tube 2 ....................................29 WLF. ...............................................79 1.4x converter......................... 199
135 f4 PE................................... 249 180 F4.5 PS............................... 399 A16 (6x4.5 120 back) chr .... 199 Ext tube 3S..................................29 120 645V back ...........................99 PENTAX 645AF USED
+ 80 F2.8 150 F3.5 E ....................................99 200 F4.5 PS M- box ............... 199 A12 chrome latest................. 299 Teleplus 2x converter..............49 90 F3.5 KL ................................. 299 AF500FTZ flash..........................79
CB + A12 150 F3.5 PE M- Box................ 149 2x PS converter M-................ 179 A12 late blk/chr...................... 129 Vivitar 2x converter..................39 127 F3.5 KL............................... 299 PENTAX 67 USED
1699 200 F4.5 PE............................... 199 135N 35mm film back ......... 119 Polaroid back 100.....................79 MAMIYA TLR 6x6 USED 180 F4.5............................................ 149 6x7 body + prism................... 599
E14 Ext tube ...............................49 SQAi 120 RFH .............................79 50 F4 CF FLE ............................ 849 C330F body + WLF ................ 199 Pro SD ext tube 2 82mm............99 45 F4 latest M- ........................ 499
Used Mamiya E42 Ext tube ...............................49
120 RFH........................................69
SQAi prism late....................... 299
45 Prism box .......................... 129
150 F4 chrome serviced...... 199
Ext tube 21, 55 each................39
65 F3.5 box late ...................... 199
65 F3.5 serviced...................... 149
Pro SD ext tube 1 45mm............99
Ext tube 2...........................................49
45 F4........................................... 399
135 F4 macro late .................. 249
RB67 Pro SD + Polaroid Back .............................39 Plain Prism S Boxed .................69 Vivitar 2x conv ...........................49 80 F2.8 late serviced............. 139 MAMIYA RZ 6x7 USED 165 F2.8 latest M- .................. 499
90 KL + WLF Plain prism ..................................59 AE Prism Early ............................79 Lens hoods various........... 20/50 180 F4.5..................................... 149 RZ Pro body ............................. 149 200 F4 latest ............................ 169
+ Back Rotary prism...............................99 ME Prism Finder ........................69 MAMIYA 645 MF USED 250 f4.5 late serviced............ 249 120 RFH Pro ................................99 200 F4 early...................................99
Winder early ...............................79 Metz SCA 386.............................49 Plain prism (645 Super)..........39 250 f4.5 early serviced ......... 179 Polaroid back .............................79 300 F4 early scruffy................... 99
549 Speed Grip E...............................39 Pro shade S .................................59 Polariod Back HP401 ...............29 Porrofinder..................................59 FE701 prism............................. 299 Pentax rear conv 1.4x........... 249
Tripod adapter E .......................39 Lens Hood 65-80.......................20 Polaroid back .............................29 MAMIYA 6 & 7 RF 6x7 USED WLF................................................79 2x rear converter.................... 179
Used Rollei Winder early ...............................49
Metz SCA 386.............................49
SQAi Motorwinder ................ 149
Speed grip S ...............................79
120 Insert.....................................20
HA401 120 RFH Box.................49
50 F4.5 L + VF.......................... 699
80 F4.5 L M- box..................... 699
Winder II.......................................69
65 F4 box M- ........................... 399
Auto ext tubes ...........................49
Vivitar 2x conv ...........................49
3.5F 6x6 bRONICA Sq 6x6 USED SQAI winder............................. 149 120 Back.......................................39 150 F4.5 M- .............................. 399 90 F3.5 W M- box................... 299 Wooden grip ........................... 169
SQA + 80 F2.8 S + WLF HASSELbLAD 6x6 USED Winder..........................................79 MAMIYA Rb 6x7 USED 180 F4.5 W................................ 199 ROLLEI 6x6 TLR USED
White Face + 120 RFH box ........................ 399 501CM chrome 45 F2.8 N................................... 199 Pro SD + 90 KL Pro shade.....................................49 3.5F White Face serviced...1699
serviced 40 F4 S ....................................... 299 + 80 F2.8 CB + A12..............1699 150 F2.8 A................................. 199 + WLF + back .......................... 549 PENTAX 645MF USED 3.5F Planar..............................1399
50 F3.5 PS ................................. 299 501C + 80 CB + A12............1399 150 F3.5 N ...................................79 Pro S + 90 + WLF + back..... 399 645 + 75 F2.8........................... 249 2.8E ............................................. 797
1699 50 F3.5 S.................................... 149 45 degree prism late ............ 299 150 F3.8 NL leaf...................... 299 Pro S body................................ 149 645 body + insert .................. 199 Automat K4B........................... 599

35MM & MISCELLANEOUS USED Please contact us to determine availability before making a lengthy journey
CANON FD USED 25mm or 50mm ext tube ea 29 Trinovid 10x42........................ 599 F3 body ..................................... 199 500 F4 AIS...............................1399 18-55 F3.5/5.6 ............................69
Used Lighting A1 body serviced................... 199
AE1 Program body...................99
177A flash....................................20
199A flash....................................39
Ultravid 8x32 HD ................... 849
LIGHTMETERS USED
F2 Photomic body box........ 399
FM2 body chrome box ........ 399
600 F5.6...................................1499
TC200 ............................................49
28-80 F3.5/5.6 ............................49
50 F1.4 AF................................. 149
Bowens Esprit 24 F2........................................... 299 244T flash......20 277T flash 25 Sekonic L308 BII........................99 FM2n body chr box............... 299 SC-17 TTL lead...........................25 50-135 F2.8 SDM.................... 379
1000 twin 28 F2.8 ..........................................49 300TL flash..................................49 Sekonic L408........................... 149 FM2n body chr ....................... 249 DW-3 WLF find fit F3 ...............99 55-300 F4/5.8 ED WR............ 229
35-70 F3.5/4.5 ............................59 Winder A.......20 Winder B..30 MINOLTA MD USED FE body chrome........................99 DW-21 fits F4........................... 149 55-300 F4/5.8 ED box........... 199
head kit 35-70 F4 .......................................69 Angle finder B............................59 XD7 body black...................... 199 20 F3.5 AI.................................. 199 OLYMPUS OM USED 70 F2.8 Limited....................... 349
35-105 F3.5 .............................. 149 CONTAX 35mm RF USED X300 chrome body ..................49 24 F2.8 AIS M- box ................ 249 OM-4T body ............................ 249 SIGMA PkAF USED
50 F1.4 ..........................................99 90 F2.8 G................................... 299 X300s black body .....................49 24 F2.8 AI.................................. 199 OM-1n body chrome............ 249 18-250 F3.5/6.3....................... 199
499 50 F1.8 ..........................................49 CONTAX 35mm USED X700 black body .......................69 28 F2.8 E box..............................69 OM-2SP body.............................99 PENTAX MF USED
50 F2..............................................49 28-70 F3.5/4.5 MM ................ 169 XGM chrome body...................49 28-85 F3.5/4.5 AIS.................. 199 OM-2n body blk or chr........ 149 LX + prism serviced .............. 299
Used Nikon 50 F3.5 macro ............................99
70-150 F4.5 .................................29
HASSELBLAD XPAN USED
Centre filter 49mm........................129
28 F3.5 MD..................................39
50 F1.7 MD..................................49
35 F2 AI box............................. 249
35 F2.8 AIS................................ 149
24 F2.8 ....................................... 199
28 F3.5 ..........................................49
50 F1.4 PK....................................99
50 F4 macro PK..........................99
500mm F4 AIS 75-200 F4.5 .................................49 LEICA M USED 50 F2 MD .....................................49 35 F2.8 PC................................. 349 35-70 F4 .......................................79 50 F2..............................................49
85 F1.8 ....................................... 199 IIIf Red Dial ST serviced 70-210 F4 MD.............................99 35-70 F3.3/4.5 AIS.................. 129 35-105 F3.5/4.5..........................79 STUDIO LIGHTING USED
1399 100 F2.8..................................... 149 chrome body........................... 479 2x Converter...............................79 35-70 F3.5 AIS ............................99 300 F4.5..................................... 199 Bowens Esprit 1000 twin
100-300 F5.6...............................79 LEICA SLR USED Ext tube for 50 F3.5..................29 35-105 F3.5/4.5 AIS..................79 7, 14, 25 man ext tube ea......20 head kit ..................................... 449
135 F3.5........................................49 R8 body black box................. 499 Ext tube set.................................49 50 F1.4 AI.................................. 199 14 or 25 auto ext tube ea......29 TAMRON ADII USED
135 F3.5 (Breechlock)..............39 LEICA OPTICS USED Auto bellows 1...........................99 50 F1.8 E.......................................59 PENTAX 35mm AF USED 28 F2.5 ..........................................49
200 F4 ...........................................69 Televid APO 77 body only ...... 549 NIkON MF USED 55 F2.8 AIS................................ 199 16-45 F4 .................................... 199 35-135 F3.5/4.2..........................99
2x Extender B.............................49 Televid 77 + 20x60................ 649 FE2 body chrome .................. 349 180 F2.8 AIS ED scruffy........ 179 17-70 F4 SDM M- box .......... 299 90 F2.5 SP ................................. 149

ITEM YOU REqUIRE NOT LISTED? PLEASE GIvE US DETAILS OF wHAT YOU ARE LOOkING FOR AND wE wILL CONTACT YOU wHEN THAT ITEM bECOMES AvAILAbLE.
Mail order used items sold on 10 day approval. Return in as received condition for refund if not satisfied (postage not included - mail order only). E&OE.
visit wex.co.uk
01603 208762
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm

THE WEX PROMISE: Over 18,000 Products | Free Delivery on 50 or over** | 30-Day Returns Policy | Part-Exchange Available | Used items come with a 12-month warranty

EOS 7D Mark II EOS 77D EOS 800D


D3400 D5600 D7100
45 45
20.2 mp Cashback* Cashback*
10.0 fps 24.2 mp 24.2 mp 24 mp 24.2 mp 24.1 mp
1080p 6.0 fps 6.0 fps 5.0 fps 5.0 fps 6.0 fps

7D Mark II 1249 77D From 829 800D From 779 D3400 From 449 D5600 From 729 D7100 From 699
7D Mark II Body 1249 77D Body 829 800D Body 779 D3400 + 18-55mm VR 449 D5600 + 18-55mm VR 729 D7100 Body 699
77D + 18-55mm IS STM 919 800D + 18-55mm IS STM 869 404 Inc. 45 Cashback* 684 Inc. 45 Cashback* D7100 +18-105mm VR 879
77D + 18-135mm IS USM 1199 D5600 + 18-140mm VR 949

5D Mark IV EOS 6D EOS 80D


D7200 D610 D750

30.4 mp 20.2 mp 24.2 mp 24.3 mp 24.3 mp


7.0 fps 4.5 fps 24.2 mp 6.0 fps 6.0 fps 6.5 fps
Full Frame Full Frame 7.0 fps 1080p 1080p Full Frame

5D Mark IV 3499 6D From 1399 80D From 999 D7200 From 859 D610 From 1299 D750 From 1599
5D Mark IV Body 3499 6D Body 1399 80D Body 999 D7200 Body 859 D610 Body 1299 D750 Body 1599
6D + 24-105mm IS STM 1699 80D + 18-55mm IS STM 1029 D7200 + 18-105mm VR 1099 D610 + 24-85mm VR 1699 D750 + 24-85mm VR 2099
80D + 18-135mm IS USM 1219 D750 + 24-120mm VR 2279

EOS 5DS EOS 1D X Mark II G7 X Mark II


D810 D5 D500

50.6 mp 20.2 mp 36.3 mp 20.8 mp


5.0 fps 16.0 fps 20.1 mp 7.0 fps 12.0 fps 20.9 mp
Full Frame Full Frame 4.2x zoom Full Frame Full Frame 10.0 fps

5DS From 2799 1D X Mark II 4799 G7 X Mark II 549 D810 Body 2399 D5 Body 5099 D500 Body 1729
5DS R Body 2899 1D X Mark II Body 4799 G7 X Mark II 549 D810A Body 2899 D5 Body 5099 D500 Body 1729
G5 X 599 *Nikon Cashback ends 04.08.17
Canon Lenses Nikon Lenses
EF 24mm f1.4 L II USM.................1499 EF 11-24mm f4 L USM .................2699 EF 24-105mm f4 L IS USM...........799 20mm f1.8G AF-S ED .............................. 659 16-80mm f2.8-4 G AF-S VR ED DX ........ 899
EP 35mm f1.4 L II USM ..............1799 EF-S 15-85mm f3.5-5.6 IS USM...649 EF 24-105mm f4 L IS II USM........1065 24mm f1.8 G ED AF-S ............................. 649 16-105mm f3.5-5.6 G ED VR AF-S DX ... 239
35mm f1.8 G AF-S DX ............................. 179 18-200mm f3.5-5.6 G ED AF-S DX VR II 649
EF 50mm f1.2 L USM....................1369 EF 16-35mm f2.8 L III USM ..........2099 EF-S 55-250mm f4-5.6 IS STM ....269
50mm f1.8 G AF-S ................................... 199 604 Inc. 45 Cashback*
EF 50mm f1.4 USM.......................349 EF 16-35mm f2.8 L Mk II USM .....1429 EF 70-200mm f2.8 L IS II USM.....1999 50mm f1.4 AF-S ....................................... 399 18-300mm f3.5-6.3 G ED VR AF-S DX ... 629
EF-S 60mm f2.8 USM Macro........419 EF 16-35mm f4 L IS USM.............899 EF 70-200mm f4 L IS USM ..........1049 58mm f1.4 G AF-S ................................... 1419 24-70mm f2.8 G AF-S ED........................ 1579
EF 85mm f1.2 L II USM.................1799 EF-S 17-55mm f2.8 IS USM .........749 EF 70-300mm f4-5.6 IS II USM ...499 60mm f2.8 G AF-S ED Micro ................... 529 24-120mm f4 G AF-S ED VR................... 999
85mm f1.8 G AF-S ................................... 449 28-300mm f3.5-5.6 G AF-S ED VR ......... 829
EF 85mm f1.8 USM.......................339 EF 17-40mm f4 L USM..................719 EF 70-300mm f4-5.6 L IS USM.....1279
424 Inc. 25 Cashback* 784 Inc. 45 Cashback*
EF 100mm f2.8 L IS USM Macro..869 EF-S 18-55mm f4-5.6 IS STM ......219 EF 100-400mm f4.5-5.6 L IS II USM 1875 105mm f2.8 G AF-S VR IF ED Micro....... 769 70-200mm f2.8 G AF-S ED VR II............. 1998
EF 135mm f2 L USM.....................949 EF 18-135mm f3.5-5.6 IS STM.....379 724 Inc. 45 Cashback* 80-400mm AF-S Nikkor f4.5-5.6 G ED VR..2199
EF 180mm f3.5 L USM Macro ......1329 EF-S 18-200mm f3.5-5.6 IS ..........469 300mm f4 E PF ED VR AF-S................... 1529 2114 Inc. 85 Cashback*
EF-S 10-18mm f4.5-5.6 IS STM ...213 EF 24-70mm f2.8 L II USM ...........1899 10-24mm f3.5-4.5 G AF-S DX.................. 745 200-500mm f5.6E ED VR AF-S ............... 1249
14-24mm f2.8 G AF-S ED........................ 1659 1164 Inc. 85 Cashback*
EF-S 10-22mm f3.5-4.5 USM .......499 EF 24-70mm f4 L IS USM ...........799 16-35mm f4 G AF-S ED VR..................... 1029 *Nikon Cashback ends 04.08.17
Photo Bags & Rucksacks Anvil Slim
F-803
Pro Runner BP 350 ProTactic 450 AW Professional
RuggedWear
AW II Backpack Backpack Backpack Hadley Pro
Manfrotto 3N1-36 Original
Designed to t PL Backpack Canvas Khaki/Tan
Purpose-built
to organise and 1-2 Pro DSLRs
protect more (one with up to 3-in-1 backpack Hadley: Canvas/Leather: Khaki/Tan,
gear, and provide 70-200mm lens for commercial Black/Tan, Black/Black.
more options for attached), up to 8 photographers, FibreNyte/Leather: Khaki/Tan, Sage/
manoeuvring in lenses/speedlights, videographers
a 15 laptop, tripod and drone users.
Tan, Black/Black.
busy airports and
crowded streets. and accessories. Digital .................................. 119 RuggedWear:
Anvil: Small ................................... 149 F-5XB ......................................69
Pro Runner: Anvil Slim................................. 122 3N1-36 PL ............................159 Large ................................... 154 F-6 ...........................................79
BP 350 AW II ..........................149 Photo Sport BP: Anvil Super.............................. 134.99 3N1-26 PL ............................149 Pro Original ......................... 189 F-803 .......................................139
BP 450 AW II ..........................169 450 AW...............................179 Anvil Pro.................................. 129 Hadley One ......................... 265 F-2 ...........................................139

Tripods & Tripod Heads We sell tripod accessories including plates and spiked feet on our website!
Trade in,
MT055XPRO3 ...................169
MT190XPRO3
160cm
Max Height
9cm
Min Height
SLR Zoom
Flexi-Tripod legs
25cm Closed Length
327RC2
Joystick
to
trade up Competitive
MT055CXPRO3 Series 3 4S XL Head prices
3Kg Max Load
Carbon Fibre......................329 202cm Max Height Free collection
MT055CXPRO4 of your gear
10cm Min Height
Carbon Fibre......................349
Fast turnaround
MT190 Series: New Systematic Tripods: Gorillapod: Ball Heads: of your quote
MT190XPRO3 ................... 149 and credit
Series 3 4S XL ......................... 799 Compact..................................16.99 494RC2 ............................ 59.95
MT190XPRO4 ................... 159
MT190CXPRO3 MT190XPRO3 Series 4 4S L............................ 774 Hybrid (Integral Head).............29 496RC2 ............................ 64.95
Carbon Fibre...................... 299 + 496RC2 Ball Head.......... 139 Series 5 4S L............................ 874 SLR Zoom ...............................44.99 XPRO Ball Head 200PL... 109 wex.co.uk
MT190CXPRO4 MT190XPRO4 Series 5 6S G........................... 1149 Focus GP-8 .............................89 327RC2 ............................ 169
Carbon Fibre...................... 319 + 496RC2 Ball Head..........189
Terms and Conditions All prices incl. VAT at 20% Prices correct at
time of going to press. Free Delivery** available on orders over 50
Lighting & Accessories (based on a 4 day delivery service). For orders under 50 the charge
is 2.99** (based on a 4 day delivery service). For Next Working Day
Delivery our charges are 4.99**. Saturday deliveries are charged at
a rate of 7.95**. Sunday deliveries are charged at a rate 8.95**.
(**Deliveries of very heavy items, N.I., remote areas of Scotland &
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Lumimuse LED Background Gemini Pulsar 2016. *CASHBACKS Are redeemed via product registration with the
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. Showroom:
430EX III SB5000 Lights
179 229 99 Tx 500 Pro Kit 1199 Softbox Set 725 Background 165 off Drayton High Road, (opposite ASDA) Norwich. NR6 5DP.
239 499 From 44.95 49.95
Mon & Wed-Sat 10am-6pm, Tues 10am-5pm, Sun 10am-4pm
AVAILABLE NOW

New Sony Alpha A9 and G Master


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Place your order online at calphoto.co.uk
o.uk or phone 0333 033 5000

TRADE IN... TRADE UP


Looking to upgrade your equipment?
Why not PART EXCHANGE your old kit towards the latest model?
Visit www.calphoto.co.uk/trade-in for further information on our Trade In process

calumetRental
*Excludes damage waiver and VAT.

4 EASY STEPS TO RENTAL

ORDER COLLECT/ SHOOT RETURN


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E&OE. Job No.1354 25.04.2017
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