DP August

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Britain’s best-selling photography mag!

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V DISCOWAY TO W NE OUR USE Y R! D-SL

RAW

CON SOF VERSIO GROTWARE N PAG UP TES E 86 T

ISSUE 132 AUGUST 2010 £4.99

Make stunning pictures that’ll amaze your friends & family – we show you how to...

Set up your camera the right way Use Layers in Photoshop Create exciting pics today!

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GROUP TEST

LENSES FOR HIRE Get your hands on a pro-spec lens this weekend!

PHOTO ANSWERS

TAKE BETTER ACTION SHOTS WITH YOUR D�SLR How to freeze subjects, master panning and get quality shots with the kit you already own!

N A SPEED LENS ECIAL ?

CA SAVE HIRI SH BY NG O NE SEE P 98 !

PLUS SONY’S EXCITING NEW NEX-5 TESTED

NEW SKILLS! YOUR D-SLR PHOTOSHOP

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= GREAT PICS

IT’S EW THE N TO WAY E MAK B R SUPES! PIC

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WE MAKE EASY IT F YOU TOR LEAR O N

WHAT YOU NEED ANY D-SLR & PHOTOSHOP OR ELEMENTS WHAT YOU’LL LEARN HOW TO MAKE AMAZING IMAGES

Got a D-SLR? Then we’ll let you in on a secret – using Photoshop and your D-SLR together it’s easy to create eye-catching images that’ll stun your friends & family!

V LESIDEO ON SON T S CD HE !

As you’ll find by completing the projects in this guide, your camera and software are inseparable parts of the creative process. So read on and discover the secrets of getting the best from both...

LEARN THE SECRETS OVER THE PAGE WWW.PHOTOANSWERS.CO.UK

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E MAKRB E SUPURES T PIC ITH W R YOUR! D-SL

FINAL IMAGE After combining a number of shots with the Lighten Blending Mode, we toned the image blue with an Adjustment Layer and then brought back the red colour of the wine by painting into the Layer’s mask.

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WHAT YOU NEED ANY D-SLR & PHOTOSHOP OR ELEMENTS WHAT YOU’LL LEARN HOW TO PAINT WITH LIGHT

PAINT WITH LIGHT & CREATE AMAZING EFFECTS Shoot with Layers in mind and you can create studio-style lighting with a simple torch!

VI LESDEO ON TSON H CD! E

TECHNIQUE BY JON ADAMS

YOU WILL LOVE THIS PROJECT! Not only will you come away with a fabulous image, but you’ll also be taking complete control of your camera by using Manual exposure mode, and you’ll be exercising your lighting skills using a very portable lighting kit. Once the shoot’s over, you’ll then be exploring Layers and Blending Modes to assemble the picture, and even better, you get to choose which of your great lighting effects you want to blend together for the final image.

In many ways, this project is like a photography and Photoshop course in miniature, and all you need is a D-SLR (or compact with creative controls), a solid tripod to put it on, and a small torch. A mini

We shot various lighting effects by playing a torch over the wine glass and using long exposures of 4secs.

The light spiral was created by exposing the bare bulb of the torch.

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Believe it or not, this is the ‘real world’ shot, before we got the torch out and applied some Photoshop magic!

Maglite (around £10 to £12) is perfect as you can focus the beam and even remove the lens unit to expose the bare bulb – but if you don’t have one, any torch will work.

The other thing you need is complete darkness, so pour yourself a glass and prepare for a late night of imaging discovery...

TURN OVER & GET STARTED RIGHT AWAY

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D-SLR & RE SOFTWA ADVICE!

We get a raft of questions seeking advice on how to shoot great action pics, so we’ve dedicated eight pages to helping you get the best shots possible

ACTION SPECIAL!

Photo Answers is not only the name of our website, it’s also the place to come to for help if you have a photographic issue that needs sorting!

MEET THE EXPERTS PHIL HALL

Technical Editor Phil runs DP’s Gear section, so he knows exactly what kit you need and how to take great photos.

PAUL CARROLL

Technical Writer Paul has a wealth of knowledge to share on all aspects of digital photography and Photoshop.

MICHAEL TOPHAM

Technical Writer Michael’s extensive camera and software skills mean he’s able to answer all your imaging queries.

SUBMIT A QUESTION VIA THE FORUMS ON WWW.PHOTOANSWERS.CO.UK Join in the online chat where you can swap ideas, talk about gear, and help other photo enthusiasts out with photo-related queries.

BY E-MAIL

Send your gear, camera or imaging queries and supporting pics to: dp@bauermedia.co.uk Please put ‘Answers’ in the subject box.

BY POST

Write to us at this address: ‘Photo Answers’, Digital Photo, Media House, Bauer, Lynch Wood, Peterborough PE2 6EA

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GET STARTED

What kit do I need for action photography?

Q

Though the 18-55mm zoom lens that came with my Canon EOS 550D is great for general shooting, I’m finding that I can’t zoom in enough when I try to shoot sports – my subjects are too far away in my pics. I’ve seen pros using some massive, expensive-looking lenses when I watch football on TV, but I’ve got a pretty limited budget of around £250 to invest in a lens for sport – is this realistic or do I have to go and see my bank manager?

Tom Miller

A

There’s no denying that pros do use some pretty expensive glass for sport – a prime 400mm f/2.8 telephoto lens from either Canon or Nikon will set you back over

£6500, but this kind of focal length will allow you to get in nice and tight on the action. These lenses are also incredibly well made for heavy-duty use, optically excellent, and the fast maximum of f/2.8 is great for isolating the subject. This kind of price puts them out of reach of most people (unless you fancy hiring one for a day or two – see our review on hire firms on page 98), but there are some more affordable options available for everyone else in the shape of telephoto zooms.

Though not offering the same fast maximum aperture or ultimate optical quality as a prime telephoto, telephoto zooms are much more compact and offer a broad focal range for a variety of shooting situations. With a budget of £250, you’ve got a couple of options available to

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PHOTO ANSWERS

QUICK QUESTIONS

HOW DO I GET INTO SPORTS EVENTS?

Q

I live very close to a Premier League football club and see other photographers sitting there shooting away and wondered how easy it is to get the same sort of access? I really want to have a go at some sports shots and it seems an ideal place to start.

Rich Harrison

A CHOOSING THE RIGHT LENS FOR THE JOB A telephoto zoom with a focal length of 55-250mm will allow you to get in really close to the action, making it perfect for shooting a range of sports.

Unless you’re an accredited photographer and have public liability insurance cover, it’s going to be tough, and that goes for most major sports. Instead, try shooting local grass-root clubs to hone your skills – while it won’t be quite as glamorous, the action and the way you have to shoot will be exactly the same.

Get there early to get a good spot up the front, though it’s important to phone ahead to the club to see if they’re happy with you taking a camera along. Log on to www.thefa.com/ GetIntoFootball/FindAClub and you’ll be able to search for a local club. Think further afield as well, as there are probably lots of active clubs and teams right on your doorstep that’ll allow

get you started. Our first choice would be Canon’s excellent EF-S 55-250mm f/4-5.6 IS lens at around £220. This lens won a DP Gold award in the November 2009 issue. Thanks to your EOS 550D’s 1.6x crop factor, you’ll experience a 35mm focal length equivalent of 88-400mm, which will get you close enough to the action for most subjects, while just as impressively for a lens of this price is the optical quality – it’s capable of resolving super sharp detail and delivering great contrast.

Cheaper alternative

you to get closer to the action. Try out these websites to get you started: Rugby Football Union: www.rfu.com Hockey: www.englandhockey.co.uk Athletics: www.uka.org.uk Cycling: www.britishcycling.org.uk

HOW CAN I PROTECT MY KIT FROM RAIN? SIG MA 70 -300M M F/4-5.6 AP O DG £175

-S C AN ON EFM 55 -250M 0 F/4- 5.6 IS £22

Q

I mainly like shooting motor rallies, but as I haven’t got a pro-spec D-SLR, I worry about my camera getting a soaking when the heavens open, while there can be a lot of mud thrown-up, too. Can you recommend any protection for my kit?

John Frew

A

While a bin-liner with a hole cut in it is one option, for something more durable, try a purpose-made protective cover like the KATA E-702 (£49).

Mostly made from transparent plastic, it allows you to clearly see the rear screen and viewfinder, while it has two armholes to let you control and hold your camera. It will accommodate most D-SLRs – from a small budget option up to a pro-spec model with a vertical shutter release and a telephoto zoom attached. For a small outlay it beats a hefty repair bill.

If you want to hold on to a bit more of your budget, then the Sigma 70-300mm f/4-5.6 APO Macro Super DG lens at £175 is well worth a look (DP Silver award-winner in our January 2009 issue). Offering a 35mm focal length equivalent to 112-480mm on your EOS 550D, it gives a bit more range than the Canon 55-250mm, but doesn’t offer the handy anti-shake feature, while it’s ultimately not quite as sharp either.

NIKON 400M M F/2.8G ED VR AF -S £6 500 WWW.PHOTOANSWERS.CO.UK

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RN W A E L L-NE AL ILLS SK

Photoshop Masterclass

» Your expert guide to the tips, tools & techniques that really matter...

Camera Raw

PAR T

1

EDIT RAWS PRECISELY IN ADOBE’S CAMERA RAW INTERFACE FINAL IMAGE

GE START IMA

HOW WE CREATED OUR FINAL IMAGE The start image EMILY.dng was taken in tricky lighting conditions. The sun moved behind a cloud moments before the shot was taken, leaving the main subject underexposed and the sky slightly over-exposed.

We’re going to work out the areas that need adjusting using the Shadow and Highlight Clipping Warnings in Camera Raw. The start image is found on the CD, so you can give our technique a try before using everything you’ve learnt with your own RAW files.

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WHAT YOU NEED PHOTOSHOP CS OR HIGHER WHAT YOU’LL LEARN HOW TO EDIT IN CAMERA RAW

Shooting in RAW gives exceptional control at the post-processing stage.

We look at Camera Raw’s Basic and Detail tabs to see what they offer…

BY MICHAEL TOPHAM

W

HEN YOU WANT to edit images precisely and need ultimate control at your fingertips during postprocessing, you’ll need to set your D-SLR to RAW at the capture stage.

This is because shooting RAW ensures images are recorded in an unadulterated way, exactly as the camera’s sensor captured the

variables such as White Balance, Exposure, Contrast, Clarity and Saturation.

The Detail tab allows you to sharpen RAWs non-destructively and remove grayscale and colour Noise with the Noise Reduction sliders. As easy as it is to move sliders around to see what effect they have on an image, this is more guesswork than judgement.

If you want to be a proficient RAW user you need a solid understanding of how the sliders adjust the various elements of your image. This month we’re going to study every control in both tabs with two separate images. Before we use both tabs, though, we’ve labelled them so you can familiarise yourself with the layout and their appearance.

to become addicted! When you consider all the pros and cons of shooting RAWs, you’ll find few reasons to turn back to the more limiting JPEG format other than the sheer convenience of fitting more shots on your memory card!

The different tabs data at the moment you fired the shutter. RAW files are often referred to as ‘digital negatives’ – partly because they’re the foundation and starting point of the creative imaging process, offering levels of adjustment and control like no other file format. When you start using RAW and discover just how many variables can be controlled in the Camera Raw interface, it’s easy

The range of tools in the toolbar and the number of tabs on show below the histogram will depend on the Camera Raw plug-in you’re using.

Two tabs that have been available since the early days of RAW are the Basic and Detail tabs – both of which are located directly beneath the histogram.

The Basic tab greets you every time you load a RAW file and permits control of important imaging

GET TO KNOW THE CAMERA RAW INTERFACE Opening a RAW file in Photoshop will load the Adobe Camera Raw (ACR ) interface. On first glance there are a lot of sliders and controls to look at, so to make it all a bit clearer for you, we’ve added descriptions for every control in the Basic and Detail tabs. Learn all of these and you’ll soon have a better understanding of which controls you’re most likely to use for your type of pictures.

BASIC TAB TINT This is used to fine-tune the White Balance setting.

YOUALL TO K NEED IS R NOW I HERGHT E!

DETAIL TAB TEMPERATURE & WHITE BALANCE There are 9 White Balance presets from the drop-down menu. For precise, manual WB control, use the Temperature slider.

RADIUS

AMOUNT

Dictates the radius around a single pixel where the sharpening takes place.

Dictates the strength of sharpening applied to the image. Usually an amount between 70-120 will suffice.

EXPOSURE Under or over-exposed images can be rescued with the Exposure slider.

DETAIL Increasing the Detail value gives you control of how much detail is brought out around subject edges.

RECOVERY Highlight detail can be recovered using this slider.

MASKING Gives you control of how strong the Amount, Radius and Detail values act on the image.

FILL LIGHT This is used to return detail to the darkest shadows.

LUMINANCE

BLACKS

The Luminance slider is used to minimise the effects of unwanted Noise.

To darken the shadows only, increase the Blacks.

BRIGHTNESS Brightens everything between the set white and black points in your RAWs.

VIBRANCE Vibrance boosts the least saturated colours in RAWs.

COLOUR – Reduces the effects of CONTRAST

CLARITY

Great for lightening the bright areas and making dark areas even darker.

Great for increasing the contrast in any Midtones, the Clarity slider can also be used to soften any hard outline edges.

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colour Noise spoiling your shots.

SATURATION Good for boosting global colour in your RAW files.

TURN OVER TO TRY OUT THESE TOOLS YOURSELF DIGITAL PHOTO

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Technique of the Month

Make a surreal digital image Use your own shots with our surreal template to make the ordinary look extraordinary!

TECHNIQUE BY GAVIN HOEY

VI LESDEO ON TSON CD!HE

RENÉ MAGRITTE was one of the most famous surrealists of the 20th century and his hugely popular paintings have become part of our artistic culture.

You’ll probably be familiar with his extraordinary pictures, but have you ever thought about making something similar yourself?

You don’t need to be a surrealist genius to get in on the act – just follow the steps below and use the template on this month’s CD, and you can quickly create an outstanding Magritte-style image using your own pictures. Once you’ve seen how easy it is, take a look at this month’s main feature to see how you can shoot and Photoshop your way to even more stunning images.

MAGRITTE.JPG

VIADUCT.JPG

“ You don’t need to be a surrealist genius – just follow the steps ”

The start images Use the MAGRITTE and VIADUCT pics to follow this project – you’ll find them in the Start Images folder on this month’s cover CD.

STEP-BY-STEP MAKE SURREAL PICS

START MAKE A SELECTION. Open MAGRITTE.jpg and using the Magic Wand tool (W) click anywhere on the green background.

Add any areas that have not been selected by clicking them while holding the Shift key. Click Select ➔Feather and use a value of 1 pixels, then click Select➔Modify➔Expand and enter a value of 2 pixels.

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CUT AND PASTE. Go to Select ➔Inverse and then go to Edit ➔ Cut to remove the figure. Open VIADUCT.jpg and go to Edit ➔ Paste to add the figure onto the new image. Use the Magic Wand tool to select one of the black areas inside the newspaper, and then hold Shift and click inside the other black area to select that, too.

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WHAT YOU NEED PHOTOSHOP OR ELEMENTS WHAT YOU’LL LEARN MAKE A SURREAL IMAGE

INVISIBLE PAPER. Go to Select ➔ Feather and use a value of 10 pixels. Now click Select ➔ Modify ➔ Expand and use a value of 2 pixels. To complete the surreal effect, go to Edit ➔ Cut and you’ll be able to see the viaduct through the paper. To complete the project go to Layer ➔ Flatten image.

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FINISH OPTIONAL EXTRAS. Click Select ➔ Reselect and then hit Ctrl+C followed by Ctrl+V. You now have the centre of the newspaper on its own Layer and can adjust it as you wish.

Experiment by pressing Ctrl+Shift+U to remove the colour or apply a favourite filter effect such as Filter ➔ Artistic ➔ Colored Pencils.

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GEAR

SONY ALPHA NEX-5 » £589 �WITH 18�55MM LENS� » 14.2MP APS�C SENSOR » 1080i HD VIDEO » WWW.SONY.CO.UK

Not much bigger than a point-and-shoot compact, but featuring a sensor the same size as a D-SLR and interchangeable lenses, is Sony on to a winner with the NEX-5?

TEST BY PHIL HALL

WITH THE ARRIVAL of the NEX-5, Sony is muscling its way into the growing Compact System Camera (CSC) market. The NEX-5’s compact design and lack of a built-in viewfinder puts it up against the likes of the LUMIX GF1 and Olympus PEN range, notably the E-PL1. It’s currently the smallest CSC out there, but in an effort to reduce its size, has there been a compromise in terms of performance and handling?

FEATURES & BUILD The NEX-5 is a new system from the ground up and features a freshly developed 14.2Mp APS-C sized CMOS sensor – so it’s the same physical size as those

found in most Sony D-SLRs and bigger (by roughly 50%) than the Micro FourThirds sensors found in both the Olympus PEN and Panasonic G-series models.

The lens mount is also completely new, too. The new E-mount is only a few millimetres shorter in diameter than Sony’s Alpha D-SLR lens mount, but unlike the Alpha mount, the E-mount is 100% electronic.

With no AF motors in the body and the flange-back distance (the distance from the front of the mount to the sensor) reduced to just 18mm compared to 44mm on an Alpha D-SLR, it’s allowed the body to be incredibly compact, with a depth of only

25mm at its narrowest point.

Though the lens mount is new, the multiplication factor of 1.5x remains the same as other Sony D-SLRs with an APS-C sized sensor. As a result, the supplied 18-55mm lens will offer a 35mm focal length equivalent of 27-82.5mm.

There’s no getting away from the fact that the NEX-5 is incredibly compact – even more impressive when you realise that the rear screen can be angled outwards and downwards – while even with the handgrip, the footprint is just 111x38mm.

The design probably isn’t quite as engaging on first viewing as the original Olympus PEN E-P1 or

“ There’s no getting away from the fact that the Sony NEX-5 is an incredibly compact camera ”

Panasonic GF1, but it looks stylish nonetheless. One obvious thing is the lack of buttons and dials placed around the body – not including the on/off switch, there are only six buttons and a small scroll wheel.

It may be small, but it’s still comfy in the hand thanks to a well-proportioned handgrip, while the magnesium body adds to the high-end feel. It’s also worth mentioning that the supplied 18-55mm kit lens has a decent finish, too. There’s a metal lens mount at the rear, while the finely grooved zoom and manual focus ring also add to the quality. If there’s one downside it’s lens size – compared to the body it’s fairly hefty and not much smaller than a D-SLR lens of the same focal length range.

The newly-developed Exmor APS HD CMOS sensor offers an

KNOWLEDGE

A CLOSER LOOK AT THE SONY NEX-5

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3in vari-angle screen

Accessory socket

18-55mm kit lens

The 3in 921k dot TruBlack LCD screen can be pulled outwards for waist-level shooting or downwards for shooting in overhead situations.

Instead of a hotshoe, there’s a concealed accessory socket where a supplied miniature external flash or an additional external microphone can be screwed in.

The 18-55mm kit lens does look large on the compact body, as its dimensions aren’t much smaller than the same focal length on a D-SLR lens.

DIGITAL PHOTO

WWW.PHOTOANSWERS.CO.UK

SEE OUR TEST RESULTS AT WWW.PHOTOANSWERS.CO.UK/NEX5

SONY NEX-5

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If you want to check out the image quality for yourself, click onto our website and view the test pictures.

AT A GLANCE SONY NEX-5 Street price: £589 (with 18-55mm) Resolution: 14.2Mp (4592x3056 pixels) Lens mount: Sony E-mount Focal length magnifi cation: 1.5x Focusing: Continuous, Single, Direct Manual Focus, Manual Focus Burst rate: 7fps (7 RAW & 100 JPEG)* Write times: 1.5secs (RAW), 1sec (JPEG) ISO range: 200-12,800

impressive ISO range of 20012,800, while the NEX-5 can shoot up to a maximum of 7fps (frames per second) in Speedpriority Continuous mode, though the exposure and AF is locked at the first shot.

In an effort to reduce size in the body, there’s no built-in antishake system. This is now incorporated in the lens, with the 18-55mm model featuring Sony’s Optical SteadyShot to reduce camera shake.

The 3in screen at the rear is the sole option for composition – there is an optical viewfinder available but it’s only suitable for

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Shutter range: 30secs-1/4000secs Monitor: 3.0in, 921k dots TruBlack LCD Live View: Yes HD video: Yes: 1920x1080 @ 30fps Storage: SD/SDHC/SDXC, Memory Stick PRO Duo/PRO-HG Duo Weight (body only): 229g Dimensions: 111x59x38mm Visit: www.sony.co.uk

the 16mm pancake lens. As with all other CSC cameras, the NEX-5 uses a contrast-detect AF system, with a choice of three AF areas to choose from – Multi, Centre and Flexible Spot. The NEX-5 also features HD video, allowing you to record up to 1920x1080 at 30fps in MPEG-4, though AVCHD is available, too.

PERFORMANCE & HANDLING Sony makes no bones about the fact that the NEX-5 is aimed at those wanting to make the step up from a compact, so even though the NEX-5 has a D-SLR

sensor, its handling has been inherited from the compact sector. Almost every shooting option is set via the NEX-5’s menu, rather than the various buttons dotted round a D-SLR. Once you’ve fired-up the NEX-5 (which isn’t instant) and hit the Menu option (highlighted on the rear screen), you’re presented with six options: Shoot Mode, Camera, Image Size, Brightness/ Color, Playback and Setup. Shoot Mode gives you access to the NEX’s core shooting modes that

include M, A, S, P, Scene, Intelligent Auto and Sweep Panorama – all done via a slick animated dial navigated with the scroll wheel. Set to Intelligent Auto, pretty much everything is set automatically, but those using the more creative shooting options have them spread over three sub-categories. Camera has access to AF settings and other minor options, Image Quality lets you set the quality for both still and video capture, while Brightness/Color features

TURN OVER & FIND OUT HOW THE SONY NEX-5 PERFORMED DIGITAL PHOTO

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LENS HIRE

/2 MF 8 00M£483 2 ON W 100 CANST NEIRE £ £141 CO AY H HIRE D EK WE

.8 F/2 M M 9 200 214 70 - E W ££60 N N O 9 CANCOST Y HIREIRE £9 D A EK H WE

/ 2.8 MM F1899 4 1 £ ON CANST NE WE £6 5 CO AY HIR E £107 D K HIR WE E

NIKON 10-24MM F/3.5-4.5 COST NEW £639 DAY HIRE £44 WEEK HIRE £56

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SIGMA 2 COST N4-70MM F/2.8 DAY E W £599 WEEK HIRE £41 HIRE £ 74

Fancy using a pro-spec lens for a one off shoot? Then why not hire one?

We rented lenses from six different companies to assess their service TEST BY MICHAEL TOPHAM

CANON 16 -35M COST NEW £M F/2.8 DAY HIRE 1185 WEEK HIRE££59 88

IN AN IDEAL WORLD you’d have a camera bag full of all the pro-quality lenses you’d ever need, from wide-angles to telephoto zooms, ready to use with your D-SLR. Sadly for most, this will always remain a dream, so back in reality, what are the options when you want a lens that you don’t already own? Asking a friend if you can borrow theirs is one option. More often than not, though, they’ll be unwilling to part with a valuable optic for fear of you accidently damaging it.

The best – and often overlooked – option is to hire one.

There are many hire companies out there willing to rent out lenses at a fraction of the price that they cost to buy, but which offers the best service? To find out, we placed an order with six companies to test their services, so you know where to spend your money.

WHAT WE TESTED Six lens hire companies that offer a good selection of lenses to photographers on a rental basis.

Calumet Rental . . . . . . . . . . . . . . . . . . . www.calumetphoto.co.uk Camerent. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.camerent.co.uk Fixation Rental . . . . . . . . . . . . . . . . www.fixationuk.com/rental Hireacamera . . . . . . . . . . . . . . . . . . . . . . . . . www.hireacamera.com LensesForire. . . . . . . . . . . . . . . . . . . . . . . www.lensesforhire.co.uk Lens Pimp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lenspimp.com

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