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SPORTS LENSES 2 EBOOK GUIDES Super-tele zooms that really cover the distance FREE Practical advice for enthusiasts andpros

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IMPROVEYOUR COMPOSITION Create balance Harness contrast

Learn new pro skills now

Issue 244

Master framing Use lines & shapes

NEW SKILLS

THE ART OF MONO Transform blue hour

NIKON Z FC REVIEWED

scenes to black & white

Retrodesign, pro features

EXPERT ADVICE

URBAN BEAUTY Top techniques from a landscape shooter

HOW TO USE

FILTERS Foramazing edit-free shots

IS THE DSLR MARKET DEAD? SHOOT DYNAMIC STREET SCENES USE A TILT-SHIFT LENS IN THE CITY

SELL YOUR SHOTS

NFTs EXPLAINED

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WELCOME

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The ‘rules’ of composition can often be limitingand unimaginative Along with light and arguably emotion, composition is the cornerstone of any strong image. While there are plenty of ‘rules’ designed to help photographers frame a shot, these can often be limiting and unimaginative. This issue, we’ve asked a landscape pro to come up with five ways to improve composition. From p36, hone your skills by creating balance, and harnessing lines and shapes to capture better outdoor scenes.

Using filters is another way to make images more dynamic, but as advances in editing software have made it easier than ever to blend your exposures in the digital darkroom, you might well ask: why bother using a physical filter to do the same thing?

Find out the answer in our pro guide to filters on p22, explore the array of products on the market, and choose the right one for your photography.

Moving onto the career side of things, find out how you can use arts grants to fund a series of work (p72). NFTs (non-fungible tokens) are another hot topic in the industry right now, and pro shooter Jordan Banks explains what NFTs are, and how you can use them to sell your work (p66).

As usual, we’ve bagged a fresh round of gear for testing, including the traditional-looking Nikon Z fc, the Zhiyun Weebill S – with flipping touchscreen – two high-end lenses (p108), eight accessories (p110) and five of the best portable monitors (p112).

If you’ve been inspired by the summer of global sporting events, turn to p94 and find out how four telephoto zoom lenses scored in our group test.

If you’d like your work to appear in DP, remember to tag us in your shots on Instagram and get involved with the community. Have a great month of shooting!

Lauren Scott, Editor lauren.scott@futurenet.com

GET IN TOUCH Ask a question, share your thoughts or showcase your photos… @DPhotographer Tweet your opinions or images and see them printed

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Email: Website: team@dphotographer.co.uk Get news, tips and reviews at Newsletter:http://bit.ly/DP-news www.digitalcameraworld.com 3

Future PLC Quay House, The Ambury, Bath, BA1 1UA

Editorial Editor Lauren Scott

lauren.scott@futurenet.com 0330 390 6246

Senior Designer Neo Phoenix Production Editor Jon Crampin Technique Editor Peter Fenech Senior Art Editor Warren Brown Content Director Chris George Product photography Bath Photo Studio

Contributors James Abbott, James Artaius, Claire Gillo, Angela Nicholson, Verity Milligan, Graeme Green, Matthew Richards, Jordan Banks

FENECH

Our technique editor Peter shares more practical advice this month.

Learn to use filters like a professional and manage exposure from p22.

You’ll also find his dynamic angles for street photography (p56), tips for visiting The Photography Show (p64) and reviews of the latest lenses from Fujifilm and Nikon (p108).

Website:

www.digitalcameraworld.com

VERITY MILLIGAN

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Our contributors PETER

HELEN TRUST

Among other pro accolades, Helen is an ambassador for the filter brand Formatt Hitech.

She uses these to great effect in our latest creative project (p50), which demonstrates how to shoot a long exposure cityscape during the blue hour and transform it into a minimal black and white scene in the editing suite.

Website: www.helentrustphotography.com

LEE FROST

Lee is a UKbased travel Regular readers of and landscape DP will be familiar photographer with Verity’s with decades of thoughtful words experience. This and work in our issue, we asked pro column slot. him for his top five ways to improve This month, we meet up in-person to follow Verity around Birmingham, landscape compositions. Whether UK for a one-on-one workshop. What you’re looking for framing inspiration kit and techniques does a pro use to or want to pick up some composition capture artistic images in a city? Turn approaches to use in the field, you’ll find his practical feature on p36. to the feature from p14 to find out.

Website: Website: www.veritymilliganphotography.com www.leefrost.co.uk 4

KURIT AFSHEEN

In our ‘Story behind the still’ spread, Kurit captures everyday creatures from the comfort of home.

He also shares how a new partnership with Shutterstock has helped him to earn money from image-making and turn his passion into a career.

Discover the kit and challenges of his ethereal macro scene on p12.

Instagram: @kuritos

Main cover image © Shutterstock Advertising Media packs are available on request Commercial Director Clare Dove clare.dove@futurenet.com Advertising Manager Michael Pyatt michael.pyatt@futurenet.com +44 (0)1225 687538 Account Manager Matt Bailey matt.bailey@futurenet.com +44 (0)1225 687511 International Licensing Digital Photographer is available for licensing and syndication. To find out more, contact us at licensing@futurenet.com or view our available content at www.futurecontenthub.com Head of Print Licensing Rachel Shaw licensing@futurenet.com Subscriptions New orders: www.magazinesdirect.com 0330 333 1113 Renewals: www.mymagazine.co.uk Customer service: 0330 333 4333 Email queries: help@mymagazine.co.uk Group Marketing Director Sharon Todd Circulation Head of Newstrade Tim Mathers Production Head of Production Mark Constance Production Project Manager Clare Scott Senior Ad Production Manager Jo Crosby Ad Production Coordinator Chris Gozzett Digital Editions Controller Jason Hudson Production Manager Vivienne Calvert Management Brand Director Paul Newman Head of Art & Design Rodney Dive Managing Director Future Passions Andrea Davies Chief Content Officer Angie O’Farrell Printed by William Gibbons & Sons Ltd, 26 Planetary Road, Willenhall, WV13 3XB Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU www.marketforce.co.uk Tel: 0203 787 9001 Digital Photographer (ISSN 1477-6650) October, Issue 244, is published monthly with an extra issue in March by Future Publishing, Quay House, The Ambury, Bath, BA1 1UA, UK The US annual subscription price is $175.37 Airfreight and mailing in the USA by agent named World Container Inc., c/o BBT 150-15 183rd St, Jamaica, NY 11413, USA Application to Mail at Periodicals Postage Prices is Pending at Brooklyn NY 11256.

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ANGELA NICHOLSON

The queen of gear is here again, casting an expert eye over the world’s best camera and tech releases. This time around, Angela is shooting with the retro-inspired Nikon Z fc (p102), but is the design inspired or outdated? You’ll also find Angela’s review of the Zhiyun Weebill 2 gimbal (p106) and another batch of photo accessories (p110).

Website: www.angelanicholson.com

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com

Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford Chief financial officer Rachel Addison Tel +44 (0)1225 442 244

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The manufacturing paper mill and printer hold full FSC and PEFC certification and accreditation.

Contents Regulars 10 Subscribe

Read Digital Photographer wherever you are with our special online subs packages

12 Story behind the still

Background detail and attractive bokeh complement this ethereal macro scene

76 Interview

Wildlife master David Lloyd is renowned for capturing animals in their natural glory and now he’s raising funds to help protect them

84 The Gallery

Explore the shortlisted smartphone shots from the latest iPhone Photography Awards

90 Shot of the month

Get involved with our growing Instagram community and discover our favourite images

Practical skills

How filters work, how to use them, and what systems are hot in the industry right now

36 Landscape composition

36

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22 Expert guide to filters

Five ways to improve your landscape composition

Pro Lee Frost shares five ways to turn scenic shots from picture postcards into works of art

50 Creative project

Shooting and editing a blue hour cityscape into a long exposure mono masterpiece

56 Shooting tutorial 58 Shooting tutorial

Changing your shoot angle and time can transform mundane subjects into stunners

Editing skills 60 Photoshop tutorial

6

Long exposure monochrome masterpieces

62

Cinematic portraits

22

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62 Lightroom tutorial

Use Color Grading controls to enhance colour balance and give your images a cinematic look

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Learn how to create a realistic layer of fake mist for a dark and moody atmosphere

50

tsurT neleH©

Try out these steps for a more dynamic street shot, using elevation and focal length as tools

Expert guide to filters

SUBSCRIBE TODAY! AND GET A FREE BAG WORTH £70 TURN TO PAGE 48 TO FIND OUT HOW

Interview

Pro column

How to use NFTs to sell your images

Group test: Four winning sports lenses

84 Gallery

Here are some ways that you can get the most out of your visit to The Photography Show

66 Career feature

NFTs are a hot topic in the photography industry right now... but what are they? Jordan Banks explains how to use NFTs to sell images

72 Career advice

From kit to commissioning, we answer more of your important business-related questions

74 Pro analysis

We take a closer look at photographer Peng Shi’s Gateway to find out why his shot works

114 Pro column

James Artaius poses the question: “Is the DSLR market dead?” Read his predictions

New kit & reviews 94 Group test: sports lenses

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Shoot like a pro: cities

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14 94

64 Print & share

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66

In the city of Birmingham, UK, we go on a walking workshop with pro shooter Verity Milligan. Join us for behind-the-scenes tips

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114

14 Shoot like a pro

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76

Pro advice

These four super-tele zooms cover the distance to help you capture the action

102 Nikon Z fc

Classic Nikon camera design meets innovative Z series technology, but is it a pro offering?

106 Zhiyun Weebill 2

Does a gimbal need a flip-out touchscreen?

Angela Nicholson has been testing the latest offering from Zhiyun to find out

108 Lenses

The Fujinon GF 80MM F/1.7 R WR and Nikon Z 14-30mm f4 S get tested and rated in the field

110 Accessories rekraB lihP yb egamI

Discover eight more fun, functional or practically essential bits of gear to add to your arsenal

112 Take 5: Portable monitors

Need a second screen to extend your laptop, tablet or phone? We select the top products 7

syawaevig & stfiG 8

Free guide to download

The Photography Show 2021preview

After a tumultuous 18 months, we’re excited to welcome back The Photography Show on 18-21 September this year, and you can find out everything that it has to offer with the show preview.

Expect a packed four days of all things photography and video.

For the first time in months, you’ll be able to test the kit you have been dreaming of trying out, buy the gear you’ve wanted (at unbeatable prices) and get face-to-face professional advice.

To get your free show guide, visit: https://bit.ly/tps21guide

Bonus 12-page photo guide

How to work with people like a pro

In this month’s free eBook, professional portrait and lifestyle photographer Holly Wren delivers her top advice on the skills you need to master successful portraits. Whether you’re photographing models or inexperienced ‘real’ subjects, there is always an element of directing required. This starts with the brief, considering the location, the props, the purpose of the image, through to the interaction with your subject and ending with the final image. Whether you want the perfect pose or ‘unpose’, it’s important to take control of the framing, and direct the model to the shot you have planned.

Download the guide at https://bit.ly/DP-244-book

Review test shots We think test shots are important when it comes to reviewing and comparing the latest camera kit, but we know it can be hard to tell the difference between test images when they’re printed as small versions in the magazine. You can open, view and compare test shots from our kit reviews anywhere you see the download icon (pictured on the right).

YOUR FREE ASSETS

are available to download on pages where you see this icon

DOWNLOAD THE TEST SHOTS https://bit.ly/DP-244

stsetnoC

Shoot the National Parks

Submit your best outdoor photography Digital Photographer has teamed up with the Campaign for National Parks for its annual photography competition. This year, the contest theme is Climate Change – think images that illustrate the impact of climate change, or the important role that National Parks in England and Wales play in a green recovery.

From nature projects such as tree planting to younger generations connecting with the National Parks, we’re looking for the great stories to be told through stunning photography.

Winners and prizes Winners will see their photos featured in Digital Photographer and the Campaign for National Parks’ Viewpoint magazine this autumn/winter.

We’ll also be offering free subscriptions to the magazine, plus extra photography prizes to be revealed soon.

How to enter You can submit up to three pictures per category, in two categories. For the phone photograph category, share your photo on instagram by tagging @campaign4parks and Twitter with the Categories hashtag #CNPPhotoComp21 or on Facebook or There are three categories to enter; National Parks Climate Change Photography Competition LinkedIn using the hashtag #CNPPhotoComp21. main award (21 years+), Young Photographer of For more details or to enter, visit: the Year (under 21 years old) and the People’s www.cnp.org.uk/photography-competition Choice Award: Best phone photograph. segami ytteG aiv tnemoM / yhpargotohp yenniF nhoJ ©

Canon photo competition

Win: your portfolio printed professionally

A professionally printed portfolio is less common than it used to be, and yet nothing beats having physical versions of your work – whether it’s to showcase to clients or sell to customers.

To celebrate Canon’s expert range of printers, we’re offering readers the chance to have their images printed on one of Canon’s pro wide-format printers. The winning portfolio will also be printed in issue 246 of Digital Photographer, on sale in November.

For this competition, we want to see your most stunning portfolio images, although these must have been shot using Canon kit. To enter, tag us in your entries on Instagram @dphotographermag and include the camera and lens used in your caption.

Find out more at: https://bit.ly/DP-Canonprint

9

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Photographer magazine on all of your devices and read us wherever you are

This digital edition offer is ONLY available via our online shop at Available on iOS and Android

YOUR IMAGES

STORY BEHIND THE STILL

Photographer’s name: Kurit Afshen Website: content.shutterstock.com/best-artists @kuritos Image location: Indonesia Type of commission: Commercial Shot details: Canon EOS 7D, 100mm f/2.8, 125250sec, f/8-10, ISO 100-2,501/320sec, f/11, ISO 100 About the shot: “This image of the snail and its reflection was taken on the terrace of my house.

Photographing everyday creatures means you are fortunate to work from the comfort of your home!” says Indonesian macro photographer Kurit Afshen. Kurit is one of a handful of artists selected by Shutterstock for their ‘All The Best Artists’ campaign, which highlights diverse talent across its global contributor community.

“I was so excited to take this photo and capture the utter uniqueness of this snail – its transparent shell was beautiful and really added depth to the image. I really wanted to represent the loneliness of the snail in this shot; its shell being so unique and small made it seem like the odd one out. I wanted to play on this feeling and chose to shoot the snail on somewhat of a bridge by itself. I chose a bokeh background to emphasise this loneliness; here I’m referring to the aesthetic quality of the blur produced in the out-of-focus parts of an image.

“The biggest challenge for this shoot was to create an even bokeh using a spray bottle filled with water, to set the atmosphere of the shot. I also aimed to bring out the sense of loneliness of the snail, which I achieved eventually by continuously spraying water from the bottle until we got an even bokeh background.

“Photography very much started off as a hobby for me and so did this shoot. However, slowly but surely, through my work with Shutterstock, I’ve now been able to make money from what I love to do and turn my passion into a career.”

Right

12

nehsfA tiruK© segami llA

Snail on reflection Kurit carefully adjusted the background detail to create an attractive bokeh, to complement the ethereal feel of this macro scene

13

A PR E K I L T SHOO

Verity Milligan

Verity is a pro landscape and commercial photographer based in Birmingham, UK. She currently shoots with Canon kit and is an ambassador for Zeiss lenses and LEE Filters. Verity also leads workshops with Light and Land.

www.veritymilliganphotography.com @veritymilligan

Seei n g the city

We join Verity Milligan on a walking tour of Birmingham in search of abstract urban frames and inspiration from her favourite locations 14

SEE THE CITY

enjoyable and creative, rather than necessarily classic. I’m confident then, that we can capture an array of images despite the heat and the direct sunlight that we find ourselves in, as we recreate a walking route that Verity uses for some of her popular workshops.

On the way to our first location, I start the conversation by asking – although perhaps I no longer should – how the last year or so has been for Verity, and how she dealt with lockdown as a pro landscape photographer confined to home. Thankfully, her shoots have picked up now

that lockdown is over, with Verity having spent the previous morning capturing a series of black and white architecture shots for a client.

Commercial shoots make up a large part of Verity’s work, but she’s more well known (on Instagram at least) for her landscape scenes. “I’m not a natural city dweller, but Birmingham has been really good to me,” she says. “That’s the pull. The people have been good at giving me work. It has mostly come through social media; I built up a nice audience around 2014-15, and that has

stuck with me. I am quite lucky in the sense that I haven’t had to pitch yet, but I know that it’s coming. I’m terrified of that.”

Some photographers are purely creatives, while others achieve success thanks to a strong head for business. Pros have to be good at the technical side of taking pictures, but they also have to be adept at marketing themselves and their work too. This isn’t something that comes naturally to Verity.

She describes herself as ‘unbusinesslike’, which comes from feeling uncomfortable at pushing her work on anyone.

15

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To say it is hot when I meet Verity for our shoot in the city of Birmingham, UK is an understatement. You’ll often hear pro photographers say that the middle of a sunny day is a difficult time in which to shoot – it can lead to unwanted contrast, blown-out highlights and saturation – but on the flip side of that, real creativity can come out of a lighting challenge.

As a regular contributor to DP, Verity’s pro columns are often focused on subverting the usual ‘rules’ of photography and capturing something that’s

A PR E K I L T SHOO

f/7.1

ISO 400

1/100 sec

LIBRARY REFLECTIONS © Verity Milligan

Shooting with aperture priority

With her Canon EOS R5 set to Av mode and a narrow aperture, Verity is free to compose creatively Adjusting the aperture of your lens is one of the key ways to influence how an image turns out. Verity prefers shooting in Aperture Priority exposure mode, where she will predetermine the desired aperture and let the camera control the shutter speed. “Most of the time, I’ll control the settings through Exposure Compensation anyway. A lot of people love to shoot Manual, which is fine, but for me, it’s a bit unnecessary for stuff like this. It takes your mind out of the composition and into the technical. I just fell into this way of exposing really early.”

Verity favours the use of a mid-range aperture setting and a low ISO sensitivity.

“Depending on where I am, the aperture is set at f/9-f/11,” she shares

16

“I’m not a good salesman. I can’t even get my head around selling calendars. I used to do one, but I didn’t want to push it on people.”

Early on, I’m surprised to find out that the pandemic of 2020 was destined to be Verity’s first full year as a freelancer – not least because of the unfortunate timing, but it’s also surprising because Verity has been sharing her work for many years and creating images for the best part of a decade.

“It was just the first year that I was fully freelance without having anything else alongside,” she says. “I used to lecture in fiction narratives and filmmaking. That was where I started, basically.”

Verity has also been teaching photography since the mid-2010s, and currently leads workshops for Light and Land (www. lightandland.co.uk), the UK’s premier tour company set up by the renowned Charlie Waite and Sue Bishop. “They have a nice clientele, so sessions get booked up really quickly,” she explains.

Our first shooting location features on Verity’s city workshops. Gas Street Basin canal is one of her favourites,

thanks to the juxtaposition of old and new buildings in the frame.

She tries several setups here.

The first involves her Gitzo tripod, a 21mm lens, and a 0.9 graduated neutral density filter to balance the exposure between the sky and the canal. Verity also works handheld with the Canon 70200mm telephoto lens, looking for abstract patterns in the water or honed in compositions at a compressed perspective.

Although Verity has shot at Gas Street Basin hundreds of times before, she’s a firm believer in returning to locations at different times of the year or the day. A change in weather conditions, such as fog, can create a whole new atmosphere, as can a change in lens. This approach is particularly helpful if you can’t fit travel into your everyday life. Look for locations closer to home, visit often, and look for a new element to shoot every time you visit.

After exhausting image possibilities at stop one, next, we head to Centenary Square, a public area that features the Library of Birmingham, tram lines and a pool of fountains – plenty of visual treats and lines for the eye.

SEE THE CITY

ISO 160

1/250 sec

LIBRARY OF BIRMINGHAM 17

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f/10

A PR E K I L T SHOO

1 5

3

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The shooting gear that Verity uses

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Canon EOS R5 Verity recently traded in her 30.1-megapixel full-frame Canon EOS 5D Mark IV for the mirrorless R5. She does also have the Canon 5DSR, but will only carry them both about if she’s on a commercial shoot, for peace of mind.

Canon TS-E 17mm f/4L lens An uncommon optic, this ultra-wide tilt-shift can be used to correct the converging lines in cities or interiors for a more pleasing perspective. Verity uses it for her shots of architecture.

3

Canon EF70-200mm f/2.8L IS III USM lens Fond of an abstract image, Verity will use a telephoto lens at around 150mm focal length to compress elements in the scene, such as reflections.

18

Zeiss 21mm f/2.8 lens Verity is an ambassador for Zeiss, and also has the Zeiss Milvus 1.4/25 ZE in her arsenal. Although both lenses offer a wide maximum aperture, Verity often chooses to shoot at around f/10 for maximum detail.

Gitzo tripod Although this model is heavy (and was an investment at the time), Verity favours the stability that her solid carbon fibre tripod and head allow her for landscapes. It’s a boon when shooting in windy conditions.

6

LEE Filters Verity likes to capture the majority of her effects in-camera, leaning on the use of LEE Filters’ polariser and Big Stopper neutral density filter.

She also has an adapter ring.

Wide angles are so hard for viewers to look at if there’s nothing to lead them into the image

“Here, in terms of compositional elements, there are loads of things to hone in on”, says Verity, as we stand in front of the water pool. “The biggest thing for me is the reflections, but the number of poles can be frustrating. The challenge for people is always ‘how are you going to compose, taking into account that you can’t get rid of the poles?’ A lot of city photography – wherever you are shooting – is about looking how the architecture fits into the surrounding landscape.”

This particular urban square features a War Memorial, plus attractions such as the ICC, Birmingham Rep and the Symphony Hall. But it’s the library (and reflections of the library) that Verity focuses on today.

“There’s a lot of life happening.

Here, again, you can capture abstracts in the water as well.

There are always lots of kids running through it, where you get some ripples appearing.

Obviously, cities aren’t just about the buildings.”

With a 145mm focal length, Verity points her camera towards the water, isolating the circles on the library’s outer shell in the water below (see top of p16) while a Canon EF24-70mm f/2.8L USM takes a profile shot of the library from a side-on view.

“I do a lot of lens switching, which can be helped by having two camera bodies. I have the

Canon 5DSR but don’t always want to carry them both about.

If I’m on a commercial shoot, I’ll take both, though,” she says.

Verity uses Canon kit but has tried out Nikon, Fujifilm and Olympus systems in the past.

“I love the Fuji glass, but I’m so small, I can’t exactly carry every system around with me.”

On a workshop, she doesn’t dictate what people should shoot but lets her attendees roam.“A lot of the time, I keep my camera in my bag, as I’m conscious that it can take the focus away from them,” she explains.

Just as she is keen to experiment in her own work, Verity is keen to encourage thinking in portrait mode when people have their heads stuck in landscape.“A lot of people come on landscape workshops with a wide-angle and think they’re going to shoot like that the whole time. In terms of composition advice, I start with ‘it’s what you leave out that’s more important’.

Which sounds like a gimmick, but it works. Pare down the frame and think about what to leave in or out. That’s why I like the 21mm focal length – it’s not ultra-wide, and it gives me the option of tightening the frame up.”

To get around the tendency to shoot everything wide, Verity also suggests bringing along an alternative lens. “A lot of the time, I’m shooting my own images

SEE THE CITY GAS STREET BASIN f/11

ISO 100

1/60 sec

Shoot through the seasons

Verity returns to her favourite locations throughout the year to find new ways of capturing them

Sunrise January 2020

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Fresh snow December 2020

Blue Hour March 2019 19

A PR E K I L T SHOO

f/11

ISO 100

1/100 sec

BIRMINGHAM CATHEDRAL

Verity’s shifty steps for this straight-up cathedral scene

1

Set the tripod at the right level A tripod is helpful to set a sturdy base, from which you can set up a firm composition and tweak manual focus.

First, choose a height to shoot at.

20

2

Mount a tilt-shift lens This optic ensures the verticals of the cathedral are straight at a wide angle.

Shift the lens up to counter distortion, using Live View to check the result.

3

Add a filter Verity uses a circular polariser to darken the sky and bring out greens on sunny days. A LEE Filters adapter ring enables her to get over the dome shape of the lens.

SEE THE CITY

Finding her framing

Verity used these overhanging trees to frame the cathedral and cover some of the bright sky overhead. Turn to our composition feature on p36 for more framing advice

nagilliM ytireV ©

at 50-70mm. Wide angles are so hard for viewers to look at if there’s nothing to lead them into the image.”

We carry on our journey through a new development called Paradise Birmingham and take in Chamberlain Square, a quintessential example of a place where old architecture sits with new. Juxtaposition – including a contrast of old and modern buildings in your frame – is a fantastic tool to use when photographing in a city, as it helps to accentuate its unique character and tell a story or history.

While Verity would use a tighter crop in areas such as this, our last stop in Birmingham, the 18th-century St Philip’s Cathedral, requires an extra-wide approach and a tilt-shift technique to correct converging lines (below).

4

Focus and compose Verity uses Live View to compose her scene. The tiltshift lens requires manual focus, so once the framing is set, she zooms in to 100% on the screen to fine-tune the focus point.

5

Verity describes herself as “the latest in a long line of conduits for the natural world.” But it’s clear that the urban world can be a special place for playing with light.

Her latest post is an ode to the city in the early morning sunshine.

While one user complained that Verity’s photos of Birmingham were “too pretty”, her caption at least encapsulates her approach to picture-making, and perhaps why her images are so popular.

“Every city has its problems,” she says. “I’m a photographer, I see light and I like to capture it... that’s the extent of it. So here’s a shot of some lovely light, Birmingham — despite the grumbles, you were darn lovely in the early summer light.”

Lovely, too, was the shoot, so look out for more of Verity’s work and workshops in the next year.

6

Camera settings Using an Aperture Keep editing simple Once your Priority Exposure mode, Verity sets an parameters are set, take several images aperture of f/11 and an ISO of 100. She and check the results. A polarising filter can also uses a two-second timer delay to reduce light, so you may need to add a few avoid movement while pressing the shutter. stops of positive exposure compensation.

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TECHNIQUES

Pictured Even with advancedphotoediting softwareavailable, hardware filters offer unique effects that can produce incredibly dramatic results, while retaining a natural style

Filtered perfection

© Wayne Bradbury

Pro guide to The key to great photography isn’t just in the editing process. Using filters can help manage exposure, colour and sharpness for superior images in-camera 22

FILTERS

“Filters give the photographer the unique capabilityto not only control a scene more effectively, but also to impart their own creativity.” Simon Garratt,LEE Filters

It’s easy to forget the role that hardware filters have played in the development of photography as we know it today. Before it was possible to easily blend exposures, either in the darkroom or using software at the computer, it was critical to be able to control the amount of light entering the camera, at the moment of image capture.

As soon as cameras are taken out of the studio and into the field, the issue of uneven brightness throughout the landscape starts to take effect. The intensity of light coming from the sky is almost always going to be greater than the reflected light from foreground elements, which absorb or scatter

a portion of the photons. This means that the top half of the frame is usually going to be exposed more than the bottom half.

This is where the use of some type of filtration becomes important. By applying a material in front of the lens, which differentially permits the passage of light, we can restore the balance of exposure that our eyes are able to detect. This vastly increases the potential variety of image styles we can explore, by imparting control over exposure, independent of camera settings.

Of course, in the age of digital photography, we can now shoot multiple separate exposures and blend these using software

algorithms. It could therefore be argued that using a physical sheet of glass or perspex in front of the lens is a somewhat rudimentary approach, akin to using an abacus instead of a digital calculator.

But while there are definite advantages to software filtration, there are many filter effects that simply cannot be recreated in Photoshop, the DXO Nik Collection or any other similar software application.

There are a confusing array of filter options on the market, which can make choosing the right ones for your photography a challenge.

So, let’s explore the plethora of types to find those which are truly essential.

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TECHNIQUES

Control your exposure Use filters to manage exposure differences and for creative exposure effects

The use of filtration to hold back exposure has been a common practice amongst professional photographers for many years.

On reflection, the creation of filters such as Neutral Density grads is far cleverer than it is often given credit for, probably because the concept is so straightforward. This simplicity can be a source of misconception, however, and many photographers who are unfamiliar with their usage can make mistakes when selecting filters.

There are so many types and variations of the humble ND filter that identifying which make and model is the best fit for a specific image can feel like a minefield. Just what is the difference between a fixed and variable ND? Why would you select a hard grad over a soft grad? And what on earth is the difference between a 0.9ND and an ND8?

Pro comment: Wayne Bradbury

Landscape photographer Wayne Bradburyon his favourite filters and why he uses them

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Right ND grads work best with scenesfeaturing unbroken horizon lines, with few or no objects artificially darkened by the filter coating. Using grads produces a more finished imagein-camera

Clear horizons

yrubdarB enyaW © 2x

My favourite and most commonly used filters are by far my Graduated Neutral Density filters. While most people deal with extreme dynamic range by blending multiple exposures, I still stubbornly try to capture my images in a single shot most of the time.

To me, this saves a lot of processing time and disc space, considering the 50-megapixel raw files from my Canon 5DS R take up over 50MB each. I also shoot with a 6cm x 17cm panoramic film kit, and multiple exposures can get expensive when using film, not to mention the extra scanning time.

The downside to ND grads is that objects just above the horizon will be darkened, but it’s easy enough to lighten these areas in post. My next favourite is the Circular Polariser, and I occasionally use NDs to lengthen exposures too. www.waynebradbury.com

Even once you have selected your filter, there can be some uncertainty about how this affects your camera work and how the camera will react to the addition of a translucent material to the front of the lens.

In some cases, no adjustment to the photographer’s workflow is needed, and shooting can continue as normal. But in other situations, with stronger filters, significant adaptation to metering and even composition can be necessary, for the best results.

Even if you are an experienced digital photographer, it can be easy to overlook the role of hardware filters in exposure control, and therefore lack experience in applying them in a variety of settings. On this spread, we’ll look at how to refine your ND filter workflow and how to understand the way these filters control light transmittance.

Below Painterly style Wayne Bradbury occasionally puts full ND filters to work to extend exposures – an effect which is almost impossible to recreate using editing software

Variable or.. fixed ND?..

Understand the costs and benefits of different ND types

Variable ND filters are incredibly useful when you don’t know which densities you will need and don’t want to carry four or five separate strengths. By rotating the filter, you can choose a stepless density range of often around two to eight stops.

However, using maximum densities in combination with wide focal lengths can introduce artefacts, commonly a dark cross shape across the frame. A good practice is to carry a 0.9ND, a 0.3ND and a variable ND, meaning if you can manage with a single filter, then do, but you have a variable model at your disposal, for intermediate densities.

FILTERS

Refine ND grad workflow

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Set your composition Before sliding your filters into place, work handheld to find the ideal composition for your image.

Decide where the optimal level for your horizon line is, as this may affect your choice of filter gradient and density.

Calculate exposure range Take a meter reading from the brightest areas of the scene and from the midtone regions to identify how far apart these are tonally.

This allows you to choose a filter strength to hold the sky and reveal foreground detail.

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Make sure you are correctly selecting and aligning your grad filters

Arrange filters (strongest first) Place your strongest filters closest to the lens as this will act as your baseline filter. In many cases, this will be all you need, but if you want to add more filters, any additional filtration increases should be subtle and controlled.

Adjust position Move the grads in the holder until the transition just touches the horizon (hard grad) or overlaps it by around a centimetre (soft grad). If using multiple filters, avoid the transition of each filter aligning too much, to prevent an overly sudden gradient change.

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Alter rotation Rotate the filter holder to align the gradient with the terrain of the scene you are shooting. If you have a sloping clifftop for example, angling the grad will prevent obvious darkening of areas of the land. You can also use this technique to compensate for uneven polarisation.

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TECHNIQUES

Control colour Use filters to adjust or enhance the chromatic balance of a scene One of the first things we learn as digital photographers is that shooting with the camera in RAW mode is the first step to professional colour control. Unlike a jpeg file, a RAW file is uncompressed and so contains much more digital information.

This provides scope for better colour adjustment in photo editing software, enabling you to change the white balance after the shoot is over. While many photographers choose to leave colour control to the postprocessing stage, just like exposure, not all effects can be simulated at the computer.

The most well-known filter, which falls squarely into this category, is the polarising

filter. It is seen by many landscape photographers as an essential addition to any professional’s kitbag because the optical effect it applies is unobtainable using any other method.

Since the characteristic saturation of blue skies and removal of reflections that the polariser provides is achieved using physical modification of the ambient light, no postprocessing tool can reproduce the result.

Hardware filters can have other, lesserexplored functions too. The polariser works by using a microscopic mesh to prevent the passage of light waves vibrating in a selected direction. Rotating the filter in one direction

cuts out polarised light from reflective surfaces, while turning it the other way can actually seem to enhance the visibility of reflections. It is an illusion – no filter can increase light transmittance – but this effect is useful when shooting reflections in bodies of water or glass-covered buildings.

While colour has never been easier to control after the shoot, having a set of filters can be your secret weapon. The types described here allow you to apply effects at the shooting stage, which can streamline your workflow, increase productivity and introduce special effects that are challenging and timeconsuming to simulate in software.

Understand colour filters

It’s easy to adjust colour balance in software, but there are still plenty of reasons to own a set of colour filters. If you shoot a lot of black and white, for example, then it can be difficult to visualise how the colours in a scene will be represented after processing. By applying either a red, green or blue filter, you can see the effects immediately in-camera, making it easier to judge whether you have captured the ideal balance of tones in your image. Use these filters to adjust the contrast of your shots, based on the colours present.

BLUE FILTER

hceneF reteP © segami llA

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GREEN FILTER

RED FILTER

FILTERS POLARISER TYPES

Make sure to select a circular polariser, not a linear model. They have different micro-structures, with the latter confusing camera exposure systems. A warm polariser reduces the cool tone a polarising filter can introduce.

Capture reflections

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Use a circular polariser to enhance the appearance of reflected images

Find maximum strength We need to find the filter position at which the least polarised light is removed. In this configuration, non-polarised light is filtered with greater effect, tipping the balance more towards the presence (or apparent brightness) of the reflected light.

Compose your shot Polarisation effects are dictated by light direction, so find your angle and composition first. Look for a balance of reflected image and landscape, being mindful of how each area will interact and impact the structure of the overall scene.

Meter from reflections Place your AF point over the reflected image and take a meter reading. This will ensure a correct exposure for that area, since reflections usually require greater exposure than the surrounding land. Try using Partial Metering to focus the calculation on the reflected area.

Rotate both ways Find the strongest reflection removal position of the filter as this will help identify the ideal position for the inverse effect. When reflections are removed, the polariser structure is aligned to filter light in that orientation.

Adjust exposure You may need to dial in some negative exposure compensation to prevent global overexposure. Try -1EV to start with, adjusting until you are satisfied with the balance of reflection and surrounding brightness. Some darkening of the nonreflected areas may be necessary in software.

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TECHNIQUES

Special effect filters Make your images stand out by applying eye-catching, yet appropriate, effects

Generally speaking, special effect filters have gained a bad name over the years, though perhaps unfairly so. With care, it is possible to use them to create custom effects or target localised colours in certain areas of a shot. Their popularity has been boosted recently by the increase in video content creation, where the demands of cinema and photography have begun to overlap more than ever.

With a moving image, it is almost always easier to apply practical effects, which is why soft focus and colour filters have made a comeback. In terms of still photography, when used with restraint, these filters can add subtle glows and colour enhancements, which have the power to transform a mundane scene into something more energetic.

As with all special effects, don’t use a filter as a reason to shoot an image. Find a good subject first, then decide whether the filter can add a missing element.

hceneF reteP © segami llA

There was a time when the array of filters available on the market was slightly overwhelming. Companies such as Cokin provided a huge range of types and variants of filters, at a price many beginners could afford. This allowed photographers to try different photo styles for relatively little investment.

However, this experimentation inevitably led to improper usage, creating a wave of photographs with wacky colour casts, odd transitions and over-filtration.

Ultimately, this had a negative impact on the quality of images associated with some filter models.

This has been replicated in the digital age, of course, with novice photographers – and some professionals, too – overusing the effects in Photoshop. However, the ease with which software filters can be removed or turned down on a stepless basis does at least make it easier to find the filtration sweet spot successfully.

Understand filter factor Getting to grips with light-filtering strength is key to correct filter use Filter type UV

Filter factor 1

Stop difference 0

Relative shutter speed 1/1000sec

Relative f/stop f/32

0.3ND (ND2)

2

1

1/500sec

f/22

0.6ND (ND4)

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2

1/250sec

f/16

0.9ND (ND8)

8

3

1/125sec

f/11

3.0ND (N1000)

1024

10

2sec

f/1.0

Polariser

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2

1/250sec

f/16

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FILTERS

Apply softfocus

Why would you want a filter which reduces apparent sharpness?

Above Colour grads Using a Coral grad on this landscape scene, I was able to warm up the sunset light at the top of the frame while maintaining cooler shadow tones at the bottom

Soft focus filters add a dreamy glow to images by diffusing the light slightly, so not all of it is focused at the same position. This effect can also be achieved by breathing on the lens, but it is far more controllable with a filter. Soft focus filters may seem outdated and gimmicky but, used with restraint, they can add subtle glow effects to light sources, for a cinematic look – great for video, but also at home with environmental stills photography.

Stripe filters

If you haven’t heard of stripe filters, it’s little surprise as they aren’t particularly common these days. Whereas grads are toned from the top down, stripe filters have a band of feathered coating across the middle, enabling the horizon – the commonly brightest area of the sky – to receive maximum filtration. Coral stripes are among the most popular filters of this type, but LEE Filters also makes a Mist stripe that adds a foggy effect at a desired height in the frame.

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TECHNIQUES

Troubleshooting filter challenges Not getting the effects you were after? Here are some potential solutions Digital cameras are highly complex pieces of technology. In terms of both hardware and software, there is a lot going on underneath that casing that users rarely give a second thought to. The days of a camera being a light-tight box are long gone – they still are at their most basic, but the process of exposure management is a much more refined one.

Filters are simply sheets of optical material you place in front of the lens, and might seem rather unassuming, uncomplicated items, but that doesn’t mean their usage is always straightforward. It is important to understand how their integration with the rest of your gear needs to be carefully considered.

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The most obvious difficulty of using circular filters is the variable thread diameter of different lenses (here, circular refers to the physical shape of the filter, not to be confused with ‘circular’ and ‘linear’ polarisers).

As we buy new lenses, especially those with constant maximum apertures, the front elements of which tend to be oversized, it is commonplace to find that our older filters no longer fit. This can be addressed with a stepdown ring, such as a 77mm-67mm ring, but this will introduce unavoidable vignetting.

Good practice, therefore, is to buy a large filter in the first instance, such as an 87mm filter, which can then be adapted to smaller

threads via step-up rings, which will save money in the long run.

Beyond this, however, there are some unexpected effects of camera-filter pairings, and the sort of camera you own can dictate the type of filter you should buy. This may not be immediately apparent, so can lead to some confusion. Furthermore, there are some problems which can go unnoticed if the photographer does not know where to look for them, lessening the impact of their images.

So, let’s explore both a few common problems and some lesser-discussed issues we can, and probably will, experience when using filters in a range of scenarios.

FILTERS Left With scenes featuring a complex palette and terrain separating areas of colour, it is often better to perform fine adjustments in software, rather than with filters that apply global effects

Complex colour

Sensor sizing

The type of camera you own can impact the strength of your filters It’s not the first thing many photographers think about when choosing a filter, but the size of the sensor in your camera will affect how it works. Smaller sensors apply a magnification factor that effectively zooms the image, meaning the gradient of an ND grad filter, for example, will cover a greater area of the visible frame. This has the effect of softening the transition and making a hard grad look more like a soft grad. Take this into account when selecting your filter to ensure that it will provide a suitable effect for the scene you are shooting.

hceneF reteP ©

yrubdarB enyaW ©

Uneven polarisation

When using polarising filters in combination with wide-angle lenses, you can often end up with an unnatural-looking and uneven darkening of the sky across the frame. This is due to differential amounts of polarised light, moving away from the sun. You can address this by either recomposing your shot, adjusting the filter effect or by using an ND grad to balance the brightness across the sky.

Hardware vs software Weigh up the pros and cons of hardware and post-process filtration

cirasaP radnaskelA ©

Hardware is always going to give you more to carry and more work in the field. Filters such as ND grads also introduce some problems that need correcting in software anyway, the most common of which is an unwanted darkening of areas of terrain or buildings. They also introduce degrading optical effects, by adding further materials for light to travel through. It could be argued therefore that applying software filters offers greater versatility and image quality. However, darkening pixels at the computer or brightening shadows will also threaten colour and detail integrity. It’s advisable to use hardware to create a baseline image to work on later in software.

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TECHNIQUES

Pro tips for better results Learn to use, maintain and control the effects of your filters for superior images Whenever you place something in front of a camera lens, especially an item which applies an optical effect, there will be some practical challenges. Although filters generally do what they are meant to do, professional usage requires a deep understanding of how they work and how best to use their features.

Filter effects often introduce secondary impacts which may or may not be desirable, so recognising which case applies to your shooting situation is paramount. More specifically, it is important to recognise when these filtration by-products introduce effects that are too insignificant to be of concern, or

segami ytteg aiv tnemoM / aragreV yoC airaM nauJ ©

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whether they are too noticeable to ignore.

When the latter occurs, some correction in software can provide the solution. The amount of post-shoot adjustment required can depend on the filters used and the type of construction materials.

Higher-grade filters predominantly use glass, while lower-level models are made from resin.

Not only do glass filters exhibit lower impacts on sharpness, with fewer optical aberrations, but the reflective properties of each material may differ. This means that with cheaper filters, the user will have to keep an eye out for the effects of ghosting and flare.

The number of filters that can be stacked on the lens can vary too. With higher quality products, more types of filters can be used together before image quality begins to suffer.

Understanding how your filters perform will provide you with more consistent quality.

The order in which you arrange your filters makes a difference too. Generally, it is better to place a polarising filter at the front of a filter stack, since this allows easier rotation. There is also an advantage to placing ND filters closest to the lens – their density helps reduce reflections between the lens and the surface of any filters before them, reducing ghosting.

FILTERS

Pro comment Simon Garratt, Business Development Executive at LEE Filters

With the advent of digital filtration, why is it still essential to invest in a good set of hardware filters?

Whilst software packages, and even in-camera processing, have improved massively over the years, they are still very much limited by one common factor – the quality of the original image. Aggressive and time-consuming editing results in a lower quality final result. Hardware filters ultimately deliver a much cleaner and less heavily manipulated picture.

In your experience, what are some of the most common mistakes that photographers make when selecting and using filters in the field?

In my experience, a common mistake when using graduated filters is that you need to remember to expose for the shadows instead of the highlights, which is the reverse of how we normally work.

Another mistake is trying to guess the timings for a given density when shooting long exposures, which results in frustration and poor results. As a general rule, the best long exposures always start with a good base exposure, taken with any grads or polarisers already in place, but without the ND filter. Then, you can add the filter and use a smartphone app, such as the LEE Stopper app, to get the correct exposure conversion.

How can photographers effectively maintain their filters especially when working in harsh conditions?

LEE Filters has worked with leading photographers all over the globe for many decades now, and across virtually every environment you can imagine. This is why we still produce our specially formulated resin graduated filters, which provide incredible durability even if they are bent or dropped numerous times over their lifespan.

In terms of care, we always recommend keeping your filters in a dedicated pouch or tin for maximum protection, and using a dedicated cloth and cleaning solution such as ClearLEE. Always wet-clean your filters – micro-scratches lead to lowered optical performance over time. This applies to both glass and resin filters.

Correct filter casts Use software to neutralise colour shifts introduced by high-density filters

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Temperature and Tint To further customise the colour balance and make the filter effect more chromatically invisible, use the Temperature and Tint sliders to make more precise global adjustments.

Avoid large slider movements to prevent introducing other unwanted colour shifts.

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Set Black/White Points Before we start making any colour corrections, it is advisable to set the overall contrast for the shot, as this can change the apparent dominance of the colours – setting this first saves time. Move the sliders until just before highlight and shadow clipping occurs.

Curves control For even more precise re-toning, use the Curves tool in your software package to make adjustments to each channel independently. Here, we made changes to each of the Red, Green and Blue channels to both neutralise and exaggerate certain colours, for a more bespoke look.

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Correct global casts Use the White Balance Selector Tool in Lightroom, or similar editing software, to quickly remove any strong, image-wide colour biases. With the tool active, click on an area close in tone to neutral grey to instantly centre the colour.

Click in multiple areas until happy.

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HSL adjustments As a final, optional step use the HueSaturation-Luminance control to adjust the apparent brightness of different coloured areas, alongside the hue and intensity.

Experiment with different combinations to see if the filter has impacted local areas in different ways.

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FILTER FACTS GRADS CAN TECHNIQUES

Learn to use filters to manage exposure, colour and sharpness for superior images in-camera

BE INVERTED

It’s not only the sky that may require brightness reduction.

To shoot other bright surfaces, rotate your grad accordingly

POLARISERS CAN BE YOUR ND Providing two stops of light reduction, a circular polarising filter can be used to extend exposures, albeit with a colour cast (see below)

SQUARE SYSTEMS OFFER BETTER VALUE

Though more expensive, a 100cm filter system allows easy mounting on any common filter thread with minimal outlay

WARMING/COOLING FILTERS ARE LARGELY EXTINCT Once essential filters in the days of film,

TURN OFF LENR

When using an ND1000, consider turning off Long Exposure Noise Reduction to avoid lengthy waits after the shutter has closed

NOT ALL FILTERS ARE NEUTRAL

An ND is called neutral as it introduces minimal colour shift, but many filters require white balance compensation

YOU CAN OVERPOLARISE

white balance can now be adjusted incamera and so they’re no longer required

YOU CAN CUSTOMISE HOLDERS Extra filter slots are one of the biggest causes of vignetting. Where possible, remove unused slots

EFFECTS CAN BE STEPLESS Handholding for part of a long

AVOID STEP-DOWN RINGS If polarised light is dominant, a full strength filter can turn blue sky an unnatural black

exposure can provide stepless filtration

While step up rings are highly useful, using smaller filters on wider lenses can often produce some degree of unwanted vignetting effect

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TECHNIQUE

Lee Frost

Lee Frost is a UK-based travel and landscape photographer, now living in Cornwall.

He has over three decades of experience and when he’s not out shooting, he also runs photography workshops and tours.

To see more of Lee’s work, visit: @leefrostphotography www.leefrost.co.uk

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5

LANDSCAPECOMPOSITION

ways to improve your landscape

COMPOSITION

Lee Frost shows you how to transform your scenic shots from picture postcards into photographic works of art

If light is the raw material of photography, then composition is the glue that holds it all together. For a landscape photograph to be considered truly great, these two powerful elements must work together with equal force, to provide stability and equilibrium. If one fails, both fail.

In practice, composition isn’t a particularly difficult concept to grasp. Essentially, all you’re doing is arranging the different elements of a scene in your camera’s viewfinder so that they form a visually pleasing whole. A successful composition will be balanced and interesting to look at and should lead the viewer’s eye around the frame, effortlessly taking in all the important elements within it.

To help us do this, there are various aids and tricks available.

The ‘rule of thirds’ is a classic and effective compositional tool. Natural or man-made lines can be used to lead the eye around an image, while foreground interest adds depth and scale. Colour has great power, helping to highlight elements so they dominate the composition or influence the mood of the image. Lens choice allows us to control what appears in the frame and how perspective is recorded, while viewpoint changes the relationship between elements in a scene.

Ultimately though, the most powerful tools at your disposal are your eyes. By using them and thinking about what you’re doing, your compositional skills will improve.

Pictured Setting the scene The key to landscape photography lies in arranging theelements in your viewfinder into a visually pleasingwhole All images © Lee Frost

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TECHNIQUE

Create balance 1.Afundamental principle of good landscape photography is creating balanced compositions.Follow the age-old rule of thirds and you won’t go far wrong If you are aiming to create compositions that are both easy on the eye and hold the attention, you could do a lot worse than follow the age-old ‘rule of thirds’.

To use this rule, divide your camera’s viewfinder into a grid using two imaginary horizontal and vertical lines – some DSLRs have a viewfinder grid that does this for you. The lines and intersection points of the grid can then be used to aid the position of important features in the scene.

If your composition has a focal point, such as a barn in a field, a boat on a lake, a tree on a hilltop, you can place it on one of the four intersection points created by the grid.

With landscapes, the best intersection point to use is usually the top right one, because the eye tends to scan a scene from bottom left to top right. If you position the focal point off to the right and towards the top of the frame, the eye will take in most of the scene before reaching the focal point.

Shoot a well-proportioned frame

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First impressions This beautiful Tuscan view appeared in the closing scenes of Gladiator, but it’s all rather ‘windy’ and there’s no substance to the composition.

Definitely room for improvement.

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Closing in Walking into the scene and zooming in on the road and villa simplifies the composition. It excludes unwanted clutter and focuses attention upon the most important elements of the shot.

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Refine the composition Getting closer still and using a telezoom to compress perspective creates a much stronger composition, with the winding road carrying the eye through the scene to the villa.

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The lines of the grid can also be used to help you divide up the composition. You can place the horizon a third from the top so you’re emphasising the landscape, or a third from the bottom to focus on the sky. The two vertical lines serve a similar purpose. If there’s a tree in the foreground of the scene, place it on the right-hand vertical line so the eye scans across the image to it. You should never force your compositions to comply with this rule (or any other), but it does work, so give it a try.

Make the most of a stunning view in a few easy steps BEFORE

AFTER

Left and below FULL FRAME Shooting the scene in portrait format and zooming in excludes unwanted detail. The evening light looks stunning, but all the interest is on the left side

LANDSCAPE COMPOSITION

Capture reflections A stunning scene reflected in calm water is easy to shoot and hard to resist

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First impressions So, you arrive at a great location and there’s the promise of better things to come. All you can do now is set up your gear, say a little prayer, wait and hope for the best.

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Compose the scene Placing the horizon ND grad filter A reflected scene across the centre of the frame is often is naturally darker than the scene considered to be bad compositional practice, itself, so if you want to balance the shot but when it comes to shooting the reflected in-camera, use a 0.3 or 0.45ND grad to landscape, that’s the best place for it. tone down the sky and landscape.

PRO TIP: EDIT FOR BALANCE

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Vary your composition While Reflected glory A few quick edits in waiting for conditions to peak, Photoshop and the work is done. You experiment with different compositions now have a jaw-dropping location, a mouthto make the most of the situation. Try watering sunset and water as calm as calm shooting with a wider lens, or a longer lens. can be. What could be better?

If a composition doesn’t work in-camera, you can always improve it during editing by cropping the original frame.

Changing the image format can also work – from 3:2 to 5:4 or even 1:1.

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TECHNIQUE

2. Make the most of lines Natural or man-made,

lines are a powerful aid to every composition

Why exactly? It’s because as well as providing a natural route into and through an image, they can also be used to divide up the picture into different areas.

The most obvious lines are those created by man-made features such as roads, paths, tracks, walls, hedges and avenues of trees.

Natural features such as rivers and streams, although not necessarily straight, have the same effect as they wind through a scene into the distance and take your eye on a fascinating journey. Shadows, too, can create strong lines, especially when the sun is low and long shadows rake across the landscape.

Horizontal lines echo the horizon so they’re calm and easy on the eye. Man-made

Right FRACTURED ICE The cracks in this frozen lake create a series of dramatic diagonal lines that carry your eye through the scene to the mountain in the distance.

Using the grid lines on your camera Your camera’s preview screen is a handy compositional aid In the good old days of film, the only way you could compose a photograph was by peering through your camera’s viewfinder – unless you happened to use a large-format camera with a giant focusing screen. But with digital cameras, you have an alternative option – the preview screen.

Composing images using the screen and Live View is recommended because by standing back and observing the screen, you get a better impression of how the image will look. The grid screen is also useful because it can help you decide where to position key elements, such as the horizon and the focal point.

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Inset

Screen composition

A nine-segmentgrid screen replicates the rule-of-thirds grid.

For this scene, the castle was placed on the top right third Main Bamburgh castle The final composition is well-balanced and visually interesting with the distant castle providing a muchneeded focal point

“Rivers and streams take your eye on a fascinating journey”

boundaries in the landscape, such as walls, fences and hedges, are obvious examples of horizontal lines.

Vertical lines are more active, producing dynamic compositions with a stronger sense of direction. To maximise the effect, shoot in portrait format so the eye has further to travel from the bottom of the frame to the top.

Diagonal lines add depth as they suggest distance and perspective. They also contrast strongly with the horizontal and vertical lines that form the borders of an image and, in doing so, can create tension. The eye tends to scan naturally from bottom left to top right, so diagonal lines travelling in this direction have a greater effect, carrying the eye through an image from the foreground to the background.

Converging lines add a sense of depth. Look down a track and, as distance increases, the parallel sides get closer together until they meet at the ‘vanishing point’. The river or track is roughly the same width along its length, so if it appears to become narrower, it must be moving away from the camera. The effect is best emphasised using a wide-angle lens.

LANDSCAPE COMPOSITION

Add depth with a vanishing point

Including a vanishing point in your composition is a great way to add a sense of depth PARALLEL UNIVERSE

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Below In this final image, you can see how the parallel lines created by the pier walkway and the handrails converge into the distance and almost meet at the horizon – the vanishing point.

Looking down Standing at the entrance and shooting straight down the pier with a wide-angle lens creates a stronger composition, with all parallel lines converging into the distance.

Pier pressure This pier has lots of potential, but when viewed side-on from a distance it appears flat because the lines formed by the pier structure are running horizontally across the frame.

Front to back To ensure the whole scene is captured in sharp focus, the lens is stopped down to f/16 to increase depth-of-field. By focusing on the hyperfocal distance, even far away objects remain sharp.

Change position By moving closer, the lines created by the walkway and handrails are converging from bottom left to top right and carry the eye to the lighthouse, which is the main focal point.

The low down As an experiment, the camera is placed on the ground and the zoom set to 16mm. This emphasises the converging lines and exaggerates the sense of depth in the scene.

PRO TIP: VERTICAL LINES ADD VISUAL INTEREST

Vertical lines add tension to an image. To make the most of them, shoot in portrait format so the eye has further to travel from the bottom of the frame to the top.

41

TECHNIQUE

3.

Harness contrast Harness the brightness and contrast of natural

daylight to improve your landscape compositions

The quality of light is vitally important in landscape photography, as it not only dictates the mood of your images but also the way the viewer perceives them.

Directional light with plenty of contrast is particularly versatile as it defines the elements in a scene much more than softer light.

Shadows help to reveal texture, which not only adds depth to the composition but also defines the flow of the image and the way the eye travels around it.

For example, on an overcast day, the ripples on a sandy beach are barely visible, but early or late in the day when sunlight rakes across 42

the surface of the sand, those ripples will stand out boldly, creating a series of lines that lead the eye into the scene. Similarly, if you shoot into the sun, shadows will appear to rush towards the camera, adding impact and drama as well as creating strong lead-in lines that grab the attention.

In stormy weather, the sun often acts like a spotlight, breaking through a gap in the clouds to highlight a specific feature in the landscape – a tree, a hill, an old barn – while everything else is in shadow and therefore darker. This can work brilliantly, especially if the sun happens to light up your focal point.

Above Singing sands sunset Light makes this composition, emphasising the ripples in the sand, reducing the distant island to a strong silhouette and adding a golden glow

LANDSCAPE COMPOSITION

Editing for contrast

Process your shots to direct attention towards the focal point

The focal point is perhaps the most important element in a landscape composition, because it’s the one thing the eye eventually settles on after taking a journey around the scene. Often we can use other features in the scene to direct the eye towards the focal point, such as natural or assumed lines, pointers, and shapes such as an S curve. However, you can also use contrast and light to make the focal point stand out from its surroundings, so the eye simply can’t miss it.

This is easy to achieve in stormy weather, especially if the sun pops out from behind a cloud and illuminates the focal point, but you can emphasise the effect using simple editing techniques.

1

The raw file This is how the original image looked in its raw state. Right now, it’s pretty flat and dull, but it won’t be for long!

2

3

4

Crop the composition The original was okay, but cropping so that the skyline and focal point are on the thirds just adds balance.

Edit in Adobe Camera Raw First the Auto tab is used to make adjustments across the board. Next, Clarity and Dehaze are adjusted.

Storm over Pienza Here’s the final, dramatic image. It’s impossible for your eye not to head immediately for the focal point.

Below Clouds drifting overhead cast shadows across these mountains, emphasising the folds and curves in the ancient red stone

Sandstone mountains

43

TECHNIQUE

4. Look for shapes Use natural shapes in the landscape to create powerful compositions

ANALYSE ART

You can learn a lot about landscape composition by studying the work of other photographers and painters.

Pay attention to the way they juxtapose the main elements, and use features in the landscape to lead the eye around.

The landscape is formed from an endless variety of natural features on both a vast and small scale. At one extreme, you have mountains, hills and clouds in the sky; at the other rocks, trees, streams, even pebbles on a beach. Regardless of size, these features form the key elements in our compositions, and the way we arrange them in the frame can make or break a great shot.

An effective way to improve your compositional skills is by looking at these features not for what they really are – a nice rock, a pretty stream, an interesting group of trees – but in terms of the shapes they form – triangles, lines, curves, S-shapes and so on.

Doing this will help you to decide what role each element plays in the composition, and how you can make best use of them to help guide the eye around that composition through lens choice, viewpoint and camera angle.

In some cases, you may decide to exclude an element because it works against rather than for you by distracting the eye. In others, you’ll find yourself juxtaposing several different shapes so they all work in harmony to produce a balanced and effective composition.

THE DIAGONAL

Diagonal lines travelling from bottom left to top right never fail to grab our attention.

We simply can’t resist following them to see where they take us

Essential landscape kit

Recommended equipment no landscape photographer should leave home without

SCREEN LOUPE

Assessing the composition on your camera’s preview screen can be tricky, especially in bright sunlight. Invest in a screen loupe, so you can block out stray light and see each shot clearly.

44

PRO TRIPOD HEAD

The head is as important as the tripod, so choose one that allows you to make small adjustments and fine-tune the composition. Some prefer ball heads, whileothers swear bygeared heads.

STURDY TRIPOD

A tripod not only keeps your camera steady, it also slows down the whole picture-taking process and allows you to spend more time thinking about the composition of a shot and how it can be improved.

LANDSCAPE COMPOSITION

FILL THE FOREGROUND

Move in close and low with a wide-angle lens and use foreground features to not only lead the eye into the scene, but also create a powerful sense of depth and scale.

LAYERED LANDSCAPES

IN THE FRAME

There are many frames in the landscape, such as overhanging branches or the space between trees. In this case, a rock arch and ledge form a window to the scene beyond.

MIRROR IMAGES

Use a telephoto lens to compress perspective and make layers appear crowded together. This creates a sense of depth as your eye moves from one layer to the next.

When shooting by water, use reflections to create a mirror image of the scene. Place the horizon across the centre of the frame to add symmetry and a sense of calm.

ON POINT

THE S-CURVE

Look for features in the foreground of a scene that lead the eye into the composition and direct it towards a focal point. Here, the rocks lead towards a dramatic mountain.

Rivers and streams snaking into the distance take the eye on a meandering journey through the scene. In this case, a winding lane lined by cypress trees does the same.

45

TECHNIQUE

5.Use natural Frame your shots or man-made frames to simplify composition and focus attention Another useful way of creating an interesting composition is by framing a subject or scene with features close to the camera, such as the overhanging branches of a tree, the mouth of a cave or natural and man-made arches.

One benefit is that it directs attention towards the most important part of the composition – the scene beyond the frame.

Frames can also be used to obscure unwanted details such as road signs or to fill unwanted space such as a pale sky. Wide-angle lenses are ideal for emphasising frames as you can move close to any suitable features and control how much of the image they occupy by fine-tuning your viewpoint. If you stand beneath a tree, for example, the branches will frame the top of the photograph. A small lens aperture, such as f/11 or f/16, will provide sufficient depth-of-field to record the frame and the scene beyond in sharp focus.

If the sun is anywhere but directly behind the camera, the frame itself will be in shadow and record as a silhouette. This can emphasise the effect, but take care when determining the correct exposure, as this can fool your camera’s metering system into overexposure.

Framing options There’s more to framing a scene than standing under the overhanging branches of a tree

UNDER A GLACIER

IN THE SHADE

The mouth of this Icelandic ice cave created a classic frame around the distant snow-covered mountains.

Shooting ultra-wide at 16mm allowed the cave walls to be in the frame, making the most of this amazing scene.

Shadows can be used to create frames in the landscape and direct attention towards a specific element in the scene – in this case an ancient silhouetted camelthorn tree in the Namib Desert.

FRAME FILLING

UNDER THE BRIDGE

Features in the landscape, such as rocks and cliffs can effectively be used as frames. They can frame the bottom and sides, as well as the top of the composition.

46

In this scene, the river is not only framed by the riverbanks and the trees, but also by the arch of the old stone bridge under which it flows.

FEATURE FRAME

Trees are often used as frames, but in this Scottish winter scene, the roles have been reversed. Here, the mountain rising majestically in the background creates a convenient frame around the two isolated trees.

GOLDEN ARCH

This is Delicate Arch in Utah’s amazing Arches National Park. There are few places in the world where you’ll find so many naturally occurring frames in the landscape.

LANDSCAPE COMPOSITION

How does focal length affect composition?

The lens you use to shoot a landscape has a profound effect on the final images. For a start, the focal length determines how much or how little of the scene you can include. The wider the lens (the smaller the focal length) the more you capture – and vice versa.

The way perspective is recorded also changes with focal length.

The wider a lens is, the more separated the features in a scene will appear because perspective is stretched. While the longer the focal length, the more crowded the features are because the perspective has been compressed.

EXTREME VIEWS

Ultra wide-angle lenses with a focal length of 16-20mm(full frame) are the perfect choice when you want to swallow-up vast areas, get down and dirty with the foreground and stretch perspectiveto thelimit.

WIDE WORLD

Moderate wide-angle lenses in the 24-35mm range are probably the most practical. They’reideal for producing dynamiccompositions, but not so wide that you feel like the world is trying to run away from you.

STANDARD BEARER

The standard 50-70mm range is often considered alittle pedestrian for landscape photography,but when the middle distance is more important than the immediate foreground, nothing can beat it.

1

Choosing your focus point

4

Side on The focal point has been In the middle Placing the focal point positioned on the left of the frame in towards the centre of the composition this shot, so the dramatic cloud formation is usually frowned upon, but in this case it could be included in the composition. The works well, as the castle is framed between two elements balance each other well. the old timber posts on the beach.

LONG RANGE

Shoot at focal lengths of 200mm or more when you want to home-in on a distant scene, isolate specific features and compress perspective so the layers in the landscape are crowded together.

2

Distant view The castle is much smaller in this composition, but still acts as an obvious focal point, while the boat fills the foreground, adding depth and scale, and leading the eye into the scene.

Composing landscape photography is like writing a story. Foreground interest is the introduction, the scene is the plot, and the focal point is where it comes to an end.

Any natural or man-made element can be used as a focal point, but the question is, where should you place it within the composition? Many photographers use the rule of thirds to position the focal point and achieve balance. While this rule works, it isn’t always possible, so don’t feel pressured into following it every time – rules are there to be broken, after all!

3

Actually, this is only partially true. All lenses record perspective the same if you stand in the same spot. It’s only when you change position and lens that perspective changes. For example, if you move close to foreground interest to make it a key feature in the composition when using a wide-angle lens, all the other elements in the scene will appear spaced out.

With a telephoto lens, you would have to back away to include the same foreground interest, and all other elements in the scene would then appear closer together.

Fenced in Here, the rule-ofthirds has been used to position the focal point in a portrait format composition.

The wooden fence leads the eye into and through the scene and directs your gaze to the castle.

5

On the thirds This photograph of Lindisfarne Castle was composed so that the castle sits at the top right of the rule-of-thirds grid. This technique always produces a balanced composition.

47

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49

Blue hour to black and white SHOOTING SKILLS

Difficulty level: Easy Time taken: 90 mins

What you’ll need tsurT neleH © segami llA

50

DSLR or mirrorless camera Wide-angle lens Lightweight but sturdy tripod Glass grad & ND filters Lightroom & Photoshop or alternative software

Helen Trust shows you how to shoot dramatic cityscapes and then turn them into monochrome magic with a simple black and white conversion Growing up in the countryside I’ve always enjoyed finding escapism in the hustle and bustle of the city. The shapes and patterns of building facades both old and new fascinate me. I also feel the city has a surreal side and finding a good location to step back and take in the vast space of the skyline can be therapeutic. Most city skylines are accessible from various vantage points and often involve water, either on a river bank, canal, lake front or ocean view. Add a big sky and transform it with long exposure

techniques for drama and atmosphere with light and shadow and you can turn a simple city skyline into fine art photography.

Adding a monochrome conversion can transform that image to the next level. Plan your location ahead of time and confirm accessibility and transport routes both early in the morning and late into the evening so you can experience a full range of light and shadows. Grab your camera, a sturdy tripod and a good glass filter kit and capture that city magic.

51

SHOOTING SKILLS

Shooting steps

1

2

1

Location preparation Whether it’s Paris, Venice or New York, plan in advance using the multitude of apps available. Know your transport links and accessibility (Citymapper and Google Maps), weather forecast, sunrise/sunset timings and positioning (TPE and PhotoPills).

2

Find some stability I chose to shoot this cityscape just minutes after sunset at blue hour, so due to low light levels and the lengthy long exposure using a sturdy tripod was essential. But we don’t always want to carry heavy tripods around a city with us so choose your kit wisely.

3

3

4

Prepare your composition Use a wide-angle lens to ensure a mix of negative space and skyline coverage. 16mm to 35mm range is ideal but be aware of lens distortion at the wider end – switch to live view and ensure there is enough sky to capture long exposure cloud movement, and check the horizon.

4

Exposure readings Capture maximum contrast from the highlights and lowlights in the scene.

Attach your filter holder to your chosen lens. Select your focus point and take your exposure readings. I use Aperture Priority, f/11 and the lowest ISO possible to maintain sharpness throughout the scene and meter from the mid-tones. Finally, lock the focus point.

5

Take your long exposure Move quickly – the light is changing all the time. Attach a cable release, and calculate your exposure time using an exposure chart or app from your filter manufacturer (I use Formatt Hitech Glass). Insert your grad (3-stop) and ND (10-stop) filters.

Switch to Bulb and take the shot.

6

Check your histogram Always review the histogram before and after taking the shot to ensure you haven’t blown the highlights.

Readjust and reshoot if necessary and if time and light allows. I often underexpose the shot to ensure maximum drama but be careful you don’t lose details.

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5

6

The setup

BLUE HOUR TOB&W LOTS OF DRAMATIC SKY

NEUTRAL DENSITY FILTERS

I know you can’t physically set this one up but great city skylines are widely accessible and easy to photograph but the right weather and directional cloud movement can give the image theedge so be patient with the light and the weather.

For perfect long exposures you need some highquality glass filters. I’vetrialled a few brands but now only use Formatt Hitech due to their extreme clarity and zero colour cast. The filter holder is also perfect for minimising light leakage.

TRAVEL TRIPOD

It’s tough these days to balance stability with having lightweight gear and being inconspicuous. Do your research and find a tripod to meet your needs and budget for city and travel photography. I also use alightweight ball head for ease and flexibility.

WIDE-ANGLELENS Use your best wideangle lens. Opt for around 20mm to minimise lens distortion, ensuring plenty of sky and foreground space around your skyline.

Aim for maximum contrast in the shot Look for contrasting light to get the best black and whiteconversion

As we all know, sunrise and sunset is the best time for fabulous light. When taking cityscape shots look for the most dramatic light on the most prominent buildings, and if you are lucky enough to have all the elements of light, shadow and moving clouds in one place at the right time then use your long exposure techniques to really dramatise the image.

Smoothing any water in the foreground and/or capturing directional movement in the sky adds drama and atmosphere which will all lead to a more exciting black and white image in post-production.

53

SHOOTING SKILLS

Edit the shot

1

1

2

Lightroom lens corrections Open your RAW file in Lightroom and select Lens Corrections. To minimise the impact of using a wide-angle lens, check the ‘Remove Chromatic Aberration’ and ‘Enable Profile Corrections’ tick boxes.

2

Transform function Use the Transform tool in Lightroom to straighten horizons and any remaining wide-angle distortion. Use the Guided feature and place your guidelines on the distorted buildings. Use the content aware fill to sort out the adjustment areas or simply crop.

3

Check the highlights and lowlights With high-contrast shots it’s easy to clip the highlights and shadows, but using the ‘Basic’ sliders and some selective radial filters on specific areas of the buildings you can correct this easily.

4

Black & White conversion Turn blue hour into black and white using the profile browser in the ‘Basic’ tools of Lightroom. I will often use Silver Efex Pro if I can’t find a preferred Lightroom profile as this offers a more dynamic choice.

3

4

5

Spot removal I know it’s incredibly dull, but lengthy long exposures can show spots or missing pixels on the image so in Photoshop I always zoom into at least 100% and scan the image for spots. Or, use the Camera Raw Filter tool to scan and remove.

6

Crop or not to crop I love a square crop in all aspects of my photography and to get a real sense of fine art in this shot I felt a square crop on the buildings with a hint of sky movement remaining works really well.

“I always zoom in and scan forspots” 5

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6

BLUE HOUR TOB&W BEFORE

Left

Before – Manhattan blue hour The unedited RAW file of this classic New York city skyline Below

After – final edit The final edit and black and white conversion

AFTER

55

SHOOTING SKILLS

AFTER

Shoot dynamic street scenes Capture a different perspective on city life

using elevation and lens focal length as a tool

The allure of street photography is in the capture of candid moments, which will never again occur in exactly the same way. The same could be said for all genres of photography, of course, but it is especially potent in street imagery. The people and the places with which they are interacting, within the shot, represent an identifiable proxy for our own lives and can stir emotions in a highly specific way.

With that in mind, sometimes looking for unusual angles can be the best way to capture a story and inspire the imagination of the viewer. Being in among the action, capturing it with a wideangle, might create the feeling of inclusion and stimulate the senses, but shooting from afar, in a less ordinary position, can have the power to make us appreciate the details. Shooting from an elevated perspective can enable the photographer to capture more of the scene, and in a way which we would be unable to see at ground level. It helps place all of the elements in context.

There are challenges, of course, and selecting the right focal length, camera orientation, exposure and composition are all paramount.

Let us take a look at the main steps necessary to turn a simple scene into a strong narrative, with visual appeal.

Find a vantage point Start by finding an elevated perspective that offers a relatively uninterrupted view of an interesting scene. Scouting a location ahead of time will allow you to find a worthy subject – a stage for characters to walk onto.

56

Incorrect framing has created a sense of misalignment, with some of the action on the right being cropped out of the shot and an excess of negative space appearing to the left of the frame Right

Balance and timing

The re-framed shot has a better detail balance and maintains a sense of order, despite the top-down view. It also has the ideal arrangement of characters

BEFORE

hceneF reteP © segami llA

1

Inset

Uncomfortable composition

2

Choose a lens Select a focal length range for shooting, which will usually be based on your height and the distance from your chosen area of study. Longer focal lengths are generally better as these will allow you to isolate smaller details in the wider scene.

3

Maximum magnification to start (then zoom out) It’s easy to include too much peripheral detail, so starting with the longest focal length gives you a clearer canvas. Only zoom out if essential detail is being excluded – it’s mentally easier than cropping elements.

4

Spot metering Switching to this metering mode is often advantageous, since the top-down perspective exaggerates exposure hotspots – they are harder to overlook, given the flatter view. Spot will help control distracting brightness.

5

Adjust rotation It is possible that you might be disoriented when looking down through a viewfinder – essentially, it’s like a feeling of vertigo. This makes misjudging the horizon easy, so always make sure you’re happy with the camera’s roll position.

6

Burst mode Shooting longer sequences of images increases your chances of capturing your players in the most interesting arrangements. In this example, burst shooting allowed momentary, but visually engaging, character eye-lines to be captured.

57

AFTER

SHOOTING SKILLS

Search for structures Combine golden hour light with a

macro lens to reveal the intricate structures of the smallest subjects

How often do you stop and take a good look at what’s at your feet?

Maybe not often, right? Well, if you do take the time, you’re likely to find subjects that have a lot to offer, including some with the most amazing structures. Take our example, the humble dandelion, found in any garden or park. It may seem unremarkable from above, but by getting down to a worm’s eye view and breaking out the macro lens, you’ll unlock the door to dynamic creative possibilities.

You see, using structure in your images brings with it a multitude of benefits. It can lead the viewer’s eye through the frame, leading them to a point of interest. Alternatively, you can use a strong outline structure to fill the frame with abstract lines – there really are no rules and experimentation is the best route to fresh and interesting pictures.

A creative approach that has always worked well for me over the years is to combine a silhouetted structure with warm, golden hour light – this will not only bring a premium feel to the frame but will also help highlight the lines of the structure. Of course, sourcing this light means a little more planning and, especially in the UK, plenty of persistence. However, there is no shortage of apps that can tell you when the golden hour will be, and these can maximise your chances of a great shot.

Plan ahead Before you head out with your camera, download a photography app, such as Photo Pills. This will enable you to virtually scout out a location to find the direction the golden hour light will be cast and the time you need to arrive and set up.

58

This patch of dandelions seemed unremarkable, but backlighting them transformed the final image Right

Outline appeal

A macro lens and great light revealed the true structure of thesubject

BEFORE

maharG yttaM © segami llA

1

Inset

The light is right

2

Grab support When using a macro lens, camera shake can be a problem, so it’s best to employ a support. Tripods can be clumsy when setting up low viewpoints, so use a mini tripod that lets you capture steady shots from a low down position.

3

Switch to Manual When shooting with a subject close to the lens, autofocus systems can become a little flummoxed. To get around this, simply switch to manual focus (MF on the lens) and focus by hand, twisting the focus ring to fine-tune your focus point.

4

Flip the LCD With some particularly low viewpoints, looking through the viewfinder may mean you have to lie down flat on the ground. One way around this is to use a variangle LCD screen that you can tilt while you set up the most appropriate composition.

5

Sort your settings Turn the camera’s exposure mode dial around to select Aperture priority mode (A or Av) and dial in an aperture of around f/8, which tends to give the sharpest results from a macro lens. Check your subject is in focus and then trip the shutter.

6

Get creative While the golden hour light may work well, you can mix things up by changing the white balance to achieve a cooler result. Remember to shoot in RAW file format to give yourself more tolerance when processing colours later on the computer.

59

EDITING SKILLS:PHOTOSHOP

PHOTOSHOP TUTORIAL

Turn clouds into mist Add mist to dark images using just a

mobile phone shot of an overcast sky

Meet the editing pro

James Abbott is a professional photographer and photography journalist specialising in shooting and editing techniques. His first book was recently released and covers professional image editing skills in both Adobe Photoshop and Affinity Photo. @jamesaphoto www.jamesaphoto.co.uk

1

Open, Copy & Paste Open your main image and cloudy sky image in Photoshop and click on the tab for the latter. Press Ctrl+C to Copy, click on the tab for the main image and then press Ctrl+V to Paste. If the cloud image was taken on a mobile phone, it may be smaller than the main image.

Judging the weather doesn’t always go to plan, even when you use several weather services to be as sure as you can that the forecast is correct. When this image was taken, there was fog everywhere except inside the forest itself.

So, using this technique that only works with images made up of mostly darker tones, it’s possible to create a reasonably realistic layer of fake mist.

What you’ll be using Copy & Paste Transform Clipping Mask

Curves Levels

2

Transform the Layer With the cloud image layer active, press Ctrl+T to open the Transform controls. When the bounding box appears, hold down Shift to unconstrain proportions and drag the image beyond the edges of the main image and rotate if you wish.

Hit Enter on the keyboard when finished.

BEFORE

3

Add transparency The cloud layer is still solid and needs a degree of transparency so it looks more like mist. Go to the Blending mode dropdown menu that’s set to Normal by default and select Screen. The image will still look too opaque but we’ll adjust this in the next step.

KEY TIP AN OPTIONAL ttobbA semaJ © segami llA

4

Use Curves Click on the Create new fill or adjustment layer icon at the bottom of the Layers panel and select Curves. Click on the Clipping Mask icon which is a square and downward arrow. Place three points to create a backwards L shape on the curve to add more transparency.

60

STEP

5

Enhance the mist Create a Levels Adjustment Layer and when the dialogue box opens drag the black Output Levels slider right to around 20. This will lift darker tones and create a hazy look that will help the cloud Layer blend with the main image. For this shot, the white point was also increased to 245.

Step five is completely optional but it can be used to increase the haziness in the image so there’s less of a contrast between the main shot and the overcast sky image.

Above

Dark and moody

The moodiness ofthe shot works well with the tree subtly lit from above, and the dominance of dark tones in the scene make it the idealcandidate for this technique

Right

A hint of mist

The non-uniform nature of clouds in an overcast sky make a plain image of the sky taken on any camera a great starting point for creating realistic mist

61

EDITING SKILLS:LIGHTROOM

LIGHTROOM TUTORIAL

Create a cinematic look and feel Use Lightroom’s Color Grading controls to creatively enhance colour balance

Creating cinematic-style colour grading effects is a proven method of controlling atmosphere and visual style in film, television and, of course, photography. There are several different ways of applying colour grading effects in Lightroom,

but the most effective and indeed easiest way to do it is using Lightroom’s powerful Color Grading controls. The technique works with all images, but we’ve chosen a trickier portrait to show you how skin tones can be kept as natural-looking as possible.

Inset

In need of adjustment

Just like RAW files from a DSLR or mirrorless camera, mobile phone RAW files need to be processed.

As always, shooting RAW provides more editing flexibility than JPEGs

Main

Fast and easy edits

The highlyintuitiveLightroom Mobile interface allows you to use many of the editing tools you’re used to using in Lightroom Classic and Lightroom CC to edit shots in just a few minutes

KEY TIP RESET THE CONTROLS

To reset the Hue/Sat point on the colour wheel, simply double left-mouse-click on the tiny dot in the centre. To reset any of the sliders below, double-click on the slider point.

What you’ll be using Basic adjustments Color Grading Hue/Saturation

ttobbA semaJ © segami llA

3

Luminance Balance

Adjust Highlights Click on the Highlights dot at the top and select Hue/Sat for this tonal range. For this image, it was important to maintain natural-looking skin and the blue in the shadows had cooled the skin down slightly so a brownish-orange was used with Luminance set to +15.

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1

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4

5

Basic adjustments Process your image normally using all of the tools you would normally in the Basic panel etc. The aim is to get the image looking just right before moving onto the colour grading. Don’t forget to use Localised adjustments to enhance specific areas of the image.

Adjust Midtones You could opt for a third Hue/Sat here, but to further improve the skin tones the Hue was set to 45 like the last step for consistency, but for a reduced effect Saturation was set to 9 rather than 25.

Luminance was then set to -10 to darken just this tonal range slightly.

Adjust Shadows Drag the point on the colour wheel to the desired Hue/Sat – the position around the wheel defines Hue while the distance from the centre controls Saturation. Here, shadows were set to a slightly greenish-blue, and Luminance was increased to +30 to lighten shadows.

Check all settings Before finishing make sure that you’re happy with the balance between the different colours by checking the Shadows, Midtones and Highlights individually.

While checking the Shadows for this image, the skin still looked slightly cooled so the Balance was set to +10.

AFTER

BEFORE 63

GO PRO

NFTS EXPLAINED

What are non-fungible tokens, how do they work, and what do they mean for photographers? Pro Jordan Banks explains more

W

Written by Jordan Banks

hat are NFTs? This is a question I have been asked a lot over the previous few months.

NFTs or Non-fungible tokens are a new form of digital investable stored on the Ethereum blockchain. NFTs can be collected in the same way editions of photographic prints are in the traditional market. The result is a potential new avenue for photographers of all levels and genres to market and sell

their work. The only difference from the traditional art market is that everything from transactions to ownership is conducted in a digital manner via the blockchain. If you’re thinking this doesn’t make much sense, then don’t worry. Over the next couple of pages, I will be taking you through the steps to understand, set up, sell and hopefully further utilise the NFT marketplace within your photographic business model.

Right

Steps

Steps is the second piece from my series Rainbow World © Jordan Banks

What is an NFT? What does nonfungible token even mean?

One of the main confusions around NFTs is simply the name. Once we make sense of this things usually become a lot clearer. Token is the name given to a digital asset that can be transferred between people/buyers/ collectors on a blockchain. Nonfungible references the fact that the token can’t be replicated or divided into sections as you could say with a more common token such as bitcoin. What makes them unique is the digital asset attached to the token.

Where did NFTs come from?

The tech behind NFTs has been around since 2015 when unique tokens were added to the Ethereum blockchain but didn’t become a big deal until early in 2021 when artist Beeple’s composite NFT sold for $69.3 million in an auction at Christie’s London. News of other big figure sales along with the ever-growing list of success stories from far lesser66

known creatives has attracted a lot of attention around NFTs and this doesn’t look to be dying down any time soon.

How to set up an NFT Getting set up to sell NFTs isn’t quite as simple as just uploading them to an auction site and away you go. The first step is to select a platform to auction your work. There are some very exclusive platforms such as SuperRare which I would equate to Sotheby’s – these are invite only. You then have the middle ground of Foundation which is also an invitation, but instead of a board of curators, invites can be given out by existing members of the Foundation community. Finally, you have the far more accessible OpenSea, which is open to everyone. There are a handful of other platforms out there such as Rarible and MakersPlace that are also good starting points.

Once you have decided on the most suitable platform to market your work you will need to exchange your Sterling

for Ethereum in much the same way you would from a bureau de change.

Due to the digital nature of NFTs and the fact that all transactions take place via the Ethereum blockchain this will be in the form of a digital transaction.

I use Coinbase to exchange/buy ETH but there are plenty of options available.

With some Ethereum, the next step is to set up a digital wallet that connects and acts as your login to your chosen auction site. The majority of auction platforms use MetaMask crypto wallets so this was the obvious choice for me. Once your wallet is set up, you can easily connect it to the chosen auction platform. The final step is to transfer your Ethereum to your crypto wallet and you are all set. The transfer process is fairly straightforward, but I would suggest sending a very small amount first just to make sure everything is working correctly. If you do happen to send crypto currency to the wrong wallet there is nothing you can do to recover it.

NFTS EXPLAINED

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GO PRO The minting process Once you have chosen your platform and set up your crypto wallet, you are ready to mint (the term used for producing NFTs) your first piece.

As with most things in life there are fees involved with minting and listing NFTs. Your chosen platform will take a percentage of the sale price, which is pretty normal from any auction. This can range from 2.5% with OpenSea to 15% with Foundation.

On top of these there are minting and listing fees. These fees are set by the current gas fee (also known as gwei) which is a form of compensation based on the computing effort energy required to process and validate transactions on the Ethereum blockchain. This fee varies depending on the current stress on the blockchain and can get quite high over certain periods so I would suggest having your NFT all set to go and then mint and list when the gwei is low. The lowest times for gas fees in my experience are early morning in the UK when the US market is asleep but you can keep an eye on gas fees at www.ethereumprice.org/gas/ Pricing your work Pricing your work has always been a tough area for photographers and this is no different when it comes to NFTs. You will see some pieces selling for very large amounts but it is important not to get caught up in the hype and overprice your work so that it doesn’t attract any collectors. This isn’t the traditional image licensing that most photographers are used to, but instead investments and collectables. The last thing investors want to see is a photographer jumping their pricing structure up and down without any real reason. This is viewed as a risky investment and the sign of a creative who doesn’t really know what they are doing or how to value their work.

NFT ownership and copyright As things stand, the purchaser of an NFT has ownership of this digital asset and not the copyright, which remains with the photographer. Think of it in terms of purchasing a 1 of 1 or limited-edition Ansel Adams print.

The buyer owns that piece and that piece only, which they can sell on at any time should they choose to. They do not however get the negative and Ansel Adams or his estate in this case can still license usage of the image in magazines, books, postcards etc.

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“It's an opportunity for photographers” Above

Saffron Men

Saffron Men from my collection the Human Element onOpenSea

Right

Love

Love is a 1/1 piece listed on Foundation with all proceeds going to charity

Below

Alone

Alone is the first single image I have listed on Foundation, a creative platform for artists, curators and collectors

NFTS EXPLAINED

sknaB nadroJ © segami llA

Why should NFTs be taken seriously by photographers?

Photography and other forms of digital art have been historically snubbed by the traditional art market not recognising the ‘uniqueness’ of a digital piece. The rise of a new market that brings value to digital assets is an opportunity for photographers and collectors alike.

The future of NFTs It’s still very early days so it is hard to be sure exactly what direction the NFT marketplace will head, but I believe it will become a mainstay for art and photography collecting over the coming years. The majority of photography and even art is produced in a digital format already so it makes sense to me that this market sector will continue to grow.

I also see a potential for these platforms being used for the licensing of images. One of the reasons RM has been almost eradicated by RF is due to the uncertainty around the history of the image. With NFTs the image history is stored on the blockchain ledger giving picture buyers access to the complete history of the image making it a more certain option for picture buyers.

How to market your NFTs

As with any photography, the big question is how do you market your work? The answer is no different in the NFT space. The arena is still in its infancy so it’s hard to be sure exactly at this stage of the best practices.

Personally, I will only be minting my best images and keeping an air of exclusivity around my work by not flooding the market. As collectors are in general collecting pieces based on the artist rather than the single image, you will need to find your voice and get yourself in front of potential collectors.

The main spaces for NFT collectors and artists to interact is on Discord or Clubhouse groups, whilst Twitter has become the space for marketing and general interactions. It’s important to be genuine and not just use these groups for ruthless self-promotion. I have also seen some photographers offering prints or even monitors preloaded with the NFT along with each sale so there is definitely room to bring traditional marketing tactics into this digital space.

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GO PRO

Pro case study

Marco Bottigelli How I found scarcityin an overly photographed world thanks to the NFTs

Right top

Oriental Escape

During the pandemic, Marco looked at ways to make his photographs more unique

Right below

Winter Fairytale

From Marco’s first series, Wanderlust that sold for 4ETH or $7796.00 at the time of writing

For more, visit: www.marcobottigelli.com/ twitter.com/marcobottigelli 70

illegittoB ocraM © 2x

Photography still occupies a small niche in the NFT market space. In situations such as this, you must decide whether to remain a spectator waiting for the interest to increase, or invest your time and resources on being a pioneer of a movement.

Thanks to the excess of free time resulting from the travel restrictions due to the pandemic, I decided to go for the latter.

Overall, as a creator, I strongly believe a skill that should never be lacking is curiosity.

Despite a decade of experience as a professional in commercial travel photography, I found pleasure in sitting back and learning something new from scratch.

In the art market one of the main elements for defining the value of a work is scarcity, so the first paradigm I faced was how to make my photographs 'more unique'.

I came up with the idea of going through a brand-new avenue; blending some of my favourite photos from recent years into surreal, evocative and intriguing composites, albeit with elements that are recognisable to an attentive audience.

Part of a travel photographer’s job is based on finding the best viewpoint over a landscape or a city based on elements from the real world. In the same way, the freedom of art (or rather cryptoart) has unleashed my imagination in finding new viewpoints over recognisable landscapes, in much the same way I search for a better imaginary viewpoint in the wideness of the Metaverse.

In May of this year my first series ‘Wanderlust’ was born – three works that project the observer through the subject on an iconic and dreamlike journey. Two of the three works met their collector in the first two weeks of their publication. Then, at the beginning of July I published my second series ‘Gondola Fairytales’, a two-piece epic tribute to the explorers, myth and legends from the history of Venice.

Marco’s top 5 tips

Showcase your absolute best You have limited chances to showcase your skills, thus you want to focus only on the very best. If a piece doesn’t fully convince you, no one else will be convinced either.

Be scarce Scarcity raises the value.

Limited editions and rare releases lead to an overdemand of your works, which in turn leads to higher prices.

Care for the community There are lots of artists out there doing what you’re

doing. Engage with them, exchange ideas, and learn from others’ experiences. This will also widen your reach to collectors.

Promote your work You’re doing freelance. You must learn the best practices to promote your work. Don’t spam, don’t rush and be patient.

Be in it for the long term Like every new technology, it takes time to take root in the market. Enjoy the process and be in it for the long term and not quick gain.

MILKY WAY PHOTOGRAPHY PRO GUIDE TO

Expert photographer Alyn Wallace shares his top kit, tips and techniques for capturing and editing Milky Way panoramas

With k o o B e guide

E E FR

Next issue

The latest kit reviews, tutorials and projects to hone your photo skills

Issue 245 is on sale

5 October 2021

Plus, these essential guides:

Available at www.magazinesdirect.com

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segami ytteG tnemoM / yhpargotohP ieW gneF ©

• Create stunning autumn images • How to set up your own exhibition • The best prime lenses for astrophotography

GO PRO

Career advice

This issue Claire Gillo answers more of your burning questions on arts funding, background setups and memory cards

Grant access?

How easy is it to get funding? I’m a recent photography graduate and have lots of ambitious ideas, however, I don’t have the finances behind me to carry them out. Do you have any advice for a newbie on the block?

Daniel Smith

Daniel, the good news is, yes, there is funding and financial help available for the arts and photographers out there, whatever your experience. However, be under no illusions that it is easy to get.

You have to be prepared to put in hard work with there being no guarantee of financial assistance at the end.

Projects that may be more enticing to the application approvers are ones that are beneficial to the community and society, and have historical, cultural or social value, so think about how your project will be seen by, and benefit, others.

There are many grants available and for those in the UK, the Arts Council is a good place to start. Grants range from £1,000 to £100,000 and are ongoing. Find out more at www.artscouncil.org.uk.

Other useful links for grant resources include: www.fundingforartists.org.uk/ artists and www.rps.org/opportunities.

Also, see artist and photographer Carolyn Mendelsohn’s answers on the next page for further advice. Good luck!

Applying for a grant is a difficult process, but for the potential it can bring to your practice, it is certainly worth exploring all your options 72

Background info I want to evolve my business to include studio setups out on location, for example, to take professional headshots in people’s homes. I have my lights sorted, however, what background setup is affordable and easy to assemble?

Amy Friend

When it comes to portable studio backgrounds, you can’t go wrong with a Manfrotto or Lastolite system – the two are quite similar. Having used the Manfrotto 1314B for years, we have found no fault when it comes to this model. It is light enough to transport around, yet sturdy when erect.

We did a quick search online and this particular model doesn’t seem to be in stock at the moment. However, there are other similar models out there that are available.

If you want to save some money and aren’t in a hurry, have you thought about purchasing one second-hand? This type of kit doesn’t need to be bought new, although we would

Getting a sturdy background is important if it is going to have heavy use

always recommend seeing it first before committing, so you can test the joints and locking mechanisms.

There are many cheap background systems out there, however, you should be aware that if your kit is going to be heavily used, buying cheap knock-offs is a false economy and they will simply break after not much use.

It’s always a tricky balance between purchasing what you can afford versus getting something of high quality, so you’ll need to weigh up all your options.

Refresh your memory How often should I change my SD memory card? I’m worried that I’ll be on a shoot and the card will fail. This has happened to a photographer friend of mine and ever since then, I’ve been terrified the same will happen to me!

Frances Holmes

All photographers have this fear, Frances.

Really, it’s a ‘how long is a piece of string’ type question with no definitive answer.

When it comes to memory cards, if you treat them well they should last for years, in theory at least. Buying well-known and established brands rather than cheaper knock-offs will also increase your chances of not having any issues with your cards.

Of course, as with any piece of photography equipment, as it gets older there is always an increased chance that it won’t perform as well as it should. Our general rule at Digital Photographer is that, if your memory card is heavily used, think about replacing them every 2-3 years. Check with the manufacturer about the longevity of your card and ask them for advice about how best to look after it.

Memory cards vary in longevity, so you should seek advice from the manufacturer about looking after it

CAREER ADVICE

How do I get a grant?

Carolyn Mendelsohn, artist and photographer,

reveals her experiences of applying for arts funding

Fromleft Council funding Mabel (aged 10), Aaisha (11) and Heavens (10) from Carolyn’s series Being Inbetween, which received funding from the Arts Council in 2016

for example, you can apply for funding to pay complicated process, and receiving it meant What arts grant(s) that I could pay my bills, and develop a whole someone to help. It also has an amazing fund, have you received and called Developing Your Creative Practice. This new piece of work. what did they fund? is extremely competitive but worth looking Before that, I also received Arts Council Over the years, I have been into if you want to develop your artistic work. funding to help with the original Being lucky enough to receive a I also apply to my local council, which has Inbetween exhibition at Art Link Hull in 2016, few grants from the Arts funding pots for the arts. These are easier to when that project was in its earlier stages.

Council that have either apply for and more straightforward. It’s well enabled me to complete an exhibition of my worth researching where you live. work in partnership with a gallery, or develop Is it a difficult process to get a grant?

As a photographer whose work gets exhibited an artistic project. and commissioned, I occasionally apply to the What skills and qualifications do you need Most recently, I applied for and received to qualify for funding?

Arts Council (www.artscouncil.org.uk/ourArts Council Project funding which enabled You need to be able to show that your work open-funds/new-arts-council) for a grant. me to continue developing my ‘Through Our or practice can be considered as art. This can I never take this lightly, as it isn’t an easy Lens’ (www.instagram.com/through_our_ be done through your CV or proof of previous process and they have strict criteria that lens_covid19_proj) project. That started as work and exhibitions. You don’t need any you need to fulfill. However, there is a lot of a project enabling young people to tell their guidance available and it is possible to attend specific qualifications. story of Covid 19 through photography. I ran workshops and mentored young people online, workshops that go through the process What advice would you give to others in detail. You need to know exactly what and then exhibited their work via Instagram. trying to get a grant?

The work was picked up and soon appeared you intend on doing, the budget should be detailed and also it helps if you have partners Applying for arts grants isn’t an easy option, in the national and international media, and and it shouldn’t be. I have had applications or matched funders (cash or in-kind). Make led to an open-air public art exhibition on that haven’t been successful because there sure every single element of the criteria is billboards and the side of buildings. ticked off to stand any chance of a successful are so many people applying and the team In April 2020, I applied for and received a has to pick one out of many. So be prepared, £2,500 grant from the Emergency Response application. I find the job (and it is a job!) of filling in the online application challenging and, do your homework, get support and good luck. fund the Arts Council set up. This was a complete lifesaver for me, as a self-employed in the past, I have budgeted for someone to Carolyn’s book Being Inbetween is available photographer and artist, I don’t think I would assist me. This doesn’t guarantee success – but helps with my stress levels. have been able to survive well without it. from Bluecoat Press: The Arts Council is also very good in that Applying for this emergency funding was www.bluecoatpress.co.uk/product/beingif you have access issues, such as dyslexia, far more straightforward than the usual inbetween/ Find out more about Carolyn Mendelsohn at www.carolynmendelsohnphoto.com and www.carolyn-mendelsohn.format.com Follow at @carolynmendelsohn_ twitter.com/tarlyn 73

YSIS L A N A PR

WHY SHOTS WORK

NAME:

The Gateway

DATE: KIT:

May 2021 Nikon Z7ii Nikkor Z 14-24mm

WEBSITE: www.pengshi.com f/8

ISO 64

1/160 sec

“It’s easy to over-capture with a wide angle lens, leading to a busy photo with lots of elements vying for the viewer’s attention.

My advice is to keep the composition simple.”

CONTRASTS

NATURAL FRAME

ihS gneP ©

There is more than one type of contrast you canwork into a scene. In this image, we have contrast of both colour and brightness. Peng Shi has captured a full tonal range, with both bright highlights and deep shadows, completing the scale of light and dark without clipping any detail. He has also captured the contrasting colours of the yellowish stone and blue sky, which complement each other well.

Frames within frames are always a strong composition tool. This image is a perfect example. “I wanted to draw the viewer in,to make them wonder what’s beyond that sand dune, to wish they could be in the shoes of that hiker,” says Peng. As with any endeavour though, benefits bring challenges– in this case, the environment. “The challenge was working in an environment that was beyond my control. As much as I try to research and plan ahead before visiting a location, I am still at the mercy of the weather. This large overhang was carved out from wind erosion and on the day we were there, we experienced the full force of the wind.”

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The Pro: Peng Shi Based in California,

Peng Shi’s commercial work centres around Real Estate and 360 VR photography, while his personal work focuses on travel and landscape imagery. He is a Google Trusted Photographer for VR tours and has provided content for the likes of BBC Earth, Baidu Travel, Samsung China, and various travel sites in China.

LONE FIGURE

The single human figure is another compositional tool that induces a sense of occupying a spacewithin a two-dimensional frame. Here Peng uses this tool to focus the viewer’sattention and hold it. “I really love whata human figure adds to this shot.I used tothink humans do notbelong in photos that showcase natural landscapes.I have since realisedhumans are a size reference wecan all understand. It’s a great way toadd a sense of scale to a photo. If I were to do this again, I would probably trya MilkyWay night shot.”

SCALE

Many imagesfail to impress because of a lack of identifiable scale.

Here Peng includes thefigure to give scopeto the surrounding landscape. “Iwanted to convey a sense of grandeur and mystery.

My hope was to create a composition that accentuates the size of this cavern, to show how small and insignificant we are against mother nature,” he says.The human shape is relatable and helps the viewer imagine what it wouldbe like to stand within the scene.

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INTERVIEW

David Lloyd

Originally from New Zealand, David Lloyd is a UK-based wildlife photographer. He spends around a third of each year in Kenya. His work has been exhibited at the Royal Opera Arcade Gallery and the Royal Geographical Society, and won awards in Wildlife Photographer of the Year, GDT European Wildlife Photographer of the Year, and Outdoor Photographer of the Year. On his website, you can find details of prints, photo tours and his book As Long As There Are Animals, which has a foreword by Born Free’s Virginia McKenna.

For more info, visit:

www.davidlloyd.store @davidlloyd @davidlloyd.wildlifephotography Pictured Black rhinoceros in Maasai Mara, Kenya

The Great Wide Open

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DAVID LLOYD

SUPER NATURAL Wildlife photographer David Lloyd is renowned for capturing animals in all their natural glory and is now helping to raise funds to protect them

O

n David Lloyd’s Instagram account, there are two short sentences that tell us a lot about his work: “All animals wild and free,” and “All pictures Photoshop free”. In a photographic world where it’s hard to trust our eyes, with photos heavily altered or animals photographed in captivity, Lloyd’s wildlife photos stand out as classic, clean compositions, mainly focusing on the wildlife of Africa.

Writtenby Graeme Green All images © David Lloyd

Originally from New Zealand, Lloyd is based in the UK and previously worked in graphic design.

Photography started, he says, as an “obsessive hobby” to go out to Africa and take photos to put on his wall, but now his photos are on the walls of wildlife lovers around the world.

There’s a chance to pick up one of his prints for far less money than usual this summer. Lloyd is one of more than 150 globally renowned photographers supporting the

second edition of Prints For Wildlife (www.printsforwildlife.org).

Created by photographers Marion Payr and Pie Aerts in the height of the Covid pandemic, the first Prints For Wildlife raised US$660,200 in 2020 for African Parks (www. africanparks.org), a non-profit conservation organisation that manages 19 parks in 11 countries on behalf of governments in Africa for the benefit of local communities and wildlife. This year, they have an ambitious target of one million

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INTERVIEW dollars, with prints on sale from well-known photographers (Steve Winter, Ami Vitale, Greg du Toit, Clement Kiragu, Beverley Joubert, Sudhir Shivaram…) and emerging international talent.

You’re involved with Prints For Wildlife again in 2021 and have supported other conservation projects and causes. Do you think it’s important for wildlife photographers to give something back?

I’ve been a photographer all my life. I first picked up a camera when I was five. I loved wildlife ever since I was young and I loved art,

so these things came together. Before I was a photographer, I was a graphic designer. But ten years ago, it was an obsessive hobby of mine to go to Africa and to take photos to put on my wall.

What comes out of that is an empathy for animals. You start to understand them more. I always liked animals, but when you see them first-hand you start to develop more empathy.

You want to care for them. You’re on their side and want them to do well.

There’s a part of me that says I’m using animals for my benefit and there’s some guilt

around that, so it’s a case of wanting to give something back.

But I’m a little critical of people who criticise photographers for not giving back. It’s an evolution. It’ll come in time. It wasn’t like I didn’t want to give something back before. I was just enjoying myself but then it became apparent to me that I should do something. It’s a natural thing to want to give something back.

It also goes the other way: a lot of people start off with a passion for animals and then their photography develops, like Jonathan Scott.

Your Prints For Wildlife print shows a gentle moment between a giraffe mother and infant. Where was it taken?

That one was taken in the Maasai Mara in Kenya. It’s a very popular photo when I post it. It’s a genuine parent and infant moment. It’s very touching, and it has that anthropomorphic element.

Do you often try to capture intimate moments and interactions like that?

People sometimes tell me that the animals either pose for me or I catch them in the right way. I haven’t gone out and said to myself I need to catch animals in a certain way. I just take what’s in front of me and it’s what comes through.

When I get the pictures, maybe with my subconscious mind I select the ones that are like that. I might crop a bit to tweak the composition to make it more appealing, but I don’t like to crop much. I don’t have a specific rule for how I take photos.

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DAVID LLOYD A lot of people might ‘take what’s in front of them’ but not get such good results.

What are you doing differently?

I don’t know. I don’t want to make myself bigger than I am. I’ve been around animals all my life. We’ve always had animals as a family.

Maybe on a less-than-conscious level, I see a connection and I take the photo. They look me in the eyes and I take the photo.

What I will say is that when someone goes to Africa for the first time, they’ll come back with some photos. The second time they go, their photos will be incrementally better. The third time, their photos will be much better.

My wife told me that my photos were getting much better every time I went. That happens because when you go back you already have an awareness of what you’re looking for. You’re no longer taking what you took the first time, like a stock photo of a lion, and you can afford to take a chance on something else. Revisiting a place is the best way to get better photos.

You’re looking deeper each time.

On your website, you suggest photographers should stay with their subject for as long as possible. How important are time and patience to getting good photos?

I take photo tour groups out in Africa, and in-between I have my own space and time.

Even if I’m not taking photos when I’m with a tour, I’m always observing. When I go out with my people, I tell them we’re not going to chase five species each day to get a photo of a rhino, a photo of a lion… It’s not about ticking boxes.

It’s about what we see. If you can come out with one great photo a day, that’s all we ask for. We wait, sometimes all day, and hopefully something comes of it. But even if not, we’ve still learned something.

You spend a lot of time each year in Africa.

What draws you to Africa?

In Africa, there’s so much variety. It’s fantastic.

You go to Kenya, and you see so much wildlife.

You go to Uganda, and it’s so different, with all the primates.

I think Kenya is a logical first step for anyone in wildlife photography. I spend three or four months every year in Kenya. The people at Entim Camp in the Maasai Mara have become close friends to me, like a second home. The Maasai Mara is particularly appealing for photographers because it has so much wide, open space. It you want clinical, clear pictures, you’ll be rewarded there more than many places in, say, South Africa.

I’ve started going to India too now. I’d been travelling to Africa for maybe ten years and wanted to try something new. Tigers are the biggest cats. The colours are magnificent.

Far left top Maasai giraffes in Maasai Mara, Kenya

Touché

Far left below Hippopotamuses in Maasai Mara, Kenya

Hippodrama

Left Elephant matriarch in Maasai Mara, Kenya

Tiny Red Dot

Below Bengal tiger in Bandhavgarh, India

Stripes

“Revisiting a place is the best way to get better photos”

In Africa, you spent time photographing Scar, an iconic lion who died recently from 79

INTERVIEW

The mission behind Prints For Wildlife

Prints For Wildlife is an initiative that was set up to support conservation efforts during the challenging time of the COVID-19 pandemic and travel restrictions. The founders created a smart, simple and effective way to raise awareness for conservation and to raise much-needed money for the work of African Parks. They raised $660,000 in 2020 selling limited edition prints to raise money when they were hoping for $100,000. Not only did they raise five times their goal, but they brought like-minded people together to focus on the conservation of wildlife.

The second edition of Prints For Wildlife this year has collected over $1 million, which will be directly donated to the African Parks.

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DAVID LLOYD Pictured

All the Time in the World

Cheetah in Maasai Mara, Kenya

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INTERVIEW natural causes. His death was international news. What do you make of the fact that one lion can be so famous?

Scar has an iconic appearance. There was somebody who Photoshopped him once to make the eye ‘normal’, and he still looked magnificent. But the scar added to his personality. The poor guy had a scar all through his adult life. We saw him rubbing his eye. It must’ve annoyed the heck out of him. It was often covered in flies.

Is there a good lesson to take from Scar: that wildlife (and people) don’t need to be physically ‘perfect’ to be attractive or to make interesting photos?

It’s a good point. I made a mistake years ago.

There were two lions, Romeo 2 and Mohican, who had had a fight and were walking towards the camera. I was keen to get a head-on shot, and I said to the driver, “I don’t want this lion.

I want the other one, because it’s better looking.” And I was wrong. He looked more perfect, but an imperfect lion with lots of scars and character on their face for purely photographic purposes might be more of an interesting picture.

What changes have you seen since you first started going to Africa?

I first went out in 2006 and I’ve been going regularly since 2011. The biggest change I’ve seen is in the people. When I first took people out in 2011, there weren’t many photo tours and now they’re a dime a dozen. We didn’t get

comes up is Marsel van Oosten. Another the crowds of people that we do now. That’s the biggest change, and the way a lot of people name that comes up is Chris Packham. Chris Packham has the best composition of photos interfere with the wildlife. of anyone in the UK, in my opinion. He has Asperger Syndrome, and people with Asperger Your photos have a natural style. Do you Syndrome have an incredible sense of space think authenticity is important? and composition.

Personally, all I ask is that people are honest Composition is not the rule of thirds. about what they’re taking. If you took a photo Composition is not about rules. I never and the animal was not in the setting you’ve consider the thirds. A photo just looks right showed it in, say so. I like to keep things to me in the viewfinder. I ask myself, “Why natural. I have no beef with people who don’t does it look right?”, so I can convey it to other keep it natural but I do wish they’d say so.

I won’t even take a leaf out. It’s the start of a people. For me, it’s about ‘weight’. A bright part slippery slope. Next time, it will be a twig, then of a picture has weight, a texture has weight, whatever the eye directs you to is weight. It’s a branch, then a tree. There’s an obsession about the distribution of weight. for people to get rid of every little distraction, I have a photo of an elephant walking out so it’s not natural anymore. When it’s done of the frame, which is breaking the rules, but in post-production, it gives us all a distorted it’s balanced by the weight on the other side, picture of the world. by the grass. It’s not about using the rules.

It goes the other way: you can achieve a I’m sure Marsel van Oosten and Chris really nice photo, and people will say, “Did Packham think the same – they just take you put the sky in?”, or, “Did you retouch it?”, what looks good. They have a great natural and I didn’t.

I just believe you should keep battling away sense of composition.

I’m not a musician and can’t play any with what you believe in. But I do get the occasional comment that pleases me, which is instruments. I could if I practised a lot, but that my photos are more natural than others. I’d never be as good as someone who has a natural ability. If you want to be good at That’s good to hear. I’m getting somewhere. composition, you need natural ability and to practise a lot.

You have a background in graphic design, like Marsel van Oosten. Do you think that’s influenced you when it comes To find out more about the Prints For Wildlife mission visit: to composition? www.printsforwildlife.org Yes. I don’t know how directly. When you @printsforwildlife talk about composition, the first name that

Left

The Endless Journey Maasai Mara, Kenya

Right African lion in Maasai Mara, Kenya

Scar

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DAVID LLOYD

83

The Gallery THE GALLERY

Winners of the 2021 iPhone Photography Awards (IPPAWARDS)

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Pictured Bonding Location: Yanar Dag, Baku, Azerbaijan Shot on iPhone X © Sharan Shetty

The 2021 iPhone Photography Awards

The iPhone Photography Awards is the first and longest running iPhone photography competition. Founded in 2007, IPPAWARDS has been celebrating the creativity of iPhone photographers since the iPhone first began to inspire, excite and engage shooterss worldwide. The winning images are selected by jury in a multi-step process, along with top-three winners in an additional 17 categories. To find out more and see all the shortlisted entries, head to: www.ippawards.

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THE GALLERY

rekkaB aliaL ©

gnaW gnaixeuY ©

86

iN auhnE ©

Farleft Location: Shanghai, China Shot on iPhone 8 Plus

avokaylzreM anaitaT ©

Candy

Leftmiddle Location: Nieuwerkerk aan den IJssel, Netherlands Shot on iPhone X

Strike a Pose

Left

Below

Above

Location: Teriberka, Russia Shot on iPhone 12 Pro Max

Location: Gruppo del Carega, Italy Shot on iPhone XS

Location: Meknes, Morocco Shot on iPhone 7 Plus

Magic of Over the Aurora Borealis Clouds

Dusk

zeuqirdoR eleirbaG ©

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THE GALLERY

uohZ gnaixeH © nahK niassoH bubahaM ©

Above left Location: Ohio Shot on iPhone 12 Pro

eertbarC netsyrK ©

Untitled

kuilyryK olvaP ©

nagroH naitsirhC ©

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Below left

Pondering the Positives

Above top

Above

Vibrant The Old Gym

Location: Location:Dhaka, Location: Perth, Xianyang, China Bangladesh Australia Shot on iPhone Shot on Shot on iPhone X 7 Plus iPhone XS

Above

© Istvan Kerekes

Transylvanian Shepherds

Location: Târgu Mureș, Transylvania Shot on iPhone 7 Right

Untitled

nnamoH nnelG ©

Location: Manhattan, New York Shot on iPhone X Far right top

Untitled

Location:Brisbane, Australia Shot on iPhone 11 Pro Left Location: San Mateo, California Shot on iPhone X

Artist’s Preview

Farright Location: Xinjiang, China Shot on iPhone X

Untitled

gnahZ naiT ihS ©

gnauH ziL ©

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YOUR IMAGES

SHOT OF THE MONTH

Tagus @dphotographermag for a chance to feature here Every issue we’ll be sharing the best images from our Instagram community. Tag us on @dphotographermag for a chance to appear as our Shot of the Month.

90

Photographer: Dibyendu Das Location: Fiordland, Assam, India www.500px.com/dibyendudasphotography About the shot: I took this image at Sonbil, Asia’s secondlargest wetland, situated in the Karimganj district of Assam.

I love the prominent reflections of the trees created by the smoothing effect of the slow shutter on the water.

WIN! MICROSDXC SAMSUNG 128GB EVO PLUS WITH SD ADAPTER

Every issue, one DP reader wins a Samsung 128GB EVO Plus memory card with SD adaptor, boasting 100MB/s & 90MB/s read/write speeds – perfect for UHD video. Plus, our runner-up wins a Samsung EVO Plus 32GB card with SD adaptor – ideal for high-res photography storage. Find out more at www.samsung.com/ uk/memory-cards

RUNNER-UP Photographer: Peter Zajfrid Location: Slovenia About the shot: This photo was taken one late spring morning near Jurovski Dol in the north-east part of Slovenia.

I have photographed this chapel at sunrise many times, but I’d never tried it with a long exposure. The fog was rolling in, so this was the perfect time.

91

KIT INTRO

94 Sport zoom lenses

Kit Want to get closer to the sporting action? The four super-tele zooms on test here are more affordable than sport primes, but will help you to capture those definitive moments on camera

The expert and independent reviews of gear we’ve bagged this issue 102 Nikon Z fc

How does a retro 1980s film camera design work in the digital age? Angela Nicholson investigates the second APS-C (DX) format mirrorless camera in Nikon’s Z series

106 Zhiyun Weebill 2

108 Lenses

This month, we test Fujifilm’s Fujinon GF 80mm F1.7 R WR and the Nikon Z 14-30mm f4 S

110 Accessories

Looking for a new gadget, tripod or bag? Here are some fun and functional items to consider

Zhiyun has created another gimbal, with a touchscreen and improved handheld footage. 112 Take 5 Will it help you to capture more dynamic video? We check out the best portable monitors

Our ratings

Our team of trusted and expert reviewers score gear thoroughly to help you make better buying choices.

Don’t go there Could be better Solid performer Excellent bit of kit Best on the market

Product awards

Digital Photographer’s awards are given out when a product really catches our attention.

Here are our three most used accolades.

Lab testing

Some of our product reviews also have in-depth lab data, graphs and scores. This means that the kit has been subjected to more rigorous testing. Lens tests are carried out using Imatest, and cameras are tested in our laboratory using DxO Analyzer hardware and software to check the image noise and dynamic range.

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REVIEWS

94

GROUP TEST

AF anceoddern ly v d a m of the ost ective rack tageilities of bmle to effcts, and ot f shotlsp n a v a je st e ad c takerackingrfaas. Beingoving orbapid buorde will.h r of g t s e m e e e camock ontothroughuas drive mmomenetnt dangreally lotnion aranotse to u g s l g o a g t e os s cl long e themcontinul definin ver-pr en usin stabilis amera long an laelmto gethat like. Aes its plac. in ou nai en the eake wh image us. In-c gle at c u o m y Giv ra-sh ctive g bon strug y g k i b u n i s a a a t m d a e, be u e, po s c e i cameneses, elsffo be a nb tends etongths. built inatnod canhurdolu won’ttion as y,otherefowr ish lisitme lensheereas mm n l 0 h l y r c e w t o a i 0 a p , cantabilisatoto focatal bilisatisouperiowr,ith thesi,nwheree. theocal lengtop of tlhephoto pensivetch to 5ely hat scoraeted o x s e v f c h s n e n e t i r e t t p l tele Opticans is oftne tandemof cameerraforman at thSuper-rrifically s that stomparasideringot fromf a yeaer’sbeen trresummsehrift t s i c e o n a p s e o o l s l h o r be hoom len0mm areAgain, cave to sexibilityds over lens. the lso worsktabiliseor better Afterraw, wep’vectaculsaeasonsany of dle a ody ble, f z r 60 able. well h the fl viden prime d o a s s the es, m rekin phy, b vaila o fford ight area, ay di of a is t nd a gam ed to togra t a a t p h m r d A t r m r n o e a i o . u g e e t a n p t h p t o n r y d c s s fi n s p y e d i o n n a coonom lenesd focarlyl naturea,ction aonfocus syyou can of sopwards wfeeling iinn sportrsy our hya much ara is orts z he fix its ve bout st aut y, so t s are erest ven t Prett came ing sp t By ally a . A fa e da u n int ybe e new. lens winn to the isely. h a r ma thing eable ring mes se w f r geneovemenotrder of t o ome hang captu it co choo rity o for m s the s nterc le of when ys to majo sses e’ll i i apab , but , it pa vast ia pa hat w eas c hots l lens at the s med kely t rs’ ar first s ctua en th sses it’s li ctato ts the a Giv n’t po ents, spe esen m r v us dpoortingoeoting freos. This p s e sh losur b r enc o 95

REVIEWS PRICE: £1,599/$1,998

Sony’s latest super-tele zoom for its E-mount mirrorless cameras goes large on reach and even larger in performance and finesse

Like Canon and Nikon, Sony has long produced a pro-spec 100-400mm zoom (though in Nikon’s case, it’s actually 80-400mm). However, the difference is that Sony’s FE 100-400mm f/4.5-5.6 G Master OSS was designed exclusively for mirrorless cameras. The company’s recent 200-600mm zoom boosts the maximum reach by 50 per cent, with just a one-third f/stop reduction at the long end. Compatible with full-frame bodies, it also gives a mighty 300-900mm ‘effective’ zoom range on Sony’s APS-C format cameras.

Unusually for a super-tele zoom, the zoom mechanism is fully internal, so although it’s already physically quite long, it doesn’t extend any further outwards at longer zoom settings. The control layout is virtually identical to the pricier FE 100-400mm lens but the 200-600mm adds a few refinements. The autofocus range limiter can lock out the long as well as the short section of the full range and the OSS (Optical Steady Shot) stabiliser gains a third switchable ‘exposure only’ option, similar to that of the Canon and Nikon lenses on test here.

There’s no shortage of quality in the glass, which includes five ED (Extra-low Dispersion) elements and one aspherical element. Nano AR coating does an excellent job of minimising ghosting and flare, and there’s a keep-clean fluorine coating on the front element. Build quality is reassuringly solid and features an extensive set of weather seals.

Autofocus is based on a DDSSM (Direct Drive Super Sonic Motor) system, which is super-fast and nearsilent. Three customisable focus-hold buttons fall neatly under the thumb position. The Sony delivers superb sharpness even when shooting wide-open, throughout the entire zoom range. There is only minimal colour fringing, whereas pincushion distortion is generally unnoticeable, however, automatic incamera corrections are available to address both of these aberrations.

Looks can be deceiving

The Sony looks bigger than most supertele zooms,but thezoom mechanism is internal and with no extending inner barrel, the length remains fixed 96

AUTOFOCUS LOCKING

Switches are on hand for triplemode optical stabilisation and for locking out the short or long ends of the autofocus range.

DETACHABLE TRIPOD RING

The foot of the tripod mounting ring is easily removable for more convenient handheld shooting.

FOCUSHOLD BUTTONS

The three‘focus-hold’ buttons between the zoom and focus rings can be assigned alternativefunctions via the host camera’s menu system.

Sharpness 3000 2500 2000 1500 1000 500 0 f/4-4.5

f/5-6.3 200mm

f/8 300mm

f/11

f/16 400mm

f/22 600mm

f/25-32

GROUP TEST PRICE: £1,329/$1,849

Sigma’s ‘Sports’ lens is quite a handful. It’s a heavyweight contender in every way and packs a real punch at a competitive price

Sigma makes a relatively lightweight ‘Contemporary’ 150-600mm lens, but the ‘Sports’ edition goes large on build quality and performance, as well as physical size.

Indeed, it weighs in at just under 3kg, making it quite a handful and half a kilo heavier than the Nikon, which is the second heftiest in the group. It’s actually slightly shorter than the Sony lens, but that one doesn’t physically extend at longer zoom settings.

Tricked-up features include dual, switchable autofocus modes, giving priority to either autofocus or manual override. In the latter, you can switch to manual focusing simply by twisting the focus ring, even in continuous autofocus mode and regardless of whether the autofocus system has first locked onto the subject. There are also dual stabilisation modes for static and panning shooting, and a two-position autofocus range limiter switch that can lock out the short or long end of the range.

Two switchable ‘Custom’ modes are also featured, which you can set up with Sigma’s optional USB Dock (£39/$59). These enable you to alter autofocus speed, fine-tune the autofocus for specific camera bodies, and adjust how much the stabilisation effect is visible in the viewfinder. The zoom ring can be locked at any position that has a focal length marked on the barrel, and there are several in total.

The build quality is excellent, with the lens being based around a metal barrel and hood, and the construction including an extensive set of weather seals. The optical path incorporates three SLD (Special Low Dispersion) elements and two top-performance FLD (‘Fluorite’ Low Dispersion) elements. Sharpness drops off a little at the long end of the zoom range but is very good overall, while colour fringing, distortion, ghosting and flare are all well controlled.

All in all, this is a great lens for using with Canon and Nikon DLSRs, as well as for mirrorless cameras via a mount adapter.

There’s plenty of high-tech trickery

A wealth of onboard control options and customisable modes make this a lens you can tailor to your precise requirements

LOCKABLE ZOOM RING

The zoomring can be locked at any position that has a markedsetting, throughout the entire zoomrange.

SWITCHABLE MODES

Twoswitchable autofocus modes give you the option to give priority to autofocus or manual override.

AUTOFOCUS LIMITER

The two-position autofocus limiter switch can lock out the short end of the range between 2.6m and 6m.

Sharpness 3000 2500 2000 1500 1000 500 0 f/4-4.5

f/5-6.3 150mm

f/8 300mm

f/11

f/16 400mm

f/22 600mm

f/25-32

97

REVIEWS REDUCED VIBRATIONS

4.5-stop VibrationReduction comes with automatic panning detection and features a switchable ‘Sport’ mode.

PRICE: £1,249/$1,400

Unique in this group, Nikon’s latest super-tele zoom is a constantaperture lens and it comes with a competitive price tag

There’s still no sign of the premium Z 100-400mm S-line zoom or the rumoured Z 200-600mm for Nikon’s Z-series mirrorless cameras. However, the F-mount AF-S 200-500mm that was developed for the company’s DSLRs is fully compatible, via an FTZ mount adapter. It beats the older AF-S 80-400mm VR for maximum focal length while undercutting it for price, as well as adding some useful additional features.

Typical of most super-tele zooms, the Nikon AF-S 200-500mm has an extending inner barrel, which stretches out as you sweep from the shortest to longest focal length. However, unusually, the aperture rating remains fixed at f/5.6 throughout.

Unlike many Nikon F-mount lenses, but as featured in the other zooms on test here, this one has an electronically controlled aperture diaphragm, which enables greater accuracy and consistency in exposures during rapid bursts of shooting in fast continuous drive mode. The 4.5-stop optical stabiliser has a switchable ‘Sport’ VR mode which, like the Canon lens’s third mode, only applies stabilisation during exposures. This not only makes it easier to track erratically moving objects but also enables faster shooting rates.

The conventional ring-type ultrasonic autofocus system is fast and whisper-quiet but, unlike the Canon lens we tested, it doesn’t allow for smooth autofocus transitions when shooting video. It also lacks switchable options for giving priority to autofocus or manual override, as featured in some of Nikon’s upmarket lenses. The optical path includes three ED (Extra-low Dispersion) elements and Super Integrated Coating but lacks Nikon’s more advanced Nano Crystal Coat. The build quality is good overall, but only the mounting plate is weather-sealed.

The image quality is convincing with good sharpness and contrast. Colour fringing is generally wellcontrolled but can be slightly noticeable towards the long end of the zoom range.

Mostly simple but effective

The Nikon lens lacks some of the finer points of its competitors but still covers all the bases in fine style 98

AUTOFOCUS LIMITER

The two-position autofocus limiter switch can lock out the short end of the range between 2.6m and 6m.

ULTRASONIC AUTOFOCUS

The M/A autofocus mode gives priority to manual override, favoured by many sports photographers.

Sharpness 3000 2500 2000 1500 1000 500 0 f/4-4.5

f/5-6.3 200mm

f/8 300mm

f/11

f/16 400mm

f/22 500mm

f/25-32

GROUP TEST PRICE: £2,979/$2,699 TORQUE CONTROL

FINGERPRINT REPELLENT

The ‘smooth-tight’ ring enables you to adjust the torque required for moving the zoom ring.

Fluorine coatings on the front and rear elements help to repel moisture and greasy fingerprints.

Stealing a lead over Nikon, Canon beats its rival across the line with a native super-tele zoom for its mirrorless full-frame cameras

Picking up the baton from the popular EF 100-400mm f/4.5-5.6L IS II USM, this is the RF equivalent for Canon’s R-series cameras. It stretches 100mm further into super-tele territory, boasting 500mm maximum reach, but at the expense of a two-thirds of an f/stop reduction in aperture rating.

But if 500mm still doesn’t go the distance, the lens is compatible with Canon’s RF-mount 1.4x and 2.0x tele-converters or ‘extenders’, naturally with a further one or two f/stop narrowing of aperture.

The premium optical path includes no less than six UD (Ultra-low Dispersion) elements, plus a Super UD element, along with high-tech ASC (Air Sphere Coating). The combination aims to deliver excellent sharpness and contrast with minimal ghosting and flare. Everything is wrapped up in a sturdy barrel with a white finish, which is favoured by Canon for its big lenses to reduce the build-up of heat when shooting in hot, sunny weather. Typical of most L-series lenses, the build quality is tough and sturdy, and it features extensive weather seals.

Further useful features include a Dual Nano USM autofocus system, which is blazingly fast yet virtually silent, while also enabling smooth focus transitions when shooting video. There’s also a 5-stop optical image stabiliser with three operating modes. In addition to the usual static and panning modes, the third mode only applies stabilisation during actual exposures. This makes it easier to track erratically moving objects in the viewfinder or on the rear screen of the camera.

The performance of both autofocus and stabilisation is enhanced when using Canon’s EOS R5 and R6 cameras, which feature AI-based tracking for people and animals, and in-body stabilisation. Handling finery includes an adjustable friction damper for the zoom ring and a customisable control ring. Image quality is excellent in all respects.

The smallest and lightest lens on test

Barely more than half the weight of the Sigma lens on test, the Canon is easily manageable yet well-builtand feature-rich

CUSTOMISABLE CONTROL RING

The customisable control ring at the rear has options for adjusting the likes of aperture, shutter speed, exposure compensation andISO.

Sharpness 3000 2500 2000 1500 1000 500 0 f/4-4.5

f/5-6.3 100mm

f/8 200mm

f/11

f/16 300mm

f/22 500mm

f/25-32

99

REVIEWS

www.sony.co.uk

Sony FE 200-600mm F5.6-6.3G OSS

Manufacturer Sony Name FE 200600mm F5.66.3 G OSS Price £1,439/$1,998 Web www.sony.co.uk Elements/ groups 23/17 Diaphragm 9 blades Optical stabilizer Yes Autofocus type Direct Drive Supersonic Wave Min focus distance 2.4m Max magnification 0.2x Mount Sony E Filter size 95mm Dimensions 112x318mm Weight 2,115g

FEATURES

The feature list is impressive, fromthe autofocussystem to the stabiliser and beyond

BUILD QUALITY

The construction is excellent throughout and features extensive weather seals

HANDLING

Though large, the Sony is the second lightest here, and has excellent handling characteristics

QUALITY OF RESULTS

Image quality is great, and the autofocus and stabilisation systems combine to give a great hit rate

VALUE FOR MONEY

Sony-branded lenses aren’t known for being cheap, but this one is great value formoney

Overall Features, handling andoverall performance gel together to make this lensa realwinner.

100

www.sigma-imaging-uk.com

Sigma 150-600mm f/5-6.3 DG OS HSM | S

Manufacturer Sigma Name 150-600mm f/5-6.3 DG OS HSM | S Price £1,329/$1,849 Web www.sigmaimaging-uk.com Elements/ groups 24/22 Diaphragm 11 blades Optical stabilizer 4 stops Autofocus type Ultrasonic (ring) Min focus distance 2.6m Max magnification 0.2x Mount Canon EF,Nikon FX, Sigma Filter size 105mm Dimensions 121x290mm Weight 2,860g

FEATURES

It’sa feature-packed lens with advanced autofocusand stabilisation as well as customoptions

BUILD QUALITY

In its full metal jacket, this is a rock-solid lenswith a complete set of weather seals

HANDLING

Handling is mostly top-drawer,but its weight makes prolonged handheld shooting a chore

QUALITY OF RESULTS

Sharpness is on a par with the Nikon lens but colourfringing and distortion are slightly less

VALUE FOR MONEY

Considering its performance and build quality, the Sigma is excellent value at the price

Overall A top contenderfor Canon and Nikon DLSRs, performance is excellent butit’s a heftybeast.

www.nikon.co.uk

Nikon AF-S 200500mm f/5.6E ED VR

Manufacturer Nikon Name AF-S 200500mm f/5.6E ED VR Price £1,249/$1,400 Web www.nikon. co.uk Elements/ groups 21/18 Diaphragm 9 blades Optical stabilizer 4.5 stops Autofocus type Ultrasonic (ring-type) Min focus distance 2.2m Max magnification 0.22x Mount Nikon Z Filter size 95mm Dimensions 108x268mm Weight 2,300g

FEATURES

Features include a conventionalautofocus system, dual-mode VR and an electromagnetic diaphragm

BUILD QUALITY

The construction is good overall, but only the mounting plate features a weather seal

HANDLING

It lacks some of the handling exotica of the other lenses in the group but still works well

QUALITY OF RESULTS

It’s capable of excellent results but doesn’t quite have the reach of the Sigma and Sony lenses

VALUE FOR MONEY

This is good value for an own-brand Nikon lens and the constant aperture is a bonus

Overall Overall, we prefer the Nikon-fit Sigma Sports lens, but this option is smallerand lighter.

www.canon.co.uk

Canon RF 100-500mm F4.5-7.1L IS USM Manufacturer Canon Name RF 100500mm F4.57.1L IS USM Price £2,979/$2,699 Web www.canon. co.uk Elements/ groups 17/13 Diaphragm 9 blades Optical stabilizer 5 stops Autofocus type Dual Nano USM Min focus distance 0.9-1.2m Max magnification 0.33x Mount Canon RF Filter size 77mm Dimensions 94x208mm Weight 1,530g

FEATURES

It’sa relatively compact lens but there’s no shortage of fancy features shoehorned into it

BUILD QUALITY

Though uncommonly lightweight for a super-tele zoom, it’s robust, solid and weather-sealed

HANDLING

The triple-mode stabiliser, customisable control ring and adjustable zoom torque enhance handling

QUALITY OF RESULTS

Optical quality is excellent, whilethe autofocus and stabiliser systems help ensure consistentresults

VALUE FOR MONEY

In some world regions, the Canon is more than twice the price of every other lens in the group

Overall It’sundeniably expensive but,

especially for EOSR5 and R6 cameras, it’s a terrific sport lens.

REVIEWS

Nikon Z fc Price: £899/$957 (body only)

The Nikon Z fc has a traditional design based on a film camera from the 1980s. Angela Nicholson investigates how that works in the digital age The Z fc is only the second APS-C (DX) format mirrorless camera in Nikon’s Z series – the first was the Z 50, which was announced in October 2019.

Internally, the Z fc has much in common with the Z 50, not least in that they have the same 20.88MP (23.5 x 15.7mm) CMOS sensor and Expeed 6 processing engine. This means the Z fc has a 209-point hybrid autofocus system, but the Z fc has eye-detection AF for humans and animals in both stills and video mode.

Like the Z 50, the Z fc has a stills sensitivity range of ISO 100-51,200, which can be expanded to ISO 204,600 and ISO 100-25,600 for video. The maximum continuous shooting rate is also 11fps.

The big difference between the Z 50 and the Z fc is in the design because the new camera was inspired by the Nikon FM2 film SLR from the 1980s. Consequently, the Z fc has a collection of metal dials for setting the sensitivity (ISO), shutter speed and exposure compensation to specific values. However, as Nikon’s Z-series lenses don’t have an aperture ring, the aperture is set via a command dial on the camera and the value is shown on a small screen on the top plate.

This means that Nikon has adopted a different approach to Fujifilm, with cameras such as the X-T4, X-E4 and X-T30, when it comes to exposure mode selection. As the traditional dials don’t have an ‘A’ for automatic

setting, they are paired with a switch to select auto, program, shutter priority, aperture priority or manual exposure mode.

While this may appeal to photographers who are used to an exposure mode dial, it also means it’s easy to fall into the trap of thinking you have set a specific shutter speed via the shutter speed dial. However, if the camera is set to auto, program or aperture priority mode, it will actually set the shutter speed value itself.

The same is true of the ISO dial as Auto ISO is set via the Z fc’s menu, there’s no option to do it via the ISO dial, nor can you set a button or an option in the ‘i’ menu to access it. Hopefully, Nikon will address this with a firmware update shortly.

Nikon gave the Z 50 a tilting screen, which is useful for landscape orientation shooting but doesn’t particularly help with portrait orientation photography. Also, you need a special plate to mount the camera on a tripod so that you can see the screen when it’s flipped down through 180° for shooting selfies or vlogging. These issues have been solved with the Z fc, as it has a vari-angle screen that can be flipped out to the side of the camera and rotated to face forwards or angled up or down in portrait or landscape orientation.

As usual with Nikon Z-series cameras, the screen is touch-sensitive and can be used to navigate the menus and make setting selections. One thing you can’t do, however, is set the AF point with the screen while you look in the viewfinder. Instead, you have to use the navigation pad, which is okay, but not quite as slick as using a joystick.

Inspired by the Nikon FM2 film SLR of the 1980s, the Z fc has a collection of metal dials 102

FEATURES Z-MOUNT

The Z fc has the Nikon Z lens mount so it can accept APS-C (DX) or full-frame(FX)lenses, including Nikon F-mount lensesvia theFTZ mount adapter.

VARI-ANGLESCREEN

The Z fc is thefirstNikonZ-series camera to feature a vari-angle screen. However,this isa 3-inch unit, rather than the3.2-inch screen of theZ50.

EYE-DETECTION AF

The Z fc’s eye-detection autofocussystem works for either humans oranimals in both stillsand video modes. However, you will needto select which subject to detect via the menu.

4K VIDEO

4K videocan be recorded at speeds of up to30p, while FullHD video can be recorded at a rate of up to 120p,makingfor betterslow motion playback.

USB CHARGING

Like many other cameras, the Z fc’sbatterycan be chargedin-camera,via a USB-C connection.

It is also detachable and can be charged with the dedicatedbattery charger contained inthe box.

SNAPBRIDGE

As well as enabling automaticimage transfer and remote control via a smartphone, the Z fc’s SnapBridge technologycan make downloading firmware upgrades via a smart device much easier.

FTZ MOUNT ADAPTER

103

REVIEWS

Above

Fast focusing

Focusing is nippy, even in dim conditions, and eye-detection is handy forphotographing pets Left

Creative angles

The vari-angle screen is useful for both horizontal and vertical shots, making it easier to shoot from interesting low angles noslohciN alegnA © 4x

Right

Standard Picture Control

Standard Picture Control is a good default setting, delivering images with a pleasing level of contrast andsaturation

While the Z fc’s screen gives a good view and doesn’t suffer from excessive glare, the viewfinder is a great alternative means of composing images, especially in bright light.

This has a retro-style round eye cup, which is fine unless you wear spectacles. Because you can’t get your eye as close to the viewfinder when wearing glasses, the edges of the frame are harder to see and you have to move your head around.

While the Z fc has a retro design, there’s nothing retro about the quality of the images that it produces. The default matrix metering system takes most things in its stride and, because the viewfinder and screen give accurate previews of the captured image, there are only a few occasions when you need to switch away from it.

There’s also an accurate preview of the image colour, so you can use the viewfinder to assess the white balance and your choice of Picture Control. I tend to favour the Standard and Neutral Picture Controls routinely, but also regularly dip into the Creative options for more interesting results.

Further good news is that the Z fc’s autofocus system can be relied upon to get most subjects sharp, even in quite low light. It can also keep moving subjects sharp, but the flat front and back of the Z fc don’t make it a natural partner for the long, heavy lenses that you might wish to use for shooting sport.

There’s a good level of detail in the Z fc’s images and it is maintained well up to around ISO 6,400. In some cases, ISO 12,800 also produces acceptable results, but some jpegs look unnaturally smooth in places. On the video front, the Z fc produces results that are a good match for its stills and the eyedetection AF is decent but not entirely reliable.

TALKING POINT…

Picture Controls Like Nikon’s other recent cameras, the Z fc

has a collection of Creative Picture Controls in addition to the Auto, Standard, Neutral, Vivid, Monochrome, Portrait, Landscape and Flat settings that are commonly used.

These have names such as Morning, Bleached, Graphite, Pop and Sunday, and they make more dramatic adjustments to the jpegs. Bleached and Graphite are particular favourites of mine, because they can help create interesting images in less than ideal conditions.

What’s especially nice is that you can reduce their impact, so if you don't want the full effect, you can opt for quite subtle changes. They’re especially useful when the camera is paired to a phone via Nikon’s SnapBridge, as you get shareready images sent to your phone automatically.

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NIKON Z FC

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Tech specs

Megapixels (effective) 20.88 Max resolution 5,568 x 3,712 Sensor information APS-C (23.5 x 15.7mm) CMOS Shutter speed 900-1/4000sec, Bulb and Time ISO sensitivity Stills: ISO 100-51,200; expands to 204,800, Video: ISO 100-25,600 Exposure modes Auto, program, shutter priority, aperture priority, manual Metering options Matrix, Center-weighted, Spot, Highlightweighted Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eyereduction, red-eyereduction with slow sync, off Connectivity USB, HDMI,3.5mmmic, Wi-Fi, Bluetooth Weight 390g (body only) Dimensions 134.5 x 93.5 x 43.5mm Batteries Rechargeable EN-EL25 Li-ion battery Storage SD/SDHC/SDXC UHS-I LCD Vari-angle 3-inch 1,040,000-dot touchscreen Viewfinder 0.39-inch 2,360,000-dot OLED

FEATURES

There’s a well-rounded feature set, with the variangle screen boosting the Z fc’s appeal above the Z50

BUILD QUALITY

Though lightweight, the Z fc is weatherproof and feels solid, but it’s not suited to use with long lenses

While the Nikon Z fc has a retro design, there’s nothing retro about the quality of the images that it produces 1

2

3

4

HANDLING

Combining a PASM switch with traditional controls means there are niggles but the Z fc is a pleasure to use

QUALITYOF RESULTS

The results are great in a range ofconditions,while the PictureControls and the flip-screen both encourage creativity

VALUE FOR MONEY

It’s less versatile than some rivals and the controls may not suit everyone, but the Z fc is attractively priced

Overall Will appeal tophotographers,

rather than videographers.

Despite issues withthe control system, the Z fc puts you in touch with yourphotography and produces goodresults.

FLATBACK 1 There’s nothumbrestor ridge onthe back

ROUND EYE CUP 2 The viewfinder has a traditional

FLIP AND TWIST 3 The screen can be flipped out andtwisted

STILLS OR VIDEO 4 The switch under theshutter speed

of the camera, but the textured coating gives enough purchase with light lenses. for easy viewingfroma range of angles, including from in front of thecamera.

round eye cup,which isn’tideal for those whowear spectacles.

dial is used to switch thecamera between either stil s or video mode.

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REVIEWS

Zhiyun Weebill 2 Price: £509/$549

At last, a gimbal featuring a flip-out touchscreen.

Angela Nicholson has been testing the latest offering from Zhiyun

Right

Flip-out screen

When it’s not in use, the Weebill 2’s touchscreenfolds against the top of the horizontal sectionof the gimbal and can be flipped out then tilted for use Right

Camera compatibility

The gimbal is compatible with cameras from Canon, Nikon, Fujifilm, Panasonic, Blackmagic Design, Sigmaand Sony.However, not all features work with all cameras, so check the onlinecamera compatibilitylist Below

Travel

The arms can be folded to create a flat profile and lockedin position to make the Weebill 2 easier to store and transport between shoots

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Smaller and lighter than the Crane 2S that was reviewed in issue 233, the new Zhiyun Weebill 2 is an update to the popular Weebill-S. It’s a 3-axis motorised gimbal and is designed to stabilise full-frame mirrorless cameras and single-gripped DSLRs as well as smaller format cameras.

At 1.47kg (or 926g without the internal batteries), it’s heavier than the Weebill-S, but it also features a flip-out variable touchscreen that makes it easier to use.

Unlike its predecessor, the Weebill 2 has a battery integrated into it so it must be charged in-situ. Once this is done, the next step is to unlock all three axes and move the arms into their operational positions before locking them again. Then the supplied base plate needs to be attached to the camera so that it can be mounted on the gimbal. A riser plate is supplied to lift the camera if the lens barrel extends down to the standard plate.

Zhiyun supplies a selection of cables to connect the camera to the Weebill 2. This enables the gimbal to control a few features on the camera, most notably it can start/stop video recording. We’d recommend checking Zhiyun’s online camera compatibility list to see which features it controls on which cameras.

As with all motorised gimbals, the camera needs to be balanced on the Zhiyun Weebill 2 before it can be used. It’s important to have the camera set up exactly as you plan to use it with the right lens and any filter attached. If there’s a tilting or vari-angle screen, it should be moved into its working position.

If you haven’t done it before, balancing the Weebill 2 may seem like a tricky operation, but it’s simply a case of adjusting the balance around each axis in turn until the camera stays at whatever angle you put it at when the gimbal is turned off. This gives the Weebill 2 the best chance of being able to keep the camera steady and also of being able to move it smoothly. Zhiyun has a series of tutorial videos that can guide you through the whole process (www.zhiyun-tech.com/en/service/ support/425/3).

Once you’ve balanced a camera on a gimbal a couple of times, it becomes easier and you should get quicker at it, but it’s worth setting aside 30 minutes for it the first time.

The Weebill 2 comes with a mini-tripod that screws into the base of the handle. This is particularly useful for holding the gimbal upright during balancing or for filming while the movement is controlled remotely. The tripod legs can also be folded together to create an extension to the handle, or they can be attached to the horizontal section of the gimbal to add an extra grip that is especially useful for low-angle shooting.

Zhiyun has rearranged the controls on the Weebill 2 in comparison with those on the Weebill-S and it improves the handling significantly. Aside from the trigger button on the front, all of the controls are on the left side of the Weebill 2, which makes them easier to locate. The joystick that replaces the navigation pad sits within convenient reach of your right thumb as you grip the main handle.

Next to this, closer to your body, is the record button. You can press this with the side of your thumb to start and stop recording, but it is hard to avoid moving the gimbal in the process and is better to use your left hand.

Next to the record button, there’s a switch that enables you to swap quickly between Pan Follow, Lock and Follow mode, and other modes can be accessed via the menu on the touchscreen. There’s a control wheel at the end of the horizontal part of the gimbal that can be customised to control different camera parameters such as the aperture, ISO, shutter speed or the electronic focus, or it can be used to control roll movement.

While it’s noticeably heavier than the Weebill-S, the Weebill 2 feels better made. Its handle is more ergonomically shaped, with a grippy coating that gives better purchase.

The locks are also easier to use and I had little trouble unlocking them, unlike with the Weebill-S. Thanks to the new vari-angle screen, the Weebill 2 is also easier to set up and use.

I’m also impressed by the Weebill 2’s stabilisation. When holding it still, the resulting video footage looks like the camera is on a tripod and even when walking over uneven ground or uphill, the footage remains impressively smooth and stable.

Take control with the Zhiyun Play smartphone app For easy remote control and firmware upgrades

Zhiyun’s free smartphone app for Android and iOS devices, called Zhiyun Play, is worth downloading. As well as enabling you to take remote control over the Weebill 2, it makes light work of downloading and installing firmware upgrades, avoiding the need for a cable connection to a computer.

Once the app is installed on your phone, ensure that the Bluetooth connectivity is activated on it and the gimbal so they can be paired. After that, the phone and Weebill 2 find each other quickly and are ready to reconnect each time the gimbal is started up within range of the phone. When connected, controls on the phone screen allow you to move the camera on the gimbal and stop/start recording.

Bottom left and right

Below right

Three motors control movement around three axes – it must be balanced on each before you start shooting and should be adjusted if you change lens or accessories

It takes around 1.6 hours to fully charge the battery via USB-C, and it has a run time of nine hours

3-axis stabilisation

Internal battery

Below left

Optional extras

The Weebill 2 is sold in several kits with extras such as a zoom/focus control and image transmission unit that can also be bought separately

Summary

Ease of use Valuefor money Features Quality of results

Overall

Another excellent gimbal by Zhiyun that’s easy to use, thanks to the touchscreen and better control arrangement. It improves handheld footage and enables more dynamic video.

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REVIEWS DOWNLOAD TEST SHOTS

https://bit.ly/DP-244

PRICE: £2,099/$2,299 FOCUS DISTANCE: 0.70m WEIGHT: 795g

Fujinon GF 80MM F/1.7 R WR Combined with a large sensor, this lens should provide shallow focus heaven Build and handling

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Unstabilised

Fujifilm lenses rarely disappoint when it comes to build quality and user experience. There is no doubt this Medium Format lens carries some bulk, but it’s perfectly balanced on the GFX cameras and is still more lightweight than many full-frame optics of similar specification.

The barrel is solid and the metal lens mount adds to the professional feel. As always, we love the aperture ring and tactile focus ring.

The GFX100S has in-body image stabilisation (IBIS), but those without (eg. the GFX50R) make handheld shooting a challenge when stopped down for DOF

When you are building lenses for use with cameras equipped with over 100 megapixels you have to be confident your optics are up to the challenge. Thankfully, the GF 80mm F/1.7 R WR ticks that box. Sharpness is superb across the frame, only softening slightly at the edges, at f/1.7. We didn’t notice a huge difference between crispness wide open and at around f/8, which is impressive. Even at f/16 and smaller, the glass delivers excellent results. Contrast is gorgeous and there’s almost no chromatic aberration. At maximum aperture, there is noticeable vignetting, but while this adds depth to many shots, it can easily be removed. AF is slower than some XF series lenses, but the motor is moving a lot of glass, so the performance is more than adequate. Distortion is also well controlled, with only mild pincushioning being discernible.

Manufacturer Model Web Elements/construction Angle of view Max aperture Min aperture Min focus distance Mount Filter size Length Diameter Weight

Performance

Overall, you can’t fault the optical performance of this lens – it’s superb. When paired with the GFX100S, the detail is mind-blowing.

Meanwhile, the build is up to the rigours of professional use, outdoors and in the studio.

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At f/1.7, depth of field is reduced, allowing tilt-shift like shallow focus effects. The lens is great forportraits, offering a roughly standard 63.2mm focal length

Technical specs

BUILD QUALITY IMAGE QUALITY VALUE FOR MONEY FEATURES

Overall

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Verdict

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Bokehlicious

Sharpness Build Aperture ring Fairly expensive No OIS

Fujifilm GF 80MM F/1.7 R WR www.fujifilm.com 12 elements in 9 groups 37.7° f/1.7 f/22 0.70m Fujifilm G Mount 77mm 99.2mm 94.7mm 795g

LENSES

PRICE: £1,149/$1,297 FOCUS DISTANCE: 0.28m WEIGHT: 485g

Z 14-30mm f4 S Nikon Sharp optics and compact size make this one of the best wide-angles around Build and handling

The Nikon AF-S Nikkor 14-24mm f/2.8G ED is a legendary DSLR lens that effectively redefined the ‘holy trinity’ professional lens collection all pros aspired to own. We did like the Nikkor Z 24-70mm f/2.8 S version, but that is a big optic, which is complicated to use with filters. The 14-30mm f4 S is tiny by comparison and, with its handy retractable design, it is incredibly portable.

When shooting out on the streets of Edinburgh, we enjoyed being able to store the lens in a large coat pocket, where a camera bag was too conspicuous. The build feels solid enough – a little plasticky, but tough nonetheless. The focus ring is quite narrow, but this is our only handling complaint.

Performance

Yes, f/4 appears slow on paper, but it’s necessary to keep the size and weight down.

We didn’t find it much of a hindrance, however the lack of VR might be problematic in extremely low light. Focus is quick, accurate and near-silent, while internal focusing means filters can be used with ease. Sharpness is exceptional from corner to corner, while contrast is beautiful, as is colour rendition. We struggled to find any chromatic aberration and distortion, which is an impressive result for such a wide lens.

This f/4 lens is tiny for a 14mm full-frame lens, and it has quickly become our go-to optic for travelling light. The lack of VR takes the shine off somewhat, but the ability to use conventional filters is a huge bonus.

Below left

Image performance

The optics are sharp and contrast is natural, offering great colour reproduction and punchy images. The ability to use standard polarising filters is also welcome

Technical specs Manufacturer Model Web Elements/construction Angle of view Max aperture Min aperture Min focus distance Mount Filter size Length Diameter Weight

Nikon Z 14-30mm f4 S www.nikon.com 14 Elements in 12 Groups 114° - 72° f/4 f/22 0.28m Nikkor Z Mount 82mm 85mm 89mm 485g

BUILD QUALITY IMAGE QUALITY VALUE FOR MONEY FEATURES

Overall

hceneF reteP yb segamI

Verdict

Left

Ultra wide

This true wide-angle optic offers a huge field of view for a small model. We love the close focusing capability for stretching perspective, with minimal edge distortion

Image sharpness Negligible distortion Absent chromatic aberration Filter compatibility No VR 109

REVIEWS

ACCESS RIES

A collection of fun-yet-functional products out there for photographers

Above Above

PEAK DESIGN SLIDE Website:www.peakdesign.com

WANDRD ALL-NEW PRVKE 31 PHOTOGRAPHY BUNDLE Website:eu.wandrd.com

Price:£47/$65

Price:£279/$366

As well as adding blue and green colourways to the existing black and ash options, Peak Design has improved one of the best camera straps around with upgraded webbing, a better silicon grip section and more secure anchor connectors that can hold up to 90kg. The strap can also be adjusted quickly from between 99cm and 145cm in length, so it can be worn around your neck, over your shoulder or across your body.

Like the Prvke 21 featured in our previous issue, the Prvke 31 is made from waterproof tarpaulin and Ballistic nylon, which gives it a tough, wipe-clean outer. It has a capacity of between 31 and 36L, depending upon how far the top is rolled down. The Prvke 31 is available on its own for £199/$259, and makes a great generalpurpose backpack, but as part of the Photography Bundle, you also get an Essential+ Camera Cube, which is ideal for housing a large single-grip DSLRand three or four lenses, a waist strap and two accessory straps.

Above

Above

RODE THREAD ADAPTER Website:www.rode.com Price:£19/$20

Made from stainless steel and brass, this kit features 1/4, 3/8 and 5/8-inch thread adapters in a set that fits together and attaches to the supplied carabiner. It’s perfect for clipping on your camera bag or keys so it’s on hand whenever you need to adapt a mic stand, tripod or light stand.

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3 LEGGED THING ALBERT 2.0 Website:www.3leggedthing.com

Price:£300/$350 tripod only, £350/$450 with AirHed Pro With a maximum height of 1.82m without a head, the Albert 2.0 is taller than the average travel tripod and thanks to its five-section carbon fibre legs, it packs down to 43.1cm with or without a head.

With the AirHed Pro it weighs 2.19kg and has a load capacity of up to 30kg. For extra versatility, each of the legs can be unscrewed and replaced with the optional Vanz feet to create a table-top tripod, while a leg and the centre column form a monopod.

Above

LEXAR PLAY MICROSDXC UHS-I CARD Website:www.lexar.com

Above

Price:£19/$22 (128GB)

Price:£8/$9

Not all devices need super-fast memory cards and with capacities ranging from 128GB up to 1TB (£184/$250), the Lexar Play microSDXC UHS-I is a great choice. Add extra storage to your smartphone, so you can shoot more images or Full HD video without worrying about running out of space.

Whether you’re looking to secure a tripod on your backpack or tidy up some cables, there always seems to be a need for an extra strap or two in photography. Available in widths of 12mm or 20mm and with lengths ranging from 30cm to 75cm, these grippy TPU straps are quick and easy to use and can pull tight to compress whatever you’re fastening.

Above

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SEA TO SUMMIT STRETCH-LOC TPU STRAPS Website:www.seatosummit.com

PEAK DESIGN EVERYDAY TOTE SANDISK Website:www.peakdesign.com PROFESSIONAL Price: £139/$150 G-DRIVE SSD Website:www.westerndigital.com If you prefer a camera bag that doesn’t look like a camera bag, check out the Peak Design Everyday Tote. Available in stylish ‘bone’ (light cream) or black, it has a capacity of 15L, which is enough for a mirrorless camera and three or four lenses. It comes with a detachable shoulder strap that can go across your body when you don’t want to use the two fixed straps, and also has a dedicated 13-inch laptop compartment and organisation sections.

Price:£236/$280 (500GB)

Available with a capacity of 500GB, 1TB (£482/$500) or 2TB (£928/$900), this NVMe solid state drive has a shock-resistant design and transfer speeds of up to 2800MB/s. It features a Thunderbolt 3 port and comes with a compatible cable for 40GBs data transfer. It’s ideal for 4K and 8K working environments.

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REVIEWS

TAKE 5 THE BEST PORTABLE MONITORS We pick five second screens you can use to extend your laptop, tablet or smartphone at home or on-the-go Whether you are working from home or image editing on the go, you no longer need to confine yourself to the display area of your laptop, tablet or smartphone screen. Add a portable monitor to your regular screen and you’ll be able to see the bigger picture, while still maintaining total portability.

These clever displays are a similar size and thickness to a typical laptop screen, so they easily slide into your backpack. They often feature a tablet-style cover that folds into a prop stand, so the display can sit alongside your laptop screen at a similar angle.

Thanks to the power efficiency of modern LCD panels, a portable monitor can be

1

powered from your laptop via a single USB-C connection, and this also carries the display data, so there are generally no other wires to clutter your work area.

Portable monitors range in size from around 12 to 17-inches, though most have a maximum Full HD (1920 x 1080) resolution.

Here, we list five of our favourite options.

1. ASUS ZenScreen MB16ACE

Price: £209/$249 ASUS produces several versions of its sleek ZenScreen monitor, and this 15.6-inch variant offers a Full HD 1920 x 1080 resolution screen. Slim screen bezels keep the overall thickness at an impressive 8mm, and ASUS also includes a useful wraparound smart case cover that converts into a prop stand.

ViewSonic 2 2.

TD1655 Touch segamiytteG aiv tnemoM / illegittoB ocraM © segami llA

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Price: £349/$349 If you’re after a touchscreen portable monitor, this 15.6-inch model comes in at a fair price. At 15mm thick and weighing 1kg, it has an anti-glare coating, blue light filter and built-in speakers. The 800:1 contrast ratio and 250 cd/m2 brightness should be punchy enough for use in sunny spaces, too.

TAKE 5

3

4

3. Asus ROG Strix XG17AHP

4. HP EliteDisplay S14

Price: £496/$479 This extra-large, 17.3-inch portable monitor has its own power supply and a 240Hz refresh rate that’s designed for supersmooth video playback. The IPS panel boasts a seriously impressive 1,000:1 contrast ratio, along with 100% sRGB color space coverage. But it’s rather on the bulky side, so if saving space is your priority, we wouldn’t necessarily choose this one.

Price: £299/$219 This 14-inch offering is HP’s only portable monitor. It has a smaller display than most of its rivals, and a wafer-thin screen at just 9mm. Expect accurate colour and contrast, along with wide viewing angles, but with a brightness of 200 cd/m2, it is a little dimmer than average. The panel can be powered directly from your laptop via USB-C.

5. SideTrak 5 Attachable Portable Monitor Price: £239/$330 This is probably the best monitor for ultimate portability, although you might find the 12.5-inch screen size limiting.

It’s rather pricey for the display area you get, but the beauty of the innovative SideTrak monitor is that it attaches to the back of your laptop. The swivel mechanism means it sits alongside your monitor, giving you dual screens without the need for extra desk space.

Get the power of a laptop with the convenience of a smartphone

segami ytteG aiv tnemoM / nimuyR yegreS ©

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PRO COLUMN

T

IS THE DSLR MARKET DEAD? James Artaius considers the future of the DSLR

here’s no doubt about it: it’s a tough time for the once-mighty DSLR. Ever since the first mirrorless cameras began hitting the scene, in the late 2000s, the writing has been on the wall for digital SLRs in technological terms, if nothing else. Two decades later, those mirror-free marvels do everything that DSLRs can do – plus a whole bunch of things that they can’t and never will. It stands to reason, then, that many pundits and punters alike have got caught up asking the question, “Is the DSLR dead?”. However, the real question is actually, “Is the DSLR market dead?”. And it’s here that both photographers and the photographic industry face quite a quandary.

It has become accepted wisdom that mirrorless cameras are outselling DSLRs, but this isn’t a wholesale truth. In fact, it’s really only the middle third of the industry where mirrorless cameras have taken the lead – the segment occupied by enthusiasts, semi-pros 114

All images © James Artaius

you’re still more likely to see EOS and early adopters. The fact 5Ds and D850s on many wedding, is that, in the other two thirds, portrait and landscape shoots.)

DSLRs are a far more appealing At the elite level of professional proposition. newsgathering, DSLRs come into The market for entry-level their own thanks to their tried cameras is dominated by DSLRs and tested durability and, more for one simple reason: the price. importantly, lag-free shooting.

While it’s true that most people PRO BIO As fast as top-tier mirrorless would arguably find photography Editor of Digital Camera easier to learn if they started with World,Jameshas 21 years cameras like the Sony A1 experience as a magazine are, nothing beats the optical a mirrorless camera (thanks to and web journalist. An viewfinder of a 1 DX Mark III or the what-you-see-is-what-you-get Olympus andCanon shooter, Nikon D6 for sheer speed. nature of electronic viewfinders), he hasa wealth of knowledge The tide, of course, will continue you simply can’t beat the on cameras of all makes – price:performance ratio of bodies and a particular fondness for to change. Mirrorless cameras vintage lenses andfilm. will catch up with DSLRs when it like the Canon EOS 250D or the www.digitalcameraworld.com comes to pro performance, and Nikon D3500. their prices will get lower and start to become At the other end of the spectrum, the the norm for newcomers. market for professional cameras is likewise As it stands today, though, is the DSLR dominated by DSLRs. (For clarity, I’m talking about professional cameras as used by news market dead? Certainly not. And, somewhere, agencies and sports photographers – though Pentax breathes a sigh of relief.