Digital SLR Photography 2013-04

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D|g|ta| S|PPnotograpny. Beforehighlighting
what's inthelatest issue, onbehalf of
everyoneontheD|g|ta| S|PPnotograpny
tean, 'dliketothankall of our readers for
helpingnakethepast year another
successful onefor thenagazine. Despitethe
toughecononicclinate, thenunber of
D|g|ta| S|PPnotograpnyreaders has grown
for thefourthconsecutiveyear. We'veashort
news storyonpageI3withfurther details but 'dpersonallyliketo
thankyouall for continuingtoreadD|g|ta| S|PPnotograpny. 1he
entireteanis passionateabout photographyandwe'rethrilledour
hardwork, longhours andcreativeapproachtoproducingan
inspirational andinfornativephotonagazineeverynonthis
provingnorepopular thanever. You'll begladtoknowthat
we'realsowell underwaytoworkingonchanges set tofurther
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averitablevisual treat of beautiful sunset andsunriseinages and
expert adviceonhowyoucancaptureequallystunningpictures.
Naturephotographers will enjoyour techniqueguideto
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springbloons inthecountrysideandyour garden. We'venot
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Cnen
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KEEPINGOUINTHE PICTUkEI
0JEditor'spage
happyDaniel Lezanowouldliketo
thankyoufor your continuedsupport
06Exposure
1helatest newsfrontheworldof
photography, includingnewproduct
releases, awardsandbookreviews
20keader5howcase
einspiredbythelatest roundof shots
takenbyour super-talentedreaders
50ExpertCritique
Your inagesreviewedbyour experts
55Picturesubmissions
Howtosendusyour best inagesl
I54Nextissue
Want toknowwhat we'vegot instore
next nonthLookherel
TECHNIOUE
IMPkOVE OUkPHOTO5KILL5
28TechniqueoftheMonth
1entopideastohelpyounaster the
challengesof birdphotography
57MasterDusk8Dawn
Howbest tocapturethenajestyand
beautyof sunset andsunrise
69udgetPhoto
pair of sub-20renotereleaseswith
tinerscouldbethebargainsof theyear
75CreativeEye
1hreeof our expert photographersnd
excitinganduniquewaystoshoot pencils
82TheCompIetePicture. kawpart2
Weconcludeour seriesbyshowingyou
howtouseRawfor creativeresults
95DigitaI Darkroom
nproveyour post-processingskills
IN5PIkATION
THE WOkLDOF PkOPHOTOGkAPH
I02CuttingEdge
Wetakealookat danLawrenceand
Michael enson'sincredibleproprojects
TE5TCENTkE
LATE5TGEAkTE5TEDEXPEkT5
II5NikonD5200
Nikon'sconpact DSLRpronisesa
polishedperfornance. Here'showit fares
II9DigitaI 5LkandC5CIistings
Up-to-datelistingsandspecications
I22Tamron5P90mmfl2.8Di VC
Wetakeaverycloselookat 1anron's
brilliant new90nnnacrolens
I25DatacoIor5pyderCUE
sthisthesolutionfor perfect exposures
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pril 201Slssue
LEANFOMHE K'LEADINGEXPE
Ross Hoddinott is an
award-winning nature
photographer and
author of nunerous
photo books. .
rossnodd|no.co.u|
oss
Hoddinott
Regular contributor
Paul is a professional
portrait and fashion
photographer who's an
expert in lighting and
specialises in location
and studio shoots.
PauI Ward
1op fashion and
portrait photographer
live rrowsnith has
photographed nany of the
world's leading celebrities.
.c||vearrosn|n.con
leading portrait and
fashion photographer,
jorn runs a series of
portrait workshops in
ornwall. .
oornnonassen.co.u|
jorn
homassen
He's the king of rock
photography and spent
nost of 2008 on tour, as
the ohcial photographer
for ron aidenl
.p|curedes|.co.u|
John
McMurtrie
creative genius,
enedict is a
successful professional
photographer
and digital artist.
.oened|c.con
enedict
CampbeII
CIive
Arrowsmith
highly successful
landscape photographer,
regular contributor
danis the author of the
photography book
1ne Dorse Coas.
.adan-ouron.co.u|
Adamurton
pro for two decades,
ee's one of the best-
known nanes in the
business, with 20
books to his nane and
worldwide inage sales.
.|eefros.co.u|
LeeFrost
artyn is an award-
winning journalist and
has been involved in
photography for decades,
including working as a
pro photographer and
editing photo nagazines.
MartynMoore
Helen is an innensely
gifted landscape
photographer, who has
recently nade the nove
to full-tine professionall
.ne|end|xon
pnooqrapn.co.u|
HeIenDixon
1he hief Sports
Photographer for 1ne
Sun is one of the world's
best and he's exclusive to
usl ollowhinon 1witter
at. d|c||epe|nan
professional advertising
photographer, based in
the US, 1inhas featured
a nunber of tines in our
nagazine sharing his
experiences and views on
digital photography.
ichard
PeIham
Jon's spent nost of his
career as a successful
travel photographer,
covering the globe to
provide top stock library
orbis with his unique
style of travel inages.
JonHicks
rett has quickly
established hinself as
one of the U's leading
portrait and social
photographers.
.orenar|ness
pnooqrapn.con
rett Harkness
ne of the very best
celebrity and nusic
photographers in the
business and a
genuinely nice guy.
eserves a peeragel
.andear|.con
AndyEarI
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82
RAWPHOTOGRAPHY
Themagaznebyphotographers for photographers
Wetaketnegreatest prideintnefact tnat our nagazineisproduced
byleadingpnotograpnerswnoareall passionateabout taking
great pictures. Manyof our contributorsareawardwinnersand
all areexpert digital SLRpnotograpners, soyoucanbesuretnat
tney'regivingyoutneverybest advice. Wnetner youlovetosnoot
landscapes, portraitsor nature, youcanbe100certaintnat our
extensiveteanof expertsisfullyconnittedtogivingyoutnebest
tecnniqueadvicetonelpyoucreateyour best ever inages.
PSURLl4.1S
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8l L 5LkPHOTOGkAPHl PRL 201S
HLRALDLDAS NLof thenost prestigious
international photography conpetitions of
theyear, theshortlist for the20I3Sony
WorldPhotography Awards has been
announced. 1his year's conpetitionsawa
recordanount of photographers takepart,
attractingover I22,000entries fronI/0
countries, nakingthejobof judgingthe
awards anunenviabletask.
1heannual conpetitionattracts soneof
theworld's best professional photographers
alongsidenewnanes andfaces andyoung
undiscoveredtalent. Withcategories
coveringeverythingfronarts andcultureto
landscapes toworldahairs, theshortlisted
entries represent a diversecross-sectionof
thebest of international contenporary
photography that theworldhas tooher.
Alongsidethepen, Professional and
Youthawards, theStudent ocus awards
look torecogniseandsupport thenext
generationof photographers.
20135ONYWORLDPHOTOGRPHYWRD5
(OPENINGIMAGE) ChristianAsIund'stop-down
computergame-inspiredJimPickeyseriesis
shortIistedasanaIistintheProfessionaI
Campaigncategory.
I) NgChai Hock'sentryintotheArtsandCuIture
OpencategoryshowsmonksreIeasingIanterns
duringtheYi PengLanternFestivaI, ThaiIand.
2) PortraitentrantJonathanLiu'smonochrome
imageisshortIistedwithintheYouthaward.
J) HoangHiepNguyen'simage'Don'tLeaveMe
AIone' isupfortheNatureWiIdIifeOpencategory.
4) NathanWiIIsaboveandbeIowimageofaturtIe
swimmingisshortIistedintheTraveI category.
5) Thegravity-bendingstructurewascapturedby
PeterMysticdidgePIorinandisshortIistedinthe
OpenArchitecturecategory.
6) ProentrantFaustoPodavini'sseriesMireIIa
depictsthedaiIyIifeofadementiasuhererandthe
impacttheiIInesshasonhiswifeandfamiIy.
7) FIorianreuer'sstunningnightskyimageshows
a240viewoftheMiIkyWaybehindaOuiverTree
forestinNamibia. FIorian'simageisshortIistedin
thePanoramicOpencategory.
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Anongst theshortlistedentries that
caught our eyewas professional
photographer ChristianAslund's JinRickey
series -shot lookingdownfron
skyscrapers inHongongtonakethe
worldlook likea two-dinensional video
gane. nthepencategory, NgChai Hock's
nagical inagetakenat theYi PengLantern
estival shows nonks watchinginaweas
hundreds of lanterns foat towards thesky.
1hewinningpenandYouthcategory
inages will beannouncedonI9Marchand
theProfessional andStudent ocus winners
announcedat theSony WorldPhotography
Awards Gala inLondonon25April. All of
theshortlistedentries goondisplay at
Sonerset Housefron26April toI2May.
We'll bebringingyounews of thewinners
andwinninginages soon, but inthe
neantinetakea look at soneof our
favouriteshortlistedentries. or nore
infornation, visit. www.wor/dpnoto.org
CMPL11NNLWS LPSURLl.1S
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10l OTOGkAPHl PRL 201S
NNHAS ANNUNCLDthe
additionof a newDX-fornat
DSLR-therst inits rangeto
oher anoptional I.3x crop
functionandnooptical low
pass lter (LP). According
toproduct nanager Sinon
ddon, theenthusiast-level
D/I00is a 'highly versatile
digital SLRcanera that ohers
a powerful set of features,
expandingthehorizons of
theDX-fornat range, and
judgingby thespecications
henight not befar wrong.
1hecanera, whichsits
betweentheAPS-CD/000
andfull-franeD600, boasts
a newly-developed
24.I-negapixel CMS sensor
without anLP, andanLXPLLD3
inageprocessor that brings six franes-per-
secondcontinuous shootingandinproved
noisereduction. nadditiontoits S
sensitivity of I00-6400, extendableto
25600, theD/I00has a 5I-point autofocus
systenconprisingI5cross-typesensors
anda 3.2inI,229,000-dot LCDnonitor
providinga I/0 wideviewingangle.
However, it's thenewI.3x cropfunction
that really caught our interest, oheringextra
wideA coverage, increasingshooting
speedto/fps anda boost inpullingpower
for telephotousers.
Whilethelack of anLP is not a new
concept, introducedin20I2withthe
full-franeD800L, it is therst tine(but
fronthesounds of it not thelast tine) this
has beenappliedtoanAPS-Csensor. When
askedwhy it's beenrenoved, NikonU
groupnarketingnanager Jereny Gilbert
responded. '1hebenets outweighthe
negative. Withtheincreaseinpixel density
theehect of noireis less evident. Renoving
NNRLvLLS
LN1HUSS1-LLvLL D100
New24.I-negapixel APS-CDSLR
ohers rst inits class features
thelter neans sharper inages,
outweighingtheoneor twoinages
wherenoirenight bevisible.
1heD/I00is alsosaidtonatchthe
popular D800indurability. Withits
weather-resistant body andnagnesiun
alloy topandrear covers, it's being
pronotedas a conveniently light (weighing
6/5g) androbust DSLRfor its class, suitable
for all shootingconditions.
1herearealsoa fewsubtlechanges tothe
feel of thecanera andthenodedial, as well
as sevenehect nodes for stills andto
conplenent its ull HDvideocapabilities,
anin-canera HDRfunctionandSpot White
Balancefor quickly settingWBinLiveview.
t alsohas wireless capability via anoptional
WU-Ia MobileAdapter, soyoucantransnit
inages toanAppleor Androiddevicefor
quick uploads tosocial nedia sites.
Duetogoonsaleon2I March20I3, the
D/I00is expectedtohavea guidepriceof
I,I00(body only) andI,300withan
I8-I05nnkit lens.
n/kon.co.uk
Newsinbrief...
NikonWk-Iremote
AlongsidethenewD/I00,
Nikonhas launcheda
wireless transceiver. 1he
WR-I Wireless Renote
Control 1ransceiver canbe
hotshoenountedandused
as anintervaloneter or, when
pairedwithanother WR-I or
WR-RI0, canbeusedto
renotely control your
canera's settings. 1heWR-I
canalsocontrol upto64other caneras
across four diherent groups, perfect if your
using(lots of) nultiplerenotecaneras at
oncel www.europe-n/kon.com
New5onyIenses
andaccessories
Sony has announced
threenewA-nount
lenses alongwithseveral
A- andL-nount
accessories. 1henew
/0-400nnfi4-5.6G
SSM telephotoandD1
I8-55nnfi3.5-5.6SAM
zoonlenses arerevisions of
existingnodels whilethe
Carl Zeiss Planar 1* 50nnfiI.4
ZASSMjoins theexisting24nn,
85nnandI35nnZeiss lenses
oheredinA-nount tnent.
Alongsidethenewlenses, Sony
has alsoannouncedtheHvL-20M,
a hotshoe-nountedconpact
fashgunthat supports wireless control.
Prices haven't beenannouncedyet, but the
newlenses andaccessories areexpected
tobeavailablethis nonth.
www.son-europe.com
DustyD600
Nikonhas releasedsupport advice
regardingthedust issues that soneowners
of theD600havebeenreportingsinceits
launch. f your D600is ahectedand
conventional sensor cleaningnethods
aren't workingthenNikonadviseyouto
contact your nearest Nikonservicecentre
tobook your canera infor cleaning.
nttps.//n/koneurope-en.custne/p.com
Nikoncelebrates80tnanniversaryof NR
1herst NR
lenses aresold.
1heAero-
NR/0cn
fi5, designedfor
aerial shooting,
was soldtothe
JapaneseArny
Air orce.
Nikon's rst
canera lens for
civilianuseis
nanufactured.
1heNR5cn
fi3.5was, infact,
ttedtothe
Hansa-Canon
rangender.
1heNikonS
nount is created
for Nikon
rangenders.
At thetine, the
NR5cn
fiI.4was the
world's fastest
aperturelens.
Nikon's -nount
is bornanda
versionof this is
still inusetoday
-theNR-S
Auto5cnfi2is
Nikon's rst lens
designedfor SLR
caneras.
1he-nount P
isheye-NR
I0nnfi5.6is the
rst canera lens
withaspherical
lens elenents,
reducingcona
andother lens
aberrations.
1his year narks the
80thanniversary of
therst production
NRlens. 1he
NRtradenark
was registeredin
I932andis a
westernised
translationfor
Nikk, an
abbreviationof
Nipponogaku.,
Nikon's original
nane. Wetakea
look at howthis
iconicbrandand
rangehas evolved.
L 201Sl l 11
PRDUC1NLWS LPSURLl4.1S
GL1SCL
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CNRLLLSLSSCRLW-NL1LRS
Cokinhas announcedanewrangeof slinlinelters. 1he
CokinPURLHarnonierangeincludes Uv, circular
polarisingandvariabledensityNeutral Densitylters.
Cokinis clainingthat thePURLHarnonierangeohers
thelightest andthinnest circular lters intheworld,
neasuringinat just 3.3nnthickfor theUvandCPLlters
and9.5nnthickfor theNDlters, respectively. 1heUv
andCPLlters areavailablestartingfron40insizes
fron3/nnthroughto82nnand
theNDis availablesizedfron52nn
throughto82nnfronI55.
./ntro2020.co.uk
- '' ' ' ' )
NLWCMLRSRMSN
SNYHASRLvLALLDtheAlpha58, the
latest inits line-upof SL1caneras with
translucent nirror
technology. Boastinga
20.I-negapixel Lxnor
APSHDCMSsensor,
anLLDelectronic
viewnder andupto
8fps continuous
shooting, thenew
nodel is expectedon
saleinApril pricedat
450withI8-55nn
SAM- kit lens, or
600withboththeI8-55nnand
55-200nnlenses.
Alsonewis theNLX-3N, which
Sonyis clainingis theworld's lightest
andsnallest interchangeablelens
canera, weighinginat just 2I0g. t
alsoohers aI6.I-negapixel APSHD
CMSsensor andaI80 rotatingand
tillablescreen. 1heNLX-3Nwill beavailableinMarchpricedat
400withI6-50nnpower zoonlens. www.sony-europe.com
2011
Nikonadds to
their lens line-up
withtheNikonI
lens nount, as
usedonthenew
NikonI series of
nirrorless
interchangeable-
lens caneras.
2012
Lens production
hits the/5nillion
nark for Nikon
interchangeable
lens caneras.
1herangeboasts
over 80types of
lens, fronsheye
totelephoto.
2013
NR's 80th
anniversary has
already seenan
800nnfi5.6
super-telephoto
andI8-35nn
ultra wide-angle
zoonlens
announced.
H1NLWS LPSURLl4.1S
12l l PRL 201S
UL WorldPress Photowards
havelongbeensynonynous with
producinggritty inages of current events
andworldahairs. ndhavingseenthe
winninginages of therecently announced
56thWorldPress Photoontest, this year's
entries provedtobenoexception.
jury of I9handpickedprofessionals
frontheworldof docunentary andpress
photography selectedPaul Hansen's
harrowinginageof a groupof grievingnen
carryingthebodies of twodeadchildren
throughthestreets of Gaza ity as the
overall winninginage. Hansen, a
photographer workingfor Swedish
newspaper Dagens Nyneter, wins the
CI0,000cashprizealongwitha anon
professional SLRandlens systen.
total of 54photographers fron33
diherent countries wereawardedprizes
across theninecategories, rangingfron
ontenporary ssues toSports ction
andStagedPortraits.
WRLDPRLSSPH1WNNLRS
Hard-hittinginagesfrontheworldof professional pressphotography
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'When look at theresults, as chair of the
jury, think that theWorldPress Photoof the
Year, andall theother photos that were
givenprizes, weresolid, stellar exanples of
rst-ratephotojournalisnthat is powerful,
that is lasting, andthat will reachwhoever
looks at then, connents SantiagoLyon,
thevicepresident anddirector of
photography at 1hessociatedPress.
1heWorldPress Photoexhibition
begins its international tour on26pril in
nsterdan, andarrives intheUbetween
30July and25ugust at 1heScottish
Parlianent, dinburgh.
ontroversially, several of theentries,
includingthewinninginage, havesparked
sonedebateinonlineconnunities as to
thedegreeof processingandnanipulation
that has takenplace. onsideringthenature
andsubject natter of theinages, what's
your takeonpost-processinginpress
inages Let us knowat our acebook page.
facebook.com/d/g/ta/s/rpnoto
PRL 201Sl IGITAL5LkPHOTOGkAPHl 1S
PH1NWS PSURl4.1S
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aroundtheworld. WithC9,000incashprizes up
for grabs, as well as beingpart of anexhibitionin
vienna, it's wortha shotl
losingdate. 0pril. ntry cost. C5
www.tnev/pawards.com
NCPA. Water
1heNewYork enter for Photographicrt is
callingfor entries toits Spring20Iphoto
contest, withthetheneof Water. ntry is open
toall andthere's a prizefundof S2,500alongside
featureina NewYork gallery exhibition.
losingdate. 0pril. ntry cost. ronS5US.
www.nyc4pa.com
TowryNationaI OpenArt Competition
Photography is oneof thenany nediuns
acceptedfor entry totheNational penrt
onpetitionandthere's aninpressive40,000
total prizefundavailable, includinga whopping
I0,000grandprize.
losingdate. I July. ntry cost. ron20
www.tnenat/ona/openartcompet/t/on.com
ritishWiIdIifePhotographyAwards
Nowinits fthyear, theWPhighlights
thediversity of ritain's natural history while
recognisingthephotographers whorecordit.
noverall cashprizeof 5,000is upfor grabs
alongsideplenty of goodies fronsponsors
anon, Sky, Paranoandf-stop.
losingdate. 4May. ntry cost. ronI0.
www.bwpawards.org
kenaissancePhotographyPrize20IJ
photography prizewitha worthy cause-
this international conpetitionains to
showcasebothenergingandestablished
talent, withfunds raisedbeingdonatedto
support youngwonenwithbreast cancer.
losingdate. 28pril. ntry cost. ronI5.
www.rena/ssancepnotograpny.org
ViennaInternationaI PhotoAwards
allingall docunentary photographersl 1he
focus of the20IvPis todrawattentionto
thebest indocunentary photography fron
tner conpetitions
Pnotoworksnops
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SNMSPRMR
LMPUSSHRHLR
SNYRPR1Nhas becone
lynpus' largest shareholder withII.46
votingrights against other shareholders.
1heJapanesecorporategiant nowholds
5nillionshares intheoptics andinaging
conpany. 1his is aninterestingdevelopnent
andpartnershipthat couldseefuture
collaborations betweenthetwoconpanies.
www.o/ympus.co.uk
MRRRSthanever areenjoying
|g|ta| S|PPnotograpny. igures provided
by, whichaudits all of theU's leading
nagazines andnewspapers, reveal that
we'renowoneof theU's topthreenost
popular photographynagazines.
espiteadeclineinthephotographic
nagazinesector, D|g|ta| S|PPnotograpny's
readershiphas grownbyover thepast
year, increasingto6,556* over last year's
gureof 5,504. 1his represents agrowth
of 59since2008l
We'dliketothankall of youfor your
continuedsupport. Rest assuredwe'll
continuetobringyouall theexpert advice
andinspirationyouneedtoinproveand
broadenyour photoskills.
NWLS1RPNS
t's nicetohear abit of positiveretail news for
achange-Londonaneraxchangehas
just openedanewstoreinManchester city
centre. NickRichens, Lnanagingdirector
connents. 'Whilst Ldidalreadyhavea
presenceinManchester, wefelt that the
secondarylocationof our existingbranchno
longer net theneeds of this najor Ucity.
ur decisiontorelocatetoanorevisible
positionwas aneasyonetonake.
www./cegroup.co.uk
RGNSNPSUP
JSSPSNLN
RGNS' Nstar andnulti-
nillionairePeter Jones is part of agroup
of entrepreneurs that havepurchased
theJessops brandfor anundisclosed
anount. Jones, whois worthan
estinated50nillion, is torelaunch
Jessops as anonlineretailer, after sofar
choosingnot topurchaseanyof their
I8/closedstores. 1herearesigns of
progress ontheJessops website, and
weawait withbaitedbreathtoseewhat
becones of oneof thelongest-standing
Uphotoretail brands. Meanwhile, the
full extent of Jessops' nancial issues
havebeennadepublicfollowinga
report subnittedbydirectors to
onpanies House. 1hereport shows
that Jessops owed42nilliontoover
4,000creditors, includingI6.4nillion
toanonU, .nilliontoNikonU,
andI.nilliontoforner enployees.
www.jessops.com
DTAL 5LR POTORAP
ANOTR 5CC55FL AR
*Tnecomb/nedpr/nt andd/g/ta/ ed/t/on
A8Cfor Jan-Dec20!2/s J6,556, upJX
wnencomparedtotnesametota/ for tne
prev/ous per/od. A8CJan-Dec20!2tota/.
Pr/nt J4,2578d/g/ta/ 2,299.
JoeyLinLondon
4o5pril i USSI,000i onpleteL1,
Shoreditch, London
Renownedconnercial andtravel
photographer Joey L is hostinga special
two-day Londonworkshoptoraisefunds
for his upconingPeop|eof tneDe|ta ln
project. 1heworkshopcovers Joey's
uniquestyleof cinenaticlightingalong
withpost-productiontechniques andtakes
placeina stunningly photogenicstudioin
London. Linitedtojust 20places, andlikely
tosell out fast, don't hangaboutl
www.joey/.com
TraintoCreate.
VonWongPhotography
22to24Marchi 489i 1heGeorge1avern,
ast London
igital artist andphotographer enjanin
vonWonghosts this two-and-a-half-day
workshopinLondon. 1his intinate
nasterclass covers everythingfronhowto
get inspiredandconingupwithaninitial
concept throughtolightinganddirecting
onset andultinately post-production.
Spaces arelinitedsobequickl
www.tra/ntocreate.com
S1HLMN1H LPSURLl4.1S
Il CMR
dwant sonethingtodocunent
nyexperienceontheisland, so
don't needahugecanerawithbig
negapixels. 'dwant easeof use,
functionalityandportability, sony
newujilnX-LI wouldbe
perfect. t's super-snall,
lightweight and, whileit doesn't
haveagreat batterylife, it's
sinplisticandpowerful.
6l PHOOKN
NOHRPHOOGRPHR
Without question, wouldtake
DorotheaLange's M|grant Motner
tothedesert island. t's aclassic,
veryfanous inagethat speaks
volunes about thepower of
photography-aninagecan
conveysonuchnorethanwords.
t reninds nethat theinages that
nakeareinportant.
2l LN
Most of what shoot tends tobe
quitewide, so'dwant awide-
angle. 'vegot theujinonX
I8nnfi2at thenonent, which
translates toaround2/nnin
35nnfornat. Bytheway, as this is
nyisland, 'vecrash-landedwith
20Sports |||ustratedswinsuit
nodels, so'dneedaportrait lens,
too, tokeepthenodels happy.
4l PHOOCCOR
was goingtosaysonelights
but then'dbeluggingaround
nodiers, batteries andchargers.
t's never as sinpleas just addinga
lightl guess 'dneednyMacBook
so couldviewandanalysethe
Sports |||ustratednodel shoots.
Jl ONPHOOCOMPNION
Mywife, Susie, is theone
conpanionthat's beenconstant in
nylife, so wouldwant her there,
too. She'dbenewiththenodels
beingthere-strictlyona
professional basis, tokeepne
creativelystinulated, of course.
Photocastaway: #31in1adder
We'vetheoreticallypackedcreativeconnercial photographer 1in1adder ohtoa
desert islandtospendtherest of his days. We'vebeenkindenoughtoallowhintotake
alongafewphotography-basedluxuries -ndout herewhichitens hechose...
5l ONOORPHOO
1here's apicturethat hangs inny
honeof afanilyholdinghands on
thebeachinSanSebastian, Spain.
1here's astornoverheadandthe
beachis otherwisedeserted. 1he
fanilywantedtobeat thebeach
together anddidn't careabout the
weather. 1heinagespeaks tone
about seizingopportunities, no
natter thesituation.
14l T 5kPOTOkPl PRL 201S
Connercial photographer Benjanin
vonWong(com) has
beconea brandinhis ownright inthe
worldof photography, andregularly
provides tutorials andconpelling
behind-the-scenes videos. His latest
videogoes behindthescenes at a covert
shoot at theDisney Concert Hall and
reveals inportant digital techniques to
renovedistractions fronyour inages.
Tov/ewtnev/deo, scantneORcode
aboveor gotonttp.//b/t./y/!2C0eRd
vDL 1HLMN1H
videoof tnenontn
DIGITAL5LkPHOTOGkAPH
H1NS PSURl4.1S
xnibitions
WRMMN.
LS1HSMN1H
FIowers
3Arl toI Junei reei
1heLittleBlack Gallery, SWI00AJ
f you'reinLondontotakeinthesights and
snells of theChelsea lower Show, put aside
sonetinetovisit thelowers exhibitionat
1heLittleBlack Gallery. 1heexhibitionis a
collaborationbetweenJapanese
photographer Hiroyuki Arakawa, whohas
conductedanintinatestudy of snall white
fowers suchas Aster lilies, tea roses and
orchids, andLisa Creagh, whosenstant
Gardenseries is inspiredby theDutchfower
paintingwork of Rachel Ruysch. 1inedto
coincidewiththeChelsea ringeand20I3
Chelsea lower Show, theexhibitionruns
fron30April throughtoI Juneandis well
worthcheckingout.
.tne//tt/eb/ackga//ery.com
Francis FrithPhotographs
Until I4April i reei 1ateBritain, London
rancis rithtravelledtoLgypt andsurrounding
countries betweenI856andI859, usingthe
then-newnediunof photography torecord
what hesaw. His exposures werenadeusing
glass-platenegatives, providinga highly
detailedinsight intoa worldthat nany people
hadnever seenat thetine.
www.tate.org.uk
MichaeI Caine
Until I4July i reei Museunof London
You'reonly supposedtoblowthebloody
doors ohl 1helifeandsuccess of actor Michael
Caineis docunentedinthis photographic
exhibitionat theMuseunof London.
Never-before-seenwork sits alongsideiconic
inages fronthelikes of 1erry 'Neill andDavid
Bailey. t's wortha butcher's if you'rea fanof
theworld's nost fanous cockney.
www.museumohondon.org.uk
TomWood. Photographs I97J- 20IJ
8MarchtoI6Junei reei
National Media Museun, Bradford
Photographer 1onWoodhas spent the
last four decades docunentingand
photographingthepeopleof Merseyside.
nhis rst soloexhibition, heshowcases a large
body of his work todate, providinganinsight
intothedaily lives of peoplefronthis part of
northernLngland.
www.nat/ona/med/amuseum.org.uk
VivianMaier
II Marchto3April i reei
Chris Beetles Gallery, London
Anintrovert workingfull tineas a nanny in
theI950s toI990s, vivianMaier alsoliveda
secret lifeas a street photographer inNew
York, only tokeeptheresultingnegatives to
herself. t wasn't until soneI50,000negatives
wereauctioned, that Maier's work andtalent
was unearthed.
www.cnr/sbeet/eshnepnotograpns.com
TheHouseof AnnieLennox
23Marchto30Junei reei
ScottishNational Portrait Gallery
nternationally acclainedsinger and
songwriter AnnieLennox presents this
exhibitionat theScottishNational Portrait
Gallery, focusingonher work over thepast
threedecades. ncludingphotography,
videography andcostunes fronher
successful career.
www.nat/ona/ga//er/es.org

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IGITAL 5LkPHOTOGkAPH PRL S
Photographing5hadow
andLight
LI9.99 e L AnphotoBooks
SBN9/8-0-8I/4-00I4-9
rona youngage, Joey L taught
hinself theins andouts of
photography andhis ability to
understandandcontrol light has
establishedhinas a leadingupand
coningphotographer for his
generation. nhis latest book, Joey
covers his work uptothis day, with
theinclusionof canera settings,
behind-the-scenes photos,
lightingdiagrans andbackground
infornation, hebreaks downeach
VEkDICT. Well laidout, infornative
andinspirational. Anust-have
additiontoyour bookshelf.
atng: Ratng: Ratng:
VEkDICT. f you'veaninterest in
wildlifephotography thenthis titleis
well wortha read-it's guaranteed
togiveyouplenty of inspiration.
VEkDICT. antasticphotography as
tobeexpectedfronSteveMcCurry.
t's a bigbook witha reasonable
pricetag, sowortha look.
VEkDICT. Nostalgicstreet
photography -fronlargehair and
questionableattire. f you'reover 30
there's plenty tojogyour nenory.
TheWiIdIife
PhotographyWorkshop
LI6.99i Ross Hoddinott oBenHall
AnnonitePress
SBN9/8-I-90//0-85/-2
Wildlifephotography expert BenHall
and otograpny pro
contributor Ross Hoddinott join
forces toteachyouall youneedto
knowabout photographingwildlife.
Coveringeverythingfroncanera
settings toinspirational ideas for
inages, this titleapproaches wildlife
photography inaneasy-to-follow
andapproachablenanner, andis
acconpaniedby theusual stunning
pictures andgreat advicefronthe
authors. Anicelittletouchis the
assignnents sectionat theback,
givingyoubite-sizeprojects totake
onandapply your skills.
TheIconicPhotographs
LJ9.95i SteveMcCurry i Phaidon
SBN9/8-0-/I48-65I3-3
Boldandinpressive-words that
canbeusedtodescribeboth
McCurry's travel portraitureandthis
title-a collectionof (as thetitle
suggests) his nost iconicinages.
1his book is nolightweight. the2/2
pages withincontaineither
full-pageor double-pagespreads of
soneof his greatest work,
beautifully reproducedinfull colour.
Lxtendedpicturecaptions sit at the
back of thebook, alongwitha snall
colour thunbnail for easy
referencing. t's quiteeasy toforget
just hownany iconicinages
McCurry has producedover the
years andthis titlecertainly acts as a
goodreninder.
NewEngIand
LI7.99i Chris Prosz i
Piers andDoninic
SBN9/8-0-95/4329-0-I
ldphotographs act as a window
intothepast andallowyoutodraw
instant conparisontotheworld
weliveintoday. DuringtheI9/0s
andI980s, anateur photographer
Chris Porsz honedhis skills by
photographingthepeopleand
streets of Peterborough,
Canbridgeshire, cataloguingthe
fashions, trends andattitudes of a
bygoneera. As theD|g|ta| S|P
Pnotograpny ohceis alsobasedin
Peterborough, wefoundthebook
of particular interest -however,
eventoanoutsider there's nuchto
beobservedandreniniscedabout
inPorsz's inages.
Ratng:
project toprovidea valuableinsight
intohis workings. Lachshoot is
explainedfronconcept to
conpletioninaninfornativeand
easy-to-follownanner. 1here's
inspirationherefor everyone.
Joey L
Appof themonth
MR
PkICE.
PLATFOkM. S
M
t seens barelyanonth
passes whenwearen't
grantedanother appfor
nakingour photos look
liketheyweretakenin
bygonedays -Wood
Caneradoes all of that
andalot nore. Not only
canyouapply32
diherent lters at your
choiceof intensity, but
therearealso28texture
overlays availableand
I6diherent franes.
Couplethis withaneasy
cropfacilityandafaux
tilt-shift featureand
there's anear-endless
conbinationof ways to
edit your snaps. Youcan
evenshareyour inages
directlywithsocial
networks, or sinplysave
thenfor thefuture.
KITTIP#2
LNSPL
1ohelpprevent nissing
lens caps, glueasnall
pieceof Legotothe
outsideof thecap, 'nale'
sidepointingout. 1hen
sinplyglueor attach
another piecetoyour
canerastrap, or bag,
'fenale' sideexposed.
After youdetachthelens
cap, clickit ontoyour
strapor bagandit'll stay
whereyouleft itl
OOK
OFTHE
MONTH
L 201Sl PHOTOGkAPHl 1
DR LPSURLl4.1S
Throughout spring
TakeanEngIish
countrysidewaIk
ronthe
conputer andll your
lungs withfreshairl Your
canera will loveall those
gorgeous views of woods,
neadows androllinghills
lit upwithspringfowers,
thescent of blossonand
a newgenerationof
wildlife ur favourite
springtinewalks are
aroundMan1or inthe
Peak istrict, for its
fower-lledvalleys and
sprightly lanbs, andthe
Southowns inSussex for
shots of kestrels, falcons
andwildrabbits
/s/teng/and.com/
en/Tn/ngs-to-do/
Outdoor-Eng/and/
Spr/ng-Wa/ks.ntm
29MarchtoI5eptember
Cavendish's Horses
keturnI oIsover CastIe
very weekenduntil
Septenber, you'll get a
chancetoseethekindof
breathtakingdisplays
unseenfor over three
centuries xpert
horseneninfanboyant
I/thcentury costuneput
horses throughtheir
paces tobarouenusic,
showcasingadvanced
dressagetechniues
introducedtonglandby
Willianavendish
www.eng//sn-ner/tage.
org.uk
J0-JIMarch
Easter egghunts
Historichones across the
country aregearingupfor
aster, andnany host fun
openweekends and
events tocelebrate t's a
chancetoget sonegreat
candidshots of thefanily
as they hunt out aster
eggs -look onlinefor
your nearest event
J0March
OpenCityHiddenWest
Endtour, London
iscover theity of
Londononthis walking
tour of thecapital's
architecture 1akepictures
of Georgianstreets and
suares, as well as nore
nodernand
contenporary buildings
on't forget your
wide-anglelens tonake
thenost of perspective
www.open-c/ty.org.uk
J0March-IApriI
FaIconryof Kings,
kievauIxAbbey
1akeadvicefronthis
issue's 1ecnn|queof tne
Montnandperfect your
birdphotography skills at
this event celebratingpast
nglishkings wholoved
their falconry Jointhe
nely-robedfalconers
andseebeautiful hawks,
falcons andowls in
graceful fight, inthe
beautiful renotevalley
surroundingtheabbey
org.uk
JIMarch
Theoat kace, London
Headintotheheart of the
capital for oneof the
oldest sportingevents in
theworld 1heI59thoat
Racewill seecrews fron
theUniversities of xford
andanbridgebattling
for victory onthe1hanes
goodtelezoonlens will
bea nust
www.tneboatrace.org
2-I4ApriI
CastIeComes AIiveI
Dover CastIe
nnerseyourself and
your canera intheponp,
pageantry andintrigueof
nedieval court life You'll
neet lots of characters
includingthekinghinselfl
org.uk/daysout/events/
cast/e-comes-a//ve-dov-
2-apr/
2IApriI
TheLondonMarathon
Jointhethousands of
spectators out inforceto
cheer onall thoserunning
this fanous route Withso
nany characters in
costuneall runningfor
goodcauses, you're
guaranteedlots of great
candidshots
www.v/rg/n/ondon
maratnon.com
25-28ApriI
HarrogateFIower
5how
Withspringfully sprung,
gardenshows across the
Ubegintoopentheir
gates tovisitors or
punchy close-ups of
brightly colouredfowers,
nakesureyoupack your
favouritenacrolens in
your kit bag
www.howersnow.org.uk
LvLN1SDR
WHLRL1G8WH11SH11HSMN1H
avendsh's horses
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201Sl L5LkPHOTOGkAPHl 19
veyousonetnintosyout tnenzineor pnotorpnyinenerl tnt
you'liketosnrewitnotner reersWe'lovetoner ronyou soplese
writetoust our usul ressor sennenil to slreekennis.o.uk

UDGETTIP
naI5-year-oldanateur
photographer usingtheNikon
D3I00withapair of lenses on
alinitedbudget, so always
readdget Pnotowith
interest. neof nyfavourite
tricks is tousethenagnifying
glass out of asolderingarn
just infront of anyof ny
lenses -it's acheap
alternativetoateleconverter.
t's alsolighter andnore
portable, andprovides nore
freedonwiththe
nagnicationat varying
distances fronthefront
elenent of thelens thana
xedteleconverter would.
'vefoundit proveduseful on
at least tenphotoshoots,
allowingfor tinydetails tobe
nagniednassivelywitha
regular standardlens. 1oview
nywork, gotonibbs.org.
eorgeJanes
tos y Thanks,
George-that's a great
money-savingtip!
JONHILLPHOTOG
(DigitalSLRPhotoGreat
issueguys. As always .-)
O1L04GG1N5
(DigitalSLRPhotoAlready
got ny subscriptioncopy,
full of goodstuh, likethe
candlearticle
OJOWLYMON5TR
(DigitalSLRPhotonewissue
Nice, that's ny readingfor
Swedennext weekend
sorted.)
O5TOWGOOD
My 2ndcopy of (
DigitalSLRPhotohas arrived,
perhaps thereis still a littlelife
inprint nedia yet. want to
try sonelight grahti ideasl
ORICHMARVIN
(DigitalSLRPhoto1hanks for
theadviceinthis nonth's
nag, havejust purchased
sonewelders glass for sone
DYphotography
TOPTWT5
FUTUkEPEkFECT
Not longago, was tenpted
byoneof thelnversions of
thewell-knownCanonLS
systencaneras. 1hat was
over tenyears ago, andhow
things havenovedon. Since
then havebought nyself
another LSsystencanera
-this tineinthefornof a
secondhandLS400D-and
another digital canera, which
is auji bridgecanera-the
inePixS4000. Botharegreat
for shots of anything cannd
thechancetotakepictures of.
And, norerecently, witha
freetrial of Photoshop, have
discoveredtheworldof digital
nanipulation. t is refreshing
tonetoknowthat inthe
fast-novingworldof
photographythereis always
sonethingnewtokeepus
photographers onour toes.
know ansonewhat
behindthetines. Myforay
intoPhotoshopis onlyrecent,
but it has beenawake-upcall.
or ne, at least, cannow
claintobeanodernexplorer
withinthedigital age. Anda
real digital photographer.
MOR 55NTIAL
RADINGFROM
TH XPRT5 AT
DIGITAL 5LR
PHOTOGRAPHY.
rer your print or
iitl opyiret
ronmagbooks.com
or ll 08448440053
CkEATIVEEECAPTION
COMPETITIONWINNEk
'Healways workedhard
andnowhe's burnt outl
PanPn||||ps. ournan
dtor's rep|y: WeII done, Pam
-youwina prize! We'II be
sendingyoua goodiebagfor
your ehorts.
hopethefuturewill holdjust
as nanyexcitingadvances, as
well as surprisesl
1nonas |atcnan
dtor's rep|y: WeIcometo
our worId, Thomas!
eterMah|er
ge: /I Occupaton: Retired
MorningaboveAmmersee. '1his inage was taken
very early one norning inautunn. My friendand
were driving whena wall of fog suddenly appeared.
nowing it wouldnake for great conditions, we
stoppedthe car andwalkedintothe forest to
capture the nist anongst the trees. shot at I0nn
inorder toinclude as nuchcolour as possible.
500px.com/manpet
D14with5igma10-20mmfl4-5.6EXDC.
Exposure: 1l250secat fl8(I5O200).
22l 5LkPHOTOGkAPHl PRL 201S
vgenaGa|an
ge: 5 Occupaton: Photographer
Iackbird. '1his shot workedout exactly as hadplannedit to-
the nodel is wearing a dress that we hadspecially nade for her to
incorporate a large train, reniniscent of a birdtaking fight. founda
town-square locationthat wouldbe perfect for the shoot andupon
arrival, we scatteredsunfower seeds andbreadonthe foor toattract
the birds. t took quite a fewretakes toget the shot -as youcaninagine,
trying tofocus ona nodel walking towards youwhile pigeons fy oh
aroundher is quite trickyl 1he endresult is as it was in-canera, nobirds
were addedinPhotoshopandthe lighting was all natural.
CanonEO56Diha5igma18-25mmfl3.5-6.3DCO5H5MIens.
Exposure: 1l5seca fl7.1(I5O1).
ked. 'nce again, the reddress here was custon-nade for this fashion
shoot. shot using ny CanonLS 60Dwitha Signa 50nnfiI.4lens
frona lowviewpoint. chose this locationandconpositionto
conplenent the nodel's tall andslender gure, franing her andthe
brightly coloureddress betweenthe stark white pillars. very little
post-processing was done as didn't want tooverloadthe inage.
.evgen/aga/an.com
CanonEO56Diha5igma5mmfl1.4EXDGH5MIens.
Exposure: 1l16seca fl3.5(I5O1).
DebHarder
ge: 5I Occupaton: orner ohce nanager and photographer
CoIumbiaHiIIs 5tatePark. ' capturedthis just as the sunwas setting
late one afternoon. norder toachieve sharpfocus throughout, stacked
twoinages tocreate the nal shot. Since ny lens was very close tothe
foreground, focuseddirectly onthe lupins anduseda narrowaperture
of fiI8tonake sure the corners were sharp. thentook a secondshot
focusing onthe tree inthe backgroundat fiII. alsobracketedny shots
torecordall the detail inboththe highlights andshadows, and
conbinedthe exposures inprocessing. www.drn/mages.com
NikonD3ihaNIKKOP-514-24mmfl2.8GEDIens.
Exposures: 1l13seca fl18(I5O4) and1l8seca fl11(I5O4).
SPNSRLDBY
chour before
nighfaII is athemecoveredIater
inthis issueandDeb's gorgeous
IandscapereveaIs howthe
warmrays of asettingsun
cantransformascene.
beautifuI image.

GTAL 5LkPOTOGkAP
bege
ge: Occupaon: hotographer
TkkT '1his was takenduring a photography triptothe
Dolonites innortherntaly. hadbeentreatedtoglorious sunrises and
sunsets throughout the trip, but decidedtoshoot sone inages during
the day, too, tonake the nost of the goodweather. useda polarising
lter tointensify the contrast inthe sky andcapture this three-shot
panorana, before stitching the inages inPhotoshop.
MkII withaCanonT5-E24mmfl3.5LII Iens.
TLat Forest. '1his concept was inny nindfor years before
discoveredthis locationinScotland. When scoutedthe location, the
light was fat - hadhopedfor better conditions the following day, but
was greetedby rain. useda I.8NDlter tosnooththe water andsky.
Uponrefection, the raingives the inage a special atnosphere, a
colourful sunrise wouldnever have enabledsucha clear conposition.
CanonEO55DMkII withaCanonT5-E24mmfl3.5LII Iens.
Exposure: 13secondsat fl8(I5O1).
DivineLight. '1his was capturedinNorway andshows the popular
Preikestolentourist attraction. trekkedtothis spot early one norning
anduponreaching the plateau, the qordbelowwas coveredinfog. fter
sone ninutes the sunbroke throughandconjureda nagical nood.
1he twopeople standing onthe rock helpconvey a sense of scale.
CanonEO54Dwitha5igma1-2mmfl4-5.6Iens.
Magic Forest. 'ne interesting thing about landscape photography is
that youcandiscover exciting locations right onyour doorstep. 1his
snall pine grove is only a short drive away for ne andthe early norning
light passing throughthe trees attractedny attention. nprocessing the
inage, was nindful topreserve the pastel tones andlight nood.
500px.com/k///anscnoenberger
CanonEO55DMkII withaCanonT5-E24mmfl3.5LII Iens.
NT

KiIianhas a
fantasticgrasponthis concept.
WeII-capturedexposures
coupIedwithconsiderate
post-processingequaIs
stunningimages!
nutters
DIITAL5LkHTkAH
ndreyNarchuk
ge: 34 Occupaton: 1 specialist
ee. 't's quite dihcult tophotographporcelaincrabs -they tend
tohide away at the slightest signof danger. approachedslowly and
useda Nexus underwater housing tocapture this inage, along withtwo
nonZ-240underwater strobes. 1he trickiest part was setting the
directionandpower of the strobes toexpose the anenone without
overexposing the bright shell of the crab.
CanonEO55DMkII withaCanonEF100mmfl2.8MacroU5MIens.
L 'lthoughclownshare anoften-photographedsubject, they are
sofull of charisna that it's hardnot tophotographthenl 1hey are
incredibly quick andnore oftenthannot, the only chance youhave to
capture one is whenit's trying toprotect its anenone, as this one is.
CanonEO55DMkII withaCanonEF100mmfl2.8MacroU5MIens.
ncscoccocomno
g: 2 ccpon: in lwy
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wnul nnt k ntin.
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em8AnteIope. hi itu w tknt Antl Cnyn
utiul lt nynn g Aizn. At unnn nzing light
n nt th thinlt nynnv illuninting th wll
withinwith wnlight whihill th k. h uty
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nyn uth wi n ny -0nnln nnth
ht intit nt. t quit ihcult tocapture the correct exposure
inthe canyon, as the highdynanic range of the scene conprises
everything fronthe brightest sunlight tothe darkest shadows.
spot-neteredfronjust inside the beanof light, before adding negative
conpensationtoenhance the shadows.
www.francescor/ccardo/acom/no.com
CanonEO5550DwithaCanonEF17-40mmfl4LU5MIens.
SPNSRLDBY
* or noreinfornation, seewww.sandisk.conipreserve
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features SanDisk Chronolocktechnology which, together
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long-terninagestorage. Great photographers havealways
countedonSanDisk nenory cards tocapturestunning
inages. Nowthey canalsorely onSanDisk
technology tokeeptheir pictures safefor the
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1ondout nore, visit
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Reader SnowcasewitnSanDiskMenoryvault
PRL 201Sl IGITAL5LkPHOTOGkAPHl 2

: 54 Occupaon: Housewife
AutumnFantasy. '1his robinis a frequent visitor tony garden-one
norning he was sat inhis favourite place so slowly approachedhin
withny canera andnanagedtosteal a shot before got tooclose and
he fewoh. Afewnonths later noticedny redacer inblossonand
photographedit using ny nacrolens. Uponreceiving lots of positive
feedback, decidedthat wantedtonake nore of the scene -that was
when renenberedthe shot of the robin. nPhotoshop, cut the robin
out andplacedhinintothe inage of the acer leaves. thenaddedsone
extra leaves tothe inage toinprove the conposition. Considering that
when capturedthe inages hadnointentionfor thentobe used
together, 'npleasedwiththe resultl
CaE450DwithEF-55-250fl4-56Ies(fr ri
CaE60DwithEF00fl28arUes(fr agrud
Exsures l00seat fl56(I200 ad l250seat fl28(I00
OMMNT
Iitiaythis iageed
iredieast tgdt
etrueadatuayit is
ayigthis eui has dea
verygdf ahieviga
reaistiresut
CarolineWilkinson
8l DIGIAL LHGAHl PRL 201S
'nightadag
ainginthktakingit p
atinidint inittingna
n-cvdfncinu ackgadn
u fathdfind havngnppua
ujects inphotography. neof thebest
things about birdphotographyis that you
don't havetogofar tondasubject of sone
forn. Whilesoneof thenoreexoticand
predatoryspecies night not be
connonplaceintheUnitedingdon, nost
areaccessibletoseeandphotographat your
local zooor falconrycentre, andthereare
plentyof inpressivenativespecies that call
thesefair islands hone. ut inthewild, owls,
kites, falcons, nches, herons andbuzzards
canall befoundif youlookintheright place
at theright tineof year -checktheRSP's
website(www.rspb.org.uk) for nore
infornationonwhat youcanseeandwhen.
inally, don't forget tolooktoyour back
gardenfor potential subjects -withalittle
planningandpreparationyoucanturnyour
ownbackgardenintoabird-photography
studio, withtheaddedbonus that youcan
shoot frontheconfort of your ownhonel
it-wise, thenost valuabletool inabird
photographer's arsenal is atelephotozoon.
f you'reusinganPS--sizedsensor, thena
/0-200nntelephotolens will giveyouan
equivalent 300nnreachat thelongend,
whichis enoughif you'reshootingbirds in
your backgarden. f you'reout inthewild,
thenalens with300nnto400nnreachis
ideal. Glass gets expensiveat this endof the
scale, soconsider usingateleconverter to
extendthereachof your current kit. I.4x
teleconverter onanPS-bodywill give
your 200nnlens thereachof a448nn
equivalentl nother useful additiontoyour
outt is canoufage-this canbeas sinpleas
wearingdull, earth-colouredclothes soas
not tospookthebirds. lsoconsider a
canoufagelens cover sothat youblendinas
nuchas possibleor, if you'reinoneplacefor
aperiodof tine, you'll ndahideis invaluable.
irds arefar norelikelytofyandperchcloser
toyouif theyareunawareof your presence.
CHNlOUE
OFTHEMONTH...
LLWUR1P1HNUSNPN1YURLNS
SYWR1USNUR1HRRNS
HFINEAecauseof their elegant shapes andforns, birds cannakefantasticne-art

subjects. Shoot against thesky or aplainbackdropfor aclean, unclutteredinageandthenconvert
theinagetononochroneinpost-production. Usea urves adjustnent layer toincreasethecontrast,
or utilisetheodgeandurntools tobringout contrast selectively. Peacocks nakegreat subjects -
franetheshot sothat thebirdsits intheniddleandcapturethesynnetry of its fanned-out plunage.
AEMIN
ependingonthevariety, hunningbirds can
faptheir wings at upto80tines per second
whilehovering. ecauseof this, youcancapture
this super-fast notionwithout havingtousea
tripodor slowshutter-speed-between
Ii200secandIi500secwill befast enoughto
render thebird's body sharpwhileblurringtheir
wings. f your canerasystenallows for
high-speedfashsync, why not conbinethis with
aquick burst of fash 1heshort durationfashwill
freezethewings nonentarily, whiletheslower
shutter speedwill alsoshownovenent.
J
IDINFLIGH
ewthings look as najesticas abirdinfight
swoopingover thecountryside. s withnost bird
photography, you'll needtousethelongendof a
telezoonlens toll thefrane. Successfully
capturinganinageof abirdinfight is, for the
nost part, downtotechniqueandtining. Set
your caneratocontinuous focusingandusea
singleautofocus point totrack thebirdacross the
sky, givingtheautofocus tinetoengage. Select a
shutter speedof Ii500secor faster tofreeze
notionandbecareful not tocropout thetips of
thebird's wings whenfraningtheshot.
2
AIVEID
You'll oftenndthat inorder tocapturethe
noreexoticor rarespecies, atriptoabird
sanctuary, zooor falconry centreis necessary.
1hekey whenshootingat theselocations is to
disguisethefact that thebirdis not inthewild.
Useashallowdepth-of-eldtodisguiseany
enclosures or nan-nadeobjects inthefrane, or
shoot fronlowdownandusefoliageor thesky
as your backdrop. f photographingafalconry
display, afewninutes spent cloningout the
jesses andtassels aroundthebird's ankles gives
theinpressionthat you'vespottedit inthewild.
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st behaviour of akingsher
divingintowater is aspectacletosee. Whileyoucan
useafast shutter speedandhandholdyour canera
tocaptureasinglefraneof this action, whynot try
shootingasequenceandconbinetheinages in
post-production bservewherethekingshers are
divingandset upyour caneraonatripodpointingin
that direction, franingtheshot sothat thesurfaceof
thewater is near thebottonof thefrane. Choose
shutter-prioritynodeandashutter speedof
Ii2000secor above. Whenyouseethekingsher
beginits descent, useburst nodetocontinuallyre
ohshots, beingcareful not tonovethecaneraas
youdo. 1henuseLayer Masks inPhotoshopto
conbineeachinagetoshowthewholesequence.
MGL. 1NYHUSL
TECHNlOUE
OFTHEMONTH...
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TA 5kPTkAP
7
5TA5UETTE
B a a
caaa
a ac ca. Consider shooting
intothelight, exposingfor thesky behindand
renderingthebirds as silhouettes. 1ry toinclude
soneof thehorizonandsurroundings intheshot,
too, for asenseof scale. Younay needtoadd
negativeexposureconpensationtoexposethe
birds as silhouettes. Alternatively, youcanuse
spot neteringtotakeareadingfronthebright
background. Misty lakes at sunriseareagreat
placetoperfect this inpressivetechnique.
8
TEXTUkE5APATTEk5
Moveincloseanduseabird's colourful
plunagetocreateanabstract pattern. Birds'
feathers areincredibly intricateanddetailedwhen
viewedupclose, souseyour nacrolens toget
closeandreveal all of thedetail. f younanageto
get your subject tosit still enough, youcan
photographthefeathers as they sit overlappedon
thebird's body. Alternatively, youcancollect
discardedfeathers andshoot thenlater at hone.
Look for interestingcolours andpatterns toll the
frane, or useselectivefocusingconbinedwitha
wideaperturetocreatecolourful, snoothbokeh.
6
TEkAEPortrait photography isn't just reservedfor hunansubjects -and, just as with
peopleportraits, goodaninal portraits areoftentheresult of great eyecontact. By zooningright in
withatelezoon, youcanll thefranewiththebird's face, whichgives theportrait ahunan-esque
quality. Youwon't beabletoinstruct your subject togiveyoueyecontact -but naketheright noises
andyounight just get their attentionlongenoughtoget theshot. As withall portraiture, focus onthe
eyes anduseanid-apertureof aroundfi8for optinal sharpness anddecent depth-of-eld.
M
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irds
HN
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PRL 201Sl l S1
ds, just ohthecoast of

Northunberland, attracts thousands of visitors
eachyear, nany fockingtheretosee35,000+
puhns that inhabit theislands. visit betweenearly
April andearly July toseethousands of puhns
returningwithnouths full of shtofeedtheir
young. Grassy clihs andblueskies nakefor a
fantasticbackdropandconplenent the
colourful birds well. Useashallowdepth-of-eld
toblur thebackgroundandtry tocaptureaclassic
proleor head-onshot of apuhnwithanouth
full of shif possible.
Youdon't needtoventurefar tocapture

fantasticinages of nativebirds -your back garden
will servenel Lnticethebirds by puttingfeeders
andseeds out onaregular basis -this is knownas
'baiting'. 1ry toplacethefeeders away fronany
distractingitens inthebackground. nceyou've
establishedregular visitors, set upapropfor then
tosit on, suchas alichen-coveredbranch. Youcan
thenpositionyourself inahousewindow, shedor
hide, anduseatelezoontocapturethebirds as
they feed. Dependingonthetineof year, you
couldseeeverythingfrongoldnches torobins.
lt's an easy deo|s|on to opt for the stunn|ng and mu|t|-award w|nn|ng O|ympus
OM-D E-M5 - the on|y d|ffou|t oho|oe you'|| need to make |s wh|oh free-of-oharge
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For a ||m|ted per|od you oan o|a|m e|ther the outstand|ng M.ZlKO DlGlTA| 45mm
1:1.8 Portra|t |ens worth 279.99 or an H|D-6 2-part battery gr|p worth 229.99
on redempt|on w|th an extra B|N-1 battery worth 59.99 wh|ohever you ohoose.
Ava||ab|e from se|eoted stook|sts |no|ud|ng a|| O|ympus E||te Oentres - offer va||d
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*Terms and oond|t|ons app|y. P|ok up a |eafet |n-store or v|s|t
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8ST 0AN8A 0F 2012
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Portrats wth a twst Master ash portrats
ureofaself-portrait. ur
walkthroughguideshowsyouhow.
ddinterestandanbiencebylighting
yourbackgroundswithfashgels
5prng |ands
1eanspringscenicswiththenagic
hourforstunningshotsfull ofcolour
PRL 201Sl DIGITAL5LkPHOTOGkAPHl SS
Get tnepicture Sinplestepstocreativeinages
A A 1S
AA honest,
we'veall hada goat sonepoint
doingit ourselves. Whether on
our ownor withgroups of friends,
takingself-portraits ona nobile
phoneis a regular photophenonenon.
dults nornally refrainfronthis sort of thing
until a night out anda fewsherbets.
1eenagers areconstantly photographing
thenselves inthis way andpostingthe
inages ontosocial nedia sites, like
acebook, whilechildrenwill usetheir iPod
1ouchor their parents' snartphoneto
capturefunny faces oncanera.
1his portrait idea is basedaroundthis
recent crazeandinvolves photographing
soneonephotographingthenselves. While
thetechniques involvedtoproducethis type
of inagearefairly straightforward, thereare
sonethings youneedtokeepinnindto
ensureyouget a decent result.
Your rst considerationshouldbeyour
location. Youwant tochoosea settingthat
nininises refections onthephone's screen.
1his is less of a problenwhenshooting
indoors, but if shootingoutside, look for
areas of shadeor wait until conditions are
overcast. Youshouldalsoainfor a plain
backgroundtonininisevisual distractions.
or this shoot, thelocationwas a gardenon
a cloudy day withthesubject set against a
light grey wall.
nterns of exposure, besuretoset your
canera toaperture-priority nodeas you'll
needtohavenecontrol of depth-of-eld.
Multi-zoneneteringis ne, whileyour
autofocus systencanbeleft tonulti-point
, as you'll want tofocus onthenobile
phoneintheforegroundof theinage. n
terns of lens choice, youwant a short
telephotofor relatively tight franing. 1he
longendof your standardzoonis suitable,
but arguably thebest optionis thehunble
50nnfiI.8standardlens. Whether usedon
a canera witha full-franeor PS-Csensor
(thelatter givinganehectivefocal lengthof
around/5nn), this lens provides a fattering
perspectiveandalsothebonus of a wide
naxinunaperture. 1his neans youcan
Get tnepicture
nakethedepth-of-eldas shallowas you
need, whilethefast shutter speedaids
handholdingif thesceneisn't well lit.
However, there's onethingyou'll needto
dobeforetakingthenaininageandthat's
capturea decent portrait withthephone.
Youcould, intheory, activatethecanera on
thenobile, but your subject will struggleto
control what's visibleonthescreenas
they'reholdingit outstretched. You'rebetter
ohtakinga photoandhavingthis displayed.
s this is a funshoot, adda hunorous
elenent tothephoto. 1his couldbea case
of havingyour subject pull a funny face, or
youcouldgoas far as facepaintingor fancy
dress. kept things sinpleandborroweda
pair of spectacles tobeusedas a prop.
Whentakingthephotoonthenobile
phone, renenber whereyou'reshooting
fronas your backgroundshot needs tobe
takenfrona sinilar positioninidentical
lightingfor it towork best. 1heother thingto
renenber is that your subject needs tohave
thesaneexpressioninbothshots, sodon't
ask thentodoanythingtooelaborateas
they nay not beabletorepeat itl
1akingtheshot onthenobilephoneis
thequick andeasy part as it's fully autonatic
soyouonly havetoconcentrateonthe
conpositionandthesubject's expression.
1henaininagetakes longer, soyour
subject needs tobepreparedtoposefor a
fewninutes withtheir arnoutstretched-
it canget unconfortablesotry toprepareas
nuchas youcanbeforehandandwork as
fast as possible. Renenber, this portrait is
neant tobefunsoensurebothyouand
your subject enjoy it. Not only will it help
keepyour subject's attention, ultinately
it will result infar noreappealinginages.
5tao thesma|| sceen
Noendof peoplearetakingself-portraits onsnartphones and
iPods thesedays, sonext tineyoudotrythis funportrait idea
A Experiment withapertures
todiscover whichis best. Toowideandthe
backgroundis throwntoomuchout of focus,
toosmall andtoomuchof thesceneis sharp.
8ecausethescenewill have
shallowdepth-of-held, watchyour focusing.
Switchtomulti-point AFandensureoneof
theAFpoints sits over themobile's screen.
Oncesettings are
sorted, youneedtoensuretheexpressionis
right andthemobileis positionedcorrectly.
Persevereas it may takeawhile!
Commonpob|emsto|ookout for
TakeaphotoonamobiIephone,
ensuringthesubject is weII Iit -avoidbright,
directionaI Iight andopt for shadeinstead.
bove: Get cIosefor atight cropandaskyour
subject topuII afunpose. Props IikegIasses heIp.
Left: Withtheportrait onthephone's screen,
positionthesubject withthescreenfacing
towards youandstart shootingonyour D5LP.
Pight: Tenminutes is aII you'II needfor this
technique. t theend, you'II haveafunportrait
pIus agreat photoonyour mobiIetoo!
ihoneportrit
unpnoneportrit
P 201Sl l S5
t: nonL 550D
non50nnl1.
Mode: perture-priority
xposure: 1l60se t l
(100)
eIect thescreen
tyrs ptt
ustyoto
your yr or
ustPo/ygona/ asso
Too/ tost rout
o your sr
tkr your sut's
ngers protrudeintothe
screen. ncedone, click
ontheeyeiconagainto
reveal theinagelayer.
J
Maskthescreen
Your selectionwill still
beactiveonyour inage
layer. Clickonthedd/ayer
maskbuttonintheLayers
palettetoaddaLayer Mask
usingtheselection. Your
inageshouldnowsit
neatlywithintheedges of
thescreen, if your selection
was accurate. f not, repeat
theprevious step.
4
Tweaktheehect
or a realisticnish
youcanlower theopacity
of theinagelayer -we
foundaround90works
well. Youcanalsoadd
Hue/Saturat/onand
8r/gntness/Contrast
adjustnent layers totweak
your inagelayer tonakeit
look as if it is displayedon
thescreen.
ddingsreeninPnotosnop
I
Insert your image
GotoF//e>P/aceand
locateyour photograph.
nceinserted, usethe
corner anchor points to
scaletheinagesothat
it's slightly larger thanthe
screen. Youcanalsouse
Ed/t>TransformtoRotate,
SkewandD/stort the
inagetonatchtheangle
of thescreen.
f youndthat theportrait
isn't visibleonthescreen
duetorefections, the
screenswitchingohor
various other reasons,
youdohavetheoptionof
replacingtheinageonthe
screenwithaninage
captures usingthe
nobile's canera. 1he
process is easy andonly
takes a fewninutes...
ee ||e|| s|a||es ta|a|1 c|. www.parasrr|r.rr.aklN1
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Usingfasngels
erest wthco|ouredge|s
ornyour backgroundandinject asplashof colour intoportraitsusingcolouredfashgels
PRL 201Sl DALLkHOOkAHl S
JOkDANEk Shootingportraits usingnatural
light canyieldfantasticresults, but oncethesungoes
down, fashreallycones intoits own. t allows youto
continueshootingintothedarkest hours, retain
control over thedirectionandintensityof thelight,
andtouselow-Sandnid-apertures for optinal inage
quality. s well as illuninatingyour subjects, aburst of fashto
thesurroundings canaddinterest toyour inages andpaired
withcolouredfashgels cangiveyour portraits acreativetwist.
ncaseyoudon't already know, fashgels areseni-
translucent sheets of plasticthat, whenplacedinfront of the
fash, cast colour ontowhatever it illuninates. 1hey needn't
cost anarnandalegeither, youcanevenusecolouredsweet
wrappers toachieveasinilar ehectl
Youwill, of course, needat least oneoh-canerafash, and
sonefornof nethodtotrigger it, this canbedonebya
dedicatedsynclead, or optically(naster fashtriggeringslaves).
1heother option, as 'veusedhere, is radiotriggers. 1hesetend
tooher abetter rangethanoptical triggering, anddon't relyon
thefashguns havingtoseeeachother towork.
1heideaof usingtwo, or three, fashguns at oncenaysound
daunting, but it's relativelysinpleonceyoubreakit down. You
areonlylightingyour subject withonefashgun, as theyarethe
nost inportant aspect of your photograph. Youcoulduse
several fashguns inthebackground, all castingweirdandwacky
colours, but if your subject isn't well lit thenit's not goingtobea
great inage. nceyou'veestablishedthecorrect exposurefor
your subject, youcanintroducethec0olours onebyone.
1
et tnepicture
et upyour key Iight he key light is the one that will be illuninating
your subject. Youcanuse the on-canera fashfor this, but for a nore
fattering light have chosentouse anoh-canera fashwithina snall
portable softbox tothe right of canera.
2
Findyour exposure Select nanual node, choose a lowS, andselect
your canera's nax sync speedanda nid-aperture of aroundfi8. 1ake
a test shot toestablishthe correct power -'ve settledonIi4power after
sone adjustnents. t's a nice shot, but the backgroundis dark andboring.
|
ependingonhemodel of ahgunand
igge ha youaeuing, youmay have
heopionof eingheahexpoue
uingTTL(houghhelen meeing.
Thi mean ha hecameaandahgun
mee heceneanddecideonhebe
oupu powe fo anevenexpoue. The
advanageof TTLmeeingi ha i quick
andeayoue, bu heeul canbehi
andmi a heyemmigh no inepe
helighinginheamewayha you
imaginedi. I alouually onlyavailable
onhemoeexpenivemodel of ahgun.
Manual meeing, onheohe hand,
involve einghepowe oupu fo each
ahgunmanually. I ake abi moeime
opefec, bu youcaneaily ae he
enec ha any change haveonheimage.
Youendoleanalo moeabou wha
wok, andwha doen, hi way oo.
Usingfasngels
Kt: NikonD800witn
85nnfl1.4lens
Mode: Manual
xposure: 1l160sec at
fl8(S100)
PRL 201Sl DIGITAL5LkPHOTOGkAPHl S9
Fn e
, theprocess
is simpIied. niceand
easycreativeportrait
usingashgeIs.
4
AddasecondcoIour or addedinterest, 've addeda secondfashgun,
this tine ttedwitha contrasting redgel pointing at the far wall. s the
wall is around30ft behindny subject, 've selectedfull power. f the colour
is toointense, sinply nove the fashaway fronthe wall.
J
AddsomecoIour Positiona secondfashguntoilluninate the
background. 've tteda greengel tolight the pillar onthe right. s the
fashis a goodI5ft behindny subject, 've selectedIi2 power onthis
fashgun. 1ake a secondtest shot toassess the diherence this nakes.
et tnepicture Springlandscapes
ptureear|ysgns of sprng
inghassprunginsonepartsof theUandthat neansit'stinefor dahodil-lledlandscapes
s theshort days of winter begintofade,
weall start tolook forwardtoafreshnewseasonandthe
rst fushof colour. ahodils, althoughnot therst
fowers toappear inspring, denotethat springis certainly
intheair. 1heir bright yellowtrunpets start toappear
alnost overnight insoneplaces, brighteningupour gardens and
local parks. 1herearealsoanunber of connercial dahodil growers
aroundtheUandtheseasoncanstart as early as January and
followthroughintopril, dependingontheweather. ornwall has
theearliest foweringandelds canbefoundinabundance. quick
internet searchbrings upother locations, althoughnost arestill
foundintheSouthWest. f you'renot lucky enoughtondalocation
closetohone, try shootingdahodil close-ups inyour gardenor
local park, or evenbuy abunchtoshoot outsideagainst abluesky.
f you'relucky enoughtobeabletoshoot ablooninglandscape,
thebest light usually coincides withsunriseor sunset, andthebest
results arefronshootingintothelight. ut if that's not possible,
side-lightingcanalsobeagreat way of capturingcontrast.
DT 5kPOTOkP

FinaI image
Iowviewpoint and
gIorious sunrisemakes
this shot agreat start to
spring-awonderfuI
seasonfor photography.
gthecamerainalandscape
andportrait orientationbeforedecidingon
thehnal composition: youmight be
surprisedat thedinerent results. Youcan
alsoget fantasticvariants of thesame
scenesimply by changingthesky-to-land
ratio, optingfor ahighor lowviewpoint to
theheldof owers or changingyour angle
sothat thelines of danodils cross the
framediagonally, rather thantowards a
centredvanishingpoint. Whiletheorbof
thesuncanact as anadequatefocal point,
alsolookout for subjects liketrees that can
anchor theviewer intothescene.
kdon't neednchfor this shoot,
jst yor reglar landscapeeqipnent.
seda NikonD800Landa wide-anglelens.
Yo'll needa strdy tripod, hotshoespirit
level anda Netral Density gradatedlter
-here sed0.45hard- and0./5soft-edged
NDgradlters. s dahodils arebright and
havea delicatetransparency, it's easy to
overexposethenwhensnlight lters
throghtheir petals, leavingyowithblocks
of yellowanda lack of detail. 1ohelpretain
this detail, opt for a weaker NDgradlter
thanyowoldnornally sefor a snriseor
snset -arondonestopless.
s theexposreis likely tobelong, yor
inages night benet fronyosingthe
Mirror Lock-Upfacility anda renoterelease
toavoidcanera shake.
5T-UP1akeyor tinewhenlookingfor
theright location-whiledahodils shold
soonbespringingpall over theplace, yo
want a locationwhereelds arefshwith
color, ideally withstronglead-inlines, a
focal point andbacklit at either endof the
day. nceyondtheperfect location, try
singa snconpass or snartphoneappto
track thepositionof thesnsoyocanplan
yor visit careflly. Look ot for areas with
nevenfower coverage, too. it night be
that yo'rea littletooearly intheseasonfor
thebest photograph, bt nonitoringfor a
fewnoredays or weeks is all it needs.
fondthis scenelateintheday. 1helight
was toofat for a decent shot bt worked
ot that thesnwoldrisedirectly inline
withtherows of dahodils, so scotedthe
locationfor a goodviewpoint toavoidareas
withpatchy fower coverage. retrnedan
hor or sobeforesnrisethenext day, de
arond6.30an, togivenyself adeqate
tinetoconposeandset p.
TCNOUWithyor canera gear set
p, select nanal or apertre-priority node
(whichever yo'renoreconfortablesing).
Usesingle-point atofocs tofocs a third
of theway intothesceneandset a nid-
apertre(here settledonfiI3) toensre
shcient depth-of-eld. 1akea test shot
andsethecanera's LCDscreenand
histograntocheck for sharpness,
conpositionandblownhighlights, reslting
ina loss of detail inthefowers andarond
thesn. f yo'reshootinginRaw, therewill
bea snall narginfor recoveringhighlight
detail inpost-prodction.
Most nodernlenses haveananti-fare
coatingtoredcetheanont of light that
bonces insideyor lens whenshooting
intothesn. However, if yodohavea
problenwithartefacts andredcedcontrast
andclarity, shoot whenthesnis lowinthe
sky or whenthere's clodcoverage.
5et-up
prinlnsps
Kt ikon00wit
Zeiss 21nnfl2.8lens
oe Manual
xposue 0.8secs at
fl1S(S200)
PRL 201Sl l 4S
Commoneostowtchout fo...
arly inthe
seasonyoumight hndsomeareas not as ush
as others. Taketimetowalkaroundtohndthe
most densely oweringareas.
Whenshootingdirectly into
thesun, lens arecanbecomeaproblem. To
avoidthis, shoot thesunwhenit's closetothe
horizonanduseclouds todinusethelight.
Mid-morningor lateinthe
afternooncanproducelow-contrast light and
very littleinterest inthesky. For thebest light
andcolour, opt for sunriseor sunset.
44l l PRL 201S
Rerorefracons
ot Innutsrabalass o watr, twosts o cardandyour
ltnkt tat's all youndtoacvts strknstlll
KIN5ON.
Looknor a snplstllltotry
ona rany atrnoon, or as part o
your 36potoprojct 'v
ot just ton. 1rar
dozns o ways youcannploy t
rractono lt nyour nas, ronforal
watr droplts tolandscaps troulass
sprs, but ts as ot tobono t
nost strknandsnpltodo.
Ltntlasss rqurs abt o car
andtcnqutonnnsrfctons ron
tsurroundns, but atr tat t's arally
asy soot tat as scopor soncratv
output. nstado nonocron, youcould
spct upwtavbrantly colourdsplt
backroundor takt astpurtr andus
nultplwatrlldlasss. or asnplbut
strknstlllda, wy not ustrwn
lasss nstado on ll ttwo
backroundlasss wtrdwnandwt
wnandpostontwatrlldlass
synntrcally nront. youdon't want to
wastwn(as sonnt call tat alcool
abus), opt or Rbnaandvtablol
nstador tsanrsult. Altrnatvly, ll
trlasss wt ooddydwatr or your
backroundnstad. Always opt or anodd
nunbr o lasss, sucas trat tback
wttwowatrlldlasss at tront, or
norplasnconpostons. oualsowant
tousclar lasss wtsnootsuracs so
tat tlt canbndvnly around, ratr
tantxturdor tntdlasss tat nt
ndr trractonandnanc
dstractnrfctons.
Soowdos t all work By llna lass
wtwatr, you'rcausnany lt wavs
tat t tlass at any anlotr tan90
or 0 tocandrctonas ty pass
trou. 1slt rays rract (bnd)
vnyoutrsult. 1ankully, tou,
youdon't ndtoundrstandtpyscs
totakoodpotoraps
Get tnepicture
ommonerrorsowachou for... |ernavese-up
DI5CONNECTEDLINE5
Part of thesuccess of this shot
hinges onthelineinthe
backgroundmatchingupwith
thelinerunningthroughthe
glass. Eperiment withtheglass
andthecamera's positioningto
get this right.
LACKINGDEPTH-OF-FIELD
Toavoidan visiblepaper teture
but toget theglass's rimandline
infocus, depth-of-heldis ke.
Thecloser thebackground-to-
glass andglass-to-camera
distances are, thenarrower our
aperturewill needtobe.
kEFLECTION5INTHEGLA55
It's all tooeas toget unsightl
reections if thelight sourceis
not dinusedenoughor toofar in
front of thesubject. Tr moving
thelight further behindtheglass,
addingasoftbo andmakesure
surroundinglights areon.
If oudon't havealight tent, ou
canattempt this technique
usingatableandtwo
studioashes or ashguns with
softboes, positionedeither side
andbehindtheglass at 45 to
minimisedistractingreections.
Tr toremoveall reective
materials fromthesurrounding
area, closean curtains andturn
onunnecessar lights toavoid
castingreections. Youma hnd
blackscrims help, too.
2
Adjust contrast 1ov t na nor
npact, try boostn t vbrancy and
contrast. 1odots, otoLayer>New
dustment Layer>Leve/s or vbrance. n
Lvls, nanually adjust t sldrs or us t
Wnte Eyedropper Too/ toclck ont
brtst part o your na. Altrnatvly,
duplcat t na layr nt Layrs paltt
andcan t 8/endMode toSoft Lgnt.
inisninginPnotosnop
I
kemovemarks Lvnwtcarul
polsn, you'll ndyoustll ndtoclan
upt pctur. Zoonintothe inage to
I00-200using cmdand=(Mac) or Ctr/ and
=(PC) anduse the Hea/ng8rusnToo/ or
C/one StampToo/ toget ridof any dust spots,
snudges andwater drops. 1odothis, click a/t
toselect anarea tosanple fronandclick or
brushonthe nark that youwant torenove.
5ETUP
Set your canera tonanual node-here'n
usinga NikonD800andNR50nn
fiI.8, but a kit lens will work, too. As you'll be
usingstudiofash, set theshutter speedto
thecanera's fashsyncspeed-hereit's
Ii250sec-anda lowS. Makesureglasses
arespotless tonininisepost-production.
thecanera will pick upall snudges and
waternarks, potentially ruiningtheinage
without careful renoval inPhotoshop.
nceyouhavethelight set up, ndan
aperturethat gives suhcient depth-of-eld.
youwant thebackgroundout of focus but
theglass's rinanddividinglineinfocus.
Adjust thelight's power toget anaccurate
exposure. Younay ndit easier tofocus on
theglass nanually or tousesingle-point A
onthelinerunningthroughtheglass.
LIGHTING5ET-UP
1hetrickiest part of this techniqueis lighting
theglass toelininaterefections sothat
nothingdistracts frontherefracted
elenent. Backlightingis oftentheeasiest
way andusinga light tent canaideven
illunination. f usinga light tent, youcanget
away withonestudiofashat 45 behind,
positionedclosest tothelightest sheet of
card. f thelightest colour -inthis case, the
white-is furthest fronthelight, chances
arethelight will fall ohanddarkentheedges.
t doesn't natter as nuchif this happens on
thedark background, for obvious reasons.
Gssrrtis
PRL 20Sl DIGITL5LkPHOTOGkPHl
F
ickcropat the
bottomof thegIass's
stemtoremovethe
baseandyou'vegot
yourseIf astriking
monostiII-Iife.
NikD800wit
0nnl.8
Mu
l20s t
l(S200)
DIGIAL LkPHOOGkAPH PRL 201S
DANIELLEANO. Youdon' need
ogor oshoo rcieorl
inges. As springrries, grdens
coneoliendbringorh
bloons ophoogrph. Youcn
lsonipdownohelocl oris, like did,
ndpick up bunchor wohereinsed.
1hererenn ws ocpureowers,
bu his oneinoles dding splsho
honenderin. Youn behinking, Wh
creeour ownrinwhenherel suis
neer r w' Well, ironicll, hebes
ineoshoo his rin sill-lieechniueis
wheni's dr, sooucnconrol herin'
eec ndno ge we inheprocess
or his echniueowork, ouneed
bckligh or herin. Shooingowrds
lowsunis goodw oilluninewer in
heir. As our owers rebckli, ou'll
needoll inn shdows using reecor
or burs o shronno-cner
shgun. Anlernie, idel or oercs
ds or or shooingowers inshdedres,
is ouseno-cner shoillunine
hellingwer. 1his proides nurl
eec h ninics springshowers bu llows
ounoreconrol oer hedirecionnd
srengho hedownpour.
Youcncreeherinin nunber o
ws. Ahndheldpln sprer llows ouo
conrol hedireciono hewer, bu he
droples renendsreks suble. A
weringcnwih nerosedeliers
consn ow, rher hndroples, ndcn
berickier oconrol s heweigh o he
wer n noeheowers. opedouse
hosepipewih conrol noleedon
heend, whichgeneheconrol oer
bohhenoun o wer coningou nd
hesieo hedroples. 1onkeherin
look s nurl s possible, inhesren
owrds hesk soh i lls onour
owers ronboe. Alsor loweringhe
hosesoh herinis ngledslighl, s his
lsogies plesingeec.
Get tnepicture Minicrainonfowers
E-PWihour cnernounedon
ripodndour owers inposiion, conpose
hesho ndocus onour subjec. ncehe
lens is ocused, swichi oMnnul
ocus soh i doesn' hun beween
rnes. Your choiceo eposurenodeis up
ooubu usedperure-priori, selecing
wideperurendusingheSringo
increseor decreseheshuer speedo
r heblur o hellingrin. oundn
eposurebeweenIiIsecndIisec
works well, s i cpures noionwihn
ppelingnoun o blur. 1his will r
dependingonhespeedo hewer ndhe
ligh leels whenoushoo, soeperinen
ndreiewresuls onheLCD.
1heposiiono our shgunis inporn
s i needs ohighligh hellingrin. Shoo
series o eposures, chnginghe
shgun's posiionechineunil ound
heidel spo. Renenber oil hehed
nngleoillunineherin. Alsober in
nindh heshshouldn' beoocloseo
heowers or i will illuninehebloons.
Use shieldsuchs shee o plsic
beweenshndowers oblock heligh.
Se our shonnul nodendIi
power, reo es sho ndcheck heLCD
nonior. Boos or reducepower unil ou're
sisedwihheresuls. Renenber oke
crewihour ki ndproec i ronwer
ooiddnge.
b|ooms
Rereshingrindrops, wrnbckligh ndcolourul buncho
owerscnnkeor nineresingsill-lie, sDniel Lenoreels
HEkE'HEAEk7
If thewater rateis tooslowor the
ashis incorrectly aimed, you
might hndtherainisn't evident.
djust oneor bothandtryagain!
AEkFLOOOkONG
If thewater owis toostrongyou
cancausetheowers tomoveor
havethewater bounceonthe
blooms. Slowit down!
kONGFLAHEFFEC
If theashpower is toohighor
it's tooclosetotheowers, it can
bleachtheblooms. Changethe
ashpositionand!or power.
ommonprob|emstowatchout for
OOFAAHEkPEED
If therainis frozeninmidair or the
streaks aretoosmall, you'veset
toofast ashutter speed, soyou
needtoreduceit.
it considerations
optip
LENCLOH. A
nicrobrelens cloh
llows ouocleno
n sr droples, so
keeponehnd.
kAINCOEk. Don'
risk our ki geingwe
-ines in rincoer
oproec our cner
ndlens. 1hep1ech
Rinsleeeis idel ndcoss onl
NDFILEk. nbrigh
condiions, usenND
ler olenghen
eposureines. Ho,
Cokin, oodnd1ien
redecen ler brnds oconsider.
LEN. Youdon' wn
oge our ki we so
use elephoooon
suchs -nn
or /-3nn.
kIPOD8HEAD. Slow
shuer speeds reuire
sblesurce. Spend
Ior noreon
decen ripodnd
hed. 1heGioos M1L 9IBwih
Gioos MHI is decen conbo.
FLAHGN. Use
nodel wihnnul
power seings. Mos
hehis cili. As
ou'reusingi o
cner, ouneedoconnec i i
cordor wireless rigger. Weused
Yongnuoshndrigger se-uph
cos less hnI-i's euredin
ne nonh's
You'|| ndths technquefar easer f youask
someonetohe|p, partcu|ar|y wthho|dngthe
hoseandrepostonngtheashgun
S 550D
8L 0-200nnfl4L USM
perture-priority
1l15sec at fl6.
(S100)
F
rihiger
drigadr 5e
r her hiei
dr YouareincontroI, areIess
IikeIytodamagekit andyou
canstiII capturegreat resuIts!
PRL 201Sl DIGITL5LkPHOTOGkPHl 4
I
Crtyour oumnt F//e>New r inage
dinensions of your newdocunent. lick OK. Nowgotov/ew>Snow
andnake sure that Gr/dis selected. lsointhe v/ewnenu, nake sure that
SnapTo>Gr/dis enabledas this will nake placing inages easier.
2
Mrkout tyout Select the Rectang/e Too/ and, withyour inages in
nind, create rectangles onyour inage tonark your layout. Pay close
attentiontothe grid-the collage will look nore aesthetically pleasing if
the gaps betweenthe rectangles are the sane size throughout.
onbineacollectionof inages totell astorybygettingtogrips

withclippingnasks tocreateafunkyphotocollage
OkDANTTEk5 collageis
a collectionof twoor nore
inages withina singleinagele.
1hey arebeconingincreasingly
popular withweddingand
lifestylephotographers, as they'rea great
way tocreatively tell a story througha series
of relatedinages.
ollages tendtowork best whenthereis
anunderlyingthenerunningthroughout -
this couldbea holiday, day out or evena
colour. 1onaxiniseinterest, try toincludea
Fn m
done, goto
V/ew>Show>Gr/dto
turnthegridoh. quick
andeasyphotocoIIage!
Get tnepicture ive-ninutePnotosnop
Otr stotry
Youdon't have tostick torectangular shapes
whencreating your collage. Use the ustom
Snape Too/ tocreate unique shapes within
your collage, or tofrane a single inage. You
canchange the colour of the franes between
the inages by selecting the 8ackground
layers inthe Layers palette andusing the Pa/nt
8ucket Too/ equippedwiththe colour of your
choosing. lternatively, why not ll the
ackgroundlayer witha pattern
variety of diherent inages withinthecollage
that showvarious subjects, techniques,
conpositions or types of inagesuchas a
portrait conbinedwitha close-upanda
sceniclandscape.
1helong-windedway topieceit together
is tonanually copy andpasteeachinage
ontoonedocunent, beforeusingthe
1ransforntools toresizeandshift theninto
position. However, Photoshop's preset
shapes andlippingMask featurenakes it a
lot quicker andeasier.
otoLayer>Create C//pp/ngMask toclipthe

inage tothe rectangle shape. Youcanthenuse the Move Too/ to
repositionthe inage withinthat space. Repeat steps three andfour,
selecting a newshape layer before placing eachinage.
nthe Layers palette, select one of your shape layers

andgotoF//e>P/ace. Locate the rst inage onyour conputer andclick
OK. Move the inage intoplace, using the anchor points inthe corners, if
necessary, toscale the inage before pressing the Enter key.

50l II POOPl 201S
MMOKWTR
yeterWilson
amera: ikon300s
Lens: I/-55nnfi2.
xposure: Ii40st fi22(I00)
P. his ws tkn
ftr hvy showr. swth
sunstrtingtork through
thlous nin't hvlong
totkthis photos thlous
pssovr thsun. ushotontrix
ronhotoshop4toit thing.
FO. knwthis ws thk
istrit s soons swthing. hr's
just sonthingout thhrtr of th
r -thenossy dry-stonewalls and
rocky fells -that nakes it instantly
recognisable. alsolikethenoodof the
shot -thesoft colours, that fantastic
bruisedsky andtheshaft of sunlight
breakingthrough. onpositionally, it's not
bad. 1hewall leads theeyeintothescene
towards thepatchof light inthesky andit's
generally well-balanced. 'nnot tookeen
ontheroadcreepinginontheleft as it
nakes thesceneappear less natural (okay,
knowthewall is nan-nade, but it blends
innicely withtherest of thescene). lso,
wonder why Peter sawit necessary toR
this inage oingsohas givenit a slightly
unrealisticlook, but don't seeany reason
why hecouldn't haveprocessedit nornally
andstill retainthecolour anddrana.
1echniques likeRnust beusedwith
careandontheright subject. don't see
classiclandscapephotography as a subject
that needs it. bit of cleaningwas also
required- canseenunerous blobs on
theinages createdby sensor dust without
evenenlargingit. 1hey'reeasy enoughto
renovewiththeloneStanpor ealing
rushtools. 1hesanegoes for thefare
patches onthehill abovewherethewall
androadconverge.
edc. Agrat Iandscap, but thus
o was prhaps unncssary.
OOIO. 1hereis nothing
worsethannot quitebeingintheright
positionwhenthesunsuddenly bursts
throughthecloudandtheconditions
aregreat. 'nsurePeter wouldhave
preferredtohavegot closer tothewater,
but sonetines youjust havetonakedo.
Unfortunately, for ne, this shot doesn't
quitework. 1hewall is a littletoodoninant
and, rather thanleadtheeyeintotheshot,
as intended, keepgettingdrawnback to
theforeground. 1hesky is fantastic, but
there's a bit of fringingaroundthesun.
1herearequitea fewdistractingspots
visible, too. 1heappearanceof noisture
anddirt onthelens areexaggeratedby the
snall aperture. Lastly, 'nnot particularly
fondof theextendeddynanicrange-
it's tooarticial for ny taste. lovethelight
fallingonthehills and wonder if this was
oneof thosesituations whena telephoto
lens was better suitedthana wide-angle
edc. rat Iight andconditions, but
thbaIancisn't quitright and,
prsonaIIy, don't Iikthct.
1ecnniqueslikenust
beusedwitncareandontne
rigntsubject. don'tsee
classiclandscape
pnotograpnyasasubject
tnatneedsitLFRO5T
Ouickcritique
I) Dramaticsky
Peter has done a great jobinrecognising
the fantastic conditions infront of hin.
1he sight of the sunpunching through
gloony rainclouds is the stuhof dreans
for a landscape photographerl
2) Dust anddirt
1here are quite a fewspots of sensor dust
anddirt or noisture onthe lens visible.
adPeter checkedthe surface of his lens
before shooting andspent a fewextra
seconds inprocessing, this inage would
be cleanedupinnotine.
J) HighDynamickange
othof our experts agree that, although
Rhas its place, it has tobe usedwith
restraint andonthe right type of inage.
y dialling back the settings slightly, the
ehect couldturnout nore realistic.
I
2
J
xpertritique
p q
1 NN1 U 1 11 1US
f youwant honest andconstructiveconnents about your inages, sendinaselectionto
. Youshouldsupplyupto25inages onaivalongwithan4contact
sheet of thunbnail inages. ncloseastanpedaddressedenvelopeif youwouldlikeyour
subnissionreturned. achreader whoseinageis publishedreceives afantasticbundle
wortharound65, nadeupof ancneMadeUnionPhotoMessenger andJoby3Way
aneraStrap. or further details visit. www.acnenade.co.ukandwww.joby.con
1R
AZANO
aniel has judged
national photo
conpetitions on
aregular basis
for several years
N1URoSNS
PO55HODDINOTT
Ross is anexpert
photographer and
writer specialisingin
wildlife, close-ups
andlandscapes
P1SP
CAPOLINE
WILKIN5ON
arolineis an
experienced
photographer and
Photoshopexpert
LNSPS
LEEFPO5T
Lee's beena
professional
photographer o
photowriter for
several years
8FON8OFEDBY
DIGITAL5LkHOTOGkAH
LI5NNOR
O5TLIN
' rien
amera:
Lens: XI8-55nnfi3.5-5.6GvR
xposure: 26.8seconds at fiI0(SI00)
DEkEK5A5. 1his long
exposurewas takenduringthe
'bluehour', just beforedark, on
thecoastlineof Liscannor, near
Lehinch, Co. Clare. 1hetidewas
coningin, workingits way intothegorge.
kO55HODDINOTT. 'na sucker for long
exposures andnilky water -yes, it night
becliched, but lovetheehectl think this
is a very niceinage. 1his is a great
viewpoint, andthevertical conposition
suits thelandscapeperfectly -withthe
creviceleadingtheeyeneatly throughthe
inage. alsothink Derek has got the
proportionof sky toforegroundpretty
nuchspot on. My only suggestions would
betolightentheinageslightly andadda
touchnorecontrast -at present, it is
slightly toodark andfat tony eye. lso,
wouldhavenudgedtheconpositionever
soslightly towardtheright, togivenore
spacetothecurveof therock inthe
botton-right corner. s it is, Derek has just
cut intotherock a littletooabruptly for ny
liking. therwise, theshot is very strong-
likethecool-bluehues andtheinage's
atnosphericfeel.
Vedct. nie tmospheriimge.
PersonaIIy, I wouIdhavebrightenedthe
imagesIightIyandaddedatouchmore
contrast, though.
LEEFkO5T. Livingby thesea, 'nnaturally a
bigcoastal photography fan, andthis type
of longexposure, low-light inageis right
upny street. Derek tinedhis shot just right
-thesunhadgonedownsothelight was
very dihused. 1hecoolness inthefailing
light, enhancedby thedensecloud, adds a
nysterious bluecast andthenilkiness in
thewater, createdby usinganexposureof
alnost half a ninute, contrasts well with
thesolidity anddarkness of therocks.
Conpositionally, theupright fornat suits
thesceneperfectly, enphasisingthe
narrowgorge, andtheedgeof thelarger
rock slabontheleft creates a perfect
lead-inlinethat carries theeyeona zig-zag
journey throughthescene. 1heonly thing
this shot is lacking, really, is a focal point.
lighthouseonthehorizonwouldhave
toppedit ohperfectly. kay, accept that
therewasn't a lighthouseor anythingelse
onthehorizon, but becauseof that you're
left wanting-your eyefollows therock
edgebut there's nothingfor it toainfor
andbringtheconpositiontoa satisfactory
conclusion. or sakeof neatness, would
alsohavecroppeda littletighter toget rid
of therock edgethat's just creepinginto
thebotton-left corner.
Vedct. Moody, weII-composedand
weII-exposed-but IackingafocaI point.
'nasucker for longexposuresandnilkywater -yes,
it nignt beclicned, but lovetneeffectlRO55HOINOTT
Dgta dam
CPOPTOPECOMPO5E
t's anazing the diherence that a quick change in
conpositioncannake. 1he gorge acts as a fantastic lead-in
line, but is conpronisedby the curvedrock inthe botton-
right corner. While inpost-processing we can't zoonout to
include the curve of the rocks, as Ross suggested, we can
use the Crop1ool tocropinandexclude the curvedrock
fronview. 1ouse the inPhotoshop, sinply select
it fronthe toolbar onthe left, andclick anddrag toselect the
entire inage. Release the nouse buttonandclick ona corner
anchor point -toretainthe aspect ratioof the inage, hold
downthe ft key while noving the anchor point. nce you
have your newcropready, either press the Enter key or click
onthe T/ck inthe topnenubar toconnit tothe newcrop.
52l DIGIAL LHGAHl L 21S
IH
Miknillips
amera: 5
Lens: Sony/0-300nnfi4.5-5.6GSSM
xposure: Ii400secat fiI0(SI00)
IKEA took this at the
lduckinghanirshow
duringny rst outingwithny
Sony 65l pannedwiththe
planes across thesky andtrieda
variety of shutter speeds tocapturenotion
inthepropwhilekeepingtheshot sharp.
LEEF Great actionshots always look
soeasy totakel 1hanks toautofocus, it is
easier thanit oncewas, but accurate
focusingis only oneaspect of successful
sport andactionphotography -tiningis
alsoparanount. onsideringthis was
Mike's rst najor outingwithhis new
canera, he's donea fantasticjob. 1helead
planeis pin-sharpandclarity is sogood
that youcanclearly seethepilots insidethe
cockpits -bothlookingat thecaneral 1he
cloudless bluesky alsonakes a perfect
backdropandMike's choiceof shutter
speedtorecordsoneblur inthepropellers
was perfect. Without that blur, theplanes
night as well bestationary. t's a shane
therewasn't noreseparationbetweenthe
planes -if wecouldseebothclearly, it
wouldelevatetheshot frongoodto
fantastic. ut if thepilots insist onfying
closetogether, there's not a lot youcando
other thanwatchandhopethat at sone
oucanclearlyseetne
pilotsinsidetnecockpits
-botnlookingstraignt at
tnecaneralLF
point duringthepass they separate. Mike
obviously didwatchvery carefully, but the
chancenever cane. Shootingat a wider
aperturetoreducedepth-of-eldwould
havenadetherear planea littleless sharp,
but at thefocal lengthMikewas shootingat
it wouldn't havenadeenoughof a
diherencetobeobvious.
t t etee e
vei ut teiee-
tuedtit
DAIELLEA 'venot hadnuch
experiencephotographingplanes, but
when'vevisitedairshows andtriedny
handat it, 'vefoundit tobea very dihcult
skill tonaster. 1herefore, 'nawareof the
challenges Mikewill havefaced. nterns of
technique, Mikehas got theexposurespot-
on-underexposureis a risk duetothe
expanseof bluesky. 1hechoiceof shutter
speedis excellent, too, recordingthe
propellers as a distinguishableblur. 1oofast
a shutter speedandthepropeller is frozen,
tooslowandit's blurredbeyond
recognition. 1hefocusingis alsoexcellent,
withtheplanes sharply recorded. What's
not workedsowell is thetining, whichhas
resultedintheSpitrebeingpartly
obscuredfronviewby theforenost plane.
lyinginclosefornation, this is always a
risk -if Mikecouldhavewaiteda little
longer, theanglenay haveresultedin
thenbeingseparatedby sky -althoughit's
inpossibletoknowif this is thecase.
t xeet teique ut te
teti et ie i uied y
te vei e
Ouickcritique
I) 5hutter speed
Mike's choice of shutter speedis spot on
-slowenoughtocapture the blurred
novenent of the propellers, but quick
enoughtorender the planes sharpand
retainseparationbetweeneachpropellor
blade -great jobl
2) Framing
Mike has positionedthe planes using the
rule-of-thirds, allowing for negative space
for the planes tofy into.
J) AIternativeangIe
1he inage couldhave beeninprovedby
separationbetweenthe planes. However,
inreality, this was obviously out of Mike's
control. nsituations like this, it's a case of
keeponshooting andhope for the bestl
I
2
J
Helpingyoutakebetter pictures Lxpert ritique
DIGIAL5LkPHOOGkAPH 5S
HRLOWRR
yStefanScniefer
amera:
Lens: fi3.5-5.6G
xposure: IiI250secat fi4.5(S200)
5TEFAN5A5. 1his was taken
at Harlowarr - lovedthe
colours andhowthered
bandstandcreeps over thetop
of thehedge.
LEEFkO5T. ninportant part of your
developnent as a photographer is creative
experinentation-tryingsonething
diherent, breakingtherules, takinga fresh
look at faniliar subjects andscenes. f it
results insuccessful inages, that's great,
andif it doesn't, nooneneeds toknowl
Stefanwas clearly inexperinentation
nodewhenhetook this shot, decidingto
get downlowtocapturethefowers
against thehillsideandusinga wide
aperturetorecordeverythingbut the
nearest fowers out of focus. idit work
'nnot sosure. lthoughincludingthered
bandstandwas intentional, ndit very
distracting-it takes your eyeaway fron
thefowers. 1hebloons don't occupy
enoughof thefraneeither -they're
squeezeddowntothebottonthird-and
thefowers that aresharply focusedare
tuckedintoonecorner. Moreinportantly,
theout-of-focus areas aren't out of focus
enough. 1his nakes thegreenhedgevery
distractingandit's not obvious which
"Wnocanresist snooting
colorful flowersliketnis
'nnot surprisedStefan
reacnedfor niscanera."
RO55HOINOTT
fowers aresharpandwhicharen't. ll inall,
it's a bit of a junble. t's neither a wide-
angleshot of a gardenor a creativeshot of
sonefowers. s thefowers arethenost
interestingelenent inthis shot, would
probably haveconcentratedonthen,
novedincloser andshot fronlower down
sothat they werecapturedagainst theblue
sky rather thanthehedge.
Verdict. Lots of coIour andaninteresting
point of view, but aconfusing
compositionoveraII.
kO55HODDINOTT. Whocanresist
shootingcolourful fowers likethis 'nnot
surprisedStefanreachedfor his canera.
liketheidea behindthis shot -low
viewpoint, shallowdepth-of-eldandlots
of colour. t shouldbea winning
conbination, but for ne, thereis toonuch
hedgeandbackgroundinthis shot, andnot
enoughcolour andfowers. 1hefowers
only occupy one-thirdof theinagespace.
Whilebeingsoboldwithconpositioncan
provevery ehectiveintheright situation,
don't think it works here. Hadthefowers'
backdropbeensinpler or noredihused
-for exanple, just bluesky -Stefan's
approachnight haveworkedwell.
However, thehedgeis toodonineering,
whiletheredbandstandpokingover the
topis just a bigdistractioninny opinion.
think anevenlower viewpoint night have
workedbetter, withnoreenphasis placed
onthefowers andless onwhat's behind.
Verdict. great subject, but for methere
is toomuchemphasis onthebackground
andnot enoughonthesubject itseIf.
Likes8disIikes...
Likes. Stefanhas optedfor anunusual
approachhere. y getting downlow
andshooting upusing the wide endof his
lens, he has obtaineda unique bug's-eye
viewpoint. 1he inage is punchy, vibrant
andfull of colour, andthe shallow
depth-of-eldensures that the fowers
are the centre of attention.
DisIikes. lthoughthebandstand's
placenent was intentional, it distracts
theviewfronthenainsubject of the
inage. HadStefanoptedfor adiherent
conposition, hecouldhavephotographed
thefowers against thebluesky for a
cleaner inage. slightly lower viewpoint
wouldnakenoreof thefowers, too.
8FON8OFEDBY
Dtal LPotoapwlontatont t t nafor publicationintne
nagazine. Pleasenotetnat wecanonlyaccept inagesbypost. Hereiswnat youneedtodo...
WH niin hnnth it intnt tht yllw gilin tht w
n y ing tly. hit will ll niin ni wnlty ing y
niinwill tntyi ynlnA. wittinniin nl il
ywill ntiy tinil. t ny tgywlliky ing tnlntt Lznt.
jolezano(dennis.co.uk. 1his pageprovides asunnary of our pictureguidelines but for afull set of guidelines, please
enail. jolezano(dennis.co.uk. Whensendingyour subnissions tous, youcanstateontheenvelopewhicharticle
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MG MUR1N
HOWTOM5TEk... US8DWN
58l DIITAL 5LkHOTOkAHl PRL 201S
FINDINTHE5
Weassunethesunrises intheeast andsets
inthewest, but this is only partially true.
Wherever youareintheworld, thesunrises
exactly east andsets exactly west onjust two
dates 2I Marchand2I eptenber. hese
aretheapproxinatedates of thetwo
equinoxes. nall other days, thesunriseand
sunset positionvaries duringsunner the
sunrises northof trueeast andsets northof
truewest, whileinwinter it rises southof true
east andsets southof truewest.
owfar northor southof east andwest
depends onthedateandalsoyour location,
but it changes alittleeachday. At its nost
extrene, abovetheArcticCirclethesunrises
inthenorthandsets inthenorthat unner
olstice(20to2I une) andrises inthesouth
andsets inthesouthat theWinter olstice
(2I or 22Decenber). BelowtheAntarctic
Circletheoppositeoccurs. nthe, thesun
rises at its furthest point southof east
(approxinately40) inDecenber andrises at
its furthest point northof east (approxinately
40) inJune. Sunset occurs at its further point
northof west inJuneandsouthof west in
Decenber. 1hat's ahugediherenceover the
courseof theyear andit nust beconsidered
becauseit has aninpact onthewayascene
is lit. or exanple, BanburghCastlein
Northunberlandis side-lit bytherisingsun
inspring, but inwinter thesunrises behind
thecastleandthrows it intosilhouette. f you
didn't knowthat, younight get ashock
whenyouturnupwithyour caneral
1hechart (inset) shows howsunriseand
sunset positionchanges intheU. Logon
towww.batsys.contoprint oha bigger
versionandndout howtouseit to
establishsunriseandsunset positions
throughtheyear withtheaidof a conpass.
nadditiontothepositionof sunriseand
sunset, youalsoneedtoknowwhenthesun
is goingtopopupover thehorizonanddrop
behindit again. 1here's nopoint arrivingat a
locationat 8.00anif thesunrises at 8.05an
becauseyou'll havenissedthepredawnand
won't havetinetoset upyour gear before
thesunappears. Saneat sunset.
1oavoidthat, keepaneyeonsunriseand
sunset tines -whichvarywildlyacross the
year intheU. nwinter, thesunnayrisewell
after 8.00anandset beforeI6.00pn, but by
lateJuneit will berisingaround4.00anand
settingafter 22.00pn.
1herearelots of websites providing
accuratesunriseandsunset tines daily.
Many weather forecastingsites provideinfo,
suchas www.netohce.gov.uk andwww.
bbc.co.ukiweather, as well as dedicated
sites likewww.canterburyweather.co.uk or
www.tineanddate.con. 1herearealso
loads of apps youcandownload, oftenfor
free, that giveyouthis infornationonyour
snartphoneor tablet andalsopick upyour
locationwherever youhappentobeif
there's network coverage. visit theAppStore
andsearchfor 'Sunriseandsunset tines'.
f youwant sonethingreallysophisticated
andaccurate, thencheckout
photoepheneris.con. 1his anazingapp,
availablefor bothMacandWindows, gives
youaccurateriseandset positions andtines
for thesunandnoonanywhereintheworld,
as well as nuchnoreuseful infofor outdoor
photographysuchas theangleof thelight
andif thesunwill beblockedbyhills at
speciclocations. t costs 5.99for
snartphones andtablets, andis well worth
buying. Youcanalsodownloadadesktop
editionfor free.
ADAMBUR1N
HOWTOM5TEk... DUS8DWN
P
H
PRL 201Sl DIGITALLkPHOTOGkAPHl

THETWILIGHTZONE
ontin fdto cpucul
light, twilight i thillunintionpoducd
whnlight i cttdinthupp
tnophndillunint thlow
tnoph hi piodoccu twn
dwnnduni wll unt nd
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hoizonny low thntht nd(unl
yountonon) it night
f youplnningunihoot, gt to
you loction0to60ninut fo
uni nylight onthlndcpi
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thky, othlndcptk oncool
ct nding hot t thi tinof dy
hvnytiou fl tothn
ncl wth, wnglowwill
pp onthtnhoizonwll fo
uni, whichcontt wll withth
cool light fonthky ovhd hi i
gt tintohoot chcn t low
tid, withthcolou of thky fcting
inthwt ndo ockpool hun
lndcplook gt, too, withthky
niody nodnchitctu
ditionl lndcp ticki tohoot
t twilight cuthcontt twn
ky ndlndi hug, ndvn 09N
gdny not ducit nough
hnot tunningnoningcondition
ctdwhnokncloudi uplit y
thun olou ngfondnd
ongtopinkndpupl, ndthkycn
looklikit on hi dont occu t
uni, thoughcolou pk20to30
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thuncon up
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gugcuit tt whnthundip
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nzingcolou dvlopingndlting
nywhfon fwninut tohlf n
hou fofdingtoluo gy ncl
wth thwill nocloudtouplight,
ut wtchndwit cu wnglow
ny dvlopovthhoizon ht
piodfo 'night photogphy i ctully
duingtwilight whilth till viil
colou inthky ut dylight lvl hv
fddnoughotht nn-nd
illunintioni hctiv nun,
you LRcntill pick upcolou inth
ky fonlight pollution, vnif youcnt
it, odont pck uptoooon
EENTIALIT
Camera. ny nodl of LRwill
uitdtohootingdwnndduk
youdont ndny pcil ftu
Goodntingi ntil ut ll LR
hvtht ulnodwill lo
hndy fo longxpou
Lenses. ngof focl lngth fon
I0nnto200nnwill cov ll you
nd. thwid ndfo nphiing
fogoundndnzingki inth
lndcp thniddlof thngfo
potit, chitctunddtil nd
thlong ndfo nlgingthizof
thun o it i ndt
Tripod. ll wothuingll thtin
oyounv hvtowoy out
cn hkwhnhootinginlow
light o uing longln
kemotereIease. f you cn on
tipod, it nk ntotipth
hutt uing notloyou
dont cucn hk
FiIters. Nutl nity (N) gd
ntil fo tiningthcolou nd
dn of gt ky, whilolidN
lt cnudtoinc
xpou tocodnotionincn
continingwt
Lens shadelhood. Rducthik of
fy hildingyou ln fonty
light whnthuni jut out of hot
u pop ln hood, picof
cdo, if ll lfil, you hnd
keector. f youintndtohoot
potit outdoo, nll folding
fcto uch Ltolitwith
20-30indint will uful fo
ouncinglight ontoyouujct fc
goldfcto will wnupthlight
Compass. hi will hlpyoutlih
wht o wt i if youivt
loctioninthniddlof thdy o in
cloudy wth ndndtoknow
whthuni o t
CIeaningkit. h nuchhigh
ik of fwhnhootingt dwnnd
duk, pcilly thuni o t,
otokptht ik down, younut
nkuyou ln ndlt
clnof dut, dit, noitundgy
ngnk
CIothing. htnptudop
whnthuni lowthhoizonot
pdwnndpot-unt it cn
chilly, vninunn Ly you
clothingtokpwn, w ht if it
coldndglov tokpyou ng
wn f youonthcot o oggy
gound, wlli will kpyou ft dy
ndllowyoutowdintowt fo
tt hot
Torch. f youwnt tohoot uni,
youll oftnhdingtoyou loction
indkn hdtochi invlul
tohlpyouwhyougoingto
voidccidnt hnppli if you
hv fi ditnctowlk ck toyou
c ft hootingunt ndtwilight
HOWTOM5TEk...
60l l PRL 201S
nsnltor ortnny otr

nuns wtr wnor usk wll
ylzns -twtr or
orprsly lou. Ck twtr
orst tnt or wnsoot t
www.to.ov.uk (nst).
tlol orst or your r susts
louovr o 05 tr's stron
posslty youwon't stsunrsor ny
sky olour. tlouovr s orst to
ortn5 yout s wll ort
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on't vtot out o t nunoly
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1owns nts yusy rtyn

nttnost o ty ut t wn
nusktyunrorulous
trnsortonnotospr
nsprnnull o potorppotntl.
Rsrlytopturolnsunlt
strknownsrtstrts n
trownsoltryurs ntosloutt.
Soot pssntrlost nlous o
xust us klt ytrsnsun or
plus llownrotorynys
ntotolornnr. n
vwpont nustlpotolns to
oprss prsptvsoulns s r s
tynsrrowntot
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orslowlyrsn.
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xplornt wns trrwr sns
o orntynyounpturtol
ulns tntrst lt o ty.
But nustrl rs kznwn
sujts too sot osn't ttr wr
youlvrlly.
At totr no ty strt
sootns tsunns tost nkp
onuntl t's rk. 1owrnorn
ulns lookstunnnt twlt wn
tsuns onntyrt t
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lt trls rtytronusyros
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olourlontr t looks rktot
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ottr owny ts wst tr's

lwys sotnspl out tst o
tsun's orsttnjust ovtorzon
lk ll o ol-n s potorprs
wsply n't rsst rnor r.
1suns t ts ost rtwnt's
ntr. ou'll n tlpotolns
-tlonr tttr. 1topno
0200zoowll onoky jo ut
lly youn ol lnto 400.
youn't ott lon ropt.
Currnt DSRs rsooott youn
ortoropnut t tot
t o lonr lns -tout os lt
owyountnnlrt.
or st rsults younsltly zy or
usty ontons. t rus tntnsty o
tsunsoyounsoot t wtout ttn
srous r ut torwll lsos
r tnusul utolt sttrn.
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orlkly tot trt ontons. t
suns vry rt nyoun't look t t
wtout suntn on't vntry tkn
sot s ts rtnss wll nn
younyour ys. lrwll lso
runtsots sot's not worttrsk.
1okopostons orntrstn
look or splturs sus tror
ot onwtr to snso sln
prov ol pont. tsuns suntly
wkny z your r y v
youwllxposrsults wtout tn
or xposuropnston tou
unrxposurs lkly soprprto
l nnytnroIi3toI stop.
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PRL 201Sl DIGITALLkPOTOGkAPl 61
ftenit's worthtakingtherisk.
1heworst that canhappenis youget up,
headout, drivea fewniles, seelots of dense
cloud, drivehoneandhaveyour breakfastl
Lvenif there's littlecloudcover forecast, it's
not unconnonfor what cloudthereis tobe
sittingright wherethesunis duetorise. 1hat
candestroyanyhopes of yougettingdecent
shots, but don't betoohastybecausecloud
does nove. lso, if thecloudisn't toodense,
it naystill beabletouplight higher cloud.
1henost stunningdawnskies tendto
occur whenthere's quitea lot of broken
cloudfor thesuntouplight, but predicting
that basedona weather forecast is alnost
inpossible. f indoubt, gofor it.
Dusk is easier tohandlebecauseyou
canseehowtheweather's progressing
throughtheday anddecideif it's worth
hangingaround. Heavy cloudinthewest is a
pretty goodsignthat sunset is goingtobea
fop, but if that cloudis broken, younever
know. Many photographers havenadea
badcall, only toseeananazingsunset in
their rear-viewnirror as they headhone.
Renenber, also, that there's noretoa
decent dusk thanery colours inthesky. n
cloudy days, oncethesunsets andtwilight
approaches, light levels dropandthesky
fades toblue, creatinga perfect backdrop
for noody long-exposureseascapes and
urbanscenes full of nan-nadeillunination.
RSS HDDN11
62l l PRL 201S
NGNDGkAD5
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S
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PRL 201Sl l 6S
ketwoidentical shots
withyour canera ona tripod-one
exposingfor thesky andtheother exposing
for theforeground-thenconbinethen.
nother is toshoot a sequenceof bracketed
franes fron, say, -2stops to+2stops, then
useanapplicationlikePhotonatix Proto
conbinethenas an'exposurefusion' soit
takes thewell-exposedbits froneachshot
andnerges thenintoa singlefrane. oth
options canproducegoodresults, but it
neans noretineat theconputer.
nuchquicker andeasier nethodis to
usea Neutral ensity (N) gradlter onyour
lens totonedownthesky soit requires the
saneexposureas theforeground. 1hat way,
youget a perfect result in-canera andit will
needlittlepost-productionafterwards.
Ngrads coneindiherent densities -
usually 0.3, 0.6and0.9, whichreducethe
brightness of thesky by one, twoandthree
stops respectively. t dawnanddusk,
whenthesky is particularly bright, youwill
generally needa 0.9(three-stop) Ngradto
achievetheright balance. 1hat said, if the
foregroundinyour shot is water or wet
sand, it will refect a lot of thebrightness in
thesky soyoucanget away withusinga
weaker 0.6(two-stop) Ngrad. f you'renot
sure, usea 0.6gradrst andcheck the
previewinagetoseeif thesky and
foregroundlook okay. avetheighlight
Warningonyour canera enabledsoyou
canseeif areas of thesky areoverexposed.
f they are, but theforegroundlooks okay,
replacethe0.6gradwitha 0.9andreshoot.
f youstart witha 0.9gradandthesky looks
toodark onthepreviewinage, swapit for a
0.6andreshoot.
Ngrads fronprolter nanufacturers
suchas Leeilters conein'hard' and'soft'
versions. t dawnanddusk, hardgrads are
better becausetheir density is nore
consistent across theNpart of thelter,
andyouneedthat becausethesky tends to
bebrightest at thehorizon. Withsoft grads,
thedensity intheniddleof thelter is quite
lowsoit doesn't haveenoughof anehect
onthebrighter sky abovethehorizon.
1ouseanNgrad, set uptheshot with
your canera ona tripodthen, whilelooking
throughtheviewnder or observingthe
LinLiveview, slidethegraddowninits
holder until theNcovers thesky tothe
horizon. Youcanleavetheexposuretoyour
canera -usenulti-zoneneteringand
aperture-priority -andyoushouldget a
well-exposedshot straight ohbecausethe
Ngradlowers thecontrast of thescene
andnakes it easier for theneteringsysten
todoits job. f theinagelooks a littledark,
sinply increasetheexposureby +Ii3stop
or +2i3usingexposureconpensation.
HOWTOM5TEk...
4l DA Al PRL 201S
D
Ligh ll nlllo
nnk oi o
hooingniing ni
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l on nnin.
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hnholo i i .
DfiIter exposure guide
f|tered
exposure
One-stop
NDf|ter
Two-stop
NDf|ter
Three-stop
NDf|ter
Four-stop
NDf|ter
Fve-stop
NDf|ter
5x-stop
NDf|ter
5even-stop
NDf|ter
ght-stop
NDf|ter
Nne-stop
NDf|ter
Ten-stop
NDf|ter
II I I4sec Ii2sec ne second 1wo seconds our seconds Light seconds I6 seconds 32 seconds ne ninute
Ii8sec Ii4sec Ii2sec ne second 1wo seconds our seconds Light seconds I6 seconds 32 seconds ne ninute 1wo ninutes
Ii4sec Ii2sec ne second 1wo seconds our seconds Light seconds I6 seconds 32 seconds ne ninute 1wo ninutes our ninutes
Ii2sec ne second 1wo seconds our seconds Light seconds I6 seconds 32 seconds ne ninute 1wo ninutes our ninutes Light ninutes
ne second 1wo seconds our seconds Light seconds I6 seconds 32 seconds ne ninute 1wo ninutes our ninutes Light ninutes I6 ninutes
L
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PRL 201Sl l 6
1naiaracif aa usk is
clur -nr r Yur ran
surisr sus is likl iclua sk
full f rkcluiuplit by thesun,
or a richglowfrona cloudless sky with
colours radiatingfronorangeandyellowat
thehorizontodeepblueoverhead. 1his
kindof stuhalways looks anazing, but
photographically it's evenbetter whenyou
throwwater intothenix. atchthedawnor
dusk refectingina calnlakeor tranquil sea,
andyou'll doubletheatnosphereinan
instant andll theforegroundwithinterest.
t's not just becauserefections arenoody,
but alsobecausethey helpyounakethe
nost of that colour whether it's subtleor
super-saturated, whereas if youshoot a
typical scenicforeground, it tends tolook
rather blandconparedtothesky becauseit
won't pick upthecolour. Rivers, streans and
canals work well, too, creatingcolourful
lead-inlines intheconposition. Wet sand
onbeaches wherethetideis recedingis also
a goodbet. Youwon't get a vividrefection
init likeyoudoincalnwater, but thecolour
inthesky will bepickedupjust thesane.
1herearenospecial techniques involved
inshootingwatery scenes at dawnand
dusk, other thanbeingawareof therisk of
underexposureduetotheincreased
brightness across thescene. lso, if youll
theforegroundwitha refectioninwater,
usea 0.3Ngradtocover not just thesky,
but thescene, too-everythingdowntothe
horizonbasically -soyoucangiveextra
exposuretotherefectionandprevent it
coningout toodark.
neof thenost strikingbut sinpleshots to

takeat dawnanddusk is thesilhouette.
asically, any solidfeaturepositioned
betweenyouandthesunor sky will record
as a silhouettesinply becauseit's against a
bright backgroundandunlit fronthe
canera side. People, boats inwater,
lighthouses, windnills, buildings, trees,
aninals -pretty nuchanythingnakes a
great dawnor dusk silhouette.
Usea telezoontonagnify distant
features, but keeptheconpositionsinple
andensuretherearegaps betweenkey
features as overlappingshapes will appear
clutteredandconfusinginsilhouette. f you
set your SLRtoaperture-priority, you'll
probably ndthat youget perfect
exposures just by leavingeverythingtothe
canera. 1hat said, if thesun's inshot there's
a risk of underexposure, sodial in+Ii3or
+2i3stoptoconpensate.
L
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PRL S
ineis tight at dawnanddusk. 1helight

changes radically frononeninutetothe
next as thesunrises or sets, andeach
pernutationohers diherent photo
opportunities. Colours intensify, changeand
fade, thesunnay dipinandout of cloud.
Get tothelocationinadvanceof when
youneedtobethere-at least 40ninutes
beforesunriseas thesky colour oftenpeaks
well beforethesunappears andanhour
beforesunset soyoucantakeadvantageof
thelowsunandrakinglight. f it's a new
location, naybescout it out theday before,
or earlier intheday, if you'replanningto
headback at sunset, tosuss out options and
put a ganeplantotogether.
great benet of digital caneras is that
youknowwhenyou'venailedagreat shot,
soinsteadof foggingit youcannoveonto
thenext one, changingyour lens, viewpoint
or conposition. Gowider or longer, look for
diherent foregroundinterest, tilt thecanera
uptoenphasisethesky, turnit onits side
andshoot inportrait as well as landscape
fornat, naybeshoot asequenceandstitcha
panorana. f thesunpeeps out andis too
bright, hideit behindafeatureinthesceneby
gettinglower down, or turnandcapturethe
light onthelandscapebehindyou.
t's not hardtotakeadozenor noregreat
shots duringagoodsunriseor sunset, but if
youdally you'll niss out. 1oproveit, Leerost
nippeddowntooneof his favouritelocal
locations -thelnLstuary inlnnouth,
Northunberland-tocapturethedawn.
1) sompostonmkstro tsk
pIngnoIsngot ntorgronn
rHiII inthedistancetoaddafocaI point.
.6NDhardgradbaIancestheskandforegrond.
) WiththecameramoedsIightItotheIeft, some
of thehosesintheiIIageareincIdedtoadda
senseof pIace, hiIethemooringropeorks
better asaIead-inIine.
3) Moingtothesideof theboat changesthe
reIationshipof eIementsiththeboat andhiII
baIancingeachother niceI. 5itchingtoaider
IenscaptresthecIodformationsoerhead.
4) WiththeskchangingandimproingaII the
time, LeeheadsbacktotheoriginaI iepoint to
captretheboat beteenthehiII andhoses.
5) Withthetidegettinghigher thereectioninthe
caImater isimproing. 5:5spIit beteen
skandforegrondcreatesasimpIecomposition.
TheNDgradisadjstedaccordingI.
6)TiItingthecamerapshiftstheemphasisfrom
theforegrondtothesk. Theboat inthemiddIe
distanceaddsscaIehiIethehorizonpIaced
roghI1l3pmakesthecompositionbaIanced.
7) WaIkingbeondtherst boat totheater'sedge
proidesacIearer ieof thedanskreectingin
theestarhiIethechanneI beteenthemd
atsof theestarbedbreaksptheforegrond.
1
3
5
7
4
6
ovingcIoser totheboat
makes it moreprominent inthe
frame, whiIeturningthecamera
onits sideheIps toemphasise
thesky. mooringropeaIso
creates asubtIeIead-inIineto
carrytheeyeintothescene.
PR 201Sl l 69
insaretougnforall ofusattnenonent, sownileourpassionforpnotograpnynaynotnavedininisned,

ourpnoto-expensesbudgetissuretonavetakenanit. 1nerefore, spendingournard-earnedcasnon
expensivenewopticsortnelatestgazillion-pixel DSLRisunlikelyforall buttnenostfortunate. However,
tnerearenanylow-costproductstnatclaintoonerusacnancetoexpandourcreativeoptionsand
captureinagestnatbelietneirrelativelylowpricetag. nudgetPnotowetestlow-pricedpnotoproducts
todiscoveriftneydeliverontneirproniseofallowingfantasticpnotograpnyonaverysnall budget.
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tursn't ovry popur. or sn
spo us notnons osto
nnnsnstnrntsuttr
v rnotrs.
WhilesoneSLRs work withaninfrared
renotethat is ainedat a receiver on
thefront of thecanera, the
najority usea cordedrenote
that is connectedintoa
socket onthesideof the
canera. 1heseelectronic
renotereleases range
fronthenost sinpleunits
tonodels boastingseveral
sophisticatedfeatures. s
withall types of accessories,
narqueunits tendtocost far
norethansinilarly speciednodels
fronindependent brands. Withbasic
nodels, you'dlook at around40for a
big-brandedrenoteand25for an
independent likeHahnel or Hana.
JUGNGY1Henails we've
beenreceivingsincewebegan
the series last
year, it seens that we'rea
nationof bargainhuntersl
Not surprisingreally, consideringhow
we'rehavingtotightenour spending
duringthesetoughecononictines.
positiveof our thriftiness is that we'renore
inclinedtotakea ganbleandtry out
cheapieproducts that we'dnornally avoid.
ur series takes therisk
away fronyouhavingtobuy unknown
products by allowingus toput ahordable
andunbrandedbits of photokit tothetest.
Reader hristopher avies askedus
whether well-speciedelectronictiner
renotereleases soldonlineat websites like
nazonandebaywereworththerisk.
Well, hristopher, weorderedacoupleof
renotes -oneconpatiblefor anon, the
other for Nikon-tondout whether it's
worthyoubuyingone. ur ndings proved
veryinteresting, but beforewereveal then,
let's providesonebackgroundas towhy
renotereleases aresuchuseful accessories
andwhat types youshouldconsider.
1heprinary functionof a renoterelease
is tonininisetherisk of your inagebeing
ruinedby canera shakewhenusingslow
shutter speeds withthecanera nounted
ona tripod. Whilethetripodprovides a
stablesurface, thephysical contact
of your nger pressingthe
buttoncancreateenough
instability tocauseblur,
especially if your tripod
isn't a particularly good
nodel. Youcanusethe
self-tiner as theten-
seconddelay should
ensureany shakeis
elininated, but it's not ideal
havingtowait beforeeach
exposure, especially whenshooting
fast-changingscenes likesunsets. Many
noreadvancednodels alsosport a nirror
lock-upfacility toreducetherisk of shake
frontheactionof therefex nirror, but this
B
U
D
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T
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O
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O
or top-endrenotes full of features, you
couldexpect topay between80-I50.
Sowhileindependent renotes werenuch
cheaper thanthebig-brandedunits, they
werestill quitepricey. nother words,
decent-valuerenotes wereavailable, but
nonecouldtruly bedescribedas bargains.
1his is nolonger thecase, though.
nthepast, spendingunder 30ona
renotewouldget youa bog-standard
version-onethat ohers a shutter-release
buttonwitha lock facility, usedwhen
shootinglongexposures withthecanera's
ulbnode. ut sonethingchangedinthe
last year or so, withadvancedrenotes no
longer requiringserious investnent. Where
younight haveoncebeenleft withlittle
changefronI50, today youcanbuy a
fully-featuredrenotefronanunknown
brandfor under 20-that's evenless than
thepriceof a basicnodel frona reputable
brandl 1oogoodtobetrue asedonour
r remotes oneredanexcellent rangeof features, as follows:
5hutter re|ease: 1his works thesaneway as your canera's
shutter button. Partly depress toactivatethecanera's netering
and, press fully toretheshutter.
Lck: Whenusingulbnode, youpress theshutter buttonto
start theexposureandreleaseit toendit. Usingthelock button
neans youdon't havetokeepthebuttonpresseddownwhile
shootingexposures runningfronseveral seconds toninutes.
Whenyouwant toendtheexposure, releasethelock facility.
Interva| tmer: Shoot a sequenceof inages at set tine
intervals, whichyoudeternine. Whenusingthis facility, youset
thenunber of franes youwant thesequencetocapture(fron
oneto399, or unlinited), andtheinterval betweenfranes
(frononesecondto99hours, 59ninutes o59seconds).
De|ayedstart: f youwant todelay takingpictures, youcan
set a delayedstart of upto99hours, 59ninutes o59seconds.
5) LCD||umnatnlLck: Press toilluninatetheLwhen
shootingindinlight. Holdtoactivatea lock that prevents
accidentally pressingbuttons.
6) Re|ease|amp: Lights upwhentheshutter has beenred.
7) udb|ebeep: Sounds whentheshutter has beenred.
anbeswitchedoh.
kemotefeaturesexpIained
keader suggestion...
s a regular reader, notethat a renote
releaseis oneaccessory that is oftenused
by your experts. 'vedecidedtobuy one
that ohers a widerangeof features,
includinga tiner facility, but was shocked
at hownucha conpatiblerenotefor ny
Nikon3200costs. rethecheap,
independent products any good
opner Dav/es, L/nco/nsn/re
Cha||engee: aniel Lezano
udget: 20
Theme: 1iner renote release
l0YOUKNOW7
o to not
ss w v,
necnanical releases wereused.
1nenost popular was tne
cablerelease, wnicnscrewed
intotnesnutter-releasebutton.
Press tnetrigger at tnetop
anda cablewitninnres
tnesnutter button.
ner RenoteReleases
PRL 201Sl l 1
boveIeft. ProPoss Hoddinott foundthe
EZ-Ni workedperfectIywithhis Nikons.
Inset. Connect theremoteviathesocket.
Ensureyouget theright typeas pIugs diher!
Above. UsearemotereIeasetoheIpminimise
theriskof shakewithIongexposures.
txprcs ttpar tat
orr ot s't. 1yp'Norot'
or 'Caorot' oAazoor bay a
you' bprsttbrarots
tosfrostabsbras Ha
asr aHaa aa ut of Cs
rots tat a oo vry sar fro
uobras Soot Nr a
Youo. t's y taorty of ts
oratfrotsaaufacturr.
Worrtorots froAazo.
1YouoMC6iCfor Cao) cost us
. ccuxtay 'Pr'
vry a as scovr a par of
AAAbattrs. 1Nocopatb
LZA-NI Digital 1iner Renoteis unbranded
andcost only II./9includingpostage,
althoughnobatteries weresuppliedand
theLCDarrivedwithout thepeel-oh
protectivecover andhas ninor scratches.
Bothnodels look identical apart fron
thebrandnaneandthepackaging.
bviously, bothhavediherent plugs onthe
endof thecordtot their relevant caneras.
Whenordering, youdoneedtonakesure
not only that it works withyour brandof
canera, but alsothenodel. Dependingon
your DSLR, your renotesocket will bea
nini-jack or a nulti-pindesign, sobesure
therenoteyouorder has therelevant plug.
Bothsport identical specications andit
has tobesaidthat thechoiceof nodes
leaves youwantingfor little, witheverything
fronBulbnodetointerval tiner available
(seeRenotefeatures explained, opposite).
1hebuildquality of bothis surprisingly
good, withtheall-plasticcasings feeling
reasonably robust andthebuttons and
Renotes rangeinfeatures andfunction.
Herewecover thenainvetypes.
asic cordedremote
Has ashutter releasewithlock.
Adecent budget buy until our
featurednodel was discoveredl
asic wireIess remote
1hin, lightweight renotethat
triggers theshutter viainfrared
witharangeof aroundI0n.
Advancedcordedremote
1hetypetestedhere, withtiner
features that addtothe
versatility. Seepanel above.
AdvancedwireIess remote
Sinilar features tocorded
nodels, but canbetriggered
fronadistance. Many oher the
facility totrigger fashandstudiofash, too.
ProfessionaI wireIess remote
Designedtotrigger thecanera
fronarangeof I00nor nore.
Sophisticatedfeatures include
notiontriggeringtocapturewildlife. very
expensivebut incredibly versatile.
Want toknowhowour tworenotes
conpareinpricetobetter-knownbrands
Belowarenodels oheringasinilar range
of features, includinganinterval tiner.
CanonkemoteControI
CabIeTC-80NJ
Guideprice. I50
Street price. I20
Multi-pinrenotefor use
withenthusiast opronodels. hers a
rangeof features andan80cncord.
NikonConnecting
CordMC-J6
Guideprice. I62
Street price. I30
Clearly thenodel our
renotes weredesignedon. Looks identical,
has sinilar features, but costs far nore.
HamaTimer kemote
keIeaseDCC5ystem
Guideprice. 60
Street price. 50
Boasts acordwith
connectionplug. Choosetheplugthat
suits your canerafronthesuppliedcords.
HahneI GigaTProII
WireIess Timer kemote
Guideprice. /5
Street price. 60
Handheldrenoteconnects
wirelesslywithhotshoe-nountedunit
pluggedintotherenotesocket.
Phottix Tk-90DigitaI
Timer 8kemoteC8
Guideprice. 55
Street price. 50
1his nodel looks identical
toour unbrandednodels andis availablein
CanonandNikonttings.
Pricecomparisonchart
Typesof remotereIease
R
S
S
H
D
D
1
1

eaction.
1heLpanels arelargewitheasy-to-
readdigits. 1hey evensport anL
illuninationbuttonfor useinlowlight.
1heinstructionnanuals providedwiththe
renotes arevery good, too, withdetails of
howtoset thevarious nodes provided
withdiagrans andsteps. 1heonefacility
that is nissingis anhbutton, so
youdoneedtonakesurethat
your renote's tiner isn't active
or thebatteries will be
drained. deally, takethe
cells out whennot inuse.
eforenovingontothe
noresophisticatedfeatures,
it's worthpointingout how
useful theshutter releaseand
lock facilities are. or landscapes,
usingtherenotes toretheshutter is
ideal whenyou'reusinga snall aperture
for naxinundepth-of-eld, or when
shootinginlowlight. 1helock facility is
usedwhenyou'reusingtheulbnodeto
shoot very longexposures runninginto
several seconds or ninutes. s you'll nd,
as soonas youslidethelock inplace, the
budget renotes evendisplay thetine
elapsedonthescreensoyoudon't needto
estinateexposuretines.
1herenotes' tiner facilities coneinto
their ownwhenyouwant totry out creative
techniques. Shootinga sequenceof a
subject over tinetoshowhowit changes
is popular withnaturephotographers when
they want toshowa plant growing
or a fower openingandclosing.
1hesecanbeshowntogether
as a set of inages or nerged
intoa short videosequence.
Star trails arealsoa
popular choiceof subject for
tiner sequences. gain,
videos canbenadefronall
theinages toshowthe
novenent of thestars inthenight
sky, but another popular technique
involves 'stacking' theinages together so
that thenovenent of thestars ineach
inagenergeintovery longtrails. Sone
wildlifephotographers alsouseit toshoot
sequences of a sceneover tinetosee
what aninals arevisitingparticular
locations. 1hesearethenost popular uses
for tiner shots, but therearenany other
ways a renotetiner canbeused, fron
nountinga SLRtoa car andshootinga
long, short-interval sequenceshowinga
journey, toshootinga sequencethat is
nadeintoa videoshowingconstruction
of a buildingfronstart tonish.
dnittedly, tiner sequences arenot
sonethingthat youaregoingtodovery
often, whichis why we'dnot nornally
reconnenda renoteof this typeas a
worthy purchase. ut consideringwe
always suggest youhavea renoteinthe
kit bagtousewhenshakeis a risk, then
thesetiner nodels, whichcost the
saneor evenless thannost basic
renotes, nakea lot of sense. nterns of
a bargain, thesetiner
renotes areright upthereas oneof the
best buys youcannake.
B
U
D
G
E
T
P
H
O
T
O
GOT
5UGGE5TlON7
avea idea
you'dlikeus totry out
nail your suggestions to
dslrfeedback(
dennis.co.uk, titled
'udget Photo', andwe
nay try it outl
Pemotes withtimers reaIIycomeinto
their ownwhenyouwant tobemorecreative
thansimpIyshootingaIongexposureusingthe
uIbmode. Themost popuIar usefor thetimer
is for shootingasequenceof images that can
bestackedor madeintoatime-Iapsemovie.
5tar traiIs areoneof themost popuIar subjects.
iner RenoteReleases
PRL 201Sl DIGIALLHOOGAHl S
imer tips
heintervaI timer
1) eoreshootingaIong
sequence, haveacoupIeo triaI
runs soyouget togrips withhow
theintervaI timer works.
2) Whenusingshort intervaI times,
takeintoaccount theexposure
time, thecardbuher writingtime
and, i usingNoisePeduction, any
additionaI processingtime,
especiaIIyi shootinginPaw.
3) Mergeyour images intoashort
time-Iapsevideousingsotware
IikeOuicktimeProor Piscada.
4) I you'reshootingstar traiIs ona
coIdnight, Ieaveyour kit outside
or haI-an-hour beorehandto
accIimatiseit andprevent
moistureormingontheIens.
5) Makesureyouarehappywith
exposureandocusingbeore
startingaIongsequence. You
won't beabIetoreviewtheresuIts
untiI theendo thesequence.
tiner facility allows youtoshoot the sane
subject or scene at set intervals over a periodof
tine. Younight want tocapture a fower
opening andclosing as a series of inages, fruit
deconposingor a scene transitioningfrondusk
todawnthennerge thenintoa snall video.
lternatively, younight want toshoot a
sequence of inages of the sky at night tonerge
later tocreate star trails. Using the interval tiner
is relatively straightforwardsoit shouldbe easy
toget the hang of. However, youdoneedto
understandthe purpose of the four naintiner
paraneters, explainedbelow.
DELA. Howlongbeforetheshutter is released
for therst tine. Nodelay (ie0seconds) is
requiredif youwant tostart shooting
innediately.
INVL(IntervaI). 1hetinebetweeneach
exposure. Youcanset anythingfronasecondto
99hours, 59ninutes and59seconds.
N(Number). 1henunber of exposures youwant
inthetiner sequence. Youcanset unlinitedsoit
keeps shootinguntil youswitchit oh(or the
battery runs outl).
LONG. Whenshootingwiththecanerainulb
node, usethis settingtoset anexposuretine. f
youareshootinginnanual, shutter- or
aperture-priority nodethenleavethis set tozero.
EINGHEINEVALIME
I) ydeauIt theindicator ontheLCDis
normaIIyunder DELAY. If you'venever set the
timer before, theLCDwiII show00:00'00''.
2) Toset adeIay, press 5ETandtherst
doubIe-zero(hours) ashes. UsetheIeftlright
arrows tonavigatebetweenhours, minutes
andseconds andtheupldownarrows to
increaseor decrease. Oncedone, press 5ET.
J) UsetheIeftlright arrows tomovethe
indicator aIongtoLONGandpress 5ETtoedit
theIengthof theexposureinthesameway.
4) 5eIect INTVLandusingthesameprocess,
set theIengthof thegapbetweenexposures.
Herewe'veset aninitiaI deIayof oneminute
foIIowedbyexposures of 30seconds withve
minutes betweenexposures.
5) 5et thenumber of frames youwant totake.
If your memorycardis empty, set tounIimited
andIet theintervaI timer runcontinuousIy
untiI you'resatisedyouhaveenoughimages.
6) Withthetimer set ontheremote, turnyour
attentiontothecamerasettings. Your main
concerns arefocus andexposure. We'd
suggest manuaI focus, especiaIIyif shootingin
thedark. Focus onthescene, thenswitchthe
Iens toMF. Interms of exposuremode, choose
aperture- or shutter-priorityif shootingin
dayIight, or manuaI anduIbat night. Takea
test frametocheckyour exposure. When
ready, press theremote's 5tartl5topbutton.
ongnuoMC-J6lC
imer emoteControIIer
Gu/der/ce. L9.99
Comat/b///ty. |eatures a n|n|-p|ug
ac| and|s statedas conpat|o|e w|tn.
CanonEOS. 000D, b00D, 4b0D,
400D, Jb0D, J00D. (/|sowor|s w|tn
tne Canon|OS bb0D86b0D
Pentax. |?0D, |?00D, |0D, |00D
Samsung. CX-?0, CX-0
Cord/ength. /pprox|nate|y 90cn
Su//edaccessor/es. ?x ///
oatter|es and|nstruct|onnanua|
We/ght. 8J grans (w|tnout oatter|es
S/ze. bbx40x8nn
EZA-NI DigitaI imer emote
Gu/der/ce. L.9
Comat/b///ty. |eatures a nu|t|-p|n
p|ug. statedas conpat|o|e w|tn.
N/kon. D?00, DJ00, DJ00s, D00
Fuj//m. ||neP|x SJ Pro, Sb Pro.
Unconhrnedreports states a|so
conpat|o|e w|tn.
N/kon. D-ser|es. D?-ser|es.
DJ-ser|es. D800
Cord/ength. /pprox|nate|y 90cn
Su//edaccessor/es.
|nstruct|onnanua|
We/ght. 8J grans (w|tnout oatter|es
S/ze. bbx40x8nn
udget hotoremotes
1
2
3
5
4
6
201Sl l
you'restukorpotoinspirtion tenournontlyllenenyejustwt
you'relookinor. WeselecttnreepnotograpnersfrontneDigital SLRPnotograpny
teanandcontributorseacnnontnandtasktnenwitncapturinganinagetnatusesan
ordinarynousenoldobject. 1nelatestcnallengeseesRossHoddinott, Jordanutters
andPaul Wardtrytocaptureacreativeinagetnatincludespencils
#I0

're
looking toaddcreativity toyour photography, thenyou'll
ndit eveneasier toget the results youwant by using the
best possible kit. 1he NR-S /0-200nnfi2.8GLDvR
boasts a versatile zoonrange, fast fi2.8naxinunaperture
andclass-leading optics. t alsoincludes Nikon's Silent Wave
Motor for ultra-quiet autofocus andvibrationReduction.

: www.nikon.co.uk
kecommendedkit
NLS
IPPD
yRossHoddinott
Camea: Nn00
Lens: NS0i2
5oftwae: t
ft. 5ti-ies area
about preparatio
aarragemet.
t tookmeawhieto
sharpeacareuy
arragethepecis.
Far Ieft. Without the
extraiusioi
rot o thewiow
apoarisigter
thecatchights o
thegossypecis
was istractig.
ottomIeft and
centre. yigthe
ramewiththe
pecis createa
abstract image.
KeepingthepenciIs
andIens onthesame
focaI pIanegaveme
gooddepth-of-eId.
I trieddiherent
compositions and
angIes, but feIt that
theresuIts were
Iackingincreativity.
eIowright. t
rst I optedfor a
Iowviewpoint and
shaIIowdepth-
of-eId. However,
I wasn't sureif the
arrangement
resembIedazip
sumcientIy.
Opposite. MynaI
shot has pIentyof
impact thanks toits
symmetry.
N1NS1t
ynwtunns
n uy tnn ut
ny ts tssst y tw
tts unntus
y nsss ns -not totake
photographs. Let's faceit. pencils aren't the
nost excitingobjects tophotograph, but
that's all part of theCreat|ve|yechallenge.
loveshootingclose-ups, soyouwon't
besurprisedthat the-S MicroNR
I05nnfi2.8G-vRwas ny lens of
choicefor this challenge. y shooting
frane-llingclose-ups, youareableto
isolateyour subject for anabstract,
revealingcolour anddetail. olour is a
particularly inportant ingredient, sodon't
overlook theinpact it cangiveyour shots.
runnagedthroughny daughters' art
drawer andfounda nunber of brightly
colouredpencils, beforespendinga few
ninutes sharpeningthenall.
1his typeof inagerelies conpletely on
thephotographer's creativity -theway in
which arrangedthepencils wouldeither
nakeor break thepicture. Withstill-lifes,
youareincontrol of every aspect andyou
haveto'nake' thepicturebeforeyoucan
takeit. hada fewideas, but alsohada
quick look onlinefor inspiration.
'na unconplicatedperson, so-
whenever possible- liketokeepny
set-upsinple, too. nthis instance, felt
windowlight wouldsuhce, so began
arrangingthepencils onthefoor infront
of ny patiodoors. grabbeda bright, white
tray fronthekitchenandalsoa black piece
of cardfor netouseas a contrasting
backgroundfor thepencils. t was cloudy
outside, sothelight lteringinwas
pleasantly dihused. However, theglossy
paintedpencils arequiterefective, soto
avoidany distractingcatchlights, draped
sonenuslinover thewindows todihuse
thelight further. alsoattacheda polarising
lter toelininateglareandnaxinise
saturation. Withthis done, got busy
arrangingthepencils - startedby placing
a nunber of thensideby sidetocreatea
colourful patternof lines. 1ogeneratea
focal point, includedthepoint of a single
pencil - optedfor red, as this is a strong,
'advancing' colour. Usinga tripod,
positionedny Nikon800directly
overheadandselectedanapertureof fiII
toensureeverythingwithinthefranewas
recordedsharply. trieddiherent
conpositions, placingthepencil tipat
diherent points withinthefraneand
photographingthepencils vertically,
horizontally anddiagonally. 1heresults
werebright andcolourful, but not
particularly creative, so decidedtotry
sonethingelse.
neidea hadseenbeforewas pencils
arrangedina zipfornation. got towork,
arrangingthensothat thetips interjoined.
thenplaceda netal pencil sharpener on
thepencils toninica zipper. optedfor a
vertical conpositionand, again, lledthe
franesothat theinagespaceoverfowed
withcolour andtrieda fewdiherent angles.
ingo-this lookedfar norecreative. Job
doneandjust intine-thegirls weredue
back fronschool any ninuteandwould
want their pencils backl
DIGITL5LkHOTOGkH
PNLS
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Camera: D
Lens: 5f.55.
5oftware: AC5
DIGITL 5LkHOTOGkH PRL 0
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a hh nil a happ ihh
ppiann a ingph
lighing a inpl-ligh -p
n k ligh a a ahgna half p
hinghgha nall f a
anhlf f hana hnaa
nahgnina nall hnna
ipf high anhinh
al ala half p hi la a
a kik ligh ananiinn
nl hiha nlf
aihn Ninninnanal n
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apf ff pinal hapn ana
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nih hn apa
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inpiinana n plighl
nfan nakha ha
nhingha kihhaing
plahpnil inhnilf h
pap pfanlkhana
nanal fingfiggingh
h anikl ninginpiin
Af ainghinag ha
nhing a happ ihanl
nnpinghnal inag
hghhal nil
fnhinagha ank
ih Af inpinghlinA
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lighl anaighnhinaging
haighnl fpninghl
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n khna nla nhinag
hanfnl aj h
alanahaingha i
a ll ihinhinag hnaa
l ajnn la hinagla
anhWhipin pp
ha hpap ha hihi
naha lninghaingan
inaggh a pain-f N
aa lignah
i inhaing fainga
C ajnn la anakingh
na lighl inall hapnh
inagingannhapak all n
pningn ain Li an
lain ha a lal inpi A-ha
nii nlal
fa ngnn ha
impIe
homee-p.
ashguninasmaII
softboxactedas the
keyIight, whiIethe
smaII homemade
stripsoftboxonthe
right addedII and
denition.
MyinitiaI
sketchwas donethe
oId-fashionedway,
usingpenciI and
paper. I usedastock
imageas reference
whendrawingit.
However, when
scannedin, thepenciI
Iines wouIdn't have
stoodout frommy
imageenoughfor
myIiking.
With
theD7000set to
seIf-timer mode, I
movedintoposition
beforetheshutter
red. I set thecamera
toreaseries of ve
shots, aIIowingmeto
changetheheight
andangIeof the
penciI beforeeach
onesoat Ieast onet
withmydrawing.
This
is thenaI shot
straight out of
camera. It tookquite
afewattempts toget
myhands andthe
penciI intheright
positiontointeract
withthedrawing.
LNS
N
yaul Ward
amera: D
en: Af.LD
5fare: AbC
ft.

Kenko
extensiontubetomy
Iens tomagnifythe
subject.
Far Ieft. This was
myaIternativenaI
image-I dripped
somegreenpaint
ontoapenciI without
theIizardandadded
thedrops tothe
chameIeonimagein
Photoshop.
Left. I usedasingIe
5trobeambattery-
poweredstudioash
toIight boththe
chameIeonandthe
penciIs. This simpIe
set-upmadeit easy
tomatchtheIighting
frombothshoots for
anaturaI resuIt.
Mainimage. few
minutes spent
seIectingand
adjustingin
PhotoshopandI had
mynaI image-a
funandquirkytake
oncoIouredpenciIs.
kight. Ithoughthe
chameIeonsat stiII
for acoupIeof
minutes, hesoongot
boredandstarted
interactingwithme
andthecamera.
Far right. fter
perseveringand
distractingtheIizard
bywavingmynger
totheright of the
camera, I got the
posethat I wanted.
80l DIGITAL 5LkPHOTOGkAPHl R 201S
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notograpny
PRL 201Sl l 85
Rawpnotograpny
VEITATk
f you'renot convincedby
thelevel of detail aRaw
inagecaptures conpared
toaJPLG, sinply try
shootinginRaw+JPLG
andconparethe
diherencel
Eyefor detaiI

L'LNyourounonrw. ounowknowwy wis suprior to
Ls, wy it's tprrrornt o tpros, nowtousrtintools nky itin
turs. r yousoulknowi youpikup lst nont. younissit
tou tottonlinis tt wis nzinjust liklngaveyouall thenakeddatato
nouldhowyousawt, aRawleis thedigital equivalent. it canrevolutioniseyour photography if
younornally shoot JPL. ndwithour help, evenif youalready shoot Raw, youshouldbeableto
pick upatechniqueor two. Not only doyouhavenorefexibility for creativity andfor inproving
inagequality, but alsoas longas your conpositionandfocusingarespot on, shootinginRawlets
youcorrect alnost any in-caneranistakewithvery fewinages beingbeyondrepair. nthis section,
we'veselectedfour of thenost connonerrors adprovidedsolutions for howtorectify thenwithRaw.
L
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Rescueyour inages easilywithCR's sinpleadjustnent tools.

LIGOOM
dobeightroon4is areally
popular alternativeto
PhotoshopCS5i6dobe
CaneraRaw-it's alot cheaper,
withasinilar interface, and
norefeatures thanCRin
Llenents I0. ou'll alsondalot
of thesanerecovery and
creativetechniques covered
hereusingCRcanalsobe
doneinightroon4.
OLEM 8yusnverylonexposure,
you'veintroduceddigital noise
OLIO UseNoiseReduction
Noisehidingintheshadows canbecausedby
highSs andlongexposures, but canbeeasily
nininisedinCR. NoiseReductionis sinpleto
use, but younay ndthehigher thecanera's
negapixel count, thenoreheavily youneedto
adjust thesliders. Zoonintotheinage
I00-200tobetter seethenoiseandtheehect
of your adjustnents. ouhavetwotypes of
noise. uninanceandColor, whichtheDetail
tabinCRtackles. uninanceaddresses
greyscalenoise(asalt andpepper ehect). Color
takes careof chronanoise(red, greenandblue
specks). nnost cases, youwant toreduceboth
but youneedtostrikeabalancebetween
eradicatingnoiseandretaininginagedetail as
thestronger thenoisereduction, thenore
detail it'll takewithit. s nost noiseis inthe
uninosity channel, target this rst toget ridof
grain-likepatterns, andthennovethe
slider toreducechronanoise. Usetheeta//
andContrast sliders toretrievesonedetail and
edgeclarity lost fronNoiseReduction. stop
whenyoustart toreintroducenoise.
OLEM Youforgot aNeutral Density
graduatedhlter andoverexposedthesky
OLIO UsetheGradient Tool
ouknowthestory. youget toalocationonly
tondyou'veforgottenyour NDgradlter. ou
havenochoicebut totakeanultipleexposure
or anaverageexposurefor thesceneandhope
youdon't 'blowout' toonuchhighlight detail in
thesky. our sky will probably beseveral stops
brighter thantheforeground, soregular global
adjustnents won't cut it. Select therad/ent
Too/ andclick anddragfronthetopof the
inagetobelowthehorizon. Usethesettings in
thedjustnent panel totweak thesky's
exposure, colour andclarity. ounay alsoneed
tousethedjustment 8rusnToo/, locatedin
thetoptoolbar, toreturnintersectingobjects,
likerocks andtrees, totheir original stateif the
radient 1ool has causethentounderexpose.
6l IGIAL LOOGAl PRL 201S
for
for
oruton utonppI
Aftr
Aftr
noranicpnotograpny Rawpnotograpny
PRL 201Sl AAl 8
L
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1
E Underexposedscene
duetoshootingintothesun
Useamixtureof
Exposure, Fill Light and8lacks
Wxposgog apus
axua xposgo
oausy soogoa g
souaavoppos.
Wsopo oga
uxposags uoa
awa JPLG you'o au
opgupsaows aou
ga osaauaua g
yaaga ss ag
quay. oo ou o aos appag
waa you'usg
g aBas s ooavy. you'
usggooo PoosopCS6
sao Lxposu g aBas
usExposur nows aContrst o
sa sus. o svauss
usustmnt 8rusnoo/.
E Colour cast
White8alancesliders
Wyou'wogas axo
aggg 's y a oou
pauo you agay o
wa youwa. WJPLGs s ou
ausovapoposapu u
auy wRawa
paas oo uwaoou
ass o oaoo av.
YououusWBaa1oo o
oa ua aa a gy o o
ou os appopaWBo
gg was so oug os'
o a o o oo. 1p
os ousWBpss u
Bass a. Hyouas a
aa ps suas Dayg Sa
o Auo. 's asoga oy ou wog
WBsgs soass a
opy agaospo
you puoaa oo swa
avvsa sos gsowog
s us g. o oa oo us
aua oos o a CustomWB
mprturant. Coao
1paus as us
voou pausa. W
I
ExpsurBy g
sus a
xposu
ogous gossy
uxpos. 1u
osaow
ppgwagpss
agaov
soga). oaas asu
souasy opov. Aus
Exposury asopo woog a
Recoverys osoay gg
a xposuagay aus.
2
t 1oop
upsaows us
F/// L/gnt ouo
wa o 8/acks
oouoas.
Bau o oa
aos aouos o
ova oou
oswusg g o oos
saowa wausgBas 's a
aaga. A s po youayaso
wa oasv/branceo oou a
C/ar/tyo sapgaoas.
tv
ustmts
A you auss
soa avgoa.
o aas a s oo
uxpos us
djustment 8rusn
Too/ oag
spaay. S S/zeappopaowa
youwa o aaagFeatner o
sogs. Busov aaa
aus ss osu. o vy aayou
aus py News.
wogwJPLG 1 aPSDs you
sao oou aus s a o
avsaRawos.
1 soua as ovoopsa
o aag's a o gs o aga.
youavass o ags so
sagg youaa y
sga s ACRaag
sWBauss. aaso o a
Igy asaoos a
o usgWn/te8a/anceToo/ o
uassags.
r
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Atr
Atr

HghDynamcRangemage
rnhowtouseasingleRawletocreatenultipleexposures andexpandthedynanicrangeof your inages
JOkDANUTTEk5. s Rawles
captureanextraordinary anount
of data, it's possibletouseonele
tocreateseveral diherent
exposures, whichwhen
conbinedcancreateinages that extend
dynanicrangebeyondthat of thecanera's
sensor. sidefroncreativeehects, it's a
handy techniquefor drawingout detail in
thehighlights andshadows, andfor getting
arounddihcult exposures. f youwant a
dranaticHRresult, we'dreconnend
usingRtosplit your Rawleintonultiple
exposures andtheninport thenintoa
dedicatedHRsoftware, suchas
Photonatix, rather thanPhotoshop, for
noreoptions andcontrol.
eforeyoudivideyour Rawle, useR
tonakeany corrections totheoriginal
inage, suchas dust renoval, lens
correction, croppingandstraightening.
1hesechanges will thenbeappliedevery
tineyouopenthat Rawle, savingyoutine
whenconbiningtheexposures. or this
tutorial, weassuneyou'vecaptureda fairly
balancedexposureas your baseinage. f
thecanera has under- or overexposedthe
sceneexcessively, younight struggletoget
a decent set of exposures fronthele.
6
kescueshadowdetaiI lick onthe icon
toreveal the lighter layer. Select the layer in
the Layers palette, holddownthe key and
click onthe button. hoose
the andset the Opac/ty toaround
!5X. Withyour Foregroundco/or set toW/te,
brushover the shadows toreveal detail.
5
Addagradient Select the Grad/ent Too/
fronthe sidebar andpress the Dkey toreset
your colour palette. lick anddrag onthe inage
toreveal the sky inthe darker exposure. Youcan
click anddrag nultiple tines until you're happy.
Younay ndit easier tohide the ackground
layer, too, tojudge where toplace the gradient.
4
AppIy aLayer Masklick onthe eye iconon
the lighter exposure layer inthe Layers
palette tohide it for now. Select the darker
exposure layer andholddownthe opt/on(Mac)
or a/t key (P) before clicking onthe ddnew
/ayer mask buttoninthe Layers palette -this will
hide the layer using a Layer Mask.
2
CreatedarkandIight exposures Use the
Exposure slider toexpose for the brightest
part of the inage -usually the sky. 1henclick
Openlmage. Repeat this stepwiththe Rawle
again, andthis tine adjust the Exposure slider to
retrieve detail fronthe shadows. lick onthe
Openlmage buttonagain.
J
ConsoIidatethehIes Youshouldnowhave
three separate les open. onsolidate these
intoone by going toSe/ect>// andEd/t>Copy
onthe lighter exposure le before selecting your
niddle exposure andgoing toEd/t>Paste.
Repeat this for the darker exposure. Youcan
nowclose the lighter anddarker exposure les.
1urnontheHistogranclippingwarningwhen
creatingyour diherent exposures. 1heclipping
warningwill highlight any shadowareas inblue
that areseverely underexposed, or
overexposedhighlights inredtoindicatea loss
indetail. deally, your darker exposureshould
havenooverexposedareas andyour lighter
exposurenounderexposedareas.
UseheHsogramc|ppngwarnng
I
Openyour baseexposureWithyour
fundanental changes nade anda balanced
exposure achieved, click the Openlmage
button. You've nowgot your niddle exposure
openinPhotoshop. 1ocreate exposures either
side of this inage, locate the Rawle onyour
conputer andopenit againinR.
EV-I OriginaI EV+2
Pananicntgany Rawntgany
PRL 20Sl l 8

yseIectiveIyusingres
of diheringexosures,
it's ossiIetocrete
IncedmuIti-exosure
imgefromsingIewIe.

1nhanc h cna h, click nh

abanlc , ning n nh
nc Paanic k lik Ll inha can h li
ag Highligh, Ligh, Dak anSha, i nchai cnl
hanPin, hichk lik C Whnajing h li, b
achl h higannak n clian highligh
ha kh cliing aning ichn i n
1ak n in c cl
inag ing h l n h anl h b h
aing inag, h ng h cninill b H, ill Ligh i
nh ha inh ck, Cna i lighl incaanClai
i in M inanl, hgh, ia h anl,
click , an
cc an abnnalii
Yna an gback h an
aj h cl li againiha haacha 1n C
a h ngh cl n llikl ha chang ,
ina ing h li, cl h
a h ACR WihGacal Mi ill aci, click nh aa
inag an aj, hnclick anag i annnh inag
lighn aknh ning n
Click nh HL/Graysca/e abanclick Convert

toGraysca/e an inan nnchn cnin 1g h b
l, naj h n 1aiACRnaking nal
ciin , click Defau/t ab h li hnall 0 Y
can n h cl li lighn akn cic cl n
nncil j lik a Black Whi ajnn la inPhh
1 i h l H, h Bl li ha h ng inac
veehects8technques
inlnnchnajnn, AbCanaRanaball h
an Ran aiickancaichni.
Lditing
your Rawles tocreateprintable
inages or topreparethenfor
Photoshopis onething, but didyou
knowthat ACRholds several tools
that canbeusedtoenhanceyour inages for
creativeresults, too 1ypically, if your inageis
suitedtocolour you'll ndSaturationand
vibranceareall youneed, alongwiththe
adjustnents already proledinthis guide.
But youcanalsodownloadpresets intoACR
fronconpanies likenneSoftware
(www.ononesoftware.con) if youwant
special andcreativecolour ehects.
t's at theother endof thespectrun, when
youwant apunchy black owhiteconversion,
that ACRnaturally provides all youneedanda
fewextras for thenishingtouches, too. You
nay not evenndaneedtoopenyour inages
inPhotoshopafterwards, sinply click ave
lmage.andyou'redone.
Herewecover asinpleblack owhite
conversion, beforewedelvedeeper intoACR's
norecreativefeatures over thepage. ron
addinggrainandavignette, tosplit-toningand
croppingehectively, you'll ndeverythingyou
needtogiveyour nonoinages theextra
oonphthat they needall fronwithinACR.
noranicpnotograpny Rawpnotograpny
PRL 201Sl l 91

sour our smpIstps to
t tvrst out o our
ornI sots nrt
monoromms uII
o rmnmpt.

ighnh h n lk o
white conversiontools as Photoshop's ACR
but withthe bonus of lots of presets. You
canconpoundthe ehect of the presets by
layering thenor using theninconjunction
withthe Black oWhite Mix sliders andBasic
adjustnents. Youhave a choice of a series
of BoWilter Presets, whichreplicate the
ehects youget if youwere touse a
colouredlter withln, suchas Blue,
Green, nfrared, RedandYellowlters.
Youalsohave diherent contrast 'looks'
andBoW1onedPresets, suchas Split 1one,
Creantone andAntique topick fronfor
fuss-free solutions. Alternatively, create
your ownpresets or downloadthen-
a favourite has tobe Pretty Presets
(www.lightroonpresets.con).
4
f youwant toinprove the colours ina
Rawle youhave the choice of Saturation
or vibrance. Most photographers prefer
vibrance as it only increases the strengthof
colours that aren't already suhciently
saturatedsothe ehect is nore subtle.
Saturation, onthe other hand, ahects all
colours andcanvery easily look over the
top. 1ry bothonthe sane inage tosee
howthey diher.
5aturatonor Vbrance?
nceyour inageis black owhite, youcould

sinulatesonegrainfor ahigh-S-lnehect.
Don't worry -as usual, all treatnents inACRare
nondestructiveandtenporary until yousavethen,
sothere's nothingtoloseintrying. Click onthe
Ehect tabandunder r/youcanselect the
mut, /eof thegrainandugnness. 1here's
noright or wrongway for applyingthis ehect, go
withwhat suits your picture. generally, for nore
textureset Rougnness highand, toavoiddisturbing
toonuchdetail, set themount low.
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1
-CropVignetting
1his feature, accessibleviathe
Ehects panel, creates anattractive
nishingtouchsodoall of your
other editingrst, includingany
cropping, beforeyouapply the
ehect. f workingonanono
inage, select Sty/eas H/gn//gnt
Pr/or/tysoyoudon't nuddy your
brights. 1henadjust themount
todarkenor lightenthecorners,
Featner toahect thesoftness and
H/gn//gnts tocontrol contrast.
Younay alsowant toadjust the
M/dpo/nt tochangethespread
andRoundness for theshape.
Watchyour shadowdetail around
theedges as youdarkencorners
soyoudon't hidetoonuchdetail.
Panoranicpnotograpny Rawpnotograpny
PRL 201Sl DIGITAL5LPHOTOGAPHl 9S
5it Ti
owhiteconversionjust isn't enoughfor givingyour inageabit of pizzazz.
Split-toning, ontheother hand, lets youtint thehighlights andshadows separately, reintroducing
colour. Youcanalsotry it onyour colour inages for colour-toningehects, too. 1hetools under the
Split 1oningtabarequiteeasy tonanage. youhaveaHueandSaturationslider for boththeShadows
andtheHighlights, andaalanceslider that controls theehect's bias tothehighlights or shadows.
Youcansingle-tonetheshadows or highlights by adjustingoneor theother, or duotoneby targeting
both. s default, theSaturationsliders areset to0, whichneans noehect will bevisibleuntil youstart
tonovetheslider. thefurther totheright younoveit, thestronger thetint will be. Movetheslider
tochangethecolour of thetint andthenthea/anceslider toahect whichtint is noreproninent.
shadows or highlights. ollowtheprincipleof less beingnoretoavoidoverpoweringthepicture.
CrT
ftenyouneeddonothingnorethancropto
inproveyour inage. R's rop1ool is as
ehectiveas Photoshop's, withtheadded
benet of beingabletoundoany cropat any
point duringyour editingprocess. Select the
ropToo/ fronthetoptoolbar andclick and
dragonyour inage, usingtheboundingbox as
aguidefor your crop. Press nter toconrn
thecrop. Wesuggest holdingdowntherop
1ool icontoselect onstra/ntolmageand
SnowOver/aytohelpwithattainingthecorrect
crop. Youcouldalsoselect austomrop.
hereI toI was usedfor asquarecrop, usingthe
boundingbox corners toexpandor contract
thecropwithintheseproportions.
L
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FTHE
EADING
or norein-depthpractical
andcreativetutorials
about thenany features
of RandLightroon,
refer toour nonthly

tutorials.
notosnopC Lintroon notosnopLlnnts
ilitylevel or choiceof editingsoftware, there'ssonethingfor everyone
inthisnonthlyseries. Weguideyouthrougheachof dobe'seditingpackagestoshow
youhowtoget thebest fronyour inages. 1hisnonth, weexplainhowtouseLayer
MasksinLlenentsI0, howtoboost colour andcontrast withblendingnodesinCSand
showyouthebest waytosharpenyour photographsusingLightroon4
AL 201Sl IGITL5LkHOTOGkHl 9
DGAL
DAM
MALADBL'MAGLWALMvLH
Providepictureswithplenty
of punchbyboosting
contrast andcolourwith
blendingnodes
LayerMasksarea
fundanental part of digital
editing-weshowyou
howtousethen
Giveyourinagesthe
edgewithourtipsto
sharpeningyourshots
withease
UsingLayer Masks
ng
maskng
r wr ts is
vit wusiuti
yrs ustts. wr
is tiwitut tr
tis is wryr ss .
1heworldof
nultiplelayers andnaskingcan
bea dauntingoneif you'venever
dabbledinthenbefore.
However, inreality, theconcept
of usingLayer Masks is incredibly sinple
-they doexactly as their naneinplies -
they act as a nask infront of a layer, which
youcanedit andnanipulatetoreveal as
nuchor as littleof thelayer as youwant.
nthesurface, naskingnight soundvery
sinilar tousingtheLraser 1ool -it is, but
Maskngnear|er versons
Llenents 8andearlier sadly donot oher
Layer Masks. 1here is a workaround,
though. place your inage layer directly on
topof a vs adjustnent layer andgoto
yr>Crt Cns. 1henedit the
Levels' Layer Mask using the rush1ool.
1he nask will be appliedtobothlayers, but
as noLevels adjustnents were nade, only
the inage layer is nasked.
catetheimage want toboost the

contrast inthe sky andwater without
ahectingthe rocks inny inage. irst goto
yr>Dut yr. 1henselect
nn>ust tn>vs andtweak the
8, ry andWn/te points toboost the
contrast inthe inage. nce done, click OK.
PeveaI parts of theimage Layer Masks can

be usedtopart-reveal a layer at a lower
opacity too. hange your Foregroundco/or toa
nid-grey andbrushontoyour inage again.
have chosentouse 50grey onthe water inny
inage toaddsone of the contrast back in,
without going over the top.
ddtheLayer Mask Holddownthe ot/on

key (Mac), or a/t key (P) andclick onthe
dd/ayer mask buttoninthe Layers palette to
adda Hide ll Layer Mask -the layer will thenbe
conpletely hidden. onversely, if youselect the
dd/ayer mask buttonwithout holding down
the key, youadda Reveal ll Layer Mask.
5
ddandjustment Layer Layer Masks can
alsobe usedwithdjustnent Layers. lick
onthe Create newh// or adjustment /ayer
buttoninthe Layers palette andselect Pnoto
F//ter. 'ngoing touse a Warninglter to
enhance the orange glowonthe rocks. djust
the Dens/ty of the lter tosuit your inage.
J
rushontothemask Select the 8rusnoo/
andset Wn/te as your Foregroundco/or.
Use the toptoolbar toset the brush/ze and
Hardness andstart tobrushthe sky back in. Use
the topnenuagaintolower the brushOac/ty
whenapproaching the horizontoblendinthe
higher contrast layer.
6
Masktheadjustment Reveal ll Layer
Mask is autonatically addedtoany
djustnent Layer. Select the 8rusnoo/ andset
8/ack as your Foregroundco/or. rushover any
areas where youdon't want the adjustnent to
be applied-suchas the sky, water andshadow
areas of the rocks inny inage.
withonecrucial diherence-Layer Masks
arenon-destructive, soany changes canbe
undonewithout alteringtheoriginal inage.
Layer Masks canbeappliedtodjustnent
Layers, toselectively adjust your inageor,
dependingontheversionof Llenents that
you'reusing, they canbeapplieddirectly to
inagelayers -highly useful when
conbiningtwoor noreexposures, or
creatinga conpositeinage. Larly versions
of Llenents didn't oher this functionality,
but seethepanel abovefor a workaround.
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it andjustnent Layer withan
inagelayer, a colouredlayer with
aninageor twoinagelayers, liketexture
anda portrait, for creativeehect. Lachnode
-thereare2/ intotal -deternines howthe
toplayer interacts withthelayer directly
beneathit intheLayers palette. s default,
thelendModenenu(locatedat thetopof
theLayers paletteor via Layer>Layer
Sty/e>8/end/ngOpt/ons) is set toNornal to
stopany layers fronnerging. 1heblending
nodes aregroupedtogether, separatedby a
lineinthenenu. Youhaveyour nodes that
darken, lighten, adjust contrast tovarying
degrees, nodes that decidecolour basedon
thediherencebetweenthelayers, andHSL
nodes, whichreplacethebase-layer pixels
withtop-layer pixels. t night all soundvery
conplicated, but havea play withthe
diherent nodes toget a senseof their
ehects. or nost photographicpurposes, it's
Multiply, HSL (Hue, Saturation, Luninosity)
andthevarious contrast nodes that you'll
usethenost. ut of all thecontrast nodes,
verlay, Soft Light, HardLight, andnaybe
vividLight, provethenost practical -each
alteringcontrast andcolour tovarying
degrees of strength, soit's largely a natter of
tastewhichoneyouchoose. or this
technique, 'll showyoua really easy way to
dranatically boost contrast andhowto
nanually control its results usingthecolour
channels ina lack oWhiteadjustnent
layer. s we'vetouchedonLayer Masks
nunerous tines before, they'venot been
nentionedextensively here, but renenber
that if thereareareas that arerenderedtoo
dark or colour saturationis toobright, you
canalways usetherush1ool withthe
oregroundolor set tolack, anda low
pacity, toreducetheehect usingyour
Layer Mask toreveal theoriginal detail.
Learnhowtoaddpunchtoyour picturesusingblendingnodesandalackoWhiteadjustnent layer
OriginaI
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PRL 201Sl l 99

hoh, adda/brance
adjustment Iayer toboost thecoIour
too. If thereareareas that aretoo
dark, usethe8rushToo/ set to8/ack
ontheattachedLayer Masktohide
theadjustment inspecicareas.
00l DIGITAL 5LkPHOTOGkAPHl RL 20S
Lgtrn
Snarpeninagesenectively
I
hepreview

previewsanple. Click onthe crosshair tothe left
andclick anywhere onyour inage tochange the
sanple area. 1his allows youtoassess any
changes tothe sharpness of your inage at both
I00andacross the inage as a whole.
2
djust theamount sIider Use the
slider toset the strengthof the sharpening.
nage-dependent, a goodstarting point is
between-J5. Holddownthe opt/onkey
(Mac) or the a/t key (PC) while adjusting the slider
tochange the previewinage togreyscale -this
nakes it easier toassess the adjustnent. Resist
the tenptationtoincrease the mount too
nuch, or the result will look unnatural.
J
djust thePadius 1he Rad/us slider controls
the distance aroundedges towhichthe
sharpening ehect will be applied. 1he default for
the Radius is I.0, whichusually works well.
However, if halos start toappear when
sharpening, select a lower radius. Holding down
the opt/on(Mac) or a/t (PC) key while noving the
Rad/us slider changes the previewstyle tohelp
younake your adjustnent.
harpenng
Lightroon4's sharpeningoptions canbeoverwhelningat tines,
but our guidewill helpyoutakeyour inages fronsoft topin-sharp
OkDANTTEk5. Peopleoften
think aninagethat requires
sharpeningis a by product of
poor capture, or poor choiceof
equipnent. 1hefact is that even
thenost in-focus andwell-takeninage
capturedwiththesharpest optics canstill
benet frona touchof sharpening.
1hesharpness of aninagerefers tothe
denitionof theedges anddetails within,
andthelevel of sharpeningthat youshould
apply depends directly onthecontents of
theinage. Soneinages suit a highly
detailedandsharpappearance, whereas
others suit noresubtleandselective
sharpening. nother inportant thingto
renenber is that anoversharpenedinage
usually looks nuchworsethanonethat
dtngnother software
f youplantoexport your inage intoother
software for additional editing, suchas
Photoshop, set the mount slider to0
before export. Sharpening shouldalways
be the nal stage inyour inage workfow.
hasn't beensharpenedenough, soalways
work withcarenot togotoofar.
Controlledsharpeningcanhavea huge
ehect ona well-capturedinage. However,
don't beunder any disillusions -ranpingup
thesharpeningsettings onaninagewon't
niraculously rescueit if it's not infocus or
blurry fronnotiontostart with.
OrgnaI
5arpene
l l 101
DG1LDRRM
eDetaiI a// slider ahects

whichedges are sharpened. t the lowend
of the scale, only najor edges are sharpened,
at the topof the scale, all edges -including
texture details -are ahected. nce again,
holding downthe opt/onkey (Mac) or a/t key
(PC) changes the previewstyle. While adjusting
the Deta// slider, pay attentiontothe proninent
edges inthe full previewandthe ner details.
UseMasking1he Masking slider is useful for

excluding sharpening fronareas of lower
detail -preserving inage quality andtonal
gradients. Withthe Mask/ngslider set to0,
sharpening is appliedacross the entire inage.
Holddownthe opt/on(Mac) or a/t (PC) key while
increasing the slider as before -areas coloured
black aren't ahectedby the sharpening, whereas
areas colouredwhite are.
ddOutput 5harpening1he nal stepis to

apply utput Sharpening. Goto//e>xport
and, inthe xport window, set the lmage S/z/ng
and//e Type that youwishtoexport to. Click on
the Output Snarpen/ngtick-box and, inthe
drop-downnenu, select the nedia that you'll
display your inage on-either Screen, Matte
Paper or /oss Paper. 1henselect the mount
of sharpening tobe appliedandclick xport.

WhiIetheoriginaI image
Iooks sharp, thecomparison
totheIeft shows the
diherencethat controIIed
sharpeningcanmake.
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102l IGITL 5LkHOTOGkHl APRL 201S
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DarryI OIorunfem
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TinieTempahwas
shotforaVision
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ofmini musicand
HoIIywoodstars
buttheystopped
atonIythisone."
2) PaIomaFaith
-TiaMaria'sbrand
ambassador-was
shotwithaPhase
OneP30+back
using1l250sec
atfl16."
MYNCLLADAMis ny nun's brthr
Althughhis crazy his rally nictn
My nclAanlts nhavvninuts
nhis iPhni ny nunsays s My ncl
Aanhas hair as nssy as a bir's nst
is always waring-shirts withthings lik
unk nthn My nclAanis always callinghis wi
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likhis nly vanis always ticklingn My ncl
Aanis always takinghts nanny brthr
bcaushis a htgrahr his was ny rst
inrssin Lnn-bascnnrcial rtrait
htgrahr AanLawrnc thrughthys his
svn-yar-lnic t's a cntrast rnthusual
bigrahis but accnaniby his rsuneof high-
prolebrands andnedia-giant clients, likeHovis,
N-Power, Doritos, Channel 4, Radione, Loveiln, BBC,
Nestle, Morrisons... (thelist goes on), it's clear that hunour
andtheunusual goa longway inthis business. ' want
peopletolook at ny pictures andseesonethingquirky
withanenergy that nakes thensnile.
orginga connectionwithhis subjects neans hecan
exudetheir personality throughhis portraits but alsobuild
personal relationships that leadtofurther work -for
instance, Gok WanandChannel 4, andvictoria Pendleton
for her various canpaigns ohtheback of her sporting
success. Personality andtalent haveopeneda lot of doors
for Adan's career todevelopandexpandintodiherent
areas, lookingthroughhis eclecticportfoliothere's not a
pigeonholeinsight. 'Last sunner shot thestills for two
featurelns inbetweenny connercial shoots. t's a
diherent challenge-youhavetowork withtheavailable
lightingandaroundthelncrew, it's nuchnore
docunentaryandasidestepfronnyusual polishedstyle.
enjoythevariety, but quiteoftenthediherent types of
photographyoverlap. or instance, thecast know'nalso
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Witha backgroundandtraininginlnandtelevision,
not stills photography, dan's built his strong20-year
career onwhoheknows andnakes surehehas lots of
ngers ina lot of pies. ' got ny rst break frona friend
whowas a press ohcer for apital RadioinI992. shot
theradiocelebrities andthat was thestart of it. ditorial
photography, whichdidgivea steady incone, is slowly
dyingandafter thenusicindustry got hit withtheinternet,
it becanenoreabout shootingseni-nakedglanour for
|HMandNuts -therewasn't nuchchancetoelicit the
personality behindthesuspenders andstockings. Now
nost of ny work is high-endPR. televisionpublicity and
character-ledadvertising. loveanythingthat's basedona
strongidea andproduces a challengeinthestudio. ne
of ny favouriterecent shoots has tobefor adbury's. a
continuationfrona previous reneggcanpaignwe
did, wereinventedthecover inageof Nigela Lawson
drapedinhoney for Sty||st but usedactual watered-down
gooinstead. Needless tosay it got a bit nessy.
s withall successful photographers, danis hiredfor
his style, thewayhethinks andhowheshoots. sidefron
his deneanour, this has alot todowithhis lightingskills,
nornallyinvolvingabalancebetweensoft andhardlight.
Hetends tonixasnall softboxas anainlight withan
oh-centrebeautydishtoget asoft viewof thefacewhile
retainingthefeatures withthehardlight. ut withinages
likethat of theMade|nCne|seacast, it canget far nore
conplicated. '1his was theproduct of ndingagreat
location, havingagreat props personandretoucher. t's
oneexposure, whichneant therehadtobeintheregionof
tentoI2lights. everypersonhadtobeindividuallypicked
out, withrinlights intheright places andacrossover of
hardandsoft light. ccordingtodan, theextraelenent
his professional retoucher brings has beconeaninportant
part of theindustryandaby-product of digital
photography. 'igital has not onlychangedour workfow,
allowingus toseeandchangeinages instantly, or for
clients toviewashoot renotelyfronaniPad, it alsoneans
portraits havetolooknuchnorepolishednowconpared
toln. Likeagoodprinter was crucial withln, aretoucher
canset your workapart.
eemoreimages, visit www.adamlawrence.com
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v|s|on. features years of devotionandsix nonths of steady
rawinageprocessingby Michael, whohas arduously
piecedthepictures together fronrawdata capturedfron
thefar reaches of our solar systen. ut, as incredibleas
theacconplishnent is, why andhowdidhedoit
'nthelate'/0s it was beconingobvious that theinage
output of spacefight was tobea signicant chapter inthe
history of photography, but back thenit was extrenely
dihcult toget access tonorethana fewpress inages
that NSdoledout topublications like1|neand
Newswee|. 1heinternet changedall that inthe'90s.
Withnew-foundaccess tohugepubliconlinedatabases,
downloadedfronspace-boundcanera-bearingrobots
toNSandtheuropeanSpacegency (S) archives,
Michael was abletoconpilethis conpellingportrait of
ViewofthesoIar
coronaand
magneticIoops
duringanecIipse
ofthe5unbythe
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Dynamics
Observatory,
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spacecraft,
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data-releasepolicies, beingtaxpayer funded, therawdata
is publicdonain, withfewexceptions. Andnost of the
inages that 'vebeenpublishingor exhibitinghavecone
a very longway frontheir original forn.
Michael's process inturningtherawdata intothese
highly detailedcolour inages is a clear labour of love.
't canget quiteconplex, andarcane. 1oproducea
colour inagewithany degreeof delity, thespacecraft
has totakethreefranes usingdiherent lters. red, green
andblue. 1hosethreeinages, whichinrawappear as
black owhite, canbeassignedtheir requisitewavelength
onthevisiblespectrun, andanRGBconpositecanbe
nadetoproducea colour inage. npractice, though,
it's alnost never straightforward-sonetines lters are
nissing, sothetwoother lters havetobenixedto
producea syntheticcolour tonakeanRGBconposite.
ther tines shots aretakenusinglters that sanple
wavelengths outsideof thevisiblespectrun. Depending
onwhat theainof thenissionis, visiblelight lters for
true-colour inages areoftenof lowpriority conparedto
scienticresearch. Aspacecraft alsotravels at a high
speed, sonetines faster thana rifebullet, sotheviewing
geonetry betweenthevarious lteredshots nay change
enoughsothey don't stack andaligneasily. 1hesethorny
issues cangoonandon, believenel
1oaddtotheconplexity, nost of Michael's inages are
panoranas, neaningthat eachRGBconpositeis only
part of thepuzzle. 'Soneof theinages takeweeks of
steady work tocreateby hand. Not tosoundself-
dranatising, but it canbeextrenely labour intensive,
particularly withinages that requiretheseanless
integrationof dozens, or evenhundreds, of individual
elenents. thers fall together reasonably quickly.
As Michael's nainintent is toproduceinages of
anazingextraterrestrial vistas that accurately refect
reality as closely as possible, hedoesn't falsify colours or
useartisticlicencetocapriciously decidehowa planet
2
1
night or shouldlook. Hetakes his responsibility of sharing
our solar systen's explorationwithviewers very seriously.
' night havea diherent positionif was workingwitha
diherent subject natter, but giventhat this naterial is the
result of a truly pioneeringandcollectiveehort by nany
thousands of scientists, technologists, engineers and
renoteinagingexperts, andgiventhat theseinages
reveal views never seenby thehunaneye, feel obligated
andhonouredtotry tobringthesevisions tothepublicin
as accuratea fornas possible.
Whenpressedontheinportanceof spaceexploration,
Michael explains that weneedtokeeplookingout to
understandour planet better. '1heknowledgegainedis
critical as weenter anera of increasingly severeclinate
changeonour planet, it's not just Larth-observing
satellites that canhelphere, it's alsovery useful toknow
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exanple, venus, withits surfacetenperaturethehighest
of any planet, has experiencedanextrenegreenhouse
ehect, whileMars is a frozendesert that has lost nost of
what was oncea far denser atnosphere. 1heseareour
twoclosest neighbours inspaceandbothcasehistories
arehighly instructive.
WithMichael's work takinghintosuchdistant regions
of space, surprisingly it's our fair planet that still captures
his inagination. ' lovethelandscapes that havebeen
revealedby spacenissions tothefarthest fringes of the
solar systen, but it just nakes neappreciatethebeauty of
our honeworldall thenore. Wereally needtotakebetter
careof this place, it is truly thenost sensationally beautiful
planet inthesolar systen.
oo wokt www.bo.t
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neof thenis toalways carry
aroll of longblackvelvet with
newhenever travel. 1his
does tendtoraiseafew
eyebrows anongguests when'nleading
photographyholidays withfrui.co.uk, but the
groups always thanknefor it bytheendl
Myblackvelvet caneinparticularlyhandy
when was leadingoneof rui's photography
holidays toMexico. 1hegroupand were
spendingtheafternoonshootinganariachi
bandinMexicoity's livelyGaribaldi Square.
1hebandnenbers wereahigh-spirited
bunchwithanazingsniles anddistinctive
facial features. Real charactersl
s wephotographedthenit was proving
reallydihcult tocapturetheir individual
personalities. 1herewas just sonuchgoing
onaroundthenandtheywereconstantlyon
thenove. 1herewas onlyonethingfor it...
grabbedny roll of black velvet andwe
hungit ina nearby archway. neby onewe
askedthenariachis tostandinfront of the
backdropwiththeir instrunents. Suddenly
our inages startedhittingthenarkl 1he
backdropcut out all thedistractingdetails
aroundthenariachis andtheblack velvet
suckedupthelight, givinga really lovely
dark background. nfact, they'reusingsone
of our pictures for their next albuncoverl
ftentravel photography is just about
shootingpeopleintheir environnent, but
it's alsogreat togofor a nore'set-up' look.
Wehada blast withthenariachi's inour
littlenakeshift studioandit wasn't long
beforeaninpronptustreet party erupted.
Wehadkids, fanilies andevendogs
crowdinginfront of thebackdropdesperate
tobephotographed-only inMexicol
rop: 1his instantly helps tocreate the

studiolook. use black velvet as it absorbs
light. white backdropis alsogood, but
white refects nore light, neaning younight
underexpose your shots. ounteract this
by using exposure conpensationandscroll
towards the plus.
Lighting: Maintainaconsistent light by
settingupyour studioinashadowarearather
thanbright sunshine. 1his wayyou'll get anore
evenlight, whichwon't dranaticallychange.
Lens: Use a lens witha fairly standardor
slightly telephotofocal length. 1his will avoid
any distortionof your subject's features. f
your lens is toowide, your eldof viewwill be
greater, soyou'll ndthat you'll needa nuch
bigger backdrop.
Keepit mobiIe: Soneplaces arenore
anenabletophotographers thanothers. You'll
benovedonat tines, sonakesureyoucan
put upandtakedownyour backdropquickly.
just useclips andwhatever is tohand.
fessionaI'sapproach. Creatingamakeshift studio
k.
Tojoinhimonaphoography holiday or
oge frher informaiononFri's global
holidays, conac helloQfri.co.k!
0207241 5006! www.fri.co.k
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LCD: 3.0in(92I,000dots)
5torage: SD(SDHCiSDXC)
Weight: 555g(includingbatteryandcard)
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Inthebox
1he NikonD5200is suppliedwiththe Li-on
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MACRPH1GRAPHYHASbcnan
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distancthan50nnand60nnlnss, but
shrtr thanth50nnand80nnlenses,
usedpredoninantlybyprofessional nacro
photographers. nnanyrespectsit'sanideal
focal lengthfor enthusiasts, providinga
decent workingdistance(nakingit lesslikely
toobstruct light or frightenfightycreatures)
andnakingit suitableasashort telephoto
(perfect for portraits). t'sworthnotingits
ehectivefocal lengthwithAPS-CDSLRsis
I35nn(NikonoSony) or I44nn(Canon).
1he1anronopticsincludetwoXLD(Lxtra
LowDispersion) glasselenentsandoneLD
(LowDispersion) elenent tonininise
aberrations, whilearoundeddiaphragn
pronisestoproducestunningbokeh. 1o
increasetheoddsof sharpresultswhen
shootinghandheldor inlowlight, vibration
Conpensationisincorporatedintothe
design, withaclainedbenet of threetofour
stops. 1oinproveinagequalityfurther, the
90nnbenetsfroneBAND(Lxtended
BandwidthoAngular-Dependency), whichis
1anron'slatest nulti-coatingtechnology,
pronisingtonininisefareandghosting.
1he1anron90nnisthelatest tofeature
USD(UltrasonicSilent Drive) for veryfast and
quiet A. 1heinternal focusingsystenneans
thelensbarrel doesn't rotateor change
lengthwhilefocusing. ull-tinenanual
focusallowsyoutofocusnanuallywithout
needingtoswitchfronAtonanual.
1helensisdesignedwell, withaverywide
rubberisedfocusringat thefront that covers
closetohalf thebarrel length. Afocus
windowdisplaysdistancesinnetresandfeet,
alongwiththereproductionratio. 1otheleft
sidearethreeswitches. At thetopisthefocus
liniter withsettingsfor 0.3-0.5n,
0.5n-innityandull, whichcanbeusedto
helpspeedupfocusingbylinitingany
hunting. 1hecentral switchchangesthelens
fronautofocustonanual focus, whilethe
bottonswitchturnsthevibration
Conpensationonandoh. Generally, 'd
suggest leavingit set to'n' unlessyou're
usingatripodor other support, inwhichcase
switchit oh. 1helensisquitelightweight but
feelsverywell nadeandbalancesnicelyin
thehand. t'snot assolidasCanonor Nikon
nacrolenses, but feelstoughnonetheless.
Weusedour 1anronlensonaCanonLS
650DandfoundtheAtobenear-silent, fast
andpositive. t huntsat tinesat veryclose
focusingdistancesbut thisisthecasewithall
nacrolenses. Manual focuscanbeengaged
without switchingtoA, whichisideal when
youwant tonakeneadjustnents. WhenA
struggles, switchfronAtoMandyou'll nd
thefocusringprovidesasnoothaction.
nternsof inagequality, the1anron
deliversrst-rateresults. Sharpnessisvery
goodwhenwideopenandexcellent once
youstopdowntonid-settings, withfi8and
fiIIcapturingsuperbdetail. lareisverywell
controlled, distortionnon-existent and
contrast andcolour delityisexcellent. 1here
islight fall-ohof aroundI.5stopsat the
Guiderice: 920i 5treet rice: 640
Construction: I4elenents inIIgroups
aximumaperture: fi2.8
inimumaperture: fi32
iIterthread: 58nn
ngIeof view: 2/
o. of diaphragmbIades: Nine
inimumfocus: 30cn
aximummagnicationratio: I.I(life-size)
Dimensions: /6.4xI22.9nn
Weight: 550g
5uppIiedaccessory: Hood
ittings: Canon, NikonandSony
Contact: www.intro2020.con
Veric
d|ng
Features
Performance
Va|ue
Overa||
F teTamron
90mmwon't be
disappointedwiththis
latest version. Theaddition
of USDfocusingandVibration
Compensationareverywelcome, but
it'stheoptical performancethat stands
out. Theuseof XLDandLDglass, along
withe8ANDmulti-coating, really
makesadinerence, deliveringimages
that will satisfyenthusiastsandpros
alike. Theonlyreal negativeisthehigh
suggestedlaunchpriceof L920, which
ismoreexpensivethanmarqueoptics,
but thelenswill sell for muchless. If you
arelookingfor apremiummacrolens
andcanhndit for aroundL650, then
theTamronisagreat buy.
Tamron5PF90mmfl2 VU5Macro
cornerswiththelenswideopenbut thisis
nornal withfast optics, soof littleconcern.
ur testsof thestabiliser foundwecould
capturesharpinagesat IiI5sechandheld, so
youcanexpect at least threestopsof benet
at closefocusingdistances.
verall, the1anronproducesanexcellent
perfornanceineverydepartnent. tslaunch
RRPnakesit noreexpensivethannarque
rivals, but it'slikelytostart fallingsoon. Astreet
pricearound650isfar noreappropriate
andat thispriceit isexcellent value.
Oher popuIar macroIeses
TAkO60l2
Guideprice: 490
5treet price: 350
or APS-CDSLRs only.
Lxcellent optics, conpact
sizeandanincredibly fast
naxinunaperture.
AOI00l2.8
AkOU
Guideprice: I,060
5treet price: /00
Superboptics andnage
Stabilisation. Canonalsohas
another I00nnfi2.8USM
nacrofor around450.
OA-VkI0
l2.8kO
Guideprice: /82
5treet price: 6I0
Robust build, vibration
Reductionandincredible
optics has nadethis a popular
lens withprofessionals.
1LS1CLN1RL Macrolenstest
PRL 201Sl DIGITAL5LkHTGkAHl 12S
90mm
ohers aperformance
comparabIetomarque
Ienses. This snowdrop
was takenat averywide
aperturetoisoIateit
fromthebackground.
CanonLS 650D
witn1anron90nnfl2.8
perture-priority
1l100sec at
flS.2(S100)
Opau rha oor ro c
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uuu.pgL.co.uk
P|as y 8reo|o, 0ape| 00r|g 0oowy LL24 0T Te|: 01690 720214 ma||: |oIo@pyb.co.0k www.pyb.co.0k Iacebook.comlp|asybreo|o
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1S1 OANUTTEP5

AOVE: TheIighter 18Xgreysideis usedtoset
theWhiteaIanceof your primaryIight source.
TOPPIGHT: Thechanges aresubtIebut give
youanaccurateandtruebasetostart from.
rdict
ickandsimpletouseandmakes
initial Rawadjustmentsadoodle.
Price: (Ge) (Street)

MateriaI: aer Scl
Website: .ataclr.cn
Wtent crrectn jst sas anlts Sectrallnetral atclt analss
efore
After
40 Churton Street, London SW1V 2LP, EngIand TeI: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
MOVF UP TO A
IKON IIGITAL CAMFRAS
N||or 01 3LR oody............................................................... 1,19.00
N||or 01 AF-3 11-21rr l/2.80 lF-E0 K|l......................... 5,1Z5 00
N||or 01 AF-3 21-Z0rr l/2.80 lF-E0 K|l......................... 5,399.00
N||or 01 AF-3 11-21rr & 21-Z0rr l/2.80 K|l................ ,99.00
N||or 0800 03LR oody......................................................... 1,925.00
N||or 0800 V8-012 0r|p K|l.............................................. 2,209.00
N||or 0800 AF-3 11-21rr l/2.80 E0 N|||or.................... 3,230.00
N||or 0800 AF-3 21-Z0rr l/2.80 E0 N|||or.................... 3,159.00
N||or0800AF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||or K|l
............................................................................................... 1,15.00
N||or 0800E 03LR oody...................................................... 2,319.00
N||or 0800E V8-012 0r|p K|l........................................... 2,30.00
N||or 0800E AF-3 11-21rr l/2.80 E0 N|||or................. 3,19.00
N||or 0800E AF-3 21-Z0rr l/2.80 E0 N|||or.................. 3,5Z5.00
N||or0800EAF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||orK|l
............................................................................................... 1,8Z5.00
N||or V8-012 0r|p lor 0800E/0800..................................... 285.00
N||or 000 03LR oody......................................................... 1,150.00
N||or 000 V8-011 0r|p K|l.............................................. 1,Z0.00
N||or 000 AF-3 21-85rr l/3.5-1.50 E0 vR N|||or........ 1,825.00
V8-011 0r|p lor 000........................................................... 225.00
N||or 03003 3LR oody......................................................... 1,099.00
N||or 03003 V8-010 0r|p................................................. 1,319.00
N||or 03003 AF-3 1-85rr l/3.5-5.0 E0 vR 0X.......... 1,535.00
N||or 03003 AF-3 18-200rr l/3.5-1.50 vR ll K|l............ 1,80.00
N||or 0Z000 3LR oody......................................................... 15.00
N||or 0Z000 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l........ Z89.00
N||or 0Z000 18-200rr l/3.5-5.0 vR ll 0X lF-E0 K|l..... 1,229.00
N||or 0Z000 V8-011 K|l.................................................... 80.00
N||or 090 3LR oody............................................................. 119.00
N||or 090 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l............ 519.00
N||or 03200 03LR oody....................................................... 389.00
N||or 03200 18-55rr l/3.5-5.0 vR 0X K|l..................... 119.00
N||or 05200 03LR oody....................................................... 19.00
N||or 05200 AF-3 18-55rr l/3.5-5.0 vR 0X K|l............ 99.00
N||or 05100 03LR oody....................................................... 315.00
N||or 05100 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 115.00
N||or 03100 oody................................................................. 2Z9.00
N||or 03100 AF-3 18-55rr l/3.5-5.0 vR 0X K|l............ 319.00
IKON 1 SYSTFM
N||or 1 v1 10-30rr K|l........................................................ 299.00
N||or 1 v1 10-30rr & 30-110rr TW|r K|l.......................... 1Z5.00
N||or 1 v2 10-30rr K|l........................................................ Z19.00
N||or 1 v2 10-30rr & 30-110rr TW|r K|l.......................... 925.00
N|||or vR 10-30rr l/3.5-5................................................. 115.00
N|||or vR 30-110rr l/3.8-5................................................ 1Z9.00
N|||or 10rr l/2.8.................................................................. 1Z9.00
N|||or 18.5rr l/1.8............................................................... 1Z9.00
N|||or vR 10-100rr l/1.5-5. P0-Zoor.............................. 515.00
N||or 38-NZ 3peed||grl........................................................ 119 00
N||or 38-N5 3peed||grl........................................................ 119 00
N||or 0P-N100 0P3 ur|l...................................................... 99 00
Vourl adapler FT1................................................................ 199.00
AI-S & AI IX IKKOR IFNSFS
10.5rr l/2.80 AF 0X E0 F|sreye........................................ 515.00
AF-3 35rr l/1.80 0X........................................................... 150.00
AF-3 10-21rr l/3.5-1.50 lF-E0 0X..................................... 39.00
AF-3 12-21rr l/10 lF-E0 0X.............................................. 829.00
AF-3 1-85rr l/3.5-5.0 E0 vR 0X................................... 139.00
AF-3 1Z-55rr l/2.80 0X lF-E0........................................... 1,019.00
AF-3 18-55rr l/3.5-5.0 vR E0 0X................................... 115.00
AF-3 18-105rr l/3.5-5.0 vR 0X lF-E0............................. 225.00
AF-3 18-200rr l/3.5-5.0 vR ll 0X lF-E0.......................... 585.00
AF-3 18-300rr l/3.5-5.0 E0 vR 0X................................. 99.00
AF-3 55-200rr l/1-5.0 vR 0X lF-E0................................ 215.00
AF-3 55-300rr l/1.5-5.0 0X vR....................................... 2Z9.00
AI IX IKKOR IFNSFS
11rr l/2.80 AF E0............................................................... 1,219.00
1rr l/2.80 AF F|sreye....................................................... 19.00
20rr l/2.80 AF..................................................................... 15.00
21rr l/2.80 AF..................................................................... 39.00
28rr l/2.80 AF..................................................................... 215.00
35rr l/20 AF........................................................................ 255.00
50rr l/1.80 AF..................................................................... 109.00
50rr l/1.10 AF..................................................................... 235.00
85rr l/1.80 AF..................................................................... 299.00
85rr l/1.10 AF lF................................................................. 919.00
105rr l/20 AF-0C............................................................... Z99.00
135rr l/20 AF-0C............................................................... 1,025.00
180rr l2.80 AF lF-E0.......................................................... 95.00
Prices include 2O7 VAT. Prices 8uoject to Change. E.&0.E.
I0 080I8 II|IPH0NI
AI-S IXSILFNTWAVF IKKORIFNSFS
AF-3 21rr l/1.10 E0...................................................... 1,189.00
AF-3 28rr l/1.80............................................................ 199.00
AF-3 35rr l/1.10............................................................ 1,299.00
AF-3 50rr l/1.10 lF........................................................ 2Z5.00
AF-3 50rr l/1.80 lF........................................................ 155.00
AF-3 85rr l/1.80............................................................ 3Z9.00
AF-3 85rr l/1.10............................................................ 1,189.00
AF-3 11-21rr l/2.80 lF-E0............................................ 1,310.00
AF-3 1-35rr l/10 E0 vR.............................................. 859.00
AF-3 1Z-35rr l/2.80 lF-E0............................................ 1,195.00
AF-3 18-35rr l/3.5-1.50................................................ 9.00
AF-3 21-Z0rr l/2.80 lF-E0............................................ 1,235.00
AF-3 21-85rr l/3.5-1.50 E0 vR.................................... 119.00
AF-3 21-120rr l/10 E0 vR........................................... 810.00
AF-3 28-300rr l/3.5-5.0 E0 vR.................................. 9.00
AF-3 Z0-200rr l/2.80 vR ll lF-E0................................. 1,599.00
AF-3 Z0-200rr l/10 vR lF-E0....................................... 1,0Z5.00
AF-3 Z0-300rr l/1.5-5.0 vR lF-E0.............................. 135.00
AF-3 200-100rr l/10 vRll lF-E0................................... 1,Z99.00
AF-3 200rr l/20 vR ll lF-E0......................................... 1,099.00
AF-3 300rr l/10 lF-E0................................................... 1,029.00
AF-3 300rr l/2.80 vR ll lF-E0...................................... 1,025.00
AF-3 100rr l/2.80 vR lF-E0......................................... ,595.00
AF-3 500rr l/10 vR lF-E0............................................ 5,Z99.00
AF-3 00rr l/10 vR lF-E0............................................ Z,050.00
AF-3 800rr l/5.E vR FL E0 (|rc TC800-1.25E E0 le|ecorverler)
.........................................................................................15,999.00
TC-11E ll 1.1x le|ecorverler............................................. 315.00
TC-1ZE ll 1.Zx le|ecorverler............................................. 315.00
TC-20E lll 2x le|ecorverler............................................... 399.00
AI IX ZOOM-IKKOR IFNSFS
18-35rr l/3.5-10 AF lF-E0............................................. 1Z5.00
21-85rr l/2.8-10 AF lF................................................... 515.00
80-100rr l/1.5-5.0 AF vR lF-E0.................................. 1,235.00
AI &AI-S MICRO-IKKOR IFNSFS
AF-3 10rr l/2.80 0X V|cro............................................ 189.00
0rr l/2.80 V|cro........................................................... 35.00
AF-3 0rr l/2.80 E0 V|cro........................................... 399.00
AF-3 85rr l/3.50 vR 0X lF-E0 V|cro........................... 3Z5.00
AF-3 105rr l/2.80 AF-3 vR V|cro lF-E0...................... 09.00
200rr l/10 AF V|cro lF-E0............................................ 1,215.00
IKON SPFFDLIGHTS
38-910 3peed||grl............................................................ 335.00
38-Z00 3peed||grl............................................................ 229.00
38-100 3peed||grl............................................................ 119.00
38-R1C1 C|ose-up Corrarder K|.................................. 559.00
38-R1 C|ose-up Rerole K|l............................................ 399.00
3u-800 w|re|ess 3peed||grl Corrarder........................ 29.00
38-R200 w|re|ess Rerole 3peed||grl............................. 159.00
MANUAL IOCUS IKKOR AIS IFNSFS
20rr l/2.8 N|||or............................................................. 901.00
21rr l/2.8 N|||or............................................................. 08.00
28rr l/2.8 N|||or............................................................. 15.00
35rr l/1.1 N|||or............................................................. 1,22Z.00
15rr l/2.8P N|||or, crrore............................................ 325.00
50rr l/1.1 N|||or............................................................. 59Z.00
50rr l/1.2 N|||or............................................................. Z13.00
180rr l/2.8 E0 N|||or..................................................... Z99.00
ZOOM-IKKOR MANUAL AIS IFNSFS
28-85rr l/3.5-1.5 Zoor-N|||or ...................................... 599.00
SPFCIAL IURPOSF: IFRSPFCTIVF
CONTROL ANDMICRO-IKKOR IFNSFS
21rr l/3.50 PC-E E0 N|||or.......................................... 1,155.00
28rr l/3.5 PC N|||or...................................................... 1,195.00
15rr l/2.80 E0 PC-E N|||or.......................................... 1,395.00
55rr l/2.8 V|cro-N|||or.................................................. 511.00
85rr l/2.80 E0 PC-E N|||or.......................................... 1,325.00
105rr l/2.8 V|cro-N|||or................................................ 1,01Z.00
200rr l/1 V|cro-N|||or................................................... 895.00
PC: Perspecl|ve Corlro|. PC-E:T||l/3r|ll-Perspecl|ve Corlro|
FoIIow us on: @NikonatGrays
0% OR IOW
INTFRFST
IINANCF
"| hacc bccn a dccou!

NIkon jan sIncc !hc
carl 80s and !hank !hc
da | uas gIccn our
con!ac! dc!aIls."
8rucc Hi||icr, Kcnc
Photograph by Tony Hurst
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INTHF
FXCFPTIONAL
I0 080I8 II|IPH0NI

The 8O-2OOmm f/2.8 Zoom-Nikkor LD AIS lens vas inLroduced in 1982 and vas Lhe Lhe vorlds fasLesL lens for a 35mm camera. The
disLincLive goldcolouredbandidenLifies iL as incorporaLingLD(LxLra LovDispersion) glass. LDglass produces superior colour correcLion
and renders ouLsLandingly sharp definiLion. IeaLures include an aLLached roLaLing Lripod sockeL
collar (Lhrough 36O ) and a depLh-of-field scale. The angle of viev: 3O 1O - 12 2O, ClosesL focus:
8fL (2.5m), 15 elemenLs in 11 groups, filLer Lhread size: 95mm, veighL: 1.9kg, c/v HN-25 Lens
Hood, 95mm L37C UV filLer. Research suggesLs LhaL only 16OO vere ever made. LXC++ 5,5OO.OO
80-200MM F2.8 ZOOM-IKKOR IIS LFNS
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7D 8ody 1069
7D + 18-13Smm f3.S-S.6 lS 1279
7D + 1S-8Smm f3.S-S.6 lS uSM 1S19
D3200 + 18-SSmm v8 lrom 439
D3200 + 18-SSmm v8 + SS-300mm v8
lrom 713.0S
DS200 + 8ody 629
DS200 + 18-SSmm v8 699
DS100 lrom 349
NLW! D7100 + 18-10Smm v8 1299
1 1&c's apply. Cpen Lo uk resldenLs aged 18 or over
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D7000 lrom 642
NLW! V2 + 10-30mm 679
NLW! V2 + 10-30mm + 30-110mm 869
I2 + 10-30mm 329.9S
I2 + 10-30mm + 30-110mm 429.9S
NLW! S1 + 11-27.Smm 479
NLW! D600 8ody 14S0
NLW! D600 8ody + 24-8Smm 1823
D800 8ody 88 2S99 1929
D800L 8ody 88 2899 23S9
CM-D L-MS 8ody 979
CM-D L-MS
+ 12-S0mm 1138.49
C|ympus M|cro I1 Lenses:
4Smmf1.8 ZulkC 216
60mmf1.8 M.ZulkCLu
429
7Smmf1.8 M.ZulkCWLZ
639
CM-D L-MS
5llvet ot 8lock
L-LS 5llvet,
8lock ot wblte
NLx-6
8lock
Gn3 A99
L-LS + 14-42mm S79
L-LS + 14-42mm + 40-
1S0mm 729
L-M2 + 14-42mm 47S
L-M2 + 14-42mm + 40-
1S0mm 639
NLx-6 + 16-S0mm ower
Zoom 729
NLx-6 + 16-S0mm+ SS-210mm
929
NLx-7 lrom839
NLx-I3 + 18-SSmm 349
NLx-Sk lrom 4S9
NLW! Gn3 8ody 1199
NLW! Gn3 + 14-140mm
1S79
NLW! Gn3 + 12-3Smm
1979
LUMIx G M|cro I1 Lens:
12-3Smmf2.8 849
NLW! 3S-100mmf2.8 varlo
ower C.l.S 949
A99 8ody 2199
A99 8ody + 8auery Crlp
+ 2 IkLL 8auerles worLh
136 2448
A77 8ody 829
A77 + 18-13Smm 979
A6S lrom 649
AS7 lrom 489
A37 lrom S09
x-ro 1 88 1429 1099
x-L1 8ody 639
x-L1 + 18-SSmm 949
Iu[| x-Mount Lenses:
lu[lnon 18mmf2.0 8 429
lu[lnon 3Smmf1.4 8 446
lu[lnon 60mmf2.4 8 499
NLW! lu[lnon 18-SSmm
f2.8-4.0 S99
D4 8ody 88 4999 4249
SD Mk III 8ody 88 2999 233S
SD Mk III + 24-10Smm f4.0L lS uSM
88 3689 297S
SD Mk III + 24-70mm f2.8 ll
88 S298 4134
LCS M + 18-SSmm f3.S-S.6 lS S1M S29
LCS M + 22mm f2.0 + Ll AdapLer 649
6S0D + 18-SSmm f3.S-S.6 lS ll S79
6S0D + 18-13Smm lS S1M 789
6S0D + 18-SSmm f3.S-S.6 lS ll
+ SS-2S0mm lS ll 778
60D 8ody 619
60D + 18-SSmm f3.S-S.6 lS ll 699
60D + 18-13Smm f3.S-S.6 lS 799
60D + 17-8Smm f4.0-S.6 lS uSM 8S9
LCS 600D LCS 6S0D
LCS 7D LCS 6D LCS SD
Mark III
LCS 60D LCS M
D3200
8lock ot
keJ
DS200
D4
V2
8lock ot
wblte
D7100 D600
600D + 18-SSmm lS ll 489
600D + 18-13Smm lS 639
600D + 18-SSmm lS ll + SS-2S0mm lS ll
67S
600D 8ody 424
NLW! 6D 8ody 1S99
NLW! 6D + 24-10Smm 2199
NLW! 6D lrom1S99 7D lrom 1069
D3200 8ody 372 DS200 lrom629 NLW! D7100 8ody 1099 NLW! D600 lrom 14S0
D800 lrom 1929
CM-D L-MS
lrom 979
L-LS
lrom S79
NLx-6
8ody 619
NLW! Gn3
lrom 1199
A99
8ody 2199
x-ro1 1099
D4 8ody 4249
V2 lrom679
SD Mk III lrom 233S
LCS M lrom S29 6S0D 8ody S29 60D lrom 619
3Smm f1.8 C Al-S ux.......................................1S0
40mm f2.8 Al-S ux Mlcro ...............................186
S0mm f1.8 C....................................................1SS
16-8Smm f3.S-S.6 C Al-S Lu ux v8 ................439
18-200mm f3.S-S.6 C Lu Al-S ux v8 ll ...........S84
NLW! 18-300mm f3.S-S.6 Lu v8.....................679
SS-200mm f4.0-S.6 C Al-S ux v8 ll Lu...........241
SS-300mm f4.S-S.6 C Al-S ux v8....................279
S0mm f1.4 C Al-S............................................278
60mm f2.8 C Al-S Lu Mlcro ............................404.9S
10Smm f2.8 C Al-S v8 ll Lu Mlcro.................629
14-24mm f2.8 C Al-S Lu .................................1319
16-3Smm f4.0 C Al-S Lu v8............................829
18-10Smm f3.S-S.6 ux Lu v8..........................204
18-300mm f3.S-S.6 Lu v8 ...............................679
24-70mm f2.8 C Al-S Lu .................................1239
24-120mm f4 Lu v8 ........................................810
28-300mm f3.S-S.6 C Al-S Lu v8....................6S9
70-200mm f2.8 C Al-S Lu v8 ll .......................160S
70-300mm f4-S.6 v8 .......................................41S
18.0
megaplxels
24.2
megaplxels
18.0
megaplxels
18.0
megaplxels
24.1
megaplxels
36.3
megaplxels
16.1
megaplxels
16.0
megaplxels
24.3
megaplxels
16.1
megaplxels
16.1
megaplxels
16.2
megaplxels
14.2
megaplxels
24.1
megaplxels
24.3
megaplxels
22.3
megaplxels
18.0
megaplxels
4.0fps
S.0fps
8.0fps
S.0fps
4.0fps
10.0fps
20.0fps 6.0fps
8.0fps
11.0fps
60fps
6.0fps S.Sfps
6.0fps
S.3fps
18.0
megaplxels
3.7fps
1080p
movlemode
20.2
megaplxels
4.Sfps
1080p
movlemode
1080p
movlemode
1080p
movlemode
1080p
movlemode
Iu|| Irame
formaL
1080p
movlemode
1080p
movlemode
Iu|| Irame
formaL
Iu|| Irame
formaL
1080p
movlemode
Iu|| Irame
formaL
Iu|| Irame
cMCS sensor
Iu|| Irame
cMCS sensor
1080p
movlemode
5AVE UP TO
1164
ONRRP
5AVE UP TO
67
ONRRP
5AVE
33
ONRRP
Ll 28mm f1.8 uSM .................................. 379
Ll 40mm f2.8 S1M.................................... 166
Ll S0mm f1.2 uSM ................................. 1169
Ll S0mm f1.4 uSM................................... 279
Ll S0mm f1.8............................................ 82
Ll 8Smm f1.2 L ll uSM.............................. 1649
Ll 8Smm f1.8 uSM .................................. 299
Ll 100mm f2.8 L lS uSM Macro ............... 689
Ll 16-3Smm f2.8 L uSM Mkll ................... 1099
Ll 17-40mm f4.0 L uSM........................... S79
Ll 17-SS f2.8 lS uSM................................. 749
Ll 17-8Smm f4-S.6 lS uSM....................... 334
Ll 18-13Smm lS S1M................................ 349
Ll 18-200mm f3.S-S.6 lS........................... 389
Ll 24-70mm f2.8L ll uSM ........................ 1799
Ll 24-10Smm f4.0 L lS uSM...................... 822
Ll 70-200mm f2.8 L lS uSM ll................... 1799
Ll 70-200mm f4 L uSM ........................... 483
Ll 70-200mm f2.8L lS ll uSM.................... 1799
NLW! Ll 70-300mm f4.0-S.6 L lS uSM..... 1129
Ll 100-400mm f4.S-S.6 L lS uSM............. 1189
163 28762
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press. l8LL uellvery** avallable on orders over 1S0 (based
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ls 2.99** (based on a 4 day dellvery servlce). lor nexL Worklng
uay uellvery our charges are 4.99**. SaLurday dellverles are
charged aL a raLe of 7.S0**. (**uellverles of very heavy lLems,
or Lo some Luropean counLrles, n.l., remoLe areas of ScoLland &
ch. lsles may be sub[ecL Lo exLra charges.) L. & C.L. rlces
sub[ecL Lo change. Coods sub[ecL Lo avallablllLy. Llve chaL
operaLes beLween 8am-7pm Mon-lrl and may noL be avallable
durlng peak perlods. Wex hoLographlc ls a Lradlng name of
Warehouse Lxpress LlmlLed. Warehouse Lxpress 2013.
*CASn8ACkS Are redeemed vla producL reglsLrauon wlLh
Lhe manufacLurer. lease refer Lo our webslLe for deLalls.
Wex Showroom - V|s|t us today
- 1ouch, 1ry and 8uy |atest Cameras & Accessor|es
- Cver 13,000 products to choose from
- Award w|nn|ng spec|a||sts!
Mon & Wed-SaL 10am-6pm, 1ues 10am-Spm, Sun 10am-4pm
Un|t 8, Irenbury Lstate, Norw|ch. Nk6 SD.
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u8-46S uL ........................... S9.99
u8-466 uL ........................... 69.99
u8-467 uL ........................... 74.99
Dk-46S DL
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cottyloq
o u5lk, 2
leoses, 17
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430Lx ll
20S
S8910
339
PuLLu
8lngllghL
lrom99
LLuLlghLs
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Lzybox Speed-LlLe
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L308s
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lus lll SeL
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Cemlnl ulsar
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1x S00 ro klL 1189
u-LlLe 48x
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owerShot G1S 8lock
439
Coo|p|x 7700
88 499.99 389
NLW! 1ough 1G-2 349
NLW! I|ne|x x100s
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Lum|x Lx7
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Cyber-Shot kx100 8lock
479
owerShot S110
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NLW! Coo|p|x S20 8lock, 5llvet, keJ
399
owerShot SxS0 nS 8lock
368
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IxUS 12S nS 5llvet, keJ, 8loe, Cteeo ot llok
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IxUS 240 nS 5llvet, llqbt llok, llok, 8loe ot 8lock
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IxUS S00 nS 5llvet, keJ, 8loe ot 8lock..........184
owerShot A3200 llok, Apoo ot llok .......... 94.9S
owerShot A4000 5llvet, keJ, 8loe ot llok ..104
owerShot Sx240 nS llok, 5llvet ot 8lock ...179
owerShot Sx260 nS keJ, Ctey, Cteeo ot 8lock
....................................................................... 199
owerShot SxS00 IS 8lock............................ 224
owerShot D20 5llvet, 8loe ot ellow.......... 2S9
owerShot G1x ..................... 88 699 ...... 499
Coo|p|x L610 5llvet, keJ ot 8lock.................. 1S0
Coo|p|x L310 8lock................. 88 149.99.119
Coo|p|x 310 8lock ot wblte . 88 249.99.194
Coo|p|x S6400 keJ, lotple, 5llvet, 8loe ot 8lock
................................................ 88 199.99. 1S9
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NLW! I|ne|x S8S00 8lock, wblte ot keJ ....279
I|ne|x xI-1 8lock......................................... 299
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NLW! I|ne|x SL1000 8lock.......................... 334
I|ne|x x-S1 Lxk.................. 88 S29.99...399
NLW! I|ne|x nSS0 8lock............................. 469
NLW! I|ne|x x20 5llvet ot 8lock ................. 499
NLW! Lum|x L230 keJ ot 8lock...................... 199
NLW! Lum|x S29 5llvet ot 8lock..................... 199
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NLW! Lum|x I12S keJ, 8loe, wblte ot 8lock179
NLW! Lum|x 1240 keJ, 5llvet, wblte ot 8lock
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NLW! Lum|x I1S 8loe, Otooqe, 5llvet ot 8lock
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NLW! Cpno WG-3 Cteeo ot lotple.................279
NLW! Cpno WG-3 GS Otooqe ot 8lock.........329
NLW! Mx-1 8lock ot 5llvet ..............................399
NLW! IxMA ro 100....................................... 389
NLW! IxMA ro 10......................................... S19
|xma ro 1.................................88 799...... 648
WG-3
S-720 U2 5llvet ot 8lock ....... 88 229.99...1S0
S2-31 Mk 5llvet ot 8lock ........ 88 299.99...179
NLW! S2-1S wblte, keJ, 8loe ot 8lock ...........179
NLW! 1G-630 wblte, keJ, 8loe ot 8lock.........169
NLW! 1G-830 8loe, 5llvet, keJ ot 8lock..........249
NLW! Sn-S0 wblte, 5llvet ot 8lock.................249
NLW! x2-10 8lock, 8towo ot wblte ...............349
x2-2 8lock........................................................ 419.9S
Lxtreme ro:
9SM8]s SDnC
8C8 .................................... 27
16C8 .................................. 39
32C8 .................................. 64
64C8 Suxc ......................... 124
SanD|sk Lxtreme:
60M8]s UDMA C]I|ash
8C8 .................................... 38
16C8 .................................. 64.9S
32C8 .................................. 118
Sony xD
Memory Card:
12SM8]s xD
16C8.......................................109
32C8.......................................169
Sony xD keaders:
xCu card uS8 3.0 8eader......49
xCu Lxpress card AdapLer ....79
Sony Lxper|ence:
30M8]s UnS-I SDnC
4C8 ........................................12
8C8 ........................................18
16C8 ......................................29
32C8 ......................................49
Sony Lxpert: 94M8]s SDnC
8C8 ........................................28
16C8 ......................................42
32C8 ......................................89
64C8 ......................................129
SanD|sk Lxtreme ro:
90M8]s UDMA C]I|ash
16C8 .................................. 99.99
32C8 .................................. 179.9S
64C8 .................................. 319
Lye-I| Card w|th Adapter
4C8 .................................... 39.9S
8C8 .................................... 44.9S
SanD|sk ImageMate US8 3.0
12-|n-1 keader
WhlLe.................................. 34.9S
0SSxD8........................... 102
0SSx8.............................. 113
0SSxkC8...................... 119
0SSCxkC3.................... 249
NLW! 190xkCL............144
NLW! 190xkCL + 496kC2
Compact 8a|| nead.........199
NLW! 190xkCL + 804kC2
3-Way nead.................... 189
0SSxkC8
- 178.Scm
Max PelghL
- 10cm
Mln PelghL
190xkCL
- 164cm
Max PelghL
- 8.Scm
Mln PelghL
S||k koad
1L83S3
- 171cm
Max PelghL
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Mln PelghL
G12S41Lx
- 164cm
Max PelghL
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Mln PelghL
NLW! SILk kCAD 3D Co|umn:
1L93S3 Alumlnlum....... 114
1L9383 Alumlnlum....... 124
1L83S3 carbon llbre.... 229
1L83S4 carbon llbre.... 239
1L8383 carbon llbre.... 2S9
1L8384 carbon llbre.... 269
Ser|es 2: Lxp|orer 1r|pod
G12S41Lx................ S29
Lxped|non:
4x........................................ 89
Sx........................................ 129
6x........................................ 139
7x........................................ 1S0
8x........................................ 194
9x........................................ 219
nad|ey: canvas/LeaLher:
khakl/1an, 8lack/1an, 8lack/8lack.
llbrenyLe/LeaLher: khakl/1an,
Sage/1an, 8lack/8lack.
D|g|ta|.................................. 109
Sma|| ................................... 139
Large.................................... 1S4
ro Cr|g|na|......................... 169
1r|pod Strap 8lock ot 1oo.... 19
I-Sx8 8uggedWear........ 89
I-Sx2 8uggedWear ........ 99.9S
I-6 8uggedWear ............ 104.9S
I-803 8uggedWear ........ 1S0
I-2 8uggedWear ............ 1S9.9S
Lxped|non
8x
8lock/5lote
nad|ey ro
Cr|g|na|
coovos
kbokl/1oo
I-803
kuggedWear
|xma
ro 1
Gor|||apod:
Compact.............................17
nybr|d (lnLegral Pead) .......29
SLk 2oom...........................39.9S
Iocus G-8 .........................93
SLk
2oom
AS-C
slzesensor
12.1
megaplxels
12.0
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1080p
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movlemode
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NLW! W710 llok, 5llvet ot 8lock....................89
NLW! Wx60 wblte ot 8lock ...........................149
NLW! 1I1 keJ, 8loe ot 8lock .......................... 179
NLW! n200 8lock............................................ 199
NLW! Wx200 5llvet ot 8lock .......................... 209
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kx1 8lock ........................................................ 2S99
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4SL..................................... 239
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499
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860
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649
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th
March & 31
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18.0
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EOS 7D
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1,069
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th
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3.0"
8 FPS
1080
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3.2"
12 FPS
1080
Movie
14mm f/2.8L II USM 1,849.00
20mm f/2.8 USM 389.00
24mm f/1.4L Mk II USM 1,245.00
24mm f/2.8 IS USM 587.00
28mm f/1.8 USM 369.00
28mm f/2.8 IS USM 559.00
35mm f/1.4L USM 1,089.00
35mm f/2.0 208.00
35mm f/2.0 IS USM 769.00
40mm f/2.8 STM 189.00
50mm f/1.2 L USM 1,169.00
50mm f/1.4 USM 279.00
50mm f/1.8 II 88.99
50mm f/2.5 Macro 227.00
EF-S 60mm f/2.8 Macro 349.00
MP-E 65mm f/2.8 799.99
85mm f/1.2L II USM 1,649.00
85mm f/1.8 USM 299.00
100mm f/2 USM 359.00
100mm f/2.8 USM Macro 422.00
100mm f/2.8L Macro IS USM 689.00
135mm f/2.0L USM 859.99
180mm f/3.5L USM Macro 1,169.99
200mm f/2.0L IS USM 4,499.00
200mm f/2.8L USM/2 599.00
300mm f/2.8L USM IS II 5,145.00
300mm f/4.0L USM IS 1,099.00
400mm f/2.8L USM IS II 8,299.00
400mm f/4.0 DO L USM IS 5,199.00
400mm f/5.6L USM 1,058.00
500mm f/4.0L USM IS II 7,779.00
600mm f/4.0L USM IS II 10,595.00
800mm f/5.6L IS USMa 9,745.00
TSE 17mm f/4.0L 1,866.00
TSE 24mm f/3.5L II 1,642.00
TSE 45mm f/2.8 1,099.00
TSE 90mm f/2.8 1,099.00
8-15mmf/4L Fisheye USM 1,059.00
EF-S 10-22mmf/3.5-4.5 USM 619.00
EF-S 15-85mmf/3.5-5.6 IS USM 529.00
16-35mm f/2.8L II USM 1,129.99
17-40mm f/4.0L USM 579.00
EF-S 17-55mmf/2.8 IS USM 749.00
EF-S 17-85 f/4.0-5.6 IS USM 332.99
EF-S 17-85 IS (No packaging) 249.99
EF-S 18-55mm f/3.5-5.6 IS II 132.00
EF-S 18-55mm IS II (No packaging) 75.00
18-135mm IS (No packaging) 299.99
EF-S 18-135mmf/3.5-5.6 IS STM344.00
EF-S 18-200mmf/3.5-5.6 IS 389.00
24-70mm f/2.8L II USM 1,799.00
24-70mm f/4.0L IS USM 1,399.00
24-105mm f/4.0L IS USM 822.00
24-105mm IS (out of kit) 679.99
28-135mm f/3.5-5.6 USM IS 359.00
28-300mmf/3.5-5.6L IS USM 2,089.00
EF-S 55-250mmf/4-5.6 IS II 179.99
70-200mmf/2.8L IS II USM 1,819.00
70-200mm f/2.8L USM 959.00
70-200mm f/4.0L IS USM 909.00
70-200mm f/4.0L USM 489.99
70-300mmf/4.0-5.6 IS USM 369.00
70-300mmf/4.0-5.6L IS USM 1,129.00
70-300mmf/4.5-5.6 DO IS USM 1,092.00
75-300mm f/4.0-5.6 Mk III 189.00
75-300mm f/4.0-5.6 USM III 229.00
100-400mmf/4.5-5.6L USM IS 1,209.00
200-400mm f/4.0L USM IS TBC
1.4x III Extender 395.00
2x III Extender 399.00
EF 12 II Extension Tube 79.99
EF 25 II Extension Tube 139.99
Add a Sony NP-FW50
battery for 66.49
NEX-F3
+ 18-55mm
349
.00*
16.1
MCA

3.0"
5.5 FPS
1080
Movie
NEX-F3
16.1
MCA

3.0"
10 FPS
1080
Movie
NEX-6
NEX-6
y y Body Only
629
.00
NEX-6
+ 16-50mm
729
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NEX-7
y y Body Only
774
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24.3
MCA

3.0"
10 FPS
1080
Movie
NEX-7
Alpha a99
y y Body Only
2,199
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24.3
MCA

3.0"
10 FPS
1080
Movie
Alpha a99
a99 + Grip
+ 2 batts.
2,448
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NEX-7
+ 18-55mm
869
.00
EOS 5D III
+ 24-105 L
2,975
.00
EOS 5D III
y y Body Only
2,335
.00
Purchase the EOS 5D Mark III between 7
th
March &
31
st
May and claim 65 cashback from Canon.
22.3
MCA

3.2"
6 FPS
1080
Movie
Canon PIXMA Pro 9500 Mk II
Create and sell gallery quality images
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D3200 Body Only 376.99
D3200 + 18-55 VR 439.99
See website for D3200 in Red!
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MCA

3.0"
4 FPS
1080p
FuII HD
D5100 + 18-55 VR 436.00
D5100 Twin Kit 579.99
16.2
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3.0"
4 FPS
1080p
FuII HD
1,469.00
D600 + 24-85 VR 1,823.00
D600 + SB-910 1,788.99
24.3
MCA

3.2"
5.5 FPS
1080p
FuII HD
D800 Body Only 1,929.00
D800 + 24-120 VR 2,748.00
D800 + EN-EL15 1,983.99
36.3
MCA

3.2"
4 FPS
1080p
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D4 Body Only 4,249.00
D4 + AF-S 85mm f/1.8 4,619.00
D4 Body + EN-EL18 4,369.98
16.2
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3.0"
11 FPS
1080p
FuII HD
Add a Nikon EN-EL14 spare
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AF-G 10.5mm f/2.8G ED DX f 549.00
AF-D 14mm f/2.8D 999.99*
AF-D 16mm f/2.8D Fisheye 635.00
AF-D 20mm f/2.8 470.99
AF-D 24mm f/2.8D 329.00
AF-S 24mm f/1.4G ED 1,489.00
PC-E 24mm f/3.5D ED 1,493.99
AF-D 28mm f/2.8 245.99
AF-S 28mm f/1.8G 509.99
AF-S 35mm f/1.4G 1,319.99
35mm f2 AF Nikkor D 262.99
35mm f/1.8 AF-S DX 154.99
AF-S 40mmf/2.8G ED Micro 186.99
PC-E 45mm f/2.8D ED 1,399.99
AF 50mm f/1.4D 245.99
AF-S 50mm f/1.4G 278.00
AF-D 50mm f/1.8 112.99
AF-S 50mm f/1.8G 164.00
AF-S 60mm f/2.8G Micro ED 409.99
AF-S 85mmf/3.5G DX Micro 375.00
AF-D 85mm f/1.8D 299.00
AF-S 85mm f/1.8G 379.99
AF-S 85mm f/1.4G 1,209.00
AF-S 105mmf/2.8G VR IF-ED 629.00
PC-E 85mm f/2.8D ED 1,339.00
AF-DC 105mm f/2 Nikkor 821.99
AF-D 135mm f/2.0D 1,029.00
AF-D 180mm f/2.8 IF ED 709.00
AF-D 200mm f/4D IF ED 1,194.00
AF-S 200mm f/2G ED VR II 4,099.00
AF-S 300mmf/2.8G ED VR II 4,099.99
AF-S 300mm f/4 D IF-ED 1,046.00
AF-S 400mm f/2.8G ED VR6,595.00
AF-S 500mm f/4G ED VR 5,599.00
AF-S 600mm f/4G ED VR 6,999.99
AF-S 800mm f/5.6E FL ED VR See web
AF-S 10-24mmf/3.5-4.5G DX 644.00
AF-S DX 12-24mmf/4 G IF-ED 809.00
AF-S 14-24mm f/2.8G ED 1,339.99
AF-S 16-35mm f/4G ED VR 862.99
AF-S 16-85mmf/3.5-5.6 DX VR 447.99
AF-S 17-35mm f2.8 IF ED 1,499.00
AF-S 17-55mmf/2.8G IF-ED 1,049.00
AF-S DX 18-55 f/3.5-5.6G II 127.99
AF-S 18-105mm f/3.5-5.6G VR 234.99
AF-S 18-200mm ED DX VR II 599.00
AF-S 18-300mm ED VR DX 679.99
AF-S 24-70mm f/2.8G ED 1,269.00
AF-D 24-85mm f/2.8-4 549.00
AF-S 24-85mm ED VR 419.00
AF-S 24-120mm f/4G ED VR 829.00
AF-S 28-300mm ED VR 659.00
AF-S 55-200mm f/4-5.6G 199.99
AF-S 55-200mm f/4-5.6 VR 143.99
AF-S DX 55-300mm VR 265.00
AF-S 70-200mmf/2.8 VR II 1,629.00
AF-S 70-200mmf/4.0 VR 1,099.99
AF-S 70-300mm IF ED VR 399.99
AF-D 80-400mm ED VR 1,269.99
AF-S 200-400mm ED VR II 4,939.00
D7000 + 18-105 VR 799.00
D7000 + EN-EL15 696.00
16.2
MCA

3.0"
6 FPS
1080p
FuII HD
Add a Nikon MB-D11 battery grip
for only 224
.99*
Add a Nikon ME-1 Stereo
Microphone for only 94
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1
0
0
Cashback
6
5
Cashback
8
0
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1
6
0
Cashback
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// //
//
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Tough TG-620 165.00
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SP-620UZ 119.00
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XZ-1 269.00
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16.1 Megapixels
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12 Megapixels
Extra-bright zoom lens
Easy, intuitive operation
4x Optical Zoom
XZ-2
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From 1
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NEW& COMING SOON! See web for details
NEWNOWIN STOCK! See web for details
DMC-S3 (1) from54.99
DMC-S3 Black (Olympic Kit ) 59.99
DMC-S5 Black 89.00
DMC-LS6 64.00
DMC-FS40 84.00
DMC-FS45 99.00
DMC-LZ20 139.00
DMC-FX77 (1) 189.00
DMC-FX80 173.00
DMC-FT4 229.00
DMC-FT20 129.00
DMC-TZ25 209.00
DMC-TZ30 229.00
DMC-FZ62 270.00
DMC-LX5 239.99
16.0 Megapixels
Small & Lightweight body
Easy Manual Control
3.0" LCD touch-screen
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DMC-GX1
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369
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10.1 megapixels
24mm wide-angle lens
3.8x Optical Zoom
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DMC-L
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20.3 megapixel APS-C sensor
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Premium Metal Design
NX1000
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699
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Micro four
external a
FL-14 74
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see web for details
See website for Samyang lenses!
Tel: 01444 23 70 58 www.ParkCameras.com/DSP
York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT
oln, ollow, weet &atchus on
Introducing
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Meet the DMC-GH3, a new and highly evolved model from Panasonic.
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CAL0HET
0oll. 0870 03 03 03
0lick. www.caIumetpbctc.cc.uk
\isil. stcres naticnwide
85mm F1.80 AF-8 DX 149.00
5Omm F1.40 AF-8 275.00
5Omm F1.4D AF 244.00
5Omm F1.80 AF-8 155.00
GOmm F2.80 AF-8 ED Nicro 404.00
85mm F1.40 AF-8 1189.00
1O5mm F2.80 AF-8 VR Nicro 625.00
14-24mm F2.80 AF-8 ED 1315.00
1G-85mm F4.O0 AF-8 ED VR 829.00
18-85mm F8.5-4.50 AF-8 ED 669.00
18-2OOmm F8.5-5.G0 AF-8 VR ll 580.00
18-8OOmm F8.5-5.G0 AF-8 ED VR 679.00
24-85mm F8.5-4.50 AF-8 ED VR 419.00
24-7Omm F2.80 AF-8 ED 1235.00
28-8OOmm F8.5-5.G0 AF-8 VR 659.00
7O-2OOmm F4.5-5.G0 AF-8 VR ll 1599.00
7O-2OOmm F40 AF-8 VR ED 1099.00
NIK0N LEN5E5
EF 5Omm F1.4 U8N 278.00
EF 5Omm F1.8 ll 81.00
EF-8 GOmm F2.8 U8N Nacro 348.00
EF 85mm F1.2l ll U8N 1648.00
EF 1OOmm F2.8l l8 U8N Nacro 688.00
EF 8-15mm F4.Ol U8N Fishe]e 1059.00
EF 1G-85mm F2.8l U8N ll 1098.00
EF 17-4Omm F4.Ol U8N 578.00
EF 24-7Omm F4l l8 1498.00
EF 24-7Omm F2.8l ll U8N 1795.00
EF 24-1O5mm F4.Ol l8 U8N 821.00
EF 28-185mm F8.5-5.G l8 U8N 358.00
EF 7O-2OOmm F2.8l l8 U8N ll 1798.00
EF 7O-2OOmm F4.Ol l8 U8N 884.00
EF 7O-8OOmm F4.O-5.G l8 U8N 374.00
EF 7O-8OOmm F4.O-5.Gl l8 U8N 1129.00
EF 1OO-4OOmm F4.5-5.Gl l8 U8N 1188.00
CAN0N LEN5E5
All prices include Vat at 20%. Prices correct at time oI going to press. E&0E.
NEWfremCaIumet
hikon DGOO
L1450.00
hikon DGOO + 24-85mm lens
L1823.00
Niken 0b00
The new E08-5D Nark lll
ouilds on the
performance of the
legendar] E08-
5D Nark ll,
offering improved
speed, greater
resolution,
enhanced
processing power
and extended creative options for ooth stills and Full HD
movies - providing unparalleled artistic freedom for the
most demanding photographers.
E08 5D Nark lll Bod] L2335.00
E08 5D + 24-1O5mm L2975.00
E08 5D + 24-7Omm ll L4099.00
Canen E05 50Hark III
Take ]our photograph] to another
level with the DGOO.
Remarkaol] lightweight
FX-format D-8lR with
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sensor, l80 1OO-
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processing, highl]-
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D-movie. Discover the full-frame advantage.
Your entr] into the full-frame world. A 2O.2 megapixel
D8lR featuring a full-frame
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design. ldeal for
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travel, offering
tight control over
depth of field and
a large choice of
wide-angle EF
lenses. Full HD 1O8Op resolution
movies and Ei-Fi for unparalleled
connectivit].
Canon E08-GD Bod] L1599.00
Canon E08-GD + 24-1O5mm lens
L2199.00
Canen E05-b0
D4 Bod] 4249.00
D8OO Bod] 1899.00
D8OOE Bod] 2349.00
D7OOO Bod] 642.00
D7OOO +18-1O5mm 789.00
NIK0N 05Lks
D9O Bod] 439.00
D9O +18-1O5mm 565.00
D52OO Bod] 649.00
D52OO +18-55mm 699.00
D82OO Bod] 372.00
D82OO +18-55mm 439.00
E08-1D X Bod] 4849.00
E08 5D Nark ll Bod] 1469.00 E08 7D Bod] 1069.00
E08 7D +18-185mm 1279.00
E08 GOD Bod] 625.00
E08 GOD +18-55mm 705.00
E08 G5OD Bod] 529.00
E08 G5OD +18-55mm 579.00
E08 GOOD Bod] 425.00
E08 GOOD +18-55mm 489.00
CAN0N 05Lks
0I6ITAL CAHEkA5
PkINTEk5
Canon Pixma Pro-1O 525.00
Epson 8t]lus Pro 888O 895.00 Canon Pixma Pro-1 645.00
Epson 8t]lus Photo R8OOO 585.00
5T00I0
Calumet 0enesis 2OO 2-head kit 349.99
Calumet 0enesis 4OO 2-head kit 399.99
hikon Coolpix P77OO 389.00
hikon 1 V2 1O-8Omm 679.00
Canon Powershot 01 x 499.00
Canon Powershot 015 439.00 Fujifilm X1OO 549.00 Fujifilm X1O 299.00
Cree 6eneraters
Professional power packs with precision
performance and high-end specifications
perfect for studios and rental houses.
12OOws 3199.00
24OOws 3999.00
0reat value, powerful pro-level
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adjustment. Availaole for ooth Canon
and hikon.
149.00
CaIumet 6enesis
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CAL0HET
All prices include Vat at 20%. Prices correct at time oI going to press. E&0E.
0ne Ligbt- Pbctcgrapby and Pcst
Prcducticn Wcrksbcp
6Ien Ncrwccd
This course will demonstrate lighting portraits with ooth studio strooes
and speedlights and will oe followed o] a post production workshop to
demonstrate how oest to produce ]our images.
wednesda] 2O Narch 1O.OO-1G.OO 99
Ligbtrccm - Tbe EssentiaIs
6Ienn Ncrwccd
This course introduces the Adooe Photoshop lightroom features for
organizing, enhancing, and sharing digital images and video clips.
Thursda] 21 Narch 1O.OO-1G.OO 79
Fasbicn FIair
6Ienn Ncrwccd
This workshop covers an edg] fashion shoot, covering the most
contemporar] lighting techniques used toda] followed o] Photoshop Post
production course which demonstrates man] retouching & compositing
techniques.
Frida] 22 Narch 1O.OO-1G.OO 129
Urban Landscapes
Picbard 5cutbaII
A seminar session followed o] a walking tour (practical workshopj, where
participants will gain a oasic understanding to successful uroan
landscape photograph].
wednesda] 27 Narch 1O.OO-14.OO 59
E0IN0k6R
0131 553 9979
Create idec witb ycur D5LP
Jascn Rarry
This workshop will oe ooth practical and discussion aoout how to produce
high qualit] video with ]our HD read] D8lR.
Thursda] 21 Narch 1O.OO-15.OO 85
Create idec witb ycur D5LP tc a
CcmmerciaI 0uaIity
Jascn Rarry
This is a more advanced workshop allowing ]ou to ouild on the oasics
from da] one. You will oe shown how to produce videos of commercial
qualit].
Frida] 22 Narch 1O.OO-15.OO 85
Hastering 0ff Camera FIasb witb
Cancn 5peedIites
Jascn Rarry
Expand ]our lighting options in this how to workshop. There will oe
discussion mixed with practical on how to produce a great images with
the Canon 58OEX flash unit.
8aturda] 28 Narch 1O.OO-15.OO 85
An Intrcducticn tc 5uccessfuI
ArcbitecturaI Pbctcgrapby
Picbard 5cutbaII
participants will gain a oasic understanding to successful architectural
exterior photograph].
Tuesda] 2G Narch O9.8O-18.8O 59
Creative Fasbicn and Beauty
Ligbting Wcrksbcp
Jcn 6ray
Using a top professional model, Jon will oe demonstrating several
different creative st]les of lighting techniques for commercial and
editorial Fashion and Beaut] images.
Tuesda] 2G Narch 1O.8O-1G.OO 149
6LA560W
011 353 0875
HANCRE5TEk
011 27 55
5c, RcwDc I Hake Hcney FrcmTbis?
Picbard 5cutbaII
Have ]ou ever wondered how to work out ]our charges for ]our
photographic services and are ]ou actuall] making enough mone] from
them? Are their additional streams of income that could oe made from
]our exiting photographs? ln this seminar, we will oe looking at the oack
office of running a successful photograph] ousiness
8aturda] 28 Narch 1O.8O-18.8O 59
Ligbtrccm & Pbctcsbcp C5 fcr
Everycne - Haking Better Pictures
Andy Astbury
This 2 da] workshop is designed to reinforce ]our understanding of RAw
processing in lightroom and the power of la]ers, Channels, Blending
Nodes and Nasking in Photoshop C8G, and then move ]ou forward in
]our understanding of these simple, fast out immensel] powerful tools
and techniques.
Nonda] 8 April 1O.OO-1G.8O 138
Picbard 5cutbaII
wednesda] 1O April O9.8O-18.8O 59
www.caIumetseminars.cc.uk
L0N00N l0rummend 5t
020 7380 11
Landscape Pbctcgrapby
Lcrentz 6uIIacbsen
with a series of presentations and demonstrations - 0ullachsen will give
]ou an insight into the world of an advertising and fine art landscape
photographer.
Tuesda] 19 Narch 1O.OO-1G.OO 99
TraveI Pbctcgrapby - Pay Fcr Ycur
RcIiday Witb Ycur TraveI Images
Lcrentz 6uIIacbsen
The da] will provide ]ou with an insight into producing travel images that
will improve ]our portfolio and possiol] help pa] for ]our holida] or even
launch a career as a travel photographer.
wednesda] 2O Narch 11.OO-1G.OO 79
Ligbtrccm & Pbctcsbcp C5
Integrated Image Wcrksbcp
Andy Astbury
The issue, o] Adooe, of process version 2O12 (PV2O12j utilities lightroom
4.8, ACR 7.8 and Photoshop C8G v 18.1 has given rise to a veritaole raft of
highl] significant improvements in RAw file processing, enaoling
photographers to develop their RAw images to new heights of image
qualit] with a high degree of speed and efficienc].
This workshop is intended to make users of up to date issues of lightroom
4.8, ACR 7.8 and Photoshop C8G v 18.1 full] aware of how to implement
the oenefits of PV2O12 and incorporate them into their own digital
workflow.
Thursda] 21 Narch 1O.OO-1G.OO 79
Picbard 5cutbaII
wednesda] 25 Narch O9.8O-18.8O 59
Hastering 0ff Camera FIasb witb
Cancn 5peedIites
Jascn Rarry
Expand ]our lighting options in this how to workshop. There will oe
discussion mixed with practical on how to produce a great images with the
Canon 58OEX flash unit.
Tuesda] 2G Narch 1O.OO-15.OO 85
5bccting Ycur First Wedding:
A Crasb Ccurse 5eminar
Jcbn CIements
8o ]ou have said ]es... l will shoot ]our wedding.
with experience over decades of shooting weddings, John Clement's
'Crash Course' seminar is a perfect template to help, not just making it all
happen, out in avoiding important pitfalls.
wednesda] 27 Narch 12.OO-15.OO 69
Picbard 5cutbaII
Tuesda] 19 Narch 9.8O-18.8O 59
An Intrcducticn tc Nigbt
Pbctcgrapby
Picbard 5cutbaII
An evenings walking tour of the local area where the participants will gain
a oasic understanding of the techniques required for successful night
photograph] in a cit] environment.
Tuesda] 19 Narch 18.8O -21.OO 65
5bccting Intericrs - A Haster CIass
Picbard 5cutbaII
A master class in interior photograph] to oe undertaken at location (wine
oar, hotel or night cluoj near to the local Calumet oranch.
wednesda] 2O Narch 1O.OO -15.OO 69
Creative Fasbicn and Beauty
Ligbting Wcrksbcp
Jcn 6ray
Using a top professional model, Jon will oe demonstrating several
different creative st]les of lighting techniques for commercial and
editorial Fashion and Beaut] images.
Frida] 22 Narch 1O.OO -17.OO 149
ELFA5T
028 90 777 770
Be Inspired and Inspire Ycur CIients
Tim WaIIace
This seminar is h0T aoout car photograph] is aoout ousiness in the
Commercial world of Photograph] and how to give ]ourself the oest
chance of success, the ousiness aspects and the mental state of mind
required.
Frida] 22 Narch 1O.OO-15.OO 99
Be Inspired and 6c Create
Tim WaIIace
Aimed squarel] at those that are seeking to learn more aoout
photograph] and gain a oetter understanding of light and other elements
that turn good pictures into great pictures.
8aturda] 28 Narch 1O.OO-15.OO 99
TraveI Pbctcgrapby - Pay Fcr Ycur
RcIiday Witb Ycur TraveI Images
Lcrentz 6uIIacbsen
The da] will provide ]ou with an insight into producing travel images that
will improve ]our portfolio and possiol] help pa] for ]our holida] or even
launch a career as a travel photographer.
Tuesda] 2G Narch 11.OO-1G.OO 79
IkHIN6RAH
0121 32 73
Pbctcsbcp C5 fcr Pbctcgrapbers
6Ienn Ncrwccd
The course details the features and techniques oehind enhancing and
retouching photos, preparing them for print and online puolishing, and
man] more Photoshop oasics.
Thursda] 4 April 1O.OO-1G.OO 79
PrcfessicnaI Pcrtrait Petcucbing
6Ienn Ncrwccd
This course details the tools ever] photographer needs to retouch
portraits to a professional level whilst remaining authentic.
Frida] 5 April 1O.OO-1G.OO 79
kI5T0L
0117 92 2000
Stocklsts ot
8lnoculars ano telescopes
LOW PP|CLS
We'll matcb any genulne web prlce!
Visionary Wetland
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Please cbeck webslte tor sbowroom openlng tlmes ano speclal late nlgbts ano tor oetalls ot any upcomlng sbows ano eblbltlons. All otters are subject to avallablllty. All prlces are subject to cbange wltbout notlce.
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T84EDO OPTlON5 &ACCE55ORlE5
Ollvon T84LDo + SHP 20-60 .......................L999
Ollvon T84LDo + STD 20-60 .......................L899
Ollvon T84LDo booy only ...............................L799
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Ollvon SLP olgltal camera aoaptor..............L64.99
OllvonSLP pbotolens .................................. L189.99
T2 nounts and Iters step rings in stock
Ollvon UDCH-C84,
olgltal compact camera aoaptor...................L99.99
Ollvon TP150-10 trlpoo ................................L79.99
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Ollvon cleanlng ano care klt ...........................L9.99
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wltb stay on case ano
S-HP 20-60 zoom eyeplece
L999.00
Visionary
Includes case, mini tripod.
M-10 1050L50.00
M-12 1250L55.00
M-15 1550L60.00
M-20 2050L65.00
M-Z 10-3050 zoomL75.00
Olivon WP-PRO
very blgb quallty, robust ano waterproot,
|F tocus system blnoculars.
rubber armoureo, 8AK4 optlcs,
sbock reslstant.
750.................. L279.99
DIGITAL SLRS
D4 body . . . . . . . . . . . . . 4249
D800 body . . . . . . . . . . . 1919
D800E body . . . . . . . . . . 2349
D600 body . . . . . . . . . . . 1469
D7000 body . . . . . . . . . . . 639
D7000 + 18-105 VR . . . . . 799
D5200 body . . . . . . . . . . . 639
D5200 + 18-55 VR . . . . . . 699
D5200 + 18-105 VR . . . . . 799
D3200 body . . . . . . . . . . . 384
D3200 + 18-55 VR . . . . . . 429
EOS DSLRS
5D MK body. . 2315
5D MK + 24-105 S . . . 2959
7D body . . . . . . . . . . . . . 1066
7D + 15-85 S. . . . . . . . . 1589
7D + 18-135 S. . . . . . . . 1329
MF8UD 8PECAL
600D + 18-135 8 . . . . . . 599
U.K.
Stock
ONLY
MIFSUDS ARE NIKON PROFESSIONAL DEALERS
COMPACT CAMERAS
G1X ........479 G15 . . . . 439
SX50.......369
EF-S NON FULL FRAME LENSES
10-22 F3.5/4.5 USM. . . . . . 614
15-85 F3.5/5.6 S U no box 549
17-55 F2.8 S USM. . . . . . . . 769
17-85 f4/5.6 S USM unboxed 379
18-55 F3.5/5.6 S unboxed. 129
18-135 F3.5/5.6 S STM. . . 347
18-135 F3.5/5.6 S U no box 279
18-200 F3.5/5.6 . . . . . . . . . 419
55-250 F4/5.6 S . . . . . . . 239
60 F2.8 Macro USM. . . . . . 339
EF LENSES
8-15 F4 L USM Fisheye . . 1079
14 F2.8 L . . . . . . . . . . . . 1769
16-35 F2.8 MK L USM . . 1119
17 F4 TSE L . . . . . . . . . . . 1847
17-40 F4 USM L. . . . . . . . . 599
20 F2.8 USM . . . . . . . . . . . 377
24 F1.4 L USM . . . . . . . 1189
24 F2.8 S U. . . . . . . . . . . . 577
24 F2.8 . . . . . . . . . . . . . . . . 347
24 F3.5 L TSE MK . . . . . 1599
24-70 F2.8 L USM. . . . . . 1689
24-105 F4 L S USM unboxed . 699
28 F1.8 USM. . . . . . . . . . . . . . . 354
28 F2.8 S U. . . . . . . . . . . . 569
35 F1.4 L USM. . . . . . . . . 1067
35 F2 S USM. . . . . . . . . . . 799
35 F2 . . . . 189 40 F2.8 . 159
50 F1.2 L USM. . . . . . . . . 1169
50 F1.4 U .269 50 F1.8 . 87
65 F2.8 MPE . . . . . . . . . . . 799
70-200 F2.8 S USM L . . . 1749
70-200 F2.8 non S L USM. . . . 939
70-200 F4 L S USM. . . . . . 869
70-200 F4 L USM. . . . . . . . 479
70-300 F4/5.6 L S USM. . . 1129
70-300 F4.5/5.6 S USM . . 419
85 F1.2 L . . . . . . . . . . . . 1599
85 F1.8 USM . . . . . . . . . . . 299
100 F2.8 S L USM macro . 689
100 F2.8 Macro USM. . . . . . . .429
100-400 F4.5/5.6 S L USM 1177
135 F2 L USM . . . . . . . . . . 889
180 F3.5 L USM Macro . . 1149
200 F2 L S. . . . . . . . . . . . 4499
200 F2.8 L USM . . . . . . . 597
300 F2.8 L S USM. . . . . 4977
300 F4 L S USM . . . . . . . 1089
400 F2.8 S L USM . . . . 8199
400 F4 S U DO . . . . . . . . 5199
400 F5.6 L USM. . . . . . . . 1039
500 F4 S L USM . . . . . . 7699
600 F4 S L USM . . . . . . 10499
Ext tube 12. . . . . . . . . . . . . . . 79
Ext tube 25 . . . . . . . . . . . . . 129
1.4x converter. . . . . . . . . . 399
2x converter. . . . . . . . . . . 399
FLASH & ACCESSORIES
Angle finder C. . . . . . . . . . . 219
BG-E5 grip (450D) . . . . . . . . 107
BG-E6 grip (5D MK) . . . . . . 187
BG-E7 grip (7D) . . . . . . . . . . 139
BG-E8 grip (550D) . . . . . . . . .115
BG-E9 grip (60D) . . . . . . . . 129
BG-E11 grip (5D MK) . . . 277
BG-E13 grip (6D) . . . . . . . . 249
LP-E4 . . . 159 LP-E6 . . . . 80
MR 14EX Ringlight . . . . . . . 469
MT-24EX. . . . . . . . . . . . . . . 789
320EX . . . . . . . . . . . . . . . . . . . . 185
430 EX . . . . . . . . . . . . . . . . . . 199
600EX RT . . . . . . . . . . . . . . . . . 459
CP-E4 compact battery pack . . 149
Off camera shoe cord OC-E3. . .59
LC5 wireless set . . . . . . . . . 449
GP-E2 GPS receiver . . . . . 299
RS-80N3. . . . . . . . . . . . . . . . 49
ST-E3 Transmitter . . . . . . . 309
ST-E2 Transmitter . . . . . . . 239
TC-80N3. . . . . . . . . . . . . . . 149
COMPACT CAMERAS
P520.......479 AW110. . 395
S9500.....359
DIGITAL ONLY LENSES
10.5 F2.8 DX . . . . . . . . . . . 549
10-24 F3.5/4.5 GAFS DX . 629
12-24 F4 DX. . . . . . . . . . . . 859
16-85 F3.5/5.6 AFS VR DX 469
17-55 F2.8 DX . . . . . . . . . 1099
18-105 F/3.5-5.6G ED VR . . 197
18-300 F3.5/5.6 G ED VR DX689
35 F1.8 G DX. . . . . . . . . . . 169
40 F2.8 AFS G DX . . . . . . . 199
55-300 F4.5/5.6 G VR DX . 289
85 F3.5 G VR DX. . . . . . . . 399
LENSES
14 F2.8 AFD ONE ONLY . . 999
14-24 F2.8 G ED AF-S. . . 1337
16 F2.8 AF-D Fisheye . . . . 699
16-35 F4 AFS VR. . . . . . . . 859
18-35 F3.5/4.5 G AFS . . . . 669
18-55 F3.5/5.6 VR . . . . . . . . 99
20 F2.8 AF-D . . . . . . . . . . . 489
24 F1.4 AFS G . . . . . . . . . 1589
24 F3.5 PCE. . . . . . . . . . . 1499
24-70 F2.8 G ED AFS . . . 1269
24-85 F3.5/4.5 G ED VR . . 429
24-120 F4 G ED VR. . . . . . 849
28 F1.8 AF . . . . . . . . . . . . . 519
28-300 F3.5/5.6 G ED VR . 699
35 F1.4 G. . . . . . . . . . . . . 1399
35 F2 AF-D. . . . . . . . . . . . . 289
50 F1.4 AF-S G . . . . . . . . . 299
50 F1.8 G. . . . . . . . . . . . . . 169
50 F1.8 AF-D . . . . . . . . . . . 129
60 F2.8 AFS . . . . . . . . . . . . 429
70-200 F2.8 VR . . . . . . . 1649
70-200 F4 G ED VR. . . . . 1079
70-300 F4.5/5.6 VR . . . . . . 449
80-400 F4.5/5.6 VR AFD . 1377
85 F1.4 AFS G . . . . . . . . . 1175
85 F1.8 AFS G . . . . . . . . . . 377
105 F2.8 VR macro . . . . . . 649
200 F2 G VR . . . . . . . . . 3877
200-400 F4 VR . . . . . . . 4997
300 F2.8 AFS G VR . . . . 4189
300 F4 AF-S. . . . . . . . . . . 1049
400 F2.8 AFS VR . . . . . 6555
500 F4 AFS VR . . . . . . . 5997
600 F4 AFS VR . . . . . . . 7199
800 F5.6 AFS VR. . . . . . 15599
TC14E converter . . . . . . . 329
TC17E converter . . . . . . . 329
TC20E converter . . . . . . . 389
FLASH & ACCESSORIES
GP-1. . . . . . . . . . . . . . . . . . 199
MBD14 (D600) . . . . . . . . . . 239
MBD12 Grip (D800/E) . . . . 289
MBD11 Grip (D7000) . . . . . 229
MBD10 Grip (D300/D700) . 219
DR-5 Angle finder . . . . . . . . . 229
DR-6 angle finder . . . . . . . . . 229
SBR200 wireless rem S/Lite 199
SBR1 ringflash . . . . . . . . . . 389
SBR1C ringflash/command579
SB-700 . . . . . . . . . . . . . . . . 249
SB-910 . . . . . . . . . . . . . . . . 349
SC-28 . . . . 59 SC-29 . . . . 69
SU-800 flash slave no box . 199
MC36 . . . 129 MC30. . . . . 69
EN-EL3E . .67 ENEL4A. . . 89
EN-EL15 . .59 EN-EL18. . 99
ME-1 Stereo Microphone . . 109
WT-5 Wireless trans for D4 399
WU-1a wireless adapt D3200 55
NX Capture 2 . . . . . . . . . . . 169
WANTED
We want your cameras, lenses & studio equipment
WE PART EXCHANGE
BUY FOR CASH OR COMMISSION SALE
Collection can be arranged.
contact us at info@mifsuds.comor ring 01803 852400
Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT. P&P Extra. E&OE.
We are happy to reserve new & used stock for customers planning to visit. Prices are based on current stock at time of compilation February 25th 2013.
Prices are subject to change without notice so please check availability to avoid disappointment. We keep the website updated daily (Mon-Fri) - latest prices on-line. E&OE.
MIFSUDS ARE CANON PROFESSIONAL STOCKISTS
8-16 F4.5/5.6 DC HSM NAF only 479
10-20 F3.5 EX DC HSM. . . . . . . 459
10-20 F4/5.6 EX DC CAF/NAF . 369
12-24 F4.5/5.6 EX DG mac MK 669
17-50 F2.8 EX DC OS HSM . . . 499
17-70 F2.8/4.5 DC OS . . . . . . . . 299
18-50 F2.8/4 DC OS . . . . . . . . . 169
18-200 F3.5/6.3 DC OS . . . . . 279
18-250 F3.5/6.3 DC OS Macro . 399
18-250 F3.5/6.3 DC OS NAF only 299
24-70 F2.8 EX F DG HSM. . . . . 589
30 F1.4 EX DC HSM NAF only . 299
35 F1.4 DG HSM . . . . . . . . . . . . 769
50 F1.4 EX DG. . . . . . . . . . . . . . 365
50 F2.8 EX DG . . . . . . . . . . . . . 249
50-150 F2.8 DC MK . . . . . . . . . 799
50-500 F4/5.6 OS HSM CAF/NAF. .999
70-200 F2.8 EX DG OS . . . . . . . 879
70-300 4.5/5.6 APO DG mac . . . 149
85 F1.4 EX DG HSM . . . . . . . . . 669
105 F2.8 EX DG OS. . . . . . . . . . 549
120-300 F2.8 EX DG OS CAF/NAF 1649
120-400 F4.5/5.6 APO OS NAF only 629
150 F2.8 EX DG OS. . . . . . . . . . 699
150-500 F5/6.3 DG OS CAF/NAF . 749
180 F2.8 EX DG OS. . . . . . . . . 1299
1.4x EX DG converter . . . . . . . . 189
2x EX DG converter . . . . . . . . . . 219
EM140DG macro ringflash. . . . . 349
MIFSUDS ARE SIGMA PROLENS STOCKISTS
3 YEAR WARRANTY ALL LENSES
U.K.
Stock
ONLY
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Mail Order :
01803 852400
Email -
info@mifsuds.com
www.mifsuds.com
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
PHONE LINES OPEN
MON -FRI 8am - 7pm,
SAT 9am - 5pm,
SUN 10am - 1pm.
SHOP OPEN
MON -SAT 9am - 5pm,
SUN 10am - 1pm.
U.K. Stock
Only
7-14mm F4..................... 949
8mm F3.5 ....................... 499
12-35mm f2.8 ................. 849
14-42mm F3.5/5.6
Power OS X................... 350
14-140mm F4/5.8 OS.... 579
20mm F1.7 ..................... 269
25mm F1.4 DG............... 439
35-100 F2.8 Power OS X 999
45mm F2.8 OS.............. 549
45-150 F4/5.6 OS.......... 259
45-175mm F4/5.6
Power OS X................... 319
45-200mm F4/5.6 OS.... 269
100-300mm F4/5.6 OS.. 419
LFV2 Viewfinder ............. 199
FL220E Flash..................115
FL360E Flash................. 187
FL500E Flash................. 347
LX7 Quality Compact ..... 349
FZ-200 Camera.............. 439
FZ-150 Camera.............. 269
TZ-30 Compact Camera 239
Tamron & Kenko Lenses
18-270mm f3.5/6.3 Di II VC PZD............389
60mm f2 Di macro NAF......................... 299
90mm f2.8 Di macro.............................339
Kenko auto extension tube set ..........149
Kenko Pro 300 1.4x DG.......................199
Kenko Pro 300 2x DG..........................199
650D body 515
650D + 18-55
8 569
650D + 18-135
8 8TM 829
X System Cameras & Lenses Micro 4/3rds system
GH3 + 12-35mm.........1999
GH3 + 14-140mm.......1589
G5 + 14-42mm X ..........669
G5 + 14-42mm..............549
G5 body........................519
GX1 + 14-42mm X........539
GX1 + 14-42mm ...........429
GX1 body......................349
GF5 + 14-42mm X........479
GF5 + 14-42mm............379
GF5 body......................319
GH3 body
onIy 1199
D7100 body 1099
D7100
+ 18-105 VR 799
FAMILY RUN SINCE 1954
1DX body 4849
6D body 1599
6D + 24-105
f4 L 2277
X100s ............ 1099
X20.................. 499
X-Pro 1 body.. 1079
X-E1 + 18-55
f2.8/4 OS ........ 939
X-E1 body........ 629
14mm f2.8 XF.. 749
18mm f2 XF..... 419
18-55mm
f2.8/4 OS XF... 579
35mm f1.4 XF.. 419
60mm f2.4 XF.. 459
XFXR20 fash .. 189
EF42 fash ....... 199
X-100 Limited Edition
Black Kit........... 699
X-10 compact.....289
NEW!
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01803
852400
Please follow
us on
5x4 USED
Cambo Wide Super Angulon
65 F5.6 kit see web........ 1499
chneider Sup Ang 90 F8...299
Polaroid back.................. 49
Toyo 6x7 RFH............... 129
Toyo quick roll slider..... 199
Fidelity double dark sl ea15
BRONICA ETRS 645 USED
ETRS + 75 F2.8 E
+ 120 + plain prism
+ speed grip ................. 249
ETRSi body .................. 139
40 F4 PE ...................... 179
50 F2.8 E........................ 99
50 F2.8 PE ................... 199
100 F4 PE .................... 229
105 F4.5 PE macro ...... 369
135 F4 PE .................... 249
150 F3.5 E...................... 89
150 F3.5 PE M- Box..... 149
200 F4.5 PE ................. 179
500 F8 E..................... 449
2x extender E............... 139
E14 ext tube................... 49
120 RFH......................... 69
Polaroid Back ................. 29
Rotary prism................. 149
AE Prism ................... 179
AE Prism ...................... 89
WLF................................ 49
Plain Prism E.................. 39
Angle viewfinder E........ 179
Winder E..................... 199
Winder ............................ 79
M bracket........................ 69
Speed Grip E.................. 49
Tripod adapter E............. 59
Metz SCA 386 ................ 49
BRONICA SQ 6x6 USED
SQA + 150 + 120 RFH. 249
120 RFH......................... 79
40 F4 PS ...................... 399
50 F3.5 PS ................... 199
50 F3.5 S........................ 99
65 F4 PS Boxed........... 149
110 F4 PS macro... 279/399
135 F4 PS M- ............... 249
150 F3.5 S...................... 79
150 F4 PS .................... 149
150 F4 PS M- Box........ 199
200 F4.5 PS M- box ..... 199
2x PS converter M- ...... 249
Polaroid back.................. 49
135N back ...................... 99
120J 645 back................ 49
Waist level finder ............ 69
Plain Prism S Boxed ...... 79
AE Prism Early ............... 99
ME Prism Finder............. 99
Metz SCA 386 ................ 49
Lens Hood 65-80............ 20
Pro shade S box............. 49
Motorwinder.................. 199
Speed grip S................... 99
BRONICA GS 6x7 USED
150 F4 PG M-............... 129
G18 Ext Tube box .......... 69
Polaroid Back ................. 39
Speed Grip .................... 89
AE Prism Finder G....... 129
AE Rotary Prism........... 169
CANON DIGITAL AF USED
1DS MK body box .....2299
1DS MK body box ...... 699
1DS MK body box ....... 499
1D MKV body ... 2699/2999
1D MK body............... 899
1D MK body......... 369/449
7D body box .......... 749/799
5D MK body box......... 999
5D MK body ........ 499/649
60D body M- box.......... 549
50D body.........................399
40D body.........................299
20D body.........................149
550D body.......................329
500D body.......................299
400D body.......................149
350D body.......................149
1000D body box .............189
BG-E1 ...............................29
BG-E2N.............................69
BG-E3 ...............................39
BG-ED3.............................39
BG-E4 (5D MK) ...............69
BG-E5 ...............................69
BG-E6 box (5D MK) .......99
BG-E7 box ........................99
BG-E8 ...............................89
BG-E11 M- box...............239
G10 compact ..................199
G1X compact ..................379
SX30 compact box .........179
SX1 S compact M- box .149
S3 S compact ..................69
CANON AF USED
EOS 1n RS body.......... 399
EOS 3 + PB-E2............ 169
EOS 3 body............. 79/199
EOS 5 body.................... 39
EOS 600 body................ 29
EOS 300 body................ 20
EOS 500 body................ 20
EOS 500N body ............. 20
EOS 50E body................ 20
10-22 F3.5/4.5 EFS...... 479
14 F2.8 L U box........ 1399
16-35 F2.8 L MK.......... 599
17-40 F4 L box ............. 479
17-85 F4/5.6 S U......... 199
18-55 F3.5/5.6 S EFS ... 99
18-55 F3.5/5.6 EFS............69
18-135 F3.5/5.6 S.......... 239
18-200 F3.5/5.6 S box... 349
20-35 F3.5/4.5 U............. 199
24 F1.4 L MK box.........1199
24 F1.4 L MK M- box.... 849
24-70 F2.8 L M-........... 1499
24-70 F2.8 L MK M-..... 1099
24-105 F4 L ............. 649/699
28 F1.8 U M- ................... 299
28-90 F4/5.6 U .................89
28-135 F3.5/5.6 S U....... 199
35 F2 box......................... 159
35-70 F3.5/4.5....................69
35-135 F4/5.6 U ............. 99
50 F1.4 U box............... 249
50 F1.8 MK................... 69
60 F2.8 EFS box .......... 249
70-200 F2.8 L S M-1549
70-200 F2.8 L S MK ... 999
70-200 F4 S L M- ........ 699
70-200 F4 U L .............. 379
70-300 F4/5.6 S U....... 299
75-300 F4.5/5.6 U .......... 99
80-200 F4.5/5.l6 .......... 49
85 F 1.2 L U M- .......... 1299
85 F1.8 U........................... 249
100 F2.8 S L U Mint ...........579
100 F2.8 U box............. 329
100-400 F4.5/5.6 L M- box..1099
100-400 F4.5/5.6 L....... 999
180 F3.5 L box ............. 879
300 F2.8 S U L. 2999/3299
300 F4 S U L.................. 799
400 F5.6 L......................899
500 F4 S L U......4799/4999
12mm ext tube M-......... 59
25mm ext tube M-......... 99
1.4x conv MK ...............279
1.4x conv MK ................169
2x ext MK .....................199
2x extender MK.............169
Teleplus 2x DG conv ...... 89
NCE2 charger............... 149
BP-200 grip .................... 20
BP-50 grip ...................... 29
PB-E2............................. 79
LC-5 kit ......................... 179
LC-4 kit ..........................119
Angle finder C................119
SIGMA CAF USED
12-24 F4.5/5.6 EX DG.... 399
17-70 F2.8/4 DC OS....... 239
18-50 F2.8 EX DC........... 199
18-125 F38/5.6 DC OS... 229
18-125 F38/5.6 DC............99
24-70 F2.8 DG HSM Mint499
24-70 F2.8 EX DG.......... 349
50 F1.4 EX DC................ 299
50-500 F4/6.3 EX DG..... 599
70-300 F4/5.6 APO DG mac..99
70-300 F4/5.6 DG mac......69
105 F2.8 EX DG.............319
120-300 F2.8 DG OS.......1299
120-300 F2.8 EX DG HSM 849
135-400 F4.5/5.6............. 199
150-500 F5/6.3 OS box.. 599
170-500 F5/6.3................ 399
1.4x EX DG conv M-....... 149
OTHER CAF USED
TAM 28-270 VC Di PZD329
TAM 28-300 F3.5/6.3 VC 299
TAM 55-200 F4/5.6............49
TAM 70-300 Di VC M- .... 239
TAM 70-300 F4/5.6............79
TAM 90 F2.8.......... 219/269
TAM 200-500 F5/6.3 Di..439
TOK 11-16 ATX Pro .......399
TOK 12-24 F4 ATX Pro 399
VV 19-35 F3.5/4.5......... 69
Teleplus 2x VG............... 89
Kenko Pro 300 1.4x DG149
Kenko Pro 300 2x DG X149
Kenko Pro 300 2x DG...119
CANON FLASH USED
380EX............................. 69
420EX............................. 89
430EX MK M- box...... 169
430EX box.................... 139
540EZ............................. 59
580EX box.................... 239
580EX MK .................. 319
MR-14EX...................... 349
ML-3 ring not digital........ 89
CPE-2 batt pack ............. 69
ST-E2 box....................... 99
Sigma EM140G ring..... 199
CANON MF FD USED
T90 Body........................ 99
A1 body ................... 79/179
A1 body blk/chr............... 49
AE1-P chrome body ....... 69
AV1 chr body.................. 49
35-70 F3.5/4.5................ 39
35-105 F3.5.................... 99
35-105 F3.5/4.5.............. 79
50 F1.8 ........................... 20
50 F3.5 Macro................ 89
50 F3.5 Mac + Tube......119
70-210 F4....................... 69
100 F2.8 ......................... 99
100 F4 Macro + tube.... 299
100-300 F5.6.................. 99
135 F3.5 ......................... 29
200 F4 ............................ 49
2X A Extender................. 99
2X B Extender ................ 69
TOK 60-300 F4/5.6......... 69
Winder A......................... 29
Angle finder B................. 69
Action finder for F1N.... 129
AE power winder FN...... 79
AE motor drive FN
+ battery pack............... 149
Auto bellows................. 129
CANON FLASH USED
199A............................... 59
244T ............................... 29
299T ............................... 49
300TL ............................. 49
CONTAX RF USED
G2 body Titanium box .. 399
28 F2.8 Titanium........... 299
35-70 F3.5/5.6 blk box . 369
35-70 F3.5/5.6 tit box ... 369
TLA200 Titanium............ 69
TLA30 flash .................... 29
CONTAX SLR USED
167MT body.................... 69
139Q body...................... 69
137MA body ................... 69
EPSON PRINTER USED
R3000 kit ...................... 549
FUJI DIGITAL USED
X-E1 + 18-55 silv M- box879
X-E1 body Mint box...... 579
X100 Ltd Ed M- ............ 599
X100 M- box................. 429
18-55 F2.8/4 Mint ......... 549
60 F2.8 R M- box ......... 399
S5 body M- box............ 299
FUJI 35MM USED
M42 & Bayonet SEE WEB
FUJI MED FORMAT USED
GX617 + 90 +VF
+ CF box..................... 2599
180 F6.7 GX680 box.. 1399
250 F5.6 GX680........... 199
GSW690 MK M- box . 869
GITZO USED
TRIPOD HEADS
G1077M........................ 139
G1177M.......................... 49
G1178M.......................... 79
G2180........................... 129
G2272M........................ 149
G2780FQR green......... 149
GH1720FQR................. 139
GH1720QR................... 149
GH1780FQR................. 129
GH1780QR................... 149
GH2750........................ 139
GH2750QR................... 139
GH2780QR................... 199
GH2781T........................ 99
GH2781TQR................... 99
GH3780QR................... 199
GH5380SQR ................ 179
TRIPOD LEGS
G1325 MK .................. 299
GT0531......................... 199
GT1840C...................... 199
GT2341L....................... 199
GT2531......................... 279
GT2531EX.................... 359
GT2531LVL................... 299
GT2532S...................... 339
GT2540FT................... POA
GT2540T ...................... 279
GT2540F ...................... 399
GT2540FL .................... 429
GT2540LLVL................. 399
GT2541EX.................... 339
GT2542S...................... 379
GT3320BS.................... 199
GT3330......................... 249
GT3531......................... 369
GT4552TS.................... 479
GT4552GTS................. 499
HASSELBLAD XPAN USED
XPan + 45 F4.................. 849
30 F5.6 M- box................ 1899
90 F4.................................. 299
HASSELBLAD 6x6 USED
SWCM + VF ..................1199
903SWC + viewfinder ...1899
503CW body chr........... 699
500CM + 80CF
+ A12 blk/chr .................699
PM90 prism.................. 199
WLF early....................... 49
A12 latest blk/chr.......... 199
A12 late black............... 149
E12 box ........................ 349
503CW winder box....... 249
40 F4 early ................... 699
50 F2.8 FE M- .............. 699
250 F4 FE M- box ........ 649
50 F2.8 CE M- box....... 699
50 F4 CF FLE............... 699
50 F4 CF ...................... 499
80 F2.8 CF M- .............. 499
120 F4 CF .................... 599
120 F5.6 chr ................. 199
150 F4 chr .................... 169
150 F4 CFi M- .............. 749
150 F4 CF ................... 649
150 F4 CF .................... 349
150 F4 blk T*................ 199
160 F4.8 CB M- box..... 399
Vivitar 2x conv................ 69
LEICA DIGITAL USED
D-Lux 5 blk.....................399
D-lux 2 M- box................279
V Lux 20 M- box.............249
LEICA M/COMPACT USED
g + 5cm f2 + erc........ 999
M4P chr body ............... 699
M3 chr d/wind + ERC.. 699
21 F2.8 blk ASP M- box . 1999
28 F2.8 M- box............. 699
35 F2 blk ASP M- box 1599
50 F1.4 blk M- box ..... 1899
CF FLash........................ 69
SF20 flash ...................... 79
LEICA SLR USED
R7 body blk box .............. 379
R4 body chr ..................... 149
60 F2.8 R...................... 449
LIGHTMETERS USED
Gossen Lunasix .......... 79
Minolta Flashmeter V ... 179
LOWEPRO USED
Lens Trekker 600AW...... 99
Dryzone 200 yellow/blk 179
Pro Trekker AW.............. 99
MAMIYA AF 645 USED
645 + 80 + 120 RFH .... 599
55 F2.8 AFD M- box..... 399
55-110 F4.5 M- box ...... 599
MAMIYA 645 USED
645 Pro TL + 80 + RFH
+ plain prism................. 349
645 Pro TL inc 80 F2.8 N +
AE Prism + Pro Winder .......449
645 Pro + 80 F2.8 N
+ 120 RFH + prism....... 349
645E body .................... 169
645 Pro TL Body .......... 199
45 F2.8 N M- Box......... 179
55 F2.8 N........................ 99
55-110 F4.5 .................. 249
70 2.8 C leaf................... 99
105-210 F4.5 ULD C....... 249
110 F2.8 N...................... 99
110 F2.8 C...................... 79
150 F3.5 N...................... 99
210 F4 N M- ................. 129
300 F5.6 N ULD-C M- .. 199
Ext Tube 1, 2, 3S each... 29
Teleplus/Viv 2x conv ea.. 49
FE401 AE prism box .... 179
AE prism 645 Super ..... 129
Plain prism (645 Super) . 69
Polariod Back HP401..... 39
Polaroid back.................. 39
120 nsert ....................... 20
HA401 120 RFH Box...... 49
120 Back ........................ 39
Winder ............................ 79
MAMIYA TLR 6x6 USED
C330 S B/O + WLF....... 299
C330 F Body + WLF..... 149
80 F2.8 S...................... 149
180 F4.5 ....................... 169
Paramender.................... 89
MAMIYA 7 RF 6x7 USED
7 body......................... 849
50 F4.5 L + VF ............. 849
80 F4 box ..................... 649
210 F8 + VF box M- ..... 599
Panoramic kit.................. 49
MAMIYA RB 6x7 USED
Pro S + RFH + 127 F3.8349
Pro SD + 127 KL
+ RFH + WLF............... 649
Pro SD body ................ 249
Pro S body.................... 149
Pro S body scruffy.......... 99
Prism early ..................... 99
WLF................................ 79
Chimney ......................... 69
120 645V back ............. 149
120/220 6x8 motor ....... 149
Pro S Polaroid back ....... 49
Pro SD Polaroid back..... 69
50 F4.5 C...................... 269
65 F4 KL M-.................. 399
180 F4.5 C...................... 99
250 F4.5 KL M- box ........ 249
45mm tube SD M-..............99
Ext tube 2............................69
MAMIYA RZ 6x7 USED
RZ67 Pro + 90 + RFH. 649
RZ67 Pro + 90 + RFH. 499
RZ67 Pro + 110 + RFH499
RZ Pro + 90 + 120 RFH399
RZ Pro body .............. 299
RZ Pro body ................. 149
50 F4.5 W M- ............... 269
50 F4.5 ULD M- box..... 699
65 f4 M- box ................. 329
75 F4.5 shift M- ............ 549
140 f4.5 W M- macro.... 349
180 F4.5 M- .................. 179
No 1 or No 2 ext tube ea 69
FE701 prism AE ........... 249
AE prism early................ 99
Pro Polaroid back........ 69
120 back Pro ............... 99
120 back Pro 1............... 39
Pro shade....................... 49
Pro AE hood..................119
MINOLTA/SONY DIGITAL USED
Sony A550 body box......369
Sony A350 body.............179
Sony A200 body.............199
HVL-F36AM flash............ 129
VGB50AM grip box.........119
Nissin Di866 ................. 129
Sigma EF530DG Super... 99
Minolta VC7D grip.......... 119
Sony RLAM ringlight ......219
MINOLTA/SONY AF USED
Dynax 9 body box ........ 249
Dynax 7 body ................. 79
Dynax 7xi body............... 49
Dynax 5 body box .......... 39
Dynax 700Si + VC700.... 69
Dynax 700Si body .......... 49
Dynax 600Si ................... 69
Dynax 505Si Super b/o .. 29
Dynax 505Si body .......... 29
Dynax 404Si body ............29
17-35 F3.5 G M- box......649
24-105 F3.5/4.5............ 149
28-105 F3.5/4.5.............. 99
35-105 F3.5/4.5 M-......... 99
50 F1.7................................79
75-300 F4.5/5.6..................89
100-300 F4/5.6................ 129
SONY LENSES USED
18-70 box ....................... 49
24-70 F2.8 box...............1199
50 F2.8 D mac................. 299
75-300 F4.5/5.6................119
SIGMA MIN/SONY AF USED
12-24 F4.5/5.6 EX DG...399
15 F2.8 EX DG box .......329
17-35 F2.8 EX................149
18 F3.5 box....................129
18-35 F3.5/4.5.................. 69
24-70 F2.8 EX DG mac.269
55-200 F4/5.6................... 69
70 F2.8 EX DG................ 299
600 F8 .......................... 349
1.4x EX DG conv.......... 149
1.4x EX conv .................119
2x EX DG conv M- box 149
TAM 28-75 XR Di box .. 229
TAM 90 f2.8.................. 199
TAM 180 F3.5 M-.............. 439
TOK 11-16 F2.8 ATX Pro..379
VV 19-35 F3.5/4.5......... 69
VV 100-400 F4.5/6.7... 149
Teleplus 1.4x conv.......... 69
Teleplus 2x conv............. 99
Jessops ext tubes........... 69
Kenko 1.4x Pro 300DG 149
VC-9 (Dynax 9) M- box 129
VC700 (700/800Si)......... 29
VC600 (600Si)................ 29
VC-7 (Dynax 7)............... 69
Min 3600HSD flash ........ 79
Min 5200i ........................ 49
Min 5400HS.................... 69
NIKON DIGITAL AF USED
D3 body............. 1499/1799
D2X body box............... 549
D700 body........... 999/1399
D300 body............. 399/499
D200 body box ............. 299
D7000 body.................. 549
D90 body box ............... 329
D80 body...................... 199
D70s body box ............. 129
D70 body box ................119
D40 body...................... 129
D5100 body M- box...... 249
D3000 body box ........... 159
EH-6 mains charger ....... 59
MBD-10 box ...........119/149
MBD-11......................... 169
MBD-12 M- box ............ 249
MBD-80 box ................... 99
MBD-200 box ................. 69
Cool[pix P7100............. 199
Coolpix P100................ 149
NIKON AF USED
F6 body M- box ............ 899
F5 body M- box ............ 499
F5 body box.................. 299
F5 body scruffy............. 199
F4 body box.................. 249
F4S body...................... 149
F100 + MB-15 .............. 149
F80 body black............... 69
F90X body...................... 49
F801 body ...................... 49
F801s body..................... 49
F55 or F601 body each.. 29
10-24 F3.5/4.5 M- box.....549
12-24 F4 AFS DX M-.......599
14-24 F2.8 AFS M- box.1199
16-85 F3.5/5.6 AFS VR...379
17-55 F2.8 AFS box 599/699
18-55 F3.5/5.6 VR M-........99
18-70 F3.5/4.5 DX...........149
18-105 F3.5/5.6 VR.........319
18-135 F3.5/5.6 AFS.......149
18-200 F3.5/6.3 VR M- .399
18-200 F3.5/6.3 VR box..299
24 F1.4 AFS M- box......1399
24-70 F2.8 AFS box......1149
24-120 F3.5/5.6 VR.........299
24-120 F3.5/5.6 D...........149
28 F2.8 AF N...................119
28-80 F3.5/4.5 D................69
28-80 F3.5/5.6 G................49
28-100 F3.5/5.6 G..............49
28-105 F3.5/4.5 AFD....... 169
28-300 F3.5/5.6 G........... 149
35 F1.8 AFS.................... 129
35-70 F2.8 AFD............... 299
40 F2.8 AF DX................. 189
50 F1.4 AFS M-............... 239
55-200 F4/5.6 AFS VR... 139
55-300 F4.5/5.6 AFS VR 249
60 F2.8 AFS M- box........ 339
70-200 F2.8 VR........... 1499
70-200 F2.8 VR.............. 999
75-300 F4/5.6................. 79
80-200 F2.8 AFN M-..... 799
80-200 F2.8 AFS.......... 699
80-200 F2.8 early ......... 299
80-400 F4.5/5.6 VR...... 799
85 F1.4 AFD M- box..... 699
85 F1.4 AFD................. 579
105 F2.8 AFS VR......... 539
300 F2.8 AFS VR ..... 3599
300 F2.8 AFS VR ...... 3199
TC20E ........................ 199
SIGMA NAF USED
12-24 F4/5.6 EX DG..... 399
14 F2.8 EX box ........... POA
17-70 F2.8/4.5 DC........ 149
18-50 F2.8 DC macro... 239
18-50 F2.8 EX DC........ 199
18-125 F3.8/5.6 DC........ 99
20-40 F2.8 EX DG.......... 199
24-70 F2.8 EX DG HSM. 449
24-70 F2.8 EX DG.......... 349
28-200 F3.5/5.6............... 129
28-300 F3.5/6.3..................99
30 F1.4 EX DC box......... 249
50-500 F4/6.3 DG OS.....799
50-500 F4/6.3 EX DG.....599
50-500 F4/6.3 EX............499
55-200 F4/5.6 DC Mint......49
70-300 F4/5.6 APO mac....99
150-500 F5/6.3 EX DG OS 599
170-500 F5/6.3................ 179
1.4x EX DG M-................ 149
1.4x EX conv......................99
2X EX conv...................... 109
TAMRON NAF USED
18-200 F3.5/6.3 Di ........ 149
18-250 F3.5/6.3 Di box. 199
18-270 F3.5/6.3 Di PZD 319
28-200 XR Di mint box ....119
28-200 XR..........................79
55-200 F4/5.6 Di ..............49
70-300 F4/5.6............... 69/89
90 F2.8............................. 219
TOK 12-24 F4 ATX M-.. 379
Teleplus Pro 300DGX 2x.... 149
FLASH / ACCESSORIES USED
DW-30 (WLF for F5)........ 139
SB-24........49 SB-25........49
SB-26........69 SB-27........49
SB-28........69 SB-29........99
SB-30..................................49
SB-80DX.............................69
SB-800............................. 249
SB-900 M- box................ 269
SB-910 M- box................ 299
SD-8A..................................99
SD-8 box.............................69
MB-10 (F90X).....................29
MB-15 (F100) .....................49
MB-16 (F80) .......................29
MB-40 fits F6 M- box ...... 179
MC-30.................................49
MC-36.................................99
WT-2 box ............................99
LS5000 scanner............ 1399
NIKON MF USED
F3T body blk M- box .... 699
F3HP body.................... 299
F3 body ................... 99/199
FA body chr M- ............. 299
FE-2 body chr........ 199/299
FM body chr ................... 99
FM2n body chr ............. 199
FM2n body blk.............. 169
FM2 body chr ............... 149
F301 body ...................... 39
28 F3.5 Shift ................. 449
28 F3.5 A ....................... 99
35-70 F3.3/4.5 AS ......... 99
35-105 F3.5/4.5 AS ..... 149
36-72 Series E................ 79
43-86 F3.5 A.................. 69
50 F1.2 AS.................. POA
50 F1.4 AS................... 199
50 F1.4 A ..................... 149
50 F1.8 AS..................... 99
50 F1.8 AS pancake.... 139
135 F2.8 AS................. 149
180 F2.8 AS M- ........... 399
500 F8 late .................. POA
TC14A........................... 149
TC14B box ................... 149
TC16A............................. 99
TC200............................. 59
MD-12 winder.....................49
SB-15.............................. 39
SB-17 (fit F3) .................. 49
DR-3 angle finder ........... 69
DW-4 (fit F3)................. 149
NOBLEX USED
135UC ......................... POA
OLYMPUS DIGITAL USED
E1 + 14-42.................... 249
E510 body .................... 199
E500 body .................... 179
E300 body .................... 149
14-45 F3.5/5.6.............. 169
18-180 F3.5/6.3............ 279
40-150 F3.5/4.5.............. 99
40-150 F4/5.6................. 89
50 F2 macro................. 379
FL50 flash box.............. 149
HLD3 grip fit E300.......... 49
Sigma 10-20 F4/5.6 DC279
Pen E-P3 body M- box. 279
Pen E-PL2 + 14-42....... 249
Pen E-PL1 + 14-42....... 179
12 F2 ............................ 439
14-150 F4/5.6............... 349
17 F2.8 ......................... 139
VF-2 viewfinder ............ 129
OLYMPUS MF OM USED
OM4Ti blk body............. 249
OM-2SP body............... 149
OM-2N chr body ............ 129
OM-10 chr or blk body ea 49
21 F3.5 ......................... 249
28 F2.8 ........................... 69
35-70 F4......................... 89
35-105 F3.5/4.5............ 129
50 F3.5 macro....................99
75-150 F4...........................49
135 F3.5 ......................... 39
180 F2.8 ....................... 399
300 F4.5 ....................... 199
Olympus Auto bellows
+ slide copier M- ........... 169
T32 fash......................... 49
Man ext tube 7/14/25 ea. 15
Auto ext tube 7/14/25 ea..... 20
Power bounce GR2............. 49
PANASONIC DIGITAL USED
G5 + 14-42 M- ................429
G3 Olympic kit M- box.. 449
G3 body box................. 199
G2 body........................ 169
G1 body.........................119
GF3 + 14-42 OS.......... 199
GF3 body mint box....... 199
GF2 body box............... 169
GF1 body box............... 149
GH2 body ..................... 399
GX1 body box............... 249
14 F2.5 ......................... 199
14-42 F3.5/5.6................ 69
14-45 F3.5/5.6.............. 239
14-50 F3.8/5.6 OS....... 299
45 F2.8 DG macro........ 469
45-200 F4/5.6 OS........ 189
LVF2 finder ................... 159
PENTAX 645 DIGITAL AF USED
45 F2.8 AL.................... 379
45-85 F4.5 FA M- box... 749
80-160 F4.5 FA............. 599
PENTAX DIGITAL AF USED
K7D body...................... 349
K20D body box............. 349
K10D body box............. 199
PENTAX 35mm AF USED
MZ-S body.................... 149
MZ5N body..................... 49
MZ5 body ....................... 49
12-24 F4....................... 449
18-55 F3.5/5.6 WR......... 69
18-55 F3.5/5.6................ 49
24-90 F3.5/4.5 FA............ 179
28-70 F4 AL........................69
50-200 F4/5.6 DA WR.... 99
70-300 f4/5.6 .................. 79
80-200 F4.7/5.6.............. 49
100-300 F4/5.6............... 99
AF200G Mint .................. 49
AF500FGZ flash............. 79
SIGMA PKAF USED
8 F4 EX M- box ............ 279
12-24 F4.5/5.6 EX M-... 369
17-35 F2.8/4 EX........... 149
18-200 f3.5/6.3 DC box 129
28-200 F3.5/5.6............ 139
70-300 F4/5.6 DG........... 79
150-500 F5/6.3 DG ..... 449
170-500 F5/6.3............. 379
TAM 18-200 XR Di ..... 139
TAM 70-300 F4/5.6 Di .... 79
Cosina 100 F3.5............... 79
PENTAX 35mm MF USED
MX body ......................... 79
K1000 body chr .............. 99
Program A body.............. 49
M42 300 F4 M-............. 279
28 F3.5 ........................... 49
35-70 F3.5/4.5 PK.......... 49
40-80 F2.8/4 PK............. 69
50 F1.7 ........................... 49
50 F2 .............................. 49
80-200 F4.5.................... 49
135 F2.5 ......................... 69
135 F3.5 ......................... 49
400-600 F8/12.............. 399
Rear converter PT62...... 69
PENTAX 645AF USED
645N body.................. 549
645N body.................... 299
120 insert........................ 79
45 F2.8 FA.................... 379
45-85 F4.5 M- box........ 699
80-160 F4.5 FA............. 499
PENTAX 645MF USED
55 F2.8 M- .................... 249
120 F4 macro ............... 349
135 F4 Leaf .................. 199
150 F3.5 EX++ ............. 149
200 F4 .................. 129/179
1.4x converter ..................199
2x converter .....................179
120 nsert M- box............ 49
PENTAX 67 USED
67 MU + metered prism
+ 105 F2.4 .................... 699
67 MU body.....................299
55 F3.5 early................. 199
55 F4 ............................ 279
75 F4.5 latest box......... 249
75 F4.5 shift .................. 449
135 F4 mac early.......... 129
165 F2.8 ....................... 149
165 F4 leaf.................... 299
200 F4 latest................. 269
300 F4 early scruffy....... 149
300 F4 late.................... 349
Auto ext tubes................. 99
Vivitar 2x conv ................ 79
TAMRON ADAPTALL USED
TELESCOPES/BINOS USED
SEE WEBSTE
YASHICA TLR USED
124G 6x6...................... 199
QUALITY USED EQUIPMENT. See website for full list. Call us for condition and to buy secondhand stock. 3 Month warranty on most secondhand.
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Canon 300 F4 L IS
USM799
Sigma CAF
120-300 F2.8 EX DG
HSM 849
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4799/4999
Nikon D300 body
399/499
EOS 1D MKIV body
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2315
Canon EO8 6D body
1599
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4977
With 18-135mm IS
599
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Body OnIy
515
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569
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829
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8199
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SEMD YCR DElAlLS FCR ACCCMl APPLlCAllCM AMD lRADE SPPLY PRlCES
Iel. JIZ &ZJ&IZ |et. JIZ &ZJJJ |meil. leeiir|erre|ierel@jmeil.tem

K9 KK/N9 |K9UCI' /K| ||KI|9 WK|9W|9|
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Corbon Sleody Com
120cm wllh conneclors
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KCCD Spore lwln
KCCD Speed cronk
KCCD Slldlng ond lock
comero plollorm
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wheel Dolly
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bell ond lever
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PRlh7ER lhK CAR7Rl0CE8
Premier nk &Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977 &O. Prices may be subject to change, but hopefully not!
OriginaIs:
26.99 16ml
21.99 46ml
27.99 66ml
35.99 16ml
26.99 46ml
119.99 set of 7
14.99 17ml
17.99 17ml
17.99 17ml
39.99 set of 4
17.99 13ml
9.99 8ml
64.99 set of 6
14.99 13ml
14.99 13ml
99.99 set of 8
8.99 13ml
13.99 13ml
13.99 13ml
32.99 set of 4
8.99 8ml
8.99 8ml
92.99 set of 8
11.99 13ml
11.99 13ml
11.99 13ml
32.99 set of 4
8.99 8ml
8.99 8ml
32.99 set of 4
8.99 7.4ml
8.99 5.5ml
69.99 set of 6
11.99 10ml
11.99 10ml
49.99 set of 6
8.99 7.4ml
8.99 7.4ml
69.99 set of 8
7.99 11.4ml
8.99 11.4ml
8.99 11.4ml
69.99 set of 8
8.99 11.4ml
8.99 11.4ml
26.99 set of 4
6.99 5.9ml
6.99 3.5ml
38.99 set of 4
9.99 11.2ml
9.99 7ml
19.99 25.9ml each or 154.99 set of 8
13.99 17ml each or 99.99 set of 8
12.99 13ml each or 69.99 set of 6
39.99 80ml each or 314.99 set of 8
21.99 set of 4
7.99 5.2ml
5.99 3.3ml
44.99 set of 4
14.99 11.5ml
10.99 6.6ml
41.99 set of 6
7.99 5.1ml
7.99 4.6ml
69.99 set of 6
11.99 9.8ml
11.99 8.7ml
29.99 set of 4
8.99 6.2ml
7.99 4.7ml
7.99 4.5ml
49.99 set of 4
13.99 12.1ml
12.99 8.7ml
12.99 9.7ml
At Premier nk Supplies, we stock two types of cartridges for pson printers - OriginaIs,
which are made by pson, and CompatibIes, which are made by a UK company called
Jet Tec. Using Jet Tec CompatibIes is a way of saving money, without compromising on
the quality of your prints. ere're the results from two independent ink tests that agree.
"Jet Tec's coIours were superb, with singIe greys and
bIacks very cIose to pson .so Jet Tec wins!"
- Total Digital Photography Magazine
"What we're Iooking at here is not onIy the best choice
of ink for the R300 printer, but aIso the best ink in this
group test, period. There's just no getting away from
the superb combination of performance and pricing"
- Computer Upgrade Magazine
Cartridge Code:
T007 Black
T008 Colour
T009 Colour
T026 Black
T027 Colour
T0341-T0347 Set of 7
T0341/8, each
T0342/3/4, each
T0345/6/7, each
T0441-T0454 Set of 4
T0441 Black
T0452/3/4, each
T0481-T0486 Set of 6
T0481/2/3, each
T0484/5/6, each
T0540-T0549 Set of 8
T0540 loss
T0541/2/3/4, each
T0547/8/9, each
T0551-T0554 Set of 4
T0551 Black
T0552/3/4, each
T0591-T0599 Set of 8
T0591/2/3, each
T0594/5/6, each
T0597/8/9, each
T0611-T0614 Set of 4
T0611 Black
T0612/3/4, each
T0711-T0714 Set of 4
T0711 Black
T0712/3/4, each
T0791-T0796 Set of 6
T0791/2/3, each
T0794/5/6, each
T0801-T0806 Set of 6
T0801/2/3, each
T0804/5/6, each
T0870-T0879 Set of 8
T0870 loss
T0871/2/3/4, each
T0877/8/9, each
T0961-T0969 Set of 8
T0961/2/3/4/5, each
T0966/7/8/9, each
T1281-T1284 Set of 4
T1281 Black
T1282/3/4, each
T1291-T1294 Set of 4
T1291 Black
T1292/3/4, each
T1571-9, each
T1591-9, each
T5591-6, each
T5801-9, each
No.18 Set of 4
No.18 Black
No.18 C/M/Y, each
No.18XL Set of 4
No.18XL Black
No.18XL C/M/Y, each
No.24 Set of 6
No.24 B/LC/LM, each
No.24 C/M/Y, each
No.24XL Set of 6
No.24XL B/LC/LM, each
No.24XL C/M/Y, each
No.26 Set of 4 (no PB)
No.26 Black
No.26 Photo Black
No.26 C/M/Y, each
No.26XL Set of 4 (no PB)
No.26XL Black
No.26XL Photo Black
No.26XL C/M/Y, each
SuitabIe PSON Printers:
Photo 790, 870, 890, 895, 900, 915, 1290
Photo 790, 870, 890, 895, 915
Photo 900, 1270, 1290
Photo 810, 830 ,830u, 925, 935
Photo 2100
Chamelion Inks
C64, C66, C84, C86,
CX3600/3650, CX6400, CX6600
Parasol Inks
R200, R220, R300, R320, R340
RX500, RX600, RX620, RX640
Seahorse Inks
Photo R800, R1800
Frog Inks
Photo R240, R245,
RX420, RX425, RX520, RX525
Duck Inks
Photo R2400
Lilly Inks
D68, D88,
DX3800/3850, DX4200/4250, DX4800/4850
Teddy Bear Inks
S20, S21, SX100/105/110/115/200/205/210/215
SX400/405/415/515, D78/92/120, B40W, BX300
DX4000/4400/5000/6000/7000/7400/8400/9400
Photo 1400
Owl Inks
Photo P50, PX650/660/700W/710W/720WD,
PX730WD/800FW/810FW/830FWD/830FWD
R265/285/360, RX560/585/685
Photo R1900
Flamingo Inks
Photo R2880
Husky Inks
S22, SX125/130, SX420W/425W/445W,
BX305F
Fox Inks
SX420W/425W/445W/525WD/620FW,
BX305F/320FW/525WD/535WD/625FWD/630FW,
BX635FWD/BX925FWD/BX935FWD, B42WD
Photo R3000 Turtle Inks
Photo R2000 Kingfisher Inks
Photo RX700 Penguin Inks
Photo Pro 3800, 3880
xpression ome XP30, XP102, XP202, XP205
XP302, XP305, XP402, XP405
Daisy Inks
xpression ome XP30, XP102, XP202, XP205
XP302, XP305, XP402, XP405
High Capacity Daisy Inks
xpression Photo XP750, XP850
Elephant Inks
xpression Photo XP750, XP850
High Capacity Elephant Inks
xpression Premium XP600, XP605, XP700,
XP800
Polar Bear Inks
xpression Premium XP600, XP605, XP700,
XP800
High Capacity Polar Bear Inks
Jet Tec CompatibIes:
3.99 20ml, 3 for 10.99
4.99 50ml, 3 for 13.99
4.99 70ml, 3 for 13.99
3.99 20ml, 3 for 10.99
4.99 50ml, 3 for 13.99
Check Website.
Check Website.
Check Website.
Check Website.
14.99, 3 sets for 42.99
4.99 21ml, 3 for 13.99
3.99 21ml, 3 for 10.99
19.99, 3 sets for 56.99
3.99 21ml, 3 for 10.99
3.99 21ml, 3 for 10.99
35.99, 3 sets for 99.99
3.99 21ml, 3 for 13.99
4.99 21ml, 3 for 13.99
4.99 21ml, 3 for 13.99
14.99, 3 sets for 42.99
4.99 21ml, 3 for 10.99
3.99 21ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
Check Website.
14.99, 3 sets for 42.99
4.99 21ml, 3 for 13.99
3.99 21ml, 3 for 10.99
14.99, 3 sets for 42.99
4.99 13ml, 3 for 13.99
3.99 13ml, 3 for 10.99
Check Website.
Check Website.
Check Website.
19.99, 3 sets for 57.99
3.99 13ml, 3 for 10.99
3.99 13ml, 3 for 10.99
Check Website.
Check Website.
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14.99 set of 4
4.99 13ml
3.99 10ml
16.99 sets of 4
5.49 16ml
4.49 13ml
14.99 set of 4
4.99 18ml
3.99 13ml
14.99 set of 4
4.99 18ml
3.99 13ml
NW
NW
NW
NW
NW
NW
NW
NW
NW
NW
NW
NW
NW
NW
Lexmark CompatibIes
No.1 Colour 10.99
No.2 Colour 11.99
No.3 Black 14.99
No.16 Black 11.99
No.17 Black 9.99
No.26 Colour 12.99
No.27 Colour 11.99
No.31 Photo 11.99
No.32 Black 9.99
No.33 Colour 11.99
No.34 Black 11.99
No.35 Colour 12.99
Lexmark OriginaIs
No.1 Colour 19.99
No.14 Black 16.99
No.15 Colour 18.99
No.17 Black 17.99
No.23 Black 16.99
No.24 Colour 18.99
No.27 Colour 18.99
No.28 Black 14.99
No.29 Colour 16.99
No.32 Black 19.99
No.33 Colour 21.99
No.36 Black 16.99
No.37 Colour 18.99
No.43XL Colour 27.99
No.44XL Black 22.99
No.100 Black 13.99
No.100 Cyan / Mag / Yellow 8.99
Many more in stock!
If you cannot find the ink cartridges for your printer, please give
us a call, or check our website, and we'll do our best to help.
We stock what is probably the UK's largest range of ink cartridges and
photo paper, including wide format ink cartridges and roll papers.
Canon CompatibIes
Ci3e Black 26ml 2.99
Ci6 B/C/M/Y 15ml 2.99
Ci6 PC/PM/R/ 15ml 2.99
Pi5 Black 29ml 4.99
CLi8 B/C/M/Y/PC/PM 15ml 3.99
Pi520 Black 19ml 4.99
CLi521 B/C/M/Y/Y 9ml 3.99
P37 Black 12ml 9.99
P40 Black 28ml 13.99
P510Black 11.5ml 13.99
P512 Black 18ml 14.99
CL38 Colour 12ml 12.99
CL512Colour 11.5ml 15.99
Canon OriginaIs
Ci3e Black 26ml 10.99
Ci6 All colours, 13ml, each 8.99
CLi8 All colours, 13ml, each 10.99
CLi42 All colours, 13ml, each 10.99
CLi42 Set of 8 79.99
Pi9 All colours, 14ml, each 9.99
Pi9 Set of 10 89.99
Pi29 Set of 12 259.99
Pi72 Set of 10 99.99
Pi520/CLi521 Set of 5 44.99
Pi525/CLi526 Set of 5 44.99
Pi550/CLi551 Set of 5 44.99
P512 Black 15ml 14.99
P540XL Black 21ml 17.99
CL52 Photo 21ml 18.99
CL541XL Colour 15ml 19.99
Many more in stock!
HP CompatibIes
No.15 Black 46ml 4.99
No.22 Colour 21ml 11.99
No.300XL Black 18ml 14.99
No.300XL Colour 18ml 16.99
No.337 Black 21ml 10.99
No.338 Black 21ml 10.99
No.339 Black 34ml 12.99
No.348 Photo 21ml 12.99
No.350XLBlack 30ml 14.99
No.363 C/M/Y/PC/PM each 4.99
No.364XLBlack 18ml 9.99
No.364XLC/M/Y11ml each 8.99
HP OriginaIs
No.38All Colours 27ml each 24.99
No.58 Photo 17ml 22.99
No.337 Black 11ml 16.99
No.338 Black 11ml 17.99
No.339 Black 21ml 23.99
No.350 Black 4.5ml 11.99
No.351 Colour 3.5ml 13.99
No.363 C/M/Y/PC/PM each 8.99
No.364 PB/C/M/Y 3ml each 6.99
No.364 Set of 4 22.99
No.920XL C/M/Y 6ml each 8.99
No.940XL C/M/Y 16ml each 15.99
Many more in stock!
Photo Iossy Paper 200g, A4, 20 OOF 7.99
Smooth Ioss 290g, 6x4, 100 sheets 17.99
Smooth Ioss 290g, 7x5, 100 sheets 23.99
Smooth Ioss 290g, A4, 25 sheets +10 FR 10.99
Smooth Ioss 290g, A4, 100 sheets 35.99
Smooth Ioss 290g, A3, 25 sheets 27.99
Smooth Ioss 290g, A3+, 25 sheets 29.99
Smooth PearI 290g, 6x4, 100 sheets 17.99
Smooth PearI 290g, 7x5, 100 sheets 23.99
Smooth PearI 290g, A4, 25 sheets +10 FR 10.99
Smooth PearI 290g, A4, 100 sheets 35.99
Smooth PearI 290g, A3, 25 sheets 27.99
Smooth PearI 290g, A3+, 25 sheets 29.99
Smooth Fine Art 190g, A4, 10 sheets 13.99
Smooth H/weight Matt 200g, A4, 50 sheets 12.99
Smooth Lustre uo 280g, A4, 25 sh OOF 12.99
oId Fibre SiIk 310g, A4, 50 sheets 44.99
ICC profiles available for all Ilford papers
SampIe Pack 25 sheets, 5 different papers! 11.99
NW UItra PearI 295g, A4, 25 12.99
igitaI Ioss or Oyster 271g, 6x4, 50 7.99
igitaI Ioss or Oyster 271g, 7x5, 50 10.99
igitaI Ioss or Oyster 271g, A4, 50 19.99
igitaI Ioss or Oyster 271g, A3, 25 21.99
igitaI Ioss or Oyster 271g, A3+, 25 29.99
oubIe Sided Oyster 285g, A4, 25 26.99
oubIe Sided Matt 250g, A4, 100 26.99
Matt Proofing 160g, A4, 150 19.99
Matt PIus 240g, A4, 25 9.99
Fibre ase Ioss 295g, A4, 25 24.99
NW Fibre ase istinction 360g, A4, 25 25.99
Smooth Fine Art PortfoIio 200g, A4, 25 19.99
Smooth Fine Art Portrait 300g, A4, 25 26.99
Textured FineArt Artist 210g, A4, 25 19.99
Textured Fine Art Parchment 285g, A4, 25 21.99
Canvas Artistic 400g, A4, 10 14.99
ICC profiles available for all PermaJet papers
Ink Test
Winner
COMPATIL & ORIINAL INK
stablished in 1584, the
ahnemuhle name is
synonymous with fine art
printing. Full range now
available at Premier nk.
Kodak OriginaI Ink / Paper
SP Black Series 10 nk 6.99
SPColour Series 10 nk 12.99
SP Black Series 30 nk 6.99
SPColour Series 30 nk 12.99
SPBlack/Colour Twin Packs 18.99
Kodak Photo Paper also in stock!
rother CompatibIes
LC900 Black 3.99
LC900 C/M/Y 2.99
LC900 Set of 4 11.99
LC970 / 1000 Black 3.99
LC970 / 1000 C/M/Y 2.99
LC970 / 1000 Set of 4 11.99
LC980 / 1100 Black 3.99
LC980 / 1100 C/M/Y 2.99
LC980 / 1100 Set of 4 11.99
LC1280XL Black 4.99
LC1280XL C/M/Y 3.99
LC1280XL Set of 4 15.99
Brother originals also in stock!
Ph070CRAPhlC PAPER8
SampIe Pack 14 sheets, A4 9.99
AIbrecht urer 210g, A4, 25 sheets 22.99
erman tching310g, A4, 25 sheets 27.99
amboo 290g, A4, 25 sheets 27.99
Sugar Cane 300g, A4, 25 sheets 24.99
Photo Rag 308 308g, A4, 25 sheets 29.99
Photo Rag PearI 320g, A4, 25 sheets 32.99
Photo Rag Satin 310g, A4, 25 sheets 32.99
Photo Rag aryta 315g, A4, 25 sheets 34.99
Fine Art PearI 285g, A4, 25 sheets 32.99
Fine Art aryta 325g, A4, 25 sheets 32.99
As an Ilford Pro Centre, we
stock the complete range of
lford alerie papers, including
A2, 17, 24 and 44 inch rolls.
Below is just a selection.
As a PermaJet Premier Stockist,
we supply the NTR Permaet
range, including Baryta, Smooth
and Textured Fine Art and Canvas.
Below is just a selection.
As an Official Fotospeed
Stockist, we can supply
the complete Fotospeed
range. Below is just a tiny
selection of their papers.
SampIePack14 sheets, 7 different papers! 9.99
Pigment FriendIyIoss270g,A4, 50 +15 FR 17.99
Pigment FriendIyLustre270g,A4, 50 +15 FR 17.99
Pigment FriendIySatin270g, A4, 50 17.99
Pigment FriendIyMatt uo200g, A4, 100 24.99
NTNaturaI Textured315g, A4, 20 17.99
NSTNaturaI Soft Textured315g, A4, 20 17.99
HWSHighWhiteSmooth315g, A4, 20 19.99
NW PIatinumaryta300g, A4, 20 22.99
ICC profiles available for all Fotospeed papers
We are a small, family owned and run company, specialising in
photographic consumables - and proud winners of the 2011
ood Service Award. We are located in Leamington Spa,
in the heart of Warwickshire - if you are passing, please
pop into our shop, and meet Cooper - our new office dog!
01926 339977 www.premier-ink.co.uk
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134.99
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Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.99 per
order. All prices incIude VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier nk & Photographic, Longfield Road, Sydenham nd state, Leamington Spa, CV31 1XB.
MEM0RY 8A77ERlE8 8CREw-7YPE FlL7ER8 800ARE FlL7ER8
N-2L/LHfor Canon 9.99
N-3L for Canon 9.99
N-4L for Canon 9.99
N-5L for Canon 9.99
N-6L for Canon 9.99
N-7L for Canon 12.99
N-8L for Canon 9.99
N-9L for Canon 9.99
N-10L for Canon 12.99
P-511 for Canon 12.99
LP-5 for Canon 12.99
LP-6 for Canon 29.99 19.99
NP40 for Fuji 9.99
NP45 for Fuji 9.99
NP50 for Fuji 9.99
NP95 for Fuji 9.99
NP140 for Fuji 12.99
NP150 for Fuji 19.99
NP400 for Minolta 12.99
N-L1 for Nikon 9.99
N-L3/3Afor Nikon 9.99
N-L3 for Nikon 14.99
N-L5 for Nikon 9.99
N-L14 for Nikon NW 19.99
N-L15 for Nikon NW 24.99
Li10/12for Olympus 9.99
Li40/42for Olympus 9.99
Li50for Olympus 9.99
LM-1 for Olympus 12.99
LS-1 for Olympus 12.99
CA-S005 for Panasonic 9.99
CR-S006 for Panasonic 9.99
CA-S007 for Panasonic 9.99
MW-C10for Panasonic 19.99
MW-CJ13 for Panasonic 19.99
MW-CK7 for Panasonic 19.99
MW-L13for Panasonic 19.99
MW-L9 for Panasonic 14.99
MW-M9 for Panasonic 24.99
-Li50 for Pentax 12.99
SLM-1137for Samsung 9.99
SLM-1674 for Samsung 12.99
-1 for Sony 19.99
NP-FM500Hfor Sony 19.99
NP-FH50 for Sony 19.99
NP-FW50 for Sony 24.99
Many more batteries in stock!
UV / Haze FiIters
Used both to protect the lens of your
camera, and to absorb ultraviolet rays
that can cause photos to appear hazy.
46mmUV / aze
52mmUV / aze
55mmUV / aze
58mmUV / aze
62mmUV / aze
67mmUV / aze
72mmUV / aze
77mmUV / aze
82mmUV / aze
86mmUV / aze
More sizes in stock, from 24 to 86mm!
attery rips
A range of professional battery
grips from ahnel. All can take
two Li-ion batteries for double
the battery power. AA
battery compartment
and/or vertical shutter
release and/or infrared
remote, depending on model.
For Canon 5Mk: 99.99
For Canon 5Mk: 99.99
For Canon 7: 99.99
For Canon 30/40/50: 59.99
For Canon 60: 99.99
For Canon 450/500: 69.99
For Canon 550: 99.99
For Canon 600/650: 99.99
For Canon 1000: 69.99
For Nikon 80/90: 59.99
For Nikon 800/800:99.99
For Nikon 7000: 99.99
Standard RechargeabIes
igh-power Ni-M rechargeable AA and
AAA batteries - all sold in packs of 4.
AAA1000mAh uracell 6.99
AA2450mAh uracell 6.99
AA2500mAh P 9.99
AA2850mAh Ansmann 13.99
AA2900mAh elkin 14.99 9.99
P-Type Adapter Rings
49mm Adapter Ring 4.99
UItimate Lithium
nergizer Ultimate Lithium:
The longest lasting AA and
AAA batteries in the world!
AAAUltimate Lithium (4)
AAUltimate Lithium (4)
ayonet-Fit Lens Hoods
A comprehensive range of aftermarket
matt black bayonet-fit lens hoods for
Canon, Nikon and Sony lenses.
S-62 Canon 50/1.8
S-71II Canon 50/1.4
T-60 Canon 75-300/4-5.6
T-65Canon 70-300/4-5.6
T-67 Canon 100/2.8 Macro
T-67Canon 60/2.8
W-60CCanon 18-55 S
W-73Canon 17-85 S
W-78II Canon 28-135 S
W-78Canon 18-200 S
W-78 Canon 15-85 S
W-83 Canon 17-40/4.0
W-83J Canon 17-55/2.8
H-25 Nikon 24-85, 24-120
H-37 Nikon 55-200 VR
H-45 Nikon 18-55 VR
SH-006 Sony 18-70/3.5-5.6
SH-108 Sony 18-55/3.5-5.6
This is just a sample, more in stock!
Step-Up and Step-own Rings
Stepping rings are used to "step-up or "step-down
from one filter thread size to another.
34-37mm
37-43mm
43-46mm
46-49mm
49-52mm
52-55mm
52-58mm
55-52mm
55-58mm
58-52mm
58-55mm
58-62mm
58-67mm
62-67mm
62-72mm
67-62mm
67-77mm
72-67mm
72-77mm
77-72mm
AII just 4.99 each!
LEh8 h0008 & CAP8
Japanese Optical Glass Filters

Coated to reduce lens flare and reflections.
SkyIight FiIters
Similar to a UV filter, but with a pinkish tinge
to add a gentle warmth to your photos.
52mmSkylight
55mmSkylight
58mmSkylight
62mmSkylight
67mmSkylight
72mmSkylight
77mmSkylight
CircuIar PoIarising FiIters
These remove reflections from surfaces
such as glass and water, as well as
increasing contrast and saturation.
46mmCircular Polarizing
NeutraI ensity FiIters
Used reduce the amount of light passing
through the lens, reducing shutter speed
without affecting colour contrast or balance.
Available as N4 (2 stop) and N8 (3 stop).
52mmN4 / N8
55mmN4 / N8
58mmN4 / N8
62mmN4 / N8
67mmN4 / N8
72mmN4 / N8
77mmN4 / N8
CIose Up FiIter Sets
Sets containing three filters, rated at +1, +2,
and +4 diopters. ncreases close up / macro
ability of the lens they are fitted to.
52mmClose-Up Set
55mmClose-Up Set
58mmClose-Up Set
Starburst FiIters
These add a dramatic star cross flare to
bright light sources, such as streetlights.
They also give a slight soft focus effect.
52mmStarburst x4/6/8, each
We stock many other filter types,
including multi-image, fog,
split-field, red, orange, yellow and
green filters in a range of sizes.
FaderN MkII (2-8 stop)
52mmFaderN Mk 56.99
55mmFaderN Mk 59.99
58mmFaderN Mk 62.99
62mmFaderN Mk 69.99
67mmFaderN Mk 79.99
72mmFaderN Mk 89.99
77mmFaderN Mk 99.99
N500MC (fixed 9 stop)
52mmN500MC 39.99
58mmN500MC 47.99
67mmN500MC 55.99
72mmN500MC 59.99
77mmN500MC 64.99
P-Type Filter System

The P-Type square/rectangular filter system
consists of three parts:
1) An adapter ring that screws onto the front
of your lens
2) A filter holder clips onto the ring
3) One or more P-Type (84mm wide) filters
P-Type FiIters (84mm wide)
CircuIar PoIarizing 29.99
N2 9.99
N4 9.99
N8 NEW 10.99
N2 Soft raduated 11.99
N2 ard raduated 11.99
N4 Soft raduated 11.99
N4 ard raduated 11.99
N8Soft raduated NEW 13.99
N8 ard raduated NEW 13.99
Light Iue raduated 11.99
ark Iue raduated 11.99
CooI Iue raduated 11.99
Light Sunset raduated 11.99
ark Sunset raduated 11.99
Light Tobaccoraduated 11.99
ark Tobaccoraduated 11.99
Light Mauve raduated 11.99
ark Mauve raduated 11.99
Light Red raduated 11.99
ark Red raduated 11.99
Light reen raduated 11.99
ark reen raduated 11.99
Light YeIIowraduated 11.99
ark YeIIowraduated 11.99
Light Fog 9.99
Strong Fog 9.99
Light iffuser 9.99
Strong iffuser 9.99
Starburst 4x,6x,8x, each 12.99
CIose-Up +1,+2,+4, each 12.99
80A, 80, 80C, each 9.99
81A, 81, 81C, each 9.99
82A, 82, 82C, each 9.99
85A, 85, 85C, each 9.99
Red, Orange, each 9.99
YeIIow, reen, each 9.99
Many more P-Type filters in stock!
P-Type HoIders
HoIder Standard 5.99
HoIder Wide Angle 6.99
Hood Modular 6.99
P-Type FiIter WaIIet
A smooth cushioned filter
wallet, to protect
and store up to
8 P-Type filters
9.99
We also stock Z-Pro (100mm) and A-Type (67mm)
filters, holders and adapter rings
87EPPlhC RlhC8
Reversing Rings - 12.99
These fit to the camera body, between the
camera and lens, leaving a screw thread
to enable the reverse mounting of lenses.
Away of obtaining a high reproduction ratio,
allowing extreme Macro photography.
Canon: 52, 55, 58, 62, 67mm
Nikon: 52, 55, 58, 62, 67mm
Pentax K: 52, 55, 58, 62, 67mm
OIympus: 52, 55, 58, 62, 67mm
Sony: 52, 55, 58, 62, 67mm
CoupIing Rings - 11.99
Used to attach two lenses together via their
filter threads, achieving high magnifications
52-52mm, 52-55mm, 52-58mm
55-55mm, 55-58mm, 58-58mm
T2 Mounts - 12.99
Canon, Nikon, Sony, Oly, Pentax
MACR0 Ph070CRAPhY
Telephone: 01926 339977 or 0800 1077 211
Premier nk, Longfield Road, Leamington Spa, CV31 1XB
www.premier-ink.co.uk
xtension Tubes
Set of 3 tubes. They contain no optics,
they simply move the lens further from the
camera body, allowing closer focusing.
Autofocus tubes available in Canon, Nikon
and Sony fittings - manual tubes are also
available in Pentax and Olympus fittings.
Manual Focus Tubes
Autofocus Tubes
xtension eIIows
Acting like an adjustable set
of extension tubes, they
allow fine control over
focusing distance. Nikon,
Canon and Pentax fit.
49.99
Series 7 Rings, RoIIei Rings and
HasseIbIad Rings aIso in stock.
This is just a tiny
fraction of our range.
Over 160 different sizes
in stock, from 25mm to
105mm. Probably
the largest selection
in the UK!
Screw-Fit Lens Hoods
52mmShaped Petal ood
46mmRubber ood
52mmRubber ood
55mmRubber ood
58mmRubber ood
62mmRubber ood
67mmRubber ood
72mmRubber ood
77mmRubber ood
CLEAhlhC
ubbIe Spirit LeveIs
These simply mount onto the
hot shoe of a SLR camera.
8PlRl7 LEVEL8
Lens Caps
30mm, 37mm, 40mm, 43mm,
46mm, 49mm, 52mm, 55mm,
58mm, 62mm, 67mm, 72mm,
77mm, 82mm, 86mm, 95mm
3.99 each
We also stock a range of
body caps and rear lens
caps for Canon, Nikon,
Olympus, Sony, Pentax, etc
P-Type Six-Piece
NeutraI ensity FiIter Kit
49.99
43.99
Neutral ensity filters have a multitude of
uses - from increasing detail in landscapes
and reducing over-exposed skies, to creating
stunning motion scenes by reducing shutter
speeds. ere's a kit which includes all the
popular N filters, and everything you need
to get started! The kit contains: 1x N2
Filter, 1x N2 Soft raduated Filter, 1x N4
Filter, 1x N4 Soft raduated Filter, 1x P-
Type Filter older, 1 x P-Type Adapter Ring
of your choice (49-82mm).
Coin CeIIs, etc
A comprehensive range of specialist
batteries - see our website for full range.
CR123A nergizer Lithium (1)
CR2 nergizer Lithium (1)
2CR5 nergizer Lithium (1)
CRV3 nergizer Lithium (1)
LR44 nergizer Alkaline (2)
CR2025, CR2032 etc
FuII range of coin ceIIs in stock
Camera atteries
A comprehensive range of
rechargeable li-ion
batteries.
Manufactured by
respected independent
battery manufacturers
nergizer and Blumax. All
batteries come with a 2 year guarantee.
ReCyko+ RechargeabIes
New technology, combining the benefits
of Alkaline and Ni-M rechargeable
batteries. They come pre-charged, retain
90% of their charge after 6 months, and
last 4 times as long as alkaline batteries!
AAA850mAh equivalent (4)
AA2050mAh equivalent (4)
8A77ERlE8 & ChARCER8
UniversaI Charger
The NWahnel UniPal
charger is able to charge
AA, AAA, Li-on batteries,
cameras, phones, iPods
and more! Mains power
cable, plus 12V car charger.
Full details on our website.
edicated Charger
Adedicated Li-on charger, able to charge
most camera batteries. Mains
cable, plus 12V car charger.
Right AngIe Viewfinders
Adjustable eyepiece, adjustable
magnification, 360 degree rotating
body. deal for close-up work.
1.0X-2.0X 49.99
1.0X-3.3X 64.99
Amazing but true - by simply rotating the
outer element of the filter, the amount of
light passing through the filter can be
adjusted froma 2 stop to an 8 stop reduction.
The FaderN filter is constructed from two
opposing sheets of polarizing glass, the
outer sheet mounted in an independently
rotating frame. The new Mk II version
features both imporvied optical elements,
and a thinner, conical shaped frame to
reduce the chance of vignetting.
Also available is the highly acclaimed
N500MC fixed 9-stop filter with ultra-thin
frame for wide angle photography.
Genuine LightCraftWorkshop filters - beware of immitations!
Sensor CIeaning
LensPen SensorKIear Loupe 6X magnification, with Ls 39.99
LensPen SensorKIear Loupe Kit inc. Loupe, Blower, SensorKlear 49.99
reen CIean Sensor CIeaning Kit inc. Mini Vacuum, swabs, wipes 64.99
reen CIean Sensor CIeaning Wet'n'ry Swabs pack of 4 15.99
Massive range of cIeaning equipment on our website and in stock.
Lens Converters
deal for converting your kit lens to a
2.0X telephoto or 0.5X wide angle lens.
52mm2.0X or 0.5X converter 35.99
430MB/s 21.76 13.99
830MB/s 36.12 19.99
1630MB/s 70.06 34.99
Sandisk
Ultra
30MB/s
Sandisk
Extreme
60MB/s
Sandisk
Ultra
C6: 30MB/s
Sandisk
Extreme
C10: 30&45MB/s
430MB/s 15.66 4.99
830MB/s 27.85 6.99
1630MB/s 57.22 10.99
430MB/s 21.33 7.99
830MB/s 37.42 8.99
1645MB/s 46.02 14.99
3245MB/s 67.65 26.99
6445MB/s 92.34 59.99
Sandisk
Blue
C4: 5MB/s
25MB/s 8.27 3.99
45MB/s 12.41 3.99
85MB/s 21.10 4.99
165MB/s 39.39 7.99
Light Craft
Workshop
Filters
Compact FIash
875MB/s 39.99 14.99
1675MB/s 59.99 19.99
3275MB/s 79.99 34.99
Compact FIash: 800X
8120MB/s 177.38 34.99
16120MB/s 271.30 67.99
32120MB/s 384.30 109.99
Compact FIash: 1000X
16150MB/s 371.30 109.99
32150MB/s 569.56 199.99
SHC CIass 10: 400X
860MB/s 130.73 14.99
1660MB/s 198.47 22.99
3260MB/s 248.54 39.99
SHC CIass 10: 600X
1690MB/s 180.73 37.99
3290MB/s 329.79 69.99
Winners of the Amateur Photographer 2011 OLD "ood Service Award"
&O. Prices may be subject to change, but hopefully not!
NEW LOWER
PRCE8
Twin Axis Normal otshoe 7.99
Twin Axis Sony otshoe 7.99
TripIe Axis Normal otshoe 9.99
TripIe Axis Sony otshoe 9.99
Lens CIeaning
LensPen OriginaI Carbon-tipped pen with built-in cleaning brush 7.99
LensPen SLR Pro Kit Cloth, Pen, FilterKlear, MicroPro 24.99 17.99
Spudz 6x6 Washable microfibre cloth with neoprene pouch and belt/key clip 4.99
KOOsquare filters are manufactured
in the UK, and are fully compatible
with the Cokin P-Type filter system
860MB/s 67.02 29.99
1660MB/s 116.19 49.99
3260MB/s 208.89 79.99
6460MB/s 365.45 149.99
830MB/s 37.42 7.99
1630MB/s 46.02 12.99
3230MB/s 67.65 24.99
6430MB/s 92.34 49.99
Sandisk
Ultra
C10: 30MB/s
CAMERA 8AC8
FLA8h C0h8
FLA8h 0lFF08ER8
Inverted ome Pro FIash iffuser Set
Comprising a clear vinyl body that simply slips onto the head of the flash
gun, and an inverted frosted dome that clips onto the front.
n addition to diffusing the flash directly hitting your subject, the
inverted dome spreads light evenly through the sides of the clear
vinyl body, lighting up the surrounding environment, thus producing
a natural soft daylight effect. specially useful for shooting interiors
and portraits, and is a firm favourite with wedding photographers.
Supplied with four domes, giving you a full range of natural,
cool, or warm-up tones. Available in four sizes:
Size 1: 62-65 x 39-42mmNikon SB600, SB800, etc
Size 2: 64-68 x 35-38mmCanon 420X, 430X, etc
Size 3: 68-72 x 46-49mm Nikon SB26, 27, 28, etc
Size 4: 73-77 x 46-49mmCanon 550X, 580X, etc
ounce FIash iffuser
These popular, simple opaque plastic diffusers simply fit onto the front
of your flash gun, creating a diffused bare bulb effect with even
coverage. uge range available for Canon, Nikon, Sony, Olympus,
Pentax, Metz & Nissin. Below is just a sample of the range:
Canon 270X / 380X / 420X
Canon 430X / 430X / 550X
Canon 580X / 580X
Nikon SB600 / SB800 / SB900
Nikon SB24 / SB25 / SB26 / SB28
Sony: VL-F42AM / VL-F58AM, Metz: 48AF1 / 58AF1
Nissin: i466 / i622 / i866, Pentax: AF-540FZ
29.99
10.99
Nissin MF18 Ring FIash
The new Nissin MF18 Macro Ring Flash offers
an exceptionally high guide number of 16m
(SO100), colour LC display, power pack port,
Auto, TTL, Manual, Multi,
Wireless and Custom settings
are just some of its features,
plus an expanding ring head.
ncludes mounting rings for 52,
58, 62, 67, 72 and 77mm
diameter mounting
rings.Available in
Canon and Nikon fit.
279.99
L478 LiteMaster Pro 349
L478R LiteMaster Pro 399
L308S FIashMate
igital, incident and
reflected, ambient and
flash light.
L208 TwinMaster
Analogue, incident and
reflected, ambient
light only.
139
The 5
Series
225 247
335 256
445 279
555 315
The 07
Range
107 247
207 270
307 288
Nissin i622 MkII
An impressively powerful
flashgun with a guide number
of 44m, bounce and swivel head,
full TTL, wide angle diffuser.
114.99 Canon, Nikon & Sony
Nissin i866 MkII
The world's most powerful hotshoe flashgun! A
guide number of 60m/SO100 and a clear, full
colour LC panel, makes this advanced unit
simple to use. esigned for use with Canon,
Nikon and Sony digital SLRs, the Nissin i866
fully supports full TTL functionality with the option
for full manual overrides. Covering a range of
focal lengths from 24-105mm and
including a secondary fill in flash
unit, the Nissin i866 is the
flashgun professionals have
been waiting for. ncludes built-in
USB port for down-loading upgrades.
189.99 Canon, Nikon & Sony
24 AF-1 49.99
36 AF-5 69.99
44 AF-1 129.99
52 AF-1 189.99
Canon, Nikon, Sony, & OIympus
TTL FIash Cord Coiled 24.99
TTL FIash Cord Straight 29.99
Available in Canon, Nikon, Sony, Olympus,
Panasonic, Pentax and Samsung fit.
7RlCCER8 & ME7ER8
HahneI Combi TF
Combed wireless remote shutter
release and radio flash trigger.
2.4z, 100m range, 4 channels.
Receiver & Transmitter 49.99
Yongnuo CTR-301P 27.99
xtra Receivers 18.99
Yongnuo RF-602 29.99
xtra Receivers 19.99
Yongnuo RF-603 31.99
We wiII match or beat ANY UK Think Tank price!
FuII Think Tank range in stock - beIow are just a few exampIes:
Retrospective
7
114
Airport InternationaI
V2.0
245
RAlh C0VER8
Kata Iements
Covers
Protect
your
camera
against
the
elements!
690 Small 37
702 Large 52
OpTech RainsIeeve
Unique eyepiece opening
and drawstring lens
enclosure.
Two versions,
for SLRs with
or without a
flashguns. 2 per pack.
Standard 6
FIash 8
Think Tank
Hydrophobia
The ultimate
protection
from the
weather!
70-200 109
70-200 Flash 114
300-600 118
8700l0 ACCE880RlE8
Free batteries
with every Nissin FIashgun
Free batteries
with every Metz FIashgun
Westcott UmbreIIa
FIash Kit
including shoe
mount, umbrella
and light stand.
81
64.99
Westcott 5-in-1
RefIector Kit
including reflector,
reflector holder,
and light stand.
110
79.99
Westcott 28" ApoIIo
FIash Kit
including shoe,
mount, 28 Apollo
and light stand.
184
129.99
ApoIIos and HaIos
The convenience of an umbrella meets the control
of a softbox. Built on an umbrella frame, they
mount to any standard umbrella receptable.
28" ApoIIo 99.99
ApoIIo Orb 119.99
ApoIIo Strip 119.99
CoIIapsibIe UmbreIIas
Such a simple but effective idea - umbrellas with
a telescopic shaft. Perfect for travel, they open
to 43 diameter, but collapse down to just 14.5.
43" UmbreIIa Soft Silver 19.99
43" UmbreIIa White 19.99
43" UmbreIIa White/Black 21.99
Yongnuo YN-460II and YN-560II
fIashguns aIso in stock!
Premier nk &Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977 &O. Prices may be subject to change, but hopefully not!
Mini & FIex
The world's leading TTL
wireless triggering system.
AC3 Zone Controller 49
TT1 Mini Transmitter 149
TT5 FIex Transceiver 159
The NW PIus III
Single Unit 119
ouble Unit 229
Triple Unit 339
Airport Commuter
149 NW
!
NW
!
We wiII match or beat ANY UK iIIingham price!
FuII iIIingham range in stock - beIow are just a few exampIes:
HadIey
Range
adley Small 126
adley Large 148
adley Pro 159
3-N-1
ProLight
Series
3N1-25 139
3N1-35 169
Comprehensive Kata range in stock!
eIow are just a few exampIes:
earPack
Range
earpack-60 49
earpack-80 59
earpack-100 69
NW
!
igitaI
Rucksack
Range
R-465 65
R-466 72
R-467 79
NW
!
Comprehensive Tamrac range in stock!
xpedition
Range
4X 89
5X 104
6X 119
7X 149
8X 169
VeIocity SIing
Range
6X 29
7X 39
8X 44
9X 49
10X 59
Accessories
Water Bottle 13
Lens Case 50 12
Lens Case 100 13
Lens Case 200 14
Flash Case 11
Rain Cover 20
Comprehensive Vanguard range in stock!
Messenger
UP-Rise
UP-Rise 28 72
UP-Rise 33 82
UP-Rise 38 90
Zoomster
OutIawz
Outlawz 16Z 54
Outlzaw 17Z 63
ackpack
UP-Rise
UP-Rise 45 90
UP-Rise 46 99
UP-Rise 48 108
CAMERA 87RAP8
The world's fastest
camera straps!
RS-4 Classic 54.99
RS-5 Cargo 64.99
RS-7 Curve 59.99
RS-W1 Womens 59.99
RS-SPORT 59.99
RS-R1 ouble 119.99
SnapR-35 Large 44.99
Camera Straps
Wrist Strap 11.99
CIassic Strap 16.99
Super CIassic 19.99
Pro 3/8 Strap 17.99
Pro Loop Strap 18.99
UtiIity SIing Strap 29.99
System Connectors
Adapt-its (4) 4.99
xtensions (2) 6.99
UniLoop (2) 6.99
ProLoop (2) 9.99
LensSupport (2) 9.99
SIing Adapter 10.99
The world's best-selling
SLR camera straps!
7RlP008
679 Monopod
Aluminium 3-section
Weight: 0.60kg
Load: 10.0kg
Folded: 64cm
eight: 162cm
35.99
MM294A4 Monopod
Aluminium 4-section
Weight: 0.50kg
Load: 5.0kg
Folded: 49cm
eight: 151cm
34.99
234 Tilt ead
deal for monopods
Weight: 0.27kg
Load: 2.5kg
14.99
234RC Tilt ead
with RC2 quick release
Weight: 0.27kg
Load: 2.5kg
24.99
496 RC2 Ball ead
Weight: 0.46kg
Load: 6.0kg
49.99
498 RC2 Ball ead
with RC2 q/release
Weight: 0.67kg
Load: 8.0kg
74.99
804 RC2 Pan / Tilt
Weight: 0.79kg
Load: 4.0kg
49.99
190XPRO Tripod
Aluminium 3-section legs, aluminium
canopy, Q90 hoizontal tilting central column
Weight: 1.85kg
Load: 5.0kg
Folded: 57cm
eight: 146cm
99.99
055XPRO Tripod
Aluminium 3-section legs, aluminium
canopy, Q90 hoizontal tilting central column
Weight: 2.40kg
Load: 7.0kg
Folded: 65cm
eight: 178cm
119.99
190CXPRO3
Carbon Fibre 3-section
legs, Q90 column
Weight: 1.29kg
Load: 5.0kg
Folded: 58cm
eight: 146cm
209.99
190CXPRO4
legs, Q90 column
Weight: 1.34kg
Load: 5.0kg
Folded: 50cm
eight: 146cm
219.99
055CXPRO3
legs, Q90 column
Weight: 1.65kg
Load: 8.0kg
Folded: 65cm
eight: 175cm
232.99
055CXPRO4
legs, Q90 column
Weight: 1.70kg
Load: 8.0kg
Folded: 54cm
eight: 170cm
246.99
410 eared ead
Weight: 1.22kg
Load: 5.0kg
142.99
MM294A3 Monopod
Aluminium 3-section
Weight: 0.50kg
Load: 5.0kg
Folded: 59cm
eight: 151cm
29.99
Massive range of Manfrotto in stock!
AItaPRO 263AT Tripod
Aluminium 3-section legs, magnesium
canopy, MACC Multi-Angle-Central-Column.
Weight: 2.00kg
Load: 7.0kg
Folded: 63cm
eight: 165cm
125.99
AItaPRO 264AT Tripod
Aluminium 4-section legs, magnesium
canopy, MACC Multi-Angle-Central-Column.
Weight: 2.10kg
Load: 7.0kg
Folded: 53cm
eight: 155cm
134.99
SH100 Ball ead
Lightweight magnesium alloy,
twin adjuster knobs, 2 spirit
levels, quick release plate
Weight: 0.39kg
Load: 10.0kg
67.49
PH32 Pan / Tilt
3-way fluid head, magnesium,
three spirit levels, quick
release plate.
Weight: 0.42kg
Load: 5.0kg
67.49
H100 Pistol rip
Multi award-winning pistol grip
head with spirit level, friction
control and panoramic function.
Weight: 0.75kg
Load: 6.0kg
107.99
PRO 253CT
legs, MACC column
Weight: 1.66kg
Load: 7.0kg
Folded: 63cm
eight: 165cm
242.99
PRO 283CT
legs, MACC column
Weight: 1.70kg
Load: 8.0kg
Folded: 64cm
eight: 170cm
296.99
Comprehensive Vanguard range in stock!
Nissin i466
uide number of 33m. Full TTL,
adjustable bounce flash head,
wide angle diffuser.
72.99 Canon, Nikon & OIympus
H08 Ball ead
Quick release plate,
spirit level, 360 degree rotation,
dual control knobs
Weight: 0.42kg
Load: 12.0kg
29.99
H22 Ball ead
Sliding quick release plate,
spirit level, 360 degree
rotation, triple control knobs
Weight: 0.4kg
Load: 8.0kg
31.99
C2504 Monopod
Weight: 0.59kg
Load: 4.0kg
Folded: 47cm
eight: 153cm
59.99
Triad 30 Lite 39.99
4 section magnesium alloy
tripod, legs extendable at 3
different angles, reversible
centre column, built in spirit
level. Supplied with B30
alloy ball head, and
carrying case.
Weight: 1.20kg
Max Load: 4.0kg
Folded: 56cm
Max eight: 142cm
Triad 60 Lite 59.99
ncluding 3-way fluid damped pan/tilt head.
Weight: 1.90kg
Max Load: 5.0kg
Folded: 61cm
Max eight: 162cm
'An excellent value
for money tripod"
Amateur Photographer
Magazine
Triad 40 Lite 49.99
ncluding B40 alloy ball head.
Weight: 1.58kg Max Load: 5.0kg
Folded: 60cm Max eight: 153cm
H30 Ball ead 19.99
H40 Ball ead 29.99
C2804
Monopod
66.99
C3204
Monopod
74.99
H02
Ball ead
22.99
H05
Ball ead
25.99
H25
Ball ead
37.99
H28
Ball ead
45.99
A284 Tripod
Aluminium 4-section
Weight: 2.17kg
Load: 8.0kg
Folded: 56cm
eight: 154cm 73.99
H-1P imbal
Superb gimbal head, with
control handle. Side mounting
for lens.
Weight: 0.8kg
Load: 12.0kg
229
H-2 imbal
eavy duty gimbal head, with
massive load rating. Flat
mounting for lens.
Weight: 1.4kg
Load: 23.0kg
329
NiveIo Tripods
A new range of lightweight, flexible, compact
tripods with heads, that fold flat in a few seconds
thanks to the unique, inverting open canopy.
204K :101cm, W:0.6kg 53.99
214K :120cm, W:0.7kg 62.99
244K :145cm, W:1.1kg 98.99
245K :161cm, W:1.2kg 107.99
NW
!
TraveI AngeI 2
A1682TB0 179
A1692TB0 189
FIat TraveIIer 2
A1182TB0 204
A1192TB0 209
85
NWigaT MkII 65
NW Tuff TTL 99
We are a small, family owned and run company, specialising in photographic
consumables - and proud winners of the 2011 ood Service Award. We are located
in Leamington Spa, in the heart of Warwickshire - if you are passing, please pop
into our shop, and meet Cooper - our new office dog! To find out more about
us (or Cooper) you can also find us on www.facebook.com/premierink
Lach
7.99
Set of 8
69.99
A4
30 sheets
1S+1S IkLL
9.99
6x4
80 sheets
40+40 IkLL
9.99
Lach
9.99
Set of 10
89.99
Set of 4
22.99
(equ|va|ent to
S.7S each)
A4
3S sheets
2S+10 IkLL
10.99
6x4
100 sheets
10 CII kk
12.99
8G8
8.99
16G8
14.99
32G8
26.99
Sand|sk CI a|so |n stock
8G8
4.99
16G8
7.99
32G8
14.99
L|ghtwe|ght,
comfortab|e,
protect|ve,
dua|
compartment
photo s||ng
backpack
4S CII kk
S9.99
190kkC8
A|um|n|um1r|pod
w|th 496kC2
8a|| nead
139.99
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.99 per
order. All prices incIude VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier nk & Photographic, Longfield Road, Sydenham nd state, Leamington Spa, CV31 1XB
Winners of the Amateur Photographer 2011 OLD "ood Service Award"
Canon G|9
ro 9S00 |nks
I|ford Ga|er|e
Smooth ear|
n No.364
|nk mu|t|pack
Lpson rem|um
G|ossy aper
Lpson 1096...
k2880 |nks
Sand|sk SDnC
Lxtreme
Sand|sk US8
en Dr|ves
kata DL-3N1-20
Manfrotto
190kkC8
496kC2 k|t
www.premier-ink.co.uk
Telephone 01926 339977 or 0800 1077 211.
Premier nk & Photographic, Longfield Road, Leamington Spa, Warwickshire, CV31 1XB
Spec|a| Cffers
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