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5 must-buy accessories Gear to transform your images
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Welcome Welcome to another slice of bonus free content in the shape of Digital SLR Plus! We’re here to give you a flavour of what you can find in the magazine, along with some top features that are just for you, our digital downloaders. This month we lift the lid on what accessories will make a real difference to your photos. Don’t worry though, we won’t be asking you to break the bank – all our suggestions cost under £50. Our Reader Hero gives you the low-down on what it takes to move your car photography into pole position and if you’re interested in capturing some wildlife, we’ll show you how to build a bird perch. Lastly, if you are going to be shooting wildlife, you will want to invest in a telezoom lens. Our magazine feature rates and reviews six affordable telezooms, but if you want some more advice on what to look out for when picking a longer optic, just check out our tips. Enjoy the bonus content and don’t forget to pick up the magazine. Matty Graham, Editor mattygraham@ bright-publishing.com
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Which accessories should you pack in your kitbag to make a real difference to your images? Here are our top five picks…
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f you’ve been inspired by the 15 Techniques To Transform Your Photos feature in our Issue 82, then you’re probably chomping at the bit to get out there and start shooting. But before you rush out camera in hand, stop and think about your kit. Because, while good technique will help you get great shots, it also pays to pack the right equipment. Some choice accessories will make all the difference. Here’s our rundown of the top five items that we reckon should always be in your camera bag. Don’t worry, they aren’t pricey accessories – they all cost under £50.
TRANSFORM YOUR PHOTOS In the latest issue of Digital SLR, we share 15 techniques to improve your shots. Subscribe today by Direct Debit for £6.50 a quarter and get this issue free!
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grad filter – £25
A grad filter is a piece of glass with a graduated tint from one end to the other. You can use a grad filter to balance scenes with high contrast – for example, a sunset where it would be difficult to capture a balanced exposure. You line the tinted area up with the sky so it darkens that area of the frame. If you’re planning on shooting a lot of landscapes, a grad filter would be a wise investment.
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LOCATIONS without po lariser
circular polariser – £25
Before you buy one of these, check the filter thread size of your lens, because circular polarisers screw onto the front of your lens. They cut out directional light, giving bluer, more saturated skies; plus they remove any sheen from the surface of water. They’re perfect for landscape photography – all you have to do is look through the viewfinder and rotate the filter until you see the colours deepen. Simple.
See the difference a circular polariser can make to a blue sky.
with polariser
Wireless trigger – £40
Don’t be fooled into thinking wireless triggers cost hundreds of pounds. You can buy a system like Hähnel’s Combi TF triggers for just £40. With a wireless trigger you can use your flashgun off-camera to create stunning portraits. What’s more, you can also trigger the camera remotely – perfect for wildlife photography when you risk spooking nervous subjects, like birds or deer.
with monopod
without monopod
Reflector – £10
The humble reflector is worth its weight in gold. A lightweight and compact way of directing light towards your subject, a reflector is definitely worth keeping in your bag. Reflectors cost as little as a tenner, and they come in a variety of shapes and sizes. Most have at least two surfaces with silver and gold sides for different effects. Reflectors are particularly useful when shooting close-up subjects; as you, the photographer, are so close, you usually block out a fair bit of light. So you can angle the reflector to catch the available light and bounce it back towards the subject. Follow us on Twitter: www.twitter.com/DSLRMag
Monopod – £20
Need to keep your shots steady but don’t want to carry a bulky tripod around? A monopod gives the best of both worlds. It will help you get super-sharp images, free from camera shake, while still giving you the freedom to move quickly from location to location. If you have a photo rucksack, the monopod will probably fit into the side straps so it’ll be well out the way.
“the humble reflector is worth its weight in gold. it’s definitely worth keeping in your bag” DIGITAL SLR Plus 3
SEE MORE OF damian’S WORK We showcase Damian’s stunning car images in the latest issue of Digital SLR. Subscribe today by Direct Debit for £6.50 a quarter and get this issue free!
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Top Tips Every month we showcase the work of one reader who goes above and beyond. Damian Hock’s car photography has definitely zoomed right into top gear
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ur latest Reader Hero, Damian Hock, is an expert at snapping anything on four wheels – you can check out his images with va-va-voom in Issue 82 of Digital SLR. Here he shares his top tips to move your automotive photography into the fast lane…
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Just experiment “The key to great car photography is to take a shot people haven’t seen before and the best way to do this is to experiment. With car photography, it’s easy to fall into the trap of taking typical car shots, maybe with the car parked up and not moving. I like to inject some action into my photoshoots and my kit allows me to make the cars look like they are speeding when really they are just going a few miles an hour. Try light painting, star trails – anything to make your photos stand out.”
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READEr’s shots
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Review your images “One of the best things you can do as a newcomer to car photography is to keep checking your images to make sure you are using the right exposure settings and lighting the car in the right way. A lot of people just keep clicking and forget to check the LCD screen on the back of the camera. Fail to do that and you may be wasting a lot of time with the wrong settings. I always check my screen as I go to make sure I’m happy with the images I’m getting.”
“try light painting, star trails – anything to make your car photos stand out”
TOP TIP
if you’re light painting, wear black so you don’t show up in your shots
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the brighter the better “I find that the brighter your light source, the better the image, so it’s worth spending a few extra quid on a nice, bright torch. Go for the LED versions as they are brighter, the light is whiter (compared with traditional torches) and the batteries seem to last longer too. You don’t need a modifier to soften the light from your torch; in fact, harsher light actually does a better job. If you are in a really dark location, you could set the exposure going then try using two torches at once, or alternatively, if you have a helper, get them to light one side of the car while you focus on the other.”
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Walk around the car “Before you take the lens cap off and start shooting the car, it’s worth putting the camera down for a few seconds and taking a walk around your subject. “Every car is different and they will all have something unique about them. Older cars have often been resprayed and the quality of paint may be better on one side than the other so examine the whole car to make sure you shoot it from its best side. Take note of details, like grilles, mirrors, alloy wheels, bumper stickers and other small items, that will make good detail shots.”
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Keep your shots sharp “I don’t use a tripod during daytime shoots, but they are essential for long exposures when darkness falls. If I’m shooting action during the day, I may bump the ISO up so I can use a fast shutter speed and capture sharp images. I have no problem pushing the ISO past 500 as you can still get good results. “The only time I did use a tripod for daytime images was when I was taking photos of some drift cars. I placed the tripod a little too close to the track and one of the cars sent it flying. Luckily, there was no damage.” Follow us on Twitter: www.twitter.com/DSLRMag
DIGITAL SLR Plus 5
TECHNIQUE
Capture garden birds For a close encounter of a feathered kind, you’ll need to provide them with a posing perch. Here’s Drew Buckley’s DIY solution
TAKE great BIRD portraits Our latest issue has a full guide to getting beautiful bird photos. Get it FREE if you subscribe today by Direct Debit for just £6.50 per quarter.
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f you want to capture wildlife, you don’t have to head into the wilderness. In fact, you really don’t have to go further than your back garden to find plenty of subjects. The humble garden birds that visit us in search of grub and want nothing more than to stay out of the neighbourhood cat’s clutches are perfect subjects to focus on. While you can take your chances and just wait until a bird shows up, the more proactive photographer may decide to tip the odds of capturing a cracking bird shot in their favour by building a special bird perch. With a perch of your own making, you have more control. You can position it to get the best angle of light to illuminate the bird and ensure that the background isn’t cluttered and distracting. And the best bit of news is that making a simple bird perch is easy. You don’t need anything fancy, either, just a pole, tree branch and bird feeder.
BLACKBIRD
The usual suspects
One of the most frequent visitors to your garden, blackbirds are bold and easy to recognise thanks to the bright orange beak. The male is black, the female brown, and they’re happy to eat bird food or kitchen scraps off the ground or a table.
Build a great perch and they will come. Here are two of the feathered friends you can expect to see…
Blue tit
Present in UK gardens all year long, blue tits feed mostly on insects, but during the summer they feed on pollen too and are more than happy to peck at bird feeders filled with peanuts or nut mixes. If you fancy trying a shot with a difference, line up a milk bottle in front of the camera as blue tits will often peck at the lid.
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TECHNIQUE
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Step-by-step guide
Size matters Your perch and feeder will attract birds of all sizes, some require a longer lens than others…
WOOD PIGEON It’s quite likely you will hear the trill of the wood pigeon before you see it, so this will give you time to set up the camera. Wood pigeons feed on pretty much anything and are present in the UK all year round. Much bigger than smaller birds like chaffinches, they can be a good subject to snap if you don’t have a very long lens; a focal length of 200mm should get you decent shot.
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branching out Find a nice area in the garden in some space with an uncluttered background. Drive your pole into the ground and then fix your tree branch (where the bird will sit) onto the pole. The join will be out of shot, so use some string if you need to.
Chaffinch
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feed the birds Your subjects need a reason to land on your DIY perch, so you’ll have to tempt them in with some juicy treats – you can buy a bird feeder and food from your local garden centre for just a couple of quid. Fill up the feeder and hang it close by, but not close enough to invade your frame. We want the birds to raid the feeder and then retire to the perch.
Our most common finch, chaffinches are easy to identify; just look for the striking double, white wing bars. These little wonders are present in the UK all year round and they love seeds. You’ll need a focal length of about 300mm for a fab finch photo.
TOP TIP
diffErent foods attract different birds. so choose the menu carefully
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keep your distance Retreat to a safe distance, a bird hide or even indoors so you don’t scare off any potential subjects. With your camera and long lens on a tripod, sit down to wait and be ready to snap away when the birds arrive. The simplest exposure mode to use is aperture-priority and, because we want a blurred background, select a large aperture of f/5.6. Follow us on Twitter: www.twitter.com/DSLRMag
DIGITAL SLR Plus 7
TECHNIQUE
choose your long lens Read our test of six affordable telezooms in the latest issue of Digital SLR. Get it FREE if you subscribe today by Direct Debit for just £6.50 per quarter.
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Top telezoom techniques In Issue 82, we’re testing six telezooms, but fitting a long lens onto your camera doesn’t immediately guarantee you great photos. You need a healthy dollop of technique too. Read on for tech writer Ian Fyfe’s top tips
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70-300mm telezoom lens is a great option for a second optic that complements your kit lens. You don’t even have to spend a fortune to get one – £100 is enough! In Issue 82, I tested six 70-300mm lenses that cost less than £450 to help you decide which to spend your money on. But once you’ve gone for one and it’s mounted on your camera, there are a few things to think about to make the most of it. Here are my tips for getting the best from your telezoom.
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Use the WHOLE zoom range Obviously a 70-300mm lens is great for zooming in to subjects that you can’t get close to, such as animals or sports events. But don’t forget about the shorter end of the focal range. Between 70mm and 100mm is a great range for portraits – this kind of length gives a nice shallow depth-of-field (what is and isn’t sharp in your shot) to make your subject stand out, it doesn’t cause unflattering distortion of your subject’s features, and it means you’re not standing so close to your subject that they feel uncomfortable. For street photography or photo walkabouts, the zoom range gives you great flexibility too. Don’t forget to zoom in and out for near and far subjects and try different focal lengths to see which gives the best effect.
“between 70mm and 100mm is a great range for portraits” 8 DIGITAL SLR Plus
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TECHNIQUE
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Give it some support When you’re using a long focal length, even tiny movements of the camera are exaggerated and the risk of blurry pictures is high. Just look through the viewfinder when you’re using a zoom at 300mm and see how unsteady it is. To be sure of avoiding blur, put your camera on a tripod. Use the self-timer or a remote release to take the pictures so that there are no vibrations from pressing the shutter button. If your lens or camera has image stabilisation, turn this off when the camera’s on the tripod. It normally compensates for movement, but if there isn’t any then it might actually cause some. Also be aware that an extended telezoom can unbalance things, so watch that your tripod doesn’t topple.
DID YOU KNOW?
TRIPODS COST FROM AS LITTLE AS £20
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Keep it clear When you’re zooming in to a distant subject, atmospheric haze and scattered light can reduce the contrast and make your images look flat. Attaching a UV filter to the front of the lens can reduce the haziness. Most telezoom lenses also come with a lens hood – it’s a good idea to use this as well. It blocks light coming into the lens from different angles, which can otherwise interfere with the light from your subject.
“if you can’t use a tripod, this is the time to engage image stabilisation if your lens has it”
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Keep it steady If you can’t use a tripod, this is the time to engage image stabilisation if your lens has it. This comes in different guises according to manufacturer: Canon’s is Image Stabilisation, Nikon’s is Vibration Reduction, Tamron’s is Vibration Compensation and Sigma’s is Optical Stabilisation. But they all do the same thing. Having this turned on when hand-holding the camera lets you use slower shutter speeds than you’d otherwise need for sharp images. It’s not infallible though, so you still need good technique to be sure of sharp images. If your lens doesn’t have image stabilisation, you’ll need to use a fast enough shutter speed to avoid the effects of shake. If you’re using a focal length of 300mm, this means a shutter speed of about 1/500sec to be safe. This won’t let in much light though, so increase your ISO sensitivity for a good exposure. Follow us on Twitter: www.twitter.com/DSLRMag
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Stand firm Regardless of whether your lens has image stabilisation, you need to adopt a good stance to minimise movement. Hold the underneath of the lens with your left hand and tuck both elbows into your body to stop your arms waving around. When the camera is up to your eye, push it against your face to steady it. If you can, lean against something to steady yourself as well – a tree, lamp post or fence will all work. Crouching down is a good idea if you can, because this allows you to rest one arm on your knee to steady things up. DIGITAL SLR Plus 9
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