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NIFTY 50 IS NIKON’S MIRRORLESS Z 50 THE BEST APS-C CAMERA YOU CAN BUY? FIND OUT IN OUR IN-DEPTH REVIEW

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essential shooting and editing techniques, and in-depth reviews of the latest camera kit.

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CONTENTS FIND OUT WHAT’S INSIDE THIS ISSUE NEWS

F E AT U R E

NEW TOKINA LENSES

Portrait optic for E-mount kicks off new mirrorless range F E AT U R E

GOTHIC STYLE

Join an atmospheric fashion shoot in a Victorian cemetery PHOTOS

GALLERY

Our pick of the best reader Ĝĵ±čåŸ üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ I N S P I R AT I O N PHOTOS

I N S P I R AT I O N

UNDERWATER ART

Enjoy prize-winning photos captured beneath the waves CRASH COURSE

FREEZE THE SPEED

Combine pin-sharp subjects with blur for epic motorsports shots PHOTOSHOP

CRASH COURSE

GREAT SHAKES

Use compositing tricks to create the perfect pet action portrait

PHOTOSHOP

GEAR

NIKON Z 50

Nikon’s APS-C addition to its mirrorless Z range is packed with enthusiast-friendly features and competitively priced, but does it deliver ŅĹƤŞåųüŅųĵ±ĹÏåũ 8ĜĹÚ ŅƚƋ ĜĹƤŅƚų üƚĬĬ ųåƴĜåƵ

JUS T 39¢/39p PER ISSUE! WHEN YOU SUBSCR IBE SEE T HE SUBS C R I P T ION PAGE FOR MOR E INFO

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W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

TOK INA UNVEIL S AFFORDABLE E-MOUNT PORTR A I T LENS The atx-m 85mm f/1.8 FE is first in a new line of lenses for mirrorless mounts

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okina has launched its new

Tokina is keen to point out that the

says the atx-m 85mm f/1.8 FE delivers

atx-m lens line, which it says

atx-m 85mm f/1.8 FE is designed

ŮűƋƚų±Ĭ ÏŅĬŅų ±ĹÚƤåƻÏåĬĬåĹƋ ÏŅĹƋų±ŸƋŰ

are high-quality but affordable

to Sony’s specifications, and so like

and “corner-to-corner resolution”.

An all-metal focusing unit and ST-M

lenses for mirrorless cameras, with the

native E-mount lenses will support

announcement of a portrait optic for

camera functions such as autofocus –

motor are said to ensure smooth, fast

full-frame Sony E-mount cameras, the

including Sony’s Eye AF – in-body image

and quite autofocus. While the lens is

Tokina atx-m 85mm f/1.8 FE.

stabilisation and manual focus assist.

ideal for portraiture – Tokina calls it a

While the new lens is designed for

The lens features an optical design

‘bokeh monster’, it’s also suitable for

Sony cameras, Tokina says the atx-m

made up of 10 glass elements in

street and landscape photography.

range will eventually include lenses “for

seven groups, including one SD low

ĘåƤĬåĹŸ ƵåĜčĘƋŸ ƅĉĂč ±ĹÚ Ę±Ÿ ± ƀƖĵĵ

multiple mounts and sensor formats”,

dispersion element, and Tokina’s Super

filter thread.

likely including Canon’s RF and Nikon’s Z

Low Reflection Multi-coating, which

The Tokina atx-m 85mm f/1.8 FE will

mounts, as well as the L-mount used by

is designed to minimise ghosting and

Æå ±ƴ±ĜĬ±ÆĬå ƵŅųĬÚƵĜÚå üųŅĵ 8åÆųƚ±ųƼ ƀØ

Leica, Sigma and Panasonic cameras.

flare and repel oil and moisture. Tokina

ŞųĜÏåÚ ±Ƌ ƊĉíĿxâĉĿĿţ

CAPTURE A FRESH PERSPECTIVE 14 - 17 MARCH 2020

THE NEC, BIRMINGHAM PHOTOGRAPHYSHOW.COM

The event for everyone passionate about photography and moving image

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EMILY-CLARE NEGUS Illustration graduate Emily has always worked in creative fields, so it was only a matter of time before she took up photography. Starting off with a Canon EOS 600D, Emily began to shoot weddings, but her innate curiosity led her towards experimentation and her current artistic style. She says: “Taking part in this challenge is way out of my comfort zone, as I don’t shoot ‘the finished article’, subjects like models.”

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SHOOT OUT! BRISTOL FASHION

Niall Hampton joins two keen photographers in the hidden gem of Bristol’s Arnos Vale Cemetery, a unique heritage site set in 45 acres of spectacular Victorian gardens

DENNY WONG Denny has been a keen photographer for nine years. Having taught himself with the help of YouTube videos, he originally enjoyed shooting landscapes, but after having children he found it a little harder to get out and about with his camera and tripod. He started photographing his family, which in turn led to him taking more photos of ŞåŅŞĬåØ ±ĹÚƤĘĜŸ ÏƚųųåĹƋ passions are fashion and portrait photography.

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CHALLENGE 1 SHOOT A STYLISH FASHION PORTRAIT

CAMERA CANON EOS 6D LENS CANON EF 70-200MM F/2.8L EXPOSURE 1/250 SEC AT F/2.8, ISO100

E XPER T OPINION

This image immediately draws you in, mainly through the eye contact and the connection Emily clearly has with our model Meg. But there’s more to this image than that. The use of the beautiful winter clematis seeds, along with a subtle touch of lens flare, ųåĜĹüŅųÏå ƋĘå üåĵĜĹĜĹĜƋƼ Ņü ƋĘåƤŸƚÆģåÏƋ and her clothing. The image is rounded off with cooler tones, which put you right there within its environment.

EMILY-CLARE NEGUS

England in December is a hard month to call weather-wise, and few things concern outdoor photographers ĵŅųåƤƋʱŠƋĘå ĬĜĩåĬĜĘŅŅÚ Ņü ±ĹƤĜĵĵĜĹåĹƋ washout. But, ŅƋĘåų ƋʱŠ± üåƵƤŸŞots of rain falling during the very first shoot, conditions at Arnos Vale were good, if not a little high-contrast when the sun popped out afterwards. Our model

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CHALLENGE 1 SHOOT A STYLISH FASHION PORTRAIT Meg was the complete professional, and didn’t complain once about the temperature.

Set among 45 acres in south Bristol, Arnos Vale is a Victorian garden cemetery and contains 25 registered historic landmarks. These encompass mausoleums and statues, and the

TRY AN AR T I S T IC LOOK

Emily loves to go off-track, to find artistic ways to shoot what initially ±ŞŞå±ųŸ ƋŅ ÆåƤ±Ĺ åĵŞƋƼ ŸŞ±Ïåţ She clearly has the ability to get great images in pretty much any environment, using natural light (pictured), a reflector and occasionally some off-camera flash with a beauty dish light modifier. Emily obviously enjoys expressing herself through photography.

cemetery also comprises open and ƵŅŅÚåÚ ±ų屟ţ å ƵåųåƤĬŅŅĩĜĹč forward to seeing how Emily and Denny would interpret the wide variety of backdrops and features.

Emily felt that this image was an unusual one for her to shoot, as it’s ŧƚĜƋåƤa commercial pose, with Meg

looking straight into the camera.

“It’s not something I tend to shoot, because I like my work to have tension,” she says. “FƤŸ±ƵƤƋĘĜŸ ƋåƻƋƚųå ĜĹ ƋĘå ÆƚŸĘ behind Meg and knew that my 70200mm f/2.8 would make it look soft and dreamy. The natural lens flares were an unexpected bonus.”

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CHALLENGE 1 SHOOT A STYLISH FASHION PORTRAIT CAMERA CANON EOS 5D MARK III LENS SIGMA 85MM F/1.4 DG HSM ART EXPOSURE 1/1,000 SEC AT F/2.2, ISO100

E XPER T OPINION

Using a traditional rule-of-thirds composition, Denny has framed Meg ƋŅ ƋĘåƤĬåüƋěʱĹÚ ŸĜÚå ƵĘĜĬå čĜƴĜĹč Ęåų ŞĬåĹƋƼ ŅüƤŸŞ±Ïå ƋŅ ĬŅŅĩ ĜĹƋŅ ŅĹ ƋĘå ųĜčĘƋţ Having Meg gently leaning against the ŸƋųƚÏƋƚųå ŅüƤƋĘå ĵ±ƚŸŅĬåƚĵ ĘåĬŞŸ ƚŸ ƋŅ comprehend the scene while making for an elegant background. Denny’s use of shallow focus draws our eyes to the subject while keeping enough detail in the rest of the scene.

DENNY WONG

Eager to get up and running, DennyƤwas the first to try to create some images with a Gothic aesthetic.

The first location we stopped at was the imposing mausoleum of Rajah Rammohun Roy, ‘The Father of aŅÚåųĹ FĹÚĜ±űţ %åĹĹƼ ƚŸåÚ ƋĘåƤŸĬĜčĘƋĬƼ shaded area to its front to capture some balanced exposures of Meg.

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CHALLENGE 1 SHOOT A STYLISH FASHION PORTRAIT After reviewing their initial shots and trying some different poses, bothƤparticipants gained confidence inƤĘŅƵ ƋĘåĜų Ĝĵ±čåŸ ƵåųåƤŸƋ±ųƋĜĹč ƋŅ take shape.

“The weather was overcast, but when the sun briefly came out and

WORK THE ANGLES

Denny got a great angle on Meg to nail this fashion image. By placing himself low, he was also able to show off the magnificent door to the Anglican Chapel and Crypt. Throughout the day, Denny anticipated his shots by always looking out for great backdrops. Quickly establishing a good rapport with Meg, he was able to achieve the strong poses that are perfect for fashion.

shone on the mausoleum behind Meg,ƤF ĩĹåƵ F Ę±Ú ƋŅ čåƋƤ±ƤŸĘŅƋ using that light,” explains Denny. ŮFƤĜĵĵåÚĜ±ƋåĬƼ čƚĜÚåÚ ƋĘå ĵŅÚåĬ toƤlook into the distance to her left, asƤif she is thinking about the past or aƤloved one she’s lost.”

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CHALLENGE 2 SHOOT A GOTHIC-STYLED IMAGE

CAMERA CANON EOS 6D LENS CANON EF 50MM F/1.4 USM EXPOSURE 1/1,250 SEC AT F/1.4, ISO100

E XPER T OPINION

Emily asked Meg to lift her hair and maintain it in that position. Keeping the background dark has made Meg’s lighter features and dress stand out, and having Meg look close to, but not at, the camera has created a sense of yearning.

EMILY-CLARE NEGUS

After a welcome pit stop to enjoy some Ƶ±ųĵ ÚųĜĹĩŸØ ŅƚųƤŸåÏŅĹÚ ÏʱĬĬåĹčå Ņü the day began with a costume change for Meg – she emerged wearing a vintage Laura Ashley dress that she’d discovered in a charity shop.

When Arnos Vale Cemetery opened in 1839, Queen Victoria was new to the throne. Inspired by Père-Lachaise

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CHALLENGE 2 SHOOT A GOTHIC-STYLED IMAGE in Paris, and, later, London’s Kensal Green, Arnos Vale was established to provide a stylish yet spacious alternative to Bristol’s overcrowded parish graveyards. Its designers laid out a cemetery to be filled with sunlight and fresh air, with architecture and

ADD S OME NATUR AL L IGHT

Continuing her artistic approach to ƋĘåƤÚ±ƼűŸ ŞĘŅƋŅčų±ŞĘƼØ )ĵĜĬƼ ƚŸåÚ a pop-out reflector to bounce in some light and create some subtle movements in Meg’s hair, which has led to this beautifully haunting image.

With a good selection of lenses to choose from, Emily was able to create a lovely variety of images.

Ĭ±ĹڟϱŞĜĹč ƋŅ åÏĘŅ ƋʱƋ ŅüƤÏĬ±ŸŸĜϱĬ Greece. For Challenge 2, though, ƵåƤĘå±ÚåÚ ĜĹƋŅ the wooded area for ±ƤGothic shoot among the trees.

Emily found this new environment ±ƤčŅŅÚ üĜƋ üŅų Ęåų ÚĜŸƋĜĹÏƋĜƴå ŸƋƼĬåţ “This was one of my favourite images

from theƤday, and one of the few I shot withƤoff-camera flash,” she says. “I sawƤƋĘå ÏŅĹƋų±ŸƋ Ņü ƋĘåƤÚåĹŸå green holly with chinks of light breaking through – the difference in ƋåƻƋƚųåŸƤĜŸƤsomething I always strive ƋŅƤĜĹÏĬƚÚå ĜĹ ĵƼ ŞĘŅƋŅčų±ŞĘƼţŰ

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CHALLENGE 2 SHOOT A GOTHIC-STYLED IMAGE CAMERA CANON EOS 5D MARK III LENS SIGMA 85MM F/1.4 DG HSM ART EXPOSURE 1/1,250 SEC AT F/2.2, ISO100

E XPER T OPINION

Denny called on his fashion photography skills to create this strong image of Meg. In a similar way to Emily, he also opted for a dark background to make the white dress and Meg’s blonde hair pop. By using the low wall to raise Meg’s leg, Denny has created a strong and flowing face-on pose, which enables the viewer to appreciate her entire outfit. The crown being tilted at a jaunty angle gives the image a welcome ŸŞųĜĹĩĬå ŅüƤŧƚĜųĩĜĹ域ţ

DENNY WONG

Embarking on the second challenge, it was clear that Denny was again ÏʱĹĹåĬĬĜĹč ĘĜŸƤƱÏĩčųŅƚĹÚ ĜĹ ü±ŸĘĜŅĹ photography. The bright white dress that Meg was wearing proved to be difficult for both participants to expose for effectively, but once Denny found the ideal balance, he was able to concentrate on Meg’s poses and

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CHALLENGE 2 SHOOT A GOTHIC-STYLED IMAGE on composing his images.

“I really liked the white dress, and I wanted to create images with a strong fashion look,” he says. “When FƤŸ±ƵƤƋĘĜŸ Ú±ųĩ ±ųå± ĜĹ ƋĘå ƵŅŅÚŸØ

FƤƋĘŅƚčĘƋ ĜƋ ƵŅƚĬÚ Æå ± čųå±Ƌ ŞĬ±Ïå for Meg to stand in front ofƤand strike some edgy poses. It turned out to be exactly what I was looking for, and I was really pleased with the outcome.”

USE PROP S CRE AT I VELY

Model: Megan Abernethy-Hope www.instagram.com/megaberhope Make-up: Leona Rogers www.instagram.com/leonaarmua

How’s this for ingeniously working with found props? Denny hung Meg’s crown from a tree and used it to create a soft-focus framed foreground to place Meg in. Opting for Meg to actually hold the crown while using a wide aperture linked everything together and let Denny get different layers in his image.

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XPOSURE THE WEEK’S MOST INSPIRING READER PHOTOS

ELISABETTA STUDIO PORTRAIT

LUCA SANTORO “I shot this portrait of my gorgeous model Elisabetta Trombetta in my studio using continuous lighting.” http://tiny.cc/h9fmty

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THE WEEK’S MOST INSPIRING READER PHOTOS

MISTY MORNING

MICHELE NARO “This is Geroldsee lake in Bayern, Germany. It’s a fantastic place, with the small alpine lake situated in breathtaking landscape amid woods, mountains and wonderful wooden barns.” http://tiny.cc/pdl30y

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THE WEEK’S MOST INSPIRING READER PHOTOS

CLOUDS OVER BADWATER BASIN KURT HOSKINS “I shot this image at Badwater Basin in California’s Death Valley National Park.” http://tiny.cc/gh88gz

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THE WEEK’S MOST INSPIRING READER PHOTOS

LEAF MACRO

JOSEF ERIC EISNER “I shot this extreme close-up of a leaf with my Nikon D850 and Tokina 100mm f/2.8 macro lens.” http://tiny.cc/9gea8y

PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!

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Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to show off? Then join the Photography Week Facebook community and share your best photos today! You’ll get feedback from fellow readers and the Photography Week team, plus the chance to appear in Xposure, or even on our cover!

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F ű k k X Ø B e

Images © The photographer and courtesy Underwater Photography Guide

THE BEST THING WE’ VE SEEN THIS WEEK

ŎŸƋ ŞĬ±ÏåØ a±ųĜĹå XĜüå åʱƴĜŅų× {±ƚĬ± Ĝ±Ĺű

ŎŸƋ ŞĬ±ÏåØ ĜÚå eĹčĬå× cĜÏĘŅĬ±Ÿ aŅųå

ŎŸƋ ŞĬ±ÏåØ cƚÚĜÆų±ĹÏĘ× IåĹĹƼ ƋŅÏĩ

kƴåų±ĬĬ ƵĜĹĹåų ±ĹÚ ŎŸƋ ŞĬ±ÏåØ ŅĬÚ ±Ƌåų× :ųåč X±Ïåƚų

CAPTIVATING SCENES FROM THE UNDERWATER WORLD Winners of the Ocean Art Underwater Photography Competition announced he Underwater Photography Guide has announced the winners of its 8th annual Ocean Art Underwater Photography Competition. The contest ±ĜĵŸƤƋŅ ÆŅƋĘ ÏåĬåÆų±Ƌå ƋĘå Æå±ƚƋƼ ±ĹÚ diversity of the underwater realm and its ĜĹʱÆĜƋ±ĹƋŸØ ±ĹÚ ±ĬŸŅ ų±ĜŸå ±Ƶ±ųåĹ域 Ņü ƋĘå threats to these fragile ecosystems.

This year’s overall winner was Greg X±ÏåƚųØ üŅųƤĘĜŸ Æå±ƚƋĜüƚĬ Ĝĵ±čå Ņü ± Ïų±Æå±Ƌåų seal swimming through ice flows in the

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eĹƋ±ųÏƋĜÏØ Ƌ±ĩåĹ ŅĹ ± ÚĜƴå ÚƚųĜĹč ± Ÿ±ĜĬÆŅ±Ƌ åƻŞåÚĜƋĜŅĹ ŠÚåŸŞĜƋå ƋĘåĜų űĵåØ ĿĂŢ Ņü ± Ïų±Æå±Ƌåų Ÿå±ĬűŸ ÚĜåƋ ĜŸ ±ÏƋƚ±ĬĬƼ ĩųĜĬĬšţ This year’s contest attracted thousands ŅüƤåĹƋųĜåŸ üųŅĵ ƀí ÏŅƚĹƋųĜåŸØ ƵĜƋĘ ƋĘå ƵĜĹĹåųŸ ŸĘ±ųĜĹč ŞųĜDŽåŸ ƵŅųƋĘ âíĂØLjLjLjţ ĬĜÏĩƤƋĘå ĬĜĹĩ ƋŅ Ÿåå ĵŅųå ƵĜĹĹĜĹč ±ĹÚ commended images at the Underwater {ĘŅƋŅčų±ŞĘƼ :ƚĜÚå ƵåÆŸĜƋåØ ƵĘåųå ƼŅƚűĬĬ ±ĬŸŅ üĜĹÚ ƋƚƋŅųĜ±ĬŸ ±ĹÚ ±ųƋĜÏĬåŸ ŅĹ ±ĬĬƤƋĘĜĹčŸ underwater photography.

SEE MOR E IM AGE S h t t p: // t iny. cc / 8 v g 0 i z

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CRASH COURSE ESSENTIAL PHOTO SKILLS MADE EASY

C APTURE BIKES IN MOT ION Mike Harris shows you how to capture dramatic motorsports shots, with pin-sharp subjects and plenty of motion blur Many of the best motorsports photos have one thing in common: a real feeling of HOURS speed. Fast shutter speeds will freeze moments of action, and highoctane car and bike racing are perfect subjects for this treatment.

At 1/3200 sec you can capture a crisp shot of a motorbike zooming round a circuit; however, you’ll also freeze the background and wheels, removing any indication of motion, and for all the viewer

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can tell, your subject could be parked on the track. To retain that sense of motion you need to shoot at a much slower shutter speed, but the problem here is that this will blur the entire subject.

The answer is to sight and track your subject through the viewfinder, match its speed while engaging continuous focus, and press the shutter when everything is perfectly framed. This technique is called panning – do it in one fluid movement and you’ll capture spinning wheels and

a tack-sharp subject surrounded by smooth lines of motion blur.

Faster subjects and slower shutter speeds result in more motion, but it becomes harder to keep the subject sharp. 1/320 sec is a good middle ground that provides decent motion blur and a ĘĜčĘ ĘĜƋ ų±Ƌå ŅüƤŸĘ±ųŞ ŸƚÆģåÏƋŸØ ÆƚƋ üååĬ free to shoot at faster shutter speeds to begin with. So read on and get panning: you’ll be shooting super-slick shots of speeding bikes and cars in no time at all!

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HOW TO GET THE SHOT

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USE A LONG LENS

A lens with a large zoom range is preferred – the Nikon AF-S 80-400mm f/4.5-5.6 we’re using is an ideal choice. It boasts plenty of reach for when you’re positioned far from the track, but is ŸƋĜĬĬ ŸƚĜƋ±ÆĬå Ĝü ƼŅƚ Ï±Ĺ čåƋ ±ƤĬĜƋƋĬå ÆĜƋ ÏĬŅŸåų ƋŅ ƋĘå action. If you can get fairly close to the track then a 70-200mm lens will be sufficient.

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SWITCH TO AF-C

Set your AF mode to continuous and your AF Area Mode to Single Point AF, which will allow ƼŅƚ ƋŅ ŞųåÏĜŸåĬƼ Ƌ±ųčåƋ ± ųĜÚåųűŸ ĘåĬĵåƋţ FüƤƼŅƚűųå struggling to find focus, try using a ‘dynamic’ AF area mode – a cluster of AF points will appear, ±ĹÚ ƋĘå ϱĵåų± ƵĜĬĬ ĜÚåĹƋĜüƼ ƋĘå ĵŅŸƋƤŸƚĜƋ±ÆĬå point to focus on.

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SET YOUR STANCE

Panning is perhaps the most physical ƋåÏĘĹĜŧƚåƤĜĹ ŞĘŅƋŅčų±ŞĘƼţ {Ĭ±ĹƋ ƼŅƚų üååƋ shoulder-width apart, and point them in the direction in which you intend to frame your subject. Now switch to manual mode, look through the viewfinder, and test-frame your ŸĘŅƋƤƋŅ čåƋ ±Ĺ ±ÏÏƚų±Ƌå ĵåƋåų ųå±ÚĜĹčţ

QUICK TIP The lighting can change dramatically depending on where you’re poinitng your camera, so your light meter’s reading can change as you pan. This

is why it’s important to identify where you’re going to frame your subject, and dial in your settings from there.

If you’re shooting in bursts, set your

exposure where you think the middle of your burst will be. This will help to mitigate lighting changes throughout your sequence.

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HOW TO GET THE SHOT

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CAMERA SETTINGS

You shouldn’t need to push your ISO too high, unless you’re at a night race. Available apertures will depend on the speed of your lens, but anything between f/4 and f/8 will work well. Your shutter speed will depend on how much motion blur you want and ĘŅƵƤÏŅĹüĜÚåĹƋ ƼŅƚ ±ųå Ş±ĹĹĜĹčţ

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INCREASE YOUR STABILITY

Sight your target from afar (using the viewfinder) and track it as it moves towards the area where you intend to take your shot.

Support the barrel of your lens with your left hand and pivot only using your hips. Relax, refrain from gripping your camera tightly and slowly breath out – this will increase your ÏʱĹÏåŸ Ņü ŞåųüŅųĵĜĹč ±ƤŸĵŅŅƋĘ Ş±Ĺţ

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HEADSHOT!

The focal point of a bike is the rider’s helmet – many riders can be indentified by their helmet’s custom design – and this is the area you should be aiming at with your AF point.

You may want to move your focal point to where you want the helmet to be before you sight your subject. Hover the AF point over the rider’s helmet as you track, and press the shutter button.

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80-400mm f/4.5-5.6

EXPOSURE: 1/320 sec, f/7.1, ISO320

FRAME IT

Find interest

Look for details to add interest to your frame and liven up boring sections of track. Perhaps you’re shooting a red and white bike, and decide to make a feature of the red and white kerb. Maybe you’re shooting opposite a grandstand and want to include the colourful crowd. This image was taken at the GoPro British Grand Prix. Shooting a MotoGP bike in front of a GoPro advert helped to place the image, and also added a muchneeded burst of colour.

Such precise framing is hard to get right, but using your camera’s high-speed burst mode may help.

LENS:

80-400mm f/4.5-5.6

EXPOSURE: 1/15 sec, f/25, ISO100

ABSTRACT

Slow and steady Motorbike racing is bursting with great subjects thanks to the many colourful bike liveries, leathers and helmets. If you’re blessed with a relatively bright day, conditions are ripe for shooting some vibrant abstract photos. The trick is to shoot at slow shutter speeds, so you’ll probably need to use narrow apertures. As before, try to keep your shots as sharp as possible by maintaining good form when panning.

Vibration reduction/image stabilisation should always Æå ƋƚųĹåÚ ŅĹ ŠĜüƤƼŅƚ ʱƴå it) and this is particularly true when using super-slow ŸĘƚƋƋåų ŸŞååÚŸØ ŸƚÏĘƤ±Ÿ ŎxŎĂƤŸåÏ Ņų ŸĬŅƵåųţ

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TOP TIPS CREATIVE TECHNIQUES LENS:

80-400mm f/4.5-5.6

EXPOSURE: 1/320 sec, f/8, ISO500

WHEELIE GOOD SHOTS

Be prepared

A good wheelie is the shot every photographer is hoping to take home, but you might only get two or three chances to capture one. The trick is anticipating when they might occur, and ÚĜ±ĬĬĜĹčƤĜĹ ƼŅƚų ŸåƋƋĜĹčŸ ĜĹ ±Úƴ±ĹÏåţ ĘåųåűŸ ĹŅ ŸĘ±ĵå ĜĹ ƚŸĜĹč ±Ƥü±ŸƋåų ŸĘƚƋƋåų ŸŞååÚØ ŸƚÏĘ ±ŸƤŎxƅĉLj ŸåÏØ ƵĘåĹ ŸĘŅŅƋĜĹč wheelies. Yes, the motion blur won’t look as good, but such moments are interesting enough that capturing a sharp subject will suffice.

Wheelies are likely to happen at the beginning or end of a session, and are performed more often during test days. The pit lane exit on some tracks is a prime spot, but make sure you’re positioned on a straight – nobody’s going round ±ƤÏŅųĹåų ŅĹ ŅĹå ƵĘååĬú XŅŅĩ ƋŅ ŸĘŅŅƋ üųŅĵ ±ų屟 ƋʱƋƤ±ųå Ęå±ƴĜĬƼ populated with photographers too – riders like having their picture taken, and have no hesitation showing off when they know they’re ĜĹƤüųŅĹƋƤŅü ƋĘå ϱĵåų±ţ

LENS:

80-400mm f/4.5-5.6

EXPOSURE: 1/320 sec, f/7.1, ISO100

CROWDS

Framing people Racetracks are busy places, especially if you’re shooting on race day. Without the luxury of a press pass you’ll need to work alongside spectators and other photographers. You can usually find an unobstructed spot, but try using a busy crowd to your advantage.

Many fans wear the colours of their favourite team, and these vibrant items of clothing can be used to brighten a drab frame and add foreground interest.

Shots of this nature are difficult to land – the AF system will lose the subject as you pan through crowd members. The technique is the same though, so don’t be disheartened if it takes you a while to bag the shot.

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CREATE TOP DOG PORTRAITS James Paterson combines images using layers and blending modes to create a pooch portrait with extra punch shoot rarely goes exactly to plan, especially when you’re working with children or animals. While photographing the dog here, our idea was to create a shot with water drops flying out from the dog’s head at all angles. But it proved tricky to get the dog to play ball, and even when we managed to get a ƚŸ±ÆĬå ŸĘŅƋØ ĜƋƤÚĜÚĹűƋ ʱƴå ƋĘå scattering of water drops we wanted.

However, we did have other frames

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from the shoot in which the dog didn’t look quite right but the water drops were plentiful, and that meant we Ƶåųå ±ÆĬå ƋŅ ŞĜåÏå ƋŅčåƋĘåų ƋĘåƤƵ±Ƌåų drops and the dog to create the image we wanted, and we’ll show you how it’s done in this video tutorial.

If you have several similar shots of ±ƤŸƚÆģåÏƋØ ±ĬĬ Ƌ±ĩåĹ ƚĹÚåų ƋĘå Ÿ±ĵå conditions, it can make sense to piece together the best bits – it’s all about augmenting the in-camera results to

W AT CH T HE V IDEO

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improve the image in a way that looks natural. This kind of compositing is easier than it seems; especially if, as ĘåųåØ ƋĘå ŸƚÆģåÏƋ Ƶ±ŸƤŸĘŅƋ ±č±ĜĹŸƋ ± plain backdrop (or if a tripod is used ƋŅƤĩååŞ ƋĘå üų±ĵåŸ ĜĹ ±ĬĜčĹĵåĹƋšţ We use the Lighten blending mode so that the droplets show through but the dark backdrop doesn’t. We then fine-tune the blend with a Curves ±ÚģƚŸƋĵåĹƋ ±ĹÚØ Ĝü ĹååÚåÚØ ƚŸåƤ± Ĭ±Ƽåų mask to control what’s visible.

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MIRRORLESS TEST EXPERT OPINION ON THE L ATEST KIT

NIKON Z 50 The mirrorless camera for the masses, sporting an e{ ě ƤŸåĹŸŅųƤ±ĹÚƤůĜĹüĬƚåĹÏåųű üųĜåĹÚĬƼ ÏųåÚåĹƋĜ±ĬŸ www.nikon.co.uk £849/$859 ikon’s Z 7 and Z 6 full-frame mirrorless cameras are impressive pieces of kit, but needless to say not everyone can afford them. The Z 50 brings Nikon’s mirrorless camera technology to the hobbyist market.

Nikon’s first stab at producing interchangeable-lens mirrorless cameras didn’t exactly set the world on fire: the 1-series’ relatively small,

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low-resolution 1-inch CX sensor – with a 2.7x crop factor – quickly fell behind its mirrorless rivals. The solution was the Z mount, which was introduced in late 2018 and so arrived somewhat late to the mirrorless party; if you’re going to turn up late, you’re going to have to make quite an entrance – and ƋĘå ¬ ŸåųĜåŸ Ę±ŸƤÏåųƋ±ĜĹĬƼ ÚŅĹå ƋʱƋţ With the Z mount, Nikon rethought lens mount design from the ground

up. The first two cameras in the range, the Z 7 and the Z 6, showcased this cutting-edge tech with a range of S-line lenses that are among the sharpest we’ve ever tested.

This qualifies Nikon’s Z cameras as amongst the best mirrorless cameras ƼŅƚ Ï±Ĺ ÆƚƼƤô ÆƚƋƤƋĘåƼ ÏŅĵå ƵĜƋĘ hefty price tags.

Now, a shade over a year since the launch of the Z mount, Nikon has

MIRRORLESS TEST NIKON Z 50 brought out its first sub-£1,000/$1,000 mirrorless Z-mount model – and it already looks like one of the best Nikon cameras available for hobbyists and enthusiasts.

Much of the price reduction is due to the Z 50’s APS-C ‘DX’-size sensor, as used in Nikon’s range of DSLRs from enthusiast down to entry-level.

This DX body is fitted with the same Z mount that’s on the full-frame models, so full-frame Z-series lenses can be mounted directly onto the Z 50 Š±ĹÚ ƋĘå ĹåƵ ¬ %£ ĬåĹŸåŸ ƵĜĬĬƤüĜƋ ƋĘå Z 6 and Z 7, automatically engaging crop shooting mode). Using the same FTZ adaptor as is available for the Z 6 and Z 7, existing DX and FX lenses for DSLRs can be used on the Z 50, too.

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1 The deep front grip on the Nikon Z 50 helps this camera retain the ergonomic qualities of its Z-mount predecessors.

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2 The Nikon Z 50 uses the EN-EL25 Z50 battery, which gives it an estimated battery life of 300 shots.

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3 The Z 50 can use any Z-mount lens, but UIFçDIFBQFTU PQUJPO JT UPçVTF UIF UXP OFX "14 $ç; NPVOU MFOTFT UIBU XFSF SFMFBTFE XJUIçUIF DBNFSB

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4 The EVF has none of the lagging commonly experienced with mirrorless cameras.

5 The touchscreen LCD can be tilted out for TIPPUJOH UPQ EPXO JNBHFT PS nJQQFE VQTJEF EPXO GPS WMPHHJOH PS TFMmFT 6 The Nikon Z 50’s thumb indent is BOçFYBNQMF PG UIJT DBNFSB T GBOUBTUJD ergonomics.

7 Unlike its big brother, the Nikon Z 7, the Nikon Z 50 doesn’t have a status screen on the top plate.

8 You can easily change from shooting photos to video with the switch underneath UIFçNPEF EJBM 9 The Z 50 has front and back control dials to enable you to easily adjust ISO, shutter speed, aperture and more.

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MIRRORLESS TEST NIKON Z 50 Key features The smaller physical sensor size isn’t the only area where savings have been made. This model doesn’t feature in-body image stabilisation (IBIS), so the lenses that launched with the new model have Nikon’s Vibration Reduction built in.

But otherwise, the specs are truly impressive. The 20.9 MP DX-format sensor borrows the fast, wide HybridAF system from Nikon’s full-frame Z cameras, with 209 autofocus points ÏŅƴåųĜĹč ĿLj Şåų ÏåĹƋƤŅü ƋĘå ŸåĹŸŅų ƵĜÚƋĘ ±ĹÚ ĘåĜčĘƋţ FƋŸƤŎŎüŞŸ ÏŅĹƋĜĹƚŅƚŸ shooting rate (with full autofocus and auto exposure) almost matches the Z 6 (and exceeds the Z 7), and certainly puts it among the fastest shooters around, matching many pro-level DSLRs. It’s a great low-light performer too, with a native ISO range of 100-51,200 at up to -4EV. The Z 50 is also a great camera for video, shooting 4K across the full sensor width, without the cropping employed by some rivals. 4K timelapse sequences can be created in-camera, while if you’re shooting in Full HD there’s an additional slowmotion footage mode.

The Z 50 also features an electronic viewfinder. It’s lowerresolution than those on its full-frame cousins, at 2.36 million dots rather than 3.6 million, but we found it to be sharp, and with few signs of the lag ƋʱƋ ʱƴå ŞĬ±čƚåÚ ŸŅĵå ŅüƤcĜĩŅĹűŸ competitors. Electronic viewfinders do take a little getting used to, but ŅĹÏå ƼŅƚ ÚŅØ ŸååĜĹč ƋĘåƤåüüåÏƋ Ņü your exposure settings through the viewfinder before you take the shot ĜŸƤĹŅƋĘĜĹč ŸĘŅųƋ Ņü ± ųåƴåĬ±ƋĜŅĹţ A tilting 1.04 million-dot touchscreen flips vertically by 180 ÚåčųååŸ ƋŅƤŸĜƋƤÆåĬŅƵ ƋĘå ϱĵåų± body, and is primarily designed for selfies and vlogging use; Nikon feels that a large part of its target market for the Z 50 are ‘influencers’ who use platforms such as Instagram and YouTube to share content. This design does mean that the fully filpped screen would be obscured ƵĘĜĬå ƋĘåƤϱĵåų± ĜŸƤĵŅƚĹƋåÚ ŅĹ ± tripod, but Nikon has hinted that a solution is in the works.

This low-light image shows UIBUçUIF ; DBO QSPEVDF HSFBUçSFTVMUT BU IJHI *40T

Build and handling We thought the Nikon Z 6 and ¬Ƥƀ ƵåųåƤÏŅĵޱÏƋØ ÆƚƋ ƋĘå ¬ ĂLj ĜŸ positively dinky, particularly with the new ‘pancake’ Nikkor Z DX 16-50mm f/3.5-6.3 VR kit lens attached; there’s also a new Nikkor Z DX 50-250mm f/4.5-6.3 VR telephoto zoom.

The camera may be physically smaller and lighter than the full-frame Z models, but it has a similar deep čųĜŞ ƋʱƋűŸƤÏŅĵüŅųƋ±ÆĬå ƋŅ ĘŅĬÚţ FƋ ʱŸ üåƵåų ÆƚƋƋŅĹŸ ƋʱŠƋĘå ¬ ƅ Ņų ƋĘå ¬ƤƀØ with touch icons etched next to the touchscreen replacing some of the functionality of the physical buttons.

There are both rear and frontmounted scroll wheels that enable aperture and shutter speed to be quickly changed, among other functions. The exposure mode dial moves from the left side of the top plate on the Z 6 and Z 7 to the right side here, but in a space-saving (and cost-saving) measure, there’s no top LCD. Two programmable Fn buttons enable commonly used settings to be

quickly changed, and are in the same ŞĬ±Ïå ±Ÿ ŅĹƤƋĘå ¬ ƅ ±ĹÚ ¬ ƀØ ĹåŸƋĬåÚ ÏĬŅŸå ƋŅ ƋĘåƤĬåĹŸ ĵŅƚĹƋţ Overall, the Z 50 feels like what it is: ± Ÿĵ±ĬĬåų ŸĜÆĬĜĹč ƋŅƤüƚĬĬěüų±ĵå ¬ěŸåųĜåŸ models. If the Z 7 is the mirrorless equivalent of the D850 pro fullframe DSLR, and the Z 6 is the D750 enthusiast full-frame model, then the Z 50 is roughly on par with the Nikon D7500 (or perhaps the Nikon D500) as an enthusiast APS-C camera. Nikon ʱŸ ĘĜĹƋåÚ ƋʱƋ Ƶå Ï±Ĺ åƻŞåÏƋ ƋŅƤŸåå even lower-cost entry-level mirrorless ĵŅÚåĬŸØ ƋŅ ŸĜƋ ±ĬŅĹčŸĜÚå ƋĘåƤcĜĩŅĹ D5600 and D3500.

Performance One of the biggest selling points of the Nikon Z 50 is how light and compact it is, but you can’t truly appreciate these qualities until you’re actually shooting with it. We took the Nikon Z 50 around a busy city centre on a Saturday afternoon, and it was a real pleasure to shoot with. It easily slipped into a small messenger bag,

MIRRORLESS TEST NIKON Z 50

The Z 50’s tilting touchscreen enables you to capture top-down shots easily

which meant we didn’t have to mess around with a proper camera bag for a casual trip out.

Despite its diminutive size, however, the Z 50 is capable of much more than just travel and holiday snaps. It was perfectly suited to a run-andčƚĹ ŸĘŅŅƋĜĹč ŸƋƼĬå ±ŸƤƵåƤϱŞƋƚųåÚ ŧƚĜÏĩ ŸĹ±ŞŸ ĜĹ ƋĘåƤÆƚŸƋĬĜĹč ÏĜƋƼ ÏåĹƋųåţ ĜƋĘ ĜƋŸ Ÿĵ±ĬĬØƤĹŅĹěƋĘųå±ƋåĹĜĹč ŞųŅüĜĬå ô ŞĬƚŸƤƋĘå ĜĹÏųåÚĜÆĬƼ ƚŸåüƚĬ ƋĜĬƋĜĹč touchscreen LCD – the Z 50 is ideal üŅųƤŸƋųååƋ ŞĘŅƋŅčų±ŞĘƼţ But stills shooting isn’t the Z 50’s only strong point. With the ability to capture uncropped 4K video, the ¬ƤĂLj ĜŸ ± ŸƋųŅĹč ÏŅĹƋåĹÚåų üŅų ƵĜĹĹĜĹč ƋĘåƤ±üüåÏƋĜŅĹŸ Ņü ƋĘå ų±ŞĜÚĬƼ čųŅƵĜĹč and lucrative vlogger/influencer market. We tested out the Z 50’s video functionality and were pleased with the results, including the focuspeaking feature, which works just ±ŸƤƵåĬĬ ±Ÿ ĜƋ ÚŅåŸ ŅĹ ƋĘå ¬ ƀţ Despite the fact that we were shooting JPEG stills on a grey and

LENS MOUNT: NIKON Z SENSOR SIZE: APS-C, 3.5 X 15.7MM PIXELS: EFFECTIVE 20.9-MEGAPIXEL MAXIMUM RESOLUTION: 5,568 X 3,712 ASPECT RATIO: 1:1, 3:2, 16:9 SENSOR TYPE: CMOS BIT DEPTH: 14-BIT ISO SENSITIVITY: AUTO, 100 TO 51,200 (EXTENDED: 100 TO 204,800) CONTINUOUS SHOOTING: UP TO 11FPS AUTOFOCUS POINTS: 209 PHASE DETECTION POINTS MEMORY: SINGLE SLOT SD/SDHC/SDXC (UHS-I) DIMENSIONS: (W X H X D): 127 X 94 X 60 MM WEIGHT: 395G (BODY ONLY)

overcast day, we were able to get plenty of detail out of the Z 50’s files without compromising image quality.

We also tried shooting indoors, using ŅĹĬƼ ĵĜĹĜĵ±Ĭ ƵĜĹÚŅƵ ĬĜčĘƋţ Ęå ¬ƤĂLj performed well here too, with the tilting screen and 16-50mm kit lens working in perfect harmony to capture top-down food shots.

Another thought that struck us as we were testing the Z 50 was that other enthusiast-level mirrorless cameras are often beautifully designed, but can fall short when it comes to being used over long periods of time; a boxy design can look very nice, but it’s not so useful when it comes to shooting, and the ergonomic design of the Z 50 is another aspect of the camera that ϱĹƤŅĹĬƼ Æå ±ŞŞųåÏĜ±ƋåÚ ±üƋåų ±Ĺ extended period of use. With the deep grip paired with the 16-50mm kit lens, the Z 50 is perfectly balanced.

Technically, the Z 50 may sound like a scaled-down version of the Z 6 and Z 7, but in the hand it has a very different feel. Nikon has done a remarkable job of giving such a small camera such a solid one-handed grip. Quite apart from the size of the camera, we were impressed by the 16-50mm pancake kit lens, which is one of the slimmest APS-C kit optics we’ve yet seen.

But even more than the camera ±ĹÚƤĜƋŸ ĩĜƋ ĬåĹŸØ Ƶåűųå ĜĵŞų域åÚ

by Nikon’s pricing of its first APS-C mirrorless camera. Body-only, the Z 50 costs less than some of its chief APS-C rivals, and the pricing for the lens bundles is really quite remarkable.

Louise Carey & Adam Waring

LAB TESTS RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)

We tested the Z 50 against the Fujifilm X-T30, Sony Alpha 6400, and Olympus E-M5 Mk III. The Z 50’s 20.9MP raw images (after conversion to TIFF) don’t quite contain the sharpness and GJOF EFUBJMçZPV HFU JO UIF .1 JNBHFT GSPN the Fujifilm X-T30 and Sony Alpha 6400.

SIGNAL-TO-NOISE RATIO (DECIBELS)

The Z 50 copes well enough in this test – but importantly, it claws back ground at higher sensitivities, where noise is more visible.

DYNAMIC RANGE (EV)

VERDIC T The Z 50 is a fantastic enthusiast mirrorless camera, at an even more fantastic price, and proves that Nikon has a clear vision for its Z-mount system.

The Z 50 scores very well for dynamic range, even outperforming the mighty Fujifilm X-T30 and its excellent X-Trans 4 sensor.

You can’t buy iconic new.

A true icon earns its status. A powerhouse when launched, the M9 was the world’s smallest, full-frame digital system camera - proving that small can truly pack a big punch. See our current stock of this Icon at www.mpb.com

Buy. Sell. Trade. Change gear.

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