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Issue 132

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Editorial

Editor Daniel Lezano daniel.lezano@dslrphotomag.co.uk Art Editor Luke Marsh luke.marsh@dslrphotomag.co.uk 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:

James Abbott, James Archer, Adam Burton, Helen Dixon, Ross Hoddinott, Kate Hopewell-Smith & Richard Hopkins

Advertising & Production

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Publishing

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Welcome

WELCOME TO THE NOVEMBER 2017 issue of DigitalSLR Photography. As thesummer drawstoacloseandautumnbegins, it’snaturaltoturnyourthoughtstotwoopposingendsofthe photographicscale:colourandblack&white.Thetransformation ofthelandscapefromgreenstogolddrawsoutdoorphotographers towoodlands,parksandforestsacrossthenationinsearchof dramaticandcolourfulimages.Withtheopportunitylastingonlyahandfulof weeks,it’sbesttobereadytotakeadvantage–ourguidestartingonpage51 providesarangeofideasandtechniquestotry.Theonsetofautumnisoftenthe timewhenmanyphotographersturntheirattentiontoblack&white photographytoo–astheweather takesaturnfortheworseandlandscapeslook bareandbarren,capturingmoodymonochromeimagesisanaturalprogression. InourBeginner’sGuide(page68),we’llexplainhowtosetupyourcameraand ‘thinkmono’tohelpyoucaptureandeditblack&whiteimagesforarangeof subjects.Ourissuealsoprovidesawealthofexpertadviceonothertechniques, includingportraits,close-upsandlandscapes,alongwithauthoritativereviewsof avarietyofkit.Wehopeyouﬁnditanenjoyableandeducationalread.Allthebest!

Daniel Lezano Editor

Join a growing community OVER620,000FOLLOWERSANDGROWING!Getonlineandinteractwiththeexpertsat DigitalSLRPhotography.YoucanfollowusonFacebook(facebook.com/digitalslrphoto),tweet . You can follow us on Facebook (facebook.com/digitalslrphoto), tweet usonTwitter(@digitalslrphoto),joinusonFlickr(ﬂickr.com/groups/digitalslrphoto)oremailus us on Twitter (@digitalslrphoto), join us on Flickr (ﬂickr.com/groups/digitalslrphoto) or email us (enquiries@dslrphotomag.co.uk)tokeepuptodatewithallthat'sgoingoninphotography.

ONTHIS MONTH’S COVER...

SUBSCRIBETODAY!

Thestunningportraitonthis month’scoverwastakenby AnnNevreva,basedinUkraine. Convertingimagestoblack& whiteremainsanincredibly populartechniquewith photographersandinourmajor guide,beginningonpage68, webringyoutheexpertadvice youneedtobeamonomaster.

Youcangetyourmonthlyﬁx ofDigitalSLRPhotography inspirationandadvicedirect toyourdoorormobiledevice bysubscribingtoourprint and/ordigitaleditions. Wealwayshavesomegreat money-savingoffersor freegiftsforsubscribers,too! Fordetails,seepage84. November 2017 Digital SLR Photography 5

Contents NOVEMBER2017/ISSUE132

5 EDITOR’S PAGE Areyoureadytomakethemostofthearrivalofautumn? 8 PORTFOLIO Grabaﬁst-fullofinspirationfromthismonth’s photographicroundup–you’resuchatalentedbunch! 16 SNAPSHOTS Award-winningimagesandallmannerofphotosnippets 51 SPECIAL: AUTUMN COLOURS Autumnisundoubtedlyoneofthemostphotogenic seasons–we’vebagsofinspirationalideasinhere 60 EXPERT CRITIQUE Submityourimagestoreceivevaluablephotofeedback 65 READER SUBMISSIONS Howtocontributeimagesortakepartinourworkshops 68 BEGINNER’S GUIDE: BLACK & WHITE There’sfarmoretoitthandiallingdownthecolouryou know.Startyourjourneytomasteringmonochromehere 81 MARKETING YOUR PHOTO BUSINESS LeadingphotographerandentrepreneurKateHopewellSmithoffershertopmarketingadviceforphotographers 86 MAIN INTERVIEW: MICK RYAN Letlandscapephotographer,authorandfounderof fotoVUEphotoguidebooks,MickRyan,leadtheway… 138 WIN SOME GREAT PRIZES! TwofantasticManfrottobundlesupforgrabs

Phototechnique

28 PHOTO SKILLS: CREATIVE COBWEBS Thecreepycrawliesareoutinforce!Here’showtoturn theirsilkycreationsintomacromasterpieces 32 PHOTO SKILLS: WINDOWLIT PORTRAIT CarolineSchmidtshowsyouhowtocapturestunning professionalportraitsusingonlynaturallight 36 PHOTO SKILLS: FRIGHTFUL FRAMES Wehaveaspookyin-cameramultiple-exposure techniqueforyoutotryoutthisHalloween 40 PHOTO SKILLS: FOCUS STACKING Expanddepth-of-ﬁeldinyourshotsbylearninghowto focusstackimagestogether.Here’showtoshootit… 44 EDIT SKILLS: FOCUS STACKING …Andhere’showtoeditit.Bringyourfocusstacktogether easilyandinminutesinAdobePhotoshop 46 EDIT SKILLS: FACE OFF Guaranteegreatgroupshotsbystackingtheoddsinyour favour–shootplentyandpickthebestfaces!

84 SUBSCRIBE TODAY! Takeadvantageoftheverylatestsubscriptionoffers

6 Digital SLR Photography November 2017

48 EDIT SKILLS: DEHAZE FOR CONTRAST Here’showtousetheDehazetoolformorethanjust cuttingthroughthemist–controlcontrastwithease

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 An experienced journalist and photographer, Caroline brings her talent for photography and creating inspiring content to every issue. carolineannphotography.co.uk Jordan Butters With a ﬁnger on the pulse of all things photography, Jordan’s our social media master, features guru and a talented pro photographer. jordanbutters.co.uk Ross Hoddinott OUTDOOR He’s not only an award-winning nature photographer, a leading expert in landscape and wildlife photography, he’s a top tutor, too. rosshoddinott.co.uk Lee Frost LANDSCAPES A long-standing regular contributor, Lee is a fountain of knowledge when it comes to shooting landscapes and delivering expert tutorials. leefrost.co.uk

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

102

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

Gear:Tested&Rated

100 PRODUCT NEWS Newsofthelatestgear,excitinggadgetsandmust-have accessoriestolaunchinthelastmonth 102 FUJIFILM GFX 50S Fuji’sforayintotheworldofmedium-formathasshaken uptheindustry.Howgoodisthis51.4-megapixelbeast? 106 GROUP TEST: CARBON-FIBRE TRIPODS UNDER £350 Inthemarketforanewtripod?You’reintherightplace. Ninemodelsthatwon’tbreakthebankareputtothetest

106

Kate Hopewell-Smith PORTRAITS A leading professional photographer, businesswoman and former Nikon UK ambassador, Kate offers her business advice on page 81. katehopewellsmith.com James Abbott LANDSCAPES James is an award-winning editorial, advertising and commercial photographer, specialising in portrait and landscape photography. jamesaphoto.co.uk Mick Ryan LANDSCAPES Climber, photographer, writer, editor and publisher. With Chris Gilbert he has recently authored a photoguidebook to the Peak District. fotovue.com Richard Hopkins TESTS With over 30 years’ experience testing cameras for photography magazines, Richard’s one of the UK’s leading technical experts on photo kit, in particular lenses. November 2017 Digital SLR Photography 7

Portfolio Moeraki Boulders Sunrise by Kaitlyn McLachlan www.kaitlynmclachlan.com

“This magical beach on New Zealand’s east coast has unique boulders that look like giant dinosaur eggs. I matched tide charts so that I could capture this photo as the tide was beginning to cover the rocks. Shooting with my tripod in knee-deep water, I got up close for this perspective. This was the first time I'd used my new reverse ND grad filter, which proved perfect for this colourful sunrise!” Canon EOS 5D Mk IVwith EF 16-35mm f/4LIS USM lens. Exposure: 3.2 seconds at f/10 (ISO 100).

Waipapa Point by Kaitlyn McLachlan www.kaitlynmclachlan.com (Above) “Sometimes the best photos are unplanned. I drove

over two hours to get to this lighthouse for sunset, but by the time I arrived clouds covered the sky. I waited it out and got a shot just as the sun broke, but left assuming the sunset was over. This was taken handheld from the car park as I put away my kit – the sky lit up beautiful oranges and purples!” CanonEOS5DMkIVwithEF70-200mmf/4LISlens.Exposure:1/500secatf/8(ISO800).

Wharariki Sand Dunes by Kaitlyn McLachlan (Left) “At the northern tip of New Zealand’s South Island sits a beautiful beach with interesting rock formations and large dunes. Because it was a blue-sky afternoon, I knew I wouldn’t get the sunset I'd hoped for, so I explored the sand dunes. I ended up lying on the sand and shooting handheld to get this frame, capturing the details in the sand ripples.” CanonEOS5DMkIVwithEF16-35mmf/4LISUSMlens.Exposure:1/125secatf/10(ISO100).

The Lone Tree by Kaitlyn McLachlan (Left below) “I wanted to get my own unique perspective on

this famous tree. Rocks were jutting out from the water, providing great foreground interest. I shot from ground level to accentuate the tree against the distant mountains. A polariser and ND filter helped to control reflections and smooth out the water with a longer exposure.”

CanonEOS5DMkIVwithEF16-35mmf/4LISlens.Exposure:Sixsecondsatf/10(ISO100).

Ray of Light by Kaitlyn McLachlan (Right) “For a few moments each day, if weather conditions

align, Antelope Canyon in Arizona sees these magical rays that make their way down to the walls of the canyon. Access to this canyon is strictly controlled by guides, so I returned multiple times to familiarise myself with different photo opportunities. Even then, you need to be quick!” CanonEOS7DwithEF-S10-22mmf/3.5-4.5USMlens.Exposure:0.3secondsatf/8(ISO200).

10 Digital SLR Photography November 2017

Portfolio

Portfolio Gregarious by Mandy Karlowski mandykarlowski.de (Right) “My friends and I were heading home after a day's photography

when suddenly we were surrounded by a herd of sheep. All of the sheep were eating in a huddle, except for one! This one looked so comfortable out on its own that I had to take a picture of it!”

Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/1600sec f/4.5 (ISO 200).

Black Beauty by Mandy Karlowski (Below left) “I’m fascinated by creatures' expressions and majestic

presence, and by playing with light and contrast, I can capture their individual characters. My portraits are shot in the zoo using available light, and then selected and placed on backgrounds in Photoshop.”

Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/100sec at f/4 (ISO 1600).

African Soul by Mandy Karlowski (Below centre left) “I use Photoshop's Quick Selection Tool to isolate the subject from the background. I then lower the saturation with a correction layer to focus on the contrast before dodging and burning. I then turn the colour back on and do any colour corrections.” Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/125sec at f/4 (ISO 1600).

African Beauty by Mandy Karlowski (Below centre right) “Giraffes are fascinating animals and a great example

of evolution. They can grow up to six metres tall and are survival specialists. This picture was also shot in the zoo with a zoom lens. I was very patient and waited until the giraffe looked directly at me.”

Canon EOS 550Dwith Canon EF70-200mm f/4LUSM lens. Exposure: 1/800sec at f/4.5 (ISO 800).

Curious Owl by Mandy Karlowski (Below far right) “I was very happy to capture this beauty at the Photokina Event in Cologne. This image is important to me because it reminds me of the start of my journey into photography. I'd just bought my very first 50mm lens and had so much fun trying things out.” Canon EOS 550Dwith Canon EF50mm f/1.8 II lens. Exposure: 1/1600sec at f/2.5 (ISO 800).

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 image uploads, advanced statistics and insights, online classes and webinars and the option to license your images through 500px Marketplace. 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

12 Digital slr Photography November 2017

November 2017 Digital SLR Photography 13

City Limit by Edoardo Lavagno

City Vibes by Edoardo Lavagno

ikhals.com

contrasts, and this shows the perfect contrast between the city and nature. I used a long focal length to compress perspective. Pure city in front of pure nature, represented by the beautiful mountains”

(Above right) “I don't usually shoot with any special equipment, just my Canon EOS 6D and EF 35mm f/2 – no extra props or lights. No poses, no direction; I just asked the model to express herself. It's important to me to keep the shot as natural as possible, because I love to capture with my camera the same genuine vibes I'm able to see with my eyes.”

Canon EOS Mwith Canon EF-M 55-200mm f/4.5-5.6 IS STM lens. Exposure: 1/500sec at f/7.1 (ISO 200).

Canon EOS 6Dwith Canon EF35mm f/2 IS USM lens. Exposure: 1/250sec at f/2 (ISO 100).

Red by Edoardo Lavagno

Symbols by Edoardo Lavagno

(Above left) “Turin is comprised mainly of ancient buildings, so finding interesting backgrounds is easy. I love wandering around on a rainy day, and Via XX Settembre is one of my favourite streets. I found this backdrop and waited. The lady with the red umbrella was perfect – a pop of colour in the grey. The motion shows the pace of city life.”

(Right) “Taken during a summer thunderstorm from a viewpoint above Turin, this building is called Mole Antonelliana and it is special to me for two reasons. It's the symbol of my city, and it's a beautiful piece of architecture! It took many attempts to find the right settings; it was windy and I didn't want to lose the cloud detail with a long exposure.”

Canon EOS 6Dwith Canon EF16-35mm f/4LIS USM lens. Exposure: 1/20sec at f/4 (ISO 400).

Canon EOS 6Dwith Canon EF85mm f/1.8 USM lens. Exposure: Five seconds at f/11 (ISO 100).

(Top) “Taken in Turin, Italy; a city not so far from the Alps. I love

14 Digital slr Photography November 2017

Portfolio

ABird’s EyE ViEw

award results

Getreadyforafeatheryfeastforthe eyesaswe presentthe bestimaGes fromthisyear’s beautiful bird photoGrapher oftheyear competition…

ahmad alessa / bird photographer of the year

snapshots / The world of photography pålHermansen / bird pHotograpHer roftHeyear

Jamie Hall/ bird pHotograpHer oftHeyear

andrewparkinson / bird pHotograpHer oftHeyear

gabor kapus / bird pHotograpHer oftHeyear

18 Digital slr Photography November 2017

kelvin dao / bird pHotograpHer oftHeyear

aleJandro prieto roJas / bird pHotograpHer oftHeyear

rom dramatic wide-angles of kites in flight to snuggling cygnets, delicate details and the mesmerising murmuration of starlings, it’s not difficult to see why so many photographers end up pointing their lenses towards our feathered friends. when it comes to recognising and awarding the best avian artwork, the winning images from this year’s Bird Photographer of the Year competition have certainly ruffled a few feathers here among the Digital SLR Photography team. no more bird puns from here on out, we promise. now in its second year, the award is supported by the British trust for ornithology, and this year’s award was presided over by naturalist photographer, author and television presenter chris Packham. the competition was open to photographers of any age, amateur and professional, from any territory around the world. this year’s crowned Bird Photographer of the Year, and recipient of the £5,000 top prize, was chosen as alejandro Prieto rojas, who took his winning image ‘Flamingos’ at rio legartos in eastern mexico. Head judge Packham commented: “it was a tough job for the judging panel to whittle down the entries to a handful from which to choose the

winners, albeit a very enjoyable tough job. the standard of photography was extremely high and myself and the other judges were treated to some fantastic bird photographs, but congratulations must go to alejandro Prieto rojas for his sublime image of flamingos, an incredible balance of colour, composition and emotion.” if you like what you see, then the competition book might take your fancy – featuring the best images from the award, as well as the stories behind them, it’s available now priced at £25. or, if you think you’ve got the eye for capturing stunning avian images, then why not enter next year’s competition? the 2018 Bird Photographer of the Year is open right now, running until 30 november 2017. there are seven categories to chose from: Best Portrait, Birds in the environment, attention to detail, Bird Behaviour, Birds in Flight, garden and Urban Birds, and creative imagery. You can enter up to eight images per category – entry starts at just £1.21 per image for multiple images, or £6 for a single image, and you could win a host of cash and kit prizes. there’s also an award for Young Bird Photographer of the Year, open to those aged 16 and under. For more information, visit: www.birdpoty.co.uk

Vince Burton / Bird photographer oftheyear

November 2017 Digital slr Photography 19

snapshots / The world of photography

Shootfor theStarS

award reSultS

thewinningimagesfromthis year’sinsightastronomy photographeroftheyearaward are,asyoumighthopeandexpect, completelyoutofthisworld…

1)overallwinner&1StPrizeStarS&nebulae: TheRhoOphiuchiCloudsbyArtemMironov: “therho ophiuchicloudcomplexisadarkemissionandreflection nebulasituatedapprox460-lightyearsawayfromourplane." 2) 1StPrizeaurorae:GhostWorldbyMikkelBeiter: takeninstokksnes,iceland,thephotographercapturedthe glowoftheaurorainthewetsandsascloudsrollacrossthe mountains,allowinghimtocapturethisother-worldlyscene. 3)1StPrizePeoPle&SPace:WandererinPatagoniaby YuriZvezdny: “astargazerstaresupatourgalaxy,themilky way,astheystretchacrossthenightskyovertheglacier ‘whitestones’inthelosglaciaresnationalpark,argentina." 4)1StPrizePlanetS,coMetS&aSteroidS:Venus PhaseEvolutionbyRogerHutchinson: thephotographer capturesthechangingsizeofVenuswiththesamesetupas theplanetmovesacrossourskyoveracourseofsixmonths.

20 Digital slr Photography November 2017

1 2

mikkelbeiter/insightastronomyphotographer oftheyear

ith a top prize of £10,000 up for grabs, the 2017 insight astronomy photographer of the Year award is a hotly-contested competition amongst the best of the astrophotography world. Modern imaging technology has opened up the world of astrophotography to all of us – with enough time, practice and knowledge you can just as likely capture award-winning images of space with an entry-level DSLR as you can with a complex telescopic set-up. the annual award, now in its ninth year, runs in association with the Royal observatory Greenwich and seeks to find the best interplanetary images from around the world (and beyond). this year it attracted almost 4,000 entries from over 90 countries! the overall grand prize winner was Russian photographer artem Mironov, whose detailed image of the Rho ophiuchi Cloud Complex, situated approximately 400-light years away from Earth, impressed judges in the Stars & Nebulae category. the winning image was taken on a Canon EoS 5D Mk ii over a whopping 15-hour exposure at iSo 1600, using a Sky-Watcher 200mm f/4 reflector telescope and hEQ5 pro mount. Judge and BBC Sky at Night magazine editor Chris Bramley, commented: “Judging the entries has been a real pleasure but also tougher than ever, such was the all-round quality of the field. i was particularly impressed that there were so many new and ground-breaking responses to the night sky captured by the entrants this year.” the winning and commended images are now on display at the Royal observatory astronomy Centre, in a free exhibition until 28 June 2017. the book celebrating this year’s award is also on sale at the exhibition, priced at £25. For more information on this year’s winning images, and future awards, visit: www.rmg.co.uk/astrophoto

The world of photography \

Snapshots Connie Fore / ComedyPetPhotograPhyawards

artem mironov/ insightastronomyPhotograPher oFtheyear

You’ve gotto laugh Photography can all be a bit too serious at times, can’t it? Whether you’ve got a dog, cat, goldfish or horse that you call your own, we’re sure that you’ve seen them doing some hilarious things over the years. The inaugural Comedy Pet Photography Awards competition sets out to highlight the lighter side of capturing images of animals and our pets. The 2017 winners bagged themselves Think Tank goodies and WEX Photographic vouchers, with the top prize of £2,000 going to Nando Harmsen for his amusing capture of a prancing pony. If you fancy a giggle, head to www.comedypetphoto.com to see the rest of the winners. Klaus nigge/wildliFe PhotograPher oFtheyear

WildlifeWinners

roger hutChinson/ insightastronomyPhotograPher oFtheyear

yuri zvezdny/insightastronomyPhotograPher oFtheyear

The Wildlife Photographer of the Year award, in association with the Natural History Museum, has announced the finalists for this year’s prestigious prize. With over 50,000 entries to choose from, judges had their work cut out in narrowing the entries down to the final selection, each of which is as impressive as the last. The winners will be announced on 17 October at an awards ceremony in the Natural History Museum’s great Hintze Hall. We’ll be bringing you news of all the winning images in the next issue, but in the meantime, if you’re able, we’d recommend visiting the Natural History Museum and viewing the exhibition yourself. It opens on Friday 20 October, running through spring 2018, with tickets costing £14 for adults or £8 for children/concessions. NHM members, patrons and children under four go free. The images then embark on an international tour in 2018, with details to be confirmed. For more, head to: www.nhm.ac.uk/visit/wpy.html

November 2017 Digital Slr Photography 21

SP150-600 G2 EN

KEITH LADZINSKI / RED BULL CONTENT POOL

IT'S LIGHTS OUTACROSS AMERICA MILLIONS OF PEOPLE gathered to gaze at the rare total solar eclipse that happened across the United States last month. The full solar eclipse is the ﬁrst one in nearly four decades and as a once-in-a-lifetime photo opportunity for many, it comes as no surprise so many enthusiast and professional photographers tried to capture the celestial event in their own special way. Whilst some photographers ﬁlled the frame during the minutes when the moon eclipsed the sun, others performed feats to make their photographs even more spectacular. Red Bull's professional photographers – in their usual daredevil form – captured a number of highadrenaline events during the eclipse, from cliff-diving to slacklining hundreds of metres above a ravine! What did you get up to? We’d love to see your pictures on our Facebook page!

THE ROBOTS ARE COMING

CASSINI’S PARTING SHOT

ON 15 SEPTEMBER, NASA’s Cassini space probe bid us a fond farewell as it broke up upon entry into Saturn’s atmosphere, but not before it transmitted one ﬁnal hurried image – the closest ever taken of the gas giant. The parting shot doesn’t show us much that Cassini hasn't revealed in its 13-year orbit of Saturn, including the impressive capture above, taken on its penultimate day in orbit. During its time, the images from Cassini revealed more detail and information about Saturn’s rings and moons than ever before, fuelling the ﬁre of space exploration for decades to come.

NASA/JPL-CALTECH/SSI/JASON MAJOR

ISAUTOMATIONANECESSARYevilorjustthe progressionoftechnology?It’satopicthat’savery realissueinmanylinesofwork–from manufacturingtopackagingcompanies,and now,portraitphotographers!IRISisanew automatedphotobooththat’sarrivedintheU.S, claimingthatitcancapture“professional–quality” imagesinjustafewseconds,foraslittleas USD$20!Theboothgivesusersachoiceofsix high-keyheadshotsfromaﬁxedfocallengthand evenallowsthemtoedittheirownimageswith smartblemishremoval,brighteningandteeth whitening.Goingbythecarefullyselected exampleimagesonthewebsite,theresultslook goodenough,butsurelyaﬂashandalensareno replacementforaphotographer'screativevision andexperience?IRISboothsarecurrentlyinnine locationsaroundtheU.S,withmoretofollowin thenearfuture.Whatdoyouthink?Can photographybecomeentirelyautomated?Letus knowonTwitter:@digitalslrphoto

November 2017 Digital SLR Photography 23

IMAGE TAKEN WITH X-T20 BY KAREN HUTTON | WWW.KARENHUTTON.COM

GO ANYWHERE, SHOOT EVERYTHING

VISIT FUJIFILM-X.COM/CAMERAS/X-T20 POWERFUL 24.3-MEGAPIXEL X-TRANS CMOS III SENSOR WITH X-PROCESSOR PRO ENGINE TOUCHSCREEN REAR LCD | 4K VIDEO RECORDING | EASY TO USE ADVANCED SR AUTO MODE

The world of photography \

QuickEdit

SKIN EDITINGWITHTHE CLONE STAMPTOOL

OpenyourimageinPhotoshopandduplicatethe BackgroundLayersoyou’renotworkingontheoriginal image.Ifyoumakeamistakeyoucanalwaysrevertback.

Snapshots

Photo app

SelecttheCloneStampToolandadjustthesizeofthe brushtosuittheareasyouwanttotarget.Inthe options,settheHardnessto0pxtokeepaverysoftedge.

Enlight QuickShot Price:Free/Platform:iOS

SetOpacityto100%butreduceFlowtoaround10-15%. Selectanearbyareaofsimilartonebyholdingdownthe altkeyandclicking.Then,brushovertheblemishes.

Repeatstep3acrosstheimage,targetingnewareas. ThelowFlowletsyoubuilduptheeffectforanatural ﬁnish,butuseaLayerMasktoeraseareasifneeded.

First was the award-winning image editor Enlight, then came its equally deserving sequel Enlight Photofox. Now we have Enlight Quickshot. Focused on speed, Enlight Quickshot lets you shoot and edit in the same place. You can edit multiple pictures with batch processing and its one-tap feature automatically aligns, straightens and enhances your image while you shoot. It also offers new ﬁlters and a Strobe mode to take pictures of moving subjects. It sounds a tempting app given the history of Enlight, but whilst it’s free to try, pricey in-app monthly subscriptions apply. Given the power of Enlight Photofox and other iOS photo editing apps, the price might not warrant the features unless all-out convenience is really what you’re after.

Smile with Samsung MAKEUSLAUGHFORACHANCETOWINASAMSUNG 128GBMICROSDXCPRO+MEMORYCARD!

MILKOVASA/SHUTTERSTOCK

SAMSUNG’S PRO+ microSDXC cards can be used in a range of equipment, including drones and action cams. Made for ultra-fast data transfer, they boast read speeds up to 95MB/ sec and write speeds up to 90MB/sec – ideal for high-resolution images and 4K video. Plus they're waterproof, temperature-proof, X-ray-proof and magneticproof. You can try this super card for yourself, as Samsung is generously giving one away. All you have to do is email a witty caption for our image with the subject 'Smile this November' by 18 November 2017 to: enquiries@dslrphotomag.co.uk. If you make our sides split, you’ll win a Samsung Pro+ 128GB microSDXC card worth £119. UK entries only. www.samsung.com/uk/memory-cards/all-memory-cards/

November 2017 Digital SLR Photography 25

PH TO SKILLS ideas &advice for better photos

p44:mergeyourfocusstackstogether

p28:becomeawebwonderthisautumn

p32:masterqualitywindowlitportraits

p46:faceswapforgreatgroupportraits

p36:createahauntingdoubleexposure

p40:howtoshootfocus-stackedimages

p48:howtousedehazeforcontrastcontrol

PH TO SKILLS

web DeSiGN

oNe oF the FirSt SiGNS oF AutumN iS the iNFlux oF SpiDerS AND cobwebS everywhere! while you miGht Not be FoND oF theSe eiGht-leGGeD creepy crAwlieS, JorDAN butterS ShowS you A creAtive wAy to turN their homeS iN to A photoGrAphic StuDy… Camera:NikoND750/Lens:NikoNAF-S60mmF/2.8Gmicro

s summer over already?! one minute you’re enjoying the long days, the odd glimpse of sunshine and lighter evenings, and then suddenly the temperature drops, the trees are on the turn and you notice that there are spiders everywhere! spider season is in full effect and, love them or hate them, there’s no denying their work ethic when it comes to spinning elaborate webs in every nook and cranny. While those with an aversion to arachnids, much like myself, might shy away from photographing the spiders themselves, you can still make a great photographic subject of their intricate cobwebs (when uninhabited, thank you!). Their fine, silky yarn can be almost invisible at times, so you’ll not only want to use a dedicated macro lens, extension tube or a close-up filter to magnify it, but you can also take advantage of the autumnal conditions and choose a dewy morning to do so. The tiny droplets of dew will grip to cobwebs like a string of crystal-clear pearls, highlighting the web’s complex pattern, and allowing you to play with angles, focus and the background to create wonderfully enchanting seasonal images. Give it a try!

PH TO sKIlls

Capturing cobwebs

search the web I can barely walk out of the front door without getting a face-full of web at this time of year, so finding a suitable one to photograph should be pretty easy. Look at thorny branches protruding from bushes or in the corners of railings and you’ll usually find several to choose from. Cobwebs in direct sunlight will help with shutter speeds, although cobwebs in open shade can work well too.

shoot handheld We’d often advocate using a tripod for outdoor macro subjects, but shooting handheld allows you to adjust your angle quickly as the dew dissipates and the light changes. Consider the lens’s focal plane in relation to the web – shooting at an angle to the web allows the dew to fall out of focus more quickly for lovely bokeh, while shooting straight-on renders more of the drops in focus.

Increase Iso You need a fast shutter speed to eliminate any camera movement and blur from the web moving in the breeze. Don’t be shy to bump the ISO up to achieve this – a sharp shot with a bit of noise at ISO 800 is far better than a blurry shot without any grain. An aperture of f/8-f/13 will give a good depth-of-field, or you can open up wider for a more artistic shot, although focusing will be trickier!

30 Digital slr Photography November 2017

spray If needed Early morning is best for web-hunting, and if luck is on your side then your chosen web will be coated in a string of tiny dewdrops. Calm, sunny autumn mornings following a cold night, with a light fog are perfect! If the conditions aren’t to be, then you can cheat a bit – a fine mist water spray bottle can be used to create, or add to, the dew-like drops by gently spraying from a distance.

rock wIth It Getting accurate focus handheld is tricky at high magnifications as the plane of focus is wafer-thin. One way to deal with this is to set the camera to continuous burst mode, choose your focal distance manually (in my case the minimum) and then gently rock back and forth to achieve focus. When you have it – shoot a sequence of images and, with luck, some will have pin-sharp focus.

backdrop choIce Both light and dark backdrops work, as do those with a nice gradient between the two. You can easily change this by adjusting your angle. With a darker backdrop, use negative exposure compensation to stop the camera from over-exposing, and with a light backdrop use positive compensation. After capture, check for focus and make sure the preview and histogram looks healthy.

Web broWser Wheneditingyourimages,watchoutfor purpleandgreenchromaticaberrationon thesilkandedgesofthedropletsâ&#x20AC;&#x201C;most softwarecanquicklyandeasilyfixthis. Exposure:1/640secatf/4.8(ISO640)

PH TO SKILLS

windowlit portrAits DAylIGht IS eASIly AcceSSIble AND the ObvIOuS chOIce FOr phOtOGrAphING pOrtrAItS, but whAt’S the beSt wAy tO uSe It INDOOrS? cArOlINe SchMIDt explAINS yOur OptIONS… Camera:NIKOND800/Lens:NIKONAF-S85MMF/1.4G/aCCessOry:reFlectOr

hen it comes to flattering, versatile and malleable lighting, daylight can’t be beaten. it’s free, plentiful and ready to use if you know how to control and manipulate it for creative effect. Any window or doorway can work as a great indoor light source, so long as the sun isn’t streaming directly through. north-facing windows generally offer the most consistent light, but any opening will do; you may just need to wait for it to change direction or diffuse any strong light. the size of your window also plays a part in the quality of the light: the bigger the window, the softer and broader the light. once you’ve chosen your light source, you need to decide on the effect you want. side-lighting, front-lighting or backlighting each come with their own set of considerations. how you position your subject in relation to the light – proximity and angle – have a massive impact, as well as your method of diffusion. net curtains and indirect light are popular solutions, but you may also want to have a reflector close to hand to fill in shadows in the case of side or backlighting. For this tutorial, i’ll show you how to capture a professional-looking headshot using natural front light for a soft, evenly lit portrait, and a side-lit portrait for more dramatic effect.

PH TO sKIlls

Windowlit portraits

Position your subject For front lighting, place a subject in the entrance of a window or door and have them move backwards to evaluate how the light falls on their face. You want to stop them at the point where their skin is shadowless and bright. Position yourself in front of them, with the light coming in from behind you.

Focus Set your camera to shoot in single-point AF mode and position the AF point over one of your subject’s eyes. By using a wide aperture such as f/2.5 and focusing on the eyes, whilst keeping the camera parallel to the face, you’ll get a beautiful fall-off in focus. If you pose them at an angle, you’ll need to stop down your aperture.

exPosure Set your camera to aperture-priority mode and use spot metering to expose for the skin, this should automatically darken the background as your subject is closer to the light, making them stand out. Keep an eye on your shutter speed and, if necessary, increase the ISO to give a shutter speed that eliminates camera shake.

your background Often when front lighting a portrait, you’re at the mercy of your background. You can unclutter it but sometimes that’s not enough. Where the background adds context to your image, don’t be overly concerned with it, but you may want to use a seamless or poster board behind your subject for a cleaner look. noreFlector

try side- lighting Side-lighting is far more dramatic, with more shadow and definition than front lighting. Try to angle your subject 45° to the window and dial in an f/stop of at least f/4.5 to account for the need of increased depth-of-field to stop the far eye from falling out of focus. Use multi-zone metering to average the exposure.

34 Digital slr Photography November 2017

withreFlector

use a reFlector Depending on your subject’s angle to the light, if you’re working with direct light or a small window, the far side of the subject’s face is likely to be in shadow. A reflector can help fill in any dense shadows on the face by bouncing light back in. Try a silver, white or gold reflector for varying results.

try being up front Holdingablackposterboard behindthesubjectisaquickand simplewaytoapolishedportrait.

PH TO SKILLS

Haunted Portrait The uNuSuAl eFFecTS OF MulTIPle exPOSuReS ARe INdISPuTAbly eeRIe. cAROlINe SchMIdT exPlAINS hOw yOu cAN cAPTuRe yOuR OwN hAuNTING PORTRAIT uSING ThIS IN-cAMeRA TechNIque Camera:NIKONd800/Lens:NIKONAF-S50MMF/1.4G/aCCessOrIes:TRIPOd

elebrating all Hallows’ eve is a licence for trick-or-treating, frightful costumes and – best of all – creative photography. eerie long exposures, low-key portraits and candle-lit still-lifes are some techniques worth exploring but, out of them all, multiple exposures suit the spooky spiritual essence of Halloween the most. and, did i mention – there’s no need for any Photoshop trickery. a camera’s multiple-exposure facility works by blending the brightest parts of each image, rendering each shot as a low-opacity frame layered on top of the other. Most cameras let you merge up to ten images, but you’ll likely get the best effects by shooting and merging two or three frames. a popular technique that’s most commonly associated with a double exposure is when you shoot a silhouette against a bright background and then a second frame that fills the silhouette with texture. For this tutorial, however, we’ll be focusing on a double exposure of a single subject to create a darker, supernatural portrait. whilst the technique originates from complex film photography, the multiple-exposure facility in many current digital slrs make this as simple as using a tripod, dialling in a few settings and imagination. give it a try!

PH TO SKILLS

SET-UP It’s important to shoot your subject against a clutter-free background as any elements that move between frames will be rendered a jumbled mess. For this reason, you also need to use a tripod to make sure the person photographed lines up in each frame to avoid ghosting around the outline.

SET YOUR DSLR Check your camera’s manual for how to access your multiple-exposure facility. For Nikon, you’ll generally ﬁnd it under the Shooting Menu. Use the four-way control to turn the feature on and set it to Series to shoot blended images continuously. Next pick the number of images you want to shoot and blend.

TAKE YOUR SHOTS When you come to take your exposures, remember that the ﬁnal frame will be the most visible. You also want to consider the density of your subjects, for instance when your subject places their hands over their face, avoid overlapping ﬁngers as this will cause certain areas to look more dense than others.

38 Digital SLR Photography November 2017

CAPTURE THE RIGHT EXPOSURE As it’s the bright elements that get merged, I asked my subject to wear dark lipstick so her mouth stood out through her hands. Pose your subject and light them as if you were photographing a regular headshot. I’ve used a neutral wall and window light with aperture-priority mode and f/4 for sufficient depth-of-ﬁeld.

WHY USE AUTO GAIN? With Nikon it’s Auto Gain; with Canon it’s Average, but both settings adjust the exposure of your ﬁnal image automatically. As multiple exposures work by combining frames, the density of the images will increase, so if you don’t use this feature you’d need to adjust each shot to manually compensate.

EDIT To convert the image to monochrome, add a black & white adjustment layer (Layer>New Adjustment Layer>Black & White). To boost the contrast, adjust the colour channels. I decreased the Reds to darken the shadows and increased Yellow to brighten the highlights. There you have it, a spooky Halloween portrait.

what lies beneath Channelthesupernaturalthis monthbyshowingyoursubject’s manyfaces–trywithtwoframesor evenmorelikeIhaveonp37. Exposure:1/160secatf/4(ISO400)

protip UseprevioUsimages Somecamerasallowyoutoselect previouslyphotographedimagesto use.Ifyouchoosetodothis,you’ll needtoadjusttheexposuresto ensureacorrectly-exposed imageonceblended.

PH TO SKILLS

focuS STackIng FOcuS STAcKING IS A SKILL MORE cOMMONLy ASSOcIATED wITh MAxIMISING DEPTh-OF-FIELD IN MAcRO IMAGES. jAMES AbbOTT ShARES ThIS GREAT METhOD FOR GIvING FRONT-TO-bAcK ShARPNESS IN yOuR LANDScAPES Camera:NIKOND610/Lens:NIKONAF-S16-35MMF/4G/aCCessOrIes:TRIPOD,REMOTERELEASE&POLARISINGFILTER

ou’ve proBaBly heard this a million times: to ensure extensive depth-of-field when shooting landscapes, use a small aperture and focus on a point one third of the way into the scene. This is of course true, and working to this simple rule provides you with images that are sharp in most areas, and acceptably sharp in others. But what can you do to achieve absolute pin-sharpness from a metre away all the way to the background? The simple answer is focus stacking. This is a technique where you shoot two or three

images focused on the foreground, middle ground and background. These are then blended together in photoshop so that the whole image is perfectly sharp throughout. What’s more, with this technique you can usually shoot at the lens’s ‘sweet spot’ of f/11-f/13, which gives you the highest level of sharpness possible. Shooting at the ‘sweet spot’ doesn’t give the most depthof-field, but is the point before diffraction begins to creep into images, softening detail, as you stop down the aperture. you may be wondering why you’d need to

protip Focusingmatters It’sworthrememberingwhenfocusing thatdepth-of-fieldextendsmuchfurther behindthepointoffocusthanitdoesinfrontof it.Thismeansthatit’softenworthfocusingjust alittlewayinfrontofwhereyouintendto focusbecausethiswillensurethat depth-of-fieldiscoveringasmuch groundaspossibleacrossyour twoorthreeshots.

take such drastic measures to ensure a large depth-of-field when shooting with a wide-angle lens. Wide-angles produce the most depth-of-field of all lenses, right? In reality almost all lenses produce the same depth-of-field if set to the same aperture. But it’s the narrower field-of-view of telephoto lenses that gives the impression of a shallower depth-of-field than with a wide-angle that produces a wide field-ofview. If you crop an image taken with the latter to match the crop of a telephoto, you’ll find that they’re near identical.

PH TO sKIlls

Focus stacking

COMPOSE THE SHOT Attach your camera to a tripod and ensure that the set-up is securely locked. Any movement between the two or three shots you need to take will cause an editing nightmare later. Now compose the shot using the viewfinder or LiveView, whichever you prefer, and once the camera is in position, lock off the tripod head to avoid any movement between shots.

AVOID SHAKE While these settings provide excellent sharpness, the shutter speed will often be slow, especially at sunrise, sunset, or in a dark location. If you’re shooting water in the landscape it’s probably going to be longer than a second. To avoid touching the camera to release the shutter, use a remote release. If you don’t have one, set the camera’s self-timer to a five-second delay and use this instead.

CAMERA SETTINGS Normal landscape rules apply, so aim to shoot in aperture-priority at f/11 with ISO at 100. The light was changing from bright to overcast so it wasn’t possible to use an ND filter to blur the water. To achieve an exposure of 2.5 seconds, the ISO was set to L (ISO 50) and the aperture to f/16. These aren’t ideal settings, but they were the best ones to extend the exposure in the difficult light.

FOCUS ON THE FOREGROUND Switch on LiveView and make sure single-point AF is on. Move the active focus point over the foreground area. Depending on the scene this may be right at the bottom of the frame – in this image the waterfall in the foreground is roughly a metre away. Fire the shutter using a remote release or the self-timer, and review the image before moving onto the next shot.

WATCHOUTFORCHANGESINlIGHTlEVElS

FOCUS ON THE BACKGROUND If the scene is deep with a large distance between the foreground and the background, as here, it’s worth focusing on the middle ground and taking a shot, before doing the same with the background. In most cases images of the foreground and background are enough, but if you’re unsure, shoot the middle ground too so you can compare this to the foreground image later.

42 Digital slr Photography November 2017

On the daythese imageswere taken, therewere spells ofsun and cloud,which meant that thewaterfallwas bathed in bright sunlight one moment and then overcast the next.When shooting a set ofimages to be focus stacked,you need consistencyin light and exposure so the images can be blended successfully, so be surewhen shooting images thatyou’ve a complete set in the same light.

SeamleSSly blended Thecloseproximityofthe foregroundfallsandtheextensive distancetothebackdropmeant thatfocusstackingwasessential.

/ Adobe Photoshop CC

BLEND YOUR FOCUS STACK

PHOTOSHOPCANDOAGOODJOBOFSTACKINGYOURIMAGES, SOUSEOURSIMPLESTEPSTOCREATEASUPER-SHARPRESULT

BACKGROUND

FOREGROUND

LOAD FILES INTO STACK Save your focusstacked shots in a folder on your desktop. Open Photoshop without any images and go to File>Scripts>Load Files into Stack. When the window opens choose Use: Folder, and locate the folder with the saved shots. Make sure Attempt to Automatically Align Source Images is checked and press OK.

MASK SHARPNESS Press D on the keyboard to set the default colours of black and white. If white is in the foreground press X to switch to black. Press B to select the Brush tool and use the Brush Preset picker to set Hardness to 50%. Change brush size with the left and right square bracket keys. Now paint over the blurred area to reveal sharpness.

TRYAUTO-BLEND LAYERS Photoshop can focus stack images for you, but it sometimes masks the different images poorly to show strange areas of blur where they should be sharp. It’s still worth giving it a try because sometimes it does a fantastic job, but if it doesn’t, you can stack your images manually. The manual method is really simple. To try the automated feature in Photoshop, stack the images in the same way as step one. Hold down Shift and left click to select all layers. Then go to Edit>Auto-Blend Layers and select Stack Images. Make sure Seamless Tones and Colors is checked and press OK.

44 Digital SLR Photography November 2017

CROPTHE IMAGE The image may need to be cropped. Zoom into the image by pressing ctrl and the plus(+) key, and scroll around by holding down the spacebar and left mouse-clicking. If you need to crop, press C to activate the Crop tool and select Original Ratio in the top left tool menu. Left mouseclick, drag the guide and press Enter.

FIX MASKING MISTAKES If you accidently paint over the wrong part of the image and reveal blur rather than sharpness, press X on the keyboard to set white as the foreground colour. Paint over the offending area before switching the foreground colour back to black. Change brush size as required using the left and right square bracket keys.

CHECK LAYERS With the image still zoomed, click on the eye icon to the left of the top layer on the Layers panel. Scroll around to see where sharpness starts and ends. If you have three images, leave visibility of the top layer off so you can do the same again. Turn on visibility and attach a layer mask to the top layer (and middle layer if you have one).

FLATTEN & SAVE Once happy with the blending, it’s time to ﬂatten and save the image. Click on the menu represented by four horizontal lines at the top right of the Layers panel, then select Flatten Image from the list of options. Press Ctrl+Shift+S to bring up the Save As dialogue, save as JPEG if you’re done or TIFF if you intend to add Adjustment Layers.

SHARPNESS THROUGHOUT Bystackingtwoimagestogether, thisstreamdetailshotonatelephotoat PadleyGorgeissharpfromfronttoback.

/ Adobe Lightroom CC

Faceswapping

E1 ORIGINAL IMAG

ORIGINAL IMAG E2

LETUSGUIDEYOUTHROUGHTHEPRACTICEOFDIGITAL FACESWAPPINGFORGUARANTEEDGREATGROUPSHOTS

T SOUNDS LIKE a medical procedure, but fear not – the face swapping here doesn’t involve any surgical knowledge. All you need is two or more images from the same group portrait, some editing software and a few minutes of your time. Generally, face or head swapping comes into its own when photographing groups of people – inevitably in any group portrait there will be at least one person who’s blinking, sneezing, looking at their phone or not paying attention when you press the shutter. Therefore, it’s always wise to capture a series of images, each a second or two apart, from the same focal length and position. Providing you have at least one pleasing frame of each person, you can carry out this simple technique. The result is a ﬁnal image in which you’ve managed to get everyone to look nicely at the camera at the same time. Let’s get into it.

PICK YOUR IMAGES Review your images and identify your favourite shot. Depending on the size of the group, you might need to swap one or more people’s faces for more pleasing results. It's best to go through all the frames at the time of shooting to ensure everyone is looking at the camera in least one frame to give you a replacement should you need it. Without it, you might be stuck.

MASK THE NEW LAYER Add a black Layer Mask (Layer>Layer Mask>Hide All). Select the Brush tool and, with White as your colour, use a soft brush to carefully reveal the ‘correct’ face. Again, with blinking subjects this is easily done. If you’re dealing with a turned head, then the ideal place to blend the two images is in the hairline and neck. Take your time and brush carefully.

46 Digital SLR Photography November 2017

COMBINE THE FRAMES Open your ﬁnal image and the frame with the head for replacement in your software. I’m using Photoshop but Elements or Affinity Photo works too. Select the correct face, then copy and paste it onto the ﬁnal image. If you're replacing closed eyes then you may not have to move anything, but if their head has moved, some correcting might be needed.

SHIFTAND TRANSFORM The new face might need more tweaking to look natural. Use the Move tool to reposition the top layer, or use Free Transform to scale or rotate to ﬁt. You’ll probably ﬁnd that you’ll need to go between masking and transforming a few times before you’re happy. Zoom in and carefully check where the two frames meet – any inconsistencies will stand out!

LINE THINGS UP At the top of the Layers palette, reduce the opacity of the new layer to around 50% to allow you to see through it, then use the Transform tool (Edit>Transform>Free Transform) to position the new face. Try to line up the eyes, nose and mouth by moving or rotating the top layer, if needed. Once happy, press the Enter key and remember to return the opacity to 100%.

FINALTOUCHES Once you’re all done and happy that the transformation looks natural, you can now merge the layers (Layer>Merge Visible) and carry out final edits before saving the image. It’s always best to fix pixel-based problems before the rest of your editing, so as not to waste time if the image isn’t salvageable, and also to ensure that the final image has a consistent look to it.

/ Adobe Lightroom CC

FixskiesinLightroomwithDehaze ORIGINALIMAGE

HE PRIMARY FUNCTION of Adobe’s Dehaze tool, as introduced to Photoshop CC, Lightroom CC and Photoshop Elements 14 in 2015, is to cut through haze, fog and mist in images. If you’ve an earlier version of Photoshop or Lightroom, then sadly the Dehaze tool isn’t available, however there are some good ﬁlters and plug-ins available online that mimic the effect. The Dehaze tool works by assessing the contrast in an image and applying corrections based on a physical model of how light is transmitted, therefore its effect differs from image to image. As well as removing haze and mist, it can also be used to bump up contrast in images that aren’t affected by traditional atmospheric haze, for example scenes containing smoke, or even images of the night sky. And, as you’ll see below, Dehaze is also a fantastic tool in Lightroom for making ﬂat skies in your landscape images really pop.

BASIC ADJUSTMENTS As I have here, start off by making your usual adjustments. I’ve bumped up the Exposure, added a small Tone Curve to add contrast, changed the White Balance and applied Lens Corrections to fix distortion. The sky still looks a bit flat; at this point you might want to reach straight for the Graduated Filter tool and apply negative Exposure to the sky, but it’s worth trying the Dehaze tool first.

SELECTIVE DEHAZE With the global effect in place, now apply the Dehaze tool selectively – this can be done using either the Brush or the Graduated Filter tools; I’m going with the latter to focus on the sky. Select the Graduated Filter tool at the top and, in the Effect menu, select Dehaze. Click and drag on your image to set the ﬁlter position before using the upper and lower lines to set the ﬁlter graduation.

48 Digital SLR Photography November 2017

ADD DEHAZE If you just apply the Dehaze to the sky alone, then it can look jarring with the rest of the image untouched, therefore I like to apply a subtle Dehaze to the whole image before adding further Dehaze to the sky. Scroll down to the Effects panel and you’ll ﬁnd the Dehaze slider. Increase the slider gradually. You won’t need much at all – go too far and its effect on the land might be too pronounced.

TWEAK SETTINGS The default setting for Dehaze is 25, which is often just right, however it’s image dependent. Increase the Dehaze slider for a more dramatic sky, or decrease it for a subtle effect. Dehaze can introduce an unnatural blue tint when applied too much, but you can combat this by decreasing the ﬁlter’s Saturation slider, or by increasing the colour temperature using the Temp slider.

JORDAN BUTTERS

THEDEHAZETOOLDOESMORETHANREMOVEFOG;ITCAN BRINGFLATSKIESTOLIFE,ASJORDANBUTTERSREVEALS…

AdobeLightroom CC \

MASK OVERLAPS Horizons are rarely free of interruptions, but the advantage of a digital graduated ﬁlter is that you can customise it to suit the scene. If anything juts up into the ﬁltered area, such as the lighthouse here, select Mask: Brush at the top of the Graduated Filter tab and then below, where it says Brush, select Erase. Choose your brush Size, Feather and Flow below and you're ready to mask.

BRUSH THE MASK You can now brush carefully across the offending area to remove the ﬁlter’s effect from this part. Be careful not to introduce a halo around the object too, as this is easily done. Zoom in and take your time, altering the brush Size and Feather to avoid a harsh line. If you make a mistake or go to far, change Brush to A and brush back over this area carefully to add the ﬁlter back in. November 2017 Digital SLR Photography 49

AUTUMN

THELANDSCAPEISABOUTTOEXPLODEINTOCOLOUR,SOEMBRACEITSOPPORTUNITIESWITHOURTECHNIQUES, ADVICEANDPHOTOIDEASTHATWILLKEEPYOUBUSYCAPTURINGTHEMOSTPHOTOGENICSEASONOFTHEYEAR Words: DANIEL LEZANO

IMAGE: ROSS HODDINOTT

Getreadyfor

Autumn

images: ross hoddinott

ProtipwithNikon RossHoddinott Nature photography

Foray for fungi the onset of autumn brings with it the chance to find fungi in ever

greater numbers. Fungi thrive in cool, damp conditions, so head to your local woodland and explore dark, damp areas of undergrowth for suitable subjects. due to their small size, you’ll need some form of close-up aid. a short telephoto macro lens delivering life-size (1:1) reproduction is an ideal choice, allowing you to capture the delicacy of the fungi’s structure in crisp detail – the niKKor aF-s 60mm f/2.8g micro is one such optic. the lack of light means a reflector and/or small led light is incredibly useful to illuminate the scene and add some interesting highlights to the fungi’s texture. You may find using a tripod for stability works best, but alternatively set a high iso rating (800-1600) and/or use image stabilisation to minimise the risk of camera shake. get down low for the best viewpoint and try exposures at the widest to midaperture settings to determine the extent of depth-of-field that works best for the scene.

Autumn wildlife autumn is the season when many types of wildlife, big and small, start preparing for the onset of winter. many species of birds begin their migration to warmer climates, while others start collecting food in preparation for the months of hardship or hibernation ahead. even fish aren’t immune to the changing seasons, with october and november marking the months of the famous salmon runs that see them swimming upstream. all offer potential for great wildlife images, but perhaps the most spectacular autumn wildlife shots are those of deer rutting. stags looking to mate bellow loud moans and roars, wave their antlers and strut back and forth in acts of showmanship. aim to shoot early in the morning when the males are most active and you may be lucky enough to take advantage of golden light and mist for the perfect backdrop and lighting. a telephoto zoom allows you to crop in tight, or use a wider setting to place the subject in context – nikon’s aF-P 70-300mm f/4.5-6.3g is an ideal choice for wildlife photographers. ben hall

52 Digital slr Photography November 2017

EkATErinA GOlubkOvA/ShuTTErSTOck

Lightbox still-life

With trees shedding leaves by the millions, itâ&#x20AC;&#x2122;s worth keeping a bag with you and collecting a variety of specimens to shoot still-lifes with later. Select as many different types, sizes and colours of leaves that you can find and once home, lay them out on a flat surface under something heavy, or within the pages of a book, so that they dry flat. Once you have a big enough collection, explore your options to create interesting backlit still-lifes using a lightbox. This could be a dedicated lightbox, or a sheet of glass lit from underneath by a desk lamp. Place your lightbox on the floor and use a tripod with legs extended to have your camera centrally placed above the lightbox. Arrange leaves on the lightbox and take some test shots so you can fine-tune composition, leaf arrangement and exposure. Youâ&#x20AC;&#x2122;ll find the brightness of the lightbox may cause your camera to underexpose, so use positive exposure compensation to give a good exposure. November 2017 Digital slr Photography 53

Autumn

Finding gold Autumn is a landscape photographer’s dream, as scenes transform from the lush greens of summer into areas filled with glorious golden tones. Over recent years, the duration of when autumn is at its peak has become shorter (as well as later in the year), so it’s best to be well prepared so you don’t miss the colourful transformation at its best. Use the vast resources of the Internet to refine a shortlist of the best locations in your area. One of the best websites to visit is the National Trust’s at www.nationaltrust.org.uk – type 'autumn' into the search box and you’ll be rewarded with various links that can be used to determine suitable locations, such as ‘autumn colour in the south-east’, ‘best walks for autumn highlights’ and ‘dazzling autumn colour displays’. There are of course some annual favourites in the UK, such as Richmond Park near London, Westonbirt Arboretum near Tetbury and the New Forest in Hampshire. You will be spoilt for choice but so will many other outdoor photographers, so expect to join other enthusiastic photographers for a gold rush. 54 Digital slr Photography November 2017

Theperfectway toaddnewskills!

SmIleuS/ShutteRStOCK

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

ROSS hODDINOt t

Take time to look up! When you’re wandering parks, forests and woodland, be sure to look straight up towards the canopy as it offers potential for some striking results. By placing yourself between a group of tall trees and using an ultra wide-angle zoom like the NIKKOR AF-P DX 10-20mm f/4.5-5.6G VR at its widest focal length, you can capture dramatic results with the trees converging towards the centre of the frame. Alternatively, when presented with large trees sporting a wide canopy, stand close to a single trunk and use it a single lead-in line towards the colourful backdrop. Clear, sunny days work best as the light levels will be higher and leaves will be lit up by the sunlight – you’ll find a polarising filter is worth a go, especially if areas of deep blue sky can be included too.

Magical morning mist

Autumn, along with spring, is the season when mist is most likely to appear. If you know what weather conditions create mist, you can prepare to make the most of this highly photogenic natural phenomenon. mist is most likely when a warm day is followed by a cold, frosty night – when this occurs, be prepared to head out early and capture the warmth of sunrise combined with mist, for beautifully atmospheric images. low-lying areas are particularly prone to mist and you can fully exploit these types of locations by finding a high viewpoint and capturing the scene with a wide-angle lens. Rural areas with structures such as churches, ruins or castles that rise out of the mist can look particularly atmospheric. mist also forms over large areas of water, so be sure to head to nearby lakes and rivers, where you can use a telephoto lens to hone in on water birds like swans and ducks set against a misty backdrop. Often, they look best as silhouettes so ensure you place the morning sun behind them to backlight the scene.

ADAm BuRtON

November 2017 Digital slr Photography 55

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Autumn

ImAGES: ROSS hODDINOTT

Focus on the details For most of us, autumn images will be based around wide views that include the overflowing riches of auburn and burgundy that this season offers, but don't discount the details either. The autumn floor holds as much potential as the trees, all you need to do is take a closer look. Leaves, with their intricate designs and symmetry, are interesting subjects all year round, but their colourful transformation in autumn makes them particularly appealing this time of year. Look for subjects in pristine condition, or find dry, curled specimens littering the ground. Any type of lens is suitable, but youâ&#x20AC;&#x2122;ll find the versatility of a standard zoom with an extended range, such as the NIKKOR AF-S 24-85mm f/3.5-4.5G ED VR will allow for perfect compositions. A macro lens will allow you to focus even closer too, if you want to fill the frame with networks of leaf veins or other autumn miniatures, such as acorns, chestnuts and fungi. November 2017 Digital slr Photography 57

Autumn

hElEn Dixon

Woodland contre-jour Capturing backlit scenes of forests and woodlands is a popular technique with outdoor photographers, but it adopts an additional dimension in autumn. By shooting into the sun, trees are backlit and strong shadows are cast through the scene, leading to atmospheric results. in autumn, the reds and golds of the foliage add even more impact and, in the right conditions, the trees can look ablaze in colour. Research the weather and when clear days are forecast, head out early to the forest and capture the sun while it’s still low in the sky. Even the best metering systems struggle, so constantly review results and apply necessary compensation to ensure perfect exposures. Nikon’sassetsforoptimalautumncolour Every Nikon digital SLR boasts a Picture Control function, which allows you to change image characteristics such as colour saturation and contrast, in much the same way as your choice of film emulsion did in the past. Most Nikons offer a choice of Standard, Flat, Neutral, Landscape, portrait, Vivid and Monochrome. When shooting autumn, we’d suggest setting your camera to Vivid, to really highlight the strong seasonal colours. If you shoot in Raw+JPEG, you’ll also capture an unprocessed Raw file along with the vivid JPEG images too. www.nikon.co.uk

58 Digital slr Photography November 2017

hElEn Dixon

Mirror the magic!

Scenes filled with autumn glory make for magical images and if you’re lucky enough to be near a lake, you may be able to mirror the scene in the water. Days with little or no wind are ideal, as the perfectly still water acts like a mirror, but don’t be put off if there’s a gentle breeze as while softer, the reflections can still be effective. Early morning is the best time for wind-free conditions, with the warmer light helping to add to the golden tones of the scene, along with the possibility of mist for added atmosphere. When it comes to filter choice, a polarising filter is essential – it will help saturate the natural colours and remove glare for a cleaner reflection, but take care with shutter speeds as it will add up to two stops of exposure. Start by splitting the frame equally by placing the horizon through the centre of the image, and then try alternative compositions.

ROSS hOddINOTT

Woodland streams

The UK is blessed with woodland, a type of location boasting photo opportunities all year round, although the colours of autumn bring additional visual interest. A popular image shows woodland streams and rivers cascading around boulders on which fallen autumn leaves can provide strong foreground interest. The use of a slow shutter speed blurs the waterâ&#x20AC;&#x2122;s movement and this combination of static elements and movement creates very appealing results. Most professionals decide on the composition and then establish the exposure, often carefully positioning leaves in the foreground. Set up your camera on a tripod, use aperture-priority mode and select a mid to small f/stop (f/11-16) for extensive depth-of-field and to create slow shutter speeds to blur the moving water. Use hyperfocal distancing to ensure leaves to background are in focus. A wide-angle lens will include the whole scene and emphasise the foreground â&#x20AC;&#x201C; the NIKKOR AF-S 16-35mm f/4G VR is an ideal choice. November 2017 Digital slr Photography 59

estuAry driftwood

by Jake Barac

August’s sunset

by Steven Iceton

CanonEOS6DwithEF16-35mmf/4LISUSMlens. Twoexposures:65secondsatf/4and160secondsatf/22(ISO100).

CanonEOS600DwithEF-S10-22mmf/3.5-4.5USMlens. Exposure: 0.6secs at f/16 (ISO 200).

What we think: For this image, Jake merged two exposures – one for the water and one for the sky – in place of a graduated ND filter. The technique works well, and the brooding blue clouds add drama. There's a nice colour contrast at play here too, with the warmer sand in the foreground. Jake's used the driftwood not only as the focal point, but also as a leading line pointing into the scene. As a minimalist landscape it works, although the leading line ultimately doesn't lead anywhere, and the horizon isn't interesting enough to hold your attention.

What we think: Compositonally this is really nice – the winding path leads your eye from left to right, with the hills then acting like stepping-stones and taking you the other way off into the distance. Had Steven moved to the left and placed the biggest hill on an intersecting third, it could've been even stronger, although he may have lost the impact of the heather. The fiery sky looks great, although we wonder if Steven captured something in direct light before the sun disappeared or if he was just a fraction too late?

Why it works 1) Good technique to balance exposure 2) Warm and cool tones contrast 3) Strong point of interest

60 Digital slr Photography November 2017

2 3

Why it works Compositionally strong image Great elevated viewpoint Fantastic sky

wAnT your SHoTS crITIqued by THe digital slr photography experTS? Turn To pAge 65 To fInd ouT How To SubmIT ImAgeS

edited

Landscape expert HelenDixon “IreallylikeSteven'sshot.Hehas managedtocaptureallofthe elementsforasuccessfullandscape image;it’savisualfeastfortheeyes! TheS–shapedpathwayworksatreatasitsends theeyefromlefttorightandthroughtheentire sceneandbeyond.Stevenusedapolariserhere andthathaseliminatedreflectionsonthe foliageandenhancesthecoloursinthescene, howeverthisalsopresentsadownsideasithas introducedanunevendarkeningofthesky.In thiscaseIwouldhaveoptednottouseitasthe skyisalreadynaturallydark.Theimageis slightlyunderexposedtoo,butcanberescued inpost.Thetreeispositionednicelywithinthe framebut,forme,thedistanthilliswheremy eyeleadsmeanditsitsalittletoocentral.A compositionalshift,placingthehilltotheleft couldhavebalancedthescene.AllinallSteven didagreatjob;it’sinterestingthroughoutthe wholescene,goodjobSteven!”

November 2017 Digital slr Photography 61

NikonD7100withAF-S18-105mmf/3.5-5.6lens. Exposure:Sixsecondsatf/11(ISO100).

What we think: With a picturesque lighthouse, the choppy Irish Sea meeting the Menai Strait, Puffin Island in the background and good light possible at both sunrise and sunset, it's clear to see why Anglesey's Penmon Point is popular with photographers. Mark's found a good balance between foreground, lighthouse and island, as well as rendering nice texture and motion in the water. Although there's no colourful sky, the light is nice and soft too. It looks like the tide is in, which doesn't give you much room to play with at this location, but Mark's put all the elements in the right places, whilst showing good technical skill. We suspect his toes might have gotten a little damp in the process!

62 Digital slr Photography November 2017

AdAM burton

point taken

by Mark Hollis

Landscape expert AdamBurton “NorthWalespresentsendless opportunitiesforphotographers, andPenmonisoneofthebest. Markhasfoundanicecomposition –infact,I'vecapturedaverysimilaranglehere myself.Byarrangingtheelementsinthescene injusttherightplaces,he'sgiventheimage depthandofferedviewersplentytoexplore. Havingsaidthat,there'salwaysroomfor improvement.Landscapephotographyisas muchabouttechnicalcameraskillsasitisabout readingtheelements,andputtingyourselfinthe rightplaceattherighttime.Thisisalocation that'stransformedbylightatbothsunriseand sunset,andtherightlightcanbethedifference betweenagoodimageandgreatone.Mark’s alsovisitedduringahightideandwhilethis benefitsfromwatersurroundingthelighthouse, itdoesmeansyoumissmanyofthereflective rockpoolsthatdottherockyshore.Still,agreat effort,andalocationwellworthrevisitingagain.”

prince of the teaseLs

by Mark Gunn

CanonEOS1200DwithSigmaAF135-400mmf/4.5-5.6APOlens. Exposure:1/100secatf/5.6(ISO100).

What we think: This is the sort of scene that bird photographers wait all day for – a subject resting in an elevated position, bathed in warm, soft light. Mark framed the shot nicely, with the composition showing some of the bird's environment. There's some softening of the image – this could be down to camera movement or a slight breeze. Don't be afraid to raise the ISO rating for a faster shutter speed and also stop down slightly for more optical sharpness. For example, ISO 800 would allow for 1/400sec at f/8 in the same conditions.

2 3

Why it works 1) Great subject in nice, warm light 2) Good framing and composition 3) Telephoto renders background soft November 2017 Digital slr Photography 63

Submissions

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

HOW TO GET YOUR IMAGES TO US... EMAIL: If you want to email

submissions, send them to: submissions@dslrphotomag.co.uk Please only email images at a maximum of 1,000 pixels along the longest edge (note: your email will be rejected if the total size of attachments exceeds 8MB). Tell us which article(s) you’re submitting to in the subject line and include your name, address and daytime number.

FACEBOOK: Join us on Facebook at

www.facebook.com/digitalslrphoto. Become a part of the community and post your best shots to our wall. We regularly monitor the page and will be in touch if your work catches our eye!

FLICKR: Visit: www.ﬂickr.com/

groups/digitalslrphoto to upload your images to our Flickr group.

Digital SLR Photography contact form Tick a box and ﬁll in your details if you would like to submit images or take part in Photo Workshop.

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Name: Phone:

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Address: Postcode: Email:

Fora full set ofpicture guidelines, orto ask anyquestions, please email enquiries@dslrphotomag.co.uk

POST: Burn your high-res images as

JPEGs onto a CD/DVD, including a ‘mugshot’, and produce a contact sheet with location and technical details. Put it all in an envelope with a covering letter, including the submission form below and post to: Digital SLR Photography, PO BOX 1327, Stamford, Lincs PE2 2PT. Enclose an SAE if you’d like them returned.

Checklist 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 ﬁle from you! Emails exceeding 8MB total size might not arrive, so split your submission down into two or more emails to ensure they get through. Please don't send us your entire portfolio – as you may appreciate we receive a lot of submissions and aren't able to look through hundreds of images – narrow the selection down and pick your best shots only.

November 2017 Digital SLR Photography 65

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66 Digital slr Photography November 2017

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The Beginner’s Guide

BLACK &WHITE

monochrome photographystarts at capture. Join us in uncovering the bare basics of howto build striking black & white images… Words: Caroline sChmidt & jordan butters

hat goes around comes around, and that's entirely true for trends in photography. it used to be said that black & white was too traditional and would be obsolete with the emergence of colour film, but just as coloured film effects have re-emerged in digital photography, the appeal of black & white has arguably never been stronger. it’s a classic: it can be reinvented but it never falls out of favour. Capturing colourful images can be like searching through chaos to find the perfect combination. spectrum colours can confuse, they can distract a viewer from the point of interest and there’s a million-andone ways to use it for different impacts. but black & white simplifies a scene by stripping back an image to its bare essentials and letting you concentrate on controlling one colour: grey. that’s not to say, however, that achieving simplicity is easy. it can be more

challenging than cramming colour into a frame; there’s nothing for the elements of the image to hide behind. the image is at its purest: its success relies on the play between light and shade, shape and form, and a strong visual connection for creating mood or adding atmosphere. this month’s Beginner’s Guide equips you with the essentials for transforming your black & white images from bland to spectacular. not every image is destined to be in monochrome, and we’ll explain why later, but there are a number of subjects and techniques that suit the simple beauty of black & white. We’ll be covering portraits, landscapes and patterns; the power and pitfalls of contrast; as well as the best ways to capture and create your black & white masterpieces in post-production. so read on as we pack you with an arsenal of ideas, techniques and advice for creating your best ever black & white pictures.

image: mayer george/shutterstock

The Beginner’s Guide

an introduction to mono seeingcolouringrayscaleisthesecrettogreatblack&whiteimages. hereweoffersomeinsightastohowaswellasotheressentialsskills

ibrant sunsets and rainbows, sparkling deep blue eyes and creamy skin tones, it isn’t a surprise that colour photography gets so much glory. but, as wonderful as colour is, it’s also familiar and realistic, making us slightly uncomfortable when those colours don't look natural. black & white, on the other hand, may not work for every image, but when it does it’s considered an art form. it strips away any distractions colour may bring, steps the image away from real life and gives you limitless creative control over its impact and atmosphere. Our response to a black & white image is also usually much more emotive than with colour; the subject matter almost becomes irrelevant as light and shadow, texture and shape are all brought to the forefront. as long as your image has good shape, tonal range and intrigue you’ll be amazed at what works as a successful black & white photograph. While fantastic black & white photography is easier than ever to achieve with digital technology, shooting for monochrome requires a different approach compared to capturing colour. back in the days of film photography, you’d load your camera with a carefully-selected roll of black & white film, you would carry around a set of colour filters to control contrast and, if you were really serious, you’d have a darkroom set up in which you could dodge and burn to perfection. now, it’s as simple as switching your camera’s Picture style/Picture Controls to Monochrome (see panel) or converting a colour image during processing, but the same principles of what makes a strong black & white image beautiful still apply. Few situations in life are black & white; there’s a whole world of grey in-between, and it’s the same for photography.

a monochrome image may contain areas of near pure white and near pure black but it also has a wide scale of grey that has to deliver contrast for the image to have visual impact. each spectrum colour has its own shade of grey when converted to grayscale, and it’s important to know what intensities of grey you’re working with by learning how to ‘see’ tonal contrast in a colour scene. this contrast helps create shape, form and separates elements in your image for depth, such as your subject from its background, to avoid the photograph looking flat and lifeless. For instance, a lush green landscape with cloudless sky and a red barn as a focal point may look vibrant, but when turned to black & white it’ll probably look flat with very little contrast and interest between the elements. Green and red can be very similar shades, and a cloudless blue sky will have little variance in tone. switch your camera to shoot Monochrome (see panel for how) and use LiveView to preview a scene; it’s a useful way to help you assess a composition based on a colour scene’s tonality. Whilst there are umpteen ways to convert an image to black & white during processing, not all images suit a conversion and strong images have to begin in your mind's eye. aside from using Monochrome mode and LiveView, a way to visualise black & white is to look at the lines, shadows and shapes of a scene, this will give you an idea of the contrast and if there’s enough visual interest. Once you’ve then captured your image in colour to retain maximum information and flexibility with your raw file conversion, you can then use various software and filters to adjust the tonal range for a striking black & white conversion – turn to page 79 for a few of our recommended options.

Howto setyour camerato sHootmonocHrome

forthoseseriousaboutgettingthebestblack&white results,you’llneedtoshootinraw+JPeg(seeQ&a panelforwhythisisimportant)andconverttheimagesto monochromeinpost-production.eventhoughyou’re capturingrawfiles,itstillhoweverpaystoshootin monochrometohelprefineyourcapture,whichiswhere theJPegcomesin.you’llneedtolocateyourcamera’s Picturestyles/Picturecontrolsandselectmonochrome..

70 Digital slr Photography November 2017

aJPegfileissubjecttoparticularin-cameraedits, unlikearawfile,butyoucancustomisethemtorefine thelookofyourblack&whiteimage.inyourmenusystem, selectmanagePicturestyles(oryourcamera’sequivalent) andselectmonochromeandok.fromhereyoucanadjust brightnessandcontrasttorevealdetailsandgiveyoua clearervisualofwhatyourscenewilllooklikepost-edit,as wellasaddtintssuchassepiaandblue.

Q&a: Black &wHite

ShouldIshootinblack&whitemode? it’spersonalpreference,butyoudon't needtounlessyou’readversetoediting. forthe bestblack&whiteimages,youwanttosetimage qualitytoraw+JPeg.arawfileistheequivalent toafilmnegative,containingallthecolour informationneededtoprocessyourb&wimage. aJPeg,ontheotherhand,hasalreadybeen convertedandthecolourinformationdiscarded afterthecameraprocessyourpicture. shootingin raw+JPeggivesyouthebestofbothworlds:the chancetopreviewyourmonochromeimage in-cameraaswellasretainthe rawcolourdatato createacompellingfinalpicture.

Whatcanhelpmevisualiseinmono ifyoushootinraw+JPegandselectthe monochromePicturestyle,activatingliveView willsetthescreentoshowimagesinb&w. it'sthe easiestwaytoprevisualisethesceneinmono. oryoucouldtakeashotwithyoursmartphone. youcanusesmartphoneapps,suchas lenka, simplyb&wandhuelesstodoaquickanalysisof ascenebeforeyoucomposeyourphotograph.

WhenshouldIconverttomono? thesimpleansweris:wheneveryouwant. therearenohardandfastrules,butitisworth notingnotallscenessuitthestyle.youwantto lookforscenesthathaveawidetonalrangefor contrastandstronglinesandshapesforinterest asthesetendtomakethebestblack&whites. therearecertainsituations,however,thatcall forconversion:badweatherandlongexposures (seep72),dramatically-litportraits(p74)and graphicabstracts(p76).ablack&whiteimagecan alsosaveanot-so-successfulcolourimageif,for instance,you’restrugglingwithanawkward whitebalanceandneedtoneutralizemixed lighting,colourcastsfromnDfiltersornoisefrom shootingwithahighisorating.

opticalfilters for B&w ifyouwere shootingwith black &white film, you’d be using filters on the front ofyourlens to control the contrast ofyourimages, the most popularbeingyellow, orange, red and green. theywork bychanging thewaythe colours translate to greybylightening the colours close to them and darkening complementarycolours. forinstance, the orange filterlightens areas of orangewhile darkening areas ofblue, making it popularforenhancing blue skies. nowadays these filters are almost redundant as theycan negativelyaffect exposures. several cameras offerthe equivalent filtereffects in-camera to applydigitallywhen using monochrome mode. here’s a rundown ofwhat each colourfilters do… yellow: lightenswarm and darkens cool colours. increase in contrast tends to be subtle. red: blue skies go black and greens darken, clouds are stark and contrast become dramatic as it lightenswarm tones. orange: likeyellow, it lightenswarm colours and darkens cool ones but the contrast is significantlystronger. Greens: lightens greens and blues,whilst darkeningwarmercolours. useful forlandscapes whereyouwant to separate green tones. Blue: greens and blues are lightenedwhile warm colours become darker.

changing the tone Onceyouâ&#x20AC;&#x2122;veastrongblack&white image,youcouldthenaddawashof subtlecolourlikesepia(seep78). image: jordan butters

The Beginner’s Guide

Black & White landscapes badweatherand long exposuresarejustacouple ofreasonswhy landscapesare made for mono – find outthe facts for bestresults

heleN DixoN

a brooding, dark stormy sky is also perfect weather for great black & whites as you can really exploit the natural contrast in the sky with a strong ND grad filter. however, if it were in colour you’d probably need to wait for the sun to break through the clouds for similar impact. Normally, when shooting in colour, you'd want to avoid flat lighting but with black & whites, the strength of the light is far less important than its quality. Dull, overcast days with little direct light may deliver flat, lifeless landscapes straight out of camera – but they offer far more options in processing. the even, soft light from cloud cover reveals the smallest of details that may otherwise have been lost to deep shadows and bright highlights that can be a struggle to control. instead you provide yourself with the perfect digital negative that enables you to expand the tonal range without the worry of losing detail in the highlights or shadows. you can process for contrast by brightening and darkening midtones to improve dynamic range. the flip-side of flat lighting, however, is a washed-out sky, so you may want to use a graduated ND filter to improve the available tonal range or consider replacing the sky in post-production. of course it’s not only bad weather that produces great black & whites images: strong directional light from a low setting sun, for instance, can work wonders for revealing texture and adding depth, so it’s still worth heading out during the golden hours to utilise the low raking light. when the light is vibrant and warm, as it often is at sunrise and sunset, you may find it difficult to justify a black & white conversion. But trust us: give it a go. colour often masks the shapes and true tones of a scene, which a change to black & white can bring to the surface, so don’t discount it when you’re processing a raw file – you've nothing to lose.

lack & white photography is rooted in the works of so many great landscape photographers – ansel adams, Michael kenna and Josef holehner, to name a few – that it's no surprise it's still inspirational. their images have helped keep the beauty of film photography alive and inspired countless photographers in their wake to create monochrome masterpieces, ensuring the quality and variety of black & white scenics is still as strong as ever. like film, digital images should be captured as negatives – in other words raw files – and that's never more important than with landscapes. to capture maximum detail throughout the frame and to retain as much control over your tonal range and quality as possible, shooting in colour and raw format is paramount. when you’ve taken so many careful steps to capture your photograph, where's the sense in surrendering at the final step and letting your camera decide what detail to delete by shooting in Jpeg-only? as we've mentioned previously, shooting raw+Jpeg lets you preview your converted images in-camera and gives you the digital negative to process at your discretion. it's a win-win! having such power over your processing also means you can exploit what limited tonal range you have at capture. Not all scenes suit monochrome, but there are some that make a perfect pair. Night-time landscapes, for example, with its inherent high iSos and noise; cities with monochromatic skyscrapers, strong lines and abstract shapes; and the coast that's full of opportunities for simple abstracts and creative long exposures. Some landscapes are made for mono once they're subjected to certain conditions, such as fog, mist and backlighting, as it often creates low-contrast scenes with already monochromatic tones, producing amazing mood.

Whatto shootin Black &White

longexposuresifblack &white landscapes are about capturing mood ratherthan reality, coastlines are perfect.theirnatural minimalism is ideal forthe simplicity ofmonochrome and the scope forartistic treatment is huge. filters arewell placed, especiallyneutral density types, forlengthening exposures and reducing the sea to a smooth blurormist.you could also fill a third ofthe framewith skyto capture the streaks ofpassing clouds. some nd filters do tinge an imagewith a cast,which is one more reason to developyourblack &white skills.

ulrich Mueller/ShutterStock

72 Digital slr Photography November 2017

roSS hoDDiNott

JorDaN ButterS

infraredifyou’ve an infrared filterora camera that’s been converted to record infrared light, black &white photographyisyourally. colourinfrared photography can be difficult to dowell, so most people remove the colourcasts byconverting to mono to create illuminant black &white landscapes. it’s a technique to tryduring spring and summerwhenyou can shoot in full sun and include green foliage orgrass,with plentyofskyand cloud.anygreens are rendered chalkywhite,whilst blue waterand skyappears practicallyblack.

MiniMalistsnowyscenes and backlit landscapes each have potential forstrong, graphic mono images due to theirhigh contrast and muted colour. sometimes you’ll need to helpyourcamera to expose correctlyby using positive ornegative exposure compensation to retain this contrast. forinstance, to avoid a snowyscene looking grey, add a stop ofpositive compensation – itwill have the benefit ofmaking stark trees almost silhouette. forbacklit scenes, however,whereyouwant a silhouette, let the camera do thework and use multi-zone metering.

MASTER MONOCHROME Landscapephotographywasborn inblack&white,anditremainsa classicapproachtothesubject.

ESSENTIALFILTERS FOR LANDSCAPES CLAUDIO DIVIZIA/SHUTTERSTOCK

ROSS HODDINOTT

HDRBlack &white isn't usuallyaffiliatedwith HDR as much as colour, but it should be. Bracketing exposures and blending them in Photoshop, ordedicated HDR software, likeAurora HDR orPhotomatix, is a brilliantway ofexpanding dynamic range to reveal detail and achieve bettercontrast. Setyourcamera to shoot bracketed exposures (-1EV, 0, +1EV) oryou can create a multiple exposure from a single Rawﬁle bysaving an adjusted version ofthe same ﬁle, before merging into a HDR image and converting to black &white.

Certain optical filters allow you to control the contrast of your black Certainopticalfiltersallowyoutocontrolthecontrastofyourblack & white images (see page 70), much the same way as you can digitally &whiteimages(seepage70),muchthesamewayasyoucandigitally usingcolourchannelsandHSL(Hue,SaturationandLuminance) adjustments(seepage78).Butthereareafewopticalfilterswhose effectscannotbeeasilyreplicatedandareessentialforlandscapes: GRADUATEDNEUTRALDENSITYWhenskiesareblandoryou wanttomakeabroodingstormbolder,NDgradsarekey.They reducethedifferenceinbrightnessbetweentheskyandland, balancingtheexposure,theskyisalsocorrect.Fordramaticresults that darken the sky try stronger density ND grads such as the 0.9ND thatdarkentheskytrystrongerdensityNDgradssuchasthe0.9ND or,tocontrolabrightskyforamorebalancedscene,a0.6ND. POLARISINGFILTERLikearedfilter,apolariserdarkensblue skiesmakingclouds‘pop’, increasescontrastandclarity,aswellas removingglareandreflectionsfromwaterandshinysurfaces. It’sanincrediblyusefulfiltertohaveinyourkitbag. NEUTRALDENSITYFILTERNDfiltersallowyoutoincrease theexposuresoyoucanrecordmovementinthelandscape. Densitiessuchas0.6,0.9and1.2NDareusefulforblurringfast movingwater,butextremeNDsallowyoutocreatesimple scenesusinglongexposuresindaylighttocapturemotion.

November 2017 Digital SLR Photography 73

The Beginner’s Guide

highlightingaSSetS asimplewaytoaddsomelightreliefto ablack&whiteportraitofawomanif therearen’tmanynaturalhighlightsisto havethemwearlipglossandtoaddahair light.thehighlightscreatedbythegloss andhairwilladdmoredynamic rangeandinterest.

it’Sallinthe eyeS aNN Nevreva

Black&White Portraiture

ProtiP

Learnthe essentiaLs for craftingand conqueringthe artofbLack &white portraiture

detailed, grungy headshot that’s oozing mood, your choice of editing is the last but essential stage to master. We’ll cover a few approaches later but selective editing is your friend. Whatever method you use, treating each section of the portrait separately for exposure and contrast whilst watching how it works as a whole is best. brightening the skin in processing can help, whilst amplifying highlights in hair, on lips and in eyes inject life into details that global adjustment may miss. Sometimes black & white might not be the design, but it can be a saving grace so even if you haven’t shot with monochrome in mind, it’s worth a try in certain situations to hide a multitude of sins. If noise ‘ruins’ an image because of a high ISo, the wrong White balance, a subject’s uneven skin tone needs more work than you can muster, or you’ve horrible colour casts – monochrome can be a quick and simple way to save, and possibly even improve, your portrait.

Whatto Shootin Black &White

StreetPhotograPhythere are some types of portraits that can’t be controlled: street photography requiresyou to seek outways ofcapturing people as they go about theirdailylives. street photographyis raw documentarystorytelling,which iswhymonochrome suits it sowell, butyou have to look forareas oflight and dramatic shadows to elevateyourimages from the realms of‘snapshot’. street lamps at night, reflected light off glass buildings orstrong backlighting forsilhouettes are all extremelypopularoptions.

alekSo94/ShutterStoCk

bulkaN evCIMeN/uNSplaSh

74 Digital slr Photography November 2017

with a portrait devoid ofcolour, it’s neverbeen so important to ensure there’s enough light in the eyes. catchlights are crucial foradding life to whatwould otherwise be solid black pupils and dark irises. it’s tempting to brighten thewhites of the eyes to create contrast, and over-edit the irises to reveal tonal detail, but this can result in stark, unnatural-looking faces. it’s farbetterto achieve the right exposure using flash ora reflectorfora softerlook, full ofdetail, than it is to ‘fake’it byusing dodge and burn.

aNN Nevreva

he beauty of black & white portraits is you often have the time to control how you create them. Whilst with landscapes you’re at the mercy of Mother Nature and available light, portraits can be styled to enhance contrast, lit to create sculptural highlights and special effects, and positioned in front of backgrounds that provide depth through tonal separation. how you build your portrait is up to you but there are certainly countless ways to create stunning monochrome portraits that there’s no excuse for a ‘flat’ photograph. Colours can be used to grab attention in a number of ways: throw a red scarf on a subject in a crowd and you’ve instantly made them a focal point;or zoom in for a close-up and vibrant eye colour can be captivating. for black & white to work, you need to take control over the play of light and shade to create contours and the style you want. highlights are perhaps the most important for portraits as it’s where the eyes get drawn to first, for this reason it’s important with women to correctly expose the skin, or even overexpose slightly, to avoid dull skin tones. how you light for a flattering female portrait is half the challenge: soft, even lighting will help you illuminate their skin and exposing for their skin may also darken surrounding, creating the illusion of an even brighter, smoother skin tone. If your subject has naturally dark skin, however, which may be rendered as a dark midtone or even shadow, it’s crucial you insert some rim or backlighting to add definition. for men, you can be far more dramatic with your black & white conversions as well as your lighting. Side-lighting is notorious for revealing maximum texture and detail, so if it’s a five o’clock shadow, chiselled contours and character you want to capture, high contrast is an absolute must. Dramatic lighting works well for black & white portraits: backlighting for bright high-key images or silhouettes, rim-lighting for curves, front-lighting for skin illuminating portraits, side-lighting for strong contrast and definition – the options are endless, whether you use natural light or studioflash. your lighting modifiers also need to be considered, for instance if you want a sharp fall-off from light to dark you’ll need to place a bright light with small modifier close to your subject; but if you want a smooth, soft and wide graduation of tones across your subject’s face, you’ll need to use a much larger and more diffused light source. as much as the light’s behaviour and your backgrounds are important for achieving a desired effect and level of contrast, clothes, hair colour and make-up are also crucial considerations when designing your portrait. Whether it’s a polished portrait or a

high-keyabright backlight, bright skin tones and light-coloured clothing,with perhaps even a couple of stops ofpositive exposure compensation forgood measure, andyou’ve got the makings ofa high-key image. it’s imperative thatyou useyourhistogram to check fordetail being lost in the highlightswhen shooting this style ofimage, but filling a scenewith light and ridding it ofanyhard shadows can create some amazing monochrome images, especiallyofwomen and babies,where softness is avisualvirtue.

The Beginner’s Guide

going grey Aclassicmonochromeapproachto portraitsworkswellforallsubjects.

doeS Low-contraStwork? kiuikson/shutterstock

keenan constance/unsplash

simon wijers/unsplash

Low-keyImageswith predominantlydark tones are called low-keyand generallycontain areaswith a lot of dense shadow.Whilst dark midtones and shadows are the crux ofthis style, in actual fact lighting is nevermore important.The placement ofhighlights, although minimal, sculpts the image and help separate elements and reveal details. It’s a great technique fornudes: carefullyplaced highlights caress curves emphasising the all-important shape and form, but the deep shadows stop too much being revealed to preserve modesty.

ShadowpLayUsing highlights and shadowto sculpt people’s features is one thing, butyou can also use it as a feature unto itselfto create dynamic and interesting portraits. Shape creators such asvenetian blinds or stencils in front ofa small light source can deliverstrong, concentrated lightwith shaped shadows.Varyits distance from the light to affect the strength and clarityof the shadows casts. Backlighting a person is also a great graphic style formonochrome; shootwith multi-zone metering andyou'll cast them into silhouette.

Whilst black &white images generallybenefit from strong contrast, low-contrast images can be incrediblyevocative, too, ifexecutedwell. Whetherit be high-keyimages featuring a majorityofhighlights and midtones; low-key images that consist ofmostlyshadows and midtones, orjust a flatwash ofmidtone greywith nothing in the extremes, theycan all create beautiful images evokingverydifferent feelings, despite theirlimited tonal range. See ourideas panel formore details.

November 2017 Digital slr Photography 75

The Beginner’s Guide

abstracts & Graphicmono TheymayonlyrevealasmallsecTionofTheworld,buTabsTracTs canbepowerfulpiecesofphoTography,especiallyinblack&whiTe

lassifying abstract photography requires a broad brush, and there’s no definitive right or wrong when it comes to defining what is and not an ‘abstract’. one view is that abstract photography involves capturing images that are void of, or lack, context in relation to the subject or scene being photographed. What does this mean? Well, imagine zooming in and framing just one part of a large building, and capturing it in such a way that the subject as a whole isn’t immediately recognisable. Without obvious context, i.e. this is a part of a building, it becomes easier to appreciate shapes, lines, angles and textures that might be missed when viewing the building as a whole – that’s an abstract approach. there are several popular techniques that fall into this category – for example, high-key and low-key images, patterns and textures, silhouettes and compositions focusing on shapes, geometry, lines and angles. in short, any image that offers an alternative or unusual view on a scene could broadly be classified as an abstract photograph. graphic photography, on the other hand, doesn’t relate to photographing gory or adult themes! graphic images simplify objects or scenes and reduce them down to basic

shapes or patterns, using clever composition, light and shadow, and even camera or editing techniques such as silhouettes or high-contrast. graphic images often look more like drawings or paintings than photographs. there’s a fair amount of crossover between abstract and graphic photography, hence why we’ve bundled them together here. it shouldn’t come as a surprise that these sorts of images often go hand-in-hand with monochrome conversions – after all, black & white images are already one step removed from reality by their lack of colour alone. removing all colour from abstract and graphic compositions can greatly add to the impact of an image, making the subject or scene not immediately obvious to the viewer. also, with careful and considered editing of black & white images, the photographer is able to play with contrast and monochrome tones in a far more exaggerated manner than is possible with colour, for dramatic effect. abstract compositions are all around us, but learning to see them is an acquired skill, and one that requires plenty of practice. it calls for a far more careful study of objects and scenes to see beyond the obvious, but there are some techniques you can try….

cameratechniquestotry jordan butters

samuel zeller/unsplash

Lookupanddownwe’re used to seeing theworld straight-on, from head-height. mix things up and try pointingyourlens upward ordownward to scan for abstract angles. looking upworkswell in citieswith steel and glass giants converging aboveyou,whereas looking down reveals textures and patterns in the naturalworld, such as ripples in the sand orcracks in stone. bruno cerVera/unsplash

scott Webb/unsplash

Gomacroclose-up photographyreveals detail that might not have been apparentwhenviewed at scale. in taking a macroview, focusing on one detail and omitting the rest ofthe subject,you can create eye-catching abstracts. it’s tempting to leave these in colour, especially withvibrant subjects. but take a risk and trymonochrome – it’s perfect forhighlighting texture and pattern.

76 Digital slr Photography November 2017

modernarchitecture jordan butters

ZoominThe phrase ‘can’t see thewood forthe trees’ springs to mind here.agreat trick forhelpingyou to see abstracts in theworld aroundyou is to use a telezoom lens to zoom right in onyoursubject orscene and scan around.asyoureye is forced into seeing just a magnified part ofthe scene, it’s easierto find potential abstract compositions thanwhen facedwith thewiderpicture.

pLaywithexposureseek out high- and low-key scenes. don’t fret about manual mode – use aperture-prioritywith exposure compensation to dial in positive (brighter) ornegative (darker) exposure. high-keyscenes contain lots oflight tones,whereas low-keyscenes displayplentyofdark tones – translated into black &white,you can create highlygraphic images.

modern architecture is fruitful forabstracts. next timeyou’re in a city, seek out geometry, lines, angles and shapes. curves and sharp diagonal lines help make fordynamic abstracts, as do compositionswith negative space, contrasting textures ortones, andwhere straight lines intersect. speaking ofcontrast – bright, sunny days suit this approach,with strong shadows cutting across architectural features – justwatch yourexposure and expose forthe highlights, casting the shadows into deep black tones.

fifty ShadeS of Grey Don’tbeafraidtobreakthe conventionalrulesofcomposition wheneyeingupabstracts. image: jordan butters

abStractclaSSicS ricardo gomez angel/unsplash

SilhouetteSReducing a subject down to its basic shapewith a silhouette is a fantasticwayto flexyourcreativity, and theyworkwell in black &white. Backlighting is essential – frameyour subject against a bright background, such as the sky, and meterforthe highlights, casting them into shadow. Converting to mono and adjusting contrast emphasises this further.

tom barrett/unsplash

samuel zeller/unsplash

jordan butters

GeometryEasyto spot in modern architecture – straight lines, intersecting angles, symmetryand interesting shapes make forgreat abstract approaches, especiallystripped ofcolour.The basic rules ofcomposition come into play – the rule-of-thirds, negative space and leading lines. Leading lines are usually more dynamicwhen theyenterthe frame diagonallyfrom the lowercorners.

liGhtandShadowBright, sunny days aren’t the best forlandscape or portrait photography, but they’re fantastic forblack &white abstracts as theyinject contrast. Look forscenes split byhard shadows, orshapes being cast on brightwalls. Oftenyou can anticipate an image appearing bythinking ahead as the sun moves across the sky. Meterforthe highlights and let the rest fall to darkness.

repetitionandpatternRepetition and patterns are all around us, ifyou look carefully.Think ripples on a beach, a mesh fence, a zebra’s coat,windows in a tall building, the shadowofrailings cast on the ground, tiles onwalls and floors or a reptile’s scalyskin – there’s loads of choice out there!Void ofcolour, they’re often simplified and reduced down to repeating tones. Give it a try.

November 2017 Digital slr Photography 77

The Beginner’s Guide

ORIGINAL CONVERT TO B&W

HOW TO EDIT FOR MONO TRANSFORMING COLOUR IMAGES INTO BLACK &WHITE IS MORETHAN SIMPLYREMOVINGTHE COLOUR

N COLOUR PHOTOGRAPHY, we always strive to capture as close to the final results in-camera as possible, however when it comes to digital black & white photography, the images almost always benefit from editing. Because black & white photography is already one step removed from reality in its lack of colour, it’s a medium that often suits more extreme editing than you might usually carry out. For example, increase contrast too much on a colour image and you’ll find the colours can become oversaturated, however in monochrome you can tweak and play with tones to a greater extent for wonderfully rich black & whites. We’re essentially dealing with shades of grey, and without editing some black & white images can look flat and muddy. It’s important that you make the most of the contrast and tones in your images to really make them 'pop'. No matter what editing software you use, the tools available to you are very similar, and you can get much the same results. In the example below we’ve used Adobe Lightroom, however if you fancy a less involved process, then try out some of the dedicated black & white software we've recommended on the page opposite.

CONVERTTOBLACK&WHITEWhilethere'sone buttontopresstogoblack&white,atthetopof Lightroom'sBasictab,there’salotmoretomonochrome masterpiecesthanthis.Beforeyoustart,adjustyour ExposureandWhiteBalance,ifneeded–that’snota misprint.ChangingyourWBaltersthetones,andyoudon’t havetosticktotheonethatmatchesthelighting!

78 Digital SLR Photography November 2017

COLOURMIXINGScrolldowntotheHSL/Color/B&W tabandyou’llnoticetheslidersareautomatically adjusted.ThesecoloursliderstellLightroomhowlightor darkeachcolourshouldappearwhenconvertedtogrey. Useinmoderation;vastdifferencesinneighbouring colours(forexampleredandorange)canresultinartefacts andhalos.PressingAutoatthebottomresetsthetones.

CONTROLCONTRASTContrastisimportantinblack &whitephotography.Youcancontrolcontrastusing theContrastsliderintheBasictab,orformoreinvolved controlcreateanS-curve,asshown,intheToneCurvetab. Theamountofcontrastneededdependsontheimage– themorepronouncedthecurve,thehigherthecontrast, howevergotoofarandyou’ll‘crush’tones,losingdetail.

The Beginner’s Guide JORDAN BUTTERS

SOFTWARE ROUND-UP Adobe's Photoshop, Elements and Lightroom, aswell asAffinityPhoto, offerfantastic controls forblack &white editing, and that might be all you’ll everneed. However, there are some dedicated mono editing packages available, and they’re certainlyworth a dabble… NIK SILVER EFEX / FREE www.google.com/nikcollection/ You don’t get much forfree, but Nik SilverEfex Pro is an exception.As part ofthe discontinued Google Nik package,you can download it at zero cost. SilverEfex Pro is the top choice formany pros.There are more features, controls and presets thanwe can mention – it also supports TIFFediting, and ties inwithAdobe software and AffinityPhoto, allowingyou to retain image qualityand switch seamlesslybetween software. MACPHUNTONALITY/ £53 macphun.com/tonality TonalitybyMacphunisapowerfulblack&white editingsoftware.Butwhywouldyoupaywhen SilverEfexProisfree?Well,Tonalityoffersahost offeaturesmissingfromtheNiksoftware–Raw processing,layersandmasks,awiderrangeof presets,brushes,blendmodes,andluminosity masking.That’snottomentionongoing development,improvementsandfreesupport too.Tonalityis,however,Mac-onlyatpresent. DXO FILMPACK 5 / FROM £60 www.dxo.com Ifyouwant thatvintage black &white ﬁlm look inyourimages then DXO’s Filmpack is a great choice.There are two levels available – Essential (£60) and ELITE (£100),with onlythe ELITE offering Rawsupport, advanced colourcontrols formonochrome, highlight and shadowtoning and almost double the numberofbundled presets. Filmpackwill run as eithera standalone software, oras a plug-inwithinAdobe products. TOPAZ B&WEFFECTS / USD$60 www.topazlabs.com/bweffects Topaz’s monochrome offering has the most in commonwith Nik SilverEfex Pro, butwith a price tag attached. However, SilverEfex Prowon’t be supported forever, and this iswhere B&WEffects reallycatches up. It’s easierto use than the Nik software too.Although there’s nothing here that can’t be achieved in Lightroom orPhotoshop, Topaz B&WEffects makes life easywith plentyof nicelyconﬁgured presets.

MONOCHROME CONVERT Comparedtothedefault monoconversion,thiseditis muchmoreeye-catching.

WHITESANDBLACKSTheWhitesandBlackssliders controlhowdarkthedarkestshadows,andhowlight thebrightesthighlightsare.TheHighlightsandShadows slidersthentweakthetoneswithintheseboundaries. Forthefulltonalrange,watchthehistogramandadjustthe Blacksslideruntilthegraphtouchestheleftside.Then, repeatthisfortheWhitesslideruntilittouchestheright.

DODGEANDBURNDodging(brightening)and burning(darkening)isdoneselectivelywiththe AdjustmentBrushtool,usingtheExposurecontrol.As explained,monochromeimagestendtolendthemselves tomoreextremeediting,andthisappliestododgingand burning–it’sagreatwaytodrawaviewer’sattention,as wellasselectivelyaddingcontrastandsculptingshapes.

GETCREATIVEFauxﬁlmeffectscanworkreallywellin black&white.Grain,forexample,addsanostalgicfeel –you’llﬁndthecontrolsinLightroom’sEffectstab,where youcancontrolthegrainamount,sizeandroughness. Anotheroptionisaddingacooltoneorsepia–thisisdone intheSplitToningtab,byaddingaHuetotheShadows slider–don'taddtoomuch,oritbecomesoverpowering. November 2017 Digital SLR Photography 79

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MARKETING YOUR PHOTO BUSINESS How tobuildandmaintain awareness MARKETING IS A CRITICAL AND ONGOING ELEMENT OF RUNNING A PHOTOGRAPHY BUSINESS, SO HOW CAN YOU MAKE SURE YOUR COMMUNICATIONS ARE EFFECTIVE AND NOT MISSING THE MARK?

The Photo Business Guide

Kate hopewell-smith KateHopewell-Smithhasa backgroundinTVmarketing, fine-artpublishingandbrand consultancy.Shehasrunher successfulphotography businessspecialisingin portraits,weddingsandboudoirsince2010 (www.katehopewellsmith.com)and representedtheNikonbrandasoneofitsUK Ambassadors.Sheisalsoadirectorofboththe photographyschoolTrainingbyLumiere(www. trainingbylumiere.co.uk)andluxurydestination brand,byLumiere(www.bylumiere.co.uk).

aving previously outlined the necessary first steps to setting up a photography business, we will now focus on some of the most important areas in greater detail. Most photographers recognise the vital role of marketing but struggle to know what to spend their time, and potentially money, on to ensure they effectively build and maintain awareness with the right customer base. unfortunately there is no ‘golden bullet’: marketing today comprises many facets for consideration. Modern marketing is very customerfocused thanks to the impact of social media and the ability to have ‘conversations’. it is about knowing your target customer, creating the right product to satisfy their needs, creating desire for that product and letting the right people know you have it. it isn't sales, but that will hopefully be the result of this effective marketing. in last month’s article we discussed the importance of doing your market research and being able to clearly define your target market – who they are, how and where they live and what problems they have that need solving. you also need to know where they would likely see your marketing message – a local bridal shop or a destination wedding magazine? as marketing should be viewed as an ongoing conversation, you are able to make changes to your message or even your product to ensure you're constantly relevant and ahead of the competition. effective marketing is also about the timing being right for the client, which is why articulating your message well often ensures you will be at the front of their mind when they are ready to purchase. Having a well-designed brand and an up-to-date website and blog is a fundamental building block. it is the job of your marketing to get your ideal customer to your website and inside the door of your business. Blogs are a great way to create regular content that adds value to the imagery. a blog post shouldn't be thought of as an advert but an opportunity to provide relevant, useful and valuable content for customers. you should try to get featured on third-party blogs, too – but do your research and make sure you only submit content to blogs that your target market might follow. in essence there are three main ways that people are going to find your website/blog: search engines, social media and referral.

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Intermsofreturnon investment,wordofmouth isthemosteffectiveform ofmarketingandit’salso themostsustainable search engines such as google can deliver your brand and content to potential clients but featuring highly in search engine rankings will only happen if you have put the necessary effort into your search engine optimisation (seo). once i gained a better understanding of what factors affect the rankings i spent some time editing the content of both my website and blog posts and saw an immediate change in relevant traffic and enquiries. i'll be delving deeper into effective seo in next month’s issue. the explosion of social media has resulted in a massive choice of communication channels. you cannot (and should not) try to master them all – part of the challenge of marketing today is finding out which social

media platforms work best for you and your target market. Most photographers use Facebook, pinterest and instagram because these platforms are more focused on visual content. Whilst posting regularly is important, do think carefully about how relevant the content is and if it is engaging for your ideal client – i.e. is it addressing their needs rather than your own? and remember that it is essential that you market the benefits of working with you rather than the fact that you take pictures! in the last year i have discovered that my brides are more likely to be on instagram than Facebook, which has resulted in a change to my marketing strategies. this doesn’t mean that i no longer use Facebook, but i have learnt that its organic reach is so low that you are better off viewing it as an advertising platform and putting some budget behind carefully planned and targeted posts. view advertising as a direct attempt to drive new business to your website and as a part of your overall marketing strategy. you need to become very familiar with Facebook’s adManager and be clever with how you use the tools to target key demographics. For example, you

The Photo Business Guide

can target engaged 30-year-old women who live in London and who have an interest in designer brands. Online advertising is therefore worth considering, whilst I have never found paying for print advertising works well for photographers. In terms of return on investment, word of mouth is the most effective form of marketing and it’s also the most sustainable. There are two key audiences for photographers: clients and industry contacts. Photography clients should be viewed in terms of their life-time value to the business – your customer service should exceed expectations and build trust and loyalty for the long term. Testimonials from past clients are very powerful forces in the purchasing process, because trust tops the list of why people buy. If you believe you have done a great job and have a very happy customer don’t be afraid to ask them for a few words about their experience with you. Photographers, particularly in the wedding market, work alongside other businesses all the time and they can become a key referral source. Building industry relationships takes effort and time, so be very careful about aligning yourself with the right kind of businesses that also attract the same kind of

clients you need, otherwise the referrals will unlikely lead to bookings. The same thought process should be applied to decisions about exhibiting at fairs and shows – only spend the investment if you are certain that the right kind of clients will actually be attending. All of this advice is based on the experience of marketing the Kate HopewellSmith Photography business and it has worked incredibly well for me; I have built a fantastic network over the years that beneﬁts all those involved. Interestingly when Brent and I created the brand for our destination business, byLumiere, we realised very quickly that we would have to think differently if we were to be successful, because we positioned this business as a premium brand for a high-end consumer (note the word premium and not luxury – luxury branding has its own complex set of rules). Our target clients are not easy to get to and are incredibly swayed by word of mouth and the ‘right’ visibility. We are having to start all over again with a new marketing strategy. Why? Because we are targeting a different customer. Next month will be all about SEO and how to get your content ranked by search engines.

TRAINING BYLUMIERE

KateHopewell-SmithandBrentKirkman launchedTrainingbyLumiere(www. trainingbylumiere.co.uk)toprovideareal, authenticandcurrentwaytolearntheskillsfor becomingasuccessful,profitableprofessional photographer.TheBuckinghamshire-based schoolprovidesrelevant,intimateand supportivementoringandtraining.Theyoffer asix-monthpart-timeFoundationProgramme, plusarangeofworkshopstofillknowledge gapsthroughouttheyear.Thementoringhelps existingphotographersturntheirbusinesses aroundormoveuptothenextlevel.

November 2017 Digital SLR Photography 83

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The BigInterview

PeakPractice HowdoyougoaboutplanningapHotograpHicadventure?JordanbutterscHatstolandscape pHotograpHer,autHorandfotovuefounderMickryanaboutHislovefortHepeakdistrict, discoveringtHegreatoutdoorsandguidingtHewaytoinspireotHerpHotograpHersâ&#x20AC;Ś

image: Chris gilbert

Mick Ryan Mick Ryan

88 Digital slr Photography November 2017

Mick Ryan

longside good light, taking beautiful landscape photographs is all about being prepared, being in the right place at the right time, a smidgen of technical know-how and a handful of luck. We’re incredibly fortunate that, here on this small island, we have a wealth of great landscape photography opportunities available, many of which are accessible within a few hours’ drive. if you want to take great landscape photographs then step one is planning, and step two is placing yourself in front of a great landscape; it's as simple as that. You needn’t go it alone either, and fotoVUe's series of location guidebooks is a great place to start planning a visit to many of the UK’s most impressive photo locations.

The idea for fotoVUe first came about when UK-based climbing expert and photographer Mick Ryan was climbing in the eastern sierra mountains in California. he was writing climbing guidebooks at the time, and wondered why no-one had really picked up on the idea of doing the same for photographers. “i used to go to galen Rowell’s gallery in Bishop, California to look at his photos,” Mick tells me. “i would end up pointing at various images and asking galen: “Where’s that? And where’s that?”, that’s where the idea came from; i thought about a guidebook that showed photographers where all the best spots were.” While Mick began to process the idea of creating a series of comprehensive photographers' guidebooks, life had other plans and he put it on the back-burner for

a while. it wasn’t until he returned to the UK and started working for climbing website UKClimbing.com that the cogs started turning again. “i’ve always loved beautiful scenery and have enjoyed a long-standing passion for photography, so i decided to start working on a photographer's guidebook for the lake district. Through the UK Climbing forums i became aware of a photographer by the name of stuart holmes, who lived in Keswick and had some exceptional images of the lakes. We got talking and founded fotoVUe together. stuart began work on our first title: PhotographingtheLakeDistrict. he wrote the first book and i edited it.” it was the first in a popular range of fotoVUe titles focusing on providing photographers with all the best locations to visit in several regions across the UK.

Mick Ryan

The majority of guidebooks are actually read at home, so we paired this expert knowledge with high quality print, big images and large books that photographers can pore over in the comfort of their own home From North Wales to Cornwall and Devon, Dorset, and now the Peak District, each fotoVUE title is nicely divided by area, and offers all of the classic photography viewpoints, as well as some of the lesserknown locations, complete with information on how to get there, where to park up and what to shoot. Each is expertly authored by established professional photographers with the best inside knowledge of the region. Familiar names such as Adam Burton, Mark Bauer, Simon Kitchin and Chris Gilbert

grace the covers, so you can rest assured that each title is backed by the right credentials. “We’re really picky about who we work with,” Mick tells me. “All the photographers that we use are really obsessed with outdoor photography – they're real, high-end, technical professionals. The majority of guidebooks are actually read at home, so we paired this expert knowledge with highquality print, big images and large books that photographers can pore over in the comfort of their own home, read in the car or take

TopLeft:AwintersunsetattheWoolPacks,acollectionof gritstonebouldersat2,000ftontheKinderPlateau. Left:WinHillandLoseHillfromHordronEdgeinautumn. Oneofmanyguidebooklocationsthatisn’twellknown. Above:TheGreatRidgethatstretchesfromMamTorinthewest toLoseHillintheeastisanexcellentdaywalk.Alongthecrestis afamousgatethatisapopularspottophotographEdale.

with them in their camera bags.” The latest title in the fotoVUE range, PhotographingThePeakDistrict, is one that’s especially close to Mick’s heart, and it’s the first to bear his name on the cover too, as he authored it alongside photographer Chris Gilbert. “I used to visit the Peak District to climb, aged 18 or 19,” he reminisces. “We would travel every weekend from Blackburn, where I grew up, to Stoney Middleton and then head out to the gritstone edges at Stanage and Curbar. When I returned from November 2017 Digital slr Photography 89

chRis GilbeRt

90 Digital slr Photography November 2017

I think there’s a reason why the Peak District was the first National Park; it’s a fairly compact area but it's packed with beautiful places. Top:Viator’sBridgeatMilldaleinthesouthernPeakDistrict. Aboveleft:ReflectionsinHowdenreservoirwherethe Dambusterspractisedthebouncingbomb.Aboveright: LookingtowardtheRoachesfromHangingStone. Opposite:ApanoramaoftheeasternDarkPeak.

co-author Photographing The Peak District was one that ensured each chapter could be covered as thoroughly as possible. “I saw some of Chris Gilbert’s images and instantly fell in love with his work; they evoke a very emotional response,” Mick explains.

chRis GilbeRt

Mick Ryan

the U.S. I settled in Sheffield and got to know the Peaks intimately. I love finding new places. The famous gate on the Great Ridge is one of the most popular places in the Peak District, and quite rightly so; you’ve got to go there as it’s stunning. But after you’ve been there you can go down to Chee Dale where the mist will be rising from the River Wye. There’s so much more to see. I think there’s a reason why the Peak District was the first National Park; it’s a fairly compact area that's packed with beautiful places. You’ve got that contrast between the gritstone edges and Brontë-type moors, and the haunting sites of the plane crashes from the ‘50s. Then there's the wonderful, idyllic green meadows and leafy dales. It really is a special area.” Mick has been photographing landscapes in the area seriously for the past six or seven years, and in a region with such rich variety and hidden gems the decision to

“There are possible pitfalls that can come from co-authoring, but Chris and myself decided on some simple but really important things from the get go, such as whose name was going first and who was going to have the cover image. I did all the writing, Chris fed me some locations and we split the photography. I’ve got a lot of respect for Chris – it was a really enjoyable process.” Part of fotoVUE’s ethos is to look after the photographers and authors to ensure that they create something that they’re proud to put their name to. Image sale royalties from a single print run won’t pay off the mortgage in this day and age, so fotoVUE works with photographers to keep on developing and adding content to the titles to create second and third editions further down the line. Photographers can also sell their own books too, which helps them to earn extra on top of the royalties, and makes both authoring

Image:mIck Ryan

Mick Ryan

October 2017 Digital slr Photography XX

Chris Gilbert

We tell our photographers that when they're at a location not to just go for the big classic shot – use three different focal lengths, take more images, be mobile and try and tell a story through a collection of photographs and landscape photography a continually viable income stream for the professionals. Of course, informing the readers is at the heart of all of this, and Mick tells me that a lot of energy and thought goes into how they approach each location: “We tell our photographers that when they're at a location not to just go for the big classic shot – use three different focal lengths, take more images, be mobile and try and tell a story through a collection of photographs. It’s not just the gate at Mam Tor, it’s the steps leading up, it's the trig point on the top, or

92 Digital slr Photography November 2017

the grass in the foreground with the valley blurred below. If you approach a location like that not only do you get more fun out of it, but in the book it’s more interesting for readers to look at. There’s so much more to photography than the usual big rock in the foreground and the misty valley below.” As Mick and I talk on Skype, I’ve a number of fotoVUE titles laid out on the desk in front of me, and I can certainly attest that seeing all of these inspirational images, and reading about how accessible the great locations are, is enough to make me want to bid him

Left:WallsandfieldsinTansleyDalenearLittonintheWhite Park.Above:Thewell-knownCurbarEdgelookingdown intotheDerwentvalley,aclassicPeakDistrictlocation. Right:There’snobetterplacetowitnesscloudinversions thanonasmallroadthatclimbsoutofthesmallvillageof Castleton.Farright:GrindslowKnollabovethevaleofEdale offerstheperfectperchforautumnandwintersunrises.

farewell, turn off the computer and head out with my camera to discover this nation’s great photography hotspots. However, the reaction to fotoVUE’s guidebooks, surprisingly, isn’t always as positive as my own. “We have come into criticism from some photographers for producing a tick list,” Mick reveals. “We’ve even had people saying that there are tripod marks at locations because we’ve put them in the books, but I’m sure they’re exaggerating. We faced the same criticism for creating hotspots with rockclimbing guides too.

Mick Ryan

November 2017 Digital slr Photography 93

What we’re striving to do is actually the complete opposite of this. Sure, go and get the classics – it’s a rite of passage, but then visit some of the other places nearby. We’re trying to take people away from the hot spots and to allow them to find more places, different compositions and a greater variety of shots. It seems to be working; we get people telling us that they’re discovering new places they didn’t know about. In the Peaks, you can get so much done in a morning; there’s a good road network and you’re covering a relatively small area. The biggest skill for a photographer here is to know where you’re going and make the most of your time, which our titles help with.” In an age where photography is such a big part of everyone’s life and travels, and we all have a more than capable camera on us at all times, Mick is very aware that there are more than just dedicated photographers showing interest in their guidebooks. He explains further: “Everyone's a photographer of some kind now – the die-hard club photographers

94 Digital slr Photography November 2017

We’re trying to take people away from the hot spots and to allow them to find more places, different compositions and a greater variety of shots will absolutely hate me for saying that, I know. But hopefully those shooting with a smartphone will transition to taking photography more seriously at some point. By default our titles make for great visitor guidebooks. We know from pre-orders and sales that not only photographers, but walkers, climbers, daytrippers and tourists are buying the guides. So we’re now tweaking our approach to welcome those who might not be visiting solely for photography. It’s a balancing act, as the photographer is still our main focus, and we always include plenty of information on kit and technical details. We’re all photography geeks too, so we want to know EXIF data for each image and so forth – that side of things is very important still.”

More variety is on the horizon too it seems; a title covering Scotland is well underway, as well as a large book covering photography of all kinds in London as well as a smaller pocket guide for the capital. With photo tourism a popular pastime, overseas locations are in the works too. Photographer James Rushforth has just finished PhotographingTheDolomites, which is available to pre-order now, and he is currently, and enviably, in Iceland working on a guidebook for the entire island as well. Mick revealed to me plans to produce books for Croatia and Yosemite at some point in the future too. “We’re planning on developing apps and ebooks that add more geographical functionality,” he reveals. “In the future you’ll be able to buy a stripped-down version of the book on an app with GPS coordinates

Mick Ryan chRis GilbeRt Mick Ryan

Mick Ryan Mick Ryan

Above:CrookHilllookingdownattheAshoptonviaduct andLadybowerreservoir.Topright:TheremoteCrow StonesontheHowdenMoorsabovetheDerwentreservoirs. Middleright:TheHopeValleyfromMamTorwiththeHope churchspireemerging.Bottomright:Theserpentinecurve oftheroadthatleadsintotheValeofDalefromMamNick.

built in, all linked to The Photographer's Ephemeris . We’re ultimately trying to cover all the UK, so we’ve a few more regions to pick up here in the meantime too.” “There’s a tendency to believe that in this social media-led world that we all want to digest small bits of information as quickly as possible, but I don't subscribe to that,” Mick continues. “I think there's a lot of people who still appreciate reading interesting info in long form. Combine that with lovely photographs and I think you’ve got the best of both worlds. We want people to sit down, read, look, plan and get out there. The big, almost philosophical, message is that it's fun to go outside and take photographs.” PhotographingThe Peak District is out now, priced £27.95. Formore fotoVUE titles,visit:www.fotovue.com November 2017 Digital slr Photography 95

Gear

photo kittested & rated byeXperts

FujiFilmGFX50s

thebrandbehindthebrilliantX-seriesoFcompact,Feature-packedmirrorless modelshaslaunchedarGuablytheFinestdiGitalmedium-Formatcamerayet!

Plus Gearnews: severalcameraandlenslaunchesheadupthismonth’slatestreleases Page100 Grouptest: ninecarbon-fibretripodsunder£350aregivenafullandthoroughtest Page106 minitests: X-ritecolorimeter,manfrottoXumefiltersystem&chillblast’spowerfulpcrated Page115

Gear/ Product news

ABUSYMONTH FOR FUJIFILM! FUJIFILM HAS ANNOUNCED a number of new releases and forthcoming launches. First up we have its latest X-Series mirrorless model: the 24.3-million pixel X-E3. It's an update of the X-E2, which was released in late 2013, and is the first X-Series model to sport Bluetooth for image transfer. It boasts a slimline and lightweight body (337g with battery and card), making it a great choice as a travel camera, and offers a 2,360,000-dot electronic finder as well as a 3in 1,040,000dot LCD touchscreen monitor. Videographers can shoot at 4K or lower, while other features include an ISO range of 100-51200 recording and a hotshoe for external flash (there's no integral flashgun). The XE-3 is available now for £849 body-only, in a kit with the 18-55mm lens for £1,249 or the 23mm f/2 lens for £1,149. Close-up enthusiasts will be looking forward to November with the release of the (£1,249) Fujinon XF80mmF2.8 LM OIS WR Macro, the first optic in the X-series range to boasts a 1:1 (life-size) reproduction ratio. Its effective focal length of 112mm makes it ideal for photographing nature close-ups and it sports 16 elements in 12 groups, as well as optical

image stabilisation. Fujiﬁlm also revealed further details of its lens roadmap for the near future, with an XF8-16mmF2.8 R LM WR ultra-wide-angle zoom and a XF200mmF2 R LM OIS WR prime telephoto due for release in 2018. Fujiﬁlm also announced it would launch the Fujinon GF45mmF2.8 R WR lens – the sixth model in the medium-format GF range. With an effective focal length of 36mm and 11 elements in eight groups, it promises to give ultra high-resolution wide-angle images for landscape, travel, portrait and documentary photographers.

Fujifilm also revealed details of X Raw Studio, a new Raw conversion system due in late November (Mac) or late January 2018 (PC). It will allow for fast and easy Raw conversion that uses the camera's processor rather than the computer's for improved batch conversion and image quality. Finally, users of the X-Pro2, X-T2, X100F and X-T20 can expect firmware updates in November/December that will add a number of features and improvements to usability, as well as support for X Raw Studio. These include adding 4K video with Film Simulation Modes on the X-Pro2, new AF tracking algorithms for moving subjects on the X-Pro2 and X-T2 and touch panel operational enhancements on the X-T20! www.fujifilm.co.uk

ANDFORCANON,TOO... THE CANON EOS M100 is the latest mirrorless model in the EOS M range and is aimed at photo novices looking for a small, easy to use and affordable camera. It boasts a 24.2-million pixel APS-C CMOS sensor, a DIGIC 7 image processor, Dual Pixel AF, integral flash, Full HD video and both Wi-Fi and Bluetooth. The 3in 1,040,000-dot LCD monitor can be tilted upwards by 180° and has a touchscreen facility. There is a wide range of exposure modes including several scene modes, as well as four metering patterns and a set of creative filters. Considering it costs only £450 body-only (£570 with 15-45mm lens), it offers an excellent range of features. Also announced are four EF lenses designed for the EOS range of DSLRs, all due to be on sale in November. Portrait users will be attracted by the (£1,570) EF 85mm f/1.4L IS USM prime, designed to give ultra-sharp portraits with attractive bokeh. It boasts 14 elements in ten groups and a four-stop image stabiliser. A trio of tilt & shift lenses priced at £2,500 was also announced: the TS-E 50mm f/2.8L MACRO, (£3,500) TS-E 90mm f/2.8L MACRO and TS-E 135mm f/4L MACRO. Close-up photographers looking for a highpowered macro-light will need to start saving up for the (£1,080) MT-26EX-RT, released in November. This twin-light model has movable flash tubes, clip-on diffusers ad adjustable power settings. It features a hotshoe-mounted control unit and sports a radio wireless facility that allows it to control up to 15 other flash units in five groups. www.canon.co.uk

100 Digital SLR Photography November 2017

OLYMPUS OM-DMARKIII THE OM-D E-M10 MARK III is the latest budget Micro Four-Thirds mirrorless model from Olympus. It costs £700 body-only and updates the two-yearold Mark II with a number of new features and performance enhancements. These include a faster processor, slow-motion and 4K video recording, along with a faster continuous shooting rate of 8.6 frames-per-second. Other features include a 16.1-million pixel sensor, 121-point contrast AF system, 324-zone metering pattern, built-in ﬁve-axis stabilisation, Wi-Fi and a wide range of creative art ﬁlters. www.olympus.co.uk

Product news \

NIKOND850LAUNCHED NIKON’S LATEST FULL-FRAME DSLR has been announced and it looks set to become an instant hit, judging by the positive response from the public. Nikon claims: 'it gives full-frame photographers the ultimate combination of resolution, speed, and light sensitivity', and features an FX-format CMOS sensor with 45.4-megapixel resolution, no optical low-pass ﬁlter and a new gapless on-chip lens architecture designed to capture additional detail and a wider dynamic range. Despite the very high resolution, the EXPEED 5 processor handles continuous shooting at up to nine frames-per-second when using the optional MB-18 battery pack (standard frame rate: 7fps), while the sensitivity range of ISO 64-25600 is expandable to 32-102400. Videographers have 4K video at their disposal, while full-frame time-lapses can be created in 8K. The AF system is based on the D5 and sports 153 AF points, while exposures are handled by a 180,000-pixel RGB sensor. The range of features makes it suitable for all forms of photography from sports to studio and provides a serious alternative to the Canon EOS 5DS/DSR for those wanting ultra-high resolution images. The D850 costs £3,500 body-only and is available now. www.nikon.co.uk

TAMRON’SULTRA-TELEPHOTO TAMRON HAS RELEASED details of its latest ultra-telephoto zoom; the 100-400mm F/4.5-6.3 Di VC USD. Designed for full-frame DSLRs, it features three LD (Low Dispersion) elements to minimise aberration reduction, Tamron’s eBAND anti-reflection coating and a moisture-resistant construction and fluorine coating for enhanced weather-proofing. At 1,115 grams, it's the lightest in its class and the barrel features magnesium to improve weight reduction, strength and portability. A high-speed Dual MPU (Micro-Processing Unit) provides fast and precise AF and improved Vibration Compensation. Price and availability are yet to be confirmed. www.tamron.co.uk

GET READY FOR CAMERAWORLDLIVE!2017 LEADING PHOTO RETAILER CameraWorld has announced CameraWorld LIVE, a brand new, free, one-day photography event taking place on 28 October in Bishopsgate, central London. It will bring the biggest and most respected brands in the photography industry, including Canon, Nikon, Sony, Fujiﬁlm, Olympus, Panasonic, Tamron, Sigma, Zeiss, Lowepro, Benro and Velbon. There will be product demonstrations, seminars, experts on hand to answer questions and the chance to touch, try and buy the latest photo kit and take advantage of exclusive show deals and trade-in offers. For further details, visit: www.cameraworldlive.co.uk

Gear

INBRIEF... SPECTRALBYTHINKTANK

Think Tank has released the Spectral ThinkTankhasreleasedtheSpectral series of shoulder bags. Three sizes seriesofshoulderbags.Threesizes areavailable,eachwithaclean, discreetdesignandamagnetic Fidlockclasp.Pricesare£95for theSpectral8,£114forthe Spectral10and£133forthe www.thinktank.com Spectral15.www.thinktank.com

ULTRA-WIDE BACKDROPS Manfrotto has launched panoramic backgrounds in granite and limestone.The three-panel background is self-supporting, measures fourmetreswide, collapses to 100x30x35cm for easystorage and carriage and costs £600. www.manfrotto.co.uk

4K 360°THETA The£400RicohThetaV,is aslimlineandlightweight camerathatshoots360° sphericalstillimages(approx 14-megapixels)and4K360° video.ItoffersWi-FiandBluetooth andhastransferspeeds2.5xfasterthan previousmodels.www.ricoh.com

SONY’S LITTLE RXO Sonyhopes its (£800) RXOwill take a chunk ofthe action cam market from GoPro. Designed to survive crushing, 10m depths and being dropped from two metres, it's certainlytough. It's tinyat 59x40.5x29.8mm, shoots 15.4-megapixel stills at up to 16fps, aswell as 4K and slow-motionvideo. www.sony.co.uk

PROFOTO’SA1 Aswewenttopress,premium studioflashbrandProfoto revealedthe(£850)A1,a powerfulon-cameraflash boastingfastrecycling,AirRemote built-in, AirTTL, high-speed flash and an built-in,AirTTL,high-speedflashandan LEDmodellinglight.ItworkswithCanonand Nikon,withSonytofollow.www.profoto.com

LIGHT FANTASTIC FROM ROTOLIGHT ROTOLIGHT HAS ANNOUNCED a world first with its NEO 2, an all-in-one High-Speed Sync (HSS) flash and continuous on-camera LED for portrait photographers and videographers. NEO 2 provides the benefits of continuous light and the flexibility of HSS flash (1/8000th sec) whenever users need more power or to freeze action. HSS also enables users to shoot with wider apertures to create beautiful separation between subject and backgrounds. It features adjustable colour temperature in both flash and continuous modes, with a built-in Kelvin display, and gives 5,000 full-power flashes on a single set of rechargeable AA batteries. It costs £300 and is available now for Canon, Nikon, Sony, Olympus and Panasonic, with Fujifilm to follow soon. Also, Rotolight has collaborated with Elinchrom to integrate its Skyport 2.4Ghz HSS wireless flash receiver into NEO 2, eliminating the need to buy a standalone fl ash receiver. Skyport enables users to wirelessly control up to ten lights in four flash groups at up to 200m with the new Rotolight HSS transmitter. www.rotolight.com

November 2017 Digital SLR Photography 101

Gear/ Mirrorless medium-format camera

FUJIFILM GFX50S Fujifilm’sGFX50S istheﬁrstcamera initsnewmedium-formatsystem, promisingimagequalitysurpassing what'sonofferfromsmallersensors Test: DANIEL LEZANO

SPECIFICATIONS GuidePrice:£6,000(body-only) Imagesensor:G-format(4:3)CMOS(43.8x32.9mm) Resolution:51.4-megapixels Maximumimageresolution:8256x6192pixels ContrastAFsystem:9x13(117points)/17x25(425 points)singlefocuspointsandsixsizesoffocusarea Meteringpatterns:Multi-zone(256zones), spot,average&centre-weighted ISOrange:ISO100-12800plusAuto. Expandableto50-102400. Shutterspeeds:1/4000sec-fourseconds&Bulb. (Electronicshutter:1/6000sec-60minutes) LCDmonitor:3.2in2,360,000-dottiltingtouchscreen Framerate:Threeframes-per-second Storage:DualSD(SDHC/XC) Size(WHD):147.5x94.2x91.4mm Weight:825gincludingbattery&card/920gwithEVF Website:www.fujiﬁlm.co.uk

UJIFILM’S X-SERIES of APS-C mirrorless cameras have proven incredibly popular, thanks to their combination of small size, high specification and excellent image quality. The GFX 50S is a totally different type of camera and the first in Fujifilm's G-system. At its heart is a medium-format sensor that's 1.7x bigger than full-frame yet smaller than other medium-format digital sensors. Photographers as old as me will know that Fujifilm has a heritage in medium-format cameras, with models like the GA645, GX680 and GX617 offering a diverse range of options for enthusiasts and professionals. So while the GFX system is new, the brand is well versed in medium-format cameras and optics that are capable of meeting the needs of the discerning professional photographer. The GFX 50S is the first model in the range, and having used it for a couple of weeks I'm very impressed with it. While the bigger sensor requires the camera body to be larger to accommodate it, the GFX 50S is similar in size to pro-spec DSLRs from the likes of Canon and Nikon. However, the outfit does become bulkier with a lens fitted, as optics need to be larger due to the larger sensor. That said, it's still a relatively compact and lightweight offering bearing in mind the format size – I took the body and two lenses

102 Digital SLR Photography November 2017

Above&below:Despitehousing amedium-formatsensor,theFujiﬁlm GFX50S isasimilarsizetopro-DSLRsand hasacontrollayoutthat'seasytogetusedto.

on a short overseas trip and didn't find it much different to carrying around a pro DSLR and set of lenses. As you'd expect, the magnesium alloy body feels very robust and well put together and is sealed in 58 locations to ensure excellent dust- and weather-proofing. A prominent handgrip affords a solid hold, so much so that one-handed shooting-from-thehip is possible. Two large dials on the top-plate handle ISO and shutter speeds, with both offering a central lock button to prevent accidental rotation. Control buttons are located on the top, front and rear of the body and while some are labelled, others (chiefly the customisable buttons) are unmarked, which is unusual. Customisation – an important facility for pros – is extensive on the GFX 50S, with ten options, including a Q (Quick) button near the thumbrest and a four-way control, allowing fast access to important functions. The 3.2in LCD monitor is excellent, providing a very sharp and bright display when using LiveView or reviewing images. An up/down (no side-to-side) tilting facility allows it to be used high or low and, best of all, it sports a touchscreen facility too. The electronic viewfinder (EVF) provides 100% coverage and uses a 3.69-million-dot screen, which gives a sharp and colourful electronic image, along with extensive information and the option to have a histogram or electronic level on the screen.

A sensor can be activated to switch between using the LCD or EVF to compose or review images. The EVF is detachable, allowing an optional tilting adapter to be ﬁtted. All these features ensure users feel at home with the GFX 50S relatively quickly, with the majority of the camera's operability being very similar to that of a DSLR. The Fuji's 51.4-million pixel CMOS sensor is larger than full-frame and much larger than APS-C, and the additional surface area means bigger pixels (and larger optics), which both work at allowing the GFX 50S to capture images with far more detail and sharpness than smaller sensors with a similar pixel count. It boasts an excellent dynamic range of 14 stops and, as well as the native format, can be set to shoot in six other formats including 1:1, 3:2 and 16:9. The X-Processor Pro is the imaging engine tasked with handling these large

THE GF GFX G F X SYSTEM The GFX 50S is the first model in the GFX system TheGFX50 isthefirstmodelintheGFXsystem and andusestheGMount,whichhasadiameterof uses the G Mount, which has a diameter of 65mm. 65mm.Afullyelectronicmountensuresfast A fully electronic mount ensures fast communication communicationwithlensesandaccessories, with lenses and accessories, whilethemirrorlessdesignallowsforashort while the mirrorless design allows for a short backfocusof16.7mm,whichaidslensdesign. ThesystemcurrentlyofferssixGFlenses,a flashgun,verticalgripandvariousaccessories. Belowisalistoflenses(35mmequivalentfocal lengthinbrackets)andmainaccessories. • 23mmf/4RLM(18mm):£2,399 • 45mmf/2.8RWR(Duelate2017) • 63mmf/2.8RWR(50mm):£1,359 • 32-64mmf/4RLMWR(25-51mm):£2,149 • 110mmf/2RLMWR(87mm):£2,599 • 120mmf/4ROISWRMacro(95mm):£2,499 • EF-X500flashgun:£449 • VG-GFX1VerticalBatteryGrip:£579

CLOSEST RIVALS

Exposure:1/160secatf/10(ISO500)

ﬁles and ensuring processing extracts maximum image quality and minimal noise. The ISO range can be expanded as low as ISO 50 and as high as 102400, so there is plenty of scope for low light handheld photography. Exposure modes are limited to the core four: program, manual, apertureand shutter-priority. There are four metering modes, with the default being a 256-zone pattern. Spot takes a reading from a 2% area and can be linked to the active AF point. The AF system is based on contrast AF and offers a wide range of modes and options. Along with single and multi-point AF, zones using 3x3, 5x5 or 7x7 points is available, with a focus lever on the rear allowing quick adjustments of their position. Face and eye detection options are also available. Other notable features are a wide range of Film Simulation modes based on classic Fujiﬁlm emulsions, a 1.28in LCD info panel

behind the shutter button, Full HD video, an interval timer, multiple exposures, a hotshoe for dedicated flash and Wi-Fi connectivity. Bar the odd obvious thing that separates mirrorless to DSLR (such as the EVF), using the GFX 50S is effectively no different to using a large DSLR. AF is responsive and accurate, and in terms of speed is close to matching that of current DSLRs. The multi-zone pattern was consistently good too, with only strong backlighting throwing it off. Image quality is exceptional, with the huge files recording an incredible level of detail. Dynamic range proved excellent too, while noise was handled far better than I expected – night shots at very high ISO ratings are more than usable. In terms of image quality, no other digital camera I've used can match the Fujifilm GFX 50S. My only concern in terms of usage is battery life – a spare or two is recommended.

• PENTAX645Z:Brilliantmedium-formatDSLR backedupbyacomprehensiverangeofoptics. Featuresaweather-resistantbody,FullHD videoand51.4-megapixelCMOSsensor.Costs £6,600body-onlyor£7,500with55mmf/2.8. • HASSELBLADX1D-50C:Compactand lightweightmirrorlessmedium-formatmodel boasting a50-megapixelCMOSsensor, weatherproofbodyandFullHDvideo.Thereare fourlensesintherange,butanadapterallows useofHasselbladH-seriesoptics.Itcosts around£7,800body-only. • CANONEOS5DSR:Thisfull-frameDSLR boastsaCMOSsensorwitharesolutionof 50.6-millionpixels.Itcosts£3,149body-only, hasFullHDvideocapabilityandallowsaccess toCanon'sextensiveEFlensrange.

VERDICT The Fujiﬁlm GFX 50S is an exceptional camera that delivers unbelievably sharp images. Its relatively compact size (and weather-prooﬁng) means it's as suitable for use outdoors as in the studio. It's also very competitively priced too – most innovations are released at a premium price, but Fuji has made this a truly viable option for pros. A truly wonderful camera. Handling

18/20

Ease of use

18/20

Features

19/20

Performance

19/20

Value

18/20

Overall

92/100

November 2017 Digital SLR Photography 103

Happy 100th Anniversary, Nikon! The widest range of second-hand

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Nikon 1 System

Nikon 1 V3 10-30mm + Grip Kit.......................................... Nikon 1 AW1 + 11-27.5mm f/3.5-5.6................................... Nikon 1 AW1 + 11-27.5mm f/3.5-5.6 + 10mm f/2.8............. Nikon 1 J5 + 10-30mm PD Zoom lens, black..................... Nikkor VR 6.7-13mm f/3.5-5.6............................................ Nikkor VR 10-30mm f/3.5-5.6............................................. Nikkor VR 30-110mm f/3.8-5.6........................................... 1 Nikkor VR 70-300mm f/4.5-5.6........................................ 1 Nikkor AW 10mm f/2.8..................................................... 1 Nikkor 18.5mm f/1.8......................................................... 1 Nikkor 32mm f/1.2............................................................ 1 Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom........................ Nikon SB-N7 Speedlight..................................................... Nikon GP-N100 GPS Unit................................................... Mount adapter FT1.............................................................

AF-S & AF DX Nikkor Lenses

We are always seeking mint or near-mint examples of Nikon FM3A, FM2 & F3HP cameras and manual focus Nikkor lenses Please telephone 020-7828 4925 for our oﬀer today

10.5mm f/2.8G AF DX ED Fisheye..................................... AF-S 35mm f/1.8G DX........................................................ AF-P 10-20mm f/4.5-5.6G VR DX....................................... AF-S 10-24mm f/3.5-4.5G IF-ED DX.................................. AF-S 12-24mm f/4G IF-ED DX........................................... AF-S 16-80mm f/2.8-4E ED VR DX.................................... AF-S 16-85mm f/3.5-5.6G ED VR DX................................ AF-S 17-55mm f/2.8G DX IF-ED........................................ AF-P 18-55mm f/3.5-5.6G VR DX....................................... AF-P 18-55mm f/3.5-5.6G DX............................................. AF-S 18-55mm f/3.5-5.6G VRII ED DX.............................. AF-S 18-105mm f/3.5-5.6G VR DX IF-ED.......................... AF-S 18-140mm f/3.5-5.6G VR DX ED.............................. AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED....................... AF-S 18-300mm f/3.5-5.6G ED VR DX.............................. AF-S 18-300mm f/3.5-6.3G ED VR DX.............................. AF-S 55-200mm f/4-5.6G DX ED VR II.............................. AF-S 55-300mm f/4.5-5.6G DX VR.................................... AF-P 70-300mm f/4.5-6.3G ED VR DX.............................. AF-P 70-300mm f/4.5-6.3G ED DX....................................

AF FX Nikkor Lenses

14mm f/2.8D AF ED............................................................ 16mm f/2.8D AF Fisheye.................................................... 20mm f/2.8D AF.................................................................. 24mm f/2.8D AF.................................................................. 28mm f/2.8D AF.................................................................. 35mm f/2D AF.....................................................................

£4,895.00 £3,499.00 £369.00 £2,890.00 £2,390.00 £2,699.00 £3,899.00 £4,175.00 £5,590.00 £299.00 £1,590.00 £1,839.00 £2,045.00 £2,270.00 £1,189.00 £1,349.00 £1,669.00 £209.00 £1,690.00 £2,440.00 £349.00 £1,189.00 £1,525.00 £829.00 £1,020.00 £1,045.00 £590.00 £649.00 £840.00 £419.00 £495.00 £665.00 £439.00 £2,249.00 £1,995.00 £5,000.00 £795.00 £549.00 £695.00 £345.00 £375.00 £225.00 £179.00 £745.00 £245.00 £145.00 £599.00 £529.00 £119.00 £99.00 £199.00 £569.00 £165.00 £329.00 £699.00 £939.00 £839.00 £539.00 £1,275.00 £199.00 £149.00 £149.00 £225.00 £445.00 £595.00 £839.00 £575.00 £219.00 £289.00 £289.00 £245.00 £1,270.00 £649.00 £479.00 £379.00 £249.00 £265.00

Prices include 20% VAT. Prices Subject to Change. E.&O.E.

50mm f/1.8D AF.................................................................. 50mm f/1.4D AF.................................................................. 105mm f/2D AF-DC............................................................ 135mm f/2D AF-DC............................................................ 180mm f2.8D AF IF-ED......................................................

£109.00 £249.00 £859.00 £1,075.00 £729.00

AF-S FX Silent Wave Nikkor Lenses

AF-S 20mm f/1.8G ED....................................................... £635.00 AF-S 24mm f/1.8G............................................................. £599.00 AF-S 24mm f/1.4G ED....................................................... £1,775.00 AF-S 28mm f/1.4E ED........................................................ £2,079.00 AF-S 28mm f/1.8G............................................................. £529.00 AF-S 35mm f/1.4G............................................................. £1,489.00 AF-S 35mm f/1.8G ED....................................................... £419.00 AF-S 50mm f/1.4G IF.......................................................... £369.00 AF-S 50mm f/1.8G ............................................................ £179.00 AF-S 58mm f/1.4G............................................................. £1,339.00 AF-S 85mm f/1.8G............................................................. £419.00 AF-S 85mm f/1.4G............................................................. £1,325.00 AF-S 105mm f/1.4E ED..................................................... £1,775.00 AF-S 8-15mm f/3.5-4.5E ED Fisheye-Nikkor...................... £1,299.00 AF-S 14-24mm f/2.8G IF-ED.............................................. £1,525.00 AF-S 16-35mm f/4G ED VR............................................... £989.00 AF-S 17-35mm f/2.8D IF-ED.............................................. £1,490.00 AF-S 18-35mm f/3.5-4.5G.................................................. £589.00 AF-S 24-70mm f/2.8G IF-ED.............................................. £1,449.00 AF-S 24-70mm f/2.8E ED VR............................................ £1,835.00 AF-S 24-85mm f/3.5-4.5G ED VR...................................... £419.00 AF-S 24-120mm f/4G ED VRII........................................... £919.00 AF-S 28-300mm f/3.5-5.6G ED VR.................................... £769.00 AF-S 70–200mm f/2.8E FL ED VR..................................... £2,240.00 AF-S 70-200mm f/4G VR IF-ED......................................... £1,139.00 AF-S 80-400mm f/4.5-5.6G VRII ED.................................. £2,069.00 AF-S 200-400mm f/4G VRII IF-ED..................................... £5,790.00 AF-S 200-500mm f/5.6E VR ED......................................... £1,135.00 AF-S 200mm f/2G VR II IF-ED........................................... £4,690.00 AF-S 300mm f/4E PF ED VR............................................. £1,439.00 AF-S 300mm f/2.8G VR II IF-ED........................................ £4,689.00 AF-S 400mm f/2.8E VR FL ED........................................... £9,890.00 AF-S 500mm f/4E FL ED VR.............................................. £7,990.00 AF-S 600mm f/4E FL ED VR.............................................. £9,635.00 AF-S 800mm f/5.6E VR FL ED (inc. TC-800-1.25E ED teleconverter) ........................................................................................... £14,390.00 TC-14E III 1.4x teleconverter............................................. £415.00 TC-17E II 1.7x teleconverter............................................... £335.00 TC-20E III 2x teleconverter................................................ £385.00

AF & AF-S Micro-Nikkor Lenses

AF-S 40mm f/2.8G DX Micro............................................. 60mm f/2.8D Micro............................................................. AF-S 60mm f/2.8G ED Micro.............................................. AF-S 85mm f/3.5G VR DX IF-ED Micro............................. AF-S 105mm f/2.8G AF-S VR Micro IF-ED........................ 200mm f/4D AF Micro IF-ED..............................................

Nikon Speedlights

SB-5000 Speedlight........................................................... SB-700 Speedlight............................................................. SB-500 Speedlight............................................................. SB-300 Speedlight............................................................. SB-R1C1 Close-Up Commander Kit.................................. SB-R1 Close-Up Remote Kit.............................................. SU-800 Wireless Speedlight Commander.......................... SB-R200 Wireless Remote Speedlight...............................

£229.00 £399.00 £485.00 £429.00 £729.00 £1,239.00 £459.00 £229.00 £179.00 £109.00 £569.00 £399.00 £319.00 £139.00

Manual Focus Nikkor AIS Lenses 20mm f/2.8 Nikkor......................................................... 24mm f/2.8 Nikkor......................................................... 28mm f/2.8 Nikkor......................................................... 35mm f/1.4 Nikkor......................................................... 45mm f/2.8P Nikkor, chrome......................................... 50mm f/1.4 Nikkor......................................................... 50mm f/1.2 Nikkor..........................................................

£901.00 £608.00 £615.00 £1,227.00 £325.00 £597.00 £855.00

Special Purpose: Perspective Control & Micro-Nikkor Lenses

19mm f/4E (Tilt/Shift-Perspective Control) ED Nikkor........ £2,990.00 24mm f/3.5D PC-E ED Nikkor............................................ £1,525.00 28mm f/3.5 PC Nikkor........................................................ £1,195.00 45mm f/2.8D ED PC-E Nikkor............................................ £1,440.00 85mm f/2.8D ED PC-E Nikkor............................................ £1,290.00 105mm f/2.8 Micro-Nikkor.................................................. £1,047.00 200mm f/4 Micro-Nikkor..................................................... £895.00 PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control

TO ORDER TELEPHONE 020-7828 4925

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Fax: 020-7976 5783 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk

The New

Nikon D850

Key features include:

            

45.7mp backside illuminated full-frame sensor



The tilting, touch-operational 3.2-inch, approx. 2360k-dot LCD monitor makes it easier to shoot stills and 4k from diﬀerent angles

Up to 9fps burst rate at full resolution (7fps without battery grip) ISO range 64-25,600 (extendable to 32-102,400 equivalent) 153-point AF system as incorporated in the flagship D5 body Electronic shutter for vibration-free and noiseless shooting in LiveView mode RAW recording in large, medium or small sizes Focus shift mode allows for an infinite depth of field EXPEED 5 processor gives noise-free performance at high ISOs and focus capabilities at -3 EV Button illumination for shooting in dark situations True full-frame 4k/UHD video shooting High speed data transfer, wireless connectivity & Snapbridge compatibility Shoot approximately 1840 still images on a single charge from the EN-EL15a battery The new MB-D18 battery grip coupled with the EN-EL18b battery allows for 9fps shooting & up to 5140 still images on a single charge

PRICE: £3499.00, MB-D18 battery grip: £369.00 Prices inclusive of 20% VAT

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Gear/ Carbon-ďŹ bre tripods

CARBON-FIBRE

106 Digital SLR Photography November 2017

Carbon-ﬁbretripods \

TRIPODS

Gear

Test: RICHARD HOPKINS

THEY'RE ALL CARBON-FIBRE, ALL UNDER £350, AND ALL COMPLETELY DIFFERENT! NINE TOP TRIPODS FROM THE BEST KNOWN BRANDS, ALL SUBJECTED TO THE REVEALING SCRUTINY OF OUR UNIQUE NEWTEST PROCEDURE

November 2017 Digital SLR Photography 107

Gear/ Carbon-fibre tripods

hese tripods have two things in common â&#x20AC;&#x201C; they're all carbon-fibre and cost around the ÂŁ300 mark, give or take. But those things aside, they're a very varied bunch, from lightweight travel tripods, to heavier professional standard supports, with some models sporting unusual designs and attractive extras. Most tripods at this level come without a head, but have a universal 3/8in screw on the top platform to fit any head of your choosing. it's important not to skimp on that as a chain is only as strong as its weakest link and the head is the main user-interface; the bit you actually work with. at the lighter end of the scale, we have the slik Lite, which weighs only around 1kg and can be closed down unbelievably small with that cunning mechanism where the legs fold up and back on themselves to wrap around the ball-head, but then extends into the tallest on test! Can tripods like these really support a full-size dsLr and telezoom lens? the middle ground is well populated with tripods from Benro, Manfrotto, sirui, vanguard and velbon. they include innovative features like articulating centrecolumns and monopod conversion options. one model even offers both, but can still step up to the mark for regular tripod duties. and, at the more enthusiast end, there are three models that are clearly focused on the vital task of providing super-stable support with fatter leg sections and more robust fixtures, but still with a keen eye on the weight. how much difference do these things make?

to find out, we've developed our usual field analysis and added a new and revealingly accurate test procedure for measuring a tripod's resistance to wind-buffet and mirror-shock. there's no hiding from this one. it's described in the section below, with simple percentage performance data given in each of the respective reviews.

HowwedidTHeTesTs the two enemies of tripod stability are buffeting from the wind, and vibration from the camera's mirror and shutter mechanisms. We set up tests to accurately measure the effects of both, using imatest software to analyse the blurring of real world images. imatest is normally used to measure lens MtF sharpness very precisely, and it does exactly the same thing with movement blur. the wind effect was generated with an industrial fan, carefully positioned and turned down low to simulate a Gentle Breeze 3 as defined by the Beaufort scale that runs from 0 (dead calm) to 12 (hurricane). Gentle Breeze 3 blows at 8-12mph, set with a calibrated wind meter, and is described as 'leaves and twigs in constant motion, light flags extended.' this proved to be quite a tough and revealing test, but not an unrealistic or unusual one in practice. a shutter speed of five seconds was found to be the exposure time necessary for consistent results that include all the strongest vibrations as they run down and back up the length of the tripod legs, with oscillations and

AnAToMyoFATriPod 1)Height:optimumheightputs thecameraatshoulderlevel,so youcanseeallthecontrols. 130cm-ishsuitsmostpeople. 2)Minimumheight:Apartfrom reducingthelegs,optionsfor lowworkingincludesettinga widerlegangle,areversibleor articulatingcentre-column. 3)Legsections:Moresections giveextraheightand/orshorter closedlength,butmorejoints canreducerigidity. 4)Legangle:standardlegangle isaround22Â°.slightlywider anglesincreasestabilitywitha biggerfootprint,narrower anglesincreaseheight. 5)Legangleadjusters:Usually twoextraangleoptions,plus standardangle,togetdown low,ortohelplevelthetripod onunevenground. 6)Material:Carbon-fibreis ideal,strongandlight,butmore expensivethanaluminium.it alsoabsorbsvibrationbetter. 7)Monopodconversion: Unscrewoneleg,boltittothe centre-columnandyouhavea nicetallmonopod. 8)Foamrubbergrip:warmerin winter,andmorecomfortable forcarrying,eitherinthehandor restingonyourshoulder.

9)Centre-column:Convenient forextraheight,butreduces stability.Bestavoidedwitha heavyrig.Usuallyreversibleto usecameraupside-down. 10)Articulatingcolumn: Forawkwardangles,butatfull stretchcanunbalancethetripod. 11)Leglocks:Leversarefastand easy,buttwist-collarsaremore robustandlesslikelytocatchon things.Personalchoicereally. 12)Universalheadmount: standard3/8inthreadmeans differenttripodheadscanbe freelyinterchanged. 13)Ballasthook:Forhanging extraweight,likeacamerabag, forincreasedstability. 14)Spiritlevel:Tokeepyour horizonsstraight. 15)Feet:standardrubberfeet canoftenbeexchangedfor spikes.somefeetincorporate bothoptionsinone. Legmarkings:Usuallyin centimetreincrements,asa handyreferenceforadjusting heightandlevelling. Carryhook:Alwayshandy,to attachashoulderstrap,orcable releaseetc. Accessoryport:A3/8inor1/4in threadedsockettoattachan ipadormagicarm.

108 Digital slr Photography November 2017

resonances then clashing together to produce an extra bump. Mirror-shock was measured in the same way with the fan off, at a shutter speed of 1/15sec that is usually the worst affected speed with dsLrs. the outfit used in our test weighed 1.9kg and consisted of an enthusiast-level dsLr (Canon eos 7d) fitted with a telephoto zoom (eF70-200mm f/4L), mounted and balanced via the tripod collar on a high grade arcaswiss p0 head. all the tripods were set at exactly 122cm (4ft) high to the top platform, and the figures in each review are the percentage of sharpness compared to control images ranked at 100% taken with the fan off and fast-duration flash. For example, if the control image with flash showed a 100% resolution of 40 lines-per-mm on the test target (at MtF50), then a tripod scoring 75% would deliver a 30-lpmm resolution image under test conditions. it's well known that bigger and heavier tripods are more stable, but it's interesting to see how closely this fact was played out in the tests. and in much the same way, if you are able to compare a few tripods side by side, you'll probably be able to rate them in order of performance with a fair degree of accuracy if you set them up to the same working height, then hold two legs and gently push and pull them one against the other. You'll feel movement even with the best tripods, then look down the legs to check flexing around the joints. extend the centre-column and do the same with one hand on top and the other holding the top platform.

9 2 10 14

11 3 15

Carbon-ﬁbretripods \ Me Foto VelbonGeoE543D(A)

SPECIFICATIONS

OTS OF SOUND design features here, in a lightweight and well BEST FEATURE priced package, which sticks to the basics without too many frills. Leverlocks are strong Some are performance enhancing, and quiet, and legs like the lever locks, which close are marked in cms forlevelling ﬁrmly but silently, and the centrecolumn that's adjusted by a knob in the crown, which is easier to use and lowers the camera closer to the centre of gravity. Other features are more convenience oriented but no less welcome, such as the legs marked in 2cm increments for easier levelling, the rubber feet that screw back to reveal spikes, foam hand warmers on all three top sections, the bottom section of the centre-column which simply unscrews for low-level work, a ballast hook and also a separate weight hammock that hangs between the leg joints and can be loaded with stones (or whatever's handy) to provide low weight of only 1.28kg and four leg sections extra stabilising ballast or just used as a to make the height, while retaining a short 46cm convenient place for accessories. These are all closed length. So Velbon has had to reduce the thoughtful extra features that have helped to maximum leg diameter to 25mm, but they've earn Geo tripods high praise in past reviews. pulled it off and the Velbon Geo E543D, while not On the essential subject of solid support as solid as its larger stable-mates, strikes a pretty though, Velbon is on a tough gig with the very good compromise and runs very close behind heavier and more costly Manfrotto 190Go! and Sirui N-2204X. The Velbon Geo scored 59% for wind-buffet and 60% for mirror-shock, rounding up to an average score of 60%.

VanguardVEO2265CB(withBH50head)

Gear

Streetprice:£230 Normalmaxheight:123cm Extendedmaxheight:157cm Minimumheight:15cm Lengthclosed:46cm Legsections/angles:4/3 Standardlegangle:23° Legdiameters:25,22,19,16mm Leglocks:Levers(adjustable) Weight:1.28kg Loadrating:3kg(claimed) Monopodoption:No Shoulderbag:Included Manufacturedin:China Warranty:Fiveyears Website:www.intro2020.co.uk

VERDICT It's marginal on height for taller users, but scores highly on performance for such a light tripod with some nice design touches. It comes at a keen price, too. Build quality Features Stability Value

Overall

SPECIFICATIONS

ANGUARD’S REPUTATION FOR innovative design, good build BEST quality and fair prices are all in FEATURE evidence here, with a light and very Cunning centrecompact tripod, complete with column mechanism ball-head. Two features are immediately folds down fast obvious. There are no less than five leg sections, secured with grippy twist-collar locks, that explain the very short 41cm closed length combined with a height of 122cm. But that includes the head which is about 9cm, so it's just a bit too short to be comfortable for most users without extending the centre-column. The other thing catching your eye is the unusual centre-column design, with a cut-out on one side of the top platform. It looks like some sort of articulating device, and technically it is, but it's not for positioning the camera in difficult positions as others do. It's actually part of the quick-folding mechanism, so instead of pulling the legs up and backwards over the raised centre-column (as with the Slik), you simply there's a serious flaw. The cut-out section robs swing the centre-column down through the the top platform of its integral strength, and it's cut-out, without touching the legs. impossible to lock the centre-column tightly in It's a pretty cool feature that saves a lot of position. It wobbles, especially in the direction in waving legs around somewhat awkwardly, but line with the cut-out, and combined with the five leg joints that also add unwanted flex, resulting in disappointing stability test figures. For windbuffet, the Vanguard scored 50%, and 56% for mirror-shock, giving an average rating of 53%.

Streetprice:£250 Normalmaxheight:122cm(inchead) Extendedmaxheight:150cm Minimumheight:Groundlevel Lengthclosed:41cm Legsections/angles:5/3 Standardlegangle:21° Legdiameters:26,23,20,17,14mm Leglocks:Twist-collars Weight:1.35kg(inchead) Loadrating:8kg(claimed) Monopodoption:No Shoulderbag:Included Manufacturedin:Myanmar Warranty:Eightyears Website:www.vanguardworld.com

VERDICT It's clever, but the quick-folding centre-column needs more work to restore lost rigidity. Likewise, ﬁve leg sections will always have more ﬂex than three or four. Build quality Features Stability Value

Overall

November 2017 Digital SLR Photography 109

Gear/ Carbon-ﬁbre tripods Manfrotto190GOC4TB

T FIRST GLANCE, it looks BEST like another model in the FEATURE ever-popular Manfrotto 190 Unusuallyfor series with twist-collars instead of Manfrotto, twist-collar the lever leg locks that are usually leg locks are more a Manfrotto signature. But there compact & lighter are other differences to the 190Go! versions and, compared to the 190CXPRO4, most significantly there's a substantial 300g reduction in weight down to just 1.35kg, a 6cm shorter folded length, fatter tubing, and a lower price. All are most welcome changes, but the downside is a 12cm lower height. It's an appealingly different package that also offers potentially greater stability. The first thing to consider is the height. At 123cm before extending the centre-column, the 190Go! with a head and camera on top, is just tall enough to put the viewfinder around shoulder height for the average user, and that's a good position for easy operation with a clear horizontally where it can slide for and aft, and view of controls on top. But if you're nearer 6ft, rotate. Articulating centre-columns are great for or prefer to have the camera at eye-level, then it getting down low, for macro or for copying may be a bit low. The 90° centre-column is one work and go well with adjustable leg angles of Manfrotto's highlight features which is easy to – here there are four settings available rather use and particularly robust and solid, that flips than the more usual three. Manfrotto build quality can be taken as read. The 190Go! scored 60% in the wind-buffet test and 65% for mirror-shock, giving an average rating of 63% high numbers for such a lightweight tripod, that tie with the dearer Sirui.

BenroGoPlusClassicTGP17C

GP IN THE name stands for Transformable GoPlus, BEST indicating Benro's tilting FEATURE and swivelling centre-column Fullyarticulating mechanism. There's also a centre-column and detachable monopod feature, a detachable making this one of the most versatile monopod feature designs, promising high performance with Benro's high grade nine-layer carbon-fibre and known build quality. It's pretty light too at 1.38kg, considering the extra bits and pieces included, and reaches a decent height (132cm) before extending the centre-column. With three leg sections (more rigid than four) it can only close down to 62cm. The articulating centre-column pop-ups easily, and unlike the Manfrotto that is locked horizontal, the Benro can tilt through 180° degrees from straight up to straight down, These are good figures, though judging by the and even a little beyond. You can point it pretty robustness of the legs with their beefy collar much anywhere with ease, even putting the locks, the numbers might have been higher camera on the ground. It's not quite as rigid as without the tiny amount of extra flex introduced. the Manfrotto, but more than up to most tasks. The monopod feature is equally easy to set up The articulating column also seems to have – just unscrew one leg, pull out the centrehad a slight impact in the stability tests, with column and bolt them together. The monopod scores of 58% for wind-buffet and 60% for extends up to a massive 171cm, ideal for mirror-shock, giving an average of 59%. overhead shots. Other details include rubber feet than can be swapped for spikes, a carrying hook, 3/8in accessory port, spirit level, and a foam rubber warmer on the monopod leg.

110 Digital SLR Photography November 2017

SPECIFICATIONS Streetprice:£250 Normalmaxheight:123cm Extendedmaxheight:147cm Minimumheight:8cm Lengthclosed:46cm Legsections/angles:4/4 Standardlegangle:23° Legdiameters:25,22,19,16mm Leglocks:Twist-collars Weight:1.35kg Loadrating:7kg(claimed) Monopodoption:No Shoulderbag:No Manufacturedin:Italy Warranty:Tenyears Website:www.manfrotto.co.uk

VERDICT A lot of small changes to the standard Manfrotto 190 recipe add up to a lighter, more compact and better value 190Go! version that retains high performance. Build quality Features Stability Value

Overall

SPECIFICATIONS Streetprice:£290 Normalmaxheight:132cm Extendedmaxheight:159cm Minimumheight:Groundlevel Lengthclosed:62cm Legsections/angles:3/3 Standardlegangle:26° Legdiameters:25,22,18mm Leglocks:Twist-collars Weight:1.38kg Loadrating:8kg(claimed) Monopodoption:Yes Shoulderbag:Included Manufacturedin:China Warranty:Fiveyears Website:www.benroeu.com

VERDICT The TGP 17C has some really useful and well implemented extra features – to go with high overall performance and modest weight. The cost is fully justiﬁed. Build quality Features Stability Value

Overall

Carbon-ﬁbretripods \

SlikLiteCF-422(withSBH-180DShead)

SPECIFICATIONS

IGHTWEIGHT TRAVEL TRIPODS tend to be short, but the Slik Lite CF-422 is just BEST the opposite. It's actually the tallest FEATURE here, standing 144cm or 178cm with the The included centre-column extended, though that's mini ball-head is with the ball-head, which comes a little gem included. It's high by any standard, and will have your head bumping against the ceiling if you stretch it up indoors, Yet it's very light, a mere 935g without head, and that includes a built-in torch that fits inside the centre-column – for map reading, apparently. It closes down to 48cm with the legs folded up and back on themselves, into a very slender package. Aside from the size and weight, the other thing that immediately impresses is the high build quality, with fine engineering and smooth operation that's particularly evident in the mini ball-head. This little gem weighs just 190g and includes an Arca-Swiss type quick-release with a very slim QR plate, but outperforms many larger heads in smoothness and precision. lenses, use mirror lock-up and keep the height So far so good, but there's a downside. The to a minimum when conditions are less than combination of long, narrow section legs with ideal, it'll be fine. Test results were 44% for multiple joints is not good for stability. It's wind-buffet and 57% for mirror-shock, giving an unavoidable, and this is not a tripod for a heavy overall performance of 51%. These are tough camera on a blustery hillside. But if you avoid big tests, which illustrate the compromises that have to be made when ease of transportation take priority, even when the highest standard of materials and manufacture are applied.

InduroStealthCLT203

Gear

Streetprice:£300 Normalmaxheight:144cm(inchead) Extendedmaxheight:178cm Minimumheight:20cm Lengthclosed:48cm Legsections/angles:4/3 Standardlegangle:23° Legdiameters:22,19,16,13mm Leglocks:Twist-collars Weight:1.10kg(inchead) Loadrating:3kg(claimed) Monopodoption:No Shoulderbag:Included Manufacturedin:Thailand Warranty:Threeyears Website:www.intro2020.co.uk

VERDICT A rare combination of low weight and height. Very well made, with a high-quality mini ball-head. Though stability inevitably suffers in blustery conditions. Build quality Features Stability Value

Overall

SPECIFICATIONS

AKE THE EXCELLENT Benro Mach3, move everything BEST FEATURE down a notch – height, weight, price – and the Induro It still has high Stealth CLT 203 is pretty much a performance nine-layer carbon copy. Not surprisingly carbon-fibre, but less weight perhaps as Benro and Induro are sister companies, and while both brands have their distinctive aspects, Mach3 and Stealth share everything from nine-layer carbon-ﬁbre legs, to the details. These include three leg angles, fat and grippy twist-collar leg locks, a short centre-column supplied for getting down low, rubber feet that can be swapped for the spikes provided, a ballast hook, spirit level and a 3/8in accessory port. It's simpler to list the Induro's differences, which are foam grips on all three legs, and a three-winged locking collar for the centre-column that is actually a little easier to grasp than the Benro's, plus an extra 1/4in accessory port. In the wind-buffet test, the Induro scored 75%, All this is good news for those wanting a and 73% for mirror-shock, an average of 74%. classic tripod that concentrates less on That puts it in third place, close behind the eye-catching features and more on the essential Benro Mach3 and Manfrotto 055, but well ahead task of providing a high standard of support. And of anything else. A commendable performance the Induro Stealth does that very well, losing considering it weighs around 25% less. almost nothing to its bigger and heavier rivals. Maximum height is a more than adequate at 135cm, extending to a generous 160cm with the centre-column up, and down to 16cm with the legs splayed and short centre-column in place.

Streetprice:£300 Normalmaxheight:135cm Extendedmaxheight:160cm Minimumheight:16cm Lengthclosed:63cm Legsections/angles:3/3 Standardlegangle:22° Legdiameters:29,25,22mm Leglocks:Twist-collars Weight:1.60kg Loadrating:16kg(claimed) Monopodoption:No Shoulderbag:Included Manufacturedin:China Warranty:Tenyears Website:www.indurogear.com

VERDICT A classic three-section design, focusing on the essentials of high performance and stability, to rival Benro's Mach3 and Manfrotto 055, but with a handy weight saving. Build quality Features Stability Value

Overall

November 2017 Digital SLR Photography 111

Gear/ Carbon-ﬁbre tripods BenroMach3TMA37C

HERE’S SOMETHING VERY appealing about the purity of BEST Benro's Mach3 series; it passes FEATURE over fancy features in favour of a Leg sections are broad simple, classic design and quality and sturdyforextra materials. Every penny of investment strong support in the TMA37C is concentrated on delivering solid support, with wide diameter legs (32mm at the top) made of nine-layer carbon-fibre, with three sections that are more stable than four, and large grippy twistcollar locks. That's the essentials sorted. It's not totally devoid of a few modest extras though. The legs have three angle settings to get down low, and an additional short centrecolumn is provided for a minimum platform height of only 17cm. There's a ballast hook, spirit level, the rubber feet unscrew for swapping with the spikes supplied, and a handy 3/8in threaded socket can be used for accessories. It all comes and Induro Stealth were the only other tripods in a very nice quality shoulder bag, too. to rate into the sixties zone and above. Unsurprisingly, the Mach3 topped the ratings In use, the fat profile legs and chunky collar for stability, scoring 82% in the wind-buffet test locks give a reassuringly solid impression. It just and 76% for mirror-shock, for an overall rating of feels well planted, a fact backed up by the 79%. It's a combination of the larger tubing, only performance figures, and everything operates three legs sections, and a bit more solid mass as smoothly as you'd expect. The height is well that is pushing up the scores. The Manfrotto 055 judged, also suitable for taller users, and there's the option to go above head height with the centre-column extended, though that risks some loss of stability.

ManfrottoMT055CXPRO4

ANFROTTO’S PERENNIAL 055 series tripods are always BEST near the top of the best FEATURE sellers list, and none more so than Tilting centre-column this CXPRO4 version with high addsversatility, overall performance coupled to a withoutcompromising stack of advanced features. There stability are four sturdy leg sections, 29mm diameter at the top, with Manfrotto's heavy duty lever-action Quick Power Locks to hold everything together. Then the centre-column has a neat conversion trick, flipping 90° to form a sliding and rotating horizontal bar, giving excellent low-level access that's ideal for poking into awkward corners with macro. Manfrotto's implementation of this popular feature is not quite as versatile as some, but it's definitely more solid. The CXPRO4 stands tall at 140cm, extending to 170cm with the centre-column up, which is a tripods of this calibre are present, plus four leg handy few inches more than rivals, but closes angle positions which is less common. down to only 54cm. It's also a little heavier and Manfrotto's flashy QPL lever leg-locks divide the only tripod here over 2kg, though Manfrotto opinion. They're bulky and can catch on has not been tempted to skimp on the robust undergrowth, are quite stiff and close shut with construction for the sake of a few grams. Good a snap, but ultimately there's no doubting their decision. All the other usual features found on clamping strength. The Manfrotto 055 CXPRO4 performed very well in our stability tests, scoring 80% for wind-buffet and 76% for mirror-shock, to rate an average of 78% – effectively tying with the Benro Mach3 for first place.

112 Digital SLR Photography November 2017

SPECIFICATIONS Streetprice:£310 Normalmaxheight:136cm Extendedmaxheight:162cm Minimumheight:17cm Lengthclosed:63cm Legsections/angles:3/3 Standardlegangle:23° Legdiameters:32,29,25mm Leglocks:Twist-collars Weight:1.85kg Loadrating:16kg(claimed) Monopodoption:No Shoulderbag:Included Manufacturedin:China Warranty:Fiveyears Website:www.benroeu.com

VERDICT The fat 32mm top leg sections are at the heart of class-leading scores for stability, plus good height, reasonable weight, and an overall quality feel at a fair price. Build quality Features Stability Value

Overall

SPECIFICATIONS Streetprice:£345 Normalmaxheight:140cm Extendedmaxheight:170cm Minimumheight:8cm Lengthclosed:54cm Legsections/angles:4/4 Standardlegangle:24° Legdiameters:29,25,20,16mm Leglocks:Levers(adjustable) Weight:2.1kg Loadrating:9kg(claimed) Monopodoption:No Shoulderbag:No Manufacturedin:Italy Warranty:Tenyears Website:www.manfrotto.co.uk

VERDICT The 055 series has changed a lot over the years, but has always delivered high performance. The CXPRO4 also brings with it welcome new features. Build quality Features Stability Value

Overall

Carbon-ﬁbretripods \

SiruiN-2204X

SPECIFICATIONS

HE HIGH QUALITY fit and finish of the Sirui N-2204X BEST is immediately obvious, FEATURE and confirmed by the smooth and Detachable leg screws positive action of all adjustments. on to the centre-column It's a very nice tripod to use, with to create an excellent ample height at 134cm without monopod extending the centre-column, yet there's a noticeable weight saving over similar spec rivals. The twist-collar leg locks are softer but more grippy, the bottom section is marked at 5cm intervals for easier levelling, and the rubber feet screw back to reveal spikes – small but thoughtful touches that have real value in the field. A closer look at the detachable monopod feature shows attention to detail and use of carbon-fibre and brass where aluminium and steel is more common. The monopod leg is double-secured with an internal thread and external locking collar. It simply unscrews, as In our stability tests, the Sirui performed a does the bottom part of the centre-column, little below it's more heavily built competitors, and they bolt together. To save removing the scoring 64% for wind-buffet and 62% for tripod head, a second camera platform is mirror-shock, an average of 63%. There's no provided so your monopod head fits straight on. doubt that the slightly larger 3204 version of this The monopod extends to a handy 160cm, good tripod would bump the numbers up, if for photographing birds or aircraft overhead. performance in difficult conditions is a priority. A K-20X ball head (£115 extra) was supplied. It's unusually good, smooth and precise, and fits neatly between the legs when folded.

Manfrotto 190Go!

Testconclusion

E’VE A FINE selection of excellent tripods here, and while they're all carbon-ﬁbre and pitched at a similar £250-£350 price point, there is a wide range of design types, from lightweight travel versions to heavier no-compromise tripods, so it should be easy to ﬁnd a model that suits you. Our Best Buys include something for

Gear

BenroTGP17C

Benro Mach3TMA37C

every purpose. In price order, the Best Buy £250 Manfrotto 190Go! strikes a great balance between height, weight and stability. Light and small enough for easy carrying, yet big and robust enough for serious photography. Also check out the Highly Rated Velbon Geo at £230. Benro's TGP 17C reveals unrivalled versatility, featuring both an articulating centre-column and a detachable monopod option, mated to a decent set of legs. It all works well, is not overly heavy,

Streetprice:£350 Normalmaxheight:134cm Extendedmaxheight:163cm Minimumheight:14cm Lengthclosed:47cm Legsections/angles:4/3 Standardlegangle:22° Legdiameters:28,25,22,19mm Leglocks:Twist-collars Weight:1.48kg Loadrating:15kg(claimed) Monopodoption:Yes Shoulderbag:Included Manufacturedin:China Warranty:Sixyears Website:www.sirui.eu

VERDICT Premium quality construction and thoughtful design touches, with ample height and a well executed detachable monopod feature – for a modestly premium price. Build quality Features Stability Value

Overall

Manfrotto 055CXPRO4

and offers a lot for a Best Buy £290. At £310, the Best Buy Benro Mach3 is a simple, solid, no-frills workhorse tripod, which topped the stability tests. In a similar vein, see the Highly Rated Induro Stealth priced at £300. The Best Buy Manfrotto 055 comes in just under the budget limit at £345 and offers very stable support, including an articulating centre-column. Sirui's Highly Rated N-2204X has a different features set and runs it very close for £350.

November 2017 Digital SLR Photography 113

Accessories\

Gear

X-riteColorMunkiDisplay

Calibrationfordisplaysandprojectors/Simpletouseset-up/ForPC&Mac Test: DANIEL LEZANO

Price:£119 Website:www.xpdistribution.com

AVE YOU EVER compared the colours of your on-screen digital ﬁles with prints, or on other screens, and noted a big difference? If so, it's possible that your monitor(s) need to be calibrated for more accurate colours. While this sounds technical, it doesn't have to be. While there are several calibration kits offering extensive options that calibrate from screen through to printer, there are also some simpler yet sophisticated models that make the whole process much easier. The X-Rite ColorMunki Display is one such device and is designed for photographers wanting a fast yet accurate calibration set-up that doesn't require prior experience or expertise. Supplied with the colorimeter is a quick start guide, USB cable and a software disc (install it and when prompted, update it to the latest version). Following the instructions is a breeze – once the software's installed the device is connected to your computer via the USB lead and then mounted on the central part of the monitor, before the calibration

process is started. You can choose between Easy and Advanced modes, with easy-tofollow wizards helping you with each stage. The process takes less than ten minutes, so you don't have to wait long, and once finished you can flick between the new and old profile profile to compare the changes. The ColorMunki has a strong range of features available, such as the Advanced set-up being able to measure the level of ambient light and also flare when calibrated, allowing it to optimise your display's calibration to suit your working conditions. To be honest, I'm not sure I'd opt to use these latter features as they add a degree of variation to the set-up and in truth, I found the results of the Easy calibration to be excellent. The changes are noticeable across the colour gamut but with the majority of my images being portraits, the changes in skin tones stood out clearly. Along with calibrating monitors, it can also be used with digital projectors too, which will add its appeal to portrait and wedding photographers as well as camera club photographers. The software has a feature that also reminds you to re-profile every so often, which is essential to ensure any shift in the monitor's colour display is corrected.

Overall, I didn't come across any problems with the installation or performance of the ColorMunki device and its software; it has certainly lived up to its claims . I have no hesitation in recommending this calibration system to enthusiast and professional photographers alike; it's ideal if you're looking for a simple, fast, affordable – and most importantly – accurate calibration.

VERDICT Therearemoresophisticatedcalibration systems available, but unlessyou also want to calibrate a printer, this model should giveyou everythingyou need to improve the colouraccuracyofyourdisplay. Its ease of use is a majorselling point, alongwith its performance.

Overall

ManfrottoXUMEFilterAdapters

Magneticﬁlterholders /Availableineightdiametersfrom49mmto82mm Test: DANIEL LEZANO

Price:Holdersfrom£10/Kitsfrom£35 Website:www.manfrotto.co.uk

ILTERS AREN’T NORMALLY an area of photographic kit that sees too much innovation. Occasionally we'll see new materials used in their construction and a new type of multicoating but, in general, not a huge amount changes. The announcement by Manfrotto earlier this year of its acquisition of US-based firm Xume was soon followed by the release of a range of adapters and holders that allow filters to be easily and quickly swapped from lens to lens. How it works is incredibly simple. A steel adapter is screwed on to the rear of the filter and a magnetised ring is screwed on to the front of the lens. This allows the filter to be attached simply by holding it close to the holder – the force of the magnetism is strong enough to hold the filter in place, yet it's easy to remove by a slight pull. Invest in holders and rings for your most commonly used filters and lenses and you'll be able to quickly swap filters without having to

unscrew them from one lens and screwing on to another. This is ideal when you need to attach or swap filters quickly and is also very useful when you need to use filters in extremely cold weather. The holders and adapters are very well made with a matte black finish that matches most lenses. There are no markings on them stating diameters, which is something I hope is corrected on the next generation to make them easier to identify. The holder and rings together have a similar width to a standard filter, so this raises the question of whether there is a risk of vignetting when used with wider focal lengths. We reviewed a 77mm holder and ring with a Manfrotto circular polarising filter and tried them on a Canon EF 17-40mm f/4L lens to check for this potential problem. By photographing a white wall with and without the XUME set-up, it was possible to check to see if the corners of the frames were darker – a clear sign of vignetting. I found there was no problem at all. I'd suggest that you do a similar trial with your own kit. The cost of the XUME accessories isn't too expensive, although it's not that

dissimilar to buying a filter. A 49mm lens adapter is around £25, filter holder £10 or kit with both for £35. Other sizes of adapters and holders are similar in price, with the most expensive being the 82mm XUME, costing £30 for the lens adapter, £13 for the filter holder and £43 for the kit. The XUME system is a fiendishly simple idea that proves to work extremely well.

VERDICT Thisisclearlyanaccessoryof convenienceratherthannecessity,butif youregularlyswapﬁltersbetweenlenses, thetimesavedmightmakeitworthforking outforasetofXUMEholderandadapters.Justtakecare whenusingthemwithultrawide-anglelenses.

Overall November 2017 Digital SLR Photography 115

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Accessories\

Gear

ChillblastFusionPhotoOCVIII

Over-clockedInteli7octa-corechip/Excellentediting&multi-taskingperformance/GPUacceleration/RAID-1back-up

Test: JAMES ARCHER

SPECIFICATIONS Guideprice:£2,300 Processor:IntelCorei7-7820X'Skylake-X'Processor Overclocking:Upto4.6GHz CPUCooling:CorsairH100iV2CPULiquid Memory:32GBRAM OSDrive:250GBsolid-statedrive Storage:Twin3TBharddrives Back-up:RAID-1conﬁgured OpticalDrive:Blu-rayrewriter Website:www.chillblast.com

HERE’S NO TWO ways around it: the Fusion Photo OC VIII is a mightily expensive PC. Fortunately, this isn’t hubris – you’re getting the kind of high-end components that make speedy photo editing an absolute breeze. The brains of the operation is the Intel Core i7-7820X processor. Chillblast has over-clocked this so that each of its eight cores run even faster than usual, and this showed in our benchmark tests, which simulate various image and video editing tasks as well as heavy multi-tasking. It sailed through the image portion, indicating a system that will easily run any editing software you can throw it at, staying fast and responsive all the while.

Even more impressive was its performance in the video editing and multi-tasking portions of the benchmark; if you ever use your camera to shoot video footage, this PC will let you keep on working at a comfortable pace while video encodes in the background. The generous 32GB of RAM certainly helps; it runs at a relatively slow speed of 2133MHz, but there’s so much to go around that this doesn’t make much of a difference. Chillblast has also included a GeForce GTX 1060 graphics card. This is designed for gaming rather than media editing, but it does mean you can take advantage of GPU acceleration for better performance in certain applications, such as Adobe Lightroom CC. It also provides a healthy mix of HDMI, DVI and DisplayPort outputs, for varied monitor set-ups. A breathlessly fast solid-state drive ensures that Windows 10 boots and loads quickly, but the dual 3TB hard drives are even better for photographers. They come pre-conﬁgured in RAID-1, so any ﬁles you save on one drive will be mirrored on the other – an easy way of creating back-ups. There are other quality-of-life inclusions as well, such as the 17-in-1 multi-card reader and Blu-ray rewriter drive hidden behind a door on the front. There aren’t

a huge number of USB ports for a PC of this price, but there’s still more than enough to suffice for most users. The case has also been lined with sound-absorbing fabric, to prevent the fan noise from disturbing you as you’re touching up your shots. Chillblast hasn’t held back when creating this PC, and while it is expensive, it’s no more so than competing Windows-based systems with a similar speciﬁcation. It’s also a much smarter buy than, say, the Apple Mac Pro, which is pricier at £2,999, yet gives you a slower processor, half the RAM and only a single SSD for storage.

VERDICT The Chillblast Fusion Photo OCVIII spares fewexpenses in pursuit ofthe ultimate photo-editing PC.The result is blisteringlyfast,with ample storage space and physical connectivity. It even doubles up as a highly capable gaming PC, ifyou’re everinclined to slack off. Build quality Features Performance Value for money

Overall November 2017 Digital SLR Photography 117

Tel:

01803 852400 Email - info@mifsuds.com

www.mifsuds.com

Mifsuds Photographic Limited U.K. Stock No Grey Imports 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

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WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE

FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED For speediest response please email your equipment details to... info@mifsuds.com

Canon AND Nikon 600mm F4

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£837 £999

Canon EOS M100 APS-C

Plus 15-45 STM

£569 Canon EOS M System

EOS M3 + 15-45 ............................. £449 11-22 f4/5.6 IS STM ....................... £317 15-45 f3.5/6.3 IS STM .................... £199 18-55 f3.5/5.6 IS STM .................... £199 18-150 f3.5/6.3 IS STM.................. £398 22 f2 STM ....................................... £198 28 f3.5 Macro IS............................. £289 55-200 f4.5/6.3 IS STM.................. £249 NIKON DX NON FULL FRAME LENSES 10.5 F2.8 DX Fisheye . . . . . . . . . .£599 10-20 F4.5/5.6 G VR . . . . . . . . . . .£328 10-24 F3.5/4.5 AFS G . . . . . . . . . .£729 16-80 F2.8/4 AFS ED VR. . . . . . . .£858 16-85 F3.5/5.6 AFS VR . . . . . . . . .£568 18-105 F3.5/5.6 AFS G no box . .£239 18-140 F3.5/5.6 AFS VR . . . . . . . .£469 18-300 F3.5/6.3 AFS VR . . . . . . . .£628 35 F1.8 AFS G . . . . . . . . . . . . . . . . .£178 70-300 F4.5/6.3 AFP VR . . . . . . . .£329 70-300 F4.5/6.3 AFP non VR . . .£299 NIKON FX FULL FRAME LENSES 8-15 F3.5/4.5 AFS E. . . . . . . . . . £1298 14-24 F2.8 AFS G ED. . . . . . . . . £1448 16-35 F4 AFS VR . . . . . . . . . . . . £1018 18-35 F3.5/4.5 AFS G . . . . . . . . . .£618 20 F1.8 AFS G ED. . . . . . . . . . . . . .£647 24 F1.8 AFS G ED. . . . . . . . . . . . . .£628 24-70 F2.8 AFS G ED VR. . . . . . £1598 24-120 F4 AFS G ED VR . . . . . . . .£779 35 F1.4 AFS G . . . . . . . . . . . . . . . £1299 35 F1.8 AFS G . . . . . . . . . . . . . . . . .£438 50 F1.4 AFS G . . . . . . . . . . . . . . . . .£377 50 F1.8 AFS G . . . . . . . . . . . . . . . . .£188 60 F2.8 AFS . . . . . . . . . . . . . . . . . . .£419 70-200 F2.8 AFS E FL ED VR . . £2347 70-200 F4 AFS G ED VR . . . . . . £1178 70-300 F4.5/5.6 E ED VR . . . . . . .£699 85 F1.8 AFS G . . . . . . . . . . . . . . . . .£428 105 F2.8 AFS VR macro . . . . . . . .£748 200-500 F5.6 AFS E ED VR. . . . £1248 300 F2.8 AFS ED VRII . . . . . . . . £4599 300 F4 AFS E PF ED VR. . . . . . . £1497 400 F2.8 G E FL ED VR . . . . . . £10398 500 F4 G E AFS FL ED VR . . . . . £8444

CANON EFS LENSES 10-18 F4.5/5.6 IS STM . . . . . . . £197 18-55 F3.5/5.6 ISII no box. . . . £129 CANON EF FULL FRAME LENSES 8-15 F4 L USM Fisheye. . . . . . . £969 11-24 F4 L USM . . . . . . . . . . . .£2697 14 F2.8 USM MKII . . . . . . . . . .£1949 16-35 F2.8 L USM MKIII . . . . .£1897 16-35 F4 L IS USM. . . . . . . . . . . £898 17 F4 L TSE . . . . . . . . . . . . . . . .£1849 20 F2.8 USM . . . . . . . . . . . . . . . . £419 24 F1.4 LII USM . . . . . . . . . . . .£1349 24 F2.8 IS USM . . . . . . . . . . . . . . £399 24-70 F2.8 L II USM. . . . . . . . .£1697 24-70 F4 L IS USM. . . . . . . . . . . £724 24-105 F4 L IS USM MKII. . . .£1047 24-105 F3.5/5.6 IS STM . . . . . .£349 28 F2.8 IS USM . . . . . . . . . . . . . . £387 35 F2 IS USM. . . . . . . . . . . . . . . . £468 40 F2.8 STM . . . . . . . . . . . . . . . . £159 50 F1.2 L USM . . . . . . . . . . . . .£1249 50 F1.4 USM . . . . . . . . . . . . . . . . £319 50 F1.8 STM . . . . . . . . . . . . . . . . . £97 70-200 F2.8 IS LII USM. . . . . .£1797 70-200 F2.8 non IS L USM. . .£1197 70-200 F4 L IS USM. . . . . . . . .£1048

400 F4 DOII IS USM £6397

70-300 F4/5.6 L IS USM . . . . .£1247 70-300 F4/5.6 IS USM II . . . . . . £448 85 F1.4 L IS USM . . . . . . . . . . .£1599 85 F1.8 USM . . . . . . . . . . . . . . . . £319 100 F2.8 IS L USM macro. . . £797 100-400 F4.5/5.6 IS LII USM £1788 200-400 F4 IS L USM . . . . . . .£9997 200 F2.8 II L USM . . . . . . . . . . . £698 300 F2.8 IS L USM II . . . . . . . .£5399 400 F2.8 IS L USM II . . . . . . . .£9399 400 F4 DO II IS USM . . . . . . . £6321 400 F5.6 L USM . . . . . . . . . . . . . £899 500 F4 IS L USM II . . . . . . . . . £8199 600 F4 IS L USM II . . . . . . . .£10899 1.4x III or 2x III conv each . . . . £388 CANON FLASHGUNS/GRIPS MR-14 EX II Ringlight. ingligh . . . . . . .£548 MT-26 EX RT mac twin ligh light £1079 430EX III RT Speedlight Speedligh . . . . . .£238 600EX-RT II Speedligh Speedlight . . . . . . £538 BG-E21 (fit 6D MKII) . . . . . . . . . £197 BG-E20 (fit 5D MKIV) . . . . . . . . £297 BG-E18 (fit 750/760D) . . . . . . . £119 BG-E16 (fit 7D MKII) . . . . . . . . . £197 BG-E14 (fit 80D). . . . . . . . . . . . . £137 BG-E13 (fit 6D) . . . . . . . . . . . . . . £148

500 F4 IS L USM II

10-20 F3.5 EX DC HSM . . . . . .£328 12-24 F4 DG HSM Art . . . . . £1378 12-24 F4.5/5.6 II DG. . . . . . . . .£648 14 F1.8 DG HSM Art . . . . . . £1678 17-50 F2.8 EX DC OS. . . . . . . .£328 18-35 F1.8 DC HSM Art . . . . .£648 18-300 F3.5/6.3 DC mac OS .£368 20 F1.4 DG HSM Art . . . . . . . .£698 24 F1.4 DG HSM Art . . . . . . . .£648 24-35 F2 DG HSM Art . . . . . . .£758 24-70 F2.8 DG OS HSM Art £1398 35 F1.4 DG HSM Art . . . . . . . .£598 50 F1.4 EX DG HSM Art . . . . .£569 50-100 F1.8 DC HSM Art . . . .£948 70-200 F2.8 EX DG OS . . . . . .£898 85 F1.4 DG Art. . . . . . . . . . . . . .£999 100-400 F5-6.3 DG OS HSM Contemporary . . . . . . . .£798

15-30 f2.8 Di VC USD .....................£928 16-300 f3.5/6.3 Di II VC PZD ........£428 18-200 F3.5/6.3 Di II VC.................£188 18-400 f/3.5-6.3 Di II VC HLD .....£648 24-70 f2.8 Di VC USD G2............ £1247 24-70 f2.8 Di VC USD .....................£747

£8199

105 F2.8 EX DG OS HSM . . . .£358 135 F1.8 DG HSM Art.. . . . . £1398 150 F2.8 EX DG OS. . . . . . . . . .£778 150-600 F5/6.3 OS Contemp £788

150-600 F5/6.3 OS Sport . . £1328 500 F4 DG OS HSM Sport . £4997

500 F4.5 EX APO DG HSM. £2997 CAF FIT ONLY

USB Lens dock. . . . . . . . . . . .£39.99 70-200 f2.8 Di VC USD G2 ......... £1297 70-300 F4/5.6 Di VC USD..............£298 70-300 F4/5.6 Di AF........................£128 85 f1.8 SP Di VC USD......................£747 150-600 F5/6.3 VC USD G2....... £1275 150-600 F5/6.3 SP VC USD ...........£819 Kenko Converters 1.4x or 2x Pro 300 conv each.........£149 Auto ext tube set...............................£99

WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS.

XT-10 body

£399

X-Pro2 body..........................................£1348 X-T2 + 18-55mm .................................£1647 X-T2 body ..............................................£1389 X-T20 + 18-55mm...............................£1039 X-T20 body...............................................£797 X-T10 + 18-55mm..................................£697

X-T10 body...............................................£399 X100f Compact....................................£1248 10-24mm F4 XF ......................................£766 14mm F2.8 XF R .....................................£689 16mm F1.4 XF .........................................£898 16-55mm F2.8.........................................£958 18mm F2 XF.............................................£498 18-55mm F2.8/4 OIS ............................£599 18-135mm F3.5/5.6 XF.........................£718

23mm F1.4 XF .........................................£829 23mm F2 XF R WR .................................£418 27mm F2.8 XF .........................................£398 35mm F1.4 XF .........................................£498 35mm F2 R WR........................................£368 50mm F2 R WR........................................£468 50-140mm F2.8 R OIS........................£1428 55-200mm F3.5/4.8 OIS XF.................£677 56mm F1.2 R APD...............................£1328

56mm F1.2 XF .........................................£898 60mm F2.4 XF macro ...........................£648 80mm F2.8 OIS WR macro ...............£1249 90mm F2 R LM WR ................................£898 100-400 F4/5.6 OIS WR ......................... £1698 1.4x XF TC WR..........................................£328 2x XF TC WR .............................................£398 11mm or 16mm Ext tube each........... £70 VPB-XT2 Vertical grip............................£289

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 22/09/2017. E&OE. MORE ON WEBSITE - UPDATED DAILY. FREE U.K. MAINLAND DELIVERY FOR ITEMS OVER £100 VALUE. ALL U.K. STOCK, NO GREY IMPORTS.

Although we are the best stocked dealer in the West Country, we cannot always have every item listed in stock at all times, so we are happy to reserve new & used items for customers planning to visit. Prices correct 22/09/2017 but subject to change without notice. See website for up to date prices. E&OE.

Website altered daily inc. manufacturers cashback & promotions

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QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand. CANON USED

Used Canon

EOS 1DX MKI I body box

£3999

Used Canon

EOS 7D MKII body bo box

£899

NIKON USED

Used Nikon D4s body box

£3699

Used Nikon 300mm F2.8 AFS VRI

£2999

Used Nikon D810 body box

£1599/1799

DIGITAL USED

Used Fuji

X-Pro2 body box

£999

Used Olympus

OM-D E-M1 body Mbox

£599

Used Sony

A77 MKII body box

£699

Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale CANON DIGITAL AF USED 1DX MKII body box .............£3999 1DX MKI body box ..............£2999 1D MKIV body.......................£1499 1D MKIII body ......................... £499 1Ds MKII body......................... £699 7D MKII body box.................. £899 7D body box............................ £499 6D body box............................ £799 5D MKIII body box................. £1699 5D MKI body box ......................£399 70D body......................................£549 60D body......................................£399 50D body box.............................£299 650D body ...................................£299 BG-E2.................................................£39 BG-E2N..............................................£49 BG-E3.................................................£39 BG-E4 box........................................£69 BG-E5.................................................£49 BG-E7.................................................£79

BG-E11 box ..................................£169 BG-E16 box ..................................£169 TC-80N3 remote........................£85 Powershot G12....................... £229 Powershot SX60HS ............... £299 CANON EOS M USED M5 + 15-45...................................£799 EF-M 11-22 F4/5.6 IS STM......£249 EF-M 55-200 F4.5/6.3 IS STM£229 EF-M 28 F3.5 IS STM macro ..£229 CANON AF FILM BODIES USED EOS 5QD body box ............... £129 EOS 500/500N/1000f b/o ea.£49 EOS 600/650/1000 body ea..£49 PB-E2 drive M- box................ £199 PB-E2 drive fits EOS1/3........ £149 CANON AF LENSES USED 8-15 F4 L fisheye.................... £899 10-22 F3.5/4.5 USM EFS ...... £329 14 F2.8 USM LII box ............£1439 15-85 F3.5/5.6 IS USM EFS.. £429

16-35 F2.8 USM LII................. £849 16-35 F4 L................................. £749 17-40 F4 L................................. £449 17-55 F2.8 IS USM EFS ......... £499 17-85 F4/5.6 IS USM................... £199 18-55 F3.5/5.6 IS EFS ....................£99 18-200 F3.5/5.6 IS........................ £299 20 F2.8 USM................................... £349 24 F2.8 STM.................................... £109 24 F3.5 TSE MKI box................... £699 24-85 F3.5/4.5 USM.................... £149 24-105 F4 L IS.......................... £599 28-80 F3.5/5.6 ............................£79 28-135 F3.5/5.6 IS USM ....... £199 28-300 F3.5/5.6 IS USM L ..£1199 55-250 F4/5.6 IS STM............ £149 65 F2.8 MP-E............................ £849 70-200 F2.8 IS USM LII .......£1499 70-200 F2.8 IS USM L............ £999 70-200 F2.8 USM L ................ £799 70-300 F4.5/5.6 L USM......... £899

70-300 F4.5/5.6 IS USM L .... £999 70-300 F4.5/5.6 IS DO .......... £399 70-300 F4.5/5.6 IS USM ....... £249 75-300 F4/5.6 MKII ...................£99 85 F1.2 L USM ......................... £899 100 F2.8 L IS USM .................. £649 100 F2.8 USM box.................. £339 100-400 F4.5/5.6 LII IS U....£1499 100-400 F4.5/5.6 L IS U........ £899 135 F2 L USM box.................... £749 180 F3.5 L USM macro........... £699 300 F2.8 LII IS U ......................£4699 300 F4 L IS USM box............... £699 400 F2.8 IS USM L .... £3499/4999 500 F4 IS L USM....................£4499 2x extender MKIII..................... £339 2x extender MKII box............. £239 SIGMA CAF USED 10-20 F4/5.6 HSM box.............. £249 17-50 F2.8 EX DC HSM ............. £249 17-70 F2.8/4 DC OS.................... £249

18-200 F3.5/6.3 DC..................... £149 18-250 F3.5/6.3 DC OS ............. £199 24-70 F2.8 HSM............................ £469 28-105 F2.8/4...................................£69 28-135 F3.8/5.6 ...............................£99 28-200 F3.5/5.6 Asph ..............£99 30 F1.4 DC HSM...................... £279 35 F1.4 DG Art ........................ £499 50 F2.8 EX macro ................... £149 50-500 F4/6.3 EX DG OS...... £699 50-500 F4/6.3 EX DG ............ £399 70-300 F4/5.6 APO DG............£99 120-300 F2.8 DG OS sport £1999 120-300 F2.8 EX DG .............. £699 120-400 F4/5.6 DG ................ £399 150-500 F5/6.3 DG OS.............. £449 150-600 F5/6.3 OS sport.......... £999 180 F2.8 EX DG OS ..................... £999 180 F3.5 EX DG HSM mac....... £399 TC1401 1.4x conv........................ £189 1.4x EX DG conv .......................... £149

OTHER CAF USED TAM 18-200 F3.5/6.3 VC ...... £149 TAM 18-250 F3.5/6.3 DiII..... £149 TAM 28-300 F3.5/6.3 XR Di.........£199 TAM 70-300 F4/5.6 Di USD VC. £219 TAM 70-300 F4/5.6 ........................£99 TAM 150-600 F5/6.3 VC USD. £599 TOK 100 F2.8 ATX........................ £299 Zeiss 50 F1.4 ZE box .................. £399 Kenko ext tubes set......................£99 CANON FLASH USED ST-E2 transmitter ......................£79 MT-24EX Ringflash ................ £499 MR-14EX Ringflash................ £299 430EX MKIII.............................. £189 430EX MKII ............................... £169 550EX......................................... £149 580EX box ................................ £179 600EX RT box .......................... £299 MORE ON wEbSITE www.MIFSUDS.COM

NIkON DIGITAL AF USED D4s body box........................£3699 D4 body box..........................£2199 D3X body box.......................£1399 D3s body box........................£1399 D3 body box.................£999/1199 D2xs body box........................ £399 D810 body box......... £1599/1799 D800 body box......... £1199/1399 D750 body box.....................£1299 D700 body box....................... £699 D610 body ............................... £799 D300s body ............................. £349 D300 body box....................... £299 D200 body box....................... £149 D7200 body box .................... £699 D7000 body............................. £399 D5500 body............................. £449 D5300 body............................. £329 D3200 body............................. £229 D3100 body............................. £169 D90 body.................................. £199 D80 body.................................. £169 D60 body.................................. £149

D40X body ..................................£99 MBD-12 grip ............................ £249 MBD-10 grip M- box............. £129 MBD-10 grip ...............................£79 MBD-80 grip ...............................£49 MBD-200 grip.............................£49 NIKON AF FILM BODIES USED F5 body ..................................... £399 F90X body...................................£99 F801 body ...................................£49 F601 body ...................................£49 NIkON AF LENSES USED 10.5 F2.8 DX ..................................£429 10-24 F3.5/4.5 DX.......................£599 14 F2.8 AFD...................................£999 14-24 F2.8 AFS M- box..........£1099 14-24 F2.8 AFS box....................£999 16 F2.8 AFD Fisheye..................£499 16-85 F3.5/5.6 AFS VR...............£399 17-35 F2.8 AFS box....................£999 17-55 F2.8 AFS .............................£499 18-35 F3.5/4.5 AFD ....................£299 18-55 F3.5/5.6 AFS VR................ £99 18-70 F3.5/4.5 AFS .....................£129

18-105 F3.5/5.6 AFS VR............£199 18-135 F3.5/5.6 EFS DX............3169 18-140 F3.5/5.6 AFS VR............£399 18-200 F3.5/5.6 AFS VRI...........£299 18-300 F3.5/5.6 VR .....................£649 24 F3.5 PCE M- box.................£1099 24-70 F2.8 AFS box....................£999 24-85 F3.5/4.5 VR ........................ £329 24-120 F4 AFS VR........................ £599 24-120 F3.5/5.6 G VR................. £299 24-120 F3.5/5.6 G........................ £199 28 F1.8 AFS G................................ £449 28-100 F3.5/5.6 AF G....................£69 35 F1.8 AFS G................................ £349 35 F1.8 DX....................................... £149 35 F2 AFD ....................................... £199 50 F1.4 AFS box...................... £299 50 F1.8 AFS .............................. £149 55-200 F4/5.6 AFS VR ........... £169 58 F1.4 G AFS .......................... £999 60 F2.8 AF................................. £199 70-200 F2.8 VR II box..........£1299 70-200 F2.8 VR I box............. £999 70-200 F4 AFS VR................... £899

70-300 F4/5.6 G non VR..........£99 80-400 F4.5/5.6 AFD VR....... £699 85 F1.4 AFS M- box ............... £999 85 F2.8 DN PC-E ...................£1099 105 F2.8 AFS VR...................... £549 200-400 F4 AFS VRII............£3799 200-500 F5.6 AFS VR M- box .....................................£1079 300 F2.8 AFS VRII .................£3999 300 F2.8 AFS VRI ..................£2999 300 F4 E AFS PF VR..............£1299 300 F4 AFS box....................... £549 300 F4 AFD (non AFS).......... £399 400 F2.8 G E FL ED VR ........£8499 400 F2.8 AFS MKII................£3999 500 F4 AFS VR .......................£4999 TC14EII box .............................. £299 TC17EII....................................... £249 TC20EIII M- box ...................... £329 TC20EII....................................... £199 SIGMA NAF USED 12-24 F4.5/5.6 DGII ....................£499 17-70 F2.8/4 DC mac OS.........£199 18-200 F3.5/6.3 DC mac C...... £199

24-35 F2 DG Art box .................£599 24-70 F2.8 EX DG HSM.............£469 24-105 F4 DG OS HSM.............£499 28-200 F3.5/5.6 early................... £69 35 F1.4 DG Art..............................£499 70-200 F2.8 EX DG................. £399 70-300 F4/5.6 APO DG............£99 105 F2.8 EX DG OS ..................... £279 105 F2.8 EX DG............................. £199 135-400 F4.5/5.6 DG.................. £299 150 F2.8 EX DG OS ..................... £549 150-500 F5/6.3 DG OS.............. £499 170-500 F5/6.3 D......................... £299 500 F4.5 APO DG M- box......£2499 TC-1401 1.4x converter............ £179 1.4x converter EX DG................ £149 2x EX converter...............................£99 TAMRON NAF USED 10-24 F3.5/4.5 DiII....................... £239 11-18 F4.5/5.6............................... £219 18-250 F3.5/6.3 ............................ £149 19-35 F3.5/4.5..................................£99 28-75 F2.8 XR Di........................... £229 28-300 F3.5/6.3 XR Di................ £199

70-300 F4/5.6...................................£79 150-600 F5/6.3 Di VC USD...... £599 OTHER NAF USED TOK 10-17 F3.5/4.5 ATX....... £249 TOK 11-16 F2.8 ATX Pro DXII £349 TOK 12-24 F4 ATX Pro .......... £329 FLASH / ACCESSORIES USED SB-24......................................................£49 SB-25......................................................£49 SB-26....................................................£69 SB-28....................................................£69 SB-600............................................... £169 SB-700............................................... £199 SB-900............................................... £249 SB-R1 Ringflash M- box .......... £349 SU-800 commander.................. £279 SD-8A battery pack.......................£89 DR-5 angle finder........................ £149 DR-3 angle finder...........................£59 MB-10 (fits F90)...............................£29 MB-23 (fits F4)..................................£69 MC-30 remote .................................£49 MORE ON wEbSITE www.MIFSUDS.COM

FUJI DIGITAL USED X-Pro2 body box.................... £999 X-Pro1 body box.................... £399 X-T1 body black...................... £499 X-T1 body black...................... £449 X-T10 body box ...................... £299 X-E2 body silver box............. £299 X-E1 body silver ..................... £199 10-24 F4 OIS box.................... £649 16-50 F3.5/5.6 OIS MKII ....... £149 18-55 F2.8/4 XF ...................... £399 27 F2.8 XF................................. £249 35 F1.4 R box........................... £399 50-230 F4.5/6.7 XRC ............. £249 60 F2.4 macro box................. £399 90 F2 WR box .......................... £649 EF-42 flash box ....................... £119 EF-20 flash box ..........................£69 MINOLTA/SONY DIGITAL USED Sony RX100 MKIII box............ £449 Sony RX10 MKII box ............... £699 Sony A7R II body box...........£1799 Sony A77 MKII body box...... £699 Sony A350 body....................... £169 Sony VG-C70AM....................... £139

Sony LA-EA4 mount adap ... £189 Sony HVL-43AM box .............. £199 Sony HV56AM........................... £169 Sony HVK-F42AM .................... £119 SONY NEX USED NEX 5 body .................................... £129 FE 16-35 F4 ZA OSS E................ £899 FE 16-50 F3.5/5.6 EZ .................. £149 FE 28-70 F3.5/5.6 OSS............... £299 FE 70-200 F4 G OSS box.......... £999 FE 90 F2.8 macro......................... £799 Samyang 100 F2.8 macro....... £229 MINOLTA/SONY AF USED 7xi body .......................................£49 7000i body..................................£39 300Si body ..................................£19 11-18 F4.5/5.6 AFD DT......... £259 24-50 F4 .......................................£99 24-85 F3.5/4.5 ......................... £149 28 F2.8 ..........................................£99 28-75 F2.8 AFD ....................... £299 28-80 F4/5.6................................£39 28-85 F3.5/4.5 ............................£99 35-70 F4 .......................................£39 35-70 F3.5/4.5..................................£25

35-80 f4/5.6.......................................£25 35-105 F3.5/4.5 ...............................£99 50 F1.7 AF.....£89 50 F2.8 mac£179 70-210 F4.5/5.6 ...............................£69 75-300 F4.5/5.6 ............................ £129 85 F1.4 G box ................................ £649 100-300 F4.5/5.6 APO............... £179 100-300 F4.5/5.6.......................... £149 500 F8 mirror................................. £349 VC700 grip.........................................£39 RC1000S cord...................................£29 SONY LENSES USED 10-18 F4 E OSS ............................. £599 16-80 F3.5/4.5 ZA DT................. £499 18-55 F3.5/5.6 SAM.......................£59 18-70 F3.5/5.6..................................£89 18-135 F3.5/5.6 DT SSM........... £329 18-200 F3.5/6.3 DT ..................... £199 55-200 F4/5.6 DT SSM .................£69 75-300 F4.5/5.6 ............................ £129 100 F2.8 macro............................. £299 SIGMA MIN/SONY AF USED 10-20 F3.5 EX............................. £269 10-20 F4/5.6 EX DC ................. £249 18-35 F1.8 Art............................ £549

18-50 F3.5/5.6 DC.......................£69 28-105 F2.8/4 ...............................£69 28-135 F3.8/5.6............................£79 28-300 F3.5/6.3 macro........... £149 50 F2.8 EX DG macro ............. £179 50-150 F2.8 EX DC MKII......... £399 55-200 F4/5.6 DC OS.................£79 70-300 F4/5.6 DG OS............ £169 70-300 F4/5.6 APO DG............£99 150-500 F5/6.3 APO DG ...... £499 1.4x EX conv ...............................£99 TAM 10-24 F3.5/4.5 DiII ....... £239 TAM 24-70 F3.5/5.6 ..................£49 TAM 90 F2.8 ............................. £249 TAM 90 F2.8 ............................. £179 TAM 200-500 F5/6.3.............. £399 Teleplus 1.4x conv....................£69 Teleplus 2x conv .......................£79 Kenko 1.4x Pro 300DG......... £149 MINOLTA FLASH USED Minolta 5200i.............................£29 Minolta 5400HS.........................£39 Minolta 5600HSD M-...............£99 OLYMPUS 4/3 USED E5 body ..................................... £599

E3 body ..................................... £299 E510 body ................................ £149 E500 body ................................ £129 11-22 F2.8/3.5 ......................... £349 12-60 F2.8/4 ED...................... £399 14-42 F3.5/5.6 ............................£49 14-45 F3.5/5.6 ............................£99 14-54 F2.8/3.5 ......................... £199 40-150 F3.5/4.5..........................£99 50 F2 macro............................. £299 50-200 F2.8/3.5 ED................ £399 EC14 converter....................... £199 25mm ext tube..........................£89 VA-1 angle finder......................£79 OLYMPUS MICRO 4/3 USED OMD-EM1 body M- box ...... £599 OMD E-M5 MKII body box.. £499 OMD E-M5 body box............ £249 OMD-EM10 MKII body blk.. £349 OMD-EM10 body blk............ £249 OMD-EM10 body silv ........... £249 E10 body................................... £279 12 F2........................................... £479 14-42 F3.5/5.6 ......................... £169 17 F2.8 ....................................... £159

25 F1.8 ....................................... £269 40-150 F4/5.6 .......................... £189 MC-14 converter.................... £249 ECG grip .......................................£39 HLD-8 grip................................ £129 HLD-7 grip box..........................£99 HLD-6 grip...................................£89 PANASONIC DIGITAL USED GH2 body ................................. £299 G3 body box............................ £199 GX7 body.................................. £349 GF3 body black .........................£99 GF1 body .....................................£99 14-42 F3.5/5.6 ......................... £199 14-42 F3.5/5.6 ............................£79 14-45 F3.5/5.6......................... £149 20 F1.7 ....................................... £199 25 F1.4 ....................................... £379 35-100 F4/5.6 .......................... £169 45-150 F4.5/5.6....................... £149 45-200 F4/4.5 box ................. £199 100-300 F4/5.6........................ £349 TZ100 box ................................ £429 PENTAX DIGITAL USED K100d body ............................. £149

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MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED

Used Hasselblad 503CW Millennium + 80 F2.8 CFE + A12

£2799

Used Mamiya RB67 Pro SD + 90 KL + WLF + Back

£549

Used Rollei 3.5F 6x6 White Face serviced

£1699

Tripod adapter E .......................£39 Winder early ...............................£49 Metz SCA 386.............................£49 bRONICA Sq 6x6 USED SQB + 80 + WLF + 120 back................................ £399 40 F4 S ....................................... £299 50 F3.5 PS ................................. £299 50 F3.5 S.................................... £149 150 F4 PS ......................... £149/199 200 F4.5 PS M- box ............... £199 2x PS converter M-................ £179 135N 35mm film back ......... £119 SQAi 120 RFH .............................£79 SQAi prism late....................... £299 Plain Prism S Boxed .................£69 AE Prism Early ............................£79 ME Prism Finder ........................£69 Metz SCA 386.............................£49 Pro shade S .................................£59 Lens Hood 65-80.......................£20 SQAi Motorwinder ................ £149 Speed grip S ...............................£79 SQAI winder............................. £149

FUJI USED G617 inc 105 F8 ..................... £999 HASSELbLAD 6x6 USED 503CW Millennium + 80 F2.8 CFE + A12 ...........£2799 501C + 80 CB + A12............£1699 503CW winder........................ £179 45º prism late.......................... £299 45º prism early ..........................£99 Sports viewfinder .....................£69 Chimney.......................................£89 A12 chrome latest................. £349 A12 late blk/chr...................... £199 Polaroid back 100.....................£79 50 F4 CF FLE ............................ £849 150 F4 chrome serviced...... £199 Ext tube 21..................................£39 Ext tube 55..................................£39 Vivitar 2x conv ...........................£49 Lens hoods various........... £20/50 MAMIYA 645 MF USED 645 Pro TL + 80 + AE prism + back..................... £599 Plain prism (645 Super)..........£79

645 Super WLF...........................£99 Polariod Back HP401 ...............£29 Polaroid back .............................£29 120 Insert.....................................£20 120 Back.......................................£79 Winder..........................................£79 45 F2.8 N................................... £199 150 F3.5 N ...................................£79 150 F3.8 NL leaf...................... £299 210 F4 N M- ................................£79 Ext Tube 1....................................£29 Ext tube 2 ....................................£29 Ext tube 3S..................................£29 Teleplus 2x converter..............£49 Vivitar 2x converter..................£39 MAMIYA TLR 6x6 USED 65 F3.5 box late ...................... £199 65 F3.5 serviced...................... £149 250 f4.5...................................... £179 Porrofinder..................................£59 MAMIYA 6 & 7 RF 6x7 USED 43 F4.5 L + VF box ...............£1199 50 F4.5 L + VF box ................. £799 150 F4.5 M- .............................. £399

135 Panoramic adapter....... £129 MAMIYA Rb 6x7 USED Pro SD + 90 KL + WLF + back .......................... £499 Pro S + 90 + WLF + back ........................................ £399 Pro S body................................ £149 Plain prism late....................... £199 WLF. ...............................................£79 90 F3.5 KL ................................. £299 127 F3.5 KL............................... £299 180 F4.5............................................ £149 Pro SD ext tube 1 45mm............£99 Pro SD ext tube 2 82mm............£99 MAMIYA RZ 6x7 USED RZ Pro body ............................. £149 120 RFH Pro ................................£99 Polaroid back .............................£79 FE701 prism............................. £299 WLF................................................£79 Winder II.......................................£49 65 F4 box M- ........................... £399 90 F3.5 W M- box................... £299 180 F4.5 W................................ £199

PENTAX 645MF USED 645 + 75 F2.8........................... £249 645 body + insert .................. £199 200 F4 ........................................ £149 300 F4 ........................................ £249 1.4x converter......................... £199 PENTAX 67 USED 6x7 body + prism................... £599 45 F4........................................... £399 135 F4 macro late .................. £249 165 F2.8 latest M- .................. £499 200 F4 latest ............................ £169 200 F4 early...................................£99 300 F4 early scruffy................... £99 Pentax rear conv 1.4x........... £249 2x rear converter.................... £179 Auto ext tubes ...........................£49 Wooden grip ........................... £169 ROLLEI 6x6 TLR USED 3.5F White Face serviced...£1699

CANON FD USED A1 body serviced................... £199 AE1 Program body...................£99 24 F2........................................... £299 24 F2.8 ....................................... £149 24 F2.8 breechlock................ £149 28 F2.8 ..........................................£49 35-70 F4 .......................................£69 35-105 F3.5 .............................. £149 50 F1.2 L.................................... £699 50 F1.4 ..........................................£99 50 F1.8 ..........................................£49 50 F2..............................................£49 50 F3.5 macro ............................£99 70-150 F4.5 .................................£29 100 F2.8..................................... £149 100-300 F5.6...............................£79 135 F3.5........................................£49 135 F3.5 (Breechlock)..............£39 200 F4 ...........................................£69 25mm/50mm Ext tube each £29

2x Extender B.............................£49 177A flash..£20 244T flash ...£20 277T flash...£25 300TL flash.£49 Winder A....£20 Winder B.....£30 Angle finder B............................£49 CONTAX 35mm RF USED 90 F2.8 G................................... £269 CONTAX 35mm USED 28-70 F3.5/4.5 MM ................ £169 LEICA SLR USED R8 body black box................. £499 LEICA M USED IIIf Red Dial ST serviced chrome body........................... £479 LEICA OPTICS USED Televid APO 77 + 32x eye....... £699 Trinovid 10x42........................ £699 MINOLTA MD USED XD7 body black...................... £199 X300 chrome body ..................£49 X300s black body .....................£49

X700 black body .......................£69 XGM chrome body...................£49 28 F3.5 MD..£49 50 F1.7 MD £49 50 F2 MD .....................................£49 70-210 F4 MD.............................£99 2x Converter...............................£79 Ext tube for 50 F3.5..................£29 Ext tube set.................................£49 Auto bellows 1...........................£99 NIkON MF USED FE2 body chrome .................. £349 F3 body ..................................... £199 F2 Photomic body box........ £399 FM2 body chrome box ........ £399 FM2n body chr box............... £299 FM2n body chr ....................... £249 FE body chrome........................£99 20 F3.5 AI.................................. £199 24 F2 AI ..................................... £299 24 F2.8 AIS M- box ................ £249 24 F2.8 AI.................................. £199

28 F2.8 E box..............................£69 28-85 F3.5/4.5 AIS.................. £199 35 F2.8 PC................................. £349 35-70 F3.3/4.5 AIS.................. £129 35-70 F3.5 AIS ............................£99 35-105 F3.5/4.5 AIS..................£79 50 F1.2 AIS................................ £399 50 F1.4 AI.................................. £199 50 F1.8 AI.................................. £149 50 F1.8 E.......................................£59 55 F2.8 AIS................................ £199 180 F2.8 AIS ED scruffy........ £179 400 F2.8 ED AIS ....................£1299 500 F4 AIS...............................£1399 500 F8 mirror........................... £249 600 F5.6...................................£1499 TC300 ......................................... £149 SC-17 TTL lead...........................£25 DW-3 WLF find fit F3 ...............£99 DW-21 fits F4........................... £149 PK-11a ext tube.........................£49

PK-12/PK-13 ext tube each ...£49 OLYMPUS OM USED OM-4T body ............................ £249 OM-2SP body.............................£99 OM-2n body chrome... £149/199 24 F2.8 ....................................... £199 35-70 F4 .......................................£79 35-105 F3.5/4.5..........................£79 80 F4 macro............................. £199 135 F4.5 macro....................... £199 7, 14, 25 man ext tube ea......£20 14 or 25 auto ext tube ea......£29 60-116 auto ext tube set .... £199 Tripod mount ring....................£59 PENTAX 35mm AF USED 16-45 F4 .................................... £199 17-70 F4 SDM M- box .......... £299 18-55 F3.5/5.6 ............................£69 28-80 F3.5/5.6 ............................£49 50-200 F4/5.6 DA......................£99 55-300 F4/5.8 ED WR............ £229

55-300 F4/5.8 ED box........... £199 100 F2.8..................................... £149 SIGMA PkAF USED 18-250 F3.5/6.3....................... £199 28-200 F3.5/5.6....................... £149 PENTAX MF USED 20 F4 PK box............................ £199 35 F2 PK box............................ £199 50 F1.4 PK................................. £149 85 F2 PK .................................... £199 120 F2.8 K................................. £199 135 F3.5 PK .................................£69 150 F3.5 PK box...................... £149 50 F1.4 PK....................................£99 50 F2..............................................£49 50 F4 macro PK..........................£99 STUDIO LIGHTING USED Bowens Esprit 500 twin head kit ........................... £449 TAMRON ADII USED 35-135 F3.5/4.2..........................£99

35MM & MISCELLANEOUS USED

Used Nikon

400mm F2.8 ED AIS

£1299

Used Nikon 500mm F4 AIS

£1399

For more used equipment listings please see website www.mifsuds.com

bRONICA ETRS 645 USED ETRSi + 75 + WLF + 120 back................................ £399 ETRS body ................................ £119 30 F3.5 PE ................................. £699 40 F4 E ....................................... £199 50 F2.8 PE ................................. £349 75 F2.8 PE ................................. £149 135 f4 PE................................... £249 150 F3.5 E ....................................£99 150 F3.5 PE M- Box................ £149 200 F4.5 PE............................... £199 2x extender.............................. £199 E14 Ext tube ...............................£49 E42 Ext tube ...............................£49 120 RFH........................................£69 135W back ............................... £299 135N back ................................ £169 Polaroid Back .............................£49 AEII prism ................................. £129 Plain prism ..................................£59 Rotary prism...............................£99 Winder early ...............................£79 Speed Grip E...............................£59