FREE CHRISTMAS GIFT! The Ultimate NIKON SLR HANDBOOK VOL 3 Issue 54 • Jan 2016 www.digitalcameraworld.com
Full-Frame SHOOTOUT! We put the best to the test EXPERT ADVICE
get to know your Nikon
■ MUST-KNOW SETTINGS ■ ESSENTIAL FEATURES ■ CUSTOM FUNCTIONS ■ HIDDEN GEMS ■ PRO TIPS APPRENTICE
SEALS OF APPROVAL Come face to face with
NEW KIT!
Nikon
D5
seal pups in the wild PRO INSIGHTS
CAPTURE THE MOMENT Never miss a shot again with Michael Freeman’s top guide
Will it be the best D-SLR ever made?
THE BIG PROJECT
Every time I see a wild polar bear, I can’t help but think how fortunate I am to be able to observe this supreme predator in the wild Benoist Clouet Arctic Photographer
EYE CLOUD
Be inspired by a landscape ace on assignment in Scotland p26
MAKE CASH
How to start earning money shooting functions and events p90
reach for the stars! Learn how to shoot stunning circular star trails
TRAVEL AIDS
Six lightweight travel tripods on test p120
5
ways to GET even more OUT OF N-PHOTO
Welcome to issue 54 of…
1 Online… Catch up with Nikon news, get inspired & learn new skills
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2 Facebook… Join 278,000 Nikon nuts who ‘Like’ us on Facebook
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5 Flickr… Showcase your shots and see work by other Nikon users
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■ I love the noises that Nikon SLRs make: the satisfying clunk-click of attaching a lens; the reassuring beep of the autofocus system; the resounding clack of the mirror opening and closing – they’re all noises that never get old. In fact, I’d go so far as to say that one of the reasons that Nikon SLRs are the only choice for many of us is that no other camera has a ‘clack’ quite like a Nikon SLR. It has resonated through the history of SLR photography, and continues to excite the creative soul in all of us. If you’ve just bought or been given a Nikon SLR, or you’re still hoping Santa will oblige, you’ve got all that to look forward to – just be sure to take James Paterson’s ultimate guided tour before you get started (see page 28). And if you’re an old (sorry, older) hand, you won’t want to miss Joe McNally’s inspirational insights into the things he wishes he’d known when he was starting out (p96). Finally, if you enjoy any – or all – of these articles, don’t forget to download your free digital edition of The Ultimate Nikon SLR Handbook. It’s our Christmas gift to you, with our compliments – you can find out more on page 65. Happy shooting, and see you in 2016!
ABOUT THE COVER
Title Southern Alps Photographer Simon Larkin Camera Nikon D800e Lens Samyang 14mm f/2.8 Exposure 400 exposures, all at 30 secs, f/2.8, ISO100 Description “Showcasing the Southern Alps and lakes of New Zealand is easy with such epic scenery,” says Simon. “Adding a star trail required a bit more effort, though, and shooting in mid-winter meant the hand warmers were on double duty, keeping me warm and, more importantly, the lens fogfree.” (For more on this, turn to page 60). Website www.simonlarkindesign.com
www.nphotomag.com
Paul Grogan, Editor paul.grogan@futurenet.com
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Issue 54 january 2016
08 Essentials The Apprentice 08 18 Lightbox On Assignment 26 40 Photo Club 66 Over to You Cash from your Nikon 90 94 My Big Break 96 Joe McNally Interview 100 144 Back issues 146 Next month Cover feature
One lucky reader heads to the beach for a masterclass in photographing seal pups
28
Cover feature
The N-Photo Nikon Manual
Discover how to use the settings and features that matter most on your D-SLR with our guided tour
Nikon Skills 46 Shoot a wintry portrait 50 Take time to reflect 52 Boost flat landscapes 54 Take the long view 56 Draw in the darkness 58 Create a snow globe Reach for the stars 60
Whatever the weather, we’ve got a way to make a portrait look extra-festive
Reflect a seasonal scene in the curved surface of a Christmas bauble Give weak colours more punch without over-saturating strong ones
Master the use of long, heavy telephoto lenses with our top tips
Try your hand at sketching with light using a woodland landscape as the canvas Discover how to use Photoshop to create a fun festive composite
Cover feature
Everything you need to know to shoot and stack stunning star trail images
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January 2016
Nikopedia Nikon Know-how 80 Cover feature
Photography is all about capturing the moment – but how you go about it depends on your subject as much as your personal style of photography. Michael Freeman explores different approaches to capturing those critical, never-to-berepeated moments with your camera
84 Nikon software
Make finding images faster and easier using Nikon Capture NX-D’s tools for rating and labelling your images. The bigger your archive, the more time and hassle you could end up saving yourself
86 Ask Jason
If you’re stuck on a buying decision or having trouble with your hardware or software, Jason is the man with the solution – and he’s got a money-saving Secondhand Superstar for you too!
88 Head to head
We all love being in control – but which of these two programmable remotes will give you the control you need?
Wonderful, inspiring shots from Landscape Photographer of the Year 2015
Cover feature
Heading into the Highlands in search of spectacular scenery with Damian Shields Get N-Photo every month, plus a great gift and brilliant year-round discounts on kit Your photos, portfolio reviews, letters and our latest photo competition winners
Cover feature
Learn what it takes to get into event and exhibition photography
James Warwick discusses his shot of a natural phenomenon that launched his career He knows so much – so what does Joe wish he’d known from the start of his career?
Cover feature
Benoist Clouet reveals how he became an acclaimed Arctic photographer
If you’ve missed a copy of N-Photo, complete your collection now in digital form You only have to wait a month for your next installment of fantastic features!
www.digitalcameraworld.com
60
expert HANDS-ON video guideS
Cover feature Your complete guide to shooting and stacking dramatic star trails
Whenever you see this button, simply use this web link… bit.ly/NPhoto54 to view our online video tutorials
122
Test Team Gear of the Year 112
01
Shoot a wintry portrait, no real snow required…
02
03
Learn how to selectively improve colours in Lightroom
04
Discover how to handle heavy telephoto lenses
05
Create a whole new world by drawing with light
06
07
08
Get creative with seasonal scenes reflected in baubles
Cover feature
Our pick of the very best kit of 2015, from our favourite body to the lenses we couldn’t wait to get our hands on – plus a few things we’re looking forward to in 2016, not least the eagerly anticipated Nikon D5
120 122
Cover feature
112
120
Create a clever festive montage using Photoshop
Mini Test
Six lightweight yet sturdy travel tripods for the photographer on the move
Cover feature
Big Test
Go big or go home! We compare and rate all of the bodies in Nikon’s current fullframe line-up, and reveal our FX superstar
136
Buyer’s Guide
Don’t buy a new camera or lens without our breakdown of the essential facts – we’ve got the information you need
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122
Everything you need to know to create stunning star trails!
Rate and sort your photos using Nikon Capture NX-D
January 2016
5
This issue, the team pick their favourite after-dark techniques 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
■ Star trails, of course – I like them so much, I put them on the cover (and see page 60 for how to shoot one). Waiting for the conditions to be perfect is the key – you can’t have any cloud.
■ Street photography takes on a different feel by night. People tend to be livelier – Cardiff by night has a unique sense of fun and activity. But you need a really fast lens for it.
■ Jason’s adventures in sketching with light (page 56) have inspired me to give it a go myself. The idea of drawing creatures and plants made purely of light sounds like a lot of fun!
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 Matt Ellis Senior Licensing & Syndication Manager matt.ellis@futurenet.com, +44 (0)1225 442244
Jason Parnell-Brookes Staff Writer
Ali Jennings Lab Manager
Angela Nicholson Head of Testing
■ Last issue I had a go at spinning burning wire wool during a long exposure, creating masses of sparks, and it was so much fun I got my friends to try it too – all at the same time!
■ Night time gives you a chance to try out all sorts of clever hardware. I’d really like to set a motion trigger up and seeing what local wildlife wanders past my camera after dark.
■ If you are lucky enough to be in a place where it’s visible, capturing an aurora is hard to beat. Just witnessing a display is amazing, but capturing one on camera is something else.
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.
David Tipling
■ David took this issue’s Apprentice out to photograph seals on the starkly beautiful East Anglian coast. Page 8
George Cairns
■ Don’t settle for weak colours – try George’s tips for boosting them without overcooking it. Page 52
Tom Welsh
■ Master setting up and using supertelephoto lenses with Tom’s guide to handling these hefty pieces of kit. Page 54
James Warwick ■ Discover how a photograph of starlings launched James’s career as a wildlife photographer. Page 94
Joe McNally
■ He’s learnt more than most of us will ever know – so what does Joe wish he’d known when he started out? Page 96
Benoist Clouet ■ Take a trip into the icy expanses of Svalbard, as Benoist explains the passion that’s driven his work. Page 100
Our contributors Ben Andrews, Jeremy Barrett, Brian Birkenhead, Simon Cheatley, Andy Cottle, Michael Freeman, Kit Hamilton, Geoff Harris, Carys Jones, Timo Lieber, Mark Littlejohn, Tommy Martin, Andy McGregor, Mike McNally, Andrew Midgley, Graham Parker, James Paterson, Steven Raynes, Matthew Richards, Scott Robbins, John Robinson, Chris Rutter, Lizzie Shepherd, Damian Shields, Ian Taylor, Jesse Wild, Keith Wilson Special thanks to… Iselle Maddocks, Landscape Photographer of the Year Correction… In issue 52’s story, ‘Focus on Fashion’, the names of Jessica Entwistle (make-up artist) and Siân Kilburn (model) were omitted.
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January 2016
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 Renzo Gherardi Camera D810 ■ Renzo started with a film camera, a Nikkormat FT, back when he was 18, but he didn’t take up photography seriously until six years ago, when he got a D80. Retirement now gives him the time to explore his interest more frequently. After his wife bought him a wildlife photo day in North Yorkshire, he decided to upgrade his camera, so went with the D700, for better image quality. He found that after two or three years technology had moved on so quickly that it was time to upgrade again, this time to the D810. He came to us for help with his wildlife photography.
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January 2016
Name David Tipling Camera D810 ■ David is an internationally acclaimed wildlife pro, and has been a published photographer since the 1980s. He has also written and photographed more than 40 books, and has made multiple TV appearances, including on BBC’s Springwatch. You can see more of his work at www.davidtipling.com
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SEAL OF APPROVAL!
This issue, we headed to Donna Nook Nature Reserve in Lincolnshire with renowned wildlife photographer David Tipling and long-time N-Photo reader Renzo Gherardi for a walk on the wild side...
www.digitalcameraworld.com
January 2016
9
THE
APPRENTICE
Hot Shot #01
EXPOSURE 1/250 sec, f/6.3, ISO800 LENS Sigma 150-600mm f/5-6.3 DG OS HSM | C
OUR APPRENTICE says… Before even getting to Donna Nook, David advised me to do some research, so I would have an idea of the sort of photos I wanted to get beforehand. This gave me something to aim towards. It also forced me to think about which lenses to take, whether I needed a tripod, and if I should get up high or down low. With all the preparation in the world, though, we couldn’t have bargained for such a great shot straight off the bat. This beautiful seal pup was posing, as if for us, right at the front of the beach. I knew I wanted to get an intimate portrait, and this was a wonderful start
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January 2016
EXPERT INSIGHT the crop factor David says… When shooting big wildlife events, such as a large population of seals birthing, you will have to do something wild: crop. Somewhere like Donna you have to be brutal. There will be so many animals that you will need to get in tight and be very harsh with your cropping. Sometimes, as with Renzo’s first Hot Shot, cropping out most of the animal and highlighting certain features (like the face), or capturing eye contact between you and the animals, is crucial. You need to make order out of chaos. Renzo took the time to pick out subjects amid Donna’s large gathering and used his telephoto lens to zone in on one pup.
www.digitalcameraworld.com
Wildlife masterclass Go long
“Wildlife photography is one of those genres of photography where your choice of kit really does make all the difference,” advises David. “A long lens is essential for all but the biggest and most accessible subjects – and by long I mean at least 300mm on a DX camera (which is equivalent to 450mm when you take into account the 1.5x crop factor); and 400mm on an FX camera.” A great bet if you’re on a budget is Sigma’s superb 150-600mm f/5-6.3, which is N-Photo’s Telephoto Lens of the Year (see page 112).
Pro’s Killer kit #01 Nikon 1.7x teleconverter David says… Knowing what shots you want before you shoot means you can bring only the essential kit. I travel with a long telephoto lens, and a 1.7x teleconverter. The 1.7x teleconverter is a crucial step to the kit working; 1.4x doesn’t get me close enough and 2x is too close (and too dark, with it reducing the shot by two stops of light). I find 1.7x is a nice balance between the two, and I only lose 1.5 stops of light.
Focus on the details
By getting close to the seals, Renzo was able to zone in on the details of their bodies. They have brilliant patterns, colour and texture in their fur. As you can see here, even going very close with a telephoto lens and focusing on a clawed flipper will give great results. Just be sure to fill the frame with the seal, as including too much grass or a busy background will detract from the abstract qualities of the photo.
TIPLING’S TOP TIPS
Was Renzo ready to seal the deal?
David wanted to ensure Renzo got the best shots possible, so he suggested a few crucial settings
Slow down David says… If the seals are repeating some behaviour, I go slower with the shutter speed and set a lower ISO, and then use continuous drive mode. By using a slower shutter speed, and by tracking the repeated movement, you can create drama in the shot with some parts blurred and the focal points crisp – and in continuous drive at least one shot is likely to be pin-sharp. We’re not spraying and praying here, though – timing, and shooting in short bursts, are both key.
Control EVERYTHING
David says… It’s easiest to work in full manual mode where you have control over every aspect of the camera. Several times an hour there’s a bit of action, where cows or bulls fight each other over territory, or to protect the pups. This is when you need to be conscious of shutter speed. You can decide the speed you need while shooting, as well as quickly changing aperture and ISO.
Turn off VR
David says… When mounting your camera on a tripod, turn off the VR setting on your lens (if it has this). If you don’t, the vibration reduction may make the shot worse, as it’s trying to stabilise an image that doesn’t need it, and sometimes this results in a blurry shot.
pro’s kit bag n Nikon D810 n Nikon 400mm f/4 n Nikon 14-24mm f/2.8 n Nikon 1.7x teleconverter n Gitzo tripod n Yongnuo RF-603NII 2.4GHz trigger
www.digitalcameraworld.com
January 2016
11
THE
APPRENTICE
OUR APPRENTICE says… Before I took the shot below, a female had just seen off a rival mother who was trying to force her seal pup up a sandbank. After seeing (and hearing) the commotion, I span the camera round to capture the action, and I feel very lucky to have captured this brief moment of cuddling between mother and pup. As David explained, the shots that make the best viewing are often ones that engage the viewer’s emotions. I felt a special bond between this pair as I rattled off as many photos as I could before they shuffled off along the sand. As this shot proves, it’s not just the viewing through the viewfinder, but searching for interest away from the camera, that gives you the shots you want.
Hot Shot #02
EXPOSURE 1/200 sec, f/5.6, ISO800 LENS Nikon AF-S 400mm f/2.8G ED VR + 1.7x teleconverter
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January 2016
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