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CLTUTDPS AND
LXPLPL THL PTLNTlALl
'WLLCML11HLNovenber 20I3issueof D|g|ta| S|P
Pnotograpny. Withautunnjust aroundthecorner, now's thetine
tonakethenost of theoutdoors beforetheweather takes aturn
for thewet. At this tineof year, every day canbetotally diherent,
withgoldensunshineoneday givingway tobroody stornclouds
thenext. nthis nonth's /utunnCens (page/6), weprovideyouwithideas and
inspirationonhowtonakethenost of thegoldenseason. As you'll discover inour
|xpert Cu|detoPortra|ts (page92), headingtorural areas ohers excellent potential to
capturegreat inages. Contributors Bjorn1honassenandPaul Wardprovidea
professional insight intowhy they loveheadingout of towntocapturestunninglocation
portraits. We'velots noretechniqueandskills for youtotry out, fronlongexposures to
shootingreworks. We'vealsosoneexcitingkit ontest, withCanon's sensational LS
/0Dprovingtobeastar, alongwithtelezoons rangingfronabudget nodel tosoneof
thebest onthenarket. Wehopeyouwill enjoy our latest issue. All thebestl
Edior'selcome
Ross is an award-winning
nature photographer
and author of nunerous
photo books.
www.rossnodd|nott.co.u|
NA1URL oLANDSCAPLS
RossHoddino
A pro for two decades,
Lee's one of the U's
nost popular outdoor
photographers.
www.|eefrost.co.u|
LANDSCAPLS o1RAvLL
LeeFros
A pro photographer,
Paul is a creative genius
and expert on lighting.
www.pau|ward
pnotograpny.con
PR1RA1S oASHN
PalWard
A leading portrait and
fashion photographer,
Bjorn runs workshops fron
his base in Cornwall.
www.oornohnsp|re.con
PR1RA1S
BjornThomassen
CRLA1vL oPR1RA1S
DaniI Lano, Eitor,
DigitaI Lhotography
THIMNTH'
EXETTEM
Cat is a leading creative
pro Getty and Corbis
photographer based in
Dublin, reland. www.
catner|nenacor|de.con
CaherineMacBride

DGETPHOTO: TMPONTELEZOOM
EXPEPTDVIE: GETTHEPITUPE
PETIVEEYE: FLOWEP5
EXPEPTGUIDE: PUPLPOPTPIT5
TE5TED: NONEO570D
3 Editor'spage
Welconetoour Novenber issue.
6 Exposure
f it'shot andhappeningandrelatedto
photography, you'll ndit right herel
28 5howcase
1hebrilliant inagesthat havebeen
lightingour rethisnonth
37 Picturesubmissions
Sendusyour best shotsl
58 ExpertCritique
nproveyour photographywithadvice
frontheD|g|ta| S|PPnotograpnyexperts
87 BudgetPhoto
1hinkyoucan't get atelezoonona
budget1hinkagain. We'vefoundonel
1 CuttingEdge
Lookingfor anexcusetoget your canera
out1hestunningportfoliosof Brooke
ShadenandDavidLloydareall the
inspirationyou'll need.
113 Nextissue
Alittlepeekat what'sinstorefor the
forthconingDecenber issue.
162 Monthlycompetition
Wina1okinalensandLoweprocasel
116 CanonEO57D
Canon'snewenthusiast-level canerais
put tothetest anddoesn't disappoint
119 Digital 5LRlistings
ull DSLRspecicationsandpricesfor all
of thelatest caneras
121 7-2mmf/2.8zoomlenses
our of thehottest telezoonsget the
D|g|ta| S|PPnotograpnytest treatnent
42 Long-exposureseascapes
ill thefranewithnoodanddranawitha
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46 Halloweenportraits
t'safantastictineof year totakequirky,
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5 5hootingreworks
uickandeasytipstohelpyoushoot
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62 UnderstandingImageOuality
Asphotographers, we'realwaysstrivingfor
perfectioninour inages-weshowyou
howtonaxiniseinagequality
67 CreativeEye
1akingoriginal shotsof fowersiswhat
threeof theD|g|ta| S|PPnotograpny
expertsarechallengedwiththisnonth
76 Autumngems
Withtheweather ontheturn, get set with
your DSLRtotakeincredibleshotsof the
newseason'sbeautiful colours
92 ExpertGuidetoPortraits
1hesixthpart of our expert guidetakesyou
onajourneythroughrural locations
Get D|g|ta| S|P
Pnotograpny
direct toyour door
or nobiledevice
everynonthby
subscribingto
either our print or
digital editions.
or great ohers,
seepage11
NvLMBLR20I3 i DIGITAL 5LR PHOTOGRAPHY

Noenber 21S/ lssue84
Contents

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1UMN1NG1HRLL-SNGvN1URSPR1S1HL1S,
1H1HRvN1HWNRGH1RZY. 1HRULLLLUM
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OMPETITIONRE5ULT5
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SL1ARYSNWBARDLR
descends ajaggednountaininto
darkness, asurfer dives beneath
therollingbarrel of aferocious
wavewhileaclihdiver plunnets
hundreds of feet just netres fronasheer rock
face-it all sounds likeheart-racingstuh, but
evenif adventuresport isn't your cupof tea,
youcan't fail toappreciatethebreathtaking
results of the20I3RedBull llunenageuest.
Nowinits thirdincarnation, thenageuest
takes placeevery threeyears, andthis year's
conpetitionsawover 6,400adrenaline-junkie
photographers fronI24diherent countries
aroundtheworldsubnit inages, all vyingfor
thecovetedtopspot. Apanel of experienced
judges fronspecialist adventuresports
publications aroundtheglobenarrowedthe
selectiondownfronastaggering28,000initial
entries toatop250inJuneearlier this year.
ronthere, venalists werechosenfron
eachof thetencategories. CloseUp, Lnergy,
Lxperinental, llunination, LifestyleBy Leica,
NewCreativity, Playground, Sequence, Spirit
andWings. 1hesetop-50inages werethen
displayedinilluninatedlightboxes at thelavish
RedBull lluneWinner AwardCerenony in
Hongongbeforethejudges unveiledthe
respectivecategory andoverall winners.
1heoverall winner was nanedas
Lorenz Holder fronGernany for his inage
of snowboarder Xaver Hohnanridinga
giant satellitedish. 1hewinninginagealso
baggedLorenz thetopspot inthe
Playgroundcategory andanother of his
inages wontheLxperinental categoryl
Lorenz takes honea Leica S nediun-
fornat canera as part of a prizebundle
worthover C30,000l '1hequality of the
inages inthetop50was anazing, sofor ne
it is a great honour tobevotednunber one.
t's sounreal. t will takea fewdays for the
news tosink in, connentedLorenz.
1heother winners includedScott Serfas
(llunination), Daniel vojtech(New
Creativity), RoninaAnato(Lnergy), Chris
Burkard(Spirit), MorganMaassen(Lifestyleby
Leica), JeroenNieuwhuis (CloseUp), Zakary
Noyle(Sequence) andSanovidic(Wings).
1heAthletes' Choiceawardwent toMorgan
Maassenfor his underwater inageof a
surfer's social gathering, andwas votedfor
byRedBull athletes. All of therespective
categorywinners alsotookhoneaLeicaX2
andassortedother prizes fronsponsors
Broncolor andSun-Sniper.
1heilluninatedexhibitionof thetop50
RedBull lluneinages will nowtravel tothe
USAbeforegoingona two-year tour of the
world's capital cities andcultural hubs.
1oseenore, visit. www.redbu/////ume.com
cott erfaslIIIuminationCategor&Winner
cott erfaslequenceCategor&inaIist
tuart GibsonlCIoseUpCategor&inaIist
JeroenNieu%huislCIoseUpCategor&Winner
ominamatolnerg&Categor&Winner
DimitriosKonti'aslWingsCategor&inaIist
&anTa&Ior lIIIuminationCategor&inaIist

NRLSUL1S
NvLMBLR20I3 i DIGITL 5LR PHOTOGRPHY
orenzHoIder lPIaygroundCategoryandOveraII PeduII IIIumeWinner


NvLMBLR20I3 i IGITL 5LR PHOTOGRPHY
PRDUC1 NLWS
NNS Nstranger to
underwater photography. Sone
of younay recall thepopular
NNS rangeof consuner-
level 35nnunderwater ln
caneras pioneeredby Nikonin
theI960s andnorerecently the
digital Coolpix AWI00andAWII0
conpact nodels. Nikonis dipping
its toes inonceagainandhas
announcedthenewNikonI AWI -the
world's rst shockproof andwaterproof
nirrorless conpact systencanera.
eaturinga I4.2-negapixel CX-fornat
CMS sensor, theAWI boasts Supto
6400, hybridautofocus systenandan
inpressive60fps burst node. 1heAWI's
nainsellingpoints, however, arefocused
onits ruggedouter casinganddurability
-waterproof uptoI5n, shockproof fron
heights of uptotwonetres, freezeproof
downto-I0Canddustproof -theAWI
is set totakeonanythingyouthrowat it.
Ainedat thosewhotakepart inadventure
pursuits, theAWI alsofeatures
aninnovativeActionControl
feature-sinply holddownthe
ActionControl buttonandtilt the
canera left or right tochangesettings or
reviewinages -ideal if you'reunderwater
or wearinggloves.
AlongsidetheAWI Nikonhas also
announcedtwonewwaterproof and
shockproof NikonI lenses. 1heI NR
AWII-2/.5nnfi3.5-5.6is aversatile2.5x
zoonlens (30-/4nnequivalent), which
features awidezoonring, nakingzooning
inandout easy nonatter what situation
you'reshootingin.
ntheother hand,
theI NRAW
I0nnfi2.8ohers afast
naxinunapertureandwide
angle-of-view(2/nnequivalent), naking
it perfect for takinginlargescenes and
shootinginlowlight underwater.
1heNikonI AWI is onsalefron
I0ctober pricedat /50withII-2/.5nn
fi3.5-5.6lens or 950withbothII-2/.5nn
fi3.5-5.6andI0nnfi2.8lenses. 1heI0nn
fi2.8lens is availableseparately for 300.
.nkon.co.k
NIKONAW
ANNOUNCED
NLWWA1LRPR MRRRLLSS CAMLRA
ANDLLNSLS MALASPLASH
wmedium?
Runours havebeenrife
for nonths onthe
possibility of Canon
developinga
nediun-fornat systen
totakeonthelikes of
HasselbladandPhase
ne. Wordhas it that Canon
is workingona conpletesysten
of caneras andlenses, althoughit's
a longway ohcurrently -runours
arethat thePhotokina 20I4show
couldheraldtheannouncenent.
nrelatednews, Nikonhas recently
leda patent for a I0nnfi2.5
nediun-fornat lens. 1his doesn't
neanthat productionis onthe
horizon, but couldbeanindicator of
thefuturel
Dust-buster
ollowingthereported
dust-specproblens
that plaguedtheNikon
D600, whispers onthe
grapevinetalk of a new
D6I0that is ontheway to
renedy theproblen. What
ehect this will haveonD600
resalevalues renains tobeseenl
Wordonthestreet
Fuji adds toX-series range
ujilnhas extendedits X-series rangeof nirrorless Conpact SystenCaneras
tofour withtheadditionof thenewentry-level X-AI. heringa I6-negapixel
(nonX-1rans) APS-CCMS sensor, 3intilting920,000-dot LCDscreenas well as
wireless inagetransfer andlight sensitivity uptoS25,600, theX-AI is availablein
threecolours -black, blueandred. 1here's alsotheusual in-canera lters as well as
ull HDvideorecordingandconpatibility withtheexistingX-nount lenses, including
thenewly announcedujinonXC50-230nnfi4.5-6./ S andujinonX23nn
fiI.4R. 1heX-AI is availablefronctober, pricedat 530includingI6-50nnkit lens.
1henew50-230nnlens will beavailablefronNovenber priced430andthenew
23nnfiI.4is availablenowpriced850.
.fjh/m.e

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R20I3 i 5LR PHOTOGRPHY
PRU1 NWS
PhotoshopCCOher
f you'rethinkingof taking
theplungeand
subscribingtodobe
Photoshopthis will
bewelconenews
-dobehas released
details of thePhotoshop
Photography Progran.
xistingusers of Photoshop
S3andabovecanupgradeto
PhotoshopandLightroon5for a
bargainous 8./8per nonthwhen
youtakeout anannual subscription.
equick though-theoher only runs
until 3I ecenberl
adobe.com/uk/
EIements 12nnounced
dobehas announcedthe
latest versionof its
popular consuner-level
photoeditingsoftware,
Photoshoplenents
I2. Newfeatures inthe
latest versioninclude
ontent-wareMove,
Pet yeorrectionand
increasedsupport for nobiledevices,
allowingyoutoedit andshareyour
inages onthenove. lsonewis uto
Snart 1one, whichlearns your editing
preferences over tineandallows you
toapply thenina one-click action.
lenents I2is availablenowfor /8,
or as a 64upgradefor existingusers.
.adobe.com/uk/
5oftwarenews
HEFUTURE
OFMO8ILE
PHOTOGRAPHY?
Withthebooninsnartphonephotography,
Sony has decidedthat it wants a bigger sliceof the
narket andannounceda revolutionary, if a little
strange, newlens canera, designedtowork in
conjunctionwithyour ndroidor iS snartphone.
1henewXI00andXI0lens caneras look
likeattachablelenses, but featurea built-inxnor
RMSsensor (I8.2-negapixels
ontheXI0and20.2-negapixels
ontheXI00). 1hecaneras
attachtotheback of your
snartphoneandconnect via Wii,
allowingyoutoadjust settings
andrecordinages usingthe
snartphone's touchscreenvia
Sony's PlayMenories app.
1henewlens caneras
areavailablenowpricedat
I80for theXI0and
300for theXI00.
.on.co.uk
NewflagshipOM-Dlaunched
lynpus has launchedits newfagshipnirrorless nodel -thestylishM--MI.
1heMicroour 1hirds-fornat onpact Systenanera features a newLiveMS
sensor that lynpus clains ohers inagequality torival that oheredby SLRs. new
1ruePicv inageprocessor takes careof business whilst the-MI boasts UL S1
, clainedtobeoneof theworld's fastest autofocus systens. uilt inve-axis inage
stabilisationfeatures, as seenonthe-M5, as well as a bright electronicviewnder.
1he-MI is dustproof, splashproof andfreezeproof downto-I0l lsoannounced
is thelynpus M.Zuikoigital I2-40nnfi2.8PRlens, therst inlynpus's new
rangeof top-endlenses. vailabletopreorder now, the-MI goes onsaleinstores
fronnid-ctober, pricedat I,300body-only, I,500withI2-50nnfi3.5-6.3lens
or I,950withI2-40nnfi2.8lens. 1heI2-40nnlens is availablefor 900.
.o/mpu.co.uk

CMPL11NRLSUL1S
T 5R POTORPY i NvLMBLR=0I3
ANGH1UNDLRthestars provedincredibly
worthwhileor Aussiephotographer
Mark Gee, ater hewonI,500or aninage
capturedat CapePalliser ontheNorthsland
o NewZealand. Mark inpressedthe
Astronony Photographer o theYear judges
withthedepthandclarity o his winning
shot, depictinga star-riddledMilky Way
alongsidethebeanrona lighthouse
shiningout towards thesea, stars andthe
unknown(seeinage, botton). t was taken
ater Mark took a ewhours' sleep, andwoke
toacea challenge. Hesays. ' wokeat 5an
toseetheMilky Way lowinthesky abovethe
Cape. 1heonly problenwas that ny
canera gear was at thetopo thelighthouse
totheright o theinage, so hadtoclinb
the=50-plus steps toretrieveit beore
couldtakethis photo.By thetine got
back, thesky was beginningtoget lighter
withsunriseonly twohours away. t looked
surreal but anazingas thetwilight startedto
1heAstronony Photographer o theYear conpetitionhas announced
the=0I3winners, withAustralianphotographer Mark Geebaggingthe
covetedtopprizeor his incredibleMilky Way inage.
creepintothenight sky. took a wide
panorana nadeupo =0individual inages
toget this shot. Stitchingtheinages
together was a challenge, but worthit
ther winners includedredrik Brons
o Norway or his strikingvisiono a green
Aurora Borealis anda breathtakingviewo a
total eclipseo thesunby Man-1oHui o
China. Avisceral depictiono the=0I=
1ransit o venus was snappedby Brit San
Cornwell, earninghintheSir Patrick Moore
Prizeor Best Newconer.
Areeexhibitiono thewinners, runners-
upandhighlyconnendedronthe
conpetitioncanbeviewedat theRoyal
bservatory's AstrononyCentrewhichis
openuntil =3ebruary=0I4. Winners and
shortlistedentries havealsobeenpublished
intheconpetition's ohcial book, availableat
bookstores andonlinepricedat =5.
For more/nforma/on, //.
.rmg.co.karopnoo
Tketotheskies
MarkGeelEarthpacelOveraII %inner
amorn%eII lest Ne%comer linner MarkGeelPeopIepacelinner
Man-ToHui lOur oIar &stemlinner
damIocklDeeppacelinner

edrikromslEarth5pacelPunner-up
LszIFrancsicslPobotic5copelWinner


1 DIGITL 5LR PHOTOGRPHY ; ?F.>
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LoWH1photographyis atineless
nediunand, of course, anecessityinthe
days beforecolour -it was all wehadl ut it's
easytoforget whenperusingoldblacko
whitephotographs that thescenes we're
lookingat wereactuallylledwithahuge
varietyof colours invaryinghues and
saturations, just liketheworldweknowtoday.
Now, thanks toa29,000-strongonlinegroup
of anateur historians andPhotoshopgurus,
weareabletoglinpseintothepast andsee
historical scenes incolour, as previous
generations night havedone.
1heolorizeHistory group, a sub-section
of popular social-basednews and
entertainnent websiteReddit (www.reddit.
con) plays host toa select nunber of
colourisationexperts andanever-growing
nunber of followers, connenters and
history fans. rtists suchas Sanna ullaway
select historical black owhiteinages fron
publicdonainresources, suchas theLibrary
of ongress, beforespendinghours onend
painstakingly addingcolour tothen. 1he
artist at handnot only requires thetechnical
ability todelicately reintroducecolour into
theinage, but theprocess has tobedone
whilerenainingas synpatheticandtrueto
history as possible. 'f youcanget close
enoughtotheoriginal colours for theresults
tolook authentic, that is thegoal of
colourising. Natural objects suchas trees,
sky andskinlook thesanetoday as they did
back thensoit is only a natter of perceiving
theatnosphereandlightinginthe
nonochronephotoandtryingtodepict it
as best can. or nan-nadeobjects suchas
clothes, cars andbuildings, researchas to
what colour they night havebeenduring
that era. f course, sonetines the
infornationis dihcult toconeby and have
toresort toartisticfreedonandseewhat
looks thenost realistic, Sannaexplainedto
D|g|ta| S|PPnotograpny.
1heresults nakeit easier for theviewer to
drawparallels betweentheworldwelivein
today andthepast. f you'veever triedyour
handat this techniqueyourself (seeD|g|ta|
S|PPnotograpny issue6/ tondout how),
thenyou'll knowthere's far noretoit than
sinply paintingthesky blueandthegrass
green, andsoneof theresults onshoware
sinply astoundingl
.reddi.comrColoriedHior
.paincolor.comfor Sanna'ork
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CS 1HL 1H
Price: reei Platform: iSi Windows i
www.photosynth.net
Whilenobilephotographyis great for capturingsnaps whenyoudon't have
your caneratohand, it's not without its linitations, oneof whichis your
angle-of-view. Sonetines youjust want totakeinawider viewof theworld
-this is wherehotosynthcones in. Createdbyicrosoft, hotosynth
allows youtocreate360 panoranicinages sinplybysweepingyour phone
across thesceneinfront of you. Appleusers night thinkthat this is afutile
reconnendationas iSalreadycones withabuilt-inpanoranicfeature, but
thekeydiherencehereis that hotosynthisn't just linitedtohorizontal
panoranics. Youcansweepupanddownas well andleft andright -youcan
evensweep360 horizontallyandverticallyinthesanestitchl 1heappthen
takes careof therest andallows youtoviewa360 scene, sharetheresults
withtheusual social networks, or saveit for editinginother applications.
erdict: Asolidandconprehensivetitle, backed
upby Sandy's expertiseandplenty of inages to
inspireyou.
erdict: f youwant tolearnthebasics of digital
photography without investingtoonuchtine
or attentionintoit, this titleserves well.
erdict: Brilliant inages andrecollections within,
althoughdenitely not for thoseof asensitiveor
uneasy dispositionl
elliesbies
23.99i Sandy uc' i Wiley
SB9/8-III840/509
Bunps andbabies is bigbusiness in
photography. What parent-to-bewouldwant
anythingless thanthebest whenit cones to
capturingcherishednenories of their
ohspring 1hey say youshouldnever work with
aninals or children, sotheguidanceoheredby
Sandy uc' is nodoubt welconedby anyone
lookingtoventureintothebusiness. 1his title
covers technique, kit, deneanour, pricingand
general business advice, as well as useful
inspirationandset andlightingsetupexanples.
Idiot'sGuides: Digitl
Photogrphy
11.99i Shawnrederick i Alpha
SB9/8-I6I5644I3I
Shawnrederick's credentials as anauthor and
prophotographer areinpressiveenough, and
this titlecontains sonegoodadvicefor thoseat
thebeginner toenthusiast levels, if alittlevague
inplaces. 1hetopics coveredwithinareeasy to
digest -however, sonenay ndthelayout of
thetitlechoppy andunorthodox. rederick's
inages illustratetheadvicewell enoughthough.
1his isn't ado-it-all guidetophotography, but
noreacollectionof bite-sizedchunks.
Photojournlistsonr
43i ichael anber i Universityof 1exas ress
SB9/8-0292/44080
Revealingtheconfict inraqfrontheviewpoint
of thephotojournalists coveringthewar,
ichael anber's titleis hunblingandchilling.
1his book isn't for thefaint-hearted, thestories
withinpull nopunches whenit cones to
docunentingtheatrocities of war andnany of
theinages youseeherewouldnever gracea
newspaper duetotheir graphicandupsetting
nature. or that, anber has tobeconnended
-thetitlehighlights what photojournalists have
togothroughas part of reportingonconficts.
OERLLRTING OERLLRTING OERLLRTING
ookshelf
H1BSWL'vLBLL
RLADG1HS1H...
ppof themonth
19 vLBLR20I3 i DIGITL 5LR PHOTOGRPHY
Photosynth

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HICHCOVERWON
THEREADERS' VOTE?
URPH1GRPHRS P1UR
stunninginages ona anonS /00for
our Septenber 20I3issueandreaders were
giventhechancetowina anonS /00
outt worth650by votingfor their favourite
cover inage. 1heresult was thebiggest
responseinthenagazine's history, with
over 2,000entries via our acebook poll.
1helucky winner drawnat randonwas
SarahLenon, fronLonguckby in
Northanptonshire, whowill soonget the
chancetotry out anon's I8-negapixel
narvel for herself. f you'dliketoknownore
about theanonS /00, visit.
www.canon.co.ukiyournextstep
Sarahvotedfor Leerost's nonochrone
nasterpieceof unstanburghastlein
Northunberland, but whichcover inage
provedthenost popular withour readers
s theresults reveal, our twolandscapes
doninatedthevoting, withLeeandHelen
ixon's inages sharingover 68of the
overall votes. ongratulations toHelen
ixononbeingvotedthereaders' favouritel

1st #&"'#'* byHelenixon 3/

2nd,"'*",&'*!byLeerost 3I
3rd&!*byaniel Lezano I/
4thJaninebyrett Harkness I5
31X
LEE
FPO5T
17X
DNIEL
LEZNO
15X
PETT
HPKNE55
37X
HELEN
DIXON
PS 1H MN1H
ast your nindback a fewyears tothereleaseof therst
Matr|x novie-thenind-bendingfuturisticblockbuster
rst introducedus totheconcept of bullet-tine, anarray
of caneras capturinga nonent intinefronnultiple
angles. 1his allowedtheproducers tofreezea frane,
spinthecanera I80 or 360 aroundthesubject and
resuneplayback frona diherent angle. anadian-based
photographer ricParehas takenthis concept onestep
further, by conbiningbullet-tinewithlight paintingto
createthis fantasticshort ln. achfraneis light-painted
by hand, requiringhis subject tostandperfectly still during
theexposure. 1heresults arenesnerising-as still inages
they standupfor thenselves but whenput together ina
notionlntheehect really cones tolife. What's nore,
ricprovides instructions onhowtobuildsoneof the
light-paintingtools onhis websiteat www.ericpare.con.
Tov/ewnev/deo, neado. np.b/./y!fcaUKK
Videoof themonth
Lightspin
YRPRL


NvLMBLR2043 B DGL LR PHOOGRPH
PNN

LP1RAPCNDUS1RY
is sodrastically diherent today
thanit was tenyears agothat if
you'regoingtosurvive, youhave
tobedynanicandready to
adapt quickly. Youhavetondyour niche
andgofor it full-onor risk failure. Hasselblad
is doingthis withits forn-over-function
Lunar andStellar nirrorless andconpact
caneras, respectively. Yet 'nleft thinking.
'Hasselblad, 'nnot certainyouthought this
set of noves through. 'nnot certainyou
knowwhat's happeningtoyour brand. 'n
not certainthis is whereyouneedtobe.'
think canput nyself inHasselblad's
shoes. Basedontherecent noves it has
nade, feel like haveaholdonwhat got us
tothis point. Hereis ny take.
irstly, duetotheecononicdownturn,
consuners startedspendingless noney,
especially onhigh-priced'luxury' itens -
Hasselbladthensawadecreaseinsales.
Decreaseenough, andfor longenough,
that it got worried. t reorganisedits US
distributionandpartneredwithBroncolor to
try tostenthetide. nowingthis won't be
enough, Hasselbladdecidedtoexpandits
narket. But theonly waytogowas tonarket
sonethingfar cheaper. Wantingtoprotect
its 'highquality' brandstatus, it neededto
keepprices higher, but not out of reach.
1his ledtoits partnershipwithSony tosave
noney onresearchinganddevelopingits
owncaneras fronscratch. 1osaveeven
norenoney, thepartnershiponly allowed
Hasselbladaccess tocaneras that hadbeen
onthenarket for acertainanount of tine.
Soherewestandnow, withHasselblad's
access toolder, but still pretty good, Sony
caneras. Put a littlelipstick onthen, and
voila -a cheaper, snaller Hasselbladl
Sinple, ehectiveandguaranteedtoearnit
lots of noney. Lxcept 'nnot convinced
that any of that is true.
f Hasselbladhadslightly noreforesight,
investedinits ownRoDearly onand
producedI00Hasselbladoriginal
conpact caneras, 'npretty surewewould
besinginga diherent tunetoday. But it
didn't. nfact, it's painfully obvious how
unoriginal its 'new' caneras are. 1heinage
quality producedby a HasselbladStellar is
absolutely nodiherent thantheoriginal
Sony RXI00. By thetinetheLunar hit the
narket, Sony already hadanNLX-/
successor available. Not only areyoupaying
nore, but you'repayingnorefor outdated
technology. You'repayingfor brand
recognitionina narket wherespecs and
perfornancearekings.
Let neconparethedecisiontoa
diherent industry. What if wetook a cheap
but well-perforningcar.Say, a 1oyota
Corolla. Let's say this car retails for I5,000
or so, whichis pretty lowthesedays. t's a
necar, has its particular audienceand
perforns just ne. Now, let's say
Lanborghini partneredwith1oyota inan
attenpt tobroadenLanborghini's audience
andsell tonorefolks. t took a Corolla
design, but jazzedit upa bit. Addedsone
woodaccents, andtossedtheLanborghini
logoonit. 1heendresult is theLanborolla,
a clever nix of high-sellingandluxury, all for
thelow-lowpriceof 50,000. Lxcept it's not
clever. t's stupid, it's ugly andit causes
irreparabledanagetotheLanborghini
brand. What is thediherencebetweenthis
farceandtheHasselbladLunar andStellar
1hereis none(except Lanborghini is too
snart tonakesucha terribledecision).
1hewayHasselbladis talkingabout its new
caneras scares ne. t is daringtotell nethat
theStellar is 'unlikeanycaneraonthe
narket' whenit is quiteobviouslynot. t isn't
eventryingtohidethefact that theStellar is
just are-skinnedcanera, but sinultaneously
tryingtoconvincenethat it's special and
trulyoriginal. And don't actuallythinkthat
thereis asinglesoul out thereinthenarket
that is buyingit -bothliterallyand
gurativelyspeakingl
'nconcernedfor Hasselblad's future. ts
current strategy is highly indicativeof abold
novetoprevent its owncollapse, yet the
pathit has takenis danagingtheonething
Hasselbladrelies on. its reputation. Lven
thoughthesecaneras havenodirect link to
aHasselbladH5D, thefeelingof discontent
withthecheaper caneras will spreadtothe
overall feel of thebrand, eventually
cheapeningarguably thebest nediun-
fornat caneraonthenarket. 1hat's aside
ehect Hasselbladcannot ahordtolet
happen, andyet it createdtheenvironnent
wherethis snowballingsituationcannot be
avoided.Unless it rights its ship, andsoon.
Hasselblad, really likethat you'retryingto
widenyour audience. However, theway you
havedecidedtogoabout gainingnore
custoners will not only fail, but will drag
downthebrand's value. Youneedtostop
your present course, reassess what
Hasselbladstands for, andbringus nore
ahordablecaneras that natchthat. Right
now, your brandis confictedandconfusing
toconsuners. 1his is theworst placefor any
brandtobe, andyouneedtoaddress the
situationinnediately if youplantosurvive.
fstoers.com/ jaronschne/der.com
Tw/tter. jaronschne/der
`
I don't actuallthinkthat thereisasingle
soul out thereinthemarket that isbuingit -
bothliterallandfigurativelseaking!
a
JARNSCHNLDLRSA
SANRANCSC-BASLD
CMMLRCALANDPR1RA1
PH1GRAPHLRAND
LA1URLSLD1RR
PH1GRAPHYWLBS1L
S1PPLRS.CM
Jhi
AnoenlettertoHasselblad

4 Y ; NvMR?02>
URPH1MN1H
Photoevents tolookout for...
5nowdoniaWalkingFestival
L(min donaion! 8es--oed, Wales
1'S/1w1/*N=*1/- P7, 1"78 81.1f
thenost beautiful vistas andscenery inthe
Unitedingdon. What better way toexplore
theareathanunder theguidanceof local
walkers 1herearefour walks tochoose
fronandall four shouldoher thechancefor
sonegreat landscapephotographyl
/aa/k/ngfst/va/.o.uk
Halloween
ll Hallows' veisn't just funfor kids -it also
ohers photoopportunities galore. Headout
andcreatespooky environnental portraits
of thoseincostune, set upascary glowing
punpkinstill-life, or try your handat nultiple
exposures for ghost-likeinages.
lternatively, turntopage46for sonegreat
ideas for frighteningly goodHalloween
portraits usingfacepaints.
Regent 5treet Motor 5how
Fee! Regen See, London
free-to-viewnotor showheldononeof
thecapital's nost iconicstreets. 1heRegent
Street Motor Showshowcases over 300ne
andgleaningautonobiles spanningI25
years of notoring. 1akeawide-anglelens to
capturethenagnicent netal against
Regent Street's classicbuildings.
.rgntstrtmotorsno.om
GuyFawkesNight
or onenight ayear thenight sky cones alive
withcolour andlightl Withnoendof rework
shows upanddownthecountry, you'resure
not tobefar frontheopportunity tocapture
sonefantasticlight displays. Wrapupwarn
andpack asturdy tripodandarenoteas long
exposures areanust. 1urntopage50for our
adviceonhowbest toendupwithstunning
inages fronbonrenightl
LordMayor's5how
Fee(geneal, L5(gandsand ! London
oastinga/98-year history, theLordMayor's
Showis oneof theoldest civicprocessions in
theworld. 1heparadewinds its way past
soneof London's nost iconiclandnarks,
allowingfor fantasticwide-angledshots of
thenarchingpageant, UnionJacks waving
andall -howvery ritishl
./ormayorssno.org
26-2/1R
3I 1R
2NvMR 5NvMR 9NvMR
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E2!!,!&%* C&$(,!,!&%*
WalesRallyGB
2&5(i#di7id6! -3ge) 244(d9'--) 0
V,i%6-!%3i%#-,%6#dW!e-
Huge-horsepower rally cars traversethe
tricky Welshcountryside, allowingfor sone
great actionshotsl Useatelezooninthe
rangeof /0-200nnandt inaUvor PL
lter for protection-if aloosestoneis
propelledtowards your lens, alter is cheaper
toreplacel esra//gb.com
I4-I/NvMR

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ReferenceWorks
U#3i! 5$ee"e, 0 F,eee#3,90 i,,9
% 8i,"i#gh"G!!e,9 8i,"i#gh"
elebratingtheopeningof thestunning
newLibrary of irninghan,
photographers Michael ollins, rian
Grihn, ndrewLaconandStuart Whipps
display works respondingtoboththeold
andnewlibrary buildings.
.reference-orks.com
HomeTruths: Photography,
MotherhoodandIdentity
&&O3%e,-5J#6,9 5:&0 F,eee#3,90
ThePh%3%g,'he,-+ G!!e,9 %#d%#
1hedocunentary works of eight
contenporary artists exploretraditional
representations of notherhoodand
identity insociety at this exhibitionat
1hePhotographers' Gallery.
.nepnoograpnersga//er.org.k
MiyakoIshiuchi
U#3i! 4&O3%e, 0 F,eee#3,90 Mihe!
H%''e#G!!e,9 %#d%#
isplayingacollectionof works fron
highly esteenedJapanesephotographer
Miyakoshiuchi. 1heexhibitionincludes
photographs fronvarious collections of
shiuchi's work, includingworks fronher
nost recent collection, S|||enDreans.
.m/cnae/noppenga//er.com
5teveMcCurryUntold
&.O3%e, 0 2&:-2&5('!6- 2&*.5%%ki#g
ee) 0 S%63h#ke#3,e %#d%#
JoinSteveMcurry at theSouthbank
entreas hetalks about andelaborates
onsoneof thenost iconicinages of his
career incelebrationof his newbook,
Unto|d. rarechancetohear oneof
photography's greats discuss his inages.
.sonbankcenre.co.k

S
1

P
H

Philip-LorcadiCorcia:
East of Eden
U#3i! &/%7e"e, 0 F,eee#3,90
7idZ8i,#e, %#d%#
iorcia's |ast of |denproject uses vast,
enpty scenes toexpress anenotional
enptiness infuencedby theecononic
clinateintheUnitedStates at theendof
Georgeush's presidency.
.da/d/rner.com
Call for entries
OceanArt PhotoCompetition
Winasliceof aUSS/5,000prizefundby
conpetinginthis openthene-the
inages just havetohavebeentaken
underwaterl 1herearethreecategories
for conpact caneras, too, soanyonecan
haveagoat winningl losingdate.
I0Novenber. ntry. USSI0per inage.
.pnoograpng/de.com
R5PB5cotland
PhotographyCompetition
eenonScottishnatureandwildlife 1his
conpetitionis split intofour categories,
withthewinninginagenettingthe
photographer a'noney can't buy RSP
experience' as well as aday withwildlife
photographer eanricknell. losing
date. 3I ecenber. ntry. 5donation
per threeinages. np.b/./!7OEf
The5pirit of 5peysideWhisky
Festival PhotographicCompetition
Withfour categories tochoosefron,
judges arelookingfor inages that refect
Speysideandthesurroundinglandscape.
losingdate. 30Novenber. ntry. free.
.sp/r/ofspes/de.com
NorthEastWildlifePhotography
Competition214
Seekingthebest wildlifeinages takenin
theNorthast, this conpetitionohers
250cashfor thewinner anongst other
great prizes. losingdate. 5May 20I4.
ntry. free. .ne//d//fepnoo.co.k
Last chancetoenter
International Garden
Photographer of theYear 213
1here's a5,000grandprizeupfor grabs
as well as thetitleof nternational Garden
Photographer of theYear. venif you
don't win, all entrants canrequest
individual feedback fronthejudges -
expert adviceis always welconel losing
date. 3I ctober. ntry. I0per category.
./gpo.com
Wild5omerset
PhotographicAwards
oyouhaveagreat inageof Sonerset
wildlifeor aSonerset landscapetoshare
nter this conpetitionandyoucouldbag
yourself aanonSII00anongst
other great prizesl losingdate.
3I ctober. ntry. free. .s-pa.com
WHAT
TO5HOOT
After dark
Just becausethesunhas gonedown
doesn't neanthat thephotography
has tostop. 1hereareendless photo
opportunities tobehadafter dark, and
not just onGuy awkes Night -head
out onaclear night tocapturestar
trails, usefashgels toaddcolour
toasceneor try out aspot
of light painting.

SHRNGYURS MGS
k
G1NN11H1H||1|S|PPHO1OPPHMMUN1Y
19G1LSLRPH19MRNYURSLN1RS
WTEP?
<1a%Der a canera for taking
photos while snorkelling -it needs tobe
waterproof toI0nwith a good fash.
Many tough conpacts have tiddly
fashes which wouldn't reach far under
water. 1hey seentobe designed for wet
sports, rather than photographing sh.
'nunwilling toput ny digital SLRinto
a waterproof housing, for fear of it
leaking, and housings plus fash are
expensive. s there a waterproof canera
that isn't huge but has a good fash My
budget is I,000.
ngus Watson
E.0 /epI: Nikon's newWI nirrorless
(see page II) could be the answer. We
alsopredict that before long we'll see a
subnersible external fashtoacconpany
the WI, which would be an ideal set-up.
5OOUEPY
n Septenber issue's Snwcase,
Nicu Hoandra uses S50-howdo
get this on ny anon S /
Phil oster
Ed.0 /epI:: You can't. Nicu's infostated
S50but X shows it's SI00. Sorryl
TOUH!
Nice one for the great coneback
you gave John Shields in last |eedoac|.
nyone whoshoots aninals with a rife
rather than a canera gets absolutely no
support in ny book. Well done .)
1an'Malley
IT5NDPIEE5
often hear about I6-bit and 8-bit
editing. s it as big a deal as people clain
'd love lenents togoI6-bit but until
then howusable is it for serious editing
Phill arratt
Ed.0 /epI:: I6-bit inages contain nore
tonal detail than 8-bit, and stand up
better toadjustnents. 1his has tobe
weighed up against the cost for lenents
conpared with Photoshop. or nost,
lenents contains the tools they need.
5HOULDI GO.5HOPPING?
anstarting shooting portraits and
wondering howtoachieve a professional
look through Photoshop actions. re they
worth the investnent re they easy to
duplicate if you nake thenon your own
Lucia Rezna
Ed.0 /epI:: ctions can be conpared
tocooking recipes -for sone they taste
great straight away but for nost they are a
good base toinprove upon tocreate
sonething toyour own tastesl
5HOULDI GO.5HOPPING?
an starting shooting portraits and
IT5NDPIEE5
often hear about I6-bit and 8-bit
I5OOUEPY
n Septenber issue's Snwcase,
TOUH!
Nice one for the great coneback
26 DIGITL 5LR PHOTOGRPHY i NvMR20I3
WTEPY? you gave John Shields in last |eedoac|.
Mikei0hopheckingthe'ape'-rture..
DanieI Le;anoRoss Hoddinott
reviews his latest shoot for |g|a| S|P
Pngrany...
P/a0hani Me08ani f onlythis was a
anonit wouldbeanazing.
Da7eW/aggPaypeanuts, get
nonkeys.
Da//:I Ha//i0onHunans nakethis
lookdihcult.
HannahFa/2hing1hesephotos look
ape-solutelywonderfull
IanHa/Iandndtheyclainedintheir
adthat anonkeycouldnavigatethough
this nenu...
Picha/ddam0Photographers will
donanydisguisetoget that ' ultraclose'
shot of naturel
ni2aPobe/20Giveanynonkeya
caneraandhethinks he's avidaileyl
PTIONONTE5T PTIONONTE5T
FCE8OOK
facebook.com!digitalslrphoto
FICKR
www.ickr.com!groups!digitalslrphoto
EI
dslrfeedbackQdennis.co.uk
TWITTER
Qdigitalslrphoto
The0emi02:hiII08e/ebea52if5II:cap25/edb:o5/ FIick/ membe/ ob5maII
Ga/:gbc143
QDigitalSRPhoto'vegot three
nagazines still intheir wrapper
because readevery detail carefullyl
Ha:denM5/2aghPho2oHMPho2o5k
(jasninestar gr8procrastinationarticle
inQDigitalSRPhoto
Ja0pe/ 5caII:8agFo95caII:8agFo9
(jasninestar QDigitalSRPhoto
'ntakingtineonny I5ninbreak to
say thanks for thetips.
Ma/2ina;Ie:PimIe:6Pho2o
Great articleby (jordanbutters in
QDigitalSRPhototheinageof
(ohcialanny1by (PaulShoots is
anazingl =toonanynanes
Hannah5mi2hH5Pho2og/aph:94
lovegettingQDigitalSRPhotol can't
wait totry out thetechniques odothe
reativeyehallengel =goodread
Pe2e/ Go/donMig/aine9:ea/0
(brettharkness nicework inoct issueof
QDigitalSRPhoto. Gorgeous redheadl
F/ank5heIIe:f/ankie0heIIe:
QDigitalSRPhotowhy areyour
conpetitions onacebook lets have
thenon1witter

LBL20I3 i
ridet Pets, Issue83 FiIipGrebowski, 5hadows, Issue83
Nikki Hudson, ubbIepIanets, Issue83
Padekajenski, Urbanportraits, Issue83

HLRL'S ASLLLC1N
1HS MN1H'S BLS1RLADLR
A11LMP1S URLXPLR1
1LCHNULS RM
PRLvUS SSULS. SLND
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ANDYUMGH1JUS1
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Andyerry, 5portsaction, Issue82

HBMAMANHLPHAPH

rd5nyder
A: 4I i Occupation: Landscape photographer
PurpleHaze: '1oreachthis spot at RialtoBeach, inthe
lynpic National Park, Washington, youhavetohikeabout
I.5niles frontheparkinglot. 1heprevious night couldn't
reachthis particular placebecausethetidewas sohigh.
ortunately, thefollowingday was lucky enoughtobeable
tohikeinandout safely. ana sucker for backlit subjects,
particularly at sunset, becausehavingthesunnear the
horizonbrings a lot of dynanisntothesceneandrequires a
spot-onin-canera technique. t alsoohers a lot of creative
opportunities duringpost-processing- usedLuninosity
Masks andother advancedselectiontechniques tonaintain
goodluninosity values throughout.
CanonEO55DMkII withCanonEF17-40mmfl4LIens.
Exposure: 1l25secat fl22(I5O160).
oward-snyder.com

vLMLR20I3 i L 5LR HTGRHY

KerryHendry
4I i 8)5!'& PR ophotographer
Windswept '1he celandic horses are a unique breed-nagnicent
kindandinquisitive. Nervous at rst curiosity got the better of this
beautiful nare whocane tosay hellowhile her conpanions grazed.
Her nane is windswept by the infanous biting celandic breezel
!#'&2>>:!5P-51>-2>>mmfl2.8GDVPIen0.
xpo0u/e: 1l8>>0ecat fl2.8(I5O16>).
5ea Horses '1he anargue regionof rance is fanous for its white
horses whichlive inthe salt narshes onthis coast. na storny day
a herdrunning throughthe sea renindedne of the 'white horses' we
oftensee inthe waves. 1he noise of thundering hooves was anazing.
NikonD6>>withNIKKOP-51>-2>>mmfl2.8GDVPIen0.
xpo0u/e: 1l1>>>0ecat fl3.2(I5O4>>).
5tallions of the Camargue '1he stallions of the anargue are najestic.
1hese twostallions -one nature one young -were sparring tosettle
who's boss withinthe herd. Lightning reactions were essential for this
shot anda knowledge of horse behaviour helpedcapture the nonent.
NikonD6>>withNIKKOP-51>-2>>mmfl2.8GDVPIen0.
xpo0u/e: 1l1>>>0ecat fl3.2(I5O4>>).
vt. .otna.co.uk
Howard5nyder (cont|nued
WithinReach 'Lvery year theSkagit valley inWashingtonStateohers a
nagnicent display of dahodils andtulips. Most of thetineit's a
nightnaregoingtothesefarns duetolargecrowds. ut goingona
weekday very early inthenorningtoshoot at sunriseohers theperfect
opportunity tocatchgreat light andavoidtourists. didn't havenuch
tinetowork inthis farn. 1heworkers wereniceenoughtolet neinto
theelds as longas was inandout quickly. redtulipwithina bedof
yellowones caught ny eyeas soonas sawit and knew hadthe
potential tonakea goodshot.
CanonO55DMkII withCanon11-4>mmfl4LU5MIen0.
xpo0u/e: Two0econd0at fl22(I5O32>).
CMMET
Ke//<'0 image0 b/iIIiantI<
captu/ethemaje0t<, 0t/ength
andg/aceof the0eama=ing
animaI0. He/ techniquei0
0pot-onandtheconve/0ion
tomonoadd0 wonde/fuII<
tothemood.



5HOWCA5E
DaveBrightwell
: 6 ccupation: hop oor 44i48n8
5eaweedand5unshine: 0hi4 w4 8kendown8 Chenicl Bechin
ehn, Co;n8y D;rhn. 8ook 8hi4 4ho8 j;48 f8er 8he4;nhdri4ennd
w4 c48in!be;8if;l wrnli!h8 on8hebech. liked8hebri!h8 !reen
4eweedon8herock4 con8r48in!wi8h8heredof 8heclih4. ;4edB/
I.8NDlter toextendtheexposuretinetoreally snooththesea, anda
Hitech0.9NDgradtohelpbalancetheshot. Processingwas donein
Photoshop, usedaLuninosity Mask andusedaCurves layer toadjust
thecontrast. thenusedtheDodge1ool tobrightensoneof therocks.
Canon55DMk withCanon17-40mmfl4LU5MIens.
xposure: 100secondsat fl16(5100).
CrackedCauseway: '1his is ashot of St Mary's slandat Whitley Bay inthe
north-east of Lngland. 1hesunwas settingontheleft andthrowingsone
beautiful light andcolour onthelighthouseandcauseway. 1hereare
thousands of photos takenhere, so lookedfor sonethingalittle
diherent, spottedthecracks inthecauseway anddecidedtousethenas
alead-in. usedaB+WI.8NDtoextendny exposuretinetosnooththe
sea, givinganorecalnandsurreal look totheshot. Processingwas done
withPhotoshopusingCurves tonakecontrast adjustnents.
Canon55DMk withCanon17-40mmfl4LU5MIens.
xposure: 70secondsat fl16(5100).
Early Eveningat Grasmere: '1his is LakeGrasnereintheLakeDistrict.
noticedtheearly eveninglight lightingupthetrees andgrass, luckily the
lakewas pretty calnso nanagedtocapturesonenicerefections, too.
usedapolariser toreducetheglarefronthesunontheforeground
water sothat couldseethroughthewater, nakingthenost of thenice
texturefrontherocks andpebbles beneath. alsousedaHitech0.9ND
gradat anangleacross thebrightest part of thesky tohelpbalancethe
exposure. Processingwas donewithPhotoshop- overexposedtheshot
by twostops andaddedaGaussianBlur, thencopiedthis inageand
pastedit over ny original. blendedthetwolayers together usingthe
Multiply blendnodeandreducedtheopacity. inally, addedaLevels
layer andadjustedthenidtones. 1his gives youakindof rtonehect.
Canon55DMk withCanon17-40mmfl4LU5MIens.
xposure: 0.6secat fl16(5100).

COMMENT
Dave's images were
submittedviaour Iickr group
andinstantIycaught our eye-
hecIearIyhas ahighIeveI of
technicaI abiIityas weII as an
eyefor compositionand
ndingamazingIight!
Jordanutters
NvLMBLR20I3 i DIGITAL 5LR PHOTOGRAPHY


/0 9hohaveinages publishedinSowcasereceivea set of
fantastic Magooks, publishedby theD||ta| S|PPotorapy tean. 1his
nonth's selectionof Magooks covers a wide range of photographic
interests. 1e|ssent|a| Cu|de1odvancedPotorapy is our latest
Magook andohers expert advice ona range of subjects, including
portraits, infrared, landscapes andboudoir. 1e |ssent|a| Cu|de to
C|ose-UpPotorapy provides everythingyouneedtohelpyou
capturestunningnacroinages. 1he ftheditionof 1e Potorapers
Cu|de toPotosopis packedwithideas tohelpyouedit andenhance
your photos. For furter deta//s, v/s/t. www.magbooks.com
5#%
5HA5
T
&%, %)%)&
-),% ))))
-# $& ,)0&
0)&) &,)
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22 i Occupation: Student
! 5!$ ' was thinkingof doingaseries of shots about talianstyle
andluxury. What want thepicturetotell is asenseof eleganceand
perfection. 'vetrieddoingthis by givingtheinagedetails andacontrasted
oWcorrection. fter workingout thecorrect exposure went downa
stoptogiveanoredranaticehect, whilenaintainingdetails of thedark
bluejacket. took theshot andthendecidedit neededanother elenent to
inprovetheconposition, soaddedtheglasses. ntheend croppedthe
inageintoasquarefornat, think it's best for this kindof picture.
CanonO55DMk withCanon24-105mmIens.
xposure: 1l125secat fl8(5O100).
v/s/t. www.car/omarc/s/o./t
"$#
ge: I9 i Occupation: Photographeristudent
G #! "H! ' took this photoaroundearly norning.
1he sunwas pretty highup. 1he only way couldprevent the weird
shadows that were falling onny subject's face was getting her towear
this big nushroon-style hat. love close-upportraiture - feel like head
shots of soneone really bring out the person's personality and
enotions. really like this shot because it's very natural. 1his shot was
relatively straightforwardtocapture, but eventhoughit looks sinple and
easy, feel like capturedthe 'nonent'.
CanonPebeI t2i withCanon85mmfl1.8Iens.
xposure: 1l200secat fl2.8(5O100).
T Flower Keeper: 'gain, this photowas takenearly norning. 1he sun
was high, but it was a little bit behindthe girl soher face doesn't have any
shadows or highlights fronthe sun. always bring props along toa
shoot, like a hat, lantern, a headpiece or sonething that the subject can
hold. Here it was a bunchof fowers. Props are very inportant for telling
a story. ndit nakes the audience think. Why is she holding that What is
the story behindit like the audience tocreate their ownstory.
CanonPebeI t2i withCanon85mmfl1.8Iens.
xposure: 1l320secat fl2.8(5O100).
v/s/t. www.pau/ypo/w/ses.com
NvLMLR20I3 i DIGITAL 5LR PHOTOGRAPHY


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Goout andtakeyour
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GEHEPICE
CLAL DLA ADLXL LCULS
POPTPIT5p46 5HOOTIPWOPK5p50 5PPKLPUNp53 MKKLIDO5COPp56
NvLMBLR20I3 i DIGIAL L PHOOGAPH

A
K
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B
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P
I
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LONGEPOE
EACAPEp42
INIDE
GRABYUR1LN-S1PL1LR
ANDHLAD11HLBLACH

Long-exposre
seascapes
here'snobetter placetoget thenost fronyour ten-stopNDlter thanthecoast
-withtheseainconstant notion, you'vetheperfect ingredientsfor artisticinages
GETTHEPICTURE

i vLBLR20I3
eeFrost
Camera: CanonLS/00D
Lens: CanonLI/-40nnfi4US
FiIters: eeBigStopper and0.6Dgrad
vL1HLSLA. liveby it, enjoy
thesight, soundandsnell of it,
andphotographit norethanany
other subject. neof ny
favouritetechniques inrecent
years has beentousea ten-stopDlter
liketheBigStopper froneeilters toshoot
long-exposureseascapes andcapturethe
strongcontrast betweenstaticandnoving
elenents -novingelenents beingthesea
andsky, andstaticones beinganythingfron
rocks andgroynes onthebeach, topiers,
jetties andlighthouses.
1heseshots showSt ary's ighthouse,
a popular spot onthenorth-east coast
at Whitley Bay. 1heislandonwhichthe
lighthousestands canbeaccessedat low
tidevia a stonecauseway, but as thetide
rolls in, thecauseway is swanpedandthe
islandnaroonedintheorthSea -the
perfect tinetoshoot it.
Planningis thekey witha shot likethis.
Youneedtoknowwhenhighandlowtide
tines areandplanyour visit accordingly -
this locationworks best aroundhightide,
but sonearebetter at lowor nid-tide,
dependingontheelenents youwishto
includeintheforeground. Usewebsites like
www.bbc.co.ukiweathericoastandseai
tidetables. Youalsoneedtheright kindof
weather for long-exposurecoastal shots.
Cloudy days witha stihbreezeareideal as
you'll recordnovenent inthesky as well
as thesea. vercast days canalsowork, but
for nininalist inages wherethesea andsky
recordas very light tones. Sunny, blue-sky
days aretheworst as thelight is harshand
light levels arehighsoexposuretines are
reducedevenwitha ten-stopDlter.
1hesky is alsotooblandinsunny weather.
f light levels aretoohigh, as is oftenthe
caseduringtheniddleof theday, youcan
always adda secondeutral Density lter,
suchas a 0.6or 0.9(twoor threestopD).
f theexposurewas I5seconds at fiII with
a ten-stopD, for exanple, if youadded
a 0.9Das well it wouldincreasetotwo
ninutes, whichis nuchnoreehective.
You'll alsoneedanDgradnoreoften
thannot, totonedownthesky andrecord
detail init that youcanwork onlater.
ong-exposureshots takenonovercast
days aren't sograd-dependent as youwant
a palesky, but wherethere's clouddetail
youshouldgradit downwitha 0.6or 0.9D
grad, especially if youwant tocreatea
dranaticblack owhiteinageas did.
Conditions weren't brilliant when
theseinages weretaken- wouldhave
preferrednorecloudandnorewind-but
convertingtoblack owhitegives youlots of
artisticlicencetoplay with, sothat's exactly
what did. Conditions alsoinprovedas the
day progressed, soit provedtobea fruitful
excursionafter all.

Takeatest shot Having calculatedthe

exposure, take your rst shot andsee howit
looks. Younay ndthat the exposure isn't long
enough-this is a connonnistake nade with
ten-stopDlters. However, youcansoon
rectify that by opening the shutter againfor
longer. f the rst shot looks good, gowiththat.

5et upyour gear You'll needa sturdy tripod

tokeepyour canera steady during the long
exposure, a wide-angle zoon, your ten-stop
Dlter andanDgradtotone downthe sky.
Don't forget a spirit level tonake sure the
canera's not ona slant anda renote release to
tripthe shutter thenholdthe shutter open.

naIyseyour shot Here's the rst attenpt

straight out of the canera. t's , but not
anazingl 1he blue colour cast is connonwith
a ee Big Stopper but as the nal inage will be in
bowit doesn't natter. 1he slightly subnerged
walkway doesn't work toowell as foregroundso
it's tine tocheck out a diherent viewpoint.

Determinecorrect exposure1ake a neter

reading without the ten-stopDinplace
thenxI000. IiI5sec=60seconds, Ii8sec=I20
seconds, andsoon. Set the canera toBulb(B)
soyoucanholdthe shutter openfor as long as
youlike, keepthe Slowandset the lens toa
snallishaperture -fiII is a goodstarting point.

Changeviewpoint oving roundfronthe

tidal walkways gives a clearer viewover
openwater andnore of aninpressionthat the
lighthouse really is onanislandwhenthe tide
cones in. Here the shot is spoiledby people
walking tothe edge of the walkway during
exposure andleaving distracting ghostly shapes.

5;(4 1 DIGITL 5LR PHOTOGRPH
!
Final image
#ctedanddarkenedto
heightenthedrama, andtheoveraII
contrast of thesceneincreased, the
imageis compIete-quiteadiherence
totheoriginaI, don't youthink?
Exposure: 40conds at fi22(SI00)
6
Takeanother shot 1hirdtine lucky. High
tide conpletely cuts ohthe islandsoit's
surroundedby sea andsky. 1he inage still looks
a little feeble, but there's detail inthe sky that can
be pulledout andthe sea is nice andsnooth-
all the ingredients for a strong black owhite
seascape. 1he exposure is 38seconds at fi22.
7
Convert tomono1he inage needs tobe
convertedtoblack owhite. 1he way
favouredby nany photographers these days is
touse Nik Software Silver Lfex Proas it's quick,
easy andehective. Withthe basic conversion
andthe Highontrast Harshpreset chosen,
the inage is starting tolook good.
8
Post-processing1he sea lookedtoodark so
it's selectedusing the Polygonal Lasso1ool
andlightenedusing Levels andthe rightness
slider inPhotoshop(lmage>Adjsmens>
Lee/s). s there was little novenent init we
alsodecide toaddsone Motionlur
(F//ers>8/r>Mo/on8/r). lnost there.

GETTHEPICTURE

Halloween
portraits
WithHalloweenjust aroundthecorner, why
not consider creatingyour ownscaryportraits
thisyearll you'll needisyour canerakit,
afewsinplesuppliesandsonewillingvictins.
HLLWLLNPR1R1S

GETTHEPICTURE
AWLLR1RA1S
DIGITL 5LR PHOTOGRPHY 8 vLBLR20.3
ineMacride
amera: C,-,LS6D
Lens: C,-,L.6&#0++8#
5oftware: %-t-4%-/CC
2vealways hada soft spot for
Halloween. As a kid lovedthe
sweets, thesilly ganes, thescary
stories that kept neawakewell
after ny bedtine, but nost of all
lovedthedressingup.
As a photographer loveHalloween,
too-it's theonetineof year wheneventhe
nost canera-shy let youtaketheir photo.
ncethey havetheir costuneonthat is.
nthelast fewyears 'vefoundthat trying
ny handat a littlesinplefacepainting
allowednetheopportunity totakeeven
noreHalloweenportraits, sinply withan
oher todotheir nake-upif they let netake
their photo. My favouriteHalloweennake-
upstyleis Day of theDead-styleskulls and
skeletons, andthat's what 'vegonefor here.
Water-basedfacepaints areeasy tond,
cheapandsinpletouse. usedjust three
colours intheseportraits -a black, white
andpurplefor aroundtheeye-witha
coupleof nake-upsponges anda fewsoft
brushes toapply thenake-upanda black
powder eyeshadowfor shading.
wouldreconnendyouhavea
practicerunwiththepaints beforedoing
it onsoneoneelse, though-try it out on
yourself rst toget a feel for thepaint and
whenyouareabout tostart nakesure
youhaveeverythingyouneedtogether
inonespot. f youarepaintingkids' faces,
renenber you'll havelinitedtinebefore
they get boredof sittingstill, givethena
nirror sothey canseewhat's happening,
whichwill keepthenhappier for longer.
Luckily for ne, hadtwoof thenost
fantasticnodels youcouldask forl
As for what gear you'll need, you'll just
needa standardzoononyour canera and
a fashwithdihuser. 1hefashis usednore
tocreateshadowandcontrast ontheface
thananythingelse. usedny reliablekit
consistingof a I/-40nnlens onanAPS-C
body, withny fashredthrougha white
unbrella dihuser.

Gather your materiaIs Lay out all your face

paint, brushes, sponges, powder for shading
andcleanwater all inone spot withineasy
reach. Have a freshapplicator andcleanbrushes
for eachpersonyouare going towork on. You'll
needtochange the water after eachdiherent
colour tokeepyour colours crisp.

FinishtheIookwithaccessories Addsone
nal fourishes toyour nodel inthe fornof
fabric fowers available for next tonothing in
nost local accessory shops - chose roses.
Nowis the tine tocalndownany stray hairs as
it's easier todothis inreal life rather thanlater on
during post-processing.
2
5tart appIyingmake-upUsing a danp
nake-upsponge, apply a conplete coat of
white paint tothe face andneck. Be quick and
conplete inone goif possible, going over the
sane areas againcanleave streaks andstart to
renove the nake-upyou've just applied. Allow
it todry conpletely before going any further.

5et upyour cameraSet your canera tofiI6

toget a goodall-roundfocus. Set your S
toI00withfashonnediuntohightokeep
everything sharp. Place your fashstandtoone
side togive shadowanddepthtothe nodel's
features, keeping your shutter speedfast
enoughnot tocause any exposure blow-outs.
3
dddetaiI Paintingthe eye nake-upis a little
trickier, youhave tobe very careful not to
get any paint inthe eye souse the thinpoint of
the nake-upsponges toget close tobut not
intothe eyel Use the snall brushtopaint inthe
snaller petal detail andlines for nouth. Add
shading onthe neck andinhollows of cheeks.
6
Post-processingpenyour inage in
Photoshop. Using the Healing Brushand
Clone 1ool, tidy upany nistakes inthe nake-up.
1ogive the inage anold-fashionedfeel, adda
vignette anda couple of dark textures, appliedas
soft light layers. Use a Layer Mask torenove
texture fronthe areas of skin.
Cr
Choosinganappropriatebackgroundis
inportant, natural instinct istogofor a
darkor blackbackgroundfor a
Halloweenshoot, but veryoftenthe
usuallydarkHalloweencostunescanbe
lost against it. Gofor alighter background
whichcanbegivendepthanddetail with
theuseof lightingandtextures.


his timeof year is theperfect
excusetotrysomewackyportraits
-soget your make-upout today!
Exposure: Ii250secat fiI4(SI00)

GETTHEPICTURE
FIREWORK
DISPLAYS
$( $##, achyear theskiesabovethe
Uareilluninatedinapyrotechnicdisplayof
colour andlight. 1inGartsideexplainshowto
nakethenost of GuyawkesNight.
andaperture
norder tonaintaina
noise-freeinage, stick toa
lowS-I00or 200.
Lxperinent withapertures to
nda goodexposure-
betweenfi8andfiI3usually
works well as reworks are
surprisingly brightl
Reflections
Look for nearby bodies of
water, suchas lakes, rivers or
wet beaches. Positionyourself
withthewater betweenyou
andthedisplay -thereworks
refectedinthesurfacewill
addinterest andperspective
toyour inages.
5hutter speed
Settingyour canera toBulb
nodeallows precisecontrol
over theexposurelength.
1rigger theshutter whenyou
seea rework takeohand
keepit openuntil thenain
explosionhas happened.

ltipleexposures
biningnultilebursts
inost-rocessingis a great
way toll thefranewith
aarently sinultaneous
exlosionsl Sinly select and
astenultilebursts onto
your inageandset their
lendModetoLighten.
Useatripod
triodandrenoterelease
areessential whenshooting
reworks. You'll beusinglong
exosuretines tocaturethe
novenent inthereworks -
canera novenent
will detract fronthe
nal ehect.

%HVW 3KRWR /DE :RUOGZLGH
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28 LLADlNG PRO1OGkAPR MAGAZlNLS
1IPA AWAkD 20!3
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3HUIHFWLRQ LQ
%ODFN DQG :KLWH
Upload a fle,
order original Baryta
prints online
CaIIerIes ano museums Iove Baryta. Your waIIs wIII too1
!cw at WIitcWall. orucr rints on Baryta Ioto acr onlinc! Fcr!cction in muscum quality
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trom

Sarkle8shine!
Makesurethat theifthof Novenber isn't all about spectacular
reworkdisplaysbypickingupsonepacketsof sparklersandshooting
soneinterestingandeye-catchinglong-exposureportraits
GETTHEPICTURE
PH1UNW1HSPRLLRS

PWPAL
9 vLBL=00<
nieI Lezano
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iII takeyouseveraI attempts but
eventuaIIyyou'II captureaneye-catching
imagewithperfect traiIs of Iight!
Exposure: 5seconds at fiI6(S400)

vL-MNU1L PH1SHP
i NvLMBLR20I3

AdobePhotoshopCS5
CAS1YURMNDback to
childhood, longbeforeganes
consoles andthelatest
electronicgadgets, andtry
torecollect thewonder you
experiencedwhenyourst peered
througha kaleidoscope.
1heseeningly endless
conbinationof patterns
andcolours that appear
withinthesenagical
tubes havebeen
anusingpeoplefor
nearly 200yearsl
1heconcept
is sinple-an
arrangenent of
nirrors withinthetube
arepositionedat a 60
angletooneanother -the
refectionof whatever the
tubeis pointedat is refectedoh
thesenirrors, creatinganintricatepattern
that contains elenents andcolours fron
thesceneinfront of you, albeit ina dizzying
array of shapes.
1his ehect canalsobeappliedtoyour
DSLRinages inPhotoshop, or Llenents,
too. 1hetechniquetends towork best
withscenes that containboldcolours and
stronggeonetricshapes andlines -for
exanple, trees ina forest or buildings
andarchitecture. 1hebeauty of it is that
repeatingthetechniqueseveral tines over
rarely results inthesaneinagetwice,
allowingyoutocreatenyriaddiherent
kaleidoscopicehects frona singleshot.
1heresults arefascinating, colourful and
intricateabstract inages that containa slice
of thereal world.
Kaleidoscopic fun
1ryyour handat this fundigital
techniquetoturnaneveryday
sceneintoacolourful and
hypnoticrepeatingpattern
3
Click onNew
andclick OKtoopena newdocunent
before going toEd/t>Paste. nthe Layers palette,
drag the 8ackgr"u!d/a/er downtothe trash
cantodelete it. 1hen, gotolage>Ca!vas S/0e
andchoose a W/dtnandHe/gnt of *11#erce!t.
Click OKandzoonout toviewthe full canvas.
1
IateasIiceWithyour inage open, goto
La/er>New>La/er Fr"8ackgr"u!dand
thenEd/t>Free Tra!sf"r. nthe topnenubar
change the R"tate angle to61 andnove the
inage sothat it runs over twoedges of the
canvas, as shownabove, andclick the t/ck in
the topnenubar toconrnthe transfornation.
4
DupIicatethesIiceMove your slice into
place, before going tolage>Ca!vas S/0e
again. Set the W/dtnandHe/gnt according to
the longest edge tocreate a square canvas. Go
toLa/er>Du#//cate La/er andEd/t>Tra!sf"r>
F//#H"r/0"!ta/ (or F//#vert/ca/, depending on
the orientationof your original inage).
2
5eIect andcopyUse the Mag/c Wa!dT""/
toselect the enpty space onyour canvas
before going toSe/ect>l!verse. Next, goto
Se/ect>M"d/f/>C"!tract andenter a value of
*#/xe/s before clicking OK. 1hen, select the
M"ve T""/ andgotoEd/t>C"#/ andclose your
inage without saving.
5
MovethesIiceintopIace Move this new
slice of inage tonirror the existing slice.
Younay nda snall gapbetweenyour two
layers -if so, use the M"ve T""/ andthe arr"w
keys toadjust the layers torenove the gap.
nce done, gotoLa/er>Merge v/s/b/e before
going toLa/er>Du#//cate La/er.
Keepexperimenting
nceyou'vecreatedyour rst
kaleidoscopeandsavedit, try
experinentingtoseehownany
newdesigns youcannakefronit.
1ry duplicatingthelayer androtating
it beforechangingits 8/e!dM"deto
Mu/t/#// or Scree!for diherent
results, youcouldeventry changing
thecolours usingtheHuenixer ina
Hue/Saturat/"!adjustnent layer.
OriginaI
HNDY HINT
nchor points
Whenusing ree 1ransforn,
nake use of the centre anchor point
whencreating your kaleidoscope.
Moving the centre point will set the
point at whichthe selectionis
fippedor rotated-noving it tothe
centre of the kaleidoscope before
applying the transfornation
will ensure that eachsection
locks intothe correct place
neatly eachtine.

6
henewIayer otoEd/t>Free
Transform. Move the centre anchor point to
the niddle of your kaleidoscope, hover your
cursor tothe outside of the corner of your
selectionand, holding downthe sn/ft key, rotate
this newsectionaroundtoline upwiththe
existing sections. onrnthe transfornation.
7
DupIicateandrepeat s before, use the
Move Too/ andthe arrowkeys toclose any
snall gaps before going toLayer>Merge v/s/b/e.
uplicate this layer again(Layer>Dup//cate
Layer) andgotoEd/t>Transform>F//p
Hor/zonta/. Move this newsectionintoplace,
closing any snall gaps as before.
8
FiII thecanvas Repeat this process, fipping
the slices horizontally or vertically as
requireduntil the kaleidoscope is conplete.
nce done, youcaneither use the CropToo/
tocropout the blank spaces inthe corners, or
keepduplicating androtating your patterntoll
the canvas, as have inthe nal inage.
NvMR20I3 i DIGITL 5LR PHOTOGRPHY

T 5R TRY > vLBLRCJ2B
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;/1E< ;.+AH <1FA0A1.11- A
3)1A1(;3)+#;0A.H6
Verdict: dramaticimagebut I feeI it
works better inbIackwhite.
R55TT: L<<0A+..H A);+<09A
(;A . F;10(F+A)A)+< .10(G31<D;
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H1FE; 3;<10..H <3-+0( A)
.0<3,D<A 1<09A GA.H G+A/
R5 R5
BHS;);A+0A
amera: +-10DJJ
Lens: R2=*B%//">C6
Exposure: =B<10< A ">224S%J5
5arahsays: 81)+< +/(F<
A-0+0A)B;0< R.<
.0;(+10+0<1DA)<A
S3+0 +A:< .10(*G31<D;<)1A6
F< E;H .D-H A1)EA)+.
FA); A1<)11A A)+< AH31" 3)1A1(;3)
D<+0A)+< 3;A 1" A)F1;..1DH
<-+< ; ;;<+()A!8
LD1R
DNIELLEZNO
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XRT
T
LXLR11HLU1AL BL11LRC1URLS
ertCritique
8WTVR5
10(G31<D;3)1A1(;3)H 0
.- F)+A10E;<+10< (1
)0*+0*)0! ;)3< +A:< D<
0+A); A;D.H ;3;<0A ;.+AH 0;;
10A)<+1" <A;A6 W:E
10E;AA)+/(A1/101);1/
D<+0(+- S1"AF;:< S+.E; L"G ;1
F)+)1#;< 3;<A ,D<A/0A< <
F.. < D<A1/AF-<6 W9E.<1
;-0A);1-H 0-< 0
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<3;A+101" A100/3)<+<
A).+0;AH A);16
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`
Compositionallit'sfine.
Teravel roadprovidesa
stronlead-inlineandte
rockpeakintecentre
of teimaeprovidesa
focal point
a

);6 109A $0A)+< 0AA;A+E ;/A+

1; 3;A+D.;.H +0A;<A+0(.0<30
DA1A).- 1" +;A+10. .+()A +A .<1
.11-< ;A); &A 0.+".<<6 0A)<0
1" AA; .+()A+0(10+A+10< <31A 1"
;"D. 0<.A+E1(+0(0D;0+0(
D;+0(31<A 3;1<<+0(1D.)E/
A)F1;.1" +#;06 S1;;H S;)+A:<
,D<A 013+0+10! H1FE; S;).;.H )<
(11A)0+. -01F*)1F0A);;0
.0<3+< 0+. 0+A"1; .10(
G31<D;3)1A1(;3)H ,D<A A)+0- 0GA
A+/<)0< A1$0);<." /1;
AA;A+E<0A)A F+.. ..1F); A1<)1F
1#); <-+..< A1AA; #A6
Verdict: TechnicaIIy, there's not muchto
fauIt 5arahonhere. However for me, this
feeIs Iiketechniquefor technique's sake-
thescenejust doesn't hoIdenoughinterest
or pictureappeaI.
WRT
82
igital editing

vLBL20/3 i
LDBY
*-.wB+* H.+ewe++ -(t7s
few,(+es u0t&e.st fr.,,y &.,e-
%ret s0.t f.r su-r(ses&.ts3 Janet's inage
captures thecharacter of theplacewell -
wehavewaves washingover basalt
boulders intheforeground, nicely blurred
by a four-secondexposure, soft colours in
thedawnsky andthoseslabs of rock on
either sidefranethescenenicely anddirect
theeyeupthroughthescenetowards the
gaponthehorizon. 1henost obvious issue
for neis that theshot's overexposedl 1he
colour inthesky is barely visible, therocks
look fat anddull insteadof dark and
dranatic, andthesea looks washy. 'nnot
quitesurewhy Janet thought this was a
realisticviewof thescene-it looks nore
likeanuneditedRawlethat has been
exposedtotheright thanthenished
inagel But not toworry -this is aneasy
enoughproblentosolve. Aquick tweak of
Levels or Curves is all it needs todarken
everythingdown, boost contrast and
increasecolour strength. Janet saidsheshot
it witha viewtoconvertingtoblack owhite.
t does work well as a nonoinage, but the
soft colour alsolooks great so'dbe
tenptedtoleaveit as it is, or convert a copy
toblack owhitesoshehas oneof each.
Verdict: mood&seascapethat just
requires somereninginpost processing.
liketheforeground
inthis shot. 1helengthof exposurehas
workeda treat andthewater rushingover
therocks certainly adds interest andcreates
a nicefeelingof novenent. 1he
conpositionis quitenice, too, withboththe
rocks ontheleft andright of franeleading
theeyetowards thegaponthehorizon.
night havebeentenptedtoincludea little
noreforegroundandslightly less sky, but
that's subjective. dothink Janet couldhave
possibly enhancedtheshot norein
processing, though. think it's a littletoo
light andlackingcontrast slightly as a result.
1hereis noredetail intherocks ontheleft
than wouldexpect toseeand just feel a
fewlocalisedadjustnents couldreally give
theshot a littlenoreoonph. Also, it appears
that a fewbits of spray nay havebeenon
thelterilens whenthis was taken, whichis
a shane- knowhowdihcult it is tokeep
kit cleanwhenthetideis rushinginl
Verdict: niceimageandI IikethemiIk&
water coveringtheforegroundrocks.
However, it's beenprocessedsIightI&too
Iight, resuItingintheshot Iackingcontrast.
KHOL
ByJanetSalnon
Camera: NikonD/000
Lens: NRDXA-SI0-24nnfi3.5-4.5
Exposure: our seconds at fi22(SI00)
Janet says '1his shot was taken
at Black Hole, Craster, earlier this
year. After anuneventful sunrise,
thesky lightened. 1hecovelent
itself toa longexposure.
riginally intendedas a black owhiteinage,
decidedagainst it as likedthepink hues.
OO5TINGONTR5T
t's all tooeasy togotofar when
processinginages andnoreoften
thannot weseeshots that havebeen
processedtooheavily, however quite
theoppositeis trueinJanet's casel
By exposingtotheright, whether
intentionally or not, Janet's inage
contains lots of detail. All that's
neededtoturnthis solidcaptureinto
a great inageis a boost incontrast
-this canbedoneusingeither Levels
or Curves inPhotoshop.
`
I mt avebeen
temptedtoncludealttle
moreforeroundand
sltlylesssky, but tat's
subjectve
a

igital editing

DIGITAL 5LR HTGRAHY 9 NvLMBL=DI<

LEEFR5T: o>c*3; be; "re; s>*r%se,
*d%f Bo>#ppe*;o#?e c(er ?%e@of %;
o?er ;#ese ;#e*Bo>3reo*;o @%**er
bec>seBo>c*s#oo; ;#es>*&>s; s %;
pee's o?er ;#e#or%Co*s Br%*d%d#ere.
#e*)eof ;#ep(ceC#e)%c( Bec#
does*3; do%;s be>;B *B &>s;%ce, b>;
Br%*3s s#o; does. (%'e;#e@B ;#ers;
drops of s>*(%"#; "(%*; oh;#e@e; roc's *d
;#es>rfceof ;#ese ;odd;eA;>re, @#%(e
;#ebre'%*"@?e#s bee*perfec;(B
cp;>redBo>c*()os; #er ;#eso>*d
of ;#ese Br%*3s >seof *ND"rd#s (so
re;%*ed;#eco(o>r %*;#es'B, *d(;#o>"#
;#es>*#s b(o@*o>; so)e;#%*";#;3s
%)poss%b(e;o?o%d %;3s s;%(( s>rro>*dedbB
r%c#"o(de*"(o@. ">ess )B )%*
cr%;%c%s)of ;#es#o; %*"e*er( %s ;#; 3d(%'e
;osee)oreof ;#esce*e. Br%*#d
I/$!D))Coo)o*#%s DSLso#eco>(d
#?e"o*e (o; @%der ;#*;#%s e?e*@%;#
;#ecropfc;or of I.<A of #%s DSL, #%s @%des;
foc( (e*";#@s ehec;%?e(B ==)).
oo)%*"@%der @o>(d#?ee*b(ed#%);o
co)pose#or%Co*;((B, cp;>re broder
?%e@*d)'ebe;;er >seof ;#efore"ro>*d
roc's *ds@%r(%*"se. As %; s;*ds, fee( (%'e
3)(oo'%*"; pr; of p#o;o"rp#r;#er
;#*(( of %;.
dict: fantasticsunset but theshot's
not wideenoughfor me.
R55HDDITT: Le;4s be"%*@%;#
;#epos%;%?es. (%'e;#e(e*";#of eApos>re
%;4s s(o@e*o>"#;ocre;e *%cede"ree
of )o;%o*b(>r, b>; *o; sos(o@;#; de;%(
*d;eA;>re%*;#e@;er r>s#%*"ro>*d;#e
fore"ro>*droc's %s (os;. Br%*3s ;%)%*"%s
"ood, ;oo ;#e@?er>s#%*"%*dds eA;r
%*;eres;. He#s (soco*;ro((ed;#e#%"#
(e?e( of co*;rs; @e(( >s%*"ND(;r;%o*,
(;#o>"#, ;o)B eBe, ;#efore"ro>*d
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@%;#br%"#;e*%*">p ;d. #es'B %s *%ce*d
co(o>rf>(, b>; @orrB ;#e%*;e*s%;B of ;#es>*
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prob(e)%s ;#efore"ro>*d %; does*3; (ed
;#eeBe%*;o;#es#o;. ;#%*' ;#ere of
@;er %*;#e%))ed%;efore"ro>*d%s ;oo
"re;, @#%(e;#e;@oco**ec;%*", (r"er
roc's ;o@rds ;#e)%dd(eof ;#efr)es;op
)B eBefro);r?e((%*"*B f>r;#er %*;o;#e
fr)e. As res>(;, ;#e;op*dbo;;o)#(?es
of ;#ep#o;o"rp#(oo' (%;;(ed%sco**ec;ed.
c*3; #e(pb>; fee( ;#; #dBr%*(oo'ed
(%;;(e#rder, #eco>(d#?efo>*d be;;er
rr*"e)e*; of fore"ro>*droc's, @%;#"ps
be;@ee*;#e);#; @o>(d#?e#e(ped(ed
;#eeBe)oreehec;%?e(B ;#ro>"#;#e%)"e.
Verdict: decent shot, but theforeground
rocks don't IeadtheeyeveryehectiveIy
intotheimage.
CHEICAL BEACH
BBBr%*W%""(es@or;#
Camera: C*o*LS$IDM'v
Lens: C*o*LI/$!D))f9!LUSM
Exposure: D.6sec; f9I6(SD)
Bansays: ' @*;ed;o
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s>*r%seo*C#e)%c( Bec#,
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espec%((B @#e*co)pos%*";o
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#s #ere. Br%*4s %)"e@s s#o; ;
<=)), (!I.6))ehec;%?efoc(
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;#eroc's *d>s%*" @%der foc(
(e*";#@o>(d#?e)ore%)pc;.
Caa ss
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Zoomingwider wouldhaveenabledhimtocompose
horiontall, captureabroader viewandmakebetter
useof theforegroundrocksandswirlingsea
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h9i==8 ha9 a blank, 8a=h8 9=8n
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Verdict: simpIebut powerfuI portrait that
JoeIIeshouIdbeproudof.
ILN
DJollo@lo9
Camera: Nikon5000
Lens: NI8-55nnfi3.5-5.6
Exposure: IiI3secat fi5.6(I600)
Jy ' hadalways wanted
tophotographnyfanilyfriend,
ileen. s her 90thbirthday
present decidedtophotograph
ileenaroundnyhousein
various locations inthestyleof LeeJehries.
lovedthestrongcontrast inthis particular
shot. nPhotoshop, convertedit toblack
owhite, bunpedupthecontrast and
dodgedandburnedvarious areas.
RKINGTHRL5
t's inportant tounderstandtherules
of conposition, but knowingwhen
andhowtobreak thenis just as
inportant. WhileJoellehas
positionedher subject's eyes
accordingtotherule-of-thirds, the
boldchoiceof croppingintoher
subject's faceononesidehas paidoh
andnakes for anintinateandstriking
portrait witha touchof nystery.
i
`
lovedtsmaetefrst moment I sawt. Desptete
unconventonal composton, t aseverytntat s
neededtomakeasuccessful portrat
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toomessy.
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mr ikon800
ns 200nnfi4icro-
ot#r ightroon5
11Y, 11
for this nonth's Creat|ve|ye
shouldbefairly straightforward
for ne. lowers areright upny
street. owever, 'nnore
accustonedtoshootingclose-ups of wild
fowers innatural settings. Unfortunately,
withsunner nowlonggone, wouldn't be
abletoshoot fowers growingwild. nstead,
wouldneedtophotographcultivated
bloons. poppeddowntothelocal forist
andhandpickeda handful of colourful,
pristine-lookingfowers fronthenany
buckets of stens they hadondisplay. 1ine
toget ny thinkingcapon, andwork out just
how wouldbeabletocapturea creative,
eye-catchingresult.
lowers arepopular subjects anong
photographers, so knewcapturingan
original photowouldn't beeasy.
consideredusinga shallowdepth-of-eld
inorder tohighlight a key part of thefower
-naybea singlepetal or its stanens.
anipulatingdepth-of-eldinthis way can
createarty-lookingresults, but this
approachseenedfar tooobvious for
Creat|ve|ye. ext considereddoingan
in-canera nultipleexposuretocreatea
dreany, soft-focus ehect. ernan
photographer andra artocha does this to
great ehect -if you'venot seenher work
before, takea look. owever, it is a
techniquebetter suitedtowildplants shot in
natural light. fter sonethought, decided
toshoot ny fower refractedinwater
droplets. ot thenost original idea, but
rather thansuspenddroplets frona fower
stenor branch(as oftenseen) would
arrangethedrops ona pieceof glass, place
thefower belowit, andshoot therefracted
inagefrondirectly overhead. y doingso,
hopedtocreatea norecolourful, abstract
look, thana truerefectionof thefower.
placedthecolourful, orangegerbera ina
vaseandthenplacedthis withina nediun-
sizedcardboardbox, linedwithblack card.
usedtheedges of thebox torest theglass
upon, placingit directly abovethefower.
ext, usinga snall syringelledwithwater,
nadea nunber of littlewater droplets on
theglass. cleanedtheglass beforehand,
toensureit was freeof any snears or dust
particles. Usinga tripod, thencarefully
securedny ikon800overheadand
beganconposingny shot. Usingiveview,
zoonedintothetiny water droplets and
nanually focusedontherefectionof the
fowers. norder toll thefranewiththe
droplets, requireda highlevel of
nagnication, so optedfor ny
200nnicro. venusinga snall aperture,
thezoneof sharpness was wafer-thin. nan
attenpt toextenddepth-of-eld, decided
totry focus stacking. shot a sequenceof
teninages, alteringthefocus slightly with
eachfranesothat a diherent part of the
subject was infocus. Whilenoneof the
photos wouldrecordthesubject entirely in
focus, thesequenceas a wholewould
containall thedata requiredtogeneratea
sharpendresult. downloadedny
sequenceandstackedtheninhotoshop,
but thenal result wasn't seanless, withtoo
nany ugly artefacts renainingaroundthe
edges of thedroplets. wouldhavetotry
again, andachievetheehect wantedusing
a singleexposure.
epth-of-eldwas provingny biggest
headache. didn't want toselect a snaller
aperturethanfiI6duetotheincreasedrisk
of dihraction, but at this aperture wouldn't
beabletokeepthetiny water droplets and
refectedfower inagesharpthroughout.
y priority was therefractedinage, so
focusedsharply onthis. lthoughtheresult
wasn't quitewhat hadenvisaged, was now
nakingprogress. owever, theinpact of
theshot was beinggreatly reducedby ugly
refections onthedroplet's surface, caused
by windowlight. 1oelininatethis, rolleda
largesheet of whitecardintoa cylindrical
shapeandplacedthis ontheglass, around
ny droplets, withjust ny lens poking
through. 1his elininatedthedistracting
refections andallowednetocaptureny
nal inage.
op pIt
o#r n"sns
o$ ottomo
to$#s In
#tIr
Ao" %rst
attempt reveaIed
reections onthe
surfaceof thedrop
causedbynearby
windowIight.
AboveIeft: AsmaII
syringewas usedto
carefuIIypIacethe
water dropIets onto
thepaneof gIass. I
wantedaspace
betweeneach
dropIet without it
appearingtoo
uniformandforced.
Left: UsingaroII of
cardI managedto
shieIdthedropIets
fromthewindow
Iight, overcomingthe
unsightIyreections.

B>C7#2%*B2%
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Lns RA$SI8-I05nnfi3.5-5.6
5o#wr AdobePhotoshopCC
1HLLWCreat|ve|ye
challenges that 'vedoneinthe
last fewnonths havetosaythat
thetheneof fowers conpletely
stunpednel lowers arenot
sonething photographregularlyandnany
of nyphotographer friends dosone
anazingforal inages - reallydidn't want to
shownyself upl
But was stunped. thought about nding
soneinterestingfowers totakenacroshots
of, or tryingnyhandat sonefower
arranging, but that just didn't sparkny
inagination. t wasn't until was speaking
withnysister whois planningher wedding
andhoneynoonthat alittleglinner of an
ideasprungtonindl decidedtonakepaper
roses, but not out of plainpaper - was going
totrytonakesoneroses fronnaps to
bringtogether theideaof weddings, travel
andfowers all intheoneinage.
hadnaderoses beforebut never out of
paper, so sat downwithafewscraps of
paper andworkedout thebest wayof putting
thentogether. When was happy knew
where was goingwithnyroses nadea
tenplateusingasnall circleof cardfolded
intosixequal pieces inorder togivenyself a
patterntoworktoandtokeepnyfowers
andpetals aunifornsize.
cut ny petals out of anoldoutdated
roadnapthat hadbeendestinedfor the
recyclingbin, keepingtheedges as neat as
possible. Whenall thepetal patterns were
cut out, wrappedthepetal ends over a
pencil togivethena curl andusedny trusty
glueguntostick thenall together inlayers
of increasingpetal nunbers. useda length
of wireas thestenanda neans toholding
everythingtogether.
Wheneverythingwas dry coveredthe
stens instrips of greenpaper togiveny
fowers a norenishedappearance. added
a coupleof greenpaper leaves tosoneof
thestens andny road-naproses were
ready toshoot.
Myinitial ideawas tohavenysister's hands
holdingtheroses likeaweddingbouquet but
test shots toldneit didn't lookquiteright
-although hadnadetheroses life-size
theyweretoobigandtheconpositionwas
ohso hadtotryadiherent approach. found
ajar tosit thefowers inwhile waitedfor
another ideatoconetonindbut they
lookedsosinpleandprettyjust sittinginthe
openglass jar that gured shouldtryafew
test shots of thenas theywere.
set nyNikonD5200onatripodwithny
I8-I05nnlens attachedandusedLiveview
tocheckandadjust thepositionof theroses
until foundaconposition was happywith.
usednanual nodeat SI25, anaperture
of fiI6for front-to-backsharpness anda
shutter speedof IiI60sec. set nyfashto
thefront andleft of nycaneraonnediun
strength, triggeringit withthird-partywireless
triggers anddihusingit throughashoot-
throughunbrella.
likedhowtheshot lookedonthebackof
caneraso openedtheRawleandadjusted
its clarity, contrast andshadows before
addingacoupleof textures togivetheinage
apainterlyfeel.
inally hadaninage was happywithand
abunchof fowers that wouldn't diel
To T#rikis# r# o #ross ws
u##in sinnIuin#r ross
wirm romoIroms.
o% I usnoh-cameraashinashoot-
throughumbreIIatoIight thearrangement in
thejar infront of aseamIess bIuebackdrop.
Left: MyoriginaI pIanof havingmysister hoIding
theowers Iikeaweddingbouquet madefor a
niceimage, but didn't turnout as pIanned.


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3I toer is Hlloween, sonakethenost of this event toproducesone

unusual autunnshots. Photographs of your kids dressedintheir 'trickor
treat' fancydress areanust. 1akethenoutdoors at dusk, usingalong
exposuretorecordthelow-light levels plus aburst of fashtoilluninate
your subjects. lternatively, get thentogather roundalanternor holda
candleeachandusethewarnglowtolight their excitedfaces. You'll need
toset ahighSratingtodothis -SI600-3200-andopenupyour lens
toits widest aperture, but theresults will lookgreat. 1hetraditional punpkin
lanterncanalsobeusedfor astill-lifeshot -just placeit onatableoutdoors,
light thecandleinsideandcapturelight glowingfronthespookyfacel
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!nges -eg6-nteed. !7e-s ndst-ens
fankedby banks coveredinautunncolour
nakegreat lead-inlines that addinterest to
theconpositionandgivetheeyesonething
tofollowthroughthescene. Usea slow
shutter speedof a secondor twotoblur the
water soits nilkiness contrasts withthe
warnthof thefoliage. Your polariser will
coneinhandy, cuttingthelight by two
stops soyoucanset a slower shutter speed,
as well as enhancingthefoliagecolour, but
youcanalsoaddanNDlter as well if you
needtoslowtheshutter speedevennore.
Lakes andpools ona calnday providea
stunningnirror inageof theautunncolour
ontheoppositebank. 1his is onesituation
whereplacingthehorizonacross thecentre
of thefraneis perfectly acceptabletocreate
a tranquil, synnetrical conposition. Shoot
duringearly norningor lateafternoonwhen
thesceneis bathedinluscious warnlight,
andusea 0.3NDgradonyour lens tocover
thesky andscenedowntothewater's edge
sotherefectiondoesn't coneout toodark
-thoughif it does, youcaneasily select it in
PhotoshopusingtheLasso1ool andlighten
it by adjustingLevels or Curves.

neof thejoys of autunnis thequality
of thelight. 1hesunnever rises toohigh
intothesky soyoucanhappily shoot
frondawnuntil dusk. Lvenaround
nidday thelight is still attractive,
thoughit's at its nost stunningduring
early norningandnid-afternoon,
whenlongshadows rakeacross the
landscapeandtherichautunnal
colours areenhancedby thewarnthof
thesun. Lvenbetter if there's adeep
bluesky tocontrast withtherustic
colours. Bluesky andbright sunshine
arerarely aphotographer's favourite
conbination, but inautunnthey're
welconebecausethecolour contrast
betweenthesky andlandscapenakes
great inages. Sayingthat, overcast and
cloudy days canbeproductive, too, as
thelight is soft andcontrast low. A
further advantageis thesundoesn't rise
until around/an, soyoucanclinbout
of bedat arespectablehour andstill
catchsunrise. 1hesaneapplies later in
theday. By theniddleof autunnthe
sunis goingdownwell before/pn,
givingyoutheperfect opportunity to
captureastunningsunset. Autunn
weather tends tobeless predictable,
initially younay think it adisadvantage,
but it's actually areal bonus, andone
reasonwhy sonany landscape
photographers loveautunn. t's quite
connonfor thesuntoshineduring
heavy rainshowers, andthis oftenleads
tobeautiful rainbows archingacross
thelandscape. Lvenif youaren't lucky
enoughtocapturearainbow, the
dranaticcontrast of asunlit autunn
scenebathedinsunlight beneathan
inky sky is hardtobeat whenit cones
toshootingstunninglandscapes -
thoughyouneedtoact quickly as the
light canchangeinanatter of seconds.
LLL RS1
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.4!- * DIGIAL L HGAH
BACKLI EE
,berevealedat its
nost strikingby shootingintothelight.
f youholda singleleaf uptothesunor
sky youcanseehowbacklightingreveals
its vibrant colour, soif younultiply that a
nilliontines andbacklight a whole
woodlandscene, great shots are
guaranteed. 1hebest way tobacklight a
treeis sinply by placingit betweenyou
andthesunsolight shines throughthe
foliage. 1his is easy duringthenorning
andafternoon, whenthesunis lowinthe
sky, thoughif youcrouchdownyoucould
achievethesaneintheniddleof theday.
nthecaseof woodlandscenes, thesun
doesn't needtobeshiningtoproducea
backlit ehect -bright overcast weather
will givea goodresult if you'restandingin
densewoodlandlookinguptoor out
towards thesky becauselight levels
outsidethewoodlandarenuchhigher
thaninit. Lxposureis key tobacklighting.
f yougofor a neteredexposureinsunny
weather, thetree's trunk andbranches will
probably recordas silhouettes because
they'resolid, soit's worthshootinga few
norefranes at exposures over what the
neter says is 'correct'. 1ry shootinga
sequenceof neteredexposure, then+Ii2
stop, +I stop, +I Ii2stops, +2stops andso
on. s theexposureis increasedyoureveal
noredetail intheshadows whilethe
highlights begintoburnout andthenood
of theinages becones noreatnospheric
andhigh-key. t doesn't natter if you
'blow' thehighlights -thebits of sky you
canseethroughthefoliage-because
they'renot inportant tothesuccess of the
shot. 1heglowingfoliageis though, so
that's what youshouldbeainingfor.
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!!ch'!aticehect. arly norningis the
best tinetophotographlight nist, though
youneedtobeout beforethesunclinbs
intothesky andtheair tenperaturerises as
thenist will evaporateoncethis happens.
Water andwoodlandtendtobethebest
places toheadfor if youwant tocapture
nist, andyoucancapturebeautiful inages
by shootingintothelight sothewarncast
fronthesunbleeds throughtoaddcolour
andnoodtoyour pictures. f youshoot with
thesunbehindyouthescenewill takeona
pastel, nonochronaticfeel duetotheway
nist reduces colour saturation, but this can
look equally ehectivegiventheright subject,
soit's worthtryingout.
1oenphasisetherecedingehect of nist,
knownas aerial perspective, usea wide-
anglelens toincludenearby features that
will beclearly visible, whileeverythingelse
fades intothebackground. lternatively, t a
telezoontoyour canera andhoneinona
noredistant part of thescenetoexaggerate
therecedingehect. 1his works particularly
well onhills andnountains as their colour
andtoneis reducedwithdistance.
1hethingtolook out for hereis your
exposures. Underexposureis a connon
problenduetotheoverall brightness of the
tones ina nisty scene. 1his canbeavoided
by increasingtheexposureof your canera's
integral neter sets by Ii2-I stop, thoughit's
worthtakinga straight shot rst toseehowit
turns out. heck thehistogran, then
reshoot if necessary. ensefogis less useful
as it reduces visibility toa point whereonly
nearby features canbeseen. ut insone
locations this canbea benet, as it hides
ugly objects fronviewandsoftens the
outlineof thethings that arevisible.

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Autun+&s+3t 'ust -ut )+s/s. H-w
-ut s$--t&+#+&s - y-ur (&s ury&+#
t$ns)vs &+/&)s - ))+)vs -r
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su'ts #&+st t$s(y nyus&+# urst
- !))%&+"s$t-s/r()+rzt$
)vs &+n&%&r. $(&s w&)) )-v&t +y-u
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$+t$y3rt&rr-n)) t$t t&v&ty s(
t$nt-)y -+t$&r (s -+t$)%
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s$--t s-nutun+) /-rtr&ts w&t$t$
utun+-)-urs /r-v&&+#t$(r-/.
UTUMNL 5TILL-LIFE5
( )--( t t$#r-u+ur&+#+utun+str-)). you'll ndfallenleaves invarious sizes,
shapes andcolours, horsechestnuts, berries, r cones, deadfowers, fungi, brackens.
All of this stuhis ideal for still-lifeshots withanautunnal thene. 1ry shootingin-situ.
'ound' still-lifes areexactly that, objects as youndthen-pleasingarrangenents of
colours, shapes andtextures that needlittleor nohelptonakethencanera-ready. Alittle
'gardening' is pernittedtoget ridof distractingthings, it's easier torenovesonething
frona shot beforeyoutakeit rather thanlater at your conputer. 1hedihuselight fronan
overcast sky will provideattractiveillunination, or soft sunlight onanautunnal norningor
afternoon. f contrast is toohigh, holda sheet of cardor a refector aboveyour still-lifeso
that it's inshadeandthelight will inproveinstantly. Alternatively, collect interestingitens,
andshoot thenindoors usingwindowlight. 1henarrangethenonyour lawnwhenyou're
doneshootingtoseewhat happens. After a coldnight younay risetondthendusted
withfrost, or youcouldspray everythingwithwater soit gets anicy coatingovernight.
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Lowcst hiqhcr cducation fccs in thc 0K
Cct startcd on your first coursc for 795
Study at your own pacc fron honc
Support fron a onc to onc tutor who
is also a practisinq photoqraphcr
Start at a tinc to suit you
8c part of a qlobal studcnt connunity
Studcnt financc availablc
lind out norc. www.ocauk.con
www.wcarcoca.con

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1inesaretoughfor all of usat thenonent, sowhileour passionfor photographynaynot
havedininished, our photo-expensesbudget issuretohavetakenahit. 1herefore,
spendingour hard-earnedcashonexpensivenewopticsor thelatest gazillion-pixel DSLRis
unlikelyfor all but thenost fortunate. However, therearenanylow-cost productsthat
claintooher usachancetoexpandour creativeoptionsandcaptureinagesthat belietheir
relativelylowpricetag. n wetest low-pricedphotoproductstodiscover if
theydeliver ontheir proniseof allowingfantasticphotographyonalinitedbudget.


DIGITL 5LR PHOTOGRPHY ; LBLR@G-?
Padr q*r-...
fancyaddingatelephotozoonlens to
nyDSLRkit. 'nprobablynot goingtouse
it as nuchas nystandardzoonand'n
strappedfor cashso don't want abig, heavy,
expensiveone. Canyoureconnenda
budget-pricedtelezoonthat will givene
goodqualityresults onnyCanonLS550D
but not breakthebankR/d/ey, Kent
LLNS CHCLS always a tricky
topicbecausenunerous factors
havetobeconsidered-size,
weight, cost, quality, versatility
andsoon. f youspecialiseina
certainsubject thenthedecisionis nadefor
youtoanextent, but if youliketotry your
handat a bit of everythingyouneedto
chooseyour lenses carefully if you'reto
avoidspendinga fortuneandputtingyour
back out carryingthenalll
1his is especiallythecasewithtelezoons.
or sport andwildlifethelonger thefocal
lengththebetter innost cases, soyou're
goingtouseatelezoonnoreoftenthannot.
But for general photographyyounaynd
that youonlyuseit naybe25of thetine,
yet it's thebiggest, heaviest, andquite
possiblythenost expensivelens inyour bag.
ortunately, thereis asolutiontothis
dilennaandit cones inthefornof a
budget telezoon. 1herearevarious nodels
available, froncanerananufacturers and
independent lens brands, but theonewelike
thelook of nost is the1anron55-200nn
fi4-5.6Di LDMacro. or astart it only costs
90if youshoparound, whichis an
absolutesteal inthis day and
age-soneprotelezoons
cost I5x that nuchl As it's
designedfor useonDSLRs
withAPS-Csensors, it has
anehectivefocal length
of around82.5-300nn
(dependingontheDSLR
youuseit on), which
nakes it highly versatile
for awiderangeof
subjects. f thepricealone
isn't goodenough, it's also
conpact andlightweight,
neasuringless thanI0cnwhenset to
nininunfocal lengthandtippingthescales
at just 300g. By way of conparison, the
1anron/0-200nnfi2.8weighs akilonore
andis twicethelength.
bviously, wherelenses areconcerned,
youget what youpayfor toanextent, which
is whyonenodel cancost under I00and
another closer toI,500whilecoveringa
sinilar focal lengthrange. ptical qualityis
thebiggie. Generally, thenoreyoupayfor a
lens thebetter it will beoptically. nages will
besharper, distortionless obvious and
aberrations better controlledinthenore
priceyoptics. 1hat said, it's not directly
proportional, soaI,500telezoonisn't
goingtobeI5xbetter or I5xsharper than
onecostingI00, whichis whyyou
canget alot of bangfor your
buckwithacheaper option.
1hecanerayouusethe
lens onandwhat youdo
withyour inages aretwo
norefactors tothrow
intothenix. f you're
usinganentry-to
nid-level DSLRthena
budget telezoonwill be
perfectlyne. But if you're
usingatopof therangeDSLR
younayndthat thecanera
out-resolves thelenses andyou're
not toohappywiththeresults. Sinilarly, if
youtendtopost your inages onaphoto-
sharingsite, naybehaveyour ownwebsite,
turnyour best shots intoBlurbbooks or nake
prints uptoA4, thereisn't nuchpoint
spendingI,000or noreonalens youonly
useoccasionally, whereas if youliketoexhibit
andsell your workthenthereprobablyis.
All things considered, the1anron
55-200nnfi4-5.6Di LDMacrohas alot
goingfor it. ts weight has beenkept downby
extensiveuseof plasticinits construction-
eventhenount is plastic. f you'regoingto
useatelezoononaregular basis, inall
weathers, this onenay not berobust
enoughfor thejob. But if you'rean
occasional telezoonuser andyouwant a
lightweight lens that's easy tocarry aroundall
day, just incaseyouneedone, it's ideal.
nuse, theautofocus isn't thefastest
aroundor thequietest, but it's norethanfast
enoughinthevast najority of situations -
youdon't needultra-quick A for static
subjects -andtheslowness only becones
obvious whenyouneedtogofor near focus
tofar. 1hefront of thelens rotates during
focusing, whichis a bit of a painbecauseif
you'reusinga polariser or anNDgradit will
goout of alignnent as thelens focuses. 1he
solutionis tofocus thelens thenre-alignthe
lter -whenthefocus is set toA the
nanual focusingringlocks, soyoucan
Cha||engee: Lee rost
udget: I00
Theme: Budget telezoon
HNDY
HINT
Agreat technique totry with
a zoonlens is a 'zoonburst'.
All youdois zoonthe lens
throughits focal lengthrange while
shooting ona slowshutter speed, so
your subject records as a series of
streaks radiating out fronthe centre
of the frane. 1ry it onfowers or
other bold, colourful subjects and
experinent withshutter speeds
fronIiI5sec downtoone
second.
op: WhiItha*tooc*sonaCanonO700D
isn't thastst it'snor most sit*ations.
bo+It: I ,asraII-imprssd,ithth
shaIIo,dpth-o-Id,hn-o*,ant toisoIat
-o*r s*bjct romthbackro*nd.
bo+riht: hsharpnssor a90Ins,as
antastic-I o*ndthat thshort nd,as
prctI-s*itdtostiII-Iis portraitsand
sIcti+Iandscaps.
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89 :A+9 5 T T
8udget telezoom
1*88?*;1 ,*&1#21 2? (8hefocus
won't shift. Manual focusingis possible, too,
but theringis very slinandnot theeasiest to
usewhenaccuratefocusingis necessary.
Wefoundit easier touse andthe
canera's focus lock tofocus onoh-centre.
1here's noinagestabilisationbuilt intothis
lens -thoughfor 90you'dbeaskingalotl
gain, it needn't beanissue-just sonething
youhavetoaccept andwork around.
nage-stabilisedlenses haveonly been
aroundfor afewyears -prior tothat we
nanagednewithout thenand, anazingly,
producedsharpphotographsl ll it neans is
that youneedtowatchtheshutter speed
whenhandholding, as there's agreater risk of
canerashake, andalsotonakesureyou
adopt astablestancesoyoucanholdthe
caneraandlens steady. eingsoconpact
andlight, the1anron55-200nnis easy to
handholdanyway conparedtobigger and
heavier zoons, thoughif your handisn't as
steady as it usedtobe, youcanalways stick
thecaneraonatripodor nonopod,
ut zoom
Tamron 55-2mm
f/4-5.6i aro
Price: 90
Mounts: anon, Nikon, Sony
ormat: PS-(not suitablefor full-frane)
onstruction: I3elenents inninegroups
nectivefocal lengthrange:
82.5-300nn(I.5x), 88-320nn(anon)
ngle-of-view: 29-8
ilter thread: 52nn
Max aperture: fi4-5.6
Minaperture: fi32
Minfocus: 95cn
ocusing: andnanual
magestabilision: No
istancescale: No
Suppliedaccessories: Lens hood
Weight: 300g
Website: www.intro2020.co.uk
1his lens is widely availablefronphotographic
dealers bothonthehighstreet andonlinewith
prices rangingfron90to99.


6 vMR20I3
or look for supports onlocation-awall,
post, fenceor gatewill bene.
1hefocal lengthrange, equivalent to
82.5-300nnonfull-frane, is perfect for
general use. 1heshort endis well-suitedto
portraits, still-lifes andselectivelandscapes
whilethenid-rangeis handy for
architectural andlandscapedetails, candids,
andllingthefranewithpatterns and
textures. t thetopendyoucanreally see
thetelephotocharacteristics of conpressed
perspectiveandshallowdepth-of-eld,
whichis great for scenes wherethere's
repetitionandalsowhenyouwant toisolate
your nainsubject by blurringboththe
backgroundandforeground.
Most expensivetelezoons havea
naxinunfocal lengthof 200nn, but this
oneehectively goes upto300nnandthat
extra I00nnnakes a bigdiherencein
terns of perspectiveconpressionand
diherential focusingat naxinunaperture
-usethe1anronat thetopendandwide
openat fi5.6anddepth-of-eldwill be
alnost as shallowas a 200nnfocal length
at fi2.8, soyoucanget thesanefall-ohas a
I,000+'fast' telezoonwitha constant
naxinunapertureof fi2.8. Not badfor 90l
What about optical qualityonsidering
theprice, it's fantastic. s expected, thelens is
sharpest at its nininunfocal length(55nn)
andthoughtheinageedges arealittlesofter
thanthecentreat thewidest andsnallest
apertures, it evens out at fi8tofiII andis
excellent, producingcrisp, contrastyresults.
s youzoonthroughthefocal length
range, inagequality tails oha littlebut it's
still very goodandis optinisedat fi8or fiII.
5mm 100mm 200mm
55mm 75mm
bove: TheteIeendof thezoomproducedgreat
resuIts, showingohits teIephotoabiIities by
compressingperspectiveand givinganice
shaIIowdepth-of-eIdinrepetitivescenes.
Zoomrange: Thesecomparisonshots showhow
weII theTamronperforms at eachfocaI Iength
-theIens is sharpest at theminimumfocus
distance, andthoughit becomes aIittIesofter at
thewidest andsmaIIest apertures it stiII produces
pIeasingresuIts at 200mm.
`
t'ssmll nlt noutorryrounll yn
mqultysfntst-we'dapplysoot acover
maewtt. Prcedat just E9you'veot lttletolose
a
elezoomtips
1he longer the focal lengththe greater
the risk of canera shake. 1he rule-of-
thunbtoavoidshake is tonake sure the
shutter speedat least natches the focal
length. sofor 55nnuse at least Ii60sec,
I00nnuse IiI00sec or faster, 200nn
use Ii200sec or faster, andsoon.
nevenbetter way toavoidcanera
shake is by nounting your canera ona
tripod, or by resting the lens ona solid
support like a wall or fence.
epth-of-eldis linitedwithtelezoons
-thelonger thefocal lengththeless
depth-of-eldyouget at any aperture-
soalways focus onyour nainsubject or
thenost inportant part of your subject,
suchas theeyes whenshootingportraits.
1elezoons conpress perspective so
the elenents ina scene appear crowded
together -the longer the focal length,
the nore pronouncedthis ehect. You
canuse it togoodehect where there's
repetitionina scene, suchas anavenue
of trees or a rowof buildings.
1oisolate your nainsubject fronthe
backgroundwhenusing a telezoon
lens, zoonuptothe topendof the focal
lengthrange andset the widest aperture
tonininise depth-of-eld.
Moderate telephotofocal lengths inthe
85-I05nnrange are ideal for portraiture
as the slight foreshortening of perspective
fatters facial features.
Most telezoons have a close focusing
facility that allows youtoll the frane
withrelatively snall subjects -especially
if youuse the naxinunfocal length.
1he nagnicationthat telezoons
provide is ideal for isolating details ina
scene andlling the frane. 1he topend
of a 55-200nnis alsopowerful enough
tolet youtry your handat sport and
nature photography.
Youcanuse lters ona telezoonlike
youcanonany other lens, but avoidusing
nore thanis essential otherwise inage
quality will be ahected.
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:A)9 5 DL L

E?
Haveyoua Budget Pnotoidea you'dlikeus totry
out ina futureissue Lnail your suggestions to
dslrfeedbackdennis.co.uk, titled'Budget Pnoto',
andwenay giveyour suggestiona gol
ther udget zooms
(&/8 $8 88 *;8 ?(;(hshootingat fi4-5.6
though, depth-of-eldwill beshallowso
nuchof thescenewill recordout-of-focus
andany optical failingwon't beobvious
anyway. t nininunapertureyou'll want
nost of everythingintheshot tobesharply
focused, sothefall-ohinoptical quality is
noreobvious. 1hat said, youneedtonake
fairly bigprints beforeit becones anissue.
nexpensivelenses oftensuher fron
illuninationfall-ohsothecentreof the
inageis brighter thantheedges.
ortunately, it's noreof anissuewithwide
zoons rather thantelezoons andinthe
caseof this 1anronis not anissueat all -
only at naxinunapertureis thereany
fall-oh, but at all other apertures it
disappears. Sanewithpincushiondistortion.
t is thereif youlook hardenough, but inage
editingsoftwaresuchas Photoshophas
tools tocorrect distortionanyway.
ll things considered, the1anron
55-200nnfi4-5.6i LMacroohers a
brilliant budget entry intotheworldof
telephotophotography. t's snall andlight
enoughtocarry aroundall day andinage
quality is very good-we'dhappily shoot a
cover inagewithit. Pricedat just 90you've
got littletolose-buy it, useit for a whileand
if it's not for you, stick it oneay andget
nost of your noney back. 1hesaneapplies
if youdecidetoupgradeyour SLRlater and
invest ina norepricey telezoon, but when
youseetheresults fronthis dinky 1anron,
youwon't beina hurry toupgrade.
1here are lots of telezoonlenses
available fronbothcanera and
independent lens nanufacturers, with
prices fronunder I00intoI,000s.
1he 1anronzoonreviewedhere is the
cheapest we couldnd, but there are
others costingnot a lot nore.
mron7-3mm
f/4-5.6Di LDMro
rice: 99
Visit: www.intro2020.co.uk
f youwant toget
intosport or wildlife
photography and
youneeda nore
powerful telezoon, this
/0-300nnohering
fron1anronis worth
considering. t only costs 9norethan
the55-200nnwe'vereviewedbut has
anehectivefocal lengthrangeof I05-
450nn. 1henacrofacility alsogives
youIi2life-sizereproat 300nn.
igm 7-3mm
f/4-5.6MroD
Price: 99
Visit: www.signa-inaging-uk.con
f youalready owna
Signa lens thenyou
nay decide tostick
withSigna insteadof
1anron, inwhichcase
this optionshouldtick
all the boxes interns of
price, features andperfornance. t has
anehective focal lengthrange of I05-
450nn, alsoohers Ii2 life-size repro
for close-ups. ptical quality is very good
consideringthe price.
ikon55-2mm
f/4-5.6F- D
Price: I49
Visit: www.nikon.co.uk
f you're a Nikonuser
andlike the idea of
a 55-200nnzoon
rather thana
/0-300nn, this nodel
covers the sane focal
lengthrange as the
1anron. t's conpact andlightweight and
inage quality is high. Shoparound-we
foundit onnazonfor just II0. f you
spend30-50nore youcanacquire the
vR(vibrationReduction) version.
CnonEF 75-3mm
f/4-5.6
Price: I9
Visit: www.canon.co.uk
1his is about the
cheapest option
fronanon, though
if youshoparound
youcanpick it upfor
nuchcloser toI00
-bargain. t's been
aroundfor a fewyears but holds its own
anongnewer nodels withhighoptical
quality andquiet andquick autofocus.

UIDE
TOPORTRIT5
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MPRvYURSLLS. 1HSMN1H, WNLS11HXPR1SPRSSNLPH1GRPHRSPULWRN
JRN1HMSSN1SHWHWYUNP1URRNGS1UNNNGPR1R1SNNYRURLL1N
RURLLOTO5
OOTIOLOTIOgives youtheopportunitytocapture
portraits withall manner of settings for limitless creative
possibilities. Inlast month's ert Gu/detoPortra/ts, wetooka
lookat anumber of urbanlocations fromderelict buildings to
canals andgavesomeexamples of thetypes of enects and
techniques that couldbeusedtoproduceinterestingand
professional results, without havingtotravel tofar-ungexotic
locations or useelaborateandexpensiveequipment.
This month, we'restickingtothesameprinciples of shootingwith
minimal gear requirements, but headingout toaselectionof rural
locations toreveal someof thepossibilities that areavailablewhen
youheadout fromyour hometownor city. Whileurbanscenes
oner ahighnumber of options, headingintothecountrysideor
towards thecoast arguablyoners youevenmorescopefor
experimentation. rombeautiful greencountrysidetosmall farms
andhelds of crops right throughtocoastlines withsandybeaches or
craggyclinfaces, you'venoshortageof backgrounds toset your
subject against. ndas well as thediversityof scenery, thewide-
openspaces allowyoutoincludetheskyalot morethanshootingin
cities andtowns, soyou'reabletomakemoreof theweather and
thetimeof dayfor interestingandatmosphericbackdrops.
Our Expert Gu/deToPortra/tswill runfor several monthsandcover
abroadvarietyof subjects, techniquesandlocations. Everyguidewill
featurefantasticimagesandinspirational ideastotryout. We
guaranteethat if youfollowour advice, youwill seeamajor
improvement inyour portrait photography.
Part 6

XRTGUI
TRTRAIT5
HLLS1PH1GRAPHLRS venturing
out toisolatedareas likethecountrysideor
coastlinedosotoshoot eautiful
landscapes, a fair nuner headout withthe
intentionof usingthestunningscenery for
locationportraits. hiletowns andcities
oher all nanner of uildings andrickwork
toshoot against, nothingcannatchthe
diversity of a worldshapedy other
Natureover thenillennia. hether it's the
tranquil settingof a gorgeous greenLnglish
countrysideinsunner, hay ales at harvest
tineor a sunset refectingohthesea ona
longsandy each, thereis noshortage
whenit cones tochoiceof location.
Sowhat's tostopyouheadingout with
fanily neners, friends or willingnodels,
toa glorious locationaway fronthehone
townandspendinga fewhours exploring
thelocationandcapturingstunning
portraits against eautiful ackdrops f
you'reunsureof wheretogo, thendon't e
-pretty nuchany rural locationcane
used, you'vepernissiontouseit andyou're
aletoconposethesceneandlight it how
youwant.
e'veeena littleroadinour denition
of 'rural' sothat we'realetoincludethe
coast inour choiceof locations. As welive
onanisland, it was inpossiletoexclude
thehundreds of niles of sandy, rocky and
clih-facedcoastlineas it ohers suchstrong
locationpotential.
Usethegeneral guidelines coveredon
theseintroductory pages tohelpyou
preparefor shootingoutdoor portraits in
rural locations, thenturnover thepagefor
ehind-the-shoot accounts fronpro
contriutors providingexpert adviceand
ideas for shootingstunningrural portraits.
PR1RA1S. RURAL LCA1NS
IGITAL 5LR HTGRAHY i NLBLR20I3
repareforoutdoorportraits
reparefor shootingrural portraits
1) 5K RI55I!
Avoidwanderingontoprivateproperty
without pernission. 1respassingis an
ohenceandsononatter howphotogenica
locationis, donot think it's okay touse
privatelandtotakepictures. Seek pernission
fronthelandowner inadvance-nost will
allowyouentry solongas youleavethe
locationintheconditionyoufoundit.
2) R LATI5
t's quitepossiletoheadtoafreshlocation
withyour suject andndseveral suitale
ackdrops. However, it's far noresensileto
spendalittletinevisitingdiherent areas and
investigatingtheoptions. 1hat way, onthe
day of theshoot, youcanheadfronone
placetoanother without havingtowaste
tinendingspots toshoot in.
3) WATHR RA5T
eepaneyeonweather forecasts for the
days runninguptoyour intendedshoot.
nowingwhether it will ecloudy or sunny
will helpyoudecidewhether youneedoth
refectors anddihusers. Pay attentionto
windspeed-strongwinds nakeholding
lightingaids dihcult, as well as playinghavoc
withyour suject's hair andclothing.
Lightingoptions
AYLIGHT
1henainadvantagewithusing
daylight is that it's free. Anient light
caneusedas thesolelight sourceor
inconinationwitharticial light for
fantasticresults. eather-dependent,
younay havestrongdirectional light
or soft, dihusedlight towork with, so
a selectionof lightingaids (seeright) is
essential. 1heiggest prolenis that,
whileyoucannanipulatedaylight, it
is never fully under your control soit's
dihcult toplanshoots toofar ahead
as theweather nay change. or this
reason, sonefornof articial lighting
is a goodidea.
LA5HGU5
t was oncethecasethat shooting
withfashguns was conplicatedand
expensiveut that's nolonger true.
lashsystens areincredily accurate
andoher a highlevel of versatility
whileinstant previewallows youto
quickly check exposures andnake
adjustnents. As well as thenarque
guns, various independent rands
oher nanual or dedicatedcontrol,
whileoh-canera (andwireless) fash
is easier andnoreahordalethan
ever efore. 1hereforeusingfashas a
prinary light sourceor conined
withdaylight is a vialeoption.
5TUILA5H
Usingstudiofashonlocationis an
optionif yourequirenorepower
thanfashguns canoher. Portale
studiofashkits arenoreexpensive
thanfashguns ut, if youcanahord
then, you'll ndthenrelatively easy
touse, witha nuner of availale
nodiers allowingyoutoshapethe
light nuchas youwouldina studio.
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ou3ll beshooting
closec4ops s well s
wide4 views, soyou
wnt set o lenses
tht cove4 wide
4ngeo ocl lengths. stnd4d
zoon(I8-!!nn) nd sho4t
telezoon(!!-200nn) will cove4
nost bses. oushouldlsoconside4
dding !0nniI.8intothenix, too
-its st nxinunpe4tu4ellows
o4 ve4y shllowdepth-o-elds well
s hndheldphotog4phy inlowlight.

Refecto4s 4e nust,
withsilve4iwhitebeing
thenost popul4
option. the4 netllic
colou4s likeSun4e
p4ovide slightly no4eppeling
ehect but 4eno4eexpensive. delly
look tohvet lest two4efecto4s
tollowyoutono4eehectively
bouncelight onyou4 subject nd
scene. dihuse4 is goodoptioni
you34eshootinginb4ight sunlight in
exposed4es withlittleo4 nocove4.

ou3ll usully be
hndholdingthe
cne4 sotht you
cnnove4ound
quickly tochngethe
conposition. Howeve4, the4e4e
tines whe4e t4ipodis useul, in
p4ticul4 whenshootingt thelong
endo zooninlight levels tht 4isk
cne4 shke. bll osocket hedis
o4 nny thebest optionwhen
shootingpo4t4its.

Hvingthesunwhe4eyouwnt cnbe
njo4 helpinchievingthelightingtht
you34elookingo4, whilethew4ongtineo
dy cnspoil theshoot. When4ecceing
loction, py ttentiontothesun3s position
nduseconpss (o4 sn4tphoneppsuch
s SunSeeke4) todete4ninethepositiono
thesunt thetineyou34eshooting.

Nudephotog4phy is n4t o4ntonny,
but intheeyes o thelw, beingnudein
publicis const4ueds lewd. ou4 best option
is toginpe4nissiontoshoot in4es tht
4ep4ivtely owned. youdownt to4isk
shootinginpublic, thenuseeve4yp4ecution
ndshoot in4enote4es tht 4e44ely
visited-youny cehety nei cught

you34ethinkingbout shootingonthe
bech, check tidl tines. Dependingonthe
typeo bech, youny ndlowtide4evels
4ockpools nd4ocky outc4ops tht cnbe
useds o4eg4oundinte4est, whiledu4ing
hightides thec4shingwves cnnkeo4
ene4geticbckd4ops, especilly i cptu4ed
ginst colou4ul sunset.
! !

e su4e totke long

bottles o wte4,
sndwiches ndsncks,
especilly i shooting
inve4y isolted
loctions

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raranumbr o tns toconsder
whenshootinginwoodIand: howyour subject
interacts withtheenvironment (amore
successfuI imagecancomefromgettingthem
tomirror thewaybranches faII, for exampIe),
mutedcIothingis better thanbright, anddon't
forget your Iightingaids -you'II needthem!
%hnshootinggnr portrits in
0oos othingsho. trninin
vn. 'll generally ask ny subjects to
wear 'earth' colours suchas green, brown
andgrey as this conplenents thesetting.
Strongcolours likereds, blues andyellows
pushnoreenphasis towards the
clothing, whichisn't a problenonfashion
shoots, but isn't ideal otherwise.
1herandonandsonewhat haphazard
arrangenent of trees neans youdoneed
totakecarewithconpositionandposeas
it's easy for branches andleaves topoint
andpokeandruinaninage. 'vefoundthe
best way aroundthis is toshoot frona
distancewiththelongendof a telezoon
at a wideaperturetoseparatethesubject
a littlefronthebackdrop. 'll alsotry to
havethesubject's poseandstancenirror
sonethinginthescenebehind, suchas
theangleanddirectionof larger branches
or trunks. Whenworkingout theexposure,
'll set nanual node, chooseanaperture
want toshoot at rst, thentry toget the
fashexposureright by varyingits power.
Woods provideawonderfullysecluded
settinginwhichtowork, whichis ideal if
youdowant tocaptureinages of subjects
whoarepartiallyor fullyundressed. 've
pernissiontoshoot inwoods onprivate
land, whichis useful as shootingnude
subjects inpublicplaces canbedescribed
as lewdbehaviour, regardless of how
tasteful theresultant inages are. When
shootinginpublic trytoavoidany
unnecessaryproblens byshootingsubjects
whoarepartiallydressed, thenrenovingthe
clothinginPhotoshopafterwards. Mynodels
nornallywear stick-onbras that aresnall,
skin-colouredgel-likecovers, andthongs,
as theseareveryeasytocloneout. When
shootinginprivatewoods, nynodels have
theoptiontowear theseitens or posenude,
whichever theyfeel nost confortabledoing.
Withnudes, 'll seek a posethat looks
relaxedandconceals as nuchas possible,
thenonce'nsatised, 'll set upthelighting
tosuit thepose. 'll nornally set uponeor
twosoftboxes at a distancetogivea gentle
andnatural lightingehect. Nudeinages
tendtobevery low-key, sotherearenoreal
areas of highlights, just nid-tones and
shadow. 1his nakes it far easier later onin
Photoshoptocloneout anythingthe
subject is wearing, as thenoreprivateareas
areusually bathedinshadow. 'll convert
nost of ny nudes toblack owhitein
Photoshop, addinga sepia or browntone
tonishit oh.
NvLMBLR20I3 i
Fine-art

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Beingbasedinalnouth, onthesouth
Cornishcoast, it's nosurprisetondthat
regularly shoot portraits onbeaches. t's one
of ny favouriteoutdoor locations withlots
of scopefor shootinga variety of
connercial portrait styles. 'nregularly
shootingfashioninages for surf and
beachwear clothingconpanies, brides and
groons lookingfor ronanticinages by the
sea andnoreglanorous calendar shots of
nodels. Sonetines 'll useanbient light
only but 'll oftenuseny Llinchronuadra
portablefashoutt toeither conplenent
daylight or doninatethelighting.
ndays withstrongsunshine, 'll usea
largeSunSwatter dihuser toplaceny
subject inshadeandbouncelight toreveal
detail usinga California Sunbouncenetallic
refector. 1hebackdropis usually a few
stops brighter thanthesubject sowithout
therefector they wouldappear dark or
alnost silhouetted. Whiletherefectedlight
nay bearoundtwostops less bright than
thebackground, it's enoughtolight then
perfectly. 1heresult is a strongdened
ehect, ideal for calendar or fashionwork.
When want tobringanelenent of
beachlifeintotheinage, 'll look for
connonbeachobjects canincludeinthe
inage. Sonetines 'll usebeachhuts inthe
backdropbut withsonebeaches this
requires pernissionrst. As ny nodel,
Carly, is athletic, photographedher by a
beachvolleyball net. usedtwostudiofash
heads for this inage, withonehighand
behindthenet andanother infront.
f you'reshootingonsandy beaches, it's
as
W1H1HUSADS LLS of coastlinein
theU, there's noshortageof options for
anyonewantingtoplacethesea inthe
backgroundof their inages. Whilethereare
areas that areunreachableor toodangerous
toreachonfoot, you'll never beshort of
beaches, bethey sandy or pebbly, touseas
a portrait location.
1hewide-openspaces allowyoutoshoot
at pretty nuchany angle, usingthesky andi
or thesea as a backdrop. Dependingonthe
location, youcouldaddextra colour by
shootingat sunriseor sunset, withthe
colours of thesky beingrefectedonthe
water's surface.
Youshouldbeabletondelenents that
canbeusedtoaddadditional visual interest
suchas groynes, boats andpiers. 1helatter
provides shade, too, whenshootingon
bright days. Beaches areideal for various
types of portraits. 1akethekids alongand
youcancapturegreat shots of thenplaying
inthesandor runningalongthewaterline.
t's anideal location, too, for capturing
teenagers inhipfashionandsurf gear.
And, of course, it's theideal placetocapture
subjects inbeachsports andswinwear.
1hefact that beaches arefreefroncover
neans youneedtobeinfull control of the
lighting. vercast days providea pleasant,
dihusedlight that allows youtoshoot inany
directionas there's nodirect sunlight to
worry about. nclear, sunny days, however,
you'll needtodecideonwheretoplaceyour
subject. Havethesunbehindandyoucan
shoot contre-jour, resultinginan
overexposedbackdrop, witha refector
bouncinglight ontothesubject tolight their
face. r usefashtolight thesubject and
retaindetail inthebackground. Agreat
optionis tohaveanassistant holda dihuser
over thesubject toplacetheninshade.
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06#3 i
worthhavingyour subject lieonthesand
andshoot three-quarter crops. 1he
contrast betweensnoothskinandcoarse
sandworks well andis a popular styleof
photography withfashionandcelebrity
portraits. ndthis styleworks best by
adoptinga very lowviewpoint and
croppinginquitetight. softbox lighting
thefacegives a classicbutterfy ehect,
withtheheadangledslightly upwards to
prevent thesandintheforeground
receivingtoonuchexposure.
neaspect really enjoy is havingny
subject poseinthesea, rather thanonthe
beach. y usingthelongendof ny
/0-200nnlens, canconposethescene
sothat thereis nothinginthefranebut
ny subject, thesea andthesky. 1his gives
a strongsenseof isolationtotheinage
and, becausetherearenonan-nade
elenents inthefrane, it takes ona tineless
appeal. Whenshootingthis typeof inage, ny
favouritetechniqueis tokneel inthewater to
givea lowviewpoint andusea wideaperture.
1heresult is aninagewheretheeyefollows
thesoftly focusedwater intheforeground
without obstructiontothesharply rendered
subject, isolatedinthefraneagainst thesky
behind. 'll usually ask thesubject todiptheir
body inthewater toadda snoothsheento
their skin, whichis accentuatedby thelight
frona softbox heldhighandangledat
around45 tothesubject.
neof ny favouritetines of day to
shoot is at dusk, when'nabletousea
powerful sunset as a stunningbackdrop,
withny studiofashdeningny subject in
theforeground. 'veshot countless fashion
andglanour inages usingthis technique
andit's a very successful fornula that
always goback to.

for fashionandceIebrity
portraits takenonthesand.
Pight: skyour modeI totakeaquickdipin
thesea-it adds aIoveIysheentotheir skin.

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apositiveoutlet intosoneone's lifehad,
rookestartedworkingonaproject shecalls
not|ngPass|on. '1heworkshopinndia
wasn't just about teachingphotography but
alsoabout showingpeoplethat they havea
story worthtelling. decidedtostart
organisingworkshops that anybody could
teach, nonatter what their craft -beit
photography, art, nusicor dance. 1heidea
behindPronot|ngPass|onis that wegive
youthetools neededtoeasily organise,
createandrunaworkshoptohelpthosein
need. ncepeoplebelievethat their voiceis
worthlisteningto, thesky is thelinit.
t's clear that theteachingsideof things
cones naturallytorooke, so askif shehas
anyadvicetosharewiththosewantingto
followher path. 'igureout what nakes you
passionateandinspiredanddothat. Sonany
peoplestart photographybylookingat what
theyneedtodotonakenoney- think
that's thewrongwaytoapproachit. Hunans
arelike-nindedcreatures -if youfocus on
creatingworkthat youlovethenthechances
arethat soneoneelsewill loveit too.
SnadensInspirationinPhotography
/sava//ab/enow. Tov/ewmoreof 8rookes
work, v/s/t. www.brookesnaden.comorto
hndout moreabout tnePromotingPassion
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t's this slant that nakes David's inages
veer awayfronthenoredocunentaryforn
of colour photography, andgiveit theappeal
of ne-art. ''vealways beenanadnirer of
blackowhitephotographyandwildlife, soit
nadesensetonetopresent nyworkinthat
way, Davidagrees. ''vealsoapreferenceto
ne-art over docunentarystyles, sothat
nakes evennoresensetone.
Sodoes healways envisageit inblack
owhiteor is that sonethingthat happens
duringthepost-processingstage
't is usually a decisionthat is nadelater
-sonetines feel aninageis best left in
colour. f not, then will exploreit using
black owhite. 1oforceaninagetoblack
owhitefor thesakeof it canbea nistake,
andsonetines anunsuccessful colour
inagecansucceedinblack owhite. nd
it quiteunpredictableas towhat succeeds
(andwhat does not succeed) inblack o
whiteuntil 'veattenptedit rst. 'noften
surprisedat what cones out inthe
processingstage, adnits David.
Daviddoesn't placehugeenphasis on
Photoshop, however, preferringinstead
tokeeptheinages as natural as possible.
' predoninately useLightroon, althougha
fewearly exanples wereprocessedusing
Photoshop, heconfesses. ' avoidcloning
andconpositing, soLightroonis pretty
nuchall needtoday.
Sowithin-canera techniques critical to
his success, theright kit has tobeinthebag,
but healsoprefers tokeepthings sinple
heretoo. a canera andlenses is pretty
nuchall heextends to. ' useNikon, fron
a D300for theearliest inages, toa D/00,
thena D3, thentothetwoD800Ls that
usetoday. 1heD800Ls providenethe
optiontoenlargeprints toa very large
sizewhileretainingsonenedetail. 1he
dynanicrangeof theseat lower Ss is
alsoinpressive, says David. 'or lenses,
prinarily usea Nikon400nnfi2.8,
sonetines witha 2x converter. alsousea
/0-200nnas well as various wide-angles.
My favouritelens for a longtinewas Nikon's
200-400nnzoon. tendtokeep
everythingsinpleandstraightforward, so
ndlittleusefor fash, lters andrenotes.
Sinplebut ehective-sowhat's thebest
advicehecanoher tonakeyour ownwork
standout 'irst, showas nany peopleas
possibleyour pictures andonly showyour
better ones. Second, takepictures for
yourself andlet your stylendyou. Don't
worry toonuchabout what other people
nay think. Andlastly, youneedn't necessarily
takepictures that are'diherent' fronothers
-takepictures of connonthenes and
subjects, but nakesureyoudothenwell.
Great advice, David, welikeyour style.
av/ds
workandtov/ewn/s
co//aborat/onw/tnscu/ptor
RosamondL/oyd, neadto
tneRoya/ OperaArcade
Ga//ery/nLondonbetween
!8-J0November 20!Jor
v/s/t. www.dav/d//oyd.net




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regard. 1hecaneraasawholeoperates
snoothlyandquickly, deliveringinageswith
accuratecolour reproduction, snoothskin
tonesandlownoise. nagesuptoS800
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Howtoreadthe lens sharpness graphs
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at 200nn, conparedtorivals' I.8. Basically
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closer rangethis oftenreduces -so-called
'focus-breathing' -andat nininundistancea
narked200nnnay benorelikeanactual
I50nn. 1his lens fronCanonsuhers nuch
less withthis.
: Autofocus is snooth
andquiet, andlightningfast. nthenear-to-far
speedtest, theCanonaveraged0.45seconds
-thefastest of all thelenses here. t focuses
quicker thanyoucanthink. 1here's full-tine
nanual override, too, of course.
nagestabilisationclains four stops shake
reductionconparedtothenornal
handholdingruleof thunb, withdual nodes
for nornal andpanninguse. 1his checkedout
witha 60success rateat four stops under,
risingto90at threestops, whichis very nuch
thestandardfor thebest inagestabilisation
systens thesedays.
: 1heM1 graphs say it all
really. nfull-frane, sharpness never drops
belowthe/0'excellent' line, at any focal
lengthor aperture, centreor edges. t's nostly
runningbetween80and90through
nid-rangeapertures fronfi4tofi8-
renarkableperfornance. nthehigher
APS-Cstandard, it's not far behindeither, never
less than'very good' andnostly well intothe
'excellent' zone.
Aberrations control is not a problen, with
distortion, vignettingandCAall scoringeither
'very good' or 'excellent'. Peak resolution
neasureda highII/ lines-per-nnat 20
M1, recordedinthecentreat /0nnfi4.
F70-200mm
f/2.8LII USMIS
21,87
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(Full-frame Vergood (PS- Vergood
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(Full-frame Excellent (PS- Excellent

enshrpness(X): 157mm dge en3re

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/
Test Centre

29l29
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HLRLARLURreally excellent lenses here.

All super-sharp, well built, withfast A and
ehectiveinagestabilisation-they all deserve
a Highly Ratedrosette. noverall perfornanceterns,
thediherences arerelatively ninor but if it cones to
splittinghairs, theCanoncones top. t's fabulously
sharp, withthefastest A, andbest close-focusing
perfornance. But it alsocosts a hefty I,850.
1heNikonnatches it every inchof theway,
includingruggedbuildandprovenweather-
resistance, andinreal usethediherences arevery
slight -plus it's a bit cheaper.
1anron's new/0-200nnfi2.8vCinproves
substantially ontheolder version. Sharpness is right
uptherewiththebest, theUSDautofocus systenis
excellent, andsois 1anron's nifty inagestabilisation
systen. f theweather-resistant buildlives uptohard
use, it's goodvalueat I,I00.
Whichleaves theSigna, andwhiletechnically its
perfornanceis weakest of thegroup, a fairer
descriptionwouldbe'slightly less brilliant'. verall
it's still very sharp, withtheoneexceptionof softness
towards theedges at 200nn. 1heA is fractionally
slower, too, andthere's noweatherproong, but set
against thosethings -they nay not besignicant in
practice-it's sinply fantasticvalue. At 900, it's
barely half thecost of Canonor Nikon, andthat
nakes it anirresistibleBest Buy.
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