All video tutorials included
Photo magazine of the year! Issue 40 • December 2014 www.digitalcameraworld.com
All WE WANT
FOR XMAS
The ultimate gear & gadget wishlist for Nikon lovers
THE ULTIMATE GUIDE
The no.1 magazine for
RAW JPEG
NIKON MASTERCLASS
NIGHT VISION
Nikon users !
■ Punchy panoramas ■ Toy-town effect ■ Bokeh blur ■ Winding traffic trails ■ Creative reflection abstracts
Think you know the difference? It might be time to think again... BIG TEST
FAST GLASS We put eight FX-format prime lenses through their paces
apprentice
LANDSCAPE
What Sports Illustrated taught me is to chase the one great picture and not worry about getting lots of pictures Legendary sports photographer Bob Martin p82
FLIP OUT!
Capture a sideways view of the world p48
Water WORLD Create a globe in a droplet of water p54
SECRETS
Shoot stunning images of local landmarks
LightBOX
Wildlife Photographer of the Year special p20
5
ways to GET even more OUT OF N-PHOTO
Welcome to issue 40 of…
1 Online… Catch up with Nikon news, get inspired & learn new skills
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ABOUT THE COVER
Title Portuguese Bend Photographer Neil Kremer Camera Nikon D300s Focal length 22mm Exposure 48 secs, f/11, ISO200 Description After driving past this spot well over 100 times knowing that a good vantage point would mean a very long hike through rattlesnake-infested vegetation, I decided ‘What the hell?’ I felt it was important to capture light trails throughout the entire stretch of road. Once I understood how long the traffic would take to travel through the frame, I adjusted my settings accordingly. Website www.kremerjohnson.com
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■ Here’s a cautionary tale: many years ago, long after I’d taken up photography but before I knew any better, I was lucky enough to travel to New Zealand for five months, ostensibly to write and shoot features for newspapers back home. I invested in a full-frame body, a couple of pro-quality lenses and a fistful of filters – and then proceeded to spend the next five months shooting the world’s most spectacular scenery in… JPEG. Even now, I’m not sure what I was thinking. Perhaps I reasoned that because the features were destined for newspapers that RAW image quality wasn’t important. Or, more likely, I was slightly unsure of RAW files, both in terms of the benefits they bring and, to be honest, what to do with them. What I hadn’t appreciated was quite how much my skills would improve, both in-camera and in Photoshop, and indeed how much Photoshop would improve. I look at many of the images I took on that trip and wish I’d shot them in RAW. I thought they were fine back then, but looking at them now, I realise how much better they could be. The lesson is this: even if you’re not sure about RAW now, one day you will be, so do yourself a favour and set RAW+JPEG the next time you’re shooting something important. To find out why, simply turn to page 72 for the best explanation of the benefits of RAW we’ve ever read – I guarantee it will change the way you think about RAW forever...
Paul Grogan, Editor paul.grogan@futurenet.com
The perfect Xmas gift!
■ In addition to all of the great goodies in our Christmas Gift
Guide on page 106, UK readers can now get both the print and digital editions of the magazine bundled together for one great low price. And we’ll even throw in a fantastic Manfrotto camera bag worth £69.99! For more details turn to page 40 or visit www.myfavouritemagazines.co.uk/NPHSUBS
Issue 40
For more contents listings go to page 5
December 2014
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20
28
Cover feature
Night Vision
Discover five creative ways to shoot the city at night for a fresh take on even the most familiar urban landscapes
Nikon Skills 44 Stalk a stag Turn the world around 48 50 Look your best 52 Be a bit flash Capture the world 54 56 Edit JPEGs in Camera Raw 58 Meter like a Master
Nikopedia 72
Discover the techniques and kit you need to capture photos of elusive wild deer
Cover feature
Perform quick and easy digital retouching to improve a portrait
Cover feature
Exploit water’s light-bending properties to capture the planet in a drop
Tweak a JPEG file in the most popular RAW editor – it’s easy!
Explore your Nikon’s metering modes, and discover when to use each one
4
December 2014
Cover feature
Enjoy the best Nikon images from Wildlife Photographer of the Year 2014
Get the print and digital editions of your favourite photo mag for one low price!
Create fun optical illusions that put your subject at 90 degrees to reality
Use a flashgun off-camera to add extra depth and drama to outdoor portraits
Essentials Lightbox 20 40 Subscriptions offer 60 Over to You The N-Photo Interview 82 114 Back issues 121 Next issue 122 My Best Shot Three photo stories packed with brilliant shots, plus all your rants and raves
Cover feature
72
Cover feature
Nikon Know-how
Photography expert Michael Freeman pits RAW files against JPEGs, looking at the advantages and disadvantages of each…
76 Nikon Software
Get brighter greens, cooler blues and more with our guide to mastering Nikon Capture NX-D’s LCH panel
78 Ask Chris
Got a burning Nikon-related problem? Our expert is here with the answers!
Enjoy a ringside view of Bob Martin’s career shooting sport at its most impressive
Missed an issue of N-Photo? They’re all still available in digital form!
The good stuff doesn’t end with this issue – here’s something to look forward to Film pro Alex Bailey reveals the shot that shouldn’t have hit the headlines…
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expert HANDS-ON video guideS When you see Whenever youthis see button this button, use press itthis to web see the link… accompanying http://bit.ly/NPhoto40 video, or click to view onour theonline play buttons videos below
82
Cover feature See the action-packed shots that have made Bob Martin one of the world’s leading sports pros
94
Test Team Big Test 94 Cover feature
Sharp, fast and usually fairly lightweight: eight FX-format primes, all with a constant maximum aperture of f/1.4, are compared and rated in our group test
106
Cover feature
112
How to sneak up and take photos of elusive wild deer
02
03
Improve a portrait with some quick and easy retouching
04
Achieve moodier outdoor portraits using off-camera flash
05
Capture the whole world within a single drop of water
06
07
08
Create the illusion that the world has been flipped on its side
Use Adobe Camera Raw to edit your compressed JPEG images
New Gear
If you’ve been very good this year, you might want to ask Father Christmas for one of the things on our festive wishlist…
Cover feature
94
01
106
Mini Test
Get one of these six wireless remotes and trigger your Nikon from a distance – we reveal which one’s the best
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112
Master all three of Work selectively with your Nikon’s metering colours in your shots THE VIDEOS AND PROVIDED ON THIS DISCusing ARE 100% INDEPENDENT modes for INFORMATION total control Capture NX-DAND NOT ENDORSED OR SPONSORED BY NIKON CORPORATION OR ADOBE SYSTEMS INCORPORATED
December 2014
5
We’ve suggested some Christmas gifts on page 106 - what do the team hope Santa will bring?
Print 23,929 Digital 6,767 The ABC combined print, digital and digital publication circulation for Jan-Dec 2013 is
30,696
A member of the Audited Bureau of Circulations
Paul Grogan Editor | D800
paul.grogan@futurenet.com
I’ve been doing a lot of location photography lately, so I’d like a new bag – something comfortable, with room for lunch as well as my Nikon!
Andrew Leung Art Editor | D5100
andrew.leung@futurenet.com
I’d like a fast macro lens for my food photography – something that’ll pick out every fleck of herb in my cooking, even in low, dining room light!
Angela Nicholson Head of Testing | D7100 angela.nicholson@futurenet.com
I’d like a new waterproof jacket, with plenty of pockets. I always have rain covers for the cameras I’m testing, and I’d quite like one for myself, too!
Miriam McDonald Operations Editor | D3100 miriam.mcdonald@futurenet.com
I’d like an upgrade to my kit lens. I like the versatility of a zoom lens, but fancy something a bit faster for shooting inside dim buildings.
Ali Jennings Lab manager | D800 ali.jennings@futurenet.com
I’d like something cheap – a sensor cleaning kit. Constantly swapping lenses in the lab means I’m more prone to a dusty sensor than most...
Chris George Nikon expert | D200 & D800 chris.george@futurenet.com
Apart from a box full of lens caps (where do they all go?) I’d like Sigma’s new Art line 50mm lens (page 100). I think I’ve been good enough to deserve it!
This issue’s special contributors… Claire Gillo
■ Claire joined James on his stag hunt this issue, and together they captured great shots of the skittish creatures. Page 44
Chris Rutter
■ Explore your Nikon’s metering modes with Chris’s guide to how they work and when to use each one. Page 58
George Cairns
■ If you want to make your portraits look their best, don’t miss George’s guide to quick and easy retouching. Page 50
James Paterson
■ James took his flash outdoors and off-camera, enabling him (and you!) to create moodier model portraits. Page 52
Ary Bassous
■ Ary won the ‘Invertebrates’ category in the Wildlife Photographer of the Year 2014 competition. See why on page 24.
Keith Wilson
■ Keith spoke to sports pro Bob Martin this issue – a man who’s as big a star in his own field as the athletes he shoots. Page 82
December 2014
Paul Grogan Editor Andrew Leung Art Editor Shona Cutt Deputy Art Editor Miriam McDonald Operations Editor Angela Nicholson Head of Testing Ali Jennings Imaging Lab Manager Jeff Meyer Web Editor Video production Pete Gray Producer Adam Lee Videographer Advertising Matt Bailey Senior Sales Executive matt.bailey@futurenet.com, 01225 687511 Claire Harris Account Manager Marketing & circulation Charlotte Lloyd-Williams Direct Marketing Executive Michelle Brock Trade Marketing Manager 0207 429 3683 Print & production Vivienne Calvert Production Controller Mark Constance Production Manager International & licensing Regina Erak International Director regina.erak@futurenet.com, +44 (0)1225 442244 Management Nial Ferguson Content and Marketing Director Matthew Pierce Head of Content & Marketing: Photography, Creative & Design Chris George Group Editor-in-Chief Simon Middleweek Acting Group Art Director
Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer Richard Haley
Minghui Yuan
■ If you can’t make a connection between plants and music, just take a look at Yuan’s WPOTY entry. Page 25
Matthew Richards
■ There’s something special about a fast prime lens, and Matthew got his mitts on eight this issue. Page 94
Our contributors Ben Andrews, Alex Bailey, Geo Cloete, Jon Davatz, Amy Davies, Michael Freeman, Chris Guglielmo (Gug), Arild Heitmann, Jay Hunjan, Neil Kremer, Rod Lawton, Ken Lennox, Bob Martin, Mike McNally, Andrew Morl, Carlos Perez Naval, Raviprakash S S, Edwin Sahlin, David Taylor, Greg du Toit Special thanks to… Bath & North-East Somerset Council, Wildlife Photographer of the Year
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N-Photo Magazine, Future Publishing Quay House, The Ambury, Bath, UK, BA1 1UA Editorial mail@nphotomag.com +44 (0)1225 442244 Subscriptions and back issues (UK) 0844 848 2852 (overseas) +44 (0)1604 251045 Subscriptions nphoto@myfavouritemagazines.co.uk Or go to www.myfavouritemagazines.co.uk/nphoto
Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath) Printed in the UK by William Gibbons and Sons Ltd, on behalf of Future. Distributed by Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT. Tel 020 7429 4000. Overseas distribution by Seymour International.
N-Photo is an independent publication and is not in any way authorised, affiliated, nor sponsored by Nikon. All the opinions expressed herein are those of the magazine and not that of Nikon. Nikon, NIKKOR and all associated trademarks are the property of Nikon Corporation. © Future Publishing Limited 2014. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).
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THE
Monuments
Men
In this month’s Apprentice, reader Andrew Morl meets up with renowned landscape photographer and author David Taylor for a 24-hour masterclass on capturing local landmarks in his native Northumbria...
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December 2014
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Landmark masterclass
Name David Taylor Cameras Nikon D600 ■ David has been interested in photography since his teens. His love of the outdoors, particularly his native Northumberland, made landscape photography an obvious specialisation. He turned professional in 2006 after 20 years as a graphic artist for a variety of computer game development companies. Since then he’s worked with organisations such as the Northumberland National Park Authority to supply imagery for promotional and editorial use. He’s also written camera guides and technique books for Ammonite Press (www. ammonitepress.com). His most recent book, Mastering Landscape Photography, is available now from Amazon and all good bookshops.
Name Andrew Morl Cameras Nikon D3200 ■ Bus driver Andrew got the photography bug from his dad, who bought him his first camera: a Zenit 11 with a 50mm lens. His first foray into digital was a 6.3MP Fujifilm s7000 bridge camera. He’d always wanted a Nikon, though, so last year he treated himself to a D3200. Lens-wise he’s got most of the bases covered, with an 18-55mm kit lens and a Sigma 70-300mm zoom. He has recently invested in a circular polariser, a variable ND filter and a set of ND grads, plus a Manfrotto tripod and a remote release, which he’s keen to put to use improving his landscapes. He’s particularly interested in learning how to capture local landmarks within a wider landscape.
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December 2014
9
THE
APPRENTICE
Hot Shot #01
EXPOSURE 1/80 sec, f/11, ISO100 LENS Nikon AF-S DX 18-55mm f/3.5-5.6G VR
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December 2014
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Landmark masterclass
OUR APPRENTICE says… We began our shoot at the harbour on Holy Island, overlooking Lindisfarne Castle. Although it was late afternoon the light was still quite harsh, so David suggested either trying to capture close-ups of colours and textures around the boatyard (which would have benefited from the hard light) or shooting an image that included both the castle and elements of local culture, to provide a sense of place. With this shot we managed to combine both of these approaches – the textures on the poles and the boats, and in the grass, make the most of the hard lighting, but not at the expense of the wider landscape. I decided to crop it square to focus the viewer’s attention on the castle, which I placed bang in the middle of the frame.
EXPERT INSIGHT Take your time David says… One of the advantages of using a tripod is that it forces you to slow down and think about what you’re doing. Landscape photography tends to be quite measured and precise: once you’ve got a rough composition sorted, a tripod allows you to nudge your camera left or right, or up or down, until everything is exactly how you want it. It’s almost impossible to do this handheld with any degree of accuracy.
Let your eyes wander
A good tip when it comes to eliminating distractions, says David, is to run your eye around all four edges of the frame before settling on a composition. If there is anything at the edges of the frame that’s distracting or that leads the viewer’s eye out of the frame, tweak the composition.
Pro’s Killer kit #01 Photography apps
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Was Andrew set up to shoot landmarks? Before they started shooting, David scrutinised Andrew’s kit and camera settings…
Take it steady
David says… Andrew shoots all of his landscapes handheld, a habit he needs to break! Only in bright sunlight is it possible to set an aperture small enough to maximise depth of field while still being able to set a shutter speed fast enough to shoot handheld, but landscapes are usually at their best early or late in the day.
Raw ingredients
Order from chaos
David explained that with a busy scene like this, with lots going on, deciding what to leave out is just as important as what to leave in. The aim, he explained, is to create a sense of order from the chaos, and eliminate any distractions.
David says… I hardly ever use my phone for calls, but I find it invaluable when it comes to apps. Four apps I couldn’t do without are the BBC Weather app, which does what it says on the tin; UK Tides, which provides tide times for harbours and beaches throughout the UK; Photo Pills, which provides information on everything from sunset and sunrise times to hyperfocal distance; and LongTime Exposure Calculator, which helps me to work out exposure times when using neutral density filters (see Hot Shot #4).
TECHNIQUE ASSESSMENT
David says… Andrew uses his D3200’s RAW + JPEG option, as “apparently images look better in RAW”, but he’s not really sure why. JPEG is fine if you nail the exposure in-camera, and when there isn’t too much contrast in your scene, but for everything else RAW is usually the best option (see this month’s Nikopedia on page 72 for more on RAW vs JPEG).
Strike a balance
David says… Andrew tends to rely on his camera’s Auto White Balance setting. This sometimes removes a colour cast that you actually want to retain (such as the warm glow of a sunset) so a better bet is to set Daylight White Balance, as this reproduces landscape colours fairly accurately.
pro’s kit bag
Nikon D600, Nikon 20mm f/2.8D, Nikon 28mm PC, Nikon AF 35mm f/2D, Nikon AF 50mm f/1.4G, Nikon AF 28-80mm f/3.5-5.6D, Tokina 100mm macro, Nikon 200mm f/4 AI, Metz 44 AF-1 flash, Giottos MTL8271B carbon fibre tripod, Manfrotto 410 Junioe Geared Head, Lowepro Vertex 300 camera bag.
December 2014
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THE
Hot Shot #02
APPRENTICE
EXPOSURE 1/13 sec, f/16, ISO100 LENS Nikon AF-S DX 18-55mm f/3.5-5.6G VR
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December 2014
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