(2016 - 01) Digital SLR Photography

WHICH EIGHT LEADING MODELS UNDER 1,500 COMPARED
DIGITAL
CAMERA? Issue 110
The Magic of Winter

CAPTURE WINTER AT ITS BEST: CRISP LANDSCAPES, SEASONAL PORTRAITS & MORE!
DREAM
de
si
In
DATES
The best phot
photo
FAMILY INDOOR
IND EEXTREME ca
calendars for 2016
with Joe Cornish,
PORTRAITS TECHNIQUES N
TE ND FILTERS Jo
Joey L & more... p75
Stunning workshop Giv our favourite
Give Major group test of
by leading pro Kate crreative portrait and le leading screw-in &
Hopewell-Smith p56 still-life ideas a try p39 sy
still-lif system ND filters p118
Olympus Cameras
A new perspective.
What has continued to motivate us over the years?
Outstanding innovation that generates new
perspectives and new possibilities.
The new OM-D E-M10 Mark II features
powerful 5-Axis Image Stabilisation
delivering spectacularly clear and
blur free images in any situation
which you can then share instantly
thanks to built-in Wi-Fi.
Discover more: anewperspective.olympus.co.uk

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Editorial
Editor Daniel Lezano
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Art Editor Luke Marsh
luke.marsh@dslrphotomag.co.uk
Senior Contributing Editor Caroline Schmidt
caroline.schmidt@dslrphotomag.co.uk
Contributing Editor Jordan Butters
jordan.butters@dslrphotomag.co.uk
Editorial Consultant Jo Lezano
jo.lezano@dslrphotomag.co.uk
Other editorial contributors this issue:
Dina Belenko, Tim Booth, Joe Cornish, Brett Harkness,
Ross Hoddinott, Richard Hopkins, Colin Jarvis, Joey L,
Colin Prior, Kate Hopewell-Smith, Roeslien Raimond,
Jeremy Walker & Jaroslav Wieczorkiewicz
Advertising & Production

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Welcome
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Publishing
Felix Dennis Founder
James Tye CEO
Brett Reynolds COO WELCOME TO THE JANUARY 2016 issue of DigitalSLR
Ian Westwood Group MD
John Garewal MD Technology & Imaging
Photography. Like most of you, this month Ill be balancing the
David Barker Newstrade Director usual demands of work with excessive Christmas shopping and
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Use this to manage your existing subscription, including If youre willing to brave the cold, youll discover that winter oers all kinds of
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Digital SLR Photography is available for licensing overseas.
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seasons sales, be sure to read our BuyersGuide so you can make the right choice
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Licensing Manager Carlotta Serantoni
our group test of extreme ND lters is denitely worth a look too. Theres plenty
carlotta_serantoni@dennis.co.uk; +44 (0) 20 7907 6550 more to entertain and inform you in this issue, so Ill let you read on. On behalf of
Licensing & Syndication Assistant Nicole Adams
nicole_adams@dennis.co.uk; +44 (0) 20 7907 6134 all the team, we wish you all a safe and happy holidays. All the best!
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Have a Merry Christmas everyone! Best wishes for 2016. coverimagewastakenby ofDigitalSLRPhotography
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Photography is copyright and unauthorised reproduction Dixonandcapturesafrosty toyourdoorormobiledevice
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January 2016 Digital SLR Photography 3

Contents JANUARY2016/ISSUE110
3 EDITORS PAGE
EditorLezanowelcomesyoutotheJanuaryissueof
DigitalSLRPhotographyhereswhatsinstore
6 PORTFOLIO
Ourpickofthemonthsbestimagesfromaroundthe
world.Seewhatcaughtoureyethismonth
14 SNAPSHOTS
Frompicturesquepanoramastolusciouslandscapes
competitionresults,news,tipsandmuch,muchmore
23 LOCATION GUIDE
WeheadnorthtoFyldeCoasttodiscoverwhatthis
popularstretchofcoastlinehastoofferphotographers
50 EXPERT CRITIQUE
Wantsomefeedbackonyourphotos?Submitthemto
ExpertCritiqueforinvaluableadvicefromtheexperts
55 READER SUBMISSIONS
Howtocontributeimagesortakepartinourworkshops
75 THE BEST 2016 PHOTO CALENDARS
Weroundupfourofthebestphotographiccalendarsof
thecomingyearandspeaktotheircreators
92 NIKON STORY: DINA BELENKO
Still-lifephotographerDinaletsusinononeofherlatest
creativemasterpieceprojects.Toinnity,andbeyond!
98 PRO PROJECT: TIM BOOTH
Putyourhandstogetherforprofessionalphotographer 6
TimBoothashetalkstousabouthisnewbook
23 34 39
56
Phototechnique 67
30 PHOTO SKILLS: WINTER SUNSET
LeadinglandscapeproRossHoddinottexplainswhynow
istheidealtimetoshootstunningsunsetsbythesea
34 PHOTO SKILLS: DEWY SPIDERWEBS
NaturephotographerRoeselienRaimondheadsoutearly
tocaptureglass-likeorbshangingfromsilkythreads
39 PHOTO SKILLS: PROJECTOR PORTRAIT
TryoutthiscreativetechniqueforyourselfJordan
Buttersguidesyouthroughshootingprojectorportraits
43 PHOTO SKILLS: SMOKE TRAILS
Heresafunstill-lifetechniquetotryathome.Caroline
Schmidtdemonstratestheartofshootingsmoketrails 92
46 EDIT SKILLS: SMOKE TRAILS
Withyoursmoketrailscaptured,hereshowtoip,
transformandcolourthemtoyourheartscontent
56 PRO WORKSHOP: FAMILY PORTRAITS
ProfessionalphotographerKateHopewell-Smithguides
onereaderthroughthetrialsofphotographingafamily
67 COUNTDOWN TO CHRISTMAS
Hereare12festivephotographyprojectstokeepyour
creativityaliveoverChristmas.Itsnotlongnow
4 Digital SLR Photography January 2016

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 always on the pulse of
all things photography, Jordan turns
his hand to most things: hes our
social media master, features guru
and talented pro photographer.
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
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
Kate Hopewell-Smith
98 110 PORTRAITS
Nikon ambassador and leading UK
lifestyle photographer, Kate leads a
photographic workshop on page 56.
katehopewellsmith.com
Colin Jarvis LANDSCAPES

A professional for ten years, Colin
regularly runs workshops helping
others to learn the craft of shooting
landscapes and architecture.
colinjarvis.co.uk
Roeselien Raimond NATURE

Dutch professional wildlife
75
Gear:Tested&rated photographer Roeselien shares one
109 PRODUCT NEWS of her favourite early-morning nature
Thelatestindustrynews,launchesofphotography techniques on page 34.
equipmentandgadgetsthatyouwillnotwanttomiss! roeselienraimond.com
110 THE BEST CAMERAS UNDER 1,500 Dina Belenko STILL-LIFE

Theresalotofgreatcamerastobehadwithinthisprice Russian still-life photographer Dina
range.Ourguidehighlightseightofthebesttoconsider is a creative genius when it comes
to bringing everyday objects to life
118 GROUP TEST: EXTREME ND FILTERS
and creating stunning compositions.
Onceahighly-specialisedtechnique,long-exposure
500px.com/arken
photographyhasexplodedinpopularity.Wetestarange
ofextremeNDlterstorevealthebestofthebest Tim Booth PORTRAITS
Professional leading portrait
118 photographer Tim talks to us about
his latest portrait project with a twist
its quite literally a show of hands.
timbooth.com
Richard Hopkins TESTS

With over 30 years experience
testing cameras on photography
magazines, Richards one of the
104 SUBSCRIBE TODAY!
UKs leading technical experts on
Takeadvantageoftheverylatestsubscriptionoffers
putting photo kit through its paces.

Portfolio
Sea-Tron
By Chris Williams
www.cwexplorationphotography.com
This image comprises several 30-second

exposures taken from Rizal Park on a very stormy
evening in Seattle. I took some liberties in the digital
darkroom with this one. I really wanted to channel
the movie Tron with the post-processing. I loved
how they used light throughout the film, so I really
tried to bring that into this image through colour and
contrast manipulation in post-processing.
SonyAlpha 7Rwith Canon EF 16-35mm f/2.8LII lens.
Exposure:30secondsatf/8(ISO200).
The Bend by Chris Williams
www.cwexplorationphotography.com
(Above) Taken on a hike through the Enchantments area of

Washington State, this image is of McClellan Butte, with
waterfalls in the foreground flowing into Perfection Lake.
I took it after intense sunlight burst through following strong
thunderstorms it made for an interesting night!
CanonEOS5DMkIIwithTokina16-35mmf/2.8lens.Exposure:Foursecondsatf/22(ISO100).
Tahoma by Chris Williams

(Left) This image was taken high up in the Paradise area of
Mt. Rainier National Park. It contains eight focus-stacked
frames in order to record front-to-back detail. One neat thing
about Paradise is the angle at which the sun sets behind the
mountain, providing backlighting for one entire side.
SonyAlpha7RwithCanonEF16-35mmf/2.8LIIlens.Exposure:1/20secatf/2.8(ISO1250).
The Vortex by Chris Williams

(Right) While on Ruby Beach, on the Olympic Peninsula of
Washington State, I noticed interesting patterns in the current.
I waded out to get near this exposed rock and played with the
shutter speed to get a sense of motion. The sunset was
incredibly intense and it burned far into the twilight hours.
CanonEOS5DMkIIwithTokina16-35mmf/2.8lens.Exposure:Fivesecondsatf/22(ISO100).
500px Perfect for photos

Every photographer featured in Portfolio receives a year's
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.
Formore information on 500px memberships,visit:www.500px.com/upgrade
8 Digital slr Photography January 2016

Portfolio
Portfolio
Ocean of Flames by Alessio Albi

500px.com/alessioalbi
(Above) One of the few photo manipulations from my entire

portfolio, this image was shot using only natural light, with
my model laying down in a field. In post-processing I
manually selected and cloned the waves of hair until they
completely filled the background it was a long and
tedious process but I love the effect!
NikonD600withNIKKOR50mmf/1.4lens.Exposure:1/400secatf/1.8(ISO320).
Galaxies by Alessio Albi

(Left) I created these delicate particles floating in the air by
using water sprayed through a fine-nozzled bottle. This was
shot in a very dark room with a single ray of natural sunlight
that pierced through from a high window. I placed my
model on the very edge of the light ray so that the light was
not too harsh on her face.
Portrait of Carolina by Alessio Albi

(Below left) This is a simple portrait, taken in a shallow river
near my home town. In order to achieve this intimate angle
I had to get down into the water myself, being sure to keep
my camera and lens above the surface. I used natural light
and post-production was relatively simple just a few
tweaks were made to the colours to stylise the image.
Portrait of Lisa by Alessio Albi

(Right) This portrait was also taken using direct natural light.
Although the pattern in the light looks like it was from a
window or blind, it was actually created by positioning a
piece of kitchen apparatus in front of her face! See if you
can guess what it was! Post-production involved some
basic tweaks to the colours and that's it.

Portfolio
Loch Voil by Neil Barr

www.neilbarr.co.uk
(Right) Shooting into the sun is difficult at the best of times, but
especially when your filters are old and scratched! To avoid glare I
decided to remove all my filters and kept my aperture as wide as I
could allow; it was one of my first attempts at exposure blending.
Canon EOS 6Dwith EF16-35mm f/4Llens. Exposure: 1/6sec at f/16 (ISO 100).
Knapps Loch by Neil Barr

(Below left) The mist and light was constantly changing over this little
loch and I was running about from place to place trying to capture as
many different shots as I could. I've since become a little more
focused in how I plan and shoot.
Loup of Fintry by Neil Barr

(Below centre left) I shot this image using a six-stop ND filter. Although
supposedly neutral, I knew that it could sometimes add a warm colour
cast, which actually helped boost the sunset colours. Most of my time
was spent wiping spray from the lens and fighting off the midges!
Canon EOS 6Dwith EF16-35mm f/4Llens. Exposure: Five seconds at f/11 (ISO 100).
Loch Ard by Neil Barr

(Below centre right) I had this shot in mind for a while but I was waiting for
autumn colours and a calm, misty morning. I hoped to catch the light
shining down the loch and was lucky to get it as just minutes before I
took the shot, the scene had been hidden by fog.
Eilean Donan NeilBarr

(Below far right) I arrived early at Eilean Donan, in Scotland, and I could
see by the way the clouds were moving and the light was changing
that it would create some great highlights. I shot from low down to
capture the colour and texture of the seaweed in the foreground.
500px Perfect for photos

Every photographer featured in Portfolio receives a year's
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.
Formore information on 500px memberships,visit:www.500px.com/upgrade

matthew smith Nicholas Roemmelt DmitRy moiseeNko
Nicholas Roemmelt moNish maNshaRamaN

/ YourmonthlYphotodigest
award epsonpano
results
awards2015
AselectionofmesmerisingelongAtedimAges
representsthebestofthebestwhenitcomes
topAnorAmicphotogrAphy.prepAreyour
eyesforAfeAst,Astheresultsfromtheepson
internAtionAlpAnoAwArds2015Arein
aRun mOHanRaJ
Damian Guiney
Pawe ucHORczak
GuiDO BRanDt
snapshots / The world of photography
Max Rive
1
CaRlos F TuRienzo
DaRRen MooRe
2 3
DaRRen MooRe
MaTeusz Piesiak
4 5
S
oMe sCenes aRe so incredible that The competition was split into three groups 1) MaxRive'sTheIcePrisontookoveralltophonours.
seeing a limited perspective of them the open awards, the amateur awards and 2) LightingtheWaybyCarlosF.TurienzowontheJeffMitchum
never quite feels enough. Thankfully, this a vR/360 award. entrants had two categories FineArtPrize. 3) DarrenMoorecamerunner-upintheOpen
competition. 4) AndwontheEPSONDigitalArtPrizetoo.
isnt a problem when viewing the cream of to choose from within the open and amateur 5) The AmateurcompetitionwaswonbyMateuszPiesiak.
the crop from the 2015 epson international groups: nature/landscapes or Built
Pano awards sweeping vistas, breathtaking environment/architecture. a total prize pool from australia takes the amateur Built
views and jaw-dropping wide-angles are worth over usD$50,000 was up for grabs, environment/architecture prize. The vR/360
recorded in their vast glory for all to enjoy. usD$20,000 of that being cold, hard cash! award goes to Dmitry Moiseenko of Russian
if youve ever tried shooting a panorama it is Max Rive, from the netherlands, who for his amazing 360 interactive panoramic of
yourself then you should be able to attest takes home top honours in the open group, the eruption of kluchevskaya sopka in Russia
how tricky they can be, especially when also scooping the nature/landscapes the highest active volcano in eurasia.
dealing with technical challenges such as category with his six-shot stitched panorama, a further prize of usD$5,000 cash and the
changing light, moving subjects and lens entitled The ice Prison, which was taken in the Jeff Mitchum Fine art Prize was awarded to
distortion. some of the winning images from Himalayas, nepal. British photographer Carlos F. Turienzo from spain, and Darren
this years competition left us asking how? Darren Moore claims the Built environment/ Moore bagged the ePson Digital art Prize and
This years awards attracted a huge number architecture category with his image of usD$1,000 cash too not bad for a days work!
of entries 4,345 to be precise, from 1,055 Broadway Tower in Worcestershire. in the There were far too many stunning entries
different photographers in 60 countries. amateur group, Mateusz Piesiak of Poland for us to showcase them all here. To view
The competition, now in its sixth year, seeks wins the Major amateur award for his truly them for yourself, and to find out more about
to reward those who have truly mastered the captivating image submitted into the nature/ the worlds biggest panoramic photography
art of the panoramic photograph. landscapes category, while John Finnan competition, visit: www.thepanoawards.com

The world of photography \ Snapshots
Take aView
CHRIs sHEPHERD
Landscape photographer oftheYear
awards highLightsthe outstanding
beautYofthe british isLes
M
any of us dream of travelling to far-flung
destinations to pursue our photography in
exotic locations, but we often fail to see the
myriad potential that lies on our own doorsteps.
Thankfully, the annual Take a View Landscape
Photographer of the year awards remind us that
Great Britain boasts some of the most diverse and
photogenic scenes in the world. With 28 World
Heritage sites, 15 national Parks and 12,400km of
coastline, weve got a lot to be thankful for!
This years awards were held in conjunction with
Visit Britain and the Countryside is GREaT
campaign. The aim was to showcase the best of
British talent capturing British scenes, to
anDy faRRER
encourage people from all over to bring their
cameras and visit this great nation.
The ninth Landscape Photographer of the year
was named as andy farrer from Cumbria, for his
stunning image of snow-capped cliffs on Dorsets
Jurassic Coast. alongside the title, andy nets
himself a cool 10,000. founder Charlie Waite
commented: andys winning photograph of this
beautiful area of Dorsets Jurassic Coast is a gentle
image with a simple, effective composition that
reflects the mood of a cold, winters morning. It is
believable and appealing, with the snow adding an
interesting dimension to a classic scene.
The winning images are now on display in a free
exhibition at London Waterloo station, until 7
february 2016. Theres also a book available
displaying the winning images: Landscape
Photographer of the Year: Collection 9 by aa
Publishing is available now, priced at 17. for more
information and to view all of the winning and
shortlisted images, visit: www.take-a-view.co.uk
Callforentries
sanGHamITRa saRkaR
Ryan TayLoR
SonyWorldphotographyaWardS redBullIllume2016
heraldedbymanyastheworldsmostprestigiousphotographycompetition,thesony ifactionandadrenalineisyourpoisonthenyoudbetterstartthinkingaboutwhich
worldphotographyawardshasopeneditsdoorsforentriesonceagain.alongside imagesyouregoingtosubmittotheillustrious redbullillume2016photography
worldwiderecognition,theawardsboastsausd$30,000prizekitty,covetedbythe competition!heldeverythreeyears,theawardaimstorecogniseandrewardthe
hundredsofthousandsofphotographersfromover170countriesthatentereach greatestandmostcreativephotographersworkingintheactionsportsindustry.
year.therearefivecompetitionsprofessional,open,Youth,studentfocusand itisntlimitedtojustprofessionalshowever,soifyoureadabhandatcapturing'rad'
nationalaward,withseveralcategorieswithineachtoenter.entriesareopenfrom movesandextremeactionthenthisisyourchancetheresevenanewMobile
nowuntil5January2016,withtheexceptionoftheprofessionalcompetition,which categoryforimagessnappedonasmartphone. entriesareopenfromnowuntil31
runsuntil12January2016.formoredetails,visit:www.worldphoto.org March2016formoreinformation,visit:www.redbullillume.com
January 2016 Digital Slr Photography 17

Snapshots / The world of photography
CamErasaLEs
OnThEDECLinE
sales figures from photos
bigthreeindicatethatless spECiaL
peopleare buying cameras rEpOrT
comparedto lastyear
T
hree of the worlds leading imaging
specialists have reported a downturn
in camera sales. Canon, Nikon and
Sonys recently released financial results all
look to agree on one trend less people
have bought cameras so far this year
compared to this time last year.
following the release of the July to
September 2015 figures, Canon reports a
17% drop in sales of interchangeable lens
cameras that being CSCs and DSLrs
compared with the same period in 2014,
while compacts are down 29% year-on- AcrosstheboArditsthecompActcAmerA
year, resulting in a 24% downturn in total.
Nikons figures indicated a smaller, but still
mArketthAtremAinsinthemostrApiddecline
significant, decline at 11.1% across the range, replaced the need to own a dedicated in popularity in the past two years, it looks to
while Sony reported a 27.2% fall in sales. compact camera. have been at the expense of DSLr purchases
Across the board its the compact camera According to figures from the Camera & and, they too are now levelling off. Mirrorless
market that remains in the most rapid Imaging Products Association (CIPA), sales models dont appear to have attracted any
decline, and its no surprise with the huge of digital SLrs continues to fall, as they have more consumers to the camera market, but
rise in popularity of mobile photography. done for the past few years, but things do have simply given people more choice and,
for many consumers, improvements in look to be reaching a plateau. Interestingly, it seems, converted previous compact and
smartphone cameras and sensors have while mirrorless sales have enjoyed a surge DSLr customers.
ViDEO OfThE mOnTh

TheLab:DECOY
byCanonAustralia
how is this for a neat idea? Canon Australia
has devised a series of photography-based
experimental videos, entitled The Lab. for
their opening observation, they tasked six
photographers with creating a portrait of one
subject they all had to use the same
subject, wearing the same clothes, in the
same environment, with the same kit.
Nothing too ground-breaking yet you might
think, but heres the kicker: each
photographer was told a different story
about the subjects background from a
self-made millionaire to a recovering
alcoholic, a former inmate to a fisherman,
even a psychic. the experiment's aim was to
see how each photographer's perception of
the subject affected the results of their
portrait. the results are interesting to say the
least each photographer interacts with the
character in a very different manner and the
vast differences in the finished portrait that
they create are astounding one
photographer even comments that he looks
like a different person! theres an important
message too that should resonate with all
portrait photographers, and is something to
remember when heading for your next shoot
a portrait is shaped more by the person
behind the camera than the one in front of it.
to view the video for yourself, visit:
http://bit.do/DSLr_decoy
18 Digital Slr Photography January 2016

PRIMEMINISTER
PRIME MINISTER
POPPYGATESCANDAL
Theres a recurring lesson that
seems to revolve around public gures
and image manipulation: if youre
going to 'Photoshop' a public relations
image, do it well and dont get caught.
Prime Minister David Cameron is (yet
again) facing embarrassment online
after eagle-eyed social media
followers spotted that the poppy
apparently attached to his jacket lapel
in 10 Downing Streets latest Facebook
prole picture, wasnt actually there at
all it had been added in Photoshop.
EXCLUSIVEBONDPRINTSARESOLD Downing Street quickly remedied the

oversight, but not before the PM was
subject to a spot of the usual online
banter, at his expense.
BEHIND-THE-SCENES IMAGES FROM SPECTRE SELL FOR ALMOST 50,000
If youve yet to see the new James Bond movie, Spectre, and want to avoid any and all possible
spoilers as to the plot line, then you might want to avert your eyes momentarily. A collection of
ve exclusive prints from behind the scenes at the lming of the 24th James Bond movie went
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photographers Jonathan Anderson and Edwin Low, show the detailed sets actually used
during the lming of the movie, including a secret room, a Tangier hotel, Oberhausers control
room, a Moroccan set and the old MI6 building. The images represent an incredible collectible
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auction, netting a combined total of 47,500 a pretty Moneypenny indeed!
2.5O
BUDGET LAPTOP HOOD
If youve ever edited photos on a
glossy laptop screen in a bright
environment then you will know
how frustrating it can be when all
you can see is a reection of the
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next time youre at an IKEA store,
pick up one of their DRNA storage
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fold down completely at and, when
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Theres a zip at the bottom too, for
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Thankyou @DigitalSLRPhoto forthe
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The LocationGuide
TheFyldeCoast
LancashiresFyldeCoastoffersphotographersatasteofmodernart,ahistoryoftheFleetwoodshing
industryandthefadedgrandeurofthetraditionalseasideresortitsladenwithpotentialateverypoint
LOCATION: THE FYLDE COAST, LANCASHIRE / OS REF: SD 30520 (OS EXPLORER 286, 296)
The LocationGuide
The Fylde Coast

The Fylde is a coastal plain in western
Lancashire; a 20km square-shaped
peninsula, bounded by the Ribble estuary
to the south, the Irish Sea to the west,
Morecambe Bay to the north and the
Bowland hills in the east. Its easily accessible
from the M55 via the M6. The miles of
coastline offer wonderful photographic
opportunities at all times of the year.
Start in the south at the town of Lytham,
an affluent area of the coast with delightful
muse houses, designer shops and wonderful
seaside shelters. One not-to-miss feature
is the jetty at the lifeboat station. Its best
photographed on an incoming or outgoing
tide so that you can decide which part of the
jetty you want to be submerged. It is a safe
location to shoot as the water never extends
along the full length of the jetty you can
retreat if the waves start to lap at your boots!
Moving further up the coast brings you to
St. Annes-on-the-Sea. St. Annes is a more
commercialised seaside resort with a rather
unfortunate green plastic-clad pier along
with the typical selection of high-street 1)ST.ANNES: AstormapproachestheoldpieratSt.Annes.
shops. The pier, despite its cladding, has 2)LYTHAMWINDMILL: ThemillhousestheLythamMuseum.
a number of photographic possibilities as 3)CENTRALPIER,BLACKPOOL: Althoughthewavesare
long as you photograph in black & white and crashing,alongexposurecreatesatranquilscene.
choose the furthest end! The pier makes 4)STANNESPIER: Thisshotisonlypossibleatcertaintimesof
for an excellent composition when the tide yearwhenthetideisparticularlyhigh.
5)LYTHAMLIFEBOATJETTY: Compositionslikethiswork
is high, when you can give it the Lee Filters reallywellwhenpairedwithalongexposure.
Big Stopper treatment for that deliciously
surreal appearance. Be aware that you need The next stop up the coast is the mighty
a good high tide to get any depth of water Blackpool, which stretches for almost six
(8-9 metres) so check the tide tables. Again, miles from Starr Gate in the south to Bispham
its a safe area to photograph as, even at high in the north. Blackpool provides endless
tide, the water will only be a couple of feet photographic opportunities including such
deep so Wellington boots will be sufficient; delights as the three piers, South, Central
you can leave your waders at home! Parking and North. Each pier has its own character
is plentiful and usually free along the but it is the Central Pier that holds the most
promenade (north of the pier tends to be interest this is the only pier in the country
quieter than the south). The older part of the that has a Ferris wheel actually built onto it. 3
pier can be reached at low tide and makes a It is a very clever design because the pier itself
very interesting composition, particularly if doesnt hold any of the weight of the wheel:
you can capture it with some water around the weight is supported by separate steel
the base and a good sky. piles driven into the seabed. Be aware that the
piers are privately owned so seek permission

before taking photographs; they are usually
accommodating for personal photography.
It should be easy to nd parking along the
promenade, but normally has to be paid for.
A highlight of the Blackpool calendar is the
World Firework Championships in September
and October and, of course, the magnicent
Blackpool Illuminations perfect for
developing your night photography skills.
Travel further north along the promenade
and it will take you through Bispham to
Cleveleys. The major delight of Cleveleys
is the art installation Marys Shell. It is an
8m-long and 4m-tall steel sculpture by
Stephen Broadbent the shell is taken from

The LocationGuide
4
Useful Information
Where is it? The Fylde Coast is
a square-shaped peninsula in
western Lancashire, stretching from
Lytham in the south to Fleetwood in
the north of England.
Getting there: The M55 takes
you into the Fylde Coast via
Blackpool. It has the dubious accolade
that the M55 is a motorway that ends
in a car park (youll see what we mean).
Places to eat and sleep: Youll not
be short of accommodation and
eating options in Blackpool. It caters
for all budgets and tastes.
Local Camera Shops: There are
numerous mainstream electrical
retailers in Blackpool, but for specialist
kit youll need to call in to Wilkinson
Cameras or Jessops in Preston just
before joining the M55 motorway.
Weather and tide tables:
www.metoffice.gov.uk
www.bbc.co.uk/weather/coast_and_
sea/tide_tables
Start Shooting...
Things to shoot: Art installations,
coastal defences and local
architecture, industrial heritage,
long-exposure seascapes, night
photography and creative light trails
in Blackpool.
When to go: The coast can be
ALL IMAGES: COLIN JARVIS
photogenic throughout the

seasons, and at any time of day or
night in the right conditions. Autumn
and winter are particularly good times
due to the changeable weather, high
2
tides and stormy climate. Keep an eye
on the tide tables to plan your visit.
4 5
Recommended kit: Wide-angle
lens, telephoto zoom (in the
region of 70-200mm), sturdy tripod,
graduated ND lters and polariser,
ten-stop Neutral Density lter for long
exposures, a remote shutter release,
outdoor clothing and good walking
boots, waterproof camera cover, lens
cloth for salt spray.
a tale in the book The Sea Swallow by Gareth

Thompson and has words from the story
etched inside. Once the tide goes out, you ColinJarvisWhyIlovetheFyldecoast
can climb inside and listen for the sounds of
the sea and waves! It can be photographed The Fylde coast is up there with the best of coastal locations to
at either high or low tide but the special photograph in the UK. Everything relies on the tide though, so planning
time is when the tide is just starting to ll the your visit requires careful use of tide tables to get just the sort of shot you
bottom of the shell. Again, a long exposure want. Whether it is ferocious waves battering the sea wall and groynes or
gives a delicious milky effect to the water the gentle lap of the water around a piece of public art, the Fylde has it all.
and, combined with fast-moving clouds, Living close by allows me to visit in all weather conditions and I can
can make for a memorable image. guarantee that any trip brings its own rewards, including colourful characters, a good
Parking is plentiful, especially for the shell helping of fish and chips and, of course, salt-sprayed lenses. The Fylde has a rich cultural
as it is almost directly opposite the Jubilee and industrial heritage, from the faded grandeur of the South, Central and North piers in
Harvester Pub where you can park, have a commercial Blackpool to the abandoned fishing vessels in Fleetwood and the genteel
coffee, wait for the tide and then nip across tranquillity of Lytham St. Annes. Whatever the weather, I can guarantee you an exciting
the road to capture the magic! and rewarding day spent with your camera on the Fylde. www.colinjarvis.co.uk

The LocationGuide
The Fylde Coast

Cleveleyss sea defences have recently
been redeveloped and the sweeping steps
and extravagant street lighting can make for
an excellent composition against a setting
sun. There are also numerous groynes and
beach defences that can be given the Big
Stopper long exposure treatment.
The nal location along our Fylde Coast
journey is the Wyre wrecks. These are a
collection of beached shing boats that
have been left to rot since the Icelandic
Fishing Wars of the 1970s (the Cod Wars)
that decimated Fleetwoods trawler eet.
There are about four vessels in various
stages of decay that can make for very
atmospheric compositions. The location is
a little tricky to nd: the OS grid reference is
OS Ref: SD 465 335. As you enter Fleetwood
on the A585, turn right at the roundabout
with the sculpture of a cherub and then the
second left. It continues for about a mile
past the civic recycling plant and eventually
leads to a parking area and a nature reserve.
Parking is free and there are plenty of spaces.
Don your Wellington boots or waders and
head along the footpath towards the river
Wyre. As you approach the river the boats
should be visible. Be very careful to keep an
eye on the tides, it is safe during low tide as
the boats can be easily reached, but when
the tide is in, it hides some deep gulleys that
you will want to avoid. Good shots can be
obtained at either high or low tide but waiting
for the water to ow around the boats during
a retreating tide can produce beautiful results.
There are many places to explore on
the Fylde Coast; this guide only skims the
surface. Give it a visit, were sure that you will
not be disappointed.
6)CENTRALPIER,BLACKPOOL: Alongexposureemphasises
themovementinthewheelandclouds.
7)CENTRALPIERATNIGHT: Withalongexposurelikethis,
peoplearebarelynoticeable.
8)MARYSSHELL,CLEVELEYS: ABigStopperworkswell.
9)FLEETWOODWRECKS: Aninfraredshotturnsthegrass
whiteandbringsoutthedetailinthesky. 6
7 9

The LocationGuide
Keep shooting! Other great locations around the Fylde coast

COLIN JARVIS
COLIN JARVIS
COLIN JARVIS
8 20 20
MILES MILES MILES
NORTH NORTH N.EAST
1)ROSSALLPOINT 2)PLOVERSCARLIGHTHOUSE 3)ASHTONMEMORIAL

In between Cleveleys and Fleetwood is Further up the coast towards Morecambe Head further north to Lancaster, a great
the observation tower at Rossall Point. stands the diminutive gure of Plover location to spend a few hours. Ashton
The tower has been designed to look as Scar lighthouse, a delightful structure that Memorial, situated in Williamsons Park, is
though it is leaning into the wind. There can make a beautiful shot with good light a delightful spot and you can plan a visit to
are two observation decks for bird and cloud. There is free parking at the end the medieval castle, which houses the
watching and taking in the views over the of Slack Lane but the car park is locked at oldest sitting Crown Court in England and
Irish Sea and across Morecambe Bay. dusk, so be sure youve moved by then. the Benedictine Priory Church.

Take pictures like a pro
Nikon D750
with 24.3 megapixel full frame sensor
DSG Retail Ltd., 1 Portal Way, Acton, London., W3 6RS. Registered in England. No. 504877.
PH TO
SKILLS
ideas &advice for better photos
seasonalsunset p30
winterlightismagicalsomakethemost
ofitandshootastunningsunsetusing
theadvicefromprorosshoddinott
p34 dewyspiderwebs p39 createaprojectorportrait p43 shoot&editsmoketrails

capturethesedelicatestrandsindetail anat-hometechniquefullofimpact createsmokeartusingincensesticks
PH TO
SKILLS
Winter sunsets
professionaloutdoor photographer ross hoddinotttalksaboutwhynowisthe besttimeto
shootthe golden hourandthetechniquesyou mustknowto capture colourfullandscapes
Camera: nikon d810 / Lens: nikkor af-s 17-35mm f/2.8g

PH TO
sKIlls Winter sunsets
I
t is no secret that dawn and dusk are the orange or deep scarlet. nature can do things to capture the setting sun, you should get
best times of day to shoot landscapes. that Photoshop will never be able to achieve! to your chosen location around an hour
While there will always be exceptions to this Unfortunately, the best conditions occur at beforehand to allow you time to identify the
rule, at either end of the day, the light is the least convenient time of day dawn and best viewpoint. it will be dark again by 4-6pm,
typically at its very best due to the suns low dusk. During summer, you need to get up allowing you time to capture great shots, but
position. not only is the light warm, soft and crazily early to capture colour, or stay out still be home for dinner! not only that, but the
flattering, but during the so-called golden unsociably late. this is just one reason why winter months have a habit of producing some
hours there is a good chance that the sky will winter is the best time of year to shoot sunrise of the best skies and conditions for landscape
light up with colour. Just prior to the sun rising and sunset. During the winter months, dawn is photography. Frost or snow can add a seasonal
and again after the sun disappears below the normally between 7am and 8am. Even feel to your dawn shots, while dramatic skies
horizon, colour can radiate across the sky if allowing sufficient time to reach your location are more common, making this the perfect
gaps in the cloud allow it to do so. this can and set-up in advance of the sun rising, you time of year to shoot seascapes.
produce spectacular conditions for landscape will rarely need to set your alarm earlier than so what are you waiting for? Wrap up warm
photography, with the sky turning pink, 6am a comparatively civilised time of day. and get out with your camera soon!
nonDgrad withnDgrad
1 Planning this is essential for success.

Knowing the suns position in advance
will help you visit the right location at
2 ChooseaviewPointHaving looked at tPE,
i knew that the sun would be setting out to
sea. However, from my intended viewpoint,
3 use filtration When shooting towards a
bright, colourful sunrise or sunset, you will
typically encounter a light difference between
the right time, saving you from wasting i calculated the sun would be hidden behind the bright sky and darker foreground. the
opportunities, and there are plenty of apps the headland when it set. With the sun hidden, level of contrast can be beyond the cameras
to help you do this. i regularly use one called it wouldnt cause any exposure issues or flare. dynamic range, making it tricky to correctly
the Photographers Ephemeris (tPE) one of And as i would still be shooting in its direction, expose the scene. You could bracket and
the most useful and popular applications for any colour filling the sky at sunset would blend exposures in Photoshop, but i prefer
planning shoots. it is available for desktop use enhance my shots. All i had to do was wait and to use graduated nD filters. Here i used a
and as a smartphone app. hope for a colourful sunset. soft-edged three-stop graduated nD.
4:40pm 4:50pm 5:00pm
4 ComPose A colourful sky alone will not

make a great landscape; you still need a
strong, well-balanced composition. scenes
with water work well as they reflect the skys
warmth, so i got close to the waters edge.
i opted for a simple composition, including
a large amount of sky and water to make
the most of the colour and reflections. the
onrushing waves added further interest.
5 KeePon shooting the colour doesnt last

long (which is why careful planning and
anticipation is key to a successful shoot), so
you need to keep shooting. in this instance,
the skys colour lasted no more than ten
minutes, but at sunset, warm oranges and
pinks soon gave way to cooler shades of
purple and blue, which have their own
individual quality and beauty.

Pro tiP
Itisalwaysagoodideatovisitorrecce
thelocationbeforehand.Indoingso,you
willalreadyknowwhatroutetotakeboth
bycarandonfootwhichwillhelpyouwith
timings.Youwillalsohaveanideaofthebest
viewpointandacompositioninmind,
whichwillsavetimeandhelpyoube
quickandefficientonlocationwhen
shootingatdawnordusk.
Naturesglory
Awintersunsetprovidesgloriouscolours
andbeautifullandscapepotentialplus
youllbehomeintimefordinner!
Exposure:Threesecondsatf/14(ISO64)
PH TO
SKILLS
WorldWide Webs
Professionalnatureandwildlife PhotograPher roeselien raimond shares one of her
favourite early-morning macrotechniques.this mightnotbe one forthearachnoPhobes
Camera: canon eos 5d mk iii / Lens: ef 100mm f/2.8l macro usm

PH TO
sKIlls
s
Ome peOple ASSume that by opportunities for morning mist, which is
constantly looking through a lens, we essential for adding the dusting of moisture
photographers miss much of the world for a dewy cobweb image. To decide if its a
around us. That couldnt be further from the good morning to leave your warm bed early,
truth, especially when the lens that youre keep a check on the weather forecast. Wait
looking through is of the macro variety. for cloudless nights when it cools to at least
Viewing everyday items in macro reveals a 10C and, ideally, there should not be too
whole world to explore, with details you didnt much wind expected either. Needless to say,
even know existed. Insects become a beautiful sunrise adds a touch of
fascinating alien-like species, flowers turn out backlighting and increases your chances of
to be true works of art and even simple water achieving that dream shot.
drops become boundlessly attractive. A small Drops of dew are really small and a
patch of garden can provide hours of fun and dedicated macro lens with 1:1 reproduction
makes you ponder and appreciate the detailed will allow you to fill the frame. A camera with
world around you. an ApS-C sensor gives you the magnification
Whats especially fun about macro factor that helps you to get closer to your
photography is that even the most common subject, but one with a full-frame sensor (like
subjects are suitable, many of which you can mine) works fine, too. A tripod will come in
find in your garden. Youve probably enjoyed handy when there isnt enough light to avoid
the beautiful sight of cobwebs glittering in the camera shake, but if its light enough you can
sun on an early, dewy morning, but through a shoot handheld, which is often easier with
macro lens its even more spectacular: the low-lying subjects. I would also recommend
spider silk looks like liquid metal, sprinkled a plastic bag to sit on, or even wearing full
with tiny pearl droplets. waterproofs could be a good idea, given the
Now that the nights are getting noticeably fact that the location might be very wet at
colder and more humid there are more least, thats what we are hoping for, isnt it?
1 web search Finding a spider isnt that

critical, but the web should be in a
location with a good amount of light and a
2 the rightlight If the morning mist
isnt too thick, you can use the warm
morning light to add colour to your photos.
clear backdrop shooting from low down A web in a wide-open space allows you
against the sky works perfectly. Heath, shrubs, freedom to choose the best angle and work
trees, bridges, benches, traffic lights and even with the light. Dewy webs suit backlighting
road signs are good places to look! Different well, but try out different angles and
locations will house different spider species, approaches and assess how the light affects
each with different shaped webs. the droplets of dew through your lens.
Parallel angled
3 settings Select aperture-priority mode

and choose a mid-aperture setting. Start
at ISO 200 and increase the ISO rating to
4 Focusing Your angle to the web will
greatly affect the outcome of the image.
If you want all of the drops to be in focus, then
give you a shutter speed that eliminates both keep your lens parallel with the plane of focus
camera shake (if shooting handheld) and any that the web is on. Alternatively, position your
breeze blowing the web. Depending on your lens at an angle to the web and focus on one
background, you may need to use exposure droplet to create a silky smooth foreground
compensation to control the exposure. and background bokeh.

web of intrigue
Thisshotofglass-likeorbshanging
fromadelicatesilkthreadwas
definitelyworthgettingoutofbedfor.
Exposure:1/250secatf/10(ISO640).
Commonmistakestolookoutfor...
1)overexposure Withthesunrising 2)focusingissues 3)DistractingbackgrounD 4)poorcomposition

highereveryminute,thelightbecomes Thesedewdropsarentmuchbigger Theseeye-catchingdropscaneasily Itstemptingtofocusonasmallgroupof
brighterand,whileyouarefocusingon thananautofocuspointsoitsnowonder makeyouforgetaboutthebackground, dropsandforgetabouttherest,which
thedew,itseasytoforgetaboutyour thattheAFsystemishavingdifficultywith resultinginmessyphotos.Keepaneye canresultinanunattractivecomposition.
settings.Regularlycheckyourhistogram thesetinysubjects.Setthelenstomanual ontheworldbehindthedrops,too. Awebconsistsofmanythreadsthatcan
tomakesurethehighlightsarentblown focus,choosethedesireddistanceand Shootingagainstthesky,againstaplain, literallyserveasguidelinesfor
outandadjustyourposition,orapply verycarefullyrockbackandforthtofind orevendistantbackgroundwillhelp composingevensmallmovements
exposurecompensation,tosuit. thesweetspotoffocus. removedistractions. cancompletelychangeacomposition.
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PH TO
SKILLS
PROJECTOR
PORTRAITS
HAVETHE LONG NIGHTSAND SHORTDAYS LEFTYOUR PORTRAITPLANSALITTLE DIM?JORDAN BUTTERS SHOWS
YOUAFUNAND EASYINDOOR PORTRAITTECHNIQUETHATWILLGETTHOSE CREATIVEJUICES FLOWINGAGAIN
CAMERA: NIKON D750 / LENS: NIKKOR AF-S 50MM F/1.4G / PROJECTOR: INFOCUS IN112 DLP
PH TO
sKIlls Projector portraits
T
he Idea OF projecting light and
images onto a person isnt a new
one for example, back in the
1960s, fashion and portrait photographer
John French experimented with the idea
of replacing his subjects clothes with
patterned projections. Progressions in
both camera and projector technology
have now made projection portraits easy
and accessible to all. Best of all, its a
cheap and simple technique to practise
all you need is a projector, a computer,
a selection of images to try, your camera
1 2
and a plain wall!
Chooseabank ofimages Before setting up setupyour projeCtor
In terms of kit, a 50mm f/1.8 prime is
your projector and getting your subject Find a plain wall or backdrop,
ideal its a nice focal length for this
into place, pull together a collection of high- as close to white as possible, and set your
type of image and it offers a fast
resolution stock images, or shots from your own projector up to point at it. The further the
maximum aperture, perfect for low
portfolio, to project onto your subject. Bold, projector is from the wall, the larger the image
light. Your choice of projector will have
graphic colours and shapes work well, as do appears, but the less powerful the light. The ideal
a bearing on the settings that you use
patterns or high-contrast images such as black balance is making the image just big enough
if youre using an lCd or led projector
& white handwritten scripts or sheet music, as to fill the frame when you shoot. Focus the
then you have free reign over your
Ive chosen to use here. projector image on the wall for the time being.
choice of shutter speed, according to
light levels, however dlP (digital light
Processing) projectors are a bit more
complicated. as dlP projectors emit
light through a spinning wheel of
colour, if you choose a shutter speed
that is too fast youll record those bands
of colour. a shutter speed of around
1/50sec will completely eliminate this
banding, but any speed under 1/100sec
makes it almost unnoticeable.
There are a number of approaches
that you can take when planning your
projection portrait. You could choose
to project bold patterns or graphics
across your subject, with no mind to
how and where the pattern falls on
them. alternatively you can project a
3 alignyour subjeCtMove your subject into
place and adjust the height and angle of
the projector so that the image lines up. I used
4 Camerasettings Use aperture-priority mode
to dial in a wide aperture between f/1.8
and f/4 will work. Start at ISO 100 and take a test
specific image and line it up with your a wooden box to get the right height before shot if your image exhibits bands of strong
model for example projecting a pair fine-tuning the projectors adjustable feet. Once colour, increase the ISO rating or close down
of wings onto someones back. You aligned, remember to refocus the projector the aperture to reduce the shutter speed. I found
can even try projecting a different face so that the image is sharp on your subject, as that a shutter speed of under 1/100sec removed
onto your subjects face the results the focusing distance will be slightly different, most of the colour cast. If youre converting to
can be quite creepy! depending on their distance from the wall. black & white then this matters less of course.
COMMOnPrOBleMSThIngSTOavOId
1)WatChtheedges 2)CheCkyourexposure 3)Choosingashutterspeed 4)mindyourshadoW

Whenshooting,beawareoftheangle Dependingonyourchoiceofimage, IfusingaDLPprojector,asIam,then Ifyoustepbetweentheprojectorand
thatyoushootfromsoasnottoinclude youmayhavetouseexposure yourchoiceofshutterspeediscrucial. yoursubject,yourshadowwillshow
theedgesoftheprojectionintheframe. compensationtocontrolyourexposure. Chooseashutterspeedtoohigh,suchas intheframeshootingfromanangleto
Adjustyourangle,distance,orsimply Concentrateonyoursubjectsskintone this,andyoullseebandsofbrightcolour onesideavoidsthisandprovidesmore
movetheprojectorfurtherback. asthisisthemostimportantarea. duetothewaytheprojectoremitslight. interestinglightanddepth.

Hitting tHe rigHt note!
Allowingroomformymodel'sshadow
intheframeaddsextrainterest.Ablack
&whiteconversionfinishesthingsoff.
Exposure:1/100secatf/2(ISO100)
PH TO
SKILLS
Its smokIn
Ifyou can stealsometImeawaytotryanewstIll-lIfetechnIque, smoketraIls has Itall: creatIvIty,
flashand focusIng challenges. carolIne schmIdtshares sometIps for shootIngyour own
Camera: nIkon d800 / Lens: nIkkor af-s 85mm f/1.4g, nIkon sB-900 and trIpod
S
moke traIl shots are an the post-production effects in Photoshop with the smokes movement. ambient light
unpredictable art form they (turn to page 46 for details). also needs to be at a minimum otherwise it
require patience, skill and a lot of Youll need a camera, a tripod and a lens: a will interfere with the flash exposure, so make
perseverance. But, get them right standard zoom will do, but Ive chosen to use sure you have blinds or curtains to close at
and you can get some spectacular, almost an 85mm a couple of metres away from the the windows. to get the smoke trails that you
hypnotic, results. Its a quick technique to set-up nearer a window. the room youre want, incense sticks are your best option as
shoot: smoke trails can take less than 30 working in needs to be well ventilated, they last a lot longer and give you more
minutes to capture once your have your especially if its small, but your set-up should opportunities to shoot more interesting
lighting right, then you can concentrate on be away from any drafts that can interfere frames than, say, an extinguished candle.
PH TO
sKIlls Smoke trails
1 set-upIn your well-ventilated room, set

up a table and a black background; Ive
attached a black cloth on a background stand,
2 Camerasettings Its a good idea to shoot
in Raw+JPEG in case you need to make
exposure adjustments, but theres no reason
3 plaCeyour flash The angle of your
flashgun is potentially the trickiest part
as it determines the success of your shots.
but a couple of sheets of black cardboard you cannot get these shots right in-camera. Start by setting your flash to manual and 1/8
can work too. Place the incense burner and Set your camera to manual mode, ISO 200, power, then place it behind and lower than
stick about two- to three-feet away from a shutter speed of one second and a starting the incense stick. A flash with a tilting head will
the background and position your tripod- aperture of f/8. You may need to alter the be an advantage. You need to avoid any light
mounted camera in front. Youll need to be aperture, and therefore the shutter speed, if from falling on the backdrop or hitting your
able to see the stick in the frame but have you find the smoke naturally moves towards lens, so you may have to alter its position and
space above to capture the rising smoke. the camera to ensure most of it is in focus. flag the light if youre having trouble.
5 firingyour shots
The quickest and
easiest way to fire the
flash is by pressing
the Test/Pilot button
during the exposure.
Youll either need to
fire the camera using
a remote release or
its self-timer mode,
or attach a flash
transceiver to the
cameras hotshoe
and flashgun. Here
Ive used the Yongnuo
YN622N, which works
brilliantly. If you find
4 findyour foCus With all the lights on, use single-shot AF to focus on
the incense stick; if you have trouble locking on to the stick, place
a white piece of paper behind it. Once youve found focus, switch to
your smoke starts to
rise in a straight line,
try wafting the smoke
manual focus to stop your lens from hunting and carefully recompose or tapping the incense
so the stick is out of the frame. When you take the first couple of shots, stick to create some
use the LCD monitor to zoom in to your smoke to check its in focus. movement.
COmmONPRObLEmSTHINGSTOAvOID
1)flashisvisible:Takecarenotto 2)smokeistoostill:Iftheresnot 3)flashexposure:Youwantasmoke 4)exposedbaCkground:Keepthe

positiontheflashintheshotortohave enoughairmovement,thesmoketrail trailthatsbrightwithdetailandastrong flashangledawayfromthebackground
theflashpointingtowardsthelensto willrisestraightup.Ifthishappens,try tonalrange,evencolour;ifthetrailisdim, toavoidanylightspillingontoitand
avoidflare.Movetheflashfurtheraway movingnearthesmoke,waftingitor thebacklightingisntstrongenoughso givingyouanunevenbackgroundof
andtryattachingalenshood. tappingtheincensestick. increasetheflashpower. greytones,likeyouseehere.

Whatdoyousee?
Smoketrailshavethepotentialtolooklike noWedit
graphicinkblotswhenduplicatedandinverted. your oWn!
Exposure:Onesecondatf/9(ISO200) Turnoverthepageto
findouthowtomake
yourtrailshotlikethis
ORIGINAL
Makesmokeart
YOU'RE NOTFINISHEDYET...CAROLINE SCHMIDTSHOWSYOU HOWTO
GIVEYOUR SHOTS INTRIGUEANDVIBRANCE INJUSTAFEWEDITING STEPS
O
NCE YOU HAVE your smoke trail two to create your own style of abstract art.
images you can really have some fun. Before you begin these more creative steps,
In Photoshop you can colour, ip, however, you need to prepare your shot.
invert, crop, overlay and even manipulate This means adjusting the exposure and
your trails into shapes. Smoke trails have the contrast, if necessary, to make the smoke trail
potential to look like a psychiatrists ink blot, pop without losing valuable detail in the
which is what we plan to show you how to highlights and cropping your image to get rid
create here. Out of the few options well of any visible smoke source, such as the tip of
cover, you can do all the steps or pick one or the incense stick should you get it in frame.
1 EDIT IN ACR Start by opening your image

in Adobe Camera Raw and increase the
Clarity slider to draw out detail by increasing
2 FLIPYOUR IMAGE Open your Raw image in
Elements or Photoshop, and duplicate
the image by dragging the layer down to the
3 MOVE AND BLEND Click the top layer and
set the layers Blend Mode to Screen to
reveal the bottom image. Youll need to use
sharpness and contrast. You may also nd the Create a new layer icon at the bottom of the the Move Tool to drag the top layer into place
image benets from increasing Highlights Layers palette or going to Layer>Duplicate so that both smoke trails overlay each other
and the Whites slider and decreasing the Layer. Now go to Image>Image Rotation> slightly. You may need to crop the image now
Blacks to manually control contrast. Flip Canvas Horizontal. that youve changed the shape of the shot.
TECHNIQUETOTRY Invert
4 ADD COLOUR Create a new layer

(Layer>New) and use the Brush Tool and
your chosen colour to paint an area of your
5 MULTI-COLOURING You can make
colouring your smoke trail as simple or
complex as you like. You can continue to add
Ifyou preferawhite background, allyou need to
do is go to Image>Adjustments>Invert orclick
smoke trail. Change the layers Blend Mode new layers with the Blend Mode set to Color cmd and I. Ifyou plan to colouryourtrail, invert
to Color and reduce the layers Opacity to and use different colours at varying opacities. yourshot rst unlessyouwant to invertyour
get the desired effect. You can then use the Dont be afraid to overlap colours as merging chosen colourpalette too.
Erase Tool to edit the painted area. them can create a smoother result.

FIVE-MINUTESOLUTION
Colouringasmoketrailcouldn'tbe
simplerorquicker.Tryitforyourself
andyou'llbepleasantlysurprised.
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WANTYOUR SHOTS CRITIQUED BYTHE DIGITAL SLR PHOTOGRAPHYEXPERTS? TURN TO PAGE 55 TO FIND OUT HOWTO SUBMIT IMAGES
MADDALENA
by Daniela Greco
CanonEOS1100DwithCanonEF50mmf/1.4USMlens.
Exposure: 1/160sec at f/2.2 (ISO 100).
What we think: The rst thing that drew us

to Daniela's portrait was the beautiful eye
contact in this portrait. The second thing
that we noticed was the stylish toning that
has been applied very on-trend. The
image is dark, but this adds to the appeal and
isn't a negative as the girl's skin is exposed
just right, and is the brightest part of the
image, as it should be. We're not 100% sold
on the crop and pose however. Let's see
what portrait pro Brett has to say
Why it works
Mesmerising eye contact
Great toning and use of colour
Eye is drawn to subject without distraction
BRETT HARKNESS
PORTRAITEXPERT
BrettHarkness
Ilikethisshotasitmakesyoustop
and backlighting his subject couldn't be andlook.I'mafanoftightcropsas
SUNSETLIGHT more ideal. Facing his subject away from the theydrawattentiontotheeyes.
by Bruno Chavarria light prevents harsh highlights and shadows Theangleofherheadisgoodtoo.
too perfect. Bruno has handled the Danielahasuseda50mmlensmyfavourite
NikonD3300withNIKKOR50mmf/1.8lens.
Exposure: 1/500sec at f/1.8 (ISO 100). backlighting well there's signs of some focallengthbutonenotusuallyassociatedwith
dodging on her face, but this looks tightcropsyetthere'snosignofdistortion.
What we think: This is what we'd usually reasonably natural. As mentioned, the main Shootingatthisangleatf/2.2canleadtoone
describe as an oh-so-close portrait! The negative is that the subject is out of focus eyebeingsoft,especiallywhenthesubjectis
light is gorgeous, the location is great and not by much, but at f/1.8 there's no margin turnedslightly,sothat'ssomethingtowatch
the composition is very strong it's just the for error as depth-of-eld falls off so quickly. for.Thetoningisniceandsuitsthesubject's
slight mis-focus that's letting it all down skintoneandfeeloftheshot.Myonlymajor
sadly. Let's start with the positives: Bruno has Why it works gripeisthepost-processingonhereyesthe
shot this portrait at the most photogenic Wonderful golden backlighting whitesaretoowhiteandlookoverworked,also
time of day the warm, low light breaking Lead-in lines and strong composition herlipsareverydarkandthiscanlookstrange."
through the photogenic wooden walkway Great choice of location

Waiting fortHe sun
by Michal Rosinski
PentaxK-5withPentaxFMacro100mmf/2.8lens.
Exposure:0.6secondsatf/11(ISO100).
What we think: Wow. This could easily be an
alien creature from another planet if we
didn't know any better! The detail here is
amazing you can make out individual
follicles of hair on the insect's body and legs.
Michal's focusing is spot on, his subject is
pin-sharp and the background is uniform
and diffused, and also free from distractions.
We're having trouble finding fault here this
is an excellent macro insect study.
ross HoddinoTT
Wildlifeexpert RossHoddinott
Ithinkthisisarobberflyit'sgood
toseelesspopularmacrosubjects
beingphotographed.Technically,
therearelotsofpositiveshere.The
insectstandsoutagainstadiffusedbackdrop.
Despitetheshallowdepth-of-field,thebody
andeyesaresharpduetogoodtechnique,
pin-pointfocusingandaparallelviewpoint.It's
averygoodrecordshotthetypeofimagethat
isperfectforillustrativepurposesinabookor
wildlifemagazine.However,fromapurely
aestheticviewpoint,itwouldbegreatifthefly
hadbeenclingingtoamorephotogenicperch,
whilethelackofdirectionallightalsoreduces
theimpact.Personally,Ifavourbacklighting
insectslikethis,asithighlightsfinedetail.
Housesteads Crag
by Jemma Slater
CanonEOS6DandaCanonEF16-35mmf/4LISUSMlens.
What we think: Jemma has used an obvious

lead-in line here on Hadrian's Wall to
strengthen her composition. The wall guides
you in before disappearing away into the
distance, drawing your eye into the image.
There's a nice bit of interest in the sky
almost as if it's clear one side of the wall and
moody the other! However, we'd love to see
this scene shot during better light imagine
this moody sky with rays of dappled golden
light piercing through and striking the
landscape, picking out details on the wall!
Finally, we're not crazy on the expanse of
green in the foreground. There's nothing
there of interest and it slightly lets down an
otherwise strong composition.

THE FUTURE
by Susan Spence
NikonD3200 withSigma10-20mmf/4-5.6EXlens.
What we think: We're seeing more and

more architecture being submitted for
Expert Critique it seems to be a growing
genre! We really like this image Susan has
nicely balanced the exposure between the
futuristic structure and the sky without
losing detail. The strong, directional light
further adds to the angular nature of the
building and the black & white conversion
gives the image an abstract feel. We'd be
tempted to straighten up the vertical lines,
but otherwise this is a really nice image.
Why it works
The black & white conversion is excellent
Susan has nailed the exposure
Angular building contrasts with clouds

LEE Big Stopper, LEE 0.9 ND Soft Grad LEE Big Stopper
Nikon D3X, Zeiss 50mm Planar, 240 sec @ f/11 Nikon D3X, Zeiss 50mm Planar, 420 sec @ f/11
LEE Big Stopper, LEE 0.6 ND Soft Grad LEE Big Stopper, LEE 0.6 ND Soft Grad
Nikon D3X, Zeiss 50mm Planar, 305 sec @ f/13 Nikon D800E, Zeiss 50mm Planar, 302 sec @ f/11
BIG STOPPER
My objective with the project CONTINUUM was to shoot a sequence of simple, elemental
photographs, essentially just sea and sky, but all from the same spot on a beach near my
home in France. The photographs would be made at different times of the day in different
conditions; dawn, dusk, the middle of the day, during storms, sunlight, even snow on one
occasion. All would be quite different, but all would link together to form a symbiotic body
of work, due mostly to the positioning of the horizon, and the fact that every photograph
would be shot using very long exposures.
I chose the LEE Big Stopper to help give me the long shutter speeds I required, and
combined this with various LEE ND grad filters to control the light. I am very old school
regarding my photography and prefer to pre-process as much as I can rather than rely
on software after the event. The adaptability of the LEE Filter system lets me be creative
in-camera, which suits me down to the ground.
Jonathan Chritchley
www.jonathanchritchley.net www.leefilters.com
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 FACEBOOK: Join us on Facebook at POST: Burn your high-res images as
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submissions@dslrphotomag.co.uk Become a part of the community and post mugshot, and produce a contact sheet
Please only email images at a maximum your best shots to our wall. We regularly with location and technical details. Put it
of 1,000 pixels along the longest edge monitor the page and will be in touch if all in an envelope with a covering letter,
(note: your email will be rejected if the your work catches our eye! including the submission form below and
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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
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Please don't send us your entire
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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

The PhotoWorkshop
Family
Portraits
EACHMONTHWEGIVEONEREADERTHECHANCETOTEAMUPWITHALEADINGPROFESSIONAL
FORANEXCLUSIVEONE-TO-ONEPHOTOWORKSHOP.THISMONTH,PROPHOTOGRAPHER
KATEHOPEWELL-SMITHANDREADERELIzAbETHKEATESWORKTHEIRMAGICPHOTOGRAPHING
AFAMILyOFFOURINASTONROWANTNATIONALNATURERESERVEINOXFORDSHIRE
t
he FRANShAM houSehold is buzzing with The first challenge elizabeth has to tackle isnt even
excitement as we arrive. Cat, Tim, eight-year-old one of our four tasks, but its essential to conquer in part
Kitty and lula, aged six, know what to expect before we leave the house. She has to start building a
from a portrait session with Kate; shes been their rapport with the girls if she is to get the best from them
photographer since the girls were little. This time, on location, so we begin with a chat about whats to
however, was to be a slightly different from the usual for come and allow her to get an idea of their personalities.
they are being photographed by Digital SLR Photography While the girls are only 18 months apart, the blonde
reader elizabeth, with only a guiding eye from Kate. beauties couldnt be more different: lula is quiet, while
elizabeth has been photographing people for about Kitty is feisty and has a flare for performing arts, meaning
a year but shes come on leaps and bounds in that time liz may have to work with each slightly differently.
thanks to her training from established pros. She already True to Britain, instead of the predicted clear skies and
has sound knowledge about exposures and using sunshine, we were handed heavy rain and overcast skies.
off-camera flash, but while she may know how to light a But, we donned our Wellingtons, jumped into Tims
dance floor at a wedding, does she know how to light on classic land Rover and headed to the woodland near
location or find the best natural light? Time will tell. Christmas Common hoping for the rain to stop.
THEEXPERT: KateHopewell-Smith THEPUPIL: ElizabethKeates
Award-winningphotographerandNikon Elizabethhasbeenshootingweddingsfor
AmbassadorKateHopewell-Smithisone cominguptoayearandhasambitionstobea
oftheUKsleadingweddingandportrait full-timeprofessional. Sheskeenontraining
photographersandregularlyconducts andbroadeningherskillsetviaprofessional
workshops.www.katehopewellsmith.com workshops,butthiswillbeherrsttime
Kateskit: NikonD4S,NIKKORAF-S70-200mmf/2.8, photographingafamilywithKate.
85mmf/1.4,35mmf/1.4,SpeedlightSB-910ashgunand Elizabethskit:NikonD3andtwoD800S,NIKKORAF-S
anElinchromQuadraRangerwithreectiveumbrellas. 70-200mmf/2.8,24-70mmf/2.8and35mmf/1.4lenses.
The PhotoWorkshop
CHALLENGE1:
FLAsHLitFAmiLyportrAit
Liz has a lot to think about. Not only does
she have to consider lighting, location and
exposure, she has to handle the challenges
of working with people and their different
personalities, draw the right expressions
from them and pose them for appealing
pictures. Taking good portraits is no easy
task and were throwing four very different
challenges her way on top of all that.
Before we left for the woods, Tim asked if
we could include their classic Land Rover in 1
their family portrait. What a fun and fantastic
way to kick off the day; including personal 2 3
props like this in a family shot can make a

portrait really special. However, such a big
subject requires us to use flash on location
you could use multiple flashguns, but frankly
when working with children you need to be
fast and efficient so I brought along my
Elinchrom Quadra Ranger with two reflective
umbrellas. Liz has been on one of my
wedding workshops this year, so I know she
knows how to sync flashguns but shes clearly
daunted by the prospect of using location right perspective and a composition that ambient exposure for the scene before
flash though its arguably so much easier. gives structure to the scene. adjusting the flash. I show her how to use a
On arrival, Liz and I search the woods Most photographers think if it's overcast, depth-of-field calculator to figure out the
around the parking lot for an area with they can shoot anywhere but thats simply widest aperture she can afford to use at her
vibrant colour and low-hanging trees. not the case. You have to find the good light preferred shooting distance using a 35mm
Although the Land Rover will give the family or, in a pinch, use fill-in flash. In some respects f/1.4 and also with her 70-200mm f/2.8.
height, we still need to find the right canopy were lucky that its overcast in the woods as The difference these two lens options give
so the scene fills the frame; if the trees are a bright day could be quite restrictive, but her is astounding, not to mention the effect
too tall, well have to shoot from further back once we get the vehicle in place and the on her images. Eventually she starts to get
making them too small in the frame. We spot family on the bonnet it becomes clear that to grips with altering her aperture to find the
a good area and Tim backs the vehicle down were going to have trouble with the best exposure for each lens; I remind her
the path. She suggests that we angle the down-light; all of them have what I like to that its the aperture that controls the flash
Land Rover under the tree, rather than call Batman goggles as the light from above exposure, not her shutter speed, and that
having it square to the camera, thinking it causes deep under-eye shadows. A subtle we want a very subtle fill-flash effect.
may make a more dynamic composition. use of flash is going to be essential. Once we have the technicalities in place,
However, as the Land Rover is such a graphic I ask Liz where she wants to set up the Liz starts concentrating on posing and
element in the scene you need to make the lights and where she wants to stand to take expressions but I urge her to move around
composition simple so the brain and eye her shots, but she needs a fair amount of too and to zoom in for tighter crops; she
dont fight each other. As a location guidance on both so we set up two lights a seems to feel restricted by the flash. Liz is all
photographer, youre always working with few metres in front and either side of the for trying different poses and suggests
a full canvas but its your job to find your right vehicle. I show her how easy they are to placing the parents on the outside of the
piece to work within, use lenses to find the control, but Liz struggles to find the right group but, as time is of the essence, I point
4 1)LizposesthefamilyonthehoodoftheLandRover.
2)Itdidn'ttakelongforLiztogetacrackingsiblingshot.
3)KatereviewsLiz'sfirstattemptswithlocationflash.
4)Keepingthegirlsontheedgeofthedoorwaymeant
enoughlightcouldreachthemboth.
5)LizshowsthefamilytheimagesontheLCDscreen.

PicturePerfect
Bybalancingtheambientlightwith
flash,Elizabethhascaptureda
beautifulimageofthefamily.
Exposure:1/60secatf/5 (ISO320)
out that a triangle pose with the tallest in the out how the siblings get on; if theyve
middle makes for a stronger composition. recently fallen out, youre not going to get challenge1Pro verdict
From here, she can concentrate on getting great shots by asking them to put their arms
the family to interact and connecting the girls around each other, so you have to find a Lizdidreallywellconsideringshehadnever
with their parents. It takes a lot of energy to different tactic. Thankfully, Kitty and Lula usedlocationlighting,otherthanflashguns,
keep the attention of kids and Liz is giving it get on well, so it only takes a little coaxing before.Shewasalittledauntedbythetask,
her best, but having mum supply sweets from from Liz to have them connect in a pose. andstruggledtobalancetherightambient
her pocket between shots is certainly helping. She does well to interact with them, but still exposurewiththeflash,butshemanagedto
tacklethetechnicalchallengesandtricky
Before we move on to the next challenge, needs to give a lot more energy to keep
lightingconditions.Shehasagreatpersona
we squeeze in a couple of sibling shots their attention and shes getting bogged withpeople,butonceElizabethfiguresoutthe
sitting in the back of the Land Rover. The down with the technical side of shooting. technicalsideofashotsheneedstolearnto
lighting stays the same, but this time With a little bit of help to refine the girls forgetaboutthesettingsandconcentrateon
Elizabeth has to concentrate on posing the poses so theyre on a similar plane of focus givingthefamilyanabundanceofenergy,
girls without mums sweetie intervention. and managing to crack a few laughs, Liz whilefocusingontheirexpressions.
Normally I quietly speak to the mum to find gets her shots and we can move on.

The PhotoWorkshop
challenge2:
capturetheaction
"We didnt have to go far to find the location
for the next challenge and we certainly
couldnt do a workshop in autumn without
including this classic childhood favourite.
The trees are still vibrant but there are
2
enough fallen leaves to capture a great
leaf-throwing portrait. Finding the right tree, 1)Wefindalowhangingtreethatoffersusshade. 3
with the right background in the best light is 2)Lotsofhandsmakelightworkofcreatingthisshot.
just as crucial with this technique as finding 3,4&5)KateandLizreviewtheimagestomakesurethe
the right shutter speed that avoids camera shutterspeedisfastenough,thatthere'senoughlightin
Lula'seyesfromthereflectorandthatthereisatleastone
shake but doesn't freeze all the movement shotwithalovelyexpressiontocompletethechallenge.
in the leaves. Its not a shot most
photographers can get first time and usually light on Lulas face is incredibly flat, with
involves an extra helping hand to throw the almost no light in her eyes. Sometimes I
leaves from above luckily for us we have may use fill-in flash with -2EV flash
many hands ready to help, letting Liz focus compensation for a very subtle light, but
on her photography. this time I think a reflector will make a huge
To make a shot like this successful, difference and weve the hands to hold it.
I explain to Elizabeth how we need to find a Once everyone is in place, we start to
low-hanging tree with plenty of colour, but sort out Elizabeth's camera settings. Shes
also a darker background like a shaded area comfortable using manual mode, so starts
or woodland behind. If you throw leaves in with 1/200sec at f/4 on her 70-200mm f/2.8 come in to its own between Lula blinking
front of a tree of the same colour, youre not lens. Shes about to set continuous focusing a lot due to the bright reflector and the
going to see them. Once we have our tree as its an action shot, but actually this would falling leaves, Liz needs to get as many
and get Lula all wrapped up for her play havoc as the AF system will try to frames as possible to ensure she gets at
close-up, Liz astutely asks if we need to use lock-on to the falling leaves. I suggest she least one with a decent expression. It takes a
fill-in flash or if a reflector will do for this keep it to single-point AF and focus on Lula few attempts to find the right exposure as
shot, not because we dont have enough but to set her camera to burst mode this is 1/200sec overexposes the image, but
light for the shutter speed but because the where her Nikon D4S is really going to 1/250sec was perfect and still retained
some movement in the leaves. I was really
4 impressed by how fast Liz got her shots,
giving her a chance to try different
compositions and crops.
challenge2Pro verdict
Elizabethdidwellwiththischallenge.Itsa
toughtasktofindtherightshutterspeedthat
eliminatescamerashakebutdoesntfreezeall
theleaves.Sheknewwhatshehadtodoand
startedtogetafewdecentshotswithinjusta
fewframes.NexttimeI'dliketoseeafewmore
leavesinthepictureandthesubjectinteracting
withthemmore.Goodjob!"

IwasreallyImpressedbyhow
fastlIzgothershots,gIvIng
herachancetotrydIfferent
composItIonsandcrops
FallingForward
AgoodattemptbyElizabethtobringall
thenecessaryelementstogetherto
makethisfunportraitsuccessful.
exposure:1/250secatf/5(ISO320)
The PhotoWorkshop
CHALLENGE3: Liz has been using a 70-200mm f/2.8

lens for most of her images up to this point,
Its the skin tone thats crucial with a shot
like this. As Liz is already set to multi-zone
BACkLitportrAits so I thought wed shake things up by using metering from her previous challenge,
If possible, its always nice to get at least a an 85mm f/1.4 for a while and it proves a theres no need for her to change as we'll
few wide-open backlit portraits in a family challenge in itself. Theres a bright, beautiful be exposing for the skin. However, a quick
shoot, ideally with bokeh in the background. painterly quality to this lens that lends itself test shot shows that the strong backlighting
For this we needed to find a spot that had the well to bokeh portraits, but Liz is working is still tricking the metering system slightly
contrast of direct light passing through with a shallow plane of focus. To maximise in to underexposing Kitty's skin.
leaves easier said than done on an overcast the bokeh Liz sets f/2, which at a frame- Repositioning the reflector helps, but we
day. We knew we'd have to wait for a filling distance away from Kitty barely gives take a few more shots to deliberately
momentary break in the clouds and then her 2cm of depth-of-field. As theres not overexpose the image by two to three
work very fast. As backlighting was much margin for error, I advise Liz to take as stops until the image looks right on the LCD
important, we had no choice but to place many shots as possible and to use single- screen. For me, as long as there is no
Kitty in bad light, and to bounce light back on point AF. Technique-wise, this is probably important detail in the highlights, like skin,
to her face with a reflector. the most I've seen Liz struggle all day. I don't worry about blowing them out and

1
BacklitBeauty
Whiletheblown-outhighlightsinthis
imagemeansitwon'twinanyawards,
it'salwaysaneffectthatparentslove.
Exposure:1/640secatf/2(ISO250)
1)LizpositionedKittywithherbacktothesunandtookan
eye-levelviewpointusingaNIKKORAF-S85mmf/1.4lens.
2)ALastolitesunfirereflectorprovedusefulforthisshoot,
As bAcklighting wAs importAnt, wE hAd no
butwithlimitedlightwehadtokeepchangingitsposition.
choicEbuttoplAcEkittyinbAdlight,tobouncE
losing detail. Elizabeth, however, seems
slightly uncomfortable with how
light bAck on to hEr fAcE with A rEflEctor
overexposed her images are, but I reassure
her they will look lovely and angelic once
theyre edited and the highlights don't challenge3Pro verdict
matter as long as the skin is well exposed.
Unfortunately, we only rattle off a few "Shootingwideopenonashorttelephotolenslikethe85mmcanproducebeautifulresultsbutitcanbedifficult
frames before we lose our backlighting, toachievethecorrectfocus.It'sessentialtoplacetheAFpointononeeyeandshootanumberofframes.Itwas
forcing us to move on to the next challenge. thefirsttimeLizhadtriedusingan85mmlens,soshestruggledwiththefocusingandworkingwithsucha
Hopefully we'll come across another shallowdepth-of-field,butsheperseveredandIthinkshegotagoodshotbytheendofourbriefchallenge."
opportunity to try again later.

The PhotoWorkshop
CHALLENGE4:
SHootiNGiNfuLLSuN
While Liz managed to get one good image
from her last challenge, the light
disappeared before she was completely
happy, so we went in search of a different
location in the hope the clouds might part
for us again. On a day like today, when the
sun makes an appearance its sporadic and
brief, so you have to go looking for the good
light and this is when we came across the
perfect shaft of light in the forest for our final
challenge. We really didnt think wed have
enough direct light to challenge Liz with
shooting in full sun, but we were in luck.
Its nice to get a few shots of a child/
children with each parent during a family
shoot, so for this one we photographed
Kitty and then brought in Cat. The shaft of
light that was coming through the canopy
at an angle was falling on a tree, so we asked 1
Kitty to lean against it and to tilt her head up
to look towards the light. I love capturing 1)CatandKittyneededtoconnectmorebystandingnextto 2
high-contrast shots like Liz is going to try, eachotherandholdinghands.
you can only do it using autumn and winter 2)Lizcheckshersettingstokeepontopofthechanginglight.
3&4)AfewshotsofKittyalonenotonlymakeuseofthedirect
light; the sun is too strong during the
sunlightbutLizmanagestoincludealittlebackgroundbokeh
summer, especially for people with blue toobyfindingananglethatcapturedlightthroughthetrees.
eyes like Kitty and Cat. I tell Liz that the key is
to expose for the highlights the shadows f/6.3 at 1/80sec it was tricky, but she did
will look really dark, but can be pulled back really well trying to stay on top of the light.
in Raw editing, but whats really important is They could potentially look great converted
to not lose any detail in the skin. to black & white, too!
Im what I call an AV/manual Throughout this workshop, Ive been
photographer: while I shoot in manual I reminding Liz to look at the subjects
nearly always set my aperture first. Liz used expressions, not to forget to check how and
to use aperture-priority mode but found it where they connect, and to ensure they
difficult to get the drama she wanted so interact be it with the camera through her,
found she was constantly using exposure or with each other for beautiful candids. CHALLENGE4Pro verdict
compensation. I suggest she switch to using When theres so much to think about, its
manual instead even though its daunting. easy to forget these little details that can ruin Iwasimpressedbyhowquicklyandefficiently
Shes picked it up quickly and it really paid off a technically perfect portrait. Liz did well, but Lizwasadaptinghershootingtothechanging
for this challenge, which certainly tested her theres much room for improvement too light;shedidwellexposingforthehighlights
exposure skills. If she was to be working in for instance noting when a subjects andstayedontopofthelight,adjustingher
aperture-priority mode, shed be constantly mouth needs to relax, where their hands are exposureaccordingly.Consideringtheexpanse
adjusting her exposure compensation for and if their poses look posed it all goes ofskillsandchallenginglightweweredealing
this type of shot to adapt to the constantly towards taking memorable and authentic with,IthinkLizdidexceptionallywellandIhope
changing light. She starts with f/3.5 at family portraits. And Liz is certainly on her I'mleavingherwithwaystoprogressherwork.
1/2500sec but by the end, shes shooting at way with a capable skill set.
3 4
workSHopSummAry:
Elizabeth Keates
Whatanincredibleday!Kate
Hopewell-Smithistrulyinspiring,
deliciouslysupportiveanda
fantastictutor.Withintwominutes
Ihadlearntaboutclearingand
simplifyingthecanvasbeforeme.Withinfour
minutesIwasusingElinchromQuadraRangers,
whichgavemesuchaneaseandfreedomin
whichtowork,aswellasprovidingthemost
beautifullightoverthefamilyportrait.Three
hoursdashedbyfilledwithdiscussionson
shutterspeeds,ambientexposureandmost
excitinglyKateswayofpushingthedynamic
rangeofthecameratocreatepowerful,
dramaticportraitsusingonlynaturallight.Ihave
beenleftwithaworldofinspirationtothrowat
myupcomingwork.

IlovecapturIng
hIgh-contrast
shotslIkelIzIsgoIng
totry,youcanonly
doItusIngautumn
andwInterlIght
Flyintothesun
WithKate'shelp,Lizmanagestoputher
camera'sdynamicrangethroughits
pacestocapturedramaticportraits.
exposure:1/1000secatf/6.3(ISO800)
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PictureSpecial
Countdownto
Christmas
christmasisafavouritetimeofyearformany.family&friends,mixedwithplentyoffood&drink,canleadto
merrycelebration,sokeepyourcamerahandy!eventherunuptothebigdayisfullofphotoopportunities,
aswinterdrawsinanddecorationsgoup.intraditionalfestivefashion,weveselected12fantasticideasto
sharpenyourphotoskillsandkeepyourcreativityaliveasyoucountdownthedaysuntilchristmas
image: TaTyana Tomsickova
PictureSpecial
AUREL FISChER
1 Crystalised close-ups
ROSS hODDINOTT
macro lenses, such as a NIKKOR 200mm f/4
Its been a few years since weve been Micro lens, but you may need more than a
blessed with a white Christmas, but 1:1 reproduction ratio. An affordable option
maybe 2015 is the year to break the trend. is to buy auto extension tubes and try this
And, if not, you can keep this technique with your 50mm lens, or, if you're happy to
handy for when the white stuff does make an shoot in manual, pick up an old set of used
appearance, most likely early in the new year. bellows from eBay. Lighting can be tricky as
Its often impossible to see the miniscule youre so close to your subject, and you'll
details of ice crystals with the naked eye, need to use a small aperture for depth-of-
which is why photographing them requires field, so consider backlighting the ice crystals
specialist kit. This particular shot was taken (as they have been here) you could use a
using a macro lens and bellows to get close lightbox or place them on a piece of acrylic
enough to the snowflake that it can be glass lit underneath with a bright LED lamp.
3
captured with extreme magnification. You Youll have to work fast though: the heat of
can get high magnifications with dedicated the light is likely to melt the subjects quickly. Reliant robin
Robins are a photographers favourite,
with this time of year being a particularly
ShUTTERSTOCK
2
popular time to photograph them, especially
Focus on decorations if it has been snowing. The good news is there
If youve made a real effort to put up are millions of robins in the UK and gardens
lots of colourful decorations and are a popular feeding zone, so you shouldnt
twinkling lights, it makes complete sense have to stray far to find them. Set up a feeding
that you should capture some decent station with fat balls or mealworms and youll
still-life images. You could set up entice them to visit regularly. Their small size
something, but wed suggest zooming means youll need a powerful telezoom to fill
your standard zoom to its tele-end, or a good portion of your frame. A telezoom like
fitting a macro lens, and testing your a 70-300mm is good, but better still is a more
creative eye to isolate smaller details. powerful zoom, such as the NIKKOR AF-S
Setting a wide aperture, such as f/5.6 or 80-400mm f/4.5-6.3. A feeding station will
faster, lets you to maintain a high enough allow you to coax the robins to a particular
shutter speed to avoid shake (stabilisation area of your garden that is well lit and free of
helps here too) but better still, allows you distractions. Shoot from a window, shed or
to maximise bokeh in your images. By hide and avoid noise or sudden movements.
including fairy lights or reflective If handholding, set a high ISO (start with ISO
decorations in the background and using 400) and switch on your lenss stabilisation
a very shallow depth-of-field, youll be mode if it has it. Better still, mount your
able to highlight attractive decorations in camera on a tripod. If it has snowed, bait the
the foreground and add a special glitz to ground and capture the robin against a white
the blurred backdrop, too. backdrop, or hang fat balls above a thick
branch on which the robin can perch.

4
Let there be light!
Fairy lights have many functions over the
festive period, not least to be a key light for your
little people's portraits. If theyll let you, try wrapping
them loosely with battery-powered lights (never leave
them alone though and ensure they don't get hot LED
lights are best). You could put them in a box for them to
gaze into or have them hold the lights in their hands.
Turn off or dim room lights and youll have them
entertained long enough to fire off a few frames. Its a
tricky shot to get as children tend to move and you'll
be working in low light, so maximise your shutter
speed by using a wide aperture and a high
ISO. If your cameras AF struggles, switch
the lens to M and focus manually.
DAnI MAnTIS
TATYANA TOMSICKOvA
5 Like kids at Christmas
MIRAGe GOuRMANd
Christmas magic may be spontaneous at

the time of opening presents but at any
other time when children are concerned, you
may need to give it a helping hand. Its
unlikely that lighting, smiles and your festive
6 Tasty treats
Theres no shortage of delicious
food this time of year, making it the
perfect time to create some special
still-life shots. The delectable Marks &
scene will come together on its own for your Spencer adverts make food photography
perfect Christmas portrait, so take control look easy, but anyone whos tried it will
and place your subjects where you want tell you the tiniest of details, fails in
them. Giving the children somewhere to sit composition or lighting make a huge
can help, like on a windowsill, and this lets difference. For instance, with this shot, in
you also frame them through the window order to retain the foamy texture of the
and capture your living room scene behind. hot chocolate, everything had to be set
For the best results, shoot at night when the up perfectly so it could be brought in
glow of the Christmas lights fill the room with straight from the stove. Window light is a
atmosphere and shoot wide open (eg f/2) for good option, but youll still need to shape
beautiful bokeh. A fast lens, like the NIKKOR it using flags and reflectors for the best
35mm or 50mm f/1.8 is ideal. You may need a results. When composing your set-up,
high ISO or to ask your subjects to sit really consider the trimmings, like walnuts, red
still as you use a tripod and a slow shutter ribbon and candy canes, but also how
speed. Giving them something to play with you can give depth to your picture using
helps keep them occupied, as can someone focusing and composition.
standing next to you pulling funny faces.
7 Make the most of the light

JeReMY WALKeR
NikoNAmbAssAdorJeremyWalker
PrOVIdeSaFeSTIVeGemTOlandScaPelIGhT
Landscape photographers looking for the
best light often use the early morning or late
afternoon light in the spring and summer;
but in winter, the sun is low in the sky all day
and the shooting window is much greater.
Look to use side-lighting to bring out
texture, shape and form or try shooting into
the light to get the highlights and sparkle
from fresh snow and ice crystals. Having
your subject, such as icicles or on a grander
scale trees coated with snow or frost, backlit
can provide striking shots, especially if
silhouetted with dark shadows in the
foreground. If you are shooting into the light,
try and hide the sun behind part of your
subject a tree, a branch or part of a building
so that it does not flare or overexpose.

8
Focus on pets
PictureSpecial
We love dressing up our favourite

companions for Christmas! Come December
the 25th, Instagram and Facebook will be full of
floppy-eared pooches and less-than-amused cats in
Christmas hats so if were going to do it, lets do it
properly. You could set up a studio armed with treats or
try a more homely portrait, like this one. Studioflash or
off-camera flash diffused by a softbox or brolly gives
more control over lighting and means you can use
a fast shutter speed. If you want to be even more
creative, try making a DIY bokeh lens filter out
of black paper and place it over your lens
to change the shape of fairy lights
in the background.
Ian KreIDICh
Theperfectgift
thisChristmas!
The Nikon School at the newNikon Centre
ofexcellence in central london offers a
wide range ofphotographycourses and
workshops.Whynot treat the photographerin
yourlife to a Christmas gift they'll remember
and buythem a Nikon Schoolvoucher.
Forfurtherdetails,visit:
www.nikon.co.uk/training
9 Winter wonderland
NikoNAmbAssAdorJeremyWalker OFFerS
aDVICe ON SHOOTINGWINTer laNDSCaPeS
A landscape following a heavy snowfall
offers incredible photo potential, so be ready
from falling snow and moisture or even your
own breath from hitting the camera and
freezing. Even a simple baseball cap perched
on top of the camera and lens will help
protect them. To help prevent your tripod legs
10 Paint your tree!
Don't worry, were not
recommending you open a can
of Dulux and splash some magnolia over
to take full advantage. Watch the weather from sinking into soft snow, use snowshoes your tree, rather were suggesting you try
forecast and be prepared. Pack your camera for tripods or specialist discs designed for your hand at painting with light. The
bag the night before, make sure your battery tripods in the snow. technique is relatively simple: dim/switch
is fully charged and carry a spare. Keep your The colour of light in winter can be very off the room lights, set a long exposure,
tripod by the back door so that you don't deceptive. It is far too easy to look at a snow- then trip the shutter and, with a small LED
forget it. Take along a flask of hot drink, covered scene under a clear, crisp blue sky torch in hand, circle the tree or follow its
high-energy snack bars and a spare warm and think how great conditions are. While outline, all the time having the torch facing
item of clothing. Carry a head torch and a these shooting conditions are good, the the camera. Avoid being recorded in the
whistle in case you get into trouble. Dress camera will see and record blue shadows image by wearing black or dark clothes and
appropriately for the conditions and keep whereas the human eye is seeing white snow. keep moving. The result is your tree lit by its
warm. If you are cold you will not be Be aware of what the blue sky is doing to the fairy lights and magical light trails around it.
concentrating on the image or the light and snow and compensate by altering the White You could even try placing flash gels in front
will want to give up and head home early. Balance. Auto White Balance will do a good of the torch to create colour trails. An
In terms of camera kit, travel as light as job but for absolute control, alter the White alternative is to set up your tree on a
possible. A standard zoom covers the main Balance manually and increase the Kelvin movable base (eg a dolly) and during a long
wide-angle focal lengths my personal number towards 10000K. Shoot in Raw and exposure, slowly rotate it the result will be
choice is the NIKKOR AF-S 24-70mm f/2.8. you can make further adjustments in a tree that appears to be spinning! With
A telezoom is a good call too, as is a macro post-production. Lots of snow can fool both methods, use your camera in manual
lens I use a NIKKOR AF-S 105mm f/2.8 metering systems so check the histogram mode, set an aperture of f/8 and ISO 400.
Micro lens for details and micro landscapes. and either take a spot-meter reading from a Start with an exposure of 30 seconds,
Carry a leather chamois cloth to wrap mid-tone or use multi-zone metering with check results and adjust times accordingly.
around the camera and lens to protect them positive exposure compensation.

SHUTTeRSTOCK
11 Moody Xmas portrait
Theres nothing wrong with fun
Christmas portraits that have us
donning Santa hats and reindeer ears, but
how about shooting something moodier?
AWB. Dont go for anything posed candid
images work better have parents sat with
children opening presents, kids playing with
toys or a couple cuddled and canoodling.
Place fairly lights in the foreground or
When we picture Christmas at home with background so as to give sparkling bokeh
the family, well often visualise a scene filled and light some candles for further ambience.
with warmth, so set up a shot that captures If youre showing the family looking at a
the atmosphere of a cozy Christmas. If you present, pop an iPad in an empty box with
have an open fire, youll find it gives off very the screen brightness turned up to bathe
warm light, but for most of us, the warmth their faces in a white glow. Finally, shoot in
can be achieved by shooting under tungsten Raw and you can tweak the colour
room lights with the White Balance set to temperature in post-production.
SHUTTeRSTOCK
JeRemy WAlKeR
SHUTTeRSTOCK
12 Winter portrait
Woolly hats, scarves and fur hoods
make great features for a frame-
filling outdoor portrait. Pick a lens that gives a
flattering perspective, a prime like the
Hats and hoods can place your subjects
face in shade, so shoot with your back to the
sun or use a reflector to bounce light on to
their face. If its snowing or raining, place
them with their back to street lights or
NIKKOR AF-S 50mm f/1.8G or a telezoom like Christmas lights for a bokeh-filled
the NIKKOR AF-S 55-200mm f/4-5.6G VR II background, or consider positioning an
are suitable options. Ideally a fast lens with a off-camera flash behind them. If youre
maximum aperture of f/2.8 or wider will give working with mixed lighting, it might be best
an appealing fall-off in focus but you can still to convert to black & white. Alternatively, if
get decent pictures with a standard zoom at theyre not wearing anything on their head,
f/5.6. Use single-point AF and focus on the you could wait until the light is low in the sky
subjects eyes. Take a look around the edges to feature warm backlighting and some
of the frame to ensure youre not over- atmospheric flare. Finish with a cool tint in
cropping features like hoods, heads or hats. post-production to add to the winter feel.
Photo
Calendars
LOOKINGFORASPOTOFTOP-NOTCHPHOTOGRAPHYTOADORNYOURWALLSTHROUGH2016?
FROMLANDSCAPESTOPORTRAITSANDIMAGEMANIPULATION,WE'VEPICKEDOUTFOUROFOUR
FAVOURITE2016PHOTOGRAPHICCALENDARSANDDUGALITTLEDEEPERINTOTHESTORYBEHINDTHEM
Featuring: Lavazza /Joe Cornish /Colin Prior /Aurum Light

CALENDARS2016 Lavazza
BACKSTAGE LAVAZZA CALENDAR 2016 - JOEY L IN LATIN AMERICA

LAVAZZA 2016:
FROM FATHERTOSON
PHOTOGRAPHER JOEY LTEAMS UPWITH
THE WORLDS PREMIUM COFFEE BRAND
TO CREATE A PHOTO CALENDAR WITH
AN IMPORTANT MESSAGE BEHIND IT
S
INCE 1993, THE annual arrival of
premium coffee brand Lavazzas
photographic calendar is eagerly
anticipated by many in the photographic
world, and certainly here in the Digital SLR
Photography offices! Having previously
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certainly big boots to ll if youre selected as 2016 calendar are put towards Terra Madre
their annual choice. The daunting task of Giovani We Feed the Planet, an event that
JOEY L
photographing the 2016 Lavazza calendar aims to bring small-scale food producers
was in good hands however with talented from around the world together to spread
young Brooklyn-based Canadian knowledge and understanding.
photographer Joey L being drafted in to Shot over the course of 30 days, this years
shoot a continuation of last years theme: project was entitled From Father to Son, and
Earth Defenders. Having worked with focuses on the relationship between parents
Lavazza on major advertising campaigns in and their children, and the passing on of
the past, and being versed in photographing teachings, methods and skills. When I rst
different people and diverse cultures all over read the brief I thought it was an excellent
the world, Joey L was the perfect t for this concept, said Joey of Lavazzas idea. Im
ethically-focused project. lucky that when I grew up I had parents that
As well as adorning walls around the world, supported me as a photographer, so I took a
the aim of this years Lavazza calendar is to lot of things that I learnt from my father into
educate people as to the origins of many of what I do today. I would say that the concept
the products that we take for granted. For really resonated with me. I think its important
instance coffee, and also to highlight the because you can develop technique and
relationship between people and the land, skills which help you one day, but if those
telling the story behind the creation and skills arent passed on and improved upon in
cultivation of food and drink through the the next generation, they get lost with time.
faces of those directly involved in the The journey took Joey and his team across

Joey L
Joey L
Joey L

JOey L
BACkSTAge LAvAzzA CALenDAR 2016 - JOey L In LATIn AMeRICA
Myphotographicvoyageofdiscoverytosouth&
centralaMericahasshownMethatthevalueofaplacelies
inthepeoplewhohaveworkedthereforgenerations
South America, from Brazil to Mexico, calendar. The images speak volumes about
Colombia, Peru and on to the Dominican the world behind the food that we eat every
Republic to document the harvesting day. Joey sums it up best: My photographic
process through the faces of the people voyage of discovery to South & Central
JOey L
responsible for producing it at a grass-roots America has shown me that the value of a
level. Shooting with a Phase One 645DF place lies in the people who have worked
medium-format digital body, Joey was given there for generations. My hope is that every
the artistic freedom to stamp his signature image manages to communicate, at least in
high-end style of lighting and portraiture on part, the emotions and experiences of these
the project and, through his ability to contemporary heroes, these fathers and sons,
connect with his subjects, he captured some whose faces and gestures tell the story of a
truly stunning and heartfelt portraits. The distant past and the dream of a better future.
word I like to use to describe a project like All of the images from the From Father To
this is Honourburden, says Joey, when Son Lavazza calendar can be viewed online at
speaking about the project. The reason for calendar.lavazza.com/en/. To find out more
that is because, of course, its an honour to about Joey L's work, visit: www.joeyl.com
be here Im very fortunate to be among
such incredible subjects and incredible crew.
But it is also a burden because you take on
the responsibility of representing these
How to order...
people in the correct way. FromFathertoSon,theLavazza2016calendar
The result is a visually stunning collection of shotbyJoeyL,costs30.Orderat:store.slowfood.it/
images that wouldnt look out of place in a vetrina/calendario-lavazza-2016-568.html
gallery, or glossy photo book, let alone a

Joey L
Calendars2016 Lavazza
Joey L
Joey L

CaLeNdars2016 Joe Cornish
NortherN
Light Joe Cornish is one of
the UKs finest landsCape
photographers. We
spoKe to Joe, as Wellas
adam riChardson from
the Joe Cornish gallery, aboUtthe
NortherN Light 2016 Calendar
Q For how many years have you produced

the Northern Light calendar?
AR:The first Joe Cornish calendar was
created for 1999 and there has been one
every year since then. Those familiar with
Joes work will not be surprised to learn that
an image of the distinctive Roseberry
Topping featured on the first ever cover.
Q What originally made you decide to

produce the calendars?
AR:When we began producing greeting cards
with Joes images, it soon became apparent
that some of the best images were not being
used. This was because they either didnt
make for a good card subject, or that they
were the wrong aspect ratio. A calendar gave
us an additional format through which we
could ensure we showcased all of Joes
personal choice of images.
Q What considerations did you make

towards the calendar format and its
production values?
AR:Since 2000, we have always used an
approximately 5x4 ratio for Northern Light,
our flagship calendar. Occasionally we may
include slightly cropped images, depending
on the camera that Joe has used to capture
the included shots.
Our paramount concern is the quality of
the production. We insist on using higher
quality paper than that usually used for
calendars, with all the images being
painstakingly prepared by Joe. It is literally a
case of standing over the printer as it is on the
press and making colour corrections if
necessary. Its important that we always print

CALENDARS2016 Joe Cornish
in the UK, using printers that we know and

trust. Currently this is Johnsons of Nantwich LIKEANYLANDSCAPE
and it is a great help that their MD, John
Macmillan, is himself a ne photographer.
PHOTOGRAPHER,ITHRIVE
ONTHECHANGESOFTHE
Q How easy was it selecting the 12 images
used in the calendar?
AR:Selecting which images to use can take
SEASONTHATCOMEWITH
some time. In fact, it was probably easier LIVINGINTHEBRITISHISLES
when Joe was still using lm! We usually
choose a shortlist and then ask colleagues abroad to ex-pat friends and relatives.
and friends for their input. The initial impact They are a great reminder of the fantastic
of the calendar is a very important factor and landscapes we have here in the UK.
so it is a useful exercise to gauge the
reactions of our opinion panel.
The images selected were usually taken
Q What makes the UKs landscapes,
in your view, the worlds best?
JC: There is an assumption that I must
the previous year but this is dependent on constantly travel abroad to far-off places.
Joes travelling and whether it snowed that The truth is rather different. Typically twice
year! Some images, such as those containing a year I make a point of seeing some
moorland heather, bluebells or snow, will wilderness if I can. But mostly I am in Britain
naturally be season- or month-specic, and enjoying the landscape close to home, habitat. The profound seasonal changes of
others will be less so. This is particularly the mainly because I know it so well. Yes, travel Britains climate are perfectly reected here.
case with seascapes, meaning these can be broadens the mind, but perhaps best of all it As for time of the year, I spend more time
used more freely. lends perspective to our own home photographing landscapes in the winter than
Q There is an incredible range of

equipment used, from Fuji and Sony
CSCs to an Ebony large-format lm camera.
environment and deepens our appreciation
for the landscape in our backyard.
Like any landscape photographer, I thrive
in any other season. The light in winter
always seems more magical than at other
times of year, and as sunrise is comfortably
Does Joe pack them all in his kit bag? on the changes of the season that come with timed I tend to be up for dawn in the winter
AR:No, Joe doesnt take them all with him on living in the British Isles. Our elusive and more than other times of the year. That
shoots. The massive improvement in digital restless weather and the dramatically means being witness to some truly
cameras means that he can now often take differing lengths of the day as we move from remarkable conditions of weather and light.
smaller, lighter cameras with him. The type of midsummer to midwinter then back again I'm really quite blessed to be where I live.
shoot and also the location ultimately has a mean that no day is quite like any other.
bearing on which camera he uses.
Q Why do you focus your calendars on the

UK rather than worldwide locations?
Q Have you any favourite locations,
types of location and times of year?
JC:I am always drawn back to the area where
HOW TO ORDER...
AR:The bottom line is that the calendars sell I have lived for the last twenty years, at the TheNorthernLight2016wallcalendar(16.50)
best in the UK! Our customers love seeing foot of the North York Moors, near Teesside. andmulti-purposecalendar(9)canbeordered
their country depicted so well and we know The landscape around Roseberry Topping is at:www.joecornishgallery.co.uk
many of them buy the calendars to send my local patch, my backyard, my natural

CALENDARS2016 Colin Prior
SCOTLANDSFINEST
PROFESSIONAL
LANDSCAPE
PHOTOGRAPHER
COLIN PRIOR HAS BEEN
PRODUCING HIS OWN
RANGE OF CALENDARS FOR 17 YEARS.
WE CAUGHT UPWITH HIM ABOUT
WHAT HE HAS IN STORE FOR 2016
Q What made you decide to produce

your own range of calendars?
There was a clear demand for my
images a number of established
publishers had already produced my
calendars and they sold extremely well.
Q How did you decide on the

formats to use?
I was shooting with a Fuji GX-617
panoramic camera at the time, which
meant that I had to design a bespoke
template. It was initially met with
resistance by retailers as they dont
particularly like oversized calendars as they
th y
take up to much space, but I persevered and locations and a good seasonal spread that
the public bought into it. Gradually it was accurately reects the conditions, colours
accepted to the degree that at one point and light found at specic times of the year.
there were ve other photographers who
had copied the design. The Wild Places
calendar is shot with a high-end Canon EOS
Q Youve focused on Scotland rather than
worldwide locations. Why is that?
I published a Worlds Wild Places calendar for
DSLR and so is a more traditional template. eight years but fundamentally ran out of new
Q What is your selection process for

choosing images for the calendars?
Editing a calendar requires both a variety of
images. Historically, worldwide calendars
have never been a big hit as they lack the
connection for people to buy.

Calendars2016 Colin Prior
Scotland, by comparison, has far greater

connections with the majority of the British
public, so these calendars always sell well.
Q What makes Scotlands landscapes, in

your view, so photogenic?
The Scottish landscape benefits from three
special qualities. The first is the prevailing
moist westerly winds, which are responsible
for the diverse palette of colours we find in
Scotland throughout the year. Then there are
the variety of geological features: for such a
small country, Scotland has a rich geological
history, which is responsible for the
landforms we know today. Finally, Scotlands
northerly latitude greatly contributes to the
quality of light that is often found here.
Q Have you any favourite locations to

shoot in Scotland?
Over the years I have built up a portfolio of ItsallaboutknowIng and we clearly saw the results of that
investment. The photographers would head
locations that I visit at specific times of the
year. These might be exclusively locations
whereandwhentogo off into the remotest parts of the planet
knowing that all their standing orders were
that Ill visit in the autumn for tree colour, andthIsknowledgeIs being taken care of and that they could go
or mountain locations when theres a
dusting of fresh snow. Its all about
accumulatedovermany and pursue their passion. Soon the white
noise of daily life would quickly fall away and
knowing where and when to go and this yearsofobservatIon they would begin to connect with their
knowledge is accumulated over many subject, in the knowledge that their work
years of observation. and this is having a negative effect on the would be published in one of the most well-
Q What are the biggest challenges to

shooting Scotlands wild places?
The same as theyve always been time and
amount of new work now being created.
Its ironic at a time when photography has
never been so popular, that there is little
produced and well-distributed magazine on
the planet, so it drove excellence. That
investment in photography is long over and
money. To create a body of work with depth authoritative work being created out there will never again return.
demands a huge investment of time and and this is simply being driven by economics
money. The reconnaissance to find new the mechanisms that once empowered
locations and the subsequent return to shoot
the actual images require a big commitment
photographers to go out and do what they
were good at are no longer relevant and the
How to order...
with no guarantees. As the returns from result is that creativity has been stunted. ScotlandTheWildPlaces(10.50)andthe
photography have diminished, professional When we look back at the mid-eighties for ScotlandPanoramicDeskandWall(9.45/12.50)
photographers increasingly have neither the instance, we see that National Geographic calendarsareavailableat:colinprior.co.uk
time nor money to pursue their own passion, would spend $200,000 on a big assignment

CALENDARS2016 Aurum Light
FALLEN
ANGELS AWARD-WINNING COMMERCIAL
PHOTOGRAPHER JAROSLAV
WIECZORKIEWICZ CREATES
MARVELLOUS PORTRAITSWITH
MILK.WE FIND OUTWHY 2016
WILL BE THE YEAR OF HIS MOST
EXTRAORDINARY CALENDAR TO DATE
Q Over the last three years, youve created

a series of MILK Calendars: Milky PinUps
2014, Splash Heroes 2015 and Fallen Angels
2016. On a basic level, the shoots involve
throwing milk over models and sculpting it
into shape using studioash and post-
production. What motivates you to create
these photography calendars each year?
I love to work on these photo calendars
because it frees my mind and gives me so
much creative freedom. Everyone that works
in a commercial environment understands
that it is a completely different game. You are were, special and inspired me, but yourself. However, for this series I did throw
hired to do a specic assignment. There is a specically those that due to the their look, the milk on my models faces something
budget and a whole lot of people that actions or lifestyle were pushed outside of that I have tried only a few times before.
manage the brief and production. Like in life the margins of acknowledged standards of Trivial as it sounds, the approach came about
there are many rules, should-do, can-do or beauty or for whats deemed normal by after watching the movie Snow White and
do-nots when you have that precious time society. For instance, an amputee and a the Huntsman and seeing Charlize Therons
to work on personal projects there is woman who has had a mastectomy are visually great scene in the milk bath!
absolutely nothing that you shouldnt try and
that should stop you.
among the models photographed.
Q How was Fallen Angels an evolution Q How important is storyboarding to the

creation of your calendars?
Q How did the concept for Fallen Angels

2016 come about?
The idea for the Fallen Angels 2016 calendar
from your previous MILK Calendars,
Milky PinUps and Splash Heroes?
I work on a few different series at the same
Storyboarding is crucial to my whole thought
process. It takes us a whole year to work on
such a project and I need to make sure that
came about four years ago when my mother time. For example I have a few illustrations our work is consistent from shoot to shoot
was battling breast cancer. It was a time ready for the 2017 calendar and these were and everyone in the team is well briefed
when you have to evaluate your actions and done a couple of years ago. It is more about starting with our models. They cannot see
goals. The image I had in my mind brought keeping the momentum of a project going the nal look, not even after the shoot, but
about a series of images of people that are, or rather than continuously trying to outdo my sketches can communicate the design in

Calendars2016 Aurum Light
the clearest possible way. I like to make sure

that everyone is on the same page at every
stage of the project.
Q What image are you most proud of in

Fallen Angels and why?
The one that I made for my mother. Its the
first one that came straight from my heart
and that we based the whole series on.
I knew that if it didn't work well in the studio
on day one, there would be no point me
forcing myself and others to make eleven
more. As always, everyone was well prepared
and my muse Jay Jessop helped this
illustration happen. Right after the last take youhavetobea concept on paper, I take it to my wife and talk
it all through with her. She is my greatest and
we knew it was going to be a special one! designertocomeup toughest critic, and I know that if she is taken
Q What did your studio lighting set-up

consist of for Fallen Angels and how did withtheconcept,next by the idea then it must be solid.
When the sketching and storyboarding is
it differ from Milky PinUps 2014 or the even
more complex Splash Heroes 2015?
aphotographertoset done, I start working with my team. We run
through every single bit of the process and
I like to call the lighting set-up The Cage; it is theshoot,akindof check if we need someone or something
completely different from my previous
series. The models for Milky PinUps were lit sculptortodirectthe specific to make it all happen. The crucial
part is to set the date and call time when
by diagonally set softboxes, for Splash
Heroes we used up to seven heads and
milkthewayyouwant this is in place everything goes on its own.
Booking the models, preparing the set,
mixed soft with hard lighting from reflectors know your equipment well, it enables you to equipment checks and so on, all the way up
with grids complete with coloured gels to push it to its limit and sometimes beyond. until the shooting day.
complement the coloured milk. For Fallen
Angels we built a 'cage' around the model
out of giant and medium shoot-through and
Q What is the process for creating the MILK
Calendars, from concept to completion?
To cut a long story short, first you have to be
After the wrap, it is time for the post-
production and from then on it is mainly all
on me. Not because I am better than anyone
reflective panels from Lastolite. It gave us a a designer to come up with the concept, next else, it is just because this is a personal
soft but three-dimensional light that I a photographer to set the shoot, a kind of project and I treat it in special way.
needed for the considerably big angel wings. sculptor to direct the milk the way you want,
I couldnt achieve that with a softbox. and finally a bit of a painter to put everything
Q What sort of photographic equipment

did you use for this calendar and why?
I shoot with whatever is in my hands; this
together in post-production. Not forgetting a
manager to promote the work after it is done.
There is always someone, something or a
How to order...
TheFallenAngel2016calendarwillbereleasedin
time it was a Nikon D800. I still love to work situation that triggers an image to pop into my January2016andyoucanorderitonlineat:
with Phase One cameras like in the previous head or heart and keeps me awake overnight www.AurumLight.com/calendar2016/
calendars. The most important thing is to until I sketch it all out. As soon I have the

EndlEssly
EdiblE
SpaceShipSpoweredbySugar,alienbeingS
craftedfrombiScuitSandconStellationS
formedofcoffeebeanS.no,wevenothad
toomuchcaffeineandSugartoday.
welcometothemindofdinabelenko...
Words:JordanbutterS
photoStoryDina Belenko
R
ussian still-life photographer combination too - after all, cooking
Dina Belenko is a master at telling sometimes feels like alchemy, especially for Biography
animated tales with inanimate people who are not particularly good at it!
objects. Her creative vision and Combining food with the theme of space Still-lifephotographerDinaBelenko
charming compositions have won her an exploration gave me plenty of ideas and livesinKhabarovskinsouth-east
army of inspired followers around the world, stories to explore. i use food and drink in Russia.Aprofessionalfreelance
but it was her recent and ambitious Endless many of my still-life images as, for me, they photographerforfouryears,she
Book panoramic project that grabbed our eye represent a universal visual language; they
specialisesincreatinguniquestill-lifeimages
forlocalcompaniesaswellasshootingbook
this time around. The projects goal was to are common and simple things that help
covers,CDsleeves,editorialpiecesandstock
shoot an image each week for an entire year, everyone understand my message,
imagesforclientsallaroundtheworld.Shesells
the results of which could be stitched wherever they are from. The objects i've herstockimagesthroughGettyImagesand
together to tell a story. TheEndlessBook used in this project, especially, can be found 500pxPrime.www.500px.com/arken
project was initiated by illustrator natalie almost everywhere and they can help tell
Ratkovski, explains Dina. she gathered almost any story. i love the ease and beauty
together a group of artists, and challenged of basing my works on them. travelling through the galaxy and returning
each to create their own endless book ask anyone who has taken on any form of home to earth. i then prepared a handful of
throughout the course of one year. The task photographic challenge and theyll confirm raw ideas, such as a cupcake turning into a
was to come up with one illustration per that staying motivated isnt easy. shooting shooting star, a xenomorph made from
week using your chosen speciality be it one strong image a week quickly gets crackers or doughnuts and icing sugar
photography, watercolour painting, difficult once the creative juices start to dry forming a planet with concentric rings.
computer graphics, drawing, and so on. The up, and thats without considering that The concept of telling a story through
theme was open, the only condition was that Dinas project not only had to maintain a inanimate objects is a noticeable and
each illustration should flow seamlessly into cohesive look and theme throughout, but important theme in Dinas still-lifes. While
the next. so, by the end of the year, each artist each frame had to blend perfectly into the she doesnt bring her props to life in the
has a panoramic tapestry that represents a next. Before starting this project, i literal sense, she manages to convey the idea
years work. each frame or illustration can be struggled with the idea of shooting a series, of dreaming, impending adventure or
enjoyed individually, or as a whole. confesses Dina. for me, a large series was wanderlust through everyday things. i've
Dinas theme was outer space, but with a three images! all of my images start with a always been keen on the idea of unrealised
difference she crafted her make-believe sketch, but when planning the Endless Book events, she explains. Recently i've noticed
universe out of her favourite still-life i couldnt sketch out every single image in that often the hero of my pictures is just
subjects coffee, cupcakes and cookies. advance. after i established my storys thinking about or preparing for an
i think that space is a surprisingly great protagonist the person whose hands that adventure, instead of actually doing
theme for still-life photography, suggests you see in the images i came up with a something. My traveller is always packing
Dina. food and science is a good three-act structure: dreaming of space, the case but never going out. it might be
94 Digital slR Photography January 2016

PhotoStoryDina Belenko
IthInkItsmyfAvourItestory
someonecompletelyordInArywIth
AlIttlespArkofAdventureInsIde
someone who is looking at stars, dreaming Allimages:"WhenIfirststarted
about ocean depths or wanting to become workingonmyEndlessBook
seriesIwasterrifiedIhadto
a magician I think everyone can relate to make52pictures.Me,whoused
this sense of daydreaming, or excitement tocallaseriesonlythreephotos
from planning. It's my favourite story inarow!Ipulledmyselftogether
andmadealistofsweetsanda
someone completely ordinary with a little anotherlistofcelestialobjects,
spark of adventure inside. andthoughtwhichofthem
As Dina mentioned, all of her images start couldbecombined.Asitturns
on paper she carefully plans and sketches out,cookiescan,infact,
becomeanasteroidbeltanda
out each frame so that she already knows doughnutisprettygoodforthe
what the image will look like before shes centreofastarsystem!"
PhotoStoryDina Belenko
picked up her Nikon D800. This is actually

my favourite part, she reveals. It's the
Therearesomany included some jumps in the timeline, so
neighbouring frames could be lit differently
time when I find the motivation for each inTeresTingThingsThaT a couple of times I even used a hard light
object and its integrating vector. What are
these objects? How did they come here?
surroundus!Takeacoffee with strong shadows and these photos fit
perfectly. I planned my compositions in
Who brought them? Who is the protagonist? cupforexample:iTmay such a way that some elements from the
What's going on? Each photo has a coherent
story behind it and I want the one frame that
belongToanasTronomer previous picture could flow into the next.
Other than that, keeping the background
I capture to represent the culminating point andreflecTThesTars dark and consistent, and shooting from the
of that story. Storyboard complete, Dina aboveoralunareclipse same overhead point of view, was enough to
then sets about creating or sourcing her maintain cohesion.
props, paying close attention to the little Dina not only approached each image in Like all of Dinas work, her Endless Book
details of course, and preparing her her Endless Book as an individual piece, she project is far more than just a collection of
composition before she starts shooting: had to be aware of the finished image fitting things photographed. Composition is
The shooting stage itself doesnt usually into her story, and making the blend crucial in all forms of photography, but
take very long as I have it all planned out between the neighbouring images seem when it comes to still-lifes there has to be a
beforehand. Its only when theres a natural and seamless. It wasnt as hard as it particular attention to detail and an eye for
dynamic element to create or control that it sounds however: Matching up the frames what works and what doesn't, which she
takes a bit more time, such as using wasnt a problem. The lighting remained certainly possesses. In any one of Dina's
sparklers, smoke or coffee splashes. fairly consistent throughout and my story images, everything appears in-place,

and the positioning of her props seems belt. A dusting of icing sugar becomes a trail Allimages:"Ifoundithelpfultohaveacollectionofthings
natural and unforced. Dina is adamant that of burnt rocket fuel expelled as a spaceship Iwanttotrylocations,storiestoillustrate,beautifulcolour
palettes,schemesoflighting,compositionaltricks,etc.It'snota
none of this comes naturally, and is a result enters orbit. After you see these inanimate to-dolist,it'smorelikeI-can-give-it-a-trylist.Maybeyou'll
of experience and practice. The important objects transformed in one of her masterful nevercompleteit,butyou'llalsoneverstruggleforideasagain."
thing about composition is remembering compositions it all seems so obvious, but its
the message that youre trying to get concocting those creative connections in the
across, explains Dina. Do you want a first place that gives Dinas work the edge INTHE BAG...
balanced image or a dynamic one? Do you over most other still-life photographers. Torecordhercreative
want it to be pleasing for eyes or slightly You just need to look around, Dina states, compositionsinallof
chaotic and disturbing? Getting to grips making it seem oh-so-simple. There are so theirtactileintricacy,
with composition is much like learning a many interesting things that surround us! DinausestheNikon
foreign language: the more you practise, the Take a coffee cup for example: it may belong D800,a36-megapixel
easier it is for people to understand you. to an astronomer and reflect the stars above full-framecamerawith
Dinas creativity is enviously never or a lunar eclipse. Or you can fill it with hot amazingabilitytorecord
ending. Where others might struggle to see coffee and have steam rising above it in
detail.DinasEndlessBook
projectwasshotusingthelightweightandfast
the picture potential in an everyday object, this steam kites or balloons and blimps
NIKKORAF-S50mmf/1.8G.Shealsoownsthe
her head is brimming with fantastical ideas. might fly. You just need to ask questions of NIKKORAF-SVRMicro105mmf/2.8Gandhas
See that coffee cup? Thats a vessel for your props. Things are marvellous, they are hereyeonaNIKKORPC-EMicro85mmf/2.8D
travelling across the galaxy. Those chocolate responsive and supple. They can be pure Tilt-Shiftlensasthenextadditiontoheroutfit.
chip cookies? Well, they can be an asteroid inspiration themselves.
The BigInterview
A show
of hands
BritishphotographertimBoothtalkstoCarolinesChmidtaBouthislatest
Bookofrawportraitsthatrevealsalmost90people,ButnotasinglefaCe
1
2 3
O
ne afternoon in May 1996, piecing together a wish-list of potential 1)MollyBooth,grandmother;2)AnnaWatkins,rower;
i popped in on my 95-year-old people he would want to photograph. 3)BrianHarman,zookeeper;4)SirRanulphFiennes,explorer;
grandmother for our weekly People whose hands were particularly 5)TonyHart,artist;6)JonnyWilkinson,rugbyplayer.
chat. She was, as usual, sitting important to them in terms of skill and
in her garden, feet wrapped in strength from a butcher to a baker, a clock
plastic bags to keep out the damp, her mender and a ballerina, even a fire starter
Wellingtons long abandoned since arthritis his book, A Show of Hands, depicts 88 people
rendered them too uncomfortable. as we and their talents. every image is a dramatic
sat having tea in the shade of an apple tree... black & white, tells a striking story and was
i noticed her hands. Gnarled and twisted either shot on film using a nikon f2 and a
with age, wrapped around her walking stick 55mm macro lens on tri-X or, most
as if rooted there, they were not only visually recently, a Canon eoS 5D Mk iii.
striking, they seemed also to be a poignant among the mere mortals, tim has had
mark of the passage of her long life, the pleasure of working with some of the
narrates tim as he remembers the first worlds most well-known people on this
portrait of the series. it may not have been a project, including Pink floyds nick Mason,
planned beginning, but his grandmothers Sir Patrick Moore, england rugby player
hands became the ignitor for a project that Jonny Wilkinson, Sir Cliff richard and
captivated tim for the next two decades. even explorer Sir ranulph fiennes.
When i saw the image in the darkroom, While every person in the book has
it became my favourite portrait of her. These a story worth hearing, im still moved
hands had lived through two World Wars, still by the likes of John Matthews, the coal
wore the wedding ring after 39 years as a miner, as he lived a life i cant imagine, and
widow, played the piano everyday and made a ferryman called Charlie Baker who used
the very best ginger beer; it seemed to me as if to row people across the Thames. as much
her life was woven into her hands, says tim. as ive completed this book, i dont think
tim set out to explore and expand on the ill ever finish the project, as the list of people
concept of this different kind of portraiture, id like to shoot continues to grow slowly. 5

Tim Booth
ThesehandshadlivedThroughTwoworldwars,sTillworeThewedding
ringafTer39yearsasawidow,playedThepianoeverydayandmadeThevery
besTgingerbeer;iTseemedTomeasifherlifewaswoveninToherhands
So far I have two favourite people that Tims been shooting for mainly advertising 6
Ive photographed, simply because they and design agencies out of his London studio.
were so wonderful: Tony Hart, an absolutely All the while developing his personal project.
delightful man; and Jonny Wilkinson who Im in to diversification, which I know is
was totally on board with the project. He incredibly unpopular; people like you to be a
understood how his hands were important, very specific photographer which used to
for him even more so than his feet. He was wind me up terribly in the old days. I hate
really the only person who got the project defining myself, although the industry
wholeheartedly, so it was an easy decision to almost insists on it. Id say being so varied
ask him to write the books foreword. has definitely been a hindrance; I think if Id
Tim is well suited to taking an unusual said early on that this is what I do and this is
approach to photography; hes always been all I do, I probably would have had a very
an undefinable photographer, someone different and probably less varied career
wanting to keep his skills and the subjects he than I have had.
shoots changing and evolving. He spent the Tims ability to avoid being pigeonholed
early years of his career as an editorial in a photographic discipline lends well to
photographer, shooting fashion, food and his creative visions, such as this book, and
portraits all around the world, which also led means he approaches every shoot differently
to him photographing landscapes and travel and yet the same by setting himself strict
portraits. He has been published in Traveller, parameters to work within. I always had
The Guardian, The Independent, The Times, one or two ideas in mind as to what I would
ES and GQ, but for the last two decades, like to achieve with each subjects hands,

Tim Booth
but invariably they change when I start to 2 3

shoot due to the lighting or the person's
range of movement. Since the start, I always
tried to include some context so the pictures
tell a story, but how I shot them depended on
the hands, the person and the situation. I had
very little time to shoot many of these
images, so while I made plans and sketches
the shots were opportunistic.
The parameters Tim set himself to only
use British subjects in natural light and in less
than half an hour he says focused his mind,
stopped the shoot from getting too complex
and wasting the subjects precious time.
Similarly, he felt lugging studioflash into
someones home was going to irritate some
people and detract from the personal
experience he was trying create.
The reason I kept to British people is
I didnt have the money to fly all over the 4 5
world to photograph the Dalai Lama, as much
as I would love to do that. Having these
parameters did mean I missed the odd shot,
often due to the light or not being able to get
their hands to do what I needed them to do.
I couldnt pick the time I was shooting, so
it was often a case of making the best of what
I had. If I could Id shoot outdoors in the shade
and use reflectors, but I also worked by
windows and even in a stairwell once. To get
the dark background, I used a sheet of velvet
material with a slot cut out that I had them
pass their hands through, and then placed
their hands in the light.
1)BobTyrell,clockmender;2)JohnMakepeace,designer;
3)BobBury,embalmer;4)PeterLayton,glassblower;
5)NickMason,drummer;6)JeffKing,gladiator.

6
Tim kept his kit to a minimum: a couple of

reflectors, his velvet sheet, a camera, tripod IalwaystrIedto the technology used and approach. Back at
the beginning, Tim had to write a lot of letters
and lenses. While he never quite knew what Includesomecontextso to contact everyone he wanted to shoot for
was in store for him at a shoot, he relies on his this project, then wait for their replies. It was
Canon 24-105mm as a workhorse lens but thepIcturestellastory only in the last few years, according to Tim,
prefers to use a macro lens when he can,
similar to when he shot on a Nikon F2. The
buthowIshotthem that he managed to shoot a lot more people for
the project, due to email and the internet
transition from film to digital was quite a dependedonthehands making it happen faster.
slow one for Tim, as it wasnt until the Canon Although for some, the book is interesting
EOS 5D that the way he work changed and grit from my Tri-X film, experimenting for its two decades of dedication and for
permanently, and the Mark III that he finally with different levels of multigrade filters to showing the development from film to digital,
saw better definition than what he came to bring out texture. Now I try to emulate the for Tim, AShowofHands isnt a photography
expect from film. effect as much as I can in Adobe Lightroom book at all: its a book about the stories of the
The advent of digital has certainly using Raw files, and blue filters when subjects. The book is a collection of stories
changed my life in terms of immediacy and converting to black & white to bring out about hands that are telling their pursuit of
its a lot easier to shoot on digital that it was the same level of detail and texture. excellence. Its like a physical record of their
on film, but I hope my style of shooting has To think that this book has been a toil of endeavour, concludes Tim. And hes
been fairly seamless between the two working progress for several decades is quite right, despite the beautiful imagery, this book
mediums. In the darkroom, I used to do a lot extraordinary. The creation of the images are is a humbling and inspiring read. to buythe book,
of dodging and burning to enhance the detail of similar style, but so different in terms of visit:www.ashowofhands.co.uk orwww.timbooth.com

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Product news \ Gear
THE A-MOUNT LIVES ON!
SONYFINALLYANNOUNCES ITS LATESTA-MOUNTADDITIONTO LINE-UP
ALMOST AS SOON as wed raised the question of whether Sony was committed
to continuing its A-mount line-up of interchangeable lens cameras last month
(Snapshots, Digital SLR Photography, Issue 109), news landed in our inbox of
the new Sony Alpha 68 that answers that question then!
Offering a 24-megapixel APS-C type Exmor CMOS sensor, the A68 also boasts
what Sony are calling a 4D FOCUS system for speedy autofocus and 79 AF points
to aid accurate tracking. Thanks to Sonys Translucent Mirror Technology, the
AF system continues to track during shutter release while the sensor records frames
at an impressive 8fps. Theres a large ISO range at your disposal 100-25600 to be
exact thanks to the BIONZ X image processing engine, and images (or HD videos)
are framed through the bright OLED Tru-Finder, or the 2.7in tilting LCD screen.
The new Sony A68 will be available around March 2016, with no official UK price
conrmed as of yet. Sony has announced European pricing at 600 body-only
or 700 with 18-55mm f/3.5-5.6 SAM II lens, so this is a good indicator.www.sony.co.uk
PORTRAITCOLLABORATION
Lastolite by Manfrotto, the manufacturer of
professional photography lighting equipment, has
launched a selection of portable backgrounds and a NIKONTEASE
ashgun modier aimed at portrait photographers. UPCOMING D5
The Ezybox Speed-Lite 2, priced at 50, attaches Weallknewitwascoming
to a ashgun and can be used both on- and butNikonhasofficially
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HASSELBLADTAKESTOTHESKIES
Drone specialists DJI are taking more of a foray into the
camera market. After launching its rst dedicated Micro
Four-Thirds cameras in September the Zenmuse X5 and
X5R DJI has now become a shareholder in Hasselblad. No
stranger to commercial partnerships, Hasselblads relationship
with Sony has seen the premium camera brand launch all
manner of re-branded and spruced-up cameras over the past
few years maybe were not far off the rst Hasselblad drone?
Only time will tell. www.hasselblad.com NEWHDR SOFTWARE UNVEILED
... DJI set no-go zones Drone safety around restricted airspace Pro photographer Trey Ratcliff has
has been an increasing concern since the rise in popularity of teamed up with software experts
consumer aerial photography. DJI are tackling the problem head-on Macphun to launch a specialist HDR
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from taking off, landing or ying near restricted areas. The data can be Macphun Aurora. The app offers a
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Gear/Camera buyersguide
WhICh CAMeRA
SpecialofferS!
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What toconsider: Top tips for choosing your camera

The good news to remember is that you Try before you buy Shortlist favourites, DSLR or Compact System Camera?
can't buy a poor camera in this price range. then try them at a store before buying, as Both types of camera are highly capable.
The key thing is to ensure you buy the model youll prefer the handling of some more Mirrorless models are generally smaller but
that best suits your needs now and in the than others. Be sure youre happy with the not always the case. Some digital SLRs have
future. While some cameras come supplied controls and feel of a camera before you the benefit of offering full-frame sensors.
with a standard zoom, the majority are commit to buying it. Image resolution isnt your priority
available body-only the thinking behind Future-proof yourself Check out the All models offer high enough resolution, so
this is that many potential buyers are system of lenses and accessories that are focus more on sensor size. In theory larger
upgrading from a less-specified model, available you want to be sure you can add sensors deliver better quality than smaller
so will already have lenses in their outfit. to your outfit in the future. Most brands sensors, although it can be difficult to
While resolution is important, consider other arent a problem in this regard. notice a difference on most models.
important factors like size and weight, key Avoid temptation Quite often the next Haggle Discounts are rare, as dealers
features and the range of lenses and other model up won't be a huge jump in price, work to very tight margins, but shop around
accessories available. The following are the but stick to your budget. Your money is and see if they will price match. Or, try and
key buying considerations you should make: better spent on lenses and accessories. get a free accessory or two thrown in.

Camera buyersguide \ Gear
Best Buys from last month's Buyers'Guide on outts under750...
CanonEOS70D CanonEOS750D NikonD5500 PentaxK-S2

The Canon EOS 70D was one The EOS 750D is an excellent Regardless of its price or Any brand challenging Canon
of the veterans in last month's choice as a rst DSLR or modest position in the Nikon and Nikon needs to deliver
buyers' guide, but that means upgrade. With a specication range, not only does the something special and the
you get this enthusiast-level that doesn't leave you 24.2-megapixel Nikon D5500 K-S2 ts into this category. It
camera at an entry-level wanting, a cracking sensor, deliver class-leading image packs in all the features you'd
price. In every area this is an great AF and connectivity quality, it does so with ease. expect and then some, within
APS-C model that scores options, there's not much The touchscreen LCD simply a body that offers added
highly perfect for advanced missing. The biggest side-steps multi-function protection from the elements.
amateurs and even for those conundrum is whether to go buttons and regular visits to Add to this image quality on a
who make a career out of for the Canon EOS 750D or menus and makes the D5500 par with anything else at this
photography. It boasts stump up the extra 50 for better, easier, faster, and just price point and Pentax has a
extensive features and great the EOS 760D it comes really good to use. One of the winner in the 20.12-million
performance, and the price down to personal taste, as very best value options if pixel KS-2. It's denitely one
drop adds even more appeal. both are very good cameras. you're on a budget. for the shortlist.
FujilmX-T1
Streetprice:850bodyonly(1,000graphitesilver)
Imagesensor:APS-CX-TransCMOSII(23.5x15.6mm)
Imageresolution:16.3-megapixels
Phone:01234572000
Website:www.fujiilm.eu/uk
T
his good-looking camera has styling
like much of the rest of the X-series,
with a magnesium exterior thats
home to a trio of aluminium top-plate dials
to control ISO, shutter speed and exposure
compensation. These dials take care of mode that lets you establish perfect focus
most of the X-T1s shooting functions, and and composition at the same time. VERDICT
pretty much everything on this camera can With a solid weight thats not too heavy,
be done without looking at a digital screen. the X-T1 packs the same 16.3-megapixel The Fujilm X-T1 is a strong performer,
X-Trans CMOS II APS-C sensor and EXR offering stylish design and superb
The exposure compensation dial offers a
performance. The features rival many pro
range from -3EV to +3EV in one-third Processor II as its siblings: the X-E2 and
DSLRs and image quality is fantastic.
increments, with the electronic viewnder X-T10. The hybrid AF system works well in
There's also a great selection of X-mount
instantly relaying the effects of any low light, and the continuous AF mode is
lenses available. If you're looking for
changes made. But its the OLED electronic good, much better since the recent and
DSLR-like features and quality without the
viewnder thats the jewel in the X-T1s free v4.0 rmware update. The X-T1 offers
bulk then the X-T1 (or the more affordable
crown. Offering 0.77x magnication a standard ISO range of 200-6400,
X-T10) should be seriously considered.
(bigger than the Canon EOS 5D Mk III and expandable to 100-51200, although the
Nikon D800) and a lag time of just 0.005 default H2 setting maxes out at 25600 and Handling/Ease of use
seconds, it's really very good. Shooting needs changing in the menu should you Features
information is overlaid on the viewnder wish to see in the dark.
and, if you tilt the camera into portrait- The X-T1 is a class performer. The dials Performance
orientation, the information rotates too. are a joy, AF is reliable (though the selection Value for money
The viewnder features multiple focus- point is too large for some scenarios) and
assist modes, and theres even a dual focus in-camera JPEGs are superb.
Overall

PanasonicLumixGH4
Streetprice:1,000bodyonly
Imagesensor:MicroFour-Thirds(17.3x13mm)
Phone:08448443899
Website:www.panasonic.co.uk
T
he Panasonic Lumix DMC-GH4 is a
signicant model, being the rst
Compact System Camera to offer
cinema-quality 4K video recording to the
masses, its a product that single-handedly
takes home videos to a whole new level. resolution of 1,036,000 dots. As youd
Yet can it deliver still images too? expect from a pro-level camera, there are VERDICT
Despite the fact that the GH4 falls into lots of dials and shortcut buttons, and we
the mirrorless Compact System Camera found the ones for White Balance, ISO and The GH4 delivers high-quality images
exposure compensation extremely handy. with top-tier AF performance to boot.
(CSC) category, the camera itself is largely
Its comfortable, intuitive and packed with
modelled around that of a classic DSLR In terms of performance, the GH4
features. Despite a fall in price, it's still a
design, and takes its place at the top of doesn't disappoint: the AF system is
little on the pricey side, and it's the GH4s
Panasonics range of interchangeable lens consistently fast and accurate, and the
4K video thatll make or break the deal for
cameras. The GH4 looks slick and feels ISO range is able to span from 200-25600
you: if the idea of recording in 4K appeals,
comfortable, with a reasonably lightweight (our test images showed that both luma
then the GH4 is a top choice, but if videos
body meaning you wont get neckache, yet and chroma noise was kept well at bay up
not your thing then look elsewhere.
it still offers everything youd expect from a to ISO 3200). The optional 14-140mm lens
high-end camera such as rapid 12fps is very good, especially when shooting in Handling/Ease of use
burst shooting and a choice of 49 AF cities you can switch between a nice Features
points. The GH4 features an Electronic wide angle for an entire cityscape, then
Viewnder (EVF) to help you compose quickly back to the telephoto end for Performance
shots, which has an impressive 2,359,000- intricate details. Images had good levels of Value for money
dot resolution. Just below the EVF is the sharpness, while the built-in stabiliser kept
touch-sensitive, 3in LCD screen, sporting a pictures free from the effects of shake.
Overall
SonyAlpha7R
Imagesensor:Full-frameExmorCMOS(35.9x24mm)
Phone:08705237237
Website:www.sony.co.uk
T
here are a number of A7 variants
available: the A7 has a 24.3-megapixel
sensor, the A7S a lower resolution but
higher sensitivity 12.2-megapixel unit and
this, the A7R, an impressive 36.4-megapixel
CMOS sensor, sans optical low-pass lter. of use. Unfortunately the same doesnt
The lightweight, compact aluminium body extend to the menu system, which takes VERDICT
feels comfortable, with a large rubber grip some getting used to. Connectivity-wise,
giving you plenty to hold on to. The A7R the A7R boasts both Wi-Fi and NFC. This The Sony A7R carries a premium air about
has an air of quality to it, from the solid can be used to send images wirelessly to a it. Offering some nice features, its capable
metal dials to the minimalist front design tablet or smartphone, or to control it of superb quality, high-resolution images.
and large central viewnder hump. Around remotely via the Play Memories app. It's not cheap, and neither is Sonys range
the back of the camera theres a large and Image quality is quite brilliant. The A7R of ZEISS FE-mount lenses. Consider the A7
clear 3in tilting LCD screen, a comfortable lacks the anti-aliasing lter found in the A7, its better in terms of AF performance,
but lacks the megapixel count. The A7R is
thumb rest and an assortment of easy- and images are fantastically detailed and
frustratingly close to being a truly great
access dials and controls. The crisp, with amazing shadow detail. Theres
CSC, but is let down by a few faults.
high-resolution OLED Tru-Finder an ISO range expandable up to 50-25600,
electronic viewnder automatically with noise acceptable up to ISO 3200. Handling/Ease of use
activates upon raising the camera to your The A7R features a 25-point contrast- Features
eye, and even focuses the image for you. based AF system,and this is the cameras
The image is bright and clear and major downfall. The AF system is sluggish Performance
performance is especially good in low light. and frustrating, taking its sweet time to Value for money
The A7Rs controls are well laid out locate and lock on to targets even in good
considering its small size, which aids ease light. Continuous AF isn't great either.
Overall

NikonD610
Imagesensor:Full-frame(CMOS36x24mm)
Phone:0800230220
Website:www.nikon.co.uk
R
eleased in early 2014, the D610
replaced the D600 and corrected a
problem highlighted by D600 users
of dust on the sensor. Needless to say, this
update has been proven to show it suffers
no such issues. Its a thing of beauty and and response (the AF gets into sharper
the good news is that it isnt just about focus at a slower pace). Previous Matrix VERDICT
aesthetics, because behind the smooth metering systems had a few little niggles
curves and rened lines is a piece of kit that but continual renement from Nikon The D610 and its 24.3-megapixel sensor
means that its been well and truly sorted make this a fantastic camera. Its compact
has great balance and handling. At launch it
size and attractive price point, coupled
was the smallest and lightest FX-format we cant fault it now.
with ease of use and stunning images,
Nikon ever made, and the fact that its The EXPEED processor means that
make it a pretty potent package. While you
home to a full-frame sensor is incredible coping with Raw les is not a problem,
may nd pre-owned D600 bodies on the
given its dainty size. The 24.3-megapixel and short sequences dont result in any
market at much lower prices, we'd urge
CMOS sensor may a similar resolution to frame-rate lag. Noise control is just as
you to opt for this problem-free update
Nikon APS-C models, but the larger pixel good: low ISOs give great sharpness, nice
instead. You won't be disappointed.
size means better performance. saturation and realistic colours, while tests
In use, the D610 doesnt disappoint. we conducted at ISO 1600 and even ISO Handling/Ease of use
Changing settings is fast and makes total 3200 produced perfectly ne images. Features
sense, and the camera is so quick that its Converting from Raw to JPEG makes for
always ready to take the next picture. The slightly better images, but the in-camera Performance
AF is responsive and accurate, while the JPEGs are also good. It's a great choice if Value for money
LiveView is good although still a bit you're looking for a relatively compact and
inferior to the standard AF system in speed affordable full-frame Nikon.
Overall
SamsungNX1
Imagesensor:BSIAPS-CCMOS(23.5x15.7mm)
Phone:03307267864
Website:www.samsung.co.uk
A
imed at serious photographers,
Samsung's agship mirrorless model
looks like an expensive DSLR. The
magnesium-alloy body is weather-
resistant for use in harsh conditions.
The arrangement of controls follows a system, with 209 contrast-detection
similar layout in principle to market-leading points and 205 phase-detection points, of VERDICT
DSLR brands. What speeds up selection which an impressive 153 are cross-types.
even further is the 3in LCD touchscreen The exposure system offers multi-zone The Samsung NX1 is a fantastic mirrorless
display which, used along with the ring that (221 segments), centre-weighted and spot model and is worth serious consideration.
surrounds the four-way control, lets you patterns. A full range of exposure modes It faces strong competition from the other
quickly access and select functions. The are available, including more than a dozen CSCs, as well as Canon and Nikon digital
LCD monitor gives a very crisp 1,036,000- Smart modes for beginners. Other features SLRs, but can hold its own in such strong
dot display and its use is further enhanced include a 15fps (for up to 70 frames) company. With a decent range of lenses
to support it, the NX1 proves to be an
by its tilting platform. The electronic shooting rate, a number of special effects
innovative and well-specied model that
viewnder is excellent with a large, sharp lters, Wi-Fi, Bluetooth and NFC.
offers plenty for the enthusiast.
2,360,000-dot resolution screen. The NX1 performs extremely well. The
The NX1 boasts Samsung's most AF system is very fast, while the multi-zone Handling/Ease of use
powerful DRIMe V image processor and its metering is hard to fool. Image quality is Features
28-million pixel image sensor, which can excellent, with the 28-megapixel sensor
shoot 4K video, is the largest of its type with giving les with excellent colour rendition, Performance
backside illumination (i.e. the circuitry is a high level of detail and no evident noise Value for money
behind the sensor). The AF system uses a until around ISO 1600. A great model that
hybrid (passive plus contrast-detection) compares well to similar-priced DSLRs.
Overall

CanonEOS6D
Imagesensor:Full-frameCMOS(36x24mm)
Phone:08443690100
Website:www.canon.co.uk
I
t's been around for over three years, but
the Canon EOS 6D still deserves serious
consideration. Not many cameras
handle better than the EOS 6D, and the
design and overall build quality leave you in
no uncertain terms that its a camera right cope with continuous shooting at a
out of the top drawer. APS-C models might not-to-be-sneezed-at 4.5 frames per VERDICT
be a bit smaller and lighter, but the EOS 6D second. Creative types will also be pleased
is still a pretty friendly size given that it with the presence of Wi-Fi and GPS, as well If youre seriously into photography and
as HDR and multiple exposure modes. want a camera thats easy to carry around
houses a full-frame sensor. Its solid and
and that wont break the bank, the Canon
the layout of the controls is suitably The 11-point AF gives a speedy and
EOS 6D could be for you. The full-frame
user-friendly, with well-marked dials. The responsive performance and focuses well
sensor will appeal if you're particularly
3in LCD screen is sharp (though lacks a bit in dim light. The EOS 6D is decent enough
keen on shooting scenes with wide-angle
of the swivel on some of the other cameras for tracking objects, but given that
lenses, such as landscapes or interiors.
in the EOS range), while the big and bright off-centre subjects can it in and out of
You should also check out Nikon's D610,
viewnder is very good (although it has an focus it means that action photography is
which is similarly priced.
image coverage of 97% rather than 100%). not this cameras strength. The 63-zone
The EOS 6Ds standout feature is the pattern in the metering system is pretty Handling/Ease of use
20.2-megapixel, full-frame CMOS sensor, good, but its not foolproof as with most Features
which has bigger pixels than youd get in cameras, high contrast and backlit scenes
APS-C sensors. The result? Better and need up to 1EV of exposure compensation. Performance
sharper images with less noise. The range But ultimately, this is a very good quality Value for money
of ISO 100-25600 can be expanded as low camera thats enjoyable and user-friendly,
as ISO 50 or as high as ISO 102400, and can with the end result being strong pictures.
Overall
CanonEOS7DMkII
Imagesensor:APS-CCMOS(22.4x15mm)
Phone:08443690100
Website:www.canon.co.uk
T
he much-anticipated update of the
2009 EOS 7D is a cracker. At 910g its
a hefty piece of kit for an APS-C DSLR,
but this works in its favour as its added bulk
makes it feel pleasingly solid in the hand.
The EOS 7D Mk II has a chunky handgrip 51200. Theres also built-in GPS for
with a rubberised texture and the body has geotagging purposes. Sports and wildlife VERDICT
enhanced dust- and weather-proong photographers will appreciate the 10fps
that wraps around to the rear thumb rest, shooting rate and extended buffer. We're really impressed with the Canon
The AF system has been overhauled and EOS 7D Mk II. This update offers a host of
for added purchase. A side door on the grip
impressive new features that will excite
reveals a dual-slot compartment for a CF now features 65 AF points (the EOS 7D had
both photographers and videographers.
and SD card. The control layout is 19), all of which are the cross-type variety,
If youre looking for a camera with rapid
near-identical to other Canon top-end apart from the centre point, which is an
burst shooting, lighting quick AF and a host
models. Dominating the rear is a even more accurate dual cross-type. The
of advanced features this Canon ticks all
1.04-million-dot 3in LCD screen. Theres Mk II has also adopted Intelligent Tracking
the boxes. A drop in price since launch
no tilt or touchscreen facility, but the and Recognition, lifted from the likes of the
makes it decent value.
screen quality is excellent. So too is the Canon EOS-1D X. Not surprisingly, the AF
optical viewnder which, like its performance with both stationary and Handling/Ease of use
predecessor, offers a full 100% eld-of- moving subjects was excellent. The Canon Features
view and a customisable info display. captures an impressive amount of detail.
The APS-C-sized 20.2-megapixel CMOS Colours remain true to life, whilst the AWB Performance
sensor now works alongside dual DIGIC 6 does a consistent job. ISO performance Value for money
processors, which offer a native ISO range was also par for the course, with noise only
of 100 to 16000, further expandable to creeping in around the ISO 3200 mark.
Overall

NikonD750
Imagesensor:Full-frameCMOS(35.9x24mm)
Phone:0800230220
Website:www.nikon.co.uk
T
he D750 was the third FX-format
DSLR to be released by Nikon in
2014 and the rst in a new line. The
outer casing is weather-sealed and made
from magnesium alloy and carbon bre.
The deep handgrip has a textured rubber pixels). It also has a slightly faster
coating, with a small door hiding two SD continuous burst rate than the D610 (6fps) VERDICT
card slots. It uses Nikon's standard button and D810 (5fps), and is able to capture
layout, but the user interface has been images at speeds of up to 6.5fps at full The D750 gives Nikon the edge in terms of
resolution. The shutter is capable of speeds choice when it comes to the full-frame
updated and is both slick and practical. The
camera market, giving consumers a total
3.2in, 1,229,000-dot LCD sits on a ranging from 1/4000sec to 30 seconds, as
of ve different options to pick from.
vari-angle platform and was the rst found well as Bulb mode, whilst the ISO spans
Despite being somewhat of an
on any full-frame DSLR. from 50-512000 by using the expanded
amalgamation of the D610 and D810, the
The 24.3-megapixel resolution CMOS Hi and Lo options. The D750 is the rst
D750 does has its dening features: most
sensor is new and retains the AA lter. The Nikon DSLR to feature built-in Wi-Fi,
notably built-in Wi-Fi, tilting screen and
AF system is the same as that on the D810 although there is no GPS. The AF system is
6.5fps burst rate. A great all-round DSLR.
and D4S, using 51 AF points in a diamond taken straight from the likes of the D4S and
formation, 15 of which are cross-types. doesnt disappoint, coping brilliantly with Handling/Ease of use
Videographers will also be pleased that the static and moving subjects, even in low Features
D750 adopts some of the D810s advanced light or areas of low contrast.
video options, most notably capturing Full Image quality is impressive, recording a Performance
1080p HD footage at up to 60fps. generous amount of detail and impressive Value for money
The metering system has been upgraded dynamic range. Noise is handled well, with
and uses 91,000 pixels (the D610 had 2,016 JPEGs being noise-free up to ISO 1600.
Overall
Conclusion:Which camera?
As with our group review in the last issue, there are plenty
of options for those looking to get the very best for their
money. Pretty much every model here (with the possible
exception of the Sony) could have received at least a
Highly Rated rating, but we've been extremely strict to
narrow our awards to the top four models.
Our two Highly Rated models have both been around
for over a year but can still easily hold their own against
newer rivals. The Canon EOS 6D boasts a high-quality
full-frame sensor that delivers stunning results and a
great mix of features, plus its age means it has benetted
from a fall in price to make it even better value. The CANON EOS 7D MKII NIKON D750
Fujilm X-T1 may have a more affordable sibling in the
X-T10, but its weather-proof body and great range of
features ensures it remains a great CSC in its own right.
Our two Best Buys are two of the more recent
introductions into their respective DSLR line-ups and
boast up-to-date specications, impressive handling and
superb performance. What's more, they're both very well
priced too. The Canon EOS 7D Mk II is as good as you can
hope to nd in the APS-C market, offering a fantastic AF
system, stacks of features and modes and stunning image
quality. If you're not too bothered about full-frame, you
won't nd anything better. Nikon's D750 is an incredible
bit of kit, and while it's the most expensive model in our
review, a recent drop in price makes it exceptional value.
In terms of full-frame models within this price range, it's
our pick of the bunch and an easy choice as Best Buy.
CANON EOS 6D FUJIFILM X-T1

An Aladdins Cave of Second-hand Nikon
If youre a die-hard Nikon loyalist

then Grays of Westminster is THE
best place to find high-quality
second-hand cameras that hold
the very name.
Photography Monthly
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Gear/ ExtremeND lters
EXTREME W
Test: RICHARD HOPKINS
HEN LEE FILTERS launched the
ND FILTERS
Big Stopper in 2010 they thought
it was a fad, with long exposures
being an obscure technique,
pursued by a few diehards escaped from the
F64 Group. The B+W 3.0 was just about the
only decent extreme ND lter on the market,
but quite difficult to nd, and Hoya didn't
even bother to import its version to the UK.
THESPECIALLOOKTHATATEN-STOPNEUTRALDENSITYFILTERGIVESISAS But now, after some 30,000 Big Stoppers
POPULARASEVER,ANDTHEREARETEMPTINGNEWFILTEROPTIONSAVAILABLE have been sold worldwide, the fad looks

here to stay and there is a multitude of is they're prone to a large, dark cross shape be marked in different ways - in stops,
extreme-density lters about, with new or appearing over the image when used with optical density, or lter factor. For example,
improved versions appearing all the time. wide-angle lenses. They're best avoided. one stop is 0.3 or 2x, two stops is 0.6 or 4x,
Relatively new to the scene is a range of When choosing what to buy, the rst three stops is 0.9 or 8x, and so on up to ten
lighter-toned ND lters, rated at six or seven consideration is the density. Once you know stops, which is 3.0 or 1024x.
stops, for those occasions when ten is too that, you can worked out the difference When using so-called extreme ND lters,
much. That often happens with our British between the shutter speeds pre- and it's vital to seal everything against light leaks,
weather, particularly when the light is lower post-lter, giving you an extended shutter as even the smallest will cause problems.
around the golden hour. There are also a lot speed to be used for creative, or dynamic The viewnder must be covered, as light gets
of vari-ND lters, covering an adjustable effect. For example, a ten-stop lter will in there and creeps through the tiniest gaps
range of two to eight stops, and they seem knock 1/1000sec down to one full second, around the mirror, and on to the sensor. With
like the perfect solution, until you use one. 1/500sec becomes two seconds, 1/250sec square slot-in lters, the holder must be
The problem, even with the most expensive, goes to four seconds, and so on. Density can completely tight front and rear.

HOWWE DIDTHETESTS
DENSITY:Measured by comparing carefully adjusted exposures, with B+WMRC
and without the lter. Density can vary batch to batch and, while that
doesn't affect the result, it's important to check your own lter to
TENSTOP&SIXSTOP
calculate exposure times accurately.
Tested:B+W110ND3.0MRCandB+W106ND1.8MRC
COLOUR: Assessed by shooting a Macbeth-type colour test target in Price:110155(77mm)/106155(77mm)
bright sun. All extreme ND lters have at least a tiny colour cast, most Coating:Multicoatedbothsides
somewhat more, and that obviously varies between brands, but can Mountdepth:4.5mm
also change slightly from batch to batch and in different kinds of light. Contact:www.bpluswlters.co.uk
Good neutrality is nice to have, but actually not that important at the
shooting stage what matters is how the images look after post-
processing and all these lters performed well on that score (see panel,
below). The three example images below were taken, (1) without a
lter, (2) with the B+W 110 ten-stop lter, colour uncorrected, and
(3) with colour corrected. Note that after post-processing, the
corrected image is identical to the rst shot taken without a lter.
FLARE:The main difference is between coated and uncoated lters,
with the latter producing additional coloured are spots when a very
bright light is included in the frame, such as the sun. When tested, all
the coated lters showed very similar are characteristics, barely any
worse than shooting without a lter. The uncoated ones produced
slightly larger are patches, and introduced a couple of extra are
spots. Some lters are coated on only one side, in which case most
benet is had when the coated side faces inwards to minimise
ghosting, when bright light can bounce off the shiny surface of the
sensor, and back again from the rear of the lter. The Haida Pro-II MC
came tted the wrong way around, so here it is (below), (4) incorrect as
supplied, and (5) with the lter reversed to put the multicoated side
T
facing inwards. Note the reduced are spots. And (6) without a lter. HE GERMAN B+W brand is generally reckoned to be the
SHARPNESS: As a rule, lters don't affect sharpness, unless it's with a best in the screw-t lters business. While Hoya and
poor quality lter used with a long lens that magnies imperfections. perhaps one or two others might claim equal status, B+W
See comments in the reviews. That aside, the main problem to is certainly very high quality and its lters are distinguished by
consider is are rather than sharpness. their weighty brass mounts said to run more smoothly in the
VIGNETTING:Most lens manufacturers allow for one lter to be tted lens mounting threads.
without it protruding so far that it encroaches into the image and The ten-stop 110 version has been around for quite a few
darkens the corners. It's not a given with ultra wide-angle lenses years now, and it's still very good, still very expensive, and lost
though, so if in doubt choose one with a slim-line mount. In the none of its characteristic light orange cast. It's made from
reviews, how far each lter protrudes is given as the mount depth. multicoated dyed glass and is also available in a cheaper
There is also optical vignetting that's unavoidable with conventional single-coated version. However, B+W's MRC multi-resistant
lters of this type when using wide-angles, and the wider the lens, the coating is particularly good at suppressing are and is easy to
stronger the effect. It's caused by light from the edges passing through clean nger prints wipe off, raindrops leave no drying marks.
the lter at an angle, making the glass effectively thicker and therefore That warm orange cast may put some buyers off, but it's
darker. It's easily corrected in post-processing. deliberate and, B+W claims, after adjustment in post-processing
(or applying a custom White Balance) it gives the most accurate
1 4
and neutral colours, especially in the invisible spectrum that can
be a problem with extreme ND lters. While that was certainly
true a few years ago with some lters plagued by infrared
pollution, today there are more neutral ND options available that
perform extremely well.
The ten-stop 110 version checked out with an actual density
of 10.6 stops, making it the darkest lter here. The 106
six-stopper, which is identical to the 110 apart from density and a
milder orange cast, measured 6.3 stops. Both lters produced
2 5 excellent colour after correction, with strong are resistance,
and sharpness unaffected. So in terms of ultimate image quality,
both B+Ws come highly recommended.
VERDICT
All extreme ND lters need at least some slight colour
correction, so that's a minor issue provided the results are
worth it. With B+W, they are though the price is a bit steep.
3 6
Build quality
Performance
Value
Overall

HaidaPro-IIMC HeliopanGreyND
IRND/100X100MM/TENSTOP TENSTOP&6.7STOP
Tested:HaidaPro-IIMC3.0,Pro-IIMCIRND3.0andND3.0100x100mm Tested:HeliopanGreyND3.0and2.0
Price:Pro-IIMC53 (77mm)/Pro-IIMCIRND55(77mm)/100x100mm65 Price:3.076(77mm)/702.0(77mm)
Coating:Pro-IImulticoatedoneside;IRNDmulticoatedbothsides; Coating:Singlecoatingbothsides
100x100uncoated Mountdepth:4mm
Mountdepth(Pro-IIandIRND) 3.1mm Contact:www.teamworkphoto.com
Contact:www.camergearuk.com
T H
HREE TEN-STOP ND lters from the relatively new Haida ELIOPAN IS ANOTHER famous German brand,
brand, manufactured in China. Haida has been attracting renowned for quality since 1949. The specication of
attention for both quality and keen prices. Its range of these two ND lters is similar to B+W also made from
glass ten-stop ND lters has been expanded with the Pro-II 3.0 Schott glass with a quite obvious light orange colour cast, and
that adds multicoating, a new IRND version with extra coating having reassuringly heavy brass mounts for smoother-running
for even better control of infrared, plus the uncoated threads. However, the Heliopans are unusual in having no
100x100mm variety for slot-in lter systems, complete with a serrations around the outer edge for a better grip. A small point,
foam-sealing gasket and a Velcro'd storage wallet. but an unnecessary omission given how easy it is to drop these
All three lters came in very close to their stated density, with things when fumbling in the eld.
the Pro-II MC measuring exactly ten stops, the Pro-II MC IRND The ten-stop Grey ND 3.0 measured 10.1 stops density, and
at 9.7 and the 100x100mm version a tad higher at 10.4 stops. the claimed 6.7-stop Grey ND 2.0 came out at 7.1 stops.
None of these lters showed any detrimental effect on Heliopan states that all its lters have at least one coating on
sharpness or image quality. each surface, and that should be easy enough to see, but there's
The Pro-II MC and 100x100mm lters both had a slight no visible coating on these Heliopans, and more to the point,
orange cast before correction in post-processing, while the they performed exactly like uncoated lters in the are test with
extra front coating of the IRND version eliminated that to deliver the giveaway pair of additional coloured spots appearing. This is
almost perfect neutrality. None showed any evidence of infrared nothing too serious though, and can usually be worked around
light pollution and the colour test was conducted in bright in occasionally difficult situations, often with just a slight change
sunlight rich in IR though the belt-and-braces provided by the of angle if, for example, the sun is actually in the frame.
IRND coating is very welcome. Strangely, the multicoating of the The orange cast is quite marked on the darker 3.0 lter, less so
Pro-II MC is only on the outside surface on our test sample, on the 2.0, though both need correction in post processing for
when it should be on the inside. Accordingly, it performed no optimum results. And when that easy task is done, the result is
better than uncoated lters in the are test, yet mounting it excellent colour rendering throughout the visible spectrum,
back-to-front produced much better results. These lters offer with no evidence of infrared light creeping through. Sharpness
good value for money, if assembled correctly this was perhaps and image quality is unaffected.
a one-off error in assembly, but we couldn't source a Heliopan lters are available in an unusually wide range of
replacement unit to re-test in time to verify this. Still, something sizes too, from 37mm right up to 105mm, in densities from one
to look out for and be aware of if you opt for this brand. stop to 13 stops. Plenty to choose from!
VERDICT VERDICT
All great value buys, particularly the IRND for its neutrality and The question of the coating aside, these Heliopans are high
rear multicoating, and also the 100x100mm that brings more quality lters giving excellent all-round image quality once the
choice to the relatively limited slot-in lter market. mild orange cast is removed. German-made at a fair price.
Build quality Build quality

Performance Performance
Value Value
Overall Overall

HoyaProND1000&ProND200 LeeFiltersBig&LittleStopper
TENSTOP&7.7-STOP TENSTOP&SIXSTOP
Tested:HoyaProND1000andHoyaProND200 Tested:LeeFiltersBigStoppertenstopandLittleStoppersixstop
Price:ND100085(77mm),ND20095(77mm) Price:100100x100mmbothversions
Coating:Multicoatedbothsides Coating:Uncoated
Mountdepth:5.5mm Mountdepth:n/a
Contact:www.intro2020.co.uk Contact:www.leelters.com
W A
HEN HOYA, THE world's largest manufacturer of LMOST NOTORIOUS FOR being continuously on
optical glass and lters, puts its weight behind new back-order, the ten-stop Lee Big Stopper remains the
technology, it's going to be something special. These number one choice for most slot-in system lter users.
ProND lters are not made of conventional dyed glass, but are Not that there's been a great deal of choice, with Haida only
coated with evaporated metal, applied in a vacuum chamber. recently joining Hitech to offer commonly available
Hoya has labelled the process ACCU-ND and launched a full 100x100mm alternatives. Also quite new to the market is the Lee
range of ND lters from two to ten stops, in sizes from 49mm to Filters Little Stopper, a milder six-stop version, and both lters
82mm. The Hitech Firecrest ND, also reviewed here, uses the are also available in 75x75mm for the Lee Seven5 holder and
same technology, as do one or two other manufacturers. 150x150mm for the giant SW system. There are money-saving
Because the metallic coating blocks light equally across all kits too, including both Big and Little Stoppers.
colours of both the visible and invisible spectrums, including UV Unlike Lee Filters's famous hand-dipped graduated resin
and the often troublesome infrared, they promise to be lters manufactured in-house, the Stopper twins are dyed glass,
inherently neutral with consistently accurate density. They are made exclusively for Lee in East Asia. Lee Filters maintains that a
also immune to the optical vignetting common to all dyed glass good quality extreme ND lter is not possible with resin, and that
NDs when used with wide-angles, where light around the edges fact has been borne out by others in the past, with resin NDs
passes through the lter at an angle, making the glass effectively producing severe infrared interference problems and
thicker, and therefore darker. All these benecial aspects were uncorrectable colours. The Lee Filters's Stoppers suffer none of
borne out in testing, with effectively zero vignetting, very neutral that, at least in part due to the mild blue tint that extends into the
colour, densities bang on spec and minimal are. IR spectrum. When corrected in post-processing, this results in
With the ProND 1000 lter, though, there was a small issue clean colours throughout. Density measured 10.3 stops for the
with sharpness towards the edges of the frame. It looks unusual, Big Stopper, and 6.3 stops for the Little Stopper.
not so much a softening of detail, but almost like camera-shake Both Stoppers come with a foam gasket on the rear, for a
or a faint shadow appearing around strong light/dark transitions. good light-tight seal with the holder, and they're uncoated.
It's slight, possibly passing unnoticed, but landscapers in Lee Filters say that coating would increase the cost substantially
particular tend to want as much detail as possible all over the for relatively small benet, though it does mean the lters are
frame. It didn't affect the ProND 200 version or the Hitech more prone to are than screw-t multicoated options, though
Firecrest ND, even on unnecessarily close pixel peeping, but it's the difference is slight and only noticeable in critical situations.
denitely there on the ProND 1000. Neither lter had any impact on sharpness.
VERDICT VERDICT
This new technology is promising, with excellent neutrality Both high quality ND lters, with the Little Stopper particularly
and a welcome absence of vignetting. But there is a minor well suited to the golden hour. Still pricey though, and no
edge sharpness issue with the darker ProND 1000 version. longer the automatic choice for 100x100mm slot-in systems.

Value Value
Overall Overall

HitechFirecrestND SEVENSTOP LCWND500MC NINESTOP
Tested:Formatt-HitechFirecrestNDsevenstop Tested:LightCraftWorkshopND500MC
Price:85(77mm) Price:65(77mm)
Coating:MulticoatedMountdepth:3.4mm Coating:MulticoatedonesideMountdepth:4.8mm
Contact:www.formatt-hitech.com Contact:www.premier-ink.co.uk
M L
ADE IN THE UK, Formatt-Hitech IGHTCRAFTWORKSHOP is a lesser
is an early pioneer of the new known Chinese brand though its
'evaporated metal' process. It has multicoated glass ND500 MC has
developed the Firecrest ND technology been a top seller for years. Over time,
very effectively and many popular sizes improvements have been made,
are already on back-order. The full increasing the density a fraction
range includes pretty much (now exactly nine stops),
every option of density, in and reducing the bluish
screw-t or square slot-in colour tint to neutrality.
varieties. Rated at seven stops, the Firecrest ND 2.1 measured The multicoating is on one side, though it's not the only lter to
exactly to spec. Colour was not quite neutral though, with a mild have that tted towards the front where it is less benecial,
green cast. Sharpness was unaffected, with no sign of the edge particularly against ghost are spots when very bright light
sharpness issues of the (much darker) Hoya ProND 1000. Flare sources (eg sun) get reected off the shiny surface of the sensor,
resistance is high, while vignetting is effectively nil. and back again off the rear of the lter.
VERDICT VERDICT
Impressive performance all round, and the green cast cleans Very neutral, with high sharpness and high-are resistance
up easily in post-processing. No wonder there's a waiting list. (when tted the right way around) at a good price.

Value Value
Overall Overall
KoodND400 8.7STOP
Tested:KoodND4008.7stop
Price:50P-typeslot-in
Coating:MulticoatedbothsidesMountdepth:n/a
Contact:www.koodinternational.com
K
OOD'S KEENLY PRICED graduated
lters did very well in our recent
review. While the resin grads are UK
manufactured, Kood has followed others Haida Heliopan
by importing this dyed glass extreme ND.
It's multicoated, and only
50 in P-type tting,
Testconclusion
A
though the slot-in holder
FEW YEARS AGO there would have been clear
was never designed for this
winners, and some even clearer losers, but
and a bit of DIY is needed to seal against light leaks. The rated
manufacturers have upped their game and all
density of 8.7 stops checked out a bit lower at eight dead,
though that's hardly a problem. There's a slight green cast, but these lters can be recommended with few caveats.
when corrected in post-processing colour quality was There are density differences that are down to individual
excellent. Sharpness is unaffected and the are resistance high. choice, but otherwise perhaps the key deciding factor is
mostly cost. Some users may also be swayed by better
neutrality, but that's really a minor issue providing the post-
VERDICT processed image is good and they all are.
Purely based on value for money then, the top spot
The Kood ND400 is the cheapest here, yet also one of the best.
goes to the Haida Pro-II MC IRND for excellent all-round
The P-type holder isn't ideally suited though.
performance at 55 in 77mm screw-t. The Haida ND 3.0
Build quality is another good buy in the 100x100mm slot-in category.
They're both ten stoppers, so of the lighter-toned
Performance six-to-seven-stop variety, the Heliopan Grey ND 2.0 also
Value scores a Best Buy at 70 for 77mm screw-t. But you'll get
great results from any of these lters.
Overall

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JETTY
Jetty was photographed by
Mark Bauer using the Lee
Filters Little Stopper and
0.6 ND Hard Grad filter.
LEE FILTERS available from

Full range of
WWW.SRB-PHOTOGRAPHIC.CO.UK
Foundation Kit 59.95 Seven5 Holder 59.50

Professional Kit 115.00 Seven5 Adaptor Rings 17.50
Upgrade Kit 75.00 Seven5 Stater Kit 109.00
Standard Adaptor Rings from 20.00 Seven5 Deluxe Kit 460.00
W/A Adaptor Rings 40.00
Full ND: Hard Grad: Soft Grad:
Full ND: Hard Grad: Soft Grad: 0.3, 0.6, 0.3, 0.6, 0.3, 0.6,
0.3, 0.6, 0.3, 0.6, 0.3, 0.6, 0.9 0.9 0.9
0.9, 1.2 0.9, 1.2 0.9, 1.2 64.95 52.00 52.00
from 85.00 from 78.00 from 78.00 Seven5 Big Stopper 65.00
Landscape Polariser 173.99 Digital Kit 219.95 Seven5 Little Stopper 68.00
Polariser Ring 35.00 Big Stopper 104.95 Seven5 Polariser 190.00
Filter Sets from 100.00 Little Stopper 95.99 Seven5 Hood 69.50
ND Hard Grad Set 199.00 ND Soft Grad Set 199.00 Mark II Holder 150.00
Mark II Adaptors 90.00
Books from 10.00 Field Pouch 37.99
ND Grad Filter Sets 249.00
DVDs from 19.95 Filter Pouch from26.00
Cleaning Cloth 5.95 Triple Filter Wrap 5.00 SW150 Field Pouch 47.95
SPECIAL OFFER Canon 14mm Adaptor

Nikon 14-24mm Adaptor
90.00
90.00
EXCLUSIVE LEE FILTERS OFFER Nikon 14mm Adaptor 90.00
Samyang AE 14mm Adaptor 90.00
Includes:
Sigma 12-24mm Adaptor 90.00
- Foundation Kit from jus
t Tokina 16-28mm Adaptor 90.00
- Adaptor Ring 139.95
!!
- 0.6 ND Grad Filter Hard Grad Filter 95.00
Full ND:
Soft Grad Filter 95.00
0.3, 0.6,
Big Stopper 132.00
SRB PHOTOGRAPHIC 01582 661878 0.9

Little Stopper 132.00
Est. 1967 srb-photographic.co.uk 99.00
SW150 Polariser 180.00
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Canon EOS 6D Canon EOS 5Ds Nikon D5500 Nikon D7200
Body only A revolution in resolution + 18-55mm VR II Body only
20.2 50.6 24.2 24.2
MEGA HD MEGA MEGA HD MEGA 3.2 HD
4.5 FPS
PIXELS PIXELS 5 FPS
PIXELS PIXELS7 FPS
In stock at In stock at In stock at In stock at
1,032* 100 2,999 250 519* 50 752 FREE
*You pay 1,132 & claim 100 cashback Buy the EOS 5Ds & a selected Canon cashback *You pay 569 & claim 50 back from cashback Buy the D7200 before 28.01.16 & grip
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Canon EOS 1200D Canon EOS 700D Canon EOS M10 Nikon D3300 Nikon D610 Nikon D750
NEW!!
18.0 18.0 18.0 24.2 24.2 24.3
MEGA 3.0 20 MEGA
50 MEGA MEGA
20 MEGA
FREE MEGA
PIXELS PIXELS 5 FPS PIXELS PIXELS 5 FPS PIXELS 5 FPS PIXELS 11 FPS
cashback cashback cashback grip
Body Only + 18-55 III Body Only + 18-55 IS STM + 15-45 IS STM NOW IN Body Only + 18-55 VR II Body Only + 24-85 VR Our price + 24-85 VR
209.00* 259.00* 364.00* 419.00* 399.99 STOCK! 273.00* 309.00* 1,049.00 1,599.00 1,499.00 1,849.00
*Prices include 20 cashback *Prices include 50 cashback FREE SanDisk 32GB SDHC card *Prices include 20 cashback Purchase before 28.01.15 & claim Add a Nikon MB-D16 battery
from Canon. 14.10.15 - 13.01.16 from Canon. 14.10.15 - 13.01.16 and Lowepro Edit 100 bag! from Nikon. 14.10.15 - 13.01.16 a FREE MB-D14 battery grip grip for only 229.00
Canon EOS M3 Canon EOS 750D Canon EOS 760D Nikon D810 Nikon D4s Nikon Coolpix
P900
24.2 24.2 24.2 36.3 36.3
MEGA
PIXELS
MEGA
PIXELS 5 FPS 50 MEGA
PIXELS 7 FPS
MEGA
PIXELS 7 FPS
cashback cashback
+ 18-55 IS STM Viewnder kit Body Only + 18-55 IS STM Body Only See website Our price + 24-70 f/2.8 Our price + 24-70 f/2.8
495.00 699.00 436.00* 499.00* 599.00* for lenses 2,349.00 3,518.00 4,449.00 3,518.00 Now in stock!
FREE SanDisk 64GB SDXC card *Prices include 50 cashback *Price includes 50 cashback Add a Nikon MB-D12 battery Add a Nikon EN-EL18a spare
and Lowepro Edit 100 bag! from Canon. 14.10.15 - 13.01.16 from Canon. 14.10.15 - 13.01.16 grip for only 284.99 battery for only 149.00 499
Canon EOS 70D Canon EOS 7D Mark II Canon EOS 5D Mark III Prices updated DAILY!
NIKON LENSES See www.parkcameras.com/dsp for details.
20.2 24.2 22.3 AF-G 10.5mm f/2.8G ED DX 549.00 AF-S 85mm f/3.5G DX 375.00 AF-S 16-35mm f/4G ED VR 829.00
AF-D 14mm f/2.8D 1,209.00 AF-S 85mm f/1.8G 349.00 AF-S 16-80mm f/2.8-4E ED VR 869.00
MEGA
PIXELS 250 AF-D 16mm f/2.8D Fisheye 625.00 AF-S 85mm f/1.4G 1,149.00 AF-S 16-85mm f/3.5-5.6G 429.00
cashback rebate rebate AF-S 20mm f/1.8G ED 629.00 AF-S 105mm f/2.8G VR 619.00 AF-S 17-35mm f/2.8 IF ED 1,499.00
AF-D 20mm f/2.8 463.00 AF-DC 105mm f/2 Nikkor 805.00 AF-S 17-55mm f/2.8G DX 979.00
Body Only + 18-55 IS STM Body Only Add a grip for Body Only + 24-70 f/2.8L II AF-D 24mm f/2.8D 369.00 AF-D 135mm f/2.0D 1,029.00 AF-S 18-35mm f/3.5-4.5G 519.00
AF-S Nikkor 24mm f/1.4G 1,379.00 AF-D 180mm f/2.8 IF ED 695.00 AF-S 18-105mm VR 204.00
668.00* 674.00* 1,299.00 249.00 2,249.00 3,629.00 AF-D 28mm f/2.8 245.00 AF-D 200mm f/4D IF ED 1,179.00 AF-S 18-140mm ED VR DX 459.00
AF-S 28mm f/1.8G 495.00 AF-S 200mm f/2G ED VR II 4,099.00 AF-S 18-200mm ED DX VR II 569.00
*Prices include 60 cashback Purchase with the BG-E11 grip Purchase with the grip, and get a AF-S 35mm f/1.4G 1,295.00 AF-S 300mm f/2.8G ED VR II 3,999.00 AF-S 18-300mm f/3.5-5.6 VR 549.00
from Canon. 14.10.15 - 13.01.16 and get a rebate of up to 250! rebate up to 250 from Canon 35mm f/2 AF Nikkor D 255.00 AF-S 300mm f/4 D IF-ED 1,029.00 AF-S 24-70mm f/2.8G ED 1,199.00
AF-S 35mm f/1.8G ED 429.00 AF-S 300mm f/4E PF ED VR 1,639.00 AF-S 24-85mm VR 399.00
Canon SX710 HS Canon PowerShot G3X Canon PowerShot G7X AF-S 35mm f1.8G DX
AF-S 40mm f/2.8G ED
139.00
185.00
AF-S 400mm f/2.8 FL ED VR 10,399.00
AF-S 500mm f/4G ED VR 5,849.00
AF-S 24-120mm f/4G ED VR 749.00
AF-S 28-300mm ED VR 659.00
20 40 25 AF 50mm f/1.4D
AF-S 50mm f/1.4G
244.00
275.00
AF-S 500mm f/4E FL ED VR 8,149.00
AF-S 600mm f/4G ED VR 6,899.99
AF-S 55-200mm f/4-5.6G VR II 229.00
AF-S 70-200mm f/2.8 VR II 1,579.00
cashback cashback cashback AF-D 50mm f/1.8 109.00 AF-S 600mm f/4E FL ED VR 9,649.00 AF-S 70-200mm f/4.0 ED VR 899.00
AF-S 50mm f/1.8G 140.00 AF-S 800mm f/5.6E FL ED VR 13,994.00 AF-S 70-300mm IF ED VR 406.00
In stock at 189.00* In stock at 691.00* In stock at 354.00* AF-S 58mm f/1.4G 1,135.00 AF-S 10-24mm f/3.5-4.5G 639.00 AF-D 80-400mm ED VR 939.00
*Price includes 20 cashback *Price includes 40 cashback *Price includes 25 cashback AF-D 60mm f/2.8 Micro 368.00 AF-S 12-24mm f/4 G IF-ED 859.00 AF-S 80-400mm ED VR 1,799.00
AF-S 60mm f/2.8G Micro ED 369.00 AF-S 14-24mm f/2.8G ED 1,315.00 AF-S 200-400mm VR II 4,899.00
from Canon. 14.10.15 - 13.01.16 from Canon. 14.10.15 - 13.01.16 from Canon. 14.10.15 - 13.01.16
For CASHBACK SAVINGS on selected Canon lenses,
CANON LENSES visit us instore, call 01444 23 70 58 or see www.parkcameras.com/dsp
14mm f/2.8L II USM 1,529.00 180mm f/3.5L USM 1,049.00 EF-S 18-55 IS ll (No packaging) 79.00 Sony HX90 Sony RX10 II Sony a6000
20mm f/2.8 USM 385.00 200mm f/2.0L IS USM 4,399.00 EF-S 18-135mm IS STM 329.00 30 50
24mm f/1.4L Mk II USM 1,199.00 200mm f/2.8L USM/2 569.00 EF-S 18-200mm f/3.5-5.6 385.00 cashback cashback
24mm f/2.8 IS USM 455.00 300mm f/2.8L USM IS II 4,799.00 24-70mm f/2.8L II USM 1,400.00 18.2 20.2 24.3
EF-S 24mm f/2.8 STM 129.00 300mm f/4.0L USM IS 959.00 24-70mm f/4.0L IS USM 699.00 MEGA 30x MEGA 8.3x MEGA
28mm f/1.8 USM 379.00 400mm f/2.8L USM IS II 7,698.00 24-105mm f/4.0L IS USM 749.00
PIXELS PIXELS PIXELS 11 FPS
28mm f/2.8 IS USM 389.00 400mm f/4.0 DO IS II 6,999.00 24-105mm (White Box) 729.00
35mm f/1.4L USM 989.00 400mm f/5.6L USM 889.00 24-105mm f/3.5-5.6 IS STM 375.00 In stock at In stock at Body Only +16-50mm
35mm f/1.4L II USM 1,799.99 500mm f/4.0L IS MK II 6,899.00 28-300mm f/3.5-5.6L IS 1,795.00 Add a Sony Add a NP-FW50
35mm f/2.0 IS USM 399.00 600mm f/4.0L IS MK II 8,895.00 EF-S 55-250mm f/4-5.6 IS STM 225.00 279.00* case for 39 1,131.00 battery for 64 399.00* 444.00*
40mm f/2.8 STM 129.00 800mm f/5.6L IS USM 9,899.00 70-200mm f/2.8L IS II USM 1,499.00
50mm f/1.2 L USM 995.00 TSE 17mm f/4.0L 1,599.00 70-200mm f/2.8L USM 945.00 *You pay 309 & claim 30 back Add a Sony ECM-AW4 wireless *Prices includes 50 cashback
50mm f/1.4 USM 237.00 TSE 24mm f/3.5L II 1,479.00 70-200mm f/4.0L IS USM 805.00 from Sony. Oer ends 31.01.16 microphone for only 104.50 from Sony. Oer ends 31.01.16
50mm f/1.8 II 88.00 TSE 45mm f/2.8 1,099.00 70-200mm f/4.0L USM 459.00
50mm f/1.8 STM 107.00 TSE 90mm f/2.8 1,124.00 70-300mm f/4.0-5.6 IS 368.00 Sony a7 II Sony a7R II Sony a7S II
50mm f/2.5 Macro 201.00 8-15mm f/4L Fisheye USM 915.00 70-300mm f/4.0-5.6L IS USM 904.00 100
EF-S 60mm f/2.8 Macro 314.00 EF-S 10-18mm IS STM 189.00 70-300mm DO IS USM 1,118.00 cashback
MP-E 65mm f/2.8 853.00 EF-S 10-22mm f/3.5-4.5 410.00 75-300mm f/4.0-5.6 III 188.00 24.3 42.4
85mm f/1.2L II USM 1,499.00 EF 11-24mm f/4L USM 2,799.00 75-300mm f/4.0-5.6 III 219.00 MEGA IS MEGA
PIXELS
4K 4K 120 FPS
85mm f/1.8 USM
100mm f/2 USM
237.00
358.00
EF-S 15-85mm f/3.5-5.6 IS
16-35mm f/2.8L II USM
531.00
1,064.00
100-400mm L IS USM II 1,899.00
200-400mm f/4.0L USM 8,598.00
PIXELS
NEW!! NEW!!
100mm f/2.8 USM Macro 373.00 16-35mm f/4.0L IS USM 721.00 1.4x III Extender 314.00
100mm f/2.8L Macro IS 635.00 17-40mm f/4.0L USM 549.00 302.00 Body Only +28-70mm NOW IN STOCK at 2,599!! NOW IN STOCK at 2,499!!
135mm f/2.0L USM 699.00 EF-S 17-55mm f/2.8 IS USM 532.00 79.99 1,144.00* 1,549.00* See online for full details See online for full details
Your Life in HD 2 years Interest Free Credit *Prices includes 100 cashback
from Sony. Oer ends 31.01.16
Add the Sony VG-C2EM grip for
only 279* when bought with
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Visit our London or Burgess Hill stores to see the Leica range!
Sigma 30mm Sigma 17-70mm Sigma 150-600mm Leica D-LUX Leica V-LUX Leica SL
f/1.4 DC HSM Art f/2.8 EX DC OS HSM f/5-6.3 DG OS HSM Contemporary (typ 109) (typ 114) (typ 601)
16.8 20.1 24
75 FREE 50 MEGA
PIXELS
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In stock at 304.00* In stock at 329.00 In stock at 769.99* Now available in Solid Gray In stock at 849.00 See website for latest
See website for details See website for details See website for details 825.00 See website for details availability & our latest price
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Leica X Leica M 240
SIGMA LENSES Prices updated DAILY!
See www.parkcameras.com/dsp
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(typ 113)
For the Leica range of
lenses and NEW filters,
4.5mm f/2.8 Fisheye EX DC 599.00 500mm f/4.5 APO EX DG 3,799.99 70-200mm f/2.8 APO EX DG OS 799.00 see in store or visit
8mm f/3.5 Fisheye EX DG 615.00 800mm f/5.6 APO EX DG 4,399.99 70-300mm f/4.0-5.6 APO Macro 150.00 16 35 mm 24
MEGA f/1.7 MEGA HD our website
15mm f/2.8 Fisheye EX DG 474.00 8-16mm f/4.5-5.6 DC HSM from 509.99 70-300mm f/4.0-5.6 DG Macro 98.00
PIXELS ASPH PIXELS
15mm f/2.8 (Pentax - 1 only!) 239.99 10-20mm f/4-5.6 EX DC from 219.99 120-300mm f/2.8 OS HSM S 2,699.00
19mm f/2.8 DN from 124.99 10-20mm f/3.5 EX DC HSM 379.00 150-500mm f/5.0-6.3 DG OS 539.00
24mm f/1.4 DG HSM 669.00 12-24mm f/4.5-5.6 II DG HSM 599.00 150-600mm f/5.0-6.3 (C) 819.99 In stock at 1,399.00 See web for latest price
30mm f/1.4 DC HSM ART 379.00 17-50mm f/2.8 DC OS HSM 309.00 150-600mm f/5.0-6.3 (SPORT) 1,399.00
30mm f/2.8 DN 128.99 17-70mm f/2.8-4 Macro OS 329.00 200-500mm f/2.8 EX DG 12,699.00
See website for full details FREE Lexar 32GB Pro SD card
35mm f/1.4 DG HSM ART 679.00 18-35mm f/1.8 DC HSM 629.00 300-800mm f/5.6 EX DG HSM 5,542.00 and to place an order (633x) with this camera!
50mm f/1.4 EX DG HSM - Nikon 249.99 18-200mm f/3.5-6.3 II DC OS 199.99 EX DG 1.4x APO 198.00 Up to
50mm f/1.4 DG HSM (Art) 669.00 18-200mm f/3.5-6.3 OS HSM 269.00 1.4x Tele Converter TC-1401 259.00 Panasonic LUMIX GX8 Panasonic 100
60mm f/2.8 DN
85mm f/1.4 EX DG HSM
from 119.99
649.00
18-250mm Macro OS HSM 299.00
18-300mm f/3.5-6.3 DC OS HSM 379.00
EX DG 2x APO DG
2x Tele Converter TC-2001
239.00
329.00
150 LUMIX GH4R cashback
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105mm f/2.8 EX DG OS HSM 379.00
150mm f/2.8 EX DG OS HSM 668.00
24-35mm f/2 DG HSM Art
24-70mm f/2.8 IF EX DG
799.00
599.00
USB Dock 39.99 MEGA
PIXELS
IS 4K 16 LOGVIDEO Limited stock
MEGA RECORDING
180mm f/2.8 EX DG OS HSM 1,199.00 24-105mm f/4 DG OS HSM 679.00 Visit us in store & try these lenses out TILTABLE
PIXELS (V-LOG) now available!
300mm f/2.8 APO EX DG 2,299.00 50-500mm f/4.5-6.3 DG OS HSM 699.99 for youself & receive expert advice SD OLED
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For even more Sigma including cameras & acessories, visit www.parkcameras.com/dsp TIME
Olympus OMD-EM10 II Olympus OMD-EM5 II See website for latest low price! Cashback available
14.10.15- 25.01.16
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16.0 16.1 Panasonic FZ330 Panasonic GX7 Panasonic GH4
MEGA HD MEGA IS HD
8.5 FPS
PIXELS PIXELS10 FPS
16 16
In stock at In stock from 4K 24x
30
MEGA
35
MEGA 4K 50
649 869
PIXELS PIXELS
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Add an Olympus BLS-50 spare NEW 100 BONUS when bought with any
battery for only 49.99 Olympus accessory over 100 - see website! Available from 469.00* GX7 + 14-42 + 20mm Body Only + 14-140mm
Olympus TOUGH TG-4 Olympus E-M10 Olympus E-M1 See website for details 398.00* 464.00 899.00* 1,270.00
*Prices include 30 cashback *Prices include 35 cashback *Prices include 50 cashback
Available 14.10.15 - 13.01.16 Available 14.10.15 - 13.01.16 Available 14.10.15 - 13.01.16
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Case Pentax K-50 Pentax K-S2 Pentax K-3
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Our Price Add a Li-92B Body Only + 14-42 EZ Body Only + 12-40mm 16 20 24
282.00 batt for 44 370.00 478.00 849.00 1,499.00 MEGA
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Body Only + 18-55 WR See web for our latest low K-3 II Body + 18-55mm
349.00 395.00 prices & discount code! 749.00 849.00
Add a Pentax SLR case for only 100 instant discount if bought FREE 50mm f/1.8 lens if bought
10 when bought with the K-50 between 01.10.15 - 16.01.16 between 01.10.15 - 16.01.16
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25mm f/1.8 25mm f/1.8 60mm f/2.8 75mm f/1.8
239* 149* 274* 609*
*Prices include cashback. See website for details. Hero 4 Hero 4 Hero
Black Session + LCD
Fujilm
m X-T10
X T10 Fuji X-Pro1
Fujilm Fujilm
lm
m X-T1 329.00 249.99 199.00
40 75
cashback cashback
16.3 16.3 16.3
MEGA MEGA MEGA
PIXELS 8 FPS PIXELS 8 FPS PIXELS 16 FPS Epson SureColor Epson SureColor Epson SureColor
SC-P400 SC-P600 SC-P800
Body Only + 16-50mm II X-Pro1 + 18mm + Body Only + 18-55mm
499.00*
440.00* 530.00*
*Prices include 40 cashback
from Fujilm. 30.10.15 - 11.01.16
27mm + leather case
Add a spare Fujilm NP-W126
battery for only 59.99
762.00* 1,054.00
*Prices include 75 cashback
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A3+
In stock at NEW & DUE MID
A3+
In stock at
A2
In stock at For ink & paper,
Add a spare set
441.00 NOVEMBER! 529.00 of inks for 180* 974.00 see our website
For up to 375 on selected Fujilm Fujilm XF 35mm f/2 R WR
Visit us in store or online for full FREE Epson Premium A3 paper Add the Epson Roll feed adapter
X-mount lenses, visit us in store or at NEW & Now in stock at details on spare ink & paper worth 49.99! & 16 roll (260gsm) for 199.99
parkcameras.com 299.00 NEW Visit us in store or online for further details on Epson printers
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EOS 1DX EOS 5Ds EOS 5DsR EOS 5D MKIII

Full Frame Full Frame Full Frame Full Frame
Body only 2198
Body only 4398 Body only 2799 Body only 2949
Plus 24-105 f4 IS U L 2699
*Ask about 200 part-ex bonus *Ask about 200 part-ex bonus BG-E11 Grip 224
EOS 6D EOS 7D MKII EOS 70D APS-C EOS 760D EOS 750D
Full Frame APS-C Body only 699 APS-C APS-C
Body only 1132 Body only 1199 Plus 18-55 STM 744 Body only 647 Body only 499
Plus 24-105 f3.5/5.6 IS 1498 BG-E16 Grip 198 Plus 18-135 STM 928 Plus 18-55 STM 549
BG-E13 Grip 139 *Ask about 200 part-ex bonus BG-E14 Grip 125 Plus 18-135 STM 899 Plus 18-135 STM 738
100-400mm 300mm f2.8 400mm f2.8 400mm f4 500mm f4
f4.5/5.6 LII IS LII IS DOII IS LII IS
LII IS USM USM USM USM USM
1798 4499 7399 6799 6499
*Part-ex bonus is over and above
Full Canon listing on website along with details of current cashback and trade in bonus offers our normal quote for your gear
D810 D750 D610

D4s Full Frame Full Frame Full Frame
Full Frame
Body only 1477 Body only 1099
Body only 2298
Body only 4444 Plus 24-120 f4 VR 1997
MBD-14 Grip (D610/600) 198
MBD-12 Grip (D810/800/E) 279 MBD-16 Grip 228
D7200 D5500 D3300 24-70mm f2.8 200-500mm f5.6
APS-C APS-C APS-C AFS G E AFS
Body only 749 Body only 498 Body only 289
Plus 18-105 VR 897
ED VR ED VR
Plus 18-55 VRII 589
MBD-15 Grip 228 Plus 18-140 VR 749 Plus 18-55 VR 328 1849 1179
200mm f2 300mm f2.8 400mm f2.8 500mm f4 E 600mm f4 E
AFS G AFS ED G E FL AFS FL AFS FL
VRII VRII ED VR ED VR ED VR
3699 3489 8999 7989 9648
Full Nikon listing on website along with details of FREE grips and trade in bonus offers
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Used Canon Used Canon Used Canon Used Canon Used Nikon Used Nikon Used Nikon Used Nikon
EOS 1DX EOS 5Ds EOS 1D EOS 5D D4 D3X or D3s D800
body body MKIII D3 body
body body each body
M- box M- box MKIV body body box box
box box
3399 2399 1399/1799 1699 2899 1899 1299 1199
Used Canon BRONICA ETRS 645 USED
ETRSi comp box ................299
60 F2.8 EFS mac .................229
70-200 F2.8 LI IS box .......899
A12 chrome latest............299
A12 late blk/chr.................129
18-55 F3.5/5.6 ........................99
55-210 F4.5/6.3 OSS ......... 149
24-70 F2.8 AFS box... 899/999
24-120 F3.5/5.6 AFS VR ......299
200 F4 AIS macro..............279
200 F4 AIS............................149 Used Nikon
ETRS body .............................99 70-200 F4 IS U L ................699 50 F4 blk T*.........................349 MINOLTA/SONY AF USED 28-70 F2.8 AFS box ..............699 200 F4 AI................................99 14-24mm f2.8 AFS
11-24mm 40 F4 MC..............................149 70-200 F4 U L .....................349 60 F2.8 chrome..................249 9000 body .............................79 28-80 F3.3/5.6 G Mint box.. 69 500 F8 ...................................299
45-90 F4/5.6 PE box.........449 70-300 F4/5.6 IS U ............279 250 F5.6 chrome ...............199 800Si body ............................69 28-85 F3.5/4.5 AF..................119 600 F5.6 ED AIS .................799
f4 L USM 50 F2.8 E...............................149 75-300 F4/5.6 MKIII............89 Vivitar 2x conv .....................69 700Si + VC700......................69 28-100 F3.5/5.6 AF G............. 69 TC14A....................................129
M- box 100 F4 PE macro ...............249 85 F1.2 L MKI......................899 Polariser - 60mm.................79 700Si or 7xi body ea..........49 28-105 F3.5/4.5 AFD box...149 TC14B....................................149
100 F4 E macro..................199 85 F1.8 M-............................199 LEICA M COMPACT USED Dynax 5 body...........................39 35 F1.4 AFS M- box ..............999 TC200 ......................................49
2299 105 F3.5..................................99
135 F4 PE .............................199
100-300 F4/5.6 USM ........129
100-400 F4.5/5.6
50 F1.4 6 bit.....................1199
90 F2 black E55 .................799
505Si Super ............................ 25
300Si or SPXi body ea.......19
35 F1.8 AFS M- box ..............119
40 F2.8 AFS DX M- box.......149
TC201 ......................................69
TC301 ....................................199 999
150 F3.5 E ..............................99 L IS U................................699/899 135 F4 ...................................699 18-70 F3.5/5.6 ........................69 50 F1.4 AFD..............................179 PN-11 box..............................99
Used Canon 150 F3.5 PE M- Box...........149
200 F4.5 PE..........................199
135 F2 M- box....................639
200 F2.8 LII U........................449
LEICA SLR USED
R6.2 body chr box .............449
20-35 F3.5/4.5 M- box.....249
24-50 F4 ...............................149
50 F1.8 AFD...........................99
50 F1.8 AF..............................79
SC-17 TTL lead.....................25
DW-4 6x mag find fit F3...99
Used Nikon
E14, 28 or 42 ext tube.......49 300 F2.8 LI IS U..................2999 70-200 F4 (3 cam).............249 24-105 F3.5/4.5 AFD box .. 179 55-300 F4.5/5.6 DX box..199 PK-13/PK-12 ext tube ea..29 24mm f1.4 AFS
24mm 120 RFH..................................69 300 F4 L IS USM box......... 699 250 F4 (3 cam) ...................399 28 F2.8 ....................................99 60 F2.8 AFD.........................249 OLYMPUS DIGITAL USED M- box
Polaroid Back .......................39 400 F2.8 L IS U.......3799/3999 Angle finder R....................149 28-80 F4/5.6..........................39 70-200 F2.8 AFS VRII.....1299 E3 body box........................349
f1.4 LII Plain prism ............................59 400 F5.6 L box..................... 699 LEICA BINOCULARS USED 28-85 F3.5/4.5 ......................99 70-200 F2.8 AFS VRI ..........749 E300 body .............................69
M- box Rotary prism.......................129 500 F4 L IS U ..........3499/3799 Trinovid 8x50 BA...............699 28-100 F3.5/5.6 D ...............49 70-300 F4/5.6 VR M- ........329 11-22 F2.8/3.5 M-..............399
AEII Prism...............................79 1.4x extender MKII ............ 199 Trinovid 10x40...................749 35-70 F4 .................................39 70-300 F4/5.6 AFD ...........149 12-60 F2.8/4 SWD.............399
Angle viewfinder E...........129 2x extender MKII................ 199 Ultravid 8x42 HD................849 35-70 F3.5/4.5........................... 25 80-200 F2.8 AFD N ...........599 14-42 F3.5/5.6 ......................49
949 Winder early .........................79 Teleplus 2x DG conv..........89 LIGHTMETERS USED 35-80 f4/5.6................................ 25 80-200 F2.8 early .... 249/329 14-45 F3.5/5.6 ......................89 899
Speed Grip E.........................39 Kenko ext tube set DG......... 89 Minolta Autometer IVF...... 149 35-105 F3.5/4.5 ........................ 99 80-400 F4.5/5.6 AFS......1599 14-50 F3.8/5.6 ....................199
Used Canon Tripod adapter E .................39
Winder early .........................49
Jessops ext tubes ...............69
LC-4 wireless kit ..................89
Minolta Flashmeter V......199
Minolta Spotmeter M......199
50 F1.7 AF................................... 89
50 F2.8 macro.........................169
80-400 F4.5/5.6 VR ...........599
85 F1.4 AFS M- box ..........999
14-54 F2.8/3.5 ....................179
35 F3.5 ....................................99 Used Nikon
Metz SCA 386.......................49 PB-E2 drive............................99 Sekonic L308........................99 75-300 F4.5/5.6 ........................ 99 85 F1.8 AFD M- box .........269 40-150 F4/5.6 .......................49 70-200mm f2.8 AFS
24-70mm BRONICA SQ 6x6 USED PB-E1 drive............................69 Sekonic L558......................249 100-300 F4.5/5.6 APO.........169 85 F1.8 AF............................169 50 F2 macro........................299 VRII
f2.8 LII SQA complete....................279 Tripod mnt adapt A (W)...59 MAMIYA 645 MF USED 500 F8 mirror...........................349 105 F2.8 VR .........................479 70-300 F4/5.6 box ............179
SQAM complete................249 SIGMA CAF USED Plain prism (645 Super)....39 VC9 grip......................................149 105 F2.8 AFD......................399 25mm ext tube....................79
M- box SQ + 80 F2.8 PS 8-15 F4.5/5.6 DC box...........399 WLF 645N/1000S/J.............49 VC700 grip.................................. 49 180 F2.8 AFD M- box.......499 Sigma 105 F2.8 EX DG M_ 249
+ 120RFH.............................269 10-20 F4/5.6 HSM box .199 WLF Pro TL etc .....................79 RC1000S/L cord ....................... 15 200-400 F4 AFS VRI.......2999 FL-36R flash...........................99
1199 40 F4 S ..................................299 15-30 F3.5/4.5 EX DG .......... 199 Polariod Back HP401 .........29 AW90............................................. 49 300 F2.8 AFS VRI ............2699 FL 36 flash .............................79
1299
50 F3.5 S...............................149 17-70 F2.8/4 DC OS HSM...239 Polaroid back .......................29 MD90 + BP90-M...................... 79 300 F4 AFS M- box ...........699 OLYMPUS PEN USED
135 F4 PS M-.......................249 17-70 F2.8/4.5 DC ....................149 120 Insert...............................20 SONY LENSES USED 300 F4 AFS box..................599 OMD-EM1 body M- box .699
Used Canon 150 F3.5 S ..............................79
150 F4 PS ................... 149/199
18-35 F1.8 DC M-......................469
18-50 F2.8/4.5 DC OS............149
HA401 120 RFH Box...........49
120 Back..39 Winder.......79
16-35 F2.8 ZASSM box......... 899
16-50 F2.8 SSM.......................349
400 F2.8 AFS E FL ED VR7499
400 F2.8 AFS non VR Grey3399
OMD E-M5 body box.......349
OMD-EM10 body..............329
Used Nikon
200 F4.5 PS M- box ..........199 18-50 F3.5/5.6 DC box........ 49 50 F4 shift............................399 16-70 F4 ZA OSS M- box ....599 500 F4 AFS VR .................4799 Pen E-PM1 + 14-42 M- ....149 80-400mm f4.5/5.6
85mm f1.2 2x PS converter M-...........179 24-70 F2.8 HSM....................469 55-110 F4.5 box.................299 18-55 F3.5/5.6 SAM................ 59 500 F4 AFS Mk1.. 2699/2999 Pen E-PM1 body..................99 AFS
36mm ext tube....................79 24-70 F2.8 EX DG mac..........349 150 F2.8 A............................249 18-200 F3.5/6.3 DT ...............199 TC14EII box .........................239 Pen E-P3 body ...................169
LI USM 135N back ...........................139 50 F1.4 EX DC........................249 150 F3.5 N .............................79 24-70 F2.8 ZE SSM......799/899 TC17EII box .........................239 17 F2.8 ..................................129
SQAi Polaroid back.............79 50-150 F2.8 DC HSM........... 299 210 F4 N M- ..........................79 FE 90 F2.8 G OSS M- ............749 TC20EIII M- box .................289 HLD-6 grip.............................99
SQAi 120 RFH .......................79 70-200 F2.8 EX DG HSM...429 Ext Tube 1, 2, 3S each .......29 70-400 F4/5.6 SSM 11......1149 TC20E box ...........................149 PANASONIC DIGITAL USED
899 SQA 120 RFH ........................49 105 F2.8 EX .........................219 Teleplus 2x converter........49 1.4x conv M- box...................249 Kenko MC7............................69 LX5 compact ......................129
Plain Prism S Boxed ...........69 120-300 F2.8 Sport........1799 Vivitar 2x converter............39 SIGMA MIN/SONY AF USED SIGMA NAF USED LX5 viewfinder.....................99 1599
AE Prism Early ......................79 120-300 F2.8 EX DG .........799 MAMIYA TLR 6x6 USED 28-135 F3.8/5.6......................79 10-20 F4/5.6 DG HSM ........199 GF1 body ................................. 79
Used Canon ME Prism Finder ..................69
Metz SCA 386.......................49
120-400 F4/5.6 DG OS......449
180 F3.5 EX macro................399
C330 F Body + WLF ..........149
55 F4.5 ..................................199
28-300 F3.5/6.3 mac......... 149
50 F1.4.................................... 149
12-24 F4.5/5.6 DG box.......399
18-50 F2.8 EX DC Mac.........199
14 F2.5 .......................................169
14-42 F3.5/5.6 ......................79
Used Nikon
100-400mm f4.5/5.6 L Pro shade S ...........................59 600 F8 mirror...........................249 65 F3.5 box late .................199 50 F2.8 EX DG mac............ 149 18-125 F3.5/5.6 ........................ 99 14-45 F3.5/5.6 ....................149
85mm f1.4 AFS M- box
IS USM Lens Hood 65-80.................20 1.4x EX DG conv ....................149 65 F3.5 serviced.................149 55-200 F4/5.6 .........................69 18-250 F3.5/6.3 DC mac OS199 20 F1.7 ...................................179
SQAi Motorwinder ...........149 2x EX DG conv........................149 80 F2.8 late serviced........139 70-300 F4/5.6 DG OS ......189 28-300 F3.5/6.3 early..........129 45-175 F4/5.6 M- box......239
Speed grip S .........................69 Kenko Pro 300 1.4x conv..... 99 180 F4.5................................149 600 F8 ...................................299 50 F1.4 DG Mint ......... 199/239 100-300 F4/5.6...................349
CANON DIGITAL AF USED OTHER CAF USED 250 f4.5 late serviced.......249 1.4x EX DG conv................149 50 F2.8 EX............................119 BG-GH3 grip .......................149
1DX body box.................3399 TAM 10-24 F3.5/4.5 DiII .....199 250 f4.5 early serviced.179 TAM 18-270 F3.5/6.3 50-150 F2.8 EX OS M- box 399 PENTAX DIGITAL AF USED
1D MKIV body box ........1799 TAM 18-270 DiII.................179 Prism .......................................99 DiII PZD box........................199 50-500 F4/6.3 DG OS.......649 K20D body ..........................199
699/899 1D MKIV body.................1399 TAM 28-300 F3.5/6.3 XR Di199 Paramender ..........................49 TAM 60 F2.8 mac...............239 50-500 F4/6.3 DG..............499 DBG2 grip..............................69 999
1D MKIII body box............699 TAM 70-200 F2.8 Di VC USD599 MAMIYA 7 RF 6x7 USED TAM 70-200 F2.8 Di..........449 70 F2.8 EX Macro ..............149 PENTAX 35mm AF USED
Used Canon 7D body ..................... 399/469
6D body box.......................899
TAM 70-300 F4/5.6 ............... 99
TAM 180 F3.5 Di...................369
7II body champagne .......799
50 F4.5 L + VF.....................699
TAM 70-300 F4.5/5.6
Di box......................................89
70-300 F4/5.6 Apo DG ......99
105 F2.8 EX DG..................229
16-50 F2.8................................. 499
17-70 F4 SDM M- box ......... 349
Used Nikon
300mm f2.8 L IS USM 5Ds body Mint unused 2399 TAM 200-500 M- box........479 80 F4.5 L M- box................699 TAM 90 F2.8 Di...................249 120-400 F4/5.6 DG OS ....449 18-55 F3.5/5.6 ......................29
200-400mm f4 AFS VRI
5D MKIII body box.........1699 CANON FLASH USED 150 F4.5 M- .........................399 TOK 17 F3.5 ATX Pro ........299 170-500 F5/6.3 DG ...............349 18-250 F3.5/6.3..................179
5D MKII body box....699/999 CP-E3.......................................49 210 F8 + VF box M-..........499 Teleplus 1.4x conv..............69 1.4x EX DG M-.........................139 20-35 f4 box...........................269
5D MKI body box ................349 SB-E2 bracket.......................99 Panoramic kit.......................49 Teleplus 2x conv .................79 1.4x EX conv .............................. 99 28-70 F4 AL................................ 59
70D body box.......................579 ST-E3 box.............................199 MAMIYA RB 6x7 USED Kenko 1.4x Pro 300DG....149 2x EX DG conv........................159 28-80 F3.5/5.6 ......................49
60D body................................399 ST-E2 transmitter ................89 Pro SD + 127 KL Min 3600HSD.......................39 TAMRON NAF USED 28-90 F3.5/5.6 FA ................69
2999 50D body box.......................279
40D body................................179
ML3 non digital...................49 + RFH + WLF.......................549 Min 5400HS ..........................69 10-24 F3.5/4.5 DiII.................229 40 F2.8 Limited M- ............249
2999
MT24 EX ringlight.............499 Pro SD comp M-................649 Min 5600HSD M-.................99 17-35 F2.8/4.............................169 50-135 F2.8 SDM...............499
550D body box ....................199 430EXII..................................149 Pro S body...........................149 NIKON DIGITAL AF USED 17-50 F2.8 XR Di.....................199 55 F1.4 SDM M-.................499
Used Canon 450D body .............................179
1000D body...........................179
430EZ non digital ...............39
550EX....................................149
Pro S body scruffy ..............99
WLF..........................................79
D4 body box....................2899
D3s body ..........................1899
18-250 F3.5/6.3 ......................169
24-70 F2.8 DC..........................499
55-300 F4/5.8 ED box......229
70 F2.8 Limited..................349
Used Nikon
300mm f4 L IS USM 300mm f2.8 AFS VRI
BG-E1.........29 BG-E2 ..........39 580EX box ...........................179 120 645V back .....................99 D3X body box.................1899 70-300 F4/5.6............................ 79 70-200 F4/5.6 .......................69
box BG-ED3.....39 BG-E4..........69 600EX RT box .....................329 90 F3.5 KL ............................249 D3 body box....................1299 OTHER NAF USED 70-300 F4/5.6 .......................79
BG-E5........49 BG-E6........119 CONTAX MF USED 127 F3.5 KL..........................299 D2Xs body box..................399 TOK 11-16 F2.8 ATX Pro..349 SIGMA PKAF USED
BG-E7..........................................99 40-80 F3.5 AE .....................199 Ext tube 2.................................... 49 D2X body box....................299 TOK 12-28 F4 ATX DX......399 10-20 F4/5.6 EX DC ..........239
BG-E8..........................................79 50 F1.4 AE............................199 MAMIYA RZ 6x7 USED D800E body box ............1199 TOK 80-400 F4.5/5.6 ATX . 249 12-24 F4/5.6 EX DG Mint ..499
G1X MKII M- box..................379 135 F2.8 MM.......................199 RZ ProII + 90 + WLF D800 body box...............1199 ZEISS 21 F2.8 ZFII..............899 35 F1.4 Art box ..................499
699 CANON AF USED
EOS 1V HS body box .......599
FUJI DIGITAL USED
X-Pro 1 body box..............299
+ 120 RFH............................499
RZ Pro body ........................149
D700 body box........ 599/699
D610 body box..................849
FLASH / ACCESSORIES USED
SB-24...............................................49
105 F2.8 EX DG M- box...329
TAM 17-35 F2.8 XR Di......199 2699
EOS 1V HS body................499 X-E1 body silv box............199 120 RFH Pro II.......................99 D600 body M- box ...........799 SB-25...............................................49 PENTAX 645AF USED
Used Canon EOS 1HS body....................149 X-M1 body blk box...........189 120 RFH Pro I........................49 D300 body box........ 249/299 SB-28............................................. 69 645N body ..........................399 Used Nikon
400mm f2.8 L IS USM EOS 3 + PB-E2 ....................239 16-50 F3.5/5.6 XC M-.........179 Polaroid back .......................69 D200 body box..................199 SB-80DX....................................... 79 120 insert...............................49 300mm f4 AFS
EOS 3 + BP-E1 ....................199 18 F2 M- box ......................199 Chimney...............................199 D7200 body M- box.........699 SB-800 box...............................189 PENTAX 645MF USED
EOS 3.....................................149 18-55 F2.8/4........................279 WLF..........................................79 D7100 body box ...............549 SB-700 M- box........................199 645 + 75 F2.8......................249
EOS 1n body.......................129 27 F2.8 XF............................249 FE701 AE prism .................179 D7000 body........................299 SB-900.........................................269 645 body + insert .............199
EOS 3 body .........................129 35 F1.4 M- box...................329 Winder II.................................69 D5000 body........................169 SD-8 batt pack.......................... 49 45-85 F4.5............................299
EOS 600/650 body ea .......39 Samyang 8 F2.8.................199 50 F4.5 W .............................199 MBD-15 M- box .................149 DR-6 angle finder..................149 55 F2.8 ..................................249
10-22 F3.5/4.5 U................349 X-E1 grip box........................39 65 F4 box M- ......................399 MBD-10 grip M- box........149 DR-3 angle finder.................... 69 150 F3.5 EX++....................149
11-24 F4 L M- box..........2299 X100s silv box ....................449 90 F3.5 W M- box..............299 Coolpix P7800 compact.199 MB-16 M- box........................... 89 200 F4 ..................................149 599/699
3799/3999 12-24 F3.5/5.6 ....................399 X100 silver box ..................399 127 F3.5 box.......................299 NIKON AF USED MB-23 (fits F4)........................... 79 120 Insert M- box................49
Used Canon 17-40 F4 L............................399
17-85 F4/5.6........................199
X20 black box ....................229
X10 black box ....................179
180 F4.5 W box..................199
Pro shade...............................49
F4 body ................................349
F4E body..............................299
MC-30 remote .......................... 39
MF-23 (date back F4) ............ 79
PENTAX 67 USED
45 F4......................................249 Used Nikon
500mm f4 L IS USM 18-55 F3.5/5.6 IS EFS .........89 FUJI MED FORMAT USED MINOLTA/SONY DIGITAL USED F4S body.................... 199/399 NIKON MF USED 165 F4 leaf latest...............249 400mm f2.8 AFS Grey
18-55 F3.5/5.6 IS STM............ 99 GSW690 III...........................649 Sony RX10 MKII M- box... 899 F801s body ...........................39 F chr + Photomic head...249 200 F4 latest .......................169
18-55 F3.5/5.6 EFS .................. 59 HASSELBLAD XPAN USED Sony A7 R + grip................. 849 F801 body ...................... 29/59 F3HP body...........................199 200 F4 early.............................99
24 f1.4 LII M- box...................949 XPan II + 45 box.................1599 Sony A900 body box.........699 F601 body .............................29 F3 body ................................149 300 F4 early scruffy............. 99
24 F2.8 IS USM........................369 30 F5.6 M- box.......................1699 Sony A350 body................. 139 12-24 F4 DX............................449 FM2n body chr ..................179 Pentax rear conv 1.4x........ 249
24-70 F2.8 LII M- box........1199 90 F4 M-.............................249/299 Sony VGB30AM .....................79 14-24 F2.8 AFS ................999 FM body blk..........................79 2x rear converter...............179
24-70 F2.8 box........................699 Centre filter 49mm.................129 Sony VC-C77AM M- box . 149 16 F2.8 AFD M- box............529 EM body.................................29 Auto ext tubes .....................49 3399
3499/3799 24-70 F4 L box........................579 HASSELBLAD 645 USED Sony VGC70AM .................. 139 16-85 F3.5/5.6 AFS VR...299 24 F2 AIS..............................299 Vivitar 2x conv .....................49 Non VR
24-105 F4 L...............................499 HM-16/32 back..................199 Sony HVLF56AM flash ........189 17-35 F2.8 AFS ......................849 28 F3.5 AI...............................99 SAMSUNG USED
Used Leica 28 F1.8 USM box...............299
28-90 F3.5/5.6 ......................79
HASSELBLAD 6x6 USED
SWC Superwide + VF ...1199
Sony HVLF542AM flash......149
Sony HVLF520AM flash.........79
17-55 F2.8 AFS ......................449
18-55 F3.5/5.6 VRII..................99
28-85 F3.5/4.5 AIS.............199
35 F2.8 AI...............................99
NX30 + 18-55 blk ..............399
NX300 + 18-55...................249 Used Nikon
Trinovid 8x50 28-135 F4.5/5.6..................199 PM5 prism 45....................149 Sony HVLF32X flash................79 18-135 F3.5/5.6 AFS DX....149 35-70 F3.3/4.5 AIS.............149 NX10 + 18-55 .....................249 500mm f4 AFS VR
BA 35-135 F3.5/4.5..................129 PME prism box...................149 Sony A6000 body blk....... 379 18-140 F3.5/5.6 VR DX M- 299 35-105 F3.5/4.5 AIS............99 30 F2 pancake M- box.....159
40 F2.8 STM ..........................89 45 Prism late .....................149 SONY NEX USED 18-200 F3.5/5.6 AFS VRII...399 45 F2.8 E silv M-.................269 50-200 F4/5.6 III M- box..139
50 F1.4 U box .....................199 45 Prism early.....................69 NEX 7 body .......................... 299 18-200 F3.5/5.6 AFS VRI....299 50 F1.8 AIS.............................89 60 F2.8 SSA M- box...........329
50 F1.8 MKI ..........................149
50 F1.8 MKII ........................... 49
NC1 prism..............................69
WLF late ...............................110
NEX 6 body .......................... 249
NEX 5N + 18-55.................. 239
20 F2.8 AF...................... 299/329
24 F1.4 AFS M- box.............899
50 F1.8 AIS pancake.........139
50 F1.8 E.................................59
M
SWAROVSKI BINOS USED
EL 8.5x42................................799
50 F2.5 macro box.............129 WLF chrome late.................99 NEX 5 body .......................... 179 24 F2.8 AFD............................299 85 F2 AI ................................149 VOIGTLANDER USED
699 55-250 F4/5.6 ISII M- box..129 WLF early...............................49 10-18 F4 OSS M- box........ 499 24-50 f3.5/4.5 AF..................129 180 F2.8 AIS ED scruffy...199 15 F4.5 + VF M- box.........299 4799
Used Leica Used Fuji Used Hasselblad Used Hasselblad Used Hasselblad Used Hasselblad Used Hasselblad Used Nikon
Trinovid GSW 690 XPan II & 45mm box XPan XPan 90mm f4 SWC chr Superwide 50mm f4 500mm f4 AFS MKI
10x40 MKIII 30mm f5.6 + 38mm
M- box M- + VF CF FLE
749 649 1599 1699 249/ 299 1199 799 2699/2999
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6D Body 1132 70D Body 728 D750 + 24-85mm VR 1759
50.6 D7200 + 18-105mm 929 D610 + 24-85mm 1499
1032 Inc. 100 Cashback* 668 Inc. 60 Cashback*
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NEW 35mm f1.4 L II USM ............................... 1799 EF-S 17-55mm f2.8 IS USM ............................. 519 85mm f1.8 G AF-S .............................................339 18-300mm f3.5-6.3 G ED VR AF-S DX ............. 549
EF 16-35mm f2.8L Mk II USM ........................... 1064 474 Inc. 45 Cashback* ......................................... 105mm f2.8 G AF-S VR IF ED Micro................. 619 55-300mm f4.5-5.6 G AF-S DX VR ................... 269
EF 70-300mm f4-5.6L IS USM........................... 894 EF 24-70mm f4.0 L IS USM ............................ 675 10-24mm f3.5-4.5 G AF-S DX............................ 639 55-200mm f4-5.6 G ED VR II DX AF-S ............. 254
784 Inc. 110 Cashback* ....................................... 525 Inc. 150 Cashback* ....................................... 18-200mm f3.5-5.6 G ED AF-S DX VR II .......... 549 NEW 600mm f4 E FL ED VR AF-S.................... 9649
EF 24mm f1.4L II USM....................................... 1179 EF-S 55-250mm f4-5.6 IS STM ........................ 200
18-300mm f3.5-5.6 AF-S ED VR ....................... 669 NEW 500mm f4 E FL ED VR AF-S.................... 8149
EF 50mm f1.4 USM............................................ 237 180 Inc. 20 Cashback* .........................................
EF 100mm f2.8 L IS USM Macro....................... 619.50 EF 70-200mm f4.0 L IS USM ........................... 795 24-70mm f2.8 G AF-S ED.................................. 1199 NEW 16-80mm f2.8-4 G AF-S VR ED DX......... 869
EF-S 10-22mm f3.5-4.5 USM ............................ 377 720 Inc. 75 Cashback* ......................................... 70-200mm f2.8 G AF-S ED VR II....................... 1579 NEW 24-70mm f2.8 E AF-S ED VR................... 1849
332 Inc. 45 Cashback* ......................................... EF 100-400mm f4.5-5.6 L IS II USM ................ 1844 70-300mm f4.5-5.6 G AF-S IF ED VR ............... 409 NEW 200-500mm f5.6 E ED VR AF-S .............. 1179
EF 16-35mm f4 L IS USM................................. 682 EF 70-200mm f2.8 L IS II USM......................... 945 80-400mm AF-S Nikkor f4.5-5.6 G ED VR ........ 1799 NEW 24mm f1.8 G ED AF-S.............................. 629
607 Inc. 75 Cashback* ......................................... EF 24-105mm f4.0 L IS USM............................ 638 For 2-year warranty on any camera and lens kit simply register your new Nikon within 30 days of purchase.
EF 11-24mm f4L USM ....................................... 2799 Oer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register
Photo Bags & Rucksacks Photo Sport BP Anvil Slim

F-803
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a ashgun and extra gear such Tan, Black/Black.
additional lenses, a RuggedWear:
accessories. as a bike helmet,
ashgun and iPad/ Digital .................................. 109 F-5XB ................................. 72
jacket, snacks and
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a compact tripod. Anvil: Small ................................... 139 F-5XZ ................................. 99.95
Whistler: Photo Sport BP: Anvil Slim................................. 189.99 Large ................................... 154 F-6 ...................................... 99
BP 350 AW .............................257 200 AW...............................118 Anvil Super.............................. 189.99 3N1-25..................................169 Pro Original ......................... 169 F-803 .................................. 139
BP 450 AW .............................286 300 AW...............................147 Anvil Pro.................................. 209.99 3N1-35..................................199 Tripod Strap Black or Tan.... 19 F-2 ...................................... 149
Tripods & Tripod Heads We sell tripod accessories including plates and spiked feet on our website!
MT190XPRO3 Pre-Loved
160cm
Max Height cameras
9cm SLR Zoom Quality used
Min Height Flexi-Tripod legs 327RC2
MT055XPRO3 ...................139 Joystick cameras,
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MK055XPRO3 GT3542L Head lenses and
3Kg Max Load
+ X-Pro 3-Way Head .........209 MT190XPRO4 ...................159 178cm Max Height accessories
MK055XPRO3 MT190CXPRO3 with 12 months
16cm Min Height
+ 498RC2 Ball Head..........169 Carbon Fibre......................229
MT055CXPRO3 MT190CXPRO4
warranty*
Mountaineer Carbon eXact Tripod: Gorillapod: Ball Heads:
Carbon Fibre......................269
MT055CXPRO4
Carbon Fibre......................249
MT190XPRO3
GT0532 ...................................... 309 Compact....................................... 17 494RC2 ..................................45 www.wex.co.uk/
Carbon Fibre......................284 + 496RC2 Ball Head..........139 GT1532 ...................................... 359 Hybrid (Integral Head).................. 29 498RC2 ..................................74 pre-loved
MT190 Series: MT190XPRO4 GT2542 ...................................... 599 SLR Zoom .................................... 39 324RC2 ..................................99 *Excludes items marked as incomplete
MT190XPRO3 ...................129 + 496RC2 Ball Head..........189 GT3542L .................................... 709 Focus GP-8 .................................. 79 327RC2 ..................................135 or for spares
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2999.00 Canon EOS 7D Mark II Body 1299.00 Nikon D810 Body
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EOS 6D Body 1125.00 EOS 70D Body 728.00 D610 Body 1049.00 D7200 Body 752.00 X-100T Black/Silver Bod 796.00 X-Pro1 Twin Lens Kit 645.00
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EOS 6D+24-105mm 1499.00 EOS 70D+18-55mm 745.00 D610+24-85mm 1499.00 D7200+18-105mm 889.00 (Body + 18mm & 27mm)
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237.00
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1639.00 14mm F2.8 XF
648.00 3170.00 EF 100mm F2.8L IS USM Macro
619.50
18mm F2R XF
359.00 EF 8-15mm F4.0L USM Fisheye
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23mm F1.4 XF
649.00 EF 16-35mm F2.8L USM II 1064.00
14-24mm F2.8G AF-S ED 1315.00 27mm F2.8 Black or Silver XF
285.00 EF 17-40mm F4.0L USM 498.00
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367.00 EF 24-70mm F4L IS
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723.00 Distagon 15mm F2.8
2352.00 EF 24-70mm F2.8L II USM 1400.00
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999.00 Distagon 21mm F2.8 1449.00 EF 24-105mm F4.0L IS USM
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66
669.00 60mm F2.4R Macro XF
408.00 Distagon 28mm F2
979.00 EF 24-105mm F3.5-5.6 IS STM
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8
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Dartmoor offers a wealth of stunning photo possibilities but the tough terrain and unpredictable
weather often makes it a challenging place to visit. So, how did our reader Julian Baird fare under
the guidance and watchful eye of local expert Ross Hoddinott in our latest Photo Workshop?
Photo Skills The Lake District Photo resolutions

From long-exposure portraits to You wont want to miss our location Well help make 2016 the year you
time-spliced landscapes, weve an guide as we explore one of the UKs broaden your photo skills with our
inspiring selection of techniques to most popular and idyllic areas, set of photo resolutions made to
keep you busy in the new year home to countless stunning scenes help you take better pictures
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WHICH EIGHT LEADING MODELS UNDER 1,500 COMPARED

The Magic of Winter

Discover more: anewperspective.olympus.co.uk

Advertising & Production

Digital SLR Photography is produced for Dennis Publishing

January 2016 Digital SLR Photography 3

4 Digital SLR Photography January 2016

Ross Hoddinott OUTDOOR

Helen Dixon LANDSCAPES

Colin Jarvis LANDSCAPES

Roeselien Raimond NATURE

110 THE BEST CAMERAS UNDER 1,500 Dina Belenko STILL-LIFE

Richard Hopkins TESTS

January 2016 Digital SLR Photography 5

This image comprises several 30-second

(Above) Taken on a hike through the Enchantments area of

Tahoma by Chris Williams

The Vortex by Chris Williams

500px Perfect for photos

8 Digital slr Photography January 2016

Ocean of Flames by Alessio Albi

(Above) One of the few photo manipulations from my entire

Galaxies by Alessio Albi

Portrait of Carolina by Alessio Albi

Portrait of Lisa by Alessio Albi

10 Digital slr Photography January 2016

Loch Voil by Neil Barr

Knapps Loch by Neil Barr

Loup of Fintry by Neil Barr

Loch Ard by Neil Barr

Eilean Donan NeilBarr

500px Perfect for photos

12 Digital slr Photography January 2016

Nicholas Roemmelt moNish maNshaRamaN

16 Digital slr Photography January 2016

January 2016 Digital Slr Photography 17

ViDEO OfThE mOnTh

18 Digital Slr Photography January 2016

EXCLUSIVEBONDPRINTSARESOLD Downing Street quickly remedied the

January 2016 Digital SLR Photography 19

YOUR AUTUMN IMAGES TopTweets

DIGITAL SLR PHOTOGRAPHY READERS HAVE BEEN BUSYKEEPING OUR TWITTER

Anna Heath @spannarama

January 2016 Digital SLR Photography 21

The Fylde Coast

piers are privately owned so seek permission

24 Digital SLR Photography January 2016

photogenic throughout the

a tale in the book The Sea Swallow by Gareth

January 2016 Digital SLR Photography 25

The Fylde Coast

26 Digital SLR Photography January 2016

Keep shooting! Other great locations around the Fylde coast

1)ROSSALLPOINT 2)PLOVERSCARLIGHTHOUSE 3)ASHTONMEMORIAL

January 2016 Digital SLR Photography 27

p34 dewyspiderwebs p39 createaprojectorportrait p43 shoot&editsmoketrails

Camera: nikon d810 / Lens: nikkor af-s 17-35mm f/2.8g

1 Planning this is essential for success.

4:40pm 4:50pm 5:00pm

4 ComPose A colourful sky alone will not

5 KeePon shooting the colour doesnt last

32 Digital slr Photography January 2016

Camera: canon eos 5d mk iii / Lens: ef 100mm f/2.8l macro usm