Complete guide to

PHOTOGRAPHY
T H E U LT I MAT E H A N D B O O K TO CA P T U R E YO U R B EST E V E R S H OTS

LEARN
How to take great shots
SHOOT
Expert capture advice
EDIT
Master photo editing
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 WELCOME

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Welcome
Brought to you by the experts at Amateur Photographer
magazine, the Complete Guide to Photography has been
designed to help you improve your photographic skills. From
the basic principles of photography and the essential kit you
need, to more creative techniques that will show you how to
master a host of photographic disciplines and harness the
power of image editing, this guide will allow you to develop
and progress your photography. With helpful step-by-step
guides and valuable tips, you have everything you need to
start taking your best ever images.

The Team Complete guide to

EDITOR: Phil Hall
ART EDITOR: Simon Warren
PRODUCTION EDITOR: Jacky Porter
GROUP EDITOR: Nigel Atherton
PUBLISHING DIRECTOR: Alex Robb
MARKETING MANAGER: Samantha Blakey
ONLINE MANAGER: Karen Sheard
PRODUCT PHOTOGRAPHY Andrew Sydenham
COVER IMAGE CREDIT: Mark Bauer
CONTRIBUTORS AND ADDITIONAL PHOTO
CREDITS: Phil Hall, Nigel Atherton, Michael
Topham, Andy Westlake, Richard Sibley, Callum
McInerney-Riley, Andrew Sydenham, Matt
Golowczynski, Mat Gallagher, www.alamy.com,
www.istockphoto.co.uk
PRINTED BY: Polestar Group
PHOTOGRAPHY
Complete Guide to Photography is a Focus Network title,
published by Time Inc. UK, part of Time Inc. (UK) Ltd,
Amateur Photographer is a
trademark of Time Inc. UK
Blue Fin Building, 110 Southwark Street, London SE1 0SU 2014 Time Inc. (UK) Ltd
ISSN No. 0002-6840
All rights reserved. No part of this publication may be
reproduced, stored in a retrieval or transmitted in any format
or medium, whether printed, electronic or otherwise,
without the prior written permission of the publisher. This is
considered a breach of copyright and action will be taken
where this occurs. This bookazine must not be lent, sold,
hired or otherwise disposed of in a mutilated condition or in
any authorised cover by way, or by trade, or annexed to any
publication or advertising matter without first obtaining
written permission from the publisher.

WorldMags.net A M AT E U R P HO T O G R A P H E R 3
 CONTENTS

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Contents
Camera
p8
p10
Apertures
Shutter speeds
p20 Understanding
white balance
p12 ISO p22 Focusing

basics
P6 Understand the basics of photography
p14
p16
p18
Exposure and Metering
Drive modes
Image quality
p24 Stabilising the camera

to get the best from your camera

p28
Getting
Time of day
p30 Direction of light
p32 Hard and soft light

started
P26 From composition to lighting, discover
p34
p35
Articial light
Cropping and
Orientation
how to take your best ever shots p36 Viewpoint

p40 p50 Filters

Equipment
Lens basics
p42 Lens types p56 Getting to grips
p44 Lens accessories with ash
p46 Secondhand p58 Location lighting
lens advice p64 DIY ash grid
P38 Covering everything from lenses and p48 Tripods p66 Gear maintenance tips
lters to ash, get to grips with your gear

p70 p96 Window light p118 Birds in ight

Creative
Creating depth
p74 Perfect panoramas p100 Urban portraits p122 Flower photography
p78 Low light cityscapes p104 Child shots p126 Wildlife tips

skills
P68 Expert advice to help you master a range
p82
p86
p90
Mono & moody
Focus stacking
HDR landscapes
p108 Travel portraits
p112 Freelensing
p116 Portrait and
p128 Panning
p130 Action tips

of subjects, from landscapes to portraits p94 Landscape tips lighting tips

p134 Raw: The Basics p144 Boosting levels and p154 Toning your
Image p136 Choosing a
Raw converter
selective adjustments
p146 Cloning and Healing
mono images
p156 Sharpening in software

editing
P132 Packed with tips and easy to follow
p138 The Interface
p140 Basic Raw adjustments
p142 Localised Raw
p148 Correcting perspective
p150 Advanced retouching
p152 Advanced Black &
p158 Home printing
p160 Software tips

advice to get the best from your photos adjustments White conversion

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58

50

30

90
118
122

86 96

130

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 CAMERA BASICS

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Camera
Basics
Picking up a camera for the rst time can be daunting, especially
with all the available control, but once you understand the basic
principles of photography you are well on your way to
capturing professional-looking images

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 CAMERA BASICS

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Apertures
WIDE APERTURE
Wide apertures are
more suited to
portraits and
wildlife, isolating
your subject
Aperture control not only affects exposure,
but provides lots of creative possibilities
too. Heres how it works

A
perture, along
with shutter
speed, controls
the amount of
light that hits
your cameras sensor. While
shutter speeds control the
duration of time that your
sensor is exposed to light (see
more on this on pages 10-11),
apertures control the strength
of the light reaching your
chip. This is normally done
via a variable diaphragm on
the lens that can be opened at
different apertures, with the
opening either being
increased to let more light in
or closed down, to limit the
light hitting the sensor.
Why would you want to do
this? Photography is all about
light, and because the
intensity of light can vary
from location to location,
time of day or season, you
need some control over the
level of light hitting your
sensor to produce a correctly
exposed image. Just like the
iris of the human eye would
contract on a bright day when
light is in abundance, youll
want to reduce the opening
of the aperture to a small hole
to avoid overexposing your
shot, while a darkened room
will require you to have as

SMALL APERTURE Small apertures

are great for much light as possible hitting
landscapes, keeping the sensor.
everything sharp These aperture openings
are measured in what are
termed f-stops, or
f-numbers. Each stop
increase in aperture number
reduces the size of the lens
diaphragm, reducing the
amount of light hitting the
sensor by half. F-stop
numbering doesnt appear to
be the most obvious though,
so for instance, increasing the
aperture of a lens by one stop
from f/8 to f/11 reduces the
amount of light by half, while
opening up the lens from f/4
to f/2.8 doubles the amount
of light passing through the
diaphragm. The thing to
remember is that the higher
the aperture f-number you
use, the smaller the aperture
hole, and the less light that
can enter the camera.
APERTURE AND
DEPTH OF FIELD
Why would you want to
control aperture yourself,
when it would be easier to let

WIDE APERTURE F/2.8 SMALL APERTURE F/16

APERTURE SCALE
As you stop down the lens, you reduce the
size of the aperture, limiting the amount
getting to the sensor, but also improving the
depth of eld. Wide apertures such as f/2.8
are more suited to portraits and action to
isolate the subject, while smaller apertures
such as f/11-16 are more suited to landscapes,
ensuring everything is sharp in the frame.
Most cameras will also be able to set third stop of f/5.6 and f/8, youll also be able to f/6.3 or f/7.1 for instance, allowing you even
or half stop aperture increments between a set your camera to third stop increments of more precise exposure control.
MORE LIGHT

LESS LIGHT

f/2.8 f/4 f/5.6 f/8 f/ 11 f/ 16 f/22

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the camera do it automatically
for you? Its because aperture
doesnt only limit light getting
to your cameras sensor, it also
SHALLOW DEPTH OF FIELD
allows you to control the The best way to understand how aperture works and steps, well show you how to set your camera up to
depth-of-eld of your shot, how it affects depth of eld is to have a go yourself achieve a shallow depth-of-eld shot, and another
and is one of the most with your own camera. Over the next couple of one where everythings pin-sharp. Lets get started
important creative decisions
you can make to your image.
Controlling depth of eld
allows you to set how much of
the shot is in focus some
shots such as portraits may
work better when the
background is blown out of
focus to isolate your subject
for instance, while landscapes
are normally more successful
when everything is pin-sharp,
from the foreground to the 1 APERTURE PRIORITY 2 SET APERTURE 3 FOCUS
background. Set your camera to Aperture Priority mode The maximum aperture available will depend Focus on your subject and with your image
With your lens aperture this is where youll set the aperture on the on your lens, but even with your lens fully framed up, re the cameras shutter. Review
wide open, youre letting in as camera yourself, but will let the camera set the extended, an aperture of f/5.6 should deliver a your shot, and you should have a pleasing
much light as possible and shutter speed automatically so you get a blurred background provided that youre far blurred background to isolate your subject. If
this also results in a narrow balanced exposure. Now set your aperture, so enough away from your subject. To set the its not as pronounced as youd like, widen the
zone of focus. When you bear dial in an aperture as wide as possible. aperture use your cameras command dial. aperture even further if possible.
in mind that your camera can
only focus on one plane of
distance, along with a small
area in front and behind of
that also appearing sharp,
youre left with a shallow
LARGE DEPTH OF FIELD
depth of eld. Stop your lens
aperture down further and
youre not only letting less
light in, but your zone of
focus also improves,
extending the area of
sharpness in front and behind
the plane of distance to
increase the depth of eld.
Reduce the size of the
aperture even further until
your lens is stopped down as
much as possible, and youll 1 INCREASE APERTURE 2 CHECK SHUTTER SPEED 3 FOCUS
nd that the zone of focus is As you did with the shallow depth-of-eld Reducing the amount of light getting through Focus on the nearest area possible in the frame
much greater, providing you shot, keep your camera in Aperture Priority, the aperture will lengthen the shutter speed. If to ensure the shot has focus in front of the plane
with a sharp focus across the but change the aperture to f/16. While you youre handholding your camera and the of distance focus further in the distance and
entire frame. may be able to stop down even further, some shutter speed is below 1/60sec, camera shake your foreground will be out of focus. Fire the
lenses can suffer from softness above this, so may be a risk, which is why you might want to shutter and you should have an image with
DEPTH OF FIELD f/16 is a good compromise for this. increase the ISO or use a tripod. focus running through the entire image.
AND YOUR CAMERA
Depth of eld is not xed
however, and there are a pin-sharp, then focus near the 18-55mm f/3.5-5.6G DX gathering capabilities are
couple of factors to consider. front of the frame and stop zoom lens, the f/3.5-5.6 restricted by a couple of stops.
The rst is the focal length your lens right down. If you doesnt signify the aperture This is why youll often hear
the longer the focal length, the focus in the middle distance range of the lens, but the the term fast lenses talked
shallower the depth of eld, at the same aperture, the variable maximum aperture. about. These lenses offer
with telephoto lenses more foreground wont be as sharp. At 18mm, the lens has a larger than average maximum
suited to portraits, while maximum aperture opening apertures of f/2.8 or greater,
wideangle lenses, not only APERTURE AND LENSES of f/3.5, but can be stopped all allowing you to blow the
tting more in the frame, are If youre starting out in the way down to f/22. When background out of focus
more at home shooting photography, youll probably you zoom in to 55mm, the much more effectively, while
landscapes due to the greater have a standard zoom lens maximum aperture is reduced also allowing more light onto
depth of eld achievable. thats come with your camera, to f/5.6, but can be stopped all the sensor, which results in
As the zone of focus is that has a host of the way down to f/38. With a faster shutter speeds to avoid
greater behind the plane of abbreviations after the name. relatively narrow aperture of camera shake. Another
distance than in front, Among these is the maximum f/5.6 at 55mm, its harder to knock-on effect of a fast lens
focusing is also key. If youre aperture of the lens. As an achieve a shallow depth-of- is the brighter viewnder that
wanting to get everything example, on a Nikon AF-S eld effect, while the light- also results in easier focusing.
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Shutter
the sensor will require a fast
shutter speed to avoid
overexposing the image. If
you wanted to shoot a
landscape under the same
adjusting the shutter speed,
you can vary how movement
in your shot will be recorded.
If you want to freeze
action, then fast shutter
depending on how fast the
subject is moving). The
background will remain xed
as if without movement by
the extended shutter speed

speeds
Along with the aperture, shutter
lighting conditions, youd set
your camera at f/16 to ensure
detail would be observable
throughout a wider depth of
the scene. This reduction
means theres less light hitting
speed not only controls the the sensor due to the smaller
exposure of your shot, but also aperture diaphragm, meaning
affects how motion is recorded youll need a longer shutter
speed to ensure the scene
speeds are essential. Precise
shutter speeds will vary
depending on how fast your
subject is moving, but
1/1000th of a second is a good
starting point.
While fast shutter speeds
are great for a range of
sporting subjects, they can
have a negative effect on some
because the camera hasnt
moved, but the element of the
shot that is moving will
become a blur. This works
really well with waterfalls for
instance, as they become ultra
smooth with rounded edges
that really take the shot to the
next level.
SHUTTER SPEED

U
nderstanding exposes correctly. subjects specically cars or
how shutter Just like the aperture, the bikes. Fast shutter speeds can AND CAMERA SHAKE
speeds work shutter speed is measured in leave fast-moving cars looking A lot of the time, blurry
and how they stops, with each stop like theyve stopped on the images arent the result of the
interact with doubling or halving the track with the wheels frozen cameras autofocus not
the aperture to produce a exposure. As an example, and a static background and working correctly, but are the
correctly exposed image is one changing the shutter speed by thus the energy can drain out effect of camera shake when
of the key principles of a stop from 1/500th of a of the shot. handholding your camera. Its
photography. Just like the second to 1/250th doubles the By dropping the shutter a common problem that can
aperture, which controls the exposure time. Most modern speed much lower around be attributed to using a
amount of light and depth of DSLRs will also allow you to 1/125th or 1/60th of a second shutter speed thats slow
eld (the zone of sharpness in control the shutter speed in (again, this will depend on enough to record any subtle
an image), shutter speeds also either 1/3 or 1/2 stops for how fast your subject is movements when you take a
have their creative benets, more precise exposure travelling) and tracking shot, which results in a slight
allowing you to control how control. A cameras shutter your subject smoothly as it smear to your image.
motion is recorded. speed range will vary from passes, you can keep the main Understanding how slow you
While the aperture model to model, but in the subject in focus (the moving can shoot handheld yet still
determines the strength of the main, 1/4000th-30 seconds is car or bike) as youre moving achieve pin-sharp shots will
light reaching your cameras the norm, with some in time with it, but due to the work wonders for you.
sensor, the shutter speed top-ight models shooting at slow shutter speed this While a shutter speed of
controls the duration that the up to 1/8000th of a second reduces the background and 1/15th or 1/8th of a second
sensor is exposed to the light. (and usually much lower for wheels to a motion blur. This may appear to be more than
By balancing out the aperture compact cameras). For longer technique is known as fast enough to take a sharp
and the shutter speed for the exposures than 30secs, panning, and is a fantastic way shot handheld, its actually
DIFFERENT lighting conditions in front of cameras are equipped with a to maintain energy and speed still slow enough to register
SHUTTER SPEEDS
By varying the
you, you can set the correct Bulb function normally the in your shot. any camera shake in your
shutter speed, you exposure for the shot. next click after 30secs, with Apart from shooting action, shots. Good technique and
can control just Lets take this as an the duration dependent on therell be other times when the way you hold the camera,
how much motion example: If you want to shoot how long you keep the shutter you want to convey with your left hand
blur is recorded in a shallow depth-of-eld scene button depressed for. movement in your shots. But supporting the underneath of
your photograph. on a bright day, youd set your rather than moving with your the lens, can reduce camera
Use a fast shutter camera to its maximum SHUTTER SPEED subject as you do when you shake to a point, but in most
speed to freeze
the action, and a
aperture (between f/2.8 and AND MOVEMENT pan, keep the camera still and cases, youll need a faster
longer exposure to f/4.0 in most cases) to blow The shutter speed is not only extend the shutter speed so shutter speed to avoid any risk
blur any movement the background out of focus. fundamental in controlling that the shutter is open long of camera shake. If the
that may be in With the lens wide open like exposure, but it also has its enough to record movement lighting conditions wont
the scene this the level of light hitting own creative options. By (again, this will vary allow a faster shutter speed

FAST - 1/1000SEC PANNING - 1/60SEC

At a shutter speed of 1/1000th of a second the shutter is open for a very short Not all action images benet from fast shutter speeds. If you want to suggest
time. Your subject will be rendered completely still because any movement movement, use a much slower shutter speed and pan with your subject. This
wont be recorded, making fast shutter speeds great for most action shots will blur the background and wheels, but keep your subject sharp

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then a tripod is called for,
giving a rm base for your kit.
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The slowest shutter speed
you can shoot with handheld
and still achieve sharp shots
with isnt a xed value and
will vary depending on the
focal length of the lens used.
You may be able to shoot as
low as 1/15th of a second with
your 18-55mm kit lens, but
youll be hard pushed to get a
sharp shot at the same shutter
speed if you use a 55-200mm
telephoto zoom. This is
because any camera
movement when you
handhold your camera is
exaggerated due to the
extended, zoomed-in focal
length of the lens, which
requires you to use a quicker
shutter speed.
So how do you know what
kind of minimum shutter
speed is acceptable for a sharp,
handheld shot when using a
specic lens? All you have to
do is roughly match the
shutter speed to the focal
length of the lens youre
shooting with, but you do
have to take into account the
focal length magnication of
your camera. For example, if
youre shooting with an
18-55mm lens at 18mm, youll
need to multiply that by 1.5x
for most DSLRs because of
the crop factor, which will
produce a 35mm focal length
equivalent of 27mm, so you
dont want to use a shutter
speed slower than 1/30sec.
Shooting at 200mm, it has a
35mm focal length equivalent
of 300mm, so will require a
shutter speed no slower than
1/500sec one stop slower
and youll be shooting at
1/250sec and less than the
focal length of the lens.
1 SHUTTER PRIORITY
FREEZE Because we want to control the shutter speed of the
camera, set the camera to Shutter Priority mode
ACTION: FAST this will allow us to control the shutter speed,
SHUTTER while the camera will set the aperture for a correctly
exposed shot. This will either be S or Tv on your
SPEED cameras mode dial depending on manufacturer.
2 SET SHUTTER SPEED
Now dial in your shutter speed. To freeze the
water, we need a fast shutter speed of 1/500th of
a second. You may nd if the light is fairly weak
that the camera may not be able to set an
aperture wide enough to correctly expose for the
scene, so increase your ISO until this is possible.
3 REVIEW IMAGE
Frame-up your shot and at this kind of shutter
speed, handholding shouldnt be a problem. Fire
the shutter and then review your shot if you can
still see some blur in the water, youll need to
increase the shutter speed. Try setting it at 1/1000th
of a second or even higher and then try again.
1 LOWER SHUTTER SPEED
BLUR ACTION: With the camera still set in Shutter Priority,
reduce the shutter speed to 1/15th of a second
SLOW this should be enough to capture any
SHUTTER movement from the water. With a longer
exposure than before, the camera will set a
SPEED much smaller aperture, to restrict the light
getting to the sensor and balance the exposure.
2 CHANGE ISO
In good light, even with the lens stopped right
down to f/22, you may nd that you need to
reduce the ISO to a lower sensitivity 100 or 200.
At a slow shutter speed such as 1/15th of a second,
itll be tricky to handhold and still achieve a sharp
shot, so a tripod is called for.
3 FOCUS
With your image framed-up again, set the camera
to self-timer at this shutter speed, even the
action of pressing the shutter can result in camera
shake, but the self-timer eradicates this. Fire the
shot, and if theres still not enough blur, extend
the exposure down to 1/8sec or lower.

SLOW - 4 SECONDS ANTI-SHAKE SYSTEMS such as Sonys SteadyShot

In an effort to combat the risk
of camera shake and allow
photographers to shoot at
lower shutter speeds than
would normally be possible
and still pull off sharp shots,
manufacturers have developed
anti-shake systems. These can
be lens-based such as
Canons Image Stabilizer (IS)
or Nikons Vibration
If you use a relatively long exposure (above one second), youll nd that Reduction (VR) technology,
elements of movement in your shot are recorded as a blur. Light levels will which use a lens-shift system
need to be low to achieve this, otherwise you risk overexposing the image to detect and correct camera
shake while other systems
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INSIDE feature a sensor-shift
mechanism to do a similar
job. Both systems aim to offer
a reduction of between three
and four stops in the shutter
speed required to achieve a
sharp, handheld shot. This
means that rather than
having to shoot at 1/500sec
with your 200mm lens, you
can theoretically drop the
shutter speed by four stops
and shoot as slow as 1/30sec,
but still manage to achieve a
pin-sharp image.
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T
he sensor inside excellent image quality, while
your camera is those captured in sub-
designed to work optimum conditions still
within a whole emerge sharp and full of

ISO
range of lighting
conditions, and its here where
knowing about your cameras
ISO settings comes in handy.
Taking control of your
cameras ISO which
regulates its sensitivity to light
allows you to choose the
most appropriate option for
the scene in hand. By doing
Your cameras sensitivity can make all the so, you can ensure that images
difference when capturing that crucial image captured in good light retain
detail. Problems arise at
higher sensitivities where the
camera tries to produce the
best images it can with the
light available, and also at
longer exposures, but the good
news is that your camera will
typically have tools at its
disposal to counter these
effects. So, what options are
there, and exactly when
should you use them?

Your camera
should allow
sensitivity to be
adjusted from
around ISO 100
to as much as ISO
12,800 or more

ISO SETTINGS EXPLAINED

ISO 100-400
Where possible you should try to stick to low
settings as they will create the least image
noise. In poorer lighting conditions though,
you may nd the shutter speed to be too
slow; in this case, you should select a wider
aperture or increase the ISO setting.
ISO 800-1600
This range is particularly useful when
capturing action, as it has the effect of raising
the shutter speed while keeping image noise
to a minimum. You may also need to use such
settings outdoors in the early evening and
indoors when shooting under moderate light.
ISO 3200-6400
These settings should be used when lower
ISO settings fail to provide a high enough
shutter speed, although they will create more
noise than lower ISOs. Typical candidates for
this range include darker interiors and
night-time street scenes.
ISO 12,800+
Settings at ISO 12,800 and above should be
used as a last resort, as they create the most
noise. The most suitable subjects are those
with the least ambient light: such as most
scenes outdoors at night, as well as dimly lit
interiors and live music events.

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AUTO ISO
If youre not sure which ISO
setting is the most
appropriate in a given
situation, fear not the
chances are your camera can
decide this for you. Many
cameras have an Auto
ISO, and some more
advanced models can have Most cameras now
the Auto ISO range set by have an Auto ISO
the photographer. By doing
option, which takes
the hard work out of
this, some of the highest few
deciding which
sensitivities i.e. those which setting to use
will produce the most noise
will be avoided. How
accurate this is obviously lens in use. The camera wont ability to sense motion, and fast enough to freeze
varies from camera to take any subject movement adjust the shutter speed movement around
camera, although for the into consideration when accordingly, but many do 1/250sec and upwards
most part the camera will deciding this value, which not; in this case, you may while using the Auto ISO
simply pick the lowest means that there is a chance stand a better chance of option. This will then
sensitivity that will produce the camera can still capture capturing an image sharply determine both the
an acceptably sharp image, an image with some blur if by setting the camera to its appropriate ISO value and
which is largely determined your subject is moving. Shutter Priority setting and aperture to enable that
by the focal length of the Some cameras do have the choosing a shutter speed shutter speed to be used.

HIGH ISO NOISE REDUCTION LONG EXPOSURE NOISE REDUCTION

NOISE REDUCTION
DSLRs, compact system
cameras and an increasing
number of compact cameras
now have the option of applying
noise reduction to images.
Typically this is offered for two
separate types of images: those
captured at higher sensitivities
and particularly long exposures.
The two work in different
ways, given the type of noise
created in each. Noise reduction
applied to high-sensitivity
images is usually offered in low,
medium and strong options. As a
lot of the noise these settings
attempt to reduce is random in
nature, these work on the image
as a whole, which means they
tend to also affect details which
are not visibly affected by noise.
Therefore, the strongest
settings will indeed have the
effect of removing the most
noise, but at the expense of
detail. If you plan on enlarging
your images, or cropping into
them heavily in post-production,
you may, therefore, prefer to use
a low or medium setting, or
alternatively capture a Raw
image and process it later on
when you will have more time to
get the result you desire in
post-production.
Long exposure noise reduction
works in a different way. Much of
the noise which forms during a
long exposure can be measured
more accurately by a camera,
and so it can be removed more
effectively by noise reduction.
The camera will typically
calculate where on the sensor
this noise forms from a
subsequent image taken without
any exposure to light. It then
subtracts that noise from the
original image, leaving the details
in the image largely unaffected.
It is, therefore, recommended
when shooting long exposures.

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Exposure Though your camera has a
high-tech built-in light meter,
knowing what to do when

and Metering it gets it wrong will ensure you

get perfectly exposed shots
every time. Heres how

P
hotography is all
about light. If you
expose your sensor
to too much light,
youll bleach out the
image; and not letting enough
light on to the sensor will mean
the photo is too dark: detail and
colour will be lost in both cases.
But light intensity can vary
greatly. Time of day, weather
and indoor articial light can
all affect light levels. In essence,
brighter subjects reect more
light than dark ones, requiring
less light to expose the shot, so
knowing how much light is
available is vital to achieving a
correctly exposed shot.
This is where your cameras
exposure meter comes in.
Measuring the light entering
the camera through the lens
(TTL), it assumes that the scene
contains an equal number of
light and dark tones from
which it will calculate an
exposure to reproduce a
mid-grey most scenes have a
mix of light and dark tones
which will average out at 18%
grey, so camera meters are
calibrated this way to give a
standardised exposure.
Now that the camera has
this meter reading (the ISO
setting has also been taken
into account), you can dial in
your desired aperture if in
Aperture Priority, and the
camera will set the correct
shutter speed to ensure
enough light hits the sensor
for a correctly exposed shot. If
in Shutter Priority, once you
choose the shutter speed, the
camera will set the optimum
aperture. In manual mode,
youll set your shutter speed
or aperture rst, then dial in
the other. An exposure guide
readout in the viewnder will
inform you when youve hit
the sweet spot.
DSLRs and compact system
cameras have more than one
metering mode, so lets see
how they differ...
14
SPOT METERING
ABOVE: Spot metering was the right choice
for this shot. By taking a reading from the
subject, the meter hasnt got fooled by the
dark background.
MULTI-SEGMENT
METERING
Multi-segment,
or Multi-zone
metering, is the
default setting
on most cameras. Each
manufacturer has its own
name for it Canon calls it
Evaluative, while Nikon terms
its own as Matrix, but they all
operate in a similar way.
The entire image is
metered, but is divided into
sections (this can be anything
from six to 51 segments) to
produce a much more
accurate reading for the scene
as each segment takes its own
reading. Its so clever, that it
knows which areas to give
prominence to and which
areas to ignore bright skies,
for instance, that could fool a
meter normally. Information
from all segments is then
combined and cross-checked
with a database to determine
the best exposure possible. For
general shooting, multi-
segment is the best option.
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MULTI METERING
CENTRE-WEIGHTED METERING
TOP RIGHT: For this landscape scene with
even tones, multi-segment metering did
the job perfectly, and is recommended for
most situations.
CENTRE-WEIGHTED
Before multi-
segment came
along, centre-
weighted
metering was the standard
metering mode on pretty
much any camera, and is still
a reliable option.
Compared to multi-
segment metering,
centre-weighted is quite
straightforward in how it
works. Using the whole scene
to take a meter reading from,
a bias is given towards the
centre of the frame as the
name suggests which is
normally around 60-70%. As
youd expect, its ideal for
subjects that are in the centre
of the frame, such as portraits
and action shots, which may
otherwise trick multi-segment
metering if theres a light or
dark background.
SPOT METERING
True to its name,
spot metering takes a
reading from only a
ABOVE: With centre-weighted metering,
the bias is in the centre. With the dark
background, multi-segment metering
would have overexposed the shot.
very small area of the frame
roughly between 1% and
5% and assumes that this
point will be the mid-grey
area, and allows you to take a
very specic meter reading.
Many portrait photographers
choose this option, taking a
reading from the skin, while
its also popular with
documentary photographers
working in poor light and
wanting to ensure that their
subject is exposed correctly.
Spot metering is often
linked into the AF point you
have selected, so that you can
focus and meter from the
same point.
PARTIAL METERING
Not all DSLRs feature partial
metering, though youll nd it
on most Canon DSLRs.
Its a halfway house between
spot and centre-weighted,
covering an area of 10-15% of
the frame. Less precise than
spot, its still a solid option for
subjects with variable lighting
at the edges of the frame.
NO EXPOSURE COMPENSATION
EXPOSURE
COMPENSATION
In most shooting scenarios,
your cameras exposure meter
will get the exposure spot on.
There will be some
circumstances when your
exposure meter will get the
reading wrong typically in
predominantly bright or dark
conditions, which will
result in images that are too
dark or light. When this
happens, itll require you to
intervene and correct the
cameras mistake. Helpfully,
most cameras come with an
easy to use Exposure
Compensation feature thatll
allow you to make these
EXTREME
LIGHTING
With extreme bright and dark
areas in a scene, its often too
much for the sensor to cope
with. Thats why youll often nd
that either the sky is bleached
out and the foreground is
correctly exposed, or the sky
is correctly exposed and the
foreground too dark.
Many cameras offer a Dynamic
Range feature that, with some
clever in-camera processing,
manages to retain more detail in
both the shadows and highlights
for a more balanced result. These
systems arent foolproof
however, so for best results,
many photographers use Neutral
Density graduated lters and
you can read more about those
on page 50.
WorldMags.net +2 EXPOSURE COMPENSATION
necessary changes to the
metered image.
Exposure Compensation is
normally accessed via a
button on the body of your
camera, traditionally marked
with a -/+ icon. Press this and
youll then be able to set how
much the camera will under
or overexpose the shot in
order for you to achieve the
correct exposure for the scene
in front of you. Most cameras
allow an exposure
compensation of up to three
stops, in either increments of
a third or half stops for
precise adjustment.
Knowing how much to over
or underexpose a shot will
come with practice, but the
METERED
BRACKETING
If you want to ensure every shot
you take will be correctly
exposed, then you can bracket
the photos you take. Bracketing
involves you taking a series of
shots at marginally different
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THE HISTOGRAM
Reviewing images on the rear screen can
sometimes be enough to assess whether
the exposure is correct or not, but it
should only be used as a rough guide
because surrounding lighting conditions
can distort what you see on screen.
The best way to check exposure is to
review the histogram for the image (this
can be selected in most camera menus).
The histogram is a graphical
interpretation of the image, showing the
spread of tones with the left hand side
showing the darkest areas of the image,
while the right hand side shows the
lighter areas.
Theres no such thing as a good or a
bad histogram it simply shows you
best advice is to start by taking the tonal range of the image. A well-
a shot with the exposure exposed image will have peaks that are
compensation set to 0, review evenly distributed across the image,
the shot on the rear screen while an overexposed shot will have the
and if it appears to be too graph clumped to the right, with the
dark, dial in an exposure opposite being the case for an
compensation of +1/2, shoot underexposed shot. That said, where a
again and review. If its still bias for a light or dark image is desired
too dark, increase the (such as a high-key or low-key shot),
exposure compensation then this will also be the case.
another half stop. For images
that appear too bright
initially, dial in an exposure
compensation of -1/2, shoot
and review and then increase
if still too dark. In most cases,
half a stop will be enough to
correct the exposure just
remember the bias will be
applied to all your images
until you reset.
OVER UNDER
exposures so, as well as the you would do manually, you can
metered version that the camera set your camera up to take a
thinks is best, just take a couple of metered shot, and one or more
shots either side of that exposure, images either side of that
either in third or half stops. You exposure and when you re the
can do this manually, but many shutter, your camera will
cameras have an Auto-bracketing automatically take the desired
feature. With this feature, just as shots in very quick succession.
15
CAMERA BASICS

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To capture the
action, youll need
to be shooting in
continuous mode
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Drive modes
Drive modes control how quickly you can take photos

D
rive modes are an
important setting
on your camera, as Selecting the correct
drive mode makes a
they control massive difference
whether you take to how you shoot
single or multiple shots when the
shutter button is fully depressed.
Not only that, but they can also be
used to delay the shutter being
red after youve pressed the
shutter button.
The drive mode you choose will
depend a lot on the subject youre
taking a sports shot, for instance,
where you want to ensure you
capture the action will require a
series of multiple shots in quick
succession; whereas a still-life or
portrait shot wont require that
same split-second accuracy, so a
different drive mode is required.
Below are the four main drive
modes found on a camera.

DRIVE MODES EXPLAINED

SINGLE CONTINUOUS
Your cameras Single drive
mode is your cameras default
shooting mode and, for most of us, the drive
mode that youll use the most as its perfect
for a range of shooting situations, from
portraits to landscapes.
As the name suggests, when you press
the shutter button, a single shot is taken,
regardless of how long you hold the shutter
button down for. If you want to take another
shot, youll need to release it and press the
shutter button down again.
This is the best mode for
when youre shooting action
because it will allow you to press and hold
the shutter button down and re off a
series of shots in a non-stop burst to
ensure you get the winning shot.
The rate at which the camera res
continuously depends on the model,
ranging from 2.5fps (frames per second) to
12fps, while some models are able to
sustain longer bursts than others. Youll
nd that the camera will stop shooting as
it tries to process all that data.
SELF-TIMER
The Self-timer mode isnt just
ideal for getting yourself in the
frame, as it comes in handy for other
situations as well.
If youre taking a shot with the camera on
a tripod for instance, use the self-timer, as
even though the camera is supported,
pressing the shutter button can induce
movement. In Self-timer mode though, any
slight movement will have subsided by the
time the shutter is triggered. Most cameras
have two-second and 10-second delays,
some even more.
QUIET MODES
Quiet mode (also known as Silent)
is a relatively new mode thats
found its way on to DSLRs over the past couple
of years, so some models may not feature it.
The noise of the shutter can be quite loud,
so to reduce this the mirror is not lowered until
the shutter button is released, allowing you to
choose when the camera releases the mirror.
As well as this, the beep sound your camera
makes when focus is acquired is disabled.

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Image quality
For the best image quality it helps to set your camera up correctly

T
odays cameras are general quality of your images. true to life, while thinking about you choose to shoot in raw its
incredibly Perhaps the most important an images final output will dictate worth weighing up the potential
sophisticated, and things to consider are the white which colour space you should be gains of processing your own
choosing the right balance, colour space, file format using. If you plan to capture your images with the extra effort and
handful of settings and level of compression. The images in the JPEG format alone time itll take to do so. The
can make a significant difference most appropriate white balance it pays to think about the following should help you get the
to the colour, sharpness and setting will ensure colours remain compression level you select, and if most out of your camera.

DAYLIGHT WHITE BALANCE AUTO WHITE BALANCE

AUTO WHITE BALANCE TUNGSTEN WHITE BALANCE

WHITE BALANCE
A cameras white balance
system is charged with the task
of rendering colours accurately.
For the most part a camera can
be left to its auto white balance
(AWB) setting, which calculates
the correct colours as you
shoot, as most of the time it
should get it right (above left).
Under uorescent lighting
sources (above right), or a
mixture of natural and articial
sources, the AWB systems in
many cameras can struggle and
reproduce an image with a
slight colour cast. This affects
not only neutral areas but
colours as a whole; in this
instance, you should examine
whether your camera has a
more appropriate preset option.
These, labelled Incandescent,
Flash, Tungsten and so on, are
designed to be used under
those specic conditions, which
means the element of
guesswork is removed.
Obviously given the range of
different lights available there is
still room for error here, but the
chance of success is higher.
Most cameras also allow you to
set your own white balance for
the highest accuracy by taking a
reference image of a suitable
target, such as a grey card.

The Adobe RGB gamut

COLOUR SPACE
A colour space allows colours to be
described by their red, green and blue
values, or by their luminance and
colour components. On most cameras
there are two options: sRGB and
Adobe RGB. The former was designed
for computer displays, scanners and
for viewing images online, and so its
the best option if your images are
destined to stay digital. It has a
relatively narrow colour gamut (the
range of colours it can be used to
describe) but for most applications it
sufces. Adobe RGB, on the other
extends slightly further into
the cyan-green region than
the sRGB gamut
hand, which is the default colour space
in Photoshop, has a slightly broader
gamut which sees greater coverage in ADOBE RGB
the cyan-green area. It is a more
suitable colour space to use if the SRGB
ultimate goal is printing, particularly if
your images are going to be edited.
If you shoot raw images (explained on
the facing page), you can decide on
the colour space when it comes to
post-processing, but for JPEGs its
best to choose this at the time of
capture as conversions later can lead
to loss of image quality.

18
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 WorldMags.net RAW
RAW & JPEG
Most high-end cameras have the
ability to shoot raw images in
addition to JPEGs. Raw images are
analogous to lm negatives, in that
they are an unprocessed starting
point for your images. Processing
raw images allows you to take
many decisions into your own
hands, such as the colour space,
sharpness, noise reduction and
colour, giving you the potential to
achieve a far better result than an
equivalent JPEG image created in
your camera. Raw les have the
advantage of containing far more
information than JPEGs (which
makes them more suitable to
processing) although as they are
designed to be processed before
being displayed or printed,
processing skill and time are
required from the photographer.
For more critical work try to shoot
raw images with the intention of
processing your photos later to
your liking; while for more everyday
captures, shooting JPEG images
should sufce. JPEG

ORIGINAL IMAGE TIFF (UNCOMPRESSED) JPEG (BEST QUALITY)

JPEG (VERY GOOD) JPEG (GOOD QUALITY)

JPEG COMPRESSION
JPEG images are compressed as
standard, which means they take up
only a fraction of their actual size on
a memory card or hard drive. Their
le size depends on the elements in
the scene, and how much
information may be safely discarded
without any detrimental effect on
their quality; a scene with plenty of
blue sky, for example, can be
compressed more easily than one
with many intricate details. If images
are compressed too greatly, however,
they can begin to exhibit artefacts,
such as small blocks or obvious
denitions in an area which is JPEG (MEDIUM QUALITY) JPEG (LOW QUALITY)
gradually changing in tone. Many
images with constantly varying
details do a good job to mask these
effects, although in areas of little
detail they may be more apparent.
Stick to the lowest level of
compression usually marked as
Best, or Finest, or by the highest
number of stars to help in
maintaining image quality.

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Understanding
White Balance
Controlling your cameras white balance helps you achieve the right colours every time

W
hen you illumination into instead, as this will instruct the handful of accessories, can also
view a white consideration, and this is camera on the exact be used creatively to introduce
object known as its White Balance. conditions youre shooting in. colour casts into images
under Most of the time its safe to The likelihood is that your particularly in scenes naturally
various leave your camera on its Auto camera offers a number of devoid of colour.
different lighting conditions, white balance setting, as this additional options for In these two pages we
your visual system adapts to will make light work of changing its white balance, examine how you can use
any changes to ensure you still ensuring your colours remain such as a colour temperature these tools to your advantage,
see the object as white. Your true to life. Now and again, scale or adjustments for be it to help maintain accurate
camera requires a similar however, it can help to use one particular hues. These colour or inject a completely
system to take any changes in of the white balance presets controls, together with a different feel into your shots.

BLUE ORIGINAL YELLOW

BRACKETING
In the same way that you can set a
camera to bracket an exposure that is,
capture additional frames either side of
an image with different exposure
settings you can do the same with
white balance. Although the exposure
remains the same for the additional
frames, the colour balance does not.
Typically the feature allows for one
image to be taken with a slightly
warmer white balance and the other
with a slightly colder one, and as it white balance between frames the then single out the one you think has
captures these images in one go you camera does it all itself. Once your the most appropriate white balance and
dont need to worry about adjusting images have been captured, you can delete the other two.

ACCESSORIES X-Rite
ColorMunki
Display
Calibrating your display is an
essential part of a
colour-managed workow,
Datacolor and is vital if you plan on
SpyderCube editing your images for print
or online publication.
This resin cube features
everything you need to
set the correct exposure Rogue
and white balance in
post-processing, Colour Condence Universal
and is particularly
Total Balance Gel Kit
useful in atypical These coloured gels can be
shooting This collapsible target provides a slipped over your ashguns
conditions. neutral grey for setting a custom head, either to balance the
white balance, and comes with its lights in the scene or to provide
own carrying case for portability. a coloured illumination for
creative effect.

20
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COLOUR TEMPERATURE SCALE
In addition to the Auto and
presets options, your camera
most likely features a colour
temperature scale. This allows
your white balance to be
adjusted over the Kelvin scale,
which will typically run from
around 2500K to 10,000K.
The white balance presets on
your camera all fall somewhere
on this scale.
If your camera allows you to
preview the effect of changing
this youll see how this works:
as you increase colour
temperature, the cast changes
from blue through to neutral
before nishing up at a warmer
amber colour. So, when
capturing images under the
warm glow of tungsten lamps,
a lower colour temperature will
be appropriate in order to
produce a compensatory blue
cast, and vice-versa.
As changes can typically be
made in increments of 100K this
is a useful way of altering white
balance if you only require a
small adjustment in either
direction, rather than a more
signicant shift.

4300K 5500K ORIGINAL 7100K 7600K

ORIGINAL

CUSTOM WHITE BALANCE

Sometimes your cameras auto white
balance system will produce an
inaccurate result and it will be difcult
to know which preset to use in its
CUSTOM place. If youre shooting under a
mixture of daylight and tungsten light,
for example, would you choose the
Daylight or Tungsten white balance
preset? Fortunately you can create your
own white balance setting thats
specic to the scene being captured,
through the use of a grey card. These
are designed to reect different
wavelengths of light equally so that
they can serve as an accurate neutral
target under a range of different
conditions. Once the camera has this as
a reference it will use it for all
subsequent images until you change
your white balance setting.

+2 GREEN

ADJUSTING
OVER
COLOUR GRID +1 GREEN
Sometimes, rather than adjusting
your white balance through colour
temperature or by using a specic
preset, its easier to bias your
exposure towards a particular hue.
You might feel your image could do
with a little more blue or magenta, +2 BLUE +1 BLUE ORIGINAL +1 AMBER +2 AMBER
for example, but not know what
colour temperature would correlate
to such a change.
Many cameras now offer a white
balance control which features a
grid with colours on each of the four +1 MAGENTA
sides; by moving a centrally-placed
point towards these, minor colour
adjustments can be made with little
effort. If you do choose to adjust
white balance in this way make sure
to reset the point to its default
position when you no longer require
+2 MAGENTA
that particular change. Otherwise,
that change will affect all
subsequent images.

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 CAMERA BASICS

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Focusing Ensure pin-sharp shots
by understanding
your cameras
focusing modes

F
ocusing is one of
the key
cornerstones of
photography, with
pin-sharp images
the desired aesthetic for most
people. Autofocus has made
achieving this much easier for
many, but as technology has
seen AF become increasingly
sophisticated with more
modes available, it has
become ever more important
for you to know which mode
to select for the subject youre
photographing. Below are the Know which focus mode to use so
key focusing modes that you youll be guaranteed sharp shots
need to know...

FOCUS MODES EXPLAINED

SINGLE AF AUTO AF AUTO
Not every camera will have this
AF mode, but in essence, its a
combination of Single-shot and
Continuous AF modes. Termed
AF-A or AI Focus, the camera will
initially be in Single-shot mode,
but should your subject move, it
will automatically swap to
Continuous AF to ensure your shot
remains sharp.

SINGLE CONTINUOUS FOCUS TRACKING FOCUS TRACKING

Single AF, often referred to as
AF-S or One Shot, is ideal for
shooting general and static
subjects. Once you have
half-depressed the shutter button,
the camera acquires focus, so if
your subject moves, you will have
to re-focus but for static subjects,
this wont be an issue.
If your subject is likely to move
when youre shooting, choose
Continuous AF, which is labelled
AF-C or AI Servo for Canon users.
As you half-depress the shutter
button, the camera will continue to
adjust focus on the subject until
you re the shutter, ensuring focus
is maintained.
While continuous AF will adjust
focus on a single point, Focus
Tracking is clever enough to track
the subject as it moves across the
frame. Some systems offer a
plethora of custom settings to
ne-tune depending on how
erratically and fast you anticipate
your subject to be moving.

CONTINUOUS AF MANUAL FOCUS MANUAL

There will be times when
youll need to focus manually,
such as when youre
photographing close-up macro
subjects and want to be very
precise with your point of focus.
Other scenarios where MF will be
useful is when you want to focus
on a specic point when youre
taking multiple shots.

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HYPERFOCAL
FOCUS LOCK
Many cameras today allow you to lock focus
on a subject before recomposing the scene
and capturing the image with that same
focus setting. This is useful if you know that
the distance between the camera and the
subject wont change, but where capturing
the images may be complicated by subjects
moving between the two, causing the
camera to refocus.
Another occasion when you may wish to
use focus lock is when the subject only
takes up a small proportion of the frame.
The reason for this is that the camera may
wrongly focus in front of or behind the
subject if the selected focus point drifts
The Focus Lock control is
often labelled with a star or
FL symbol, although this
varies between cameras
FOCUS PEAKING
The majority of cameras
OUT OF FOCUS
today offer manual
focusing in addition to
automatic modes. This
allows the photographer
to either override the
auto systems where
required, or to decide
focus themselves.
While this is great from
the perspective of
exibility, it can
sometimes be difcult to
know exactly when the
subject is focused as well
as it can be, particularly with low-resolution
LCD screens or in brighter conditions when
the display may be more difcult to see
clearly due to glare.
The focus peaking function which
complements the manual focus mode inside
many cameras gets around this issue. The
away from the subject through any
involuntary camera movement.
The focus lock button or control identies
itself differently on different cameras,
although the convention is through a star
label or FL label. Sometimes it may be
possible to assign the option to a Function
button of your choosing, should you prefer
it to be elsewhere.
Using the focus lock button is simple:
all you need to do is to focus on your
subject and press the relevant control.
Focus will typically remain at this setting
until the button is pressed again or the
camera is turned off.
IN FOCUS
principle on which this works is essentially
the same across various different cameras
whereby the camera measures subject
contrast as a lens is manually focused, and
makes it clear when the contrast is highest
by covering the relevant area with a
highlight or a colour.
This highlight or colour increases
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DISTANCE
Hyperfocal focusing is typically
used in landscapes where the
photographer requires as much of
the scene to be in focus as
possible. The hyperfocal distance
is the closest distance at which a
subject is in focus when the lens is
set to focus on innity. By
knowing this distance, the
photographer can decide whether
the aperture and lens selected are
appropriate in order to capture
the image in the way desired.
There are a number of
smartphone apps which can
calculate hyperfocal distance for
a specic lens, camera and
aperture combination. These
include DOFMaster and Simple
DoF Calculator, although manual
hyperfocal distance aids are also
widely available.
gradually as the subject is brought into
focus, until the subject is typically covered
by this indicator; at this point the subject is
deemed to be in focus.
This system is particularly useful when the
camera struggles to autofocus, whether it
be due to lack of light or against low-
contrast subjects.
23
 CAMERA BASICS

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Stabilising
the camera
Its been estimated that over half of all images taken suffer from camera shake
to some degree. Here are a few methods to banish it from your own photos

T
he biggest single reason for
pictures not to be pin-sharp is
camera shake. A photogragh may
look supercially sharp when
viewed on the cameras LCD
screen, and even when seen on your computer
monitor, but when you enlarge it up to 100% or
even 50%, its then that the tell-tale signs of
camera shake often become apparent.
Obviously theres little point in spending a
fortune on the highest-resolution DSLRs and
sharpest lenses only for your pictures to fail at
the rst hurdle, especially when it can be so
easily remedied. A proper support is the best
option but there are many ways to reduce the
risk of camera shake without one.

STAND PROPERLY DONT STAB THE SHUTTER USE YOUR STRAP

It may sound obvious, but make sure you have both feet on the Many people jab hard on the cameras shutter release, which One way to increase stability when your camera doesnt have a
ground with your weight evenly distributed. Tuck your elbows itself not only causes blur-inducing movement but can also spoil viewnder is to put your camera strap around your neck and
into your sides for extra stability and hold the camera rmly in a careful composition. Squeeze the shutter slowly to avoid any then pull the camera away from you so the strap is taut. This
both hands. jarring of the camera. should reduce the risk of camera shake.

LEAN ON SOMETHING PLACE ON A SOLID SURFACE USE A VIEWFINDER

Finding something rigid to lean against will help counter the
natural shaking and movement of your body that you barely
notice as a matter of course. Leaning against a lamp post, a tree
or a wall will give you extra stability.
24
If you havent got a tripod with you, try improvising. If theres a
table, the top of a wall or some other at surface at the right
height for the shot, you can always place the camera on that,
using the self-timer to trigger the shutter.
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When you use a viewnder the act of pressing the camera
against your head to look through the eyepiece improves its
stability signicantly. If youre shopping for a camera its worth
bearing this in mind.
 WorldMags.net
OPTIMAL APERTURE
Each lens has its own optimal aperture
or sweet spot where it will deliver the
sharpest results normally one to three
stops down from the maximum
aperture. Therefore if your lens has a
maximum aperture of f/2.8, the lenss
optimal performance is likely to come
somewhere between f/4 and f/8. This is
because lenses arent perfect and they
suffer from a number of aberrations
that have their effects reduced as the
lens is stopped down.
So why isnt the lens at its sharpest
when stopped down even further
towards its minimum aperture? While
its natural to assume that stopping the
lens down to f/16 or even further will
produce the sharpest image with the
maximum amount of depth-of-eld, it
doesnt quite follow.
This is because at these apertures
diffraction comes into play light
rays get ever so slightly bent when
passing through a very small aperture
opening, softening the image slightly
and resulting in you getting
progressively less sharp images beyond
a specic aperture.
While this shouldnt mean that you
should restrict yourself to shooting at
your lenss sweet spot because youll
need to shoot at various apertures
depending on your subject and the
lighting conditions its worth knowing
at what point your lens will provide the
sharpest results.

F/1.4 F/6.3 F/11 F/22

IMAGE STABILISATION
While its possible to shoot handheld and still achieve pin-sharp speeds than would otherwise be possible and still maintain sharp
shots, image stabilisation is a technology designed to reduce the images. Image stabilisation can be split into two main camps, namely
effects of camera shake and allow you to shoot at slower shutter lens-based and sensor-based.

LENS-BASED IS
This works by moving elements inside the lens
in the direction opposite to the movement of
the camera. The direction and degree of shift
is calculated by gyro sensors in the lens, which
feed their calculations to a microcomputer,
which instructs the image-stabilising lens
group. This shift offsets the movement of the
camera which would otherwise cause blur.
SENSOR-BASED IS
Sensor-based IS works on a similar principle
to lens-based systems, only its the sensor,
not the lens elements, that moves to counter
motion. The sensor is mounted on a movable
platform, and gyro sensors determine the
speed and direction of movement. Once
calculations have been made, the sensor
moves to counter any blur.
PANNING
Image stabilisation systems are able to detect
panning, and as long as your technique is
smooth, the system will be able to reduce
vibration in the vertical axis, though you may
prefer to switch the system off.

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Getting
started
Taking photos is about more than pointing your camera and
shooting. Whatever your subject, whether landscapes, portraits or
action, the rules of light and composition will help your images
stand out from the crowd

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Time
of day
The best times for photography are at
the beginning and end of the day. Save
the middle portion for giving your
camera a well-earned rest
WORDS & IMAGES NIGEL ATHERTON

Early morning and late afternoon is notable

for low sun and dramatic long shadows, as
in this view of Miami Beach
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At sunrise the light is low and warm, the air is

clearer and there are fewer people around. You
still need an interesting view to make the most
of it, such as the Shanghai skyline, shown here

O
ne of the differences between snap shooters
and creative photographers is that the former
merely photograph things, whereas the latter
group are more interested in the way that the
light falls on those things.
Often the difference between a great and an average shot of
the same subject is the light. We need enough of it to take a
picture, but in order to make a great picture we need to be
interested in more than just the amount of light we need to be
also interested in the qualities of that light.
Light is ever changing throughout the day, and through the
seasons, and in different parts of the world. Its these constant
changes in light that provide photographers with the
opportunity to produce an innite number of different images
from the limited number of things there are to photograph.
Light varies in its direction, its colour, its size and contrast as
well as its brightness. It is ltered by the sky so changes its
qualities according to how cloudy it is, how polluted the air is,
and even the altitude youre shooting at.
When the sun rises in the morning it comes up from below
the horizon. It is warm in colour and casts long shadows across
the landscape. As it gets higher in the sky the shadows get
shorter until it reaches its zenith, before it begins its descent Sunset is a popular afternoons can be good too the air is generally less clear but
time for
towards sunset. Photographers know that the most photogenic photography as it
this can affect the light in a benecial way for photography. The
light for outdoor pictures are those rst few hours and the last can produce intense direction in which youre shooting is a crucial element and may
few, and that during the middle portion of the day it generally colours. Here, the be the deciding factor in whether to shoot at the beginning or
produces fairly unattering illumination on most of whats lights of this the end of the day.
below. Even peoples faces get long shadows under the nose and seafront bandstand However, the main thing to remember is that during the
neck and dark panda eyes. provide an middle few hours, especially in summer, if youve got direct sun
If you want to achieve the best landscape and nature pictures, attractive contrast youre better off either shooting indoors, or in shade or putting
then you need to set your alarm for an early rise, because by your camera away altogether. Winters are better because the sun
about 10.30 in the morning the best light has already gone. Late stays lower in the sky.
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Direction
Direction
of
of light
light
Its not just how much light youve got
that counts the direction that the light
is coming from has a profound effect on
the nal image
WORDS & IMAGES NIGEL ATHERTON

Sidelighting casts deep shadows and

reveals the textures on the surfaces of
your subject, as in this example taken
at Red Rock Canyon, Nevada
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O
ne of the most important factors in the quality of
light is the direction from which its coming. A
commonly quoted rule of thumb is to shoot with
the sun behind you so that it lights the front of
your subject.
Theres nothing wrong with that. Youll get an evenly lit
record of your subject and maybe even a nice blue sky in the
background, but this kind of light is a little at and two-
dimensional, and less interesting from a photographers point
of view. Its better when the light is oblique, and casts shadows.

SIDELIGHTING
When a subject is lit from the side two things happen. Firstly, parts
of the scene go into shade, and its this mix of light and shade that
make a picture look more three-dimensional and interesting. The
second thing that happens is you can suddenly start to see the
texture in your subject, whether in brickwork, wood, even peoples
faces (which may not always be a good thing!).
You can create this texture even on a small scale in a home
studio by placing a hard, high-contrast light source to the side
of your subject so that it glances across its surface.
These two images were taken within ve minutes of each other. The key difference is the direction of the light. In the
CONTRE-JOUR rst shot (above) the sun is behind and to the right of the camera. The second image (below) was taken from the other
side of the building, shooting directly into the light and metering from the sky to render the subject as a silhouette
Shooting directly into the light can sometimes produce the
most compelling shots. Long shadows extend towards the
camera and subjects can take on an attractive halo around their
edges, which can be very attering with portraiture, when the
hair becomes backlit.
Setting the right exposure, however, can be quite tricky,
because the front of your subject will be in deep shadow, so
depending on where you take your meter reading from, youll
get a very different result. So how do you decide?
If you want the front of the subject to be exposed correctly
youll need to choose one of these two options. Either take a
selective reading from this area, excluding the light coming
from behind, and thus overexposing the background; or youll
have to add light to the front to ll in the shadows either from
a reector or additional lighting.
On the other hand you could choose to set your exposure for
the brightly lit background and turn your subject into a
silhouette (see the image to the right). This method can work
well if your subject has an interesting outline that would look
good as a silhouette. If its outline is a rectangular slab then
obviously it wont lend itself well to this treatment.

When the light is coming from

behind you so that your scene
is lit from the front, you get a
result like this, with a virtually
shadowless subject. Its a Shooting into the light creates an
good record shot but lacks the attractive halo around a subject thats
atmosphere provided by more most pronounced with ne hair
oblique lighting whether human or monkey

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Hard and
sof light
soft The size and type of light source determines
the contrast of the illumination. Direct sun is
very hard unless diffused by cloud
WORDS & IMAGES NIGEL ATHERTON

Hard light produces very

high-contrast light, with deep
shadows. This provides lots of
photographic opportunities like
this one, taken on Brighton beach
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Hard light
The hard light of
this portrait (below)
was overcome by
turning the subject

B
right sunshine is a very hard, high-contrast light to face the other
unless ltered and softened by the atmosphere or direction (right)
some other form of diffuser. It creates deep where the light
shadows which can be used by photographers to was softer
our advantage,
either by making a subject
more interesting or indeed
being the subject itself, if you
photograph the actual
shadows it creates. But hard
light can just as equally be a
curse if its in the wrong place
or doesnt suit the subject
youre shooting.
If youre shooting a
portrait, for example, hard
direct light can cast ugly
shadows on the subjects face.
This can easily be xed either
by diffusing the light through
a translucent material or by
bouncing it off a reector to
ll in those unwanted
shadows. Or you can either
turn the person so that the
direct light is behind them
and their face is lit only by
reected light, or move them
to the shade where the light is
that much more even.

Soft light

S
ometimes the sky does this diffusing job for us, by
putting clouds between us and the sun to reduce or
even eliminate the shadows altogether. Haze,
pollution and fog also have the effect of reducing the Soft, diffused light
contrast of the light. Photographers often erroneously is ideal for delicate
think that direct sun is the best kind for photography, but this is nature studies such
not always the case and depends very much on the subject being as this one, where
hard shadowy light
photographed. Portraits, for example, are usually more
would make it
attering in soft diffused light such as that produced on a difcult to see the
cloudy day. Soft even light is also no barrier to nature ne detail and
photography, and youll nd plenty of great close-up destroy the subtlety
opportunities in the shade of a tree canopy. of the tones

The soft light has allowed both the pufn

and the background to be evenly
balanced, producing a pleasing exposure

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Artificial
light
Shooting indoors can be tricky because the
light is often of poor quality. With care
though, you can get some great results
WORDS NIGEL ATHERTON

T
here are many situations where you need to rely on
articial light, whether from domestic lighting,
uorescent tubes or ood lights. This presents
several challenges. Firstly the brightness level wont
be as high, so youll need to raise the ISO. Secondly
the colour of the light will need to be ascertained, and the
appropriate white balance set. You could use the appropriate
pre-set but its better to take a manual white balance reading
from the scene so you know youve got it right, especially
because even similar types of light, such as uorescent tubes,
can vary a lot in colour. The third problem is that articial light
can be ugly, especially if its on the ceiling. You may need to add
a little well-balanced ash to improve the quality of the
illumination. If you set the white balance to daylight and let the
ambient background go orange due to the articial light, you
can get some great effects.

PHOTOGRAPHING CONCERTS
Live music and theatre offers great opportunities for photos,
but its a challenging subject. Because of the low light levels, its
best to use fast lenses. A relatively inexpensive 50mm f/1.8 is a
great option. Youll still have to crank up the ISO to 3200-6400,
but youll be able to handhold the camera. Also, switch to
centre-weighted or spot metering because of the dark
background multi-zone metering can often be tricked into
overexposing. Brightly coloured, constantly changing lighting
can be challenging but shooting in raw will give you the chance
to ne-tune the colour balance at the editing stage.
When shooting indoors, lighting can be a
problem. Be prepared to boost your ISO to
increase sensitivity, and open your lens up as
wide as possible to let as much light hit the
sensor as you can

A small burst of ll ash was used to light

the face of this museum guard, and the
white balance set for the ash, leaving the
tungsten-balanced background light to
record as orange
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Cropping and Orientation
Dont just stick with a rectangular format, try wide or square crops, or turn the camera on its side
WORDS & IMAGES NIGEL ATHERTON
F
ew casual photographers give much consideration to The extra sky at the
the shape and proportions of their pictures; they top of the frame and
just shoot within the frame their camera gives them. additional grass at
In fact cameras come with a variety of different the bottom added
little to this view of
aspect ratios. Most compact cameras and Micro
the Masai Mara,
Four Thirds system cameras, for example, have sensors with an Kenya. Cropping the
aspect ratio of 4:3 while DSLR sensors feature a longer and image resulted in a
narrower ratio of 3:2. graphically stronger
Not all subjects t cosily into the same shape pictures. photograph
Obviously many landscapes work naturally well in the
panoramic format but portraits tend, as a rule, to work much
better in a squarer frame.
Some cameras enable the user to change the aspect ratio of
the picture within the camera menu, from 4:3 to 16:9 (which
also happens to be the proportions of HD video) but theres no
reason at all why you cant just crop the shot later to the shape
you want thats all these cameras are doing anyway, in most
cases. You dont have to crop to one of these pre-determined
formats either, unless you want to be able to put the result into
a ready-made frame. Cropping your picture to the shape that
works best for your subject helps you to tell the story a bit
better, because you can exclude distracting elements that arent
part of the message youre trying to convey, and are only in the
shot because the shape of your camera frame makes it
impossible to exclude them.
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Some people claim that they naturally see the world in a
particular aspect ratio, and nd that one format suits them best.
If youre primarily a landscape photographer, for example, you
may be drawn to cameras that shoot in wider formats, though
some landscape photographers use the square frame and never
seem to run out of landscape subjects that t it beautifully.
Do remember when you crop an image youre making the le
smaller and potentially reducing image quality. To maintain the
quality as much as possible, try to use either the full width or
full height, and crop from one dimension only. If you nd
yourself constantly cropping from both sides then you arent
lling the frame enough and should move closer or zoom in!
ORIENTATION
Dont forget that pictures dont have to be horizontal, or
landscape format. Its always surprising how many people
never think to turn the camera on its side to create a vertical, or
portrait format image. Dont let the names put you off though;
there are a great many landscapes shot in the so-called portrait
format and portraits shot in the landscape format. As youre
looking through that viewnder, take a moment to consider
whether it would work better if you turned the camera 90. If in
doubt, shoot both ways. Many pro stock photographers shoot
both orientations as much as possible because it doubles the
chances of a sale.
Some images
obviously t into
either a horizontal
or vertical frame,
but for others its
always worth
turning the camera
to see what you
get. These two
images of a
Buddhist monastery
were taken in quick
succession
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GETTING STARTED

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Viewpoint
Viewpoint
Dont settle for the most obvious and familiar views
of well-known subjects. Seek out more interesting
and unusual alternatives
WORDS & IMAGES NIGEL ATHERTON

O
ne of the commonest mistakes that many people
make in pictorial photography is to shoot from
where they happen to be standing when they see
whatever it is that they want to photograph.
More often than not, a better picture can be
found by walking around and exploring alternative viewpoints.
Before you press that shutter button, pause for a moment
and take a breath. Take a good look at the subject that youre
about to photograph, and then at the area around it. Ask
yourself a few questions: Is this the best position to shoot from?
Am I close enough, or would the photo have more impact if
I moved closer still? Have I got the best lens on the camera for
this subject, or would a longer or shorter focal length work

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 The Taj Mahal is one of the most
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photographed buildings in the world.
Everyone shoots it from the entrance,
and the iconic shot from the end of the
reecting pool, but there are lots of
other angles. These pictures are a
small selection from a larger set taken
during a period of about three hours.

better? How is the light falling on the subject from this

position? Would the composition or the lighting be improved if
I moved further to the left or to the right? And what does the
subject look like from the other side?
By all means take the shot you saw rst, especially if its of a
eeting moment that might disappear if you dilly-dally looking
for alternatives, but once youve got the rst shot in the bag take
a bit of time to explore any other possibilities. After all, if a
subject is worth photographing then its worth spending more
than just a couple of seconds on it. This especially holds true
for subjects, locations and landmarks that you may have taken a
lot of trouble to get to.
Dont be afraid to take lots of pictures, especially if youre
shooting handheld. If youre planning to shoot a more
considered landscape scene, using a tripod, perhaps with ND
lters, at least walk around to pick the best spot before setting
up. If youre aiming to photograph, say, a landscape at sunset,
get there in enough time to have explored every possible
viewpoint before the crucial time, so you can be condent that
when you open up your tripod youre in the best spot.

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EQUIPMENT

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Equipment
Equipment
Before you part with your hard-earned cash, carefully read this
guide to the types of lenses that are available, the ash
lighting set-ups you might use, as well as the other accessories
such as lters that you should have in your camera bag

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 EQUIPMENT
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Lens basics
Choosing a lens can be tricky for new users. Thats where our beginners guide comes in
T
he beauty of
investing in a
DSLR or CSC is
that you can swap
lenses, giving you
a whole new perspective on
the world and allowing you to
FOCAL LENGTHS AND CROP FACTORS
The most important factor
when deciding which lens to
buy is the coverage.
Traditionally, a standard
eld-of-view thats similar to
what the human eye sees is
a 50mm focal length, with
anything wider than that
classed as wideangle, and
24mm
MAXIMUM APERTURE
Lens names will always
feature an aperture this is
not the xed aperture they
work at, but the maximum
aperture available when
using that lens.
This is why its common
to see two different lenses
with the same focal range,
but one lens is twice or
three times the price of the
other because it has a wider
maximum aperture. Known
as fast lenses, they have
wide maximum apertures
(anything from f/2.8 to
f/1.4) and offer several
benets over slower lenses,
including a brighter
viewnder, potentially faster
40
get really creative with your
photography.
Being able to change lenses
allows you to select a lens
often more suited to your
subject, and by adding lenses
to your camera bag, you build
anything longer than that
classed as telephoto.
With most DSLRs,
however, a quick mathematic
calculation has to be applied
because all DSLRs (with the
exception of full-frame
models) have sensors with a
smaller physical area than a
50mm
autofocus, the ability to
shoot shallower depth-of-
eld images and to shoot
handheld in poorly lit
environments without the
need to increase the ISO.
Fast lenses are not only
more expensive, but they
also tend to be much
bigger and heavier.
Zoom lenses can also
feature whats known as a
variable maximum
aperture, ranging from
f/3.5-5.6 for instance on an
18-55mm lens; so at 18mm
the maximum aperture
available would be f/3.5,
reducing to f/5.6 as you
zoom through to 55mm.
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up a much more versatile
camera set-up.
In many ways, lenses are a
more important consideration
than the camera itself, as a
lens will dictate a lot more
what kind of shot youre able
35mm lm negative,
resulting in a magnication
effect to the focal length.
A DSLR with an APS-C
sized sensor requires a
multiplication factor of 1.5x
(1.6x for Canon DSLRs),
resulting in a 50mm lens
producing a 35mm focal
120mm
PRIME
OR ZOOM?
Most lenses sold nowadays are
zooms, offering a range of focal
lengths within a single lens.
Though they allow you to carry
fewer lenses, they are often
bigger, and have smaller
maximum apertures, than xed
focal length (prime) lenses.
Prime lenses offer superior
optical quality (unless you
spend a lot of money on a fast,
pro-spec zoom lens) in most
cases because their optics have
been designed to one focal
length, not a broad range. They
can offer ultra-fast maximum
apertures which isnt possible
with a zoom lens.
to achieve. And while some
lenses can be priced similarly
to a decent DSLR, theyll
retain their value for a lot
longer and wont date as
quickly. Heres what you need
to know
length equivalent of 75mm.
Most entry-level DSLRs
are bundled with an
18-55mm zoom lens, offering
a 35mm focal length
equivalent of 27-82.5mm,
thereby spanning a
moderate wideangle through
to a short telephoto.
IMAGE
STABILISATION
While some camera systems
such as Sony and Pentax feature
in-camera, sensor-shift image
stabilisation, other brands such
as Canon and Nikon have
lens-based anti-shake systems.
Not all lenses will feature
image stabilisation, however:
its most useful with telephoto
focal lengths because any
vibration while handholding is
magnied to a greater extent at
longer focal lengths. Youll also
nd that in some instances
youll be able to buy both a
stabilised or non-stabilised
version of the same lens
depending on your budget.
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What to LENS HOOD
Its main job is to prevent stray light from outside the
FILTER THREAD
If you have several lenses with different lter threads
image area from entering the lens and causing are you wont be able to use the same lter on all your

look for
(which lowers image contrast or causes blobs or lenses you may have to buy one for each lens (or
streaks of light to appear on your pictures). buy a stepping ring).

GLASS
The most important part of the lens. Lens quality is
dependent upon the quality, type and arrangement
ZOOM RING
Turn this to adjust the focal length from minimum to
of the glass elements within. maximum. Obviously, prime lenses do not
have a zoom ring.

MANUAL FOCUS SWITCH

If you want to go into manual focus mode some
lenses feature a switch for this on the side of the
FOCUS RING
Turn this ring to focus manually. With some lenses,
lens, while in other cases the switch is only on the you must switch to MF mode to use this; with others
camera body. you can turn the ring in order to ne-tune focusing
even while in AF mode.

IMAGE STABILISATION
A stabilisation system in the lens will increase your
image sharpness by reducing the occurrence of APERTURE RING
camera shake, and enable you to shoot at lower Few new lenses these days still have an aperture ring
shutter speeds before needing a tripod. Other but you can still nd them on older lenses. With
systems feature in-camera systems. modern DSLRs the aperture must usually be locked
into its minimum setting, as the cameras electronics
control the aperture.

DISTANCE SCALE
Fewer lenses have these nowadays but it can be
useful, especially when calculating depth of eld or
when you need to know your subject distance for the
purposes of, say, calculating manual ash settings.

LENS SUFFIXES
CANON OLYMPUS SONY
DO Lenses with a diffractive optical element EZ Electromagnetic zoom mechanism DT Lenses designed for APS-C sized sensors
EF Designation for full-frame lenses L-Fn AF-lock button OSS Optical SteadyShot
EF-M Lenses designed for Canons EOS M CSC SWD Supersonic Wave Drive for AF SAL Lenses designed for Sony DSLRs
EF-S Lenses designed for APS-C sized sensors SEL Lenses designed for Sony NEX CSC cameras
IS
L
Image Stabilised lenses PANASONIC SSM Super Sonic Motor for AF
Flagship professional range of lenses OIS Optical Image Stabilization
STM
TS-E
Stepping motor technology for smooth focusing
Lenses with Tilt and Shift function
PZ
X
Power Zoom
Flagship professional range of lenses
TAMRON
ASL Lenses featuring Aspherical elements
UD Lenses with Ultra Low Dispersion glass Di Designation for full-frame lenses
USM Lenses with an Ultrasonic Motor PENTAX Di II
IF
Lenses designed for APS-C sized sensors
DA Lenses designed for APS-C sized sensors Internal Focusing
FUJIFILM DA* High-performance lenses designed for APS-C sized sensors LD
PZD
Low-dispersion glass
ED Lenses featuring Extra Low Dispersion elements DC Direct Current for AF Piezo Drive for AF
LM Linear Motor technology IF Internal Focusing SP Super Performance-grade lenses
OIS Optical Image Stabilization SDM Supersonic Direct-drive Motor for AF USD Ultrasonic Silent Drive for AF
WR Weather Resistant VC Vibration Compensation
NIKON
AF-S
CRC
Lenses with Silent Wave Motor SIGMA TOKINA
AS
Close Range Correction system APO Apochromatic low-dispersion glass Lenses featuring Aspherical elements
CX Lenses designed for Nikons 1-series CSC cameras ASP Lenses featuring Aspherical elements AT-X Pro FX Designation for full-frame lenses
D Lenses that can be used on manual focus SLRs DC Lenses designed for APS-C sized sensors AT-X Pro DX Lenses designed for APS-C sized sensors
DX Lenses designed for APS-C sized sensors DG Designation for full-frame lenses IF Internal Focusing
ED Lenses featuring Extra Low Dispersion elements DN Lenses designed for certain CSC cameras
FX Designation for full-frame lenses EX Professional-grade lenses
G Lenses without a manual aperture ring HSM Lenses with a Hyper Sonic Motor for AF
IF Internal Focusing IF Internal Focusing
N Nano Crystal Coating OS Optical Stabilizer
VR Vibration Reduction

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 EQUIPMENT
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Lens types
Lens types
Looking for a new lens? Which one will allow you to get the shots you want?
1 STANDARD ZOOM
Most DSLR and CSC cameras are
bundled with a standard zoom,
offering a versatile lens for general
photography covering moderate
wideangle to short telephoto. This
makes them ideal general-purpose
lenses, suitable for the majority
of the kind of shots that most
people take regularly, from scenic
views to portraits.
These kit lenses do a fairly
remarkable job considering that
theyre designed to be as cheap as
2 WIDEANGLE ZOOM
Wideangle lenses make subjects
appear further away, so are useful
when you cant stand back far
enough to get everything you want
in shot such as when
photographing a large building, an
expansive view or large group. But
they also produce an apparent
perspective distortion in which
subjects close to the camera can
appear disproportionately larger
than those further away an effect
that can be used in all sorts of
3 TELEPHOTO ZOOM
Telephoto lenses have a narrower
eld of view than wider optics,
enabling you to crop in on details
and magnify more distant
subjects. Theyre perfect for
shooting things that you cant get
physically close to (at least, not
safely) such as elusive wildlife
subjects and many sports.
Telephoto lenses imbue your
images with certain aesthetic traits,
such as shallower depth of eld, and
the sense of compressing distance
42
possible to make, so that they add
as little as possible to the cost of
buying a new camera. The image
quality of these lenses is more than
adequate for general snaps but if
you aspire to produce images of the
highest technical standard, then
youre much better off forsaking the
kit lens in favour of a premium
alternative. Theyll probably be a lot
bigger and heavier but theyll have
wider maximum apertures and far
superior edge-to-edge resolution.
creative ways. They also give the
illusion of placing the viewer in the
thick of the action, which makes
these optics popular with reportage
and street photographers.
Although wideangles are
available in various xed focal
lengths, a good wideangle zoom,
covering a range of focal lengths, is
often the smarter bet. Optically the
best ones are on a par with many
primes; they are often hardly any
bigger and may even cost less.
so that elements further away in
your scene seem right on top of
closer ones.
Exotic and expensive prime
telephoto lenses are the choice of
professionals, but zooms offer the
advantage of allowing you to zoom
in or out to get the exact framing
you want, which is especially useful
given that in many of the situations
in which youd use one you may not
be able to freely move around. They
can be considerably cheaper too.
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1
4 SUPERZOOM
Many people are drawn to the idea
of a single lens that covers every
focal range from 18mm wideangle
to 200mm telephoto and beyond.
Such an optic would avoid the need
to ever change the lens, and of
course youd never get dust on your
sensor when swapping lenses.
There are trade-offs with such
lenses. In general, the longer the
range, the more the optical quality
tends to suffer, with lower contrast,
poorer edge sharpness and greater
5 FAST PRIME
Zoom lenses are almost ubiquitous
now but xed focal length, or
prime, lenses continue to be
popular because they offer several
advantages. Since they only have to
convey a single eld of view, as
opposed to having to offer a
variable range, the optical
performance is generally superior.
Prime lenses tend to be smaller
too, and as an extra bonus have
wider maximum apertures. If the
eld of view they offer is the one
6 MACRO
If you want to shoot close-ups, then
you need a macro lens. To be a true
macro lens it must enable you to
reproduce your subject at 1:1 lifesize
on your sensor, but many lenses
(particularly zooms) carry the word
macro in their title that only offer
around a quarter lifesize (1:4).
While still useful for general
shooting, theyre no good for really
close-up work.
Macro lenses can also be used for
general photography, as they can
3
2 6
4 5
distortion. The maximum apertures
are pretty small too (as low as f/6.3
at the tele end) so you may have to
raise the ISO level more often when
youre shooting handheld.
However, you may nd these to
be sacrices worth making, with
these optics being ne for users
who want reasonably good pictures
that wont be printed too big or
studied with a magnifying glass,
while their size also makes them
tempting for those who travel a lot.
that you want, and you can
ne-tune your cropping simply by
moving your position, then they
have a lot to offer.
Primes cover the full spectrum of
focal lengths from extreme wide to
ultra telephoto, but the most useful
for general photography are those
in the 24mm to 85mm range. They
neednt cost the earth either, with
some examples able to be picked
up fairly cheaply, though some
optics can much be more expensive.
focus from innity right down to 1:1
on a single rotation of the focus
ring. Most true macro lenses are
prime optics, with the most
common focal lengths being around
50mm and 100mm, though there
are also a few around the 200mm
range. The advantage of the more
telephoto macros is that you can
shoot from further away, so if youre
photographing shy subjects, you
dont have to be so close to them,
and you dont cast a shadow.
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 EQUIPMENT

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Lens accessories Theres a variety of add-ons you can buy to modify your lenss behaviour or specication

T
here are many
accessories that
have been
developed to
alter the
characteristics of your lens,
typically to increase the focal
length or enable macro
shooting; and because they
are available from several
manufacturers the choice
usually caters for all budgets.
So rather than having to
invest in additional lenses,
you can adapt an existing
optic to mimic the
characteristics of another lens.
Not only is it a more
affordable solution, but they
will usually also weigh far less
and be less of a burden to
carry around.
Then there are lters and
lens hoods, which largely
dont enable any particular
effect but simply allow the
photographer to control
the light entering the lens.
And should you ever feel
limited by the lenses within
your own system you can
always use an adaptor to
mount optics that were
developed for other systems.
When looked at as a
whole, therefore, the lens
accessory market is an
exciting world of
photographic possibilities;
and, since many accessories
can be used in combination
with one another, whats
achievable is limited only by
the users own creativity.

TELECONVERTERS
Teleconverters sit between a
camera body and lens, and their
purpose is to increase the latters
effective focal length. With an
optical arrangement within their
construction, they allow light
which would otherwise exit the
lens and come to focus on the
sensor to continue travelling
through the system, thus
increasing the effective focal
length of the set-up.
They are most commonly found
in 1.4x and 2x varieties, gures
which relate to their multiplication
factor against a lenss focal
length. So, a 300mm f/2.8 lens
used with the former will yield an
effective focal length of 420mm,
and with the latter will double the
gure to 600mm. Other varieties
such as 1.7x and 3x teleconverters
also exist, although these are less
popular options.
As the strength of a
teleconverter increases it reduces
the amount of light which passes
through to the sensor, and so it
decreases the maximum aperture
of the optic. A 1.4x converter cuts
down light transmission by one
EV stop while a 2x converter cuts
down two EV stops, so with the
above lens this will impose
respective limits of f/4 and f/5.6.
Considering the shallow depth of
eld associated with longer focal
lengths this reduction may not
prove restrictive from a creative
standpoint, although any increase
in effective focal length also
requires that shutter speed be
raised to help keep the image
sharp (which obviously becomes
more difcult if the maximum
aperture is made smaller).
Manufacturers often
recommend that their own brand
teleconverters be used with their
lenses, while not all lenses are
compatible with them more
affordable optics with slower
maximum apertures tend not to
be suited to use with a
teleconverter as the maximum
aperture would decrease so much
that its not really usable. Check
on your manufacturers website to
see whether your lens is
compatible, while third-party
options are also available.
Teleconverters can affect the
optical quality of the lens, while
the reduction in light can make it
harder for AF systems to acquire
focus. That said, theyre a much
more affordable (and lightweight)
alternative to investing in large
expensive telephoto lenses.
Teleconverters will extend
the working distance of
your camera, while
reversing rings can be a
cheap way to shoot macro
LENS
CONVERTERS
Lens converters are an
inexpensive way to change the
focal length of a lens. They
screw into the lter thread of an
existing optic, and offer a
sheye, wideangle or telephoto
view. As they can be mounted
onto a variety of lenses they are
classied by magnication
factor rather than a focal
length; this must be multiplied
by your lens focal length to give
the combined effective focal
length. So, a 0.70x wideangle
converter turns a 50mm optic
into one with an effective 35mm
length. Cheaper converters are
likely to have poor control over
chromatic aberrations and will
almost certainly degrade image
quality, but superior options
from reputable brands such as
Tiffen are also available.

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EXTENSION TUBES AND REVERSING RINGS
True macro lenses can be
expensive, but a number of
cheaper alternatives are also
available, such as extension tubes.
Unlike teleconverters, tubes have
no glass elements, but simply
extend the distance between lens
and camera body. This means you
can go past the minimum
focusing distance determined by
the lens, effectively magnifying
your subject.
Because they contain no
additional optics, tubes dont
affect the optical quality of a
lens. Theyre usually supplied as
a set of three which can be used
either on their own or in
combination with one another,
and those that have contacts
provide support for both
metering and autofocus, though
for static subjects it may be
easier to switch to manual focus
for greater precision.
With some extension tubes,
such as those with no electronic
contacts, you may also need to
meter differently from the way in
which you are used to, as the
connection between the camera
and lens which ordinarily
facilitates aperture control will
be broken.
An alternative to extension
tubes is reversing rings. These
simply allow a lens to be be used wide open. This all may
reverse-mounted onto a camera, sound like too much trouble, but
and with the contacts facing this can easily and cheaply Extension tubes
and close-up lenses allow close-up
outwards the camera loses create a high-magnication set
photography without the need for a dedicated
communication with the lens. up, and with modern live view
macro lens. Shown here: extension tubes from
This set-up has a xed working systems it shouldnt be too Kenko (back left) and SRB Griturn (rear right)
distance, while lenses without difcult to judge correct and close-up lenses (sometimes referred to as
aperture rings will also need to exposure and focus either. lters) from Hoya and B+W

MOUNT ADAPTORS
Most people will only tend
to use lenses developed
specically for their camera
system, although there are
many reasons why you may
want to use a lens
manufactured with a
different mount.
Perhaps the lens you wish
to use isnt available in your
systems mount, or you may
have at some point switched
systems without trading in
all of your glass. Another
possibility is that you made
the transition from a
manufacturers analogue
system to its digital one and,
again, kept your lenses in
the hope that you could one
day get some use out of
them. Whatever the reason,
the likelihood is that an
adaptor exists for the task.
Manufacturers such as
SRB-Griturn, Novoex and
Voigtlnder all specialize in
producing adaptors that can
mount older optics from a
variety of systems onto
newer bodies, and a quick
search online reveals an
endless assortment of
unbranded adaptors which
can be picked up for next to
nothing.
There are a few points to
bear in mind
when using
adaptors with
other optics.
With no
connection
between the
camera and lens,
similar limitations
occur as with extension
tubes without contacts
namely that more
automated control over
aperture isnt possible.
Metering, therefore, must
occur at the aperture you
plan to use for your
FILTERS
Filters are one of the most
obvious lens accessories, and
have been used for decades for
tonal and colour control. The
most common are ultraviolet
(UV) lters, which many
photographers keep
permanently on their lenses for
protection, and polarisers which
are useful for darkening skies
and minimising reections.
Neutral density (ND) lters,
both graduated and
non-graduated, are also widely
used to control exposure. Many
other types of lters exist, but
the rise of digital photography
has caused their popularity to
drop. Polarisers and ND lters
remain the only two lters
whose effects are required
while shooting, which explains
why they have remained the
most popular choices.
Mount adaptors allow you to use
different t lenses on your camera
exposure. You may also
need to adjust your
cameras settings so that it
will work with unrecognised
lenses, and as many older
lenses predate autofocus
they will also need to be
manually focused.

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 EQUIPMENT

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Buying a APERTURE BLADES
Check that the aperture closes and opens
across its full range. If possible, close the

secondhand
aperture down with the lens detached from the
camera to allow it to be checked from both
sides. Look for signs of oil on the blades as this
can signal trouble for the future because it
usually leads to the blades sticking. Use the

lens
cameras depth-of-eld preview control to close
the aperture down as far as possible while
looking and listening to nd out if it snaps down
and reopens quickly. Also, look through the
viewnder to see if the view becomes dark
evenly across the image frame. A sticky aperture
may open or close slowly, or unevenly, or not at
all, with obvious problems for exposure. This
can be resolved with a service.

B
uying secondhand lenses can save you some serious cash, but when
faced with what seems to be a great offer it pays to check the optic
to make sure you really are getting a bargain. Like anything that you
buy secondhand, a used lens is likely to show some signs of wear,
but unlike a used car it doesnt have an odometer to reveal the
extent of that use. However, a thorough inspection can provide all the clues you
need and give an idea of the true value of the lens. Here we show you how
to identify a few issues that could also win you some
bargaining power to bring the price down even further.

VISUAL INSPECTION
The rst step is to check the lens visually
and look for any signs of damage,
scratches on the elements and/or barrel, or
dust, fungus or even bugs or mites inside
the barrel. Marks on the outer elements can
often be removed with a blower and a
good-quality glass cleaner such as ROR
Optics Cleaner, and apart from those older
lenses that unscrew for cleaning, most dirt
inside the lens can only be dealt with by a
service. With an expensive lens, its worth
considering the price of a service as part of
the acquisition cost, but it may not be
worth it for cheaper optics.
Also, look for signs that the lens coatings
have eroded. Small missing patches
shouldnt cause too much of a problem,
but extensive areas will mean are may be
more of an issue.
Lenses with large scratches or chips,
especially on the rear element and near
the centre, should be avoided, but a few
ne scratches are less of an issue. If you
can see what appear to be bubbles or
discoloration in the elements of a lens as
you peer through it, the cement between
two elements may have degraded and
started to separate. This type of damage SWITCHES AND LOCKS
can affect image quality and repairing it Some modern lenses have switches that select auto or
can be expensive and/or impractical. manual focus, or activate the stabilisation system.
Avoid lenses with heavy fungal growths Check that these still function and whether they feel
as the glass coating may be destroyed and loose or slide into place correctly. There may also be a
even a thorough cleaning will not be able lock that is designed to stop the lens from extending
to restore the lens to its former glory. when it is being carried this should also be checked.

46
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ZOOM ACTION
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PARTS
Rotate or push and pull the zoom ring and feel
for any sloppiness, grittiness or stiff points in the
movement and see whether it works across the
full focal-length range. A loose zoom action wont
usually affect the optical performance of the lens,
but it can be problematic when shooting with the
lens tipped up or down as the focal length may
change uncontrollably. A layer or two of
insulating tape over the smaller part of the barrel
can be all thats required to rectify this problem. It
doesnt look especially attractive, but its cheaper
than a service that may not be able to rectify the
problem in the longer term anyway.
CHECKLIST Small items like lens caps and hoods are easily lost, but
they are also easily replaced. If the lens is presented
Run through this checklist before without front and rear caps it suggests that it hasnt
buying any secondhand lens to been carefully looked after, so check for signs of damage
be sure you know what you are to the elements. At the very least the cost of replacing
getting and that you are paying the caps and/or hood should be reected in the price.
a fair price: Although it makes little practical difference, a box with
all the manufacturers documentation can be a sign that
Lens caps the lens has had a careful owner and it makes the lens
Lens hood more attractive to prospective buyers if you later decide
Box to sell it on. The original box is also the best packaging in
Filter rings which to post a lens.
Damage to barrel
Focus
Zoom action
Dust, fungus,
bugs inside the lens
FILTER RINGS
Being at the end of the lens, the lter rings are prone to
Aperture blades
damage so check that they are functional. Metal rings
oily or sticking
can become dented, but with a bit of care and attention
Lens coatings
from a technician they can be made good. Polycarbonate
Chipped or scratched
lter rings are more likely to crack or chip if they are
lens elements
knocked, so check whether the full depth of the thread is
Separated lens elements
present and whether it can hold a lter in place.
Switches
Filter rings tend to gather dust and grime that can
make it difcult to attach (or remove a lter), so it is
advisable to give them a good blow with a can of
compressed air and a wipe with a cloth before
attempting to mount a lter. If the lens has a lter
already attached to it, check that it can be removed.

FOCUS
The best way to check if a lens can focus is to mount it
on a camera and take a few shots with it focused at the
closest point, at innity and at several points in between,
and then inspect the images. If it is a zoom lens, check
the focus across the focal-length range. In addition, rotate
the focus ring to see if it moves smoothly without any
loose or sticking points.
If the lens rattles when shaken gently, it may mean that
one or more of the elements or groups is loose. If the
glass is still held in place in the barrel, focusing may be
unaffected, but it could be a sign of problems to come.
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 EQUIPMENT

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REMOVABLE
HEAD
This allows swapping
to a different head type, QUICK
such as for video. RELEASE
Some tripods use easily
available plates, which is
handy if you need a spare.

Tripods
A photographers essential piece of kit
SPIRIT LEVEL

N
o serious photographer should be A built-in spirit level helps to keep
without a tripod its the single biggest horizons straight. Ideally, it should be
contribution you can make to ensuring on the quick-release platform.
sharp images. There are hundreds
available at all budgets, but make sure
you invest in one thats specied as sturdy enough to
support the weight of your gear (your camera plus
your heaviest lens). In general, avoid tripods with
plastic heads and leg locks. Make sure it can extend to
a sensible working height without having to raise the
centre column.

LOW LEVEL
Removing the centre column
allows really low-level
shooting.

WEIGHT
HOOK
A weight hook allows you to
hang a bag off your tripod
for added stability.

MULTI-ANGLE
LEGS
All these tripods offer three leg
angles and reverse folding for
improved portability.

48
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 WorldMags.net TIPS ON USING
A TRIPOD
Try to place the tripod on rm ground. With
unstable surfaces such as sand or gravel, push the
legs in slightly to avoid slippage. Use the ground
spikes if you have them.
Make sure the legs are fully splayed out, and
locked securely.
Use the thicker, upper leg sections rst, and only
use the thinner lower leg sections as you need to.
The centre column is less stable than the legs.
Avoid raising it if you can, and only do so when the
legs are already fully extended.
Some tripods have a hook at the bottom of
the centre column so you can hang a weight
off it, such as your camera bag. This
enhances the stability.

OTHER SUPPORTS

MONOPOD TABLETOP TRIPOD GORILLAPOD CLAMPS

Even resting the camera on a single leg
provides several stops of extra stability.
Monopods are easier to carry and take up
less oor space than a tripod, and are ideal
for supporting the weight of heavy camera
and lens combos.
Mini tripods that can t into a pocket
may not seem that useful but can be a
lifesaver, especially if you can nd
something to rest them on. All-metal
models, such as the excellent Manfrotto
709B, provide the best support.
Gorillapods are quite versatile as they can be
used as a tripod or wrapped around, say, a
tree branch. They come in a range of sizes so
make sure you get the right one to support
the weight youll be putting on it.
Widely used in studios, clamps can also be
used outdoors to attach to posts, tree
branches etc, so long as the jaws open wide
enough. Theyre also great for attaching
lights and accessories to tripods and stands.

SUCTION CUPS CAR WINDOW BEANBAG STRING SUPPORT

Suction cups attach to glass, metal and
other smooth surfaces, and are popular
with automotive photographers. Make
sure you get one thats strong enough to
support your camera. The Delkin Fat Gekko
is a good example.
SUPPORT
Some wildlife photographers use their car as
a hide, and support their camera using a
window clamp, which ts over the top of a
partially lowered car window. The lens then
pokes discreetly out of the window.
Beanbags are great as a support for cameras
and, especially, heavy lenses, since they
mould to the shape of the equipment thats
on it. Beanbags are often used by wildlife
photographers lying on the ground.
A simple solution is to attach a length of
string to the bottom of your camera. Then
stand on the bottom end so that the string is
taut as you hold the camera to your eye. The
tautness of the string provides extra stability.

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 EQUIPMENT
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Three fi lters
you cant live without
Despite the powers of Photoshop, theres still an essential
place for lters in your kit bag
S
o its the 21st
century and we are
still putting pieces
of plastic in front
of cameras and
lenses that cost millions of
pounds to design and develop.
Really? Surely its possible
to do everything in-camera or
in post-production and theres
absolutely no need for lters
whatsoever? Yeah, right!
There is a time and a place
for modern wizardry, either
in-camera or in programs
such as Photoshop, but I am a
rm believer in getting it right
at the time of taking. Why go
out on location knowing you
could shoot and get the image
50
right, but then decide, Ill do
that later on the computer?
I spend far too much time
sitting in my ofce staring at a
computer screen, thank you
very much, so for me, going
out on location, getting the
shot and getting it right rst
time is a very satisfying
experience.
That is not to say there is
absolutely no place for pure
electronics the two methods
can sit side-by-side but I
think there is a look and feel to
an image where light is being
transmitted through an optical
surface, rather than something
being invented out of a series
of noughts and ones.
WorldMags.net
So I need to load my
camera bag up with hundreds
of expensive lters then, do I?
Simply put, no. There are two
main types of lter: the glass
screw-in, and the system,
whereby one size of lter will
t many different diameter
lenses via a universal holder
and a removable adaptor ring,
which is an incredibly exible
and versatile system. The glass
screw-in type has severe
limitations, and if you have
many lenses with different
lter threads, youll need a
lter for each.
When I talk about lters,
I am in fact referring to the
system-type holder and, in
particular, the Lee Filters
100mm system. I have been
using this system for nearly 20
years because the optical
quality of the lters is second
to none in fact, the lters
will be as good as the glass
used in your lens. Also, the
lters are constructed not
from plastic but optical resin
made by the lter
manufacturer itself to an
incredibly high standard.
There are three main lter
types I would consider to be
essential; some technical to
correct or balance exposure,
and some for creative effect.
Read on to see which lters
these are.
KIT LIST
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LEE FILTERS
LANDSCAPE
POLARISER
FILTER
This slim polariser will go down
to 16/17mm without vignetting
when used with a two-slotted
lter holder on a full-frame
Polarisers
35mm sensor. Also features a
slightly warm bias.
Remove reections
and boost colour
saturation
T
here are two types
of polariser:
linear and
circular. We are
interested in the
circular polariser, but just to
make your life complicated,
did you know you can have a
HOYA PRO1 square circular polariser, too?
The term circular polariser
POLARISER SLIM does not refer to its physical
FILTER shape, but to the way in which
A multicoated lter to reduce lens the light is polarised in a
are, while the low prole circular motion. Linear
reduces the risk of vignetting. polarisers have a habit of
messing up autofocus and
metering, so you should stick
to the circular type.
DO YOU NEED A
POLARISER?
A polariser has a couple of
very important functions.
First, it reduces reections on
surfaces such as water, metal,
WITH FILTER
TIFFEN CIRCULAR
POLARISING
FILTER
A good affordable option to
control colour and contrast.
WorldMags.net
glass and even foliage, and
second, it increases colour
saturation and contrast
particularly noticeable when
you have blue skies and uffy
white clouds in an image.
Autofocus and metering are
both possible through the
polariser once it is on the
camera. The polariser can be
freely rotated on its own ring
to bring it to the point of
maximum polarisation, which
is visible through the
viewnder or live view.
However, the polariser works
best when you are viewing
your landscape or scene at 90 Some polarisers have
to the sun, so that your subject
is cross-lit. If you are shooting
into the light, the polariser will
have little or no effect.
A bad habit to get into is just
leaving the polariser on all the
time use it only when its
necessary. The polariser can
also be used in conjunction
with other lters, such as
neutral density lters and grads.
WITHOUT FILTER
BAD HABITS
Another bad habit that many
people fall into is using a
polariser on a wideangle lens.
If the lens is too wide you will
end up with blotchy, uneven
skies going from light blue to
dark and back to light again,
leaving a dark patch in the sky.
This is because the polariser
can only polarise light up to a
maximum angle, and when the
lens is wider than this angle it
causes the uneven appearance
of the sky. Try looking at
images shot on lenses wider
than 35mm and see how the
sky reacts at 24mm it will
become very noticeable.
Polarisers are usually neutral
in colour, but some come with
a subtle colour tint or tone.
incredibly garish colours like
gold and purple or blue and
yellow hues in them. These are
fun once or twice, but on the
whole they are to be avoided.
I always carry a polariser, A polariser can cut
but there are two other lters out unwanted
reections and
that are invaluable and will go boost both contrast
a long way to helping you and colour
improve your photography. saturation in a
Turn over to nd out more... scene
51
 EQUIPMENT

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I Graduated neutral
f I had to travel the
world with only one
lter this would be it:
a two-stop, hard-edge
neutral density

density filters
graduated lter or, as they
are more commonly known,
an ND grad.
An ND grad is a lter that is
clear in the lower half and
fades or gradates into a darker Balance the foreground and sky for perfect landscapes taken in-camera
tone nearer the top. The dark
tone of the lter is neutral (or WITH FILTER WITHOUT FILTER
at least, it is in the better-
quality lters) and should not
affect the colour of the nal
image. The gradation can be
varied so the fade from light
to dark can be either very
subtle or quite strong, known
as soft or hard-edge grads
respectively. The ND grad is
used for controlling the
exposure difference between
foreground and sky, with the
sky usually being the brightest
part of the image.
If no lter is used and you
just point the camera at the
view, the cameras meter will
invariably be fooled by the
brightness of the sky and you
will have a perfectly exposed
sky and a dark or
underexposed foreground. By
metering for the foreground
the opposite will happen,
leaving you with a perfectly
exposed foreground and a sky
that is overexposed. By
placing the dark area of the
grad over the sky and the clear A soft ND grad was used to provide a smooth transition, Without the soft ND grad the top of the frame has
portion over the foreground, avoiding a divide that can happen with a hard grad lost detail, thus unsettling the image
you will balance the exposure

USING AN ND GRAD

1 COMPOSE AND METER 2 SET THE EXPOSURE 3 SHOOT

The rst thing to do is to frame your image so you know what
foreground and sky is going to be included in the frame. With
that done, meter for the foreground by pointing the camera
downwards, without using the lter and in manual metering
mode, and note the reading.
Now meter for the sky, again with no lter, and note the
reading. To work out the difference in exposure between the
foreground and sky, compare the difference in shutter speeds.
If the rst reading is 1/60sec at f/11 and the second is 1/250sec
at f/11, the difference is two stops.
Shoot a test frame at the rst reading the foreground should
be perfectly exposed and the sky overexposed by two stops.
Now slide a 2-stop (or 0.6 in Lee terms) hard-edge grad down
to the horizon line and shoot another frame. You should end
up with a perfectly exposed frame.

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WITH FILTER WorldMags.net
WITHOUT FILTER
between the two. The lter
can be moved up or down
independently of other lters
in the holder, so that the
gradation sits on the horizon
or in another appropriate
position for the shot.
LIGHT LEVELS
It really is as simple as that,
although there are some
variables, such as just how
bright the sky is. A clear blue
sky is going to require a
different exposure from hazy
cloud, which will be yet a
different exposure from cloud
KIT LIST
that is backlit by the sun. In
order to counter these
variables, ND grads come in
different strengths measured
in whole or half stops, from
1EV through to at least 4EV,
and can also be used with
other lters.
Working out the exposure
difference between the sky
and foreground is very easy:
just point your meter at one
and take a reading, then point
the meter at the other and
take another reading, then
look at the difference in
shutter speed or aperture. A
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LEE FILTERS
DIGITAL SLR
STARTER KIT
This contains an assembled
lter holder, a 0.6 (2-stop)
hard-edge ND grad, a cleaning
cloth, a Tri-Pouch, as well as a
ProGlass 0.6 ND lter (see over
With a dened horizon, the page for more details).
a hard ND grad
Adaptor ring extra.
is more appropriate
FORMATT
HITECH ND GRAD
HARD EDGE
FILTER KIT
Comprising 0.3 (1-stop), 0.6
(2-stop) and 0.9 (3-stop)
hard-edge ND grad lters, youll
need the dedicated 100 Modular
Without an ND grad Filter Holder (45) and adaptor
attached, detail has ring (price depends on lens).
been lost in the
highlights
more difcult decision is
whether to use a hard grad or
a soft grad, but as a general
rule of thumb hard grads are
for landscapes where the
horizon is relatively at and
uninterrupted, while soft
grads are for images where
things may break the horizon,
COKIN H250A
such as trees.
ND GRADUATED
This is a just a rough guide FILTER KIT
and some experimentation This contains a P-Series lter
will be needed, but once you holder and a set of three
know what your lters can graduated lters of varying
achieve, you could combine strengths (youll need to buy
soft and hard grads to feather a separate adaptor ring).
the area of gradation.
53
 EQUIPMENT

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Neutral
WITH FILTER

density
filters
For extended exposures and creative
effects, the ND lter offers all you need

N
WITHOUT FILTER eutral density (ND) lters are often easily
confused with ND grads, but the difference is
very simple. A neutral density graduated lter
has a clear area that gradates into a darker tone
in the upper portion of the lter and exposure is
only affected where the dark tone is. A neutral density lter has
the dark tone covering the entire lter and will affect the whole
image. Graduated lters tend to be rectangular and neutral
density lters are usually square, so if you can tell the difference
between a square and an oblong, you will know what type of
lter you have in your hand.
So why shoot with a neutral density lter? Neutral density
lters are used to increase the length of exposure for creative or
artistic effect, to emphasise movement or motion blur. How
much blur depends on the strength of the lter, which you will
nd are most commonly available in 3-stop, 6-stop and 10-stop
strengths. ND lters can also be used in conjunction with ND
grads, one controlling the exposure difference between
foreground and sky, and the other controlling the amount of
blur over the whole image.

By increasing the length of the exposure, you can shoot images that the human eye cant record

USING A 10-STOP ND FILTER

1 COMPOSE 2 SET EXPOSURE 3 SHOOT

If youre using a Big Stopper, set the white balance manually
to 10,000K. Frame and compose your image, as well as taking
a meter reading. At this point, focus your shot as well, making
sure that autofocus is turned off afterwards.
If you need a graduated lter to control the exposure between
foreground and sky, insert the appropriate lter. Then work
out the difference between your readings and an increase of
10 stops. For instance, 1/60sec becomes 16secs. There is a guide
to exposures supplied and there are plenty of apps available.
Youre ready to shoot. Insert the Big Stopper in the slot
nearest to the lens with the foam seal towards the holder.
Cover the eyepiece to stop extraneous light entering the
camera, then lock the mirror up. Use a remote trigger if
possible and shoot.

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THREE STOPS
WorldMags.net
KIT LIST
A 3-stop lter will increase the length
of exposure by, as the name suggests,
3 stops. This will allow you to introduce
a hint of creative blur or motion, but
still allow you to record some detail in
the subject. You can meter directly
through the lter and AF will work.
They are useful for shooting city scenes
with people in, or moving water, when
just a hint of blur is needed.
My choice is Lee Filterss Pro Glass
0.9, as it doesnt cause a colour shift
and it is made from very high-quality
glass rather than resin. LEE FILTERS BIG
STOPPER
Designed for Lee Filterss 100mm
lter system, this has proved
incredibly popular. A smaller
version is available for the
Seven5 system for smaller
cameras.

SIX STOPS
These are useful for increased amounts of
blur and motion, such as for silky B+W 110 ND
waterfalls, owing rivers and smoothing B+Ws circular 10-stop ND lter is
out crashing waves. Again, autofocus and available in a range of lter sizes.
metering will work through the lter, but
composing the image is a lot easier
without the lter in place.
I use a Lee Filters Little Stopper which
has a small foam seal on its reverse that
must sit closest to the lens to prevent
non-image-forming light entering the
camera. The viewnder should also be
covered to prevent light from entering the
prism and mirror box.

TEN STOPS
You can increase your exposure by a
whopping 10 stops for some really cool
special effects. For instance, a meter reading
that indicates 1sec at f/11 will change to
17mins with a 10-stop ND lter attached.
Anything that moves in your image will blur
waves, rivers, people, clouds while TIFFEN VARIABLE
exposures of several minutes can easily be
achieved in bright conditions.
NEUTRAL
Needless to say, you will need a sturdy DENSITY FILTER
tripod and patience. The Lee Filters Big This provides a variable 2 to 8
Stopper is again not neutral, but by setting stops of light control, affording
the cameras white balance to 10,000K you the convenience of using several
will reduce any colour shift. Just as before, it ND lters.
should be placed nearest the lens.

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 EQUIPMENT

WorldMags.net
Getting to
grips with flash
Discover the basics of ash for
achieving well-balanced shots

I
ts not always possible to
shoot in the natural light
conditions we want, while
therell be times when its
necessary or desired to
shoot indoors. While increasing
the sensitivity is one way to deal
with low-light conditions, this can
still result in your subject being
poorly illuminated.
This is where using either your
cameras built-in ash or
attaching a dedicated ashgun
comes in, and it can be an
incredibly powerful photographic
tool, from simply lighting your
subjects to adding a real creative
twist. Relying on Auto ash is
ne to start with, but in order
to really achieve professional
looking results, you need to
understand how ash works with
your camera. Heres what you
need to know.

FLASH POWER FLASH EXPOSURE

While the burst of ash may
appear to light up an entire
room or stadium, it actually has
a rather limited range, with the
intensity of the light diminishing
the further it travels. Even the
most powerful ashguns will
struggle to light up a subject
over 40m away, while your
built-in ash is good for around
5m at best.
Traditionally, the ashguns
Guide Number (GN) refers to
the maximum output available,
and should be measured at ISO
100. Theres an easy formula
you can use to work out the
kind of reach you can expect
simply take the GN of the
ash and divide it by the
aperture used. A Nikon SB-910
ashgun with a GN of 34
(measured in metres) at ISO
100 will cover 8.5m if you shoot
at f/4. A built-in ash will
normally have a GN of about 12
on most DSLRs, and youll only
be able to reach 3m if shooting
at the same aperture.
Thats shooting at a low
sensitivity, and often youll be
increasing the sensitivity,
especially if shooting indoors.
By increasing the ISO on your
camera however, the range
of the ash increases even
further. At ISO 3200, for
instance, the same SB-910
ashgun will provide a range of
48m at f/4. This is because the
GN is multiplied by 1.414 at
every doubling in ISO value,
with the SB-910 delivering a GN
of 192 at ISO 3200.
When youre shooting with
ash, youre dealing with two
light sources the ambient light
for the scene as well as that
from your ash and successful
ash images are all about
getting a pleasing balance.
When you press the shutter
button and re the ash, the
thing to remember is that the
pulse of light is so brief
compared to the exposure
required for the ambient scene
that its independent to your
shutter speed, which will only
affect the ambient exposure.
The aperture though does
affect your ash exposure as
well as your ambient exposure.
By regulating the amount of
light from the ash hitting the
sensor in that split second, it
controls how dark or light your
ash-subject is illuminated.
With the aperture wide open at
f/2.8 for example, your subject
will be brighter than if you shot
at f/4. Altering the aperture will
also affect the ambient
exposure, which is taking place
at the same time.
Controlling everything
manually offers most control,
but this isnt always practical
and can be a bit hit and miss to
begin with. However, TTL ash
systems on most cameras
transmit a pre-ash as soon as
you re the shutter to assess
the light level, before setting
the power of the main ash to
deliver a well-balanced shot.
And all this is done in the blink
of an eye.

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 WorldMags.net On a bright day with the sun
POPULAR behind the subject, ll-in
ash has avoided the subject
FLASH MODES being left in shadow

FILL-IN FLASH
Fill-in ash is the default mode for most cameras,
and it can be really versatile even with a relatively
low-powered built-in ash. If youre shooting
outdoors, sunlight can often cause harsh shadows
under the nose and eye sockets of your subject,
while shooting directly into the sun will cause them
to be silhouetted. However, with a blip of ash
these shadows will be eradicated, while the
ambient light will render the rest of the shot
correctly exposed. Remember, because your
camera has TTL ash metering, you neednt worry
about the power of the ash itll calculate how
much is needed for the scene.

SLOW-SYNC FLASH
Weve all probably taken shots where our subject is
nicely lit but the background is pitch black,
especially if were working in poor light. This is
because your camera has taken the decision to
sacrice the ambient light to avoid having to use
a shutter speed that will be slow enough to
introduce camera shake.
In Program or Aperture Priority, most cameras
have a default shutter speed of 1/60sec when
shooting with ash fast enough to handhold
without fear of camera shake. While the ash will
light your subject, the shutter speed wont be long
enough in low light to correctly expose the
background. By selecting the slow-sync mode, the
camera will correctly expose for the scene even if
it means a much longer shutter speed. This may
Telling the camera that the
ambient exposure is mean you have to use a tripod to avoid camera
important, a longer exposure shake, though you can increase the ISO to still
has been used to retain detail allow handheld shooting.

REAR-CURTAIN SLOW-SYNC
By default, your camera is programmed to re at the
beginning of the exposure (when you re the
shutter). This is ne for short exposure times such as
when youre using ll-in ash. But when you want to
extend the exposure time, either to increase the
ambient exposure or introduce movement into the
shot, this can become an issue.
If your subject is moving for instance, by ring the
ash at the start of the exposure it can make them
look like theyre moving backwards by the time the
exposure is complete. This is due to the blur from the
ambient exposure trailing back to the sharp ashed
part of the shot. To avoid this, cameras feature a
rear-curtain sync mode, which will re the ash at the
end of the exposure. It requires a bit more
anticipation and practice, but produces a much more
pleasing, natural result, as the blur from the ambient
exposure looks like its trailing the ashed subject.

Setting the camera to re the

ash at the end of the
exposure has resulted in the
correct direction of blur

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 EQUIPMENT

WorldMags.net

Location
lighting
Liberate your
ashgun from your
hotshoe to create
striking location
lighting
WORDS & IMAGES ADAM DUCKWORTH

I
f you are the sort of
photographer who
hates ash for its
harsh and unattering
results, or only uses it
as a last resort when light
levels drop, then youre
missing out on a whole world
of creative techniques.
Taking small but powerful
KIT LIST

ashguns on location can

make a big difference to your
photos, creating all sorts of
RADIO TRIGGER SOFTBOX
The Pocket Wizard Flex TT5 gives full TTL control Lastolites Ezybox
light from soft and attering and high-speed sync, and is compatible with Nikon Hotshoe collapses into a
pools to high-contrast, and Canon models. small bag and takes up
dramatic slashes. Controlling very little room, yet it is
the power of your ash to mix a great light source that
with the ambient light, and is ideal for super-soft
modifying its output with a portraits. You can get
range of relatively inexpensive grids for it, too.
modiers, you can get truly
professional results every
time. And its not too difcult
to master.
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 WorldMags.net
FLASHGUN
Fully dedicated
ashguns can be simpler
to use, but any ash that
can be controlled
manually is a candidate
for off-camera ash. Look
out for ones with a PC
socket such as a Nikon
SB-910.
Shooting into the light with your ash
positioned off-camera allows you to
balance the scene
WHITE UMBRELLA HONEYCOMB GRIDS
A 38in translucent white umbrella is inexpensive Honeycombs are ideal
and light, and has lots of different uses. It is ideal for creating pools of
for attering portraits or light for dramatic
even lling a dark results. Check out
room as a the Lastolite
ll light. Strobo system,
which also has
gels, snoots,
barn doors,
Fresnels and gobos.
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 EQUIPMENT
You can sculpt the light to
suit your subject
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 Multiple lights and a
slow-sync shutter
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speed were used to
great effect
By far the best thing to
do is to take your ashgun off
the hotshoe on top of the
camera. Using it on top of
the camera can work well if
you manage to bounce it off a
wall or ceiling, but its far
better to use it as off-camera
ash where its much easier
to control its direction and
quality in terms of hardness
or softness.
A basic light stand with a
tilt-head adaptor that has a
hole to t an umbrella shaft
can be the key to getting your
ash off the axis of the
camera lens. Off-axis lighting
provides more modelling on
the subject, giving a three-
dimensional look rather than
the at look that on-camera
ash usually gives. Its often
good practice to hang your
camera bag from the light
stand to stop it blowing over.
FLASH TRIGGERS
The easiest way to trigger the
ash is to use a dedicated
off-camera ash cord that
retains all the automatic
operation that your ash dialling in ash-exposure less than 100% reliable,
would have if it were on top compensation is pretty especially when used outside.
of the camera. The limiting straightforward, and you can A more sensible move is to
factor is, of course, the do it from the cameras set the camera manually, and
length of the cable. And if you position. However, apart from control the output of the
want to use more than one the very latest Canon 600RT ashes manually, too. Then
ash, then things can get a bit ashgun, all these systems use use a radio trigger to sync the
more complicated. infrared triggering, and ash with the camera as there
A far better option is to use therefore need a direct line of are no line-of-sight issues.
a wireless method of sight between the ash and These radio triggers sit on top
triggering the ash. You may the camera. That makes them of the cameras hotshoe,
already have the ability to
trigger your ashes using your
cameras own inbuilt wireless Location lighting
is great for
system, such as Nikons editorial-style
Creative Lighting System. On shots
some high-end pro models,
but also on some older
models, you might have to
buy a separate control unit,
such as Nikons SU800 or
Canons ST-E2, to control
everything.
Either way, these usually
have modes where you can set
the ashes to work totally
automatically, using the
cameras own TTL metering
system to allow the camera to
work out the amount of ash
required to light any scene.
If it gets it wrong, then
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 EQUIPMENT
WorldMags.net and send a signal to a
second trigger thats plugged
into the ash when the
USING GELS AND SMOKE shutter is released. Some
This shot of a motocross rider doing a wheelie out of a brightly lit quarry ashes have a PC socket built
was created using ashes with coloured gels on them. A smoke bomb was in that needs a special cable
let off behind the rider, right next to a ash pointed towards the camera between it and the radio
tted with a red gel. trigger, while others need a
A second ash with a blue gel was positioned out of shot to the left of small and inexpensive
the frame, to illuminate the smoke as it rose behind the rider. Two further adaptor. Some triggers have a
ashes, both tted with honeycomb grids to stop the spill of light, were hotshoe built in so the ash
positioned either side of the rider aimed at where he was going just slots into place.
to be when he appeared. Some of the more advanced
Using high-speed sync at 1/500sec at f/6.3 and ISO 100 underexposed units, such as Pocket Wizards
the background nicely, making it look like it was shot at night and added Mini TT1 and Flex TT5, use
plenty of drama to the scene. The fast shutter speed ensured there was no radio signals to trigger the
ghostly blurring of the bike in action. camera and can also work
with your cameras automatic
ash systems. You can even
alter the power of the ashes
from a controller at the
camera. These give the best of
both worlds, but are more
pricey than basic manual
triggers where you have to
adjust the power of the ash
manually every time by
walking up to it and changing
the power setting.
TAKE CONTROL
Its best to take control of
your camera and ash settings
so you can understand whats
going on, and make
adjustments as you set your
light or lights up.
When you set up your ash
or ashes for a scene, rst
consider the ambient light
and how you are going to use
it in relation to the ash. Your
ash could totally overpower
the ambient light, for
example, and provide the sole
Flashes with different
coloured gels were light source if it is dark
used in this shot enough and your ash is
powerful enough, that is.
TOP TIPS
UNDEREXPOSE USING A HONEYCOMB GRID
This image was illuminated by a single ash tted with a
FOR DRAMA honeycomb grid. The grid makes the ash a bit like a spotlight,
Taken just as twilight fell, the although with a softer edge to the beam of light. With the ash
background was a messy positioned to the left of the frame, it created a shadow of the
motorbike paddock. By shooting bike thats very much a part of the composition.
at 1/250sec at f/9 and ISO 50, the
background was rendered
virtually black. The main ash
was in a softbox to the left, and a
ash with a honeycomb grid was
behind the rider.
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Alternatively, the ambient
light could be the main light,
with your ash providing just
a little bit of ll-in to reduce
contrast. Or a trick many
photographers use is to
underexpose the ambient
light by a stop or more, then
turn on the ash and increase
or decrease its power until the
subject is lit correctly. You
could use a ash meter to get
this perfect, or simply check
the LCD screen and histogram
to see how it looks.
If the ash isnt bright
enough, increase
its power or move it closer to
the subject. Opening up the
aperture will have the same
effect, but it will also brighten
the ambient exposure. If you
want the ambient exposure to
register even darker or
brighter, its often best to
change your shutter speed. A
faster shutter speed will not
affect the ash-lit parts of the
scene, but it will affect the
area lit by the ambient light.
Of course, you need to be
aware of not going over your
cameras maximum sync
speed, otherwise you will get
the dreaded black line at the
top or bottom of your shots.
Some dedicated ashes and
ash triggers allow you to go
above this speed by using
high-speed sync with your
camera. This can work very
well, but the power of your
ash is reduced signicantly
in this way. That might not be
an issue if the ambient light is
low, but on a bright day youll
soon run out of ash power
to expose the shot correctly.
 WorldMags.net A single ashgun and
MODIFY attachable softbox...
THAT LIGHT
Youll nd that the light output from a small
ashgun is usually very harsh, unless its used
very close to photograph tiny objects. This is
why, if you want a more attering look, its
best to diffuse the light.
You dont need me to tell you that the two
most common ways of diffusing light is with
either a softbox or an umbrella. Of the two
types of umbrella available, some prefer a
translucent shoot-through umbrella as it
delivers the softest light possible, while
reective umbrellas deliver a slightly more
directional light. Softboxes tend to produce a
more dened pattern as all the light is
pushed forwards, and they are more efcient,
providing more exibility with power output
and positioning when using a ashgun.
With the explosion of interest in using
small strobe Speedlight ashes on location,
there is now a whole industry making
...can produce studio-style
accessories dedicated to modifying the harsh
shots on location
light from little ashes.
You can buy beauty dishes into which you
can t your ashes, but I nd that these dont
tend to work quite as well when married with
the long, thin ash tube of a hotshoe-style
ashgun that was never intended to work
with the circular beauty dish.
Apart from that, though, there are still a
host of adaptors that can produce wonderful
light modication to really enhance your
lighting set-up. So regardless of your ashgun,
youll be able to t the likes of honeycomb
grids, focusing Fresnel lenses, barn doors,
gobos and gels to your little ashes.
This essentially turns your unassuming
ashgun into a mini studio light that you can
use anywhere, without the need for mains
power. Invest in multiple ashes and you can
have a sophisticated location that would
otherwise cost thousands for a dedicated
system with not as much freedom.

BEAT THE BACKLIGHT! FAKE THE SUN BACKLIGHT FOR EFFECT

By carefully exposing for the ambient light to allow the sun to
are slightly into the lens, an exposure of 1/250sec at f/3.5 and
ISO 200 was used. Then a small ash red into a white umbrella
to the left of the camera was used to illuminate the face and
body of the biker, as well as his bike.
Working in overcast conditions, to illuminate our subject with
something that looks like a beam of sunlight, a small ash tted
with a honeycomb grid was used. Its to the right of the frame
and slightly behind the subject, as backlighting smoke is more
effective than lighting it any other way.
The at, uninteresting lighting was boosted by using a ash
hidden behind the subject to give a rim of lighting around him
and really pick out the blue colours of the location. This put the
wrestler in silhouette, so he was illuminated by a second ash,
tted with a softbox, out of frame.

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 EQUIPMENT

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DIY
flash
grid
A ash grid can help
make the light
direction from a
ashgun far more
precise. And you can
make one using a
few everyday items
1

Y
ou may have come
across ash grids
before. Also
known as 3
BEFORE
honeycombs, or YOU START
simply grids, they are usually You will need:
placed over studio ashlights
to create a precise spot of Cardboard (1)
light. Flash grids work by Some black drinking straws (2)
funnelling the light from the 4
Glue/double-sided tape (3)
2
ash through a series of small Scissors (4)
tubes, arranged in a A ruler (5)
honeycomb-type pattern. This Marker pen
concentrates the light into a Black tape
spot, making it suitable for
adding highlights to a scene or Skill required 3/5
portrait, or for simply adding 5 Time to complete 1 hour
a bright spot to a background.

1 Measure the height

and width of the
ashgun that you intend
2 Now use the
dimensions you
have just measured to
to use with your DIY draw a atplan
ash grid. You will need (pictured) onto
these measurements to cardboard. When
make the cardboard folded, this will create a
sleeve that will hold sleeve that you can
your grid. slide onto your 4 cm
ashgun. Make sure
that the length of the Depth of
sleeve is the depth of ash head
your ash head, with
4cm added so that the
grid can be created in
front of the ash.

64
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3 Fold and glue the
sleeve together and
leave it to dry. I have
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4 Measure 4cm along
used PVA glue, but you
may nd that a stronger
glue, or tape, is
necessary, depending on
the cardboard used.
5 There are a number
of ways to stick the
straws together and
attach them to the
sleeve, but I found that
double-sided tape
works well. Line up the
appropriate number of
straws and apply
double-sided tape to
them. Then stick another
line of straws on top.
Repeat this process until
you have enough to ll
the cardboard sleeve.
WorldMags.net
a black drinking
straw and cut. You need
to cut enough of these
4cm lengths to create a
grid that will cover your
ash head. Cutting the
straws to longer or
shorter lengths creates
a smaller or larger
spread of light.
6 Finally, to help hold
it all together
securely and to make it
look more presentable,
cover the cardboard
with black tape. If there
are any gaps where
more straws can be
added, simply cut some
more lengths and slide
them into place. You
should now be ready to
place the grid on your
ash and begin
shooting.
For this shot, the ashgun was
placed on a stand, just out of
the frame. Using the DIY ash
grid allowed me to create the
bright spot on the background,
with no light spilling onto the
ower or the vase
65
 EQUIPMENT

WorldMags.net
Cleaning, protection
How to keep your
accessories not
just your valuable
photo equipment

and maintenance tips in tip-top working

condition

1 KEEP DRY 4 CONTROL MOISTURE WITH SILICA GEL

Waterproof covers can save you Silica gel absorbs moisture so its a good idea to keep
if you are photographing in stormy a few packets wherever you keep your camera, and, of
weather or get caught out in a course, in your camera bag or case. You can purchase
sudden downpour. Durable silica gel from photographic or electrical stores for just
covers cost around 20, but a few pounds, but it can also be found in boxes when
cheaper disposable versions you purchase electrical goods. Rather than throwing
are around 8 for a pack of these small packets out, put them to good use in your
two. Alternatively, keep a camera bag. How long the silica gel remains effective
ziplock bag and an elastic for obviously varies depending on the environment,
band in your camera 3 STORE but it is a good idea to replace the sachets every year.
case. Put your camera in YOUR CAMERA Some packets of silica gel have an indicator that will
the bag and seal the
bag around
EQUIPMENT change colour when it needs replacing.

the lens with an IN A SUITABLE

elastic band. ENVIRONMENT
Whether you keep your
camera equipment in a
drawer, cupboard or your
camera bag, it is
important to make sure
that it is a clean, dust-free,
dry and temperature-
controlled environment.
While keeping dust and
dirt at bay is obviously 5 IN AN EMERGENCY
essential, damp and If you have got any of your camera equipment wet and are
moisture can be just as worried about potential damage, then remove the battery
damaging. Fluctuations immediately. Put the camera or lens in a ziplock bag with
in temperature could some silica gel and leave it in there for 24 hours. If you
lead to condensation, have been caught in a rain shower then this should be
which could lead to enough to absorb any moisture, and it may just save an
2 PUT A FILTER ON IT fungus growing. expensive repair if you have dropped your camera in water.
Protect the front of your lens with a skylight, UV or To avoid condensation,
plain protection lter. These clear lters will have little, allow your kit to
if any, effect on the exposure of your images, but will acclimatise to an
protect the front element of your lens. As well as saving environment before taking
the lens from scratches, a protection lter could just it out of a bag. For
save your optic from smashing should the worst happen example, when going
and you drop it. from a winters day to the
inside of a hot car, put
your camera in a bag
before you get in the car.
The same advice goes
for when stepping
from an air-
conditioned
room to a
warm day in
summer.

6 USE A BEER COZY

Beer cozies are a great way to protect a lens. They are
available in different sizes and the neoprene material
means they stretch over most shorter-focal-length lenses.
Available for a tiny outlay, beer cozies can protect a lens
when they are in your bag and also stop dust ingress
through zoom or focusing barrels.

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 WorldMags.net 11 CLEAN AND
VACUUM YOUR
CAMERA BAG
As your camera bag is
exposed to the elements, it
is vital that you keep it
really clean. Regularly take
out all of the insert dividers
and vacuum them, along
with the inside of the bag.
Use a lint roller or some
sticky tape to capture any
lint and grit that the
vacuum may miss. Use a
slightly damp cloth to wipe
the outside of your bag,
and use a brush on any
10 DONT FORGET stubborn mud.
12 CLEAN YOUR
SENSOR IN A
DUST-FREE
ENVIRONMENT
There is no point cleaning
your sensor in a dusty
environment. Make sure
that windows and doors
are closed so that there
is no draught. Before
cleaning your sensor, wipe
all surfaces to pick up
any dust. Remember that
your sensor is usually only
exposed for a fraction of
a second at a time and any
longer exposure leaves it

A LENS HOOD more vulnerable to dust.

A lens hood does more

than help to prevent are. 13 WHEN CLEANING YOUR SENSOR...
It can help to shield the Cleaning your own sensor can seem daunting, but it
front element of a lens is relatively straightforward so long as you follow the
from rain, and will even instructions for the type of kit that you are using. Perhaps
7 PUT DOUBLE-SIDED TAPE ON take some of the impact the most important things to remember are never to

THE INSIDE OF YOUR REAR LENS should you knock or drop

the lens.
CAP AND BODY CAP
A small tab of double-sided tape on the inside of a rear
lens cap and body cap can help capture any dust particles
and prevent them from settling on your lens, or inside your
camera. Check and replace the tape as it gets dirty.
8 BE CAREFUL WHEN CHANGING LENSES
When you change your lens, you leave the inside of your
camera vulnerable to dust. There is little you can do
except minimise the risk by shielding your camera and
lenses when changing them. When outside, try changing
them inside your camera bag, or shielded by a jacket.
touch the sensor, or the device you are using for cleaning
the sensor, with your ngers. This can easily deposit oils
and dirt upon it. If you are using a wet cleaning solution
with swabs, ensure you only use the amount of cleaning
solution recommended, and only use each swab once.
If you are still nervous about cleaning a sensor yourself,
take it to a camera store, many of whom will be able to
do it for you for a small fee. Just bear in mind that it is
extremely difcult to remove 100% of dust that may
be on a sensor, so at least ensure that any large particles
in prominent positions are removed.

9 CHECK YOUR INSURANCE

Make sure you check your household insurance to see
whether your photographic equipment is covered.
Also ensure that your holiday insurance covers
your camera and kit if you are abroad. Bear in
mind that if you do any paid photographic work,
your standard insurance may not cover you. For
peace of mind, particularly if you have very
valuable equipment, specialist camera
insurance should be a consideration.
See www.amateurphotographer
insurance.co.uk for a quote.

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CREATIVE SKILLS

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WorldMags.net

Creative
skills
Now you have got to grips with the basics of the photography and
the various kit available, its time to start shooting. Here we will
cover a range of inspirational techniques with essential in-the-eld
advice from professional photographers

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 CREATIVE SKILLS
KIT LIST WorldMags.net

WIDEANGLE LENS TRIPOD AND FILTERS

A wideangle lens
is essential for
GEARED HEAD As the foreground will
sometimes be several stops
A tripod is a must-have
emphasising for landscape photography darker than the sky, a set of
foreground and a geared head will graduated neutral density
elements. Zoom make light work of (ND) lters will enable you
lenses with a range ne-tuning your to keep the exposure within
of around 10-20mm composition. the limits of the cameras
for APS-C cameras dynamic range and avoid
or 16-35mm for blown highlights.
full-frame are ideal.

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Creating

depth
Discover how to add depth to your
photographs by using foreground interest
to lead the eye into the frame
WORDS & IMAGES JUSTIN MINNS

A
s landscape photographers, we often go to great
lengths to be in the right place at the right time to
get the shot. We set the alarm for the early hours,
drive for miles and then walk, head torch on,
through semi-darkness to be set up and ready for
the rst shades of dawn colour to light the scene that we have
usually spent many hours researching in advance. Every time we
look at such a scene, we are faced with the difcult challenge of
how to convey the feeling of depth in that three-dimensional
view in a two-dimensional photograph.
One way to create a feeling of depth is to emphasise the
foreground by composing the image to include a point of
interest at the bottom of the frame. A strong element in the
foreground gives the viewer a point of entry into the picture a
place to start that will hopefully lead them through the
composition to the subject of the image.
Just about anything can work as foreground interest, but
while it may be tempting to use the rst object you see, its
worth stepping back to consider the bigger picture for a
moment. Taking time to nd a foreground subject that has a
connection, either physically or visually, with the rest of the
image, rather than just being an object to ll the bottom of the
frame, will result in a more satisfying photo.
The subject could be a strong object, such as a rock formation
that nicely frames the bottom of a mountain view, a jetty leading
the eye into a lakeland scene, or something more subtle like a
shape or pattern of foreground plants that is repeated in distant
trees. On the other hand, you could use a foreground with
contrasting shapes or textures to the background. Whatever you
choose, its worth spending some time looking for the link that
will lead the viewer into your photo to explore further.
As well as considering what you place in the foreground, its also
important to think carefully about where you place it in the frame.
While bold elements add a lot of impact to an image, theres a
danger of the foreground overpowering the image, so compose
carefully and try to avoid blocking the viewers path into the rest
The foreground foliage of the picture. Luckily, on the wide, empty East Anglian beaches
and fence lead the eye that I frequent, the foreground interest is often also the main
through the frame subject of the picture, so this isnt usually a problem.

TECHNIQUE
Foreground interest is a compositional trick that works especially
well with a wideangle lens as it seems to stretch perspective. This
REMOTE gives objects close to the lens the appearance of being larger than
SHUTTER normal, while those further away appear smaller, helping the
photographer to emphasise the feeling of distance.
RELEASE These lenses are not without their drawbacks, though, and
A remote shutter release need to be used with care to avoid certain pitfalls. Objects close to
will not only help keep your the edges of the frame have a tendency to distort, leaving straight
images sharp, but its also lines leaning at an unnatural angle, so when you are composing
essential if you need to use an image, try to position any foreground objects away from the
bulb mode for exposures of edges. If this isnt possible and you have a line of groynes, for
more than 30secs. example, leading into the frame, any distortion can be easily xed
in Photoshop. However, this will result in some cropping, so bear
this in mind when composing the shot and allow extra space
around the edge of the frame for any cropping later.
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 CREATIVE SKILLS

TRY A
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TELE LENS
Although a wideangle lens is
very useful for adding depth, it
isnt the only choice available to
you. Instead, why not try using a
telephoto zoom? A longer focal
length will give a totally
different look to your landscape
images, appearing to compress
the distance between the
foreground and background
rather than exaggerating it.
The narrow depth of eld
gives you some creative
possibilities as well. In this
example below, a small aperture
of f/4 was selected and focus
was set on the windmill, which
had the effect of softening the
foreground owers to a yellow
blur. Youll need to move back a
lot further than you would with
a wideangle lens, but it works
well when the foreground is a lot
closer to you than it is to the
background subject anyway
the windmill here was on the
other side of the next eld!
TOP TIPS

The rule of thirds can be an incredibly

useful starting point when shooting
LINES MOTION BLUR
Composing your image so the foreground has strong lines Slowing down the shutter speed slightly to create some
landscapes. When composing the image,
leading into the distance is an excellent way to create a sense of movement in an otherwise ordinary foreground can transform
try using the bottom third of the frame
depth and perspective. This technique is strongest when the it into something more dramatic. Surf receding down the beach
for a strong foreground element. This is so
lines curve or come diagonally in from the corners leading to a adds interesting movement, especially when contrasted with
that the viewer can then be led through
distant point of interest. something solid such as rocks.
to the middle ground and then on to the
distant horizon positioned roughly on the
top third of the frame. I nd this can work
particularly well with the camera in
portrait orientation, which I think often
adds greater depth and impact.
A lot of this will depend on the subject
youre photographing. There are endless
possibilities for adding depth to your
photos using foreground interest, so if
you are looking to give it a try yourself
and need some inspiration, here are
a few suggestions to get you started.

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The eroded groynes subtly
lead the eye through the
frame, and are mimicked
by the line of the pier
PATTERNS
Low tide often reveals patterns and ripples in
the sand and these can make a very interesting foreground.
Positioning the camera very low can make a bold composition,
especially when used with side lighting, which will emphasise
the shapes and help lead the eye into the image.
While the effect of creating distance between the
foreground and background is one of the things I love about
wideangle lenses, its also a potential problem. Positioning the
camera at the right height and angle is important for getting
just the right amount of separation between the foreground and
background to create a nice ow through the image. Position
the camera too high and there is a danger of ending up with a
lot of empty space between the two, but get too low and there
could be too little space thus spoiling the sense of depth.
The short focal lengths that we are using have an inherently
good depth of eld, but this can be maximised by using a
hyperfocal distance chart to choose the point of focus. The
hyperfocal distance is basically the optimum point of focus for
a given focal length and aperture to achieve the greatest depth
of eld, and you can download a chart to keep in your camera
bag or use the DOFMaster app for your smartphone. I also nd
that live view is invaluable for precise focus, especially with the
camera positioned low on a tripod. It certainly beats crawling
around on whats usually a wet or muddy oor trying to look
through the viewnder. With the lens set to manual focus (and
stabilisation switched off), you can pick the exact spot you wish
to focus on and magnify up to 10x to ensure it is sharply
focused, which is especially useful in low light.
KEEP IT SIMPLE
Weve all heard the saying less is more, but
its especially true with photography. A
successful composition doesnt only rely on
what has been included in the photo; what
has been left out can be just as important.
Harmony is the key to creating an
eye-catching photo with a simple
composition. Try to nd foreground and
background subjects that complement each
other in some way, whether it be shape,
colour or something else that links them
visually, and then compose your shot to include only those essential
elements. Before pressing the shutter button, remember to look around the
frame for any distractions and adjust your position to try to remove them
from the composition.
A clean composition can really make a strong image, but you could try
taking it a step further. Go for a minimal look using the subtlest of
foregrounds, such as ripples on the surface of a lake, to really simplify
things and give the subject breathing space and create a feeling of calm.
LONG EXPOSURE SOMETHING DIFFERENT
Using a long exposure to smooth the surface of the water can As with everything in photography, interesting shots can
help emphasise the shapes of foreground elements. Shutter sometimes come from ignoring the rules completely and
speeds of 15secs or more are ideal, so unless you are working in improvising. While photographing the pier at Southwold in
low light, you may need some ND lters youll nd that Suffolk, this No cycling warning caught my eye and adds
3-stop, 6-stop and 10-stop lters should cover every situation. some interest to the promenade.
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 CREATIVE SKILLS

Early summer sunrise in

the Yorkshire Dales
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National Park

A tranquil blurred waterfall captured in

the Brecon Beacons National Park
KIT LIST

CAMERA FILTERS TRIPOD HEAD

As you will be stitching several frames The same rules apply My preference when
together, a camera with 12MP whether you are shooting shooting panoramas is for a
upwards will be ne. one frame or several you ball-and-socket-type head,
Remember that the more have to stop the sky from specically with a double-pan
pixels you shoot with, the overexposing by using a facility as it allows you to level
bigger the le size, and neutral density lter the camera and rotate it even
you will soon nd you are positioned on the front of if the tripod is not level. Arca
shifting huge amounts of the lens. Lee Filters may be Swiss is my pick if you want to
data around with three or more expensive than some, invest in something special.
four frames per image. but they are pure quality.

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NODAL SLIDE
Along with a high-quality
tripod, I like to use a nodal slide
like the SunwayFoto DMP-140
Rail Nodal Slide, as it allows me
to nd the nodal point when
shooting panoramas.
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Perfect
panoramas
With a eld of view considerably wider than
one that can be shot in a single exposure,
you can capture more of the scene
WORDS & IMAGES JEREMY WALKER
I
have to admit that Im a bit of a panoramic junkie and
I like to get my x as often as I can. The vast majority of
my landscapes are panoramic, but what do we mean by
a panoramic image ?
We are all used to looking through the camera
viewnder, seeing and composing the image and then pressing
the shutter button, but do you ever stop and consider how our
view of the world is being constrained by that small black
rectangle? Do you stop and think about what lurks just beyond
those dark borders or get frustrated by wanting more width to
your image without going to a wider lens and loads of
unwanted foreground in your shot?
A panoramic image is much longer and thinner than a
traditional 35mm frame think cinema screen, widescreen
television or even the shape of a traditional letterbox. A
panoramic image will allow for a wider view without a huge
expanse of unwanted foreground. It is more a wideangle format
than a wideangle view.
Traditionally, panoramic cameras have been in the formats
of 6x12, 6x17 or 6x24, but possibly the industry standard
became the 6x17 format, owing to Fujilm, Linhof and
Horseman making exceptional cameras. A 6x17 camera has an
aspect ratio of approximately 3:1 and will allow you to look at the
world in a totally new way. Of course, when shooting digitally,
you do not have to religiously stick to a 3:1 ratio, but it is certainly
a good starting point, as any longer and the nal image may seem
a bit thin and stretched.
Before you start shooting panoramic pictures, you have to
see the image, as the vista in front of you is no longer conned
to one frame on your camera, but three, four or ve images or
more combined. Getting a feel for what ts and works will take
time and adjustment it is a completely different way of
looking at a landscape or cityscape.
A major pitfall when you start trying to do panoramas is
trying to force your image to suit the panorama shape.
Sometimes the image will just not t or look right and a
conventional frame will work better. You have to learn to see the
image and get a feel for what will work.
THE BASICS
While you can shoot panoramas handheld some compact
cameras and smartphones have a built-in panorama mode that is
easily used in this way I would only do this as a last resort
because I would much rather work using a tripod. A tripod may
slow you down a bit, but ultimately you will end up with a better
image because you can control what you are doing far more
accurately. While there are dedicated panoramic heads available,
such as the Manfrotto 300N Panoramic Rotation Unit, I prefer to
shoot with a ball-and-socket-type head, such as the Arca Swiss
Monoball Z1 with a rotating collar for smooth level panning.
A major cause of panoramic images not looking realistic is
the wrong choice of lens. Too wide a focal length will lead to a
lot of distortion, which is particularly noticeable in skies,
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although with longer lenses this is not a problem. I suggest
starting with a focal length of about 50mm and experimenting.
In theory, you should rotate your lens through what is known
as the rear nodal point, which is different for every lens and
focal length. This will ensure that distortion is eliminated.
Finding the rear nodal point can seem quite daunting when you
are starting out, but the process is very simple and takes only a
few minutes. Special panoramic brackets are available to t
onto your tripod that allow exact measurement, but before you
rush out and spend hundreds, try shooting panoramas without
one. In many cases you will not notice any distortion,
particularly if you are shooting subjects such as woodlands. If
you do want a basic panorama bracket, try the modestly priced
DMP-140 Rail Nodal Slide from SunwayFoto, which is
lightweight and simple to use.
STEP BY STEP
POST-PRODUCTION WORK
Most digital images require a little post-production work, but
there will be more of this to do when you are shooting digital
panoramas. However, even if you shy away from the world of
computers, stitching images together can be very simple. There
are many types of software options available, from the very
powerful specialist stitching programs such as PTGui, to
all-encompassing programs such as Photoshop.
Shooting panoramas can be fun and rewarding, and it will
certainly open up a completely new way of looking at
landscapes and the world at large. Do not be put off by the
thought of extra computer work and the effort of getting
everything just right in-camera at the taking stage. When you
see the large panorama print on your wall, you will know its
worth all the effort.

1 SET-UP 2 CAMERA SETTINGS 3 SHOOT

If the point about which you rotate is not level, the
nal image will lose a great deal of information due to a
stepped effect that will need cropping. Rotate the camera
and ensure everything you need to be in the nal image is
in each frame. Note the start and nish points.
Set the white balance to manual to avoid a colour shift
between shots, but shoot in raw so you can ne-tune later.
Its also a good idea to set the exposure manually,
otherwise your image will be uneven, particularly in large
areas of the same tone such as skies.
If using a ND grad lter, it must remain in the same
position for each of the frames in your panorama or you
will have an uneven sky. Shoot the required number of
images, overlapping by about 30% for each frame to give
the computer a decent chance of stitching them together.

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 WorldMags.netTOP TIPS An approaching rain
storm at sunset

1 Shoot from left to right. The

images will load into your
browser in the order they were
shot and it will be far easier to
see which frames make up the
panorama.

2 The camera must be level on

both axes for a perfect
distortion-free alignment.

3 After the nal frame of each

set of images, use a nger
pointing from right to left to
indicate that the previous
images make a panorama. If you
do not have an indicator or blank
frame, you will lose track of
where one panorama nishes
and the next one starts,
especially if you are shooting
subjects such as pine forests!

4 Shoot with the white

balance set manually and
not on auto. For example, 5500K
is a good starting point.

5 Shoot with slightly more

image in your frame than
you actually need as you will
lose some image area in the
stitching and cropping process.

6 Do not use a very wideangle

lens as you will get
distortion. Try no wider than a
35mm focal length to start with.

7 Once you have focused, turn

autofocus off. You do not
want the camera to be
refocusing halfway through your
panorama or you may end up
with a frame out of focus.

8 The exposure must remain

the same for each of the
component images. If you alter
the exposure this will lead to
Storm clouds approach Castlerigg Stone uneven areas of tone across the
Circle in the Lake District at dusk nal image.

4 PROCESS 5 PHOTOMERGE 6 CROP

Once youre at the computer, download the images and select
the les you wish to stitch together to create a panorama. If
youve shot in raw, make a batch raw adjustment on all your
les highlight all desired les and open in Adobe Camera
Raw, making sure you hit Select All.
Go to File and from the dropdown menu select Automate and
Photomerge. In the pop-up box, select Browse to nd your les
and for the layout select Auto. This does a good job, but as an
alternative, choose Cylindrical and remember to tick Vignette
Removal before hitting OK.
Enlarge to 100% to view your image and to check the joins.
Using the Layers palette, click on the Eye icon repeatedly to
make sure the frames have been matched properly. Choose the
Crop Tool and crop the image as desired you can set up a
3:1 crop should you wish.

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Low light
cityscapes
Follow this simple set of rules to help
you to shoot striking low-light cityscape
images with ease
WORDS & IMAGES JEREMY WALKER

S
hooting a city skyline is a piece of cake really, isnt it?
Find your view, wait until sunset and then
shoot, job done, pack up and go home. Isnt it that
easy? Er, well no, not exactly. If you want clean,
crisp city images there are a few rules to follow and
simple techniques to take on board that will help to improve
your city photography.
So exactly what do we mean by low light? To me low
light is that time of day when light levels have dropped
to a point where you have to start considering the use of
a tripod without increasing the ISO rating. Although modern
cameras have improved a great deal in terms of their low-light
capabilities, thanks to some excellent high ISO performances,
my preference as a professional is to have the highest image
quality possible, and I prefer to keep the ISO as low as I can,
hence the need for a tripod.

TIMING
Two of the biggest mistakes I see when I am shown low-light
images of city skylines, street scenes or even individual
buildings, are skies that are pitch black with absolutely no detail
or colour in them, and cloudy skies where the cloud has turned
orange. The key with low-light photography is in the timing.
Shoot an image too early and it will just be a normal daylight
picture; shoot too late and you have black skies or orange
clouds (the reason that the clouds turn an orange colour in
photos is that the street lights are bouncing off low cloud). The
key is to time the taking of the image so that there is a balance
between the ambient daylight and the articial light coming
from the buildings and streets.
The ideal timing of the shot depends on the prevailing
weather conditions. Clear blue skies mean you can be shooting
30 minutes after sunset and sometimes much later. On the
other hand, if it is a cloudy day the shooting window will be
considerably shorter, possibly just minutes in particularly
extreme circumstances.
To meter for the correct exposure is relatively simple. Using
matrix, or evaluative, metering mode on the camera, you
KIT LIST

NOVOFLEX NIKON 45MM

BASICBALL TRIPOD
The sturdiest mini tripod I have ever come
across. Typical high-quality German engineering
and such a simple design. The legs
screw into what looks like half a
metal tennis ball, with holes at
different angles for
limited
adjustment.
A clean, crisp low-light
image of City Hall, London
PC-E LENS
A tilt-shift lens for controlling
perspective. Converging or diverging
verticals can be corrected in
Photoshop, but I prefer to get it right
at the time of taking. I use a Nikon
45mm PC-E lens for a high proportion
of my city work, but the 24mm tilt
shift can also be very useful for
architecture in tight corners.

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WorldMags.net Its all in the timing and
balance of light, as
demonstrated in this
stunning view of Rio

SMALL TORCH SMARTPHONE

Ill guarantee that you will end up in some quiet backwater With the right apps, you
with limited street lighting to shoot the city skyline. A small can nd out sunset and sunrise
torch is useful for peering into your camera bag or for nding times, look up maps and route
that little something that you have just dropped usually a set nders to help you nd where
of keys. Look for ones with an LED bulb. you need to be, use the
stopwatch for timing long
exposures and, oh yes, you
even have a telephone in case
of emergencies.

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 CREATIVE SKILLS

Shooting in daylight before

articial lights come on can
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give you interesting results

A low-light, but meter for the skyline, allowing for some building and sky in
detailed, image
the frame, then set an aperture and then make adjustments
of the Iwo Jima
Memorial in using just the shutter speeds. The trick is to wait for the balance
Washington DC between the two to be visually correct building lights on but
detail or colour in the sky. Because the chip in the camera will
record the light differently from how the human eye/brain sees
it, you will probably still start shooting too early and the
buildings will appear lifeless. However, if you wait and shoot a
frame once every few minutes, then you will slowly see the
change in balance from a daylight-dominated image to one that
is dominated by articial lights.
This technique is, of course, for evening or dusk shooting. If
you were shooting at dawn, the same rules apply about the
balance between daylight and articial light but you have
to be in position much earlier as the light levels will increase
rather than decrease. In the end, the daylight will be too bright
TOP TIPS

CHECK THE WEATHER FORECAST

Dont be put off by talk of cloud or even rain. Clear skies for
reected light in skylines and skyscrapers is great, but clouds
can reect the light and be colourful, too. Rain on the streets
adds a sense of mood and drama, while the wet surfaces can
help bounce the light around. Cities can be shot and look
dramatic in all weathers.

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LIGHT TRAILS
Another good technique for shooting
cities in low light is to use long exposures
to pick up movement in trafc and create
light trails along street scenes. However,
what may happen if you have buildings in
the background is that the interior
lighting will overexpose the windows and
advertising signs will become blown out.
A simple technique to avoid this is to
shoot two frames from exactly the same
position: one exposed for the exterior
and one for the interior, and blend the
two frames using a simple layer mask in
Photoshop and ensure highlights through
to shadow detail are correctly exposed.

and ofce lights, street lights and any other articial light
sources will have been turned off.
REFLECTIONS
Of course, low-light cityscapes are not just about waiting for the
ofce lights to come on or fountains to be oodlit. Trying to use
daylight before the articial lights have come on can be
rewarding, too. An interesting concept is to shoot with your
back to a setting (or rising) sun and use the reected light in the
skyline. With many modern ofce blocks dominated by huge
sheets of glass, they can reect a ery sunset, showing up the
shapes of the buildings in strong colours. Again, the technique
is about timing and the balance of light. If you choose to shoot
at dawn, you need to be in position very early as often the best
colours come from a pre-dawn glow and can be at their
optimum 30 to 45 minutes before sunrise if you have clear skies.
The reverse will happen at sunset and, again, if you have clear
skies the reections can be at their peak 30 to 45 minutes after
the actual sunset.
WHITE BALANCE
Colour and the balance of articial light to ambient daylight is
crucial to low-light cityscapes, and one overriding consideration
as to how your images look will be the white balance setting on
the camera. As a starting point, auto white balance will do a
good job, but as it gets darker, try setting a white balance of
about 3800K, which will make a clear sky appear much more
blue and will stop buildings and statues that are oodlit from
going too orange. Its the equivalent of using tungsten-balanced
lm in daylight, back in the days of lm. If you take the white
balance up to 8000K, say, the image will go very warm, so do try
various white balance settings to achieve different effects.

SCOUT THE LOCATION BE SAFE WHATS ON?

Have a good wander around in daylight and check the views
and locality. If there is a river, can you get a view from the
other side? Are there any high-rise blocks with possible
elevated views? Hotels and restaurants are good for this.
Research transport links and work out how far you have to
walk to get in position.
It sounds obvious, but often a city neighbourhood that looks ok
in daylight can become a bit of a backwater wilderness in the
dark. Chances are you will have a few pounds worth of kit with
you, so take someone along for a spare pair of eyes and
company. Having someone else watch your back can be a
deterrent against bag snatchers.
You may turn up to shoot a fantastic view but then nd its the
local half marathon, and the view is now covered in advertising
hoardings or roads have been closed. I have turned up in both
Rio and New York to nd such events upsetting my plans.
Marches and protests can also be a headache, so get on the
computer and do the research.

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Gorgeous light and a long

exposure help to deliver a
striking mono image

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Mono &
moody
Shooting landscapes in mono can evoke
feelings and emotions that are innitely
harder to capture in colour
WORDS & IMAGES IAN BRAMHAM

L
andscape photography is very wide ranging,
encompassing everything from industrial and
urban cityscapes through to the more traditional
rural and coastal scenes. There is something for
everyone.
The UK and Europe are both densely populated, and as a
photographer I am fascinated by the way in which elements of
the natural and man-made environment often merge to
produce a landscape that shows our human inuence stretching
back through the generations.

EXPRESSION
What is it that raises the level of some landscape photographs
to that of art? For me, it is when the photographer has a
strength and clarity of vision, and is able to express that vision
through their work to evoke feelings and emotions. Arguably,
the greatest landscape photographer was Ansel Adams, who
described successful landscape photography as all a matter of
feeling. In fact, he even went as far as to say that a great
photograph should be a true expression of what one feels about
life in its entirety.
Like many photographers working in black & white, Ansel
Adams believed that the medium offered him a much greater
opportunity than colour to express his feelings and emotions.
Without the obvious distraction of colour, black & white
photography allows us to get closer to being able to show the
real essence and inner beauty of the subject of our photographs.
LESS IS MORE
When I rst became interested in photography, I spent the rst
year or so taking photos that were little more than snapshots. I
was really struggling to take shots that had any artistic merit.
Gradually, however, I evolved a simpler and simpler approach
to composing my photos in the viewnder that had the effect of
strengthening their impact by making them less cluttered and
messy. It also had the happy side effect of making it easier to get
good balance across the differing elements.
For any of you who may be struggling to achieve simple but
KIT LIST
strong composition in your photographs, Ive found that it This classically
arranged
helps if you think of composition as a reductive process rather composition
than an additive one. In other words, the next time you have delivers balance to
your eye at the viewnder, instead of asking yourself what you the scene
want to include in the frame, ask yourself what you can exclude
from the frame, to make it simpler and more direct. We live in a
fast-moving and complex world, yet I derive great enjoyment
and a fantastic sense of inner peace when Im out with my
camera taking simple and harmonious photographs.
BALANCE AND HARMONY
Even for beginners, the subject of visual balance in the
composition of landscape photos is a relatively straightforward
concept to get to grips with, and achieving it is made a lot easier
using simple principles. For successful black & white landscape
photography, however, the issue of balance goes much further
than just good visual composition there are additional types
of balance that should be considered.
For example, you can compose your photos so that the
elements in the frame not only achieve a visual balance, but also
reveal a signicant emotional relationship with each other. An
example of this is my photograph of Fiddlers Ferry Power
Station in Cheshire (above), showing the power station and

WEATHER- CABLE PHOTOSHOP CALIBRATED

SEALED CAMERA RELEASE Post-processing is an
important step in the
MONITOR
AND LENS My Nikon D800
camera doesnt production of black & white
I use a Spyder4PRO to
calibrate my computer screen,
I get some of my photos. I use Photoshop
best shots in have built-in Wi-Fi, and I prefer to use a
so I use a cable CS6, which is commercial lab for my
unpredictable an extremely
weather, so my gear release for my prints. The results I get
tripod work. Its a useful back closely match
gets very wet. Its program.
reassuring to know Nikon MC-36, which what Ive seen on
it will keep working. is very versatile. my monitor.

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LONG
EXPOSURES
FOR
COMPOSITION
There are many reasons why I
love long-exposure
photography. It is great as an aid
to simplify composition,
particularly near water or in the
city, for contrasting cloud
movement or light trails against
a stationary subject, and for the
lovely surprises that sometimes
creep into the frame while the
shutter is open. Above all,
however, Ive grown to love the
way that it slows my
photography down, giving me
plenty of time to appreciate the
landscape and to carefully
consider composition and the
way that the light is interacting
with the subject of my photos.
For daytime long-exposure
photos I use neutral density
lters. I have a 10-stop from Lee
and a 6-stop from B+W. When
stacked, they give 16 stops of
light reduction, which allows me
to take long exposures of 2mins,
Long exposures can result in 4mins or 8mins, even at midday
something unexpected, thanks in bright sunshine.
to the shutter staying open
TOP TIPS

My favourite seasons for mono landscape

photography are autumn and winter. Not CHANGEABLE WEATHER GREAT LIGHT
only are sunrise and sunset times at a more One of the rst big breakthroughs that I made with my black & As landscape photographers, we all live for those occasions
sensible hour, but also I love the white landscape photography was the realisation that it was a when the light is so beautiful that it stops us in our tracks.
changeable weather conditions at these great idea to go out with my camera when changeable or I photographed this lovely display of sunlight breaking
times of year. When the weather is so stormy weather was forecast. This is Victoria Harbour in Hong through the clouds during a road trip along the stunning black
changeable, there is always a great chance Kong during a monsoon thunderstorm. volcanic coast of Iceland.
of capturing interesting light.
My ofce is in Manchester and the city
is well known for its fog and mist during
the autumn and winter months. Fog and
mist can really help to isolate subjects
from the background and add a
wonderful sense of mystery.
Trees are one of my favourite subjects,
and I nd that they are at their very best
in winter once they have lost their leaves
and the delicate yet powerful structure of
their branches is revealed.

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SIMPLICITY
WHY IT WORKS
Iceland is a fantastic location for mono
landscape photography, with dramatic
waterfalls and geysers, the Northern Lights
and black volcanic sand beaches with
dramatic cliffs overlooking the North
Atlantic ocean. I took two photos early one
morning on the coast at a place called Vik.
I had been in the same spot on top of the
cliffs with my camera and tripod since
before dawn, photographing the towering
basalt sea stacks. I was entranced by the
changing light and cloud formations, and by
the contrast between the white of the
Atlantic rollers and the black basalt sand of
the beach. After a while, I noticed the
framing could be simplied by excluding the
nearest sea stack. Moving the camera
slightly to the left emphasised the lovely
curved shape of the beach, and the result on
the right is now a much stronger picture.

the dead tree. The composition is classically arranged with
the foreground elements and the background elements
balancing each other visually. However, the relationship
between the coal-red power station and the dead tree
intentionally goes beyond the simple foreground/background
relationship of classical landscape photography. Another
very important issue in mono landscape photography is that
the overall balance of light and dark tones within the photo is
crucial to its success. Achieving this type of balance requires
experience and is usually a blend of good initial composition,
combined with a strong personal vision of what you want to
achieve in post-processing.
BEAUTY IN IMPERFECTION
The fact that beauty can be found in imperfection is perhaps
a controversial view, but I believe the advent of digital
technology has made it too easy for us to produce photographs
that are perfect, without any kind of visible aw. As a result,
this quest for perfection can often result in photos that feel
soulless and lack personality.
Dont get me wrong, though, as I love my digital camera and
I love the ease of processing my photos in Photoshop or
Lightroom. Im not advocating a mass return to lm either, but
I do think we need to use restraint when post-processing our
digital photos. Its not necessary to clone out every perceived
imperfection or show detail in every highlight and shadow
because it can look too unnatural.
I really enjoy long-exposure photography, often using
exposure times in minutes rather than seconds. Its a technique
that can help simplify composition, but a big part of what I love
about this type of photography is the lack of control over the
end result. Often I get lovely surprises when I see the results
because something unexpected happened during the time that
the camera shutter was open (see my photo of Londons
Millennium Bridge on the facing page).
If we can learn to see the beauty in our sometimes imperfect
and often eetingly impermanent environment, to appreciate
the visual harmony and balance in our landscapes, and to
express that beauty and harmony through photographs that
have a natural strength and simplicity, then not only will we
enrich our own lives, but also we may also communicate our
love of the landscape to others.

INTO THE SUN DRAMA FOG AND MIST

Its always worth having a go at shooting into the sun. The
results can often be unpredictable, but they are always
interesting and you never know when you might capture
something really special. This shot was taken at sunset on the
north-west coast near Liverpool.
Sometimes what I look for in my black & white landscape
photography is drama rather than beauty. Industrial landscapes
lend themselves very well to this kind of approach this
photograph was taken at dusk at Fiddlers Ferry, a coal-red
power station near my home in Cheshire.
Fog and mist can bring an aura of mystery to photos, especially
in black & white. This is the Ponte dellAccademia, which spans
the Grand Canal in Venice, Italy. I was there in October and I was
fortunate enough to get misty conditions on several mornings
in the early hours before dawn.

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Focus stacking
Discover how to gain the maximum sharpness and
depth from your lens by stacking landscape images
together into one nal image
WORDS & IMAGES MICHAEL BREITUNG

Focus stacking allows you to gain maximum

sharpness and detail in your shots
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O
ne of the rst things we learn in photography
is the relationship between aperture and depth
of eld. In landscape photography, selecting a
smaller aperture results in a larger depth of
eld. If you want to take a photograph that
contains elements in the near foreground, with a detailed
landscape in the middle and background, the obvious formula
would be to select as small an aperture as possible, in order to
get everything sharp in the frame.
However, its not quite as simple as that. Most camera and
lens combinations result in a decrease in sharpness for
apertures smaller than f/11. While this can vary from lens to
lens, what always happens is that as the aperture gets smaller,
the light reaching the camera sensor is more and more
diffracted at the edges of the aperture blades. This diffraction
causes photographs that are taken with very small apertures
(f/22, for example) to look softer and less detailed than
images that are taken at apertures between f/5.6 and f/11, for
example. So while we do increase the depth of eld by the use
of smaller apertures, we can also reduce the overall sharpness
of an image by doing this as well.
When photographing with a wideangle lens, we can still
achieve a decent depth of eld without the use of small
apertures, but there are limits especially when using longer
focal-length lenses.
FOCUS STACKING
One solution to this problem is focus stacking. Originating in
macro photography to overcome issues with very shallow depth
of eld, multiple photographs of the same scene are taken at
different focusing points. Using software, these shots can then
be merged together into a single image with excellent levels of
detail through the frame.
This principle can be easily applied to landscape
photography, and while many different photos are often needed
in order to get the desired extreme depth of eld for macro
photography, most of the time just two or three images will be
enough for landscapes.
This all depends on a few factors. One is composition and
how far the nearest elements in the picture are from the camera
itself. Another factor is the focal length you use and the f-stop
you select for your sequence. But perhaps most important is
your own perception of sharpness and what you consider to be
a sharp photograph.

IN PRACTICE
While it might sound complicated, in reality
focus stacking is very simple, with plenty of
practice key to mastering the technique.
For focus stacking to work, it is important
to use a tripod and not change the
composition or focal length between the
different photographs. To be able to set the
focus precisely, live view is an invaluable tool
on modern DSLRs. On most models you can
zoom in 5x or 10x on the point where you
want to focus and then manually turn the
focus wheel. Using apertures between f/8
and f/11 will deliver a good compromise
between overall sharpness and depth of
eld. You will need fewer photos for stacking
at these apertures than with f/5.6, for
example, although this might be the sweet
spot for some lenses.
As you start taking photographs in this
way, you will notice that for some scenes
having one image for the foreground and one
for the background is not enough.
Sometimes the areas that are sufciently
sharp in those photos do not overlap. In
these cases, you will either need to adjust the
focal points in your photos to move them
closer together, or you will have to take a
third, fourth and even a fth exposure
focused at points between the foreground
and the background.

When shooting a focus-stack sequence, always take one more FOCUS: CLOSE FOREGROUND FOCUS: MIDDLE FOREGROUND FOCUS: BACKGROUND
exposure than you think you will need. In the case of this shot,
three images were required: one with the focus right in the
foreground, one a little further away, and one for the background.
You can see on this grid how sharpness can differ. After all, its
better to delete redundant photos than to realise too late that
youre missing sharpness in parts of the image.

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Using focus stacking with
a telephoto lens has
increased the depth of
eld hugely
LIMITATIONS AND ALTERNATIVES
For many scenes, stacking your
photographs in Photoshop or specialist
software such as Helicon Focus (helicon.
dstudiosoft.com) is very easy.
Once images have been aligned (the
focus also slightly alters the focal length),
you can work with masks in Photoshop or
let Helicon Focus stack your pictures
automatically to produce a nal stacked
image. Problems arise, however, if you have
moving elements in the scene, especially in
the foreground. Then the stacking can
become a real pain and will require a certain
88
amount of retouching in order
to t everything together perfectly.
Try experimenting with different ISO
settings to freeze motion as much as
possible, and youll also need to limit the
time between exposures. However, if theres
a lot of movement it will be difcult to get a
convincing result, so you may have to
compromise and use smaller apertures and
shoot a single image.
In order to keep movement to a minimum, the ISO was altered
to increase the shutter speed for the foreground shots, while a
lower ISO was used for the background
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HOW TO
DO IT
Why not try shooting and
merging a focus-stacked
image yourself?
A tripod is a must for
focus stacking
1 Start by setting your camera up on a tripod to avoid
misaligned shots later in Photoshop. Set the exposure to
manual, as this will allow you to maintain the same exposure
should the light subtly change while you focus on different
points of the frame. Its also a good idea to shoot in raw, as
this will make life a lot easier in post-production and give
you much greater control.
Use live view to magnify your
image and assess focus
2 Frame your image and dial in the required exposure for
the scene in this instance, 1/100sec at f/8. Once youre
happy with the composition, set your lens/camera body to
manual focus and then switch to live view. This will allow you
to assess focus much more effectively compared to peering
through your viewnder. Zoom in on the bottom of the
frame and set the focus. Now take a shot.
 WorldMags.net

Manually focus
further into the
scene

3 With your rst shot in the bag, refocus. Here I have focused
just a bit further into the frame where the grass begins to
be submerged. Trigger the shutter again and, as youre in
manual, the exposure will stay the same. Now decide where
to focus next in this case, a single shot is all thats needed,
with focus set on the background. If youre unsure, however,
take another couple of shots between these two points.
4 In Photoshop Bridge, highlight the three images and open
them. As weve shot in raw, well make some quick
adjustments. In this case, Ive made some tweaks on the Basic
tab, as well as toning down the sky with the Graduated Filter
tool and using the Adjustment Brush to lift the foreground.
Remember to click on Select All and to hit Synchronize, ticking
Local Adjustments before selecting Open Images.
5 With two of the images, select and then copy them before
pasting them onto the rst image. This should leave you
with a single image with a stack of three layers. These need to
be aligned because changing the focus has also slightly altered
the focal length. Select all three layers and then go to
Edit>Auto-Align Layers. In the pop-up box, select Auto,
deselecting the Vignette Removal and Geometric Distortion
options before hitting OK.

6 With the three layers still selected in your Layers palette, go

to Edit>Auto-Blend Layers, and in the pop-up box that
appears, select Stack Images and make sure Seamless Tones
and Colors is selected before hitting OK. Photoshop will then
determine the sharpest portions of each layer before blending
them together. Once completed, youll nd that the edges of
the frame may need to be cropped.

7 If you nd there are some odd unwanted blemishes visible

in the image where blending hasnt been successful, you can
manually adjust this. Select the relevant layer and with the
layer mask selected, brush over in black to conceal elements or
white to reveal them. To nish this shot off, I converted it to
monochrome using a Black & White adjustment layer, before
adding a split-toned effect with a Gradient Map.

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Create
Create amazing
amazing

HDR
HDR
photos
photos
Extend your dynamic range and discover how to create
stunning and subtle HDR photographs
WORDS & IMAGES SCOTT KUBLIN

W
hen you look at the world around you, your
eyes are presented with a very wide range of
lights brightness. For example, if you were
watching the sunset while walking along the
beach, you would be able to view the
beautiful red and orange glows that spread out from the sun as
it begins to dip below the horizon. At the same time, you would
also be able to see the highlights of the tips of the crashing
waves as they gently roll over your bare feet.
Cameras, on the other hand, have a hard time picking up
the entire range of brightness with just a single shot. Most of us
have a collection of photographs weve taken of a sunset, where
the only thing you can really see is the setting sun. The
foreground areas are typically so dark that you cant even tell
what is in them.
However, through a process thats known as HDR
(high dynamic range) photography, we can capture more of the
dynamic range of light by way of multiple shots of the same
scene at different exposure levels. This allows us to have a
version of a shot where the sun shows all its beautiful colours,
another version that shows the highlight details of the waves,
and a further version that shows the middle light range between
those two extremes. they can be. Avoid camera shake by using a tripod. Shoot raw
Through a series of post-processing steps on a computer, you les to give yourself the most exibility when youre editing
can take those multiple exposures and blend them together to later. Use a low ISO to avoid any image noise. Then, once you
present a more realistic version of how the scene really appeared have your photographs, avoid oversaturating the look of the
when viewed with your eyes. nal image. Think about the order of your workow. For
However, there are some people who despise HDR example, you dont want to take sharpened photos through the
photography because other photographers create images that HDR process, so leave that step until later. And be realistic:
look completely unrealistic. Theyre over-saturated, lled with shadows and highlights should be separate and the image
colour noise, and have bright halos surrounding areas where should look tonally correct.
dark and light objects meet. Yes, sometimes these overly
processed images have a cool, artistic look to them, but often DEVELOP A STYLE
this is a side effect of not really knowing how to fully blend the Ive been fortunate in that Ive had the opportunity to peek over
exposures together properly. Trust me, Ive been there myself. the shoulders of some well-known photographers and watch
When I look back at some of the images I published several them work their magic. Through a combination of seeing their
years ago, I cringe. processing techniques and many hours of practice, Ive come up
So, what should you avoid in order to achieve subtle but with my own style. I suspect thats exactly what will happen to
stunning HDR images? you as well. Awlays remember, great HDR photos start with
Start by making sure that your source images are as good as great original photos.
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EXPOSURE SETTINGS
So, how do you go about getting great photos to work with? I
start by switching my camera to aperture priority mode. This
allows me to select the depth of eld while having the camera
automatically choose the other settings. This also allows me to
have some control over the lengths of my exposures. For example,
if I want to make the exposures longer, I can set my aperture to a
higher number. This also helps later in the editing stage as my
focus remains consistent, and gives me less editing to do.
I also always shoot raw les. If your camera has the option to
shoot raw, do so. Raw les capture the most amount of
information in each shot. The more information you have in
each image, the more you will be able to adjust each shot during
post-processing.
I then set my ISO to 100. On some occasions, I might set this
lower if I want to force longer exposures, such as for capturing
light trails from trafc, or I might set the ISO higher if I dont
have a tripod and want to limit the possibility of camera shake
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by making each exposure much faster, although this rarely This image was
taken in
avoids all camera shake. Try to use a tripod wherever possible; it
Huntington,
is possible to shoot source HDR photos without one, but for the Vermont, USA. Scott
best results I nd that a tripod or a bean bag is a must-have headed to Vermont
item. Youll save yourself some serious processing headaches if to get some foliage
all your bracketed shots are aligned. pictures, found this
place on Google
EXPOSURE RANGE Earth and thought
it would make a
I ensure my AEB (auto-exposure bracketing) is enabled. Most
great shot
modern cameras have this option, which asks the camera to
take a series of shots at different exposures. I typically set mine
to take ve shots, from -2 to +2, which works for 90% of
situations. If Im shooting directly into the sun, Ill set it from -3
to +3 and take seven shots. If your camera has a histogram, you
can conrm that you have captured the entire range of light by
watching the histogram sweep from the far left to the far right
as you view the images.
When Im ready to re the shutter, I use the built-in 2sec
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I use a combination of Lightroom and Photoshop for
processing my images. Within Photoshop, I have several
plug-ins that further help me with processing, although they
arent necessary for processing HDR images.
As I mentioned earlier, consider the order in which you edit
your images, and moving your images into your HDR merging
program rst is the best place to start. You can clean up any
dust spots or blemishes, sharpen or crop, later in your workow.
If you have access to the internet, you can watch a full video
tutorial on my website, www.hdrphotographyblog.com. Its over
an hour long, so its fairly in-depth.

SUMMARY
Great HDR images start with great photos, so whatever method
you use to shoot and edit your images, take the best shots
possible and go from there.
To make your images appear more realistic, its sometimes
necessary to show a wider dynamic range. Since you often cant
A boat house with timer on my camera to begin the series of shots. Two seconds capture this wide range in a single exposure, you can take
Lake Champlain in
the background, on
is long enough for me to start the timer and then get my hands several images at different exposures. On the computer, use a
the Canada/US off the camera to avoid causing camera shake. You can also use combination of programs that allow you to pick and choose the
border. Scott says a remote trigger if you have one. best parts of each shot, and then mix and match them all into a
the photo conveys Consider, also, any camera movement caused not by you, but by nal image. Once you grasp this concept, youll nd that youll
what an extremely nature. Wait for any gusts of wind to die down before you start be a lot further along in the process of getting better HDR
cold day it was your burst sequence and use the manual-focus setting on your lens images. The rest is simply practice.

Create successful and stunning HDR images

1 IMPORT THE RAW FILES
Pick one of your bracketed shots that has captured a
balanced amount of light. This is usually the default (0)
exposure. Load this into your editing software, which must
be able to work with multiple layers and apply masks.
I use Photoshop.
2 DECIDE WHAT TO CORRECT
Determine which parts of the image youd like to work on. For
example, is the sky blown out? Are there objects in the
foreground that are too dark? Make a choice, then go back and
review your other bracketed shots.
3 FIX THE SKY
I would like to x the blown-out sky rst, so Im going to need
a bracketed shot where the sky is much darker. This will likely
be the -1 or -2 exposure. In this example, Im going to choose
the -1 exposure.

4 COMBINE IMAGES 5 LAYER MASK 6 PAINT IT BLACK

Export the -1 exposure into Photoshop. You will now have two
tabs open. In the second (new) tab, use the Move tool to grab the
image and drag it onto the rst tab. Hover on the rst tab, then
press the Shift key before releasing the mouse button. This will
ensure that the two images are aligned.
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Youre now working with two layers. The top layer is the image
that you just moved over, and the layer below is the original
image you started with, which has a balanced amount of light.
Move the bottom layer to the top layer position by clicking and
dragging it. Apply a layer mask by clicking on the icon shown.
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Grab the Brush tool and set the active colour to black. When you
paint on a mask with black, it will reveal the layer below. The
Opacity will determine the extent of the mask; I usually set it to
40-60%. Set a smooth edge for your Brush and painting over the
sky, revealing the darker sky underneath.
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SHOOTING SECRET
I had a really difcult time trying to understand
masking when I rst began post-processing,
and Ive heard from many hundreds of other
people that they didnt understand it, either.
I have therefore come up with my own
explanation in a way I hope will provide you
with a lightbulb moment. From now on, when
someone mentions the words masking tool,
replace them with the words scratch-off lottery
ticket tool.
Essentially, when you apply a mask to a layer,
youre converting that layer into a scratch-off
lottery ticket. Then, as you brush over the mask
with the black colour, you are scratching off
some of the silver shavings, so to speak. The
harder you brush/scratch through (determined
by the opacity setting), the more you see of the
layer below. However, unlike a real lottery ticket,
if you scratch through too much you can repair
it by using the colour white, which will add the
silver shavings back.

In this step-by-step guide, nd out how you can process your

images to achieve amazing and realistic HDR photographs

7 MERGE LAYERS 8 CHOOSE FOREGROUND 9 COMBINE LAYERS

Merge your two layers into a single layer by going to Layers>Merge
Layers. Now would also be a good time to save your image. Next,
look at your current version of the photograph and decide what
problem area youd like to work on next. In this example, Im going
to work on the dark foreground to make it stand out more.
Now nd a version of the shot that shows the foreground
looking as you would like it to. This will typically be the +1
or +2 bracketed image, though not always. Im going to choose
the +1 version, so Ill export it into Photoshop, which will load it
on a third tab.
Using the Move tool, grab and drag the image to the rst tab and
release it. Again, hold the Shift key just before releasing it so that
it will auto-align with the other image. Now move the bottom
layer to the top layer position and apply a layer mask.

10 MASK FOREGROUND 11 MERGE AND SAVE

Now use the Brush tool to mask in the foreground. You probably Merge the layers into a single layer and save your image. Youll
wont want to mask in 100% of the foreground. Typically, notice that the latest saved version of the image appears back in
super-bright foreground images dont look correct and will grab Lightroom. I sometimes choose to do some additional slight
the attention of HDR-haters. development adjustments at this point, but its not essential.

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Landscape Photography tips
Improve your landscape photography with our selection of handy tips that will give
your shots a more professional look

5 SHOOT AT THE GOLDEN HOUR

The best light for shooting landscapes occurs rst thing in the morning,
during the rst couple of hours after sunrise, and late in the day as the sun
is setting. At these times the sun is low in the sky, casting attractive
shadows. Early mornings have the advantage of being quieter, with fewer
people around, making it the very best time to shoot.

1 LONG
EXPOSURE
Get yourself a 10-stop
neutral density lter,
such as Lees Big
Stopper, and shoot a
long-exposure image.
The ltration will allow
you to shoot with the
sensor exposed for
minutes in some cases,
turning moving clouds
into blurred streaks and
rough seas into a
smooth sheen. Include of movement into an not forgetting the power
strong static elements otherwise ordinary scene of using black & white for
to emphasise the effect. can make your shot that dark moody skies ideal
much more dramatic, for creating more
especially when contrasted atmospheric images.
2 LEAD-IN LINES against something solid. In
Composing your image so some instances, dropping
the foreground has strong your shutter speed enough 7 TRY INFRARED
lines leading into the to record this movement Bright, clear days with rich
distance is an excellent means you may then need blue skies arent really
way to create a sense of to shoot with a neutral suited to successful
depth and perspective. density lter. landscape photography.
This technique is strongest That is, unless youre
when the lines curve or
come diagonally in from
6 DONT FEAR shooting infrared.
Thanks to its unique
the corners leading to a THE WEATHER characteristics, infrared
distant point of interest. 4 KEEP IT SIMPLE While the golden hour can photography can produce
A clean composition can really make a strong image, so search produce gorgeous colours some truly beautiful
3 MOTION BLUR for foreground and background subjects that complement each other,
whether it be shape, colour or a visual link. Be sure to look around
and light, dont be put off results with a lovely
Whether its a eld of when it clouds over, as the ethereal quality. Bright
barley or surf receding
the frame for any distractions and then adjust your position to remove soft light can be perfect for blue skies absorb infrared
down the beach,
them from your composition. waterfalls, details and light, rendering them
introducing a sense woodland scenes. Thats almost pitch black, while

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 9 RESEARCH
YOUR LOCATION
As well as researching
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10 TRY A
TELEPHOTO
LENS
access to your desired A wideangle lens isnt your only
location, check where option try a telephoto zoom,
the sun will be while such as a 70-200mm. A longer
youre there. The focal length compresses the
Photographers distance between the foreground
Ephemeris (www. and background rather than
photoephemeris.com) exaggerating it. In addition, the
offers a wealth of narrow depth of eld with
features, and if youre telephotos allows you to de-focus
shooting at the coast or
the foreground, and focus in on
a tidal estuary, always
your subject behind.
check local tide times.

foliage appears
ghostly white, which
11 CREATIVE
results in a photo with WHITE BALANCE
real bite. Most digital Rather than trying to
cameras will require an achieve neutral colours
infrared lter (Hoyas R72 in your image, dont be
is a popular choice), afraid to experiment with
though some prefer a the white balance, forcing
dedicated camera warmer colours at sunrise
conversion. or sunset, or emphasising
blues in cold conditions.
8 SHOOT
INTO THE LIGHT 12 PATTERNS
Shooting directly into the When shooting coastal scenes, low
light can often produce tides often reveal patterns and ripples
more interesting shots in the sand that can potentially make
than when you have the a very interesting foreground. Shoot
light behind you. For from a low angle to create a bold
successful images, look to composition, ideally with some strong
place an element between side lighting as the sun rises or sets
you and the sun, such as a out of the frame.
building or tree.
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Window
light
With their lovely soft light, windows
provide a source of attering illumination
thats perfect for portraits
WORDS & IMAGES DAMIEN LOVEGROVE

F
ew forms of lighting are more pleasing than window
light. Ever since Rembrandt used the brightness
from a single elevated window to light his paintings,
it has been widely used for portraits. Its popularity
continues today, with good reason: it is soft, natural
and easy on the eye. Above all, it is familiar, which makes it a
form of light that viewers can relate to instinctively.
Its worth considering the window not necessarily as an actual
source, but simply as an aperture through which the light
travels. Light entering a room can be affected or modied by
objects outside the window, such as trees and neighbouring
houses. As a result, it tends to come in at an angle from above,
falling onto any objects close to the window. The taller the
window, the further it can reach into the room. This sharp
angle means that the bottom part of a room is more illuminated
than the top and this is why photographs taken using bounce
ash can appear unnatural, as it makes the upper section of a
room appear brighter than the lower part.

QUALITY AND STRENGTH OF LIGHT

However, this is just a general rule. If you are photographing in
a skyscraper, you will nd that the rooms are ooded with light.
Even going up just one or two oors can make all the difference
as far as both quality and strength of light are concerned.
Direction also plays a big part. The indirect light that comes
from north-facing windows provides a consistent, soft wash of
light throughout the day, whatever the weather conditions.
Working with direct sunlight is a very different experience. It
moves fast at 15 an hour so, if this is the sort of light youre
after, work out the best time to shoot, set up in plenty of time
and be ready to shoot quickly once you start.
Contre-jour, or into the light, is another particularly effective
way of shooting, because the human eye cannot resolve a wide
dynamic range therefore, the nal photograph reveals a range
KIT LIST

of light that we are unaccustomed to taking in with the naked

eye. While contre-jour is very effective in low-light, atmospheric PRIME LENS MONOPOD
set-ups, I like to go to the opposite extreme and create a A standard prime lens My lenses do not
high-key, ethereal look, overexposing by some four or ve stops with an aperture of f/1.8 feature image
above the suggested meter reading. I make the picture so bright or wider is perfect for stabilisation, so I use
it is practically screaming at me from the back of the camera, interior portraits lit by a Gitzo monopod to
then knock it back by one or 23 of a stop. window light. Zooms are keep my camera
I use the image on the LCD or EVF of my Fujilm X-T1 as good, too, but you may steady with a Really
my reference for exposure and change the camera settings based need to use a higher ISO Right Stuff head and
on the look I want to achieve. As there can be any number of to compensate for the a Markins L-Plate for
acceptable exposures, from silhouette to super bright, no smaller maximum my Fujilm X-T1.
lightmeter can make the decision about exposure for me. This aperture available.
part is art, not science. As I often have large areas of pure white
or black in my images, I avoid consulting the histogram, too.
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DIFFUSION FILTER
Although not essential,
I use a Tiffen Black Pro Mist
1/4 lter as I nds the subtle
highlight bleed from it gives my
images more of a lmic look.
Try spraying some hairspray
into the air, then waft an old
UV lter through it to create
a diffusing lter.
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This lighting set-up was created by
placing the sofa under a north-facing
window and blocking out all other
light sources in the room
ND FILTER
I occasionally use the
Lee Seven5 0.6 or 0.9 ND
hard grad lter as I nd that
lifting shadow detail in
post-production results in a
noisy image. I nd that the
hard grads work best with
smaller-camera formats,
such as the Fujilm X-series.
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Damien likes
to shoot at 90 to
the light source

I simply zoom in on the scene to assess what detail will be

recorded. You cant rely on the cameras meter, either, because
we all have a different tone of skin that not even spot-meter
mode can interpret precisely. So, unless you use a grey card
which I avoid as its too much trouble its best to use your eyes
and the LCD screen to assess whether the sitters skin tone looks
right. With a mirrorless camera, you can usually set it to
preview exposure in manual mode, so you see what you have
before you take the picture. With an SLR, you have to take a test
Deep into a room shot, then assess the exposure before making any adjustments.
the amount of
Avoid any form of automatic exposure when shooting
window light can
fall away portraits that feature a window within your composition, as
dramatically, but even the slightest adjustment of your position can result in big
the quality still swings in exposure. Stick with manual exposure, because once
remains its set you can adjust your framing as much as you like and the

PLAN YOUR STYLE BUILD A RAPPORT

ACHIEVING THE EFFECT

LOCATION
Explore your location to nd the best windows and backgrounds.
Take a stand-in model so you can see exactly how the light falls
on him or her. Move around and study them from all angles.
Sometimes the light looks best when viewed from a direction you
wouldnt normally think of.
Decide on the look you are aiming to achieve from the
outset, such as high key, rim lit or moody. Once you know
what you hope to achieve from the shoot and have a clear
idea of the look youre after, it makes the rest of
the process that much easier.
Preparation is everything. Practise twice and then shoot once.
I always ensure I am not practising on my clients. Shooting
portraits requires rapport and interaction. If you know what
you are doing, you will build condence in your sitter and
help them enjoy the shoot.

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TOP TIPS
EXPERIMENT
Dont limit yourself to the
obvious rooms in a house.
A cellar, for example, can
feature dramatic light coming
through gratings or sunken
windows, which tends to fall
off very quickly.

BLINDS
Use a Venetian blind attached to
a lighting stand to create
patterns and shapes from direct
sunlight. Other sorts of gobos
work well too.

Venetian blinds can create lovely ANGLE OF LIGHT

patterns from direct sunlight Shoot at 90 to the light source
for a dramatic portrait. The light
glancing across your subject will
exposure will remain correct. It gives you one less thing to think This image was reveal shape and features
about and leaves you free to concentrate on developing a taken one metre beautifully.
rapport with your subject. from a deep sash
The most important thing to remember is that even natural
light can be controlled and modied. Simple acts such as
window TWO WINDOWS
If you have windows on two
closing the curtains until just a strip of light enters the room are walls of a room, place your
a great way of introducing drama. To reduce the effective height subject between them so you
of a window, I drape a piece of fabric over a boom arm that has have a key light from one
been rigged horizontally on a lighting stand. The smaller size window and a kick or backlight
makes the light appear moodier. Introducing a reector out of from the other. This creates more
frame opposite the window will change the visual perception of of a studio-lit look.
how big the room is. Without a reector, there will be a dark
area of the frame that indicates how far the opposite wall is HIGHLIGHTS
from the subject. With a reector, it can look as if you have When you include the window in
taken the picture in a corridor. your shot, let the highlights go.
And dont assume that the best light is only available during Concentrate on the mood and
summer. Winter can be just as good, particularly as there are no vibrancy of the picture, and
leaves on deciduous trees to prevent the light from passing dont try to recover the
through a window. highlights in post-production, as
The versatility and beauty of window light cannot be it will look unnatural.
overstated. Best of all, though, it doesnt require any elaborate
kit and you can make the most of it with any subject, at almost
any time of day. As is so often the case in life and photography,
the simplest approach really can be the most effective.

CONTROL THE LIGHT GO MANUAL REVIEW

You can control the direction and shape of the window light by
adjusting any shutters or curtains. You can always add a
makeshift blind by draping a cloth over a boom arm or closing
curtains until just a strip of light enters the room, which is a great
way to add mood to a shot.
Shoot in manual mode and ignore the built-in meter. Simply
set the aperture that will give you the look that you are after
(usually at or near the widest aperture of the lens). Set the
required shutter speed to ensure sharp pictures, then adjust the
ISO to set the exposure.
Review each shot using the cameras screen. Does the picture
have the look you want? Is the contrast right? What could make
the shot better? Zoom in and check the detail. Is there enough
shadow information? Is the shot sharp? Are the highlights
clipped? Get it right in-camera.

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Urban
portraits
Find out how you can turn the city streets
into your very own studio
WORDS & IMAGES DAMIEN LOVEGROVE

T
he concept of shooting portraits on city streets is
nothing new. In fact, its been around as long as
photography itself. However, unlike street
photographers who candidly document the people
of a city without intervention, urban portrait
shooters like to take control of everything and make the
cityscape their studio.
When Im shooting on city streets, not only do I select the
location but I also style the shoot, control the lighting and
create the moment. Heres how I do it.
First, what makes the perfect location? A great city location is
an area full of picture opportunities closely packed together. I
like to work within a 500m radius of my start point and aim for
a variety of backgrounds and shooting spots to last me a whole
day. I shoot come rain or shine, as there is nothing more
frustrating than having to cancel a shoot owing to bad weather.
When it does rain I need the option of covered areas to work in.
These can be pedestrian underpasses, areas beneath yovers,
railway bridges, canal tunnels or building canopies over
entrance porches. A perfect city location also has cafs with
toilet facilities, a place for a decent lunch and the opportunity
to shoot without being moved on by police or security staff.

FINDING LOCATIONS
I invariably start with Google Earth, and look for intersections
of rail, tramways, roads, rivers and canals. These provide
multi-level zones with bridges and tunnels, and are ideal for
controlling the light and staying dry. I then use the Google
Maps overlay to nd parking locations, somewhere to meet and
a place for lunch. Google Street View is a useful tool
to search for suitable photographic backgrounds, such as a
stainless-steel shutter at the back of a commercial building or a For this portrait set against
wall of glass at the foot of an ofce block with interesting the sky I used two ashguns
on full power opposite each
reections. Being able to wander around at street level from the
other, with the key light at
comfort of my studio is a real bonus at the planning stage I 45 to the camera, and shot
can add virtual pins and create a walking route. I also follow the from a low viewpoint
links on Google Maps to business websites to check caf
opening times, parking prices or any other information thats
relevant to the shoot.
KIT LIST

Finally, I search tourist information websites with whats on

calendars. I dont want to arrive at a location, only to nd its CACTUS RF60 LASTOLITE
fenced off for the Tour of Britain cycle race or a half marathon. FLASHGUN JUPITER STAND
These ashguns have the These value stands are not
THE RECCE power of the best units from expensive and have a wide
If you have time, it can be incredibly useful to have a look the leading manufacturers radius spread when fully
round a location beforehand so that you can ne-tune a with a built-in radio receiver opened, providing a stable
schedule and plan the technical requirements of a shoot. At the system and a zoom ash support for a ashgun even in
recce I look to conrm the suitability of a location with regards head. I use two of them in moderate winds. The Jupiter
to safety and security I love disused railway lines and full manual mode for stand extends to a signicant
docksides, in fact all kinds of places that present hazards. I can ultimate control and height, making it perfect to
then do an assessment, schedule the times I will be at each consistency. simulate street-lighting effects.
location and what kit Im likely to need. I conrm several
things, such as the suitability of covered spaces for lighting
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HOODMAN CACTUS V6 TRANSCEIVER LOVEGROVE

LOUPE
If you review your
pictures using an LCD
screen on the back of your
camera, this bit of kit is a
must. With the loupe
resting on your LCD, you
can clearly assess your
exposure and ash balance
even in full sunlight.
This universal unit can act as a transmitter FLASH BRACKET
from any camera with a standard hotshoe, and This is a small unit that can
gives full manual be mounted on a light stand
power control over that allows a ashgun to be
most ashguns from rigged in any direction using
the major camera the ball-and-socket
manufacturers head and universal
attached to another insulated coldshoe.
V6 acting
as a receiver.

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 CREATIVE SKILLS
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I used two control, backgrounds and textures, and use my phone camera
ashguns on full to record various shot opportunities and then pin the locations
power opposite onto my Google Map.
each other, with the If its raining or overcast during the recce, I plan for the
key light high and position of the sun using the Photo Pills app on my iPhone
at 45 to the
camera to (www.photopills.com). On a recent recce for a shoot in the City
accentuate Stinas of London, I discovered that the small backstreets between St
cheekbones Pauls Cathedral and the River Thames are very quiet on a
Sunday. I also loved the shiny aluminium beer barrels stacked
up on the pavements outside the pubs and found out they are
collected rst thing each Monday morning. On the shoot itself
we worked all day without being asked to move on by police or
security staff. I rigged ashguns on stands, and had all sorts of
set-ups without any trouble at all.
STYLING AND LIGHTING
For urban grunge I use harder light from barefaced ashguns
and choose reective fabrics like leather jackets or wet-look
leggings to make the pictures come alive. I nd that black
cotton is a no-no because it soaks up light and ends up as black
holes in the nal images. For contemporary locations such as
glass-fronted ofce buildings and other clean surfaces, I like to
introduce patterned printed fabrics.
I shoot in locations that give me control of the natural light
by blocking it from one or more directions. Once I have control
of the ambient light, I can go with what there is or I add my
own with one or two ashguns. In the rare places where I have
no control of the ambient light, I tend to overpower it with
GET THE LOOK
BACKGROUNDS DEPTH OF FIELD
I often use just a 2m-wide piece of wall or glass as a When you use ashguns on location with compact system
background for my urban portraits. I nd that shooting cameras, use neutral density lters to achieve a
wide open with a standard lens or telephoto lens away wide-aperture, shallow-depth-of-eld look. The electronic
from a background can soften the look and render it viewnder and LCD remain bright as the exposure
beautifully out of focus. compensates automatically.
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Sunlight in a street
at 90 to the camera
is perfect light for
this simple scene
ash, using the ambient as a bit of ll. Go too far and it will
look as though the picture was taken at night.
CAMERA KIT
I use my Fujilm X-T1 camera with its tilting screen. This
attribute is vital if I want to avoid lying in the gutter to compose
my image and its great for high-angle viewpoints. I make far
better shots when Im shooting with primes, as well. Im more
active at the set-up stage, moving around until I have the
perfect balance in my shot. Ive always preferred prime lenses
from the time I rst started back in the 1970s. I used zooms for
ten years when I was shooting weddings, but Im now using
primes and loving the compact, lightweight nature of the lenses.
Currently Im using various fast primes and these easily t in
my bag, along with two ashguns. Other than a pair of lighting
stands with their ash brackets attached, I dont need to carry
any more kit I had enough backbreaking years in my SLR days.
COLOUR
Mix your colour temperatures. Use a CTO gel on the
ashgun and set the cameras white balance to 3400K
to make the background or daylight-lit areas blue while
your subject maintains a warm glow. Use a CTB gel as a
backlight for added effect.
 To achieve the shallow depth of
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eld for this shot of Rosalinde at
the waterfront in Hamburg,
I used a Hoya Pro ND100 lter on
my 56mm f/1.2 lens
TOP TIPS
GET IT RIGHT
IN-CAMERA
Even if you are shooting raw,
set the white balance and
picture style to give the desired
nished look.

USE A LOUPE
The only accurate way to review
your images is to use a loupe for
the LCD or use the electronic
viewnder if your camera is a
mirrorless model.

SHOOT INTO
THE SUN
If you are shooting in sunlight,
make sure the sun is behind
the model and use it as a
backlight. Add ash from the
front as required but not in a
ll-ash way be bold and use
it as a key light.

KEEP OLD
FLASHGUNS
If you change camera systems,
keep your old ashguns. With
the Cactus V6 trigger units,
you can take full control of your
old ashguns on your
new camera.

INSURANCE
Make sure you have public
liability insurance. When you
shoot in the city, you and your
lighting stands become a hazard.
Take care, accidents do happen,
but you might nd yourself
a target for fraud.

MODES AND SETTINGS EXPOSURE REVIEW EACH SHOT

Use manual exposure control and manual power settings for
your ashguns. You will nd that this will provide a consistent
exposure, even when you change your composition. Using
triggers like the Cactus will allow you to set the ash power
remotely from your camera.
With the ash switched off, set your camera shutter to the Its all too easy to get carried away when shooting with
maximum ash sync speed, the ISO to its lowest setting and ashguns and run out of battery power quite quickly. Stop and
then adjust the exposure of the background using the aperture. review after each ash shot taken. Use a loupe or EVF to see
Then simply add ash to your taste, adjusting the ash power how it can be improved. Make tweaks as required until you are
and position as required. happy, then move on.

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Child
shots
Discover the secrets to successful
portraits of children on location
WORDS & IMAGES KATE HOPEWELL-SMITH

S
uccessful child photography, especially when shooting
on location, is a lot harder to do well than many
people initially think. This is because there are so
many things to consider when you are managing an
environmental portrait shoot. For me, knowing how
to successfully shoot in natural light is probably top of the list,
while encouraging natural expression is also a priority. As well
as this, knowing how to use the location effectively to enhance
the composition of an image is another key factor in achieving
a successful child shot.
Lets start by looking at lighting. Its often repeated that an
overcast day is great news for portraits, and it certainly is the
easiest light to meter and expose for. However, the light still has
direction and the sun is behind those clouds somewhere. The
trick is in nding out where. I like to use the palm of my hand
(held vertically, ngers pointed towards the sky) to nd the
sweet spot, but often this still doesnt produce well-lit eyes, as
during the day the sun (even tucked behind clouds) is high in
the sky and our eyebrows help to shade the sun. In contrast,
cheeks, noses and foreheads catch the available light, so to draw
attention back to the eyes I try to nd some top shade
KIT LIST

HOYA VARIABLE THE

DENSITY FILTERS SHOOTSAC
These lters enable me to shoot wide open on my prime The Shootsac is more
lenses in very sunny conditions. Sometimes you reach your of a lens bag than a
limit on low ISO and fast shutter speeds and dont want to camera bag. It helps me
sacrice the aperture to get the shot. change lenses quickly on
location, and the design
doesnt prevent me
getting down on the oor
when necessary.
Shooting contre-jour
provides a lovely rimlight

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WorldMags.net Moody side light
with children
can deliver
wonderful results

NIKON SB-910 TIN BATH

I really wouldnt go on a This tin bath has proved to be a brilliant item
location shoot without a to keep toddlers in one place. Chairs are also good
Speedlight ashgun. Outdoors but, to be
I dont use any modiers at all honest, they
and instead direct the ash dont
head straight at my subject. contain
The trick is to understand how children in
to make your image look like quite the
you arent using ash at all. same way
as this bath!

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FILL FLASH ON LOCATION
Once you know how to shoot with a ashgun in a subtle way, youll nd it
indispensable for improving bad light (like in the image in a bluebell wood,
below) and for lifting shadows for backlit images.
Shooting at wide apertures means Ill often have to shoot in high-speed
sync mode, where the ashgun becomes a continuous light source
pulsing light across the entire exposure, rather than emitting one burst of
light when the sensor is fully exposed at shutter speeds below 1/250sec.
I always shoot in TTL mode, ensuring that Im only using the balanced ll
setting and even then Ill dial in about -2 ash compensation to avoid
overpowering the shot.

Get children running

towards the camera for
successful shots

somewhere with an overhang that I can place the subject
under. This blocks any direct light from above and forces the
light to hit the subject at a lower angle, which results in very
soft, even light, and eyes with plenty of colour and catchlights.
Most people love images shot into the light, or contre-jour,
because they give a wonderful feeling of summer and help to put
emphasis on the subject. In order to be able to effectively see the
rimlighting effect, however, it is essential to nd a background
that is darker than the subject, as this will deliver the necessary
contrast between the light and dark areas of the image.
I also try to turn the subjects so that their faces are in direct
shade and ensure that no light is creeping on to the cheeks or
nose. At this stage, I will make a decision about whether it is
TOP TIPS
necessary to add some extra light, either using a reector or
Speedlight ashgun to reduce the dynamic range between the
highlights from the sun and the skin tone, which is in shadow.
If I am fortunate enough to be photographing in golden-hour
light, either early or late in the day, I might not need to add any
additional light at all.
LINES ON LOCATION
Natural lines within a scene are generally regarded as the
photographers friend, but they can easily become an enemy of
good composition and very distracting if not used with care.
(You also need to be very aware of barrel distortion when using
wideangle lenses.) I always analyse any lines that I nd in my

I adore natural light, but it doesnt always

deliver what I need when I am on location, CAMERA SETTINGS FLASH SETTINGS
which is why I wouldnt go on a shoot Working in manual, I set my aperture rst. For portraits, I then switch on my ash and check that I am working in
without a ashgun in my bag. In order to I like to blow-out the background and shooting with a fast high-speed sync mode by going into the cameras menu. I also
stay in control of your ash output, it is prime lens means that I can opt for an aperture such as f/2. check that Im using ll ash mode, too. Both of these settings
necessary to shoot in manual mode, but Then I look at my ISO and nally I get my ambient exposure are very important because I dont want the ash to control the
the results are worth it. The most important using my shutter speed. exposure, but merely ll shadows.
thing to remember, though, is that you
must get an ambient exposure you are
happy with before you introduce your
ash. I like to work by initially keeping my
ash turned off until I have an image that
is pretty much how I want it, and then the
addition of a blip of ash helps lift the
scene. Working on location and shooting
with wide apertures often means quite fast
shutter speeds, though, so you must
ensure that you have set your camera to
high-speed sync mode.

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CREATIVE LENSES
Sometimes it is fun to use specic lenses and accessories for creative
effects. For shoots with teenagers, I like to use my Lensbaby. The image
below shows the combination of using the Double Glass Optic (basically a
50mm focal length with a central sweet spot surrounded by a dynamic
blur) with the Composer Pro, which offers the ability to tilt/swivel. In
addition to this, I have also used one of my Lensbabys creative aperture
rings to add an extra dimension if you look closely you can see that the
out-of-focus highlights have an abstract pattern to them. I wouldnt ever
use a lens like this for an entire shoot, but the odd creative image is fun to
shoot and clients love it.

Props are an incredibly important

element when shooting children

location and see if I can use them to my advantage. For

example, on a recent beach shoot I spotted some groynes in the
distance and knew that they would provide me plenty of
graphic opportunities if I shot them face-on, while they would
also offer great visual potential when shot from the side.
Dont think location means just outside, either. When Im
working indoors, I love to shoot moody side-lit shots with
children once they are old enough, which is about ve upwards.
When shooting parallel to a window or an open door, people
often opt to expose for the shadows and overexpose the
highlights, but I feel this tends to lose the impact of the contrast
between the brightest and darkest areas of the image. Instead,
I like to expose for the highlights and treat them as a midtone.
This means I often have to underexpose the scene by around
2EV to maintain detail in the highlights. I sometimes shoot
directly facing a window or doorway and expose for the
shadows, losing the highlights.
FINAL CONSIDERATIONS
Parents love images of their children running free, which they
nd hard to capture on their basic cameras and phones. These
images are much more successful if the children are running
towards the camera, rather than across the frame, as you can see
from the monochrome image on the facing page.
I have lots to think about when I am working on location
primarily the light and metering, location and how to position
my subjects. The last piece of the puzzle is expression and it is a
critical element that affects the nal success of a portrait.
I love the quote by the American photographer Paul Caponigro,
who stated: Its one thing to make a picture of what a person
looks like, but its another thing to make a portrait of who they
are. One of the best lessons I have learned is to enlist the help of
parents and siblings to help coax the expressions I want the
results are always far more genuine.

FLASH COMPENSATION DIRECT FLASH REAR CURTAIN

For most scenarios, I also set my ash compensation to -2EV
(this does not affect the camera exposure). Only if I am working
in very bright conditions or if I need to maintain some
background highlight detail would I push the ash exposure
compensation towards 0.
When I am working on location, it is rare that there is any
suitable surface that I can bounce the ash from, so I just tend
to direct the bare bulb ash straight at my subject. This may
sound extreme, but the ash power is very low and
not a distraction.
It is also worth mentioning that it is best to make sure your
ash is not set to rear-curtain sync. This is because the time is
increased between the pre-ash and the ash, which can result
in people blinking and ruining your shots, and there can be a
delay in the shutter.

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 CREATIVE SKILLS

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Travel
portraits
Discover the tricks and techniques of
capturing natural portraits of strangers
when travelling abroad
WORDS & IMAGES DAVID LAZAR

P
eople often tell me that they nd it difcult to take
good portrait photographs when theyre abroad.
Approaching strangers and asking to photograph
them, often with a language barrier, can be a
daunting prospect. There are techniques and
approaches I have developed over the ten years I have been
photographing people overseas that can help you become
condent as a travel portrait photographer. Many of the tips
and techniques apply to portrait photography in general.
There are three ways to create travel portraits. One is to
interact with people that you meet while exploring a place.
Another is to organise a shoot by paying models for their time,
which involves some kind of meeting and prior planning. The
third approach is to shoot without any interaction with the
person in a documentary reportage style, although it can be
harder to capture engaging facial expressions in this way. I like
to meet people rst and spend some time with them before
asking for a photo and bringing out the camera. I try not to
show any photography gear when exploring new places so as
not to create distance or set up any preconceptions during
initial encounters.
It can take time and patience to establish a connection, and
travelling solo or with other photography enthusiasts is always
best. If youre in a large group or even just with a partner or
friend who isnt a photographer, its going to be difcult to take
the time needed to make connections with local people. The
longer you can spend in someones company, the higher your
chances of getting a better portrait photo.
Simply being in someones presence for a small period of time
can make a big difference as to how comfortable they will feel
when you approach them, so be patient and spend time in one
place. I like to learn a few words or phrases in the local language
as this is always a good ice-breaker. Using gesture and expression,
try to comment on something about the person or the place they
are in to start an interaction. This could be referring to the
clothes they are wearing, a game they are playing, food someone
is eating or selling, or a design on a building or an interesting
KIT LIST
pattern. Any opportunity to interact and establish a relaxed and Here the
informal atmosphere to develop personal connection is a good background of the
idea before bringing out the camera. leaves perfectly
complements the
boys striking
WHEN TO SHOOT green eyes
Once this connection has been made, you could ask the person
if its OK to take their photo (by using gesture and expression)
and they will probably agree. It is also important to try to meet
people who you dont necessarily plan to photograph, as you
never know where it will lead. You may be invited into
someones home, or on a tour of a place of work or ritual, for
example. On these occasions, be prepared to go with the ow
and perhaps you will come across someone you would like to
photograph on the adventure. If you are with locals, it becomes
much easier to ask those people you encounter for photos. I
have been invited to tour monasteries and temples, and to visit
mosques, schools, villages, neighbourhoods and homes through
this technique, and it is often where I nd photogenic faces with
character that capture my attention.
The eyes are the focal point in any close-up portrait. Its
important to frame them in one of the thirds, usually in the
upper third of the frame. They need to be clear and, very
importantly, sharp. If you use autofocus on the camera and let
it nd a focal point itself, there is a good chance the camera will
choose something like the nose to focus on, but its paramount
that the eyes have pinpoint focus.
I have my camera on autofocus, on centre-point focusing
mode. Not only do I frame the eyes on the centre dot while it

LENS WITH A SMALL SLING-STYLE BAG PHOTOSHOP

ZOOM RANGE A bag like this looks casual, and
access to the camera is quick and easy.
OR LIGHTROOM
I use a Nikon I use both programs for my editing
24-85mm, which gives If gadgets and as theyre great for creating clear, artistic
exibility for wider and gizmos arent lighting and colour. Good
closer compositions. so important to editing shouldnt be too
Portraits are better you, theres obvious, but it helps
when the subject has no need for create a focused image
agreed to be anything that draws the viewers
photographed and the bigger. attention to the points of
result is collaborative. interest.

108
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A simple scarf provides a colourful and

powerful frame for the face
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 CREATIVE SKILLS

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EDITING
AN IMAGE
Here are some tips to help you make the eyes in portraits
stand out. First, desaturate out any shades of blue often
a reection from the sky. Next, brighten the whites to a
clean white (not grey) and never overexposed, and make
sure it matches other bright parts of the persons face or
clothes so as not to look overdone.
Then brighten the catchlights in the eyes that the
camera has captured naturally, but are sometimes not so
obvious in the original photo. There are two ways this can
be done. One is to use the Dodge tool: zoom in, adjust the
brush size and click away on the catchlights in the eyes to
make them appear stronger than captured.
The other way is to make an adjustment layer to
drastically brighten the overall photo (I use Levels or
Curves). Then apply a black layer mask to the layer so the
brightness is no longer seen and you can use a white
Brush to carefully paint over the parts of the eyes
mentioned before. You can keep adjusting the opacity of
the Brush to control the strength of each click.
Ensure that the iris and other dark reections are a
strong black, in order to contrast against the whites. The
last step is to sharpen the irises and catchlights, as well as
the eyelashes and eyebrows selectively and not just over
the entire image or face.
I sharpen on a duplicate attened image layer,
and I make a black layer mask to selectively paint in the
area I wish to sharpen. This includes not only the eyes, but
also the hair, nostrils, lips and sometimes the clothing.
Never sharpen the original image layer though.
Engaging your subject with
BEFORE AFTER their surroundings adds a
story and creates a more
compelling image

is autofocusing, but I also zoom right into the eye and aim
the central point on the iris. Once thats in focus, I hold it with
the shutter half depressed, zoom back out, recompose the shot
and take it. This is how I strive to get the eyes as sharp as
possible when capturing portraits.

COLOUR SCHEME
Having a specic colour scheme running through a portrait
photo can make it stronger and more focused. Usually there are
POSING IDEAS

When you have a person who is ready to be

photographed, it is important to be ready with LEAN ON A SURFACE INTERACTION
posing ideas in your mind to avoid wasting any Have the subject lean on something, especially It is good to have the subject touch or interact with things
time and potentially missing a shot. in close-up portraits. This will make their posture appear around them that say something about their culture or who
Instead of simply taking a photo of someone in relaxed and engaging. Standing straight and upright with the they are. Physical interaction is also another posing idea, either
the place and position they are already in, it is often shoulders down may not engage the viewer quite so effectively. with oneself or with another person. In this example, Ive got
better to move and direct them for a more artistic The surface can be a chair or table, and often I get the subject to the Masai boys to rest their heads on their hands and arms for a
and powerful result if theyre happy to move. sit down and use their knee to lean on. personal interaction, as well as with the tree.
I always look around the space and think
ahead, trying to nd a good background while
considering the light, and I roughly visualise the
shot in my mind. This is happening even before
I have found anyone to photograph, which means
that Im much more prepared when I start
shooting. I can move quickly and with condence
when shooting, which in turn keeps the
experience enjoyable for the subject. With a
relaxed atmosphere, I nd that the subject will be
more comfortable following your direction.

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Establishing a rapport with
your subject before shooting
only one or two featured colours in my photos, sometimes
three. If the background complements the colours of the
person, such as their skin or clothing, for example, the photo
can be more aesthetically pleasing to look at and therefore more
engaging to the viewer. So make a point of looking out for
backgrounds with certain colours that help make the subject
stand out by complementing or bringing attention to them.
Uncluttered backgrounds are also recommended in most
portrait photos, so as not to distract from the face.
When photographing people reasonably close up, its often
best to shoot them on their level. So if they are seated on the
ground, dont photograph them from your higher standpoint,
but move down to their level. Breaking this rule for extreme
high or low angles can work well too, but for the most part its
best to keep to their level.
Post-processing of images is a very important step for me in
the nal creation of a photograph. Using Photoshop, I work on
each photo to enhance the light to my taste by brightening parts
of the image and darkening others, using adjustment layers and
layer masks. In the same way, I also work on getting the colours to
be as complementary as possible throughout the entire photo.
This can involve boosting and decreasing saturation of specic
colours on specic objects or areas of the photo, depending what
needs to be done as I originally saw it in my minds eye.
The most successful portrait photographs usually feature faces
that are characterful, engaging, beautiful, interesting or unique. If
you come across someone with a face that you think will look
powerful in a photograph, try to imagine how you might shoot
them and then try your best to engage with them. Then, when
youve got that rapport, ask if you can take their photo.
If you are smiling, polite and light-hearted in manner, more
often than not they will happily say yes.
ACTIVITY
Taking photos of people engaged in an activity, such as these
Burmese shermen, can make for images that tell a story. You
may nd a person already doing the activity, and at other times
youll have to construct the scene yourself. You can always
organise a shoot and pay for the subjects time. Then you can
get great activity shots that you have full control over.
BEHIND THE SCENES
In these images of a novice monk in
Myanmar, we can see the difference
between the monk simply standing
by the tree (top), versus interacting
with the environment (below),
which tells more of a story.
I came across this tree and
background, which captured my
attention. I often see the scene or
will help them relax background before Ive even seen
the person who will be in the photo.
When I saw this scene, I knew
that it would make a perfect setting
for a photo, and I imagined the
concept of having a little monk
sitting on the ancient tree roots and
looking over the landscape in
prole. Luckily, I came across a
couple of monks sweeping a
footpath nearby, and I spent a bit of
time interacting with them. After
some initial snaps, which I showed
them, I asked if we could do
another photo over at the tree (by
using gesture and expression) and
EXPRESSION
Its good to capture a range of expressions in your portraits. It will
help if you demonstrate to your subject what you want. By asking
the subject not to smile, they can portray seemingly deep and
reective emotions. Sometimes you might want the subject to look
off-camera, so point to an area for them to look at. Try different
angles, as slight changes in head tilt make a big difference.
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they obliged. We tried a few
different seating positions and I
pointed at various places for the
boy to look at, to get the head at
the best angle.
Looking back at the photos, I can
see that the 30 photos we did were
taken over a span of two minutes. I
like to take a number of photos to
experiment with different angles
and to increase the chances of
capturing a good expression. In
many cases he was laughing, which
is good because to me its
important that the subject is happy
and enjoying being in the photo.
OBJECT CLOSE TO FACE
Having something close to or touching the face of your subject
in a close-up portrait can lead to extremely powerful and
compelling results, like this example of a young girl with a scarf.
The object could be anything, but softer material such as a scarf
often works very well as it creates a gentle frame around the
face and draws the viewers attention to the eyes.
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 CREATIVE SKILLS

By removing and
tilting the lens away
from the lens
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mount, you can
create dreamy
defocused effects

Freelensing
Freelensing
Discover how to achieve creamy defocused
effects without a dedicated tilt-and-shift lens
or Photoshop
WORDS & IMAGES PHIL HALL

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F
reelensing is a simple yet really creative technique
that can imbue your images with an ethereal,
dreamlike quality similar to the effect you can
achieve with a tilt-and-shift lens when you tilt it, or
a Lensbaby. However, rather than spending a small
fortune on one of these lovely optics, take a look at your own
kit. Youve probably already got what you need to do it yourself,
and if you havent, acquiring the necessary gear will cost a
fraction of the price of a tilt-and-shift lens.
As the name suggests, freelensing is accomplished by detaching
the lens from your camera and holding it up to the lens mount.
Then, by slightly angling the lens away from the body, its possible
to shift the focal plane in weird and wonderful directions to
produce unusual defocused areas in your image. Were only
talking about movements of a few millimetres to achieve this
look, so the risk of dust getting trapped on your sensor is quite
small. However, it would still be prudent to be cautious when
working with the sensor exposed like this.
By holding the lens further away from the lens mount, it is
possible to focus much closer to your subject than is normally
possible when the lens is attached to your camera. Think of it
like a set of invisible bellows, allowing you to get some really
striking macro images. For ultra-close-up shots, try reversing
the lens to really magnify your subject.
With more distance between the rear of your lens and the
cameras lens mount, light can creep in from the gaps as you
freelens and result in light leaks on your image. While this may
not sound particularly desirable, dont be deterred, as this can
render a lovely vintage look to certain shots. Dont forget that in
this instance your exposed sensor will be slightly more prone to
dust, so try to limit the time you shoot and, where possible,
shoot in an environment that is as clean as possible.
HOW TO DO IT
Set the focus to
innity and the
aperture wide
open
Live view
can be much
easier for
checking focus
than a viewnder
2 Now you can start shooting. While you may prefer to use a
viewnder to compose your shots, live view can be very
useful as youll nd it much easier to check and assess focus
when youre shooting. Obviously, the more you tilt the lens
away from the camera, the more pronounced the blur will be.
By tilting the lens to the right, the left side of the frame retains
focus, and by tilting downwards, the top area will retain focus.
Holding the lens further
away from the body
allows you to focus closer
to your subject
By tilting the lens away
from the body by a few
degrees, you
can shift the
focal plane
1 Start by setting the drive mode to continuous. Slight
movements will subtly change focus, so by being able to
re off a series of shots in quick succession you should be able
to bag at least one image with the focus where you want it.
Set your camera to raw and then to manual mode. Dial in the
exposure for the scene, setting the aperture to match the
maximum aperture of the lens, and then detach. If youre
using a lens with an aperture ring, set it to the maximum
aperture of the lens and set the focus to innity as youll nd
it easier to gently rock back and forth to nd focus, rather than
trying to hold the camera and nd focus at the same time.
It takes practice
to master
freelensing
3 Remember, though, that freelensing is by no means an
exact science, so dont be put off if it doesnt work at rst.
Its a technique that will take quite a bit of practice (and luck)
to achieve shots youll be happy with, so persevere with it
and youll be rewarded with unique and striking images.
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WHAT YOU NEED
If youre planning to try
freelensing with a full-frame
DSLR, a 50mm prime is a
favourite among those who
do a lot of this kind of
shooting. For those using an
APS-C-sized sensor, a 35mm
lens or similar will be ne.
While longer focal lengths are also worth trying, you
have to consider the increased risk of camera/lens
shake affecting your image, especially if youre trying
to hold both a camera and lens steady. If you get it
right, though, it can produce some striking effects.
Wideangle focal lengths can also be worth
experimenting with, but you might nd it tricky to see
whats in focus and vignetting can be an issue.
Whatever focal length you decide to try, it is best to
avoid zoom lenses. Stick with a fast prime as it offers faster
maximum apertures and vignetting is less pronounced.
The beauty of freelensing is that because you dont
need to attach the lens to your camera, youre not
restricted by what lens you use. In fact, freelensing can
be much more successful when using another
manufacturers glass on your DSLR. For example, some
people prefer to use Nikon primes on their Canon DSLR,
as these lenses are more suited to focusing on distant
subjects. This is because the ange focal distance (the
distance between the sensor and the mounting ange)
on a Canon DSLR is just 44mm compared to 46.5mm for
a Nikon model. Set the focus to innity on a Nikon lens
and you can focus on subjects much further away while
still getting those creamy defocused areas in the shot.
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 CREATIVE SKILLS
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Tips from the experts
Three professional photographers with three very
different styles explain how they use freelensing
to enhance their photography
MATT
OSBORNE
Freelensing allows me to
be creative with my
photography, as I can
control the plane of
focus. As a portrait
photographer, I can
concentrate the focus on the eyes and
then have the rest of the face softer. If
I want to isolate a subject from a
distracting background and I am
unable to use depth of eld, I can
simply tilt my lens to knock part of the
image out of focus.
This method also allows me to use
different lenses that are not designed
for my camera. Try to use lenses that
are a different make to your camera
but also require a deep adaptor. I often
use a vintage Carl Zeiss Pentacon Six
medium-format lens on my Nikon
114
D800 or FM. I nd medium-format
optics make some of the best
Above: Matt has
managed to get the
freelensing lenses, as even with the focusing spot-on
here, while the
lenses at a distance from the camera
low-key lighting
body you can still focus. This means
draws the eye in
you can tilt your lens and get creative.
When shooting, I normally prefocus
my lens using the hyperfocal distance
to the subject so I do not have the lens
too far from the camera body. I cup the
lens from the side of the camera where
the light is brightest to reduce the
chance of light getting into the camera
and potentially wrecking the photo
due to excessive are. Of course, you
can also use this light creatively if that
is the look you want to achieve.
What I enjoy most about freelensing
is that I can obtain images that look as
though they have been Photoshopped
and they are unique to me. Every
Right: The soft
photographer is looking to do
subdued lighting
something edgy that catches peoples and lovely gaze
attention, and freelensing lets you get deliver a really
one step closer to that goal. Enjoy! atmospheric image
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 WorldMags.net DAVID TANG
I started
freelensing after
seeing some
photos a friend
had posted on a
website. He had
taken the images while
handholding an old lens to his
camera body because he
lacked the appropriate
adaptor to attach the lens.
I loved the effect that it
created and started
researching the technique.
For this shot on the left I
simply set the focus to innity,
detached the lens, held it
close to the lens mount and
looked through the viewnder.
Id recommend experimenting
By using a high vantage
with the lens-to-camera
point and a moderate
telephoto lens, David has distance and allowing light
created a miniature- leaks to see the effects, and
DAVID TANG

effect image joining a freelensing group on

Flickr to get inspired!

OLI

OLI SANSOM
SANSOM
I love freelensing
because it turns
any lens into a
faux tilt-and-
shift optic, and
lets you create
dreamy effects by shifting the
plane of focus to strange
angles that are often too
complex to achieve on a
tilt-and-shift lens. The
immersive sense of 3D you
can achieve is incredible, by
having objects in the
foreground and background in
focus at angles that run across
the frame.
The trade-off is that nailing
focus is a little more difcult,
but its worth it. There is also
the question of will I or wont I
drop my expensive lens once
it is removed from the camera.
However, its exciting to see
how far your existing lenses
can be pushed, and you can
explore different lens options
even to the point of
retro-tting lm lenses to
DSLRs.

Focusing on the eyes has resulted in a very

MATT OSBORNE

dened line of focus that contrasts

nicely with the muted tones, and results in
Olis striking portrait
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 CREATIVE SKILLS

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Portraits and lighting tips
Follow our handy hints to inspire your creativity and improve your
landscape photography in little more than a ash

2 LIGHT SOURCE
The narrower the source,
the harder the light. A
broad light source lessens
shadows, reduces contrast
and de-emphasises
texture. A narrow light
source does the opposite.
This is because, with a
broad source, light rays
hit your subject from more
directions, which tends
to ll in shadows and give
even more illumination to
the scene. The sun, which
is something like 109
1 SHADOWS CREATE VOLUME times the diameter of the
This is how photographers give a three-dimensional Earth, is a massive light
feel to their subject, with the sense of seeing an source, but at 93 million
image as an object in space, rather than projected miles away, takes up a
on a at surface. very small portion of the
Lighting from the side, above or below, by casting sky and hence casts very
deeper and longer shadows, creates the sense of hard light when falling
volume. Still life and product photographers use directly on a subject.
angular lighting for this reason.
Try Hollywood lighting for a dramatic portrait.
Position a light high above and slightly to the side of 3 DIRECTIONAL
your subject, angled down, but not so much that the LIGHTING 7 EYE HIGHLIGHTS
shadow of the nose is too long and deep. When shooting a portrait Portraits of people, and indeed pets and other animals, are nothing if the
you may want to keep the eyes are at and lifeless; without a specula highlight or catchlight, the
light source close to the viewer isnt drawn into the true expression and mood of the subject, which
axis of the lens to suppress the eyes so distinctly portray.
skin wrinkles, while with The shape, size and position of the highlight is important too, and much
still life you may want side experimentation is required to acquire the perfect look, but starting with a
lighting to emphasise the simple silver reector or lighting softbox should get you on the right track.
texture of rocks, sand
and foliage. Generally, the
greater the angle at which ash lighting, your choice 1/200sec) or you will get
the light is positioned to of shutter speed is less black stripes cropping into
the subject, the more signicant than with your picture.
texture is revealed. daylight. It must be fast
If youre photographing enough to eliminate any 5 HOMEMADE
pets and you want to bring
out detail in the coat or fur,
ambient or background
illumination and avoid
DIFFUSER AND
position the light low and camera shake. Be REFLECTOR
to the side, not straight on. careful not to set a faster Buy some PVC pipe 10mm
shutter speed than the in diameter and with four
4 SHUTTER SPEED cameras specied sync right-angled joints, create
When working with studio speed (around 1/125sec- a frame at a size to suit
yourself 1 x 1m is a good
size to start with. Stretch
6 HOME PHOTO STUDIO white linen over it and you
have an instant reector,
Youll probably be surprised to hear that you dont need to spend thousands
of pounds to get a decent studio lighting set-up. Elinchrom does good diffuser and background.
lighting kits for around 500 and its D-Lite To Go kit is worth considering, Its fantastic for placing in
while Intert and Lastolite have studio lighting kits starting at around 200. front of any light source to
All come with two heads plus softboxes or umbrellas, so you can bounce give that softbox effect for
and soften your light for more attering and professional-looking portraits. next to nothing.

116
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8 REFLECTORS
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Keep any white polystyrene sheets that come
with packaging from items such as TVs and
dishwashers, as they make great reectors
and you cant have too many.
To make an alternative type of reector,
crumple a big piece of aluminium foil, spread it
out again, and wrap it around a piece of
cardboard, with the shiny side out. It
makes a good reector thats not quite
as soft in effect as polystyrene or white
card, but is great for adding
sparkly highlights.

12 DIFFUSION
ATTACHMENTS
High-end ashguns often
come with a translucent
diffusion dome, which
looks a bit like a plastic
ice-cream carton and ts
snugly over the ash head.
For a dirt-cheap substitute,
tape some tracing paper or
tissue over your ash
window. You can cut a
ash head shape into a
Tupperware plastic box or
milk container and
experiment with slotting it
onto the front.

9 EXTRA PAIR 10 OFF-CAMERA

OF HANDS
Many times Ive set out
to shoot a portrait and
regretted not having
someone with me to help
out, just to hold a reector
or steady a lighting stand
in the wind, to give you the
chance to concentrate on
what you do best;
important things like the
rapport with your subject,
composition of the image
and attention to detail. Its
easy to miss something
important if you are
darting around attending
to the nuts and bolts of
your kit.
FLASH
If you want to get really
creative with a ashgun
(as opposed to your
on-camera ash), try
taking it off the camera to
give shots a professional
look. Using an extension
sync cable or remote
trigger, youll be able to
light your subject from
either side, above or
below, and this can create
stunning results, giving the
impression that youve
used an expensive studio
set-up. Experiment with
different positions to see
how the light changes the
mood of your portrait.
11 CHECKLIST
Whether youre off to the park to
shoot a portrait or round at a
friends house for a studio
session, its a nightmare if you
forget a vital piece of kit. Even
hardened professionals have
been known to forget tripods as
well as lenses, so a neat printed
checklist to suit your shooting
requirements posted with your
equipment will pay dividends
and prevent a potential disaster.

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Birds in
flight
Find out the skills you need to capture
pin-sharp images of birds in ight
WORDS & IMAGES DAVID TIPLING

A
s a teenager, I was hooked on motor racing and
became a frequent visitor to Brands Hatch in Kent.
This ignited my passion for taking pictures, which I
discovered I was good at. My rst published pictures
were of a sequence showing a Formula Ford rolling
into the barriers. Quick reactions, a good panning technique and
anticipation are skills I honed beside the track. And it is those same
skills I use today to capture images of ying birds.
Taking a good shot of a bird in ight can seem daunting, and the
smaller the bird the more difcult it becomes. Yet having some
knowledge of bird behaviour goes a long way. For example, ducks,
geese and swans will send plenty of signals your way before they
take ight. A shake or bob of the head is a signal to other birds in
their group of impending departure and a signal to you to get
ready to capture the take-off. Similarly, birds of prey will often
defecate and rufe their feathers before taking ight. These are just
two examples of behaviour that, if you understand what you are
seeing, will give you a head start.
Smaller birds can be attracted to a bird feeder or to water, and
perches can be manipulated so ight photography is made easier.
If food is put out regularly, then individual birds are likely to have
favoured approaches to the perch, offering a chance to capture the
action as they approach. A technique I use for taking shots of
garden birds in ight requires hanging three or more feeders for a
few days, then removing all but one of the feeders when Im ready
to photograph them. This can create a queuing system and the
birds will squabble among themselves for food. It will also
encourage birds to hover and slow up as they seek a landing spot.

OPPORTUNITIES
Using food to encourage birds to y can be taken a step further at
your local park. Try throwing bread to birds that are used to
people. Ducks can be fed on one side of a lake, and then be
tempted to y to the other side if you change position. Being
inventive can go a long way to devising a shot. By visiting a park or
photographing in your garden, you dont necessarily need a long
telephoto lens for capturing great shots. There are plenty of other
opportunities, too, where shorter lenses are likely to be better for
more interesting images, such as starlings coming in to roost in
winter. These birds create those wonderful murmurations in the
KIT LIST

sky, with hotspots including Brighton Pier in East Sussex,

Aberystwyth Pier in Ceredigion, Gretna in Dumfries and Galloway, TELEPHOTO LENS
and the Somerset Levels. Ideally, you need a lens that is 300-500mm in length,
In order to take great shots of birds in ight, you need a good but light enough to handhold. However, a longer and
autofocus capability. Lens choice is key here, as too short a focal heavier telephoto on a tripod may be better for more
length and you will struggle for image size, while too long and it distant subjects.
becomes more difcult to track a fast-ying bird through the
viewnder. I tend to use a 300mm or 400mm lens for most of my
ight shots, and being able to handhold is a great advantage over
trying to shoot from a tripod. However, having said that, a heavier
600mm or 800mm lens will work well on a gimbal head, where
smooth panning can be achieved.
The intricacies of focus-point selection, along with the pros and
cons of using the back-focus button, are much discussed among
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REMOTE
TRIGGER
A remote trigger is
useful when photographing
smaller birds in the garden.
It is often easier to set up a
shorter lens focused on, or
just before, the perch,
which is connected to a
trigger that enables you to
re your camera.
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A herring gull
captured at
the moment it
took off
GIMBAL TRIPOD HEAD TELECONVERTER
I favour a Wimberley head, but there are
more affordable alternatives. This
If you want that extra reach but dont want to
invest in another lens, a teleconverter is a great
allows me to keep my heavy compromise. A 70-200mm
telephoto lens and camera f/2.8 telephoto zoom with
centralised. It is nely a 1.7x teleconverter will
balanced with no increase the working focal
resistance, so is ideal length to 119-340mm,
for panning. although the maximum
lens aperture is reduced
by 1.5 stops.
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bird photographers. However, there are some basic tips that will
increase your success rate. Youll want the camera to constantly
update focus as you track your subject, so continuous AF is a given,
but to ensure you maintain focus you need to keep the focus
sensor on your subject as it moves. This is far easier when tracking
a bird against a clear blue sky than if your target is ying against
hills or trees, as the more contrast there is between the subject and
the background, the better the autofocus will work. Some camera
bodies allow you to activate clusters of sensors within the frame to
help keep track of erratic ight. Different photographers use
different techniques and you should experiment with your camera
bodys capabilities. I tend to use one central focus sensor most of
the time, but this is a personal preference, as is the use of the
back-focus button, also known as rear focus.
FOCUSING
Placement of your focusing sensor is crucial when photographing
large birds in ight, as the aim is to have your subjects eye sharp

REAR FOCUS
Rear focus involves depressing a button (often labelled
AF-ON) on the top right back of the camera. By
depressing this button with your thumb, you are activating
the autofocus and simply using the shutter button to
shoot pictures. You may need to set up a custom function
in your cameras menu for these buttons to perform in this
way. This may take a bit of getting used to, but one
advantage is that you can take your thumb off the focus
and recompose for static subjects. In this way, you can
avoid having your subject in the middle of the frame if
that is where your sensor is placed so it is a great
technique for composing quickly. Many bird
photographers suggest they have a higher hit rate of
sharp shots of birds in ight using this technique, too, as
you do not lose focus as frequently as you might by
relying solely on the shutter button.

Rear focusing can take a

bit of practice, but its a
great technique

Starlings ocking
TOP TIPS

before going to
roost make these PANNING
dramatic shapes The number-one essential technique to master is panning,
known as which involves simply following the bird in ight as it ies in
murmurations, front of you. Your most pleasing shots will be as the bird starts
and are fantastic to draw level with the camera, so stop shooting once your
subjects subject is ying away.

Anticipation is the key when

shooting subjects such as this
common kingsher

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because this is the focal point in the picture to which a viewers eye
is rst drawn. It is easy to end up focusing on the end of the near
wing, which may put the birds body in soft focus. To try to
mitigate this, I use a large depth of eld if I can with the light
available. For smaller birds, this is not so much of a problem unless
they are lling the frame.
Whatever depth of eld you use, if you want sharp images, for
birds larger than crows and ducks, you will be able to freeze wing
movement with a shutter speed of 1/500sec or faster. For smaller
birds, you will need to set a shutter speed of at least 1/1000sec or
more to ensure sharp shots.
Finally, if youre using a camera that res very rapidly, such as
10 frames per second, and if you keep ring at a bird ying fast,
you may not give your autofocus a chance to keep up with your
shots. This is due to the autofocus sensors working at their
optimum when the cameras mirror is down. The faster the frame
rate, the less time your autofocus has to keep up, so I suggest ring
in short bursts while tracking your subject.

BLUR OR FREEZE
You can create a different feel to a picture simply by
freezing the action or allowing it to blur into a pleasing
wash of colour. These pink-footed geese were feeding
on a eld for ve days and would periodically take off
as a ock. This allowed repeated opportunities to
experiment with varying shutter speeds to create both
blurs and sharp images.

MOTION BLUR DONT ALWAYS RELY ON AF DEPTH OF FIELD

By using a slow shutter speed, anything from 1/8sec to 1/50sec
will result in some pleasing blurs that can elevate an ordinary
ight shot into a piece of art! It can be a bit hit and miss, so
vary the shutter speeds if you have repeated chances to nd
the shot that works best.
There are times when a cameras AF is simply not quick enough.
This swallow was catching ies over a pool, but had such an
erratic ight pattern that it was impossible to track. I therefore
focused on a y and then waited for the bird to approach, ring
off frames as it came into focus.
When photographing large ocks, such as these barnacle
geese, try to use a large depth of eld to give the image a
feeling of depth with as many birds in sharp focus as possible.
This image was taken with a 500mm lens at f/9 to provide the
depth of focus I wanted.

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Flower
photography
Learn how to capture unique and
dreamlike oral images at home
WORDS & IMAGES MANDY DISHER

W
ith their colours, textures, structures and
patterns, owers offer enormous scope for
the photographer and especially so for the
macro enthusiast. Readily available, owers
are all around us, making them a convenient
and easy choice as a photographic subject. While most of my
ower images are shot at home, I love to go for long walks in
the countryside, in the meadows and woodlands where many
of our wildowers are found.
I feel very fortunate to own quite a large, well-established
garden. Im a keen gardener and grow many owers in pots,
so I dont have to cut the owers off the plant if I plan to use
them in a different setting. Instead, I can just reposition the pot
where perhaps the light is better, or move them to a more
sheltered spot or even place them indoors.
Mother Nature and her endless supply of beauty continually
inspire me, and every day brings a fresh opportunity. Spending
time outdoors photographing my favourite subject is like
entering another world. As I concentrate my thoughts on the
job in hand, I quickly become quite engrossed and oblivious to
everything else around me, shutting out distractions and
giving all my attention to see and feel the wonderful poetry of
owers that I want to record. I always try to devote plenty of
time to a shooting session, because its surprising how quickly
the time just disappears.

SHOOTING OUTDOORS
Flower photography does have its challenges, though its not
just a question of pointing your lens at a pretty ower. As with
all forms of photography, lighting is crucial to a successful shot,
while composition, focus, colour, bokeh and the overall balance
of the image are all key components.
One of the problems when taking oral images outdoors is
that even a slight breeze will produce movement in the owers
and ruin a potentially lovely shot. As you move closer this
problem just increases, and with very tiny delicate owers it will
be impossible to record a pin-sharp shot in the lightest of
KIT LIST

breezes. To overcome this problem I use a Wimberley Plamp to

stabilise the ower. I clamp one end of the plamp to the tripod MACRO LENS TRIPOD
leg with the plastic jaws and place the other end around the For best results, youll If youre going to use
subject to keep it steady. I also nd it really handy to use the need a true macro lens a tripod, get one that
plamp to hold a diffuser or reector in place, as it allows for with a 1:1 magnication. features an adjustable
quick and easy re-adjustment if required. I like to use a Tamron AF centre column. Being able
It can be a real challenge photographing owers when the 60mm f/2 SP Di II LD to shoot horizontally is
wind picks up. If possible, try to be patient and wait for a calm Macro paired with my useful when shooting
day instead of taking shots in breezy conditions, otherwise you Canon EOS 7D, although from above, while its
may end up taking too many shots and relying on luck to get I also use a 105mm f/2.8 important to be able to
anything good enough to keep. There will be times, though, Macro lens. invert it to shoot low to
when it wont be possible to wait for better conditions, such as the ground.
if a ower is about to go past its best. When conditions are like
this, I take the ower indoors and shoot against a sunny
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The underneath of a ower can

reward you with some great
tones and details, such as those
found on this poppy

WIMBERLEY PLAMP BAKING PARCHMENT

One of the most useful accessories I have is the Wimberley Plamp. Baking parchment is really handy to hold over
This easily-positioned arm clamps to your tripod, while the other end a ower if the light is a bit too strong. It allows
grasps the stem of a ower to steady it. The plamp is especially useful you to diffuse the light for a more pleasing result.
outdoors when owers are swaying around in the breeze.

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 CREATIVE SKILLS

WorldMags.net This image of chocolate cosmos took

rst place in the Plant Portraits
category of the fourth International
CREATIVE Garden Photographer of the Year
DEPTH OF FIELD competition

Creating a soft background helps to

isolate the ower, making it pop to give
an almost three-dimensional feel.
The distance I am from the subject, the
actual size of the ower, and the distance
from it and its background determine
which aperture I opt for to obtain the
effect I want. As I like to introduce new
backgrounds to my images for artistic
effect, it takes a lot of practice to nd out
where to put objects for use in this way
that will create the colours and dreamy
shapes within it. I also usually take
several shots at different aperture
settings for comparison later.

The size of the

ower and the
distance youre
working from it will
control the aperture
you choose

Colour has an effect on our perception of a scene.

USING COLOUR

We tend to think of reds, oranges and yellows as SIMILAR TONES SOFTER COLOUR
warm colours that are lively and energetic, while I felt that the well-dened shape and the natural elegance and I wanted the lines, the tonal contrast and the composition to be
blues, greens and lilacs are cool colours that evoke grace of these yellow tulips lent themselves to a limited palette. the key elements in this shot of this daisy. Decreasing some of
a feeling of calm and restfulness. Choosing a background with the same green and yellow tones the colour in the ower and increasing the tonal values has
Whether we are using strong or subtle colour, meant it wouldnt compete for our attention. This harmonious resulted in a more subtle image, but one that still remains
making good use of it will enhance the story being mix of colour made the image easy on the eye. attention-grabbing.
told in the photograph, and learning to recognise
colour as it relates to mood and composition is a
valuable lesson. We like to see colours working
sympathetically together, with the visual
experience pleasing to the eye, rather than using
lots of colours that clash so they look unsettling
and confusing.

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 WorldMags.net Dont be afraid to shoot into the
light, as it can create a lovely
USING LIGHT atmosphere in the shot

There are different types of light that will

have a marked and varied effect on an image.
The bright, hard light from direct sunlight
creates a harsh shooting environment and
will not give a good representation of true
colour or detail. Instead, it produces an
image that looks messy, with very dark
shadows and blown highlights. Ideal
conditions are overcast with bright skies. This
soft, even light has a low intensity that
enables me to see the detail, texture and rich
colours clearly in a ower.
Directional light is harder than the soft,
even light of overcast bright skies, but
harnessed in the right way it can create
stunning results. Light hitting the ower from
the front is not always the most attering
and can sometimes make it look a little at,
whereas lighting from the side can add more
denition and depth by the light and shadow
play across the petals. If the light tends to be
a little too strong, a diffuser will reduce and
soften the shadows. I like to use a piece of favourite types of lighting, as it offers highlights its shape and displays wonderful
baking parchment held over the ower, as I wonderful creativity and adds great detail, both on petals and tiny hairs on the
nd this does the job very effectively. atmosphere to an image. Using sunlight as stem. In these situations, I use spot metering
Backlighting or rimlighting is one of my the main light source behind a ower and a white reector to soften the shadows.

window sill. In fact, more and more of my images are
captured in this way. Ive discovered a perfect spot next to the
kitchen porch, which is sheltered, and when the sun is overhead
the light is perfect.
SHOOTING HANDHELD
I nd using a tripod restricts me too much outdoors, so I dont
use one unless its impossible to get the shot without it. Ive
become an expert at holding my breath and am fortunate to
have a steady hand. I keep the shutter speed above 1/100sec
although I can shoot at 1/60sec at a push. Any slower than this,
though, and I reach for my tripod.
I do like to use a tripod for tabletop set-ups or studio work,
though. By removing the need to hold the camera, I can
compose and interact with my subject more freely as Im able to
step away and see the arrangement from another perspective.
I like to compose the shot in-camera rather than cropping in
post-processing, as I hate to throw away valuable pixels. I will
look at a ower from different angles, rotating it to see which
point of view seems to be the best approach for that particular
ower. I nd theres usually one angle that stands out and thats
the one I shoot.
A small change in the orientation of your subject can make
the difference between a good shot and a great shot. I look at
the sweeping curves of the petals, leaves and stems that can act
as lines to take your eye through the image. I also pay close
attention to colour and colour combinations. I identify the
point of interest that I want to be in focus as its essential to get
the focus point absolutely spot-on, since even a very small shift
from the narrow focal plane can mean the subject isnt sharp in
the right place. This is important in all types of photography,
but with owers its crucial due to the shallow depth of eld.

CREATE IMPACT CREATIVE COLOUR WARM AND COOL

Vibrant colour in an image provides punch and lots of impact,
but the key to making it work well is to keep the composition
simple. Use just one or two strong colours. Too many will result
in a muddled and chaotic scene, making us hunt for the point of
interest within the shot.
Be creative and experiment with colour adjustments, because
it can be a lot of fun and produce some surprising results. This
pasque owers natural colour is purple with a yellow centre,
which is very pleasing, but I also feel that this twist of colour
works equally well.
Using warm and cool colour tones together here has created a
pleasing and interesting image. Bear in mind that reds always
stand out to the viewer, while blues recede into the background.
However, the cool blue accentuates the burst of orange of these
pretty helenium owers.

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Wildlife Photography tips
Improving your wildlife photography isnt just about expensive kit

1 CHOOSE THE RIGHT LENS

Wildlife photography requires specialist lenses, 100-300mm f/4-5.6. For specialist work, long prime
perhaps more so than any other subject. In general, lenses that have fast apertures are preferred, rather
youll need telephoto zooms that combine long focal than zoom lenses, but remember that theres little
lengths with reasonably light weight, such as the point in buying a huge lens if youre not prepared to 4 TRY USING A SUPERZOOM
Tamron 150-600mm f/4.5-6.3 or the Panasonic carry it around. BRIDGE CAMERA
If you dont want to lug equivalent or more, you
around a huge camera do get an immense
and lens, try a superzoom amount of reach in a very
camera. Theres a portable package.
signicant image quality Higher-end models offer
penalty, but with current full manual exposure
models sporting lenses control, and are capable of
as long as 1400mm shooting raw too.

2 USE A REMOTE TRIGGER

Remote-shutter triggers can be useful for
photographing an animal when you know
it visits a specic location. They can be set
up to automatically re when an animal
comes between an infrared transmitter
and receptor, for example. Radio releases
can also be useful for setting up your
camera and triggering it at a distance. If
you have a camera that can be remote-
controlled by Wi-Fi, you can stay out of
view while still seeing what the camera
will shoot.

5 USE A HIDE
3 GET TO KNOW Animals tend to be wary

YOUR SUBJECT in the presence of

humans and will run
Theres no substitute for good
away when
preparation. Get to know your
disturbed. Using a
subjects movements, preferred
hide allows you to
location and the times of day
get closer without
when theyre most active, and
disturbing your subjects.
plan accordingly. Use this
information to think ahead and
anticipate interesting events. 6 GET SOME GOOD subjects at a distance. As

BINOCULARS with camera lenses,

theres really no substitute
A decent pair of high- for quality, and optical
powered binoculars is stabilisation can be
invaluable for locating your invaluable too.

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7 BE PREPARED
TO WAIT
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Getting a good shot often
requires plenty of patience,
so be prepared to spend a
lot of time waiting. This
also means being suitably
stocked with water
and food, for example
energy bars and
chocolate.

8 GET THE
RIGHT SUPPORT
As wildlife photography
usually requires large
lenses, having the right essential. For working
camera support is essential. with a large heavy lens, it
For mobility, a monopod is might be worth investing in
useful to help support the a gimbal-type head.
weight of your lens; if youre theres little
working from a vehicle, a
9 DONT point in sitting in 10 MASTER FOCUSING
beanbag may be more a hide if your subject can Dont stick with letting the photographers prefer to
practical. If youre shooting WEAR SCENTS still sense your presence, camera autofocus when move AF actuation to a
from a xed location or Many animals have an as theyll be spooked and you half-press the shutter button on the back of the
using a hide, a tripod is acute sense of smell, and stay away. Avoid using button. If you know that an camera. When using AF,
smelly soaps or cosmetics animal frequently visits a exploit your cameras AF
before heading out to certain spot, for example a points to the full. Move the
11 SELECT YOUR SHUTTER shoot. Its also best to stay birds favoured perch, then selected AF area around to
SPEED CAREFULLY downwind of your subjects
if at all possible, to avoid
manually pre-focusing at
that point can often work
place the point of focus
exactly where you want it
Think about the shutter speed youll need for any given shot. If you
want to freeze motion youll need a fast speed of 1/1000sec or more; them detecting your better. For tracking focus to be, which is usually the
dont be afraid of using a high ISO to achieve this, as its better to get a natural scent. on moving subjects, many animals eye.
sharp, slightly grainy picture than one thats free from noise but
blurred due to subject movement. For panning shots youll want
slower speeds, around 1/60sec or slower; this may require using a
neutral density or polarising lter to limit the light.
ANDY WESTLAKE

12 SHOOT WIDE AND CROP

Many subjects move quickly and erratically, which sensors, theres plenty of scope for cropping, so it
means that theres a risk theyll move out of the makes sense to frame a little wider than you might
frame if you zoom right in using a long telephoto really want to, with a view to cropping down to your
lens. With the high resolution of modern DSLR nal composition later.

13 GET UP EARLY for example insects and so theyre easier to shoot

Youll often get the best lizards, have to warm up rst thing. Others are more
shots if youre prepared to under the sun before they active early, then disappear
start early. Many animals, can start moving around, later in the day.
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Panning
Shooting moving subjects isnt easy.
Find out how to pan with your
subject for dramatic results

C
apturing moving objects in still
photographs isnt easy, because unlike
video images, a single photograph cant
truly show movement. However, by
panning with your subject and taking
control over your cameras shutter speed, you can get
great results. Depending on the type of subject and the
shutter speed you select, you can control how much of
your subject is blurred, and by how much.
It takes practice to master the art of panning, but
once youve got the hang of it youll be amazed at the
results you can achieve.

For this shot, taken in bright sunlight, the smallest aperture possible was selected f/32 on a
300mm lens. This gave a shutter speed of 1/100sec, which was slow enough to blur the
background. Panning kept the bikers position in the viewnder constant, keeping him sharp
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PANNING
WITH A
SUBJECT
The term panning refers to the
technique of moving your camera
at the same rate as a moving
subject, so that it appears
stationary in the cameras
viewnder. Panning takes a lot of
practice, and if your camera has a
fast frame rate be prepared to
shoot a lot of out-of-focus images
before you get it right.
The key to successful
panning is to judge the movement CAMERA STATIONARY PANNING WITH THE
of the subject correctly. The best
way to do this is to start panning
AT 1/15SEC SUBJECT AT 1/15SEC
while the subject is still too far
away to capture, and stay with it as
it passes by.
Here, I started tracking this cyclist
as he approached from some SHOOT
distance, and started shooting as he FOLLOW SHOOT RUN UP
passed my position. Notice how the THROUGH
cluttered background has become
much less noticeable when it is
blurred, and the panned image is
more dynamic, giving a heightened
impression of movement.

PANNING WITH A 1/30SEC

SLOW SHUTTER SPEED TOP TIPS
Panning using a slow shutter speed will allow
you to inject a lot of movement into a shot. To
keep your subject sharp against a blurred
background, youll need to make sure your 1 Practise. Panning is tricky, so
be prepared to delete a lot of
out-of-focus shots!
panning is very accurate, which will take practice.
If youre using a telephoto lens, shoot in Shutter
Priority mode and start with a shutter speed of
around 1/125sec. As you get more condent in 2 Stick with shutter priority
mode. A slow shutter speed
allows you to create the
your panning abilities, increase the exposure
time until you nd that you are able to keep your impression of movement; a fast
subject sharp at speeds as slow as 1/15sec. A shutter speed allows you to
monopod will help increase lateral stability, freeze more of the action.
which is really important to minimise camera
shake when panning with long lenses.
3 Consider your equipment. If
youre shooting on a long
1/1000SEC PANNING WITH A telephoto lens, a monopod will
help to keep it stable as you pan.
FAST SHUTTER SPEED
For this shot, taken on a rally course, I knew from
scouting the track that the cars gained speed over a
hump before leaving the ground briey. To show the
4 If your camera has an
automatic ISO setting,
activate it. This leaves you with
car with all four wheels off the ground I set up my only shutter speed and aperture
camera for a good view of the ramp, and set a very to worry about.
fast shutter speed of 1/1000sec to freeze the wheels,
and capture the dust and grit that they kicked up. As
the car approached the ramp I followed it at the
200mm end of my 80-200mm zoom, and shot
5 Remember that as your
subject gets closer and
begins to pass you, its speed
continuously as it bounced into the air. The shutter relative to both your position
speed is fast enough to freeze the car, but it is and the background increases
moving so quickly that even at 1/1000sec the dramatically. Which brings me
background is slightly blurred by my movement as back to point one practise!
I panned the camera to follow the car.

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Action Photography tips
Gen up on your subject, position yourself in the best possible spot, and get ready to roll
2 UNDERSTAND
YOUR SUBJECT
Knowledge is power and
if you understand the sport
or activity youre shooting,
life will be much easier.
Youll be able to anticipate
whats going to happen
and where best to position
yourself. If youre new to
the subject, try to brush up
beforehand so when you
start shooting youll have a
much higher success rate.
3 STAY FOCUSED
Its very easy to spend the
whole game or event in a
dreamy mid-zone mentally
when youre really enjoying
it and youre happy with
your camera, but actually
youre not totally on the
ball about getting that
moment. Chances are
there are going to be three
or four occasions where
therell be some fantastic
pictures right in front of
you, but if youre not on
top of your game, youll
miss it.
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1 BACK-BUTTON
FOCUSING
Once youve tried back-button
focusing, you wont want to
return to half-pressing the
shutter to acquire focus. Also,
you wont have to keep
switching between single and
continuous AF great for when
a static subject suddenly moves.
Set the camera to continuous AF
and via its menu, disable AF
activation from your shutter
button, relying instead on the
AF-on or * button. It keeps focus
locked on a moving subject
much better as youre
depressing the back button
without pausing, and you can
hit the back button to lock focus
for a static subject.
4 BE PREPARED 6 FOCUS
Its something that often TRACKING
gets overlooked, but To aid precision of your
be physically prepared. cameras AF, use your
Theres absolutely no cameras dynamic-area AF
way youll come away (also known as AF point
with good sports pictures expansion). This will allow
from an event if youre your camera to use
not physically ready to information from the
take the photograph. surrounding focus points to
Be comfortable with your maintain focus should your
positioning if youre subject leave the selected
shooting from the focus point.
sidelines, a small
collapsible chair is often
necessary. Not only keep things simple, only
is it more comfortable than use the central AF point
kneeling for long periods, where possible.
but shooting at a lower Having done that, its
angle will produce more then your job to keep the
dramatic shots. If youre action in the centre of the
using two camera bodies, frame. Theres a huge
make sure you can swap amount of movement
between them happening behind the
comfortably. player who has the ball and
its all very easy for the AF
system to get confused. It
5 FOCUSING SET-UP doesnt know you want to
If youre shooting a sport focus on the player with
such as football or rugby, the ball, so you need to
try setting your camera up narrow that down to one
for continuous AF, and, to central point.
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7 USE AUTO ISO WorldMags.net
Auto ISO is useful if youre
trying to shoot at a certain
shutter speed and havent
got the sensitivity set high
enough should the lighting
change. For example, in
the sunshine, ISO 400 is
ne with a shutter speed
of 1/1250sec, but as soon
as your player runs into the
shade, youll need about
ISO 1600. Set the camera
to auto ISO, which will
detect and adjust the need
to increase the sensitivity.
8 AVOID
DISTRACTING
BACKGROUNDS
When shooting sport, the
problem with smaller
events is that there will
always be areas of the
pitch where the
background will have
something thats pretty
much as distracting as can
be. Get to your location
early to look for the least
distracting background so
that when the action starts,
youre in the right spot.
9 ANTICIPATE
THE MOMENT
In some instances, if you
know where the actions
going to unfold, such as a
jump or corner, then
switch to manual and
pre-focus on that point.
When your subject or
subjects come ying past,
rattle off a series of shots
and if youve got it
right, you should walk
away with a few
pin-sharp shots.

10 USE A
WIDEANGLE LENS
While we naturally think of shooting
with a telephoto lens for sport or
action shots, allowing us to ll the
frame, dont discount shooting with
a wideangle lens too. Youll have to
think a little differently, but theyre
great for telling a story and setting
the scene. Try getting down really
low or up high to introduce drama
into the shot.

11 SLOW-SYNC
FLASH
If youre working in
relatively poor light, then
using slow-sync ash can
be effective and introduce
a sense of movement to stabilisation, some settings
your shots. However, make can have a negative effect
sure you have rear-curtain theyll try to correct for
sync selected, to freeze the the panning movement.
subject at the end of the Make sure youve got the
motion and introduce right IS setting selected
a natural sense of either on your lens or
movement. Otherwise, it camera consult your
can look as if your subject manual if in doubt.
is moving backwards.

12 PANNING
AND IMAGE
STABILISATION
We all know panning is a
great way of introducing
movement into your shots,
but if youre using image
13 KEEP SHOOTING
Dont miss a moment
reviewing shots on the
back of your screen
keep on shooting as you
never know whats going
to happen, and assess your
images afterwards.
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Image
editing
Even though the latest digital cameras can deliver stunning
results, on most occasions youll be able to achieve even better
images with a click of the mouse. Everything you need to know is
here, from raw conversion to advanced retouching

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 IMAGE EDITING
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The Basics
The Raw format offers unrivalled control and versatility for shooting and editing
T
he term Raw has
become
synonymous with
digital capture
over the past
decade. If youve heard of it,
but are unsure of what it is, its
an extremely important le
format that offers the very best
RAW COMPATIBILITY
Not every camera supports
the raw format and those
that dont are usually budget
compact cameras, or
smartphones, where the
JPEG format is sufcient for
consumers needs. Raw is
typically found on more
advanced compacts,
compact system cameras
and DSLRs where the user
wants the nest levels of
control. All the
manufacturers support raw,
but each uses a proprietary
134
versatility, both at the point of
capture and when were
editing images in our software.
Unlike the JPEG le format
that automatically compresses
image information at the
moment you re the shutter, a
raw le captures
uncompressed image data
format to identify their raw
les from others. Canons
raw les are identied as
.CR2, whereas Nikon uses
the .NEF extension.
Panasonic raw les are
labelled as .RW2, Olympus
uses .ORF and Sonys are
branded .ARW. Pentax offers
the choice of two raw
formats on many of its
DSLRs, which include .PEF
or .DNG the latter being a
type of raw le developed
by Adobe. In order to read
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thats recorded by the sensor.
The upshot of this is it gives us
all the control we need to take
manual control of processing
rather than relying on the
automated settings applied by
the camera, which dont
provide the best results.
Shooting in raw can ultimately
the raw les that a camera
produces, manufacturer
software or a third-party raw
converter must be used,
such as Camera Raw thats
featured with Adobe
Photoshop and Elements. As
new cameras come onto the
lead to enhanced image quality
and superior images, with the
advantages outweighing the
benets of shooting in JPEG.
Over the next few pages, well
take a close look at just how
powerful Raw is and the
reasons youll want to use it on
a regular basis.
market, this software has to
be updated to ensure that
its compatible with the raw
format of individual cameras.
If its not updated and the
camera produces raw les
that are newer than the
software, they wont open.
DOWNSIDE WorldMags.net
JPEG RAW

OF SHOOTING
IN RAW
In this feature we outline all the
benets to shooting in raw, but
like most things there are a few
disadvantages that you also
need to consider. Since raw les
are larger in size than JPEGs due
to the uncompressed
information they hold, you need
to be aware that they take up
more space than JPEGs. The
impact this has is you wont be
able to shoot as many raws on a
memory card, and any external
storage device you use, such as a
hard drive, will ll up more
quickly. This is only a concern if
youre shooting huge volumes of
raw les and with storage space
now becoming cheaper, its
more affordable to store raw
les than ever before. The only
other drawback of shooting in
raw is that it can slow your
camera down. Although raw les 100% 100%
wont affect the frame per
second burst rate at which your In this JPEG le The Raw le allows
camera can shoot, it can affect highlight detail has us to pull back some
been lost in areas of of the all-important
the number of les your camera the dress and this highlight detail,
can shoot in a sequence before cant be recovered unlike the JPEG
the buffer kicks in and prevents
more from being taken. For this
reason, those who shoot sport,
action or vast volumes of images
such as wedding photographers, ADVANTAGES OF SHOOTING IN RAW
usually opt for a high-speed, Unlike JPEGs, raw les are reduction in quality, due to the applied to JPEGs. The most
high-capacity memory card. capable of recording more levels simple fact that there are more signicant benet of being able
of brightness, from the deepest brightness levels to work with. to shoot in raw is that its a
blacks to the brightest whites in Examples of the adjustment non-destructive format. By this
an image. The result of having a control were given include being we mean its a one-click x to
broader brightness range is a able to recover more detail in return to the original image if
smoother transition between blown highlights and dark youre not entirely happy with any
tones, and where JPEGs typically shadows (something well take a adjustments that you make.
resolve 256 levels of brightness, closer look at on pages 142-143). Whats more, you dont need to
raw les record up to 16,384 Other advantages of shooting in worry about ruining an image by
levels. These additional steps of raw include having the option to saving over the top of the original
brightness allow more ne-tune the White Balance and something thats easily done
adjustments to be made to an control the level of sharpening, with JPEGs unless you remember
image without a signicant which is always automatically to create duplicate les.

RAW & JPEG

There are benets to be had
from shooting in raw, but it
can sometimes be
convenient to record a JPEG
at the same time. A majority
of cameras that shoot raw
offer this option and its
good to take advantage of if
youd like to quickly access a
JPEG image and send it via
an email or post it on the
internet without having to
convert and process the raw
le rst. This way of
shooting will also give you
the raw le to revert back to
at a later stage should you
need it.

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Choosing a
Raw converter
Y
Here we break down our rst port of cameras come bundled with
the key options call when youre dedicated raw conversion
looking to get software check in your
available to you started with raw cameras box and you should
when buying a Raw conversion nd a CD with it on. If you
converter software, is with the software cant nd it, its often possible
bundled with your camera. to download a copy of the
Pretty much most DSLRs, software from the
compact system cameras manufacturers website, with
(CSCs) and some compact a link to the download
normally found in the
software support sections.
There are two key benets
with using bundled software.
Its free for a start, and you
wont experience any raw
compatibility issues that can
be a problem with some raw
converters and camera
combinations.
While there are some good
bundled raw software
packages out there
Panasonic, Pentax and
Fujilm are both bundled
with Silkypix software, for
example others can be
relatively clunky and slow to
use, which can make the
conversion process a
CANON DIGITAL PHOTO PRO frustrating experience. They
can also be pretty limited
when it comes to image
adjustment as well, with only
very basic controls to set the
white balance, contrast and
exposure of your raw images
before exporting them.
Bundled raw software can
be a very affordable
introduction, allowing you to
get to grips with basic image
adjustment of a raw le
without any nancial risk.
However, they can be quite
limiting with their controls if
you want to really get the best
from a raw le, while also not
being the most intuitive to
navigate and use in some
circumstances.
NIKON VIEWNX2

DEDICATED RAW ADOBE LIGHTROOM 5

CONVERTERS
Alternatively, there are
dedicated raw converters
available, such as Adobe
Photoshop Lightroom 5,
Apple Aperture 3, DxO
Optics Pro 8 and Phase One
Capture One Pro 7.
These packages offer the
most control over your raw
les, thanks to a host of photographers and, as
advanced controls and
presets that you can apply
to images, which can then
be exported as TIFFs or
JPEGs, or transferred into
Photoshop in most cases.
As well as this, they also
allow you to manage your
images, with advanced le
naming and keywording that
results in a fast all-in-one
workow thats suited more
towards pro users.
Dedicated raw converters
are loved by pro
popular packages are
becoming ever more
affordable, appealing to a editor such as Photoshop,
host of new users, these are but want a powerful and
denitely worth considering up-to-date program to edit
if you already own an image your raw les.

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PHOTOSHOP
ELEMENTS
Theres no denying that
Photoshop is a phenomenal
image-editing package, but a
more affordable alternative is
Adobes Photoshop Elements 12.
Like Photoshop itself,
Elements features a Camera Raw
plug-in, though while the
interface and workow
philosophy is similar to its big
brother, there isnt quite the
same number of features,
lacking more advanced controls
such as the Adjustment Brush,
Tone Curve and split-toning to
name a few.
Dont be put off by these
missing features though. While
theyre handy to have, the
Camera Raw plug-in that is
embedded in Elements 11 is a
very capable raw converter,
allowing you to process raw les
to a very good standard,
including sharpening and
noise control. For the modest
outlay, therefore, not only do
you get raw conversion software,
but also an excellent
image-editing package thatll
suit most hobbyists and
enthusiasts.
FREE OPTIONS
Bundled raw software is not
the only free raw conversion
software available. Theres a
growing number of free
programs out there such as
GIMP and Raw Therapee that
offer raw conversion.
While they may not be quite
as polished as paid-for
alternatives, they are still
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ADOBE CAMERA RAW
PHOTOSHOP
Since the arrival of Photoshop CS pulling dark areas back for a more results, while image noise
over 10 years ago, Photoshop has balanced exposure. Theres a host handling is also very strong.
included its own integrated raw of more specialised controls as Photoshops version of ACR is
converter. The Adobe Camera well, including lens correction and built into Photoshop itself, and
Raw (ACR) plug-in has evolved split-toning. with the latest version (CC) being
greatly since its inception in The algorithms and image based around a subscription
2003, and with Photoshops engine used by Photoshops ACR, service, youll have to pay
universal appeal amongst especially in the latest CS6 and monthly to use it, though its
professionals and enthusiasts CC versions, deliver excellent constantly updated.
alike, has a wide user base.
And its easy to see why as well.
From browsing your raw les in
Adobe Bridge (supplied with
Photoshop), you can then
seamlessly open them in Adobe
Camera Raw, before carrying on
editing your images in Photoshop,
offering a simplied workow.
Theres also a wealth of editing
controls available to you,
including tools such as the
Adjustment Brush, so rather than
making universal adjustments, its
possible to make adjustments to
specic, targeted areas. This is
great for enhancing sky detail or
very powerful pieces of
software that offer loads of
control. They are a great way
to experiment with raw
conversions without any
nancial risk although if
youre feeling generous and
enjoy the software, you can
make a donation to fund
either program. RAW THERAPEE
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The Interface
Here well take a look at the main interface for Adobe Camera Raw

A
dobe Camera Raw is an
incredibly powerful ADJUSTMENT BRUSH GRADIENT FILTER
program within Photoshop Very powerful tool that allows you to change Useful tool for darkening down skies for more
a host of parameters of an area of the image balanced exposures. Like the Adjustment Brush,
Elements or CS/CC to
that you brush over. features a range of parameters for you to set.
process raw les. Here well
take a look at some of the main controls
youll be using.

WHITE BALANCE TOOL

If theres an element in your image that you know
to be grey or white, use this tool to click on it and
correct your white balance.

ZOOM TOOL
Hit Shift & + keys to zoom
and Shift & - keys to zoom
out of the image. Hitting
Shift & 0 will t the
image on screen.

HAND TOOL
Holding down the space bar
allows you to move
round the image
when zoomed in.

CROP TOOL

STRAIGHTEN TOOL
If youve got a wonky horizon, drag
this out along a line you know to be
level and the image will
automatically be rotated and
cropped to the same aspect ratio.

RED-EYE
REMOVAL TOOL

ZOOM LEVELS
See how far youve zoomed into the image.

SAVE IMAGE
If you dont want to open the
image into Photoshop, but
want to save the le as a
JPEG, TIFF or PSD,
click this button.

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 WorldMags.net
PREVIEW FULL SCREEN SHADOW CLIPPING WARNING
Ensure this is ticked to see any
changes you make.
MODE If shadow detail has been lost and rendered black in
the image, this will be displayed as an area of blue.

OPEN DIALOGUE
PREFERENCES
HIGHLIGHT
CLIPPING WARNING
ROTATE If areas of your image have lost detail in
the highlights, they will appear as
blocks of red on your image.

HISTOGRAM

EXPOSURE
INFORMATION

TABS TO
OTHER CONTROLS

MENU FOR SAVING

AND APPLYING
CONVERSIONS

MAIN ADJUSTMENTS
Well cover all of these tools
on the next page.

FILE INFO
This allows you to change
the bit depth of the le.

OPEN IMAGE
Opens the image into Photoshop.

CANCEL

DONE
Closes the image but saves any
adjustments made.

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Basic Raw
adjustments
Learn how to convert a Raw le to produce a stunning nal image

C
onverting a raw
le can seem a
complex process
thanks to the
range of controls
and tools at your ngertips;
and if youve never done it
before, it can even seem like
an intimidating process.
Remember though that raw
les are non-destructive so
any changes that you make
can always be undone,
regardless of whether the
image is saved or not.
In this step-by-step basic
raw conversion guide, well
show you how to make a AFTER
series of adjustments to the
raw le that will add depth,
punch, set white balance,
recover lost detail and
produce an image thats
streets ahead of an equivalent
JPEG le.
Well be making our
changes in Photoshop CS6s
Adobe Camera Raw BEFORE
interface, but the controls are
mirrored pretty much in
Elements, while its possible
to have these controls
covered to mirror other Raw
converters.

USING THE BASIC TAB TO CONVERT RAW FILES

STEP 1 SET WHITE BALANCE

The rst thing well adjust is the white balance.
At the moment, the image looks too cool for the
scene, and while this would be hard to correct
with a JPEG le, its easy with a raw le. With
the Basic tab selected, click on Custom and
from the drop-down list of presets, select Shade.
This has warmed the shot up nicely, but to
ne-tune it, you can use the Temperature slider
to manually adjust for a cooler or warmer look.
Below that is the Tint slider, allowing you to
compensate for magenta or green casts, but
here well leave it on +10.

140
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 WorldMags.net
STEP 2 EXPOSURE
Overall, exposure is pretty balanced but well
lighten it slightly by increasing the Exposure to
+0.20. On some images you may need to
increase or decrease this, though we wouldnt
recommend further than +/-2.
In some high-contrast scenes, you may have
problems with blown highlights or shadows.
Clicking on the Highlight Clipping Warning (or O
on your keyboard), and weve got a relatively
bright patch round the sun. Using the Highlights
slider, we can recover some of this lost detail,
but we dont want to go too far as contrast can
be lost and it can look unnatural. Here, weve set
STEP 3 ADDING BITE TO YOUR IMAGE
With the main adjustments made, we can now
ne-tune the shot. First, the Contrast slider (the
amount of brightness between the lightest and
darkest areas of an image). If your image is
looking at, adding contrast is a great starting
point, but here well add a subtle amount of +11.
Well now make some bigger changes with the
nal three sliders.
Clarity is a great tool that boosts local
contrast between adjacent light and dark areas
as well as sharpening detail that avoids adding
unwanted halo effects and boosting midtone
contrast. Alternatively, you can reduce Clarity to
Highlights to -17. If youve got dark areas that
have gone to black (hit U on your keyboard to
bring up the Shadow Clipping Warning), then
its possible to recover this lost detail with the
Shadows slider here well increase it to +23.
The Whites and Blacks sliders allow you to
adjust white and black clipping clipping occurs
when a pixels colour values are higher or lower
than the range that can be represented in the
image. This means over-bright values are
clipped to output white, and over-dark values
are clipped to output black, but here well leave
both values at 0.
produce a more dream-like quality. Here well
increase it to +20.
Vibrance is a useful tool in that it boosts
saturation on the least saturated colours in the
image, while having a limited effect on the most
saturated colours. Its also good for portraits as
it stops skin tones from becoming
oversaturated. Well increase Vibrance to +15.
Finally, Saturation. This has a global effect on
colour intensity and while it can be tempting to
push the slider quite a bit, it can make the image
look unnatural. Well nish the image off by
increasing the Saturation to +10.
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Localised
Adjustments
Take localised control of raw les by using the Adjustment Brush and Graduated Filter

R
aw les are though when you dont want Brush and Graduated Filter. retrace your steps back to the
incredibly to make a global adjustment to Both are found at the top of original image very easily.
versatile, allowing an image and instead youd the interface in the toolbox Were going to study both in
you to push them rather hold back an area, or and the best thing about them detail and after youve given
much more in lighten or darken others. Two is that theyre non-destructive, them a try, youll wonder how
processing than you can a tools allow us to do just that in meaning that if youre not you ever lived without them.
JPEG. There will be times Camera Raw: the Adjustment happy with the effect you can Lets see how they work

ORIGINAL IMAGE

USING THE ADJUSTMENT BRUSH

WITH ADJUSTMENT BRUSH
The Adjustment
The Adjustment Brush is located Brush has been used
from the top of the Camera Raw here to darken the
interface and is found to the right smoke and lighten
of the Red Eye Removal tool. To
the front of the train
access it quickly you can use the
keyboard shortcut, the letter K.
As well as allowing you to take
control of exposure by physically
brushing over the image, it gives
you the option to take localised
control of contrast, white
balance, clarity, saturation as well
as sharpness. Youre given the
choice of setting the sliders rst
before making an adjustment,
but one of the best ways of using
it is to increase one of the sliders
very slightly, brush over the area
of the image where youd like to
apply an adjustment and then
tweak the sliders to create your
desired effect.
When an adjustment is made
with the Adjustment Brush youll
notice a pin is dropped on the
image. To return to an
adjustment to make further
changes after creating more than
one adjustment, youll want to
click on the appropriate pin
thats found close by.
Alternatively you can select indication of the Adjustment adjustment blends smoothly and save using the Size slider, youll
the Erase function near the top Brush feather. This should be seamlessly into a non-edited area want to get into the habit of
to brush back the original increased at the bottom of the of the image. using the square bracket
image. Hovering your cursor over interface (to a value between 80 In order to quickly change the shortcut keys, which will speed
the pin gives you a visual and 100) to ensure that a new size of the Adjustment Brush and up your workow.

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WITH GRADUATED FILTER
The Graduated Filter has
been used in this image to
pull back some detail in the
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sky and add a gradient to the
foreground

ORIGINAL IMAGE

USING THE GRADUATED FILTER

The Graduated Filter works on the Filter is to darken a sky, where

same principle as the Adjustment
Brush. The main difference is that
instead of brushing over the
image, you can pull down or pull
up a gradient lter, which is
controlled by a similar list of
sliders on the right. To select it
quickly, hit the letter G keyboard
shortcut and youll instantly nd
that the Graduated Filter gives you
the option to adjust exposure,
contrast, highlights, shadows,
clarity and saturation. The most
common use of the Graduated
highlight detail may have been
blown out as a result of exposing
for a darker subject in the frame.
To apply a Graduated Filter youll
want to click, hold and drag the
cursor as far down or up the
image as youd like. The green
dotted lines indicate where the
gradient starts, and the red dotted
lines reveal where a gradient ends.
To change the angle of the
gradient so it comes in from a
corner just drag the red dot, and if
youd like your gradient to be
based on a colour, you can select
any colour tone using the colour
picker. If youre not entirely happy
with the gradients you apply with
the Graduated Filter, theres
always the option to remove all of
them at once by clicking on the
Clear All option from the bottom
right corner of the interface.

CAMERA RAW DEFAULTS

When youre working in raw its
easy to make adjustments that
you may not be 100% happy
with. While its very
straightforward to return a slider
back to zero there will be times
when youve applied numerous
effects and youd prefer to return
to the image as you originally
opened it and start again. Theres
no way of directly doing this
when youre using the
Adjustment Brush or Graduated
Filter so youll need to return to
the Basic tab. The easiest way of
doing this is to select the Hand
tool (H). Clicking on the Camera
Raw Menu and selecting Reset
Camera Raw Defaults will return
the image to its original state as
originally opened. If you have a
change of heart and want to
return to the adjustments
previously applied, click on
Previous Conversion also found
from the Camera Raw Menu.

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Boosting Levels
and selective
adjustments
Heres how you can transform at images to ones with plenty
of impact with some simple adjustments

E
ven with the best offers a quick global x. The tool
DSLRs, images straight is called Levels and it allows you
out of the camera can to easily control and adjust the
look a little bit at, brightness, contrast and tonal
and with muddy range of an image by letting you NO LEVELS
whites and blacks. But luckily, specify the location of complete
theres a tool in image-editing black, complete white and
programs such as Photoshop that midtones in a histogram.

THE HISTOGRAM

T
he histogram is one of with no pure blacks or white, We can ne-tune this further
the most important hence why the shot looks a bit by adjusting the midtones. By
elements of digital washed out (Step 2). moving the central point to the
imaging and displays the By moving the sliders in to right a touch, we can boost it
tones in your image in graphical meet the edge of the histogram, even further (Step 4), leaving us
form. Known as the tonal range, the image instantly has more with a image with much more
darkest tones are displayed on punch and contrast (Step 3). bite than the original.
the left through to the lightest on
the right. Theres no ideal STEP 1 STEP 2
histogram, as this will vary from
image to image, but your image
will only display pure black and
white if the histogram stretches
from edge to edge; otherwise it
will only display tones in
between that.
If your histogram is bunched
up towards the middle, and not
spreading out to the edges, your
image will look at because
theres no pure black or white (or
even both).
With Levels, you can set the STEP 3 STEP 4
point for the blacks and whites,
as well as controlling the
M O D E L F R O M W W W. M I S S I O N M O D E L S . C O . U K

midtones too. Heres how to do it

with your images.
With your image open, click
on the Create new or adjustment
layer icon at the bottom of the
Layer palette, and then from the
drop-down list that appears,
select Levels (Step 1).
A Levels pop-up box will
appear and in this shot, the tonal
range is bunched in the middle,

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 ADJUSTED

SELECTIVE
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ADJUSTMENTS
While global adjustments are UNADJUSTED
very handy, more than likely
youll want to make selective
adjustments to your shots,
boosting specic areas of
the image. By pushing
different areas of the image,
we can add depth and clarity
to the photo and its easy to
do, as well show you with
this image on the right.

STEP 1 MAKE A SELECTION STEP 2 FEATHER SELECTION

The sky in this shot is ne, but the foreground is too dark, so we need to brighten this area. We need to feather the selection so we have a smooth transition. Click the Rene Edge button
Well start by selecting the Rectangular Marquee Tool from the Toolbox and making a simple and in the pop-up box, enter a Feather of 150px and hit OK. At the bottom of the Layer palette,
selection of the bottom half of the image. select Levels from the Create new or adjustment layer drop-down list.

STEP 3 ADJUST LEVELS STEP 4 FURTHER ADJUSTMENTS

With the Levels properties window open, move the right-hand slider in until it meets the edge of The gravel at the bottom of the frame still needs enhancing, so well select the Polygonal Lasso
the histogram; well also lighten the midtones by dragging the central point to the left a touch. Tool from the Toolbox and make a very rough selection round the bottom of the car.

STEP 5 BOOST CONTRAST STEP 6 SAVE IMAGE

Click Rene Edge and set a Feather of 150px and hit OK. Click the Create new or adjustment With the localised adjustments made to the image, its time to save it. If you want the ability to
layer icon and from the drop-down list select Curves, plotting a subtle S curve to boost contrast. re-edit the selections at a later date, save as a TIFF or PSD le.

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 IMAGE EDITING

BEFORE
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Cloning and Healing

Discover how to remove unwanted objects and dust marks in your shot

STEP BY STEP GUIDE

STEP 1 PINPOINT DISTRACTIONS STEP 2 SET CLONE TOOL

There are a couple of distractions in this image that we want to remove the tree just coming Starting with the tree rst, well set a Brush size of 150px, so that its a little bit smaller
into shot on the left hand side, and the road sign to the right of the car. Well remove these than the area were removing for great precision. Then, holding down the Alt key, click on
with the Clone Tool, selecting it from the Toolbox. an area of sky next to it to sample.

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AFTER
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T
he most common The Clone Tool allows you to disappears completely. painted over. This makes for a
tools that allow copy (or clone) a clean area of The Healing Brush, on the more natural, smoother blend
you to clean up the image and then lay it over other hand, is designed to clean compared to the Clone Tool,
your image and the element you want to up areas of imperfection and but because of the way it
remove unwanted remove. The trick with the works in a similar way to the generates colour and
elements are the Clone Tool Clone Tool is to make sure the Clone Tool, but the difference is luminosity from the
and the Healing Brush. Both source area that youre cloning that the Healing Brush transfers surrounding area, its not
are designed to remove from is similar in tone or the texture from the sampled always suited to objects with
unwanted distractions, but texture (ideally both) to the area and blends it in with the dened edges (where a building
they work in slightly different area around the distraction so colour and luminosity might meet the sky, say), with
ways to each other. the cloned area effectively surrounding the area being the Clone Tool being preferred.

STEP 3 CLONE STEP 4 HEALING BRUSH

Now click on the tree, and your sampled area will replace it. Continue to click on the rest of To remove the dust marks, select the Healing Brush from the Toolbox and set a Brush size of
the tree, resampling occasionally so as to avoid creating a repeating pattern, until it disappears. 70px. Now click over each mark and it will disappear. If it does result in a blurry patch though,
Well repeat this with the signpost on the right. simply swap to the Clone Tool for more precision.

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 IMAGE EDITING

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Correcting
perspective
and lens distortion
Use the Transform Tool and use the Lens Correction lter to correct distortion

BEFORE
CORRECTING
LENS DISTORTION
Some lenses can suffer from a form of
distortion, with the two main types being
barrel and pincushion distortion.
These two aws are often the result of
lenses used at their extreme focal lengths.
As the name suggests, barrel distortion
refers to an image that appears to have
been mapped around a sphere, and is
typically found in wideangle optics.
Pincushion distortion occurs more readily at
longer focal lengths, with the image bowing
inwards at the centre of the frame. As you
can imagine, either can ruin an image, but
luckily theres a way of correcting this within
an imaging program such as Photoshop.
As you can see in our image on the right,
the shot suffers from barrel distortion, with
the front of the shelf unit in the foreground
producing a particularly unsightly bow.
With the image already open in AFTER
Photoshop, we can correct this by going to
Filter, and then selecting Lens Correction. A
new pop-up window appears and in the
lters Auto Correction mode, will
automatically correct for the distortion
present. In some cases, the software will be
able to specically
pin-point the camera
and lens used and
use this data to make
really precise
adjustments.
If you prefer, you
can make changes
yourself using the
Custom tab, including
making adjustments
for vignetting and
chromatic aberration,
but Auto Correction
will usually do a
decent job.

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CORRECTING PERSPECTIVE
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Whether travelling round cities
on holiday or shooting
architectural shots, one of the
main problems is that you have
to shoot buildings from too
close a distance, as youre often
obstructed from standing any
further back.
Using a wideangle focal
length lens to cram everything
into the frame and shooting
from ground level means youre
pointing your camera upwards
and accentuating perspective.
This results in buildings
looking like theyre leaning
inwards and therefore
potentially ruining an otherwise
great shot, but with the help
of Photoshops Transform Tool,
this can easily be corrected with
a few simple steps, resulting in
perfectly upright buildings.
Heres how to do it

BEFORE AFTER

STEP 1 PLACE GUIDES STEP 2 MAKE A SELECTION

With your Rulers activated (View>Rulers), click on the left-hand ruler and then drag out We now need to make a selection of the entire image, so well select Ctrl+A on the keyboard,
a Guide and position it along a leading edge of the building that should be straight. Now with marching ants running round the shot. Now go to Edit, and from the drop-down go to
repeat this for another three or four leading edges. Transform, selecting Perspective.

STEP 3 CORRECT PERSPECTIVE STEP 4 STRETCH

Click on the top left-hand corner of the image and drag it outwards until the vertical With the image still looking quite distorted, select Distort from the Transform list and click
lines of the building match up with the Guides that we positioned earlier. Once youre along on the point along the top of the image in the centre. Do this until the image looks
happy, all you have to do is hit Return. correct to the eye and press Return.

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 IMAGE EDITING

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Advanced
Retouching
Learn how to smooth skin and accentuate eyes for awless-looking portraits

ADVANCED RETOUCHING
Whether youd like to remove a few skin blemishes or attempt more
advanced skin softening, these techniques are easily accessible with an
image-editing program like Photoshop once you know how.
When youre working on portrait images its very easy to push effects
too far and create unrealistic results, therefore its all about nding the
right balance and making effects subtle by not overdoing it.
Here well reveal how skin imperfections can be eliminated using
Photoshops excellent Clone Tool and Healing Brush to produce
awless-looking results. Well then demonstrate how skin is
smoothed the correct way in order to retain detail and texture,
before revealing whats required to enhance the eyes of the people
you shoot using Selections and Curves.

BEFORE AFTER

STEP 1 CREATE A DUPLICATE LAYER

Before starting, its important you identify the imperfections youd like to remove. With the
image open in Photoshop youll rst want to hit the shortcut Ctrl+J to create a duplicate layer in
the Layer palette. Hit the letter B to select the Brush Tool. At the bottom of the toolbox youll nd
two coloured boxes. Double click inside the foreground colour box.

STEP 4 SELECT THE SPOT HEALING BRUSH

Select the Spot Healing Brush from the Toolbox. The Spot Healing Brush should be fractionally
larger than the blemish you wish to remove as it works on a principle whereby it studies the area
around the cursor before deciding on the best pixels to use to create a seamless blend. With that
done, brush over any blemishes to remove them.

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 ENHANCING EYES
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Its not uncommon when shooting portraits for

the eyes to appear slightly dark if you havent
used a reector to bounce some light back into
the face at the point of capture.
This is a relatively quick x in Photoshop using
Selections and Curves. First, youll want to select
the Lasso tool and check that the Add to Selection
icon is selected from the options bar. Select both
eyes before feathering the selection using Rene
Edge (Select>Rene Edge). Set the Feather to
about 60% and hit OK. Go to Layer>New
Adjustment Layer>Curves. Plot a point on the
horizontal line before pulling it up slightly to
brighten the area around the eyes and the eyes
themselves. To nish, close the Adjustments panel.

STEP 2 IDENTIFY THE IMPERFECTIONS STEP 3 CLONE AWAY THE DISTRACTIONS

In the Color Picker, move the vertical slider until its set to a pink shade, then hit OK. Next circle any To refer to the previously identied imperfections simply click on the eye icon beside the Retouch
skin blemishes, hair strands or imperfections that you think require removal. Now select the layer to temporarily turn it off. Hit S to select the Clone Stamp Tool and set up a Brush size thats
background layer in the Layer palette and go to Layer>Duplicate layer. Rename this layer Retouch in slightly larger than the distraction youd like to remove. By holding Alt you can sample pixels youd
the dialogue box and hit OK. In the Layer palette drag the Retouch layer to the top of the stack. like to use as a replacement, so its just a case of brushing over any distractions to remove them.

STEP 5 SOFTEN THE SKIN
To soften the skin youll want to create another duplicate layer to work on (Ctrl+J). Now head to
Filter > Blur >Gaussian Blur and set the Radius to 20px before hitting OK. Reduce the Opacity of the
layer to 50%. Click on the Add Layer Mask icon at the bottom of the Layer palette, which can be
found to the left of the Create new ll or adjustment layer icon.
STEP 6 CONTROL THE SOFTENING OF THE SKIN
Hit D to reset the foreground/background colours to their default setting and then hit X so the
foreground colour is set to black in the Toolbox. Next, select the Brush Tool. Set up a soft-edged
150px brush with an Opacity of 50%. Brush over the areas of the portrait that you want to remain
sharp such as the eyes, eyebrows, eyelashes and lips, keeping the skin untouched and smooth.

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 IMAGE EDITING
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Advanced Black &
White Conversion
If you want to produce stunning mono images, you need to take control. Heres how...
C
onverting your
images to black
and white may at
rst appear to be
one of the
simplest tricks in an image-
editing program such as
Photoshop, while pretty much
every camera has its own
B&W lter effect. However, if
you want your mono images
GRAYSCALE
152
to really stand out, theres a lot
more to it than simply turning
down the saturation or
choosing the gritty mono
lter-effect from your cameras
menu.
By using Photoshops Black
& White Adjustment layer as
opposed to desaturating the
image or simply turning it
grayscale, you have much
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more control over the image,
being able to adjust how
colours in the image are
portrayed in monotone.
With the images colour for a more tranquil look. This
gone, youll need to rely on
contrast and selective
adjustments to convey the
mood of the image. Lightening
and darkening areas of the
image (known traditionally as
dodging and burning) will
allow you to add further depth
to the image, whether its to
impart drama or pull it back
can be done with selective
adjustments, but Photoshop
also features its own dodge
and burn tools to do this,
while boosting or toning down
contrast will add to the mood.
To get the best Black
& White images will
require some manual
input, but the results
will be worth it
HOW TO CONVERT TO MONO
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STEP 1 SELECT ADJUSTMENT LAYER STEP 2 THE BLACK & WHITE ADJUSTMENT PANEL
With your unconverted image open, select the Black & White Adjustment Layer icon in the The Black & White Adjustment panel allows you to precisely control the various colour tones in
Adjustments palette. If you cant see it, go to Window>Adjustments. Alternatively you can the image, with sliders to control Reds, Yellows, Greens, Cyans, Blues and Magentas. Starting
go to Layer >New Adjustment Layer >Black & White. with a Default set of adjustments, well now rene these to our taste.

STEP 3 DARKEN THE SKY STEP 4 DODGE AND BURN

For this image we want to add even more punch to the sky, so to achieve this well decrease Select the Background layer from the Layer palette (hit F7 if you cant see it), and from the
the Blues slider to -95, then the Cyans slider to -59 and the Magentas slider to 12. To ne-tune Toolbox, select the Burn Tool (normally hidden underneath the Dodge Tool). Select a large soft
the foreground, well increase the Reds to +115, Yellows to 75 and Greens to -40. brush (around 800px should be ne), and set the Range to Midtones and Exposure to 15%.

STEP 5 LIGHTEN DERELICT HUT STEP 6 BOOST CONTRAST AND SAVE

By gently brushing across the sky, well be able to darken it down a little, enhancing the mood. Finally, select the Curves Adjustment Layer icon and set a subtle S curve to boost the contrast.
Well now select the Dodge Tool to lighten the hut a touch. Select a smaller Brush of 600px and With that done, save the image if you want to be able to make changes to either Black and
set the Range to Midtones and Exposure to 15%. Now brush over the foreground. White or Curve Adjustment Layers, save it as a TIFF or PSD le which preserves layers.

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 IMAGE EDITING

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Toning your
SEPIA
mono images
Enhance your Black & White images by creatively toning them
CYANOTYPE

AFTER

DUOTONE

M
ono images dont
just have to be
grey. By adding a
colour tint to your
image, known as Duotoning,
you can add another layer of
mood to the photograph,
whether its a warm, yellowy
sepia look for a nostalgic feel
or a blue to add coolness to
the shot, for instance. Heres
how to create two popular
duotones that you can then
adapt if you wish.
SEPIA
With your image converted to
mono along with any other
adjustments to contrast
applied, select the Hue/
Saturation Adjustment icon
and in the dialogue box, tick
Colorize. From the Presets,
select Sepia. At the moment,
this is a little too intense, so
well reduce the Saturation
to 18 and Lightness to +6.
CYANOTYPE
Just as with the Sepia toning
effect, once youve converted
your image to mono select
the Hue/Saturation
Adjustment icon and in the
dialogue box, tick Colorize.
This time from the Presets,
select Cyanotype. Again, this
is too intense, so knock back
the Saturation to 12 and
increase the Lightness to +7.

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 AFTER BEFORE

SPLIT-TONING
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Split-toning takes toning one
stage further, introducing an
additional colour, and was a
popular darkroom technique.
Thanks to a clever mix of
processing chemicals, tones
in the image would literally
be split, which would result in
a colour shift in the highlights
and shadows.
One great way to achieve a
split-tone effect with digital
images is to create a
Gradient Map. While this may
sound quite complex, once
youve created your rst one,
its very easy and youll then
be able to start creating your
own split-tone mixes.

STEP 1 SELECT GRADIENT MAP STEP 2 MAKE A COLOR STOP

Once youve converted your image to mono, bring up your Layer palette (F7 ) and at the Click on the Gradient to bring up the Gradient Editor dialogue box. From the Presets, select
bottom, click on the Create new ll or adjustment layer icon at the bottom of the palette. From Black, White. Click a quarter of the way along so the Location is 25% to create a Color Stop. Click
the drop-down menu, select Gradient Map. on the Color, and pick a dark colour from the Color Picker and hit OK.

STEP 3 SAVE GRADIENT STEP 4 ADJUST OPACITY

Now click three-quarters along to add another Color Stop Location should be about 75%. Click The effect will probably look too strong, so making sure you have the Gradient Map layer
on the Color again and select a light tone for the highlights and hit OK. Now hit New to save the selected we can use the Opacity control to vary the intensity of it, in this case taking it right
Gradient in the Presets so you can use the gradient on another image. back down to an Opacity of 20% to produce some subtle tones.

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Sharpening
in software
While you cant
rescue an out-of-
focus shot, images
can be sharpened
for even greater
clarity and bite

I
mage sharpening
should be one of the
key steps in your image
editing workow, as
the actual image
outputted from the camera is
not necessarily the sharpest
image youll be able to achieve.
This could be down to a
couple of reasons, such as lens
optics for instance, but by
sharpening an image in an
image-editing program such
as Photoshop, it is a great way
to emphasise texture and
detail in your shot.
In essence sharpening works
by slightly blurring a version of
the original image to create a
mask, which is then subtracted
away from the original to
detect the presence of edges.
By increasing the contrast
along these edges we can
achieve a sharper nal image.
While correctly applied
sharpening can be a real
benet to your image, the
trick is to know how much to
apply. Oversharpen the image
and halos can appear round
edges in the shot, leaving you
with an unattractive,
unnatural image.

UNSHARPENED SHARPENED TOO MUCH

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RAW CONVERSION SHARPENING
Raw les really benet from
some degree of sharpening, as
theyre not processed les like
JPEGs. These les have already
had sharpening applied by the
camera at the point of capture,
but raw les are akin to a digital
equivalent of a negative.
When making your raw
conversion, youll nd that Raw
converters offer controls that
allow you to apply sharpening to
the image. Both Photoshop and
Lightroom offer a dedicated
Detail tab for instance, with
four sliders controlling the
sharpening Amount, Radius,
Detail and Masking.
Amount, as the name
suggests, controls the amount of
sharpening 0 being nothing,
with maximum being 150.
Radius is the amount to blur
the original for creating the
mask, affecting the edges you
wish to enhance.
Detail suppresses the halo
effect when sharpening, allowing
you to push the Amount further
without the image deteriorating.
Masking helps you remove
sharpening from areas of smooth
tone, so its useful when working
with skin tones and also with
clear blue skies. The higher the
number is, the more area of
the image is masked (depending
on the amount of detail in the
shot originally).
The mix you apply to your
sharpening will vary from
image to image. For instance, a
good starting point for a
landscape shot would be 40, 1,
35, 0, while a portrait might suit
35, 1.5, 15, 60.
Youll also need to zoom in
100% on your image to see any
changes made, while you can
hold the Alt key down to preview you alter each slider for even
the effect of the adjustment as greater control.

UNSHARP MASK
Images can also be sharpened in
image-editing programs such as
Photoshop, and while JPEG les
have had image sharpening already
applied in-camera, some can still
benet from sharpening later.
Wed recommend you duplicate
the layer rst before you make
changes, so any sharpening
applied doesnt save over the
original le. Instead, you have a
Sharpened layer that can be easily
altered or removed. Sharpening
should also be your nal editing
task before saving.
Unsharp Mask may sound like it
has the opposite effect to
sharpening, but like the Raw
converter process, a blurred mask
of the image is created to
ascertain edges in the image.
Found in the Sharpen category
of Filters, Unsharp Mask offers
similar control to those found in
Photoshops Raw converter, but
with no Detail and Mask sliders.
Instead, it has a Threshold control,
which controls what is considered
as an edge in an image. A setting
of 5-10 is a good starting point with
higher values seeing only high-
contrast edges sharpened.

HIGH PASS FILTER

The High Pass lter technique is
less well-known than Unsharp
Mask, but in many ways its the
better of the two sharpening
methods. This is because
the only areas that have
sharpening applied are the
edges, leaving skin tones and
clear skies unaffected.
Its a simple process, but does
require a couple of steps to
achieve. By starting with your
Layers palette open, Duplicate
the Background layer, and then
change the blending mode of
the new layer to Overlay.
With this completed, now
go to Filter, and from the
drop-down list, select Other, then
choose High Pass.
Set the Radius to 10, and then
hit OK. You can now ne-tune
the sharpening with the Opacity
slider for the duplicated
background layer: simply zoom
in to 100% on the image, and
then decrease the Opacity until
youre happy with the result.

DUPLICATE LAYER OVERLAY HIGH PASS FILTER SET RADIUS

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Home Printing
Discover the benets of printing at home

T
he immediacy of
home printing is
hard to beat.
Being able to
come back home
after a shoot, whether youve
been up at the crack of dawn
to capture a stunning vista, at
an event or just taking some
snaps of the family, and then
being able to load your images
on to your computer before
producing a beautiful print
can be very satisfying.
Theres no waiting around
for a few days for your print to
arrive in the post, or probably
something a lot of us are guilty
of planning to upload images
to an online or in-store
printing service but never
getting round to doing it.
The other advantage is that
you get total control over your
prints, making sure that
nished prints look exactly
how you want, rather than
hoping the online lab will
deliver the same colour and
density of prints that are
displayed on your screen.
Home printing does have
its disadvantages, however
not only will there be the
(sometimes costly) outlay for
the printer itself, but the media
and consumables also push the
cost up, so for light occasional
use, it may not be the best
option. Taking all of that into
consideration, heres what you
need to know to achieve perfect
prints of your images in your
own home.

CHOOSE
THE RIGHT
PRINTER
FOR YOU
Decide on whether you want a
more compact A4 solution,
the majority of which now
offer multifunctional scanning
and copying. Printers that
offers six photo inks offer the
best photo quality.
Alternatively, a more serious
A3 printer will suit those
wanting to produce large
prints on a regular basis.

PRINTER
PROFILES
To get the best results youll
want to use an ICC prole,
ensuring consistent colour and
accurate reproduction depending
on the media, ink and printer
used. Paper manufacturers
offer downloadable ICC proles
that are tailored to work with
your printer and paper
combination, which can then be
selected from your printer
prole list in Photoshop.
PAPER TYPE
While you can get away with a host of different papers,
youll want to stick with a dedicated photo paper to get
the best results possible.
Photo papers are made up from two main components
the substrate and the image coating. The substrate is the
thickness of the paper, with a papers weight measured in
GSM, or grams per square metre. Look for papers with
GSMs of around 270 and above as this will produce a nice
weight that will see it less prone to physical damage, while
also delivering that traditional photographic feel, rather
than just a lightweight paper. The image coating receives
the ink and gives the image both quality and permanence.
There are a host of surfaces to choose from, such as gloss,
semi-gloss, pearl, matt, ne art and watercolour, and the
one you choose will depend on personal taste and subject
matter. For punchy colours and detail, glossy surfaces are
often preferred, while ne art photographers often prefer
the slightly subtler tones and colours of matt surfaces.
Some paper companies offer tester packs, so dont be
afraid to try a variety of nishes to nd the surface thats
most suitable for your image.

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PREPARING AN
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IMAGE FOR PRINT
While you can let your printing software rescale an image for you
depending on the size of media youre planning on printing onto, for
professional-looking results its best to prepare the image for print
yourself. Here well show you how to make an A4 image with a
border and keyline stroke thats perfect for a portfolio or frame.

STEP 1 CREATE A NEW DOCUMENT STEP 2 SELECT IMAGE

Go to File > New in Photoshop, and in the pop-up box select International from Presets, and A4 Now go to Image>Image Rotation>180 then repeat the process of dragging out the Guides so
as Size. Well create a border of 10mm, so make sure your Ruler is visible (View>Ruler) and you have a border of 10mm inside the document. Now click on the image you want to print, hit
drag out a Guide from the top 10mm down and then 10mm at the side. Ctrl+A to select it, Ctrl+C to copy it and then Ctrl+W to close the document.

STEP 3 TRANSFORM IMAGE STEP 4 CROP AND STROKE

With your new document open, hit Ctrl+V to paste in the image. Hit Ctrl+T to Transform it and With the Marquee Selection Tool, make a selection of the part of the image that runs outside of
then move it so it snaps to the top left hand corner of the Guide. Holding the Shift key, click on the Guide and hit Ctrl+X. Go to Edit>Stroke and select Black as the Color and a Width of 5px,
the bottom right hand corner and move inwards until it meets the bottom of the Guide. with Location as Center. Hit OK and then hit Ctrl+: to hide the Guides.

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Software tips
We cant promise to turn you into a computer whizz,
but these pointers can make life easier
1 USE PLUG-INS
Software plug-ins add new
features such as noise
reduction, advanced
colour toning or extra
tools your software does
not have. Most plug-ins are
produced by third-party
companies such as onOne
Software. There are
thousands available for
Adobe Photoshop,
Elements, Lightroom and
Corel PaintShop Pro. Look
for plug-ins that will help
you speed up tasks that
you perform regularly, or
which add new features to
your existing software.
160
2 SAVE A
LIGHTROOM
PRESET
One of the most useful
features in Adobe
Lightroom is the ability to
save a preset. This is an
editing action you can
perform and repeat at the
click of a button. Once you
have edited part of the
image, for example adding
a heavy post-crop vignette,
hit the + button on the top
right of the presets panel
and create a new preset.
Tick the box of the action
you wish to replicate.
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3 REMOVE DUST ON
MULTIPLE IMAGES
If a number of your images have dust marks in the same place, you
can remove them all in one go. In Lightroom or Camera Raw, use the
Spot Removal tool to erase the mark and then, with all the other
affected images selected, click sync.
it can simply be deleted.
4 USE GUIDE LINES Either click on the point
Guides can help you check and hit Delete or drag it
if subjects are straight off to the side of the
inside an image or if Curves panel.
horizons are level. To put
on guide lines, go to View>
Ruler and drag and drop 6 FIND A
guides from the ruler at CURVE POINT
the edges of the screen. If a specic tone on an
image needs darkening or
lightening, its possible to
8 USE THE
5 DELETE AN adjust it by clicking the
RESET
ANCHOR POINT mouse while holding Cmd/ BUTTON
If an anchor point is Ctrl on the area with a Theres no need to cancel or
getting in the way of the Curves adjustment open. close down a Curves or Levels
curve adjustment and it is This will create a curves adjustment and reopen the
preventing a selection of point on the exact position control palette if you make
the curve from being that the tone is and can a mistake. Just press the
adjusted by another point, then be tweaked. Reset button, then revert
back to the original and start
again. In Photoshop, simply
hold the Alt key to change
7 CUSTOMISE Cancel to Reset.
YOUR
WORKSPACE
Most editing software has a range
of default workspaces available.
However, it is a good idea to set
up your own workspace that
caters for the way you work and
the size of your screen. Set up all
the tool bars and palettes you
wish to use and then, in
Photoshop or Bridge, select
Window>Workspace>Save
Workspace. This will be saved
and can be recalled at any time.
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9 USE ADJUSTMENT
LAYERS
Adjustment layers are
extremely useful as they
contain instructions about
how to adjust a layer
without affecting the pixels
directly. Photoshop allows
all the most common
10 AVOID PURE WHITE
AND BLACK TONES
By default, the white points of an image are set to 255 and a black point
is set to 0 in Photoshop. By opening Levels, it is possible to change the
starting point of both. This is great for reducing the amount of white
paper when printing images.
11 RATE
YOUR IMAGES
Most image library and cataloguing
software, including Adobe Bridge,
Lightroom and Apple Aperture,
have a rating system. This allows
images to be rated out of ve. Once
rated, users can lter images to see
their best shots.
12 USE THE
CLIPPING
WARNINGS
Some software offers the
option to reveal clipping
on the image as it is
adjusted, which is useful
when trying to avoid losing
highlight or shadow detail.
With Photoshop and
Camera Raw, this can be
activated by clicking on
the arrows above the
histogram, level with the
black and white points. As
shadows are darkened,
black points will turn blue
on the image. When
highlights are clipped, they
will display as red.
adjustments, including
Levels, Curves, Brightness/
Contrast, Exposure and
Colour Balance. The
setting of the adjustment
layers can also be changed
at any time, even after the
image has been saved and
reopened, provided that it
is saved as a psd le.
13 ADD A BORDER
USING CANVAS SIZE
Theres a quick way to add a coloured
border to any image. Simply increase
the canvas size by selecting Image>
Canvas Size. Select the size of the border
to be added, such as 1in to both the
horizontal and vertical dimensions to
add a 12in border. The newly created
canvas will be lled with the current
background colour, with the image
placed in the centre.
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WHAT DIGITAL
PERFECT
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