Web Links to all Project videos included Issue 44 • April 2015 www.digitalcameraworld.com
NEW NIKON
D5500 WE GIVE OUR VERDICT
F REE 3 2 PREVIEWPAGE G UID E ! & Five pros share their tips for pin-sharp shots BIG TEST!
tripods ON Trial 10 sturdy supports
INTERVIEW
DON MCCULLIN
reviewed and rated
CORE SKILLS
I WANTED TO TAKE PICTURES THAT COMMUNICATED TO PEOPLE HOW WRONG WHAT THEY WERE LOOKING AT WAS
LANDSCAPE
SECRETS
Six compositions that break the rules – and why they work
APPRENTICE
EDITING ESSENTIALS
get MORE FROM RAW
CHASINg WATERFALLS Head to the wilds of South Wales to discover the key to capturing wispy-water landscapes
MINI TEST
ON CLOUD NINE! Find out which remote storage solution
Nikon guru Michael Freeman explains how to make the most of every image you take
offers the best bang for your buck
STACk ’EM UP Master the use of multiple filters p50
HAVE A HEART
Get creative with cool catchlight effects p52
BIG PROJECT Overlay images for amazing skies p58
5
ways to GET even more OUT OF N-PHOTO
Welcome to issue 44 of…
1 Online… Catch up with Nikon news, get inspired & learn new skills
www.digitalcameraworld.com
2 Facebook… Join 170,000 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 In Her Eyes Photographer Dimitry Roulland Home France Camera Nikon D600 Lens Nikon 50mm f/1.4 Exposure 1/640 sec, f/2, ISO160 Description I met Nicole for a dance photoshoot on a cold and cloudy day in Bordeaux. In the middle of the session we improvised this portrait next to a bush with red flowers. Most of the time, I shoot without any preparation; I prefer to work more by feel, reacting to the subject, lighting and location in a very intuitive and instinctive way. Website www.dr-photographies.com
www.nphotomag.com
■ A year on from its triumphant debut, the second edition of The Photography Show is finally here, and 2015’s installment promises to be bigger and better than ever. Where else can you meet – and be inspired by – so many of the world’s leading photographers in the space of a single weekend? From Martin Parr to Mary Ellen Mark, the line-up of speakers on this year’s Super Stage reads like a Who’s Who of 20th-century photography. And if you can’t make it to the show, or just can’t wait, then allow us to bring some of the stars of the show to you: Geoff Harris’s poignant interview with legendary photojournalist Don McCullin, whose Nikon F famously stopped a bullet in Cambodia, is a truly compelling read, while Lynsey Addario’s harrowing but ultimately moving account of the story behind her best shot will leave you humbled and inspired in equal measure. On a lighter – but no less inspiring – note, this issue’s Lightbox boasts the world’s very best flower and garden images, while our fantastic feature on focusing shows you how to nail pin-sharp shots every time. Plus we have our usual mix of creative projects in this issue’s Skills Zone, from adding some sparkle to family portraits to creating a comic book hero. Enjoy!
Paul Grogan, Editor paul.grogan@futurenet.com
And there’s more...
■ The headline speakers at this year’s Photography Show are
just the tip of the inspiration iceberg! There are hundreds more talks, seminars and workshops scheduled throughout the fourday show, and that’s to say nothing of the thousands of great deals that are sure to be available from the hundreds of retailers and manufacturers represented. You can find out more in our free, 32-page preview and show guide, or at www.thephotographyshow.com. The four-day show takes place at the NEC in Birmingham from 21-24 March 2015.
Issue 44
April 2015
18
52
26
Cover feature
Focus on focus
Discover the lenses, settings and professional tricks you need to nail pin-sharp shots, whatever your subject
Nikon Skills Break the rules 44 47 Double up 48 Protect yourself Stack ’em up 50 Have a heart 52 54 Create a comic book hero Stack for impact 56
Nikopedia 74
Cover feature
Six compositions that break the normal ‘rules’ for landscape shots
Create entertaining portraits with nothing more than an old mirror
Why stop at a single filter, when you can combine them for brilliant effects?
Cover feature
Give family photos extra charm with specially-shaped catchlights Use Photoshop’s Smart Filters and layers to give photos a comic-book look
Cover feature
Shoot a series of images and combine them to create a stunning time-stack image
4
April 2015
Cover feature
Water, water everywhere… and some expert advice in how to photograph it Inspirational images from the Garden Photographer of the Year competition
Subscribe to N-Photo in print or digital form, or pick up a brilliant bundle
Make sure the world knows you own your photos: attach your contact details
Cover feature
Essentials The Apprentice 08 18 Lightbox 38 Subscriptions offers 64 Over to You The N-Photo Interview 86 121 Next issue 122 My Best Shot
76
Cover feature
Nikon Know-how
Get more from your RAW files with Michael Freeman’s guide to the best way to recover missing details in shots
80 Nikon Software
Discover how Nikon Capture NX-D can help you alter your white balance setting to remove unwanted colour casts
82 Ask Rod
Got a Nikon-related problem? Whether it’s a hardware issue or a buying dilemma, Rod is here to help.
Three photo stories packed with brilliant shots, plus all your rants and raves
Cover feature
Legendary photojournalist Don McCullin talks about life on the front line
The good stuff doesn’t end with this issue – here’s something to look forward to
Lynsey Addario recalls capturing a harrowing moment in Afghanistan
www.digitalcameraworld.com
expert HANDS-ON video guideS Whenever you see this button, simply use this web link… bit.ly/NPhoto44 to view our online video tutorials
08
Cover feature This issue’s Apprentice gets a masterclass in photographing waterfalls from Nigel Forster
98
Test Team Nikon D5500 94 Big Test 98 108 New Gear 111 Pro Picks Mini Test 112
01
Try taking landscape shots that dare to break the rules
02
03
Add copyright information to your shots in Lightroom
04
Use multiple filters to take landscapes with the wow factor
05
Add charm to family portraits with a shaped catchlight
06
07
08
Use a mirror to take entertainingly unusual portraits
Cover feature
We go hands-on with Nikon’s latest D-SLR and give it a serious testing!
94
Cover feature
Say goodbye to blur with one of these ten sturdy tripods to suit all budgets
Discover the stellar Nikon D810a, and feel the force of the Gloxy Power Blade Professional sports photographer Tom Miles shows off the tools of his trade
Cover feature
Six cloud-based storage options, with prices from FREE, compared and rated
www.digitalcameraworld.com
Give an ordinary portrait some comic-book kapow!
98 112 Shoot and combine a Say goodbye to soft series of images into shots with Capture THE AND INFORMATION PROVIDED ON THIS DISCNX-D’s ARE 100%Unsharp INDEPENDENT AND tool NOT a VIDEOS stunning ‘time stack’ Mask ENDORSED OR SPONSORED BY NIKON CORPORATION OR ADOBE SYSTEMS INCORPORATED
April 2015
5
There’s only one thing on everyone’s minds: what to see at The Photography Show!
Print 22,708 Digital 7,184 The ABC combined print, digital and digital publication circulation for Jan-Dec 2014 is
29,892
A member of the Audited Bureau of Circulations
Paul Grogan Editor | D800
paul.grogan@futurenet.com
It’s got to be Nikon’s stand. With its full camera and lens line-up, from the biggest D-SLR to the dinkiest Coolpix, it’s going to be well worth a visit.
Andrew Leung Art Editor | D5100
andrew.leung@futurenet.com
Miriam McDonald Operations Editor | D3100 miriam.mcdonald@futurenet.com
‘Streetscape’ looks fascinating – I can’t wait to get some tips from the pros for taking terrific street shots, because I’m rarely brave enough to do it!
Matt Tuffin Staff Writer | D700 matt.tuffin@futurenet.com
The International Garden Photographer of the Year garden is the stand for me. Take garden macros at the NEC? Brilliant idea.
Ali Jennings Lab Manager | D800 ali.jennings@futurenet.com
Like Paul I’ll be visiting the Nikon stand, but I’m hoping to catch one of the free seminars – it’ll be nice to watch someone else give the lessons for once!
Angela Nicholson Head of Testing | D7100 angela.nicholson@futurenet.com
I’m looking forward to finishing my speech… Seriously, though, it’s a real privilege to talk at the same event as the likes of John Wright and Lou Coetzer.
I’ll be heading over to the Filmmaker Theatre to find out some new ways to use my camera when I don’t feel like shooting stills.
This issue’s special contributors… Lynsey Addario
■ Lynsey tells the story behind her harrowing, unforgettable, image of US Marines in Afghanistan. Page 122
Michael Freeman
■ Michael explores the complex world of processing RAW files, and reveals how to get the most from them. Page 76
George Cairns
■ Banish colour casts from your images using Nikon Capture NX-D – and some help from George! Page 80
James Paterson
■ Breaking the rules, but completely in control, James shows you new ways to photograph landscapes. Page 44
Amy Davies
■ A lot of fuss has been made about the D5500’s touchscreen. Amy reveals whether it lives up to expectations. Page 94
Mark Pain
■ As part of our feature on focusing, top sports pro Mark shares his tips for getting perfectly sharp action shots. Page 36
April 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 Rodney Dive Group Art Director
Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer Richard Haley
Don McCullin
■ He’s a legend among photojournalists – and tells us which images he’d like to be remembered for. Page 86
Nigel Forster
■ Nigel specialises in Welsh landscapes, and gives this issue’s Apprentice a masterclass. Page 8
Our contributors Ben Andrews, Enid Astley, Andrew Bailey, Carolyne Barber, Adam Burton, Stefano Coltelli, Chris Gomersall, Mark Gray, Mark Hamblin, Sarah-fiona Helme, Ross Hoddinott, Kate Hopewell-Smith, Gillian Hunt, Simon Lees, Kevin MacAulay, Mike McNally, Daniel Moll, Vinh Q T Nguyen, Jacky Parker, Matthew Richards, Claude Robidoux, Joby Sessions, Christiane Vandroux, Magdalena Wasiczek Special thanks to… Bath & North-East Somerset Council, International Garden Photographer of the Year
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
Chasing Waterfalls For this issue’s Apprentice, reader Enid met up with celebrated landscape photographer and tutor Nigel Forster, to learn how to capture wispy waterfalls in the wilds of South Wales. Here’s how they got on…
8
April 2015
www.digitalcameraworld.com
Waterfalls masterclass
Name Enid Astley Camera D7100 ■ Originally from Chester and now based in Wales, Enid has been a keen photographer for as long as she can remember. She used to love looking at the photos in National Geographic when she was growing up, and took her first pictures on her mum’s 1924 Box Brownie. But it was only two years ago that she bit the bullet and bought her first D-SLR, a Nikon D7100. “I wanted to do more with my photography,” she says, “and challenge myself to take better shots.” She loves experimenting, but what she really wants to m aster is capturing slow shutter speed shots of waterfalls in her adopted home.
www.digitalcameraworld.com
Name Nigel Forster Cameras D800, D700 ■ Nigel got into photography in the early 1980s, and his first camera was a Nikon F3, which he still has. After persuing a career in the environmental sector he returned to photography in 2009, and went on to set up Creative Photography Wales (www. creativephotographywales.com). Nigel teaches landscape photography workshops throughout South Wales and beyond, and his commercial clients have included Brecon Beacons National Park, Visit Wales and even 10 Downing Street, which commissioned him to shoot a series of panoramic backdrops of the Brecon Beacons for a NATO Summit.
April 2015
9
THE
APPRENTICE
matrix metering
spot metering
Learn to spot a midtone
To demonstrate the advantages of shooting in manual mode, Nigel asked Enid to take two shots of these moss-covered rocks, one in full auto mode using matrix metering, and one in manual mode using spot metering. In auto mode the result was overexposed, because Enid’s camera tried to render the scene as an ‘average’ midtone. By spot-metering off the perfect midtone of the green moss in manual mode, Enid was able to adjust her shutter speed until her exposure level indicator lined up with the ‘0’ on her camera’s exposure scale. This rendered the moss as a midtone, the shadows as deep shadows and the highlights as bright highlights – a perfect exposure!
expert insight Chart your progress Nigel says… The best way to check your exposures is to use the histogram view on the rear screen. Waterfalls almost always feature bright white highlights, so ideally you want the histogram to be as far to the right as possible, but without being cut off, or ‘clipped’, as this would result in blown highlights with no detail. If the histogram is cut off, decrease the exposure time to let in less light.
Manual advantage
Another advantage of using manual mode, says Nigel, is that once you’ve set your exposure you can recompose a shot without the changed composition affecting your settings. In shutterpriority mode your camera will adjust the aperture based on what’s in the frame – so a bright waterfall or sky will give a different reading from dark rocks, which might result in underexposure (see below). In manual mode the settings will stay the same no matter what you’re pointing at, ensuring a correct exposure.
Pro’s Killer kit #01 Polariser Nigel says… Most people are aware that neutral density filters enable you to set slower shutter speeds than would otherwise be the case, and so blur water and clouds, but when it comes to waterfalls a polariser is arguably more important, especially if you’re shooting from down low, as was the case with Enid’s first Hot Shot [opposite]: without a polariser, the bright whites of the waterfall were reflected in the water’s surface; with a polariser, these distracting reflections were eliminated, revealing texture and detail in the riverbed.
10
April 2015
www.digitalcameraworld.com
Waterfalls masterclass
OUR APPRENTICE says… For this shot of Sgwyd Gwladys we had to wade into the middle of the river, so I was glad I’d bought my wellies! Nigel suggested getting down low with a wide-angle zoom to fill the foreground with the pebbles on the riverbed and the lines in the moving water. As there was no obvious midtone Nigel suggested metering off the whitest part of the waterfall, and then doubling the exposure time to ensure the whites of the fall were rendered white and not mid-grey. At f/11 and ISO100 this gave me a shutter speed of 1/4 sec, which was still a touch too fast. In the end, half a second provided a perfect exposure, and was slow enough to capture the water as soft, wispy trails.
EXPOSURE 0.3 sec, f/10, ISO100 LENS Sigma 10-20mm f/4-5.6 EX DC HSM
TECHNIQUE ASSESSMENT
Was Enid ready to take the plunge?
Enid loves experimenting with her settings, but a more methodical approach will pay dividends…
Manual labour
Nigel says… Enid tends to start out with her camera in full auto mode, and only ventures into other shooting modes to experiment, without necessarily understanding how these work. With waterfalls, I almost always shoot in manual mode, as it gives me full control over both the aperture and shutter speed, and enables me to set my exposure and then forget about it (see below).
Spot the difference
Nigel says… Enid doesn’t really think about metering, but as waterfalls contain both bright highlights and deep shadows, it pays to be precise. I try to spot-meter from a midtone, as my camera will then suggest settings that will render this area as an average midtone, and so expose the highlights and shadows correctly.
RAW ingredients
Hot Shot #01
www.digitalcameraworld.com
Nigel says… Enid never shoots RAW, but because of the wide range of tones in a waterfall shot it’s vital to capture as much tonal information as possible. At the very least she should shoot RAW + JPEG, so that she can revisit the RAW files when she learns how to process them (see Nikopedia 1 on page 76 for more).
the pro’s kit bag
Nikon D800 ■ Nikon D700 ■ Nikon 16-35mm f/4 ■ Nikon 24-70mm f/2.8 ■ Nikon 70-200mm f/4 ■ Nikon 105mm f/2.8 ■ Two Manfrotto tripods, one aluminium, one carbon fibre, both with grip-action ball head ■ Full set of Lee ND grads (hard and soft), various Lee ND filters, plus square and circular polarisers
April 2015
11
THE
APPRENTICE OUR APPRENTICE says…
Pro’s Killer kit #02 Microfibre lens cloth
The idea with this shot [right] of Melincourt Falls was to capture the power and energy of the fall, so Nigel suggested cropping in tight on the huge boulders at the bottom, and setting a faster shutter speed to freeze the motion of the water and capture every last droplet. The shot also works at a slower shutter speed (see Take your Time, below), but I prefer the faster shutter speed version: with its stark, almost monochromatic tones and simple, graphic composition, it really captures what it was like to stand at the bottom of the waterfall, amid all the noise and the spray.
Nigel says… You’d think that lots of rain would be great for waterfall photography, but the opposite is often the case. The more water there is cascading over a fall, the more the distinct trails of water tend to merge into a featureless curtain of white – and the more spray you get billowing out from the bottom. In these conditions, a dry microfibre cloth is essential for wiping water droplets off filters and lenses. If it’s really wet you may need to do this just before you press the shutter release.
Take your Time
“Waterfalls are perfect for teaching students how they can use shutter speed to blur or freeze moving subjects,” explains Nigel. “I got Enid to set a different speed for each shot in this sequence, starting at 1/1000 sec and incrementally extending the duration of the exposure. As you can see, a speed of 1/8 sec or slower is needed to capture the water as a smooth, continuous blur.”
12
1/1000 sec
April 2015
1/30 sec
1/8 sec
1 sec
www.digitalcameraworld.com
ENJOYED READING THIS MAGAZINE? Subscribe and make great savings at www.myfavouritemagazines.co.uk