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9 Nikon
Nikon advanced
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tips cards
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Issue 100 • August 2019 www.digitalcameraworld.com
The Nikon magazine 100th Issue special!
Travel photo masterclass!
Big test
8 travel tripods tried & tested
How to take your best-ever images when on the road with your Nikon
New series
Cash from your camera
Learn the real skills you’ll need to make it as a pro photographer
Expert tips
A mountain to climb Our Apprentice shoots the epic scenery of the Brecon Beacons National Park
Double trouble
Nikon pros document twins in Nigeria p90
Shaky dog story Shoot action-packed pet portraits p46
“I was luckier with the camera than riding over it” Richard Dunwoody
Equine & Travel Photographer p82
Z 24-70mm f/2.8 The Z-series’ first fast pro zoom rated p102
Tasty photos
The best Nikon Food POTY images p18
Apprentice In association with
BEFORE
Hasta la vista
Pro kit Umbrella Ian says… I was glad Nigel had brought along a brolly when the rain started to pour on the second morning of our shoot, but he told me: ‘I didn’t bring it for us, it’s mainly for the camera!’ While you can get rainproof camera covers, these are fiddly to put on and make using the camera controls difficult, and they don’t shield the front element of the lens or any filters you have attached. An umbrella is far simpler, as it covers everything and enables you to use the camera unhindered. Plus Nigel did relent and allow the two of us to squeeze under it, too!
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A large umbrella is handy for shielding your camera gear from the worst of the elements.
There was no doubt about it, it was steadily getting cloudier. “The forecast was to get cloudier later in the evening, but not till after sunset. This is coming in early!” stated a concerned Nigel. But as the cloud started licking over the peaks of the mountains, the sun broke through. Turning their attention to the valley below, Nigel explained that even a wide-angle 16-35mm lens wouldn’t do the scene enough justice, and that this was the perfect opportunity for a panorama. Ian began to set up his tripod, but Nigel stopped him: “You don’t have time for that! The light is here right now, and by the time you’ve set up the tripod, levelled it and are ready to take the sequence, it’ll have gone. All settings on your camera should be in manual, shoot in portrait orientation to allow space for cropping, keep the camera as level as you can, and shoot quickly (but not so quickly that you risk camera shake), making sure that you overlap each frame www.digitalcameraworld.com
Mountain landscapes
SUPER Shot #2
from front to back. Shooting panoramics is all about using a consistent shooting approach. Photoshop will do the rest…”
Kings of the castle Minutes later the mountains were completely shrouded in clouds and visibility was down to a few metres. “We’ll not get any evening light up here,” sighed Nigel.“It’s time to move on to Plan B!” After making their way back down the mountain, the rain was beginning to fall heavily. Nigel checked the Met Office forecast – which was still showing the area to be cloudy but dry. “That’s the trouble with mountains,” said Nigel, “the weather can be incredibly localized. It can be raining on one side and bone dry on the other.” A short drive took them to Tretower Castle, a 13th-century ruin of a castle keep. After trying out a few compositions, Ian set up a vertical shot with the castle reflected in a small pond. By shooting from extremely low down, with a tripod leg extended www.digitalcameraworld.com
Camera:
Nikon D810
Lens:
16-35mm f/4
Exposure:
1/200 sec, f/13, ISO100
Expert insight Hiking backpack Nigel says… When you want to be on location at the top of a mountain at the crack of dawn, it makes sense to spend the night there, and for such occasions I’ll set up camp in a lightweight tent. But when you’re carrying all your camera kit, camping gear, spare clothing and supplies – plus a portable stove for that essential morning cuppa – you’ll need to be able to carry it all in comfort. I’ve yet to find the perfect camera backpack for this, but the Lowepro Powder comes close. The bottom has a well-padded camera compartment, while the top expandable section can carry your other gear. It has attachments for skis or a snowboard, but these are great for strapping bulky items like tents, too.
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Sanghamitra Sarkar / Pink LadyÂŽ Food Photographer of the Year
Our favourite Nikon images from the Food Photographer of the Year awards
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Bonda Tribe Sanghamitra Sarkar Odisha has many tribal communities and the Bonda tribe is one of them. They lead a very simple life. Modern society has failed to change them because they have carefully protected their culture and traditions from modern civilization. In this picture the Bonda ladies are busy preparing food in a clay pot and making fire from wood. Camera:
Nikon D750
Lens:
24-120mm f/4
Exposure:
1/320 sec, f/4, ISO400
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Food Photographer of the Year
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All images: © Steve Davey
Travel Portraiture
Steve Davey
Steve is a professional travel photographer and writer. You might recognize him from his BBC-published book Unforgettable Places to See Before You Die. www.stevedavey.com
Travel portrait masterclass Steve Davey takes you around the world in a dozen pages, showing you how to get your best-ever photographs of the people you encounter on your travels…
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www.digitalcameraworld.com
Travel Portraiture
P www.digitalcameraworld.com
hotographing the local people that you meet on the road is one of the most rewarding, yet challenging, things you can do when travelling. Much of the world is a fascinating mix of cultures, interesting people and incredible faces, yet many photographers struggle to approach people, and end up just sneaking pictures that manage to be both intrusive and visually unsatisfying.
Although some of the time I will take pictures without the subject knowing, I much prefer to approach people and seek some sort of permission. Some photographers assert that you get a more natural picture if you take candids: I maintain that you get a more natural picture with time. Spend the time, whether it is a few minutes, or even a few hours, that will allow you to engage with someone, and then the picture will be more empathetic. The power of photography is that you are able to transport the viewer of your picture into a moment that you shot;
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Paul Wilkinson Go Pro
Paul Wilkinson FMPA FBIPP FSWPP is a multiaward-winning international photographer and co-author of the best-selling book Mastering Portrait Photography, and shares his skills through the free companion site MasteringPortraitPhotography.com. In this series he shares his experiences and stories as he talks about the trials and tribulations of becoming a pro photographer.
What it takes to make it as a professional It takes many skills to make a living with portraiture, however, Paul Wilkinson says ‘great photography’, is not the number one skill…
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ne day, very early on in my career as a professional photographer, my wife Sarah asked me how the business was going. “Oh, it’s going really well,” I told her, “I’m pleased with the images I captured; I’ve sent them off to all the clients and they’re delighted!” “That’s great,” she said, “and have you invoiced them yet?” “Er, no, not yet.” No wonder the clients were so happy – they hadn’t paid a penny yet. And left unchallenged by Sarah, I probably wouldn’t have sent those invoices any time soon. Not until the money in the bank started to run out… I was too busy interacting with clients, creating photographs and perfecting them in Photoshop. Those were the three things I pictured myself doing as a full-time photographer, after all. I was focused on the art and the creativity and the people, not the business. But I know what comes first. I’ve met some average photographers who run a profitable business. And I know many amazing photographers who live like starving artists. They believe that elegant images are enough – that’s only part of it.
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In the end, their money runs out completely and the dream gets swapped for a job with a regular income. Poor cash flow is the epitaph of almost all failed businesses, be it big or small.
The list to live by So when I think about what you need to make it as a professional photographer, great photography skills are at the bottom of the list. Here’s what I think comes first:
● Get professional. Run your outfit as a business. That means being determined, organized and resilient. Why resilient? You’re going to experience a lot of knocks. Most clients are everything you hope for. But there will be some that you’re certain will book you, or buy lots of your images, but then don’t. Clients who negotiate aggressively. Clients who become nonresponsive and vanish into thin air. Don’t let this distract you. ● Learn what sells and shoot it. You might love a certain style in one genre, but if the market for that kind of image is nonexistent, then you’ll struggle. There’s a compromise between shooting what you love, and shooting what people pay for. Markets change over time: what works for you now won’t work in five
years’ time. Notice the trends in the market and keep learning and evolving.
● Get to grips with finances. Learn what kit helps make money. I want every new body, every amazing lens. But buying equipment has to be a well-thought-out business decision. My favourite lens of all time is my 105mm. It’s 40 years old. ● Manage time effectively. Learn where to invest time and where it’s lost. Spending four hours editing an image you’re fond of may or may not have a business benefit. Remember that you can have more of everything except time. ● Think like a pessimist. If one of your memory cards becomes corrupted, if your camera breaks, if a lens fails – could you still do the job? You need to balance the cost of backup kit against the loss of income if you are unable to deliver the work because of a problem occurring. What if a client trips over your bag and sues you? Contracts, insurances and backup plans aren’t exciting, but they prepare you for the worst. If you’re shooting every day, it’s not a case of if something will go wrong. It’s when. ● Get over your fear of selling. Learn sales techniques that help you deliver what clients booked you for – amazing wall art, albums and prints. Understand the value of getting the sale today. If a client is willing to spend £500 today, or might be willing to spend £600 in two weeks’ time, I always push for the former. ● Have great photography. Earn the qualifications that give you confidence. Win the awards that impress clients. Deliver the experience that makes people want to be photographed by you. Do all the things that attracted you to this amazing industry in the first place. It’s the best job in the world! Business nous rarely occurs naturally alongside the creative and technical skills of photography. If you don’t have business skills, learn them or outsource to someone who does. Failing that, do what I did – marry a business genius like my wife Sarah. I know – I’m very lucky. Maybe that’s the final component – a little bit of luck!
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Go Pro – Paul Wilkinson
Photography: © Paul Wilkinson
I’ve met some average photographers who run a profitable business. And I know many amazing photographers who live like starving artists
Taking amazing images is just one part of being a professional photographer, but it’s still an important part! Head to www.pwfoto.co/topshade for the lighting diagram and behind-thescenes story for this portrait of beautiful Bryony.
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Section head
The big project
The Mission –S hoot beautiful close-up macro photographs
Time –O ne hour
Skill level – Intermediate
Kit needed –M acro lens – Tripod – Speedlight – Small softbox
Watch on your disc or online
www.bit.ly/NPhoto100
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P roje c t Seven: Th e big proje c t
Extraordinary close-ups
James Paterson shows you how to enhance your macro photography with unusual focal lengths and lighting tricks Seen in close-up, the world reveals all kinds of hitherto unnoticed details, colours and textures. We can use an array of tricks to enhance these close-up details and in this project we’ll explore a few of those options. For starters, we’ll experiment with different focal length macro lenses. A typical focal length for macro lenses is around 100mm, but you can also find more unusual lenses out there, like the 15mm wide angle macro used for the snail photo here. It’s a crazy
lens that’s a real challenge to use, but offers a captivating and rewarding perspective for close-up images. As well as altering our perspective, we can also experiment with lighting. On a bright sunny day, like the one we fortunately got, there’s plenty of light to play with, but it’s not always the best quality for close-up photography. We’ll look at how to manipulate the daylight with a reflector in order to soften and diffuse the harsh sunlight.
We’ll also explain how to add in light of your own using a Speedlight. Like sunlight, direct flash from a Speedlight can be harsh, so we’ll make use of a little softbox for more attractive results. There are lots of other techniques you can employ to enhance the wonderful subjects, details and textures on offer in the close-up world. From choosing the right aperture to hunting for bugs and spraying glycerin-infused water, we’ll look at the tricks of the trade…
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Macro photography techniques
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Your stories [1] Endless compositions gave way to this beautifully serene image.
Camera:
Nikon D810
Lens:
Nikon 16-35mm f/4
Exposure:
2 secs, f/9, ISO64
Unspoiled beauty Pawel Zygmunt heads to the Faroe Islands and finds the best light he’s ever experienced in his adventures with landscape photography
Mission: Document my travels during a visit to the eternally stunning Faroe Islands Photographer: Pawel Zygmunt Location: Oldtown, County Dublin, Ireland Kit used: Nikon D810, Nikon 16-35mm f/4, Sigma 24-70mm f/2.8, Lee 0.9 ND graduated filter, Lee Little Stopper, Manfrotto Neotec 458B tripod with 498RC4 ball head WEBSITE: www.breakinglightpictures.com
owards the end of last year, I got the idea to visit Faroe Islands and I immediately started the preparations for what I would photograph.
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I love doing location research and planning hikes – it helps to build and nurture a real sense of excitement. It also helps to minimize the likelihood of failure… I travelled with a friend, and we experienced all possible kinds of weather – as well as enormous amounts of luck.
And so it begins Getting to Dragarnir, on the island of Vágar, required a 14km hike and a four-hour round trip [1]. The potential compositions in this place were endless, and because I was there four hours before sunset I had a lot of time to wander around. It was tricky to take this photo because the sun was setting
behind the arch and islet. I had to bracket it with three shots and do a bit of work in Photoshop on the shadows and highlights. This photograph of a cliff near the village of Funningur shows the best light I have ever experienced in my adventures with landscape photography [2]. We went for a hike on the island of Eysturoy, but forgot to check the wind speed. As it was constant 70mph, hurricane-like wind from east, I had to crawl and hide behind one of the rock formations on the top! It took me a while to get my gear sorted. I took the camera out and secured everything to my body with all possible straps. While it was hard to see, I knew the sun had started rising already. Looking north, the sun flourished with phenomenal light. The wind was so strong that it was
This photograph of a cliff near Funningur shows the best light I have experienced in my adventures with landscape photography www.digitalcameraworld.com
Faroe Islands landscapes
Camera:
Nikon D810
Lens:
Nikon 16-35mm f/4
Exposure:
1/50 sec, f/5, ISO200
Camera:
Nikon D810
Lens:
Nikon 16-35mm f/4
Exposure:
1/40 sec, f/8, ISO100
[2] Not even wind speeds of 70mph could stop Pawel here!
[3] Pawel created this image from a composite of three vertical shots.
www.digitalcameraworld.com
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PHOTOGRAPHER OF THE YEAR 2019
The search for the world’s best Nikon photographer of 2019 continues! Each issue the monthly N-Photo POTY 2019 photo contest’s top 10 images are selected by the N-Photo team – along with a guest judge. This issue’s competition has the theme of street photography, and who better to join our panel than Nikon Ambassador and wedding and street pro Ross Harvey?
Guest Judge Ross Harvey NIKON AMBASSADOR I had the pleasure to be hired by Nikon Japan to shoot the launch material for the Z 35mm 1.8 S, mounted on the Z 7 mirrorless, for five days of intensive street photography. In that time I can honestly say my jaw hit the floor on multiple occasions. When I was first told that Nikon had developed a whole new mount for mirrorless, all for the image quality, I assumed that was marketing speak. I was wrong. The image quality is insane. I’m not talking about the f/8 sweet spot most lenses have either, I’m talking wide open at f/1.8. You don’t need to stop down for the sharpness you want. The bokeh is almost like medium format, even on the 35mm lens. I’ve never seen anything like it from a full-frame camera.
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NPOTY street photography contest 2
3
1
1. Leap of Faith By Steve Beckett
An exquisitely timed image, in which the photographer has waited patiently for the right moment for a passer-by to perfectly frame the spiritual healer in London’s Chinatown, both seemingly oblivious to the other. The extremely low angle of view not only adds a real sense of dynamism to the shot, but creates leading lines from the street’s paving stones. Camera: Lens: Exposure:
Nikon D750 35mm f/1.8 1/500 sec, f/7.1, ISO800
2. Down in the Tube Station at Midnight
3. Comic Relief (Tears of a Clown)
This humorous and candid shot-from-the-hip sums up the characters typically encountered travelling the late-night Underground: the loved-up couple, the a-little-worse-for-wear young lady, the weary seen-it-all-before Transport for London employee – and we love titular nod to the classic Jam track!
Pete has captured a wonderful candid portrait here, with the colourfully dressed clown seeking relief after a day working the crowds at the Eiffel Tower. It’s voyeuristic, but in a playful way, and Pete has even found time to compose his shot with negative space, giving the clown space to ‘move into’…
By Paul Coomber
By Pete Klimek
Camera:
Nikon D750
Camera:
Nikon D700
Lens:
24-70mm f/2.8
Lens:
28-300mm f/3.5-5.6
Exposure:
1/80 sec, f/10, ISO12,800
Exposure:
1/320 sec, f/8, ISO250
WIN! Your prints professionally mounted Worth £100!
Transform your favourite spaces with your own piece of personalized CEWE WALL ART. The winner of the crowd and judges’ vote each receive a £100 CEWE Photoworld voucher to have their entry mounted in a range of stylish options including acrylic, aluminium, canvas and gallery prints in a huge array of sizes. See cewe-photoworld.com/npoty19
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The N-Photo Interview
marketing business, but didn’t choose my business partners very well, so that went by the way after a couple of years, but I have no regrets – It was good experience. I then met Jonny Bealby from a company called Wild Frontiers in 2002 and started leading trips for him. Alongside that I was doing the odd expedition. The odd expedition? I noticed they were in the Arctic and Antarctica! Yeah, we did a couple of expeditions to the Arctic, one to the magnetic North Pole, that was with David Hempleman-Adams. Then we got this South Pole expedition set up. That took two or three years to get together, but I managed to get down there in 2007-08, and still led some trips with Jonny to some great places in Central Asia, incredibly beautiful and very remote places, including Kyrgyzstan, Tajikistan. We even went to the Wakhan Corridor in Afghanistan, but I kept coming back with rubbish photos! Then I bought a Nikon D70 after seeing an advert for it in my local café in Fulham, and thought I might come back with slightly better images. Was that your first digital camera?
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The D70 was my first DSLR and I’ve stuck with Nikon ever since. Soon after I got my first Nikon, I saw a friend’s post on Facebook saying that she was studying photography at Spéos Photographic Institute in Paris; that was what persuaded me to get in touch with them in back January 2011. By the end of that month I had signed up for a year’s course in 2011-2012. It sounds like that was a big step in contributing to where you are now in your career as a photographer? Definitely. If I was going to do anything, I needed to do it properly and it needed to be done exceptionally well.
Jockeys always have quite good banter with the photographers. They’re always down there when we show the horses at the fence, they’ll be taking photos
Above: Working mules and their drivers take to the road after leaving a brick kiln at Aligarh, near New Delhi, India. Camera: Nikon D700 Lens: 70-200mm f/2.8 Exposure: 1/2500 sec, f/3.5, ISO250 Above right: A pair of Camargue horses kick wildly in a sodden paddock. Camera: Nikon D810 Lens: 24-70mm f/2.8 Exposure: 1/1600 sec, f/5.6, ISO2500 Below right: Elixir Du Berlais, ridden by Ludovic Philipperon, clears the formidable rail and ditch during the 2012 Prix du Président de la République, Auteuil racecourse, France. Camera: Nikon D3 Lens: 70-200mm f/2.8 Exposure: 1/2000 sec, f/4.5, ISO400
What sort of photography were they teaching you? The first term from September was lighting and general photography. Then they specialized to photojournalism from January 2012 for another five months. We each had our own projects. I ended up going to the racecourse at Auteuil quite a bit and I was sending back images to Racingfotos, a horse racing agency, while I was doing it, so that was all good experience. We were also shooting protests in Paris, of which there were always plenty! I think this year’s intake will have some cracking photos of the gilets jaunes protestors in Paris, but we had the presidential elections in our year, which was also interesting. What type of photographer do you describe yourself as now? I’d like to do more corporate photography. I’ve done various bits and pieces for charities, also two or three vets I’ve been photographing, including Noel Fitzpatrick, the Irish veterinary surgeon, so that’s all been good experience. Myself and my girlfriend, Olivia, have started a small website creation business called Mirame Marketing, so I can do the photography for that and Olivia
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Richard DUNWOODY
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Review
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2 5 The new lens has extra controls, weather proofing and even better optical performance.
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Specifications 1
The Nikon Z 24-70mm f/2.8 S gives you an extra f-stop in max aperture over the cheaper Nikon Z 24-70mm f/4 S, but there’s a bit more to it than that.
Nikon Z 24-70mm f/2.8 S £2200/$2797 Will Nikon’s new Z mount zoom lens win over professional users? he Nikon Z 24-70mm f/2.8 S is an important lens for Nikon and its Z 6 and Z 7 fullframe mirrorless cameras, ticking off another milestone on the Nikon Z roadmap. The Z 6 and Z 7 launched with a compact 24-70mm f/4 lens that delivers top performance and is compact, lightweight and relatively inexpensive. We rated these two models amongst the best mirrorless cameras on the market right now, but serious users were always going to expect a professional-level f/2.8 lens too, and now Nikon has delivered. There’s a corresponding constantaperture f/2.8 standard zoom lens for every high-end camera system on the market, so how does this lens stack up against rivals?
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Build and Handling As we’d expect the Nikon Z 24-70mm f/2.8 S feels well put together, with smooth controls and a modern, understated design. It’s not small, obviously. It’s the first lens for the Z system to offer the constant f/2.8 maximum aperture professionals will look for in their standard zooms. Fitted to a Z 7, it’s a weighty lens that pushes the balance of the camera forward, however, the Z 6 and Z 7 have substantial, ‘grippable’ bodies, so having a big lens on a compact body doesn’t feel too awkward, and certainly feels lighter and more wieldy than Nikon’s 24-70mm f/2.8 VR DSLR lens. The digital OLED display on the lens is a great idea, especially for aperture, distance and depth of field display, but while it’s clearly visible in indoor lighting, it can be tough to see outdoors. It also begs another question: why have we had to wait so long for such an obvious
Mount: Nikon Z Elements/groups: 17/15 Minimum focus distance: 0.38m Max magnification factor: 0.22x Manual focus override: Yes Focus limit switches: No Internal focus: Yes Filter size: 82mm Iris blades: 7 Weather seals: Yes Supplied accessories: Hood, soft case Dimensions: 89x126mm Weight: 805g feature as depth of field display? Surely, given the electronic communication between the lens and camera body, we could have this years ago?
Performance The Nikon Z 24-70mm f/2.8 S is a big lens but its focusing is quick and very quiet. It was slightly more hesitant during a night-time shooting test with very dimly-lit and low-contrast subjects, however any hesitancy can be attributed to the camera’s AF, not the lens’s responses. In regular lighting, the 24-70mm f/2.8 felt fast and responsive. In our lab tests, it had a mighty tough act to follow. With the Nikon Z 24-70mm f/4 S review we were extremely impressed by its lab results. It’s designed as a light, affordable, compact ‘kit’ lens, yet its sharpness, lack of distortion and chromatic aberration control puts it in the top tier of standard zooms. Could the f/2.8 version be able to do even better? In a word, yes.
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Nikon Z 24-70mm f/2.8 S Sharpness
Centre
The Nikon Z 24-70mm f/2.8 S is a pretty long lens, physically, but the highly ‘grippable’ Nikon Z 6 and Z 7 bodies help maintain a good handling balance.
The centre sharpness figures achieved by this lens are exceptional. Even when shooting wide open, the Nikon Z 24-70mm f/2.8 S delivers high resolution.
Fringing
It’s a similar story with colour fringing. We can measure it in laboratory testing, but it’s negligible in regular photography. It’s worse at 24mm and least apparent at 70mm.
Distortion In darker or indoor conditions, the lens info display is very obvious and clear indeed.
Verdict The Nikon Z 24-70mm f/2.8 S is bigger, heavier and a good deal more expensive than the lighter Nikon Z 24-70mm f/4 S lens launched with the Z 6 and Z 7. But for pros, the extra f-stop gain in maximum aperture – from f/4 to f/2.8 – will be key, along with the increase in centre resolution. And there is. We thought the 24-70mm f/4 lens was good, but the Nikon Z 24-70mm f/2.8 S goes better. The smaller lens is already so well corrected for colour fringing and distortion that it left little room for improvement… But the 24-70mm f/2.8 is sharper in the centre, far sharper at the edges, and delivers not just higher levels of resolution overall, but amazing consistency across the focal length and aperture range. We still recommend the 24-70mm f/4 lens for enthusiasts and travel photogs, purely for its size and affordability, but for professionals the Nikon Z 24-70mm f/2.8 S is a no-brainer. It’s a top quality pro lens at the leading edge of optical performance.
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Features 1 This lens uses 17 lens elements arranged
in 15 groups and boasts Nikon’s latest ARNEO and Nano Crystal coatings. 2 The f/4 version focuses a bit closer, with
a minimum focus distance of 0.3m and a maximum magnification ratio of 0.3x.
The distortion values are so low that although we can measure them in the laboratory, they will be scarcely detectable in real-world shooting.
N-Photo verdict
3 In addition to the zoom and focus rings, a
third control ring can be set for exposure compensation or aperture adjustment. 4 There’s no aperture ring, but there is a
display which can be set to display apertures, focus distance, exact focal length and depth of field. 5 You also get a customizable L-Fn lens
function button, which can be used for up to 21 different functions.
For most of us, Nikon’s 24-70mm f/4 is more than adequate, but for pros who really need that extra f-stop, the Z 24-70mm f/2.8 S is an exceptional lens, with astounding quality and unique features. Features Build & handling Performance Value
4.5
Overall
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Big test
Travel tripod info to go There are a few nuances that determine the cost of a travel tripod ll the tripods we’ve chosen for this Big Test are sold as kits, complete with ball heads that often feature Arca-Swiss type quick-release plates. Again, there’s a space-saving advantage to be had here, without the need for multiple locking levers that stick out from the head, or need to be removed to pack the tripod away. Even so, they’re not short on sophistication and many feature independent panning locks and adjustable friction dampers, in addition to the main locking knob. Up-market tripods are usually made from carbon fibre instead of aluminium. They have a more luxurious feel, a smarter looking finish, and can be slightly more resistant to vibrations.
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The main advantage of carbon fibre is that it’s more lightweight than aluminium, giving it a clear advantage for ‘travel tripods’. But that’s not the whole story. Although the weight saving can be substantial in full-sized tripods, it’s less noticeable in relatively small travel tripods. For most kits available in both aluminium and carbon fibre options, the latter typically only saves around 200g in weight, little more than 10 per cent. Considering that the carbon fibre editions are usually about 50 per cent more expensive to buy, aluminium travel tripods can be more cost effective. A time-honoured tradition for carrying a tripod is to strap it to the outside of your photo bag or backpack. It’s a fairly neat solution, but can be awkward if the tripod
catches on obstacles when you’re in confined spaces, and you might fall foul of carry-on restrictions when flying. Some of the latest designs are so small that you can fit them inside a bag, neatly solving the problem in an instant. When folded, the outright shortest tripods in this test group are the Benro Slim Travel FSL09CN00 and SIRUI T-005, which measure a mere 32cm. That’s barely longer than a 12-inch ruler. The Vanguard VEO 2 GO 235CB is only a single centimetre larger and the Benro iFoto 19AIB0 comes in a 35cm. The largest tripods in the group are the Kenro Ultimate Travel and Novo Explora T5, at 48cm and 47cm respectively. That’s still only about the length of an 18-inch ruler, and eminently travel-friendly.
What to look for…
Shop for a travel tripod that fits your prerequisites
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Material gains Pricier tripods tend to be made from carbon fibre, rather than aluminium, but the weight-saving for relatively small travel tripods can be minimal.
Up, up and away Nearly all current travel tripods have space-saving legs that swing upwards, so that the feet encircle the head when folded, with the centre column extended.
It’s in the bag With five-section legs and two-section centre columns, some fold down to little more than 30cm, making them small enough to fit inside a camera bag.
Playing the angles Three alternative locking leg angles are usually available. This can be a bonus when shooting on tricky terrain, around obstacles, and for low-level shots.
The lowdown The Kenro, Novo and Vanguards are supplied with lowangle adaptors (LAA), which replace the centre column for low-level shooting without inverting the column.
Heads up All of these are supplied with a ball head. Most feature an independent panning lock, and heavier-duty heads usually also have an adjustable friction damper.
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9000
Tripods KEY Features
KEY Features
1. The two-section telescopic centre stays rigid even at max extension.
1. It offers smooth movement and firm locking, but the ball head has no adjustable friction damper.
2. A spring-loaded weight hook sits on the bottom of the removable centre column.
2. Unlike in many recent tripods with five-section legs, the centre column has a single-section design.
3. Padding is fitted to the detachable leg, which can be used as a monopod.
3. Configured as a monopod, max height is generous at 171cm.
Benro iFoto 19AIB0 £99/$119 The new kid on Benro’s block his new model in the iFoto ‘FIF’ range has a maximum load capacity of 8kg and, while it doesn’t reach a lofty height or feature a pivoting centre column, it’s light in weight, folds down nicely, and is relatively inexpensive. Like some of the other latest travel tripods, the new Benro has five-section legs and a two-section extending centre column, both of which enable a small folded height. In this case, it’s just 35cm, but that’s still 3cm longer than the Benro Slim Travel and SIRUI tripods on test. However, the iFoto has a better max operating height of 148cm and a beefier load rating than both tripods. The heavierduty ball head also adds an independent panning lock and friction adjuster, lacking on the smaller Benro tripod’s head. As with most competitors, you can detach the centre column and one of the tripod legs, joining them together to create a monopod complete with ball head. In this case, the
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N-Photo verdict The iFoto 19AIB0 gives solid support and ace performance, without weighing you down or taking up much space.
maximum operating height becomes a respectable 152cm.
Performance For a tripod with five-section legs and a two-section centre column, the iFoto remains rigid and resistant to vibrations, even at its maximum operating height. All of the controls and adjustments are particularly slick and smooth.
Specifications Construction material Aluminium Alternative material Carbon, 1.41kg, £149/$219 Weight 1.64kg Folded height 35cm Max, min operating height 148cm, 35cm Max monopod height 152cm Load rating 8kg Ball head Benro IB0 Quick-release plate Arca-Swiss type Head adjustments Lock, pan, friction
Build & handling Performance
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There’s a few ‘elements’ up for grabs here anfrotto’s ‘Big’ aluminium is still fairly compact with a 42cm folded height and 1.62kg weight, while having a strong 8kg load rating. The maximum heights of the tripod and monopod configurations are quite generous too, at 165cm and 171cm respectively. As you’d expect, the ‘Small’ edition is smaller. This time, the aluminium version weighs 1.15kg and has only 50 per cent of the load rating at 4kg. It folds down to just 32cm, despite having a telescopic two-section centre column that’s not featured in the ‘Big’ edition. Despite being inexpensive, the Element Traveller Big isn’t lacking in features, while build quality is lovely throughout. The lack of a telescopic centre column in the larger edition pays dividends when it comes to rigidity, the monopod configuration works well and the spring-loaded leg angle locks are simple and speedy in use. The ball head has an independent panning lock and
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N-Photo verdict
Features
Value
5
Manfrotto Element Traveller Big £100/$149
Overall
Well-engineered and with rigidity, the Element is an easy tripod to live with, and is great value in the UK.
two bubble levels, one built into the quick release plate knob for portrait orientation shooting.
Performance In our tests, this tripod proved every bit as rigid and resistant to vibrations as Manfrotto’s Befree 2N1. That’s despite reaching a greater operating height and having five-section rather than four-section legs.
Specifications Construction material Aluminium Alternative material Carbon, 1.4kg, £149/$217 Weight 1.62kg Folded height 42cm Max, min operating height 165cm, 41cm Max monopod height 141/171cm Load rating 8kg Ball head Manfrotto Element Quick-release plate Arca-Swiss type Head adjustments Lock, pan
Features Build & handling Performance Value
4.5
Overall
107