WIN! A NIKON D5300 plus lens – worth £550! Issue 42 • February 2015 www.digitalcameraworld.com
FREE EDITING
SOFTWARE WORTH £50
The no.1 magazine for
NIKON MASTERCLASS
Nikon user s!
■ Find a fresh perspective ■ Shoot from the hip ■ Capture a creative portrait ■ Think long-term EXPERT ADVICE
STUNNING SEASCAPES
software Supertest!
IS Photoshop STILL THE Best?
Discover the keys to a coastal masterpiece
Looking for an affordable alternative to Photoshop? We take an in-depth look at seven different options
ESSENTIAL TECHNIQUES
When I started out, I was able to climb or ski anywhere with the pros, without needing a helicopter, and that gave me a big advantage David Carlier, action sport photographer p86
Get in A Spin
Give spiral staircases a creative twist p51
Tripod TRiCKS The six things you have to know p54
EXPOSURE BY EXPERIENCE Michael Freeman reveals the secret to spot-on exposures
Moonlighting Discover how to turn night into day p56
5
ways to GET even more OUT OF N-PHOTO
Welcome to issue 42 of…
1 Online… Catch up with Nikon news, get inspired & learn new skills
www.digitalcameraworld.com
2 Facebook… Join 160,000 Nikon nuts who ‘Like’ us on Facebook
www.facebook.com/nphotomag
3 Twitter… Follow our tweets & keep up to date with all things #Nikon
www.twitter.com/nphotomag
4 Google+ Hang out with us by putting N-Photo in your Circle
plus.google.com/+Nphotomagazine
5 Flickr... Showcase your shots and see work by other Nikon users
www.flickr.com/nphotomag
ABOUT THE COVER
Title Good Morning Avalon Photographer Bhuminan Piyathasanan Home Sydney, Australia Camera Nikon D700 Lens 16-35mm f/4 Exposure 0.5 sec, f/11, ISO200 Description Regular N-Photo contributor Bhuminan, aka AtomicZen, is a master of striking coastal landscapes – with and without photographers included – as this image of Avalon Beach in Sydney demonstrates. It combines three different exposures (at +2EV, 0 and -2EV) shot with a three-stop graduated neutral density filter Website 500px.com/AtomicZen
www.nphotomag.com
■ Here in the UK, landscape photography is invariably a running battle against the elements. Take this issue’s Apprentice: it was all teed up for a Thursday – travel arranged, photographer booked, reader briefed, pro commissioned – when the weather forecast put paid to our best-laid plans: sheet rain from sunrise to sunset, and, just for good measure, torrential rain overnight. The forecast was nearly as bad for the next day, but I had to make a decision – postpone for a day, or cancel completely. It was the closest I’ve ever come to calling time on an Apprentice shoot, but in the event I decided to risk it, and learnt a valuable lesson in the process: if there’s even the faintest glimmer of hope, the merest chink of sunlight in the forecaster’s cloud symbol, it’s always worth heading out with your camera, even if it means a four-hour drive and a 5am start. You can find out why on page 8. And speaking of valuable lessons, you’ll be seeing a new face in our Skills section from next issue, in the form of our new staff writer Matt Tuffin. Matt joins us from Camera Jungle, and brings with him a wealth of editorial experience and some fantastic ideas, which I know he’s looking forward to sharing with you in 2015. Enjoy!
Paul Grogan, Editor paul.grogan@futurenet.com
The Photography Show is back!
■ Have you got your tickets to The Photography Show yet? Last year’s
show was the biggest photographic event the UK has ever seen, and this year’s promises to be even bigger. And the four-day show, which takes place at the NEC in Birmingham from 21-24 March 2015, isn’t just an exhibition – it will also feature hundreds of inspirational talks and workshops from some of the biggest names in photography. To find out more and book your tickets visit www.photographyshow.com
Issue 42
For more contents listings go to page 5
February 2015
08
86
28
Cover feature
15 Projects For 2015
Fifteen photographic projects to help you develop your skills and get some great shots over the year ahead
Nikon Skills 48 Capture a lifestyle 51 Take the next step 52 Discover Lightroom 54 Get a leg up Shoot by moonlight 56 58 Tidy your rooms! 61 See your true colours 62 Organise and edit your photos
Nikopedia 76
How to set up your camera and light a room for splendid interior photos Get creative with a spiral staircase
Cover feature
Use a long exposure to shoot a landscape by the light of the moon
Discover the quick and easy way to correct lens distortion using Photoshop Master white balance settings Explore PhotoDirector 6
4
February 2015
Be inspired by award-winning images from the Master Photographers Association
Subscribe to our print or digital editions, or grab a bargain bundle!
Not sure where to start? How about right here, with part one of our new series! Six must-know tips for using a tripod
Essentials 20 Lightbox 42 Subscription offers 64 Over to You 84 International print subscriptions The N-Photo Interview 86 121 Next issue 122 My Best Shot Enjoy four photo stories packed with brilliant shots, plus all your rants and raves
Nikon Know-how 76 80 Nikon Software Cover feature
Photography expert Michael Freeman explores the intricacies of exposure When you’ve finished making your RAW conversion in Capture NX-D, you might want to edit it in another program – discover the speedy way to do just that
82 Ask Rod
From choosing a lens to the intricacies of RAW files, our Nikon expert is here to solve all your problems
If you live outside the UK you can make a big saving on the cover price here
Cover feature
Alpine specialist David Carlier talks about a career at the peak of his profession
The good stuff doesn’t end with this issue – here’s something to look forward to
Discover Ralph Morse’s shots of the 20th century’s most anticipated launch…
www.digitalcameraworld.com
expert HANDS-ON video guideS Whenever you see this button, simply use this web link… bit.ly/NPhoto42 to view our online video tutorials
20 98
Test Team 96 Pro Picks Big Test 98
Actors’ photographer Robin Savage reveals kit that makes stage stars twinkle
98
Cover feature
Today’s image editing software doesn’t just help you perfect your images, it helps you catalogue and sort them. But is Photoshop really the best option? We see what eight of the best are capable of…
110 New Gear
All the latest kit, from specialist filters for landscapes to travel tripods that’ll appeal to photographers on the go
114
www.digitalcameraworld.com
Shoot professionallooking photos of stylish interiors
02
03
Take your first steps in Lightroom with our beginners’ guide
04
Discover how to really get the best out of your tripod
05
Use the moon as a light source for gorgeous landscapes
06
07
08
Turn a spiral staircase into an abstract with impact
Correct unwanted lens distortion in seconds using Photoshop
110
Mini Test
We put six card readers to the test and see if they can deliver the speeds they promise – and at what cost!
01
114
Master your Nikon’s Open files adjusted in white balance settings Capture NX-D directly THE VIDEOS INFORMATION ARE 100% INDEPENDENT AND NOT and getAND true colours PROVIDED ON THIS DISCinto other programs ENDORSED OR SPONSORED BY NIKON CORPORATION OR ADOBE SYSTEMS INCORPORATED
February 2015
5
On page 28 we’ve got 15 photo projects for 2015 – what projects are the team hoping to tackle?
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
For me, 2015 is going to be the year of the sunset, with grads and without. I want to capture a perfect one – and if in means travelling, so much the better!
Andrew Leung Art Editor | D5100
andrew.leung@futurenet.com
I plan to put more effort into how I light photographs at home. Setting up lights for simple food shots seems such a fuss, but it really does pay off.
Ali Jennings Lab manager | D800 ali.jennings@futurenet.com
Miriam McDonald Operations Editor | D3100 miriam.mcdonald@futurenet.com
It’s not more shooting – I’ve got several years’ holiday photos to put into photobooks and have printed for posterity. That’s my project for the year!
Matt Tuffin Staff Writer | D700 matt.tuffin@futurenet.com
It won’t be one project for me – I’ll be coming up with a whole stack of them and sharing them in N-Photo, so you can try them out every month!
Angela Nicholson Head of Testing | D7100 angela.nicholson@futurenet.com
I’d like to capture some of the landscapes near my home as the seasons change. It’d make a great break from photographing test charts in the lab!
I enjoyed photographing the Tour de France last year, so I’d like to take more outdoor shots of cyclists, and really capture the spirit of the sport.
This issue’s special contributors… Claire Gillo
■ Claire makes the most of the winter nights and uses the moon as a light source for landscape shots. Page 56
Chris Rutter
■ Getting a funny colour cast in your images? Chris’ guide to setting your white balance could solve it! Page 61
George Cairns
■ Verticals not completely upright? George can show you a quick way to correct them using Photoshop. Page 58
James Paterson
■ If you’re stuck indoors, give James’s project for photographing classy lifestyle interiors a go – it’s great fun! Page 48
Jayne Odell
■ Seascape specialist Jayne gave this issue’s Apprentice a masterclass in capturing seascapes. Page 8
Keith Wilson
■ Keith discovers the story – and steel box! – behind Ralph Morse’s iconic images of the Apollo 11 launch. Page 122
February 2015
Paul Grogan Editor Andrew Leung Art Editor Shona Cutt Deputy Art Editor Miriam McDonald Operations Editor MattTuffin Staff Writer Angela Nicholson Head of Testing Ali Jennings Imaging Lab Manager 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
David Carlier
■ Discover how Nikon die-hard David Carlier became a leading Alpine and action sports photographer. Page 86
Rod Lawton
■ With so many image editing programs available, do you really need Photoshop? Rod takes a look. Page 98
Our contributors Ben Andrews, Gail D’Almaine, Michael Freeman, Louise Gibbon, Lola Hall, Chris Jackson, Khandie Khisses, Simon Lees, Simon Mackney, Hany Mahmoud, Mike McNally, Ralph Morse, Sarah Scott, Joby Sessions, Clint Singh, Margaret Soraya, Stuart Wood, Danny Xeero Special thanks to… The Art Pad, Bath & North-East Somerset Council, The Master Photographers Association
6
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 2015. 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).
www.digitalcameraworld.com
THE
Name Sarah Scott Camera D3100
Name Jayne Odell Camera D800 ■ Jayne’s passion for photography was ignited by a trip to the Lake District. She started out with a Nikon Coolpix and progressed to the D200, D700 and now the D800. Seascapes have always been her favourite genre. Her day job as creative director at a graphic design company gives her an almost obsessive attention to detail! She was awarded an ARPS Distinction in Visual Arts from the Royal Photographic Society in 2011, and has been building her portfolio ever since. She’s at her happiest capturing the emotion of the waves. You can see her work at jayneodellphotography.co.uk
8
February 2015
■ Sarah can remember taking a great shot of the Eiffel Tower at sunrise on a school trip to Paris and has been hooked ever since. Having owned a range of pointand-shoot cameras over the years, she’s often thought about taking up photography more seriously, and two years ago her parents gave her a D3100 for her birthday, telling her that she now had no excuses! She booked herself onto a ‘Get to Know your D-SLR’ course at her local college and went from there. As a native of Margate in the UK she loves to capture the dramatic Turner sunsets it’s renowned for, as well as the sand-covered bays and the atmosphere of the seaside.
www.digitalcameraworld.com
Seascapes masterclass
For this month’s Apprentice, reader Sarah met up with seasoned seascape specialist Jayne Odell to master the art of capturing breaking waves‌ www.digitalcameraworld.com
February 2015
9
Hot Shot #01
EXPOSURE 8 secs, f/10, ISO100 LENS Nikon AF-S DX 10-24mm f/3.5-4.5G ED
Pro’s Killer kit #01 Wellington boots Jayne says… Wellies – or, better still, waders – are crucial for the sort of images I shoot. Sometimes (in fact, more often than not!) the best angle isn’t on dry land, but in among the rock pools and the waves. Taking off your shoes and socks is a real pain, not to mention painfully cold in winter. With wellies you can wade around checking out angles and compositions without having to worry about where you put your feet. It just speeds everything up, and allows you to concentrate 100 per cent on taking better photographs.
10
February 2015
Time and tide
Jayne knew from experience that this rock would only be surrounded by water at around high tide, so she made sure Sarah was all set up by 7am on the morning of the shoot, just as the tide was starting to go out. That way, she could nail the shot, then follow the tide out (see right).
www.digitalcameraworld.com
Seascapes masterclass
OUR APPRENTICE says… For our first shot of the day, taken well before sunrise, Sarah suggested focusing on a lone rock at Bamaluz Beach in St Ives, Cornwall, and using a symmetrical composition to isolate the rock and focus attention on it. She also encouraged me to position the horizon on the top third, and to get down low to fill the frame with the foreground rocks, as the sky was quite flat. An aperture of f/10 gave me a shutter speed of 8 secs at ISO100, which produced just the right amount of blur. Every time a big wave tumbled over the rocks Jayne would shout “Hit it!” and then “Did you get it?” It was really exhilarating!
EXPERT INSIGHT Timing is everything Jayne says… Getting the timing right is key to a shot like this – that and shooting constantly, to maximise your chances of getting a shot that really works. As Sarah soon discovered, the trick with wave-washed rocks is to wait until the wave is sucking back over the rocks, rather than when it’s actually breaking. Even then, it’s a case of trial and error; I can shoot a couple of hundred frames in a location like this and still only come away with one or two I’m happy with.
TECHNIQUE ASSESSMENT Was Sarah dialled in, or all at sea?
To see if Sarah was ready for a sea change in her photography, Jayne took a look at her settings…
Open ’er up!
Jayne says… Sarah uses aperturepriority (A) mode, which is my preference too, and she rightly sets a small aperture of about f/16 for landscapes, but when there’s lots of sea spray around, I tend to open up to f/10 or f/11; at f/16 or f/22, depth of field is so good that any marks on a filter or lens are apparent in the shot.
Open bracket...
Jayne says… Sarah evaluates her exposures by checking her histogram display, but she’s never bracketed her exposures. This isn’t always easy with moving water, where timing is critical (see Expert Insight), but it can be useful in tricky lighting, as it means you can choose from a selection of exposures later, or even blend them in Photoshop if needed.
Go live
Better out than in
Another advantage of shooting just after high tide, especially in rough conditions, is that it’s slightly less perilous. With an incoming tide, you have to be very careful that you don’t get caught out, but with an outgoing tide, you know the water is only ever going to be moving away from you. In either case, it still pays to keep one eye on the viewfinder and one eye on the waves!
www.digitalcameraworld.com
Jayne says… Sarah uses autofocus, and sometimes she isn’t sure if the edge or area she’s focused on is actually sharp. One way to be sure is to compose using Live View, as you can zoom in and check the focusing. Plus, shooting in Live View lifts the mirror up, so you don’t get any mirror slap when the image is taken.
pro’s kit bag
Nikon D800, Nikon 14-24mm f/2.8, Nikon 24-70mm f/2.8, Nikon 70-200mm f/2.8, Nikon 1.4x TC-14E convertor, Nikon 20mm f/2.8, Nikon 35mm f/2, Nikon 50mm f/1.4, Gitzo Carbon 6X tripod, Arca Swiss Monoball Z1, Nikon MC-30 cable release, Lee Big Stopper (10-stop), Lee Little Stopper (six-stop), circular polariser, Lee .6ND hard grad & .9ND hard grad.
February 2015
11
Hot Shot #02
OUR APPRENTICE says… For this shot we were able to make the most of the sunrise, which materialised despite the pretty unpromising forecast! Compared to our first shot the light was quite a bit brighter, so Jayne recommended that I attach my six-stop neutral density (ND) filter to reduce the amount of light reaching the sensor, and so enable me to shoot a longer exposure at f/10. In the end this gave me a shutter speed of 0.8 sec, which provided the perfect balance between motion blur and detail. I also had to attach a two-stop ND grad to darken the sky slightly. On Jayne’s advice, I shot wide, and low to the ground, to fill the frame with the beach, and to use the sweep of the receding waves to lead the eye towards the sunrise.
12
February 2015
Pro’s Killer Kit #02 Microfibre cloths Jayne says… I don’t go anywhere without a set of three microfibre cloths for wiping spray and sand off filters. I use one to get the worst off, a second to get the filter properly dry, and a third to give it a final wipe down. That way only the first one gets properly wet, while the last cloth stays reasonably dry. It also helps if they’re all different colours, so I know which is which in the heat of the moment! I make sure I wash and dry my microfibre cloths after every shoot so that I don’t run the risk of rubbing sand and grit from a previous photoshoot into my expensive filters.
www.digitalcameraworld.com