Digital SLR Photography

CLASSIC COASTSCapture seascapes like a pro

with our expert advice

PETS IN FOCUSInspirational ideas for takinggreat pictures of your pets

CHILD PORTRAITSHow the humble bathtub isperfect for flattering results

CHILD PORTRAITS ANIMAL MAGIC!AlookatTimFlach’s incredible

More Than Human project

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MARCH2013ISSUE 76

MARCH 2013 ISSUE 76

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EDITOR’S WELCOME

Why it’s time to support your local camera shop

Daniel Lezano,Editor,Digital SLRPhotography

IMAGE: ROSSHODDINOTT

“WELCOMETOTHEMARCH2013 ISSUEofDigital SLRPhotography. It’s a turbulent timein theworldofphotographyat themoment.If you’reaphotographyenthusiast living in theUK, thenyou’ll nodoubtbeaware thatJessops, thenation’s largest independentretailer,hasgone intoadministration.Eventhough ithasbeen in trouble foranumberofyears, theannouncementstill cameassomethingofashock.Jessopshasbeenon

thehighstreet foras longas Ican rememberand Ihave fondmemoriesof it. I boughtmyfirstSLR fromJessops (wayback in themid-80s!) andshoppedthere formanyyears.However, Ihave toadmit thatwhile in thepastyoucouldvisit your localbranchandgetaconcise,expertopinionandbuyproductsat reasonableprices, in the lastcoupleofyears, theservicehasn’t liveduptodaysofold.Ultimately, this (alongwith the internet) iswhat led toenthusiasts shoppingelsewhere.Thankfully, therearestillmanyexcellent independentphoto retailersaroundtheUKthatoffer

expertadvice, aswell asprovidingkit atcompetitiveprices. It’simportant thatwesupportour localcamerastores–without them,wherecanyougoto lookat the latest kit anddiscusswithexpertswhat’sbest forourneeds?You’ll findmanyof theUK’sbestphotodealersadvertising in thebackof themagazine–the likesofCameraWorld,GraysofWestminster, LCE,CalumetandParkCameras (tonamebuta few), all provide invaluableexpertiseandservice–for free–so let’sbesure tooffer themourcustom.“Well, thatdoesn’t leavememuchspace tohighlightwhat’s

inside thismonth’s issue,which isnobadthing,as itmeansyoucandiscoverourdiversemixofphoto techniques, inspirationandexpertadvice foryourself.Witheverything fromportraits tolandscapes topets, alongwithgetting themost fromyourRawfiles, youwon’tbeshortof ideas!Finally,don’t forget that theFocuson Imagingshowtakesplaceat theBirminghamNECat thestartofMarch.TheDigital SLRPhotography teamwill bewanderingaroundtheshowlookingatall the latestproductsand taking in theoddseminar, so if youdoseeanyofus,dowalkoverandsayhello!Haveagreatmonth takingpictures.All thebest!”

Contents

119maintest

RegulaRskeepingyou inthepictuRe!03editor’spageDanielLezanochampionssupport forour localphotographystores06exposurePackedwith the latestnewsfromtheindustry–the lowdownonJessops,newproduct releases,bookreviewsandmore22ReadershowcaseShots takenbyour readers thatcouldgivetheprosarunfor theirmoney52expertcritiqueYour imagesreviewedbyourexperts57picturesubmissionsHowtosendusyourbest images!154nextissueAlittle lookatwhat’scomingup inourApril2013 issue

techniqueimpRoveyouRphotoskills30techniqueofthemonthOurtoptenphoto ideas tocapturefantasticportraitsofyourpets58mastercoastlinesAll theadviceyouneedtostart takingamazingseascapeshots today71BudgetphotoLongexposures for less–grabyourselfa£3weldingglass lensandgetshooting

77creativeeyeThreephotographers takeonthismonth’schallengetoshootcandles

85thecompletepicture:Rawpart1If you’renotyetusingRaw,our in-depthexpertguideexplainswhyyoushould…

97DigitalDarkroomImproveyourpost-processingskills

inspiRationthewoRlDofpRophotogRaphy104cuttingedgeAlookat the impressiveworkofprosTimFlachandSachaGoldberger

testcentRelatestgeaRtesteDByexpeRts119canoneos6DDoesCanon’saffordable full-frameDSLRproducethegoods?Wefindout…

123DigitalslRandcsclistingsUp-to-date listingsandspecifications

128tested&ratedCaptureOnesoftware,Gitzo’s latestmonopodandLexar’s25-in-1cardreader

getthepictuResimplestepstoBetteRpictuRes36BacklitrainyportraitsGiveyourportraitsabitof sparklebylearninghowtobacklight rain40mistylandscapesGetoutearlywhenmist is forecast tocapturebeautifulethereal landscapes

43BathtimeportraitsNatural lightandbathtubsare theperfectcomboforflatteringchildren’sportraits

46capturewintervistasQuick tips tobravethecoldandmakethemostofsnowand iceonthe landscape48icestill-lifeGetupclose to frozenpuddles toshootabstractshotsofpatterns in ice50five-minutephotoshopHowtousecolourgraduatedfilters togiveskiesmore impact

suBscRiBetoDay!turntopage 114 tofindoutaboutourlatest subsoffers

58masteryourskills

4 /Digital slRphotogRaphy /march2013

35getthepiCture

77Creative eye

71budgetphoto

104Cuttingedge

97digitaldarkroom

March2013/Issue76

LEARNFROMthEUK’s LEADINGEXPERts

Ross Hoddinott is anaward-winning naturephotographer andauthor of numerousphoto books.www.rosshoddinott.co.uk

Rosshoddinott Regular contributor

Paul is a professionalportrait and fashionphotographer who’s anexpert in lighting andspecialises in locationand studio shoots.

PaulWard

Top fashion andportrait photographerClive Arrowsmith hasphotographedmany of theworld’s leading celebrities.www.clivearrowsmith.com

A leading portrait andfashion photographer,Bjorn runs a series ofportrait workshops inCornwall.www.bjornthomassen.co.uk

Bjornthomassen

He’s the king of rockphotography and spentmost of 2008 on tour, asthe official photographerfor IronMaiden!www.picturedesk.co.uk

JohnMcMurtrie

A creative genius,Benedict is asuccessful professionalphotographerand digital artist.www.benedict1.com

BenedictCampbell

CliveArrowsmith

A highly successfullandscape photographer,regular contributorAdam is the author of thephotography bookTheDorset Coast.www.adam-burton.co.uk

AdamBurton

A pro for two decades,Lee’s one of the best-known names in thebusiness, with 20books to his name andworldwide image sales.www.leefrost.co.uk

LeeFrostMartyn is an award-winning journalist andhas been involved inphotography for decades,includingworking as apro photographer andediting photomagazines.

MartynMooreHelen is an immenselygifted landscapephotographer, who hasrecentlymade themoveto full-time professional!www.helendixonphotography.co.uk

helenDixon

TheChief SportsPhotographer for TheSun is one of theworld’sbest and he’s exclusive tous! Follow himon Twitterat: dickiepelham1

Wecatch upwith one ofour oldest but youngestDigital SLR Photographycontributors, Lara Jade,to find out about herjourney to the top of thefashion photo industry.

RichardPelhamJon’s spentmost of his

career as a successfultravel photographer,covering the globe toprovide top stock libraryCorbis with his uniquestyle of travel images.

JonhicksBrett has quicklyestablished himself asone of the UK’s leadingportrait and socialphotographers.www.brettharknessphotography.com

Brettharkness

One of the very bestcelebrity andmusicphotographers in thebusiness and agenuinely nice guy.Deserves a peerage!www.andyearl.com

AndyEarl

March2013 /DIGItALsLRPhOtOGRAPhY / 5

LaraJade

6 Swan Court, Cygnet Park, Peterborough, Cambs PE7 8GX.Phone: 01733 567401. Fax 01733 352650Email: [email protected]

Visit us online at: www.digitalslrphoto.com

EditorialTo contact editorial phone: 01733 567401

EditorDaniel [email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected] contributors this month: Marc Adamus,Tim Flach, Lee Frost, Sacha Goldberger,Michael Grecco, Ross Hoddinott, Joey L,Paul Ward & Donna Willingham

Contact us

If you’re having trouble finding us in your localarea, please let us know by phoning 01733 567401.

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SeniorProductionControllerAnishaMogra02079076067anisha_mogra@dennis.co.uk

Publishing&MarketingFelix Dennis ChairmanJames Tye CEOBrett Reynolds COOIan WestwoodMDTechnologyJohn Garewal Publishing DirectorDavid BarkerNewstrade DirectorClaire ScraseMarketing Manager

UK SUBSCRIPTIONS: 0844 249 0482The subscription service is open six days a week:Monday to Friday (8am-8pm); Saturday (9am-1pm)Order online at: http://subscribe.digitalslrphoto.comStandard subscription rate: 12 issues for £38 (UK only)Overseas subscriptions: +44 (0)1795 414953Europe £45; Rest of World £60; USA $99.USA & Canada subscriptions: Phone: 1-888-428-6676;Fax: 1-757-428-6253; Email: [email protected];Web www.imsnews.com.ONLINE SUBSCRIBER SERVICE: www.subsinfo.co.ukUse this to manage your existing subscription, includingchanging your address, renewing your subscription orreporting problems. This should be your first port of call ifyou have any queries about your subscription. If yourequire further help, email: [email protected]

LICeNSINg & SyNdICaTIONDigital SLR Photography is available for licensing overseas.Syndication Senior Manager Anj [email protected]; +44 (0) 20 7907 6132Licensing Manager Carlotta [email protected]; +44 (0) 20 7907 6550Licensing & Syndication Assistant Nicole [email protected]; +44 (0) 20 7907 6134

BaCK ISSUeSBack issues for UK cost £5 (includes p&p).To order by credit card, phone: 0844 249 0482 or send acheque, stating the back issue you’d like, and madepayable to Dennis Publishing Ltd, to:FREEPOST RLZS-ETGT-BCZR, Digital SLR PhotographyBack Issues, 800 Guillat Avenue, Kent Science Park,Sittingbourne ME9 8GU.

Digital SLR Photography is published on thesecond Tuesday of every month. Digital SLRPhotography is published under license fromHalo Publishing Ltd, a wholly ownedsubsidiary company of Dennis Publishing Ltd, UK. All rightsin the licensed material belong to Felix Dennis, Halo orDennis Publishing and may not be reproduced, whether inwhole or part, without their prior written consent.Digital SLR Photography is a registered trademark.First reader to come up to one of the team at Focus andsay “There’s no place like home” wins a goodie bag!

ISSN number: 1751-8989Digital SLR Photography is printed in the UK.The publisher makes every effort to ensure the magazine’scontent is correct. All material published in Digital SLRPhotography is copyright and unauthorised reproductionis forbidden. The editors and publishers of this magazinegive no warranties, guarantees or assurances and make norepresentations regarding any goods or services advertisedin this edition. No responsibility can be accepted for imagesor correspondence lost or damaged in post or transit.

When you’ve finished enjoyingthis magazine please recycle

ABC Jan – Dec 2011Total Average Net Circulation 35,501

85RawPhOTOgRaPhy

Themagazinebyphotographers forphotographersWetake thegreatestpride in the fact thatourmagazine isproducedby leadingphotographerswhoareallpassionateabout takinggreatpictures.Manyofourcontributorsareawardwinnersandall areexpertdigitalSLrphotographers, soyoucanbesure thatthey’regivingyoutheverybestadvice.Whetheryou love toshootlandscapes,portraitsornature, youcanbe100%certain thatourextensive teamofexperts is fullycommitted togivingyouthebesttechniqueadvice tohelpyoucreateyourbestever images.

PHOTOGRAPHERSERGEYSEMENOVGOESTOGREATHEIGHTSTOCAPTURE

ABIRD’S-EYEVIEWOFTHEWORLDIMAGE:©SERGEY SEMENOV

WHAT’SHOTINTHEWORLDOFPHOTOGRAPHY

EXPOSURE/3.13

THEBIGAPPLE

PHOTOINSPIRATIONEXPOSURE/3.13

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THEWHOLEWIDEWORLDAIRPANO ISTHECOMING together of agroupofMoscow-basedphotographerswhohavecapturedmesmerisingpanoramic imagesof over 120 locationsworldwide. Theproject’s aim is todeliversomeof themost amazing sights that theworld has tooffer direct to your computerthrough their breathtaking360° panoramicimages. The teamshoot fromhigh abovetheworld’s biggest cities andbest-knownlocations, beforepainstakingly stitching theimages together.Digital SLRPhotographycaught upwithphotographer SergeySemenov,who shot the stunning aerialpanoramaofNewYorkCity on thepreviouspage, todiscuss theproject. “Wenormallyshoot fromair balloonsor camera-equippedRChelicopters togiveus auniqueaerial viewof someof theworld’s iconiclandmarks.Usually panoramic images areshot using a tripodandpanoramichead–wehover in ahelicopter in a single positionand thenget thepilot to rotate aroundasingle axis to capture these images.“I use aCanonEOS5DMk II and a

selectionof lenses, such as theEF 16-35mmf/2.8L, EF 24-70mmf/2.8L, EF 70-200mmf/2.8L andSigma 10mmand 15mmfisheyes. I alsouse aReally RightStuffballhead andahome-made rotator. The imagesare combinedusingeitherPTGui or Autopanosoftware, before finalediting inPhotoshop.”Capturing the images

is often theeasypart, asSergey explains: “Thetechniques thatwe’vemasteredmakescapturing the imagesrelatively easy. The trickyaspect is oftengetting therelevant permits to shoot at alocation, such as atUNESCOWorldHeritage sites like theChrist theRedeemermonument inRiode Janeiro,Brazil, or the

Great Pyramids inCairo, Egypt.We’vehadsomepretty intimidatingmomentsinvolvingpermits to shoot inothercountries, includinghavingour equipment

andmemory cards temporarilyseizedbyofficials inCairo. After

explainingour cause andshowing them the images,wewere allowed tocontinueworking.”

As spectacular as theimages look in print,they really comealivewhen viewedon theAirPanowebsite,whichallows you to rotate, panandzoom in to your

heart’s content, aswell aschanging thepoint of view

–completely immersing you inthe location. Take a look for yourself

at:www.airpano.com.Youcan seemoreof Sergey’s personal

work at:www.sergesemenov.com.

OpeningImage:CentralPark,NewYork.Sergeyshotthe843-acreparkfromahelicopter.1:AsunrisepanoramicimageoftheChristtheRedeemerstatueoverlookingacloud-coveredRiodeJaneiro,Brazil.2:TheAirPano360°virtualtouroftheJökulsárlónIceLagooninIcelandistrulybreathtaking.3:Sergeyshotthismind-bendingpanoramicself-portraitfromahotelwindowinNewYork.4:TheAirPanoteamsometimesuseremotecontrolhelicopterscapableofcarryingadigitalSLRtocapturetheirpanoramas.

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WE’VEHADSOMEPRETTYINTIMIDATINGMOMENTS,

INCLUDINGHAVINGOUREQUIPMENT

SEIZED

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MARCH2013 /DIGITALSLRPHOTOGRAPHY / 9

COMPETITIONNEWS EXPOSURE/3.13

THEANNUALNATIONALGeographic PhotoContest attracts entries fromall over theworld, spoiling judges for choicewith sometruly outstanding images. The2012contestproved tobeoneof thebest yet.Thecompetitionwas split into three

categories–Nature, People andPlaces–andwithover 22,000 images from150different countries all vying for the topprize,competitionwas fierce. Thegrandprize andNature category awardwent toAshleyVincent of Thailand for his captivating imageof an Indochinese tigress shakingherselfdry. Alongside theprestige andbragging

rights ofwinning thecontest, Ashley netshimself a coolUSD$10,000alongwith a tripto theNationalGeographic photographyseminar inWashington,D.C.Thewinner of thePlaces categorywas

chosenasNenadSajic ofCroatia for hisimageof thewindsweptMatterhornMountain at fullmoon, andMicahAlbert ofCalifornia tookhome thePeople categoriesfor his powerful image, ‘Amongst theScavengers’, depicting awoman living inKenya’sMunicipalDump.

ROARTALENTThe resultsof the2012NationalGeographicPhotoContest arein, andhereare thewinners…

Controversy andphotocontests seem togohand inhand in recent times. Thewinnerof thePlaces categorywasoriginally namedasHarry Fisch for his imageof peopleon thebanksof theRiverGanges.However, theimagewasdisqualified as thephotographerchose to cloneout a plastic bag at the edgeof the image.HadFischchose to crop thescene to remove theoffending litter, hisimagewouldnot havebeenexcluded.To viewall of thewinning images, visit:

www.ngphotocontest.com

ASH

LEYVINCEN

TNEN

ADSA

JICMICAHALB

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PRODUCTNEWSEXPOSURE/3.13


NIKON’S1J1proved tobeoneof 2012’sbestsellingCSCs and the range is nowbolsteredby twobrand-newmodels.The super-speedyNikon 1 J3offers a

14.2-megapixel sensorwithin an aluminiumbody. It is claimed tobe theworld’s smallestinterchangeable-lens camera andoffers theworld’s shortest release-time lag at the timeof its launch,while the 10.1-megapixelNikon 1 S1 is the firstmodel in the S-Seriesand is aimedat fuss-freephotography.Bothhave amaximum ISO ratingof 6400,

can shoot up to60 frames-per-second,offer Full HDvideoand incorporate theNikonEXPEED3A imageprocessor. TheNikon 1 J3with 10-30mmzoomcosts£580,while theNikon 1 S1with 11-27.5mmzoomcosts £480. Both cameras areavailable now.Two lenseswere also announcedat the

show: the£460 1NIKKORVR6.7-13mmf/3.5-5.6 ultrawide-angle zoom lens(available inMarch) and the£480 1NIKKORVR10-100mmf/4-5.6 10x zoom lens.www.nikon.co.uk

NIKON EXPANDS ITSMIRRORLESS RANGETwonewNikon 1models announcedatCES in LasVegas

PREMIUMCOMPACTSIf you’re looking for a high-qualityretro-styled compact, then twonewmodelsmay appeal. The FujifilmX20 isanupdateof thepopular X10 andboasts a newly developed 12-millionpixel 2/3in X-TransCMOS II sensor andEXRProcessor II,whichclaims toincrease resolutionby20%and reducenoisebyover 30%. The4x zoom isequivalent to a 28-112mmf/1.8-2.5lens,while theHybridAF claims tobetheworld’s fastest at launch. TheX20 isavailable in blackor silver andblack,andcosts around£500.www.fujifilm.co.uk

The£400PentaxMX-1offers12.1-megapixels, a 1/1.7inCMOSsensor and integral 4x zoom.Otherfeatures include a3in tilting screen,built-in ShakeReduction, in-cameraRawandpop-upflash. TheMX-1 is tinyat just over 12cmwide andweighs just363g. You’ve a choiceof silver or blackfinish.www.pentax.co.uk

NIKON’SODDCOUPLETWOVERYDIFFERENT lenseshavebeenannouncedbyNikon.The£670FX-format 18-35mmf/3.5-4.5GEDboasts improvedoptics, aSilentWaveMotorand islightweightat385g.TheAF-SNIKKOR800mmf/5.6EFLEDVRsuper-telephoto is adifferentbeastentirely,weighing4,590gandoffering theultimate inpullingpower. It’s suppliedwitha1.25x teleconverter thatboosts its focal length to1,000mm. If you fancyone,start savingbefore its launch inApril– it costs£16,000!www.nikon.co.uk

GETSOCIALGet involvedwith the teamby joiningournewsocial channels. Sharephotos,opinionsandkeepup todateon the latestnews.Facebookwww.facebook.com/digitalslrphotoTwitterwww.twitter.com/digitalslrphotoFlickrwww.flickr.com/groups/digitalslrphoto

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PRODUCTNEWS EXPOSURE/3.13

GIOTTOSREINVENTSTHETRIPOD!GIOTTOSHASDEVELOPEDanewrangeof tripods thatuseaY-Tubecolumnat its centre that allows the tripod tobeup to30%morecompactwhenstored.TheSilkRoadSeriesYTL tripodsconsistof two-wayvertical-onlycentrecolumnsandmodelswithaversatile3Dcentrecolumn.Available inaluminiumorcarbon-fibre, therearethreeweight-capacitybrackets–5kg,8kgand10kg–andeither threeor four legsections.We’ll be testingoneof these innovativemodels soon.www.giottos-tripods.co.uk

NEWSONYLENSESUSERSOFSONY’SNEX rangehave twonewopticsto choose from. The20mmf/2.8pancake (effectivefocal length: 30mm) is available inMarch and isideal as a lightweight standard lens, albeitwith awider thannormal viewing angle. The 18-200mmf/3.5-6.3OSS (effective focal length: 27-300mm)boasts an 11x focal range and is optimised for videoaswell as photography. Prices tobeconfirmed.www.sony.co.uk

SAMSUNG’SLATESTFLAGSHIPNXSAMSUNG’SSTYLISHNX-series offers someofthemost innovative andfeature-packedCSCs. Therangenowboasts theNX300,which features a20.3-megapixel APS-CCMOSsensor,WiFi, 3.31intiltingAMOLEDmonitor, awide sensitivity rangeofISO100-25600andacontinuous shooting rateof8.6 frames-per-second. Also announced is theNX45mmf/1.8 2D/3D lens, an innovativeoptic thatallows stills or video tobe shot in either 2Dor 3D.Both are available later this year,while prices are yettobeconfirmed.www.samsung.co.uk

SHOOTOFFTHEGRIPBALLHEADSwithpistol grips aren’tthat new, but Vanguard’sGH-300T is oneof a kind thanks to thebuilt-in shutter release. It allowsyou to shootwhile panning,whichcouldhelp sports andwildlifephotographers capture imagestheymight otherwisemiss. It isavailable now for €200 (£171).www.vanguardworld.co.uk

ANINTERCHANGEABLE-LENSANDROID!POLAROIDHAS revealed theiM1836, a sleek-lookingcamera thatis the first touse theAndroidoperating system. There are very fewdetails currently available apart fromthe fact it offersWiFi, Bluetooth andshoots Full HDvideoaswell as stillimages. Looking very similar toNikon’s 1J1 butwith aneatwhite/black finish, the iM1836 is expected togoon salewith a 10-30mmkit lens later this year.www.polaroid.com

TAMRONSUPERZOOMMICROFOUR-THIRDSusersafter a superzoomshould lookatTamron’s 14-150mmf/3.5-5.8DiIII VC. It boastsaneffective focallengthof28-300mm, threeaspherical lenselements, asteppingmotor for fast andsilentAF,VibrationCompensationandweighsonly350g.Price andavailability tobeconfirmed.www.intro2020.co.uk

PRIMETIMEFORSIGMASIGMAHASANNOUNCEDfourprime lenses.The30mmf/1.4DCHSMisavailable inCanon,NikonandSigmafittingsandwithaneffective focal lengthof45mm,canbeusedasapremium, fast-aperturestandard.The19mmf/2.8DN,30mmf/2.8DNand60mmf/2.8DNareprimesdesigned formirrorlesscameras.TheMicroFour-Thirdsfittingsgiveaneffective focal lengthof38mm,60mmand120mmrespectively,whilewhenusedwithSonyNEX,the focal lengthhasa35mmequivalentof28.5mm,45mm,90mm.Prices andavailabilityare yet tobeconfirmed.www.sigma-imaging-uk.com

FUJIFILMX100SFUJI’SX100developedacult statusandhasnowbeen supersededby theX100S, offering anew16.3-megapixelAPS-CX-TransCMOS II sensorwithin-built PhaseDetectionpixels forimprovedAF speeds. Thenewsensorandprocessor claim to increase resolutionby25%and reducenoiseby30%whencompared to theX100. TheX100Salsoboasts a newautofocus system that can switchbetweenphase andcontrastdetection. It sports the same retro chic exterior as theoriginal and isavailablemid-February for around£1,100.www.fujifilm.co.uk

SPEEDBOOSTERWHATWOULDYOUsay ifwe toldyou that therewasanadaptor thatcouldmakeyourcurrent lenseswiderand faster?Well,meet theMetabonesSpeedBooster!Wewon’tgo into thespecifics,but theadaptoractsasa focal reducer,withax0.71 reduction ratio–meaning that youcangetalmost full coverage fromafull-frame lensonanAPS-Csensor, andgainanextrastopof light. Theadaptor ispricedbetweenUSD$400andUSD$600and iscurrentlyonlyavailable forSonyNEXandFuji Xcameras inCanonEF,ALPAandLeicaRfitments.However, aMicroFour-Thirdsversion is apparentlyon theway.www.metabones.com

PHOTONEWSEXPOSURE/3.13


INTERNATIONALLY-ACCLAIMEDphotographer Joey Lhasmadeaname for himselfwith his unusualapproach toportraiture. Aswellas his commercial andcelebrity

work, Joey iswell-known for applyinghisstyle to indigenous tribal subjects in placeslike Ethiopia, Kenya andSudan.Wecaughtupwith Joey todiscuss his latest project,whichhe is currently seeking funding for,calledPeopleof theDelta.“Theproject,which is primarilymovie-

based, cameabout because I recently hadthechance todirect a coupleof videos anditwouldbe agreat opportunity to apply thisskill-set tomypersonalwork. I see it as notonly a chance tobringmyphotography tolife, but I’ll alsoget to tell the storyof thepeople I’vemet and their daily struggles.”We’ve all seen tribal documentaries, but

Joey’s approachmakes this project standout. “Myphotographs aren’t shot in adocumentary style. I see this as beingmoreof an ‘art film’, shot in a very cinematic styleusing similar lighting tomy images. I have ascriptwritten and thefilmhas adistinct path.However,what I discovered frommy recentscouting tripwas that thepeople are verygoodat improvisation.Noneof themhaveever acted, or seen amovie, but as the story

covers everyday events for them, theydon’tfind anydifficulty in portraying thisrealistically. Becauseof this, I have tweakedthe script to followanarrative rather thangetting caught up in toomuchdialogue–the resultwill bemorenatural.”Having visitedEthiopia several times, it’s

clear Joey’s passion is firedupwhen talkingabout the tribespeople. “This part of theworld is an amazingplace to visit as aphotographer.Wedependonvisualappearance to tell a story, sowhensomebodydisplays exactlywho they areandwhat they’ve done in their lives throughthe scars theywearor how theydecoratethemselves, that’s theperfect subject.Onabroader scale, thesepeople’swayof life isincreasingly under threat by changingecological andpolitical pressures. I hope thefilmhighlights their struggle. Also,we’ll bemakingpayments anddonations to thevillages and thepeopleweworkwith.”Joeyhas chosen tocrowd-fund the

project through theKickstarterwebsite, anincreasingly popularmethodof sourcingfunding. “Thiswork is close tomyheart andthe last thing that Iwant is a studio steppingin andchanging things toglorify thesituation,” he says. “Crowd-funding allowsme tomake this project a realitywithout

PEOPLEOFTHEDELTAJoeyL’s latestprojecthashimraisingfundsandawareness inAfrica

compromisingon theend result. Earlybackers gain access to cool features, suchas anexclusive behind-the-scenes tutorialfeaturette, a one-to-oneportfolio reviewandcritiqueover Skype and signedgallery-quality prints.”Joey’s target fund is $150,000,which

he’s hoping to reachby 19March. Tosupport theproject, scan theQRcodeabove, or visithttp://kck.st/WoJ2ag

INTERESTED INPHOTOGRAPHY?Fancyadayout?Thenstartplanninga trip toFocuson Imaging, theUK’sbiggestphotoshow.Takingplaceat theBirminghamNECfromSunday3 toWednesday6March, it providesyouwithachance togethands-onwith the latestphotokit, pickupashowbargain fromoneof the tradestands,orbenefit fromseminarscoveringeverything fromlighting topost-production. If you’re reallylucky, youmightevenbump intooneof theDigital SLRPhotography teamwanderingaround!Ticketscost£10on thedayor£8online inadvance.www.focus-on-imaging.co.uk

VIEWTHEWORLDOFPHOTOGRAPHY INFOCUS

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PHOTONEWS EXPOSURE/3.13

THESTARTOF2013brought sadnews fortheUKphoto industry. Followingdisclosure that itwas in serious financialdifficulties last year, high-streetphotographic retailer Jessops fell intoadministrationon9January 2013,with 187UK stores closing their doors for the finaltime just a fewdays later, resulting inover1,800 job losses.Jessops first opened in 1935 as Jessop

of Leicester; by 2003 it hadexpanded to250high-street stores andhada strongonlinepresence.However, competitionfromother online retailers combinedwiththe changingphotographymarket sawJessops struggle tomake aprofit in recentyears, reportedly owingHSBC£30millionwhenadministratorswere finally called in.Largermanufacturers suchasCanon

andNikonwere key to Jessops’ businessandbothexpressed regrets regarding thenews.Canon said: “Canon is disappointedtohear of thenews regarding Jessops,havinghada strongbusiness relationshipwith the company formany years andparticularly followingour efforts tosupport themduring recent difficulttradingconditions.Canon remainedwilling to support, in a reasonableway, thecontinuationof thebusiness.Closureofthe stores and thedecisionnot tocontinuetradingwas that of the administrators. Any

JESSOPS GOES BUSTaction taken regarding Jessops’ futuresince the administratorswere appointed isthedirect consequenceof theirmanagementof the situation.”Nikonhas also said that despite reaching

anagreementonhow it could supportJessops throughdifficult times, itwasn’tseeing the results it expected. JohnWalshe,ManagingDirector ofNikonUKtoldDigital SLRPhotography: “Nikonsincerely regrets that Jessopshas goneinto administration. Jessopshas beenavaluedcustomer formany years andNikonhas continuously supported Jessops.”Onapersonal note, Paul Reynoldsof

Sigma ImagingUK said:“It’s incredible howmanypeople in this industry started theircareer as a sales assistant at Jessops–myself included! Thenews, although sad,wasn’t entirely unexpected andas suchSigmahadaprudent trading relationshipwith Jessops.Our thoughts go to themembersof our industrywhonowfindthemselves seekingemployment.”TheMasters PhotographyAssociation

hasoffered a year’s freemembership toformer Jessops employeeswishing to turnto freelancephotographywork.Thenewsposes thequestionof howwe

will buyphoto kit in the future. Are thedaysof try before youbuygone?Air your viewsat:www.facebook.com/digitalslrphoto

WHATDOYOUTHINK?Join inon thediscussion at

www.facebook.com/digitalslrphoto

Sowherenow?

INDUSTRY UPDATE

Howareyouaffected?I recently paid for a new camera

from Jessops which hasn’t yetarrived – where do I stand?Jessopshasstated thatcustomerswillnot receive theirorders. If youpaid foryourorder, inpartor full,usingacreditcard,werecommendthatyoucontactyourcard issuer foradvice. Ifnot, youmaystillhaveachanceofclaimingbackmoneyviaaclaimformat the following link:http://pwc.to/WQ0TI7.Alternatively,contact theJessopsGroupHelplineon01132894422.

I purchased a lens from Jessopsthat has developed a fault – am Icovered under its warranty?Checkyour lensmanufacturer’swebsite for the fulldetailsof itswarranty,as theseshouldstill behonoured. If youtookoutaJessopswarrantyorcareplan,werecommendthatyoucontact thehelplineonthenumberabove.

I have a Jessops gift voucher –is this worthless now?Yes–unredeemedcardsandvoucherswillnotbehonoured.Fillout theclaimformherehttp://pwc.to/WQ0TI7–youmaygeta refund.

I dropped some film into Jessopsto be developed off-site – how do Iget my film and/or prints back?Printsordered forhomedeliveryarebeingprocessedbyCeWe. If yourorderwasbeingsentback toJessopsforcollection,youcancontactCeWeon01926463117 tofindout its status.

Can I get a refund on my Jessopsacademy course?Pre-paidacademycourseswillnotberefunded,andthecourseswillnottakeplace.Contactyourcreditcardissuerorcall01132894422.

Nick Tsiatinis It’sbeen inevitable foryearsnow. I knowofnumerouspeoplewhowouldvisit Jessops toplaywith theequipmentandget freeadvice... andthenthank thesalespersonforhis/hertimebeforewalkingoutandbuying itoffthe internet.

Kev WarrilowThefact is thatJessopswasalwaysmuchmoreexpensive thannearlyeverywhereelse...

Emma Van Looy I usedtoworkatJessopsandeveryonewasawareof thedifficulties.Unfortunately itwasonlyamatterof timebefore thishappened.

Keith Nuttall I boughtmyD300fromJessops,as itwas local,butmainly forthegoodprice.Unfortunately, theknowledgeofsalesstaffhasgenerallybeenpoor inmyexperience,andtheirlenspriceswereunrealistic.

WhatourFacebookmembershadtosay

JESSOPS GOES BUST

Aquick internetsearchwillprovideyouwithyournearestcamera retailer.You’ll alsofindmanyreputablephotoretailersadvertising in thismagazine.Here isashortlistof sometoconsider:

London Camera Exchange:www.lcegroup.co.ukWEX Photographic:www.wexphotographic.comPark Cameras:www.parkcameras.co.ukCameraworld:www.cameraworld.co.ukGrays of Westminster:www.graysofwestminster.co.uk

PICKSOFTHEMONTHEXPOSURE/3.13

1)CAMERAIwouldpackmyHasselbladHD4D-50; I knowIcanalwayscounton it todeliverperfectfilesevery time. I’d like to think that I’dspendmytimeon the islandshootingwith thenotion that if Iwereever tobe rescued, I couldhaveanexhibition full ofbeautifullargeprints, full ofdetail,documentingmy time there!

6)APHOTOTAKENBYANOTHERPHOTOGRAPHERIt’s a littlebig so I’dhave tocheckmy luggageallowance,butmyfavourite image isStevenMeisel’sUntitledVII, fromhis seriesFourDays inLA:TheVersacePictures,2000displayed in theWhiteCubegallery inLondon. It nowsits rightoutsidemyofficeand Ican’t livewithout it.

2)LENSIt has tobe theHasselblad50-110mmf/3.5-4.5 lens so Icancoverbothwide-angleandtelephotoshotswithout switchinglenses.Howstrict arecustomsonthe island? If I couldgetawaywithit I’d also try toslip inmyHasselbladHCMacro120mmf/4lens, too, so that I could shootstarfish tomyheart’s content.

4)PHOTOACCESSORYIwouldpackmyTiffenfilter kitcontaininggraduatedNDfilters sothat I couldmake theskies richwithcolour. I enjoy layeringmultiplegraduatedfilters and/orapolariser toenhanceandmanipulate thesky.

3)ONEPHOTOCOMPANIONIwould takemy favouritemodel intheworld,HoudaShretah.Wehaveworked together formanyyears, she is alwaysamazinglyfunnyat the right timeandwouldbeagoodmuse tophotographwhiledesertedonan island!

Photocastaway:#2MichaelGreccoWe’ve theoreticallypackedcelebrity andcommercial photographerMichaelGreccoofftoadesert island tospend the restofhisdays.We’vebeenkindenough toallowhimtotakealonga fewphotography-based luxuries–findoutherewhich itemshechose...

5)ONEOFYOURPHOTOSItwouldbemyfirstpublishedconceptualportrait, shot in 1991.It’sofwriter andperformerBarryYourgrauposingasaDodgehoodornament.Hehadwrittenatongue-in-cheekarticleabouthowhis67DodgeDartwas thecoolest andmostphalliccar in thecarcapitalof theworld, LosAngeles. It seemedappropriate!


Everyone loves agoodbehind-the-scenes videoand thepeople at Phlearnproducesomeof themost informativeout there at themoment. Theconcept of blowing asparkler into amodel’s face is definitely not one that you should try at home, but it’sworthnoting that themodel’s eyes are closedduring the shoot andheropeneyeappears tobecloned in later. The video illustrates how theyovercomesomeof thechallengesof the shoot, including an intricate four-light set-upusingcolouredgelsandhow tobest treat and interactwith amodel on set.Great video! Towatch it, visit:http://bit.ly/YkfTTGor scan theQRcodeabove.

VIDEOOFTHEMONTHVideoof themonth

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PHOTO OPINION EXPOSURE/3.13

Appofthemonth

EYEEMPRICE:FREEPLATFORM: IOS /ANDROID/WINDOWSWWW.EYEEM.COM

While Instagramstill hasthe lion’s shareof themarketwhen it comes toretro-filter-basedsocialimagingapps, its recenttermsof serviceupdatehas seenanewcomerreceiveasurge inpopularity. EyeEmoffersretrofilters and frames inasimilar vain toInstagram,but indoingsooffersan interfaceand taggingsystemthatisnotonlyeasier andquicker touse,but looksa lotbetter, too!What’smore,unlike Instagram,the filters and framescanbeappliedpre-imagecapture, so youcan seewhat your finalimagewill look likebefore you snap it.Wellworth a look!

DARRENTHORNDICK,ENTHUSIASTPHOTOGRAPHER,WWW.DARRENTHORNDICK.CO.UK

”I feel that photographycomprisesthreemain aspects: composition,

lighting and subjectmatter. A goodphotographhas anevenmix andblendof these three aspects thatworktogether in harmony toproduce a

stunning image, and aphotographer’s role is tocontrol these aspects as best aswecan. Althoughwecan still utilise the skills of composition andsubjectmatterwhen shootingwith amobile phone,they take awayour ability to control the exposureofa scene for themost part. A camera shooting inautomode suchas amobile phonewill always try toget to themiddle ground in termsofWhiteBalanceandexposure,which is not necessarilywhatwewant. Retaining control of the exposurebywayofcontrolling ISO, aperture and shutter speed iswhatseparates a snapshot fromaphotograph. I’mnotsaying that cameraphonesdon’t have their uses inaiding aphotographer– I usemine to scoutlocations, check sunset times andpositions andalso toquicklyworkout time-lapse scales. Thesmartphoneswehave today are very powerful atwhat theydo, but beingused as a replacement for afullymanual camera is not oneof those. I put therise in popularity ofmobile phonephotographydown toconveniencemore than anythingelse–they canproducedecent enoughquality imagesand they are always inour pockets. For that reason,I can see themeventually takingover the compactpoint-and-shootmarket, but as far as beingusedforwhat canbeconsidered ‘serious photography’?I can’t see it happening.”

DANIELLEZANO,EDITOR&ENTHUSIASTPHOTOGRAPHER

”If you think thatmobile phonephotography is not a validwayof

takingpictures, then thechances areyou’venot usedoneof the latestmodels. I consideredmobiles asonly fitfor snapshots until I startedusing an

Apple iPhone4acoupleof years ago. Its five-megapixel cameramaynot challenge thequality ofoptics ofDSLR lenses, but it’s still very good.Moreimportantly, the access to an arsenal of apps allowsit to capture very creative results. Hipstamatic, inparticular, changedmyviewof ‘iPhoneography’ andconvertedme fromsceptic to fanaticwithinminutesof using it. I’mnot alone inhaving this view–countless friends I’ve shown ‘Hipsta’ images toimmediately boughtHipstamatic andcontinue touse it regularly.Having just acquired the iPhone5,I’mkeen to seehow its eight-megapixel cameraperforms.Now, there’s no argument that, in termsof versatility, a digital SLRoutfit offers farmore thanmobile phones ever can, but that’s not an argumentagainstmobiles being viable tools for photography.Myhomehas several large framedprints on thewalls thatwere takenon the iPhone4and, trustme,you’dnever know theywere shot onamobile. I’m innodoubt that in termsof imagequality, the latestgenerationsofmobiles deliver incredible results.Thebest thing about usingmobiles as cameras isthat they are always close tohandand ready tousein seconds. Add the fact youcanedit imageson themovebefore sharing themwith ease via email, textor socialmedia, and it’s clear themobile is theultimate in convenience and speed. If you’venevertaken iPhoneography seriously, give it a shot– youmight bepleasantly surprised at the results.”

FOR&AGAINST...MOBILEPHONEPHOTOGRAPHY

What you had to say...Weaskedour Facebook fans if imagecreationusingamobile phonewas a valid formof photography…

YES:84% UNSURE:4%

NO:12%

MICHAEL

BAT

EMAN

KITTIP#1STUCKFILTERIf youhaveafilter stuckononeofyour lensesthat justwon’tbudge,wrap twoor threerubberbandsaroundthefilter ring forextragrip. If thisdoesn’twork,press theendof the lensdown into the rubbersoleofa shoeand twisttheshoeand lens inoppositedirections.Problemsolved!

STUCK FILTER

BOOKSEXPOSURE/3.13


Africa£25 /Michael Bright /QuercusNaturalHistory /ISBN978-1-78087-914-7

Part of the allureof anyDavidAttenboroughdocumentary is thebreathtaking imagerycaptured. Youcould almost pause theprogrammeat anymoment and the resultingfreeze-framewouldmake for an amazingphotograph. This title accompanies the recentAfricadocumentary andcontains equallystunning images alongwith all the information

VERDICT:Fantastic photography andinformative content. The augmented realityadds to thewow factor.Deserves aplaceonmany acoffee table...

Rating:

VERDICT: If you’re a fanof fun andquirkycameras, andwant to knowmore about how touse yours, pick this up.

GreatPhotos–SimpleCameras£26.99 / BerndDaub /RockyNookISBN978-1-937538-02-6

Sometimes it’s tooeasy toget caught up in thetechnical aspect of taking agoodphotographand forget that sometimes simplicityworks. Thisbook aims to strip photographyback tobasicsby covering the ins andouts of takingpictureswith simple cameras, like aHolga.Unfortunatelythere are somegreat basic cameras that don’tget amention.Nonetheless, this typeofphotography, althoughniche, is growing inpopularity (we’re looking at you, Instagram), so ifthis is of interest to you, it’sworth a read.

Rating: Rating:

Rating:

VERDICT:Well laid out andcomprehensive. Ifyouwant help in takinggreat people portraits,then this is amust!

Michael Freeman’sPhotoSchool: Portrait£17.99 /Michael Freeman / IlexISBN978-1-908150-95-0

Photographingpeople isn’t easy–manyvariables can affect the successof your images.Thankfully, this title goes a longway in coveringthe various aspects that youcancontrol during aportrait shoot. Fromposing to composition,lighting toprocessing,most topics are coveredin detail. The accompanying images arecontemporary andof ahighquality, andeachchapter has a challenge tohelp you improveyour skills. Theonly thingmissing is lightingdiagrams, especially in the lighting chapters.

VERDICT:Thebookdoes agood jobofpersuading you touseoff-camera flash, butwewon’t beusing a Flash Stick anytime soon.

TheFlashStick£16.11 / Rod&RobinDeutschmann /AmherstMedia / ISBN978-1-608955329

Anyonewhohasdabbled inoff-camera flashwill testify that the results areoftenmuchimprovedwhencompared tousing your flashon-camera. This book takes this idea andemploys the rather bizarre-lookingconcept ofplacing your flashon theendof a pole–affectionately called the Flash Stick. The resultsare as you’d expect fromphotographerswhoknowwhat they’re doingwithoff-camera flash– they illustrate thepoint verywell. But thequestion that keepspopping into your head is:What’swrongwithusing a lightstand?

that you’d expect about thewonderful continentand its incrediblewildlife.What’smore, youcanuse your smartphone toviewaugmented reality content, such as videosand images, that come to lifewhenyoupointyour phone’s camera at thepage. Thewondersofmodern technology!

©ANDYROUSE

BOOKOFTHEMONTH


EXHIBITIONSANDCOMPETITIONS EXPOSURE/3.13

ManRayPortraits 1

7 February to 27May / £12.70 /National PortraitGallery, LondonThis exhibition featuresover 150prints ofinfluentialmodernist photographerManRay’sportraiturework inAmerica andParisbetween 1916 and 1968.www.npg.org.uk/manray

SnapshotsofMumbai 3

9February to6March / Free /BilstonArt andCraftGallery,WestMidlandsRegularDigital SLRPhotographycontributorPaulWardexplores thebustlingmetropolis ofMumbaiwith his unique style of photography.www.snapshotsofmumbai.com

MigrationStories:ValentinaBonizzi23 February to 22September / Free /NationalGalleries ScotlandValentinaBonizzi uses videoand still imagesto explore theexperiencesofmigrants acrossthe ages, from1850 tomodernday.www.nationalgalleries.org

Enter before 30April and receive 10%offentryfees.Closingdate: 31May. Entry cost: USD$15students, USD$25non-professionals,USD$35professionals.www.photoawards.com

TheAestheticaArtPrize 1

Judgedby anexperienced jury, theAestheticaArt Prize is offeringup to£1,000 in cashprizesalongside anexhibition in York andcoverage inAestheticaMagazine.Closingdate: 31August. Entry cost: £18www.aestheticamagazine.com

2013AstronomyPhotographeroftheYearawards 2

Calling all space fans! Point your lenses towardsthenight sky andenter the fifth annualAstronomyPhotographer of theYearCompetition. Thewinner nets a £1,500grandprizewith eachcategorywinner takinghome£500cash.Closingdate: 13 June. Entry cost: Free.www.rmg.co.uk

Thames212013AnnualPhotographyCompetitionSeeking thebest andmost inspirationalimagesof London’swaterways, Thames21 isoffering£250 for thewinner alongwith acopyof theNationalMaritimeMuseum’sAnsel AdamsExhibitionBook.Closingdate: 26March. Entry cost: Free.www.thames21.org.uk

NikonSmallWorldIf you’re a fanof ultra-macrophotography,then this is the competition for you.What’smore, enter and you’re inwith a chanceofwinningup toUSD$3,000-worthofNikoncamera kit for your troubles!Closingdate: 30April. Entry cost: Free.www.nikonsmallworld.com

InternationalPhotographyAwardsAn impressiveUSD$20,000prize fund is upfor grabs, including aUSD$10,000grandprize. The IPA is open to students, professionalandnon-professional photographers alike.

Competitions

Exhibitions

©SEB

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AGES/N

BPICTURES.

LE VIOLOND’INGRES, 1924BYMANRAYMUSEUMLUDWIGCOLOGNE,PHOTOGRAPHYCOLLECTIONS (COLLECTIONGRUBER)©MANRAYTRUST /ADAGP©COPYPHOTOGRAPHRHEINISCHESBILDARCHIV KÖLN

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MishkaHenner2March to5May / Free /OpenEyeGallery, LiverpoolManchester-basedMishkaHenner dissects thevalueof photography in aworldoversaturatedwith visualmedia.Henner uses large-scalecomposite imagesmadeupof elements fromvarious typesofmedia.www.openeye.org.uk

MartinParr’s Liberation22March to 12May / £5.75 /GuernseyMuseum&ArtGalleryRenownedBritish photographerMartin Parrdebuts Liberation–acollectionof imagesdocumentingGuernsey’s LiberationDayCelebrations.www.museum.guernsey.net

SebastiãoSalgao:Genesis 2

11April to 8 September / £10 /NaturalHistoryMuseum, LondonExperience themajesty of nature in thiscollectionof landscapes,wildlife and remotecommunities by Sebastião Salgado.www.nhm.ac.uk

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2013Photoworkshops:Lookingforsomeexpert tuition?Here’saround-upofphotocoursescoveringarangeofsubjects

PHOTOTUITIONEXPOSURE/3.13


LandscapesGiantsCausewayCoast

26-29April / £895EnjoyNorthern Ireland’sGiantsCausewayCoast under theguidanceof professionalphotographerDavidClapp.www.lightandland.co.uk

Tuscany11-18May / £1,775Aweek in Tuscany in thecompanyof photographersCliveMinnitt andPhilMalpas isonenot tobemissed!www.lightandland.co.uk

LeeFrostPhotoAdventures:Iceland24May-3 June / £2,200JoinDigital SLRPhotographycontributor Lee Frost on aphotographic adventure tobeautiful Iceland.www.leefrost.co.uk

LakesandMountains–Slovakia6-9Juneand 10-13 June / £650JoinDigital SLRPhotographycontributor RossHoddinott in thebeautiful TatraNational Park,in Slovakia.www.tatraphotographyworkshop.com

BRET

THARKNES

SROSS

HODDINOTT

IcelandWorkshopwithJohnGravett16-23 June / £1,995Eight days amongst stunningmountain ranges, icebergs andvolcanoswith JohnGravett.www.keadventure.com

DolomiteswithCharlieWaite14-20July / £1,845This photoholidaywithlandscapeproCharlieWaitewill help youbest capture thisbeautiful part of Europe.www.lightandland.co.uk

LakeDistrict: YoungPersonsWorkshop21-25 July / £475Oneof the fewcourses aimedatyoungphotographers, aged 11years andolder, in theheart of theLakeDistrict.www.lakelandphotohols.com

LandofFireand Ice– Iceland2-8September / £1,899Capture cascadingwaterfalls andmajesticmountainsonaseven-day tripwith LeePengelly.www.tatraphotographyworkshop.com

OrkneywithLeeFrost4-11 September / £1,395

RossHoddinott:DorsetCoastline

NatureEurope’sGreatPredators:

Germany18-21March / £475You’re likely to see lynx, bears andwolves during thisworkshop inGermany ledbyphotographerSimonStafford.www.tatraphotographyworkshop.com

EaglesofHortobágy:Hungary5 to8December / £899Spendtime inside specially designedhideswithin theHortobágyNational Parkwith bird-expertBenHall.www.tatraphotographyworkshop.com

SpringColoursatHighBeeches18April / £95Join theexperts at ParkCamerasfor this one-day courseoncapturing spring colours atHighBeechesGardens in Sussex.www.parkcameras.com

Photography forBeginners10May / £150This course atColchester Zoo

Wrapupwarmand join Lee FrostandDuncanMcEwanon theOrkney Islands inNorthernScotland for somestunningcoastal scenery.www.leefrost.co.uk

DorsetCoastline14 September / £120RossHoddinott andMarkBauerlead this one-day tour of themagnificentDorset coastline.www.dawn2duskphotography.co.uk

Colorado&Utah–AmericanHigh27September-8October / £3,495JoeCornish andAntony Spencerguide youona journey throughColoradoandUtah, including thespectacular RockyMountains.www.lightandland.co.uk

covers thebasic of photography,and you’ll get topracticeon someamazingcreatures, too!www.photography4bigcats.co.uk

LakeDistrictNatureWorkshop19-25May / £685Experience thebeautyof theLakes in this six-daynatureworkshopwith LakelandPhotographicHolidays.www.lakelandphotohols.com

Photography forBeginners17August / £125Capture snow leopards, amurleopards and jaguars, andpick upthebasics of photography at theCat Survival Trust.www.photography4bigcats.co.uk

BirdsofPrey5-7 and8-10November / £499BenHall teaches youhow tocapture all kindsof birdsof prey inin theCzechRepublic.www.tatraphotographyworkshop.com

IsleofSkyewithDavidWard5-12October / £1,695The Isle of Skye is a longwaynorth, but it’swellworth the tripfor the scenery alone.www.lightandland.co.uk

RuggedNorthCornwall13 to 15October / £425Let RossHoddinott andMarkBauer guide you to the top spotson thenorthCornwall coast.www.dawn2duskphotography.co.uk

GoldenYosemitewithAdamBurton19-27October / £2,899AdamBurtonguides you throughthiswonderfulNational Park inCalifornia.www.tatraphotographyworkshop.com

PortraitsLaraJadeStudioWorkshop

20February / £400Join renowned fashionphotographer LaraJade in London tocover the ins andouts of studiophotography.www.larajadeworkshops.com

BrettHarkness: It’sAllAboutWeddings19March / £462Weddingphotography is a lucrative business sowhynot learn fromoneof thebest at themagnificentCreweHall?www.brettharknessphotography.com

BrettHarkness: LocationFashionFlash29April / £510 If off-camera flash leaves you feeling confused thenthis one-day course at anoldManorHouse in Shropshire is perfect.www.brettharknessphotography.com

BrettHarkness: SummerWeddingFashionExtravaganza24June / £510This course aims to teach youbothnatural light andflashphotography, but there areonly tenplaces, sobequick!www.brettharknessphotography.com

BrettHarkness: LocationFashionFlash


DIARY EXPOSURE/3.13

Variousdates throughoutFebruaryandMarchSnowdrop festivals

Lookonline for your localdisplay– lots of historicalhouses upanddown thecountry open their gatesin celebrationof thesespringflowers, and it’s agreat chance toperfectyour gardenphotography.A favourite is the ScottishSnowdropFestival,withmore than50venues keento showoff theirsnowdropgardens.www.nts.org.uk/Events/Theme/Scottish-Snowdrop-Festival

Until 28FebruaryWinterbirdwatching

atPaghamHarbourWinter brings awaterbirdspectacle,with up to20,000ducks, geese andwaders feeding and

roosting around thisglorious andpeacefulnature reserve. Thebigshelteredbay fills andemptieswith each tide,where you’ll catchwildducks, geese andwadingbirds flighting to and fro,and thebeautifullandscapes create a lovelybackdrop.Don’t forgetyour telezoomtomakesure subjects fill the frame.www.rspb.org.uk/paghamharbour

ThroughoutMarchandAprilLambingseason

The lambing season is theepitomeof spring, and itwill be in full swingthroughMarch andApril.Nomatterwhere youarein theUK, you should finda farmnearbywhere youcanphotographbaby

lambs to celebrate thebeginningof spring.

9-10MarchScottishMotorcycle

Show,RoyalHighlandShowground, Ingliston,EdinburghWithbreathtaking livestunt showsanda trialsdisplay team, therewill belots to see, andbrilliantentertainmentonoffer allweekend.Get a sneakpeek at all the latestmodels of bike for 2013,plus thebiggest collectionof classicmotorcyclesspanningover 80 years.www.scottishmotorcycleshow.com

14-24MarchFalmouthSpring

Festival,CornwallFor tendaysofMarch,Falmouthbecomes afun-packed town. Eventsinclude rockpoolingsessionsonCastle Beach,brass-band shows, springfestwalks andpainting thetownyellowasnearly 100shopwindowsarebrightenedupwithdaffodils anddecorations.www.falmouth.co.uk

15-17MarchTheShireHorse

Society2013SpringShow,EastofEnglandShowground,PeterboroughIf youenjoy a spot ofanimal andpetphotography, here’s

your chance to shootsome fantastic imagesofmajestic shire horses.Withmore than200competinghorses,vintagedisplays, aVictorian funfair andmore, there’ll beplenty tokeepyouandyour cameraentertained allweekend.www.shire-horse.org.uk/spring-show-18

16MarchTheMighty

Deerstalker, TraquairHouse,PeeblesshireGive your nightphotography aworkoutby shooting tweed-wearing fancy-dressrunnerswhen the sungoesdown. The 10Kcross-country runfeatures a course full ofmuddy streamsandobstacles, so there’ll beplentyof opportunity forcracking action shots.Fireworks complete theevening, sodon’t forgetyour tripod.www.notoriousnightruns.com/deerstalker

17MarchWinchesterDuathlon

The very first duathlon tocome to thebeautiful cityofWinchester. Try outyour panning techniquesas the sprinters andcyclists compete againsteachother in this epicrace– the sprint distancesection is a 5km runand20kmcycle, followedbyanother 5km run.Not forthe faint-hearted!www.trytri.co.uk/ 2013-events/winchester-duathlon

23MarchHoliCelebrations,

RichmondJoin in this spring religiousfestival celebratedbyHindus andSikhs. Justmake sure you standwellbackwith your camera aseveryone throwsbrightlycolouredpowder andwater over eachother!Expect anexciting andcolourful arrayof danceandmusic, includingBollywoodandBhangra.www.richmond.gov.uk/holi

EVENTSDIARYWHERETOGO&WHATTOSHOOTTHISMONTH

Snowdrops inbloom

GIGIG

IANNELLA

HINDRIK

SIJENS

TheShireHorseSocietySpringShow

HoliCelebrations

INBOX EXPOSURE/3.13


Haveyousomethingtosayaboutthemagazineorphotographyingeneralthatyou’dliketosharewithotherreaders?We’dlovetohearfromyou,sopleasewritetousatourusualaddressorsendanemail to:[email protected]

READER FEEDBACK

PEDALPOWERI wanted to send you this image in response to theMasterDarkness sectionof the January 2013 issue. Likemanyofyour readers, theweather last year conspired against us anddry dayswerenaturally takenupwith child-based activities.The sectiononpaintingwith light provided theopportunityfor a fewmuch-neededhoursof creativity in thegarage tokeep thephotographic fungoing. Please continuewiththese encouraging sectionsofwhat is a fantasticmagazine.Could I also suggest a sectiononphotography in fishing, boating, swimmingand the

correctways to light the ark if theweather endsupaswet in 2013 as itwas in 2012.AdamSmithEditor’s reply:Thanks for your suggestion, Adam,we’ll keep it inmind!

@ZIADALHIJAJjust foundmy@DigitalSLRPhotomagazineat thedoorstep, happydays!

@KRW80@DigitalSLRPhoto I’ve foundall the “HowTo” style articlesreally useful–wouldbegoodto see somethingonurbanphotography.Cheers.

@B15DVEAnyone like to see abit ofevening sunshine?#usnp@DigitalSLRPhoto@peakwalkdays#photographypic.twitter.com/0ZEKVHeT

@NORN_IRONMAN@DigitalSLRPhoto Jessopsclosurenot good4stafforindustry but it’s beena longtimecoming. In part due tomtg strategy adoptedoverpast 15yrs or so.

@_OVEREXPOSED_@paulwardphoto@DigitalSLRPhotoWell done,somegreat pictures.

TOPTWEETS

THROUGHTHEPINHOLEI noticedwith interest your

featureondigital pinholephotography in theFebruary2013 issue. I’vebeenusingahomemadepinhole lens forawhileand Iwholeheartedlyrecommend it. Thereareacoupleof things Iwouldpointout though fromexperience–first, the longexposuresandthepinhole (ahole, albeit asmallone) that’sopen to theelements seems to increasetheamountoffinedust thataccumulateson thesensor.Theyareveryevident in theimagesbecauseof the largedepth-of-field. Second,exposure timesarean inexactscienceand it takesa fewattempts toget thingsspot-on.Don’tdiscard theunder-andoverexposedframes. If youhaveanHDRapplication likePhotomatix,use themtocreateanHDRpinhole image. It soundsstrangebutyoucanachievesomereally interesting results–here’s anexampleofmine.MrCarl JacquesEditor’s reply:Greatwork,Carl, thanks for the tips.

STARTINGOUTI readyourNovember2012

issueandwasamazedat theimmensenumberof tricksthat technologyhasenabled

us todo inorder toget thatperfect shot. Iwasenthralledby thePhotoshop tips fromJordanButters.Beingnewtophotography, I particularlyenjoyedExpertCritique. Thetechnical information (ie thecamerasettings included intheshots) areespeciallyusefulandhelpful forme to take thatshakystepaway fromtheautomode.This is clearly amagazinededicated to thosepassionate to learnall there isaboutgreatphotography.ButIwonderhowphotographerscapturefleetingmomentswhen they travel, usingatripodandhaving tochangebetweenall thevariouslenses?Whatwouldbe thebareminimumonewouldneed for, say, a travel trip tocapturenature, landscapeandcandid shotsofpeople inactionand theoccasionalinterestingwildlifewithoutcarryingback-breakingequipment?Often Ifind themomentpasses,whichfrustratesme. I amexcitedbutverydaunted,especiallywhencomparing to theeaseof thecompact Ihavebeenused to.JHusseinEditor’s reply:ADSLRwith a50mmf/1.8 lens, ultra-widezoomanda55-200mmtelezoommakeupadecentkit for travel photography.

SECRETMESSAGE…In the last issue,our secret

messageasked if anyoneactually read them!ShaunDavis fromBasingstokewasthefirst reader to reply ‘yes’.LuckyShaunwinsabagofgoodies forhiseagleeye!

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WojciechDziadoszAge: 24 /Occupation: Surveyor

TheSunAlsoRises: “Thiswas taken not far frommyhome, nearWroclaw in Poland. I awoke to thick fogand soon enough the earlymorning sun began toburn through. I took twoexposures–one for theforeground andone for the sky– and combinedthe two alongside basic colour correction, levelsand contrast adjustments in post-processing.”NikonD200withaTokina12-24mmf/4PRODXII.Exposure:1/90secat f/8 (ISO100).

24 /DIGITAL SLRPHOTOGRAPHY /march2013

HussainTaroutiAge: 30 /Occupation:Banker

TheEdgeofGlory: “I took this a couple ofmonths ago inside the BurjKhalifa inDubai – the tallest building in theworld. It was noon and thesunlight coming in from the hugewindowswas so bright that I hadmycamera prepared– I knewaphotographic opportunitywouldn’t be faraway. These dark escalator steps contrastedwith the light bouncing offthewhitewalls through the floor and so Iwaited for themomentwhentherewere no shadows being cast on thewalls. In Lightroom, Imadeadjustments to highlights, shadows and contrast.”CanonEOS5DMkIIwithaSigma15mmf/2.8EXFisheye lens.Exposure:1/15secat f/3.5 (ISO800).

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WojciechDziadosz (continued)

MountainsAwake: “striding along the stony steps leading down thevalley, I cameupon a breathtaking sight. I positionedmyself on oneofthe rocks near the edgeof awaterfall. The rockswere slippery and anywrongmovement could end tragically, but I threwcommon sense tothewind– I couldn’tmiss the shot. Themountain peakswere shieldedby the clouds and the light poured down the valley. I usedCokin 0.6 and0.9nDgrad filters to addmovement to thewater and hold back the skywhilst exposing the light spilling down the valley. This is oneofmyfavourite shots from this trip.”NikonD200withaTokina12-24mmf/4PRODXII lens.Exposure:Onesecondat f/20 (ISO100).

GoldenAutumn: “This is oneof a series of photos I took this fall inrudawy Janowickie– amountain range inWestern sudetes, poland.I spent the night on topof the highestmountain in the area and awoketo a fantastic view.on thismorning, theweatherwas perfect – therewas a dense sea fog and the earlymorning light created a fantasticpattern in themist as it pierced through the tops of the trees. I used aCokin 0.6nDgrad filter to create a gradient fromdark to light in theimage, and in post-processing, adjusted only tones, levels and curves.”NikonD700withaNIkkORAF-S70-300mmf/4.5-5.6DVRlens.Exposure:1/250secat f/10 (ISO200).

commentWow!Wojciech’s images

grabyourattentionusingvividcolours and fantastic light!

I love theatmospherecapturedby the lightpiercing

through the treetopsandmist in this image.

JordanButters


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commentThese stunningportraits

haveaprofessional feel tothem.Agreat location, beautiful

model, expertly appliedmake-upandsuperb

techniquecombine togivefantastic images.

daniel Lezano

march2013 /DIGITALSLRPHOTOGRAPHY / 27

AlexFilatovAge: 30 /Occupation:Photographer

First Light atMonumentCove: “Thiswas taken atMonumentCove, awonderful off-the-map location in AcadiaNational Park,Maine. Ibracketed several exposures, using the longest exposure I could bystopping down to f/22.When I combined the images in Photoshop, themist-likewater between the rocks gave the image an ethereal feel.”NikonD700withaNIKKORAF-S14-24mmf/2.8GEDlens.Exposure:Multipleexposuresat f/22 (ISO200).

BassHarbor Sunset: “BassHarborHead lighthouse is oneof themostphotographed sites in AcadiaNational Park,Maine. I arrived early, set upand composedmycapture so that the lighthousewould be reflected ina puddle of seawater left by the receding tide. Due to the shapeof thecoastline, rather than usingNDgrad filters I opted for bracketedexposures andmanually combined them in AdobePhotoshop instead.”NikonD700withaNIKKORAF-S14-24mmf/2.8GEDlens.Exposure:Multipleexposuresat f/13 (ISO200).

MarkusOskarssonAge: 26 /Occupation:Photography student

WhatRemains 1: “I had spotted this location beforehand and knew I hadto use it. I sourced amodel andmy friend,who is amake-up artist, and Iwent about finding somebohemian-themedclothing fromsecondhandstores.On the day of the shoot, the skywas clear sowewaited until thesunwas low in the sky for the best light. I used a shallowdepth-of-fieldfor a dreamy feel and a reflector to lift the shadows.”CanonEOS5DMkIIwithaCanonEF24-70mmf/2.8LUSMlens.Exposure:1/350secat f/4 (ISO100).

WhatRemains2: “After choosing the images from the shoot that Iwanted toworkwith, I set about processing them. I applied a subtlecross-processed look,withwarm tones and ablue tint to the shadows.I carriedout some light retouchingbydodging andburningusingCurvesbefore adding somegrain using theAlien Skin Photoshopplug-in.”CanonEOS5DMkIIwithaCanonEF24-70mmf/2.8LUSMlens.Exposure:1/250secat f/4 (ISO100).

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StefanoGranataAge: 32 /Occupation:Business and art director

Lei: “Thiswas shot as part of a test shoot in an old abandoned trainstation– itwas a great location, completewith decommissioned trains!I had just purchased a secondhandNikon80-200mm f/2.8 zoomandwanted to try it out for someportrait workwithmymodel andmuse,Laura. In post-processing, I converted the image to black&white andadjusted themonochrome tones by tweaking the colour sliders inLightroom. I then imported the image into PhotoshopCS6 to carry outthe finer adjustments required.”NikonD700withaNikonAF-D80-200mmf/2.8 lens.Exposure:1/320secat f/2.8 (ISO250).

AlanChanAge: 31 /Occupation:Civil engineer

TheShiningJewel: “TheGoldenGate Bridge ismuchphotographed–however, whenever there is low fog sweeping through the bay, it’ssomething thatmust be seen. I wanted to shoot a panoramawhere SanFranciscowould fall between the towers of the bridge. Using a spiritlevel to level the tripod, I overlapped the shots by around 25% to ensureenough coveragewhenmerged. These in-camera techniques helped tomake a nicemerge between the images. I thenmade someexposureadjustments before selectively dodging and burning.”CanonEOS5DMkIIwithaCanon70-200mmf/2.8L ISUSMlens.Exposure:15secondsat f/11 (ISO100).

DayBreak: “Bonsai Rock is a photographer’s favourite on theNevadaside of Lake Tahoe. I composed this shot so that the sunrise colours inthe sky seemed to be radiating from the rock. I selected the narrowestpossible aperture to lengthen the exposure and smooth out the choppywater. I used a SinghRay 0.9ND reverse grad filter to hold back thehorizon and then, in post-processing, corrected the exposure on therock and snow-cappedmountains.”www.alanchanphotography.netCanonEOS5DMkIIwithaCanonEF16-35mmf/2.8L IIUSMlens.Exposure:25secondsat f/22 (ISO50).

COMMENTGreat travel imagesmake

youwant topackyourbagsandheadout to the locations. Thesewonderful landscapes, packedwithatmosphere,moodand

colour, do just that.CarolineWilkinson


Theybecomeourbest friends,oursurrogatechildrenandoftenourfavourite– ifnotmostaccessible–

subjects tophotograph.Theycome inallweirdandwonderful varieties, eachwithuniquepersonalities, andwhilenotalwayswillingsubjects, canmake themostendearingpictures.Pets,whether they’refuzzy, furryor feathered,offer lotsofphotoopportunities. youdon’t evenneedastudioorflash forcreative results– in fact, keeping itsimplewithnatural light andconcentratingon theconcept, techniqueandbackgroundcanoften lead to thebest imagesof yourbeloved.The lessequipmentyouuse, the lessintimidatedcamera-shycharacterswill be,making it easier tocaptureeyecontact.Acameraandshort lenses, likeawide-angleor50mm, is all youneedandavoid telezoomsunlessyou’re shooting fromadistance.

Whilewegiveyou tengreat ideas to tryhere thismonth,wewereoverwhelmedwithchoiceas there’s reallynoendof inspirationalideaswhen it comes toshootingpets.A lotofsuccess,however, hingeson reacting to theenvironment. youcanorchestratean imagewith thehopeof itworking– for instance,enticingyourpet into thebest lightwithyourcameraat the ready–butmostof the timethebest imagescomefromimpromptumoments, especiallywhen thepet is youngandup tomischief! Therearea fewfail-safetechniquesyoucanapply toanypotentialpicture idea, regardlessofwhether yourpet’sexoticordomestic: shootwithawideaperture (f/5.6orwider) toblurdistractingbackgrounds, focuson theeyesandshoot inrawtoallowyourself scope forerrorasquickreactions rarely result inexactly the rightcamerasettingsevery time.Good luck!

TechniqueofThemonTh...

WheTheryou’reAcATordoGPerson,orlovehorsesoverhAmsTers,hereArePlenTyofPhoToideAsToTry

petportraits

JAviinchusT

AGonzAle

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3SHOOTTHROuGHGLASSPhotographing tank-boundpets canbe

tricky but is certainly not impossible. youactuallyhave the advantageof thembeingcontainedand knowing the space youhave toworkwith,giving youa little control over the lighting andenvironment. Try placing a colouredbackgroundbehind theglass tankor bowl anduse amacrolens toget in close to fill the frame. ideally, lightthe subject fromabove to avoid castingreflectionson theglass: shooting froma rightangle andusing apolarising filtermay alsohelp.As these typesof pets are unlikely todoas you

command, beprepared to spenda long timewaiting for the eyecontact andperfect focus, asquiteoften you’ll need a verywide aperture tomaximise the low light.

2keeP ITLOwkeY shootingagainst ablackbackground is a strikingway tocreatealow-keyportrait (an image that’sprimarily shadowsanddark in tone).having thesubject

emerge fromblackcan lookartistic andbeausefulway toeliminatedistractions fromthebackground.natural lightonacloudydayperfectly complements this techniqueas it’s soft anddiffuse.Placeyourself betweenyourpet and the light source tocapture theeven lightingonyoursubject. spot-meteronagrey subject in thesame lighting toavoid thecameraoverexposing theimage: youcouldalsodial inoneor twostopsofnegativeexposurecompensation toensureyourblacksare true,or as you’re shooting inraw,pull theexposureback inpost-production.don’t useflashas itmayspookyour subject. if your subject is alsodark, youmayneed tousemanual focusor single-point autofocusonanareaofcontrast to stop thecamera fromhunting.

mAT

TdrAPer

4UsewindowlightCats arenotoriously difficult subjects to

photographbecauseof their aloof nature. Yourbest chanceof snapping a fewgood frames is tocatch themwhen they’re being lazy, bathed inwindow light, or distractedby a toyor bird. Setyour camera to aperture-prioritymode, awideaperture and thehighest ISO rating youcanbefore introducingnoise, to blur thebackgroundandgenerate a fast enough shutter speed tofreeze anymovement, letting you react to aphotoopportunity even in low light. Fill theframewith your subject tominimise anydistractions, like thewindowpane, but tomaximiseon thebeautiful light. Dogs are slightlyeasier toworkwith as youcancoax them to staystill and to look towards awindow, if needbe.

5Becreative There’s no shortageof creative ideas to trywithpets, butwe loveBenHeine’s‘Pencil VsCamera’ series. Bymixingdrawingwithphotography, heopensup somuchopportunities

tobequirky andhumorous. This image isoneexposure takenoutdoors,withBenholdinghis sketch inlinewith thedog.He then tweaks the image inPhotoshopCS4 toenhance thecontrast andcolours.

march2013 /digitalslrPhotograPhY / 31

Iren

eMeI

2013

Ben

HeIn

e

1caPtUretheactionDogs love to run, andcapturingshotsof

theminaction, earsandgumsflapping inthewind,canyield fantastic images. Startbyaskinga friend tohold thepooch inpositionwhile yousetupa fewhundredyardsaway–this allows themtogetup tospeedbeforethey reachyou.Usea telephotozoom,suchasa50-200mm,andgetdown lowtotheir eye level. You’ll need touseshutter-prioritymodealongwithcontinuousautofocus inorder to track themas they runtowardsyou.Select ahighshutter speedof1/500secor faster, dependingon theavailable light, andgive thesignal for yourassistant to release thedog.Makesure thatyoufireoffplentyof shots inburstmodewhile they runat you,but remember toputyourcameradownbefore theyarrive–dogs tend toacceleratea lotmoreefficiently than theybrake!IMage: JOrDanBUTTerS

PetportraitsTechniqueofThemonTh...


8SeTTHeSceneUsing clothes, toys and household items as

props can help set a scene and give quirkypictures the ‘ahh’ factor – especially if the petsare youngor tiny, like Tobi here. This image is agreat example of howusing everyday householditems can enhance an image andbe useful forcontaining a curious but fast-moving subjectlong enoughwithin the best light to get apicture. Puppies and kittens look exceptionallysweet in oversized props, too, so capitalise ontheir cuteness.

Delia

galh

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7ReADYfORmYcLOSe-uPif your pet is by nomeans camera-shy and

gives you eye contact,make themost of thesymmetry in its facewith a tight crop. cats,especially, provide striking portraits thisway anditmeans you don’t have toworry about thebackground, only that the lighting is evenontheir face. rather than get really closewith aportrait lens, zoom in froma fewmetres awayand use f/5.6 to get the nose and eyes in focus.you’re likely to needmore depth-of-field forsubjectswith long noses, such as dogs.

9GLORIOuSGOLDenHOuRSWalking your dogearly or late in theday can

beapeaceful, relaxing experience andone thatcanprovide themost beautiful light:when thesun is low, grass and trees adopt an attractivewarmglow. Try to shoot fromadistancewith atelephoto lenswideopen (approx f/4) to capturebeautiful bokehanda relaxed subject. as yourdog is likely tobebacklit, use spotmetering totake anexposure reading from them toavoidunderexposure.consider leaving your lens hoodat home, too, to flood the imagewithwarm light.

6uSeneGATIveSPAce&cOLOuRWhilemost peopleeither haveacator a

dogas apet, it’s theunusual subjects that canmake really interestingpictures and inspire.Brightly colouredpets, likeparrotsor reptiles,lookgreat against anequally colourful backdropof acomplementary, or evencontrasting,colour. if possible, try spotlighting thebackground formore interest.Whilemostphotographers try tofill the frame, as longas theempty space in the image is free fromdistractions andused tobalance the subjectortoemphasise a feature, like their small sizeor anunusual crop, ‘negative space’ (as it’s commonlycalled) canbeused to strengthenan image.

10ChangeyourviewShakeup your shoot by trying

different vantagepoints and focal lengths.Awide-angleor better still anultrawide-angle zoomgives great results if used fromahighor a lowviewpoint, distortingperspective. Try getting really low to thegroundandpointing thecameraupwards toexaggerate scale, or encourage the subjecttogetwithin touchingdistanceof the lens tomake their nosemassivewith a taperingbody. Remember, though, the closer yoursubject is to the lens, the smaller the apertureyou’ll need toget sufficient depth-of-field.ImAge: ISTockphoTo

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PLUS!PHOTOGRAPHBATHTIMEPORTRAITS,WINTERSCENES& ICEPATTERNS

Rainy-day portraits Add grads in PhotoshopDon’tletraindampenyourenthusiasmforportraiture.Useittoyouradvantage!

Flat,greyskiescanruinyourscenicssolearnhowtoaddagradeffectforimpact!

Mist opportunitiesSetthealarmforaveryearlystartandmakethemostofmistymornings


Get thepicture Simplesteps tocreative images

Get thepicture

JORDANBUTTERS:There are a largenumberof peoplewhoviewportrait photography as a fair-weather or indoor pursuit.Unfortunately,with the climate in this country as it is, if thatwerethe case, all our portraitswouldbe shot inside. Learn to embracethe rain and snow–with the additionof anoff-camera flashgun

anda touchofwaterproofing–andyoucancarry on shootingnomatter theconditions, using the fallingdropsor flakes as a sparklingnatural backdrop.If you are lucky enough tofind yourself in a showerwhen the sun is low in

the sky, such as just after sunriseor before sunset, then youcanuse the sunasanatural backlight. Thechancesof suchconditions presenting themselvesoncue is unlikely, so anoff-camera flashgun is often a requiredback-up.Becauseof their transparent nature, raindrops and snowflakes showupbestwhenback-or side-lit, as the light can refract through thedroplets toilluminate them. This iswhy if you try tophotograph rainwith your flashpointing towards thedroplets, theydon’t showasprominently.I’d recommend trying this techniqueout under shelter or in adoorway if

possible–both for your subject’s and your camera’s sake.Noone looks theirbestwhen soaked fromhead to toe and the last thing youwant is your kitgettingdamaged. Youcanevengive this a technique a trywhen it’s not raining– simply set up agardenhoseor sprinkler to spray behind your subject.

Rainy-dayportraitsThere’snothingmore likely toputpaid toanoutdoorportrait session thanasuddendownpour,butaddinga littlebitofflashcanmakethebestuseof theweather


Backlightingrain


1Waterproof your kitAn important precaution is to

protect your camera kit from theelements. Seal any flashguns andtriggers thatwill be potentiallyexposed towater in clear,watertight plastic bags. If you’regoing tobe standingout in the rainyourself thenfit a rain cover for yourcamera and lens, or ask an assistantto hold anumbrella over you.

SET-UP:Set up your lights one at a time toprevent confusion. Asonelight is behind your subject andone is in front, neitherwill affect theexposureof theother. I have chosen topositionmymodel in a doorway toprevent bothher and thecamera kit fromgettingwet, but youcan shootthis style of portrait outdoors, too– just remember toprotect your kit!

3Set theexposureSelectmanualmode and

choose your camera’smax syncspeed and amid-aperture ofaround f/8 for optimumsharpnessand to retain attractive bokeh in thebackground. Use a lightmeter totake a reading fromyour subjectand set the flash poweraccordingly. Alternatively, take atest shot and adjust from there.

2Chooseyourkey lightYour key light is themain light

that you’ll be using to illuminateyour subject. You can use youron-camera flash, but for amoreflattering light consider bouncingthe light off another surface orusing anoff-camera flash. I havechosen to use anoff-cameraflashgun in a shoot-throughumbrella to the left of camera.

4SetupyourbacklightPlace yourwaterproofed

flashgun three to fivemetresbehind your subject, pointingtowards them, set it to 1/2 powerand itswidest zoom. Take a testshot and assess howmuchof therain is being illuminated. Increasethe power if necessary. Positionyour subject between the backlightand yourself, then you’re all set.

Get thepicture Backlightingrain

Picktherightaperture

Theaperture that youchoosewillgreatly affect theappearanceofthebokehcreatedby the rain. Toowideanapertureand thebokehblurs intoone. If youdoadjust yourapertureafter takingyour initialexposure reading, remember totakeanother readingandadjustthepowerof yourkey light.

f/2.8:At thewidest aperture thebokeh is toopronouncedand theraindropsblur together.

f/5.6:Bystopping theaperturedown, separationbetween theraindropsbegins toappear.

f/8:Atamid-aperture theraindropsare still pronouncedbutremainnicelyoutof focus.

Lightingset-up

Key lightKey light(fl ashgun 2-3ft away (fl ashgun 2-3ft away

at 1/32 power)at 1/32 power)Camera: 1/160sec Camera: 1/160sec at f/8(ISO 100)at f/8(ISO 100)

Subject in doorwaySubject in doorway

Shoot Shoot through through umbrellaumbrella

BacklightBacklight((fl ashgun fl ashgun 8ft 8ft away at full power)away at full power)

RainRain

f/8f/5.6f/2.8

1

2 3

IMAGEDETAILS

Kit:CanonEOS5DMk IIwith EF 24-70mmf/2.8L

Mode:ManualExposure: 1/160sec at f/8

(ISO100)


3Arriveon locationOnceon location,misthad filled the valley as predicted. I opted for a

70-200mmzoom–not onlywould the longerfocal length enhance the effect of themist, but itwould also giveme lots of different framingpossibilities. Using a tripod, I focusedmanuallyon the trees via LiveView. I selected aperture-prioritymode, opting for an aperture of f/11.The camera set a corresponding shutter of15 seconds, but the result was too dark.

1Planahead In order to capture greatmistyimages, you have to plan your shoot

carefully. I checked theweather regularly forseveral days until finally I noticed a cool, clearnightwas forecast, with a predictedwind-speedof just 4mph–perfect conditions formist.Visibility dropped to ‘good’ overnight – anotherindicator thatmistwould be likely. Pack yourcamera gear the night before and prepare somewarmclothing for a swift start in themorning.

2Don’t hit snooze I decided to visit a locationwhere a rowof conifers grows upon a

hilltop. It can be photographed froman adjacenthill and I hopedmistwould fill the valleybetween. Elevated viewpoints like this oftenwork bestwhen shootingmist. Sunrisewas justafter 7:00am. I setmy alarmearly enough toarrive 45minutes beforehand. Thiswould giveme time to find a good viewpoint, set up and beready to shoot any predawnglow.

ThemagicofmistVacatingawarmbedonachillywintermorningcanseemlikemadness–butnot if the result is a stunningshot like this…

ROSSHODDINOTT:Whyaremisty conditions so irresistible tophotographers?When thelandscape is shrouded inmist,wewill gladly dragourselvesout of

ourwarm, snugbeds at ‘silly o’clock’ in themorning to takephotos. I guess the answeris quite simple–mist addsmoodandafeelingofmystery toour images. Byreducingcolour andcontrast, it simplifiesthe appearanceof objectswithin thelandscape, placing addedemphasis onshape and form.No self-respectingoutdoorphotographer can resist the lureofmistyweather, but howcan youensure your earlystart is rewardedwith great images?Autumnandwinter is traditionally oneof

thebest timesof year for shootingmist, sokeepaclose eyeon the localweatherforecasts. It canbe tricky to anticipatewhenmistwill formandwhere. There aredifferenttypesofmist and fog, but themostphotogenic kind is ‘radiation fog’,whichformsduring clear, still nightswhen theground loses heat by radiation. Thegroundcools nearby air to saturationpoint andmistforms. Itwill often remain confined to lowground, forming a thinwhite layer at thebottomof valleys andover fields.Weatherforecastingwebsites likewww.metoffice.gov.uk,www.accuweather.comandwww.metcheck.comare agreat resource,and their forecasts areoften very reliable.Whenchecking the forecast, look for clearandcool still nights– ideal conditions formist to form. Some forecastswill actuallypredictmist, but checking the visibility oftengives thebest indication– if visibility dropsfrom ‘excellent’ or ‘very good’ to just ‘good’or ‘average’ overnight, there is a decentchance youwill begreetedbymist in themorning. Set your alarmearly andallowplentyof time to reach your location. It canbedifficult to decidewhich locations to visitinmistyweather, as youcannever bequitesurewhenandwheremistwill form, or howdense itwill be.However, it is normally besttoopt for anelevated viewpoint, such as the

Get thepicture

view from the topof ahill or valley,whichallows you toget above themist. It isworthvisiting somepotentially good locationsbeforehand toget an ideaof their picturepotential. The typeof scene that suitsmistyconditions best areones including strong,bold focal points– for example, a rowoftrees, church toweror interesting landmark.Mist looks at itsmost atmospheric justbefore andafter sunrise. At this timeof day,light levels are lowand shutter speedscharacteristically lengthy, so a tripod isessential. It isworth carrying a rangeof focallengths.Whilewide-anglesoftenworkwellinmistyweather, telephotosoftenproveequally useful. Longer focal lengths, in theregionof 70-200mm,will shortenperspective andemphasise themist further.They also allowyou to isolate keypoints ofinterest– a skeletal tree, for instance, orruins emergingevocatively from the fog.Aswell as photographing largeopen spaceswhen it ismisty, it can alsobeworthwhilevisitingmistywoodland in autumn. The fogwill simplify the environment, enabling youtocapture very graphic, eerie-lookingimagesof trees shrouded inmist.Lastwordsof advice:wrapupwarmand

beprepared toworkquickly–mist oftenclears or lifts quickly and thebest conditionswill soonpass. Also, keep a lens cloth closetohand–condensation is likely to formonthe lens, potentially ruining images.

5Consider your compositionCompositionwillmake or break your shot. In this instance,

I tried a variety of compositions using differentfocal lengths. I tried placing the trees right ofcentre and centrally in the frame.However, oureyes naturally view theworld left to right, so Idecided placing themon the left created thestrongest result. However, don’t be afraid toexperiment– shoot a variety of compositions orbe boldwith your arrangements.

6Observe changesMist can change quickly,drifting in andout of shot and growingmore

or less dense. As a result, the same scene canlook radically differentwhenphotographedovera period of an hour or so. Shoot a sequenceofimages and decide later (when they’re on yourcomputer) which ones you prefer. Once thelight gets too bright and harsh, and themistbegins to lift and disperse, it is time to pack yourcamera away andhead home for breakfast!

4Keepaneyeon theexposureMist has ahabit of foolingmetering systems. This is

because TTLmetering is designed to assumethat subjects aremid-tone (18%grey). As aresult, it tends to underexpose bright subjectslikemist or snow. Always check the histogramscreen regularly. If the graph is biased to the left,apply positive exposure compensation. In thisinstance, I dialled in one stopof positivecompensation to brighten the image.

Shootingmist in landscapes

Final imageAnearly start is

rewardedbyaneeriemisty landscape full

of atmosphere.

IMAGEDETAILS

Kit:NikonD800with70-200mmf/2.8

Mode:Aperture-priorityExposure:30seconds

at f/11 (ISO200)


www.leefilters.com

micro filter systemArguably, photography has now replacedwriting and painting/sketching for recordingthe stories of our lives. Some use theirphones, but I prefer digital compacts. Wherepossible I prefer to shoot jpegs, and get myimages right in camera. The super compactLEE Seven5 micro filter system is a constantcompanion, allowing me to produce‘personalised’ images without spendingages in post production.Joe Cornishwww.joecornishgallery.co.uk

River crossingThe Zanskar valley trek has numerous rivercrossings, including some wonderfullyweathered low-tech bridges. Here I used a 0.9ND standard filter (3 stops) to reduce the shutterspeed to a second, emphasising the water – andthe figure – in motion.There is no way to do thisin post-production, plus I can rely on my Seven5filters to be exactly the same high opticalstandard as the legendary LEE 100 system.

Monastery interiorThere was window light flooding into this

Buddhist temple in the Indus valley, but not

much! I needed a 0.6 ND grad on its side to

hold back the exposure on the left, and allow

enough light to illuminate the gold faced

Buddha on the right.

The photographer, Leh

Monkeying around with low angles is all part

of the fun of using a camera with a tilting LCD

screen. The camera was held just above the

ground while Sam was framing a shot across

the square. His silhouette neatly blocks out

the sun. A 0.6 ND grad prevented the sky from

looking washed out.

www.joecornishgallery.co.uk

Get thepicture Studio-esquebathroomportraits


Bathtub portraitsUse your bath as a giant softbox to capture beautiful natural-light portraits

CAROLINEWILKINSON:Short on studio space toshoot your little ones ortrouble keeping them stilllong enough by a window to

get a decent shot? You’ll be surprised atthe solution. If bath time is a happy timein your household, you can use this toyour advantage as the bathtub is a greatlocale for capturing studio-esqueportraits – unless you have a peach oravocado suite, that is. Finding an area ofthe house with clean, natural lightwhere unflattering shadows, colourcasts and messy backgrounds aren’t aproblem can be difficult, and gettingyour child to sit in that spot longenough to capture an angelic portraitmakes it that much more challenging.As long as they’re old enough to sit upon their own, a white bathtub keepsthem contained and the tub works likea giant softbox and reflector; bouncingnatural light off the white surfaces forbright, even illumination with a cleanstudio-like background. If yourbathroom has limited light due tofrosted or small windows, you couldalso use the sides of the bath to bounceflash off for similar results.

The toughest part of this technique isgetting the child to interact with thecamera and to compose a goodportrait; standard bathtubs don’t leavemuch room for negotiation.Bathrooms can be quite cold, too,especially if you’ve no water in the tub,so make sure the heating is on and/oryour child’s wearing clothes. Theymight think it’s odd to have no water inthe bath, so if they start acting up, run ashallow one for them to play in – justmake sure you have a second adult onhand out of frame to prevent accidentsas your attention will be distracted bythe camera. Use whatever meansnecessary to get a smile from them,too: chocolate bribery works well, asdoes someone pulling faces or playingwith toys behind your head for gettingeye contact. But above of all, make surethey have fun, otherwise you’ll be luckyto get more than three frames offbefore bath time is over.


Get thepicture

1SetupVery little is needed for this technique: your camera, subject andperhaps a flashgunwith a bounce function and tilting head, if light

levels are low. You’ll need a portrait lens, if not amacro lens, for this shoot,as you’ll find space is limited and you’ll need to cropout any handrails andthe edgeof the bath. For this shoot, a 50mm f/1.8workedwell, but a longerlens, such as a 100mmmacro,would havemade it even easier.

2Assess theexposureA lot ofwhite in your imagemay fool the camerainto underexposing the image. Set the camera to spotmetering rather

thanmulti-zone for better results, as the exposurewill be basedonwhereyou focus: the face. Use aperture-prioritymode anddial in awide apertureof f/2.8-f/5.6 tomaximise the light and blur the background. Usesingle-point autofocus and pinpoint the eye closest to the camera.

3Changeyour angleDepending onhow tall your child is and the focallength you use, youmay need to alter your viewpoint to cropout any

unwanted elements like tiles, toys or handrails. Even if you don’t need tochange your view, try it anyway by getting low so youget their eyespeeping over the bath, high for amore flattering angle or simply alternatebetweenportrait and landscapeorientation for dramatically different looks.

4Edit the shots If you’ve exposed the imagewell enough, very littleshould need to be done, other than basic editing. To improve the

contrast, I duplicated the image layer (Layer>Duplicate layer) and changedthe BlendMode to Soft Light. A small adjustment to Levels (Layer>NewAdjustment Layer>Levels), the addition of aHigh Pass filter (Filter>Other>HighPass) set to nomore than 4px and a quick cropwas all thatwas done.

Commonerrors towatchout for...

INACCURATEMETERING If yourbackground is renderedgrey rather thanseamlesswhite,make sure you’ve switched tospotmetering. If that alonedoesn’twork, dialin a stopor twoofpositiveexposurecompensation.Useyourcamera’s histogramtodetermine if the image isunderexposed:youwant to see thepeaksbiased to the rightanda little to the left of thehistogram.

BADFOCUSINGUsing shallowdepth-of-fieldmeansyour focusinghas tobepinpoint.Asmulti-point autofocus locksonto theclosest subject to thecamera,which forportraits is often thenose,manuallyplacingasingleAFpointon theeyeclosest to thecameraproduces thebest results. If youwantbotheyes in focus, you’ll need touseat leastf/5.6 for sufficientdepth-of-field.

NOTENOUGHLIGHT If shootingwideopenand increasingyour ISOashighas yourcamera’s noisecontrol allowsdoesn’t give youa shutter speed fast enough to freezemovementor illuminate thebath tubsufficiently, you’ll need tobringout theflashgun.Keep it simplebyusingTTLmeteringfor afill flashand turn theheadso it bouncesoff thewhiteceilingor sidesof thebath.

Studio-esquebathroomportraits

IMAGEDETAILS

Kit:NikonD800with50mmf/1.8 lens

Mode:Aperture-priorityExposure: 1/60sec at

f/4.5 (ISO200)


Final imageWho’dhaveknownyourbathtubcouldbeusedasamini-person’sstudio?Thebathroom ingeneral

is agreatplace forutilisingnatural softbox-esque light for

any typeofportrait.

42 /DIGITAL SLRPHOTOGRAPHY / JANUARY2013

Get thepicture

WINTERLANDSCAPESWintercanbeoneof thebest timesofyear toheadoutandshootstunning icyscenes.Professional landscapephotographerMarcAdamusprovideshisfavouritehintsandtipsonhowyoucantakethemostofdramaticwintervistas…

IMAGEDETAILS

Kit:NikonD800EwithNIKKOR14-24mm lens

Mode:BulbExposure: 74 seconds

at f/14 (ISO320)

SkyIf you’re shooting

against a partly cloudysky, consider using aNeutralDensity filter. AHitech 1.8NDwasusedhere toprolong the

exposure to 74 secondsandcapturemovement

in the clouds.

FocusingUseahyperfocal

distancecalculator foroptimumdepth-of-field.Alternatively, youcantake twoexposures–one focusedon the

mountain andoneon theforeground–and

blend them together.

CompositionIcemakesgreat

foreground interest as itrefracts and reflects the

light andhas anatural glowto it. Thebroken shardsof

ice act as a lead-in,pointing you towards

themountain.

Winter images

Post-processingWinter scenesby theirnature areoften voidofcolour. Consider toning

your imagewith acool-bluehue to

enhance thecold feelof the scene.

FramingConsider arranging yourcomposition to frameinteresting items in thescene. In this image, the

broken ice in theforeground frames the

reflectionof themountain in the lake.


Shootabstract icepatternsFrozenpuddlescanbeasourceof fantasticnaturalpatterns.Grabyourcameraandwrapupwarm…

ROSSHODDINOTT:Chilly,wintryweathercanproveaparticularlyproductive time fordiscoveringandphotographingnaturalpatterns. Forexample,waterwill

freeze, creating thick sheetsof ice, full ofinterestingshapesanddesigns tophotograph. FromNovember through to theendofMarch, theUK isprone tospellsoffreezingweather. This isno time tostay in thewarmthofyourhome– instead,putonyourthermalsandheadoutsidewithyourcamera.Photogenic andabstract-looking

patterns, detail and texture are everywherewithin nature– the trick is recognising them.In freezingweather, the surfaceof pools,puddles, lakes andcanals turn to ice;whilealong theedgesofwaterfalls and streams,

photogenic icicles form. After a fewdaysoffreezingconditions, overlapping layers ofthick ice cancreate extraordinary patterns.Look for trappedair bubbles, lines and swirlydetail on the surface that youcan isolate tocreate strong, engagingcompositions.Pebbles, leavesor a feather trappedwithinthe ice adds further interest and a focal pointto your photos, so it isworthwhile lookingfor this typeof detail.Most ice close-upshave a very abstract

feel to them, so the ability to ‘see’ the imagein thefirst place is often themostchallenging aspect. In termsof lens choice,amacro lens is best– ideally, opt for one inthe regionof 100mm, as it provides agoodworkingdistance.However, youdon’talways needahighdegreeofmagnification

Get thepicture

when shooting icepatterns, so a telezoomusually suffices.Anoverhead viewpoint is best for

revealing interesting shapes anddetail. Try toposition your cameraparallel to the surfacetohelpmaximisedepth-of-field. Bright,direct sunlight canwashout finedetail sowait for low-contrast, overcast light or use adiffuser if the light is toobright. A tripod isessential. However, place the legswith careandalso treadcarefully– if youcrack the ice,your shotwill be ruined.When it is not cold enough for iceoutside,

it is possible to create yourownbyfilling aclear, shallowdishwith6-8cmsofwater andsticking it in your freezer.Once frozen, takeit out and start shooting, either indoors,usingwindow light, or outside in sunlight.

5Post-process Your ice shotswill oftenbenefit froma fewminor tweaks during

processing. A cool-blue huewill enhance theice’s cold appearance, so rather than selecting atechnically correct colour temperature, it isworthwhile opting for a cooler setting– in theregionof 4500-5000K. Although you can dothis in-camera usingWhite Balance, Rawshooters can apply this attractive cool castwithmore precision during processing. Similarly,increasing contrast during editing using Levelsor Curves deepens tones and lifts highlights,giving patterns and texture greater definition.

4Concentrateoncomposition Ice patternsare very abstract, so giving advice onhow to

compose them is difficult. There is no right orwrongway. Look for interesting detail, liketrapped air bubbles, criss-crossing lines, shapesand curves. Try to isolate, highlight and arrangethem in such away that you create a visuallypleasing and compelling composition. Yourcreativity and eye for detail is key to the successof this style of image. Youwill often find yourcomposition evolves over several shots as youmake fine adjustments to your set-up. Resultscan vary greatly in look and feel.

2Dial in the settingsWith icebeingaflatsurface, youdonot require awidedepth-of-

field so longas youposition thecameraparallel tothe subject. Therefore, opt for aperture-prioritymodeand select f/8or f/11. This is close toa lens’s‘sweet spot’–being sharpand largely diffraction-free. Keep the ISO rating lowandallow thecamera to select thecorresponding shutterspeed. Youcoulduseautofocus, but I prefer tofocusmanually by zooming in via LiveView.

3Reviewyour exposureOne thing youneedtowatchwhenphotographing ice– and

otherwintry subjects – is that it doesn’t fool yourcamera’s TTLmetering into underexposingresults due to its brightness. Review resultsregularly, checking the histogram for gaps to theright of the graph. If images are dark, applypositive exposure compensation. In thisinstance, I had to apply compensation of +1EV,which isn’t unusual for this type of subject.

1Setup Look for ice patterns on frozen pools,puddles and along the edges of reservoirs.

Using a tripod, position your camera directlyabove the ice, positioning the tripod carefully soas not to fracture the ice.Overcast light is best.If it’s sunny, consider casting the ice into shadeusing your shadow to produce cooler,low-contrast light.Whenphotographing nearlarger bodies ofwater, always keep to the edgesfor safety and never step out onto the ice.

+1EV

0EV

Icepatterns


IMAGEDETAILS

Kit:NikonD800with150mmmacro lens

Mode:Aperture-priorityExposure: Five seconds at

f/11 (ISO 100)


Get thepicture

LearnhowtocontrolPhotoshop’sgradients tocreateacolourgraduatedfiltereffectand transformotherwiseordinary skies

Addacolourgradfilter

Original

Experimentwithdifferent filters

Youcould always try addingmore thanonecolour filter to your image. Simply duplicate yourGradient layerby selecting it in the Layers palette andgoing to Layer>Duplicate Layerandchangethegradient colour aswasdone in steps three through tofive. Try placing thegradients at differentangles using theAngledial in theGradient Fillmenu for different effects.

Multiplefilters

Warmingfilter Coolingfilter

Greenfilter

3Open theGradientEditorDouble-click onthe thumbnail on theGradient layer in the

Layers palette to open theGradient Fillmenuagain. Then click on theGradient thumbnail atthe top to open theGradient Editorpalette.

2Adjust thegradient In the dialogue box, clickon theReverse tick-box to place the

gradient at the topof the image. ClickOK. Backin the Layers palette, change theBlendModeoftheGradient layer toMultiply.

1Add thegradientBeforewebegin, pressDon your keyboard to reset your colour

palette to default. Click on theAddnewfill oradjustment layerbutton in the Layers paletteand selectGradient from the drop-downmenu.

JORDANBUTTERS: In an idealworld, landscapephotographerswould always carry an arrayofNDgradfilters; one for everyconceivable situation andeffect

youwant to create. In reality, however, thisisn’t always practical. Thankfully there are arangeof Photoshopeffects that simulatethe results of various filters.Gradients aregreat for emphasising existing colours in theskyor completely changing themoodandfeel of your imagebyemulating adifferenttimeof day towhen the imagewas taken.


Five-minutePhotoshop

6AddaPhotoFilterBack in the Layers palette,click on theAddnewfill or adjustment layer

button again and selectPhotoFilter. Select oneof theWarmingFilters and clickOK– thiswillwarm the entire image to suit the dusk colours.

5Alter theopacityThe twoColor Stops abovethe gradient scale control the opacity of the

gradient.Move theWhiteColor Stop in thetop-right corner to control the depth andhardness of the gradient. Once done, clickOK.

4Change thecolourClick onBlackColorStop in the bottom-left corner of the

gradient. Then click on theColor thumbnail toopen theColorPickerwindow. Select a colour– I chose pink to emulate a dusk sky. ClickOK.

Final imageCaughtoutwithout your

filters? Fearnot–whenyoucancreate stunning sunsets

like this inPhotoshop, you’vealwaysgot aback-upplan!

52 /DIGITAL SLR PHOTOGRAPHY /MARCH2013

BOATATBURNHAMByGlynHopping

Camera:NikonD800Lens:NIKKOR24-120mmf/3.5-5.6VRExposure:0.8secsat f/11 (ISO100)

GLYN SAYS: “This imagewastakenonabright and sunnydayduring a visit to thehamlet ofBurnhamOvery Staithe inNorfolk. This is said tobe the

placewhereAdmiral LordNelsonfirstlearned the art of sailing.”

LEE FROST: I live very close to a locationlike this on theNorthumberlandcoast andondays like theoneGlyn faced, it’s verydifficult to comeawaywith greatphotographs. I know– I’ve tried. Theproblemwith shooting coastal scenes–or any kindof landscape– in sunny,cloudlessweather, is that everything lookspicture-postcardperfect. There’s noatmosphereor drama, so youhave toworkhard toproduce somethingdecent.Glendidn’t help himself by choosing to

put a blue andwhite boat in the foregroundagainst a blue sky. It’s all too,well, blue. Butnot far away I see aboatwith some redpaintwork.Maybe thatwouldhaveworkedbetter, contrastingnicelywith theblue sky.Withnomast to compromise thecomposition,Glencould alsohavegot inmuchcloser to that other boat, using it tofill the foreground. You really need tofill theframewith colour and interest inweatherlike this, otherwise youendupwith ratherbland images.Glynwasprobably attractedto the reflectionof theboat in the shallowwater, but it isn’t strongenoughandbyincluding it he’s just added to the feelingthat there’s a lot of empty space.

Verdict:Neededcolourcontrastandatightercomposition.

ROSS HODDINOTT:Forme, the cameraangle is thebiggest problemwith this shot.Glynhasopted for a relatively lowviewpoint, but theboat stillmergeswiththebuildings behind. Separation is animportant considerationwhen takingphotos andahigher or lower viewpointmayhaveprovided that. I cancertainly see

whyGlynwasdrawn to this view, though.Maybe itwasn’t possible, but if onlyGlyncouldhavecaptured theboat in betterprofile, isolated against that lovely clearblue sky. Thebuildings andother boatsdon’t really add anything to thecomposition– they just complicate it anddetract from themain focal point. Iwonderif, by shooting theboat from theoppositesideor using a lower shooting angle,Glyncouldhave achieved acleanercomposition?Alternatively,maybehecouldhavegot closer to theboat and shotitwide-angle so that it filled the framemore, obscuringmoreof its surroundings

Verdict:Agoodsubject,but theboatmergeswith thebuildingsbehindandthecomposition isabitmessy. IfonlyGlyncouldhave foundanangle to isolate theboatagainst theclear sky.

“Thebuildingsandotherboatsdon’treallyaddanythingtothecomposition–theyjustcomplicateitanddetractfromthemainfocalpoint”ROSSHODDINOTT

Quick critique

1) ReflectionChoosing to use a reflection in thecomposition could haveworked, had thereflection been stronger. As it is, ithighlights the empty space in the image.

2) PerspectiveShooting froma lowanglewouldmakethe boatmore dominant in the frame andseparate it from the buildings behind. Asan alternative, Glyn could get closer anduse awide-angle lens to similar effect.

3) Alternative subjectsAs Lee points out, the red boat in thebackground could havemade for amoresuitable subject to contrastwith the bluesky. Always assess the surroundings toseek out the best possible image.

Quick critique Quick critique

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ExpertCritiquep qEXPERT OPINION TOHELP YOU TAKE BETTER PICTURES

If youwant honest andconstructive comments about your images, send in a selection toExpertCritique. You should supply up to 25 imageson aCD/DVDalongwith anA4contactsheet of thumbnail images. Enclose a stampedaddressedenvelope if youwould like yoursubmission returned. Each readerwhose image is published receives a fantastic LoweproFastpack 250,worth £60,whichholds aDSLRwith zoomattached, 2-3 additional lenses orflashguns, a 15.4inwidescreen laptop andgeneral accessories. Visit:www.lowepro.com

EDITORDANIELLEZANODaniel has judgednational photocompetitionsona regular basisfor several years

NATURE&SCENICSROSSHODDINOTTRoss is anexpertphotographer andwriter specialising inwildlife, close-upsand landscapes

PHOTOSHOPCAROLINEWILKINSONCaroline is anexperiencedphotographer andPhotoshopexpert

LANDSCAPESLEEFROSTLee’s beenaprofessionalphotographer&photowriter forseveral years

MEETOUREXPERTTEAM

SPONSOREDBY

FRUITSPLASHByKyleSmith

Camera:CanonEOS7DLens:Canon24-105mmf/4L ISUSMExposure:1/250secat f/14 (ISO200)

KYLESAYS: “I set up ablackbackgroundwithmyflash toone sideof the tank. Iexperimentedwith flashsettings andapertures toget the

best exposure. In Photoshop I clonedoutthe splashmarkson the tank andusedUnsharpmask to sharpen the image.”

ROSSHODDINOTT:Technically, this is awell-captured shot. I can’t imaginehowmany timesKyle had to tweakhis set-up,anddrop the fruit into thewater beforeachieving this image.However, youdo seequite a fewhigh-speed images like thisnow, so I guess it’s fair to say that this isn’toneof themost exciting I’ve seen. Thatprobably soundsharsh consideringhowwell Kyle has done.However, forme, thereis a little bit toomuch space at the topofthe frame.Had the splashbeen larger andhigher, itwouldwork fine, but as it is, I thinka tighter cropwouldwork. Also,with thefruit so close, I think the result looks ratherstatic. Iwouldhavepreferred tohave seenthehalves at different depths, as thiswouldhavecreated amore visually balancedresult. Lastly, I’mnot quite sure about usingtwodifferent typesof fruit – evennumbersof objects generally don’t create suchstrongcompositions; oddnumberstypicallyworkbest.Havingdonewell toperfect his set-up, I thinkKyle just needs toworkonproducing a stronger final image.

Verdict:AlthoughKyle’sdonewell,witha littlemoreexperimenting, I thinkhewillcaptureamorestriking result.

LEEFROST: I admire photographerswhoarewilling to stepoutof their comfort zoneand try somethingnew.Digital camerasallowus to see the results immediately and,in turn, that enables us to correct ourmistakes andproducegreat images aswego.With a subject like this, youneed instantfeedback–a fractionof a secondcanmake thedifferencebetweenanokay shotandagreat one. Kyle varied theexposureand timinguntil hegotwhat hewanted,and theend result is great. It’s amazinghowwell a humble flashguncan freeze actionandallowus to see things beyondhumanvision– like the amazing shapes in thewater. Personally, I’d have cropped the shotbecause I think there's toomuchblackspace and the fact that thewater suddenlycomes to anendoneither side looksodd.I also think thebackground ismaybe toosimplistic and somethingmorecolourfulwouldworkbetter.On thewhole, it’s agreat exampleof high-speedflash and,havingmastered the technique, I reckonhecould comeupwith evenbetter results.

Verdict:Simple, clean,well-timedandwell-executed.

“Theblackbackgroundismaybetoosimplisticandsomethingmorecolourfulwouldworkbetter”LEEFROST

Likes&dislikes...

Likes:As high-speed shots go, it'sclear to see that Kyle has got his

technique nailed. By patiently adjustingexposure and timing until he got the shothewanted, he'smanaged to freeze thefruit andwater at just themomentwhenthe splash becomes highly photogenic.Often, it's simplicity thatmakes high-speed shotswork, and this is a goodexample of a clean,well-executed shot.

Dislikes:Havingproven that he'scapableof producinghigh-speed

shots to ahigh standard, our experts feelhemayhave let himself downslightly bynot experimentingenough.While it'stechnically verygood, it's not differentenough towarrant any fanfare.With a littletweaking to thecropand slightadjustments to thecomposition, Kylecouldhaveproduced somethingextraordinary, not just ordinary.

STANAGEEDGEByPhillBarratt

Camera:NikonD5000Lens:NikkorAF-S18-55mmGDXExposure:1/30secat f/16 (ISO100)

PHILL SAYS: “Thiswas takenona frostymorning at StanageEdge in thePeakDistrict justafter sunrise. This compositionwas chosen toportray a sense

of depth in the imageandminimise lensflare. I used0.6NDand0.9NDgradfilters toholdback the sky andbalance the image."

ROSS HODDINOTT:Oneof the skills oflandscapephotography is putting yourselfin the right place at the right time, andPhillhas done just that. These are the typeofconditions that landscapephotographerswouldbite their armoff for. But, forme, theresulting shot couldhavebeenbetter.Firstly, I think landscape formatwould suitthe scenebetter. The sky is empty and thevertical format putsmoreemphasis on it.In contrast, by shooting in landscape, Phillcouldhavemademoreof a featureofthose lovely granite outcrops. I also thinkthat theboulder in thebottomcorner is toodominant. Imight haveeither consideredtaking a stepback– so that it didn’t loomso large–or evena few forward inorder toexclude it altogether.Ona technical note,thehorizon seems tobe slopingwhilethere are a fewspots of flare in the shadowareas. Always check that your lens is freeofdirt –particularlywhenusing smallerapertures–anduse a lenshood if possible.A hotshoe spirit level canbeuseful forgetting straight horizons.

Verdict:Agreat sceneand lovelyconditions,but thecompositioncouldbeimprovedandtherearesomespotsofflare in theareasof shadow.

LEE FROST:Herewehave an image thatoozes atmosphere. Soft light,warmcolours, dark sky andhazecombine tocreate an image thatmakes you feelwarmjust by looking at it. The trouble forme isthat there isn’t enough to look at. I cansense there’s amagnificent view stretchingaway into thedistancebut I’monly seeing asmall sliceof it, and that leavesme feeling abit short-changed. Phill usedhis zoom lensat itswidest focal length, but in this case itjustwasn’twide enough to really do thescene justice. Part of theproblem is causedby theportrait format,whichhas allowedPhill to include lots of sky. I’d prefer to seeless sky andmore landscape,whichwouldbe thecase if Phill had shot in landscapeformat. I'd alsohavebeen tempted toinclude less foreground. I reckon that ifPhill had taken a fewsteps closer to theflatrocks andused themas the foregroundinterest,we’d seemoreof thehazyhills inthedistance and thecompositionwouldhaveworkedmuchbetter.

Verdict:Bagsofatmosphere,butnotthebestcomposition.

Quick critique

1) ExposureAhazy and frostymorning scene basked inwarmsunlight is a landscape photographer's nirvana. Phill hasusedoptical filterswell to balance the skywith theforeground in order to create a goodoverall exposure.

2) CompositionPhill's choice of orientation hasn'tmade themost of thescene. The vertical format emphasises the sky,whichunfortunately doesn't havemuch in thewayof interest.A landscape format imagewouldmake themost of thefantastic views and cropout someof the sky.

3) Foreground interestThe granite outcrop adds interest and Phill has done theright thing by including it. However the boulder in thelower right corner is too dominant andwould be bettereither smaller in the frame, or croppedout completely.

Quick critique Quick critique


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HelpingyoutakebetterpicturesExpertCritique

“I’dprefertoseelessskyandmorelandscape,whichwouldbethecaseifPhillhadshot inlandscapeformat”LEEFROST

SPONSOREDBY

COMBESTONETORByDanMicklewright

Camera:NikonD7000Lens:TokinaAT-X11-16mmf/2.8ProDXExposure:0.6secsat f/16 (ISO100)

DAN SAYS: "Thiswas takenonCombestoneToronDartmoor.I'd goneup there early forsunrise, however, itwasobscuredbycloud so I opted

instead to take advantageof the colours inthe skyby reflecting them in thewater."

LEE FROST: I cutmy teeth as a landscapephotographer onDartmoor so I havegreataffinitywith the area– thewild, remotescenery is breathtaking. I can’t say I’mparticularly awedbyDan’s shot ofCombestoneTor, though. It’s actuallymyfavourite Tor as it commands fantasticviews and theweird rock shapesoffer lotsof potential for dramatic images. Sadly,Dan’s offering fails to do it justice. Thepoolofwater has been included simply becauseit contains anice reflectionof the sky. Butbeyond it, in themiddle distance, there’sjust empty space and themost interestingpart of the scene– thegranite tor– is smalland insignificant. Thecolour balance alsoappears slightlyweird,with adistinctmagenta cast in the clouds. That couldbedue to the timeof day the shotwas taken,but it still looks strange tome. I reckonconditionsweren’t as bad asDan felt. Theskyover in the top right of the shot looks

“Theskyisnice,butI thinkthelackofanyfocal interestinthemiddledistanceisthebiggestproblem”ROSSHODDINOTT

Digital darkroomquite nice tomeand though therewasnodirect light on the tor, Iwould still havegotupclose andused someof the rocks to addscale and lead theeye into the scene. AnNDgradfilterwouldhave takencareof thesky, retaining those soft colours.

Verdict:A lovely locationbut there's toomuchemptyspace leftbetweentheforegroundandthe focalpoint.

ROSS HODDINOTT:Combestone is agreat spot, and aplacewhereboth Lee andI have visitedmany timesourselves. It isgood to seeDanopting for a less familiarangleof the tor and, given the lackof light, Ithink hehas adaptedwell to the conditions.Thepool and reflectionsmakegoodforeground interest and I like theway itappears tobepointing towards the tor. Thepool certainly helps inject a bit of depthinto a landscape lacking in contrast and lifedue to theflat lighting. It is a shame theplants pokingup in front of thepuddle areslightly blurry, as itmakes themmoredistracting. The sky is nice, but I think thelackof any focal interest in themiddledistance is thebiggest problem. I findmyeye jumpsdirectly from thepool to thegranite outcrop– that largegrassy area inbetween is just a bit boring.Had thepoolbeena little closer to the tor, I think this is acomposition that couldhaveworked,particularly in better light.However, as it is, Idon’t think the shot is quite strongenough.

Verdict: Dan’s donewell, given thecircumstances. However, the image is letdown by the flat light and uninterestingmiddle distance.

RECOMPOSETOOLTheRecompose Tool in PhotoshopElements is handy for removing areas ofempty space froman image quickly andeasily, without using time-consumingstitching techniques. Click and hold ontheCropTool to select theRecomposeTool. Then select theMark for Protectionbrush from the top toolbar and paintover the areas that youwant to preserve.Next, select theMark for Removalbrushand brush over areaswhich youwant toremove. Finally, use the side anchor pointsto recompose the image. The toolwillpreserve and delete the areas asmarked–perfect for changing the perspective ofyour image post-capture.

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COASTALLANDSCAPES

HEREINTHEUK,WE’REBLESSEDWITHTHOUSANDSOFMILESOFBEAUTIFULSTRETCHESOFCOASTLINE,BUTTOTAKEYOURCOASTALLANDSCAPESTOTHENEXTCREATIVELEVEL,YOUNEEDTO

KNOWHOWTOUSEALLTHEDETAILSTOYOURBESTADVANTAGE.OVERTHENEXTTENPAGES,LEADINGPROSLEEFROSTANDROSSHODDINOTTSHOWYOUHOWTOGIVEIMAGESTHEWOWFACTOR…

HOWTOMASTERIMAGE:HELENDIXON

HOWTOMASTER...COASTALLANDSCAPESHO


Coastal kitIF YOUWANTTOTAKEGREAT IMAGESOFTHECOAST, FIRSTYOUNEEDTOBEARMEDWITHTHERIGHTPHOTOGEAR

FILTERSForcoastal photography, threefilter typeswill reallybenefit your images: apolariser;graduatedNDfilter; andsolidND.Whenrotatedwithin itsmount, apolariserhelpsreduceorenhance reflectionsandsaturatecolours, particularlyclearblueskies.GraduatedNeutralDensityfilters arecorrectivefilters, designed to lower thelevelofcontrastbetween theskyandforeground towithin thecamera’sdynamicrange–making itpossible tocapturedetailthroughouthigh-contrast scenes. SolidNDsareamorecreativefilter.Byabsorbinglight fromacross theentire frame, theyartificially lengthenexposure time.Asaresult, youcanblurwatermovement toproducemoreevocativeand lessstatic-lookingshots.

LENSCHOICEFocal lengthwill greatly influence the lookof your seascapes, so lens choice is a keyconsideration. A telezoom, in the regionof70-200mm, is a versatile andhandy lens forcoastal photography. Its longend is ideallysuited to capturingwaves crashingoverrocksor for shooting faraway focal points– like an island, lonewalker or lighthouse.Longer focal lengths are alsouseful forforeshorteningperspective– idealwhenyouwish tomakebackgroundelementsappearmore imposing. A focal length in theregionof 100mm iswell-suited to shootingbeachdetail, like sandpatterns andinterestinggeology. Again, youcouldopt fora telezoom,but a 100mmmacro is also agoodoption.Notonly is amacroof thislength suited to shooting texture, but it alsoallows you tocapture frame-fillingclose-upsofminiature things, like seaweedandbarnacle-clad rocks.While a good rangeof focal lengths is

recommended for coastal photography,awide-angle is an absolutemust. Awide-angle zoomoffers themost flexibilityandone in the regionof 17-35mm is agoodoption. Short focal lengths have aninherently largedepth-of-field andare idealfor capturing imagesburstingwithdepthand interest. Youcancapture greatforeground interest usingwide-angles–like reflective pools, rockyoutcrops andwavy sandpatterns. Theonly drawbackofusing awide-angle lenson thebeach is thatyouhave toget close to your subject,whichis not always safeor practicalwhen the tideis rushing in.Whenyouneed to keep furtheraway from the sea, but still want to capturesweeping views, a 24-70mmzoom is abetter choice– still beingwideenough tocapturedynamic results, but longenough toallowyou towork froma safer distance.

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OuTDOORcLOTHInGYouwon’t feel verycreative if youarecoldorwet.Wear inappropriateclothingor footwear, andyouwill soonwant to return to thecarorheadhome. Inwintryorwindyweather, qualityoutdoorclothing isessential. Startwithagoodbaselayerdesigned towickmoistureaway fromyour skinandkeepyourbodywarmanddry. Inwinter,wear thermalsandopt forproperwalkingsocks.Althoughagoodwater-andwindproof jacketcanbecostly, long-term itwill proveawiseinvestment.Waterproofcoats, likeParamo’sHalcon jacket, are ideal forphotographers, havinguseful, oversizedpockets;perfect forhousinggraduatedfilters.Wearahat incoldweather–doingsowill helpyou retainheat.Glovesarealso important. Theyneed tobewarm,butalso thinenough toallowyou tochangecameracontrols andattachfiltersetc,withoutyouneeding to takethemoff–theNorthFace’s rangeofEtipglovesareworthconsidering.Footwear is also important. If you are staying away from thewaves,wear

walkingboots– they are comfortable,warmandwill support your ankleswhenclamberingover rocks.However, often thebest viewpoints are near thetideline,whichmeans you’ll needwellies. Theymight not be themostcomfortableor glamorous footwear, but theywill keep your feet dry. Althoughcostlier, heavy-duty, neoprenewellies, like thosebyMuckBoot, arewellworthconsidering if you intend to spenda lot of timeon thebeach in coldweather.

OTHeRuSefuLAcceSSORIeS

Remote release:Physically releasingthe shutter can soften image sharpness,so it is better to use a cordedorwirelessremote release. It is also useful for Bulbmode,when youemploy exposureslonger than30 seconds.

SkylightoruVfilter:Skylight andUVfilters are designed to absorb ultravioletlight, butwhenworking on the coast,aremore useful for protecting thelens’s valuable front element from seaspray and sand.

Lens cloth:Always keep a dedicated,clean lens cloth close to handwhenworking on the beach, in order toquicklywhisk away anymoisture fromthe front of the lens.

TRIPODDon’t forget your tripod–without one, yourcreativeopportunitieswill be severelylimited. Long-exposure techniques rely onusing a tripod.Opt for a solid, sturdydesign–a lightweight tripodcould easily getknockedover by a roguewaveor strongwind.When shootingon thebeach, pushthe tripod’s feet into the sand to aid stability– if youdon’t, your set-upmight ‘sink’slightly during exposure, potentially ruiningthe result.Once youget home, don’t forgetto clean your tripod. Saltwater is corrosive,so rinse legs andcarefully removeall sandfromsprings and joints. From time to time,apply a small amountof oil to nuts andbolts.

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EXPOSURE&SHUTTERSPEEDSIn landscapephotography, aperture choicenormally takes priority over shutter speedbecauseweneed toensurewehaveadequatedepth-of-field to achievefront-to-back sharpness.However, oncewehead to thecoast, the shutter speedweusemust alsobegivencareful considerationas it controls the amountof blur/motionwerecord in the sea and this canhave a stronginfluenceon themoodof the final image.The shutter speed youusedependson

the typeof scene you’re shooting and theeffect you’rewanting to achieve. If youwantto capture thedramaof hugewavescrashingontocliffs, for example, you’regoing toneeda fast shutter speed to freezetheflyingwater, so you’ll be looking atanything from1/500sec to 1/2000sec,dependingonhow ferocious the sea is andhowbig thosewaves are in the frame– thebigger andcloser they are, the faster therequired shutter speed.At theotherendof theexposure scale, a

popular techniquewhenshootingcoastalscenes in low light–especially atdawnanddusk– is tousea longexposureofanythingfroma fewseconds toa fewminutes tosmoothout the textureof theseaso itcontrastswith staticelements suchaspiersand jetties. Theeffectcan lookstunning.Between these twoextremes theoptions

aremanyandvaried, and if you’re a fanofcoastal photography, it’sworthexperimentingwithdifferent shutter speedsondifferent seaconditions to seehowtheyaffect theway the sea records. Youcancheckeach imageas yougoand if you’renothappywith theeffect, shoot againusingasloweror faster shutter speed. The ‘milky’ seaeffect looksgreat, butdon’t be tempted toalwaysuse longexposures–sometimes itpays to recorda little texture in the seaandfor that youmayonlyneedanexposureof1/4secor 1/2sec, especially ifwaves arewashingacross the foregroundandyou’reusingawide-angle lens. Similarly, at dawnanddusk,while a30 to60-secondexposure

will give youamisty effectonbreakingwaves, seewhathappenswhenyouonlyexpose the scene for five to ten seconds.Timing is important, too, especiallywith

shorter exposures. If youwant a streakyeffect in the sea, it usually pays to trip theshutter as awave is receding rather thanapproaching as thedraining awayeffecttends toworkbetter photographically,especially if the sea is streakedbywhite surf.Aperture-priority is still themost practical

exposuremode tousebecause it allows youto set the aperture youneed tocontroldepth-of-field– f/11 to f/16 formostwide-angle views–and thecamera sets theshutter speed required to achieve correctexposure. If that shutter speed is too slow,which itmaybe in low light or if youwant tofreezecrashingwaves, youcaneither selectawider aperture (providing it doesn’tcompromisedepth-of-field) or increase theISO. This latter optionmaybe theonlywaytoget the aperture and shutter speed youneed, but try not togobeyond ISO400unless it’s absolutely necessary as imagequalitywill begin to suffer– though if you’refacedby anamazing sea and youwant tostop it dead, setwhatever ISO rating youneed toget the result youwant.If the shutter speed youneed to achieve a

certain effect isn’t slowenough, evenwithyour lens set tominimumaperture and theISOat its lowest setting, you’ll need to resortto filters–NeutralDensity (ND) filters.They’re covered inmoredetail onpage60,but suffice to say, themoredense theNDfilter, themore youhave to increase theexposure– so for coastal photography, it’sworth carrying a coupleofNDs suchas0.6(two stop) and0.9 (three stop),which youcanuse individually or together.And let’s not forget about the ten-stop

NDfilter,whichhas achieved almostlegendary status amongcreativephotographers. Armedwith a LeeBigStopper (or equivalent fromB+WorHitech),youcan keep your shutter open forminutesand turn everyday coastal scenes intofine-artmasterpieces!

COMPARISONSETOFDIFFERENTSHUTTERSPEEDS:This setof imagesshowsthedifference theshutter speedhasonhowmovingwater records.Thefirst fewshotslookratherboringas theseahasbeenprettymuchfrozenand its surface isclutteredwithsurfpatterns,butbyonesecond it isblurringnicelyandbyeight seconds is lookingverysoft. The longerexposuresof30-120secondshavesmoothedtheseaso theoldwoodengroynestandsout in3D,aneffect thathasbecomeverypopularbut isn’t everyone’scupof tea.Whichshotdoyouprefer?

1/60sec

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1/8sec 1/2sec Onesecond

120seconds



1)Thisfirsteffortusesa17-40mmzoomat17mm.Apolariser improvestheskyandthecastle ispositionedroughlyusingtherule-of-thirds.

2)Turningmycameraonitssideandtilting itwiththezoomsetto17mmallowsmetomakeafeatureofthesky.Apolariseremphasisesthecloudsbeautifully.

3)Convertedtob&wtheskyhasmoredrama,whilethesemi-silhouettedcastle looksbrooding.

4)Backingoffafewmetres,zoominginto40mmandshootingin landscapeformatfromalowerviewpointgivesatotallydifferent lookandfeel.

5) Iexperimentwithshutterspeedstogetmotionontheincomingtide.EvenwithanexposureoffivesecondsIstill recordsometexture inthesea.

6) Iheaddownthebeachforaninto-the-lightshot.Thesunisbright,butas it’ssmall,flare isn’ttoomuchofaproblem.Sandtextureaddsdepth.

7)There’sbarelyabreathofwind,soIdecidetocheckouttherockpools.Thereflectionoftheskyisn’tgreat,butthecalm,clearwaterstillmakesagoodforegroundwiththat lovelyskystreakingoverheadandthecastleasafocalpoint.

8)ForthispanItookaseriesof fouroverlappingframeswiththecameraonatripodandstitchedthemusingPhotomergeinPhotoshop.

COASTALCOMPOSITIONComposition is obviously key in any coastallandscape, but howyou tackle that dependsonanumberof factors:what foregroundfeatures youhave toworkwith, if there’s afocal point, if the tide is in or out, howmuchsea youwant to include, if the sky isinterestingor bland, thequality of the light,the timeof day and sunposition, the typeofimage you’re hoping toproduce and thelenses youhave.If you’reheading toa familiar locationyou

mayhaveaclear idea inmindofwhatyouwant tocomeawaywith: awide-anglesunrisewith sand ripples in the foreground;a long-exposure shotwith theseawashingover rocks; andsoon.But youalsohave tokeepanopenmindbecauseconditionsmaynotbeasexpectedwhenyouarrive,or youmaysee thepotential for a totallydifferentshot.Assumingyoudogetexactlywhatyou

went for, theremayalsobe the time toseekoutother images–onceyou’vegotyoursunrise,don’tbe tooeager todashoff foracuppa, stickaround forawhile longer.Thegreat thing aboutmost coastal

locations is that theypresentmanyopportunities for interesting images if you’rewilling to remove your blinkers andwork thescene. Spend some time looking around.Usedifferent lenses to change the angle-of-viewandperspective. Look at the scenefromahigher or lower viewpoint. Checkoutdifferent foregrounds– sand ripples, rockridges, pebbles, boulders, pools ofwaterreflecting the skyorwaveswashing in frontof you.Wait for the tide to come inor gooutand seehow that affects the scene.Togiveyouan idea, LeeFrostheaded tohis

local coast andspent threehoursonBamburghBeach.The lightwasn’t great andthe tidewas low,but thatdidn’t stophimcomingwaywith some interesting images.

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remoteness, yet their inclusiongives theviewer abetter feelingof place andperspective.Compositionally, buildingssuchas this areoftenbest placedon, orclose to, a dividing third.Although lessattractive,harbourwalls and

pierscanproveequallyphotogenic. Strong,structuralobjects like this areparticularlywell-suited tobeingshotwithartificially longexposures.ByusingasolidNDfilter togenerateanexposureof several seconds–orevenminutes– it ispossible tosmoothout

thewater.Doingsohelpsplaceemphasisonthestructure’s shapeand form,and resultscanhaveafine-art look to them–particularlyif alsoconverted toblack&white.Finally, don’t overlook rowsof colourful

beachhuts. They are such iconic seasidebuildings and, dependingon their location,canbehighly photogenic.Wide-angleorfisheye viewscancreate colourful andeye-catching results, particularly shot fromalowangle andcontrasted against a bluepolarised sky.

COASTALBUILDINGSBuildings can add scale anda keypoint ofinterest to your coastal images, sowhenappropriate, include them in your shots.Lighthouses, castles, harbourwalls, piers,beachhuts andgroynes all havehugepicture potential andwill help your shotslook less generic.Dotted all around theUKcoastline are a

numberof lighthouses,many in veryphotogenic spots– for example, PortlandBill inDorset,Godrevy inWestCornwall,Neist Point on the Isle of Skye andCorbierein theChannel Islands.While BamburghandDunstanburgh inNorthumberland andStMichael’sMount inCornwall are among theUK’smost photogenic coastal castles.Whenincludingbuildings like this in yourphotographs, don’t feel compelled toinclude them large in the viewfinder.In fact, buildingsoftenbenefit frombeing

captured relatively small in the frame.Doingsohelps imply a feelingof isolation and

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COASTALDeTAILDon’toverlook theminiature landscapesatthecoast– it’shometo lotsof interestingdetail and texture, likewavysandpatterns,pebbles, seaweed, shells, fishing ropeandevendriftwood.Witha little imaginationandastandardzoomormacro lens, eye-catching,intriguingandabstract-looking imagesarepossible. Look for shapes, repetitivepatterns,strongdiagonal linesandcolour. Lowcontrast, overcast lightoftensuits this typeofimagewell, aiding thecaptureoffinedetailandgoodcolour rendition. Selectingalargeaperture, suchas f/2.8or f/4, inorder togeneratea shallowdepth-of-field isonegoodcreativeapproach;whilefilling theframewill oftenmaximiseasubject’s impact.To recordyour subject sharp throughout,optfora smaller apertureandpositionyourcameraparallelwith thesubject toplaceasmuchof it aspossiblewithin theavailablezoneof sharpness.Usea tripod toprovidestability andalsoallowyou tocarefullyfine-tuneyourcomposition.

FILTRATIOnDon’t forget your filterswhenyouhead tothebeach. Apolariserwill not only givecolours a boost and saturate clear blueskies, but by rotating it in itsmount, you areable to reduceor enhance reflections. Thisis particularly helpful for revealingdetailwhen shooting reflective boulders, rockpools andwet sand.Due to its two-stopfilter factor, a polariser can alsobeemployedas amakeshiftND, lengtheningshutter speedsby a coupleof stops.NDgradsareanother keyfilter type.They

arehalf clear, half coatedwitha transitionalzonewhere the twohalvesmeet. TheNDcoating isdesigned toabsorb light, allowingphotographers toevenout the levelofcontrastbetweenbrighter skyanddarkerforeground.NDgradsareavailable inbothhardandsoft transitions, and indifferentstrengths– typicallyone-, two-andthree-stopdensities.Gradsare theonlyin-cameramethodofachievingcorrectlyexposed resultswhenshootinghigh-contrast scenes, suchas sunriseandsunset.When talking about filters for coastal

photography, itwouldbe impossible tooverlook the roleof solidNDfilters. Unlikegrads, the entire filter is coated. They aredesigned to artificially lengthenexposure,sophotographers cancreatively blursubjectmotion, likewaves and rushingwater. A three-stop version is a gooddensity for creating an attractive anddeliberate level ofmotion. Extremeten-stop versions are also available.Withoneof these attached it is possible toemploy exposuresof several seconds long,even inbright light.While the shutter isopen, drifting cloudwill blur andevenrough, choppy seawaterwill be renderedsmooth andglassy. SolidNDfilters are akey creative tool for coastal photography;if you like theblurrywater effect, don’t goto thebeachwithout one.

imAGES:r

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calculator, like ThePhotographer’sEphemeris (http://photoephemeris.com)whenplanning your coastal shoots. SunScout is another handy app.Cleverly, itoverlays a graphical representationof thesun’s future positiononyour smartphone.Therefore, youcanplot exactlywhere thesunwill rise or set onceon location.Different timesof the year produce

different opportunities. In spring, coastalflowers, like thrift, can carpet clifftops,whileinwinter the sea canbe roughanddramatic.Great shots are possible throughout theyear.However, in summer, beaches tend toget crowdedand footprints in the sandmake thebeach lookmessy. Therefore, it isbest to avoid tourist hotspots in theholidays.Finally,whenplanning your visit, don’t

overlook tide times.Certain locationsorstandpoints suit a highor low tidebetter, soyouwillwant to timeyour visit accordingly.It is also important to know tide times fromasafety aspect– it is easy toget strandedby arising tide. Visit:www.tidetimes.org.uk.

TIMEOFDAYANDTIMEOFYEARPotentially youcancapture great seascapesat any timeof theday and throughout theseasons.However, as youmight expect, thegoldenhoursof light–at dawnanddusk–typically provide thebest light andconditions. Aroundhalf anhour either sideof sunrise and sunset, the light andcoloursin the sky canbemagical. Thepredawnglowcanbewonderfully colourful, soget toyour location in good time, before the sunhas risen. Equally, don’t packup too soonwhen shooting theevening light– thecolours of sunset can intensify andbeattheir best over 30minutes after the sun’sdisappeared fromview.Different locations suit being shot at

different timesof day. For example, thenorthCornish coast is generally best suitedto sunsets. Being able topredict the sun’sposition in advancewill help you toworkefficiently andavoiddisappointment.Werecommendyouuse a sunandmoon

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10)SOUTHWOLD,SUFFOLK

Acoastal locationwithoodlesof picturepotential, includingoneof the finest piersfoundanywhere in theUK. There are alsocolourful beachhuts, groynes and rip-rap

rocks to shoot. This is a great spot forplayingwith lengthy exposures.

CHRISRUDLA

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7)HAPPISBURGH,NORFOLK

Happisburgh iswell-known for its decayingandbroken seadefences,whichcreateinteresting foreground interest. Sunrise isgenerally thebest time to visitwith yourcamera. Perchedabove thebeach is aphotogenic red-and-white lighthouse.

ISTOCKPHOTO

5)ALNMOUTH,NORTHUMBERLAND

Abeautiful sweeping sandybaywithdunesandgroynes anda shallowestuary full ofphotogenic fishingboats. Best of all, youcan shoot stunning sunrises and sunsetsall year roundas thebeach faces east and

theestuary faceswest.

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3)EMBLETONBAY,NORTHUMBERLAND

Bigblackbasalt boulders provide adramaticforeground in shots looking towards thehaunting ruinsof distantDunstanburgh

Castle. Best at dawnor late afternoonwithwaveswashingover theboulders.

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BURTON

1) LUSKENTYRE, ISLEOFHARRIS,SCOTLAND

Itwasonce voted among the topbeachesin theworld.White sand, grassy dunes,aquamarine sea and thedistant peaksof

theHarrisHills certainlymakes it aphotographer’s paradise.

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4)SALTWICKBAY,NORTHYORKSHIRE

Dramatic coastlinewithhighcliffs,wave-washed rock slabs, the imposing rockstackof BlackNabandeven the rusting

skeletonof awrecked ship at low tide. Beingon theeast coast, it’s a gooddawn location.

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9)KIMMERIDGEBAY,DORSET

Formingpart ofDorset’s Jurassic coastline,Kimmeridge is a great spot for shootingsunsets. At lower tides, photogenic rockyledges are exposedandClavell Tower,perchedon the adjacent clifftop, adds a

focal point towide-angle views.

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Top10UKcoastal locations

6)DUNRAVENBAY/SOUTHERNDOWN,GLAMORGAN

Arguably themost photogenic beach inWales. Low tide reveals a huge sandybay,

punctuatedwithphotogenic poolsand interesting rockyoutcrops,which

create ideal foreground interest.

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8)BEDRUTHANSTEPS,CORNWALL

Theclifftop viewsof the sea stacksstretching across thebeachare spectacular.In spring, colourful thrift carpets the cliffs,while inwinter this is a great spot to shootlarge, crashingwaves. Thebeach is only

accessible in spring and summer.

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2)ELGOL, ISLEOFSKYE,SCOTLAND

At the endof a 15-mile single track road.Dramatic foreshorewithboulders, slabsandhoneycomb rock and views acrossto the soaringCuillinHills. A great stormy

day and sunset location.

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www.wacom.eu/better-picturesCreativePros

The Intuos Grip Pen allows you to definethe retouching area with complete precision,following the curves and trimming the edgesto perfection.

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LEEFR

OST

Timesaretoughforallofusatthemoment,sowhileourpassionforphotographymaynothavediminished,ourphoto-expensesbudgetissuretohavetakenahit.Therefore,spendingourhard-earnedcashon

expensivenewopticsorthelatestgazillion-pixelDSLRisunlikelyforallbutthemostfortunate.However,therearemanylow-costproductsthatclaimtoofferusachancetoexpandourcreativeoptionsand

captureimagesthatbelietheirrelativelylowpricetag.InBudgetPhotowetestlow-pricedphotoproductstodiscoveriftheydeliverontheirpromiseofallowingfantasticphotographyonaverysmallbudget

MISSIONSTATEMENTTimes are tough for all of us at the moment, so while our passion for photography may not have diminished,

our photo-expenses budget is sure to have taken a hit. Therefore, spending our hard-earned cash on expensive new optics or the latest gazillion-pixel DSLR is unlikely for all but the most fortunate. However,

there are many low-cost products that claim to off er us a chance to expand our creative options and there are many low-cost products that claim to off er us a chance to expand our creative options and capture images that belie their relatively low price tag. In

MISSION STATEMENT

BUDGETPHOTOPart9: Extreme NDfilter


window toprotect thewelder’s eyesight.The lensworks in the sameway as anNDfilter– it cuts down the light passingthrough–but themost significantdifference is theprice: youcanpick themup for less than£1!Google ‘welder’smask lenses’ or search

onebay, and you’ll discover loadsofoptions,with prices ranging from79p to£4.Whether onebrand is better than the

other is hard to say.Most aremadeofglass,which is goodasglass is far

moredurable thanplastic orresin andalso likely tobebetter optically.

All the imagesherewereshot using aweldingmasklensmeasuring5.25x4.5in(seepanel above), but thestandard size seems tobe

4.25x3.25in (approximately108x83mm). TheCokinP-series

filter holder takes filters that are84mmwide so youmaymanage toget aweldingmask lens that fits intooneof theslots– samewith aHitech85mmholder.Weldingmask lenses are thicker thanphotographic filters, so it’s all down tothebrand youbuy, though those fromwww.weldinggear.co.uk fitted comfortablyinto aCokinP-series holder.If youcan’t get yours into the slotof a

filter holder, you’ll need tofindanother

OVERTHELAST fewyears,‘extreme’NeutralDensity filterssuchas the LeeBig Stopper andB+W1103.0havebecomemust-have accessories,

allowingphotographers touse exposuresseveralminutes long inbroaddaylight torecordmotion in a scene.Movingwaterturns tomilk, blowingclouds record aswispy streaks across the sky, swaying treesbecomehazyghosts in the landscape.Insteadof freezing time,which iswhatwenormally dowhen takingphotographs,these filters allowus to record thepassingof timeandcreate amazingeffects that thehumaneyewill never see.Thedownsideof these filters is their

price tag. A LeeBig Stopper– thebestoptionout there–costs aminimumof£100, but demandalmost alwaysexceeds supply so it can takemonths toget holdof one, or ifyou’re impatient, youhave topay sillymoney (£200+)onebay.Hitechmakes acheaper alternative, but it’snot as goodas theBigStopper and still costs £75,while theB+WND1103.0will set youback£150+ for a77mmthread size.If you’regoing touse this typeof

filterona regularbasis, then it’sworth theinvestment.But if it’s likely tobeanoccasionaldabble, thenyoumaystruggle tojustify spendingsomuchmoneyonafilter.Fortunately, there’s amuchcheaper

alternative.Welderswear a protectivemask that has anarrowwindow in the frontthroughwhich they can seewhat they’redoing. Becauseweldingproduces intenselight, a dark lensor filter is fitted in this

ExtremeNDfilterBUDGETPHOTO

Challengee: Lee Frost

Budget: £3.50

Theme:Weldingmask lens asNDfilter

meansof attaching it to your lens.Westartedoutusing fourblobsofBlu-Tack,eachabout the sizeof apea.Byholding thewelding lens against the frontof thecameralens then squeezing theBlu-Tackballsagainst theouter edgeof the lensbarrel andthe rear surfaceof thewelding lens, youcanhold it inplace. That said,welding lensescanbeheavy so there’s adangerof it fallingoff the lens andbreaking, especially in cold,dampweatherwhenBlu-Tackbecomesless adhesive. Amore secureoption is toattach afilter holder adaptor ring to thewelding lens so youcan screw it on to thecamera lens.Notonlywill this prevent itfrom fallingoff, but you’ll also achieve agood seal between thecamera lens andwelding lens so there’s no risk of flareorreflections beingcausedby stray lightcreeping in behind thefilter andbouncingoff its rear surfacewhile you’remaking anexposure.Weuseda spare 77mmLeeFilters adaptor ring, thoughanybrandoffilter ringwill do, and attached it to thewelding lenswith gaffer tape. It lookscrude, butworkswell.Once thewelding lens is securely fitted

to your camera lens, it’s thenpossible toattach anNDgrad to it so youcancontrolthebrightness in the sky andprevent it fromoverexposing. Agood sky is often the key toa successful ten-stopper image, so you’llfind that youneedanNDgrad (0.6or0.9

Above& left: There’s a knack toattaching theweldingmask lensusingBlu-Tack, butonce it’sfirmly inplaceyoucangetbrilliant results.

Right:Don’t bealarmedwhenyour shotsreveal a stronggreencast–youcancorrect thecolour later inPhotoshop,or convert images toblack&white,which iswhat I tend todo.

ParweldWeldingLensGlass FilterGuideprice: £3.45Fit:Doesn’t fit any available filter holder. Hasto be attached to the lens by othermeans.Size:4.5x5.25inConstruction:Glass

Wepurchased thisweldingmask lensonebay fromBargain Fixings(bargainfixings1) at a cost of just £3.45.Postagewas free and the lenswasdelivered toour door twodays after theorderwas placed, sowe’d recommendBargain Fixings as a supplier.Mostweldingmask lenses are smaller than this one at4.25x3.25in, butwedecided togo for abigger lens so itwould easily cover thefront element of anultra-wide zoom lens.

Weldingmasklens

£3.45£3.45

DIDYOUKNOW?Ifwelders don’t use adarklenson theirmask, the

ultraviolet radiation createdby thewelder’s arc cancause

photokeratitis,which isbasically sunburnof the

eyes.Ouch!


density)moreoften thannot. This iswhereBlu-Tack comes inhandy again– simplypress four small balls of it on to the front oftheweldingmask filter,making sure they’reoutside the lens’s field-of-view, thenpresstheNDgrad against them tohold it in place.As there’s a dangerof thegrad fallingoffandbeingdamaged, secure itwith rubberbands. Youmight bewonderingwhywedon’t suggest using rubber bands insteadofBlu-Tack. There’s a good reason– if yousandwich twofilters together,Newton’srings are likely and theywill create distortedpatternson the image. ByplacingblobsofBlu-Tackbetween thefilters you keep themapart andNewton’s rings are avoided.

Once theweldingmask lens is inpositionon thecamera lens, youwon’t beable tosee through itwith youreye to thecamera’sviewfinder, soaligning theNDgrad–aswellas composing the imageand focusing–willbe tricky. Youcancomposeand focus(manually, notwithAF) before youattachthewelding lens, but theNDgrad is the lastthing topositionbefore taking the shot, sothewelding lenswill alreadybe inplace.Fortunately, LiveViewcomes to the rescuehere– if yourDSLR isonly twoor threeyearsold, its LiveViewmodeshouldbesensitiveenough to see through theweldingmask lens, so youcanalign theNDgradwhile lookingat thepreviewscreen.

ColourcorrectedOriginalshot

Aquick internetor ebay searchwill reveal arangeof cheapweldingmask lenses.Hereare somesuggestions.

∞ rscsupplies (eBay)Shade9 toShade 13 lensesmeasuring4.25x3.25in (108x83mm)cost just £1.50eachwith freepostage–buyabunchandtreat yourmates!

∞ langleysteelworks (eBay)Shade8 toShade 13 lensesmeasuring4.25x3.25in (108x83mm)cost just £1.35eachwith freepostage.

∞www.weldinggear.co.ukShade9andShade 11 lensesmeasuring4.25x3.25in (108x83mm) foronly 79peach, thoughpostage is £1.99plusVAT sotwo lensespostedwill set youbackastaggering£4.28, or £2.14each!

∞www.ukwelder.comShade9 toShade 14 lenses in various sizesincluding90x110mmand4.25x3.25in(108x83mm), prices from£1.09 to£1.41(+VAT) andpostage. A single Shade9 lenspostedwill cost £3.41, but two lensespostedcost £5.44 so theunit pricedrops asthequantity increases.

Whichweldingmasklens?

ExtremeNDfilter


Thesameapplies if youchangecamerapositiononce theweldingmask lens is inplace. Insteadof removing it, useLiveViewtoaidcompositionandsave time. LiveViewcanalsobeused for critical focusing. Youneed to set focus tomanual anyway,because if youuseAFwith theweldingmask lens inplace, it confuses the focusingsystemandyou’ll beunable to take the shotbecause focuswon’t lock. Avoid it byswitching tomanual focusand, if necessary,enlarging theLiveView imagesoyoucanfocusona specificpoint in the scene.If you’veneverusedanextremeNDfilter

before,workingout correct exposuremayseemtricky. It is and it isn’t. Youneed toaccept that your camera’smetering systemwon’tworkproperlywith awelding lens inplacedue to its density, so it needsahelpinghand. Yourbest bet is to takeanexposurereadingwithout thewelding lens inplace,thencalculate theexposure requiredonce itis inplace. Thedensityofwelding lenses–and therefore theexposure youneed touse–varies.Whenyouorderone, youmaybegiven theoptionof Shade8, Shade9,Shade10andsoon.As thenumbergetsbigger, thedensity increases soyou’ll needtogivemoreexposure.WepurchasedaShade10 lens andassumed it hadadensityequivalent to ten stops, like a LeeBigStopper. If youassume this, calculatingcorrect exposure is easybecauseyou justmultiply theunfilteredexposureby 1,000(seeFig 1 in theguideabove).All youdo then is takea test shot tosee if

thecalculatedexposure iscorrect. Tosavetime,openupyour lens toawide-ish

aperture so theunfilteredexposure isaround1/125sec–whichmeans itwill onlybearoundeight secondswith theweldinglens inplace.Youwon’t recordmuchmotionwithaneight-secondexposure,butitwill quickly tell you if theexposure iscorrect. Youcan thenmakeanynecessaryadjustments, but stop the lensdowntoasmaller apertureand increase theexposureaccordingly. Forexample, if youshootforeight secondsat f/4butfind theimage is a little toodark, tryanotherone for 12secondsatf/4. If that’sokay, youcanstopthe lensdowntoasmallerapertureand increase theexposure timeas required tomaintaincorrectexposure (seefig2 in theguideabove).Thewholepointofusingan

extremeNDfilter is soyoucanset longexposureseven inbroaddaylightand recordmotion inascene–primarily in theskyandmovingwater. Todo thiswell, youneed touseanexposureof30secondsor longer,though twoto fourminutes isevenbetter. Inbright sunlight youmayfindyoucan’t shootformore than30secondsevenwithyourlens stoppeddowntominimumaperture,butonadull, cloudydayyou’ll beable touseexposuresmanyminutes longand that’s

when imagesstart to takeonasurreal look.Windydaysarealsobetter thancalmdaysbecause there’smoremotion in theskyascloudsdriftoverhead, andcoastal scenesalwaysworkwell becauseof themovementin thesea. Forbest results, contrast staticelementswithmovingones, so foracoastalshot, includeapieror jetty,orpartiallysubmerged rocks in the foreground.

Onceexposures get beyond30seconds–whichwill bemostof the time–you’ll need toset your camera toBulb (B)anduse a remote release tohold the shutter open forthe requiredduration.When it comes to timing theexposure, someDSLRshave

a timeron the top-plate LCDsoyoucan keepaneyeon that.

If your cameradoesn’t have a timer,count elephants in your head, use astopwatchonyourmobile phonewith thealarmset togooffwhen the time is up, oruse yourwristwatch. Youdon’t have tobesecond-perfect, so if the ‘correct’ exposureis 60 seconds and you leave the shutteropen for 65 seconds, itwon’tmake any realdifference to the image.Whenyou take your first shot througha

weldingmask lens, prepare for a shock.

Above: Fig 1:Adjust yourexposure tocompensate for theNDfilter. Fig2: Theseexamples showdifferent combinationsgivingthe sameoverall exposure.

Nofilter Weldinglens

Colourcorrected

Unfilteredexposure

Exposure withwelding lens

1/125sec Eight seconds

1/60sec 15 seconds

1/30sec 30 seconds

1/15sec 60 seconds

1/8sec Twominutes

1/4sec Four minutes

1/2sec Eight minutes

Same exposure, different settings

12 seconds at f/4

25 seconds at f/5.6

50 seconds at f/8

100 seconds at f/11

200 seconds at f/16

400 seconds at f/22

Exposure reference guides

Fig2

Fig1

Exposure reference guidesExposure reference guides

BUDGETPHOTO

Ifyouhaven’talreadystartedexploringtheworldoflong-exposurephotographywithextremeNDfilters,werecommendyoustartnowwithaweldingmask lens

GOTASUGGESTION?

HaveaBudgetPhoto ideayou’d likeus to tryout?

Email your suggestions todslrfeedback@

dennis.co.uk, titled‘BudgetPhoto’, andwe

may try it out!


The images comeoutwith anugly greencolour cast! Initially youmay think you’vemadeamistake, but it’s perfectly normal.PukkaNDfilters, like the LeeBig Stopper,aremuchmoreneutral, butweldingmasklenses have agreen tingewhich thecamera’s sensor records. If you shoot inRaw, youcanadjust the colour duringpost-processing, thoughas thegreencastis so strong, it’s almost impossible toget ridof it completely.WeusedACR inPhotoshop5 toprocess theRawfiles. Thecolour temperaturepresets don’t reallywork–youhave to adjust the ‘tint’ slider toadd themaximumamountofmagenta youcanand that does apretty good job.Oncethe image is saved as aTIFF andopened inPhotoshopor Lightroom, youcanmakefurther adjustments usingColourBalanceorChannelMixer tomake the imageappearmorenatural.Another option is to create a custom

WhiteBalance so thecolour cast iscorrected in-camera.Check yourDSLR’smanual to findout how todo this as it variesfrombrand tobrand, but itwill involvetaking aphotographof aneutral tone suchas grey skyorwhite card through thewelding lens, then letting the camerabasetheWhiteBalanceon that image. If you’regoing touse awelding lens regularly, it’sworthdoing as itwill save timeat thecomputer and the images you seeonyourcamera’s preview screenwill look farmore

natural. However youdealwith the colourcast, you should also seriously considerconverting the images toblack&white.Notonly does thismeancolour casts areno longer an issue, but the look and feel ofyour long-exposure landscapeswill beenhancednoendbyb&wconversion, asyoucan see from theexamples here.Earlierwementionedoptical quality.

Obviously,weldingglass lenses aren’tmade for photographic use, sodon’texpect them tobeas sharp as aBig Stopper.That said, they’re really not that bad–wewere really surprisedbyhowsharpourimageswere and reckon they’ll easily printto 16x20in.Considering youcanpick upawelding lens for less than£1, that’s prettyamazing. In fact,we’d goas far as sayingthat of all thegadgets andgizmoscoveredinBudget Photo so far, this oneoffers farmorebang for your buck than the rest puttogether, and if youhaven’t already startedexploring theworldof long-exposurephotographywith extremeNDfilters,werecommendyou start nowwith aweldingmask lens. Youmaydecide to invest in aproper photographic filter later, but at leastthisway youcan see if you’re going toenjoy the techniquewithout partingwithtoomuchcash.

1)Clean it:Beforeuse, clean theweldingmask lensby running it underwarmwaterthenwipingdrywith amicrofibrecloth–ourswasquitedirty.

2)Correct exposure:Doa test shot toestablishcorrect exposure. Assume thedensity is ten stops andwork fromthere,but thedensity does vary.

3)Avoidflare:Thewelding lensneeds tobe tight against thecamera lens topreventlight leaking inbehind it andcausingflare.

4)Colourcasts:Youalwaysget anuglygreencolour cast fromwelding lensesbutby shooting inRawyoucanmakeadjustments toget ridof it–or create acustomWhiteBalance.

5)Usea tripod:Exposures are longwhenusingawelding lens (that’s thewholepoint!), somount your cameraona tripod.

6)UseLiveView:Despite thedensityofwelding lenses, LiveViewon the latestDSLRswill see through it, allowingyou tocomposeand focuswith it attached toyour camera lens.

7) Imagequality:Don’t expect the samelevel of sharpness you’dget fromaLeeBigStopperorotherphotographicNDfilters–welding lenses aren’t optical quality.

8)Trydifferentbrands:Quality does varybetweenbrands sobeprepared to try a fewdifferentones–most cost less than£1each so they’rehardly expensive!

WeldingmasklenstoptipsAbove:Althoughweldingmask lens lensesaren’tmade fromoptical gradeglass, imagequality is surprisinglygood.Anexposureof fourminuteswasusedhere.


EXTRAORDINARYIMAGESUSINGORDINARYITEMS

Ifyou’restuckforphotoinspiration,thenourmonthlychallengemaybejustwhatyou’relookingfor.WeselectthreephotographersfromtheDigitalSLRPhotography

teamandcontributorseachmonthandtaskthemwithcapturinganimagethatusesanordinaryhouseholdobject.ThelatestchallengeseesPaulWard,JordanButtersand

CarolineWilkinsonaimingtocaptureacreativeimageusingcandles...

#9CANDLES

D800panelpleaseCreative Eye aims to prove that combining imaginationwith technique canmake for interesting and inspiringimages, even if your subject is as ordinary as candles! Ifyou're looking to addcreativity to your photography, thenyou'll find it eveneasier to get the results youwant byusingthebest possible kit. For theultimate imagequality, considertheNikonD800,whichboasts an FX-formatCMOS sensorthat has a class-leading resolutionof 36.3-millionpixels,allowing it to capture anunprecedented level of detail.For further informationonNikon's rangeofproducts,visit:www.nikon.co.uk

Recommendedkit

pebbles to complete thediorama.But getting the lighting, scale andperspective spot-onwouldbe very trickywith sucha set-up and this typeof projectis onlymeant to take a coupleof hours atmost todo. Instead I tookmyself off to abig-brandDIY store forwallpaper samplesto create a seamless backgroundandbrought a fewhome to seewhatworkedwell tone and texture-wisewith thewarmlight from thecandle. The lighting iswhat

CREATIVEEYECANDLE

BLAIRMATCHPROJECTByCarolineWilkinson

Camera:NikonD800Lens:NIKKOR50mmf/1.8Software:AdobePhotoshopCS5

Top left:Previewingthe sceneonmyNikonD800allowedmetocheck if thelightingandscaleworkedwell for thefinal shot.

Above: Iwentthroughawholeboxofmatchesbeforefindinga style thatworked formymatchstickmen.

Left:A feweverydayitemswereall thatwasneeded tonailthe shot.

Below left&bottom left: I triedafewdifferentways tosetup the scene,beforedecidingonthefinal shot.

Right:Myfinal shotgavemoreemphasisto the 'dead'match inthe foreground, and Ipreferred theway theshadows fell on thescene.A simple ideathat's fun to tryoutona freeafternoon.


REACHINGTHIS IDEA, howevermorbid itmight appear,wasactually a lotof fun. I’vewantedtocreate amatchstick-manscene for awhilenowas they

always ticklemeandseemsocleverlydone, but I couldnever find the time tobuild adiorama; therewasalwayssomethingbetterorquicker to shoot. Butwith theNewYear resolution to try theprojects I’vebeenmeaning todo, thecandle themewas theperfect push.Comingupwith theconceptwasbornefromaconversationwithmyhusband,whohasawild artistic imagination. Talking tomeabouthis students’writingprojectswheretheyhave toconjure anelaboratebackgroundstory toan image, it gotmycogsworkingas tohow Icouldusea similaridea toconnect acandle andmatchstickmen.One thing led toanother aswebothfuelledour silly natures andafter a lotof‘what ifs…’ and ‘theycoulds…’mingledwithchildlikegiggles, I cameupwith thefinalideaof this creepybonfire scene.I sketchedout initially how Iwanted it to

look,whichmeant printing an imageof awoodland scene touse as abackdropandfilling in the foregroundwithmoss and

decideswhether this imageworksor notand keeping it simplewithonecandle andadjusting theexposure toget the effectseemed theway togo.Tocreate themen, I triedsculpting legs

andarmsbysplintering longmatcheswithajackknifebut thatprovedharder than itlooked.Aboxofmatches later and I residedtosuperglueandsmallermatchsticksas thearms. I thenwovescarvesoutofembroiderythreadandstuck thematches to thewallpaperarounda tealight. Theburntmanwascreated thesamewaybut set alightfirsttoget singed.Once inplace,I setupmyNikonD800outfit andexperimentedwithcompositionsandviewpoints, before lighting thecandleandtakinga test shot. Set tomanualmode, Istartedwithanapertureof f/7.1 toget thefocusinganddepth-of-field right,eventually settlingon f/9, thenselectedashutter speed foranaccurateexposure. Inthis instance, acorrectexposurewasn’t thebestexposure; toomuch lightmeanta lackofatmosphere. Stopping theshutter speeddownfromfour to twosecondsmeantmoredetail in theflame,adeeperglowfromthe ‘fire’ andstill sufficient light toexposethe ‘dead’matchon theground.Withall thatfiguredout, theonlyquestion left toansweriswhathappened?Didheget toocloseorwashesacrificed forwarmth?Sendyourcaption ideas [email protected] inwithachance towinaprize.


CREATIVEEYECANDLES

GIRLONFIREByPaulWard

Camera:NikonD800Lens:NIKKOR24-70mmf/2.8Software:AdobePhotoshopCS2

Clockwise fromtop left: Idrilledthreeholes in thealuminium,which Ithenstuckthecandlesticks throughandsecuredwithbolts;Sabinaworkedonstylingthehairaroundthecandles tohidethealuminiumheadbandonmodel,FinlayParfitt; themake-upwasdonebyartistGemmaClarke.

Below left:Hereyoucannot see thethird light,which is tothe left of the smokemachine, but itproduced thehighlighton thehairandbackof themodel's neck.

Below: Thiswas theoriginal image theshootwas setup tocaptureand is lit bythree lights: a keylight, hair light andaPortaflash toilluminate the smoke.

Bottom: I shot thecandles separately inadark roomand thensuperimposed themon to thefinal imageusing theScreenblendingmode.

Right:Asyoucansee, thewindow inmy lifestyle studiostarts about6ftoffthegroundand runsto theceilingbutfloods the roomwithnatural light– it’s alot like the light I’dget froma largesoftboxpointingdown45°.

Centre: I shot inRawanddarkenedtheimageslightly inpost-productionbeforedesaturatingandaddingavignette.


IWASABITpanickyabout thisshoot, aswhenyou’reusingmodels,make-upartists andhairstylists, it only takesoneof themnot towant todo iton theday

and thenyoucan’t. Theoriginal idea Ihadwasmeltingcandlewaxoveramannequinhead tocreateawaxhat that themodelcouldwear, almost so it looked likeherheadwasabigcandleand thewaxwasmeltingdownher face.But, after somethoughtabout the time itwould take tomelt thatmuchwax, and thecostofneedingsomanycandles, it provednot tobe thebestoption.When Iputacastingcall out for themodelandstylists, SabinaYunusova,who Iused tostylehair for apreviousCreativeEye, got intouch.She’sextremelycreative, so I knewwhenshecameonboard Icould leave it toher tobuild thehair aroundacandlestickinstead.Withdeciding this,we thenhad tofigureoutawayoffixing thecandles toherhead.After trailingarounda fewcharityshops Ibought somestraightcandlesticks,whichhadbases thatcouldget screwedoff,andattached thembydrillingholes in toapieceofaluminiumthatgotbent intoaheadbandandsecuring themwithbolts.Mymain ideawas todo the shotwith the

smokeagainst thebackground, butmyfavourite image turnedout tobe anafterthought andamuch simpler set-up.For the first one, I used three lights andasmokemachine: the key lightwas a largeOctobox softboxwith eggcrate attachedto stop the light fallingon thebackground;a small Jessopsportaflash to illuminate thesmokebehind themodel; another lightbehind and to the left-hand sideofGemmaClarke, themake-upartist, as she’sworkingthe smokemachine,which acts as a smallhair light. The imagewas taken at 1/60secat f/7.1 (ISO200).Thecandle's flameswere shot separately

toget the right exposure anddetail, andalso sonot to set themodel’s hair alight;with the amountof hairspray shehad in,wemight havehadaMichael Jackson

moment. I actually did threeor fourdifferent flame shots so that theydidn’tlook identical. I didn’t use a flash, I justturned all the lights off, set theNikonD800ona tripodandmetered from theflame. AsI shot themagainst a blackbackground, all Ineeded todowas add themas individuallayers in Photoshopandapply a Screenblendmode toget rid of thebackground.Whenwefinished the shoot,wewent

back towherewe’dbeendoing themake-up– the lifestyle areaofmy studio–and therewas such lovely light comingthrough thewindows that I had to take acoupleof shots. I changed thecamerasettings, bumping the ISOup to800andopened the aperture to f/3.2 as the lightwas a lot lower. I stoodbetween themodeland thewindow toget thebest light fallingevenly onher face andperfected theposebefore taking thefinal shot of theday–andwhat’s proved tobemy favourite.

Alternativeshot


CREATIVEEYECANDLES

SMOKINGSKILLSByJordanButters

Camera:NikonD5200Lens:NIKKORAF-SDX18-55mmf/3.5-5.6Software:AdobeLightroom4andCS5


I'LL BEHONESTwith you– thiswas a toughone. Aquick searchof 500pxor Flickrwill tell youthat, as far as photographicstill-life subjects go, candles are

pretty popular objects. Youcan seewhy–they look aesthetically pleasing and theyemit a lovelywarmglow.However, comingupwith a creative idea for an imagewasn'tas easy as I thought itwouldbe.Muchbrainstorming and inspiration-

searching tookplace,when suddenly itdawnedonme– thecandle itself needn'tbe the subject of the image; it just had toplay apart in creating it. So I settledon theideaof an abstract smoke-trail imageusingthe smoke fromanextinguishedcandle.Obtaining the images turnedout tobe

theeasypart– I set up apieceof blackfoamboardonmykitchencounter to actas a backdropandplaced acandle holderin front of it. I put theunlit candle in theholder and setmyNikonD5200uponatripod, in portrait-orientation, to allowroom for the smoke to rise into. I selectedsingle-point autofocus and focusedonthe tipof the candle, before switching tomanual focus to ensure it didn't change.I usedmanualmodeat ISO100, selectedthemaximumsync speedof 1/200sec andchose amid apertureof f/8 for aworkabledepth-of-field. I thenconnected awirelessflash trigger to the camera andplaced thereceiver on abudget flashgun,which Irestedon thecounter to the right of thecandle, pointingupwards atwhere thesmokewould trail. I selectedmanualmodeon theflash andapowerof 1/32which,after a test shot, proved tobe sufficient toilluminate the smoke–however, someofthe lightwas spillingonto thebackground.I used a small pieceof black foamboardandablack folder to flag the light from thebackground to solve this problem.Before lighting thecandle I opened the

outsidedoor to allow the kitchen tocooldown, as smokeappearsmoreprominentand lingers longer in colder environments.After half anhour, I shut thedoor and

closed all of theblinds anddoors in theroom.Thismade surenoambient lightcrept in andeliminateddrafts that couldblow the smokeoutof frame. After lightingthecandle, I allowed it to burn for 30-60seconds to allow thewick toget hot,beforeblowing it out andfiringoffa fewshots. After repeating this process severaltimes, I found thatwhen the smoke trailedto theopposite sideof the frame to theflashgun, it endedupunderexposed. Torectify this, I placed a secondflashgunontheopposite sideof the candle anddialledthepowerof bothflashgunsdown to 1/64

– this ensured that the sameamountoflight reached the smoke, butmade surethat itwouldbecapturedequallywell, nomatterwhichdirection itwent. The addedbonuswas thatmy recharge timebetweenshots dropped thanks to the lower flashpower,meaning I could fireoffmore shotsbefore the smokedissipated.Thesteps I took inpost-processingwere

abitmore involved– I importedmyfilesintoLightroom4andpickedout thebesttrails,which I thenexportedover intoPhotoshopCS5.Using theLassoTool, Iselectedeachsmoke trail andcopiedandpasted themontoan image I tookof the litcandlewithnosmoke trails. I thenchangedtheBlendModeofeach layer toLighten toensure thesmokeshowed through.Toaddextra interest, I appliedacolourful

Gradient layer toeachsmoke trail andchanged theBlendModeofeachGradienttoColor. Finally, Imergedall of the layerstogetherandduplicated them,beforeflipping themtocreateamirroredpattern.Aquick tweak toCurvesandaspotofsharpening, and the imagewascomplete.I decidednot to include thecandle in thecomposition in theendas it detracted fromtheabstractnatureof the image.

Above left:Composing the shotbeforehandandlocking theNikonD5200 inpositionona tripod leftme freeto setup the shot andlight andextinguishthecandle.

Above:After lightingthecandle, I left it toburn for a shortperiod toensure thatthewickgothotenough to smokewhenextinguished.

Left:Aftergentlyblowingout thecandle, I had time toget three to fourshotsoffbefore thesmokedisappeared.

Below left:I selectedmyfavourite-shapedsmoke trails inLightroomtocomposite into thefinal image, carefullyselectingeach trailusingPhotoshop'sLassoTool.


THEC MPLETEPICTURE

RAWIT’SNEVERBEENEASIERTOCREATEOUTSTANDINGIMAGES.DIGITALCAMERASARECAPABLEOFCAPTURINGINCREDIBLEAMOUNTSOFINFORMATION,ESPECIALLYWHENCAPTUREDASRAWFILES.BYFOLLOWINGOURBEST-PRACTICEGUIDELINES,NOTMANYMISTAKESAREBEYONDREPAIRANDGOODPHOTOGRAPHSCANBEMADEGREATWITHLITTLEEXTRA

EFFORT.DOYOUWANTTOKNOWHOW?TURNOVERTOFINDOUT...WORDS:CAROLINEWILKINSON /MAIN IMAGE:MARCADAMUS

PART 1


WHAT WOULD YOU do if you weregiven one-million pounds? Buy anew house? Take a luxury holiday or

two? Give up the day job to be a professionalphotographer? Whatever you decide, onething you probably wouldn’t do is to throwaway most of that money and try to makethe same dreams come true on the smallfraction that’s left – sounds silly, doesn’t it?So why would you do this with yourcamera’s pixels? You spend a lot ofmoney on the latest technologywith the view of getting thebest image quality that yourbudget can buy, and thenyou, in effect, discard agenerous proportion ofthis data and detail byshooting in JPEG andthen wonder why yourimage quality is not asgreat as you imagined.

So what should you beusing? In short – Raw. Thesedays, digital cameras capture anextraordinary amount of image informationand a large part of achieving professional-grade images is knowing how to unlock andcapitalise on this detail. Some photographersbelieve Raw to be tricky and not a format forbeginners, while others believe that if youwere a good photographer and got theimages right in-camera, there’s no reason tonot shoot JPEG. Both camps are wrong, inour opinion, and the aim of this two-part

It’s so easy: simply select the Image Qualitysetting via your camera’s menu system ortop plate and choose Raw or Raw + JPEG,then shoot as you normally would and takecomfort in the fact that you’re capturingmaximum quality. There are a couple ofthings to be aware of, though, whenshooting Raw: first, the image size (see Sizematters!, page 89); second, a techniquecalled ‘exposing to the right’. As the mostimage information is contained in thehighlights, by using your histogram as aguide to slightly overexpose your scene(not so much that you lose detail in thehighlights), you can capture a lot more dataand detail in a Raw file, which you can thendraw out by adjusting the exposure duringprocessing. For a full tutorial on thistechnique, see part two next month.

SetyourcameraforRaw

When you buy a camera,the manufacturer providesa CD-ROM withits own Raw processingsoftware. For some,it’s sufficient, but manyprefer to use third-partyprocessors and for those who already ownAdobe software, they have one of the bestavailable. Photoshop CS’s Adobe CameraRaw (ACR) is by far the most popular andpowerful editing suites, but versions of thisprogram are also available in other Adobeproducts, such as Lightroom andPhotoshop Elements. In fact, for the mostpart, the Raw editing capabilities of each arevery similar or simplified versions. AppleAperture also has a Raw converter andCapture One by Phase One is anotherpopular program for some photographers.If you’re curious about how each worksdifferently or how user-friendly you mayfind them, each program can bedownloaded as a free 30-day trial.

Lightroom4£106 (upgrade£61)Free trial fromwww.adobe.com/products

PhotoshopCS6£660 (upgrade£188)Free trial fromwww.adobe.com/products

Elements11£78 (upgrade£63)Free trial fromwww.adobe.com/products

CaptureOne€229 (£146)Free trial fromwww.phaseone.com/4/

AppleAperture3.4.3£55Free trial fromwww.apple.com/uk/aperture

Manufacturer softwareFree with your camera

Rawsoftware

THELANDSCAPEPHOTOGRAPHER:LEEFROST“I want to achieve optimum image quality and the Raw format does exactlythat. What’s the point in spending thousands of pounds on cameras and lenses,then letting the camera delete data from the images I capture before I’ve evenhad the chance to see them on my computer’s monitor? A Raw file contains

more data than I need, but at least by shooting in Raw I get to decide what stays andwhat goes. I can also save processed Raw files as 16-bit TIFF files, whereas JPEGs are8-bit. It’s easier to adjust things like colour temperature if you shoot in Raw, too, and Ican batch-process Raw files to apply exactly the same settings to each image, which isuseful when I shoot a sequence of images to stitch into panoramas. If I forget to specifya WB like Daylight, and instead shoot with AWB, the colour balance of each image mayvary – shooting Raw allows for this margin of error.”www.leefrost.co.uk

article is to show you why and how, with afew adjustments to your workflow, you candramatically improve your images.

First, Raw is not difficult– it’s often moreinvolved than shooting JPEGs because youhave to put more thought and time intogenerating the files to how you want them tolook, but it’s no different from shooting andprocessing film, which is what all great

photographers did before digital. It’s alsothe most forgiving format, making

it ideal for beginners. Theformat allows you to make

human errors withoutruining a potentially greatimage (yes, professionalphotographers makemistakes too) and allowsyou to process theimage in many different

ways – just like you wouldwith a film negative. So for

creative photographers, it’sreally a no-brainer. If you’re still

not convinced that Raw is a rookies’format, too, make sure you read how ourprofessional contributors use Raw and whythey give it rave reviews.

Understanding the difference betweenRaw and JPEG might also persuade you.When you take a picture, your cameraprocesses the data captured by the sensor,which, unaltered, is a 12-, 14- or 16-bituncompressed Raw file (actual depthdepends on the camera model you’re using).

SHOOTRAW+JPEG

Not only does it allow you to savetime and hard drive space by

reviewing JPEGs on your monitorbefore having to convert the Rawfiles, but you can apply in-camerastyles to your JPEGs, like black &

white, to preview the resultswithout affecting the Raw data,

which you can adjust later.

processors and for those who already own

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Eyes fordetailJPEGs fromRawfileshavemoredetail than in-cameraJPEGs, so forultimatesharpness, shootRaw!

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UNLIKEAJPEG,YOURRAWIMAGEISN’TPRINT-READY–IT’SANEGATIVEWAITINGTOBEDEVELOPED.IT’SHOLDINGALOTOFPOTENTIALDETAILFORYOUTODRAWOUTAJPEG,on theotherhand, hasbeenprocessedby thecamerabefore the image issaved toyourmemorycard, oftenaftersharpening, colour andcontrast adjustmentshavebeenapplied. Thecameraalsocompresses thefiledown toan8-bit imageas it decideswhatdata is needed for thebestphotographanddeletes the rest. If you’veslightly under-oroverexposedyour image,chancesare that you’ve lost valuableinformation that cannotbe recoveredorcorrectionsmadewithout compromisingthe imagequality. If youhad shot inRaw,however, that informationwouldbe retainedandeasily recovered to improve thequalityof your exposureanddynamic range.Rawfilescontainmoredata thanyouneed tocreate a successful imageandputs you incontrol of all thecreativedecision-making.It alsomeans youcanuseyourcomputer toprocess your images,whichhas farmorepower andcontrols thanacamera.Dowehaveyouconvincedyet?Are you

swappingyourQuality setting fromJPEG toRaw, as you readnow?Great.Nowwhat?Unlike aJPEG, yourRaw image isn’t

THENATUREPHOTOGRAPHER:ROSSHODDINOTT“For naturephotographers, the argument for shootingRaw is overwhelming.When shootingwildlife, youhave to react quickly to the subject’smovement.Often, there isn’t time tofine-tune all the shootingparameters, likeWhiteBalance, in-camera.However, by shooting inRaw, photographers have the

luxuryof being able to tweak such things later during editing,without any loss of quality.Due to aRawfile’s great flexibility, nature photographers canconcentrateon focusing,composition andbeingcreative. Rawfiles also capturemore tonal levels, so imagequality ismaximised. They alsohavegreater latitude toexposure error, so if youdomakeamistake, you aremore likely tobe able to retrieve the image. AlthoughRawfiles arelarger and therefore take longer towrite to the camera’s card,most digital SLRshavesuch largebuffers that shooting JPEGsoffers no significant advantage toRaw, evenwhencapturing largebursts of images.”www.rosshoddinott.co.uk

Set the toneShoot inRawandyoucaneasily change theWhiteBalance togive imagesthemoodyouprefer.

WHAT’SYOUREXTENSION?

Every cameramanufacturerhas its ownRawfile format:NikonhasNEF,CanonhasCR2, SonyhasARW, for

instance. It’swhatwill showuponyour computer as

the file extensioninsteadof .JPG.

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QWhen IopenmyRawfiles inACR Igetareasflashing redandblue. It’s really

distracting.Whatdoes itmeanandhowcan Iget ridof it?ADon’tworry, it’s only the highlight andshadowwarnings! If any of the shadowareas are clipped (pure blackwith nodetail),theywill flash blue to let you knowand ifany of the highlights are blown (whitewithnodetail), the affected areas flash red. It’shandy to have thesewarnings on so that, asyoumake adjustments to the image, youcan see if the clipped shadows andblownhighlights improve. If youwant to turnthemoff, though, click on the smalltriangles at the top-right and left corners ofthe histogram in the ACRwindow.

QI’vegotPhotoshopCS5, Lightroom4andNikonCaptureNX,whichcame

withmyNikonD700.Theycanall processRawfiles–which should Iuse?A It’s entirely up to you, but you’re better offstickingwith oneof the three so you getused to it, rather than chopping andchanging.ManyNikon fans useCaptureNX, but LightroomandPhotoshop aremore streamlined because they allow youto domuchmorewith your images using asingle application. Don’t forget you haveElements, too, for a simpler and cheaperversion of Photoshop if the biggersoftwares intimidate you.

QI’ve justbought anewDSLRandACRwon’topenmyRawfiles.Do Ineed to

upgrademyversionofPhotoshop?ANot necessarily.Whenmanufacturersbring out newcameramodels, the Rawformat used by those cameras usuallywon’t be recognised by the version of ACRyou’re using in Photoshop as it predatedthe launchof the camera.When you try toopen aRawfile, amessage says: ‘Could notcomplete your request because Photoshopdoesn’t recognise this type of file’.

Adobe issues free updates for ACR thatallow you to openRawfiles from specifiednewcameramodels – you can downloadthem fromwww.adobe.com.However,whether or not thiswill solve your problemdepends on the version of Photoshopyou’re using and if theDSLR youbought is anewmodel or one that has been around forawhile. If you’re runningCS3orCS4 andyour camera is a recent launch, then you’llprobably find that the last ACRupdateissued doesn’t include your camera on thelist ofmodels covered. If you’re runningCS5, you’ll probably be okay and if you’rerunningCS6 then you’ll definitely be able todownload anACRupdate for your camera.

If no suitable ACRupdate is available foryour version of Photoshop, you couldeither upgrade to PhotoshopCS6or buyAdobe Lightroom4,whichwill allow you toprocess Rawfiles fromyour newcameraand still import into Photoshop after.

QHowshould I savemy image fromAdobeCameraRaw?

ABefore you save your image, click onWorkflowOptions (bluewriting at thebottomof ACR) and set the Size, Depth,Space and 300pixels/inch as theResolution (see page 92 for full details).If you’re not opening your image intoPhotoshop, click Save Image... andpreferably selectTIFF as your Format as itretainsmore information than a JPEG, andsetCompression toNone.

RawFAQs

print-ready– it’s anegativewaiting tobedeveloped. It’s tonally flat, softer than itshouldbeandholdinga lotof potential detailin thehighlights and shadows for you todrawout. Formanyphotographers,especially thosenewtodigital editing, theideaofprocessingandconvertingRawfilescanbedauntingandoff-putting, but it canbemadeas simpleor ascomplicatedas yourskills permit. ThebeautyofRaw is that, asyour skills develop, there’s alsono reasonwhyyoucan’t return to re-edit the sameimageagain later as longyoukeepafile in itslosslessRawstate, as the image informationis neverpermanently altered. Thereareseveral softwarepackages youcanuse, too,butourpreference isAdobe:whether that beElements,CSor Lightroom.EachhaveverysimilarRaw interfaces, borne fromAdobeCameraRaw,whichwe’ll showyouhowtonavigateover thepage.

With increasingmegapixels anddatacollection, onemodern challengephotographers are facing ismassiveRawfiles. Dependingon your camera’s file size,a Rawfile can takeup to fiveor six timesmore space than a JPEG.Not only does thismeanhigh-capacitymemory cards, orplenty of spares, but youmayeventuallyneed abigger harddrive and fasterprocessor if your computer is tomanagedownloading andediting thesemammothimages. Add to this that the file sizeincreases as youedit the images untilthey’re compressed, plus the fact that youmightwant to keep theoriginal Rawfile aswell as the JPEG, and you’ll be needing a lotmore storage space than if you stuckwithJPEGonly. But let’s face it, though– theprosof Rawstill far outweigh these cons.

Sizematters!

THECOMMERCIALPORTRAITPHOTOGRAPHER:PAULWARD“Upuntil a year ago,mymainprioritywasbeing able toget a lotmore imagesonamemory card in case Imademistakes. I thought JPEGswerebest. Iwaswrong: Rawhas a lotmorebenefits. If youget theWBwrong, youcan tweak it,whereas doing that in PhotoshoponaJPEG isn’t very accurate andcanbehard

todo. If I slightly overexpose a shot, Raw-editing software allowsme topull detail back,which is really handy. Before Imovedover to theNikonD800,whenever I tried toopenup shadowareas to reveal detail, I’d get grainy images, but theD800 is amazing forrevealingdetail in the shadowwithout introducingnoise. It’s alsousefulwhencreatingHDR images. I prefer not to takemultiple exposures, as a part of the sceneor themodelwill oftenmove slightly between shots.WithRaw I canexpand thedynamic rangebyoutputting threedifferent exposures froma singleRawfile andmerging them together– it’s farmore controllable and the results are better.”www.paulwardphotography.com(Findout how tocreate amultiple exposureorHDR image fromaRawfilenextmonth.)


By clicking on this blueinformation line, you canselect the best image space,resolution, size and depth toensure optimumquality.See page 92 for details.

Instead of using the ZoomTool, you canmakemoreprecise enlargements byselecting a percentage fromthis drop-downmenuorusing the+or - buttons.

Zoom:Magnify theimage to see it inmoredetail by

clickingon thepreview image.

Hand:Navigatearound themagnifiedimagebyclicking and

dragging theHandTool.

White Balance:Byclickingonan imagearea that’swhiteor

grey, ACRcandetermine thecolour of the light the imagewas taken in.

Color Sampler:Allowsyou to select a colourthat youwant to

adjust by clickingon that areaof the image.

Targeted Adjustment:Insteadof using thesliders tomake

adjustments, drag this tool onthe image tomakeedits.

Crop:Perhapsoneofthemost useful tools,useCrop tochange

the aspect ratio, to recomposeyour imageor simply removeelements from theedges.

Straighten:Correct awonkyhorizonorrotate your image.

Spot Removal:Get ridof sensor spots, dustmarks andother

unwantedblemishes.

Red-Eye Removal:Clickon the subject’spupil to get rid of

red-eye in portraits.

Adjustment Brush:Use this tool tomakelocalised edits to the

image. Seepage93 for details.

Graduated Filter:Drawa lineacrossyour image toapplya

graduateeffect. Youcan thenadjustExposure,Brightness,Contrast,Clarity, Saturation,SharpnessandColorof thegraduate tosuit yourpicture.

Preferences:Clickhere to access theCameraRaw

Preferencesdialoguebox.

Rotatecounterclockwise &Rotate clockwise:

Clickon the tools to rotate ineither directionby90°.

NavigatingtheAdobeCameraRawinterfaceNewtoACRandconfusedbyall its features?Nofear,wemakeCS5clear...

The toolbar

Workfl ow OptionsWorkfl ow Options

Preview options

Click here to open your SaveOptions. Fromhere you canselect your image Format,File Extension and level ofCompression before namingand saving the file.

To see howyour adjustmentsaffect your image,make surethis Previewbox is ticked. Thebutton to the right expands orreduces the size of yourinterface on yourmonitor.

ZoomSave Image...Save Image...

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Adobe softwares have very similarinterfaces and capabilitieswhen itcomes to Raw, sowhether you’reusing Elements 10 or Lightroom4,the tools and techniqueswe refertowill, for themost part, translate.

When you’ve done all the editing youwant to in ACR, you have theoption to open the image in Photoshop for further processing.Instead of clickingOpen Image, holdAlt to open the image as altcopy– it’s useful if youwant to apply different techniques to thesameRawfile in Photoshop. You can also pressAlt to change theltCancel button to Reset, reverting all sliders to default settings.

Rawphotography

Basic:Arguably thecontrol roomof ACR,these tools for the

most part are all you need todramatically transformyourRaw images– turn over tofindout exactly how.

Tone Curve: Itfunctions in a similarway to Photoshop’s

Curves adjustment, allowingyou tomanuallymanipulatethe tonal graph to affect yourimage’s contrast.

Detail:You can accessthe Sharpening andNoise Reduction

features of ACR via this tab.They’re quite simple to use,but formore information andtutorials, see page 94or nextmonth’s article.

HSL/Grayscale:Thistab holdsmost of thecontrols you need to

alter colour. You haveHSL(Hue, Saturation andLuminance adjustments) aswell as aConvert toGrayscalebox that allows you to use theGrayscaleMix sliders to adjustthe various grey tones in yourimage to improve contrast.

Split Toning:Want tobe a bitmore creativewith colour? The Split

Toning tab enables you toadjust theHue and Saturationof the highlights and shadowsseparately for duotone results.

Lens Corrections:Areally useful featureandone tabwe

recommend visiting beforeyou do any editing, especiallyif you’ve used awide-anglelens and your image has barrelor pincushion distortion,fringing or vignetting.See page 95 for details.

FX:The Effects tabfeatures themorecreative adjustments.

You can add grain and applya vignette for artistic results.See page 95 for details.

Camera Calibration:Use this tab to applyyour in-camera styles,

like Vivid and Landscape. Youcan use theCamera Profilesliders to help calibrate youron-screen image tomatchyour LCD view, if needed.

Presets:Create yourownpresets so youcan apply creative or

routine tweakswith one click.Simply clickNewPreset andthen record the adjustments.

Snapshots:Take‘snapshots’ of yourediting as you go along

to compare the results or toeasily return to an earlier state.

Adjustments

The ACR interfaceOpen ImageOpen Image

Clipping warningsClipping iswhere detail is lost at the extremeendsof the histogram spectrum– these black andwhite triangle buttons,whenpressed, activatewarnings to indicatewhere clipping has occurred.Areaswith lost shadowdetail (right triangle) flashblue,while highlights (left triangle) flash red.

HistogramJust like on your camera, the ACRhistogramshows you the distribution of your exposureinformation frompure blacks to purewhites. It’s agood reference for determiningwhat adjustmentsyou need tomake. As youmove the sliders, you’llnotice the histogramchanges its distribution.

In


Recovery (Up toCS5)If youoverexposed your image in-camera, then this tool is your fail-safeoption; use it to recover detail in thehighlights. If you’venot clipped yourhighlights, youcanuse the slider asgenerously as youneed to, but if you’veoverexposed to thepointwhere there’snodetail to recover, ACRwill attempt toreconstruct thedetailwhere twoormore colour channels are present. Bewatchful of highlights turninggrey as aresult of trying to retrieve lost detail.

Thebasics:GetstartedinAdobeCameraRawMasterBasicadjustmentsandwepromisethequalityofyourphotographswillneverbethesameagain

If younormally shoot JPEGs, youwon’thave to knowmuch tonotice adramaticdifference to thequality of your editedimagesonce you startworkingwithRaw.Just being able tonavigate a fewbasicsettings in your chosen softwareguaranteesbetter results, simply because younotonlyhave a lotmore image information, and thusscope for better improvement, but youcallthe shots basedoneach image’s needsrather than letting the camera apply thesameblanket adjustments, like sharpeningandcolour saturation, to all your pictures.

Thebest part of editing inACR is that itdoesn’tmatter howmanyerrors youmake,no amountof editing youdo to yourRawfiledegrades the imagequality–unlike a JPEG–soyou’re free to experimentwithconsequenceuntil youconvert the image toa JPEGorTIFF. Andeven if youdo save youredits to theRawfile, the edits you’vemadeare still completely reversible. Brilliant isn’t it!Most of your key editing tools are housed

under theBasic tab andare adjustable usingsliders,making them fast andeasy touse.If you’reonly interested inmakingminimal

edits to everyRawfile, then this pagehas allyouneed to know, andmore: Basic is thepowerhouseof ACR.While it hasmore thanenough toget youby, and should keep thelearningcurve relatively shallow, youandyour imageswouldbemissingout if you leftit there. There is, after all, a reasonwecouldn’t fit all this information intooneissue; there are just toomanygreattechniques to tell you about. But beforeweget aheadof ourselves, here’s a breakdownofwhat theBasic panel offers andhowyoucanuse it to process your best ever pictures.

If you click on the blue text below yourpreview image in the ACRwindow, aWorkflowOptions box opens.Make sureyouhave Space set toAdobeRGB (1998)andDepth to 16Bits/Channel. Click Size tosee various options:most ofwhich have a– (minus) symbol after them, one that hasno symbol andoneor two that have a+(plus) symbol at the end. Theoptionwithno symbol is the optimumone for yourcamera and saves your images atmaximum resolution. Choose that one.You’ve paid for thosemegapixels so youmight aswell use them. There’s no point,generally, in choosing a lower resolutionoption, and if you choose one that’s higherthan the resolution of your camera, the fileswill be interpolated,which youdon’t usuallyneed– increase the file size later, inPhotoshop, if necessary. Also,make sureResolution is set to 300pixels/inch.

Workflowoptions ExposureOutof all the controls in theBasic panel,Exposure is theone you’re likely touseevery time.Move the slider to the right toincreaseor left to decrease theexposure:much the sameway as addingexposure compensation to your camera.Youcanalso type in anexposure value,like 2 for two stops, in thebox. If yourimage is dramatically under-oroverexposed, combineExposurewithother sliders for thebest results andbecareful of introducingnoise.

WhiteBalanceAs theproshavealreadyplugged, this isoneof themostuseful tools in yourRaweditingarsenal.While theWhiteBalanceTool is great, thesecontrolsmakecorrectingany in-cameraWhiteBalanceerrors adoddleonceyouget thehangofit: simply select aWBpresetoruse thesliders for acustomWB.

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Fill Light (Up toCS5)Underexposed your image slightly andwant to reveal detail in your shadows?Then this is the tool you’ll need to go toafter tweaking the Exposure. It works in asimilar way to if you had used a burst offill flash when taking the shot, openingup the shadows for a brighter image. Usein conjunction with the Blacks slider toimprove contrast, but don’t overdo it oryou’ll start to introduce noise, halos andthe resemblance of an image with uglyhyperreal dynamic range.

ClarityFantastic for increasing the level of detailin your image, Clarity is a tool to be lovedand loathed. As it targets edge contrast,use it with caution as excess can result inhalos and artefacts. CS6, however, hastransformed this tool so halos are muchless of a problem. Zoom in to the imagefor a better view of your adjustments,which are best made as a final tweak.Combine Clarity with moderatesharpening for the best results: toomuch of either may hinder image quality.

Vibrance&SaturationWondering why ACR has both thesessliders? It’s simple: Vibrance targets areasnot already saturated, while Saturationenhances all colours equally.

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While the Basic tab holdsthe key to yourfundamental editingtools, every adjustmentyou make using thesliders affects your Rawfile globally. But what if,after you’ve made thoseadjustments, there areareas of the image thatneed further work? Doyou open it in Photoshopto destruct the pixelsusing the Dodge/BurnTools or arduously useAdjustment Layers withLayer Masks for selectiveediting? Well, while the latter option is still apreference over the former, you don’t evenhave to leave ACR to make these localisedchanges – that’s what the AdjustmentBrush is for.

Once you select the Adjustment Brushfrom the toolbar, the Basic panel convertsto the Adjustment Brush panel, featuringsome of the same sliders: Exposure,Brightness, Contrast, Saturation, Clarity,Sharpness and Color. In CS6, you also havethe benefit of Noise Reduction, MoireReduction, Defringe, Clarity, Saturation,Shadows, Highlight, Tint and Temp.

In CS5 and CS6, there’s also a sub-category that affects the brush’s propertiessuch as Size, Feather, Flow and Density. Youcan use the brush to target areas of yourimage and then the required adjustmentslider to edit that section without interferingwith the rest of your image. The Auto Maskfeature is useful for helping isolate areas.For every new area you want to target oradjustment you want to make, clickNew atthe top of the panel. If you want to deletean adjustment, hover over the adjustedarea to reveal the pin (a green node) – if it’snot visible, click ShowPins at the bottom ofthe panel. Click on the pin and thenBackspace to delete. Alternatively, pressErase and brush over the area again toremove the adjustment.

We have a fantastic tutorial in this issuefor using the Adjustment Brush inLightroom 4 (page 100), which applies toACR, too, so don’t forget to check it out.

HighlightsThis newtool is incrediblypowerful: drag it tothe left to recoverhighlight detail – likeRecovery in CS5 – orthe right to brightenhighlights withminimal clipping. Use in combinationwith the Whites slider for extra punch.

ShadowsUse this slider by moving itto the right or left to brighten or darkenshadows and mid-tones, respectively,and to recover detail in the shadows.

WhitesDrag this new slider to the leftto reduce any clipping to the highlights– similarly to Recovery in earlier CSversions – or the right to introducespecular highlights.

AdjustmentBrushes

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Brightness (Up toCS5)Quite simply, it does what it says on thetin. Adjust the slider to affect the overallbrightness of your image. ACR has moreeffective tools for doing this, likeExposure, which may be why it’s not beenfeatured in the latest version, CS6.

BlacksTarget only your darkest areas to adddepth to your shadows by increasing theamount of pure blacks in your image.Watch the histogram and the previewimages for areas that flash blue to avoidclipping detail.

ContrastManipulate the mid-tones, withoutaffecting the whites or blacks in yourimage, to add a little extra punch or tosoften tones. Leave it to the end of yourediting process and watch for clipping ofshadows and highlights.

Vibrance Saturationminimal clipping. Use in combination


AdvanceyourskillswiththesetoptoolsWanttoknowhowtousetheotherhighlyeffectivefeatures inACR?Hereareafew…

Havingcovered thebasics, youshouldat leastbeable tonowdabblewithprocessingyourRawfilesandstart tonotice thedifference toyour images. Somephotographers, aftermakingbasicACRexposureandcontrast adjustments, prefer toopen their image in themainPhotoshopsuite toapplyanydistortioncorrectionandsharpening,rather thancontinuing toedit inACR. It’s really amatterofchoice.If youdochoose tomakesome,orall, of yourextraadjustments inPhotoshop,westronglyadvisenotcompressingyourRawfilefirst,

but toopenyourRaw imageasacopyorobject toensure thebest results–otherwiseyou’ll losedataandquality.DependingonyourpreferredACRworkflow, some

of the tools featured in this section, suchasCameraandLensCorrection,defringingandvignette removal,mightbecomeyourfirstportofcall beforemakinganyedits in theBasicpanel.Whatever yourpreference is, it’sworthknowingwhat theydoandhowtheywork.

SharpeningA lot of photographers prefer to leave sharpening toPhotoshop, or at least after all othereditinghas beendone, as it arguably offersmore control and allows you to alter thelevel of sharpeningdependingon theoutput (iewebor print). ACR’s sharpening,however, located inDetail, is basedon the samealgorithmasPhotoshop’sUnsharpMask, so is very effective. Sharpening inACRalsohas thebenefit of beingnon-destructive and reversible,whereas in Photoshop this is a lotmoredifficult to achieve.However youdecide to sharpen, know that it’s an essential step as, unlike a JPEG, noin-camera sharpeninghasbeenapplied to aRawfile.

LensCorrectionsDifferent lensesexhibit variousdefectsdependingon factors like f/stopandfocal length,oneofwhich isdistortion.But this is simple tocorrect inACR.Select theLensCorrections tabandclickProfile, thenEnableLensProfileCorrections for automaticadjustmentsbasedon the lensyou’veused.Youcanalsouse theDistortion slider if it’s not sufficient.SeeVignettingandFixingFringing formore informationon furthercommoncorrections.

∞Amount:Affects edgedefinition. Thehigher theAmount, themoreedges aresharpened. Becareful of adding artefacts.∞Radius:Adjust the sizeof thedetails thatsharpening is applied to.Use a largerradius for largedetails and a lowRadiusfor finedetails.∞Detail:Use to sharpenhigh-frequencydata. Set it low to removeblur aroundedges andhigh formaking texturemuchmorepronounced.∞Masking:Leave set to0 so theotherslider affects thewhole imageor 100 torestrict tweaks to the strongest edges.PressAlt/Opt to see the areasmasked.

FURTHERREADING

For in-depth tutorials onhow toapply these toolsandRawprocessing

techniques in LightroomandACR, refer toour

monthly articleDigital Darkroom.

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ToneCurveThenext tab along fromBasic isToneCurve, and itworks in a similarway toCurves in Photoshop. AsRawfiles arenotoriously flat, thissectioncanbecome really usefuland analternative to someof theBasic sliders once you’ve got thehangof it. Youhave twooptions:Parametric andPoint. Under thePoint sub-tab youcan select apreset that affects thebrightnessandcontrast, or youcanadjust theline intersecting thehistogrammanually, like youwould inCurves.If Levelswasmore your style, stickwith thedefault Parametric sub-tabas it allows you touse the sliders,whichcanbemoremanageable, totargetHighlights, Lights,Darks andShadows.Move the sliders to theleft to lighten, or right todarkenthose specific tonal bands. You’llnotice as youchange the slidersthat thegraph line changes shape– thehigher you set the contrast,the steeper the curvewill create an‘S’ shape. In Lightroom4andPhotoshopCS6, youcanalso selectspecific colour channels to edit –great if youonlywant to affect thecontrast of Red,GreenorBlue, orapply a creative cross-processingtechnique to your images.

VignettingLenscorrections:Often if you’veused awide-angle lens, your imagemay suffer fromslight vignetting (darkeningof the corners). Tocorrect this, clickon the LensCorrection tabanduse theAmount slider under LensVignetting to lightenor darken theedges toreduce the amountof cropping youmayneedtodo. TheMidpoint slider is useful if yourvignette encroachesbeyond thecorners.

Artisticeffect:Vignetting,whencontrolled, canbeanartisticfinishing touch. In thiscase,usePostCropVignettingunder theEffectstab.ChooseaStyle:HighlightPriority toprotectyourhighlights;ColorPriority topreservehues;PaintOverlay toblend theoriginal colourswith thevignette. Youcan thenadjust the followingsettings: theAmount tolightenordarken thecorners;Midpoint toaffect thespreadof thevignette;Roundness todecide its shape; Feather toadjust thesoftness;andHighlights tocontrol contrast.

NEXTMONTH:MAXIMISEDETAIL ∞ RAWMULTIPLEEXPOSURES ∞ COMMONRAWFILEPROBLEMS ∞ CREATIVERAWTECHNIQUES

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ROSS

HODDINOTT

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PhotoshopCS LightroomPhotoshopElements

Whateveryourability levelorchoiceofeditingsoftware, there’ssomethingforeveryoneinthismonthlyseries.WeguideyouthrougheachofAdobe’seditingpackagestoshowyouhowtogetthebest fromyour images.Thismonth,weexplainthemosteffectivewayto improvecontrast inElements10,howtochangeyourcomposition inCSandtomakehandylocalisedadjustmentsto

your images inLightroom4usingtheAdjustmentBrush


DIGITALDARKROOM

MASTERADOBE’S IMAGESOFTWARE&IMPROVEYOURPHOTOS

DIGITALDARKROOM

EXPERT

TUITION

PHOTOSHOPCS

FILL THE FRAMEExtendingthebackgroundofyourimageisausefullittle ‘cheat’youcanusewhenyouneedtomakediscreetchangestothecomposition

ELEMENTS

USING LEVELSImprovethecontrastandcolourof imagesquicklyandeasilyusingLevels

LIGHTROOM

SELECTIVEADJUSTMENTSDiscoverhow,byusingtheAdjustmentBrush,it’spossibletomakelocalisedchangeswiththeminimumoffuss

INSIDE...

PhotoshopElements Simplecolourandcontrastadjustments

UnderstandingLevelsLevels: thesimple secret to improvingcontrast andcolour. Findouthowtomaster this trouble-free tool to transformyour images

CAROLINEWILKINSON: If you’renew todigital editing youmaynothaveheardof Levels,which is auseful toolwhenyouwant toimprove thecontrast, tweak the

exposure andenhance thecolours of yourimages. Levels is an all-in-one solution forthesebasic adjustments–and it does agreatjobof it, too. This tutorial presumes that youwant to edit awell exposedJPEG, not aRawfile,which is best doneusingRawconversion software tomaximiseon thedetail anddynamic range (seepage90).JPEGscarry less information thanRawfiles,so theygreatly reduce your scope forrescuing anexposure andmakingeditswithout damaging imagequality.Whereasthe fewer tweaks to JPEGs, thebetter.Youmaybe tempted touseElements’

Quick Edit features, but I suggest bypassingthis section andgoing straight into the Fullediting suite touseAdjustment Layers. TheQuick Edit one-click adjustments take thehassle out of editingbut rarely produce thebest results; oftenblowinghighlights toopenup shadowsormakinghighlightsmuddy for the sakeof deepening shadows.

1Access Levels You’ll need your Layers paletteopen (Windows>Layers). Nowadd a Levels

adjustment layer (Layer>NewAdjustmentLayer>Levels), when theNewLayer dialoguebox appears, clickOK. You should not only see anew layer appear in your Layers palette but alarge dialogue box displaying a histogram– thisis the exposure histogram for your image; thesame as youwould see on your camera’s LCD.

4Target colour If your image has a slightcolour cast, or youwant to adjust the

colours in your image, you can also do this usingLevels. Oneway is to select themiddleEyedropper tool and to click on an area of grey/mid-tone to set theWhite Balance. Alternatively,you can target the tonality of Red, Green andBlue independently via theChanneldrop-downmenu,which as default will showas RGB.

2Assess your image For an average scene thatdoesn’t bias the shadowsor highlights, you

want a histogram that runs from the far right tothe far left, so your blacks are true black and yourwhites are truewhite. The ‘Before’ histogramdoesn’t look like this, causing the image to be flatand colours dull. ClickAuto to see how itchanges your image.Our ‘After’ shot shows theshadows andhighlightsmore evenly spread.

5Take thenext stepBeginnersmightwant tofinish the tutorial at step four; othersmay

find these advanced stepsworthmastering. Ifyou have an image like this one,wheremakingthe sky stronger leaves the foregroundunderexposed, or vice versa, you can use theLayerMask attached to the Levels adjustmentlayer in your Layers palette to edit youradjustment to affect only oneor the other.

3Takecontrol If Auto improves the contrastand colour sufficiently, you could close the

dialogue box and leave your editing there. If not,click theReset to adjustment defaultbutton atthe bottomof the Adjustment panel andmovethe black slider to the right so it’s at the edgeofthe histogramand thewhite slider similarly tothe left; you should see an instant improvementto the tonal range and depth of the colours.


They also target your image’s pixels so theeffects are irreversible. AnAdjustment Layer,on theother hand, gives you theflexibility toerase your adjustments at any time, leavingtheoriginal pixels untouchedand imagequality thebest it canbe. Youcanalsoselectively adjust areasof your imageusingtheAdjustment Layer’s LayerMask; it’s aslightlymore advancedoption, requiringmorecontrol and judgementover editingdecisions, but once youget thehangofworking in Elements, it’s a techniqueworthhaving in your arsenal for images that needabitmore attentionbeforeprint.

Original

Before After

Final imageGeteverybody’sgoodsidebymergingyourbestgroupshots intoone.

6Use theLayerMaskHere, the tonality of theforegroundhas been improved but the sky

andmisty background could look better in areas.To target the sky separately, add a new Levelsadjustment layer and tweaks by only focusing onthis section, ignoring any effect on theforeground.Once happy, select theBrushTool,make sure Foregroundcolor is set toBlack, theedges are soft andOpacity is 100%.

7Edit the skyClick on the LayerMasknext toyour newAdjustment Layer to activate it, and

then start to brush over the foreground to revealyour first Levels-adjusted image.When youcome to the edges ofwhere the foreground andskymeet, try lowering theOpacity slider to40-50%, zooming into the image and selecting asmaller brush to ensure a smooth graduationbetween the two sections.

8Adjust yourprocessRepeat this process forasmany parts of the image that need

individual attention. For better control, use a lowOpacitybrush. If youmake amistake, switch theColor fromBlack toWhite and goover the areaagain on the LayerMask to restore the originalstate. You can delete theAdjustment Layers ifthey’re no longer neededor double-click onthem to re-edit the histogram.


Final imageSelectionsallowyoutoadjust your imageonesectionat a time.

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WARNINGWhenediting a JPEG, don’tbe tooheavy-handedwiththe exposure adjustments.

If youopenup theshadows toomuch in thehopeof revealingdetail,you risk introducing

quality-degradingnoiseandartefacts.


Lightroom Howtouse theAdjustmentBrush

1Makeglobal changesfirstBeforemakingany selective adjustments,make any global

changes that you see fit. It’s a good ideawhenmaking any exposure or contrast adjustments toenable the clipping alerts in theHistogram soyou knowhow far you can push the settings. Todo this, click on the two small triangles in the topcorners of theHistogramwindow.

2Set thebrush sizeClick on theAdjustmentBrush to open the Adjustment Brush palette.

First set the brush Size, Feather, Flow andDensityusing the sliders. Flow andDensitymayappear to do similar things, however, Flowcontrols how fast the adjustment is applied,andDensity sets the opacity of the adjustment.LeaveAutoMaskunchecked for now.

3Brush in largeareasfirstUse the Exposureslider to set the exposure value that youwant

to apply – this can be adjusted later so I’vechosen -0.50 for now.Click and hold on yourimage to begin brushing on your adjustment,giving awide berth to any obstacles. If youwantto seewhere you’ve brushed, hover over thenodepinon the image to highlight the areas red.

4Use themaskWhen you come to an areawhere youhave obstacles to paint around,

switch on theAutoMask feature in theAdjustment Brush palette. Continue to brusharound the obstacles andAutoMaskwill attempttomask out any items that it doesn’t think youwant to paint. It probablywon’t get it 100% rightfirst time, but it’s a good starting point.

5Adjust the settingsWith your skymasked,move the Exposure slider again until you

reach the level you’re happywith. An exposureof -1.00 is just right here. You can also use theother sliders tomake additional adjustments tothe selected area. I’ve also added+25 Saturationto boost the blue sky. These changes arenon-destructive, so feel free to experiment.

6Eraseanyover-spray If you painted over anyobstacles on the horizon, or if the AutoMask

tool failed tomask anobject, simply click onErase in the Adjustment Brush palette, adjustyour brush Size and Feather as before, and brushback over to erase the adjustment.Making sureAutoMask is switchedon againwhile erasingwillhelp your brush find the edges as before.

MakeselectiveadjustmentsTheAdjustmentBrush isoneofLightroom’smostpowerful anduseful tools. Learnhowtouse it to selectivelyadjust your images

JORDANBUTTERS:Althoughwe’d all obviously like toget everyshot right in-camera first time, itisn’t always possible. Thankfully,the rangeof adjustments

Lightroom4offers allows you to tweak, alterandmanipulate almost anyparameter togetthebest out of your images.While these changes canbemadeona

global scale,moreoften thannot therewillbe specific areasof your image that youwant to tweakwithout affecting the rest ofthe image– this iswhere theAdjustmentBrushcomes in.TheAdjustmentBrush allows you to

selectively apply any adjustments that youwishonto a specificpart of your image.

It canbeused to adjust exposure, contrast,saturation, or prettymuchanyof theothersettings that youcanmake in theBasic taboftheDevelopmodule.

Original

Lightroomfundamentals

MULTIPLEADJUSTMENTS?You can usemultiple Adjustment Brusheson a single image tomake several differentadjustments at once. Simply click onNewat the topof the Adjustment Brush paletteeach time youwant to use a newbrush.To delete a brush, click on thenodepinfor that brush on the image to select it andpress theBackspace key.


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Final imageUsing theAdjustment

Brush, Iwasable torecover the skywithoutaffecting the restof the

image,despite theobstacleson thehorizon.

PhotoshopCS Extendbackgroundsforbetter framing


2Cropyour imageClick and drag tomakeyour initial selection. At this point the tool

won’t allow you to select past the edges of theexisting image. Release themouse and thenclick ononeof the corner anchor points anddrag outwards, off the edgeof the image. Pressthe Enter key to commit to the crop.

3Select thebackgroundTo fill the emptyspaceon either side of your image, select the

RectangularMarqueeTool and click and drag onyour image to select asmuchof the backgroundas possible to one side of your subject. Becareful not to select the edges of your subject atall or theywill distort in the next step.

1Select the ratio First you need to unlock theBackground layer; double-click on the layer

in the Layers palette. In the dialogue box thatopens up, clickOK. Select theCropTool and, inthemenubar at the top, enter the newaspectratio that youwish your image to take; inmycase, 7inWidth by 9inHeight.

4Extend thebackgroundWith your selectionmade, go to Edit>Transform>Scale and use

the side anchor point to stretch yourbackground to the edgeof the frame. Press theEnter key to commit to this transformation. Thenrepeat steps three and four for the other side ofthe image.

Extendabackground

JORDANBUTTERS:Extending abackground is an incrediblyuseful technique. It canbeusedtochange the aspect ratioof animagewithout resorting to

awkwardly cropping your imageandeitherdrastically altering thecompositionor, evenworse, croppingout part of your subject. It’salso awidely used technique inpublishingwhenoverlaying copyonan image.There’s noone-size-fits-all approach to

extending abackgroundandquiteoftenyou’ll find that a combinationof thedifferentmethodsmentionedhereworks best. Thegeneral rule of thumb is that themore

complicated and less uniform thebackground, the trickier theprocessbecomes.Clear andunclutteredbackgroundswith a solid, uniform toneare theeasiest; for example, those shotagainst a single-colour backdrop.In this example, Iwant to resizemy6x4in

image tofit neatlywithin a9x7in photoframe. If Iwas to simply crop the image Iwould endupcroppingout either part of thesubject’s heador feet–not ideal. By firstmaking sure thatmyentire subject isincluded in the frame, I canextend thebackgroundat each side to fill themissingareas.Here’s how…

Changing theaspect ratioofan image isoftenakin tofittinga roundpeg intoasquarehole.Extendthebackgroundtomake lifeeasier

Original

Alternativetechniques

If your backgrounddistortswhenusingthismethod, try oneof these alternativetechniques. The first two steps remain thesamenomatterwhichmethod you choose.

CONTENTAWARESCALEGo toEdit>ContentAwareScale. Drag the anchorpoints outwards, keeping an eye on yoursubject tomake sure they don’t distort.

CONTENTAWAREFILL Select the emptyspaceon either side of your imagewith theRectangularMarqueeTool. Go to Edit>Filland selectContentAware–Photoshopwilltry to choose the best content for the space.

CLONESTAMPTOOLUse theCloneStampTool to sample the background andbrush them in place in the empty spaces.

COPYANDPASTEWith theRectangularMarqueeTool select areas of thebackground andCopy andPaste them into the empty spaces. Use theCloneStampTool to hide any joins.

ABOVE:Applyinga9x7incropwithoutextending thebackgroundcrops the subject.

DIGITALDARKROOM


Final imageExtending thebackground

hasallowedmeto retaintheoriginal composition.

ACCLAIMED PRO TIM FLACH SPEAKS TOCAROLINE WILKINSON ABOUT HIS LATESTPHOTOGRAPHIC MONOGRAPH DEALING

WITH SEVERAL DEBATES ABOUT THEHUMAN AND ANIMAL RELATIONSHIP

CuttingEdgeEdge

MORE THANMOMOMORRRE THAN E THAN E THAN HUMAN

1)ThebonestructureoftheEgyptianfruitbatisalmostidenticaltoahuman’s.

2)Unlikesomeothercats,Bengaltigersareathomeinwater.

3)Chimpanzeesliveinintricatelystructuredcommunitiesandsharehumantraits.

4)Thethree-bandedarmadilloistheonlyspeciestoroll itself intoaballasprotection.

5)Thefeatherlesschickenhasbeenbredtoreducetheeconomicimpactonthefarmer.

6)TheChengduResearchBaseofGiantPandaBreedinghasbredmorethan120giantpandasfromjustsix since1987.

7)Mandrillsdisplayperhapsthebrightestmarkingsofanymammal.

8)TheRoyalWhiteTigerhasbeenusedtoproducehybridsasthemeparkattractions.

CuttingEdgegEdgeg

IF IHAD topick aphotographerwhofascinates and inspires, TimFlachwouldbehighon the list – if only for his voice.Nothis quintessentially decorous Englishaccent–although thatmakes listening tohima joy–but his conceptual voice,which

goes far deeper thanexquisite imagery and speaks loudofcurrent, often controversial, issues.Notmanyphotographers canengage andeducate througha singleimage, but Timhas it down to a tee. For his viewerswhoenjoyphotography for photography’s sake, youcanappreciate his beautiful imagerywithout needing to knowmore. But for thosewho like agoodback story, youcandelve a little deeper andbroach issues that youmayneverhave realised existed.“I’mnot trying tobemoralising,noramI trying topolarise

thedebateeither, I’mactually saying this iswhat’sgoingon.It’sup toyou todecide if it’s rightorwrong,” explainsTimashe talks tomeabouthis latestproject,MoreThanHuman.Abookandexhibition that, in trueTim-style, combinesstunninganimalportraitswithamuch lessattractivenarrativediscussinganumberofdebatesaroundanimals,includingcloningandcross-breeding.While previousprojects have focusedona single

species, this year-longproject comprises amixtureofexotic subjects fromaround theworld. “Thebook,MoreThanHuman, has about 180 imagesofwhich80%originated in the last year. I’ve alsobrought in images thatwere special tome that I had takenover the years but havenever beenpublished in abook, but supported the ideasthat Iwanted toexplore. I alsobrought in a few imagesfrompreviousprojectsEquus andDogsGods, as Iwantedonebook that showedagood representationofmywork.“Theunderlyingquestion inmywork ishowwehumans

shapenatureandhow it shapesus.Thereare someanimalswhere the influenceofhumanshasalteredwhere theyexist, suchasa jellyfish that affectsanecosystemafterbeing inadvertentlymovedby thebowofaship fromoneocean toanother.Or theharlequin ladybirds introduced totheUKasapestcontroller– their cannibalisticnaturenowthreatensnative ladybird species. That’s justonedebate.”Timgoeson toexplainmanyothers, including the

emphasisweplaceonsavingcertainendangeredanimalsoverothers, thepanda isoneexample. “We thinkof themas

aspecial species, butactually they’renotasimportant, biologically speaking, asabatmightbe ifwe lost it.”OneofTim’smost interesting images in thebook isof a featherlesschicken, apeculiarpictureon thesurfacebutone thathedeliberatelywanted toelicitquestions like:Why is it featherless?Has it beenpluckedoris it genetic? “Thechicken is agoodexample that illustratesnot justhowactivelywe’rebreeding livestock,butalso themuchmore interestingdebateabouthowweconsumemoreanimals today thanever, yetwe’veneverbeensoseparated fromanimals.Webuyourheadless, hairlesschickenwrapped incellophaneoftenwithouta secondthought towhere it’s comefromandhow itbecamefeatherless. Thischicken, forexample,hasbeenbredwithout feathers.”For thisbook,Tim’sexploredgenetics,medical research,

conservationand the inadvertentconsequenceofhumans–a lot topack intoonebook,butaproject that’s takenhimaround theworldand led tophotographingsomeweirdandwonderful creatures, fromtheminiature to themassive. “I’vephotographedcockroachesbeingused forantibiotics, geneticallymodifiedspidergoats–acrossbetweenaspiderandagoat so itsmilkcanbeextractedandused forhuman ligament transplants–andacolonyofantsbeingused foranti-fungi research.The largest animalwasa liger–acrossbetweenamale lionanda tigress– theworld’s largestbigcat at 11-feet long. It begs thequestionwhywearebreedingsomething thatcan’t bebredandwhyinAmericaalone thereare5,000bigcats keptasexoticpets,when there’sonlyanestimated3,000 in thewild?”Byexploringsomanycontentious issues, it’s nosurprise

thatTimgainedsupport along theway,especiallyconsideringhis sideproject for the last yearofexploring theAmazonandBorneo rainforest. ”Bothprojectshelpedeachotherand it’s allowedmetosetupopportunities toworkwithorganisations suchasDurrel, Aspinal FoundationandTwycrossZooWorldPrimateCentre. It notonlygavemeaccess toanimals like thebonobosatTwycrossZoo,but it’sputme inastrongposition todo furtherwork inAfrica, inplaces like theCongo,whichcanbeproblematic.”Timprefersnot tophotograph large,wildanimals in the

studio, somostlyheshot theanimals in situ, even if thatmeantnegotiating thechallengesof shooting throughthickglass. “Youneedaplanbut youcan’t be toomarried


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THEUNDERLYINGQUESTIONINMYWORKISHOWWEHUMANSSHAPE

NATUREANDHOWITSHAPESUS

TimFlach


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87

1)Beetlesmaymakeup25percentofallspeciesonEarth.

2)Siamesefightingfishwerebredwithheightenedaggressiontowardsrivals.

3)TheAxolotl isaspeciesofsalamanderunderthreataroundMexicoCity.

4)RareBluefirejellyfisharemostlyfoundoffthewestcoastofScotland.

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to it. Logic, technique and reasonare important, aswhileyouneed somesort of structure, youneed tobe able torecognise images andopportunities that emerge asmoresurprising. Thefirst thing youdowhenworkingwithanimals is to speak to thosepeoplewhoknow the animalsbest and to take interest in their behaviour; thatway you’reworkingwithin theparameters ofwhat that particularanimal cangive youon theday.”Lighting-wise,Timgoes fromoneextremeto theother:

fromone light shot throughglass tophotographachimpto14 lightsonaBananacockroach. “Abigger subjectdoesn’tnecessarilymeanmore lights. I usedoneBroncolorSatelliteEvolution– it’s likeaparabolicmirror– toget thebeamedlight source for thegorilla shotsanda lotofedge lights forthesmaller subjects tocreateatmosphere.Bybeaming thelight, Iwasable to turn thebackgroundblack, taking the

subjectoutof thecontextof their environment.If Iwas toshowyou theconcreteandstrawbehind them,then theviewerentersawholeother seriesof associationswhenwhat I’m interested in is isolating theirgenetic traits,not their setting. Someof thesmall guys, like thebeetles,cockroaches,owlsanddoves,weredone inmystudio.“Oneofmy favourite imageshas tobe thebeetle

montage as it’s so theatrical.Once you look abit closeryou see there’s biting,mating, somearebeingdraggedoff.Whilemost peoplewouldbedrawn to the iconiccreatures like the liger andpanda, it’s actually the smallmajority that are really important ecologically; beetles,after all, account for 25%of all species on theplanet.”You learn somethingnewevery day!ToseeTim’swork, visitwww.timflach.com.BuyhisbookMoreThanHuman fromAmazon for£25.60


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ONCEYOULOOKABITCLOSERYOUSEETHERE’SBITING,MATING,SOMEAREBEINGDRAGGEDOFF

TimFlach


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LIGHT-SABRES,LEVITATIONANDALOVEAFFAIRTORNBETWEENGOODANDEVIL.JORDANBUTTERSCATCHESUPWITHSACHAGOLDBERGER TODISCUSSHISGRANDMOTHER’SUNUSUALALTEREGO

1)“IshotaselectionofimageslookingupattallbuildingsinLondonandNewYork,andthenaddedinMamikainthestudiolater.”

WHENFRENCHART-director-turned-photographer SachaGoldberger tookupphotography at the ageof 38, he foundhimself in needof amuse.Coming fromatraditional Jewish family, Sachahas a veryclose relationshipwithhis grandmother,

Frederika, and so she seemed like themost logical choice.Itwasn’t longbefore Sacha’s loveof comicbooks andFrederika’s senseof humour took things in anunexpecteddirection. “When I startedphotography,mygrandmawastheperfect subject–after retirement shewas lonely butshewas always interested inmywork, sophotographyallowedus to spend time together. Shewasborn inBudapest andhasbeen througha lot in her lifetime,

includingNazi andCommunist persecutionduring andafter thewar.Despite this, she is a very funny ladywith agreat senseof humour, and Iwanted the images to reflectthis. I’m tiredof seeing the sameportraits of elderly people– they areoftenportrayed in anegative light; alone, sadandbored. I’malso ahuge fanofMarvel comicbooks andsowhat startedout as abit of funbetweenmygrandmaand I quickly evolved andSuperMamikawasborn.”Thefirst thing that grabs youabout theMamika series

is Sacha’s seemingly endless streamofweird andwackyideas for scenarios thatMamikamight get herself into.“I draw inspiration fromcomicbooks, aswell as theeveryday things that I see aroundme, andamusingscenarios that come intomyhead. Iworked formany

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years as an art director and soamalso able todrawonmyprofessional experience aswell as the ideasof creativefriends andcolleagueswithin the industry.Mygrandmaalso comesupwith some fantastic ideas for images!”After shooting the initial images, Sachacreated a

MySpaceprofile forMamika andbefore long shebecamea viral hit online,with international television andnewspaper features following inquick succession. Thecharacters soon found their legs and started to evolve.“Wealways shoot entirely for fun,” says Sacha, “but theresponseMamika receivedwas incredible.Mygrandmahas always been inspiring tomebut she started receivingemails fromall over theworldwith people praisingherandcallingher an inspiration! It evolved from there–Frederika has beenmarried four times and so I thought itwas about time thatMamikahadaman inher life– IcreatedMrPapika,who is actuallymybest friend’s father.One loverwasnever going tobeenough for a lady likeMamika, and soDarkPapoukawasborn–he is playedbyagentlemanwho Imetwhilst putting together anotherproject about theholocaust.

“Wehave just publishedour secondbook in theMamikaseries, entitledMamika&Co. The images tell the storyofhowMamika is tornbetween thedark sidewithDarkPapouka and thegood sidewith Super Papika. The funnything is, thedark side aren’t sobadwhen theyget old–they tonedowna lot in retirement.”A largepart ofMamika’s appeal is that the images show

elderly people in anewandpositive light. The scenariosMamika findsherself in, althoughunexpected andoftenridiculous, always stayon the right sideof theboundariesof taste. “I likemy images tobe absurd andprovocative,”Sachaexplains, “but there’s a line.My aim isn’t toembarrass or ridiculemygrandma. Somepeoplemightthink that her dressingupas a superhero is ridiculousbutI think thosepeople are taking it too seriously. Imean,superheroes get old, too, right? She is a great actress andalwaysmanages to lookelegant andempowered–nomatterwhat scenario sheendsup in asMamika!”Aside from their obvious creativity, Sacha’s images

are alsoof anexceptionally high technical standard,the likesofwhich is usually reserved for top-end


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1)“It’s importantforsuperheroestokeepfit,too.SuperMamikaspendssometimeonhertreadmillathome.“

2)“Unfortunatelyassuperheroesgetolder,theireyesightisn’tasgoodasitusedtobe.It’soneofthehazardsofthejob,Iguess.“

3)“SuperMamika’sdog,Beurk,makesanoccasionalappearance.“

4)“Besidessavingtheworld,MamikaandPapikastillhavetimeformoreleisurelypursuits,suchasboules.”

commercial photoshoots. “My typical lighting set-upcomprises between three andnineElinchromstudiolights, dependingon the location and scenario. I try tolight the characters to suit the comic-book style of theimages, somy lightingoftencomprises soft ambient lightcombinedwith artificial highlights to addcontrast. I shootusing aHasselblad 503CWwith a Leaf Aptus 75digitalback andwhenever I photographmygrandma, I use alarge team including twoassistants, amodelmaker, amake-upartist and a stylist. I do this because Iwant everyimage Imake tobe thebest that it canbe, so I treat theshoot the sameas if Iwasworkingonanadvertisingcampaign for a big commercial client.”Sachacontinues, “Someof theshootsaredoneon

location–weshotpartof theseries inBrooklynasanod tothecomic-book influence,whereas someareshot inFrance.Theseriesof images that takeplaceon thesidesofbuildingswereshot inNewYorkandLondon, and then thecharacterswereshot lateron in thestudio.Thekeyhere istomatch the lighting, angleandperspective fromthestudio to thatof thebuilding tomake it look realistic.”

SachaGoldberger


In creatingMamika, Sachahas taken achapterin his grandmother’s life that, formost, containsrelatively few stories to tell and turned it into a taleof superhumanpowers,weird andwacky situations andthebattle betweengoodandevil. Sowheredoes it gofromhere? “There are twobig evolutions in theMamikaproject–apositive andanegative. Thepositive is thatevery timeweget together for a shoot,my skills improve.The lightinggets better,mypost-processing improvesand the images evolve technically as a result. Thenegative is thatmygrandma is now93years old and,aswe say in France, at her age, the years count double–wecan’t shoot asmuchasweused to and I have toadapt tohowshe feels.“For now, theMamikaproject has come to anatural

end, but I’ve said that beforemore thanonce. It’s all downtomygrandma; if shewants todomore thenwe’ll domore. I only do it to have funwithher–Mamika is simply alove story betweenagrandsonandhis grandma.”ToorderMamika&Coandseemoreof Sacha’swork,visit:www.sachabada.com

5)“DarkPapoukatakesonawell-knownmovievillain,althoughthingsaren’texactlyastheywerewhenhewasyounger.“

6)“Beingawell-known,internationalcelebrity,SuperMamikahastospendtimemakingherselflookbeautiful,too.“

7)“NotaskistoobigortoosmallfortheoneandonlySuperMamika!”

ALARGEPARTOFMAMIKA’SAPPEALISTHATTHEIMAGESSHOWELDERLYPEOPLEINANEWANDPOSITIVELIGHT

LIVING THE DREAM”IOFTENFINDmyself insituationswhere I think,‘How thehell did I enduphere?’ Findingmyself in themiddleof a tribal strongmancontest in northernVietnam

wascertainly oneof thoseoccasions!“Iwas leading aphotography tourwith

frui.co.uk.We’d caught anovernight trainfromHanoi to a small village in thehighlands close to theChineseborder.“I’dbeen to this villageacoupleof times

beforeas it’s very remoteand tranquil,whichmakes forgreatphotos.Buton thisparticularoccasion, itwas totalpandemonium!Men intraditionalwarriorgarbwerestridingaroundswinginghugewoodenclubs. Farmersonstiltswere frantically inpursuitofoneanotherthroughpaddyfields.Anda tugofwarofmaybe60menwasbeing fought in thevillagesquare. I askeda localhow long they’dbeenat it.He replied twohours.“All thiswasquite the contrast to thenice,

sedatebreakfastwe’d just enjoyedon thetrain. But it’s unexpected times like thesewhenyouhave tograb your camera, take adeepbreath andembrace theunknown.“Even though itwas a little chaotic, the

moodamong the localswasgreat. I advisedthegroup touse awide lens andget right

into the action. Everyoneendedupgettingamazing shots of things you just don’t seeorread about in guidebooks.“As a travel photographer, it’s important to

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RATED

WATCHOUTFORTHEDIGITALSLRPHOTOGRAPHY

GEARAWARDS

DSLR & CSCLISTINGS

Prices&specificationsofallthecurrentdigitalSLRsandCompactSystemCameras

PLUS

CAPTURE ONESOFTWARE TEST

The latest Raw packageoffers an alternative to

Lightroom and Photoshop

MINI TESTSWe rate Lexar's latest multi-format card reader while a

leading sports pro puts a Gitzo monopod through its paces

TESTCENTRETHE LATEST GEAR AND ACCESSORIES TESTED BY EXPERTS

TEST CENTRETEST CENTRETHE LATEST GEAR AND ACCESSORIES TESTED BY EXPERTS

EXPERT

REVIEWS

CANON CANON EOS 6DEOS 6D

WITH FULL-FRAME BECOMING EVER MORE

POPULAR, CANON'S 20.2-MEGAPIXEL EOS 6D

HOPESTOTAKEACHUNKOFTHE'AFFORDABLE'SUB-£2,000SECTOR

MAINTEST

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WAYBACKIN2005,Canonbeganthe full-framerevolutionwiththe introductionof theEOS5D–a12.8-megapixelDSLRthat

packeda full-framesensor intoa relativelycompactbody,becomingan instantfavouritewith landscapeandtravelphotographers inparticular.While theMk IIandMk IIIhassincebeenreleased, thedesignandsizeof theEOS6Dmakes it a farmorecomparablemodel,boastingasmallerand lighteroption that is sure tofind favourwithoutdoorandtravelphotographers.While theoriginalEOS5Dhadthe full-framemarket to itself foranumberofyears, there isnosuch luxury for theEOS6D,whichfindsitselfupagainstanumberofverystrongrivals,with the recently launchedNikonD600providing its strongestcompetition.Howgood is it?Readontofindout...

Handling&easeofuse SCORE24/25

TheEOS6Disoneof thenicesthandlingmodelson themarket,with thedesignandbuildquality reallydrivinghomethe fact thatyou’re inpossessionofa top-endcamera.WhileAPS-Cmodelsaresmallerand lighter,theEOS6Dis relativelycompactconsideringit sportsa full-framesensor. It feelsreassuringly solid tohold,withmagnesiumalloyused in itsconstructionandaweatherproof sealingagainstdustandmoisture.Theergonomicsof thebody isexcellent,with the large,curvaceoushandgripaffordingaverysecurehold.Thecamerabalance isalsoexcellent, regardlessofwhetheryou’reusingasmallprimeoralongerzoomlens.Thecontrol layout,whichis similar topreviousmodels, is veryneat,with largebuttonsanddialsall clearlylabelled tohelp improveeaseofuse.Thelatter is improvedby theuseof theQ(Quick)buttononthe rearabove theeight-waycontrol,which isusedalongwith the twoinputdials toselectandchange functionsviatheLCDmonitor.While theCanonalso

boastsaverycomprehensiveandeasy-to-navigatemenusystem,you’ll find thatyoucanaccessmostofyoureveryday functionsusing thiswell thoughtoutcontrol system.The3inLCDmonitoroffersasharp

1,040,000-dotscreen that isbrightandusableevenonasunnyday.However, itlacks theswivelmount foundontheEOS60DandtheEOS650D’s touchscreen,bothofwhichwouldhavebeenuseful features.Theviewfinder isexcellent,witha large

andbright screenmaking imagecompositionenjoyableandeasy.Unlikemostother full-framemodels, though,imagecoverage is97%rather than100%, soimageswill includea littleof thescene

aroundtheedges that isn’t visible throughthefinder.Bearing inmind thehighresolution,aminorcropofanydistractingelementsshouldn’tproveaproblem.Overall, theEOS6Dhandlesbeautifully

and is fastandeasy touse.

Features SCORE22/25

Theheadline featureof theEOS6Dis its20.3-megapixelCMOSsensor,whichboastslargerpixels than found inAPS-Csensors,allowing it tocapturesharper imageswithlowernoise.TheEOS6Dsports thelatest-generationDIGIC5+ imageprocessor,whichhandlesstills andFullHDvideo. Itoffersasensitivity rangeof ISO100-25600,whichcanbeexpandedas lowas ISO50orashighas ISO102,400andcanhandlecontinuousshootingata respectable4.5 frames-per-second.TheEOS6Dfeaturesasmallnumberof

innovative features. It is thefirstEOStoofferWiFi andGPSbuilt in.TheWiFi facilityallowsyoutoquicklyupload images toyourmobileor socialnetworksites likeFacebook. It alsoallows thecamera toberemotelyoperatedviaaCanonapp (seepanel). TheGPSfunction isofparticular interest to landscapeandtravelphotographers, recordinglocation information forevery image.Forthose looking tobea littlecreative,HDRandmultipleexposuremodesareavailable,butunfortunately theyare forJPEGshootingonly.TheEOS6Dalsosports thesilent-shuttermodefoundontheEOS5DMkII,whichallows fordiscreet shooting.Inmostotherways, theEOS6Doffersa

strongbutunexcitingspecification.There isa full choiceofexposuremodes, including

CanonEOS6D:Dimensions

LCD:3IN DEPTH:71.2.MM

HEIGHT:110.5MM

WIDTH:144.5MM

WORDS:DANIELLEZANO

TESTCENTRECamera test

Bodyonly:£1,800 (Guide) /£1,690 (Street)

24-105mmkit:£2,520 (Guide) /£2,300 (Street)

Imagesensor:CMOSfull-frame(36x24mm)

Imageresolution:20.2-megapixels

LCD:3inClearViewTFT (1,040,000dots)

Storage:SD(SDHC/SDXC)

Weight:755g (includingbatteryandcard)

CanonEOS6D


Inthebox

TheCanonEOS6D is suppliedwith theLP-E6 lithium-ion battery, LC-E6 batterycharger, eyecup Eb, body cap, strap,interface (USB) andAV cables, softwareCDandowner’s instructionmanuals.

ABOVE:The relatively compactsizeof the stylishEOS6Dbelies thefact it sports a full-frameCMOSsensor.

TESTCENTRE Camera test


Keyfeatures

CMOSSENSORThe EOS 6D boastsa newly developed20.2-megapixelfull-frame CMOSsensor with a pixelsize of 6.55µm.Image resolution isan impressive5472x3648 pixels.

IFCLMETERINGThe 63-zone iFCL(intelligent FocusColor Luminance)metering systemuses colour andluminosityinformation toprovide accurateexposures.

AUTOFOCUSThe 11 AF sensorsare arranged in adiamondformation aroundthe central area ofthe frame. Thecentral AF pointuses a cross-type sensor with sensitivitydown to -3EV – good enough to be ableto focus in moonlight!

uses a cross-type sensor with sensitivity

Verdict

Enthusiasts looking for a relatively portableand affordable full-frame DSLR will want totake a look at the Canon EOS 6D. It handlesbeautifully, is easy to use, has a strong (ifunremarkable) range of features andproduces very high quality images. It’scertainly a camera that’s easy torecommend. However, it arrives shortlyafter the Nikon D600, another ‘affordable’full-frame mode that boasts a higherresolution, slightly better specification andlower price tag. Both are superb camerasthat won’t disappoint, but despite provinghighly capable, the Canon just falls short ofmatching the Nikon for all-round appeal.

Handling&easeof use 24/25

Features 22/25

Performance 23/25

Value formoney 21/25

Overall 90/100

THEAUTOFOCUSSYSTEMISFASTANDRESPONSIVEANDCANFOCUSEVENWHENLIGHTISDIM

TheCanonEOS6Dworked faultlesslyin temperatures aslowas -10°C.

Scene and customisable options. Themetering uses the tried-and-tested 63-zonedual layer iFCL system found in most recentmodels,with theoption toselect spot,partialor centre-weighted average.

The AF system is based around 11 points,of which only the central point uses themore sensitive cross-type sensor. Whilemore than suitable for most needs, it fallsshort of what rivals offer– for instance, theNikon D600 boasts 39 AF points. Anotheromission is a built-in flash – if you want toshoot with flash, you’ll need an externalCanon Speedlite.

HD video is an area where recent CanonDSLRs have excelled and the EOS 6Dcontinues this trend, with Full HD (1080p)recordings offeringa wide variety of modesand settings, as well as the option to use anexternal microphone.

Performance SCORE23/25

When it comes to image quality, the CanonEOS 6D does not disappoint. Colours areaccurate, contrast is good and imagesharpness is excellent, with in-cameraJPEGs delivering very good sharpness andRaw files providing even more detail. Thedynamic range is excellent, too, as is noise,which only becomes evident at ISO ratingsabove 1600. Even at the very high settings,noise iswell controlledandso, ifpushed,youcan shoot at high ISO ratings and expect tocapture decent images.

The autofocus system is fast andresponsive and can focus even when light isdim. When tracking subjects, the EOS 6Ddoes a fair job, although off-centre subjectsdo flit in and out of focus. While fine for

general use, we’d not recommend the EOS6D for shooting moving subjects. While themetering system is very reliable, with the63-zone pattern taking care of mostsubjects, it’s not foolproof, with highcontrast and backlit situations leadingto error and requiring up to a stop ofexposure compensation.

The EOS 6D produces a strong overallperformance and proves to be a pleasure touse, delivering images of a consistently highquality with relative ease.

Viewfinder

Full-frame DSLRs always provide the bestviewfinders – the EOS 6D is no exception.The screen is large and very bright, withexposure information displayed along thebottom. Unlike the viewfinders on otherfull-frame models, the EOS 6D provides97% frame coverage rather than 100%.

Canon’sEOSRemoteapp

Available for Android andApple iOS, the EOSRemote allows you toshoot or check imagesremotely. You can useyour smartphone’sscreen to check imageson the camera, transfer shots to yoursmartphone or delete unwanted frames.You can also use your smartphone as aremote ‘LiveView’ screen – perfect whenusing the self-timer. When taking pictures,you can change exposure settings andadjust autofocus before firing the shutter.

on the camera, transfer shots to your

TESTCENTRECamera test


Comparisontable:CanonEOS6Dandrival full-framedigitalSLRs

MODEL CANONEOS6D NIKOND600 CANONEOS5DMKIII NIKOND800 SONYALPHA99

CONTACT 08705 143723www.canon.co.uk

0800 230 220www.nikon.co.uk

08705 143 723www.canon.co.uk

0800 230 220www.nikon.co.uk

08705 111999www.sony.co.uk

GUIDEPRICE (RRP) £1,800 (body only) £1,960 (body only) £3,000 (body only) £2,600 (body only) £2,300 (body only)

SENSORTYPE CMOS (Full-frame) CMOS (FX-format) CMOS (Full-frame) CMOS (FX-format) CMOS (Full-frame)

RESOLUTION(EFFECTIVEPIXELS)

20.2 24.3 22.3 36.3 24.3

MAXIMUMIMAGERESOLUTION

5472x3648 6016x4016 5760x3840 7360x4912 6016x4000

EFFECTIVEFOCALLENGTH INCREASE

1x 1x (FX-Format)1.5x (DX-Format)

1x 1x 1x

NUMBEROFAFPOINTS 11 39 (nine cross-type) 61 51 19

MULTI-ZONEMETERING 63-zone 2,016-pixel 63-zone 91,000-pixel 1200-zone

NOMINAL ISORATING 100-25600 100-6400 100-25600 100-6400 100-25600

EXPANDABLE ISORATING 50-102400 50-25600 50-102400 50-25600 100-25600

CARDFORMAT SD/SDHC/SDXC SD/SDHC/SDXC SD (HC/XC) & CF SD (HC/XC) & CF SD/SDHC/SDXC &Memorystick

SHUTTERSPEEDS 1/4000sec-30sec+Bulb 1/4000sec-30sec+Bulb 1/8000sec-30sec+Bulb 1/8000sec-30sec+Bulb 1/8000sec-30sec+Bulb

BUILT-INFLASH No Yes No Yes No

FLASHSYNC 1/180sec 1/250sec 1/200sec 1/250sec 1/250sec

SHAKEREDUCTION IS lenses only VR lenses only IS lenses only VR lenses only SteadyShot Inside

DUSTREDUCTION Yes YesYesY Yes Yes YesYes Y

CONTINUOUSFRAMERATE 4.5fps 5.5fps 6fps 4fps 6fps

LCDMONITOR 3in Clear View TFT(1,040,000-dot)

3.2in (921,000-dot) 3.2in (1,040,000-dot) 3.2in (921,000-dot) 3in (1,229,000-dot)articulated

HDVIDEO Yes (Full HD) Yes (Full HD) Yes (Full HD) Yes (Full HD) Yes (Full HD)

POWERSOURCE Lithium-ion Lithium-ion Lithium-ion Lithium-ion Lithium-ion

SIZE (MM) 144.5x110.5x71.2 141x113x82 152x116.4x76.4 146x123x81.5 147x111x78

WEIGHT (GRAMS) 755 850 950 900 812

ISSUETESTED March 2013 December 2012 August 2012 July 2012uly -

TESTRATING (%) 90 93 94 94 -

www.LCEgroup.co.uk

CANON EOS 600D& 18-55MM IS II LENS

18.0MEGAPIXELS

£479.99

CANON EOS 1100D& 18-55MM IS II LENS

12.2MEGAPIXELS

£349.99CANON EOS 650D& 18-55MM IS II LENS

CANON EOS 60D& 18-135MM IS LENS

Compact, entry-level easy-to-use Digital SLR with12MP sensor, on-screenfeature guide, Live ViewLCD and HD video moviecapture.

UKMAILORDERNext day delivery available from all LCE branches. Postage & Insurance £4.99 formost items. E. & O. E. Prices quoted include VAT @ 20%. Prices subject to change. Goods subject to availability.28 BRANCHES NATIONWIDE

Upgrading - we want your old camera! It may be worthmore than you think! Quality equipment bought outright!

PART EXCHANGEWELCOME

18-megapixel CMOSSensor in a user-friendlybody. Scene IntelligentAuto mode, full-HD Movieand vari-angle 3-inchLCD screen.

£599.99 £799.99

High-quality entry-levelEOS boasting superb forboth still images and FullHD movies. Vari-angleLCD Touch screen makesshooting simple.

Stunning stills or Full HDMovies using the vari-angle LCD screen andadvanced creativefeatures.• 5.3fps burst shooting

18.0MEGAPIXELS 18.0MEGAPIXELS

CANON EOS 6D& 24-105MM IS USM LENS

CANON EOS 5D Mk IIIBODY ONLY

CANON EOS M& 22MM LENS& EF ADAPTER

CANON EOS 7DBODY ONLY

20.2-megapixel DSLRfeaturing a full-framesensor and compactdesign. Ideal for portrait& travel photography.

The power and control of aDSLR in a handy compactbody. Its 18 megapixelAPS-C sized sensordelivers stunning picturesas well as full HD video.

20.2MEGAPIXELS

18.0MEGAPIXELS

£2349.99£1049.99

61-point autofocus,6fps continuousshooting. CaptureFull HD movies, withmanual control overeverything.

Award winning 18MPpro spec DSLRnow with firmwareupgrade for hugelyimproved operation.

22.3MEGAPIXELS22.3MEGAPIXELS

£649.99

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.99

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TESTCENTREDigitalSLR listingsPRICES

STAT

EDARECURREN

TGUIDEPRICES

INCVA

TAT

20%

Manufacturer/m

odel

GuideP

rice(

*indicatesb

odyo

nly,

otherwise

itinclu

desstandardzoom

)

Sensor/effective

resolution

(megapixels)

Increasetofocallength

LCDsize(inches)

Storagec

ardtype

Program,apertu

re-priority,shutter-p

riority

&manual

HDVideo(HD:

1280

x720

;FullHD

:1920x1080

)

Bulb

Fullauto

Scenemodes

(portra

it/actionetc)

Otherb

rand-specific

modes

Multi-zone

Partial

Spot

Multi/Spot

Centre-weightedaverage

Topshutterspeed

(sec)

Rangeo

fISO

ratings

Integralflash

Flashsyncspeed

(sec)

Depth-of-fieldpreview

Frames-per-second(atmax.re

solution

)

Weight(gram

s)

Dimensio

ns(m

m)

Issue

dateoftest(BG=Buyer’sGu

ide;

Pro=ProfieldTest)

Testrating(%)

NEW! CanonEOS1100D £460 12.2 1.6x 2.7 SD

(HC&XC)■ HD ■ ■ ■ ■ ■ ■ – – ■ 1/4000 100-

6400■ 1/200 ■ 3 495 129.9x99.7

x77.9Aug 11 85

CanonEOS600D £685 18 1.6x 3 SD/SDHC

■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/4000 100-12800

■ 1/200 ■ 3.7 515 133.1x99.5x79.7

Jun 11 95

CanonEOS650D £800 18 1.6x 3 SD/SDHC

■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/4000 100-25600

■ 1/200 ■ 5 575 133.1x99.8x78.8

Oct 12 91

NEW! CanonEOS60D £1,050* 18 1.6x 3 SD/

SDHC■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/8000 100-

12800■ 1/250 ■ 5.3 755 144.5x105

x78.6Jan 11 88

NEW! CanonEOS7D £1,700* 18 1.6x 3 CF ■ Full HD ■ – – ■ ■ ■ ■ – ■ 1/8000 100-

12800■ 1/250 ■ 8 820 148.2x110.7

x73.5Jan 10 93

NEW! Canon

EOS6D£1,800* 20.2 1x 3.2 SD/

SDHC■ Full HD ■ ■ ■ ■ ■ ■ ■ – ■ 1/4000 50-

25600– 1/180 ■ 4.5 755 144.5x110.5

x71.2Mar 13 90

CanonEOS5DMk III

£3,000* 22.3 1x 3.2 CF & SD/SDHC

■ Full HD ■ ■ – – ■ ■ ■ – ■ 1/8000 50-102400

– 1/200 ■ 6 950 152x116.4x76.4

Aug 12 94

CanonEOS-1DX

£5,300* 18.1 1x 3.2 2x CF ■ Full HD ■ – – – ■ ■ ■ ■ ■ 1/8000 50-204800

– 1/250 ■ 14 TBC 158x163.6x82.7

– –

Nikon D3200 £600 24.2 1.5x 3 SD/HC/XC

■ Full HD ■ ■ ■ – ■ – ■ – ■ 1/4000 100-12800

■ 1/200 – 4 505 125x96x76.5

Sep 12 91

NEW! Nikon D90 £600* 12.3 1.5x 3 SD/

SDHC■ HD ■ ■ ■ – ■ – ■ – ■ 1/4000 100-

6400■ 1/200 ■ 4.5 620 132x103

x77Nov 08 90

NEW! Nikon D5200 £720* 24.1 1.5x 3 SD/

SDHC■ Full HD ■ ■ ■ – ■ – ■ – ■ 1/4000 100-

25600■ 1/200 – 5 555 129x98

x78– –

NEW! NikonD7000 £900* 16.2 1.5x 3 SD/

SDHC■ Full HD ■ – – – ■ – ■ – ■ 1/8000 100-

25600■ 1/250 ■ 6 690 132 x 105

x 77Feb 11 91

NEW! Nikon D600 £1,960* 24.3 1x 3.2 SD/

SDHC■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 50-

25600■ 1/200 ■ 5.5 850 141x113

x82Dec 12 93

NEW! Nikon D700 £1,988* 12.1 1x 3 CF ■ – ■ – – – ■ – ■ – ■ 1/8000 100-

25600■ 1/250 ■ 5 995 147x123

x77Oct 08 93

Nikon D800 £2,600* 36.3 1x 3.2 CF & SD/SDHC

■ ■ ■ – ■ – ■ – ■ – ■ 1/8000 100-25600

■ 1/250 ■ 4 1000 146x123x81.5

July12

94

Nikon D800E £2,900* 36.3 1x 3.2 CF & SD/SDHC

■ ■ ■ – ■ – ■ – ■ – ■ 1/8000 100-25600

■ 1/250 ■ 4 1000 146x123x81.5

– –

Nikon D4 £5,290* 16.2 1x 3.2 CF &XQD

■ Full HD ■ – – – ■ – ■ – ■ 1/8000 100-204800

– 1/250 ■ 11 1180 160x156.5x90.5

– –

Olympus E-5 £1,499* 12.3 2x 3 CF/SD ■ HD ■ ■ ■ ■ ■ ■ 1/8000 100-6400

■ 1/250 ■ 5 800 142.5x116.5x74.5

– –

Pentax K-30 £600 16.28 1.5x 3 SD/SDHC

■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/6000 100-25600

■ 1/180 – 6 590 128.5x96.5x71.5

Nov 12 91

Pentax K-5 II £800* 16.3 1.5x 3 SD/SDHC

■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/8000 80-51200

■ 1/180 – 7 760 131x97x72.5

Jan 13 91

Sigma SD1Merrill £1,840* 46(3x 15.4)

1.5x 3 CF ■ – ■ – – – ■ ■ ■ – ■ 1/8000 100-6400

■ 1/180 ■ 5 700 145.5x113.5x80

– –

Sony Alpha 37 £420* 16.1 1.5x 2.7 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 100-16000

■ 1/160 ■ 7 506 124.4x92x84.7

– –

Sony Alpha 57 £600* 16.1 1.5x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 100-25600

■ 1/160 ■ 10 543 132.1x97.5x80.7

– –

NEW! Sony Alpha 65 £790* 24.3 1.5x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/4000 100-

16000■ 1/160 – 10 543 132.1x97.5

x 80.7Feb 12 92

NEW! Sony Alpha 77 £1,000* 24.3 1.5x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/8000 100-

16000■ 1/250 – 12 653 142.6x104

x 80.9Apr 12 92

NEW! Sony Alpha 99 £2,485* 24.3 1x 3 SD/MS ■ Full HD ■ ■ ■ ■ ■ – ■ – ■ 1/8000 100-

25600– 1/250 – 10 812 147x111.2

x 78.4– –


More essential reading from the experts at Digital SLRPhotography. Ideal companions for your digital camera

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TESTCENTRECompact System Camera listingsManufacturer/m

odel

GuideP

rice(

*indicatesb

odyo

nly,

otherwise

itinclu

deskitlens)

Sensor/effective

resolution

(megapixels)

Increasetofocallength

Sensortype

Storagec

ardtype

LCDsize(inches)

Touchscreen

Integralview

finder

Program,apertu

re-priority,

shutter-p

riority&

manual

Bulb

Fullauto

Scenemodes

(portra

it/actionetc)

Multi-zone

Spot

Centre-weightedaverage

HDVideo(HD:

1280

x720

;FullHD

:1920x1080

)

Topshutterspeed

(sec)

Rangeo

fISO

ratings

Integralflash

Flashsyncspeed

(sec)

Frames-per-second(atmaxresolution

)

Body

weight(grams)

Dimensio

ns(m

m)

Issue

dateoftest(BG=Buyers'Guide;

Pro=ProfieldTest)

Testrating

NEW! CanonEOSM £770 18 1.6x APS-C SD/

SDHC3 ■ – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 160-

25600Opt 1/200 4.3 298 108.6x66.5

x32.3Feb 13 87%

FujifilmX-E1 £730* 16.3 1.5x APS-C SD/HC/XC

2.8 – ■ ■ ■ – – ■ ■ ■ Full HD 1/4000 100-25600

■ 1/180 6 350 129x74.9x38.3

– –

FujifilmX-Pro1 £1,250* 16.3 1.5x APS-C SD/HC/XC

3 – ■ ■ ■ – – ■ ■ ■ Full HD 1/4000 100-25600

Opt 1/180 6 450 139.5x81.8x42.5

Jun 12 89%

NEW! Nikon1 S1 £480 10.1 2.7x CX-format SD/

SDHC3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 100-

6400■ 1/60 60 197 102x60.5

x29.7– –

Nikon1 J2 £500 10.1 2.7x CX-format SD/SDHC

3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 100-6400

■ 1/60 60 280 106x61x29.8

– –

NEW! Nikon1 J3 £580 14.2 2.7x CX-format SD/

SDHC3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 160-

6400■ 1/60 60 201 101x60.5

x28.8– –

NEW! Nikon 1 V2 £800 14.2 2.7x CX-format SD/

SDHC3 – ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/16,000 100-

6400■ 1/250 60 338 107.8x81.6

x45.9– –

Olympus PEN MiniE-PM2

£500 16.1 2x Four-Thirds SD/SDHC

3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200-25600

Opt 1/250 8 269 109.8x64.2x33.8

– –

Olympus PEN LiteE-PL5


3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200-25600

Opt 1/250 8 325 110.5x63.7x38.2

– –

OlympusPEN E-P3


3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200-12800

■ 1/180 3 321 122x69.1x34.3

Oct 11 4.5/5

OlympusOM-DE-M5

£1,000* 16.1 2x Four-Thirds SD/HC/XC

3 ■ ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200-25600

Opt 1/250 4.2 425 121x89.6x41.9

– –

PanasonicLumix GF5

£505 12.1 2x Four-Thirds SD/HC/XC

3 ■ – ■ – – ■ ■ ■ ■ Full HD 1/4,000 160-12800

■ 1/160 4 267 107.7x66.6x36.8

– –

NEW! Panasonic

Lumix GX1£600 16 2x Four-Thirds SD/

SDHC3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 160-

12800■ 1/160 4.2 272 116.3x67.8

x39.4– –

NEW! Panasonic

Lumix G5£760 16 2x Four-Thirds SD/

SDHC3 ■ ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 160-

12800■ 1/160 6 346 119.9x83.6

x46.7– –

PanasonicLumix GH3

£1,550* 16.05 2x Four-Thirds SD/SDHC

3 ■ ■ ■ ■ – ■ ■ ■ ■ Full HD 1/4000 125-25600

■ 1/160 6 855 132.9x93.4x82

– –

NEW! Pentax Q10 £380 12.4 5.5x 1/2.3in SD/

HC/XC3 – Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/8000 100-

6400■ 1/180 5 200 102x58

x33.5– –

NEW! PentaxK-01 £680 16.2 1.5x APS-C SD/

HC/XC3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-

12800■ 1/180 6 561 122x79

x58– –

NEW! SamsungNX1000 £600 21.3 1.5x APS-C SD/

SDHC3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-

12800Opt 1/180 8 222 114x63x37 – –

NEW! SamsungNX210 £750 20.3 1.5x APS-C SD/

SDHC3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-

12800Opt 1/180 8 222 117x63x37 – –

SamsungNX20 £900 20.3 1.5x APS-C SD/SDHC

3 – ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-12800

– 1/180 8 341 122x90x40

– –

NEW! SamsungNX300 TBC 20.3 1.5x APS-C SD/

SDHC3.31 ■ – ■ ■ ■ ■ ■ ■ ■ Full HD 1/6000 100-

25600Opt 1/180 8.6 280 122x63.7

x40.7– –

NEW! SonyNEX-F3 £420 16.1 1.5x APS-C SD/MS 3 – – ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 200-

16000■ 1/160 5.5 225 117.3x66.6

x41.3– –

Sony NEX-5R £670 16.1 1.5x APS-C SD/MS 3 ■ Opt ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-25600

Opt 1/160 10 276 110.8x58.8x38.9

– –

Sony NEX-6 £710* 16.1 1.5x APS-C SD/MS 3 – ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-25600

■ 1/160 10 345 119.9x66.9x42.6

– –

Sony NEX-7 £1,130 24.3 1.5x APS-C SD/SDHC

3 ■ ■ ■ ■ ■ ■ ■ ■ ■ Full HD 1/4000 100-16000

■ 1/160 10 415 119.9x66.9x 42.6

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TESTCENTRE Software test

Price:£193/€229Full /£58/€69Upgrade

Versiontested:7.0

CaptureOnePro7


WORDS:JORDANBUTTERS

RAWPROCESSINGisavitalpartofanyphotographer’sworkflow.This stage in theeditingprocess involves importingyourcarefullycapturedRawfilesandentrustingyourchosensoftware to faithfully interpretthedataandproduce the results thatyou’dhoped for.Thebigplayersareoften thosebundledwithcameras, suchasCanon’sDigitalPhotoProfessionalorNikon’sCaptureFX,or those includedaspartofother image-editingsoftwaresuchasAdobeCameraRawasbuilt-in toAdobeElements,LightroomandPhotoshopCS.A less-consideredoption isPhaseOne’sCaptureOnePro7.PhaseOne isbestknownforproducing

medium-formatcamerasanddigitalbacks.CaptureOnePro7 is its latestRawprocessingpackageandboastsa featureslist that,onpaper,putsmanyof theotheroptions toshame–offering full retinadisplaysupport, an improvedcataloguemanagementsystemandwhatPhaseOne isclaiming is theworld’smostadvancedimage-processingengine.And it’snot justformedium-formatshooterseither–thesoftwaresupportsall kindsofRawfilesonthemarketatpresentandoffersprofiles foreven thenewestcameramodels, fromcompacts rightup tomedium-format.PreviousversionsofCaptureOnePro

offerednocataloguemanagementbutratherpalmedthat responsibilityoffontoPhaseOne’sMediaProsoftware, availableseparately.CaptureOnePro7amalgamatesthe two,anddoessowithmoderatesuccess. Let’sget thisout in theopenfromthestart–CaptureOnePro7 isnotasuser-friendlyor intuitiveasLightroom4.However,manyof the featuresandbuttonsaresimilar toAdobe’sofferings,meaningthat,withoutconsulting themanual, youcan

One’s favour, thenewprocessingenginehandlesstronghues incrediblywell andproducescolours thataremorevibrant;bluesandreds inparticular renderimpressivelywell. Incomparison, theLightroom4file lookedsoftandslightlywashedout.However,whatwasalsonoticeable in theCaptureOnefilewasasizeable lossofdetail inareasof shadow–theLightroomimageofferinganoticeablywiderdynamic range.ThiswaseasilyaddressedusingCaptureOne’sFilmExtraShadowsetting rather than thedefault FilmStandardsetting, althoughtheargumentcouldbeput forth that,withenoughtweaking,either softwarehas thepotentialtoemulate theoutputof theother.Unfortunately,CaptureOne’shandlingof

noise leavesa lot tobedesired.Lightroom’shandlingofhigh-ISOfiles isoneof thebest

fumbleyourwayaroundsufficientlyenoughtostartprocessingyour images.HavingusedAdobeproducts for thepast fewyears, itseemsabit alienatfirst tobeprocessingimagesoutsideof their familiarity,but I canseehow,given time,youcould learn to livewithCaptureOne’swayofworking.Sowhatabout imagequality? Iprocessed

thesameRawfile throughLightroom4andCaptureOnePro7 tocompare thedifferences.As therearesimilar variablesandalterationsofferedbybothpackages, Iprocessed the imagesusingeachsoftware’sdefault settings.Whatwas instantlynoticeablewas that theCaptureOne imagewasmuchsharper than theLightroomimage–thePhaseOnesoftwarealsohandledcolour fringing incrediblywell rightoffthebat,withnotweaking.Colourrendering isalsoabigplus-point inCapture

Acrediblealternative tootherRawprocessingoptionsoronetoavoid?WeputPhaseOne’sCaptureOnePro7 through itspaces

AdobeLightroom4

SharpenedusingAdobeLightroom4

SharpenedusingCaptureOnePro7

TESTCENTRESoftware test


ABOVE:Colours arenoticeablymorevibrantwhenprocessed throughCaptureOnePro7.

TOPLEFT:CaptureOnePro7’sdefaultsharpeningmakesLightroom images look soft.

LEFT:The layout looks familiar but isn’t quite asintuitive as youmight like.

onthemarketandCaptureOne’s solutiondoesn’tcomeclose.Outof thebox,noisereduction isheavy-handedandbest turneddown.Evenwhenheaviernoise reduction isneeded,CaptureOnesimplydoesn’thandleitwell,withdetail disappearing themomenttheslider is increased.WhileCaptureOnePro7 is leapsand

boundsabovepreviousversions, therearestill flawscomparedwithotheroptions.

At£193 for the full version, it isn’t cheapeither–twice thepriceofLightroom4.Forprocessingastudioshoot, I cansee theappeal; itoffers tetheredcapture formostcameras includingmodelsnot supportedbyLightroomand,whenworkingwithasmallnumberof images, it’seasyenoughtogetgoodresults.However, forprocessing largerbatchesof images, Lightroomstill has theedge.HopefullyCaptureOne’scataloguemanagementsystemwill improvewith timeas, aside fromthisand itspoornoisehandling, it is reallyquitegood.

Verdict

Apriceybut impressivealternative forthoseshooting inastudioorstrictlylow-ISOsituations. Imagequality isexcellent insomeareasand lacking inothersandthecataloguesystemisn’tas intuitiveas itcouldbe.Aworthyalternative,but Iwon’tbeuninstallingLightroom4justyet.

Features

Easeof use

Performace

Value formoney

Overall

CaptureOnePro7

WHILETRIPODSMAKEALOTofsenseformostfieldsofphotography,asaprofessionalsportsphotographer, Ican’t remember thelast timeIusedone. In this lineofwork,oneleg isdefinitelybetter thanthree,withamonopodprovingan invaluableaccessory.I’ve triedvariousmodelsandbrandsover theyearsandhavefinallydiscoveredonethatticksevery requirement.CuetheGitzoGM5561Tmonopod.TheGM5561T isacarbon-fibremodel in

Gitzo’shighly regardedTraveler range. I’vebeenusing itdailyover the last fourmonthsand it iswithoutdoubt thebestmonopodI’veeverowned. In termsofbuildquality, it isextremely robustandthanks tothecarbon-fibreconstruction, it’svery lightweight, too.The leghassixsections,with thetwist-actionG-Locksbeingfast touseandverysecureonce locked. Ihavebeenusing it regularly tosupportmyNIKKOR400mmf/2.8and600mmf/4telephotos,whichweigh4.6kgand5kgrespectively,andhaveneverhadaproblemwith it.TheGitzoextendstoavery

usefulmaximumheightof155cm,but inmanyrespects, it’showcompact it isonceclosedthatmakes it suchasuccess.Whenheadingonflights foraone-day job,suchascoveringaChampionsLeaguegame, Ionlywant totravelwithcarry-on luggagetosavetimeandhassle.The lengthofpreviousmonopods I’veusedmeant Ineededtosendit throughashold luggage,but thisGitzofitsneatlywithmycamerakit insidemycarry-onbag(theexcellentThinkTankAirport). It alsohasahandycliponthestrapsothat Ican


TEST:RICHARDPELHAM,THESUN’SCHIEFSPORTSPHOTOGRAPHER

TEST:DANIELLEZANO

TESTCENTREProduct tests

GitzoGM5561TTravelermonopodPrice:£310 (Guide) /£275 (Street)

Material:Carbon-fibre

Legsections:Six

Minimumheight:41.5cm

Maximumheight:155.5cm

Weight:750grams

Loadcapacity:25kg

Website:www.gitzo.co.uk

Carbon-fibre /Six sections /Compact size /Maximumheightof 155cm / Integralbelt clip

Price:£30 (Guide)/£22 (Street)

Systemrequirements:Windows&Mac

Summaryofcardformats:CompactFlash;SD

(various);Mobile:microSD&MemoryStickMicro

(M2);MemoryStick (various);xD (various)

Website:www.lexar.com

LexarMulti-card25-in-1readerPop-updesign /Hi-speedUSB3.0 /25memorycard formats /Card-to-cardfile transfer

WHILE IT’SPOSSIBLE to transfer imagesfromcameratocomputerviaaUSBlead, themajorityofphotographers removethememorycardfromthecameraandslot it intoacardreader instead.While this is fastandconvenient, if youhavemorethanonecamera,eachusingdifferentcard formats,youneedeitheraseparatecardreader foreachoronethathandlesmultiplecardtypes.Lexar isoneof theworld’s leadingmemory

cardmanufacturers, so it’snosurprise toseeitoffersarangeofcardreaders,with thisbeing its latest.Finished inwhiteandwithaneatpop-updesignthatprotects thecardslots, it scoreswell for looksanddesign.AblueLEDindicatesfilesarebeingtransferred.Italsoprovidesastrongrangeof features,

withUSB3.0providingupto5xfaster transferthanUSB2.0andsupport foraclaimed25cardformats.Thisfigure isactuallyabitcheeky,as it refers tovariantswithina format–for instance, thesupport forSD,SDHCandSDXCisclassedas threeformats.We’dpreferto lookat itassupportingthefivemainformats:SD,CF,xD,microSD(popularwithmobilephones)andSonyMemoryStick,alongwith thevariantswithineach.Thereaderprovesveryeasyandquick to

use.Our testcomputersupportsUSB2.0, soexpectevenfaster times ifyouhaveUSB3.0ports.A transferof4GBof images fromaLexarProfessional133xSDcardtoanApple

Verdict

The latestLexarcardreader isa‘futureproof’option,supportingUSB3.0andall themaincardformats. It’sfastandwell-designed, too. It’sdefinitelyworthconsidering ifyouusemultiplecardformats.

Overall

iMactookthreeminutes,fiveseconds,whilea4GBtransfer fromaSandiskExtreme(30MB/sec)cardtookonly twominutes,13seconds.A4GBtransfer fromaLexarProfessional300xUDMACompactFlashcardwastimedat twominutes,25seconds.At£30, theLexar representsgoodvalue if

youuseseveralcard formats,especially if youhavecomputers thatsupportUSB3.0. Ifnot,lookatcheaperoptionssupportingoneortwocardformats, includingLexar’sexcellent£18CF/SDreader.

BESTBUY

hang itoffmybelt if required.Admittedly, thisGitzomonopodisvery

expensive,but frommypointofview, I’musingaproduct thatworks, rather thanspending less foramonopodthat isn’t sturdyorhas locks thatslip.Thewordongoodkitspreadsquickly in theworldofsportsphotographyandsince IstartedusingtheGitzo,overhalfadozenothersportsproshaveboughtone. If youneeda lightweight,compactandsturdymonopod, thisGitzo istheonetohave.

Verdict

TheGitzo isat thetopendof thepricespectrum,but forprofessionalswantingatake-everywheremonopodthatsupportsheavytelephoto lenses,it’s theverybest.

Overall

HIGHLYRATED

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EOS 600D EOS 650D

EOS 7DEOS 6D EOS 5DMark III

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600D + 18-55mm IS II £495600D + 18-135mm IS £639600D + 18-55mm IS II + 55-250mm IS II

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35mm f1.8 G AF-S DX.......................................£15040mm f2.8 AF-S DXMicro ...............................£18650mm f1.8 G ....................................................£15516-85mm f3.5-5.6 G AF-S ED DX VR ................£43918-200mm f3.5-5.6 G ED AF-S DX VR II ...........£584NEW! 18-300mm f3.5-5.6 ED VR.....................£67955-200mm f4.0-5.6 G AF-S DX VR IF ED...........£24155-300mm f4.5-5.6 G AF-S DX VR....................£27950mm f1.4 G AF-S ............................................£27860mm f2.8 G AF-S EDMicro ............................£404.95105mm f2.8 G AF-S VR IF EDMicro .................£62914-24mm f2.8 G AF-S ED .................................£131916-35mm f4.0 G AF-S ED VR............................£82918-105mm f3.5-5.6 DX ED VR..........................£20418-300mm f3.5-5.6 ED VR ...............................£67924-70mm f2.8 G AF-S ED .................................£123924-120mm f4 ED VR ........................................£81028-300mm f3.5-5.6 G AF-S ED VR....................£65970-200mm f2.8 G AF-S ED VR II .......................£160570-300mm f4-5.6 VR .......................................£425

18.0megapixels

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EF 28mm f1.8 USM ..................................£379EF 40mm f2.8 STM....................................£166EF 50mm f1.2 USM .................................£1169EF 50mm f1.4 USM ...................................£279EF 50mm f1.8............................................£82EF 85mm f1.2 L II USM..............................£1649EF 85mm f1.8 USM ..................................£299EF 100mm f2.8 L IS USMMacro ...............£689EF 16-35mm f2.8 L USMMkII ...................£1099EF 17-40mm f4.0 L USM ...........................£579EF 17-55 f2.8 IS USM.................................£749EF 17-85mm f4-5.6 IS USM.......................£334EF 18-135mm IS STM................................£349EF 18-200mm f3.5-5.6 IS...........................£389EF 24-70mm f2.8L II USM ........................£1899EF 24-105mm f4.0 L IS USM......................£822EF 70-200mm f2.8 L IS USM II...................£1799EF 70-200mm f4 L USM ...........................£483EF 70-200mm f2.8L IS II USM....................£1799NEW! EF 70-300mm f4.0-5.6 L IS USM.....£1129EF 100-400mm f4.5-5.6 L IS USM.............£1189

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RRP £99.99 £79

IXUS 125 HS Silver, Red, Blue, Green or Pink.......................................................................£134.99IXUS 240 HS Silver, Light Pink, Pink, Blue or Black.......................................................................£169IXUS 500 HS Silver, Red, Blue or Black ..........£184IXUS 510 HS White or Black..........................£219.95PowerShot A3200 Pink, Aqua or Pink ..........£94.95PowerShot A4000 Silver, Red, Blue or Pink ..£104PowerShot SX240 HS Pink, Silver or Black ...£189PowerShot SX260 HS Red, Grey, Green or Black.......................................................................£209NEW! PowerShot SX500 IS Black .................£224PowerShot D20 Silver, Blue or Yellow..........£259PowerShot G1X ..................... RRP £699 ......£499

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NEW! FinePix XF-1 Black ..............................£279FinePix F660 EXR Blue, Red, Black or White.............................................. RRP £174.99 ...£99FinePix SL300 Black ............. RRP £219.99 ...£145FinePix F770 EXR Black, Red, Blue or White.............................................. RRP £249.99 ...£179FinePix HS30 EXR Black ....... RRP £324.99 ...£219FinePix X10 Black................. RRP £399.99 ...£299FinePix X-S1 EXR .................. RRP £529.99 ...£399

Lumix LZ20 Red or Black .................................£119.95Lumix FT20 Red, Orange, Blue or Black ........£120Lumix SZ7 White, Brown or Black..................£144Lumix FX90 Black ............................................. £202Lumix FT4 Black, Silver, Orange or Blue........£222Lumix LX7 Black................................................ £349Lumix TZ25 Black or Red .................................£184.95Lumix FZ200 Black ...........................................£429

Optio WG-2 Red or Black RRP . £279.99.........£180Optio WG-2 GPS Orangeor White ...................................RRP £329.99 .£219.99Optio VS20 Black or White ...... RRP £199.99 .£139

NEW! PIXMA Pro 100 ....................................... £389NEW! PIXMA Pro 10 ......................................... £549Pixma Pro 1.................................RRP £799......£648

WG-2

SP-720 UZ Silver or Black ....... RRP £229.99 ...£150SZ-31 MR Silver or Black ........ RRP £299.99 ...£179NEW! SZ-15 White, Red, Blue or Black ...........£179NEW! TG-630 White, Red, Blue or Black.........£169NEW! TG-830 Blue, Silver, Red or Black ..........£249NEW! SH-50 White, Silver or Black .................£249XZ-2 Black........................................................£419.95

Extreme Pro:95MB/s SDHC8GB ....................................£2716GB ..................................£3932GB ..................................£6464GB SDXC .........................£124SanDisk Extreme:60MB/s UDMA C/Flash8GB ....................................£3816GB ..................................£64.9532GB ..................................£118

Sony XQD™Memory Card:125MB/s XQD16GB.......................................£10932GB.......................................£169

Sony XQD™ Readers:XQD Card USB 3.0 Reader......£49XQD Express Card Adapter ....£79

Sony Experience:30MB/s UHS-I SDHC4GB ........................................£128GB ........................................£1816GB ......................................£2932GB ......................................£49

Sony Expert: 94MB/s SDHC8GB ........................................£2816GB ......................................£4232GB ......................................£8964GB ......................................£129

AS SEEN ON

TV

SanDisk Extreme Pro:90MB/s UDMA C/Flash16GB ..................................£99.9932GB ..................................£179.9564GB ..................................£319Eye-Fi Card with Adapter4GB ....................................£39.958GB ....................................£44.95SanDisk ImageMate USB 3.012-in-1 ReaderWhite..................................£34.95

055XDB ...........................£102055XB..............................£113055XPROB ......................£114055CXPRO3 ....................£214.95

NEW! 190XPROL............£144.95NEW! 190XPROL + 496RC2Compact Ball Head .........£199.95NEW! 190XPROL + 804RC23-Way Head ....................£204.95

055XPROB• 178.5cmMax Height• 10cmMin Height

190XPROL• 164cmMax Height• 8.5cmMin Height

Silk RoadYTL8353• 171cmMax Height• 19cmMin Height

GT2541EX• 164cmMax Height• 3cmMin Height

NEW! SILK ROAD - 3D Column:YTL9353 Aluminium .......£114YTL9383 Aluminium .......£124YTL8353 Carbon Fibre ....£229YTL8354 Carbon Fibre ....£239YTL8383 Carbon Fibre ....£259YTL8384 Carbon Fibre ....£269

Series 2: Explorer TripodGT2541EX ................ £529

Expedition:4x........................................ £895x........................................ £1296x........................................ £1397x........................................ £1508x........................................ £1999x........................................ £219

Hadley: Canvas/Leather:Khaki/Tan, Black/Tan, Black/Black.FibreNyte/Leather: Khaki/Tan,Sage/Tan, Black/Black.

Digital..................................£109Small ...................................£139Large....................................£154Pro Original.........................£169Tripod Strap Black or Tan....£19

F-5XB RuggedWear........ £89.95F-5XZ RuggedWear ........ £99.95F-6 RuggedWear ............ £104.95F-803 RuggedWear ........ £159.95F-2 RuggedWear ............ £159.95

Expedition8x

Black/Slate

Hadley ProOriginalCanvas

Khaki/Tan

F-803RuggedWear

PixmaPro 1

Gorillapod:Compact.............................£17Hybrid (Integral Head) .......£29.95SLR Zoom ...........................£39.95Focus GP-8 .........................£86

SLRZoom

Coolpix S3 300

SAVE£20ON RRP

12mwaterproof

APS-Csize sensor

16.1megapixels

12.1megapixels

12.0megapixels

12.1megapixels

5.0xoptical zoom

50.0xoptical zoom

1080pmoviemode

1080pmoviemode

1080pmoviemode

42.0xoptical zoom

NEW! RX1 Black..............................................£2599W690 Red or Black..........................................£114WX100 White, Silver or Black .........................£156H90 Silver or Black ..........................................£166HX10V White or Black.....................................£134HX20V Brown or Black....................................£249HX200V Red, White, Black ..............................£309

Rover ProAW 45LBlue.

Perfect forcarrying aPro DSLR,Grip up to5 lenses,outdoorequipmentand 15”Laptop

Photo HatchbackAW 22L Pepper Red,Galaxy Blue or Slate

Grey.Perfect for carryinga DSLR, up to 4

lenses, 11” MacbookAir & accessories

NEW! Photo Hatchback AW:16L..........................................£8922L..........................................£94

NEW! Rover Pro AW:35L..................................... £21945L..................................... £239

NEW!

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SAVE£55ON RRP

CALUMET Call: 08706 03 03 03Click: www.calumetphoto.co.ukVisit: stores nationwide

35mm F1.8G AF-S DX £149.00

50mm F1.4G AF-S £271.00

50mm F1.4D AF £239.00

50mm F1.8G AF-S £155.00

60mm F2.8G AF-S ED Micro £404.00

85mm F1.4G AF-S £1189.00

105mm F2.8G AF-S VR Micro £609.00

14-24mm F2.8G AF-S ED £1305.00

16-35mm F4.0G AF-S ED VR £829.00

18-35mm F3.5-4.5D IF ED AF £475.00

18-200mm F3.5-5.6G AF-S VR II £580.00

18-300mm F3.5-5.6G AF-S ED VR £685.00

24-85mm F3.5-4.5G AF-S ED VR £419.00

24-70mm F2.8G AF-S ED £1235.00

28-300mm F3.5-5.6G AF-S VR £669.00

70-200mm F4.5-5.6G AF-S VR II £1579.00

70-200mm F4G AF-S VR ED £1099.00

NIKON LENSESEF 50mm F1.4 USM £278.00

EF 50mm F1.8 II £81.00

EF-S 60mm F2.8 USM Macro £348.00

EF 85mm F1.2L II USM £1648.00

EF 100mm F2.8L IS USM Macro £688.00

EF 8-15mm F4.0L USM Fisheye £1078.00

EF 16-35mm F2.8L USM II £1098.00

EF 17-40mm F4.0L USM £578.00

EF 24-70mm F4L IS £1498.00

EF 24-70mm F2.8L II USM £1898.00

EF 24-105mm F4.0L IS USM £821.00

EF 28-135mm F3.5-5.6 IS USM £358.00

EF 70-200mm F2.8L IS USM II £1798.00

EF 70-200mm F4.0L IS USM £884.00

EF 70-300mm F4.0-5.6 IS USM £374.00

EF 70-300mm F4.0-5.6L IS USM £1098.00

EF 100-400mm F4.5-5.6L IS USM £1188.00

CANON LENSES

All prices include Vat at 20%. Prices correct at time of going to press. E&OE.

NEW from Calumet

Nikon D600

£1450.00Nikon D600 + 24-85mm Lens

£1823.00

Nikon D600The new EOS-5D Mark III

builds on theperformance of the

legendary EOS-5D Mark II,offering improvedspeed, greaterresolution,enhanced

processing powerand extended creative options for both stills and Full HDmovies – providing unparalleled artistic freedom for themost demanding photographers.

EOS 5D Mark III Body £2335.00EOS 5D + 24-105mm £2975.00EOS 5D + 24-70mm II £4205.00

Canon EOS 5DMark IIITake your photography to another

level with the D600.Remarkably lightweightFX-format D-SLR withhigh-resolution 24.3

megapixel CMOSsensor, ISO 100-6400 (extendable)EXPEED 3 image

processing, highly-sensitive 39-point AF

system and Full HD 1080pD-movie. Discover the full-frame advantage.

Your entry into the full-frame world. A 20.2 megapixelDSLR featuring a full-frame

sensor and compactdesign. Ideal for

portraitphotography andtravel, offeringtight control overdepth of field anda large choice of

wide-angle EFlenses. Full HD 1080p resolution

movies and Ei-Fi for unparalleledconnectivity.

Canon EOS-6D Body £1649.00Canon EOS-6D + 24-105mm Lens

£2289.00

Canon EOS-6D

D4 Body £4249.00D800 Body £1929.00D800E Body £2359.00

D7000 Body £642.00D7000 +18-105mm £789.00

NIKON DSLRs

D90 Body £439.00D90 +18-105mm £565.00

D5200 Body £649.00D5200 +18-55mm £699.00

D3200 Body £395.00D3200 +18-55mm £439.00

EOS-1D X Body £4849.00

EOS 5D Mark II Body £1469.00 EOS 7D Body £1069.00EOS 7D +18-135mm £1279.00

EOS 60D Body £609.00EOS 60D +18-55mm £679.00

EOS 650D Body £529.00EOS 650D +18-55mm £565.00

EOS 600D Body £425.00EOS 600D +18-55mm £489.00

CANON DSLRs

DIGITAL CAMERAS

PRINTERS

Canon Pixma Pro-10 £545.00

Epson Stylus Pro 3880 £895.00Canon Pixma Pro-1 £649.00

Epson Stylus Photo R3000 £585.00

STUDIO

Calumet Genesis 200 2-head kit £349.99Calumet Genesis 400 2-head kit £399.99

Nikon Coolpix P7700 £389.00 Nikon 1 V2 10-30mm £749.00 Canon Powershot G1 x £499.00

Canon Powershot G15 £439.00 Fujifilm X100 £549.00 Fujifilm X10 £299.00

Creo GeneratorsProfessional power packs with precisionperformance and high-end specificationsperfect for studios and rental houses.

1200Ws £3199.00

2400Ws £3999.00

Great value lightweight,portable softbox that producesa soft diffused light, perfect forportraits, events and still life images.

£39.99

Calumet10" Speedbox

CALUMET seminars

All prices include Vat at 20%. Prices correct at time of going to press. E&OE.

One Light- Photography Workshopand Post Production WorkshopGlenn NorwoodThis workshop shows how to create many classical and contemporarylighting techniques using simply one light. This course will demonstratelighting portraits with both studio strobes and speedlights and will befollowed by a post production workshop to demonstrate how best toproduce your images.Tuesday 5 March 10.30-16.00 £75

Travel Photography - pay for yourholiday with your travel imagesLorentz GullachsenThe session shall comprise of: • A case study of an internationalcommission • A shooting day - A typical day on location • What themarket wants - shooting the experience, technical specification, releasefor publication - what subjects sell and who buys travel images.• Good shooting practice - what kit to use, essential items for a travelphotographer • Location research - what times are best to shootThe day will provide you with an insight into producing travel images thatwill improve your portfolio and possibly help pay for your holiday or evenlaunch a career as a travel photographer.Tuesday 12 March 11.00-16.00 £79

Location Portrait PhotographyLorentz GullachsenPhotographing people on location is particularly challenging as it has somany elements that require careful consideration, but often the subjectsare only available for a short time. So a great understanding of the craft,combined with the ability to adapt quickly are just part of the skill set yourequire.Portraits on Location is a seminar designed to inform how contemporaryphotography has moved into a new era of with digital capture and newlighting technology.Wednesday 13 March 10.00-16.00 £79

An Introduction to NightPhotographyRichard SouthallAn evenings walking tour the local area where the participants will gaina basic understanding of the techniques required for successful nightphotography in a city environment. A digital SLR camera and tripod willbe essential.Tuesday 19 March 18.30 -21.00 £65

BELFAST028 90 777 770 Create Video with your DSLR -

DAY ONEJason HarryThis workshop will be both practical and discussion about how to producehigh quality video with your HD ready DSLR.Topics covered: • Setting your camera up, to be video ready • Idealsettings • Deciding the frame rate and shutter speed • ISO selection• Focusing, thinking ahead • Lenses to use, my go to lens selection• Making the best quality sound • Video trend’s creating the look.Wednesday 13 March 10.00-15.00 £85

Create Video with your DSLR to aCommercial Quality - DAY TWOJason HarryThis is a more advanced workshop allowing you to build on the basicsfrom day one.You will be shown how to produce videos of commercial quality.Topics covered will include: • Camera stability on the move • Shoot foroutput against using profiles • Editing Process • Output your project forYouTube, iPad, DVD authoring. • Light shaping tools • Choosingadditional light sources, LED, tungstenThursday 14 March 10.00-15.00 £85

Master Studio & Mixed LightPhotography for Makeover/LifestyleJason HarryTaken from the highly competitive and profitable makeover industry thisstyle of photography works to tight schedules, delivering to the clientgreat images and an experience that often raises self esteem.We will work through formats to help organise your time while stillallowing you flexibility to deliver a personal experience, making the mostof your time.Friday 15 March 10.00-15.00 £85

One Light- Photography and PostProduction WorkshopGlen NorwoodThis workshop shows how to create many classical and contemporarylighting techniques using simply one light. This course will demonstratelighting portraits with both studio strobes and speedlights and will befollowed by a post production workshop to demonstrate how best toproduce your images.Wednesday 20 March 10.00-16.00 £99

EDINBURGH0131 553 9979

Landscape PhotographyLorentz GullachsenWith a series of presentations and demonstrations Lorentz will give youan insight into the world of an advertising and fine art landscapephotographer. This seminar will help you will understand the processof shooting landscapes for fine art as well as advertising and editorialcommissions.Tuesday 5 March 10.00-16.00 £89

Master Studio & Mixed LightPhotography for Makeover/LifestyleJason HarryTaken from the highly competitive and profitable makeover industry thisstyle of photography works to tight schedules, delivering to the clientgreat images and an experience that often raises self esteem.We will work through formats to help organise your time while stillallowing you flexibility to deliver a personal experience, making the mostof your time.Saturday 16 March 10.00-15.00 £85

GLASGOW0141 353 0875

MANCHESTER0161 274 4455

Canon “Off Camera” FlashJayce ClarkeWorking our way through 1, 2 and 3 light sets, you will have all theknowledge to make “flash” part of your everyday photography.Friday 1 March 10.00-16.00 £75

Fashion Shoot & Shooting the VideoJason HarryThis workshop will enable you to shoot with a model and produce a videofor the photo shoot.This workshop will cover: • The role of the stylist, hair and makeup intheteam • Creating the look and mood for the shoot • Creating the videofor the shoot • Location vs studio • Lighting options • Review andimage selections • Post productionThursday 7 March 10.00-15.00 £99

Master Studio & Mixed LightPhotography for Makeover/LifestyleJason HarryTaken from the highly competitive and profitable makeover industry thisstyle of photography works to tight schedules, delivering to the clientgreat images and an experience that often raises self esteem.We will work through formats to help organise your time while stillallowing you flexibility to deliver a personal experience, making the mostof your time.Saturday 9 March 10.00-15.00 £85

Creative Fashion and BeautyLighting WorkshopJon GrayUsing a top professional model, Jon will be demonstrating severaldifferent creative styles of lighting techniques for commercial andeditorial fashion and beauty images.Friday 8 March 10.00-17.00 £149

BRISTOL0117 942 2000

Fashion Flair - Complete FashionPhotography Workshop and PostProduction WorkshopGlenn NorwoodThis workshop covers an edgy fashion shoot, covering the mostcontemporary lighting techniques used today followed by Photoshop Postproduction course which demonstrates many retouching & compositingtechniques.Wednesday 6 March 10.00-16.00 £129

Lightroom 4 - The EssentialsGlenn NorwoodThis course introduces the Adobe Photoshop Lightroom features fororganising, enhancing, and sharing digital images and video clips.Thursday 7 March 10.00-16.00 £79

One Light - Photography and PostProduction WorkshopGlenn NorwoodThis course will demonstrate lighting portraits with both studio strobesand speedlights and will be followed by a post production workshop.Friday 8 March 10.00-16.00 £99

BIRMINGHAM0121 326 7636

Click: www.calumetseminars.co.uk

LONDON (Drummond St) 020 7380 1144Be Inspired and Inspire Your ClientsTim WallaceThe class is also very much aimed at people thinking about starting asa professional photographer and are looking for a better idea of thingsthey need to focus their efforts and planning on to succeed in thisdifficult market.If you would like to know how Tim has managed to build his business fromscratch in just 6 years to where he is now then this is the seminar for youto attend.Friday 1 March 10.00-15.00 £99

Be Inspired and Go CreateTim WallaceAimed squarely at those that are seeking to learn more about photographyand gain a better understanding of light and other elements that turn goodpictures into great pictures.These talks are not based on just understanding digital camera equipmentbut more looking at the whole discipline of photography.Saturday 2 March 10.00-15.00 £99

Shooting Interiors - A Master ClassRichard SouthallA master class in interior photography to be undertaken at location (winebar, hotel or night club) near to the Calumet branch.Thursday 7 March 10.00-15.00 £69

Fashion Flair - Complete FashionPhotography Workshop and PostProduction WorkshopGlenn NorwoodThis workshop covers an edgy fashion shoot, covering the mostcontemporary lighting techniques used today followed by Photoshop Postproduction course which demonstrates many retouching & compositingtechniques.Wednesday 13 March 10.00-16.00 £129

Lightroom 4 - The EssentialsGlenn NorwoodThis course introduces the Adobe Photoshop Lightroom features fororganising, enhancing, and sharing digital images and video clips.Thursday 14 March 10.00-16.00 £79

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Square A & P Size FiltersFull ND Set .................£34.95Soft ND Grad Set ........£34.95Hard ND Grad Set .......£34.95Landscape Kit .............£37.50Black and White Kits...£39.95Individual ND .............£12.50Individual ND Grad.....£12.50Hitech 10 Stop............£60.00Filter Holders.................. £5.00Adaptor Rings................. £4.00

Lee FiltersFoundation Kit.........£59.00ND Grad Kits..........£180.00Big Stopper............£104.95Adaptor Rings STD ..£20.00Adaptor Rings W/A..£40.00Individual Filters from£50.00NEW PRODUCTS

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Fotospeed

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CANON AT MIFSUDS

PartExchangeWelcome

300mmf2.8 LIIIS USM £4977

400mmf2.8 LIIIS USM £8199

500mmf4 LII ISUSM £7699

EOS 1DX body£4849

PHONE LINES OPEN

MON -FRI 8am - 7pm,SAT 9am - 5pm,SUN 10am - 1pm.SHOP OPEN

MON -SAT 9am - 5pm,SUN 10am - 1pm.

U.K. StockOnly

CANON AT MIFSUDS

EOS 5D MKIII body£2315

Please visit our website for more Canon lenses& accessories. Correct 28/01/13. E&OE.

WANTED! WANTED!Why not help fund your next purchase by letting us

PART EXCHANGE your good quality equipment. We alsoBUY FOR CASH andSELL ON COMMISSION.Collection can be arranged - please email details of equipment to [email protected] types of cameras, lenses, studio equipment etc from all brands considered.In particular . . . NIKON 200mm f2 ~ NIKON 200-400mm ~ NIKON 300mm f2.8

NIKON 400mm f2.8 ~ Nikon 500mm f4 ~ NIKON 600mm f4VR and AFS versions of these lenses. Please email with details.

Mail Order :

01803 852400Email - [email protected]

27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

Body only

£1599EOS 6D

Body only

£637EOS 60D

Body only

£515EOS 650D

with 18-55mm IS £799with 24-105mm f4 L £2277 with 18-55mm IS II £569with 18-135mm STM £829

DIGITAL SLRS

D800 body . . . .£1889D800E body . . .£2349

D7000 body . . . .£629D7000 +18-105 VR . . . . . £789

D3200 body . . . . . . . . . . . £384D3200 + 18-55 VR . . . . . . £429

EOS DSLRS

5D MKIII body. . £23155D MKIII + 24-105 IS . . .£2959

7D body . . . . . . . . . . . . .£10667D + 15-85 IS . . . . . . . . .£15897D + 18-135 IS . . . . . . . .£132960D body . . . . . . . . £63760D + 18-55 IS £799

650D + 18-135 IS STM . £829600D + 18-135 IS . . . . . . £599

U.K.StockONLY MIFSUDS ARE NIKON PROFESSIONAL DEALERS

COMPACT CAMERASG1X ........£479 G15 . . . . £439SX50.......£369EF-S NON FULL FRAME LENSES10-22 F3.5/4.5 USM. . . . . . £61415-85 F3.5/5.6 IS U no box £49917-55 F2.8 IS USM. . . . . . . . £76917-85 f4/5.6 IS USM unboxed £37918-55 F3.5/5.6 IS unboxed. . £9918-135 F3.5/5.6 IS STM. . . £38918-135 F3.5/5.6 IS U no box £27918-200 F3.5/5.6 . . . . . . . . . £41955-250 F4/5.6 IS II . . . . . . . £23960 F2.8 Macro USM. . . . . . £339EF LENSES8-15 F4 L USM Fisheye . . £104714 F2.8 LII . . . . . . . . . . . . £177716-35 F2.8 MKII L USM . . £107717 F4 TSE L . . . . . . . . . . . £184717-40 F4 USM L. . . . . . . . . £57920 F2.8 USM . . . . . . . . . . . £377

24 F1.4 L II USM . . . . . . . £118924 F2.8 IS U . . . . . . . . . . . . £57724 F2.8 . . . . . . . . . . . . . . . . £34724 F3.5 L TSE MKII . . . . . £159924-70 F2.8 L II USM. . . . . . £168924-105 F4 L IS USM unboxed . £79928 F1.8 USM. . . . . . . . . . . . . . . £35428 F2.8 IS U . . . . . . . . . . . . £56935 F1.4 L USM . . . . . . . . . £106735 F2 IS USM. . . . . . . . . . . £79935 F2 . . . . . . . . . . . . . . . . . £18940 F2.8 . . . . . . . . . . . . . . . . £15950 F1.2 L USM . . . . . . . . . £118950 F1.4 U . . . . . . . . . . . . . . £26950 F1.8 II . . . . . . . . . . . . . . . £8765 F2.8 MPE . . . . . . . . . . . £79970-200 F2.8 IS USM LII . . . £174970-200 F2.8 non IS L USM . . . . £93970-200 F4 L IS USM. . . . . . £86970-200 F4 L USM. . . . . . . . £47970-300 F4/5.6 L IS USM. . . £1077

70-300 F4.5/5.6 IS USM . . £41985 F1.2 L II . . . . . . . . . . . . £159985 F1.8 USM . . . . . . . . . . . £279100 F2.8 IS L USM macro . £659100 F2.8 Macro USM . . . . . . . .£399100-400 F4.5/5.6 IS L USM £1177135 F2 L USM . . . . . . . . . . £889180 F3.5 L USM Macro . . £1129200 F2.8 II L USM . . . . . . . £585300 F2.8 LII IS USM. . . . . £4977300 F4 L IS USM . . . . . . . £1069400 F2.8 IS L II USM . . . . £8199400 F5.6 L USM . . . . . . . . £1039500 F4 IS LII USM . . . . . . £7699600 F4 IS LII USM . . . . . . £10044Ext tube 12II. . . . . . . . . . . . . . . £79Ext tube 25II . . . . . . . . . . . . . £1291.4x III or 2x III converter ea £369FLASH & ACCESSORIESAngle finder C. . . . . . . . . . . £219BG-E5 grip (450D) . . . . . . . . £107

BG-E6 grip (5D MKII) . . . . . . £187BG-E7 grip (7D) . . . . . . . . . . £139BG-E8 grip (550D) . . . . . . . . .£115BG-E9 grip (60D) . . . . . . . . £129BG-E11 grip (5D MKIII) . . . £277BG-E13 grip (6D) . . . . . . . . £249LP-E4 . . . £159 LP-E6 . . . . £80MR 14EX Ringlight . . . . . . . £469MT-24EX. . . . . . . . . . . . . . . £789270 EX II . . . . . . . . . . . . . . . . . . £139320EX . . . . . . . . . . . . . . . . . . . . £185430 EX II . . . . . . . . . . . . . . . . . . £199600EX RT . . . . . . . . . . . . . . . . . £459CP-E4 compact battery pack . . £149Off camera shoe cord OC-E3. . .£59LC5 wireless set . . . . . . . . . £449GP-E2 GPS receiver . . . . . £299RS-80N3. . . . . . . . . . . . . . . . £49ST-E3 Transmitter . . . . . . . £309ST-E2 Transmitter . . . . . . . £239TC-80N3. . . . . . . . . . . . . . . £149

COMPACT CAMERASP5200 .....£479 AW110. . £395P9400 .....£299 S9500 . . £359DIGITAL ONLY LENSES10.5 F2.8 DX . . . . . . . . . . . £54910-24 F3.5/4.5 G AFS DX . £62912-24 F4 DX. . . . . . . . . . . . £85916-85 F3.5/5.6 AFS VR DX £43917-55 F2.8 DX . . . . . . . . . £109918-105 F/3.5-5.6G ED VR . . £19718-300 F3.5/5.6 G ED VR DX£68935 F1.8 G DX . . . . . . . . . . . £14940 F2.8 AFS G DX . . . . . . . £18955-300 F4.5/5.6 G VR DX . £28985 F3.5 G VR DX . . . . . . . . £379LENSES14 F2.8 AFD . . . . . . . . . . . . £99914-24 F2.8 G ED AF-S . . . £133716 F2.8 AF-D Fisheye . . . . £699

16-35 F4 AFS VR. . . . . . . . £83920 F2.8 AF-D . . . . . . . . . . . £45924 F1.4 AFS G . . . . . . . . . £158924 F2.8 AF-D . . . . . . . . . . . £33524 F3.5 PCE. . . . . . . . . . . £144924-70 F2.8 G ED AFS . . . £121924-85 F3.5/4.5 G ED VR . . £41924-120 F4 G ED VR. . . . . . £81928 F1.8 AF . . . . . . . . . . . . . £56528 F2.8 AFD . . . . . . . . . . . . £24928-300 F3.5/5.6 G ED VR . £66635 F1.4 G . . . . . . . . . . . . . £147735 F2 AF-D. . . . . . . . . . . . . £28950 F1.4 AF-S G . . . . . . . . . £27750 F1.8 G . . . . . . . . . . . . . . £16950 F1.8 AF-D . . . . . . . . . . . £12960 F2.8 AFS . . . . . . . . . . . . £39770-200 F2.8 VRII . . . . . . . £157970-200 F4 G ED VR. . . . . £1089

70-300 F4.5/5.6 VR . . . . . . £41980-400 F4.5/5.6 VR AFD . £137785 F1.4 AFS G . . . . . . . . . £117585 F1.8 AFS G . . . . . . . . . . £377105 F2.8 VR macro . . . . . . £629200 F2 G VR II . . . . . . . . . £3877200-400 F4 VR II . . . . . . . £4997300 F2.8 AFS G VR II . . . . £4189300 F4 AF-S . . . . . . . . . . . £1049400 F2.8 AFS VR II . . . . . £6555500 F4 AFS VR II . . . . . . . £5899600 F4 AFS VR II . . . . . . . £7199TC14EII converter . . . . . . . £319TC17EII converter . . . . . . . £319TC20EIII converter . . . . . . . £369FLASH & ACCESSORIESGP-1. . . . . . . . . . . . . . . . . . £199MBD14 (D600) . . . . . . . . . . £239MBD12 Grip (D800/E) . . . . £289

MBD11 Grip (D7000) . . . . . £229MBD10 Grip (D300/D700) . £219DR-5/DR-6 angle finder each£229SBR200 wireless rem S/Lite £199SBR1 ringflash . . . . . . . . . . £389SBR1CI ringflash/command£539SB-700 . . . . . . . . . . . . . . . . £229SB-910 . . . . . . . . . . . . . . . . £319SC-28 . . . . £59 SC-29 . . . . £69SU-800 flash slave no box . £199MC36 . . . . . . . . . . . . . . . . . £129MC30 . . . . . . . . . . . . . . . . . . £69EN-EL3E . .£67 ENEL4A. . . £89EN-EL15. . . . . . . . . . . . . . . . £59EN-EL18. . . . . . . . . . . . . . . . £99ME-1 Stereo Microphone . . . £87WT-5 Wireless trans for D4 £399WU-1a wireless adapt D3200 £55NX Capture 2 . . . . . . . . . . . £169

WANTEDWewant your cameras, lenses & studio equipmentWE PART EXCHANGEBUY FOR CASH OR COMMISSION SALECollection can be arranged.

contact us at [email protected] or ring 01803 852400

Family Run Pro Dealershipwith Friendly, Knowledgeable Staff. Open 7 days perweek. Prices inc VAT. P&P Extra. E&OE.We are happy to reserve new & used stock for customers planning to visit. Prices are based on current stock at time of compilation January 29th 2013.

Prices are subject to change without notice so please check availability to avoid disappointment. We keep the website updated daily (Mon-Fri) - latest prices on-line. E&OE.

MIFSUDS ARE CANON PROFESSIONAL STOCKISTS

8-16 F4.5/5.6 DC HSM NAF only £47910-20 F3.5 EX DC HSM. . . . . . .£45910-20 F4/5.6 EX DC CAF/NAF .£36912-24 F4.5/5.6 EX DG mac MKII £66917-50 F2.8 EX DC OS HSM . . .£49917-70 F2.8/4.5 DC OS . . . . . . . .£29918-50 F2.8/4 DC OS . . . . . . . . .£16918-200 F3.5/6.3 DC OS II . . . . .£27918-250 F3.5/6.3 DC OS Macro .£39918-250 F3.5/6.3 DC OS NAF only £29924-70 F2.8 EX IF DG HSM. . . . .£58930 F1.4 EX DC HSM NAF only .£29935 F1.4 DG HSM . . . . . . . . . . . .£76950 F1.4 EX DG. . . . . . . . . . . . . .£36550 F2.8 EX DG . . . . . . . . . . . . .£249

50-150 F2.8 DC MKII . . . . . . . . .£79950-500 F4/5.6 OS HSM CAF/NAF . .£99970-200 F2.8 EX DG OS . . . . . . .£87970-300 4.5/5.6 APO DG mac . . .£14985 F1.4 EX DG HSM . . . . . . . . .£669105 F2.8 EX DG OS. . . . . . . . . . £549120-300 F2.8 EX DG OS CAF/NAF £1649120-400 F4.5/5.6 APO OS NAF only £629150 F2.8 EX DG OS. . . . . . . . . .£699150-500 F5/6.3 DG OS CAF/NAF . £749180 F2.8 EX DG OS. . . . . . . . .£12991.4x EX DG converter . . . . . . . .£1892x EX DG converter . . . . . . . . . .£219EM140DG macro ringflash. . . . .£349

MIFSUDS ARE SIGMA PRO LENS STOCKISTS3 YEARWARRANTY ALL LENSES

U.K.StockONLY

Photo©PaulRudman

U.K.StockONLY

Mail Order :01803 852400Email - [email protected]

27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.

PHONE LINES OPENMON -FRI 8am - 7pm,

SAT 9am - 5pm,SUN 10am - 1pm.SHOP OPEN

MON -SAT 9am - 5pm,SUN 10am - 1pm.

01803 85240027-29, Bolton Street, Brixham. Devon. TQ

U.K. StockOnly

7-14mm F4 ..................... £9498mm F3.5 ....................... £49912-35mm f2.8 ................. £87714-42mm F3.5/5.6Power OIS X................... £35014-140mm F4/5.8 OIS.... £57920mm F1.7 ..................... £26925mm F1.4 DG............... £43935-100 F2.8 Power OIS X £99945mm F2.8 OIS.............. £54945-150 F4/5.6 OIS.......... £25945-175mm F4/5.6Power OIS X................... £31945-200mm F4/5.6 OIS.... £269100-300mm F4/5.6 OIS.. £419LFV2 Viewfinder ............. £199FL220E Flash ..................£115FL360E Flash ................. £187FL500E Flash ................. £347LX7 Quality Compact ..... £349FZ-200 Camera .............. £439FZ-150 Camera .............. £269TZ-30 Compact Camera £239

D4 body £4199

Tamron Lenses18-270mm f3.5/6.3 Di II VC PZD.£38960mm f2 Di macro NAF ................£29990mm f2.8 Di macro....................£339

650D body £515650D + 18-55IS II £569

D600 body £1439D600 +24-85 G £1849

X System Cameras & LensesMicro 4/3rds system

GH3 + 12-35mm .........£1999GH3 + 14-140mm .......£1589G5 + 14-42mm X ..........£669G5 + 14-42mm..............£549G5 body ........................£519GX1 + 14-42mm X........£539GX1 + 14-42mm ...........£429GX1 body......................£349GF5 + 14-42mm X ........£479GF5 + 14-42mm............£379GF5 body......................£319

GH3 bodyonly £1199

D5200 body £649D5200 + 18-55 VR £699

FAMILY RUN SINCE 1954

1DX body £4849

6D body £15996D + 24-105f4 L £2277

NEW - DUE MARCHX100s .............£1129X20 .................. £539

Pre-order TheAbove NOW

X-Pro 1 body.. £1099X-E1 + 18-55f2.8/4 OIS ........ £999X-E1 body........ £62914mm f2.8 XF.. £769

18mm f2 XF..... £41918-55mmf2.8/4 OIS XF... £59935mm f1.4 XF.. £41960mm f2.4 XF.. £459XFXR20 flash .. £189EF42 flash ....... £199X-100 Limited EditionBlack Kit........... £719X-10 compact.....£319

Photo©PaulRudman

Mail Order :01803852400Please followus on

5x4 USEDSchneider Sup Ang 90 F8 £299Polaroid back.................. £49Toyo 6x7 RFH............... £129Toyo quick roll slider..... £199Fidelity double dark sl ea £15BRONICA RF USED45 F4 + viewfinder box. £349BRONICA ETRS 645 USEDETRSi + 75 F2.8 E + 120£19940 F4 PE ...................... £17950 F2.8 E........................ £9950 F2.8 PE ................... £19975 F2.8 E II................... £129100 F4 PE .................... £249105 F4.5 PE macro ...... £399135 F4 PE .................... £279150 F3.5 E...................... £89150 F3.5 PE M- Box..... £179200 F4.5 PE ................. £179500 F8 EII..................... £4992x extender E ............... £139E14 ext tube ................... £49120 RFH......................... £69Polaroid Back ................. £29Rotary prism ................. £149AEIII Prism ................... £179AEII Prism ...................... £89WLF Boxed..................... £59Plain Prism E.................. £39Angle viewfinder E........ £179Winder ............................ £79M bracket........................ £69Speed Grip E.................. £49Metz SCA 386 ................ £49BRONICA SQ 6x6 USEDSQA + 150 + 120 RFH. £249120 RFH......................... £7940 F4 PS ...................... £44950 F3.5 PS ................... £19965 F4 PS Boxed ........... £149110 F4 PS macro... £279/399135 F4 PS M- ............... £249150 F3.5 S...................... £79150 F4 PS .................... £149150 F4 PS M- Box........ £199200 F4.5 PS M- box ..... £1992x PS converter M- ...... £299S36 ext tube ................... £89Auto bellows S box....... £199Polaroid back.................. £49135N back ...................... £99120J 645 back................ £69Waist level finder ............ £69Plain Prism S Boxed ...... £99AE Prism Early ............. £149ME Prism Finder........... £129Metz SCA 386 ................ £49Lens Hood 65-80............ £20Pro shade S box............. £49Motorwinder.................. £199Speed grip S................... £99BRONICA GS 6x7 USED150 F4 PG M-............... £149G18 Ext Tube box .......... £79Polaroid Back ................. £39Speed Grip .................... £89AE Prism Finder G ....... £129AE Rotary Prism........... £199CANON DIGITAL AF USED1DS MKIII body M- box£22991D MKIV body Exc++. £26991D MKIII body............... £9991D MKII body......... £399/4997D body box .......... £699/7495D MKII body box......... £9995D MK I body ........ £499/64960D body M- box.......... £54950D body.........................£39940D body.........................£29930D body.........................£19920D body.........................£179550D body.......................£3291100D body.....................£2191000D body box .............£199BG-E1 ...............................£29BG-E2N.............................£69BG-E3 ...............................£39BG-ED3.............................£39BG-E4 (5D MKI) ...............£69BG-E5 ...............................£69BG-E6 box (5D MKII) .......£99BG-E7 box ........................£99BG-E8 ...............................£89G10 compact box ...........£199SX1 IS compact M- box .£149S3 IS compact ..................£69CANON AF USEDEOS 1n RS body.......... £399EOS 3 + PB-E2 ............ £169EOS 3 body............. £79/199EOS 5 body.................... £39EOS 300 body................ £20EOS 500 body................ £20EOS 500N body ............. £20EOS 50E body................ £20EOS 100 body................ £2010-22 F3.5/4.5 EFS...... £39915-85 F3.5/4.5 IS U...... £44916-35 F2.8 L MKI.......... £72917-40 F4 L box ............. £47917-85 F4/5.6 IS U......... £19918-55 F3.5/5.6 IS EFS ... £9918-55 F3.5/5.6 EFS............£6918-200 F3.5/5.6 IS box ... £34920-35 F3.5/4.5 U ............. £19924 F1.4 L MKII box.........£119924 F1.4 L MKI M- box.... £84924 F3.5 L TSE M-..... £699/749

24-70 F2.8 LII M-........... £149924-105 F4 L ............. £649/69928 F1.8 U M- ................... £29928-90 F4/5.6 UII .................£8928-135 F4.5/5.6............... £17928-300 F3.5/5.6 L U IS . £169935-70 F3.5/4.5 ....................£6935-135 F4/5.6 U ............. £9955-250 F4/5.6 IS........... £13960 F2.8 EFS box .......... £24970-200 F2.8 L IS II M-£154970-200 F2.8 L IS MKI . £109970-200 F4 IS L M- ........ £69970-300 F4/5.6 IS U....... £29975-300 F4.5/5.6 U .......... £9980-200 F4.5/5.l6 II .......... £4985 F 1.2 L U M- .......... £1349100 F2.8 IS LU Mint ...........£579100 F2.8 U box............. £329100-400 F4.5/5.6 LM- box..£1099100-400 F4.5/5.6 L....... £999180 F3.5 L box ............. £879300 F2.8 IS U L. £2999/3299300 F4 IS U L ...........£699/749400 F5.6 L......................£899500 F4 IS L U...............£49991.4x conv MKII ...............£2791.4x conv MKI ................£1692x ext MKII .....................£1992x extender MKI.............£169Teleplus 2x DG conv ...... £89Kenko ext tube set DG..£110NCE2 charger............... £149BP-200 grip .................... £20BP-50 grip ...................... £29PB-E2 ............................. £79LC-5 kit ......................... £179LC-4 kit ..........................£119SIGMA CAF USED12-24 F4.5/5.6 EX DG.... £39917-35 F2.8/4 EX...............£11917-70 F2.8/4 DC OS....... £23918-50 F2.8 EX DC mac .. £23918-50 F2.8 EX DC........... £19918-125 F38/5.6 DC OS... £22918-125 F38/5.6 DC ............£9924-70 F2.8 DG HSM Mint£49924-70 F2.8 EX DG .......... £34950 F1.4 EX DC................ £29950-500 F4/6.3 EX DG..... £59970-300 F4/5.6 APO DG mac..£9970-300 F4/5.6 DG mac......£69105 F2.8 EX DG.............£319120-300 F2.8 EXDG HSM OS.....................£1299120-300 F2.8 EX DG HSM £849135-400 F4.5/5.6............. £199150-500 F5/6.3 OS box .. £599170-500 F5/6.3................ £3991.4x EX DG conv M-....... £1492x EX DG conv M-.......... £159OTHER CAF USEDTAM 17-50 F2.8 XR VC.. £289TAM 17-50 F2.8 XR DiII . £249TAM 28-270 VC DiII PZD£329TAM 55-200 F4/5.6 ............£49TAM 70-300 Di VC M- .... £239TAM 70-300 F4/5.6 ............£79TAM 90 F2.8.......... £219/269VIV 19-35 F3.5/4.5 ......... £69CANON FLASH USED270EX M- ....................... £79380EX............................. £69420EX............................. £89430EX box.................... £139580EX box.................... £239MR-14EX...................... £349ML-3 ring not digital........ £89CPE-4 batt pack ............. £89CPE-2 batt pack ............. £69Sigma EM140G ring..... £199CANON MF FD USEDT90 Body TO CLEAR..... £49A1 body ................... £79/179AE1-P chrome body ....... £69AV1 chr body .................. £4920 F2.8 exc++ .............. £24924 F2.8 ........................... £7935 F2 ............................ £16935-70 F3.5/4.5 ................ £3935-105 F3.5 .................... £9935-105 F3.5/4.5 .............. £7950 F1.8 ........................... £2050 F3.5 Macro ................ £9950 F3.5 Mac + Tube ..... £14970-210 F4 ....................... £69100 F2.8 ......................... £99100 F4 Macro + tube.... £299100-300 F5.6 .................. £99135 F3.5 ......................... £29200 F4 ............................ £492X A Extender................. £992X B Extender ................ £69TOK 60-300 F4/5.6......... £69Winder A......................... £29Angle finder B................. £69Action finder for F1N .... £149AE power winder FN ...... £79AE motor drive FN+ battery pack............... £149Auto bellows ................. £149CANON FLASH USED199A ............................... £59244T ............................... £29299T ............................... £49300TL ............................. £49CONTAX RF USEDG2 body Titanium ......... £39928 F2.8 Titanium........... £299

35-70 F3.5/5.6 blk box . £399TLA200 Titanium ............ £69TLA30 flash .................... £29CONTAX SLR USED167MT body.................... £69139Q body...................... £69137MA body ................... £69EPSON PRINTER USEDR3000 kit ...................... £549FUJI DIGITAL USEDX-E1 + 18-55 silv M- box£949X-E1 body Mint box...... £579X100 Ltd Ed M- ............ £649X100 M- box................. £46960 F2.8 R M- box ......... £429S5 body M- box ............ £299FUJI 35MM USED

M42 & BayonetSEE WEBSITE

FUJI MED FORMAT USED250 F5.6 GX680........... £199GSW690 III M- box....... £899GW690 MKIII M- box.... £599GITZO USEDTRIPOD HEADSG1077M........................ £139G1177M.......................... £49G1178M.......................... £79G1570M........................ £149G2180........................... £129G2272M........................ £149G2780FQR green......... £149GH1720FQR................. £139GH1720QR................... £149GH1780FQR................. £129GH1780QR................... £149GH1781QR....................£119GH2720QR................... £159GH2750QR................... £139GH2780QR................... £199GH2781T........................ £99GH2781TQR................... £99GH3580S...................... £169GH3580SQR ................ £179GH3780QR................... £199GH5380S...................... £179GH5380SQR ................ £179TRIPOD LEGSG1325 MKII .................. £299GK1580TQR4............... £389GK1580QR5................. £399GK1580TQR5............... £449GK2520FT.................... £499GK2580TQR................. £399GT0531......................... £199GT1541......................... £299GT1542......................... £299GT1542F ...................... £449GT1542T ...................... £399GT1543T ...................... £299GT1840C...................... £199GT2341L....................... £199GT2531......................... £279GT2531EX.................... £359GT2531LVL................... £299GT2532S ...................... £339GT2540T ...................... £279GT2540F ...................... £399GT2540FL .................... £429GT2540LLVL................. £399GT2541EX.................... £339GT2542S ...................... £379GT3320BS.................... £199GT3330......................... £249GT3531......................... £369GT4552TS.................... £479GT4552GTS ................. £499GT5532LS .................... £479HASSELBLAD XPAN USEDXPan I + 45 F4.................. £89930 F5.6 M- box................£189990 F4.................................. £299HASSELBLAD 6x6 USEDSWCM + VF ..................£1299903SWC + viewfinder ...£1999503CW body chr........... £799500CM + 80CF+ A12 blk/chr .................£749PM90 prism .................. £199WLF early ....................... £49A12 latest blk/chr.......... £199A12 late black............... £149E12 box ........................ £349503CW winder box....... £299250 F4 FE M- box ........ £69950 F2.8 CE M- box....... £74950 F4 CF FLE............... £74950 F4 CF ...................... £54980 F2.8 CF M- .............. £499120 F4 CF .................... £649150 F4 CFi M- .............. £799150 F4 CFI ................... £649150 F4 CF .................... £349150 F4 blk T*................ £199160 F4.8 CB M- box..... £499250 F5.6 M-.................. £299Vivitar 2x conv ................ £79LEICA DIGITAL USEDD-Lux 5 blk.....................£399D-lux 2 M- box................£279V Lux 20 M- box.............£249LEICA M/COMPACT USEDIIIg + 5cm f2 + erc ........ £999M4P chr body ............... £749M3 chr d/wind + ERC.. £749M3 chr s/wind ............... £54921 F2.8 blk ASP M- box . £199928 F2.8 M- box ............. £69935 F2 blk ASP M- box £1599

50 F1.4 blk M- box ..... £1899CF22 flash ...................... £69CF FLash........................ £69SF20 flash ...................... £79LEICA SLR USEDR7 body blk box .............. £379R4 body chr ..................... £14960 F2.8 R...................... £449LIGHTMETERS USEDGossen Lunasix III.......... £79Gossen Sixtomat ............ £79Minolta Flashmeter V ... £179LOWEPRO USEDLens Trekker 600AW...... £99Dryzone 200 yellow/blk £179Pro Trekker AW .............. £99MAMIYA 645 USED645 Pro TL + 80 + RFH+ plain prism................. £379645 Pro TL inc 80 F2.8 N +FE401 Prism + Pro Winder .£449645 Pro SV Kit inc 80 F2.8 N+ SV Prism + 120 RFH+ Winder Box................ £379645 Pro + 80 F2.8 N+ 120 RFH + FE401..... £449645E body .................... £199645 Super + AE prism+ RFH + winder ............ £199645 Pro TL Body .......... £199645 Pro Body................ £17945 F2.8 N M- Box......... £19955 F2.8 N...................... £12955-110 F4.5 .................. £27970 2.8 C leaf................... £99105-210 F4.5 ULD C....... £249110 F2.8 N...................... £99110 F2.8 C...................... £79150 F3.5 N...................... £99210 F4 N M- ................. £129300 F5.6 N ULD-C M- .. £249Ext Tube 1, 2, 3S each... £29Teleplus/Viv 2x conv ea.. £49FE401 AE prism box .... £199AE prism 645 Super ..... £149Plain prism (645 Super) . £69Polariod Back HP401 ..... £39Polaroid back.................. £39120 Insert ....................... £29HA401 120 RFH Box...... £59120 Back ........................ £39Winder ............................ £79MAMIYA TLR 6x6 USEDC330 S B/O + WLF....... £299C330 F Body + WLF..... £14980 F2.8 S...................... £149180 F4.5 ....................... £169Paramender.................... £89MAMIYA 7 RF 6x7 USED7II body.................. £749/84950 F4.5 L + VF ............. £84965 F4 box ..................... £49980 F4 N......................... £549150 F4.5 L .................... £379Panoramic kit.................. £49MAMIYA RB 6x7 USEDPro S + RFH + 127 F3.8£349Pro SD body ................ £249Pro S body.................... £149Pro S body scruffy.......... £99Prism early ..................... £99WLF................................ £79Chimney ......................... £69120 645V back ............. £149120/220 6x8 motor ....... £149Pro S Polaroid back ....... £4950 F4.5 C...................... £269180 F4.5 C...................... £99250 F4.5 KL M- box ........ £24945mm tube SD M-..............£99Ext tube 2............................£69MAMIYA RZ 6x7 USEDRZ67 Pro II + 90 + RFH .£649RZ67 Pro II + 90 + RFH .£499RZ67 Pro II + 110 + RFH£499RZ Pro+110 F2.8+RFH £349RZ Pro + 90 F3.5 + RFH£349RZ Pro II body .............. £299RZ Pro body ................. £14950 F4.5 W M- ............... £26950 F4.5 ULD M- box..... £69965 f4 M- box ................. £32975 F4.5 shift M- ............ £549140 f4.5 W M- macro.... £349180 F4.5 M-.................. £179No 1 or No 2 ext tube ea £69FE701 prism AE ........... £249AE prism early ................ £99Pro II Polaroid back........ £69120 back Pro II ............... £99120 back Pro 1 ............... £39Pro shade ....................... £49Pro AE hood ..................£119MINOLTA/SONY DIGITAL USEDSony A550 body box......£399Sony A350 body.............£179Sony A200 body.............£239HVL-F36AM flash............ £129VGB50AM grip box.........£119Nissin Di866 II ................. £129Sigma EF530DG Super...£99Minolta VC7D grip.......... £119Sony RLAM ringlight ......£219MINOLTA/SONY AF USEDDynax 9 body box ........ £249Dynax 7 body ................. £79Dynax 7xi body............... £49Dynax 5 body box .......... £39Dynax 700Si + VC700.... £69

Dynax 700Si body .......... £49Dynax 600Si ................... £69Dynax 505Si Super b/o .. £29Dynax 505Si body .......... £29Dynax 404Si body ............£2917-35 F3.5 G M- box......£69924-105 F3.5/4.5 ............ £14928-105 F3.5/4.5 .............. £9935-105 F3.5/4.5 M-......... £9950 F1.7................................£7975-300 F4.5/5.6..................£89100-300 F4/5.6................ £129SONY LENSES USED16 F2.8 fisheye box...... £37918-70 box ....................... £4924-70 F2.8 box...............£119950 F2.8 D mac................. £29950 F1.4 M- box................ £19975-300 F4.5/5.6................£119SIGMAMIN/SONYAF USED12-24 F4.5/5.6 EX DG...£39915 F2.8 EX DG box .......£32917-35 F2.8 EX................£14918 F3.5 box ....................£12918-35 F3.5/4.5..................£6924-70 F2.8 EX DG mac .£26928-70 F2.8 EX................£14955-200 F4/5.6...................£6970 F2.8 EX DG................ £299600 F8 .......................... £3491.4x EX DG conv.......... £1491.4x EX conv ................ £1292x EX DG conv M- box £169TAM 28-75 XR Di box .. £249TAM 70-300 F4/5.6......... £69TAM 90 f2.8 .................. £199TAM 180 F3.5 M-.............. £439TOK 11-16 F2.8 ATX Pro..£399VIV 19-35 F3.5/4.5 ......... £69VIV 100-400 F4.5/6.7 ... £149Teleplus 1.4x conv.......... £69Teleplus 2x conv............. £99Jessops ext tubes........... £69Kenko 1.4x Pro 300DG £149VC-9 (Dynax 9) M- box £129VC700 (700/800Si)......... £29VC600 (600Si)................ £29VC-7 (Dynax 7)............... £69Min 3600HSD flash ........ £79Min 5200i........................ £49Min 5400HS.................... £69NIKON DIGITAL AF USEDD3S body box............. £2699D3 body ............. £1699/1799D2X body box........ £399/649D800 body M- box...... £1699D700 body ........... £999/1349D300 body ............. £399/499D200 body box ............. £299D90 body box ............... £349D7000 body box ........... £549D5100 body M- box...... £249D5000 body .................. £199EH-6 mains charger ....... £59MBD-10 box ...........£119/149MBD-11......................... £169MBD-80 box ................... £99MBD-200 box ................. £69Cool[pix P7100 ............. £199Coolpix P100 ................ £149NIKON AF USEDF6 body M- box ............ £949F5 body M- box ............ £499F4 body ........................ £299F4S body ...................... £169F100 + MB-15 .............. £149F90X body ...................... £49F801 body ...................... £49F801s body..................... £49F55 body ........................ £29F601 body ...................... £2910.5 F2.8 AF G DX M- ....£37910-24 F3.5/4.5 M- box.....£54912-24 F4 AFS DX M-.......£59916-85 F3.5/5.6 DX...........£37917-55 F2.8 AFS box £599/69918-55 f3.5/5.6DX VR.........£9918-55 f3.5/5.6DX ...............£7918-70 F3.5/4.5 AFS.........£12918-105 F3.5/6.3 VR.........£15918-135 F3.5/5.6 AFS.......£14918-200 F3.5/6.3 VRII M- .£39918-200 F3.5/6.3 VR box..£29924 F1.4 AFS M- box......£139924-85 F2.8/4 AFD............£34924-120 F3.5/5.6 VR.........£29928 F2.8 AF N ...................£11928-80 F3.5/5.6 G................£4928-100 F3.5/5.6 G..............£4928-105 F3.5/4.5 AFD....... £16928-300 F3.5/5.6 G........... £14935 F1.8 AFS .................... £10935-70 F2.8 AFD............... £29940 F2.8 AF DX................. £18950 F1.8 AFD M-................£11955-200 F4/5.6 AFS VR ... £13960 F2.8 AFS M- box........ £33970-200 F2.8 VRI.....£999/109970-210 F4/5.6 AF ...............£9970-300 F4/5.6 VR............ £32970-300 F4/5.6 AFD.......... £14975-300 F4/5.6 ................. £7980-200 F2.8 AFN M-..... £79980-200 F2.8 AFS .......... £69980-200 F2.8 early ......... £29980-400 F4.5/5.6 VR...... £79985 F1.4 AFD M- box..... £69985 F1.4 AFD ................. £57985 F1.8 AFD ................. £239

105 F2.8 AFS VR ......... £539300 F4 AFS box ........... £879300 F4 non AFS ........... £369500 F4 AFS VRII ........ £4899TC20EII ........................ £199SIGMA NAF USED10-20 F4/5.6 EX DC..... £28912-24 F4/5.6 EX DG..... £39917-50 F2.8 EX DC OS.. £37917-70 F2.8/4.5 DC OS . £24917-70 F2.8/4.5 DC........ £14918-50 F2.8 DC macro... £23918-50 F2.8 EX DC........ £19918-125 F3.8/5.6 DC........ £9924-70 F2.8 EX DG HSM. £44924-70 F2.8 EX DG .......... £34928-200 F3.5/5.6............... £12928-300 F3.5/6.3..................£9930 F1.4 EX DC box......... £24950 F2.8 EX DG................£17950-500 F4/6.3 DG OS.....£79950-500 F4/6.3 EX DG .....£59950-500 F4/6.3 EX ............£49955-200 F4/5.6 DC Mint......£4970-300 F4/5.6 APO mac....£99105 F2.8 EX DG box ...... £319105 F2.8 EX box ............. £249120-300 F2.8 EXDG HSM OS.....................£1299170-500 F5/6.3................ £1791.4x EX DG M-................ £1491.4x EX conv ......................£992X EX conv...................... £109TAMRON NAF USED18-200 F3.5/6.3 DiII ........ £14918-250 F3.5/6.3 DiII box . £19918-270 PZd M- box......... £31928-200 XR Di mint box ....£11928-200 XR ..........................£7955-200 F4/5.6 DiII ..............£4970-300 F4/5.6 .....................£6990 F2.8...................... £219/289TOK 11-16 F2.8 ATX .... £399TOK 12-24 F4 ATX M-.. £399TOK 35 F2.8 ATX Pro .. £199Teleplus Pro 300DGX 2x.... £149FLASH / ACCESSORIES USEDDW-30 (WLF for F5)........ £139SB-24...................................£49SB-25...................................£49SB-26...................................£69SB-27...................................£49SB-28...................................£69SB-29...................................£99SD-8A..................................£99SD-8 box.............................£69MB-10 (F90X).....................£29MB-15 (F100) .....................£49MB-16 (F80) .......................£29MB-40 M- box.................. £199WT-2 box ............................£99LS5000 scanner............ £1399NIKON MF USEDF3T body blk M- box .... £699F3HP body.................... £299F3 body ........................ £199FE-2 body chr............... £249FA body chr M- ............. £299FM2n body chr ...... £249/299FM2n body blk.............. £169FM2 body chr ............... £149FM body chr ................... £9928 F3.5 Shift ................. £44928 F3.5 AI ....................... £9935-70 F3.3/4.5 AIS ......... £9935-105 F3.5/4.5 AIS ..... £14936-72 Series E................ £7943-86 F3.5 AI.................. £6950 F1.4 AIS................... £19950 F1.4 AI ..................... £14950 F1.8 AIS..................... £99300 F4.5 AIS................. £199TC14B box ................... £149TC16A............................. £99TC200............................. £59MD-12 winder.....................£49SB-15.............................. £39SB-17 (fit F3) .................. £49DR-3 angle finder ........... £79DW-4 (fit F3)................. £169OLYMPUS DIGITAL USEDE1 + 14-42.................... £249E510 body .................... £199E500 body .................... £179E300 body .................... £16914-45 F3.5/5.6 .............. £16918-180 F3.5/6.3 ............ £29925 F2.8 ......................... £16940-150 F3.5/4.5 .............. £9940-150 F4/5.6 ................. £8950 F2 macro ................. £399FL50 flash box.............. £179HLD3 grip ....................... £59Sigma 10-20 F4/5.6 DC £299Pen E-PL2 + 14-42....... £249Pen E-P3 body M- box. £299Pen E-PL1 + 14-42....... £19912 F2 ............................ £43914-150 F4/5.6 ............... £34917 F2.8 ......................... £139MMF2 4/3 adaptor .......... £69OLYMPUS MF OM USEDOM4Ti blk body............. £249OM-10 chr body.............. £4921 F3.5 ......................... £24928 F3.5 ........................... £4935-70 F4 ......................... £8935-105 F3.5/4.5 ............ £14950 F3.5 macro..................£129

75-150 F4...........................£69135 F3.5 ......................... £39180 F2.8 ....................... £399300 F4.5 ....................... £199Olympus Auto bellows+ slide copier M- ........... £169T32 flash......................... £49Man ext tube 7/14/25 ea. £24Auto ext tube 7/14/25 ea ..... £39PANASONIC DIGITAL USEDLX3 compact M- box .... £149G5 + 14-42 M-................£429G3 body box................. £199G2 body........................ £169GX1 body M- box ......... £249GF3 + 14-42 OIS.......... £199GF3 body mint box....... £199GF1 body box............... £14914-42 F3.5/5.6 ................ £6914-50 F3.8/5.6 OIS....... £29920 F1.7 M-.................... £19945-200 F4/5.6 OIS........ £189LVF1 viewfinder box ....... £79FL220 flash..................... £59PENTAX 645 DIGITAL AF USED45 F2.8 AL.................... £37945-85 F4.5 FA M- box... £74980-160 F4.5 FA............. £599PENTAX DIGITAL AF USEDK7D body...................... £349K20D body box............. £349K10D body box............. £199DBG4............................ £149DBG3 mint...................... £49DBG2.............................. £79PENTAX 35mm AF USEDMZ-S body.................... £179MZ5N body..................... £69MZ5 body ....................... £6912-24 F4 ....................... £44916-45 F4 ....................... £19918-55 F3.5/5.6 WR......... £7918-55 F3.5/5.6 ................ £4924-90 F3.5/4.5 FA............ £17928-70 F4 AL........................£6950-200 F4/5.6 DA WR.... £9950-200 F4/5.6 DA........... £7970-300 f4/5.6 .................. £7980-200 F4.7/5.6 .............. £49100-300 F4/5.6 ............... £99AF200G Mint .................. £49AF500FGZ flash ............. £79SIGMA PKAF USED8 F4 EX M- box ............ £27910-20 F3.5 EX DC box. £34912-24 F4.5/5.6 EX M-... £36917-35 F2.8/4 EX ........... £14918-200 f3.5/6.3 DC box £12928-200 F3.5/5.6 ............ £13970-300 F4/5.6 DG........... £79150-500 F5/6.3 DG ..... £449170-500 F5/6.3 ............. £379TAM 17-50 F2.8 XR Di . £229TAM 18-200 XR DiII ..... £139Cosina 100 F3.5...............£79PENTAX 35mm MF USEDK1000 body chr .............. £99Program A body.............. £49M42 300 F4 M-............. £27928 F3.5 ........................... £4928-50 F3.5/4.5 PK .......... £6935-70 F3.5/4.5 PK .......... £4940-80 F2.8/4 PK ............. £6950 F1.7 ........................... £4950 F2 .............................. £4980-200 F4.5 .................... £49400-600 F8/12 .............. £399Rear converter PT62...... £69Auto bellows includingcopy attachment ........... £139PENTAX 645AF USED645NII body .................. £549645N body .................... £299120 insert........................ £7945 F2.8 FA.................... £37945-85 F4.5 M- box........ £69980-160 F4.5 FA............. £499PENTAX 645MF USED55 F2.8 M- .................... £249120 F4 macro ............... £349135 F4 Leaf .................. £199150 F3.5 EX++ ............. £149200 F4 .................. £129/1791.4x converter ..................£1992x converter .....................£179120 Insert M- box............ £49PENTAX 67 USED67 MU + metered prism+ 105 F2.4 .................... £69967 MU body.....................£29955 F4 ............................ £27975 F4.5 latest box......... £24975 F4.5 shift .................. £449135 F4 mac early.......... £129165 F2.8 ....................... £149165 F4 leaf.................... £299200 F4 latest................. £269300 F4 early scruffy....... £149300 F4 late.................... £349Auto ext tubes................. £99Vivitar 2x conv ................ £79ROLLEI USEDRolleiflex 2.8 GX TLR JerseyLimited Edition M- box £1899TAMRON ADAPTALL USEDTELESCOPES/BINOS USED

SEE WEBSITEVOIGTLANDER USEDBessa III (667) box ..... £1299

QUALITY USED EQUIPMENT. See website for full list. Call us for condition and to buy secondhand stock. 3 Month warranty on most secondhand.

U.K. StockOnly

27-29, BoltonStreet, Brixham.Devon. TQ5 9BZ.

The pick of ourused items

Visit our clearance site on ebay http://stores.ebay.co.uk/Mifsuds-PhotographicMail order used items sold on 10 day approval. Return in 'as received'

condition for refund if not satisfied (postage not included - mail order only).Subscribe to our email newsletter - be amongst the first to learn about

special offers and promotions - ask us for details.Prices correct when compiled January 29th 2013. E&OE.

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Canon 300 F4 L ISUSM£699/749

Sigma CAF/NAF120-300 F2.8 EX DGHSMOS£1299

FAMILY RUN SINCE 1954

USM £699/749

Canon 500 F4 IS L£4999

HSM OS £1299

Nikon D300 body£399/499

used items

EOS 1DMKIV bodybox£2699

If what you are lookingfor is not listed...email with yourrequirements & wewill advise when wehave what you want.

box £2699

EOS 7D body£699/749

DSLR SENSORCLEANING ONTHE PREMISESEmail us now fordetails - doneby appointmentonly MON-FRI

PRO LENSHIRE

Email for details- Subject toavailability

This simple lightrig Has a singlehandle blockwith a 15mmCross rod and clamp to hold the shoulderpad rod and another cross Rod The blockhas two 15mm 60mm apart clamps anda sliding quick release pad for theCamera. Two 15mm Dia x 18com lengthRods are provided – So all typesof accessories can fit and it can also beconverted into a two handle Rig

KRL 001 setKRL 001 set – as above with follow focus 1

KOOD DSLR Rig 1KOOD DSLR Rig 1A comprehensiveand versatilePressed steelRig providinga stable platformfor Videoetc with handles andshoulder support – fantastic value and

very rigid – can be used withstandard twin15mm Dia Rod 60cmapart fitting with an extraattachment (this enables all FollowFocus and Matte Boxes etc) –without the attachment only the

follow focus F2 can be used

DSLR RIGS &STEADY CAMERA DEVICESKOOD

A complete set, with all necessaryaccessories and alternatives included andthe most professional Matte Box 2 - KRL03Supplied in Alloy Trolley Case withextending handle

Comprises of KRLO3 Rig (as RL04 Belowbut with large Battery Pack Holder)

C Bracket and over headcarry handle on twin 19cm long rails for adjustingto exact centre of gravity

KOOD RIG 3 SETKOOD RIG 3 SET

HEAVHEAVY DUTY ALLOYY DUTY ALLOY

All Kood Follow Focus units aresupplied with Gear Belt

Basic unit with gear belt for standard15mm Dia 60cm apart rods

Adjustable height

Can be used both sides of lens but gearwheel cannot be reversed as with allother KOOD Follow Focus devices – norcan you use Fexi Knobs or speed crank

KOOD Follow Focus 00KOOD Follow Focus 00

KOOD Follow Focus F1KOOD Follow Focus F1

Same as Fi1 but separate L plateprovided for fitting into the base plate ofthe camera

Can be used without a rig or with rig 1by fixing directly to the camera as well aswithal rigs that have standard twin 15mmDia. rods 60cm apart



Matte Box 1Matte Box 1

KOOD L bracketKOOD L bracket

Fits std. 15mm Dia rails 60 cm apart forattaching over head carry handle etc –use with spare rail set

KOOD Over head handleKOOD Over head handle – use with CBracket and twin 15mm Spare rails

KOOD C BracketKOOD C Bracket

Matte Box 2Matte Box 2

Slides and fixes on twin15mm Diameter rails60cm apart

50mm heightadjustment.Supports longlenses so thereis no leveragepressure on the lens bayonet and camera

KOOD Big lens supporKOOD Big lens supportt

Mounts anydevise that hasEnglish/continentalmale screw andclamps a 15mm –30 mm diameterrod or other itemJaw spread 44mm Depth from centre ofthe V Jaws 15mm

KOOD Crab ClampKOOD Crab Clamp

18cm fixes to Camera shoe or Englishmale tripod thread, ball and two 55mmarm with 360 degree lockable and fixedjoint , ends in ball with English malethread – the joint and ball ends all lockwith the joint knob

KOOD Magic ArmKOOD Magic Arm

Two filter holders accepting 100mmSquare filters Rear filter holders rotates360 degrees for polarizers

Front 200mm x 120mm with

Adjustable side wings and top wing

3 Different rubber baffles o convert the10mm Diameter lens aperture to a snuglens fit

Mounts on Std twin 15mm Rods 60 cmapart with 70mm height adjustment

Matte Box 3 For DSLRMatte Box 3 For DSLRand all size Vand all size Video Camerasideo Cameras


Kood Rig 4 set is not packed in an Alloycase, nor comprehensive accessoriessupplied, Matte Box 3 is Pro DSLR typewith two filter carriers but does not swingto one side (details under matte boxes)

Shoulder Pad

20cm pair of rails

28.cm pair of rails

Couple together to make 48cm twin rail

Sliding and lock camera platform, 3cmheight adjustment, ¼ and 3/8 tripodthreads and a 13 com sliding and lockcamera plate

29.5 cm cross rail with 2 x handles 360degree adjustment on handles and on rail

KF3 Follow focus kit


Camera Platform, Mounted on15mm Dia. Cross rail

2 Handles 360 degree rotation and lock

19cm 15mm Dia. rail and shoulder Pad

Shoulder pad has Velcro strap forattaching battery packs etc

KR002 set as above but with

Follow Focus 1

Matte Box 1

KOOD Rig 002 Plus setKOOD Rig 002 Plus set – as above

But with 90 degree curved 15mm rodand overhead carry handle



Tel: 01727 823812 Fax: 01727 823336 www.koodinternational.com

Follow Focus 4 – fast snap fit - withtwo flexible cable controls (plug in

control knobs on flexible cables) 24 cm and38cm and a fast crank handle (provides 3ways of operating - use Knurled knob, speedcrank or Knob on Flexible cable

Matte Box (see under matte box) 2 withC Bracket and Hinge ideal for all typesof DSLR and high end video

Twin fully adjustable handles

Big Lens support fully adjustable

Mounting Block with twin 15mm Dia60cm apart 18 cm rods has ¼ and 3/8tripod

Cage has 34 x ¼ female threaded holes– you can hang everything on this,incomparable for tripod work.

Supplied with overhead handle

Slip free gear driven from either side ofthe lens – gear wheel can be reversed

Fits Std 15mm 60 cm apart rods – fullyadjustable

Focus indicator

Slip Free geardriven (can be used either side of the lensgear wheel can be reversed)

Adjustable stopsAdjustable stops and indicator

Use with Std twin 15mm Diameter Rods60cm apart

Compatible to all DSLR/Video Cameras

Easy mounting and adjust

Same as F3 except that the twinrail fitting is a snap fit adjustand tighten

For use with Digital SLR a simple rigmounting Matte Box which fits ontoStandard 15mm Twin rails 60 cm apart-adjustable for height

No provision for filters

Two independently rotating filter holdersaccepting 4” x 4” and 4” x 5.6” filters,two black masks provided so that 4” x4” filters fit perfectly

Adjustable side wings and top wing

Front 247mm x 158mm with attachableblack mask x203mm x 115mm

140mm Lens aperture with 4 Differentrubber baffles for snug lens fit to alllens sizes

Mounts on Rig with L bracket for Stdtwin 15mm Rods 60 cm apart, Rig ishinged so you can swing it away fromand onto Lens

Serious bit of KitSerious bit of Kit

KOOD Magic ArKOOD Magic Arm 28cmm 28cmTwo 106mm arms – detailas above

For rails to attach mattebox 2 to the Rig rails –use with spare rails

KOOD SUPPLIES EVERY PART OF THE PHOTO TRADE - HOME AND EXPORT.EMAIL: [email protected] FOR DETAILS OF STOCKIST IN YOUR AREA OR, IF YOU ARE A CAMERA EQUIPMENT TRADER,

SEND YOUR DETAILS FOR ACCOUNT APPLICATION AND TRADE SUPPLY PRICES

KOOD International Limited, Unit 6, Wellington Road, London Colney AL2 1EYTel: 01727 823812 Fax: 01727 823336 E-mail: [email protected]

www.koodinternational.com

K O O D

KOOD BRAND PRODUCTS ARE EXPORTED WORLDWIDE

CAN BE ORDERED FROM ANY INDEPENDENT RETAILER

Super smooth with slight resistance for smoother controlledsliding by hand, far better than cranked without crank

Whole track can be mounted on a stand or tripod via centralplate with English and Continental female threads

60cm

80cm

100cm

120cm

KOOD 120cm Steady Camera Device

KOOD Single Spring Vest for120cm fluid type contol over15” (Steady Movement)

KOOD Single Spring vest for 120cmfluid type control over 30” (for morerapid jerky movement as in running,reportage work)

KOOD Light weight Steady CameraDevice - designed for use without vestor springs

KOOD SlidersKOOD Sliders

Carbon Steady CamCarbon Steady Cam120cm with connectors120cm with connectorsand rods for Matte Boxand rods for Matte Box

190 mm plate between axels – Metal plate 7mm thick forextreme rigidity will take any weight

Wheels on both axels 177mm apart for good stability

4 x 74mm DiameterNDFS Skate Board Wheels

2 X 75mm x 8mm Diametermounting towers included

KOOD for wheel Dolly 2KOOD for wheel Dolly 2

Triangle base plate 24cm between axlecentres

185 degree adjustment on eachwheel so it can move from a straightline to a 360 degree spin

3 NBF 60mm Diameter Skate Wheels

English/continental male itemattachment screw

Continued on next column...

KOOD three wheel DollyKOOD three wheel Dolly

75mm x 80mm Diameter MountingTowers for all KOOD Dollys (shown hereon the three wheeled dollies).

KOOD Set of TwoKOOD Set of Two

For 2 sets of Twin 15mm Dia. Rails, formonitor etc

KOOD Cranked BracketKOOD Cranked Bracket

KOOD Spare twinKOOD Spare twin

KOOD Speed crankKOOD Speed crank

KOOD Sliding and lockKOOD Sliding and lockcamera platformcamera platform

136 mm plate between axel centres,Wheels on both axels are 110mmapart, plate has angle calibrationindicators

4 x NBFS 60mm Diameter SkateWheels

English Male tripod screw

KOOD Small fourKOOD Small fourwheel Dollywheel Dolly

Tel: 01727 823812 Fax: 01727 823336www.koodinternational.com

19cm 15mm diameter rails

KOOD Zoom gearKOOD Zoom gearbelt and leverbelt and lever

For single finger operation on all followfocus devices

12” length for all Follow focus devicesfrom 01 – 04 ,click fit into centre ofcontrol knob provides control knob ona flexible cable

KOOD Flex control 18” cable

KOOD Flex controlKOOD Flex control

With female tripod thread

KOOD Single rod clampKOOD Single rod clamp

3cm height adjustment, ¼ and 3/8tripod threads and a 13 com largesliding and lock camera plate and Rails

PRINTER INK CARTRIDGES

Premier Ink & Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977E&OE. Prices may be subject to change, but hopefully not!

Originals:£26.99 16ml£21.99 46ml£27.99 66ml£35.99 16ml£26.99 46ml£119.99 set of 7£14.99 17ml£17.99 17ml£17.99 17ml£39.99 set of 4£17.99 13ml£9.99 8ml£64.99 set of 6£14.99 13ml£14.99 13ml£99.99 set of 8£8.99 13ml£13.99 13ml£13.99 13ml£32.99 set of 4£8.99 8ml£8.99 8ml£92.99 set of 8£11.99 13ml£11.99 13ml£11.99 13ml£32.99 set of 4£8.99 8ml£8.99 8ml£32.99 set of 4£8.99 7.4ml£8.99 5.5ml£69.99 set of 6£11.99 10ml£11.99 10ml£49.99 set of 6£8.99 7.4ml£8.99 7.4ml£69.99 set of 8£7.99 11.4ml£8.99 11.4ml£8.99 11.4ml£69.99 set of 8£8.99 11.4ml£8.99 11.4ml£26.99 set of 4£6.99 5.9ml£6.99 3.5ml£38.99 set of 4£9.99 11.2ml£9.99 7ml£19.99 25.9ml each or £154.99 set of 8£13.99 17ml each or £99.99 set of 8£12.99 13ml each or £69.99 set of 6£39.99 80ml each or £314.99 set of 8£7.99 5.2ml£5.99 3.3ml£21.99 set of 4£14.99 11.5ml£10.99 6.6ml£44.99 set of 4£7.99 5.1ml£7.99 4.6ml£41.99 set of 6£11.99 9.8ml£11.99 8.7ml£69.99 set of 6£8.99 6.2ml£7.99 4.7ml£7.99 4.5ml£29.99 set of 4£13.99 12.1ml£12.99 8.7ml£12.99 9.7ml£49.99 set of 4

At Premier Ink Supplies, we stock two types of cartridges for Epson printers - Originals,which are made by Epson, and Compatibles, which are made by a UK company calledJet Tec. Using Jet Tec Compatibles is a way of saving money, without compromising onthe quality of your prints. Here’re the results from two independent ink tests that agree…

“Jet Tec’s colours were superb, with single greys andblacks very close to Epson …so Jet Tec wins!”

- Total Digital Photography Magazine

“What we’re looking at here is not only the best choiceof ink for the R300 printer, but also the best ink in thisgroup test, period. There’s just no getting away fromthe superb combination of performance and pricing”

- Computer Upgrade Magazine

Cartridge Code:T007 BlackT008 ColourT009 ColourT026 BlackT027 ColourT0341-T0347 Set of 7T0341/8, eachT0342/3/4, eachT0345/6/7, eachT0441-T0454 Set of 4T0441 BlackT0452/3/4, eachT0481-T0486 Set of 6T0481/2/3, eachT0484/5/6, eachT0540-T0549 Set of 8T0540 GlossT0541/2/3/4, eachT0547/8/9, eachT0551-T0554 Set of 4T0551 BlackT0552/3/4, eachT0591-T0599 Set of 8T0591/2/3, eachT0594/5/6, eachT0597/8/9, eachT0611-T0614 Set of 4T0611 BlackT0612/3/4, eachT0711-T0714 Set of 4T0711 BlackT0712/3/4, eachT0791-T0796 Set of 6T0791/2/3, eachT0794/5/6, eachT0801-T0806 Set of 6T0801/2/3, eachT0804/5/6, eachT0870-T0879 Set of 8T0870 GlossT0871/2/3/4, eachT0877/8/9, eachT0961-T0969 Set of 8T0961/2/3/4/5, eachT0966/7/8/9, eachT1281-T1284 Set of 4T1281 BlackT1282/3/4, eachT1291-T1294 Set of 4T1291 BlackT1292/3/4, eachT1571-9, eachT1591-9, eachT5591-6, eachT5801-9, eachNo.18 BlackNo.18 C/M/Y, eachNo.18 Set of 4No.18XL BlackNo.18XL C/M/Y, eachNo.18XL Set of 4No.24 B/LC/LM, eachNo.24 C/M/Y, eachNo.24 Set of 6No.24XL B/LC/LM, eachNo.24XL C/M/Y, eachNo.24XL Set of 6No.26 BlackNo.26 Photo BlackNo.26 C/M/Y, eachNo.26 Set of 4 (no PB)No.26XL BlackNo.26XL Photo BlackNo.26XL C/M/Y, eachNo.26XL Set of 4 (no PB)

Suitable EPSON Printers:Photo 790, 870, 890, 895, 900, 915, 1290Photo 790, 870, 890, 895, 915Photo 900, 1270, 1290Photo 810, 830 ,830u, 925, 935

Photo 2100Chamelion Inks

C64, C66, C84, C86,CX3600/3650, CX6400, CX6600Parasol InksR200, R220, R300, R320, R340RX500, RX600, RX620, RX640Seahorse InksPhoto R800, R1800Frog Inks

Photo R240, R245,RX420, RX425, RX520, RX525Duck InksPhoto R2400Lilly Inks

D68, D88,DX3800/3850, DX4200/4250, DX4800/4850Teddy Bear InksS20, S21, SX100/105/110/115/200/205/210/215SX400/405/415/515, D78/92/120, B40W, BX300DX4000/4400/5000/6000/7000/7400/8400/9400Photo 1400Owl Inks

Photo P50, PX650/660/700W/710W/720WD,PX730WD/800FW/810FW/830FWD/830FWDR265/285/360, RX560/585/685Photo R1900Flamingo Inks

Photo R2880Husky Inks

S22, SX125/130, SX420W/425W/445W,BX305FFox InksSX420W/425W/445W/525WD/620FW,BX305F/320FW/525WD/535WD/625FWD/630FW,BX635FWD/BX925FWD/BX935FWD, B42WDPhoto R3000 Turtle InksPhoto R2000 Kingfisher InksPhoto RX700 Penguin InksPhoto Pro 3800, 3880Expression Home XP30, XP102, XP202, XP205XP302, XP305, XP402, XP405Daisy InksExpression Home XP30, XP102, XP202, XP205XP302, XP305, XP402, XP405High Capacity Daisy InksExpression Photo XP750, XP850Elephant Inks

Expression Photo XP750, XP850High Capacity Elephant Inks

Expression Premium XP600, XP605, XP700,XP800Polar Bear Inks

Expression Premium XP600, XP605, XP700,XP800High Capacity Polar Bear Inks

Jet Tec Compatibles:£3.99 20ml, 3 for £10.99£4.99 50ml, 3 for £13.99£4.99 70ml, 3 for £13.99£3.99 20ml, 3 for £10.99£4.99 50ml, 3 for £13.99Check Website.Check Website.Check Website.Check Website.£14.99, 3 sets for £42.99£4.99 21ml, 3 for £13.99£3.99 21ml, 3 for £10.99£19.99, 3 sets for £56.99£3.99 21ml, 3 for £10.99£3.99 21ml, 3 for £10.99£35.99, 3 sets for £99.99£3.99 21ml, 3 for £13.99£4.99 21ml, 3 for £13.99£4.99 21ml, 3 for £13.99£14.99, 3 sets for £42.99£4.99 21ml, 3 for £10.99£3.99 21ml, 3 for £10.99Check Website.Check Website.Check Website.Check Website.£14.99, 3 sets for £42.99£4.99 21ml, 3 for £13.99£3.99 21ml, 3 for £10.99£14.99, 3 sets for £42.99£4.99 13ml, 3 for £13.99£3.99 13ml, 3 for £10.99Check Website.Check Website.Check Website.£19.99, 3 sets for £57.99£3.99 13ml, 3 for £10.99£3.99 13ml, 3 for £10.99Check Website.Check Website.Check Website.Check Website.Check Website.Check Website.Check Website.£14.99 set of 4£4.99 13ml£3.99 10ml£16.99 sets of 4£5.49 16ml£4.49 13ml

NEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEWNEW

EPSONLexmark Compatibles

No.1 Colour £10.99No.2 Colour £11.99No.3 Black £14.99No.16 Black £11.99No.17 Black £9.99No.26 Colour £12.99No.27 Colour £11.99No.31 Photo £11.99No.32 Black £9.99No.33 Colour £11.99No.34 Black £11.99No.35 Colour £12.99

Lexmark OriginalsNo.1 Colour £19.99No.14 Black £16.99No.15 Colour £18.99No.17 Black £17.99No.23 Black £16.99No.24 Colour £18.99No.27 Colour £18.99No.28 Black £14.99No.29 Colour £16.99No.32 Black £19.99No.33 Colour £21.99No.36 Black £16.99No.37 Colour £18.99No.43XL Colour £27.99No.44XL Black £22.99No.100 Black £13.99No.100 Cyan / Mag / Yellow £8.99

Many more in stock!

If you cannot find the ink cartridges for your printer, please giveus a call, or check our website, and we’ll do our best to help.

We stock what is probably the UK’s largest range of ink cartridges andphoto paper, including wide format ink cartridges and roll papers.

Canon CompatiblesBCi3e Black 26ml £2.99BCi6 B/C/M/Y 15ml £2.99BCi6 PC/PM/R/G 15ml £2.99PGi5 Black 29ml £4.99CLi8 B/C/M/Y/PC/PM 15ml £3.99PGi520 Black 19ml £4.99CLi521 B/C/M/Y/GY 9ml £3.99PGi525 Black 19ml £4.99CLi526 B/C/M/Y/GY 9ml £3.99PG37 Black 12ml £9.99PG40 Black 28ml £13.99PG50 Black 28ml £12.99PG510 Black 11.5ml £13.99PG512 Black 18ml £14.99CL38 Colour 12ml £12.99CL41 Colour 16ml £16.99CL51 Colour 24ml £14.99CL512Colour 11.5ml £15.99CL513 Colour 15ml £16.99

Canon OriginalsBCi3e Black 26ml £10.99BCi6 All colours, 13ml, each £8.99PGi5 Black 26ml £11.99CLi8 All colours, 13ml, each £10.99CLi42 All colours, 13ml, each £10.99CLi42 Set of 8 £79.99PGi9 All colours, 14ml, each £8.99PGi9 Set of 10 £82.99PGi29 All colours, 36ml, each£19.99PGi29 Set of 12 £229.99PGi72 All colours, 14ml, each£10.99PGi72 Set of 10 £99.99PGi520 Black 19ml £9.99CLi521 B/C/M/Y/GY 9ml £8.99PGi520/CLi521 Set of 5 £41.99PGi525 Black 19ml £9.99CLi526 B/C/M/Y/GY 9ml £8.99PGi525/CLi526 Set of 5 £41.99PGi550 Black 15ml £9.99CLi551 B/C/M/Y/GY 7ml £8.99PGi550/CLi551 Set of 5 £41.99PG37 Black 11ml £11.99PG40 Black 16ml £14.99PG50 Black 22ml £21.99PG510 Black 9ml £11.99PG512 Black 15ml £14.99PG540 Black 8ml £11.99PG540XL Black 21ml £17.99CL38 Colour 9ml £15.99CL41 Colour 12ml £18.99CL51 Colour 21ml £25.99CL52 Photo 21ml £18.99CL511 Colour 9ml £15.99CL513 Colour 13ml £18.99CL541 Colour 8ml £15.99CL541XL Colour 15ml £19.99

Many more in stock!

HP CompatiblesNo.15 Black 46ml £4.99No.21 Black 10ml £7.99No.22 Colour 21ml £11.99No.45 Black 45ml £4.99No.56 Black 24ml £9.99No.57 Colour 24ml £12.99No.78 Colour 36ml £9.99No.110 Colour 12ml £10.99No.300XL Black 18ml £14.99No.300XL Colour 18ml £16.99No.301XL Black 15ml £14.99No.301XL Colour 18ml £16.99No.336 Black 10ml £7.99No.337 Black 21ml £10.99No.338 Black 21ml £10.99No.339 Black 34ml £12.99No.342 Colour 12ml £10.99No.343 Colour 21ml £12.99No.344 Colour 21ml £14.99No.348 Photo 21ml £12.99No.350XL Black 30ml £14.99No.351XL Colour 20ml £16.99No.363 Black 20ml £6.99No.363 C/M/Y/PC/PM each £4.99No.364XL Black 18ml £9.99No.364XLC/M/Y 11ml each £8.99

HP OriginalsNo.21 Black 5ml £10.99No.22 Colour 5ml £13.99No.38 All Colours 27ml each £24.99No.56 Black 19ml £16.99No.57 Colour 17ml £24.99No.58 Photo 17ml £22.99No.110 Colour 5ml £17.99No.300 Black 4ml £10.99No.300 Colour 4ml £12.99No.301 Black 3ml £8.99No.301 Colour 3ml £9.99No.337 Black 11ml £16.99No.338 Black 11ml £17.99No.339 Black 21ml £23.99No.343 Colour 7ml £18.99No.344 Colour 14ml £26.99No.350 Black 4.5ml £11.99No.351 Colour 3.5ml £13.99No.363 Black 6ml £12.99No.363 C/M/Y/PC/PM each £8.99No.364 Black 6ml £7.99No.364 PB/C/M/Y 3ml each £6.99No.364 Set of 4 £19.99No.901 Black 4ml £10.99No.901 Colour 9ml £13.99No.920XL Black 49ml £19.99No.920XL C/M/Y 6ml each £8.99No.940XL Black 49ml £23.99No.940XL C/M/Y 16ml each £15.99

Many more in stock!

Photo Glossy Paper 200g, A4, 20 BOGOF £7.99Smooth Gloss 290g, 6x4, 100 sheets £17.99Smooth Gloss 290g, 7x5, 100 sheets £23.99Smooth Gloss 290g, A4, 25 sheets +10 FREE £10.99Smooth Gloss 290g, A4, 100 sheets £35.99Smooth Gloss 290g, A3, 25 sheets £27.99Smooth Gloss 290g, A3+, 25 sheets £29.99Smooth Pearl 290g, 6x4, 100 sheets £17.99Smooth Pearl 290g, 7x5, 100 sheets £23.99Smooth Pearl 290g, A4, 25 sheets +10 FREE £10.99Smooth Pearl 290g, A4, 100 sheets £35.99Smooth Pearl 290g, A3, 25 sheets £27.99Smooth Pearl 290g, A3+, 25 sheets £29.99Smooth Fine Art 190g, A4, 10 sheets £13.99Smooth H/weight Matt 200g, A4, 50 sheets £12.99Smooth Lustre Duo 280g, A4, 25 sh BOGOF £12.99Gold Fibre Silk 310g, A4, 50 sheets £44.99

ICC profiles available for all Ilford papers

Sample Pack 25 sheets, 5 different papers! £11.99NEW Ultra Pearl 295g, A4, 25 £12.99Digital Gloss or Oyster 271g, 6x4, 50 £7.99Digital Gloss or Oyster 271g, 7x5, 50 £10.99Digital Gloss or Oyster 271g, A4, 50 £19.99Digital Gloss or Oyster 271g, A3, 25 £21.99Digital Gloss or Oyster 271g, A3+, 25 £29.99Double Sided Oyster 285g, A4, 25 £26.99Double SidedMatt 250g, A4, 100 £26.99Matt Proofing 160g, A4, 150 £19.99Matt Plus 240g, A4, 25 £9.99Fibre Base Gloss 295g, A4, 25 £24.99NEW Fibre Base Distinction 360g, A4, 25 £25.99Smooth Fine Art Portfolio 200g, A4, 25 £19.99Smooth Fine Art Portrait 300g, A4, 25 £26.99Textured FineArt Artist 210g, A4, 25 £19.99Textured Fine Art Parchment 285g, A4, 25 £21.99Canvas Artistic 400g, A4, 10 £14.99

ICC profiles available for all PermaJet papers

Ink TestWinner

COMPATIBLE & ORIGINAL INK

Established in 1584, theHahnemuhle name is

synonymous with fine artprinting. Full range nowavailable at Premier Ink.

Kodak Original Ink / PaperESP Black Series 10 Ink £6.99ESP Colour Series 10 Ink £12.99ESP Black Series 30 Ink £6.99ESP Colour Series 30 Ink £12.99ESP Black/Colour Twin Packs £18.99Kodak Photo Paper also in stock!

Brother CompatiblesLC900 Black £3.99LC900 C/M/Y £2.99LC900 Set of 4 £11.99LC970 / 1000 Black £3.99LC970 / 1000 C/M/Y £2.99LC970 / 1000 Set of 4 £11.99LC980 / 1100 Black £3.99LC980 / 1100 C/M/Y £2.99LC980 / 1100 Set of 4 £11.99LC1280XL Black £4.99LC1280XL C/M/Y £3.99LC1280XL Set of 4 £15.99Brother originals also in stock!

PHOTOGRAPHIC PAPERS

Sample Pack 14 sheets, A4 £9.99Albrecht Durer 210g, A4, 25 sheets £22.99German Etching 310g, A4, 25 sheets £27.99Bamboo 290g, A4, 25 sheets £27.99Sugar Cane 300g, A4, 25 sheets £24.99Photo Rag 308 308g, A4, 25 sheets £29.99Photo Rag Pearl 320g, A4, 25 sheets £32.99Photo Rag Satin 310g, A4, 25 sheets £32.99Photo Rag Baryta 315g, A4, 25 sheets £34.99Fine Art Pearl 285g, A4, 25 sheets £32.99Fine Art Baryta 325g, A4, 25 sheets £32.99

As an Ilford Pro Centre, westock the complete range of

Ilford Galerie papers, includingA2, 17, 24 and 44 inch rolls.

Below is just a selection.

As a PermaJet Premier Stockist,we supply the ENTIRE PermaJetrange, including Baryta, Smooth

and Textured Fine Art and Canvas.Below is just a selection.

As an Official FotospeedStockist, we can supplythe complete Fotospeedrange. Below is just a tinyselection of their papers.

SamplePack14 sheets, 7 different papers! £9.99PigmentFriendlyGloss270g,A4,50 +15 FREE £17.99PigmentFriendlyLustre270g,A4,50 +15 FREE £17.99PigmentFriendlySatin270g,A4, 50 £17.99PigmentFriendlyMattDuo200g,A4, 100 £24.99NTNatural Textured315g,A4, 20 £17.99NSTNaturalSoft Textured 315g, A4, 20 £17.99HWSHighWhiteSmooth 315g, A4, 20 £19.99NEW PlatinumBaryta300g,A4, 20 £22.99

ICC profiles available for all Fotospeed papers

We are a small, family owned and run company, specialising inphotographic consumables - and proud winners of the 2011Good Service Award. We are located in Leamington Spa,in the heart of Warwickshire - if you are passing, please

pop into our shop, and meet Cooper - our new office dog!

01926 339977 www.premier-ink.co.uk

£6.99£7.99 £5.99

£9.99£9.99£9.99£9.99£9.99£9.99£7.99£9.99£9.99£9.99£12.99£12.99£12.99£12.99£7.99£7.99£9.99£9.99

£6.99£6.99£7.99£8.99£9.99£10.99£11.99£14.99£17.99£22.99

£18.99£19.99£21.99£24.99£29.99£34.99£39.99£44.99£49.99£59.99

£7.99£8.99£9.99£10.99£11.99£13.99£16.99

£11.99£12.99£14.99£17.99£22.99£29.99£34.99

£26.99£29.99£34.99 £11.99

£15.99£21.99£27.99

£17.99£134.99

£6.99£6.99£6.99£7.99£7.99£9.99£9.99£11.99£3.99£3.99£3.99£3.99£4.99£4.99£5.99£5.99

£1.99£1.99£3.99£5.99£1.99£1.99

£5.99£7.99

£19.99

£14.99

Orders are shipped promptly by Royal Mail 1st class post, for which we charge just £1.99 perorder. All prices include VAT, and a full VAT receipt is provided with every order. Paymentaccepted by credit/debit card, cheque or postal order. Orders accepted securely online,www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB.

MEMORY BATTERIES SCREW-TYPE FILTERSSQUARE FILTERS

NB-2L/LH for Canon £9.99NB-3L for Canon £9.99NB-4L for Canon £9.99NB-5L for Canon £9.99NB-6L for Canon £9.99NB-7L for Canon £12.99NB-8L for Canon £9.99NB-9L for Canon £9.99NB-10L for Canon £12.99BP-511 for Canon £12.99LP-E5 for Canon £12.99LP-E6 for Canon £29.99 £19.99LP-E8 for Canon £15.99LP-E10 for Canon £12.99NP40 for Fuji £9.99NP45 for Fuji £9.99NP50 for Fuji £9.99NP95 for Fuji £9.99NP140 for Fuji £12.99NP150 for Fuji £19.99NP400 for Minolta £12.99EN-EL1 for Nikon £9.99EN-EL3/3A for Nikon £9.99EN-EL3E for Nikon £15.99EN-EL5 for Nikon £9.99EN-EL9 for Nikon £12.99EN-EL10 for Nikon £9.99EN-EL11 for Nikon £9.99EN-EL12 for Nikon £9.99EN-EL14 for Nikon NEW £24.99EN-EL15 for Nikon NEW £29.99EN-EL19 for Nikon £12.99EN-EL20 for Nikon £14.99Li10B/12B for Olympus £9.99Li40B/42B for Olympus £9.99Li50B for Olympus £9.99BLM-1 for Olympus £12.99BLS-1 for Olympus £12.99CGA-S005 for Panasonic £9.99CGR-S006 for Panasonic £9.99CGA-S007 for Panasonic £9.99DMW-BCG10 for Panasonic£19.99DMW-BCJ13 for Panasonic £19.99DMW-BCK7 for Panasonic £19.99DMW-BLB13 for Panasonic£19.99DMW-BLE9 for Panasonic £14.99DMW-BMB9 for Panasonic £24.99D-Li50 for Pentax £12.99D-Li90 for Pentax £12.99D-Li109 for Pentax £12.99SLM-1137D for Samsung £9.99SLM-1674 for Samsung £12.99BG-1 for Sony £19.99NP-FM500H for Sony £19.99NP-FH50 for Sony £19.99NP-FW50 for Sony £24.99

Many more batteries in stock!

UV / Haze FiltersUsed both to protect the lens of yourcamera, and to absorb ultraviolet raysthat can cause photos to appear hazy.

46mm UV / Haze52mm UV / Haze55mm UV / Haze58mm UV / Haze62mm UV / Haze67mm UV / Haze72mm UV / Haze77mm UV / Haze82mm UV / Haze86mm UV / HazeMore sizes in stock, from 24 to 86mm!

Battery GripsA range of professional batterygrips from Hahnel. All can taketwo Li-ion batteries for doublethe battery power. AAbattery compartmentand/or vertical shutterrelease and/or infraredremote, depending on model.For Canon 5DMkII: £99.99For Canon 5DMkIII: £99.99For Canon 7D: £99.99For Canon 30/40/50D: £59.99For Canon 60D: £99.99For Canon 450/500D: £69.99For Canon 550D: £99.99For Canon 600/650D: £99.99For Canon 1000D: £69.99For Nikon D80/D90: £59.99For Nikon D800/D800E:£99.99For Nikon D7000: £99.99

Standard RechargeablesHigh-power Ni-MH rechargeable AA andAAA batteries - all sold in packs of 4.AAA 1000mAh Duracell £6.99AA 2450mAh Duracell £6.99AA 2500mAh GP £9.99AA 2850mAh Ansmann £13.99AA 2900mAh Delkin £14.99 £9.99

P-Type Adapter Rings49mm Adapter Ring £4.9952mm Adapter Ring £4.9955mm Adapter Ring £4.9958mm Adapter Ring £4.9962mm Adapter Ring £4.9967mm Adapter Ring £4.9972mm Adapter Ring £4.9977mm Adapter Ring £4.9982mm Adapter Ring £4.99

Ultimate LithiumEnergizer Ultimate Lithium:The longest lasting AA andAAA batteries in the world!AAA Ultimate Lithium (4)AA Ultimate Lithium (4)

Bayonet-Fit Lens Hoods

A comprehensive range of aftermarketmatt black bayonet-fit lens hoods forCanon, Nikon and Sony lenses.

ES-62 Canon 50/1.8ES-71II Canon 50/1.4ET-60 Canon 75-300/4-5.6ET-65B Canon 70-300/4-5.6ET-67 Canon 100/2.8 MacroET-67B Canon 60/2.8EW-60C Canon 18-55 ISEW-73B Canon 17-85 ISEW-78BII Canon 28-135 ISEW-78D Canon 18-200 ISEW-78E Canon 15-85 ISEW-83E Canon 17-40/4.0EW-83J Canon 17-55/2.8HB-25 Nikon 24-85, 24-120HB-37 Nikon 55-200 VRHB-45 Nikon 18-55 VRSH-006 Sony 18-70/3.5-5.6SH-108 Sony 18-55/3.5-5.6This is just a sample, more in stock!

Step-Up and Step-Down RingsStepping rings are used to “step-up” or “step-down”

from one filter thread size to another.34-37mm37-43mm43-46mm46-49mm49-52mm

52-55mm52-58mm55-52mm55-58mm58-52mm

58-55mm58-62mm58-67mm62-67mm62-72mm

67-62mm67-77mm72-67mm72-77mm77-72mm

All just £4.99 each!

LENS HOODS & CAPS

KOODJapanese Optical Glass Filters

Coated to reduce lens flare and reflections.

Skylight FiltersSimilar to a UV filter, but with a pinkish tingeto add a gentle warmth to your photos.

52mm Skylight55mm Skylight58mm Skylight62mm Skylight67mm Skylight72mm Skylight77mm SkylightMore sizes in stock, from 30 to 105mm!

Circular Polarising FiltersThese remove reflections from surfacessuch as glass and water, as well asincreasing contrast and saturation.

46mm Circular Polarizing52mm Circular Polarizing55mm Circular Polarizing58mm Circular Polarizing62mm Circular Polarizing67mm Circular Polarizing72mm Circular Polarizing77mm Circular Polarizing82mm Circular Polarizing86mm Circular PolarizingMore sizes in stock, from 27 to 86mm!

Neutral Density FiltersUsed reduce the amount of light passingthrough the lens, reducing shutter speedwithout affecting colour contrast or balance.Available as ND4 (2 stop) and ND8 (3 stop).

52mm ND4 / ND855mm ND4 / ND858mm ND4 / ND862mm ND4 / ND867mm ND4 / ND872mm ND4 / ND877mm ND4 / ND8More sizes in stock, from 37 to 82mm!Close Up Filter Sets

Sets containing three filters, rated at +1, +2,and +4 diopters. Increases close up / macro

ability of the lens they are fitted to.52mm Close-Up Set55mm Close-Up Set58mm Close-Up SetMore sizes in stock, from 46 to 77mm!

Starburst FiltersThese add a dramatic star cross flare tobright light sources, such as streetlights.They also give a slight soft focus effect.52mm Starburst x4/6/8, each58mm Starburst x4/6/8, each67mm Starburst x4/6/8, each72mm Starburst x4/6/8, eachMore sizes in stock, from 46 to 82mm!

We stock many other filter types,including multi-image, fog,

split-field, red, orange, yellow andgreen filters in a range of sizes.

FaderND MkII (2-8 stop)52mm FaderND MkII £56.9955mm FaderND MkII £59.9958mm FaderND MkII £62.9962mm FaderND MkII £69.9967mm FaderND MkII £79.9972mm FaderND MkII £89.9977mm FaderND MkII £99.99ND500MC (fixed 9 stop)

52mm ND500MC £39.9958mm ND500MC £47.9967mm ND500MC £55.9972mm ND500MC £59.9977mm ND500MC £64.99

KOODP-Type Filter System

The P-Type square/rectangular filter systemconsists of three parts:1) An adapter ring that screws onto the frontof your lens2) A filter holder clips onto the ring3) One or more P-Type (84mm wide) filters

P-Type Filters (84mm wide)Circular Polarizing £29.99ND2 £9.99ND4 £9.99ND8 NEW £10.99ND2 Soft Graduated £11.99ND2 Hard Graduated £11.99ND4 Soft Graduated £11.99ND4 Hard Graduated £11.99ND8 Soft Graduated NEW £13.99ND8 Hard Graduated NEW £13.99Light Blue Graduated £11.99Dark Blue Graduated £11.99Cool Blue Graduated £11.99Light SunsetGraduated £11.99Dark Sunset Graduated £11.99Light Tobacco Graduated £11.99Dark TobaccoGraduated £11.99Light Mauve Graduated £11.99Dark Mauve Graduated £11.99Light Red Graduated £11.99Dark Red Graduated £11.99Light Green Graduated £11.99Dark Green Graduated £11.99Light Yellow Graduated £11.99Dark Yellow Graduated £11.99Light Fog £9.99Strong Fog £9.99Light Diffuser £9.99Strong Diffuser £9.99Starburst 4x,6x,8x, each £12.99Close-Up +1,+2,+4, each £12.9980A, 80B, 80C, each £9.9981A, 81B, 81C, each £9.9982A, 82B, 82C, each £9.9985A, 85B, 85C, each £9.99Red, Orange, each £9.99Yellow, Green, each £9.99Many more P-Type filters in stock!

P-Type HoldersHolder Standard £5.99Holder Wide Angle £6.99Hood Modular £6.99

P-Type Filter WalletA smooth cushioned filterwallet, to protectand store up to8 P-Type filters

£9.99

We also stock Z-Pro (100mm) and A-Type (67mm)filters, holders and adapter rings

STEPPING RINGS

Reversing Rings - £12.99These fit to the camera body, between thecamera and lens, leaving a screw threadto enable the reverse mounting of lenses.Away of obtaining a high reproduction ratio,allowing extreme Macro photography.

Canon: 52, 55, 58, 62, 67mmNikon: 52, 55, 58, 62, 67mmPentax K: 52, 55, 58, 62, 67mmOlympus: 52, 55, 58, 62, 67mmSony: 52, 55, 58, 62, 67mm

Coupling Rings - £11.99Used to attach two lenses together via theirfilter threads, achieving high magnifications

52-52mm, 52-55mm, 52-58mm55-55mm, 55-58mm, 58-58mm

T2 Mounts - £12.99Canon, Nikon, Sony, Oly, Pentax

MACRO PHOTOGRAPHY

Telephone: 01926 339977 or 0800 1077 211

Premier Ink, Longfield Road, Leamington Spa, CV31 1XB

www.premier-ink.co.uk

Extension TubesSet of 3 tubes. They contain no optics,they simply move the lens further from thecamera body, allowing closer focusing.Autofocus tubes available in Canon, Nikonand Sony fittings - manual tubes are alsoavailable in Pentax and Olympus fittings.

Manual Focus TubesAutofocus Tubes

Extension BellowsActing like an adjustable set

of extension tubes, theyallow fine control over

focusing distance. Nikon,Canon and Pentax fit.

£49.99

Series 7 Rings, Rollei Rings andHasselblad Rings also in stock.

This is just a tinyfraction of our range.Over 160 different sizesin stock, from 25mm to105mm. Probablythe largest selection

in the UK!

Screw-Fit Lens Hoods52mm Shaped Petal Hood55mm Shaped Petal Hood58mm Shaped Petal Hood62mm Shaped Petal Hood67mm Shaped Petal Hood72mm Shaped Petal Hood77mm Shaped Petal Hood82mm Shaped Petal Hood46mm Rubber Hood52mm Rubber Hood55mm Rubber Hood58mm Rubber Hood62mm Rubber Hood67mm Rubber Hood72mm Rubber Hood77mm Rubber Hood

CLEANING

Bubble Spirit LevelsThese simply mount onto thehot shoe of a DSLR camera.

SPIRIT LEVELS

Lens Caps30mm, 37mm, 40mm, 43mm,46mm, 49mm, 52mm, 55mm,58mm, 62mm, 67mm, 72mm,77mm, 82mm, 86mm, 95mm

£3.99 each

We also stock a range ofbody caps and rear lenscaps for Canon, Nikon,

Olympus, Sony, Pentax, etc

P-Type Six-PieceNeutral Density Filter Kit

£49.99£43.99

Neutral Density filters have a multitude ofuses - from increasing detail in landscapesand reducing over-exposed skies, to creatingstunning motion scenes by reducing shutterspeeds. Here's a kit which includes all thepopular ND filters, and everything you needto get started! The kit contains: 1x ND2Filter, 1x ND2 Soft Graduated Filter, 1x ND4Filter, 1x ND4 Soft Graduated Filter, 1x P-Type Filter Holder, 1 x P-Type Adapter Ringof your choice (49-82mm).

Coin Cells, etcA comprehensive range of specialist

batteries - see our website for full range.CR123A Energizer Lithium (1)CR2 Energizer Lithium (1)2CR5 Energizer Lithium (1)CRV3 Energizer Lithium (1)LR44 Energizer Alkaline (2)CR2025, CR2032 etcFull range of coin cells in stock

Camera BatteriesA comprehensive range ofrechargeable li-ionbatteries.Manufactured byrespected independentbattery manufacturersEnergizer and Blumax. Allbatteries come with a 2 year guarantee.

ReCyko+ RechargeablesNew technology, combining the benefitsof Alkaline and Ni-MH rechargeable

batteries. They come pre-charged, retain90% of their charge after 6 months, andlast 4 times as long as alkaline batteries!AAA 850mAh equivalent (4)AA 2050mAh equivalent (4)

BATTERIES & CHARGERSUniversal ChargerThe NEW Hahnel UniPalcharger is able to chargeAA, AAA, Li-Ion batteries,cameras, phones, iPodsand more! Mains powercable, plus 12V car charger.Full details on our website.

Dedicated ChargerA dedicated Li-Ion charger, able to chargemost camera batteries. Mainscable, plus 12V car charger. Right Angle Viewfinders

Adjustable eyepiece, adjustablemagnification, 360 degree rotatingbody. Ideal for close-up work.

1.0X-2.0X £49.991.0X-3.3X £64.99

Amazing but true - by simply rotating theouter element of the filter, the amount oflight passing through the filter can be

adjusted from a 2 stop to an 8 stop reduction.The FaderND filter is constructed from twoopposing sheets of polarizing glass, theouter sheet mounted in an independentlyrotating frame. The new Mk II version

features both imporvied optical elements,and a thinner, conical shaped frame toreduce the chance of vignetting.

Also available is the highly acclaimedND500MC fixed 9-stop filter with ultra-thin

frame for wide angle photography.

Genuine LightCraftWorkshop filters - beware of immitations!

Sensor CleaningLensPen SensorKlear Loupe 6X magnification, with LEDs £39.99LensPen SensorKlear Loupe Kit inc. Loupe, Blower, SensorKlear £49.99Green Clean Sensor Cleaning Kit inc. Mini Vacuum, swabs, wipes £64.99Green Clean Sensor Cleaning Wet’n’Dry Swabs pack of 4 £15.99

Massive range of cleaning equipment on our website and in stock.

Lens ConvertersIdeal for converting your kit lens to a2.0X telephoto or 0.5X wide angle lens.52mm 2.0X or 0.5X converter £35.9955mm 2.0X or 0.5X converter £37.9958mm 2.0X or 0.5X converter £39.99

4GB 30MB/s £21.76 £13.998GB 30MB/s £36.12 £19.9916GB 30MB/s £70.06 £34.99

SandiskUltra30MB/s

SandiskExtreme60MB/s

SandiskUltra

C6: 30MB/s

SandiskExtreme

C10: 30&45MB/s


4GB 30MB/s £21.33 £7.998GB 30MB/s £37.42 £8.9916GB 45MB/s £52.02 £14.9932GB 45MB/s £92.02 £28.99

SandiskBlue

C4: 5MB/s2GB 5MB/s £8.27 £3.994GB 5MB/s £12.41 £3.998GB 5MB/s £21.10 £4.9916GB 5MB/s £39.39 £7.99

Light CraftWorkshopFilters

Compact Flash8GB 60MB/s £59.99 £29.9916GB 60MB/s £99.99 £49.99

SD Cards2GB £8.99 £3.994GB Class 10 £19.99 £5.598GB Class 10 £29.99 £7.9916GB Class 10 £49.99 £14.99

USB Pen Drives4GB Transcend £11.99 £4.198GB Transcend £19.99 £5.9916GB Transcend £34.99 £11.59

Compact Flash: 400X8GB 60MB/s £118.46 £29.9916GB 60MB/s £204.25 £54.99Compact Flash: 600X

8GB 90MB/s £177.38 £43.6916GB 90MB/s £271.30 £77.69Compact Flash: 1000X

16GB 150MB/s £371.30 £109.9932GB 150MB/s £569.56 £199.99SDHC Class 10: 400X

8GB 60MB/s £130.73 £14.9916GB 60MB/s £248.47 £22.99SDHC Class 10: 600X

16GB 90MB/s £180.73 £37.9932GB 90MB/s £329.79 £69.99

01926 339977 www.premier-ink.co.ukWinners of the Amateur Photographer 2011 GOLD “Good Service Award”

E&OE. Prices may be subject to change, but hopefully not!

NEW LOWERPRICES

Twin Axis Normal Hotshoe £7.99Twin Axis Sony Hotshoe £7.99Triple Axis Normal Hotshoe £9.99Triple Axis Sony Hotshoe £9.99

Lens CleaningLensPen Original Carbon-tipped pen with built-in cleaning brush £7.99LensPen DSLR Pro Kit Cloth, Pen, FilterKlear, MicroPro £24.99 £17.99Spudz 6x6Washable microfibre cloth with neoprene pouch and belt/key clip £4.99

KOOD square filters are manufacturedin the UK, and are fully compatiblewith the Cokin P-Type filter system


CAMERA BAGS

FLASH GUNS

FLASH DIFFUSERS

Inverted Dome Pro Flash Diffuser SetComprising a clear vinyl body that simply slips onto the head of the flash

gun, and an inverted frosted dome that clips onto the front.In addition to diffusing the flash directly hitting your subject, the

inverted dome spreads light evenly through the sides of the clearvinyl body, lighting up the surrounding environment, thus producinga natural soft daylight effect. Especially useful for shooting interiorsand portraits, and is a firm favourite with wedding photographers.

Supplied with four domes, giving you a full range of natural,cool, or warm-up tones. Available in four sizes:

Size 1: 62-65 x 39-42mm Nikon SB600, SB800, etcSize 2: 64-68 x 35-38mm Canon 420EX, 430EX, etcSize 3: 68-72 x 46-49mm Nikon SB26, 27, 28, etcSize 4: 73-77 x 46-49mm Canon 550EX, 580EX, etc

Bounce Flash DiffuserThese popular, simple opaque plastic diffusers simply fit onto the frontof your flash gun, creating a diffused bare bulb effect with evencoverage. Huge range available for Canon, Nikon, Sony, Olympus,Pentax, Metz & Nissin. Below is just a sample of the range:

Canon 270EX / 380EX / 420EXCanon 430EX / 430EXII / 550EXCanon 580EX / 580EXIINikon SB600 / SB800 / SB900Nikon SB24 / SB25 / SB26 / SB28Sony: HVL-F42AM / HVL-F58AM, Metz: 48AF1 / 58AF1Nissin: Di466 / Di622 / Di866, Pentax: AF-540FGZ

£29.99

£10.99

Nissin MF18 Ring FlashThe new Nissin MF18 Macro Ring Flash offersan exceptionally high guide number of 16m

(ISO100), colour LCD display, power pack port,Auto, TTL, Manual, Multi,

Wireless and Custom settingsare just some of its features,plus an expanding ring head.

Includes mounting rings for 52,58, 62, 67, 72 and 77mm

diameter mountingrings.Available in

Canon and Nikon fit.

£279.99

L478D LiteMaster Pro £349L478DR LiteMaster Pro £399

L308S FlashMateDigital, incident and

reflected, ambient andflash light.

L208 TwinMasterAnalogue, incident and

reflected, ambientlight only.

£139

The 5Series

225 £247335 £256445 £279555 £315

The 07Range

107 £247207 £270307 £288

Nissin Di622 MkIIAn impressively powerfulflashgun with a guide numberof 44m, bounce and swivel head,full TTL, wide angle diffuser.

£114.99 Canon, Nikon & Sony

Nissin Di866 MkIIThe world’s most powerful hotshoe flashgun! Aguide number of 60m/ISO100 and a clear, fullcolour LCD panel, makes this advanced unitsimple to use. Designed for use with Canon,Nikon and Sony digital SLRs, the Nissin Di866fully supports full TTL functionality with the optionfor full manual overrides. Covering a range offocal lengths from 24-105mm andincluding a secondary fill in flashunit, the Nissin Di866 is theflashgun professionals havebeen waiting for. Includes built-inUSB port for down-loading upgrades.

£189.99 Canon, Nikon & Sony

24 AF-1 £49.9936 AF-5 £69.9944 AF-1 £129.9950 AF-1 £169.99Canon, Nikon, Sony, & Olympus

TTL Flash Cord Coiled £24.99TTL Flash Cord Straight £29.99Available in Canon, Nikon, Sony, Olympus,Panasonic, Pentax and Samsung fit.

TRIGGERS & METERS

Hahnel Combi TFCombed wireless remote shutterrelease and radio flash trigger.2.4GHz, 100m range, 4 channels.Receiver & Transmitter £49.99

Yongnuo CTR-301P £27.99Extra Receivers £18.99Yongnuo RF-602 £29.99Extra Receivers £19.99Yongnuo RF-603 £31.99

We will match or beat ANY UK Think Tank price!Full Think Tank range in stock - below are just a few examples:

Retrospective7

£114

Airport InternationalV2.0

£245

RAIN COVERSKata Elements

CoversProtectyourcameraagainsttheelements!

E690 Small £37E702 Large £52

OpTech RainsleeveUnique eyepiece openingand drawstring lensenclosure.Two versions,for DSLRs withor without aflashguns. 2 per pack.

Standard £6Flash £8

Think TankHydrophobia

The ultimateprotectionfrom theweather!

70-200 £10970-200 Flash £114300-600 £118

STUDIO ACCESSORIES

Free batterieswith every Nissin Flashgun

Free batterieswith every Metz Flashgun

Westcott UmbrellaFlash Kitincluding shoemount, umbrellaand light stand.

£81£64.99

Westcott 5-in-1Reflector Kitincluding reflector,reflector holder,and light stand.

£110£79.99

Westcott 28” ApolloFlash Kitincluding shoe,mount, 28” Apolloand light stand.

£184£129.99

Apollos and HalosThe convenience of an umbrella meets the controlof a softbox. Built on an umbrella frame, theymount to any standard umbrella receptable.

28” Apollo £99.99Apollo Orb £119.99Apollo Strip £119.99

Collapsible UmbrellasSuch a simple but effective idea - umbrellas witha telescopic shaft. Perfect for travel, they opento 43” diameter, but collapse down to just 14.5”.

43” Umbrella Soft Silver £19.9943” UmbrellaWhite £19.9943” UmbrellaWhite/Black £21.99

Yongnuo YN-460II and YN-560IIflashguns also in stock!

Premier Ink & Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977E&OE. Prices may be subject to change, but hopefully not!

Mini & FlexThe world’s leading TTLwireless triggering system.

AC3 Zone Controller £49TT1 Mini Transmitter £149TT5 Flex Transceiver £159

The NEW Plus IIISingle Unit £129Double Unit £249Triple Unit £369

Airport Commuter

£149NEW! NEW!

We will match or beat ANY UK Billingham price!Full Billingham range in stock - below are just a few examples:

HadleyRange

Hadley Small £126Hadley Large £148Hadley Pro £159

3-N-1ProLightSeries

3N1-25 £1393N1-35 £169

Comprehensive Kata range in stock!Below are just a few examples:

GearPackRange

Gearpack-60 £49Gearpack-80 £59Gearpack-100 £69

NEW!

DigitalRucksack

Range

DR-465 £65 £49DR-466 £72DR-467 £79

NEW!

Comprehensive Tamrac range in stock!Below are just a few examples:

ExpeditionRange

4X £895X £1046X £1197X £1498X £169

Velocity SlingRange

6X £297X £398X £449X £4910X £59

Accessories

Water Bottle £13Lens Case 50 £12Lens Case 100 £13Lens Case 200 £14Flash Case £11Rain Cover £20

Comprehensive Vanguard range in stock!Below are just a few examples:

MessengerUP-Rise

UP-Rise 28 £72UP-Rise 33 £82UP-Rise 38 £90

ZoomsterOutlawz

Outlawz 16Z £54Outlzaw 17Z £63

BackpackUP-Rise

UP-Rise 45 £90UP-Rise 46 £99UP-Rise 48 £108

CAMERA STRAPSThe world’s fastest

camera straps!

RS-4 Classic £54.99RS-5 Cargo £64.99RS-7 Curve £59.99RS-W1 Womens £59.99RS-SPORT £59.99RS-DR1 Double £119.99SnapR-35 Large £44.99

Camera StrapsWrist Strap £11.99Classic Strap £16.99Super Classic £19.99Pro 3/8 Strap £17.99Pro Loop Strap £18.99Utility Sling Strap £29.99

System ConnectorsAdapt-its (4) £4.99Extensions (2) £6.99UniLoop (2) £6.99ProLoop (2) £9.99LensSupport (2) £9.99Sling Adapter £10.99

The world’s best-sellingSLR camera straps!

TRIPODS

679B MonopodAluminium 3-section

Weight: 0.60kgLoad: 10.0kgFolded: 64cmHeight: 162cm£35.99

MM294A4MonopodAluminium 4-section


234 Tilt HeadIdeal for monopods

Weight: 0.27kgLoad: 2.5kg£14.99

234RC Tilt Headwith RC2 quick release


496 RC2 Ball Headwith RC2 quick release


498 RC2 Ball Headwith RC2 q/releaseWeight: 0.67kgLoad: 8.0kg£74.99

804 RC2 Pan / Tiltwith RC2 quick release


190XPROB TripodAluminium 3-section legs, aluminium

canopy, Q90 hoizontal tilting central columnWeight: 1.85kgLoad: 5.0kgFolded: 57cmHeight: 146cm£99.99

055XPROB TripodAluminium 3-section legs, aluminium

canopy, Q90 hoizontal tilting central columnWeight: 2.40kgLoad: 7.0kgFolded: 65cmHeight: 178cm£109.99

190CXPRO3Carbon Fibre 3-sectionlegs, Q90 columnWeight: 1.29kgLoad: 5.0kgFolded: 58cmHeight: 146cm£204.99




410 Geared Headwith RC4 quick release


MM294A3MonopodAluminium 3-section


Massive range of Manfrotto in stock!Below are just a few examples:

AltaPRO 263AT TripodAluminium 3-section legs, magnesium

canopy, MACC Multi-Angle-Central-Column.Weight: 2.00kgLoad: 7.0kgFolded: 63cmHeight: 165cm£125.99

AltaPRO 264AT TripodAluminium 4-section legs, magnesium

canopy, MACC Multi-Angle-Central-Column.Weight: 2.10kgLoad: 7.0kgFolded: 53cmHeight: 155cm£134.99

SBH100 Ball HeadLightweight magnesium alloy,twin adjuster knobs, 2 spiritlevels, quick release plateWeight: 0.39kgLoad: 10.0kg£67.49

PH32 Pan / Tilt3-way fluid head, magnesium,three spirit levels, quick

release plate.Weight: 0.42kgLoad: 5.0kg£67.49

GH100 Pistol GripMulti award-winning pistol griphead with spirit level, frictioncontrol and panoramic function.Weight: 0.75kgLoad: 6.0kg£107.99

PRO 253CTCarbon Fibre 3-sectionlegs, MACC columnWeight: 1.66kgLoad: 7.0kgFolded: 63cmHeight: 165cm£242.99

PRO 283CTCarbon Fibre 3-sectionlegs, MACC columnWeight: 1.70kgLoad: 8.0kgFolded: 64cmHeight: 170cm£296.99

Comprehensive Vanguard range in stock!Below are just a few examples:

Nissin Di466Guide number of 33m. Full TTL,adjustable bounce flash head,wide angle diffuser.

£72.99 Canon, Nikon & Olympus

BH08 Ball HeadQuick release plate,

spirit level, 360 degree rotation,dual control knobs


BH22 Ball HeadSliding quick release plate,spirit level, 360 degree

rotation, triple control knobsWeight: 0.4kgLoad: 8.0kg£31.99

C2504 MonopodCarbon Fibre 4-section


Triad 30 Lite £39.994 section magnesium alloytripod, legs extendable at 3different angles, reversiblecentre column, built in spiritlevel. Supplied with BH30alloy ball head, andcarrying case.Weight: 1.20kgMax Load: 4.0kgFolded: 56cmMax Height: 142cm

Triad 60 Lite £59.99Including 3-way fluid damped pan/tilt head.Weight: 1.90kgMax Load: 5.0kgFolded: 61cmMax Height: 162cm

“An excellent valuefor money tripod”Amateur PhotographerMagazine

Triad 40 Lite £49.99Including BH40 alloy ball head.

Weight: 1.58kg Max Load: 5.0kgFolded: 60cm Max Height: 153cm

BH30 Ball Head £19.99BH40 Ball Head £29.99

C2804Monopod£66.99C3204Monopod£74.99

BH02Ball Head£22.99BH05

Ball Head£25.99

BH25Ball Head£37.99BH28

Ball Head£45.99

A284 TripodAluminium 4-section

Weight: 2.17kgLoad: 8.0kgFolded: 56cmHeight: 154cm £73.99

GH-1P GimbalSuperb gimbal head, withcontrol handle. Side mountingfor lens.Weight: 0.8kgLoad: 12.0kg£229

GH-2 GimbalHeavy duty gimbal head, withmassive load rating. Flatmounting for lens.Weight: 1.4kgLoad: 23.0kg

£329

Nivelo TripodsA new range of lightweight, flexible, compacttripods with heads, that fold flat in a few secondsthanks to the unique, inverting open canopy.204BK H:101cm, W:0.6kg £53.99214BK H:120cm, W:0.7kg £62.99244BK H:145cm, W:1.1kg £98.99245BK H:161cm, W:1.2kg £107.99

NEW!

Travel Angel 2A1682TB0 £179A1692TB0 £189Flat Traveller 2

A1182TB0 £204A1192TB0 £209

£85

NEW GigaT MkII £65NEW Tuff TTL £99

We are a small, family owned and run company, specialising in photographicconsumables - and proud winners of the 2011 Good Service Award. We are locatedin Leamington Spa, in the heart of Warwickshire - if you are passing, please pop

into our shop, and meet Cooper - our new office dog! To find out more aboutus (or Cooper) you can also find us on www.facebook.com/premierink

01926 339977 www.premier-ink.co.uk

Orders are shipped promptly by Royal Mail 1st class post, for which we charge just £1.99 perorder. All prices include VAT, and a full VAT receipt is provided with every order. Paymentaccepted by credit/debit card, cheque or postal order. Orders accepted securely online,www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB

01926 339977 www.premier-ink.co.uk Winners of the Amateur Photographer 2011 GOLD “Good Service Award”

www.premier-ink.co.ukTelephone 01926 339977 or 0800 1077 211.

Premier Ink & Photographic, Longfield Road, Leamington Spa, Warwickshire, CV31 1XB

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