Sei sulla pagina 1di 164

NOW INCORPORATING

BEST ENTRY-LEVEL DSLRs RATED


CANON NIKON SONY PENTAX
32 PAGES OF THE BEST
PHOTOSHOP TUTORIALS

THE UK’S BEST-SELLING PHOTO MAGAZINE February 2018 £5.49

NEW WAYS
TO SHOOT
WINTER
Q Creative landscape techniques
Q Unique presentation ideas
Q Artistic table-top projects

E X P E RT G U I D E

SELECT THE BEST


FOCUSING MODE
Back up and store
image files safely

Protect photos from


online copyright theft CAMERA
REVIEWS
Discover the benefits of Sony _9, Fuji X-E3 &
your camera’s built-in Wi-Fi Olympus E-M10 MkIII

Plus! Make a fantasy


Cover image
composite in Photoshop by Ilhan Eroglu
Welcome
Learn from
the best
WATCH
FREE VIDEOS!
Visit our YouTube channel
at youtube.com/
ppmagazine to enjoy
more than 70 brilliant
how-to camera and
editing videos.

Thomas Mueller
On a mission to find
beauty in decay,
Thomas has visited
over 500 abandoned
locations and taken
thousands of
incredible images.
Read more on p112
NATASHA BREEN

38 Choose from nine creative


IME IS INFINITE AND

T
one-hour photo projects
yet we never seem to have
enough of it. Thankfully,
all you need to indulge in
this month’s issue are 60
Simone Cmoon minutes and a whole lot of
Taking the world of creativity. Why? Because this is the time-
astrophotography conscious issue (that, and we know you’ll
to mesmerising new be busy visiting family and eating leftover
heights, Simone’s turkey at this time of year). From kitchen
images capture the utensils and torches, to that old flatbed scanner mothballed in 58 Discover three presentation
breathtaking beauty
the loft, there’s a lot of mileage in familiar household items – ideas for displaying your work
of the night sky.
Turn to p124
it’s just a question of looking a little differently. It’s also time
to dig out your old toys, as we’ve included a light dusting of
Star Wars magic to coincide with The Last Jedi taking over
our lives (well, mine anyway). Turn to page 38 and find your
perfect one-hour photo project. May the Force be with you.

Ben Hawkins, Group Editor


146 Find the perfect entry-
level DSLR in our group test

Vesa Lehtimaki Subscribe now facebook.com/


Seamlessly fusing
toys with the real & get 3 issues PracticalPhotographyMagazine

world, Vesa creates


photorealistic fine for just £5 youtube.com/ppmagazine

art that Star Wars Choose from print, digital and combo instagram.com/
fans will absolutely practicalphotography
deals and get Practical Photography for
love. Use the Force less. greatmagazines.co.uk/pp
on p50 twitter.com/practphoto

PRACTICALPHOTOGRAPHY.COM 3
Febru
On the cover
146

146 Best entry-level DSLRs


22 Creative landscape skills
58 Unique presentation ideas
38 Artistic table-top projects
100 Back up and store images
109 Protect photos from theft

Skills&ideas
08
Beyond the lens
Truly stunning images from
the world’s best photographers.

22
10 clicks
Discover new ways to shoot winter
landscapes in our seasonal special.

38
One-hour projects
Feed your imagination with nine
incredible 60-minute photo ideas.

58
DIY presentation ideas
Take a more hands-on approach
to displaying your best pictures.

100
Know your stuff
Back up and store images safely,
the benefits of built-in Wi-Fi, and more.

112
Beauty in decay
Step into Thomas Mueller’s
magical world of abandoned places.
24
124
Infinite galaxies
Simone Cmoon’s nightscapes
capture the world as never before.

Student showcase
112 Regulars
162
At just 12, Josiah Launstein
06
Your free gifts
already has a portfolio to be proud of. 60 minutes of new videos,
toning presets & replacement skies.

33
Guy Richardson
How to stay warm and
active when temperatures tumble.

35
Simon Roy
A robin sat on top of a fork
handle is just the beginning...

120
Camera know-how
46
Take control of focusing
settings to ensure sharper shots.

4 PRACTICAL PHOTOGRAPHY
Subscribe
Save money
NEW! with the latest
32-PAGE reader offers
Photoshop EDITING
GUIDE
See p36

155 Genius
68
Retouch RAW portraits
Fix colours, lift the exposure and
smooth out skin in Adobe Lightroom.

72
Make a fantasy composite
Merge multiple images with Layers
and silhouettes for truly magical results.

76
3 ways to inject style
Recreate a trio of simple toning
72 Create a fantasy composite using
techniques in a matter of minutes.
Layers and graphic silhouettes

80
Replace overexposed skies
Drop in one of our free replacement
skies and give your landscapes a boost.

82
Create striking silhouettes
Turn your people pictures into
colourful pieces of wall art in three easy steps.

84
Shoot a time-stack
Capture the passing of time and freshen
up your landscapes with this new project.

90
Photo fixer
PP’s Photoshop genius Dan Mold
works his magic on your best images.
68 Retouch your RAW portraits in
FREE! Lightroom presets Lightroom in just five simple steps
96
Tone your pictures in a single click
with 25 exclusive presets for Lightroom.

GetIntoGear
138
Sony _9
With 20fps shooting speed and
amazing AF tracking, is Sony’s latest
mirrorless model really the ‘DSLR killer’?

142
Fujifilm X-E3
128 The sleekest X Series yet takes
Fuji further into the world of touchscreens 51 Make photorealistic scenes
and lightweight ‘go anywhere’ cameras. using miniature toys and models

138 In-depth review


Olympus E-M10 MkIII
144 of the Sony _9
It’s very similar to its predecess
in appearance and spec, so is the late
E-M10 really worth the upgrade?

146
Entry-level DSLRs
The ten best beginner-
friendly models from Canon, Nikon,
Pentax and Sony go head-to-head.

154
Mini tests
Kodak 360º, digital photo
frames, camera sliders and more.
Your FreeGifts
Over an hour of new camera and editing videos,
toning presets, replacement skies and much more.

60
MINUTES
OF EXPERT
ADVICE

The table-top
project special!
The Practical Photography team head indoors
to bring you a variety of brilliant fine art and
presentation ideas that will keep you inspired
Expert tuition and motivated through the winter months...
QDan uses a premium compact and a drill to
get inside an acoustic guitar and find a very
different viewpoint of a very familiar object.
QLouise shows off a trio of ingenious
presentation ideas, from DIY canvasses
to Polaroid-inspired photo scratchcards.
QKirk cooks up a tasty food still life setup
Creative skills in his kitchen using a flashgun, diffuser and
a sprinkling of creative flair.

Contact us if you have any


problems with your free gifts
practical.photography@bauermedia.co.uk
Practical Photography, Bauer Media,
Media House, Lynch Wood,
Pro hints & tips Shooting advice Peterborough, PE2 6EA

THREE
Plus More free photo gifts BONUS
VIDEO
GUIDES
Camera
Buying Guide
Unsure about which
camera is best for your
needs? Our ebook
includes reviews, spec
and prices for every
camera available right Toning presets & skies Photoshop video lessons
now. The latest Get 25 one-click Lightroom effects, from Retouch RAW portraits in Lightroom,
additions include the moody mono to punchy colour and even replace an overexposed sky, and turn
Sony _7R III and artistic borders, plus 13 dramatic skies your people pictures into colourful
Panasonic G9. for improving your overexposed scenics. silhouettes in Photoshop or Elements.

DOWNLOAD THE DISC CONTENT AT bit.ly/ppdisc1802


6 PRACTICAL PHOTOGRAPHY
THE NEW PERSPECTIVE

I AM THE NEW NIKON FULL FRAME D850. The powerful


combination of high speed and high resolution. With Nikon’s 45.7MP
back-illuminated FX CMOS sensor and the speed of 9* fps shooting, the new
D850 unlocks a new world of opportunity. Whether you’re shooting weddings
or landscapes, commercial, sports or fashion, with ISO 64 to 25600,
a class-leading optical viewfinder, 153-point AF, silent mode shooting, long
battery life, 8K time-lapse** and full frame 4K UHD video, the D850 captures
images and video you’d never have thought possible. Equip your new D850
with your prized NIKKOR lenses to capture more. Learn more at Nikon.co.uk
*Requires the optional MB-D18 Multi-Power Battery Pack, EN-EL-18a/b battery, BL-5 battery cover and MH-26a charger.
**Requires Interval Timer settings and 3rd party software.
The stories behind the world’s greatest shots

8 PRACTICAL PHOTOGRAPHY
Russian sunrise
by Daniel Kordan
O To take this photo I woke up long
before sunrise in a mountain hut at
the foot of Taganay National Park, in
Russia’s Ural Mountains. I hiked up the
mountain in -30°C, reaching the top an
hour before sunrise, and then the show
began. The clouds turned pink and red,
and danced around the sky, so I quickly
took advantage of the amazing light.
Nikon D810 | 19mm | 1/13sec | f/16 | ISO 160

Daniel Kordan is an award-winning


landscape photographer who has
featured in National Geographic
and includes Apple and RedBull
among his key clients.
danielkordan.com

PRACTICALPHOTOGRAPHY.COM 9
Shipwreck
by Eric Volto
O My wife and I like to snorkel down to
the wreck of the Pecorella, which is at
the exit of a gulf near the town of Porto-
Vecchio in Corsica. This 45m-long boat
struck a rock in 1965 and sank almost
immediately. Today, it’s 10m deep, but
the top of the boat rises to 5m. The
sight of this magnificent wreck living in
such accessible waters is fantastic.
Nikon D750 | 15mm | 1/250sec | f/10 | ISO 640

Eric Volto has been a diver for


over 10 years. He creates
amazing underwater photos, but
also enjoys heading to dry land to
shoot landscape images.
500px.com/ericvolto

10 PRACTICAL PHOTOGRAPHY
BeyondTheLens

PRACTICALPHOTOGRAPHY.COM 11
Displays of power
by Alari Kivisaar
O When you’re stationed at a wildlife
bunker, with eagles visiting the area often,
getting a shot of one isn’t particularly
hard. However, what is difficult is
capturing an image of two fighting. You
can wait for hours, or even days, and
this moment may never come. If it does
eventually happen, it lasts for mere
seconds. And if you take your finger
off the shutter button you can miss the
moment, which is heartbreaking. This
time luck and patience were on my side.
Nikon D3 | 400mm | 1/1600sec | f/2.8 | ISO 800

Alari Kivisaar is a passionate


cityscape, landscape and
wildlife photographer who is
based in his home town of
Haabneeme, Estonia.
500px.com/alarikivisaar

12 PRACTICAL PHOTOGRAPHY
BeyondTheLens

PRACTICALPHOTOGRAPHY.COM 13
Step by step
by Mustafa AbdulHadi
O I love exploring other cultures, so when
I was visiting China I knew that I wanted
to catch the Lijiang Impressions show,
which demonstrates the traditions and
lifestyle of the native people. The first
day I went the weather was so foggy
that I could barely see anything, which
was so disappointing. However, on my
second visit I was able to capture this.
Canon 5D MkIII | 105mm | 1/500sec | f/8 | ISO 640

Bahrain-based Mustafa
AbdulHadi is a designer and
freelance photographer who
enjoys studying the different
aspects of people’s lives.
mustafaphoto.com

14 PRACTICAL PHOTOGRAPHY
BeyondTheLens

PRACTICALPHOTOGRAPHY.COM 15
BeyondTheLens

King of the hill


by Diana Amelina
O I named this image after the
universally known children’s game,
where the object is to stay on top of a
large hill at all costs. The preparation
for this shot took some time, as I
needed old books and ornate chess
pieces. I used an old microphone
stand and some string in order to
capture the falling pawn in motion.
Canon 5D MkII | 50mm | 1/2sec | f/8 | ISO 250

Diana Amelina is a still life


photographer based in
Moscow, Russia. Her creative
reinterpretations of household
objects are very popular.
500px.com/eruven

16 PRACTICAL PHOTOGRAPHY
8OWUDIDVW SRZHUIXO DQG LPPHUVLYH
SKRWR HGLWLQJ ZKHUHYHU \RX JR

$))Ζ1Ζ7< 3+272 WKH UVW IXOO\IHDWXUHG


WUXO\ SURIHVVLRQDO SKRWR HGLWLQJ WRRO IRU L3DG

ȊΖWȇV PRELOH SKRWR HGLWLQJ ȆQHDWȇ QRW ZDWHUHG GRZQȐKDYLQJ


VRPHWKLQJ OLNH WKLV IRU L3DG LV H[WUHPHO\ H[FLWLQJȋ Ȃ 6/5 /RXQJH

Ȋ6HULI KDV SXW D WRQ RI IHDWXUHV LQWR WKLV PRELOH DSSOLFDWLRQ DQG LW
ORRNV UDWKHU LPSUHVVLYHȋ Ȃ ΖPDJLQJ 5HVRXUFH

Ȋ7KH L3DG 3UR PDGH LW LPSUHVVLYHO\ HDV\ WR DFKLHYH JUHDW UHVXOWV


ZLWK $ɝQLW\ 3KRWRȋ Ȃ 6WX

Editors' Choice $OVR DYDLODEOH RQ 0DF DQG :LQGRZV _ 1R VXEVFULSWLRQ


CAPTURING NEW
DIMENSIONS
Photography: Jianjun Wang

Find out more at


phantom.dji.com
Kn wledge THE
The latest news from the world of photography

CA M ER A

New G9 ideal for


epic landscapes
Micro Four Thirds expert G9 has to be the new High
Panasonic has announced Resolution mode, which
the latest addition to its shifts the sensor one pixel at
flagship range, the Lumix a time. The camera then
G9. Aimed at enthusiast- combines eight resulting
BODY PRICE
level photographers, it’s on shots to create a single
a par with the excellent GH5, image of up to 80MP in
£1499
however it has a keener size. While it won’t work IMAGE RESOLUTION
Above The G9
focus on stills rather than with motion, it’s a great 20.3MP is the latest
video. Offering a 20.3MP feature for anyone VIDEO hero product
Live MOS sensor and 6K wanting to capture epic 4K for the Micro
photo modes, such as Focus landscapes. Another plus Four Thirds
Stacking, Post Focus and for serious photographers is manufacturer,
burst modes, the G9 has a the EVF, which offers a huge and is aimed
very impressive spec sheet. 0.83x magnification and squarely at stills
photographers.
A class-leading 20fps zero blackout.
burst speed and speedy This latest entry is sure
focus of 0.04sec make the to excite those already
camera perfect for anyone invested in the Micro Four
interested in wildlife Thirds system, and on
photography. It also boasts paper looks to incorporate
the inclusion of 5-axis some very impressive
in-body Dual I.S. 2 image features. Check out our
stabilisation, which full review next issue.
promises a massive 6.5 The G9 is available from
stops of compensation. But January 2018 for £1499
the standout feature on the (body only). panasonic.com

CA M ER A HIR E

Rent-a-Blad
Medium-format Hasselblads are the cause of camera
envy the world over, and owning one is often seen as
the pinnacle of a photographer’s career. Unfortunately,
the cost of owning one excludes most of us from even
breathing such rarefied air, with body-only prices
starting at £8000. However, that’s set to change,
as Hasselblad has just launched a rental service
where you can obtain the stunning X1D-50C 4116
edition for the grand sum of £78 per day (lenses will
set you back another £24 each). If you fall in love
with the kit, you can even offset your rental price
against the cost of purchase. hasselblad.com

20 PRACTICAL PHOTOGRAPHY
News

RumourMill
Hotly anticipated products
we can expect in 2018...

Canon 15-45mm
f/1.8-3.5
Anybody currently in
love with their EOS M
mirrorless camera is in
for a real treat, as we’ve
seen a reported Canon patent
for a brand new wide aperture
zoom lens. Offering a perfect

Drone registration walkabout focal length range


of 15-45mm and a maximum

to curb dangerous fl aperture of f/1.8-3.5, this


lens is set to bring something
truly unique to the system.
The government is expected to create a bill in 2018 designed Above A series We don’t have an ETA, but
to tighten the regulations regarding civilian drone usage. It is of high-profile all fingers are crossed for a
anticipated that the Department for Transport will head up this new drone-based 2018 release. canon.co.uk
incentive, which will see police officers demanding drone users misadventures
is forcing the
cease and desist operation should they infringe on the new laws.
CAA to rethink
One expected inclusion in the bill is mandatory drone
the regulations
Canon EOS
registration. This is already compulsory in America for any craft on drone 7D MkIII
weighing over 250g and, should a similar weight limit be imposed usage by the Canon has had a
here, it will certainly affect most of DJI’s current line-up. general public. number of big releases
The policy director of the CAA (Civil Aviation Authority) has already this year, but we’ve
acknowledged the economic and workplace benefits, and supports not seen any sign of
the safe development of drone usage in the UK. He also confirmed that the 7D MkIII until now.
he’s in favour of increasing operator training and creating no-fly zones. Rumours have started to
circulate that an update to
the popular 7D MkII will emerge
SOCI A L M EDI A around March 2018. While
there are no official details or
specs yet, we’ve heard that
Facebook now Canon has a new type of sensor
technology which it will unveil
supports 4K in this model. It’s also expected
to be the first non full-frame
image files body to come with 4K UHD
video capture, which is a giant
News that American social media
leap forward. canon.co.uk
giant Facebook has incorporated
high-resolution photo sharing into its
Messenger service is very welcome.
Users will now be able to send and BOOK Panasonic Lumix
receive images at a resolution of GH5S
4096x4096 pixels, which is twice the Speculation is rife that
previous limit. Facebook is one of
the biggest photo-hosting sites on Inspiring scenics Panasonic will shortly
release a Lumix GH5S.
the planet, and its messaging app
sees more than 17 billion images from world’s best This new addition will
stand alongside the newly
shared every month. Having the Edited by our good friend, the talented announced G9, offering
ability to show your images as you a more video-orientated
Ross Hoddinott, this beautiful hardback
intended them to be seen, is a real experience. While reliable
book features the créme de la créme of
bonus. facebook.com specs are scarce, we expect
landscape photographers. Showcasing
some of the most stunning work by it to include a lower resolution
sensor, which will improve the
renowned artists such as Joe Cornish,
low light performance. It’ll also
Art Wolfe and Tom Mackie, to name but a
include 4K video at 120fps,
few, Masters of Landscape Photography meaning amazingly high-quality
is published by Ammonite Press, and is slow motion footage. We’ll
available online and in bookshops now share further details as soon as
for £25 (RRP). We highly recommend you we have them. panasonic.com
pick up a copy. ammonitepress.com

PRACTICALPHOTOGRAPHY.COM 21
WINTER
LANDSCAPE
SPECIAL

What to shoot with your camera right now

22 PRACTICAL PHOTOGRAPHY
SUNRISE TIP
EXPERIMENT
#1 Chase the golden light WITH FILTERS

Canon 5D MkII | 29mm | 8sec | f/22 | ISO 100


Adrian found that his neutral
density filter was too strong
OInvesting time and money into was greeted by a dark cloudy through the cloud. for the conditions, so used
a landscape shoot, only to have sky with no chance of a decent It only lasted a a polarising filter, which
the weather thwart your efforts, sunrise. We were disappointed, couple of minutes, 'only' doubled his
can be really disheartening. but decided to press on and but that was enough exposure.
However, Adrian Petrisor (500px. see what we could get. to capture this shot.
com/adypetrisor) didn’t let a “Once we reached our “Nature is full of
disappointing start ruin his shoot. location we set up our cameras surprises, and even if you see
“I was in the Dolomites on a and waited. After 40 minutes of bad weather it’s always worth Below Adrian shot a
photo tour, and one day we woke telling jokes and thinking about trying anyway. Some of my best long exposure to create
up early to catch the sunrise. I what to have for breakfast, a landscape images have been a sense of movement
stepped outside my cabin and little bit of light started to spill taken after rain or storms.” with the clouds.

PRACTICALPHOTOGRAPHY.COM 23
10Clicks

DRONES

# 2 Search for an unusual viewpoint


O If your local area is blessed are definitely my favourite my drone to capture it. set my device to stay in the
with a sprinkling of snow this places to visit, and I took this “The weather that day was air for as long as possible
winter, then why not get a shot over a valley between very cloudy, which provided before I fly it back manually.
fresh perspective on a familiar two of them – Rila and a soft and uniform light. The However, due to a technical
landscape? Ognian Medarov Rodopi – here in Bulgaria. f/2.8 aperture allowed me problem with the display, I
(500px.com/ognian) used his “Small streams of very clear to use a fast shutter speed, had to navigate it back by
drone to create a fairytale-like cold water pass through the which was essential in order sight alone. Unfortunately,
depiction of this snowy valley. pine forests and meadows. to reduce the effect of the the drone had merged so well
“I don’t think there's anyone They meander along freely, motor vibration and the wind. with the white background
on Earth who could climb to as if a painter has drawn “Flying a drone does tend that I couldn’t see it at all.
the top of a mountain and them on a white sheet. I to have its own problematic Eventually, I had to turn on
not admire the view when thought that this would make moments, and this day the automatic return so that
they get there. Mountains a great photo, so I sent up wasn't any different. I usually it didn’t run out of battery.”

24 PRACTICAL PHOTOGRAPHY
Pentax K5 | 90mm | 1/80sec | f/2.8 | ISO 200
TIP
USE YOUR
DRONE SAFELY
Drone use is growing rapidly
and it’s important that you
fly yours safely and legally.
Before taking to the skies,
visit dronesafe.uk for
official info.
DJI Inspire 1 | 20mm | 1/3000sec | f/2.8 | ISO 100

N AT U R E

# 3 Scour your garden


O Before you go stomping off into had turned white. Consequently, I
the wilderness to capture epic decided to take my camera on a little
landscapes, take some time to walk. I wanted to take a picture that
explore what’s sitting in your own would make the viewer feel the cold
back garden first. Sébastien Blomme when looking at it. However, before
(donlopephotography.com) created I’d even left my back garden I noticed
this shot just steps from his home. these small blades of grass covered
“When you’re a macro photographer, in ice, and I knew that this would
winter is often considered an make an excellent photo subject.
off-season. Motivation is usually quite “One of the first things I learned in
low, as there aren’t any more butterflies, macro photography is that it’s better to
dragonflies or flowers to play with. be at the same level as your subject –
Nevertheless, when you’re willing to even if it’s freezing cold and it’s only two
lay down on the ground, you can still centimetres off the ground! This shoot
find lots of little beauties to explore. taught me that it’s not necessary to go
“On this particular morning, I woke to the other side of the earth for great
Above Search for striking visual early to find that the grass was covered pictures. Sometimes, you literally just
patterns when flying your drone. with hoarfrost and the whole landscape need to look at what is at your feet.”

PRACTICALPHOTOGRAPHY.COM 25
10Clicks

TIP
BE AWARE OF

Fujifilm GFX 50S | 32mm | 1/5sec | f/22 | ISO 100


COMPOSITION
YOUR FOCUS
Focusing so close to the lens,

# 4 Find a natural frame regardless of aperture, will


result in a soft background.
Focus stack if front-to-
O Whether it’s twisting tree it all becomes worth it. against a stormy sky. With back sharpness is
branches curling their way “One of my favourite places the heavens opening, I essential.
into your shot, or some leaves in the world is Torres del Paine scrambled for cover amidst
creeping over the edge of National Park, situated in the razor-sharp rocks and
your image, using something Chilean Patagonia. The eerie prickly chaura shrubs.
in nature to frame your fields are filled with burnt “When the storm began
composition can transform lenga trees, whose tangled to subside, I spotted a scary
a photo. Timothy Poulton trunks appear dark and horn-shaped tree and found
(500px.com/tpoulton001) Dali-esque. These victims of a spot that framed the peaks
used this technique when two recent forest fires are a of the mountain Los Cuernos
travelling in South America. tangible example of the impact perfectly. Positioning myself
“To be a landscape humans have on the planet. only a foot away from the
photographer you need to “As I traversed the tree, I decided to focus on it,
be a little bit mad. Getting Patagonian plains in search softening the mountains and
up at silly hours, hiking of unique compositions, sky slightly to create a sense
around in the dark, braving long-legged guanacos grazed of depth and distance. With
storms and risking life and amid the grassland, lifting the changeable conditions
limb is just part of the job their heads quizzically as I producing a moody backdrop,
description. However, when passed. Overhead, majestic I waited to capture the moment Above Use a wide-angle lens to
you experience the rare caracaras, a type of forest when the weather perfectly capture as much of your natural
commodity of excellent light falcon, carved black shapes suited my composition.” frame as possible.

26 PRACTICAL PHOTOGRAPHY
Canon 5D MkIII | 16mm | 1/60sec | f/4 | ISO 200

T R AV E L

# 5 Explore the wild


OIt may be the dead of winter, night up on one of the surrounding
but if you’re serious about your mountains instead of going to a
landscapes, that’s no excuse for hostel. After making our way uphill
not getting out there. Head off for a while, we found a great open
for an adventure at your closest view over the lake and stopped to
stretch of nature, such as a set up camp. Once we were done
national park or a local wood, I laid in the tent and watched the
and you could be rewarded with sun set behind the mountains.
fantastic winter landscapes. Daniel As I was enjoying the splendour,
Ernst (danielernstphoto.com) I picked up my camera and took
shot this immersive image while a shot laying exactly how I was.
travelling through New Zealand. “I think people like this photo
“I love hiking, as I enjoy being in because it shows an authentic
nature and the physical challenges moment that many of us are
of preparing for epic adventures. craving. I get a lot of comments
Journeying somewhere new and from people who want to
battling against the natural forces escape their daily routine and do
of wind, hail and rain allows me something exciting. Many of them
to clear my mind and somehow want to head out for a hike and
reset my brain. The longer I spend camp somewhere beautiful.
outside, the more relaxed I feel. “This image, with my legs and Above Explore your
Most of the time I don’t have tent framing the beautiful landscape, local nature reserve
or woodland to find
any mobile reception, so I’m not allows the viewer to more easily
fresh inspiration.
bothered by emails or calls. imagine themselves in the same
“I took this shot in New Zealand, situation. I think this gives my shot Left If you’re
while hiking around Queenstown a really personal touch. Landscapes handholding like
with a friend. We’d hitch-hiked are an exciting genre, because Daniel, use a
our way from Glenorchy all day, no day is the same and you never minimum shutter
and had decided to spend the know what you’re going to get.” speed of 1/60sec.

PRACTICALPHOTOGRAPHY.COM 27
10Clicks

TIP
FIND A CLEAR
FOCAL POINT
With heavy blur creating such
an abstract shot, you’ll need a
definitive focal point to lead
the eye through the frame
and stop the shot
looking messy.
Canon 7D | 24mm | 1/2000sec | f/8 | ISO 400

BLACK & WHITE

# 6 Craft your own mono abstract


OThink of the seaside, and now is to take a leisurely achieve the stretched effect
the mind conjures up the stroll down the promenade that you can see in the
bright hues of sun, sea and and watch the people as promenade. It also made the
sand. The flat weather of they pass by. This simple people themselves appear
British winter isn’t conducive pleasure is what inspired smaller and more distant.
to such colourful ambitions, the photograph above. “I loved this photo in its
but embracing the dark “I took this shot with a original format, but as soon
can lead to beautiful black tripod set at a very low angle as I got it home I knew that I
& white abstracts, like in order to capture a family could create something even
this one by Josh Adamski heading off into the distance better. I loaded the image into
(joshfineart.blogspot.com). to see the sunset. I had my Photoshop and continued
“Ever since I was a young Canon 7D and a very versatile to manipulate it until I was
boy I’ve always loved going 24-105mm lens with me, which happy with the results. I
to the beach. The fun of the was perfect for this photo. used several different Layers
sand and sea never grows “I set the lens to a wide and copious amounts of
old, and I’ve always tried my focal length of 24mm so blur in order to bring about Above Convert to black & white
best to live close to it. One I could capture as much this somewhat dark and in Photoshop by going to Image
of my favourite things to do detail as possible, and mysterious atmosphere.” >Adjustments>Black & White.

28 PRACTICAL PHOTOGRAPHY
L I G H T PA I N T I N G

# 7 Create
atmosphere
OWhile epic vistas and extraordinary
landscapes are all well and good, you don’t
need to visit far-flung locations to capture
amazing images. James Mills (500px.com/
jamesmills1) shot this enchanting photo
just a stone’s throw from his front door.
“I took this shot near my home at Stanton
Moor in the Peak District, a magical place
littered with Bronze Age remains. It was the
first snow of winter and there was a little mist
hanging in the air – the perfect combination
for a blue hour woodland landscape.
“I placed my camera on a tripod and set the
exposure to 30sec to capture the ambient light,
plus give me enough time to light the path. I
clicked the shutter and quickly walked down
the trail with my torch, being careful not to get
my legs between the light and the camera.”
Canon 5DS R | 28mm | 30sec | f/5.6 | ISO 400

Above Powerful LED torches are ideal for this


light painting technique, and start at just £15.

Canon 5D MkIII | 100mm | 1/125sec | f/3.2 | ISO 200

MACRO

# 8 Focus accurately
O Shooting with a wide aperture on a macro lens can make focusing
tricky. However, by taking your time and double-checking your shot, you
can create amazing images like Kimber Leigh (500px.com/kimberleigh).
“While walking in my nearby park early on a cold, clear winter morning,
I was drawn to the beauty of the golden light sparkling off the frost-covered
ground. Every autumn, the lush green needles of the conifer trees burn a
brilliant orange, before falling to the ground to form the loveliest carpet of
needles and branches. To capture this shot, I laid flat on the ground with
the sun behind my subject. I used a wide aperture so that the branch was
framed by a soft, dreamy blur of bokeh. My macro lens captured the
details of each tiny crystal of ice and the warm glow of the morning
sunshine. This moment was fleeting, as the sun soon shifted and the
sparkle was gone. Just the memory, and this photo, remained.”

PRACTICALPHOTOGRAPHY.COM 29
10Clicks

Canon 5D MkII | 17mm | 90sec | f/8 | ISO 200


MINIMALISM

# 9 Capture cloud movement


OBeing able to record the At low tide, with around two meant that I could have a
passage of time is one of the miles of golden sand, it’s a long exposure to capture
best aspects of landscape great location for capturing cloud movement and smooth
photography. Chris Upton minimal seascapes. out the surface water lying
(chrisuptonphotography. “On this occasion, the on the sand. I also used an
com) uses ND filters to great dramatic fast-moving clouds ND grad to retain detail in
effect, and inspires others to were reflecting in the wet the sky, which meant that
do so on his photo tours. sand. I decided to use a my overall exposure was
“I took this shot at 10-stop ND filter to give 90sec, which was perfect for Above Use a remote shutter
Watergate Bay in Cornwall. the shot more impact. This this minimal landscape.” cable to avoid camera shake.
Canon 5D MkIII | 16mm | 1/250sec | f/2.8 | ISO 400

PORTRAITS

#10 Shoot a friend


O Introducing a figure into your landscape is a fantastic way
to expand your portfolio beyond a typical vista. Anthony
Sotomayor (500px.com/aroyamotos) took this photo in Iceland.
“I shot this image on the way out of a waterfall I was
exploring with a friend. There was a large rock, and I asked my
friend Sam to stand there, as the light and mist had created
a warm magical scene. I knew I wanted to expose for the
light source and keep everything else dark, so I aligned Sam
between the two walls and pressed the shutter. Sometimes
all you need is one shot to capture the moment.”

30 PRACTICAL PHOTOGRAPHY
PPFEB18
GUY RICHARDSON
ADVENTURES OF A WILD LANDSCAPE PHOTOGRAPHER CHILLED CHALLENGES

INTER IS A FANTASTIC TIME OF YEAR TO gloves designed with photographers in mind, but I’ve found a thin

W capture great images. The low sun provides soft


directional light throughout the day, and snow and
ice transform scenes into something really special.
Sunrise and sunset occur at much more sociable hours than other
times of the year too. The season does come with a few challenges
pair of liner gloves work perfectly with the camera. And when I’m
not using my camera, I stick on a thicker pair to keep my hands
nice and cosy.
Toasty toes Keeping your feet warm and dry is essential when
out in the winter months, especially if you’re in mountainous
though, and none more so than the issues it causes our cameras terrain. A long day of walking can be hard on your legs and feet.
when it’s so cold. Here are my tips for when temperatures tumble. If you look after your feet, they will look after you. A decent pair
of 3 to 4 season waterproof boots will provide you with the
Batteries warmth and support you need. Don’t forget some warm socks too.
There’s nothing worse than watching your battery power drain Layer up Rather than throwing on the thickest jacket you have
away when you’re out on location, only to find out that when you get
and cold weather only accelerates moving you’re far too hot, try a simple
this. Although camera batteries are “I’LL DROP A COUPLE layering system instead. A thin base
now more efficient and powerful
than ever, cameras have become
OF BATTERIES INTO layer will keep sweat from your skin
and an insulated layer, such as a fleece
equally dependant on them. MY SLEEPING BAG...” or down jacket, will keep you warm
Be frugal Turn off Live View when when you’re not moving. Finally, a
you’re not using it, even if you’re just changing a filter or waiting windproof/waterproof jacket will add that extra layer of
for the light to change. The LCD is one of the biggest consumers protection when you really need it.
of battery power, so only use it when you need it.
Plan ahead For longer trips invest in a USB battery charger. That Cameras & lenses
way you can plug it into the car or power bank, keeping you going Home & dry Keeping your equipment dry is essential to making
without having to stop to find and use a plug in a café (though this sure it lasts the winter season. I advise keeping it sheltered from
isn’t always a bad thing!). the elements at all times. I often use a number of small drybags to
Keep them warm Carry spare batteries close to your body to store my equipment in my backpack and only take them out when
keep them warm. A trouser pocket will do the job but an internal I need them, especially in adverse weather.
chest pocket is even better. If I’m camping, I often drop a couple
of batteries into my sleeping bag overnight.
Guy Richardson is a professional landscape photographer
Clothing and time-lapse filmmaker. His images are used by some of
Freezing fingers Operating a camera with fiddly buttons with the UK’s largest tourism and conservation groups, including
freezing hands is tricky/almost impossible. There are a number of Visit Britain and The Woodland Trust. guyrichardson.com

PRACTICALPHOTOGRAPHY.COM 33
Repeat Winner of the TIPA Award

‘ Best Photo Lab Worldwide’


Awarded by the Editors of 28 International Photography Magazines

© Furniture by Vibieffe

Fill your walls with picture-perfect memories.


With gallery-quality prints from WhiteWall.
Your photographs under acrylic, framed, or in large formats. Our products are ‘Made in Germany’
and crafted by experts who have earned over 100 awards & recommendations. Upload and set your
custom format – even from your smartphone.

WhiteWall.co.uk
SIMON ROY
ADVENTURES OF A WILDLIFE PHOTOGRAPHER WINTER WONDERS

HE COLDER WEATHER, SHORTER DAYS AND them. The weather had turned very cold and winter storms were

T lack of natural food make the winter garden an oasis for


many wild creatures. The need to feed leads to bolder,
more competitive behaviour and this can give the
wildlife photographer ample close encounters with usually timid
subjects. Unfortunately, it’s not always that easy though, as
on the horizon. That evening, I threw a few more apples out and
was pleasantly surprised the next day to see the bird return.
For once the forecast was right and it began to snow. The
fieldfare stayed all day and I knew this was a great opportunity to
capture some nice images. The next morning, I looked out upon a
unpredictable weather can make opportunities fleeting. Being landscape of brilliant white with only a few trees breaking the void.
prepared is, therefore, essential. The light was good and I felt confident the bird would visit again.
I typically plan my shots in advance, and by that I mean I start I wanted to shoot from ground-level, so used a plastic
putting food out in early autumn. groundsheet to keep me dry and a
This gives the wildlife time to get beanbag to support my gear. I
used to a setup and become “THE NEED TO FEED wrapped up in my usual camouflaged
confident with it before the colder clothing but realised I’d stand out too
weather arrives. One of the classic
MAKES THE WINTER much against the white snow. A bed
winter images I aim for every year GARDEN AN OASIS FOR sheet was the solution, draped over
is a robin sat on top of a snow- me and my camera with just the front
covered fork handle. This is an easy MANY WILD CREATURES” of the lens poking through.
winter project that is suitable for I placed some apples on the snow
photographers of all levels and gardens of all sizes. I start by directly in front of my makeshift hide and then crawled in. A
creating a small feeder using the top half of a plastic bottle short time later I heard the fieldfare calling from the tree above
screwed into a straight stick and then pushed into the ground. I me and then it just dropped in and started to feed. I lined a single
add seeds or chopped nuts, then wait for a robin to visit. I place a AF point over the bird’s eye and took a shot.
prop, such as a garden fork, next to the feeder with the handle The sounds of the shutter caused the fieldfare to look up for
about a foot above, as birds tend to use a higher perch to check for an instant, but it was quite content, and continued nibbling its
danger before feeding, or to protest from when the food is gone. prize. By the following morning, both the sun and temperature
With everything in place, it’s just a case of waiting for the snow... had risen, the snow was disappearing and my visitor had gone.
A few years ago, I had a lovely encounter with a fieldfare that
visited my garden for several days. I’d been leaving old apples out
on the lawn for the blackbirds, robins and dunnocks, and one Simon Roy is an award-winning wildlife photographer based
morning I looked out and noticed a beautifully marked bird in Yorkshire. His images have been highly commended in both
munching away on the fruit. Fieldfares are large, colourful the British Wildlife Photography Awards and International
thrushes that migrate to the UK from Scandinavia. I had often Garden Photographer of the Year competitions.
seen flocks flying overhead but never had a chance to photograph simonroyphotography.co.uk

PRACTICALPHOTOGRAPHY.COM 35
SUBSCRIPTION OFFER

Get the next 3 issues


for just £5 f to a great start with
ney-saving offer!

Option 1 Option 2 Option 3


Delivery to your door Delivery to your iPad edition for
plus instant access door every issue instant access
Six-monthly Direct Debit: Six-monthly Direct Debit: Six-monthly Direct Debit:
First 3 issues just £5, then First 3 issues just £5, then First 3 issues just £5, then
£28 every six months £23 every six months £15.50 every six months
Annual credit/debit card or Annual credit/debit card or Annual credit/debit card or
PayPal payment: 13 issues PayPal payment: 13 issues PayPal payment: 13 issues
for £63 every 12 months for £53 every 12 months for £31 every 12 months

Cal
TERMS & CONDITI ns w se rst ct rices stated
on this offer, every 6 issues thereafter unless you are notified otherwise. You will not receive a renewal reminder and the Direct Debit payments will continue to be taken unless you tell us
otherwise. This offer cannot be used in conjunction with any other. Cost from landlines for 01 numbers per minute are (approx) 2p to 10p. Cost from mobiles per minute (approx) 10p to 40p.
Costs vary depending on the geographical location in the UK. You may get free calls to some numbers as part of your call package – please check with your network provider. Order lines
open 8am-9.30pm (Mon-Fri), 8am-4pm (Sat). Calls may be monitored for training. This offer is for UK orders only. Overseas? Please phone +44 1858 438828 for our exclusive money-saving
overseas offers. For full terms and conditions, please visit www.greatmagazines.co.uk/offer-terms-and-conditions

36 PRACTICAL PHOTOGRAPHY
fer
THAT’S
JUST
£1.67
AN ISSUE!

3 reasons to subscribe! NOW


AVAILABLE
Never miss an issue and get your favourite ON YOUR
1 magazine posted directly to your door before
it’s even available in the shops!
PHONE

Save money with amazing discount prices


2 that are only available to subscribers. Enjoy
your magazine in print, digital or both!

Every issue comes with a FREE disc/


3 download containing the acclaimed Learn
Photography Now TV show and a camera
buyer’s guide. PLUS all our digital editions – which
are now available for both tablets and iPhones –
include additional content and interactive features!

Easy online sign up


greatmagazines.co.uk/pp
PRACTICALPHOTOGRAPHY.COM 37
60
MINUTE
SKILLS

ONE
HOU
P H OTO P R O J EC T S
TO S H O OT AT
HOME !

38 PRACTICAL PHOTOGRAPHY
Want to create amazing images
but can’t find the time? We’ve got
the perfect solution – nine superb
camera and editing projects that
take 60 minutes or less. That’s a
brand new portfolio in less than
a day! From kitchen utensils and
swinging torches to scanner art
and fantasy composites, there’s
something for all tastes here.

Turn the page to get started! >>>

PRACTICALPHOTOGRAPHY.COM 39
1
Shoot perfect
‘flat lay’ still life
images at home
MEET YOUR GUIDE How long does it take
you to get one of your
NATASHA BREEN flat lay shots?
With almost 10 I would say from five to 60
years’ shooting
minutes if I have everything
experience,
I need for shooting. For the
Natasha is
a professional picture with the vintage
food, product and still life cutlery (right), I set up the
photographer who blogs and scene in about 20 minutes.
shoots for stock agencies like
Shutterstock as well as What camera and lenses
private clients in the industry. do you use, and how do
breen-photo.com you position yourself?
For my flay lay still lifes, I use
What draws you to creating a Canon 700D with Canon
these kinds of still lifes? EF 70-200mm f/4L IS USM
What’s compelling about and Sigma 17-50mm f/2.8
the ‘flat lay’ look? lenses. Some people like to
Flat lay is certainly trendy use a tripod for these kinds
right now, and you’ll see of shots, but if I’m shooting
a lot of it on Instagram. It’s with studio lights there’s no
popular in many photography need – the flash will freeze Fine arrangement is their position, of the textures,
genres, including food. It’s not any camera movement obviously really important and of the light. I spend lots
a good fit for classic still life and gives wonderful crisp in such images. How do of time moving the objects
compositions where you want details. If you’re not using you physically compose around until the balance in
depth, but what I love about flash it would be different. your images? the composition feels right.
it is how clearly it lets me I also prefer the freedom of I’m really looking for harmony. If there’s a lack of harmony,
define the shapes of objects. shooting handheld – it’s easier It’s the same when composing the result will not be good.
I like to use it to better show to make small adjustments, any sort of image, except
the beauty of many dishes, as and using Live View makes with still life there’s more How important is the
well as utensils and tools. composition easier. control of the objects and lighting of your flay lay
subjects? And what
flash gear do you use?
As with the physical
Picking objects composition, the light must be
just right or the picture will
& backgrounds lack harmony. Usually I will
use a very simple one-light
Whether you’re shooting flat lay photos
like Natasha’s, or regular still life, object setup either with or without
and background selection is really a reflector, depending on
important. “I collect both,” says how much I want to fill the
Natasha. “I buy backgrounds, or I find shadows. But sometimes I will
them, or I make them myself in my use two flashes, especially
basement. I need more and more if I need to imitate the look
ALL IMAGES BY NATASHA BREEN

backgrounds, and sometimes I re-do the of sunshine, or create a


old surfaces in something new. As for the high-key, low-contrast look.
objects, I buy them in flea markets, on
It’s also important to soften
my travels, and even in supermarkets.
the light, so there’s not too
Sooner or later they all come in useful!”
much contrast or distracting
highlights and shadows.

40 PRACTICAL PHOTOGRAPHY
One-hour Projects

Expert advice for creating


your own flat lay still lifes

Use items from around the house


It’s a good bet that you’ve got all the objects you need
for a great flay lay at home already. Cutlery is a great
example – raid your kitchen drawers for a selection – and
take a good look around your house for other items. Other
great everyday subjects include tools, bulbs, toys,
jewellery, pens and pencils... the list goes on and on.

What kind of exposure What’s the top tip you’d


settings do you use for give someone attempting
these shots? For example, to make images like these?
to maximise the sharpness Really that the objects must
of details and texture? be the right kind for a flat lay
For me, flat lay images are all image. Not all will suit the
about sharpness, so I want style. They will often need to
enough depth-of-field have clear shapes and not
to keep everything be too high, which
in focus, from TIP can make the
Theme objects by colour and tone
the closest composition
details of the
TAKE YOUR uneasy. A lack
Consistent colour – or lack of it – ties the elements of
your composition into a harmonious whole. Here Natasha
objects to TIME COMPOSING of reflections used dark bowls and utensils with a similar texture, and
the texture You can’t rush still life –
also helps placed them on a wooden backdrop she’d painted black.
of the take the time to perfect the the overall The low-key one-light setup matches perfectly.
background. arrangement of your harmony.
You don’t objects before The quality Watch the
need to be shooting. and texture of spacing
thinking about the background It’s key to create
bokeh here, that you use is balance in the
because all of the also really important image, and part of
object must be clear. I’ll usually for this kind of photography that comes from
not overlapping
use an aperture of f/7.1 to f/14. – it has to suit the subjects
your objects.
And because I’m lighting with either by complementing or
Everything should
the flash, I can keep the ISO contrasting with them. When have its own
setting low. This provides the you’re starting out, it’s good space, untroubled
best quality and minimal noise to shoot just a few simple by, but working
(which could affect sharpness objects before you move onto with, the things
or hide the fine details). more complex compositions. around it.

PRACTICALPHOTOGRAPHY.COM 41
IDEA
2
Capture an amazing physiogram
MEET YOUR GUIDE easy to pull off, total project the way. If there’s a light fitting on the end to leave a bare
time is around 30 minutes and in the middle of your room, tie bulb. LED or incandescent
TIM BERRY all you need is a single-bulb your string to this instead of bulbs are both suitable.
Tim is Practical torch, string and some tape. taping it to the ceiling. It must
Photography’s The basic idea is to suspend be completely steady though, Set exposure time
contributing
a torch from the ceiling, with as if the fitting moves even You’ll be working in manual
editor. He has
a master’s
your camera facing upwards slightly as the torch swings you for this technique, as you don’t
degree in photography, and on the floor beneath it, then won’t get a perfect physiogram. want the camera to expose
has taught at university level. take a long exposure image as the ceiling as a midtone grey
He loves trying new and the torch swings to and fro on Choose your torch – you want it jet-black. You
unusual techniques. its string. This creates striking As the torch swings, the can achieve this with a very
spirograph-like geometric camera will ‘see’ it from dark room, an ISO of 100, and
O LONG EXPOSURE LIGHT trails that are different every a range of angles, so it needs an aperture of around f/16.
trail techniques are most often time, so each image you take to be equally bright from all Working with such a narrow
associated with starry skies will be completely unique. of them. The perfect torch aperture will also ensure a
and rush-hour traffic. But why You can use your camera’s will therefore have a single large depth-of-field, so the
drag yourself outside in winter kit lens fully zoomed out for exposed bulb that is non- trails will stay sharp as the
when you can achieve amazing this technique, but if you have directional. By far the best torch’s distance from the
ALL MAGES BY T M BERRY

abstract light painting shots a wider-angle lens, such as option is a Mini Maglite camera changes. However,
in the warmth of your own a Sigma 10-20mm, that will be (right), which you can buy don’t be tempted by the
home? Physiograms are the even better. You can set up in for around £12. These come narrowest aperture your lens
perfect indoor project at this any room in your house, just with a candle mode, where will allow, as you’ll get softer
time of year. They’re quick and move any furniture that’s in you can remove the focuser images because of an effect

42 PRACTICAL PHOTOGRAPHY
One-hour Projects

Expert advice Set up your shot

Hang your torch Choose your settings


1 Attach the end of your torch to
2 Working in manual exposure
a length of string, then tape the other end mode (M), set an aperture of f/16, an ISO
of the string to the ceiling with duct tape. of 100 and a shutter speed of 15-30sec.
Alternatively, attach it to a light fitting if Set self-timer mode to 2sec, and zoom
it’s steady enough. Ideally the torch out as far as your lens allows (about
should hang around 3ft from the ground. 18mm will be plenty).

TIP
USE YOUR
FLIP-OUT SCREEN
If your camera has a screen
that tilts or flips 180°, this will Focus your shot Take your image
enable you to view each 3 The easiest focusing method is to
4 Place your camera below the torch,
image you take without
point your camera at the floor from the facing up. Set the torch swinging and give
having to disturb
approximate height of the torch, and half it a few seconds to settle, then press the
the camera.
press to focus. Then without knocking the shutter button. Use the 2 seconds before
focus ring, switch to MF. the shot starts to move out of frame.

known as diffraction. The


exposure time you choose is
entirely a matter of personal
preference. If you’re unsure,
Expert advice Quick ways to improve your shots
start with around 15sec and
The physiogram will appear white,
try a few test shots. Then try
but if you want to add colour, go to
some at 30sec, which will give Image>Adjustments>Hue/Saturation.
you longer, more intricate In the panel, tick Colorize. Next, adjust
patterns. If you own a shutter the Hue slider until you find a colour
release cable, you might even you like and increase the Saturation
want to experiment in Bulb slider to make it pop. Don’t touch the
mode, setting an exposure Lightness slider. Click OK to finish.
time of a couple of minutes. To give your trails more definition,
go to Image>Adjustments>Levels,
and move the White Input slider to the
left, then click OK.
To stack images together for a
multi-coloured result, press Ctrl+A
and Ctrl+C on one, bring up another,
then press Ctrl+V. In the Layers
Above A Mini Maglite LED torch palette, click where it says Normal and
with candle mode is ideal for this choose Lighten. Hit Ctrl+T and resize
technique, as you can see the the box as desired.
bulb clearly from most angles.

PRACTICALPHOTOGRAPHY.COM 43
One-hour Projects

IDEA
3
Make ethereal
scanner art
MEET YOUR GUIDE when you start digitising new. I think this style of
objects and textures it portrait can capture the soul,
ALEXANDRINA ANA becomes an artistic tool. psychology and memories – it’s
Digital artist A scanner lets you represent all much more connected than
Alexandrina objects in a new way – there’s with a camera; very close,
creates
an absence of perspective and intimate. Done right you can
captivating
depth-of-field. It’s a new way get an ethereal look – an
scanner art,
as well as portraits and urbex to represent the world around almost underwater quality.
images. alexandrinaana. me, and even myself. And it’s
deviantart.com accessible, too, as any sort of How do you go about
flatbed scanner can be used. composing such pictures?
What’s the attraction of It’s a kind of ritual. I carefully
using a scanner to ‘shoot’ What made you decide to place the items I want to Above Dig your flatbed scanner
create scanned portraits? include and block the light by out of the loft and give it a go.
rather than a camera?
It’s very different – of course I’d made scanned images of darkening the room. Needless
the primary use of a scanner is objects, like flowers, and to say – as the image is being a full range of tones have been
to replicate documents, but wanted to produce something taken from below – everything captured and you’ve not lost
needs to be placed upside detail in the highlights or
down. The hardest part is shadows. Most scanners also
expressing emotions, and not have adjustable exposure,
distorting the face or which can be found in the
emotions. Try not to press advanced settings.
against the glass too heavily
and check that the scanner Are there any other settings
screen is clean for each ‘take’. that are important?
I set the scanning resolution to
ALL IMAGES BY ALEXANDRINA ANA

What about the exposure? its highest setting. Some


Correct scanner exposure is scanners will reset this after
vital, but most automated every scan, so you may need to
exposure controls perform save it as a preset. The colour
adequately. Just like on format may be able to change
a DSLR, you can check the from colour to greyscale or
image’s histogram to see that black & white.

44 PRACTICAL PHOTOGRAPHY
IDEA
4
Shoot stunning
fiery close-ups
MEET YOUR GUIDE the same when it’s too cold! How long did you spend Can you talk us through
Then there are the amazing on these images? the process of shooting?
MUHAMMAD AL-QATAM discoveries that a macro lens They were shot across a couple With my DSLR on a tripod,
Radiologist by brings you. The magnification of days, but the actual shooting I composed with a lab support
day Muhammad
uncovers a hidden world not could be done within an hour. stand holding the match
has been
usually seen by the naked eye, It’s captivating, and easy to in place. A good support
a passionate
photographer and it turns everyday objects spend longer as you make is vital as you don’t want
for almost 15 years, shooting into something amazing. adjustments. I started off subject movement. I used
many wonderful macro shooting normal matches, off-camera flash to light the
projects for which he’s won How did you come up then, after reviewing the shots, match, with a gridded snoot
numerous awards. with the idea for this I wanted more detail in the to stop light spilling onto the
500px.com/alqatam matchsticks project? heads, so I went to the store backdrop. A shutter speed
The idea to shoot macro and got larger, taller matches. of 1/250sec blended the
What got you started images of lit matches was flash and the flame well.
ALL IMAGES MUHAMMAD AL-QATAM

shooting macro? inspired by a commercial What steps did you


I live in Kuwait and the I’d seen on TV. It was shot take for safety? How did you actually
weather is very hot for most of using a macro lens and Since I wanted to shoot the light the matches?
the year, so outdoor shooting in a super-slow-motion matches bursting into flame, To avoid getting another
is not always a suitable option. speed showing the shape it needed to be done safely. match in shot, I used
Indoor projects like this are of the flames. I wanted to I set up in my kitchen, making a blowtorch to light them
a preferred choice – I guess it’s get that look in a still. sure there were no flammable from a distance. Then
materials around me, and I triggered the camera’s
I had a bucket of water, a damp burst mode via a remote
“THE IDEA TO SHOOT towel and a fire extinguisher to capture ignition. Using
MATCHES WAS INSPIRED BY close by just in case. I also
used a UV filter on the lens,
burst mode with high-speed
sync flash helps you avoid
A COMMERCIAL ON TV...” to protect the front element. missing the vital moment.

46 PRACTICAL PHOTOGRAPHY
One-hour Projects

TIP
SHOOT IN
Above & left Muhammad’s macro shots of flaming
BURST MODE matches are a simple and effective project anyone can
To maximise your chances try, capturing moments invisible to the naked eye.
of getting ‘that’ perfect
moment, shoot in
Continuous drive
mode.
Expert advice Get the focusing spot-on
Macro shots require sharp focus and
perfect control over depth-of-field to keep
Did you have any difficulty the important parts of the composition sharp.
with the lighting? In these shots, Muhammad shot at f/13 to
I experimented a lot, lighting keep the whole match head in focus, and
the matchstick from all the made sure to check the focus each time he
angles, with each position added a new match. This is important, as
even tiny movements from the camera or
giving me a different result.
subject can mean missing focus when you’re
Like any project, you start to shooting macro.
build the setup and modify
it as you go with small
changes in the flash position,
power and exposure.

What’s the top tip you’d


give for a project like this?
Plan well. Sketch the setup
and list the equipment you
need, then experiment with
everything and take more
shots than you think you need.
You’ll be amazed how what Above Use Live View to check focus before each
you think is bad in-camera can sequence of shots, making sure it’s accurate.
look amazing after editing.

PRACTICALPHOTOGRAPHY.COM 47
IDEA
5
Make a surreal storybook image
MEET YOUR GUIDE although the concept can seem of themselves at home. mechanics of the technique, it
complex to start with, it’s There might be five of the just makes it extra-interesting.
KINGSLEY SINGLETON actually very quick and easy to same person washing the
An expert tutor do – it took well under an hour car, or sitting around in Controlling the shot
in camera skills to make the image above. It is, different positions in the The first thing to do was find
and Photoshop,
therefore, a perfect technique living room, but it doesn’t a quiet woodland area where
Kingsley has
been teaching
if you have a bit of creative take too much effort to do we wouldn’t be bothered
creative photography in energy, and will amuse and something with a bit more by other people or dogs. I’d
magazines and courses for amaze the kids, so why not narrative or quirky appeal. have loved a bit of snow and
over a decade. try it over the holidays? Consider adding some a spare red cape, but time
kingsleysingleton.com Essentially this is a multiple costumes, props or interesting didn’t permit either. What
exposure technique, but locations and you’ll create was essential were dog treats
O IMAGINE IF YOU COULD one that relies on keeping something much more and an assistant to fire the
be in two places at once. Well, the camera still while the striking. In this case, I decided shutter when I said (though
digital cameras and Photoshop subject moves from frame to use a girl, Isabel, as the an infrared remote could
can make that possible... in to frame. All you really need subject and repeat a single dog, have been used instead).
ALL IMAGES BY KINGSLEY SINGLETON

terms of image-making at least. to do it is a tripod, a digital Beadie, around her, as a pack. The tripod is used to keep
With the right approach you camera and Photoshop. I didn’t want the picture to be the camera position consistent
can quickly repeat a person, menacing, though, so decided between the separate shots,
animal or object multiple times What can you shoot? to make the pack sit around and in many ways that’s the
around a picture, making it Most of the time when people Isabel as though she’s subduing most important part – if there’s
seem like there are more of try out this technique, they them with just a ‘Shhhh’. movement it’s harder to make
them than there are. And shoot multiple versions It doesn’t change the basic the shots line up convincingly

48 PRACTICAL PHOTOGRAPHY
One-hour Projects
TIP
KEEP IT
CONSISTENT
This technique needs focus,
aperture and camera position
Expert advice Set up your shot
to be the same between
shots. Only the ‘actors’
are allowed to
change position.

Position your tripod Set the exposure


1 It’s vital that the camera doesn’t
2 Like camera position, depth-of-
move between exposures, so compose field needs to be consistent so shoot in
the scene as you want it and lock the aperture-priority (A). Set an appropriate
position off on a tripod. Make sure it f/number for the depth-of-field you want,
won’t be knocked during shooting and then take a look at the shutter speed and
don’t move it between shots. if it’s less than 1/60sec, increase the ISO.

Lock the focus Check for problems


3 Again, the focus must be in the
4 After shooting a sequence, skip
same point for each of the shots. Using through the images on-screen, checking
AF, focus on the main subject, then switch to make sure the different positions are
to manual focus. This will prevent the good and don’t overlap or leave any
camera from needing to focus again. awkward spaces. If they do, re-shoot.

when editing. Keeping Isabel


in the same place by the tree,
I used the treats to direct Expert advice Put it all together in Photoshop
Beadie’s attention to her in
each of the exposures, and
First load the pictures you want
asked my assistant to hit the
to use into a ‘stack’. Go to File>
shutter release whenever she Scripts>Load Files into Stack. Next
was doing it a good position. It click Browse, locate the files you
didn’t matter that I was in the need, highlight them and press OK.
shots, as I’d be masked You’ll now have a file with all the
out later, leaving just images on separate Layers. It’s
the pack. I shot about a simple case of using Layer Masks
100 images but only to pick which parts of them you want
seven were used in to be visible in the final composition.
In the Layers palette, click on the
the final image.
top Layer and go to Layer>Layer Mask
>Hide All. A black mask will be added,
hiding everything on that Layer. Select
Right A tripod is the the Brush Tool, set it to white and paint
most important thing white over the parts of the picture that
here. It prevents camera are to remain visible. Repeat this on
movement and allows the other Layers, but leave the lowest
everything to line up Layer so it’s kept completely visible.
perfectly in the edit.

PRACTICALPHOTOGRAPHY.COM 49
IDEA
6
Make fantasy
scenes with
toys & models
MEET YOUR GUIDE How do you set up one
of your shots?
VESA LEHTIMÄKI It varies. Sometimes shots are
Vesa Lehtimäki planned, other times they are
is a graphic a spur of the moment thing. I
designer and carry a camera when walking
illustrator from
our dog and often snap photos
Helsinki. Check
out more of Vesa’s intriguing
where I imagine ‘something’
miniature photography in his could be in the scene, like the
book Small Scenes from AT-AT in the mist. Later, I add
a Big Galaxy. that something in Photoshop.
instagram.com/avanaut Take the Snowspeeder in
the parking lot (bottom, p51).
When did you start your First I shot the background,
miniature photography? then the model in matching
My first images were in lighting on a board to catch
about 1980. One of them was real shadows for realism. Then What are the difficulties of very hard to shoot, especially
a Hawker Hurricane under I pasted the whole thing on the shooting models like this? when combining it with
fire while landed. I still have backdrop. It’s fairly simple It’s always getting the angles blizzard effects, as you’d need
the Hurricane with its twisted once you get the angles right. to match. It instantly looks more snow.
prop and molten from the heat For the X-wing (top, p51) wrong if they don’t align. The In 1/72nd scale the Falcon
of pyrotechnics. Sadly, there there was more effort. I used Millennium Falcon (above) is works perfectly, especially
are very few images left. Most a very long exposure and ran the most forgiving of all the with the snow I use. I can’t do
were thrown away in anger around in the hay with a flash models I have – maybe it’s the a close-up of it, but it’s great
because they were always out pointed down to mimic the round shape that allows more for filling the frame.
of focus. Bad camera. landing gear lights on the room for error.
My real passion was ignited ground. I removed the flash in How do you match things
by movies like Star Wars. my hand above the hay in post Is the scale of model like the depth-of-field?
I loved explosions, miniatures, and added the X-wing to important? Do larger scales I eyeball it. To put it simply, if it
special effects and all that. match the light patterns over make things easier? looks good, it is good. There are
I would scratch-build ships the top. The X-wing itself was Yes and no. My 1/24th scale lots of complexities, but I tend
and try to do the same, to grab suspended on wires, so I could crafts – the X-wing and to play it safe with depth-of-
myself a piece of that magic. get under it. Snowspeeder – are fun to work field and shoot with small
with. They respond well to apertures all the time to have
camera and environmental as much as possible in focus.
effects like snow, fog and such.
They use 1/24th scale a lot in Apart from the compositing,
movies – it’s common from is any Photoshop used?
Star Wars to Harry Potter (for With the model photos it’s
example, the giant Hogwarts really all about merging them,
filming miniature). In that for instance masking in the
scale, models are big enough branches in the Falcon shot.
to create the illusion of reality I don’t create anything in
in a movie camera, as there’s Photoshop though, I only play
ALL IMAGES BY VESA LEHTIMÄKI

plenty of detail, but they’re with background plates and


so big they make things elements shot with the
difficult. It works like that on miniatures. I don’t add lights
my DSLR too. Conversely, the or things like that in – they are
Millennium Falcon in 1/24th there as practical elements at
scale would be way too big and the time of the exposure.

50 PRACTICAL PHOTOGRAPHY
One-hour Projects

Expert advice for combining


models with reality

Use the largest scale models you can


The bigger and more detailed the model you use, the
easier it will be to make it look like it’s part of the scene
– up to a point. Too large and it becomes unwieldy. Here,
Vesa used a 1/24th scale resin replica of the screen-used
X-wing, and for extra detail “customised it with brass
landing gear and fibre optic lights. It weighs a lot and was
quite unnerving to suspend on a wire for the shoot”.

Human figures add scale to the image


Photographed while walking his dog (not the one in
the photo), Vesa says “the lady and the dog just walked
into the frame mid-shoot and I left them in as I thought it
added a lot to the photograph. The AT-AT model shot (a
Revell Snap-Tite kit with some light customisation) was
shot on a living room table in ambient light and added
later. It’s basically just a silhouette.”

Raid the toybox too


If you want to try something a little less photorealistic, but
equally amazing, check out Vesa’s shots using Lego toys,
as featured in his book Small Scenes from a Big Galaxy.
What makes these shots special is the attention to detail
in lighting, composition and humour. “What makes me
tick with photographing Lego,” he says, “is an urge to find
something new. It may not always end with the best
VESA LEHTIMÄKI ©2015 BY DK ALL RIGHTS RESERVED

photograph, but I
like the discoveries
made when trying
something new. I
think these photos Find great locations as backdrops
need to tell a story, Familiarity helps the illusion here. We all know what
or be humorous, so a car park looks like, and how big the spaces are, so the
they’re more than Snowspeeder feels more real. “The combination of warm
just a document of and cool light was tricky to replicate when shooting the
the toy.” ’speeder, which was shot on a board with lights placed to
match the shadows I imagined those in the location would
cast,” says Vesa.

PRACTICALPHOTOGRAPHY.COM 51
More creative ideas
to try at home VIDEOS
Make some amazing images with WATCH ALL
these quick and easy projects... THESE PROJECTS!
Check out this month’s Learn
Photography Now show on
your free disc/download
to see how each of
these projects took
shape.

#1 Create surreal interiors


using musical instruments
Is that an architectural instrument you don’t mind
interior? No, it’s the inside destroying – eBay is a good
of a guitar! Inspired by some source of cheap, used ones.
take-a-second-look Dan used a small Ricoh GR
promotional images created II compact for this technique,
for the Berlin Philharmonic as it fitted inside the guitar
by photographers Mierswa- perfectly, but you could try it
Kluska, PP’s resident with a DSLR and wide-angle
Photoshop guru Dan Mold macro lens too. A simple torch
decided to give this surreal was used to light the interior
look a go himself. from above.
You can find out how Dan Safety glasses and
did it in this month’s Learn protective gloves are also
Photography Now show but, required, as you’ll need to drill Above Dan shows
briefly, all you’ll need to try the holes and saw the back off the how to set up and
same technique are some guitar, giving yourself enough position your
power tools and an old musical room to insert a camera. camera inside an
acoustic guitar.

“DAN USED A SMALL RICOH Left Stay safe by


asking a friend to
GR II COMPACT WHICH help out, and wear
safety goggles to
FITTED INSIDE THE GUITAR...” protect your eyes.

52 PRACTICAL PHOTOGRAPHY
One Hour Projects

#3 Make a tasty still


life with fresh fruit
As any student of art and photography knows, fruit
is one of the classic still life subjects and there are
so many different ways you can use it. In this
month’s Learn Photography Now, PP’s Kirk Schwarz
shows how to make a classy arrangement with
freshly sliced kiwi, watermelon, cranberries,
blackberries and more.
There’s advice on arranging your still life, taking
account of the fruits’ different colours; how to set
up and use a simple black backdrop bought from
a hobby store; how to give it the look of professional
lighting using a single on-camera flashgun with
a diffuser; and how to make the most of your subject
using a glycerine-and-water spray to make it look
fresh and appealing.
What’s more, at the end of your shoot, you get
to eat the subject. What could be better?

Keep on creating Brilliant


presentation for your shots
Happy with your photo project creations?
Then don’t hide them away. Make sure you
show them off with our guide to creative
presentation ideas, starting on page 58. You’ll
find top tips from PP’s Louise Carey to get you
started, including how to make your own canvas
prints and photo lanterns.

#2 Make silhouette portraits of


your friends and family
Remember those Victorian silhouette portraits that used to grace family
homes up and down the land? Well here’s the updated version. This
simple technique is easy to shoot at home and produces images with
great impact. All you need to do it are some willing subjects and a plain
background to shoot them against in profile. It’s then a simple matter of
cutting them out in Photoshop or Elements, filling them with black, and
placing them on a colourful backdrop.
QSee the full technique on page 82 of the Photoshop Genius section.

PRACTICALPHOTOGRAPHY.COM 53
Download the app
& get a 30-day free trial
for your tablet or phone!
ery digital issue of the UK’s best
Packed otography mag now comes with...
with over Over 60 minutes of hands-on
60 minutes
vice and interviews in our
of video
lessons! arn Photography Now show
More intuitive interface
improved viewing NEW
xtra images and GET THE APP
ON YOUR
eos to inspire your PHONE!
otography
etina-optimised
play for incredible
ail & clarity

54 PRACTICAL PHOTOGRAPHY
Digital Edition Free Trial Offer!

Bring pictures to life Take a fresh look at Enjoy lots of exclusive


with pan & zoom detail your favourite features tablet-only content
See the world’s most amazing shots Navigate around the magazine quickly Be inspired by even more amazing
as they were meant to be displayed! and easily with its slick new design images and behind-the-scenes videos

Learn clever new Master all the core Find your ideal camera
image-editing skills photo techniques & accessories
Watch tutorial videos and read the Improve your skills with advice from the Read concise reviews, key specs and
step-by-steps at the same time magazine’s team of photographers prices for every available camera

Try it now! Access your free 30-day


trial by downloading the PP app from
PRACTICALPHOTOGRAPHY.COM 55
Amazing Contest

THE
GREAT PRIZE
FUJIFILM

BRITISH X100F
VALUE
£1329

TREASURE PRIZE
HUNT FUJIFILM
X-T20 &
XC16-50MM LENS
VALUE
£949

I N A S S O C I AT I O N W I T H
PRIZE
FUJIFILM
X-T2 &
XF18-55MM LENS
VALUE
£1899
PRIZE
FUJIFILM
X-PRO2 &

FOUR FUJIFILM
XF23MM LENS
VALUE
£2178
Your next clues:
CAMERA KITS
WORTH £6000
MUST BE WON!
P
RACTICAL PHOTOGRAPHY, IN ASSOCIATION WITH
Fujifilm, has launched the country’s largest photography
treasure hunt. We’ve got four amazing Fujifilm X Series
camera kits, worth over £6000, up for grabs… and all
you need to do is solve the clues and find them! We’ve
hidden each camera (well, the activation codes to be
precise) in one of four locations around the UK. This is the last set of
clues to be released in the mag (the others having been in the
December and January issues), with this issue’s clues much more
location specific. We’re also revealing additional clues every Friday on
our Facebook page. Once you’ve deciphered the riddles and know
where to look, travel to your chosen location where you’ll find a hidden
box with a ticket inside. Email the code printed on the ticket, the code
printed in the mag (see below), your name and contact phone number
to xhunt@practicalphotography.co.uk to claim your prize!
Don’t worry, you won’t need a spade to take part – we promise
there’s no heavy digging required! The clues may be hard to get, but
the treasure won’t be. We’d love to see photos and videos of you on
the hunt for these amazing prizes, so we’ve created the hashtag
#xhunt for you to do just that. Put the hashtag on all your social media
posts and tag us on our social channels, which we’ve listed below.
Important! How to claim your prize
Good luck out there!
Q See practicalphotography.com/treasurehunt for full T&Cs. Locate the box, and send the code on the enclosed ticket,
the code in the mag, and your name and contact phone
Mag code P P - 3 4 - G 9 - 7 X number to xhunt@practicalphotography.co.uk

WWW

@PracticalPhotography Full terms & conditions at


@practphoto @practicalphotography
Magazine practicalphotography.com

PRACTICALPHOTOGRAPHY.COM 57
WATCH
THE VIDEO
Louise brings her DIY
projects to life in this
month’s Learn Photography
Now show. Find it on your
disc or download it
from bit.ly/ppdisc
1802
COM PL ET E GU I DE

TH R E E C R A F T Y D I Y
PR ESEN TAT I O N
PROJ ECTS
58 PRACTICAL PHOTOGRAPHY
Three nifty
presentation
ideas to try...

Project 1 Transfer a print onto a canvas P60

Project 2 Create a scratch-off print P62

Project 3 Make your own photo lantern P64

Are endless folders of photos clogging up your hard drive?


Not sure what to do with all your brilliant shots now that
they’ve been processed? Consider this PP to the rescue,
as we’ve three creative presentation ideas designed
to excite and inspire. Read on to discover how to make
your photographs the talk of the room
and the centre of everyone’s attention.
BEGIN N ER

Transform your favourite


photo into a canvas print
HE SUPREME out this creative technique? Source your products access to a printer that
quality of a With some basic craft Creating your own photo accommodates A3, then you
professionally- supplies, a blank canvas and transfer canvas is a really easy may want to consider working
printed canvas is your image printed onto project, but you’ll need a few with an A5 canvas instead.
indeed a wonder normal copy paper, you can specialist products. We This is because you’ll struggle
to behold. However, if you’re produce your very own sourced all of ours from to transfer an A4 print onto an
looking for something a little canvas print from the comfort Hobbycraft and Amazon for A4 canvas without having the
more personal, why not try of your home. around £15, but make sure you unsightly effect of the white
shop around for the best deal. border transferring onto the
You’ll need photo transfer canvas as well.
medium gel, a blank canvas,
a paintbrush, an old gift card Create your canvas
that you don’t need anymore, The first thing you’ll need to
some sponges and the image do is protect whatever surface
you want to transfer printed you’re working on by putting
onto ordinary paper. down some old newspaper.
We recommend you use an Next carefully pour some of
A4 canvas and print out your the photo transfer medium
shot on A3 paper. This means into a container, and use your
that you can resize your image paintbrush to liberally coat
so that it’ll overlap the canvas both the canvas and the front
slightly when placed onto it. of the image. Ensure that
This will ensure you don’t there are no uneven patches,
Above Don’t scrub too vigorously, or you’ll risk getting rid accidentally transfer a white and watch out for any errant
of the bottom layer that has the actual image on it. border. If you don’t have brush hairs that may have

60 PRACTICAL PHOTOGRAPHY
DIY Presentation Projects

Expert advice Get your


photos professionally printed
Preparing your image for print is one of colour and an sRGB colour space.
the most important things you can do to When in doubt, have WhiteWall
ensure you receive a product that truly optimise your file to achieve the best
TIP represents the beauty of your shot. possible quality.”
SELECT However, with all the different variables
BRIGHT IMAGES you have to think about, it can be difficult Optimise brightness
to know whether you’re doing the right “Always be aware that both colour and
Subtle shadow details in dark thing or not. Jan-Ole Schmidt from brightness can appear differently on a
images won’t show up as well award-winning photo lab WhiteWall monitor than they do in print. There are
on a canvas as they do on a shares his expert advice on preparing two reasons for this. Firstly, a monitor is
screen. Use a high- pictures for excellent results: illuminated and paper isn’t. Therefore, a
contrast shot for the monitor can display an image much
best results. Select your image brighter than the shot actually is. The
“Naturally you should spend some time second reason is that different papers
thinking about which image you want to have their own base tone, meaning a
hang on your wall. After all, it’s going to pure white will look different from paper
be there for a long time. However, don’t to paper, affecting the overall
think about it too much. Take note of brightness and colour.”
which photos you look at most often
on your computer or mobile phone. Calibrate colour
Whether you’re drawn to it for the “If you have a calibrated monitor, ICC
emotions it evokes, or for its technical profiles are the perfect way to assess
excellence, you’ll usually find that the how your pictures will look on a
solution to your problem has been specialised product. On WhiteWall.com
staring you in the face the entire time.” you can find downloadable ICC colour
profiles for many different product
Choose the resolution options. However, if you don’t have a
“For optimal production, use the calibrated monitor, then the online
highest resolution available and don’t photo lab at WhiteWall offers a hard
scale your photo up or down. Don’t proof option for all of its various
worry about whether or not the papers. For a lower price, you can order
BURST AT PEXELS.COM

resolution is too low. The WhiteWall a watermarked test print on the paper
configurator is able to show you if the of your choice, which will enable you to
resolution is sufficient to produce at the see how it actually looks on that paper.”
size you want. Ideally, you don’t want to Q Discover a variety of printing
compress at all. Save it with 8-bit products at whitewall.com

come off mid-paste.


Once you’ve finished with the
medium, simply place the image
face down on the canvas. This is
where the overlapping image
border will really help, as you won’t
have to be so concerned with
getting everything totally straight.
However, do try to make sure that
the image isn’t completely off-kilter
– especially if you’re transferring a
landscape with a clearly-defined
horizon. Now you’ll need to leave
the image to dry. Overnight is
preferable, but we left one for
around 5 hours and it was fine.
Once dry, simply use a damp sponge
to lightly rub away the surface layer
WHITEWALL.COM

of the paper.
Once you’ve finished scrubbing
it away, the next thing to do is to
detach the overlapping paper
border. Take your time and do this Above A high-quality canvas print is the perfect format for displaying your landscape,
bit carefully, as you don’t want to still life and portrait photography in a very professional way.
accidentally rip off the photo layer.

PRACTICALPHOTOGRAPHY.COM 61
INTER M EDI ATE

TIP
Cr te a scratchcard- BE GENTLE
WITH THE PRINTS
inspired instant print Make sure you don’t scratch
too hard when rubbing away
the black paint, as you may
HE VINTAGE trusted, instant cameras are make the most of your prints damage the print
appeal of instant a welcome breath of fresh air once you’ve got them? We’re underneath and ruin
prints has proved that guarantee authenticity, all used to seeing and sharing the effect.
both universal and while still maintaining the images on Instagram and
incredibly long-lasting. In lightning-quick appeal of Facebook now, so hiding your
a world of technology where smartphone cameras. images away in a photobook You’ll need a ratio of two
no digital image can truly be However, how do you just won’t cut it anymore. parts paint to one part
Instead, why not try out a washing up liquid, so pour
unique and creative the two in and then mix them
presentation idea that’ll make together. Make sure the paint
you the envy of Pinterest? isn’t too watery, as this will
cause you problems later.
Create your paint To check you’ve got the
Short of pouring yourself a perfect consistency, place
glass of tap water, there isn’t a some masking tape on a piece
concoction much simpler to of scrap paper and paint some
make than this one. All you’ll of your mixture over both
need is some black acrylic surfaces. If you’ve created
paint, washing up liquid, the correct formula then it
masking tape, a paintbrush should apply to your print
and a container to house the with minimal streaking.
paint (don’t worry – this However, the true test is
paint is extremely easy to when you lift off the masking
wash off, so you shouldn’t be tape, as there should be no
Above Scratch away your paint formula with a jagged pattern for apprehensive about using an bleeding underneath it at all.
the best results – you don’t want it to look too perfect! old Tupperware box). If there is any, then you’ll

Above Make sure that you apply the paint


mixture in light, even strokes.

Right For the best results, choose an image


where the majority of the shot is bright, as
this will contrast with the black paint.

62 PRACTICAL PHOTOGRAPHY
DIY Presentation Projects

need to mix in a little more acrylic paint


and test it all over again. Expert advice Three ways to
Apply the paint display your instant prints
It’s best to select the prints that are bright
and have lots of colours in them in so that
they contrast with the black paint. They’ll
also need to have a central composition,
as you’ll be keeping some of the mixture
around the edges. Place your instant print
on the scrap paper and use the masking
tape to cover up the white borders. Make
sure you cover them perfectly, without
overlapping onto the photo, as otherwise
you’ll ruin the final result. Don’t worry if
you mess up – you can simply run the
print under cold water to wash it off and
try again.
Next, paint your mixture onto the
print and then take off the masking tape
to allow it to dry for at least a couple of
hours. Then simply take a coin and rub
off the mixture in the middle to reveal
the photo underneath.

“TRY A CREATIVE Once you’ve created your scratch-off instant prints,


TECHNIQUE THAT it’s time to find them their own home. Here are three
ingenious and stylish ways to display your images...
WILL MAKE YOU
Washi tape
THE ENVY OF If you’ve ever ventured into the crafty waters of
PINTEREST...” Pinterest, then you’ve likely come across this handy
product. With a similar strength to masking tape,
washi tape is gentle enough to be used on most
painted surfaces. Meanwhile, the variety of vibrant
patterns it comes in guarantees you colourful results.
Use a variety of tapes to create a powerful collage, or
keep it simple with just one for a minimalist approach.

Plant-inspired display Horizontal fairy lights


If you’d like your photo display to be Don’t pack up those Christmas
inspired by the British countryside, lights just yet! Fairy lights are
buy a fake plant garland from a garden perfect for hanging up instant prints
centre to hang in your living room. all year round. Source some clear
These garlands can either be hung suction cup hooks to hang your
full-length, or cut into separate lights wherever you wish, including
sections. All you need to do is attach walls, windows or doors (battery
your instant prints to the garland with pack lights work best for this). Then
some mini wooden pegs, which will simply use wooden pegs again to
add beautifully to the rustic effect. attach your photos to the lights.

PRACTICALPHOTOGRAPHY.COM 63
A DVA NCED

Craft a
beautiful
photo lantern
OOKING FOR A avoid shots that have lots of

L DIY challenge and


eager to put your
crafting skills to
the test? If you’re after a
fresh spin for a panorama
intersecting lines, as this
will make your life
infinitely harder once it
comes to placing the paper
on your lantern. The photos TIP
then we’ve just the project that will work best for this
for you. Turn your technique will be WORK
favourite photograph into panoramas with simple SWIFTLY
a living room staple, repetitive patterns (such as
The paper will attach to your
illuminated from within the flying birds in the our lantern best when wet. Work
and taking pride of place image). If you don’t have quickly to place the paper
as a stylish lamp. any suitable photos in your on and smooth down
repertoire, there’s no need the wrinkles while it’s
Pick your image to fret. Simply visit a free still tacky.
As you’ll be printing your stock image site such as
image on normal copy pexels.com and download
paper, you’ll want to steer one from there.
away from big blocks of
dark colours. The only time Source the products
you’ll typically be able to You’ll need a few basic
get away with this is if products for this project
you’re using an image that The first thing to source is a included). You’ll also need template, plus some scissors
has a silhouette. However, lantern. Unless you have an Mod Podge Matte Finish, to cut out the shapes you’ll
the vast majority of your A3 printer, you’ll want to which is an all-in-one glue, need. You can create an
shot should be a bright look for a 6in diameter sealer and finish, and a accurate template with
colour, as this will allow the paper lantern. We’ve found paintbrush with which to your lantern’s exact
light from the bulb to shine these online for as little as apply it. To prepare your specifications at
through. You’ll also want to £1.85 each (shipping not photo you’ll need a sphere templatemaker.nl/sphere

Create your template


1 As we have access to an A3 printer, we’re using a 10in
diameter lantern. However, all instructions given will be for
a 6in diameter lantern (although you can easily adapt the directions
if you wish to print larger). The first thing you’ll need to do is go to
templatemaker.nl/sphere and select the Inch option. Next type in
Diameter: 6 and Segments: 8. To work out what figure you need for
the Rings option, simply count how many spaces there are between
the horizontal bands. Now select the PDF option and then the
Preview option and press Create. Firstly, you’ll need to save the
template for later. Then click the Print icon on the top right of the web
page. Make sure the ‘Fit to page’ option isn’t selected (as otherwise it
won’t print to size and you’ll have an inaccurate template to work with
later). Now all you need to do is press Print and then put aside these
templates to use later.

64 PRACTICAL PHOTOGRAPHY
DIY Presentation Projects

Prepare your panorama Resize the image


2 Your photo lantern should look as seamless as possible,
so you’ll need to make the original image totally
3 Go back to your panorama, go to Image>Image Size
and type in the height of your template. Hit OK to apply.
symmetrical for the best results. To do this, load your image into Navigate to the template and select the Magic Wand Tool,
Photoshop and use the Rectangular Marquee Tool to select the ensuring that the ‘Contiguous’ option is checked. Click the
most interesting half of your shot. Then use Ctrl+J to paste your outside areas of the template while holding down the Shift key,
selection as a new Layer. Use Ctrl+T, then right-click on the then go to Select>Inverse. Drag the template onto your
image and select Flip Horizontal. Now simply arrange the new panorama. If it’s too big, press Ctrl+T and resize it so that it fits
Layer to create a symmetrical effect. Lastly, go to Layer>Flatten perfectly. Repeatedly drag the template while holding down the
Image to create a single Layer. As you’ll be putting together eight Alt key to duplicate it until you have eight segments. Place the
segments, all just under the height of an A4 piece of paper, you’ll middle two in the centre of the image, then crop in any excess
need to resize your image appropriately. Go back to your from the sides. Now you need to separate your panorama into
template and open one page in Photoshop. Use the Crop Tool to four different sections for printing. Starting from the left, use the
crop into the top and bottom of the oval. Go to Image>Image Ruler to divide your panorama into four sections, each spanning
Size and write down the height of the template in centimetres. the length of two of the templates. Delete the template Layers,
Hit OK to close the Image Size panel. then use the Crop Tool to select the first segment and crop in.

Next steps
Get creative
Put your lantern together
4 Go to File>Print and make sure the box ‘Scale to with the show
fit media’ isn’t checked. Press Print, and then use
Ctrl+Z to go back to before you cropped in. Now simply Itching for another crafty
repeat those steps until you’ve printed all four sections. project to enjoy? Or simply
Next, take the templates you printed earlier and tape them want to see how these
onto the four sections. Then use scissors to cut around the techniques are created in
templates to create the eight segments of your lantern real-time? Watch Louise
(ignore the tabs on the template and treat it like a normal create the three awesome
line). Coat the first segment of the image liberally with Mod DIY projects here – plus
Podge and then place it onto the lantern. You’ll want to extra exciting projects from
ensure that the widest part of the section is situated in the the rest of the PP team –
centre. The end bits will drop off the end of the lantern and in this month’s Learn
that’s totally fine, as you can trim them at the end. Put on Photography Now show.
another coat of Mod Podge and use your fingers to Find it on your free cover
smooth down any wrinkles. Do this until the image is disc, or download it today
totally flush to the lantern. Repeat until finished, then at bit.ly/ppdisc1802
leave to dry overnight. Lastly, enjoy your lantern!

PRACTICALPHOTOGRAPHY.COM 65
The Ultimate
in online framing
A framed photo is not
just for Christmas…

36
NEW Frame
Mouldings

m
s fro
Price

£11

Beautiful, contemporary frames to preserve your precious


memories, with over 95 stylish frame colours and profiles,
28 window mount colours and easy online ordering. Plus
every framed print is guaranteed for 5 years!

WWW.ONEVISIONIMAGING.COM | 0845 862 0217


NOW INCORPORATING

EASY PHOTOSHOP ADVICE


THAT REALLY WORKS
32
EXTRA PAGES
OF THE BEST
TUTORIALS FOR
ALL LEVELS

72
CREATE FANTASY ART
USING MULTIPLE IMAGES
Tell a story with a Photoshop composite

PHOTOSHOP
GENIUS
Learn exciting new editing techniques
from the UK’s best digital experts...
... PP’s Photoshop editor,
Dan Mold, is an Adobe
Certified Associate.

Retouch your portraits Shoot an epic time-stack


68 84
Smooth skin, fix blemishes and Capture the passing of time and
correct your colours in Lightroom. stack the results for abstract landscapes.
WATCH OUR
76
Add a stylish tone
90
Photo fixer PHOTOSHOP
Our trio of quick toning effects are PP’s pro image editor Dan Mold TUTORIALS
sure to make your shots more eye-catching. retouches a selection of your pictures. Every issue features
additional multimedia
Fix overexposed skies Get a new look instantly content that includes
80 96 Photoshop video lessons
Save a landscape shot by swapping Open our 25 free Lightroom presets
a blown out sky with our free replacements. and enhance your pictures in a single click. to complement our expert
step-by-steps. When you
Make custom wall art Photoshop hacks see this icon on the page
82 98 you’ll find extra content on
Increase the impact of portraits by Three quick tips that’ll change
your disc/download. See
transforming them into colourful silhouettes. the way you edit your images forever.
page 6 for full details.

PRACTICALPHOTOGRAPHY.COM 67
PHOTOSHOPGENIUS

Retouch
your RAW
portraits in
Lightroom

68 PRACTICAL PHOTOGRAPHY
// LIGHTROOM // VIDEO TUTORIAL

Want to get the best out


of your people pictures?
Kirk Schwarz shows
you how to fix colours,
lift the exposure and smooth
out skin in Lightroom.
WHAT
YOU NEED
P ORTRAITS ARE
the ideal subject for
getting creative in
Q Lightroom 6 or CC

post-processing. While there’s Q A portrait which needs


some attention paying
no doubt that a simple, straight-
to blemishes and
out-of-camera JPEG can look skin texture
very nice in the family album,
a few tweaks in Lightroom will really
elevate your people pictures from mere
snapshots to pro-level status. All it takes is a series of
colour, exposure and blemish removal steps, and you’ll
end up with professional-looking portraits in no time at
all. If you don’t have Lightroom, you can also use these
techniques in Photoshop’s Adobe Camera Raw converter.
And you can always export your images into Photoshop
at the end of the technique if you want to take anything
a step further. Just remember that a great portrait always
adheres to the ‘less is more rule’, so don’t overdo it. It’s
a good idea to step away from the computer when you
hit a creative block, or you might end up adding things
unnecessarily, and potentially ruining the final image.

What happens if I make a mistake?


Unlike Photoshop, none of the editing you apply to an
image in Lightroom is destructive. This means all
changes to the exposure, colours or tones can be
reversed, only becoming permanent when you Export
as a JPEG or TIFF. The great thing about this is that you
can fine-tune any earlier adjustment you have made,
which is perfect if you change your mind halfway
through a lengthy edit.

BEFORE

Above I usually underexpose my portraits, with a view to


brightening them in post-processing. This is because it’s
easier to recover shadows than highlights.

Left After a small exposure and contrast boost, some skin


smoothing using the Clarity Slider and the Adjustment
Brush, and a bit of colour work, the end result looks great.

PRACTICALPHOTOGRAPHY.COM 69
PHOTOSHOPGENIUS

Lightroom
interface
explained
The Lightroom workflow
operates in an entirely
different way to Photoshop
so can seem daunting to
get to grips with. But you’ll
soon familiarise yourself
with the layout when
you’ve made a couple of
RAW conversions. Here’s
what you need to know
about the Develop tab,
which is where you make
your edits...

Filmstrip Modules Adjustments Toolbar


The Filmstrip sits at the bottom of the The most useful modules The Adjustments are all For more precise adjustments,
interface and lists the images from are the Library, where collapsible panels. Click on there are a handful of tools
your latest import. This makes it easy you can import your them, to expand, and they found under the histogram.
to flick through the images in your pictures, and Develop, will reveal the sliders and Here you can apply a crop,
current import. You can star rate your which lets you process controls within. These remove spots, correct red eye,
shots with number keys 0-5 and, your RAW files. The Print contain powerful editing add graduated and radial
using the Filter you can reduce the module is also handy if options, from Exposure to filters and adjust specific
images shown in the Filmstrip to just you want to print directly Sharpening, and Noise areas of your pictures using
the ones you want to work on. from Lightroom. Reduction to Split Toning. the Adjustment Brush Tool.

Below The
Exposure slider
allows you to
raise or lower
the overall
brightness of
the image.

Import your image and correct the exposure


1 Open up Lightroom and go to the Library module, then click on the Import button,
or head up to File>Import Photos and Video. Now use the Source panel on the left
of the interface to browse through your hard drive and find the RAW file you want to work up.
When you’ve found it, make sure it has a tick next to it and hit the Import button to bring it
into Lightroom. Go over to the Develop module and click on the Basic panel to expand it, then
drag the Exposure slider until the shot looks nice and bright. We’d also recommend adding in
a little contrast by dragging the Contrast slider to the right. Use the Shadows and Highlights
sliders to recover details, which is great if you don’t want to affect the global exposure.

70 PRACTICAL PHOTOGRAPHY
// LIGHTROOM // VIDEO TUTORIAL

Smooth the skin


3 First you need to select
the Adjustment Brush
from the Toolbar, making sure
you set Feather and Flow to
100. Next, paint over the face,
trying to avoid the eyes, hair,
lips and nostrils. If you want to
Clean up the blemishes see where you’re painting, press
2 Before you smooth out the skin, you should clean
up any obvious blemishes. The Spot Removal
O to bring up a red Mask. Any
area that’s now coloured red
Tool works much the same as Photoshop’s Heal Tool, and is has been brushed over. If you’ve accidentally painted over
extremely precise. Make sure you’re set to Heal mode. Add an area you shouldn’t have, select Erase in the brush panel
a Feather of at least 50, and Opacity of 100. The size of the and brush over it. Once you’re happy with your selection,
brush should be slightly larger than the blemish – change drag the Clarity slider all the way to the left to -100. Create
the size of your brush by pressing [ or ]. Now click on the a new Adjustment Brush pin by pressing New under the
blemish (or paint over a slightly larger area if required) and Toolbar. Now repeat the last step, but this time only brush
a second circle will appear. Drag this second point to an over the eyes. Once you have the eyes selected, you can
area with similar texture and colour, then rinse and repeat. raise the Exposure slider slightly to make them really pop.

Fine-tune the colours in your shot Apply finishing touches and export
4 RAW files need colour tweaking, which Lightroom’s
HSL tab is perfect for. We’re only using the
5 Unlike RAW files, JPEGs have sharpening applied
to them in-camera. With this in mind, it’s always
Luminance tab here, which is responsible for the brightness of a great idea to sharpen an image before exporting it. To do
the colours, but you can change the Hue or Saturation in their this, go down to the Sharpening panel. Pressing the square
responding tabs. Adjust your colour sliders until you’re happy. cross-hairs at the top of the panel allows you to click on
Next go to the Split Toning panel. Drag the Saturation sliders in a point to zoom into. We’ve opted for the eyes. Drag the
both tabs until they’re on 20. This allows you to see the effect. Amount slider to the right, remembering to do so sparingly as
Now drag the Hue slider in the Highlights area to the right, until an over-sharpened image is not a pretty sight. Once you’re
you’re happy with the effect. We’ve settled on a yellow here to happy with the results, it’s time to export your masterpiece.
give a warmth to the skin tones. Repeat this process with the Go to File>Export and choose the folder location you
Shadows slider, where we have opted for blue. Change the want to save your work to. Set the Image Format to JPEG
Balance slider until you get the required result (here +79), and ensure you’ve moved the Quality slider along to the
which puts a bias on the Highlight colours. maximum setting of 100. Hit Export to save your shot.

PRACTICALPHOTOGRAPHY.COM 71
PHOTOSHOPGENIUS
WHAT
YOU NEED
Make a Q Photoshop or
Elements
Q A variety of images

fantasy you’d like to merge


together

composite
Dan Mold explains how
to merge images with
Layers & silhouettes for
really abstract results.

F ANTASY COMPOSITE IMAGES ARE A


brilliant way of letting your hair down in
Photoshop. You can create scenes that would
be impossible to capture in a single still photograph,
position your subjects exactly where you want them
and change their proportions too.
We’ve rounded up a hotchpotch of pictures to
create our narrative, including a snap of the Milky
Way, a lone tree, some animals, a girl pointing upwards
and an old cottage. There are loads of royalty-free
image websites, such as pixabay.com or pexels.com,
so download a handful of images and use them to
make your own narrative, or use them in conjunction
with your own shots for more personalised results.
In this tutorial we’ll arm you with the knowledge to
make accurate selections, reveal how to use Layers to
build up the effect, and use Photoshop’s blending modes
to change how your pictures interact with each other.
ROOM THE AGENCY

BEFORE
NORTHERN NIGHTS PHOTOGRAPHY

DAN MOLD
TERRANCE KLASSEN

NATHAN KING
GRANT GLENDINNING

Above We merged this assortment of images to create


our abstract fantasy dreamworld (right).
AFTER

72 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS

PRACTICALPHOTOGRAPHY.COM 73
PHOTOSHOPGENIUS

Open your sky and Turn the foreground black


1 paste in a tree
Open up Photoshop or
2 Press Ctrl+L to bring up the Levels panel and drag
the middle midtones slider until the contrast looks
Elements and head up to File>Open. how you want it to, then hit OK to apply it. You now need
Navigate your way to a starry sky picture, which will act as your to make the foreground completely black to turn it into a
background (if you don’t have one there are many royalty-free silhouette. Grab the Polygonal Lasso Tool from the Toolbox
images available online that you can use for this technique). with Feather set to 0, then click
Double-click the image to open it, then head back up to all the way around the foreground
File>Open. This time find an image of a tree and double-click area as we have in the image
it to open it. Hit Ctrl+A to select all of the tree, Ctrl+C to copy above. Hit D on the keyboard
it and Ctrl+W to close the tree picture down. Back in the star to set Foreground Color to
shot, hit Ctrl+V to paste it in. Head over to the Layers panel Black. Now fill your selection
(Window>Layers) and change the blending mode from Normal with this black colour by hitting
to Hard Light so that you can see the stars in the background. Alt+Delete. Press Ctrl+D to lose
Hit Ctrl+T to put it into Free Transform mode, then resize and the selection, then touch up
drag the tree into position. Make sure your constrain proportions any areas you’ve missed using
box is ticked when resizing, and hit Return to set it down. a hard-edged Brush Tool.

Accurately select your subject


3 Head up to File>Open and find a subject you want
to add to your scene. We’ll be using some deer, a
house, some birds and a girl to build up the image and create
a narrative. With one of your subjects open, click on the
Polygonal Lasso Tool from the Toolbox to make it the active
tool. Set Feather to 0, then press Ctrl+Plus a few times to zoom Paste it in and make it a silhouette
in tightly. Click on an outside edge of your subject to begin
the selection, then click all the way around it to complete the
4 With the selection now active, hit Ctrl+C to copy it
and Ctrl+W to close it down. Back in your composite,
selection. Hold the Spacebar to bring up the Hand Tool and hit Ctrl+V to paste it in. Hit Ctrl+T to put the subject into
drag your way around the image. When you’re done you’ll Free Transform mode, and resize and reposition it in your
see the marching ants. To remove parts from your selection, frame just as you did with the tree in Step 1. To turn it into
hold the Alt key and click around that area to deselect it. a silhouette, go to your Layers panel and click on the Create
new fill or adjustment layer icon and choose Threshold from
the list that appears. Right-click on the new Threshold Layer
and choose Create Clipping Mask so that it’s only applied to
the Layer below, then set the Threshold slider to 255 to turn it
totally black. When done, right-click on the Threshold Layer
and choose Merge Down to keep your Layers stack tidy.

74 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS

Add the windows


6 If you add a building to
your shot it can be fun
Add more subjects to add some warm window light
5 & build up the effect
It’s time to add more pieces
coming through the silhouette.
To do this, add your building in
to give your scene a story. Repeat steps the usual way, then duplicate it
3 and 4 with your other subjects and before you turn it into a silhouette.
position them around the frame as you Turn the bottom building Layer
wish. To save time you can duplicate completely black using Threshold as
a Layer with Ctrl+J and move it into a we did in Step 4. Now click on the
new position. Resize it, then flip it with top house Layer to make it active.
Image>Layer>Flip Layer Horizontal This Layer will become the window
in Elements, or Edit>Transform>Flip frames. Click on the Create new
Layer Horizontal in Photoshop to make fill or adjustment layer icon and choose Threshold from the
it look different. At this point it can be menu that appears once again. This time drag the Threshold
worth double-clicking on your Layer slider until there is just detail in the window frames. Now hit
names and renaming each so you know Ctrl+I to invert the Layer so the window frames become black,
where each image sits in the stack. and change the blending mode of this Layer to Darken.

Make the windows glow Apply the finishing touches


7 Your house will now be completely black again.
Head back up to the Layers panel and click on
8 A colourful gradient is a great way to tie all of the
elements together. Click on the Gradient Tool from the
the house Layer below the one you were just working on, Toolbox and click on the Gradient Editor from the Tool Options.
then go to Layer>New Layer. Grab the Brush Tool from Now click on the Foreground to Transparent preset (second from
the Toolbox and set it to a hard-edged brush with both left). In the gradient bar underneath, click on the black Color
Opacity and Flow set to 100%. Click on the foreground Stop and change it to a bright red (R:255, G:0, B:0) using the
colour square to change it to a warm orange or yellow. Color Picker, then hit OK. Press OK once more to set it. Go to
This will become the window light, just hit OK to select the Layer>New Layer, then click and drag from the top of your image
colour. Paint over the part of the house where the windows to its base to apply it. Change the blending mode to Screen to
should be and you’ll see the black window frames once fade it in. Finally, go to File>Save As and save your shot under
again. When you’ve painted over the whole window area, a new filename as a Photoshop file to keep the Layers, or as a
use a hard-edged Eraser Tool to remove any overspill. JPEG to merge the Layers and save space on your hard drive.

PRACTICALPHOTOGRAPHY.COM 75
PHOTOSHOPGENIUS

3 Ways to inject
style instantly
This month Dan Mold reveals
three of his favourite toning
WHAT
YOU NEED
techniques and shows you Q Photoshop or
Elements
how to easily recreate them.
Q An image you’d like to
add a variety of film
effects to
T ONING YOUR IMAGES IS A
great way of increasing their
appeal. So we’ve rounded up
We kick off
with this simple but
effective cyanotype
a trio of toning effects, each of which can treatment, where you’ll
be completed in just five minutes. Adding learn how to apply a single colour
colour or contrast will transform your tone. Blue will give your picture a nice
pictures, making them look much more cool tone, and yellow will give shots
dynamic and eye-catching. a retro sepia vibe. Over the page we’ll
Converting your shots to mono, or show you how to drain away all of the
adding a single toning effect, is a great colour in your image to create a mono
way of removing colours in the frame masterpiece that packs a punch, and
that distract the viewer’s eye away how to apply a cinematic orange and teal
from your focal point. This occurs in look to increase contrast and drama.
our busy street scene, which is bursting So dig out an image you’d like to
at the seams with vibrant colours. work up and let’s get stuck in!

Left Taken on the


BEFORE busy streets of Ho
Chi Minh City in
Vietnam, the
original image is
packed with colour
and detail.

Right We’ve added


some digital noise
and applied a blue
tone to turn the
image into a
DAN MOLD

retro-style
cyanotype.
AFTER

1Make a single
colour tone
Turn up the digital noise
1 Open your shot into Photoshop
and hit Ctrl+J to duplicate your
Layer, then go up to Filter>Noise>Add Noise.
Set Distribution to Gaussian and make sure
the Monochromatic box is ticked, then drag
the Amount slider in the Add Noise panel
until it looks good. Hit OK when you’re
done, then head over to the Layers panel
(Window>Layers) and change the Opacity of
your top Layer to fine-tune the effect further.

76 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS

Apply a tone of your choice


2 Go to Layer>Flatten Image to merge all of your
Layers together. Now hit Ctrl+U on the keyboard
to bring up the Hue/Saturation panel. To tone your image
with a single colour make sure you tick the Colorize box,
as this allows you to add your own
colours to the image. Now drag the
Hue slider until you find a colour
that you like the look of, and pull
the Saturation slider to change the
strength of the colour. Alternatively,
you can drag the Saturation slider to 0
to desaturate your image completely,
leaving you with a striking mono effect.
Hit OK when you’re done, then go to
File>Save As and save your image
as a JPEG with a new filename.

PRACTICALPHOTOGRAPHY.COM 77
PHOTOSHOPGENIUS

2 Go mono
to increase
atmosphere
BLACK & WHITE PHOTOGRAPHY
allows your viewer to concentrate on the
raw emotion and form of your image. Its
timeless quality is still popular today,
so we’ve come up with an easy way to
give your full-colour images the chic,
elegant look of a 1940s mono movie
(think Casablanca or Double Indemnity).
We’ll once again be adding digital noise
to simulate film grain, but this method
offers a different level of control to the
previous technique. A vignette is the
final touch that guides the viewer’s
eye towards the middle of your shot.
AFTER

Finish with a vignette


2 Hit Ctrl+L on the keyboard to bring up the Levels
panel. You can add contrast here by dragging the
Blacks and Whites sliders under the histogram towards the
middle. Now adjust the middle Midtones slider until the overall
brightness looks good. At the bottom of the Levels panel you’ll
find the Shadows and Highlights sliders. Drag the Shadows
Add some extra film grain slider in a little to make the dark areas brighter and give it a
1 Open your shot
and hit Ctrl+
washed-out feel. Lastly, we’ll add a vignette. Go to the Layers
panel and click on the Create new fill or adjustment layer icon
Shift+U to convert your and choose Levels from the list that appears. Darken the whole
shot to mono. Now go to shot by dragging the Midtones
Filter>Filter Gallery and slider to the right (0.60 in our
under the Artistic tab click on shot). Click on the Elliptical
Film Grain. Start by setting Marquee Tool from the
Grain to 5, Highlight Area to Toolbox, set Feather to 200px
10 and Intensity to 2. Zoom and make a selection from the
out so you can see the whole top left corner to the bottom
image, then tweak the sliders right corner, then hit Ctrl+I to
until you’re happy with the create the vignette. Lastly,
effect. Hit OK to apply the press Ctrl+D to lose your
filter when you’re done. selection.

78 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS

3 Use a Hollywood-inspired tone


FAVOURED BY FILM BUFFS ALL OVER
the world, the orange and teal effect can be
applied in just two steps and instantly
makes your images look like stills pulled
from a big budget blockbuster. This toning
technique adds more teal to the shadow
areas and more orange to the highlights,
creating a powerful contrast between the
warm and cool areas.

GENIUS When applying


a Gradient Map it’s worth
experimenting with other
complementary colours,
such as green and red
or purple and yellow
AFTER

Blend the colours into your picture


2 Head over to the Layers panel (Window>Layers) and
change the blending mode of the Gradient Map Layer
to Soft Light to blend the colours of both Layers together
Create a colourful split tone gently. It can also be worth experimenting with other blending
1 Open your image into Photoshop or Elements and
head over to the Layers panel (Window>Layers).
modes to get the look you’re after and reducing the Layer
Opacity if the look is too strong. You’ll now have a highly
Click on the Create new fill or adjustment layer icon and cinematic and wonderfully moody tone. If your shot is too dark
choose Gradient Map. In the Gradient Map panel that appears at this point go up to Layer>Flatten Image to merge your Layers
you’ll see a bar that fades from black to white – click on this together, then hit
bar to bring up the Gradient Editor. Click on the Violet, Orange Ctrl+L to bring up the
preset. Below the presets Layers panel. Drag
you’ll see a bar that fades the middle Midtones
from purple into orange. slider to the left to
Double-click on the purple brighten the image, or
Color Stop underneath the to the right to darken
purple end to bring up the the shot. We set it to
Color Picker, then set this 1.30 to make it a little
colour to a blueish cyan (R:0, lighter, then dragged
G:110, B:160) and hit OK. the Blacks slider in
Hit OK once more to close to 5 to restore a little
the Gradient Editor. contrast.

PRACTICALPHOTOGRAPHY.COM 79
PHOTOSHOPGENIUS
LEARN
NEW
LANDSCAPE
SKILLS

Replace an PART 5/6

WHAT
overexposed sky YOU NEED
Q Photoshop &
Elements
Don’t throw your overexposed landscapes in Q An image with a
blown out sky you’d
the trash! Dan Mold shows you how to rescue like to replace
a blown out sky by dropping in a better one.

L ANDSCAPES ARE ONE OF THE TRICKIEST


subjects to expose for, as for the vast majority of
the time you’ll be faced with much darker
BEFORE

foregrounds than skies. It’s no surprise then that our scenics


often come out with well exposed foregrounds, but skies that
are far too bright and burned out (like our example shot).
Shooting in RAW format will help, as these files capture
lots of extra info and detail that can be revealed in post-
production. But sometimes it’s just as easy to simply
add a new, better sky from your existing portfolio.
This month we’re giving away 13 skies on the free
disc/download. So find a shot with a sky that needs

LOUISE CAREY/BAUER
replacing, follow the three-step tutorial below, and don’t
forget to watch the accompanying video lesson too.

Right The foreground in this shot is perfectly exposed,


but the sky is too bright and we’ve lost the highlight detail.

Add and resize your new sky


Select your foreground 2 In the Layers panel (Window>Layers) click on the
1 Open your image into Photoshop or Elements and
grab the Polygonal Lasso Tool from the Toolbox.
Background Layer then click on the Create new fill
or adjustment layer icon and choose Solid Fill from the list.
Zoom in tightly by hitting Ctrl+Plus a few times and then hold Make sure the colour is set to pure white by dragging the
the Spacebar to use the Hand Tool to drag your way around the cursor to the top-left corner of the Color Picker and hit OK.
shot. You need to carefully select the foreground by clicking It’s now time to add the sky, so go to File>Open and select a
all the way around it. You’ll see the sky you like from the Free Gifts folder. Hit Ctrl+A to select it,
marching ants when you’re done. Ctrl+C to copy it and Ctrl+W to close it down. Then back in
Now click on Select and Mask (Refine your landscape shot hit Ctrl+V to paste it in. If the sky is the
Edge in older versions). Set Edge wrong size or needs repositioning, hit Ctrl+T to put it into Free
Detection Radius to 1px, Feather to Transform Mode. Drag the sky into position or use the corner
0.5px and Output To as New Layer handles to resize it – make sure Constrain Proportions is
with Layer Mask, then hit OK. ticked so you don’t distort it. Finally, hit Return to set it down.

80 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS // VIDEO ON THE DISC

13
FREE SKIES
TO ADD
TO YOUR
SHOTS

AFTER

Blend the sky in for maximum realism


3 In the Layers panel you can make the sky a little less strong by reducing the Layer
Opacity. This will bring through some of the pale white Layer below. You can also
hit Ctrl+U to bring up the Hue/Saturation panel, then drag the Saturation and Lightness
sliders to make the sky match your foreground. When you’re done, hit OK or click the cross
to close the Hue/Saturation
panel. If you see a faint white
line between your foreground
and the sky, click on your
foreground Layer Mask and use
a black Brush Tool to paint over
it and hide the bright white halo.
Make sure your Opacity is set to
100% and use the [ and ] keys
to resize your brush. When
you’re done, go to File>Save
As and save as a Photoshop NEXT MONTH
file to keep the Layers intact,
or to save space, choose REPOSITION
JPEG to merge the Layers. OBJECTS
Sometimes your focal point
doesn’t sit where you want it
to in the frame. Next month we
explain how to use the Content
Aware Move Tool to reposition
people, objects and landmarks
in your images, so you can
place them exactly where you
want and increase the appeal
of your landscapes.

PRACTICALPHOTOGRAPHY.COM 81
PHOTOSHOPGENIUS

Create your own WHAT


YOU NEED
Q Photoshop or

striking silhouettes Elements


Q An image you’d like to
turn into an artistic
silhouette
Dan Mold explains how to turn your people
pictures into colourful pieces of wall art.

BEFORE
S TRIPPING ALL THE
colour from a profile
portrait to transform it
into a silhouette vastly increases its
impact, and creates really artistic
results that are perfect for hanging
on the wall. This simple but
impressive technique takes just five
minutes, and along the way you’ll
learn how to cut out subjects in
Photoshop, turn them black and
then inject a strong kick of colour by
adding a background hue of your
choice. When shooting your
subject’s profile, use aperture-
priority and select f/8 for a strong
depth-of-field. Shooting against a Above & right A clean background makes it easier to draw around the profile of the models.
clean, white wall isn’t essential but It’s really easy, and great fun to turn your friends into silhouettes. You can also add a
does make it easier to cut them out. background colour of your choice to make them stand out even more.

Select your model Turn it black Add a hint of colour


1 Open your image into
Photoshop or Elements and
2 Click on Select and Mask
(Refine Edge in older versions
3 To add a colourful backdrop,
head over to the Layers panel
then click on the Polygonal Lasso Tool of Photoshop), then use the Refine Edge and click on the Background Layer. Click
from the Toolbox. Make sure Feather Brush Tool to brush over any fly-away on the Create new fill or adjustment
is set to 0px and then zoom in tightly hairs that were difficult to select. Now layer icon, choosing Solid Color from
on the edge of your portrait by hitting set Output To to New Layer. Click on the list. Now use the Color Picker to set
Ctrl+Plus a few times. Now use the the Create new fill or adjustment layer which colour you want to use as your
Polygonal Lasso Tool to carefully icon and choose Threshold from the list backdrop. Strong primary colours work
draw all the way around the portrait. that appears, then set the Threshold well – just hit OK when you’re done to
Click in small increments, as double- Level to 255 to turn your profile into apply it. If the colour comes through
clicking quickly will create the selection a silhouette. Now right-click on the parts of your silhouette, click on the
prematurely. Hold the Spacebar down Threshold Layer and choose Merge silhouette Layer then use a black Brush
and drag your way around the image. Down. Use a hard round Brush Tool Tool to paint over them. When you’re
You’ll see the marching ants when with an Opacity of 100% to paint over done, go to File>Save As and save
you’ve gone all the way around. any white specks left in the portrait. your shot under a new filename.

82 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS // VIDEO ON THE DISC

PRACTICALPHOTOGRAPHY.COM 83
PHOTOSHOPGENIUS
WHAT
YOU NEED

Shoot an Q A DSLR or CSC and


some basic equipment
Q A cloudy landscape

abstract
Q Photoshop CC

landscape
Dan Mold shows you
how to give your
landscapes an
impressionist feel
with a powerful time-stack.

Y OU’D BE HARD PUSHED TO FIND


somebody that isn’t familiar with the
term time-lapse. The innovative
photographic process is all the rage with nature
documentaries and cinematic films as a new way to
show time passing. To shoot one, you need to take a
sequence of images at regular intervals – for example
one every minute – over a period of time. You can
then turn these stills into a video to show movement,
such as the sun setting over a mountain range, a
flower coming into bloom or cars racing through
bustling city streets. Our time-stack technique is
similar to a time-lapse, but the end result merges all
of the pictures into a single image, so you can see the
suggestion of movement in just the one frame.
So, if you’re looking for an inspirational
technique to freshen up your landscapes you
need look no further. Over the page we’ll show
you exactly how to shoot a series of pictures that
can be transformed into either a time-lapse, or
our time-stack image. Finally, you’ll learn the
secret of how to bring it all together in Photoshop
to create this stunning scudding cloud effect.

BEFORE

Above A single shot from the time-stack sequence is


nice and sharp, full of colour and pleasing to the eye.

Right By stacking lots of images of the same scene


taken over the space of an hour we’ve created a
staggered effect in the moving clouds. This results in an
AFTER
abstract effect and makes for an eye-catching image.

84 PRACTICAL PHOTOGRAPHY
PHOTOSHOP //

3 skills you’ll learn


Focus your landscapes
1 You’ll learn where to set your focus
point for maximum sharpness in your
landscape images.

Use manual mode


2 Locking the exposure is key to
getting consistent results so your merged
images look seamless.

How to stack your images


3 We’ll show you how to unleash the
power of Photoshop’s Layers to stack your
images and create your time-stack.

PRACTICALPHOTOGRAPHY.COM 85
PHOTOSHOPGENIUS

Get your time-stack shots


Most of this technique is achieved plenty of space for your RAW files. The
in-camera, by recording the clouds at easiest way to merge the images together
regular intervals as they rush across the is with Photoshop CC using Layers.
sky. Using a tripod ensures that all of the Take your time-stack images to the
images line up perfectly when stacked in next level by starting in the golden hour
Photoshop. You’ll need some core kit, like (the hour before the sun goes down)
a DSLR or CSC that has aperture-priority and finishing at the end of the blue
and manual modes, and a wide-angle lens hour (the hour after the sun sets) – or
to frame up your landscape. Patience is vice-versa when shooting a sunrise.
key, as you’ll need to shoot for about an When you’re ready to try out this
hour and you’ll end up with around 100 fantastic landscape technique, make
images. It’s vital that you fully charge sure you’ve got everything in the
your camera battery and start with a equipment list below, then read the Above Increase sharpness by disabling
freshly formatted memory card with step-by-step over the page to get started. image stabilisation when using a tripod.

Location
You’ll need a landscape
with a moving element,
like clouds, or water,
that can be stacked in
Photoshop to create
the staggered time-
stack look. Interval
Timer
Camera capability
You’ll need a
You’ll need a camera
camera with an
with aperture-priority
Interval Timer
(A or Av) and manual (M)
Shooting mode, or
modes, so a DSLR or
an intervalometer
mirrorless model is
(above) to shoot
ideal for shooting your
your time-stack
time-stack sequence.
pictures.

Photoshop Lens
We’ll be showing you how to stack all of your exposures Wide-angle lenses, or the 18mm end of an entry-level kit lens, are
together using Layers in the full version of Photoshop CC. great choices for composing your landscapes, as the broader
A trial can be downloaded from adobe.com angle-of-view helps you fit in more of your scene.

Three top tips for better time-stacks

1 Shoot in the golden hour 2 Aim for a partly cloudy sky 3 Avoid shooting the sun
You can get a fantastic colour palette by This technique works amazingly well Shooting at sunset or sunrise will give
shooting half an hour before sunrise or when the sky is partly cloudy. The you great colours, but shooting into the
sunset. Your sky will be packed with movement and gaps between wispy sun itself will give you an overexposed
brilliant blue and golden tones as the clouds provide contrast, making the spot. Instead, try to compose with the
sun comes up or goes down. staggered effect more apparent. sun just outside of the frame edge.

86 PRACTICAL PHOTOGRAPHY
PHOTOSHOP //

Frame up using a tripod


1 When shooting a time-stack image
it’s vitally important that you use a
tripod to lock your camera off. This ensures
that the framing remains exactly the same
in each image – that’s essential for stacking
your individual pictures in Photoshop later
on. Make sure any camera or lens image
stabilisation is switched off when shooting on a
tripod, as these systems can actually introduce blur into your
shots when the camera is static. Frame up on a scene with
moving elements, such as clouds, then focus about one-third
of the way into the frame to get a strong depth-of-field in
your landscape. Lastly, switch the focus to MF to lock it off
so that it doesn’t change from one exposure to the next.

Dial in your exposure settings Set up your interval settings


2 Select aperture-priority mode and choose an aperture
of f/16 for good front-to-back sharpness. Make sure
3 Go into your camera menu and switch on the
Interval Timer. Set the interval to 5sec, then set the
you’re shooting RAW, set your ISO to 100 and then take a test number of intervals to 1000 and the shots at interval to 1. This
shot. If the result is too bright or dark, dial in some exposure means the camera will take one image every five seconds for
compensation to fine-tune the balance. When you’re happy, make up to 1000 images. You’ll probably only want 200 images, but
a note of the shutter speed then go into manual mode and dial in setting it high means it won’t stop shooting early, and you can
the same shutter speed, aperture and ISO to lock the exposure. then stop the camera manually when you’re ready to finish.

Pro advice How to fix


shooting problems
Q CLOUDS GO THE WRONG WAY
The best time-stack images are when the
clouds are coming towards you. Work out
the location you’ll be shooting at in advance
and use an app like The Photographer’s
Ephemeris (£2.79 Android, £8.99 iOS) to
work out where you’ll need to be to shoot
towards the setting sun. It’s also a good idea
to check the wind direction to work out if the
clouds will be coming towards you, or going
across the frame.

Shoot for about an hour QCAMERA DOESN’T HAVE A BUILT-IN

4 Make sure you have a fully-charged battery in your


camera, then hit Start in your interval shooting
INTERVAL TIMER
If your camera doesn’t have an interval timer built-in you’ll
need an intervalometer to make your camera regularly take
options to begin shooting your sequence. For amazing colours, images in increments of your choice. They don’t have to
shoot half an hour before and after sunset or sunrise, to get a break the bank, and have loads of functionality for astro and
gradation of warm golden tones and cooler blues and pinks. time-lapse shooting too. Hahnel’s Captur Module Timer can
When you’ve captured all of the shots you want to take, it’s currently be picked up for £39.95.
time to work them up into a single time-stack image.

PRACTICALPHOTOGRAPHY.COM 87
PHOTOSHOPGENIUS

Blend your shots


to finish the look
You’ve done the hard work by braving the
frosty winter evenings and capturing your TIP
sunset images. The final hurdle is to USE THE
bring all of your pictures into
Photoshop to create and control the
‘HAND’ TRICK
Take a shot of your hand at
‘stacked’ effect. This is really easy to
the start and end of your
do, but you’ll want to take some
sequence, so you know
precautionary measures to make sure when you started and
you edit all of the images consistently, finished. Easy!
otherwise it can spoil the end result.
Below we cover how to work up your RAW
files, load your images into Photoshop Layers
quickly and blend the images together. So read Above Photoshop CC makes it easy to batch edit your RAW files
on and get stuck in! and load all of your different exposures into the Layers stack.

Open up your RAW images Process the files consistently


1 Use Adobe Bridge to find the RAW files in your
time-stack that you want to work on and then right-click
2 In the Basic panel adjust the Temperature slider until
the white balance in your images looks good, and
on them and choose Open in Camera Raw. Right-click on an change the Exposure to get the level of brightness as you want
image thumbnail on the left and choose Select All, or click on it – err a little to the dark side, as the clouds will be very bright.
an image thumbnail and hit Ctrl+A. All of your RAW images will Increase the Contrast, Clarity and Saturation sliders a little and
now be selected so you can edit them for consistent results. push up the Vibrance slider to +50 to make the colours really pop.

Save and reduce the file size Load your shots into the Layers stack
3 With the RAW files looking how you want them,
make sure they’re all selected, then click on Save
4 Hit Save and then press Done to exit Adobe Camera
Raw. Open up Adobe Bridge and find your processed,
Images. Under Destination, create a new folder in which to resized JPEG images. As you’re dealing with lots of images,
save your JPEGs. Make sure Format is set to JPEG, Quality having smaller files really helps speed up the processing.
is set to 10 and under Image Sizing, tick the Resize to Fit box Hit Ctrl+A in Bridge to select all of the JPEGs and then go
and set Long Side to 2000 pixels with a Resolution of 240. to Tools>Photoshop>Load Files into Photoshop Layers.

88 PRACTICAL PHOTOGRAPHY
PHOTOSHOP //

Blend the Layers together Adjust the distance between clouds


5 In Photoshop go to your Layers panel (Window>Layers)
and you’ll see your time-stack shots loaded into the
6 There’s currently a 20-second gap between the clouds
in your stack. You can make this longer and increase
Layers. Click on the top Layer to select it, then hold the Shift the space between the clouds (if preferred) by turning off some
key and click on the bottom Layer to select them all. Change of the Layers. Click on the eye icon of a Layer to hide it – just
the blending mode from Normal to Lighten. You’ll instantly see be sure to do this in regular intervals, such as by hiding every
the images blend together with the distinctive staggered look. other Layer, so that the staggered effect remains consistent.

Fine-tune the brightness and contrast Boost colours and save your shot
7 When you’re happy with the distance between the
clouds, go to Layer>Flatten Image to merge all of
8 Hit Ctrl+U to bring up the Hue/Saturation panel
and then increase the Saturation slider to around
the exposures together. Now you can adjust the contrast by +20 to make the colours stand out a little more (if needed).
hitting Ctrl+L to bring up the Levels panel. Drag the middle Finally, head up to File>Save As and save your shot as
Midtones slider to change the overall brightness, then pull in a JPEG with a Quality of 12 to finish off your time-stack
the Shadows and Highlights sliders to add some contrast. image and save it onto your computer’s hard drive.

How to tell you’ve got the shot right


Striking ‘staggered’ effect
1 You’ve shot your exposures at regular intervals
and blended the wispy clouds together in Photoshop
1 to build up the effect.

Gradation in warm and cold tones


2 To get the wonderful range of warm yellows
3 and pinks right through to the cooler blues, you’ll
2 have started shooting before sunset and continued
through to the blue hour.

Clouds are coming towards you


3 Although hard to judge, this effect works best
when the clouds are coming straight towards you
rather than to the side. This is tricky to judge but the
longer you shoot for, the better your odds.

PRACTICALPHOTOGRAPHY.COM 89
PHOTOSHOPGENIUS

PhotoFixer
Stuck in an editing rut with your shots? Send them over
to ppsubmissions@bauermedia.co.uk and our Photoshop
experts will show you how to professionally retouch them.

BEFORE

A small
amount of
digital noise
is present

Image would
benefit from
a contrast
boost

AFTER

Chameleon By Rikki Bowers


Dan says: It sounds background, which has a grainy texture
Rikki says: I like Rikki had a lot to it. Luckily, Rikki shot RAW, so it’s
took this picture to contend with easy to dive back into the RAW file using
at Bristol Zoo. to get this shot – Photoshop or Lightroom and apply a
I was trying to keeping still, battling bit of Noise Reduction. It’s possible
get an angle on reflections and to subdue this with the Luminance
this chameleon shooting through slider, which softens the whole shot and
where it looked natural, without dirty glass – but it’s paid off, as it’s an removes the grainy texture. You can
the enclosure in shot. This was absolute corker. The composition works then bring back sharpness in the details
difficult because there were a lot well, with the chameleon leaning into by dragging the Sharpness Amount to
of children about and they were the active space on the left of the frame. 50 and Masking slider to around 50-80.
bumping me as I was trying to Rikki’s subject is also nice and sharp, While editing the RAW, it’s also
focus. The glass was also very as he’s focused on the nearest eye. His worthwhile pushing the contrast a
dirty, but an aperture of f/4 gave wide aperture of f/4 was a good choice little further. The HSL sliders and
me a shallow depth-of-field as it has created a shallow depth-of- Adjustment Brush Tool (Photo Fix 1 &
which blurred both the glass field, which brings the viewer’s eye 2) are fantastic ways of controlling the
and the background. I love how onto his focal point and blurred the contrast and making your subject pop.
the branches twist and curl – dirty glass he was shooting through. Minor niggles aside, Rikki’s technical
they’re so different to anything We’d never have guessed it was shot skills are spot-on and he’s captured
I’ve shot before. In Lightroom I in an enclosure, had he not told us. a brilliant animal shot that looks like
applied a slight crop and a low One slight criticism is that there’s it was taken in the wild. Our editing
contrast black & white preset. a small amount of digital noise in the adjustments take it even further
shot. This is more apparent in the and make it the best it could be.

90 PRACTICAL PHOTOGRAPHY
TIP
MAKE USE OF
ACTIVE SPACE
Rikki positioned the chameleon
on the right of the frame, giving
it plenty of room on the left.
This creates the illusion that
it’s moving into this area
and strengthens the
composition.

Sony _6000 | 35mm | 1/400sec | f/4 | ISO 2000

Photo Fix Take control of your RAWs


Use the HSL sliders
1 The Grayscale panel in both
Adobe Camera Raw and
Lightroom is ideal for converting to black
& white. Click Convert to Grayscale and
then use the colour channel sliders to
fine-tune the contrast in specific areas of
your shot. This helped us lighten the
chameleon in this shot, and darken off
the green background.

Fine-tune your
2 adjustments
If there’s a specific part of
your shot that you’d like to edit, use the
Adjustment Brush Tool in Lightroom or
Adobe Camera Raw. Just brush over the
part you want to change and you’ll have
access to all of the sliders on the right to
tweak that area. We used it to make the
chameleon a little brighter by pulling the
Exposure and Shadows to the right.

PRACTICALPHOTOGRAPHY.COM 91
PHOTOSHOPGENIUS

BEFORE
Fast lane
Colours
are dark and By Declan Delaney
muddy

Declan says: I’m a big


motorsports fan and
I took this shot at
Donington Park’s
Craner Curves. I get
the best shots here
as there are no obstructions. I like the
speed in this shot and the motion in
Subject the wheels too, and added a slight
is a little crop and colour adjustment in post.
blurry

Dan says: If this isn’t a high-octane shot,


then I don’t know what is! Declan’s panning
technique is great – the rider is in focus
AFTER and the background has been transformed
into a fantastic rush of colour. I’d suggest
adding extra sharpening to any panning shot
because the camera is moving as you shoot,
so it’s always going to be a little blurry. Our
method below sharpens just the rider to
hide any camera shake. A slight boost to the
Saturation (Ctrl+U) and overall brightness
of the shot using Levels (Ctrl+L) brightens
the muddy tones in the original and makes
the colours as vibrant as they can be.
My only other niggle would be to
include more space in front of the rider.
This is called ‘active space’ and creates
the illusion that the subject has room
to move into. This could be achieved
with a slightly looser framing or crop.
Declan’s clearly had a lot of time to
perfect his technique at Donington, and
we’re eager to see what he sends in next.
Nikon D3200 | 300mm | 1/80sec | f/14 | ISO 100

Photo Fix Sharpen your subject


Use a High Pass filter
1 Open your image into Photoshop or Elements
and hit Ctrl+J to duplicate your Layer. Head up
to Filter>Other>High Pass and, in the box that appears,
set the Radius to a low value of around 3-6px. Hit OK
when you’re done. You now need to blend the High Pass
filter in, so go to the Layers panel (Window>Layers) and
change the blending mode from Normal to Overlay. If the
effect is too strong you can lower the Layer’s Opacity.

Mask off the effect


2 The High Pass Layer is currently sharpening the
whole Layer, but you just want to sharpen your
subject. Click on the Add Layer Mask icon in the Layers
panel and then hit Ctrl+I to invert the Layer Mask. Now
use a white Brush Tool to paint over the area you want to
sharpen, which is the biker in this image.

92 PRACTICAL PHOTOGRAPHY
// PHOTO FIXER

Line breaks
up the form of
the windows
and is a little
distracting

Image
is a little soft
and would
benefit from
sharpening

BEFORE AFTER
Canon 5D MkIV | 63mm | 1/50sec | f/6.3 | ISO 400

Gherkin Photo Fix Distractions


By Stephen Pratley
Copy a ‘good’ area
1 Grab the Polygonal Lasso Tool from the Toolbox
and click around the area that you want to use
Stephen says: This angle of the
to cover the distraction. When you’ve drawn all the way
Gherkin reflecting in the Scalpel
around it you’ll see the marching ants, which show you
building really caught my eye. I liked
the area you’ve selected. Hit Ctrl+J now to duplicate this
the way the sun highlighted its shape, area onto a new separate Layer.
though it was difficult to get a shot
without glare. It was also very windy,
so keeping my camera still was a problem too! In
Lightroom I tweaked the contrast, clarity and vibrance.

Dan says: Stephen’s framing reservation would be to


is clever and he’s done well remove the beam from the
to compose while standing top right corner, as it breaks
up in a strong gale. We’ve up the uniform window
applied a small amount of pattern and pulls the eye away
sharpening to make the (see Photo Fix panel). The
Gherkin pop a bit more, as glare has been suppressed
it’s a little out of focus. well, though a polarising Replace the distraction
The reflection of the filter might help cut these 2 Hit Ctrl+T to put the new Layer into Free
Transform Mode and drag it into place. Hit
Gherkin has been broken up out entirely in the future.
Return to set it in place, then click on the Add Layer Mask
by the black window frames Stephen’s got a great
icon in the Layers panel. Use a soft black Brush Tool to
in the Scalpel building, and eye for photography, and blend it into the Background Layer for a seamless finish.
this gives the image a brilliant these tweaks take his shot
abstract feel. My only slight to the top of its game.

PRACTICALPHOTOGRAPHY.COM 93
SIGNATURE INKJET MEDIA

An inkjet paper
that captures and
holds all of the shadow
and highlight detail
we demand

As traditional darkroom printers, it has taken us many years to


discover the right inkjet paper for our images that captures and
holds all of the shadow and highlight detail we demand.
Natural Soft Textured Bright White 315 by Fotospeed,
is our paper of choice.
- Trevor and Faye Yerbury

PIGMENT CUT ROLLS 100% FREE ICC


INKS SHEETS COTTON PROFILES

Signature Natural Soft


Textured Bright White 315
inkjet media from £29.99
For more information, call us on 01249 714 555
or drop us an email sales@fotospeed.com

www.fotospeed.com
Fotospeed Printable Pre-Scored Greeting Fotocards...what a good idea!
// PHOTO FIXER

BEFORE
Smooth
horizon
By Chris Turner
Chris says: I wanted
to blur the water, but
retain the detail in the
Contrast rocks with this shot.
and colours I ran into the frame,
would benefit but it was hard to
from a slight keep still during the exposure! I had a
boost friend illuminate the rocks and myself
with a flash to make sure these areas
came out sharp.

AFTER Dan says: Chris has done well to capture an


exposure of several minutes – it’s helped him
to smooth out the water into a wonderfully
blurred, milky texture. The warm tones in
the sky have also been blended together,
which gives this image a timeless quality.
The picture is a little soft, possibly because
the tripod was knocked or blown by a breeze
during the two-minute exposure. This is
easily done, but a little sharpening brings
the detail back – refer back to Photo Fix
on page 92 for High Pass Sharpening.
Boosting the contrast also helps these
areas look a little more punchy. Chris
would definitely see a benefit from shooting
RAW – there are more editing options and
the contrast can be pushed even higher.
But it’s possible to increase the contrast of
the rocks in his JPEG using Levels (Photo
Fix 1) to give it a little extra ‘wow’ factor.
Nikon D3200 | 32mm | 127sec | f/22 | ISO 100

Photo Fix Boost contrast selectively


Use Levels to brighten
1 Open your shot into Photoshop or Elements and
go to the Layers panel (Window>Layers). Click
on the Create new fill or adjustment layer icon and choose
Levels from the list that appears. Now drag the middle
Midtones slider to 1.20 and the Highlights slider to 200 to
brighten the picture a little. Then move the Shadows slider
to 20 to add some contrast.

Mask it off in specific areas


2 You may not want the Levels Layer to effect the
whole shot, so go to the Layers panel and click
on the Layer Mask that comes loaded with the Levels
Adjustment Layer. Now grab the Brush Tool and hit D
followed by X for a black foreground colour. Set the Brush
Opacity to 20% and paint over your image to mask areas
off to stop them being brightened.

PRACTICALPHOTOGRAPHY.COM 95
PHOTOSHOPGENIUS WHAT
YOU NEED
Q Any version of

Use your free


Photoshop or Elements
Q An image you’d like to
tone quickly using
our free presets

Lightroom presets
Give your shots an incredible toning effect in
a single click. Dan Mold shows you how to
use your free 25 toning presets in Lightroom.

E DITING IS ESSENTIAL FOR


making your shots look as
good as possible, but time
spent at the computer could be time spent
outdoors getting the most out of your
hobby and adding more cracking photos to
your portfolio. Presets are a fantastic way
of speeding up your workflow, as they
allow you to apply a whole raft of
predetermined adjustments in just a single
click. You can then fine-tune the effect
easily and produce fantastic results in an
instant. To get you started, we’re giving
away 25 unique presets on this issue’s free
disc/download for quickly toning your Above & right These images have some great compositions but the tones don’t look
shots, giving them a border or converting very eye-catching. We’ve applied several different looks to the images in just a single
to black & white. Here’s how you can do it. click using the free toning presets.

Create a folder Import the presets Fine-tune the results


1 Open up Lightroom and click
Develop at the top of the
2 Make sure your new folder
is highlighted in the presets
3 Now you can apply the presets
and experiment with the
interface or hit D on the keyboard to panel, then right-click on the folder results. Clicking on a preset will wipe
go into the Develop module. Now you and choose Import from the list that any previous settings applied to the
need to find the Presets panel on the appears. Navigate your way to the PP image. You can perfect the results by
left of the interface and click on the Toning Presets, which is in the Free Gifts clicking on a preset you like the look
arrow to expand it. Right-click anywhere folder on your free disc or download. of, then edit the sliders in the Basic
in the Presets panel and choose New Click on the first preset in the list which panel as you usually would edit your
Folder from the list that appears. You is Arty - 1, then hold down the Shift shot to get it looking how you like. If you
can now name the folder using the key and click on the last preset which want to apply several different looks to
Folder Name box. We called ours PP is Split Tone - 5. This will highlight the same image, right-click the image
Toning Presets to keep things simple, all of the presets. Now hit Import thumbnail in the filmstrip and choose
but you could call yours whatever to bring all of them into Lightroom. Create Virtual Copy. You’ll now have
you like. Hit the Create button when This saves you from importing each an identical image to work on that you
you’re done to make the new folder. preset, cutting down on time. can apply a different preset to.

96 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS // FREE TEXTURES

DAN MOLD/BAUER
25
CREATIVE
LIGHTROOM
PRESETS
EYE35.PIX

ARTY 1 ARTY 3

DAN MOLD/BAUER
THOM MOORE

ARTY 9 BLACK & WHITE 5

PRACTICALPHOTOGRAPHY.COM 97
PHOTOSHOPGENIUS
SEE
DISC OR
DOWNLOAD
FOR MORE

shop EDITING
ADVICE

Quick tips & keyboard shortcuts that’ll


help you process your images faster!

LIGHTROOM

Copy as DNG to save space


and maximise compatibility
DNG is a RAW format that is universally compatible with any
version of RAW editing software. Users of Lightroom have the
option to Copy as DNG using the Import dialogue from within
the Library module. Here, you use the Source panel on the left
to find the RAWs you want to copy over, and then on the right
side of the interface click To and choose the place on your
hard drive where you want to save your newly converted DNG
pictures. In addition to being universally friendly, DNG files in
our tests were found to be around 15% smaller in size. Adobe
claims this is because the lossless compression used when
converting to DNG is more efficient. That means 1TB of RAWs
could become around 150GB smaller when converted.

PHOTOSHOP & ELEMENTS PHOTOSHOP & ELEMENTS

Resize your images and Layers Change Layer Opacity quickly


without distorting them Using Layers is

RICHARD BURDON
a fantastic way of
Changing the size of an image is a building a
DIRK BLEYER

crucial part of layering up in composite image.


Photoshop. But you’ll want to make The opacity of
sure you don’t distort the original your Layers is key
aspect ratio if you don’t want to to how your
end up with a skewed or squashed images blend in
picture. The easiest way to resize with each other.
a Layer is to hit Ctrl+T to put that This can be set
Layer into Free Transform Mode manually using
and drag the corner handles. To the Layer Opacity
lock the aspect ratio make sure slider in the
the Constrain Proportions box is Layers panel
ticked in Elements, or click the (Window> Layers). But a much
Maintain Aspect Ratio icon in quicker way to set the opacity is
Photoshop (it looks like a to use your number keys –
chainlink). Alternatively, you can hitting 1 will set the Layer
hold the Shift key down as you Opacity to 10%, 2 will set it to
drag the corner handles for the 20%, and so on. If you hit two
same effect. Hit the Return key keys quickly, such as 5 and 8, the Layer Opacity will be set to that
when you’re done to set it down. value, 58% in this case. 0 will set the Layer Opacity to 100%.

Share your shots with us & win!


We hope you’ve enjoyed our we’ll announce our favourite then send your
Photoshop Genius section and entry on our Facebook page, results to us TOP
would love to see how you’re and the winner will receive at ppsubmissio PRIZES
getting on using our brand- a Manfrotto NX camera bauermedia.co TO BE
new editing techniques. So shoulder bag II. To be in with with the subject heading WON
why not share your finished a chance to win, just follow the Photoshop Genius. We look
shots with us? Each month Photoshop techniques and forward to seeing them soon.

98 PRACTICAL PHOTOGRAPHY
Visit our website - updated daily
www.parkcameras.com/prp
or phone us Monday - Saturday
01444 23 70 54
Experts in photography Unbeatable stock availability Competitive low pricing UK stock

30.4
MEGA 3.2” 4K
NEW!
PIXELS 7 fps

No matter what you’re shooting, be assured


of uncompromising image quality and a
thoroughly professional performance. 42.4
MEGA 3.0” IS 4K
Receive a FREE G-Technology 4TB hard drive and LP-E6N PIXELS 10 fps
.00
Battery worth with the EOS 5D Mark IV. Offer ends 17.01.18 In stock at £3,229

Canon EOS M5 FREE Canon EOS 700D Canon EOS 77D £85
cash
GIFTS! back
24.2 18.0 24.2
MEGA MEGA MEGA
PIXELS 7 FPS PIXELS 5 FPS PIXELS 6 FPS

Body only + 15-45mm Body only + 18-55 IS STM Body only + 18-55 IS STM NOW IN STOCK!
£799.00 £899.00 £449.00 £449.00 £614.00* £754.00*
Receive a FREE tripod, SD Add the Canon EF 50mm *Prices after £85 cashback
Learn more & place an order to receive one of the
card & bag! Offer ends 31.12.17 f/1.8 STM for only £80! from Canon. Offer ends 17.01.18 first in the UK at www.parkcameras.com/sony-a7r-iii
Canon EOS 80D FREE Canon EOS 7D Mark II Canon EOS 6D Mark II Sony RX100 V £100 Sony a6500 £150 Sony a9
cash cash
GIFT! back back
24.2 20.2 FREE FREE 20.1 24.2 24.2
GIFTS!
26.2 GIFTS!
MEGA MEGA MEGA MEGA 4K MEGA MEGA
PIXELS 7 FPS PIXELS 10 FPS PIXELS 6.5 FPS PIXELS PIXELS 11 FPS PIXELS 20 FPS

Body only + 18-55 IS STM Body only + 100-400mm Body only + 24-105 IS STM In stock Spread the cost with Body only +16-70mm See website for
our finance options!
low prices on
£959.00 £1,011.00 £1,349.00 See web £1,728.00 £2,329.00 £849.00* £1,129.00 £1,949.00* £4,499.00 lenses
FREE Canon LP-E6N battery! FREE Canon LP-E6N batt & FREE Canon LP-E6N batt & *Price after £100 cashback *Prices after £150 cashback See in store or online for a
Offer ends 31.12.17 64GB SD card! Ends 31.12.17 64GB SD card! Ends 31.12.17 from Sony. Offer ends 21.01.18 from Sony. Offer ends 21.01.18 free 2 year warranty!

45.7
MEGA
PIXELS 7 fps
3.2” 4K

Welcome to full-frame FX splendour like


You pay Cashback After Cashback you’ve never seen it before. From the
studio to the remotest locations on earth.
100mm f/2.8L Macro IS USM £799.00 £105 £694.00
Visit our website for information
16-35mm f/4L IS USM £899.00 £85 £814.00 on the latest availability Body only £3,499.00

24-70mm f/4L IS USM £699.00 £105 £594.00 Nikon D3400 Nikon D500 Nikon D5
70-300mm f/4-5.6 IS II USM £429.00 £85 £344.00 24.2 20.9 20.8
MEGA MEGA MEGA
70-300mm f/4-5.6L IS USM £1,249.00 £150 £1,099.00 PIXELS 5 FPS PIXELS 10 FPS PIXELS 12 FPS

70-200mm f/4.0L IS USM £1,049.00 £130 £919.00


Body only + 18-55 VR Body only + 16-80 VR XQD Type For the range of
lenses available,
100-400mm f/4.5-5.6L IS II USM £1,789.00 £215 £1,574.00 See web £449.00 £1,729.00 £2,479.00 £5,299.00 see our website
Add a Nikon EN-EL14a spare Spread the cost with finance. Make the most of your D5
Learn more at, visit www.parkcameras.com/canon-cashback battery for only £52.99! See website to learn more. and save 5% on accessories!

Tamron 100-400mm Olympus OM-D 16.1


MEGA 3.0” 4K
f/4.5-6.3 Di VC USD E-M10 Mark III PIXELS 8 fps

Built for city life; beautifully styled with a


A highly portable, ultra-telephoto zoom lens NEW!
with AF precision for shooting instantaneous retro design combined with the latest in
movement with the utmost clarity. digital camera technology.

Watch our hands-on first look video at


Learn more at www.parkcameras.com In stock at £789.00 www.parkcameras.com/olympus-em10-iii In stock from £629.00

GoPro HERO6 GoPro Karma Drone Lowepro ProTactic Olymp s E PL8 Olympus E-M5 Mark II Olympus E-M1 Mark II
NEW!
with HERO6 BP450 AW
NEW! 16.1 16.1 20.4
4K MEGA
PIXELS 8.5 FPS
MEGA
PIXELS
MEGA
PIXELS
4K
£85 £200
cash cash
back back
NEW & Now in stock! NEW & Now in stock! In stock at only Body only + 14-42 EZ Body only + 12-50mm Body only + 12-40 PRO
£479.00 £1,149.00 £210.00 £429.00 £499.00 £714.00* £764.00* £1,599.00* £2,199.00*
Watch our first look video at Learn more by watching our For even more Lowepro bags, Available in black or silver. *Prices after £85 cashback *Prices after £200 cashback
www.parkcameras.com video at www.parkcameras.com visit our website See website to learn more! from Olympus. Ends 15.01.18 from Olympus. Ends 15.01.18

Manfrotto 190GO! Manfrotto Manhattan Manfrotto

WINTER SALE 2017


Aluminium Mover 50 Backpack MHXPRO-3
Tripod 3-Way Hea
MT190GOA4TB

In stock at only In stock at only In stock at only STARTS 5PM, 24TH DECEMBER 2017
£149.00 £129.00 £93.95
For even more Manfrotto For even more Manfrotto For even more Manfrotto heads
Visit www.parkcameras.com/winter-sale to learn more!
tripods, visit our website backpacks, visit our website & accessories, visit our website

All prices include VAT @ 20%. All products are UK stock. E&OE. * = Please mention “Practical Photography” for this special price.
For our opening times and directions to our BURGESS HILL and LONDON stores, please visit www.parkcameras.com/prp. Exclusive offers,
competitions & more at
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
Know
YourStuff
All your technique and gear questions answered by
our team of experts knowyourstuff@bauermedia.co.uk

How do I back
up and store
Tim Berry
PP’s contributing
editor has a
images safely? TIP
master’s degree A photographer friend of mine recently lost a significant
in photography number of her images and I’m getting increasingly
FORMAT
and has taught paranoid about this happening to me. What’s the best CARDS REGULARLY
undergraduates. way to protect my shots? Paul Taylor, Leicester
You can limit the chances of
corruption by formatting your
Tim says: Secure image storage once the card is written over, cards in-camera between
isn’t exactly the most exciting there’s no way back. As soon shoots. Just make sure
avenue of photography, but if you as you get home from a shoot, that you’ve saved
don’t put the proper measures get into the habit of setting your shots!
in place to protect your files, your transfer going before you
SIMPSON33

you’re running a huge risk of even put the kettle on. Make
serious data loss. These days, sure you keep an intuitive and
almost all of our photos are consistent file system so you can
stored digitally, and it doesn’t always locate an image quickly. Solid state drives
Dan Mold take much for the ones and zeros One major drawback of regular
PP’s Photoshop that make up every image file Use both card slots hard drives is their fragility.
editor is a former to disappear into the ether for If your camera has two card slots, Accidentally drop one on
Digital Photo good. At best, you might lose such as the Canon 5D MkIV the floor and there’s a good
staffer who has a few throwaway shots you or Nikon D610, it’s possible to chance that the drive’s spindle
encyclopedic
took at the weekend. At worse, mirror them so that your images will break. Solid state drives,
photo knowledge.
you could be saying goodbye are written to both. This means though, like USB sticks and SD
to hundreds of thousands of that if one of the cards becomes cards, have no moving parts
photographs of your children corrupted or gets lost, you have so are much tougher. They’re
growing up, or irreplaceable your images safely backed up a particularly good idea if you
memories of your wedding day. on the other. It’s always best to transport your drives to different
Here are some steps you can work this way for very important locations regularly. Bear in
take to protect your files... shoots such as weddings. mind that solid state tends to
be much more expensive.
Back up immediately Follow the 3-2-1 rule
One of the most common causes Many photographers store their
Louise Carey of data loss comes from the images in accordance with the
failure to transfer images from 3-2-1 rule, where images are
PP’s features
editor is an
a memory card to a hard drive backed up at least three times,
experienced at the earliest opportunity. If across at least two different types
fine art and not done right away, the chance of storage (eg Cloud and hard
documentary of accidentally formatting the drive), in more than one location.
photographer. card to use for something else Working this way makes losing Above Solid state drives are much
dramatically increases, and precious data extremely unlikely. less likely to break if dropped.

100 PRACTICAL PHOTOGRAPHY


Expert tip What to do if you lose your images
If the worst happens and, for whatever bank beyond it. The other option is a
reason, you do lose important data, what device such as Sanho’s HyperDrive
you do next could make all the difference ColorSpace UDMA 3 (left), which is
when it comes to potential recovery. The essentially a hard drive with a card slot,
most common cause of image a screen, and built-in recovery
loss is accidental deletion or software. These are expensive
card formatting, in which (£400), but very reliable and
case you should be able to easy to use.
recover images, as usually If your card or hard drive is
the data isn’t actually actually corrupted, you may
deleted, but rather marked as be able to repair the problem
‘available’ should the camera yourself, but if you’re not IT
wish to use it. So it’s vitally savvy it may be a job for an
important that you don’t use expert. If a hard drive is
the card again following the making clicking noises, stop
deletion. Accessing the data using it immediately. This is Above Access lost data quickly with
is usually only possible with usually the sound of free software such as EaseUS.
the help of special software. imminent mechanical failure.
We recommend EaseUS, The drive may need to be Left The Sanho HyperDrive ColorSpace
which is free to use up to professionally rebuilt, which UDMA 3 is a reliable tool for recovering
2GB, and won’t break the is very expensive. data from formatted memory cards.

PRACTICALPHOTOGRAPHY.COM 101
Should I invest
in a handheld
gimbal for video?
What exactly is a gimbal
and are they worth having
for video work?

JOHN FINNEY PHOTOGRAPHY


Chris Blake, Morpeth

Louise says: A gimbal is a


(usually) motorised device for
getting smoother, more
professional-looking video
footage. It can also be used to
keep your camera level for stills,
though this is less common. There
are lots of different types of gimbal
on the market, ranging from basic
Which entry-level camera
handheld devices to high-end
products used in major Hollywood
productions. You may also have
is best for landscapes?
noticed them used on drones to I shoot landscapes and have a are fine for landscapes, but a better option
keep the camera level as
£500 budget for a new camera? may be a wider-angle lens, so consider
the drone tilts.
Prices
Which should I buy? buying the camera body-only, then putting
start at Susan Mucklow, Bridgnorth the money you save towards a Sigma
around 10-20mm or similar. If you don’t mind
£300 Tim says: There are currently at least investing in secondhand kit, you can get
for a seven major manufacturers producing some amazing bargains that should get you
handheld entry-level DSLRs and CSCs, so it really is better image quality within your budget
device capable a buyer’s market. If you’ve already bought than a brand new entry-level camera.
of supporting the weight into a system and have invested money in Check for condition and, if possible, shutter
of an entry-level DSLR extra lenses and accessories, it may make count, before purchase. A good value used
or CSC. These are
sense to stick with it when you upgrade, option under the £500 limit is a full-frame
perfect for recording
footage as you walk. We
otherwise you’ll have to buy everything all Canon 5D MkII, although you’re unlikely
recommend the Feiyu over again, and sell your existing gear. But to get a lens with it at this price.
Tech A1000 (£380), a if you’re not tied in to any one brand, Even if you’ve always used DSLRs, it’s
3-axis model that offers there’s plenty of choice out there. well worth considering CSCs, which are
silent, brushless motors As you mainly shoot landscapes, focus usually smaller and lighter, and often offer
and an automatic shutter, on features such as resolution, dynamic a more impressive spec for the money. Bear
supports up to 1kg and range and weather-sealing, rather than in mind, though, that battery life is usually
has smooth 360° rotation. maximum frame burst and 3D tracking, as inferior. Let’s check out three of the best
these won’t be as useful to you. Kit lenses sub-£500 landscape cameras on the market.

Three of the best budget landscapes cameras

Canon Nikon Sony


EOS M100 kit £419 D3400 kit £429 _5100 kit £449
The M100 is an ideal CSC for outdoor This ultra-compact 24MP DSLR might Sony’s highly-rated entry-level APS-C
photographers because, at just 302g be inexpensive, but according to sensor CSC comes with an impressive 24.3MP
including a battery, it’s incredibly experts DXO it contains the second- sensor, a light, compact body, a tiltable
portable. Boasting a 24.2MP resolution, best APS-C sensor on the market, with 3in screen (though no viewfinder), and
Wi-Fi, and a tilting 3in touchscreen, it a monster dynamic range of 13.9 stops. Wi-Fi. Its kit lens is 16-50mm, which
comes fully loaded with an impressive The camera comes with an 18-55mm kit is slightly wider than most other kit
spec. Bear in mind that due to its size lens, but doesn’t have touchscreen or lenses on the market. Battery life is
there’s no viewfinder. canon.co.uk Wi-Fi built in. nikon.co.uk decent at 400 shots. sony.co.uk

102 PRACTICAL PHOTOGRAPHY


Know Your Stuff

Is a CSC good enough for


serious sports shooting?
I’m a sports photographer and 400mm or longer at f/4 or wider, and
would like your thoughts on they’re both on Micro Four Thirds, which
whether I should be doesn’t really offer a pro sports body.
considering a switch to a CSC. That said, CSCs are undoubtedly
Barry Stevens, Edinburgh heading in the right direction. Sony in
particular, with its new _9, and an _9 II
Louise says: Mirrorless cameras, or CSCs, expected before the 2020 Olympics, has
What are the
have only been around since 2008, when some very impressive tech on offer that benefits of
Panasonic launched the ground-breaking gives Canon and Nikon’s flagship sports
G1. In the past nine years they’ve come models a real run for their money. If built-in Wi-Fi?
on in leaps and bounds, often adopting trends continue, it’s likely that within the I may upgrade my camera
new technologies considerably earlier next five years there will be considerably to a newer model which
than their DSLR counterparts. In other more pro-spec long telephoto mirrorless has Wi-Fi. What does this
areas, though, including battery life and lenses on the market, especially for Sony actually do for me?
lens range, they still trail behind, which E-mount and Micro Four Thirds, and Chadley Johnson, East Sussex
can be a real problem for pro shooters. A we’re likely see an increasing number of
Dan says: Wireless connectivity
serious sports photographer, for example, pros making the jump to a lighter, more
now comes as standard on most
might not want to shoot a Premier versatile mirrorless system. Current DSLRs and CSCs, but if your camera
League match without a lightning-fast rumours suggest Sony is working on a is a slightly older model, there’s a fair
400mm lens and a battery life of 1500 200-600mm and a 400mm f/2.8, both of chance it won’t be built in. In fact,
shots. But right now there are only two which would be very welcome additions Nikon didn’t introduce Wi-Fi to a
mirrorless lenses at the equivalent of for sports and wildlife shooters. DSLR until as late as October 2013,
with the D5300. Wi-Fi might seem
Left Sports like a gimmick, but it can actually be
images tend a really useful tool, especially if the
to be shot camera also has NFC for instant
on DSLRs. connection. The three key benefits
of Wi-Fi are:
Below The
_9 is the Q Transferring images from your
best CSC camera to your phone, tablet or
for action. computer without the need for
cables or card readers, enabling
easy sharing on social media.
Q Controlling your camera remotely
using a phone or tablet. This
includes taking photos, focusing
and changing key settings, and is
ideal for long exposure photography.
MICHAEL BUDDLE

Q Connecting your camera directly


to a wireless printer, eliminating the
need for a computer.

Are iPhones now capable of


shooting shallow depth-of-field?
I’ve heard I can now get a blurry similar composition. The further
background on an iPhone. Is this true? the focal distance, the larger the
Nick Barton, Lancaster depth-of-field. However, newer
iPhones have a Portrait mode
Dan says: Compared with DSLRs and CSCs, that uses the two rear cameras
iPhones don’t offer a particular shallow depth-of- to build a depth map, then blurs
field. This is because they have tiny sensors objects that aren’t on or near the focus point. This
(about 1/50th the area of full-frame), and therefore fake bokeh is actually very realistic, and gives
you have to be standing much further from the images a distinctly DSLR look, though close
subject at the same focal length to achieve a inspection reveals imperfections at the edges.

PRACTICALPHOTOGRAPHY.COM 103
Know Your Stuff

XXXXXX XXXX
How do I get
sharper shots?
I’m concerned that my images aren’t
as sharp as they should be. Help!
Chris Simpkin, Ayrshire

Dan says: If your images aren’t quite as sharp


as you’d expect, there could be several different
factors at play, so it’s a good idea to work logically
through all of the possible causes. More often than
not, the problem comes down to a shutter speed
issue, where the camera is moving very slightly
during the exposure, although there are many other
common reasons for soft or blurry results. Below,
we check out six quick and easy ways to ensure
every image you take is as sharp as possible...

Choose your aperture Consider depth-of-field Remove filters


1 Most lenses offer the best optical
performance at mid-range
2 The wider the aperture, the
shallower the depth-of-field
3 Many photographers leave a UV
filter on the end of their lens to
apertures, so it’s best to stick to around f/8 becomes. If your scene has both objects protect the front element from scratches.
where possible. If you want to test the very close to the camera and in the distant But filters can collect dust and smears, and
‘sweet spot’ of a specific lens, take the same background, and you want them both sharp, there’s no guarantee that the glass or
image at each aperture stop and compare be sure to choose a narrow aperture of coating will be as good as the lens itself. So
the results on a computer screen to see around f/16. Don’t go too narrow though, as for very important shots, it’s a good idea to
which is the sharpest. overall sharpness starts to drops off. temporarily remove the filter.

Select shutter speed Focus with Live View Keep the camera still
4 For sharp handheld shots without
camera shake, choose a shutter
5 AF is usually very accurate, but not
always – sometimes the camera
6 When shooting long exposures
from a tripod, it’s easy to assume
speed that is at least equal to the inverse of or lens can place sharp focus slightly in your camera is perfectly still, but this may
your focal length. For example, for 100mm front or behind the subject. To guarantee not be the case. On windy days, it can
lenses, use 1/100sec or faster. For 400mm, accurate focus, activate Live View, press the wobble around, introducing blur. In this case,
use 1/400sec or faster. If you’re shooting a Magnify button, switch the lens to MF, then remove the strap, avoid using your tripod’s
moving subject, you’ll need even shorter adjust the focus ring until the subject is central column, and shield the camera from
exposure times. perfectly sharp. the wind with your body.

104 PRACTICAL PHOTOGRAPHY


Know Your Stuff

Where are my
LCD settings?
How do I shoot a There used to be settings
visible on my screen.
snowy landscape? How do I get them back?
Harpreet Lall, Bath
This year I’m determined to shoot some amazing Louise says: Almost all modern
wintry scenes. Do you have any tips? DSLRs and CSCs allow you to
Emma Southall, March TIP display key settings info on the
AVOID LENS rear screen, which tends to be
Dan says: The core principles of winter landscape easier to see than in the viewfinder
photography aren’t hugely different to other times
FOGGING or on the top-plate LCD. To turn
of the year, although there are a few useful tips Taking freezing cold gear into the display on or off, press the Info
that can help you achieve better shots. Perhaps a warm house can cause button on the back of the camera.
the most useful is what to do if there’s snow on the condensation, so allow You may have to press it several
your kit to acclimatise times, as it often toggles through
ground, which can cause metering and focusing
first in the car. a variety of display functions,
issues. When most of the frame is white, your camera including the virtual spirit level
will set the snow as a midtone grey, making the scene and the histogram. Once selected,
look muddy and underexposed. Increase exposure this key info display will remain
compensation by 1-2 stops and keep your eye on the histogram visible at all times, unless you are
to avoid clipping out the brightest areas to pure white. If your reviewing an image or using the
camera struggles to focus in the snow, try moving the focus menu. Many photographers prefer
point to an area of contrast, such as some bare tree branches. to keep the screen off when
Above For composing a shot, getting the
If this isn’t possible, just set your lens to manual focus and turn
ROBERTO MOIOLA / SYSAWORLD

super seasonal info they need in the viewfinder


the focus ring to infinity in the focus distance window. snowy images, display. After-dark photographers,
Choose a narrow aperture of f/16, which should ensure sharp increase your in particular, rarely use this
results. Snowy scenes and frosty mornings can often benefit exposure comp function because looking at a
from a slightly cooler colour temperature, so try choosing a and use a bright screen reduces night vision,
custom white balance of around 4000K in your camera’s menu. custom WB. and it also decreases battery life.

Below Nikon’s D850


Are flip-out or tilting screens worth having? has a 3.2in 2359k-dot
tilting touchscreen.
I’m buying a new DSLR but and want to hold your camera high
don’t know if I really need a above your head for a better view.
tilting screen. What are your Simply tilt the screen downwards and
thoughts on the matter? you can frame up with ease. The other
Mitch Simmons, Brighton key advantage of flip-out (but not
tilting) screens is that they can be
Dan says: Articulated screens are folded inwards against the body for
designed to enable you to shoot more protection against scratches.
easily from a variety of angles, which Traditionally, high-end bodies
can be useful in a range photographic don’t have articulated screens, as
situations. Let’s say, for example, the majority of pros tend to compose
you’re a street photographer and you through the viewfinder rather than with
want to work with your camera at your Live View. However, recent releases
hip. A tiltable screen allows you to such as Sony’s _9, Panasonic’s GH5
glance down to compose and focus and Nikon’s D850 (right) have adopted
accurately, rather than having to this functionality.
guess. Equally, you might be at a gig

105 PRACTICAL PHOTOGRAPHY


Know Your Stuff

How do I attach
a flashgun to
a lightstand?
I’ve just bought a
lightstand but my
flashgun doesn’t fit on it.
Is there a way to connect them?
Rory Benton, Newcastle

Louise says:
Most flashguns
are designed to
be mounted onto a
camera, so are fitted
Can you suggest creative with a standard
hotshoe connector.
If you want to mount
ideas for the New Year? one to a lightstand,
which have either a
I need to get my teeth into a can chew, you’re far more likely to give up 1/4in or 3/8in screw
thread (or both), you’ll
meaty photo project in 2018. before you really get started. For example,
need an adapter. Buy
Do you have any suggestions? Project 365 (see below) requires you to one with a swivel joint
Tim Blunt, Plymouth take a shot every single day without fail so you can tilt the
for a whole year, which isn’t going to be flashgun up and
Tim says: Whether you’ve had some easy if you have a demanding job. Perhaps down, otherwise it
new kit for Christmas and want to put it one per day for a month, or one per week will always be angled
through its paces, or are just itching to get for a year would be more realistic. horizontally. Some of
out and shoot after a couple of dormant Don’t worry if you don’t get these products, such as
winter months, a creative project is the amazing results every time you shoot Calumet’s Adapter with
perfect way to kick-start the New Year. a photograph. This should be as much Hot Shoe Bracket (£15),
pictured above, also allow you to
Most projects give you some sort of a learning process as it is a portfolio
connect an umbrella to soften the
theme or brief to work to, which tends builder, and no one else ever has light. Bear in mind that if you’re
to make it easier to decide what to shoot, to see your less successful images. using your flashgun with wireless
and many focus on a specific genre or The very best projects will stretch triggers, it’s actually the receiver
subject, enabling you to explore a range you to shoot subjects you wouldn’t and not the flash unit that will
of different techniques and approaches. normally tackle, thereby teaching you attach to the top of the bracket,
Be sure to choose a project that you lots of new skills along the way. so check that the receiver has a
are confident you have enough time to Below, we check out three creative hotshoe connection on the base.
complete. If you bite off more than you project ideas for the New Year.

Three great long-term photo projects to try out

Project 365 ABC or numbers project Stick to one colour


Shooting one image every day is a great Keep your eyes open for attractive Over a period of, say, one month, only
way to keep the creative juices flowing letters and try to photograph the entire shoot objects of a particular colour.
through the year. Most photographers alphabet, or do it with numbers from At first you’ll find it quite hard to find
focus on a specific subject, such as 1-25. You can then make them into a grid potential subjects, but this a superb
self-portraits, but you don’t have to. If in Photoshop to display on the wall. This eye-opening exercise, and before long
you’re short on time, a Project 30 may is ideal if you don’t have much time, as you’ll be spotting amazing images you
suit better, as it only spans a month. you can grab shots while out and about. wouldn’t have noticed before.

PRACTICALPHOTOGRAPHY.COM 107
Image © Tom Barnes

*NBHJOF DSFBUJOH ZPVS


PXOQSPGFTTJPOBMRVBMJUZ
QSJOUTBUIPNF

8JUI1FSNB+FUJOLKFUNFEJB ZPVDBO
EPKVTUUIBU

$IPPTFGSPNBTFMFDUJPOPGBXBSE
XJOOJOHQBQFSTHVBSBOUFFEUPTVJUBMM
ZPVSJNBHJOHOFFET XIFUIFSJUCFB
NFUBMMJDMVTUSFPSUFYUVSFEpOFBSU

7JTJUXXXQFSNBKFUDPNOPXUP
HFUTUBSUFE

TBMFT!QFSNBKFUDPNw
FIZKES
Know Your Stuff

Expert tip!
Copyright
and the law
We asked
Jonathan
Appleby, a
copyright expert
at Copytrack, for
the low-down on
how UK copyright
law works...

Q Copyright is a legal right that


grants the creator of an original work
exclusive rights for its use and
distribution. Image copyright lasts
the lifetime of the creator plus 25

How do I protect my images years. After this it can be used by


anyone. Such rules are why works
from Shakespeare can be created

once I post them online? however and whenever one wants


without any concern.

I’m paranoid that as soon as also mean the images load faster. If you QAn infringement occurs whenever
I upload my shots online they’ll want to check if one of your images has someone breaks the terms of your
get stolen and used without been stolen, you can use Google’s reverse copyright. Online this often occurs
when users share your images
my consent. What can I do? image search (go to Images, click the
without permission. Due to the
Mandy Dewbridge, Chester camera icon at the right of the search
availability of content online,
bar, upload your shot and voilà). A more infringement sometimes occurs
Louise says: The digital age has ushered advanced option is to set up an account without the abuser knowing they’ve
in a whole new photographic era that has with Copytrack (copytrack.com), which done anything wrong. When your
brought with it all sorts of advantages. But will search the web for your shots and rights have been abused you are
it’s also led to a dramatic increase in the report back, boasting an accuracy rating able to claim compensation.
unauthorised use of images online and of 98%. Copytrack then pursues the
elsewhere, often completely without the user for a post-licensing agreement and QThe amount awarded has to be
reasonable and proportionate to
copyright holder’s knowledge. Anyone ensures proper legal enforcement. Setting
the infringement committed.
who shares their shots on the internet is up an account with Copytrack is free. Compensation is calculated by
vulnerable, so it’s worth taking steps to working out the profit lost because
limit your chances of becoming a victim. Know your rights of the infringement. So, if images are
Some photographers use a watermark If you’re not sure what your legal usually sold for £100, anybody who
to protect their shots. This is fine, rights are as a photographer and stole your image would have to pay
although they can be easy to clone or crop how copyright works in the UK, take that fee. You would have to prove
out, and often damage the aesthetics of a moment to check out the advice that you received that much in the
the image. Instead, it’s best to only upload from one of Copytrack’s copyright past for your work.
low-res files where possible – this will experts in the panel to the right...

Is there an iPhone lightmeter App?


I own a number of film one, forcing you to make an
cameras, none of which intelligent guess at exposure
have a built-in lightmeter. settings. One way around this is to
Can I do this on my iPhone? buy a dedicated lightmeter, but
Terry Graham, Wiltshire they’re relatively expensive and
another piece of kit you have to
Dan says: All digital cameras carry. You could carry a DSLR and
and most film cameras have an use its meter to calculate settings for
integrated lightmeter, making it easy your film camera, but the easier
for photographers to achieve a option is to use a smartphone app,
balanced exposure. Some very old which will give you surprisingly Above We recommend Lux for iPhone, which
or basic film cameras don’t have accurate readings. is both free and very easy to use.

PRACTICALPHOTOGRAPHY.COM 109
Flagship Store Opening
A D V E R T I S I N G F E AT U R E

WEX PHOTO VIDEO


LAUNCHES NEW
FLAGSHIP STORE
IN LONDON

F
OLLOWING ITS 0THNLJHTWHPNUPTHNLZHUKÄSTZ
integration with Calumet from which will be exhibited
Photographic and PUZ[VYL MVY [OL YLZ[ VM [OL `LHY
subsequent re-branding, Attending both events alongside
Wex Photo Video has J\Z[VTLYZ ^LYL RL` PUK\Z[Y`
established its position ÄN\YLZ QV\YUHSPZ[Z HUK ZVJPHS
as the UK’s premier destination for PUÅ\LUJLYZ H U\TILY VM ^OVT
WOV[VNYHWOLYZ HUK ÄSTTHRLYZ I` have chosen to host their own
opening the biggest camera store ^VYRZOVWZ H[ [OL Z[VYL PU M\[\YL
PU [OL JV\U[Y`
Located in Whitechapel, East Customer focused
3VUKVU H ZOVY[ ^HSR MYVT [OL OLHY[ Over the coming months, the
VM [OL *P[` [OL UL^ ÅHNZOPW Z[VYL WHJRLK ZJOLK\SL VM L]LU[Z H[ >L_
brings together all the service Photo Video London includes a
elements central to Wex Photo U\TILY VM [V\JOHUK[Y` KH`Z
Video, with an unrivalled range of MYVT [OL SPRLZ VM :VU` HUK -\QPÄST
WYVK\J[Z VU KPZWSH` H M\SS` [LZ[LK H WYV ]PKLV ^VYRZOVW MVJ\ZPUN VU
WYLSV]LK ZLSLJ[PVU H YLU[HS KLZR the Canon EOS C200 and an
part-exchange and professional exhibition of winning images from
YLWHPY ZLY]PJLZ HSS \UKLYWPUULK I`
>L_4VUKH`Z >L_»Z WVW\SHY
>L_»Z L_WLY[ Z[H HUK H^HYK WOV[V JVTWL[P[PVU VU ;^P[[LY
^PUUPUN J\Z[VTLY ZLY]PJL 6]LYHSS [OL UL^ ÅHNZOPW Z[VYL
represents the biggest single
Outstanding features investment in expanding Britain’s
Covering 7000sq ft, Wex Photo WOV[V YL[HPS JHWHJP[` PU THU` `LHYZ “A TRUE DESTINATION
Video London is a true destination
for imaging enthusiasts and
and highlights Wex’s commitment
[V WYV]PKPUN L]LY`[OPUN [OLPY
FOR IMAGING PROS &
professionals up and down the customers need, be it gear, ENTHUSIASTS UP &
JV\U[Y` IVHZ[PUN H U\TILY VM technical help, impartial advice,
outstanding features that elevate it HM[LYZHSLZ ZLY]PJL VY PUZWPYH[PVU DOWN THE COUNTRY”
HIV]L H Z[HUKHYK JHTLYH ZOVW 0[ ¸>L HYL PTTLUZLS` WYV\K VM
PUJS\KLZ H WLYTHULU[ NHSSLY` MVY [OPZ NYV\UKIYLHRPUN Z[VYL¹ ZH`Z
photographic exhibitions, a drone >L_ *,6 +H]PK .HYYH[[ ¸0U HU LYH
ÅPNO[ aVUL H [OLH[YL ZWHJL MVY when there are ever fewer
WYVK\J[ KLTVZ OP[LJO WSH` [HISLZ IYPJRZHUKTVY[HY ZWHJLZ MVY
featuring the latest gear from all the photographers and videographers,
big brands and a dedicated events we hope this new location will be a
ÅVVY MVY WYV [HSRZ ^VYRZOVWZ cherished resource for people of
ZLTPUHYZ HUK TLL[\WZ HSS PU[LYLZ[Z HUK ZRPSS SL]LSZ¹
;OL UL^ Z[VYL ^HZ VJPHSS` The new store is located at
VWLULK PU 5V]LTILY I` SLNLUKHY` 37-39 Commercial Road,
)YP[PZO YVJR WOV[VNYHWOLY 1PSS >OP[LJOHWLS 3VUKVU , 3-
-\YTHUV]ZR` HUK [OL KH`SVUN
event saw more than 1100 people
ÅVVK [OYV\NO [OL KVVYZ [V LUQV`
KLHSZ [HSRZ KLTVUZ[YH[PVUZ HUK
JVTWL[P[PVUZ 7YPVY [V [OL .YHUK
Opening, a private view evening Q For more information, head over
launched Wex’s More Than an to www.wex.co.uk/london

PRACTICALPHOTOGRAPHY.COM 111
112 PRACTICAL PHOTOGRAPHY
PRO SHOWCASE
AMAZING IMAGES AND INSIGHT
FROM THE WORLD’S BEST
PHOTOGRAPHERS

BEAUTY IN

DECAY
Thousands of images shot at
500 locations over ten years Thomas Mueller is a
freelance photographer
prove uncovering the hidden based in Berlin, Germany.
He specialises in travel
charms of abandoned places and landscapes, and
isn’t just a job for Thomas has been shooting abandoned
locations since 2008.
Mueller, it’s a passion. thomasmueller.photography

PRACTICALPHOTOGRAPHY.COM 113
OR THOSE OF US WITH AN it’s so versatile. I suddenly had a reason to go outside
inner intrepid explorer that’s just and discover amazing locations. Even the searches
waiting to break free and set off on themselves were fantastic, never mind actually taking
epic adventures, Thomas Mueller’s the shots. It really allowed me to relax and forget all
images are the perfect inspiration. of my worries. I also love post-processing my images
Each one transports you into a on the computer. Editing a flat RAW file to give it life
different dilapidated building, is great fun. For me, photography is simply the most
covered in decades’ worth of beautifully diverse occupation in the world.
grime and dust. Having shot
hundreds of abandoned locations the world over, What drew you to shooting abandoned houses?
Thomas is now an expert in capturing the eerie Around 2008 I saw a picture of a cinema in a deserted
beauty of total dereliction. Soviet army barracks. I found the image fascinating,
and immediately knew that I wanted to create
How did you first become interested something like that. I searched for deserted places
in photography? near me and photographed them. Over time each
While I bought my first camera in the early 2000s, I shoot got more professional, and now I’ve visited
didn’t actually stray outside of the auto setting until over 500 locations scattered all over the world. What
around 2007, which is when I bought my first DSLR. fascinates me the most about these places are the
The most wonderful thing about photography is that visible traces left by time when humans no longer
occupy the space. To me, decay is beauty, and I think
I’m addicted to capturing it.
“THERE HAVE BEEN SOME
LOCATIONS THAT I’VE VISITED FIVE How do you get into the buildings?
I usually try to find an open door or window. In some
TIMES BEFORE I COULD GET IN...” circumstances I may have to climb in order to get in.

114 PRACTICAL PHOTOGRAPHY


Pro Showcase Thomas Mueller

However, if absolutely nothing is open then I have metal, but he didn’t listen to me at all, and just kept Above Thomas
to ask in the area for someone who owns a key, or yelling. My guide, who was already 100m along the made great use
alternatively just come back later and try again. beach, turned around and walked back at a leisurely of the colours
and doorways
There have been some locations I’ve visited five pace. It felt like an eternity before he actually got
in this mansion.
times before I could finally find a way inside. I there. Meanwhile, the Nigerian man continued
would never destroy anything to get into a building, yelling at me and trying to smash my camera. When Above left
so unfortunately some doors remain closed forever the guide finally got there he calmed down the man. This abandoned
and I just have to accept that. I’m lucky he was there, otherwise I might not have conservatory had
got off so lightly. been overrun by
Have you ever had a nightmare shoot? plants, giving the
Yes, definitely. In 2015 I visited friends in Lagos, Do you have a favourite story from your image a spooky,
Nigeria. Before the trip, I scouted some locations on experiences shooting these locations? apocalyptic feel.
Google Earth and saw that there was a beach with I remember a beautiful abandoned theatre in France.
abandoned ships. I was excited to visit this place, so It’s located in a park that many people travel though
I booked a guide to help me explore. When we got during the day. The only access to this theatre is
there I walked along the beach and took a few shots. through the basement. To get there, you have to abseil
At some point I reached a large scrap heap, which was with a rope down the 5m-deep shaft. Because it
the remains of a large ship. I took out my camera to would have been too noticeable to climb down during
get a picture, but suddenly a big Nigerian man came the day, my friends and I decided to explore at night
running up to me, agitatedly asking why I was instead. We crept through the park to the theatre at
photographing his wife. I then saw that underneath midnight. I remember that, because the full moon
the scrap heap several people were sat in the shade to was so bright we didn’t even need to use our torches.
seek protection from the sun. This man was Once we’d made our way into the theatre we
extremely upset and tried to hit my camera. I kept illuminated it with over 400 tealights. This process
trying to explain that I was only shooting the scrap took us over an hour, but when we were done there

PRACTICALPHOTOGRAPHY.COM 115
Pro Showcase Thomas Mueller

Top Thomas’ was a beautifully soft and warm light in the room so we’ll drive after dark to our next location so as not
post-processing that we never would have achieved with a flash. It to waste any time. However, this is only possible
proved especially perfectly complemented the 18th century baroque when alternating drivers. I love going on these trips,
tricky here, as the theatre. All the effort we put into this shoot really as we don’t solely visit abandoned buildings – we
room was so dark. paid off, as we were rewarded with breathtaking often shoot landscapes and cityscapes as well.
images. After taking our shots we collected up the
Above This
abandoned
tealights in order to leave no trace of our presence. What’s the most unusual location you’ve visited?
Japanese shrine We then climbed back out on the rope and left the On a four-week trip through Japan I visited a variety
was overflowing theatre for the cold, dark night. of abandoned places. One of these was a temple
with thousands of complex known locally as the ‘Temple of Lies’. The
mortuary tablets. How much preparation goes into your shoots? story behind this unusual name makes this location
The preparation generally tends to be divided into even more incredible. In Japan, people commemorate
two different sections. First, I find these lost their deceased with Ihai tablets. These small
locations, and then I plan photo tours to get out there ceremonial placards hold the souls of their loved ones.
and shoot several of them at once. I’ve actually People paid money to this particular temple, and in
created a database where I input all of the locations I return the priest was supposed to pray each day to the
want to visit. Currently there are over 1000 different souls. However, the priest was exposed as a fraud and
places worldwide. I usually use Google Image Search, a swindler, and the temple was left to decay.
Street View or Satellite View. They’re all really useful
tools to find abandoned places. When I’m planning Is there a deeper meaning to your work?
my photo tours, I’ll usually be doing so with two or For me, photography is a path to relaxation. I love to
three friends. We meticulously think about where enter deserted places, take pictures of them, and then
we’re going, how much time we’ll need at each place use my personal style to create a new interpretation.
and the specific time of day we want to be there. We My images aren’t meant to be a documentation, but
try to give ourselves the optimal amount of sunlight, rather a way to transport my viewer into a strange

116 PRACTICAL PHOTOGRAPHY


Above This
abandoned bar
in east Germany
was lit with a
torch to create
the illusion of the
lamps being lit.

Left Looking like


the set of a horror
film, Thomas
found this old
operating theatre
in an abandoned
asylum in Italy.

PRACTICALPHOTOGRAPHY.COM 117
Above This world outside of their regular daily lives. They should What kit do you use?
wonderfully take the ugly face of decay and show its beauty; they I’ve been shooting with Canon for 10 years now,
ornate French should show that nothing lasts for an eternity; they and my current body is a Canon 5D MkIV. I also
theatre was lit
should show what remains when humans leave. use several lenses covering a focal length range of
with over 400
11-400mm. I’ve never really thought about moving
tealights, hence
the warm glow. What’s your number one tip for photographing to another manufacturer. While Sony and Nikon are
abandoned buildings? undoubtedly better than Canon in some areas, Canon
You must be really careful whenever you enter just works best for me overall. To be honest, I don’t
anywhere that’s been abandoned. Dangers tend to really think that the differences are that big between
lurk everywhere – from unsafe floors to collapsing brands. I believe that the photographer is always
ceilings, there will always be hazards to anticipate. responsible for great images, not the equipment that
You must wear sturdy shoes, and take a flashlight and they’re using. Since July last year I’ve being
mobile phone as well. It’s always best to go with a experimenting with a DJI Mavic Pro for landscape
friend, but it’s of paramount importance that you both photography. Its unusual angle opens up previously
behave respectfully. Make sure you don’t break unimaginable possibilities, but it’s so pleasingly
anything, because other photographers will also want compact that it easily fits into my backpack.
to enjoy the amazing location you’ve discovered.
What’s the most difficult shoot you’ve been on?
My hardest shoot by far has been an abandoned villa
in Italy. Inside this building was a beautiful room
with stucco on the ceiling and two chandeliers.
“MY PHOTOGRAPHS AIM TO TAKE However, the doors and windows were boarded, so
THE UGLY FACE OF DECAY AND there was barely any daylight in the room. It was so
dark that I couldn’t actually see anything. By using an
SHOW ITS BEAUTY...” ISO of 25,600 and a 150sec exposure, I was able to

118 PRACTICAL PHOTOGRAPHY


Pro Showcase Thomas Mueller

Pro advice
Thomas’ top photo tips
CHOOSE YOUR CONSIDER USING
1 COMPOSITION
An image’s composition
3 A TRIPOD
Many images can be
is incredibly important, though taken during the day without
often underestimated. Once a tripod, however I’d still
you’ve found your subject, take recommend using one anyway.
the time to consider how you’re With a handy set of legs you’re
going to capture it. It’s worth able to ensure that your horizon is
doing this, as you can’t correct correctly aligned and that your
your position in post-production. composition is carefully chosen.
If you’re unsure, then just take
several pictures from different PAY ATTENTION TO
perspectives. 4 THE DETAILS
Don’t fall into the trap of
THINK ABOUT YOUR only focusing on the main subject
2 FORMAT
Format is a key part of
in your image. Sometimes you can
be so fixated on the obvious part
creating a successful image. I of the shot that the smaller details
refine my composition. However, for my final image don’t just mean portrait and can be missed. You need to make
I set my camera to ISO 800 and a 13-minute exposure. landscape view, but also aspect sure that you look around the
I would have liked to have done the shoot with better ratios such as 4:3 or 16:9. Key room to see if there are any
light, but the circumstances just didn’t allow it. objects can be cut by later elements that are going to disturb
cropping, so ensure that you’ve your composition. You may even
already thought about what find that you can incorporate
How much editing do you tend to do?
format the shot will end up as. these details into your shot.
My abandoned building images are almost exclusively
HDR. The dynamic range in these buildings is too
big to be able to capture with just one image. In
addition, HDR emphasises the strange effect of my
photographs. However, I try to use this technique in
a subtle manner. I bracket with either three or five
images, edit them together and then add the final
flourishes in Photoshop.

If you could give one piece of advice to budding


photographers, what would it be?
The most important thing is that you have fun taking
photos and that the whole thing comes from the
heart. There’s no need to cover every single different
genre of photography, just focus on what you’re
interested in. Work hard and shoot often, as that’s the
only way that you can develop your skills. Don’t be
discouraged by setbacks, just keep going and be
yourself. Developing your own style is absolutely key.

PRACTICALPHOTOGRAPHY.COM 119
CAMERA
K HOW
PART FOUR AUTOFOCUS

In our Camera Know-how


series, we cast an expert eye
over the ins and outs of your
DSLR’s or CSC’s key features,
revealing precisely what they
do and how you can make the
most of them to boost your photographic
skills. In this month’s issue, Ben Davis takes
a detailed look at autofocus, and explains
how you can take control of your camera’s
focusing settings to ensure your shots are
always strikingly sharp.

ETTING A PIN-SHARP

S
focus is the most critical
step in taking a shot. Unlike
exposure or white balance,
the focusing can’t be altered
in post-processing, so it needs
to be spot-on at the moment of capture.
The good news is that mastering your
camera’s autofocus system is simple, so
with a bit of practice you can always be
TIP sure that your focus is 100% accurate.

USE THE What is autofocus?


CENTRAL POINT Your camera’s autofocus (AF) system
is responsible for adjusting elements
The AF points in the centre
of the frame tend to be
within the lens to focus the incoming
cross-type sensors, which light onto your sensor for a sharp image.
are faster than the AF The autofocus is usually activated by
sensors near the half pressing the shutter button, which
edges. sets it within a fraction of a second. To
get the best results, you’ll need to select
Camera Know-how Autofocus

LEARN THE LINGO


TECH TERMS MADE EASY
Don’t be baffled by technical jargon! We
cut through some of the most common
terms associated with autofocus.

Q FOCUS HUNTING
When the autofocus struggles to set the
focus it rocks back and forth to find a
sharp edge. This ‘hunting’ mostly occurs
in low light or scenes lacking contrast.

Q FRONT/BACK FOCUS
This is when your camera is focusing
slightly in front of or behind your intended
focal point. This may be due to a focusing
error, the distance between the camera
and the subject changing between focus
and capture, or a lens calibration problem.

Q ACTIVE AF POINT
Cameras have a set number of autofocus
(AF) points, which are areas of the frame
where the focus can be set. The active AF
point is the currently selected focus area,
which is highlighted in red within the
viewfinder display. It can be moved around
the frame using the camera’s D-pad.

QCROSS-TYPE SENSOR
These are the most accurate AF sensors
in cameras, and they use phase detection
focusing. They measure the focus
information both horizontally and
vertically, working quicker and more
precisely than vertical sensors.

QBACK BUTTON FOCUSING


Rather than setting the focus by half
pressing the shutter button, focus is set by
pressing the AF-ON or assigned Function
button on the back of the camera. It takes
TIP some getting used to, but often results in
STAY SHARP a more accurate focus.

IN THE DARK
the optimum focusing Focusing can ‘hunt’ in low If the signals don’t
light. To fix this, either enable
mode for the subject match, the camera
the AF-Assist lamp in the
you are shooting, knows whether to
menu or focus on an
choose the active AF area with more bring the focus closer
point within your frame contrast. or further away, speeding
and then tell your camera up the focusing process
when to set the focus. and reducing the chance of
focus hunting. Contrast detection is
How does it work? mostly used by DSLRs or CSCs in Live
Both DSLRs and CSCs offer advanced View mode, and it works by adjusting
and complex AF systems, using a the optic until the maximum amount of
combination of phase detection and contrast is detected between the pixels.
contrast detection. DSLRs now primarily
use phase detection to set the focus, as When should I use it?
it tends to be faster and more accurate. Most photographers use autofocus for
This system splits the incoming light into the vast majority of shooting situations,
two separate beams, which is reflected as there are different AF modes designed
by the mirror onto the focus sensors. The to match a variety of subjects. However,
two light beam signals are compared by there are some occasions when setting Above Most lenses offer a switch to choose
the sensors. When the beams become the focus manually is preferable, between autofocus (AF) or manual focus
identical this means the image is in focus. as this gives you total control. (M), which is then set using the focus ring.

PRACTICALPHOTOGRAPHY.COM 121
TIP
USE AF LOCK
SETTINGS HOW TO In order to keep the focus
firmly locked in place while

SELECT DIFFERENT recomposing your frame,


simply press and hold the

FOCUSING MODES AE-L/AF-L button on


the rear of your
camera.
SLRs AND CSCs OFFER A

D
variety of autofocus modes,
with each designed to Left This camera
suit different subjects. To has been set up in
select one of these, first single focusing mode
choose either the single or (AF-S), with the
continuous focusing mode. Then select central AF point
selected to focus on.
how you want to use the AF sensors –
either just one on its own, as a group
or to track your subject as it moves. On Q SINGLE AF POINT Q GROUP AF Q TRACKING/WIDE AF
When the single AF point This mode lets you select This mode adjusts which
some CSCs the AF modes are selected
mode is selected, you a group of autofocus AF point is in use as the
in the camera menu, but DSLRs tend choose only one of the AF points, clustered together subject moves across
to have a button which lets you scroll points to set the focus. to create a larger area of the frame. A single point
through the AF modes. Hold this button You can select different the frame to set the focus is used to set the focus,
down and scroll the command dial to AF points using the D-pad from, and is most useful but the AF points ‘follow’
peruse the different focusing modes. or AF selector button. with fast-moving action. the subject as it moves.

REAL WORLD SHOT USE THE RIGHT FOCUSING MODE FOR YOUR SUBJECT

Single focusing mode Continuous focusing mode Manual focusing mode


Single focus mode is the most Continuous focusing mode is called You can set the focus manually by
commonly used AF mode, as it’s AF-C by most manufacturers, but on rotating your lens’ focus ring. First
designed for subjects that don’t move. Canon cameras the same AF mode you’ll need to either move the AF switch
This means it’s best for anything from is called AI Servo. It’s designed for on the lens to the M setting, or set the
landscapes and portraits to still life and moving subjects such as sports or AF/MF switch on your camera to MF.
general snaps. With this mode, once wildlife, and the focus will constantly Setting the focus manually gives you
the focus has been set – either by half track and adjust to the subject precise control over the area of the
pressing the shutter button or using the distance so long as the assigned image which is sharpest. This is
AF-ON button – the focus stays locked focusing button is pressed down. especially useful when shooting macro
in place until the AF is activated again. With this mode the camera carries subjects, scenes that lack contrast or
Most cameras emit a beep when the on focusing for each shot when when there’s not enough light for the
focus has been set this way, although capturing a burst of images. When focusing sensors to work accurately.
you can disable this noise in the menu shooting with continuous focus it’s By rotating the focusing ring left or right
if you find it annoying. The single better to use the central AF point, you can shift the focal plane closer to
focusing mode is generally referred to as it tends to be the fastest focusing or further away from the camera. This
as AF-S in the menu of the majority of sensor and will help avoid accidentally means you can take your time to ensure
cameras, but Canon refers to the mode cropping your subject if it moves that the most important part of the
as One Shot. too close to the frame edge. scene is pin-sharp.

Above The S denotes single point is set. Above Canon calls this mode AI Servo. Above Manual focus can be set on lenses.

122 PRACTICAL PHOTOGRAPHY


Camera Know-how Autofocus

THREE PROJECTS TO TAKE


CONTROL OF THE FOCUS
Put your skills to the test with these three projects
that rely on you taking control of the focusing for
pin-sharp results. You don’t need any specialist
equipment, although a tripod may come in handy!

1 CAPTURE DETAIL IN
WILDLIFE OR SPORT
To shoot any kind of sport, action or
wildlife – or any moving subject – you
need to use your camera’s continuous
focusing mode. On a Nikon, hold down
the AF/M button near the lens mount
and rotate the command dial to choose
AF-C. On a Canon, hold the AF Drive
button near the top LCD, scroll the
selector wheel and choose AI Servo. O
manufacturers vary, so you may need to check
your manual. Decide whether you want to use a single AF spot,
a cluster of AF points, or for your AF to track your subject across
the frame. Find your image in the viewfinder, hover the active AF
point over your subject and half press the shutter button to start

ROLF KOPFLE
focusing. Your camera will now continue focusing for as long as
your finger remains on the shutter button, and even between
taking shots.

3 PRECISE CONTROL
WITH MANUAL
Some shots benefit from shooting
with a manual focus, as it allows for
more precise control. Switch your
lens to manual by selecting M/MF
and adjust the focus ring. For the
most accurate representation of
what’s in focus, turn on your camera’
Live View and zoom into the image
on-screen with the magnify button. This closer
look will help you achieve a precise focus. Then when you’re
ready, simply press the shutter button to capture the image.

2 PIN-SHARP
PORTRAITS
A portrait relies on a rock solid
focus, and in particular the
subject’s eyes need to be the
THE PICTURE PANTRY

sharpest part of a frame. This


can be more difficult when
shooting with a shallow depth-o
as is often the case with portraits. Set your
camera’s autofocus to its single focusing mode. This is AF-S on
Nikon and One Shot on Canon, while other brands may vary.
Choose to shoot with a single AF point, and move your active AF
point with the D-pad so the active AF sensor is the one nearest
your subject’s eye. Hover the AF point directly over the eye and
NEXT ISSUE LEARN HOW TO MASTER
half press the shutter to lock the focus. YOUR CAMERA’S METERING MODES
PRACTICALPHOTOGRAPHY.COM 123
MY PHOTO
PROJECT
PERSONAL WORK FROM
UPCOMING TALENT

INFI I

G A L A X I ES
Divining inspiration from the heavens, Simone Cmoon
captures phenomenal nightscapes that reflect the
unique beauties of both land and sky.

124 PRACTICAL PHOTOGRAPHY


Aim of project: Duration: I’ve
To remember the been working on
sheer splendour this project for around
of our earth two and a half years
now
Location: I’ve
been lucky Images taken:
enough to shoot all I’ve taken many
Factfile over the world photographs, but I’m
Photographer: yet to finish working
Time spent: I
Simone Cmoon on them
spend almost
Full-time occupation: every clear moon-free Website:
Fine art photographer weekend shooting cmoonview.ch

PRACTICALPHOTOGRAPHY.COM 125
HERE’S SOMETHING TRULY the internet, as there are always very kind people Above This
enchanting about the quiet who want to share their knowledge. As my interest focus-stacked
majesty of the night sky. in photography grew, my images started to attract matrix panorama
Stealing out to a magnificent interest and were published. I even won several captures the
location in the dead of photo contests. I became a Haida filter ambassador Teide plateau
night, under a thick blanket and started to give online coaching and workshops. in Tenerife.
of stars, is on many a I’m thankful for that relationship, as the passion
Above right
photographer’s bucket list. we shared helped us to motivate each other. The Simone shot this
However, Simone Cmoon relationship may be over, but my camera is still in use. image on her
has transformed her passion for the beauty of Lofoten trip in
nature into a staggeringly exquisite collection of How and when did you begin this project? 2016. Capturing
astrophotography ripped straight out of a fairytale. I’ve loved drawing and painting from a young age, a circle around
and I always found myself focusing on people. I the moon like this
How did you first become interested loved creating portraits, and I wasn’t particularly is possible when
in photography? interested in landscapes. This is because I thought there are ice
I don’t usually like talking about it, as it’s quite a it was very difficult to recreate a vista as beautiful as crystals in the air.
strange reason to take up photography and a little the reality. However, I soon found that photography
personal. A few years ago I was in a relationship was completely different. I much preferred to
with a man who became interested in photography. shoot landscapes, as there are so many wonderful
As many people at the beginning of their career do, places on our planet. I’m determined to share
he dedicated all of his time to his new profession. my love for our world, which has to be protected
I eventually got to the point where I had to choose and treated well. When I bought my first camera
whether I was going to break up with him or buy I went for one that was very cheap, so the noise
a camera myself. As I had responsibility for a child performance was atrocious as soon as I was in a
and also a dog that required lots of time outdoors, low light situation. After three months of using it,
I decided to save the relationship by trying to I could see that while I definitely had potential, my
understand the fascination of taking photos. I soon
discovered that I loved this new occupation, and the
challenges that came with it. I had vivid visions of “I CAPTURE LITTLE PIECES OF
the images I wanted to create in my head, but I had
to learn new and exciting things in order to make
NATURE TO REMEMBER HOW
those shots a reality. I mostly self-taught by using BEAUTIFUL OUR WORLD IS...”
126 PRACTICAL PHOTOGRAPHY
Personal Project Simone Cmoon

camera unfortunately didn’t. Consequently, I bought


myself a full-frame camera in order to experiment
with darker conditions. Night photography is
incredibly fascinating. There are so many people
on this earth, and so many of them are far away
from wilderness. I like to capture little pieces of
nature to help us remember how beautiful our
world can be. It’s like a never-ending love story.

How did it evolve?


My favourite light is the one during sunrise and
sunset, when there’s a beautiful warmth and smooth
shadows. In the Swiss summer the sunsets are late
in the evening. That often meant that I had to stay
overnight, as the hike down could be much more
difficult and dangerous in the dark. This resulted
in my fascination for night images. In clear, dark
nights you can see the Milky Way with the naked
eye. A friend of mine gave me some helpful tips on
the best settings to capture it, and since then I’ve Shooting during the day
worked hard on improving and optimising my skills.
Unfortunately, not every night contrast in my images, such
or location is suitable for Milky as rough v soft, bright v dark
What is it about astro that interests you? Way shots. If there’s light and wild v calm. Filters allowed
I love the calmness of night-time in the mountains. pollution from the moon or me to create different effects,
It’s a true privilege to be able to watch the stars cities it just doesn’t work. which just made my
and enjoy nature so far away from civilisation. For Fortunately, I also enjoy photographic playground that
me, nightscapes have a particularly magic touch, capturing daylight and our much bigger. One of my
due to the priceless stars in the sky. However, astro ever-changing weather. One favourite pieces of kit is an
photography can be quite technically challenging. of the best things I did for my ND grad, which allows me to
There’s a limit on your exposure time if you don’t daytime landscapes was darken my sky for an overall
starting to use filters. I love even exposure.
use an equatorial mount, as our earth is rotating.
If you shoot for too many seconds without using a

PRACTICALPHOTOGRAPHY.COM 127
“EVERY TIME I TURNED A CORNER,
I FOUND MYSELF IN ANOTHER
FAIRYTALE LANDSCAPE...”
128 PRACTICAL PHOTOGRAPHY
Personal Project Simone Cmoon

mount then the foreground will be totally still, but have as much control over what conditions I’m Above The
the stars will have blurred into trails. Depending going to experience as possible. Once I’ve arrived, foreground was
on the focal length and the size of your camera’s I’ll activate the Live View and try out a series of shot during blue
sensor, you can sometimes have as little as a few different compositions. Once I get that ‘wow’ feeling, hour, with the sky
seconds to create pin-prick stars. In order to I’ll ready my camera and check the finer details. and reflection
quickly extract as much light as possible, I work captured later
that night.
with a wide open aperture and a very high ISO. What’s your favourite location of all time?
I’ll then take multiple exposures in order to get In the two years I’ve been shooting, I’ve been to 13 Left Simone found
the foreground as sharp as the sky and to ensure different countries. However, the most special one this small rock
that both parts of the shot are perfectly exposed. was definitely Iceland. I was there in the summer formation on a
when the routes to the highlands were accessible. It beach in Norway
How do you find your locations? felt like every time I turned a corner I found myself – a long exposure
I’ve created an extensive database, made up of in another fairytale landscape. Even if some locations creates a rather
locations that I want to visit. When I plan a shoot, were crowded with tourists, I found spots with little alien-like scene.
the first thing I do is check how far I might need or no people so I could get the composition I wanted.
to go in order to reach a general location. The next
thing to do is see what the weather is like and then How much planning do you do for your shoots?
plan accordingly. Good weather is such an important My level of planning depends on if I go on a shoot in
factor for landscape photography, so I prefer to my home country of Switzerland, or if I’m travelling

PRACTICALPHOTOGRAPHY.COM 129
Personal Project Simone Cmoon

Below The instead. If it’s a Swiss location, then I’ll just check images. I think that one aspect of curating a personal
foreground the weather and make an early start to ensure I have style is the composition and technique when
foliage was lit as much time as possible in the mountains. I also taking a shot. The other part is in post-production,
with Simone’s make sure I know the positions of the sun, moon, where you’re able to put your own personal
head lamp. and the centre of the Milky Way before I leave. note into every photo. I’m not a documentary
If I’m travelling, then I’ll mark several different photographer – I’m a dreamer and a creator.
Right Two images
locations on a map and note down the times for
merged to create
this photo – first a
sunrise, sunset and the Milky Way. If I’m going Has anything dangerous ever happened?
low ISO for the somewhere coastal, then I’ll always make sure My very first two-day hike didn’t go quite according
foreground, then that I keep an eye on the tide. Some places can be to plan. My backpack was overstuffed and too heavy,
an exposure of dangerous at high tide, while others can be simply as at that time my gear wasn’t optimised for hikes.
13sec at ISO 3200 boring during a low tide. Hiking apps are fantastic For example, I took water for two days, which I
for the sky. for helping me find the best mountain routes, while now no longer do. Instead, when I know that there
Skyguide helps me plan shooting the Milky Way. are rivers in an area, I’ll simply use a water filter
Right below To find potential locations I search for inspirational in order to stay hydrated. The only way to get up
Switzerland’s Lake images on 500px, Instagram, Google Maps and to the glacier I wanted to shoot was by foot, so
Stellisee shot as
Facebook. I also make sure that I’ve read up on the I trudged my way from 800m above sea level to
a panorama.
culture and traditions of the country before I arrive. 2500m. It was a difficult hike, but it was worth it
when I got to my desired location. It was amazing
How much editing do you do? arriving at a place that only a few people had ever
I tend to do a lot of editing. This is because I use seen. It was a dreamy landscape, filled with lakes,
focus stacking, multiple exposures, multiple line rivers, waterfalls, ice, rocks and sand. Once I’d
panoramas and time-stacking in my photos, and finished shooting there, I decided to make my way
sometimes all at once! I really enjoy processing down via a different route. Eventually, I came to a
100m drop, with no way to get down it except for
a metal ladder. Without any head protection, and
“I’M NOT A DOCUMENTARY with a dog in tow that obviously can’t climb down
himself, I had no choice but to attempt this route.
PHOTOGRAPHER – I’M A Firstly, I brought down my equipment while my
dog waited for me at the top. Then I had to empty
DREAMER AND A CREATOR...” my backpack, climb up again, and put my dog into

130 PRACTICAL PHOTOGRAPHY


my bag before making my way down with trembling
knees. My dog definitely realised the danger we were
in, as he was incredibly quiet the entire time, even
though he must have been very uncomfortable in the
backpack. I was so thankful when my feet touched
the ground and I knew that we’d both arrived safely.

What kit do you use?


I work with a Nikon D810A, which I use for both
nightscapes and daytime shoots. This camera is made
for astrophotography. Its infrared filter is optimised
for H-alpha red tones, which also works perfectly
during sunsets and sunrises. I have loads of batteries,
as I can’t charge when I’m in the mountains. I usually
use my Nikkor 14-24mm f/2.8 lens set to 14mm.
However, for my nightscapes I tend to prefer the
Sigma Art 20mm f/1.4, which allows me to catch as
much light as possible on my sensor. I’m a Novoflex
and Haida filter ambassador, and almost every image
I take during the day is made with a polariser, neutral
density filter or graduated ND. Because I’m often out
in the wilderness for two or more days, I’m dependent
on a stable, yet lightweight tripod. I love my Novoflex
C2844, as it works fantastically well for my needs.
For any long exposure that I take, I’ll use a remote
shutter release. Meanwhile, I always bring rugged
outdoor equipment with me as well. This includes a
sleeping bag, tent, headlamp, rain clothes, camping
cooker, food, water filter and winter equipment.

Why should readers start a personal project?


Working on your own project is a great reason to
have a good look at something new, or to deepen
your knowledge of a topic you’re already interested
in. Whenever I start a new project I’ll mix my
already existing skills with new subjects, so I
always learn something fresh and exciting.

What’s next for you and this project?


I’ve started producing video tutorials to help bring
my techniques to others in an easily accessible way.
In these videos I cover planning a shot, different
photographic techniques and the post-processing
skills needed to produce an excellent final image.
GET
Pro advice Simone’s 4-step guide INVOLVED
We want to see your best
to better personal projects photo projects! If you have
a unique body of work you’d
FIND AN IDEA interested in something, then PLAN YOUR like to share with the world,

1 If you want to start a


project, you just need
you’ll have the energy to
chase after it.
3 TIME
Determining
then drop us a line at
practical.photography@
an idea. Sometimes it’s deadlines for yourself will bauermedia.co.uk
helpful to pick something GO DEEPER help motivate you to
quite specific and focus on it,
such as taking all your images
2 If you don’t want to
just scrape the
complete your project. Don’t
be afraid to plan breaks in
in black & white. Or perhaps surface of your subject, then order to keep a fresh mind. different perspective. Just
you’re very interested in a you’ll need passion for it. ensure that you don’t get
theme, or you’re shocked Don’t be afraid to spend time SHOW YOUR WORK discouraged by any negative
about something and want to
create change. Embracing
informing yourself of the
theme you’ve chosen and the
4 Letting others see
what you’re working
comments. You may also want
to think about presenting your
your emotions will help you equipment you’ll need. on can be a huge motivational work in a book, gallery or
create a great personal There’s always something new force. Getting someone else’s magazine when your project
project. If you’re really to discover! opinion will give you a is finally finished.

PRACTICALPHOTOGRAPHY.COM 131
Norwich - Wex Photo Video
Now incorporating Unit B, Frenbury Estate,
NR 481933
Op i

London - Wex Photo Video


37-39 Commercial Road,
E1 1LF. Tel: 02073 801144
Mon - Fri: 8am - 7pm,
Saturday: 9am - 6pm

• Over 19,000 Products • Free Delivery on £50 or over • We can deliver on Saturday or Sunday¹

Canon Lenses
EOS 77D EOS 7D Mark II EOS 6D Mark II
EF 24mm f1.4L II USM .......................£1499
EF-S 35mm f2.8 Macro IS STM .........£395 New
£85
EF 35mm f1.4 L II USM ......................£1799 Cashback*
EF 100mm f2.8 L IS USM Macro........£799
£694 Inc. £105 Cashback* 20.2 mp 26.2 mp
24.2 mp
EF 135mm f2 L USM ..........................£859.97 6.0 fps 10.0 fps 6.5 fps
EF 180mm f3.5 L USM Macro ............£1229 1080p 1080p Full Frame
EF 200mm f2.8 L USM MKII...............£699
EF 300mm f2.8 L IS II USM ................£5799
EF 400mm f5.6 L USM .......................£1111.50
77D From £699 7D Mark II £1349 6D Mark II From £1728
EF 8-15mm f4 L USM Fisheye ...........£1119 77D Body £699 7D Mark II Body £1349 NEW 6D Mark II Body £1728
EF-S 10-18mm f4.5-5.6 IS STM .........£199 £614 inc. £85 Cashback* NEW 6D Mark II + 24-105mm £2379
EF-S 10-22mm f3.5-4.5 USM .............£499 77D + 18-55mm £839
EF 11-24mm f4 L USM........................£2699 £754 inc. £85 Cashback*
EF 16-35mm f2.8L III USM .................£1949 77D + 18-135mm £1049 For Canon accessories visit wex.co.uk
EF 16-35mm f4 L IS USM...................£899 £964 inc. £85 Cashback*
£814 Inc. £85 Cashback*
EF-S 17-55mm f2.8 IS USM ...............£718
EOS 5DS EOS 5D EOS 1D X
EF-S 18-135mm f3.5-5.6 IS USM.......£429 Mark IV Mark II
EF 24-70mm f4 L IS USM...................£699
£594 Inc. £105 Cashback*
EF 24-70mm f2.8L II USM ..................£1684
EF 28-300mm f3.5-5.6 L IS USM .......£2249
50.6 mp 30.4 mp 20.2 mp
EF 70-200mm f2.8 L IS II USM...........£1899
5.0 fps 7.0 fps 16.0 fps
EF 70-200mm f4 L USM .....................£578
Full Frame Full Frame Full Frame
EF 70-300mm f4-5.6 L IS USM ..........£1249
£1099 Inc. £150 Cashback*
EF 100-400mm f4.5-5.6 L IS II USM ..£1789 5DS Body £2949 5D Mark IV £3229 1D X Mark II £4799
£1574 Inc. £215 Cashback* 5DS Body £2949 5D Mark IV Body £3229 1D X Mark II Body £4799
5DS R Body £3149 *Canon Cashback ends 17.01.18

Nikon Lenses
D850 D5600 40mm f2.8 G AF-S DX Micro ...................................£259
New D7200 85mm f1.8 G AF-S ...................................................£469
45.7 mp 24.2 mp 24.2 mp 105mm f2.8 G AF-S VR IF ED Micro.......................£779
6.0 fps 5.0 fps 6.0 fps 10-24mm f3.5-4.5 G AF-S DX..................................£745
4K 1080p 1080p £700 Inc. £45 Cashback*
16-35mm f4 G AF-S ED VR...................................£1059
D850 £3499 D5600 Body £649 D7200 From £899 £989 Inc. £70 Cashback*
18-200mm f3.5-5.6 G AF-S DX ED VR II ................£659
NEW D850 Body £3499 D5600 + 18-55mm £729 D7200 + 18-105mm £1099 24-70mm f2.8 G AF-S ED.....................................£1629
D5600 + 18-140mm £949
*Nikon Cashback ends 09.01.18

)XMLÀOP /HQVHV A6500 Sony E-Mount Lenses


X-T2 X-E3 A7R Mark II Black Black or Silver
16mm f1.4 ....................£729 £300 55mm f1.8 ....................£749
£95 £150
New £634 Inc. £95 Cashback* Cashback* Cashback* £669 Inc. £80 Cashback*
Cashback*
23mm f1.4 ....................£748 42.0 mp 90mm f2.8 .....................£889
24.3 mp 24.3 mp 24.0 mp
23mm f2 .......................£369 £809 Inc. £80 Cashback*
14 fps 8.0 fps 5.0 fps 11.0 fps
56mm f1.2 ....................£768 10-18mm f4 ...................£699
1080p 4K 4K video 1080p
£673 Inc. £95 Cashback* £659 Inc. £40 Cashback*
10-24mm f4 ..................£899
X-T2 From X-E3 From £804 Inc. £95 Cashback*
A7R Mark II A6500
16-35mm f4 ...................£1122
£1002 Inc. £120 Cashback*
£1494 £849 16-55mm f2.8 ...............£848
£703 Inc. £145 Cashback*
£2499 From £1279
16-70mm f4 ...................£779
A7R II Body £2499 A6500 Body £699 Inc. £80 Cashback*
X-T2 Body £1494 X-E3 Body £849 50-140mm f2.8.............£1329 £1279
18-105mm f4 G .............£469
£1184 Inc. £145 Cashback* £2199 Inc. £300 Cashback* £1129 Inc. £150 Cashback*
£1399 Inc. £95 Cashback* X-E3 + 23mm £1149 £429 Inc. £40 Cashback*
55-200mm f3.5-4.8.......£599 A7S II Body £2499 A6500 + 16-70mm £2199 24-70mm f2.8 ................£1899
X-T2 + 18-55mm £1745 X-E3 + 18-55mm £1249
100-400mm f4.5-5.6.....£1499 £2199 Inc. £300 Cashback* £2049 Inc. £150 Cashback* £1749 Inc. £150 Cashback*
£1654 Inc. £95 Cashback*
£1354 Inc. £145 Cashback* A7 II Body £1199 A6300 Body £829 24-70mm f4 ...................£879
X-T20 + 16-50mm £899 )RU )XMLÀOP DFFHVVRULHV
£999 Inc. £200 Cashback* £729 Inc. £100 Cashback* £799 Inc. £80 Cashback*
£804 Inc. £45 Cashback* visit wex.co.uk
Ύ&ƵũŝĮůŵ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϱϬϭϭ *Sony Cashback ends 21.01.18

GX800
OM-D E-M1 II Olympus Lenses GH5 Panasonic Lenses
PEN-F New
17mm f1.8 .....................£369 25mm f1.7 ................. £148
£200 30mm f3.5 .....................£249 12-35mm f2.8 ............ £879
Cashback* 20.3 mp 16 mp
45mm f1.8 Pro...............£209 £779 Inc. £100 Cashback*
12 fps 30 fps
20.3 mp 20 mp 60mm f2.8 Macro ..........£360 12-60mm f3.5-5.6...... £359
4K video 4K video
10.0 fps 60 fps £295 Inc. £65 Cashback* 35-100mm f2.8.......... £969
£869 Inc. £100 Cashback*
1080p CMOS 75mm f1.8 .....................£699
£614 Inc. £85 Cashback*
DMC-GH5 From DMC-GX800 45-150mm f4-5.6....... £179
PEN-F OM-D E-M1 II 300mm f4 Pro................£2099 £1699 From £379 45-175mm f4.0-5.6.... £349
£319 Inc. £30 Cashback*
7-14mm f2.8 Pro ...........£999
From £949 From £1849 12-40mm f2.8 Pro .........£759
GH5 Body
GH5 + 12-60mm f3.5-5.6
£1699
£1899
GX800 + 12-32mm
GX8 + 12-60mm
£379
£749
100-300mm f4-5.6..... £569
100-400mm f4-6.3..... £1299
PEN-F Body £949 12-100mm f4 Pro ..........£1099
OM-D E-M1 II Body £1849 GH5 + 12-60mm f2.8-4.0 £2199 £649 Inc. £100 Cashback* £1199 Inc. £100 Cashback*
40-150mm f2.8 Pro .......£1099
PEN-F + 17mm £1149 £1649 Inc. £200 Cashback* 75-300mm f4.8-6.7........£369 G80 Body £629 GX80 + 12-32mm £499
OM-D E-M5 II Body £849 OM-D E-M1 II £284 Inc. £85 Cashback* £529 Inc. £100 Cashback* £449 Inc. £50 Cashback* For Panasonic
£764 Inc. £85 Cashback* +12-40mm £2399 G7 + 14-42mm £499
G80 + 12-60mm £799 accessories
OM-D E-M5 II £2199 Inc. £200 Cashback* £449 Inc. £50 Cashback*
£699 Inc. £100 Cashback*
+ 12-40mm PRO £1249 G7 + 12-60mm £549 visit wex.co.uk
£1164 Inc. £85 Cashback* ΎKůLJŵƉƵƐ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϱϬϭϭ £499 Inc. £50 Cashback* *Panasonic Cashback ends 30.01.18
Birmingham - Calumet Edinburgh - Calumet Bristol - Calumet

visit wex.co.uk
Unit 2, 100 Hagley Road, Bonnington Business Centre, Unit 7, Montpelier Central Station Rd,
B16 8LT. Tel: 01213 267636 EH5 5HG. Tel: 01315 539979 EH5 5HG. Tel: 01179 422000
Mon - Fri: 9am - 5:30pm, Mon - Fri: 9am - 5:30pm, Mon - Fri: 9am - 5:30pm,
Saturday:10am - 4pm Saturday:10am - 4pm Saturday: 10am - 4pm
Belfast - Calumet
Unit 2, Boucher Plaza,
BT12 6HR. Tel: 02890 777770
Mon - Fri: 9am - 5:30pm,
Manchester - Calumet
Unit 4, Downing Street,
M12 6HHTel: 01612 744455
Mon - Fri: 9am - 5:30pm,
Glasgow - Calumet
Block 4, Unit 1, Oakbank Industrial Estate,
G20 7LU. Tel: 01612 744455
Mon - Fri: 9am - 5:30pm,
01603 208763
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm
Saturday: 10am - 4pm Saturday: 9am - 4pm Saturday: 9am - 4pm

• 30-Day Returns Policy† • Part-Exchange Available • Used items come with a 12-month warranty††

Digital Compact Cameras


IXUS 185 HS............................£99
Trade in,
up
IXUS 285 HS............................£159
PowerShot SX60 HS ..............£349 to
PowerShot SX730 HS ............£329
20.2 mp 20.2 mp 20.1 mp £299 inc. £30 Cashback* trade
4.2x zoom 4.2x zoom 3x zoom PowerShot G3 X .....................£649
1080p 1080p 1080p Competitive
Accessories including spare prices
PowerShot G5 X PowerShot G7 X Mark II PowerShot G9 X Mark II batteries are available to buy on
Free collection
£599 £519 £399 our website of your gear
£494 inc. £25 Cashback* £374 inc. £25 Cashback* *Canon Cashback ends 17.01.18 Fast turnaround
of your quote
and credit

16.0 mp 20.3 mp wex.co.uk


5x zoom 60x zoom 16.0 mp 20.3 mp 16.0 mp
4K video 4K video 83x zoom 70x zoom 80x zoom
Coolpix P900 £529 Coolpix A900 £329 Coolpix B500 £249
More Camera
Coolpix W300 £389 Coolpix B700 £399

Theta V
£399
for your money
12 mp 16 mp 16.2 mp 1,000+ used products in stock
4x zoom 5x zoom 3.1x zoom 14 mp
4K video w/proof 1080p 8gb mem.
4K
wex.co.uk
Stylus TG-5 £399 Ricoh WG-50 £249 GR II Digital £529
Cyber-Shot HX90V .......£339 Lumix LX100........... £499 Lumix FZ330 ........... £449
£289 Inc. £50 Cashback* £449 Inc. £50 Cashback* £399 Inc. £50 Cashback*
New Cyber-Shot RX100 III ...£579 Lumix LX15 ............. £568 Lumix FZ82 ............. £329 24.3 mp
20.1 mp Cyber-Shot RX100 IV ...£729 20.9 mp £498 Inc. £70 Cashback* £279 Inc. £50 Cashback* CMOS
25x zoom Cyber-Shot RX10 III......£1399 40x zoom Lumix FZ1000 ......... £569 Lumix TZ100 ........... £528 1080p
4K £1269 Inc. £130 Cashback* 4K video £519 Inc. £50 Cashback* £478 Inc. £50 Cashback*
Cyber-Shot RX1R II ......£2999 Lumix TZ70 ............. £279 Lumix TZ80 ............. £329
Cyber-Shot RX10 IV Lumix FZ2000 £999
Cyber-Shot RX100........£349 £299 Inc. £30 Cashback* X100F £1329
£899 Inc. £100 Cashback*
£1799 *Sony Cashback ends 21.01.18 *Panasonic Cashback ends 30.01.18
Memory Cards & Readers
32GB .............. £64.99
Extreme Pro: 95MB/s eries: 299MB/s SDHC G Series XQD: 440MB/s
SDHC 64GB ............. £119
B ................... £99.99 32GB ................... £99.99 Pixma
32GB ...............£29.99 128GB ............ £199 B ................... £179 64GB ................... £199.99 Pro 100S
64GB SDXC.....£44.99 GB ................. £349 128GB ................. £279
SanDisk Ultra 98MB/s SanDisk
SanDisk Extreme Pro: Micro SD Card plus USB 3.0 eries: 260MB/s SDHC M Series XQD: 440MB/s
160MB/s UDMA adapters: ImageMa B ................... £59.99 32GB ................... £74.99
CompactFlash Reader PIXMA Pro 100S ................... £359
32GB ...............£22.99 B ................... £84.99 64GB ................... £129
16GB ...............£39.99 64GB ...............£40.99 £44.99 PIXMA Pro 10S ..................... £504.99
GB ................. £149 128GB ................. £199 imagePROGRAF PRO-1000 £999

Photo Bags & Rucksacks


Lifestyle Windsor
Messenger S:
Flipside 300 AW II: Anvil Slim 11 Manfrotto Reloader This practical
capacity: capacity: 55 Roller Bag messenger bag features
• DSLR with up • CSC/Small Pro Light Rip-Stop an easily accessible Hadley colours available:
Pro Runner BP 350 to 70-200 mm DSLR Canvas/Leather:
nylon fabric with top opening to the main
AW II capacity: attached lens or • 2 lenses Khaki/Tan, Black/Tan, Black/Black.
water-repellent compartment, where
• Pro DSLR with lens compact drone • 15” Laptop FibreNyte/Leather: Khaki/Tan,
coating to provide a DSLR with 24-70mm
• 4-5 additional lenses • 2 lenses • Flashgun & Sage/Tan, Black/Black.
solid protection. f2.8 lens attached and
• Flashgun, tripod, • Compact tripod accessories
laptop & accessories
This comfortable, 2 additional lenses can Digital ..............................£119
• 7” tablet Anvil: stylish bag is ideal to be stored. Small ...............................£149
Pro Runner: Flipside: travel with. Messenger S ................ £89.95 Large ...............................£154
Anvil Slim................... £122
BP 350 AW II .............. £199 300 AW II..................... £112 Anvil Super................ £134 Messenger M ..................£107 Pro Original .....................£189
BP 450 AW II .............. £199 400 AW II..................... £155 Anvil Pro.................... £126 Reloader 55.....................£279 Backpack.........................£149 Hadley One .....................£265
Tripods & Heads
MT190XPRO3
• Max Height: 160cm Terms and Conditions All prices incl. VAT at
• Min Height: 9cm ad 20% Prices correct at time of going to press. Free
Gitzo Systematic Delivery** available on orders over £50 (based
Tripod on a 4 day delivery service). For orders under
MT055XPRO3.......... £165 Series 5 6S G £50 the charge is £2.99** (based on a 4 day
MK055XPRO3 MT190CXPRO3 • 278cm delivery service). For Next Working Day Delivery
+ X-Pro 3-Way Head £259 Carbon Fibre ............ £299 Max Height our charges are £4.99**. ¹Saturday deliveries are
MT055CXPRO3 MT190CXPRO4 • 10cm charged at a rate of £7.95**. ¹Sunday deliveries
Min Height are charged at a rate £8.95**.(**Deliveries of
Carbon Fibre ............ £329 Carbon Fibre ............ £318 • Carbon Fibre
MT055CXPRO4 Manfrotto 190 GO Manfrotto Heads: Gorillapod: very heavy items, N.I., remote areas of Scotland
494RC2 Mini Ball ..... £49 Systematic Tripods: & Ch. Isles may be subject to extra charges.) E. &
Carbon Fibre ............ £345 Tripod ....................... £149 Gorillapod 500.......£35 O.E. Prices subject to change. Goods subject to
MT190XPRO3.......... £149 Manfrotto 190 GO 324RC2 Joystick ...... £99 Series 3 3S L...............£649 Gorillapod Kit 1K ...£52 availability. Live Chat operates between 9:30am-
MT190XPRO4.......... £159 Carbon Fibre ............ £249 327RC2 Joystick ...... £169 Series 5 3S L................£819 Gorillapod Kit 3K....£86 6pm Mon-Fri and may not be available during peak
Series 5 6S G...............£1099 Gorillapod Kit 5K....£172 periods. †Subject to goods being returned as new
and in the original packaging. Where returns are
Lighting & Accessories accepted in other instances, they may be subject
to a restocking charge. ††Applies to products sold
in full working condition. Not applicable to items
VSHFLÀFDOO\GHVFULEHGDV´,1μRULQFRPSOHWH LH
being sold for spares only). Wex Photo Video
is a trading name of Warehouse Express Ltd
(registered as company no. 03366976. VAT
number 231 9471 12). ©Warehouse Express
Ltd 2017.
*CASHBACKS Are redeemed via product
registration with the manufacturer. Please refer to
3m Heavy Duty Urban our website for details
430EX III-RT Lumimuse Ezybox Speed- Air Lighting Background D-Lite RX 4/4 Collapsible
£239 SB-5000 LED Lights Lite 2 L308s Plus III Set Stand Support Softbox Set Background
£184 inc. £55 C/b* £499 From £44.95 £49.95 £189 £229 £69 £99 £725 £174
SRB PHOTOGRAPHIC
Celebrating 50 years of SRB

Shop online at www.srb-photographic.co.uk


1 9 6 7 - 2 0 1 7
Get great dea
ONLY AT
free UK shipping*

Call our experts (Mon-fri 9am-4.30pm) 01582 661878


www. srb hic.co.uk

Square Filters 7KHQHZ36L]H Elite Filter System Circular Filters


Ȋ DGH GHVLJQHG OWHU V\VWHP WKDW
e semi-pro P system to a higher
level” I &DPHUFUDIW 0DJD]LQH
TOP SELLER
Elite Filter Holder £34.95
Elite Adaptor Rings £5.95
Elite Polariser £24.95
Elite ND1000 £29.95
Elite 6 stop £29.95

SAVE
Plastic Filter System

Digiscoping Kits from £34.95!


Step Rings, Macro accessories &
much more at our online store!

Lens Pockets from £3.95


Square Filter Wallet £9.95 NEW
Dust Blowers from £3.50 Circular Filter Pouch £5.95
Rainsleeves from £5.95 6HOH 6WLFN %XQGOH £9.95
Cleaning Kits from £5.95 Lens Caps £3.95 Close up Lens Sets from £19.95 Spirit Levels from £3.50
Camera Wraps from £8.95 Body Caps £3.50 6HW RI  OHQVHV ZLWK XSWR  GLRSWHU Bluetooth Remote £3.95
Cleaning Cloths from £1.50 Rear Lens Caps £3.50 OpTech Comfort £9.99 3KRWR 3OXV  Lens Pen £4.95
Lens Pouch from £8.50 Petal Hoods £10.95 OpTech Wrist Strap £9.99 Auto Extension Tubes from £29.95 Memory Card Case £9.95
White Balance Caps from £9.95 Rubber Lens Hoods £4.95 OpTech Tripod Strap £19.99 Manual Extension Tubes £17.50 Angled View Finder £39.95 P Size Hood £34.95

Award-winning SRB Photographic brand LEE Filters


TOP SELLER
25mm On-it Carbon LEE Filters 100mm System
28mm On-it Carbon Fibre Tripod
Fibre Tripod
 0D[ + PP
 0D[ + PP
 :HLJKW NJ
 0LQ + PP
 0D[ /RDGLQJ  NJ
 :HLJKW NJ Foundation Kit Super Stopper
 &DUU\LQJ &DVH £59.95 £99.95
 0D[ /RDGLQJ  NJ
 &DUU\LQJ &DVH only £119.95 e*
*Exclusiv SAVE ig Stopper £99.95
only £149.95 100mm ittle Stopper £95.99
Starter Ki Landscape Polariser £173.99
from £139.95 Filter Sets from £100.00
Practical Photography, 2016 Digital Starter Kit £219.95

LEE Filters LEE Filters


On-it Carbon Fibre Seven5 System SW150 System
“You could easily
expect to pay that Monopod
Seven5 Holder SW150 Mark II
for the lightweight  0D[ + PP Holder
£59.50
alloy head alone”  0LQ + PP £150.00
I &DPHUFUDIW 0DJD]LQH  :HLJKW J
 0D[ /RDGLQJ  NJ Adaptor Rings £17.50 Mark II Adaptors £89.95
 &DUU\LQJ &DVH ND Grads £52.00 Screw-in Adaptors £64.95
Monopod £29.95 ND Filters £64.95 ND Filters from £95.00
Colours: Black, Red Feet/Stand £14.95 Big Stopper £65.00 Big Stopper £132.00
Little Stopper £68.00 Little Stopper £132.00
Super Stopper £64.95 Super Stopper £129.95
&KHFN RXW RXU KXJH Polariser £190.00 Polariser £180.00
Starter Kit £109.00 ND Filter Sets £249.00
UDQJH RI /HQV $GDSWRUV Deluxe Kit £460.00 Lightshield £18.00
Prices correct at time of printing; some prices are subject to change; see website for latest prices. All prices
www.srb-photographic.co.uk include 20% VAT. UK shipping rates apply. Product stock is subject to change. *Spend £40 or over for
free UK standard delivery. See website for operating hours, delivery times & prices, and more.
CONTACT US
Practical Photography, Bauer Media, Media House,
Lynch Wood, Peterborough, PE2 6EA
practical.photography@bauermedia.co.uk Next month
EDITORIAL
Phone 01733 468000
Group Editor Ben Hawkins
Contributing Editor Tim Berry
SPE CI A L IS SU E
Photoshop Editor Dan Mold
Features Editor Louise Carey

Be inspired!
Gear Writer Kirk Schwarz
Editorial Assistant Emily Thorpe
Head of Publishing Shane Collins
Senior Art Editor Chris Robinson
Videographer Jake Kindred

ADVERTISING

Make 2018 your most


Phone 01733 395013
Group Commercial Director Charlie Brookes
Commercial Manager Anna Skuse
Group Sales Manager Trevor Newman
Display/Classi Sales Exec Sue Hunter

MARKETING
Phone 01733 468329
creative year ever
Q Get ideas from
Marketing Manager Lynne Fairburn
Marketing Assistant Amy Kirton
Direct Marketing Manager Julie Spires
Direct Marketing Executive Olivia Caouki
Head of Newstrade Marketing Leon Benoiton
the world’s top pros
Newstrade Marketing Manager Samantha Thompson

PRODUCTION
Phone 01733 468341
Q Stay motivated
Print Production Manager Colin Robinson
Advertising Production Manager Zoe Bellamy
with new projects
Printed by Wyndeham Southern Print
Distributed by Frontline
Q Take your skills
SUBSCRIPTIONS AND BACK ISSUES
To ensure that you don’t miss an issue and
for the best subscription offers visit
to the next level
www.greatmagazines.co.uk/pp
For subscription or back issue queries
please contact CDS Global on
bauer@subscription.co.uk
Phone from the UK on 0844 848 8872
Phone from overseas on +44 (0)1858 438760

BAUER CONSUMER MEDIA


Managing Director – Hobbies Nicola Bates
Editorial Director June Smith-Sheppard
Head of Digital Charlie Calton-Watson
Group Direct Marketing Director Anne Gowan
FREE
GUITAR TAWATCHAI

Finance Director Lisa Hayden


Group Finance & Strategy Director Sarah Vickery
Group Managing Director Rob Munro-Hall
CEO Paul Keenan
SOFTWARE!
Practical Photography magazine is published 13 times a year by Bauer
Consumer Media Ltd, registered address Media House, Peterborough Business
HDRSOFT
Park, Lynch Wood, Peterborough, PE2 6EA. Registered number 01176085.
No part of the magazine may be reproduced in any form in whole or in part,
PHOTOMATIX 5
Macro Turn your close-up
without the prior permission of Bauer. All material published remains the
copyright of Bauer and we reserve the right to copy or edit any material
submitted to the magazine without further consent. The submission of material
WORTH £72
lens on surprising subjects
(manuscripts or images etc) to Bauer Media, whether unsolicited or requested,
is taken as permission to publish that material in the magazine, on the
associated website, any apps or social media pages affiliated to the magazine,
and any editions of the magazine published by our licensees elsewhere in the
world. By submitting any material to us you are confirming that the material is
your own original work or that you have permission from the copyright owner to
use the material and authorise Bauer to use it as described in this paragraph.
You also promise that you have permission from anyone featured or referred to
in the submitted material to it being used by Bauer.
Camera know-how Learn
If Bauer receives a claim from a copyright owner or a person featured in any
material you have sent us, we will inform that person that you have granted us
permission to use the relevant material and you will be responsible for paying
to master metering modes
any amounts due to the copyright owner or featured person and/or for
reimbursing Bauer for any losses it has suffered as a result.
Please note, we accept no responsibility for unsolicited material which is lost or
damaged in the post and we do not promise that we will be able to return any
material to you. Finally, whilst we try to ensure accuracy of your material when
we publish it, we cannot promise to do so. We do not accept any responsibility
Tested Fuji and Hasselblad
for any loss or damage, however caused, resulting from use of the material as
described in this paragraph. mirrorless medium-format
COMPLAINTS: Bauer Consumer Media Limited is a member of the Independent
Press Standards Organisation (www.ipso.co.uk) and endeavours to respond to
and resolve your concerns quickly. Our Editorial Complaints Policy (including full
giants go head to head
details of how to contact us about editorial complaints and IPSO’s contact
details) can be found at www.bauermediacomplaints.co.uk Our email address
for editorial complaints covered by the Editorial Complaints Policy is
complaints@bauermedia.co.uk.
On sale 18 January 2018
PRACTICALPHOTOGRAPHY.COM 135
HUNDREDS OF PLACES WHERE YOU
CAN SELL YOUR PHOTOS FOR CASH!
OUT NOW! The latest edition of SPECIAL OFFER: Join the Bureau of
The Freelance Photographer’s Freelance Photographers (BFP) and
Market Handbook get 14 months membership for the
Described as the photographer’s bible, this price of 12!
208-page BFP Handbook has hundreds of For almost 50 years, the BFP has been helping
markets where you can sell your pictures for photographers like you to sell their photos.
£££s. It includes magazines, greetings card As well as getting the 208-page Freelance
and calendar publishers, picture libraries, Photographer’s Market Handbook with
newspapers, book publishers etc. hundreds of markets for photos, you’ll also
The Freelance Photographer’s Market receive our monthly Market Newsletter keeping
Handbook gives full details of the type of you up to date with current picture needs.
photos – subject matter etc – being sought, You may also take advantage of our Advisory
fees paid, and exactly where to send your Service offering personal help on any aspect of
pictures. selling photos.
Price: £15.95 + £2.00 P&P All for just £54 per annum. Join now and get
14 months membership for the price of 12!

NEW! The BFP Freelance


Photography Course
While the BFP Handbook (above) will show
To join the BFP I To order BFP books
you WHERE to sell your photos, this lavishly
illustrated manual will show you HOW to
Go to www.thebfp.com
sell them.
It’s a practical course with 16 lessons
Phone 01707 651450
covering everything you need to know to Or send a cheque to:
sell your pictures to magazines, greetings
cards, calendars, newspapers, books etc.
Bureau of Freelance Photographers
When ordered from the BFP, it comes with Freepost
a set of tutorials to guide you through Vision House PO Box 474
the lessons.
Price: £25.00 + £2.00 P&P
Hatfield AL10 1FY
Big
group
test!
ENTRY-LEVEL
DSLR CAMERAS
REVIEWED
PAGE 146

GetIntoGear
The most in-depth and unbiased reviews of the latest products

138
Sony _9 146
Entry-level DSLRs
Sony’s latest offering Start your DSLR journey with
boasts a 20fps blackout-free the best beginner camera for you.
shooting speed and amazing
AF tracking ability. 154
Mini tests
Action cameras, digital
142
Fujifilm X-E3 photo frames, hard
With a 24.3MP sensor case bags, shotgun
and a sleek design, is this mics and more.
your new camera?

144
Olympus E-M10 MkIII
Pocket-sized and portable,
but does this MkIII offer enough
new features to interest you?

Our ratings Our product awards TIPA member Free ebook!


Every product is rigorously These accolades are reserved Practical Camera Guide
tested to bring you the for exceptional products with Photography There are 78
most thorough reviews. unrivalled performance, build is a founding more camera
quality and value for money. member of reviews on
Outstanding TIPA, the your disc/
largest download
Excellent
international – every DSLR
Solid BEST
HIGHLY photography and CSC
Poor IN awards body. Find out more model you can
TEST RATED
Terrible about their work at tipa.com buy right now!

PRACTICALPHOTOGRAPHY.COM 137
GetIntoGear

1 24.2MP sensor
Sony is renowned for
its high-resolution sensors.
However, the _9’s lower
resolution still offers excellent
images, while facilitating the
rapid shooting speeds.

2 4K UHD video 1
As well as providing
a truly unique performance
for high-speed scenes, the
_9 manages 4K UHD video
2
at 30fps, as well as Full HD
up to 120fps, allowing for
slow motion capture.
HIGHLY
693-point AF
RATED 3
3 One of the big benefits of
mirrorless cameras is the ability
to cover more of the sensor with BODY PRICE
AF points. Sony’s 693 phase
detection points manage to fill
£4499
93% of the effective frame. IMAGE RESOLUTION
24.2MP
VIDEO
4K UHD
SON Y _9

The need
for speed 4

Offering an insane 20fps blackout-free shoo


amazing AF tracking ability, Kirk Schwarz as
Sony _9 really will bring the reign of the DS
ROM ITS HUMBLE its _7R and _7S ranges.

F beginnings as an
electronics shop
in 1946, Sony has
become one of the most
diverse and successful
Even so, the buzz that met
the _9’s announcement
took us by surprise, and
led to it being referred
to as the DSLR killer...
companies on the planet.
However, it wasn’t until it Main features
acquired Konica Minolta After its announcement, the
in 2006 and released the photography community
_100 DSLR that it became quickly labelled the _9
a serious contender in the the DSLR slayer, thanks
photography market. Sony is to the CSC’s insane array The layout of the
now the world’s third largest of impressive features. based phase detection _9’s intuitively designed
camera manufacturer and It offers an astonishing and an AF calculation top-plate should please
dominates the full-frame 20fps shooting speed, rate of 60fps, which is most users, being compact,
mirrorless market with which is totally blackout- virtually uninterrupted intuitive and simple.

138 PRACTICAL PHOTOGRAPHY


CA MER A TEST

Who’s afraid
IMAGE of the dark?
QUALITY We took the _9 along to
Stamford RUFC’s training
ground to really test its sports
shooting ability. This shot was
illuminated by nothing but the
floodlights, with the ISO set to
pping 8000. We had
tinuous focus selected
nd turned the burst
mode to high (aka
20fps). Even in such
dark conditions the
focus was very
impressive, with a
good hit-rate. Zooming
n reveals some noise,
ut considering the
ditions it’s extremely
respectable, with edges
retaining their clarity well.

the Canon 5D MkIV and


“693 PHASE DETECTION AF virtually half the weight of
POINTS OFFER A MASSIVE its intended rivals, the Canon
1D X MkII and Nikon D5.
93% COVERAGE OF THE
Performance
ENTIRE 35MM FRAME” The _9 isn’t the easiest
camera to transition to from
and allows for quick and dust- and moisture-resistant. your current DSLRs. Although
accurate focusing. The 1440k-dot 3in rear the basic operation of any
The Eye AF is already touchscreen tilts out to 107° camera is the same, if you’re
much lauded, and is said to upwards and 41° downwards, not accustomed to Sony’s CSCs
be 30% more accurate than as well as allowing for touch- then the _9 takes quite a bit
Sony’s previous attempts. focusing. It also includes a of getting used to. The menu
It maintains focus tracking rear thumbstick for focusing is incredibly in-depth and
even when the head isn’t and menu control, as well not what you’d call beginner-
perfectly straight-on, as customisable function friendly. That said, once you’ve
making it very impressive. buttons to assign your found your feet, there’s no
Under the hood you’ll most-used settings to. denying the power on offer.
find the world’s first 24.2MP There’s no denying that The first thing we tried
35mm stacked CMOS sensor this camera feels great, out was the much-hyped Above Setting the camera to its
with integral memory, though it’s not designed to be Eye AF. The precision and highest burst rate results in a
which Sony promises gives a lightweight travel compact. consistency of tracking a blistering, blackout-free 20fps.
readout speeds 20x faster However, at a respectable person’s face automatically It achieves this by using the
than previous designs. The 673g it is 200g lighter than is, quite simply, astonishing. silent electronic shutter.
sensor is powered by a Bionz
X processing engine that
provides brilliant support for Tech Focus
its power-hungry features.
Rolling shutter
Handling & build
You can’t deny that Sony Perhaps the biggest drawback of an electronic shutter,
makes attractive cameras, which fuels the _9’s ability to capture 20fps, is rolling
and the _9 is no exception to shutter. This happens when you’re shooting a scene with
high-speed elements. Because the electronic shutter reads
the rule. It also feels compact
a scene by scanning the sensor top to bottom, one line at a
in-hand, but extremely sturdy
time, an object in motion may have moved between the start
and reliable at the same time. of the scan and the end, often ending up with soft results.
The body is encased in a Luckily, the _9 features a higher than average curtain speed,
magnesium alloy structure which drastically reduces the possibility of rolling shutter.
or maximum durability, and While it may still occur, we didn’t see any in testing.
it’s been designed to be both

PRACTICALPHOTOGRAPHY.COM 139
GetIntoGear

5 3in tilting
touchscreen
While not a massive
draw for traditional
action photographers,
the inclusion of a very
responsive 1440k-dot
touchscreen is a nice 6
touch. It allows touch-
focusing for those times
when you have a subject
that doesn’t seem to
be in a real hurry.

6 Excellent
EVF
The 3686k-dot EVF is
among the best we’ve
seen, and the 0.78x 5
magnification really
brings the scene to
life. It is also virtually
lag-free, with the entire
experience feeling
closer to an optical
finder than ever before.

And as such the implications future Sony releases. used to. Thanks to the 60fps The 24.2MP stacked
for shooting weddings, events The 20fps blackout-free AF calculations, shooting CMOS sensor, while not as
or portraits where you want shooting is also incredible, continuous focus at sporting high resolution as Sony’s
to maximise your in-focus if not a little unnerving at events or on wildlife shoots other offerings, produces
shot ratio, are massive. We first. Having spent years is a real game-changer. If exceptionally high quality
found it worked well even reacting to the closing of the you’re looking for a camera images, and really earns its
in low light conditions, viewfinder after every shot, that can keep up with sterling reputation. Images
and it genuinely makes us this is an eye-opener, though high-octane action, then the are sharp, with beautiful tonal
excited for the torrent of it does take a little getting _9 is definitely for you. renditions and a colour profile
that shows just how far Sony
has come in the last decade.
ALSO An in-built 5-axis image
CONSIDER
THESE
Last Action Heroes stabilisation is also a real boon
for those who are looking to
get stable shots with slower
shutter speeds, or working
handheld under floodlights,
with the system managing to
offer 5 stops of stabilisation.
If you need excellent low
light performance, the native
ISO ranges from 100-51,200,
but this can be expanded
Nikon D5 £5389 Canon 1D X MkII £4799 to 204,800 when you’re
desperate for that must-have
Nikon’s flagship body, the D5, is a pairing of Canon’s top-flight pro DSLR, the 1D X MkII, is
shot. This is an area where the
speed and precision that’s hard to beat. It designed for high-end photography and can be
boasts a 20.8MP full-frame sensor, 153-point found in the bags of sports photographers the
_9 performs incredibly well,
AF system and 12fps burst mode. It also world over. Featuring a 20.2MP sensor, 4K UHD with images looking good up
offers Nikon’s highest ever standard ISO video at 60fps and a 14fps continuous shooting to ISO 6400. ISO 12,800 is
sensitivity of 102,400, and a 3.2in 2359k-dot speed, it’s ideal for capturing fast-paced still impressive, with edges
rear touchscreen. Can be paired with a huge action. It also has an excellent range of pro appearing relatively sharp,
number of excellent lenses. nikon.co.uk glass to choose from. canon.co.uk but there is very noticeable
colour noise creeping in. At

140 PRACTICAL PHOTOGRAPHY


CA MER A TEST

Get it right
IMAGE
QUALITY
in-camera
This image of a back-lit horse would
present a challenge for most cameras, but
the _9 deals with contrast very well and
the 24.2MP sensor offers excellent image
quality. However, files that need excessive
exposure correction won’t fare as well. The
was shot against the sunset with the
y in silhouette. Ordinarily, we’d bring
ut more detail in the shadows, since
ighlights are much less receptive.
However, because the _9 is ISO-
variant, increasing the exposure
values in post-processing will result
n a considerable amount of noise.
nything over +1EV results in messy-
king images. This isn’t a massive
and so long as you know your limits
and try to get your images right in-camera,
you’ll be fine.

Verdict
“A BLACKOUT-FREE 20FPS At £4499, the Sony _9
TECH SPEC
CONTINUOUS SHOOTING divides the crowd into
two distinct types – those Camera: Sony _9
SPEED IS A GAME-CHANGER who need it and those who Price: £4499 (body only)

don’t. If you’re in the former Effective resolution: 24.2MP


FOR SPORTS SHOOTERS” camp then we wouldn’t Sensor: 35.6x23.8mm CMOS

hesitate in recommending Processor: Bionz X

25,600 the colour noise is shadows in post-processing. it, especially as it’s still LCD: 3in 1440k-dot tilting

very strong – albeit useable Actually increasing the cheaper than the Canon 1D touchscreen

if you’re desperate – but exposure values of the RAW X MkII and Nikon D5. Shutter: Bulb, 30-1/8000sec

beyond this the quality will result in a lot of noise This is a camera with mechanical, 30-16,000sec

drops steeply. I did manage artefacts, which wouldn’t a specific design and true electronic

to get functioning shots at be present at the equivalent sense of purpose. It’s been Autofocus: 693-point phase

ISO 8000, with a liberal ISO in-camera. The moral created for capturing detection

amount of noise reduction in of this story is get it right fast-moving objects, and ISO: 100-51,200

Photoshop. But it proves the in-camera. Though it would giving top-flight professional (expands to 50-204,800)

_9 has the necessary chops. have been nice if the camera action photographers a viable Shooting speed: 20fps

Despite the obvious specs was ISO-invariant (like the mirrorless alternative. Video: 4K UHD at 30fps,

appeal and unquestionable _7R II), as this would open Of course, it was also Full HD at 120fps

performance, there are a up a world of possibilities meant to put fear into the Pop-up flash: No

few things on the _9 that when it comes to shooting for hearts of Canon and Nikon, Other features: Eye AF

disappoint. The dynamic the edit, we doubt this will and judging by the full-frame tracking, Picture Effects

range, while very respectable, prove much of a deterrent mirrorless offerings we Connectivity: Wi-Fi, NFC,

is a step down from that for the target audience of pro know they both have slated Bluetooth

found on the Sony _7R II action shooters. Despite a for 2018, it’s done that job Battery life: 480 shots

or Nikon D850. However, couple of flaws, this camera beautifully. Whether the old Card type: MemoryStick Pro

it’s on a par with the Canon is a giant leap in the right guard are ready to hang up Duo/Pro-HG Duo/Micro,

1D X MkII and slightly direction, and able to go their mirrors and take a step SD/HC/XC, microSD/HC/XC

better than the Nikon D5 toe-to-toe with the existing into the future of photography, Size (WxHxD): 127x96x63mm

according to DXO, who industry heavyweights. however, is yet to be seen. Weight: 673g

scored it as 13.3 stops. The Web: sony.co.uk

_9 hasn’t been designed as


a landscape camera though, THE VERDICT HANDLING
so it’s far from off-putting. SONY _9
Unlike other Sony CSCs FEATURES
and full-frame DSLRs, PROS 20fps continuous blackout-free shooting speed
such as the _7R II, the _9 693-point AF system Accurate Eye AF Sturdy IMAGE QUALITY
is ISO-variant. This means construction Excellent image quality
VALUE FOR MONEY
you will struggle to pull CONS ISO-variant Not the greatest dynamic range
OVERALL SCORE
much information out of the Limited battery life Expensive for enthusiasts

PRACTICALPHOTOGRAPHY.COM 141
GetIntoGear

1 Compact
and capable
At only 337g, this is the
smallest X Series camera with
a viewfinder. A remarkable feat
1
when you see the image quality.
2
2 24.3MP sensor
An X Series staple, the
third iteration of the X-Trans
sensor offers 24.3MP and
a native ISO of 200-12,800.
KIT PRICE
This inclusion puts the X-E3
on a par with the likes of the £1249
powerhouse X-T2 or X-Pro2. IMAGE RESOLUTION
24.3MP
3 Touchscreen VIDEO
Having removed 4K UHD
the additional function
buttons, a majority of
control is now assigned
to the 3in 1040k-dot LCD.
Luckily, it works very well,
and swiping in different
directions will bring up a
host of control options.

FUJIFILM X-E3 3

You’ve
got the touch 4 A speedy twist
Although mainly touch
controlled, the X-E3 still
retains the shutter speed
and mode dials – perfect for
Ditching most of its buttons in favour o quick changes mid-shoot.

resulted in the sleekest X Series yet, but will the gamble


pay off for the X-E3? Kirk Schwarz takes a closer look.
UTTONS ARE A physical function buttons AF tracking capabilities.

B big thing in the


world of cameras,
and Fujifilm
has been praised a lot in
the past for including
and D-Pads in favour of a
touchscreen. As such it feels
like quite the minimalist
statement piece, albeit still
with the sleek styling of
The continuous shooting
is capable of 14fps using
the electronic shutter,
or a respectable 8fps in
mechanical mode. The
4
fully customisable its X Series stablemates. ISO range of 200-12,800
function buttons on its Pop the hood and you’ll still offers some of the best
releases. But the times, find the same 24.3MP low light performance
they are a-changing... X-Trans CMOS III sensor in its class, and can be
that’s in the higher specced extended to 51,200.
Main features X-T2. A retuning of the For anybody who likes
The X-E3 is the latest AF system now offers the prospect of capturing
addition to the X Series an improved 0.06sec AF more video on their travels,
line-up, and it stands out speed and higher accuracy. the X-E3 features 4K
from its predecessors as This same update also UHD recording at 30fps,
it has dropped most of the dramatically improves the or Full HD at 60fps.

142 PRACTICAL PHOTOGRAPHY


CAMER A TEST

Punching above
IMAGE As we’ve come to expect from the X-Trans III
QUALITY sensor, the X-E3 uses its 24.3MP very well.
Fujifilm is highly regarded for both its dynamic
range as well as its colour rendition,
this compact CSC will produce
sults right up there with the
X-Pro2 or X-T2, sharing many of
their core strengths.
The ability to use your finger
to control the focus points and
command the shutter is great.
While certainly nothing new, it
does add an extra layer of
ccessibility to anybody looking
an everyday walkabout camera,
entry to photography in general,
without too many confusing buttons.
We also love Fujifilm’s Film Simulation
modes, which allow you to add creative colour
profiles to your JPEGs. These are designed to
give the effect of the company’s old film stock,
and look great.

Handling & build drawer. As well as allowing boasts a respectable 0.62x


You’ll immediately notice how you to change focus points magnification and feels crisp.
TECH SPEC
light and petite this camera is. at the touch of a finger, or The light and compact size
At only 337g, it feels like a review images as if you works to the X-E3’s advantage, Camera: Fujifilm X-E3

palm-friendly companion for were using a smartphone, it making it incredibly Kit lens: XF 18-55mm f/2.8-4

long days of travel. also houses extra features. inconspicuous out in the street. R LM OIS

Mixing magnesium alloy and When you swipe across the Most of the existing Fujifilm Price: £1249

plastic gives the construction a screen, you’ll get different lenses sit well on the camera, Effective resolution: 24.3MP

sturdy feel, while the lack of rear menus, which display all the though the bigger zooms are Sensor: 23.5x15.6mm CMOS

controls offers an extra 43% of controls you’d associate with a bit top heavy. The battery Processor: X-Processor Pro

room over its predecessor, the function buttons. These life is also wanting, offering LCD: 3in 1040k-dot touchscreen

making it viable for those with include ISO, Film Simulation up just 350 shots from a full Viewfinder: 2360k-dot EVF

larger hands. I was a lot more mode and Drive modes. The charge. Sadly, this is still to be Shutter: Bulb, 15min-1/4000sec

comfortable with the smaller swipe didn’t work 100% of the expected from most CSCs. Autofocus: 325-points, with

form than I expected to be. time, but it was responsive central 91-point being phase

enough to put me at ease. We Verdict detection

Performance would have liked a tilting While it may be the new ISO: 200-12,800 (expands to

If you’ve shot with the Fujifilm screen, but instead it’s fixed. boy on the block, the X-E3 100-51,200)

X-Trans III sensor, you’ll The welcome addition offers the same impressive Shooting speed: 14fps for

find no surprises here. The of a joystick on the back of image quality as the X-T20, 22 RAWs or 35 JPEGs

image quality is brilliant, the camera makes changing though for a slightly higher Video: 4K UHD at 30fps,

and low light performance focal points easy, and offers price point. The increased AF Full HD at 60fps

is very impressive. You’ll plenty of precision when performance and improved Connectivity: Wi-Fi, Bluetooth

be creating images as good browsing the menus. The touch systems make it stand Pop-up flash: No

as the Fujifilm X-Pro2 for classic rangefinder inspiration, out, and these are expected Other features: Film

a fraction of the cost. as seen in the X-Pro series, to be rolled out across the X simulation modes, Panorama

The improved autofocus is very apparent, although Series via firmware updates Battery life: 350 shots

performance is extremely the X-E3 doesn’t share the very soon. If you’re looking for Card type: SD, SDHC, SDXC

evident. It doesn’t offer same hybrid EVF enjoyed by a solid walkabout camera with Size (WxHxD): 121x74x43mm

the fastest focusing in its more expensive brother. intuitive touch controls, you Weight: 337g

the world, but does a very That said, the 2639k-dot EVF won’t go wrong with an X-E3. Web: fujifilm-x.com

good job and managed


accurate acquisition in dark
situations during testing.
The biggest elephant in the
THE VERDICT HANDLING
room is the heavy reliance on FUJIFILM X-E3 FEATURES
the 3in 1040k-dot touchscreen, PROS Good low light performance Excellent
where anything less than touchscreen Quick and accurate AF Impressive IMAGE QUALITY
excellent is a deal-breaker. image quality Lightweight and compact
VALUE FOR MONEY
Luckily, Fujifilm knows this, CONS Battery life could be better Bigger lenses
OVERALL SCORE
and the functionality is top feel a bit unbalanced No tilting screen

PRACTICALPHOTOGRAPHY.COM 143
GetIntoGear

1 Lightweight
Weighing in at a svelte
410g, this is the perfect camera
for those who want to traverse
foreign shores but don’t
want much extra weight.
2
2 16MP resolution
16MP may be a bit
dated in today’s resolution
race, but the MkIII manages to
create some excellent images 1
which should be enough
to please even the most
critical of photographers.
3
KIT PRICE
3 Versatile lens £649
The included M.Zuiko
IMAGE RESOLUTION
Digital ED 14-42mm f/3.5-5.6
EZ lens offers a 35mm 16.1MP
equivalent of 28-84mm. VIDEO
This makes it ideal for 4K UHD
capturing a wide variety
of shots, including street,
landscapes and portraits.

OLY MPUS OM-D E-M10 MK III

Mounting
inspiration 4 In-built IS
The in-body 5-axis
image stabilisation allows
The E-M10 has always been a popular CSC, but with the 4 stops of compensation –
perfect for handheld shooting.
MkIII sharing many of the same features as its predecessor,
is this new version worth the upgrade? Kirk Schwarz finds out.

LYMPUS FIRST Main features new inclusions, such as the

O released the
pocket-sized
E-M10 back in
2014. Designed to bring the
experience of the flagship
The Micro Four Thirds
sensor is the same 16.1MP
sensor found in both
previous models, although
this time it uses the TruePic
4K UHD video recording
at 30fps, a deeper grip and
121-point contrast detection
AF system, up from the
MkII’s 81 points. The burst
E-M1 to the masses, its VIII processing engine. It speed now manages a
beginner-friendly feature also shares the MkII’s ISO fractionally higher 8.6fps in
set was aimed squarely range of 200-25,600, as well high burst, up from 8.5fps. 4
at those taking their first as 5-axis in-built image
steps in photography. stabilisation, which provides Handling & build
The MkIII still embodies 4 stops of compensation. One area which has received
this ethos, and retains a The EVF and rear tilting noticeable attention is
very similar spec list to its touchscreen boast the design. The MkIII
predecessors, preferring 2360k-dot and 1040k-dot has a larger front grip,
subtle refinements over resolutions respectively. which aims to improve the
radical redesign. Luckily, there are some ergonomics. This results in

144 PRACTICAL PHOTOGRAPHY


CA MER A TEST

Still a contender
IMAGE The first thing that struck us about the OM-D
QUALITY E-M10 MkIII was the puzzling inclusion of the
same 16MP resolution found in its previous
two models. However, while the market is
heading towards the mid-20MP mark, the
Olympus just manages to earn its keep. The
quality is very respectable, especially if
you’re using it as a walkabout camera. The
ability to recover highlights and shadows
from RAW files is surprisingly good, and the
dynamic range appeared to be solid,
his backlit shot into the sun
e to capture a good amount of
nformation. The 14-42mm kit
lens produced some sharp
images, and once you get
used to the layout (which is
part CSC and part compact),
switching settings on the fly is
very easy. Overall, this is still
brilliant option as a catch-all
vel camera.

a 20g weight boost to 410g, but E-M1 MkII, though with less camera will still do this
in practice you won’t feel to choose from. Olympus automatically). We can only
TECH SPEC
any difference in handling. has even made it easier to assume this is another step
Olympus has dropped four understand some of the to simplify the shooting Camera: Olympus OM-D

of the previous six function menu options, and included process for newcomers. E-M10 MkIII

buttons, which may irritate brief mode explanations. The Art Filters which Kit lens: M.Zuiko Digital ED

some, but makes it an even The upgraded AF makes apply colour presets to your 14-42mm f/3.5-5.6 EZ

less intimidating camera full use of the TruePic VIII JPEGs now also include the Price: £649

for beginners. Overall, the sensor, and the extra 40 points Bleach Bypass option, though Effective resolution: 16.1MP

new grip and refined style make a noticeable difference. some of these filters are a Sensor: Micro Four Thirds

definitely add something. Even with a backlit subject the little over the top for us. Processor: TruePic VIII

focus was effective. However, LCD: 3in 1040k-dot

Performance since it is contrast and not Verdict tilting touchscreen

The MkIII performs phase detection, there will This is a very capable camera Viewfinder: 2360k-dot EVF

identically to the previous be times when it struggles, which should appeal to Shutter: Mechanical

version in almost every such as in low light or with beginners and mid-level 60-1/4000sec, Electronic

way, which isn’t actually a similar coloured subjects enthusiasts alike. However, 30-1/16,000sec

bad thing. The autofocus is and backgrounds. We were 16MP seems a little old hat, AF: 121-point contrast detect

responsive in good light, and satisfied with the results as the majority of cameras ISO: 200-25,600

the additional 40 AF points from our tests though. It also now come with sensors Shooting speed: 8.6fps for 22

give you better frame coverage. feels speedy and responsive capable of 20MP and above. RAWs and unlimited JPEGs

The auto-tracking modes in day-to-day use, and should The inclusion of 4K UHD Video: 4K UHD at 30fps,

also work pleasingly well, suit its target audience. video does bring it in line Full HD at 60fps

though there are times when Though a focus selection with many of its competitors Connectivity: Wi-Fi

it struggles with fast-moving joystick would be a great though. While we doubt it will Pop-up flash: Yes

objects, and obviously isn’t addition in future models, one justify an upgrade for MkII Other features: Time-lapse

designed for action shots. feature really conspicuous users, this is a solid camera Battery life: 330 shots

While there may be four by its absence is the ability for anybody looking for their Card type: SD, SDHC, SDXC

fewer customisable function to manually choose between first CSC, and you certainly Size (WxHxD): 122x84x50mm

buttons, this does lessen the left and right eye priority won’t be disappointed with Weight: 410g

confusion for anybody who face detection (though the the images you can create. Web: olympus.co.uk

wants to concentrate on
the shooting. Similarly, the
D-Pad’s functions are clearly
labelled, which is great for
THE VERDICT HANDLING
de-mystifying some of the OLYMPUS OM-D E-M10 MKIII FEATURES
operations for those stepping PROS Intuitive ergonomics Excellent
up from smartphones and touchscreen 4K video Lightweight and compact IMAGE QUALITY
compact cameras. The menu Easy to use for all skill levels
VALUE FOR MONEY
system is also new, sharing CONS 16MP feels a bit low resolution Not a big
OVERALL SCORE
similarities with the flagship update over the MkII Limited battery life

PRACTICALPHOTOGRAPHY.COM 145
BEST VALUE
10
ENTRY-LEVEL
DSLR KITS

146 PRACTICAL PHOTOGRAPHY


ENTRY-LEVEL DSLRS

Are you the kind of person who uses


their smartphone more for taking
brilliant shots of your travels, and less
for calling your friends? Do you wish
you had a slightly better camera,
but aren’t sure where to start?
While there’s nothing wrong with
a phone or compact camera, it’s the
step up to the larger APS-C sensors
that will give you an instant boost
in image quality, and results that’ll
astound your friends and family. And
as well as producing professional-
looking results, DSLRs often have a
much greater range of features and
functions, so are great for learning
and getting more creative too.
Let’s take a look at the 10 best value
entry-level DSLRs available right now.

IN TH E TEST

Canon 1300D...................................................£359 ...... P148


Sony _68..........................................................£499 ...... P148
Canon 800D.....................................................£769 ...... P149
Nikon D5300....................................................£529 ...... P149
Nikon D3300....................................................£499 ...... P150
Canon 77D .......................................................£839 ...... P150
Nikon D3400....................................................£429 ...... P151
Pentax K-S2 ....................................................£679 ...... P151
Nikon D5600....................................................£729 ...... P152
Canon 200D.....................................................£539 ...... P152

HOW WE TESTED
THE CAMERAS
IMAGE QUALITY
Each of these cameras has
gone through our rigorous
testing process. We’ve
looked at image quality,
sharpness and low light
ISO performance, and rated
each camera for its abilities.

FUNCTIONALITY AND USE


We also took into account additional
functions, such as touchscreens, button layout and guided
menus, which all make the DSLR experience much less
intimidating. When we had decided which cameras gave the
best user experience, we added our findings to our image
quality and price info and rated the cameras accordingly.

PRACTICALPHOTOGRAPHY.COM 147
GetIntoGear

#10 #9

KIT LENS KIT LENS


18-55MM 18-55MM
F/3.5-5.6 F/3.5-5.6
C A NON IS II SON Y SAM DT II

1300D £359 _68 £499


Released in mid-2016, the 1300D This 24.2MP SLT (semi-translucent
isn’t quite as advanced as its newer camera) includes a 1440k-dot EVF,
PROS PROS
stablemates, and as such packs the Inexpensive which is the only electronic viewfinder 79-point AF
older Digic 4+ processor alongside its Excellent in test. This means you can see the EVF
18MP sensor. Capable of 3fps, it has lens range effect your settings have on a shot 8fps burst
an ISO range of 100-6400 for low light Image quality before you take it, which really helps
photography, which is the lowest here. with the learning process. CONS
The 1300D captures Full HD video CONS The camera boasts a massive Low-res screen
at 30fps, not the 60fps of its younger No touchscreen 79-point AF system and a rapid best No touchscreen
siblings, and the 3in 920k-dot rear No Dual Pixel in test 8fps continuous shooting No Wi-Fi
Only 9-point AF connectivity
screen doesn’t flip out or support speed, making it great for capturing
touch functions, which are welcome action. Like the other DSLRs here, it
inclusions on more modern versions. offers Full HD video but manages an
SPEC SPEC
And while it features the same 9 AF impressive 60fps. It also comes with
Resolution: 18MP Resolution: 24.2MP
points as the 200D, it lacks Dual Pixel Sensor:
a top-mounted LCD and image Sensor: 23.5x15.6mm
AF – something that has been 22.3x14.9mm stabilisation – perfect for handheld LCD: 2.7in 460k-dot
applauded in the more recent releases. LCD: 3in 920k-dot and slower shutter speeds. ISO: 100-25,600
The less advanced featureset ISO: 100-6400 The 2.7in rear screen works well, Shooting speed:
prevents the 1300D sitting any higher (expands to 12,800) but lacks touch functionality, and at 8fps for 8 RAWs
on our list, but don’t be fooled – this is Shooting speed: 460k-dot offers the lowest resolution or 112 JPEGs
still a camera that’s capable of 3fps for 6 RAWs here. The _68 also lacks Wi-Fi, so you Autofocus: 79-point
creating high-quality images and or 1110 JPEGs have to physically download images phase detection
giving the newer models a run for their Autofocus: 9-point from the card. Video: Full HD 60fps
contrast detection Pop-up flash: Yes
money. Take the price and potential While capable of brilliant image
Video: Full HD 30fps Battery life:
image quality into consideration and Pop-up flash: Yes
quality, Sony has moved on to 580 shots
this becomes a decent choice for Battery life: mirrorless now so you may feel a little Card type:
th 500 shots u MemoryStick Pro-HG
Card type: SD, Duo/Pro Duo/XC-H,
SDHC, SDXC SD/HC/XC
Size (WxHxD): Size (WxHxD):
129x101x78mm 143x104x83mm
Weight: 485g Weight: 675g
canon.co.uk sony.co.uk

RATING RATING

SUGGESTED LENS SIGMA SUGGESTED LENS SONY


70-300MM F/4-5.6 DG MACRO £129 DT 50MM F/1.8 SAM £129
Sigma’s large focal length telephoto is The 50mm is a brilliant lens that’s
ideal for anybody who has an interest in suitable for many everyday shots. Being
wildlife or sports photography, thanks to a prime lens, it works well in low light
its massive zoom range. and produces sharp results.

148 PRACTICAL PHOTOGRAPHY


ENTRY-LEVEL DSLRS

#8 #7

KIT LENS KIT LENS


18-55MM 18-55MM
F/3.5-5.6 F/3.5-5.6
C A NON IS STM N I KON G AF-P VR

800D £769 D5300 £529


Though more advanced than the 200D, The D5000 series is a step up from
the 800D retains many easy-to-use Nikon’s most basic models, and as
PROS PROS
controls. It boasts the same 24.2MP Shooting speed such some of the features are better 39-point AF
sensor as the 80D, an 100-25,600 ISO Dual Pixel AF suited to helping in the creative Good ISO range
range and 49-point Dual Pixel AF. Guided menus learning process. The D5300 still Tilting screen
Like the 200D and 77D, the 3in features a 24.2MP sensor and Expeed
1040k-dot rear vari-angle touchscreen CONS 4 processor, but it also includes a CONS
flips out to 180° for any adventurous Expensive 39-point AF system, giving you more No touchscreen
vloggers. Unlike the 200D, using the A bit plasticky individual points to nail pin-sharp No guided menus
800D’s optical viewfinder will offer you Not unique focus every time. Snapbridge
enough in its class software
a bigger choice of 45 AF points. It also The ISO ranges from 100-12,800,
manages a maximum 6fps shooting allowing for handheld shots in darker
speed in burst mode, which is great conditions, while the rear screen is a
SPEC SPEC
for anyone capturing action shots. 3.2in 1037k-dot vari-angle LCD. Being
Resolution: 24.2MP Resolution: 24.2MP
Full HD movies can be filmed at Sensor: 22.3x14.9mm
able to flip the screen 180° is a great Sensor: 23.5x16mm
60fps, and there’s a time-lapse option LCD: 3in 1040k-dot option for avid bloggers who want to LCD: 3.2in 1037k-dot
which takes individual shots and vari-angle touch appear in-shot. vari-angle
stitches them together in-camera. ISO: 100-25,600 The D5300 boasts a 5fps ISO: 100-12,800
The camera’s guided menus provide (expands to 51,200) continuous shooting speed, which is (expands to 25,600)
graphic explanations of shutter speed Shooting speed: easily enough to tackle most of your Shooting speed:
and aperture. This is a very handy 6fps for 27 RAWs action requirements. Due to its more 5fps for 13 RAWs
feature if you’re just learning, though or unlimited JPEGs enthusiast-aimed design, it doesn’t or 100 JPEGs
you can turn them off should you wish. Autofocus: 45-point have the guided menus found in Autofocus: 39-point
cross-type phase detection
The 800D is a great camera, Nikon’s D3300 and D3400, but
Video: Full HD 60fps Video: Full HD 60fps
though it shares too many similarities Pop-up flash: Yes
otherwise it’s a solid all-round Pop-up flash: Yes
with the 200D and 77D to really make Battery life: camera which will serve you well for Battery life:
it stand out in this line-up. 600 shots years to come 600 shots
Card type: SD, Card type: SD,
SDHC, SDXC SDHC, SDXC
Size (WxHxD): Size (WxHxD):
131x100x76mm 125x98x76mm
Weight: 540g Weight: 530g
canon.co.uk nikon.co.uk

RATING RATING

SUGGESTED LENS CANON EF SUGGESTED LENS NIKON AF-S DX


40MM F/2.8 STM £189 18-105MM F/3.5-5.6G ED VR £239
This pancake lens is perfect if you’re A true all-rounder, this lens lets you
trying to keep a low profile. It offers capture anything from epic landscapes
an effective focal length of 64mm, so to up-close wildlife, thanks to a massive
is great for portraits or candid shots. zoom range and image stabilisation.

PRACTICALPHOTOGRAPHY.COM 149
GetIntoGear

#6 #5

KIT LENS KIT LENS


18-55MM 18-55MM
& F/3.5-5.6
N I KON 70-300MM C A NON IS STM

D3300 £499 77D £839


Nikon’s basic entry-level DSLR The most advanced Canon on this list
features a 24.2MP APS-C sensor and – moving towards enthusiast-level
PROS PROS
is capable of shooting with an ISO 5fps burst – the 77D features the same 24.2MP Top-plate LCD
range of 100-12,800, making it great Guided menus sensor found in the 80D, an ISO range Touchscreen
for shooting after sunset or indoors. Good ISO of 100-25,600 and a Digic 7 Dual Pixel AF
It shares design cues with Nikon’s performance processor, all of which are found in the
more advanced line-up of cameras, 200D and 800D. It also shares the CONS
so is ideal for anybody looking to CONS same increased 6fps burst mode and Similar to 800D
progress with their passion. Unlike Only 11 AF points 45-point optical viewfinder AF as the Expensive
Canon’s layout, the Nikon has both No touchscreen 800D. The excellent Dual Pixel AF lets May intimidate
No tilting screen new users
front and rear thumbwheels for easily you use the 3in 1040k-dot 180°
changing settings on the fly. vari-angle touchscreen to choose your
The D3300’s menu is clearly aimed focus point, and the AF manages a SPEC
at the beginner end of the market SPEC rapid 0.03sec focusing speed. Resolution: 24.2MP
though, with a guide mode that Resolution: 24.2MP Though it shares many similarities Sensor: 22.3x14.9mm
Sensor: 23.5x15.6mm
explains some of the functions in easy with the 200D and 800D, the design LCD: 3in 1040k-dot
LCD: 3in 921k-dot
to understand graphics. of the 77D sets it apart. You’ll find vari-angle touch
tilting
The camera should appeal to a nod to the more traditional DSLR ISO: 100-25,600
ISO: 100-12,800
action or sports fans, due to the layouts. These include the rear wheel, (expands to 51,200)
(expands to 25,600)
Shooting speed:
Expeed 4 processor that powers an Shooting speed: similar to the 5D series, and the LCD
6fps for 27 RAWs
11-point AF system and 5fps 5fps for 11 RAWs on the top-plate, which shows your
or unlimited JPEGs
continuous shooting. or 100 JPEGs settings and assorted information. Autofocus: 45-point
The 3in 921k-dot LCD doesn’t Autofocus: 11-point These added design cues help cross-type
boast touchscreen functionality, and is phase detection to give the 77D a more professional Video: Full HD 60fps
lower resolution than others in test, Video: Full HD 60fps feel. However, this is reflected Pop-up flash: Yes
Pop-up flash: Yes
but it stills looks great and manages to in the price, with this being the Battery life:
Battery life:
most expensive camera in test. 600 shots
700 shots
Card type: SD,
Card type: SD,
SDHC, SDXC
SDHC, SDXC
Size (WxHxD):
Size (WxHxD):
131x100x76mm
124x98x76mm
Weight: 540g
Weight: 460g
canon.co.uk
nikon.co.uk

RATING RATING

SUGGESTED LENS NIKON SUGGESTED LENS CANON


AF-S DX 35MM F/1.8G £189 EF-S 24MM F/2.8 STM £134
35mm is an ideal focal length to This discrete pancake lens offers
capture the world around you – able to a 35mm equivalent focal length of
perfectly frame landscapes, portraits 38mm, making it a perfect all-rounder
and street shots with ease. for travel or day-to-day use.

150 PRACTICAL PHOTOGRAPHY


ENTRY-LEVEL DSLRS

#4 #3

KIT LENS KIT LENS


18-55MM 18-50MM
F/3.5-5.6 F/3.5-5.6
N I KON G AF-P VR PENTA X AL WR

D3400 £429 K-S2 £679


This step up from the D3300 shares This often overlooked gem is the only
a number of similarities with its camera in test which comes with
PROS PROS
predecessor, and is still capable of ISO performance weather sealing, so is designed High ISO range
creating great images. It features a 5fps burst specifically to perform in inclement Fast shooting
24.2MP sensor and Expeed 4 Battery life conditions. Its 20.1MP sensor is lower speed
processor, and manages to capture than others in test, but still manages to Weather sealing
a very respectable 5fps in continuous CONS create detailed images. The native ISO
shooting mode. Plasticky range of 100-51,200 is the highest in CONS
The guided menu function makes No touchscreen test though, allowing you to take No touchscreen
light work of getting to grips with the Very similar to brilliant shots when the light starts to Battery life
D3300 Lower resolution
various settings, while the Wi-Fi and disappear.
Bluetooth let you transfer JPEGs The 11-point autofocus uses
straight to your phone for sharing on Pentax’s phase matching AF system,
SPEC SPEC
social media. The updated low-energy which is impressively accurate. The
Resolution: 24.2MP Resolution: 20.1MP
design and new battery enables 1200 Sensor: vari-angle 3in 921k-dot screen is Sensor:
shots on a single charge, which is a 23.5x15.6mm among the lowest resolution LCDs 23.5x15.6mm
real bonus on long days shooting out LCD: 3in 921k-dot here, but still looks good and offers LCD: 3in 921k-dot
on location. vari-angle unique compositions thanks to its vari-angle
The camera offers Full HD at 60fps, ISO: 100-25,600 tilting mechanism. There is also ISO: 100-51,200
which rivals the best in test. This is Shooting speed: in-built image stabilisation, offering Shooting speed:
ideal for budding film-makers who 5fps for 17 RAWs 3.5-stops of compensation, so you 5.4fps for 5 RAWs
want to dabble in both stills and video. or 100 JPEGs can shoot handheld at lower shutter or 20 JPEGs
Autofocus: 11-point Autofocus: 11-point
Though there’s not much to speeds than usual.
phase detection (9 cross-type)
distinguish this model from its The K-S2 is a very capable camera,
Video: Full HD 60fps Video: Full HD 30fps
predecessor, both give great results Pop-up flash: Yes though it lacks the lens range and Pop-up flash: Yes
for the price and are a staple of Battery life: progression that either Canon or Battery life:
b ddi h h h e. 1200 shots Nikon kits provide. 480 shots
Card type: SD, Card type: SD,
SDHC, SDXC SDHC, SDXC
Size (WxHxD): Size (WxHxD):
124x98x76mm 123x91x73mm
Weight: 445g Weight: 678g
nikon.co.uk ricoh-imaging.co.uk

RATING RATING

SUGGESTED LENS TAMRON SUGGESTED LENS PENTAX-DA


70-300MM F/4-5.6 DI £129 SMC 50MM F/1.8 £129
If you want to add a superzoom to your Pentax’s 50mm is ideal for anybody
arsenal, this brilliant Tamron manages looking to capture pin-sharp subjects
an effective focal length of 450mm, and blurred backgrounds. A great
making it ideal for wildlife or portraits. alternative to the supplied kit lens.

PRACTICALPHOTOGRAPHY.COM 151
GetIntoGear

#2 #1

KIT LENS KIT LENS


18-55MM 18-55MM
F/3.5-5.6 F/3.5-5-6
N I KON G AF-P VR C A NON IS STM

D5600 £729 200D £539


Taking a step up, the 24.2MP D5600 Canon’s latest entry-level offering is
features a very impressive 3.2in extremely beginner friendly, with a PROS
PROS
1037k-dot vari-angle touchscreen, a Touchscreen control layout that will immediately be Lightweight
first for Nikon in this test. It flips out to Wi-Fi, NFC and familiar to anybody making the move up Dual Pixel AF
180° for vloggers and selfie addicts Bluetooth from compacts or smartphones. Like Touchscreen
who want to take advantage of the Full Image quality the 77D and 800D, the 200D features
HD video recording at 60fps. It also the 80D’s 24.2MP sensor, which offers CONS
allows you to film and create CONS great quality across the Canon range. Limited optical AF
time-lapse movies entirely in-camera, Expensive The camera manages a continuous Plasticky
Similar to D5300 Compact
which is a great feature. shooting speed of 5fps, making it
Snapbridge camera layout
You’ll find the same 39-point AF equal to the Nikons but not quite as
system as the D5300, which lets you fast as the Sony, and an ISO range of
take advantage of the 5fps shooting 100-25,600, though quality noticeably
SPEC SPEC
speed for moving subjects. Wi-Fi, NFC drops off from ISO 1600.
Resolution: 24.2MP Resolution: 24.2MP
and low-energy Bluetooth functions The AF offers 9 points when using
Sensor: Sensor: 22.3x14.9mm
are all included, allowing for instant 23.5x15.6mm the optical viewfinder, or 49 points LCD: 3in 1040k-dot
transfer and sharing, though the LCD: 3in 960k-dot with Dual Pixel AF Live View, which vari-angle touch
Snapbridge app isn’t as good as vari-angle touch covers 80% of the frame when using ISO: 100-25,600
others in test, so keep this in mind. ISO: 100-25,600 the 180° tilting rear touchscreen. (expands to 51,200)
Despite being a bit pricier than Shooting speed: While it’s less intimating than Shooting speed:
the other Nikon DSLRs here, the 5fps for 17 RAWs others in test, the 200D may not be 5fps for 6 RAWs
D5600 is a great camera which will or 100 JPEGs the best to prepare you for a or unlimited JPEGs
easily keep up with your ability as you Autofocus: 39-point traditional DSLR, given its more Autofocus: 9-point
phase detection contrast detect
grow. And the upgraded features, compact camera control layout.
Video: Full HD 60fps Video: Full HD 60fps
such as the touchscreen and AF However, if you want the transition to
Pop-up flash: Yes Pop-up flash: Yes
system, bring it more in line with Battery life: be as simple as possible, this could Battery life:
industry standards. 800 shots well be a bonus. 650 shots
Card type: SD, Card type: SD,
SDHC, SDXC SDHC, SDXC
Size (WxHxD): Size (WxHxD):
124x97x70mm 122x93x70mm
Weight: 465g Weight: 453g
nikon.co.uk canon.co.uk

RATING RATING

SUGGESTED LENS NIKON SUGGESTED LENS CANON


AF-S 50MM F/1.8G £199 EF 50MM F/1.8 STM £106
More expensive than the Canon offering, The 50mm is the first non-kit lens
it still offers superior results to the many people buy. This inexpensive
kit lens, while letting you create prime lens offers a great all-round
beautifully blurred backgrounds. focal length and very sharp results.

152 PRACTICAL PHOTOGRAPHY


ENTRY-LEVEL DSLRS

Overall verdict
This test is teeth-clenchingly close. phone or compact, while the Dual Pixel
With massive advances in technology AF is class-leading in many ways.
practically every year, entry-level cameras Nikon’s D5600 is a serious contender,
are now often just as capable as their but is geared a bit more towards serious
BEST
more advanced counterparts. So armed beginners to enthusiasts, so has a IN
with a little bit of skill and a creative eye, slightly more advanced feel and higher TEST
there’s nothing on this list that will hold price. That said, it’ll suit those looking
you back. The downside to this is that it’s for a DSLR that offers more than the
extremely tough to choose a winner. simplistic controls of the 200D, or who
Canon’s 1300D is massively popular, prefer the way the Nikon handles.
and offers a great core set of features to
aid you on your photographic journey, but
it’s getting on a bit. The lack of a tilting “THE 200D IS THE
touchscreen, lower resolution sensor and
limited focus points all count heavily
PERFECT FIRST
against it. Similarly, the Sony has some CHOICE FOR A
features that are best in test – like the
79-point AF, electronic viewfinder and SIMPLE DSLR” HIGHLY
RATED
8fps burst mode – but it’s a lone wolf. The
lens range isn’t as good as either Canon or Pentax’s K-S2 is also brilliant, with
Nikon, and the next step up is an expensive the weather sealing – unheard of in a
full-frame camera (the £2k+ _99 II). beginner-level DSLR – making this an
ideal choice for anybody off on all-weather
The winning DSLR is... adventures. Like the Canon and Nikon,
Canon’s 200D just had to take the top it’s capable of taking stunning shots,
spot. It may lack the increased AF points even with a slightly lower resolution
of the 800D and 77D, but it shares the 20.1MP sensor. The inclusion of in-body
same sensor, and as such, the same IS is another bonus, letting you get
image quality. It’s easy to use, so will sharp images from handheld shots, HIGHLY
appeal to anybody shooting with a even when the lighting is against you. RATED

At-a-glance results Resolution Shooting speed Weight Size (WxHxD) Price RATING

CANON 1300D with 18-55mm lens 18MP 3fps 485g 129x101x78mm £359

CANON 200D with 18-55mm lens 24.2MP 5fps 453g 122x93x70mm £539

CANON 800D with 18-55mm lens 24.2MP 6fps 540g 131x100x76mm £769

CANON 77D with 18-55mm lens 24.2MP 6fps 540g 131x100x76mm £839

NIKON D3300 with 18-55mm &


24.2MP 5fps 460g 124x98x76mm £499
70-300mm lenses

NIKON D3400 with 18-55mm lens 24.2MP 5fps 445g 124x98x76mm £429

NIKON D5300 with 18-55mm lens 24.2MP 5fps 530g 125x98x76mm £529

NIKON D5600 with 18-55mm lens 24.2MP 5fps 465g 124x97x70mm £729

PENTAX K-S2 with 18-50mm lens 20.1MP 5.4fps 678g 123x91x73mm £679

SONY _68 with 18-55mm lens 24.2MP 8fps 675g 143x104x83mm £499

KEY: Best performing model under our test conditions Highly recommended product

PRACTICALPHOTOGRAPHY.COM 153
Minitests
Small accessories that could make a huge difference

360° ACTION CA M ER A

Kodak PixPro
4KVR360 £399
If you’re anything like us, lenses, or up to
you’ll be obsessed with new 13MP when using VIDEO
technology. And in the field a single lens. Video 4K
of photography, it doesn’t quality is good too, SENSOR
get much newer than 360° though frame rates 2x 20MP
cameras. With the ability drop in 360° mode,
WEIGHT
to shoot or film an entire with 4K churning
360° scene in Full HD or out a useable 156G
4K, and then share it as an 24fps, or Full HD
interactive file to sites such offering a useable
as YouTube and Facebook, 30fps. You can even record height of 2m, a
this new technology can tell slow motion at 120fps, against waterje
a story like never before. but this is done at a much its IPX5 rating
The Kodak 4KVR360 is a lower resolution of 720p. been great to se
very exciting addition to the It also functions as a rated for immersion, as the
existing 360° line-up. Footage more traditional action cam, newer GoPros are, but we
from the dual 20MP CMOS allowing you to use just a assume an additional housing
sensors is stitched together single lens with the 197° will be released shortly.
to create high-quality stills field-of-view, which adds Lacking a rear screen
and video. The front lens an extra level of versatility may not be an issue when
boasts a 197° field-of-view, and does more to justify the you’re filming in 360°, but
while the rear lens offers 235°. high price point (the same for those times you’re only
The uneven lenses allow the as an entry-level DSLR). using a single lens, or want
PixPro to better stitch the Build quality is impressive, to check your horizon,
output from the two sensors, so you can confidently and there is a dedicated app.
creating a more seamless join. safely use it on your wildest Simply load it onto your
Image quality is very adventures. The white smartphone and you’ll be Above The protective domes
impressive for this type of plastic feels very premium, able to see in real-time, help to withstand drops from
camera, with the camera and the lenses are housed in remotely activate your shots up to 2m in height.
able to capture up to 27MP removable domes for their and also transfer images and
stills from the two fixed f/2.4 protection. It’s shockproof to a video, letting you upload Verdict
and share images instantly. We can’t tell you this is the
PETER SIMCOE

The dedicated PixPro piece of kit you’ve been


desktop editing suite lets you waiting for your entire life.
trim your footage, change It’s still extremely niche
aspect ratios, apply colour technology, and the only
corrections and choose way to display your efforts is
starting points, allowing you via social media. However,
to tell your audience where if you’re constantly on the
to start looking. While it may move, have an exciting life
come with some impressive worth sharing and a healthy
features for a proprietary social media following, this
360° software suite, we is a great piece of kit that will
recommend pairing it with help add another string to
CyberLink’s CyberDirector9, your bow. kodakpixpro.com
which has an in-depth and
Above Upload your ‘tiny planet’ images directly to social media. dedicated 360° editor.

154 PRACTICAL PHOTOGRAPHY


HIGHLY
RATED

HIGHLY
RATED

will love this wallet-friendly


shotgun mic. It comes with a
shock-absorbing cradle which
Left The Seed attaches to your hotshoe and
PHOTO FR A M E takes your images reduces mechanical noise from
from the Cloud your camera. The TakStar offers
and displays them 10dB enhancement and 200Hz
Nixplay Seed W10a £249 in high definition. low-frequency attenuation,
which can be controlled via
Digital photography allows us to shoot displayed on the high definition display. the switches on the side. For
millions of images, but we rarely get The clever part about this is that you £20, both build and sound
around to displaying them all. Print is can then share images and albums with quality are excellent, and the
simplicity is perfect for those
always a stunning option for showing off family and friends across the world – a
who are taking their first steps
your work, but nobody has the space to real bonus if you share a lot of photos
into the world of video.
display a lifetime’s worth of shots, so this of your children with relatives abroad. takstar.com
digital photo frame is a brilliant alternative. One really nice touch is the inclusion
The 10in Nixplay Seed is entirely of a remote control. You also get 10GB
wireless, meaning it draws all of the photos of free Cloud storage, meaning running
it displays from the Cloud, working with out of memory needn’t be a concern.
all major social media sites, Dropbox The plastic frame has a textured, matt
and Flickr. The great thing about this finish and is available in four colours,
is that you don’t have to spend time while the flexible stand at the rear
constantly updating your SD cards each connects to the power lead, keeping
time you take a new shot. Simply upload the area tidy. It also features a nifty
the image to Facebook and drag it into motion detection panel, automatically
a playlist for the Seed to access. powering the screen up when somebody
This is accomplished via the Nixplay walks into the room. nixplay.co.uk
web app, which lets you organise
your images as you want them to be
Novo Dura
V IDEO ACCESSORY
200 £103
If you ever take your gear
abroad, you’ll know many
Kenro Camera Slider £240 insurance companies demand
you use a hard case, and the
If you’ve discovered a passion for video, but struggle to get polished footage, Dura 200 is a reasonably-priced,
this is for you. Attach your camera to Kenro’s 50cm double distance slider and tough choice. Rated to IP67,
you can steadily move it a distance of 38cm when resting on a surface. Thanks it actually exceeds insurance
to the belt-driven mechanism, you can also attach it to a tripod and achieve a requirements, being waterproof
76cm distance with a payload of up to 3kg, or 6kg on a surface. up to 5m. It incorporates
Four individually adjustable feet allow you to level out your tough ABS injection moulding,
slider when it’s not on the tripod, which is a really nice stainless steel hinge axis, and
feature. Although it is incredibly smooth and will give you an automatic pressure value –
beautiful B-roll, we did notice a slight bump when the a must for hold luggage. Solid
camera mount and tripod mount pass. However, this only construction aside, there’s
happens with very slow tracking. While it won’t enough room for a DSLR body
appeal to casual movie and two lenses, which enjoy
makers, it’s a ample protection thanks to
reasonably-priced pre-cut foam inserts. The case
option for those is a hefty 3.4kg, but is worth its
looking to create Below Kenro’s slider lets weight in gold. novo-photo.com
professional-looking you create very smooth
footage. kenro.co.uk footage with ease.

PRACTICALPHOTOGRAPHY.COM 155
MHXPRO 2W XPRO
492RC Mini c/w RC2 496RC2 Compact c/w 128RC Micro Fluid Fluid c/w fluidity MHXPRO 3WG XPRO
QR Plate RC2 QR Plate Video selector Three Way Pan/Tilt 405 Aluminium
RRP £72.95 £55 RRP £89.95 £69 RRP £99.95 £75 RRP £129.95 £99 RRP £184.95 £149 RRP £514.95 £379

MVH500AH
MHXPRO BHQ2 XPRO MHXPRO BHQ6 XPRO Lightweight Fluid
Ball in Magnesium Magnesium Ball c/w 700RC2 Composite Video Head c/w
c/w 200 PL Top Lock Plate Video Flat Base
RRP £129.95 £99 RRP £169.95 £138 RRP £99.95 £79 RRP £149.95 £110
PADDED
UNPADDED RRP NOW
RRP NOW 75cm £59.95 £49
057 CARBON FIBER TRIPOD 60cm £24.95 £22 80cm £79.95 £59
• Extra-rigid carbon fiber 3 or 4 section Legs MH057M0 Q5 468MGRC3 Hydrostatic
057 Magnesium Ball Ball c/w RC3 Rapid MVH502AH Flat Base MVH502A Pro Fluid 70cm £29.95 £24 90cm £89.95 £69
• Ground Level Adapter to reach ultra-low 75cm £34.95 £28 100cm £109.95 £79
positions c/w Q5 Connect System Pro Fluid Video Video
ALUMINIUM TRIPODS RRP NOW • Levelling bubble to be always level to the RRP £289.95 £219 RRP £304.95 £229 RRP £194.95 £149 RRP £224.95 £169 80cm £44.95 £39 120cm £109.95 £85
MT190X PRO3 3 Section £199.95 £149 horizon
MT190X PRO4 4 Section £219.95 £149 • Extremley versatile thanks to the 3 leg
angle positions
MT055X PRO3 3 Section £219.95 £159 • Robust magnesium spidercast & leg locks
190 Go! 4 Section £174.95 £129 324RC2 Light Duty
RRP NOW MH055M8 Q5 Pro Light camera Pro Light camera
290 Dual 3 Section £139.95 £110 Grip, compact & 327RC2 Light Duty Magnesium Photo MHXPRO 3W X PRO element covers E-702 element covers CRC-12
290 Xtra 3 Section £104.95 £79 MT057C3 3 Section £679.95 £449 portable Grip Ball Movie c/w QR Plate c/w retractable levers for DSLR for AJ-PX270
Befree 4 Section £184.95 £139 MT057C3 G 3 Section Geared £719.95 £499 RRP £139.95 £99 £169.95 £169 RRP £339.95 £269 RRP £124.95 £95 from £69.95 from £114.95
MT057C4 4 Section £749.95 £549
CARBON FIBRE TRIPODS MT057C4 G 4 Section Geared £799.95 £599
MT190CX PRO3 3 Section £379.95 £299 NITROTECH N8 FLUID VIDEO
MT190CX PRO4 4 Section £394.95 £299 HEAD C/W
290 Xtra Carbon 3 Section £209.95 £159 MH804 3WMark II E-704 PL
RRP Pro Light Camera 393 Long Lens
MT055CX PRO3 3 Section £429.95 £329 234RCMonopod c/w in Adapto c/w
535 Single Leg Tripod £1195.95 234 Monopod Tilt QR, Wide 90º Scope retractable levers 460MG Magnesium Extension Sleeve Kit Monopod Bracket
MT055CX PRO3 4 Section £459.95 £339 546B Twin Leg Middle Spreader Tripod £959.95 RRP £27.95 £24 RRP £84.95 £69 RRP £114.95 £85 RRP £79.95 £65 RRP £219.95 £179
RRP £42.95 £35

GH1382QD Series 1 GH1382TQD Traveller


Quick Release D Series 1 Quick Release D Systematic Tripod Bag
RRP £329.95 £277 RRP £289.95 £259 RRP £164.95 £129.95

G2180 Series 1 GH1720QR Series 1 VEO2 ALUMINIUM TRAVEL TRIPODS


TRAVELLER Counter Balance Video Magnesium 2 Way Series 0/1 Mountaineer Series 2/3 Mountaineer 204 AB c/w Ballhead £79.99
CARBON TRIPODS RRP NOW RRP £229.95 £170 RRP £259.95 £199 RRP £97.95 £79.99 RRP £129.95 £99.99 235 AB c/w Ballhead inc Free
ALTRA PRO2+ ALUMINIUM TRIPODS Shoulder Bag worth £50 £139.99
GT1532 3 Section £629.95 £489
(includes FREE Spiked Feet) 235 AP c/w Panhead inc Free
GT1542 4 Section £649.95 £499
263AB c/w Ballhead 3 Section £199.99 Shoulder Bag worth £50 £159.99
MOUNTAINEER 263AP c/w Panhead 3 Section £199.99 VEO2 CARBON FIBRE TRAVEL TRIPODS
CARBON TRIPODS RRP NOW ALTRA PRO2+ CARBON FIBRE 235 CB c/w Ballhead inc Free
GT0532 3 Section £509.95 £399 2720QR Series 2 GHFG1 Fluid GS5370MC Aluminium G1220.129B3 Spikes For TRIPODS (includes FREE Spiked Feet) Shoulder Bag worth £50 £199.99
GT0542 4 Section £569.95 £449 Magnetic 2 Way Gimbal Head Quick Release Plate Tripod (Set Of 3) 263CT 3 Section £289.99 265 CB c/w Ballhead inc Free
GT2542 4 Section £759.95 £599 RRP £329.95 £249 RRP £399.95 RRP £54.95 £39.99 RRP £54.95 £44.99 264CT 4 Section £299.99 Shoulder Bag worth £50 £249.99

Finance example: 12mths, 0% APR: Cash Price £1475, 10% Deposit £147.50, Monthly Payment £110.62, Total Amount Payable £1475. • 24mths, 9.9% APR: Cash Price £1475, 10% Deposit £147.50, Monthly Payment £60.93, Total Amount Payable £1608.82
36mths, 19.5% APR: Cash Price £1475, 10% Deposit £147.50, Monthly Payment £47.95, Total Amount Payable £1873.70 See website for details: www.uttings.co.uk/Information/Finance. Finance is subject to status, terms & conditions apply.*
*Consumer credit service provided by DEKO in association with Close Brothers Retail Finance. DEKO is licensed by the Financial Conduct Authority (Consumer Credit Licence: 0616240) Finance provided by Close Brothers Retail Finance is a trading name of Close Brothers Limited10 Crown Place, London EC2A 4FT.
See website for more lenses
E+OE Prices subject to change. Goods subject to availability
01803 852400 PHONE LINES OPEN
MON -FRI 8am - 5pm,
Email - info@mifsuds.com SAT 9am - 3pm,
www.mifsuds.com SUN CLOSED.
SHOP OPEN
U.K. Stock Mifsuds Photographic Limited TUE -FRI 10am - 5pm,
No Grey Imports 27-29, Bolton Street, Brixham. Dev TQ5 9BZ. SAT 9am - 3pm. SUN/MON CLOSED.

PAR
WE PART E S
FAIR PRICES OFF QUOTED UICKLY ~ OLLECTI CAN BE A ANGED
For speediest response please email your equipment etails to... inf mifsu m
QUALITY LENSES e st oy in i fro 6
DESERVE including: UV, , IR, close-up, s fteners, diff sers, polarisers, rotectors etc
QU LITY FILTE S PLEASE SEE WEBSITE F R DETAILS www.mifsud .c m
Canon EOS 1DX MKII Canon EOS 7D KII Canon EOS 5 CANON EFS LENSES 70 300 F4/5.6 IS USM II . . . . . . £448
APS-C 10 18 F4.5/5.6 IS STM . . . . . . . £197 85 F1.4 L IS USM . . . . . . . . . . .£1568
Full Frame APS-C Body only 18 55 F3.5/5.6 ISII no box. . . . £129
CANON EF FULL FRAME LENSES
85 F1.8 USM . . . . . . . . . . . . . . . . £319
100 F2.8 IS L USM macro. . . £797
Body only £898 8 15 F4 L USM Fisheye. . . . . . . £969 100 400 F4.5/5.6 IS LII USM £1788
Body only £4798 £1347 Plus 15-45 £ 68 11 24 F4 L USM . . . . . . . . . . . .£2497 200 400 F4 IS L USM . . . . . . .£9299
200 F2.8 II L USM . . . . . . . . . . . £698
14 F2.8 USM MKII . . . . . . . . . .£1749
Plus 18-150 £1198 16 35 F2.8 L USM MKIII . . . . .£1897 300 F2.8 IS L USM II . . . . . . . .£5299
16 35 F4 L IS USM. . . . . . . . . . . £866 400 F2.8 IS L USM II . . . . . . . .£8999
Canon EOS 5D MKIV Canon EOS 77D Canon EOS M6 20 F2.8 USM . . . . . . . . . . . . . . . . £419 400 F4 DO II IS USM . . . . . . . £6498
APS-C APS-C 24 F1.4 LII USM . . . . . . . . . . . .£1299 400 F5.6 L USM . . . . . . . . . . . . . £997
Full Frame Body only
Plus 15-45 STM
24 F2.8 IS USM . . . . . . . . . . . . . . £399
24 70 F2.8 L II USM. . . . . . . . .£1697
500 F4 IS L USM II . . . . . . . . . £8197
600 F4 IS L USM II . . . . . . . .£10899
£798 £598 24 70 F4 L IS USM. . . . . . . . . . . £724 12mm ext tube MKII . . . . . . . . . £69
Body only £3177 Plus 18-55 STM £918 24 105 F4 L IS USM MKII. . . . . £997 25mm ext tube MKII . . . . . . . . £128
1.4x III extender. . . . . . . . . . . . . £388
Plus 18-135 STM £1148 Plus 18-150 STM £898 24 105 F3.5/5.6 IS STM . . . . . .£399
28 F2.8 IS USM . . . . . . . . . . . . . . £387 2x III extender . . . . . . . . . . . . . . £388
Canon EOS 6D MKII Canon EOS 200D Canon E S 100 35 F2 IS USM. . . . . . . . . . . . . . . . £468 CANON FLASHGUNS/GRIPS
APS-C APS-C 40 F2.8 STM . . . . . . . . . . . . . . . . £159 MR 14 EX II Ringlight. . . . . . . .£548
Full Frame Body only 50 F1.2 L USM . . . . . . . . . . . . .£1249 MT 26 EX RT mac twin light£1079
50 F1.4 USM . . . . . . . . . . . . . . . . £348 430EX III RT Speedlight . . . . . .£238
Body only £1699 £578 Plus 15-45 STM 50 F1.8 STM . . . . . . . . . . . . . . . . . £97 600EX RT II Speedlight . . . . . . £538
Plus 24-105 STM £2199 £568 70 200 F2.8 IS LII USM. . . . . .£1797 BG E21 (fit 6D MKII) . . . . . . . . . £179
Plus 18-55 IS ST £678 70 200 F2.8 non IS L USM. . .£1197 BG E20 (fit 5D MKIV) . . . . . . . . £297
Canon EOS APS-C Cameras 70 200 F4 L IS USM. . . . . . . . .£1097 BG E16 (fit 7D MKII) . . . . . . . . . £218
Canon EOS 80D Body.................................£947 Canon EOS System 70 300 F4/5.6 L IS USM . . . . .£1247 BG E13 (fit 6D) . . . . . . . . . . . . . . £197
EOS 80D + 18-55 STM ..................£1078 11-22 f4/5.6 IS STM .................. £317
300 F2.8 EOS 80D + 18-135 STM ................£1297
EOS 800D Body ..............................£768
15-45 f3.5/6.3 IS STM ............... £199
18-55 f3.5/5.6 IS STM ............... £199
IS L USMII EOS 800D + 18-55 STM ..................£868
EOS 760D Body .............. .............£578
18-150 f3.5/6.3 IS STM............. £398
22 f2 STM .................................. £198
£5299 EOS 750D Body .............. .............£558
EOS 750D + 18-55 STM .. .............£598
28 f3.5 Macro IS........................ £289
55-200 f4.5/6.3 IS STM............. £249 200-400 F4 IS L USM £9299
EOS 750D + 18-135 STM ................£798 400 F2.8 IS L USM II £8999

Nikon D850 Nikon D5 NIKON DX NON FULL FRAME LENSES


10.5 F2.8 DX Fisheye . . . . . . . . . .£599
10-20 F4.5/5.6 G VR . . . . . . . . . . .£328
Full Frame APS-C 10-24 F3.5/4.5 AFS G . . . . . . . . . .£729
16-80 F2.8/4 AFS ED VR. . . . . . . .£898
16-85 F3.5/5.6 AFS VR . . . . . . . . .£578 10-20 F3.5 EX DC HSM . . . . . .£328 105 F2.8 EX DG OS HSM . . . .£358
Body only price Body only price 18-105 F3.5/5.6 AFS G no box . .£239 12-24 F4 DG HSM Art . . . . . £1378 120-300 F2.8 EX DG OS Sport

£3499 798
18-140 F3.5/5.6 AFS VR . . . . . . . .£469 12-24 F4.5/5.6 II DG. . . . . . . . .£648 DEMO NAF FIT ONLY . . . . £2299
18-300 F3.5/6.3 AFS VR . . . . . . . .£648 14 F1.8 DG HSM Art . . . . . . £1678
35 F1.8 AFS G . . . . . . . . . . . . . . . . .£188 17-50 F2.8 EX DC OS. . . . . . . .£328 135 F1.8 DG HSM Art.. . . . . £1398
70-300 F4.5/6.3 AFP VR . . . . . . . .£359 150 F2.8 EX DG OS. . . . . . . . . .£778
70-300 F4.5/6.3 AFP non VR . . .£299 18-35 F1.8 DC HSM Art . . . . .£648
18-300 F3.5/6.3 DC mac OS .£368 150-600 F5/6.3 OS Contemp £788
Nikon D5 Niko 7500 NIKON FX FULL FRAME LENSES
8-15 F3.5/4.5 AFS E. . . . . . . . . . £1298 20 F1.4 DG HSM Art . . . . . . . .£698
APS-C 14-24 F2.8 AFS G ED. . . . . . . . . £1648 24 F1.4 DG HSM Art . . . . . . . .£648
Full Frame Body only 16-35 F4 AFS VR . . . . . . . . . . . . £1058 24-35 F2 DG HSM Art . . . . . . .£758
18-35 F3.5/4.5 AFS G . . . . . . . . . .£658
£1297 24-70 F2.8 DG OS HSM Art £1398
Body only £5098 20 F1.8 AFS G ED. . . . . . . . . . . . . .£697
35 F1.4 DG HSM Art . . . . . . . .£598
Plus 18-140 VR £1598 24 F1.8 AFS G ED. . . . . . . . . . . . . .£678
150-600 F5/6.3 OS Sport . . £1328
24-70 F2.8 AFS G ED VR. . . . . . £1598 50 F1.4 EX DG HSM Art . . . . .£569
Nikon Full Frame Cameras Nikon APS-C Cameras 24-120 F4 AFS G ED VR . . . . . . . .£997 50-100 F1.8 DC HSM Art . . . .£948 500 F4 DG OS HSM Sport . £4997
D810 Body Only...........................£2398 D7200 Body only ........................... £888 35 F1.4 AFS G . . . . . . . . . . . . . . . £1578 70-200 F2.8 EX DG OS . . . . . .£898
D750 Body only ...........................£1698 D7200 + 18-105 VR ......................£1087 35 F1.8 AFS G . . . . . . . . . . . . . . . . .£478 500 F4.5 EX APO DG HSM
50 F1.4 AFS G . . . . . . . . . . . . . . . . .£398 85 F1.4 DG Art. . . . . . . . . . . . . .£999 CAF FIT ONE ONLY. . . . . . . £2797
D750 + 24-120 F4 VR ...................£2297 D5600 Body Only .......................... £648 50 F1.8 AFS G . . . . . . . . . . . . . . . . .£208 100-400 F5-6.3 DG OS
MBD-18 grip (D850) ...................... £368 D5600 + 18-55 AF-P....................... £728 60 F2.8 AFS . . . . . . . . . . . . . . . . . . .£528 HSM Contemporary . . . . . . . .£698 USB Lens dock. . . . . . . . . . . .£39.99
MBD-17 grip (D750) ...................... £348 D5600 + 18-140 VR ........................ £948 70-200 F2.8 AFS E FL ED VR . . £2398
MBD-12 grip (D810) ...................... £348 D3400 + 18-55 AF-P....................... £438 70-200 F4 AFS G ED VR . . . . . . £1238 70-200 f2.8 Di VC USD G2 ......... £1297
70-300 F4.5/5.6 E ED VR . . . . . . .£748 70-300 F4/5.6 Di VC USD..............£329
Nikon Nikon 85 F1.8 AFS G . . . . . . . . . . . . . . . . .£448
105 F2.8 AFS VR macro . . . . . . . .£788 15-30 f2.8 Di VC USD .....................£897
85 f1.8 SP Di VC USD......................£747
100-400 F4.5/6.3 Di VC USD........£789
8-15 F3.5/4.5 70-200 F2.8 200-500 F5.6 AFS E ED VR. . . . £1248
300 F2.8 AFS ED VRII . . . . . . . . £4299
16-300 f3.5/6.3 Di II VC PZD ........£428 150-600 F5/6.3 VC USD G2....... £1128
18-200 F3.5/6.3 Di II VC.................£188 150-600 F5/6.3 SP VC USD ...........£737
AFS E FL 300 F4 AFS E PF ED VR. . . . . . . £1528
AFS E £1298 ED VR £2398 400 F2.8 G E FL ED VR . . . . . . £10398
500 F4 G E AFS FL ED VR . . . . . £8998
18-400 f/3.5-6.3 Di II VC HLD .....£648
24-70 f2.8 Di VC USD G2............ £1247
Kenko Converters
1.4x or 2x Pro 300 conv each.........£149
24-70 f2.8 Di VC USD .....................£747 Auto ext tube set............................£119

WE STOCK COKIN , D Z SERI KITS. P E SE SEE WEBSITE FOR F L DETAIL .


X Series lenses and accessories etc 23mm F2 XF R WR .................................£418 60mm F2.4 XF macro ...........................£648
10-24mm F4 XF ......................................£898 27mm F2.8 XF .........................................£398 80mm F2.8 OIS WR macro ...............£1249
14mm F2.8 XF R .....................................£848 35mm F1.4 XF .........................................£498 90mm F2 R LM WR ................................£898
X-Pro2 body..........................................£1598 16mm F1.4 XF .........................................£898 35mm F2 R WR........................................£428 100-400 F4/5.6 OIS WR ......................... £1698
X-T2 + 18-55mm .................................£1848 16-55mm F2.8.........................................£948 50mm F2 R WR........................................£448 1.4x XF TC WR..........................................£388
X-T2 body ..............................................£1648 18mm F2 XF.............................................£498 50-140mm F2.8 R OIS........................£1428 2x XF TC WR .............................................£398
X100f X-T20 + 18-55mm...............................£1147 18-55mm F2.8/4 OIS ............................£599 55-200mm F3.5/4.8 OIS XF.................£677 11mm Ext tube......................................... £75
£1248 X-T20 body...............................................£797
X100f Compact....................................£1248
18-135mm F3.5/5.6 XF.........................£718
23mm F1.4 XF .........................................£829
56mm F1.2 R APD...............................£1328
56mm F1.2 XF .........................................£898
16mm Ext tube......................................... £75
VPB-XT2 Vertical grip............................£289

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 27/11/2017. E&OE.
MORE ON WEBSITE - UPDATED DAILY. ORDERS OVER £100 VALUE INCLUDE UK MAINLAND P&P. ALL U.K. STOCK, NO GREY IMPORTS.
Although we are the best stocked dealer in the West Country, Website altered daily inc. manufacturers cashback & promotions
we cannot always have every item listed in stock at all times, so
we are happy to reserve new & used items for customers
planning to visit. Prices correct 27/11/2017 but subject to
change without notice. See website for up to date prices. E&OE.
www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
CANON DIGITAL AF USED BG E16 box ..................................£169 10 22 F3.5/4.5 USM EFS ...... £329 70 200 F4 L USM.................... £399 SIGMA CAF USED 600 F8 box...................................... £249
Used Canon 1DX MKII body box .............£3799
1DX MKI body box .. £1999/2999
TC 80N3 remote........................£85
Angle finder C......................... £139
14 F2.8 USM LII box ............£1349
15-85 F3.5/5.6 IS USM EFS.. £399
70 300 F4.5/5.6 IS USM L .... £849
70-300 F4.5/5.6 IS USM ....... £249
17 50 F2.8 EX DC HSM ............. £249
17-70 F2.8/4 DC OS.................... £249
TC1401 1.4x conv........................ £189
1.4x EX DG conv .......................... £149
EOS 1DX 1D MKIV body box ..............£1499 Powershot G1X....................... £299 16-35 F2.8 USM LII................. £799 75-300 F4/5.6 MKII ...................£99 18-125 F3.8/5.6 HSM................. £149 OTHER CAF USED
MKI I body 1D MKIII body ......................... £499 Powershot G12....................... £229 16-35 F4 L................................. £749 85 F1.2 L USM ......................... £899 18-200 F3.5/6.3 DC..................... £149 TAM 10-24 F3.5/4.5 Di II ...... £279
1Ds MKII body......................... £599 CANON EOS M USED 17-40 F4 L................................. £449 100 F2.8 L IS USM .................. £649 18-250 F3.5/6.3 DC OS ............. £199 TAM 17-50 F2.8 XR DiII ........ £199
box 7D MKII body box.................. £999 EF-M 55-200 F4.5/6.3 IS STM£229 17-55 F2.8 IS USM EFS ......... £449 100 F2.8 USM box.................. £299 28-135 F3.8/5.6 ...............................£99 TAM 18-200 F3.5/6.3 VC ...... £149
7D body box............................ £499 DC1 viewfinder....................... £149 17-85 F4/5.6 IS USM................... £199 100-400 F4.5/5.6 LII IS U....£1499 28-200 F3.5/5.6 Asph ..............£99 TAM 18-250 F3.5/6.3 DiII..... £149
6D body box............................ £799 CANON AF FILM BODIES USED 18-55 F3.5/5.6 IS EFS ....................£99 100-400 F4.5/5.6 L IS U........ £799 50 F2.8 EX macro ................... £149 TAM 28-300 F3.5/6.3 VC...............£449
£3799 5D MKIV body box................. £2699 EOS 1V HS body..................... £699 20 F2.8 USM................................... £349 135 F2 L USM box.................... £699 50-500 F4/6.3 EX DG OS...... £699 TAM 28-300 F3.5/6.3 XR Di.........£199
5D MKIII body box................. £1699 EOS 1V body box................... £599 24 F2.8 STM.................................... £109 180 F3.5 L USM macro........... £599 50-500 F4/6.3 EX DG ............ £399 TAM 70-300 F4/5.6 Di USD VC . £199
5D MKI body box ......................£399 EOS 3HS body inc PB-E2..... £449 24-105 F4 L IS.......................... £599 300 F2.8 LII IS U ......................£4699 70-200 F2.8 EX DG OS TAM 70-300 F4/5.6 ........................£99
Used Canon 80D body box.............................£749
60D body......................................£399
EOS 5 body box.........................£79
EOS 50E body.............................£59
28 80 F3.5/5.6 USM MKI...... £149
28 80 F3.5/5.6 ............................£79
300 F2.8 LI IS U........................£2999
300 F4 L IS USM box............... £699
Mint box.................................... £749
70 300 F4/5.6 APO DG............£99
TAM 150 600 F5/6.3 VC USD. £599
TOK 100 F2.8 ATX........................ £299
EOS 7D 50D body box.............................£299 EOS 500/500N/1000f b/o ea.£39 28 90 F4/5.6................................£99 400 F4 DO.................................£ASK 120 300 F2.8 DG OS sport £1999 Zeiss 50 F1.4 ZE box .................. £399
MKII 700D body ...................................£299 EOS 600/650/1000/10 b/o ea£49 50 F1.4 USM............................. £279 400 F2.8 IS USM L ................£4999 120 300 F2.8 EX DG .............. £699 Triplus ext tubes set......................£69
600D body ...................................£249 EOS 5000/300V body ..............£49 60 F2.8 IS USM EFS................ £279 500 F4 IS L USM....................£4499 150 F2.8 EX DG OS Mint box£599 CANON FLASH USED
body 400D body ......................................£99 PB E2 drive fits EOS1/3........ £149 65 F2.8 MP E............................ £799 1.4x extender MKIII................. £329 150 500 F5/6.3 DG OS.............. £449 430EX MKII....£169 550EX .. £129
80D body..................................... £ASK BP E1 .............................................£79 70 200 F2.8 IS USM LII .......£1499 1.4x extender MKII .................. £249 150 600 F5/6.3 DG OS Sport 580EX box ................................ £179
box BG E2.............£39 BG E2N..........£49 CANON AF LENSES USED 70 200 F2.8 IS USM L............ £999 2x extender MKIII..................... £339 + TC 1401 kit Mint box...........£1099 600EX RT box .......................... £349
£999 BG E7.................................................£79
BG E13 ...........................................£119
8 15 F4 L fisheye.................... £799
10 18 F4.5/5.6 IS STM........... £179
70 200 F2.8 USM L ................ £799
70 200 F4 L IS USM ............... £699
2x extender MKII box............. £239
25mm ext tube MKII .................£99
180 F2.8 EX DG OS ..................... £899
180 F3.5 EX DG HSM mac....... £399
MORE ON WEBSITE
WWW.MIFSUDS.COM

NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
NIKON DIGITAL AF USED MBD 14 grip ............................ £149 18 70 F3.5/4.5 AFS .....................£129 70 300 F4.5/5.6 AFS VR........ £369 24 70 F2.8 EX DG........................£299 70 300 F4/5.6...................................£79
Used Nikon D4s body box........................£3499 MBD 12 grip ............................ £229 18 105 F3.5/5.6 VR AFS............£179 70 300 F4.5/5.6 AFD............. £349 24 105 F4 DG OS HSM.............£499 150 600 F5/6.3 Di VC USD...... £599
D4s body D4 body box.............. £1999/2699 MBD 10 grip ........................ £49/99 18 135 F3.5/5.6 AFS DX...........£169 70 300 F4/5.6 G non VR..........£99 28 200 F3.5/5.6 early................... £69 OTHER NAF USED
D3X body box.......................£1299 MBD 80 grip ...............................£49 18 140 F3.5/5.6 AFS VR............£299 85 F1.4 AFS M box ............... £949 35 F1.4 DG Art ........................ £499 TOK 10 17 F3.5/4.5 ATX....... £249
box D3s body box........................£1299 MBD 200 grip.............................£49 18 200 F3.5/5.6 AFS VRI...........£299 85 F1.8 AFS .............................. £349 70 200 F2.8 EX DG OS TOK 11 16 F2.8 ATX Pro DXII £349
D3 body box................... £899/999 NIKON AF FILM BODIES USED 20 F1.8 AFS G................................£499 85 F2.8 DN PC E ..................... £999 Mint box.................................... £749 TOK 12 24 F4 ATX Pro .......... £329
£3499 D2Xs body................................ £399 F5 body ..................................... £399 20 F2.8 AFD...................................£349 105 F2.8 AFS VR...................... £499 70 300 F4/5.6 APO DG............£99 FLASH / ACCESSORIES USED
D810 body box.....................£1799 F90X body...................................£99 24 70 F2.8 AFS box....................£999 200 F2 AFS VRII.....................£3799 105 F2.8 EX DG............................. £199 SB 500............................................... £169
Used Nikon D810 body .............................£1399
D800E body box ....................£ASK
F801/F601/F70 body each ....£49
F55 body......................................£29
24 85 F3.5/4.5 AFS VR............... £399
24 120 F4 AFS VR........................ £699
200 400 F4 AFS VRII............£3499
300 F2.8 AFS VRII .................£3999
135 400 F4.5/5.6 DG.................. £299
150 F2.8 EX DG OS Mint box.. £599
SB 600............................................... £169
SB 700............................................... £199
300mm D800 body box......... £1199/1399 NIKON AF LENSES USED 24 120 F3.5/5.6 G VR................. £299 300 F2.8 AFS VRI serviced.£2999 150 F2.8 EX DG OS ..................... £549 SB 900 box..................................... £249
F2.8 D750 body box.....................£1199 10.5 F2.8 DX ..................................£399 24 120 F3.5/5.6 G........................ £199 300 F4 E AFS PF VR..............£1299 150 500 F5/6.3 DG OS.............. £499 SB 910 box..................................... £299
D700 body box....................... £599 10 24 F3.5/4.5 DX.......................£599 28 F1.8 AFS G................................ £399 300 F4 AFS box....................... £549 170 500 F5/6.3 D......................... £299 SB R1 Ringflash box.................. £349
AFS VRI D610 body ............................... £799 14 F2.8 AFD...................................£899 28 100 F3.5/5.6 AF G....................£69 300 F4 AFD (non AFS).......... £369 150 600 F5/6.3 DG OS Sport SU 800 commander.................. £249
£2999 D600 body ............................... £699 14 24 F2.8 AFS M box..........£1099 35 F1.8 DX....................................... £149 500 F4 AFS VR .......................£4999 + TC 1401 kit Mint box...........£1099 DR 5 angle finder........................ £149
D300s body ............................. £349 14 24 F2.8 AFS box....................£999 35 F2 AFD ....................................... £199 600 F4 AFS EDII ........ £3499/3999 150 600 F5/6.3 contemp......... £649 DW 21 fits F4........................... £119
Used Nikon D300 body box....................... £299
D200 body box....................... £149
16 F2.8 AFD Fisheye..................£499
16 35 F4 AFS VR ..........................£899
45 F2.8 PC E............................. £999
50 F1.4 AFS G .......................... £299
TC17EII....................................... £199
TC20EII....................................... £199
TAMRON NAF USED
10 24 F3.5/4.5 DiII....................... £239
MB 10 (fits F90)...............................£29
MB 23 (fits F4)..................................£49
D810 body D7100 body............................. £449 16 85 F3.5/5.6 AFS VR...............£379 50 F1.8 AFS .............................. £149 SIGMA NAF USED 11 18 F4.5/5.6............................... £219 MC 30 remote .................................£45
D7000 body............................. £399 17 35 F2.8 AFS box....................£899 55 200 F4/5.6 AFS VR ........... £169 18 200 F3.5/6.3 DC mac C...... £199 18 250 F3.5/6.3 ............................ £149
box
D80 body.................................. £169
D60 body.................................. £149
17 55 F2.8 AFS .............................£499
18 35 F3.5/4.5 AFD ....................£269
70 200 F2.8 VR II box..........£1299
70 200 F2.8 VR I box............. £999
24 F1.4 DG Art..............................£499
24 35 F2 DG Art box .................£599
19 35 F3.5/4.5..................................£99
28 75 F2.8 XR Di........................... £229
MORE ON WEBSITE
£1799 MBD 16 grip ............................ £199 18 55 F3.5/5.6 AFS VR................ £99 70 200 F4 AFS VR................... £899 24 70 F2.8 EX DG HSM.............£469 28 300 F3.5/6.3 XR Di................ £199 www.mifsuds.com
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED Sony HVL 43AM box .............. £179 35 80 f4/5.6.......................................£25 28 135 F3.8/5.6............................£79 E500 body ................................ £129 ECG grip .......................................£39
Used Fuji X Pro2 body box..................£1099
X Pro1 body box.................... £399
Sony HV56AM........................... £149
Sony HVK F42AM .......................£89
35 105 F3.5/4.5 ...............................£99
50 F2.8 macro............................... £179
28 300 F3.5/6.3 macro........... £149
50 150 F2.8 EX DC MKII......... £399
11 22 F2.8/3.5 ......................... £349
12 60 F2.8/4 ED...................... £399
HLD 8 grip...................................£99
HLD 7 grip box..........................£89
X-Pro2 X T1 body black...................... £499 SONY NEX USED 70 210 F4.5/5.6 ...............................£69 55 200 F4/5.6 DC OS.................£79 14 42 F3.5/5.6 ............................£49 HLD 6 grip...................................£79
body X T1 body black...................... £449 NEX 5 body .................................... £129 75 300 F4.5/5.6 ............................ £129 70 300 F4/5.6 DG OS............ £169 14 45 F3.5/5.6 ............................£99 PANASONIC DIGITAL USED
box X T10 body box ...................... £299 FE 16 35 F4 ZA OSS E................ £899 100 300 F4.5/5.6 APO............... £179 70 300 F4/5.6 APO DG............£99 14 54 F2.8/3.5 ......................... £199 GH2 body ................................. £299
X E1 body silver ..................... £199 FE 16 50 F3.5/5.6 EZ .................. £149 100 300 F4.5/5.6.......................... £149 150 500 F5/6.3 APO DG ...... £499 25 F2.8 ....................................... £179 G5 body .................................... £199
£999 14 F2.8 XF R box..................... £499 FE 70 200 F4 G OSS box.......... £899 500 F8 mirror................................. £349 1.4x EX conv ...............................£99 40 150 F3.5/4.5..........................£99 G3 body box............................ £199
18 F2 R XF................................. £349 FE 90 F2.8 macro......................... £699 VC700 grip.........................................£39 TAM 10 24 F3.5/4.5 DiII ....... £239 50 F2 macro............................. £299 GX7 body.................................. £349
Used Olympus 18 55 F2.8/4 XF ...................... £399
23 F1.4 R XF ............................. £699
Samyang 100 F2.8 macro....... £229
MINOLTA/SONY AF USED
RC1000S cord...................................£29
SONY LENSES USED
TAM 24 70 F3.5/5.6 ..................£49
TAM 90 F2.8 ............................. £249
50 200 F2.8/3.5 ED................ £399
25mm ext tube..........................£89
GF3 body black .........................£99
GF1 body .....................................£99
OM-D E-M1 27 F2.8 XF................................. £249 7xi body .......................................£99 16 80 F3.5/4.5 ZA DT................. £499 TAM 90 F2.8 ............................. £179 VA 1 angle finder......................£69 GF6 body box silver.............. £199
body M- 35 F1.4 R box........................... £399 Dynax 5 body.............................£69 18 55 F3.5/5.6 SAM.......................£59 TAM 200 500 F5/6.3.............. £399 OLYMPUS MICRO 4/3 USED 7 14 F4 G .................................. £499
50 230 F4.5/6.7 XRC ............. £249 5xi body .......................................£49 18 70 F3.5/5.6..................................£89 Teleplus 1.4x conv....................£69 OMD EM1 body M box ...... £599 14 42 F3.5/5.6 ......................... £199
box 90 F2 WR box .......................... £599 7000i or 500Si body each......£39 18 135 F3.5/5.6 DT SSM........... £329 Teleplus 2x conv .......................£79 OMD E M5 MKII body box.. £499 14 42 F3.5/5.6 ............................£79
£599 XT 2 VPD grip.......................... £229 300Si body ..................................£29 18 200 F3.5/6.3 DT ..................... £199 Kenko 1.4x Pro 300DG......... £149 OMD E M5 body box............ £249 14 45 F3.5/5.6 ......................... £149
EF 42 flash box ..........................£99 11 18 F4.5/5.6 AFD DT......... £259 55 200 F4/5.6 DT SSM .................£69 MINOLTA FLASH USED 9 18 F4/5.6 ...............................£ASK 14 140 F4/5.8 box ................. £399
EF 20 flash box ..........................£59 24 50 F4 .......................................£99 75 300 F4.5/5.6 ............................ £129 Minolta 5200i.............................£29 12 F2........................................... £479 20 F1.7.......£199 25 F1.4...... £379
Used Sony MINOLTA/SONY DIGITAL USED
Sony RX100 MKIII box............ £449
24 85 F3.5/4.5 ......................... £149
28 F2.8 ..........................................£99
SIGMA MIN/SONY AF USED
10 20 F3.5 EX............................. £269
Minolta 5400HS.........................£39
Minolta 5600HSD M ...............£79
12 40 F2.8................................. £599
14 42 F3.5/5.6 ......................... £169
35 100 F4/5.6 .......................... £169
45 150 F4.5/5.6....................... £149
RX10 MKII Sony RX10 MKII box ............... £699 28 75 F2.8 AFD ....................... £299 10 20 F4/5.6 EX DC ................. £249 OLYMPUS 4/3 USED 14 150 F4/5.6 .......................... £399 45 200 F4/4.5 box ................. £199
Sony A550 body....................... £199 28 80 F4/5.6................................£39 18 35 F1.8 Art............................ £549 E5 body ..................................... £599 17 F1.8 ....................................... £279 100 300 F4/5.6 MKII.............. £499
box Sony A350 body....................... £149 28 85 F3.5/4.5 ............................£99 18 50 F3.5/5.6 DC.......................£69 E3 body ..................................... £299 25 F1.8 ....................................... £269 100 300 F4/5.6........................ £349
Sony VG C70AM....................... £139 35 70 F4 .......................................£39 18 250 F3.5/6.3 DC mac HSM £199 E1 body ........................................£79 40 150 F4/5.6 .......................... £189 PENTAX DIGITAL USED
£699 Sony LA EA4 mount adap ... £189 35 70 F3.5/4.5..................................£25 28 105 F2.8/4 ...............................£69 E510 body ................................ £149 MC 14 converter.................... £249 K100d body ............................. £149

MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED For more used equipment listings please see website www.mifsuds.com
Used Fuji BRONICA ETRS 645 USED
ETRSi + 75 + WLF
Tripod adapter E .......................£39
Winder early ...............................£49
HASSELBLAD 6x6 USED
503CW Millennium
Vivitar 2x conv ...........................£49
Lens hoods various........... £20/50
65 F3.5 serviced...................... £149
250 f4.5...................................... £179
90 F3.5 W M box................... £299
180 F4.5 W................................ £199
G617 + 120 back................................ £399 Metz SCA 386.............................£49 + 80 F2.8 CFE + A12 ...........£2799 MAMIYA 645 MF USED Porrofinder..................................£59 PENTAX 645MF USED
including ETRS body ................................ £119 BRONICA SQ 6x6 USED 501C + 80 CB + A12............£1699 645 Pro TL + 80 + MAMIYA 6 & 7 RF 6x7 USED 645 body + insert .................. £199
105 F8 30 F3.5 PE ................................. £699 SQB + 80 + WLF + 120 back£399 500CM + 80 F2.8 C AE prism + back..................... £599 43 F4.5 L + VF box ...............£1199 200 F4 ........................................ £149
40 F4 E ....................................... £199 40 F4 S ....................................... £299 + A12 + WLF............................ £699 Plain prism (645 Super)..........£79 50 F4.5 L + VF box ................. £799 300 F4 ........................................ £249
£1299 50 F2.8 PE ................................. £349 50 F3.5 S.................................... £149 500CM body black ................ £299 645 Super WLF...........................£99 150 F4.5 M .............................. £399 1.4x converter......................... £199
75 F2.8 PE ................................. £149 150 F4 PS ......................... £149/199 500C chrome body ............... £249 Polariod Back HP401 ...............£29 MAMIYA RB 6x7 USED PENTAX 67 USED

Used Hasselblad 150 F3.5 E ....................................£99


150 F3.5 PE M Box................ £149
200 F4.5 PS M box ............... £199
2x PS converter M ................ £179
503CW winder........................ £179
45º prism late.......................... £299
Polaroid back .............................£29
120 Insert.....................................£20
Pro S body................................ £199
Plain prism early .................... £149
45 F4........................................... £399
135 F4 macro late .................. £249
503CW 200 F4.5 PE............................... £199 135N 35mm film back ......... £119 45º prism early ..........................£99 120 Back.......................................£79 WLF................................................£79 165 F2.8 latest M .................. £499
Millennium 2x extender.............................. £199 SQAi 120 RFH .............................£79 Sports viewfinder .....................£69 Winder..........................................£79 50 F4.5 ....................................... £299 200 F4 latest ............................ £169
E14 Ext tube ...............................£49 Plain Prism S Boxed .................£69 Chimney.......................................£99 45 F2.8 N................................... £199 127 F3.5 KL............................... £299 200 F4 early...................................£99
+ 80 F2.8 E42 Ext tube ...............................£49 AE Prism Early ............................£79 A12 chrome latest................. £349 150 F3.5 N ...................................£79 Pro SD ext tube 1 45mm............£99 300 F4 early scruffy................... £99
CFE + A12 120 RFH........................................£69 ME Prism Finder ........................£69 A12 late blk/chr...................... £199 150 F3.8 NL leaf...................... £299 Pro SD ext tube 2 82mm............£99 Pentax rear conv 1.4x........... £249
£2799 135W back ............................... £299 Metz SCA 386.............................£49 Polaroid back 100.....................£79 210 F4 N M ................................£79 MAMIYA RZ 6x7 USED 2x rear converter.................... £179
135N back ................................ £169 Pro shade S .................................£59 50 F4 CF FLE ............................ £849 Ext Tube 1....................................£29 RZ Pro body ............................. £149 Auto ext tubes ...........................£49
Used Rollei Polaroid Back .............................£49 Lens Hood 65 80.......................£20 50 F4 Black T*.......................... £399 Ext tube 2 ....................................£29 120 RFH Pro ................................£99 Wooden grip ........................... £169
3.5F 6x6 AEII prism ................................. £129 SQAi Motorwinder ................ £149 100 F3.5 Black T*.................... £399 Ext tube 3S..................................£29 Polaroid back .............................£79 ROLLEI 6x6 TLR USED
White Face Plain prism ..................................£59 SQAI winder............................. £149 150 F4 CF.................................. £499 Teleplus 2x converter..............£49 FE701 prism............................. £299 3.5F White Face serviced...£1699
Rotary prism...............................£99 Speed grip S ...............................£79 150 F4 Black T* ....................... £299 Vivitar 2x converter..................£49 WLF................................................£79
serviced Winder early ...............................£79 FUJI USED 150 F4 chrome serviced...... £199 MAMIYA TLR 6x6 USED Winder II.......................................£49
MORE ON WEBSITE
£1699 Speed Grip E...............................£59 G617 inc 105 F8 ...................£1299 250 F5.6 Black T*.................... £199www.mifsuds.com65 F3.5 box late ...................... £199 65 F4 box M ........................... £399

35MM & MISCELLANEOUS USED Please contact us to determine availability before making a lengthy journey
CANON FD USED 177A flash...£20 244T flash ..£20 70 210 F4 MD.............................£99 50 F1.2 AIS................................ £399 28 F2.8 ..........................................£79 18 55 F3.5/5.6 ............................£69
Used Nikon A1 body serviced................... £169
AE1 Program body...................£99
277T flash...£25 300TL flash.£49
Winder A.....£20 Winder B....£30
2x Converter...............................£79
Ext tube for 50 F3.5..................£29
50 F1.4 AI.................................. £199
50 F1.8 AI.................................. £149
35 F2.8 box .................................£99
35-70 F4 .......................................£99
28 80 F3.5/5.6 ............................£49
50-200 F4/5.6 DA......................£99
400mm F2.8 ED AIS 24 F2........................................... £299 Angle finder B............................£49 Ext tube set.................................£49 50 F1.8 E.......................................£59 35-105 F3.5/4.5 box.............. £149 55-300 F4/5.8 ED WR............ £229
24 F2.8 ....................................... £149 CANON BINOCULARS USED Auto bellows 1...........................£99 180 F2.8 AIS ED scruffy........ £179 35-105 F3.5/4.5..........................£79 55-300 F4/5.8 ED box........... £199
24 F2.8 breechlock................ £149 15 x 45 IS................................... £599 NIKON MF USED 400 F2.8 ED AIS serviced ..£1299 50 F1.8 ..........................................£69 77 F1.8 FA Limited edition . £699
28 F2.8 ..........................................£49 CONTAX 35mm RF USED FE2 body chrome .................. £349 500 F4 AIS...............................£1399 80 F4 mac................................. £199 100 F2.8..................................... £149
35-70 F4 .......................................£69 90 F2.8 G................................... £269 F2 Photomic body box........ £399 500 F8 mirror........................... £249 85 F2 box.................................. £249 SIGMA PKAF USED
35-105 F3.5 .............................. £149 LIGHTMETERS USED FM2n body chrome .............. £349 SC-17 TTL lead...........................£25 135 F2.8 box............................ £149 18-250 F3.5/6.3....................... £199
£1299 50 F1.2 L.................................... £699 Gossen Spot-Master ............. £299 FE body black.............................£99 DW-3 WLF find fit F3 ...............£99 135 F4.5 macro....................... £199 28-200 F3.5/5.6....................... £149
50 F1.8 ..........................................£49 Minolta Flashmeter IV.......... £199 8 F2.8 AIS................................£1499 PK-11a ext tube.........................£49 200 F4 ........................................ £149 PENTAX MF USED
50 F2..............................................£49 Sekonic L308S......................... £119 20 F3.5 AI.................................. £199 PK-12/PK-13 ext tube each ...£49 Vivitar 400 F5.6....................... £149 35 F2 PK box............................ £199
Used Nikon 50 F3.5 macro ............................£99 MINOLTA MD USED 24 F2 AI ..................................... £299 OLYMPUS OM USED 7, 14, 25 man ext tube ea......£20 50 F1.4 PK................................. £149
500mm F4 AIS 70-150 F4.5 .................................£29 XD7 body black/chrome..... £149 24 F2.8 AIS M- box ................ £249 OM-4T body ............................ £249 14 or 25 auto ext tube ea......£29 85 F2 PK .................................... £199
100 F2.8..................................... £149 X300 chrome body ..................£49 24 F2.8 AI.................................. £199 OM-2SP body.............................£99 60-116 auto ext tube set .... £199 120 F2.8 K................................. £199
100-300 F5.6...............................£79 X300s black body .....................£49 28 F2.8 E box..............................£69 OM40 body.................................£79 Tripod mount ring....................£59 135 F3.5 PK .................................£69
135 F3.5........................................£49 X700 black body .......................£99 28-85 F3.5/4.5 AIS.................. £199 OM-2n chr body box............ £249 PENTAX 35mm AF USED 150 F3.5 PK box...................... £149
135 F3.5 (Breechlock)..............£39 XGM chrome body...................£49 35 F2.8 PC................................. £349 OM-2n body chrome... £149/199 Z50P body...................................£49 50 F1.4 PK..£99 50 F2 .............£49
200 F4 macro .......................... £299 28 F3.5 MD. .................................£49 35-70 F3.3/4.5 AIS.................. £129 OM-1n body chrome............ £199 SFXN body ..................................£49 50 F4 macro PK..........................£99
25mm or 50mm Ext tube ea £29 50 F1.7 MD..................................£49 35-70 F3.5 AIS ............................£99 OM-1 body............................... £199 16-45 F4 .................................... £199 TAMRON ADII USED
£1399 2x Extender B.............................£49 50 F2 MD .....................................£49 35-105 F3.5/4.5 AIS..................£79 24 F2.8 ....................................... £199 17-70 F4 SDM M- box .......... £299 35-135 F3.5/4.2..........................£99

ITEM YOU REQUIRE NOT LISTED? PLEASE GIVE US DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL CONTACT YOU WHEN THAT ITEM BECOMES AVAILABLE.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
MARKET PLACE
ACCESSORIES HOLIDAYS AND COURSES
Don’t miss
Photographic Backgrounds WILDLIFE PHOTO HIDES the next
Hard wearing O low crease O Washable
WORKSHOPS AND HIRE issue
with Sussex Wildlife Trust on sale
Photographer 18th January
PLAIN 10 COLOURS INC
David Plummer
8’ x 8’ ..... £15 plus P&P BLACK, WHITE
8’ x 12’ ... £24 plus P&P & CHROMA To advertise
8’ x 16’ ... £29 plus P&P COLOURS
call
Annie
Mulcrone
CLOUDED
8’ x 8’ ...... £27 plus P&P
20 COLOURS
on
8’ x 12’ .... £44 plus P&P 01733
SPECIAL OFFER: 8 x 12 CLOUDEDS 366374
2 FOR £80 OR 3 FOR £115
or e-mail

To advertise call Annie Mulcrone on 01733 366374 or e-mail annie.mulcrone@bauermedia.co.uk


01457 764140 9[[]kk lg caf_Úk`]j$ god$ jYhlgj$ ogg\dYf\ Zaj\$
\]]j `a\]k
annie.mulcrone
for a FREE colour brochure or visit... @bauermedia.
www.colourscape.co.uk www.davidplummerimages.co.uk co.uk
HOLIDAYS AND COURSES TUITION
STU DENT SHOWCA SE

A grand
adventure
Proving age is just a
number, Josiah Launstein
has created a beautifully
crafted wildlife portfolio.
O WHILE I MAY ONLY BE 12 YEARS OLD, I’VE BEEN
photographing local wildlife for a little over five years
now. My dad is a full-time wildlife photographer, and we
own and operate a gallery in a tourist area in the Canadian
Rockies. My older sister, Jenaya, became really passionate
about photography when she was 13, so I was always
going out on trips into the wilderness with my father. By
the time I was seven, I started asking my dad if I could
use one of his extra cameras. Once I started shooting, it
didn’t take long for me to completely fall in love with it.
From the beginning, my dad always encouraged me to
choose the kit, composition and settings that I wanted for
myself. He helped me to understand the basics of exposure
and composition, and we’d always go through my images
after every day out in the field. We all love shooting together,
and there’s always a lot of fun competition between the
three of us to see who can get the best photo of the shoot.
I’ve purchased my own equipment now and I go out with
it almost every day. We live on an acreage below the
mountains, so we have animals such as mule deer,
foxes, owls and partridges in our own back garden.
Last August I flew to Thailand for a Nikon Asia production
on my work. When I wasn’t busy on set, I loved
photographing the different caterpillars they had there.
One of the images I took was subsequently recognised in
the 2017 Wildlife Photographer of the Year competition.
When asked if I have any advice for other photographers,
I always think of something my dad told me when I was
first getting into photography – you should always work
with a subject that you love. On a more practical level, it’s
really important to shoot as often as possible. If I’m not out
in the field regularly then I can feel a little rusty once the
action starts. I’ve also noticed that I start thinking of more
creative ways to photograph my subjects when I’m out with
them more often. I’m excited to have started my career in
wildlife photography, and this year I’m concentrating on
making every photo tell the story of the animal pictured.

Josiah Launstein won the Young Outdoor Photographer


of the Year competition in 2014. Other young
photographers can enter at opoty.co.uk View more of
Josiah’s work at launsteinimagery.com/josiah

162 PRACTICAL PHOTOGRAPHY


Welcome
to the family
Profoto A1
The A1 is every inch a Profoto light – just smaller. Its round head
delivers light that’s both natural and beautiful. And it’s incredibly
easy and to use, with superfast recycling and a long-lasting
battery, so you’ll never miss a shot. On the move, shooting
on-camera or off, this is light shaping excellence everywhere.

Discover more at profoto.com