Digital SLR Photography November 2016

Issue 120
Andreas Lundberg
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Art Editor Luke Marsh
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Contributing Editor Jordan Butters
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Editorial Consultant Jo Lezano
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Other editorial contributors this issue:
James Abbott, Dina Belenko, Helen Dixon, Lee Frost,

Ross Hoddinott, Richard Hopkins & Richard Pelham
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Welcome
WELCOME TO THE NOVEMBER 2016 issue of DigitalSLR

Photography. I guess the term frenetic or manic for that matter
could easily be applied to this month. Along with all the usual
shoots, articles and meetings, weve had the biggest photo show in
Europe to contend with. Photokina in Cologne eclipses anything
youll nd in the UK. Imagine a giant conference centre the size of
several Birmingham NECs packed with hall after hall of huge photo stands and
youll get an idea of the enormous scale of Photokina. Taking place every two
years, its an opportunity for the industry to showcase its products and
announce its latest innovations. I have to say this years Photokina was one of my
favourites, not because I enjoy walking an average of seven miles a day, but
because there was a general optimism in the photo trade that Ive not seen for a
number of years, along with several major launches at the show (page 100). The
last few years have been tough for everyone, but ngers crossed, better times are
not far away. Alas, all my talk on Photokina means Im not able to inform you on
whats inside this issue, but be sure youll nd enough technique, inspiration and
ideas to keep you busy until our next issue arrives on 8 November. All the best!
Daniel Lezano Editor
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November 2016 Digital SLR Photography 5
Contents
NOVEMBER 2016/ISSUE120
5 EDITORS PAGE
AratherjadededLezanoreturnsfromPhotokinain
Germanywithapositiveoutlookonthephotoindustry
8 PORTFOLIO
Underwater,onlandandintheair,thismonthstoppicks
fromthephotocommunityhasitall.Itsavisualfeast!
16 SNAPSHOTS
Incredibleimagesofspace,capturedhereonEarth,
alongsideourtoppicksfromtheworldofphotography
25 LOCATION GUIDE
Northumberlandoffersawealthofphotoopportunities
forlandscapephotographers.Wehighlightitstopspots
60 EXPERT CRITIQUE
Submityourimagestoreceivefeedbackfromexperts
65 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
79 AMAZING AUTUMN NEW
Themostphotogenicseasonofall?Wethinkso!Heresa
hostoftoptechniquesandideastotrythisautumn
88 PRO INTERVIEW: DICKIE PELHAM
WechattoTheSunschiefsportsphotographerabouthis
experiencesshootingtheOlympicsinRiodeJaneiro
146 COMPETITION: WIN WITH LASTOLITE
BagyourselfabonanzaofLastoliteByManfrottogoodies!
34
25
79
38
42
Phototechnique
34 PHOTO SKILLS: WATERFALLS
PhotographerJamesAbbottshareshistoptechniquefor
capturingjusttherightamountofmotioninwaterfalls
46
38 PHOTO SKILLS: BIKE RIG

Recordactionandmotionusingacustomcamerarig
actionphotographerJordanButtersshowsyouhow
42 PHOTO SKILLS: A SPOOKY STILL-LIFE
CreativemastermindDinaBelenkocomesupwitha
Halloweensetpiecethatyoucanrecreateforyourself
46 PHOTO SKILLS: POOCH PORTRAITS
Everyonelovespuppies!Capturepetportraitsthatpop
usingashfollowourstep-by-stepguide
50 EDIT SKILLS: DOUBLE EXPOSURE
Heresacreativedouble-colour-exposuretotryforyourself
52 PRO WORKSHOP: MONO MASTERS
LeeFrostguidesonereaderaroundthephotographic
playgroundofDungenessinblack&white
66 BEGINNERS GUIDE:
MASTER YOUR CAMERA: PART TWO
Weshowyouhowtoekeouteverylastdropofimage
qualitywithautofocus,leformatsandspecialfunctions
6 Digital SLR Photography November 2016
66
CONTRIBUTINGTHIS MONTH:
Daniel Lezano
With over 30 years experience as
an enthusiast SLR photographer and
20 years on photo magazines, editor
Lezano is as passionate as ever about
photography, in particular portraits.
Caroline Schmidt
With extensive experience as a
magazine journalist, contributing
editor Caroline is passionate about
photography and delivering an
inspiring magazine each month.
Jordan Butters
With a nger always on the pulse of
all things photography, Jordan turns
his hand to most things: hes our
social media master, features guru
and talented pro photographer.
Ross Hoddinott OUTDOOR
Hes not only an award-winning
nature photographer, a leading
expert in landscape and wildlife
photography, hes a top tutor, too.
rosshoddinott.co.uk
Paul Ward PORTRAITS
A pro photographer, Paul is an expert
on lighting. He specialises in studio
and location portraits, as well as
commercial photography.
paulwardphotography.com
88
Dina Belenko STILL-LIFE

Russian still-life photographer Dina is
a creative genius when it comes to
bringing everyday items to life and
creating stunning compositions.
500px.com/arken
104
Helen Dixon LANDSCAPES

Helen is living the dream, having
given up a full-time job to live in
Cornwall and become a professional
landscape photographer.
helendixonphotography.co.uk
52
Gear:Tested&Rated
100 GEAR NEWS: PHOTOKINA SPECIAL
WeheadtoColognetobringyouabumperproduct
news,withsometrulyexcitingnewphotokitlaunches!
104 PENTAX K-1
WetryoutPentaxsnewfull-frameDSLRcanthis
weatherproofcamerakickitwiththeCanikons?
108 GROUP TEST: PREMIUM TRIPODS
Whenonlythebestwilldowetestandrate eightofthe
besttripodsthatmoneycanbuy
116 MINI TESTS
ThePanasonicLumixGX-80getsputtothetestalongside
aratherposhelk-skincamerastrap.Intrigued?
106
96 SUBSCRIBE TODAY!
Takeadvantageoftheverylatestsubscriptionoffers
Lee Frost LANDSCAPES

A long-standing regular contributor,
Lee is a fountain of knowledge when
it comes to shooting landscapes and
delivering expert tutorials.
leefrost.co.uk
Dickie Pelham SPORTS
The Suns Chief Sports Photographer
has just returned from the Rio 2016
Olympics and gives us an exclusive
account of his Brazilian experience.
dickiepelham.com
James Abbott LANDSCAPES
James is an award-winning editorial,
advertising and commercial
photographer, specialising in portrait
and landscape photography.
jamesaphoto.co.uk
Richard Hopkins TESTS
With over 30 years experience
testing cameras on photography
magazines, Richards one of the
UKs leading technical experts on
photo kit, in particular lenses.
Portfolio
Take a Deep Breath
by Kalle Lundholm
www.kallelundholm.com
This was taken at Cloud 9, a surf spot on the small

island of Siargao in the Philippines. I shot straight
towards the sun, with the rays breaking through the
surface creating some nice backlight and
silhouetting the surfers. It's always hard to swim with
a big DSLR in a housing in these conditions,
especially when the waves are relentless.
Nikon D7100withAF-S 17-55mm f/2.8 lens.
Exposure: 1/500sec at f/8 (ISO 280).
Portfolio
Moving Toward the Light by Kalle Lundholm

www.kallelundholm.com
(Left) This image was also taken at the same surf spot as the
shot on the previous page, Cloud 9 in Siargao. This surfer is
diving under an incoming wave whilst swimming out I just
so happened to be right underneath him as he did! This was
taken during the golden hour so the warm light is breaking
through the surface of the water and creating magic.
NikonD7100withAF-S17-55mmf/2.8lens.Exposure:1/500secatf/8(ISO160).
Dedinky by ubo Capcara

500px.com/luboscapcara
(Above) Two years ago my father bought a cabin in Dedinky,
Slovakia the landscape offered wonderful opportunities,
especially during winter and autumn. This image consists of
two exposures one for the sky and one for land. I visited
with the first snow to get a clean terrain and then waited for
the train. The beautiful light was just a matter of luck.
NikonD7100withAF-S16-85mmf/3.5-5.6GEDVRlens.Exposure:1/500secatf/8(ISO500).
Sivec by ubo Capcara

(Above right) This image was actually taken because I wanted
to test out a new Tokina lens that I'd just bought. Sivec in
Slovakia is only around 30 minutes from my home and its
one of my favourite places so I decided to visit at sunset. The
view in the distance was spoiled slightly by haze, but I was
pleased with the results, and I'm still using this lens today.
NikonD7100withTokinaAT-X11-16mmf/2.8PROlens.Exposure:1/350secatf/8(ISO100).
Dolomiti by ubo Capcara

(Below right) It was my first time visiting the Dolomites in Italy,
and just a few hours after arriving the weather turned bad.
On the last morning of our stay the clouds scattered and the
light burst through. It only lasted for two hours but it was
long enough to satisfy my needs. This is a panorama of
several exposure bracket shots stitched together.
NikonD7100withTokina11-16mmf/2.8lens.Exposure:Multipleexposuresatf/9(ISO100).
November 2016 Digital slr Photography 11
Portfolio
Cant Tame a Wild Soul by Amine Fassi
500px.com/aminefassi
(Left) This was shot using only window light in a small shed. The
setting was interesting in that the window was placed very low down,
allowing the model to pose on the floor for the best light. In just ten
minutes of golden hour, Lola and I took some beautiful portraits.
Canon EOS 5D Mk IIIwith Canon EF24-70mm f/2.8LII USM lens. Exposure: 1/320sec at f/5 (ISO 100).
Sotto Voce by Amine Fassi

(Below far left) This one light set-up is my favourite studio configuration.
The light is positioned very close to Immie, the model, and is set to a
low power. Immie is placed right at the edge of the light fall-off to
create strong contrast between light and shadow.
Life Goes On by Amine Fassi

(Below centre left) This is one of my favourite portraits. I like it because it
sheds light on a beautiful expression that is quite ambiguous. It could

be the beginning of a smile, yet remains quite mysterious. The blurred
background makes the model stand out in a very fragile way.
Canon EOS 5D Mk IIIwith Canon EF135mm f/2LUSM lens. Exposure: 1/125sec at f/2.8 (ISO 125).
My Heart is Too Dark to Care by Amine Fassi

(Below centre right) I used a beauty dish with a honeycomb grid placed
directly above Najwa. Flags were used to create a kind of triangular

vignette. I really enjoy working with this model because of her edgy
spirit. She always brings such a powerful soul to the pictures.
Ksenia by Amine Fassi

(Below right) Every fashion portrait session is a new adventure and a
challenge. If I'm lucky enough I'll come away with three or four magic
shots showing interesting expressions and emotions. Sometimes it's
the moments between the poses that deliver the best results.
Canon EOS 6Dwith Canon EF135mm f/2LUSM lens. Exposure: 1/500sec at f/4.5 (ISO 100).
500px Perfect for photos

Every photographer featured in Portfolio receives a year's
Awesome membership to online photo community, 500px. The
Awesome membership includes unlimited uploads, advanced
statistics, Google Analytics support, a customisable portfolio and
the option to licence your images through 500px Marketplace.
500px is the perfect place to discover, share, buy and sell inspiring
images from the best photographers from around the world.
Formore information on 500px memberships,visit:www.500px.com/upgrade
Portfolio
Tulips by Oscar Nilsson
Swing by Oscar Nilsson
500px.com/oscarwastaken
out about a tulip festival south of Portland I can't resist a flower field!
We arrived just in time for the last light of the day and were blown
away by all the colourful tulips swaying under the evening sky.
(Above right) A friend and I committed to capturing a hundred sunrises

this year. On the west coast, sunrises are a little less desired among
photographers, but they are the absolute best way to kick off the day.
Our adventure down to this swing on Kirby Cove beach overlooking
Golden Gate bridge was sunrise number five.
SonyA7IIwith Rokinon 14mm f/2.8ED lens. Exposure: 1/250sec at f/16 (ISO 250).
SonyA7 IIwith Zeiss 24-70mm f/2.8mm lens. Exposure: 1/3200sec at f/4 (ISO 50).
Hand by Oscar Nilsson
Girl in Hat by Oscar Nilsson
(Above left) I was up before dawn and met up with a couple of friends to
shoot sunrise from a rooftop in San Francisco. I had the idea to try and
capture flower petals in the morning light, as if they'd been released
from my hand. It wasnt the easiest thing to capture, but it was fun and
I think the image turned out to be pretty unique.
(Right) This is my wonderful girlfriend Isabelle in front of Horseshoe

Bend in Arizona. We were halfway through our Utah/Arizona road trip
when we decide to stop in Page. We walked down the short path to
the vista point and were met by this spectacular view and a gorgeous
sunset moments after this photo was taken. We couldn't get enough.
Canon EOS 5D Mk IIIwith EF24-70mm f/2.8Llens. Exposure: 1/1000sec at f/3.5 (ISO 200).
SonyA7Swith Zeiss 24-70mm f/2.8mm lens. Exposure: 1/200sec at f/4.5 (ISO 1000).
(Top) I was planning a trip to Oregon from San Francisco when I found
14 Digital slr Photography November 2016
/ YourmonthlYphotodigest
Man in the
moon
ThewinningimagesfromThe2016insighT
asTrophoTographerofTheYearcompeTiTionhave
landed,andTheresulTsareouTofThisworld
tarS Shoot acroSS the solar system, planets and stars billions
of light years away twinkle in the night sky, celestial bodies align,
plunging the planet into darkness and the bright green glow of
the aurora dances over a frozen tundra. Its no wonder that the
night sky fascinates us, and with continual improvements in
digital camera technology, each of us are increasingly equipped to capture
and share the wonders of the universe like never before.
now in its eighth year, the Insight astronomy Photographer of the Year
competition encourages keen amateurs and professionals alike to boldly
go where no photographer has gone before and explore the solar system
with their cameras. the craft seems to be more popular than ever too, with
over 4,500 entries being sent in from more than 80 countries around the
world for the latest awards a record number!
a team of judges from across several fields of expertise presided over
the awards, including editor of BBc Sky At Night magazine chris Bramley,
comedian and astro enthusiast Jon culshaw, astrophotographer and
presenter Pete Lawrence, turner Prize winner Wolfgang tillmans and
royal observatory greenwich astronomer dr marek Kukula.
PEOPLE&SPACERUNNER-UP:manonthemoonbydaniCaxete(spain):
astargazerperchesonthemountainknownaspeamuanainmadrid,
spainbaskinginthewarmglowoftherisingfullmoon.Thephotographer
facedachallengeingettinghisfriendtoreachthesummitofthemountain
attherightmomentforthiscaptureachallengethatwasheightened
whenitwasdiscoveredthefriendhadactuallylefthistripodathome.
Image: danI caxete
ROBIN STUART
YU JUN
This years winner was chosen as Yu Jun

from China for his abstract image of Bailys
Beads (right). The phenomenon occurs
during a solar eclipse due to the rough terrain
of the lunar surface, allowing slithers of
sunlight to reach Earth. Jun captured this
across several exposures before compiling
the results in a single image. Competition
judge Dr Marek Kukula commented of the
winning image: This is such a visually striking
image, with its succession of fiery arcs all
perfectly balanced around the pitch black
circle of totality. Its even more impressive
when you realise what it shows: the progress
of a solar eclipse, all compressed into a single
frame with consummate skill and precision.
A tremendous achievement that pushes the
boundaries of what modern
astrophotography can achieve.
Other winners included Gyrgy Soponyai
from Hungary for his image of the aurora
borealis dancing above the Adventtoppen
Mountain in Norway, Jordi Delpeix Borrell of
Spain for his incredibly detailed shot of the
lunar surface and Nicolas Outters from
France for his image M94: Deep Space Halo,
showing spiral galaxy Messier 94, which is
approximately 16 million light years from
Earth. There was also great success when it
came to UK talent too, with four winners and
three Highly Commended placings.
BBC Sky at Night Editor Chris Bramley said
of the contest: There were so many fantastic
images. The winning entries, and indeed the
whole field, show that the entrants' technical
abilities and creative eye have never been
sharper. They capture the quiet, majestic
beauty of the night sky above a world thats
increasingly frenetic and light-polluted.
The winning images netted a host of prizes,
including a whopping 10,000 cash for the
overall winner! All of the images are now on
display at the Royal Observatory Greenwich in

a free exhibition open to public until 28 June
2017. Theres also the Insight Astronomy
Photographer of the Year book, which
showcases the winning and shortlisted
images available from bookstores for 25.
Fancy your chances at being a shooting
star next year? Entries open early in 2017, so
keep an eye on the website for more details:
www.rmg.co.uk/discover/astronomyphotographer-competition
3)OURSUNRUNNER-UP:SunFlowerCoronabyCatalin
BeldeaandAlsonWong:Acompositeof12imagestaken
duringatotalsolareclipsefromTidoreIslandinEastern
Indonesia.Resemblingtentacles,theblisteringsolarcoronal
structuresreachoutfromtheSunssurfacewithanaverage
temperatureofbetweenoneandthreemillionKelvin.
1)PEOPLE&SPACEHIGHLYCOMMENDED:AWiseSon
MakesaGladFatherbyRobinStuart:Thetouchingsceneofa
Maasaiwarriorbestowinghisknowledgeofthestarsonhisson
astheygazeupattheMilkyWay.TheMaasaitribeusethestars
tonavigateacrosstheeastAfricanplainsinordertofindnew
grazinggroundsfortheirlivestock.
5)BESTNEWCOMER:LargeMagellanicCloudbyCarlos
Fairbairn:TheMilkyWayssatellitegalaxy,theLargeMagellanic
Cloud,showcasingstarsofallageswithinits14,000lightyear
diameter.TheLargeMagellanicCloudcansometimesevenbe
seenwiththenakedeyefromthesouthernhemisphere,but
resemblesafaintcloudratherthanahugegalaxy.
2)OVERALLWINNER:BailysBeadsbyYuJun:TheBailys
Beadseffectduringthetotalsolareclipseof9March2016
capturedfromLuwuk,Indonesia.AstheMoonpassesinfront
ofourstar,theSun,theruggedsurfaceofournaturalsatellite
allowsbeadsofsunlighttoescapeinsomeplacesandnotin
others,whichlooksincredibleinthisimage.
6)PLANETS,COMETS&ASTEROIDSWINNER:SereneSaturn
byDamianPeach:Thesecondlargestplanetinoursolar
system,thegasgiantSaturn.Thephotographdepictsthe
famedringsindetailwithstrikingcontrastbetweeneachof
them.Stormsarevisibleacrosstheplanet,aswellasthe
astronomicalmysterythatisthehexagonatthenorthpole.
4)AURORAERUNNER-UP:BlackandWhiteAuroraby
KolbeinSvensson:Anunusualviewoftheaurora,simplyin
black&white,thatturnstheexpectationsofaurora
photographyonitshead.Theremovalofthevividcolours
associatedwiththeNorthernLightsemphasisesthefluidityof
theauroraandthestarkcontrastitformsagainstthenightsky.
Sn pshots
3
KOLBEIN SVENSSON
CATALIN BELDEA/ALSON WONG
5
CARLOS FAIRBAIRN
6
DAmIEN pEACh
November 2016 Digital Slr Photography 19
RITA KoChmARjovA / shuTTERsToCK
Snapshots / The world of photography
Smile with
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makeuSlaughFOrachanceOFwinningaSamSung64gBSDXcPrOPluSmemOrycarD!
Amsungs LATEsT Pro Plus sD cards are designed for ultra-fast
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magnetic-proof, so you can be sure of their reliability no matter what
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samsung is generously giving one away. All you have to do is come up
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scoop a samsung Pro Plus 64gB sDXC card worth over 80. uK entries only. www.samsung.com
storage
wars!
m
asters of memory
sanDisk has unveiled
the worlds largest
capacity sD cards at
Photokina 2016, capable of
storing a whopping 1TB of data
thats 1,000gb incase you were
unsure! Although the 1TB card is only
a prototype at present, and would
probably be very expensive, it remains
an impressive achievement to cram so
much storage space into such a tiny
card. Loaded into a 36.3-megapixel
nikon D810, the card would allow you
to shoot around 21,000 Raw files, or
approximately 47,600 jPEgs before it
was full! www.sandisk.co.uk
How big is tHat?
Digital storage has come a long way in

a short time. The sanDisk 1TB sD card
packs the same capacity as
400kb
2,621,440
Photo app
1984aPPle harD DriveS
660kb
1,588,751
caSSettetaPeS
Lens Distortions
Price:Free/Platform:iOS
Isnt it strange how images with so called defects and 'artefacts' present in them often end up
looking more interesting and atmospheric than technically correct images? Were talking
desirable optical traits, such as lens flares, bokeh and particles rather than the undesirable ones
like chromatic aberration or image softness of course! The problem with adding these artefacts
physically is that theyre often happy accidents rather than occurrences that you can control.
This is where Lens Distortions comes in its a collection of optically-captured filters and effects
for video, photo and mobile that can be overlaid on your images to add extra pizzazz. Weve got a
full test on a couple of their Photoshop plug-ins coming soon, but for now weve been getting to
grips with their mobile app, and its really rather good. The LD app features some of the same
effects that youll find in the full Photoshop version, ranging from prism-style refractions to fog,
rain, light flares and atmospheric particles. Each can be added to your mobile snaps as a new
layer and adjusted in terms of blur, opacity, brightness and so forth. Theres a generous 30 effects
included as standard, with additional packs available from 2.29. As with any editing effect,
over-using the filters gives the game away, but added in a careful and selective manner they are
very convincing and can completely bring a quick mobile snapshot to life. Well worth a try.
before
After
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20 Digital Slr Photography November 2016
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Blu-rayDiScS
The world of photography \
ROSALInD CHAnG
TOBIAS kELLER
photo
myth
Snapshots
busters
Myth #1 Dontshootintothesun
Myth #2 CamerabranDXisbest
PhotograPhyis fullof secondhandadviceand half-truths.

inanattemPtto shed some
lightonwhats rightand
wrong,weve debunked
eightofthe mostcommon
misconcePtions surrounding
digitalPhotograPhy
Beginners are told to shoot with the sun

behind them, so you get nice, even lighting,
however in doing so your images are
probably going to be flat and boring. While it
might be trickier to meter for, backlighting is
a great approach for capturing images with
depth and atmosphere, especially when
theres mist, fog or rain in the air. Its also
good for portraits as youll avoid squinting
eyes and harsh shadows simply spotmeter from your subject's face.
Have you ever heard two builders squabble

about which brand of hammer is best? Of
course not theyre tools that do a job in the
right hands. The same goes for your camera.
While some models are better at some
things than others (for example, top-end pro
DSLRs excel at sports, while mirrorless
models are great for street shooting), your
chosen brand of camera or lens quite often
comes down to which you prefer using.
Cant we all just get along?
EMIL JARfELT
JORDAn BUTTERS
JORDAn BUTTERS
Myth #3 PhotoshoPisabaDthing
Myth #4 ProsusemanualmoDe
Myth #5 there'sa'right'eXPosure
You often hear photographers brag about

how their images contain no editing or are
'straight out of camera'. If thats true then
theyre completely missing out on getting
the best from their images all digital files
need tweaking and boosting to reach their
full potential. Every single professionally
produced digital image in circulation will
have been edited in one form or another,
just the same as every image shot on film
was developed and printed at some point.
Rubbish. Professional photographers

use the mode that gives them the most
consistent results for the job in hand.
Wedding, lifestyle and press photographers
will often use aperture-priority, whereas
sports and action photographers might
switch between aperture- and shutterpriority. Studio photographers, or those
regularly using flash are one of the few that
use manual mode a lot, because it gives
them complete control of the lighting.
Strictly speaking, if you metered from an 18%

grey card in any given lighting scenario then
thats the correct exposure, however wed
bet all of our camera kit that doing so
doesnt always create the best-looking
image. Digital photography is about
delivering your vision you have to capture
an exposure (or exposures) that portray the
scene or subject as you want it to be seen,
whilst understanding the dynamic range
limitations of image sensors.
SYLWIA BARTYzEL
Did you know that JPEGs can be loaded into

Lightroom or Adobe Camera Raw and
processed in almost exactly the same
manner as Raw files? That goes for adjusting
the White Balance too. You wont be offered
the presets that come with Raw files, and
you cant push the files as far, but you can
still adjust the temperature and tint of your
images, as well as using the WB eyedropper
to pick a neutral tone.
SHUTTERSTOCk
nAOMI BUTTERS
Myth #6 YouCantChangethe
WhitebalanCeofJPegs
Myth #7 YouneeDtouseauVfilter
Myth #8 ineeDbettergear
This might come as a surprise, but UV filters

do absolutely nothing for your images.
Modern optics are treated with clever
coatings which negate the use of a UV filter
completely. In fact, they will probably
degrade image quality ever so slightly over
the same lens without a filter. What they do
offer, however, is some protection against
damaging the lens's front element. So if
youre the clumsy type, then it might be
worth keeping your UV filter on.
Photographers often get caught up in the

notion that upgrading their kit will
miraculously allow them to become better
photographers. Poppycock! A good
photographer can use almost any
equipment to create compelling images.
Money invested in continually updating your
gear is better spent on workshops and
excursions to use your camera. Only once
you can outperform your hardware should
you look to upgrade.
Sn pshots
Flickr
Bamburgh Gold
By traceyWhitefoot
www.flickr.com/photos/traceyfoster/
ifyouveskippedforwardtopage25thenyoullalready
knowthatbamburghcastleisoneofthelocationsinthis
monthslocationguide.traceyhasrecordedthefirst
glimpseofsunriseasitbreaksthroughtheclouds,bathing
thebeachandcastleingoldenlightwecanthinkofno
betterplacetoseethedayin. fantasticcapturetracey!
nikond800withaF-S16-35mmf/4g.
exposure:1/40secatf/8(iSo250).
What Weve been Watching

Looking forvisuaLinspiration? HereswHattHe DigitalSlR PhotogRaPhyteam Has beenwatcHingtHis montH
Human made StorieS: CHapter 3

ByVolvo Car UK
7 LeSSonS i LearntFrom
pHotograpHy(Feat.JimmyneLSon)
Conceptual photographer Erik Johansson

is back with another beautiful behind the
scenes video, this time backed by a wellknown Swedish car manufacturer. If you can
look through what is essentially a veiled Volvo
commercial, then this film follows Erik as he
sets up and shoots one of his high quality
conceptual images. Erik combines carefully
considered real-world shooting with
Photoshop to achieve the final result, a
dream-like image comprised entirely of his
work without resorting to using stock at all.
http://bit.do/DSLR_1201
If youre a fan of photography then the name

Jimmy Nelson should ring a bell. Jimmys
work photographing some of the worlds far
flung tribes and people is truly brilliant. In
another excellent short by Cooperative Of
Photography, Jimmy discusses important
lessons that hes learnt since first picking up a
camera. Forgot what kit or settings he uses,
Jimmys advice is far broader, and there are
some well made points backed up by real
world experiences to take on board here.
ByCOOPH
Studio neXt-image (SaiLS CHong)

ByIvy Mak
Theres wedding photography and then
theres the work of leading Chinese wedding
photographer Sails Chong. Join Sails in this
behind the scenes video, which shows that
his shoots resemble something more akin to
a Hollywood production than a wedding!
Location lighting, props, special effects, a film
set and even cars exploding all feature during
the shoot we kid you not! While we dont
recommend you try some of these set-ups
yourself, you can still learn from Sails lighting
set-ups and excellent composition.
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The LocationGuide
TheNorth
NorthumberlandCoast
Ancientcastles,windsweptbeaches,historicislandsandprettyharbourstheNorthNorthumberlandcoast
offersarichvarietyofsubjectmatterandmakesforafantasticphotographicdestinationatanytimeofyear
LOCATION: NORTH-EAST ENGLAND / OS REF: OS EXPLORER 340 & 332, OR LANDRANGER 75 & 81
The
TheLocationGuide
LocationGuide
NorthNorthumberlandCoast
The most northerly and least populated
county in England, Northumberland has
traditionally been a place that people catch
glimpses of as they hurtle towards Scotland
on the A1 or East Coast mainline, but rarely
stop to explore. For those who do, however,
surprises are in store because, scenically and
historically, Northumberland is hard to beat.
The area boasts some of the most beautiful
coastline and countryside in the UK, plus a
fascinating history of conict and bloodshed
that goes back to the Roman days. The
stretch of coastline running north between
Amble and Berwick-upon-Tweed is by far the
most popular with photographers as it takes
in all the best locations in the region.
In Amble itself there isnt a huge amount to
shoot, but if time permits its worth a detour to
capture the pier and lighthouse. This is a good
dawn location, but is also ideal for ten-stop
ND shots, especially on a windy, cloudy day.
Next stop is Warkworth technically its
not on the coast, but home to a beautiful
castle perched on a small hill overlooking the
village. For the best view of the castle, park
near the Post Office and Greenhouse gift
shop then take the path alongside the River
Coquet (turn left when you get to the river)
and after a few minutes youll come to a bend
in the river where you get a great view of the
castle. Theres usually a reection of it in the
1)HOWICKBATHING
HOUSE: Theperfectcoastal
locationforadramaticlong
exposuretheethereal
blurrywaterandjagged
rocksaretheidealcontrast.
2)RIVERALN,ALNWICK:
Acolourfulandmisty
morningbelowAlnwick
Castle. 3)AMBLE: The
iconicpierisworthashotat
bothdawnanddusk.Thisis
anotherlocationideally
suitedtoalongexposure.
4)ALNMOUTH: Theestuary
andChurchHillatlowtide,
bathedingoldenevening
light. 5)ALNWICKCASTLE:
Thisclassicriversideviewis
bestphotographedinthe
afternoon 6)CULLERNOSE
POINT: Basaltcliffsanda
rockyforeshoremakea
greatcombination.
1
LeeFrost:WhyIlove
Northumberland
I first discovered
Northumberland 20 years
ago, when I was
commissioned to produce
a book on the area, and
loved the place so much
that I moved north and settled on the
North Northumberland coast back in
2001. Back then the area was little known
to photographers, but in recent years it
has become something of a mecca
thanks to the predominance of stunning
unspoiled beaches, dramatic castles,
clean air, great light and a distinct lack of
both traffic and tourist hoards! Holy
Island is a favourite location because its
slightly dishevelled and has a lived-in feel
about it, plus theres a great range of
subjects from sweeping views to
intimate details, so you can always find
something to shoot regardless of the
weather. Bamburgh Castle is big and
imposing, overlooking a stunning sandy
beach, while the boulder field at
Embleton Bay is a classic view with the
ruin of Dunstanburgh Castle in the
distance. Alnmouth was my home village
for years so it holds a special place in my
heart. The beach and grassy dunes are
wonderful and the Aln Estuary is the best
place for sunsets on the Northumberland
coast most locations are better at
sunrise, being on the east coast.
The LocationGuide
ALL IMAGES: LEE FROST
2
3
water too. This is best captured late afternoon

when theres nice light on the castle.
Alnmouth is about three miles up the
coast from Warkworth. Its a fantastic
location, sandwiched between the estuary
of the River Aln and a wonderful sandy
beach. The estuary is ideal for sunsets
and you can capture shing boats against
the sky. The long sandy beach works well
throughout the day, but it lacks foreground
interest, so you need low sun to emphasise
ripples in the sand. Pools of seawater left by
the retreating tide can also be used to add
compositional interest.
There are stunning views of the village,
estuary and beach from Church Hill, which
you can see across the estuary (it has a
cross on the top). Early morning is the best

time to be up there, though late afternoon
works too. To get there, take the A1068
back towards Warkworth and a mile or so
south of Alnmouth after the Waterside Farm
entrance, turn left onto a rough track, park
near a ruined barn at the end then walk over
to and up Church Hill.
If time permits, detour to Alnwick (approx
four miles from Alnmouth). Its a pretty
historic town and its jewel is the stunning
Alnwick Castle. Take the B6341 (The Peth)
out of town, park roadside before the Lion
Bridge, walk over the bridge, through a gate
and down to the river where you get a great
view of the castle and, in calm weather, its
reection. This makes a good sunrise/early
Useful Information
Where is it? The North
Northumberland coast is in the
north-east of England and extends
approx 40 miles between Amble at the
southern end, and the ancient Scottish
border town of Berwick-upon-Tweed.
Getting there: Head north on the
A1 from Newcastle-upon-Tyne
or take the A19 and drive through the
Tyne Tunnel. From Amble to Bamburgh
you can follow the coast on a series of
minor roads. If youre travelling by train,
take the East Coast mainline and get off
at Alnmouth or Bamburgh. Various
airlines also y into Newcastle airport.
Getting around: Driving is by far
the best option. If you dont drive,
you could probably manage using the
local Arriva bus network the 418 and
X18 services cover the coast (www.
arrivabus.co.uk). Cycling is another
option if you have the time and energy
there are some great routes
including purpose-built cycle lanes.
Places to eat and sleep: For
longer stays there are many
self-catering holiday cottages for rent
(www.northumbria-cottages.co.uk,
www.coastalretreats.co.uk, www.
northumberlandcottages.com). For
shorter stays, there are B&Bs and small
hotels in Berwick, Bamburgh,
Seahouses, Embleton, Alnmouth,
Alnwick and Amble. The Victoria Hotel
in Bamburgh (www.strhotels.co.uk) is
recommended, or the Dunstanburgh
Castle Hotel in Embleton (www.
dunstanburghcastlehotel.co.uk).
Choice of food is plentiful. Head to
Seahouses or Amble for sh and chips
or in Alnwick or Alnmouth for
restaurants.
Local camera shops: PD Quick,
61 Bondgate Within, Alnwick
(01665 602600) for batteries, memory
cards, prints and accessories. Theres a
London Camera Exchange at 76 High
Street, Gosforth, Newcastle (0191 213
0060) and a Jessops at the Metro
Centre, Gateshead (0191 460 0081).
morning shot in autumn and winter, while in
late spring and summer the castle is bathed
in evening sunlight.
Heading back to the coast, drive a few
miles north, stop at Rumbling Kern near
Howick, where there are interesting rock
formations great for detail shots on a dull
day and Howick Bathing House, an old
stone cottage overlooking the sea that makes
a good ten-stop ND subject best captured
in the afternoon. Rumbling Kern can also be
shot at sunrise in suitable weather.
Another mile or so brings you to
Cullernose Point. Park in the layby by a eld
entrance, then cross the road and follow the
path down to the sea, where youll nd basalt
cliffs and a beach of smooth basalt boulders.
The
TheLocationGuide
LocationGuide
North NorthumberlandCoast
At high tide, waves wash over the boulders.
Its a great sunrise location with the beach
as foreground interest and Cullernose Point
in the distance. The Point also catches the
evening sun so it works later in the day too.
Craster has a pretty little harbour and is a
good spot for shots of lobster pots, shing
nets and details of old shing boats, but
youre more likely to head there to walk along
the coast path and photograph the dramatic
ruins of Dunstanburgh Castle from the rocky
shore bathed in morning sunlight. While
youre there, take a look back and youll see
Craster village. Shoot this view at sunrise,
or early morning it looks great on a really
stormy day with waves lashing the shore.
One of the most popular views on the
North Northumberland coast is looking
towards Dunstanburgh Castle from the
beach of basalt boulders at the southern
end of Embleton Bay (main image, right).
To reach this location, drive to Embleton
village on the B1339, turn right just before
the Dunstanburgh Castle Hotel (left just after
if youre driving south), take a sharp right
onto Sunny Brae then after approx. mile
turn left onto a single track road towards
Dunstan Steads. Park at the end of the road,
go through the ve-bar gate, turn immediate
right and follow the path along the edge of
the golf course. After ten minutes youll see
the boulder eld. Drop down onto it and
carefully make your way to the sea. At high
tide you dont have to go too far but at low
tide youll need to negotiate a lot of boulders
and they get slippery, so be very careful.
This view is best captured at sunrise
from October to March the sun rises more
or less behind the castle so it records in
silhouette, while in the spring and summer
the castle is side-lit as the sun comes up. The
castle also catches the afternoon sun so its
worth a return later. Its a beautiful viewpoint.
Start Shooting
Things to shoot: Stunning sandy

beaches at Bamburgh, Seahouses,
Embleton and Alnmouth, castles
(Lindisfarne, Bamburgh, Dunstanburgh,
Alnwick and Warkworth), harbours at
Holy Island, Beadnell, Seahouses and
Alnmouth. Great sunrises at all of the
above, sunsets at Holy Island, Budle Bay,
Beadnell and Alnmouth.
When to go: Any time of year,
though the summer holidays are
busiest so best avoided Holy Island
can be heaving on a sunny weekend!
Spring and autumn can be stunning and
there are fewer tourists. Winters are
often mild due to the proximity of the
sea, and the soft winter light is beautiful.
Recommended kit: A general kit
for landscapes wide-angle,
standard and telezooms; sturdy tripod
and head; remote release; ND grads,
polariser and ten-stop ND lter;
waterproof sheet to put your bag on
when youre shooting on wet sand;
wellies to keep your feet dry.
Tide info: Its handy to know high
and low tide times as this can
inuence where and what you shoot.
Times for Amble and Berwick upon
Tweed can be used as a guide (www.
tidetimes.org.uk, www.bbc.co.uk, www.
tidesforshing.com). Crossings to Holy
Island are subject to tide times for safe
crossing times go to www.
northumberland.gov.uk/Highways/
Public-transport/Crossing.aspx
7)BAMBURGH: Thisbeautifulcastleisbestcapturedfromthe
widebeachatsunrise. 8)DUNSTANBURGHCASTLE: Sunrise
fromthebouldereldatEmbletonBaycanbestunningtoo.
9)DUNSTANBURGHCASTLE: Bathedinthewarmmorning
light,thisscenewasshotfromthecoastalpathnearCraster.
10)BEADNELL: EbbsNookbeingwashedbythetide.
Another option is to shoot from the sandy

beach instead of turning right after the
farm gate, go straight ahead through the
dunes. You can shoot from the dunes, or
go down onto the beach. This can look
spectacular at dawn when the colours in the
sky reect in the wet sand, plus there are a
few rock pools for reections and rocks for
foreground interest.
Alternatively, drive down to the golf club
in Embleton (you can park there) then walk
to the beach. In the afternoon, on a receding
tide, there are fantastic sand ripples get
down low with a wide-angle lens to ll the
foreground and capture Dunstanburgh
Castle in the distance.
Beadnell is the next village worth a
stop. It boasts a sweeping bay and a broad
sandy beach with views to Dunstanburgh
Castle. Theres also a small harbour, which
usually has a few traditional shing cobles
moored within its walls. It faces west, so its
The LocationGuide
a good sunset spot (there arent many on

this stretch of coast). On a stormy day, the
concrete slipway by the harbour is good
for ten-stop ND shots. Ebbs Nook, a long,
rocky peninsula, is worth a look too walk
towards the end and use long exposures to
capture motion in the sea and sky.
Seahouses is the busiest village on this
stretch of coast. Its where boats head to
the Farne Islands from (great for puffins and
other seabirds in the summer) and has a busy
harbour where you can shoot piles of lobster
pots, nets and shing boats. On a calm,
sunny day the harbour looks fantastic, but in
dull weather youre unlikely to be inspired.
Three miles north of Seahouses, youll
nd Northumberlands most imposing
castle at Bamburgh. Set high on a volcanic
outcrop known as the Great Whin Sill,
Bamburgh castle enjoys a dramatic position
overlooking the nearby sandy beach and
village. Its a year-round location thats best
photographed from down on the beach

where you can use barnacle-encrusted
rocks, shallow pools or ripples in the sand
as foreground interest. Head there at dawn
to capture the sun rising behind the castle in
autumn and winter (in spring and summer
its side-lit), then again during late afternoon
when the lowering sun bathes the castle and
beach in golden light. There are also good
shots to be had of the castle from the grassy
dunes on a windy day use a slow shutter
speed to blur the swaying grass.
Just north of Bamburgh is Budle Bay.
This sweeping bay is a popular haunt for
bird watchers thanks to the wide variety of
birdlife, but the views also make it a great
photographic location to shoot while
youre in Bamburgh. Its best at sunset,
especially on a misty evening when the suns
orb gently sinks to the horizon. Use long
exposures (20-30 seconds) to blur waves
washing against the shore. At low tide its
10
The LocationGuide
North NorthumberlandCoast
also a good place for detail shots such as
patterns in the sand.
Holy Island is the next main location. An
ancient seat of Celtic Christianity, the holy
island of Lindisfarne is home to a medieval
fortress perched on a craggy hill, a small
harbour with unusual boat huts and the ruins
of a once magnicent abbey.
You can easily spend a day there, shooting
from dawn to dusk. The harbour is a good
morning location shoot the boat huts
and lots of patterns and details around the
harbour area. Head for the castle in late
afternoon and capture it from down by the
rocks on the shoreline, or if the tides low
enough the old wooden piles that once
supported a jetty below the castle. This
location is also ideal for sunsets looking
across the bay towards Bamburgh or back to
the islands only village. The lichen-covered
rocks below the castle make great details
shots in overcast weather.
Holy Island is cut off from the mainland
for about four hours each day a couple
of hours before high tide until a couple of
hours after. For safe crossing times go to
www.northumberland.gov.uk/Highways/
Public-transport/Crossing.aspx. The island
is quieter when the causeway is closed so its
worth getting stranded there. You can also
take some different shots at high tide from
the island the partly-submerged wooden
posts near the castle are ideal for long
exposure shots with a ten-stop ND lter, as
are the long line of posts youll see as you
arrive on Holy Island that stretch all the way
back to the mainland, marking a safe walking
route at low tide.
Your nal destination is the most northerly
town in England Berwick-upon-Tweed.
Berwick enjoys a magnicent position
on the banks of the River Tweed and the
Northumberland coast. Best views are from
a monumental masons yard (look for the
gravestones) on the south side of the Tweed.
11
12
13
Just before sunset the historic town is

bathed in golden light and, if youre lucky,
it will also be reected in the river.
The lighthouse and harbour wall,
accessed via Pier Road, are worth a stop
on a stormy day for a ten-stop ND shot,
while Spittal Beach just south of the town
has some fantastic rock formations at the
southern end. Park on the promenade at
Spittal then walk along the beach. At high
tide the rocks are usually covered, but as
it recedes theyre revealed and youll nd
some amazing patterns and colours in the
11)BERWICK-UPON-TWEED: Theoldtowninthelastlightof
theday. 12)LINDISFARNECASTLE: Shotfromtherockybeach
atlowtideonastormyafternoon. 13)SPITTALBEACH:
SandstoneswirlscanbefoundjustsouthofBerwick.
strata. This makes a good dull day location

as the soft light is ideal for detail shots.
You could cover all these locations in four
or ve days, assuming the weather plays
ball and youve planned each day carefully.
However, once you start exploring the North
Northumberland coast youll realise that
one trip just isnt enough, and youll keep
returning again and again.
Keep shooting! Other locations near the North Northumberland coast (*all distances taken from Alnwick)
26
23
1)BLYTHBEACH
If youre into shooting with extreme NDs

theres loads to keep you busy old
groynes, a concrete jetty, an outow pipe,
the wooden pier and a lighthouse at the
port. Get there an hour or two before high
tide and stay until the tide recedes.
32
MILES
SOUTH*
MILES
SOUTH*
2)STMARYSLIGHTHOUSE
Between Whitley Bay and Old Hartley

is St Marys Island, home to St Marys
Lighthouse, best shot at high tide when
the island is cut off from the mainland.
Sunrise is recommended, but dusk can
work equally well too.
MILES
SOUTH*
3)MARSDENBAY
Between South Shields and Sunderland,

this stretch of coastline boasts cliffs,
natural arches, smugglers caves and
seabird colonies. Its great at sunrise!
Souter Lighthouse (National Trust) is just
south of the bay and well worth a visit.
Nikon D810, Zeiss 21mm Distagon,

F11 at 2 minutes, 100 ISO. LEE Super Stopper.
SUPER STOPPER
Most photographers shooting land or seascapes would choose to work at either end of
the day when the light is soft. This is also generally the time when the addition of a 6 or 10
stop lter will give the very long exposures necessary to give the effect of smooth water
and cloud motion.
But sometimes things dont work out that way. It might be a question of tide or timing,
of weather or circumstance, or even a combination of these factors, but sometimes
you need to be able to shoot in broad daylight, or even bright sunlight, and still achieve
those very long exposures. These are the conditions for which the 15 stop Super Stopper
has been designed.
NEW
Super Stopper
I arrived at this location, in Monterey, California, at three in the afternoon, really just for
a look as although the sky was quite overcast, conditions were incredibly bright. I then
noticed the cloud formation above the tree which seemed to be leading the eye toward
it, and the current leading in from the bottom right hand corner, and realised quickly that,
despite the bright light, this was something that might not happen again. The shutter speed
without ltration was 1/250th of a second. With a 10 stop Big Stopper that gave me 4
seconds, but with the 15 Stop Super Stopper I was able to achieve this photograph with
an exposure time of 2 minutes.
Jonathan Chritchley
www.jonathanchritchley.com
www.leelters.com
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ideas &advice for better photos
spookyjaRs p42
aghoulishly-goodstill-lifeidea,
justintimeforhalloween!
p34 WateRfalls:howtorecordmotioninmovingwater
p38 BikeRiG:takeyourcameraforaridewithasimplerig
p46 flashpooches:easyandfunflash-filledpetportraits
p50 RGBeffect:learnhowtocreateadualcolourexposure
PH TO
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WATERFALLS
SHOOTINGWATERFALLS ISAGREATWAYTO PUSH CREATIVE EXPOSURETOTHE LIMIT.
JAMESABBOTTSHOWSYOU HOWTO CAPTURE BLUR EFFECTSWITHAN EXTREME ND FILTER
CAMERA: NIKON D610 / LENS: NIKON AF-S 16-35MM F/4G ED VR / FILTER: TIFFEN AXENT
AXENTTEN-STOP
TEN-STOP ND
ATERFALLS ARE ONE of the most

magical aspects of landscapes and
are a rm favourite among outdoor
photographers. Water is a powerful element
for photography that can be used to create
dynamic compositions, and in some cases to
apply creative exposure effects ranging from
completely freezing water, to capturing it as
an ethereal blur, plus everything between.
The exact amount of blur that can be
captured depends entirely on the lters you
have to hand. With no lters, on an overcast
day, you may be able to achieve an exposure
of around one second, although you may nd
TOPTIP
LEEFILTERSAPP
TheLeeStopperExposureGuideappfor
AndroidandiOSisafantasticwaytocalculate
exposuretimesforNDlters.Bytakingashotin
aperture-prioritymodeandusingexposure
compensation,ifrequired,tondthecorrect
exposureundernormalconditions,youcan
thenusetheapptocalculatetheexposure
timeforasix,tenor15stopNDlter.Its
easytouseandtheresevena
built-intimer.
you cant even get close to this. A polarising

lter can reduce exposure by up to two stops,
and are also great for removing reections
from water while achieving slightly longer
exposures. While for truly long exposures,
ranging anywhere from a few seconds to
minutes, youll need a Neutral Density lter.
Neutral Density lters block light without
affecting colours in the image, hence their
name. They are available in a variety of
strengths, measured in stops of light. So
called extreme ND lters, such as the Lee
Filters Big Stopper, block an incredible ten
stops of light. There are even lters available
to lter up the 16 stops! More extreme NDs

do create colour casts however, although
this can be removed using a custom White
Balance. So while they are considered ND
lters, theyre not truly neutral.
Were going to shoot extreme long
exposures of waterfalls using a ten-stop ND
lter, so for this technique youll need a DSLR
or CSC with an ultra wide-angle lens or
standard zoom. Youll also need a tripod and
remote release to keep the camera locked in
position, and of course a ten-stop ND lter.
If you dont have a lter you can still use a
weaker ND lter, or a polarising lter.
PH TO
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Waterfalls
USEATRIPOD When shooting any long

exposure, its best to use some kind of
support, and for very long exposures a sturdy
tripod is essential. Set up your tripod making
sure the feet cant slip to avoid any kind of
movement. Youll also need a remote release
to avoid touching the camera when releasing
the shutter in Bulb mode. If using a weaker
ND or a polariser then attach this now, but if
youre using an extreme ND then hold re.
COMPOSETHE SHOTTurn on LiveView and

cover the viewnder using the eyepiece
cover or your hand, before composing your
shot using the LCD screen. This will avoid
light leaks through the viewnder, which can
create dull spots on your image. Mirrorless
users wont need to do this. Find your
composition and lock off the tripod. Now
activate the virtual horizon to make sure the
camera is level and youre all set.
MANUALLYFOCUS Switch your lens to manual focus and turn on

LiveView. Zoom into the waterfall itself using the magnify controls
on the back of the camera. Now rotate the focusing ring on the
lens until the image looks sharp on the LCD screen. With a waterfall
thats close to the camera with nothing behind it, this method works
perfectly. Now turn off LiveView and attach your extreme ND lter.
SELECTSETTINGS Set the camera to

aperture-priority mode and choose an
mid-to-narrow aperture at ISO 100. If youre
not using an extreme ND then you can now
shoot away using aperture-priority mode.
For extreme ND users, take a test shot,
apply exposure compensation if necessary,
and make a note of the exposure settings.
Transfer these over into manual mode, but
set the shutter speed to Bulb.
CALCULATE EXPOSURE My test shot was at 1/8sec. Shutter speed

simply doubles for each stop, so for ten stops I counted 1/4sec,
1/2sec, one second, two seconds, four seconds, eight seconds, 15
seconds, 30 seconds, one minute, two minutes. Two minutes was the
perfect exposure. Use a watch or phone as a timer, and release the
shutter with a remote, locking the shutter open for the duration.
THE EFFECTS OF SHUTTER SPEED
COLOURCORRECTION
1/60secWhenshutterspeedsare
toofastyoullfreezeowingwater,
whichlooksclosertowhattheeye
sees,butwithwaterfallsdoesnt
produceapleasingimage.Faster
shutterspeedsarebetterfor
still-lifeshotsofwaterdroplets.
ExtremeNDltersnearlyalwaysaddacolourcast.
SettingWhiteBalancetoAutocanhelp,butyoull
almostalwaysneedtotakecontrolinAdobe
CameraRaworLightroom.SimplyusetheWhite
Balancesliderstobalancetheimagebydragging
theTemperatureandTintcontrolsintheopposite
directionofthecolouryouneedtoremove.
Alternatively,iftheresaknownneutralinyour
scene,suchasawhite,greyorblackobjectyou
canusetheWhiteBalanceeyedroppertooltoclick
onittosettheWhiteBalancefromthatobject.
1/4sec Withshutterspeeds
between1/4secandasecond,you
canachieveanattractivelevelof
blurwheretextureisstillpresentin
thewater.Usingaoneortwostop
NDlter,orapolariser,willhelp
youtoachievethis effect.
4mins UsinganextremeND,
anddependingonlightlevels,
exposurescanrangefromafew
secondsinbrightsunlightto
severalminutesintheshade.The
resulthereiscompletelyblurred
waterwithnotexturepresent.
chasing waterfalls
Ultra-longexposurescapture
completelyblurredwaterwitha
beautifuldream-likeappearance.
Exposure:Twominutesatf/11(ISO100)
PH TO
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Pedal Power
Capture exCiting imageswith dynamiC motion usingasmallrigandaremote
its easierthanyou mightthink!Jordan Butters is hereto showyou how
Camera: nikon d750 / Lens: samyang 14mm f/2.8 ed as if umC / rig: manfrotto magiC arm and super Clamp
ig shots are common practice in

automotive photography, and are
often achieved using suction cups
and long boom arms to distance the camera
far enough from the car to get the whole
vehicle in shot. they arent limited to cars
however, you can practise your own rig shot
on any form of moving object!
rig shots are a dynamic way to convey
excitement and motion. Because the camera
is mounted to, and moving at the same speed
as, whatever youre shooting, the mode of
transport stays sharp and static in the frame,
whilst the environment it around blurs. the
degree of sharpness and blur depends on

several factors how secure the mounting is,
how much vibration passes through to the
camera and, of course, the speed of travel
and choice of shutter speed.
For this simple bike rig shot youll need a
couple of bits of kit, alongside your camera
and a wide-angle lens. the most important
of which is a clamp and arm to mount your
camera to. although you can fashion a rig
from a tripod or monopod, or use purposemade bike mounts, Manfrottos Magic arm is
a popular, and versatile solution. the Magic
arm costs between 100-150, depending on
the model, and consists of a support with a

Manfrotto super Clamp at one end attached
to a ball joint, an articulated and lockable
elbow joint in the middle, and tripod plate at
the other end, again fixed with a ball joint.
this allows you to the twist and rotate the
Magic arm into almost any position, before
locking it securely without worrying about it
coming loose. Youll also need a remote
release too, to trigger the camera, although
you can use the self-timer function, but its a
bit fiddly. Finally, if youre shooting in bright
conditions, then an Nd filter might be
needed too, depending on light levels.
PH TO
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Shooting with a rig
location Find a path or track thats wide and free from too much
passing foot traffic and other cyclists never attempt this on a
road! Smooth surfaces tend to yield better results, as uneven surfaces
can cause camera shake. If youre shooting on a bright day and dont
have (or cant use) an ND filter, then tree canopy cover will allow for a
slow shutter speed without overexposing the scene.
composethe shotProp the bike up and, with a wide-angle lens

mounted, affix the camera to the rig. Switch on LiveView and
adjust the rig until happy with the composition. Showing the bike
in context with the direction its travelling will lead the viewers eye
through the image. Remember to allow for the riders leg in the shot, if
applicable. Lock off the rig so that it cant move and check its secure.
shooting Switch the camera to continuous burst mode. Attach

your remote release (wireless is preferred for obvious reasons)
and hold the remote out of sight the opposite hand to the camera
worked for me. Get on the bike and start moving slowly whilst
triggering the shutter. Try shooting at a slow pace first, and then going
faster to see which works best, adjusting the shutter speed to suit.
attachthe rig Mount your rig to the bike, making sure it doesnt
foul the chain, wheels, or restrict movement. Low angles tend to
make for more dynamic shots, as surfaces close to the camera (i.e the
floor) display more motion blur than objects far away. Alternatively,
compositions that show the riders eye view can create engaging
images. Make sure your clamp is securely attached and cant move.
settings Focus on the bike and switch to manual focus to stop

it hunting. Select shutter-priority mode. Your shutter speed will
depend on the speed of travel and the desired degree of blur. A slow
shutter will give the impression of fast motion, even at slow speeds,
but with an increased risk of shake. Start at around 1/30sec and adjust
from there. If the scene overexposes, use a lower ISO, or an ND filter.
the details Mind the position of your feet when riding and
experiment with capturing images with both your feet moving and
still, to see which you prefer. Stop every so often and check the results.
If youre using a slow shutter speed and/or are on an uneven surface,
youll have to shoot a lot of frames to get a handful of sharp ones.
Check the histogram in order to identify any over- or underexposure.
tOptip
UseyoUrimagination!
Rigshotscanbeusedwithanythingthat
movesbikes,skateboards,canoes,
scooters,younameit.Iveevenseenitdone
withababyinapram!Aslongasyoucan
securelyfixyourclamptothemodeof
transport,andcanachievean
interestingangle,thenyoureallset
justuseyourimagination!
Onyerbike,sOn!
Youdontneedtobemovingfastto
captureimageslikethis,justroll
slowlyanduseaslowshutterspeed.
Exposure:1/15secatf/10(ISO50)
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Spooky Still-life
CreateasCarysilhouette setpieCe,justintime for halloween! still-life guru DinaBelenko
shares her expertiseto helpyou exeCuteyour ownversion ofthis ghostlytaBletopiDea
Camera: nikon D800 / Lens: nikkor af-s 105mm f/2.8g vr miCro / fLash: nikon sB-910, strip softBox
Sing Smoke in still-life photography

is a wonderful and easy way to create
a mysterious and enigmatic
atmosphere. Smoke is a malleable and
interesting object for shooting itself; it can be
cryptic, mystical and a bit creepy, so its
perfect for Halloween! it looks even better in
combination with some storytelling elements
like, say, paper figures of zombies, ghosts and
witches too. So lets use it to create our own
still-life All Hallows eve story.
the list of required props is pretty concise:

a transparent glass jar, paper silhouettes of
evil spirits, bats, castles or spiders, a couple of
additional still-life items like autumn leaves
or pumpkins to fill the surroundings, and
incense sticks to create smoke. Cut your
paper shapes from thick paper with a craft
knife and fine scissors, or buy pre-cut figures
in your local scrapbooking or craft store.
you can even use small toy figures if they fit
inside the jars (and fit in with the theme).
Using incense sticks to create the smoke

is much cheaper than a fog machine, more
accessible than dry ice and safer than an open
flame. you just need to be careful with ashes
and shoot in a well-ventilated space.
finally, you will need a light source, such as
a flash or nearby window, your camera along
with a lens suitable for still-life photography,
a reflector and (optionally, but rather
conveniently) a tripod. Are you all ready to go?
lets shoot our spooky still-life!
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high spirits!
Choosethebestimage,addsome
contrasttomakejarsglowevenmore,
cloneoutanyannoyingdustandash
particlesandenjoyyourspookyimage!
Composition Collect all the props youre going to use and create a
simple composition with jars and bottles as the central elements.
Try to keep the scene simple, but add some details to create an
atmosphere (such as a little pumpkin, autumn leaves or a thread of
artificial spider web). Put your paper figures in the jars and fix them
with double-sided tape if they wont stand on their own.
setupthe lighting Lighting from behind makes the smoke glow

and creates a silhouette of the paper cutouts. Aside from that, you
can use any type of lighting you like. In my case its a flashgun in a strip
softbox from behind and slightly to the right with a reflector on the
left, filling in the shadows. Ive also used card as a flag to stop some of
the light from hitting the background to make it darker.
settings If youre using flashguns, set them on a low power (about

1/8th) to allow you to use a relatively wide aperture to blur the
background. Select your flash sync speed (usually between 1/160sec
to 1/250sec) and adjust the ISO to get a well-exposed image. If youre
using natural light, a longer shutter speed will give the smoke a blurry
finish, whereas a faster shutter speed will retain texture in the smoke.
lets shootIgnite an incense stick or two, put them in a jar to let the
smoke condense at the bottom and plug the cork. Fill the jars one
by one and take a sequence of shots as the smoke swirls and curls. You
can also add some swirls of smoke outside of the jars, low down so it
drifts upwards, or open the lid of a jar to capture the smoke escaping.
Remember to place the incense stick down on a fire-proof surface.
COMMON PROBLEMS aNd hOw tOhaNdLE thEM...
1) LaCk OfdEtaiLS Aminimalist approach is allwell

and good, but a lone jaron a dark background looks a
bit boring, evenwith a zombie inside.Add details and
props toyourset to make the image more interesting,
and encourage theviewerto explore the image.
2) NO BaCkLight No backlight means no glowor

high-contrast silhouettes, and smoke looks dull and
barelyvisible. So, shoot directlyin front ofawindowor
moveyourlight source a little behind the scene to light
up all ofthat spookysmoke. Much better!
3) OvERExPOSuRE The jars can be a lot lighterthan

the rest ofthe scene, so its easyto overexpose. Reduce
ISO oruse a smalleraperture, and check the histogram.
Ifnecessary, underexpose slightly, as shadows are
more easilyrecovered in processing than highlights.
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Paws for
the camera
Makeyour pooch portraits popwiththis fun flash-filledapproach.

Jordan Buttersand pro Beagle Modelarchie showhowits done
Camera: nikon d750 / Lens: saMyang 14MM f/2.8 edas if uMc / FLash:yongnuoyn568eX, sMall softBoX
f youre a dog person then youll know

that your dog can quickly become your
favourite photographic subject willing or
not! Nothing brings a smile to your face like the
weird and wacky nature of mans best friend.
while more flattering, traditional images of
man and pooch alike are often best shot with a
longer lens somewhere in the region of
50-135mm for these fun canine portraits Ive
decided to shoot with an ultra wide-angle lens.
something in the region of 14-20mm works
well, and allows you to get really close while
fitting the whole scene in the frame. Plus, the
natural distortion of wide-angle lenses tends
to distort features and proportions out of

shape, giving the images a light-hearted
and almost cartoon-like quality.
were going to use flash too of course
natural light has its place, but adding flash into
the mix allows you to create bold images that
really pop, full of vibrant colour and contrast.
If youre shooting at sunset, as I was, then a
flashgun is fine, and will have more than
enough power. however if youre capturing
these images in the middle of a sunny day,
then you may find that you need the extra
punch of a location flash outfit to overpower
the bright midday sun.
PH TO
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settheambientSet your camera to manual mode and a low ISO.

Set the shutter speed to match your flash sync speed (between
1/160sec and 1/250sec) and an aperture of around f/11. Take a shot of
the environment and check the LCD. To make our subject pop well
aim to underexpose by one to two stops. If its too dark, select a slower
shutter speed. If its too light, pick a smaller aperture.
toptip
HavefunwitHit!
Aswereaimingforaboldandbrightfun
portrait,remembertohavefunduringthe
shoot!Shootfromlowangles,getclosewith
yourwide-angleandinteractwiththedogto
gethimorhertoactplayfully.Themost
usefulprotip?Peanutbutteristhebest
treatwhenitcomestogettingdogsto
pullweirdandwonderfulfaces
youhavetotryit!
setupflash A softbox offers more control and reduces spill, but

youll have to be more exact with its position tricky if the dog
moves around a lot. An umbrella, on the other hand, spreads light
far and wide, so positioning is more forgiving, but just watch for spill
where you dont want it. Position the flash just behind and to one side
of you, pointing at your subject, at just above the models head height.
setthe power Start with the flash on 1/4 power and take a test shot
with the animal at roughly the desired distance from the flash
I like to shoot with the flash around 1-2m behind me, which gives me
room to move back if needs be. If the exposure looks good perfect!
If not, adjust power accordingly. You can also move the flash closer or
further away to change the amount of flash that reaches the subject.
Getlowandwide Theres a reason why weve selected a midaperture, and thats because combined with a wide-angle lens,
it gives you a wide depth-of-field, so you dont need to worry about
the pooch drifting in and out of focus. Get in position nice and low
if your camera offers a tilting LCD screen then using LiveView is ideal
hold the camera an inch or so from the floor for a quirky angle.
beaglesabout
Combinethistechniquewiththelow
sunandanicesceneforapooch
portraitburstingwithdrama!
Here boy! Here comes the tricky part getting the dogs attention.
For some animals its squeaky toys, for others its treats or
affection. Remember to reward the dog for looking the right way, and
take breaks so that it doesnt become stressed or tired. Its important to
remain in control of the dog at all times. If needs be, ask a friend to help
you, or attach a lead this is then easily cloned out during processing.
adjustontHe flyYoull probably find that the dog wants to move

around, and as their distance to the flash changes, so does the flash
exposure. Rather than putting your camera down and adjusting the
flash, simply adjust the aperture if its too dark, open up the aperture
and if its too bright, stop it down. Remember this will affect ambient
exposure too, but you can control this by adjusting the shutter speed.
FILE2
Acreativedouble
colourexposure
FILE1
FORACOLOURFULCREATIVETWISTONADOUBLEEXPOSURE,GRAB
TWOIMAGES,LOADUPPHOTOSHOPANDLETUSGUIDETHEWAY
HIS IS A FUN and creative double colour exposure effect to try out when youve
got a spare ve minutes. Best of all, it can be applied to any two images that
youve already captured, but works well with portraits especially those shot
against a plain or uncluttered background are best. First, look for two images that are
likely to compliment each other when overlapped. You can use two different shots of
one subject, or two different subjects its up to you. Ready? Heres how its done.
IMAGES: JORDAN BUTTERS
CONVERTTO MONOCHROME Start by

choosing your two frames to merge.
You can use colour images, but I nd black
& white photos suit this effect well. Once
youve chosen your images, import them into
Photoshop one by one and, on each image,
go to Image>Adjustments>Black & White.
Either use the Auto setting, or adjust the
sliders until youre happy. Click OK and
repeat this process for the other image.
ADJUSTTHE COLOURS You might nd that

the blue or the red is overpowering, or
too bright, which can diminish detail. In the
Layers palette, click on the Create new ll
or adjustment layer button and select Hue/
Saturation. Then, in the window that appears,
select the Reds or Cyans channel from the
drop-down menu. Use the middle Saturation
slider to adjust the intensity of colour. You can
change both colours using the Hue slider.
SPLITTHE COLOURS On the rst image, go

to Select>All and then Edit>Copy. Then,
on your second image, go to Edit>Paste to
paste the rst in as a new layer. In the Layers
palette, double-click on the topmost layer
to open up the Layer Style window. In the
Advanced Blending section youll see three
channels, R, G and B. Uncheck the R (red)
channel and youll see the main image turn
red and blue. Click OK to the proceed.
ADVANCED COLOUR CONTROL Further

colour control is available by using a
Selective Color adjustment layer. Add one in
the same manner as the previous step. Once
active, the Colors drop-down menu at the
top allows you to target a specic hue, while
the Cyan, Magenta, Yellow and Black sliders
allow you to adjust it. Its similar to using the
Hue/Saturation controls in Step 4, but with
more control over the exact colour.
ADJUSTTHE IMAGE With your top layer still

selected, press cmd + T (Mac), or ctrl +
T (Windows) to adjust the scale, angle and
position of your top layer. Position the layer
with the most aesthetically pleasing results
scale it up or down in size (don't scale up
too much or youll lose detail), reposition it, or
right-click to access options such as ipping it
horizontally or vertically. Once done, click on
the tick button in the top menu bar.
TWEAK CONTRAST You may nd that your

image needs some contrast adjustments.
Select the layer that you wish to adjust in the
Layers palette and click on Create new ll or
adjustment layer again, selecting Levels this
time. In the Levels window, click on the Clip
to layer button at the bottom now the levels
adjustment will only affect the layer below.
Tweak the controls until happy, and repeat for
the other image layer, if required.
seeingdouble
Thisquickandfuncreativetechniqueisa
greatwaytoinvigoratelifeintoexisting
images,oraddstylishinteresttoportraits.
The PhotoWorkshop
BLACK
&WHITE
ALTHOUGHTHEVASTMAJORITYOFPHOTOGRAPHSTAKENTODAYARECOLOUR,BLACK&
WHITEREMAINSPOPULARAMONGCREATIVEANDFINEARTPHOTOGRAPHERS.FORTHIS
MONTHSPHOTOWORKSHOP,TOPPROLEEFROSTANDREADERDAVIDBARKERHEADEDTO
THEKENTCOASTWITHASIMPLEGOALTOCREATETHREEMONOCHROMEMASTERPIECES
HEN DID YOU LAST create a black &

white image? Last week? Last month?
Ever? The truth is that in this pixelpacked technicolour digital age we live
in, many photographers see black & white as
old-fashioned. Whats the point in taking a colour
photograph, only to remove that colour later?
On the face of it, it does seem rather daft. But
then, does it? The problem with colour
photographs is that they represent reality, so
theres only so much you can do to an image
before it begins to look contrived and unnatural.
Black & white is completely different. Once you
remove the colour from an image youre no longer
dealing with reality, and that opens up so many
doors that allow you to explore your own creative
vision, and produce images that express that.
Black & white also strips a subject or scene down
to its bare bones. The actual subject matter almost
becomes unimportant its all about light and
shade, texture and tone, modelling and mood.

In the good old days of lm, black & white
photography was time-consuming and expensive
because you needed specialist materials and
equipment. Fortunately, today you can use the
same gear to take, process and print black & white
images that you use for colour photography,
which makes it accessible to everyone.
Is it easier now? Not necessarily. You still need
knowledge and skill, as well as a creative eye,
enthusiasm and a little courage. The problem is
that far too many photographers think its easy,
and this leads them into a false sense of security.
All you do is download the images to a computer
and desaturate them, right? If only!
To nd out just what it takes to produce
stunning black & white photographs, reader
David Barker and pro Lee Frost headed down to
Dungeness in Kent; a mysterious place but also a
brilliant location for black & white photography.
OUREXPERT: LeeFrost
OURREADER: DavidBarker
LeeisoneoftheUKsbest-knownlandscape
andtravelphotographers.Duringacareer
spanningthreedecadeshehaswrittenalmost
20books,hundredsofmagazinearticles
andledmorethan150photoworkshopsand
toursaroundtheworld.www.leefrost.co.uk
Leeskit:CanonEOS5DS,EF16-35mmf/4LISUSM,EF
24-70mmf/2.8LISUSM,EF70-300mmf/4-5.6LISUSM,Lee
Filterssystem,105mmpolariser,Manfrotto190 tripodwith
ReallyRightStuffballhead,TamracAdventure9backpack.
Havingretiredrecently,Davidnowwonders
howhehadtimeforwork!Withinterestsranging
fromwalkingandhiking,travel,scubadiving
(withahousedNikonD200),skiingandsailingas
wellasphotography,thereneverseemstobe
enoughtimeforthepost-processing!
DavidsKit:NikonD810&D750;AF-S16-35mmf/4;AF-S
24-120mmf/4;70-200mmf/4; 200mmf/4Micro;Sigma
150-600mmf/5.6Sport;LeeFilters;GitzoGT3542Ltripod;
MarkinsQ10i-QBallhead;Mindshiftbackpack.
The PhotoWorkshop
CHALLENGE1:CAPTUREA
dyNAmiCsENsEofmoTioN
The drive from Davids home to Dungeness

took around an hour, and during that time
we discussed the challenges for the day.
The workshop had been planned weeks in
advance so all we could do was hope that
the weather would be conducive to dramatic
black & white images. Bright sunshine and
a blue sky wouldnt have worked. A second
concern was that neither of us had been to
Dungeness for a while, and in that time we
heard reports of damage to the sheds and
boats. Fortunately, our luck was in on both
counts. Heavy broken cloud and a slight
breeze greeted us, and as soon as we arrived
I could see that nothing much had changed.
One or two sheds and boats were a little
worse for wear, but were still viable subjects.
For the first challenge I asked David to
produce a long exposure black & white image
featuring a fishing boat. There were plenty to
choose from, scattered along the extensive
shingle bank on which Dungeness stands,
so we headed out on foot towards them.
The first couple of boats didnt work due to
their position and condition, but glancing
over towards the sea, we spotted a small boat
sitting high on the shingle with lots of space
around it ideal for a simple, but striking,
composition. The sky behind the boat also
looked ideal for a long exposure, provided
David could record enough movement in the
clouds, which were moving, but very slowly.
Without hesitation, David set up his gear
and got to work. He chose a low tripod
position to isolate the boat against the sky
and zoomed back to include lots of the sky
and capture a feeling of wide, empty space.
I recommended that David use a 0.6ND
grad to record plenty of detail in the sky and,
having aligned the grad, he shot a test image
to help him calculate the exposure hed
need to use with an extreme ND filter on his
lens. Despite the cloud, what the test shot
told us was that light levels were still quite
high, and even with his lens stopped down
to f/16 and at ISO 100, he could only manage
4
1)Davidvisualisesthecompositionofhisshotusinghisfingers
toframethecomposition.2)Checkingtheimagewithaloupe
helpskeeplightoffthepreviewscreen.3)Webothagreethat
theshotslookingreallystrong.4)Davidsinitialshotlooks
goodbuthedecidesahead-oncompositionwillbebetter.
a 30 second exposure with a Lee Filters Big

Stopper (ten-stop ND) on his lens. Stopping
down to f/22 would extend that exposure
to 60 seconds, but it still wouldnt be long
enough to capture motion in those clouds,
as they were moving too slowly.
Fortunately, I had a Lee Filters Super
Stopper with me, which reduces the
exposure by a massive 15 stops. Basing our
calculations on 30 seconds at f/16 for the
Big Stopper, adding another five stops of
filtration gave David 16 minutes at f/16!
That was too long, so I suggested he open
the aperture by a stop to f/11, set the ISO to
200, and expose for four minutes. Setting
the aperture to f/8 and leaving the ISO at
CHALLENGE1Pro verdict
Ilovethisshot.Iwouldbemorethanhappyto
havetakenitmyself.Shootingtheboathead-on
wasdefinitelyawisemoveonDavidspart.Not
onlydoesitmakethecompositionmoregraphic
andsymmetrical,butthecloudsalsoappearto
beradiatingoutfrombehindtheboat.Wedidnt
realisethatatthetime,asthecloudsweremoving
soslowly,butafour-minuteexposurehas
capturedtheeffectreallywell.Diditneedmore
movement?Inretrospect,maybeyes,butDavid
shouldbeverypleasedwithhiseffort,both
behindthecameraandinfrontofthecomputer.
100 would have worked too, but David
needed to record enough depth-of-field,
so leaving the aperture at f/11 made sense.
Armed with that information, David
set his camera to Bulb, slotted the Super
Stopper into his filter holder and fired
the shutter via a remote release. Nothing
happened. He'd forgotten to set the focus
to manual, so the camera was hunting for
autofocus. I had to laugh, because I make
the same mistakes all the time!
With the hiccups sorted, David made his
four-minute exposure. While waiting for the
four minutes to pass David checked out the
fishing boat from head-on and decided that
he preferred the composition, with the boat
placed centrally at the bottom of the frame.
Looking at the way the clouds were moving,
we both agreed that hed get a better sky by
shooting head on.
This decision proved to be the right one
as soon as the image appeared on the LCD
screen we knew it was a winner. Davids
only concern was that the histogram could
be a bit further to the right, so he opened
the aperture by 1/3 stop and made another
exposure. This one was spot-on!
big sky views

Wowlookatthatsky!Perhapsalittle
moremotionwouldhavebeenbetter,but
theresnodenyingthatthisisasuperb
image,andDavidseditinghasmaximised
thedramaandmoodofthescene.
Exposure:246secondsatf/10(ISO200)
Howlongshouldyougo?
1/60sec
30seconds
120seconds
240seconds
Whenyouretryingtocapturemotion,itstemptingto
usethelongestexposureyoucan.However,different
scenesrequiredifferentexposures,sothelongerthe
betterapproachdoesntalwayswork.Onawindyday,
forexample,60secondsmaybemorethanenoughto
recordmotion,andifyouopentheshutterforlongeryou
mayfindthattheskyblurssomuchthatyouloseasense
ofdrama.Conversely,ifthereslittlewindandthesky
lacksdrama,youllprobablyneedanexposureofseveral
minutestorecordsufficientmotion.Thekeyisto
experimentstartwithashorterexposurethenincrease
ifnecessary.Youcanachievealongerexposureby
stoppingthelensdowngoonestopsmaller(f/8tof/11,
f/11tof/16)andtheexposuredoubles,openupastop
(f/16tof/11,f/11tof/8)andithalves.Thiscomparisonset
showsthedifferenceexposuretimecanmake.
60seconds
The PhotoWorkshop
challenge2:DRaMaTIc
BlacK&WhITeIMage
With his long exposure shot done and

dusted, it was time for David to face his
next challenge to take a photograph that
would end up as a dramatic black & white
image and capture the dark, mysterious
mood of Dungeness.
As a fishing boat had been the main
subject in his first challenge, I suggested that
he focus his efforts more towards one of the
old fishermens huts for this challenge, to
avoid repetition. David agreed, and with
more huts than boats to choose from, set off
to narrow the field down.
His first stop was at an old hut wed walked
past earlier, en-route to the fishing boat
featured in the first challenge. I was surprised
by his choice as I didnt think it was anything
special, but this was Davids challenge, so I
was happy to stand back and observe to see
what he came up with.
In fairness to David, his images did look
pretty good the sky was nice and dramatic
with the aid of an ND grad filter. David also
set his camera to Monochrome mode, so
the images we saw on the preview screen
were in black & white a handy thing to do if
youre unsure whether a scene will work in
mono or not (see below). However, we were
doing okay for time, and the weather didnt
seem like it was going to change, so I
suggested we try another hut too.
The one we settled on, and which ended
up being the subject of Davids final image,
was on its last legs. On both of our previous
visits to Dungeness we remembered this hut
as being in much better shape, but storms
during the winter of 2015/16 had put paid to
that. The roof was partially caved in, many
timber wall panels were strewn across the
shingle along with most of the contents of
the shed, and we agreed that it probably
wouldnt be standing in a years time. That
alone seemed a good enough reason to
photograph it for posterity as much as
anything. It did make a great subject as well,
with its scattered contents providing
foreground interest.
Initially, David tried a landscape format
composition. It looked okay, but I suggested
1)Davidgetstoworkphotographingthenextoldfishermans
hut.2)AfterdiscussingthemeritsofdifferentNDgradfilter
densities,DavidalignsanNDgradtotonedownthesky.
3)DavidcheckshisprogressonthecamerasLCDscreen.
he try portrait format as well, to make better

use of the foreground and sky which was
looking better by the minute.
With his camera set up and the scene
composed, David slotted a 0.3ND grad into
his filter holder and took the shot. It all looked
fine, expect the sky was a little washed out, so
I suggested he used a 0.6ND grad instead.
What I wanted David to pre-visualise was the
final black & white image being dark, moody
and mysterious. Not necessarily anything like
the scene really looked, but thats the beauty
of black & white photography; youre not
trying to capture realism, youre trying to
create a mood. This means you can push
contrast and exposure further during
processing than you can with a colour image.
David grasped exactly what I was saying
and produced a great shot. The 0.6ND grad
Monochromemode
Ifyourestrugglingtovisualisehow
ascenemightlookinblack&
white,allyouneedtodoissetyour
DSLRsimagequalitytocapture
bothRawandJPEG,thenselect
Monochromeshootingmodein
themenu.Thatway,whenyoutake
theshot,youllseeablack&white
imageonthepreviewscreenand
theJPEGrecordedonthememory
cardwillalsobeinblack&white,butyoullstillhaveacolourRawfiletoconvertlater
thoughyoumaydecidetheblack&whiteJPEGisgoodenough.Yourcameras
Monochromemodewillalsohaveothersettingsworthexperimentingwith,suchas
contrast,sharpness,filtereffectsandtoning.Byusingthesesettingsyoucancreate
specificeffectsandproduceJPEGsthatarereadytouse,straightfromthecamera.
colouRRaWfIle
challenge2Pro verdict
IthinkDavidandImustshareaverysimilar
visionwhenitcomestoblack&white,because
thisisprettymuchjusthowIwouldhaveedited
hisimage.Thetonesaredark,contrastyand
bold.Theskylooksfantastic,withthosebrighter
patchesbreakingupthecloud,theoldnetsact
asalead-in,carryingtheeyetowardsthehut,
whichisfullofdetail.Thisimagereallysumsup
thedesolate,weather-beatenfeelof
Dungenessforme,andconsideringDavid
doesntproducealotofblack&whiteimages,
heclearlyhasagreatmonochromeeye.
maybe darkened the sky a little too much for
a colour shot, but I knew it would look really
strong in black & white. Thats why previsualisation can be useful sometimes, so
the colour Raw file you produce in-camera
is shot in such a way that you can create the
black & white image you have in mind from it
without too much trouble.
MonoJpeg
hit thehut
Heresthefinalimage,afterDavidhad
convertedittoblack&whiteusingNik's
SilverEfexProandaddedhisownediting
touchestocreatethedesiredmood.
The PhotoWorkshop
CHALLENGE3:CREATEA
moNTAGEoFImAGES
One of the great things about Dungeness

is that it is how can I put it gently a bit
rough around the edges! Its not a neat and
tidy, picture-postcard beauty spot thats
kept pretty for tourists. The landscape is
littered with relics of a bygone era derelict
fishermens huts, the rotting carcasses of old
wooden fishing boats, rusting winches and
chains, and weathered ropes and nets. To
the unsympathetic eye it looks like a
dumping ground, but for photographers its
an Aladdins Cave of fascinating details.
Initially, I was going to make one of Davids
challenges to produce a black & white detail
image, but given that there were so many
details to choose from, I decided instead
that a panel of images capturing elements of
Dungeness would be more interesting.
Before David got to work, we discussed
options for the final panel and decided that it
would comprise of 24 images, all cropped to
a square format and arranged in four
columns with six rows per column. To save
time and give David more flexibility, I
suggested he ditch his tripod and shoot
handheld. As the weather was quite cloudy
perfect for our needs David increased
his cameras ISO to 400, which meant he
could shoot at smaller apertures if needed,
but still maintain a decent shutter speed.
Initially, David concentrated his efforts
around an old fishermans hut and boat.
There were so many things to shoot, from
rusting machinery to tar-covered timber
panels, and David was soon hard at work,
working the location with his standard
zoom. With at least half of the required
images in the bag, we then headed back to
the derelict hut that had been the subject of
the second challenge and David explored it
from every angle, in search of more details.
Within half an hour, he felt confident that he

had a good variety of images, more than
enough to take home and create the panel.
David had never put together a montage
of images himself before, so I gave him
some simple step-by-step instructions.
Why not give it a try for youself
Decide how many images you want to

include in the panel and select the
individual images youre going to use (24 in
this case). Put those files in a folder so theyre
all in the same place.
Ensure images are JPEGs to keep the file

size down. Also make sure the images are
the same size using Image>Image size or by
setting parameters for the Crop tool
25x25cm @ 300dpi in this case.
You could convert all the images to black

& white before creating the panel, but for
this one, David created the panel first using
colour images, then converted the whole
thing to black & white using Silver Efex Pro.
Open an image then go to Image>Canvas

Size to increase the canvas to hold all the
images. Input the new dimensions with the
Anchor in the top left corner. David chose a
white canvas set to a size of 125x175cm.
To add a border, extend the canvas by a

few centimetres on each side. To add
text, go to Image>Canvas Size, put the
Anchor on the top edge and increase the
height so the bottom border is deeper.
Open the second image then, using the

Move tool in Photoshop, drag and drop
the image onto the enlarged canvas. Use the
Move tool to position the image next to the
first one and leave a border between.
Repeat step three, dragging, dropping

and positioning each image. If you need
to re-adjust an image, open the Layers
window (Windows>Layers), click on the
appropriate layer and make the adjustment.
10
Now that youre happy with your black

& white photo montage, make a nice
large print, then mount and frame it and
hang it on the wall. Finally, stand back and
admire your handy work!
Once all the images are on the canvas,

crop any excess canvas then go to
Layer>Flatten Image to merge the layers
and reduce the file size. You may want to
save a version with the layers just in case!
Click on the Text tool in Photoshop then

drag the cursor across the bottom of the
poster to create a text box. Add a title and
your name then try out different typefaces
and type colours until youre happy.
1)Davidhonesinonsomefishingnets.2)Justoneofthe24
shotsDavidtookforhispanel.3)Thepanelisputtogetherbit
bybit.Right)Thecompletedblack&whitemontage.
woRkSHopSummARy:
David Barker
WhenLeeannouncedthatthe
daywouldrevolvearoundblack
&whiteimages,andthatthe
locationwouldbeDungeness,a
bigsmileappearedonmyface.
AlthoughIvevisitedbefore,it
wassometimeagoandIstruggledtocreate
imagesthatcapturethemagicoftheplace.I've
recentlyjoinedtheblack&whitesectionofour
cameraclubtoo,sotheopportunitytospend
timewithanexpertwastoogoodtomiss!The
firstchallengewassomethingI'vedonebefore,
butmytechniquewasrusty.Afterafewminutes
thekeypointscamebackI'veevenstuck
somenotesonmyBigStoppertinasreminder!
Thenexttaskwastocreateadramaticimage
thatcapturedthemoodofDungeness,soitwas
backontothetripodforsomecarefulframing
anduseofNDgraduatedfilters.Forthefinal
challenge,LeesuggestedthatIshoothandheld
toallowformorefluidity,asIneeded24images
forthepanel.Thisallowedforspontaneityandit
becameapparenthowmuchtherewasto
photograph.Almostfivehourshadpassedin
whatseemedtheblinkofaneye.Leeexplains
techniquesclearlyandinarelaxedstyle.I
learnedalotthankyouLee!
want your shots critiqued by the

digital slr photography experts?
turn to page 65 to find out
how to submit images
Custom Houseatsunset
by Frederick Bancale
CanonEOS6DwithCanonEF16-35mmf/2.8LIIUSMlens.
Exposure:262secondsatf/16(ISO100).
What we think: Frederick used a seven-stop

ND filter and reverse ND grad here this has
controlled the sunset, whilst rendering
Dublin's River Liffey as a smooth blur. The
diffused reflections in the river simplify the
scene, focusing your eye on the building.
There are a couple of changes we'd make;
firstly, the building looks a little dark maybe
because Frederick has concentrated on
saving the highlights. Secondly, the railings
in the foreground don't serve much purpose
and so either need to be eliminated from the
frame, or made more of compositionally.
Why it works
Great technique and use of filters
Lovely colours and light
Lens distortion corrected nicely
Cropped
lanDscape expert LeeFrost

Iknowthatlongexposuretechniques
suchasthishavebecomesomething
ofaclichinrecentyears,butIforone
remainabigfanofthem.Frederickhas
usedthetechniquereallywellonthisscene.By
usingaseven-stopNDfilterinsteadofthemore
populartenstop,hesrecordedenough
movementintheskytocaptureastrongsenseof
motionbutnotsomuchthatthecloudshave
almostdisappearedintoablur.UsingareverseND
gradwasalsocleverasithastoneddownthe
brightestpartoftheskytowardsthecentreofthe
shotandthatswherenormalNDgradsarethe
leasteffective.WhatIdontreallylikehereisthe
composition.Therailinginthebottomleftis
unnecessaryanddistracting.Personally,Iwould
haveexcludedit,eitherbymovingalittlefurther
downriverforaclearerviewoverastraight
sectionofrailing,bynotshootingsowide,or
simplybycroppingthisimage,asdemonstrated.
Apartfromthisit'sastrongimageFrederick."
Disco spiDer
by Dan Fryer
NikonD7200withAF-SDXMicro-NIKKOR40mmf/2.8Glens.
Exposure:1/250secatf/5(ISO1600).
What we think: Rather than the subject

grabbing our eye here, it's Dan's use of
background bokeh that really makes this
image stand out. We're not sure what he
shot against, whether it was an 'as found'
backdrop or man-made, but the colourful
and bright out of focus orbs turn a standard
shot into something eye-catching. If we
could offer any advice then maybe the
subject could do with a bit more light, and
the angle he's shot from could be refined.
This would be easy to achieve if Dan could
move his bokehlicious background to suit.
Why it works
1) Sharp focus on subject at a wide aperture
2) Colourful bokeh background
3) Interesting subject and prey behaviour
NikonD750withAF-SNikkor70-200mmf/2.8GEDVRIIlens.
Exposure:1/160secatf/11(ISO160).
What we think: You know what they say

never work with children or animals. We
think this saying is amplified when it comes
to studio situations and precision lighting!
We don't envy Laura in trying to capture
studio pet portraits, it's certainly a trying task
that takes plenty of patience. The good news
is that she's captured some nice eye contact
here, with the dog looking straight down the
lens this is often tricky as dogs often avoid
making eye contact when they can't see
your face. Focusing is pin-sharp too, and the
mid-to-narrow aperture has recorded a nice
sharp image throughout. The image is let
down slightly by the position and harshness
of the light, which has overexposed the
dog's fur closest to the light, whilst shadow
remains on the opposite side of her face.
jordan buTTers
Miss Diva
by Laura Halfpenny
lighTing experT JordanButters

Whatalovelydog!Photographing
dogsinastudioisalottrickierthan
withhumans.Notonlydoyouhaveto
holdtheirattention,butyou'vealso
gottodealwiththeintricaciesoflightingthem.
HumanskinismatteandCaucasianskin,in
particular,isroughlymid-tone.Dogs,however,
varyintonegreatlybetweenanimals,andoften
fromonepartoftheirbodytoanother.Certain
breeds,suchastheweimaraner,haveashinycoat
too,whichmakescontrollinglighttricky,asseen
inLaura'simagewherethereareblownhighlights
anddeepshadows.I'drecommendusingalarger,
morediffusedlightsourceplacedclosertothe
animalforasofterlight.Asecondlightorreflector
couldthenbeusedtofilltheshadows.Finally,
photographingdogsisanexerciseinpatience
it'sastressfulsituationforanimalsthataren'tused
toit,andthiscanshowinphotos.Takeyourtime
tosettlethedogbeforeyoustartshooting,and
you'llreapmorerelaxed,naturalexpressions."
TwilighT BursT
by Paul Ewing
CanonEOS7DMkIIwithCanonEF18-135mmf/3.5-5.6ISlens.
Exposure:Fivesecondsatf/18(ISO200).
What we think: The first thing that strikes

us is that Paul's image definitely has depth!
From the railway lines leading your eye into
the image up past the city lights and to the
colourful castle in the distance, culminating
in a pastel night sky and vibrant firework
burst. There's lots for your eye to explore!
This could have been a tricky scene to
expose for too, but Paul has handled it
brilliantly. We love the timing and use of
shutter speed he's captured the motion of
a train leaving the station just as the firework
fills the sky with colour. Great stuff Paul!
Why it works
1) Great timing and exposure length
2) Perfect exposure throughout
3) Interest and depth from front to back
Submissions
DigitalSLRPhotographyneedsyou!
IFYOU WOULDYOU LIKE THE CHANCE TO SEEYOUR IMAGES IN DIGITAL SLR PHOTOGRAPHY,
OR TAKE PART IN ONE OF OUR READER ARTICLES, THEN NOW'SYOUR CHANCE TO GET INVOLVED!
HOW TO GET YOUR IMAGES TO US...

EMAIL: If you want to email
submissions, send them to:

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Please only email images at a maximum
of 1,000 pixels along the longest edge
(note: your email will be rejected if the
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Tell us which article(s) youre submitting
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Become a part of the community and post
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groups/digitalslrphoto to upload
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POST: Burn your high-res images as
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all in an envelope with a covering letter,
including the submission form below and
post to: Digital SLR Photography,
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Enclose an SAE if youd like them returned.
Checklist
If submitting images by post,
remember to include your 'mugshot'
and contact details (name, address,
email and daytime number).
Please don't send us high-res
images by email: resize your shots to
1,000 pixels along the longest edge
and if we see something we like, we'll
request the high-res le from you!
Emails exceeding 8MB total size
might not arrive, so split your
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emails to ensure they get through.
Please don't send us your entire
portfolio as you may appreciate we
receive a lot of submissions and
aren't able to look through hundreds
of images narrow the selection
down and pick your best shots only.
The Beginners Guide
MASTER
YOUR CAMERA
Part 2
LASTMONTHWEKICKEDOFFOURGUIDEBYTAKINGANIN-DEPTHLOOKATMETERING,ISORATINGS
ANDWHITEBALANCE.INTHISISSUEWECOMPLETETHEPICTUREBYEXPLORINGFOCUSINGOPTIONS,
IMAGEQUALITYSETTINGSANDALLTHEOTHERKEYFUNCTIONSTHATYOURDSLRHASTOOFFER
HEN DID YOU last have a ick through your DSLRs

owners manual, or thumb through the menus on
the preview screen? Maybe in the rst week or two
after buying the camera, but for most of us, once we know
the basics of how our DSLR works, we tend to put the
instruction book away and never pick it up again.
If the photographs youre taking are every bit as good as
you expect or wish for, then perhaps you know everything
you need. However, few if any photographers can actually
say that and mean it, simply because theres so much to

learn and there's almost always room for improvement.
The many features and functions your DSLR offers are
there to help you improve and take better photographs.
If they werent, camera manufacturers would have given
up on improving their products years ago. So having paid
good money, you might as well make full use of them!
Its our intention in this guide to help you do exactly
that. So turn over the page and let's get started
IMAGE: TOM MIDDLETON/SHUTTERSTOCK
ben hAll
The Beginners Guide
AUTOFOCUS SySTemS
GettinGfullytoGripswithyourcamera'ssophisticatedautofocus
systemwillensuretheimaGesthatyoutakeareassharpaspossible
AFPOINTS: mULTIPOINTAF
he technology built into even

entry-level DSlRs these days is
phenomenal. All that computer
wizardry processing information in
milliseconds to give us high quality images at
the touch of a button. the trouble is, because
todays digital cameras are so good, we tend
to rely on them a bit too much we expect
perfect results every time and when we dont
get what we want, we blame the camera!
this is especially true when it comes to
focusing. We assume that autofocusing is so
good now that pin-sharp images are
guaranteed. More often than not they are,
but you do need to understand the basics of
how your cameras AF system works, which
settings to use and when, if you want to
achieve the best results every time.
All cameras use a multi-point AF system and,

while the number of points varies from
model to model. they all work in a similar
way, in that you can choose to make all the
points active at once, or select specific
groups of points, or select just one. however
many or few you choose, when you partially
press the shutter button, the points that are
functioning and determining what the lens
focuses on usually flash red. Preference
tends to be given to whatever is closest to
the camera. if youre an absolute beginner,
multi-point AF can be handy as it gives you
one less thing to think about. if youre taking
general shots with your lens set to a smallish
aperture f/8, f/11, f/16, for example multipoint AF can also work fine because you
want everything in sharp focus and no single
element in the scene needs to be given
priority. however, because you have little
control over what the lens focuses on, in
situations where you need to focus on
something specific, and even more so when
youre shooting at a wide lens aperture so
depth-of-field is limited, its best not to have
all the AF points active as focus error is likely.
the exception is with DSlRs where you can
select a main focus point then nominate
others around it as focus assist points so that
if your subject strays beyond the main focus
point the others will keep it in focus. if a
moving subject travels across the frame, and
remains at roughly the same distance from
the camera, multi-point AF can also work
joRDAn butteRS
THemAINAUTOFOCUSSySTemS
there are two main types of autofocus

system: phase detection and contrast
detection. Phase detection is the default
focusing system for DSlRs. heres how it
works: when light enters through the lens,
most of it is bounced up off the reflex mirror
into the viewfinder so you can see what
youre shooting, but some of that light is also
reflected down onto a sub-mirror, which
then bounces it onto the autofocus (AF)
sensor. on top of the AF sensor is a beam
splitter that divides the light into two beams.
the sensor analyses these beams to
determine how far out-of-focus the image is
and whether focus is in front of, or behind
the focal plane, then adjusts focus
accordingly. the number of sensors in DSlRs
varies from model to model, but generally,
the more expensive the camera, the more
sensors or points there are. A budget model
may have nine points and a pro model 150 or
more. you can either activate all the points,
then leave the camera to decide which to
use, or select a specific point or cluster for
more control. Phase detection AF is superb
but its not totally foolproof and even the best
systems can struggle when used in low light
or if you try to focus on a plain or nontextured area such as blue sky or a white wall.
contrast detection works on the principle
that the contrast in an image is at its highest
when that image is sharply focused, so the
AF system adjusts focus and analyses
contrast, often going past the critical point
so it knows where it is then adjusting back
and locking focus. Mirrorless cameras use
contrast detection at all times, whereas
DSlRs use it when in liveView. contrast
detection can focus on any part of the image
area, which is why some cameras have
features such as Face Detection. however,
its usually slower than phase detection, and
not as good with moving subjects.
Some DSlRs offer hybrid AF in liveView
and Movie modes, which uses both Phase
Detection and contrast Detection AF to
improve focus accuracy and speed.
Above:single-pointaf
requiresaccuracywhen
shootingusingashallow
depth-of-field.
Left:multi-pointafcanbe
usedtohelptrackmoving
objectsacrosstheframe,
butcanalsobecome
confusedwhenmultiple
subjectsarepresent.
because as it falls behind another AF point

that point will become active and keep the
subject in sharp focus.
Serious photographers tend to use single
point AF rather than multi-point, so as to
choose exactly what the lens focuses on.
there are two ways to do this. the first is to
select the central AF point as its the most
sensitive point your camera has. if the area
you want to focus on is off-centre, place the
central AF point over that area, half-press
the shutter release to lock focus, recompose and fire. this sounds fiddly, but do
it all the time and it becomes second nature.

the second method is to select a single
off-centre AF point and use that. if youre
taking lots of shots of an off-centre subject,
especially if that subject is moving, this
works better than using the central AF point
as you dont need to re-compose after
locking focus. its also preferable when using
a wide aperture that gives a shallow depthof-field locking focus with the central AF
point then re-composing may mean that
the point you focused on is no longer in
focus, resulting in an unsharp subject.
Af sensors
Touch focus
There are two types ofAFsensorused in DSLRs:

cross-type and linear. Most cameras use a mixture of
both,with the cross-type being clustered around the
central area ofthe frame and linearsensors towards
the edges. Cross-type sensors consist oftwo linear
sensors crossing at 90, hence the name.Theyre
more accurate than linearsensors especiallyin low
light as theycan detect bothvertical and horizontal
light patternswhereas linearsensors can onlywork in
one dimension.Therefore, the more cross-typesyour
camera has, the more effective focusingwill be.
Onsomehigh-endDSLRs,withlotsofcross-type
sensors,someofthosesensorsonlyworkas
cross-typewhenusedwithfastlensesthathavea
maximumapertureoff/2.8orwider,soifyoureusing
zoomswithamaximumapertureoff/4orf/5.6,some
ofthesecross-typeswillworklikelinearsensors.
YoualsoneedtobeawarethatsomeDSLRscan
onlyautofocusifthelenshasamaximumapertureof
Anincreasingnumberofdigital
camerasnowhavetouch
screens,andsomeofthose
evenallowyoutochoose
wherethelensfocusesby
touchingthescreenina
specificplacetofocus
onaperson,say.This
technologyhasbeenaround
insmartphonesforawhilesoits
onlylogicalthatcameramanufacturersarenow
startingtotakeadvantageofittoo.Isitanygood?
Forsnapshots,probably,butforserious
photographywethinknot.Youhavetobelooking
atthecameraspreviewscreentousetouchAF,
andfewseriousphotographersdothat.Itsalso
impracticalformovingsubjectsasbythetime
youtouchthescreenandthecamerafocuses,
yoursubjectwillhavemoved.
f/5.6orwiderwhilewithothersitsf/8orwider.This
isntnormallyanissue,butifyoufitateleconverter,
whichreducestheeffectivemaximumapertureofthe
lens,itcanbe.A1.4xteleconverterreducesthe
maximumaperturebyastop,sof/4becomesf/5.6
andf/5.6becomesf/8.A2xteleconverterreducesitby
twostops,sof/4becomesf/8andf/5.6becomesf/11.
IfyouuseaconverterandAFdoesn'twork,thisiswhy.
The Beginners Guide
AUTOFOCUS MODES
FOCUS LOCK
ASWELLASOFFERINGASELECTIONOFPOINTS,YOURAFSYSTEMALSOGIVESYOU
ACHOICEOFMODESTHATCANBESELECTEDTOSUITDIFFERENTSUBJECTS
ESB PROFESSIONAL/SHUTTERSTOCK
YoucanalsouseAF-Sinconjunctionwithyour
camerasfocuslocktofocusonoff-centre
subjects.Todothis,selectsingleAFpoint
mostphotographerschoosethecentralone
adjustthecompositionoftheshotsothefocus
pointfallsovertheareayouwanttofocusonand
partiallydepresstheshutterbuttontolockfocus.
Providingyoukeeptheshutterbuttonhelddown,
thefocuswontshiftsoyoucanquickly
re-composethenpresstheshutterbuttonfully
downtotaketheshot.
ONESHOTAF: In AF-S mode, focus locks onto your subject when you partially
depress the shutter release and stays focused on the same distance for as long
as the shutter is held down. A green or red focus conrmation indicator in the
viewnder ashes when the lens has locked focus, and an audible beep can be
heard. You then press the shutter button all the way down to take a shot. AF-S is ideal for static
subjects. However, if either you or the subject moves once focus has locked, your subject may
well end up out-of-focus as the focus will remain on the original point. To avoid that you have
to press the shutter release again to refocus on the subject in its new position. If the camera
struggles to lock focus - because the area youre trying to focus on is closer than the lenss
minimum focusing distance, for example, the shutter wont re.
AF-S
as Servo-AF, in this mode, the

autofocus continually adjusts
with the aim of keeping a
moving subject in sharp focus. To use AF-C,
make sure an active AF-point is positioned
over your subject then partially depress the
shutter button to focus. Providing you keep
the shutter release partially depressed, and
an active AF point over your subject, it
should remain in focus until youre fully
depress the shutter button and take the shot.
If you set continuous drive mode, you can
shoot sequences of images by keeping the
shutter button fully depressed and each
frame should stay focused. That said, unlike
AF-S, in AF-C mode, the shutter will re and
take a shot even if the lens hasnt locked
focus, or focus has strayed onto something
else other than your main subject, so if
youre not careful you can end up with lots
of out-of-focus images. Using Focus Assist
points or Dynamic/Extended area AF helps
as it means that if the subject falls outside the
main AF point youre using to track it, other
AF points will try to keep it in sharp focus.
AF-C
VICTOR TYAKHT/SHUTTERSTOCK
CONTINUOUSAF: Also known
The Beginners Guide
SHUTTERSTOCK
2XSAMARA.COM/SHUTTERSTOCK
MANUAL FOCUS
AlthoughAFsystemsarefast
andreliable,there'sstilla
caseforusingmanual
focus.Ifyouvebeena
photographerforalong
timeyoumaysimplypreferit
oldhabitsdiehardandall
thatbutforsomestaticsubjects
beingabletochoosewherethelensfocusescan
beabenet.Withlandscapes,forexample,you
usuallywanttorecordthewholesceneinsharp
focus. Todothatyouneedtobeabletocontrol
howfarintothescenethelensisfocused(ideally
ontheHyperfocalDistance)anditsmucheasier
todothatifyoufocusmanually.Oncethelensis
focusedmanually,youcanalsoleavethecamera
inpositionwhilewaitingforthelighttoimprove,
say,andbereadytoshoot.Macroisanother
subjectwheremanualfocusishandy,as
depth-of-eldisoftenincrediblyshallow.
OTHER AFOPTIONS
SHUTTERSTOCK
FACE DETECTION: Thisisacommonfeature,

especiallyindigitalcompacts.Thecamera
recognisesafaceinyoursceneandbiasesthe
focusingtomakesureitssharp.Iftheresmore
thanoneface,themostprominentoneisgiven
priority.Withsmilerecognition,thecameratakesa
shotwhenthesubjectsmilesasitrecognisesthe
signswideeyesandupturnedmouth.
AF mode found in some DSLRs

where the camera automatically
switches between single-shot
and continuous AF depending on the subject.
If the camera detects the subject is stationary
then it sets single-shot to achieve sharp focus,
whereas if it detects that the subject youre
shooting is moving, it will set continuous to
increase the chance of you getting a sharply
focused image. Its a handy mode to use if
youre shooting a variety of different subjects
in quick succession, some moving, some not.
However, experienced photographers prefer
to stick with a specic AF mode so they know
exactly what the camera is doing.
AF-A
2XSAMARA.COM/SHUTTERSTOCK
AI-FOCUS This is an intelligent
TRAPFOCUS: Thismodeletsyousetafocus
trapforyoursubject.Allyoudoispre-focusona
pointusingtheAF-Onbuttononthebackofyour
camera,holdtheshutterbuttondownandwhen
yoursubjectreachesthatpointtheshutterres.If
yousetcontinuousshooting,yourcamerawillre
repeatedlywhilethesubjectremainsinfocus.
BACK BUTTONAF: Atechniquefavouredby
manyprofessionals,thisinvolveschangingyour
camera'scontrolssothattheshutterbuttonno
longeractivatesautofocus.Instead,autofocusis
activatedusingtheAF-ONbuttonontherearof
thecamera.Doingsoallowsyoutoquickly
changebetweenone-shotAF(presstheAF-ON
buttontofocusandthenletgo),continuousAF
(pressandholdtheAF-ONbuttonandfollowthe
subject)ormanualfocus(don'tpressthebutton).
The Beginners Guide
IMAGE QUALITY SETTINGS
YOUPAYHANDSOMELYFOREVERYMEGAPIXELPACKEDINTOYOURCAMERA,SOBESURETOMAKETHEMOSTOFTHEM
RAWFORMAT: If you want to achieve
optimum image quality, you should

always shoot in Raw format, as the
les are 12-14 bit uncompressed and contain
all the data recorded by the red, blue and
green sensitive pixels in the cameras sensor.
These les actually contain far more data
than you need for the nal processed image,
but thats a good thing as it gives you more
control over the way you can edit the image.
Theres greater exposure latitude, so you can
rescue a badly-exposed image with little loss
of image quality. Things like colour
temperature, colour saturation, contrast and
sharpness are also left to you to determine
during post-production. When you process
a Raw le you then save the image as a TIFF
or JPEG, so the original Raw le remains
intact. That means you can return to it when
youre more experienced and re-process
the same le again, achieving better results.
The main drawback of shooting in Raw is
that you have to spend time at your
computer processing each le. In order to
open Raw les you also need specialist
software. The majority of photographers use
Adobe Camera Raw (ACR) in Photoshop and
Lightroom. The downside of ACR is that
when new camera models are launched,
theres usually a delay before an ACR
RAW
JPEGFINE
JPEGNORMAL
JPEGBASIC
JAKUBS TEPAN/SHUTTERSTOCK
MAGE QUALITY HAS always been of

paramount importance to photographers,
and improving it is still one of the main
factors behind the development of
photographic equipment the better it gets,
the better we want it to be. Film shooters
could improve image quality by increasing
the lm format they used, on the basis that
bigger is better. The same applies today with
DSLRs to an extent bigger sensors and
more pixels mean higher image quality.
However, there are other factors that apply in
digital imaging too, all of which are intended
to help you get the very best from your DSLR.
upgrade is available that allows you to open

the Raw les. If this happens, you can
convert your Raw les to DNG les using
Adobe DNG Converter (free software), and
then open them using Photoshop,
Lightroom and other editing software.
Raw les are quite large, so you get fewer
shots to a memory card. Saying that,
memory cards are cheap these days. Some
DSLRs also give you to option of shooting
sRaw or Small Raw les. They take up less
card space than full size Raw les, but give
you the benets of an uncompressed le.
Above:ThedifferencebetweenRawandFineJPEGisdifficult
tosee,butJPEGNormalandBasicaremorecompressed.
Right:Rawlesallowyougreaterscopeforeditingyour
imagesformaximumimagequalityanddetail.
can print the images straight from your

camera without a computer because the
editing has been done in-camera. JPEGs
can also be opened using most software.
The downside of shooting in JPEG is that
the les are 8-bit compressed, so image
quality isnt as high, although detecting this
with the naked eye is almost impossible. The
data deleted in-camera is also irretrievable,
which means you have much less room for
adjustments when you edit a JPEG, and its a
lossy format which means that each time
you make changes and save them, data is
lost. Although again, this is almost
impossible to detect unless you're saving the
same le tens or hundreds of times over.
Youll notice that your DSLR offers
different JPEG quality settings, such as Large
(or Fine), Medium and Small. This is
self-explanatory Large/Fine gives you the
best quality and resolution, with minimal
compression while subsequent settings
reduce size and compress further. The only
benet to using a smaller JPEG size is if you
know you only need low image quality and
also need to take a lot of photographs.
JPEGFORMAT: All digital cameras
initially produce Raw les, but if you

set your DSLR to JPEG format, the
rmware in the camera (its internal software)
processes the Raw le before saving it to the
memory card. In doing so it compresses the
le by deleting data it doesnt think is
necessary, as well as adjusting colour and
contrast and sharpening the image.
JPEGs are about 1/5th the size of a Raw
le. This means you can take many more
shots before lling your memory card, and
also shoot longer bursts of images before
the buffer is full ideal for sport and wildlife!
Shooting in JPEG is denitely quicker and
more convenient than Raw. In theory you
JPEG COMPRESSION
IMAGE SIZE
JPEGcompressionisdisplayeddifferently,dependingonyourbrandofcamera.
Selectminimumcompressionforthebestqualityandmaximumcompression
whenyouneedtomaximisespaceonyourcardatthecostofimagequality.
We'dsuggestthatyousticktousingtheleastcompressionwheneverpossible.
Aswellastakingpicturesatmaximumresolution,youcansetyourcameratoshoot
atlowerresolutions,too.Themostcommonuseforthisiswhentakingimagesfor
webuseorwhenmemorycardcapacityisatapremium.Youllneedtorefertoyour
camerasinstructionstoseewhateachsettingrelatestointermsofresolution.
Brand
Least
Compression
Medium
Compression
Most
Compression
Brand
Maximum
resolution
Medium
resolution
Lowest
resolution
Nikon
Fine
Normal
Canon
Basic
Nikon
Olympus (older)
SHQ
HQ
SQ
Olympus (older)
SHQ
HQ
Olympus (newer)
SQ
Olympus (newer)
Panasonic
Large
Medium
Small
Panasonic
Pentax (K-3 II)
S / XS
Sony(older)
Fine
Standard
Sony(older)
Sony(newer)
Extra ne
Fine
Standard
Sony(newer)
Canon
Pentax (K-3 II)
The Beginners Guide
Volodymyr Burdiak/shutterstock
toptip
SHOOTRAW+JPEG
NotsureifyoupreferRaworJPEG?Then
whynotshootbothsoyouhaveJPEGfiles
thatarereadytouseandRawfilesifyouwantto
spendmoretimeediting.Ifyouselectany
picturestyles,suchasMonochromefor
example,thiswillbeappliedtotheJPEG
butnottheRawfile.Thedownsideis
youfillmemorycardsfasterby
shootingbothformats.
The Beginners Guide
KEYCAMERA FUNCTIONS
YoumaYthinkYouknoweverYthingaboutYourcameranow,but
therearestillafewinvaluablefeatureswaitingtobediscovered
o round off this bumper guide to

mastering your camera, were
dedicating the last few pages to taking
a look at some of the handy features and
functions your camera has that dont fall into
a specific category, but are well worth
getting to know and using. from LiveView to
noise reduction, viewfinder spirit levels to

grid screens, theyre here. not all of them will
be relevant to you, but some certainly will,
so instead of turning the page, read on and
you may just discover something new about
your dSLr that will help you take even better
photos than you are already!
LIVEVIEW: In LiveView mode the image

youd normally see through the viewfinder is
shown on the preview screen of your dSLr
instead because the reflex mirror is flipped up
so the image is projected straight onto
the sensor. Some digital compact
system cameras also have a
touch-sensitive preview
screen alowing you to focus
and even trip the shutter by
touching the screen when
using LiveView.
A practical application
for LiveView is to aid
critical focusing when
shooting static subjects
such as landscapes or
architecture, as you can zoom
into the image and focus manually
or using Af on a specific spot. Its also handy
for aligning nd grads and polarising filters,
and if you use a ten-stop nd filter, you may
find your dSLrs LiveView is sensitive
enough to see through it so you can leave it
on your lens when you move the camera to

take a different shot.
If you need to set-up the camera in an
awkward spot where you cant get your eye
to the viewfinder, LiveView will let you
compose the image on the
preview screen. If you shoot
with your dSLrs Picture
Style set to Mono and
compose using LiveView,
youll see a mono image
on the preview screen,
whereas the viewfinder
will still give you a colour
image. Video shooting with
a dSLr requires the use of
LiveView too.
The main downside of
LiveView is that in some situations,
such as bright sunlight, you wont be able to
see the screen properly. A rubber hood
loupe that covers the preview screen to cut
out stray light will solve this problem.
LiveView also drains batteries much faster.
DIGITALFILTERS&EFFECTS: one of the

great things about digital imaging is that it
offers limitless ways to express yourself
creatively. You neednt wait until your
images are downloaded to a computer
anymore either, because many effects can
be added to those images in-camera.
All sorts of filters are available depending
on the camera colour sketch (which
detects and colours subject outlines); high
key (overexposes images to add
atmosphere); selective colour (records
some colours in black & white but leaves
others unchanged); low key (makes images
dark and dramatic); and miniature (makes
scenes look like miniature scale models) are
just a few examples. There are also grain, old
film effects, cross processing, bleach
bypass, negative colour, silhouette, night
vision and more! Compact System Cameras
tend to offer more effects than digital SLrs
olympus cameras are known for their art
filters, but the gap is narrowing. Are they any
good? In most cases, no, but a few are worth
exploring when you're feeling creative.
PICTURESTYLES: dSLrs have a Picture

Style menu that allows you to achieve
creative effects in-camera. The most
popular Picture Style is Monochrome,
which allows you to shoot images in black
& white and also add the effect of different
contrast filters (red, orange, yellow, green,
blue) as you would when shooting black &
white film, or tones such as Sepia, Blue,
Purple and Green.
There are other styles too such as faithful,
natural, Portrait and Landscape, and within
each you can often adjust sharpness,
contrast, saturation and colour tone to get
exactly the effect you want then save it as
a user defined picture style to use as and
when you fancy it!
If you shoot in raw format, the effect of
any Picture Style used will only be available if
you process the raw file using the camera
makers own raw conversion software. If
you use Photoshop or Lightroom to process
your raw files, the Picture Style will be lost.
To avoid that, you need to shoot in JPEG.
The Beginners Guide
NOiSE REDuCTiON
HigHiSONR
HigHiSONR: If you shoot at high ISO there

are two types of noise created luminance
and Chrominance. The former is the grey/
black grainy effect you see in the images, and
the latter consists of coloured speckles,
usually visible in the midtones and shadows.
In-camera high ISO NR tends to mainly
reduce Chrominance noise as it doesnt
affect subject detail so much. luminance
noise does form subject detail, so if you
remove it the shot tends to look too smooth
and lacks detail. If your DSlR has different
settings for High ISO NR, the lowest will
remove Chrominance noise but the highest
or strongest will also attack luminance
noise, so you need to use it with caution,
otherwise fine detail can be destroyed and
the image will look odd.
The important thing to remember is that
while noise reduction is added to images
in-camera if you shoot in JPeG format, its
usually only applied to Raw files if you
process those files using the cameras
makers Raw software ACR in Photoshop
and lightroom wont recognise it, so theres
no point applying it in-camera. Instead, you
can add noise reduction when you process
the Raw files in ACR there are two sliders
for this purpose. The luminance slider
concentrates on greyscale noise while the
Color slider deals with Chrominance noise.
experiment with different levels for both
sliders and dont be afraid to push them both
all the way to 100 if you want to get rid of as
much noise as possible. The downside of
doing this is that there will be loss of details,
but the pros are likely to outweigh the cons if
an image is particularly noisy, and it may also
help to reduce the appearance of artefacts if
you over-sharpen.
Another option is to turn off any noise
reduction in your camera and Raw
processor then use noise reduction software
such as Dfine 2, which is part of the superb
Nik Collection, now available free of charge
from www.google.com/nikcollection.
LONgExpOSuRENR
ImAGeS: lee fROST
ll DSlRS SuffeR from noise to

varying degrees, and this reduces
image quality, especially in the shadow
areas. fortunately, your camera has noise
reduction settings to help solve this
problem. There are two types of noise
reduction long exposure and High ISO.
Both are turned On/Off via the cameras
menus and may have different settings such
as low and High, depending on the exact
model of DSlR that you're shooting with.
Top:HighISOnoisereductioncanbeusedtoreducethe
graineffectcausedbyshootingathighISOs.
Above:LongExposurenoisereductionhelpseliminatehot
pixelscausedbylongexposures,butcanbefrustratingtouse.
LONgExpOSuRENR: As the name implies,

this is designed to reduce the noise you get
when you use long exposures to make
images either because youre shooting in
low light, or using an extreme ND filter like
the lee Big Stopper to increase the
exposure. The longer you leave the cameras
shutter open for, the warmer the sensor gets
and some pixels start to get hot. This results
in white or coloured dots appearing in your
images. Theyre particularly obvious in dark
areas, such as shadows or the night sky.
If you turn on your cameras long
exposure NR, as soon as the shutter closes
at the end of the picture-taking exposure, a
second closed-shutter, dark frame,
exposure is made for the same duration as
the previous exposure. This is done so your
camera can map the noisy pixels in the first

image and remove them from the original
long exposure image.
long exposure NR works reasonably well,
but its frustrating to use because if you make
a five-minute exposure, you then have to
wait another five minutes while the closedshutter exposure is made. Consequently, the
majority of photographers turn it off and deal
with long exposure noise in post-production.
The Beginners Guide

SIwABuD VEERAPAISARn/SHuTTERSTOCK
VIdeOreCOrdINg: Ever since the Canon

EOS 5D Mk II was launched with broadcastquality HD video, manufacturers have been
striving to improve the movie-making
potential of DSLRs. Theres now a growing
range of models offering staggering 4K video
quality as well as Full HD, with variable frame
rates including 120p slow motion and time
lapse. The latest is the Canon EOS 5D Mk IV,
which even allows you to save any video
frame as an 8.8-megapixel JPEG so you
can shoot movies and stills at the same time!
Obviously, this level of video technology is
for serious movie-makers rather than casual
video shooters. However, even entry-level
DSLRs and many digital compact cameras
offer 1080p HD video, and thats more than
good enough for most of us. As with the
resolution of a still image, the bigger the
numbers for video, the higher the resolution.

At present, 4K (17:9 format) is the highest
movie resolution available in DSLRs and
translates to a video image of 4096x2160
pixels. Full HD video (otherwise known as
1080p) is 1920x1080 pixels and HD (also
known as 720p) is 1280x720 pixels.
CUSTOMFUNCTIONS: As if DSLRs werent

complicated enough, they also boast
varying numbers of custom functions,
which allow you to tailor certain camera
settings to suit your way of working, or to
suit specific subjects. All the major camera
settings have custom functions. For
example, you can change the increments of
exposure adjustment from 1/3 to 1/2 stops
the same with ISO ratings. You can choose
the number of shots in an exposure bracket,
the order those shots are taken and if AEB
automatically cancels.
You can also change the functionality of
different camera buttons and dials. The
depth-of-field preview button can usually
be set-up to become the exposure lock, to
switch between One Shot and Servo AF, or
to change Image Quality if you dont use it as
a depth-of-field button.
The input dials on your camera can be
assigned different jobs, such as which one
changes the aperture and shutter speed
you may prefer to have the front dial
changing the shutter speed instead of the
aperture and vice-versa. The rear thumb dial
may also let you adjust the AF point, or
change the ISO being big its easier to find
when the cameras at eye level.
The Set button does more than confirm a
menu option if you want it to you could
use it to access your DSLRs Picture Styles,
Image Quality, adjust the ISO, replay images
or enlarge/reduce the preview image. Many
users never bother with custom functions,
but theyre there to make life easier, so why
not spend a while exploring the options your
camera offers and tailor it to suit you?
eIghTMOre CaMeraFUNCTIONSThaTbegINNerS ShOUld explOre...
HDR SomecamerasletyoucreateHDR
(HighDynamicRange)imagesin-camera.
Youcanchangetheexposureparameters
ofthesequenceofimagesandchoosea
naturallookorgoforamoredramatic
effect.Youcanalsokeeptheindividual
imagesincaseyouwanttomergethem
in-computerlater,orletthecameradelete
themandjustkeepthefinalHDRimage.
MiRRoR lock-up Youcanmountyour

cameraonatripod,focuscarefullyanduse
thebestlenses,butwithDSLRstheslapof
thereflexmirrorasitflipsupcancause
vibrationsthatreduceimagesharpness.
Themirrorlock-upfacilityisdesignedto
preventthisbylockingupthereflexmirror
beforetheshutterisopenedtomakethe
exposure.Worthusingforlongexposures.
inteRval tiMeR Tocreatestunning

time-lapsesequences,theintervaltimeris
invaluable.Useittotakeaspecifiednumber
ofshotswithaspecificintervalbetween
each100shotswithafiveseconddelay
betweenthem,forexample.Rememberto
fullychargeyourbatterybeforestartingthe
time-lapsetoensureitdoesn'trunoutof
juicebeforecompletingthesequence.
Digital spiRit level Doyoustruggle

togetstraighthorizons?Fortunately,many
DSLRsnowhaveanelectronicintegrallevel
thatyoucandisplayonyourcamera'sLCD
monitorwithmostthelevelgoesfromred
togreenwhenyourelevel.SomeDSLRs
alsogiveyoutheoptiontohavean
electroniclevelintheviewfinder,whichis
idealwhenhandholdingthecamera.
The Beginners Guide
jON hICkS
Aspect rAtioChangetheimage
formatfromstandard3:2ratioto1:1,4:3,
16:9andsoon.Changingtheaspectratio
in-cameracanmakeiteasiertocompose
yourshotswithinthatformat.Rememberto
turnitoffwhenyouredone,aswithsome
modelsthecropispermanentunlessyou
usethecameramakersownRaw
processingsoftwaretocancelthecrop.
Viewfinder gridMostDSLRshavean
optionforagridintheviewfinder.Thiscan
behelpfulwhencomposingimages
placingyourfocalpointaccordingtothe
rule-of-thirds,say.Thehorizontallinesalso
helpyougetthehorizonstraightwhen
yourehandholdingthecamera,whilethe
verticallineshelppreventconverging
verticalswhenshootingarchitecture.
WI-FI/NFC: It was only a matter of time

before manufacturers started incorporating
Wi-Fi into their cameras. It isn't just high-end
models either entry level DSLRs such as
the Canon EOS 1300D even have Wi-Fi and
NFC (Near Field Communication).
What this means is that you can access
your camera via Wi-Fi and transfer images
straight from it to your smartphone or tablet,
post them on social media and so on. This is
a real bonus if youre travelling as you can
share your images as you go. You can also
transfer images from camera to computer
via Wi-Fi, and print images straight from your
camera if you have a Wi-Fi printer. Some
models of DSLR or mirrorless camera offer
the function to view LiveView from your
phone or tablet, or even change settings,
focus and fire the shutter from a distance.
NFC works in a similar way to Wi-Fi, but
two NFC-enabled products camera and
smartphone must be within 4cm of each
other for it to work. Images are then sent
wirelessly using electromagnetic radio fields
instead of radio waves. NFC is similar to
Bluetooth, but has a shorter working range.
Left:Ifyoucaptureanimageonyourtravelsthatyou'reproud
of,thenit'seasytoshareitifyourcamerahasaWi-Fifunction.
sensor cleAning Thevastmajorityof

camerasboastanintegralcleaningfacility
thathelpstokeepdustoffthesensorand
reducetheneedtoretouchyourprized
pictures.Ifyourcamerahasit,useit.Setitto
cleanautomaticallyeverytimethecamera
isturnedonandoffandyoushouldnoticea
differenceinthenumberofdustspotsthat
youneedtocloneoutwhileediting.
screen brightness Ifyourelyon

yourcameraspreviewscreenwhen
assessingimagesthenyouneedtoknow
thatitstellingthetruth,otherwiseyoull
endupwithbadlyexposedshots.Avoid
havingAutoBrightnessset,asthescreen
brightnesswillfluctuateindifferinglight
levels.Instead,setittothehalfwaypointso
thebrightnessstaysthesameatalltimes.
A very powerful program
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Amazng
Autumn
FROMAUTUMNSKIESANDAPPLEPIESTOSHORTERDAYSANDMISTYMORNINGS,WHATEVERTHEMOSTCOLOURFULSEASON
OFTHEYEARBRINGSYOU,THERESANABUNDANCEOFSUBJECTSTOAIMYOURCAMERAAT.THEWARMAUTUMNALPALETTE
GIFTSASPECTACULARDISPLAYFOROUTDOORANDPORTRAITPHOTOGRAPHERS,NATUREPHOTOGRAPHERSHAVELOTSTO
LOOKFORWARDTO,WHILESTILL-LIFEPHOTOGRAPHERSCANSETABOUTFORSUITABLESUBJECTS.WHATEVERYOUR
PREFERENCE,THESOFTLIGHT,INTENSESUNSETSANDCRISP,COOLDAYSMEANYOULLNEVERBESTUCKFORTHINGSTO
SHOOT.SOASWEREALISEYOURESPOILTFORCHOICE,WEVEGATHEREDAFEWGEMSTOGETYOUSTARTED
Words: CAROLINE SCHMIDT / Image: HELEN DIXON
PictureSpecial
Autumn Inspiration
MARK BRIDGER/ShuTTERSTOcK
MILENKO DILAS
On a bed of leaves
Dont just look to the trees for

colourful backdrops to your
portraits: a golden leaf-strewn ground is
great too. Theres unlikely to be any
shortage of crunchy leaf litter, so look
for trees with ample coverage to lay your
subjects under. Even overcast days can
make people squint so a canopy of
leaves can help diffuse the light even
more, but watch out for dappled
sunlight and your shadow as you stand
over them. Depending on how tall you
are, or if youre using a stepladder, youll
likely need a lens between 24mm and
50mm (a 35mm prime is ideal). As long
as your cameras sensor is parallel to the
subjects faces, opt for a wide aperture
to cast the leaves into soft focus. Style
subjects in seasonal colours that work
with natures burnt hues and, if you want
to add vibrancy, gather as many
brightly-coloured leaves as you can find
to position in your perfect spot.
have better luck with an evening session if

youre on the look out for hedgehogs. Good
focusing technique is paramount, especially
when photographing fast moving subjects
like squirrels. To compose subjects offcentre, try to practise techniques such as
back-button focusing (AF-ON/AF-Lock) and
set your camera to also shoot in AF
continuous shooting mode to increase your
chance of success. Some wildlife centres
and sanctuaries hold photography days too
if youd like to photograph autumn animals
but lack the time and patience.
hELEN DIxON
Park life While not the most exciting

creatures in the animal kingdom,
squirrels, hedgehogs and dormice are
active at this time of year. A telephoto or
telezoom is essential for shooting framefilling images aim for a focal length of
300mm, or better still 400mm, or more.
A lens like the NIKKOR AF-P 70-300mm
f/4.5-6.3G or AF-S 80-400mm f/4.5-5.6G
VR is ideal. Visiting parks or woodland early in
the morning, when its quietest and the light
is softest, is often the best time to capture
wildlife feeding and drinking, but you may
Capture fireworks With Bonfire

Night in early November, fireworks and
sparklers are aplenty, so pack your
tripod and wireless remote for an evening of
photography. Youll need to scout out a good
viewpoint prior to the display, ideally with
some foreground interest. A wide-angle lens
or telephoto, such as an 18-200mm will
work well, and youll need to manually focus
to infinity and select a mid-aperture like f/8
to f/11. With your camera set to Bulb mode, a
low ISO rating and with Long Exposure Noise
Reduction switched on, expose the scene for
as long as the firework bursts last.
No Bonfire Night is complete without
sparklers, so set your shutter speed to around
30 seconds and get drawing. An aperture of
f/5.6 is normally a good starting point and if
the person writing continues to move
through the frame during the exposure, they
shouldnt be visible in the image. If you want
to illuminate your subject, use a burst of flash
at the end of the exposure.
Autumn portraits
Avenues of golden trees or thick woodland

make a beautiful setting for portraits. The rich
colours add impact and warmth, while the open
shade diffuses the light to make it even softer. Sunsets
are quite the splendour in autumn, providing the perfect
backdrop to light your subjects. Set a wide aperture and
throw leaves in the air to capture out of focus foreground
as well as background. If you find the perfect spot, act fast;
it only takes a windy night to clear the trees of most of
their leaves leaving you a lesser appealing barebranched backdrop. A focal length of 35mm to 85mm
is ideal depending on if you want a close crop or to
include the surroundings. Having children sit on
a bed of leaves, holding large crimson
maple leaves or throwing them in the
air all make for lovely images.
CArolIne SCHmIdT
Autumn Inspiration
Theperfectway
toaddnewskills!
The Nikon School at the newNikon Centre

ofExcellence in central London offers a
wide range ofphotographycourses and
workshops.Whynot treatyourselforsomeone
you love to a Nikonvoucherthat can be used
at the Nikon School. Forfurtherdetails,
visit:www.nikon.co.uk/training
STEvENRUSSELLSMITHPHOTOS/SHUTTERSTOCK
banquet; you need to go to them. With a

telephoto lens of 300mm or longer in hand,
go in search of bushes and trees with
loitering woodland birds. Some birds, such
as finches, however, like to rest on teasels
and thistles so keep a look out. If their
chosen feeding spot doesnt offer a clean
background or an uncluttered viewpoint, try
baiting a perch like an autumnal branch next
to where they are and wait for them to move
over. You may find a portable hide helpful,
and also a remote release to make the most
of split-second opportunities.
CREaTIvE TRavEL PROjECTS/SHUTTERSTOCK
Birds as the nights become cooler,

most birds visiting for the summer are
heading south for warmer climates, so
its a perfect time to capture flocks in the sky.
Wait until sunset and youll likely silhouette
them flying to woodland roosts against a
blazing sky, or if youre near the coast, great
skeins of migratory geese. add a stop of
negative exposure compensation to ensure
the birds are silhouetted.
During autumn, food is plentiful so youre
unlikely to see many birds in your garden
until winter, even if you set up a tempting
Autumnal still-lifes
DINa BELENKO
as summer gives way to autumn,

acorns, conkers and leaf litter
covers parks and woodland floors,
which become a treasure trove for
creative still-life photographers to
forage. Soft, painterly lighting is often
the top choice to enhance the warm
hues of autumn, so its no surprise
diffused natural light is often best. But
raise your still-life lighting up a notch by
flagging and bouncing the light to help
sculpt subjects and play with shadows.
Consider your composition carefully
and dont discount including food too.
autumns the season of harvest so
apples, pears and pumpkins are ripe for
the picking. Rich red berries, burgundy
plums and mouth-watering homemade
comfort foods can also be a feast for the
eyes, so use wide apertures, selective
focusing and experiment with
viewpoints to capture enticing shots.
Epic views In autumn, sunlight is
most desirable early and late in the day

when its side-lighting scenes. Even
better is an overcast day as you can shoot
all day long in soft, even light that helps
saturate colours just remember to avoid
including expanses of grey sky. Multi-zone
patterns, such as the Matrix system used on
Nikon DSLRs, is good for most situations
and to retain depth-of-field; increase your
ISO until you reach a workable shutter
speed. Try to find a high vantage point that
looks down over the landscape and reveals
layers of amber and crimson-coloured
countryside. While a wide-angle lens may
be your first choice, consider a telephoto
lens to help compress perspective and
bring the farthest layers of the landscape
closer. The UK is not short of sweeping
vistas, but you dont have to go as far as the
Scottish Highlands or climb the highest
peak in the Lake District, beautiful autumn
scenes can be found nearby. Read our
Location Guides to discover the UKs most
photogenic hotspots for landscapes.
AAron Burden
Autumn Inspiration
Webbed wonders
With late summer and autumn

comes an abundance of morning
and evening dew, especially on leaves,
blades of grass and spider webs. In soft
early light, these tiny beads sparkle like
jewels beckoning for your macro lens to
magnify them. If you dont have a macro
lens, the intricate designs of a silky web
can fill the frame with a close-focusing
zoom or extension tubes. Images with
shallow depth-of-field work the best so
select a large aperture, such as f/4, and
adjust your angle to find the strongest
composition. We recommend using a
tripod as you need to be extremely
careful with your focusing. The best
images have a dark, clean background for
the bright strings to standout against, so if
you cant find a web thats perfectly
positioned, use the black side of a
reflector or a plamp to hold a sheet of
coloured card a few feet behind the web.
Autumn Inspiration
ProtipwithNikon
Ross Hoddinott
Landscape expert
Autumn is a wonderful time of year for
outdoor photography. As the weather
turns cooler, photogenic mist hangs low in
valleys and around trees. Fog and mist add
atmosphere to images, so if the conditions
arise dont miss the opportunity to inject a
touch of mood and mystery into you shots.
The best conditions are often short-lived, so
scout out your location beforehand and
check the forecast for a cool, clear night as a
prelude to your early start. Find high
viewpoints overlooking valleys or rolling hills
with clear points of interest, like castles or
hilltop trees, or set up near a body of water to
capture the muted tones and low-lying mist.
Opt for a Daylight White Balance, or tweak
your Raw file later to retain the blue hue
along with the saturated autumn palette. Try
to find a position that's also backlit or side-lit
by a low, warm sun as the mist will beautifully
diffuse the glow. Youll need to work quickly
as the sun will burn through the mist fast.
Head into woodlands too and you might be
lucky enough to capture the spectacle of
rising sun shining through the trees with the
foggy conditions defining the rays.
spiBeR.De/sHuTTeRsTOck
Shots not to be mist
ROSS hODDINOTT
11
Magic mushrooms
for photographing, carefully prune any

distracting foliage. When shooting at low
angles, a vari-angle LCD monitor, like that
found on the Nikon D5300, is an asset when
experimenting with viewpoints. To get the
foreground and background out of focus,
use a wide aperture and selectively focus on
the subject. Depending on your distance
from the fungi, an aperture around f/3.5-f/8
should work well. At close quarters, a dim
scene and f/8 is a recipe for long shutter
speeds, so use a remote release and perhaps
add light via a macro flash or reflector.
Canopies of colour
tripod and if your camera has a vari-angle

LCD monitor, use it to ease composition.
Ideally youll need a still day as longer than
ideal shutter speeds are likely, but a little
movement in the trees can look painterly.
If it is windy, you could consider deliberately
lengthening the exposure to capture the
movement or even turning the zoom ring
slowly for a zoom burst effect. If the sky is
visible through the trees, you may find you
need to add a stop or two of positive
exposure compensation to avoid your
camera underexposing the scene.
When the summers warmth

collides with autumnal damp it
creates the perfect environment for an
explosion of woodland fungi in a variety of
colours, sizes and shapes. Theyre a superb
subject to shoot close up, so pack a macro
lens or close-up attachments and dont
forget your tripod and a mat to lie on;
mushrooms like to grow in dark places so
youll need the extra stability.
Once youve found mushrooms or
toadstools in good condition and position
heLeN DIxON
ROSS hODDINOTT
10
Autumn veins
Backlighting leaves is a
stunning way of highlighting
their detail and capture striking, colourful
close-ups. Layering multi-coloured
leaves on a lightbox is one method, but
you could also attach a leaf to a window
and use direct sunlight to reveal the fine
details in these translucent subjects. The
close focusing of a macro lens such as a
60mm, 105mm or 200mm lens is ideal
for filling the frame, but placing extension
tubes on a nifty fifty can also provide
good results. Position your camera on a
tripod so the sensor is parallel to the
subject and set your camera to aperturepriority mode, with a mid-aperture of
f/8-f/11. Shoot in Raw and tweak the
White Balance when editing, otherwise
set it to Daylight to retain the bold
colours. As youre shooting backlit, the
metering system may underexpose the
leaf so you may need to add a couple of
stops of exposure compensation keep
an eye on the histogram to be sure.
12
When walking through woodland,

dont forget to gaze up. If you
catch the blazing tree canopies before too
many of the leaves fall, you can capture
striking landscapes of towering trees.
Position yourself surrounded by close-by
trees and use a wide-angle or ultra-wide
zoom like the NIKKOR AF-S 10-24mm
f/3.5-4.5G to amplify the converging
verticals created by the rising trunks. Set a
small aperture of f/16 or more and a low ISO
rating to retain image quality. Youll need a
Autumn Inspiration
mAx BRIDge
13
Deer rutting
most wildlife photography

enthusiasts get excited by the
prospect of October, not just for its warm
light and autumnal colour, but the echoes of
clashing antlers. While location is important
during rutting season, Red Deer can be
found in various places such as country
estates, deer and Royal parks: visit the British
Deer Society website for suggestions (www.
bds.org.uk). While rival Red Deer stags and
bucks fighting is a common sight this time
of year, youll still need to go armed with
patience, a powerful telezoom like the
NIKKOR 80-400mm, and a bit of luck if you
want to be in the right place at the right time.
Beautiful images of backlit stags bellowing
or battling, or multiple stags in a group are a
favourite to get and to do them well requires
planning. Watch the weather forecast for
mist and rain, which enhance shots, and the
prospects for a good sunrise or sunset. misty
mornings are ideal so head out the morning
after a cold, clear night with no wind.
MasterAutumn with Nikon
14
BOxeRx/ShUtteRStOCK
Autumn pulls on the benefits ofa numberof

lenses as there are so manybeautiful images to
create and spectacularscenes to capture.While
ourlens suggestions suit specific subjects, ifan
autumn photowalk is in the calendar, consider
packing a fast zoom coveringvarious focal
lengths soyoure notweighed downwith gear.
Forinstance, ifits portraits and nature that draw
you, considerthe newAF-PDX NIKKOR
70-300mm f/4.5-6.3G ED orAF-S DX NIKKOR
55-300mm f/4.5-5.6 EDVR.Agood all-rounder
forthe novice photographeris the 18-200mm
f/3.5-5.6 EDVR II its ideal foreverything from
wide landscapes to close-ups ofdistant subjects.
The newlightweight 24.2-megapixel
DX-format D3400, and the D7200, are great
accompaniments toyourzoom lens. Both
capture amazing detail, even in low-light forests
and offeraversatile range offeatures.
www.nikon.co.uk
Garden flowers
Just because summer is over

doesnt mean all flora lays to rest.
While most summer wildflowers are
dwindling by mid-September, there are still
plenty of autumn-flowering bulbs that can
make your flower beds photogenic.
Crocuses, Cyclamen and Dahlias are just
some of the hardy buds you can expect to
see in bloom. Use a fast telephoto like the
NIKKOR AF-S 70-200mm f/2.8 to compress
perspective, and a wide aperture to isolate a
single bloom amongst a blur of colour; a
macro lens like a 105mm is even better to
amplify small buds. If youve not planted the

bulbs in time this year, head to your local
garden centre to buy ready-to-shoot plants.
Dahlias are particularly great flowers to
use for indoor still-lifes, too. Whether its too
windy to shoot outdoors or you prefer the
seamless backdrop and controlled lighting
of a studio set-up, a Dahlia is a superb
autumn flower to find. You'll find that a
50mm f/1.8 is an ideal focal length for this
large layered flower, and choose a midaperture to ensure you have a large enough
depth-of-field to get its vibrant, geometric
petals in focus when filling the frame.
15
Wondrous water
Streams, creeks, lakes and rivers are magical

places in autumn. Capture them in low-lying mist,
with multi-coloured tree lines reflected in lakes and
waterfalls or woodland streams surrounded by the
seasons best hues. Use a polarising filter to capture clear
reflections, saturate colours and remove glare from wet
rocks and leaves. Using a polariser extends the exposure by
up to two stops which, when combined with overcast
conditions, may provide you with a sufficiently long
exposures for transforming moving water to silk. You
may also need to use an ND grad too if the sky is
brighter than the water. Remember your rules for
landscape composition too: look for lead-in
lines, foreground interest and employ
the rule-of-thirds.
thomaS heRzog
Team GBs record hauLof

medaLsaTThe rio 2016
oLympics madeThe naTion
proud. dickie peLham from
The Sun wasThereTo capTure
TheveryBesTofTheacTion
Words: Daniel leZano
Mainimage:
TeamGB'sLauraTrott
celebrateswinningyet
anothergoldmedal."
here are few photographers that

can claim to have attended as many
major sporting events as richard
Dickie Pelham, Chief Sports
Photographer for The Sun. his
incredible talent for capturing
iconic sporting moments has made him one
of the most prolific sports photographers of
his generation and, at his sixth Olympic
Games, he has managed to capture another
series of historic sporting moments.
My main objective of being at the rio
Olympics was to cover Team GB in action
and hopefully winning gold medals. The Sun
is a very patriotic newspaper and wants its
readers to share in the nations sporting
successes. Thanks to the incredible
performances of our Olympians, there were
plenty of opportunities to do just that in rio.
The Sun made a massive effort to bring its
readers the very best Olympic coverage.
a team of six was sent out to cover as many
events as possible there were four reporters
and two photographers, including myself.
The aim was to ensure readers were kept as
up to date with possible with Team GBs
progress. On certain nights, The Sun
produced special 3am editions that went out
to London, Manchester and Glasgow, so that
readers in these major cities would see what
went on the night before. It was a massive
undertaking due to press deadlines, but it
was managed brilliantly.
as Dickie explains, achieving such a feat
was a combination of planning, long hours
and taking full advantage of the latest in
camera and telecoms technology.
The Olympics is an incredible event to
cover, but the working hours are extensive.
Sometimes youve nothing but adrenaline to
keep you going. I remember one day I got
back to my hotel room at 3am after shooting
swimmer adam Peaty winning the gold
medal, and was back out at 6am to shoot
Chris froome in the cycling. at 52 years of
age, having three hours kip can definitely

be classed as sleep deprivation! Physically,
you should only be doing two jobs a day
because of all the travelling between venues,
but you get hooked on the buzz of it all and
end up pushing yourself to the limit and
doing whatever you can. without a doubt,
the adrenaline and lift you get from Team GB
doing so well helps drive you further than
you thought you could go. as far as visiting
Christ The redeemer or eating gourmet
meals goes, that doesnt happen. You make
time to eat at about 4pm because you have to
eat, but otherwise youre there the whole
time grafting. You have to drink regularly
too, due to the intense heat and humidity.
I remember drinking seven bottles of water
Aboveandinset:"Therecord-breakingheroicsof21-year-old
swimmerAdamPeatywasoneofthehighlightsofRio."
Aboverightandabove:"TeamGB'scyclistsareafirmfavourite
withTheSun,especiallyJasonKennyandLauraTrott."
Right:"JoeJoycecelebratesafterwinninghissemi-finalbout."
when shooting Brazil play football in the

Maracan stadium and still didnt need the
little boy's room for hours.
with modern sports events having a
global audience, one of the key demands
placed on the hosts is to provide good media
facilities, and its clear that this proved
hugely beneficial to the worlds press.
The Brazilians had clearly studied and
learned a lot from London, and facilities for
the media were, in general, pretty good.
Theyd put miles of ethernet cables around
rio2016Richard Pelham
Without a doubt, the adrenaline and the lift

you get from team gb doing so Well helps drive
you further than you thought you could go
the venues to allow for direct connection to
the cameras. The only exception was when
shooting track side in the velodrome, when
I used a WT transmitter and 4G Wi-Fi device
to send images. Having the Ethernet
connection really helped, as due to the time
difference we were working to extremely
tight deadlines. It meant we could get
images shot, edited in-camera and off to
Pete, our wireman in Bedford, within
minutes. Hed then turn them around and
send the shots to HQ in double-quick time.
I felt for him we were working long hours
but had got used to the time difference while
poor old Pete was sat at his laptop working in
the early hours to ensure all the images were
with The Sun before deadline. Most days, he
worked from 2pm until four in the morning!

Because sports like swimming are so huge in
the USA, the final of these events would run
late in the day in Brazil to ensure maximum
TV audiences in the States. Unfortunately,
this meant late nights for Pete in the UK!"
Dickie reveals that having use of the
latest-generation DSLRs and memory cards
also played a big part in the speedy transfer
of images. Remote editing on the cameras
is simple thanks to the excellent set-up on
the cameras and, while its fast to send files
on the EOS-1D X, its much quicker still on
the EOS-1D X Mk II. This was mainly because
I used it with Lexars latest CFast cards,
which made sending the images via Ethernet
incredibly fast. The EOS-1D X Mk II is
definitely a multimedia tool, especially

when used with the CFast cards, and the
speed benefits of the system made all the
difference when I shot what turned out to be
my favourite image of Rio Mo Farah
jumping in the air while holding the Union
Jack flag. The Sun was minutes from deadline
and had already placed on the back page an
earlier shot Id sent them of Mo crossing the
line with arms aloft. As I was editing shots on
my camera I saw him approach as he did his
lap of honour and raised my camera just in
time to capture Mo as he jumped. I knew I
had something special, so I sent a Skype
message to the UK office and told them to
hold the page. It was a major call
something Id never do lightly but
knowing how fast remote editing on the
EOS-1D X Mk II was, I was able to edit and
send the shot to Pete to supply to The Sun
while Mo was still having his picture taken
by other photographers!
"We were the only paper to have that
image run in the morning editions due, in
part, to the speed of getting the shot back to
the UK and partly because of The Suns late
deadline it was a major coup for us. The Sun
readers were looking at it while eating their
Rice Krispies that Sunday morning, while
other newspapers wouldnt have it until the
next day. And, because I'd taken it using a
Top:Inthemens'doubles
canoesprintatLagoa
Stadium,LiamHeathand
JonSchofieldtookthe
silvermedal,whichwasan
amazingachievement."
Above:It'saveryspecial
momentforTeamGB's
JadeJonesasshewins
goldinTaekwondo.She
alsowoninLondon2012
too,whenagedjust19!"
Insetandright:While
UsainBoltisarguablythe
mostfamousathleteinthe
world,forusBrits,Mo
Farahisournumberone.
HissuccessesattheRio
2016Olympicsmadefor
somegreatimagesand
headlinesinTheSun.
300mm while everyone else was using a

400mm or 600mm, mine was the only one
that didnt crop into Mo. Sports pro Bob
Martin was alongside me and told me that
Id nailed it Bob is royalty in our field, so
getting this feedback from him meant the
world to me. I always hope to capture an
iconic image at the Olympics and this one,
taken on the thirteenth night, was it."
With the photographers as well as the
athletes competing to deliver their best at
the Olympics, having the best equipment to
hand is vital, so what did Dickies Canons
offer him to help produce the best possible

results? A key area for sports photography
is focusing in all sorts of tricky situations and
the autofocus systems on the Canons were
brilliant. Continuous focus tracked athletes
well and handled incredibly tough
situations, such as the canoeist in wild
water, superbly. The exposure system is
excellent too, proving very consistent.
Shooting in Raw and having in-camera
editing is a massive bonus. The performance
at high ISOs, which is vital, was fantastic. I
usually shoot in manual mode and my main
I always hope to
capture an IconIc
Image at the olympIcs
and thIs one, on the
13th nIght, was It
priority was to ensure a fast enough shutter

speed to freeze the subject, so to do that Id
often need to use ISO 1600, 2500, 3200 or
even 5000. Both cameras processed the
images well, but the performance of the
Mark II was truly impressive Id say that
the reduction in noise was equivalent to 1.5
to two stops compared to the original
EOS-1D X. Images are definitely crisper and
cleaner with the newer model. I wish I had
two of these beauties!"
The temptation to own the latest photo kit
isnt something that only photographers
have. In Rio, where living conditions are
poor, the arrival of pros carrying around
expensive gear also unfortunately brought

out the criminal element.I shot the World
Cup in Rio two years ago, so I had a fair idea
of what to expect and made sure I kept my
gear secure at all times. I knew I had to
minimise any risks of losing my kit, so
avoided the convenience of roller cases and
used a Think Tank backpack instead.
"The Brazilian authorities had done their
best to protect the media. There were
soldiers and security on every corner and
lots of security on the underground. And to
get into the media areas, you had to have
proper accreditation. But that didnt put off
the most determined criminals and, trust
me, there were some horror stories.

"A news agency had their office in the
media centre cleaned out with two entire
camera outfits stolen. Another agency had
installed several remote cameras into the
roof of the Maracan Stadium, which youd
think would be as safe as houses. When they
returned in the morning, everything was
gone. In both cases were talking cameras,
lenses and accessories running into tens of
thousands of pounds. On the last night,
during the hockey final, the BBC had two
laptops stolen from the media centre.
"It wasnt just agencies that were targeted
individuals were too. A photographer
covering the canoeing with a 600mm f/4
put it down next to him to use a shorter lens
to shoot the medals presentation when he
looked down a few seconds later, it had
I love everythIng
about theolympIcs,
butIdohavemy
favourIte events
gone! Luckily, he didnt panic, thought on
his feet and legged it to the exit. He saw a
woman without any accreditation carrying
his 600mm under her arm. He grabbed her
around the neck in a headlock and dragged
her to a security area, where she was
arrested. He was one of the lucky few that
managed to recover their kit. One poor guy
put his camera bag with all his kit in a secure
locker in the media centre while he grabbed
some lunch. When he returned, it had been
prised open and the contents swiped!

"It wasnt just camera items that were
stolen either personal effects were on the
agenda too. We were sat at a bus stop and
watched as a media bus arrived and people
funnelled to get on it. A little kid ran up and
ripped a gold necklace off a female member
of the media waiting to get on. One thing I
learned from the last time I was here was
that youre asking for trouble if you wearing
expensive gold jewellery and snazzy
watches in Rio. Unfortunately, this lady
learned the lesson the hard way. You have to
respect that there are two very distinct sides
to the people living in Rio: those with money
and those with nothing. I think the security
was definitely better at the Olympics than at
the World Cup, but if youre out there
working you have to use common sense.
TherewasnoshortageofsportingexcitementinRioanditwas
greattoshootsomanysuccessesforTeamGB."
Farleft:"AttheendoftheOlympics,agroupofusprosshotas
manyRiologosaspossibleforfun.Itincludedthisremoteshot
oftheboxingringwithAnthonyJoshuaplayingacentralrole."
IN THE BAG...
I packed my gear away securely and kept it
hidden from view I saw people with their
kit constantly on show as they travelled on
transport. That's asking for trouble.
The Olympics proved a great success for
Team GB and was also a great hit with
readers of The Sun, so what were Dickie's
favourite moments from his time in Rio?
"I love everything about the Olympics,
but I do have my favourite events. I always
enjoy the swimming, and the cycling is
another favourite the atmosphere in the
velodrome is always intense and its one I
never want to miss. And while rowing isnt a
sport we normally cover too much in The
Sun, its an amazing event to cover and Team
GBs success in Rio meant we gave it lots of
coverage. There was one 24-hour period that
was completely amazing and stood out for
me. On the Friday evening I covered the

womens hockey final and saw us scoop
gold, then went to bed, got up early and
headed for the boxing, where I shot Nicola
Adams winning gold. I had a quick bite to eat
then headed to the velodrome to stake a
place track side to get the best possible
position for the final. And lo and behold,
Team GB won gold again. This was special,
but without doubt, the ultimate memory
was the achievements of Mo Farah. I didnt
think what he achieved in London could be
topped, but what he produced in Rio was
simply incredible and unforgettable.
Thankfully for us, Dickie was there to
capture these moments we think he
deserves a gold medal for his efforts too!
Formore ofDickie's images,visit: dickiepelham.com.
Followhim onTwitterat: @DickiePelham
"Thevarietyofeventsat
theOlympicsmeantId
needachoiceoflenses,
buttheweightofmykit
wasaconsideration
too,asIdregularlyhave
tomovequicklyfrom
venuetovenue,soI
hadtobesmart.Iuseda
CanonEOS-1DXandEOS-1DXMkIIeachdayand
hadanotherEOS-1DXasback-up.Itooktwo
zooms:theCanonEF24-70mmf/2.8andEF
70-200mmf/2.8.WhileIdhavelikedtohave
takenthreeprimetelephotoswithme,itwould
havebeenanightmare,soIleftmy400mmf/2.8
athomeandinsteadtooka300mmf/2.8and
500mmf/2.8.Ialsotookaflashgun,whichwas
usedforthemedalceremonies.NormallyIdtake
remotestoo,butduetotheriskoftheft,Idecided
nottosetupanyremotecamerasatRio!Allofthis
waspackedintoaThinkTankPhotobackpack."
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photographs, I discovered the pleasure of
creating more meaningful images. Stephanie DHubert
LIVE | LEARN | CREATE
Gear
photo kittested & rated byexperts
pentax k-1
withareputationforbeingtheunderdogsofdslrs,canpentax's
newfull-framewondercompetewiththebigboys?readontofindout
Plus
Gearnews:photokina2016wasabigonefindoutaboutthebiggestreleasesoftheyear Page100
premiumtripods:wantonlythebestsupportforyourcamera?we'vegotyoucovered Page108
mini tests:thepanasoniclumixgx-80andapremiumwriststrapreviewedandrated Page116
Gear/ Product news
Photokina News
PHOTOKINAIN COLOGNE IS EUROPES LARGESTPHOTO SHOWANDACHANCE
FORTHE INDUSTRYTO SHOWOFFITS FULLRANGE OFPRODUCTSAND LATEST
RELEASES. DANIELLEZANO REPORTS ONTHE HIGHLIGHTS OFTHISYEARS EVENT
SPEEDKING
MIRRORLESS
MARVEL
FUJIFILMS MAJOR ANNOUNCEMENT
of its mirrorless medium-format GFX
system took everyone by surprise.
Launching in early 2017, the system
will build on the success of Fujilms
X-series and offer an alternative to
other medium-format cameras and
35mm-based DSLRs like the Canon
EOS 5DS. The rst GFX camera will
be the Fujilm GFX 50S (1), which
3
boasts a 51.4-million pixel
G Format (43.8x32.9mm)
Above:FujilmUKsTheoGeorghiadesreveals
themarvellousmedium-formatGFXsystem.
sensor. Having handled the
camera, its hard not to be
anything but totally impressed
by its design. Similar in size to
2
a pro-DSLR and sporting
a bright, clear electronic
nder, its sure to excite
enthusiasts and pros with its
potential. While no price has
been conrmed, its expected to
1
be competitively priced under
USD$10,000 with standard zoom.
Six lenses were announced in the initial line-up, which utilise Fujinon optics that promise to
make the most of the sensors capabilities. Appearing in early 2017 will be the GF63mm f/2.8 R
WR (35mm equivalent: 50mm) standard prime (2), GF32-64mmF4 R LM WR (35mm equivalent:
25-51mm) wide-angle standard zoom (3) and GF120mm f/4 Macro R LM OIS WR (35mm
equivalent: 95mm) telephoto macro lens. Later on in 2017, three further optics will appear: the
GF110mm f/2 R LM WR (35mm equivalent: 87mm) fast-aperture mid-telephoto, GF23mm f/4 R
LM WR (35mm equivalent: 18mm) ultra-wide and GF45mm f/2.8 R WR (35mm equivalent:
35mm) wide-angle prime. Prices are still to be conrmed. www.fujilm.co.uk
A PACKED PRESENTATION saw the

launch of Olympuss latest agship
mirrorless model, the OM-D E-M1
Mark II. Aimed at professionals and
enthusiasts, the 20.4-megapixel
Olympus promises unheralded speed
performance, shooting at 18 framesper-second, or up to 60fps with AF
and AE locked. That gure is even
more impressive when you realise that
includes shooting in Raw. Its packed
with an healthy set of features and
several innovations, including the Pro
Capture mode that shoots up to 14
sequential frames before the shutter
release is fully pressed. We were given
an exclusive interview with Toshiyuki
Terada, General Manager at Olympus,
who provided an in-depth explanation
of several of the advances Olympus
has made with sensor, processing,
internal memory and AF technologies
that has allowed its OM-D E-M1 Mark II
to perform at such speeds.
Its not just speed where the
Olympus impresses as well as 4K
video, it boasts a High Res Shot mode
that allows 50-megapixel still images
to be captured, a ve-axis stabilisation
system that provides a staggering
6.5-stop benet and a dust-, waterand freeze-proof body design. It is
available later this year, although no
price has been conrmed.
Also announced were three lenses
the (250) M.ZUIKO DIGITAL ED
30mm f/3.5 Macro, the (1,100) ED
12-100mm f/4 IS PRO and (1,100) ED
25mm f/1.2 PRO. A new ashgun, the
FL-900 R (no price conrmed) will also
be released in December.
www.olympus.co.uk
Above:ToshiyukiTeradaproudlypresentsthe
20.4-megapixelOlympusOM-DE-M1MarkII.
Product news \
Gear
Below:Canonslatestcameras,
presentedbythesurngworldsnest.
FLAGSHIPALPHA
FROM SONY
SONY PROVED THAT it hasnt given up
on DSLRs just yet with the launch of the
Alpha 99 II, which boasts a full-frame
42.4-megapixel CMOS sensor without
optical low-pass lter. The successor to
the A99 boasts a number of
improvements and innovations,
including a ve-axis image stabilisation
system, 4K video capture and a
maximum ISO of 102400. The AF
system has been given a total overhaul,
with the implementation of 4D Focus; a
Hybrid phase-detection AF system that
combines 79-point phase-detection AF
sensors with 399 focal plane phasedetection AF points to provide fast and
highly responsive AF. The A99 II also
incorporates a translucent mirror that
remains xed, meaning no viewnder
blackout when shooting. The Alpha 99 II
will be available in November for
around 3,000 body-only.
www.sony.co.uk
MIRRORLESSM5
FROMCANON
CANON BOLSTERED ITS range of
mirrorless cameras with the EOS M5 (1), a
24.2-megapixel model that sports a DIGIC
7 image processor and Dual Pixel CMOS
AF. The M5 also boasts an electronic nder,
placed centrally to give the impression of
this being a mini-sized DSLR, while the rear
3in LCD sits on a tilting platform. The EOS
1
M5 offers Wi-Fi and NFC, a seven frames-per-second
drive, ISO up to 25600 and Full HD video capability.
Released along with the M5 is an M-series superzoom
with an 8.3x range equivalent to 29-240mm in 35mm
terms. The EF-M 18-150mm f/3.5-6.3 IS STM incorporates
a four-stop Image Stabilizer, STM Motor technology for
near-silent focusing and a seven-blade circular iris.
The EOS M5 is available at the end of November 2016
2
for around 1,049 body-only, or 1,149 with EF-M 15-45mm
f/3.5-6.3 IS STM lens. If you can wait until mid-December, you
can buy it for 1,400 with the EF-M 18-150mm f/3.5-6.3 IS STM
lens, which will sell on its own for 429.
DSLR owners looking for a powerful superzoom for stills and/or video might want to check
out the Canon EF 70-300mm F/4-5.6 IS II USM (2), available November for 499. Suitable for
full-frame and APS-C/H, it features a new optical design compared to its predecessor, which
includes an ultra-low dispersion (UD) lens element to reduce chromatic aberration, a four-stop
Optical Image Stabiliser and a Nano USM for fast and silent AF. Its also the rst Canon lens with an
electronic Lens Information Display, designed for checking settings at a glance, including focus
distance, a depth-of-eld scale at various apertures and focal length. www.canon.co.uk
SHOWSTOPPERS
NIKON MISSION
Nikonannouncedtwofurther
Nikon
announced two further
modelsintoitsKeyMission
rangeofactioncameras.The
(330)KeyMission170featuresa170wide-angle
lens,time-lapseandslow-motionmodesandis
waterproofto10m,whilethe(250)waterproof
KeyMission80hasan80angle-of-viewandcan
godowntoadepthof1m.BothofferWi-Fiand
Bluetooth.NikonalsorevealedthatitsKeyMission
360,announcedinJanuary,willbeavailableto
buyinthenextfewweeksforaround420.
www.nikon.co.uk
OSMO MOBILE
Betterknownfordrones,
DJIdemonstratedthe
OsmoMobile,whichuses
DJIsthree-axisgimbalto
provideanincredibly
smoothplatformforyour
mobilephone.Butitgoesfurther
thanthis:viaanappandtheOsmos
controlbuttonsandtriggers,thesystemuses
DJIsdronetechnologytomakeitpossibleto
selectandautomaticallytrackandfollowsubjects.
AsfaraskeeniPhoneographerswereconcerned,
thiswasthestaroftheshow. www.dji.com
Gear/ Product news

NEWLENSES
SAMYANG
Samyangrevealedthe85mm
f/1.2and14mmf/2.4manual
focuslenses,therstmodelsinits
premiumrange.Madefromaluminiumalloy,
thelensesareclaimedtoofferunprecedented
resolvingpower,suitableforusewithcameras
boasting50-megapixelsand8Kvideo.The85mm
f/1.2hastenelementsinsevengroups,including
oneasphericallensandtwohighrefractive
elementsandboastsaveryfastmaximum
aperture,idealforhandheldphotographyinlow
lightandforcapturingimageswithminimal
depth-of-eld.The14mmf/2.4usesSamyangs
mostadvancedopticaldesign,witheightglass
elementsin14groupsincludingfourtypesof
specialoptics:twoasphericallenses,onehybrid
asphericallens,twoextra-lowdispersionlenses
andonehighrefractivelens.Samyangclaimsit
offersoptimalimagequalityfromthecentreofthe
frametotheedges.Availabilityandpriceareyetbe
conrmed.www.samyanglensglobal.com
Below:Tamrron'sstandoffereda
chancetotryoutitsfullrange,
includingthenew150-600mm.
Inset:Fujilm'sstandwaspacked
withpunterscheckingoutits
productsandattendingseminars.
TAMRON
Starring on theTamron
standwas its latest
super-telephoto zoom,
the SP150-600mm f/5-6.3
DiVC USD G2.This powerful
second-generation zoom
offers a numberof
improvements overthe original,
including superioroptical performance, fasterAF
and improvedVibration Compensation. It also
boasts a numberofnewfeatures, including a
uorite coating and moisture-resistant
construction forprotection against the elements,
a Flex Zoom Lock that can hold the focal length at
anyfocal length and compatibilitywith two new
teleconverters. Its available in Canon and Nikon
ttings,with Sonyto follow. Price hasyet to be
conrmed. www.tamron.co.uk
PREMIUM OPTICS FROM SIGMA

SIGMA ANNOUNCED THREE premium lenses that
certainly drew in the Photokina crowds. Wide-angle fans
will be saving up for the (1,650) 12-24mm f/4 DG HSM Art
lens (1), designed to offer outstanding image quality from
centre to edge and minimal distortion. The zoom sports
an f/4 maximum aperture throughout the range,
2
incorporates premium optics including FLD
(F Low dispersion) glass elements and has a
minimum focus distance of only 24cm. The
(1,200) 85mm f/1.4 DG HSM Art lens (2) looks
set to become a favourite for portraiture. It uses
14 elements in 12 groups to maximise sharpness
and minimise chromatic aberration, while bokeh
as our tests with a pre-production model revealed
is truly beautiful. Also announced was the (6,000)
500mm f/4 DG OS HSM Sports lens (3), which is set to offer
wildlife and sports photographers a premium package thats
lighter in weight and cost to marque brands. All the lenses will
be available in Canon, Nikon and Sigma mounts, with stocks
arriving in November. www.sigma-imaging-uk.com
Right:SigmaUKsGraham
Armitagepreparestojuggle
withSigmaslatestArtlenses.
Product news \
Gear
NEWSTUDIOFLASH
WONDERWALL
POPULAR ONLINE PHOTO lab Whitewall
showcased a number of new additions to its
product line-up, including ne-art calendars,
photo books and canvas prints. Without
doubt, the most impressive new product
was its Ultra HD Photo Print, which reveals
an incredible level of denition, making it an
ideal choice for those looking to produce
large prints for exhibitions. Whitewall also
used Photokina as the venue to announce
the start of an Ambassador Programme,
which will see Whitewall work with a number
of distinguished photographers from around
the world in sharing expertise at workshops
and online. https://uk.whitewall.com/
Top: WhitewallsMariekeGoetheintroducestheimpressive
UltraHDprintsandtheirnewambassadorinitiative.
PROFOTO
TheD2,Profotos
latestmonolight,
isoneofthemost
exciting
new studioash heads
excitingnewstudioashheads
weve ever seen. Speed is its
weveeverseen.Speedisits
forte, with the facility to freeze
forte,withthefacilitytofreeze
actionat1/63,000secandreupto20ashesa
second.Itsaleapintechnologythatwillhavethe
mostcreativephotographersndingnewwaysto
makefulluseofitscapabilities.Thedesignisvery
sleekandthecontrollayoutontherearisthebest
wevetriedonaashhead,allowingmodesand
functionstobeselectedquicklyandeasilyno
meanfeatconsideringtheD2sspecication.
BoastingHighSpeedSyncandTTL,aswellas
manualpowercontrol,theD2offersahigh
degreeofversatilityandpacksapunchinterms
ofpower,beingavailablein500Wand100W
versions.The500Wheadcostsaround1,200and
the1000Waround1,550.www.profoto.co.uk
Above:ProfotosMattWilsondemonstratesthe
impressiveD2monolighttoeditorLezano.
LUMIXLATEST
PANASONIC REVEALED THE (700) G80, the latest in its Lumix
range of mirrorless cameras. It features a 16-megapixel LMOS
sensor, ve-axis image stabilisation and a splash/dustproof
body. Locked securely inside a vandalproof case was the
GH5, which is due early next year. Very few details were
given about it, but it was revealed that it will offer a 6K
Photo mode, as well as 4K photo and video capabilities.
Three future optics were also presented at the
show the Leica DG 8-16mm f/2.8-4, Leica
DG 12-60mm f/2.8-4 and Leica DG
50-200mm f/2.8-4. www.panasonic.co.uk
Right:YoshitakaKishifromPanasonicwiththeLumixG80.
BOWENS
Bowensrevealed
twonewrangesin
itsGeneration-X
lights.
The battery-powered
lights.Thebattery-powered
(1,200)
XMT500 is designed for
(1,200)XMT500isdesignedfor
locationlightingandprovidesafullsetof
featuresthatincludeshigh-speedsync,ninestops
ofpoweradjustment,TTLash,500Wpower,
built-inlithiumbatteryandultra-fastrecycling.
TheXMSrangeincludes500W,750Wand1000W
heads(800,900and1,000respectively),with
asmartdigitalcontrolsystem,stylishheaddesign
andneatlockingsystem.www.bowens.co.uk
Above:BowensDavidHollingsworthshowcases
the'Generation-X'XMSandXMTlightingsystem.
Gear/ Full-frame digitalSLR
PENTAX
K-1
Atlonglastthewaitisover.Pentax
usershaveafull-frameDSLRonoffer
and,aswendout,fortherighttypes
ofsubjectitcouldbearevelation
Test: DANIEL LEZANO
SPECIFICATIONS
Price:1,800(bodyonly)
Imagesensor:Full-frameCMOS(35.9x24mm)
Resolution:36.4-megapixels
Maximumimageresolution:7360x4912pixels
AFsystem:33-point(25cross-type)
Metering:86,000-pixelRGBsensor.
Multi-zone,spot&centre-weighted
ISOrange:100-204800
Shutterspeeds:1/8000sec-30seconds&Bulb
Continuousframerate:4.4frames-per-second
LCD:3.2in1,037,000-dotexi-tiltTFT
Storage:Dual-slotSD(SDHC/SDXC)
Size:110x136.5x85.5mm
Weight:1,010g(includingbatteryandcard)
Website:www.ricoh-imaging.co.uk
OUVE GOT TO feel a little sorry for

Pentax DSLR users. Whilst there has
been a solid choice of excellent
APS-C models available in recent
years, the one thing that has been missing
from the range has been a full-frame option.
Therefore, news of the K-1 will have been
greeted by Pentax enthusiasts with relish.
And, without giving too much away, for
most, the wait will have been worth it.
Pentax's latest agship model might have
taken an age to arrive, but it promises to
offer a package to keep the most serious
photographers content. Before jumping into
how it handles and what it offers however,
it's worth taking note of its price. At around
1,800 body-only, the K-1 costs signicantly
less than similarly-featured rivals, such as the
2,400 Nikon D810. Which is especially
impressive once you see what it has to offer.
As with other recent top-end Pentax
DSLRs, the K-1 is a chunky beast with
angular lines that's unlike the smoother,
curvier bodies you'll nd on the likes of a
Canon or Nikon. Its weatherproof body
sports a premium feel the term 'built like a
tank' could easily have been penned for the
K-1. The camera handles like a dream, with
the extra-large handgrip providing a secure
hold and the pronounced buttons and
chunky knobs helping make the camera
faster and easier to operate. This is further
aided by all the dials and buttons being
clearly marked and neatly positioned. The
dial on the right of the top-plate is worth a
little study it offers the chance to access
Moreangularindesignthanits
CanonandNikoncounterparts,
theweatherproofPentaxK-1is
welldesignedandajoytouse.
(and change via the top-plate dial) a number

of secondary functions, such as Wi-Fi,
bracketing and viewnder grid overlay. At
rst, I was sceptical about it, but the more
I've used the K-1, the more I think it has merit.
Two further areas of the camera's set-up
deserve special praise too. The rst is the
optical viewnder, which is simply superb.
It provides a bright and sharp image, 0.7x
magnication and near-100% eld-of-view.
The viewnder also sports a neat overlay
that allows for a choice of displays, such as a
grid pattern or digital level.
The second is the 3.2in LCD monitor.
What impresses most is not its resolution,
which is excellent, or the gapless resin layer
design that reduces internal reections, nor
is it the outdoor view settings that boost its
visibility in sunlight. What I like most is the
exible mount that allows the monitor to be
used and locked in a wide variety of angles.
The main interest of the K-1's specication
is undoubtedly the full-frame sensor. Its
36.4-million pixel resolution and lack of
anti-aliasing lter means Pentax nally has a
model to rivals the Canons, Nikons and
Sonys for resolution. One advantage it has
over all other full-frame models is bodyintegral stabilisation, which is claimed to give
up to ve stops benet. File processing is
handled by a PRIME IV imaging engine that
allows full-frame images to be captured at
up to 4.4 frames-per-seconds (6.5fps for
cropped APS-C images), with an extensive
ISO range from 100 all the way up to
204800. And while the K-1 offers Full HD
video, it does lack the capability to shoot 4K.

An innovation that is sure to benet image
quality on the K-1 is the Pixel Shift Resolution
System. It captures four images of the scene
and shifts the sensor by a single pixel for
each image, then merges them into one. It's
claimed to help reduce noise and provide
more accurate colour reproduction.
The K-1's AF system has been developed
to cover a wider area than conventional
arrays. Sporting a new AF sensor module,
the SAFOX 12, the K-1 boasts 33 AF points,
including 25 cross-type sensors. Along with
being able to select individual points or have
all active, you're also able to select smaller
AF zones made up of nine sensors.
The metering system offers patterns much
like that found on most other cameras, with a
choice of multi-zone, spot and centreweighted average patterns, along with a
choice of overrides such as AE-lock and AEB.
The 86,000-pixel RGB metering sensor also
assesses the subject's shape, colour and
movement to provide the processor with
more accurate analysis of the scene.
Another innovation on the K-1 is its four
assist lamps that light up key areas around
the camera, such as memory card slot and
lens mount, to help operation in the dark.
There are several other features that
normally we'd cover in more detail, but
haven't the space due to the depth of the
K-1's specication. This includes integral
Wi-Fi, built-in GPS module and electronic
compass, interval timer, digital lters and an
astrotracer for tracking celestial bodies!
Exposure:1/8000secatf/2.8(ISO400)
LENSES FORTHE K-1

You'vadecent,butnotextensive,choiceof
new'full-frame'opticsfortheK-1.Thecurrent
Pentaxrangehas12PENTAX-DFA-series
lensesthatmakeuseofthefull-framesensor.
DAlensesdesignedforitsAPS-Ccamerascan
stillbeused,butthecamerawilluseacropped
15-megapixelareaofthesensor.Therearea
fewexceptionsthatallowforfull-frame
shootingwithrestrictionscheckthePentax
websitefordetails.Bestnewsisthatallbuta
minorityoflensesmadeforPentax's35mm
SLRscanbeusedontheK-1,meaningthereare
upwardsof150lensesmostavailableused
forlowpricesthataresuitable.Plus,withan
adaptor,lensesforthe645systemworktoo!
CLOSESTRIVALS
NIKOND810:Amodernclassicthathas
provenpopularwithenthusiastsandprosalike.
Boastsafull-frame36.3-megapixelsensorand
impressivedynamicrange.TheNikonisastrong
rivaltothePentaxbutpricierataround2,400.
SONYALPHA7II:Thismirrorlessmarvelisa
popularchoiceforshootingstillsandmovies
andboastsa24.3-megapixelfull-framesensor,
FullHDvideoandbody-integralstabilisation.It
costsaround1,350body-only.
NIKOND610:At1,300,theD610isalittle
moreaffordablethanthePentax.Itsportsa
full-framesensor,24.3-megapixelresolution,
FullHDvideoanddualSDcardslots.
CANONEOS6D:LiketheNikonD610,this
20.2-megapixelfull-framemodelhasamore
compactdesign,morebasicspecicationand
lowerprice(1,250body-only).
The Pentax K-1 has a character all of its
own. Its workhorse design and solid build
harks back to the pro models of the lm era,
while inside, it's packed with cutting edge
technology. This makes it an interesting
camera to get to grips with, as well as an
enjoyable camera to use.
For most general picture-taking
situations, you'll have no problems at all
capturing extremely high quality results
the AF system locks positively on the subject
while the metering and White Balance
systems prove reliable and consistent.
However, the AF system does lag behind
rivals in a couple of areas. In single-shot
mode, there is a very brief but noticeable
delay before the AF kicks in. Also, the
continuous AF isn't as accurate at tracking as
rival systems, so sports and wildlife
photographers may want to have a couple
of test runs (or wait for a rmware update)
before committing to buy. Secondly, the

LiveView AF is a touch less responsive too,
although this isn't such a major issue.
Image quality from the sensor is superb,
especially if you shoot in Raw. While JPEGs
deliver good detail, Raw les provide
signicantly better quality, with high levels of
sharpness and an extremely wide dynamic
range. And while we only had time to briey
test the Pixel Shift option, our early trials
shows it works to provide even better
results. We tested the K-1 with a premium
pair of zooms (24-70mm f/2.8 and
70-200mm f/2.8), which really helps to
reveal what the sensor has the potential to
produce. It's certainly capable of the highest
quality results, but as with other highresolution sensors, you need to ensure
focusing is precise and shutter speeds high
enough to avoid any risk of your images
lacking maximum sharpness.
VERDICT
Pentax has kept its fans waiting
for a full-frame DSLR and, in most
areas, the K-1 doesn't disappoint.
It's as rugged as they come and boasts a
wide range of features, as well as some
clever innovations. Its sensor is its biggest
attraction and thankfully it doesn't
disappoint. With a competitive price tag, it's
sure to gain admirers from outside the
Pentax community, as well as from within.
Handling
18/20
Ease of use
18/20
Features
19/20
Performance
18/20
Value
19/20
Overall
92/100
The Treasure House of Nikon
Wanted
for Cash:
Nikon
.....................................................................
We are always seeking mint

or near-mint examples of Nikon
equipment: Digital & Film SLRs,
Nikkor Lenses: autofocus
& manual focus. We also take in
certain non-Nikon, such as Leica
(M-only), Hasselblad
and Rolleiflex.
Please telephone
020-7828 4925 for our offer
Nikon Digital Cameras
Nikon D5 DSLR body.......................................................... 5,199.00

Nikon D810A (Astrophotography) DSLR body.................... 2,999.00
Nikon D810 DSLR body...................................................... 2,139.00
Nikon D810 + MB-D12 Grip Kit........................................... 2,435.00
Nikon D810 + AF-S 14-24mm f/2.8G ED Nikkor................. 3,680.00
Nikon D810 + AF-S 24-70mm f/2.8G ED Nikkor................. 3,560.00
Nikon D810 + AF-S 14-24mm f/2.8G & AF-S 24-70mm f/2.8G ED
Nikkor Kit............................................................................ 5,099.00
Nikon MB-D12 Grip for D810..............................................
299.00
Nikon D750 DSLR body...................................................... 1,585.00
Nikon D750 + MB-D16 grip Kit............................................ 1,825.00
Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit........... 1,999.00
Nikon D750 + AF-S 24-120mm f/4G ED VR Kit.................. 2,225.00
Nikon D610 DSLR body...................................................... 1,145.00
Nikon D610 + MB-D14 Grip Kit........................................... 1,349.00
Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor..... 1,549.00
MB-D14 Grip for D610........................................................
209.00
Nikon D500 DSLR body...................................................... 1,720.00
Nikon D500 + 16-80mm f/2.8-4E ED.................................. 2,470.00
Nikon MB-D17 grip for D500...............................................
349.00
Nikon D7200 DSLR body....................................................
829.00
Nikon D7200 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit.....
999.00
Nikon D7200 + MB-D15 Grip Kit......................................... 1,045.00
Nikon D7100 DSLR body....................................................
659.00
Nikon D7100 + MB-D15 Grip Kit.........................................
869.00
Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit.....
849.00
Nikon D7100 + 18-140mm f/3.5-5.6G VR DX ED Kit.......... 1,095.00
Nikon D5500 body only.......................................................
549.00
Nikon D5500 body + AF-P 18-55mm f/3.5-5.6G VR DX Kit......
619.00
Nikon D5500 AF-S 18-140mm f/3.5-5.6G VR DX Kit..........
799.00
Nikon D5300 DSLR body....................................................
419.00
Nikon D5300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit.........
495.00
Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit.......
665.00
Nikon D5200 DSLR body....................................................
299.00
Nikon D5200 + AF-S 18-55mm f/3.5-5.6G VRII DX Kit.......
369.00
Nikon D5400 DSLR body....................................................
399.00
489.00
Nikon D3300 DSLR body....................................................
269.00
349.00
Nikon Df + AF-S 50mm f/1.8G Special Edition................... 2,195.00
Nikon Df DSLR body, chrome or black nish..................... 1,995.00
Nikon Df + AF-S 50mm f/1.8G SPECIAL GOLD Edition..... 5,000.00
5,000.00
Nikon 1 System
0% or Low
Interest
Finance
Nikon 1 V3 10-30mm + Grip Kit..........................................

Nikon 1 AW1 + 11-27.5mm f/3.5-5.6...................................
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8.............
Nikon 1 J5 + 10-30mm PD Zoom lens, black.....................
Nikkor VR 6.7-13mm f/3.5-5.6............................................
Nikkor VR 11-27.5mm f/3.5-5.6...........................................
Nikkor VR 10-30mm f/3.5-5.6.............................................
Nikkor VR 30-110mm f/3.8-5.6............................................
1 Nikkor VR 70-300mm f/4.5-5.6........................................
1 Nikkor AW 10mm f/2.8.....................................................
1 Nikkor 10mm f/2.8............................................................
1 Nikkor 18.5mm f/1.8.........................................................
1 Nikkor 32mm f/1.2............................................................
1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................
Nikon SB-N7 Speedlight.....................................................
Nikon GP-N100 GPS Unit...................................................
Mount adapter FT1.............................................................
Nikon
n Coo
Coolpix
Nikon Coolpix A...................................................................
795.00
549.00
695.00
345.00
375.00
149.00
225.00
179.00
745.00
245.00
179.00
145.00
599.00
529.00
119.00
99.00
199.00
849.00
AF-S & AF DX Nikkor

N
Lenses
10.5mm f/2.8G AF DX ED Fisheye.....................................

559.00
AF-S 35mm f/1.8G DX........................................................
165.00
AF-S 10-24mm f/3.5-4.5G IF-ED DX..................................
689.00
AF-S 12-24mm f/4G IF-ED DX...........................................
939.00
AF-S 16-80mm f/2.8-4E ED VR DX....................................
849.00
AF-S 16-85mm f/3.5-5.6G ED VR DX.................................
525.00
AF-S 17-55mm f/2.8G DX IF-ED........................................ 1,225.00
AF-P 18-55mm f/3.5-5.6G VR DX.......................................
199.00
AF-P 18-55mm f/3.5-5.6G DX.............................................
149.00
AF-S 18-55mm f/3.5-5.6G VRII ED DX...............................
149.00
AF-S 18-105mm f/3.5-5.6G VR DX IF-ED..........................
225.00
AF-S 18-140mm f/3.5-5.6G VR DX ED...............................
445.00
AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED.......................
595.00
AF-S 18-300mm f/3.5-5.6G ED VR DX...............................
795.00
AF-S 18-300mm f/3.5-6.3G ED VR DX...............................
575.00
AF-S 55-200mm f/4-5.6G DX ED VR II...............................
229.00
AF-S 55-300mm f/4.5-5.6G DX VR.....................................
289.00
AF-P 70-300mm f/4.5-6.3G ED VR DX...............................
349.00
AF-P 70-300mm f/4.5-6.3G ED...........................................
299.00
Prices include 20% VAT. Prices Subject to Change. E.&O.E.
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
Nikon D500
AF FX Nikkor Lenses
14mm f/2.8D AF ED...........................................................

16mm f/2.8D AF Fisheye....................................................
20mm f/2.8D AF..................................................................
24mm f/2.8D AF..................................................................
28mm f/2.8D AF..................................................................
35mm f/2D AF.....................................................................
50mm f/1.8D AF..................................................................
50mm f/1.4D AF..................................................................
105mm f/2D AF-DC............................................................
135mm f/2D AF-DC............................................................
180mm f2.8D AF IF-ED......................................................
1,299.00
665.00
495.00
375.00
249.00
269.00
109.00
249.00
849.00
1,075.00
699.00
AF-S FX Silent Wave Nikkor Lenses
AF-S 20mm f/1.8G ED.......................................................

609.00
AF-S 24mm f/1.8G.............................................................
635.00
AF-S 24mm f/1.4G ED....................................................... 1,675.00
AF-S 28mm f/1.8G.............................................................
525.00
AF-S 35mm f/1.4G............................................................. 1,459.00
AF-S 35mm f/1.8G ED.......................................................
419.00
AF-S 50mm f/1.4G IF.........................................................
365.00
AF-S 50mm f/1.8G IF.........................................................
179.00
AF-S 58mm f/1.4G............................................................. 1,345.00
AF-S 85mm f/1.8G.............................................................
415.00
AF-S 85mm f/1.4G............................................................. 1,289.00
AF-S 105mm f/1.4E ED..................................................... 2,049.00
AF-S 14-24mm f/2.8G IF-ED.............................................. 1,545.00
AF-S 16-35mm f/4G ED VR...............................................
979.00
AF-S 17-35mm f/2.8D IF-ED.............................................. 1,445.00
AF-S 18-35mm f/3.5-4.5G..................................................
585.00
AF-S 24-70mm f/2.8G IF-ED.............................................. 1,425.00
AF-S 24-70mm f/2.8E ED VR............................................ 1,845.00
AF-S 24-85mm f/3.5-4.5G ED VR......................................
409.00
AF-S 24-120mm f/4G ED VRII...........................................
895.00
AF-S 28-300mm f/3.5-5.6G ED VR....................................
759.00
AF-S 70-200mm f/2.8G VR II IF-ED................................... 1,869.00
AF-S 70-200mm f/4G VR IF-ED......................................... 1,119.00
AF-S 70-300mm f/4.5-5.6G VR IF-ED................................
469.00
AF-S 80-400mm f/4.5-5.6G VRII ED.................................. 1,999.00
AF-S 200-400mm f/4G VRII IF-ED..................................... 5,795.00
AF-S 200-500mm f/5.6E VR ED......................................... 1,179.00
AF-S 200mm f/2G VR II IF-ED........................................... 4,495.00
AF-S 300mm f/4E PF ED VR............................................. 1,425.00
AF-S 300mm f/2.8G VR II IF-ED........................................ 4,499.00
AF-S 400mm f/2.8E VR FL ED........................................... 9,450.00
AF-S 500mm f/4E FL ED VR.............................................. 8,149.00
AF-S 600mm f/4E FL ED VR.............................................. 9,490.00
AF-S 800mm f/5.6E VR FL ED (inc. TC-800-1.25E ED teleconverter)
........................................................................................... 13,995.00
TC-14E III 1.4x teleconverter..............................................
419.00
TC-17E II 1.7x teleconverter...............................................
345.00
TC-20E III 2x teleconverter.................................................
375.00
AF & AF-S Micro-Nikkor Lenses
AF-S 40mm f/2.8G DX Micro..............................................

60mm f/2.8D Micro.............................................................
Micro.............................................................
AF-S 60mm f/2.8G ED Micro..............................................
Micro..............................................
AF-S 85mm f/3.5G VR DX IF-ED Micro.............................
Micro.............................
AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................
IF-ED........................
200mm f/4D AF Micro IF-ED..............................................
IF-ED..............................................
Nikon Speedlights
SB-5000 Speedlight...........................................................
SB-700 Speedlight.............................................................
SB-500 Speedlight.............................................................
SB-300 Speedlight.............................................................
SB-R1C1 Close-Up Commander Kit..................................
SB-R1 Close-Up Remote Kit..............................................
SU-800 Wireless Speedlight Commander..........................
SB-R200 Wireless Remote Speedlight...............................
225.00
399.00
469.00
415.00
699.00
1,295.00
475.00
239.00
179.00
99.00
559.00
419.00
265.00
149.00
Manual Focus Nikkor AIS Lenses

20mm f/2.8 Nikkor..............................................................
24mm f/2.8 Nikkor..............................................................
28mm f/2.8 Nikkor..............................................................
35mm f/1.4 Nikkor..............................................................
45mm f/2.8P Nikkor, chrome..............................................
50mm f/1.4 Nikkor..............................................................
50mm f/1.2 Nikkor..............................................................
901.00
608.00
615.00
1,227.00
325.00
597.00
855.00
Special Purpose: Perspective

Control & Micro-Nikkor Lenses
24mm f/3.5D PC-E ED Nikkor............................................ 1,499.00

28mm f/3.5 PC Nikkor........................................................ 1,195.00
45mm f/2.8D ED PC-E Nikkor............................................ 1,399.00
85mm f/2.8D ED PC-E Nikkor............................................ 1,290.00
105mm f/2.8 Micro-Nikkor.................................................. 1,047.00
200mm f/4 Micro-Nikkor.....................................................
895.00
PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control
TO ORDER TELEPHONE 020-7828 4925
Follow us on:
@NikonatGrays
Nikon
Body 50th Anniversary Model
In 1998, two years after the

introduction of F5, Nikon marked the
50th anniversary of camera production
from the first release of the Nikon I in
1948. In commemoration of this, they
decided to offer the 50th Anniversary
Model, which was designed based
on the F5 with changes in the colour
of the upper body cover and body
cap to a sober dark silver colour, and
the rubber of the oval section of the
grip to a dark grey, adding a quality
appearance to the camera.
On the front of the viewfinder was inscribed

the same Nikon logo as adopted in Nikon I,
and the back of the body was marked with
the former company marking of Nippon
Kogaku K.K. and the marking for 50th
Anniversary of Nikon Camera.
This was the only variation model of the F5.
In June 1998, the 50th Anniversary Model
Nikon F5 (with a special wide strap for the
anniversary model) went on sale in a limited
quantity of 2,000 (3,000 in total including
those on the foreign markets).
Find us on Facebook: www.facebook.com/graysofwestminster
The unused example shown here and

beautifully photographed by Tony Hurst
comes complete in a display box with yellow
satin lining, unopened special edition Nikon
F5 neck strap, body cap, instruction manual
(Japanese text) and outer shipping carton.
The original shutter guard is still in place
and would need to be removed on first use).
1,198.00. Photograph by Tony Hurst.
TO ORDER TELEPHONE
020-7828 4925
Visit our website: www.graysofwestminster.co.uk
Gear/ Premiumtripods
PREMIUM
W
TRIPODS
WE REVIEWA SELECTION OF SOME OF

THE BESTTRIPODS ON THE MARKET,
COVERING A RANGE OF DESIGNS AND
STYLES,TO SUITTHE DISCERNING
OUTDOOR PHOTOGRAPHER
ITH A BUDGET OF 300-PLUS,

there are some seriously good
tripods to be had, with a variety of
design options. Our review covers
models from 300 to 600, with most being
carbon-bre for reduced weight and high
strength. At the lower end of this price scale,
Premium tripods\
we have some basic tripods without too
many extra features, though basic is a
relative term here. All but one have four leg
sections to achieve either extra height, or a
shorter closed length, or a bit of both. They
have sliding centre-columns too, and usually
three leg angles to go low, so none are
exactly spartan. The extra features available
include articulating centre-columns that tilt
over and are very helpful for getting into
awkward positions. They're particularly good
for macro work, or table-top work.
Others have a monopod option, with a
detachable leg that simply bolts onto the
Test: RICHARD HOPKINS
removable centre-column. This creates a

very good and tall monopod, though they
don't close down as compact as dedicated
versions. Then there's the cunning folddown-small traveller-type design, which
substantially reduces the closed length for
transport. One of the Benros on test here
incorporates all three of these extra features.
There are three Gitzos, each with a
different take on tripod design, optimised for
different purposes. They're predictably
expensive, but offer very high performance
Gear
and low weight. And we have a top of the

range Manfrotto an awesome device with
military grade build quality and extreme
height. It also has a geared centre-column,
and they're unusual these days, but make
accurate positioning a lot easier.
And we have a Berlebach from Germany,
where they've made wooden tripods since
1898! Wood still has a certain appeal and
Berlebachs are not as pricey as you might
think. So there's something for everyone
here, and while 300+ may seem like a lot,
these tripods are so much nicer to use, offer
exceptional stability, and are built to last.
HOWWEDIDTHETESTS
Wind is the tripod's main enemy. It buffets
around the camera and head, setting up tiny
vibrations that cause blurring of ne detail in
the image. These vibrations then create a
secondary resonance as the vibration travels
down the legs and back up again in an
oscillating cycle. You can even see this
happening if you have a very long lens (to
exaggerate the effect) and set up on a
blustery day, using Live View with maximum
magnication. Tap one of the legs and the
image will dance around alarmingly! Raise
the centre-column and it will dance some
more. The best tripods are strong and rigid,
minimising primary vibration and absorbing
secondary resonance. Other potential
problems include vibration coming up
through the legs, near a busy road perhaps,
and there is also shutter-shock and mirrorslap to consider. Again, solid tripod
construction reduces this, though it is
obviously better to wait for a break in the
traffic, and to use mirror lock-up. Last but not
least, there's potential movement just from
pressing the shutter release button, so use a
remote release, or the camera's self-timer.
To test the effect of wind buffeting, a
carefully controlled studio rig was set up to
replicate a moderate breeze. Test pictures
were analysed with Imatest MTF software,
employing the same procedure normally
used for lens sharpness testing. Imatest is
sensitive and accurate, and proved very
revealing, too. The results are shown in the
TRIPOD:ANATOMY
Height:Optimallyputsthecameraatshoulderlevel,so
youcanseeallthecontrols.130cm-ish,plushead.
Minimumheight:Optionsincludeclosingthelegsdown,
orsettingawiderleganglewithashortcentrecolumn.
1)Legsections:Moresectionsdeliverextraheightand/or
shorterclosedlength,butmorejointscanreducerigidity.
2)Legangle:Standardlegangleisaround22.Wider
anglesincreasestabilitywithabiggerfootprint,narrower
anglesincreaseheight.
3)Legangleadjusters:Usuallytwoextraangleoptions,
plusstandardangle,togetdownlow,orlevellingthe
tripodonunevenground.
4)Carbon-bre:Strongandlight.Carbon-bremodels
areabout30%lighterthanaluminium,buttwicetheprice.
5)Monopodconversion:Unscrewoneleg,boltittothe
centrecolumn,andvoilyouhaveanicetallmonopod.
6)Foamrubbergrip:Forcomfortablecarrying,eitherin
thehandorrestingonyourshoulder.
7)Centre-column:Veryconvenientforextraheight,but
reducesstability.Bestavoidedwithaheavyrig.Usually
reversibletousecameraupside-down.
8)Articulatingcolumn:Greatforawkwardangles,such
asmacro,butatfullstretchcanunbalancethetripod.
9)Leglocks:Leversarefastandeasy,buttwist-collarsare
ratings for Stability in the individual reviews.

The basic physical checks can be done
quite easily in-store, and are especially
revealing when comparing different models
side by side. So, set up the tripod to normal
working height, and holding two legs, gently
push-pull back and forth, one against the
other. There will always be some exing,
even with the best tripods. While doing this,
BerlebachReport843
ERLEBACH IN GERMANY has

been making tripods from
BEST
wood since 1898. Despite
FEATURE
the dominance of modern
Beautiful ashwood
materials, wood is claimed to be
with modern metal
superior at absorbing vibration,
ttings
with Ash being the favourite.
The Berlebach catalogue is vast.
While the basic tripod design is much the same
throughout the range, there are dozens of
permutations. The standard nish is natural, though
there's a range of darker stained colours and a rather
cool camo option.
Operation is entirely familiar. The t and nish is
good and the grooved leg sections slide smoothly,
locked by clamping side-knobs, and with a choice
of ve leg angles. On top, the furniture is totally
modern CNC machined aluminium, and the
Report 843 model has a tall 50cm centrecolumn and levelling bowl that tilts a generous
30 with smooth precision. There's almost no
need for a tripod head.
It's an appealing combination of old and
new, and it's easy to get drawn into the
nostalgia, but being purely objective, the
wood doesn't have any obvious practical
benets. It's heavy at 2.88kg and very long
for carrying at 71cm. There's some ex in
the legs, though nothing serious, and in
the stability and vibration tests,
performance was middle of the road.
10
8
12
11
5
2
6
4
1
9
13
morerobustandlesslikelytocatchonthings.
10)Universalheadtting:Standard3/8inthreadmeans
headscanbefreelyinterchanged.
11)Ballasthook:Forhangingextraweight,likeacamera
bag,forincreasedstability.
12)Spiritlevel:Forkeepingyourhorizonslevel.
13)Feet:Standardrubberfeetcanoftenbeexchangedfor
spikes.Somefeetincorporatebothoptionsinone.
look down the length of one leg and you may

notice more movement around the joints. If
so, slide a couple of inches of each leg
section back up, and this will reduce exing
and improve stability.
While you're at it, try out all movements
and locks by raising the tripod to maximum
height. Check it then lower to its normal
level, and check how all functions operate.
SPECIFICATIONS
Streetprice:300
Normalheight:139cm
Extendedheight:180cm
Minimumheight:53cm
Lengthclosed:71cm
Legsections/angles:3/5
Standardlegangle:20
Legwidths:67,40,18mm
Leglocks:Screwknobs
Centrecolumn:Adds41cmheight
Monopodoption:No
Accessories:No
Weight:2.88kg
Loadrating:9kg(claimed)
Warranty:Tenyears
Website:www.berlebach.de
VERDICT
You either love the look and feel of
wood, or you don't, and the
claimed performance advantages
proved elusive. Fast and affordable
shipping direct from Germany.
Build quality
Features
Stability
Value
Overall
Premium tripods\
Me Foto
Manfrotto190Go!
BEST
FEATURE
HE 190 GO! APPEARS very

similar to the popular
Centre-column
Manfrotto 190CXPRO4,
swings down 90
though actually there are quite a
great formacro
few small changes, and one major
difference. The most obvious thing
is swapping the big QPL lever locks in favour of
twist collars for the 190 Go! This has prompted
Manfrotto to increase the diameter of the leg
sections, and reduce the height by 13cm.
While these changes look a little like costsaving (the 190 Go! is cheaper) the net result is a
slightly better tripod, especially if you prefer
neater collar locks over Manfrotto's large levers
that can catch undergrowth. The fatter leg
sections improve stability and the weight is
reduced by a signicant 300g, making the
190 Go! only 1.36kg. The loss of maximum
height is a potential downside if you're tall,
but at 123cm the 190 Go! still puts the
camera at comfortable shoulder level for
most users. More good news is that the
excellent articulating centre-column is
retained, tilting down 90 to lie
horizontally, while sliding fore and aft,
and rotating 360 too. It's very easy
to use and locks securely, and while
not quite as versatile as some tilting
columns that offer a greater range
of angles, in practice the xed
90 position covers most things.
BenroMach3TMA38C
HERE ARE NO frills, nothing

fancy here. But if that
BEST
sounds like a criticism,
FEATURE
it's not meant to be. The
Chunkyleg sections
Mach3 TMA38C concentrates
improved performance
on the essentials of a good,
all round
solid tripod that can take on
most tasks and make a decent
job of them all. The key is a well balanced spec.
At 137cm, it's big enough to bring the camera
up to a shoulder height for even the tallest
users. But it's not unnecessarily big, and that
keeps weight down to a manageable 1.98kg.
And with four leg sections, the closed length is
only 55cm, the second smallest here.
Minimum height is just 18cm, achieved by
dropping in the short centre-column
supplied. The leg sections are fatter than
most, measuring 32mm at the top, which
increases rigidity for very little increase in
weight, and it also means the collar locks
are slightly bigger for a rm and comfy
grip. The rubber feet unscrew, and can
be replaced with the provided spikes,
and it all packs away in a nice quality
supplied padded shoulder bag.
All the usual secondary features
are here, like a ballast hook for a
weight to increase stability, a
bubble level, a foam rubber grip
and a strap attachment point.
Gear
SPECIFICATIONS
Streetprice:310
Normalheight:123cm
Minimumheight:8cm
Lengthclosed:46cm
Standardlegangle:24
Legdiameters:25,22,19,16mm
Leglocks:Collars
Centrecolumn:Tilting,adds24cmheight
Monopodoption:No
Accessories:No
Weight:1.36kg
Warranty:Tenyears
Website:www.manfrotto.co.uk
VERDICT
Less of a cut-down 190CXPRO4,
more an improved, streamlined
version. The 190 Go! retains all
the best features, with better
stability and less weight.
Build quality
Features
Stability
Value
Overall
SPECIFICATIONS
Streetprice:320
Normalheight:137cm
Minimumheight:18cm
Lengthclosed:55cm
Standardlegangle:21
Leglocks:Collars
Centrecolumn:Sliding,adds22cmheight
Monopodoption:No
Accessories:Bag,short-column,spikes
Weight:1.98kg
Warranty:Fiveyears
Website:www.benroeu.com
VERDICT
A medium sized all-rounder, but
with chunkier legs and collars than
usual, making it that bit stronger
and easier to use. Comes with a
quality shoulder bag.
Build quality
Features
Stability
Value
Overall
Premium tripods\
BenroGoPlusTravelFGP28C
F THE BENRO MACH3 TMA38C

is a bit plain Jane, try the FGP28C.
BEST
On top of a strong basic
FEATURE
specication with four-section
Ingenious design
legs and a 135cm standard
packs in loads of
height, there's a fully articulating
extra features
centre-column, a detachable leg
that turns into a monopod, and it's a
traveller-type design that closes small for transport.
With travellers, the legs fold up and back over the
head, the centre-column slides up, and the head
nestles in the space between the upturned legs.
This substantially reduces the closed length by
about 15cm, down to a petite 49cm. The only
caveat is some bigger ball heads won't allow
the legs to fold back completely ush. We
used the excellent Arca-Swiss P0 ball head,
and that was just about perfect.
The articulating centre-column pulls up
and tilts right down through 180, locking
at 15 increments, as well as sliding back
and forth and rotating 360. It's well
implemented, versatile and solid. Benro
has increased the leg angle to 27 for
a bigger footprint and, extra stability
when the column is tilted out.
For a monopod, unscrew the
leg, remove the centre column,
and join them together.
The max. height of 178cm is
ample for most needs.
GitzoExplorerGT2351EX
LMOST ALL TRIPODS follow

the same basic design
BEST
with preset leg angles.
FEATURE
This is ideal for level surfaces,
Variable leg angles
but on uneven ground the
are excellent on
length of each leg has to be
uneven terrain
adjusted to get the tripod
properly upright. The Gitzo

Explorer is different, and each leg
can be individually set to any angle from 0-90,
locking rmly with a large lever at the top. On a
gentle slope, that's all you need to do, or on
steeper terrain, adjust the leg lengths as well. After
a few minutes familiarisation, it's actually a very
easy way of setting up accurately and with the
optimum footprint for maximum stability.
The tilting centre-column swings down
through 180 as well as sliding and rotating.
In a nutshell, the Gitzo Explorer can get into
awkward positions, at any angle or on any
level, more quickly than just about
anything else perfect for macro. It's
similar to the Benbo (not Benro) design
in this respect, but somewhat easier.
The other thing that sets the
Explorer apart is its sheer strength and
rigidity, even with the tilted column
hanging off to one side, thanks to its
robust mechanism. Despite all this,
Gitzo has managed to keep the
weight down to under 2kg.
Gear
SPECIFICATIONS
Streetprice:320
Normalheight:135cm
Minimumheight:Groundlevel
Lengthclosed:49cm
Standardlegangle:27
Leglocks:Collars
Monopodoption:Yes,82-178cm
Accessories:Shoulder&storagebag,spikes
Weight:1.63kg
Warranty:Fiveyears
Website:www.benroeu.com
VERDICT
A very good medium-sized
tripod, even without the extra
features cleverly incorporated by
Benro. It's a great piece of design,
with no downsides.
Build quality
Features
Stability
Value
Overall
SPECIFICATIONS
Streetprice:470
Normalheight:138cm(legat25)
Extendedheight:168cm(legat25)
Minimumheight:Groundlevel
Lengthclosed:67cm
Legsections/angles:3/variable0-90
Standardlegangle:n/a
Legdiameters:28,24,20mm
Leglocks:Collars
Monopodoption:No
Accessories:Storagebag
Weight:1.92kg
Warranty:Sevenyears
Website:www.gitzo.co.uk
VERDICT
The unique design works better
than anything else on uneven
terrain, and the tilting column is
very solidly engineered. Possibly
the most underrated Gitzo.
Build quality
Features
Stability
Value
Overall
ManfrottoMT057C4-G
ANFROTTO'S 057-SERIES
is top of the range. These
BEST
are beefy tripods, and
FEATURE
not for the faint-hearted, but
Geared centrevery well engineered with great
column is smooth,
strength and height and the
light, and precise
option of a geared centre-column
for accurate positioning. The
057C4-G numbers are big. It stands at 182cm,
extending to an incredible 206cm. The legs are
massive 39mm diameter at the top.
But on the other hand, this is the largest version
weighing 3.75kg, and with a closed length of
67cm it's quite a handful. It's happiest in the
studio, or unless you're unusually determined,
with subjects not too far from the car. Once set
up though, it has few rivals for super-solid
support, precise positioning, and ease of use.
With lever leg-locks (rare in tripods of this
size) levelling changes are quick, and gearing
of the centre-column is smooth and light,
for ne adjustment that holds position
without locking. The centre-column, with
bubble-level clearly visible at the bottom,
can be easily removed and with the legs
spread to the widest of three angle
settings, the minimum height drops to
23cm. The chunky rubber feet screw
back to reveal integral spikes.
Considering what you get, 490
represents excellent value.
GitzoSystematicGT3452LS
ITZO SYSTEMATICS ARE

widely regarded as the
BEST
best. Designed
FEATURE
without compromise for
Optimised design,
maximum stability, they're
with drop-in centrethe choice for professionals
column options
and enthusiasts with heavy
cameras and big telephotos.
Systematics come without a centre-column
as standard and the head is mounted on the
wide-diameter top plate, sitting low to the
pivot joints so the apex of the legs the point
of least lateral movement falls as close to
the optical axis as possible. The top plate is
quick-detachable, and can be replaced with
a sliding centre-column (at relatively
modest cost) or a geared version (less
modest), making Systematics excellent
all-rounders and equally at home in the
studio or outdoors. The rubber feet pull
off to reveal spikes, and a set of mini
snow-shoes is provided. Even with
their rigid and robust construction,
Systematics are reasonably light,
with this GT3452LS coming in at
under 2kg, so they're easy to carry.
Systematics are devoid of
fancy features. There's no
monopod option or colourful
anodised ttings, just great
design and top-quality build.
SPECIFICATIONS
Streetprice:490
Normalheight:182cm
Minimumheight:23cm
Lengthclosed:67cm
Standardlegangle:22
Leglocks:Levers(adjustable)
Centrecolumn:Geared,adds24cmheight
Monopodoption:No
Accessories:No
Weight:3.75kg
Warranty:Tenyears
Website:www.manfrotto.co.uk
VERDICT
Once in position, it's fabulous
solid, precise, easy. But at 3.75kg,
getting it there can be a challenge.
Massive height, quality build and
decent value at 490.
Build quality
Features
Stability
Value
Overall
SPECIFICATIONS
Streetprice:550
Normalheight:147cm
Extendedheight:n/a
Minimumheight:9cm
Lengthclosed:57cm
Standardlegangle:23
Leglocks:Collars
Centrecolumn:Optionalextra
Monopodoption:No
Accessories:Bag,sparefeet,snow-shoes
Weight:1.99kg
Warranty:Sevenyears
VERDICT
Often copied, but never bettered.
From the Gitzo Systematic
range, this GT3452LS strikes a
good balance between size,
weight, versatility and cost.
Build quality
Features
Stability
Value
Overall
Premium tripods\
GitzoMountaineerGT2542
SPECIFICATIONS
Streetprice:600
Normalheight:137cm
Minimumheight:15cm
Lengthclosed:56cm
Standardlegangle:23
Leglocks:Collars
Centrecolumn:Sliding,adds28cmheight
Monopodoption:No
Accessories:Storagebag
Weight:1.7kg
Warranty:Sevenyears
HAT'S SO SPECIAL about a

600 tripod? Compare
BEST
the specication of the
FEATURE
Gitzo GT2542 to the much
Get down! Centrecheaper Benro Mach3 TMA38C:
column detaches in a
both have four leg sections,
couple ofseconds
they're the same 137cm height
with centre-column down, virtually
the same closed length, have a similar minimum
height (15cm vs 18cm), and both come without
any extra features like a tilting column.
The most notable physical difference is the
Gitzo weighs a handy 300g less at 1.7kg with its
slightly slimmer leg sections (29mm vs 32mm),
but of course there is one other thing at 600
the Gitzo costs nearly twice as much.
Apart from the brand name, you can't see
the difference it's under the skin. But you
can feel it, and we could also measure it in
the wind-buffet and vibration tests. The
Gitzo's legs may be slimmer, but they're
stiffer, and the collar locks are stronger.
There's noticeably less ex and the Gitzo
just feels more rigid and sturdy. This
translates into improved performance,
with greater resistance to vibration and
resonance through the legs. You're
unlikely to notice it in normal use,
but in difficult situations like a windy
hillside or long exposures, look
closely at images and you'll see it.
Benro GoPlusTravel FGP28C
Testconclusion
OTS OF BEST BUY AND Highly Rated

rosettes awarded here, though that's
only to be expected when the budget
goes over 300. In price order then:
The Manfrotto 190 Go! is Highly Rated
for its advanced specication, including a
tilting centre-column and low weight.
Overall performance is high, but it may be
a little short for some. The Benro Mach3
TMA38C is also Highly Rated and although
the features list is relatively modest, it's a
very good, solid tripod.
A Best Buy award goes to the Benro
GoPlus Travel FGP28C. Not only is it a
Gear
VERDICT
For a medium size standard
tripod, the Gitzo 2542 is as good
as it gets. Strong and light, it
stands tall and closes down small.
Perfect, if it wasn't for the price.
Build quality
Features
Stability
Value
Overall
Gitzo ExplorerGT2351EX
Manfrotto MT057C4-G
good medium-sized tripod, the

articulating centre-column, detachable
monopod, and traveller design are all really
useful extra features, and well executed.
The Best Buy Gitzo Explorer 2531EX is
similar on some aspects, but in a very
different package. It's expensive too, but
for what it does, nothing does it better, or
offers more stability at awkward angles.
The Manfrotto 057C4-G stands apart,
if only because of its gigantic size and
military-grade build. It's not to be tried
with, but in the right situation it's peerless,
with an excellent geared centre-column.
It's a Best Buy, and value for what you get.
From Gitzo's acclaimed Systematic
range, the 3542LS looks like the pick,
presenting a solid platform capable of

taking on anything, yet remaining light and
manageable. Considering there's no
centre-column it's expensive, but Highly
Rated nevertheless. The Gitzo
Mountaineer 2542 is nothing fancy on the
features front, but very strong for its size
and low weight. It has good height, and
can drop to the ground in two seconds
with its quick-release centre-column. As
an every-day general purpose tripod, it
comes Highly Rated, at a cost of course.
The three-section Berlebach deserves a
mention, if not a rosette. The wood is
nostalgic and beautiful, seductive even,
but less practical and cumbersome. The
two-section models offer better stability.
Gear/ Compact SystemCamera
PANASONIC LUMIX GX-80

Thisfully-featured16-megapixel
CompactSystemCamerapromises
tobegreatvalueatunder600
(with12-32mm),butcanitdeliver?
Test: DANIEL LEZANO
SPECIFICATIONS
StreetPrice:510(body
510(bodyonly)/600(with12-32mm)
y)/600(
32mm)
Imagesensor:Four-ThirdsLiveMos(17.3x13mm)
Imagesensor:
ImageResolution:16-megapix
ImageR
:16-megapixels
VideoResolution:4K,FullHD,HD&VGA
LensMount:MicroFour-Thirds
AFsystem:
y
ContrastAFwithvariousoptions
options
Meteringsystem:
eringsy
1,728-zone,spot&centre-weighted
one,spot&c
eight
ISOrange:
ange: Auto+100-25600(Video:Upto6400)
25600(Video:Upt
ImageStabilisation:Five-axissensorshift
ImageS
Continuousframerate:Eightfr
Eightframes-per-second
-per
LCDmonitor: 3intiltingtouchscreen(1,040,000-dot)
tingt
Storage:SD(SDHC/SDXC)
age:
Size:122x70.6x43.9mm
Weight:426g(includingbattery
eight: 426g(includingbatteryandcard)
HE LUMIX SERIES of Compact

System Cameras (CSCs) have
proven popular since they rst
appeared in 2008, helping Panasonic
carve a signicant chunk of the
mirrorless market. The GX-80
is the latest model in the
GX-series and is packed with
features. We rst took note of it during
the clever TV ad campaign that highlighted
its 'still image from 4K video' capability and
decided to see how versatile it proved to be.
The Lumix GX-80 has the modern-retro
rangender-style design that has proven so
popular with various brands over the last
few years. The compact size of the camera
and the retractable design of the 12-32mm
kit zoom makes this bundle small enough to
slip into a pocket, giving it a distinct
advantage as a 'take-everywhere' camera.
The camera's size means that the buttons
are also on the small side, but they're neatly
arranged and well marked, so nding your
way around isn't difficult. However, the
sheer number of function buttons, along
with the less-than-straightforward
arrangement of LCD icons, means that
changing from one function to another isn't
as simple as it should be. If there is one area
that I would recommend Panasonic change
on future models, it's making the interface
more user-friendly I certainly found it
tiresome having to refer to the user manual.
In some respects, this complaint is
accentuated by the number of features that
the GX-80 boasts. It's crammed with the
latest technology offering plenty for the stills
and video photographer. There's a full set of
exposure modes and metering patterns, as
you'd come to expect on a modern camera,
along with stacks of overrides such as
Above:TheGX-80isstyledinapleasingretrorangender
fashion,asisthecurrenttrendwithmostmirrorlessmodels.
exposure compensation through to

user-control of dynamic range and
highlight/shadow recording. I found the
exposure system was extremely reliable,
with only strong backlighting posing the
biggest challenge.
The AF system offers a sophisticated
range of options as well as multi- and
single-point selection, you can choose
custom AF points or face detection too, or
even try post focus, a mode that shoots a
number of frames at different points of
Exposure:1/640secatf/4.9(ISO400)
focus, allowing you to choose the one that

suits your needs best. I found the AF to be
fast and accurate in general, as well as
capable for general moving subjects.
However, I was annoyed that when selecting
the AF area, such as the centre, my nose
touching the screen would move it to
wherever my conk made contact!
Video isn't an area we normally look into
too greatly, but I was very impressed by the
quality of the movies I lmed on the GX-80.
While serious videographers will be put off a
little by the lack of microphone or
headphone sockets, for general users, the
video capabilities will be more than good
enough. The ability to pull an eightmegapixel still image from a video le as
we rst noted on the TV ad is a neat trick.
The overall image quality captured using
the 12-32mm zoom is excellent with good
sharpness and contrast throughout the focal
Accessories\
Gear
EDDYCAMSLiNG
Premiumwriststrap/Highquality
elk-skin/HandmadeinGermany
Test: JORDAN BUTTERS
Price:90-120
Contact:www.johnsons-photopia.net
range. And while there is the general rule of

bigger sensors giving better images, I have
to say you'd struggle to tell whether GX-80
images were from a Four-Thirds sensor or
the larger APS-C. Noise is well controlled
too, and images up to ISO 1600 are more
than good enough for large prints, with
higher ISO speeds delivering shots that are
more than suitable for web use or smaller
prints. I was also impressed by how well the
body-integral stabilisation performed.
The 3in LCD provides a bright and clear
image and the tilting screen proved useful
when shooting at low angles I'm not
concerned that it can't be rotated left or
right. For those who aren't keen on
composing images via the LCD, you'll nd
the electronic viewnder to be excellent.
The screen is sharp, clear and provides a
high level of exposure info. Other features of
note include Wi-Fi, an integral ash, Raw,
panoramic mode and a time-lapse facility.
Above:TheLumixGX-80'scompactformfactormakesita
goodchoicefortravelphotography.Left:The3intiltingLCD
screenmakesiteasytoshootfromloworjauntyangles.
VERDICT
The Lumix GX-80 is avery
impressive camera at an extremely
attractive price. Ifyou're looking for
features, thenyou'll feelyou've got fullvalue for
money. Image andvideo qualityisveryhigh too.
Unfortunately, the overly-complicated nature of
the LCD icons and function buttons reallydampen
the enthusiasm ofusing the camera, and I hope
future models address this issue.
THE WEEK BEFORE

sending this issue to
print, a box landed
on my desk,
courtesy of
EDDYCAM. Aside
from the rich waft
of elk-leather that
greeted me as I
opened the box, I
was initially impressed
by the feel and quality of the
products that arrived. While I'm going
to give the 60mm Fashion neck strap a
thorough test, I wanted to briey share
my opinion on the smaller SLiNG wrist
strap, now I've had a chance to use it.
EDDYCAM's straps are handmade in
Germany, and in case you were
wondering what Finnish elk-skin feels
like; imagine the softest material you
can it's slightly softer than that. The
leather is hard-wearing and durable,
and resists extreme heat, cold and
humidity. Don't worry it's sourced
ethically and under strict guidelines too.
Available in ve colour combinations (I
have the nature/nature one), the SLiNG
strap attaches at one point via a simple
loop through your camera's shoulder
lug. With tough polypropylene webbing
and cowhide leather ends it's rated to
work with cameras up to 3kg.
The SLiNG is a generous size,
allowing for the largest of hands to slip
through, while not loose enough so
that it could easily slip off. It allows for a
good grip, without dangling in the way
when being used on a tripod, as can
happen with a full neck strap.
The EDDYCAM SLiNG is a luxury
product, and this is reected in the
price. At 90-120, depending on
colourway, it's more than most are
willing to spend on a strap, but if you
want the ultimate in comfort and feel
then you won't regret the purchase.
VERDICT
Performance
Quite expensive, but soverywell

made. Ifyou can justifythe initial
outlayyou'll have a great-looking,
incrediblycomfortable and
well-madewriststrapthatwillmore
than likelyoutlastyourcamera!
Value
Overall
Build quality
Features
Overall
Visit our state of the art

stores in Burgess Hill (West Sussex)
and Central London
Visit our website for directions and opening
times for both stores
Experts in photography
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379.00 AF-DC 105mm f/2 Nikkor
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1,999.00
200mm f/2.0L IS USM
See website EF-S 17-55mm f/2.8 IS USM See website AF-S 50mm f/1.4G
AF-D 50mm f/1.8
119.00 AF-S 600mm f/4E FL ED VR 10,999.00 AF-S 70-300mm IF ED VR
499.00
200mm f/2.8L USM/2
See website EF-S 18-135mm IS STM
329.00
AF-S
50mm
f/1.8G
189.00
AF-S
800mm
f/5.6E
FL
ED
VR14,799.00
AF-S
200-400mm
VR
II
6,149.00
300mm f/2.8L USM IS II
4,799.00 EF-S 18-200mm f/3.5-5.6
385.00
300mm f/4.0L USM IS
See website 24-70mm f/2.8L II USM
See website
400mm f/2.8L USM IS II
See website 24-70mm f/4.0L IS USM
675.00
For Nikon accessories including batteries and grips, see in store or online
400mm f/4.0 DO IS II
6,999.00 24-105mm f/4.0L IS USM
735.00
400mm f/5.6L USM
See website 24-105mm f/3.5-5.6 IS STM
375.00
500mm f/4.0L IS MK II
See website 28-300mm f/3.5-5.6L IS
See website
600mm f/4.0L IS MK II
See website EF-S 55-250mm f/4-5.6 IS STM 229.00
800mm f/5.6L IS USM
See website 70-200mm f/2.8L IS II USM
See website
TSE 17mm f/4.0L
See website
TSE 24mm f/3.5L II
See website 70-200mm f/4.0L IS USM
See website
20.1
20.4
24.2
TSE 45mm f/2.8
1,099.00 70-200mm f/4.0L USM
See website
2.9x
3.0
MEGA
MEGA
MEGA
TSE 90mm f/2.8
See website 70-300mm f/4.0-5.6 IS
356.00
PIXELS
PIXELS
PIXELS
8-15mm f/4L Fisheye USM
See website 70-300mm f/4.0-5.6L IS USM See website
EF-S 10-18mm IS STM
185.00 70-300mm DO IS USM
See website
EF-S 10-22mm f/3.5-4.5
See website 75-300mm f/4.0-5.6 III
188.00
+ 16-50mm
In stock at only Add an NP-BX1
+16-50mm
Body only
Available in Black
EF 11-24mm f/4L USM
2,799.00 75-300mm f/4.0-5.6 III
219.00
.00
.00
.00
.00
battery for 38
or White designs!
EF-S 15-85mm f/3.5-5.6 IS
539.00 100-400mm L IS USM II
1,799.00
16-35mm f/2.8L II USM
See website
Add a Sony LCJ-RXF soft case
Add a Sony NP-FW50 spare battery
16-35mm f/4.0L IS USM
See website 1.4x III Extender
See website
for only 63.00
for only 59.00
for only 56.05
MEGA
PIXELS
See web
1,049.00
MEGA
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Canon EOS 5Ds r
MEGA
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+ 18-55mm IS STM
Add an Easy Cover Silicone Skin

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MEGA
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7 FPS
999.00

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Canon EOS 5Ds
Nikon D3400
22.3
MEGA
PIXELS
1,379.00 See web
153
AF
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24.2
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Canon EOS 7D Mark II
14mm f/2.8L II USM

20mm f/2.8 USM
24mm f/1.4L Mk II USM
24mm f/2.8 IS USM
EF-S 24mm f/2.8 STM
28mm f/1.8 USM
28mm f/2.8 IS USM
35mm f/1.4L USM
35mm f/1.4L II USM
35mm f/2.0 IS USM
40mm f/2.8 STM
50mm f/1.2 L USM
50mm f/1.4 USM
50mm f/1.8 STM
EF-S 60mm f/2.8 Macro
MP-E 65mm f/2.8
85mm f/1.2L II USM
85mm f/1.8 USM
100mm f/2 USM
100mm f/2.8 USM Macro
100mm f/2.8L Macro IS
135mm f/2.0L USM
Canon EOS 70D

MEGA
PIXELS
7 FPS
709.00
Expected November 2016!

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10 FPS
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As the smaller sibling to the D5, Nikons FX-format agship, the

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Why choose Park Cameras?
Touch & try stores in London & West Sussex

UKs largest independent photography store
Award winning customer service
Experts in photography Unbeatable stock availability
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Sony RX100 III
Sony a5000
Sony a6300
4K
Up to
590
reward!
599
279
1,069
Sony a7S II
Sony a7R II
Sony a99 II
12.2
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2,899.00
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E-Series
16mm f/2.8 Pancake
24mm f/1.8 ZA Carl Zeiss
24mm f/2.0 Carl Zeiss T*
50mm f/1.8 OSS
55mm f/1.8 FE Sonnar T* ZA
90mm f/2.8 Macro G FE OSS
10-18mm f/4 OSS
16-50mm f/3.5-5.6 OSS
199.00
889.00
999.00
259.00
799.00
949.00
699.00
279.00
Body only
2,999.00
NEW!
42.4
42.2
4K
1,249
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16-70mm f/4G ZA OSS
799.00
18-200mm f/3.5-6.3 P. Zoom
949.00
24-70mm f/4 FE Vario-Tessar T* 899.00
24-240mm f/3.5-6.3 FE OSS
849.00
28-70mm f/3.5-5.6 FE OSS
449.00
28-135mm f/4 G FE PZ OSS
2,099.00
55-210mm f/4.5-6.3 OSS
229.00
70-200mm f/4 G FE OSS
1,249.00
Expected November
No
2016
Learn more
mor by visiting our website
Alpha-Series
30mm f/2.8 SAM 1:1 Macro DT 118.97*
35mm f/1.8 DT
149.00
50mm f/1.4 Carl Zeiss
699.97*
11-18mm f4.5-5.6 DT
599.00
16-35mm f/2.8 Carl Zeiss T*
2,200.00
24-70mm f/2.8 II Carl Zeiss T* 2,000.00
55-200mm f4.0-5.6 SAM DT
246.00
70-200mm f/2.8 G SSM II
2,799.00
For Sony accessories including batteries and grips, see in store or online
All prices include VAT @ 20%. For opening times and store addresses, visit www.parkcameras.com/dsp.
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Olympus
PEN E-PL8
16.0
IS
3.0
MEGA
PIXELS
Award winning customer service

Panasonic
LUMIX G80
1080p
The E-PL8 blends distinctly feminine curves with the seamless

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New & Coming soon!
Expected October 2016!

Olympus E-M10 Mark II
16.2
MEGA
PIXELS
Olympus E-M5 Mark II

16.1
MEGA
PIXELS
8 FPS
Body only
449.00
+ 14-42mm EZ
+ 12-50mm
849.00
749.00
See website for the limited edition

FOX BROWN version!
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+ 17mm f/1.8
Body only
1,199.00
999.00
Add a spare Olympus BLN-1 battery

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f/2.8 Macro
In stock at only
349.00
Learn more about this lens in store

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12mm f/2.0
549.00
17mm f/1.8 M. ZUIKO
349.00
25mm f/1.8 M. ZUIKO
279.00
45mm f/1.8
179.00
60mm f/2.8 Macro
349.00
7-14mm f/2.8 PRO
837.50
12-40mm f/2.8 PRO
719.00
14-42mm f/3.5-5.6 II R MFT
269.00
40-150mm f/4-5.6 R M. ZUIKO 199.00
40-150mm f/2.8 PRO + 1.4x 1,249.00
75-300mm f/4.8-6.7 ED II
349.00
See website for even more Olympus lenses!
Body only
+ 12-32mm
549.00
Add a spare Panasonic DMW-BLX12

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20.1
Ask in store or see wow.olympus.eu
Divider Bag 37
VEO AM-204
for Supreme Hard Cases
35
22.45
Havana
vana 21
Aluminium Tripod
22.45
Endeavor ED
10x42 Binoculars
Shoulder bag
Veo 37
Shoulder Bag
62
.99
224
35
MEGA
PIXELS
In stock at only Available in Black

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Add a spare Panasonic DMW-BLG10E

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TAMRON LENSES
Tamron SP 10-24mm
f/3.5-4.5 Di II LD Asph. [IF]
f/2.8 Di V
VC USD

Add a spare Panasonic DMW-BLG10E

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14 FPS
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SD
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card
Body SRP
4K
1,399.00
STOCK NOW ARRIVING!

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Fujilm X-T1
Fujilm
Fuji
lm X70
MEGA
PIXELS

NEW!
+ 18-55mm
1,049.00
Receive 100 off the X-T1 when

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SIGMA LENSES
Tamron SP 150-600mm Sigma MC-11

f/5-6.3 Di V
VC USD G2
Body only
795.00
TRADE-IN
BONUS
24.3
MEGA
PIXELS
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1,349.00
Add a spare
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Receive 100 off the X-PRO2 when

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Sigma 35mm
Mount Converter
NEW!
100 Fujilm X-PRO2 100
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16.3
Add a Fujilm Premium Leather case

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Tamron SP 24-70mm
LEICA
24mm
10x
LENS
24.3
MEGA
PIXELS
Purchase ANY Vanguard item from Park Cameras from 27.09.16 - 31.10.16 & receive
10% off! Visit us in store, call 01444 23 70 60 or visit www.parkcameras.com/dsp
Prices shown include 10% off
Add a spare Panasonic DMW-BLF19

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10x
16.3
.10
.10
1,349.00
The outstanding X-T2 is the agship

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VEO 204AB
Aluminium Monopod
+ 14-140mm
Body only
999.00
PANASONIC LENSES
14mm f/2.5 II Pancake

299.00
20mm f/1.7 II ASPH
269.00
45mm f/2.8 Macro
498.00
42.5mm f/1.2 O.I.S
1,099.00
7-14mm f/4.0 ASPH
739.00
12-60mm f/3.5-5.6 ASPH
359.00
14-140mm f/3.5-5.6
405.00
35-100mm f/2.8 O.I.S
799.00
45-175mm f/4.0-5.6 O.I.S
279.00
100-300mm f/4-5.6 O.I.S
378.00
100-400mm f/4.0-6.3
1,349.00
See website for even more lenses!
Panasonic LX100
See the range of Vangaurd tripods, monopods, bags,

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or by visiting our Burgess Hill or Central London stores.
.10
Panasonic LUMIX GH4R

16.0
509.00
MEGA
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MEGA
PIXELS
Panasonic TZ100
Book a FREE Olympus

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MEGA
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OLYMPUS LENSES
Olympus 60mm
Wherever your adventure takes you, the G80 packs state-of-theart 4K Photo capabilities and the latest Dual Image Stabilisation
technology into a weather-sealed body for maximum exibility.
20.3
MEGA
P I X E L S 10 FPS
4K
IS
3.0
MEGA
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Panasonic LUMIX GX8
20.3
IS
Body only
549.00
Olympus PEN-F
16.0
Family owned & Run
f/1.4 DG HSM - Canon Fit
Sigma 150-600mm
f/5-6.3 DG OS HSM | C
In stock at only
In stock at only
In stock at only
In stock at only
In stock at only
Add a Hoya Hoya 77mm REVO UV

lter for 50 on mention of this advert
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419.00
799.00
1,350.00
Visit our website for full details on all the Tamron lenses, as well as our latest LOW PRICES!
PRICES
DigiPower ReFuel
Kenko Teleplus DG
1.4x HD DGX
6 hour action pro

pack battery
for GoPro
Plustek OpticFilm
8200i AI
Canon
In stock
ock at only 45
.00
Kenko PL Fader
(Variable ND3-ND400) 77mm
In stock
ock at only 79
.99
Scanner
In stock
ock at only 139
.00
In stock at only 339
.00
Beastgrip Pr
Pro Rig
Metz 52 AF-1
Flash
+ Wide Angle
lens
In stock
ock at only 209
.00
199.00
4.5mm f/2.8 Fisheye EX DC

8mm f/3.5 Circ. Fish EX DG
15mm f/2.8 Diag F/eye EX DG
19mm f/2.8 DN
20mm f/1.4 DG HSM
24mm f/1.4 DG HSM
30mm f/1.4 DC HSM
30mm f/2.8 DN
35mm f/1.4 DG HSM
60mm f/2.8 DN
85mm f/1.4 EX DG HSM
105mm f/2.8 EX DG OS HSM
150mm f/2.8 OS Macro
180mm f/2.8 EX DG OS HSM
599.00
599.00
499.00
119.00
629.00
599.00
299.00
119.00
599.00
119.00
619.00
319.00
649.00
1,099.00
699.00
300mm f/2.8 APO EX DG

2,199.00
500mm f/4.5 APO EX DG
3,599.00
8-16mm f/4.5-5.6 DC HSM
499.00
10-20mm f/3.5 EX DC HSM
329.00
12-24mm f/4.5-5.6 II DG HSM
529.00
17-50mm f/2.8 DC OS HSM
279.00
17-70mm f/2.8-4 DC OS
319.00
18-35mm f/1.8 DC HSM
549.00
18-200mm f/3.5-6.3 DC OS HSM 249.00
18-250mm DC Macro OS HSM
279.00
18-300mm f/3.5-6.3 DC Macro
336.00
24-35mm f/2 DG HSM Art
699.00
24-70mm f/2.8 IF EX DG
549.00
24-105mm f/4 DG OS HSM
599.00
739.00
50-100mm f/1.8 DC HSM | Art

50-500mm f/4.5-6.3 OS HSM
70-200mm f/2.8 APO EX DG OS
70-300mm f/4.0-5.6 DG Macro
70-300mm f/4.0-5.6 APO Macro
120-300mm f/2.8 DG OS HSM
150-600mm Cont. + 1.4x
150-600mm f/5-6.3 DG | S
150-600mm Sport + 1.4x
300-800mm f/5.6 EX DG HSM
1.4x Teleconverter APO EX DG
1.4x Teleconverter TC1401
2.0x Teleconverter APO EX DG
2.0x Teleconverter TC2001
829.00
849.00
729.00
99.00
149.00
2,499.00
849.00
1,199.00
1,299.00
5,499.00
179.00
229.00
199.00
269.00
Visit our website for full details on all the Sigma lenses, as well as special deals on lters!
In stock
ock at only 169
.00
Cant see what youre after? See our website for thousands more products!
For even more accessories including tripods and bags, visit us in or online at www.parkcameras.com
For a whole range of tips and tricks and news all all the latest new products, visit blog.parkcameras.com
DaVinci Resolve 11 now adds professional nonlinear editing

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DaVinci Resolve 11 combines the worlds most advanced color corrector with professional multi track editing so now
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Native Camera RAW
Integrated Editing and Grading
DaVinci Resolve works natively with all major RAW

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EOS 760D
EOS 7D Mk II
Black, Red
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EOS 700D
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D3300
20.2 mp
10.0 fps
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24.7 mp
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1179
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1179
760D
18.0 mp
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From 549
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549
529
599
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24.2 mp
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700D Body
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399
459
649
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EOS 80D
EOS 6D
5D Mark IV
D5500
D7100
24.2 mp
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D3300
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D5500
289
369
24.1 mp
6.0 fps
From 579
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D7200
579
669
829
D610
D7100
From 729
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729
D7100 +18-105mm VR
949
D750
New
30.4 mp
7.0 fps
20.2 mp
4.5 fps
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5D Mk IV
3599
5D Mk IV Body
3599
EOS 5DS
24.2 mp
6.0 fps
1080p
24.2 mp
7.0 fps
6D
1249
6D Body
1249
EOS 1D X Mk II
80D
999
80D Body
80D + 18-55mm
80D + 18-135mm
999
1049
1299
G7 X Mk II
24.3 mp
6.0 fps
1080p
D7200
From 849
D7200 Body
D7200 + 18-105mm
D610
849
1099
20.2 mp
16.0 fps
Full Frame
Full Frame
D810
5DS
From 2799
5DS Body
5DS R Body
2799
2899
20.1 mp
4.2x zoom
1D X MK II
5199
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G7 X Mk II
549
G7 X Mk II
G5 X Body
549
579
Canon Lenses
Photo Bags & Rucksacks

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EF 16-35mm f2.8L Mk II USM ........................1199

EF 16-35mm f4 L IS USM. .............................769
EF 18-135mm f3.5-5.6 IS STM.......................319
EF-S 18-200mm f3.5-5.6 IS ............................389
EF 24-70mm f2.8L II USM ..............................1459
EF 24-70mm f4.0 L IS USM ..........................675
EF 24-105mm f4.0 L IS USM..........................799
EF 24-105mm f4L IS II USM...........................1129
EF 70-200mm f2.8 L IS II USM.......................1599
EF 70-200mm f4.0 L IS USM .........................1019
EF 70-300mm f4-5.6L IS USM........................1029
EF 100-400mm f4.5-5.6 L IS II USM ..............1799
D5
D750
New
20.8 mp
12.0 fps
20.9 mp
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Tripods & Tripod Heads
MT055XPRO3 ...................139
MKBFR1A4R ....................99
MK055XPRO3
+ 498RC2 Ball Head..........169
MT055CXPRO3
Carbon Fibre......................269
MT055CXPRO4
Carbon Fibre......................279
MT190 Series:
MT190XPRO3 ................... 129
MT190XPRO4 ................... 139
24mm f1.8 G ED AF-S ....................................... 629

58mm f1.4 G AF-S ............................................. 1349
85mm f1.8 G AF-S ............................................. 399
105mm f2.8 G AF-S VR IF ED Micro................. 749
10-24mm f3.5-4.5 G AF-S DX............................ 729
14-24mm f2.8 G AF-S ED.................................. 1619
16-35mm f4 G AF-S ED VR............................... 1019
16-80mm f2.8-4 G AF-S VR ED DX .................. 860
18-200mm f3.5-5.6 G ED AF-S DX VR II .......... 625
18-300mm f3.5-5.6 AF-S ED VR ....................... 849
D500
From 1799
NEW D500 Body
1799
Anvil Slim................................. 139

Anvil Super.............................. 139
Anvil Pro.................................. 149
18-300mm f3.5-6.3 G ED VR AF-S DX ............ 629

24-70mm f2.8 E AF-S ED VR ........................... 1999
24-70mm f2.8 G AF-S ED.................................. 1599
55-300mm f4.5-5.6 G AF-S DX VR ................... 305
70-200mm f2.8 G AF-S ED VR II....................... 1999
70-300mm f4.5-5.6 G AF-S IF ED VR ............... 499
80-400mm AF-S Nikkor f4.5-5.6 G ED VR ........ 2089
200-500mm f5.6 E ED VR AF-S ........................ 1179
24-120mm f4 G AF-S ED VR............................. 939
For 2-year warranty on any camera and lens kit simply register your new Nikon within 30 days of purchase. Offer applies
to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register
Anvil Slim
Professional
Backpack
Photo Sport BP
200 AW Black
Perfect for
carrying a DSLR
with lens attached,
an additional lens,
ash, accessories,
a 2-litre hydration
reservoir (not
included), plus
extra gear such
as a bike helmet,
jacket, snacks and
a compact tripod.
Pro Runner:
Hadley: Canvas/Leather: Khaki/Tan,
Black/Tan, Black/Black.
FibreNyte/Leather: Khaki/Tan, Sage/
Tan, Black/Black.
Digital .................................. 109
Small ................................... 129
Large ................................... 154
Pro Original ......................... 169
Tripod Strap Black or Tan.... 19
Pro 70...................................299
We sell tripod accessories including plates and spiked feet on our website!
MT190XPRO3
160cm
Max Height
9cm
Min Height
MT190CXPRO3
Carbon Fibre...................... 229
MT190CXPRO4
Carbon Fibre...................... 235
MT190XPRO3
+ 496RC2 Ball Head.......... 139
MT190XPRO4
+ 496RC2 Ball Head..........189
SLR Zoom
Flexi-Tripod legs
25cm Closed Length
3Kg Max Load
327RC2
Joystick
Head
Mountaineer Carbon eXact Tripod:
Gorillapod:
Ball Heads:
GT1532 ...................................... 499

GT2542S.................................... 549
GK2542-80QD ........................... 549
GT3542XLS ............................... 679
Compact....................................... 17
Hybrid (Integral Head).................. 29
SLR Zoom .................................... 39
Focus GP-8 .................................. 79
494RC2 ............................ 45
498RC2 ............................ 74
324RC2 ............................ 85
327RC2 ............................ 129.99
GT3542L
178cm Max Height
16cm Min Height
Lumimuse LED
Lights
Ezybox Speed-Lite 2
From 44.95
49.95
L308s
179
Plus III Set

199
3m Heavy Duty
Gemini Pulsar
Background
Tx 500R Kit 949
Stand
Tx 500 Pro Kit 1199
89
D-Lite RX 4/4
Softbox Set 725
F-803
RuggedWear
Hadley Pro
Original
Canvas Khaki/Tan
Manfrotto
Professional
Roller Bag 70
designed to hold
2 pro-sized digital
SLRs, two zoom
lenses (such as
the 70-200 F/2.8),
4-5 extra lenses,
2 ashes, a 17"
laptop, tablet, tripod
and much more.
Lighting & Accessories
SB5000
429
1299
1699
Nikon Lenses
EF 24mm f1.4L II USM....................................1159

EP 35mm f1.4 L II USM ...............................1799
EF 50mm f1.2L USM.......................................1129
EF 50mm f1.4 USM.........................................279
EF 85mm f1.8 USM.........................................279
EF 100mm f2.8 L IS USM Macro....................659
EF 135mm f2 L USM......... .............................769
EF 180mm f3.5 L USM Macro ........................1099
EF-S 10-18mm f4.5-5.6 IS STM .....................185
EF-S 10-22mm f3.5-4.5 USM .........................469
EF 11-24mm f4L USM ....................................2699
EF-S 15-85mm f/3.5-5.6 IS USM....................579
EF 16-35mm f2.8L III USM .............................2349
430EX III
219
Full Frame
From 1299
D610 Body
D610 + 24-85mm
New
50.6 mp
5.0 fps
24.3 mp
6.5 fps
RuggedWear:
F-5XB ......................................72
F-6 ...........................................99
F-803 .......................................139
F-2 ...........................................149
Trade in,
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wex.co.uk/part-ex
Terms and Conditions All prices incl. VAT at 20% Prices correct at
time of going to press. Free Delivery** available on orders over 50
(based on a 4 day delivery service). For orders under 50 the charge
is 2.99** (based on a 4 day delivery service). For Next Working Day
Delivery our charges are 4.99**. Saturday deliveries are charged at
a rate of 7.95**. Sunday deliveries are charged at a rate 8.95**.
(**Deliveries of very heavy items, N.I., remote areas of Scotland &
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Subject to goods being returned as new and in the original packaging.

Where returns are accepted in other instances, they may be subject
to a restocking charge. Applies to products sold in full working
condition. Not applicable to items specically described as IN or
incomplete (ie. being sold for spares only). Wex Photographic is a
trading name of Warehouse Express Limited (registered as company
no. 03366976. VAT number 231 9471 12). Warehouse Express
2016. *CASHBACKS Are redeemed via product registration with the
manufacturer. Please refer to our website for details. Showroom:
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off Drayton High Road, (opposite ASDA) Norwich. NR6 5DP.
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EOS-1D X Mark II
EOS 5DS R
EOS 5DS
D5
NEW
D810
D500
NEW
Canon EOS-1D X Mark II Body
5,199.00
Canon EOS 5DS R Body
Canon EOS 5DS Body
2,899.00
NEW
Nikon D5 Body
2,699.00
Nikon D810 Body
5,199.00
Nikon D500 Body
2,139.00
1,729.00
NEW
EOS 5D
MARK III BODY 2,178.00
EOS 7D
MARK II BODY 1,179.00
D750 BODY
D750 BODY
+ 24-85MM
1,389.00
D7200 BODY
D7200 BODY
+ 18-105MM
779.00
1,716.00
D610 BODY
D610 BODY
+ 24-85MM
1,099.00
D5300 BODY
D5300 BODY
+ 18-55MM
373.00
X-PRO 2 BODY 1,349.00
X-T1 GRAPHITE 919.00

X-T1 BLACK
805.00
ALPHA
A7R II BODY
X-100T
BLACK/SILVER 794.00
X-T10 BLACK/
SILVER BODY
ALPHA A7 II BODY 1,179.00

ALPHAA7IIBODY
ALPHAA7IIBODY 1,549.00
+28-70MM
1,499.00
2,599.00
ALPHA
A7S II BODY
2,499.00
CYBER-SHOT
RX100 IV
759.00
NEW
EOS 6D BODY 1,119.00

EOS 6D BODY 1,499.00
+ 24-105MM
EOS 80D BODY 999.00

EOS 80D BODY 1,089.00
+ 18-55MM
Canon Lenses
EF 50mm F1.4 USM
EF 50mm F1.8 STM
EF-S 60mm F2.8 USM Macro
EF 85mm F1.2L II USM
EF 100mm F2.8L IS USM Macro
EF 8-15mm F4.0L USM Fisheye
y
EF 16-35mm F2.8L USM II
EF 17-40mm F4.0L USM
EF 24-70mm F4L IS
EF 24-70mm F2.8L II USM
EF 24-105mm F4.0L IS USM
EF 24-105mm F3.5-5.6 IS STM
EF 70-200mm F2.8L IS USM II
EF 70-200mm F4.0L IS USM
EF 70-300mm F4.0-5.6 IS USM
EF 70-300mm F4.0-5.6L IS USM
EF 100-400mm F4.5-5.6L IS USM II
949.00
459.00
Nikon Lenses
299.00
97.00
349.00
1,499.00
1,499.00
619.00
939.00
1,060.00
1,060
498.00
675.00
1,400.00
1,400
727.00
375.00
1,499.00
1,499
795.00
356.00
894.00
1,799.00
1,799
Fujifilm Lenses
Befree
Aluminum
Travel Tripod
119.00
NATIONWIDE
STORES
Befree
Carbon Fibre
Travel Tripod
248.00
Visit us in store at any of our

locations for expert and advice
from our specialist team.
CONTACT US
Sony Lenses
Fujifilm XF
16-55mm F2.8WR
Nikon 300mm
F4E PF ED VR
699.00
1,470.00
14-24mm F2.8G AF-S ED

16-35mm F4G AF-S ED VR
18-35mm F3.5-4.5G AF-S ED
18-200mm F3.5-5.6G AF-S VR II
18-300mm F3.5-5.6G AF-S ED VR
24-70mm F2.8G AF-S ED
28-300mm F3.5-5.6G AF-S VR
70-200mm F2.8G AF-S VR II
70-200mm F4G AF-S ED VR
80-400mm F4.5-5.6G ED VR
1,459.00
1,459.00
899.00
549.00
519.00
699.00
1,299.00
1,299.00
729.00
1,799.00
1,799.00
999.00
1,
1,859.00
14mm F2.8 XF
18mm F2R XF
23mm F1.4 XF
27mm F2.8 Black or Silver
er XF
35mm F1.4R XF
56mm F1.2 XF
56mm F1.2R XF APD
60mm F2.4R Macro XF
10-24mm F4 R XF
18-135mm F3.5-5.6 WR
50-140mm F2.8 WR OIS
50-230mm F4.5-6.7 OIS Black or Silver
er XC
55-200mm F3.5-4.8 R LM OIS XF
Manfrotto Tripods & Heads

*Befree
efree Aluminum
Travel Tripod
449.00
689.00
429.00
698.00
329.00
429.00
679.00
1,079.00
1,079.00
459.00
769.00
619.00
1,159.00
1,159.00
289.00
529.00
Sony FE
24-240mm
F3.5-6.3 OSS
749.00
24-70mm F4 ZA OSS Vario-Tessar T* FE

35mm F2.8 ZA Sonnar T* FE
55mm F1.8 ZA Sonnar T* FE
70-200mm F4 G OSS FE
90mm F2.8 Macro G OSS FE
16-35mm F4 ZA OSS Vario-Tessar T* FE
799.00
513.00
618.00
999.00
899.00
1,079.00
1,079.00
Studio Lighting
MT190XPRO3
T190XPRO3 Tripod
MT055XPRO3 Tripod
ripod
190GO Tripod
ripod
XPRO Ball Head
XPRO3W 3 Wayy Gear
Geared Head
MT190XPRO4 Tripod
ripod
MT190CXPRO3 Carbon Fibre Tripod
ripod
ripod
ripod
XPRO 3 Wayy Head
129.00
139.00
149.00
114.00
149.00
139.00
229.00
235.00
279.00
99.00
PRICE PROMISE
Profoto D1 Studio
Kit 250/250 Air
Bowens Gemini
500/500R Twin Head Kit
Profoto B2 250
AirTTL To-Go Kit
Bowens Gemini
400/400Rx Umbrella Kit
1,999.00
1,495.00
If you find an identical product available at a lower price

at a UK based retailer simply tell us who the competitor
is and their price and well match it*. Even if you find it
cheaper up to 7 days after purchasing!
Call: 0333 003 5000
949.00
569.00
TRADE IN.. TRADE UP...
Looking to upgrade your equipment? Why not part

exchange your old kit towards the latest model?
Visit www.calphoto.co.uk or for further information
on our trade in process.
Click: www.calphoto.co.uk
All prices include VAT at 20%. Prices correct at time of going to press. E&OE. *T&Cs apply. 0876-0615
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HIGH DEFINITION GRADIENTS FOR HIGH PIXEL COUNT SLR CAMERAS
KOOD
A FILTER TO FIT ALL
COKIN A SIZE SYSTEMS
A Filter Holder Set

Adapter Rings Only
Fit Kood Holder
A Filter Holder Cap
A Filter Holder Hood
A Adapter Ring 37mm
A Adapter Ring 38.1mm
A Adapter Ring 40.5mm
A Adapter Ring 46mm
A Adapter Ring 49mm
A Adapter Ring 52mm
A Adapter Ring 55mm
A Adapter Ring 58mm
A Adapter Ring 62mm
GRADIENTS
0.3 ND Gradient Soft
0.3 ND Gradient Hard Cut
Light Blue Graduated
Dark Blue Graduated
Cool Blue Gradient
Light Green Graduated
Dark Green Graduated
Light Mauve Graduated
Dark Mauve Graduated
Light Red Graduated
Dark Red Graduated
Light Tobacco Graduated
Dark Tobacco Graduated
Light Fog Graduated
Strong Fog Graduated
Light Yellow Graduated
Dark Yellow Graduated
Light Sunset Graduated
Dark Sunset Graduated
POLARIZERS
Linear Polariser Filter
Circular Polariser Filter
NEUTRAL DENSITY
Neutral Density 2
Neutral Density 4
Neutral Density 8
STARS AND DIFFRACTIONS
Star x 4
Star x 6
Star x 6 with centre spot
Star x 8
Difraction 2x
Difraction 36x
Difraction 4x
Difraction Star 4
Difraction Star 8
Difraction Square
Difraction Halo
CLOSE UPS
Close Up 1
Close Up 2
Close Up 4
Split Field
MULTI IMAGE AND SPEED

Multi Image 3
Multi Image 5
Multi Image 7
Speed
COLOURS
20 x Polyester colour set
Yellow
Orange
Green
Red
Sepia
Sky
1) KOOD uses small untoughend,thick Pilkington Optical Glass Molds to produce the highest possible
optically flat resin Filters without curvature to ensure infinity focus
2) Casting system eliminates all bleach so no loss of density or colour over time
3) Batch tested every 12 filters to maintain good neutrality
4) All filters packed in between card, in wallets which allow no movement or dust
5) KOOD Manufactures its own filters from casting to packing
CONVERSION
20 x Wratten polyesters set
80A
80B
80C
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81B
81C
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82B
82C
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85B
85C
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FLD
FLW
DOUBLE EXPOSURE AND MASKS

A
A
A
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Double Exposure
Double Mask 1
Double Mask 2
PSF
DIFFUSERS AND FOGS

A
A
A
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light Diffuser
Strong Diffuser
Fog 1
Fog 2
NETS
Net
Net
Net
Net
Net
Net
Net
Blue
Grey
Green
Orange
Red
Violet
White
SPOTS
Oval Spot Blue
Oval Spot Clear
Oval Spot Grey
Oval Spot Red
Oval Spot White
Spot Blue
Spot Clear
Spot Grey
Spot Green
Spot Orange
Spot Red
Spot Violet
Spot White
Wide Spot Blue
Wide Spot Clear
Wide Spot Grey
Wide Spot Green
Wide Spot Orange
Wide Spot Red
Wide Spot Violet
Wide Spot White
P SYSTEM TO FIT ALL
COKIN P SIZE SYSTEMS
P Size Holder
Kood Adaptor Filter Rings + Cokin
Holders
P Adapter Ring 38.1mm
P Adapter Ring 49mm
P Adapter Ring 52mm
P Adapter Ring 55mm
P Adapter Ring 58mm
P Adapter Ring 62mm
P Adapter Ring 67mm
P Adapter Ring 72mm
P Adapter Ring 77mm
P Adapter Ring 82mm
Light Mauve Graduated

Dark Mauve Graduated
Light Red Graduated
Dark Red Graduated
Dark tobacco Graduated
Light Yellow Graduated
DarkYellow Graduated
POLARIZERS
Linear Polariser
Circular Polariser
NEUTRAL DENSITY
ND400 9 Stops (Japanese Glass)
available Round (Back Slot) Square
(for use with PL, star etc)
ND16 4 Stops (Japanese Glass)
Neutral Density x2
Neutral Density x4
Neutral Density x8
Neutral Density x8 (Glass)
INFRA RED 720 P FILTER

Infra Red 720 Optical Glass
STARS AND DIFFRACTIONS

Starburst x4
Starburst x6
Starburst x8
Difraction 2x
Difraction 36x
Difraction Double Halo
Difraction Halo
Difraction 4x Star
Difraction Filter DS8
Difraction Square
CLOSE UP FILTERS
Close up +1
Close Up +2
Close Up +4
Split Field
SPOTS
Blue Clear Spot

Clear Spot
Green Clear Centre Spot
Grey Clear Spot
Orange Clear Spot
Clear Oval Spot
Grey Oval Spot
White Oval Spot
Red Clear Spot
Violet Clear Spot
White Clear Spot
Z 100 MM FILTERS
GRADIENTS 100 X 125MM

Dark Blue Graduated
Dark tobacco Graduated
NEUTRAL DENSITY
Neutral Density 2
Neutral Density 4
DIFFUSERS AND FOGS

Diffuser Light
Diffuser Strong
Fog 1
Fog 2
COLOURS
COLOURS
Yellow
Orange
Green
Red
Skylight
Sepia
DIFFUSERS AND FOGS
Light Diffuser
Strong Diffuser
Light Fog
Strong Fog
CONVERSION FILTERS
80A
80B
80C
81A
81B
81C
82A
82B
82C
85A
85B
85C
FLD
FLW
FLB
DOUBLE EXPOSURE
Double Exposure
Solar Eclipse Filter
Yellow
Orange
Red
Green
Sepia
Skylight
CONVERSION FILTERS
80A
80B
80C
81A
81B
81C
82A
82B
82C
85A
85B
85C
FLB
Spot Clear
Spot Oval
Spot White
CAN BE ORDERED FROM ANY INDEPENDENT RETAILER
KOOD
GRADIENTS
Dark Blue Graduated
Cool Blue Graduated
Light Grey Graduated
KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EY
Tel: 01727 823812 Fax: 01727 823336
E-mail: info@koodinternational.com / koodinternational@gmail.com
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KOOD BRAND PRODUCTS ARE EXPORTED WORLDWIDE
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WEVEABRILLIANTBUNDLE OFBACKGROUNDSAND LIGHTINGACCESSORIES UPFOR GRABS FOR ONE LUCKYWINNER IN

THISMONTHSCOMPETITION.ALLYOUHAVETODOTOSTANDACHANCEOFWINNINGISANSWERONESIMPLEQUESTION!
ASTOLITE BY MANFROTTO is a
leading brand in lighting and studio
accessories. From lighting aids and
modiers to supports and
backgrounds, you can be sure that
whether using ash or daylight indoors or
outside, Lastolite By Manfrotto has the kit
you need. In this month's competition,
Lastolite By Manfrotto has generously
donated a prize bundle worth over 500,
covering a variety of accessories for ash,
daylight and studio photography!
Lastolite By Manfrotto's magnetic
background support allows photographers
to quickly and easily attach any collapsible
backgrounds with a steel rim to a lighting
stand. Our prize includes a stand and
magnetic support, all in a handy carry case.
There are various double-sided background
designs available and we've two of the latest
as part of the prize bundle. Along with a
diamonds/mosaic 1.2x1.5m creative
background, the winner also receives a
1.5x2.1m perspective background with
steps on one side and trees on the other.
The backgrounds are made from creaseresistant fabric and attach easily to the
magnetic support, allowing photographers
to capture creative images in an instant, in
the studio or on location. Also included as
part of the prize is a 75cm Sunlite/Soft Silver
TriGrip reector. This versatile collapsible
reector has an ergonomic moulded handle
that allows for one-handed use and a
reversible metallic pattern that provides
more creative options.The last part of the
bundle is ideal for ash photographers who
wish for a softer effect. The Ezybox SpeedLite 2 is easy to attach, compatible with most
popular models of ashgun and neatly folds
down for storage. Two diffusions layers can
be used together to give a soft, attering
portrait light with the minimum of fuss.
To have a chance of winning this brilliant
bundle, answer our simple question before
the closing date of 21 November 2016.
Please note that this competition is only
open to readers living in the UK.
Forfurtherinformation on Lastolite ByManfrotto
products,visit:www.manfrotto.co.uk/lastolite
HOW TO ENTER
HOWTO
Foryourchance towin this fantastic Lastolite By
Manfrotto bundle, answerthis simple question:
WhatisthesizeoftheLastoliteBy
Manfrottoperspectivebackgrounds?
A) 1x1m B) 1x1.5m C) 1.2x1.5m D) 1.5x2.1m
Emailyouranswer, alongwithyourname & address, to:
competitions@dslrphotomag.co.uk using the subject
'Bundle bonanza'byMonday21 November2016.
We'll pick onewinnerat random and theywill receive
conrmationwithin seven days.

Digital SLR Photography November 2016

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Issue 120

Our PCs come recommended,

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Editor Daniel Lezano

James Abbott, Dina Belenko, Helen Dixon, Lee Frost,

Advertising & Production

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Felix Dennis Founder

WELCOME TO THE NOVEMBER 2016 issue of DigitalSLR

Daniel Lezano Editor

Join a growing community

Copyright Halo Publishing Ltd which is a subsidiary of

ONTHIS MONTH'S COVER...

ISSN number: 1751-8989

Digital SLR Photography is printed in the UK.

November 2016 Digital SLR Photography 5

38 PHOTO SKILLS: BIKE RIG

6 Digital SLR Photography November 2016

Dina Belenko STILL-LIFE

Helen Dixon LANDSCAPES

Lee Frost LANDSCAPES

This was taken at Cloud 9, a surf spot on the small

Moving Toward the Light by Kalle Lundholm

Dedinky by ubo Capcara

Sivec by ubo Capcara

Dolomiti by ubo Capcara

November 2016 Digital slr Photography 11

12 Digital SLR Photography November 2016

Sotto Voce by Amine Fassi

Life Goes On by Amine Fassi

sheds light on a beautiful expression that is quite ambiguous. It could

My Heart is Too Dark to Care by Amine Fassi

directly above Najwa. Flags were used to create a kind of triangular

Ksenia by Amine Fassi

500px Perfect for photos

November 2016 Digital slr Photography 13

Tulips by Oscar Nilsson

Swing by Oscar Nilsson

(Above right) A friend and I committed to capturing a hundred sunrises

Hand by Oscar Nilsson

Girl in Hat by Oscar Nilsson

(Right) This is my wonderful girlfriend Isabelle in front of Horseshoe

14 Digital slr Photography November 2016

18 Digital slr Photography November 2016

This years winner was chosen as Yu Jun

display at the Royal Observatory Greenwich in

CATALIN BELDEA/ALSON WONG

November 2016 Digital Slr Photography 19

RITA KoChmARjovA / shuTTERsToCK

Snapshots / The world of photography