Digital SLR magazine Issue 85 sampler

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Digital SLR issue 85

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stunnING

technique

FEATURE PACKED issue!

bag amazing low-light images tonight

Teen portraits

get Shots you and your kids will love

7

flashguns that won't break the bank

Get ready for “I want a telezoom, but don’t know which one to buy” Reader’s buying dilemma solved DSLR85-001 (COVER)sghbljcMG.indd 1

15 golden ideas to capture this stunning season!

■ 5 Photo projects to shoot now ■ Win a festive trip to Brussels 12/9/13 12:51:45

T

he Digital SLR staff love photography too and, when we’re not putting the magazine together, we’re out with our cameras. Here’s what the team got up to this month...

“As I mentioned, this month has been busy for me. One of the great things about a new arrival is all the photos you can take of them, so as my little lad snoozed, I got busy and snapped away using my 50mm lens and some natural light streaming in through the window.

Once I’d downloaded the image, I experimented with some mono conversions and split-toning before settling on this final effect.” Matty, Editor

Welcome

What a summer it has been! Compared to last year’s monsoon, the last few months have been a sun-kissed heaven. I’m sure you all have very special memories of photo moments you’ve enjoyed under bright blue skies.

My special moment came as my son was delivered into the world just on the cusp of the most spectacular sunrise, breaking through the delivery suite window. It was a close call where to point my lens, but the screaming baby won in the end. In fact he hasn’t stopped screaming since!

As summer ebbs away, we now turn our attention to autumn and the good news is that although temperatures cool, photo opportunities heat up and are very easy to find. Our main feature this month highlights 15 autumn photo ideas and I encourage you to try them all.

Autumn means the nights are drawing in even faster, but our 10 Minute Masterclass will explain how to capture illuminating images when the sun goes down. If you have some cash in your pocket, a flashgun will come in handy when darkness falls – we test seven affordable units on page 78. Enjoy the magazine and, as always, if you have any comments, please feel free to email me, I’d love to hear from you.

Enjoy!

Matty Graham, Editor mattygraham@bright-publishing.com

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“My holidays this summer included a visit to the Greek island of Irakleia, where we climbed Papas Mountain. Wildlife at the peak included many dragonflies, which were sitting still in the midday heat – perfect for photos. I didn’t have a macro lens with me, so took a shot as close as I could and cropped in slightly on the computer. It was definitely worth the climb for this image!”

Ian, Technical writer

Plus

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“Despite my best efforts, I’ve had to finally concede that summer is over. On the plus side, it does mean that we’re heading into autumn, so I thought I’d polish up on my star trails technique.

This was taken one clear night in my garden. I took 100 shots with an exposure of 30 seconds at f/4 and combined them using StarStax software.”

Roger, Editorial director

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FEATURE PACKED NEW LOOK!

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Contents Digital SLR

Issue 85

Your new-look issue comes packed to the staples with great photo advice. This month you will find…

74

Reader rescued!

A Autumn GET READY FOR

16

Teenage clicks that look cool Photo Technique

6 15 Autumn scenes COVER

Wave goodbye to summer and say hello to the most colourful season of the year – and your best-ever shots.

16 Back to Basics: Portraits COVER Most teenagers don’t like posing for photos, but they will when they see these portrait ideas.

37 Photo Ideas

Creative, inspiring and exciting projects you can try right now!

60 10 Minute Masterclass COVER

Learn how to shoot when darkness falls – in less time than it takes to drink a pint.

64 Perfect your printing

If you have never taken your printing seriously, start today as we show you how to get the best results.

READERS’ SHOTS 24 Feedback

Our experts give honest and positive advice on readers’ images.

28 Reader trip to Paris

Lucky reader Hayley won a trip to the City of Light; see the photos she took.

50 Reader Hero

John Fowler lives in Torquay and takes amazing images of the harbour area.

56 Photoblogs

Readers show off photos and tell us the stories behind them.

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EQUIPMENT 70 Ask Ian

Technical writer Ian has a PhD. That means he needs to be fed lots of photo questions to keep him busy. Find out the problems he’s solved this month.

74 Reader Rescue COVER

Reader Mick Davies is on the hunt for a telezoom. We take him to a racetrack so he can try out three affordable options.

78 Budget flashguns COVER

Which one of these magnificent seven popular third-party flashguns deserves a place in your kitbag?

82 Camera wars

NEW FEATURE! With a budget of £250 burning holes in their pockets, which accessories will our three amigos buy to go with their cameras?

competitions & regulars

33 Win a trip to Brussels COVER

If you’re ready to get in the festive mood, enter our competition. We’ve teamed up with Samsung to offer one reader a dream trip to the Winter Wonders market in Brussels.

69 Subscribe

Sign up today and get three issues of your fav photo magazine for just £1!

98 Wordsearch

Find the 19 words and win software.

It’s as easy as that.

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anytime anywhere issue 85 DIGITAL SLR 5

12/9/13 14:41:12

PHOTO TIPS

Autumn GET READY FOR

Although it’s colder than spring or summer, autumn is the most visually stunning season. This year, we’re going to help you get your best-ever images by inspiring you with 15 must-shoot golden scenes

B

link and you may have missed it, but summer is behind us and we’re back into the short days and long nights of autumn. For photography however, the arrival of autumn 6 DIGITAL SLR issue 85

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means beautiful light, rich autumnal colours and landscapes transformed from overbearing greens of summer, to vibrant reds and golds of autumn.

Now’s the chance to capture autumn at its best and try out some

new camera skills too. Our 15 must-shoot ideas will kick-start your photography with some challenging techniques and reward you with some cracking autumnal pictures at the same time. So let’s go outside…

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12/9/13 16:48:31

GET READY FOR AUTUMN

Digital SLR Plus This feature has extended content in our free digital magazine. Download it at www.dslruser.co.uk/ dslrplus

Reflections If you find autumnal trees round a lake or along a river, shoot them on a calm, windless day and capture the reflections of these rich colours on the surface of the water. Use a polariser to remove any glare from the water and let those colours shine through. This will also extend the shutter speed and help smooth out any ripples that may crop up on the surface.

Look for symmetrical compositions and break the rules by placing the horizon across the centre of the frame.

1

Matty says… Picture styles can change the saturation of your image appropriately.

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12/9/13 14:42:36

Back to Basics Digital SLR Plus This feature has extended content in our free digital magazine. Download it at www.dslruser.co.uk/ dslrplus

Teenage

16 DIGITAL SLR issue 85 81

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12/9/13 14:48:14

Back to Basics

TECHNIQUE

As kids reach their teenage years, they become more reluctant to pose for photos. However, Craig Roberts suggests some new approaches that will help you capture perfect portraits of your older children

We

Make the portrait look like a CD cover – kids will love it!

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all like to take pictures of our kids growing up, all the way from tiny tots to becoming young adults. and while it’s never easy to get great shots, it can become harder as our kids get older and less cooperative, and the results can be disappointing. Giving a bit of thought to how you approach the shoot can make a real difference.

Here we look at some basic ideas and techniques to make your shoot fun and unstressful for both you and your teenage subjects. Follow our jargon-free tips and advice and you should get great results without any teenage tantrums.

issue 85 81 DIGITAL SLR 17

12/9/13 14:48:28

Feedback READERS’ SHOTS

Feedback

In association with

Expert advice and ideas to help you improve your pictures Matthew Woodhouse Pan’s Bridge “I was driving past the beach when I noticed some very scary clouds forming, and thought to myself they would make a very moody black & white image!

So, I grabbed my camera and tripod (which I take everywhere!) and went down to Pan’s Bridge, which is located on Ballycastle Beach in County Antrim.”

2

matty graham Wow, what a fantastic image. The story of this picture lies in the exposure settings Matthew used, which goes to show he knows exactly what he’s doing. The low light levels have generated a slow shutter speed, but Matthew has been wise enough to reduce any risk of camera shake by securing his camera to a tripod. His selection of a small aperture (f/16) has ensured that there is front-to-back sharpness in the frame, making the most of his focal point and the foreground interest. Matthew has even used a low ISO (100) to reduce any digital noise.

The composition of this image is fantastic – placing of the walkway centrally balances the frame, although I would have liked to have seen Matthew lower his viewpoint a little.

However, you’ve got to be careful going too low with this sort of scene as the side of the walkway could obscure too much of the view.

So, loads of good points and only a few niggles.

The only other feedback I would add is that I personally would have liked to have seen a colour version of this scene. Stormy scenes can work really well in colour, especially if you shoot with the Tungsten white-balance preset to make more of the blues. All in all though, this is a great example of how to shoot a cracking coastal landscape.

1

“the composition is fantastic – placing the walkway centrally balances the frame” CAMERA INFORMATION Canon EOS 60D Lens: 18-50mm Exposure: 1/8sec at f/16, ISO 100

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Feedback

READERS’ SHOTS

Meet the experts Our Feedback panel have over 60 years of picture-taking experience between them, which guarantees you’re getting top quality, image improving advice

Matty Graham Editor

Ian Fyfe Technical writer

Roger Payne Editorial director

1) Superb sharpness. Matthew’s use of a small aperture (f/16) kept the whole frame sharp.

2) Stormy skies. This image shows you don’t have to have good weather to shoot a great landscape image.

3) Lead-in lines. The walkway not only looks good, but also leads the viewer’s eye through the frame.

3

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12/9/13 14:52:17

with matty graham Stuck for inspiration this month? Not only do we have five great projects to keep you busy, but we’ve also dedicated three pages to brilliant and easy photo ideas that you can try right now. So get your finger on the shutter‌

r readeo phot idea

got an idea?

I'd love to see your photo ideas. Email them to: mattygraham@ bright-publishing.com. The best will appear in the mag!

in This section

40

dripfeed

42

fairground flair

44

Spooky scenes

46

perfect panning

48

summer memories

Freeze the action to get arty shots of water droplets.

Capture all the fun of the fair and master slow shutter speeds.

With Halloween just around the corner, try our scary shot ideas.

Learn to blur the background for a sense of speed.

PHOTO IDEA

Turn your fave holiday shots into perfect picture postcards.

Amazing still lifes can be created using just household items and a simple torch. This is a great example and can be set up in minutes. Use a glass chessboard, dim or turn off the lights, then experiment with the lighting from a torch. A long shutter speed will be required, so either set up the camera on a tripod, or rest it on a cushion. Try different shutter speeds until you get the exposure right. Steve Piggot, Digital SLR reader Follow us on Twitter: www.twitter.com/DSLRMag

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PA T PHGE UR OT FO N T O R M HE ID O EA R S E

King of still lifes

12/9/13 15:18:35

Photo ideas

Neon nights Heading into the city centre after dark? Then it’s the perfect opportunity to get some great urban shots by using the zoomburst technique on neon lights or advertising displays. Zoomburst simply means setting a slow shutter speed and then slowly twisting the barrel of your lens (either from wide to full zoom or full zoom to wide) during the exposure. Combining the light source with the lens movement creates this great effect for some brilliant shots full of impact. Craig Roberts

Stormy scenes As the weather starts to turn colder and the winds return, so do a truckload of great photo opportunities.

If you are lucky enough to live near the coast, head down there when the wind gets up and use a telezoom to capture the big waves crashing against the shore. If you can, it’s a good idea to add some scale to your pictures of waves by including a man-made object like a lighthouse or a harbour wall. Ian Fyfe

health and SAFETY

“try using the zoomburst technique on neon lights or on an advertising display”

No photo is worth endangering yourself for, so stay safe. Keep well back from the lashing waves – that’s why you’re using a long lens. Don’t forget the health of your kit either. Protect your lens from salt spray by popping a protective filter on the front, and wipe your tripod and camera down to remove any grot as soon as you get home.

r readeo t pho idea

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Time for reflections With the evenings drawing in, it won’t be long before you can finish work for the day and head out with the camera to capture some low-light reflections.

To get the best possible effects, head for bodies of water that have well-lit buildings alongside. The lights from these buildings will produce beautiful reflections – just like this shot of the Tyne Bridge in Newcastle upon Tyne.

Secure your camera on a tripod, and turn the mode dial to shutter-priority (S or Tv). Start with a shutter speed of three seconds, but experiment, as you might need longer. Nick Watson, Digital SLR reader issue 85 DIGITAL SLR 39

12/9/13 15:19:18

project four

Pan for photo gold Inject a sense of speed into your action images with the art of panning. Let’s find out how it’s done…

T

he quickest and most effective way of making your action images look… er, well, more like they are action images, is to introduce blur into the frame. However, we still need to keep some, if not all, of the subject sharp too, so the answer is to use a technique called panning.

As the name suggests, the photographer pans from side to side as the subject enters, travels through and then leaves their field of view, using a relatively slow shutter speed to get the shot. A steady motion is needed to get results and the trick is to practise, practise, practise. The idea is to keep the subject sharp while blurring the background.

This technique can be used for a lot of situations – from your kids running along in the park to cyclists biking past the lens – however, we chose a more octane-fuelled location to illustrate the panning technique.

We headed along to Rockingham Raceway during an Olympus Experience Day to show that you can pan with any camera, not just DSLRs.

20 MINUTES

TIME TAKEN as well as a camera you'll need moving subject

1

Find a good subject We’re spoilt for choice at Rockingham, but if you can’t get to a similar location, find a local roundabout. Choose a safe viewpoint and practise your panning technique as the traffic whizzes past (so don’t go along at rush hour).

2

Select shutterpriority mode The easiest way to control the shutter speed on your camera is to use shutter-priority mode, usually S or Tv on the mode dial. You can select the shutter speed while the camera works out the aperture.

3

Sweep as you move Only by moving with your subject can you bag a truly great panning image. Start with your body twisted to one side and then just use your hips to turn your body in a smooth motion.

4

Take a test shot With a shutter speed of 1/160sec, we have introduced some blur into the frame. However, in Single Shot (often called One Shot) focus mode, the camera is struggling to keep up and the result is a poor frame.

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12/9/13 15:23:22

Photo ideas FINAL IMAGE

Combining a slower shutter speed, continuous drive mode and a smooth panning motion, we’ve bagged a Gold-medal winning image that makes our subject look like it’s travelling at warp speed.

Also great for:

SPEEDY PETS

Lightning quick cyclists

5

Select AI focus Your camera is equipped with a focus mode that is perfect for panning. Called AI Servo or Continuous Focus, the system will track the subject, giving accurate, sharp results.

6

switch drive mode for more shots You’ll want to snap as many pictures as possible during every ‘pan’. To speed up your frame rate, switch the Drive mode to multiple or ‘burst’ mode and this will take around five shots per second (depending on your camera). This will ensure you’ve got a few to choose from.

Rapid KIDS

keep it steady If you find you are struggling to get a smooth panning motion and your subject is blurring too much, try tucking your elbows into your body to make yourself more steady, and hold your camera a little bit closer to you. You’ll be surprised at how smooth your panning action will become as you minimise shake.

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12/9/13 15:23:44

HARBOUR

LIGHTS Based in the picturesque town of Torquay, it’s no wonder John Fowler’s main subjects are found where the land meets the sea. We catch up for a chat with the talented master of harbours…

50 DIGITAL SLR issue 85

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or most of us, a day at the seaside is a rare treat. Battling against all the bank holiday traffic to race down the motorway, finding a parking spot and praying to the weather gods that those rain clouds blow in the opposite direction.

With all these distractions, getting a decent picture comes way down the list. However, some photographers are lucky to live near or even in picturesque coastal towns and while some don’t make the most of their pretty surroundings, 56-year-old John Fowler is a man who has turned his amazing harbour scenes into an art form.

“I started my photography during the days of film – I had an old Cosina DSLR, but over the years the photography fell by the wayside. It wasn’t until my grandson started taking an interest in digital

cameras that I picked up one myself,” explains John, a retired t’ai chi teacher.

“I bought a Nikon D50 and then soon upgraded to a Nikon D3200. Then, about two years ago, I was in north Devon on holiday and reading Digital SLR, which explained how to capture a sunset.

I thought I’d give it a go and haven’t looked back since then. I’m one of those people who loves reading photo mags or watching videos to learn new techniques so photography has been a good fit for me.

“Digital really made photography accessible for me again – years ago it was just too expensive to keep buying film,” says John, who attributes his harbour portfolio to his love of the local area.

“I could shoot sports or macro, but I’m lucky to live in such a beautiful place.

I used to see images of similar areas to where I live and think ‘yes, I’d like to

capture a shot like that’! Also, I find that because of the different light we get, you can return to the same scene and capture a completely different image.”

John puts a lot of planning into his photos. “The first thing I do is check the weather reports, but I also check sunset/ sunrise times and also how the tide will be to make sure the conditions are favourable. You have to be very patient with this type of photography, but some waiting around usually pays off in the end.

“I carry a tripod with me, not only because it reduces camera shake during long exposures, but also because I find having a tripod slows your image-taking down and this can help you make the right choices with composition, rather than shooting frame after frame of any scene.

Having a walk around and getting to know your scene is a skill I learnt during my film

Digital SLR Plus This feature has extended content in our free digital magazine. Download it at www.dslruser.co.uk/ dslrplus

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a selection of fantastic portfolios around the world

home from home Moving to Australia gave Digital SLR reader Paul Trotter a different perspective on photography. Each year, he makes the most of this to capture some stunning UK landscapes

A

s the evenings get darker and the temperatures fall, many of us dream of moving to sunnier climates. Nine years ago, Digital SLR reader Paul Trotter took the plunge and moved down under, but at the height of summer in the southern hemisphere, he comes back to the UK to take pictures.

“I usually spend December and the New Year in the UK,” explains Paul, who’s based near the Australian city of Brisbane. “As a teacher, I get fantastic holidays, and my wife

INFO

 Canon EOS 500D  18-135mm lens  1/150sec at f/5.6  ISO 100

and I love travelling, so my photography fits with that naturally. Last year was special because I was able to take photographs in and around the UK from September to the beginning of January.”

These most recent travels included visits to the Lake District and Scotland, where he took these fantastic images. It was the potential of specific locations that attracted him to these spots.

“I read online that Wastwater in the Lake District was voted Britain’s favourite view,

“moving to australia has given me a greater appreciation of light” and I’d never been there. I photographed the Lakes in December 2010 and got some great winter shots, so I wanted to try it again in different conditions.

“In Scotland, I went to Loch Ness. I talked to a friend in Australia who’d come from Inverness and she was astonished that I hadn’t photographed the area. While I was there, I travelled up towards the Isle of Skye to capture Eilean Donan castle – I’d seen some shots of the castle online and wanted to try the location for myself.”

Although most of his visits to his home country are now relatively brief, it was as a child in the UK that Paul gained his grounding in photography; as a teenager, he even had his own darkroom in the family bathroom. Since 56 DIGITAL SLR issue 85

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In association with

Make Life Simple

™

biography

 N ame: Paul Trotter  A ge: 40  Job: Teacher  Camera kit: Canon EOS 7D and EOS 500D, Tokina 11-16mm lens, Canon 85mm lens, Canon 18-135mm lens Best bit of camera advice you’ve ever been given: “Work the shot and remember to shoot the light”



“I use the Internet to find out about a location and images that other photographers have taken to see how they approached it” switching to digital, he’s tried to learn as much as possible from books and videos, but it’s perhaps his move to Australia that has taught him his most important lessons.

“Moving to Australia has given me a greater appreciation of light,” he says. “The quality and character of light in the UK is markedly different to Australia, and such differences demand different approaches and techniques.

I find myself focusing less on the rules of composition and more on the nature of the light I’m attempting to capture.

“Australia has also given me a greater appreciation of how rich the possibilities for photography are in the UK – the distances you travel in Australia to try a new location don’t compare to a quick trip down the M1.

Travelling ten hours to capture Sydney Harbour Bridge isn’t always possible, so I’ve learned to ‘work the shot’ more – previously, I would capture the shot that most novices would snap, but now I try to find a different viewpoint, angle or composition.”

Despite this difference in scale, Paul’s time here is limited, so he still says it’s essential to plan his photo outings. “I use the Internet to find out about a location before I visit. I also Follow us on Twitter: www.twitter.com/DSLRMag

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LEFT “This lighthouse is at South Shields in the North East. I’d packed away my gear when I looked back at the lighthouse and saw these amazing colours.” above right “I was showing my two boys the Lake District and we clambered over rocks and streams to get a variety of perspectives.”

ABOVE & RIGHT “This is Eilean Donan Castle, situated on the main tourist route to the Isle of Skye. I’d been visiting Loch Ness and saw this castle in some tourist information – I jumped in the car and drove 76 miles for a few shots.”

find images that other photographers have taken to see how they approached it. I try to head to a location during the golden hours, but this isn’t possible on some of my trips.”

Although back in Australia now, Paul already has his next visit lined up.

“My next trip to the UK will be in December this year,” he explains. “I plan to revisit the Lake District and many historical sites in the north of England, and I might head back to Scotland.”

Let’s just hope the weather this winter is kind to Paul and doesn’t send him running back to the Australian sun! issue 85 DIGITAL SLR 57

12/9/13 15:31:37

Roger Payne’s

10 Minute

masterclass

Fiddly photo problems fixed in the time it takes to make a cup of tea

Keep shooting after sunset E

ven in the dimmest conditions, there’s still enough light to take a photograph, and this month’s 10 Minute Masterclass offers some superb tips on creating amazing low-light images.

And when dusk falls, there’s great potential for taking pictures. What time this happens will, of course, depend on the time of year and your location. In temperate zones, dusk is a slow process and the warm glow that lingers after sunset hangs around much longer. Get closer to the equator and you’ll have to work much faster. Make sure you don’t leave it too late – the best results are usually obtained when there is just a touch of light left in the sky to act as a backdrop. This month’s feature explains how to make the most of your location when the sun goes down so you can capture some illuminating images…

Moving subjects do not always need to be frozen by the camera. In fact, in low light, you can make atmospheric pictures by purposefully blurring movement. For example, with bright, moving highlights, such as fireworks, or the headlights and tail lights of flowing traffic, a long shutter speed of at least 20 seconds will cause the lights to ‘streak’ across the frame. Start shooting when there’s still some light left, as a dark blue – rather than black – sky makes for more interesting photos. Use features such as a pub, a tree or a traffic light to add foreground interest to the shot, tripping the shutter for oncoming cars.

Curved roads make for more interesting shots, as do junctions, especially if the traffic is heading towards the foreground of your picture.

Watch out for lens flare in low-light shots. Lens flare occurs when bright lights shine directly into a camera’s lens and it reduces image quality. Be sure your lens is spotless to minimise the risk of flare from artificial lights in low light, and always use a lens hood.

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MATTY GRAHAM

Motion can be good

Blur movement with a shutter speed of 20secs.

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12/9/13 15:34:39

craig roberts

TECHNIQUE

roger says

shoot just after sunset when there’s still colour in the sky

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12/9/13 15:34:54

TECHNIQUE

Next steps

Time to go large?

It used to be the case that, because of cost, enthusiast photographers were restricted to printing at A4, which can still make a nice print to hang over the dinner table. However, printers are better value than ever, and it’s now possible to buy an A3 printer for sensible money. In fact, you can pick up an A3 printer for the same amount of money as a photo rucksack – prices start at around £150.

You’ll be amazed at the impact a larger print will make, especially if you plan to hang your prints around the house or maybe even take them along to the camera club or a local photography exhibition.

Don’t worry about the resolution: modern cameras (with 12 megapixels or more) have more than enough pixels to print to A3 or even larger. What’s more, you can increase the resolution even further by shooting in Raw format as opposed to JPEG. You may think that A3 printers seem a little impractical, but the truth is that the footprint is only marginally bigger than an A4 printer.

Better still, most new printers come with a Wi-Fi connection, allowing you to keep the printer where you have space (the spare room for example), and still connect to it to your computer. You don’t have to keep moving the printer next to the computer every time you want to make a print.

I n association with

image If you’ve got a great shot that you want to share, making a print of your own can be cheap and easy – if you know how.

Don’t skimp on supplies Printers use two consumables: paper and ink.

And sooner or later, you’re going to have to restock both. The temptation is to head along to your nearest supermarket and buy the cheapest photo paper and ink on the shelves, but before you open your wallet and waste your money, stop and think. right Some images look better when printed bigger. It’s worth considering an A3 printer if you intend to frame your prints and show them off around the home. opposite page When it comes to colour and quality, you can’t skimp on decent ink and paper. And there’s no point using professional-quality ink but poorquality paper (or vice versa!).

follow our advice and you’ll soon be producing perfect print after perfect print

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TECHNIQUE

Three mustbuy printing accessories

Spyder 4 Express – £90 Calibrate your monitor in minutes.

“you can purchase genuine replacement cartridges for £5” Cheap paper and ink may be fine if you are only printing out the odd snapshot and quality isn’t an issue, but if you want to create something with a more professional feel then it could be worth spending a few more pounds. Good-quality ink will not only make for a better print, but the cartridges will also be less likely to leak compared to cheaper versions off the Internet. Buying ink from brand name manufacturers doesn’t have to be expensive. You can usually purchase genuine replacement cartridges from under £5, depending on which printer you own. The same is true when it comes to your paper.

Your printer lays down a lot of ink when it makes a print, and poor-quality paper won’t hold or absorb that ink very well. The result is often a mottled look to your print and, unfortunately, the detail in your fine image is lost, colours are less vibrant and it’s generally a bit of a mess – not at all what you’d want displayed in your living room.

Professional-quality paper will avoid these potential pitfalls and the best news of all is that it’s a lot less expensive than you may at first imagine.

For example, 50 sheets of A4-size Ilford Galerie Premium Gloss can be bought for just £15! Yes, you did read that correctly.

Alternatively, 20 sheets of Epson’s A3 Premium Glossy paper costs just £25 – sensible money for a quality product.

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Calibrate and correct If you’ve printed before, you’ve probably experienced the disappointment of the colours in your print being nothing like those you saw on the screen. This problem is quite common and is down to calibration; basically, your monitor and printer interpret the colour information differently. You can lump it and live with these discrepancies, or you can make your prints the best they can be using a colour calibrator and a print profile.

A colour calibrator for your monitor, such as one of Datacolor’s Spyder products, costs around £90. This device views the colours coming from your monitor and, if necessary, corrects any misleading colour casts. This will help you edit your image file to its full potential.

Once it’s ready to print, you can take advantage of a printer profile – often downloadable (free) from your printer manufacturer’s website. Basically, it will ensure the right amount of ink gets used for your printer and paper combo. And a printer profile often makes printing more economical; it makes your ink go further.

This all sounds rather technical, but when it comes to printing, the devil really is in the detail. Take the time to learn and spend a little extra money, then you’ll be rewarded with a far superior print.

Ilford Galerie paper – £15 Pro-quality paper that makes a difference.

Frames from www.picture-framing.com Once you’ve made your print, why not get it framed? These guys do free delivery! issue 85 DIGITAL SLR 67

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EQUIPMENT

Reader Rescue

Tamron 70-300mm f/4.5-5.6 LD Macro Web: parkcameras.com Price: £99

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Mick says “I couldn’t believe this lens was just £99 – to be honest I was expecting to pay a lot more and if I could pick a telezoom for this price, it would give me more money to put towards upgrading my camera body later this year.

I felt the zoom action wasn’t as smooth as the Sigma or Canon, but the lens seemed to track the cars better than the Sigma and focus quicker too. Having the extra focal length was really useful at the circuit, so I’m pleased that this lens stretches to 300mm, rather than just 250mm like the Canon. I’m not sure how much I would use the macro function, but it means you are getting even more for your money which can only be a good thing. I was also impressed by how light the lens was!”

mick’s test shot

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Matty says “The Tamron is the most affordable lens in our test, with a street price of around £99. Let’s just think about that for a moment… a focal length of 300mm (effectively 480mm on Mick’s Canon), which puts it firmly into motorsport photography territory without breaking that £100 barrier. That’s a bargain!

“What’s interesting about this optic is that it’s two lenses in one. At the flick of a switch, you can activate a macro function, which gives 1:2 ratio, frame-filling close-ups and, while Mick is more interested in sports than macro, this function is well worth mentioning.

Some telezooms are heavy, but the Tamron weighs in at just 435g, meaning Mick shouldn’t have any problem carrying this lens around all day, whether it’s attached to the camera or in his bag.”

Digital SLR Specifications

Digital SLR reader’s verdict

Focal range: 70-300mm Max aperture: f/4.5 Filter thread: 62mm Weight: 435g Fit: Canon, Nikon, Pentax, Sony

PROS: Lightweight, macro function, quick focus CONS: Sticky zoom ring

Sigma 70-300mm f/4.5-5.6 APO DG Macro Web: parkcameras.com Price: £150 Matty says “The Sigma has the same focal length as the Tamron, but is slightly more expensive. For the extra money, you get a very cool and protective carry case that can be worn on your belt, keeping it close to hand even when it’s not on your DSLR. What’s more, it comes with a lens hood too, which will protect the glass and cut down on lens flare. Otherwise, the lens is very comparable to the Tamron, including the macro function – although the switch to activate it is much smaller on the Sigma.

“Whether the extra money for the case and hood are worthwhile will come down to personal preference, but personally, I think it is. A good case and hood will help protect your lens and also make it more attractive to buyers should you choose to sell the lens on.”

Mick says “I was impressed with the Sigma lens and there did seem to be some differences between this lens and the Tamron.

For a start, the Sigma is heavier, which wasn’t too much of a problem when I was taking pictures, but when the camera was resting against my chest, the extra weight did seem to pull the camera forward and unbalance it.

“The zooming action was smoother than the Tamron’s, which is important when photographing cars speeding around corners on the track. I was constantly zooming in and out to get the best compositions. From looking at the back of the camera, I could see that the image quality was good, but there was no real difference between the Sigma’s images and the Tamron’s.”

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mick’s test shot

Digital SLR reader’s verdict PROS: Macro function, smooth zoom ring CONS: Smaller macro switch

Specifications Focal range: 70-300mm Max aperture: f/4.5 Filter thread: 58mm Weight: 530g Fit: Canon, Nikon, Pentax, sigma, Sony Like us on Facebook: www.facebook.com/DSLRMag

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Reader Rescue

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EQUIPMENT

Canon EF-S 55-250mm f/4.5-5.6 IS II USM Web: parkcameras.com Price: £165 Matty says “The Canon telezoom is the curve ball in our Reader Rescue. It’s the most expensive lens in the test, yet it has a shorter focal range (55-250mm) and while this means that Mick wouldn’t be able to zoom in as close as the Tamron and Sigma lenses, it does mean he can zoom out for wider shots.

“What you’re really paying the extra money for though is the image stabilisation technology, which the other two lenses miss out on all together. The feature can be turned on and off and should help Mick to capture shake-free shots when the shutter speed drops. This is an EF-S mount lens, which means that if you have a full-frame camera, it won’t work. At 390g, it’s also the lightest lens on test, but will the image stabilisation be enough to tempt Mick away from the longer Tamron and Sigma lenses?”

Mick says “I have never used a lens with image stabilisation technology before and, if I’m honest, I’m not sure it is worth the extra money. The pictures I took at Rockingham had a typical shutter speed of around 1/200sec, so I was able to hand-hold the camera without too much of a problem with shake or blur. Plus, I tried the Canon last and after being spoilt with 300mm from the Tamron and Sigma, I felt Canon’s shorter focal length was a bit like taking a step back. Don’t get me wrong, I thought the build quality was great and this is a very nice lens, but as I want to shoot mainly sports photography, I think that a longer lens will serve me better.”

mick’s test shot

Digital SLR reader’s verdict PROS: Image stabilisation, wider views CONS: Shorter focal length, more expensive

Specifications Focal range: 55-250mm Max aperture: f/4.5 Filter thread: 58mm Weight: 390g Fit: Canon

Mick’s final verdict I really enjoyed the opportunity to test three lenses at such a amazing location and I took home some great shots from the day. As for picking a winner, I found this quite hard. The Canon is a nice lens, but I really want to get the most focal length I can for my money, so I have to discount the 55250mm lens straight away – especially as it is also the most expensive.

“The Tamron and Sigma 70-300mm lenses were very hard to split. They both have the same focal length and macro feature and I couldn’t see too much difference in the image quality from them both either.

“As there’s so little in it, I’m going to base my choice on price, because as much as I want to buy a telezoom, saving some money to spend on a better camera will really help me. For this reason, the Tamron 70300mm is the lens I’m going to buy.

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NEED A DIGITAL SLR READER RESCUE? Have you got a digital dilemma, a camera Catch-22 or an imaging impasse? Then you need a Digital SLR Reader Rescue! Email your kit quandries to mattygraham@bright-publishing. com and if we think your pixel plight will make a fantastic feature we’ll be in touch.

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Spark your firework photos into life with our simple tips

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Master monochrome Never mind 50 shades of grey, it’s black & white that adds impact

12/9/13 15:08:47