Issue 124

Andreas Lundberg
Always up to speed
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Editor Daniel Lezano
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Art Editor Luke Marsh
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Contributing Editor Caroline Schmidt
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Contributing Editor Jordan Butters
jordan.butters@dslrphotomag.co.uk
Editorial Consultant Jo Lezano
jo.lezano@dslrphotomag.co.uk
Other editorial contributors this issue:
James Abbott, Adam Burton, Mark Bauer, Lee Frost,
Ben Hall, Ross Hoddinott, Alex Stead & Jeremy Walker

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Publishing
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March 2017 Digital SLR Photography 5
Contents MARCH2017/ISSUE124

5 EDITORS PAGE
EditorLezanothinksnowsthetimetovisitthecoast
8 PORTFOLIO
Theverybestimagessubmittedandcuratedbytheteam
overthepastmonth.Savourtheirbrilliance!
16 SNAPSHOTS
Wevesqueezedinbotanicbeauties,competition
winners,quicktips,news,gossipandproprojects!
54 EXPERT CRITIQUE
Submityourimagestoreceivevaluablefeedbackfrom
theprofessionalsandexpertsbehindthemagazine
59 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
70 PHOTO WORKSHOP: PIERS
LeeFrostandaluckyreaderheadtothecoasttocelebrate
thegreatBritishpier.Toptechniqueandadvicewithin
80 MASTER COASTLINES
Bitesizeprofessionaladviceandinspirationformaking
themostofaphotographictriptothecoast
90 INTERVIEW: ALEX STEAD
This21-year-oldBritishprotravelstheworldshooting
formajorbrands,thankstothepowerofsocialmedia
138 MAGIX PHOTOSTORY DELUXE 80
Tensoftwarepackagesfordigitalslideshowsupforgrabs!

34 40 44

16
Phototechnique 48
34 PHOTOGRAPHING WINTER BIRDS
Award-winningwildlifeprofessionalBenHallgearsup
toofferinvaluableadviceforphotographingthemyriad
winterbirdsthatocktoourshoreseachyear
40 PHOTO SKILLS: COASTAL ABSTRACTS
RossHoddinottgetscreativeatthecoastbyseekingout
corkingcompositionsinthesmallestofdetails
44 PHOTO SKILLS: A RAY OF LIGHT
LeeFrostheadstoamistywoodlandandshareshis
professionaladviceonphotographingcrepuscularrays
48 PHOTO SKILLS: HOW TO USE NEUTRAL
DENSITY GRADUATED FILTERS 60
JordanButterscoversthebasicsofmeteringforand
usingNDgradlterstoimproveyourlandscapes
52 EDIT SKILLS: SWAP A SKY
Learnhowtoquicklytransformanyoutdoorimageby
swappingaboringskyforonewithabitmorepunch
60 BEGINNERS GUIDE: STUDIOFLASH
Wanttotakeyourportraitstothenextlevel?Thismonths
BeginnersGuideintroducesyoutostudioashand
showshowtocapturestunningportraitswithease

6 Digital SLR Photography March 2017

 CONTRIBUTINGTHIS MONTH:
Daniel Lezano
With over 30 years experience as
an enthusiast SLR photographer and
20 years on photo magazines, editor
Lezano is as passionate as ever about
photography, in particular portraits.

Caroline Schmidt
With extensive experience as a
magazine journalist, contributing
editor Caroline is passionate about
photography and delivering an
inspiring magazine each month.

Jordan Butters
With a nger on the pulse of all
things photography, Jordans our
social media master, features guru
and a talented pro photographer.
jordanbutters.co.uk

Ross Hoddinott OUTDOOR

Hes not only an award-winning
nature photographer, a leading
expert in landscape and wildlife
photography, hes a top tutor, too.
rosshoddinott.co.uk

Lee Frost LANDSCAPES

A long-standing regular contributor,
Lee is a fountain of knowledge when
it comes to shooting landscapes and
delivering expert tutorials.
leefrost.co.uk

Ben Hall WILDLIFE

70 106 A renowned wildlife photographer,
author and tutor, Ben applies his
expert knowledge to help improve
your wildlife photography skills.
benhallphoto.com

Helen Dixon LANDSCAPES

Helen is living the dream, having
given up a full-time job to live in
Cornwall and become a professional
landscape photographer.
helendixonphotography.co.uk

Alex Stead TRAVEL & SOCIAL

90
Gear:Tested&Rated
105 PRODUCT NEWS
Newproductsandthelatestandgreatestkitfromthe
ever-changingworldofphotography
106 CANON EOS 5D MK IV
TheEOS5Dishelddeartomanyphotographershearts.
Canthelatestversionliveuptoloftyexpectations?
110 DJI MAVIC PRO
Wegethandsonwiththelatestmust-haveaerialdrone.
Butwhatsitliketoyandshootwith?Findouthere
113 MINI TESTS
ManfrottosMonopod+withFLUIDTECHbaseandthe
NovoDura400hardrollingcasearereviewedandrated
Novo Dura 400 hard rolling case are reviewed and rated
A social media master, Alexs
photography has quickly amassed
hundreds of thousands of followers.
Read his story on page 90.
alexstead.co.uk
Adam Burton LANDSCAPES
One of the UKs leading landscape
photographers and author of four
books, Adam shoots throughout the
Uk and runs international workshops.
adamburtonphotography.com
Paul Ward PORTRAITS
A pro photographer, Paul is an
expert on lighting. He specialises
in studio and location portraits, as
well as commercial photography.
paulwardphotography.com

James Abbott PORTRAITS

James is an award-winning editorial,
advertising and commercial
photographer, specialising in portrait
98 SUBSCRIBE TODAY!
110 and landscape photography.
Takeadvantageoftheverylatestsubscriptionoffers
jamesaphoto.co.uk

March 2017 Digital SLR Photography 7

 Portfolio
The Bathing House
by Calum Gladstone
www.fb.com/CalumGladstonePhotography/

The sky was pretty flat when I arrived at The Bathing

House in Howick, but I decided to go down onto the
rocks and set up anyway. It's treacherously slippery
along the tide line, so it takes time to get into
position. Eventually, after almost an hour of waiting,
the sun broke through the cloud, creating gorgeous
colours and highlights across the clouds above.
Canon EOS 6Dwith Canon EF 17-40mm f/4Llens.
Exposure: Fourseconds at f/10 (ISO 50).
Portfolio

Dunstanburgh Castle by Calum Gladstone

www.fb.com/CalumGladstonePhotography/

(Above) The sky was beautiful upon arrival, so I made my way

to the waters edge easier said than done, photographers
call them the death rocks for good reason! I set up and
waited in anticipation. The area to my right started to flood,
isolating the boulders, and reflecting the vibrant sky.
CanonEOS6DwithCanonEF17-40mmf/4Llens. Exposure:1.6secondsatf/9(ISO100).

Blyth Pier by Calum Gladstone

(Left) It was a frosty morning in Blyth, perfect conditions for
shooting the south pier. I chose a spot where the planks had
detail and character, being careful not to leave footprints in
the area I wanted to shoot. I chose a low angle to capture
the wood's detail and frost glistening in the morning light.
CanonEOS6DwithCanonEF17-40mmf/4Llens. Exposure:1/5secatf/9(ISO100).

Rippling Light by Calum Gladstone

(Right) I wanted to capture Bamburgh Castle with water
movement in the foreground, so upon arrival I headed
straight to the water's edge. I chose portrait orientation for a
nice lead-in to the shot and kept moving out further into the
wash, until I was happy with the motion and composition.
CanonEOS6DwithCanonEF17-40mmf/4Llens. Exposure:1/4secatf/8(ISO640).

500px Perfect for photos

Every photographer featured in Portfolio receives a
years Awesome membership to online photo
community, 500px. The Awesome membership
includes unlimited uploads, advanced statistics, Google
Analytics support, a customisable portfolio and the
option to licence your images through 500px Prime.
500px is the perfect place to discover, share, buy and
sell inspiring images from the best photographers from
around the world. Formoreinformation on 500px memberships,
visit:www.500px.com/upgrade

10 Digital slr Photography March 2017

 Portfolio

Cascade Du Herisson by David Gianos

500px.com/davidgianos

(Above) This waterfall is called 'Chteau Garnier', on the site

of the Hrisson waterfalls. I took this shot in autumn as the
fog faded, giving a special atmosphere to the place. I chose
this framing to integrate the foliage, the shapes of rocks
sprinkled by water, and the pretty colours of the season.
CanonEOS6DwithCanonEF17-40mmf/4LUSM.Exposure:Onesecondatf/18(ISO100).

Waterfall BW by David Gianos

(Centre right) The Tufs waterfall is a site near Baume-les-
Messieurs in the Jura region, France. I chose to stitch several
frames together to form a panoramic in order to capture as
much as possible in the frame as possible. The weather was
very dull and dreary, with rain and fog, so I felt that black &
white was the best medium to convey this atmosphere.
CanonEOS6DwithCanonEF17-40mmf/4LUSM.Exposure:Onesecondatf/8(ISO100).

Les Tufs Givres by David Gianos

(Bottom right) This waterfall, also in Jura, is beautiful and looks
very different according to the seasons. When I captured this
image it was very cold around -13C! Unfortunately, my
gear did not appreciate the extreme cold, and every drop of
water and spray that splashed on the camera froze instantly,
eventually putting an end to the session!
CanonEOS6DwithCanonEF17-40mmf/4Llens.Exposure:Foursecondsatf/22(ISO100).

Freckles by Alex Heitz

www.fb.com/malandrophotodesign

(Left) This was a spontaneous shoot. I had seen this model

on social media, and happened to be passing her hometown.
So I asked if she was interested in a quick photo session.
We only shot together for around an hour, but captured
some fantastic photos and had a lot of fun. I love her freckles
in black & white they're even more apparent.
CanonEOS5DMkIIIwithSigma50mmf/1.4Artlens.Exposure:1/1000secatf/1.4(ISO250).

March 2017 Digital slr Photography 13

Portfolio

Long and Winding Road by Sophia Spurgin

500px.com/sophiaspurgin

(Above) This little cricket lived on a Dahlia in my garden all

summer. I took it into my conservatory, which I use as a
photo studio because it has lots of natural light but is out of
the wind. It was difficult to keep the cricket in frame as they
like to jump! Using a low ISO, yet with a narrow aperture,
I had to use a slow shutter and wait until he was very still.
CanonEOS5DMkIIIwithCanonEF100mmf/2.8LUSM.Exposure:1/15secatf/14(ISO160).

Catching the Light by Sophia Spurgin

(Centre left) I like to take fungi photos in my local wood in the
autumn. For a different angle, I lifted the fungi attached to its
twig and put it on a fallen branch so I could position my
camera below and see the gills underneath. I lit the fungi
with a Manfrotto Lumimuse LED light and the bokeh came
from Christmas lights with coloured sweet papers on them.
CanonEOS5DMkIIIwithCanonEF100mmf/2.8LUSM.Exposure:1/20secatf/22(ISO125).

Queen of Flowers by Sophia Spurgin

(Bottom left) This anemone is from my garden. I wanted to
take a photo that showed the flowers softness. I tried using
a wide aperture but too little was in focus, so I opted for f/5.6
and blended part of a separate photo taken at f/11 for a bit
more detail in the stamen. I used a coloured card as the
backdrop to keep the composition simple.
CanonEOS5DMkIIIwithEF100mmf/2.8LUSMlens.Exposure:0.3secondsatf/5.6(ISO100).

Marbled White by Sophia Spurgin

(Right) There is a chalk hill not far from where I live. I decided
to visit during the hottest day last year and there were
butterflies everywhere it was beautiful! I had to lie down,
with my camera level to the ground for this shot. The
butterfly landed for the briefest of moments so I had very
little time to get into position, focus, and get the shot.
CanonEOS5DMkIIIwithEF100mmf/2.8LUSMlens.Exposure:1/200secatf/5.6(ISO100).

14 Digital slr Photography March 2017


The great
outdoors
GrandGardens,wildflower-pepperedlandscapes
andbotanicalbeautiesarecelebratedasthelatest
internationalGardenphotoGrapheroftheYearis
announced.ladiesandGentlemen,Yourwinners
image: Francis Taylor/www.igpoTy.com
/ YourmonthlYphotodigest
C
elebraTing iTs TenTh anniversary,
the annual international garden
photographer of the year award is the
worlds premier photographic competition,
embracing all things botanical. From
sweeping vistas with explosions of wildflowers
to macro details of specimens grown in
humble back gardens, and a wide gamut of
disciplines in between, in its ten years in
picture rotation, the igpoTy never fails to impress
special and inspire photographers the world over.
operated in conjunction with Kew royal
botanical gardens in london, the award not
only aims to reward those with a keen eye for
capturing all things green, but also looks to
educate and inspire, with exhibitions,
workshops and lectures around the UK.
When the award began in 2007 it accepted
only UK-based entries, but the following year
was opened up to a worldwide audience.
This years award attracted photographers
from over 50 countries! Entrants vied for
recognition across eight categories, plus an
additional category for under 16s Young
Garden Photographer of the Year and an
extra portfolio award for series of images.
This years overall winner was named as
Lee Acaster from the Norfolk/Suffolk border.
Lee secured himself the title of International
Garden Photographer of the Year 2017 as
well as a 7,500 cash prize for his artistic
interpretation of an autumn birch against a
murky lake in the Snowdonia National Park,
Wales. There were also winners announced
across the individual categories, including
Digital SLR Photography regular contributor
Ross Hoddinott, who took first place in the
Wildlife In The Garden category, as well as
being named as a finalist in the Wildflower
Landscapes category well done Ross!
The winning images will go on display at
the Royal Botanical Gardens in Kew until 12
March, before heading overseas to venues in
The Netherlands, Italy and Gibraltar! Should
you miss the exhibition fear not, the
International Garden Photographer of the
Year Collection 10 hardback book is available
now, priced at 20.
Entries for the Collection 11 award open on
20 February 2017. For more information on
how to enter, the IGPOTY exhibition and the
book, visit: www.igpoty.com
 ROSS HODDINOTT / WWW.IGPOTY.COM
Snapshots
1)WildlifeintheGarden1stPlace
MarbledWhiteButterflybyRossHoddinott.DunsdonNational
NatureReserve,Devon,England,UK.Ifoundthismarbled
whitebutterflyrestingamongthegrassesonadewysummer
morning.Iwantedtocaptureaclose-upwhichshowed
context,habitatandscale.Iusedthemultipleexposuresetting
onthecameratocreateasoft,dreamyeffect. NikonD810
with200mmmacrolens.1/2000secatf/4.2(ISO640).
2)Bountifulearth3rdPlace
TheMiaoTerracesbyMingliTian.GuizhouProvince,China.
Thisphotographwastakeninthehighlymountainousregion
ofsouth-westernGuizhouprovince.HerelivetheMiaopeople,
anethnicminority,whohavebeenpresentforthousandsof
years.Everyspringtheyplantriceintheirterraces,whichfillup
withrainwaterandcreateadazzlinglandscape. NikonD750
with24-70mmlens.1/250secatf/10(ISO200).
3)GreeninGthecity1stPlace
Goodnight,BudapestbyZsoltVaranka.Budapest,Hungary.
Iwantedtoshowhowitispossibletofindnaturalbeauty
thrivinginacityandclosetohumanactivity.Iventuredintothe
hillsaroundthesuburbofBudarstogettheviewIwantedand
foundthisgroupofPulsatillagrandislookingoutoverthecity
atnightbelow,inspectingtheirdomain. NikonD750with
16-35mmlens.13secondsatf/4(ISO400).
4)theBeautyofPlants1stPlace
BergeniabyDianneEnglish.NewSouthWales,Australia.
IspottedthisBergeniainmygardenandwasdrawntoits
curvedstemandgraceful,fallingflowers.Icreatedmyown
pastelbackgroundtexturetoreplacethedulloriginal.
NikonD90with90mmlens.Foursecondsatf/18(ISO200).
5)BeautifulGardensfinalist
FirstRaysbyVolkerMichael.Jistrum,Friesland,Netherlands.
WhenIreachedthegardenIsawthisbeautifullight.This
momentwasunique,andIrealisedthatitwouldneveragain
existinthisformitjusthadtobephotographed. CanonEOS
5DMkIIIwith24-105mmlens.1/13secatf/18(ISO400).
6)BreathinGsPaces3rdPlace
BreakingLightbyFrancisTaylor.MillstoneEdge,PeakDistrict
NationalPark,Derbyshire,UK.Iwasstruckbythewell-defined
beamoflightbreakingthroughtheclouds,whichilluminated
thevibrantbellheatheronMillstoneEdge. CanonEOS5D
MkIIIwith16-35mmlens.1/60secatf/11(ISO100). 1
MINGLI TIAN / WWW.IGPOTY.COM

ZSOLT VARANKA / WWW.IGPOTY.COM

2 3
DIANNE ENGLISH / WWW.IGPOTY.COM

VOLKER MICHAEL / WWW.IGPOTY.COM

4 5

18 Digital Slr Photography March 2017

 FRANICS TAYLOR \ WWW.IGPOTY.COM

6
 MARCIO CABRAL / WWW.IGPOTY.COM
Sn pshots

1
GLORIA KING / WWW.IGPOTY.COM

BART HEIRWIG / WWW.IGPOTY.COM

2 3

1)WildfloWerlandscapesHigHlycommended
LEE ACASTER / WWW.IGPOTY.COM
GoldenGrassbyMarcioCabral.ChapadadosVeadeiros
NationalPark,Gois,Brazil.Thesoftdarknessofdawnwasa
perfectcontrasttothegoldengrassandpinkhues.Iintensified
thecoloursusingfilterstocreateastrikinglandscape. Nikon
D200with12-24mmf/4lens.Foursecondsatf/11(ISO100).
2)BreaTHingspacescommended
WindowwithaViewbyGloriaKing.SaltSpringIsland,BC,
Canada.HastingsHouseissituatedonthewaterfrontofthe
GangesHarbourandthepropertyissurroundedwithbeautiful
gardens.Itwasatrulyidyllicsetting. SonyNEX-7with
18-55mmlens.1/80secatf/7.1(ISO100).
3)Trees,WoodsandforesTs2ndplace
NoirFlohaybyBartHeirwig.NoirFlohay,BaraqueMichel,
Belgium.NoirFlohayisaforestburnttwiceduringthepeat
firesof1968and2011.Theflamesleftbehindasurreallocation
fullofbarepinetreesandblackenedtreetrunks. NikonD4S
with80-400mmlens.1/1250secatf/4.5(ISO200).
4)igpoTyoverallWinner
LeftbyLeeAcaster.SnowdoniaNationalPark,Wales.Itwasa
darkandwetmorning,butautumnoffersopportunities.The
darkwaterbehindthelakeisolatedtheformandtextureofthe
treewhilstprovidingcontrasttothedazzlingindividualleaves.
SonyA7Rwith70-200mmlens.0.6secsatf/11,ISO100.
5)WildlifeinTHegardenfinalisT
AHappyEndingbyMarekMierzejewski.Gdask,Poland.
Thisgrasshoppersuddenlyfrozewhenitrealisedjusthow
closeitwastoaspider.Afterstayingstillforamoment,itwisely
changeddirectionandjumpedtosafety. CanonEOS60D
with100mmmacrolens.1/160secatf/5.6(ISO125). 4

20 Digital Slr Photography March 2017

 MAREK MIERZEJEWSKI \ WWW.IGPOTY.COM

5
Snapshots / The world of photography
OBITUARY
Lord Snowdon
7MARCH193013JANUARY2017
British photographer and lmmaker
Lord Snowdon passed away, aged 86,
in his Kensington home on Friday
13 January. Snowdons documentary
work offered an insight into the lives of
celebrities and royalty, as well as a
visual commentary on English society.
Born Antony Charles Robert
Armstrong-Jones, his photographic
career began at Tatler magazine in
1952. He went on to meet Princess
Margaret after being commissioned to
photograph the royal family, and the
couple married in 1960. Armstrong-
Jones took the title 1st Earl of
Snowdon, and was known as Lord
Snowdon from then on, however his
marriage to Princess Margaret ended in
1978 when the two divorced.
During his career he photographed a
number of notable world gures,
including Queen Elizabeth II; Diana,
Princess of Wales; Barbara Cartland;
Laurence Olivier; Elizabeth Taylor and
David Bowie. His work can be seen in
The Sunday Times, Vogue, and Vanity
Fair to name but a few. London's
National Portrait Gallery holds over
100 of Snowdons portraits and he was
also an Honorary Fellow of the Royal
Photographic Society. Alongside his
photography, he also co-designed an
aviary at London Zoo, holds a patent
for an electric wheelchair and was an
avid campaigner for disabled rights.
Photo Fact:
Didyouknow?
Queen Victoria and Prince Albert were
big fans of photography. In fact, the
Queen embraced the up and coming
art form to such a degree a darkroom
was added at Windsor Castle.
22 Digital SLR Photography March 2017
PhotoBasics
FOCUSMODES
EXPLAINEDPARTI
GETTOGRIPSWITHAUTOFOCUS
ANDENJOYCAPTURING
CONSISTENTLYSHARPERIMAGES
W
HILE MODERN AUTOFOCUS
systems continue to become
increasingly more advanced and
smarter, you still need to have a grasp on
the basics in order to be able to set your
camera up to perform. Selecting the
correct number of focus points to use to
accurately record your subject in
tack-sharp detail is step one. Here are the
basic AF point options summarised
WILLIAM STITT
SINGLE POINT
Activates a single AF point in the centre of
the frame by default, but can be moved
around. It's useful for precisely picking the
exact point in a scene to focus on, for
example a subject's eyes. And popular
with professionals across all walks of
photography due to its precision.
KIRK MORALES
DYNAMIC/EXPANSION
Select an area of the frame to tell the
camera where the subject is and the
camera uses the middle AF point
primarily, calling on the surrounding
points when needed. Nikons Dynamic
Area also uses the surrounding points to
track moving subjects within the zone.
ALLPHOTOGRAPHSAREACCURATE.
NONEOF THEMISTHE TRUTH
RichardAvedon
KAZUEND
AUTOMATIC SELECTION
In this mode, the camera chooses a point
or points to focus on for you, with zero
user input. It can be hit and miss, and is
probably only useful when you need a
quick shot and dont have time to choose
where to focus! Some cameras offer a
face-detection feature for portraits.
ANOIR CHAFIK
GROUP-AREA/ZONE
Activates a group of AF points based
around a single main point that can be
positioned across the frame by the user.
On some cameras, this mode will give
priority to the closest subjects. Useful for
situations when positioning a smaller
single AF point may become tricky.
GABRIEL SANCHEZ
3D TRACKING (NIKON)
Works alongside Dynamic AF-Area to
actively track subjects across the whole
frame using colour and contrast
information, allowing you to recompose
while tracking. Good for photographing
erratic moving subjects, but isn't as fast to
react due to extra processing power.

theProfessionAls
FujiFilmlauncheseuropeanproFessionalservice,oFFeringuk-based
Fujiphotographerssupport,quickrepairsandloanequipment
I
t wasnt that long ago that mirrorless
cameras were seen as the reserve of
amateurs and enthusiasts, and that
professionals only used DsLRs or bigger.
however times are changing, and the
advancements in mirrorless technology
alongside the desire for smaller, lighter and
more portable kit has seen mirrorless models
boom in popularity with professional users
too. Fujifilm is one of the brands at the
forefront of this movement, having
relentlessly campaigned for mirrorless by
consistently innovating and launching
improved models across its range, including
the worlds first mirrorless medium format,
the Fujifilm GFX 50s, available in March.
now, Fujifilm has announced that it is
joining the likes of Canon and nikon in
Adobe, editMyPhotos
Intelligent virtual voice assistants are set to
become a hot trend in 2017, with apples siri,
Microsofts Cortana and amazons alexa
allowing users to control their devices and
homes just by talking. Imaging software
specialists adobe look to be not far behind
either, and theyve released a short video to
help you envision where theyre heading.
the virtual assistant is shown to help the user
by cropping, flipping and rotating an image,
controlled by voice alone, before uploading
it to Facebook. while this technology is still in
development, and is something that we cant
see being introduced to adobes fully fledged
desktop products, itll be interesting to see
what it leads to. to view the short video for
yourself, visit: http://bit.do/adobeVoice
The world of photography \
launching its own Professional service
scheme in the UK and Europe. the Fujifilm
Professional service, which will go live on
1 March in the UK and major European
markets, will be offered for free for the first
two years to qualifying professional
photographers, and also to those who own
a GFX system or at least two professional
camera bodies and three XF lenses.
Following that, the service will cost 260 per
year and includes a guaranteed speedy
turnaround time for camera and lens repairs,
free loan kit if the turnaround cannot be met,
free health check and sensor clean for up to
two products per year, dedicated telephone
support and a 15% discount on all out-of-
warranty repairs. Great stuff!
Formoreaboutthenewservice,visit:www.fujifilm.eu/uk
Snapshots
howinventive!
canontopslistoFsuccessFul
patentsasoneoFthemost
innovativecompaniesintheu.s.
when it comes to innovative,
inventive and avant-garde
companies, youd probably say the
big tech giants of silicon Valley are
up there as the most proactive
were talking apple, Google and
Microsoft. But how about Canon?
the annual IFI Claims ranking,
which orders companies in terms
of copyright patents granted in any
one year, revealed that Canon had
the third highest Us patents
granted of any company in 2016,
with over 3,660 successful
applications. the Japanese firm
was topped only by samsung with
5,518 patents and IBM with 8,088
successful applications.
so what does this mean? well,
while patents are a good indicator
that a company has come up with
ideas or concepts worth
protecting, quite often these dont
end up materialising into anything
groundbreaking for the consumer.
also, Canons business extends
beyond photography, so not all
3,665 patents will relate to new
cameras or lenses. still, fingers
crossed for some exciting new
technology from Canon in 2017!
AdobeintelligentAssistAnt
March 2017 Digital Slr Photography 23
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 The world of photography \ Snapshots

PhotograPhy

BEnjAmIn Von Wong

againstPlastic
photographervonwong
createsmermaidmasterpiece
using10,000plasticbottles

R
EgulAR REAdERS mIgHt have heard
of Benjamin Von Wong the Canadian
conceptual photographer has made
quite a name for himself for tackling unusual
or technically challenging shoots and getting
his work to successfully go viral online. Weve
also featured several of his projects in this
very magazine. more recently, Von Wong has
been using his photographic prowess and
skill to raise awareness for charitable and
environmental issues. From the Saving Eliza
campaign that Von Wong spearheaded to
raise funds for pioneering treatment for
Sanfilippo syndrome, to his underwater
portraits with sharks in aid of shark
conservation, and storm-chasing portraits,
raising awareness for the effects of climate
change. Behind each and every one of Von
Wongs ambitious projects is an important
message what better way to utilise the
attention that his work receives than to
invoke change?
Von Wongs latest project is an undertaking
itself; how do you make the issue of plastic
pollution seem interesting and garner to supply the mermaid tail too. While the to find a way to make it more interesting.
attention for the cause? the answer an underwater world for each image was Alone, I was just a photographer but thanks
elaborate underwater world comprised of carefully created on the floor from the to the help of amazing individuals we
some 10,000 plastic bottles and a mermaid, coloured plastic, Von Wongs Sony camera transformed a lifeless pile of used garbage
of course! Von Wong persuaded a waste was rigged and hoisted to the ceiling, pointing into a message: #mermaidsHatePlastic.
management centre to lend him the bottles, straight down, to be triggered via an iPad app It just goes to show that with a creative
which he and an army of volunteers spent connected to a 52in tV. If the average idea and a strong enough will, photography
days removing the labels from, thoroughly American uses 167 plastic bottles a year, in 60 can be used to do good. to find out more,
cleaning and sorting into colours. Von Wong years they will have used 10,000 plastic visit: mermaidshateplastic.com, or to see
found a warehouse to shoot in, a model and bottles, Von Wong states on his blog. I knew more of Von Wongs excellent and varied
make-up artist as well as a costume designer plastic pollution was a boring topic and I had work, visit: blog.vonwong.com

QuickEdit
Inthenameof
transparency
Shortcut keys make it quicker to
navigate and work in Photoshop
pressing a key is always faster than
moving your mouse across the screen
and clicking on something. Heres a
useful shortcut did you know you
can instantly change a layer's opacity
using just the keys on your keyboard?
As long as the tool youve selected
doesnt have its own opacity option
(for example the Brush, Fill or Eraser
tools) then pressing the 1-0 keys will
set the opacity for the active layer
accordingly. So, 1=10%, 2=20% and so
forth, until 0=100%. Pressing two
number keys in quick succession
enters that exact value, for example 3
and then 4 sets the opacity to 34%.
If you do have the Brush or similar tool
active, then the 1-0 keys set the
opacity for that tool instead. Easy!

March 2017 Digital Slr Photography 25

With young children to take care of there was no way I could attend
university. People ask me how I manage everything; it is challenging
but studying with the OCA makes me really happy. Sarah-Jane Field

LIVE | LEARN | CREATE oca.ac.uk/dslr


Sub-zero
BOn APPeTIT/SHuTTerSTOCK
Snapping
WhetherWere experiencinga
chillysnapathome oryoure
headedto colder climates in
search ofWonderfulWinter
images, make surethatyou're
prepared forthe chill! folloW
ourtipsto keepon shooting
Whenthe mercurydrops
1) KeepyourlensesWarm
Optics can often attract condensation in
extreme cold conditions, even after careful
acclimatisation (see point 6). One neat trick
is to use a dedicated lens warmer to keep the
optics toasty. If you don't have one, then
hand warmers also work just as well just
secure them to the lens barrel using an
elastic band. Finally, fitting a lens hood can
also help as it blocks some of the cold air
from passing across the front element.
2) tripodinsulation
This might not come as news to you, but
metal things tend to get cold quickly!
Luckily, most aluminium tripods come with
at least one leg insulated by foam. If not, or if
you wish to improve on this, head to a local
hardware store and pick up some thin-
walled foam pipe insulation simply wrap it
around each leg to avoid the cold touch!
Oh, and dont be tempted to lick your tripod
in the cold; nothing good will come of it!
3) KeepingBatteriesWarm
Cold conditions are a batterys worst enemy,
sapping all power reserves even when the
device isnt powered up! Always fully charge
your kit before heading out and pack more
batteries than you think youll need. Keep
batteries that aren't in use close to your body
rather than in your camera bag the inside
pockets of your jacket are ideal, or even
under your armpits! Your body heat will help
prevent power loss from the cold.
4) KeepingyourselfWarm
Hiking to locations can be great exercise, but
when youve found your composition and
are waiting for the right light that's when
you feel the cold! Make sure you wrap up
warm; wear several thin synthetic layers that
you can strip off, or add to, to adjust your
temperature, and avoid cotton clothing as it
retains moisture! Protect your extremities
with warm socks and gloves and a hat. Make
sure outer layers are waterproof.
5) exposure
Snow and ice can make for wonderful
winter images, however it can also play
havoc with your cameras metering system.
Your camera may mistake the blanket of
white for bright light, which will cause it to
underexpose the scene. Pre-empt this by
adding positive exposure compensation
between +0.7 and +1.5 should do, but keep
a close eye on the histogram to ensure you
dont blow out, and lose, highlight detail.
Sn pshots
6) acclimatisinggear
Suddenly taking your gear from your warm
house or car into the freezing cold often
causes condensation to form inside your
camera and lenses, rendering them useless
until they dry out! Avoid this by acclimatising
kit slowly; sit your camera bag outside for 30
minutes before unpacking. Before returning
indoors, seal your kit inside zip-lock bags.
The moisture will form on the outside of the
bags rather than inside your kit!
7) gloves
Pro tip: always pack two pairs of gloves
a thicker, waterproof pair for when youre
walking to or from a location, and a thinner
pair for operating your camera with.
Fingerless gloves allow you to easily handle
memory cards and filters without negatively
affecting dexterity. Alternatively, if you use a
camera with a touchscreen, consider
touch-conductive gloves that allow you to
retain this functionality.
8) enjoythegoodlight
During the winter months the days may be
shorter, but the sun is lower in the sky for
longer, offering warm light, long shadows
and plenty of definition. Its the perfect light
for portraits, landscapes and pretty much
anything you fancy photographing
outdoors! Sunrises and sunsets are also at a
reasonable hour in the winter, so make the
most of this. Wrap up warm and get out
shooting during the best light of the day!
March 2017 Digital Slr Photography 27
 Hot shot
faLcon 9 rocKeTLandinG
How'sthisfortimingandalignment?whats
moreimpressiveisthatboththerocketandfloating
platformarecontrolledautonomously,andthephotowas
capturedremotely!privately-fundedaerospace
manufacturerspaceXsuccessfullylandedits falcon9rocket
onthedroneshipinJanuaryinthe pacificocean.oftheten
attemptsatlandingthereusablerocketsonadroneship,five
havebeensuccessful.thistime,aremotecanoneos6D
withrokinon14mmf/2.8eDlenswasmountedonboard
thevesseltocapturethesequence.withtheabilityto
controltherocketandlandingpadprecisely,
wereguessingtheperfectalignmentwith
thesunwasmorethanjusta
happyaccident.
What Weve been Watching
Looking forvisuaLinspiration? HereswHattHe DigitalSlR PhotogRaPhyteam Has beenwatcHingtHis montH
TheUGLYSideofLandScape
phoToGraphY
By Thomas Heaton
Vlogger Thomas Heaton is becoming
somewhat of a regular, and for good reason
the British landscape photographer is one
of the most relatable photographers in the
vlogosphere (thats a made-up word). In this
slightly melancholy episode, Thomas shares
something that all landscape photographers
feel at some point disappointment. Its not
all glory and award-winning images you
know! Give it a watch, safe in the knowledge
that youre not the only one who has bad
days http://bit.do/DSLR_1241
The world of photography \
phoToGraphinGLiqUidMoUnTainS
By Great Big Story
You might remember that a couple of issues
ago (January 2017, Issue 122) we featured
sports photographer-turned-wave
connoisseur Dave Sandford, whose Lake
Erie project has taken the internet by storm.
Dave has teamed up with The Weather
Channel to create a video showcasing
behind the scenes of his craft, and what
goes into the making of the photographs. If
you havent already, go back and read Daves
interview and then watch this video its a
great insight into the lengths he goes to!
http://bit.do/DSLR_1242
sna
sn ps
pshot
hots
s
Flickr
Snow
Girl
By Martinohemmi
http://flic.kr/ps/34btJb
martinosseasonalportraitcaught
ourattentioninthe DigitalSlR
Photographyflickrgroup
fantasticstyling,litwelland
mesmerisingeyecontactallthe
keyelementsforasuccessful
portrait!whileitlookslikeachilly
momentcapturedoutdoors,thisis
martinoswifeandtheimagewas
actuallyshotintheirlivingroom.
martinousedtwosmallsoftboxes
withcontinuouslightsata45
angleatthemodelsheadheightto
lighttheportrait.greatstuff
martinokeepupthegoodwork!
canoneoS5dMkiiwitha
canonef50mmf/1.4lens
exposure:1/100secatf/9(iSo500)
SpACE X
WanderLUST4K
By Tony and Chelsea Northrup
WANDERLUST 4K isnt one video. It's more
of an ongoing mini-series (shot in 4K, if you
hadnt guessed), so its worth subscribing to
Tony and Chelsea Northrups YouTube
channel if you like it. The series follows the
couple as they travel to exciting locations
around the world, obviously taking photos
as they go. The duo share tips on travelling,
photography and life, as well as anecdotes
of things that happen along the way and the
images that they create (along with
technical info such as exposure settings).
http://bit.do/DSLR_1243
March 2017 Digital slr Photography 29
 The world of photography \ Snapshots
sHutterstoCK

Wouldyou
Work for free?
For most people across a range of
jobs and skills, youd assume the
resounding answer to the above
question would be no. However,
a recent survey by software start-up
approve.io discovered an amazing
87% of freelance photographers in the
uK were asked to work for free last
year. Whats even more shocking is
that 16% of them agreed!
the survey, conducted of over 1,000
freelancers working in the uK,
reported that photographers were the
most likely to be asked to work for
free, followed by graphic designers
and copywriters. the results also
revealed that women (55%) were
more likely to be asked to work for
free than men (44%), and are also
more likely to say yes to the
proposition (59% compared to 40%).
age was also found to be a big factor
under 25's were twice as likely to

Smile with Samsung

agree to working for free and
location came into it too, with Belfast,
liverpool and glasgow-based
freelancers most likely to be
approached without remuneration
makeuslaughforachanceofwinningasamsung64gBsDXcProPlusmemorycarD! and london, manchester and
Brighton the least likely.

S
amsungs latest Pro Plus sD cards are designed for ultra-fast the most common cause for this
data transfer, with read speeds up to 95mB/sec and write speeds up behaviour? social media. most
to 90mB/sec, making them ideal for high-resolution images and surveyed said they were approached
4K video. Plus they're waterproof, temperature-proof, X-ray-proof and to use their work online in return for
magnetic-proof, so you can be sure of their reliability no matter what credit, with some saying they would
the conditions. You can experience this superior card for yourself do the work for free to help grease the
samsung is generously giving one away. all you have to do is come up wheels for future opportunities. You
with a witty caption for the image, right. email it with subject 'smile this march' to: can read the results of the survey for
enquiries@dslrphotomag.co.uk by 1 april 2017 and, if you make our sides split, youll scoop a yourself at http://approve.io/blog
samsung Pro Plus 64gB sDXC card worth over 80. uK entries only. www.samsung.com

HappyMondayS
retailerweXPhotograPhicreveals
its2016PhotograPheroftheyear
uK Camera retailer Wex Photographic
has revealed the winner of its Photographer
of the Year competition. the norwich-based
specialist has been running its weekly
#Wexmondays competition on twitter for
three years now, with photographers
entering their favourite images from each
week using the competition hashtag. in total,
above:winnerneilBurnellmeetswexchiefcustomer
over 17,000 images were entered in 2016! officerlouiswahlatthelondonexhibition,right.
the best images each week are selected by a
team of judges, assigned a points value and other winners included tony sellen from
the corresponding photographers correlated london in second place and tom lowe
into an ongoing league table. from Whitley Bay, tyne & Wear in third.
at an awards ceremony and exhibition at the winning images from the 2016
truman Brewery in london in January, the #Wexmondays competitions are on display
winner was announced as neil Burnell from at the gallery at munro House in leeds until
south west england, who only started 10 march 2017. For more information on
entering the competition in 2016. neil Wexs weekly #Wexmondays photo
bagged himself 1,500 worth of vouchers to competition, follow @wextweets on twitter,
spend at Wex Photographic! or head to www.wexphotographic.com

March 2017 Digital Slr Photography 31

 PH TO
SKILLS
IDEAS &ADVICE FOR BETTER PHOTOS

p44 WOODLANDRAYS:
LEEFROSTGETSBEAMEDUPINWOODLAND

p34 WINTERBIRDS:BENHALL'SGUIDETOCAPTURINGWINTERBIRDS p40 COASTALABSTRACTS:ROSSHODDINOTTHEADSTOTHEBEACH

p48 USINGNDGRADS:HOWTOMETERFORANDUSENDGRADS p52 SKYSWAP:TRADEBLANDFORBRILLIANTINTHISEASYTUTORIAL

 PH TO
SKILLS

Winter
Birds
photographing our feathered friends is far fromafair-weather
pursuit. professionalwildlife photographer ben hallbravesthe
coldto bringyouan expertguideto photographingwinter birds
PH TO
sKIlls
I
believe we are very lucky to live in a
temperate part of the world, with our
four distinct seasons, each of which
offers new photographic possibilities.
when autumn fades and temperatures fall,
winter arrives, and it's my favourite season
for wildlife photography. whether it's
golden light combined with cold, crisp days,
ethereal mist or blankets of snow, our often
unpredictable weather at this time of year
can create a truly magical atmosphere. To
make the most of winter shooting, it's a good
idea to have a few select locations in mind.
local areas will likely prove to be the most
productive as their proximity will allow you
to visit numerous times and at short notice.
when seeking out a new spot, it pays
to visit several times in advance. Take a
notebook and some binoculars with you and
scan carefully for potential subjects. Note
the position of the sun at different times of
day and generally try to develop a feel for
the place and the potential images that it
might hold in store. wetland centres such as
wwT reserves are excellent places to start,
as winter sees the arrival of thousands of
swans and geese. These can make fantastic
and relatively accessible winter subjects.
as birds become emboldened by the cold
weather and the need to find food, even
your own back garden can provide plenty
of winter opportunities. by placing a few
bird feeders out you might be surprised at
the variety of species it's possible to attract,
Whetherit'sgoldenlightcombinedWith
cold,crispdays,etherealmistsorsnoW,our
oftenunpredictableWeathercancreateatruly
magicalatmosphereatthistimeofyear
EssEntialkit:a DSlr with the ability to
shoot relatively noise-free images at high
iSO ratings offers an undeniable advantage
when shooting in low levels of winter light.
an aPS-C sensor will help too, when shooting
subjects that are difficult to approach, as it
will provide extra reach. when it comes to
action, a fast burst rate will make it easier to
capture the decisive moment. while 5fps is
enough to cope with most situations, the
faster the frame rate, the better. Depending
on your chosen subject, focal lengths ranging
from 200mm to 600mm will prove most
useful. Fixed telephoto lenses with a wide
maximum aperture are better suited to action
shots, but they are by no means essential.
Telezoom lenses such as a 70-200mm or
100-400mm will prove more flexible than
a fixed lens, making it easier to fine-tune
your compositions. The more comfortable
you feel, the longer you will be prepared to
stay out shooting, so it really does pay to
wrap up warm. waterproofs are essential
when shooting in rain or snow, and i would
also recommend investing in a waterproof,
camouflaged lens and camera cover to
protect your kit from the elements.
36 Digital slr Photography March 2017
even in an urban garden. To make your
images as natural as possible, seek out some
attractive perches such as lichen-covered
branches and set these out around the
bait. it's important to take the background
into careful consideration. Make sure that
it's distant enough to appear completely
diffused. Using a wide aperture will help to
ensure that it's well out of focus, thereby
eliminating any distractions and keeping
emphasis on your subject. regardless of
the selected location or subject, one factor
that can make or break an image is the
quality and availability of the light. The sun
remains low enough in the sky to shoot all
day in winter, a major advantage for this
time of year! The warm hues help to cut
down contrast, making exposure easier,
too. backlighting can be an effective way
of highlighting the form of your subject,
especially when lit with a low, winter sun.
when exposing for such backlit images,
try to be creative. by exposing for the
rim-lighting around the edge of your subject
and dialling in some negative exposure
compensation, you may find it possible to
create images of a very graphic nature. when
done correctly, only the outline of your
subject should be visible, with the shadows
appearing a deep black, yielding a very
dramatic result. Never be afraid of shooting
in extreme weather. Falling snow, deep mist
or even rain can create atmosphere and help
to tell a story about your chosen subject.
spEciEstolookoutFor:
GardEnbirds:Gardenbirdsbecomemorevisible FiEldFarEs&rEdwinGs:Aswellastheusual
inwinterasthefoliagedropsfromthetreesandthey suspectssuchasvarioustitsandfinches,keepaneye
becomemoredesperatetofindfood.As theyareused outforfieldfaresandredwings.Thesebeautifulbirds
tohumans,theyareusuallyeasiertoapproach,too. arepartofthethrushfamilyandmigratesouthto
Puttingsomefeedersoutwithavarietyoffoodislikely spendthewinterintheUK.Choppedapplescanbe
toattractanumberofdifferentspecies.Peanuts,fat usedforbait,buttheyalsoliketofeedonberries,so
andsunflowerseedsareallfirmfavourites. keeponeyeonrowanbushesandhedgerows.

WaxWings:Waxwingsaddawelcometouchof
theunusualandexotic,andcanoftenbeseeninlarge
flocksduringthewintermonths.Theyareparticularly
gregariousbirds,andcansometimesbefoundinthe
mostunlikelyofplaces,suchasgatheringinlarge
supermarketcarparks,wheretheygorgethemselves
onberriesfromnearbybushesbeforemovingon!
sWans&geese:Winteringgeeseandswansarrive
inautumnandremainthroughoutwinter,providing
greatopportunitiesforatmosphericimages.Thereare
WWTwetlandreservesdottedaroundtheUKthat
haveexcellenthides,offeringcloseupviews,suchas
MartinMereinLancashire,Slimbridgein
GloucestershireandCaerlavalockinScotland.
birdsjust WannaHavefern!
Thewintermonthsofferwildlife
photographersfantastic
opportunitiestorecordbirdsagainst
anatmosphericwinterbackdrop.
all images: ben hall
Herons:Heronsbegintonestveryearlyintheyear.
ThenestbuildingusuallystartsinJanuaryandactivity
continuesthroughouttherestofthewinter.The
nestingsiteisknownasaheronryandthesearedotted
aroundthecountry,alwaysincloseproximitytowater
astheirmaindietisfish.Theselargebirdsareeasily
spottedstandingatthewater'sedge,orwheninflight.
March 2017 Digital slr Photography 37
PH TO
sKIlls
All IMAGES: BEn HAll
baCklitswans&geese: During the golden
hour, backlighting is a favourite of mine.
Shooting a bird in flight against the light
reveals its delicate form, and its wings can
appear almost transparent. Exposure can be
tricky, so switch to spot metering and meter
directly from the bird itself, which should
prevent the highlights from over-exposing.
Remember to check your histogram
regularly, as the light and background tones
can change in an instant. Dont dismiss wider
shots. The conditions at dawn following a
cold, clear night can be spectacular. Mist
can form on water and in the right light this
can create a wonderful atmosphere. Shoot
towards the sun to capture the golden hues,
and if there are surrounding trees, look for
rays of light filtering through the branches.
38 Digital slr Photography March 2017
CapturebehaviourFor an image to be
really successful, it should instantly grab
the viewers attention. Images that show
interesting bird behaviour have the ability to
excite and stir emotion, and ultimately, help
to create a connection between the subject
and the audience. As winter progresses,
food becomes more and more scarce.
During particularly harsh spells of weather,
it's a common sight to see birds squabbling
and fighting over food. This offers great
opportunities to capture some action and will
give a real insight into your subjects life cycle.
Birds of prey such as buzzards will lock talons
over prey. When ponds and lakes are frozen
over, herons will compete with each other
for fish, and can even be baited. However, it's
not only fighting behaviour that you will see in
winter, since some species of bird begin to pair
up very early in the year. Great crested grebes,
for instance, begin their elaborate courtship
displays as early as February, offering the
chance for evocative images of their intricate
displays on a misty lake. To freeze action you'll
need to pay attention to your shutter speed. I
keep to a minimum of 1/800sec and increase
it for fast moving subjects. Keep your camera
set to continuous drive so you can fire off a
burst of frames; this increases your chance of
capturing that perfect moment.
 Birdsinflight:Capturing the beauty of
flight is one of the most challenging
areas of wildlife photography, but one that
holds great rewards. Large birds such as
swans, geese and herons have relatively slow
wing beats. Compared with smaller birds,
they're an easier target, making them great
for honing your skills. Developing a smooth
panning technique should be your first goal.
Stand with your feet shoulder-width apart
and tuck in your elbows to increase stability.
As your subject passes, swivel your top half in
one smooth motion. Your camera should be
set to predictive focus and continuous drive.
Wing position is vital, as a shot can be
ruined with an awkward wing shape, so firing
a rapid sequence of shots increases your
chances of success. In low light, or snow, I
prefer to use the central focus point as it's the
most sensitive. Depending on your camera,
you may be able to expand the focusing area.
This offers a greater margin for error when
maintaining the focus point on the bird.
shootinginsnow:Knowing how to
exploit different weather conditions
can transform an otherwise humdrum image
into a work of art. Snow can create a special
kind of atmosphere and convey a sense
of wildness and extremity. Calculating the
exposure is critical in snow as the pale tones
fool the camera into under-exposure. You
will need to increase the exposure using
exposure compensation by up to two stops
depending on the amount of white in the
frame. A white swan surrounded by snow for
instance, will need more positive exposure
compensation than a darker subject. Pay
attention to the histogram and push it to the
right as much as possible, taking care not to
clip the highlights. Falling snowflakes can
lend a painterly look, and can look different
depending on the shutter speed used. To
freeze the snowflakes, opt for a fast shutter in
excess of 1/1000sec, but slower speeds can
be as effective too, as they render the snow
as streaks falling through the frame.

rEvEalingmotion:To create images
that appear painterly in appearance,
experiment with slow shutter speeds. I would
recommend shutter-priority mode, and
trying various speeds between 1/15sec and
1/60sec, depending on the speed of your
subject. By panning in a smooth motion, you
should find it possible to capture definition
in the subject, but reveal the motion in the
background. For a more abstract result,
photograph a flock of birds as they're taking
off. You may find this more successful with
an even slower speed of between 1/5sec and
1/15sec. This type of image can be hit and
miss, so dont be afraid to experiment and
take plenty of shots! Deliberately moving the
camera during the exposure can also create
interesting results.
EnvironmEntalcompositions:
Frame-filling portraits can work
beautifully, and many hold immediate impact,
but a well-composed image of a bird in
its natural environment can be even more
compelling. Such images show the relationship
between bird and landscape, and help to tell
a story. Long lenses are not a prerequisite; I
find that mid-zooms, such as a 70-200mm or
100-400mm, will give greater flexibility and
allow you to refine the composition with ease.
Wide-angle lenses shouldnt be dismissed
either. These can be used to great effect with
birds that allow a close approach. By getting
close, using wide optics, the subject will appear
large in the frame but the perspective will allow
you to include the surroundings. Framing
your subject within the environment requires
careful forethought. To avoid the bird from
becoming lost in the picture, set it against an
area of diffused colour, or look for contrasting
background colours. Lead-in lines can be used
to lead the viewers eye towards the subject.
And look out for elements to use as a natural
frame, too: branches, foliage, and trees can all
be used to good effect. When positioning your
subject, the rule-of-thirds can work particularly
well, but try not to let these guidelines dictate
your picture taking. Instead, be creative and
experiment as much as possible.

March 2017 Digital slr Photography 39


COASTAL
ABSTRACTS
ITS NOTALLLONG EXPOSURESAND BIGVIEWS. ROSS HODDINOTTSHOWSYOU HOWTO GETCREATIVEATTHE
COASTBYFOCUSING ONTHEABSTRACT. ITSANAPPROACHTHATWORKS INALLWEATHER, SO GRABYOURWELLIES!
W
E ALL KNOW THE coast is a great
place for landscape photography.
Large sandy bays, dramatic rocky
ledges and large crashing waves all make
great subject matter in wide-angle vistas. Its
also a great place to capture colourful skies,
and practise using lters particularly NDs
to creatively blur water motion. However, did
you realise that the seaside is also home to a
wealth of interesting detail, shape and form?
If not, the next time you visit the coast, pack a
macro lens or telezoom in order to capture
eye-catching coastal abstracts.
It can be hard to see beyond the big view
when you visit the coast, but you need to
take a closer look around you. Naturally, the
opportunities will vary from beach to beach,
but among the things to look for are wavy
patterns in the sand, colourful pebbles,
seaweed, shells, shing rope and driftwood.
If you wish to capture coastal detail and
abstracts, you will typically want to get up
close, lling the frame with your subject to
help maximise impact. The long end of a
telezoom will suffice for many subjects,
PH TO
SKILLS
CAMERA: NIKON D810 / LENS: NIKKOR 105MM F/2.8
but if you want to get close-ups of smaller
detail, like whelks, barnacles and shells, a
macro lens will be better suited. A cut-price
alternative is to use a close-up attachment,
such as extension tubes. You will also want a
good tripod, although dont overlook
shooting handheld. So long as your shutter
speed is fast enough to eliminate camera
shake, shooting handheld will give you more
freedom and encourage spontaneity,
allowing you to quickly alter your angle and
change perspective or framing. If necessary,
increase the ISO rating to generate speeds
fast enough to allow handheld shooting.
Also experiment with apertures. Using a
large aperture, like f/4, will create an
attractively shallow depth-of-eld, which
can help direct the eye to a key point of
interest. When capturing images of detail
and form, technique is often less important
than having a good, creative eye. When
shooting any type of abstract, there is
absolutely nothing dictating your approach
you dont have to record your subject in its
entirety, completely in focus, and it doesnt
even have to be recognisable. As they say
form is primary, content irrelevant.
When visiting the beach, always check
tide times beforehand. Not only is this a
good idea from a safety viewpoint, but low
water will reveal more potential subjects
avoid high tides, as much of the beach will
be submerged. Wear wellies too; they are far
more practical when working close to water
and for wading through rock pools. While
you can shoot coastal abstracts at any time
of the day, and in any light, I would
recommend visiting in the morning or
evening. The suns lower angle will produce
warmer, more dramatic light. Side light is
often best for shooting detail, as it highlights
shape, form and texture. A warmer colour
temperature, like your Cloudy or Shade WB
preset, also tends to suit coastal abstracts,
particularly those including sand.
So what are we waiting for? Lets head to
the beach and see what we can nd
PH TO
sKIlls Coastal abstracts

1 CheCk tides This advice might seem

elementary, but before heading to the
coast, always be sure to check the tide
times. Low tide is best for shooting coastal
abstracts, as more subjects are revealed. By
checking the tides in advance you can avoid
disappointing or wasted trips. There are
various mobile apps and websites available
that offer tide times. I use an app called
AyeTides, which gives accurate tide height,
range and also sunrise and sunset times.
2 Be prepared! The beach is sandy and
wet no surprises there then! Therefore,
wear wellies because theyre useful for
wading through pools and prevent wet feet
if you get caught out by a big wave. To avoid
your kit bag and straps from getting damp
and sandy when you put it down to access
your kit, keep a waterproof cover attached,
or place it on a bin-bag or sheet of plastic.
The latter also comes in handy if you need to
kneel to get low and close to your subjects.

autoWB

Cloudy WB

3 look for patterns When shooting coastal

abstracts, search closely for interesting
shapes, repetition, contrast and exquisite
small detail. Sand provides one of the most
obvious and photogenic coastal patterns.
I quickly found this area of interesting wavy
lines in the sand, which I was able to isolate
using a 105mm macro lens. By arriving at the
beach nice and early in the morning, not only
was the light better, but there were fewer
footprints spoiling the sand.
4 White BalanCe issues The suns low
position, side-lighting the beach, created
a nice degree of contrast, which helped to
reveal texture. Although the sand looked
warm and orange, the images looked pale
on my screen. This was due to Auto White
Balance mistakenly neutralizing the warmth
of the sand a common error with AWB
when the frame is dominated by just one
colour. I switched to a Cloudy WB setting to
capture more pleasing, realistic tones.
5 identifya foCalpointWhile happy with
my shots, I felt they lacked a focal point.
I wandered along the shoreline, looking
for more patterns. I found an area where
smooth pebbles were embedded into the
beach. I tried a number of compositions
before identifying this shot, which I captured
handheld. The circular pebble acts as a key
point of interest, harnessing the composition.
Within just two hours, I had taken a variety of
abstracts see below for some more ideas.

thingstolookforattheCoast

peBBles: Oftenthebiggestskillisseeingtheshotin seaWeed: Inclose-up,shiny,reflectiveseaweedis roCkformations: Geologycanprovidegreat

thefirstplace,ratherthanthetechniquerequiredtotake
it.Pebblesontheshorecanlookveryphotogenicin
close-up,creatinginterestingpatterns.Ifnecessary,
arrangethemtoproduceamorepleasingshot.Inthis
instance,Icombinedashallowdepth-of-fieldwithalow
viewpointtocreateamoreartisticandinterestingresult.
beautifullydetailedandphotogenic.Lookforair
bladdersandwavylinestoaddafocalpoint,or
interestingrepetitiontoyourimages.Considerusinga
circularpolarisertoothiswillhelpregulateoreliminate
unwantedreflectionsfromshinysurfaces,suchaswet
seaweedandreflectiverockpools.
abstractopportunities.Youllfindinterestingpatterns
andtexturewithinrockyledgesandclifffaces,sotakea
closelookwhenyounextvisitthecoast.Filltheframeto
disguisescaleandcontext.Andforpin-sharpresults,
positionyourcameraparalleltothesurfacethiswill
placemoreofthesubjectwithintheplaneoffocus.

42 Digital slr Photography March 2017

 lifes a beach
Compositioniscrucialwithsuchsimple
scenes.Slowyourselfdownandreally
thinkaboutwhattoincludeintheframe.
Exposure:1/125secatf/13(ISO400)
PH TO
SKILLS

WOODLAND
SUNBURSTS
SUNLIGHTBURSTINGTHROUGH MISTYWOODLAND
CREATES SPECTACULAR BUTFLEETING PHOTO
OPPORTUNITIES. LEE FROSTEXPLAINS HOWTO MAKE
SUREYOURE INTHE RIGHTPLACEATTHE RIGHTTIME
AND RETURN HOMEWITHAMAZING IMAGES

Camera: CANON EOS 5DS / Lens: CANON EF 16-35MM F/4L IS USM

I
f yOU gO DOWN to the woods today well, you might
actually bag yourself some amazing images! Woodland
offers great potential as a photographic subject. from
close-ups of patterns, details and textures to stunning
foliage colour and studies of sturdy old trees, there is
something for everyone, and no two days are ever the same.
However, if you want to take the top prize and scoop the
creative jackpot, then nothing beats woodland on a misty
morning or afternoon with golden rays of sunlight bursting
through the branches. Its such an amazing spectacle that
you could almost be tempted to leave your camera packed
away and just savour the moment. I did say almost though,
because theres no way on earth any photographer could
ever resist the temptation to capture this sight.
The UK has a lot of woodland, so no matter where you live
even the middle of a busy city you should never have to
travel far to hug a few trees. I live half an hour outside
London these days, but I only have to walk a few minutes up
the road and Im in the middle of lovely woodland, which is
where these images were captured. getting to know a local
patch of woodland is useful because you can predict when it
might be worth a visit to shoot particular images, and you
dont have to travel far to get there.
for misty sunburst shots like these, all you need is a damp
day followed by a clear, cool night so moisture rises through
the trees and is trapped by cool air to form mist, followed by
a sunny morning. Autumn is often the best time to shoot
woodland sunbursts as you have the added benefit of
beautiful foliage colour as well, but you can also get
fantastic results in winter when mist is plentiful, the sun low
in the sky and the trees skeletal in appearance.
you need to be on location around sunrise so you can wait
for conditions to be right. Initially the mist may be so dense
that no sunlight can penetrate, but be patient because as the
sun rises its warming rays will often start to burn the mist away,
and eventually those beams of light will find their way through.
Dont just limit yourself to morning either on a misty day you
may get sunbeams as the sun sets in the evening.
Technically, shots like this are easy to take as everything is
there. you dont need to use filters or fancy techniques
simply mount your camera and start shooting. Its that easy!
PH TO
sKIlls Woodland sunburst

1 ON LOCATION Get to your chosen location

nice and early so that you have plenty
of time to find a suitable spot to shoot from.
Mount your camera on a tripod and attach a
wide-angle zoom in this case a 16-35mm
zoom was used on a full-frame DSLR and
fit a lens hood to reduce the risk of flare.
2 READYTO SHOOTSet your DSLR to multi-
pattern metering and aperture-priority
(Av) mode. This is a good approach as you
choose the aperture to control depth-of-field
and the camera sets the exposure. Stop the
lens down to f/8 or f/11 then compose your
shot and focus using autofocus.
3 TAKETHE SHOTWith the camera ready, lets
shoot. Use a remote release to trip the
shutter or set the self-timer to a two-second
delay and press the shutter release. The delay
reduces the risk of vibrations that can cause
camera shake. Check the preview image and
histogram to see how the shot turned out.

4 RE-TAKETHE SHOTIn this case the first shot

was underexposed due to the bright area
in the centre of the frame fooling the cameras
metering into giving too little exposure.
The problem is easily and quickly solved by
increasing the exposure by +1EV using the
cameras exposure compensation facility.
5 SHOOTALTERNATIVE IMAGES Once youve
got the first scene spot-on, try some
alternatives by varying your viewpoint, lens
focal length and camera format. Shoot
portrait as well as landscape format, get down
low, go wider but work quickly as the suns
warmth can soon burn away the mist.
6 IMAGE PROCESSING Once home, download
the images to your computer and start
editing. In Adobe Camera Raw (ACR), increase
Clarity to emphasise the sunbeams and
Vibrance to enhance the colours. Experiment
with colour temperature and use the Shadows
slider to reveal more detail in the shadows.

USEHDRTOCAPTUREMOREDETAIL
Whenyoushootintothelightinmistywoodland,
contrastisveryhigh,makingitalmostimpossibleto
capturedetailintheshadowsandthehighlightsina
singleframe.Itsnobigdealifyoudontbecausethe
imagescanstilllookfantastic,asyoucanseefrom
thesehere,butifyoufancycapturingmoredetail,
HDR(HighDynamicRange)isthewaytogo.Some
DSLRshavein-cameraHDRmyCanonEOS5DSand
EOS5DMarkIIIbothdoandIuseitregularlyinhigh
contrastsituationstoseeifitwilldoabetterjobthan
asingleframe.Oftenitdoes.Theonlydownsidewith
in-cameraHDRisthattheimageproducedisaJPEG
ratherthanaTIFFfile.However,youcansetthecamera
sothethreeRawfilesitshootstocreatetheHDRare
retained,thencombinethemlaterusingHDRsoftware
suchasHDREfexPro2(partofthefreeNikCollection
byGooglehttps://www.google.com/nikcollection/)
andsavethefinalimageasaTIFF.IfyourDSLRdoesnt
havein-cameraHDR,simplyshootabracketed
sequencefrom,say,-3stopsto+3stopsinfullstop
incrementsthencombinethemusingHDRsoftware.

46 Digital slr Photography March 2017

 beam me up scotty!
Nothingbeatsaclassicdisplayof
morninglightburstingthroughmisty
woodland.Getoutandshootyourown!
Exposure:1/50secatf/5.6(ISO800)
 PH TO
SKILLS

How to use
graduated
filters
EvEnintodaysdigitalagEofpostprocEssingEffEcts,graduatEd
nEutraldEnsityfiltErsarEalandscapEphotographErsbEstally.
JordanbuttErsgivEsyouthElowdownonhowtousEthEm

Camera:nikond750 /Lens:af-s24-70mmf/2.8gEd/FiLters:lEEfiltErs100mmsystEm
PH TO
SKILLS

B
ACK IN THE DAYS of lm, if you were a Filterstrengths explained bybrand
landscape photographer, you never
Stops Optical Filterfactor
left home without your graduated ND (Lee Filters,Tiffen) (Cokin, Hoya, B+W)
lters. You probably had a full set of soft
1 0.3ND ND2
grads, a set of hard grads and then various
coloured lters for creative effects, such an 2 0.6ND ND4
enhancing sunsets. Since the advent of 3 0.9ND ND8
digital, cameras with incredible dynamic 6 1.8ND ND64
range and software with powerful effects
10 3.0ND ND1000
mean that we can now replicate optical ND
grad lters during editing. Yet, youll nd a
vast number of professional photographers
still use graduated ND lters why is this?
Simply, its often down to the ethos of
getting the image as close to the nal result
as possible in-camera. You dont need to
carry a large range of lters and using ND
grads enables you to spend more time
crafting outdoors rather than in front of your
computer, manipulating sliders. For most, a
set of four grads a 0.6ND and 0.9ND in both
hard and soft varieties is often enough.
Of course the downside of optical lters is
that you have to get it right at the point of
capture. With digital lters you can adjust the
1 COMPOSE With a suitable scene in front
of you, attach your camera on a tripod
and compose the shot. Depending on the
effect at any time, but with optical lters direction of the light, you might not need to
once you press the shutter the ltration is use lters for a balanced exposure, but as you
applied. Thats why its key to understand can see here, when I meter for the land, the
how to meter, apply and adjust ND grad sky is overexposed. Select aperture-priority
lters to suit the scene youre capturing. exposure mode and youre ready to go.

2 METER FROMTHE LAND You dont need a

light meter your camera can do that!
First we need to meter from the foreground.
You can either use multi-zone metering and
point the camera at the ground, so it lls the
frame, or if youre a Nikon user then you can
select spot metering and move the single AF
point over a mid-tone in the foreground, as
I have. Make a note of the shutter speed.
3 METER FROMTHE SKYRepeat this for the sky,
pointing the camera up so that the sky
lls the frame. If youre using the Nikon spot-
metering method, then dont meter from the
brightest part of the sky, as the reading will
be incorrect for the majority of the sky. Once
again make a note of the shutter speed. The
difference in stops between the foreground
and sky will dictate your lter strength.

4 CHOOSEAFILTER Select the strength of lter

based on your metering. For example,
my foreground metered at 1/6sec at f/11
(ISO 100), and the sky metered at 1/50sec at
f/11 (ISO 100) thats a difference of three
stops, so Ive chosen a two-stop ND grad.
Some photographers prefer the sky one to
two stops brighter than the land, others like a
more dramatic sky. If in doubt, try both!
5 ALIGN FILTER Decide on whether a hard
or soft grad will suit the scene. Correct
lter alignment is crucial. Use LiveView, or
look through the viewnder whilst holding
down the depth-of-eld preview button and
slowly positioning the lter to nd the correct
alignment. Dont push the lter down too far,
or it may overlap with the land, or objects that
jut above the horizon, creating a dark band.
6 SHOOTIf you used spot metering earlier
on, then remember to move the spot
back over the foreground so that the reading
is taken through the clear part of the lter. If
youre using multi-zone metering, then the
scene should now be evenly exposed. Take a
test shot and check the results. You can make
adjustments to the overall exposure using
exposure compensation.

50 Digital SLR Photography March 2017

 Using ND graduated filters

which type?
Hard:Boastsasuddentransition
betweenfilteredandclearidealfora
flathorizon,suchascoastalviews.
Soft:Hasagradualtransitionusefulwhen
featuresorstructuresjutabovethehorizon.
Reverse:Strongestinthemiddle,and
weakertowardsthetopandbottom.
Usefulforsunrisesorsunsets,when
theexposureisbrightestnear
thehorizon.

balance it out
Addingsubtlefiltrationtotheskyadds
detailandinteresttothecloudsand
preventsdetailfromblowingout.
Exposure:1/160secatf/8(ISO250)

nDgraDuateDfilters:thingstolookoutfor...

1) filtertoo low Positionyourfiltertoo lowand 2) filtertoo strong The skyis brighterthan the 3) enhance in processing You can enhance
youll see a dark band inyourimage.Adjust the filter, land, so ifyou add too much filtration it often looks filtration during processing, although its fareasier
using LiveVieworlooking through theviewfinder. unnatural.Aim fora skythats 1-2 stops brighter. to increase filtration digitallythan to reduce it.

March 2017 Digital slr Photography 51

Skyswap
REPLACEMENTSKY ORIGINALIMAGE

DOYOUHAVEAPOTENTIALLYGREAT
LANDSCAPEIMAGESPOILTBYABORING
SKY?HERESHOWTOQUICKLYAND
EASILYSWAPASKYINPHOTOSHOP

I
F YOURE A STEADFAST optical lter
acionado then the idea of replacing one
sky with another might not hold much
appeal. And if youve read our tutorial on p48,
then youre fully up to speed on how to
correctly meter for and use ND grad lters.
So what use is knowing how to swap a sky?
Well, of course, in ideal situations youre
always packing your ND grads and the light
and clouds are just right, but we all know that
reality doesnt always work like that, and this
is an editing trick that could turn a drab sky,
a scene in which lter use wasnt possible, or
one captured with the wrong exposure, into
something worth sharing.
Before we start youll need two images
your landscape and then a replacement sky
with sufficient interest. Ideally these will be
images youve shot yourself, but you can also
peruse stock photography sites for
candidates if youve nothing suitable.

1 MAKE SURE THE SKYWORKS If youre trying to

inset a sunset sky in a midday landscape,
then its going to look wrong straight
away. Or, if the landscape was shot with a
relatively shallow depth-of-eld and the sky
is pin-sharp, or vice versa, itll look off. Also
pay attention to the direction of light in both
images is it coming from the left or right,
high or low? Match your sky selection to your
image or it will immediately look fake.
2 SELECTTHE BORING SKY Open both your
landscape and sky images. On your
landscape image, use the Quick Selection
Tool to draw across the sky. If the sky is clear
it should select it in one go. Use the Zoom
Tool on the horizon and check for any areas
which havent been selected. If there are any,
paint over these too. If the tool has selected
something it shouldnt have, hold down the
alt key and paint back over to deselect it.
3 PASTE IN THE NEW SKY Open your sky donor
image and use the Rectangular Marque
Tool (M) to select the sky before going to
Edit> Copy. Then, in your main image, go to
Edit>Paste Special>Paste Into. The sky will
be dropped within the boundaries of your
selection. You can then use the Move Tool
to reposition the sky, or press cmd + T (Mac)
or ctrl + T (Windows) to transform and scale,
ip or rotate the sky as needed.

4 ADD A GRADIENT The sky probably looks a

bit rough at the horizon, so lets x that.
Start by right-clicking on the Layer Mask
thumbnail for your sky in the Layers palette
and selecting Apply Layer Mask. Then,
click on the Add layer mask button to add
a fresh mask. Select the Gradient Tool and,
with a white-to-black gradient active, drag
downwards near your horizon to create a
transition between sky and land.
5 TIDYTHE HORIZON You can apply the
gradient over and over until you get
it right, and you can also adjust the mask
manually using the Brush Tool with White or
Black set as your Foreground Color. It might
be that your sky now looks just right, but for
my image, I need to adjust it further so that it
matches. The sky is too saturated, so I click the
Create new ll or adjustment layer button in
the Layers palette and select Hue/Saturation.
6 SELECTIVE ADJUSTMENTS In the Adjustment
window that opens, rst click on the
Clip to Layer button (shown) so that the
adjustment only affects the sky layer, then
make your adjustment as needed, judging by
eye. My sky also needed a bit of extra contrast
to match the scene, so I added a second
adjustment layer, this time selecting Curves,
and again clipped it to the sky layer before
adding contrast. All done!

52 Digital SLR Photography March 2017

 The skys noT The limiT
Thisquickandsimpletechniqueis
onewaytochangeyouroutlook!
want your shots critiqued by the
digital slr photography experts?
turn to page 59 to find out
how to submit images

Golden silence
aDam BURton

by Peter Henry

NikonD600withNikkorAF-D80-200mmf/2.8lens.
Exposures:1/15secatf/9(ISO200).
What we think: Peter's climb to the summit
of Latrigg in the Lake District has been
rewarded with a gorgeous sky and reflection
in Derwentwater below. Using a telephoto
lens has compressed perspective, creating a
layered effect and bringing the distant
Borrowdale valley into the composition. It's
a lovely tranquil image, but we can't help but
wonder what the scene looked like bathed
in light a few minutes later? Perhaps it didn't
materialise, but a touch of direct light would
have helped define the landscape better.
Regardless, lovely image Peter.
Why it works
Stunning elevated viewpoint
Focal length compresses perspective
Beautiful light and colour in sky

54 Digital slr Photography March 2017

landscape expert AdamBurton
Welldoneforgettingtoanelevated
locationfordawnonachillyday.
Topmarksforusingalongerlens
too;fromthisviewpointatelephoto
offerslotsofpotential.Compositionally,the
imageworkswell.Thetelephotohasallowed
Petertomaximisethereflections,andhelpsto
conveythemountains'magnificenceinaway
thatawide-anglesimplycouldn't.Theinclusion
ofthefrostyfieldsintheforegroundisanice
touchthatemphasisesthecold,butIdliketo
seeatightercroptoremovethedistracting
apartmentblocksalongthebottom.Thetrees
andmountainslookabitdark;Ithinktheimage
couldbenefitfromlighterprocessing.Itlooks
asthoughPeterhassetwhiteandblackpoints;
generallyagoodpracticebutinsomesituations
itisntnecessary. Afrostymorningisusually
accompaniedbypasteltones,andinsuch
situationsI'dleavetheblackpointasitistokeep
theimagelightandnaturaltothescene.
arayof light
by Ali Yamaner
CanonEOS5DMarkIIIwithCanonEF24-105mmf/4LISUSMlens. 1
Exposure:1/160secatf/4(ISO800).
What we think: A classic Vatican City
moment, beautifully captured with
considered composition! Any self-
respecting photographer who has visited St
Peter's Cathedral on a sunny day has sat and
2
waited for someone to pass through one of
the iconic beams of light. Ali has handled the
exposure well the dark interior can cause
overexposure of the crucial point in the
photo. The timing is spot on too. Our only
criticism would be that if the figure captured
in the light was someone in religious attire,
the image would be near-perfect!
Why it works
1) Good composition and angle 3
2) Tricky exposure has been handled well
3) Timing is spot-on
March 2017 Digital slr Photography 55

secret garden
by Arthur Kantemirov
CanonEOS7DwithCanonEF50mmf/1.4USMlens.
Exposure: 1/250sec at f/1.6 (ISO 100).
What we think: Arthur's portrait has been
thoughtfully captured and processed. The
model's pose is natural, and the setting works
well for the whimsical feel he's gone for.
We're not sure the central composition
works at this angle maybe if the foliage
filled the other side of the frame too, as per
the example on the right, it would be more
balanced. Also, the focusing is ever so slightly
off easily done at such a wide aperture.
three wIde Into druIds
by Paul Babbington
NikonD750withNikkorAF-S300mmf/2.8GVRlens.
Exposure: 1/200sec at f/3.2 (ISO 100).
What we think: There are few UK racetracks
with the dips and drops of Brands Hatch, and
this is a classic angle for this circuit. Paul's low
angle has captured the cars at bumper-
height, which adds drama and depth. His
timing is spot on too the three cars are
neck and neck going into the next corner!
Usually we'd suggest the jaunty angle of the
camera is a bit much, but it works here as the
track is so extreme anyway! Good job!
56 Digital slr Photography March 2017
1
edIted
Why it works
1) Natural pose and expression
2) Tastefully processed with good skin tones
3) Setting adds interest
Into the mornIng lIght
by Becca Fulcher
CanonEOS7DMarkIIwithTamronSP150-600mmf/5-6.3lens.
Exposure:1/400secatf/5.6(ISO800).
What we think: In terms of atmosphere,
Becca has captured a lovely wildlife image
the warm dawn light, the frost-coated
1 bracken, the attentive stag with just a
touch of moss hanging from his antlers
and his warm coat creating a fine steam in
the cold air. Perfect! Her composition is
2
good she has allowed space in the
frame for the stag to 'move into', although
the crop is a little close on the right-hand
side. The slight flare of light passing
3 through the tree on the left adds great
interest and depth too. The only thing
we'd advise watching out for is focusing
Why it works accuracy in backlit situations such as this
1) Angle of composition adds dynamism Becca has slightly forward-focused, so
2) Perfect timing with all cars equal the ferns in front of the stag are pin-sharp,
3) Low angle adds depth and the animal itself is ever so slightly soft.
 Wildlife expert BenHall
ben hall

Thisisabeautifulportraitofareddeer
stag.Theearlymorninglighthascasta
goldenglowovertheimage,and
showsjusthowmuchofadifference
shootingduringthegoldenhourcanmake,
especiallywhenthesubjectisbacklit.Themisthas
helpedtokeepcontrastdownandtheexposure
looksaccurate,withdetailinboththeshadows
andhighlights.Theoutoffocusbranchesinthe
topleftoftheframehelptogivetheimagesome
depthwithoutbeingdistracting,butIdofindmy
eyebeingslightlydrawntothebottomrightofthe
framewhereanobjectcutsacrossthepicture.
Beccamayhavebeenabletoeliminatethisby
movingpositionslightly.Thestagispositioned
wellintheframe,butIthinktheimagewouldhave
slightlymoreimpactifthedeerwaslooking
directlyintothelens.Aslightlylowershooting
anglewouldalsohavehelpedtoaddsomeextra
intimacy.Overall,thisisabeautifullyevocative
imagethatBeccashouldbereallyproudof.

March 2017 Digital slr Photography 57

 Submissions

DigitalSLRPhotographyneedsyou!
IFYOU WOULDYOU LIKE THE CHANCE TO SEEYOUR IMAGES IN DIGITAL SLR PHOTOGRAPHY,
OR TAKE PART IN ONE OF OUR READER ARTICLES, THEN NOW'SYOUR CHANCE TO GET INVOLVED!

HOW TO GET YOUR IMAGES TO US...

EMAIL: If you want to email
submissions, send them to:
submissions@dslrphotomag.co.uk
Please only email images at a maximum
of 1,000 pixels along the longest edge
(note: your email will be rejected if the
total size of attachments exceeds 8MB).
Tell us which article(s) youre submitting
to in the subject line and include your
name, address and daytime number.
FACEBOOK: Join us on Facebook at
www.facebook.com/digitalslrphoto.
Become a part of the community and post
your best shots to our wall. We regularly
monitor the page and will be in touch if
your work catches our eye!
FLICKR: Visit: www.ickr.com/
groups/digitalslrphoto to upload
your images to our Flickr group.
POST: Burn your high-res images as
JPEGs onto a CD/DVD, including a
mugshot, and produce a contact sheet
with location and technical details. Put it
all in an envelope with a covering letter,
including the submission form below and
post to: Digital SLR Photography,
PO BOX 1327, Stamford, Lincs PE2 2PT.
Enclose an SAE if youd like them returned.

Digital SLR Photography contact form Checklist

Tick a box and ll in your details if you would like to submit images or take part in Photo Workshop.
If submitting images by post,
remember to include your 'mugshot'
and contact details (name, address,
email and daytime number).
Please don't send us high-res
images by email: resize your shots to
1,000 pixels along the longest edge
and if we see something we like, we'll
request the high-res le from you!
Emails exceeding 8MB total size
might not arrive, so split your
Workshop Portfolio ExpertCritique General submission down into two or more
emails to ensure they get through.
Name: Address:
Please don't send us your entire
Postcode: portfolio as you may appreciate we

Phone: Email: receive a lot of submissions and

aren't able to look through hundreds
of images narrow the selection
down and pick your best shots only.
Fora full set ofpicture guidelines, orto ask anyquestions, please email enquiries@dslrphotomag.co.uk

March 2017 Digital SLR Photography 59

The Beginners Guide

STUDIOFLASH:
THE BASICS
INTHEFIRSTPARTOURBEGINNERSGUIDETOSTUDIOFLASH,WESHOW
YOUTHEBASICSOFUSINGSTUDIOHEADSANDHOWTAKINGCONTROL
ALLOWSYOUTOCAPTUREPROFESSIONAL-LOOKINGRESULTSWITHEASE
Words & images: JAMES ABBOTT
STUDIOHIRE

E
VERY PHOTOGRAPHERS AIM is to
capture the best light possible. Whether
youre a landscape, wildlife or portrait
photographer, our goals are essentially
the same. So wouldnt it be amazing if you
could take full control of light? Unfortunately
for landscape and wildlife photographers,
they are usually at the mercy of the elements.
Portrait and fashion photographers have
a huge advantage they can use a studio.
A photo studio, whether a small home
set-up or a professional rented studio, offers
complete control of absolutely everything,
from lighting to background and
environment. And, depending on the size of
the studio, you can create tightly-cropped
images, or pull back for more dramatic
full-length shots with lots of creative negative
space. For portrait photographers, the studio
is a haven of potential.
Learning how to use studioash is an
essential skill for portrait and fashion
photographers. Not only because it means
you can shoot at any time of the day or night
and in any weather conditions, but it also
expands your creative potential. There are
many lighting effects and styles that can be
achieved in the studio that are difficult to
produce outdoors, if not impossible.
One of the most important aspects of
studio lighting is that it provides you with a
blank canvas on which to paint your subject
with light. The word photography itself
loosely means light drawing, and thats
exactly what were going show you here.
Notowningstudiokitor
havingspaceathome
isntareasontonottry
yourhandatstudioash
photography.Hiringa
studioisanaffordableandpracticaloption,and
allowsyoutoshootusingarangeofstudiogearin
aspacedesignedsolelyforphotography.Studio6
inLetchworth,Hertfordshireisoneofthenewest
studiosintheUKandboastsanextensivearray
offacilitiesandequipment,aswellasplentyof
spaceinwhichtoprepareandshoot.Weusedit to
shoot all ofthe Beginners Guide to Studioash
and can thoroughlyrecommend it to readers of
all levelswanting to tryout studio photography.
With 2,000ft studio space, awhite cove,various
backdrops, changing areas, several Elinchrom
lights, alongwith an extensive range ofash
modiers, its the ideal place to shoot studio
portraits.We'll be using them again soon!
Formore details on the range facilities available
at Studio 6,visit:www.studio6-photo.com
The Beginners Guide
AN INTRODUCTION TO STUDIOFLASH
LEARNINGTHEBASICSOFUSINGSTUDIOFLASHWILLHELPYOULEARNTOLIGHTWITHEASEWHENSHOOTINGINTHESTUDIO
B
UYING YOUR FIRST studioash kit is
exciting because its a move that will
completely change the way you shoot
portraits, for the better. Weather and light
conditions will no longer be a problem
because youll be able to control everything.
LED lighting is growing in popularity, with
some photographers making the move to
continuous light sources. But while they
offer several advantages, these heads cant
produce the same intensity of light as ash,
and remain much more expensive.
With studioash its possible to nd options
at every price point ranging from a couple
of hundred, all the way up to a few thousand
pounds and everything between. Plus theres
a wide variety of lighting modiers available
to help you to control and shape light.
MAINTYPESOFSTUDIOFLASH
When it comes to buying photographic
kit there are always a few considerations,
and studioash is no exception. The most
common type of ash head is a self-
contained unit that plugs into the mains,
with all controls, slave cell and sometimes
cooling housed in a single unit, known as a
monoblock or monolight system. This type
is popular, but for photographers producing
a large number of ashes a separate power
pack and head solution is more common.
Professional photo studios often use a
pack and head ash system, which uses
a power pack that plugs into the mains to
deliver power to the ash heads. This means
that ash recycle times are quicker than with
a monoblock ash head, and power output
is often much higher. The downside is that
they're not as portable as the all-in-one type.
If the ability to take your studio to literally
any location is important then a battery-
powered solution may be what you need.
This type of ash works along the same lines
as a pack and head system, although the
difference is that the pack is a high capacity
battery. This type of ash is ultra-portable,
but ash power is often lower and recycle
times slower than the other two options.
CAMERASET-UP
1 SETMANUALMODE: Turn the mode dial onyour
camera to M formanual.This mode allowsyou to
set both the shutterspeed and aperture, and thesewill
remain on the chosen settings untilyou change them.
To get started set the ISO rating to 100 foroptimum
image qualityinyourshots.
62 Digital SLR Photography March 2017
ANATOMYOFASTUDIOFLASH HEAD
1) Poweroutput: On some ash heads
theres a digital readout forpoweroutput,
while on others poweris denoted on a dial.
2) Powercontrol: Forash headswith a
digital readout therewill be simple up and
down controlstosetpoweroutput. 1
3 9
3) Modellinglampon/off:Turnsthe 4
modellinglamponoroff,andsetsitspower 6
outputproportionaltotheashortomanual.
5 10
4)Modellinglamppower:Allowsyouto 2
manuallyadjustthepoweroutputofthe
modellinglightwhensettofree(manual). 8
5) Slave cell on/off: Ifyoure using several 7
ash heads the slave cell can be used to re
themwhen the triggered ash res.
6) Slave cell receptor: Youll nd awhite
dome on most ash heads, and this is simply
the eye cell receptorthat seesotherashes.
7) Sync socket: This iswhereyou plug in
a traditional sync cable orwireless trigger 1
to sync the ash toyourcamera.
8) Main on/off: This is the masteron/off
switch and everyash head has one.
9)Test button: Pressing this button res 15
the ash soyou can check itsworking,
orto discharge the ash cell.
10) Charge readybeep on/off: You can set
the ash head to beepwhen the ash has 13
recharged and is readyto be red again.
11) Modelling bulb: The modelling bulb 11
12
produces light that allowsyou to see how
the ash lightwill fall on the subject.
12) Flash tube: The ash tube is the bulb
that creates the ash light.These are
expensive to replace so take carewith them.
13)Accessorymount: Modierssuchas
softboxesandbeautydishesattachtothefront
ofashunitsusingtheaccessorymount.
14)Tilt handle: Whenattachedtoastand
ashheadscanbetiltedbackwardsand
14
forwards,andthishandlelockstheirposition.
15) Mount screw: Flash heads attach to
light standsvia a lockable bracket.
Thiswill keep them rmlyin positionwith
even heavymodiers attached.
2 SELECTSHUTTER SPEEDANDAPERTURE: Set the
shutterspeed to the ash sync speed.Thiswill be
around 1/160sec, 1/200sec or1/250sec checkyour
3 CONNECTTOTHE FLASH: Whenyou release the
shutteryou need the ash(es) to re at the same
time. Onewayto do this is using a sync cable that
camera's manual. Next set the aperture to f/11. For plugs into a PC sync socket onyourcamera.Abetter
most studiowork f/8 orf/11 is favoured foroptimum wayofring studioash is to use awireless triggeron
lens sharpness. Set theWB to Flash ifshooting inJPEG. the camera,with a receiveron one ofthe ashes.
 The Beginners Guide

essentialtechnique: howto meter for perfectstudioflash exposures

w
HeN SHOOTINg OUTdOORSwith just a
a

camera, metering is a fairlystraightforward

affair. But in the studioyoureworkingwith
light that hasn'tyet been emitted bythe light source, and
youreworkingwith manual camera settings, so howdo
you achieve a correct exposure?Working out exposure in
the studio is actuallyeven easierthanwhen shooting
undernatural light because light remains the same for
everyshot, unlessyou change poweroutput orthe
position ofone ormore ofthe flash heads.There are two
ways to assess exposure.The first is to take test shots and
use the LCd screen to judge exposure, and thisworks
well. However, ifyouwant to knowthatyoure achieving
perfect exposures a handheld light meteris useful.
1 takeatestshot: Setyourcamera to manual mode
with the shutterat the flash sync speed. Ifyoure
unsure set 1/125sec orcheck the camera manual. Next
2 assessandadjust: Use the previewimage and, if
you're confident enough, the histogram too, to judge
whetherits too light ortoo dark. Ifits too dark open the
a) easymethod: Find a suitable exposurewith trial and set aperture at f/11 and ISO to 100.This givesyou a good aperture to f/8, orincrease flash power, and take another
errorusing the LCd monitor. B)accurate method: Use start exposure.Take a shot ofthe model and look at the test shot. Ifits too bright reduce flash powerratherthan
a handheld meter,which indicates the ideal exposure. image on-screen to see howthis test exposure looks. stopping down. Repeat until the exposure looks good.
B

1 selectthe desired settings: Aftermanually

dialling the desired settings intoyourcamera, set the
ISO rating on the light meterto match that ofyour
camera we'd suggest ISO 100. Next select a shutter
speed close to the sync speed ofyourcamera.This
doesnt need to be exactwhenyou're shooting indoors.
2 syncthe meter: Ifusing awireless flashmeterpair
itwith the flash head. Ifnot, plug the sync lead into
the flash at one end and the flashmeterat the other. Hold
the meterin front ofyourmodels face facing the
directionyoull be shooting from and press the fire
button to triggerthe studio head(s) to fire.
3 change exposure: Arecommended aperture
settingwill showon the meter's screen.You can either
set this aperture on the camera oradjust the flash power
output to allowyou to useyourdesired settings.The
latteroption is usuallypreferable becauseyou remain in
control.Take anothertest shot to confirm it's OK.

March 2017 Digital slr Photography 63

The Beginners Guide

STUDIOFLASH
MODIFIERS
TAKEAGREATERAMOUNTOF
CONTROLOVERHOWLIGHT
BEHAVESBYUSINGMODIFIERS

W
HEN CONSIDERING LIGHT it can
help to think of it being like water.
Whatever you pour that water
through will inuence the way it comes out
of the other end. A funnel concentrates water
into a tight stream, and thats exactly what a
snoot does for light. Light modiers are
essential for controlling and shaping light,
and theres a variety of options available.
Light is much more complex than water, so
while thinking of it being like water to be able
to visualise the way modiers affect it, you
also have to consider how materials placed in
front of it will make it behave. Material softens
light, while honeycomb grids narrow and
direct it. To fast track you straight to in-depth WHITE
WHITEREFLECTIVEBROLLY:
REFLECTIVE BROLLY: SILVERREFLECTIVEBROLLY:
SILVER REFLECTIVE BROLLY:
knowledge of how modiers affect light Producing a wide, soft This is essentially the
were going to show you exactly how spread of light, white same as a white brolly,
different modiers control and shape light. reective brollys are although the very fact
At the consumer to professional end of small, lightweight and that the reective surface
studioash there are two main mounts for ultra-portable compared is silver rather than white
accessories modiers Elinchrom and to large softboxes. Theyre means light will be slightly
Bowens S. The accessory mount isnt a key perfect for lighting larger scenes in the harder and more concentrated. This means
consideration when buying a lighting kit, but studio and outdoors, but for more controlled a silver brolly will be more commonly used
once you have chosen one be sure that the light they fall behind softboxes that are as a ll or rim light where the highlight needs
modiers you buy will t your ash heads. available in a variety of shapes and sizes. to stand out from the key light.

SOFTBOX: Softboxes STRIPLIGHT: A striplight BEAUTYDISH:

are one of the most
popular light modiers
available, and for good
reason. They produce
soft even light, and since
theyre available in a variety
of shapes and sizes, its possible to achieve
a number of lighting effects and styles.
A standard square or octagonal softbox
produces a fairly wide spread of light.
is a type of softbox
thats long and thin to
produce light that, you
guessed it, is spread over
a long and narrow area.
This makes them ideal for rim
lighting in portraits. Where a regular square
softbox would spread light too much, the
striplight keeps it concentrated in the right
area the very edges of the model.
As a staple in fashion
photography, beauty
dishes are similar to
softboxes in the way
they direct light. But light
is slightly harder with more
dened shadows and less wrap-around
light. They're available in white or silver, with
the white option producing slightly softer
light than their silver counterparts.

64 Digital SLR Photography March 2017


YOUR LIGHTS BEST FRIENDS
Inthestudiolightmodiersarethesecret
behindachievinganyandalllighting
stylesandeffectsusedbyprofessionals.
SPILLKILL/ REFLECTOR:
To stop light from spilling
out in all directions
when using a bare ash
or umbrella, a spill kill /
reector dish is essential.
These are usually included
in studio lighting kits, and force light to
move forwards rather than spilling out at
the sides. They're available in a variety of
shapes and sizes for different purposes.
SNOOT: For lighting
small parts of a larger
subject a snoot is the
best modier by far.
This cone-shaped
modier forces light into a
small circle. To further control
the light, some snoots also come with a
detachable honeycomb grid. If using the
modelling lights take care when removing
the snoot as they become extremely hot.
The Beginners Guide
HONEYCOMB GRID:
Honeycomb grids are
available to t onto spill
kills, softboxes and also
beauty dishes. The grid
focuses and directs light
so that it doesnt wrap-
around the subject as much as it would
without. This helps to create a hard
graduation from the most lit area of the
image to the shadow area.
March 2017 Digital SLR Photography 65
The Beginners Guide

single light

1
set-ups
Buildyourstudioconfidence
andknowledgewithaselection
ofone-lighttechniquesthat
providepowerfulresults

t
he adage don't run before you can
walk holds strong in many areas of life,
and photography is no exception.
Keeping things simple will pay dividends
because you have fewer variables to contend
with. When it comes to lighting starting with
one light is perfect for beginners because
you can focus all of your attention on it.
as your experience grows youll inevitably
want to introduce more lights to achieve a
range of effects. But its worth remembering
that you should always start with one light
and build from there. Introduce a simple
reflector into the mix and the possibilities
2

increase exponentially.
In the examples on the right we show you
how the position, angle and height of a light
source can drastically change the light. With
just a small softbox, and the occasional
reflector, its amazing how much can be
achieved with a single studioflash. For
camera settings head back to page 62.

1 Abovewith reflector: Straight-on with the

light above the model and facing down at
a 45 angle is a classic set-up. Ideally, youll
see a small and light triangular shadow
appear below the models nose. The shadow
under the chin shouldn't be strong with this
lighting, so you can position a reflector on
the models lap to fill the shadows.

2 side-lighting: This is a popular lighting

style for black & white male portraits with
a dark background because half of the face
appears to be emerging from the darkness.
as you move the light away from the model
towards where youre standing, more light
will be able to reach the other side of the
models face to illuminate it.

3
3

litfrom below: Used independently of a

second light, lighting from below can
create unflattering hammer horror movie
style lighting. To get the best results ask the
model to look down towards the light. and
for an even better effect, use this technique
in conjunction with a second studioflash.

4 side-litwith reflector: a reflector is your

best friend in the studio because it can
equate to another light source. With the
studioflash positioned 45 to the side of
the model and using a reflector to fill the
shadows, you get a well-lit portrait with
shape and form across the models face. an
assistant is useful for holding the reflector.

5 rembrAndtlighting: 45 to the side and lit

from above the aim of this lighting style
is to have one side of the face well-lit with a
triangle of light below the eye opposite the
light source. Its the simplest way to create
pleasing results, and can be achieved with a
single light or a light and a reflector.

66 Digital slr Photography March 2017

 The Beginners Guide
4
5

March 2017 Digital slr Photography 67

The Beginners Guide

two light

1
set-ups
TakeeveryThingyoulearned
wiThonelighTasTepfurTherby
inTroducingasecondheadfor
evenmorecreaTiveresulTs

w
ith single light techniques
under your belt, its time to move on
to slightly more advanced effects
requiring two lights. What well be doing
here is introducing a second flash head to
do the shadow-filling work of a reflector in
single light set-ups, and to also help add
shape and form by introducing highlights.
its with two lights where sculpting with light
begins to take place. When working with
two or more lights it pays to set them up one
at a time, getting the position and exposure
correct before setting up the second. this
makes it quicker and easier to make
2

adjustments as you go, rather than turning

both lights on and not knowing which light
needs to be adjusted. some photographers
even set up and meter for the first light,
switch it off to do the same for the second,
before turning both on to check them and
make any final adjustments.

1 Cross lighting: this lighting is achieved by

positioning a light in front of the model at
45 to the side, and one behind at the same
angle but diagonally opposite. the result is a
dramatically-lit model using a technique
that can be set up in a few minutes using
brollys softboxes, or even spill kills for harder
lighting and ultimately more edgy results.

2 Above sideAnd rim: this is a variation of

cross lighting but rather than having both
lights straight, the main light is raised and
aimed down slightly to allow more light to
reach the other side of the models face. the
rear light catches the hair and shoulder to
add contrast and helps separate the model
from the background.

3 sCissor lighting: With lights either side of

3

the model, at an equal distance and

identical angles, the result is clean and even
with no shadows. You can also reduce the
power of one of the lights to help to create
more definition reduce the power of one
of the lights by half or a full stop.

4 ClAmshelllighting: For even lighting with

few shadows this is a great way to take
the single light and reflector technique a
step further. One light is positioned in front
and above the model aiming down at a 45
angle. the second light mirrors this but from
below to eliminate all shadows. Use equal
power or vary for different effects.

5 strAightonAnd hAir: introducing a light

to catch the outline of the models hair is
a classic technique that remains as popular
as ever, and can be applied with any main
light set-up, whether straight on or at an
angle. if using a softbox for a hair light, aim it
at the back centre of the models head and
adjust as necessary to refine the result.

68 Digital slr Photography March 2017

 The Beginners Guide
4
5

March 2017 Digital slr Photography 69

 The PhotoWorkshop

PIERPRESSURE
LIKECANDYFLOSSANDKISSMEQUICKHATS,PIERSAREAQUINTESSENTIALPARTOFTHEBRITISHSEASIDE.THEYREALSO
AFANTASTICPHOTOGRAPHICSUBJECT,OFFERINGENDLESSCREATIVEPOTENTIALATANYTIMEOFDAYORYEAR.TO
PROVEIT,WESENTREADERRICHARDNEWMANOFFTOTHESUSSEXCOASTWITHTHECHALLENGEOFPRODUCINGFOUR
GREATIMAGESOFBRIGHTONPIER.PROPHOTOGRAPHERLEEFROSTJOINEDHIM.HERESWHATHAPPENED

OUREXPERT: LeeFrost OURREADER: RichardNewman

LeeisoneoftheUKsbestknown
landscapeandtravelphotographers
aswellastheauthorofalmost20
booksandhundredsofmagazine
articles.Leeleadsworkshopsand
toursallovertheworld.www.leefrost.co.uk
Leeskit:CanonEOS5Sand5DMkIII,CanonEF
16-35mmf/4LISUSM,EF24-70mmf/4LISUSM
andEF70-300mmf/4-5.6LISUSM,LeeFilters
systemwithpolariser,NDandNDgrads,Gitzo
carbon-bretripodwithReallyRightStuffball
head,F-StopLokabackpack.
RichardisadirectorofaleadingUK
CivilEngineeringConsultancy.His
interestinphotographydeveloped
moreseriouslyaboutveyearsago
andhespendsmuchofhisfreetime
pursuinghispassionforlandscapephotography.
Richardskit:NikonD750,TamronSP24-70mm
f/2.8,NikonAF-S70-200mmf/4GED,Nikon
AF-S16-35mmf/4GED,Manfrotto055XPRO
carbon-bretripodwithManfrottoXPRO
magnesiumballheadandLoweproFlipside
500AWbackpack.
P
IERS PROVIDE A walk on the sea
without the disadvantage of being
seasick and are havens of fresh air and
freedom we can ill afford to lose, said
the late great poet Sir John Betjeman. With
that in mind, Betjeman founded the National
Piers Society in 1979 to protect a vital but
disappearing part of our coastal heritage. Its
still going strong, as are most of the 59 piers
that still remain, dotted around the coast of
England, Scotland and Wales.
The great thing about seaside piers is
they're so full of character. In the summer
they're thriving subcultures, packed with
holidaymakers soaking up the sun, spending
their hard-earned cash and generally having
fun. Big wheels spin gracefully against the
deep blue sky, amusement arcades buzz
with activity, kids lick away at monstrous ice
creams, the bright, glossy paintwork glistens
in the sun while ags utter in the breeze to
create a sense of joy, warmth and happiness.
By night the bass thud from the dance hall
shakes the pier's very foundations, while
young couples get intimate and carve love
hearts on benches worn smooth by
overweight backsides. Colourful man-made
illuminations stretch from end to end,
reecting in the shiny boardwalks and
creating shimmering reections on the sea.
Then winter comes and the mood of the
place is transformed. Choppy seas snap at
pier supports like a pack of angry dogs. The
once-busy walkways lie quiet, frequented
by the odd solitary dog walker or couple
wrapped up in their woolies out for a breath
of salty sea air. The wind whistles and groans
as it snakes through broken windows leaving
deck chairs apping furiously in its wake, as
dark clouds pass overhead.
No matter what season of the year and no
matter what the weather's doing, the good
old British pier is packed with potential. And
making the most of it couldn't be easier. Many
subjects demand planning or prior
knowledge, but not this one. Whether you're
on a ying visit to the seaside or there for the
duration, all you have to do is spend an hour
or two wandering and youre guaranteed to
come away with some great images.
To show you what can be achieved, we sent
reader Richard Newman off to Brighton
home to one of Englands most popular piers
(and the derelict West Pier that was destroyed
in 1985). His challenge was to come up with
four inspiring images before nightfall. Lee
Frost joined him to offer help and advice.
The PhotoWorkshop

CHALLENGE1:COLOUR 2 1

When you plan a shoot like this in winter, its

anyones guess what the weather might be
doing on the day blowing a gale, pouring
with rain, or snowing! Fortunately for
Richard, none of the above applied because
on arrival in Brighton, he was greeted with
a cloudless blue sky and bright winter
sunshine it could have been summer!
Had we been shooting landscapes, such
conditions would have been met with a
deep sigh as theyre far from dramatic or
atmospheric. However, for a subject like
Brighton Pier, which is bold and architectural,
sunny weather is actually a bonus, and
changes in the direction and quality of light
throughout the day can be put to good use. 3
I purposely avoided telling Richard
what his challenges were until we met on
Brighton seafront on the day of the shoot.
I didnt want to tempt fate with the weather
and put ideas in Richards head that he
might have to change at short notice if
conditions werent as expected. Checking
the weather forecast the night before, it
became quite clear that wed be enjoying
clear, dry and sunny conditions, so I decided CHALLENGE1Pro verdict
that wed kick the day off with Richard
producing an image that exploited colour. Whenyoureunderpressuretoproducea
Towards the end of Brighton Pier there strongimageinashortspaceoftime,itseasyto
are fairground rides so Richard immediately getintoapanicespeciallywhentheres
started heading along the boardwalk. anotherphotographerbreathingdownyour
Access was restricted by maintenance work neck.ButRichardremainedascoolasa
taking place in certain areas, but Richard 1)Richardhitsthedecktocapturethescenefromalowangle.
2)Adjustingthepolarisertodeepentheblueskyandboost
cucumber,scoutingthelocationforasuitable
was able to wander around most of the subjectthatwouldmeetthebriefthencarefully
coloursaturation.3)Richardadjustshisangleandcarefully
fairground rides, checking them out from composestheshotusinghisDSLRsLiveViewfacility. andconfidentlyproducedtheimage.Itwas
different angles against the sky. interestingtoseeitevolveandIthinktheend
After a few minutes of exploration, in his backpack and seconds later a polariser resultisareallyvibrant,eye-catchingimagethat
Richard stopped by a fantastic carousel and was screwed onto his lens. Iwouldhavebeenhappytotakemyself.
Helter Skelter and put down his tripod. Both The first couple of shots Richard took
fairground rides were packed with colour lacked impact. There was too much
and also bathed in sunlight, which made space between the two fairground rides, with quirky camera angles so the rides
them look even better. I suggested trying to which resulted in the central area of the would be leaning dramatically. This is a
juxtapose their bold shapes against the blue composition being empty just sky. This handy trick to employ when you want to
sky by shooting from low down with a wide- was partly because Richard wanted to make a composition more dynamic and
angle lens, so Richard locked a 24-70mm include the distant tower of Brightons latest abstract the final image becomes more
zoom onto his Nikon DSLR and got to work. tourist attraction, The i360, but it was so about shapes and colour rather than the
The angle hed chosen meant that the sun far away that it made no contribution to subject matter it includes. Richard took
was off to one side of the camera perfect the shot. I suggested that Richard change this idea on board immediately and within
to get a good effect from a polarising filter. position slightly so the two fairground rides minutes had bagged a fantastic shot that
Realising this, Richard had a quick rummage were closer together, and also experiment captured all the fun of the fair!

Polariserpower
Whenthesunsshining,apolarisingfiltercanbea
greatallyasitnotonlydeepensbluesky,butalso
cutsthroughglareonnon-metallicsurfacesso
coloursappeardeeperandcrisper,while
eliminatingreflectionsinwater,glass,metaland
othersurfaces.Togetthebestresultsfroma
polariser,thesunneedstoberoughlyat90tothe
lensaxis(justkeepittoonesideofthecamera),
whiletoeliminatereflectionstheanglebetween
thereflectivesurfaceandlensaxisshouldbe
around 30.Rotatingthepolariserslowlywhile
lookingthroughthecamerasviewfinderoratthe
LiveViewimagewillallowyoutovaryandgaugethe
effect.Whenyoulikewhatyousee,stoprotating
andshoot.Polariserslosetwostopsoflight,sobe
carefulwhenshootinghandheldastheshutter
speedcanslowdown,resultingincamerashake. NOpOLARisER WitHpOLARisER

72 Digital slr Photography March 2017

 LEAN ON ME
Thelowviewpointandquirkycamera
anglecreateadynamiccomposition,
whilethecoloursreallypopagainst
thatpolarisedsky. Agreatfirstshot.
Exposure:1/60secatf/11(ISO100)
The PhotoWorkshop
2 4
2 3
CHALLENGE2:HDR
One downside of bright, sunny weather is
that you can easily end up producing very
similar shots. But the whole point of this
Photo Workshop is to show versatility and
come up with different photographs, so with
that in mind I challenged Richard to produce
an HDR image about as far removed from
his first shot as you could get!
Piers are a popular subject for HDR,
especially when theyre shot from
underneath, as contrast is usually strong
and its near impossible to capture a full
range of detail in a single frame. Brighton
Pier was no exception. The sun was pretty
much over the pier when we wandered
under it, which meant that the pier itself
was effectively casting its own shadow on
the sea beneath, making it dark and murky.
Beyond the pier, however, light levels were
extremely high and, to compound matters,
the sun was shining on the sea to the right of
the pier, creating shimmering highlights.
It turned out Richard was no stranger
to HDR, so he knew the score. To create a
successful composite you need to shoot
a set of images of the same scene, each at
a different exposure, so the darkest frame
records detail in the highlights (though in
this case we decided to ignore the sunlight
on the sea as that was only ever going to
come out white) and the lightest frame
records detail in the darker shadows.
How many frames you need to shoot
depends on the contrast in the scene. In
this case, Richard took some test shots
74 Digital slr Photography March 2017
1)Richardsetsuphiscameraunderthepier.2)Checkingthe
cameraisreadytostartshooting.3)Bracketingexposuresto
producetheHDRsequence.4)ItstemptingtogoOTTwhen
producingHDRimagesbutyoudonthaveto.
and established that hed need to shoot
a sequence of seven frames from EV-3 to
EV+3 stops in full stop increments.
The best way to produce the exposure
sequence is by setting your DSLR to
aperture-priority and then either using
Auto Exposure Bracketing (AEB) set to the
required parameters, or manually adjusting
the exposure for each frame using the
exposure compensation facility, starting
at the darkest or lightest exposure. Its
important to use aperture-priority mode
because that way, the aperture you set
remains unchanged so depth-of-field is
the same for each shot. If you use shutter-
priority mode, the camera will keep the
shutter speed constant and change the
aperture (f/number) for each frame to
change the exposure. This can cause
problems with alignment if the images as
depth-of-field will vary with each frame.
Its also a good idea to set focus to
manual rather than using AF, just in case
the lens has trouble focusing. Richard
discovered this to his peril when he shot
the first exposure sequence, as the darker
frames were out of focus. Had he not
realised, they would have been impossible
to merge. Focusing the lens manually
prevents this. Finally, it goes without saying
that the camera should be on a tripod so
that theres no camera movement between
HDRsoftware
Intheearlydays,HDR(HighDynamicRange)
hadareputationforproducinghorrible,over
thetopimagesthatlookedtotallyunrealistic
andreliedontechniquefarmorethancontent.
Fortunately,HDRsoftwarehascomeonalong
wayinthelastfewyearsandgivesyoutheoption
toproducefarmoresubtleeffectsaswellas
wackyonesifyouwantto.HDREfexPro2is
especiallygood,andcanbedownloadedfor
freealongwiththerestoftheGoogleNik
Collection(www.google.com/nikcollection/).
Allyoudoisopentheapplication,selectthe
imagesyouwanttocombinethenletitdoits
stuff.Withinaminuteortwoyoullhaveadefault
HDRimage,plusacoupleofdozenother
smallerimagesontheleftsideofthescreenthat
havebeencreatedusingdifferentHDRpresets.
Justchoosetheoneyoupreferthentweakit
usingthecontrolsontherightsideofthescreen.
Easy!PhotomatixPro5isanothergoodoption
andcosts72forafulldownloadthoughyou
cantrybeforeyoubuy(www.hdrsoft.com/
order.php).AnddontforgettheMergetoHDR
optioninthemorerecentversionsofAdobe
CameraRaw(ACR),theRawprocessorfor
PhotoshopandLightroom,orMergetoHDR
ProundertheFile>Automatemenuin
Photoshop.Bothworkwelltoo.
CHALLENGE2Pro verdict
Insunnyweather,middaylightcanbebland.
Richardcompletedhisfirstchallengebefore
1:00pm,whichmeanttherewouldbeseveral
hoursbeforethequalityoflightstartedto
improve.Ratherthankickourheels,Isetthis
challengeasIknewit'dbepossibletocreatean
interestingimageunderthepier.Richardhad
oneortwoteethingtroublesbuttheywere
soonovercome.Hesdoneagreatjob,
revealingfantasticdetailunderthepierwhile
retainingasenseofrealismitdoesntlook
overdone.Thewidecompositionisstrongtoo.
frames that would make alignment difficult.
Having overcome those initial teething
troubles, Richard bagged a perfect set
of images, using his 16-35mm zoom at
16mm, so he could include lots of the piers
boardwalk as well as the criss-crossing
pattern of legs and struts supporting the
pier and the waves sloshing beneath it.
All that remained was for him to combine
the images at home to create the final
HDR photograph, which he did using the
excellent HDR Efex Pro 2, part of the free Nik
Collection by Google (see panel, above).
With challenge two complete it was time
for a well-earned lunch break.
 UNDER THEBOARDWALK
Wow,justlookatthedetailandcolouron
theundersideofthepier!Thisisagreat
exampleofwhereHDRworksbrilliantly.
ExposureVariousspeedsatf/13(ISO100)
The PhotoWorkshop

challenge3:SUnSeT 2
1

After a well-deserved lunch break to warm

up and fuel up, we headed back along
Brighton seafront to the pier to ready
ourselves for sunset due to happen at a
very respectable 4:30pm! With almost an
hour to go there was no mad panic, but I
personally like to be on location with plenty
of time to spare instead of rushing around
like a headless chicken. Not only does
rushing reduce your risk of taking a great
shot, but it also removes the option to scout
a location for different viewpoints, give your
shots some thought, set up your gear in a
3
relaxed manner and also be ready to take
advantage if anything interesting happens
before the actual event youre there for.
During the last hour before sunset, for
example, the quality of light can be amazing
its not called the golden hour for nothing!
In our case, things started to get
interesting once the sun dropped low
enough in the sky that it was visible
between the pier legs and sent a golden
shimmer of light across the sea towards us.
Initially the sun was very bright and caused
flare, but after a few minutes it dropped into
a slight winter haze, which took a lot of the
sting out of it so that it stopped flaring and 1)Richardsetsuphiscameraandtripodasthesunstartstosink
burning out. Richard took advantage of this towardsthehorizon.2)RichardalignsanNDgradinhisLee challenge3Pro verdict
Filterssystem.3)ThesceneasshowninLiveViewontheback
window of opportunity. ofRichardsNikonD750,withtheelectroniclevelactivated.
On checking his initial images, I pointed Iknewfrompreviousvisitsthatthesunwould
out that the sky looked overexposed and the You can choose to take a meter reading setinanidealpositioninrelationtoBrighton
sea was a little dark. The reason was simple from the foreground, setting it on your Pier,soitwaswellworthstayingonuntil
Richard wasnt using a Neutral Density camera in manual mode, then position the sundown.Richarddefinitelymadethebestof
theconditionshewaspresentedwithto
(ND) grad. In situations like this an ND grad is ND grad and take the shot. However, an
produceahighlyatmosphericshot.I
almost essential as it reduces the contrast easier option is to set your camera to
particularlylikehisuseofasolidNeutralDensity
between the sky and foreground so you can aperture-priority mode, position the grad in filtertoincreasetheexposuresohecould
capture a more balanced image. Richard the holder and let the camera work out the smoothouttheseathesmoothseagoeswell
had a set of excellent Lee Filters ND grads in exposure more often than not youll get a withthesmoothskyandgivestheimpression
his backpack, so he grabbed them, slotted a perfectly exposed shot, providing you've thatthepierisalmostfloating.
0.6ND grad into his filter holder, carefully chosen the right filtration for the scene
aligned it using LiveView and re-shot the (see panel on the right).
scene. It made a big difference to the shot Anyway, back to Brighton. Once the sun Airport, so we also ended up with numerous
(see panel, opposite) and stayed in place for gets close to the horizon, it doesnt take long chemtrails in the sky as well, which spoiled it
the rest of the sunset shoot. before it sets. It almost seems to speed up! somewhat. Not that it mattered because
A lot of photographers assume that you Richard wasted no time and continued Richard had already bagged some great
need to change the exposure when youre shooting, changing camera position a shots and as the light levels started to drop,
using ND grads, but you dont. The whole couple of times. A few streaky clouds drifted a beautiful warm glow developed behind
point of the grad is to effectively darken the in and there was a chance they would be the pier, adding atmosphere to the scene.
sky so that when you correctly expose the up-lit by the setting sun. They did turn pink Richard had completed his third
foreground in our case the beach and sea for a few minutes, but Brighton is on the challenge. Normally that marks the end of
the sky also comes out correctly exposed. flight path for planes landing at Gatwick the workshop, but we werent done just yet!

76 Digital slr Photography March 2017

 golden SHot
Forhisfinalimage,Richarduseda
four-stopNDfiltertoslowtheexposure
downandblurthelappingwaves.
Exposure:25secsatf/22(ISO100)

NDgradfilters nofilter 0.3ndgrad

Whenyoureshootingintothesunatsunriseand
sunset,thecontrastbetweentheskyandlandscapeis
oftenhigh.Thisusuallymeansthatifyoutakeashot
thatcorrectlyexposesthesky,thelandscapewillbe
underexposedandifyouexposeforthelandscape,
theskywillbeoverexposed.Thisproblemisntquite
sobadwhenyoureshootingbywaterbecausethe
wateritselfreflectslightfromthesky,butyoustill
needtobeawareofitandaddressit.Thesolutionisto
useanND(NeutralDensity)gradfiltertobalancethe
skyandforeground.Theytendtocomeindensitiesof
0.6ndgrad 0.9ndgrad
0.3,0.6and0.9,whichreducethebrightnessofthe
skybyone,twoandthreestopsrespectively.The
imageshereshowtheeffecteachNDgradhadonthe
Brightonpiersceneatsunset.Asyoucansee,withno
gradfiltertheskyistoolightandthebeachtoodark.
Witha0.3NDgradtheskylooksbetterbutthebeachis
stilltoodark.Witha0.6NDgradtheskyandbeachare
wellexposedandbalancedsothiswasthecorrect
densityofNDgrad.Witha0.9NDgrad,thebeachis
wellexposedbuttheskyistoodarkwhichmeans
theNDgradwastoodenseforthisparticularscene.

March 2017 Digital slr Photography 77

The PhotoWorkshop

CHALLENGE4:NIGHT 2

We could have happily packed up after the

sun went down in Brighton. But as any
photographer worth his salt knows, once
the sun sets and daylight levels fade, urban
scenes are transformed by colourful
man-made illumination and youd be a fool
to turn your back on them. Piers are no
exception. In fact, in some ways, piers look
even better at night than they do during the
day, thanks to all those dazzling lights
strung from one end to the other, so I threw
one last challenge at Richard to take a
great night shot of Brighton Pier. Was he up
for that challenge? What do you think?
The best time to take night shots isnt
really at night, but during the crossover
period between day and night when
man-made lighting has an obvious effect
on a scene, but theres still enough daylight
around to help fill in the shadows and
theres still colour in the sky to provide an
attractive, contrasting backdrop to the
warm glow of the artificial illumination. If you
wait until the sky fades to black, its too late
because the sky looks bland and contrast
goes through the roof.
Whether the day has been sunny or cloudy,
the sky is usually a deep blue colour during
this crossover period. Consequently, its
often referred to as the blue hour, although
dont be misled by the title because you rarely
get a whole hour to shoot before the colour
in the sky fades to black often its more like
the blue half hour, especially during winter,
when darkness seems to creep up very
quickly. The direction youre facing makes a
difference shoot towards the western sky,
where the sun went down, and the sky stays
1)Richardgetsset-upinthefadingsunset.Lightlevelsdrop
quicklysoRichardmakesthemostofeveryminute.2)Aquick
checktoseehowtheshotsarelooking.3)Thecolours
intensifiedaftersunset.4)Lightlevelswerejustaboutperfect
whenRichardtookthisshot.5)Oncedaylightlevelsdroptoo
low,contrastincreasesanditstimetocallitanight.
brighter for longer than if you shoot towards
the eastern sky. Also, cloudy skies darken
faster than clear skies, regardless of the
direction you shoot, because theyre
naturally darker than clear sky.
As Richard had been busy shooting
sunset, he was already on location and set
up to resume shooting as soon as the
balance between man-made and artificial
lighting was right. Initially he started out
shooting at the wide end of his 24-70mm
before zooming towards the 70mm end
and capturing sections of the pier. Happy
with the results, Richard then decided to
wander a little further along the beach and
look for a different angle. It was while doing
this that we stumbled upon an old,
barnacle-encrusted and sea-worn
concrete jetty that was being lapped by
waves. The tide was going out and I
3
suggested that the jetty would make an
interesting foreground feature, as it was wet
and reflecting some light from the sky
above and the nearby road.
Richard agreed and promptly got himself
set up. Although the sunset itself didnt
exactly set the world on fire, within 20
minutes the colours in the sky had intensified
significantly, graduating from deep blue to
rich orange at the horizon. Richard zoomed
back to 24mm, moved in close to the
concrete jetty and composed the scene. As
the sky and foreground were well balanced
by this stage, an ND grad was no longer
needed so it was a straightforward shot

78 Digital slr Photography March 2017


4 5
camera in aperture-priority, lens set to f/11
to provide sufficient depth-of-field to record
the whole scene in sharp focus, with the
shutter fired via remote release and the
exposure time determined by the camera.
As expected, it produced the perfect result.
By 5:30pm, just an hour after sunset, it
was game over. The sky was heading
toward black and contrast was too high to
handle. Richard had a very productive day
though, completing three different
challenges and producing a great image for
each. All that remained was to battle
through the Brighton traffic at rush hour to
get home and process them!
challenge4Pro verdict
RichardsenthusiasmdidntfalterwhenI angledcompositionstheyseemedtosuitthe
suggestedanextrachallenge.Infact,Ialmost
hadtodraghimoffBrightonBeach!Hisfinal
imageisfantastic.Thecoloursaresuperb,the
exposurespotonandthebalancebetween
naturalandman-madelightisperfect.Ialso
likethecompositionthatgnarledslabof
concreteechoestheshapeofthepier,adding
scaleandbalanceaswellasforeground
interest.Impleasedwedecidedtostayon
becauseforme,thisisthebestshotoftheday.
at Days enD
Agreatwaytoendtheday!Naturaland
man-madelightinginperfectharmony,
vibrantcolour,astrongcomposition
whatmorecouldyouaskfor?
Exposure:30secondsatf/11(ISO100)
workshopsummary:
Richard Newman
Ilookedforwardtothisworkshop
havingspenttendayswithLeein
Icelandlastautumn.Ifoundhis
enthusiasmandinstructionagreat
inspiration.Closertohome,
BrightonPierseemedmoreofachallenge.
Luckilytheforecastforthedaywasgood,andit
provedsowithplentyofbrightsunshine.The
colourfulpieragainstabluesky,enhancedwith
apolarisingfiltergaveplentyofopportunity.
Thewackyfairgroundattractionsfavoured
quirkiness.IfoundattemptsatHDRtobringout
thedetailintherustystructureunderthepier
morechallenging,giventhehugerangein
contrast.Theconditionssuggestedapromising
sunset,butthefullrichnessofthecoloursdidnt
appearuntilthesunhaddroppedbelowthe
horizon.Still,theever-changinglightallowed
metocaptureshimmeringsunlightacrossthe
seaandpebbles,andthenfinallytherichglow
ofthelightsonthepierandtheskybeyond.
March 2017 Digital slr Photography 79
Master... Words: daniel lezano / Image: jeremy walker

Coastlines
in the UK, We're blessed With having the coastWithin atWo to three hoUr drive at most, no matter Where
We live. this means that Whatever the season or Weather, the potential to captUre great images is never
too far aWay. to get yoU started, We offer yoU a dozen inspirational ideas on hoW to captUre the coast
Coastlines

ProtipwithNikon
Jeremy Walker
Landscape expert

1 Lighthouses By their very nature,

lighthouses tend to be in dramatic or
interesting locations. Lets face it, they
are there to warn and protect shipping from
hazardous waters or dangerous coastlines.
So find a lighthouse and hopefully you
already have an inspiring location to shoot.
Lighthouses symbolise the ocean, so
include plenty of sea, rocks or coast in your
image; it will help tell the story and keep the
lighthouse in context. Dont be afraid to
leave plenty of space around the structure;
they can be solitary and remote and their
scale is effective in a big landscape.
Because lighthouses are designed to be
illuminated try shooting just before dawn to
capture the predawn glow of a sunrise with
the lamp still shining. The same applies at
sunset, shooting just as it gets dark will help
with the mood and feel of the image.
The conditions and tides will play a huge
part in how your image looks storm clouds
and big waves are ideal! Play with shutter
roSS hoDDinoTT

speeds and adjust them for the conditions

fast shutter speeds freeze the motion of
crashing waves while slower shutter speeds
add blur and motion to the water and clouds.

82 Digital slr Photography March 2017

 Theperfectway
toaddnewskills!
The Nikon School at the newNikon Centre
ofExcellence in central London offers a
wide range ofphotographycourses and
workshops.Whynot treatyourselforsomeone
you love to a Nikonvoucherthat can be used
at the Nikon School. Forfurtherdetails,
visit:www.nikon.co.uk/training

ross hoddinott
jeremy walker

2 Dramatic viewpoints
while shooting on the actual beach
or shoreline offers a wealth of
3 Coastal close-ups
when you're presented with a
stunning coastline, it's natural to fit
the wide-angle and look to capture as
much of the scene as possible. however,
potential, you shouldn't ignore coastal
images that include the landscape in the you should also consider doing the
foreground. By placing the coast in the opposite and focus on a very small part
backdrop, you can add depth and scale of the scene instead. Coastlines are areas
to your images. not only that, but that are in constant flux due to the
shooting in spring or summer, when effects of tidal water and exposure to the
flowers, plants and even weeds are in elements. signs of this are evident if you
bloom, allows you to include vibrant take the time to look for them. Fit a
colours, which contrast with the darker, macro lens, such as the nikon aF-s
or more neutral tones of the beach and 105mm f/2.8G micro, and you're able to
sea. you'll find many photogenic coastal fill the frame with interesting close-up
locations are accessed via paths winding details that you wouldn't find anywhere
down to the beach, so stop on your else. Pebbly beaches make for ideal
journey to the beach and use the patterns, while rock surfaces have
pathway as a lead-in line to the beach in interesting shapes, lines and patterns
the distance. a moderate wide-angle, like that look great in close-up. on sandy
a nikon aF-s 16-35mm f/4G is ideal, and beaches, look for ripples and channels,
to ensure you avoid washed out skies, fit a or debris such as seaweed that can make
nd grad filter. (see p48 for more on this). for attractive still-lifes, and shoot early or
Use a small aperture, such as f/16, to
ross hoddinott

late in the day to accentuate shapes with

maximise depth-of-field, with your shadow and light. the ever-changing
camera on a tripod to minimise shake. nature of the coast means you can find
potential images on each and every visit.

March 2017 Digital slr Photography 83

Coastlines

HELEN DIxoN
4 Storm power! There is no better place to

LEE FRoST
head to shoot in bad weather than the coast,
when a combination of strong winds, high
waves and dramatic skies all work together to
produce images that reveal the awesome power of
nature. Brooding clouds make for strong
backdrops, while waves crashing against the shore
and into the air add to the drama. Using a fast
shutter speed is the preferred option, as it freezes
the motion of water and helps reveal the power of
the storm. Photographing waves hitting the
promenade and crashing over railings adds scale to
the scene. Needless to say, no image is worth
risking your life for, so take extra care, stay away
from exposed areas and heed all warnings waves
can hit at any moment and drag you and your
equipment out to sea, so be sure to keep a safe
distance. Using a telephoto lens, such as the Nikon
AF-S 70-300mm f/4.5-5.6G ED VR, you can fill the
frame while avoiding any risk of harm.

5 Beached boats and shipwrecks

Low tide is a wonderful time to explore the
beach for subjects to include as foreground
interest or as the centre piece to your image.
Favourites include fishing boats or larger vessels
resting on or in the sand. Boats, in particular those
that bear evidence of exposure to the weather and
sea, are particularly photogenic, boasting character
and feeding the viewer's imagination of voyages
past. While most beaches might only host one or
two beached boats at any given time, certain
locations, such as Dungeness in Kent, are known
for their abundance of semi-permanently beached
craft. If you're lucky, you'll find near-wrecks sunk in
the beach with their beams poking out of the
sand, they can have the appearance of the
skeletons of large marine creatures the wreck of
the Helvetia in Rhossili, Gower, is one famous
example in South Wales. Shoot as a silhouette
against a sunset or try creating atmospheric
monochrome images with a timeless quality.

84 Digital slr Photography March 2017

 6
Rock pool revelations
Head to the beach as the tide recedes and look
for large rock pools or puddles in the sand to use as
foreground interest. What makes these appealing
elements in coastal images are the reflections on the
water's surface, which can add depth. Sunsets, with their
glorious array of colours, are ideal as the striking hues in
the reflection contrast with the earthy tones of the sand or
rocks. However, any time of day is suitable blue skies
with puffy clouds also work. Use a wide-angle lens, like
the Nikon AF-S DX 12-24mm f/4G, and adopt a low
viewpoint to maximise impact. You'll want a
mid-aperture to make the most of depth-of-field,
and a tripod is recommended as the shutter
speed may be relatively slow. A polarising
filter will help control the reflection
and maximise saturation.
RoSS HoDDiNott
Coastlines

lee FroST

7 The delights of driftwood after particularly rough storms out at sea, you may
discover large chunks of driftwood have washed up on the beach. These gnarled,
weathered and barnacle-encrusted chunks of wood have a unique shape and character
and can make for great subjects, so take advantage of them before they're removed. There are
several ways that you can use driftwood in your images if it's a particularly interesting looking
sculpture, as most of them tend to be, consider making it the central point of focus in the
image and place it directly in the centre of the frame. Get in close with a wide-angle to
exaggerate its scale against the backdrop and set it against a colourful sunset to contrast its
jeremy walker

tones with the sky. alternatively, fit an extreme ND filter and create a mono masterpiece with
the dramatic, static nature of the craggy driftwood contrasting with the smoothness of the
skies and sea. most Nikon DSlrs sport an electronic level to ensure horizons are perfect.

8 Coastal harbours & towns

Shooting the coast shouldn't be
limited to beaches and rural scenes
although you can't argue against
wanting to spend most of your time
photographing them! you should also
make time to visit small villages located
by the coast, as they offer a wide variety
of different subjects to photograph.
Small fishing villages have a quaint
character all of their own, so look to
capture it using a wide view that includes
the harbour, boats, narrow streets, houses
and surrounding landscape. Then move
in closer and shoot tighter compositions
such as a solitary boat with the harbour
setting behind. Finally, look to capture
individual elements that reveals life in a
fishing village, such as nets, signs, boat
close-ups and lobster baskets. and,
should there be any fishermen around,
take the opportunity to capture an
environmental portrait weathered faces
and all. Be sure to take their details and
send them a print as a courtesy!

86 Digital slr Photography March 2017

 ProtipwithNikon
xxxxx

Jeremy Walker
Landscape expert

9 Long exposures Turning water

and clouds into a milky blur is not
everyone's cup of tea, but it can be an
effective technique, especially on an overcast
day on the coast when it is difficult to shoot
an expansive landscape image. To make a
long exposure shot work well you need two
main ingredients, an appropriate location
where you have a contrast of subjects: one
that will move and one that's stationary. The
other ingredient is a filter that will allow you to
increase the time element of your exposure.
The speed and movement of your subject
will influence just how long an exposure you
capture, and how your subject will look.
Unless the light levels are falling fast or it's
a gloomy day, you'll need to use a Neutral
Density filter to increase your exposure. Lee
Filters make the famous range of Stopper
filters with densities from six through to
fifteen stops. A fifteen-stop filter enables an
exposure of several minutes, even on a
bright and sunny day clouds will blur and
water will become misty and silky.
HeLeN DixoN

A sturdy tripod and a remote release will

also be needed, as will a deal of patience, but
the results are often well worth the wait!

March 2017 Digital slr Photography 87

Coastlines

lee frost
10 Pier potential! As you'll have
noted if you've already read our
Photo Workshop on p70, piers
make for extremely interesting coastal
subjects, with no shortage of ways of having
them form the central focus in your images.
old, disused piers are ideal for graphic black
& white images and are particularly suitable
for long exposures taken using extreme
Neutral Density filters. Modern piers also work
in this respect, but also provide great subjects
set against a sunset or sunrise, depending on
which coast they're located. At twilight,
combine the lights on the rides and
attractions with the colours in the sky behind
for additional interest. Don't forget to actually
take a walk on the pier, when you can use the
boards on the walkways as lead-in lines into
the frame and capture candids of visitors and
pier workers. As you'll soon discover, you can
easily spend hours discovering new ways to
capture interesting pier images.

11 Simple symmetry
there are times when less is more
and capturing a scene with minimal
elements in the scene can be visually, very
effective. one perfect example is capturing
groynes that are partly submerged in water.
By fitting an extreme ND filter, such as the
six-stop lee filters little stopper, you can use
an extremely long exposure running into
lee frost

minutes that totally blurs any detail in the

water and the sky. look to convert the image
into black & white. If you shoot on an overcast
day, you can capture images with the sky as a
solid white, while on sunny days the backdrop Prepareforthecoastwithweatherproofcameras
takes on an attractive uniform grey. By placing
the groynes centrally in the frame and Shootingonthecoastoffersrealpotentialtocaptureamazingimages,butthereisalsoariskofdamagingyour
cropping the shot into a square format, you camera,duetoscenesbeingexposedtotheelements,includinghighlycorrosivesea-spray.Thankfully,Nikon
can create a minimalist image that has very camerasarehighlyreliableanddesignedtohandleavarietyofconditions.Some,liketheD610andD7200,have
little in the frame, but maximum impact. bodiesthatboastadditionalsealsandgasketstopreventwater,saltandsandfromcreepinginbetweencontrols
Nikon Dslrs have a trim feature in the andinsidethecamera.Thisallowsyoutokeeponshooting,eveninpoorconditions,withouthavingtoworry.
retouch menu that allows in-camera crops.

88 Digital slr Photography March 2017

 12
Fill the foreground
One thing you shouldn't have trouble finding
when composing classic coastal images is suitable
foreground interest. Depending on the location, you'll
find all manner of natural subjects to provide a strong
foreground presence. Boulders are one such example; their
rounded shapes and dark tones contrast with the lighter
colours of the sea, sky and land. And with long exposures, you
create the impression of swirling mist. Sandy beaches offer
ripples and rock pools. Certain locations, such as St Michael's
Mount in Cornwall, provide stony pathways that can be used
as lead-in lines. Channels of water through the sand can
be used for the same purpose, while locations like
Trebarwith Strand in Cornwall have rocky outcrops
that act as strong, natural lead-ins. Wherever you
shoot on the coast, you shouldn't find it too
difficult to locate foreground interest that
can add real visual impact and
depth to your shots.
jereMy WAlker
 The BigInterview

The
Social
Network
TravellingTheworldandshooTingadverTisingcampaignsforbig
brandsisadreamjobformany,buTiTsnowarealiTyfor21-yearold
briTishphoTographerandsocialmediaexperTalexsTead.
jordanbuTTerscaTchesupwiThhimToTalkabouThissuccesssofar

T
hereS No diSpuTiNg that social media has changed the world
as we know it. its a phenomenon that, just 20 years ago, was
completely unheard of, and is now so deeply ingrained in our
lives that its hard to imagine a world without it. even those most
steadfast antagonists of the likes of Facebook, instagram and
Twitter cant avoid its effect. From the news we read to the television
programmes we watch, our interactions with other people and even the world
of photography, social media affects everything, and is one of the defining
trends of the 21st century. For better or worse its here, and its here to stay.
in the world of photography, social media is now hugely important. it has
not only changed how people consume images and how photographers share
their work, but its also hugely important to professionals in the industry.
Social media has allowed professional photographers to essentially become
their own in-house pr agency, and reach a huge audience, and potential
future clients, for very little outlay. For young Cornwall- and London-based
professional photographer Alex Stead, social media is the backbone to his
photographic career so far, and has provided the platform to propel the
21-year-olds work from A-Level photography projects to working with
worldwide brands and travelling the globe for a living in just five years.
photography for me all started when i was in school, at the age of 13 or
14, Alex tells me. i studied the subject at gCSe and A-Level before taking a
gap year before university. unfortunately, a back injury put my travel plans
on hold and so i started doing a lot of personal photography projects. i would
travel to London and spend the days and evenings shooting in the city,
meeting other photographers and trying out tutorials and techniques.
photography in school was very arty and reliant on editing and processing,
whereas this personal time allowed me to concentrate more on in-camera
techniques. it was nothing serious, just something i enjoyed that allowed
me to discover photography and find my style.
Alex Stead
A
lex wAsnt keeping
his endeavours to himself,
however. At the age of 16
he joined instagram,
registered the username
@nikon_photography_
and started uploading his images to the
social network. Before long, his following
started to increase at a rapid pace. There was
no grand plan or scheme in place, instagram
was simply an outlet for Alex to share his
work. i would upload an image a day, or
sometimes more, and would share my
settings and locations in the images to
connect with other photographers, Alex
explains. i think this approach, coupled
with the fact that i use nikon and had a
memorable username, helped my following
grow quickly. i wasnt hugely into it at first
to be honest, but before i knew it i had
around 100,000 followers and started to
realise that there was potential in social
media. when i left school i started working
with brands who were just starting to see the
benefits of instagrams reach. My big boost
came when i got my first sponsorship with
Us-based camera retailer Adorama. They
funded my first trip to Canada to travel and
photograph around the Rockies for a few
weeks. The trip provided a huge boost to my
photography, helped me build a portfolio
and develop a plan for what i wanted to do.
it taught me that if you have a large social
media following, people and brands tend to
trust you a bit more, especially if youre
young and relatively new to the industry.
now, just five years after first stepping foot
into the world of social media, Alex is an
online favourite with several big-name
brands from the photographic, travel and
adventure industries; the likes of lufthansa,
lowepro, nikon, Mercedes Benz, sanDisk
and Vodafone, to name but a few. He gets to
travel frequently, shooting in adventurous
locations from the pacific northwest of
America to iceland and beyond.
92 Digital slr Photography March 2017
Before i knew
it i had around
100,000 followers
and started to
realise that there
was potential
in social media
Above:Alexsessentialphotographytravelkitforwhenhe
visitedthewestcoastoftheU.S.onbehalfofAdorama.
At first, Alexs work mostly involved
shooting and promoting products and
services on his own channels, however
more recently hes finding more and more
enquiries are coming in specifically for his
photographic services. i find brand content
creation far more enjoyable than
competitions and link-throughs from my
own account, admits Alex. im doing a lot
of work shooting campaigns for travel
destinations or services, creating online
imagery for car companies, hotels, airlines
and outdoor and adventure companies, as
well as several clients in the photographic
industry, such as Adorama, as mentioned
before. Theres a fair amount of variety in
what i do, but its mostly based around the
travel and adventure lifestyle. Different
brands give you different levels of creative
freedom, but most trust my judgement and
are happy for me to go out and shoot creative
content for them. nikon has also been a great
help, supplying equipment and support
whenever i need it.
March 2017 Digital slr Photography 93
Alex Stead
 Alexs style of photography is tailored
specifically for online and social media
consumption, and its a market that he
understands well. Two of my biggest
influences are adventure photographers
Chris Burkard and Alex Strohl both have
very simple styles that command your
attention online, Alex tells me. He also
explains that images shot for a brands
Instagram or Facebook account, or for
inclusion on blogs or email newsletters
have to instantly grab the viewers attention
an approach dictated by how viewers use
these platforms. Theres simply so much
content out there, and everyone is so busy
now were bombarded with visual
imagery every minute of the day, when
someone is quickly scrolling through social
media you want them to stop on your image.
I mostly shoot outdoor, adventure and urban
photography, and composition is crucial.
Simple and impactful always works best.
People want instant gratification on social
media, so compositions that are too
complex, busy or take too much time to
explore dont tend to do as well.
Another approach that I find does well in
my adventure images is including a person
I find that adding that human element
not only adds a sense of scale to landscapes,
but it also helps to make the connection
between the viewer and the scene
or people in landscapes. I find that adding
that human element not only adds a sense of
scale to landscapes, but it also helps to make
the connection between the viewer and the
scene. The idea is to make the viewer want to
be that person enjoying the great outdoors,
so Ill always consider what the person is
wearing and making sure they fit the image,
such as dressed in outdoor gear, wearing a
backpack, holding a camera and so forth.
The aim is to sell that outdoor lifestyle.
While for most people social media is just
a bit of fun, or a welcome distraction from
everyday life, for the new pioneers of social
photography, such as Alex, it represents
work and an important part of his business.
Playing devils advocate, I present Alex with
the notion that placing great importance in a
third party platform, such as Instagram or
Facebook, is surely a risky approach, is it
not? What happens if an algorithm changes,
his account is compromised or the platform
falls out of popularity? As with any market,
its hard to predict whats going to happen
with social media, Alex comments. I
think at the start, when the likes of MySpace
and Bebo were around it was quite volatile.
Now its much more stable. Facebook owns
most of the major channels and theyre now
so big that I cant see it falling out of favour
for a while. I think Instagram will keep
growing. Year by year people have said its a
fad thatll fade but I dont think itll happen
and its a constantly evolving and improving
platform. Still, I want to expand my horizons
and work more in offline campaigns too.
I dont want to rely on my following, I want
people to be interested in my content and
March 2017 Digital slr Photography 95

I enjoy being outdoors and taking
pictures. Most of the time Im out shooting
because I enjoy learning new things and
moving my photography forward
my photography, and Im increasingly
finding that brands arent hiring me for my
numbers, but more for what I can create for
them. Its been a huge part of my work so
far, but I dont want to rely on social media.
Alexs future in photography is looking
bright, and hes achieved a lot in a short
period of time given his age. Along with his
photographic ability, his social media
prowess has given him a head start in a niche
that many other professionals are still
struggling to get their heads around.
96 Digital slr Photography March 2017
Meanwhile, he has already began branching
out into aerial photography and even video,
after recently completing another project for
Adorama. My friend and I shot a video blog
series whilst travelling the west coast of the
USA over the course of five weeks and
Adorama has just commissioned a second
series, to be set in New Zealand, Alex
reveals. Im also investing more time in
video. I think its important to keep up with
competition and develop a range of skills;
I always want to keep on improving rather
AlexsTopInsTAgrAmTIps
Collaboratewithothersbesocialwiththe
communityandsupporteachotherswork.
Youneverknowwhoyoullmeetthroughnew
contactsIvemadecontactwithbrandsjust
frommeetingothercreativepeople.
Chooseausernamethatstandsoutand
reflectsyou.no-oneisgoingtoremember
Alexstead_993886.Createacleanbio
containingyourrealname,yourspecialityand
alinktoyourwebsiteoremail.
Dontpostimagesforthesakeofit.onlypost
anewimageeverytwotothreedaysratherthan
once,orseveraltimesperday.Ifoundthisleads
toincreasedinteractionsanduploadsfeeling
morespecialratherthanforced.
Understandyouraudience.Wherearethey
from?Whenaretheylikelytobeonline?Time
uploadstocoincidewiththis.Ittakestimeto
understandyouraudienceandwhattimesof
dayworkbest,soexperiment.
Beconsistentinwhatyoushareandyour
style.Yourphotographicfollowersdontwant
toseeyournightsout,orphotosofyour
children,socreateaseparatepersonal
accountforthesememories.
than just sitting still. Above all, I want to
continue shooting for myself. I think a lot
of photographers can get lost in trying to
continuously churn out social media content
to appease their followers. I did it myself at
one time, but then I had a hard think about
what I enjoyed doing. I enjoy being outdoors
and taking pictures. Most of the time Im out
shooting because I enjoy learning new things
and moving my photography forward.
To keep upwithAlex, follow@Nikon_Photography_
on Instagram, orvisitwww.alexstead.co.uk
Alex Stead
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Digital SLR Photography covers popular topics such as landscapes, portraits and macro
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 T
CH
I X
E AR
NE
14 U
M
LE S
SA S
N
O

Part two

MASTER
STUDIOFLASH
FOLLOWING ON FROMTHIS MONTHS
INTRODUCTIONTO USING STUDIOFLASH,
WE BRINGYOUAVARIETYOFTECHNIQUES
USING MULTIPLE FLASH HEADSAND
ACCESSORIESTHATWILLHELPTAKEYOUR
STUDIO PORTRAITSTOTHE NEXTLEVEL

Plus
TAKE BETTER PICTURES
Improve your photo skills by trying
out a number of new techniques,
including handling are outdoors
and building your own ringlight

TIMETO GRABABAG!
Our group test of shoulder bags
tests a selection of the latest
models from leading brands to nd
out which offers the best value

READERWORKSHOP
We ask a leading pro to venture into
the great outdoors and assist a
Digital SLR Photography reader
with a variety of photo challenges

ESSENTIALPHOTOADVICETO HELPYOU IMPROVEYOUR PHOTOGRAPHY

 Gear
photo kittested & rated Byexperts

canon eos
5d MaRk IV
Boastinga30.4-millionpixelfull-framesensorandawiderangeoffeatures
withinaweatherproofBody,thiscouldBetheidealchoicefortheeverydaypro

Plus
Gearnews:we'vethelatestonseveraldslrandmirrorlesscameraslaunchesthismonth Page105
MInI tests:weratethedJimavicpro,amanfrottomonopodkitandnovo'shardrollingcase Page110
 Product news \ Gear
FUJI EXPANDS X-SERIES 1

NEWCAMERASAND LENS BOLSTER FUJIFILM'S X-SYSTEM

F
UJIFILMS IMPRESSIVE X-SERIES has proven a hit
with photographers of all levels and continues
to expand with the launch of several new
products. The X-T20 (1) is its latest mirrorless
model, updating the highly popular X-T10
and boasting a 24.3-million pixel APS-C
X-Trans CMOS III sensor, X-Processor Pro
imaging engine and 4K video capability. The
enhancements also see an improvement in
the speed of the AF system, processing and
2
image quality. Designed with a stylish retro-SLR
layout, with large dials on the top-plate giving it a
very traditional look, it's a very compact and
lightweight model available in silver or black. The 3in including Wi-Fi, Advanced Hybrid View nder,
Viewnder,
LCD monitor boasts a tilting facility and touchscreen with Film Simulations and a 3in LCD monitor.
1,040,000-dot resolution, while the 2.36-million-dot 3
Along with the two new cameras, Fujilm
electronic nder offers a bright, instant and lag-free display. launched the (449) Fujinon XF50mm f/2 R WR
Other features include Wi-Fi, Film Simulation modes, an (3), which has an equivalent focal length of 75mm
interval timer and advanced lters. The Fujilm X-T20 is and boasts nine elements in seven groups.
available from 23 February for 800 body only, 899 with Digital SLR Photography was at Fujilm's
XC16-50mm lens, or 1,099 with XF18-55mm. European launch and had the chance to try out all
The X100-series has long been a popular choice of premium the new products. We'll be running full reviews once
compact and the latest version, the X100F (2), is its nest incarnation available, and with rst impressions of handling and image
yet. Available for 1,249 in black or silver, it sports a 24.3-megapixel quality being very favourable, we can't wait to give them a proper test.
X-Trans CMOS III APS-C sensor and X-Processor Pro, so you can be Also revealed were two new variants of existing models: the
assured of a top quality performance. The Fujinon 23mm lens (35mm (1,649) X-T2 Graphite Silver Edition and (2,149) X-Pro2 Graphite
equivalent: 35mm) has eight glass elements in six groups, including a Edition. Finally, Fujilm UK also conrmed that the previously
double-sided aspheric lens and features both an aperture ring and announced 51.4-megapixel medium-format mirrorless GFX 50S will
control ring to quickly change settings, as well as built-in ND lter. A be available in March for 6,199, body-only, along with three lenses:
digital teleconverter can be activated to boost the angle of view to an the (1,399) GF63mm F2.8 R WR, (2,199) GF32-64mm F4 R LM WR
equivalent of 50mm or 70mm. It's packed with a range of features and (2,599) GF120mm F4 R LM OIS WR Macro. www.fujilm.co.uk

PANASONICSDYNAMICDUO
PANASONIC HAS ANNOUNCED two new Lumix
mirrorless Micro Four-Thirds models. The GH5 (1) is its
latest agship model and sports a 20.3-megapixel sensor,
integral ve-axis stabilisation and a high resolution
3.68-million-dot electronic nder. Geared for video as
nder.
1
much as stills photography, it's packed with features
and modes for dedicated videographers, including
Cinema 4K recording at 60fps. The GX800 (2)
has a 16-megapixel sensor and offers both 4K

LEICAUNLEASHES video capability and Panasonic's 4K Photo mode,

LATESTM-SERIES
THE LEICA M-SERIES has been
around since the middle of the
20th century and the latest digital
incarnation, the M10, looks like it
could have come from the same era.
Looking like a classic rangender, the
traditional body hides a 24-megapixel
full-frame CMOS sensor with a
sensitivity range of ISO 100-50000
and an electronic nder with a
2.4-million-dot resolution display.
It's the rst Leica M with Wi-Fi built-in
and can be used with the Leica
M-App companion app to transfer
images, including Raw les. The Leica
M10 is available to order now and
costs 5,600 body-only.
www.leica-camera.com
as well as Wi-Fi and a tilting 3in monitor. Both are
available late March; the Lumix GH5 will cost
1,700 body-only or 1,900 with 12-60mm lens,
www.panasonic.couk
while the GX800 will cost 500.www.panasonic.couk 2
ALL-NEWPENTAXKPLAUNCHED
ALL-NEW PENTAX KP LAUNCHED
LAST YEAR'S FULL-FRAME K-1 proved a success for Pentax
and it will be hoping that its latest DSLR, due late February,
enjoys similar fortunes. Priced at around 1,100, body-only,
and available in black or silver, the KP features a
24.32-megapixel APS-C sensor sans anti-aliasing lter,
PRIME IV imaging engine, Full HD video and an ISO ceiling
of 819200. Despite being compact, the KP boasts dust- and
weather-proof seals and claims to work in temperatures as
low as -10C. Other features include a body-intergal
ve-axis Shake Reduction II system, which gives ve-stops
of stabilisation, a glass prism viewnder with near-100%
coverage, 27-point AF system with 25 cross-sensors and a
tilting 3in LCD monitor. We'll be testing it as soon as review
models are available. www.ricoh-imaging.co.uk

March 2017 Digital SLR Photography 105

Gear/ Full-frame digitalSLR
CANON EOS 5D
MARK IV
ThelatestCanonfull-frameDSLR
replacesoneofitsmostpopular
modelsandaimstobethebest
all-roundchoiceonthemarket
Test: DANIEL LEZANO
SPECIFICATIONS
GuidePrice:3,500(body-only)
ImageSensor:Full-frameCMOS(36x24mm)
Resolution:30.4-megapixels
Maximumimageresolution:6720x4480pixels
AFsystem:61-point(41cross-types)
Metering:150,000-pixelRGB+IRmeteringsensor
Meteringmodes:252-zoneEvaluative,Partial(6.1%),
Spot(1.3%)andcentre-weighted
ISOrange:100-32000(expandsto50-102400)
Shutterspeeds:1/8000sec-30seconds&Bulb
Framerate:Sevenframes-per-second
Storage:Dualslot(1xCompactFlash,1xSD(SDHC/XC)
Size:150.7x116.4x75.9mm
Weight:890g(includingbattery&card)
Website:www.canon.co.uk
C
ANONS EXTENSIVE RANGE of
digital SLRs ensures that whatever
you want, it has one or more models
that should t the bill. If you've a need
for speed, you have the 20.2-megapixel
EOS-1D X Mark II, capable of 14 frames-per-
second. For the ultimate in resolution, then
the 50.6-megapixel EOS 5R/SR is the one.
While for full-frame seekers on a budget, the
EOS 6D is a more than capable option. This
latest model updates the incredibly popular
four-year-old EOS 5D Mark III and looks to
satisfy the general photographer looking for
the ultimate all-round performer.
Four years is a long time for the semi-pro
EOS 5D Mark III to remain on the market, so
you'd expect the Mark IV to offer signicant
improvements. The fact is, that while it
doesn't bring anything too revolutionary, the
benets on offer are extensive and make it a
highly appealing model for those shooting a
wide variety of subjects.
This latest Canon looks much like its
predecessor and controls are very similar
too, but improvements have been made to
the handling. In particular, weather- and
dust-proong has been enhanced through
the use of additional seals and gaskets.
As with the majority of cameras of this ilk,
the body feels incredibly robust and heavy,
although its worth noting the Mark IV is
marginally lighter (by around 75 grams) than
the Mark III. While there are a few minor
alterations, the main dial and function
buttons are pretty much unchanged, so if
you've used Canon EOS models before, you
won't need long to locate everything.
106 Digital SLR Photography March 2017
To speed up access, the top-plate buttons
by the small LCD panel have dual uses
rotate the rear dial to change one variable, or
use the front control dial to change the
other. The Q button on the rear provides
instant access to a number of key functions,
selected quickly using the toggle stick, while
the Menu button offers access to the
extensive and neatly laid out menu system.
The EOS 5D Mark IV's 3.2in LCD monitor
boasts a touchscreen, which is a massive
bonus in terms of speed and ease of use. Its
1,620,000-dot resolution screen provides a
sharp and bright display. There's no tilting
action, most likely as this could compromise
build quality and weatherproong.
The viewnder uses Canon's Intelligent
Viewnder system, which overlays
information on the screen. This, along with
the large size and 100% frame coverage,
provides a very clear and informative display
that aids image composition.
At the heart of the camera is a 30.4-million
pixel CMOS sensor, which represents a good
jump over the 22.3-megapixels of the Mark
III. Bucking the trend, it retains use of an
anti-aliasing lter to minimise the risk of
moir. As well as stills photography, video is
greatly improved, with 4K recording at both
24p and 30p, with the option to extract
8.8-megapixel stills from the recordings.
The sensor boasts Canon's Dual Pixel AF,
which can be used with Servo AF when
shooting still images. The system works
incredibly well for both accurate LiveView AF
and when shooting video. The Dual Pixel
system also brings with it an additional
Above:Basedaroundamagnesium-alloychassis,the
weatherproofCanonEOS5DMarkIVisacameraforallseasons.
Right:EvenatahighISO,coloursandskintonesarenatural.
feature of interest shooting Dual Pixel
Raw les that are double the size of a
standard Raw le. This isn't to increase
resolution to over 60-megapixels, but
rather to offer some quirky additional
features. Because the system works by
having each pixel split in two, each records
the image at a slightly different perspective.
Using Canon's software, you can render the
image at a slightly different point of focus
in theory allowing you to correct focus
when capturing images with very shallow
depth-of-eld. This micro-adjustment is an
interesting concept but in real terms, the
difference is so miniscule that I can't see any
practical uses for it in general photography.
Of more practical use is ghosting reduction,
which allows you to reduce are in certain
situations by replacing affected areas with
unaffected areas. Unfortunately, we weren't
able to test this due to time constraints.
The main AF system is based on that of
the agship EOS-1D X Mark II, which is a
favourite with sports pros. It uses 61 AF
points covering a wide expanse of the

image frame and of the 21 cross-type
sensors, ve at the centre sport more precise
dual cross-type sensors. There is an
extensive array of options available to suit
specic uses, which is a bonus for dedicated
action or wildlife photographers, but may be
confusing for less dedicated shooters.
Processing power is enhanced by the use
of two DIGIC imaging engines. A DIGIC 6+
processor handles image processing, while
a DIGIC 6 works in conjunction with the
150,000-pixel RGB+IR metering sensor to
produce accurate exposures. The improved
processing means that despite the higher
resolution, the maximum frame rate has
been increased to up to seven frames-per-
second (fps), or 4.3fps in LiveView.
Along with built-in GPS, the Canon also
sports Wi-Fi and NFC, providing control of
the camera from smart devices or can be
used for wireless image transfer.
Exposure:1/125secatf/4(ISO1000)
The AF system is excellent, proving fast
and responsive with static and moving
subjects. In particular LiveView AF shows a
real jump in accuracy and speed. The
metering system is rst-class too, with
Evaluative providing a near faultless
performance. Strong backlighting provided
the main problem, as it does with every
multi-zone system. Colour reproduction
and tonal rendition is excellent, as is
exposure latitude and dynamic range. Noise
is very well handled and shots at ISO 3200
retain decent colours and only show slight
softening to detail.
As with all Canons, JPEGs deliver very
good results but to get the most of the
sensor, you should process your Raw les.
The Canon has much to like and little to
fault. Apart from the inclusion of a standard
CF slot rather than a faster CFast 2.0 slot,
there is very little to complain about.
Full-framedigitalSLR\ Gear
HOWDUALPIXELRAWWORKS
DualPixelRawusesbothphotodiodesonthe
EOS5DMarkIVsDualPixelCMOSAFsensor.
TheDualPixelsensorspixelshaveadual
photodiodeconstruction,receivinganAandB
signalfromthesubject.Itdetectsanyphase
differencesbetweenthetwosignals,allowing
ittofocusaspartoftheDualPixelAFsystem.
Whencapturingtheimage,thesensorobtains
thepicturedatafromthecombinedAandB
imagesignals.WithDualPixelRaw,asingle
Rawlesavestwoimagesintothele.One
imageconsistsoftheA+Bcombinedimage
dataandtheotheronlytheAimagedata.Using
Canon'ssoftware,userscanusetheDualPixel
dataformicroadjustmentsofimagesharpness.
CLOSESTRIVALS
NIKOND810:Amodernclassicthathas
provenpopularwithenthusiastsandprosalike.
Boastsafull-frame36.3-megapixelsensorand
impressivedynamicrange.TheNikonisastrong
rivaltotheCanonandcheaperat2,400.
SONYALPHA7II:Thismirrorlessmarvelisa
popularchoiceforshootingstillsandmovies
andboastsa24.3-megapixelfull-framesensor,
FullHDvideoandbody-integralstabilisation.
Itcostsaround1,350body-only.
PENTAXK-1:At1,800,thePentaxismuch
cheaperthantheCanon.Itsportsafull-frame
36.4-megapixelresolutionsensorandFullHD
video.AFisn'tnearlyasgoodthough.
CANONEOS5DMARKIII:Justbecauseit's
beingreplaced,itdoesn'tmeanyoushould
neglectthe22.3-megapixelEOS5DMarkIII,
especiallyasit'savailableforaround2,250.
VERDICT
There are several full-frame
models at the top of the Canon
range, but this one represents the
best option for the serious general
photographer. It handles well, offers good
weatherproong and boasts a very wide
range of features. Above all, its performance
is excellent in every regard. If you need a
high-resolution full-frame model, then this
one denitely needs to be on your shortlist.
Handling 19/20
Ease of use 18/20
Features 19/20
Performance 19/20
Value 18/20
Overall 93/100
March 2017 Digital SLR Photography 107
Move up to a Nikon
Nikon Digital Cameras
Nikon D5 DSLR body.......................................................... 5,095.00
Wanted
Nikon D810A (Astrophotography) DSLR body.................... 2,999.00
Nikon D810 DSLR body...................................................... 2,375.00
Nikon D810 + MB-D12 Grip Kit........................................... 2,649.00
for Cash
Nikon D810 + AF-S 14-24mm f/2.8G ED Nikkor................. 3,899.00
Nikon D810 + AF-S 24-70mm f/2.8G ED Nikkor................. 3,649.00
Nikon D810 + AF-S 14-24mm f/2.8G & AF-S 24-70mm f/2.8G ED
Nikkor Kit............................................................................ 5,199.00
Nikon MB-D12 Grip for D810.............................................. 299.00
Nikon D750 DSLR body...................................................... 1,595.00
Nikon D750 + MB-D16 grip Kit............................................ 1,839.00
Nikon D750 + AF-S 24-85mm f/3.5-4.5G ED VR Kit........... 2,045.00
Nikon D750 + AF-S 24-120mm f/4G ED VR Kit.................. 2,275.00
Nikon D610 DSLR body...................................................... 1,289.00
Nikon D610 + MB-D14 Grip Kit........................................... 1,449.00
Nikon D610 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor..... 1,669.00
MB-D14 Grip for D610........................................................ 209.00
Nikon D500 DSLR body...................................................... 1,699.00
Nikon D500 + 16-80mm f/2.8-4E ED.................................. 2,470.00
Nikon MB-D17 grip for D500............................................... 349.00
Nikon D7200 DSLR body.................................................... 829.00
Nikon D7200 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... 999.00
Nikon D7200 + MB-D15 Grip Kit......................................... 1,045.00
Nikon D7100 DSLR body.................................................... 689.00
Nikon D7100 + MB-D15 Grip Kit......................................... 869.00
Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit..... 849.00
Nikon D7100 + 18-140mm f/3.5-5.6G VR DX ED Kit.......... 1,095.00
We are always seeking mint Nikon D5600 SLR body.......................................................
Nikon D5600 + AF-P 18-55mm f/3.5-5.6G VR DX Kit.........
649.00
699.00
or near-mint examples of Nikon D5600 + AF-S 18-140mm f/3.5-5.6G VR DX ED Kit.....
Nikon D5300 DSLR body....................................................
899.00
419.00
Nikon FM3A, FM2 & F3HP Nikon D5300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit.........
Nikon D5300 + AF-S 18-140mm f/3.5-5.6G VR DX Kit.......
495.00
665.00
cameras and manual focus Nikon D3400 DSLR body....................................................
Nikon D3400 + AF-P 18-55mm f/3.5-5.6G VR DX Kit.........
349.00
439.00
Nikkor lenses Nikon D3300 DSLR body.................................................... 279.00
Nikon D3300 + AF-P 18-55mm f/3.5-5.6G VR DX Kit......... 349.00
Nikon Df + AF-S 50mm f/1.8G Special Edition.................... 2,195.00
Nikon Df DSLR body, chrome or black nish..................... 1,995.00
Nikon Df + AF-S 50mm f/1.8G SPECIAL GOLD Edition..... 5,000.00
Please telephone
Nikon 1 System
020-7828 4925 Nikon 1 V3 10-30mm + Grip Kit.......................................... 795.00
Nikon 1 AW1 + 11-27.5mm f/3.5-5.6................................... 549.00
for our oer today Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8............. 695.00
Nikon 1 J5 + 10-30mm PD Zoom lens, black..................... 345.00
Nikkor VR 6.7-13mm f/3.5-5.6............................................ 375.00
Nikkor VR 11-27.5mm f/3.5-5.6........................................... 149.00
Nikkor VR 10-30mm f/3.5-5.6............................................. 225.00
0% or Low
F
Nikkor VR 30-110mm f/3.8-5.6........................................... 179.00
1 Nikkor VR 70-300mm f/4.5-5.6........................................ 745.00
1 Nikkor AW 10mm f/2.8..................................................... 245.00
Interest
1 Nikkor 10mm f/2.8............................................................ 179.00
1 Nikkor 18.5mm f/1.8.........................................................
1 Nikkor 32mm f/1.2............................................................
145.00
599.00
1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ 529.00
Finance Nikon SB-N7 Speedlight.....................................................
Nikon GP-N100 GPS Unit...................................................
Mount adapter FT1.............................................................
119.00
99.00
199.00
AF-S & AF DX Nikkor Lenses
10.5mm f/2.8G AF DX ED Fisheye..................................... 559.00
AF-S 35mm f/1.8G DX........................................................ 159.00
No deposit required AF-S 10-24mm f/3.5-4.5G IF-ED DX..................................
AF-S 12-24mm f/4G IF-ED DX...........................................
689.00
939.00
AF-S 16-80mm f/2.8-4E ED VR DX.................................... 839.00
020-7828 4925 AF-S 16-85mm f/3.5-5.6G ED VR DX................................. 525.00
AF-S 17-55mm f/2.8G DX IF-ED........................................ 1,225.00
for full details AF-P 18-55mm f/3.5-5.6G VR DX.......................................
AF-P 18-55mm f/3.5-5.6G DX.............................................
199.00
149.00
AF-S 18-55mm f/3.5-5.6G VRII ED DX............................... 149.00
AF-S 18-105mm f/3.5-5.6G VR DX IF-ED........................... 225.00
AF-S 18-140mm f/3.5-5.6G VR DX ED............................... 445.00
AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED....................... 595.00
AF-S 18-300mm f/3.5-5.6G ED VR DX............................... 795.00
AF-S 18-300mm f/3.5-6.3G ED VR DX............................... 575.00
AF-S 55-200mm f/4-5.6G DX ED VR II............................... 229.00
AF-S 55-300mm f/4.5-5.6G DX VR..................................... 289.00
AF-P 70-300mm f/4.5-6.3G ED VR DX............................... 299.00
AF-P 70-300mm f/4.5-6.3G ED DX..................................... 259.00
Prices include 20% VAT. Prices Subject to Change. E.&O.E.
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
Nikon D750
AF FX Nikkor Lenses
14mm f/2.8D AF ED............................................................ 1,270.00
16mm f/2.8D AF Fisheye.................................................... 625.00
20mm f/2.8D AF.................................................................. 469.00
24mm f/2.8D AF.................................................................. 375.00
28mm f/2.8D AF.................................................................. 249.00
35mm f/2D AF..................................................................... 255.00
50mm f/1.8D AF.................................................................. 109.00
50mm f/1.4D AF.................................................................. 249.00
105mm f/2D AF-DC............................................................ 825.00
135mm f/2D AF-DC............................................................ 1,009.00
180mm f2.8D AF IF-ED...................................................... 699.00
AF-S FX Silent Wave Nikkor Lenses
AF-S 20mm f/1.8G ED....................................................... 635.00
AF-S 24mm f/1.8G............................................................. 599.00
AF-S 24mm f/1.4G ED....................................................... 1,775.00
AF-S 28mm f/1.8G............................................................. 485.00
AF-S 35mm f/1.4G............................................................. 1,489.00
AF-S 35mm f/1.8G ED....................................................... 415.00
AF-S 50mm f/1.4G IF.......................................................... 365.00
AF-S 50mm f/1.8G ............................................................. 179.00
AF-S 58mm f/1.4G.............................................................. 1,325.00
AF-S 85mm f/1.8G.............................................................. 399.00
AF-S 85mm f/1.4G.............................................................. 1,290.00
AF-S 105mm f/1.4E ED..................................................... 1,775.00
AF-S 14-24mm f/2.8G IF-ED.............................................. 1,545.00
AF-S 16-35mm f/4G ED VR............................................... 939.00
AF-S 17-35mm f/2.8D IF-ED.............................................. 1,399.00
AF-S 18-35mm f/3.5-4.5G.................................................. 585.00
AF-S 24-70mm f/2.8G IF-ED.............................................. 1,375.00
AF-S 24-70mm f/2.8E ED VR............................................ 1,799.00
AF-S 24-85mm f/3.5-4.5G ED VR......................................
AF-S 24-120mm f/4G ED VRII...........................................
409.00
839.00
AF-S 28-300mm f/3.5-5.6G ED VR....................................
AF-S 70200mm f/2.8E FL ED VR.................................... 2,649.00
739.00
AF-S 70-200mm f/2.8G VR II IF-ED................................... 1,849.00
AF-S 70-200mm f/4G VR IF-ED.........................................
AF-S 70-300mm f/4.5-5.6G VR IF-ED................................
989.00
469.00
AF-S 80-400mm f/4.5-5.6G VRII ED.................................. 1,939.00
AF-S 200-400mm f/4G VRII IF-ED..................................... 5,350.00
AF-S 200-500mm f/5.6E VR ED......................................... 1,125.00
AF-S 200mm f/2G VR II IF-ED........................................... 4,495.00
AF-S 300mm f/4E PF ED VR............................................. 1,425.00
AF-S 300mm f/2.8G VR II IF-ED........................................ 4,545.00
AF-S 400mm f/2.8E VR FL ED........................................... 9,690.00
AF-S 500mm f/4E FL ED VR.............................................. 7,990.00
AF-S 600mm f/4E FL ED VR.............................................. 9,635.00
AF-S 800mm f/5.6E VR FL ED (inc. TC-800-1.25E ED teleconverter)
........................................................................................... 13,985.00
TC-14E III 1.4x teleconverter.............................................. 390.00
TC-17E II 1.7x teleconverter............................................... 339.00
TC-20E III 2x teleconverter................................................. 369.00
AF & AF-S Micro-Nikkor Lenses
AF-S 40mm f/2.8G DX Micro.............................................. 225.00
60mm f/2.8D Micro.............................................................
............................................................. 399.00
AF-S 60mm f/2.8G ED Micro..............................................
.............................................. 469.00
AF-S 85mm f/3.5G VR DX IF-ED Micro.............................
Micro............................. 415.00
AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................
IF-ED........................ 679.00
200mm f/4D AF Micro IF-ED..............................................
.............................................. 1,190.00
Nikon Speedlights
SB-5000 Speedlight....................................................... 459.00
SB-700 Speedlight........................................................ 229.00
SB-500 Speedlight........................................................
SB-300 Speedlight.........................................................
SB-R1C1 Close-Up Commander Kit..............................
SB-R1 Close-Up Remote Kit.........................................
179.00
95.00
545.00
399.00
SU-800 Wireless Speedlight Commander.....................
SB-R200 Wireless Remote Speedlight.........................
265.00
149.00
Manual Focus Nikkor AIS Lenses
20mm f/2.8 Nikkor..............................................................
24mm f/2.8 Nikkor..............................................................
901.00
608.00
28mm f/2.8 Nikkor.............................................................. 615.00
35mm f/1.4 Nikkor..............................................................
45mm f/2.8P Nikkor, chrome..............................................
1,227.00
325.00
50mm f/1.4 Nikkor..............................................................
50mm f/1.2 Nikkor..............................................................
597.00
855.00
Special Purpose: Perspective
Control & Micro-Nikkor Lenses
19mm f/4E (Tilt/Shift-Perspective Control) ED Nikkor........ 3,195.00
24mm f/3.5D PC-E ED Nikkor............................................ 1,445.00
28mm f/3.5 PC Nikkor........................................................ 1,195.00
45mm f/2.8D ED PC-E Nikkor............................................ 1,379.00
85mm f/2.8D ED PC-E Nikkor............................................ 1,279.00
105mm f/2.8 Micro-Nikkor.................................................. 1,047.00
200mm f/4 Micro-Nikkor..................................................... 895.00
PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control
TO ORDER TELEPHONE 020-7828 4925
Follow us on: @NikonatGrays
Photography by Tony Hurst

The Shop with the Dragon FM2

NIKON FM2 MILLENNIUM EDITION YEAR OF THE DRAGON
To celebrate the new Millennium Year 2000 (The Chinese Year of the Dragon), Nikon released the Nikon FM2 Millennium Edition.
The camera has special markings: a Chinese-style golden Dragon sits above the self-timer and has matching serial numbers for the
camera body and 50mm f/1.4 Nikkor AIS lens. It is presented in a rich gold makers box with a red satin lining, a white outer shipping
carton, warranty card, instruction manual and certicate of authenticity signed by Mr. Michio Kariya, President Nikon Imaging
Company, Japan.

The Dragon is one of the 12-year cycle of animals which appear in the Chinese
zodiac related to the Chinese calendar, and the only animal that is legendary.
The Year 2000 is a Chinese Golden Dragon Year. TO ORDER TELEPHONE:
020-7828 4925
NEW 3,000.00

Find us on Facebook: www.facebook.com/graysofwestminster Visit our website: www.graysofwestminster.co.uk

Gear/ Camera drone

DJI MAVIC PRO

Itsthelatestmust-haveconsumer
cameradronetohitthemarket.But
doesthecompactDJIMavicProsoar
intotheskyorsinklikeastone?
Test: JORDAN BUTTERS

SPECIFICATIONS
GuidePrice:1,100
ImageSensor:1/2.3inCMOS(6.17x4.55mm)
Resolution:12.35-megapixels
Maximumimageresolution:40003000pixels
Videoresolution:C4K(24p),4K(upto30p),2.7K
(upto30p),1080p(upto96p),720p(upto120p)
ISORange:100-1600(photo),100-3200(video)
Maximumspeed:40mph(sportmode)
Maximumserviceceiling:5km(abovesealevel)
Maximumtransmissiondistance:7km
Above:TheDJIMavicProgoesfromfoldedawayto
Maximumighttime:27minutes ready-to-yinseconds,simplybyfoldingoutthefourarms.
Size:83x83x198mm(folded) Below:ItsportabilitymeansthatIrarelyleaveitathome.
Weight:734g Thecontrollerandinterfaceareeasytounderstandanduse.

C
ONSUMER UAVS, OR DRONES, have
burst onto the market in the last ve
years, taking aerial photography from
an expensive pursuit reserved solely for
professionals to a fun and relatively low-cost
hobby for anyone. Chinese company DJI
were the rst to capture the attention of the
consumer market, with the launch of the DJI
Phantom back in 2013. While the Phantom
range has continued to grow and improve
year-on-year, it always suffered from one
downfall its size. Cue the DJI Mavic Pro.
Announced late last year, the DJI Mavic
Pro is a compact consumer drone that
makes it easier to get ying without the
hassle associated with drone size and setting
up. While DJIs Phantom series demands a
large case or bag, and removable propellers
for transport, the Mavic Pro simply folds
down, propellers intact, and ts neatly into
your camera bag in fact, its only around
the size of a 24-70mm lens! Although lead
times for the DJI Mavic Pro were tedious at
rst due to high demand, orders are now
coming through at a reasonable pace, and
Ive had my Mavic for long enough to have
given it a thorough test in a number of
different situations and conditions.
The Mavic Pro is supplied with all you
need to get ying, including a single battery
and controller. The controller is far more
compact than the Phantoms the Mavic
can be controlled by the controller alone,
or you can slot in your smartphone and view
the Mavics camera feed in real time via the
DJI Go app. This also allows you to change
parameters, as well as congure the drone,
monitor performance, height and speed,
set waypoints and routes, or view where
the drone is in relation to your position on
a map. There are intelligent modes that can
follow, track or circle around a person or
point of interest, as well as a tripod mode for
seles or videos. The app and interface is
fairly intuitive too. Alongside the main ight
controls, many of the functions can be
accessed by the controller itself, such as
camera tilt, exposure compensation, image
capture, or the Mavics Return To Home
function, which safely and automatically
brings the craft back to wherever it took off
from. You can also control the Mavic using
your smartphone alone, without the
controller, albeit with reduced functions,
although Ive had no desire to try this yet.
In terms of image quality, the Mavic Pro
packs a 12.35-megapixel 1/2.3in Sony Exmor
R CMOS sensor and 28mm f/2.2 xed focal
length lens with an ISO range of 100-1600
for photo and 100-3200 for video. There is
Cinema 4K video recording at 24fps, or UHD
4K at up to 30fps and Full HD at up to 96fps,
and stills can be saved as JPEG or DNG
Raws. There are also creative stills effects
available, such as Burst mode, Auto
Exposure Bracketing and an interval timer.
The idea of sending over 1,000 skyward
can be a bit daunting, but the DJI software
and Mavics ease of use make it simple for
beginners to take to the skies. There are
safety measures, such as a Beginner Mode
which limits speed, height and distance.
Once you progress into full control, the
safety guides remain in place to help you,
with legal altitude restrictions (400ft),
geofencing to stop you ying where you
shouldnt and sensors that automatically halt
the Mavic when you get too close to
something. In fact, the Mavic boasts ve
positioning cameras, GPS and GLONASS
(Global Navigation Satellite System), two
ultrasonic range nders, 24 computing cores
as well as up to seven kilometres of controller
range! An added reassurance is the Mavics
incredible stability and precision, which I
found far out-performed my previous drone,
the Phantom 3 Pro. Even in windy conditions,
the Mavic hovers exactly in position, and
using the automatic Return To Home sees
the UAV land within centimetres of its
take-off location impressive.
Operating the camera is easy, with the
smartphone interface allowing you to eye up
compositions. A tap of the screen activates
autofocus, and exposure compensation can
be applied via a scroll wheel on the
controller, or on the touchscreen. You can
also shoot in manual exposure mode for
extra control. Image quality is good not
quite up to the standard of an APS-C or
full-frame sensor, but still of sufficient detail
and clarity to be printed or viewed at a good

110 Digital SLR Photography March 2017


size. With heavy editing the les do fall apart
slightly, especially if shot in low light.
Video quality is exceptional, delivering
crisp and clean 4K footage. Half the battle is
practising with the controls to create
smooth sequences, but the on-board
gimbal does an amazing job of stabilising the
footage, given its tiny size. Battery life is good
too I nd that I get around 20 minutes of
ight per full charge, allowing for a 20%
safety margin before returning to land.
For me, the area in which the DJI Mavic
Pro shines is portability. Whereas with my
Phantom I had to plan ahead and carry a
large case with me, the Mavic Pro is small
enough to go into my bag just in case. Its
also quick to set up I can be in the sky in
under a minute. My ight time with the Mavic
has already exceeded that of the Phantom,
simply due to its ease of use and portability.
Cameradrone Gear
VERDICT
Ifyoure in the market fora UAVfor
photographyorvideo, thenyou
cant go farwrongwith the Mavic.
Easyto y, light and compact,
and delivering impressive image
quality, theres not a lot to fault!
Overall
March 2017 Digital SLR Photography 111
 Accessories\ Gear
MANFROTTOXPRO Test: DANIEL LEZANO

NovoDura400
Novo Dura 400
MONOPOD+ Rollingcase/Waterprooff to5m
ABS/556x358x230cm
m/
to5m/

WITH FLUIDTECH BASE Price:219

Test: DANIEL LEZANO

Contact:www.novo-photo.com
Manfrottosprofessionalcarbon-fibre,five-sectionmonopodwith
HARD CASES TEND
optionalFluidTechfootprovidesastablebasewithuidaction to be less accessible

M
ONOPODS DONT RECEIVE the same amount of exposure as and more expensive
their three-legged cousins, but are an useful accessory in than your traditional
fabric-based types.
certain shooting situations, and can sometimes be a more
But, when the
appropriate support for your camera than a tripod.
ultimate in protection
Manfrotto produces an extensive range of monopods,
is required, hard cases
including the ve-section carbon-bre XPRO model reviewed
are ideal, able to
here. It also has an innovative uid base, compatible with a
withstand being
number of models in the range, that not only provides
submerged in water
additional stability, but offers a uid action that has benets
or driven over by a
for the professional photographer and videographer.
car. Peli is the market
At 175, this is one of the more expensive monopods, so leader, but others, like
what do you get for your money? Well, height for one thing Novo, offer a wide range of attractive
with all ve legs sections extended you'll reach 1.76m, which is options, including this Dura 400 rolling
more than enough for most. And thanks to its carbon-bre case. The Dura 400 features a
construction, it's extremely lightweight and very stable, which retractable handle, press-pull safety
is an ideal combination. Plus the large, rubberised handle latches that allow for fast access and
provides a very assured grip that's also warm to the touch stainless steel protectors that allow you
when used in cold conditions. Large Quick Power Locks are to t padlocks for additional security. As
used to release/tighten the legs after altering the height and are well as being impact-resistant, the tough
very fast and positive in use. For those looking for a lightweight, fast ABS injection moulding, along with the
to use monopod with a good height, it's a great choice on its own, silicon rubber seal, means the Dura 400
but is made all the more versatile if used with the FluidTech Base. is waterproof to 5m, and it also features
This innovative base attaches via a simple yet secure mechanism. an automatic pressure valve.
A collar holds the Monopod+ in a vertical position that, as I found, It's a good sized case, with external
can be left freestanding if the dimensions of 556x358x230mm
camera has a short lens tted, MANFROTTO XPROMONOPOD+ meaning it is cabin-friendly on many
although it's not designed to do Price:175 airlines, although check the weight
so. Raise the collar and you can tilt Productcode:MPMXPROC5 limits as empty it weighs 5.7kg. Open
it in any direction up to 19. With Material:Carbon-bre the case via the easy to use latches and
the collar raised or lowered in the MinimumHeight:49cm you'll nd a well-sized interior
lock position, you can rotate the MaximumHeight:176cm (518x295x188mm) packed with pre-cut
monopod to follow action, with LegSections:Five diced foam inserts. I managed to place
the FluidTech system giving a very LegLocks:QuickPowerlock two camera bodies, four lenses,
smooth action. This is ideal for Load:5kg including two large zooms, with room
wildlife and action photographers Weight:620grams for a ashgun and smaller accessories.
panning their subject, as well as Website:www.manfrotto.co.uk The foam insert meant that everything
videographers following moving was stored securely with no risk of
subjects. It's also a very useful MANFROTTO XPROFLUIDBASE movement or damage. It's removable
set-up if you use a ashgun or Price: 75 too, so you can replace it if you ever
small location ash unit like a Productcode:MVMXPROBASE need to create new layouts. The rubber
Godox on location, as it's a Material:Aluminiumandsteel wheels give a smooth ride and, while I
simpler, faster and less wieldy MinimumHeight:10.5cm didn't risk driving a car over it, I did stand
set-up to use than a lighting stand. MaximumHeight:11.5cm and jump on it all in the name of
This combo is a lightweight and PanoramicRotation:360 science, without causing damage.
easy set-up to use, so if the cost FrontTilt:+/-19
isn't prohibitive, you're sure to nd Load:8kg
it very useful on location. Weight:385grams
VERDICT
Ifyou frequentlytravel and need a
tough and durable storage option
VERDICT foryourcamera equipment, then
Thecombinationofapremiummonopodandinnovativefoot theDura400isanexcellentoption.
providesaveryusefulyetexpensivesupportsystemforphotoor Its a good size fora medium outt
videouse.Ifyouneedstabilityyetfreedomtofollowsubjects, and is sure towithstand heavyuse.
it'sanexcellentoption,albeitforaconsiderableoutlay.
Overall
Overall

March 2017 Digital SLR Photography 113

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30.4 20.9 153
MEGA
PIXELS
3.0
7 fps
3.0 3.2 3.0 4K
3.0 MEGA
PIXELS
3.0
10 fps
3.0
POINT
AF
3.2 3.0 4K
3.0

No matter what youre shooting, be assured The D500 features a 20.9 MP sensor, 10fps
of uncompromising image quality and a continuous shooting, 4K UHD video recording,
thoroughly professional performance. and an impressive ISO range of 100-51,200.
12 months 0% nance is available on this camera!
See in store or apply online to learn more. In stock at 3,499.00* Add a Nikon MB-D17 battery grip for only 359.00 In stock from 1,729.00

Canon EOS M5 Canon EOS 750D Canon EOS 80D Nikon D5600 Nikon D7200 Nikon D610
24.2 24.2 24.2 24.2 24.2 24.3
MEGA MEGA MEGA MEGA MEGA MEGA
PIXELS 7 FPS PIXELS 5 FPS PIXELS 7 FPS PIXELS PIXELS 6 FPS PIXELS 6 FPS

Body only + 15-45mm Body only + 18-55mm Body only + 18-55mm IS + 18-55 VR + 18-140 VR Body only + 18-105 VR Body only + 24-85 VR
1,049.00 1,149.00 599.00 649.00 999.00 1,029.00 729.00 949.00 849.00 1,049.00* 1,249.00 1,699.00
Supplied with FREE Canon Add a Canon LP-E17 spare Add a Canon BG-E14 battery Add a Nikon EN-EL14a spare Add a Nikon MB-D15 battery Add a Nikon MB-D14 battery
EF-EOS M adapter! battery for only 40! grip for only 145! battery for only 47! grip for only 229! grip for only 229!

Canon EOS 7D Mark II Canon EOS 6D Canon EOS 5D Mark III Nikon D750 Nikon D810 Nikon D5
20.2 20.2 20.2 24.3 36.3 20.8
MEGA MEGA MEGA MEGA MEGA MEGA
PIXELS 10 FPS PIXELS PIXELS FREE PIXELS 6.5 FPS PIXELS 7 FPS PIXELS 12 FPS
CARD!

Body only + 100-400 L IS II Body only + 24-105 IS STM Body only + BG-E11 Grip Body only + 24-120 VR Body only + MB-D12 grip XQD Type CF Type
1,249.00 See web 1,449.00 1,699.00 2,299.00 2,739.00 1,599.00 2,279.00 2,399.00 2,703.00 5,099.00 5,499.00
Add a Canon BG-E16 battery Add a Canon BG-E13 battery FREE SanDisk 64GB Extreme Add a Nikon MB-D16 battery 200 bonus trade-in! Save 5% on accessories with
grip for only 195! grip for only 159! 90MB/s SD Card worth 34.99 grip for only 229! Offer ends 28.02.17 the D5! See website.

Canon EOS 5DS Canon EOS 5DSR Canon EOS-1DX Mark II Prices updated DAILY! Visit us in store, online at
NIKON LENSES parkcameras.com or call our expert team on 01444 23 70 58
50.6 50.6 20.2 AF-G 10.5mm f/2.8G ED DX 599.00 AF-D 60mm f/2.8 Micro 429.00 AF-S 10-24mm f/3.5-4.5G 729.00
MEGA MEGA MEGA
PIXELS PIXELS PIXELS 14 FPS AF-D 14mm f/2.8D 1,329.00 AF-S 60mm f/2.8G Micro ED 499.00 AF-S DX 12-24mm f4 G 979.00
AF-D 16mm f/2.8D Fisheye 699.00 AF-S 85mm f/3.5G DX 429.00 AF-S 16-80mm f/2.8-4E VR 869.00
See website for AF-S 20mm f/1.8G ED 669.00 AF-S 85mm f/1.8G 429.00 AF-S 16-85mm f/3.5-5.6G 579.00
Body only Body only + 11-24mm f/4L Body only + LP-E19 batt. AF-D 20mm f/2.8 499.00 AF-S 105mm f/2.8G VR 749.00 AF-S 17-35mm f/2.8 IF ED 1,499.00
low prices on
2,799.00 lenses 2,999.00 5,648.00* 4,799.00 4,938.00* AF-D 24mm f/2.8D 379.00 AF-D 135mm f/2.0D 1,149.00 AF-S 17-55mm f/2.8G DX 1,329.00
AF-S Nikkor 24mm f/1.4G 1,799.00 AF-D 180mm f/2.8 IF ED 749.00 AF-S 18-35mm f/3.5-4.5G 599.00
Add a Canon BG-E11 battery Add a Canon LP-E6N spare 24 months 0% nance
AF-D 28mm f/2.8 259.00 AF-D 200mm f/4D IF ED 1,249.00 AF-S 18-105mm VR 219.00
grip for only 250! battery for only 64! available! See website
35mm f/2 AF Nikkor D 269.00 AF-S 200mm f/2G ED VR II 4,769.00 AF-S 18-140mm ED VR DX 429.00
AF-S 35mm f/1.8G ED 439.00 AF-S 300mm f/2.8G ED VR II 4,849.00 AF-S 18-200mm ED VR II 534.00
Prices updated DAILY! Visit us in store, online at
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AF-S 35mm f1.8G DX
AF-S 40mm f/2.8G ED
169.00
239.00
AF-S 300mm f/4 D IF-ED 1,149.00
AF-S 300mm f/4E PF VR 1,549.00
AF-S 18-300mm f/3.5-6.3 VR 629.00
AF-S 24-85mm VR 429.00
14mm f/2.8L II USM 1,999.00 200mm f/2.0L IS USM 5,799.00 17-40mm f/4.0L USM 2,020.00 AF 50mm f/1.4D 259.00 AF-S 400mm f/2.8 FL ED VR 9,999.00 AF-S 28-300mm ED VR 799.00
20mm f/2.8 USM 449.00 200mm f/2.8L USM/2 549.00 17-55mm f/2.8 IS USM 749.00 AF-S 50mm f/1.4G 389.00 AF-S 500mm f/4E FL VR 8,499.00 AF-S 55-200mm f/4-5.6 VR II 259.00
24mm f/1.4L Mk II USM 1,499.00 300mm f/2.8L USM IS II 5,799.00 18-135mm IS STM 379.00 AF-D 50mm f/1.8 119.00 AF-S 600mm f/4E FL VR 10,999.00 AF-S 70-200mm f/2.8 VR II 1,999.00
24mm f/2.8 IS USM 433.00 300mm f/4.0L USM IS 1,139.00 18-135mm f/3.5-5.6 IS USM 449.00 AF-S 50mm f/1.8G 189.00 AF-S 800mm f/5.6E FL VR 14,799.00 AF-S 70-300mm IF ED VR 499.00
24mm f/2.8 STM 136.00 400mm f/2.8L USM IS II 8,389.00 18-200mm f/3.5-5.6 389.00
28mm f/1.8 USM 359.00 400mm f/4.0 DO IS II 6,999.00 24-70mm f/2.8L II USM 1,899.00
28mm f/2.8 IS USM 389.00 400mm f/5.6L USM 1,099.00 24-70mm f/4.0L IS USM 769.00
For a range of refurbished Nikon cameras and lenses at
35mm f/1.4L II USM 1,799.00 500mm f/4.0L IS MK II 8,299.00 24-105mm f/4L IS II USM 1,129.00 low prices, visit our website and search REFURBISHED
35mm f/2.0 IS USM 469.00 600mm f/4.0L IS MK II 9,615.00 24-105mm f/3.5-5.6 IS STM 729.00
40mm f/2.8 STM 169.00 800mm f/5.6L IS USM 11,899.00 28-300mm f/3.5-5.6L IS 2,249.00
50mm f/1.2 L USM 1,184.00 TSE 17mm f/4.0L 1,999.00 55-250mm f/4-5.6 IS STM 269.00 24.2
50mm f/1.4 USM 349.00 TSE 24mm f/3.5L II 1,520.00 70-200mm f/2.8L IS II USM 1,849.00 MEGA
PIXELS
3.0
11 fps
IS
3.0 3.0 3.0 4K
3.0
50mm f/1.8 STM 106.00 TSE 45mm f/2.8 1,199.00 70-200mm f/2.8L USM 1,189.00
60mm f/2.8 Macro 379.00 TSE 90mm f/2.8 1,239.00 70-200mm f/4.0L IS USM 1,149.00 With unerring autofocus, unshakeable stability,
MP-E 65mm f/2.8 849.00 8-15mm f/4L Fisheye USM 1,199.00 70-200mm f/4.0L USM 499.00
85mm f/1.2L II USM 1,649.00 10-18mm IS STM 229.00 70-300mm f/4.0-5.6 IS 419.00
and intuitive touchscreen operation crafted to
85mm f/1.8 USM 349.00 10-22mm f/3.5-4.5 399.00 70-300mm f/4.0-5.6L IS USM 1,029.00 t in a palm, the a6500 is so ideal everywhere
100mm f/2 USM 405.00 11-24mm f/4L USM 2,699.00 70-300mm f/4.0-5.6IS II USM 499.00 that you never need to miss a moment.
100mm f/2.8 USM Macro 373.00 15-85mm f/3.5-5.6 IS 579.00 75-300mm f/4.0-5.6 USM III 259.00 Add a Sony FE 50mm f/1.8 lens for only 199.00
100mm f/2.8L Macro IS 799.00 16-35mm f/2.8L II USM 1,199.00 100-400mm L IS USM II 1,795.00
when bought with the a6500! Normally 229.00. In stock from 1,499.00
135mm f/2.0L USM 949.00 16-35mm f/2.8L III USM 2,020.00 200-400mm f/4.0L USM 9,799.00
180mm f/3.5L USM 949.00 16-35mm f/4.0L IS USM 879.00 1.4x III Extender 359.00
Sony RX100 V Sony a6300 Sony a7S II
Up to 590 cashback available when purchasing 20.1 24.2 12.2
selected lenses with selected Canon DSLRs MEGA
PIXELS
4K MEGA
PIXELS 11 FPS
MEGA
PIXELS

T&Cs apply. Products can be purchased separately at any time during promo period.
Offer extended until 31.01.2017. See www.parkcameras.com for details.
In stock Spread the cost with Body only + 16-50mm Body only + 24-70 f/2.8 GM
999.00 our nance options!
849.00 1,097.00 2,899.00 4,748.00
Add a Sony NP-BX1 spare Add a Sony NP-FW50 spare Add a Sony NP-FW50 spare
20.1 battery for only 36! battery for only 54! battery for only 54!
MEGA 3.0
3x 3.0 3.0 3.0 3.0
1080p
PIXELS
E-Series Alpha-Series
16mm f/2.8 Pancake 199.00 16-70mm f/4G ZA OSS 799.00 30mm f/2.8 SAM 1:1 Macro DT 169.00
A 1.0 type sensor, bright f/2.0-4.9 lens and 24mm f/1.8 ZA Carl Zeiss 889.00 18-200mm f/3.5-6.3 P. Zoom 949.00 35mm f/1.8 DT 149.00
24mm f/2.0 Carl Zeiss T* 999.00 24-70mm f/4 FE Vario-Tessar T*899.00 50mm f/1.4 Carl Zeiss 699.97*
superior DIGIC 7 ensure DSLR-like creativity
50mm f/1.8 OSS 259.00 24-240mm f/3.5-6.3 FE OSS 849.00 11-18mm f4.5-5.6 DT 599.00
with as much or as little control as you like. 55mm f/1.8 FE Sonnar T* ZA 749.00 28-70mm f/3.5-5.6 FE OSS 449.00 16-35mm f/2.8 Carl Zeiss T* 2,200.00
Available in Black or Silver designs! 90mm f/2.8 Macro G FE OSS 949.00 28-135mm f/4 G FE PZ OSS 2,099.00 24-70mm f/2.8 II Carl Zeiss T*2,000.00

Visit our website to learn more. Expected February 449.00 10-18mm f/4 OSS 699.00 55-210mm f/4.5-6.3 OSS 269.00 55-200mm f4.0-5.6 SAM DT 246.00
16-50mm f/3.5-5.6 OSS 279.00 70-200mm f/4 G FE OSS 1,249.00 70-200mm f/2.8 G SSM II 2,799.00

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20.4
MEGA 3.0 3.0 3.0 IS
3.0 4K
3.0 Panasonic 20.3
MEGA 3.0 3.0 3.2 3.0 4K
3.0 NEW!
PIXELS 15 fps
LUMIX GH5 PIXELS 9 fps

A micro four-thirds camera with almighty Delivering incredible 18 MP 6K Photo stills,

ability - this will be known for its performance recording 60p 4K Video and silent & unobtrusive
in the high speed action eld of photography. quick focus make this an outstanding camera for
photographers and videographers.
Limited stock now available!
Visit us in store or online for details Available from 1,849.00 FREE 5 year warranty when you pre-order Expected March 2017

Olympus E-PL8 Olympus E-M10 Mark II Olympus E-M5 Mark II Panasonic LX100 Panasonic LX15 Panasonic FZ1000
16 16.2 16.1 12.8 LEICA 20.1 20.1
MEGA MEGA MEGA IS MEGA 24MM MEGA MEGA 16x
PIXELS PIXELS 8 FPS PIXELS PIXELS LENS PIXELS PIXELS

Body only + 14-42 EZ Body only + 14-42 EZ Body only + 12-50mm Our price Available in Our price Add a BLH7 Our price Add a BLC12
399.00 499.00 449.00 549.00 749.00 899.00 549.00 Black or Silver 599.00 battery for 44.99
579.00 battery for 49.00

Add an Olympus BLS50 Add an Olympus BLS50 Add an Olympus BLN-1 Save 10% on selected lenses FREE 5 year warranty! FREE 5 year warranty!
spare battery for only 47! spare battery for only 47! spare battery for only 53! with this camera! See web. See website for details. See website for details.

Olympus PEN-F Olympus TG-Tracker Panasonic GX80 Panasonic GX800 Panasonic GX8
20.3 20 16.0 16.0 20
MEGA MEGA MEGA MEGA MEGA
PIXELS 10 FPS PIXELS PIXELS PIXELS PIXELS
NEW!

Body only + 17mm f/1.8 Body only Available in Body only + 12-32mm + 12-32mm Add a BLH7 Body only + 12-60mm
949.00 1,099.00 269.99 Green or Black Book a FREE Olympus 447.00 549.00 499.00 battery for 44.99
699.00 799.00
Add a PEN-F decoration kit See in store or online to test drive today! Save 10% on selected lenses Expected March 2017! Save 10% on selected lenses
for only 49.99! learn more! Ask in store or see wow.olympus.eu with this camera! See web. See website to pre-order. with this camera! See web.

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LEICA M10 MEGA
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5 fps
SETTING
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3.0 SD
3.0
card 3.0
Sigma 105mm Sigma 10-20mm Sigma 150-600mm
f/2.8 EX DG HSM f/3.5 EX DC HSM f/5-6.3 DG OS HSM | C Compact dimensions, improved performance
and the new ISO setting dial on the top plate
offer M-Photographers what they wish for
from an M-Camera.
NEW!
In stock at In stock at In stock at
Call us on 01444 23 70 60 for latest availability! 5,600.00
319 .00
329 .00
719 .00

Add a Sigma 62mm WR UV Add a Sigma 82mm WR UV Add a Sigma 92mm WR UV

lter for only 39.99 lter for only 29.99 lter for only 119.99 51.4 15
MEGA 3.0
FILM 3.0 3.2 3.0 3.0
1080p NEW!
PIXELS MODES
4.5mm f/2.8 Fisheye EX DC 619.00 300mm f/2.8 APO EX DG 2,599.00 50-100mm f/1.8 DC HSM 829.00
8mm f/3.5 Circ. Fish EX DG 599.00 500mm f/4 APO EX DG 4,999.00 50-500mm f/4.5-6.3 OS HSM 1,099.00 Introducing the ultimate high-end mirrorless
15mm f/2.8 Diag F/eye EX DG 599.00 8-16mm f/4.5-5.6 DC HSM 499.00 70-200mm f/2.8 EX DG OS 729.00 camera: a compact and lightweight body
19mm f/2.8 DN 129.00 10-20mm f/3.5 EX DC HSM 329.00 70-300mm f/4.0-5.6 DG 99.00
which overturns common perceptions of
20mm f/1.4 DG HSM 629.00 12-24mm f/4.5-5.6 II DG HSM 529.00 70-300mm f/4.0-5.6 APO 149.00
24mm f/1.4 DG HSM 599.00 17-50mm f/2.8 DC OS HSM 279.00 120-300mm f/2.8 OS HSM2,499.00 medium format digital cameras.
30mm f/1.4 DC HSM 319.00 17-70mm f/2.8-4 DC OS 319.00 150-600mm Cont. + 1.4x 849.00 Expected to arrive late February!
30mm f/2.8 DN 129.00 18-35mm f/1.8 DC HSM 549.00 150-600mm f/5-6.3 Sport 1,199.00 See website for full details & our pre-order offer Available from 6,199.00
35mm f/1.4 DG HSM 599.00 18-200mm DC OS HSM 269.00 150-600mm Sport + 1.4x 1,299.00
60mm f/2.8 DN
85mm f/1.4 EX DG HSM
129.00
999.00
18-250mm DC Macro OS HSM 279.00
18-300mm f/3.5-6.3 DC Macro 349.00
300-800mm f/5.6 EX DG 6,499.00
1.4x APO EX DG 179.00
Win a 14 day trip to Antarctica
105mm f/2.8 EX DG OS HSM 319.00 24-35mm f/2 DG HSM Art 699.00 1.4x Teleconverter TC1401 229.00 with Andy Rouse and Natural World Safaris
150mm f/2.8 OS Macro 649.00 24-70mm f/2.8 IF EX DG 549.00 2.0x APO EX DG 199.00
180mm f/2.8 EX DG OS HSM1,099.00 24-105mm f/4 DG OS HSM 599.00 2.0x Teleconverter TC2001 269.00

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In stock at
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SP 35mm f/1.8 Di VC USD
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Tamrac Anvil 15
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599.00 16-300mm f/3.5-6.3 Di II VC 429.00 28-300mm f/3.5-6.3 XR Di LD 599.00 Competition open from 1st February until 28th February 2017. Rules apply
599.00 SP 17-50mm f/2.8 XR Di II VC 399.00 28-300mm f/3.5-6.3 Di VC PZD 599.00
599.00
599.00
SP 17-50mm f/2.8 XR Di II
18-200mm f/3.5-6.3 Di II VC
399.00
299.00
SP 70-200mm f/2.8 Di LD [IF] 549.00
70-200mm f/2.8 Di VC USD 1,099.00 Why choose Park Cameras?
369.00 18-200mm f/3.5-6.3 Di III VC 389.00 70-300mm f/4-5.6 Di LD 129.00
439.00 SP 24-70mm f/2.8 Di VC USD 799.00 SP 70-300 f/4-5.6 Di VC USD 299.00 Touch & try stores in London & West Sussex
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18-55 F3.5/5.6 IS STM no box 169
18-135 F3.5/5.6 IS U Nano . . . 448 85 F1.8 USM . . . . . . . . . . . . . . . . 338
1239 Plus 18-135 F3.5/5.6 IS STM no box 349 100 F2.8 IS L USM macro. . . 749
Body only 15-45 1149 24 F2.8 STM . . . . . . . . . . . . . . . . 138 100 F2.8 Macro USM. . . . . . . 448
CANON EF 100-400 F4.5/5.6 IS LII U . . . .1779
price Canon EOS 80D Canon EOS M5 FULL FRAME LENSES 200-400 F4 IS L USM . . . . . . .9699

4797 APS-C APS-C 8-15 F4 L USM Fisheye. . . . . . . 979 200 F2.8 II L USM . . . . . . . . . . . 649
Body only 11-24 F4 L USM . . . . . . . . . . . .2649 300 F2.8 IS L USM II . . . . . . . .5777
M5 + 18-150 16-35 F2.8 L USM MKIII . . . . .1997 300 F4 L IS USM. . . . . . . . . . . .1138
998 16-35 F4 L IS USM. . . . . . . . . . . 866 400 F2.8 IS L USM II . . . . . . . .8997
Canon EOS 5D MKIV Plus 18-55 STM
Plus 18-135 STM
1079
1298
1399 17-40 F4 L USM . . . . . . . . . . . . . 668
20 F2.8 USM . . . . . . . . . . . . . . . . 447
400 F4 DO II IS USM . . . . . . . 6497
400 F5.6 L USM . . . . . . . . . . . .1098
500 F4 IS L U II . . . . . . . . . . . . 8197
24 F1.4 L II USM. . . . . . . . . . . .1478
Full Frame Canon EOS 750D Canon EOS M3 24 F2.8 IS USM . . . . . . . . . . . . . . 429 600 F4 IS L USM II . . . . . . . .10444
APS-C 24 F3.5 LII TSE. . . . . . . . . . . . . 1499 1.4x III converter. . . . . . . . . . . 376
Body only APS-C 24-70 F2.8 L II USM. . . . . . . . .1897 2x III converter . . . . . . . . . . . . 376
Body only 12mm EF MKII ext tube. . . . . 69
24-70 F4 L IS USM. . . . . . . . . . . 747
price 528 M3 + 15-45
24-105 F4 L IS USM MKII. . . .1049 25mm EF MKII ext tube. . . . 128

3494
Canon EOS Full Frame Bodies
EOS 5DsR body..................................2897
EOS 5Ds body ....................................2797
EOS 6D body......................................1447
EOS 6D + 24-105 f3.5/5.6 IS U STM ..1697
Plus 18-55 STM 628 419 24-105 F3.5/5.6 IS STM . . . . . .378 CANON FLASH & DSLR GRIPS
Plus 18-135 STM 798 28 F2.8 IS USM . . . . . . . . . . . . . . 387 MR-14 EX II . . . . . . . . . . . . . . . . .448
35 F1.4 USM LII . . . . . . . . . . . .1798 MT-24 EXII . . . . . . . . . . . . . . . . . .748
Canon EOS 760D Canon EOS M LENSES 35 F2 IS USM. . . . . . . . . . . . . . . . 468 430EX III RT Speedlight
Speedligh . . . . . .218
APS-C
11-22 f4/5.6 IS STM ....................... 317
15-45 f3.5/6.3 IS STM .................... 219
40 F2.8 STM . . . . . . . . . . . . . . . . 189
50 F1.2 L USM . . . . . . . . . . . . .1249
600EX-RT II Speedlight
Speedligh . . . . . . 538
BG-E20 (fit 5D MKIV) . . . . . . . . 279
18-55 f3.5/5.6 IS STM .................... 199
50 F1.4 USM . . . . . . . . . . . . . . . . 328 BG-E16 (fit 7D MKII) . . . . . . . . . 179
Body only 18-150 f3.5/6.3 IS STM.................. 429
50 F1.8 STM . . . . . . . . . . . . . . . . 108 BG-E18 (fit 750/760D) . . . . . . . . 99
22 f2 STM ....................................... 198
548 28 f3.5 Macro IS............................. 289 70-200 F2.8 IS LII USM. . . . . .1848 BG-E14 (fit 80D). . . . . . . . . . . . . 178
55-200 f4.5/6.3 IS STM.................. 268 70-200 F2.8 non IS L USM. . .1097 BG-E13 (fit 6D) . . . . . . . . . . . . . . 147

Nikon D5 Nikon D500 DX NON FULL FRAME LENSES

10.5 F2.8 DX Fisheye . . . . . . . .599
10-24 F3.5/4.5 AFS G . . . . . . . .729
Full Frame APS-C 16-80 F2.8/4 AFS ED VR. . . . . .858
16-85 F3.5/5.6 AFS VR . . . . . . .568 8-16 F4.5/5.6 DC HSM . . . . . .478 105 F2.8 EX DG OS HSM . . . .318
Body only price 18-105 F3.5/5.6 AFS G no box239 10-20 F3.5 EX DC HSM . . . . . .328 150 F2.8 EX DG OS. . . . . . . . . .647
Body only
1728
18-140 F3.5/5.6 AFS VR . . . . . .458 12-24 F4 DG HSM Art . . . . . 1647 150-600 F5/6.3 OS Cont. . . . .697
18-300 F3.5/6.3 AFS VR . . . . . .628
price 35 F1.8 AFS G . . . . . . . . . . . . . . .178
12-24 F4.5/5.6 II DG. . . . . . . . .528
17-50 F2.8 EX DC OS. . . . . . . .278

4797
FX FULL FRAME LENSES 18-35 F1.8 DC HSM Art . . . . .547
14-24 F2.8 AFS G ED. . . . . . . 1638 18-300 F3.5/6.3 DC mac OS .335
Nikon D5600 16-35 F4 AFS VR . . . . . . . . . . 1018
18-35 F3.5/4.5 AFS G . . . . . . . .618
20 F1.4 DG HSM Art . . . . . . . .629
24 F1.4 DG HSM Art . . . . . . . .598 150-600 F5/6.3 OS Sport . . 1197
APS-C 20 F1.8 AFS G ED. . . . . . . . . . . .647
24-35 F2 DG HSM Art . . . . . . .698 500 F4 DG OS HSM Sport . 4997
Nikon D750 Plus 18-55 AF-P 798
24 F1.8 AFS G ED. . . . . . . . . . . .628
24-70 F2.8 AFS G ED VR. . . . 1598 24-70 F2.8 EX DG . . . . . . . . . . .548 500 F4.5 EX APO DG HSM. 3499
TC1401 converter. . . . . . . . . . .228
Full Frame 24-120 F4 AFS G ED VR . . . . . .897 35 F1.4 DG HSM Art . . . . . . . .598
Plus 18-140 VR 989 50 F1.4 EX DG HSM Art . . . . .569 TC2001 converter. . . . . . . . . . .269
35 F1.8 AFS G . . . . . . . . . . . . . . .438 USB Lens dock. . . . . . . . . . . .39.99
Body only 50 F1.4 AFS G . . . . . . . . . . . . . . .377 50-100 F1.8 DC HSM Art . . . .828
1597 Nikon D3400 50 F1.8 AFS G . . . . . . . . . . . . . . .188 50-500 F4.5/6.3 DG OS. . . . . .848
70-200 F2.8 EX DG OS . . . . . .728 LOTS OF SIGMA LENSES
70-200 F2.8 AFS VRII . . . . . 1898
Plus 24-120 f4 VR 2297
APS-C 70-200 F4 AFS G ED VR . . . . 1178 70-300 F4.5/5.6 Mac DG . . . . . 99 AVAILABLE IN SONY &
Plus 18-55 AF-P 70-300 F4.5/5.6 AFS VR . . . . . .497 70-300 F4.5/5.6 APO Mac DG 149 PENTAX AF FITS
70-300 F4.5/6.3 AFP VR . . . . . .288 85 F1.4 DG Art. . . . . . . . . . . . 1189
Nikon D810 438 70-300 F4.5/6.3 AFP non VR .259
85 F1.8 AFS G . . . . . . . . . . . . . . .428
150-600 F5/6.3 VC USD G2 1349
Full Frame Nikon DSLR Cameras APS-C Format 105 F2.8 AFS VR macro . . . . . .748
150-600 F5/6.3 SP VC USD ....728
200-500 F5.6 AFS E ED VR. . 1178
D7200 Body only ..............................848 300 F2.8 AFS ED VRII . . . . . . 4897 16-300 f3.5/6.3 Di II VC PZD .388 Kenko Converters
Body only D7200 + 18-105 VR .........................1087
D5500 Body only ..............................578
300 F4 AFS E PF ED VR. . . . . 1497
400 F2.8 G E FL ED VR . . . . 10398
18-200 F3.5/6.3 Di II VC..........189 1.4x Pro 300 converter...........159
70-300 F4/5.6 Di VC USD.......289 2x Pro 300 converter ..............159
2398 D5500 + 18-55 VRII ...........................648 500 F4 E AFS FL ED VR . . . . . 8447
70-300 F4/5.6 Di AF.................129 Auto ext tube set..............109.99
D5500 + 18-140 VR ...........................797 600 F4 E AFS FL ED VR . . . . . 9699

WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS.
X-T2
Body Black
1398 X-Pro2 body.................................1299
X-T2 + 18-55mm ........................1647
16-55mm F2.8............................... 898
18mm F2 XF................................... 449
SYSTEM
56mm F1.2 XF ............................... 797
60mm F2.4 XF ............................... 578
GFX50 Medium
Format System

Plus 18-55 X-T2 body Graphite...................1649
X-T2 body .....................................1398
1647 X-T20 + 18-55mm......................1049
X-T20 body..................................... 799
X-T10 + 18-55mm........................ 798
X-T10 body Blk/silv...................... 485
X-Pro2 X-A10 + 16-50mm ....................... 499
Body only X100f compact camera ...........1249
18-55mm F2.8/4 OIS .................. 618
18-135mm F3.5/5.6 XF............... 649
23mm F1.4 XF ............................... 788
23mm F2 XF R WR ....................... 418
27mm F2.8 XF ............................... 328
35mm F1.4 XF ............................... 448
35mm F2 R WR.............................. 347
50mm F2 R WR.............................. 449
90mm F2 R LM WR ...................... 797
100-400 F4/5.6 OIS WR ............... 1439
1.4x XF TC WR................................ 299
2x XF TC WR ................................... 347
11mm or 16mm Ext tube ea.......64
X System Grips & Flashguns
VPB-XT2 Vertical grip.................. 268
VPB-XT1 Vertical grip.................. 119

1299
X System Lenses
10-24mm F4 XF ............................ 766
14mm F2.8 XF R ........................... 788
16mm F1.4 XF ............................... 797
50-140mm F2.8 R OIS...............1328
50-230mm F4.5/6.7 XC OIS ...... 247
55-200mm F3.5/4.8 OIS XF....... 597
56mm F1.2 R APD......................1158
EF-20 TTL Flashgun........................98
EF-42 TTL Flashgun..................... 168
For body & lens prices
EF-X20 TTL Flashgun .................. 168 please see website
EF-500 TTL Flashgun .................. 449

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 30/01/2017. P&P Extra. E&OE.
MORE ON WEBSITE - UPDATED DAILY. FREE U.K. MAINLAND DELIVERY FOR ITEMS OVER 100 VALUE. ALL U.K. STOCK, NO GREY IMPORTS.
 Although we are the best stocked dealer in the West Country,
we cannot always have every item listed in stock at all times, so
we are happy to reserve new & used items for customers
planning to visit. Prices correct 30/01/2017 but subject to
change without notice. See website for up to date prices. E&OE.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
canon dIgItal af used
used canon 1DX MKII body..................... 4299
1DX body box...........2299/2799
EOS 1DX 1D MKIV b/o serviced ....... 1499
body 1D MKIV body.........................999
1D MKIII body .........................699
box 1Ds body ..................................299
7D MKII body box..................999
2299/2799 7D body ....................................499
5D MKIV body Mint box... 3097
5D MKIII b/o box......1399/1699
used canon 5D MKII body ............................. 799
5D MKI body box ..................... 499
EOS 5D 70D body box............................ 549
60D body..................................... 399
MKIII 50D body..................................... 299
body 30D body..................................... 129
20D body........................................99
bo
box EVF-DC1 for G3X ...................... 149
BG-E2............39 BG-E2N..........49
1399/1699 BG-E4 box...69 BG-E5 .............49
NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
nIkon dIgItal af used
used nikon D4s body box....................... 3699
D4 body box......................... 2299
D4s body D3X body box...................... 1799
box D3s body box............1499/1799
D3 body box......................... 1199
3699 D2xs body ................................399
D2x body ..................................349
D800 body ............................ 1399
used nikon D700 body box.......................699
D600 body box.......................799
D4 body D300 body box.......................299
box D200 body box.......................149
D7100 body box ....................499
D7000 body....................299/349
2299 D5000 body.............................199
D90 body..................................199
used nikon D80 body..................................169
D50 body.................................... 79
D3X body MBD-15 grip ............................149
box MBD-14 grip ............................149
MBD-10 grip M- box.............129
MBD-10 grip .............................. 79
1799 MBD-80 grip .............................. 49
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
fuJI dIgItal used
used fuji X-Pro2 body box................... 999
X-Pro2 X-T1 body graphite box ..... 499
X-T1 body black..................... 499
body box X-T1 body black..................... 449
X-T10 body box ..................... 349
999 X-E1 body black .................... 199
10-24 F4 ................................... 599
18-55 F2.8/4 XF ..................... 399
used olympus 27 F2.8 XF box ....................... 199
OM-D E-M1 35 F1.4 R box.......................... 399
body M- 55-200 F3.5/4.8 R.................. 449
60 F2.4 macro box................ 429
box 1.4x converter........................ 269
599 X-T1 vertical grip......................79
X10 box .................................... 149
used sony MINOLTA/SONY DIGITAL USED
Sony A7R II body box..........2299
A7R II Sony A7 II body ....................... 999
Sony A6300 body................... 749
body box Sony VG-B30AM.........................69
2299 Sony VG-C2EM......................... 179
Sony VG-C70AM...................... 139
MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED
Used Hasselblad bronIca etrs 645 used
40 F4 MC................................... 149
50mm F4 75 F2.8 PE ................................. 149
105 F3.5........................................99
CF FLE 135 f4 PE................................... 249
849 150 F3.5 E ....................................99
150 F3.5 PE M- Box................ 149
200 F4.5 PE............................... 199
Used Mamiya E14 Ext tube ...............................49
E42 Ext tube ...............................49
RB67 Pro SD + 120 RFH........................................69
90 KL + WLF Polaroid Back .............................39
+ Back Plain prism ..................................59
Rotary prism...............................99
549 Angle viewfinder E................ 129
Winder early ...............................79
Used Rollei Speed Grip E...............................39
Tripod adapter E .......................39
3.5F 6x6 Winder early ...............................49
Metz SCA 386.............................49
TLR bronIca sq 6x6 used
40 F4 S........299 50 F3.5 PS299
50 F3.5 S.................................... 149
see web 110 F4.5 PS macro................. 399
35MM & MISCELLANEOUS USED
canon fd used
used leica 28 F2.8 ..........................................49
35-70 F3.5/4.5 ............................59
R8 body 35-70 F4 .......................................69
black 50 F1.4.........99 50 F1.8........49
box 50 F2..............................................49
70-150 F4.5 .................................29
75-200 F4.5 .................................49
499 100-300 F5.6...............................79
135 F3.5 (Breechlock)..............39
used Zeiss 2x Extender B.............................49
25mm or 50mm Ext tube ea 29
Victory Diascope 85T* 177A flash....................................20
199A flash....................................39
FL + 20x60 box 244T flash......20 277T flash25
1399 300TL flash..................................49
Winder A.....20 Winder B....30
contaX 35mm rf used
90 F2.8 G................................... 299
Item you requIre not lIsted? Please gIve us detaIls of what you are lookIng for and we wIll contact you when that Item becomes avaIlable.
mail order used items sold on 10 day approval. return in as received condition for refund if not satisfied (postage not included - mail order only). e&oe.
BG-E6................................................79
BG-E7................................................79
BG-E8................................................69
BG-E11 .......................................... 169
BG-E13 .......................................... 119
BG-E16 box ................................. 149
CANON AF FILM BODIES USED
EOS 3 body M- box ...............299
EOS 1n HS body.....................199
EOS 30/5 body each............... 69
EOS 650 body ........................... 39
EOS 600 body ........................... 39
EOS 50E body............................ 29
EOS 500N body ........................ 29
EOS 1000 body......................... 29
PB-E2 drive M- box................199
PB-E2 drive fits EOS1/3........149
canon af lenses used
10-22 F3.5/4.5 U.....................279
16-35 F2.8 USM LII.................899
16-35 F2.8 USM LI..................699
MBD-100 grip............................ 39
MBD-200 grip............................ 49
NIKON AF FILM BODIES USED
F4S body inc MB-21..............349
F4E body inc MB-23..............299
F65 body..................................... 39
F801 body ............................29/59
F601 body .................................. 29
nIkon af lenses used
10-24 F3.5/4.5 AFS DX .........549
14-24 F2.8 AFS M- box........1099
14-24 F2.8 AFS ..................... 999
16 F2.8 Fisheye AFD.......... 499
16-35 F4 VR............................ 749
16-85 F3.5/5.6 AFS VR.........399
17-55 F2.8 AFS ............................449
18-35 F3.5/4.5 AFS ....................479
18-35 F3.5/4.5 AFD ...................299
18-55 F3.5/5.6 AFS VR................99
18-105 F3.5/5.6 AFS VR...........169
18-135 F3.5/5.6 AFS G.............169
18-200 F3.5/5.6 AFS VRI..........249
20 F2.8 AFD..................................329
20 F2.8 AF......................................279
Sony HV56AM.......................... 169
Sony LA-EA4 mount adap .. 189
sony neX used
A6000 body..................................329
NEX 5 body ...................................129
FE 16-35 F4 ZA OSS E...............999
FE 16-50 F3.5/5.6 EZ .................149
FE 28-70 F3.5/5.6 OSS..............299
FE 90 F2.8 macro........................799
Samyang 100 F2.8 macro......229
mInolta/sony af used
Dynax 9 body......................... 299
800Si body .................................69
7xi body ......................................49
7000i body.................................39
300Si body .................................19
20-35 F3.5/4.5 M- box......... 249
24 F2.8 AF................................ 199
24-50 F4 ......................................99
24-85 F3.5/4.5 ........................ 149
28 F2.8 .........................................99
28-80 F4/5.6...............................39
28-85 F3.5/4.5 ...........................99
135 F4 PS M-............................ 229
150 F3.5 S ....................................79
150 F4 PS ......................... 149/199
180 F4.5 PS............................... 399
200 F4.5 PS M- box ............... 199
2x PS converter M-................ 179
135N back ................................ 119
SQA Polaroid back....................59
SQAi 120 RFH .............................79
SQAi prism late....................... 299
45 Prism box .......................... 129
Plain Prism S Boxed .................69
AE Prism Early ............................79
ME Prism Finder ........................69
Metz SCA 386.............................49
Pro shade S .................................59
Lens Hood 65-80.......................20
SQAi Motorwinder ................ 149
Speed grip S ...............................79
hasselblad 6x6 used
Sports viewfinder .....................69
Chimney.......................................89
A12 chrome latest................. 299
A12 late blk/chr...................... 129
Please contact us to determine availability before making a lengthy journey
contaX mf used
28-70 F3.5/4.5 MM ................ 169
HASSELBLAD XPAN USED
Centre filter 49mm........................129
leIca slr used
R8 body black box................. 499
28-70 F3.5/4.5 R ..................... 399
leIca oPtIcs used
Televid APO 77 + eyepiece .... 799
Televid 77 + 20x60................ 649
Trinovid 10x42........................ 599
Ultravid 8x32 HD ................... 849
lIghtmeters used
Polaris ...........................................99
Sekonic L308..............................99
Sekonic L408........................... 149
mInolta md used
X300 chrome body ..................49
X300s black body .....................49
Website altered daily inc. manufacturers cashback & promotions
www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.
17 F4 L TSE M- box............. 1199
17-40 F4 L.................................449
17-55 F2.8 EFS IS USM .........399
17-85 F4/5.6.............................199
18-135 F3.5/5.6 IS USM............349
24 F3.5 TSE MKI box...................699
24-70 F2.8 L USM box...............799
24-85 F3.5/4.5 USM....................149
24-105 F4 L.....................................549
28 F2.8 .......................................129
28-80 F3.5/5.6 ........................... 79
28-90 F3.5/5.6 ........................... 79
28-135 F3.5/5.6 IS USM .......169
40 F2.8 STM .............................139
50 F1.2 L USM box.................999
50 F1.4 USM.............................239
50 F2.5 macro .........................149
55-250 F4/5.6 EFS..................139
60 F2.8 USM EFS mac...........249
70-200 F2.8 IS USM LI...........999
70-200 F2.8 USM L ................799
24-70 F2.8 AFS box...................849
24-85 F3.5/4.5 VR ........................329
24-120 f4 AFS VR.........................699
24-120 F3.5/5.6 AFD..................199
28 F1.8 AFS G................................479
28-100 F3.5/5.6 AF G................... 69
28-300 F3.5/5.6 VR......................599
35 F2 AFD .......................................199
35-70 F3.3/4.5 AF.......................... 59
40 f2.8 AFS Micro...................169
50 F1.4 AFD..............................199
50 F1.8 AFD................................ 99
55-200 F4/5.6 AFS ................... 79
55-300 F4.5/5.6 VR DX .........219
60 F2.8 AFS ..............................399
60 F2.8 AF.................................199
70-200 F2.8 AFS VRII.......... 1349
70-200 F2.8 AFS VRI..............899
70-200 F4 AFS VR...................899
70-300 F4/5.6 VR....................369
70-300 F4/5.6 AFD ................129
85 F1.4 AFS M- box ...............999
85 F1.4 AFD..............................499
85 F1.8 AFS ..............................329
35-70 F4 ......................................39
35-70 F3.5/4.5.................................25
35-80 f4/5.6......................................25
35-105 F3.5/4.5 ..............................99
50 F1.7 AF.........................................89
50 F2.8 macro..............................149
75-300 F4.5/5.6 ..............................99
85 F1.4.............................................549
100-300 F4.5/5.6 APO..............149
VC700 grip........................................39
RC1000S/L cord .............................15
Angle finder VN..............................69
sony lenses used
16-80 F3.5/4.5 ZA DT................499
18-55 F3.5/5.6 SAM......................59
18-200 F3.5/6.3 DT ....................199
55-200 F4/5.6 DT SSM ................69
75-300 F4/5.6...............................129
sIgma mIn/sony af used
18-35 F1.8 Art........................... 449
28-135 F3.8/5.6...........................79
28-300 F3.5/6.3 macro.......... 149
50 F1.4......................................... 149
For more used equipment listings please see website www.mifsuds.com
Polaroid back tatty...................79
50 F4 CF FLE ............................ 849
80 F2.8 CF................................. 479
150 F4 chrome serviced...... 199
250 F5.6 CF .............................. 399
Ext tube 21, 55 each................39
Vivitar 2x conv ...........................49
Pro shade 6093..........................99
Lens hoods various........... 20/50
mamIya 645 mf used
645 Prol TL + 80 + prism
+ winder box........................... 399
Plain prism (645 Super)..........39
Polariod Back HP401 ...............29
Polaroid back .............................29
120 Insert.....................................20
HA401 120 RFH Box.................49
120 Back.......39 Winder........79
45 F2.8 N................................... 199
120 F4 macro .......................... 269
150 F2.8 A................................. 199
150 F3.5 N ...................................79
150 F3.8 NL leaf...................... 299
210 F4 N M- ................................79
X700 black body .......................69
XGM chrome body...................49
28 F3.5 MD..................................39
50 F1.7 MD..................................49
50 F2 MD .....................................49
70-210 F4 MD.............................99
2x Converter...............................79
Ext tube for 50 F3.5..................29
Ext tube set.................................49
Auto bellows 1...........................99
nIkon mf used
F3 body ..................................... 199
FM2n body chr box............... 299
FM2n body chr ....................... 249
FE body chrome........................99
20 F3.5 AI.................................. 199
24 F2.8 AI.................................. 199
28 F2.8 AIS................................ 199
28 F3.5 AIS...................................99
70-200 F4 U L ..........................399
70-300 F4/5.6 L IS U.....699/799
70-300 F4.5/5.6 IS USM .......249
75-300 F4/5.6 MKII .................. 99
85 F1.8 M-.................................269
100 F2.8 IS USM L ..................599
100 F2.8 USM box..................299
100-400 F4.5/5.6 L IS U......... 899
135 F2 L M- box......................499
180 F3.5 L mac..........................799
300 F2.8 LI IS U.......................2799
300 F4 L IS USM box...............749
400 F4 DO ISII L U.................5799
400 F5.6 L box...........................749
500 F4 LII IS USM ..................6999
500 F4 LI IS USM....................4499
1.4x extender MKII ................239
2x extender MKIII.....................319
2x extender MKII......................199
Teleplus 2x DG conv............... 89
Kenko ext tube set DG............... 89
85 F1.8 AFD..............................249
85 F3.5 DX M- box.................269
105 F2 AFD...............................649
105 F2.8 AFS VR......................579
105 F2.8 AFD...........................399
135 F2 AFD box......................799
180 F2.8 AFD M- box............449
200 F4 AF..................................999
200-400 F4 AFS VRII........... 3799
200-500 F5 AFS VR ................999
300 F2.8 AFS VRI ................. 2699
300 F4 AFS box.......................549
400 F2.8 AFS VR serviced. 5799
400 F2.8 AFS non VR.......... 3999
600 F4 AFS VR ...................... 6299
600 F4 AFS VR
serviced.................................. 5799
600 F4 AFS II non VR
serviced.................................. 4499
TC14EII.......................................299
TC17EII.......................................249
TC20EIII M- box ......................249
TC20EII.......................................199
TC20E .........................................149
50 F2.8 EX DG macro ............ 149
55-200 F4/5.6 ..............................69
70-300 F4/5.6 DG OS ........... 169
70-300 F4/5.6 APO DG...........99
150-500 F5./6.3 DG .............. 499
170-500 F5/6.3....................... 299
1.4x EX conv ..............................99
TAM 10-24 F3.5/4.5 DiII ...... 239
TAM 18-200 F3.5/6.3...............99
TAM 70-300 F4.5/5.6 Di box 79
TAM 90 F2.8 ................... 179/249
TAM 150-600 F3.5/6.3 USD ..... 599
Teleplus 1.4x conv...................69
Teleplus 2x conv ......................79
Kenko 1.4x Pro 300DG........ 149
Min 5200i....................................29
Min 5400HS ...............................39
Min 5600HSD M-......................99
olymPus 4/3 used
E10 MKII body........................ 349
E10 body.................................. 279
14-42 F3.5/5.6 ...........................49
14-45 F3.5/5.6 ...........................79
Ext Tube 1, 2, 3S each .............29
Teleplus 2x converter..............49
Vivitar 2x converter..................39
mamIya tlr 6x6 used
C330 F Body + WLF ............... 149
55 F4.5 ....................................... 199
65 F3.5 box late ...................... 199
65 F3.5 serviced...................... 149
80 F2.8 late serviced............. 139
180 F4.5..................................... 149
250 f4.5 late serviced............ 249
250 f4.5 early serviced...... 179
Paramender ................................49
Porrofinder..................................59
mamIya 6 & 7 rf 6x7 used
6 body + 75 F3.5..................1099
50 F4 G ...................................... 599
50 F4.5 L + VF.......................... 699
80 F4.5 L M- box..................... 699
150 F4.5 M- .............................. 399
mamIya rb 6x7 used
Pro SD + 90 KL
+ WLF + back .......................... 549
Pro S + 90 + WLF + back..... 399
28 F2.8 E box..............................69
28-85 F3.5/4.5 AIS.................. 199
35-70 F3.3/4.5 AIS.................. 129
35-70 F3.5 AIS ............................99
35-105 F3.5/4.5 AIS..................79
50 F1.4 AI.................................. 199
50 F1.8 AIS pancake.............. 139
50 F1.8 E.......................................59
55 F2.8 AIS................................ 199
105 F2.8 AIS macro ............... 199
180 F2.8 AIS ED scruffy........ 179
500 F4 AIS...............................1499
500 F8 mirror early................ 279
TC200 ............................................49
SC-17 TTL lead...........................25
DW-3 WLF find fit F3 ...............99
DW-21 fits F4........................... 149
olymPus om used
OM-4T body ............................ 249
sIgma caf used
10-20 F3.5 EX DC................269
10-20 F4/5.6 HSM box .......219
12-24 F4.5/5.6 EX DG II...........449
18-50 F2.8 EX DC.......................149
18-125 F3.8/5.6 OS DC ...........149
18-200 F3.5/6.3 HSM OS...........179
24-70 F2.8 HSM..........................469
28-135 F3.8/5.6 ............................99
50 F2.8 EX macro .....................149
50-500 F4/6.3 EX DG ............399
70-200 F2.8 EX DG ...............399
120-300 F2.8 DG OS
Sport box............................... 1799
120-300 F2.8 EX DG ..............699
120-400 F4/5.6 DG ................399
150 F2.8 EX DG OS mac.........499
150-500 F5/6.3 HSM................499
150-600 F5/6.3 DG OS..............999
170-500 F5/6.3 APO DG...........299
180 F3.5 EX DG HSM mac.......399
sIgma naf used
12-24 F4.5/5.6 EX DG II.............449
15 F2.8 EX DG ...............................399
18-200 F3.5/6.3 DC OS............199
24-70 F2.8 EX DG serviced....299
28-200 F3.5/5.6 early...................69
30 F1.4 EX DC..............................199
50 F1.4 Art M- box.....................499
50-500 F4/6.3 DG..........399/499
70-200 F2.8 OS DG................599
70-200 F2.8 EX DG.................399
70-300 F4/5.6 APO DG........... 99
80-400 F4.5/5.6 DG OS ........399
105 F2.8 EX ..............................199
120-400 F4/5.6 DG ................399
150 F2.8 EX DG OS mac...........499
150-500 F5/6.3 DG OS..............499
300-800 F5.6 EX DG................2999
2x EX DG converter....................149
1.4x or 2x EX conv each............. 99
tamron naf used
10-24 F3.5/4.5 DiII.......................239
11-18 F4.5/5.6...............................219
18-250 F3.5/6.3 ............................149
14-50 F3.8/5.6 ........................ 199
14-54 F2.8/3.5 ........................ 149
35 F3.5 .........................................99
35-100 F2 M- box.................. 899
40-150 F4/5.6 ............................49
50 F2 macro............................ 279
25mm ext tube.........................79
FL-36 Flash .............................. 119
olymPus mIcro 4/3 used
Stylus 1F................................... 299
OMD-EM1 body M- box ..... 599
OMD E-M5 MKII b/o box.... 499
OMD E-M5 body box........... 249
OMD-EM10 MKII body........ 299
OMD-EM10 body.................. 249
12-40 F2.8 Pro........................ 649
12-50 F3.5/6.3 ........................ 149
17 F2.8 ...................................... 159
45 F1.8 box ............................. 199
40-150 F2.8 Pro ..................... 949
40-150 F4/5.6 ......................... 139
45 F1.8 ...................................... 159
60 F2.8 .........................................99
Pro S body................................ 149
Pro S body scruffy ....................99
Plain prism late....................... 199
WLF..........79 Chimney...........99
120 645V back ...........................99
50 F4.5 ....................................... 199
90 F3.5 KL ................................. 299
127 F3.5 KL............................... 299
180 F4.5............................................ 149
Pro SD ext tube 2 82mm............99
Pro SD ext tube 1 45mm............99
Ext tube 2...........................................49
mamIya rZ 6x7 used
RZ Pro body ............................. 149
120 RFH Pro II.............................99
120 RFH Pro I..............................49
Polaroid back .............................79
FE701 prism............................. 299
WLF...........79 Winder II..........69
50 F4.5 W .................................. 249
65 F4 box M- ........................... 399
90 F3.5 W M- box................... 299
180 F4.5 W................................ 199
Pro shade.....................................49
OM-1n body ............................ 199
OM-1 body............................... 149
OM-2SP body.......................... 149
OM-2n body blk or chr........ 149
28 F3.5 ..........................................49
35-70 F3.5/4.5 ............................79
35-105 F3.5/4.5..........................79
50 F3.5 macro ............................79
200 F4 ...........................................79
7, 14, 25 man ext tube ea......20
14 auto ext tube .......................29
25 auto ext tube .......................29
PentaX 35mm af used
16-45 F4 .................................... 199
17-70 F4 SDM M- box .......... 299
18-55 F3.5/5.6 ............................29
28-80 F3.5/5.6 ............................49
50-135 F2.8 SDM.................... 379
55-300 F4/5.8 ED box........... 199
1.4x EX DG converter................149
Kenko Pro 300 1.4x conv........... 99
Kenko ext tubes............................. 79
other caf used
TAM 10-24 F3.5/4.5 Di II ......... 199
TAM 18-270 F3.5/6.3 VCII ......169
TAM 28-300 F3.5/5.6 Di
VC PZD.......................................449
TAM 28-75 F2.8 XR Di...........199
TAM 70-300 F4/5.6 .....................99
TAM 90 F2.8 .................................249
TAM 150-600 F5/6.3 USD......599
TAM 200-500 F5/6.3.................449
canon flash used
ST-E3 transmitter box ..........189
ST-E2 transmitter ..................... 79
MR-14EX ringflash.................349
430EXII.......................................169
550EX.........................................149
580EX box ................................179
580EX MKII ...............................299
19-35 F3.5/4.5................................. 99
24-70 F2.8 USD.............................599
28-300 F3.5/6.3 XR Di................149
60 F2 SP Di......................................229
70-300 F4/5.6.................................. 79
other naf used
TOK 10-17 F3.5/4.5 ATX.......249
TOK 11-18 F2.8 ATX Pro.......329
TOK 12-28 F4 ATX DX...........399
TOK 80-200 F2.8 ATX Pro ....299
flash / accessorIes used
SB-24.....................................................49
SB-25.....................................................49
SB-28................................................... 69
SB-80DX............................................. 79
SB-600...............................................169
SB-900...............................................249
SB-R1 kit M- box..........................399
SD-8 batt pack................................ 49
DR-3 angle finder.......................... 59
MB-10 (fits F90).............................. 29
MB-23 (fits F4)................................. 69
MC-30 remote ................................ 39
MF-23 (date back F4) .................. 79
HLD-8 grip............................... 149
HLD-7 grip box...................... 119
HLD-6 grip..................................99
PanasonIc dIgItal used
GH2 body ................................ 299
G6 body black........................ 299
G3 body box........................... 129
GX7 body................................. 399
GX1 body box........................ 149
GF7 body silver box............. 199
GF3 body black ........................99
GF1 body .......................................79
GM1 body silver.................... 299
12-35 F2.8................................ 549
14 F2.5 ...................................... 199
14-42 F3.5/5.6 ...........................79
14-45 F3.5/5.6 ........................ 149
20 F1.7 ...................................... 199
35-100 F4/5.6 ......................... 199
45-200 F4/4.5 box ................ 199
100-300 F4/5.6....................... 349
PentaX dIgItal used
Km body .................................. 149
PentaX 645af used
645N body ............................... 399
AF500FTZ flash..........................79
PentaX 645mf used
645 + 75 F2.8........................... 249
645 body + insert .................. 199
55 F2.8 ....................................... 249
150 F3.5 EX++......................... 149
200 F4 ........................................ 149
300 F4 ........................................ 249
1.4x converter......................... 199
PentaX 67 used
45 F4 latest M- ........................ 499
135 F4 macro late .................. 249
165 F2.8 latest M- .................. 499
200 F4 latest ............................ 169
200 F4 early...................................99
300 F4 early scruffy................... 99
Pentax rear conv 1.4x.............. 249
2x rear converter.................... 179
Auto ext tubes ...........................49
Vivitar 2x conv ...........................49
rolleI 6x6 tlr used
3.5F ............................. see website
70 F2.8 Limited....................... 349
70-300 F4/5.6 .............................79
100-300 F4.5/5.6 .......................89
sIgma Pkaf used
18-250 F3.5/6.3....................... 199
TAM 70-300 F4.5/5.6................69
PentaX mf used
40 F2.8 PK....................................99
50 F1.4 PK....................................99
50 F4 macro PK..........................99
tamron adII used
90 F2.5 SP ................................. 149
vanguard scoPes used
Endeavour HD65A................. 229
voIgtlander used
15 F4.5 + VF M- box.............. 269
ZeIss used
Victory Diascope 85 T* FL
+ 20x60 box...........................1399
 visit wex.co.uk
01603 208762
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm

THE WEX PROMISE: Over 17,000 Products | Free Delivery on 50 or over** | 30-Day Returns Policy | Part-Exchange Available | Used items come with a 12-month warranty

Black, Red
EOS 7D Mark II EOS 760D EOS 700D or Grey
D3300 D5600 D7100

20.2 mp
10.0 fps 24.7 mp 18.0 mp 24.2 mp 24.2 mp 24.1 mp
1080p 5.0 fps 5.0 fps 5.0 fps 5.0 fps 6.0 fps

7D Mk II 1249 760D Body 579 700D Body 469 D3300 From 289 D5600 From 799 D7100 From 699
7D Mark II Body 1249 760D Body 579 700D Body 469 D3300 Body 289 D5600 + 18-55mm 799 D7100 Body 699
750D Body 599 700D + 18-55mm IS STM 549 D3300 + 18-55mm AF-P 369 D5600 + 18-140mm 989 D7100 +18-105mm VR 899
750D + 18-55mm 649
750D + 18-135mm 849

5D Mark IV EOS 6D EOS 80D

D7200 D610 D750

30.4 mp 20.2 mp 24.2 mp 24.3 mp 24.3 mp

7.0 fps 4.5 fps 24.2 mp 6.0 fps 6.0 fps 6.5 fps
Full Frame Full Frame 7.0 fps 1080p 1080p Full Frame

5D Mk IV 3499 6D 1449 80D Body 999 D7200 From 849 D610 From 1299 D750 From 1599
5D Mk IV Body 3499 6D Body 1449 80D Body 999 D7200 Body 849 D610 Body 1299 D750 Body 1599
6D + 24-105mm 1699 80D + 18-55mm 1029 D7200 + 18-105mm 1099 D610 + 24-85mm 1699 D750 + 24-85mm VR 2099
80D + 18-135mm 1219 D750 + 24-120mm VR 2279

EOS 5DS EOS 1D X Mk II G7 X Mk II

D810 D5 D500

50.6 mp 20.2 mp 36.3 mp 20.8 mp

5.0 fps 16.0 fps 20.1 mp 7.0 fps 12.0 fps 20.9 mp
Full Frame Full Frame 4.2x zoom Full Frame Full Frame 10.0 fps

5DS From 2799 1D X MK II 4799 G7 X Mk II 549 D810 From 2399 NEW D5 5099 D500 1729
5DS Body 2799 1D X Mk II Body 4799 G7 X Mk II 549 D810A Body 2899 NEW D5 Body 5099 NEW D500 Body 1729
5DS R Body 2999 G5 X Body 629

Canon Lenses Nikon Lenses

EF 24mm f1.4L II USM................ 1499
EF-S 24mm f2.8 STM ................. 149
EP 35mm f1.4 L II USM ............ 1899
EF 40mm f2.8 STM ................... 199
EF 50mm f1.2L USM................... 1369
EF 50mm f1.4 USM..................... 349
EF 85mm f1.2 L II USM............... 1769
EF-S 60mm f2.8 USM Macro...... 419
EF 85mm f1.8 USM..................... 349
EF 100mm f2.8 L IS USM Macro 869
EF 135mm f2 L USM................... 949
EF 180mm f3.5 L USM Macro .... 1329
EF-S 10-18mm f4.5-5.6 IS STM . 229
EF-S 10-22mm f3.5-4.5 USM ..... 399
EF 11-24mm f4L USM ................ 2699
EF-S 15-85mm f/3.5-5.6 IS USM 579
EF 16-35mm f2.8L III USM ......... 2020
EF 16-35mm f2.8L Mk II USM .... 1429
EF 16-35mm f4 L IS USM........... 999
EF-S 17-55mm f2.8 IS USM ....... 749
EF 17-40mm f4 L USM................ 719
EF 18-135mm f3.5-5.6 IS STM... 379
EF-S 18-200mm f3.5-5.6 IS ........ 439
EF 24-70mm f2.8L II USM .......... 1729
EF 24-70mm f4.0 L IS USM ...... 819
EF 24-105mm f4.0 L IS USM...... 799
EF 24-105mm f4L IS II USM....... 1065
EF-S 55-250mm f4-5.6 IS STM .. 269
EF 70-200mm f2.8 L IS II USM... 1848
EF 70-200mm f4.0 L IS USM ..... 1149
EF 70-300mm f4-5.6L IS USM.... 1289
EF 100-400mm f4.5-5.6 L IS II USM 1899
For Canon-t Tamron,
Sigma or Samyang lenses,
visit our website
24mm f1.8 G ED AF-S ....................................... 629
50mm f1.8 G AF-S ............................................. 189
35mm f1.8 G AF-S DX ....................................... 175
58mm f1.4 G AF-S ............................................. 1349
105mm f2.8 G AF-S VR IF ED Micro................. 749
10-24mm f3.5-4.5 G AF-S DX............................ 729
14-24mm f2.8 G AF-S ED.................................. 1619
16-35mm f4 G AF-S ED VR............................... 1019
16-80mm f2.8-4 G AF-S VR ED DX .................. 860
16-105mm f3.5-5.6 G ED VR AF-S DX ............. 219
18-200mm f3.5-5.6 G ED AF-S DX VR II .......... 625
18-300mm f3.5-6.3 G ED VR AF-S DX ............ 629
24-70mm f2.8 G AF-S ED.................................. 1599
70-200mm f2.8 G AF-S ED VR II....................... 1999
80-400mm AF-S Nikkor f4.5-5.6 G ED VR ........ 2089
24-120mm f4 G AF-S ED VR............................. 939
50mm f1.4 AF-S ................................................. 385
60mm f2.8 G AF-S ED Micro ............................. 499
200-500mm f5.6E ED VR AF-S ......................... 1179
105mm f2.8 G AF-S VR IF ED Micro................. 749
85mm f1.8 G AF-S ............................................. 430
300mm f4E PF ED VR AF-S.............................. 1489
20mm f1.8G AF-S ED ........................................ 649
28-300mm f3.5-5.6 G AF-S ED VR ................... 829
18-300mm f3.5-6.3 G ED VR AF-S DX ............. 629

Photo Bags & Rucksacks Anvil Slim

F-803
Pro Runner BP 350 ProTactic 450 AW Professional
RuggedWear
AW II Backpack Backpack Backpack Hadley Pro
Original
Manfrotto
Purpose-built Designed to t Canvas Khaki/Tan
Advanced Travel
to organise 1-2 Pro DSLRs
and protect Backpack - Grey
(one with up to
more gear, and is made up of two
70-200mm lens Hadley: Canvas/Leather: Khaki/Tan,
provide more compartments;
attached), up to 8
options for the bottom takes Black/Tan, Black/Black.
lenses/speedlights,
manoeuvring photographic FibreNyte/Leather: Khaki/Tan, Sage/
a 15 laptop, tripod
in busy airports equipment and the Tan, Black/Black.
and accessories.
and crowded top section holds
Digital .................................. 109 RuggedWear:
streets. all of your personal
Anvil: belongings. Small ................................... 129 F-5XB ......................................69
Pro Runner: Anvil Slim................................. 139 Large ................................... 154 F-6 ...........................................89
BP 350 AW II ..........................149 Photo Sport BP: Anvil Super.............................. 139 Pro Original ......................... 159 F-803 .......................................139
BP 450 AW II ..........................159 450 AW...............................199 Anvil Pro.................................. 149 Advanced Travel ..................59 Tripod Strap Black or Tan.... 19 F-2 ...........................................119

Tripods & Tripod Heads We sell tripod accessories including plates and spiked feet on our website!
Trade in,
up
MT190XPRO3
160cm
Max Height to
9cm SLR Zoom trade
Flexi-Tripod legs 327RC2
MK055XPRO3 + Xpro Ballhead + Min Height
25cm Closed Length Joystick Competitive
MBAG75N Bag ..................185 GT3542LS-S3 Head prices
3Kg Max Load
MT055XPRO3 ...................199.95 146.5cm Max Height Free collection
MT055CXPRO3 of your gear
9.4cm Min Height
Carbon Fibre......................269
MT055CXPRO4 Fast turnaround
Mountaineer Carbon eXact Tripod: Gorillapod: Ball Heads: of your quote
Carbon Fibre......................279 MT190CXPRO4 and credit
GT5542LS.................................. 719 Compact....................................... 17 494RC2 ............................ 48.95
MT190 Series: Carbon Fibre...................... 249
MT190XPRO3 ................... 139 MT190XPRO3 GT3542-S3................................. 619 Hybrid (Integral Head).................. 29 496RC2 ............................ 65
MT190XPRO4 ................... 159 + 496RC2 Ball Head.......... 139 GT3542LS-S3 ............................ 639 SLR Zoom .................................... 39 XPRO Ball Head 200PL... 114.95 wex.co.uk/part-ex
MT190CXPRO3 MT190XPRO4 Focus GP-8 .................................. 79 327RC2 ............................ 139
Carbon Fibre...................... 229 + 496RC2 Ball Head..........189 Terms and Conditions All prices incl. VAT at 20% Prices correct at
time of going to press. Free Delivery** available on orders over 50
Lighting & Accessories (based on a 4 day delivery service). For orders under 50 the charge
is 2.99** (based on a 4 day delivery service). For Next Working Day
Delivery our charges are 4.99**. Saturday deliveries are charged at
a rate of 7.95**. Sunday deliveries are charged at a rate 8.95**.
(**Deliveries of very heavy items, N.I., remote areas of Scotland &
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to change. Goods subject to availability. Live Chat operates between
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Subject to goods being returned as new and in the original packaging.
Where returns are accepted in other instances, they may be subject
to a restocking charge. Applies to products sold in full working
condition. Not applicable to items specically described as IN or
incomplete (ie. being sold for spares only). Wex Photographic is a
trading name of Warehouse Express Limited (registered as company
3m Heavy Duty no. 03366976. VAT number 231 9471 12). Warehouse Express
Lumimuse LED Background Gemini Pulsar 2016. *CASHBACKS Are redeemed via product registration with the
Ezybox Speed-Lite 2 L308s Plus III Set Stand Tx 500R Kit 949 D-Lite RX 4/4 Urban Collapsible manufacturer. Please refer to our website for details. Showroom:
430EX III SB5000 Lights
179 229 89 Tx 500 Pro Kit 1199 Softbox Set 725 Background 165 off Drayton High Road, (opposite ASDA) Norwich. NR6 5DP.
219 499 From 44.95 49.95
Mon & Wed-Sat 10am-6pm, Tues 10am-5pm, Sun 10am-4pm
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MagBooks cover a range of topics, from IT to Motoring, and Fitness to Lifestyle

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10MAGIXPHOTOSOFTWARE
PACKAGESTOGIVEAWAY!
AN EFFECTIVEAND ENJOYABLEWAYOFSHOWING OFFYOUR FAVOURITE IMAGES IS BYCREATINGYOUR OWN DIGITALSLIDESHOW.
INTHIS MONTH'S COMPETITION,YOU COULDWIN ONE OFTEN MAGIX PHOTOSTORYDELUXE PACKAGESAND CREATEYOUR OWN
IN THE NOT too distant past, photographers
would return from their adventures, crank on
their projector and put on a slideshow for
family and friends. Things have moved on
but slideshows remain popular, although
now it's in the form of digital presentations
viewed on televisions or portable devices.
If you've wanted to create your own
entertaining and professional videos using a
powerful but user-friendly software package,
then this month's competition is for you.
We're giving ten readers the chance to scoop
Magix's latest software package, Photostory
Deluxe for PC, worth 55, designed to easily
create video slideshows with your photos in
resolutions up to Ultra HD, for viewing on a
TV, smartphone or tablet. And to have a
chance of winning, all you need to do is
answer one simple question (see right).
Designed with a clean, modern and simple
to follow interface, Magix Photostory Deluxe
is intuitive to use and powerful enough to
produce stylish and slick slideshows. Use it
to import photos and videos into your
slideshow, then add screen-ready
animations, adjust colours, or select the
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background music from hundreds of songs
and sounds in the software's library.
The software is highly versatile, allowing
you to add titles and effects, as well as
automatically match colours and tonal
characteristics to create a seamless look.
Along with attractive borders, you can add
HOW TO ENTER
picture-in-picture effects, HDR, travel route Foryourchance towin a Magix PhotostoryDeluxe
animations and a wide number of transitions/ software package, answerthis simple question:
dissolves. Using Camera MX media transfer,
you can wirelessly transmit photos from your WHAT IS THE MAXIMUM
Android phone to the software for editing. RESOLUTION CAPABLE WITH
Photostory Deluxe supports all standard
photo and video formats and can even
MAGIX PHOTOSTORY DELUXE?
handle 360 panoramic footage. A)SD B) HD C)FULL HD D)ULTRA HD
Magix Photostory Deluxe is the ideal Emailyouranswer, alongwithyourname & address, to:
software for any photographer looking for an competitions@dslrphotomag.co.uk using the subject
easy way to transform images and video into 'Magix Competition'byTuesday21 March 2017.We'll
attractive and entertaining slideshows. pick twowinners at random and theywill receive
To have the chance of winning one, all conrmationwithin seven days. Open to UK readers only.
you need to do is answer our simple question
before the closing date of Tuesday 21 March
2017. Please note that this competition is only
open to readers living in the UK.
Forfurtherinformation on PhotostoryDeluxe and other
Magix software,visit:www.magix.com
March 2017 Digital SLR Photography 138