Advanced Photographer 61

ON-LOCATION FLASH KIT

Flash kit and accessories to light up your life

GET TO GRIPS WITH HDR

Dynamic techniques for brilliant results

LONDON FROM THE AIR

Grab a bird's eye view of the capital

THE MAGAZINE THAT TAKES YOUR IMAGES SERIOUSLY

ISSUE 61 £4.95 ABSOLUTEPHOTO.COM

BAILEY’S STARDUST

Fifty years of images from a living legend

MAKE IT A DAY TO REMEMBER

Great photo trips out that you and your DSLR need to take in the months ahead FEATURED INSIDE: PENTAX K-3 II SIGMA DP0 QUATTRO PANASONIC GX8 EPSON SURECOLOR SC-P600 PRINTER FUJIFILM XF16MM TAMRAC ANVIL

Welcome WILL CHEUNG FRPS, EDITOR Will has worked in photo mags for 30 years and has been taking pictures for even longer. His photographic interests are very broad, from landscape and nature to portraits, indoors and out.

One of the best things about being a photographer is the variety of ways in which you can enjoy your hobby. The different subjects and the multitude of styles you can shoot them in. It’s like a never-ending selection box of tasty biscuits. But with the right inspiration, photography never goes stale.

This issue of Advanced Photographer has something to savour for almost any palette. There’s technique advice showing you how to handle a range of subjects on photo days out – take it from me, they’re a great way to discover new photo opportunities and interesting locations as well as honing your skills. We also tackle HDR shooting in a simple camera and software stepby-step guide.

Elsewhere, there’s plenty to inspire you from talented photographers around the world as we look at projects both lofty and very much down to earth, with Vincent Laforet’s aerial photography and Katherine Green’s launderette portraits. There are famous faces, too, with an exclusive look at David Bailey’s new international exhibition.

And to help you choose your next purchase, there’s a bumper range of gear in this month’s Photo Kit section, too. Promising toughness and quality, we test out the Pentax K-3 II, and get to grips with its innovative new sensor shift features. Talking of innovative, cameras don’t come much more curious that the Sigma dp0 Quattro – that’s on test, too. And so is Panasonic’s latest CSC, the 20-megapixel GX8, with its 4K photo and video capture mode. To back up the cameras, we have bags, printers, flash accessories and more…

Right, I’m off for a biscuit.

Will Cheung FRPS, Editor PAGE 42 COVER STORY

PENTAX K-3 II

PAGE 24 COVER STORY

DAYS OUT

PAGE 34 COVER STORY

WILL CHEUNG

HDR SHOOTING

2

ADVANCED PHOTOGRAPHER ISSUE 61

@advancedphotog

info@advancedphotographer.co.uk

advancedphotographer.co.uk

ISSUE 61

CONTENTS PAGE 04

UPFRONT

Isn’t photography just the best thing since sliced bread?

We think so, which is why we’re taking to the skies and airing our dirty washing. Just don’t get us started on the showstopping competition winners…

PAGE 18

BAILEY’S STARDUST

With three decades of star-studded photography under his belt, David Bailey has more than enough images to fill a gallery, so as his Stardust exhibition gets underway in Scotland, we look back at his career.

THE BIG FEATURE: THREE GRAND DAYS OUT

PAGE 4

UPFRONT

WILL CHEUNG

PAGE 24

Forget Wallace and Gromit’s Grand Day Out, this is three grand days out. Three suggestions for picture-perfect days out with trains, planes and automobiles.

PAGE 34

PAGE 48 PAGE 56

MINI TESTS

CAMERA CLASS

Ready to brush up your technique? Then enter our new learning zone: Camera class. Each issue we’ll chalk up a new topic on the blackboard so by the time the bell rings, you’re certain of top grades. This issue, it’s HDR, in camera and on the computer.

SIGMA DPO QUATTRO

PAGE 68

THE STORY BEHIND…

Known for Vogue covers and royal portraits, Patrick Lichfield also shot for no fewer than 17 Unipart calendars.

Let’s jump back in time to 1991…

PHOTO KIT PAGE 38

GEAR NEWS

Every snippet and story you need to know about the latest photographic kit.

PAGE 42

PENTAX K-3 II

How does the company’s flagship APS-C DSLR, with its affordable price tag, get on in its big test?

PAGE 18

BAILEY’S STARDUST PAGE 38

GEAR NEWS

DAVID BAILEY

PAGE 48

SIGMA DP0 QUATTRO

With the unique design of the Foveon sensor and its unusual looks, the dp0 Quattro is certainly an interesting proposition. Editor Cheung compares it to Marmite…

PAGE 52

PANASONIC LUMIX GX8

This is the first Micro Four Thirds camera to boast more than 20 megapixels, but it’s quality not quantity that matters. We find out if quality wins through.

PAGE 56

MINI TESTS

The bits and pieces that are guaranteed to improve your shooting experience.

BUYERS’ GUIDE

PAGE 62

PAGE 62

BUYERS’ GUIDE

Shedding light on must-have lighting accessories.

ISSUE 61 ADVANCED PHOTOGRAPHER

3

JUST LIKE YOU, WE LOVE PHOTOGRAPHY, AND TO PROVE IT HERE’S ALL THE STUFF WE’RE HYSTERICALLY EXCITED ABOUT RIGHT NOW. NEW STUFF TO SHOOT, COMPETITIONS TO ENTER, EXCITING PICS TO SEE, INSPIRING BOOKS TO READ AND THE MOST INTERESTING NEW KIT ON THE MARKET. IT’S ALL HERE…

4

ADVANCED PHOTOGRAPHER ISSUE 61

@advancedphotog

info@advancedphotographer.co.uk

absolutephoto.com

HIGH FLYER Vincent Laforet has become known for his filmmaking, but recently he’s rediscovered his love for stills and it’s taking him high above the city streets WORDS TERRY HOPE PICTURES VINCENT LAFORET

ISSUE 61 ADVANCED PHOTOGRAPHER

5

18

ADVANCED PHOTOGRAPHER ISSUE 61

@advancedphotog

info@advancedphotographer.co.uk

absolutephoto.com

EXHIBITION

DAVID BAILEY

David Bailey’s career spans more than five decades and covers every facet of portrait photography, from fashion to cultural and the latest, and largest, exhibition of his work is now showing at the Scottish National Gallery WORDS MEGAN CROFT

LEFT Jack Nicholson, 1978. TOP LEFT Kate Moss, 2013. TOP RIGHT Mick Jagger, 1964.

ISSUE 61 ADVANCED PHOTOGRAPHER

19

CAMERA CLASS

EVERYONE HAS TO START SOMEWHERE, EVEN PROS, AND HERE WE LOOK AT THE CORE SKILLS EVERY BEGINNER NEEDS. THIS MONTH, HOW TO SHOOT AND PROCESS HIGH DYNAMIC RANGE PICTURES IN CAMERA AND IN ADOBE LIGHTROOM

ABOVE The heavy contrast between the light and dark areas in the original image (left) means that a lot of detail is lost. Taking an HDR picture (right) instead allows a lot more detail in both the light and shadows to be picked out.

34

ADVANCED PHOTOGRAPHER ISSUE 61

Because a camera’s sensor responds to light differently to your eye, it’s not always capable of recording the world how you see it, most noticeably when shooting a scene with very bright parts and very dark ones. These highlights and shadows look normal to you, but in the picture, detail is lost in one or the other area, so you just get pure black or pure white pixels. The answer? Well, one method is to make a High Dynamic Range (HDR) picture – one that reproduces a greater level of highlight or shadow detail than possible in a regular exposure.

The best way to create HDR pics is to shoot different exposures and combine them in software, but on some models you can also do it all in camera, which is good for quickness. Whichever route you use, multiple exposures of the same scene need to be produced, then merged (either by you

or the camera), some of which record detail in the highlights and some in the shadows.

HDR from Raw? Alternatively, due to the extra information contained in Raw files, just one shot in that format can contain all you need to make an HDR image; you just need to convert the Raw file once for the highlight detail and once for shadow detail, saving those versions of the picture as separate files.

Next, combine them using an HDR package like HDRSoft’s Photomatix Pro 5, as described right, or blend them manually using Photoshop layers.

Going HDR from a single Raw file is great for scenes with moving subjects, like flowing water or crowds of people. On the downside, if you lighten or darken the Raw too much you can lose quality. @advancedphotog

info@advancedphotographer.co.uk

absolutephoto.com

CAMERA CLASS

STEP BY STEP HOW TO SHOOT HDR

1. LOCK POSITION, APERTURE AND FOCUS

The camera should be on a tripod so there’s no movement between the frames. The depth-of-field and point of focus should also be consistent, so shoot in aperture-priority mode (A or Av), focus on one part of the scene, then switch to manual. Set ISO manually, too, so that when the bracketed exposures are created it’s only shutter speed that changes.

2. BRACKET THE SHOTS

3. MERGE THE EXPOSURES

Activate the camera’s bracketing mode and choose the number of shots. This depends on the scene’s dynamic range, the exposure difference between each shot and what your camera offers. So, while three shots at +/1.0EV would cover one scene, a more contrasty scene will need more – like five or seven shots. Switch to selftimer, and shoot until all the exposures are recorded.

Load the light and dark exposures into your HDR software (here we’re using Photomatix Pro 5), and within the main interface you can choose how the exposures will be combined – a process called tone-mapping. Very different results can be produced, from photorealistic to gaudy via presets, which can be adapted using sliders to control brightness in the highlights, midtones and shadows.

ISSUE 61 ADVANCED PHOTOGRAPHER

35

PHOTO KIT PENTAX K-3 II

SPECS PRICE £769 body only, £849 with 18-55mm, £1149 with 16-85mm SENSOR 6016x4000 pixels, CMOS 24.35 megapixels, 1.5x crop factor, APS-C 23.5x15.6mm

FULL TEST: PENTAX K-3 II WORDS & PICTURES KINGSLEY SINGLETON

Pentax’s flagship APS-C DSLR has an impressive specification at a competitive price, but how does it compare to its competitors?

ISO RANGE 10051,200, Auto SHUTTER RANGE 30secs-1/8000sec, flash sync 1/180sec DRIVE MODES Single, continuous (up to 8.3fps), self-timer, remote, mirror up, HDR capture, multiexposure, interval shooting, interval composite METERING SYSTEM TTL multi-segment, spot, centreweighted EXPOSURE MODES PASM, Sv, Tv, Bulb and 3 user modes EXPOSURE COMP +/- 5 EV in 1/3 and 1/2 steps, AE bracketing at 2, 3, or 5 frames, up to +/- 2 EV in 1/3 or 1/2 steps FOCUSING Single, continuous, manual, 27 point, spot, select, expanded area, zone select, auto VIDEO Full HD (1920x1080, 60i/ 50i/30p/25p/24p), HD (1280x720, 60p/ 50p/30p/25p/24p) STORAGE MEDIA SD, SDHC, SDXC, EyeFi, Flucard DIMENSIONS (WXHXD) 131.5x102.5x77.5mm WEIGHT 785g (with battery and card) CONTACT ricohimaging.co.uk

42

Like many DSLR manufacturers outside the ‘big two’, Pentax has to bring something different to the table for attention and with a host of innovative features, its latest DSLR, the K-3 II, certainly delivers.

As its name suggests, it’s an update of the K-3 and outwardly there’s little change, although it’s a little larger and lighter, and the pop-up flash has been removed. The latter hints at Pentax’s positioning of the camera – its features are aimed at the serious enthusiast to semi-pro level, and the camera offers many items you’d pay more for on other makers’ bodies.

For instance, the build quality is very high with a magnesium alloy shell over a stainless steel chassis, it’s also fully weather sealed, and will operate down to -10°C. In short, it’s really solid all round and you can feel the snugness of sealing in places like the hinged battery compartment door. The shutter is rated

ADVANCED PHOTOGRAPHER ISSUE 61

at 200,000 cycles, which also puts it in the pro-level durability bracket.

Other high-level features include a top shutter speed of 1/8000sec, a very brisk 8.3fps burst mode (for 60 JPEGs or 23 Raws), a top-plate LCD, a sensor design with no optical low-pass filter boasting increased sharpness (an OLPF effect can be added if moiré is noticed) and dual SD card slots. It’s also only available in black.

But the K-3 II’s most interesting features come from innovative uses of its sensor. The 24.35-megapixel resolution is a minor upgrade on its predecessor (which continues in the range), but, allied to the in-camera Shake Reduction (SR) and GPS features, it’s capable of some very exciting things. The first of these is Pixel Shift Resolution which uses the SR function to nudge the sensor by a pixel in each direction during an exposure, thereby allowing each photosite to record ‘true’ @advancedphotog

red, green and blue data, producing more natural colours and finer details than traditional sensors. The K-3 II also has a Diffraction Control function (turned on by default), which adds sharpness at small apertures.

The SR mechanism can use data from the built-in GPS unit to shift the sensor during long-exposure astrophotography; this works like an astro tracker attached to a telescope, allowing you to compensate for the movement of the Earth by shifting the sensor, and lets you shoot longer exposures without star trails.

Another feature along the same lines is Composition Adjustment; after switching it on, you can nudge the frame around and rotate it, which proved very useful, especially in macro shooting where fine adjustments are required.

The only drawback is minor vignetting creeping in, and it makes a clunking noise that no other SR functions do. info@advancedphotographer.co.uk

absolutephoto.com

PHOTO KIT PENTAX K-3 II

PENTAX K-3 II ANATOMY FROM THE FRONT The K-3 II has few visible inputs from the front, apart from the lens release button 1 , but there is also the front command dial 2 (one of two E-Dials, as Pentax calls them), and below that, on the grip is the self-timer lamp and remote-control receiver 3 . Next to the grip is the AF assist light 4 . The handgrip itself is very well sculpted with a deep groove for your index finger and treated to a rubberised coating to prevent slipping. On the opposite side of the lens mount is a host of buttons 5 and these include the Focus mode switch, AF mode button, RAW/Fx and GPS buttons. The latter could be better used, while integrating the AF mode button with the Focus mode switch would have freed up more buttons.

4

2

5

3

4

2

1

1 3

FROM ABOVE The top-plate features a good-sized, LCD screen 1 displaying shooting info. In front of that is a dedicated ISO button 2 , the exposure compensation button 3 and finally the shutter release 4 , around which sits the on/off button.

An additional stop on the latter provides the depth-of-field preview. On the left, the Mode dial 5 features a locking mechanism to avoid slips. It includes the usual exposure modes, plus TAv and Sv, the former essentially being Manual with Auto ISO. The latter is sensitivity-priority, in which you set the ISO and the shutter and aperture compensate. It also has full Auto, Bulb and three excellent User modes, in which you can store settings. There’s no pop-up flash on the K-3 II, so you’ll be required to buy an accessory flashgun to light your subject.

5

4 2 1

5 6 7 8 3

FROM THE BACK The fixed 3.2in 1037k-dot monitor 1 can be switched to Live View using the LV button 2 . The screen certainly gives a good crisp view and a ‘quick’ menu can be brought up using the Info button 3 . Herein you can switch to settings not possible from the buttons. When shooting, the Info button switches the display between a status screen that shows camera settings, an electronic level, an electronic compass or it can be switched off. There’s no eye sensor to switch off the screen automatically when shooting, so it’s best left off until needed. The compass uses the built-in GPS to show positioning data which is potentially useful when trying to locate geographical features or the path of the sun. On the right of the screen is the rear command dial 4 and below is the mysterious Green button 5 ; in Manual mode, this sets autoexposure, which is rather handy, and it also switches to Auto ISO when adjusting sensitivity. A lever 6 switches between stills and video, and the four-way controller 7 doubles up as shortcuts to the drive mode, white-balance, etc. which isn’t ideal. Next to that is the Change AF Point button 8 , which locks/unlocks the AF points, allowing the four-way controller to move them.

ISSUE 61 ADVANCED PHOTOGRAPHER

43

PHOTO KIT PANASONIC LUMIX GX8

SPECS PRICE £999 body only, £1699 with 1235mm f/2.8, £1399 with 14-140mm SENSOR Live MOS, 20.3 megapixels SENSOR FORMAT Micro Four Thirds 17x13mm, max 5184x3888 pixels.

14-bit Raw and 3 JPEG levels. 4 aspect ratios. 4K video 3840x2160 pixels ISO RANGE 200-25,600 in 0.3EV steps. Extended range to ISO 100 SHUTTER RANGE 60secs to 1/8000sec mechanical, 1/25-1/16,000sec electronic DRIVE MODES 8fps with mechanical shutter, 10fps with electronic shutter, self-timer (2 or 10secs, 3 images) METERING SYSTEM 1728 multiple zone, spot, centreweighted average EXPOSURE COMP +/-5EV in 0.3EV steps. AEB 3, 5, 7 shots in 0.3, 0.6, 1EV steps up to +/-3EV MONITOR Articulating 3in touch-sensitive OLED with 1040k dots, 100% field of view FOCUSING Contrastdetection AF. Face/ eye detection, 49 area , tracking, custom multi, single area, pinpoint DIMENSIONS (WXHXD) 133.2x77.9x63.1mm WEIGHT 487g CONTACT panasonic.com

52

WORD & PICTURES WILL CHEUNG

FULL TEST: PANASONIC LUMIX GX8 It’s the first Micro Four Thirds camera to break the 20-megapixel barrier, but the GX8 has so much more than high resolution to excite

The Micro Four Thirds system has a great deal to offer photographers wanting small, lightweight cameras and lenses without compromising on image quality.

The Panasonic Lumix GX8 is the latest Micro Four Thirds camera to arrive and priced at £999 body only, it’s a feature-packed, top-end model.

Among the headlines, the GX8 is the first Micro Four Thirds camera to have a resolution over 20 megapixels, it can shoot 4K video and there’s a new Dual Image Stabilisation system. Other key features include a hinged and tilting three-inch LCD that shows 100% of the image; 4K Photo mode which enables the capture of eight-megapixel files at 30fps; and a contrast AF system using DFD (Depth from Defocus) technology.

The GX8 is a large camera by Micro Four Thirds standards and that helps with handling, with plenty of space for the many knobs and buttons.

It has a heft too (for a Micro Four Thirds model), so the body, which is also dust-sealed, feels really solid in the hands and that promotes steady shooting. Steady shooting is helped in no small measure with the Dual Image Stabilisation system.

In still shooting, this means the twoaxis lens stabiliser and the five-axis system in the body work together – or you can have just one system working.

I shot handheld down to 1/4sec and got very sharp pictures, which gives you some idea of the system’s efficacy.

It is always worthwhile spending time setting a camera up how you would like it to work, and the GX8 offers so many options. In the REC menu there are eight pages and a total of 37 options, while in the custom menu, there are nine menus with 45 options. Go into the function buttons menu and you’ll see 13 function buttons (physical and virtual), and each offers up to 52 options.

Of course there is an upside to the

ADVANCED PHOTOGRAPHER ISSUE 61

great many options and that is, the GX8 is very adaptable to different needs and preferences. All you have to do is get used to the camera’s set‑up once you have explored the many possibilities.

Accessing frequently used features is done with dedicated buttons (which you can change), via the Q menu or via one of the DISP options, which displays the camera’s set-up. The Q menu can be customised too with 33 options to choose from. The touchsensitive monitor makes choosing and altering a setting really swift.

Speaking of the monitor, the GX8 has two viewing options, the threeinch monitor or the built-in EVF. The monitor flips out to the side and can be rotated to face forwards for easy selfie shooting, but for most users perhaps the ability to look down, including when shooting upright-format images, to compose is more appealing. So for sneaky street shots or very low viewpoints, the articulating monitor is ideal and the touch-sensitive screen means that you can focus a shot with your finger.

The annoying thing with the touch-sensitive monitor (and this is

@advancedphotog

not just on the GX8) is that you can be happily shooting away one second and the next your nose or a brush of the finger has moved the AF point to the edge or corner of the frame. After this happened the first few times, I allocated one of the function buttons to enable or disable the touchscreen so I didn’t have to delve into the menus to do it. Besides, there are plenty of function buttons to use.

The EVF can also be rotated 90°.

It’s firmly clicked for normal shooting and can be set to a different angle in an instant. It’s a neat little feature and one that’s much more useful than an integral flash that would normally take up this space.

In terms of overall performance the GX8 does well. I had no issues with exposure, white-balance or autofocusing. The camera consistently delivered high-quality pictures. The lens supplied for review was the Lumix 12-35mm f/2.8, one of the leading lenses in the Panasonic range.

At full resolution, the images opened up big enough to give a 17x13in print at 300ppi without interpolation so there is plenty of scope for highquality prints.

info@advancedphotographer.co.uk

absolutephoto.com

PHOTO KIT PANASONIC LUMIX GX8

ISSUE 61 ADVANCED PHOTOGRAPHER

53

BUYERS’ GUIDE ACCESSORIES

ON-LOCATION LIGHTING GEAR

These days you can use flash in almost any environment and wellengineered products make it simple and easy to do – but you also need to modify and tailor the light to suit your subject. To help, this month we’re shedding some light on some must-have accessories…

The first time you use an accessory flashgun (or ‘speedlight’) it feels like a big step forward.

You get more power, less time between flashes and more control than the pop-up flash on your camera can provide. That extra control comes via a speedlight’s tilting and swivelling head, meaning you can reflect the light onto the subject for softer shadows and to avoid red-eye in portraits. To further this, your accessory flash will also most likely come with an integrated bounce card and/or diffuser to soften the light even more. It’s a huge improvement over a weak, harsh and uncontrolled pop-up flash, but with the right gear the fun doesn’t end there.

The next stage is to further modify your flash and start using it off camera, and that’s where the freedom really begins, opening up all sorts of more creative lighting effects. Because speedlights are small and light, they’re the perfect travelling companion and can be easily positioned in a range of places, so that you can apply sophisticated and dramatic lighting in almost any spot – often even places where studio heads and

modifiers would be far too bulky to use. With the right kit, you can also filter, channel or diffuse the light in ways that would better suit the subject as well as your creative intentions.

Many photographers use DIY modifiers, and while these can cut down your spend and help you learn what works and what doesn’t, there’s a definite benefit to buying off-the-shelf products which will last longer and function better, having been designed with input from photographers like you. Kit needs to be light and portable, too, because you don’t want a bad back putting you off shooting. You should also consider non-flash gear that can work with your set-up to solve problems and add special effects. With that in mind, here are some recommendations to get you started…

A HUGE IMPROVEMENT OVER A WEAK, HARSH AND UNCONTROLLED POP-UP

FIRING THE FLASH Many people have an unfounded fear of off-camera flash – it seems complicated and difficult to control – but it’s very easy to trigger, either using an oldfashioned sync cable, or with radio or infrared signals.

Most photographers use radio triggers, but many cameras can now control compatible guns from the body alone, usually via a pre-flash from the built-in flash. The advantage of radio triggers is extended range and that line-of-sight isn’t necessary for them to work, so you have more freedom. On the other hand, controlling a flash from the camera lets you use through-the-lens (TTL) metering for easier exposures.

62

ADVANCED PHOTOGRAPHER ISSUE 61

@advancedphotog

info@advancedphotographer.co.uk

absolutephoto.com

BUYERS’ GUIDE ACCESSORIES

ISSUE 61 ADVANCED PHOTOGRAPHER

63

Image © Miss ImageAniela © Miss ImageAniela © Miss Aniela

I AM A MODERN MASTERPIECE I AM A MODERN MASTERPIECE I AM A MODERN MASTERPIECE

I AM THE NEW NIKON D810. I am the ultimate in high-resolution versatility.

I conquer any light situation thanks to my new 36.3 MP FX-format sensor, I AM THE NEWprocessor NIKON D810. the ultimate high-resolution versatility.

EXPEED 4 image and ISOI am 64-12800 range.inI never let a subject escape Iwith conquer any light situation thanks to my new 36.3 MP FX-format sensor, my burst mode up to 7 fps and my multiformat Full HD movie recording IatAM THE NEW NIKON D810.

I am the ultimate in high-resolution versatility.

EXPEED 4 image processor and ISO 64-12800 range.

I never let a subject escape 60p. I am made for masterpieces. europe-nikon.com/iamdifferent Iwith conquer any mode light situation to multiformat my new 36.3 sensor, my burst up to 7 fpsthanks and my FullMP HDFX-format movie recording EXPEED 4 image processor and ISO 64-12800 range.

I never let a subject escape 2 year warranty on any camera and lens europe-nikon.com/iamdifferent kit simply register your new Nikon within 30 days of purchase. at 60p. I am Formade for masterpieces.

Offer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register with my burst mode up to 7 fps and my multiformat Full HD movie recording 2 year warranty on any camera and lens europe-nikon.com/iamdifferent kit simply register your new Nikon within 30 days of purchase. at 60p. I am Formade for masterpieces.

Offer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register

For 2 year warranty on any camera and lens kit simply register your new Nikon within 30 days of purchase.

Offer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register