T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E 23-29 JA NUA RY
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INSPIR AT ION IDE A S IN-DEP T H RE V IEWS
FUJIFILM X-PRO3 WE TEST FUJIFILM’S RANGEFINDER FOR THEçDIGITAL AGE
WINTER WONDERLAND PRO TIPS ON HOW TO CAPTURE STUNNING LANDSCAPES IN CHALLENGING CONDITIONS
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CONTENTS FIND OUT WHAT’S INSIDE THIS ISSUE NEWS
F E AT U R E
HASSELBLAD XCD 4/45PX
New lens is the lightest digital medium format AF optic yet F E AT U R E
WINTER WONDERLANDS
Pro tips for capturing stunning landscapes of snow and ice PHOTOS
GALLERY
Our pick of the best reader Ĝĵ±čåŸ üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ I N S P I R AT I O N
200MPH IN 360 DEGREES
PHOTOS
Onboard action cam captures breathtaking Superbikes video CRASH COURSE
BEAT THE SHAKES
I N S P I R AT I O N
Top tips to eliminate camera ŸĘ±ĩåƤüŅų ŞĜĹěŸĘ±ųŞ ŞĘŅƋŅŸ PHOTOSHOP
CRASH COURSE
FASHION A FAIRYTALE
Create a magical fantasy image using key compositing skills
PHOTOSHOP
GEAR
FUJIFILM X-PRO3
kĬÚěŸÏĘŅŅĬ ŸĘŅŅƋĜĹč ƵĜƋĘ ±ĬĬ mod cons: we test Fujifilm’s ųåƋųŅěĜĹŸŞĜųåÚ ų±ĹčåüĜĹÚåų üŅųƤƋĘå ÚĜčĜƋ±Ĭ ±čå
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W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
HASSELBL AD L AUNCHES THE SUPER-L IGHT WEIGHT XCD 4/45P Wide-angle prime is lightest AF lens yet for digital medium format cameras
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asselblad has announced
compatible with the older Hasselblad
offers a minimum focus distance of
what it claims is “the world’s
X1D-50c once an upcoming firmware
35mm and a maximum magnification
lightest digital medium format
update is available.
Ņü Ŏ×ĂţƖţ FƋƤŞųŅƋųƚÚåŸ ģƚŸƋ ĉƀĵĵ ƵĘåĹ
autofocus lens on the market today”,
The wide-angle view offered by the
mounted on the camera. It’s constructed from nine elements in
the XCD 4/45P. The new optic weighs
The XCD 4/45P is equivalent to that of
just 320g and offers a focal length of
a 36mm lens on a full-frame sensor
seven groups, including two aspherical
45mm, and is designed to work with
camera. It has a maximum aperture
elements. Hasselblad says it delivers
the Hasselblad X1D II 50C to provide a
of f/4, and can be stopped down to a
“state-of-the art optical performance
medium format setup that’s perfect for
minimum aperture of f/22.
within compact dimensions”.
travel and street photography.
With a leaf shutter offering quieter
The Hasselblad XCD 4/45P is
shooting that some other cameras, the
available to order now, priced at
there are now 10 lenses in the XCD
new lens also brings the benefit of flash
£1,030/$1,099, with shipping expect to
range. The new lens will also be
synchronisation up to 1/2000 sec, and
begin at the end of this month.
The arrival of the XCD 4/45P means
CAPTURE A FRESH PERSPECTIVE 14 - 17 MARCH 2020
THE NEC, BIRMINGHAM PHOTOGRAPHYSHOW.COM
The event for everyone passionate about photography and moving image
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SUNRISE ON BOW LAKE Tread lightly across winter scenes, as you may walk over features that can become beautiful foreground details
E Currently living in north Texas, Mike is a self-taught photographer and has been shooting professionally for 10 years. Mike is, by his own admission, addicted to photography and adventure. He’s shot everything from landscapes to professional sports, natural disasters, concerts and aerial photography, and runs workshops throughout the year. For more on Mike’s photography, visit mikemezphotography.com
WINTER LANDSCAPES Pro photogapher Mike Mezeul II reveals the best ways to exploit cold weather to capture stunning images he winter season, with its snow, ice and brutal temperatures, is really my thing. I relish every moment of it. Sure, I have to dress in multiple layers, deal with frozen eyelashes and the occasional snowfall down the back, but I am a lover of winter. Shooting in winter conditions can be extremely challenging, but also very rewarding. Sparkling snow drifts, unique ice formations, steaming lakes and so much more make shooting during
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the winter season such an attraction. If you’re a fan of the beach and warm weather, I challenge you to trade your shorts and T-shirts for a jacket, thick socks and gloves, get out there and start exploring! Now before you get rolling, I never said this was going to be easy! Winter can be an extremely challenging season, and there are definitely some tips and tricks that you can utilise to stay warm, keep your camera and yourself
safe, and create compelling photos. Shooting in situations that are not the most comfortable push you to see the landscape differently. Much of the scenery and detail we enjoy during other seasons is buried under snow, so we have to get creative. I like the challenge of focusing in on the subjects a frozen landscape can produce; you are capturing an image of something temporary and fragile. Here are my tips for making the most of the season.
© Mike Mezeul II
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HOW, WHAT AND WHERE TO SHOOT
This isn’t your normal landscape – it’s time to tailor the way you take photos inding that ‘perfect’ winter scene to capture usually involves a fair amount of planning and travel. When I think about winter photography, I know I’m off to the mountains. Living in Texas, we don’t get much of a winter, so FƤƚŸƚ±ĬĬƼ üĜĹÚ ĵƼŸåĬü Ęå±ÚĜĹč ƋŅ ŅĬŅų±ÚŅ or up to Canada. The challenge in winter is that most of the landscape scenes you’d work with in any other season are different. The foreground you would normally have is now covered in snow, and those perfectly reflecting lakes can be a solid sheet of ice. For me, I love shapes in the fresh snow and details in the ice, so I tend to look for those elements first, and then work my composition from
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there, for example discovering methane bubbles trapped in ice on a frozen lake; these bubbles often make for incredible foreground interest, and also provide a great opportunity to utilise some effective focus-stacking techniques. Sometimes you can get lucky, and arrive at a beautiful winter scene on a lake that hasn’t frozen yet, or is just beginning to freeze. I absolutely love these scenes, as the snow-covered shorelines can be utilised to help frame the scene, or you can discover frozen edges of the lake that provide leading lines in your composition. When working in fresh snowfall, keep in mind that you are your composition’s worst enemy. Approach scenes in a
cautious manner, because once you track footprints through an area, you may have completely destroyed a composition you didn’t see before. I tend to approach my scenes by shooting from further back, and then strategically working my way into an area. If you want to photograph a frozen pond or lake, first try talking to locals and see if they know when the water froze. If it was just a few days or a week prior, give it some more time. Generally speaking, it’s safe to walk on ice when it’s a thickness of 10cm or greater; any thinner and the ice may not be strong enough to support your body weight. Also, even if one area of the ice is thick enough to walk on, remain cautious.
CAMERA SETTINGS FOR PRO RESULTS
When shooting in winter, you may find that metering, white balance and focus are a bit more challenging
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METERING
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EXPOSURE MODE
In winter conditions rely on highlight priority or spot metering. Snow can be extremely bright, so ensure you’re not overexposing and blowing out the highlights.
Work in Manual mode for full creative control. Slowing down and taking greater consideration over each shot means you’ll shoot less, but you tend to achieve greater image quality as a result.
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FOCUS
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ISO
In scenes that have little surface texture – such as frames with white snow – use manual focus to make sure images are sharp. Check focus with Live View.
For daytime winter scenes I recommend keeping the ISO as low as possible to avoid noise, and compensating for this with longer shutter speeds. High ISOs will of course be needed when you shoot at night.
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WHITE BALANCE
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LEVELLING UP
Your camera will see white snow as a grey tone, so adjust the white balance to around 6500 Kelvin. For a precise result set a custom ƚŸĜĹč ± ĀĬƋåųţ
Use the camera’s built-in level on the LCD screen when you want to ensure the horizon is perfectly straight. Work the tripod and camera ±ĹčĬå ƚĹƋĜĬ ƼŅƚ Ÿåå ÏŅĹĀųĵ±ƋĜŅĹ ƋĘå ϱĵåų± ĜŸ ĬåƴåĬ ô ŅĹ ƋĘå ±ĹŅĹ Ă% ƋĘå ĬĜĹåƤƋƚųĹŸ čųååĹţ
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HOW, WHAT AND WHERE TO SHOOT
© Mike Mezeul II
CONTINUED
CANADIAN METHANE BUBBLES Methane bubbles from decomposing lake bed vegetation sit trapped in the ice during a winter sunrise
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COLD WEATHER GEAR AND GARMENTS Comfort and usability in your clothing and camera kit ±ųåƤĩåƼƤƋŅƤ±ƤŸƚÏÏ域üƚĬƤƵĜĹƋåų ŞĘŅƋŅčų±ŞĘƼ ŅƚƋĜĹč
hooting in winter is not for the faint-hearted, and comes with its own set of challenges. Your gear may not perform as well as expected, and getting to that perfect composition may require some trekking in deep snow, while blowing snow and freezing mist may coat your glass elements. So how do you best protect yourself and your gear? One of the first things you’re likely to notice when you’re out shooting is that your batteries drain much quicker in the cold weather. I suggest three different methods to help prolong battery life. The first is utilising Live View as little as possible: Live View already requires a lot from the battery, so using it in the colder temperatures
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only accelerates the draining process. Secondly, take spare batteries out of the camera bag and keep them inside your jacket. Your body warmth keeps the batteries from cooling drastically, helping to maintain the charge. Finally, purchase adhesive handwarmers and stick them to the camera around the battery compartment. This will keep that area nice and warm, and will help to prolong the life of the battery you’re shooting with. As you can imagine, being uncomfortable while shooting really hampers the experience. One of the biggest issues I run into while out shooting winter scenes is the dreaded snow-down-the-boot scenario: once that happens, wet socks and cold
feet make even the most beautiful of scenes a tad difficult to enjoy. As you trek through the snow, I recommend having invested in a pair of waterproof gaiters to go over your boots. With a good pair of gaiters, the problem is solved and you can trek through deep snow, focusing completely on your composition and not on your feet. And a tip for tripods: water is your enemy in cold temperatures. Be careful to avoid getting the joints of your tripod legs wet, or they may freeze and lock up. This happens more often than not, and not being able to raise or lower your tripod really limits you when trying to craft certain compositions. Also, for icy surfaces, tripod feet spikes are a great way to steady a tripod.
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COLD WEATHER GEAR AND GARMENTS CONTINUED
MIKE’S KIT LIST
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1. Atlas camera bag 2. å±ĬĬƼ ĜčĘƋ Ƌƚý ěƐĉ Tripod, BH-55 ball head 3. Nikon D850 body 4. åĹųŅ ĀĬƋåųŸ 5. cĜĩŅĹ ŎĉěƖĉĵĵ üxƖţí ĬåĹŸ 6. cĜĩŅĹ íĂĵĵ üxŎţĉ ĬåĹŸ 7. cĜĩŅĹ ƖĉěƀLj üxƖţí ĬåĹŸ 8. cĜĩŅĹ ƀLjěƖLjLj üxƖţí ĬåĹŸ 9. cĜĩŅĹ ƖLjLjěĂLjLj üxĂţƅ ĬåĹŸ 10. Lume Cubes
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WINTER DRESS SENSE
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CRAMPONS FOR ICE EXPLORATION Grab a good pair of crampons, hire a guide, and enter another world by exploring glaciers. 3
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© Mike Mezeul II
1. ĘĜÏĩ Æå±ĹĜå ʱƋ ±ĹÚxŅų ƱĬ±ÏĬ±ƴ± 2. Base layers (Smartwool) 3. Wool socks 4. Gloves 5. Winter boots (Keen)
© Mike Mezeul II
F ŅüƋåĹ ĀĹÚ ĵƼŸåĬü ĜĹ ƋåĵŞåų±ƋƚųåŸ ±ĹƼƵĘåųå ÆåƋƵååĹ Ljà ±ĹÚ ěĉLjŚ Ø ±ĹÚ ƋĘåųå ĜŸ ŧƚĜƋå ± ÚĜýåųåĹÏå ĜĹ Úų域ĜĹč üŅų ŸƚÏĘ occasions. Your base layers are the most ĜĵŞŅųƋ±ĹƋ ±Ÿ ƋĘåƼ ƵĜĬĬ Æå ƼŅƚų ĀųŸƋ ÚåüåĹÏå against the cold, but you should also consider wearing the following items.
ƻƐ Ù :åƋƋƼĜĵ±čåŸ
4 WADERS IN THE WATER Keep a pair of waders handy when you’re shooting in a cold waterside location, as getting into unfrozen areas can help you discover and capture beautiful compositions.
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EMBRACE THE ELEMENTS
You may end up missing the perfect frame if you wait for the weather to clear hotography is all about timing: capturing the perfect light, the dramatic scene, the innocent moment – the list goes on and on. Many of those moments end up being missed, though, because photographers try to wait for the weather to clear and then head out to find a scene. I challenge you to try to embrace the elements, battle them, and capture the moments that occur in less-than-optimal weather, as well as the ones that come after. Some of my favourite winter images have been captured during blinding snowfall and frigid winds. Sure, the visibility may be lower in these
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conditions, but think outside the box. Focus in on the more minimal elements that are visible, including wildlife. Keep a long lens with you for those dramatic moments as breaks in the cloud begin to show, and reveal the freshly covered snowy peaks. If you’re familiar with the area you’re working, take time to scout out locations that you know will be epic as the weather clears – sometimes you may only have a small window of opportunity to take advantage of the conditions before they worsen again. As photographers, we tend to get overly focused at times on waiting for that perfect, directional golden
light skimming across the landscape, but we should also learn to embrace the moodiness of winter. Grey, snowy skies can actually translate to a bluish, cool scene in your camera, helping to emphasise the cold that comes along with winter – personally, I love shooting these scenes more than I do the dramatically lit ones. There are days, however, where we run into the issue of having no clouds in the sky – these days can actually be quite frequent in the winter. Instead of writing the day off, rest up during the day and plan to take advantage of the clear skies, which later on will reveal a beautiful nightscape.
TAKE ADVANTAGE OF WINTER NIGHTS Winter provides the clearest and best night skies
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CAPTURE THE AURORA SEASON
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GET CREATIVE WITH LIGHTING
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SHOOT THE STARS
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With the shorter days of winter comes the season of the beautiful aurora borealis. If it’s your dream to see the northern lights, get to a high latitude, be patient and then Āųå ±Ƶ±Ƽţ
eųƋĜĀÏĜ±Ĭ ĬĜčĘƋĜĹč Ï±Ĺ Æå ± čųå±Ƌ tool to help bring your scene to life. For this image, I placed a Lume Cube behind the ice to help illuminate it and add a pop ŅüƤÏŅĬŅƚų ƋŅ ƋĘå ŸÏåĹåţ
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All images © Mike Mezeul II
As the sun fades and the temperature drops, it’s tempting to go inside and hunker down by ± Ƶ±ųĵ ĀųåØ ÆƚƋ Æå±ƚƋĜüƚĬ Ĝĵ±čåŸ and compositions are to be found beneath the night sky!
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EMBRACE THE ELEMENTS CONTINUED
TAKE ADVANTAGE OF WINTER NIGHTS CONTINUED 4
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USE THE MOON
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SNOW CATCHING LIGHT
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THE TWILIGHT GLOW
Moonless nights reveal an incredible amount of stars, but when the moon is out, the landscape comes to life. With ŸĹŅƵ ÆåĜĹč ųåāåÏƋĜƴåØ ƋųƼ ƋŅ utilise a bit of moonlight to help illuminate the scene.
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küƋåĹ F ĀĹÚ ĵƼŸåĬü ʱƴĜĹč ŸŅ much fun shooting through the night that I try to take advantage of the twilight hours as well. This time of day can reveal some amazing colours in the sky before sunrise.
All images © Mike Mezeul II
If you have a light source in your frame, make sure you pay attention to how it’s working through the scene. Snow catches the light very easily, so FƤĀĹÚ ƋʱƋ ʱƴĜĹč ĜƋ åĹƋåų ƋĘå frame in a directional manner works best for detail.
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NEW PERSPECTIVES
Think beyond a wide-angle, and challenge yourself ƋŅƤƋųƼƤƵŅųĩĜĹčƤƵĜƋĘƤ±Ƥƴ±ųĜåƋƼƤŅü üŅϱĬ ĬåĹčƋĘŸ ou won’t be presented with an incredible Narnia-like scene every time you go out to shoot, so learning to be diverse in your lens choice is a good way to grow as a photographer, and see things from a different perspective. It’s easy to get caught up shooting with just the lens you have attached to your camera, but you’re missing out on capturing some amazing images. I’ve found myself using everything from a 10.5mm fisheye to a 500mm telephoto out in the field, and I’m glad I had each of those lenses when I did. I rely on my wide-angle lens a lot, especially when capturing a large scene and have foreground in the üų±ĵåţ aƼ cĜĩŅĹ ŎĉěƖĉĵĵ ĜŸ ĵƼ workhorse, and the lens I primarily ƚŸåƤüŅų Ĭ±ĹڟϱŞåŸţ Ęå åƻƋųåĵåĬƼ wide focal length allows for a wide field of view, and also for detailed, focus-stacked images. For scenes that aren’t requiring ŸƚÏĘƤ± ƵĜÚå ±ĹčĬåØ ĵƼ cĜĩŅĹ ƖĉěƀLjĵĵ is my next-best bet. This lens is great for capturing scenes where I want my audience to focus on a particular area of the landscape, but I still want to include some details in the foreground of the scene. We often tend to look at all the close details in a landscape, but attaching a telephoto lens to your camera really opens up an entirely new world of possibilities. I find myself using a Nikon ƀLjěƖLjLjĵĵ ±ĹÚ cĜĩŅĹ ƖLjLjěĂLjLjĵĵ at times, and the scenes that I’ve captured with these focal lengths are moments I’m glad I didn’t miss. Try using telephoto lenses to zoom in on the tops of mountain ridges and admire the scene up there, or to capture extremely intricate details among the towering mountainsides that may otherwise get lost in a wide-angle shot. Any lens larger ƋʱŠƖLjLjĵĵ ĜŸ čųå±Ƌ üŅų Úų±ĵ±ƋĜÏ compression shots – for example, compressing different layers of terrain in the mountains.
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MID-ZOOMS The beautiful village of Hamnøy during a winter sunrise in Lofoten, Norway
DON’T NEGLECT LONGER LENSES Don’t get stuck with one optic Not all landscapes are photographed equally. It may seem like your go-to lens for landscapes should be a wide-angle one, but there are many scenes that can be captured using longer focal lengths. One of my favourite lenses to shoot landscapes with is ĵƼ ƀLjěƖLjLjĵĵ ĬåĹŸţ F åƴåĹ ŸĘŅŅƋ Ĭ±ĹڟϱŞåŸ with my 500mm. These longer focal lengths allow me to see the scene more intimately, and capture details that may be overlooked with a wider focal length.
© Mike Mezeul II
LENS cFUUk ƀLjěƖLjLjaa 8xƖţí FOCAL LENGTH ƀLjaa
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NEW PERSPECTIVES CONTINUED SHOOT WIDE FOR SCALE A snow-covered Sunburst Peak and Mount Assiniboine in British Columbia, Canada
© Mike Mezeul II
LENS cFUUk ŎĉěƖĉaa 8xƖţí FOCAL LENGTH ƖƖaa
SHOOT TIGHT FOR DETAIL An incredible mountain peak in Patagonia covered in snow, captured with a 500mm lens
© Mike Mezeul II
LENS NIKKOR AF-S ƖLjLjěĂLjLjaa 8xĂţƅ FOCAL LENGTH ƖLjLjaa
GET IN THE AIR
Not all images are created at ground level, so expand your horizons
There’s nothing as beautiful in ĵƼƤŅŞĜĹĜŅĹ ±Ÿ ŸååĜĹč ± ƵĜĹƋåų wonderland from the air – the way the snow contrasts amid the scenery, and how the golden light creates a beautiful ambiance. FƤĘĜčĘĬƼ ųåÏŅĵĵåĹÚ åƻޱĹÚĜĹč your perspectives on winter shooting – you won’t regret it. Make Ÿƚųå Ĝü ƼŅƚƤÚŅ ŸĘŅŅƋ ±åųĜ±ĬŸ ƋʱƋ ƼŅƚ have your camera properly secured ƋŅ ƼŅƚţ F ųåÏŅĵĵåĹŚÚ ± ƖĉěƀLjĵĵ lens for most landscape aerials.
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HOW TO GET CREATIVE RESULTS
Focus stacking, neutral density filters and reflections can bring a scene to life hinking outside the box not only includes considering the scene, but also the gear in your bag and the technical capabilities of the camera and post-processing. There are scenes that will require greater depth of field, where knowing how to focus stack will bring images to life. There are scenes where a small reflection will compensate for a nearly cloudless sky. You can even slide in a 10 or six-stop neutral density filter during a heavy snowfall to help reveal detail. When should you utilise these techniques? Well, each one requires a different opportunity. For focus stacking, I keep a keen eye out for a scene with intricate foreground detail and a beautiful background, such as an image in which
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you want your audience’s eye to see both the detail of the bubbles and cracks in a frozen lake, and also the distant mountains. For focus stacking, make sure you get your composition with the furthest focus point being set. Even though you may be on a tripod and not moving, focus shifting creates a bit of a wider composition with the closest focus point, which results in part of that composition needing to be cropped once the image is put together in Photoshop. Neutral density filters are a favourite winter-shooting secret weapon of mine. Most photographers, including myself, use ND filters to help slow down motion in water and fast-moving clouds for dramatic effect, but I also use these filters during moderate-to-heavy snowfall.
Heavier snow tends to obscure much of the landscape, apart from what is just a few metres in front of us. In these instances, I like to put on a 10-stop filter and create a two- or three-minute exposure. This long exposure usually results in much more of the landscape being revealed, even though it can’t be seen with the naked eye. Make sure to keep a blower in your hand to help get rid of any snowflakes that land on the filter. Finally, on those days without a great sky, keep an eye out for even the smallest of reflection puddles. Get low, crop out as much of the boring sky as you can, and utilise these puddles in such a way that they help to fill the scene. Focus stacking is a great technique to apply as well when presented with opportunities like these.
APPLYING TECHNIQUES Use the right technique at the right moment to achieve creative results SHOOT THROUGH THE SNOW While out shooting in Norway, these red cabins were the only things that were visible to the naked eye during a moderate ŸĹŅƵü±ĬĬţ Ƽ ĀƋƋĜĹč ± Xåå Ĝč ƋŅŞŞåų ĀĬƋåų ŠŎLj ŸƋŅŞŸš and using a three-minute exposure, the background mountain and village became clearly visible in ƋĘå ĀűĬ Ĝĵ±čåţ
All images © Mike Mezeul II
FOCUS STACKING The cracks and bubbles in the ice of Abraham Lake in Canada are the most intricate part of any image created here. Focus stacking is a must-use technique for these compositions, because your camera is focusing on details that are just a few centimetres away from the lens, as well as the background.
CAPTURE REFLECTIONS An incredibly beautiful scene with a bland sky led me to utilise the ŅŞåĹěƵ±Ƌåų ±ųå± Ņü )ĵåų±ĬÚ X±ĩå ƋŅ ޱųƋĜ±ĬĬƼ ųåāåÏƋ ƋĘå üų±ĵåţ ĘĜŸ ųåāåÏƋĜŅĹ ±ĬĬŅƵåÚ üŅų ƋĘå üų±ĵå ƋŅ Æå Ş±ĹĹåÚ ÚŅƵĹØ ±Ƶ±Ƽ üųŅĵ ƋĘå negative space.
INCLUDE ANIMALS When out photographing winter scenes, keep a keen eye out, as you may not be the only one taking in the beauty. If you see wildlife, respect the animals and approach carefully, and try to incorporate them to add an additional element into your frame.
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HOW TO GET CREATIVE RESULTS CONTINUED EDIT TO SHOW THE BEAUTY
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Bring your image to life, but don’t make it something it wasn’t Of course, any image ƋʱƋƤÏŅĵåŸ ŅƚƋ Ņü ƼŅƚų camera is going to need ±ƤÆĜƋ Ņü ŞŅĬĜŸĘĜĹč Ņý ĜĹ post-processing, but try to keep your image ųåāåÏƋĜĹč ƋĘå ƋųƚåØ beautiful scene you stood in front of. Have ±ƤƴĜŸĜŅĹ üŅų ƵʱƋ ƼŅƚ Ƶ±ĹƋƤƼŅƚų Ĝĵ±čå ƋŅ ĬŅŅĩ like before you start processing it; remember the moment in which ƼŅƚƤϱŞƋƚųåÚ ĜƋØ ±ĹÚ ƋųƼ ƋŅƤųåŞĬĜϱƋå ƋĘå ÏŅĬŅƚųŸØ textures and mood. My favourite winter postprocessing techniques include dodging and burning, white balance adjustments, and sometimes even converting the image ƋŅƤÆĬ±Ïĩ ±ĹÚ ƵĘĜƋåţ
© Mike Mezeul II
BEFORE
Left YOSEMITE FALLS Fresh snow coats the forest and Yosemite Falls. This image was exposed for the highlights, and composed vertically to capture both tiers of the falls
Above POST-PROCESSED FALLS Raw adjustments were made to the white balance, exposure, whites and shadows, adding contrast and a winter atmosphere. Dodging and burning was also applied
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10 TOP TIPS
Mike’s essential advice for capturing stunning cold-weather images
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KEEP TRIPODS DRY
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KEEP HANDS TOASTY
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KEEP AN EYE OUT FOR WILDLIFE
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EXAMINE YOUR SCENE
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WATCH YOUR FOOTPRINTS
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AVOID FROZEN LCDS
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PAY ATTENTION TO THE WEATHER
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NOTE YOUR LOCATION
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GET OUT AT NIGHT
Do your best to keep your tripod out of water. In freezing temperatures, the water can quickly freeze around the leg joints.
BOW LAKE, CANADIAN ROCKIES These pockets of methane gas rise from decomposing vegetation on ƋĘå Ĭ±ĩå āŅŅųØ ±ĹÚ ±Ÿ ƋĘåƼ ųĜŸå ƋĘåƼ freeze in the ice. They work well as a compositional tool – a leading line into the frame
When I’m dealing with dangerously low temperatures, I keep my gloves on. FƤŞåųŸŅűĬĬƼ ĬĜĩå čĬŅƴåŸ ƋʱƋ ʱƴå ± DŽĜŞŞåų ŅĹƤƋĘå ƋŅŞ üŅų ± ʱĹÚ Ƶ±ųĵåųţ
Many animals go into hibernation over winter, but you may be lucky enough to come across those that don’t.
It’s easy to get caught up in the big picture, but don’t forget to look out for ƋĘåƤŸĵ±ĬĬ ÚåƋ±ĜĬŸ ƋʱƋ ƼŅƚ Ï±Ĺ ƚŸå ƵĜƋĘĜĹ your frame.
Approach locations with caution after a fresh snowfall. If you have to walk into your scene, take big steps, and track back to the camera in the same footprints.
Try not to breathe on your camera if you’re in sub-freezing temperatures. Your breath can freeze on any glass surface, ±ĹÚ ƼŅƚűĬĬ ʱƴå ƋŅ ƋųƼ ±ĹÚ ŸÏų±Şå ĜƋ Ņýţ
Check the forecast before heading out, so that you know what driving conditions to expect and how to dress.
If you do venture out into a heavy snowstorm, keep a GPS device with you in case you lose sight of where you need to get back to.
Snow glows with the smallest amount of ambient moonlight, revealing texture and detail you’d never see during the day.
COLOUR CONTRASTS
On cloudy snow days, you can ĀĹÚƤƼŅƚųŸåĬü ŸƋ±ųĜĹč ±Ƌ ± ŸÏåĹå ƋʱƋ looks almost black and white. Look around to see if you can introduce a splash of colour into your scene.
© Mike Mezeul II
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XPOSURE THE WEEK’S MOST INSPIRING READER PHOTOS
FASHION GIRL
KEVIN MCGUINNESS “This was an arranged shoot with a friend and model named Beth. I photographer her with my Nikon D7100 and a 50mm prime lens, using one light with a beauty dish fitted.” http://bit.ly/2YCPW3U
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THE WEEK’S MOST INSPIRING READER PHOTOS
STEPPING STONES
AHSAN SHARAFUDDIN “I took this in Butchart Gardens, a collection of floral display gardens located near Victoria on Vancouver Island in British Columbia, Canada.” http://bit.ly/37HLjcQ
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THE WEEK’S MOST INSPIRING READER PHOTOS
MOORED
ROSS FARNHAM “I shot this at Barmouth in north-west Wales. I was hoping for a nice sunrise, which didn’t happen, but I was still able to capture some nice colours.” http://tiny.cc/dzrw9y
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THE WEEK’S MOST INSPIRING READER PHOTOS
WORKMEN ETC
MIKE THORNBERRY “I came across this scene as I was walking the streets of Bath in south-west England. Luckily I got a quick shot in before a security guard moved me along – sometimes you have to be fast!” http://tiny.cc/62nyzy
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I T ’ S C O O L , T H AT Images © Amanda Leeming
THE BEST THING WE’ VE SEEN THIS WEEK
HERE’S WHAT HITTING 200MPH LOOKS LIKE IN 360 DEGREES Insta360 action camera captures breathtaking footage of British Superbikes rider f you’re prone to motion sickness you may want to steer clear of this dizzying 360-degree video of British Superbikes rider Peter Hickman doing his thing. Motorsports photographer Amanda Leeming attached an Insta360 ONE X action camera to Hickman’s BMW S1000RR to film him for two practice laps of the Snetterton Circuit in Norfolk, England. The camera was fixed to the bike with a GoPro mount, and a cable tie was also used
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as a safety precaution – sensible, as Superbikes can hit speeds of 200mph. ĘåƤŞĜĹƋěŸĜDŽåÚ Ï±ĵåų± ĵ屟ƚųåŸ ģƚŸƋ ŎŎĂƤƻƤĉí ƻ Ɩíĵĵ ±ĹÚ ƵåĜčĘŸ ŎŎĂčţ FƋűŸ capable of shooting 5.7K footage at 30fps, and its FlowState technology provides smooth stabilised footage. The videos ƵåųåƤåÚĜƋåÚ ƚŸĜĹč FĹŸƋ±ƐƅLj %Fk ƖLjŎĿţ Click the link to watch the video at Hickman’s YouTube channel, where you’ll find lots more high-octane videos.
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CRASH COURSE ESSENTIAL PHOTO SKILLS MADE EASY
HOW TO BEAT THE SHAKES aĜĩå B±ųųĜŸ åƻŞĬ±ĜĹŸ ƵĘƼ ĜƋ Ƌ±ĩåŸ ĵŅųå ƋʱŠģƚŸƋ ± ŸƋå±ÚƼƤʱĹÚ to overcome camera shake and capture sharp images Camera shake might seem like a relatively simple concept, but are you MINS maximising your potential for tack-sharp images every time? Shaky shots occur when your shutter ŸŞååÚ ĜŸĹűƋ ü±ŸƋ åĹŅƚčĘ ƋŅƤÏŅĵŞåĹŸ±Ƌå for unavoidable camera movement, and is therefore most common when you’re shooting handheld. You may have been advised never to shoot below 1/50 sec or perhaps even 1/125 sec, but there’s no hard and fast rule, as there are too many variables
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to consider. Anything from the weight of your gear to the way you hold your camera can affect the sharpness of your shots, but perhaps the biggest factor you need to consider is focal length. It’s often suggested that your shutter ŸŞååÚűŸ ÚåĹŅĵĜűƋŅų ŠƋĘåƤŸåÏŅĹÚ ĹƚĵÆåųš ŸĘŅƚĬÚ ĵ±ƋÏĘ ŅųƤåƻÏååÚ ƋĘå ƴ±Ĭƚå Ņü ƼŅƚų üŅϱĬƤĬåĹčƋĘ ô ŸŅØ üŅų example, if you’re shooting at 200mm, your shutter speed would need to be 1/200 sec or faster. But this assumes ƋʱƋ ƼŅƚűųå ƚŸĜĹč ± üƚĬĬěüų±ĵå ϱĵåų± ô and if you’re using a APS-C camera, you
need to consider its 1.5x (Nikon) or 1.6x (Canon) crop factor. With a crop factor of 1.5x, a 200mm focal length would be ƐLjLjĵĵƤĜĹ ƐĂĵĵ ƋåųĵŸØ ŸŅ ƼŅƚűÚ ĹååÚ to shoot at 1/320 sec or faster. Stabilisation technology in lenses and camera bodies enables photographers to get sharp results at slower shutter speeds, but these systems have their limits; and even if you’re using a tripod, camera shake can still be a problem. So read on to find out how you can combat camera shake, and ensure that every image you capture is pin-sharp.
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HOW TO GET SET UP TO ELIMINATE CAMERA SHAKE 1/50 SEC
1/320 SEC
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SHUTTER SPEED
Finding the correct shutter speed may require some trial and error. Anything from the weight Ņü ƼŅƚų ϱĵåų± ±ĹÚ ĬåĹŸØ ƋŅƤĘŅƵ ±ÚåŞƋ ƼŅƚ are at keeping still, will determine how slow a shutter speed you can use. If you’re shooting full-frame you can try to match your shutter speed’s denominator with the focal length you’re shooting at, and if possible exceed it (if you’re shooting with an APS-C camera, you’ll need to multiply your lens’s focal length by 1.5).
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STRIKE A POSE
Simply working on how you hold your camera can help to combat camera shake. Photographers have developed a number ŅüƤŸĘŅŅƋĜĹč ŸƋ±ĹÏåŸ Ņƴåų ƋĘå Ƽå±ųŸØ ÆƚƋ ƼŅƚ ϱĹűƋ go wrong with pushing your elbows into your ÆŅÚƼ ±ĹÚ ŸƚŞŞŅųƋĜĹč ƋĘå ƱŸå ŅüƤƋĘå ϱĵåų± with your left hand. Staying relaxed, and steadily breathing out as you press the shutter button, will also help.
QUICK TIP Some tripods feature a hook beneath the central column. This is to enable you to suspend something heavy (such as your camera bag), which will help to stabilise the tripod. It’s particularly useful in windy weather!
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HOW TO GET SET UP TO ELIMINATE CAMERA SHAKE
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USE A TRIPOD
Tripods are the obvious way to mitigate camera shake. For the most stable tripod setup possible, you’ll want to ensure that all three feet are planted firmly on the ground and the legs are securely locked in place. Particularly hefty lenses can strain your lens mount, so we’d recommend using a tripod mount (or collar) to reduce the strain and balance your setup. Finally, only extend the central column if you have to, as this single rod is the most unstable section of your tripod.
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MAKESHIFT TRIPODS
Don’t have access to a tripod? Try supporting ƼŅƚų åĬÆŅƵŸ ŅĹ ± Ƌ±ÆĬå Ņų Ƶ±ĬĬţ FüƤƼŅƚűųå thinking of placing the camera itself onto an ŅÆģåÏƋØ åĹŸƚųå ĜƋűŸ ų屟ŅűÆĬƼ üĬ±Ƌţ eƤčŅŅÚ ƋĜŞ is to place a small beanbag between your ϱĵåų± ±ĹÚ ƋĘå Ÿƚųü±Ïå ĜƋűŸ ŸƋ±ĹÚĜĹč ŅĹ ô ĹŅƋ only will this provide a more secure surface, it’ll reduce the impact of any unwanted vibrations caused by traffic or heavy footsteps.
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SHUTTER RELEASE
A tripod isn’t guaranteed to prevent camera shake completely. Pressing the shutter button can create enough movement to ruin a shot, especially if your tripod is precariously positioned, or your camera’s sitting atop a wobbly central column. You can reduce the chances of introducing movement by activating the shutter ƴĜ± ± ŸĘƚƋƋåų ųåĬ屟å ϱÆĬå ô ƋĘĜŸ ĜŸ 域åĹƋĜ±Ĭ Ĝü you need to hold down the shutter button for extended periods when using Bulb mode. If you don’t have a shutter release cable, you can avoid causing movement when manually pressing the shutter by using your camera’s self-timer.
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PH OTOS H O P LEARN ESSENTIAL EDITING SKILLS FAST!
D O W NL O A D T HE P R O J EC T F I L E S
h t t p : // b i t . l y/ 2 T 8 b K U w ON A PC OR MAC
HOW TO...
CRAFT A FAIRYTALE SCENE
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James Paterson calls on a host of essential Photoshop tools and skills to construct a fantastical composite ou can create all kinds of fantastical images by using selections and layers in Photoshop, and in this video tutorial we’ll show you how to create this magical image of a fairy with the help of key compositing techniques. To begin with we need to cut out our subject by creating a selection, and to speed up this process we’ll make the initial selection with the useful Select Subject’ command. With the subject
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isolated we can then bring in a pair of wings – copied from a photo of a bird – and move them behind the body, so it looks like they’re attached to her back. ĘĜŸ ÏŅĵŞŅŸĜƋĜĹč ŸƋåŞ ĜŸ ÆåŸƋƤÚŅĹå with a combination of selection tools ±ĹÚƤĬ±Ƽåų ĵ±ŸĩĜĹčØ ±ĹÚ ƵåűĬĬ ƚƋĜĬĜŸå ƋĘå powerful Select and Mask command to ÚŅƤÆŅƋĘ ±Ƌ ŅĹÏåţ eüƋåų ±ÚÚĜĹč ƋĘå ƵĜĹčŸØ we’ll create a pattern of spirals using a clever, little-known Photoshop command called ‘step and repeat’. This works by
repeating a previous alteration on a duplicate layer, so all we have to do is paint a series of dots, then duplicate and rotate them, and then use the step and repeat shortcut to create a beautiful array of swirling patterns. Finally, we’ll blend in an image of bokeh, and apply ±ƤüåƵ ƋŅűĬ ƋƵå±ĩŸ ƋŅ čĜƴå Ņƚų Ĝĵ±čå ±ƤÚųå±ĵěĬĜĩå ŧƚ±ĬĜƋƼţ ¥Ņƚ Ï±Ĺ ÚŅƵĹĬŅ±Ú the bird and bokeh images used here for free from pixabay.com (just search for images 1045954 and 1772978).
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MIRRORLESS TEST EXPERT OPINION ON THE L ATEST KIT
FUJIFILM X-PRO3 Bringing an old way of shooting to the digital world www.fujifilm.co.uk £1,699/$1,999 ou have to admire Fujifilm’s daring and willingness to try something new. When reports of the Fujifilm X-Pro3’s thenunnamed ‘hidden LCD’ first hit the rumour sites, it seemed so bizarre that many people dismissed it out of hand as too outlandish to be true. However, it’s true – and it’s borderline brilliant in its thinking. The Fujifilm X-Pro3 has its LCD on ‘backwards’, so the screen faces inwards instead of out. The result ĜŸƤƋʱƋ ƋĘåųåűŸ ĹŅ ƋåĵŞƋ±ƋĜŅĹ ƋŅ compose on the back screen, and ƋĘåƤʱŸŸĬå Ņü üĬĜŞŞĜĹč ƋĘå X % ÚŅƵĹ
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between each shot makes you far Ĭ域ƤĜĹÏĬĜĹåÚ ƋŅ ŸƋŅŞ ±ĹÚ åƻ±ĵĜĹå every picture you take. The X-Pro3 encourages you to shoot pictures instead of look at them. It embodies a purity of shooting that keeps you in the moment, with a mindset fully focused on capturing what’s in front of you rather than constantly checking what you just did. By making it less convenient for you to check your pictures, it makes it easier to concentrate on the act of ‘seeing’ them in the first place. Inside, the camera uses the 26.1MP X-Trans 4/X-Processor 4 combo that
debuted in the Fujifilm X-T3. The X-Pro3 focuses down to an impressive -6EV, and features in-camera HDR as well as focus bracketing (with an auto-calculation feature, to determine how many shots are required). And no new Fujifilm flagship would be complete without a new film simulation – here we get Classic Negative, which gives the feel of everyday film such as Superia 100, with hard tonality and low saturation. Build and handling The design and handling are based ŅĹƤŅĬÚ ůų±ĹčåüĜĹÚåųű ϱĵåų±ŸØ ƵĜƋĘ
MIRRORLESS TEST FUJIFILM X-PRO3 01
LAB TESTS
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1 The body itself remains magnesium, but the top and bottom plates are titanium. 2 The ingenious hybrid viewmnder enables youçto switch between electronic and optical modes instantly. 3 This small, square OLED panel displays mlm simulation or exposure information, but it’s hard to read in dim light.
rectangular bodies and optical directvision viewfinders that are aligned with the lens but don’t show the view through it. This presents a learning curve for anyone who isn’t familiar with using a rangefinder, although Fujifilm’s hybrid optical/electronic Ć´ÄœĂĽĆľĂźÄœÄšĂšĂĽĹł ÚŅüŸ üĚ¹Æďü ƟŅƚƤƋŅ Ĺ¸ĆľÄœĆ‹Ă?Ę to a digital display (and check your photos, if you must). The risk is that by challenging you to shoot in more ‘pure’ way, the X-Pro3 can discourage you from using the
SENSOR: 26.1MP APS-C X-TRANS CMOS 4 IMAGE PROCESSOR: X-PROCESSOR 4 AF POINTS: 91 INTELLIGENT HYBRID (CONTRAST AND PHASE DETECTION) ISO RANGE: 8051,200 (EXTENDED) MAX IMAGE SIZE: 6,240 X 4,160 METERING MODES: MULTI, SPOT, AVERAGE, CENTRE-WEIGHTED VIDEO: 4K UP TO 30FPS (15 MINS), 1080P UP TO 60FPS (59 MINS) / 120FPS (6 MINS) VIEWFINDER: HYBRID OVF (95% COV, X0.52 MAG) AND OLED EVF (100% COV, X0.66 MAG, 3.69M DOTS) MEMORY CARD: 2 SD/SDHC/SDXC (UHS II) MAX BURST: 11FPS MECHANICAL SHUTTER, 20FPS ELECTRONIC (30FPS WITH CROP) CONNECTIVITY: WI-FI, BLUETOOTH, USB-C SIZE: 141 X 83 X 46MM WEIGHT: 497G (INCLUDING BATTERY AND MEMORY CARD)
tilting screen in situations where it would actually be useful: in practice, Ć‹Ä˜ĂĽ ßŅďÚěÚŅƾĚ ŸĂ?ųüüĚ ÄœĹ¸Ć¤Ä?ųü¹Ƌ ßŅų ĜĚĂ?Ĺ…ÄšĹ¸ĹžÄœĂ?ƚŅƚŸ ŸƋųüüƋ ĹžÄ˜Ĺ…Ć‹Ĺ…Ä?ĹłÂąĹžÄ˜ĆźĆ¤Ă´ Ä?ÄœĆ´ÄœÄšÄ?ƤƟŅƚ ¹Ě üßßüĂ?Ć‹ÄœĆ´ĂĽ ĆľÂąÄœĹ¸Ć‹Ä›ÄŹĂĽĆ´ĂĽÄŹ Ć´ÄœĂĽĆľĂźÄœÄšĂšĂĽĹłĂ˜ ÄŹÄœÄŠĂĽ Ć‹Ä˜Ĺ…Ĺ¸ĂĽ ßŅƚĚÚƤŅĚ Ĺ…ÄŹĂš film cameras. Performance The performance of the X-Pro3 can’t be faulted: it produces beautiful images with rich, wonderful colour rendition that look sublime straight out of camera, but have plenty of wiggle room for post-processing work. 4K footage is crisp and clean, although it’s a shame that recordings are limited to 15 minutes – and the lack of inbody image stabilisation means that a tripod or gimbal is pretty much a must, making this less appropriate as a run-and-gun video or vlogging device (although that’s really not what this camera is intended for). The performance of the Fujifilm X-Pro3 will come as little surprise; Ć‹Ä˜ĂĽ ĂĽĆťĹžĂĽĹłÄœĂĽÄšĂ?ĂĽ Ĺ…Ăź Ĺ¸Ä˜Ĺ…Ĺ…Ć‹ÄœÄšÄ? ĆľÄœĆ‹Ä˜ ÄœĆ‹Ă˜ however, is a revelation. Used as intended, this camera is as close ¹ŸƤƟŅƚ Ă?¹Ě Ä?ĂĽĆ‹ Ć‹Ĺ… Ĺ¸Ä˜Ĺ…Ĺ…Ć‹ÄœÄšÄ? ¹Ě¹ďŅÄ?ƚü without feeding a roll of Portra into Ć‹Ä˜ĂĽĆ¤Ă†ÂąĂ?ÄŠ Ĺ…Ăź Âą ÆŅÚƟ Ă´ ¹ĚÚ Ć‹Ä˜ÂąĆ‹ĹąĹ¸ Âą Ä?ĂĽÄšĆšÄœÄšĂĽÄŹĆź ÄŹÄœĂ†ĂĽĹłÂąĆ‹ÄœÄšÄ? ĂĽĆťĹžĂĽĹłÄœĂĽÄšĂ?ĂĽĹŁ James Artaius & Chris George
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We tested the X-Pro3 against the Leica M10-P, Canon EOSçRP and Fujifilm X-E3. With three cameras in the 24-26MP range, it’s small wonder they score almost identically. The M10-P’s supplied lens wasn’t able to frame our test chart.
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The X-Pro3 almost matches the full-frame Canon RP. However, the far cheaper Fujifilm X-E3 scoresçvery nearly as well as the X-Pro3.
DYNAMIC RANGE (EV) 14
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The Fujifilm X-Pro3 enables you to recapture the purity and joy of taking photographs; however, at Ć‹ÄœÄľĂĽĹ¸ ÄœĆ‹Ć¤ÄœÄľĹžĂĽĂšĂĽĹ¸ ƟŅƚų ÂąĂ†ÄœÄŹÄœĆ‹Ćź Ć‹Ĺ… Ĺ¸Ä˜Ĺ…Ĺ…Ć‹ ÄœÄšĆ¤Âą ľŅÚüųĚ ƾ¹Ɵţ
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The X-Pro3 is the horse to beat in this race. The M10-P keeps pace at lower ISOs, but the X-Pro3 maintains a clear lead above ISO800.
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Improve your Photoshop skills with the monthly guide to creating stunning images. Each issue comes with expert video lessons.
A monthly magazine that aims to improve your photography with an inspirational mix of amazing images and how-to articles.
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TEACH YOURSELF LIGHTROOM Unleash the creative power of the Lightroom digital darkroom with this 50-part video course. Enhance landscapes, master black and white, make gorgeous portraits and more. http://tiny.cc/dqxogy
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PROFESSIONAL PHOTOGRAPHY MAGAZINE The magazine for pros, and anyone serious about photography. Every month we bring you news, interviews with the world’s top photographers, gear reviews and amazing images. http://tiny.cc/3y3coy