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✓ GREAT PHOTO ADVICE ✓ NO JARGON FREE BRILLIANT SHOTS INSIDE! R H START HERE HOLIDAYS & COURSES GUIDE

TAKE CONTROL OF YOUR DSLR!

HASSLE-FREE GUIDES

• Conquer your fear of flashguns • How to photograph a wedding • Shoot stunning silhouettes

7 SIMPLE PHOTO PROJECTS PORTRAITS

NATURE

LANDSCAPES

Photo ideas to try today

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CANON 100D & 700D

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…in a weekend

BE A PHOTO EXPERT IN 48 HOURS!

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Welcome

CONTENTS Digital SLR, Issue 80

How long does it take to become a good photographer? It’s a very interesting question, isn’t it! Should it take years, months or even days? Well, we’re going to make a bold claim and aim to teach you the essential basics of photography in just one weekend! That’s right, instead of spending Did you know you can buy Digital Saturday and Sunday walking the dog, mowing the SLR on your iPad? Save up to 40% by subscribing at the App Store today! lawn or watching the cricket, you could take your learning from complete beginner to knowledgeable snapper. Interested? Turn over to get started with our special feature, and don’t forget to let us know how you get on. This month’s issue sees another bumper selection of Photo Projects – 18 pages of them to be exact. You can explore Cornwall’s landscape wonders, try a backlit portrait or capture some creative reflections. What’s more, we want to challenge the way you buy your camera gear and show you exactly what you could get for your money if you buy smart, so head over to our buyer’s guide on page 77. Lastly, with summer finally here, we’re dedicating eight pages to showcasing the best holiday and travel workshops. You could combine some photo learning with a holiday with the kids. Everyone’s a winner!

PHOTO TECHNIQUE 4

Master your DSLR in a weekend COVER

A bold claim, but a simple premise: give us 48 hours of your time and we’ll improve your photography.

18 PhotoAca demy COVER

Throw a bit more light on the subject with your pop-up flash or a flashgun.

28 18 pages of projects COVER From backlighting to creative blur, there’s a project here to challenge (and improve!) your skills.

56 8 steps to a silhouette COVER

This is one time when you can forget correct exposure and still get an image to be proud of.

66 How Do I?

No-nonsense, plain and simple answers to difficult dilemmas.

72 Shoot your first wedding COVER

Do your homework and you’ll get great shots on the big day.

READERS’ SHOTS 14 Feedback

Will it be gold stars, constructive criticism or a simple ‘must try harder’ for our readers?

22 ReaderHe ro

Reader Alan Howe is certainly proving that it’s the photographer, not his tools, that makes fab photos.

Matty Graham, Editor mattygraham@bright-publishing.com om

62 You Shoot It

We asked for your animal portraits and what did we get? Purrfect pets!

94 Photoblogs

Two readers share their wheely good projects with us.

EQUIPMENT

70 First look reviews COVER

We get hands-on with Canon’s newest DSLRs – the EOS 100D and EOS 700D.

77 Buyingu sed COVER

Pre-loved gear can save you money. We tell you how to net a bargain and avoid the pitfalls of second-hand kit.

84 If you buy one thing…

Each issue we recommend a musthave bit of kit. In our sights this issue: wireless triggers.

86 Review

Two ideas for what to pack your kit in, and a reader checks out a course.

Decent kit doesn’t have to cost the earth – my shot of this busy bee was captured on a 70-300mm lens that cost just £90.

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Jargon-free advice, practical tips and plenty more inspiration.

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98 Wordsearch & win!

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Issue 78 competition winner

Congratulations to Tony Cortazzi from Chichester, who wins a Lencarta portable flash system.

s s

ISSUE 80 DIGITAL SLR 3

camera Master your

…this

weekend

Admittedly, it’s a bold claim. But give us a few hours of your time and we’ll give you the tools you need to harness the picture-taking power of your camera

here are no two ways of looking at it, a camera is a big slab of technology and that, for many, makes using one a daunting prospect. But the trick when you’re trying to get the most from one is not to attempt to learn absolutely everything it does at once. In a quick straw poll of the Digital SLR office, for example, not one staff member could confidently claim to have used every

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single feature that their camera has to offer. Consequently, this article isn’t going to try and teach you everything. Frankly, we’d need more than these eight pages! Instead, we’re going to concentrate on some core functions common on many cameras (DSLR, CSC and bridge), which, once mastered, we think you’ll be using regularly to take better photographs.

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WHAT YOU’LL LEARN ed EXPOSURE ESSENTIALS: Capture images with balanced

exposures, and fine-tune with exposure compensation. on.

ACE AUTOFOCUS: Banish blurred images and pick thee

right AF mode for the right situation.

CONTROL COLOUR: Wave goodbye to unsightly

colour casts and use your white-balance presets for creative effect.

CLOSE-UP SKILLS: Get the bigger picture by zooming in on the skills needed for a frame-filling image.

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7 DIGITAL CAM TIPS AND TRIC ERA KS DAY ONE

ONE WEE KEND

We help you master the exposure side of your camera’s functions by explaining exposure modes, metering patterns, ISO and exposure compensation.

DAY TWO

Crank up your learning by exploring focus modes, white-balance presets and close-up skills. We’ll even give you some photo ideas to put all this theory to the test.

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camera …this weekend Master your

DAY ONE

Better have an extra Weetabix for breakfast as there’s plenty of learning to be done. Before we start, make sure your batteries are charged up and you have plenty of space on your memory card…

Using aperture- and shutter-priority modes When you start using a camera, the easiest option is stick it on the program (P) mode and snap away. There’s nothing wrong with this; it’s quick and simple, but it isn’t so good if you yearn for a modicum of control over your photographs. Selecting aperture-priority (A or Av) or shutter-priority (S or Tv) on your camera’s exposure mode dial will help you wrestle some of that control back. In both cases, you choose one aspect of the exposure and the camera handles the other. It’s why both these modes are known as ‘semi automatic’. Simplistically speaking, the aperture controls the size of the hole in the lens, while the shutter speed denotes how long the camera’s sensor is exposed to light. But there’s a bit more to it than that. Altering the aperture and shutter speed also affects how the resulting images look. The principle effect of the aperture – measured in f/numbers - is to control what is and isn’t sharp in an image, also known as depth-offield. Meanwhile, the shutter speed

– measured in seconds or fractions of a second – controls subject movement. Therefore, it’s best to select one of these two exposure modes according to the photographs you’re taking or the effect you want to create. Using aperture-priority to control what is and isn’t in focus is useful for a huge range of subjects. If you want a shallow depth-of-field where your subject is set against a pleasantly blurred background, for example, select a wider aperture, which is denoted by a small f/number such as f/3.5 or f/4. If, on the other hand, you want a large depth-of-field on a landscape or architecture shot where everything in the frame is sharp, use a small aperture denoted by a large f/number such as f/16 or f/22. Flicking over to shutter-priority will help you to freeze or blur subject movement. To freeze fast moving sports, choose a fast shutter speed of 1/500sec or 1/1000sec. If you want to deliberately blur movement – such as a flowing river – choose a slow shutter speed of 1/4sec or even one second.

Shutter speeds can be used to freeze or blur subjects. Here, after selecting shutter-priority, a slow shutter speed of 1/4 sec was used to blur the taxi as it sped past.

REMEMBER! Switch quickly between exposure modes using the mode dial on the camera’s top-plate. On this Nikon dial, P stands for program, S for shutter-priority, A for aperture-priority and M represents manual. Of the other settings available, U1 and U2 (often C1, C2 on other cameras) allow you to create your own exposure modes from a variety of camera settings. Very handy!

Here, aperture-priority and a wide aperture of f/4 were used to isolate the subject.

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26/4/13 12:36:40

camera …this weekend Master your

UNDERSTANDING METERING PATTERNS Modern cameras have highly sophisticated metering systems to ensure accurate exposures every time. Left to their own devices, they do a good job, but there will be occasions when you may want to take a more active interest in the way your camera calculates the exposure for a scene. Do this by changing the metering pattern.

EVALUATIVE MODE: Straight out of the box, the chances are your camera will be using some form of multi-zone or evaluative metering system. Different manufacturers have different names for such systems, but they essentially perform the same function; taking readings from multiple points all over the frame, combining this with information drawn from the camera’s focusing system, and picking an exposure. Such a system is great for scenes with even lighting or one where the lighting is mixed, which is why evaluative mode should be your default choice.

SPOT METERING: But what happens if the scene you’re photographing is very bright but the subject is dark, or perhaps the subject occupies a very small part of the frame? In these instances, you should switch to spot metering, where the camera will only take a light meter reading from a precise area in the centre of the frame. A good example of this is when shooting a portrait at the seaside or outdoors in bright sunshine. Position your subject in front of the bright background and their face is likely to be significantly darker, especially if they’re wearing a hat. Switching to spot metering and taking an exposure reading purely from your subject’s face will ensure the exposure is accurate for the most important part of the shot. Give it a try the next time you’re taking any photograph where the background is much brighter than the subject itself, or vice versa.

CENTRE-WEIGHTED: Other cameras may offer further metering versatility with partial and centre-weighted options. Partial is similar to spot metering, but is not so precise. Whereas spot metering will typically take a reading from the central 3-5% of the frame, partial is a wider area, typically 9-12%. Centre-weighted metering used to be found on older cameras and works on the assumption that the photographer will place their subject in the centre of the picture. For this reason, the centre-weighted mode will typically place a greater emphasis on metering the middle of the frame than the outer area. Ratios vary, but it’s typically 75:25.

In tricky lighting conditions, it can pay to switch to your camera’s spot metering mode.

HOW TO CHANGE METERING MODES

“STRAIGHT OUT OF THE BOX, THE CHANCES ARE THAT YOU’LL USE EVALUATIVE MODE” Follow us on Twitter: www.twitter.com/DSLRMag

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DON’T FORGET ■ Start by pressing the metering button on the back of the camera, which is identified by a solid circle within two semi-circles. With some cameras, you may need to access the Menu system instead. ■ Use the command wheel or directional D-pad to cycle through the metering options. ■ Once you have selected the metering pattern you’d like to use, click the central OK or SET button and take your image.

If you are met with tricky lighting conditions, the best approach is to experiment with various metering modes until you find one that works. With digital, you can always delete less appealing images at a later date, maybe once you’ve seen them on the computer, so there’s nothing to lose. ISSUE 80 DIGITAL SLR 7

26/4/13 12:36:57

Landscapes

FOR LIFE

Taking on big name photographers with megabucks cameras, Digital SLR reader Alan Howe has created an amazing portfolio with his modest kit. No wonder this photographer is aiming to become a professional

W WHAT DO YOU WANT TO DO w with your photography? Bit of a strange question, isn’t it? o F For some, bagging nice photos of the family is the motivation o ffor picking i ki up the camera. Others may have taken up the hobby to be part of a camera club or other organisation. For 42-year-old Alan Howe, what started out as a hobby has sprouted legs and is now taking his life in a new direction. The Digital SLR reader is on the verge of becoming a professional and has an amazing portfolio of landscape images. What’s more, he’s taken all these shots, not on some big-money pro camera, but on a humble, 14-megapixel Sony: the sort of camera you and I use. “I’ve been interested in photography since I was 17. I bought myself loads of second-hand gear and a film SLR. At first, I really didn’t have a clue so I did all my

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learning from books – I just visited the library, signed out every book I could get my hands on and learnt from there. I suppose I just fancied the idea of having a proper camera, rather than a compact. The key for me was learning how shutter speeds and apertures relate to each other and how they can produce a balanced exposure,” explains the Plymouth-based driver. Alan’s schooling was back in the days of film, which needed a different approach to today’s instant reviewing of images on a memory card. “Working with film, I had to be a little more cautious with my exposures. Sometimes I’d have to wait four weeks to get the film back, so by the time you’ve seen the prints, you’ve forgotten what settings you used in the first place.” Film gave Alan a solid foundation in photography, but it wasn’t until he went digital that things really started to take off.

“Two years ago, I made the jump to digital and that’s when my photography really rose to another level. I don’t think I was really happy with any of my images until I went digital and bought my first DSLR, a Sony A450, which I still use today. Seeing the results instantly really helps to sharpen your technique, especially when light is fading and you need to work quickly,” says Alan, who really has shunned bags full of professional kit for his efficient, yet stripped-down, kit list. “I don’t have too much other kit in my camera bag – just lenses. I have a Tokina 11-16mm wide-angle lens, a Sigma 70-300mm and a 55mm f/1.7 prime lens that I use with an adaptor. I definitely use the Tokina optic more than the others, in fact it’s rarely off the camera. I also use a mixture of filters including a polariser, a mix of grad filters in different strengths and also a ten stopper for some really long

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26/4/13 12:55:11

Alan Howe Reader Hero

TOP LEFT “I noticed the light on these rocks – some have said this looks like stepping into heaven.”

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Photo Projects » Reflection inspiration

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26/4/13 15:48:21

Photo Projects » Reflection inspiration

18-PAGE SECTION

PhotoProjects Want something to do with your camera right now? Try one (or all!) of our projects – then make sure you show us your results on our Facebook page (www.facebook.com/DSLRMag)

PROJECT 1: MEGA PROJECT

Get creative with reflections

We’ve got a host of ideas to help you master the mirrored image They say not all that gleams is gold, but for photographers, that may not be true – all that gleams is a chance of photographic gold. Anything shiny reflects images and light, and we can use this in our photos to add an extra creative twist. Whether this is simply by capturing a mirror image, or by using reflections to create abstract art, the creative possibilities are endless.

What’s more, reflections are everywhere – in the house or outdoors, at work or on holiday. If you start looking for them, you’ll see them everywhere you turn. We’ve dedicated this issue’s mega project to giving you ideas for how to make the most of the reflected world. Even better, they’re all really simple – there’s no smoke and mirrors here. Well, having said that…

This month’s projects: p28 Catch your reflection

p40 Venture out to Cornwall

p34 Try lighting your subject from behind

p42 Send your subject up, up, up and away with balloons and continuous shooting

p36 Turn your photo formats upside down p38 Shine with water droplets

p44 Blur the background behind your portraits

Turn over to learn how to shake up your reflection Follow us on Twitter: www.twitter.com/DSLRMag

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Photo Projects » Reflection inspiration MEGA PROJECT Magnificent mirror images

Water under the bridge » It’s a classic. A summer’s day by a picturesque river, the arches of a bridge perfectly mirrored in the still water – it’s almost impossible for any photographer to resist the temptation. For the best results, resist that temptation until the light is right. In the early morning or the late evening, the sun is lower in the sky, providing golden light and a strong reflection. At dawn, the water is more likely to be calm for a perfect reflection too, and you might even get some mist for a bit of atmosphere. It’s best to put your camera on a tripod and close the aperture to about f/16 – this will ensure that the whole bridge and its reflection is sharp.

» Most of us look in the mirror every morning, and even if we don’t like what we see then, the same mirror can be used to create some very attractive images. Get a subject to stand against a mirror for a double portrait, or take the mirror off the wall to use as a surface for still life subjects. A white ceiling above will give you a plain white background, or you can set up some wrapping paper above for a pattern – or even take everything outside to set your still lifes in the sky. You don’t have to stick to wall mirrors though – you can use your car or motorbike mirrors to capture unique angles on streets, cities and landscapes while you’re out and about.

Fun in the sun » Whether the sun comes out in the UK, or you go somewhere sunnier for your holidays, don’t forget your shades. Not just to protect your eyes, but to capture unique holiday portraits. Get your subject to put their sunglasses on and position them so that a holiday scene is reflected in the lenses – the beach or sky, a landmark, or your hotel. You can either take a normal portrait with the reflection as the focal point, or get in close to the reflection with a macro lens for a different perspective. You could even take a portrait within a portrait and have a friend or your kids reflected in the shades.

Alternative architecture » If you’re amongst buildings that you’re taking photos of, then there’ll be plenty of windows too. Rather than taking straightforward photos of the architecture, you can get a different perspective by taking photos of reflections in these windows. With tall buildings, this can be a creative solution to avoid taking images from strange angles, or you can create interesting contrasts by framing a historic building in the window of a modern city block. With the glass skyscrapers of busy cities, you can go one step further and capture one building reflected across the entire side of another. 30 DIGITAL SLR ISSUE 80

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26/4/13 15:48:54

Photo Projects » Reflection inspiration

Night light » When the sun goes down, a whole new world of reflections opens up near to water in the towns and cities. The lights of the buildings together with the long exposures needed make for a range of multicoloured, abstract reflections that create stunning scenes. You’ll certainly need a tripod for this one, and by closing the aperture to about f/22, you can also create a starburst effect on the lights above the water. It’s best to take this kind of shot at dusk while there’s a bit of blue left in the sky, so there’s life in the water and it doesn’t end up as an empty mass of black. If it’s been raining, you can use puddles for the same effect.

Wildlife » Birds on the water are popular subjects, but it’s easy to concentrate so much on the animal itself that when you look at your image, you wish you hadn’t cut off the reflection. Next time you’re framing up some waterfowl, take a second to think about whether you could include the reflection for a different composition – you could place the waterline across the centre of the image for a symmetrical image. In the evening, the low sun might be reflecting off the water, and you could try creating a silhouette of the bird with its silhouetted reflection.

Reflections in the rain

» You don’t have to wait for good weather to capture some creative reflections – and it’s a good job if this summer is set to be typically British. The sheening pavement and puddles after a downpour make for great photo opportunities. You might not want to take your camera out in the rain, but if the sun appears after a short, sharp shower, then buildings and landscapes will be reflected strongly in the sitting water. By photographing these reflections, you can get unique perspectives on familiar buildings, or simply use the puddles to frame your subject. If possible, try to include some edges of puddles so that you can tell that the photo’s not just upside down! Follow us on Twitter: www.twitter.com/DSLRMag

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Use a polarising filter for reflections with flare Polarising filters reduce unwanted glare when shooting reflective surfaces. Attach one to your lens and, looking through the viewfinder, turn the front of it to find the point at which glare is minimal. These filters are dark, so you’ll need a slower shutter speed – be sure to use a tripod if it drops below about 1/60sec. You can get hold of a polarising filter for as little as £20.

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Photo Projects » Blur backgrounds PROJECT 7

Blur your backgrounds Use the blur tool to give portraits a professional look by creating an out-of-focus background. Here’s how Most cameras come with a kit lens, but the maximum aperture is usually f/3.5, and if you zoom in this usually changes to f/5.6. What do these numbers mean to you? Well, the smaller the f/number, the shallower the depth-of-field, so your kit lens may struggle to blur the backgrounds in your portraits. Blurring portrait backgrounds is appealing, because it softens any distractions in your frame, focusing the viewer’s attention onto your main subject.

Open your image

Make a duplicate layer

Use the blur options

Adjust the effect

What you’ll need > Photoshop

Elements or similar software

DIFFICULTY RATING

Prime lenses or more sophisticated zooms do offer low f/numbers and shallow depth-of-field, but they can be expensive. If you’re looking to shoot a lot of shallow depth-of-field, we’d recommend a 50mm f/1.8, which is great value for money. If you want to keep your cash, we have an alternative solution – use Elements’ blur tools to fake the effect of a fast lens (see panel). This technique is very easy and can take just five minutes. Here’s how…

MEDI MEDIU DIU UM

Crank up your image-editing program by double-clicking on the software’s icon on your desktop. When it’s started up, click File>Open and then select the file you’d like to edit. Next click OK and the image will open up on your screen.

We need to make a duplicate layer so we can return some sharpness to the frame. Click Layer>Duplicate layer… the new layer will automatically be selected, ready for you to work on.

Elements has a number of blur options that can give a huge array of results, but we’re going to use Gaussian blur. Click Filters>Blur>Gaussian blur and a dialogue box will appear.

In the dialogue box you will see a slider bar. This is for the strength (Radius) of the effect. Make sure the Preview box is ticked and then slide the bar until you get the desired amount of blur. Click OK.

“Fast lenses can blur backgrounds but if you don’t have one, you can fake the effect using Photoshop Elements’ blur tools”

BEFORE

Add a layer mask

Now we’re going to remove parts of the blur that we have just added; this will leave our model sharp and the background blurred. To do this, we’re going to add a layer mask. Look for the icon on your layer palette that shows a circle inside a square. Click on this and the mask will be generated. 44 DIGITAL SLR ISSUE 80

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26/4/13 13:04:57

Photo Projects » Blur backgrounds

Final image Flatten the layers (Layer>Flatten image) and then save your file. There we go – blurred backgrounds without the costly fast lens!

Brush out the blur

Select the Brush tool from the toolbar and then (with the brush set to black) start to brush out the blur on your subject. You will see that the blur disappears. If you make a mistake, select a white brush and brush the blur back in. Follow us on Twitter: www.twitter.com/DSLRMag

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Fast lenses

A ‘fast’ lens is the name give to an optic (prime or zoom) with a maximum aperture of f/2.8 or less – ie. f/1.8, f/1.4 etc. Fast lenses are usually more expensive, but a 50mm f/1.8 prime from Canon or Nikon can be picked up for just £60.

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FE S s SPOR UPS TS s LOW LIG HT

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ISSUE 80 DIGITAL SLR 61

26/4/13 16:36:19

How do I? Picture-taking problems solved

This month’s e: topics includ ctioonn

✓ Shoot HDR a ur casts ✓ Correct colo a wedding ✓ Photograph glass in ✓ Protect the your lens

Please send questions via email to: mattygraham@bright-publishing.com HOW DO I…

Protect my lens? I’m a banger-racing fan and often take my camera to get some shots of the carnage. The cars kick up loads of muck and dirt – how can I protect my gear? Steve Norman, Essex You have two choices for protecting your gear, and in particular your lens, which is probably the most vulnerable part of your kit. The first option is to change your lens to a telezoom and back away from trackside so the dirt won’t get near your lens. While this is the safest option, you could miss out on some good pictures, so the second option would be to invest in a skylight filter from the likes of Hoya. For a reasonable layout, £20-£40 depending on the size of your lens, it will screw on to the front of your lens and protect the front glass on your optic. Unlike other filters, a skylight doesn’t have any other use – it doesn’t correct colours, remove sheen from water or even slow your shutter speed. You may be reluctant to pay the extra £20, but if the worst happened and you damaged your lens, you’d have to pay a lot more than that to replace it. What’s more, if you ever sell your existing lens, buyers prefer to purchase optics that have always had a skylight filter on the lens.

AFTER

HOW DO I…

Correct colour casts?

BEFORE

I recently bought a budget ND filter off the Internet, but it gives my images a strange colourr cast – how can I fix this problem? Claire M, Lincoln n Unfortunately, the cheaper the filter, the more likely that it will give your images this colour cast. Why? Quite e simply, because it’s cheap glass – however, all is not lost. If you have image-editing software, you can alter the colours, or white-balance, of your photos when you download them. The best way of correcting your colour is to shoot in Raw, and then change the white-balance when you open the file with your Raw converter software. If you don’t have this software on your computer, then don’t panic – there’s free Raw converter software out there, try www.gimp.org. If you’ve shot in JPEG, you’re better off using the colour balance options in your editing program. Look at the difference a few clicks on the computer can make to an image shot through some cheap glass. 66 DIGITAL SLR ISSUE 80

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In association with Tamron HOW DO I…

Store images safely? What’s the best way to back up my photos safely ely and cheaply? Ian Starkey, Middlesbrough The truth is that memory cards and computers can go wrong, but as storage is so cheap these days you don’t have to risk losing your wedding pictures or images of the kids taking their first steps. One route ute is to buy an external ght for well below £50 hard drive or a high-capacity memory stick. Both can be bought and they simply plug into the side of your computer. ervice. Basically, you are Another alternative is to back up your images to a cloud service. just uploading your files to a big server where you can access them whenever you e. want. Google, BT and Dropbox all offer these services for free.

HOW DO I…

Get big lights outdoors? I’m interested in shooting portraits outdoors. What kind of lighting could I use that doesn’t require electricity? Susan Guy, Facebook page

BEFORE

AFTER

HOW DO I…

Make HDR images of action? I usually merge three shots to make my HDR, but how can I make an HDR of action images when the subjects are moving quickly? Darren Burridge, email Most people shoot HDR (High Dynamic Range) images by merging three images (one normally exposed, one underexposed and one overexposed) on the computer. This is fine if you are shooting a landscape scene that doesn’t move, but if there’s action in the frame, this method won’t work, as the object will have moved position by the time you’ve taken your second or third frame. However, there is a solution! Raw files contain more information, which means you can edit them much more than a JPEG. So, the trick is to take your action shot and then edit it three times using the exposure settings to create a normally exposed version, and under/overexposed versions. Once you have your three files, you can process them as normal with your computer’s HDR software. Remember though, the intense, saturated result of HDR doesn’t suit every subject, so don’t be disappointed if your results aren’t what you wanted. Follow us on Twitter: www.twitter.com/DSLRMag

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Without a socket to plug into, you’ve got two choices. The first is to invest in some portable lighting gear, like an Elinchrom Ranger kit or the Lencarta Safari. These lightweight kits offer a powerful lighting solution that can be taken anywhere, but they start from around £800, which is usually out of most people’s budget. The second solution is to invest in some flashguns. Branded versions from Canon or Nikon can be pricey, so it may be worth looking for third-party models from the likes of Calumet, Metz and Sigma as you can usually buy two flashguns for the price of one manufacturer’s unit. Once you have bought your flashgun, think about some add-ons – you’d be surprised by the amount of accessories you can buy for flashguns, such as softboxes from Lastolite or flash gels to colour backgrounds from Honl. The great thing about flashguns is that they run on AA batteries, so if you’re shooting on location and run low on power, you can just pull in to the next shop and buy some new batteries.

ISSUE 80 DIGITAL SLR 67

26/4/13 14:32:14

DEVELOP YOUR SKILLS

SHOOT WEDDINGS LIKE A PRO Been asked to shoot your first wedding? Worried? Let Stewart Bywater’s advice calm your nerves and help you take shots that would make a professional proud

t doesn’t take too much effort to transform an average snapshot into a crafted image. With a little kit and some good technique, you can make the leap and be ready to capture some professional-looking images the next time you’re shooting a wedding. Wedding photography is one of the most polarising areas of photography, in that people either love doing it or hate it with a passion. Some photographers shudder at the mere thought of the long hours lugging kit around, surrounded by drunken uncles dancing into every frame and screaming

kids who just want to go home. However, for the rest of us, a wedding is the perfect place to capture beautifully crafted images of a couple on what is usually the happiest day of their lives, when they’re looking their best, and which also provides countless opportunities to capture genuine emotion on the faces of their guests. Most people who attend weddings these days will have some sort of camera with them, be it their phone, a compact camera or a DSLR, but some of those people may have been asked specifically by the bride or groom to take some photos. With this

comes quite a lot of responsibility. Unless there is an ‘official’ photographer present as well, the couple will be depending on this guest to provide impeccable images that capture every moment of the day, which they can put in their albums, send to friends and display around their home. If you’re the designated picture taker, to get the best shots possible you will need to do your homework. The first thing to do is to liaise with the bride and groom about exactly what shots they want and if they would like the shots to be taken in a traditional or more modern, relaxed style.

“Being asked specifically to take photos comes with it a lot of responsibility”

72 DIGITAL SLR ISSUE 80

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26/4/13 16:11:48

Everyone thinks they’re a wedding photographer these days. Our advice will help your shots stand out from the rest. Follow us on Twitter: www.twitter.com/DSLRMag

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ISSUE 80 DIGITAL SLR 73

26/4/13 16:15:48

Buy second-hand Bag a bargain

Buyer’s guide Ready to step into the world of buying second-hand? Cool your jets for a moment and read this buyer’s guide first. With some practical advice, you’ll be in a better position p n tto om make an informed choice and less likely to fall foul of unscrupulous sellers Find a reputable seller F

M Much like used car sellers, some secondh hand dealers out there will try to sell you a lemon. It’s your job to weigh up yyo w whether or not to trust what is being aadvertised. d As a general rule, stay well cclear of anything overseas – that’s aasking for trouble. You have far less recourse if anything goes wrong, plus yyou could be lumbered with import ffees so buy British, as it were. We got aall our pricing for this feature from the recently launched Camera Jungle, which is the UK’s first online only, second-hand retailer. They offer trade-ins on existing kit and a no quibble return scheme for peace of mind.

Do your researc research arch h

Before you buy any camera, am a me errra, a,, n a new ew ew ou o ur research. rre ese ese sear arcch h. or second-hand, do your The Internet is full of ffr free ree ee guides gu uiiide de d es es he h ek etttl e tle e,, make ma ak ke and reviews, so boil the kettle, yourself a cuppa, and sp sspend pe en nd so ssome om me e h the tth he d di iffffer eren ent time trawling through different websites and research h the the camera th cca ame mera ra ing ng. you’re looking at buying. Get second opinions ns by by ore rre or ev viiew ews comparing two or more reviews from different websites. Remember, you need to buy a camera that will fit your needs, so reading reviews may unearth potential shortcomings with the camera. Research doesn’t have to be done solely on the Internet, of course – if you belong to

a ca ccamera am mera me era era ra cclu lub lu b,, the the he chances ch hanc ha anc nce ess a rre e tthat hat a fellow ha club, are b will ill own the il th h camera you’re ’ iinterested member in buying so be bold and ask if you can have a play, even if it’s just for a few minutes. You may find that you just don’t get on with the camera, that it doesn’t feel right in your hands, and that another model would suit you better.

Check the shutter count

Much like the odometer on a car records how many miles ve it has driven, cameras record how many pictures have been taken. This is important, because shutters have ea ow limited lifespan and the shutter count lets you see how heavily your potential purchase has been used. If the e r. If shutter count isn’t displayed, email and ask the seller. they say they don’t know how, direct them to a site like ike 40Dshuttercount – all you have to do is upload the most recent image taken on the camera and it will tell you u the ting shutter count. Some dealers also give a condition rating g. and a guarantee on the shutter in case it goes wrong.

Look Lo ko out ut forr e extras xtra xt r s

Accessories like batteries and chargers aren’t usually transferable from one camera to another so you’ll need to budget for spare batteries etc. You may be able to bag a little more for your buck though, as camera dealers will sometimes throw in a memory card, cleaning wipe or kitbag to get your business. 78 DIGITAL SLR ISSUE 80

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Before you buy, do your research RETURNS POLICY

It sounds obvious, but double-check the seller’s terms and conditions. Make sure they will take the camera back if anything goes wrong – a money back guarantee is best, but a replacement camera is also a reassuring backup. If they don’t offer a returns policy, then you have to be sceptical and ask yourself why. The truth is, there are so many reputable second-hand sellers out there, you don’t need to deal with companies that don’t protect you! www.camerajungle.co.uk

26/4/13 14:21:59

Budget of £350? You could buy this…

Bag a bargain Buy second-hand

£329

With 18 -55mm kit zoo m

ven a modest budget can still net you a selection of gear with plenty of picture-taking options. For our first example of second-hand bargain-hunting, we thought we’d have to go fishing on eBay, but in reality this wasn’t the case – for the same price as a Canon EOS 1100D you can get a full outfit from a reputable second-hand dealer. The base of our kit is an EOS 400D, a camera we can vouch for as we still have one going strong in the Digital SLR office!

Canon EOS 1100D 0D

£180

...or all of this Canon EOS 400D

SPECIFICATIONS

THE EOS 400D WAS A replacement for the Canon EOS 350D – one of the best-selling SLRs of all time. Launched in 2006, it is getting on a bit, but can still hold its own and produce amazing images – as the Digital SLR example proves. With ten megapixels there’s more than enough resolution to capture detail-packed images, and with nine autofocus points it will lock on to your target quickly and accurately.

£80

£40

£50

Canon 50mm f/1.8

Want to get shallow depthof-field without spending big bucks? The 50mm f/1.8 is the cheapest way to make this happen. With a maximum aperture of f/1.8, you can shoot in much lower light than with your normal kit lens. It’s cheap, compact and gives sharp results.

Canon 55-200mm

Want to get closer to the action? Paired with the EOS 400D, this becomes an 88-320mm telezoom, so you can shoot from a distance without spooking wildlife, zoom in on sports or create blurred backgrounds by shooting portraits at the long end of the focal length.

Canon EOS 400D Megapixels: 10 ISO: 100-1600 Card type: CF Frame rate: 3fps Raw: Yes Live View: No Movie mode: No Street price: £180

Tamrac Rally 2

This neat shoulder bag is great for smaller DSLR outfits and will hold your spare lenses, along with some accessories. Made from a durable, splashresistant material, the bag is just 397g, so it won’t weigh you down during a day out with the camera.

...OR THESE Nikon D70 with 18-70mm

£180

Sony A350 with 18-70mm

£160

The D70 has fewer megapixels than our Canon and Sony offerings, but it’s a well-built DSLR that’ll take the knocks of everyday photography. Has plenty of lens options, too. Megapixels 6 ISO 200-1600 Frame rate 3fps Live View No Movie mode No

Sony cameras are always packed with features and the A350 is no different. Offering more pixels than the Nikon and Canon, the Sony lets itself down with a slower frame rate. Megapixels 14 ISO 100-3200 Frame rate 2.5fps Live View Yes Movie mode No

£80

£35

£100

£40

£60 Nikon 50mm f/1.8

Nikon 55-200mm

www.camerajungle.co.uk

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Minolta AF 50mm f/1.7

Sony DT 55-200mm

Tamrac Rally 2 camera bag ISSUE 80 DIGITAL SLR 79

26/4/13 14:22:32

Wordsearch

Focus in to our wordsearch

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EDITORIAL

Can you find the 20 photo-related words in the grid below? Find the lot and you could bag Serif software

WIN!

IVE MINUTES SPARE? Why not have a go at our wordsearch? This month all the words are commands you’d find in image-editing programs. All you need to do is find them and send the completed grid, along with the entry form, to the address below by the closing date of 17 June 2013. First correct entry out of the hat wins a copy of the brand new Serif PhotoPlus X6 software, worth £70. Give it a go!

THIS MONTH’S WORDS: BLUR GRADIENT LAYERS DISTORT EXTRACT SHARPEN MASK SAVE CURVES FILTER LEVELS ERASER DOWNLOAD BURN TEXT ZOOM CLONE BRUSH CROP OPEN

Editor Matty Graham 01223 499466 mattygraham@bright-publishing.com Technical writer Ian Fyfe 01223 499466 ianfyfe@bright-publishing.com

Shoot photos then make them even better with Serif’s PhotoPlus X6 software. Use it to edit, enhance, and organise your entire e image collection. Fix common problems like red eye, add amazing ng effects or try more advanced features like editing Raw files or creating an HDR image.

Sub editors Lisa Clatworthy, Hannah Bealey Contributors Craig Roberts, Mark Bauer, Lee Beel, Drew Buckley, Julian Lass, Stewart Bywater & Kris Griffiths Editorial director Roger Payne 01223 499466 rogerpayne@bright-publishing.com

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