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Digital SLR issue 86

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DSLR Shootout

ENTRY-LEVEL CAMERAS rated & REVIEWED

Black & white photography made easy

grand designs get great building images of your hometown today

Take great

“I'd like a flashgun, but don’t know what to buy” Reader’s buying dilemma solved DSLR86-001 (COVER).indd 1

PORTRAITS

Tips to turn snapshots into cover shots ■ 5 Photo ideas - shoot them all! ■ Win a festive trip to Brussels!

10/10/13 10:28:50

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 two of the team got up to this month...

Welcome “Every photographer has a select group of favourite locations – places they visit time and again with the camera. One of my top five is Rutland Water – partly because it’s a beautiful location, but mainly because it’s the only expanse of water in that area for miles and miles. After driving to the easterly shore, I was greeted with some fantastic light that gave a warm, glowing quality to the frame.” Matty, Editor

“These days, even compact cameras give great results in low light, and that’s definitely the case with the Canon G16, their latest top-end compact that I used to take this shot. It’s also quick, and I used the 9.3fps burst shooting to capture this firebreathing feat. Flaming brilliant!” Ian, Technical writer

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As keen photographers, we all take pleasure in the art of making a great image. However, the enjoyment doesn’t stop once the shutter has been pressed, because there is great satisfaction to be had in sharing your pictures with people you know and people you don’t. The pinnacle of sharing an image is to see it on the front cover of a magazine and this month saw the climax of our 2013 Shoot Our Cover competition, organised with the support of Nikon. Three keen Digital SLR readers descended on the palatial grounds of Madingley Hall in Cambridgeshire and spent all day capturing amazing photos of a professional model using the superb Nikon 1 cameras. For me, it was great to catch up and talk cameras with a group of readers – this is us jumping around in the picture above – and you can read all about this fantastic event (and find out whose image is gracing the cover) by flicking to page 6. Elsewhere this month, our Back To Basics feature pays homage to architecture photography, encouraging you to turn your lens on both old and new buildings you probably walk past every day without even giving a second look to. As well as plenty of jargon-free technique and a ton of inspiration – including five cracking Photo Projects for you to try – we’ve got gear covered, too. We help one reader pick out an affordable flashgun to further her portrait photography and we also showcase eight entry-level DSLRs to help you pick the right camera for your photography. Keep shooting and enjoy the issue.

Matty Graham, Editor mattygraham@bright-publishing.com issue 86 DIGITAL SLR 3

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Contents

Issue 86

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

Photograph your town or city

Digital SLR

Camera wars gets serious Photo Technique

EQUIPMENT

16 Back to Basics: Architecture photography COVER

68 Ask Ian

33 Photo Ideas COVER

72 Reader Rescue COVER

From modern glass to ancient stone, we will show you how to capture the architecture of your town. Creative, inspiring and exciting projects you can try right now!

58 10 Minute Masterclass

Learn more about your metering modes – in less time than it takes to boil an egg.

62 Brilliant black & white COVER Take your mono photography further with our jargon-free tips and advice.

READERS’ SHOTS

6 Shoot the Cover COVER

Three readers get the chance to shoot a professional model in the hope of seeing their image on the front cover.

24 Feedback

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

48 Reader Hero

Would you spend hours upon hours in a cold hide for that perfect wildlife image? Meet (the very patient) Richard Forster.

54 Photoblogs

Readers show off photos and tell us the stories behind them. This month we visit a race track and head back to the 1940s

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Add impact with black & white

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.

Reader Katy Bowman is searching for an affordable flashgun. We drop by with three units for this keen photographer to try out.

76 DSLR Shootout COVER

On the lookout for a camera? We compare eight entry-level models to show the depth of choice available to you in today’s market.

Shoot dewy webs in your garden

82 Camera wars

With their cameras and accessories purchased, our three staffers are ready to battle and face two challenges – macro and street.

competitions & regulars 31 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.

98 Wordsearch

Find the 19 words and win software. It’s as easy as that.

Another reader rescued issue 86 DIGITAL SLR 5

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shoot the cover

2013 competition

Shoot Our Cover We offered you the chance of a lifetime and you rose to the challenge. Our three finalists battled it out on a special photoshoot day, but whose image takes pride of place on our cover? nless you’ve been living under a rock, you’ll have read all about our special Shoot Our Cover competition. We invited you, our readers, to send in your best portrait images. From the hundreds of entries, just three finalists were selected to attend a fun-filled photoshoot in the impressive grounds of Cambridgeshire’s Madingley Hall. Run in association with Nikon, the photoshoot was the prefect opportunity for our finalists to use the splendid Nikon 1 cameras, complete with the 10-30mm kit lens as well as the amazingly sharp 30mm f/1.2 prime lens, just the tools to produce jaw-dropping portraits with, and all supplied by Nikon. The day started with introductions over coffee, before our finalists met the crew, which included a professional photographer, model and make-up artist. The schedule for the day was simple, planned to maximise the time our finalists had with the model to capture a shot worthy of gracing our front cover. In the first round of shooting, readers had free rein to shoot however they liked. Before the second round, though, our pro photographer, Mark Ashworth gave them a rundown on the basics of shooting portraits and let our finalists into some trade secrets to help them transform their good people pictures into great portraits. With his advice ringing in their ears, our three finalists embarked on the second round of shooting to net their best portraits yet. So whose shot is on our cover? Read on to find out.

DID YOU KNOW?

The Nikon 1 AW1 is an interchangeable lens camera that works underwater – a world first!

Madingley Hall Our location was Madingley Hall. An elegant country house that dates from the 16th century, it regularly hosts conferences and weddings. Find out more at www.madingleyhall.co.uk.

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10/10/13 11:12:23

shoot the cover

I n association with 3

5 6

Our team for the day: 1. Matty graham Digital SLR editor 2. Lesley-Anne Perry Finalist 3. Simon Cotton Finalist 1

4. Lizzie Brauer Professional model 5. Mark Ashworth Professional photographer 6. Boe Wright Professional make-up artist 7. Raluca Save Finalist

Discover the Nikon 1

turn the page

To see how our finalists got on

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Taking the photo world by storm, the Nikon 1 range of cameras has attracted praise from experts and helped to prove that compact system cameras can deliver big quality images. The system is compact, ultra-fast and extremely portable – meaning you can take a Nikon 1 on anything from a cover shoot to a day out with the kids. Packed with a 14.2-megapixel sensor and some of the most cutting-edge technology in today’s market, the Nikon 1 offers features that you just won’t find on other cameras. With the Motion Snapshot and Best Mode Capture functions, the cameras start recording before you press the shutter and continue after you release it to ensure you never miss that perfect portrait. Plug the WU-1b wireless mobile adaptor into your Nikon 1 and you can send images straight to your smartphone, which allows you to share pictures with the world in seconds. Life moves fast these days, but the Nikon 1 shoots at a blistering 15 frames-per-second so you won’t miss a picture opportunity. Lastly, there’s a new member in the Nikon 1 family – the AW1. The world’s first interchangeable lens camera that can be used up to 15 metres underwater, the AW1 is also shock, freeze and dust proof and is packed with rugged outdoor spec like GPS, electronic compass and depth metre. Find out more about the Nikon 1 range at www.nikon.co.uk.

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Back to Basics

Awesome architecture If you appreciate fantastic architecture, but don’t know how to capture it on camera, our guide will explain the basics, plus more advanced techniques to progress on to when you’re ready

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herever we are in the world, we often associate particular buildings with the location – Tower Bridge with London, Eiffel Tower with Paris, for example. Whether you live in a sprawling metropolis or a rural retreat, the buildings around us are key to our sense of place. Buildings also make fantastic photographic subjects, as they come in all shapes and sizes, they don’t (usually) move, and they help to tell the area’s history. In London, it’s an all-too-common sight to see tourists taking casual snaps at arm’s length of famous buildings, but with a bit of thought and technical knowledge, those snaps could be transformed into beautiful architectural photographs. Here, we show you a few simple techniques to turn your photos of your home town, as well as those you take on your travels, into something of which you can truly be proud.

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Back to Basics

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TECHNIQUE

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TECHNIQUE

Back to Basics

Foreground interest Including foreground interest in your shots helps to add depth to the frame and makes a more complete, pleasing image. Absolutely anything can be used as foreground interest, from a pillar box to a car, a signpost, people, plants, a statue, or even part of another building. It usually works quite well if you apply the rule of thirds and place the foreground interest on the opposite third from the main subject. Shooting from a low angle can increase the amount of foreground interest in your shots, as it distorts the perspective slightly and helps to balance the subject composition a bit more evenly. If you’re shooting large buildings from fairly close up, shooting from ground level can also help you to get more of the building in the frame for a detailed shot.

TOP TIP

King’s cross square is now open – a great location for architecture

the rule of thirds The rule of thirds is the classic tool to improve your compositions. If you switch your camera to Live View mode, a grid of three vertical and three horizontal lines should appear on the back of the LCD screen. Basically, the trick is to position your subject on one of the points where the lines intersect. It’s not an exact science, and if you think your shot looks better composed in a different way, you should shoot it that way. However, because of the way the human eye and brain interact, this method usually leads to more pleasing compositions.

Although the rules of thirds can be useful, don’t be scared to break the rules from time to time – get creative and go crazy. 20 DIGITAL SLR issue 86

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9/10/13 15:35:23

Back to Basics

TECHNIQUE

Composition Composition is the key to good architecture shots. It is what makes the difference between a run-of-the-mill snapshot and an image that really draws in and holds the viewer’s attention.

Interesting and quirky compositions like this image above can help your shots stand out from the crowd.

APERTURE Aperture selection will determine how much of the scene is in focus. You can keep more of the scene in focus by using a small aperture, such as f/16 or f/18.

Lead-in lines

Mix up your subjects It’s all too easy to just focus on one type of building, but try to keep an eye out for the juxtaposition between modern and old buildings. Especially in city centres, there are many examples of beautiful old stone buildings right next to very modern steel or glass buildings. Try to mix up your compositions a bit and include both. Follow us on Twitter: www.twitter.com/DSLRMag

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Another great way to lead the viewer’s eye through the frame and onto your subject is to make use of what are known as ‘lead-in lines’. This basically means framing your shot so that something runs through the frame and up onto your subject, effectively leading the viewer to it. Literally anything can make a lead-in line – part of a building, a road etc. Work with what’s around you and keep your eyes open for anything interesting.

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project one

Shoot light trails 20

As the sun sets, Matty Graham gets stuck in to traffic to discover a technique that captures scenes at warp speed

MINUTES

TIME TAKEN

s autumn takes hold and darkness falls far too early, it can be tempting to stay indoors enjoying a cup of something warm. As good as that sounds, you may be missing some fantastic photo opportunities that only present themselves after the sun dips below the horizon. Capturing light trails is one such opportunity! Essentially, it’s all about shooting moving traffic with a slow shutter speed as, because it’s dark and a car’s lights are so bright, they record as amazing trails that streak through the frame. What’s more, this high-impact technique can be achieved with the bare minimum of kit: a camera with a standard lens and a tripod, although alternative supports can be used instead.

as well as a camera you'll need tripod

Arrive early Don’t wait until it’s pitch black before you head out to find a good location. Do a bit of scouting in the daylight and, if you are shooting over busy lanes of traffic, make sure it is safe to do so and you are not causing an immediate distraction to the drivers below.

Dial in your settings Firstly, dial in a low ISO of 100 to reduce digital noise. Because we want to control how long the shutter stays open to allow for a long exposure, select shutter-priority mode – labelled as Tv or S depending on which camera you own, and the camera will automatically select the correct aperture. The correct shutter speed will depend on how much ambient light there is, but a good starting point is around four seconds.

Keep it steady A good support is crucial to this technique – if you try and take the image hand-held, you'll end up with a blurred mess. Instead, use a tripod – you can pick up a basic model for as little as £30. Secure your camera to a tripod or use a level edge like a railing. To further reduce the risk of shake, trip the shutter via the camera’s self-timer, rather than pressing the button with your finger.

“a sturdy tripod is crucial to this technique and will cut blur” 36 DIGITAL SLR issue 86

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Fine-tune your image Experiment with the shutter speed until you’re happy with the number of trails in the image. White trails record stronger than red so, if it’s possible, find a route with plenty of traffic heading towards the camera. Try and time your visit for when you know it’ll be busy in one direction. Like us on Facebook: www.facebook.com/DSLRMag

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Photo ideas FINAL IMAGE

Don’t be afraid to opt for a wide-angle view to show more of your location. A slightly longer shutter speed of around ten seconds will also add some colour to the sky.

Switch your composition Try turning your camera on its side to capture an image in portrait format. Also, experiment with your shooting position so that the light trails move from one corner of the frame to another. In our case, the cars move up and down through the frame so a portrait shot works well. Follow us on Twitter: www.twitter.com/DSLRMag

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Don’t wait too long Obviously, we need light levels to fall to make this technique work and for trails to be produced. However, try and capture images just after the sun sets as there will still be some colour in the sky. Wait too long and this colour will be replaced by pitch black darkness. Check the local weather websites and they will give you information on what time it gets dark. issue 86 DIGITAL SLR 37

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project five

Travel with your camera Always wanted to photograph Far Eastern delights but don’t have the budget to travel? A trip to your nearest Chinatown could yield some impressive results

e’ve all seen the exotic photos from friends who have travelled to far-flung locations with their cameras. Strange foods being cooked up, exotic architecture and brightly coloured decorations. If you’d like to brush up on your travel photography skills ahead of a trip or you don’t have the budget to travel to

the Far East, you could take advantage of a shortcut, by visiting your nearest Chinatown. . There are Chinatowns in Newcastle, Manchester and London and these areas help celebrate the Chinese community. What’s more, you can capture some amazing images there. To get you started, here are a few ideas that we shot on a recent trip to London’s Chinatown.

Amazing architecture The Chinese community have converted the streets of Chinatown into a beautiful slice of the Far East. From hanging lanterns to more imposing architecture like traditional balconies, there’s plenty to snap. One way to make more of an architectural subject is to blur the background around it. Take our dragon for example – we switched to aperture-priority mode and selected a large f/number of f/4, which kept our subject sharp but threw the background out of focus.

DID YOU KNOW?

the current chinatown in london has only been established since the ’70s

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Photo ideas Stunning stalls As well as restaurants, there’s often a number of market stalls to be found in Chinatown. Filled with exotic fruit and vegetables, they make for fantastic images and you could also push your creative limits by including the stall trader as well. Just remember to ask permission first – politeness is always a key requirement.

Big celebrations why not try and time your visit with a big chinese celebration? Chinese new year, which sees processions of dragon dancers and huge crowds, is on 31 january and is guaranteed to help you fill your memory cards.

Food, glorious food One of the best photo opportunities to capture is the exotic food that is cooked up by the chefs in Chinatown. A good food image should make the viewer lick their lips with anticipation, so zoom in and fill the frame with the subject. Try to add more atmosphere by including steam rising from pots and pans or people tasting the food.

Hit the shops Sure-fire locations for great images are the shops in and around Chinatown. They offer a big range of products from the Far East, and the brightly coloured packaging makes for some vibrant pictures. You can boost the saturation in your camera by adjusting the Picture Style options.

Search for signs One of the interesting facts about Chinatown is that the street signs are also written in Chinese. Everything from ‘no parking’ warnings to the names of high street banks is replicated in the Chinese alphabet. Think carefully about your composition – frame the scene correctly and it will look like you’ve been halfway around the world for the afternoon, when in reality, you haven’t left central London. Follow us on Twitter: www.twitter.com/DSLRMag

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READERS’ SHOTS

as you want to be in and set up before the activity starts, otherwise you’ll just end up spooking your subjects. Normally, I’m on location at around 4am, ready for the sunrise. “There can also be a lot of waiting around in a hide; one time when I went to photograph otters, it took hours and hours and hours, so you have to be very patient. It’s not even like you could set up the camera and then tuck in to a good book – you have to be constantly observing the scene and ready for your subjects to appear. It’s a long time but it’s nice to take in the scenery. “As the day goes on, things get quieter, so you really want to be there either first thing in the morning or just before dark as that’s when owls etc. wake up and come out to play,” explains Richard, who works as a technical manager and takes a confident approach to setting up his camera. “I prefer to use manual mode rather than aperture- or shutter-priority. I take a few test shots to make sure I’ve got the right exposure and check them on the back of the camera. Then the camera is ready to go in a hurry should a subject appear. I always shoot in Raw, rather than JPEG, because this gives me more control when I edit the image.” Richard has a strong idea of what makes a great wildlife image, explaining that “whatever the subject is, I always try and create an image that is ever so slightly different. I recently captured some swans, but there were other elements in the scene – like mist on the water and reflections – that change it from a simple snapshot into something a bit different. “You have to work very quickly, because wild animals don’t hang around for long – sometimes it’s better just to frame it the best you can and then crop later at the computer,” claims the snapper, who admits to favouring one subject over others. “If I have to pick one subject, it would be birds of prey. They are just magnificent; seeing a sea eagle swooping down to pluck a fish out of the waters with its talons is a great sight. We’re very lucky in the UK to have so much wildlife to photograph; the Yorkshire moors, Scotland – you could say that we’re spoilt for choice and I’m never at a loss to find good subjects. In fact, where I live in Lancashire, I only need to take a ten-minute walk to find barn owls, tawny owls and little owls.” Keen to work on the post-processing side of his photography, Richard says that currently “I don’t spend too long on the computer editing images. I tweak the brightness, contrast and saturation, but I often wonder if I should learn more skills to polish the pictures even further.” With a solid portfolio under his belt, where does Richard see his photography going over the next 12 months? “The dream would be to make money out of the images,” he explains, “but for now I’m happy to keep photography as a hobby.” Well, whenever he chooses to spread his wings and take his next step in photography, we’re sure Richard will soar to new heights. 50 DIGITAL SLR issue 86

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10/10/13 11:19:43

“be constantly observing the scene ready for your subjects”

turn the page

to read how Richard took his fantastic images

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Name here a selection of fantastic portfolios around the world

Streetwise

How can you get to practice street photography without feeling uncomfortable about photographing strangers? Digital SLR reader Mike Shields shares his approach with us

aking to the streets and pointing your camera at strangers isn’t an altogether comfortable experience at first, but it can only get better with experience. Daunted by the thought of street photography, Digital SLR reader Mike Shields decided that an organised street party with a 1940s theme was the perfect opportunity to get some practice. “I’ve always had a desire to try street photography, but pointing a camera at someone who doesn’t want their photograph taken is a bit iffy sometimes,” explains Mike,

who’s based in Llandudno, North Wales. “I saw this 1940s event advertised in the local newspaper, and I thought I’d go along and try some street photography. “It was on two streets that were closed off to cars, and there was a big spitfire in the road. Everybody was dressed up in 1940s costumes: German officers, British officers, anything to do with the era.” In this kind of environment, everybody’s more amenable to having their picture taken, and as Mike found, this makes it much easier for the photographer.

INFO

 nikon d3100

 18-200mm f/3.55.6 lens

 1/125sec at f/6.3  ISO 400 54 DIGITAL SLR issue 86

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9/10/13 14:52:06

In association with

Make Life Simple

“When everybody is dressed up in costumes, they don’t mind being captured on camera – in fact a lot of them pose for you. It might be that if I’m walking the streets and approach people to take their picture, it’ll be a different story, but this day was great.” Having taken the plunge, it wasn’t long before Mike was swept away in the experience and stopped feeling uncomfortable. “I just lost all inhibitions really, and just pointed the camera at people. I prefer to capture candid pictures rather than posed because I think they’re more natural, and I used my 18-200mm Nikon lens because you don’t have to get too close to people’s faces, you can take pictures from a distance. “For a few of my shots, when I started pointing the camera at people, they looked at me and I just asked if they minded me taking their photograph. I had no negative feedback at all, everybody said they didn’t mind, and some people were saying thank you. I wandered around the whole place and took a load of photos. I loved it. I did a lot of processing once I got the pictures back on the computer and tried to make them look even more authentic.” Mike may well be inexperienced when it comes to street photography, but he’s been taking photographs for years. “I started photography in the early 70s with an Olympus OM-10 film camera, and I actually developed my own black & white prints for a couple of years. But we moved to a smaller house so I lost my darkroom and photography took a back seat for some years. Recently I came across the Olympus and a couple of rolls of film. I fired them off and they came out well, so I took the decision to buy a Nikon D3100.” Strictly speaking, this wasn’t Mike’s first foray into street photography either, and he has taken advantage of a similar organised event in the past. “I took some photos at a local street party that my daughter helped organise. It was for the Jubilee, and she announced on the tannoy that her dad would be coming round taking photographs, so no-one minded that either.” His experiences have highlighted one type of photography that he’s particularly enthusiastic about. “I really enjoy portrait photography, so I’m hoping to do that in a bigger way some time in the future. I might get some equipment, some lights and a proper flash, and I’ve got a few friends who said they’ll pose for me, so hopefully I’ll pursue that in the next 12 months or so.” Well

“I prefer candid pictures rather than posed because they’re more natural” Follow us on Twitter: www.twitter.com/DSLRMag

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™

LEFT “I saw this guy getting his cigarette out, so waited until he was lighting up before capturing this shot. The shadows were harsh, so had to lighten them on the computer.” left bottom “I thought his expression looked like he may have been crying for a fallen comrade, so added the tears on the computer and tweaked the colours to look grittier. ” right “This lad was sitting in a Jeep just staring into space. To me, this photo suggests a young man who’s thinking about his family after leaving home to fight for his country.”

biography

 N ame: Mike Shields  A ge: 62  Job: Warehouse manager  Camera kit: Nikon D3100 and D5100, Nikon 18-200mm lens, Sigma 10-20mm lens  Best bit of camera advice you’ve ever been given: “Research and plan your shoot, and use a tripod whenever possible.”

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Roger Payne’s

10 Minute

craig roberts

masterclass

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

roger says

Master metering elcome to the wonderful world of metering. These clever modes are all about working out how light or dark a scene is. This month’s Masterclass aims to get you choosing the right metering mode for your composition, because if you get metering right, you’ll be rewarded with amazing pictures. On even the humblest DSLR you’ll find more knobs and dials than in the Apollo 11 cockpit. Most of the time you stab away, delving deep in menus and endless sub-menus until eventually you are so completely baffled by the electronic maze you take the easy option and shoot your picture in automatic mode. And while you can get great pictures

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Tricky light at your location? metering modes can save the day

by leaving your camera on full auto mode, it’s not the best use of all that clever technology in your DSLR, is it? Despite the great number of features on your camera, are your photos getting any better? We have plenty of automatic features at our fingertips that do everything for us, yet we don’t often produce the top-quality pictures that a professional can get from the same kind of kit. One of the ways to change that is to get to grips with metering modes. So, grab a fistful of rubberised plastic and get ready to give those knobs and dials some big old twists. No metering mode is too fiddly or too high-tech for 10 Minute Masterclass. Like us on Facebook: www.facebook.com/DSLRMag

10/10/13 11:23:17

craig roberts

TECHNIQUE

Which metering modes are available? Metering means measuring the amount of light in a scene and making decisions about how much light will fall onto the camera’s sensor. How much light falls onto the sensor is called ‘exposure’ and it hangs entirely on technical things like shutter speed – the length of time the camera’s shutter remains open; aperture – the size of the hole inside the lens that allows light to reach the sensor; and ISO – the sensor’s sensitivity to light. There are three main metering modes…

1. Centre-weighted Centre-weighted metering gives you some control. As the name suggests, it ignores the outer edges of the frame, concentrating on the middle, so it’s best for when the subject occupies the centre part of the image. In theory, what you’re trying to do in this mode is think a bit harder about your pictures. In reality what happens is you try to not look too embarrassed when the pictures come out exactly the same as if you’d taken them in evaluative mode. If I were in your shoes I wouldn’t bother with it. craig roberts

2. Evaluative Also called multi-segment or matrix metering, evaluative metering mode is the most sophisticated metering method. The viewfinder is divided into different ‘segments’, and the camera measures data from each, to work out a correct exposure. Most of the time this method produces good results. And it’s fine for those who photograph as though they’ve been plugged into the mains: at 40 frames-per-second. But machine-gunning images like this won’t produce good shots; the best photographs are made by people who spend time thinking about them. If you happen to take a fantastic picture in evaluative mode and have absolutely no clue what you should do to take the same picture again, then it’s not the mode for you. In conclusion, evaluative metering is fine for those who know what they’re doing, and should be avoided by those who don’t. Follow us on Twitter: www.twitter.com/DSLRMag

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TECHNIQUE

Next steps

See in

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Want to create images with jawdropping impact? You need to shoot in black & white. And here’s everything you need to know about this exciting art… Like us on Facebook: www.facebook.com/DSLRMag

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TECHNIQUE

matty graham

Next steps

olour is everywhere. Bright, retina-searing, saturated colour with all the sliders turned up to 11. Removing the colour from your images is the photo equivalent of escaping the city and taking a walk in the countryside. Once you’ve cleared your head, you’ll ignore the distracting hues and focus on shape and texture. In short, monochrome (the fancy name for black & white, often shortened to mono) will help you focus on the most important elements of a scene. Follow us on Twitter: www.twitter.com/DSLRMag

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To get really great black & white images, all you need to do is dip into this feature and learn some worthwhile techniques, sound tips and a sprinkle of jargon-free theory. Don’t worry, we’re not going to baffle you with techy talk, but we will challenge you to think again about the way you approach your picture-taking. After all, mono pictures carry such impact that a little reading and learning will be rewarded with frames that are worth printing and hanging in pride of place above the mantelpiece.

turn the page

for a masterclass in black & white

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EQUIPMENT

Entry-level DSLRs

DSLR shoot-out Buying a DSLR is exciting, but it’s a big investment and you want to make the right decision. Take a look at our guide to make sure you get it right

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Entry-level DSLRs

ow do you decide which DSLR is best for you? They all look similar, and by the time you’ve read all the specifications, you’ve got so many numbers and technical terms spinning around in your head that you need to have a lie down. Well, we’re here to help. We’ve lined up eight of the best entry-level DSLRs for the ultimate shoot-out. They all cost under £600, and each has its own features that make it stand out. Keep your finger on

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EQUIPMENT

the trigger, and as you line up each in your sights, we’ll tell you everything you need to know about them. If they’re fast enough for shooting action, small enough to slip into your handbag, or have enough pixels to record a pimple on an elephant, we’ll make sure you know about it. Keep in mind what you’ll be taking pictures of, and eliminate any that won’t do the job. Shoot carefully, because you only have seven shots – the last one standing is the DSLR for you.

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WORDSEARCH

Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ Telephone 01223 499450 Fax 01223 839953 Email enquiries@bright-publishing.com Website dslruser.co.uk

Editorial

Can you find the 19 photo-related words in the grid below? Find the lot and you could bag Serif software ive minutes spare? Why not have a go at our wordsearch? This issue we’re talking kit and all the words are related to photo bags. 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 24 November 2013. First correct entry out of the hat wins a copy of the brand new Serif PhotoPlus X6 software, worth £70. Grab a pen and give it a go!

Editor Matty Graham 01223 499466 mattygraham@bright-publishing.com Technical writer Ian Fyfe 01223 499466 ianfyfe@bright-publishing.com Sub editors Lisa Clatworthy, Hannah Bealey, Siobhan Godwood

win

Contributors Mark Bauer, Craig Roberts, Stewart Bywater & Julian Lass Editorial director Roger Payne 01223 499466 rogerpayne@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 image collection. Fix common problems like red-eye, add amazing effects or try more advanced features like editing Raw files or creating an HDR image.

This month’s words: Back Bag Buckle Clip Compartment Divider Handle Messenger Netting Padding Pockets Rainshield Rucksack Shoulder Sling Strap Toggles Velcro Zips

Advertising Business development director Dave Stone 01223 499462 davestone@bright-publishing.com

T E S I N P F X A R N I F C B T P H L I J D C E Z I P S K O R E G N E S S E M Z C W S

A D D I N G Y Z W O L B L

O U L D E R A N M R O U I

C L I P D H E P Z U J C N

Q Y C I Z T A I B C Z K G

W Z V I T R J H Z K Y L X

H I C I T F R G C S B E Y

D B N M K C A B I A B P A

N G E D I B N V N C N O X

Q N D G H E P U C K X C L

T H V T O G G L E S U K X

R A I N S H I E L D E E U

E Z H A N D L E R L T T Q

L S T R A P E M T Y B S V

Q V E L C R O U A K S F E

Key accounts Mike Elliott 01223 499458 mikeelliott@bright-publishing.com Maria Francis 01223 499457 mariafrancis@bright-publishing.com

Design & Production Design director Dean Usher Senior designer Mark George Design & production manager Grant Gillard All advertising copy should be sent to: dslrads@bright-publishing.com

Web team Web developer Mike Grundel Digital designer Ashley Norton

Publishing Publishing director Andy Brogden Publishing director Matt Pluck Head of circulation Chris Haslum

Subscriptions & back issues Subscribe online at www.dslruser.co.uk Email subs@dslruser.co.uk Subscription hotline 01371 851877

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Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com

Finding your nearest Digital SLR stockist couldn’t be easier. Simply contact: COMAG, Tavistock Road, West Drayton, Middlesex UB7 7QE 01895 433600

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Last issue’s winner Congratulations to Doreen Vincent from Sutton Coldfield, who was picked out of the hat first and wins that issue’s fantastic Serif PhotoPlus X6 software. Send in your answers and you could be our next winner. 98 DIGITAL SLR issue 86

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