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Issue 245 August 2021 • www.digitalcameraworld.com

LEARN NEW SKILLS

SUMMER SPECIAL

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Landscapes Plants Creative

INTE RVIE W

G RO U P TE S T

8 super-telephotos for sports & wildlife

Kristin Bedford on ‘Cruise Night’ Pets

Portraits

A stro

Abstracts

Creative

P H O T O AC T I V E

10 fun projects to shoot right now

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256-page Buyer’s Guide

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Future Publishing, Quay House, The Ambury, Bath BA1 1UA Editorial +44 (0)1225 442244 • www.digitalcameraworld.com Subscriptions and Customer Services +44 (0)330 333 1113 Editorial Editor Niall Hampton niall.hampton@futurenet.com Contributing editors Marcus Hawkins & Claire Gillo Technique editor Alistair Campbell alistair.campbell@futurenet.com Art editor Roddy Llewellyn richard.llewellyn@futurenet.com Operations editor Richard Hill richard.hill@futurenet.com Group reviews editor Rod Lawton rod.lawton@futurenet.com Imaging labs manager Ben Andrews ben.andrews@futurenet.com Senior art editor Warren Brown warren.brown@futurenet.com Contributors James Abbott, Jon Adams, Benedict Brain, Jon Devo, Andrew James, Catherine Kirkpatrick, Sean McCormack, Andy McGregor, Simeon Meinema, James Paterson, Dave Kai Piper, Matthew Richards, Rebecca Shaw Cover image Getty

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ould you shoot a creative photo portfolio in just one day? That’s the challenge we’re issuing in this month’s cover feature, from page 62. Follow the hints and tips to make the most of the many photo opportunities offered by the long summer days – we look forward to seeing how you get on. You’ll also find plenty of fresh inspiration in Photo Active (p18), Stay at Home (p43) and Camera College (p74), while Hotshots (p84) serves up a platter of tasty treats courtesy of the Pink Lady Food Photographer of the Year awards. Also in this issue, we enjoy a One to One pro masterclass with maternity photographer Kitty Clark (p10), and Kristin Bedford takes us behind the scenes of her Cruise Night project, set in Los Angeles (p134). For this month’s camera kit and accessory reviews, we test the Panasonic Lumix GH5 Mark II (p116) and the Olympus PEN E-P7 (p120), while eight super-telephoto zooms for sports and wildlife face off in our group test (p126).

Enjoy the issue.

C

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Contents

ISSUE 245 AUGUST 2021

20 BRUSHED BORDER EFFECTS See page 6

SUMMERTIME

SPECIAL 126

62

Photo skills 10 One to One

Masterclass with pro maternity photographer Kitty Clark

18 43

Photo Active Fresh inspiration everywhere you look – choose from 10 all-new projects

Stay at Home More photo fun to enjoy indoors, plus the best reader images of the month

62

Summer Special

74

Camera College

93

Shoot a creative portfolio in one day!

With Jon Adams and Andrew James

Follow the tutorials on shooting flowers, then enter our challenge

Practical Photoshop Sharpen your image-editing skills in Lightroom, Photoshop and more

102 Photo Answers

Our expert answers your questions, plus Tech Check and Image Rescue

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Regulars 39 The Art of Seeing

Ben Brain revisits former captures of Tokyo – with some colourful results!

84

Hotshots Highlights of winning entries from Pink Lady Food Photographer of the Year

108 In Focus

The latest camera kit and photography accessories to hit the global market

111

Behind the Lens

114

Jon Devo column

Documentary photographer Renate Aller discusses her Side Walk project

Can artificial intelligence cull a set of images better than the photographer?

134 Interview

Kristin Bedford takes us behind the scenes of her Cruise Night project

146 What the f-stop!

Test your photo knowledge – pit your brains against our quizmaster

93

Super-telephotos group test _ We round up the eight best examples for shooting sports and wildlife

Practical Photoshop _ More top tutorials for getting the most out of Lightroom and Photoshop

Gear & tests 112 Summer photo books

Our suggestions for some holiday reading

116

Lumix GH5 Mark II How does Panasonic follow a 4K hybrid camera that was practically perfect?

120 Olympus PEN E-P7

The venerable brand has a new owner.

So what’s changed in this first release?

Z MC 105mm 122 Nikkor f/2.8 VR S Does the first native macro glass for Nikon’s Z system live up to expectations?

Vario-Elmar 123 Panasonic 100-400mm f/4-6.3 Ahead of its appearance in our group test, read our review of this L-mount super-tele

124 Benro SupaDupa

MSD46C carbon-fibre monopod

126 Group Test

The eight best super-telephoto zoom lenses for sports and wildlife photography

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Contents

HURRY WHILE STOCKS n ³Áٍ

Subscribe and get a great camera bag!

Page 40

This month’s contributors Kitty Clark Fine-art photographer We join Kitty on a maternity shoot, a photographic genre she has successfully pivoted to during the pandemic. Find out how she creates her images on page 10

Audrey Bellot Dog photographer

134

France-based Audrey reveals how she approaches her photoshoots with dogs, and you can use her tips to create paw-fect pictures of pooches every time. Page 26

Interview _ The US photographer Kristin Bedford celebrates the Mexican American lowrider movement in Los Angeles in her new book Cruise Night.

We discover more about the project and how she documented her subjects

PLUS

Paul Smith

Win a copy Ȓǔ ǔˡȇǣɎɵ ¨ǝȒɎȒ ǣȇ Ȓɖȸ ȅȒȇɎǝǼɵ ƬǝƏǼǼƺȇǕƺٍ

Wildlife photographer Based in East Anglia, Paul’s first love is photographing birds of prey. Catch his advice for success in this field, plus some invaluable hands-on tips, from page 18

Renate Aller Visual artist & photographer

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Captured in the spring of 2020, Renate’s Side Walk: 6’ Apart in New York City is being made into an exhibition. She explains how the project came about on page 111

Camera College _ Explore the basics of photography and understand them from every angle. This issue: how to get started in flower photography. Then enter our reader challenge, and you could win a copy of Affinity Photo!

Jon Devo Photographer and writer

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Photo Active _ 10 things to shoot, edit or create this month, including how to capture birds of prey in flight, tips for shooting street fashion and tender dog portraits, as well as getting creative with the reverse lens technique

Tired of sifting through images after a busy day’s shooting? Jon is, too, and wonders if software powered by artificial intelligence could do it better, on page 114

Kristin Bedford Photographer Having spent years documenting LA’s Mexican American lowrider movement, the work has just been published as Cruise Night.

Kristin tells us more on page 134

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9 ALL-NEW ÁX¨³ ! «(³

NEW-LOOK TIPS CARDS! 9 subjects Techniques Settings Kit list

Our collectable shooting tips cards enable you to carry handy settings and suggestions around in your kit bag, ready for when you need them. This issue, get wallet-sized advice on tracking go-karts on race day, photographing rutting deer and going mono to make roots look amazing.

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20 brushed borders ǔȒȸ‫¨ژ‬ǝȒɎȒɀǝȒȵ !!

256 pages of the latest camera and lens reviews, plus buying advice for accessories!

See the Gifts folder in your download.

Give your photos the perfect finishing touch with these handpainted and digitally scanned borders. Find them in the Gifts folder of this issue’s download.

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one to one

Alistair Campbell

The birth of a new business Kitty Clark started her professional career as Covid-19 arrived. But the pandemic saw her diversify into shooting maternity – and she hasn’t looked back, says Niall Hampton

Kitty Clark

Master maternity portraits with Kitty Clark

Kitty Clark

Fine-art photographer Having commenced her photographic journey as a ‘mum photographer’, Kitty started shooting doorstep portraits during the first lockdown, and has since diversified into maternity photography. www.kittyclarkphotography.com

f the many and various creative benefits that Mother Nature bestows on photographers, golden light has to be one of the most highly prized – adding drama and texture, it can help transform many promising scenes into amazing images.

And the quality of light is what Kitty Clark is here to harness, on a hillside halfway between Bath and Bristol in south-west England. We’ve joined Kitty, a photographer who only works with natural light, as she shoots some new maternity images for her portfolio – a strand she added to her photographic offering during the pandemic.

But while the gorgeous lighting and a blue sky overlaid with dappled clouds are creating an aesthetic to definitely reward the long walk up here, it’s actually pretty chilly – and especially so when you’re standing around barefoot in a mere slip of a dress.

Fortunately, Kitty’s model Catherine is a true professional, and hasn’t even mentioned the low temperature.

O

“Sometimes it gets into your bones,” says Kitty, as Catherine jogs on the spot to keep warm.

Responding to directions from Kitty, Catherine throws her head back and clutches her bump, the backlight adding a pleasing halo around her body and streaming through the white material of her dress. Kitty asks for a couple of extra variations – a trailing arm so that the dress looks like a sail flowing behind Catherine, and then an arm resting on her hip.

“Amazing, I think we’ve got it now,” Kitty exclaims. “You must be so cold, Catherine!”

It’s a good conclusion to the afternoon and evening’s work – earlier on, Kitty shot a couple of different setups in a field half a mile away. People taking their afternoon walks in such a bucolic setting would have counted on seeing sheep grazing in the distance, but not someone wrapped in a flowing white dress posing for a photographer.

Starting on a hillside just outside the village of Weston, Kitty placed Catherine among some fallen tree branches.

37 weeks pregnant with her first child, Catherine

one to one

Kitty takes care to involve her models with all parts of the photo shoot.

Kitty’s tips for success in maternity photography “On a photographer-model level, success comes mostly from an empathetic approach while shooting – helping the mother-to-be relax by talking openly and inviting discussion about motherhood and birth, their hopes and dreams for the future, and how they have felt during this pregnancy. Empowering the model by being both a guide and a cheerleader helps, too; giving gentle instruction for movement, while reminding them how powerful and beautiful they look. (Many of them won’t feel this way for much of the pregnancy, so you need to encourage this feeling for a successful shoot.)

“Social media has really been the main driving force for my paid work. You may need to do some free or low-paid shoots in the beginning to help get the content you need to attract paying clients. Take these opportunities to create your ideal aesthetic; this content will shape who is attracted to you, so make sure it’s the right feel for you and your future work.”

Instagram: @kittyclarkphotography

is a model with 16 years’ experience, including four years working in the US, shooting fashion and travel assignments across the country.

“I love the look of this tree,” says Kitty, composing her frames on her camera’s rear screen while Catherine tenderly cradles the top and bottom of her bump.

Kitty’s camera setup is noteworthy: she’s using a Canon EOS 5D Mark III DSLR and a Sony Alpha 7 III mirrorless, with 85mm and 35mm primes attached to them. With no light stands or flash units to set up, Kitty is free to work briskly and quickly change things around, swapping perspectives instantly

A big part of my job is to help ‘normal’ women find comfort in front of the camera and to access their free spirit

thanks to the dual camera harness she’s wearing. The only other accessory Kitty has brought with her is a stool, for giving her some extra height over her subject.

“I want to make it look like she’s stuck in a wilderness,” Kitty replies when I ask her what kind of vibe she’s trying to capture. And this is certainly how it’s coming across; Kitty’s clever placement of Catherine makes it look like she is fully enclosed by a thicket of branches.

Shooting in burst mode on her Alpha 7 III so she doesn’t miss anything – its maximum rate is 10fps – Kitty uses the rear screen as her viewfinder. Shooting so many frames does mean that there will be misses and hits as she blazes through memory cards but, as the images gracing these pages confirm, the hits are impressive.

The A7 III’s burst mode certainly comes into its own on the next setup. Stepping some 60 yards away, Kitty asks Catherine – who has switched her black outfit for a white dress – to stand in front of a grassy backdrop, with some bushes providing visual extra detail.

Kitty is looking to capture the dress billowing around Catherine, but the wind conditions are pretty calm, so the movement will need to be induced. Step forward Digital Camera’s technique editor who, having photographed a few weddings in his time, knows instinctively what to do in this scenario.

Picking up the bottom of Catherine’s dress, Alistair shouts: “1, 2, 3 – go!” for Kitty.

“That was a bit high,” says Kitty. “And I don’t really want a big clump of dress.”

“It doesn’t always work,” laughs Alistair, as they work the same routine a couple of times before eventually nailing it.

Model maintenance is very important, and especially so when working outdoors. Kitty has finely tuned antennae for how Catherine may be faring in her thin outfits

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6.26pm

6.20pm

Camera

Sony A7 III

Lens

Sigma 35mm f/1.4 DG HSM Art

Exposure

1/250 sec at f/4, ISO 80

8.18pm

5.11pm

Camera

Sony Alpha 7 III

Lens

Sigma 35mm f/1.4 DG HSM Art

Exposure

1/500 sec at f/2.2, ISO 125

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one to one

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6

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Kitty’s favourite gear The benefits of using a dual-camera setup on location

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Canon EOS 5D Mk III

“This Canon DSLR has been fantastic to begin with, but it is much bulkier, much slower, and it performs nowhere near as well in low-light situations.

For now, though, this setup certainly does the job and I like having quick access to both the 85mm and 35mm lenses for different perspectives during a shoot.”

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Sony Alpha 7 III

“Eventually I will buy another Sony Alpha 7 III mirrorless camera and Sony-fit lenses, but they are in no way inexpensive, so it’ll be a job for the savings account.”

Sigma 35mm f/1.4 DG HSM Art 3

“This lens has a wide field of view, which makes it really versatile for shooting in a variety of situations, and the bokeh when shooting at a wide aperture makes for a really dreamy and ethereal effect.”

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4 Canon

EF 85mm f/1.8 USM “I use this lens mostly for details and portraits. Again, it has a beautiful, creamy bokeh, and the narrow focal length means that I’m able to draw in close to my subject without getting in too close physically.”

Tiffen Pro-Mist 1/2 ˡǼɎƺȸ ٢‫וה‬ȅȅ٣ 5

“This really enhances the ethereal effect I like to achieve in my work. It seems to diffuse the highlights and the contrast in an image which creates a beautiful softness if used in the right lighting.”

Keenso Dual Camera Harness 6

“This was a quick order from Amazon, but it has served me well. I especially like that the bottom camera straps don’t come too low – I’m quite small, so this can sometimes be an issue!”

AUGUST 2021

and is constantly checking that she’s fine, and not too cold to carry on with the shoot.

As we start the 20-minute walk to get to our second location, I discover more about Kitty’s photographic journey.

“Having started off as a ‘mum ’tog’ when my daughter was born, I started doing doorstep shoots as the first lockdown progressed,” she explains. “These became really popular, and I began taking paid bookings. I was quite against shooting maternity at first: I would characterise my work as quite free and unposed, and the standard maternity work I saw was the epitome of static and set up.

“Some of my peers inspired me to try doing things a bit differently, so to test the waters I set up a couple of model call shoots [where models work in return for getting images for their portfolios]. I would say that maternity is one of my favourite things to shoot now: I relish the challenge of bringing out the personalities of the women in front of my camera.”

While most of her maternity shoots feature paying clients who approach her, Kitty won’t ask too much of her clients. If she has a specific creative vision in mind (involving nudity or semi-nudity, for example) she will put a shout out on Instagram – hence today’s session with our experienced model, Catherine.

“A big part of my job is to help ‘normal’ women find comfort in front of the camera and to access their inner free spirit – everyone has one, you just have to be patient enough to bring it out,” Kitty explains.

“And this is where my personality helps to bring out the best in women. I’m very open and honest, and like to think I’m the right kind of cheerleader to help women feel empowered enough to really engage with the shoot, and produce the kinds of images I strive for.”

For a relative newcomer to this kind of photography, Kitty has certainly aced handling a model, as today’s shoot proves. Four setups, two locations, three outift changes… and five exceptional new images for her portfolio.

“With a model that experienced and professional,” Kitty smiles as we start packing up, “you don’t really have to direct them.”

5.20pm

How Kitty edits perfect maternity portraits Following an initial cull in Photo Mechanic, she imports her images into Lightroom “I have a quick scan and make general adjustments to the white balance and brightness of the image; if an image is too dark, for instance, I bring the Exposure up and play with the Shadows.”

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“I apply my preset. I have three main presets that I use for my work – one is a brown-toned preset that I use for the majority of my client work; one has more colour luminance and less texture for a dreamy, cinematic effect; and one is slightly warmer for golden hour and dramatic skies.”

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“I usually bring down the Highlights and the Whites quite far, if not completely, then add them back into the

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key areas (like the face, hands or folds of fabric), using the Adjustment Brush to make them pop in the image.”

“I play with Shadows and Exposure – as well as a little Color Grading – to ensure the right kind of atmosphere.”

4

5 “I usually take down Texture, play

with Clarity and Temperature, and add a little Grain, to create something which is a bit more ethereal and dreamlike.”

6 “I am a real perfectionist when it

comes to editing; although I have listed five steps, it is likely that I will cycle through these steps several times.”

Camera

Sony Alpha 7 III

Lens

Sigma 35mm f/1.4 DG HSM Art

Exposure

1/500 sec at f/2.2, ISO 125

Av or Manual mode?

“I use my Canon EOS 5D III in Aperture Priority mode and the Sony A7 III in full Manual mode,” says Kitty. “To me, the Sony just feels more intuitive to use manually than the Canon – the key controls are adjusted via dials that are very close to the shutter button, whereas the button placement on the Canon makes it way more fiddly. The very clear rear screen on the A7 III means that I can see how each adjustment affects the image in real time, so it feels better to have that very separate control of each.”

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10 things you can shoot Ɏǝǣɀ‫ژ‬ȅȒȇɎǝً ǔȸȒȅ ɀɎȸƺƺɎ ǔƏɀǝǣȒȇ ƏȇƳ ƳȒǕ ȵȒȸɎȸƏǣɎɀ ɎȒ‫ژ‬ƏƫɀɎȸƏƬɎɀ ƏȇƳ ɀƏɎƺǼǼǣɎƺɀ

1 | WILDLIFE

Let us prey Paul Smith shares where to find birds of prey in flight, and how to capture them at their best he UK has several birds of prey species, but how do you find them and photograph them in flight? Great places to get started include nature reserves, such as RSPB Titchwell and RSPB Minsmere.

They have various habitats that suit marsh harriers, kestrels, red kites and buzzards. The reserves have their own websites, which will have a sightings page to let you know what has been seen and when. There are also various apps and websites dedicated to bird sightings, such as www.birdguides.com.

When you’re out and about looking for wildlife, wear dark clothing, be as quiet

T

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as possible, take your time, and use your ears as well as your eyes. You are more likely to hear a buzzard calling before you see it, so familiarise yourself with its call. There are apps available for bird calls. Another essential piece of equipment is a pair of binoculars.

I’m a wildlife photographer based in East Anglia, and love photographing birds of prey. The gear I use includes a Nikon D4S, a Nikon D850, a Nikkor 600mm f/4 prime, a Nikkor 300mm f/4 prime and a Nikkor 200-400mm f/4 zoom. I occasionally extend the focal length by using a 1.4x teleconverter. www.facebook.com/ PaulSmithWildlife

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1/1,000 sec

f/5.6

Paul Smith Photography

ISO 400

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Study first Do a little research into the behaviour of your chosen subject – for example, the type of habitat it is likely to be hunting over – and prepare accordingly by getting to the venue as quietly and inconspicuously as possible.

If you can, visit the location beforehand: this will allow you to find the best spots for you to set up your camera.

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Research timings You are more likely to see your subject at certain times of year. Spring is generally a good time, as birds will be feeding young. Birds like barn owls hunt during the day as well as at night. Kestrels hunt during the day over meadowland, looking for small rodents. Red kites are more like scavengers, so feed on carrion.

However, they will take small chicks like ducklings, so keep this in mind.

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Pick up speed Get to know your gear inside-out, so if you need to change a setting quickly, you don’t miss the action while looking through menus on the back of your camera. Most cameras have a function (Fn) button, which can be customised to perform certain actions quickly.

It’s worth reading up on this and using these to your advantage with your most-used functions.

Lean on me

Paul’s tips for camera settings I would recommend using back-button focusing.

Also set your focus mode to continuous: while you are following your subject with the focus button pressed, it keeps the subject in focus. I would also try to use a single focus point: with multiple focus points, you run a higher risk of focusing on the background and losing your subject. Set your shooting mode to continuous so you can fire off short bursts as your subject flies through the scene. With flight shots, you need a fast shutter

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speed, so set your camera to Shutter Priority and set a shutter speed to suit the subject and conditions.

I try to shoot at about 1/1,000 sec. You may have to shoot wide-open and raise the ISO to achieve this. I usually shoot in Manual mode, setting my shutter speed and aperture to what I require, and use Auto ISO.

When I’m using long heavy lenses, I always bring a tripod. I would also recommend a gimbal tripod head, which enables you to tilt and swivel the lens for flight shots, as well as keeping everything steady for perched shots.

If you’re using a long lens in a hide, it may be better to use a beanbag or a hide plate – a heavy base that you can attach your gimbal head to. The whole thing then sits on the shelf in the hide.

It’s also worth investing in neoprene camo covers for your lenses. As well as helping to disguise the lens, they help to protect your valuable equipment.

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2 | ABSTRACT

Magical masterclass Giacomo Giannelli shoots abstracts on a basic 50mm lens ith a background in storytelling, I have been fascinated by all forms of art from a very young age.

I graduated from the Academy of Fine Arts in Rome, where I was able to develop my artistic style, in particular my photography skills.

I am strongly influenced by concepts related to the passage of time, mood and the link with one’s origins. My observation comes from the contact with the heart of the subject, which then becomes artwork.

In my works, one can also notice a strong contrast due to the intention to come into contact with the deepest part of the work of art. In these images, I was looking for the essence of the subjects, and the relationship between abstraction and concreteness on a philosophical level.

I made these three works using a reverse lens, not connected to the camera body. The idea was to avoid adjusting anything manually and to let natural light enter the lens, capturing the true essence. The result was a mixture of experimentation and the essence of nature without being modified. www.giacomogiannelli.com

Giacomo Giannelli

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Giacomo’s tips Use a 50mm lens, any brand is fine. You do not need a tripod: choose a subject (anything will do, really) and get your camera close to the subject. You will need to get very close to get the focus. As the lens is reversed, be careful not to scratch it, especially when it is brought near the camera body. Set the ISO and shutter speed according to the natural light you have available, doing some tests.

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www.digitalcameraworld.com

Bertrand Vessier

3 | ACTION

Bertrand’s top tips

Life in the fast lane

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Bertrand Vessier heads to the local race circuit to capture go-karts y photography has made a major shift in the past six years, and has gone from glamorous to gritty. For many years I photographed live music, cabaret, burlesque and art nude photography, for which I still have a passion. But my son Sylvain started kart racing, and I wanted to capture these moments.

What started out as a few shots for my own pleasure and amusement soon became the talk of the paddock. Parents and teammates would ask me to capture a few shots for them.

This led to me being the club photographer for Clay Pigeon Kart Club in Dorset and Dunkeswell Kart Racing Club in Devon. Still wanting to maintain my style of arty captures, I would often take candid shots in the paddock. This would be the moments people don’t get to

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see: for example teammate interaction, mechanics talking to racing drivers, and family moments. I have been honoured not just to shoot karting but, motocross, some Formula Renault action at Magny Cours, Mini Racing and more.

Practice, practice and more practice has made these shots easier; I would never say perfect, although this is what we all strive for. But I always find little things I can improve on. For me, this is about passion. I’d love to shoot more, making this a full-time career – but for now, I’m always looking to try different styles, learning all the time.

If you have a passion for motorsport, get out there! Ask your local racetrack if you can come along. You will not be disappointed – and you never know where you could end up! www.bertrandvessier.com

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Manage your focus Don’t worry if all parts of your shots aren’t in sharp focus.

Remember, if you slow your shutter speed to capture the feeling of speed, some of the body parts of the kart will vibrate and be out of focus.

Stay dry Even if your camera is weather-sealed, I would recommend that you get a good quality rain cover for it, as well as some rain gear for yourself. There is nothing worse than being wet all day.

Seek out variety Look for different vantage points; mix it up. Lay on the floor, stand on the apex of a corner, elevate yourself by getting up the finish-line gantry. But stay safe and be ready for anything.

Get behind the scenes Leave the on-track action behind for a bit. Go to shoot on the grid and the paddock.

Karting, and grass-root racing in general, has a real family atmosphere – so try to capture those moments.

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Claire Gillo

After

Before 4 | PHOTOSHOP

It’s the details that count Claire Gillo reveals how to make your portraits pop by using the Adjustment Brush in Camera Raw or Lightroom o you ever get home and wished you had used a reflector or some additional lighting on an isolated part of your image? Using the Adjustment Brush in Camera Raw or Lightroom, you can increase or decrease the amount of exposure, among other basic settings, in an isolated part of the frame. You can actually make multiple adjustments to the same image if you have

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areas that vary greatly in their exposure value or appearance.

In this image, the face is a little in shadow, whereas the foreground is a bit bright and cold in hue. To fix this issue, I used a +1 exposure stop brush on the face and hair of the model; in the foreground I used another brush to reduce the exposure of the blanket and warm it up a tad using the temperature slider.

Model: Jade Lyon Clothes: Sister Organics

AUGUST 2021

How to use the Adjustment Brush The Adjustment Brush can be found on the Camera Raw editor in the left-hand sidebar, fourth down from the top. Look for the paint brush symbol. The Adjustment Brush remembers whichever settings you last used with it. Click the three dots and select Reset Settings to bring all the settings back to their defaults.

You can adjust the size of the brush using the bracket keys [ and ] on your keyboard or by using the Size slider. To apply the adjustment, either start painting over the area you want to change then tweak the sliders (for example, push the Exposure slider up and see what happens), or adjust your settings first, then paint those settings onto the image. Starting to paint creates a pin, which you can use to manage this set of brushstrokes.

To get a new brush for another part of the image, click on the plus symbol at the top of the settings. If you go wrong, you can either delete the entire pin by right-clicking on the pin and selecting Delete from the resulting pop-up menu, or select the pin and press the Delete key.

You also have options to show a mask by clicking the Mask Options box, while clicking on Overlay toggles the visibility of the pins. You can click and hold the eye icon to see how the image looked before you started your adjustments, for comparison, while the arrow symbol resets the image back to the starting point.

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Audrey Bellot

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Camera

Nikon Z 7II

Lens

Nikkor 85mm f/1.4G

Exposure

1/640 sec at f/1.8, ISO 32

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1/640 sec

f/1.8

ISO 32

5 | PETS

A moment shared Audrey Bellot shares her secrets for adding a personal touch to dog photography nimals, especially dogs, have always been a passion of mine. They are incredibly patient, full of love and are always ready to make you happy. I had the chance to grow up with animals since my childhood. They showed me how much we should live and be happy with simple things. I now live in Auvergne in the middle of France in with my dog Laos, a border collie who came from a dog shelter.

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Then my passion for photography arrived and in 2018, I decided to specialise in dog portrait photography.

I travel for photo shoots for amazing dog owners, but also for workshops for anyone who wants to learn how to create such portraits. Each photo has its own story, thanks to the dog, the place, and the moment we shared. With patience and gentleness, you can create the most beautiful portraits of your dog. www.audreybellot.com

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Speak their language Before a session with dogs, always make sure that you know enough about them. The first things you need to learn are dogs’ calming signals.

Dogs communicate with their bodies.

When they are happy, playful, stressed or simply relaxed, they change the position of their ears, their mouths, even the shape of their eyes. Learn how to detect these signals in dogs.

Approach How do you approach a dog during a photo shoot? First, always ask the owner for key information about their dog (like age, breed, allergies, whether they’re friendly with humans and with other dogs).

Second, do not approach a dog you do not know in a frontal way. Instead, get down to its level and, with treats in hand, let the dog come to you.

Motivate the dog Do not come empty-handed. Most dogs need to be motivated to pose more easily while standing still. Dogs can be motivated by many things: tasty treats and toys are my two favourites. This allows you to both motivate the dog and reward it for its work. You can also use words or certain sounds that the dog likes to see its expression change.

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www.digitalcameraworld.com .

Photo Active

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Take breaks Dogs cannot explicitly tell you that they are tired, although communication signals will alert you. Always take several breaks between photos, as a session can be very long for a dog who is not used to it. Also, if the dog does not want to do something, change your mind. Ask for something simpler so you do not discourage it.

Choose your view Most of the time, I position myself at eye level and always leave space in the frame in the direction of the dog’s eyes. Do not forget to vary the angles to give the viewer different impressions.

Up and down angles can also work in dog photography, as long as the environment and the emotion you want to bring out are suitable.

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6 | PORTRAITS

Summer shoots Roberta Baneviciene uses natural warm summer light for stunning portraits oberta is an awardwinning fine art photographer, based in the UK. Her journey into portraiture started with her own children 10 years ago, and she works exclusively with natural light.

Roberta is influenced by her children, and by the light and colours she finds outdoors. Her children’s portraits resemble a fairytale with gorgeous lighting and vivid background. Roberta picks the most amazing backgrounds that nature has to offer and believes that the fewer props there are, the better.

In her portraits, Roberta likes to look into the eyes of her subjects and see their soul, and that’s why she likes to capture thoughtful expressions rather than huge smiles. Her favourite subjects to photograph are children: their innocence and genuine emotions are the main reason for that.

Roberta was recently named as a winner in the outdoor category of a prestigious photography show in the UK. She has won various awards, such as SWPP, Masters Portraits and LensCulture. Her work has been featured in numerous international photography publications. For the last five years, Roberta has trained many photographers from all over the world, and she is a regular speaker at global photographers events such as Baby and Kids Argentina and Brazil, and the Newborn Photography Show.

Roberta’s aim is to create timeless, emotive and vibrant images, using only natural light and natural elements as her props. www.robertab.co.uk

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Roberta Baneviciene

AUGUST 2021

Roberta’s advice Every month I set up at least one creative shoot day. No matter how busy I am, I find some time to organise them in my schedule.

These sessions keep me motivated and inspired. I write down creative photo session ideas as they come to me, and use them one by one each month. I use the images from these sessions to fill my social media account. The most important thing is to just enjoy what you shoot! The easiest way to enjoy photography is to take pictures of what you love.

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Before

Mimic the golden hour

Louise Carey

If you’ve shot facing away from the sun, try rotating your Graduated Filter diagonally so that it’s poking in from a top corner. Then bump up the Exposure sider and drag the Temperature slider to the left to increase the warm golden hues of sunset.

After

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7 | LIGHTROOM

Perfect sunsets

Louise Carey shows you how to tone down skies with Lightroom’s Graduated Filter 32

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AUGUST 2021

very photographer crosses their fingers for a stunning sunset on a landscape shoot, but what happens if the sky is so bright that you struggle to be able to properly expose your image?

Luckily, that’s where the Graduated Filter in Lightroom Classic CC (as well as Camera Raw) comes in. In lieu of using a physical filter to cut down the amount of light entering the lens and darkening the sky, this virtual version

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uses the information within your image to mimic the effect. This means that you can simply select the areas of your image that you want darkened or lightened, and Lightroom will do the rest.

You can download the same Lightroom_before.jpg start file we’re using via digitalcameraworld. com/dc245, or open one of your own landscape shots into Lightroom Classic CC to follow along. (A raw file works even better!)

www.digitalcameraworld.com

Photo Active Use the Graduated Filter Enhance your exposures in Lightroom Classic CC

WATCH THE VIDEO Follow the steps in this tutorial with the video and start image in this issue’s download. www.digitalcamera world.com/dc245

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Find the Graduated Filter Open your image in Lightroom Classic and navigate to the Develop Module in the top menu. Above the Basic Panel, you’ll see the rectangular shape of the Graduated Filter. Alternatively, you can simply press M on your keyboard.

Make your adjustments The Graduated Filter has its own panel of adjustment sliders, including Exposure, Temperature, Saturation and more. To bring out details in an overexposed sky, drag the Exposure and Highlights sliders to the left to darken the selected area.

Make another selection If you want to edit another area of your image (such as an underexposed foreground), you just need to click on the New option in the Mask area of the Graduated Filter Panel (found directly above the adjustment sliders).

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Define your selection For the most realistic look, begin your selection from the edge of your image, drawing inwards until you’ve covered the area you want to affect.

Generally speaking, the larger your selection is, the subtler the Graduated Filter effect will be.

Edit your selection To shrink or enlarge your original selection, move the top or bottom line. To move the entire area, drag the central selection point around the image.

Alternatively, you can also tilt the selection area by clicking and dragging the central line.

Check your edits Make sure that your photo looks natural by toggling the Turn Off Graduated Filter button. To tone a Graduated Filter effect down, just click on its central point to bring up the adjustment sliders again.

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8 | FASHION

Style it up on the streets Tasha Hylton gets creative with portraits, poses and locations, and explains how you can style up your own fashion shoots for a distinctive vibe orking mostly in portrait, fashion and lifestyle photography, I am a self-taught freelance photographer. I work with both digital and 35mm film formats to add some variety to my work, but 35mm film is my favourite of the two: I enjoy the stillness and patience of 35mm, as well as the character it adds to the pictures.

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My work is more focused on people and things around me, but I am eager to do more fashion-related work.

I am still becoming established in Bristol, so my time is spent between paid and personal work. If I have an idea, then I see who can add to that idea and work from there, along with enjoying going on wanders and documenting days out through images.

‘London Wonders’ and ‘Home Comfort’ are two series on my website that are really close to me. I am learning new things daily, and always want to progress with my craft. After the last year of being able to think about things in more depth, I know I want to work on more editorial styles on location, as well as doing more visual storytelling work. www.tashahyltonphotography.co.uk

Tasha’s three top tips for shooting fashion

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If you are working with a certain person, add a location that will complement the person’s style, or vice versa. Send a mood board of clothing inspiration, then ask them to send you images of outfits they have that may work well with what you are trying to go for. It helps when you both contribute ideas to get maximum effort out of the shoot. It also builds a good relationship prior to shooting.

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Scout your location You will already have an idea of the scenery you want for your shoot. Now it is time to find it, or just revisit it if you already know.

It is always good to just check the space again, as things could have changed since you saw it last. You do not want to go there on the day, to discover that it is totally not how you remembered it! Look around and get a better idea of where you would like to compose your shots.

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Ask for assistance I tend to like a more natural look on a person – but if I did want to add colour and more style, I would definitely add a makeup artist or stylist. Again, mood boards of the colours, clothing ideas and poses you are looking to go for will help communicate your vision. Having an assistant at the shoot helps, too – it is hard doing everything on your own sometimes, so help and an extra pair of eyes are good to have.

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Tasha Hylton

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Match colour to style

Tasha Hylton

9 | ASTROPHOTOGRAPHY

Starry sailors Dean Whitehouse heads to the edge of the beach to capture stars above docked boats he photographic buzz for me started back at the beginning of the first lockdown. I’ve always been interested in photography, and how a camera can make you see an image differently to what the naked eye sees.

A Nikon D90 was passed down to me, which I used until a dog decided to knock it over into a stream! Not deterred from giving up – although slightly annoyed – I then invested in a Nikon D7500. As the hobby developed, I realised that you need certain lenses to achieve what you want, so the Sigma 18-35mm Art came on board: it gave me massive confidence when shooting at night, which is something I’ve always wanted to progress in.

Nothing can compare to sitting underneath a sky full of stars and watching it on the back of the camera, then the slow drive home after a long night of enjoyment to spend hours editing your masterpiece. www.facebook.com/ DeanWhitehousephotography

Dean Whitehouse

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Photo Active

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Plan your shoot Planning is definitely key with astronomy – but it can also change with a blink of an eye.

Use apps like ClearSky and Photo Pills (a definite must), but also liaise with the photography community on their experience at your chosen destination.

Low-light conditions Low-light shooting can be tricky if you do not know the capabilities of the camera and lens you use, so get some practice in. Study and talk to other photographers who shoot in low-light conditions.

I always try to shoot at f/1.8 in low-light conditions.

Composition Composition is key to getting the shot you want. Arrive a bit earlier; do some test shots, move around and look at possible issues like potential light pollution. Google Maps is your friend, with vast amounts of examples of compositions at your chosen destination.

Gear up My go-to gear is a Nikon D7500 sat on a K&F tripod. I use a Sigma 18-35 f/1.8 Art lens, which is an absolutely brilliant bit of kit for astronomy shots. Shooting wide open for astro is fine, because the stars are so far away that you still have a deep depth of field.

Editing your images This is the tricky bit, but it’s also my favourite part. I try to keep editing minimal for astronomy.

Don’t try to compare your work with anyone else’s. These are your shots: make them yours, however you decide to edit them.

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urning your pictures into spaceships and satellites can be quite addictive.

It only takes a few minutes in Photoshop – and, of course, the time to shoot some pictures of parts of buildings and architecture!

I have added a moon to this picture for interest – but, as you can see from the insert, it started

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10 | CREATIVE

Spire satellites Mark A Hunter shares a quick and interesting photo manipulation

life just as the top of a building.

This demonstrates one of the tips I will share: elevation helps.

Being straight-on to your subject makes the Photoshop process of selecting, copying, flipping and repositioning so much easier.

I’m the author of Creative Abstract Photography, and spend most of my time looking for inventive ways to produce and display my work. www.markahunter.com

After

TIP CARD Take it on location

Before

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The background

Visualise the result

These ‘satellite’ images are often made from the tops of buildings, spires and such, as seen here, so it is worth waiting for interesting clouds to pass by and frame your mirrored edits.

Use your phone, a card or even your hand to mask out the unwanted parts of the scene while you’re on location, so you get a better feel for the result even before you press the shutter.

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AUGUST 2021

WATCH THE VIDEO

Mark A Hunter

This issue’s camera settings cards include one on this topic – keep it in your kit bag for when you’re shooting buildings!

If you’d like to learn more and follow along with this technique, then you can view a full tutorial on YouTube: www.youtu.be/ X9i2so3XTUg

www.digitalcameraworld.com

A experiment in hand-colouring a Tokyo cityscape on an iPad (above) led Ben into exploring the detail of the city and dreaming up stories about what was happening. For his ‘zoomed-in’ series of photos (left), Ben has exaggerated the gritty aesthetic of the image crops.

The art of seeing Benedict Brain colours in Tokyo photos and explores the city in new and exciting ways… wo issues ago, I shared a circular image of the Tokyo skyline, taken from the top of the Tokyo Skytree in 2016. Several weeks later I was experimenting with an iPad Pro and Apple Pencil, and seeing how I could integrate them into my workflow. I grabbed the circular Tokyo image as it was near the top of the Recent Images folder: I simply needed an image to practise painting on with the brush tools.

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Benedict Brain www.benedictbrain.com Camera: Nikon D810 Lens: Sigma 70-200mm f/2.8 at 150mm Exposure: 1/125 sec at f/5.6, ISO 80

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Using the Color Blending Mode, I started colouring in Tokyo as if it was tinted like an old photograph.

Being able to zoom in and out with simple finger gestures was an effortlessly joyful creative process. It soon became meditative, and I can understand why the colouring-in books for mindfulness that were the craze a few years ago were so popular. It was therapeutic. Zooming out to see the enormity of the Tokyo skyline revealed just how much there was to colour in, but it was an enjoyable process, so I decided to continue and commit to colouring in the whole city.

Zooming and panning to colour in buildings, windows, balconies, fire escapes, air-conditioning vents and so on forced me to explore the city and the photograph with a depth I’ve never really experienced before. It was a really interesting way to spend a lot of time with a photograph – and the more time I spent in this ‘space’, the more intimate it became. I started to get to know the city and explore it in an exciting way. It also stimulated my imagination, and I was soon imagining stories from the little vignettes on my screen.

I decided to take snapshots of these little vignettes and represent them as single images in their own right. This image is one of about 30. These are extreme crops, and I wanted to make A2 prints, so I decided to commit to the rough and ready vibe and exaggerated this in Camera Raw: rather than trying to get rid of artifacts and grain, I amplified them. I added more grain, to make the images really gritty, contrasting, edgy and garishly colourful.

While they look great as A2 prints, I am planning to make them into a small 32-page ’zine in the spirit of the old fanzines – fullbleed with a homemade gritty aesthetic, which I think will suit the set of pictures and imagined stories.

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41

STAY AT HOME PHOTOGRAPHY

Keep calm and camera on with our guide ɎȒ‫ژ‬ȵȸȒǴƺƬɎɀ‫ژ‬ɵȒɖ‫ژ‬ƬƏȇ‫ژ‬ƬȒȅȵǼƺɎƺ ǣȇƳȒȒȸɀ s wonderful as summer is, there’s always a rainy spell that offers the perfect opportunity to try out some fresh ideas from the comfort of your home. This issue, Dave Kai Piper demystifies the concepts behind workflow, explaining the clear steps you can take to organise your photo collection and process new images as smoothly as possible.

It’s also time to dust off your scanner and try taking some photos with it!

Simeon Meinema shows how you can do far more with this familiar technology than scan in the gas bill.

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PROJECT 2

48 Best buys

From printers and scanners to gear for holding video calls, here’s your guide to the best home photo products

Fun proje cts to try at hom or in your e local area !

PROJECT 1

44 Create a digital workflow

Learn from pro photographer Dave Kai Piper as he explains how to organise your photo selection and image-editing

PROJECT 3

50 Creative scanner images

Discover the camera you didn’t know you owned, when you create photos from your flatbed scanner

PROJECT 4

54 Reader gallery

This issue’s selection includes a stunning sunflower field and some clever composites. Keep ’em coming!

PLUS! àǣɀǣɎ Ȓɖȸ ɯƺƫɀǣɎƺ ǔȒȸ ȅȒȸƺ ǝȒȅƺ‫ٮ‬ǔȒƬɖɀƺƳ ǣȇɀȵǣȸƏɎǣȒȇ www.digitalcameraworld.com/tag/homephotography www.digitalcameraworld.com/tag/homeworking www.digitalcameraworld.com

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STAY AT HOME PHOTOGRAPHY

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How to create a pro ƳǣǕǣɎƏǼ ɯȒȸǸˢȒɯ

Photographer and filmmaker Dave Kai Piper shares his hard-learned advice for handling captures efficiently – these tips will give you more time to take photos hotography is a wide and expansive word that means different things to different people, and covers a multitude of skills and practices. But whether you shoot on your own or have a team of assistants helping you out, all photographers have something in common – and that’s their digital workflow.

What is a workflow? To put it in the most simple terms, your workflow can be anything you want – it’s just a term used to describe the process in which something is done.

Related to photography, a workflow is the series of steps that are taken to get images to the place they need to be, and the route that they take to get there. Ask a handful of professional photographers and you’ll find that some of them have workflows that depend on factors such as client needs and locational elements, or are the result of a series of choices.

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A workflow can be as simple or as complex as it needs to be; more stages in a workflow mean more control and consistency, but also more complexity and more time. What a workflow must do – whether you’re taking photos and getting them to look good on Facebook, or producing an image for an advert in a glossy fashion magazine – is provide consistency and maintain an optimum level of working practice.

And just because we do something one day does not mean that we need to do exactly the same thing tomorrow, so your workflow will need to be able to adapt to your future needs.

WHAT YOU’LL NEED Camera and card reader (or USB cable) Computer and external storage drive Time: however long your next shoot is

CASE STUDIES WHICH KIND OF PHOTOGRAPHER ARE YOU?

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Fashion photographer

Shoots hundreds of images in a day, but clients will pay top fees for a slick studio production and may only require 5-10 images that are highly edited by the photographer.

Delivery times for this bespoke editing style can be up to one month.

Workflow required: A full and robust workflow, and the ability to shoot tethered to a computer so clients can check image captures in real time.

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AUGUST 2021

Robert Hooper

Shutterstock

Richard Nolan-Neylan

Different types of photographer have distinct requirements from their respective workflows – it’s important to tailor your workflow to how you create your images

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Sports photographer

Shoots a mixture of Formula One press shots, racing shots and general coverage. The images are sometimes needed by the media as quickly as possible. Images are unlikely to be edited beyond cropping or slight exposure changes.

Workflow required: The ability to ‘star’ hundreds of images in a day on the fly, plus the ability to add keywords, tags and metadata.

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Pet photographer

Our pet photographer runs their practice as a sideline to a busy pet grooming business, and the images produced provide great social media content. Our photographer doesn’t like to spend much time on editing images – learning Photoshop seems too daunting for them.

Workflow required: A simple one – there are fewer clients, who are in less of a hurry to get their images.

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TOP TIPS PRO WORKFLOW ADVICE Whether or not you identified with how our case studies take photographs, ǝƺȸƺ‫ژ‬Əȸƺ‫ژ‬ɀȒȅƺ ǕƺȇƺȸƏǼ ȵȒǣȇɎƺȸɀ ǔȒȸ ǣȅȵȸȒɮǣȇǕ ɵȒɖȸ ɯȒȸǸǔǼȒɯ ƺǔǔǣƬǣƺȇƬɵ

DAVE KAI PIPER Photographer & film-maker Dave shoots a wide variety of photographic genres, as well as videography, and specialises in digital mixed-media solutions for start-ups and small businesses. davekaipiper.com

1

Don’t take too many shots

3

Back up in the field…

Ending the day with just enough images on your memory card is always going to save time in the long run, regardless of who will be editing the images. Check your images in the field and be confident – if you feel you have the shot, then you have the shot.

Thanks to falling hardware prices, some amazing storage options can be had for a modest outlay. You don’t need a powerful laptop to back up images to in the field, just a model with an SD card reader or a USB port to connect to.

2

Delete images on camera

4

… or tether your camera

While you’re checking back over your images, you might notice that some of them are total fails. Save time and space by removing them as you go along – these could be times where you totally missed the action or when the lighting from the flash was off.

Many pros swear by this approach for studio or location work, to make sure that they’re capturing the required shots. Ideally, the camera will be tethered to a large computer screen that has been colour-calibrated.

5

Ingest on the computer

Software like Lightroom can pull the images from the memory card to the computer’s storage, but I prefer to move them manually from the card to the computer before using Lightroom – then you know where the files are.

6

Name images correctly

Asset management software like Adobe Bridge can effortlessly rename thousands of images. Getting into the habit of doing this as early as possible will save you time and effort when it comes to archiving images.

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7

Catalogue files in real time

I use Lightroom to store all my photographs, as it’s so easy to sort and organise them. Start cataloguing the images as you ingest them – this could save you hours when you try to locate images at a later date.

I back up my archives annually onto a larger storage drive – so each year will have its own drive – and I also divide my images up into different genres. Although this means I need a lot of external drives, far less is at risk if a drive suffers a hardware problem. All my ‘finished’ edits (see page 46) are backed up online via SmugMug – this makes sure I have remote access to them and that the images are totally safe.

AUGUST 2021

Dave Kai Piper

PRO ADVICE ONE YEAR PER DRIVE

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STAY AT HOME PHOTOGRAPHY

STEP BY STEP FROM CAPTURE TO COMPUTER IN 10 STEPS Use these pro-grade pointers on every shoot to get your images prepped for editing

1

Use a clean memory card for every shoot

3

Review your images as you go along

5

Rename your files

This means you’ll know that everything on that card is linked to the same shoot. I use a ‘dot’ system on my cards – anything with a green dot has been cleaned and wiped, ready to use. The dot gets removed before it goes into the camera.

You will naturally find yourself checking back over the images as you shoot. Remove any captures that are clearly unwanted or a mistake. Also check that the images are in focus – even with today’s technically advanced cameras, shots can be missed occasionally. If a shot is bad, delete it and move on.

As a general rule, I only rename image files if the images are going to be outsourced for processing. (If I’m going to process them myself, I rename them after processing, at the Export stage.) I have found that the Batch Rename function in Bridge is the best tool for renaming image files.

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2

Confirm all your camera settings

4

Transfer the images from card to computer

6

Select the images you’re going to edit

Before making any exposure settings on the camera, take a second to check that the date, time and copyright information is correct. Check that you’re shooting in the suitable exposure mode and that there is no dirt inside or outside the camera.

Do this as soon as you finish shooting. My cameras write images to SD cards, so I just connect a fast card reader and manually move files using the computer’s file system to an external drive set aside for the shoot. Even though I capture both raw and JPEG formats, I only transfer the raw files.

The next step is to select the images to import into Lightroom. Bridge has some amazing features to help with this: I like Review Mode for quickly scanning through images and selecting any to discard. When you have a rough version of your edit, create a Collection and import them into Lightroom.

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7

Keep your Lightroom Catalog manageable

9

Perform your edits in Photoshop

Your new Lightroom Collection should only consist of strong and sharp usable images. This is an important thing to bear in mind, as Lightroom Catalogs can easily become quite large. Don’t bloat Catalogs with images that won’t ever be used.

As it is such a huge and complex application, keeping things simple and streamlined in Photoshop is the best idea.

Using extensions with edited images are very helpful, such as the Retouching Toolkit and colour tools such as Exposure X6.

These will help keep a consistent look across a body of work.

8

Use a colour-coded tagging system

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Now export and backup your final files

This is great for marking images that I need to take a closer look at – red means images ready for processing in Photoshop. First, I colour balance the images and apply raw adjustments, then ‘green’ them and open them in Photoshop.

Once my edited images are saved out from Photoshop, I mark them as ‘blue’ – at a glance this lets me know which files have been fully edited and which files need more work. Any images with blue tags on my storage system are synchronised with my SmugMug gallery and are backed up online.

NEXT ISSUE

PRO ADVICE áR Á‫ټ‬³ Xz ٨IXn0٩ z x0ّ

ɖǣǼƳ Ə ɯȒȸǸˢȒ for printing ima ɯ ges

Some common formats for naming image files – which one do you use?

1

Generated in-camera

There’s nothing to stop you sticking with the file names produced in-camera – they can be customised, and most proprietary image capture software places imported images into dated folders. If you tend to leave your images in dated folders, keep using this format. You can easily prepend or append extra information to short filenames if needed.

1P3A0001.jpg

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Custom name by date

Some photographers choose to custom-name files during import to their asset manager, following a [Year/Month/Day/Shot] system.

Again, this is useful when searching your library for images when you know the shoot’s year and month.

(The original captures can be kept as a backup, as long as the files are copied upon import and renamed.)

2021_06_30_0001.jpg

3

Custom name with shoot details

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See page 40

Appending or prepending shoot details to file names is useful for various types of photography including landscapes (eg, location), portraits (eg, the model’s name), product shots (eg, product name), weddings (eg, bride and groom’s names) and more! You can also append editing information, by adding the name of the application.

Erin_Paris_20210630_0001_Nik.jpg

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STAY AT HOME PHOTOGRAPHY

2‫ژ‬

Bag a best-buy photo product for home use

These top-rated accessories will bolster any home photography setup. For full reviews, go to www.digitalcameraworld.com – click on the ‘Home working’ tab

1

Desktop computer (Windows)

HP Pavilion 690-0011na Its tech spec offers an ideal compromise between price and power. £620

5

Vlogging kit

Rotolight Ultimate Vlogging Kit. Transform your virtual visage right out of the box. Includes light, stand and four filters. £208/$299

9

2

Desktop computer (Mac)

Apple Mac Mini M1. Small and now even more powerful: our best all-rounder for image editing. £699/$669

6

Photo printer

Canon Pixma TS9120/9150. Outstanding print performance from this six-ink printer. Comes with a 5in touchscreen. £220/$199

Premium monitor for photo editing

BenQ SW271 27-inch. This 16:9 monitor’s feature set is hard to fault: its 3,840 x 2,160 resolution and USB, USB-C and HDMI connectivity make it a compelling buy. £1,067/$1,099

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3

Storage drive

WD My Cloud EX2 Ultra NAS drive. Power, speed and features – this storage solution has them all.

From £275/$320 (4TB)

7

Scanner

Plustek OpticFilm 8100. A maximum resolution of 7,200dpi and superb software give stunning results. £229/$349

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4

Camera for streaming video

Razer Kiyo. With an integral ringlight, this Full HD or 60fps at 720p camera makes light of dingy rooms. £124/$100

8

Web conferencing platform

Zoom. The easiest video platform for keeping up with camera club members. Free (Basic). £11.99/$14.99 (Pro)

All-in-one printer (prints, scans and copies)

Canon Pixma TS6350/TS6320. This superb five-ink printer combines speed and versatility with fabulous quality.

Intuitive onboard controls via an OLED display. £120/$150

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STAY AT HOME PHOTOGRAPHY

3‫ژ‬

Use a scanner to make creative images

Is there a camera in your home you didn’t know you had? Simeon Meinema shows how the scanner you bought to digitise paperwork can be put to more creative uses

s we all know from pinhole photography, there are alternatives to using conventional cameras to produce images. And you may just have one of them in your house. Likely to be lurking in a corner of your office or study, or even packed away in your loft, is a piece of equipment that can produce distinctive digital images. Your flatbed scanner would have been purchased for digitising photographs and documents, but did you know that it will also make a great camera?

The unique feature of a scanner is its minuscule depth of field: it is literally designed to have a focal length that’s the width of a piece of paper. Used creatively, though, a scanner will produce good results from many types of composition.

What a scanner is very good at is capturing fine details, similar to that of a macro lens, so give yourself time to search for objects around the house that can be used for this project.

I would suggest using objects that have a unique tactile element to them, such as the examples of a soft cuddly bear

A

or the contours of a pineapple (pictured, opposite). If you’re unsure of what to use, try a mixture of different types of objects and experiment with the outcomes. I will also show you how you can achieve a more abstract finish by using coloured backdrops to create gradients and artistic finishes.

For the best results, it is important to do the scanning in a fully darkened room so that the background stays black.

If this is not possible in your home, get a black sheet and drape it over the scanner.

WHAT YOU’LL NEED Flatbed scanner Computer or laptop A dark room Black sheet (if a dark room is not available) Props or tactile household objects Image editing software (such as Photoshop) Time: One hour

STEP BY STEP HOW TO CREATE SCANNER ART Check your settings, place and position the subject, experiment with ƫƏƬǸƳȸȒȵɀ‫ژ‬ƏȇƳ‫ژ‬ƫȒȒɀɎ Ɏǝƺ ƬȒǼȒɖȸ ƏȇƳ ƬȒȇɎȸƏɀɎ ɎȒ ƬȸƏǔɎ ɵȒɖȸ ɀƬƏȇȇƺȸ ɀǝȒɎ

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Scanner settings

First, make sure you select the appropriate scanner settings. To produce the most detail in the eventual images, I would recommend using the highest possible resolution – here, I have chosen 600dpi because it captures a lot of detail. Select TIFF for the file format you want the scanner to generate: there is no compression, and you will therefore get the most latitude for editing the images afterwards.

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2

Frame the subject

Once you’ve determined your object of choice, you need to frame it within the ‘lens’ of the flatbed scanner. Note what part of the object is face-down and touching the glass, as this will be in sharp focus. Use the shallow focus to your advantage to produce an image with ethereal quality. It may take you a couple of preview scans to get the positioning correct, but be patient and you’ll find a great composition.

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Simeon Meinema

STAY AT HOME PHOTOGRAPHY

Before

3

Go abstract with a coloured backdrop

Using the scanner in a dark room will emphasise the black tones in the image. For more abstract results, though, try introducing a coloured backdrop. I draped a blue silk gown over the glass and positioned it carefully to produce a pleasing colour gradation from the black on the opposite side of the frame. This step may require a little trial and error.

4

After

Boost the contrast with Curves

Once you’ve made the scan, open it in your image editor.

You may notice that things are looking slightly dull. This is to be expected from images produced by a scanner so you’ll need to make some adjustments in software. I used the Curves in Photoshop [Image > Adjustments > Curves] to boost the black background and the image’s overall contrast.

STEP BY STEP RECREATE A FAVOURITE MOVIE SCENE 0ɴɎƺȇƳ Ɏǝƺ ɀƬƏȇȇƺȸ ȵȸȒǴƺƬɎ ƏȇƳ ǝƏɮƺ ɀȒȅƺ ǔɖȇ ɯǣɎǝ Ɏǝǣɀ ƫȒȇɖɀ ɎɖɎȒȸǣƏǼ

1

Film your boots

Why not draw some creative inspiration from one of your favourite cinematic moments? The image above is based on Fargo, the classic Coen Brothers film that features murderous undertones in the snow.

It was simple to recreate this scene – here’s how it’s done…

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2

Food for the sole

Pick a shoe with a suitable sole and squirt some red liquid (I used ketchup) on the part of the sole that will contact the scanner. Sprinkle a thin layer of sugar or salt on the scanner to cover the glass, but go around the outline of the shoe. Boost the tones in the scan by using Curves.

3

A hacker’s progress

But why stop there? I created another cinematic image of a computer hacker using an image on the screen of my phone and placing myself 8-10cm away from the glass.

Look at movie stills and posters for ideas and visualise potential scenes from the perspective of your scanner.

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4‫ژ‬

Send us your shots and star in our photo gallery

Digital Camera readers show us how they’ve been getting creative at home

1

‘Surrendered To Time’

by Matt Harrington

“This boat wreck in Tollesbury, Essex, mimicked the shore line – and during editing, I found that the clouds mirrored the shape of the boat.”

Digital Camera says: An old boat surrounded by water and dramatic clouds makes a perfect recipe for a long exposure.

2

‘Daisy Do’ by Sarah Swan

“Taken in my garden on a rare hot sunny day in spring – Scottish weather doesn’t always comply with the seasons!”

Digital Camera says: We always love the use of shallow focus at Digital Camera. It draws focus to your subject and elevates the image with a professional aesthetic.

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AUGUST 2021

3

‘Fields of Gold’

by Dale Hodgetts

“A stunning English sunflower field in the Cotswolds, shot on a Canon EOS 5D Mk IV and a Canon EF 16-35mm lens.”

Digital Camera says: You can’t beat the feel of a full-frame sensor; this is beautifully shot, with incredible colour harmony.

‘I’ll Have What You’re Eating, Mum’

by Tom Rogers

4

“As food had been placed in various places, I was able to anticipate this shot. But the eye contact of the little gorilla was both humorous and capturing.”

Digital Camera says: This is crying out for a strong black-andwhite image conversion!

5

‘Serenity’

by Rick Gill

“This was my first attempt at the ‘Orton effect’ in-camera using a double exposure, and I’m quite pleased with how it turned out.”

Digital Camera says: It’s always good to practise and experiment with new techniques. Trial and error play a huge role in all aspects of photography. Great effect!

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6

‘Handrail Spiral’

by Chris Aldred

“On an early morning around Westminster, the pattern of the handrail caught my eye in this view of the London Eye.”

Digital Camera says: Fantastic composition, Chris.

SEND US YOUR IMAGES ‘Cousins of Jupiter’

by Brenda Miller

7

Want to feature in this gallery?

Please email a high-res image (at least 2.5MB) marked ‘Reader Images’, and including a brief description, to:

digitalcamera@ futurenet.com

“For our camera club’s ‘Selective Focus’ theme, I shot my mother’s old colander with my Sony Alpha 7 III and a FE 90mm f/2.8 macro lens.”

Digital Camera says: A strong example of an image ripe for competitions.

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AUGUST 2021

D I G I TA L C A M E R A

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‘Reflections on the Wing’

by Anne Langridge

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“Taken in Salisbury Cathedral, this is part of an art installation.

I was drawn to the reflection of the vase of sunflowers.”

Digital Camera says: Art is the gift that obviously keeps on giving! We love the creative use of one piece of art to create another. Warm colours and fragmented sections help to keep the viewer engaged.

9

‘Four of a Kind’ by John McKernan

“A series of images of my daughter Catherine, which I then merged in Photoshop.”

Digital Camera says: Being able to get creative while at home has become so important over the last year. A fun image, John.

10

‘Clones’ by Allan Jones

“I decided to ‘clone’ myself after seeing the tutorial in issue 243. This blend of five shots was tricky – cloud movement kept altering the shadows.”

Digital Camera says: Is there a better way to promote Digital Camera? Great work, Allan!

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AUGUST 2021 2021

www.digitalcameraworld.com

SEND US YOUR IMAGES Want to feature in this gallery?

Please email a high-res image (at least 2.5MB) marked ‘Reader Images’, and including a brief description, to:

digitalcamera@ futurenet.com

11

‘Natural Neon’

by Derek Skinner

“A four-minute exposure using a 10-stop ND filter at Scotland’s Carron Glen Nature Reserve, shot on my new Canon EOS R.”

Digital Camera says: A pleasing composition all the way from the foreground to the back, Derek.

SECTION HEAD

SUPPORT LINE IN HERE

The power of print See your memories come to life by creating vivid stories in your personalised CEWE PHOTOBOOK.

Enjoy your summer of firsts After a year of uncertainty, summer is back! And it’s Ɏǣȅƺ‫ژ‬ɎȒ‫ژ‬ƬƏȵɎɖȸƺ ɀȒȅƺ ȇƺɯ ȅƺȅȒȸǣƺɀ Ȓǔ ǣɎ ɯǣɎǝ !0á0 e’ve all sacrificed so much in the last year – so this year, let’s make summer a season you’ll never forget, with memories you can keep for a lifetime. Think of that first BBQ on the beach with friends, the first visit to the local park with loved ones, the light of the candles on your baby’s first birthday cake; the first dance at your wedding or your first embrace

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with loved ones in too long – all captured and presented in a range of beautiful CEWE photo products.

Whether you’re a full-time professional or a passionate hobbyist snapping images on your phone, we’ve all become addicted to capturing a brief snapshot in time that felt special for a brief moment, turning them into everlasting memories to relive whenever you want. Whether you want to create

a fun keepsake for yourself or design an unforgettable gift for a loved one, CEWE has an option for everyone to show how much you care. With fun, fast, stylish and easy-to-use templates in the CEWE Creator Software, you can start creating your memories today and see your images come to life immediately. With 24/7 full customer support and a 100% satisfaction guarantee, now is the time to preserve your summer forever.

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A D V E R T I S I N G F E AT U R E

Capture precious moments in a !0á0‫¨ژ‬R Á k

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Record family memories

Shooting photographs is just the first step in your project: now it’s time to tell a story, by designing your own narrative in a CEWE PHOTOBOOK.

Whether it’s the first or last time something happened, make sure you have it immortalised with the power of print, for all the family to look back on.

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You don’t have to stop creating memories when summer ends. Why not create a year in photos, for all the family to keep safe forever?

Discover a wide range of templates, layouts and designs in the CEWE Creator Software, helping you to create a professional product with ease.

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AUGUST 2021

D I G I TA L C A M E R A

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SUMMERTIME

SPECIAL Take our 24-hour photo challenge – and shoot a fresh portfolio of creative pictures in just one day! ɵ‫ژ‬hȒȇ‫ ژ‬ƳƏȅɀ and ȇƳȸƺɯ hƏȅƺɀ

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camera’s battery a quick boost too. But the rest of the day, it’s shoot, shoot, shoot!

Early and late in the day will deliver some warm, evocative light, allowing you to shoot atmospheric images that are always going to catch the eye. But with a change of direction and some considered technique, you don’t have to put your camera away when the sun climbs high in the sky – or even disappears below the horizon. You just need to know how to work with the light and set up your camera accordingly.

Over the following pages we’ll go through the techniques you need to employ to capture some stunning summer images.

Tackling different subjects across a range of photo disciplines, from the moment the sun rises to long after it has set, is a tough but rewarding mission that will arm you with a raft of camera skills along the way.

CONTENTS Capture the sunrise Bugs for breakfast Make a splash!

Shoot fabulous florals Seek out silhouettes At the end of the day…

page 63 64 66 68 70 72

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Getty

ith a long day and a clear night, summer gifts us with 24 hours of photo opportunities – if you’re up for a challenge!

For the energetic photographer, the extended shooting time offers a host of fun photo projects to tackle.

You’re going to have to burn your creative candle at both ends of the day, but it really is possible to shoot a new and diverse portfolio in one mega session within a single day. If you go for it, we’ll allow you a quick siesta in the middle of the day to recharge your personal batteries, while giving your

f/16

ISO 100

1/30 sec

Shooting in the ‘golden hour‘ allows you to capture low, raking light on a landscape, which adds an evocative mood to any scene.

1

( áz Capture Ɏǝƺ‫ژ‬ɀɖȇȸǣɀƺ

DAYLIGHT WB

AUTO WB

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Getty

Golden hour is really early in the summer, so the only way to embrace it is to set the alarm to horrible o’clock.

When it comes to capturing the beautiful warm light of a sunrise, don’t set your white balance to its Auto setting: this neutralises the colours.

Set it to Daylight for the most natural look, but also try Cloudy or Shade if you want to give those warm colours a boost. Of course, by shooting raw, you can adjust the white balance to taste in post-processing, too.

AUGUST 2021

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SUMMERTIME SPECIAL

‫ א‬0 «nç x «zXzJ Bugs for breakfast

Get out your telephoto or macro lens, pull on a pair of boots and head to the river just as the damselflies are warming up

e all know it’s the early bird that catches the worm – and it’s the early photographer who gets great shots of damselflies. They will be around later in the day, of course, but as the temperature climbs, they become hyperactive and harder to shoot.

Damselflies are present around rivers and ponds throughout the summer, and are a fast-moving but colourful target for keen nature photographers.

Approach them with either a telephoto lens or, if you want really close-up detailed shots of their amazing bodies, a macro lens. Search among the riverside reeds where they warm their wings, in readiness for a busy day flitting about.

Getting close to damselflies is relatively easy but requires stealthy stalking – perhaps with wellies or waders on, if you need to get in the water for the best spots. While warming up, they’re likely to be half-hidden: this is the perfect time to get a macro lens just a few centimetres away. Use a single autofocus point and lock onto the eye, with a shutter speed that’s fast enough for hand-holding.

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f/8

f/4

(ǣɀɎȸƏƬɎǣȇǕ ƫƏƬǸǕȸȒɖȇƳ

(ǣǔǔɖɀƺƳ ƫƏƬǸǕȸȒɖȇƳ

Even with a macro lens, a close background can be distracting if you use an aperture of f/8, so choose your aperture carefully according to what’s behind the subject.

By switching to f/4, the background is much less distracting, allowing the insect to stand out; the sacrifice you make is less depth of field in the body and wing detail.

¨« (àX!0 IX0n(!« IÁ Patience is the key to successful macro photography of critters like the damselfy; when you couple that with careful observation, you are onto a winner. Walk slowly along the reed beds – peering in for any signs of insect life. Before the sun has warmed them up, they’ll barely be moving so you’ll need a keen pair of eyes to spot them.

Before you start snapping, take a moment to consider their position, how the light is hitting them and what’s in the background. All these things affect how you compose and expose your shot. When you’ve assessed everything, put the camera to your eye and steadily get into a good shooting position.

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³ɎƏȇƳ ƫƏƬǸ

!ƏȵɎɖȸƺ ƫƺǝƏɮǣȒɖȸ ªɖǣȸǸɵ ǔȸƏȅǣȇǕ

Take a few frames from slightly further back, as your shots will still be successful. If the insect is still settled, you can risk getting the lens even closer.

Interaction between damselflies or a damselfly munching on an insect adds a fresh element to the photo. And because they’re occupied, they’ll be chilled, too!

AUGUST 2021

A quirky composition like this damselfly clinging to the reed stem gives you a different type of image from the more typical side view of the body.

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WATCH THE VIDEO! Andrew James guides you through a damselfly shoot www.digitalcamera world.com/dc245

f/8

ISO 400

1/500 sec

(ƏȅɀƺǼˢɵ ȵȒȸɎȸƏǣɎ

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AUGUST 2021

USE YOUR FREE TIPS CARDS! Take this issue’s card on capturing a damselfly on location

D I G I TA L C A M E R A

Andrew James

With a male banded demoiselle settled on a high reed stem and the background a long way behind, we risked an aperture of f/8 to get as much detail in the body as possible, without creating a messy backdrop that could distract from the subject. A single AF point was placed on the bulbous eye, and the shot was taken just as the insect was vibrating its wings, in readiness of taking flight.

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SUMMERTIME SPECIAL

‫ ב‬xX(( ç Make a splash!

Use the bright light in the middle of the day to shoot an advertising-style still-life with everyday items

he middle of the day in high summer is often regarded as the worst possible time to take photographs, as the high sun produces unflattering light for most subjects. But with your creative hat on, you can use the harsh brightness of direct sunlight to your advantage, and construct a makeshift outdoor studio that’s perfect for an advertising-style still-life shot.

Nothing sets up a summer mood better than an ‘ice and slice’ shot: by freezing the motion of ice or colourful fruit splashing into a tumbler, you can capture a great-looking image that will look like it’s been taken in a pro studio with high-end flash kit!

You need to spend a little time constructing your ‘set’, but all that’s required is a plain white backdrop. We used a couple of foam mount boards, placed and propped up on a workbench, but you could just as easily use a white pillowcase taped to a patio chair, or a white sheet draped from a washing line over a table.

It doesn’t matter how rough and ready your overall setup looks, as long as the viewfinder shows your tumbler and the clean white backdrop filling the frame.

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¨« Á0!RzXªÈ0 ÁR0 z00( I « ³¨00( A fast shutter speed of 1/1,000 sec or more is essential to freeze the motion of the water as it splashes out of the glass, but what’s equally important is a fast frame rate. Trying to capture this shot in a single frame by timing the moment of the splash with a shutter press will prove frustrating, so set your camera’s Drive mode to its highest speed setting (Continuous High, above). This will give you a rapid burst of shots and increase your chances of a good one!

RȒɯ ɎȒ ƬƏȵɎɖȸƺ ǔƏɀɎ‫ٮ‬ƏƬɎǣȒȇ ɀɎǣǼǼ‫ٮ‬Ǽǣǔƺ ɀǝȒɎɀ Freezing the motion of water splashes is usually a job for flash – here’s how to do it using nothing more than sunshine

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ɖǣǼƳ ɵȒɖȸ ɀɎɖƳǣȒ ɀƺɎ

Create a white surface and backdrop using a table or chair and sheets of paper, foam boards or linen, and set up your tumbler of water with a slice of fruit or two and a couple of ice cubes for good measure. Place your camera on a tripod and have it close by – but not so close that the lens gets splashed. Have a towel handy in case you need to mop up!

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³ƺɎ ɖȵ ɵȒɖȸ ƬƏȅƺȸƏ

Frame up on the glass, leaving extra headroom for the splash. Focus on the fruit slice, then switch to Manual mode to lock the focus distance. Set your fastest Drive speed, and in Aperture Priority mode, dial in f/8. Now set the ISO that gives you a shutter speed of 1/1,000 sec. Finally, add +1 stop of exposure compensation to keep the whites bright.

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With everything set, all you have to do is drop a piece of ice or fruit into the glass and rattle off a burst of shots. Press the shutter before you drop, and keep shooting until the splash has subsided. This takes a bit of practice, as you might start shooting too late and stop too early, but persevere and you’ll get a good result after a few attempts.

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f/8

ISO 100

1/1,000 sec

Once you’ve captured a good splash from dropping a single item, try dropping more than one item to add extra interest to the frame.

We dropped two strawberries for this shot, and managed to catch one falling and the other splashing. When you try it, just make sure you don’t hit the slice of fruit with whatever you’re dropping, as it will spoil the shot!

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¨ƺȸǔƺƬɎ ɎǣȅǣȇǕ

SUMMERTIME SPECIAL

‫ ג‬IÁ0«z z ³ǝȒȒɎ ǔƏƫɖǼȒɖɀ ˢȒȸƏǼɀ

Use the bright, sunny outlook of a summer afternoon to create and shoot a portfolio of colourful flower photographs

hile the afternoon light in the middle of summer can be harsh, its high but relatively even illumination means that we can tackle floral subjects with a good amount of confidence.

Colours are going to be rich and vibrant, and the flowers themselves will be fully open, so creative compositions are perfectly possible.

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With plenty of light, we can get fast shutter speeds if needed and there is a lot of contrast to make autofocusing much easier –especially if you’re using a macro lens for big close-ups.

There are several things you need to consider when you shoot in strong sunlight. The powerful overhead lighting means it’s easy to overexpose lighter petal details, so exposure compensation may play an important role in preserving your highlights.

If you use Live View to compose, focus and check your Histogram for exposure errors, seeing the screen will be much harder. You can use a loupe that sits over the LCD to allow you to continue to use Live View.

Alternatively, simply switch to the viewfinder – but if you are a DSLR user, remember what you’re seeing through an optical viewfinder won’t match the depth of field achieved.

¨« kXÁ ȳ0 ¨ n «X³0« A circular polarising filter helps you to intensify colours by reducing glare. If you want really strong, saturated colours, popping a polariser onto the end of the lens and twisting it until you get the best results will improve your images. The downside of a polariser is that it loses you one or two stops of light, but in bright conditions this won’t be an issue, even if you are hand-holding while shooting. Keep your polariser as clean as possible, avoiding dust and finger smears.

‫ ד‬ɎȒȵ Ɏǣȵɀ Give your floral photos some sparkle f/2.8

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ISO 100

1/500 sec

ƳƳ ɯƏɎƺȸ ƳȸȒȵǼƺɎɀ

If you shoot your florals early in the day, you might get natural dewdrops forming on the flowers – but this isn’t going to happen in the afternoon, so add your own with a good oldfashioned water sprayer. All it takes is a quick spray of water onto the flower head. Don’t overdo it, or the flower will become saturated and droplets will merge too much. You simply want a nice spread of individual droplets to add some sparkle.

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f/5.6

ISO

1/250

sec 100 Even with surplus light on a bright summer afternoon, you’ll find a use for a reflector. For starters it will bounce some of that natural light into darker areas, filling the shadows and revealing more of the interesting hidden detail.

It can also act as a simple sun blocker, creating even shade over your subject and helping you to avoid exposure issues. You don’t need a large reflector for floral work. In fact, if your reflector is too big, you’ll find it more of a hindrance than a help on breezy days!

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³ɎȒȵ ǣɎ ǔȸȒȅ ɀɯƏɵǣȇǕ

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³ȒǔɎ‫ٮ‬ǔȒƬɖɀ ƺǔǔƺƬɎɀ

ISO 1/800 Ask a professional garden photographer f/4 sec 100 what they hate most of all, and they’ll mention the wind! Even a slight breeze can wreak havoc with floral photography – and the taller or more spindly the flower’s stem is, the more it’s going to move.

There are purpose-made gadgets to help out, but often all you need is a cane pushed into the ground and a twist tie to anchor it to the stem and prevent the flower moving too much.

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Áȸɵ ƬȒǼȒɖȸ ƫƏƬǸƳȸȒȵɀ

ISO 100

1/400 sec

While a totally natural background is f/4 often aesthetically the best option when it comes to your floral photos, there are times when popping some coloured card behind your subject will give you a photo with added impact. Experiment with both complementary and harmonious colours to see which you like best.

You can attach your card to a couple of garden canes using nothing more than a clothes peg on each side, then position your makeshift studio background as required.

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ISO

1/400

f/5.6 To create a soft, almost dreamy effect sec 100 in your photo, shoot through an old CD case smeared with vaseline. It will reduce contrast and blur the parts of the frame where the gel has been applied. Leave the main subject clear of gel, so it is still sharp. If you’re able to in the bright conditions, look at the results you’re getting on the rear display. While it might seem crazy to put a piece of cheap plastic in front of your expensive lens, it’s a technique that yields some surprisingly good results.

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SUMMERTIME SPECIAL

‫ ד‬³Èz( áz Seek out silhouettes

Use the low and setting sun as a backdrop for punchy pics where your subject’s shape tells the story

owards the end of the daylight hours, the low sun will give similar conditions to those experienced at dawn. There’s a second ‘golden hour’ with warm, flattering light to take advantage of, lasting until the sun sinks below the horizon. Cloud formations may give you a dramatic, fire-coloured sky, but even on a clear, cloudless day, you’ll still get an evocative warm glow, graduating into a cool blue.

As well as a great time for capturing landscapes, the period around sunset is also an excellent opportunity to shoot silhouettes: whether the sky is clear blue or fiery-red, the dark outline of an iconic subject is a must for any photographer’s creative portfolio.

If the sun is still visible, you can keep it in shot, but any direct light striking the lens will reduce contrast and will usually create visible flare. Although flare reduces image quality, it can’t be avoided when shooting directly into the light, so make the most of it! A good dose of flare in the right place can enhance the mood in a picture, and will give your silhouette shot an extra dose of atmosphere.

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¨« (àX!0 IX0n(!« IÁ When you’re sizing up the opportunity for a silhouette, make sure you pick a subject that is recognisable from its shape alone, and also that there is enough contrast between it and the background for it to stand out. A quick ‘squint test’ – where you close one eye and scrunch up the other – often reveals whether or not a silhouette is on the cards.

If you have a mottled background that is both bright and dark (like stormy clouds at sunset), find the angle that allows the silhouette to stand proud of the bright areas, so it doesn’t blend into the dark parts and lose its shape.

kƺƺȵ ɀǝƏȵƺɀ ɀǣȅȵǼƺٍ Well-defined structures, trees, people or iconic buildings are perfect for silhouettes, as the viewer can instantly lock onto the content and understand the image. You’ll often need to use a low angle to drop the horizon and make the most of the sky, to create a captivating shot.

!ƏȵɎɖȸƺ Ə ȵƺȸǔƺƬɎ ɀǣǼǝȒɖƺɎɎƺ Find your ideal subject, then set up your camera to render it as a distinctive, dark shape against a bright sunset When you’re out shooting, you’ll have discovered that silhouettes sometimes happen and sometimes don’t! This is all down to how your camera’s light meter reads and interprets the scene and sets the exposure values.

To take control of this process, you need to take charge of the metering duties, and basically tell your camera who’s the boss!

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³ƺɎ ³ȵȒɎ ȅƺɎƺȸ ȅȒƳƺ

There are three types of metering on most cameras: Multi-Zone, Centre-Weighted, and Spot.

The first is best for general use, the second isn’t needed at all, and the third gives the ultimate precision. Precision is what you need here, so switch to Spot. Remember to switch back when you’re finished, though, or you’ll think your camera’s gone wrong later!

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RȒǼƳ ƳȒɯȇ 0 nȒƬǸ

Target a medium-to-bright area of the sky with your active AF point (this usually doubles as the spot meter) and make a note of the exposure in the viewfinder readout. These are the settings you need for a silhouette. If you have an Auto Exposure Lock (AE-L) button, you can press it to lock these settings. If not, you can often set it up in the Custom Functions.

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f/5.6

ISO 100

1/500 sec

0Əɀɵ ɀǣǼǝȒɖƺɎɎƺɀ

Getty

An ultra-bright background with a well-defined, easily-identified subject is a surefire way to get cracking silhouettes. By spot-metering from the sky, precise control of the exposure is established, and the foreground subject can be ‘blacked out’ to show its form, rather than its detail.

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«ƺǔȸƏȅƺ ƏȇƳ ɀǝȒȒɎ

Once you have the spot meter’s settings, hold the AE-L and reframe the scene. Focus on the shape you want to silhouette, and shoot. Check the rear display: if the silhouette is too bright, meter from a brighter part of the sky, hold AE-L, and reshoot. If the overall scene is too dark and underexposed, meter from a darker part of the sky, lock AE, and reshoot.

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Even if you get your camera settings as spot-on as possible for the conditions, many silhouette shots will still be improved by a tweak in raw software. In a raw converter, you can adjust the Highlights, Shadows, Blacks and Whites in a shot, so you can suppress detail in the subject (Shadows and Blacks), and brighten up the background (Highlights and Whites) to make the silhouette stand proud of the backdrop.

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SUMMERTIME SPECIAL

‫ ה‬ÁáXnXJRÁ z( zXJRÁ At the end of the day…

You’re on the home straight now – but no challenge is complete without a foray into low-light shooting

s the sun drops below the horizon, you might think that your 24-hour photo mission is destined for an early finish – but there’s still loads more to do, if you’ve got the energy!

Twilight and night-time offer stacks of photo opportunities but for many shots, a little colour in the sky works wonders, and the window to get this before it blacks out is relatively short; less than one hour after sunset. That means you need to work fast – even though your shutter speed will be pretty slow!

Because two of these projects are best with an inky-blue sky, make sure your traffic trail and industrial locations are only a short distance apart (unless, of course, you can combine the two in one shot…). The moon can be tackled after these, when the sky has turned black, as you need a faster shutter speed than you’d think to prevent the craters and seas on its surface from becoming blurred. The moon is moving at quite a rapid rate of knots!

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³ǝȒȒɎ ǣȇƳɖɀɎȸǣƏǼ ǼƏȇƳɀƬƏȵƺɀ

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ÁƏǸƺ Ə ȅȒȒȇ ɀǝȒɎ

ISO f/11 With a little light left in the sky after sundown, switch 100 to Manual mode then set an aperture of f/11 and a long exposure of 30 seconds to record amazing shots of industry on the edge of town.

You’ll need a tripod, but the small aperture will render light sources as starbursts, and the long exposure will blur any clouds or smoke present into ethereal wisps.

30 sec

Jon Adams

Though many photographers find them heavy and cumbersome, a tripod is a creative tool in its own right, as it extends your shooting possibilities into the realm of long exposures and allows you to frame up accurately on distant subjects. A cable release is also a worthwhile investment: although you can set your self-timer in many circumstances, having a shutter button that’s remote avoids you missing the moment while waiting for the self-timer’s delay.

Jon Adams

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ISO

f/8 200 Your longest lens will reward you with a great record of our closest celestial neighbour, and getting a good shot of the moon is relatively easy provided you set up your camera correctly.

Switch to Manual mode and dial in f/8, ISO 200 and a shutter speed of 1/250 sec for a full moon. If it’s less than full, increase ISO to compensate. Use a tripod and set your self-timer to a two-second delay so you don’t jog the camera at the key moment.

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1/250 sec

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ISO 100

50 sec

³ǝȒȒɎ ɎȸƏǔˡƬ ɎȸƏǣǼɀ

Find a safe spot like a footbridge above a busy road, and set up on a tripod. Focus on the scene, and with ISO set to 100, switch to manual focus to lock the focus distance. Now switch to Manual mode and set the aperture to f/16 and the shutter speed to B (Bulb). Open the shutter when you see a stream of traffic, then cover the lens with a black card when it subsides. Uncover it for the next stream of traffic, and so on.

When you have enough traffic ‘in the can’, close the shutter with the cable release.

In one long exposure, you’ll have captured a vibrant river of headlights and tail lights.

Andrew James

f/16

SPONSORED BY

Camera College

Marcus Hawkins Photographer and writer Marcus is a former editor of Digital Camera

The complete guide to modern photography

Photo challenge!

You could win a copy of Affinity Photo See page 81

It’s easy to fire off a snap of a bee or insect on a flower (above) – but look at that background! For a better shot (right), get down low, line up a clean backdrop and lie in wait…

ÁƏǸƺ ɵȒɖȸ ˡȸɀɎ ɀɎƺȵɀ ǣȇɎȒ ˢȒɯƺȸ ȵǝȒɎȒǕȸƏȵǝɵ Learn how to capture intimate portraits of the flamboyant stars of the plant world, with our guide to focusing, exposure, creative tricks and more…

The secret to good flower photography is timing. If you’re photographing flowers in the wild or in a garden setting, you’ll only get a limited period of weeks, or even days, when the subjects will look their finest.

The time of day can also make a big difference. While some flowers open and close with the

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rhythm of the sun, it’s the wind that’s more of a problem for photographers. As the day warms and things start to move, attempting a sharp shot of a flower outdoors can be a lesson in frustration. The slightest puff of air can send tall flowers knocking like a metronome, Sometimes there’s nothing

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for it but to make an early start in (relatively) still air.

Flower photography can take on many forms, from scientific close-up studies to sweeping floral scenics. As a result, you can put any lens to good use.

A standard zoom gives you plenty of creative options – even more so if it reaches beyond

100mm. Longer focal lengths are easier to compose with, as they enable you to be more selective with the background.

A dedicated macro lens is perfect, too, as you’ll have the option of focusing much closer for flower details.

Although a lightweight, imagestabilised standard zoom or 100mm macro lens can be a great choice when you’re paying a visit to a formal garden, in many situations a tripod is still unbeatable. For a start, it frees up both your hands for holding reflectors, flashguns and other accessories in place, and

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CAMERA COLLEGE

(ƺȵɎǝ Ȓǔ ˡƺǼƳ Experiment with different apertures and focal points Depth of field is an important consideration for flower photography. The closer you are to the subject, the less depth of field (or depth of sharpness) you have to work with, so the choice of aperture plays a key role. Narrower apertures, such as f/16 and f/22, increase the depth of field, while wider apertures reduce it.

On the face of it, you might think you need a narrow aperture so that everything looks sharp, but the large degree of blur you get from working with a wide aperture can really suit the soft, delicate features of a flower – although you’ll really need to get your focus bang-on.

f/11

Whichever route you prefer, it’s usually a good idea to keep away from aperture extremes. Select the narrowest aperture (f/22, say), and details will look soft, despite the increased depth of field. Select the widest option (f/2.8, for example) and in-focus areas might not look as sharp as they do at f/4.

If you’re shooting wide shots of flower beds, the depth of field is less critical, and a mid-range aperture of f/8 may give you all the detail you need.

Work in Aperture Priority or Manual mode so that you’re able to choose the aperture yourself, then experiment with the options to get the best result.

f/3.5

Blurred vision Using a wide aperture such as f/3.5 helps to provide some separation between the parts of the flower, blurring the background, to create a more dreamy effect, with a smaller depth of field. This draws more focus to the thistle itself.

Background When you’re working with a wide aperture (f/3.5 here), take a series of photos where you’ve selectively focused on different parts of the subject, so that you have plenty of options to choose between later.

áǝǣƬǝ Ǽƺȇɀ ɯȒȸǸɀ ƫƺɀɎّ Wide-angle lenses (between the focal lengths of 14 and 35mm) are great for showing flowers in context, particularly if you’re limited by where you can stand in order to take the shot. But they can distort flowers that are close to the lens and, because they pull so much into the shot, it can be quite challenging to keep distracting objects out of the picture.

Longer-focal-length lenses (70mmplus, say) enable you to create ‘tidier’ compositions. Their narrow angle of view makes it easier to line up the subject with a clean backdrop, and they make it easier

to achieve shallow depth-of-field effects that can make the subject stand out. They do require faster shutter speeds in order to produce sharper handheld images, although image stabilisation can help. For flower details, you will need a macro lens.

30mm

Shallow depths Both shots were taken at f/5.6, with the subject the same size in the frame – notice the softer background at 200mm.

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‫ٻ‬JƏȸƳƺȇ‫ ټ‬Ɏǝƺ ɀǝȒɎ Remove distractions – or find a camera angle that allows you to hide them One of the problems of getting eye-to-eye with a flower to take its portrait is that you can end up pulling more of its surroundings into the shot.

While this isn’t such a problem when you’re shooting cut flowers in a vase, where you have more control over the composition, it can be an issue when it comes to shooting plants in nature.

The great outdoors is a messy place, and other flowers and blades of grass can ruin the background of your perfect specimen.

Using a wide aperture to reduce the depth of field

doesn’t always help, as the distractions can continue to be discernible when they’re close to the flower.

‘Gardening’ your shot to conceal or remove the worst offenders is a common practice. We’re not talking about pulling up perfectly healthy plants here, but removing dead leaves and bending blades of grass out of the shot. Some things are hard to miss, and may only be obvious when you magnify the image. Watch out for spider silk, pollen dust and damaged petals, which can go unnoticed when you’re initially framing up a shot.

Grass trimmer When I reviewed the Heavy petal Small blemishes like this can easily be removed when you’re editing your image on a computer.

it allows you to manually focus with repeatable precision. It also allows you to keep the camera locked on a subject while you wait for the breeze to die down.

Sometimes tripods can be impossible to position correctly for a shot of a subject in the middle of a flower bed, and not all tripods allow you to get the camera low enough. Getting eye-to-stamen with a flower can lead to much more interesting pictures, as everyone is used to seeing flowers from head height – although this depends entirely on the subject. Some flowers suit a top-down view, as that’s where the interesting features are visible.

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The choice of aperture makes a big difference to how many of these features are recorded in your picture. The depth of field can be paper-thin when you’re using a macro lens close to a flower, even when you’re using a narrow aperture. With a wide aperture, however, you can exaggerate the blur to the point where only the smallest detail is sharply rendered. Try focusing on the tips of petals, stigma or stamens, and let the rest of the flower fall into a dreamy, colourful fog.

When it comes to focusing, there are several options you can choose. If you’re shooting from a tripod, you can

original shot (left) on the camera, the two blades of grass in the background became obvious. Temporarily tucking them behind some grass lower down tidied things up.

Getting eye-to-stamen ɯǣɎǝ Ə ˢȒɯƺȸ ƬƏȇ ǼƺƏƳ ɎȒ ȅɖƬǝ ȅȒȸƺ ǣȇɎƺȸƺɀɎǣȇǕ ȵǝȒɎȒɀ www.digitalcameraworld.com

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³ǝȒȒɎ Ə ‫ٻ‬ǕȸȒɖȵ ȵȒȸɎȸƏǣɎ‫ټ‬ Make visual sense of busy flower beds by standing back and zooming in While it’s relatively easy to control the elements in a portrait of a single flower, it’s more challenging to do this when you want to include multiple blooms in your shot. The good news is that it’s not always so important to seek out subjects that are in perfect condition, as it’s the overall impact that counts.

Formal gardens are a great place to get to grips with ‘flowerscapes’: they offer ready-made arrangements with an appealing blend of colours, textures and patterns. The challenge is to frame them in a way that produces an equally compelling two-dimensional image.

One easy technique is to fill the frame into the corners, so that the flower

bed appears to stretch beyond the image.

Standing farther away and zooming in with a relatively long focal length allows you to ‘compress’ the scene, so that the flowers look more densely packed. Use a small(ish) aperture, such as f/8 or f/11, to

ensure that there’s enough depth of field to bring plenty of the scene into focus, and check the frame for distracting patches of bare earth, or for very bright or dark elements that may draw the eye when viewers are looking at your picture.

Tall-stemmed flowers tend to suit a side-on approach (above), while ‘wider’ blooms can look better ‘face on’. Look for harmonious lines and shapes, regardless of the subject.

Camera skills Creative treatments to try Once you’ve got the basics sorted, it’s time to have a go at something a bit different

Motion blur

Off-camera flash

Multiple exposure

Black and white

Who says flower shots have to be pin-sharp? Try setting a slower shutter speed and moving the camera or zooming the lens during an exposure. Alternatively, set a very long exposure and jolt the camera at the end.

Bring a touch of mood to a flower portrait with a remote flashgun.

Experiment with the angle to create different looks, use a softbox to diffuse the light, or fit a snoot (or a tube of black card) to create a tight beam.

If your camera offers a multiple-exposure function, this can be a great way to create unique, layered treatments. Try combining different shots of the same flower, or blending a bloom with a totally different subject.

Colourful flowers can look surprisingly good in mono. If you record the image as a raw file, it’s just the preview that will be in black and white, but it gives you a sense of the later conversion in software.

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!ȒȇɎȸȒǼ Ɏǝƺ ǼǣǕǝɎ Use these handy accessories to enhance, shape and filter the ambient light It’s not easy to take flattering photos of people in the middle of a bright, blue-sky day, and it’s just the same with flowers. Highcontrast light can be employed effectively to backlight translucent petals, but to bring out more detail, it’s better to shoot in the soft light of an overcast day.

There are some ways in which the existing light can be enhanced. A simple reflector can be used to direct light into the nooks and crannies of a flower. A sheet of white material is easy to carry, folded up in the pocket of a camera bag, although a more rigid, fold-out circular reflector is easier to manage if you’re shooting handheld. A burst of

fill-in flash can also have a similar effect.

A flashgun that you can use remotely is more useful than a built-in flash unit, as you’ll be able to hold it in just the right position. A flashgun that gives you a high-speed sync option means that you’ll be able to use it in bright sunlight, too.

If you’re keen on close-up flower shots, a diffuser can be handy. Hold it over the subject to soften hard light, giving you flattering illumination regardless of the time of day.

Finally, a polarising filter is good to have for those moments where you want to reduce the shine on glossy petals and leaves, and to saturate the colours.

Without polariser

Without white card

With white card

On reflection The subject was illuminated by window light on the right. A sheet of

Shine off As you can see in the inset shot,

white card, held on the left, helped to lift the shadows, giving the image a lighter feel.

a polariser can effectively reduce glare.

set the lens to manual focus and position the focus on a precise detail, with the help of the magnified Live View image.

If you’re shooting handheld, you can still use manual focusing, but it’s much easier to do this with a mirrorless camera, where you can take advantage of the electronic viewfinder. Alternatively, switch to either one-shot or continuous AF and manually set an AF point that corresponds with the most important feature of the flower.

Continuous autofocus will cope with flower movements (or your own) between shots, although it can be hard to keep the focus point over the correct detail. Regardless

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of the focusing mode you choose, set the camera to continuous drive so you can fire short bursts of shots in quick succession.

Bright, pale petals that fill the frame can cause the camera to underexpose the image. If you’re shooting in one of the semi-automatic modes such as Aperture Priority, you can use positive exposure compensation to correct this. If you’re shooting in Manual mode, you’ll need to use a wider aperture or a slower shutter speed, or increase the ISO. Choosing a slower shutter speed may not be an option if you’re shooting handheld, if it increases the risk of blur from camera shake.

ȸǣǕǝɎً ȵƏǼƺ ˢȒɯƺȸ ȵƺɎƏǼɀ ɎǝƏɎ ˡǼǼ Ɏǝƺ ǔȸƏȅƺ ƬƏȇ ƬƏɖɀƺ Ɏǝƺ ƬƏȅƺȸƏ ɎȒ ɖȇƳƺȸƺɴȵȒɀƺ Ɏǝƺ ǣȅƏǕƺ www.digitalcameraworld.com

CAMERA COLLEGE

Camera skills RGB histogram Check the colour channels for ‘clipping’ When you’re shooting vivid flowers, it’s worth checking the RGB histogram, which shows you the red, green and blue channels. The regular histogram tends to mirror the green channel, so if you’re shooting red or blue flowers, you might not

be aware that there might be a problem in the reds and blues. If you’re shooting a red flower and the red colour channel is clipped, you may lose detail in the petals. Shoot raw, and you’ll have more flexibility for fixing this in software.

Clipping The red channel indicates that the reds are oversaturated. The normal histogram doesn’t show this.

Camera skills Magnification Blow up the small stuff and focus with precision Take advantage of the magnification feature of the Live View screen or EVF in order to check that the details are sharply focused.

It can be helpful to slightly

focus the lens in front or beyond the point of focus before pulling it back in order to find the focal ‘sweet spot’.

x5

x10

IǼȒȸƏǼ ƳƺɎƏǣǼɀ Sometimes the parts really are greater than the whole: develop a eye for detail…

Close-up shots of smaller details can have just as much impact as epic views of a field of flowers in full bloom. To get frame-filling shots, you’ll need a lens with a macro focusing function, or a dedicated macro lens itself. You can also make a normal lens focus closer by using a close-up diopter (which screws to the front of the lens like a filter) or extension tubes, which fit between the lens and the camera.

When it comes to composition, keep it simple with basic shapes and lines, and use the rule of thirds as a guide to where to place the most important details. Look for ways in which you can combine details that display contrasting or complementary textures and colours, to help produce a more dynamic end result.

Zoom in On Canon

Sharp and soft Use

cameras, you can magnify the image up to x10.

selective focusing to draw attention to a detail.

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Flower photography tips çȒɖ ɯȒȇ‫ټ‬Ɏ ǕȒ ɯȸȒȇǕ ǣǔ ɵȒɖٌ Experiment with the aperture: Some shots are more successful when more detail is recorded via a narrow aperture, such as f/16. Others have more impact when a wide aperture (like f/4) is used to give bags of blur. Try both to see which suits the subject better.

1

Use a wide aperture (f/3.5 in this case) for incredibly shallow focus in a close-up.

Use soft light: To reveal delicate features in flowers, shoot with soft, diffuse lighting. Bright, overcast days are great for this, but you can use reflectors and diffusers to enhance the existing light. Capturing a ‘flat’ image gives you more freedom to manipulate the contrast and colours in software.

2

Avoid breezy days! The slightest breath of wind can make tallstemmed blooms bounce around and send a ripple across petals and leaves.

Early mornings, when the air is cooler and more still, are usually more productive than later in the day.

3

Do some gardening: Once you’ve got past the initial delight that comes with finding the best specimen in the perfect light, be prepared to fine-tune the scene by removing dead leaves and gently moving distracting blades of grass and other plants.

4

Use the RGB histogram: This will show you if you’re going to lose textural detail in oversaturated petals. Shooting in raw will give you more flexibility to remedy any remaining colour problems later in software.

5

Use the histogram to gauge the exposure – and be prepared to activate the RGB (Red, Green, Blue) histogram if you’re shooting colourful flowers. The standard histogram tends to mirror the shape of the green histogram, so if your flower is predominantly red or blue, this won’t be reflected in the standard histogram.

With the RGB histogram displaying the red and blue values, you’ll be able to tell if these colours are over-saturated.

Vibrant flowers can also cause white balance problems. If you’ve set Auto White Balance, there’s a chance your camera will

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try to cool down yellow and orange blooms, and warm up blue and purple ones.

Choose a manual white balance preset that matches the lighting conditions.

If you shoot raw, you’ll be able to do that when you process your images in a raw editor such as Affinity Photo.

Finally, take time to find the best specimen, as this will reduce the amount of touching up you’ll need to do later. Review your images while you’re still set up, and zoom in to check for blemishes, damaged petals or even tiny insects you might have missed when you lined up the shot.

!ǝƺƬǸ ǔȒȸ ƫǼƺȅǣɀǝƺɀً ƳƏȅƏǕƺƳ ȵƺɎƏǼɀ Ȓȸ ƺɮƺȇ Ɏǣȇɵ ǣȇɀƺƬɎɀ ɵȒɖ might have missed www.digitalcameraworld.com

CAMERA COLLEGE

PHOTO CHALLENGE Closing date: 19 August 2021

Reader challenge IǼȒɯƺȸ ȵȒɯƺȸ Enter your best shot to win a copy of Affinity Photo for Windows or macOS worth £49/$50 of digital art. Or maybe you’d prefer to try a creative in-camera treatment, such as motion blur or a zoom burst.

To enter your best flower image (one per reader, please), email your entry to digitalcamera@futurenet.com, putting ‘Flower Challenge’ in the subject line.

Or go to our Facebook page at www. facebook.com/digitalcameraworld, look for the ‘Flower Challenge’ post, and upload your entry into the feed. By entering your image into this competition,

And the winner of the Multiple Exposures reader challenge is…

you confirm that you own the copyright to the image, and agree that Digital Camera can publish your image in relation to this competition. You retain full copyright of your image, and will be credited if it is published in the magazine.

The closing date is 19 August 2021. The winner will receive a copy of Serif Affinity Photo for Windows or macOS. Good luck!

Find out more about Affinity Photo at affinity.serif.com/photo

Timothy Simmons

This month, we want to see your best flower shot, whether it features a single bloom, a bunch of them, or it features an entire bed or field.

The creative approaches you can take are as wide and varied as the subject of this month’s challenge. You could go fun or fine-art portrait, colour or black and white, close-up or far out, highly detailed or highly defocused. Perhaps you want to use a flower photo as the starting point in a more elaborate montage or other piece

Timothy Simmons In issue 243 of Digital Camera, we challenged our readers to create their best multiple exposure image. Well done to Timothy. for ‘Fun in the Sprinklers’ (pictured, right).

Digital Camera says: This is a brilliant example of using multiple exposures to create a really artistic photo. It makes you stop and think, and invites you to pause and explore the image.

A thought-provoking image that is enhanced by its conversion to black and white, while the plain background really helps to lift the subject.

3rd place: Nick Cambourne

Kate Parmaku

2nd place: Kate Parmaku

Three photos multiplied over each other with one shadow to create a graphic shot. This shows how well multiple exposures can work for action images.

Join us on Facebook!

We’ll reveal the winner of issue 244’s Still-Life Challenge in a live stream on 19 August at 5.30pm BST. www.facebook.com/digitalcameraworld

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Nick Cambourne

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FILE & VIDEO www.digital cameraworld .com/dc245

After Before

Blooming brilliant Enhance your flower photos with essential edits and creative effects in Affinity Photo lowers and plants are perennial subjects for beautiful photos, but to make them look their very best, it helps to know a few editing tricks in Affinity Photo. In this project we’ll look at a range of tools and techniques – from essential edits like sharpening to selective colour boosts – that can be used to benefit almost every flower photo you open.

Once done, we’ll take our effect one stage further and add creative colour sprays using Affinity Photo’s excellent array of brush tips. We can sample colours from the flower using the Brush and Clone Tools, then create all manner of spatters and sprays around the frame. Our edits and effects can each be applied to a separate layer, so we have ultimate freedom to go back and change a setting, or remove it completely at any stage. This ‘non-destructive’ workflow gives us licence to try out different things and take our photos in all kinds of interesting directions, safe in the knowledge that we can retrace our steps whenever we like.

You’ll find a full walkthrough in the accompanying video, and a starting photo to use. But why not head out into the garden and shoot your own?

Find out more at affinity.serif.com/photo

F

James Paterson With over a decade’s experience as a writer and photographer, James is also an accomplished image editor – and an expert in Affinity Photo.

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Focus Merge The excellent Focus Merge command lets you combine a set of focusstacked flower photos into one image with front-to-back sharpness. Go to File> New > Focus Merge, then add your set of photos and click Merge.

Once done, you’ll see the Sources Panel appear. This lets you manually correct any blurry areas if parts of the merge have been unsuccessful.

Toggle on the eye icon, then click through your set of photos to see if a sharper area can be found in a different frame. If you find such an area, you can switch to the Clone Tool to clone it in.

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1

Basic tonal adjustments

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Colour Balance Adjustments

It’s best to shoot flower photos in raw, as the file format captures far more colour data than JPEG – this gives you greater headroom when it comes to editing your flower photos. Once opened in Affinity Photo, the raw file appears in the Develop Persona. Here you can perform essential tonal tweaks, then head to the Photo Persona for further enhancements.

Sometimes flower photos are dominated by one strong colour, like the pinks here. A Colour Balance Adjustment Layer helps to shift the colours one way or another.

It’s helpful both for removing colour casts, and also for toning down dominant colours.

Its greatest strength is in the option to balance colours in midtones, shadows and highlights independently of one another.

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4

Paint to sharpen

2

Tidy up the petals

Flower photos almost always benefit from sharpening to crisp up delicate details. The Sharpen Brush is especially useful for flower photos: it lets us paint in sharpening just where it’s required. With flower images, we only really want to sharpen the in-focus areas. Merge a copy of all layers with Ctrl/Cmd+Shift+Alt+E, then paint with the Sharpen Brush set to Unsharp Mask.

Up close, flowers can be surprisingly messy: bits of pollen and other imperfections can distract from their beauty. Thankfully, Affinity Photo offers a host of retouching tools. Use the Inpainting tool to remove distractions, and use the Clone tool to tidy up. Both tools can be set to ‘Current Layer and Below’ in the options, so you can retouch non-destructively on an empty layer.

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Make local colour boosts

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Creative splash effects

A selective colour boost can help your flower photos pop. If you’ve shot in raw format, first boost Saturation and Vibrance in the Develop Persona.

Then, in the Photo Persona, add a Vibrance Adjustment Layer, increase Vibrance and Saturation, then click Ctrl/Cmd+I to invert the mask and hide the effect.

With the Brush Tool, paint in white to reveal the colour boost.

For a creative twist, try adding splashes and scattered colours. Grab the Brush Tool then go to the Brushes Panel (View > Studio > Brushes) and select a brush from the Sprays and Spatters set. Make a new layer, Alt-click to sample colours from the flower, then paint to add drops of colour around the edges.

Try using the scatter brushes in combination with the Clone Tool to scatter several colours at once.

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Hotshots Li Huaifeng

Our highlights from the 2021 Pink Lady Food Photographer of the Year contest

Overall Winner ‘Taste’ Li Huaifeng “The photograph was taken in Licheng, Shanxi, China, on a warm and sunny day, and shows a young family sharing in the joy of preparing food.”

Li Huaifeng

David Thompson

The Philip Harben Award for Food in Action ‘Head to Head’ David Thompson “Taken at the Wanhua District night market, Taipei, the photo depicts a butcher preparing cuts for the daily traditional market, here working on a pig’s head by cutting out the cheeks.”

Marina Spironetti

The Claire Aho Award for Women Photographers ‘Female Butchers of Panzano – Martina’ Marina Spironetti “Part of a project about the female butchers at Dario Cecchini’s, the world-famous butcher from Panzano in Chianti. For some time now, Dario has been training a team of young women, who came to Tuscany from all over the world to learn the art of deboning.

Traditionally, women butchers have always existed in Tuscany.”

Spayne Lindsay On the Phone ‘Blackberries’ mxprivé, Germany “You can’t see taste. That’s why FOOD-iD focuses on the colours and textures of ingredients that characterise them.”

Natalia Bogubowicz

Pink Lady Apple a Day ‘Apple in Cake’ Natalia Bogubowicz “Baked apples in cross-section.”

Remko Kraaijeveld

Production Paradise Previously Published ‘After Party’ Remko Kraaijeveld “Food is the joy of life. No Photoshop, made in one shot.”

Md Mahabub Hossain Khan

World Food Programme Food for Life ‘Drinking from Garbage’ Md Mahabub Hossain Khan “A little child drinking from a bottle.”

Emma Sheldrake

One Vision Imaging Cream of the Crop ‘Cinnamon’ Emma Sheldrake “The beauty of home egg collection and the wonderful birds that are part of the process.

We love them as part of the family.”

Food Stylist Award ‘winteropulenz’ Stylist: Martin Grünewald Photographer: Frank Weinert “A sumptuous still life of winter vegetables, and a fruit/calendar project.”

Abdul Momin

Fujifilm Award for Innovation ‘Making Rice Noodles’ Abdul Momin “A worker is inspecting rice noodles to check if they got dried correctly or not.”

Open to professional and non-professional, old and young, the Awards celebrate the very best in food photography and film from around the world.

Since 2011, over 70,000 images and films have been submitted from over 77 countries. pinkladyfoodphotographer oftheyear.com

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Andy Rouse

Shot of the month

Andy Rouse takes flight to Finland to capture golden eagles for his personal photo journey ndy Rouse is a wildlife photographer and animalhugger who advocates the benefits of nature and photography for mental health and well-being.

Andy received the Cherry Kearton Medal and Award from the Royal Geographical Society for services to wildlife photography, and supports conservation causes worldwide.

Andy’s new book Tuning into Nature is the story of a very personal experience he undertook. When the world changed in March 2020, Andy found himself (like many of us) struggling with the huge changes affecting the global travel industry.

His new book is packed with astounding wildlife images, but it’s more than just another photography book. This is the intimate story from behind the lens, not only of the

A

Andy Rouse Photographer Title: ‘Back to the Hide’ Location: Finland Date: 2021

www.andyrouse.co.uk

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Andy Rouse says: “On this day the weather was gloomy, so I set the ISO to 3,200; I don’t care about image noise. Hours went by, nothing. Then, in the fading light, came the sound of wings from above, and a male golden eagle swooped in.”

fieldcraft and photographic process, but also the inner thoughts and struggles which can affect us all.

“Andy is a great teacher,” writes Chris Packham in his foreword for the book, “but for me the joy is to read the text and see the story in those pictures.

That says more to me about the man who made them, and how they helped re-make the man.”

Anyone who loves wildlife can learn to understand how tuning into nature can help them live a more balanced life.

“Nature is a radio,” Andy says. “You just have to know how to listen… and to be willing to listen.”

Featuring 212 images, Tuning into Nature by Andy Rouse is on sale now; price £30 for a signed copy.

Design by Toby Haigh. andyrouse.co.uk

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FILE & VIDEO www.digital cameraworld .com/dc245

9 PAGES OF EXPERT ADVICE! 20 BRUSHED BORDER EFFECTS digitalcameraworld. com/dc245

This month

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94 Step by Step: Impressionist images Turn your photos into paintings, and add a brushed border from our gift set

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Tool School: Depth Blur Blur out backdrops and let Photoshop work out where to apply the most blur

100 Fundamentals: Colour-grading Take a leaf out of cinema production to fine-tune your colours in Lightroom

www.digitalcameraworld.com

Get the Look: Cityscape colour Enhance artificially lit exteriors by adjusting colours for creative effects

This month’s video tutorials and start files The issue 245 download includes 56 minutes of video lessons to take you further into the techniques in the tutorials – see page 6 for details.

Also in this issue…

Adjustment Brush basics Graduated Filter sunsets Fab florals in Affinity Photo

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STEP BY STEP

20 BRUSHED BORDER EFFECTS digitalcameraworld. com/dc245

Start

FILE & VIDEO www.digital cameraworld .com/dc245

Create Impressionist-style images with brushed borders Turn your photos into painterly masterpieces in Photoshop, ƏȇƳ‫ژ‬ƏƳƳ Əȇ‫ژ‬ƏȸɎǣɀɎǣƬ ƺƳǕƺ ƺǔǔƺƬɎً ɯǣɎǝ Ɏǝǣɀ ǣɀɀɖƺ‫ټ‬ɀ ǕǣǔɎ here are several ways to turn a photo into an image that looks like an Impressionist painting. These extend from creative shooting techniques with intentional camera movement during the exposure to more obvious digital manipulation when you process the picture. We’ll focus on the latter here, with a technique that’s not only quick and easy to apply, but also one that doesn’t use any stock paint effects from Photoshop’s Filter Gallery; it can also be varied in all kinds of subtle ways to get a huge variety of different looks.

This project involves starting with a single base image, but you’ll then blend that image with multiple copies of itself, each of which is shifted and blurred to break up the continuity of the edges, until you achieve the painterly effect we’re after.

To round off the image, we’ll add a hand-painted border, and we have 20 of these for you to choose from on this issue’s download. Just look in the Gifts folder.

T

Jon Adams Jon is a professional photographer and writer. He also provides one-to-one and smallgroup tuition in both digital SLR and Photoshop image-editing skills.

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About your brushed border files The brushed borders in this issue’s gift pack are all scans of hand-painted effects sized to A4, but they can be easily enlarged or reduced using Free Transform to work with any picture size. They are simple to apply to any image – so if you want to add a border to a regular shot without any of the Impressionist steps, just go straight to steps 3 and 4.

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STEP BY STEP

1

Load up your image

3

Add a brushed border

Open the shot you want to turn into an Impressionist-style scene and make sure your Layers Panel is up on screen (Window > Layers). You’ll see just one Background Layer in the panel, but to duplicate it, press Ctrl/Cmd+J twice. This will make two copies of the layer, so you’ll have three layers in total, all exactly the same.

Click on the middle layer of the three to make it active, and switch off the ‘eye’ icon on the top-most layer. Click where it says Normal and change the Blending Mode to Lighten, then press Ctrl/Cmd+T to enter Free Transform mode. Pull out the corner handles to make the image a little larger, then drag the cursor outside the bounding box to rotate it a little. Press Return to confirm once you have a nice ‘staggered’ effect.

Your image should be taking shape nicely now. For variation, try different Blending Modes, such as Overlay or Screen, on the two transformed layers. You can also adjust the size, rotation or positioning using Free Transform.

Once you’ve generated a good Impressionist effect with indistinct edges and an arty feel, go to File > Open and navigate to your Brushed Borders folder, copied from the download.

Choose one you like and double-click on it to open it. Now press Ctrl/Cmd+A to select it, Ctrl/Cmd+C to copy it, and Ctrl/Cmd+W to close it. Back in your main image, press Ctrl/ Cmd+V to paste in the border at the top of the Layers stack.

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2

Add some motion blur

4

Complete your border effect

With the middle layer still active, go to Filter > Blur > Motion Blur; in the resulting dialog box, set Angle to 0 and Amount to around 230 pixels. (You may want to vary this, depending on the content of your image.) Click OK, then click on the top layer to make it active, and switch on the ‘eye’ icon so that you can see the changes as you apply them.

Set this layer’s Blending Mode to Soft Light and again, go to Filter > Blur > Motion Blur. This time, set Angle to 90 degrees so you get Vertical Blur on this layer, rather than horizontal.

Now press Ctrl/Cmd+T to enter Free Transform; enlarge this layer a bit more than you did the last one, and rotate it a little in the opposite direction. Press Return when you’re happy.

With your border layer active, set the Blending Mode to Screen, then press Ctrl/Cmd+T. Hold Shift and pull out the corner handles so the border covers the entire image right up to the edge. When you’re happy with its position, press Return to set down the changes. This will round off your arty image with a white brushed border that’s ideal for printing – but if you prefer a black border (perhaps for use online), it’s quick and easy to do.

With the border layer active, press Ctrl/Cmd+I to invert the border’s colours (making the white areas black and vice versa). Now click where it says Screen and change the Blending Mode to Multiply.

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After

Before

Master the Depth Blur Filter

FILE & VIDEO www.digital cameraworld .com/dc245

Get to grips with one of Photoshop’s best new neural filters and blur out backdrops eural Filters are part of a new wave of image-editing tools that make use of machine learning and artificial intelligence.

These tools analyse the content of the image and are able to recognise people, animals and other objects. Such tools now allow for automated processes that we could only dream of a few years back.

One of the most interesting Neural Filters to photographers is Depth Blur. It allows you to alter the depth of field in your photos and create both background and foreground blur, with realistic fall-off in-between.

Previously, this could be done by carefully isolating the subject, then applying blur manually to the background.

Depth Blur does away with all that pesky masking work.

Instead, it’s able to recognise and isolate the subject for you, then soften the areas furthest from it. The filter achieves this by translating your 2D image into a 3D depth map. So all you have to do is choose the sharpest point and set the strength of the blur.

N

James Paterson With over a decade as a writer and photographer behind him, James knows exactly which Photoshop and Lightroom tools and techniques matter most.

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The Field Blur tool Like all automated tools, the Depth Blur filter will not give you perfect results every time. But there are other tools that you can use to complete the depth-of-field effect.

One of the best is Field Blur (Filter > Blur Gallery > Field Blur), which lets you create transitional blur and fall-off. Simply click over the image to add two or more control points, then adjust the circular sliders in each point to control the strength of blur over different parts of the image. Here it lets us blur out the details either side of the subject.

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TOOL SCHOOL

1

Beta Neural Filters

Neural Filters employ artificial intelligence to recognise the subject and other objects in your photos. The Depth Blur Neural Filter is one of several beta filters that Adobe has released: it’s not the finished product, but is likely to be soon.

The filter allows you to create realistic background blur. Simply go to Filter > Neural Filters, then click the test tube icon to access and download Depth Blur.

4

Haze and Warmth

As well as blurring backgrounds, we can also adjust how they look in other ways. Here we can add haze to the blurry areas, or make them warmer or cooler with the Warmth slider (useful for balancing out your subject if they’re in the shade, which tends to be cooler than normal daylight). Increasing the Saturation control here has enhanced the weak blues.

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Blur Strength

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Output Depth Map

The Blur Strength slider controls how heavily the details are blurred out. Anything over 70 tends to look too strong. As all the processing for Neural Filters is carried out in the Adobe Cloud, you may find that each time you tweak a slider it takes a while for the changes to load. It can be a slow process, but hopefully it’s something Adobe will fix by the time the filter progresses from its beta stage.

This option creates a new greyscale layer.

After the depth map is output, you can paint on it to fine-tune which parts of the image are affected.

White areas will be fully blurred, black areas preserved, and grey controls the blur transition. You can then copy it into a Layer Mask and use the depth map in combination with the Lens Blur filter (Filter > Blur > Lens Blur).

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Focal Range and Distance

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Output options

The Focal Range slider controls how wide the plane of focus is. In a sense it’s like your aperture setting, where a wider aperture will result in a narrower plane of focus. Focal Distance sets your artificial focus point. Rather than trying to judge this, it’s easier to click on a point in the small preview window above to choose a focus point.

For portraits like this, click on the eyes.

The output options let you choose how the command completes the effect. The most useful option here is New Layer: this generates a new layer for all the blurry bits, so you can fine-tune where the blur operates or correct slight mistakes. To do this, click the Add Layer Mask icon in the Layers Panel, grab the Brush Tool, then paint in black over the parts you want to hide.

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FUNDAMENTALS

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Before

After

Colour-grade your photos Use tools inspired by cinema to fine-tune ɵȒɖȸ‫ژ‬ǣȅƏǕƺ‫ټ‬ɀ ƬȒǼȒɖȸ ȵƏǼƺɎɎƺ ǣȇ nǣǕǝɎȸȒȒȅ ightroom Classic has progressively become a one-stop shop for your image needs. It was always designed with batch-processing in mind, but recently it’s begun to excel in this area, especially at image finishing. The basic Split Toning Panel has been succeeded by the Color Grading Panel, with more control over the colour in your shadows, midtones and highlights, as well as region brightness.

Finishing your image is a key part of taking your photo from capture to final output. Here, you’re going to get a look at applying what’s called analogous colour. In simple terms, this is a palette that uses similar hues – here, we’re using warm and earthy shades to suit the styling and the location of our photo.

To make the process even faster, I’ve made you a preset that applies these changes: it’s compatible with Lightroom Classic CC 2021 and Camera Raw 13. Look for it in the Gifts folder in this issue’s download.

L

Sean McCormack Sean McCormack is a photographer and writer, based in Galway.

He’s the author of The Indispensable Guide to Lightroom CC.

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Fix the contrast After applying the colour changes, you may find that the image doesn’t have enough contrast – but you can easily fix this. There’s a halfway stage between the Contrast slider and the Point Curve that’s appropriate for this task, and that’s the Parametric Curve. It’s the default option in Tone Curve.

Try setting Lights to 16 and Darks to -16.

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FUNDAMENTALS

1

3

Adjust the shadows Open the Color Grading Panel. There are five options: the first showing colour wheels for Shadows, Midtones and Highlights; then three detail views, and finally a Global view for overall image control. Go to the detail view for Shadows. Drag the control to get Hue to 6 and Saturation to 18.

Adjust the highlights Move onto the Highlights wheel. Set Hue to 54 and Saturation to 27 for a warm shade. To make the image a little crisper, increase Luminance to +37, which effectively moves the white point.

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2

Restrict the tones

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Finishing touch

You can open the triangle on the right to reveal Hue and Saturation sliders to work less visually.

Increase Luminance to +48. This has the effect of raising the black point so there is no longer any true black. Often this is done in Tone Curve, but can now be achieved in Color Grading.

Because you’re not using Midtones on this look, increase Blending to 76 to bring the overlap together. To match the previous Split Toning Panel, you can set this to 100 if desired, but 76 is enough for this photo.

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GET THE LOOK

WATCH THE VIDEO!

Before

Shift colours in cityscapes

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Enhance artificially lit cityscapes ƫɵ‫ژ‬ƏƳǴɖɀɎǣȇǕ ƬȒǼȒɖȸɀ ǔȒȸ ƬȒȸȸƺƬɎǣȒȇ ƏȇƳ‫ژ‬ƬȸƺƏɎǣɮƺ ƺǔǔƺƬɎ olour is a powerful element to work with in Photoshop. The act of adjusting colours can create a multitude of results, ranging from corrective effects to special and creative effects. Maintaining a sense of reality is always important, because you can easily push and pull colours around in such a way that images begin to look like a psychedelic nightmare. With careful and refined application, however, you can achieve subtle results that blend seamlessly with the original colours.

Natural colour always looks best, even when hues have been shifted away from their starting point. So, in this month’s four techniques, we’re going to look at different ways in which you can shift the colours present in an image to provide effects that work perfectly for artificially lit cityscape images. These effects can also work for landscapes and daylight cityscapes, of course, so you can try them with a wide range of your images.

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James Abbott James is a professional photographer who specialises in landscape and portraits. He’s an advanced Photoshop user and has created hundreds of tutorials.

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Cool down

Click on the Create New Fill Or Adjustment Layer icon, which is the half-black half-white circle at the bottom of the Layers Panel, and select Photo Filter from the list of options. When the dialog box opens, click on the dropdown menu set to Warming Filter (85) by default and select Cooling Filter (80). For this image, setting Density to 20% reduces the slight yellow colour cast – but it’s stronger than is needed to neutralise the cast, so it also cools the scene.

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GET THE LOOK

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Brilliant blackand-white

Create a Black & White Adjustment Layer. When the dialog box opens, use the sliders to control how the associated colours in the image convert to greyscale; move the sliders to the left to darken, and to the right to lighten.

For this image, Red was increased to 192 to lighten bricks, Green was set to 124 to lighten the lit windows, and Blue was taken up to 100 to lighten the sky. Watch out with Blues, as this is the noisiest channel.

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Desaturate a colour cast

There are many ways of removing colour casts. One that’s not as common as some, but can produce a distinctive result, is to desaturate the offending colours in the image. To do this, create a Hue/Saturation Adjustment Layer and use the dropdown menu set to Master to adjust Hue, Saturation and Lightness. For this image, the Saturation of Yellows was set to -45, and the Saturation of Greens was reduced to -50.

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Adjust the sky colour

Create a Hue/Saturation Adjustment Layer, and use the dropdown menu to select Blues.

Now you can simply move the Hue slider to change the colour of anything blue in the image. The other colour channels work in the same way. To make the sky a more surreal tone of blue, for example, move the Hue slider to -25. Different skies in other photos will need different adjustments made to the Blues, since the original shade of blue will be different.

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Photo Answers Crazed by CMOS? Mixed up over memory cards? ³ƺȇƳ‫ژ‬ɵȒɖȸ ɎƺƬǝȇǣȷɖƺ ƏȇƳ ƬƏȅƺȸƏ ȷɖƺɀɎǣȒȇɀ ɎȒ‫ژ‬digitalcamera@futurenet.com

Andrew is a highly experienced writer and photographer – if you have a problem, he is here to help.

Andrew James

Superimposing different frames of the same scene can help you craft a distinctive take on the subject.

Layers on layers

I’ve seen Intentional Q Camera Movement images that create a painterly look in images.

Are there any other arty techniques I can try?

Chrissie Parkes

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Andrew James

There’s a fun technique you could try, which involves overlapping a series of images one on top of the other so

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the final ‘flattened’ image has a strong graphic look to it – a bit like a drawing created with crayons. There are two different ways you can do it.

The first is to shoot a series of frames of the same scene, each taken from varying angles and positions. For example, if you were shooting a tree in a landscape, you could walk around the main subject and capture as many images as you want.

You’d then stack these images as layers in Photoshop and blend them together, creating a single image that looks strongly textured and artistic.

The other option is to take one frame, then alter the composition slightly

using Photoshop’s Transform option. You then repeat and blend the image as many times as you want. Sometimes it works and sometimes it doesn’t, but that’s half the fun. As the style is quite graphic, I think urban scenes are well-suited to it, but finding what you like best is all part of the adventure.

The image example here has been created from a single starting frame, with each alteration slightly enlarging and sometimes tilting the scene, until the build-up of blended layers gives it the signature textured appearance. See Jon Adams’ guide to creating this look, on page 94.

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Tech Check Dioptre Set your viewfinder to peak performance

What is the dioptre?

It’s an on-camera adjustment that enables you to customise the viewfinder, to achieve a sharp and clear view for your eyesight.

Why would I need to adjust the dioptre on my camera?

Everyone’s eyesight is different, so it stands to reason that any default setting on a viewfinder can’t be perfect for everyone; a small adjustment on your own camera may well make what you see that bit clearer. Even if you think your viewfinder gives you a clear view, it’s worth checking.

Heads up

I want to Q buy a tripod, mainly for shooting landscape photography – so should I get a ball head or a three-way head to go with it?

Darren Fulcher It’s a personal choice. I’ve used both types of tripod head for landscape photography, and each has its pros and cons.

There are several things you need to think about before you part with any cash. A ball head is generally the lighter option, which is certainly a factor to consider if you intend to carry it over long distances in search of the perfect scenic. A threeway head is a bit bulkier and therefore more awkward to carry, but it gives you excellent precision control when finetuning your composition.

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How do I adjust it?

Most cameras have a small dial positioned near the viewfinder marked with a plus and minus symbol, which you can turn to see whether the view and the exposure markings get clearer or more blurred. All you need to do is use the camera’s AF system to lock the focus, then turn the dial.

Turning the dial one way will quickly make the scene more blurred, so turn it the opposite direction as far as it will go, then turn it back again until the scene is displaying with the right amount of clarity for your eyes.

For general photography, including shooting landscapes, I’d still opt for the ball head, though, simply because it’s more mobile and much quicker to set up, as you’re only making your adjustments from one pivot point.

A three-way head can offer you more control and this is great for landscape photography, as well as for macro photography and shooting video, if that’s something you’re thinking of doing with your digital camera.

The downside is that it’s slower to use, as you have three different areas to adjust to get the camera positioned how you want it.

Whichever option you go for, keep in mind that you need a good set of legs, too, so that the head sits on top of a really stable platform that can deal with whatever the British weather chooses to throw at it.

While it’s tempting to go for the least expensive tripod and head

Once the dioptre is correctly set, can I just forget about it?

In principle, yes – although of course eyesight can deteriorate over the years, so if you notice a blurring of the scene through the viewfinder it’s worth tweaking the dioptre to see if you can improve it. It’s also possible for the adjustment dial to get accidentally moved slightly while you’re handling your camera, so an occasional double-check is a good idea to ensure you’re getting the most from your viewfinder.

It’s worth tweaking your dioptre setting regularly to make sure you’re getting the sharpest possible view.

Three-way heads (above) and ball heads (right) each have their own pros and cons, depending on your shooting style and the subject.

you can get, you’ll regret it. There’s nothing more pointless than a tripod that’s too light for the task, or a head that doesn’t give you the flexibility you need or lock the camera solidly.

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Photo Answers could also cause an increase in noise. For this reason, whenever I’ve shot in very hot temperatures, in places such as deserts, I’ve done my best to keep the camera out of the sun as much as possible. If I’m not shooting, I’ll put the camera in my camera bag and make sure it’s switched off. I’ll also often throw a microfibre towel over the camera, just to stop the sun baking the dark body.

Ambient heat isn’t really something to worry about too much in normal temperatures, but the simple solution of keeping the camera body protected from the extreme heat of the sun will prevent any potential reduction in image quality.

Too fast?

Andrew James

Can you have a Q shutter speed that’s too fast for shooting birds in flight?

Nicolas Clarke

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Is it true that heat Q can increase image noise and potentially affect image quality?

Bernie Piper

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In Photoshop, I can Q no longer get the JPEG option when I go to File > Save As to save an image I’ve worked on.

What’s happened?

Assuming that the fast shutter speed you’ve set is possible in the conditions – and therefore that you are not going to have a badly underexposed image – I’d say that the fastest achievable shutter speed may well be the best! That’s assuming you want to absolutely freeze the movement of the bird in your shot: sometimes having the main body of the bird sharp but the beating wings slightly blurred is also desirable to give a sense of movement.

Different birds require different minimum shutter speeds, but any bird in flight ideally requires a shutter speed of 1/2,000 sec – and preferably a lot faster. This isn’t always achievable without pushing the ISO higher to make the sensor more sensitive to the available light.

Heat and noise

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Can’t save

Wendy Hardcastle

Shooting in extremely hot conditions can damage your camera, but there are simple precautions you can take.

There’s plenty of scientific information to back this up, and I’ve seen it in my own images from time to time.

Image noise is nothing more than a by-product of the way a digital camera records an image onto its sensor; as a rule, it’s regarded as something to avoid, or at least lessen as much as possible.

You can reduce the amount of noise that’s visible on your image by shooting with as low an ISO as possible. As the ISO is increased, so too does the potential for image noise, and therefore a lowering of image quality. But, as you rightly point out Bernie, heat can also increase image noise.

The most obvious time this can happen is during a long exposure – something that anyone who has tried to shoot the night sky with very long shutter speeds may have discovered when colour speckles mar their photo. It occurs because the sensor is heated up during the long exposure.

It therefore stands to reason that a sensor heated by the ambient temperature

To be honest, Wendy, your biggest issue is never going to be “Is this shutter speed too fast?” but rather, “How can I get a fast enough shutter speed?” As well as increasing the ISO, you may need to open the aperture to allow more light onto the sensor, but this has the disadvantage of reducing your depth of field; so you need to be aware of that, and focus as carefully as possible on the point you want to be critically sharp – and that isn’t easy with a bird flying at speed.

Andrew James

Get the fastest shutter speed you can to capture birds in flight.

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Image Rescue

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This landscape needs some TLC after we convert it to mono give the image some shape and dimension 1 .

With this image, the Orange, Yellow and Green Sliders are going to have the most effect.

Next we need to lighten the foreground more, so we’ll run a Graduated Filter from the bottom up, boost the whites and add some more contrast 2 .

Now we can improve the scene’s contrast with the Tone Curve, making sure we don’t overexpose the whites 3 . Finally, in the Transform Panel, we can

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Converting an image to black and white is rarely as simple as just removing the colour.

run two vertical guides on the bridge uprights on either side of the photo to straighten them up 4 .

Andrew James

We’re starting with an underexposed landscape image, with the intention of turning it into a strong black-and-white in Lightroom. (The same tools are also available in Camera Raw.) To get started we need to press V or click on the Black & White button at the top of the Basic Panel.

With the image now in black and white, we can select the B&W Panel and play with the individual colour channels, to help separate the tones and

A portrait shot with a window behind needs careful exposure.

Andrew James

Work with Vibrance and individual colour channels to make your image hues sing.

Better booster

There’s been an update to Photoshop’s Save As functionality, which Adobe says has been necessitated by the macOS operating system, but the change has been rolled out across Windows, too, for consistency’s sake. It caught me out as well: going to File > Save As is what we’ve always done, so it was a bit of a surprise when suddenly that didn’t work while I was trying to save a file as a JPEG. The simple solution is to go to File > Save A Copy instead. This option sits right below File > Save As; using it allows you to select the full range of file options, including JPEG.

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Spot it

Q

I took a photo of someone in front of a window, but the

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subject has come out very dark. What did I do wrong?

Rick Sheldon I think you had your camera’s meter set on its default ‘average’ metering mode, which means it takes a reading from a range of places within the frame and calculates the exposure from that. If there’s a large area of brightness, darker-toned areas will be underexposed.

You can either use positive exposure compensation of one or two stops to brighten the subject, or switch to spot metering and take a reading from the face of the person you are shooting.

It may mean highlight areas in the background are overexposed, but crucially your subject will be correctly exposed.

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I never know Q whether to use Saturation or Vibrance in Lightroom.

Which is better?

Ben Goudie My rule is to use the Saturation slider sparingly or not at all while I’m making global changes to an image. The Vibrance slider is the one to use if you want to give all the colours a slight kick: it adds saturation, but in a much more subtle way by only boosting the more muted colours.

If I still think that a particular colour needs some extra saturation, I’ll go into the HSL Panel and choose the individual Saturation channel to boost it – but even then, I won’t push it too far, or it can quickly look overcooked.

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Louise loves to shoot self-portraits for her social media feeds.

Members of the Digital Camera team share what’s in their kit bag ٫ ƏȇƳ‫ژ‬ɯǝƏɎ Ɏǝƺɵ ɯǣɀǝ ɯƏɀ ǣȇ ǣɎٍ

TEAM MEMBER…

Louise Carey E-commerce editor, Digital Camera World s the ecommerce editor of www. digitalcameraworld. com, it’s not too often that I get to stretch my photographic muscles during my day job. However, my

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not-so-secret passion is capturing self-portraiture for my personal Instagram and TikTok accounts. I’ve not only enjoyed the process of learning more about social media, but I’ve also loved

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regularly getting out into nature and being creative.

When you’re capturing self-portraits, you’re both model and photographer, so it’s crucial that your kit can back you up. I use two different cameras, depending on the situation. For wider landscapes where light and compact kit is key, I’ll opt for the excellent Fujifilm X-T200 and its accompanying kit lens, the Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Not only does the X-T200 feature an articulating screen that I can effectively use as a ‘viewfinder’ when I’m standing in front of the camera, but I barely notice it in my kitbag.

The XC 15-45mm is a cracking piece of glass, considering it came bundled with the X-T200 as a kit lens.

Admittedly, if you’re looking for bokeh, this isn’t the lens for

you. However, its sharpness makes it perfect for capturing landscape details.

Yet sometimes there’s nothing better than some silky bokeh. If I’m shooting closer portraits, I’ll opt for my Nikon D800 and Nikkor 50mm f/1.8 G. I’ve had the D800 for years, and I love how versatile it is.

Meanwhile, I believe that a 50mm f/1.8 is the best value for money a photographer can get (regardless of the brand).

Overall, I’m really happy with my kit. However, I like to regularly reassess what my needs are as a photographer, and whether my kit is meeting them. With MPB being the world’s largest digital photography gear resale platform, it’s really useful to scroll through the website to see whether it’s worth trading in a camera or lens to upgrade my kit.

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I’ve shot everything from wildlife to weddings with this camera, and it’s still just as reliable as the day I bought it. I got my D800 second-hand to save on cost and it has held its value well – especially considering that it’s a nine-year-old camera!

It’s starting to show its age now, as the shutter will begin to lag if it’s been used all day.

However, it’s still a fantastic camera.

2 Nikkor AF-S 50mm f/1.8G New price: £209 MPB price*: £129 (Excellent condition) Ah, the ‘nifty fifty’. This is one of the best value-for-money lenses a photographer can buy, no matter what brand you shoot with. However, I have a soft spot for my Nikkor AF-S 50mm f/1.8 G. As a standard lens, it’s the perfect focal length for portraits and still-life images. Meanwhile, its wide maximum aperture of f/1.8 will bring beautiful bokeh to any photo.

3 Fujinon XC 15-45mm f/3.55.6 OIS PZ New price: £239 MPB price*: £149 (Excellent condition) No-one could ever claim the XC 15-45mm f/3.5-5.6 is Fujifilm’s best lens. However, considering that it usually comes bundled with the X-T200 as a kit lens, it’s really rather good. Offering an equivalent focal length range of 23.5-67.5mm in full-frame terms, this lens produces sharp, good-quality images – but if you want decent bokeh, look elsewhere.

4 3 Legged Thing QR11 L Bracket New price: £49 MPB price*: Check for stock I usually shoot in portrait orientation, as this is ideal for both Instagram and TikTok. While most tripod heads can easily be manoeuvred into this horizontally faced position, it’s less stable than if you were shooting in landscape orientation.

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If you were going to sum up the X-T200 in one word, it would surely be ‘nifty’. With a 3.5-inch articulating screen, 4K video and a compact, body, the X-T200 is great for both photos and video (which is ideal for those creating content for social media). As it’s an APS-C camera, the photos it produces won’t have quite as much image resolution as that of a full-frame camera.

6 Manfrotto Element MII New price: £97 MPB price*: Check for stock A good tripod is definitely a self-portrait photographer’s best friend! When you’re out shooting on windy cliff tops or gusty beaches, a stable tripod is a must if you don’t want to turn around and see your camera lying lens-first on the ground. I like the leg angle selectors, which enable me to position the legs between a 50-80º angle to keep the camera low.

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DIVE INTO LOUISE’S KIT BAG 1 Nikon D800

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In Focus

Focal point Rounding up what’s new ƏȇƳ‫ژ‬ƺɴƬǣɎǣȇǕ

The latest photography news from around the globe

COOL RETRO DESIGN The latest Z mirrorless channels the look of Nikon’s FM2 film SLR from the early 1980s.

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VARI-ANGLE DISPLAY A first for a Nikon Z-series camera, this will be ideal for taking selfies and vlogging.

New colour camera straps by Peak Design The brand’s popular Slide, Slide Lite, Leash and Cuff straps will soon be available in Midnight and Sage. The new colours join the established Ash and Black – all straps have a lifetime guarantee. www.peakdesign.com; from £22/$30

Will Burrard-Lucas

Beverly Joubert

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Nikon Z fc rolls back years New 20.9MP APS-C camera harks back to the glory days of film photography, but also has the chops to be popular with image-conscious vloggers – and it’ll be £899 hile the Big N’s new retro-styled APS-C format mirrorless camera references the brand’s iconic FM2 SLR film camera from the early 1980s, it shares many tech specs with the present-day Z 50. Chief among these is a 20.9MP APS-C sensor and an Expeed 6 image processor; 209 hybrid autofocus points cover 90 per cent of the sensor area and Eye-Detection AF and AnimalDetection AF are available for stills and video.

The Z fc’s standard ISO range is 100-51,200, expandable up to ISO 204,800, and high-speed continuous shooting maxes out at 11fps. Video

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recording supports uncropped 4K UHD using the DX-based movie image area, and full-time AF is available for video recording if required.

The old-school tactile controls on the camera body mean that shutter speed, ISO and exposure compensation can be dialled in easily, and there’s a helpful aperture value display below the shutter button. Moving to the rear, the Z fc is the first Z-series camera to sport a true vari-angle display that flips out to the side panel and can rotate 180º.

What you won’t find, though, is a pop-up flash unit. www.nikon.com; £899/$956 (body only)

The second Prints for Nature sale is on now Wildlife lovers can do their bit for conservation by purchasing a fine-art print from more than 150 acclaimed wildlife photographers. Prints cost $100 each, but be quick: the sale is only open until 11 August. printsforwildlife.org Leica Vario Elmarit SL 24-70 f/2.8 ASPH Ideal for a wide range of uses, this new SL optic lacks image stabilisation so can fit into a compact metal body. The lens has 11 aperture blades, and autofocus is delivered by a step-motor. uk.leica-camera.com £2,300/$2,795

In Focus

Go to www.digitalcameraworld.com ǔȒȸ Ɏǝƺ ǼƏɎƺɀɎ ȇƺɯɀً ȸƺɮǣƺɯɀ ۭ ɎƺƬǝȇǣȷɖƺɀ There are two affordable kit lenses on offer with the new Nikon Z fc.

Two new Nikkor Z lenses…

The new optics form two Nikon Z fc kit options – choose the Z 28mm f/2.8 SE or the Z DX 16-50mm f/3.5-6.3 VR hile the Nikon Z fc can be purchased in a kit with the Nikkor Z DX 16-50mm f/3.5-6.3 VR SE, there is an alternative kit option for street, still-life and portrait shooters. The compact and lightweight Nikkor Z 28mm f/2.8 SE will provide the smooth bokeh that’s unique to prime lenses, and has a heritage design inspired by classic Nikkor lenses from the early 1980s.

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… & a superzoom

Nikon Z fc buyers keen for the flexibility of a versatile zoom lens can instead opt for the Nikkor Z DX 16-50mm f/3.5-6.3 VR SE kit.

Based on Nikkor’s Z DX 16-50mm f/3.5-6.3 VR, the new SE variant also references the distinctive exterior design of the Nikon Z fc. www.nikon.com; £1,129/$1,129 (Z fc and Z 28mm f/2.8 SE); £1,039/$1,129 (Z fc and Z DX 16-50mm f/3.5-6.3)

Z DX 18-140mm f/3.5-6.3 VR on its way n the same day that Nikon announced the retro-styled Nikon Z fc, it also gave details of a new superzoom specifically designed for DX-sensor Z-series cameras. The Nikkor Z DX 18-140mm f/3.5-6.3 VR offers a 7.8x zoom ratio and, taking account of the crop factor, goes from a wide-angle effective focal length of 24mm to a 210mm telephoto. The lens joins another superzoom in Nikon’s Z lineup – the Nikon Z 24-200mm f/4-6.3 VR – and is scheduled for release later this year. www.nikon.com; £TBC/$TBC

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MPB Hall of Fame

Lowepro PhotoSport III

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New range is made from 75% recycled fabrics and introduces the brand’s new ‘green line’ label

ote for your favourite camera kit and honour the best photo and video kit of the digital era – the MPB Photo and Video Kit Hall of Fame is back for its second year. Launched in 2020 by the world’s largest resale platform for photo and video equipment, MPB will announce the results of the poll on World Photography Day (19 August). Nominees in the five categories – Classic, Trendsetter, Iconic, Game Changer and Road Tested – will be chosen by a 10-strong committee that includes Digital Camera’s very own Rod Lawton. Vote now for one of your favourite cameras, lenses or accessories! photoandvideokithalloffame.com; free

esigned for adventurous photo hikers, Lowepro’s new PhotoSport III collection of backpacks is made from 75% recycled fabrics (measured as recycled yarn content by surface area as a percentage of total fabric surface area). Two sizes are available: 24L (for a full frame-sensor camera and extra lenses or a compact camera drone) and 15L (crop-sensor camera and extra lenses or a compact camera drone). Both models feature a removable GearUp camera insert plus an accessory strap system that offers multiple carrying configurations. Two colour variations are available (grey/black and black/blue), and an all-weather cover is included. www.lowepro.com; £210/$230 (24L); £165/$180 (15L)

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In Focus

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Focal point 18-21 September 2021, The NEC Birmingham

Rankin

Rounding up what’s new ƏȇƳ‫ژ‬ƺɴƬǣɎǣȇǕ

Buy your TPS tickets now Lexar CFexpress USB 3.2 Gen2x2 card reader Offload high-quality images and Raw 8K video from Type B CFexpress cards at USB 3.2 Gen 2x2 speeds with this new card reader. Ships with a 2-in-1 cable to support USB-C to USB-C and USB-C to USB-A. lexar.com; £52/$70

Leica releases M10-R Black Paint Finish Limited to a production run of 2,000 units, this special edition of the all-manual rangefinder camera sports a unique glossy black paint finish that will ‘brass’ with use and over time. uk.leica-camera.com £7,500/$9,295 DxO Nik Collection 4.1 update available now The new version brings a new rendering engine for the Silver Efex Pro 3 and Viveza 3 plug-ins, plus other enhancements.

Plus, the clock will be restarted for anyone using the 30-day trial. www.dxo.com

SAVE THE DATE! Sat 18-Tues 21 September 2021, NEC Halls 2 & 3

Britain’s biggest photography event returns to the NEC Birmingham in September ickets are now on sale for The Photography Show and The Video Show 2021, which takes place at Birmingham’s NEC from 18 to 21 September 2021. Heavyweight brands such as Canon, Nikon, Sony and more are confirmed exhibitors, making the event a must-visit for any photographer or videographer, whether they’re a beginner, an enthusiast or a professional.

Leading speakers at the show include Dazed co-founder and photographer Rankin, fine-art photographer Brooke Shaden, award-winning food photographer Donna Crous, smartphone photography guru Mike Kus and more. And while

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the Super Stage will play host to a series of talks from some of the world’s best photographers and film-makers, you can also expect to see plenty of interesting talks and demos on the Behind the Lens, Photo Live and Video Live stages as well.

The Photography Show & The Video Show will be following all government and industry safety advice to the letter, with the goal of ensuring its visitors’ and exhibitors’ peace of mind while running the live show in a format as close to normal as possible. As such, doors will be open from 9am until 5pm, to aid a relaxed flow of visitor arrivals and entry. www.photographyshow.com/register2021

New zoom for Canon RF-mount 14-35mm f/4L IS USM has broader zoom range than RF 15-35mm f/2.8L lightly slower, slightly wider and a much cheaper alternative to the Canon RF 15-35mm f/2.8L IS USM “trinity” lens for professionals, the RF 14-35mm f/4L IS USM has the broadest-ever zoom range for a Canon full-frame autofocus lens. Boasting a sophisticated optical formula, with 16 elements in 12 groups, the new lens is weather-sealed for optimum performance in all conditions and has a minimum focusing distance of 20.1cm across the entire focal range. And despite the 14mm ultra-wide coverage, the new lens accepts regular 77mm screw-in filters. www.canon.com; £1,749/$1,699

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Peak Design Field Pouch v2 Use it with a strap or as a bag insert esigned to carry daily essentials like your phone, a notebook, keys, spare batteries or a couple of filters, this ultra-compact camera pouch is an ideal alternative for storing such items in a coat. A small mirrorless camera with an attached pancake lens could fit inside, while a larger camera can be mounted to the outside of the Field Pouch V2 via Peak Design’s Capture Clip quick release camera clip attachment (sold separately).

A roll-top flap opening grants speedy access to your kit, and all fabrics used in the pouch are recycled. www.peakdesign.com; £42/$45

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Renate Aller

Behind the lens

RENATE ALLER Visual artist & photographer www.renatealler.com hen did you have the idea for the Side Walk project?

As a reaction to people’s lives in solitude… the photo project took place in April and May 2020, when New York City was the epicentre of the pandemic.

I started by hosting friends and neighbours on our sidewalk or visiting them in their street, with the camera in self-timer mode recording these encounters, with face masks on, six feet apart. These sidewalk visits gave us a deep sense of community where community had been forced apart.

It had been nearly a month since we were ‘sheltering in place’ when I spoke to my friend Aimee Good on the phone.

We missed seeing each other, and I suggested meeting up in front of our house on the sidewalk. I asked if I could take a photo, as I felt the need to create ‘new memories’ as a marker of time in this strange world where time seemed to have slowed down and, at the same time, history confronted us with rapid changes.

By always wearing the same black dress, I put myself into these images as a ‘placeholder’ to bring the body of work into context for others, aiming to create a universal experience. This is how we connect: the relationship between the work, the surrounding and the viewer.

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Renate Aller

I named our photo that day ‘Guardians of Peoples’ Hopes’. These images were just intended for us, as a memory of a time we had never encountered before in our entire lives.

What was the biggest surprise about this project?

Little did I know this would lead to a major New York museum exhibition and a book with Kehrer Verlag. The New-York Historical Society Museum’s curator Marilyn S Kushner wrote the essay, and is currently working with me on the layout and installation planning.

Independent curator Lara Pan wrote the second essay, and will be curating an exhibition in Paris later this year.

The solo exhibition in the New-York Historical Society Museum will be on the occasion of the anniversary of the pandemic, from March to July 2022.

How would you describe the book?

I received an email, which best describes the book and its intention.

“I leafed through the book three times in a row. The pictures are telling a story that concerns all of us for the last year.

That is why I stopped and repeatedly re-visited the images. I was very touched by this book. I see myself mirrored in the narrative, and in the book form it becomes even clearer

Top: James Hall.

Above: Aimee Good. The image is also called ‘Guardians Of Peoples’ Hopes’.

how consistent your project describes the situation we are in. I was very taken how the opposite poles of loneliness and togetherness brought up similar emotions. It is satisfying to see how good photography, in a well-produced book form, can move a reader.”

What cameras and lenses do you normally use?

I am very comfortable with the Nikon D850. I love the fixed 400mm lens, which I rent as it is very expensive, or the Nikkor 105mm, which I used for the Side Walk project.

My father taught me that a goodquality lens is more important than the camera body, and this advice has always served me well.

Renate Aller’s book Side Walk: 6’ Apart in New York City is published by Kehrer Verlag (ISBN 978-396900-032-8), price €30. Find out more at: www. kehrerverlag.com

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Photography books

Summer photo reads Some of these titles will fit in your camera bag… if not, they will certainly enhance a photography lover’s coffee table Mastering Lighting & Flash Photography

52 Assignments: Nature

£33/$35 www.ammonitepress.com

£15/$15 www.ammonitepress.com

s the author Richard Bradbury notes in his introduction, “It can take less than a thousandth of a second to fire a flash and capture a photograph, but it takes a lifetime to master the art of lighting.” Over 178 pages, Bradbury draws on his many years as a successful photographer to cover everything you could expect to know about the subject, whether you shoot still-life, portraits and many more genres, using natural or artificial light sources.

There’s also a chapter devoted to creating lighting effects in software.

he latest in the series of camera bag-sized technique guides turns its lens on the natural world. The format of the 52 Assignments series is simple: a year’s worth of photo challenges are issued, and you use the hands-on advice offered in the book for completing them. Covering composition, lighting, fieldcraft and much more, authors Ross Hoddinott and Ben Hall will have you shooting more creative nature photography by the end of the first few challenges.

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BEST FOR Anyone wishing they’d started learning about lighting sooner will find this in-depth guide indispensable.

BEST FOR Nature photography enthusiasts who enjoy testing their creativity will love the approach of this book.

Magnum Dogs Parklife

Good Morning, America Vol 3

£15/$20 www.quartoknows.com

£50/$70 gostbooks.com

£17/$25 thamesandhudson.com

£18.95/$25 www.hoxtonminipress.com

he popularity of dogs has shot vertically upwards during the pandemic, so this book is certainly impeccably timed. Billed as “the ultimate collection of canine photography”, the quality of the images will have any dog lovers in your life slobbering. They’ll enjoy browsing the 180 images of pooches taken from across the globe, by a cast of Magnum Photos agency heavyweights including Eve Arnold, Steve McCurry, Harry Gruyaert, Inge Morath, David Hurn, Richard Kalvar and many more.

ubtitled “A love letter to London’s open spaces,” this series of images was shot by Sonia Spring during the first Covid-19 lockdown of 2020. You certainly don’t have to be a London resident or even know the locations that appear in the book’s 70-odd photos, as it is a portrait of communities – the people who shape the various parks, greens, commons and woodlands that comprise 40 per cent of the city’s surface area. This book is a vital addition to the ‘London in lockdown’ canon.

uthor Gemma Padley believes that life is too short for bad photos. So she curated 100 “essential” photographs that she feels need to be seen, and gives critical opinions on them. With images from the likes of Ansel Adams, Duffy, Susan Meiselas and many more, this book encourages you to further develop your appreciation of the photos discussed on its pages. It’s a camera bag-sized fix of photographic inspiration to keep close at hand.

ark Power’s project to explore the cultural and physical landscape of the USA began in 2012. With volume 3 of 5 recently published, Power has covered 40 out of the 50 states – it is a magnum opus in every sense.

Shooting large-format images of subjects that he often discovers on foot, rather than scouting them by car, the British photographer’s images are very immersive – so much detail is captured that it’s hard not to dwell longingly over each frame.

BEST FOR Dog lovers keen to see canine captures from top documentary pros.

BEST FOR Transporting yourself to a variety of picturesque locations.

BEST FOR Anyone looking to deepen their appreciation of photography.

BEST FOR Coffee table-size documentary photo book lovers should snap this up.

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Photography books

The Roadmaker

Women Street Photographers

£40/$50 www www.rrbphotobooks.com

£24.99/$35 womenstreetphotographers.com

hanaian photographer James Barnor spent the years 1959 to 1969 in London, a time when colour photography was mainly the preserve of advertising and disparaged as an artform. Barnor took lessons in this emerging medium and set up Accra’s first colour photography studio, X23, on his return to Ghana in 1969.

Acknowledged as a master of colour, this retrospective of Barnor’s work showcases many of the progressions that played out during his career, and which are referenced in the title of the book – a road that links different points of a journey. Seen through its colour and blackand-white photos, The Roadmaker is a important chronicle of changing times – of nascent post-colonial Ghana and the modernity that swept through postwar Britain in the 1960s.

idely viewed as a male pursuit, street photography is being shaken up from the inside as more females pick up a camera to capture lives in motion. Edited by Gulnara Samoilova, Women Street Photographers features the work of 100 photographers from 31 countries and offers a fresh perspective on the genre. Unburdened by having to conform to the established order, the photographers featured in the book come from many different backgrounds, ages, creeds and ethnicities, and their work reflects that.

Never predictable or safe, but always surprising and thought-provoking, Women Street Photographers is a great photography book in its own right, as well as being a great advert for the wider www.womenstreetphotographers.com project, founded by Samoilova in 2016.

BEST FOR History buffs and fans of early colour photography will love this collection.

BEST FOR Buy this if you want to see a fresh and urgent take on street photography.

The Digital Darkroom

Found, Not Lost

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£25/$30 www.ilex.press

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£60/$80 gostbooks.com

egular Digital Camera readers will certainly be familiar with James Abbott’s work as a photographer and image editor. The latter is the focus of this new book, which showcases Abbott’s deep knowledge of Photoshop and Affinity Photo. Over 258 pages, he covers the basics of image editing before moving on to explore a wider range of skills and techniques, using accessible walk-throughs and tutorials.

lliott Erwitt is a bona fide legend of photography and needs little introduction.

Found, Not Lost features more than 150 previously unseen images taken between 1947 and 2010, often while he was in between assignments. Now in his 90s, Erwitt combed his archive in 2018 to review every photo he had taken – a process that took him two years. Found, Not Lost is a collection of images with new meanings imparted by Erwitt’s commentary, made as he took a second glance at his life’s work.

BEST FOR Photo enthusiasts keen to move beyond the basics of image editing.

BEST FOR Fans of Erwitt and documentary photography should invest in a copy.

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Jon Devo instagram.com/gadgetsjon Jon is a professional photographer, videographer and technology journalist.

Jon Devo

LEFT: Rather than doing the hard work of sorting through dozens of similar images from a shoot, let artificial intelligence find the keepers for you.

Scanning ahead...

Jon Devo asks if we should let artificial intelligence select the best shots ost of my time behind the camera, looking for the best light and finding creative angles, brings me joy.

I love taking pictures.

I’m in my element when covering events, anticipating key moments and getting ‘the shot’. However, despite being someone who found their way into photography as a retoucher, I can no longer stand spending countless hours at a desk, selecting, processing and editing my images.

While some people revel in the post-production side of things, after two decades in image-making, I’ve found it’s become the most tedious element of my work. If only there was

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some way for the images to be sorted into ‘keep and delete’ automatically.

It turns out there is – and the technology behind these new tools is becoming increasingly sophisticated at knowing what to cull and what to keep.

The influence of artificial intelligence continues to seep into every aspect of our lives, particularly as creatives. The past year has seen a rise in the number of software tools that can effectively auto-cull unwanted images as we import them – saving valuable time, which in turn could save us money.

Tools such as Kodak Professional Select and PostPro’s Wand plugin use cloud computing to sift through your images and mark the duds for deletion.

Compressed-for-web versions of your

shots are sent to a cloud-based computer, which analyse the technical quality of the images to detect overor underexposure. They also assess the white balance and sharpness of the image to help keep image sets consistent and eliminate any obviously out-of-focus images.

They are also able to scrutinise the aesthetic qualities of each image and choose between near-identical shots. For example, if your portrait set includes similar poses, with some frames ruined by blinking and halfsmiles, auto-culling software will favour the best image unaffected by closed eyes and uncommitted facial expressions.

In use, I’ve been impressed with just how accurate these tools are already – and over time, these tools will only become more adept at deciding which images are keepers and which ones need to go. Given the speed at which artificial intelligence is improving, it will soon be commonplace to have virtual assistants handling all basic image processing and image selection tasks.

I do have one reservation about conceding yet another area of image creation to AI, though. Picture desk assistants and editors are trained to assess which images work best, based on their experience and understanding of audiences. Photography apprentices are also an invaluable part of the professional imaging world, and it’s often one of the main ways in which new talent can get a foot in the door.

Reliance on AI could eliminate a crucial role that assistants, apprentices and picture desk workers perform.

“I’m impressed with just how accurate these tools are already” www.digitalcameraworld.com

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Olympus PEN E-P7 _ The rebirth of a classic photography brand

Nikkor Z MC 105mm _ A stunning macro lens for Nikon mirrorless

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Super-telephotos _ Zoom in close and keep up with all the action

lympus has been a pioneer in optical technology for over a century, including microscopes and cameras.

Its biggest market nowadays is medical equipment, so perhaps it wasn’t a surprise when it announced it was selling its camera division to a new owner. Ever since, we’ve been waiting with bated breath for the first fruit from the reborn Olympus – but whatever we might have expected, an update to the long-dormant PEN E-P line wasn’t it. So what does the new E-P7 tell us about Olympus’ plans – and does it

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maintain the brand’s history of innovation?

Find out in our test on page 120.

Meanwhile, I’ve been testing Panasonic’s GH5 II, its update to the popular GH5.

This model’s appeal is the way it bridges the gap between stills photography and videography, displaying distinctive prowess in both. Find out how it fared, in my review over the page.

Also this issue, we mark a fantastic summer of sport with a round-up on page 126 of the best super-telephoto zoom lenses – ideal for shooting sports and fast-moving action. Rod Lawton

The awards bestowed by the Digital Camera lab…

Given to the top product in a group test

www.digitalcameraworld.com

For products that receive five stars overall

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Panasonic GH5 II _ Does this update break the mould?

Given to products that offer superb value for money

New gear, buying tips and the world’s toughest tests

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Plus 123 Panasonic Leica 100-400mm f/4-6.3 124 Benro SupaDupa

Ratings explained Best in class Excellent Good So-so Poor

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All products reviewed in KitZone are tested independently by photographers with years of experience, using lab and real-world testing

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Mirrorless Panasonic Lumix GH5 II

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The GH5 II has a big, chunky grip, and it’s a pretty big and chunky MFT camera all-round.

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Would you upgrade to the GH5 II if you already had a GH5?

Probably not.

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Panasonic’s Lumix G cameras have a good range of professionalcalibre lenses.

Panasonic Lumix GH5 II £1,499/$1,699 An upgrade to a film-making favourite w w w. pana s onic .co.uk

Specifications Sensor: 20.3MP MFT Live MOS sensor, 17.3 x 13mm Image processor: Venus AF points: DFD contrast AF, 225 points ISO range: 200-25,600 (expandable down to ISO 100) Stabilization: 5-axis, up to 6.5 stops Max image size: 5,184 x 3,888px Video: C4K/4K UHD up to 60p (4:2:0 10-bit internal recording), 30p (4:2:2 10-bit internal), or 60p 4:2:2 10-bit over HDMI with simultaneous 4:2:0 internal recording Viewfinder: 3.68m dots, 100% coverage, 0.76x magnification Memory card: Two SD/SDHC/SDXC (UHS-II), V90 compatible LCD: 3in vari-angle touchscreen, 1.84m dots Max burst: 12fps AF-S, 9fps AF-C, 108+ RAW 999+ JPEG Connectivity: Wi-Fi, Bluetooth Size: 139 x 98 x 87mm Weight: 727g body only, including battery and memory card

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he Lumix GH5 II is a new version of the GH5, a camera that was ahead of its time when it was launched in 2017.

The GH5 was the vanguard of a new generation of hybrid stills/video cameras; its 4K 60p recording capability was stellar then, and remains pretty impressive now.

So the GH5 II has a tough act to follow, and inevitably there will be those who feel that Panasonic hasn’t gone far enough – to be fair, the original GH5 didn’t leave it much room! Not only that, but the upcoming GH6, still in development, is likely to be the new flagship powerhouse in the Lumix G range.

What Panasonic has produced with the GH5 II is a camera that keeps the GH5 concept fresh and current.

There’s probably not enough here to tempt a GH5 owner into upgrading,

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but any new buyers looking for a powerful 4K hybrid camera without the cost and weight of a full-frame system may just have found the ideal candidate.

The Micro Four Thirds sensor used

by Panasonic’s Lumix G cameras doesn’t usually get a lot of respect from the full-frame crowd, but it has a lot going for it. The 20.3MP sensor has more than enough resolution for oversampled 4K video and enough for most kinds of stills photography. In addition, it means smaller cameras (admittedly, not here), smaller and lighter lenses, and a lower price point.

Key features Key features of the Lumix GH5 II include its 20.3MP Micro Four Thirds sensor, its 12fps/9fps continuous shooting capability and big buffer capacity, its updated and more powerful in-body image

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Panasonic Lumix GH5 II Mirrorless 4

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The EVF is the same as the 3.68m-dot viewfinder in the GH5.

It’s sharp and clear, and while it doesn’t have the resolution of Panasonic’s upmarket Lumix S cameras, it’s perfectly adequate.

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The S/C/MF focus mode lever with a central AF On button is really useful. Too many cameras bury the focus modes in their digital interface, so it’s great to have them so accessible.

The drive mode dial has positions for the GH5 II’s single shot, burst mode and self-timer modes, plus 6K Photo modes.

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A locking button set into the top of the mode dial prevents accidental changes.

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The record button’s metallic red makes it stand out visually – but it’s not so easy to find by feel.

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stabilisation and – in particular – its enhanced video capabilities.

The sensor is essentially the same one that Panasonic has been using across its Lumix G camera range for some time now, although here it’s matched up with a new, faster Venus processing engine, which brings new and enhanced video modes and contributes towards this camera’s burst-shooting abilities, with an enhanced burst depth of over 108 raw files or more than 999 JPEGs. 20 megapixels is enough for many kinds of stills photography, and when that’s combined with the GH5 II’s 4K 60p video capability, pre-installed V-Log L profile, support for C4K, VFR (Variable Frame Rates), 10-bit internal recording and more, it’s a serious video tool, too. This is a properly powerful hybrid camera for photographers and film-makers who need both stills and video in the same camera and probably in the same shoot.

Panasonic says its newly updated in-body stabilisation system now offers up to 6.5 stops of shake

www.digitalcameraworld.com

compensation, and this works alongside in-lens stabilisation, where available, and electronic stabilisation for smoothing out handheld video footage.

Another major addition in this camera is support for wireless streaming via Panasonic’s Lumix Sync mobile app, where the previous GH5 only supported USB streaming via a PC and Panasonic’s own streaming software.

Comparisons with the previous GH5 are inevitable, especially since that camera has gained a strong reputation amongst film-makers. Many of the GH5 II’s improvements are subtle and involved – mostly those associated with video frame rates, bit depths and formats. The Lumix GH5 II’s headline specs – 4K video at up to 60p – are not unusual by today’s standards, but they don’t tell the whole story.

Build and handling The GH5 II is pretty big for a Micro Four Thirds camera. It’s as big as a mid-range DSLR, and bigger than some full-frame mirrorless

Setting the focus point is easy using either the joystick on the back of the camera or the touchscreen display.

“What Panasonic has produced is a camera ɎǝƏɎ Ǹƺƺȵɀ Ɏǝƺ‫ژ‬JR‫ ד‬ concept fresh” AUGUST 2021

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Mirrorless Panasonic Lumix GH5 II

The GH5 II’s multi-pattern metering proved hard to fault in our tests, and the i.Dynamic option for in-camera JPEGs has kept the shadows light here while holding on to the bright sky beyond.

cameras, notably Panasonic’s own Lumix S5. This size makes the GH5 II easy to get a good grip on, and it feels a natural fit with mid-sized lenses, like the Leica 12-60mm we tested it with.

First impressions are that the body feels a tad plasticky for such a high-end camera, but the magnesium alloy construction and weatherproofing say otherwise. It’s not as hard-edged as many rival mirrorless cameras, and does feel a little more comfortable in the hand.

The rear screen is a vari-angle type.

Panasonic says it has improved its luminosity and colour rendition for outdoor use – though the new screen is a 3-inch display, while the one on the GH5 is a 3.2-inch screen. On a video camera, where you may not be right up close when you’re filming, we’d rather have a bigger screen.

The menu system is excellent, and a model of clarity both in its organisation and its appearance – the menu text is big and easy to read. There is an

Rival cameras

Fujifilm X-T4 £1,399/$1,699 The APS-C format XT-4 is an extremely strong rival to the GH5 II, especially with its phase-detect autofocus.

Reviewed: issue 231

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Panasonic Lumix S5 £1,699/$1,699 Incredibly, the full frame Lumix S5 is no larger than the GH5 II, and is a close match for video capabilities, too.

Reviewed: issue 235

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Sigma fp £1,599/$1,699 A completely different kind of camera to the GH5 II, the Sigma fp has film-making kudos of its own.

Reviewed: issue 226

awful lot of video permutations to get your head around, however, and some features are unavailable unless you’ve selected something else first: for example, VFR mode needs the MOV format, which is set in another menu.

The interface might be very clear, but you’ll still need to spend some time working out where the options are and what they do.

Performance The GH5 II is hard to fault for stills photography. The 20MP Micro Four Thirds sensor does place its own limits on the resolution and the high ISO performance, but our lab tests repeatedly show that, small as they are, these MFT sensors hold their own well against larger APS-C sensors.

The 6.5-stop in-body stabilisation system in this camera is extremely impressive. The more you push your luck with slow shutter speeds, the more you risk some unsharpness, but we captured sharp images with 0.5 and 1 sec exposures that we wouldn’t attempt with other cameras.

The GH5 II’s stabilisation doesn’t make tripods redundant – tripods do much more than prevent camera shake – but it does make it possible

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Panasonic Lumix GH5 II Mirrorless Lab tests Resolution (line widths/picture height) 50 40 30 20 10 0 100

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Surprisingly, the 20.3MP GH5 II is able to match the full-frame Lumix S5 for capturing fine detail at lower sensitivities.

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The GH5 II’s Micro Four Thirds sensor is smaller than APS-C or full frame rivals, but it’s still easy enough to blur backgrounds at longer focal lengths and wider aperture settings.

to shoot in what look like impossible conditions, or to use lower ISO settings that don’t push the MFT sensor quite so hard in low light.

The video performance is no less impressive. The GH5 II handles focus shifts smoothly and silently, and you can dip into the camera settings if you’re not happy with the focus speed.

You may want to experiment while shooting with the automatic face/ body/animal/eye AF modes and more rapidly moving subjects – or you can use a single focus point and tap the screen (softly!) while

The Lumix GH5 II is an MFT camera that’s the same size as a full-frame model, but packs in some serious video firepower.

www.digitalcameraworld.com

filming to select a different AF point for quick and dirty ‘pull focus’ effects.

Opinions about Panasonic’s DFD AF system are highly polarised, however, perhaps because it depends so much on your style of shooting. If you rely heavily on face/body/eye EF, you might find the GH5 II better than the original GH5, but still not in the same league as rival cameras with phase AF. If you focus manually or like to select your own AF point, however – and you can do this while filming – you might wonder why everyone’s complaining.

The stabilisation for static handheld shots verges on the uncanny. If you switch everything on, including lens IS (where available), the camera IBIS, and the optional E-Stabilization and Boost IS (these come with a slight crop factor), the live view is so rock-solid that you want to check you’re not in playback mode by mistake.

Run and gun video or handheld camera pans are not so easy for the IBIS – basically, in-camera stabilisers don’t have the range of movement needed. They’re great for smoothing out ‘jitters’, but they can’t replace a gimbal – and the Lumix GH5 II has done nothing to change our minds on this point. Rod Lawton

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All four comparison cameras are closely matched in this test, generating similarly clean images with low noise levels.

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The GH5 II is capable of capturing huge dynamic range at lower sensitivities, though as ISO sensitivities rise, its sensor limitations start to become apparent.

Digital Camera verdict

4.5

Outstanding

4.5

4.5

4.5

3.0

Features

Build & handling

Performance

Value

The clue is in the name. A Mark II version of anything is likely to be a refresh rather than a whole new camera – but while the GH5 II might appear superficially similar to its predecessor, it offers a large number of improvements and additions that make quite a difference when you add them together – and they are even more impressive given the price.

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The PEN E-P7 ditches the single exposure dial for dual control dials, making it a much more comprehensive manual photographic tool.

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The E-P7’s Profile Control summons colour and mono shooting modes; a menu button on the top enables you to pick profiles on the fly.

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Olympus PEN E-P7 £749/€799 (body only) The first camera to come from Olympus’ new owner w w w.ol y mpu s .co.uk

Specifications Sensor: 20.3MP 4/3-inch Live MOS Lens type: Micro Four Thirds Image processor: TruePic VIII AF points: 121-point contrast-detect ISO range: 200-25,600 (expandable to Low – approx 100) Stabilisation: 5-axis in-body image stabilisation, 4.5 stops Max image size: 5184 x 3888px Video: 4K at 30/25/24p; 1080p at 60/50/30/ 25/24p; 720p at 120fps (no audio) Viewfinder: N/A LCD: 3-inch tilting touchscreen (80° up, 180° down), 1.037k dots Memory card: SD/SDHC/SDXC, UHS-II compatible Shutter speeds: Mech 1/4,000-60 sec, elec 1/16,000-60 sec, bulb up to 30 mins Max burst: Mech 8.7fps (up to card capacity), elec 15fps (42 RAW/49 JPG) Connectivity: Wi-Fi, Bluetooth, Micro HDMI, Micro USB 2.0 Size: 118 x 69 x 38mm Weight: 337g body only, including battery and memory card

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he Olympus PEN E-P7 is a surprising camera.

While the world was waiting to see what OM Digital Solutions, new steward of the Olympus brand, would do with its first-ever product, nobody predicted that it would resurrect the E-P series of PEN cameras. In doing so, however, it has not only breathed new life into the pedestrian PEN line, it has also shown that it isn’t afraid to shake things up.

There hasn’t been an entry in this series since 2013’s Olympus PEN E-P5, a cult classic among Micro Four Thirds users. The PEN E-P7 combines the finesse and form factor of its predecessor, a Profile Control switch inspired by the fan-favourite PEN-F, and the functionality of the new OM-D E-M10 Mark IV. The result is the best non-OM-D Olympus camera we’ve seen since the PEN-F, as well as one of the best cameras around for travel and street photography, as well as vlogging.

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Key features While the PEN E-P series has been dormant since 2013, the PEN E-PL (“PEN Lite”) line has undergone a disappointing rinse-and-refresh for the past few years. Indeed, the PEN E-PL10 and E-PL9 were both lumbered with an outdated 16MP image sensor and three-axis in-body image stabilisation that were holdovers from the original, seven-year-old OM-D E-M10.

By contrast, the E-P7 takes its technological cues from the latest E-M10 Mark IV. It packs the same 20.3MP sensor with improved AF performance (though it is still contrast-detect), the same five-axis IBIS that’s good for 4.5 stops of stabilisation, and the same 4K 30p video – which benefits from the silky smooth IBIS in a way that larger APS-C and full-frame sensors can only dream of.

It takes cues from the venerable PEN-F, too, namely in the form of the Profile Control switch. Like the Creative Dial on the PEN-F, this

www.digitalcameraworld.com

Olympus PEN E-P7 Mirrorless Resolution (line widths/picture height) =

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The 180° tilting selfie screen will be a welcome feature for bloggers and vloggers.

50 40 30 20

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enables you to summon a host of bespoke mono and colour profiles – including the much-loved Mono 2, which is unofficially a Tri-X film simulation, along with other profiles that give a similar feel to classic film stocks like Ektachrome and Portra.

Also returning is Advanced Photo mode, selectable from the mode dial, which helps beginners take more ambitious images. From long exposures and keystone compensation to HDR and focus bracketing, this puts powerful photography at the fingertips of even complete newcomers.

Build and handling The E-P7 eschews the E-PL series’ more modern look and two-tone grip for a vintage-inspired design and textured leatherette finish. The traditional recessed ‘pinhole’ style power button of the E-PL cameras is also gone, replaced by a separate new power dial on the right-hand side.

In one respect, it’s great to have a proper power switch instead of a fiddly button; on the other, that means there are four dials crammed onto the top panel – and the power one is so close to the mode dial that switching

The E-P7 doesn’t come with a battery charger: instead it features a USB pass-through connection to recharge the battery in-camera.

between modes often leads to inadvertently knocking the power off.

Performance Purely in terms of the images it produces, the E-P7 delivers results on par with the PEN-F or the E-M10 Mark IV. Photographs are rich, detailed and defined no matter what lenses you’re using. The body is obviously tailormade for the M.Zuiko 14-42mm EZ Pancake lens, and it squeezes every last ounce of resolution out of that overperforming slice of wonderglass.

The E-P7 features the same new autofocus system as the E-M10 Mark IV – it’s still a contrast-based AF system, but is night and day better than any of the preceding E-PL cameras. The improved AF is particularly noticeable when recording video: gone is the hunting and pulsing of Olympus’ older contrast AF system.

If you want to start shooting video, but don’t know your bitrate from your B-roll, the E-P7 is a fantastic point-andshoot 4K camera that delivers crisp footage with sublime stabilisation.

Our only real complaint with the E-P7 is the LCD screen, which displays certain hues – especially skintones – far too hot. James Artaius

Rival cameras

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Canon EOS M50 Mk II Sony Alpha 6100

Inevitably, with ‘only’ 20.3MP on tap, the E-P7 can’t match the 24MP+ competition when it comes to resolving fine detail. The real-world difference isn’t vast, but it is noticeable under close scrutiny.

Signal to noise ratio (decibels) 60 50 40 30 20 10 0 100

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Canon EOS M50 Mk II Sony Alpha 6100

The E-P7, X-S10 and EOS M50 Mark II are all closely matched in this test, generating similarly clean images with low noise levels. The ageing sensor design in the A6100 produces noticeably noisier images.

Dynamic range (EV) 14 12 10 8 6 4 2 0 100

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Recent Olympus cameras have traditionally been strong for dynamic range, and the E-P7 is no exception to this. The Fujifilm X-S10 is still the benchmark in this sector at higher ISOs, however.

Digital Camera verdict

4.5 Canon EOS M50 Mk II £589/$599 Canon’s mid-range mirrorless camera has a bigger sensor than the Olympus, but no IBIS and weaker video.

Reviewed: issue 242

Fujfilm X-S10 £949/$999 The new standard for APS-C enthusiast cameras that ticks every box, although it’s bulkier than the E-P7.

Reviewed: issue 238

www.digitalcameraworld.com

Sony Alpha 6100 £679/$749 Sony’s entry-level A6100 has terrific autofocus but old sensor tech and no in-body stabilisation, and seems pricey, too. www.bit.ly/dca6100

Outstanding

4.5

4.5

5.0

4.0

Features

Build & handling

Performance

Value

The PEN E-P7 is a fantastic return to form for the PEN series, and a triumph for OM Digital Solutions’ first product – so stylish that you can take it anywhere, so simple that beginners can use it, and so capable that experts can get sensational results from it.

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Prime lens Nikkor Z MC 105mm f/2.8 VR S Specifications Mount: Nikon Z Full-frame: Yes Lens construction: 16 elements in 11 groups Angle of view: 23º Autofocus: Yes Image stabilisation: Yes Diaphragm blades: 9 Min aperture: f/32-51 Min focus distance: 0.29m Max magnification ratio: 1.0x Filter size: 62mm Dimensions (L x D): 85 x 140mm Weight: 630g

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Sharpness 3,500

Nikkor Z MC 105mm f/2.8 VR S £999/$999

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A stunner of a macro lens

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f/4

f/5.6

w w w. nikon .co.uk uilding on the success of Nikon’s AF-S VR Micro 105mm f/2.8G macro lens for F-mount DSLRs, this Z-mount lens takes everything to a new level. While it delivers the same full 1.0x macro magnification at its closest focus distance of 0.29m, it has an optical VR system that boosts effectiveness from three to 4.5 stops. It also adds a feast of handling finery as well as delivering a mighty upgrade in image quality.

The optical path is top-notch, featuring one aspherical element and three ED (Extra-low Dispersion) elements, in a total line-up of 16 elements in 11 groups. Autofocus is driven by a Dual-Motor Multi-Focus STM system, which is super-fast and virtually silent.

The lens is comprehensively weather-sealed and has a really pro-grade feel to it, matching the standard set by the Nikon’s top-end ‘trinity’ Z-mount zooms including the Z 14-24mm f/2.8 S, Z 24-70mm f/2.8 S and Z 70-200mm f/2.8 VR S. The electronically coupled focus ring enables ultra-fine adjustments which are often necessary in extreme close-up shooting.

For shooting extreme close-ups, the working distance between the front of the lens and the object you’re shooting is a useful 15cm.

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Performance Performance is simply stunning. The autofocus system is incredibly agile for a macro lens – and unerringly accurate, with excellent consistency for both macro and general shooting.

The optical VR lives up to its 4.5-stop billing.

Image quality is sumptuous. Not only is this lens razor-sharp, but the supreme levels of sharpness are maintained from the centre right out to the edges and corners of the frame. Both axial and lateral chromatic aberrations are virtually non-existent, while the merest hint of barrel distortion is practically undetectable, even without using in-camera corrections. Matthew Richards

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Centre

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Both Nano Crystal Coat and Arneo coatings are used to keep ghosting and flare to a minimum, while a fluorine coating on the front element repels moisture.

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A multi-function OLED display can show the focus distance, depth of field markers or the aperture setting.

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There’s a customisable control ring which you can assign to the likes of aperture, exposure compensation and ISO.

f/8

f/11

Middle

f/16

f/22

Edge

Sharpness Sharpness is massively impressive, not only at the centre of the frame but right out to the extreme edges and corners. And that holds true throughout the entire aperture range.

Fringing

0.12

Both axial and lateral chromatic aberrations are virtually non-existent, even when in-camera corrections are switched off.

Distortion

-0.6

There’s only a barely perceptible amount of barrel distortion, which will practically always go unnoticed, and in-camera correction is available anyway.

Verdict

5.0

A best-in-class product

5.0

5.0

5.0

5.0

Features

Build & handling

Performance

Value

A truly versatile lens, the Z MC 105mm works brilliantly for everything from sports and wildlife photography, through portraiture and landscapes, to extreme close-ups, where its 1.0x magnification factor reveals near-microscopic levels of fine detail.

It’s a tough lens with refined handling and a host of customisable extras. All in all, it’s one of the finest Nikon Z lenses that we’ve seen to date.

www.digitalcameraworld.com

Panasonic Leica 100-400mm f/4-6.3 Zoom lens Specifications Mount: Micro Four Thirds Full-frame: No Lens construction: 20 elements in 13 groups Angle of view: 12-3º Autofocus: Yes Image stabilisation: Yes Diaphragm blades: 9 Min aperture: f/22 Min focus distance: 1.3m Max magnification ratio: 0.25x Filter size: 72mm Dimensions (L x D): 83 x 172mm Weight: 985g

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Panasonic Leica DG Vario-Elmar 100-400mm f/4-6.3 Asph Power OIS £1,199/$1,599

Centre sharpness 3,500

3,000

2,500

2,000

1,500

1,000

A slimmed-down super-telephoto zoom

500

0 f/4+

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w w w. pana s onic .co.uk hink super-telephoto zoom (see Group Test, page 126), and what comes to mind are big, heavy lenses that are a chore to carry around and a pain to shoot with for any length of time. This Panasonic lens bucks the trend, with a relatively compact and lightweight construction, taking full advantage of the Micro Four Thirds crop factor to deliver an effective zoom range of 200-800mm in fullframe terms. That makes it ideal for sports, action and wildlife, when you can’t get as physically close as you might like.

Designed in partnership with Leica, the Panasonic boasts an impressive optical layout, which includes an Ultra extra-Low Dispersion element, two regular extra-low dispersion elements, plus a complex aspherical extra-low dispersion element.

Another headline feature is the Power OIS optical stabiliser.

It’s highly useful in its own right, given the lens’s huge effective telephoto reach, but it also works in tandem with the sensor-shift system of Micro Four Thirds camera bodies that feature in-body stabilisation. Unlike many modern super-tele zooms, however, the Panasonic lacks switchable static and panning modes for its optical stabiliser, let alone a third mode that applies stabilisation only during actual exposures, which would have made it easier to track erratically moving objects.

Up front, there’s a neat integral lens hood which retracts for stowage. An additional lens hood mounts over the shorter one.

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Performance The autofocus system lives up to its billing, delivering rapid yet accurate performance for tracking moving objects. We tested the lens with a Panasonic Lumix DC-G90 and found that the dual optical/in-body stabilisation delivered an effectiveness of around 4-5 f-stops. This makes it ideal for handheld shooting at ultra-long effective focal lengths. Matthew Richards

www.digitalcameraworld.com

f/8

100mm

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The electronically coupled focus ring enables smooth and precise manual adjustments.

2

The lens features a zoom lock ring, which can lock the zoom setting at any desired focal length.

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There’s an autofocus range limiter switch, but it can only lock out the short section of the focus range, rather than either end.

f/11

200mm

300mm

f/16

f/22

400mm

Sharpness Sharpness is at its best in the central region of the frame, and at the short end of the zoom range.

Performance drops off a little as you progress through the zoom range, and towards the edges and corners.

Fringing

Short 0.34 Long 0.42

Lateral chromatic aberration is negligible at most zoom and aperture combinations, even in the extreme corners. Technically, it’s a little worse at medium to narrow apertures, but even here it’s not noticeable.

Distortion Short 0.00 Long 0.08 The figures suggest that the lens produces almost no distortion throughout its zoom range. However, in-camera distortion correction cannot be disabled in current Panasonic MFT cameras.

Verdict

4.5

Outstanding

4.0

4.0

4.5

4.5

Features

Build & handling

Performance

Value

A great lens for sports and wildlife photography with Micro Four Thirds cameras, the Panasonic 100-400mm punches well above its diminutive size and weight. The Power OIS system makes it ideal for handheld shooting, and its autofocus system does well to keep pace with fast-moving action. The image quality is excellent, too.

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Monopod Benro SupaDupa

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Benro SupaDupa £130/$150

Specifications Construction material: Carbon-fibre Folded length: 45.5cm Max/min operating height: 183cm/45.5cm Max payload: 40kg Head: N/A – top plate only Mounting screw: 1/4in or 3/8in Quick-release plate: None Weight: 0.59kg

GOLD AWARD

A compelling upgrade for monopod users w w w. b enro eu .com omprising three models, the SupaDupa range of six-section carbon-fibre monopods debuted earlier this year, and joins a series of new Benro products with easy-to-remember names (the Bat and Tortoise tripods, for example). The SupaDupa MSD46C, as tested here, is the mid-range option of the trio; it extends to 1.83m and folds down to 45.5cm, weighs 0.59kg and has a 40kg payload.

The other models are the range-topping SupaDupa Pro MSDPL46C, boasting a levelling head with its own pan mechanism, and an Arca Swiss-compatible camera plate; and the SupaDupa MSD36C, the most affordable monopod in the collection.

Key features of the SupaDupa MSD46C include a quick-release flip clamp for speedy height adjustments, which it shares with its two siblings, and a rubber rotating foot to enable gliding between shots, rather than having to lift the monopod off the ground.

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Performance While it’s easy to obsess about the maximum stops count offered by camera image stabilisation systems, the humble monopod does the same job – it provides valuable extra stability that may let you use slower shutter speeds without camera shake, and can also take the weight of the heavy camera-lens combinations required by sports or wildlife photographers. Monopods don’t have the obvious appeal of tripods, which stand up on their own and offer a firm, unmoving support; instead, a monopod is more of a support ‘aid’ that needs to be held on to – otherwise your beloved camera kit will take a tumble.

The MSD46C ships with a carry case, which will offer more protection than the slip that is supplied with some camera supports.

Setup is straightforward; the head mounting screw is spring-loaded and converts from 3/8in to 1/4in when it is pushed down. You then have to choose which foot configuration you require – the round rotating foot will suit applications on solid ground, while the

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The SupaDupa attaches via a spring-loaded 1/4in or 3/8in screw – press down on it to change between the two.

2

This flip clamp allows quick changes to the length of the first leg section. Use the plastic wrench clip (right) if you need to adjust the tightness of the clamp.

3

Depending on the surface you’re shooting on, switch the round foot – which allows easy ‘glide’ rotation for panning movements – for a spiked foot.

supplied steel spiked foot will be better when working on wet ground or sand. The change between the two is easy to make.

In use, the SupaDupa MSD46C is a solid performer. It feels very well-assembled and the flip clamp permits height adjustments with only economical hand movements. The carbon-fibre material offers robustness with lightness – peace of mind for users knowing that their kit is safe. And further reassurance is provided by the adjustable wrist strap: a must-use while shooting.

Rod Lawton & Niall Hampton

Verdict

4.5

Outstanding

5.0

5.0

5.0

4.0

Features

Build & handling

Performance

Value

This camera support aid is perhaps a little too pricey for your average enthusiast photographer to purchase as a ‘just-in-case’ accessory. Instead, the SupaDupa MSD46C will appeal to photographers and videographers who shoot with a monopod all the time. They’ll certainly be tempted by the 40kg maximum payload, the top flip clamp for super-easy height adjustments, and the excellent build quality.

www.digitalcameraworld.com

KitZone

Sporting superstars

Extend your reach and get closer to the action with super-telephoto zooms for shooting sport

S

pectator sports are back on track, and with actual spectators in tow. It’s time to rediscover the joy of nailing the action and capturing definitive moments – or maybe trying something completely new if you’ve never been into sport photography before. Pretty much any DSLR or mirrorless body will suffice – but when it comes to a suitable lens, it pays to choose wisely.

One thing that practically always holds true is that, if you’re not

fortunate enough to have a media pass, you’ll be shooting sport from a spectators’ enclosure, and probably won’t be able to get as close to the action as you might like. To cover the distance, super-telephoto lenses are the order of the day. They’re typically big, heavy and expensive lenses, but they don’t have to be that way: you can kick off with a lens like the Sigma 150-600mm Contemporary, which won’t weigh you down or give too much of a knock to your finances.

Let’s see what’s on offer.

Matthew Richards

The contenders 1 2 3 4 5 6 7 8

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Canon RF 100-500mm f/4.5-7.1L IS USM Fujinon 100-400mm f/4.5-5.6 R LM OIS WR Nikkor AF-S 200-500mm f/5.6E ED VR Panasonic Leica DG 100-400mm f/4-6.3 Pentax 150-450mm f/4.5-5.6 ED DC AW HD Sigma 150-600mm f/5-6.3 DG OS HSM | S Sony FE 200-600mm f/5.6-6.3 G OSS Tamron SP 150-600mm f/5-6.3 Di VC USD G2

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£2,979/$2,699 £1,599/$1,899 £1,249/$1,400 £1,199/$1,499 £1,979/$1,899 £1,329/$1,849 £1,439/$1,999 £1,099/$1,199

Getty

Super-telephoto zooms Group Test

KitZone

Group Test Super-telephoto zooms

Canon RF 100-500mm f/4.5-7.1L IS USM

BEST FOR CANON RF

£2,979/$2,699

£1,599/$1,899

Canon’s longer but lighter lens

Radical reach for X-mount cameras

Lens mount Canon RF

Lens mount Fujif ilm X

Sharpness

he Canon EF 100-400mm f/4.5-5.6L IS II USM has long been a favourite with Canon DSLR shooters, with the Mk II edition having a twist-ring zoom mechanism, rather than a push-pull arrangement. The RF 100-500mm for EOS R-series mirrorless cameras follows suit, also inheriting the smooth control ring.

Handling is refined, with a triplemode, five-stop image stabiliser, a customisable control ring and an autofocus-range limiter switch.

T

3,000 2,500 2,000 1,500 1,000 500 0 f/4.5 f/5.6

f/8

100mm 300mm

Helped by the inclusion of six UD (Ultra-low Dispersion) elements, one Super UD element and Air Sphere Coating, image quality is excellent. The image stabiliser lives up to its claims on EOS R and RP cameras, and its effectiveness is further boosted when combined with the in-body stabilisers of newer EOS R-series cameras.

f/11

f/16

200mm 500mm

Fringing Short 1.47 Long 1.56 There’s only minimal colour fringing, even in the corners.

Distortion Short -0.04 Long 1.2 There’s virtually no distortion at 100mm.

Digital Camera verdict The RF 100-500mm is very expensive for a super-tele zoom, especially one with a relatively slow aperture rating, but handling, and performance are highly impressive.

f/22

Sharpness drops off noticeably at extended zoom settings.

3,000 2,500 2,000 1,500 1,000 500 0 f/4.5 f/5.6

f/8

100mm 300mm

f/11

f/16

f/22

200mm 400mm

Fringing Short 0.24 Long 0.41 Colour fringing is practically impossible to spot.

Performance The autofocus system’s dual linear stepping motors enable very fast performance, and the five-stop stabiliser is highly effective.

Distortion Short -0.01 Long 0.07 The lens delivers essentially distortion-free images.

Digital Camera verdict

4.5

Outstanding

4.5

4.5

4.5

3.0

Features

Build & handling

Performance

Value

D I G I TA L C A M E R A

Sharpness

his is the only lens in this group that’s designed exclusively for APS-C format cameras, on which it gives an ‘effective’ maximum focal length of 600mm. It comes with a string of letters after its name, denoting a physical aperture ring, a linear motor autofocus system, optical image stabilisation and a weather-resistant construction – ticking pretty much all of the boxes on a Fujifilm photographer’s wishlist.

The lens is beautifully engineered, with a high-precision feel to all its controls, and no hint of zoom creep.

The optical path includes five ED (Extra-low Dispersion) elements, plus a Super ED element.

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Levels of sharpness are fabulous throughout the entire zoom range.

Performance

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Fujinon 100-400mm f/4.55.6 R LM OIS WR

BEST FOR FUJIFILM

AUGUST 2021

This high-performance zoom comes up trumps on Fujifilm X-series cameras, delivering excellent performance.

The APS-C format boosts the maximum telephoto reach.

4.5

Outstanding

4.5

4.5

4.5

4.5

Features

Build & handling

Performance

Value

www.digitalcameraworld.com

Super-telephoto zooms Group Test

Nikkor AF-S 200-500mm f/5.6E ED VR

Panasonic Leica DG 100400mm f/4-6.3

More zoom, less money

Telephoto super-powers for MFT

Lens mount Nikon F

Lens mount Micro Four Thirds

£1,249/$1,400

N

3,000 2,500 2,000 1,500 1,000 500

f/8 200mm 400mm

f/11

f/16 300mm 500mm

Short 0.3 Long 2.21 It’s of a low order through most of the zoom range.

Good levels of sharpness remain impressively consistent throughout the entire zoom range, and overall image quality is of a high standard.

Autofocus and stabilisation systems work quickly and effectively.

Distortion Short 1.22 Long 1.14 Distortion at all available focal lengths remains fairly small.

Digital Camera verdict The maximum focal length falls a little short compared with Nikon-mount Sigma and Tamron 150600mm zooms but performance levels are very good.

4.5

Sharpness tends to be most impressive while you’re shooting wide-open.

3,000 2,500 2,000 1,500 1,000 500 0 f/5.6

f/8 100mm 300mm

f/11

f/16

f/22

200mm 400mm

Fringing Short 0.79 Long 1.01 There’s virtually no lateral chromatic aberration.

Performance Autofocus is fast and accurate and image stabilisation works well, although it lacks a switchable panning mode. Optical performance is highly impressive all-round.

Distortion Short 0.00 Long 0.08 Helped by firmware, it’s essentially distortion-free.

Digital Camera verdict Outstanding

4.0

4.0

4.5

4.5

Features

Build & handling

Performance

Value

www.digitalcameraworld.com

f/22

Fringing

Performance

Sharpness

ike the Fujinon 100-400mm lens on test, this Panasonic is designed for crop-sensor cameras, but this time of the Micro Four Thirds variety. As such, the size of the image sensor enables an even smaller, lighter construction, along with a 2x focal length multiplier that boosts the effective zoom range to a humungous 200-800mm.

Credentials include Leica backing, aspherical elements and optical image stabilisation, which can work in tandem with the in-body stabilisers of various MFT cameras. The optical path includes two ED (Extra-low Dispersion) elements, one aspherical ED element and one Ultra ED element.

L

Sharpness is both very good and pleasingly consistent throughout the zoom range.

0 f/5.6

MICRO FOURTHIRDS

£1,199/$1,499

Sharpness

ikon has long made an 80-400mm VR lens – but, while it delivers excellent image quality, the focal length is relatively limited, and it’s pricey at £1,999/$2,299. This newer 200-500mm zoom is more affordable and packs in smart additional features.

These include a constant-aperture design, and an electromagnetically controlled diaphragm that ensures greater exposure consistency in rapid-fire shooting.

Uprated VR (Vibration Reduction) is good for 4.5 stops and adds a ‘Sport’ mode for improved stability while tracking moving subjects.

BEST FOR

Weighing in at under a kilogramme, the Panasonic is well balanced on MFT bodies. Performance and image quality are impressive in all respects.

4.5

Outstanding

4.0

4.0

4.5

4.5

Features

Build & handling

Performance

Value

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Group Test Super-telephoto zooms BEST FOR NIKON F

BEST FOR CANON EF

Pentax 150-450mm f/4.55.6 ED DC AW HD

Sigma 150-600mm f/5-6.3 DG OS HSM | S

A forward-thinking Pentax lens

Hefty, but worth the weight

Lens mount Pentax K

L e n s m o u n t s C a n o n E F, N i ko n F, S i g m a

GOLD AWARD

BEST FOR PENTAX

£1,979/$1,899

Sharpness

entax designed this full-frame compatible lens at a time when the company only made APS-C format DSLRs. The decision has come good with the subsequent launch of Pentax’s full-frame DSLRs. There’s plentiful autofocus finery with both auto and manual priority ‘Quick Shift’ modes, plus an AF preset facility and four customisable buttons around the middle of the lens.

Other attractions include a tough, weather-sealed construction, HD coatings to reduce ghosting and flare, and a ‘super protect’ coating on the front element.

P

Levels of sharpness are a little lacklustre towards the long end of the zoom range.

3,000 2,500 2,000 1,500 1,000 500 0 f/4.5 f/5.6

f/8

150mm 300mm

f/11

f/16

200mm 450mm

Short 1.47 Long 2.34 At maximum zoom, fringing can show in the corners.

Autofocus speed is a little pedestrian compared with other lenses on test.

Sharpness drops off rather noticeably at the long end of the zoom range – a situation that isn’t helped by the lens’s reliance on in-camera stabilisation.

Distortion Short 1.45 Long 1.13 Pincushion actually decreases slightly as you zoom in.

Digital Camera verdict

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his Sigma Sports lens tips the scales at nearly 3kg.

Sigma makes a smaller and lighter Contemporary 150-600mm lens, but this one is better built. The barrel and hood are metal rather than plastic, and there’s a full set of weather-seals.

Optical highlights include two FLD (Fluorite Low Dispersion) elements and fluorine coatings on the front and rear elements. Advanced features include dual autofocus modes, one of which gives priority to manual override, plus dual-mode stabilisation for static and panning shots.

Sharpness

Performance

Fringing

T

Even at the extra-long 600mm mark, sharpness remains very impressive.

3,000 2,500 2,000 1,500 1,000 500 0 f/5

f/5.6

f/8

150mm 400mm

f/11

f/16

f/22

300mm 600mm

Short 1.99 Long 1.01 There’s relatively little fringing at either end of the range.

All aspects of image quality are excellent, throughout the entire zoom range. Autofocus is very fast, and the stabiliser works very well in both static and panning modes. It’s a fabulous super-telephoto zoom with suitably ‘sporty’ performance.

Distortion Short 0.64 Long 0.95 Pincushion remains quite minimal throughout the range.

Digital Camera verdict

3.5

Very good

4.0

4.0

3.0

3.0

Features

Build & handling

Performance

Value

D I G I TA L C A M E R A

f/22

Fringing

Performance

It’s a high-tech lens that’s ideal for both APS-C and full-frame Pentax DSLRs, but it’s pretty pricey and sharpness could be better, especially towards the long end.

£1,329/$1,849

AUGUST 2021

Relatively big and heavy, especially compared with the Tamron on test, but this wins with superb performance and image quality, plus a rugged construction.

5.0

A best-in-class product

5.0

4.5

5.0

5.0

Features

Build & handling

Performance

Value

www.digitalcameraworld.com

Super-telephoto zooms Group Test BEST FOR SONY

GOLD AWARD

Sony FE 200-600mm f/5.6-6.3 G OSS

Tamron SP 150-600mm f/56.3 Di VC USD G2

A spectacular Sony super-tele

Redesigned, revamped, revitalised

Lens mount Sony E

L e n s m o u n t C a n o n E F, N i ko n F, S o ny A

GOLD AWARD

£1,439/$1,999

£1,099/$1,199

Sharpness

e’ve been impressed by the Sony FE 100-400mm f/4.5-5.6 G Master OSS super-tele zoom for E-mount mirrorless cameras, but the newer 200-600mm really boosts telephoto reach, with only a minimal narrowing of the aperture rating. It’s also considerably less expensive.

Handling is excellent, with a switchable triple-mode optical stabiliser, an autofocus range limiter and customisable AF-on/AF-lock buttons. Unusually for this type of lens, the overall physical length remains fixed throughout the zoom range.

W

3,000 2,500 2,000 1,500 1,000 500 0 f/5.6

f/8 200mm 400mm

f/11

f/16 300mm 600mm

Performance

Fringing

The Direct Drive Super Sonic Motor autofocus system is fast, accurate and ultra-quiet. The optical stabiliser works best in conjunction with in-body stabilisers featured in recent Sony cameras, and sharpness is both scintillating and consistent.

Short 1.19 Long 1.38 Chromatic aberrations are very minimal at all settings.

Distortion Short 1.56 Long 1.87 There’s only minimal pincushion distortion.

Digital Camera verdict Picking up the baton from Sony’s FE 100400mm G Master, this lens has similarly refined handling and delivers scintillating performance and image quality.

5.0

f/22

Unusually for this class of lens, sharpness is best at the long end of the zoom range.

3,000 2,500 2,000 1,500 1,000 500 0 f/5.6

f/8 150mm 400mm

f/11

f/16

f/22

300mm 600mm

Fringing Short 1.61 Long 1.91 It’s minimal at either end, and negligible at mid-zoom.

Performance Everything works well, especially the revamped autofocus and stabilisation systems, and handling is very refined.

Outright sharpness is a little lacking in the short to medium zoom sector.

Distortion Short 1.59 Long 1.57 Mild pincushion remains at a fairly constant level.

Digital Camera verdict A best-in-class product

5.0

5.0

5.0

5.0

Features

Build & handling

Performance

Value

www.digitalcameraworld.com

Sharpness

amron’s original 150600mm was a good lens, but the newer G2 edition is a major upgrade.

Two additional Low Dispersion elements are fitted and secondary nano-structure coatings are applied, along with better weather-seals and a fluorine coating on the front element.

New and improved VC (Vibration Compensation) is rated at 4.5 stops, with three operating modes instead of just one. These include static and panning options, plus a mode for tracking erratically moving subjects, The autofocus system is faster, and a new flex zoom lock can be engaged at any focal length.

T

Sharpness is superb and impressively consistent throughout the zoom range.

Nearly a kilogramme lighter than the Sigma 150-600mm lens on test, the Tamron is more comfortable for prolonged periods of handheld shooting. The G2 is a worthy upgrade.

4.5

Outstanding

4.5

4.5

4.5

5.0

Features

Build & handling

Performance

Value

AUGUST 2021

D I G I TA L C A M E R A

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KitZone

Group Test Super-telephoto zooms

Sony wins for price and performance

GOLD AWARD

The Sony FE 200-600mm f/5.6-6.3 G OSS puts the ‘super’ into telephoto ony has come up trumps with its FE 200-600mm. Building on the success of the FE 100-400mm G Master, the newer, bigger lens adds a third stabilisation mode and a more effective autofocus range limiter switch that can lock out both short and long sectors.

Image quality and all-round performance are superb, as are handling and build quality.

For Canon and Nikon DSLRs, as well as for full-frame mirrorless cameras via adapters,

S

How the lenses compare

BEST FOR SONY

the Sigma 150-600mm Sports is our top choice for performance at a reasonable price.

The Canon RF 100-500mm is a strong contender, but relatively poor value for money. The Nikkor 200-500mm is an excellent and more affordable own-brand buy.

The Tamron G2 is an appealing alternative if you want maximum telephoto reach in a smaller, lighter package than the Sigma Sports lens. Taking downsizing to the extreme, the Panasonic 100-400mm is

the most compact and lightweight lens in the group, but delivers a mighty effective telephoto reach for MFT cameras, equating to 200-800mm. The Fujinon 100-400mm for APS-C format X-mount cameras is larger and heavier, but a great buy at the price.

Finally, the Pentax 150-400mm has some seriously advanced features and great handling, but lacks optical stabilisation and comes up a bit short on telephoto reach for full-frame K-mount bodies.

Canon RF 100-500mm f/4.5-7.1L IS USM

Fujinon 100-400mm f/4.5-5.6 R LM OIS WR

Nikkor AF-S 200-500mm f/5.6E ED VR

Panasonic Leica DG 100-400mm f/4-6.3

Pentax 150-450mm f/4.5-5.6 ED DC AW HD

Sigma 150-600mm f/5-6.3 DG OS HSM | S

Sony FE 200-600mm f/5.6-6.3 G OSS

Tamron SP 150-600mm f/5-6.3 Di VC USD G2

Contact

www.canon. co.uk

www.fujifilm. co.uk

www.nikon.co.uk

www.panasonic. com

www.pentax. co.uk

www.sigmaimaging-uk.com

www.sony.co.uk

www.tamron. co.uk

Street price

£2,979/$2,699

£1,599/$1,899

£1,249/$1,400

£1,199/$1,499

£1,979/$1,899

£1,329/$1,849

£1,439/$1,999

£1,099/$1,199

Mount options

C RF

FX

NF

MFT

PK

C EF, N F, Sg

SE

C EF, N F, S A

Elements/groups

21/16

21/14

19/12

20/13

18/14

24/16

24/17

21/13

Diaphragm blades

9 blades

9 blades

9 blades

9 blades

9 blades

9 blades

11 blades

9 blades

Min aperture

f/32-54

f/22

f/32

f/22

f/22-27

f/22

f/32-36

f/32-40

Optical stabiliser

Five stops

Five stops

4.5 stops

Yes (unspecified)

None

Four stops

Yes (unspecified)

4.5 stops (C/N only)

Autofocus motor type

Dual Nano USM

Linear motors

Ultrasonic (ring-type)

Stepping motor

DC motor

Ultrasonic (ring-type)

Direct Drive Supersonic Wave

Ultrasonic (ring-type)

Internal zoom/focus

No/Yes

No/Yes

No/Yes

No/Yes

No/Yes

No/Yes

Yes/Yes

No/Yes

Angle of view (diagonal)

24-5 degrees

16-4 degrees

12-5 degrees

12-3 degrees

17-6 degrees

16-4 degrees

12-4 degrees

16-4 degrees

Min focus distance

0.9-1.2m

1.75m

2.2m

1.3m

2.0m

2.6m

2.4m

2.2m

Max magnification

0.33x

0.19x

0.22x

0.25x

0.22x

0.2x

0.2x

0.26x

Filter size

77mm

77mm

95mm

72mm

86mm

105mm

95mm

95mm

Weather seals

Yes

Yes

Sealed mount

Yes

Yes

Yes

Yes

Yes

Included accessories

Hood, soft case

Hood, tripod collar

Hood, tripod collar, soft case

Hood, tripod collar, soft case

Hood, tripod collar, soft case

Hood, tripod collar

Hood, tripod collar, soft case

Hood, tripod collar, pouch

Dimensions (dia x length)

94 x 208mm

95 x 211mm

108 x 268mm

83 x 172mm

95 x 242mm

121 x 290mm

112 x 318mm

108 x 260mm

Weight

1,530g

1,375g

2,300g

985g

2,000g

2,860g

2,115g

2,010g

Features Build & handling Performance Value Overall

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INTERVIEW

Kristin Bedford Photographer Located at the intersection of aesthetics and social realism, Kristin Bedford’s photography explores race, visual stereotypes and communal self-expression.

Through long-term engagement with communities, Bedford makes photographs that invite us to reconsider prevalent visual narratives around cultural movements.

Bedford’s photographs have appeared in solo and group exhibitions throughout the United States and Europe, and are held in numerous collections worldwide, including the Library of Congress and the Archive of Documentary Arts at the Rubenstein Library.

Bedford’s work has been featured in The New York Times, The Guardian, Smithsonian Magazine, The Telegraph, CNN, Esquire and The Huffington Post.

Born in Washington, DC, Bedford lives and works in Los Angeles. www.kristinbedford.com

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D I G I TA L C A M E R A

Kristin Bedford

As her new book is released, the documentary photographer talks to Alistair Campbell about exploring communities and letting your ɀɖƫǴƺƬɎɀ ǕɖǣƳƺ‫ژ‬ɯǝƏɎ ɵȒɖ ȵǝȒɎȒǕȸƏȵǝ AUGUST 2021

www.digitalcameraworld.com

ristin Bedford’s work explores the idea of community and the cultures that arise as people work, play and pray together. She specialises in long-term projects, including living with a religious community in Philadelphia and documenting the ‘storefront churches’ of the southern United States. Bedford’s new book,

www.digitalcameraworld.com

Cruise Night, compiles the best photos she took as she explored Mexican American lowrider (custom-car owner) culture in Los Angeles over five years.

How did you end up becoming involved with the lowriders of LA? Underlying all of my projects is an interest in social justice and how communities express their civil rights

in a society that often marginalises them. My path to lowriding came from an interest in how the customisation of a car is about having a voice – politically, culturally and creatively.

While lowriding is a worldwide phenomenon, for Mexican Americans in Los Angeles, it has a unique significance. For over 70 years, this community has been

AUGUST 2021

D I G I TA L C A M E R A

Kristin Bedford

K

135

Previous page: ‘Whittier Boulevard’, Heatwave Car Club East, Los Angeles, CA. 3 September, 2016.

Above: ‘Yvette’, East Los Angeles Car Club City of Industry, CA. 14 August, 2015.

expressing its identity through this distinct car culture. I wanted to photograph them, and to understand how transforming a car was integral to being seen and heard.

How do you approach photographing what is essentially two different genres of photography – people and automotive – in one go?

“I don’t place constraints on how long a project should take. I want the story to play out naturally” 136

D I G I TA L C A M E R A

AUGUST 2021

Cruise Night is deeply personal, and reflects my practice of making images filled with quietude and stillness. This disposition is reflected in the intimate photos of both the details of car customisation and of the lowrider community.

There are very few photographs featuring an entire car or a crowd of people. I found that closeness to the movement, both material and relational, is where I found my voice. It was never a matter of combining automotive and people genres, but always an expression of what I experienced.

Were there any technical difficulties to overcome, like shooting in low light?

Initially I had to overcome the challenges of making photographs at night of shiny metal objects,

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I only use available light, no strobes or flashes. All of the photos are unstaged, with no posing or created environments. I use a fixed lens, which means the distance I appear to be from the subject is the actual distance. If you see a photograph from inside a car, it exists because I was invited to be there.

The most important things to me are trust and having a relationship with people. Once there is kinship and understanding, I can make the kind of images I am drawn to. The culture of the zoom lens when photographing communities is disturbing, as it enables a kind of voyeurism and detachment. The language of the fixed lens tells the story of a relationship.

Above: ‘Impala Drive-In’, City of Industry, CA. 4 August, 2015.

Kristin Bedford

Kristin Bedford

Kristin Bedford

What have you learnt from your past projects that you have brought to this one?

The main thing I brought to Cruise Night from past projects is an understanding of expectations.

I don’t place any constraints on how long a project should take. I want the story to play out naturally.

If I have a timetable, I don’t think I can make something new or honest. both parked and in motion. For this project I bought a camera body that had a larger sensor. However, this alone was not enough.

Since I don’t ever introduce my own lighting source, I found how to best illuminate the cars with what the landscape provided. I learned which corners on the popular boulevards had the brightest streetlights, and I would use them to light the cars as they went by.

I also learned that headlights and interior car lights would be of assistance. You will see a lot of photos in Cruise Night lit by the cars themselves.

Is there a perfect lens to shoot this style of work on, or does it require a selection?

When I think about photographing a community of people, I treat them as I would like to be treated.

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So many of the images are extremely ‘clean’ looking. Is this just a part of being shot in LA, or this happen in post-production?

When a lowrider prepares their car to go to a cruise night or a car show, they have spent months, maybe years, getting it ready to be seen. Immediately before an event, they may spend a couple days buffing and cleaning the car. The goal is to show your best. It is a work of art, and you want it to shine. When you see a clean image of an automobile, it is because that is what the owner intended you to see.

The quality of light in Los Angeles also plays a large role. Many of the photos in the book were taken in the golden hour, where Los Angeles light is exhibited in all of its glory. This factor contributes to the natural glow and smoothness of the images.

AUGUST 2021

D I G I TA L C A M E R A

137

Kristin Bedford

Kristin Bedford

Kristin Bedford

lowriders I made, I discerned that it was a woman connecting with other women who made them.

I also reflected on why I had not seen images like this before, and it became clear to me that the visual narrative of lowriding, and automotive cultures of all types, has been entirely shaped by men. The maledominated imagery usually portrays women as sexual accessories, who pose in bathing suits or lingerie alongside a car. Maybe it took a woman photographer to break through this mould.

Top: ‘Luscious Illusion’, New Class Car Club, Lincoln Heights, Los Angeles, CA. 22 July, 2018.

Above: ‘Los Angeles’, Los Angeles Car Club, Hawaiian Gardens, CA. 8 July, 2018.

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D I G I TA L C A M E R A

What was it like being a female photographer among lowriders, which is historically considered quite a male-dominated culture? And are things changing – it becoming less of a male preserve?

For my entire career I have considered myself ‘a photographer’. During this project, I realised for the first time that I was ‘a woman photographer’. When I saw the reverent, quiet and natural photos of women

AUGUST 2021

Do you have an end vision for the project before you begin, or does it happen along the way as you shoot more images?

While my interest in communal self-expression is what brought me to lowriding, once I began making photographs of the movement, I had no agenda.

My process is to completely turn myself over to the unknown. I am grounded in mystery, and I let the photos reveal what the story is about.

What’s your selection process for choosing your best images?

While I make the photographs in community, the rest of my process happens in isolation. I return to my art studio and quietly review the images.

I am only interested in photographs that move me, and my selection process is entirely intuitive.

Once I come across an image that speaks to me, I print it and place it on one of the long tables in

www.digitalcameraworld.com

Kristin Bedford

Kristin Bedford

my studio. Over time, the tables slowly fill up with these photographs. I never have a plan about where a story should go. I don’t show the work to others, as the process is personal. I patiently watch to see how the photos talk to each other, and for years I cannot know what the end story will be.

What would be a dream project to create, and do you have any new adventures coming up?

My next project is about a 19th-century perfectionist religious communal society called the Oneida Community that existed from 1848-1881. The Community had many experimental elements, and I hope to focus on the radical role of women. It will be a multi-tiered project that includes my photographs of the remnants of the Community’s architecture and ephemera, archival photos of the members, and my own family photographs, as I am a direct descendant.

This will be the first time I include my own history in a project. While I have these ideas at the

www.digitalcameraworld.com

Kristin Bedford

What advice would you give someone who wanted to start up their own passion project?

The most important thing when starting any project is to question who you are, what your values are, how you want to be treated in the world, and how you want to treat others. In this day and age, with the availability of digital and phone cameras, anyone can take a picture – but to tell a story and to do it with integrity is special.

“My process is to turn myself over to the ɖȇǸȇȒɯȇِ X‫ژ‬Əȅ grounded in mystery” AUGUST 2021

Top: ‘Lupita’, Highclass Car Club, Cypress Park, Los Angeles, CA. 13 June, 2015.

Above: ‘Gypsy Rose’, Imperials Car Club, Hawaiian Gardens, CA. 12 July, 2015.

D I G I TA L C A M E R A

139

Kristin Bedford

outset, once I begin this project, the story could lead in a totally different direction.

I am open to seeing what happens.

Kristin Bedford

What tips can you give to someone looking to get their work published?

I feel the key to any project is viewing it as a story. If you want to have your project published, edit the images to read as a narrative. A story can be told with any style of photography, be it landscape, portraiture or street photography. While there are traditional constructs for storytelling, you can experiment with new formats, but there should be a thread that guides the viewer.

140

What makes for good consistency across an entire portfolio of images?

A rigorous edit of one’s work is critical. It is important to let go of photographs that

D I G I TA L C A M E R A

AUGUST 2021

you like or feel emotionally attached to if they don’t contribute to the bigger picture.

After this editing occurs, the sequence will fall into place, as you are working with your strongest images.

As you’ve built up so much experience as a photographer through the variety of your projects, what would you say is the best thing you have ever learned?

There is no one formula to take to every project. Whether it is reassessing the equipment I am using or accepting the lighting constraints of a new environment, it is important to constantly adapt, and not to force an agenda.

For my series Be Still, which takes place at a small storefront church, there was one window that was the sole source of natural light. There were a few dim artificial lights on the ceiling, but they contributed very little. In my early days of photographing the church community, I saw that many images had overexposed backgrounds because of the uncovered window and the direction it faced.

While others might say you need to show all the details in a space and that such overexposure is not technically correct, I embraced it. I accepted that the light was blasting throughout the small room, and that the background was often obscured.

In the end, the light became its own character, and was a defining part of the work.

I am grateful I did not try to balance out the exposures for any sort of technical norm, but rather let the space guide the work.

Above: ‘Tatuaje’, Las Vegas, NV. 11 October, 2015.

Below left: ‘Paula Sue’, Kustom Oldies Car Club, Paramount, CA. 9 July, 2016.

Cruise Night by Kristin Bedford is published by Damiani Publications (ISBN: 978-88-6208-727-8), $55. www.artbook.com/ 9788862087278.html

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147

Trivia quiz

What the f-stop?

B

C

D

2 A B C D

3 A B C D

The following are all anagrams of famous photographers’ surnames, but which is not an American?

Dagoals Dovane Porepamphlet Namunching What does the technical term AI stand for?

Artificial intelligence Artificial imaging Auto imaging Automatic intelligence Which manufacturer recently introduced a 400mm mirror lens?

Tamron Canon Tokina Laowa

5

Which of these do you need to be able to shoot slow-motion video?

Fast shutter speed Slow shutter speed Fast frame rate Slow frame rate

6

In interior photography, what do you use to avoid you and your camera appearing in the mirror on the wall in front of you?

Fisheye lens Light tent Lens hood Shift lens

7

What is the meaning behind the technical term dot pitch?

Measure of pixel density on a monitor The adjustment of a photo printer head Spot focusing mode on a camera Framing aid for a supertelephoto lens

8

What shutter speed did Tim Clayton use for his shot of the team pursuit race at the 2012 London Olympics (below)?

1/2 sec 1/15 sec 1/250 sec 1/4000 sec

A B C D

A B C D

A B C D

4 A B C D

A B C D

Getty

A

What is the advantage of a 100mm macro lens over a 50mm macro lens?

It is better suited to shooting portrait headshots You can shoot butterflies from further away There is less chance of casting your own shadow over the subject All of the above

9 A B C D

Which former Manchester United star striker is behind the Hasselblad camera in this photo?

Paul Scholes Joe Spence Denis Law George Best Which of these is likely to be

10 the successor to SD cards?

A B C D

xD cards CF cards SSD cards SD Express cards

How did you do?

10 points You’re a photo mastermind!

8-9 points Fantastic, you’re a brainiac 6-7 points Really good score 4-5 points Respectable, but no cigar 2-3 points We’ll keep your score secret 0-1 points Epic fail Getty

1

ANSWERS 1 D, 2 A, 3 A, 4 C, 5 C, 6 D, 7 A, 8 B, 9 C, 10 D

with Chris George

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