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Issue 154

PERFECT

MODEL
SHOTS
Top styling & location advice
Get more from your subject
In-depth

HOW TO GET
PUBLISHED
CREATE
LIGHT RAYS
85MM LENSES
ON TEST

DXO
OPTICS
PRO 8 ELITE
STEP-BY-STEP
GUIDE INSIDE

CAPTURE
STRIKING
FIREWORKS

Getblur-freeimagesfullof
vibrantcolourinsixsteps

VISTAS
WITH
IMPACT
Allthetipsyouneedtotake
stunningshotsofanyscene

CREATIVE
SHOOTING
PROJECT
Discover how to
take frozen shots
with a difference

ISSUE 154

THE ART OF
STREET PHOTOGRAPHY

Damien Demolders tricks for capturing candid moments

645Z
RATED
A landscape professionals
verdict on the 51.4MP camera

WorldMags.net

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WELCOME

Jason Moore

WorldMags.net

Sometimes all it takes to turn a standard portrait into

a stunning one is a subtle change in the eyes
Whats the secret to a striking
portrait shot? Its something all
aspiring shooters are striving for,
and there are many aspects that
make up that questions answer.
However, sometimes all it takes
to turn a standard portrait into a
stunning one is a subtle change
in the eyes, transforming a forced
expression into a much more appealing, natural one.
On p24 we teach you tricks to help you get more out of
models, from achieving natural, relaxed expressions,
to posing advice, styling tips, and even how to select
the model in the rst place. Use our advice to put your
model at ease and youll see that subtle change in their
eyes that can make a portrait come to life.
This issue we challenged our lens expert Kevin Carter
to put four budget portrait lenses through their paces.
Find out which came out on top over on p96. If candid

portraits are more your thing, we also have an in-depth

guide to street photography from expert Damien
Demolder on p44. Hes taken time out from his regular
workshops to tell us his top techniques, recommended
cameras and much more.
For landscape acionados we also have a
comprehensive guide to perfecting any scene, from
seascapes to woodland, and deserts to low-light
landscapes on p34. Theres also a creative still life
project on p54 involving frozen owers, a tutorial on
capturing striking reworks on p60 and the Pentax
645Z gets rated by a landscape pro on p104. On top of
this, we take a look at how to publish your photographs
in a book over on p74.
I hope you enjoy this packed issue, and dont forget
to share your shots and images with us online at the
www.dphotographer.co.uk gallery.
Amy Squibb, Editor

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WATCH

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NOW

I N S P IR IN G P OR TRA ITS
Learning lighting can be an inspiring
experience when you have the right
lights...and the right teacher.

Building dramatic portrait

lighting one light at a time...
by Tony Corbell.
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lit watch the video online.

TeamBOWENS.com

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Magazine team
Editor Amy Squibb
amy.squibb@imagine-publishing.co.uk
 01202 586210

Senior Staff Writer Matt Bennett

Staff Writer Lauren Scott
Production Editor Philippa Grafton
Photographer James Sheppard
Senior Art Editor Duncan Crook
Editor in Chief Dan Hutchinson
Publishing Director Aaron Asadi
Head of Design Ross Andrews
Contributors
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Imagine Publishing Ltd 2014

ISSN 1477-6650

14,511
Jan-Dec 2013

MATT
BENNETT

LAUREN
SCOTT

MARK
BAUER

Website:

Website:

Website:

dphotographer.co.uk

dphotographer.co.uk

markbauerphotography.com

Our Senior Staff

Writer Matt
previously worked
as a professional
photographer in Australia. This issue he
tells us how to get the best from your
models on p24, including top posing
advice, styling tips and more. He also has
a fun frozen still-life shooting project for
us over on p52.

Staff Writer Lauren

is an underwater
photography and
landscape expert
with a degree in Marine and Natural
History Photography. This issue she
talks about how to get stunning results
when shooting seascapes, woodland,
low-light landscapes and more on p34,
helping you to perfect any scene.

Pro photographer
Mark is the
co-author of
The Landscape
Photography Workshop and runs
regular one-on-one courses for
aspiring landscape photographers.
He has taken the Pentax 645Z into the
eld to see how the medium-format
model fares. Read his verdict on p104.

DAMIEN
DEMOLDER

KEVIN
CARTER

ROCCO
ANCORA

Website:

Website:

Website:

damiendemolder.com

dphotographer.co.uk

roccoancora.com

An expert in kit and

techniques, Damien
Demolder also runs
regular workshops on
street photography. On p44 he shares
with us his top techniques for great
candid street images, including focal
lengths, composition and lighting tips,
his recommended cameras, tools and
equipment, and more.

Kevin is an expert
in all thing lensrelated, knowing
the ins and outs of
the top glass on the market. This issue
he puts four budget portrait lenses
through their paces to see which
comes out on top, and which is worth
your cash. Turn to p96 to check out his
reviews and test shots.

WorldMags.net

Australian wedding
photographer
Rocco Ancora
has won multiple
awards, including Victorian Professional
Photographer of the Year among others.
This issue he talks about his techniques,
including lighting advice, and also gives
his top ve tips to help you take better
wedding shots today.

In Focus
WorldMags.net
YOUR FREE
DOWNLOAD
Turn to p112 to get hold
of your bonus
content

08 Digital Photographer
Of The Year Awards
Take a look at the latest entries
nd out the winner next issue!

12 Story Behind The Still:

A wildlife interaction

Contents
Issue 154

Your Images

Digital Photographer Of The Year entries so far

08

Uncover the tale behind a

fantastic animal image

14 News
Announcements from Photokina,
including the Nikon D750

Shooting Skills
54 Creative project:
Frozen owers
A stunning shooting project for
macro acionados

60 How to capture striking

rework images
Get blur-free shots full of vibrant
colours in just six steps

Image Editing
62 Enhance your images
with DxO Optics Pro 8
How to use this great software,
free to our readers this issue

66 Easily add light rays

to your landscapes
Use Photoshop to create a great
light effect for stunning vistas

Helpdesk
70 Top lens advice
Attila Hajdu

Lens tips and recommendations

from a photography-kit expert

74 How to get your photos

published in a book

Techniques

The pros talk you through

creating a collection of your own

Improve your shooting and editing skills

Jason Moore Photography

24
Perfect your
model shots
Discover how to get
more from your portrait
shoots, including posing
and styling advice

Reviews
96
Portrait
lenses rated
Which lens is
best for you?

34
Vistas with impact
Discover top tricks on
how to perfect any
scene, from woodland to
seascapes, to low-light
landscapes and more

46
Capture life on
the streets
Damien Demolder
talks us through his
techniques for better
street photography

Discover the latest cameras, lenses and much more

104
108
Pentax 645Z Nikon 1 V3

110
Software

The 51.4MP
kit examined by
a landscape pro

Expert views
on the latest
editing tools

Is third time
a charm for
this series?

WorldMags.net

78 Essential tips for

studying photography
The key facts you need to know
when thinking of taking a course

80 Low Light in London

with the Nikon School
Tricks for shooting after the Sun
goes down, from Nikons experts

Portfolio
16 Rocco Ancora on
wedding essentials
One of Australias top wedding
specialists on perfecting shots

84 Dr Alex Mustard takes

us below the ocean
Delve into these inspiring shots
from an underwater master

WorldMags.net
The art of street
photography

Perfect
model shots

24

Creative
macro project

54

Discover a
hidden world

84

104

Pentax 645Z
put on test

Paolo Puopolo

Subscribe
and save

50%

Turn to page 68, or go online

and buy direct from

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Alex Mustard

Damien Demolder

46

Joshua Zhang

34

Vistas with
impact

2014
WorldMags.net
of the year

Your entries
so far
The Digital Photographer of the Year
Awards are now ofcially closed and
judging is underway! Here we show
some of the fantastic shots submitted

Head
back next
issue, where
we reveal the
winners!

Top

Above

Opposite top

Paul Spear

Craig Richards

Pawel Prus

Image title: Sandwich Tern

DP Gallery address: paulspear
Category: Wildlife
Paul Spear:
I spend a lot of my spare time
photographing seabirds in North Wales
and my favourites are the terns. This shot was taken
at the breeding colony in Cemlyn Bay, Anglesey. I
prefer to use manual focus for capturing birds in ight
as I nd the autofocus struggles to keep up.
Digital Photographer: This image is a lovely wildlife
shot, freezing the ight of the bird. Well done to Paul
for capturing the tern carrying its dinner.
Shot details: Nikon D7000 with Sigma 150-500mm at
290mm and f13, 1/800sec at ISO 400

Image title: Holy Island Milky Way

DP Gallery address: untiedshoes
Category: Night shots and light
painting
Craig Richards:
I used The Photographers Ephemeris
app to nd out when the Moon would rise and fall,
and I took numerous images for the foreground until
the Moon dipped below the horizon behind me. The
images were stitched together in post-production.
Digital Photographer: This is a fantastic example of
astrophotography. By exposing for the foreground and
sky separately, Craig has captured an immersive shot.
Shot details: Nikon D800E with 14-24mm at 14mm
and f2.8, 30 seconds and ISO 1600

Image title: Run

DP Gallery address: Pawel Prus
Category: Portrait and self-portrait
Pawel Prus:
This photo was taken on a visit to
Poland this summer, in a beautiful
palace in Wasowo. During the golden hour, we used
part of the garden with the fountain in the background
and asked the girl to run towards the camera in
position to shoot against the Sun.
Digital Photographer: In this charming portrait Pawel
has made use of evening Sun to backlight the subject.
The wide aperture creates lovely bokeh too.
Shot details: Nikon D800 with 105mm at f2.2,
1/1250sec at ISO 500

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WorldMags.net

Above middle

Above-left

Above

Glenn Driver

Damien Walmsley

Sebastian Wuttke

Image title: Edge

DP Gallery address: GlennD
Category: Landscape
Glenn Driver:
This image was taken at Cuckmere
Haven in East Sussex. The chalk
cliffs in the distance are the Seven Sisters. When I
arrived, conditions were perfect for long-exposure
photography with dark, brooding and fast-moving
clouds overhead.
Digital Photographer: Glenn used a monochrome
effect to create atmosphere. By using a lter, this long
exposure has rendered the water silky smooth.
Shot details: Canon EOS 70D with 17-50mm at 25mm
and f14, 248 seconds at ISO 100

Image title: I am going to need a

shower
DP Gallery address: Dammo
Category: Macro
Damien Walmsley:
I was setting up for a detailed macro
shot when this garden y landed on a ower, so I
quickly took a photograph. The picture was shot in
RAW and then cropped to bring out the insect. All
editing was done in RAW to bring out the clarity.
Digital Photographer: Macro often suffers from a
limited depth of eld, but Damien has taken advantage
of this and isolated the insect from a busy background.
Shot details: Canon EOS 6D with 100mm macro and
f5.6, 1/1600sec at ISO 400

Image title: Brenda Final

DP Gallery address: sebastianwuttke
Category: Portrait
Sebastian Wuttke:
This is a water-based white paint shoot
of my model in a bathtub. I used a
single ashlight positioned at the top and then used a
white reector positioned underneath the face to even
out the shadows. I did some retouching in Photoshop
Elements then converted the image to black and white.
Digital Photographer: This is a great example of a
creative portrait, and is striking in its deviation from a
standard capture. The lighting and exposure is spot on.
Shot details: Canon 6D with 24-105mm at 105mm
and f7.1, 1/100sec at ISO 100

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WorldMags.net

Top left

Top-right

Above

Marian Masar

Jason Ferdinando

Neil Jayaratne

Image title: Lunar Illumination

DP Gallery address: marionsan
Category: Travel
Marian Masar:
The lightning system of the Sheikh
Zayed Mosque in Abu Dhabi has been
designed to reect the phases of the Moon. Soft
clouds are projected onto the white marble external
surfaces of the mosque including the facade and
domes. Each day is different as the cycle changes.
Digital Photographer: This composition draws the
eye midway into the shot, but it works well to give
equal measure to the structure and the reections.
Shot details: Panasonic DMC-FT5 with 28-128mm at
28mm and f3.3, 1/8sec at ISO 100

Image title: Sunrise over High

Farndale
DP Gallery address: northernvoid
Category: Landscape
Jason Ferdinando:
The Sun was rising, burning off the
early-morning mist and seemingly setting the valley on
re well worth the early start and cold extremities. I
shot this bracketed then layered them in Photoshop to
bring out the detail in the highlights and shadows.
Digital Photographer: By shooting this landscape at
an early hour, Jason has caught the attractive golden
light ltering through the mist.
Shot details: Canon 5D Mark II with 24-105mm at
24mm and f20, 0.6 seconds at ISO 100

Image title: London Blue Eye Hour

DP Gallery address: midnightrunner
Category: Travel
Neil Jayaratne:
This photo was taken on one of our
many walkabouts we arrange in
London for other photographers. This particular one
was the Blue Hour walk, which is eight hours long, to
experience this at 5am from Westminster Pier.
Digital Photographer: Neil has captured a beautifully
quiet atmosphere in this shot of London, and the slow
shutter is just enough to make the Thames appear
milky and calm.
Shot details: Nikon D300 with 20mm at f8, 15
seconds at ISO 100

10

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WorldMags.net

DPOTY AWARDS

Top

Above left

Above right

Attila Hajdu

Craig Jeavons

Kyle Moore

Image title: Summertime

DP Gallery address: 1808
Photography
Category: Fashion
Attila Hajdu:
When I saw this location, I instantly
knew that I had to take photos here. I had a shoot
organised with Bexie and managed to get hold of a
Vespa too. We got lucky as the sky was dramatic and
the wind was blowing her hair and dress.
Digital Photographer: Attila has chosen to display the
model in her surroundings, and the juxtaposition of
dramatic clouds and sunlight works well.
Shot details: Canon EOS 550D with 85mm at f2.5,
1/3200sec at ISO 100

Image title: Flying high

DP Gallery address: craigjevs
Category: Action and sport
Craig Jeavons:
The stunts these guys were pulling
were amazing, so I started practising a
technique of focusing on the biker during their run up
to the ramp, then taking multiple shots in burst mode
while in the air. It seemed to work and I got a couple of
really cool shots, including this one.
Digital Photographer: Craig has done well to focus
on his subject at high speed, and the use of negative
space in the composition suggests direction.
Shot details: Canon EOS 500D with 75-300mm at
300mm and f5.6, 1/800sec at ISO 100

Image title: Pufn avoiding gulls

DP Gallery address: kylemoore98
Category: Wildlife
Kyle Moore:
This pufn had just returned from the
sea with food for its young. After a
quick dash into its burrow to avoid gulls it returned to
the surface. I decided to go for a low-angle approach,
which resulted in blurring all the grass and a simple,
pleasing image.
Digital Photographer: By using a long telephoto lens
and wide aperture, Kyle isolated this seabird from a
busy background, resulting in a sharp wildlife portrait.
Shot details: Canon EOS-1DX with 500mm at f4,
1/1000sec and ISO 500

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11

IN FOCUS

WorldMags.net

Story
behind

still

the

All photos Chris Boulton

Photographer: Chris Boulton

Website:
www.christopherboulton.com
Location: Marwell Zoo, Winchester, UK
Type of commission: Personal work
Shot details: Sony A350 with a
170-500mm lens at 300mm, f6.3,
1/320sec, ISO 400

About the shot: Capturing a touching moment like this

is something photographers strive for, and being able
to record the natural behaviour of animals is a privilege.
Here, Chris Boulton has documented a fantastic
interaction between a mother and its cub at Marwell
Zoo. I really enjoy capturing that moment in time and
raising awareness of the beauty that nature has to offer
us, Boulton says. I visit Marwell probably once a month
to update the portfolio and see what has changed, plus
the presence of new cubs is always a draw.
This shot netted Boulton a runner-up accolade
in Marwell Zoos Wildlife Photographer Of The Year
competition. Ive been a long-time visitor to Marwell
and felt that this year I was in with a chance, having had
several comments on this particular shot Anything
that can be done to raise awareness for these beautiful,
yet sadly endangered animals has to be a good thing.
So what does Boulton see as the key to capturing this
kind of moment? The most important [skill] is seeing
the shot with the human eye. At the end of the day,
its the photographer that sees and takes the shot, not
the camera With this sort of shot, its more about the
timing and being in the right place at the right time with
a camera at the ready, even if this means a long wait.
Right

Mothers Love
According to Boulton, this shot
illustrates the coming together
and closeness of the pair

12

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13

IN FOCUS

WorldMags.net

Top
news
from

Photokina

Above
Users can adjust
the 3.2-inch
screen and angle
it according to a
horizontal axis
Left
The screen can
be tilted even
when the camera
is on the tripod

The optional kit lens is

the 24-120mm

Nikon releases the full-frame D750

The compact and lightweight D750 is Nikons first FX-format camera with a tilting LCD screen
The latest high-end DSLR from Nikon,
the D750, has been released, which
will sit between the D610 and D810
in the companys range. Nikon says the new
model is streamlined for compactness, and
weighing 750g, the camera body is certainly
lightweight. Inside, there is a 24.3-megapixel
FX-format sensor, coupled with 51 AF points
and a top burst rate of 6.5fps.

An impressive battery life should keep you

shooting for longer, estimated to capture 4,420
still images without ash, and 55 minutes of
video on one charge. Full HD movie recording
appears to be a standout feature, with full
manual control over footage and an included
stereo microphone to record clear sound.
The D750 is Nikons rst FX-format camera
to feature a tilting LCD, and the 3.2-inch

1229k-dot screen tilts upwards and downwards

to aid framing from awkward angles. Once
the shots have been captured, they can be
transferred straight to a smartphone or tablet,
thanks to the welcome addition of built-in Wi-Fi
or Eye card support, a feature that can be
overlooked in expensive models. The Nikon
D750 is available now for an RRP of 1,800 /
$2,300 (body only).

Worlds rst Bluetooth-equipped CSC

Samsungs NX1 has pro features and a variety of ways to keep you connected
Samsung has announced the NX1, its new agship CSC.
At a rst glance it resembles a traditional DSLR, with a
dust and splashproof magnesium alloy body, and in a rst
for the NX range, theres also an LCD panel on top of the camera.
The body is lightweight at 550g, but features a chunky handgrip
to give the user a rm hold when larger lenses are attached.
The imaging specs seem impressive, and the new NX1 boasts
a 28-megapixel APS-C CMOS sensor, supported by Back Side
Illumination (BSI), which can produce 14-bit RAW les even in
low light. It doesnt disappoint as far as video is concerned either,
capable of recording in a 4K format. The camera has plenty
of connectivity features, with almost the same amount as a
smartphone. According to the company at the time of writing, the
camera is the worlds rst Bluetooth equipped CSC, and comes
with built-in Wi-Fi functionality and NFC. For more information and
to pre-order, visit www.samsung.com/uk.

The new 50-150mm premium telephoto

lens has been made with the NX1 in mind

The 3-inch Super AMOLED LCD is touchsensitive and can be tilted up and down

KEEP INFORMED: For more news, updates and inside information from the ever-changing world of digital photography, be sure to pay a visit to

14

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WorldMags.net

NEWS

In other
news
More snippets of
photo news from
around the world

Left
The only obvious
physical change
from the 7D is the
repositioned DOF
preview button

Small wide-angle
Sony has released the new
ZEISS 16-35mm f4 lens for
its full-frame format
cameras. The design is dust
and moisture resistant, with
built-in image stabilisation.
Due for release in November
2014, pre-order now or nd
out more at www.sony.co.uk.

Below
A small protrusion in
front of the hotshoe
includes a GPS module

Canon EOS 7D Mark II

is built for speed
Is the new model worth the ve-year wait?

New Panasonic kit

Panasonic has announced
the DMC-LX100, a 12.8MP
compact with a Micro Four
Thirds MOS sensor. Also
announced was the DMCGM5, an ultra compact, 16MP
CSC with a built-in 1,166k-dot
electronic viewnder.

100 years of Leica

A host of new cameras have
been announced by Leica AG,
including the medium-format
Leica S-E and more compact
V-Lux. Some other
commemorative models
were announced, marking
100 years of Leica. See more
at www.leica-camera.com.

The much-awaited new EOS 7D Mark II has

been unveiled by Canon an evolved version of
the iconic 7D, which was released in 2009. The
new model has been completely rebuilt and redesigned,
delivering the performance of its predecessor and a
whole lot more. The Mark II can capture 10fps in full
resolution, thanks in part to a newly designed shutter
and mirror drive mechanism. This quick responsiveness
is matched by a fast 65-point AF system, which
compared to the old models 19-point AF, should lock on
to subjects rapidly. Speed is the name of the game with
this new body, designed for enthusiast photographers
to shoot a world of ever-changing action, according to
the ofcial release.
Inside the camera, the new 20.2-megapixel APS-C
CMOS sensor has a native ISO range of 100-16,000,
which expands to ISO 51,200, and in terms of
connectivity, several features have been added. There
are now dual card slots for CF and SD cards, as well as
built-in GPS and a digital compass, although Wi-Fi still
isnt an option. For keen videographers, Full HD video
recording is offered. On the outside, there are minimal
changes to the button layout, though theres a new
AF mode selection lever that lets you change settings
without taking your eye away from the viewnder.
On the back of the camera, the three-inch 1040k-dot
screen is xed, unlike some similarly priced models, but
the viewnder has 100% coverage, and like the 70D, is
active so you can view setting changes through it.

The body certainly looks like the 7D in design, but

the newer version weighs in at 90g heavier than its
predecessor, with improved weather resistance and a
tough magnesium alloy chassis. Sealed against dust
and moisture, its now the second best in the companys
line-up for weatherproong, and could be a worthy
investment for sports and action users.
Canon claims that the 7D Mark II will have that the
best performance of any APS-C camera on the market,
and its due to become on sale at the end of November,
priced at 1,600 / $1,799.

The Mark II is similar in size to its predecessor, but does see

some changes to button layout. With 10fps, the new release is an
appealing choice for sports and wildlife photographers

the website, www.dphotographer.co.uk, and if youve got a story, you can email the magazine team at team@dphotographer.co.uk

WorldMags.net

15

INTERVIEW

WorldMags.net

Wedding
wonders
All images Rocco Ancora

Rocco Ancora
reveals the
ingredients of his
photographic
success in the competitive
wedding photography market
Above

Cake cutting
A lot of people think this image
is staged, but its not. I like to
use off-camera ash, as I think it
adds to the drama of the shot

16

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WorldMags.net ROCCO ANCORA

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17

INTERVIEW

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he winner of multiple awards for

his work as one of Australias most
sought-after and respected wedding
photographers, Rocco Ancora (www.
roccoancora.com) is an expert in his eld a
eld he chose due to the variety it has to offer.
When I rst began photography I had
many ideas or aspirations to become
a photojournalist or famous fashion
photographer or a landscape photographer,
but what I found was that with wedding
photography, I could tie all those genres
in together, he explains. I can be a
photojournalist and photograph all the
emotive moments throughout the day. I
can be a fashion photographer, [shooting]
beautiful gowns on brides. Then I can be a
landscape photographer. When Im presented
with beautiful opportunities with an amazing
landscape, its wonderful to put people in it and
create something emotive with the landscape
and a bride and groom.
Despite his success, Ancora is disarmingly
humble and modest. I dont consider my work
unique, he says. I believe my work is emotive
it captures emotion through different mediums,
whether its through incredible light or being
able to see a moment and capture it but I
dont really think my work is that unique. There
are lots of amazing photographers out there
and I think that my work is good but dont
think its unique.
A big believer in the importance of highquality printing, Ancoras approach to wedding
photography is driven primarily by the quality
of the end product and what he describes as
being able to see the nal print when I make
a photo. Pre-visualising the nal image then
informs the decisions that Ancora chooses to
make in-camera.
I kind of work backwards, he says. I know
what my abilities are in post-production and
how far I can push an image that gives me
incredible condence in knowing where to put
highlights and shadows to create that ultimate
print and I guess in post-production there is
a distinctive look that I have these moody
images that I create.
Ancora says that he strives to take as much
control of the camera as possible during
shooting. Manual exposure frees you from
camera meters that get fooled by black suits
and white dresses, he explains. Once you
remove that technical equation out of your
head, you then have the freedom to just
see and create which is what I love about
shooting in manual exposure.
This also extends to the white balance.
Most of the time I like to shoot by manually
dialling in the colour temperature to suit
what Im shooting. So, for example, if Im
shooting daylight, Ill set it to 5200K. If I am
photographing under tungsten conditions, Ill
set the camera to 4800K. Even though Im

18

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WorldMags.net

Above-left

Little boy
This page boy was so bored
with the preparations. I wanted
to capture that emotion
Above-middle

City skyline
For personal projects, I shoot
architecture, and this shows
my work with couples
Above

Bride and groom

Ancora never uses on-camera
ash, instead placing it away to
add depth to the image
Far-left

Silhouette of bridal party

The subjects were behind a
frosted window, so I placed the
ash on the other side
Left

Bride coming downstairs

For this shot there was an
amazing shaft of light that lit
the parents perfectly

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19

INTERVIEW

WorldMags.net

You need to spend

some serious time
with a professional
that is willing to take
you under their wing
and work as an
assistant on shoots
shooting RAW, I like to limit the amount of
corrections that I have to do later. I want to be
able to see as close as I can colour-wise, and
emulate it in the capture there and then.
Another key element of Ancoras approach
to photographing weddings is to favour natural
light as much as possible, only using articial
lighting with extreme care. I never use ash
on-camera, he says. I like to always shoot
with the ash off-camera, as this creates
depth with shadows and highlights in an image.
Thats the same with other light sources, like
tungsten or LED continuous light sources its
about positioning that light source to create
beautiful shadows and depth.
Ancora believes that misjudging the way
the bride and groom are posing is the biggest
mistake. Its easy to be seduced by beautiful
backgrounds, he says. As a print judge,
judging competitions all over the world, I see
beautiful locations with amazing composition,
only then to be let down by a really silly pose
that doesnt really work in communicating a
message. That is a real shame because you
can see the amount of time and effort that has
gone into bringing all the elements together,
but then [the photo] fails at the most basic
element, which is beautiful, elegant posing with
the bride and groom.
In terms of posing, Ancoras advises close
attention to the subjects arms. Try to avoid
straight arms, especially with the bride, he
says. The joints need to have nice bends to
them; the wrists, the elbows should have a
certain ow to them. He recommends that
aspiring wedding photographers spend some
time working as an assistant before attempting
weddings of their own. First and foremost
you need to spend some serious time with a
professional that is willing to take you under
their wing and work as an assistant on shoots,
he advises. Understand that in weddings,
while we need to be incredible in our technical
abilities to create an image, the people skills
Right

Couple at the bottom of the stairs

I photographed this with a wide-angle lens
to enhance the lines of the balustrades,
which lead nicely to the bride and groom

20

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WorldMags.net ROCCO ANCORA

WorldMags.net

21

INTERVIEW

WorldMags.net

A good wedding image, for me, has to be

Shoot like Ancora
full of emotion. It has to be full of emotive
Rocco Ancora tells his approach
to
content; it has to have storytelling elements a wedding shoot in ve steps
that are involved are a far greater part of the
equation [than technical skill]. Understanding
how to deal with people is very, very important
and this is something that you can pick up by
going out and assisting photographers.
This is something that Ancora actually
did himself at the start of his career. When
I rst began in the industry, I assisted a
photographer for a good 12 maybe 18
months with no pay; my pay was in the form
of experience. I learnt so much during this
time, so when the time came to shoot my rst
wedding I knew most of the traps that you can
fall into as a wedding photographer. It gave me
experience in shooting in great light, bad light,
winter, summer, bad locations, good locations
that experience is invaluable. There is nothing
worse than going out on your rst wedding and
failing, only then to destroy your condence
and then never again wanting to shoot a
wedding which is really sad.
Emotion is the key ingredient of a great
wedding image, says Ancora. A good wedding
image, for me, has to be full of emotion. It has
to be full of emotive content; it has to have
storytelling elements. As a viewer, I want to
look at the image for a long period of time and
I want to be kept there and that is to me what
makes a good wedding image.

22

Ancora tries to avoid excessive skin

retouching. Ninety-ve per cent of the work
that I do to my wedding images is done in
Lightroom, he explains. [Things like] colour,
contrast and density. Images that make the
album will get more attention in Photoshop,
where Ill retouch things like removing
blemishes from skin and so on. Im not a huge
believer in making brides look unrealistic with
bad retouching and making them look like
porcelain dolls; I still want people to look like
people and thats what my clients love, the fact
that they still look like themselves.
Today, Ancora is focusing increasingly on
teaching, leading workshops both at his home
in Australia and internationally, including a
sold-out workshop in London in 2014. Despite
this change in direction, Ancora still wants
to carry on working behind the camera. I
still want to continue shooting weddings, Im
fortunate to have a wonderful client base
and the advertising that I do is purely
DP
through my website.

Above

Bride coming downstairs

Being prepared and observant is key to an
image like this. This shot won the Grand at
WPPI 2011 for Wedding Photojournalism

WorldMags.net

Look at the light

Once youve assessed where the
good light is coming from, look at
the relationship between the light
and what the background is doing.
Consider focal length
Think about the background. Am I
going to shoot this wide at 35mm?
Maybe I want to compress [it] and
shoot at 200mm?
Work out your manual exposure
If Im working with a beautiful
shaft of light, say, hitting the bride,
then Ill meter for that highlight, so
that I can retain nice detail while
darkening the background.
Position the subject
Once all of the previous steps are
set, position the subject into the
light that you want to photograph.
Create the shot
This is the most important part
of the equation the ability to
communicate and to draw specic
emotions out of your subjects.

WorldMags.net

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TECHNIQUES

24

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PERFECT MODEL SHOTS

WorldMags.net

Get the most from

amateur and professional
posers alike to capture
your best portraits yet
ather like a lm director working with
a cast, as a portrait photographer its
vital that youre able to get the best
from the people who pose for you. No
matter how stylish, attractive or experienced
the model is, if you as a photographer arent
condent, your shots could just fall at.
After all, amateur models will not have
the experience to lead the shoot themselves
with practical and creative suggestions, while
professional models will have worked with
other photographers who will have been very
clear with them in terms of what they want. If
you give your model the impression that you
dont seem to know what youre really looking
for, they will likely respond by becoming tense
and uncomfortable, ruining your chances of
capturing stunning portraits completely.
While it can seem daunting at rst, working
with models is not really all that difcult to do,
especially with a little practice. Throughout
this feature, youll discover how to make sure
that you are getting the best from your model,
whether theyre a seasoned professional
or a friend whos posing for you in order to
supplement your portfolio and boost their
own prole.

Jason Moore

PERFECT
MODEL
SHOTS

Melissa Rodwell

Left

Model matters
Working with models successfully is as
much about your people skills as your
prowess behind the camera

Jason Moore Photography

Paulo Puopolo

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25

TECHNIQUES

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Shoot friends and family

Use the people you know and everyday locations to hone your skills
Working with models isnt all about
photographing professionals who pose for a
living, by any means. Often when people realise
that you are a photographer, you will nd that
you have access to friends and family who are
keen to pose for you. If youre interested in
developing your portrait skills, then this is an
avenue thats worth exploring.
Indeed, there are a number of skills that
you need to develop many of which do not
exactly have much to do with photography. If
you spend some time, at least at rst, working
with people you already know, you can skip
one of the most challenging of these: breaking
the ice. It can be surprisingly hard to do so
successfully unless youre relaxed, condent
and feel in control of the shoot. Using someone
already known to you as a model helps you to
avoid this element of the process while you are
perfecting your other skills.
It can be tempting to favour people who
you believe to be attractive as your volunteer
models, but remember that, clich though it
might be, you cant always judge a book by its
cover. Some people will look much better in

photos than youd expect, while others might

not look as youd predicted. Of course, part
of the skill of portrait photography is to get
everyone to look as good as possible, though
its certainly the case that you cant always
pre-judge everyones photographic potential.
If your model is a friend or a family
member, theres a good chance that they are
inexperienced at posing, so youll need to
keep the atmosphere positive, upbeat and
as interesting as possible, ensuring that they
feel comfortable and condent at all times.
Remember that how laid-back your model is in
their approach to the shoot and how naturally
they are able to pose is unrelated to how they
look supercially, so be prepared to adapt.
You dont necessarily need access to a studio
to work with models, as there are plenty of
locations that are freely available in which you
can produce dramatic portraits. A local hotel or
venue, for example, might be willing to let you
take a few photos in their reception or lounge
area. If you are polite and willing to explain
what you have in mind, they may let you use
their facilities free of charge.

You dont necessarily need access to a

studio to work with models, as there are
plenty of locations that are freely available
Styling the shot
How your subject is dressed is an important part of both the nal look
of the images and how your model feels during the shoot
Its best to have an idea of the looks that
you want to achieve during a shoot so
that you can give the model an idea of
what to bring with them on the day. This
applies whether youre photographing
an amateur or a more experienced
model. Irrespective of how much actual
modelling work theyve done, your subject
will almost always have a clear idea of the
clothes that suit them best and the other
items that they work well with. Even if
you are a professional fashion or editorial
photographer working on a big shoot with
a team of stylists, youll still be expected
to engage in this dialogue. Making sure
that your model is happy with the clothing
chosen for the shoot is an important part
of forming a bond of trust, which will lead
to a more successful result.

26

Remember to respect any restrictions

that are placed on you regarding the areas
that you can and cant use. Its also worth
keeping in mind that if you are working with an
inexperienced friend or family member, they
very possibly wont appreciate posing in an
environment where there are lots of people
around. Making them feel uncomfortable will
only make them more inhibited. Also, although
many hotels are very tastefully decorated,
its best to avoid cluttered backgrounds as
much as possible. Fortunately, youll often
nd that youll have access to some quite
appealing lighting options, with attractive
lamps frequently to be found. These can be
used as your sole lighting source in the right
conditions or can be carefully complemented
with a reector.

Model assessment
Change your approach to the
shoot based on your model and
how they react to you
First contact
How friendly does your
model seem? Did they smile
or avoid eye contact? You
need to adapt your approach
depending on this.
Portrait pointers
Do they have any features
that you want to accentuate?
Learn to formulate ideas on
the y based on the way your
model looks.
Best avoided
Even attractive people have
features that wont look great.
De-emphasise these with
your choice of posing, rather
than leaving it to editing.
Height matters
Start thinking about how you
can make a shorter person
appear taller or photograph a
taller person without looking
upwards at them in each shot.

Clothing selection
Having an honest discussion with your models about
the clothes that you think will work best for the shoot
is the best approach, so ask them for their input

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Body expression
Look at how they move and
their facial expressions. Do
they seem relaxed? If not,
look for ways to make them
feel more at ease.

WorldMags.net

WorldMags.net

Left

Above

Below

Direct the shot

Keep positive

Perfect practice

Make sure that you give

your amateur model
plenty of direction and
guidance with their
poses, as they may
not know what kind of
looks work well

When working with an

inexperienced model,
ensure that you keep
them feeling condent
and comfortable at all
times by remaining
positive in the shoot

Spend time working

with family members
and friends who are
happy to help you build
your portfolio or are
looking to develop a
modelling career

27

TECHNIQUES

WorldMags.net

Capture
pro models
When the time comes that
you want to work with a pro
model, consider these tips
Although you will be able to get plenty of great
photos using family and friends as models,
youll want to expand your horizons eventually
and work with models who have a little bit
more experience and condence in front of the
camera. Remember that this is not guaranteed,
though; when you go to book a model online,
theres no actual way of knowing how much
or how little work theyve done previously.
With this in mind, its certainly possible to end
up with a model whos not that much more
condent than some of the friends and family
youve already photographed. Be cautious of
making too many early judgements though,
as some professional models may seem timid
and demure when they arrive for the shoot
but ick a switch and come to life as soon
as the session actually begins. Its that kind
of professionalism that comes with hiring an
experienced model through an agency.
Unfortunately, this will sometimes just be the
chance that you will have to take, but if this is
important to you as it may well be when you
are starting out it may be possible to make
contact with the agency that represents them
and ask them for some further information on
the models level of experience.
An even bigger factor to take into account
is that models naturally present themselves in
as attering a light as possible on their model
cards, choosing photos that make them look
the very best that they can look. This means
that their model portfolios will be formed of
images in which theyve had plenty of make-up
applied (probably professionally) and their hair
styled to perfection again, by a professional
stylist. Further to that, the images will have
probably been retouched to a high level. All of
these can conspire to mean that the model
who arrives for your shoot doesnt look much
like the model you thought you were getting.
Once again, a possible solution to this
problem is to contact the representing
agency and request that the model you are
considering hiring sends an unretouched photo,
taken on a smartphone, for example.
An alternative approach is to become a
member of an online community such as
Model Mayhem (www.modelmayhem.com).
Here, photographers can nd models who are
looking to develop and grow their portfolios
and are therefore willing to pose on a TFP
(time for print) or TFCD (time for CD) basis.

28

Above

Studio subjects
If youre considering hiring a studio
and/or paying for a model through
an agency, ensure youre prepared
so as to make the most of the day

Right

Experience counts
A paid professional model will
usually be much more experienced
at posing and will take to your
suggestions more easily

Opposite main

Get creative
Professional models will often be
able to build on an idea that you
give them and suggest ways to
improve the shot

Opposite-inset

Build a rapport
Make a lot of effort in the rst few
moments of a shoot to develop a
good working relationship with a
model youve never met before

Break the ice

Laughter and compliments go a long way

The rst few moments when you meet

a model for a shoot are very important.
If they dont get a good impression of
you straightaway then the shoot itself
will go a lot less smoothly. Even if you are
stressed or a piece of equipment is playing
up, dont let that show, as professional
photographer Jason Moore (www.
jasonmoorephotography.com) explains.
You cannot show if you are nervous or if
youre struggling with lighting or ideas. All
subjects/sitters need to know that you are in
control and know what youre doing.

WorldMags.net

The most successful way of breaking

the ice with a model is to make them
laugh, says professional photographer
Sammy Baxter (www.sammybaxter.com).
Compliment them on something they are
wearing or how good they look.
Moore agrees that paying models a
compliment is important, but not because
they have big egos. Never assume that your
model knows they are beautiful, he states.
I nd a lot of insecurity among models
because they are always being judged on
how they look.

Whats
a model
release form?

PERFECT MODEL SHOTS

WorldMags.net

This is something that you should

get any model you work with to
sign. Its a legal document and as
such can be relatively to the point
or quite verbose, but it basically
states that the model gives you,
the photographer, the rights
to the photos youve
taken of them

Dave Gibbs

Booking a model
Dave Gibbs from
Source Models (www.
sourcemodels.co.uk)
explains how to book a
session with a model

What are the key things to look out for in

a model if you are new to the process?
Think about where the model is based in
relation to the shoot. If using the model for
advertising, think how the end user may
relate to the model in the shot. Understand
that what the model wears and how they
make themselves up will have a huge
impact on the nished image; consider if a
professional make-up artist is needed.

BRING THE SKILL

With experienced models,
they may have more of an
idea about which poses are
more flattering for the shot

Are there any pitfalls or potential

problems to be aware of?
Consider how much direction the model
will need during the shoot and ensure an
experienced model is booked if required.
Be upfront on budgets and the end use of
the images with the agency. For advertising
shoots, be sure of where the images will be
used so the agency can quote accordingly.
If models are supplying their own wardrobe
then make sure they bring enough to
choose from. Avoid stripes and large logos
and ensure adequate public liability and
professional insurance is in place.
What are the main dos and donts that
photographers should keep in mind?
Be friendly and allow time to chat with
models prior to the shoot, while being
clear on what you want to achieve. Provide
ample refreshments and be clear in your
directions. Make photographing kids fun
and always have a few toys to hand.
What tips do you have for seeing the
more natural shots of the model?
Most agency models will have a good
selection of both natural and made-up
or Photoshopped images on their cards.
Ask to see a natural image taken on a
smartphone if in doubt. If the shoot is paid
well, consider arranging a casting.
How does a casting work?
Models through Source attend castings
free of charge, but would assume the job
value is over 300. If the casting is for a
test or a lower-value job, then a potential
casting fee of 25 would be charged. You
can cast as many models as you want
normally but from a commercial agency
point of view its very hard to get models to
cast on anything under 300.

SUIT UP
If your model is bringing
their own clothing, ensure
that they bring enough for
what you have planned

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29

TECHNIQUES

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Melissa Rodwell

Take control
Fashion photographer
Melissa Rodwell (www.
melissarodwell.com)
offers her advice for
directing a model

What kind of direction do you nd works

best with non-professional models?
With non-professional models I have to
show them how to pose. Ill get on set with
them and show them. Just watching me
pose usually makes them laugh, so Ive
killed two birds with one stone, so to speak.
What are the most successful ways of
breaking the ice with a model?
The more condently I hold myself, the
more condent the model is going to feel.
So as I mentioned earlier, Ill joke around
a little and get them to open up. Being
cold and aloof isnt going to get a model to
warm up to you.
If a model is not following direction
successfully, how do you tackle this?
I will go on set and show them what I want
them to do. Ill move hands where I want,
show where the legs should stand and so
on. I might show pictures of similar poses.
What instructions do you give to a model
to get them to pull natural expressions?
Getting a model to relax is key in order
for them to emote natural and appealing
expressions. Ill show them myself or show
them pictures of models expressing the
way Id like my model to emote.
How do you ensure that arms, hands and
ngers are posed effectively?
A good fashion photographer watches
the arms, hands and ngers like a hawk. I
might ask them to stretch out their hands
and shake them out to relax them. Ill do
that with facial tension too.
How do you ensure that legs and feet are
posed effectively?
By keeping a very close watch on
how theyre standing. A good fashion
photographer looks at everything: the
facial expression, clothing, making sure
that they look comfortable and sexy.

30

Jason Moore Photography

What style of direction do you nd works

best with professional models?
Showing professional models a mood
board is helpful for them to understand the
direction of the shoot. I might show them a
few poses, too.

Top tricks for posing

Understanding how to direct your model is one
of the most vital elements of any shoot
In landscape or architectural photography,
where the basic elements of building a positive
the best compositions usually nd a way to
relationship with your model feed into the
exploit shapes, patterns and lines within the
quality of the end result. All people respond
scene to create an image thats visually strong.
well to clear direction, but dont over-direct or
Although it might not seem to be the case at
the model will start to feel that what theyre
rst, portrait photography is little different. As
doing is wrong, says Moore. To get the best
a fashion, editorial or beauty photographer,
out of models and anyone for that matter
you need to nd ways to create strong
they need to feel like they are contributing.
compositions in the portraits you capture,
Sometimes its better to allow a particular look
except you need to do this largely through the
or pose that you dislike to happen and just
way the model is posed.
shoot through it until you can gently coerce in
The rst thing to remember is that there
the direction you would like to go.
arent any clear-cut formulas involved in
Part of the skill of posing is learning to
posing; its a concept that will change, often
recognise the signs that the model is giving
signicantly, between shoots and models.
you and responding accordingly. If they are
Though you may nd there are certain things
someone who likes to strut their stuff then
that work well on a regular basis, everyones
over-directing them may make them feel
face and body is slightly different, so youll
disengaged in the shoot, so you will need
rarely be able to repeat precise poses. However, to nd a way to accommodate their ideas.
there are denitely certain things that tend to
Similarly, not all models will necessarily be
work and others that tend not to.
expert posers and they may even be a little
Of course, the other key thing to remember
awkward. Theyll be looking to you to prompt
is that posing isnt purely down to you, even in
them regularly and will get thrown if they sense
situations where the model is inexperienced
that you are not leading the shoot in the way
and you are giving a large amount of direction.
that they want you to.
The way the model interprets your instructions
Digital capture has enabled photographers
and their engagement with the shoot will still
to view images on the back of the camera or
have an impact. The best portrait sessions
even on a computer screen if they are shooting
usually result from situations in which the
using a tethered or wireless le-transfer
photographer and the model have worked
system. However, too much stopping and
as a team to create the right look, as dened
starting to look at shots can be detrimental
DP
by the intended purpose of the shoot. This is
to a shoot, so dont stop too often.

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WorldMags.net
1 FOCUS ON
THE HEAD AND NECK
Although some high-fashion
portraits flout this to a degree,
often the best rule to work to when
it comes to a models head and
neck is that they should appear
relatively relaxed. This is one
reason why a tense model will be
more challenging to work with, as
any tension that they feel will show
up first and foremost in their head
and shoulders. A slight but not
too exaggerated tilt of the head
to one side gives an instantly more
relaxed feel than a neck thats held
bolt upright. Conversely, you dont
want your model to relax so much
that their chin drops into their neck,
thus creating a double chin.

TENSE

2 CONSIDER ARMS,
HANDS AND FINGERS
Once again, high-fashion portraits
sometimes go against this, but its
important to ensure that the arms
and in particular the models
hands and fingers appear
relaxed and not too tense, rigid or
over-posed. Many photographers
talk of being very careful to avoid
allowing the models hands and
fingers take on a shape that
resembles a claw. Womens hands
and fingers should look effortlessly
elegant, while mens should look
masculine, but without appearing
aggressive. Generally speaking,
the arms and hands should be
about the same distance from the
lens as the models face.

RELAXED

3 POSE THE
LEGS AND FEET
How the model is standing will be
the bedrock of the overall pose, as
their stance will travel up through
the rest of their body to inform the
way that they hold themselves.
The feet need to be positioned
comfortably, but at the same
time, your model cannot stand
as though they are in a queue. Try
asking the model to position their
legs and feet slightly apart and
have the foot furthest from the
camera point off at a 90-degree
angle. This applies both to male
and female models.

Models will be looking

to you to prompt
them regularly
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31

TECHNIQUES

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If youre having trouble,

here are some poses
to get you started that
you can develop with
your models
THROW SOME SHAPES
Getting your model to use their body and their
clothing to create striking shapes and patterns
not only makes for shots that are more visually
interesting, but also produces portraits that
have a sense of energy, personality and
movement to them. With male models, this
can be a good way of conveying attitude, while
with female models this approach can be
used to make them appear sexy and vivacious.
While you can give suggestions to your model,
too much direction may stifle them and make
them and their poses uncomfortable. This
is perhaps something thats best attempted
with slightly more experienced models as
amateurs may simply feel awkward.

Jason Moore Photography

Four ideas
to pose like
the pros

SITTING

SHAPES

LEANING

GET NATURAL SMILES

There are two different types of smile that you
can try and create with your model. The first
of these is a closed-mouth smile, which can
work particularly well with male models if you
get them to produce a subtle, smouldering
smile for the camera or with female models if
you ask them to do a cheeky smile, perhaps
with their eyes looking away from the camera.
The alternative is to get your model to laugh
as naturally and honestly as possible, as a
fake laugh just wont work. Here, the roles are
reversed: try getting a female model to look at
the camera while laughing and a male model
to look away as a starting point.

LEARN TO LEAN
This is a great posing solution for models,
particularly those who are slightly less
confident, as it helps to build a pose a little
easier. If your subject is leaning or perhaps
even lying down, then they will have less of their
body to focus on than when you are creating
a full-length body shot with them standing
upright. Male models arent quite so suited to
lying-down poses, but leaning against a wall or
railing with their upper back, shoulder or elbow
will often be very successful.

SMILES

Simply sitting your model down and having

them stare into the lens can make for powerful
portraits of male models and alluring portraits
of female models (think Christine Keeler), often
without the need for them to do very much
else. This is particularly true when the situation
and pose enables them to rest their elbows
on something. One way of achieving this is to
ask your subject to sit down on some steps or
stairs and have them rest their elbows on their
knees. Another option is to have the model sit
on a reversed chair, so that they can place their
arms and hands on its back.

32

WorldMags.net

Jason Moore Photography

SIT ON DOWN

WorldMags.net
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TECHNIQUES

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Vistas with impact

Follow this guide and discover how to capture
beautiful landscapes in any location
Incredible landscape images can be
taken almost anywhere, but its all about
understanding the tricks and techniques
behind the shots. Over the next few pages
youll discover tips for the perfect landscape
shoot, including how to protect your kit, dealing
with difcult shooting environments and how
to make the most of the beautiful landscapes
that the great outdoors has to offer.

hen it comes to shooting the

perfect landscape, often it isnt
just a case of pointing your lens
and capturing the scene before
you, even when visiting the most beautiful
places. No matter where, each location has its
own set of challenges to overcome, whether
thats reections on a lake, high-contrast forest
scenes, or simply a vast, empty plain.

Twelve Apostles, Australia

Photographer Joshua Zhang (www.500px.com/shihuazhang) took
this stunning shot at sunset. There were a large number of tourists
and the shot kept being interrupted, but Zhangs patience nally paid
off and he took this 112-second exposure

34

Joshua Zhang

Paul Newcombe

Joshua Zhang

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WorldMags.net

35

Radek Severa

Andrea Auf dem Brinke

VISTAS WITH IMPACT

WorldMags.net

TECHNIQUES

WorldMags.net

LOOK FOR INTEREST

The wave movement
over the rocks create an
interesting foreground
element to this image

CAPTURE MOOD

Joshua Zhang

Always be on the
lookout for changes
in weather, colour and
mood for the best effect

Shoot seascapes

Emphasise wave movement

Set up the shot Set your camera to the

lowest ISO and desired f-stop, then attach it
to a tripod. Use manual focus and zoom your
lens to the required focal length.

1
36

Paul Newcombe

Prepare for your shoot beforehand by

checking the tide tables and taking the right
kit with you. Its vital to use a tripod for coastal
long exposures, and those with an in-built
spirit level will help you to keep your horizons
level. A wide-angle lens is ideal for the majority
of seascapes, although a mid telephoto will
make the most out of cliff top vantage points.
Always protect your equipment from salt water
and sand, which can be damaging to the lens.
Use a UV lter, and shield the camera body
from wave spray with a plastic bag or more
specialised housing if you have it.

Below

Trevose Head

In this shot Joshua Zhang Paul Newcombe used a ten(www.500px.com/

stop ND lter to achieve
ShihuaZhang), has made
a two-minute exposure,
use of the stunning golden
smoothing the sky and
light of sunrise
adding cloud movement

Use creative exposures when shooting the

coastline and add mood to your images
The coast is an alluring subject for the
landscape photographer, and stunning results
can be achieved in all weather conditions.
When the light is dull and overcast, try long
exposures to capture blurred wave motion.
Conversely, provided theres enough natural
light, capture the drama of the sea at shutter
speeds of 1/500sec or faster to freeze
crashing wave movement. Simple, uncluttered
images work well for expansive seascapes,
but look for a main focal point in your images,
framing shots with minimalist objects, such as
isolated rocks, sea defences and cliffs.

Above

Morning glow

Use a neutral density lter to record long exposures

Calculate exposure Take a test shot

using a cable release without a lter, then
calculate the exposure time. Double the shutter
speed for every stop of ltration youre adding.

WorldMags.net

Attach lter Attach the ND lter to the

front of the lens. Set the camera to Bulb
mode, and re the shutter, timing the exposure
then closing it after the elapsed time.

VISTAS WITH IMPACT

WorldMags.net

Perfect rivers
and lakes
Capture the charm of both
moving and still water
If theres a river or stream owing through the
landscape youre shooting, think about how
best to convey its character. A wide, slow river
will look and feel different to a fast-moving
mountain stream. Use smaller rivers as lead-in
lines to draw the eye into the image, or wade
into a large stream and crouch down to near
water level for a more interesting perspective.
Consider the effect of reections when
youre photographing water, particularly when
theres a lake in the shot. Some reections,
such as the colours of autumn leaves or
mountains, will enhance your image, but others
may be distraction, and in these instances,
use a polarising lter. As well as increasing the
saturation of your scene, a polariser can cut
through the reections in water and enable you
to see the riverbeds beneath the surface.
As far as gear goes, a wide-angle lens will
enable you to include the valley as a river
twists through it, while a telephoto is useful
for bringing the curves of the water closer to
you. Dress appropriately for shooting in this
location, wearing waders if you have them. This
enables you to get in the water for interesting
perspectives, while avoiding getting wet.

Shoot waterfalls

Alessio Putzu

Control exposure to enhance

the look of moving water

DID YOU
KNOW?
The best times to
shoot are early
morning or evening,
to avoid bright
reections

Paul Newcombe

Above

Capo Pecora, Sardinia

The photographer has taken this
shot at a low angle for a more
interesting perspective, including
rocks in the foreground to draw the
eye into the frame

Left

Lumsdale Falls,
Peak District
Here seen in early autumn,
Paul Newcombe (www.
paulnewcombephotography.
co.uk) used a circular polariser to
minimise water reections and
slow down the exposure time

WorldMags.net

When you arrive at a waterfall, dont

set up straight away. Walk around the
feature and look through the viewnder
to explore different angles and camera
positions, and include foreground
elements, such as rocks, to frame
the subject. Waterfalls are all about
movement, so consider which exposure
best captures its drama. When shooting
big waterfalls, exposures between 1/4sec
to a full second show the waters motion,
but still retain detail in the movement.
More delicate waterfalls benet from
even longer exposures, made achievable
by setting the lowest ISO possible and
adding lters. Try to plan your shoots
around the lighting; balanced light is
ideal for waterfalls, bringing out shadow
details and amplifying the contrast. When
its overcast you will be able to shoot
longer speeds for a smooth effect.

37

TECHNIQUES

WorldMags.net

Simplify
woodland
Woodlands are a rewarding location to
photograph, so dont limit yourself to the
colourful hues of the autumn season. By
nature theyre generally quite chaotic, and
one of the downfalls of forest photography is
that it can look cluttered or lack focus. Use a
telephoto lens such as a 70-200mm to avoid
this problem, as itll compress the perspective
and isolate small sections of trees.
Youll need to adapt to many different types
of natural light when photographing woodland.
Early-morning or late-afternoon is generally
the best time to photograph, as the low-angled
light will illuminate the trunks and produce
dramatic shadows. Strong light is great for
open areas, and makes for bold images. To
avoid lens are, frame the Sun behind a tree.
Woodland scenes can be dense, and its
important to include a point of interest to
draw the viewers eye. Use woodland paths as
lead-in lines and try different shooting angles
to create interest. Include features, such as an
angled trunk or bright foliage, to provide a focal
point in your images.

Ceri Jones

Avoid clutter when

photographing forest scenes

Exposing correctly for woodland can

be a challenge, as dense tree canopies
produce high-contrast scenes in strong
sunlight. High dynamic range (HDR)
photography can be used to overcome
this problem, by taking multiple shots
of the scene at different exposures and
then combining the best parts from each
into one image. Select the Auto Exposure
Bracketing option from the cameras
menu and move the markers a few stops
apart. Use Aperture Priority mode,
choosing your desired aperture,
then compose the shot as
normal. The shots can
then be combined into
one nal image
using Photoshop
or dedicated
software such
as Photomatix.

DID YOU
KNOW?

Top

Woodland sunrise
Taken on an early December
morning, photographer Ceri
Jones caught this light display

Backlighting can work

well when shooting
forests, particularly
when conditions are
slightly foggy

Middle

Position the Sun

Early-morning rays break through the
lingering mist, and the Sun has been
placed behind a tree to avoid lens are

Right

Control exposure
This image was stopped down from the
cameras dened exposure to ensure
minimal clipping of highlights

Left

Bracket exposures
Exposure bracketing takes three shots
several stops apart to capture the full
range of highlight and shadow detail
Ceri Jones

Bracket exposures to capture

the full range of forests

Paul Newcombe

Expose for
woodland

WorldMags.net

VISTAS WITH IMPACT

WorldMags.net

Protect your kit

Derrald Farnsworth-Livingston

Follow these simple measures

and continue to shoot when the
weather gets dramatic

Derrald Farnsworth-Livingston

Top

Darkened dunes
By photographing in the golden
hours, youll record a very
different tone to the sand dunes
that is less commonly seen in this
type of location

Photographing vistas leaves you open

to the elements, and nothing is more
damaging to your electronic kit than
water and sand. Most camera rucksacks
come with waterproof covers, so use
these in moist, damp conditions when
walking to a location. Always keep any
spare kit zipped away when not in use,
with lenses in pouches, and lters in
their holders. Consider investing in a
waterproof cover for your camera/
lens setup, which will keep out water, as
well as dust and dirt. In an emergency
or a tight budget, you can use a piece
of plastic or a carrier bag as makeshift
protection, but if youre planning on
heading out into particularly harsh
conditions its best to invest in something
more substantial. Attach UV lters as a
cost-effective way to protect your lenses,
and use microbre cloths to wipe off
excess moisture when youre in the eld.
1

3
2

Left

Camping on the dunes

Photographer Derrald FarnsworthLivingston (www.journeyoight.
com) has included the tent as
a secondary subject to give the
landscape a sense of scale

Capture deserts
Convey the beauty of this harsh environment
while keeping your kit protected
Deserts are prime locations to focus on
shadow, texture and form in your images. The
desert wind creates lines in the sand, and any
shadow behind them leads to high-contrast
results. Look down, instead of trying to capture
the whole scene, by crouching and focusing on
the detail in the sand. Start to see light before
you look for anything else.
Throughout the day in a desert, the colour
of the sand will change in accordance with
the angle of the Sun, so plan your shoot time
depending on what end result you want. This
location is no exception to the magic of the

golden hours, and the red late-afternoon light

will accentuate the colour of the sand, creating
much more depth to the landscape than would
be present in overhead sunlight. Use a long
lens if you do have to shoot in the middle of
the day, as this will compress the appearance
of heat waves, and convey the extreme
temperatures of the environment.
While its always important to have a UV
lter on lenses to protect the glass, in the
desert this is imperative. Avoid changing lenses
outdoors if possible, as even gentle winds can
blow up the sand into your equipment.

WorldMags.net

Escape the
elements
Take simple precautions
when youre shooting in
the eld, to protect your
kit from damage

1 Rucksack cover
When in a dusty place,
use this to protect kit

2 Packaging
Keep original packaging
to keep your kit in

3 Microbre cloth
Use a soft cloth to wipe
off sea spray and rain
before it dries on lenses

4 Protective case
Keep lters in cases
when theyre not in use

5 Raincover
Fasten this to your
camera and lens to keep
it dry when you shoot

39

TECHNIQUES

WorldMags.net
SHOOT OVERCAST

Master
mountains

When shooting on
cloudy days, dont
overexpose, and use the
clouds to add drama

Reach the dizzying heights of

incredible mountain images
Mountains are the mightiest of vista locations,
and where you stand to photograph them will
greatly affect the outcome of your picture.
From a valley viewpoint, include near objects,
such as overhanging trees and branches, to
frame the shot. Looking upwards from a low
perspective can make a mountain seem much
more impressive and awe-inspiring, whereas
photographing the mountain from the peak or
higher vantage point will play upon the idea of
scale and dominance.
The camera doesnt record like the human
eye; it can often be tricky to ensure a proper
exposure for the sky and the mountains, and
in these situations a graduated neutral density
lter is handy to use. Place the transitional
section of the lter between the foreground of
the composition and the upper peaks, moving
it up and down in the holder and using Live
View to help you ne-tune the transition line
in your composition.
As with all landscapes, you should consider
how to light for the subject. A mountain can
have great texture, so avoid front lighting
that will make it appear at. Back lighting will
emphasise shape and form, and side lighting
creates dramatic shadows.

Back lighting will

emphasise shape
and form, and side
lighting creates
dramatic shadows
Stay sharp Use hyperfocal focusing to maximise depth of eld without using the narrowest aperture

Calculate distance Enter details for your

camera, focal length and aperture on an app
like HyperFocal Pro. Mount your camera on a
tripod, set the zoom, and dial in your aperture.

1
40

Move Measure the distance from the

camera to a convenient object in the frame,
using a rangender or tape. Move until your
distance matches the hyperfocal distance.

WorldMags.net

Lock it off Switch the lens to manual focus,

focusing on the object you previously
measured from. Avoid moving the lens, taking
the nal shot with a cable release or self-timer.

VISTAS WITH IMPACT

WorldMags.net
USE FILTERS

MIRROR EFFECT

DID YOU
KNOW?

Capturing sharp,
stunning reflections is
one way to bring your
landscapes to life

For snowy landscapes,

adjust the white
balance to achieve
much more realistic
colours

Above

Bow lake, Canada

A stunning shot by Andrea Auf dem
Brinke (www.brinke.500px.com)

Right

Chrome Hill
The time of year was important in
enabling this shot to be taken

Far-right

Mam Tor, Peak District, UK

Paul Newcombe

Paul Newcombe

Scenes can change quickly, and

this mist lifted as the Sun rose

WorldMags.net

41

Andrea Auf dem Brinke

In this photograph both

ND and ND grad filters
were used to balance
the exposure

TECHNIQUES

WorldMags.net

SHADOW PLAY
By shooting at dusk or
dawn, its possible to
capture long shadows
that add depth

SHOW SCALE
Radek Severa

Include objects that will

juxtapose with the sheer
magnitude of the vista
youre shooting

Balance
plains
Add depth to scenes by
picking out details

42

Radek Severa

Photographing plains is a great way to focus

on the composition of your vista shots, with
rolling hills and huge expanses of scenery
impressing a grand sense of scale. Wide, open
spaces can be hard to photograph because
they often lack a point of interest, so choose
objects that will act as a focal point, such as
a group of trees or a lone dwelling, using a
narrow aperture like f16 to achieve a sharp
image from foreground to the horizon.
Plains lack distracting elements, so theyre
a location where traditional composition
techniques work well. Use the rule of thirds,
composing your image with the help of the grid
function on the cameras LCD screen. While
you can place importance on either the sky or
the land, for a more unusual image, leave the
sky out of your image completely.
By nature, plains are wide and open, so
make sure you research the lighting, weather
and conditions before your shoot. Use apps
such as The Photographers Ephemeris (TPE),
a map-centric Sun and Moon calculator that
will enable you to see how the light will fall on
the land, day or night, for any location.

WorldMags.net

VISTAS WITH IMPACT

WorldMags.net

Rules of
composition
Create impact with these
traditional techniques and keep
the viewers interest in the frame
Use diagonals
Diagonal lines are a great way to
draw the viewers eye. They could
be made up of anything found in
the landscape, like hedges, a fence,
a river, or the edge of a rolling plain.
Radek Severa

Frame images
This is an effective way to draw
attention to the subject, and helps
to give the view context. Look for
overhanging branches and arches
of rock that will help to give your
shot a sense of depth.

Opposite-top

Sense of scale
The best way to help a viewer
appreciate the size of the scenery
is by including a secondary subject

Lead-in lines
Guide the eye through an image
with lead-in lines. Obvious
examples would be a river or
pathway that winds its way through
the shot, but you can use more
subtle things like rocks or waves.

Opposite-bottom

Stay simple
It can be easy to overcomplicate
landscapes. Dont be afraid to focus
on the shapes and textural elements

Top

Forget the sky

Rule of thirds
It can feel like a clich, but the rule
of thirds is effective in creating a
balanced composition. Compose
images with the screens grid
function, placing points of interest
a third of the way into the frame.

Focus on the land for a more unusual

shot, using a telephoto lens to
compress the perspective

Right

Creative colour
Shooting during the golden hours
can create stunning colours to add
an extra dimension to simple shots

Change your height

Many images are taken at standing
height, but compositions can be
dramatically improved be using a
more unusual perspective. Rest the
camera on something stable, or set
the tripod low to the ground.

Below

DID YOU
KNOW?
Derrald Farnsworth-Livingston

Radek Severa

For stronger shots,

embrace geometry
by emphasising lines,
patterns and shapes
in the scene

Lead the eye

Winding lead-in lines guide the eye naturally through
the image, with the tractor acting as a focal point

Radek Severa

Point of interest
Severa has used a
line of trees as an
effective focal point

WorldMags.net

43

TECHNIQUES

WorldMags.net
Make the most of
night-time shoots

Expose for night-time

Wait for the Sun to set and capture the beauty and
magic of the world in darkness
When shooting nightscapes, the obvious
challenge is learning to work without the light
of day to guide your shot. As youll be dealing
with long exposures, using both a sturdy
tripod and remote shutter release is absolutely
essential to ensure that your shots are both
sharp and full of detail.
The immediate choice of subject to capture
at night is a starry sky, particularly since ISO
capabilities have improved so much in modern
cameras. Cityscapes also have their own
beauty and can be more accessible. By setting
smaller apertures of around f16 or smaller you
can create and exaggerate twinkling starburst
effects from the urban lights. If youre set on
capturing the grandeur of the Milky Way, youll
ideally need to shoot in a rural area away from
light pollution. Use Bulb mode on a DSLR
to record long exposures, using a timer and
shutter release, and ideally a wide-angle lens
with as wide an aperture as possible.

The key to astrophotography is capturing

enough light in the shortest amount of time
possible, as the Earth is constantly turning,
and the longer the exposure, the more star blur
youll have in your image. The shutter speed,
focal ratio and ISO you select will ultimately
depend on the outcome you want to achieve;
theres always a trade off between the three.
Experiment with different combinations on
location, tweaking each until you get the
DP
balance right and the desired results.
Above

Beyond the sky

Taken at the volcano of Tenerife, the
photographer knew the clouds would make
an interesting feature in the image

Plan the trip

Check the weather conditions
and the presence of the Moon
before your shoot. Bring clothes
appropriate to the weather and
the season. Take water, food and
LED ashlights to illuminate where
youll be spending the night.
Take the right kit
Wide-angle lenses with a wide
aperture are important for the
success of a night-time shot. I
usually use a Samyang 14mm f2.8
for its good quality and price. Its
also important to invest in a stable
tripod that will last over time.
Remember composition
A strong composition will add
impact and give your image the
wow effect. The rule of thirds is still
my favourite technique, because it
brings the right balance of objects
in the shot along the lines that lead
the eye to the sky.

Below

Capture the Aurora, Iceland

Taken on one of Ao Thors Aurora Workshops
in Iceland (www.photographyguide.is), he
proves that patience really does pay off

Shoot the Northern Lights

When photographing the Northern Lights, high ISO
capability is critical. Attach the camera to a tripod,
and use a wide-angle lens set to a large aperture of
f2.8 or wider. Switch the focus to manual and nd a
focal point. Freezing temperatures and long exposures
drain battery life quickly, so keep spare batteries warm
in a jacket pocket. For storing your images, look for
memory cards that can withstand the extreme cold.

Ao Thor

Make the most of this natural

phenomenon for awe-inspiring images

44

Alessio Putzu

Andrea Auf dem Brinke

Photographer Alessio Putzus

(500px.com/axle88) top tips

WorldMags.net

Shoot in RAW and manual mode

Shooting in manual gives you total
control of your DSLR. Likewise,
shooting in RAW enables you to
execute important changes in postproduction, such as tweaking the
white balance to make the sky look
as natural as possible.
Mirror up and remote control
Over long exposures, camera
movement can cause the shot to
become blurred. Lock up the mirror
to prevent vibrations, and use a
remote control or cable release to
avoid touching the camera. Look
for those with built-in interval timer
features for taking star trails.

WorldMags.net
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TECHNIQUES

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Capture life
on the streets
Patience, practice and a creative eye are all you
need to capture brilliant street pictures lled with life,
light and drama, as Damien Demolder explains
treet photography is the most
accessible form of photography
simply because we all have access to
interesting subjects within our daily
life. Most of us live, work, shop and travel along
streets whether theyre in a country village or
a bustling city. At all times theres something
going on thats worth photographing.
The real trick in street photography is to
be there and to be observant. Be armed with
an ability to make your camera reect what
you see so that others can see it too. Street
photography is no harder or easier than any
other form of our art, and with practice, effort
and patience you will succeed but dont
expect it happen overnight.

Over the course of the next few pages youll

discover what you need to get started on the
right foot. Well take a look at how to control
composition to frame your shots and how to
angle your camera for alternate perspectives.
Well also consider the importance of being
anonymous on the streets.
As with landscapes, portraiture and wildlife
photography, there are no hard and fast rules
concerning street photography, but there are
guidelines and principles that are useful to
acknowledge. What youll read here is just one
approach appreciate what is said, try what
is suggested, and then nd the methods that
suit you and which get you the results you like
to look at.

Opposite

Life on the street

You dont have to go to exotic locations
to make good street images, as they can
happen anywhere
All images Damien Demolder

Learn the art of candid photography

When to go
monochrome

46

How much editing

should you do?

Recommended
camera settings

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Shoot from the hip

vs the viewnder

CAPTURE LIFE ON THE STREETS

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TECHNIQUES

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Cameras have been recording what our world

looks like since the dawn of photography, and
as soon as emulsion was sensitive enough,
capturing human life in the street has been an
important subject. As cameras became more
portable, photographers took them to far-off
lands to bring home images that described
the people, cities, villages and events in exotic
countries. Alongside documentary, landscape
and architectural photographers, street
photographers have helped to build an idea of
what the world is really like.
This is the principle of street photography:
that we share what certain places are like,
what its like to be there and what happens
in those places. A good street photograph
transports the viewer and makes them feel
as if they are there. It is the photographers
job to identify all the elements that create the
sense of atmosphere for those who are there,
so that those who arent there can feel it too.
To do that well, the photographer has to feel
it, and that can take time. Then they have to
understand why they feel that way, and what is
making them feel something at all.

Imagine being teleported to the centre

of Birmingham and then to the centre of
Barcelona. You would know which city was
which immediately by the clues all around
you. The buildings look different, the people
dress differently, the light would be different
and the colours would be too. There would
be a barrage of differences that let you know
where you were and its these things that we
have to capture in our images so that the
viewer also can feel the difference. It takes
time and observation, a keen eye and a desire
to immerse yourself and an openness to feel
the world around you.
To make the viewer feel part of the scene
you have to be a part of the scene yourself, as
you cant communicate what you cant feel
or what youre not experiencing. Many street
photographers try to work with a long lens,
picking off distant people like a sniper, but
perspective is recorded in every image and
the viewer takes note of it when the picture
is looked at. When perspective shows us that
the event happened a long way away from the
photographer, we fail to feel engaged.

You have to be a part of the scene yourself,

as you cant communicate what you cant
feel or what youre not experiencing

Convert to
black and white
Create a classic look simply
by removing the colour
Some of the most classic street images
were taken in black and white and these
images have a lot of impact on todays
photographers. For this reason many
shoot in black and white still, or convert
their colour shots to monochrome in
post-production. While black-and-white
images can be stunning, it doesnt suit all
styles, and colour is a very important part
of modern street photography.
Consider the best option for your shot.
For instance, a good reason for using
black and white is to remove colour
when it distracts us from the subject.
Most modern cameras enable us to
shoot in black and white, but it is just as
convenient, and often better, to convert
colour images using the channel mixer
feature of some software applications.

Distracting colours
Colours in a scene can draw attention away from our
subject and prevent the image from being effective.
Here the strong warm tones, and their relationship with
the blues, dominate the picture

Simplied monochrome
When we switch the colour off, we simplify the scene
and take away the distraction. Without the powerful
colours, we can concentrate on the light and the facial
prole of the subject.

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WorldMags.net
Capture
moments
Good street
photography
shows not just what
humans look like,
but how they behave
in their environment
Top-left

Kissing
Pictures of people kissing can
create quite a sensation and there
is plenty of affection around to
capture. Train stations and airports
make for good hunting grounds

Top-right

Chatting
People love to chat and theyll
stop just about anywhere to do it,
sometimes getting quite animated.
Their attention will be in each other,
so youll go unnoticed

Right

Resting
People fall asleep on the train, in
parks, outside pubs and anywhere
they can. With their eyes shut, they
wont spot you and they can make
ideal subjects

Bottom-left

Rushing
City folk rush around being busy
and create a nice contrast to the
stillness of the buildings around
them. Freeze them in motion or
capture the blur

Bottom-right

Shop activity
Shops present us with all sorts
of human activity thats worth
photographing, either through
doorways or actually in the store

Opposite-left

Patterns and shapes

You dont need to travel across the
world to shoot street pictures. All
you need is the right environment
with some good lighting, and then
wait for the right person to walk
into the scene

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24MM

450MM

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50MM

50

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CAPTURE LIFE ON THE STREETS

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Know the law

What you can and cant do
when taking street pictures
While laws vary between countries, and
are subject to change, there are no laws at
the time of writing in the UK stating that
you cant take pictures in a public place.
While you can take pictures on private
property, the owner is within their rights
to expect you to stop if they ask. Always
obey signs and exercise common sense.
There arent currently laws against
photographing children either, but you
should again use common sense and
avoid anything that might be indecent and
ask parents before you shoot.
Importantly, nobody can demand
that you delete your images, or legally
delete them themselves. If your pictures
are illegal, they are also evidence and
shouldnt be destroyed.

Opposite top-left

24mm
Wide lenses are great in crowds or if you
are close to the subject, but controlling
composition can be made much harder

Opposite top-right

450mm
When standing a long way from the subject,
that distance is obvious in our pictures as
perspective gives the game away

To ensure the viewer connects with your

images, its best to use lenses that mimic
human vision. A standard focal length for
any camera sensor is a good place to begin,
as these are designed to deliver a view that
matches our eyesight. For a full-frame camera,
a standard lens traditionally has a focal length
of 50mm, but anything between 35mm and
75mm works well. If your camera has an APS-C
sensor, look for a focal length between 20mm
and 50mm, while Micro Four Thirds users
should aim between 18mm and 40mm.
The key thing about using these standard
focal lengths is that to ll the frame, you
need to get close. Some people like to shoot
with much wider lenses, which are especially
good when working in a conned space, but
sometimes their wider-than-natural view
can make it hard for the viewer to take in
everything the scene offers in one go.
Given the importance of focal length, street
photographers should try not to stray too
far from real-life perspectives for most work.
A zoom is a convenient type of lens that
encompasses a range of focal lengths, and
models that cover 35-75mm are very common.
Short-range zooms these days tend to be
of good quality, but all zooms lack the fast
maximum apertures that xed focal length
lenses can offer.
Wide maximum apertures enable you to
shoot in low light without increasing the ISO
sensitivity, as well as offering you the creative
opportunity to isolate your subject from its
surroundings. Prime lenses help you to decide
on an angle of view, forcing you to get close to
the scene. The temptation to zoom instead of
getting close can be too much for some to
the detriment of their images.
Using a shallow depth of eld can be an
effective way of isolating a subject from a
busy background, requiring a wide aperture
and good focusing techniques. When working
from a short distance, small movements in
the subject require large shifts in focus, so be
on your guard. Missed focus can easily wreck
an otherwise brilliant image, and with moving
subjects at wide apertures, youll need to work
hard and think ahead to stay sharp.

Set up and shoot

How you shoot is up to you but here
are a few suggested starting points
ISO sensitivity
Image noise is
better than a blurred
picture or subject, so
be prepared to use the
higher ISO settings
that your camera
offers if needs be.

Safe shutter
speeds Unless you
want to show subject
movement, ensure
that your shutter
speeds are as short as
possible so that you
can freeze the action.

Depth of eld
Choose whether
you want to use a wide
aperture to lift out your
subject, or a small
one to get everything
sharp. In low light, you
may not have a choice.

Shoot in RAW
As with all types of
photography, shooting
in RAW allows for
more choices over
colour and contrast for
your nal image in the
editing stage.

Custom functions
In-camera settings
can be helpful for
seeing how your
nal image will look,
especially if you plan
to convert to mono in
post-production.

Opposite bottom

50mm
Using a standard focal length and getting
close is a great way of giving the illusion of
actually being there in your images

Above

Stay safe
The best approach is to use your common
sense and avoid capturing images that could be
deemed inappropriate in some way

Right

Looking natural
Try to keep colours and contrast looking as
natural as possible. It is ne to have high
contrast, so long as it looks believable

Keep it real Should you edit your street photography captures?

Its important for news photographers to leave their
images untouched, as its essential that they present
any situation exactly as it happened, but for street
photographers its ne to present an idea of what
happened, an impression and a rendering down of an
atmosphere. We shouldnt lie, but we can emphasise
the things we want people to see and tone down those
that are a distraction like colour, for example. It is
best to get things right in-camera, but a little editing,
including contrast tuning and a moderate crop, is ne.

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TECHNIQUES

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Some cameras offer focus-tracking AF

systems, which can work well if the subject is
coming towards you, but when what you want
to focus on is moving across the scene, youll
have to rely on the reactions of the camera.
You may want to pre-focus at the distance
at which you expect the subject to pass by,
then lock the AF. It may help to use a smaller
aperture, especially if the subject will be close.
Remember, when used at a focus distance of
three or four feet, f4 will still offer a shallow
enough depth of eld to render backgrounds
very soft, so you dont need to go wider.
A safer method of working is to close the
aperture until the depth of eld covers an
extensive range of distances that the subject
will fall within. Using an aperture of f11 with a
35mm lens, for example, can render both the
foreground and background equally crisp and
clear. Even a reasonably slow autofocusing
systems can be rendered effective in this way,
as there is a large of margin for error.
Switching to manual focus with a small
aperture is another option. You can then tweak
the zone of focus to encompass the rough
area in which we expect the subject to be. If we
set the focus on a 35mm lens to six feet, for
example, at f11 everything from four to eleven
feet will look sharp focus at twelve feet and
everything from six feet to innity will be sharp.
This zone focusing is a method employed by
rangender-camera users, as it frees them
from worrying about focus, which allows them
to concentrate on composition.
Some photographers use zone focusing to
enable them to shoot from the hip. To shoot
from the hip means to hold the camera at
waist height. By shooting from this angle, it is
impossible to predict how your scene will be
captured. Many opt to pre-focus their camera
to ensure the clarity of shots rather than
risking it with autofocus.
You can improve your street photography
skills by being taught by Damien rst hand.
For more information, visit his website at
www.wordsonpictures.com/words/
DP
category/events-and-courses.

Cameras that blend in

Panasonic Lumix DMC-GH4
Price: 1,699 / $1,700
Headed up by the GH4,
Panasonics range of Micro Four
Thirds bodies feature good AF,
excellent touchscreen focusing,
silent shooting and a great
collection of lenses.
Also see the
smaller GX7
and the tiny
GM1.

52

Key considerations
Think about the composition and lighting for striking shots
GOOD

BAD

Successful street composition

Consider the position

Composition is key. Sometimes its vital to show the

subjects environment, so consider leaving space around
them, and think about their positioning in the frame

In this version, shot in the same location, the subjects

arent positioned as well. They are obscured by the
shadows, so their outlines arent so clear

GOOD

BAD

Striking lighting

Dull lighting

Wait for the right light when choosing when to shoot. It

works well here, as its strength delivered the hard shadows
and created a silhouette against the brightness of the wall

Shot in the same place on a different day, the overcast and

soft lighting really does nothing to enhance the scene or
create anything that is interesting to look at

Small, discreet systems are ideal to help blend in with the crowd

Olympus OM-D E-M5

Price: 650 / $1,000
Similar to the Lumix bodies,
the OM-D and Pen cameras are
small, portable and very capable
machines. The Pen E-P5 and
E-PL7 bodies are smaller than
the OM-Ds and just
as good, but
the OM-D has
made a good
name for itself.

Fuji X-T1
Price: 1,050 / $1,299
Fujis X-series is a range of
mirrorless cameras with
dimensions that make them
more portable than most DSLR
cameras. There is a collection of
good lenses and Fuji
unique sensor
produces very
good images.

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Leica M
Price: 5,100 / $7,250
Leica is often credited with
being the ultimate street camera
brand, with its small, quiet and
discreet rangender cameras.
The current M is an excellent
and thoroughly moder
camera and the
accompanying
lenses are
extremely

HIP

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Hip versus viewnder
We look closely at the pros and
cons of each shooting method

Hip
PROS

CONS

Shooting from the hip

makes you less noticeable
as a photographer than
shooting with the camera
to your face.

As you are not looking

through the viewnder, it
is hard to compose your
image so that it contains
what you want in the shot.

The low-angled
viewpoint can create some
eye-catching images, as
we are not used to seeing
from that height.

Without seeing what the

camera is seeing, it can be
easy to miss the subject
completely, or make a poor
composition of a situation.

There is an excitement
in the random nature of
what you get from this
method of working.

This method can be

used by those that dont
want to be seen, but its no
substitute for control.

Viewnder
PROS

CONS

Holding the camera

against your face adds
stability and helps to
prevent camera shake.

Everyone shoots at
eye-height, and it can
create a very ordinary
viewpoint for your pictures.

On bright days the rear

LCD screen can sometimes
be hard to see clearly,
but the viewnder always
provides a glare-free view.

Holding a camera to
your face will mark you
out as a photographer,
probably making you much
more noticeable.

Looking through the

camera allows us absolute
control over composition,
while when shooting from
the hip we are guessing.

When shooting from

a low angle, you have to
ensure that your face is at
the same level so that you
can see through the nder.

Above and inset

Shoot from the hip

VIEWFINDER

Shooting blind from hip level

can produce some good
images, but there is rather too
much luck involved for it to be
a reliable method of working. It
can waste good situations

Left and below

Through the viewnder

This low-angled shot needed
a crouching position while
the viewnder was being
used. The bright conditions
made the rear screen hard
to use, and the focus was too
important to guess

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SHOOTING SKILLS

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WorldMags.netFROZEN FLOWERS

Frozen
flowers
Encase petals in ice to create
an unusual artistic effect
Photography is often about capturing
beautiful, organic things in their
natural environments, but its also
about trying to present the everyday in a way
thats surprising, unusual or unique. Flowers
are clearly a hugely popular subject matter for
photographers, which is not surprising when
you consider the abundant beauty, colour,
texture and detail that they offer. However, its
not always that easy to capture particularly
original images of them.
A fun, creative solution is to freeze a ower
in ice before photographing it. This might
sound like a bizarre concept at rst, but it
can result in some incredible images. The
unpredictability of the freezing process and
how different owers respond to this is one of
the most intriguing elements of this technique.
The degree of transparency thats present
in the ice will vary enormously and different
patterns will appear.
Remember that this tutorial merely
represents a suggested starting point and
youll need to experiment in order to produce
results that appeal to you. You can, of course,
light your frozen ower in any way that you
wish to again, the lightbox and speedlight
combination demonstrated here is simply one
option that you could consider. A macro lens,
however, is highly recommended.
Left

Snap the ice

This shooting project is relatively
easy to do and you never know
what kind of results youll get

What youll need

DSLR
Macro lens
Tripod or ash stand
Speedlight
Light table
A ower
A freezer
A baking tray

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SHOOTING SKILLS

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Shooting
steps

Freeze a ower This is best done

in stages, as you cant simply soak
a ower in a tray of water and expect
it to sit there in the perfect position
during the freezing process. Freeze
your rst layer of water, then wet the
ower before placing it in the tray so
that it sticks to this layer of ice.

Light the ower Remember to

get your lighting fully set up and
ready to go prior to removing the
ower from the freezer, as the ice
will not stay frozen long at all. You
could try using a light table, which
are designed for looking at slides
with a loupe, but they are also ideal
for photographing backlit macro.

Balance the light Backlighting

is beautiful, but it can be a bit too
extreme if used without any other
form of lighting to balance it out.
Position a speedlight ash unit
off-camera and to one side in order
ll shadows on the surface of the
ower. Set this to its manual mode
and use it at about 1/8 power.

Get in close A true macro lens

enables you to focus at very
close distances to take remarkably
detailed shots of the texture of the
ice and the ower encased within it.
Remember that the depth of eld is
extremely limited when the focusing
distance is so short.

Use manual Set your camera

into manual exposure mode. The
combination of backlighting and an
off-camera ash is an unusual one
that may be misinterpreted by your
cameras meter. Start with a shutter
speed of 1/200sec and an aperture
of f22 to combat the shallow depth
of eld at high magnications.

Shoot for quality In order to

produce the best-quality images
with as little noise as possible, use
the lowest ISO sensitivity setting
thats available on your camera.
In addition to this, shoot in your
cameras RAW format so that you
have the maximum amount of
editing potential.

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WorldMags.netFROZEN FLOWERS
AVOID SHADOW

The setup

Use a speedlight to provide a

spot of fill-in flash to light the
camera-side of the flower and
decrease shadows

GO MACRO
A macro lens enables you to
capture close-up details of the
flower frozen within the ice

BACKLIGHTING
A light table is an ideal tool for
providing backlighting, illuminating
textures within the ice and
penetrating the flowers petals

Trigger the ash

When it comes to ring the
speedlight, a wireless setup is best
Though its perfectly possible to use a ashsync cord to trigger the speedlight, this will be
potentially restrictive, limiting your movements
as you attempt to photograph the ower from
as many different angles as possible. Its much
better to work wirelessly, and there are different
means of ditching the cords and freeing yourself
up to concentrate on the photography. Nikons
Creative Lighting System enables you to use the
built-in pop-up ash on your camera to re the
ash and you can adjust all the settings for the
speedlight from within the camera menus. Canon
also offers a wireless ash system that works in a
similar fashion. Alternatively, you could try using
wireless radio triggers, of which the PocketWizard
range is arguably the most popular.

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57

SHOOTING SKILLS

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Editing
steps

Lighten up and add contrast

Open the RAW le in Camera Raw
or your preferred editing software.
Increase the Exposure and Contrast
sliders to improve the brightness and
drama in the image. Keep an eye on
the Histogram preview as you do this.

Add clarity The Clarity slider

can be used to increase the local
contrast, or midtone contrast, thats
present in the image. Try taking this
all the way to its maximum setting
and then gradually reducing it if the
effect appears too much.

Control the colour Experiment

with the White Balance settings,
adjusting both Temperature and Tint
in order to create different colour
effects. You might also want to adjust
the Vibrancy and Saturation sliders
or the Split Toning options.

Make local adjustments Use

the Adjustment brush to make
localised edits to colour, contrast
and saturation. Use the Healing
Brush tool to remove any unwanted
reections. If necessary, make a crop
to tighten the composition.

Below

Raw power
You can greatly improve the
impact of the results by using
the options available to you in
Adobe Camera Raw

BEFORE

58

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AFTER

Learn in style
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The
TM

Series
Discover more with the Book series expert, accessible tutorials for
iPad, iPhone, Mac, Android, Photoshop, Windows and more

BUY YOUR COPY TODAY

Print edition available at www.imagineshop.co.uk

Digital edition available at www.greatdigitalmags.com
Available on the following platforms

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SHOOTING SKILLS

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Capture stunning
fireworks
Add explosive imagery to your portfolio with this
tutorial on how to take the perfect reworks shot
With so much visual impact, reworks
are undeniably one of the most
popular events to photograph. Despite
their breathtaking look, however, they are
notoriously difcult to photograph well. In
this tutorial well consider the steps to take to
ensure your rework images pack a punch.
Once youre near the displays location, look
for somewhere quiet to set up, as you dont
want people blocking your view. A viewpoint
further away gives great perspective and the
chance to include the location as well as the
reworks. Try to set up upwind of the reworks,
as therell be less smoke from the explosions.

Make sure that you arrive early so that

youre not rushing. Its also important to pack a
tripod and remote shutter release. While both
of these will ensure that your images are sharp,
you should also try to nd a rm surface to set
up on, as this will help to keep the tripod even
more stable. You could also try hanging a bag
from a centre column to add more weight to it.
Take plenty of images during the display,
as youll need both luck and good timing to
capture the best explosions. Make sure that
you have plenty of space on your memory card
and shoot in RAW le format where possible to
make the most of the image quality.

Prepare your camera Plug in your remote

release and set your camera settings before
you head out, starting at around ten seconds,
f8 and ISO 400. Before the reworks display
begins, netune your exposure.

Keep level Mount your camera on a

tripod and make sure you are level many
cameras now have built-in levels or you could
use a spirit level bubble. Keep it level across
the horizon, but leave some room in the sky.

Select your image Import your images

into editing software and select your best.
In Lightoom you can add ags and lter by
these to see only your best images. Check the
sharpness before picking your nal shot.

Crop your image To give the photo the

best impact you will need to crop in here
weve cropped in to keep the reection and
some of the beach and pier. This also makes
the reworks larger in the frame.

4
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Above

Uncropped and lacking contrast

While not a terrible image, the distance
means that the impact from this image is
lost. Note how the wide view ensures you
get the whole of the reworks in

Focus manually Focus on a point in the

distance and set your camera to manual
focus, as you wont be able to focus quickly
enough during the display. When the reworks
start you should be all set up to start shooting.

Finishing touches Adjust the contrast to

give more denition between the sky and
the reworks. Boost the Vibrance (Saturation
adds too much colour) and reduce the blacks
and whites to add punch to the image.

CAPTURE STUNNING FIREWORKS

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Right

The nished rework photo

As you can see, the cropping and
adjustment of the contrast, vibrance
and levels makes all the difference to
the impact of the image

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61

IMAGE EDITING

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Enhance your
images with DxO
Optics Pro 8
Discover how this incarnation of the popular
software free this issue can enhance images
DxO Optics Pro from DxO Labs is
one of the most popular imageenhancing softwares available, and
it has plenty to offer all levels of photographer.
DxO Optics Pro 8 features a user interface
that will be familiar to users of Lightroom,
but it offers specialist image-correction tools
that go beyond whats offered by most of
the competitors.
With its range of built-in camera and lens
algorithms, DxO Optics Pro can automatically
correct aws with incredible speed and
effectiveness, and in this tutorial, youll discover
the basics of how the software works its
magic. Head to www.dxo.com/dphotographer
to download your free copy now, exclusive to
Digital Photographer readers.

BEFORE

Above

Original capture
The start image has some dark shadow areas
and the overall dynamic range needs improving

Organise your images DxO Optics

Pro 8 features an image-browser interface;
you can use the panel on the left to navigate
through folders. The software will automatically
check for Optics Modules you may need.

Selective Tone Take the level of control

you have over dynamic range a step further
by using the Selective Tone controls introduced
in this version. This enables ne adjustments
of Highlights, Midtones, Shadows and Blacks.

Auto adjustments Perhaps the greatest

strength of DxO Optics Pro 8 is the way it
automatically handles common image aws,
such as distortion and chromatic aberration.
These can still be manually adjusted.

3
62

Smart Lighting An attractive innovation

in DxO Optics Pro 8, Smart Lighting in
Customize mode enables you to easily recover
shadow and highlight detail. Presets are
available, but the Intensity slider is adjustable.

WorldMags.net

Advanced User Once youve taken your

rst steps and have grown familiar with the
interface (it wont take long), you can expand
your options by selecting the Advanced User
workspace at the top right of the main screen.

WorldMags.netDXO OPTICS PRO 8

AFTER

After editing in Optics Pro

After barely a few minutes in DxO
Optics Pro 8, the shadow areas
have been signicantly enhanced
and the overall appearance of the
image is much stronger

Before and after DxO Optics Pro 8 has

an easy way to see the changes made to
your starting image and what the software
has automatically adjusted. Click and hold
anywhere just outside of your image preview.

Familiar controls Just as youd nd

in familiar image-editing software, key
adjustments, such as a Tone Curve and
Vibrancy and Saturation sliders, are available in
order to boost the impact of the image.

WorldMags.net

Print Module DxO Optics Pro 8 features

an integrated Print Module to make it easy
to print JPEG and RAW les from the main
interface, with contact sheet printing also
available. Text and metadata can also be added.

63

ADVERTORIAL

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DNG
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However, if youd like to have access to all the
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can get an exclusive discount on the newest
version of the software, as part of an exclusive
special offer available until 31 January 2015.
The latest version picks up where previous
incarnations left off, but adds in some
impressive new features. The most noteworthy
of these is ClearView, which is designed to
combat all the various forms of atmospheric
haze that can have a detrimental impact on
image quality. This works by establishing a
Depth map in order to evaluate the camera-

64

to-subject distance and therein determine the

strength of the adjustment thats required.
DxOs PRIME (Probabilistic Raw IMage
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and improvement of the user interface and

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editing experience, with the image browser

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IMAGE EDITING

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Add light rays

in Photoshop
See how to use Photoshop to add
dramatic light rays to a cloudy sky
There are few things in
photography that are
as awe-inspiring as the
moment when the clouds part,
allowing dened rays of sunlight to
reach down and touch the ground.
Capturing these moments on
camera can be tricky, however, and
waiting hours on a seashore for
them to appear can be a fruitless
endeavour. Even if you are lucky
enough to witness these beams,
sometimes the drama can seem
unimpressive and bland in an image.
Luckily it is possible to re-create
these rays of light in editing software.
In this tutorial we will take a look at
how to take portions of an already
dramatic sky and transform them
with piercing rays of light.

BEFORE

Above

Moody skies
Images like this are already strong in composition and
exposure. The sky has character to it, but lacks real drama

Select the sky Begin with an image that

contains a dramatic sky, like this image of
a lighthouse. Use the Quick Selection tool to
select the sky, and deselect any of the building
or ground area the tool inadvertently grabbed.

Add blur Create the light rays by going

to Filter>Blur>Radial Blur. Set the Blur
Method to Zoom and the Amount to 100. Move
the blur centre to the top, slightly in from the
right. Run this lter twice.

3
66

Create contrast Press Ctrl/Cmd+J to

copy the sky to a new layer. Go to Image>
Adjustments>Levels and pull the outer handles
of the Input Levels inwards, but skewed
towards the right to add contrast in the clouds.

Increase contrast Set the layers blending

mode to Screen, then run the Levels
adjustment again. Increase the contrast, but
try to retain the soft look of the light rays. If
needed, transform the layer to extend the light.

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AFTER

Light the sky

With the use of Photoshop, its possible
to fake those magical moments in which
beams of light pierce through the clouds

Mask the effect Add a layer mask and use

a soft brush with black paint to remove the
effect from in front of the lighthouse. Set the
brush Opacity to 50% and build up the paint
strokes, gently avoiding hard edges.

WorldMags.net ADD LIGHT RAYS

Repeat the effect Select a smaller portion

of the sky near the horizon and repeat
the effect on a smaller scale. When using the
Radial Blur lter, move the blur centre to make
the rays parallel with the larger set.

Reverse the mask Add a layer mask to

the new layer, but this time ll the mask
with black and use a white brush to reveal the
rays in specic areas. The light should only be
coming from clouds that are already bright.

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Enhance contrast Enhance the effect by

adding a Brightness/Contrast adjustment
layer over the background. In our image, we
set the Brightness to -17 and the Contrast to
20 to accentuate the light effect.

67

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WorldMags.net

The photo helpdesk

All images Amy Davies

Looking for a new lens? Camera kit expert Amy Davies answers your
questions on top picks for different shooting scenarios

Left

Fit in the scene

Using a wide-angle lens means you
can get more of the subject in
Above

Place yourself
Your shooting position also inuences
the effect of converging verticals

Wide-angle for architecture

Im beginning to get into architectural photography
and am tempted by a wide-angle lens, but Im not
sure where to start. Do you have any advice?
Sarah Williams
For interesting architectural images, youll want to
go as wide as you can. A standard lens generally
only goes as wide as around 24mm (35mm
equivalent), but youll be looking at something
beginning around 14-16mm (equivalent). For APS-C
format cameras, a 10mm starting point is good,
while Micro Four Thirds should look at 7mm lenses.
The issue with wide-angle lenses is that they can
create distortion, so your images look unrealistic
due to converging verticals. Most architectural
photographers get around this problem by using a

70

tilt-shift lens. When using one of these, the camera

back is parallel to the subject, while the lens is
angled to t the subject in. A tilt-shift lens will give
you a more realistic shot, but their high price tag
places them out of reach for many photographers.
To avoid converging verticals when using an
ordinary lens, there are a number of things you can
do. Invest in a tripod that can be extended as tall as
possible to enable you to get a better straight-on
view of the building. You can also try photographing
a building from a level vantage point, such as from
another structure across the road.
You can correct problems in post-production
fairly easily, and while the effect wont be as pristine
as using a tilt-shift lens, youll get a pretty close
approximation at a fraction of the price.

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Lenses to work
wide with
Panasonic 7-14mm f/4.0 Micro
Four Thirds lens
Price: 899 / $1,080
Great for both
landscape and
architectural
shots, this lens
ts both Olympus
and Panasonic Micro
Four Thirds cameras.
Sigma 10-20mm f4/5-6
Price: 369 / $479
Available in a range
of mounts, this
lens will help
you capture
fantastically
wide shots with
lots of detail and
visual interest.

WorldMags.net

Macro lenses
for detail shots
I love taking close-up shots, but my current
lenses lack detail. What should I be looking for
in a macro lens?
Robert Andrews

Prime lenses
for portraits
Im starting to take paid commissions for my
portrait photography and I want to ensure I
have the best equipment. What kind of lens
do you recommend?
Adrian Hillman
The good news is that you dont need to spend
a fortune to pick up a great lens for portraits.
With portraits, you want to ensure that features
look natural and that you dont distort a
persons face, such as by making their nose
look bigger than it is. While wide-angle lenses
are good for environmental shots and showing
a person in their surroundings, you should
avoid them for close-up images as they may
cause these unnatural distortions.
Prime lenses with a focal length of around
80-85mm are ideal for portraiture work. If
youre using an APS-C camera, a 50mm lens
is great and can usually be picked up relatively
cheaply. For Micro Four Thirds lenses, look out
for 45mm lenses. Full-frame photographers
should look out for an 85mm lens.
Prime lenses also have a wide aperture, such
as f1.8 or f1.4, which is great for blurring the
background and allowing features to pop a
crucial element for portraits. You can also
shoot detail shots with these lenses, which is
great for making up a portfolio or montage.

Ideal lenses for

portraiture
Canon EF 50mm f/1.8
Price: 80 / $126
A fantastic lens
for portrait
photography. If
you can afford
the f1.4 version,
even better.
Nikon AF-S Nikkor 85mm
f/1.8G
Price: 470 / $496
The classic focal
length for
portraiture,
an 85mm lens
enables you to
take natural shots.

Above

Make your shots pop

Shooting with a medium telephoto lens
makes features appear more natural and
allows you to blur the background
Inset

Keep your distance

Use something that gives you an equivalent
of around 80-90mm to give you the ideal
length for portraits

The great thing about macro photography is

that youll often be able to nd an abundance of
subjects at home or in the garden. Investing in a
dedicated macro lens is a great way to get some
stunning close-up shots, full of intricate details.
Using a macro lens with a relatively long focal
length is a great idea for photographing wildlife,
such as insects, as it enables you to take a step
back and still ll the frame look out for those
offering an equivalent of 100mm or more. For
APS-C cameras, a lens with a focal length of around
60mm is great, while for Micro Four Thirds, a
45mm or 60mm lens is ideal.
Pay attention to whether or not youre investing
in a true macro lens. Make sure a lens can capture
at 1:1, as this means itll be photographing the
subject at true-to-life size on the cameras sensor.
Anything that is not marked 1:1 wont be ne
enough for very detailed subjects.
Above

Work from home

A huge range of subjects make for good
macro subjects, both indoors and out

Kit to get you up close

Olympus M.ZUIKO
60mm f/2.8 Digital ED
Price: 450 / $500
A fantastic lens that
offers 1:1 magnication
for super-ne detail.
This lens includes silent
focusing, which makes it
great for wildlife.

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Sigma 105mm f/2.8 EX

DG OS HSM Macro
Price: 650 / $969
A perfect lens to be used
with full-frame cameras,
this 1:1 magnication
macro comes in a range
of mounts, including
Canon and Nikon.

71

HELPDESK

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All-round lenses for travelling

Im going travelling soon and I dont want to
take all of my prime lenses with me. Can you
recommend a good all-round lens that will be
useful in a variety of situations?
Susan Johnson
You have a couple of options for all-round lenses,
depending on your budget. You can go for so-called
travel zooms, known as superzoom lenses, which
offer huge exibility in terms of focal lengths, but
arent optically as good as shorter zooms.
Another problem with long superzoom lenses is
that the maximum aperture is pretty narrow, which
is not so useful for blurring backgrounds or when
youre shooting in low light, making them a big
compromise when youre travelling.
For this reason, if you can stretch your budget, its
worth investing in something that can offer you an
f2.8 constant aperture throughout its zoom range. If
youre photographing with a full-frame camera, the

72

classic all-rounder lens is a 24-70mm f2.8, which

should see you through from capturing fairly wide
landscapes to portraits and still-life subjects without
having to switch lenses.
Look for focal lengths that offer roughly the
24-70mm equivalent focal length for your sensor
size. For APS-C sensors, a 17-55mm lens is a reliable
option, while for Micro Four Thirds, a 12-35mm lens
is optimal for all-round shooting.
For those on a slightly tighter budget, look for
zoom lenses that have an f2.8-f4 or f4 constant
aperture. You should still be able to restrict depth of
eld to isolate subjects, and theyll cope reasonably
well with some low-light situations.
Above

Flexible shooting
Using a lens with a range of focal
lengths while travelling gives you
maximum exibility and saves
you carrying extra optics

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Lenses to pack
for travel shots
Panasonic 12-35mm f/2.8
Lumix G X Vario lens
Price: 829 / $1,000
A fantastically
versatile lens
for Micro Four
Thirds cameras
that matches the
classic 24-70mm
full-frame focal length
Canon EF 24-70 f/2.8L II USM
Zoom
Price: 1,700 /
$2,099
The second
generation of this
well-loved lens
brings fantastic
optical clarity and grea
versatility for shooters.

THE STORIES,
STRATEGIES, HEROES & MACHINES
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newsagents and
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ON SALE NOW

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GO PRO

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How to get published

Whether youre pursuing a publisher, or opting for the self-funded
route, a book can be a great way for the world to see your work

Right

Of Beards And Men

OLearys project, Of Beards And
Men, is available in four different
editions, including hardback
Opposite

Bring on the men

The project features images of
more than 150 bearded men
over the course of two years

74

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minormattersbooks.com) and executive

director of PCNW, prefers to meet artists
face to face. We dont take submissions. I
attend gallery openings, conduct studio
visits, participate in portfolio reviews and take
recommendations from colleagues. Its an
incredibly personal and time-consuming effort
to craft a book in collaboration with the maker,
and then promote it. Its like building any
relationship it takes time.
Minor Matters started in 2013, blending
traditional pre-selling practices with an active
online audience. We devised this model with
a xed price point of $50 and the goal of 500
people pre-purchasing each book within a xed
time frame to move it forward.
Marsh continues, We know there are a
lot of creative people who would like to see
their work in book form, and we take that very
seriously. We dont put forth a ton of projects,
but those we choose and champion, we are
very committed to.
Each customer who pre-purchases is listed
in the book. Once its printed, copies are sent
to the customers rst; the rest are sold on
Minor Matters website and selected stores.
Making a book is slow, laborious and expensive,
Marsh says, but the end result is precious and
should outlast us to inspire future generations.

All images Joseph D R OLeary

espite developments in digital

technology, theres no denying the
appeal of good-quality paper and ink.
For many, seeing your work in print
would be like a dream come true, so just how
do you go about it?
First, its important to get your photography
out there. Julia Ruxton, picture manager
at book publisher Laurence King (www.
laurenceking.com), explains, If you dont
have images in an online picture library, its
worth putting them onto photo-sharing
websites, such as Flickr, in a low resolution
or with download disabled, and either all
rights reserved or stating that commercial
use requires permission. Flickr has a licensing
arrangement that you can opt into.
Using these sites mean professionals will
have instant access to parts of your portfolio
ideal if they want to feature one of your shots
in a project theyre working on. Microstock
websites, such as iStock, Shutterstock and
Dreamstime, can offer benets and immediate
payment. Microstock sites make commercial
use of your photos really simple and
increasingly become a rst port of call for
publishers and institutions alike, says Ruxton.
Rates are generally not particularly high,
but if a picture editor is faced with the choice
between two images of equal quality one
cheap and one expensive its not hard to
guess which one will be published. The more
often youre published, the more your images
will be seen and potentially published again.
This approach could prove more effective
in the long run, since pitching your work to
publishers when youre unknown can have
mixed results. It is very rare that I even look
at emails sent by individual photographers,
Ruxton admits. I get dozens a day and usually
they are not relevant, so if I looked at all of
them, Id never do my job. Youre more likely
to get a photo used by having it somewhere
online where it is easily identiable as yours. If
youre intent on pitching your work, however,
she recommends, Make sure youre sending
it to a publisher that uses that type of imagery.
Second, dont send huge attachments.
Meanwhile, Michelle Dunn Marsh, founder
of publishing platform Minor Matters (www.

HOW TO GET PUBLISHED

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75

GO PRO

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Keywords
and credits

Above
Make your work easier to nd online by including
precise and more general keywords when
uploading to stock photography sites

76

Choosing content
OLearys project, Of Beards and Men (www.
requires careful
ofbeardsandmen.com), rst started out as a
planning. Depending
way of dealing with some unfortunate events,
on the artist, the focus After a difcult 2011 and 2012, with my brother
could be on an individual project or a body
dying in a car crash [and] my own debilitating
of work. The artist does an initial edit of the
bout of Lyme disease that put me on crutches
images, I look at it with them or shape it and
for nearly ve months, I decided I needed a
send it back to them, and the book takes form, way to focus on something other than the
Marsh explains. We discuss possible writers,
darkness I was caught in. At that point I turned
what text is the right addition to the work, the
to my photography and went into the studio.
physical considerations of size, binding, paper
OLeary spent the next two years inviting
knowing that were working with a xed budget, over 150 bearded men to his studio for a
so there are give-and-take elements.
series of portraits, resulting in a limited edition
Before embarking on your own publishing
coffee-table book. Four different editions were
journey, its important to consider what your
available during the campaign, including a soft
aims are. Is it to showcase your body of
cover, hardcover and a personalised slipcase
work, or specic projects? Are you looking
edition. [They] all had the exact same paper
to produce a coffee-table book or a practical
and binding, says OLeary. The only difference
guide to various techniques? Establishing
was the covers and the production methods
this at the start enables you to weigh up your
that went into making each cover.
content, your options and your costs.
Having 22 years of graphic design experience
While opting for a publisher can hold many
certainly helped too. I was able to oversee
benets, self-publishing also offers some
the entire process myself. I did all 26 hours of
interesting opportunities. Websites such as
press checks. I was able to talk the bindery
Blurb, the Amazon-owned CreateSpace and
into letting me help out on some of the binding
Lulu, provide a variety of solutions to suit
processes. I spent several days folding dust
most budgets. You can choose from a range of
jackets, shrink-wrapping, and boxing so that I
sizes, paper stock and binding techniques. Its
could be present during the process.
easy to feel overwhelmed at rst, but careful
Meanwhile, managing the campaign required
planning and an awareness of your target
a lot of time, dedication and social media
audience can keep you on track. Furthermore,
Above-left
digital options and distribution solutions are
Sign off
also offered, which can be a real help when
Joe Park signs off on his nal
it comes to actually making money from the
book layout. Also pictured is the
project. Many of the services offer a print-oncover of his book, Prizmism
demand service or an online storefront, which
Above
is ideal if youre handling it all by yourself.
Go to print
Artist and photographer Joseph D R OLeary
David Hilliard on press at Oddi
(www.jdro.com) chose to self-publish his rst
back in the Summer. His book,
book. Money for production costs was raised
What Could Be, is available now
through the crowd-funding website Kickstarter.
Opposite
I was an unknown entity to many publishers,
Look harder
[so] I knew I would not be able to get a
Photographer Lisa Leone
publisher to take on my project, but I didnt
inspects a series of her
want that to stop me.
photographic prints

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Minor Matters

Good keywords are important if youre

planning on uploading your photographs
to microstock sites. In addition to
subject matter, you should think about
alternate words including UK/USA
equivalents, such as school/college
as well as mood, dominant colour and
type of image, says Ruxton. The more
precise your caption, the more likely it
will be used though general keywords
should also be added. That way your
photo of a bird in a owering tree will
reach someone who wants a pretty
summer scene, any bird, or that specic
bird or tree.
There are restrictions on the types of
photographs you can upload, though. If
you have taken a photo of a person or on
private property, you need to have the
relevant signed permission or release
forms. For example, the National Trust
and English Heritage do not allow you
to make commercial gain from images
you take on their properties and that
is a condition of allowing photography.
The same applies in most museums.
These institutions regularly go through
the online outlets getting images that
shouldnt be on there removed.
Finally, dont forget your copyright line.
Always insist on a proper credit, which
includes the copyright symbol. If you use
a moniker, you will just make yourself
harder to nd when someone wants to
use your photo.

Minor Matters

Julia Ruxton, picture manager

for Laurence King, explains how
to increase your visibility online

HOW TO GET PUBLISHED

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Do it yourself
With lots of online publishing
options to choose from, we look
at three of the most popular
BLURB
www.blurb.com
Blurb describes itself as a complete
publishing platform, and you can even
edit your shots while you lay the book
out. Choose from ve soft or hardcover
options and a further ve paper types.
You can sell through its site, Amazon, or
make ebooks for Kindle or Apple iBooks.

Minor Matters

CREATESPACE
www.createspace.com/diy-gb
While the interface looks a little less
inviting, the Amazon-owned CreateSpace
offers free advice on creating, promoting
and distributing your book. It provides
some tools for layout, but you can also
upgrade parts of the service to help with
things like design, marketing and editing.

While opting for a publisher can hold many

benefits, self-publishing also offers some
interesting opportunities
updates, as OLeary explains, One of the guys
in the book helped me out with my Kickstarter
video. I designed and printed several campaign
materials that I mailed to about 500 people
and distributed these materials in coffee shops
or places I felt had the right audience.
Of Beards and Mens campaign was very
successful, generating more than $13,000
above its initial target of $27,000. However, as
I designed the book and increased the number
of pages, portraits and production values, my
nal expenses for the project were just under
$80,000, OLeary shares. Switching to local
printers rather than one based overseas played
a part in the overspend. My project cost
me substantially more than I intended. I was
interviewing reps in both Singapore and China,
which could have saved nearly 45 per cent in
production expenses, but ultimately sending

my project overseas was against my personal

values My goal was not to make money on
this project, but simply to make a limited
edition, beautiful work of art.
For those thinking of making their own book,
OLeary advises, Expect the unexpected. Really
understand what is important to you. Be sure
to hire a designer that ts the images, as its
important the design doesnt overshadow the
images, but supports them.
Marsh adds, The best end result for a book
of your work will come from someone falling in
love with [it]. You cant make that happen with
your art any more than you make it happen
in life. It takes chemistry, timing, spontaneity,
resources, and magic. The great photographer
Elliott Erwitt says that if you talk too much
about the magic you ruin it. Theres got to
DP
be magic in bringing a book to life.

WorldMags.net

LULU
www.lulu.com
Lulu offers three ranges of books value,
standard and premium in a range of
sizes. Much like the other services, you
can create ebooks for different devices
and get additional assistance with paidfor upgrades. Sell your title through Lulu
or Amazon and selected retailers.

77

GO PRO

WorldMags.net

Career advice
Digital Photographers Lauren Scott takes a look at the options available
for studying photography and how to decide what direction to take

Is experience
necessary?
I use photography a lot at work and Ive been thinking
about going back into education. As a mature student,
a lot of my qualications are outdated and Im not sure
theyll help me to get in. Would I need to get some more
basic qualications before I apply to a full degree or are
there entry-level options?
Naomi Roe
Many mature students without formal qualications feel
they dont have the academic credentials universities
ask for, but often you can use other experiences or your
career history to support your application.
If youve used photography a lot in your job, its
possible that youve picked up the skills that admissions
tutors are looking for. They want to ensure that youre
suitable for the course and will succeed. Youll have to
apply through UCAS (www.ucas.com), which gives the
entry requirements and contact details of all courses.
Discuss your experiences with the course providers
and hopefully you can prove youre suitable for studying
a higher-education course. They may want you to do an
entry-level foundation year rst to build up your skills, but
this then leads onto a full degree

Choose your
course wisely
I want to pursue a career in photography and think the best way
to achieve this would be to study at university. After researching
some of the options, Im a bit overwhelmed. In such a competitive
eld, is it better to apply for specic photography courses like
fashion, or will I learn more on a broader photography degree?
Elena Richardson
A degree programme is a big commitment both nancially and
mentally, so a lot of thought should go into selecting the right
program. Decide where your photographic passion lies. What do
you shoot the most? Do you want to study practical techniques
and methods, or take a more concept-based ne art approach?
Research courses through websites and a prospectus and if
possible, attend open days. These will give you an opportunity to
see the facilities, talk to current students and staff and ask any
questions. Think about the kind of skills you want to gain and what
career you want at the end. While studying a specic degree wont
guarantee you your dream job, it will inuence your image-making
into a nal portfolio thats geared towards success.

78

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WorldMags.net CAREER ADVICE

Get noticed in
interviews
Admissions tutor Alice Maude-Roxby (www.falmouth.ac.uk)
shares the secrets of a successful photography portfolio

Learn from
home

Its great that you want to gain recognition for

something that you already enjoy so much,
but a degree isnt the only option available.
While most distance and online schools offer a
certicate and not a degree, these still display
your photography interest and valuable skills
youve learnt. Many local colleges offer weekly
evening classes during term-time that might
work around existing commitments, and these
usually result in a diploma or A Level.
If you want to study at your own pace from
home, institutions like the London Art College
(www.londonartcollege.co.uk) offer distanced
learning courses supported by tutors. On the
other hand, if youre interested in gaining a
degree, organisations like The Open College of
the Arts (www.oca-uk.com) offer courses that
are accredited by leading specialist universities,
and can be studied individually for personal
development or together towards a degree.
When choosing the perfect option for you,
consider the costs, how much time you want
to put in, and what youre going to learn.

Falmouth University

After pursuing photography as a hobby, I

want to study for a recognised qualication. I
have family commitments, so Im not looking
to move. Are there any options available for
distance learning and are these well regarded?
Joshua Harding

Were really excited by

a portfolio that is rich
in ideas, and [we] look
for work that reects
the applicants genuine
interests, relevant to the
course theyre applying to.
BA Photography is
broad and suits students who want to test
out their ideas, working across many genres,
so the photography in the portfolio should
reect an individualistic approach. For more
specialist courses, its important to show an
interest in the genre. Id advise applicants
to submit short sequences of images that
show how they have explored an idea or
subject rather than including single images

of many different but unrelated subjects.

Its great to include contact prints or
thumbnails that show the selection process
and how the nal edit was arrived at.
Photographs should be printed to the best
of the applicants ability, as viewing images
on a laptop is not the best way to see the
work. Printed work also enables a discussion
of several images, where digital slideshows
can be quite restrictive. We very much value
that applicants have acquired technical
skills, but were also looking for a level of
resourcefulness. This can be reected in a
portfolio where an applicant has had little
access to high-end photographic equipment,
but has nonetheless produced highly
engaging images.

Were really excited

by a portfolio that is
rich in ideas

Opposite-top
Research the entry requirements for
specic courses on www.ucas.com
and contact the universities that
youre interested
Opposite
Brainstorm ideas to nd out what
your main photographic interests
are and research what courses
might suit you

Above
Show your particular passion
for photography through the
images in your portfolio

Above
Photography courses can take
up a lot of time, but distance
learning makes it easier to study

Left
A strong portfolio can be the
deciding factor for tutors when
they offer students a place

WorldMags.net

79

ON A SHOOT WITH

WorldMags.net

Low light in London

TheNikonSchoolshowedagroupofaspiringphotographers
howtocapturestunninglow-lightimages
changes on the screen. Before heading outside
for the practical side, a slideshow of images
were shown to illustrate the creative potential
offered by the genre, and key technical points
were explained in each shot.
There was plenty of opportunity for
questions and group discussion to take place
throughout the evening, and at each location
Higgins made sure that every individual could
achieve the shots that they were looking
for. As the light continued to gradually fade,
the fundamentals of low-light photography
techniques were built upon, and it was clear
that each attendee was growing in condence
and beneting from a good balance of both
theory and practical tips.
Higgins explained how to get the best results
from the Nikon system, as well as the usefulto-know legal implications of photographing in
public and private areas. Darkness descended,
and the bright lights of the city really came
to life, with the course ending at Londons
iconic Blackfriars Bridge. Looking towards
an illuminated River Thames and St Pauls
Cathedral, this concluding view gave the
attendees the perfect chance to put into
practice all the skills that theyd been learning
throughout the course, and to produce some
stunning nal images.
For more information about Nikons range of
courses please visit www.nikon.co.uk/training.

Pupil progress
Steve Risbridger

London is a vibrant and metropolitan

city that provides a wealth of
opportunities for photographers of all
skills and genres. Its also the location of the
Nikon School, the training centre that runs a
great variety of comprehensive photography
workshops throughout the year. The Low
Light in London course is just one of many
on offer, and with small groups of delegates,
everyone benets from the knowledge of the
tutors. With a winning combination of easyto-understand theory and hands-on practical
assignments, attendees left with a strong set of
low-light images to add to their portfolio, with
the condence and creativity to build on what
theyd learnt during the session.
Capturing scenes in low light remains a
challenging area of photography, yet when
executed well, the results can be truly
captivating. Many of the delegates understood
the basic principles of the genre, but lacked
the know-how to get the creative outcomes
they were looking for. We spent an evening with
expert Mark Higgins to learn how to get the
best results when taking images in relatively
low-light conditions, visiting iconic landmarks
and streets of London.
The training began with an introduction
to low-light photography, and Higgins
demonstrated what camera settings were best
to choose. He explained the optimum aperture
to use in this case f11 to achieve long
exposures without losing sharpness. A valuable
tip offered was how to take advantage of
manual white balance control when capturing
articial lights, using Live View to see the

For how long have you been interested

in photography?
Ive been interested, on and off, for about
35 years. I learnt with a completely
manual Praktica L2 and handheld light
meter at school. Ive been trying to get
back to the simplicity of that, recently
having got a bit lost in the technology, and
now use a Nikon Df body.
What prompted you to attend this
training day at the Nikon School?
I love low-light photographs, but have
never really mastered the techniques.
Its good to set aside the time to meet
with other keen photographers to discuss
and experiment.
What did you learn on the day?
After covering the basics, Mark (the
trainer) concentrated on a handful
of simple but key points, such as
experimenting with Picture Control and
white balance. Being taught to use these
in a counter-intuitive way produced some
stunningly different images.

Opposite

London lighting
The Nikon Schools training expert showed
the delegates how to capture images like this
using long exposures and their Nikon kit

Do you think you would you recommend

the course to others?
Absolutely. Mark had a great way of
making you think more about what you
were doing and was on hand to answer
questions about the kit and technique.

A view behind the scenes

80

Photo opportunities With time spent

at each landmark, everyone had the
chance to capture their own images

Personal tuition At each location,

Higgins made sure that everyone was
given advice to take their best shots

WorldMags.net

Steve Risbridger

Take a look at the low-light photography course at

Nikons training school in central London

Useful theory Higgins began the

course by sharing camera tricks and
tips to produce creative low-light shots

Nikon shooter Steve

Risbridger reveals what
he learnt on the course
at the Nikon School

IN ASSOCIATION WITH
WorldMags.net

T he Nikon School

Top tips for low light photography

Choose the
Select the lowest
white balance
native ISO that
creatively, using the your DSLR will allow,
Live View function
which is usually ISO
on your camera to
100. Turn off auto
see the effect of
ISO and the longchanging the colour exposure noisetemperature. Always reduction function
shoot in RAW so you in the menu, as this
have the option to
will increase the
edit white balance in time taken for your
post-production.
shots to process.

Set the camera

to an aperture
of f11 or smaller,
which will stop
out just enough
light for achieving
long exposures. A
narrow aperture will
create an attractive
starburst effect
from the street
lights and headlights.

Always mount
your Nikon
DSLR onto a sturdy
tripod and use a
cable release to
take a shot. If your
lens has a vibrationreduction setting,
turn this off when
the camera is
securely mounted
on a tripod.

The Nikon
Picture Control
system can be
used when wanted
for a specic look.
With seven modes
to choose from,
experiment with
each and choose
the picture style
that best suits the
lighting at hand.

WorldMags.net

Upcoming courses
The Art of Documentary Film
Making
28 October 2014
Getting Creative with DSLR
Photography
31 October 2014
The Art of Urban Portraits
1 November 2014
Red Kite Experience
4 November 2014
Nikon Digital Darkroom
Lightroom
6 November 2014

81

WorldMags.net

NEXT ISSUE
The latest kit reviews, industry news and
tutorials to improve your skills
INCLUDES

Practical tips for

improving shots
Interviews with
industry experts
Professional
shooting advice

Issue 155

on sale
20 Nov

PAINT WITH LIGHT

Discover top tips and techniques for using torch beams and other light
sources to capture creative images in low light
Digital editions available at

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Please note topics are subject to change

WorldMags.net

WorldMags.net

INTERVIEW

84

WorldMags.net

WorldMags.net

DR ALEXANDER MUSTARD
WorldMags.net

Award-winning underwater
photographer and marine
scientist Dr Alexander
Mustard reveals the secrets
of his success in a career spent
photographing the oceans
Left

Thingvellir National Park, Iceland

A diver explores the cathedral at Silfra
canyon, a deep fault lled with fresh water
in the rift valley between the Eurasian and
American tectonic plates

WorldMags.net

85

All images Dr Alexander Mustard

Discover a
hidden world

INTERVIEW

WorldMags.net

nderwater photographer and

marine biologist Dr Alex Mustard
(www.amustard.com) has gained
international recognition for his
stunning images, receiving numerous awards
in leading photo competitions such as the
Wildlife Photographer of the Year on ve
occasions. Here, he discusses the transition
between marine biology to photography and
his innovations for stunning undersea shots.

How did you begin your career as an

underwater photographer?
Growing up as the only person who went
underwater in my family, I was motivated to
take pictures to share my excitement at the
amazing things I was seeing. My early pictures
werent very good, but starting very young
gave lots of time to improve. Learning the hard
way and making every mistake in the book
made progress slow, but also gave me a huge
amount of direct experience of what works and
what doesnt. It also gave me time to develop
my own visual style a way of shooting
underwater images that I like.
As an active and qualied marine scientist,
how important do you think your knowledge
underpins your work as a photographer?
It is valuable at times, but since photography
is primarily an art, it has to be kept in check.
When photographing wildlife, eld craft and
the knowledge of animals as a naturalist is far
more valuable than academic education.

86

Who do you tend to shoot for?

I am self-employed and like to keep my
portfolio varied. Choosing to become an
underwater photographer was a vocational
decision, not nancial, so I try and only take
on jobs I want, [but] of course, there is some
compromise. I shoot primarily for the scuba
diving/travel markets and I have monthly
contracts with three magazines and contribute
very regularly to many more. A diverse
portfolio is not only good for the soul, but since
all these clients tend to wax and wane in their
activity, its important to have plenty of options.
What do you consider to be the unique
challenges of underwater photography?
The main challenges are the physics of light in
the water and the physiology of being a person
underwater, as both put limitations on what
you can do. Time in the water is always limited
and access is not always straightforward. If you
want to photograph on a remote coral reef, it
involves ights and boats, and if you want to
go somewhere unusual, hiring a diving boat
for yourself is usually not affordable. Water is
murky and absorbs colour, so most underwater
photography is taken at close range with ash.
What equipment do you take on trips?
On a usual assignment I like to take two
cameras. My main system is a Nikon D4, and
then I usually take a second system, either
a crop-sensor SLR or a Micro Four Thirds.
Different image formats have quite discernible

WorldMags.net

Above

Semi-submerged
A kayaker explores mangroves and coral
reefs in Waigeo island, Raja Ampat, West
Papua in Indonesia
Right

Tropical waters
A nassau grouper yawning, taken in San
Salvador island, which is in the Bahamas
Sea, Tropical West Atlantic Ocean

strengths and weaknesses underwater. I like to

travel with a mixture. My crop-sensor SLR is
a Nikon D7100 and at the moment I am using
an Olympus PEN EPL-5 as a Micro Four Thirds
camera. Lenses are a mixture of sh-eyes,
wide-angles, and macro lenses, perhaps with a
mid-range zoom. My underwater housings are
from Subal and I use waterproof ashes from
Inon and Seacam.
After testing many underwater housings,
what is your personal choice of kit?
I use Subal housing and have done for many
years. All underwater housings are designed for
specic camera models. However, the Subals
have excellent, delicate ergonomics, yet are
built like tanks and just work without fuss and
problems, despite being bounced around on
boats and being soaked in salt water.
What drives you to create new pieces of kit
such as Magic Filters, for underwater use?
Like many photographers Ive always tried to
push my work in new directions. As you push

DR ALEXANDER MUSTARD
WorldMags.net

WorldMags.net

87

INTERVIEW

WorldMags.net

Above

Digital composite
A basking shark feeds on
plankton near St Michaels
Mount. Both halves of this
image were taken on the
same day in the same area
Right

Motorbike wreckage
World War II British motorbikes
stacked up on the back of a
truck in the hold of the wreck
of HMS Thistlegorm
Opposite-top

Marine Park, Sinai

A school of blackn barracuda
form an interesting shape
as they circle in deep water
adjacent to a coral reef in
Yolanda Reef
Opposite-middle

Republic of Bahamas
A lone Caribbean reef shark
cruises over sand ripples at
Walkers Cay in the Northern
Bahama Islands
Opposite-bottom

Bohol Sea, Philippines

A long exposure of a juvenile
harlequin sweetlips. These sh
dance to defend themselves
from predators. Taken in the
tropical West Pacic Ocean

88

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DR ALEXANDER MUSTARD
WorldMags.net
beyond the limits of any genre of photography
you nd that the gear you need to produce the
shots you are imagining doesnt exist and you
need to modify existing equipment or design
new gear. Most innovations Ive shared with the
underwater photography community, either by
giving the ideas to existing manufacturers or, in
the case of Magic Filters, selling them myself.
When underwater, what are the basic things
a photographer needs to consider?
Underwater, 95 per cent of the time, we use
ash, usually two ashes on arms away from
our underwater housing. The problem is not
about exposure, but learning to produce a
quality of light with these ashes that both
complements the subject and is consistent
with the ambient illumination.
We also have to learn how to create different
lighting effects by adjusting these ashes.
Ambient light underwater is much more diffuse
than light above the surface and becomes
strongly monochromatic at any sort of depth. It
varies through the day, with climatic conditions
and with latitude as light does on land. It is also
affected by changes in the sea surface state
and by the clarity of the water.
What tips do you have for someone who
wants to try underwater photography?
Give it a go! It is a great way to shoot, as you
are able to approach a subject from any angle
as you can move freely in three dimensions.
Most importantly, be safe and competent
in the water. You dont need to scuba dive to
take underwater photos, but if you do, make
sure your diving skills are rst class before
complicating things with an underwater
camera. The golden rule in photography under
the sea is to get close, then get closer.
Youve released several photo books that
have been incredibly well received. Do you
shoot towards a book theme, or create the
book with images that youve already got?
A little bit of both. I think that the trick is to
come up with a theme that you are passionate
about, and then all your best images are likely
to t perfectly. Ill always try to leave time in
the process for some dedicated shoots to ll
the gaps. It is great to go on dedicated trips to
shoot images for books.
As a part of the 2020VISION nature
photography team, how important do you
think photographys role in conservation is?
I think it plays a very important role. There
has rarely been a conservation campaign that
hasnt been backed up with imagery. Images
dont need to be all doom and gloom though,
as people very quickly stop looking at them.
You need plenty of inspiring images, so that
people understand how special the places are
that could be lost.

WorldMags.net

89

INTERVIEW

WorldMags.net
What advice do you have for somebody
who is trying to build themselves a career in
underwater photography?
Think carefully [about] how to market yourself
to try and be different from what others are
doing. In many areas of photography the
market is oversaturated with similar images,
and thats true underwater, where so many
people are focused on getting their me too
shot of the current fashionable big animal. The
best way to carve a niche is to be different.
Also be aware that this is never going to make
you super-wealthy, so you need to budget
expenses carefully. Shoot where you can afford
to shoot, not the places youve dreamed of.
Most importantly, work hard. Keep you clients
happy by being efcient and delivering them
high-quality work, punctually.
What do you see your plans for the future
being and what are your biggest aspirations
as a photographer?
I love the day to day of my job and I nd my
photography is best when I am focused on
the moment. Im most excited about what
Im about to shoot today, tomorrow or on my
next trip, rather than counting down to
DP
something a long way off.
Left

Fury Shoal, Egypt

Shafts of light shine down into the
darkness of a cavern within a coral
reef, lighting up a sohal surgeonsh

Dr Alexander
Mustard at a glance
A brief introduction to the
underwater professional
www.amustard.com
Preferred genre: Underwater
Career bio: He began his career as a
marine biologist at the UKs National
Oceanography Centre. His photographs
are celebrated around the world, and
hes pioneered many techniques within
the eld of underwater photography.
Favourite kit: Nikon D4, Subal housing,
Inon and Seacam ashes
Clients worked for: Sport Diver, DIVER,
Wild Planet Photo, NISSAN, Ocean
Geographic magazine.
Honours won: BBC Wildlife
Photographer Of The Year, multiple
categories in the British Wildlife
Photography Awards. In 2013, Alex
was named GDT European Wildlife
Photographer Of The Year.
Career highlight: Personally presenting
his work to Queen Elizabeth II.

90

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CANON PRO & MANFROTTO IN-STORE DAY- SAT 29th NOV, 9am-5.30pm - Free admission
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REVIEWS

WorldMags.net

Portrait lenses
on a budget
Weve rounded up four accessibly priced
85mm lenses to see how well they perform

96

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WorldMags.net

The 85mm model is the classic

focal length for portraits, but as a
mid-telephoto its also one of the
most versatile lenses in each manufacturers
line-up. Like other moderate focal-length
models, the 85mm is usually offered with a
choice of maximum aperture. High-speed
models from the camera manufacturers are
usually in excess of 1,500, but substantial
savings can be made by opting for third-party
offerings, while the f1.8 models can be had
for a fraction of the price of the f1.4 models.
Besides the more accessible pricing, there

are other benets from choosing the slower

models. For a start, theyre both smaller and
lighter, making them an easy choice to stow
away in a camera bag, just in case and
theyre far more discreet in use. Not only
does this help in this day and age of unending
public scrutiny, but the smaller size may
actually help put potential models at ease,
particularly those that are less used to the
process. Theres nothing quite so daunting for
inexperienced subjects than to look straight
at a lens with a huge front element; its as if
everything suddenly is on show.

WorldMags.net

GROUP TEST

With regard to the results, it is, of course, no

different with a lens with a smaller objective,
but thats not how it appears. On a practical
level, the slower lenses are easier to correct
for various aberrations so its also likely
that these lenses perform better at wider
apertures while performing equally as well as
their faster siblings when stopped down. In
this test, both f1.4 and f1.8 options have been
included, but cost has been kept very much in
mind, with the lenses being assessed for their
optical sharpness, resolution, build quality,
and handling.

97

REVIEWS

WorldMags.net

Film era
Even though this is one of the
oldest models in Canons line-up,
its still competitive in every way

Below

SRP: 400 / $420

Rendering style

Canon EF 85mm
f1.8 USM
We see if Canons classic moderate f1.8
85mm lens can compete with pricier options
Designed years ago for lm, this is the oldest model here, but its one
thats endured. While there are faster models and there are better
performers optically, few focus faster or quieter than this one and it
has plenty enough sharpness for portraits, even wide open. Stopped
down, both sharpness and resolution are excellent from f2.8 onwards.
Optimum performance is achieved at f5.6-f8 where this lens is
sharp from corner to corner, and if were being honest, few working
professionals shoot wide open. Theres another attractive feature about
the 85mm f1.8, and thats its small size, which is less intimidating.
It may not bear the L-series moniker, but thats not to say this lens
isnt built well. Some outer components are made of plastic, but its
metal just in front of the focus ring where its a bit vulnerable from
knocks. Focus ring placement is ideal, just forward of the centre of
gravity, not close to the front like some rivals. Theres also a reasonably
long focus throw for an AF lens like this, meaning manual focus is easy
on something like the Canon EOS 5D Mark III. Skin tones appeared
comparatively lighter when capturing portraits using this lens, certainly
in contrast to the Sigma lens, which was also tested on the Canon EOS
5D Mark III.

98

WorldMags.net

Stopped down, the lens performs well

into the corners and even wide open its
an excellent performer centrally

WorldMags.net

GROUP TEST

Manual focus
The lens looks good and is well very
made but not everyone will like the fact
that its manual focus only

Below

SRP: 308 / $289

Image quality

Samyang 85mm
f1.4 AS IF UMC

Sharpness is a bit low wide open

but the performance improves
dramatically from f2.0 onwards

Samyangs accessibly priced ultra-fast model

looks impressive but how well does it perform?
Theres no denying how good Samyangs lens performance is, and this
model is good, but there are limitations. For example, theyre all manual
focus, and the version tested here also lacks the contacts for autoexposure. That said, there is an AE version available for Nikon users.
Metal is mostly used for the outer, though the front appears to be made
of plastic, which seems to be the only concession, and both the focus
and aperture rings are rm yet smooth in operation.
For all that accurate focusing, using the optical nder of a Nikon D810
was tricky, perhaps in part because contrast is a little low at full aperture
and modern focusing screens arent optimised for high-speed lenses.
However, performance is impressive centrally at f2.0 onwards, though
with some noticeable eld curvature it lacks the uniformity of more
expensive models. Performance improves noticeably from f2.8 across
the eld, with the lens performing at its best at f5.6. Out-of-focus areas
are rendered smoothly, so its impressive for portraits but the longerthan-usual 1.0m minimum focus distance is somewhat restrictive for
close-ups. In our portrait test shots, colours were a little muted and very
slightly cool on the Nikon D750 in comparison with Nikons own AF-S
Nikkor 85mm f1.8G lens.

WorldMags.net

99

REVIEWS

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Quality design
Externally the lens isnt quite up to
the faster f1.4 model in build, but
its not bad and it is light in weight

Below

SRP: 470 / $500

Depth of eld

Nikon AF-S Nikkor

85mm f1.8G
Nikons 85mm lenses have a great reputation;
we put the latest f1.8 AF-S version to the test
Unlike Canons model, which was very advanced in its day, Nikon
really needed to update its lm-era f1.8 AF-D version. Optically, it was
okay, but the screw-driven AF made it a bit fragile for professional
use. This relatively new model features a sonic-type SWM motor, like
the much bigger and pricier f1.4 version. Indeed, with its matte nish,
large objective and 67mm lter thread, it could easily be mistaken for
that model (though its a good deal more compact than the 1,500
f1.4 model). Its an excellent performer, coming close to its sibling in
optical performance and at a fraction of the price. Its still not cheap,
and it doesnt share the same build quality or excellent are-resisting
Nano Crystal coating, but this model is an attractive offering. AF is
quick and reasonably quiet, but the focusing ring has a rather short
throw. Thankfully, the image tends to snap into it, focus taking some of
the usual guesswork out of the equation. Wide open, this lens is sharp
across the frame and stopping down has barely any effect in resolution
or sharpness, so you can more or less take your pick and choose the
aperture based on depth of eld alone. However, while it is a better
performer optically than the Canon, its not so fast to focus, though its
skin tones and colours are very impressive indeed, rivalling the Sigma.

100

WorldMags.net

Full aperture performance is

excellent centrally and remains
impressive in the outer eld

WorldMags.net

GROUP TEST

High speed
Given the size, this lens is quick
to focus while being extremely
quiet in operation

Below

SRP: 830 / $969

Focus control

Sigma 85mm f1.4

EX DG HSM

Full-time manual override courtesy of

the sonic type HSM AF motor and nely
geared operation helps focus accuracy

We put Sigmas ultra-fast f1.4 model to the

test to see if its worth the higher price
The Sigma is the largest and most expensive of the four here. Its yet to
receive the rms Art series upgrade and so it adopts the easily marked
matt nish of older models, but overall the lens feels sturdy. Another
plus is the wide focus ring and although it has a short focus throw,
its not too highly geared, which enables fast yet precise adjustment
from a manual focusing point of view. Auto-focus, meanwhile, is a real
highlight; it is very close to that of the Canon 85mm f1.8, being both
very fast and almost silent in operation. On the 22-megapixel Canon
EOS 5D Mark III, the Sigma has good sharpness in the centre of the
frame at the initial aperture, though like many high-speed models
its not so impressive at the borders. Even when stopped down its
still a little soft in the corners at f2-2.8, though by f4 the uniformity of
sharpness is good. Although bundled with a large petal-shaped hood,
the lens has good resistance to are and relatively low vignetting. Some
colour aberration is inevitable with lenses like this and it is there if you
look closely but overall the Sigma has good control of lateral chromatic
aberration. This lens produced noticeably deeper, more saturated skin
tones on the Canon EOS 5D Mark III than Canons own EF 85mm f1.8
USM lens did. In this respect, its performance was the best.

WorldMags.net

101

WorldMags.net

REVIEWS

Canon EF f1.8
USM

Samyang f1.4
AS IF UMC

Technicalspecs
Manufacturer
Model
Web

Nikon AF-S
Nikkor f1.8G

Technicalspecs
Canon

EF 85mm f1.8 USM

www.canon.co.uk

Manufacturer
Model

Technicalspecs
Samyang

85mm f1.4 AS IF UMC

Web

Sigma f1.4 EX
DG HSM

www.samyang.co.uk

Manufacturer
Model

Technicalspecs
Nikon

AF-S Nikkor 85mm f1.8G

Web

www.nikon.co.uk

Manufacturer

Sigma

Model
Web

85mm f1.4 EX DG HSM

www.sigma-imaging-uk.com

Elements/construction

9/7

Elements/construction

9/7

Elements/construction

9/9

Elements/construction

11 / 8

Angle of view

23.9

Angle of view

28.3

Angle of view

28.3

Angle of view

28.6

Max aperture

f1.8

Max aperture

f1.4

Max aperture

f1.8

Max aperture

f1.4

Min aperture

f16

Min aperture

f22

Min aperture

f16

Min aperture

Min focus distance

Mount
Filter size
Length
Diameter
Weight

0.85m
Canon EF
58mm
71.5mm
75mm
425g

Verdict
Features Its a fairly basic model although it

Min focus distance

Mount

1.0m

Nikon F, Canon EF, Sony E/A, Pentax K

Filter size

72mm

Length

72.2mm

Diameter

78mm

Weight

539g

Verdict

Min focus distance

Mount

0.8m
Nikon F (G)

f16

Min focus distance

Mount

0.85m
Canon EF, Nikon F

Filter size

67mm

Filter size

Length

73mm

Length

87.6mm

Diameter

80mm

Diameter

86.4mm

Weight

350g

Verdict

77mm

Weight

725g

Verdict

Features Another model with a basic

spec mechanically but optically it boasts an
impressive spec

Features It looks a little basic; no fancy Nano

Crystal coating or the like, but it does come with
a soft pouch and lens hood

Features It features lots of technical and

optical advances including a sonic-type AF motor
and expensive glass types

lens, but its very nicely made and feels durable,

though its relatively lightweight

Build quality It may be accessibly priced

and it feels good in the hands, though the front
shell seems to be plastic

Build quality Side-by-side with the pricier

f1.4 version, this plastic model looks a little lowrent but its reasonably durable

Build quality Not quite up to the firms Art

series, the lens still looks and feels good, though
the finish is easily marked

Handling Its small, well-balanced and has a

well-placed focusing ring, plus its the fastest to
focus of those on test

Handling The focus ring is quite heavily

damped and focusing accurately proved
difficult on the Nikon D810

Handling The focus ring is too far forward

and it has a short throw but it doesnt seem to
impact focus accuracy

Handling Unsurprisingly, this is the largest

and heaviest of the group, but it balances well
and is relatively easy to use

Quality of results Image quality is great

even wide open, and both colour and drawing
style is attractive

Quality of results Full aperture

Quality of results Wide open, this lens

Quality of results Its at least as good as

performance is good but not great, though its

excellent when stopped down

is sharp right to the corners. Even the drawing

style is close to the f1.4 model

the Nikon, perhaps even slightly better in terms

of skin tones

Value for money As an f1.8 model, its

Value for money Overall, the lens is good

Value for money The list price looks a

Value for money Although the most

going to be cheaper than faster rivals, but even

then its competitively priced

value, particularly in Nikon fit, but thats not the

case with other mounts

little high but the street price now is much lower

than when it was new

expensive, compared with high-speed options

its still competitively priced

has a super-fast sonic-type motor, making it a

strong contender

Build quality The f1.8 may not be a L-series

Overall
With no real vices optically, great
handing and very fast AF, this lens is
an easy choice for Canon users

102

Overall

Overall

Focus accuracy was the biggest

concern, but the lens is capable of
great results when stopped down

Nikon has done well to improve this

model; in fact, its so good that sales
must have affected its pricier sibling

WorldMags.net

Overall
Its not cheap, but with great all-round
performance and a strong descriptive
capability, the Sigma is our favourite

WorldMags.net

   







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REVIEWS

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Top

Weighty body
The Pentax is bulky, but
weighs little more than
full-frame cameras

Far-left

SLR-like handling
Surprisingly, the Pentax
handles more like a large
35mm SLR

Left

In the hand
The camera is large, but
balances well and the
handgrip is both deep
and comfortable

104

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WorldMags.net

PENTAX 645Z

SRP: 6,800 / $8,500

Pentax 645Z
The Pentax 645Z is the upgrade to Pentaxs rst medium format digital
camera. How far has it come in four years?
Every so often, a camera comes
along that shakes up the market. In
2010, Pentax released the 645D, a
40-megapixel medium format camera that
was not only about a third of the price of the
competition, but offered SLR-like handling. It
proved popular in this market, especially with
landscape photographers, who appreciated its
characteristics and weather sealing.
Its replacement, the equally aggressively
priced 645Z, takes things a step further,
offering a number of improvements and new
features. At its core is a 51.4-megapixel CMOS
sensor, manufactured by Sony, replacing the
Kodak CCD used previously. This enables
higher ISO sensitivities up to an impressive
204800, as well as Live View and video.
Although the features and controls will be
familiar to users of 35mm-style DSLRs, theres
no getting away from the fact that the 645Z
is considerably bulkier than the average SLR,
weighing in at 1,550 grams; however, this is
little more than professional DSLRs, as the
Canon-EOS 1DX weighs in at 1530 grams.
Its a very different shape, though, inheriting
the boxy looks of the Pentax 645 lm cameras.
The bulk is balanced by a comfortable
handgrip and the large body has advantages
by providing plenty of space for controls. A lot
of thought has been put into the placement
of the buttons and dials, which are all easy
to reach and sensibly placed. The 645Z is a
complex camera, but its possible to nd your
way around quickly without having to refer to
the manual. There are some thoughtful design
touches: the angled top plate means its easy
to read and change settings when on a tripod.

There are many ways of conguring the

camera so that you can set it up to suit your
way of shooting, and a lot of thought has
gone into this. Bulb mode can be set so you
either press and hold the shutter button for
the duration of the exposure, or the rst press
opens the shutter and the second closes it.
These all add up to make the 645Z one of the
most photographer-friendly cameras out there.
In use, it performs almost awlessly. The
viewnder is large and bright noticeably
bigger than even full-frame DSLRs. The Live
View screen has excellent clarity with no
noticeable lag and works well for accurate
manual focusing in conjunction with the
focus-peaking option. Furthermore, the tilting
screen makes shooting from awkward angles
easier. Autofocus is accurate and responsive,
with 27 AF points. On top of this, metering is
consistent, if tending towards underexposure.
The Live View screen also has a number of
options, including live histogram and highlight
warning. Oddly, the highlight warning in Live
View doesnt always seem to agree with the
highlight warning in the review image, which
suggested clipping when the Live View image
didnt. Highlight information was there in the
RAW les when these images were processed,
however, so perhaps the Live View highlight
warning reects RAW data rather than JPEG.

Handling is so good that the inevitable small

niggles can seem more irritating than they
otherwise might. One is the fact that changing
information screens in review mode involves
pressing three buttons; why not just repeated
presses of the Info button? Long-exposure
noise reduction is another irritation. There are
two options On and Auto, where the camera
decides to apply dark frame subtraction or
not, according to shooting conditions. Ideally, it
would be possible to turn it off, allowing you to
deal with noise in post-production.
These are probably issues that could be
corrected with rmware updates, and perhaps
they will be. One that cant, however, is the
absence of an eyepiece blind, which would be
useful for preventing light leakage and internal
are during long exposures.
Of course, the main reason for investing in a
medium format system is image quality, and
the 645Z doesnt disappoint. Resolution is
astonishing noticeably better than full-frame
DSLRs. In landscapes shot using a tripod
and good technique, the level of detail is
breathtaking, as its possible to count blades
of grass on hills and leaves on trees. Some
have wondered if colour and tonality might
suffer with the switch to a CMOS sensor, but
there was little evidence of this in the test. The
tonality of the Pentaxs images is lovely, and

The thoughtful design touches add up to

make the Pentax 645Z one of the most
photographer-friendly cameras out there

FEATURES
WEATHER-SEALED

HIGH ISO

TILTING SCREEN

The 645Z features a

weather-sealed body that
can operate down to -10C,
which is great news for
landscape photographers.

High ISO has previously

proved difficult, but the
new Sony sensor excels at
it. Even at 6400, little noise
reduction is needed.

The Pentax 645Z is the

first medium format
camera with a tilting LCD. In
conjunction with Live View,
this makes it easier to shoot.

TRIPOD SOCKETS

NO VF BLIND

ANGLED TOP PLATE

One of the many excellent

design features is the
second tripod socket on
the side of the body for
shooting in portrait.

Unlike professional fullframe DSLRs, the Pentax

645Z lacks a viewfinder
blind. On long exposures
this can result in flare.

The 645Z is full of nice

ergonomic touches, such as
the angled top plate, which
makes it easy to change
settings when on a tripod.

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105

REVIEWS

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CONTROL
LAYOUT

FOUR-WAY
CONTROLLER

There are lots of

buttons, but they are
well-placed and easy
to reach

The four-way controller

has shortcuts to
commonly accessed
settings, such as white
balance

LIVE VIEW /
RECORD BUTTON

REAR LCD

There is fully-functioning
live view and video
recording a first for
medium format

The 3.2 tilting screen is

bright and clear in both live
view and review modes

The Pentax 645Z is a compelling option

for those looking to move into the world
of medium format
colour is accurate and neutral. There is a slight
tendency towards green and cyan, in common
with other Sony sensors, but this is easily
corrected in post-production.
Dynamic range is also excellent, and noise
performance is far ahead of any previous
medium format offerings. Shadow detail is
superb at low ISOs, enabling good recovery of
underexposed images. High ISO, previously an
Achilles heel of medium format, is a revelation.
Only when you go beyond ISO 6400 does
noise reduction become necessary.
The Pentax 645Z is a compelling option
for those looking to move into the world of
medium format. Its image quality is easily
a match for the competition and it offers
superior handling. Its a slightly different
proposition, as its a sealed unit, rather than
a camera with a separate back, but this has
advantages and disadvantages. On the plus
side, it makes proper weather-sealing possible,
but on the other hand, you need to upgrade
the whole unit rather than just the back.
If having interchangeable backs isnt
important to you and youre choosing your
rst medium format camera, then there would
seem to be no real reason to spend far more
money on one of the other systems.

106

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Below

Opposite

Medium format look

Good resolution

Images from the 645Z have

wonderfully smooth tonal
transitions, which even the
best full-frame cameras
dont achieve

Resolution from the

51-megapixel sensor never
fails to impress and huge
prints can be made from
the les

WorldMags.net
TEST SHOTS

PENTAX 645Z

DOWNLOAD THE TEST SHOTS

www.filesilo.co.uk/digitalphotographer-154

w!

LOW-LIGHT ABILITY

DETAIL AND CLARITY

SMOOTH TONES

The 51-megapixel sensor

inside the Pentax has
excellent light-gathering
properties. Shadows are
very clean and detailed.

The sensor resolves

incredible detail and has
excellent clarity at low ISO.
The detail on the cliffs of this
shot is outstanding.

The CCD sensors of

previous medium cameras
are known for their smooth
tonal transitions. The new
CMOS sensor carries this on.

COLOUR AND WB

DYNAMIC RANGE

CROPPING OPTIONS

The Pentax has accurate

colour rendition. White
balance is generally good,
but RAW files sometimes
need a little extra magenta.

The Pentax 645Z has

excellent dynamic range,
capturing detail in a full
range of tones from bright
highlights to shadows.

The advantage of high

resolution is the cropping
possibilities and a goodsized print could be made
from each crop.

Technical specs
Megapixels (effective)
Max resolution

51.4
8256 x 6192

Sensor information
Shutter speed

44 x 33mm CMOS
30secs - 1/4000sec

ISO sensitivity

100 - 204800

Exposure modes

Program, Sensitivity priority, Shutter

priority, Aperture priority, Shutter &
Aperture priority, Manual, Bulb

Metering options

MS, CW, S

Flash modes

FOn, FOn+RE, SS, SS+RE, P-TTL, CSS, HSS, Trailing

Connectivity

USB, 3.0, HDMI, microphone, headphone

curtain sync
Weight
Dimensions

1550g
117x 156 x 123mm (H x W x D)

Batteries
Storage
LCD

Li-ion
SD, SDHC, SDXC, Eye-Fi
3.2, 1037K dots

Viewnder

Optical

Verdict
Features Medium format cameras have never been noted
for their cutting-edge features, but more for absolute image
quality. The Pentax 645Z provides both
Build quality Its solid and feels rugged in the hand, is fully
weather-sealed and can operate down to -10C. Its a camera
youd trust in tough conditions
Handling The Pentax has excellent ergonomics and many
well-thought-through design touches. Only a few minor niggles
prevent it from getting top marks
Quality of results Resolution is incredible and images
have typical medium format tonality. Shots have clean
shadows and excellent dynamic range

Value for money If youre used to the prices of APS-C and

full-frame DSLRs it looks expensive, but compared to other
medium format systems, its a bargain

Overall
Its almost impossible not to like the Pentax 645Z
and very hard to nd fault with it. Results are
outstanding and its handling is superb. If youve
been looking for a medium format system, theres
no need to keep looking any further

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REVIEWS

SRP: 800 / 1,200

Nikon 1 V3
Is third time the charm for the Nikon 1 series? We put the V3 to the test
The Nikon 1 series of CSCs has carved
out a name as some of the fastest
shooters around. Ideal for sports and
wildlife fans, the V3 follows this tradition with
20fps at full resolution with autofocus. Fix the
focus, however, and the speed soars to 60fps.
Incidentally, Nikons hybrid autofocusing
system has been given a performance boost.
There are now 171 autofocusing points as
opposed to 135 on the V2 and 105 of these
are for phase-detection that lock onto the
target, while the remainder are for contrast
detection. This enables the V3 to perform

faster than other cameras in low light and

when faced with fast-moving subjects.
Image subjects are pin-sharp and free of
noise until ISO 1600, but pictures are still
usable at 3200. Daytime exposures are
balanced if a little desaturated and exhibit
a pleasing amount of detail, which is surprising,
given its relatively small sensor. Despite the
megapixel bump, the one-inch sensor still
places the V3 below the Micro Four Thirds and
APS-C sensor cameras in terms of sensor size.
Adjustments to shutter speed and aperture
can be made quickly and easily thanks to the

thumb-operated control dial, which can be

used alongside the new front control dial when
shooting manually. Theres a mode dial on top
of the camera with access to the usual P, A, S
and M modes. You can also switch to Video to
record at 120fps, 720p as well as Auto mode,
Motion Snapshot and the Nikon 1-unique Best
Moment Capture. The latter works by shooting
continuously when you half-press the shutterrelease button, displaying the action in slow
motion on the LCD screen. As soon as you see
an image you like, fully depress the button and
the picture will be saved.

FEATURES

108

TILTING DISPLAY

OPTIONAL EVF

EASY ACCESS

The screen can be pulled

out and tilted for capturing
tricky angles. You can also
take photos and set focus
using the touchscreen.

This latest model does

not feature an electronic
viewfinder. However, there
is an accessory port if you
wish to purchase one.

A top-mounted mode dial

and two control dials make
for easy adjustments to
settings. Switch on by flicking
the power switch.

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WorldMags.net

NIKON 1 V3

Left

Dynamic range
Exposures are good, with a
D-Lighting option to enhance
dynamic range and a HDR function

Below

Eye for detail

A 10-30mm zoom lens that
comes with the camera is good at
capturing sharp, detailed images

Technicalspecs
Megapixels (effective)
Max resolution
Sensor information

18.4
5232 x 3488
13.2 x 8.8mm CMOS
By lens

Lens data
Focus/macro

By lens

Shutter speed

1/16,000 sec

ISO sensitivity
Exposure modes
Metering options

160-12800
Auto, P, A, S, M
CW, S, M

Flash modes

A, RE, RE with SS, Fon, Foff, FF, FF with SS

Connectivity

USB, HDMI

Weight

Viewing images is a joy thanks to the

improved 1037k-dot display, which provides
great denition. It can also be pulled out
and tilted up or down for framing dramatic
angles, waist-high candids or shooting over
a crowd. It comes with built-in Wi-Fi and a
touchscreen thats ultra-responsive, making it
much easier to view images in Playback. Just
like a smartphone, you can pinch to zoom in
and check focus. The only downside is that
its tricky to compose in bright light and there
is no electronic viewnder to fall back on as
with the previous model; its all part of the V3s
new svelte design that also does away with the
substantial grip. This makes it look more like
a CSC than a DSLR and will undoubtedly win
over more admirers, but theres still a pop-up
ash and an accessory port for attaching an
EVF or ashgun, for example.
Along with Nikons vast array of accessories,
there is a rapidly expanding collection of lenses
to invest in, with 13 currently available; these
lightweight optics range from the pancake
10mm f2.8 lens to the slightly more substantial
70-300mm f4.5-5.6. This model has been
released with a 10-30mm f3.5-5.6 zoom lens
that gives a focal length of around 27-81mm
in 35mm terms. When not in use, it sits ush
to keep the overall package neat and compact,

Dimensions

324g
110.9 x 65 x 33.2mm

Batteries
Storage

Li-ion
microSD, microSDHC, microSDXC

LCD
Viewnder

3
TFT-LCD, 1,037K pixels

Verdict
Features Speed certainly gives the V3 an edge over other
interchangeable options, with impressive frame rates and
lightning-fast focusing, even in low light

Build quality Compact yet exceedingly durable, the V3

looks every bit as expensive as its price tag. The lack of EVF
and reduced grip gives a slimmer chassis

but turn the camera on and it immediately

springs into action. You can twist the lens
barrel to zoom, but those wanting to focus
manually will have to delve into the main menu.
There youll nd the Focus Mode option, where
you can select Manual Focus and use the scroll
wheel to adjust. Its quite a lengthy process
and one that all Nikon 1 lenses require.
In all other areas, however, the V3 is
efcient and highly practical. Image quality is
impressive, especially since the removal of the
anti-aliasing lter, but it remains to be seen
how the omission of the EVF will affect its
appeal for enthusiasts.

Handling The touchscreen LCD and manual controls

will please both traditionalists and smartphone lovers. Its
compact for shooting on the go
Quality of results Exposures are balanced with a good
amount of detail. The relatively small one-inch sensor fails to
match the quality of competitors, however
Value for money Its pretty expensive, but for your money
you do get a quality-looking product that produces impressive
results in a variety of situations

Overall
This latest camera holds up against the
competition in looks and performance. What it
lacks in sensor size, it makes up for in portability

COMPACT BODY

LENS CHOICE

CUSTOMISABLE

The design has been

tweaked since the V2 and
the grip is smaller. An
additional grip with a second
shutter release is available.

The V3 comes with the

versatile 10-30mm zoom,
but there are many lenses
in the Nikkor range for you
to expand your collection.

On the rear of the camera,

youll find two customisable
function buttons. This gives
you plenty of scope to make
this camera your own.

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109

REVIEWS

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Left

Adjustment interface
PhotoDirector 6 Ultra can be used
to process RAW les and features
an interface very similar to popular
programs such as Lightroom

Below

Radial Filter
This can be used to produce
a vignette or spotlight effect
in order to draw the viewers
attention to the most important
areas of an image
Bottom

History palette
There may not be any Layers
present, but you can easily step
back through edits youve made
using the History palette

SRP: 80 / $100 OS: Windows Vista+, Mac OS X v10.6.8+

PhotoDirector
6 Ultra
Find out what makes CyberLinks photo
editor such a ghter in a tough market
Competition is stiff for developers
to come up with the most affordable
and efcient photo-editing suite, with
the likes of Phase One, Adobe and DxO Labs
all looking to make the next best application
and one thatll ultimately speed up the editing
process of creating that perfect shot.
CyberLink has created a program that is
both feature-packed and straightforward.
There are three versions, with the most basic
version confusingly named PhotoDirector 6
Deluxe, while the PhotoDirector 6 Suite also
offers video-editing functionality.
There are some appealing additions to the
latest incarnation of the edition thats most
suited to photographers, PhotoDirector 6
Ultra. Perhaps the most attractive of these
is the Face Swap feature, allowing an ideal
family photo to be compiled from multiple
frames. Theres also a Skin Tone adjustment
tool for improving portraits, a Radial Filter for
making specic aspects of your images stand
out, a Photo Composer tool for producing
imaginative composites, a Grain Effect lter

110

and the ability to stitch images together with

the Panorama feature, which uses Content
Aware to ll in areas.
The software is divided up into discrete
interfaces via a series of tabs, making it easy
to go from, say, the Library view mode, where
your images are, to the Print interface. The
Edit and Adjustment interfaces provide a
comprehensive list of adjustments, with Global
and Regional masking options enabling more
careful application of effects. You can also
cycle through a reel of images to tweak, and
maintain a level of consistency throughout
an entire session. There are unfortunately
no editing Layers present, as are found in
Photoshop. As with Lightroom, however, there
is a History panel available so you can go back
if you decide that a change isnt working.
PhotoDirector Ultra 6 supplies all the
important, fast and effective editing
functionality that photographers will require on
a day-to-day basis, as well as, crucially, being
able to deal with RAW les, with the Face Swap
feature being of particular appeal.

WorldMags.net

Summary
Ease of use
Value for money
Features
Quality of results

Overall
A convenient photo editor that can take you from
upload to printout in a matter of minutes, and
comes at a respectable price too. Certainly a
program that we would recommend

WorldMags.net

SOFTWARE

Apps
Camera Noir
Price: 1.49 / $1.99
OS: iOS 7+

A simple-touse app for

capturing the
world about
you in beautiful
monochrome
shades. This
app features
three settings
for tweaking the
image, as well
as Instagram
crop marks
and tap control
for adjusting
exposure and
focus quickly.

SRP: $50 (approx. 31) OS: Windows Vista+, Mac OS X 10.6+

Price: From 0.60 / $0.99

OS: iOS 6+ / Android 2.1+

reFine
Rening detail shouldnt just be about
sharpening, as this plug-in aims to prove
Digital Film Tools reFine aims to
improve image detail and apply a
creative twist. Effects are grouped
into sets, which are adaptable using reFines
carefully thought-out adjustments. Its possible
to use reFine as a plug-in to a number of
applications, including Lightroom, Aperture
and Photoshop, but it soon became evident
that the level of detail could be re-enacted just
as well in the supporting applications, leaving
reFine feeling a little washed out.
It has the ability to mask out areas of your
image to keep changes selective to specic
parts. The layers function is a useful feature,
giving you room to be more creative by mixing
and matching effects. This also means youre
not reliant on just one lter to produce the
results you are looking to end up with.
The Detail sliders are the plug-ins secret
weapons, with Coarse, Medium and Fine
controls splitting up an image into levels of
texture and small detail. These effectively
enable you to adapt the effect, with control
over sharpness and the haloing of edges.
If youre after a tool purely for sharpening,
much of what reFine offers wont be helpful. In
terms of creative options, while it produces a
ltered coating, for low-resolution stills reFine
can make them more acceptable.

PicFrame
Display and share up to nine of your
favourite photos and videos into a
multi-framed collage. There are 73
customisable frames in all, with options
to include labels, effects, music and
patterns. Once youve styled up your own
collage, upload to Instagram, Facebook,
Twitter, Tumblr, Path and Flickr.

Popkick
Price: 1.99 / $2.99
OS: iOS 6+

Above

A touch of drama
Give clouds the stormy HDR look using a combination
of Sharpen lters and Detail sliders

Summary
Ease of use
Value for money
Features
Quality of results

Overall
Bespoke, natural media nishes make reFine
good value for money. However, with creative and
exaggerated lters forming much of its arsenal,
not all the effects are practical for everyday use

WorldMags.net

This apps welldesigned interface

makes it easy
to both capture
and create funky,
pop-art inspired
images. The
Color Wheel is
especially handy,
warping and
mixing hues in
your shots for
bespoke looks.

Camera FV-5
Price: 2.49 / $3.95
OS: Android 2.2+

Designed to bring DSLR controls directly

to your phones camera including ISO,
exposure compensation and program
mode. Exposure bracketing and
even the option to shoot in RAW (PNG)
format produces excellent results.

111

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