WIN! A COMPLETE HOME STUDIO KIT WORTH £2000 Issue 53 • Dec 2015 www.digitalcameraworld.com
your first
nikon 5 entry-level SLRs on test
essential nikon kit
ultimate
upgrades! ■ buy a better nikon body or lens ■ go full-frame ■ go longer ■ go Wider ■ go faster!
head to head
tripods on test We pit a £180 classic against a £1000 beast!
core skills
fairground attraction Discover how to capture the colour and excitement of a seasonal fair
apprentice
For three months I literally sat in the water just to mask my scent, and eventually I got those photographs of the lions Greg du Toit, Wildlife Photographer
be inspired
Enjoy our pick of the world’s best landscape images from 2015 p18
open bracket
charlie waite masterclass Go behind the scenes of a shoot with a landscape legend
Nail tricky exposures every time with our step-by-step guide p46
go jurassic! Have fun with forced perspective p50
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ways to GET even more OUT OF N-PHOTO
Welcome to issue 53 of…
1 Online… Catch up with Nikon news, get inspired & learn new skills
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■ This issue, we’re giving over a generous proportion of the magazine to one of our favourite subjects: namely, Nikon kit. Whether you’re looking to buy your first ever D-SLR, or after some expert guidance on upgrading your current camera or lenses, we’re here to help. Our Big Test (p122) of every camera in Nikon’s current entry-level line-up will help you buy with confidence; and if you already own a Nikon and are in the market for a new body or lens, Matthew Richards’ superb feature (p28) reveals THE perfect upgrades for a variety of bodies and lenses, from trusted stalwarts to hidden gems. And once you’re armed with your new Nikon, you won’t want to miss our Apprentice feature with world-renowned landscape photographer Charlie Waite. I don’t think I’ve met another landscape pro who takes as much care over the tiniest details of light, shade and composition as Charlie. Find out why it matters on page eight. And speaking of details, you won’t find many pros who’d be prepared to sit in a watering hole deep in the African bush for three months to photograph a lion. Aweinspiring wildlife pro Greg du Toit reveals all on page 106. All that plus capturing the fun of a festive fair; setting up as a wedding pro; and unique bodyscapes that take light, shade and composition to a whole new level. Enjoy!
ABOUT THE COVER
Title Simon’s Seat Photographer Andrew Cole Camera Nikon D7100 Lens Sigma 17-50mm f/2.8 Exposure 1/2 sec, f/16, ISO100 Description This was taken from the top of Simon’s Seat, above Wharfedale in the Yorkshire Dales, UK. I set a small aperture to create the starburst effect, and used a soft-edged ND grad to darken the sky, and balance the exposure. Lens flare is usually something to be avoided, but here I think it really adds to the atmosphere of the image. Website www.alcphotography.co.uk
www.nphotomag.com
Paul Grogan, Editor paul.grogan@futurenet.com
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Issue 53 december 2015
08 Essentials The Apprentice 08 Lightbox 18 26 On Assignment 40 Photo Club Competition 64 The Fun of the Fair 67 74 Over to You 100 Cash from your Nikon 104 My Big Break Interview 106 146 Joe McNally Cover feature
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We go on a shoot with legendary landscape photographer Charlie Waite
Cover feature
Cover feature
Ultimate upgrades
Whether you’re upgrading from entry-level to enthusiast, DX to FX or looking for a higher-quality lens, we know what kit you need next
Nikon Skills Bracket for exposure 46 Cut ’em down to size 50 52 Work smarter 54 Go with the flow 56 Blaze a trail 58 See red 60 Shoot a nude landscape Cover feature
Get detail throughout your shot and expose perfectly with exposure bracketing
Cover feature
Force perspective to create a monster of an illusion, all in-camera! Edit images in Lightroom even when the original file isn’t available
Use slow sync flash to capture a sharp shot of a dancer plus a motion trail
Create sparky light trails using burning wire wool and long exposures
Achieve the effect of shooting in infrared convincingly using Photoshop
Make the soft curves of the human body look like an undulating landscape
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The best images from International Landscape Photographer of the Year 2015
December 2015
Nikopedia 90 Nikon Know-how
Creating a specific mood in a photo is a complex process, involving all sorts of variables. Michael Freeman discusses the colours, lighting and compositions that can give an image a particular atmosphere, from upbeat and cheery, to cool and calm, to wistful or melancholy
94 Nikon software
If the sky is too bright or the land too dark in a photograph, you can correct it using Nikon Capture NX-D – we’ll take you through the process step-by-step
96 Ask Jason
This month, Jason helps readers find the right lens upgrade, looks at syncing flashguns, and explains a possible cause of blurry shots. Why not ask him to solve any camera problems you’re having?
98
Cover feature
Head-to-head
The cost of a tripod and head varies massively, so we pit a popular wallet-friendly option against a top-of-the-range model to see if you really do get what you pay for
Paul Harcourt Davies recalls a memorable butterfly hunt in the Apennines Get N-Photo every month, plus a great gift and brilliant year-round discounts on kit
Cover feature
Enter our competition to win a fantastic studio lighting set-up worth £2,000
Cover feature
Enjoy our guide to photographing fairs
Your photos, portfolio reviews, letters and our latest photo competition winners
Following on from last issue, we look at setting up a wedding photography business
Sport supremo Bob Martin reveals the image that really put him on the map
Cover feature
African wildlife pro Greg du Toit shares tales from a career in the bush Joe’s got a great photo opportunity, but no flash! What’s a photographer to do?
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expert HANDS-ON video guideS Whenever you see this button, simply use this web link… bit.ly/NPhoto53 to view our online video tutorials
106 122
Cover feature Discover the stories behind Greg du Toit’s stunning photographs of African wildlife
Test Team 118 New Gear 120 Mini Test
122
Cover feature
02
03
Use Smart Previews to edit images even without the file to hand
04
Capture motion blur and a sharp shot with slow sync flash
05
Set fire to wire wool and capture the flying sparks on camera
06
07
08
Force perspective to create a monster special effect!
120
Recreate the effect of using an infrared camera in Photoshop
Big Test
Nikons for novices: five beginnerfriendly options are tested and compared to see which one will give a new photographer the best start in their photographic life
136
Bracket your shots to achieve a perfect exposure every time
118
The hottest Nikon-fit kit revealed, including a stunning new Sigma wide-angle
Six daypacks that promise to carry your camera kit, and essentials like water and guidebooks, for a day out shooting
01
Buyer’s Guide
If you’re thinking of buying a Nikon D-SLR or a Nikon-fit lens, you’ll need to have all the stats and figures to hand – and they’re all here in our handy guide
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136
Step into the world of fine art nudes: shoot a nude landscape
Improve contrast in images with Capture NX-D
December 2015
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We’re off to the fair! (See page 67.) What will the team shoot? 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
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
Paul Grogan Editor
Miriam McDonald Operations Editor
Emma Swift Art Editor
■ I love to wait for nightfall and use a long exposure to capture a spinning ride in all its illuminated glory – you can’t beat the spectacular ‘UFO’ look that you get from that.
■ Close-ups of the details are my thing. My favourite fair is Carter’s Steam Fair, and the traditional carousel is so beautiful. It has all sorts of interesting features to shoot.
■ A longish exposure on the dodgems is always good fun, especially if you can capture a couple of the cars bumping into one another. Getting the sense of mayhem is the challenge!
paul.grogan@futurenet.com
miriam.mcdonald@futurenet.com
emma.swift@futurenet.com
Paul Grogan Editor Emma Swift Art Editor Miriam McDonald Operations Editor Jason Parnell-Brookes Staff Writer Angela Nicholson Head of Testing Ali Jennings Imaging Lab Manager Video production Pete Gray Producer Adam Lee Videographer Gareth Jones 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
Jason Parnell-Brookes Staff Writer
Ali Jennings Lab Manager
Angela Nicholson Head of Testing
■ Fairs are great places to capture environmental portraits. Something as simple as someone making candyfloss, perhaps with motion blur, can make a really interesting portrait.
■ I like to step back and capture a fair from a distance. The rides silhouetted against the sky have shapes as interesting as any big-city skyline, and look great by day or night.
■ Get a willing friend and try some slow sync flash on the helterskelter. (Jason’s got a tutorial on the technique on page 54.) You’ll get some great photos that way.
jason.parnell-brookes@futurenet.com
ali.jennings@futurenet.com
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
angela.nicholson@futurenet.com
This issue’s special contributors…
Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand 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.
Charlie Waite
■ Acclaimed landscape pro Charlie teaches our Apprentice landscape lighting and composition. Page 8
Paul Harcourt Davies
■ Discover what it took for Paul to get great images of the elusive Apollo butterfly. Page 26
James Paterson
■ Pausing only to wipe the candyfloss from his lens, James has advice for anyone wanting to photograph a fair. Page 67
Michael Freeman ■ Uplifting moods, melancholy moods, calm moods… they’re all good moods if you follow Michael’s advice Page 90
Greg du Toit
■ Greg talks about his passion for wildlife, and the stellar career in photography that sprang from it. Page 106
Joe McNally
■ This month, Joe had a great portrait opportunity, but no flash to hand. Find out how he got the light he needed... Page 146
Our contributors Qusay Abdulrazzaq, Ben Andrews, Janós Asztalos, Luke Austin, Guy Berresford, Chinmoy Biswas, Mieke Boynton, George Cairns, Andy Cottle, Toby Crewe, Balázs Czakó, Derek Davis, Will Dielenberg, Paul Greenhalgh, Geoff Harris, Matt Hutton, Don Johnston, Marek Kosiba, C Labone, Jason Law, Emil von Maltitz, Bob Martin, Andy McGregor, Mike McNally, Graham Parker, David Pullum, David Queenan, Gabrial Reising, Matthew Richards, Chris Rutter, Yevhen Samuchenko, Sergey Semenov, Gunar Streu, Javier de la Torre, Ivan Vukelic, Tom Welsh, Tracey Whitefoot, Jesse Wild, Keith Wilson Special thanks to… Tong Ka Hei, International Landscape Photographer of the Year
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December 2015
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.
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THE
Name Charlie Waite Camera Nikon D800 Name Derek Davis Cameras Nikon D3 & D800 ■ A police officer from London, Derek has been interested in photography for as long as he can remember. He bought his first D-SLR, a Nikon D5000, in 2007. The birth of his daughter prompted him to upgrade to a D3, and then a D800, both of which he bought secondhand: “I’d hired someone to take photos of my daughter,” he explains, “but the results were just snapshots, and I thought to myself: ‘I could do better than that.’” As well as photographing his daughter, he loves to shoot landscapes, but with big vistas he sometimes struggles to know what to include, and what to leave out.
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December 2015
■ Landscape pro Charlie has long been recognised as one of the world’s leading landscape photographers. Perhaps best known for his work with the National Trust, he has had solo shows all over the world, and his work has been exhibited at the Royal Academy of the Arts in London. In 2007 he founded Landscape Photographer of the Year, the UK’s most prestigious landscape photography competition, and two years ago he launched USA Landscape Photographer of the Year. He is the owner of Light and Land, Europe’s leading photographic tour company. For details visit www.charliewaite.com or www.lightandland.co.uk
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Landscape masterclass
HELP ME TO SEE
THE
LIGHT!
This month, we teamed up legendary landscape pro Charlie Waite with N-Photo reader Derek Davis for a masterclass in the essentials of lighting and composition. Here’s how they got on‌
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December 2015
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TECHNIQUE ASSESSMENT
Was Derek all set up to stay composed? Derek was pretty confident with his settings, which meant he could concentrate 100% on composition
Derek always shoots in RAW – which is essential for landscapes when you want to tease out shadow and highlight detail – and sets his D800 to its native ISO of 200. He also shoots in aperture-priority mode, using exposure compensation as needed, and he knows to set a small aperture to get everything sharp from front to back. That just leaves the focus point, which he selects manually depending on what he wants to focus on. So with his camera all set up on his rock-solid Manfrotto tripod, he was ready to tackle the wide-open expanse of Win Green in Dorset.
Hot Shot #01
why it works…
OUR APPRENTICE says…
Dramatic side-lighting
Sense of symmetry
EXPOSURE 1/125 sec, f/11, ISO110 LENS Nikon AF-S 28-300mm f/3.5-5.6G ED VR
EXPERT INSIGHT shooting the breeze Charlie says… Clouds are a key element of most landscape photography, not just in terms of what they look like, but also because of how they effect the landscape below. Shadows cast by clouds can be used to subdue bright highlights, while shafts of light between clouds can be used to pick out a particular area. This is why wind can be so useful: it enables you to ask yourself “What light might I be enjoying in five, ten or 15 minutes’ time?” – or even 15 seconds’ time if the clouds are moving very quickly. You can’t control the clouds, but you can use them to orchestrate the lighting to your advantage [see Hot Shot #01].
December 2015
Shadows cast by clouds can be used to subdue highlights in the distance, so that they don’t lead the eye away from the focal point
For this shot, side-lighting is essential to provide depth – overhead lighting would make the bowl shape look flat and formless
When we first approached the viewpoint at Win Green, my initial reaction – which Charlie assured me was quite common – was: ‘How the hell am I going to get all that in…?’ The key, he suggested, was to try to make sense of what he called ‘the miscellany of shapes’ by asking myself a simple question: ‘Which bit do I like, and why do I like it?’ With Charlie’s help I decided that I wanted to capture the bowl shape created by the ‘outstretched arms’ of the hills to the left and right. If I’d been on my own, I might have been tempted to try to get everything in, from the very first place I happened to be standing, but Charlie encouraged me to ‘read’ the landscape by moving around until I’d found the best vantage point for the scene I wanted to capture, and then cropping in to omit anything that didn’t add to it. The idea, he said, was to try to capture the ‘feel’ of the whole vista in a single frame, so that the viewer would feel like they were there. Hopefully I’ve achieved that with this shot.
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Subdued highlights
A simple, symmetrical composition helps to accentuate the bowl shape created by the surrounding landscape
Blue sky thinking
On the subject of skies, “not too blue, not too pretty” is Charlie’s advice. “When it comes to landscape photography there’s almost nothing worse than a clear blue sky,” he explains. “You just end up with images that look like postcards. Clouds add interest and texture, help you to orchestrate the light [see Expert Insight, left], and can even enable you to establish a relationship between the sky and the landscape that makes the viewer’s eye move back and forth from one to the other in a satisfying way, such as clouds that echo the shape of the subject below, as in this image of a chestnut tree.”
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Hidden buildings
Shadows cast by the clouds have been used to hide the distracting highlights created by farm buildings with bright walls and roofs reflecting sunlight
Cropping on a shadow
It’s also best to crop on a shadow or midtone; a highlight at the edge of the frame can be distracting, and will lead the eye out of the frame, rather than into it
Sunlit bowl
The key to this shot is the bowl created by the ‘outstretched arms’ of the hills on either side, so it’s essential that this is nicely lit, and pin-sharp
Solid foundation
A brightly lit foreground can be a bit distracting, so it’s best to give landscapes a solid foundation that’s made up of mid-tones or shadows
Pro’s Killer Kit #01 Circular polariser Charlie says… A circular polariser is the only filter that’s all but impossible to replicate in Photoshop, so it’s a must-have accessory for any aspiring landscape photographer. They’re typically used to darken blue skies, but they will have an effect on something, somewhere in the scene, pretty much all the time – even if it’s just subduing the reflections from my head! As such, it’s almost always worth holding one up to your eye, and turning it back and forth: once you’ve evaluated the effect it’s having on the sky, be sure to look at how it affects the land, too. It doesn’t have to be at 90 degrees to the direction of the sun to have an effect either. Just watch out for any effect altering across the frame when shooting at wide angles.
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December 2015
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OUR APPRENTICE says… Charlie was keen to return to Win Green in the evening, as he knew that’s when the light would be at its best, but when we came back it was pouring with rain, and blowing a gale! Charlie, though, said that the strong wind could be a blessing: we could just make out some clear sky on the horizon, so we decided to sit out the rain. Sure enough, an hour later the bowl below Win Green was bathed in sunlight, but the sun was now too low in the sky to light the slope on the left, which meant the bowl looked unbalanced, with shadows on the left and highlights on the right. To get round this, Charlie suggested using my zoom lens to crop in on a detail in the landscape [see Expert Insight, below]. After experimenting with composition and cropping [top-right], I ended up with a graphic shot of the square field just beyond the bowl. Charlie suggested a square crop to echo the square of the field, which I think works well – I like the way the low, raking light reveals the lines created by the tractor tyres.
version 1 Derek’s first attempt at his long shot is too wide, and the buildings in the background are distracting. His second attempt, right, is tighter, but he hasn’t made the most of the scene’s symmetry.
version 2
Hot Shot #02
EXPERT INSIGHT Going long Charlie says… While a telephoto view won’t make the viewer feel like they were right there with you in the landscape, it can be a good option if a wider image just isn’t working. However, try to resist the temptation to zoom in just because you find the wide shot a bit overwhelming or tricky to compose. With telephoto landscapes, you need to look for relationships between the different elements: patterns, shapes and lines, and even complementary colours can all be used to give images an ordered, graphic feel.
EXPOSURE 1/15 sec, f/11, ISO100 LENS Nikon AF-S 28-300mm f/3.5-5.6G ED VR
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December 2015
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