NEW
The
CSC Camera Book A definitive guide to shooting mirrorless
180
pages of expert advice
42 lenses
featured
in-depth reviews
second edition
Digital Edition
n Telephoto n Macro n Wide-angle n Prime n Zoom
Master landscapes Shoot stand-out vistas
Perfect portraiture Learn the art of posing
Understand composition Discover professional tips
CANON NIKON OLYMPUS PANASONIC FUJIFILM LEICA SONY HASSELBLAD
CONTENTS What is a CSC? Pro interviews: Making the switch
8 12
Buyer’s Guide Panasonic G9
22
Panasonic GX9
24
Panasonic GH5
26
Lens buyer’s guide: Panasonic
29
Sony Alpha 7R III
30
Sony Alpha 9
34
Sony Alpha 7S II
38
Sony Alpha 6500
40
Lens buyer’s guide: Sony
42
Fujifilm X-H1
44
Fujifilm X-T20
48
Fujifilm GFX 50S
52
Fujifilm X-Pro2
56
Fujifilm X-T3
58
Fujifilm X-E2S
62
Lens buyer’s guide: Fujifilm
64
62
86
22
44 6
12
88
116
8
Hasselblad X1D-50c
66
Lens buyer’s guide: Hasselblad
69
Leica TL2
70
Leica SL
72
Lens buyer’s guide: Leica
74
Canon EOS R
76
Canon EOS M5
80
Canon EOS M100
82
Lens buyer’s guide: Canon
84
Olympus Pen-F
86
Olympus OM-D E-M10 Mark III
88
Lens buyer’s guide: Olympus
91
Nikon Z 6
92
Nikon Z 7
96
Lens buyer’s guide: Nikon
100
Techniques
134
The art of composition
104
Master posing for portraits
116
Shoot landscape photography
126
10 essential wildlife techniques
134
Get more from the scene
144
Perfect your processing
158
Build and maintain an image library
170
144
206
158 7
Pro interviews
Ken Lyons Shooting everything from landscapes to motorsports, Ken Lyons find his Fujifilm cameras powerful and versatile kenlyonsphotography.com.au
Ken’s photographic portfolio is highly varied and covers the majority of genres. He adopts the philosophy that no single camera can provide everything the photographer needs, but finds his mirrorless system more than capable. “I truly believe there is no one perfect camera system, and the best camera you can have is the one most likely to be with you, when you want to use it. Obviously there are times where one particular camera system performs better than others, but for the most part it comes down to what is the most comfortable for you” says Ken. “I’ve used my CSC cameras to shoot all sorts of images – weddings, sport, motorsport and portraits.” Ken’s switch to CSC was once again motivated by size and weight, and once he started using the Fujifilm system, he became a devotee. “I made the switch to CSC back in 2013, although I did hang onto my Nikons for a while. I finally sold all the Nikon gear in 2016, and haven’t looked back.” With less weight to worry about, Ken can ‘forget’ about his equipment and focus on the scene before him. “My trusty X100S travels with me, and is so light and easy to use I can ‘set and forget’ when it comes to exposure and then concentrate on framing my subject. I find the Fujifilm X System ideal for the way I shoot.” Ken found the CSC system concept beneficial to his photographic approach. “The transition to CSC was pretty seamless. Once I decided to move to mirrorless cameras, I was hooked. My X100S is still my favourite camera today, although I’m planning an upgrade to the X100F shortly. I love interacting with people, and I find them much more approachable when you’re carrying a smaller camera.”
18
Travel companion
“I enjoy the freedom of the smaller compact system cameras” says Ken Lyons, who travels the world in search of images. Originally investing in an Olympus CSC, he now uses Fujifilm
Wha their t’s in kitba g? Came
ra: Fuji film X1 00S, Fujifilm X-T1 Lense s: 10-24 , ƒ4, 18 -135, ƒ3 50-140 .5-5.6 , , ƒ2 10-24m .8-Fujinon m
f4 OIS
Dynamic action
Ken is as much at home shooting fast-paced action photography as he is portraits, with his CSC equipment. He enjoys the balance of portability and image quality the mirrorless format offers
lens
Pro interviews
Wha their t’s in kitba g? Came ra:
Fujifilm Lense X-Pro2 s: Fuji B o dy non 16 Fujino mm f1 n 35m .4 lens m f1.4 , lens, F 5 6 mm ujinon f1.2 10-24m lens, Fujino n
Riley JB
m f4 O IS lens
Landscape and commercial photographer Riley finds his CSCs have streamlined the way he shoots
Riley’s favourite image
“A little guy skating for the first time with his Mother, at sunset, on a country pond. The adorable factor is through the roof in this one”
On his photoshoots, Riley adopts the ethos of ‘real people, in real places, doing real things.’ “I love making images of people in an environment where they are connected. The challenge for shooting lifestyle stock is making sure it doesn’t cross the line into the predictable and cliche of micro stock of yesteryear” he explains. “Currently, I mostly do lifestyle shoots for my Stocksy United portfolio. These images are licensed for commercial purposes around the world. Prior to this I mostly made landscapes.” As with many photographers, it was the compact nature of his Fujifilm system and electronic viewfinders that attracted Riley to mirrorless. “I switched from a full-frame dSLR to the Fujifilm X-series because of size and weight. Even with just a full-frame body and three lenses, it was not fun trekking out with my gear. I was also drawn to the
Portable quality
Riley enjoys the low weight of his CSC equipment, and finds the preview image in the EVF allows him to capture ‘correct’ images with less trial and error
retro styling, including the knobs and dials. With the electronic viewfinder I am definitely am taking less photographs – I see what my photographs will look like before I press the shutter, so I can just get right to making images.” Although he liked the CSC design philosophy, Riley found some early functionality issues. “The difficulty was the auto focus on the early Fujifilm bodies. It was slow and clunky, and did not fare well in low light. Since then, auto focus has vastly improved, and I rarely have a complaint.” Riley now has complete faith in his mirrorless gear and has fully transitioned from his DSLRs. “I started with the X100, then bought the X-Pro1 and the initial three lenses and used it along with my dSLR. In a few months I was convinced by the X-series, sold my full-frame kit, and have been solely using the Fujifilm X-series since 2013.”
BUYER’S GUIDE 2
3
1
w w w.f u ji f il m .c o.u k
Fujifilm X-H1
£1,699/$1,899 (body only) The Fujifilm X-H1 looks like an X-T2 on steroids, but there’s a lot more to it than that Specifications Sensor 24.3MP X-Trans CMOS III, 23.5 x 15.6mm Image processor X Processor Pro AF points 91/325-point hybrid contrast/phase AF ISO range 200-12,800, expandable to ISO 100-51,200 Max image size 6,000 x 4,000 pixels Metering zones 256 Video 4K 4K at 30fps, UHD at 30/25/24fps Viewfinder OLED EVF, 3.69 million dots Memory card 2 x SD/SDHC/SDXC, UHS II LCD 3-inch tilting touchscreen, 1,040k dots Max burst 8fps (11fps with optional grip), 14fps electronic shutter Connectivity Wi-Fi Size 140 x 98 x 86mm Weight 673g (body only, with battery and memory card)
44
Positioned above the current X-Pro2 and the X-T2, the Fujifilm X-H1 is to be “the highest-performance camera in the X Series range of mirrorless cameras,” according to the firm. Key features in this latest arrival include Fujifilm’s 24.3 megapixel X-Trans CMOS III sensor and X-Processor Pro processor, familiar from other models. In the X-H1 these are teamed up with a brand-new five-axis in-body stabilisation system – a first for Fujifilm – which works alongside its stabilised lenses to provide up to an impressive 5.5 stops of exposure compensation. The X-H1 body itself is made from a magnesium alloy that’s some 25% thicker than in the X-T2, and that has been weathersealed for protection against the elements. Fujifilm has additionally fitted the new camera with a 3.69-milliondot electronic viewfinder, which has a 0.75x magnification
4
1
The X-H1 is easier to hold than the X-T2 and better balanced with Fujifilm’s ‘red badge’ pro lenses 2
The X-H1 uses the same 24MP X-Trans Sensor Pro as other Fujifilm models, but now it’s attached to an in-body stabilisation system 3
The rear screen is touch-sensitive and tilts up and down; it also has a sideways tilt action for lowangle shots with the camera held vertically 4
The X-H1’s top plate has a welcome status LCD for showing camera settings
(in 35mm terms) and a 100fps refresh rate; while the 3-inch tilting LCD screen has a 1.04-million-dot panel and is touch-sensitive – it also has a sideways tilt action. There’s an LCD panel on the top plate, too, for displaying key shooting and exposure information. This is the first time such a panel has been incorporated on an X-series camera, though the medium-format GFX 50S has one. At first glance, the X-H1 doesn’t seem to be any more sportsorientated than the X-T2. However, it comes with a new optional grip accessory: the VPB-XH1 Vertical Power Booster. In addition to boosting battery life and making portrait-orientation-shooting easier, the VPB-XH1 also increases the maximum burst rate of the mechanical shutter to 11fps, and
also features a headphone port for audio monitoring while recording video. With the help of this grip, the X-H1 becomes a pretty serious sports and action camera. Build and handling Compared with the X-T2, the biggest control layout change is a more defined grip and the 1.28in LCD screen on the top-plate. Like other higher-end X-mount Fujifilm cameras, the X-H1 uses a traditional control layout, with a shutter speed dial on the top plate and a lens aperture ring on the lens itself (though not on all lenses). There’s no need for the mode dial you typically find on other cameras, since the regular ‘PASM’ exposure mode options can be achieved by setting either the lens aperture ring or the shutter speed dial to the
2
1
3
Image noise
Detail rendition
Colour rendition
The X-H1’s X-Trans sensor offers very good noise control, even at high ISOs
With no low-pass filter over the image sensor, the X-H1 delivers crystal clear images
Fujifilm’s Film Simulation modes closely match the properties of its classic film emulsions
Meet the rivals… The cameras taking on the Fujifilm X-H1…
FOR MORE CAMERA REVIEWS, VISIT digitalcamera world.com
Panasonic G9 £1,499/$1,698 The G9’s Micro Four Thirds sensor is roughly half the size but it hits back with ultra-high-speed shooting and 4K photo modes. Reviewed Page 22
Sony A6500 £1,349/$1,298 The A6500 looks like it should be a good match for the X-H1, but its small body makes it handle awkwardly with big lenses. Reviewed Page 40
45
BUYER’S GUIDE
lens buyer’s guide:
Leica
Offering both full-frame and APS-C format mirrorless cameras, Leica complements these with a huge selection of excellent lenses
A
n iconic brand and an undoubted favourite for documentary and street photographers, some of the most recognised photographs through history have been captured on Leica cameras. You could argue that the German company
has been producing a compact system for decades – its M line of rangefinder models offer top-quality images in a condensed and discreet body form. The latest-generation M10 is by no means big, but the L Mount cameras are Leica’s true CSCs. The TL lens range is
Leica Elmarit-TL 18mm f2.8 ASPH £1,020/$1,430 (approx) rating
Holding the title of the world’s smallest wide-angle lens for APS-C format cameras, this Leica 18mm is the perfect partner to the CL mirrorless camera, weighing an almost insignificant 80g, while still offering f2.8. The lens is exceptionally sharp at the centre of the frame, with an admirable performance at the edges. Although chromatic aberration is visible, it is barely noticable and easily removed in processing, as is the case with distortion of straight lines in images. The dimensions of the lens body make it pocketable, and although this likely comes at the cost of build quality, this is not too evident. The lens seems more
74
already comprehensive, and includes numerous professional-specification optics. If you can’t find what you need in the L mount, there is a huge variety of M and R mount Leica lenses that can be adapted for use on your CL or TL2. TL lenses also fit the Leica SL.
Leica Summicron-TL 23 f2 ASPH £1,199/$1,680 (approx) rating
plastic-y than other Leica models, but the metal mount lends it a professional feel, in line with the construction of the various other cameras that it will be paired with.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
8/ 6 Groups
Angle of view
75°
Max aperture
f2.8
Min aperture
f16
Min focus distance
0.3 m
Mount Leica L Filter size
39mm
Length
21 mm
Diameter
60 mm
Weight
80g
Equalling the 35mm focal length, that has long been a favourite amongst rangefinder users looking to shoot street life images, this 23mm prime is small, lightweight and bright. The f2 aperture allows good control over depth-of-field and extends the lens’ usefulness in low light. The minimum focusing distance of 35cm is an added bonus, providing opportunities for wider-framed environmental portraits. However, when the lens is focused at this extreme, the aperture is automatically stopped down to a maximum of f2.8, cutting out a full stop of light. Sharpness is good, especially when the aperture is closed to f4 and above. No image stabiliser is present, but the
relatively wide angle of view should mean that is not much of noticeable problem. Autofocus may be slightly slower than expected, but is still capable. Commonly available 52mm filters are compatible.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
9/ 6 groups
Angle of view
64°
Max aperture
f2
Min aperture
f16
Min focus distance
0.35m
Mount Leica L Filter size
52mm
Length
37mm
Diameter
63mm
Weight
154g
buyer’s guide
Leica APO-MACRO-ELMARIT-TL 60/F2.8 ASPH
Leica Summilux-TL 35 f1.4 ASPH
£1,945/$2,720
£1,900/$2,660 rating
Sporting a very bright f1.4 maximum fnumber, this could be considered the standard professional lens for users of the Leica CL and TL cameras. Although not officially weather-sealed, the barrel is well put together, offering a professional handling experience. The focus ring makes up a large percentage of the lens’ length, making operating the focus mechanism easy. Even when shooting wide open, the resolution and contrast are very good, making f1.4 a genuinely useable option when big prints are the end goal. Metal is the primary construction material, so photographers can be confident that the internal workings are well protected from the odd knock or
rating
scrape. Due to the light-gathering capabilities, the host cameras can find focus quickly and accurately, although a depth-of-field scale is notable by its absence.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
12/ 8 groups
Angle of view
45°
Max aperture
f1.4
Min aperture
f16
Min focus distance
0.4m
Mount Leica L Filter size
Internal (E60)
Length
77mm
Diameter
70 mm
Weight
428g
This is a true macro lens, offering life-sized 1:1 magnifications. With a focal length of 60mm and a minimum focus distance of just 16cm, this optic could be just as comfortably used for portraits, where the user would like to throw the background completely outof-focus. Once again, handling is very well thought-through, and the manual focus ring is large and textured for a comfortable grip. Also, full-time manual focusing is possible, even when autofocus is active, so AF can be used to find general focus and then the photographer can apply manual tweaks at will. While build is good overall, full weather sealing is not included, so the user
cannot be guaranteed a safe shoot in adverse outdoor conditions. At under 350g, weight shouldn’t be too much of an issue, although the price may be, depending on your budget.
Technical data Manufacturer
Leica
Web
us.leica-camera.com
Elements/construction
10/ 9 groups
Angle of view
27°
Max aperture
f 2.8
Min aperture
f32
Min focus distance
0.16m
Mount Leica L Filter size
60mm
Length
89mm
Diameter
68mm
Weight
320g
How the LENSES compare
Leica APO-Summicron – SL 90 f2 ASPH
Leica Summilux - M 35 mm f1.4 ASPH. (Adapted)
Leica Macro - Elmar - M 90 mm f4 (Adapted)
Leica Noctilux - M 50 mm f0.95 ASPH (Adapted)
Leica Summilux-SL 50 f1.4 ASPH.
Leica FisheyeElmarit-R 16mm f2.8 (Adapted)
Contact
leica-camera.com
leica-camera.com
leica-camera.com
leica-camera.com
leica-camera.com
leica-camera.com
Street price
£4,100/$5,740
£3,749/$5,245
£2,430/$3,400
£7,730/$10,824
£3,700/$10,800
£600/$840
Elements/Groups
11/ 9
9/ 5
4/ 4
8/ 5
11/ 9
11/ 8
Angle of view
27.3°
63°
27°
46.7°
47.9°
180°
Min focus distance
0.6m
0.70m
0.77m
0.95m
0.60m
0.30m
Maximum aperture
f2
f1.4
f4
f0.95
f1.4
f2.8
Minimum aperture
f22
f16
f22
fxxx
f22
f16
Mount
Leica L bayonet
Leica M
Leica M
Leica M
Leica L bayonet
Leica R Mount
Filter size
67mm
46mm
39mm
60mm
82mm
N/A
Dimensions (D x L)
73 x 102mm
56 x 46mm
52 x 41mm
73 x 75.1mm
88 x 124mm
71 x 60 mm
Weight
700g
320g
240g
700g
1065g
460g
OVERALL OVERALL
75
techniques
LENSES & PERSPECTIVE
Experiment with viewpoints to give your shots a new look From the wide view of a short focal length to the high magnification of a telephoto, the type of lens that you use has an impact on the composition of your images. But it’s actually your viewpoint that is the real weapon in your
composition armour. Your perspective is governed simply by the relative distances between your viewpoint and the different subjects in the scene. So, when you are out shooting, don’t simply stand in one spot and rely on
zooming in or out (or changing lenses) to include more or less of the scene: you’ll need to move to really transform your composition. Also consider high or low viewpoints, to give your images and composition a distinctive twist.
Pick the correct lens The lens you use simply determines how much of the scene you can include in your final shot. A short-focal-length lens enables you to include a wide view, while a longer focal length gives a narrower view. It’s
when you combine this focal length choice with your viewpoint that you can begin to transform the appearance of your images and add some real impact to your composition choice.
different Viewpoints The position that you choose to take a shot is the key decision that will decide on the perspective – and consequently the appearance – of your images. So if you’re unhappy with how the different elements of the scene are positioned in
the frame, moving your viewpoint is often the first and best thing that you can do to improve your composition. Getting close to the foreground will make it appear much larger in the image, and consequently make the background
Wide-angle lens Using a wide-angle lens takes in more of the scene ahead of you, so you’ll need to compose elements accordingly.
Telephoto lens From the same viewpoint, switching to a telephoto lens has a ‘cropping’ effect compared with the wide-angle lens.
114
smaller, emphasising the distance between them. In contrast, moving further away from the foreground subject will make the foreground and background more equal in size and therefore seem closer together.
Techniques
Different distance, different perspective
Lens used: 20mm From very close the building dominates, and a 20mm lens is needed to include it all.
Lens used: 35mm At around 8 metres away, the building still appears much larger than the background.
GetTING the right perspective To help your understanding of how viewpoint, perspective and lens choice affects your images, here we have taken a series of shots using different viewpoints and lenses to show how dramatically they can alter the results. The first image is taken from very close to the ruined building, using a 20mm lens on a full-frame camera. The next two images are shot from viewpoints that become increasingly distant from the building as we use longer focal lengths. You can see
how the relationship between the building and the background changes each time. The final two images are shot from the same position, but with different lenses. Despite this, if you look closely at the building in the wide shot, the perspective effect is exactly the same. To really get to grips with the creative possibilities of these effects, it’s worth taking some time to shoot a subject yourself at different distances and with different lenses.
Lens used: 75mm From 15 metres away the mountain and building appear closer: a longer lens is needed.
Same distance, same perspective, different lenses
Lens used – 200mm From a distance, building and background appear close, and a 200mm lens is needed.
Lens used – 28mm Taken from the same position; perspective is the same, it’s just a much wider view. 115
© Robert Schmalle
techniques
Adapt to changing conditions Make the most of each type of weather and time of day Whenever a photographer chooses to work outdoors, they are susceptible to whatever conditions the ambient environment provides them with, so must learn to be flexible in their approach. Settings and compositions that work for images shot at dawn are incompatible with those taken under the midday sun, but also subtly differ for sunset lighting. Equally, what works for scenes bathed in light from clear skies will fail to extract the potential from an overcast landscape. Dawn and dusk images are favoured by landscape photographers for their warmer, directional lighting, however the low sun angle creates problems with lens flare and can introduce exposure challenges. Meanwhile, noon lighting is flat but undiffused, which makes maintaining highlight and shadow detail difficult, while simultaneously presenting a risk of a ‘snapshot’ atmosphere. The best solution to all of these problems is to
carefully select which subjects you photograph in each lighting condition. Rural landscapes and coastlines are often best suited to ‘golden hour’ lighting, as they contain more soft textures such as foamy water and delicate vegetation. In the harsher light of midday, modern cityscapes are an ideal focus, due to the reflective surfaces and angular lines of the architecture. Meanwhile, it is an essential photographic skill to be able to make the most of any weather. Cloudy days produce diffused light, which is perfect for macro images, but tends to produce a lifeless landscape devoid of texture and form. In these situations, isolating one area of the scene picks out any small points of interest and forces the viewer to look closer. In misty or rainy scenes, making a subject of the weather itself and focusing solely on atmosphere is a tried and tested professional technique.
“Isolating one area of the scene picks out any small points of interest”
150
Choose your time Each hour of the day has something to offer photographers – use it like a pro Dawn light This image makes use of the mix of cool and warm colours found in pre-dawn light. At this time, magentas often dominate, with cool hues remaining in the shadows. Subtle saturation works best when processing.
Sunset colours Sunsets are often ‘warmer’ in colour than sunrises, due to the temperature of the atmosphere. Make the most of golden colour and directional light to capture rich tones and enhanced detail at this time of day.
High noon Choose a subject that benefits from high contrast, use a polarising filter and pick out deep colour. Alternatively, monochrome images can look fantastic, where tonality and detail are the focus. 3x © Simon Xu
9000
techniques
Below
Dark tones Every time of day has its own challenges and benefits for photographers. As lighting and contrast change, camera technique must be adapted to ensure correct exposure and scene atmosphere
1
Capture mist Mist and fog limit visible detail, so make minimalism a theme in your images. Find a subject that either contrasts with or blends into the misty surroundings for a simple composition, pushing the theme of emptiness or isolation.
2
Embrace the rain There are many uses for rain. Head into an urban area at night to capture wet streets, reflecting colourful artificial light, or shoot dramatic storm clouds, underexposing to create deep contrast and saturated colour.
3
© Peter Fenech
Use the weather Every condition has its own appeal, so find the best elements of each
Shooting snow For snow, always use your histogram to avoid underexposure, employing exposure compensation to correct brightness. Ensure you have a strong subject to hold attention, or images can lack interest and depth.
© Robert Schmalle
Weather phenomena such as mist add a great deal of atmosphere, but can create exposure difficulties. Learn to adapt to every weather condition to make each one a feature
© Simon Xu
Use what you’re given
© Peter Fenech
Opposite
151