Digital PhotoDigital Photographer Issue 133 2C 2013grapher Issue 133 2C 2013

SHOWCASE YOUR PHOTOGRAPHY DPHOTOGRAPHER.CO.
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Issue 133
SHOOT WITH A TIL T-SHIFT LENS

Plus: discover 10 more architectural photo skills
TECHNICAL TRICKS
LEICA M-E
The iconic brands most affordable camera on test
CREATIVE PROJECTS Experiment with aerial photos using a kite

Plan, set up & shoot a themed photo essay Create a time-lapse by taking one shot a day Photograph light trails and torch illumination
BLACK WHITE
Discover pro techniques for capturing monochrome shots
EXPERT SHOOTING TIPS
JAMES HOUSTON Everyone who comes to

New York has a story
ISSUE 133
Some images shown are WhiteWall.co.uk editions, e.g. S. Hagge, F. Holland, E. Waerfhrer, H. Droste, T. Tarcal, D. Wieck, M. Sachs (detailed view)
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Welcome
Whats black and white and read all over? Our feature on the art of monochrome portraiture, of course. Head to p22 and discover a wealth of techniques, tips and tricks to help you achieve your best-ever black-and-white shots. And if you want to nd out how
we created our beautiful cover image, then take a behind-the-scenes look at our photoshoot on p32. Elsewhere weve got 50 creative photography projects for you to try on p36. Whether youre looking to improve your skills or to discover a new and interesting way of shooting, theres something for you. Turn to p36 to nd out more. Also in this issue we take a look at the luxurious Leica M-E and the latest DSLR
release from Canon, the EOS 6D nd them in our Kit Bag section starting on p90. On p68 we talk to celebrity and fashion photographer James Houston about his latest book project. And weve expanded our Readers Gallery starting on p6. Dont forget to head over to our website and upload your shots, because now you have an even better chance of seeing them in the magazine! Enjoy the issue. April Madden, Editor
GET IN TOUCH WITH US Ask the team a question, tell us your thoughts on a debate or share your photos via any of these methods
Twitter: @DPhotographer Tweet us your opinions or shots and see them printed Facebook: Search Digital Photographer and join 8,200 like-minded photographers Email: team@dphotographer.co.uk with the subject clearly marked Website: Share your images for free at www.dphotographer.co.uk
DIGITAL PHOTOGRAPHER 3
Sharon Johnstone
Master black and white

YOUR FREE COVER DISC
Bursting with essential photo resources LOAD IT UP: Check out your free gift on p131, loaded with video tutorials, DP workshops and more
Discover the essential skills you need to create your best monochrome images on p22
YOUR IMAGES
Your images
Check out this issues selection of fantastic images from our gallery website, starting with this beautiful swan shot from wildlife photographer Kirk Norbury
6 DIGITAL PHOTOGRAPHER
Kirk Norbury
Reader portfolio
A young mute swan photographed at a Scottish beach in January 2013 Shot details: Nikon D3 with a 24-120mm lens at 24mm and f3.5, 1/640sec, ISO 1000
SWAN
YOUR IMAGES
When I first started photographing landscapes, Id sometimes create a HDR image, as at the time I couldnt afford filters to photograph wellexposed sunsets. I feel that if you dont overcook the shot, you can make some amazing HDR images Shot details: Canon EOS 7D with a 17-40mm lens at 19mm and f11; HDR from 5 exposures, ISO 100
SUN SETS OVER THE GALLOWAY HILLS
All images by Kirk Norbury
Reader portfolio
Kirk Norbury
DP Gallery name: Kirk Norbury DP Gallery address: www.dphotographer.co.uk/user/Kirk Norbury Date joined DP Gallery: 7 May 2010 www.backinbirdland.blogspot.com Day job: Part-time at B&Q Photographic speciality: Wildlife and landscapes Long term photo ambition: My dream is to become a full-time professional and travel the world documenting the amazing wildlife and scenery it has to offer. How long have you been shooting digitally? I used to digiscope with a Nikon CoolPix but I caught the DSLR bug in 2005. What does your kit bag hold? Nikon D300 and D700 bodies, 600mm f4, 300mm f2.8, 50mm f2.8 macro, 18-70mm, 70-300mm VR lens. What does your dream kit bag hold? I wouldnt mind newer versions of the 600mm and 300mm, and a D800, but Im not complaining. Whats the best advice youve ever received? Think about the overall composition; its not always all about the subject. Sometimes the whole scene can really set the shot off. Top tip for anyone who wants to take shots like yours: Enjoy what youre doing and enjoy nature. Practise as much as you can. Im still learning every time I go out. Take your time with getting the shot wait for the right moment. Favourite location: There are a lot of places I have yet to visit, but I love being along the north Norfolk coast. Photographer you most admire: My very good friend Nigel Blake.
This star trail was created one evening where I wanted to try and compose the shot so I could a bit of interesting foreground into the shot. Shot details: Nikon D3 with a 24-120mm lens at f3.5; 50 stacked images, each a 30sec exposure, ISO 3200
LOOKING NORTH
I spent five days watching this barn owl hunt over farmland in Dumfries & Galloway, Scotland which meant I could get myself in a great position for her to fly right by me. I also got to watch the owl hunt in the fields around me Shot details: Canon EOS 7D with a 300mm lens at f4.5, 1/500sec, ISO 1000
BARN OWL
8
YOUR IMAGES
Sergio Carbajo
Reader portfolio
Image title: Sadhu Portrait DP Gallery name: Sergio Carbajo DP Gallery address: dphotographer.co.uk/user/scarbajo Date joined DP Gallery: 16 January 2013 The goal in life in Hinduism is to reach enlightenment. That takes lots of years and reincarnations. Some holy men, the sadhus, follow the fast track to reach Moksha with a life of devotion to their chosen deity Shot details: Nikon D600 with a 28mm lens at f2.8, 1/125sec, ISO 200
Justin Minns
Image title: Breaking through DP Gallery name: Justin Minns DP Gallery address: http:/ /www.dphotographer.co.uk/ user/justinminns Date joined DP Gallery: 12 March 2011 I caught sight of the sun breaking through and the clouds clearing for the only decent light Ive seen since it started snowing. I managed to pull over in time to grab a handful of shots Shot details: Canon EOS 5D Mark II, with a 17-40mm lens at 26mm and f8, 1/160sec, ISO 200
Image title: Osprey Fishing DP Gallery name: David Stenning DP Gallery address: http:/ /www.dphotographer.co.uk/ user/Arbury Date joined DP Gallery: 29 August 2012 Up before dawn, off to Rothiemurchus, the hides were at the waters edge but not all dives are successful so you have to be fortunate! This has to be one of the most exciting, most challenging experiences for a wildlife photographer Shot details: Nikon D700 with a 500mm lens at f4, 1/8000sec, ISO 2000
David Stenning
Justin Minns
David Stenning
Sergio Carbajo
YOUR IMAGES
Kirk Norbury wins his own gallery print

Pixum gallery print Get your favourite photo proudly on display with this high-quality 12x8 gallery print from Pixum. A beautiful keepsake thats sure to stand the test of time, this stunning gallery print prize is made with thick acrylic glass and a dibond aluminium, ensuring great quality and durability. To learn more about Pixum products and the gallery print prize please visit their website at www.pixum.co.uk. Please note that postage and packaging is also included.
Join the gallery

Visit our gallery on our website at www. dphotographer.co.uk, register and show off your shots. We could be featuring them in the next issue!
Mike Shakspeare
GET TO KNOW
Image title: Flying Colours DP Gallery name: Mike Shakspeare DP Gallery address: www.dphotographer.co.uk/user/snap happy Date joined DP Gallery: 21 January 2013
I had always wanted to photograph the red arrows but when they were in the area while I was [always] away. [This time] I stuck out the bad conditions and was about to pack up when there was a break in the weather. I stayed and sure enough the Red Arrows came over and I got the shot. Moral of the story is persevere, persevere. Shot details: Canon EOS 5D Mark II with a 100-400mm lens at 400mm and f14, 1/1000sec, ISO 800
DPHOTOGRAPHER.CO.UK: Create your own online gallery for free now! Simply sign up today by visiting www.dphotographer.co.uk
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New eyes for industry
IN FOCUS
DPInvestigates
CG versus photography
As CG artists muscle in on more and more photography work, DP asks which is best: the photo-real or the real photo?
hree-dimensional modelling has made serious inroads into concept art, editorial illustration and architectural visualisation. However, its advertising, and specically product photography, that has probably been the hardest hit by the rise of the photo-real CG imagery. But that doesnt mean that photographers are losing out. In fact, many are deciding that if you cant beat them, you may as well join them. Products are now also being created in CG, says photographer Phil Sills (philsills.co.uk) but it does not mean to say that all product photography will stop. Just that particular clients may nd it more suitable for their delivery to be using CG. The decision can be forced by simple logistics. For instance, the packaging needs to be done before the product exists. 3D-visualisation artist Danil Gorskikh (dagor3d.com) says that he doesnt think that artists are taking work away from photographers; I think that more photographers are trying to collaborate with digital artists and get more CGI involved in their work. And Spanish photographer ngel lvarez (angel-alvarez.com) is one of them, now regularly merging CG elements into his photographs. Yes, he says, 3D-image construction has taken some of the market, especially in automotive and architecture photography. So what can CG offer an advertising agency that photography cant? 3D artist Tom Peterec (tomaspeterec.sk), who specialises in food packaging, notes that the most important thing is that CG can provide an image of a non-existing object, or can replicate an object which is difcult to photograph for advertising purposes or its editing would be more demanding than rendering. He continues that, there are many cases when an object is imperfect and yet the only one available for photographing, so the customer prefers the CG option in the end. Flexibility is another big advantage. CG can render [the] same product in different nishes at almost no cost, points out Gorskikh. Its also very easy to separate lighting and reection elements in CG. Its like you are shooting a car and your light source becomes invisible for reection. The car is still lit but there is no reection on the [metalwork] so you dont need to clean it at the retouching stage. And of course options are attractive, particularly if the client and the agency arent sure of the approach they want to take. Photography, on the other hand, requires a strong
decision-making process right from the start. The agency and client has to decide on the image angle, look and feel before the work is undertaken, explains Sills. But, he wonders, will a client be able to make the right choice when presented with a myriad of options that may be created by a CG process? From a purely creative point of view, too much choice can create problems of its own. Photography still has some aces in the pack. It is still easier for most objects to be photographed, points out Peterec. Then theres the reality factor, as the human eye is good at spotting something that just looks a bit off, no matter how good CG becomes. Peterec lists objects with some specic atmosphere about them, creatures and human beings that need to appear genuine and of course objects with complicated texture. In terms of food I nd it very difcult to simulate jelly-like structures, he notes. According to Gorskikh, there are still some areas where photography is unbeatable. Some natural phenomena like caustics are usually too time- and resource-consuming for CG. The good example is a car headlight. Its almost impossible to get it look real in CG because light reects and refracts so many times. So they both have their strengths and their weaknesses, and often the cost can become the deciding factor, but this does depend on the image in question. For Sills, If a client has a big budget, an agency can pick and choose what look and feel will best suit the advertising, and that comes down to what the consumers want to see. CG is time-consuming, and costs will be very high compared to photography. Peterec agrees, but adds that there are still a lot of things which are easier to photograph than to create using CG software. lvarez notes that if the image has to be created from zero, the CG gets expensive, but if you start from a given picture things get easier. If you need a big complex set as a background, this would increase the price for the photoshoot, but using 3D we could decrease costs since you only need to count the amount of time to make it. All of which perhaps begs the question, are the two really so different? Peterec points out, photographs can be so heavily edited that there is very little difference (in some sense) in the end. Sills echoes this, adding I think we are all aware that too much manipulation of any sort can lead to a detachment from reality. The balance between what is possible and what is acceptable is a ne one.
WHAT DO YOU THINK? Whats your opinion on the use of CG? Log on to our forum at www.dphotographer.co.uk/forum to let us
ngel lvarez
ngel lvarez
Spanish photographer ngel lvarez has taken to including more and more CG elements in his work. This image entitled Natalie displays both real and CG artwork This photograph was taken with a time-lapse approach. Elements were then stitched together in the retouching phase to create a natural object. CG would find this type of shot very hard due to the textures alone says Phil Sills
NATALIE
THE ROSE
This isnt the sort of picture youd expect to see from an advertising photographer, but lvarez enjoys mixing photography and CG, demonstrated by this image which he created for a personal project
MAGGI
3D artistry has certainly got to the point where consumers often cant tell if what theyre seeing is real or fake, and nor do they care. lvarez says that, in advertising, we work with hyperrealism trying to nd absolute perfection [] in order to transmit the best sensation to the customers. This has been the way for a long time, and everybody knows it. So which is best is perhaps beside the point, rather its only which is best for a particular project. The need for great creative advertising and imagery is more important than ever, says Sills. How it comes, DP how it is delivered is no longer important...
know. For more amazing images that CG just cant compare with, check out James Houstons amazing portfolio on p68
Phil Sills
IN FOCUS
Full immersion
All images by Sandy Greenway
Falling into her marriage and future or placing herself in a box, like a cell. The viewer decides Shot details: Canon EOS 40D with a 10-22mm lens at 10mm and f3.5, 1/60sec, ISO 1600
ALTERNATIVE WEDDING
Sandy Greenway shoots unique underwater portraiture from the floor of a swimming pool. We dived in to find out more
two passions and photograph people underwater. Photographing sh and coral never interested me. As a photographer Ive always only used available light and so am used to using light to paint with in my photographs. Its light more than composition that guides my photography. The combination of unusual and varied light underwater and the magical quality that water brings to a photograph are very compelling. Each shoot is different as water has many different moods, so its exciting never being able to predict exactly what effects youll get. What is it that you particularly want to showcase about underwater photography? Im passionate about using only available light and as a result there is a kind of authenticity about my images. When you compare my work to that of photographers
Mention underwater portraits and most photographers will reel off a list of essential kit to make them happen. Not Sandy Greenway. She shoots her beautiful images simply by freediving and working with the natural light under the waters surface. The refraction of ripples, known as caustic light, and the uninhibited nature of her uid shoots, give her images a unique beauty all of their own. Her eponymous exhibition at the Star in Dorking, UK, runs until 14 April 2013. What fascinates you about underwater imagery? Ive been photographing people since I was very young so when I started freediving I chose to combine my
Sandy Greenway
www.facebook.com/ SandyGreenwayUnderwaterPhotography Biography: A qualied freediver and long-time photographer, Sandy combines her two passions in her unique photography. Using only natural light, no breathing equipment and minimal postproduction, she aims to capture an uninhibited authenticity and grace in her images.
GET TO KNOW
DP EXHIBITION SHOWCASE: Are exhibiting your work? We want to hear from you! Get in touch via team@dphotographer.co.uk to tell
Exhibition
using strobes underwater, my subjects appear to be part of their environment rather than merely visitors. What fascinates you about underwater portraits? One thing that Ive noticed which is quite remarkable is how people change when theyre underwater. Its almost as if their egos and any self-consciousness dissolves in the water, as if there is no room for ego underwater. As someone whos been photographing people for so many years my biggest challenge is to really capture the person behind the mask . We all wear them and its very difcult to remove them. I do this through building a rapport with my subjects to relax them. Underwater you cant have that rapport and my subjects seem to go into their own worlds. They become playful, ethereal. Its really beautiful to witness. What equipment did you use to shoot the images for the exhibition? I used a Canon EOS 40D with bespoke Hugyfot housing and a Canon 10-22mm lens for some of the work. I then subsequently upgraded to a Canon EOS 5D Mark III and bespoke Hugyfot housing plus a Canon 16-24mm lens. The housing is really important as my equipment is expensive. Personally I wouldnt use any housing other than a Hugyfot as they are manufactured with a unique leak detection system and this gives me incredible peace of mind, allowing me to fully enjoy each and every shoot without worrying about my equipment getting damaged. You freedive rather than scuba dive to take the images what are the advantages and disadvantages of this? The advantage is that I can move freely like my subjects without being hindered by heaving breathing equipment. As my subjects are having to hold their breath I feel that its more authentic if Im having the same experience DP as them.
When you allow the water to hold you and trust it completely, it places you in an almost childlike state of bliss Shot details: Canon EOS 5D Mark III with a 16-24mm lens at 22mm and f5.6, 1/30sec, ISO 800
AQUATIC COCOON
The sun to silhouetted my subject and create the theatrical impression of a shackled warrior goddess Shot details: Canon EOS 40D with a 10-22mm lens at 11mm and f4.5, 1/80sec, ISO 1600
WATER GODDESS
Exhibition essentials
Name: Sandy Greenway Underwater Photography When: 13 February 2013 14 April 2013 Where: The Star, 36 West Street, Dorking, Surrey, RH4 1BU, UK Admission: Free More information: www.stardorking.com
us all the details about where, when and what photography youre displaying to the world and your work could feature on these pages
IN FOCUS
Your new back-up camera unveiled
Fujilm, Pentax, Olympus and Nikon have all announced new compact and bridge cameras which one is for you?
Several of the key manufacturers have launched new models, with particular attention on portability and durability. Fujilm has announced the FinePix S4800, featuring a 30x optical zoom. Sensor-shift image stabilisation and a 2cm close-focusing via Super Macro are also on offer, plus a 16MP, 1/2.3-inch CCD sensor and Scene Recognition Auto mode. The S4800 is available from April for 150/$230. Theres also the Fujilm FinePix F900EXR, which Fujilm claims features the worlds-fastest AF: 0.05sec. Its designed for those looking for top image quality and long zoom capabilities all in a lightweight body and costs 280/$400. Meanwhile, Pentax has released three ultrahardy compacts: the WG-3, WG-3 GPS and WG-10. The WG-3 and WG-3 GPS feature a 16MP CMOS sensor, and are crushproof, coldproof and waterproof to 13.7m. The GPS version will cost 330/$350 while the non-GPS WG-3 is priced at 280/$300. The WG-10 is priced at 180/$180. Not to be outdone, Olympus has announced the VG-180, the VR-370 and the XZ-10 plus a white body for the XZ-2. The VG-180 and VR-370 will both feature a 16MP CCD sensor, priced at 90/$99 (VG-180) and 130/$150 (VR-370). The 12MP XZ-10 will cost 350/$400. Nikon has also launched four Coolpix models. The 16MP AW110 with wide-angle 5x zoom is waterproof down to 18m, shockproof from up to 2m and freeze-proof down to -10C. The S31 is a 10MP model with 5m waterproong, 1.2m-drop shockproong with large buttons and clear menus. The L27 is another 16MP model while the L28 offers 20MP. The Coolpix models will retail at 330/$350, 100/$120, 70/$TBC and 90/$120 respectively. No pricing for the Coolpix L27 was available at the time of going to press.
New Nikon lenses

An all-new wide-angle zoom plus a super-telephoto lens soon to be available
Nikon has launched two new lenses: the AF-S NIKKOR 1835mm f3.54.5G ED wide-angle zoom lens and the AF-S NIKKOR 800mm f5.6E FL ED VR lens and dedicated teleconverter. The 18-35mm lens has been designed to offer Nikon users a (relatively) affordable wide-angle zoom option. With a newlydesigned optical formula, the 18-35mm f3.5-4.5G ED features 12 elements in 8 groups. Three aspherical lenses and two ED (extra-low dispersion) glass elements are present for superior resolution, with reduced aberrations and distortions. The manufacturer also says that the Nikon Super Integrated Coating will reduce ghosting and are. The new zoom weighs just 385g and is available now for 670/$750. Meanwhile, the AF-S NIKKOR 800mm f5.6E FL ED VR lens comes with a dedicated teleconverter and is lighter than its rivals. Hiro Sebata, product manager for lenses at Nikon UK explains [the lens] is packed with new NIKKOR technologies and features a custom-tuned teleconverter to extend the lenss focal length. The lens features 20 elements in 13 groups, including two uorite and two ED elements. According to Nikon, the use of uorite for the front two elements makes the lenss front portion lighter and shifts its centre of gravity to the rear, resulting in more comfortable handling and operation. The 800mm super-telephoto lens will be available from April, priced at 15,600/$17,900.
Cameras
Words by Matt Bennett
The new 800mm super-telephoto lens from Nikon is probably for serious users only
OUR SAY
DPs Matt Bennett gives us his view on the latest raft of compact cameras
Its encouraging to see so many manufacturers developing new products in an area of the market that was believed to be under threat
Compact releases galore

noting that manufacturers are striving to produce compacts that are designed to be able to take a knock or three and even to be submerged in water. People love their smartphones and they are an integral part of many peoples lives now so they are perhaps a little gun-shy about using them to take photos in even slightly threatening conditions. Compacts like the WG-3 from Pentax and the AW110 from Nikon give people a fairly affordable alternative that they can use in difcult environments with condence.
Its often said that smartphones are in the process of hungrily cannibalising the compact-camera market, but that doesnt seem to be the case as far as Fujilm, Pentax, Olympus and Nikon are concerned. Its perhaps worth
KEEP INFORMED: For more news, updates and inside information from the ever-changing world of digital photography, be sure to pay a visit to
News
Renaissance Photography Prize 2013
The sixth year of the international photography competition that raises money for young women with breast cancer
In other news
More snippets of photo news from around the world
Wouter Kingma tests the Canon EOS-1D X
Pro photographer Wouter Kingma has been trialling the Canon EOS-1D X in the Middle East the rst photographer in the region to do so. Visit his blog at wouterkingmablog.com.
Mattia Vacca
Founded in 2006 by Fiona Gifford, a lawyer and amateur photographer who was diagnosed with breast cancer aged 34, the Renaissance Photography Prize has gone from strength to strength. The competition attracted more than 5,225 entries from 67 countries in 2012. Entrants have their work judged by an impressive list of top industry names, which in 2013 include Brett Rogers, Simon Bainbridge and Monica Allende, as well as being exhibited at a London gallery. There are also over 5,000 of prizes.
Photographers can either enter single images (in the categories Expression, Ordinary or In Between) or a series consisting of ve to eight images in the Open category. The fee for single images is 15 for one shot, 25 for up to three and 40 for up to six. The fee for a series is 50. Everyone can enter and the funds raised from entries are donated to the Lavender Trust at Breast Cancer Care, UK. The deadline for entries is 28 April 2013 and the winners will be announced at an awards ceremony during the autumn of 2013.
Quantum has announced the Quantum Omicron 3, a new hybrid ringlight that allows photographers to capture stills and video simultaneously. Priced at 599/$698, visit qtm. com for more info.
New Hybrid Ringlight
Celebrate lens-less photography on the 13th anniversary of the annual pinhole celebration, taking place on Sunday 28 April 2013
Established to celebrate the joy of simple creativity, World Pinhole Day 2013 aims to encourage people to take images with a device as simple as a cardboard box with a small hole. On Sunday 28 April, upload your work to the Pinhole Day gallery at pinholeday.org. In 2012, 3,865 pinhole photographers from 74 countries uploaded shots. The aim of the international event is to promote the art of pinhole photography, which allows you to create a photograph using just a light-tight container with a hole and a photosensitive surface inside. Many pinhole acionados create their own cameras or modify existing ones. There are also events taking place in various locations around the world on, and in the lead up to, World Pinhole Day. DP Visit pinholeday.org for more information.
World Pinhole Day
Intro 2020 has announced that it is the sole UK importer and distributor of Samyang lenses. The range includes everything from a 7.5mm sheye to a 6501300mm super-telephoto and the 25 lenses are designed for use with DSLRs and CSCs from Canon, Nikon, Pentax and Sony.
Samyang Lenses now distributed by Intro 2020 in the UK
our website at www.dphotographer.co.uk, and if youve got a story for us, you can the DP team at team@dphotographer.co.uk
TECHNIQUES
BLACK WHITE
A
Model Gina Godfrey Styling by Sian Stone www.sianstone.co.uk
MASTER
Its time to cast colour aside in favour of the timeless and beautiful look of monochrome photography with our in-depth masterclass
of photographers, not least because only a select number of them actually had anything to do with the processing of their images, particularly if they shot using colour lm stock. For many photographers, post-production simply meant ling their images away in a dark drawer. But fast-forward to Photoshop and things are very different. Used the wrong white balance setting? Switch it to black and white. Exposure a bit dodgy? Try it in black and white. Lighting a little bit at? Convert it to black and white. Sometimes this actually works, and a decent image is salvaged from the mire. The downside is that fewer photographers are taking the time to actually think in black and white, even when it comes to a classic black-and-white medium like portraits. Over the next few pages, well show you why setting out to shoot portraits in black and white can help you to produce your best portrait shots yet.
ll too often in the digital age, black and white is casually dismissed as a panacea for problem images; a quick x to fall back on when a photograph hasnt quite worked out in colour. Back in the days when lm still ruled the roost, things were very different. The idea of using black and white as a safety net simply didnt exist, and photographers had to commit to colour or black and white before they had actually taken a single image. Landscape photographers stocked up on colour slide lm like Fujichrome Velvia 50 with nothing but colour images on their minds, while reportage photographers would go out shooting with Kodak Tri-X, happy in the knowledge that all their images would be pure black and white. The idea of rescuing a colour shot by converting it to monochrome was a completely unknown concept that simply wouldnt have occurred to the majority
Master black & white

Train your eye to think in black and white and bring your monochrome portraits to life
BLACK MAGIC
reasons to shoot in black and white
01 Refocus the viewers eye 02 Timelessness 03 Texture
By removing the colour, you offer the viewer the chance to focus on completely different aspects of the image.
A black-and-white portrait has a classic look about it thats very hard to reproduce in a colour photograph.
In place of the various hues that populate a fullcolour scene, the range of textures is brought to the fore.
04 Contrast control 05 Shape formation
Explore a world of different brightness levels. In monochrome, light and dark become much more obvious.
Shapes become more apparent in black and white. You can use shadow to create shapes of your own design.
TECHNIQUES
Setting up studio lights for a shoot
Can you capture both low-key and high-key photographs using the same lighting setup? Heres how to set up for a monochrome shoot
Two lights were used and reflector dishes fitted with barn doors controlled the spread of light. For the high-key shots we opened the doors up, while we narrowed the spread of light and dialled down the flash heads for low-key portraits.
LIGHTING THE BACKGROUND
Black-and-white portraits are ideal for male models, allowing them to adopt an aloof air of quiet authority Our monochrome portraits were all lit with a softbox, positioned slightly to the subjects left and directed to shine down on them. Moving the position of the flash even slightly can have a crucial effect on where the shadows fall.
MONO MOOD
LIGHTING THE MODEL
Black and white does, obviously, represent a reduction of what we are used to seeing. We see the world around us in full colour and our brains are conditioned to respond differently depending on the colours that we see. Studies have shown that red, green, blue and so on each evoke different emotions in us some of them are unique to us as individuals and others are more universal. Photographers often make great use of this in their work, ensuring that the scenes they capture explore the interplay between various colours. Many of the best landscape images succeed because the colours present in the scene produce some kind of instinctive emotional response in us, and the colours offset and complement each other perfectly. But there is so much more to the world around us than colour. The more subtle charms of contrast, texture, pattern, shape and form are easily neglected when colour is at play, a problem to which black-andwhite photography is the solution. Take colour out of the equation, and our eyes are forced to make sense of the image in a way that they are not used to. Contrast, texture, pattern, shape and
form are all brought to the fore and we are forced to take notice of the things that we might have otherwise overlooked. Unlike landscape photography, in portrait photography colour can often be a problematic element. The wrong choice of clothing can easily distract, rather than enhance, the impact of the image. Skin tones are seldom perfectly smooth and even. Eye colour and hair colour may not produce a generally pleasing palette. Black-and-white photography has often been thought of as a attering medium for portraits precisely because it allows facial expression and structure to become the dominant characteristics. Uneven skin texture that would very probably look distracting and unattractive in a colour image can be a positive virtue in a black-and-white portrait. But this doesnt mean that you can necessarily rely on a post-capture decision. To get the very best monochrome portraits possible, youll put yourself at a distinct advantage if you use specic lighting, posing, composition and even clothing during capture, all the while with black and white in mind.
We changed the background for high-key and low-key portraits. By lighting the black background slightly in our low-key shots we were able to provide a little bit of separation between the background and the subject.
FLEXIBLE SHOOTING
What makes this work?

Chiaroscuro
This is an Italian word which essentially refers to the simultaneous presentation of light and shade. The interplay between the illuminated and non-illuminated areas of the image is visually compelling and replicates the atmosphere that youd expect from nonelectric lighting indoors. This adds to the classic or vintage feel of a black-and-white portrait.
TECHNIQUES
8
One of the reasons for shooting portraits in black and white is because of the attering effect it has, obscuring or even making a virtue of imperfections or uneven tones. Low-key portraits make use of the Renaissance idea of chiaroscuro, which refers to depicting a clear, dened contrast between illuminated and non-illuminated areas of the picture. Centuries ago, this would have been considered a good representation of the way an interior scene would have actually been lit possibly by just one or two candles. In order to achieve this look, its important that the lighting falling on the subject is very tightly controlled. The easiest way to achieve this is to use only one light on the subject. Dark clothing is usually ideal for black-and-white low-key portraits, as it ensures that there is nothing to compete for attention with the subjects face. When using ash, simply reducing the power output of the ash and/or using a smaller aperture can be all thats required to take your portrait into low-key territory. Its sometimes assumed that a high-key lighting style, in which there is signicantly less shadow and a bright-white background, doesnt lend itself to black-and-white portraits, but as David Bailey proved, it can work very well. A really useful tip for shooting portraits in monochrome is to shoot RAW and set your camera to preview the images in black and white. This makes a massive difference to your ability to judge how the portraits you are shooting will actually look, allowing adjust your composition accordingly.
Monochrome professionals
We spoke to pro photographer Ian Hearnshaw about why black and white works so well for capturing portraits of children and babies
Name: Ian Hearnshaw Bio: Ian shoots portraits and weddings both independently and alongside his partner, Pippa Mackenzie. As well as being an expert when it comes to photographing people, he also has a passion for shooting cars www.pippamackenzieportraits.com www.twistedvintageportraits.com Why is black and white so popular for portraits? Its a classic style that doesnt date and has a quality to it that colour cant reproduce. Fashions come and go, but black-and-white portraits will always remain. My clients just gravitate to the black-and-white images. There is something that colour images seem to lack. What does it add to portraits of children? I guess its what black-and-white photography takes away that is more important. Black and white photography strips everything back to its basic form. With a colour image, the eye can be distracted by a rainbow of colours. Once you remove colour, you are left with the important components that make a beautiful portrait, such as light, texture, form, composition and emotion. Some people suggest that converting to black and white is a quick x for images that havent worked. What would you say about this? A colour image that is badly lit and poorly composed will still be badly lit and poorly composed if converted. What do you need to be aware of or consider when producing black-and-white portraits? You need to think in black and white. Once you remove colour, your image consists solely of light, texture and patterns. Light and shade become even more part of the image and negative space also becomes more noticeable and effective. Light kicking off the side of your subjects face or a slight highlight exposing an eye surrounded by shade could make or break your image. Creative lighting makes for really powerful portraits. What conversion method do you favour? Do you vary this or have one that you stick to? There isnt one method that works for all images. Every image needs to be treated differently to get the best out of it. I use Lightroom because the techniques I use there feel very much like the ones I used to use in the darkroom many years ago, but at the end of the day its what works best for you.
Ian Hearnshaw
Ian Hearnshaw
Pro photographer Ian Hearnshaw frequently uses black and white when capturing images of children
CHILDREN IN B&W
Ian Hearnshaw

COOL CONTRAST
This image is all about contrast, and has a simplicity to it that would be difficult to replicate in colour. The models clothing is an important part of what makes the image work
What makes this work?

Rich textures
This high-key black-and-white portrait demonstrates the importance of texture in monochrome photography. The textures of the models hair and of her jumper are highlighted much more so than they would be in colour, especially when we accentuated the contrast of the shot using image-editing software.
TECHNIQUES
More senior subjects, particularly older male subjects, are ideally suited to black-and-white portraits, as their faces really seem to tell a story
SENIOR SERVICE
On the disc
Youll nd more advanced blackand-white conversion tutorials on the free Digital Photographer cover disc

8
While its a really useful idea to set your cameras picture mode to its monochrome setting, its best to avoid the temptation to shoot in JPEG mode. A far better idea is to shoot in RAW and leave the actual black-and-white conversion until you reach the editing and processing stage. Your camera may be capable of producing a good black-and-white image all by itself, but its unlikely to match the quality that you can achieve if you use Photoshop, Lightroom or perhaps even Nik Silver Efex Pro 2 (visit www.niksoftware.com/ silverefexpro to check it out) and produce the blackand-white conversion yourself. Current LCD screens on cameras are excellent but the screen size-toresolution ratio can make things appear slightly better than they will look when you see them full-size on your monitor. By shooting black-and-white portraits in JPEG mode you are relying on your cameras built-in algorithms to achieve the best-possible image. Even though most cameras allow you to adjust contrast and even lter effects, you are closing off a lot of potential in your photographs. Black-and-white portraits are all about shadows and highlights, and you can only take full control of the precise tonality of each by converting your les in professional image-editing software. Local contrast (sometimes also referred to as acutance, edge contrast or small-scale contrast) can also have a big impact on the outcome of your shots, and youll need your editing software to make the most of this. A good example is the Clarity slider in Adobes Camera RAW software, which is designed to increase acutance. This can be really useful for adding a bit of pop to black-and-white portraits. With practice, youll nd that there are certain settings and conversion techniques that you particularly like. Your image-editing software will also allow you to save certain presets that you nd work well. However, its always best to carefully consider the shots that you take and adjust settings for each individual image that you process, rather than DP simply using a one-size-ts-all preset.
Bring out the texture in portraits
01 CLARITY SLIDER
When you open your RAW le in Adobe Camera Raw, pull the Clarity slider all the way to 100%. You will immediately see a huge amount of detail emerge in the image and this will give you a good basis to work from.
02 EMPHASISE THE BLUES
Open your image in Photoshop, create a Black & White adjustment layer and push the blue slider to the right, while keeping the other sliders low. This will ensure that all the nuances of skin texture are highlighted.
03 CONTRAST ENHANCEMENT
Make two duplicate layers of the image. Set one to Multiply blend mode, and the other to Screen blend mode. Right-click on each layer, click Blending Options and hold the Alt key while you play with the This Layer sliders.
04 SHADOWS/HIGHLIGHTS
Create a new layer. Hold the Alt key and select Merge Visible from the Layers palette drop-down menu. This will create a composite layer. Now go to Image> Adjustments> Shadows/Highlights and adjust the various sliders to further enhance the skin texture.
05 DODGE AND BURN
On a new layer, set blending mode to Soft Light. Hit Edit> Fill and select 50% Gray. Use the Brush tool with a low Opacity and paint either black (to burn) or white (to dodge) to darken and brighten various areas of the image. This is great for emphasising skin creases and wrinkles.
06 GAUSSIAN BLUR
Create another composite layer as in Step 4. Change the blending mode of the layer to Screen and add a small amount of Gaussian blur by going to Filter> Blur> Gaussian Blur. Add a layer mask and paint in areas that you wish to brighten up and rubberise slightly.
On a new layer, set to Soft Light and ll with 50% Gray as in Step 5. Hit Filter> Noise> Add Noise and add monochromatic, Gaussian noise. Add a layer mask and erase the noise over the subject with a black brush.
07 ADD NOISE
09 DARKEN THE EDGES
Make a selection of the perimeter of the image, feather it and then use either Curves, Levels or a duplicate layer set to Multiply blend mode to darken down the edges of the image.
10 FINAL TOUCHES
Use the Curves tool to perform one last contrast boost on the image. Use the anchor points to form a slight S-shaped curve for the best effect. Once this is done, save your converted monochrome photograph.
TECHNIQUES
Skin tones and colour channels
Its possible to make a great difference to the way your black-and-white images look by choosing which colour channels are emphasised when you convert your shots. Photoshops Channel Mixer allows you to mimic a traditional lm technique. Coloured lters would be placed over the lens when shooting with black-and-white lm to change how various colour tones are recorded. In recent versions of Photoshop, the Black & White adjustment feature allows you to tweak a wider range of colours when converting. The different settings can have a dramatic effect on how skin tones are rendered in monochrome.
Using editing software to boost global and localised edge contrast, or acutance. A Soft Light duplicate layer, with a High Pass filter, is great for enhancing local contrast
DIGITAL DARKROOM
By pushing the red slider (plus orange and yellow sliders in the Black & White adjustment feature) towards the right and keeping other sliders low, skin tones are made to look brighter, purer and more even.
REDS
When the green slider is pushed to the right, skin tones are not so immediately flattering, although with male models this might sometimes produce a more appropriate effect, particularly if you balance the green slider with the red slider.
GREENS
Pushing the blue slider up towards 100%, leaving the other sliders down low, produces the least flattering effect of all. However, if you are trying to emphasise the texture in an older models skin, this is absolutely ideal.
BLUES
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TECHNIQUES
Stylist Sian Stone prepares model Gina Godfrey for the shoot
Staff writer Matt checks out how the styling is coming together
Matt starts setting up the lighting required for the shoot
With the studio lighting ready to go, Matt sets up the camera
HOW WE SHOT
A behind-the-scenes look at how we created this issues cover image and feature at the DP studio
When photographing black-and-white portraits, a bold but natural makeup look is the best to go for, as it enhances the subjects features without looking unbalanced when converted to monochrome. With this done, James and Matt guided our model through a wide range of poses in both high and low-key For our feature on black-and-white portraiture this issue, we photographed model Gina Godfrey in a variety of poses at our studio. Staff writer Matt Bennett and photographer James Sheppard were running the shoot. First they set up the lighting and backdrops as the model was styled by Sian Stone.
lighting and against black and white backgrounds. Although shooting in colour, James and Matt had their cameras set to black-and-white preview mode to help compose the shots in monochrome. This made it more intuitive to choose and edit the shots in postproduction afterwards. 8
Behind the scenes
Behind the scenes
Low-key lighting, a classic pose and grungy texture combine for perfect black-andwhite portraiture
TECHNIQUES
PROJECTS
PHOTO
50 CREATIVE
Kick-start your next photo project with one of our inspirational ideas
50 creative projects
f youre lacking a little inspiration this month and need a good starting point for a project, look no further. This issue weve pulled together 50 fantastic project ideas that will help get your creative juices owing again. Theres something for everyone, as weve covered projects thatll help you start shooting portraits, landscapes, wildlife, macro and much more. Weve even included a few out-there creative ideas especially for those who want to take a more artistic approach.
Before you begin any project, its important to set a realistic time frame and know what you want to achieve. Once you get going, you can share your projects progress online and get some fantastic feedback and support from like-minded shooters. Expect your project to evolve and dont be afraid to expand and adapt the brief. So join us over the following 12 pages and start exploring our 50 exciting and stimulating project ideas. Use them as a springboard to kick-start your creativity and expand your portfolio.
A photo project can really help you to develop as a photographer and hone your personal style
GET SET, SHOOT
TECHNIQUES
Mix up your people photos with these ideas for portrait-project perfection
Portraits
A portrait doesnt have to conform to the headand-shoulders shot in the studio. Get your creativity going by selecting one-word themes to follow. The word haze for example, could be interpreted in the styling, lighting and model movement for more artistic images.
01 Work with a theme 02
Image Leroy Skalstad
05 Capture reactions 06 07
Shoot wide
Think about building a portrait project based around facial expressions. For realistic results, set up your camera discreetly and get your subject to watch a video clip or play a computer game that will encourage a range of great expressions.
Try something new with your portraits that youve never attempted before. Inspiration comes from experimentation!
OUTSIDE YOUR COMFORT ZONE
can as theyll help you get access and may even run your images as part of an awareness campaign.
Photograph strangers
Suck up your nerves and approach people in the street to request a quick portrait shot. Itll help boost your condence and build up your portfolio.
03 Add a touch of humour
Wide-angle lenses arent recommended for attering portraits but that doesnt mean you shouldnt use them to creative effect. Set yourself the challenge of getting some great images with a focal length thats wider than 35mm.
08 Shoot self-portraits 09 Document changes
If youre stuck for nding a willing model to pose, use yourself. Set your camera on timer mode or use a remote-shutter release. This is also a great way to practise a setup prior to a planned shoot as you can test lighting, clothing and techniques.
04
Bring in some comedy to the proceedings by nding inventive ways to photograph your models. Try capturing faces upside down or even blowing air at them for funny expressions. Throwing a bucket of water just before releasing the shutter is great for creative shots.
Make a change
Look into social issues that interest you and help make a change by building a project around the people it affects. Get involved with organisations if you
Photograph changes in your appearance over the week, month or year and put them together in a video sequence. Alternatively use the same principle to capture a child growing.
Recreate memories Dig out your childhood photos and recreate the memory by styling the shot and starring in it. This is a great project for family and friends to get involved in.
10
Levitation Take your portrait shoot to a whole new level by levitating your model in the scene. You can do this by working with your subject for some careful timing and jumping, or infuse a little Photoshop trickery to create the illusion.
TECHNIQUES
Finding a natural frame in a vista is a great way to lead the viewers eye into the scene
FRAMING LANDSCAPES
Shoot interesting vistas
Landscapes
12 Document a journey 14 Find frames
11 Join in the geocaching craze
Get involved with geocaching (www.geocaching. com) a real-life treasure hunt that requires a GPS device. Locate a spot and youll nd a container. Then go online and share your shots and experiences with others.
If youre off on your travels, use your camera to document the journey. This is great if youre riding the Trans-Siberian Railway or driving across Route 66.
13 Shoot seasonal changes
Select a location and return to it across 12 months to document how it changes over time.
15
Look for more creative ways to frame a landscape by searching for existing frames within the landscape. Bridges, trees, windows and door frames are ideal starting points.
Kevin Lajoie
Focus on a subject Create a photographic study of something that interests you in the landscape, whether its water towers, pylons or grafti. Seek these out in the landscape and nd new ways of capturing them in situ.
16 Set a challenge
Set yourself the challenge to shoot an entirely different image in the same location every 100 steps. Look at adjusting your settings, perspective and lenses to do this successfully.
Set yourself the challenge of shooting from different angles. Here, Kevin Lajoie has used a kite to capture aerial views
GET UP HIGH
17 Use creative lters
Delve into your cameras menu to see what kind of lter effects are available. Try out each one and embrace the fun in-camera effects to provide you with a whole new take on your landscape images.
net) shoots from the sky using kites and recently embarked on a 356 project that challenges him to shoot a aerial photo every day this year (bit.ly/Yrau7y) Kevin says, There is always something curiously satisfying and visually pleasing when looking down from an elevated position: views we just dont get to see from day-today. Attaching a camera rig to a kite line allows me to document and share these unusual views.
18 Get a fresh perspective
Take your photography to new heights by getting an aerial shot of the scene. Avoid the expensive plane-hire costs by exploring the possibilities of kite photography. Photographer Kevin Lajoie (www.aeriali.
19 Get down low
Restrict your view by shooting from a low angle. This will challenge you to consider perspective and composition more easily. Alternatively, try shooting from the hip all afternoon and see what results you get.
Capture the changing light Take a sweeping panorama image one step further by shooting multiple shots at the same location over the course of one day. Begin just before sunrise and keep shooting until after dark to capture the days light in its entirety. You can then blend your shots together in Photoshop to create a seamless and stunning day-to-night scene.
Image Michael Smolla
20
TECHNIQUES
Dominique Down
Time to get creative with your critter captures
Wildlife
21 Document a space 22
Raise awareness
Mark off a square metre of space in your garden with string and document the different plants, insects and animals that frequent the area over the year.
25 Work towards a set brief 26 Delve into the depths
Look into photo competitions that are specic to the genre you shoot and follow the set brief to enter.
Help educate and raise awareness of endangered animals by creating a series on the species that live locally to you. You might be surprised by how many species are classed as endangered.
23 Explore your surroundings 24 Select one subject

Take a photo walk along a well-known nature path with a group of other photo enthusiasts. Use this time to help each other improve by giving advice and assessing each others shots. At the end of the walk you can compare all of your images and see how everyone has a different eye for framing the same subjects.
Invest in some underwater kit and explore a new world. Keen underwater explorer and photographer Andreas Krber (sunanddive.com) regularly dives to combine his two passions. His moon jellysh shot was taken in Egypt at Banana Reef. He says, The hardest part was to get a sharp shot because on the day the sea was very rough. I stayed shallow between 5m and the surface and was shaken around by the waves.
27 Think long-term
Select one species of wildlife and build a project around their habitat and behaviour.
If you share a love for travel and wildlife photography, create a long-term project that involves photographing the native animals of a country in the wild. Dominique Downs (nomadic-brands.com) fantastic shot of the famed giants of the Galpagos is sure to inspire you. Dominique says, These giant tortoises are enormous, weighing up to 400kg, being nearly 2m in
Andreas Krber
length and living over 100 years. In trying to capture the sheer size of these fantastic animals I decided to get down to their level. He only took a few steps until he was practically on top of me. I was completely covered in lth, but I had my image and it was worth it!
Use hidden cameras Skittish subjects can be hard to capture. Use hides or hidden cameras to capture natural behaviours while remaining undetected. Setting up a camera in a bird box is a great way to capture a series of shots of birds as they nest, lay eggs and rear their young.
28
29 Record unusual behaviours
Consider a project that documents unique animal behaviours and look into these phenomena. Photographer Fiona Exon (bit.ly/YSr28R) recently created a series of images that capture the formations of ocking starlings. She says, Known as murmurations because of the soft sound that their multitudinous wings make, ocks of starlings ow like mercury in the sky.
Photographing the native animals of a country can be a very worthwhile project, especially if the species is under threat At shallow depths there is still plenty of light to get stunning exposures. Just make sure you have adequate waterproofing!
GIANTS OF THE GALPAGOS
JELLY INVASION
30
Capture up close Take a fresh approach to wildlife photography by photographing animals and insects up close. Use your macro lens to build a series of images around fur patterns and skin textures or even animal eyes.
TECHNIQUES
Macro
Enter the world of the upclose and miniature to capture mighty macros
31 Create a time-lapse
Plant a seed and document its life cycle. Ensure your kit is set up in the same position over the course of the project, this way you can create a seamless timelapse using all of your images at the end.
32
Be selective Simplify your brief and focus on shooting just one colour up close. Photograph a range of subjects that share the same shade by using a macro or zoom lens.
the ordinary look extraordinary 33 Make
Select everyday mundane objects and look for creative and inventive ways to capture them so that they appear almost abstract and unrecognisable.
34 Get in closer
Take a new approach to people and macro photography by getting up close to select parts. Pro photographer Suren Manvelyan (surenmanvelyan.com) focused one of his projects on capturing the human eye up close. He says, The idea to photograph a human eye was very natural. Nearly every photographer has tried to do this. I just followed Robert Capa. He said, If your photographs arent good enough, youre not close enough. My technique is [a] secret!
Take a creative approach to still-life photography by introducing new subjects within the frame. Miniature gures are great for creating microenvironments that show objects in a whole new light. Keep it lighthearted and make it fun. Photographer Jean-Luc Solliere (bit.ly/XSMEDT) began creating miniature still-life setups in 2011 after being inspired by the work of street artist Slinkachu. He says, I immediately liked the style of the images and the idea. I bought my rst set of characters and I started the project. For me, it is a way to clear my head without escaping my passion for photography. I always try to put my characters in situations so that you can see their actual size (scale 1:87). Anything is possible but I quickly realized that the simplest is often the most successful. Im always looking for new ideas and situations. I sometimes even take my camera and a few characters to work.
35 Create new spaces
36 Find fresh perspectives

Capturing refractions in water droplets is a great alternative way to frame a subject. Watch your focusing settings as you dont want to miss the mark!
Getting in close will help you explore and capture all kinds of beautiful natural forms
PATTERNS
Jean-luc Solliere
Framing small characters in everyday situations is a fun project to undertake

Jean-Luc Solliere
MINI WORLD
37 Photograph patterns 38 Keep it wide

Take natural frames to extremes by capturing refractions in water droplets
Get artsy and think abstract. Why not look into photographing patterns that appear in both natural and man-made forms? With a macro lens youll get some great, intricate results.
DROPLETS
Stick your aperture on its widest setting and spend a day documenting much brighter still-life subjects. This is a great way to test your exposure skills, as youll need to adjust your shutter speed and ISO for balanced results.
39 Set a macro challenge
Visit a popular landscape location with just a macro lens and explore all the unique picture possibilities.
Take a unique look at insect life by getting up close and personal to subjects that you wouldnt normally see in such detail. Photographer Paul Doran, who is also an active committee member of the midlands photography club (midlandsphotographyclub.com), loves to get outdoors and photograph the insects we see everyday in a new way. He says, The macro world is an overload of engineering, colour, beauty and repulsion. Theres no other genre of photography [that can] guarantee such a strong reaction... My four-year-old son and ve-yearold daughter often willingly march behind me with old cameras in search of bugs and owers. When you start looking for these bugs and beetles youll nd yourself spoiled for choice in choosing a subject.
the intricacies 40 Record of nature
TECHNIQUES
Kevin Lajoie
41 Photograph the night
Let your imagination run wild with your camera

Dont let the lack of daylight restrict you. Once night falls, use your torch, tripod and long-exposure settings to creatively paint light into the scene. Create a cool series of shots that focus on one subject, such as trees, or even create your own subject as photographer Kevin Lajoie did with his light domes. Domes in the lightpainting community are relatively new. It was a mystery for a while but once the simple method was revealed I wondered how to supersize it. Enter a trampoline frame, some painters poles, Christmas lights and a mate to do some heavy-duty DIY. The superdome was born.
Creative ideas
44 Go abstract
Create original images by nding inventive ways to frame your subject or scene. Shooting a reection is a great abstract approach and you can use lakes, rivers, glass and even puddles to do this.
47 Send a message
Start a photo-chain by taking a self-portrait and then sealing your SD card with a message and your email address into a watertight container. Send it out to sea or attach it to a balloon and see what you get back.
45 Experiment with the stars 46

Re-create iconic shots
Document astro events and build a project around signicant night-sky occurrences whether its a meteor shower, passing comet or red moon. On 14 April 2013 look out for Jupiter as it appears next to the moon and on 22 April 2013 prepare for the Lyrid meteor shower.
48 Create an online presence 49 Retouch an heirloom
Start sharing your shots with others online. Put aside some time to create your own DP gallery page and website. You can also use social media to market yourself and start earning money from your shots.
42
Think guratively
43
You dont always have to take a literal approach to photographing a subject. Try framing just the shadows that it casts. Youll need to pay attention to the direction of light for the best results here.
Look to the past for inspiration and consider re-creating some famous photographs or paintings. You dont have to take a literal approach; you can just look for inspiration when it comes to styling your shots.
Pull out all of your old negatives and prints and give them a digital makeover. Scan them in, import to Photoshop and give them a good touch up. Print them off to be put in an album or frame, which will make great presents for family members and friends.
Retell a tale Create your own photographic stills project and select a well-known movie or fairy tale to retell. Shoot a series of images and get creative with how you represent the characters, setting, narrative or even change the ending.
50
Adam Schmid
Create a narrative On your travels, take a toy or gurine with you and record its adventures. Photographer Adam Schmid (bit.ly/XW4UJL) spent a year creating and capturing Danbos journey. He says, My inspiration was simply to challenge myself. Im primarily a landscape photographer with an interest in HDR. I set out to challenge my creative side [and] my skills. Its made me rethink composition, lighting and the overall scene.
TECHNIQUES
Master architectural
Pro photographer Chris Humphreys guides you through the kit, techniques and tips youll need for stunning images
photography
Words by Chris Humphreys
Image Chris Humphreys
Architecture
hotographing architectural forms successfully can be challenging. It can often be a frustrating process, involving changing light conditions, messy spaces, street clutter, stray signage, unpredictable people and all manner of factors that are outside of our control. But when it all comes together there is nothing more satisfying than knowing youre about to capture a beautifully designed piece of architecture in the best way possible. Photography can bring a building or space to life and show the true design intent behind a space in a way that no other media can. It can capture light and motion, accentuate materials, enhance reections, and make a space feel bigger and brighter. But with geometry, proportion and perspective being critical to successful architectural photographs, you need more than just a basic grasp of composition to be successful. You also need to understand how to make
the most of your kit and have one eye on how you want the nal image to turn out. Having an awareness of architectural styles will also stand you in good stead. A boxy Bauhaus towerblock will require a completely different compositional treatment to a soaring Gothic cathedral spire, for example. Books and city guides can help you develop an understanding of key architectural styles or vernaculars so you can plan your approach. Over the next few pages we guide you through the way the professionals go about shooting architecture. Youll learn about composition, good-practice techniques and how to set up your kit to optimise your captures. We will touch on the lenses that work well in different scenarios and how to deal with difcult lighting situations. We also talk to two working professionals about two very different aspects of architectural photography and how they go about producing striking images. 8
Incorporate the surrounding space into the image to help lead the eye up into the structure youre shooting
EMBRACE THE SPACE
TECHNIQUES
Chris Humphreys
4
01 02 03 04
elements of a great shot
The window to the right, structure to the left and textured decking lead the eye into the shot and beyond.
The framed view is placed in the top third of the frame for a pleasing composition. This is also reinforced by the reflection in the window. The white swing chair has been included in the corner of the frame to anchor this side of the photograph. Its tone contrasts nicely with the decking. The tonality of this image works as it is largely dark, but balanced out by the focal point (the view) and the anchor (the chair).
Chris Humphreys
Including the outside scenery within the frame is a great way to add in more visual impact
BRING IT TOGETHER
Architecture
There are many factors that go into making a pleasing architectural photograph, and one of the most signicant is composition. Building structures by their very nature are geometric forms, so using this geometry to give the photograph a good sense of balance and proportion will help to create a pleasing image. Conversely, a poorly balanced shot with odd proportions will result in a very weak photo, no matter how interesting the subject and lighting. There are many methods of creating pleasing compositions which can be used individually and in combination. Making the conscious decision to think about these as you are framing a shot will seem laborious at rst, but will soon become second nature as you learn to recognise certain elements in a scene. When shooting a large building and trying to give it some context, look for lead-in lines within the landscape that will draw the viewers eye into the shot. These might be trees, hedges, footpaths, railings and so on. You might also nd lead-in lines in a large internal space; look around for aspects such as stairs leading up to a focal point, strong patterns in the ooring material or pick up on strong geometry in exposed structural elements. However, the use of lead-in lines is not always completely necessary. If the focal point itself is strong enough, the viewers eye will be drawn there anyway. Something as simple as a brightly coloured piece of furniture or a well-lit entrance can be appealing. Think about where in the shot to place the focal point to make the composition work. Dead centre might be a bold statement and works well with symmetrical shots, but it is often better to place it off-centre using the rule of thirds as a guide. With symmetrical shots it is a case of all or nothing, if you are going to do it then make sure every element of the shot is perfectly balanced. The camera needs to be levelled and parallel to the target so the shot reads well in both the vertical and horizontal planes. Usually the shot would be based around a strong feature that would work well being centred. 8
The best tools of the trade for shooting structures inside and out
NIKON D800 CAMERA BODY
Website: www.europe-nikon.com Price: 2,600/$3,000 Nikons D800 has a 36MP CMOS sensor which produces staggering quality images with a massive dynamic range. Live View is a joy to use and live histograms enable quick and accurate exposure settings for captivating photos.
Essential kit for architectural shoots
NIKON 14-24MM F2.8 G AF-S ED LENS

Website: www.europe-nikon.com Price: 1,670/$2,000 When you are backed into a corner trying to make the smallest of interior spaces feel bigger, only a wide-angle lens will do. This lens produces superbly sharp images right to the edges of the frame and at its widest setting.
MANFROTTO 055XPROB TRIPOD

Website: www.manfrotto.co.uk Price: 170/$223 Stability is critical for long exposures and the aluminium 055XPROB tripod is a good compromise between stability and lightweight. It also has a removable main stem which can be rotated to a horizontal position, very useful for shooting over balustrades.
Seek out simple ways to ensure a structure stands out, such as turning on the inside lights
COMPOSITION
We speak with Andrew Lee about photographing stunning images as the light begins to fade
Name: Andrew Lee Bio: Andrew has worked almost exclusively as an architectural photographer since 1996 after studying Fine Art Photography, following several years of being a keen amateur. He uses Phase One medium-format digital backs (IQ160) with a Linhof 679CS monorail and Rodenstock lenses. www.andrewleephotographer.com Your dusk shots have a wonderful sense of drama, what makes a good dusk shot for you? It may sound obvious, but for a shot to work, there usually needs to be a high proportion of the building that is either window or that is lit by its own external lights. Often the justication for a dusk shot is to allow the viewer to see into the building from the outside. Therefore, the appearance of the interior is as important as the exterior. It is also important that a dusk shot doesnt turn into a night shot with no detail in unlit areas. How do you go about achieving the perfect balance of interior articial light and external ambient light? Dusk is a very brief moment. It can sometimes only last for ten minutes. However, except in very rare cases, the camera cannot capture the human eyes perception of dusk in a single exposure. I set up my camera well before sunset and continue taking exposures until it is dark. The rst exposures are for foreground or background areas. Next, I record the building exterior followed by the interior. Finally, I expose for the sky once the sun has fully set and combine the shots manually in Photoshop. Tell us some key tips for dusk captures? In modern public buildings, many lights are controlled by light sensors, movement sensors and timers. You might need an assistant inside the building to reactivate lights that turn off automatically. It is also important to anticipate how street lighting might impact the shot: will some exposures need to be made before it comes on? What has your most challenging shoot been to date? A shot of the ats in Golspie St, Glasgow. I had to knock on about 40 doors to get lights on and curtains open.
Captures at dusk
Website: www.manfrotto.co.uk. Price: 410/$556 A geared head is a must for any architectural photographer, cameras will often need to be levelled particularly when used with a tilt-and-shift lens. The precision controls on the Manfrotto 405 head combined with its quickrelease feature make it ideal for quick set-up times.
MANFROTTO 405 GEARED HEAD
NIKON 24MM F3.5 PC-E TILT & SHIFT LENS

Website: www.europe-nikon.com Price: 1,800/$2,200 Nikons outstanding wideangle tilt and shift lens is the favoured lens of many an architectural photographer. The shift mechanism allows vertical lines to be corrected without post-processing and the rotating bezel allows awless stitched panoramas to be taken easily.
TECHNIQUES
Familiarise yourself with the architectural shooters key imaging tool: a tilt-shift lens
You can eliminate converging verticals on any lens by levelling the camera, however in most cases this means missing off the top of a building. Most architectural photographers only use the shift mechanism which allows the image frame to be moved vertically or laterally to capture a different part of the image circle. Tilt-and-shift lenses also feature a rotating bezel which allows two different frames from the same image circle to be captured and stitched to create a panorama.
Learn to shift
Level the camera The most important step is to level the camera to give true verticals. It helps if you have spirit levels on the tripod head and fine adjustment makes things easier and quicker.
Manual focus and exposure Manually focus the lens, use Live View and zoom in to the area you want to focus on. Set exposure before shifting and use the live histogram if you have this available.
Making the shift Shift the lens up or down depending on where you need the frame moved to in the image circle. To do this unscrew the locking nut on the side and wind the shift screw. 52 DIGITAL PHOTOGRAPHER
Rotate and stitch If you need to create a wider shot but with some vertical shift, you can do this by shifting more than you need. Rotate the lens bezel left and right and then stitch the two images together in post-production.
Architecture
PERSPECTIVES
Consider the perspective that you shoot bold structures from to show them in the best light
Big spaces can be quite daunting to shoot as there is often too much visual information to capture. In these cases try breaking down the shot into smaller elements which work as their own mini compositions. The same applies for larger compositions, just think on a smaller scale. For instance; patterns in a oor, xed furniture or rooms with a view where the view through the window is the main element. Big external scenes also need to be well balanced. A large building set in a wide space can look isolated without something to anchor it. In these cases, look for strong elements to include at the edges of the frame to balance the composition. You might include some foliage in one corner of the shot to balance a building which is off to the side for example. Light and shade also has a big impact on the composition of a shot, this can be as basic as how much or little sky to include, or detailed as whether to boost the shadows in one portion of a room with a little ll ash. The key is to recognise how deep shade or strong light can help to balance a shot to draw the eye to a certain portion of the scene. As well as good composition, you do of course need to employ good technique to ensure you
capture the best-possible data for post-processing. If you consider the many different types of shot you might come across on a shoot; external, internal, dusk, detail, wide, panorama to name a few, they all require a slightly different approach, but some simple base settings will give you a sound starting point. Assuming you have the minimum kit necessary to get started (tripod, camera and wide lens), start by levelling your camera (particularly if using a tilt-andshift lens). A tripod head with a spirit level that has plenty of ne adjustment is useful. Failing this you can buy a hotshoe-mounted level for around 10 that does the job nicely. With your camera levelled you know that any shot you take will have true verticals. For tripod work with wide lenses, set your camera to its lowest native ISO setting. Do some research on your lenses and nd out at what aperture the high-res sweet spot is, it is likely to be around f11 to f16 after which diffraction starts to come into play. Set your aperture accordingly for maximum front-toback sharpness, it is a good idea to use a hyperfocal distance calculator and memorise the focus distance for you widest lens setting. On a 14mm lens at f14 for instance the hyperfocal distance is 0.75m.
Set up your shot using the ground rules for good composition and take a look at it through Live View. This is a particularly useful tool and from here you are better equipped to make your nal tweaks. Dont forget to check if your camera is level again. If your camera has Live View with a histogram, use it to adjust shutter speed accordingly. If not, you may need to make a test shot rst to ensure correct exposure. Using Live View, set your focus to an object in the foreground, preferably at or just beyond the hyperfocal point. Take a test shot and check the sharpness. For shutter speeds over 1/60sec it is good practice to use mirror lockup and a remote release. For longer-focal-length shots and hand shooting on the y the camera setup is slightly different. These types of shot are good for shallow-depth-of-eld images for focusing on a detailed part of the scene. If you are shooting indoors you may need a higher ISO, so to make things easy on yourself set your camera to auto ISO mode and set the maximum to around ISO 3200. Use aperture priority mode and set your aperture to something around f2.8. You can then concentrate your attention on selecting the right part of the scene to focus on.
TECHNIQUES
Shooting exteriors in good light is really all about waiting for the sun to move around to the right position and employing good composition and shooting techniques to capture the shot. Interior shots however require a little more consideration and can present more challenges. This is largely due to high-contrast lighting between the inside space and outside views through windows and the added complication of articial lighting. You will also face challenges from small spaces, reective surfaces, furniture and clutter. Your instinct may be to reach for your widest lens to capture as much of the scene as possible, but you
should consider how this will make furniture and objects in the foreground appear. Wide-angle lenses can distort objects in the foreground and detract from the nal image. It is sometimes better to shoot with a slightly longer lens, around 24mm, to give a more natural look to the shot. If you are taking a general wide shot of an interior, set up your shot and take a look at the Live View screen to adjust for composition. At this point you may want to move furniture slightly, remove unwanted objects from the scene and turn on or switch off lights. Dont be afraid to make the shot work for you rather than accepting what is in front
of you. Consider using people in the shot to create movement and interest it may take more than one attempt to get the placement right. For very large interiors, consider shooting with two different focal lengths for alternate nal images. The human eye has an equivalent focal length of roughly 45mm so a good 50mm lens is useful here. You will most likely need to deal with extreme dynamic range at some stage, shooting from a dark inside space to a very bright exterior through a view can be problematic. HDR is the obvious solution but it rarely works well for clean architectural shots. The best option is to expose one shot for the interior
Architecture
We speak with David Thrower of Redshift Photography about capturing striking interiors
Pro interior shoots
Name: David Thrower Bio: David started Redshift Photography ten years ago with a view to providing high-quality interior and architectural photography aimed specically at lighting manufacturers who produce ttings for ofces and shops. He now produces work for a large client base and also has a small product and portrait studio. www.redshift-photography.co.uk When shooting interiors do you use any additional lighting or just whats available? If Im shooting small hotel rooms I will take along some ash to provide some ll if needed, but for the vast majority I use available light. I try to keep postproduction to a minimum for the sake of my assistant Toni. I use an expo disc and a colour temperature meter to ensure the white balance is correct (especially important in mixed lighting conditions), and also use a light meter to check the exposure is right too. How do you deal with extreme contrast shots? If the room is small then ll ash is great (especially for rooms with dark nishes and large windows) but for larger interiors HDR is the answer. Straight out of the software (Photomatix) HDR images look unnatural so we do extra work to make them look more realistic. What are your thoughts on using super-wideangle lenses for interiors given the distortion, and do you have a favoured lens for interiors? I love my Canon 24mm tilt-and-shift lens and my 17-40mm lens for interiors. I always work with a tripod and use a bubble level to make sure the camera is totally level to avoid any difcult distortion. Lightroom and DXO both offer very good autocorrection for the 17-40mm lens which is a great help. If I need a wider view than the 17mm will allow. I like to take a series of shots with my tilt-shift lens and stitch them together to create a large super-wide pano with minimal distortion. What essential piece of kit would you recommend? Sorry to be boring with this one but a sturdy tripod is very important. If you can afford a tilt-shift lens when starting out I would strongly recommend one. How do you go about pinning down a brief with a client that doesnt know exactly what they want? We have brief form on our website that our clients can download and we do encourage them to ll this in. Just make sure you talk the project through fully to get a feel for the type of pictures they like. What interior space do you nd challenging to shoot and how do you approach this? Dark moody restaurant interiors. I do rely on HDR techniques quite a lot. Take a good series of exposures and aim to get an accurate colour-temperature reading too. Interior designers dont like to see their hard work look a funny colour when they get the shots back.
scene and one for the exterior view through the window (though expose this slightly over-metered to give a more natural appearance), then blend these shots manually in post-production. It isnt an easy technique to master but is worth the effort as it gives you ultimate control over the balance of exposures. When shooting from an articially lit internal space to and external view you will also need to deal with the differing colour temperatures. If you set your white balance for the interior space it will make the light coming through the window and the view outside look very cold. You can deal with this in one of two ways. Assuming that you have RAW
Think carefully about how the light, camera angles and settings will affect the way the space is recorded in-camera
INTERIOR INSPIRATION
les, you can either create two exported shots, one with an interior white balance and one exterior and then blend manually. Or you can use a selective adjustment tool in Lightroom or Adobe Camera Raw and take out the colour shift in the RAW le. As for external shots, look out for nice internal details to shoot. These work well with shallow depths of eld to place emphasis on the part of the image in sharp focus.
David Thrower
TECHNIQUES
Top 10 tips for architecture

White rooms Bright-white spaces will fool the camera into underexposing. You will usually need to overexpose these shots by around 2/3 of a stop, but make sure you check the histogram.
01
If a space is a little uninspiring, try getting close and shooting with a wide lens to create drama and dynamic perspective
SHOOT CLOSE & WIDE
02 COLOUR CASTS
Look for shifts in colour temperature when shooting from inside to outside. Shoot RAW and use a selective adjustment tool in the RAW le or a local Hue/ Saturation adjustment in Photoshop to balance the shot. Look for opportunities to shoot from one room to another, this allows the viewer to link the spaces and visualise themselves there. Use a doorway or opening to frame the view.
03 ROOM TO ROOM 04 REFLECTIONS
Look for yourself or unwanted clutter in reective surfaces, you may need to move position. If a reection cant be avoided, position it against a plain backdrop for easy cloning.
05 TRUE VERTICALS 06 POLARISERS 07 PEOPLE
Pros use a tilt-and-shift lens to achieve true verticals but you can get the same effect by using a wideangle lens and levelling the camera.
When shooting through windows, control reections with a polarising lter, this allows you to see through into the interior more clearly if that is what you want to achieve. They will also help to deepen blue skies.
People can enliven a shot and provide context. Shutter speeds of 1/3 to 1/2sec work well. Lateral movement across the frame is the most dynamic.
08 FOCAL LENGTH
Super-wide lenses arent always best for internal spaces. Think about using a 50mm lens occasionally for a eld of view closer to that of the human eye and a more natural appearance. Longer shutter speeds when shooting indoors will mean more chance of vibration and blur in the shot. Get into the habit of using mirror lock up and a remote release. When shooting on soft carpet take extra care to stabilise the camera. You can create impact and a more architecturally pleasing shot by shooting square-on to a wall plane. Use the grid view in your Live View mode to align with DP horizontal and vertical lines in the scene.
09 MIRROR LOCK UP 10 SQUARE IT UP

Architecture
Andrew Lee
IMAGE EDITING
Create a panosphere
I
Discover how to create your own miniature world from a landscape photograph
n this tutorial well be taking on the role of creator as we show you how to edit together your own miniature world in Adobe Photoshop. Were creating a panosphere using some of the softwares fantastic tools, including the rarely used Polar Coordinates lter. Youll learn how to crop, align and transform your straightforward landscape scenes into creative new worlds in practically no time at all. For this tutorial, well be using our own panorama cityscape image to transform into a mini globe. However its entirely possible to create a great panosphere using a standard landscape photograph too. Just bear in mind that it wont be as detailed or as good quality up-close as a result. You can create a panosphere from almost any image too, not just a cityscape. Once youve completed this tutorial, why not experiment? For the best results, always ensure theres space in the foreground on your starting image and enough interest above the horizon line to create a three-dimensional planet. Its also important to ensure that the horizon is straight so that both ends of the image align easily, but you can always straighten it up in Photoshop if necessary. Once youve selected the right image to use, you can start following our 13 simple steps. Well start by taking you through the essential improvements rst before moving onto using the Polar Coordinates lter, Clone Stamp tool and layer masks. When youve successfully created your panosphere, you can atten the layer les, save your image and share it online with us via the Digital Photographer gallery. So get started today by loading up Photoshop, following our steps and sharing your unique shot with others online.
Crop, align and transform your straightforward landscape scenes into creative new worlds
Before After
Follow our tutorial and learn how to turn your landscape or city scene shots into a miniature planet
Make essential improvements Once youve chosen Select a scene Before you begin, flick through your Crop in closer Now click on the crop tool from the your start image, prepare it to become a great 2 image library and select a suitable start photo thats in 1 tools palette and select the entire image. Drag in either 3 panosphere. At this stage, make any tweaks to the images landscape orientation. If you want to work with a panorama side of the crop selection to two points in the image that like us, youll need to merge and blend your image sequence together. Use the Photomerge tool to do this. overall exposure or colours using the Curves and Color Balance adjustment tool. may meet up well when joined together. Avoid cutting a structure in half.
Create a panosphere
Rotate image 180 Once youve made your crop, youll Use Polar Coordinates To create your panosphere, Clone out join Once the effect has loaded, zoom in and need to flip the image 180. Doing this will ensure that you need to select the Polar Coordinates filter via remove the hard joining edge by selecting the Clone 4 5 6 the image wraps the right way around when both ends are Filter> Distort> Polar Coordinates. In the dialog box select Stamp tool. Adjust the brush size and select a high Opacity, joined together. To do this, go to Image> Image rotation> 180. Youll see the rotation instantly. Rectangular to polar and click OK to successfully join one end of the image with the other. then holding down the Alt key, select a clear area to copy and paint over to paste.
IMAGE EDITING
Balance the exposure One end of the image will naturally be lighter than the other. To blend them 7 together for the panosphere, use the Levels adjustment
tool. Focus on improving the darker side by pulling in the Highlights and Midtones tab.
Match colour tones You may find that you also need to match the colour tones, particularly within the sky. Use the Colour Balance adjustment tool to do this and then use layer masks to remove unwanted adjustments to one 9 half of the image. Use layer masks Ignore the effect this will have on the image as a whole and add a layer mask. Invert the mask 8 and select the Paintbrush with the foreground colour set to white with a high Opacity. You can now bring back the adjustment on select areas of the shot.
Panosphere perspectives
Your panosphere doesnt have to be constructed out of a panorama, you can also use a standard landscape image. To create a good panosphere, use a shot that has a structure or object that sits above the horizon line, this will help give your panosphere a more three-dimensional look as it will jut out around the edges. You dont have to use a cityscape shot either, bridges can also look great in a panosphere provided youve shot from the right perspective.
Add a radial blur In the corners of the frame, youll Neaten the corners Once the blur has loaded, add an see where Photoshop has added information as the 10 inverted layer mask. Using the Paintbrush tool again 11 image was joined together. To get rid of these diagonal lines, with the foreground colour set to white and a relatively high go to Filter> Blur> Radial blur. Select Spin, Good and around 10% amount. Opacity, gently paint over the corner edges to remove the appearance of lines.
Compress the image Flatten all of the working layers Add to a blank canvas Due to the original panorama, and then duplicate the background layer. Click on the panosphere will be full of detail. You can create 12 13 the new layer and press Apple+T to free transform. Drag in a new blank canvas to the size you want to print or one of the sides to compress the image and create a fully circular panosphere. share and then drag your circular panosphere on top. Now adjust the size, flatten layers and save.
DP
IMAGE EDITING
After
Discover how to get punchier black-andwhite shots using the Dodge and Burn tools in Photoshop
Before
Dodging and burning
On the disc Start photo
Load up your disc and follow along with us
Use Photoshops Dodge and Burn tools to add controlled contrast to your monochrome captures
hotoshops Dodge and Burn tools are the digital equivalent to the darkroom techniques that share the same name. These tools are much easier to master and dont involve the same level of skill that was required in the days of the darkroom. For those who are unfamiliar with these tools, Dodge is for lightening select areas of your image while Burn darkens. Dodge and burn techniques are commonly used when developing or converting images to monochrome. Use them to successfully increase contrast in select areas, which will help to enhance the appearance of depth. To help you get started weve put together a simple three-step tutorial. Join in using your own start image or work with the same one that we are, which can be DP downloaded for free from your free CD on p131.
Once youve dodged and burned your image, you can go back to correct mistakes or remove parts of the effect from areas using a layer mask. Add a layer mask to your dodge-and-burn layer via the Add Layer Mask tab at the bottom of the Layers palette. Click on the white box to activate it and select the Brush tool. Set a brush size and high Opacity with the foreground colour set to black. You can now paint over areas of the image you want to remove the effect from.
Layer mask control
Prepare the layers Once youve converted your image to black and white, duplicate the background layer via, 1 Layer> Duplicate Layer. Now select the Burn tool from the
Tools palette and adjust the Brush size at the top of the screen to a small/medium diameter with a soft round edge.
Darken with Burn Select Midtones from the range Highlight with Dodge To bring out the newly shaded drop-down menu. Build on the effect gradually by areas in your shot, enhance the highlights. Select the 2 3 keeping your exposure below 15% and brush over areas you Dodge tool from the Tools palette and select your brush size. want to darken. You can change the range as you work to affect highlights and shadows too. Stick to working in the Highlights and Midtones range with the exposure no more than 10% and lighten up select areas.
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IMAGE EDITING
Helpdesk
DPs Matt Bennett gives you advice on enhancing portraits, xing bland skies and ensuring your black-and-white images have impact
After
Using Photoshops Gradient facility is a great way of quickly and easily improving a sky like this
Before
Adding drama
Im fond of converting my images to black and white using Photoshop but Im never happy with how my skies turn out. Im looking for a way to make them appear a little bit more interesting. Any quick tips you can suggest? John Field Some say that converting to monochrome is a standard remedy for images that arent up to scratch, but
nothing could be further from the truth. Black and white doesnt always suit every image and many photos really wont work well at all in mono; our rst bit of advice would be to choose which images you convert to black and white very carefully. To end up with monochrome images with dramatic skies you will need to start out with colour photographs that have reasonably dramatic clouds in the rst place. Adding gradient adjustment layers to your shot in Photoshop provides an excellent means of adding
drama to a sky. To create a Gradient adjustment layer, ensure that black is your foreground colour and click on the Add new ll or adjustment layer button at the base of the Layers palette. Make sure that the Gradient effect being used is foreground to clear by clicking on the drop-down menu at the top of the Gradient Fill dialog box and selecting the second preset along. Check the Reverse box to ensure that the Gradient affects the sky (as apposed to the foreground). You can also adjust the angle of the Gradient if you wish. Next, click inside
Helpdesk
OF THE BEST
HIGH PASS
A high-pass filter is very versatile and can affect your shots in various ways. Create a duplicate layer and change the blending mode to Soft Light. Go to Filter> Other> High Pass and try an initial Radius of 16.
RADIAL BLUR
Hit Filter> Blur> Radial Blur and select either a Spin or Zoom effect. Click Best quality and use the Blur Center box on the right to adjust where the sharpest point is. Unfortunately, you cant preview the effect.
DIFFUSE GLOW
This is a great way of making the highlights in your images take on a slight or dramatic, if you prefer glow. In Photoshop CS6, go to Filter> Filter Gallery and then go down to Distort> Diffuse Glow.
QUICK FILTER EFFECTS IN PHOTOSHOP
THIS ISSUE:
Vignetting problems
I hope you can help. This image has dark corners, which I didnt notice when I took the shot. If I lived nearer to this location Id simply go back and shoot the picture again but I took this on holiday. Is there anyway to x this problem that doesnt involve cropping? Craig Ogden This is a classic case of vignetting, Craig, which is a common problem caused by either lens hoods or lters. Fortunately, this can be xed using Photoshop, although it can be a little bit ddly to do, depending on the nature of the image. There are many ways of correcting this problem, and which one is best will vary according to the photo itself and the extent of the problem. Here we have opted for some cloning using layers and the Free Transform tool. We started with the upper left-hand corner and used the Lasso Tool to select a nearby patch of sky to place over the top of the dark corner. Go to Select> Rene Edge and feather the selection, and then press Cmd/Ctrl+J on your keyboard to transfer this small area of sky to a new layer. Now use the Move Tool (V) and Free Transform (Cmd/Ctrl+T) to reposition Step 1 Ensure that you are working on and resize it to eliminate the dark corner. Then its a case of a duplicate layer. Make a selection of an repeating the process for the remaining three corners. area of the image that you wish to use as a
Before
Lens hoods and filter systems are common causes of vignetting, where the corners are darkened in an image
replacement for the first dark corner and feather this slightly.
Step 2 Press Cmd/Ctrl+J on your keyboard to copy this area of the image to a new layer. Then hit V on the keyboard and drag the replacement area over to the relevant dark corner.
Step 3 Now use Cmd/Ctrl+T to bring up the Free Transform dialog box. This will allow you to rotate and resize the selection that you just created so that it best fits the corner that requires replacing.
the actual Gradient in the dialog box to bring up a second dialog box. Here, go to the right-hand white slider and drag this to the left to adjust where the Gradient will cut off in your image; youll see the Location % change as you do this and youll also see a live preview of the effect. Once youre happy, click OK and return to the Layers palette. Now, simply change the blending mode of the Gradient adjustment layer to Soft Light or Overlay for a more intense effect and youre all done!
Careful editing can fix the problem, although its obviously an issue thats best avoided in-camera as far as possible
After
Step 4 Flatten the layers and then carefully use the Patch Tool (J) to ensure that the corrections youve performed are not visible.
IMAGE EDITING
Portfolio processing
This photo is of a lovely model whom I was fortunate enough to photograph during a recent portrait photography workshop. Im generally pleased with this particular image but what effects could I try in Photoshop to make it look more professional? Angela Hewitt You are quite right to be proud of this shot, Angela. The image is well exposed and the way youve tilted the camera angle slightly helps contribute towards a really dynamic composition. You dont specify precisely what kind of effect you are interested in, and its very much a matter of taste and personal preference, but we think a slightly crossprocessed result would work well here. However, before moving on to that, use the Patch Tool (J) to remove as many stray hairs as possible from the models face, and use the Dodge Tool (O) to brighten her eyes slightly. You can also make a selection of the model using the Freehand Lasso Tool (L), invert the selection and then feather it before using the Curves (M) tool to darken down the edges of the image. To create the cross-processing effect, use Curves (M). In the main RGB channel, create a slight S-curve to boost the contrast, while in the Red channel try adding a touch of cyan to the shadow areas and a small degree of red to the highlights. Then head to the Blue channel and add yellow to the Highlights and blue to the Shadows. To nish the effect, duplicate the layer, add a subtle amount of Gaussian Blur (via Filter> Blur> Gaussian Blur) and change the blending mode of the layer to Screen fading the opacity down to 50%.
Before
After
This is a strong image, and Angela has done a great job with her composition and exposure. We think that a subtle cross-processing look in Photoshop finishes it off very well
NEED SOME HONEST PRO FEEDBACK? Get in touch with us, email your queries to team@dphotographer.co.uk, post a thread on
Helpdesk
Level horizons
I recently attended a landscape photography workshop, which was really great and taught me a lot. However, the course leader advised the use of a spirit level that slides into the cameras hotshoe. My camera has an electronic horizon level built-in so surely theres no need to use an oldfashioned spirit level? My horizons look level to me! Douglas Boyd
After
Its simple to correct this problem in Photoshop, but at the slight expense of pixels. Instead, use a basic bubble level, which allows you to check how level your camera is relative to the true horizon quickly and easily
Electronic horizon indicators can be useful but arent always accurate if they are not calibrated properly
Before
Youve certainly got a point, Douglas. Modern cameras and Photoshop do negate, to an extent, the need for some old-fashioned techniques and items of kit. However, your cameras electronic horizon level may or may not be 100 per cent accurate. Being honest, the image youve sent in to us doesnt have a perfectly straight horizon, so it could be that your cameras level horizon feature isnt completely accurate. The other possibility is that you may have slightly altered the composition, perhaps even accidentally, after initially checking the horizon. Fortunately, you can x that in Photoshop using the Ruler tool (I), which sits in the same menu as the Eyedropper tool. Drag this across the existing horizon and then click Straighten Layer at the top of the interface. The Ruler tool will work its magic and straighten the horizon for you. Traditional hotshoe spirit levels have the added advantage of allowing you to watch for movement during long exposures, so dont disregard them entirely!
Sky replacement
I took a series of photos of this scene last summer but wasnt happy with the bland and washed-out sky. Ive read online that you can merge a sky in from another photo and Ive snapped some potential candidates but I am not sure how to go about that. Can you give me some pointers? Simon Rattle To achieve this Simon, rst of all its pretty vital that the sky you intend to bring into the main scene is convincing; fortunately, the images youve sent into us all t the bill perfectly! Use the Move tool (V) to drag the replacement sky over top of the main scene, and then use the Free Transform tool (Cmd/Ctrl+T) to resize the sky so that it ts the original scene better. Hold the Shift key to avoid distorting the clouds unnaturally. Lower the opacity of the layer containing the sky and add a Layer Mask at the base of the Layers palette. Its then a case of using the Brush tool (B) set to either black (to paint out) or white (to paint in) to blend the sky with the main scene. Lower and increase the Opacity of the Brush tool (B) as DP you work for convincing results.
After
By bringing in a new sky from a different shot and performing some careful blending, we can improve the image considerably
Before
The sky is overexposed and uninteresting, which spoils the image. A bit of work in Photoshop can solve this problem
Step 1 Use the Move tool (V) and drag the sky onto the main image. Use Free Transform (Cmd/Ctrl+T) to reposition and resize the sky to suit the image.
Step 2 Add a Layer Mask and then lower the opacity of the layer containing the sky to around 50-60%. This allows you to see what you are doing.
Step 3 Try adding a Curves adjustment layer as a clipping mask to subtly adjust the lighting to make it match the original scene.
Step 4 Remember to adjust the opacity of the Brush tool as you work, which will help you to fine-tune your blend youll get much better results this way.
our online forum at www.dphotographer.co.uk/forum or write to our postal address were here to help!
PORTFOLIO
Images by James Houston
James Houston
Houston, we have a
James Houstons new book is aimed at raising awareness for the environmental issues that plague the world but the fashion and celebrity photographer addressed this in his own inimitable style
problem
Try lecturing someone about changing the world for the better and youll be inevitably met with a glazed expression. People will literally cross to the other side of the street when theyre hit with reality spam (someone wearing a brightly coloured jacket, carrying a clipboard and wanting to intercept you during your lunch hour), no matter how worthy the cause. Photographer James Houston was fully aware of this fact when he set out to stir some awareness for the environment; he knew he had to make Mother Nature sexy. Alongside my usual beauty and commercial work, I always want to create images that make a difference and I was noticing stories that young people werent connecting to environmental causes as much as wed like to think, he tells us on the phone from New York City. I think they were disconnected from it because the focus is always on whats missing and whats disappearing, rather than what we have got to be grateful for and the beauty that exists in nature right now. With this, the concept for his latest book was conceived. Natural Beauty would feature some of the worlds most recognisable faces in a series
A conceptual beauty shot of Emma Watson signifying her rebirth as she matures from child to woman
EMMA WATSON
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of themed shoots inspired by the elements, seasons, landscapes and even creatures. A year later and the 120-page book is ready to hit the shelves and raise awareness and funds for the partner and beneciary of the campaign, Global Green. In todays world you have to look at what is going to get peoples attention, he continues. Images are very powerful theres Instagram and Facebook everyones looking to images to communicate messages. The images in Natural Beauty are very strong and powerful but the fact [that] they involve some of the top models and celebrities in the industry, shot in interesting and creative ways, is denitely going to have some traction. The by-product is raising awareness and getting people to consider a cause. I wouldnt shoot celebrities planting trees because it wouldnt have as much of an impact as the images in this book. Cleverly, James combined two of his biggest passions, the human form and the natural world, featuring the likes of Emma Watson, Christy Turlington, Brooke Shields and Elle Macpherson. One of his favourite shoots was inspired by jellysh; ocean dwellers that have lived for over 500 million years. Ive always had a fascination with jellysh and I studied them before the shoot, looking at how theyve been photographed over the years, he explains. I really wanted to transfer that feeling into an image with a girl, and thats how I came up with the idea of shooting [top model] Anja Rubik underwater with chiffon. The oating fabric mimics a jellyshs body pulsing through the water, and the coral reef-coloured lights complete the transformation. Another of Jamess best-loved series stars a muddied and rain-splattered Emma Watson caressing a ower. Its all about the rebirth of nature and Emma going from a young girl to a woman as an actress, he says of the Harry Potter alumnus. Each high-grade imaginative image had to be pitched to the celebrities rst to make sure they were on board with what James wanted to throw at them. Models need to know less than celebs, James tells us, you can tell them at the shoot, but when youre working with high-prole personalities its their image as well so you need to make sure theyre on board with everything. Theres a lot of nudity in the book so they needed to be comfortable with that. Shoots lasted just three hours, so agreeing on concepts beforehand saved crucial minutes on the day, and you can see how it all unfolded when a series of behind-the-scenes webisodes are released in March 2013 (www.houstonphoto.com). The key to capturing such spectacular shots was to put the subject at ease and deliver clear and focussed direction. James has honed this skill over his 25-year career: Firstly outline what you want to achieve with the shoot and then direct them through it so they feel condent, he advises. Celebrities arent models so theyre not sure if what theyre doing looks good. You need to reassure them [that] it looks terric. My goal is to not only do something thats really edgy and modern but also create an image that they will love. If they dont feel beautiful then they wont feel like their time was worthwhile spent. Obviously with a community project like this, theyre dedicating their time for free so you want them to feel proud of what theyve helped produce. The entire contents of Natural Beauty were recorded on a Canon EOS 5D Mark II under a 8
Anja submerged in the custommade aquarium built specifically for this project, with coloured gels attached to the lights
ANJA RUBIK
James Houston
We shot Eniko in a magnolia tree on a very chilly spring afternoon in Central Park in the middle of a short magnolia season
ENIKO MIHALIK
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A piece of coral was attached to Elettras head and she was photographed silhouetted against a white silk
ELETTRA WIEDEMANN
Everyones looking to images to communicate messages
variety of lighting conditions. As a native of Australia and having spent some time living in Greece, James has plenty of experience working with natural light. Now hes based in New York, he spends most of his time in the studio and prefers to use a continuous lighting system as opposed to strobe. That way, you can see where the shadows are falling, he points out, and theres something beautiful about the way constant light falls on skin that can be lost when shooting with strobe. It can kill the moment. I like capturing how the skin looks for real. Part of his mission to make skin look as tangible as in real life means only using the lightest of Photoshop retouches. Theres something beautiful about an image thats simple and straightforward and just a beautiful subject, you dont need to over-compensate. So many images today are over-retouched and you cant see the texture of the skin anymore, thats why Ive spent so much time over the years nessing my lighting. Before dedicating years to a career in photography, James started out as a sculptor. Inuenced by the almost-abstract, monumental bronze sculptures
James Houston
The power of the picture

Inspired by James Natural Beauty project? Heres some ways you can help change the world with photography
Shutter Mission: Head to www. shuttermission.org to view a list of charities that rely on professional photographers to donate their time and talent. There are links to each organisations website so you can nd out more about their mission and how to apply as a volunteer. Help-Portrait: A community of photographers around the world organise a Help-Portrait event to give the gift of a photograph. Its about taking portraits for those who wouldnt ordinarily get the opportunity, from the homeless and the elderly, to underprivileged families and even your neighbour (www.help-portrait.com). Donate kit: Instead of selling old kit, why not donate it to a non-prot charity? Visit www.charity-charities. org for a list of charities in the UK and USA. Contact the organisation using their details on Charity Vault. Specify what equipment you have to ensure it will be accepted and then deliver it. Simple.
Check out Jamess amazing imagery in his new book, available from April 2013 for 35/$50
NATURAL BEAUTY BY JAMES HOUSTON
PORTFOLIO
These are dancers are from Complexions Contemporary Ballet company, performing a modern pas de deux under an open skylight
COMPLEXIONS BALLET
Another strong beauty shot of Emma Watson. She was lit with a HMI in front of her and another behind her to add some highlights
EMMA WATSON
Celebrities planting trees wouldnt have as much of an impact as the images in this book
ask you whats your speciality? Whats your thing? Theres so many people here doing incredible work you have to really focus on one subject. When youre the kind of photographer whose regular clients include high-prole names such as LOreal Paris, Hugo Boss and GAP, and when celebrities like Hugh Jackman, Jessica Alba and Kirsten Dunst will happily set some studio time aside, you need some stories of hardship to stop people from hating your guts. Luckily for James, he does. How much time do you have?! he laughs, Everyone who comes to New York has a story because its such a hard place to come and work. I didnt work for a year and a half when I rst moved here. I was here during 9/11 and moved to Los Angeles to try and kickstart my celebrity photography again, which wasnt happening because America just died at that point. It was tough to go from being a successful photographer in Australia and then start from scratch. Having no Plan B and an indomitable drive to achieve helped James overcome what he remembers as the hardest point in his career. If he were to pass on some key advice to fellow photographers pursuing similar aspirations, it would be to always shoot personal work alongside commercial commissions. Of course, we all want money to pay for our lifestyle, but its important to connect back to who you are and what inspires you, he shares. Sometimes when Im only doing commercial work, I have to talk myself back off a ledge. Explore ideas, be creative and if you can make a change in some way, seize it. As artists, we have the opportunity to produce work that can really DP make a difference.
of Henry Moore, his rst subjects under the lens were bodies and landscapes. He combined the two in his book titled RAW; a collection of portraits and nudes in black and white, incorporating landscapes. Ive always had a sculptural slant to working with form, he says. Ive always had a fascination with shooting beautiful forms so theres something thats been there from the get-go. Incorporating that with landscapes and various objects pretty much sums up my style. Having a signature style and speciality subject is a must in New York City, as James discovered. It was a challenging move, uprooting from Down Under where hed reached such creative heights as shooting the 2000 Sydney Olympics and high fashion for Australian Vogue, and moving to America where he was an unknown. When you come here theyll
James Houston
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Educated, experienced and having photographed for a series of Michelinstar chefs, food photography tutor Debbie Castro knows her stuff
Irish-born Debbie has a Masters degree in Photojournalism and a decade of experience as a professional photographer, which has helped her to make a name for herself in the photographic genres of documentary, portrait and food. As well as working as a tutor for LSP, the talented photographer runs her own wedding and portrait photography business and has held numerous solo exhibitions at the prestigious PhotoIreland festival. But its her love of teaching that currently takes centre stage. Patience and passion for photography, Debbie replies when asked what makes her a good tutor. My passion in life is photography and I really enjoy challenging the students to think about photography in many ways other than just technical. www.debbiecastro.com www.londonschoolofphotography.com
Meet the pro
Debbie Castro
Belens comment: This is an example of how important it is to light food properly. On the left-hand of the picture we used a flash to light up the cake, and on the other side we placed a reflector to illuminate the outline. A small mirror was used to reflect light onto the cake from beneath Debbies critique: The students had to backlight the chocolate cake and use many mirrors to bounce light back into the cake. I think they did a really fantastic job. They found it difficult to get the light into the slice of cake but they managed it in the end
CHOCOLATE
Images by the London School of Photography
Food for thought
Belens comment: Here Debbie showed us how to make some peas look ready to eat. We placed the spoon in a stand to keep it straight and then we put the peas on one by one. After that we sprayed them with water to make them look just cooked. The final touch of vapour was created by pouring some boiling water on some cotton rolls, then we just exaggerated it in Lightroom Debbies critique: This is an interesting image as the students learnt how to use a snoot. I think they created a very natural steam effect but I would have had a more even spread of peas. The crop of the arm is crucial to this image
PEAS SPOON
Food for thought

We found a food photography workshop in the heart of London for one lucky DP reader to enjoy
photography led by either Giovanni Barsanti or Dan Lane. The elds of food and product photography open up a number of possibilities for photographers aiming to extend their expertise and career opportunities, Debbie answers when asked why she thinks the LSP courses are so popular. The workshop looks at the principles of food and product photography, identifying some of the challenges and how to resolve them. It also offers an indepth understanding and practice on how different foods, textures and products respond to different types of light. The course accommodates six pupils and over the four days each student will experience a variety of roles, including the client, photographer, assistant, prop designer, stylist and creative director. For more info on the four-day Food and Product Course (695/approx $1,052), visit londonschoolofphotography.com. 8
Meet the reader

Food fanatic Belen Landa couldnt wait to tuck into this four-day photo feast
Perfectly positioned on Londons hustling and bustling Oxford Street, the London School of Photography runs a tantalising assortment of full and part-time courses throughout the year. The courses are run by a selection of elite photographers, and we met with tutor Debbie Castro whose speciality is food photography. We teamed her up with Digital Photographer reader Belen Landa, who aspires to become a pro photographer. Hailing from sunny Spain, Belen was the perfect person to complete this course, as she herself admits that, thanks to a healthy appreciation for good food, it makes perfect sense to combine it with her passion for photography. The four-day course is split into two halves, with the rst two days looking at photographing food with Debbie, and the second two days practising product
Belen Landa
Belens enthusiasm for photography began while she was undertaking a degree in Fine Art. With her technical abilities more than adequately honed she says she is rarely seen without her Canon EOS 5D Mark II. Everywhere I go I see good photo opportunities! she enthuses. Recently Ive started to pursue photojournalism as I nd it fascinating to be aware of everything and everyone that surrounds us. I like to nd something that no one has noticed before and get a great photo. Now though, having completed this course, food has become a potential professional sphere for me! To see more of Belens art and photography work visit www.beelece.blogspot.com.
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8
Behind the scenes
With six eager students diving into the world of food and product photography, we take a look at how our reader Belen got on
Debbie encourages her students to get involved at every stage of the creative process, from set design to lighting and from prop selection to executing the shot. They are given a brief of who the client is and what they want, and the students are responsible for executing the commission. Students plan the concept of the image before going in and they soon learn that there is a rhythm to taking the images, Debbie says. For instance, setting up the composition before getting the lights correct, because if the composition changes the lights will have to too. The benefit here is that everyone learns something from each stage of the process, but the collective shoots can eat up more time than in the real world, with a daily average of four different setups achieved.
PLAYING A ROLE
Product-photography tutor Giovanni Barsanti (www.bstorm. it) is on hand during the food photography workshop to impart the post-production tricks of the trade. Debbie suggests that for this genre it is crucial to mount the camera on a tripod and ensure the camera is tethered to a computer. This means that the images appear instantly, ready for feedback and editing suggestions in order to get the best-possible shot.
PICTURE PERFECT
As well as a camera, Belen used a 100mm macro lens, product table, props, backgrounds, reflectors, mirrors and Lightroom software. In terms of lighting the pupils used flash, hot lights, strobes, and natural light, and worked with accessories such as cube lites, umbrellas and soft boxes. While shooting a delicious cake for a cookery-book commission, Belen and her fellow students learnt how photographers in this genre seek to replicate natural light with large studio soft boxes. Daylight and long shutter speeds can really move around the food in a beautiful way, explains Debbie. The large soft boxes are placed close to the subject to fully extenuate the texture, tone and detailing of the food or product. Soft boxes replicate natural light by evenly and gently lighting the item while also presenting the notion of being home-baked or made in a kitchen.
GO NATURAL
When creating the setup for each of the shoots, Debbie is on hand to explain what to look for. Creating interesting contrast is vital, she says, it is just as important to look at your shadow areas as much as the bright areas. Students also have a hand in selecting the background and props. I remind them to consider how these backgrounds affect and are affected by the light; black flags help to absorb the light whereas white sheets and mirrors will reflect light onto the product.
DECISIONS, DECISIONS
Belen and her team were also charged with capturing food and products for other clients including an advertising shot for Gordons Gin, a magazine cover for Wallpaper and sequence of action shots for a recipe blog. After every course, the students are amazed [by] how much they learn, says Debbie. They understand that the smallest detail counts. For instance, the angle that you shoot the food from is essential for telling a story. What looks okay from the table may look completely different in the shot. 78 DIGITAL PHOTOGRAPHER
WITH THE CLIENT IN MIND
Expert advice
Sign up for the chance to take part at www.dphotographer.co.uk
Do you want help?
Food for thought

TOP CAKE
Belens comment: We used a simple, light background and blurred the print to bring attention to the cake. We wanted to convey softness and a sense of home so we opted for pastel colours and porcelain Debbies critique: The cupcake had a nice soft pastel feel. The stand needs to be positioned to ensure enough attention is given to the cake. I would have chosen a different stand or perhaps not used [it]
London School of Photography
The experts opinion of the four-day course

How did Belens photography skills progress? Belen began to understand how to work in a studio; from choosing the right lighting to designing the set with backgrounds and props. She also discovered what lenses worked and why some didnt. Belen now understands how important the composition of the image is in a genre like food photography and understands that details, details, details are the key factor. What new techniques did she learn during the course? Belen now knows how to set up a shoot, choose props, nd that focal point of interest and ultimately how to balance the composition. How did Belen get on working as part of a group? The highlight part of the day for me is always when the group starts to work as a conscientious and energetic unit. Belen was great at working with others and as she is a very creative person, she was able to use her personality and ideas to create great images.
8
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Belens comment: This was the most difficult shoot for me as the lighting and camera level needed to be consistent throughout. We were encouraged to think about the importance of colour in the composition. In the end I think we were able to explain the recipe in an efficient way just three pictures! Debbies critique: Belens favourite image is the blog image. It is very important to have a style from the beginning so your viewer knows what to expect. I like the cropped head, plain background and the colour of the food. I would suggest cropping the bottom off and being careful of the horizon line. I like how the food is placed and the theme running throughout
1, 2, 3 READY!
Belens comment: The natural daylight was all but gone so we used studio flash to recreate sunlight. I love the emotion that the light conveys; it looks like it is coming through a window on a sunny morning! Debbies critique: I really like the styling but I would not have used the red background. It is too overpowering. The light is too harsh for what is meant to be a seductive breakfast. After this setup we used a white background and natural DP light with a long shutter speed for a softer result
VIGNETTE BREAKFAST
How our reader found the course

How useful did you nd the fourday food and product course? I think I achieved a good knowledge of the two subjects. Taking a picture of food gives you a different idea of how to compose, as all the details are directly related with the purpose of the shoot. With product photography we could be more expressive. The most unexpected thing I found overall was that you can use so many fake items, liquids or shapes to give the illusion of something else. What was Debbie like as a tutor? Taking pictures can be really subjective, especially in a class where everybody has a different idea of beauty. Debbie was great at bringing us all together, so we could adjust our creativity according to the purpose. What new skills and techniques did you learn on the course? I learnt how to create context. For example we wanted the perfume shoot to look fresh so we sprayed water around the area of the picture to create a raining effect. What is the one main thing you feel you have learnt? To make sure every detail is perfect and ts with the context of the shot. What is your food-photography top tip? My top tip would be to think about what you want to say with that picture before shooting.
Images by London School of Photography
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Neil Cordell
Its rewarding to watch workshop students improve Shot details: Canon EOS 1Ds Mark III with an 8-15mm lens at 15mm and f11, 1/125sec, ISO 100
SHARE THE KNOWLEDGE
How to become a workshop tutor

T
Words by Angelica Jopson
Guiding budding photographers on their path to better images is no easy task. We talk to three expert tutors to see what it takes
hey say that those who cant do, teach. Well, in the world of photography that sentiment falls at. Here, those who teach must not only be able to do, but must also have a heightened awareness of the technical aspects of what theyre doing. Nothing requires greater knowledge of a subject than passing that knowledge on to an eager group of invested learners armed with equipment, a desire to see results and an arsenal of questions. Photography courses come in every shape and size, from local workshops lasting a few hours to combined holiday excursions, which take participants to exotic locations. There are courses aimed at beginners, others targeted to those with basic know-how already in the bag, some that promise to teach a bit of everything and even more that specialise in certain areas such as landscape, macro or sports photography. One thing that every course has in common is that those who book a place expect to come away a better photographer. We talk to three tutors with different backgrounds to nd out what it takes to run a successful course. They also explain how they ensure that their participants are happy with what theyre getting. Like any business, marketing plays a vital role in selling your wares. For multi-award-winning sports photographer Mark Pain (markpain.com), his many
accolades do the trick of capturing initial attention. In 2012 Mark was named Olympic Photographer of the Year by the UK Guild of Picture Editors; the previous year he scooped up the British Press Sports Photographer of the Year for the second time. In between being an in-demand full-time pro photographer Mark also runs courses and teaches budding sports-photo enthusiasts the tricks hes learnt along the way. My reputation is everything and people really like to feel that theyre learning from someone at the top of their game, Mark says. People regularly tell me that I am good at passing on the lessons Ive learned in the eld to them on the course.
Become a workshop tutor

The business bit
Don McCrae offers his expert advice on tackling the business side of running photo courses
Workshops abroad can provide a once-in-a-lifetime experience
VIETNAM
My reputation is everything and people really like to feel that theyre learning from someone at the top of their game
Mark Pain
Being active in the industry also means that Mark has his nger on the pulse of whats going on. I think its appreciated by everyone that I have an excellent grasp of the latest technology and new developments in the digital camera world, he says. For Steve Davey (stevedavey.com) its the travel bug he has to thank for his photography experience. Steves love for seeing new places led him to publish two BBC travel books for which he was the principle photographer, as well as a long string of articles bringing some of the planets most beautiful destinations to life. In the book Footprint Travel Photography, Steve put 20 years of photography knowledge to paper. He then started to run courses off the back of its success, both in London and in those difcult-to-reach and difcult-to-pronounce yet easy-on-the-eyes locations. There is a general suspicion of unnamed photographers, or people who have just started out, Steve explains. People want to learn from working pros, not people who have just sold a smattering of agency shots and have a ashy website. People also seem to like tutors with an amount of experience or specialisation. If they have heard of them or their work before, then that is a bonus too. The best part of being a tutor Steve says is being able to pass on what you know to others. I genuinely love to teach people and to help them learn. I like to help them to get out of their comfort zone and to challenge them, he explains. I would much rather take an inexperienced photographer or traveller than an experienced one and help them to ourish. To be a successful tutor Steve believes you really have to know your oats. You have to know a vast amount about photography and not just book knowledge, but practical, professional tips, he says. You also have to be patient and enthusiastic when [you] convey this knowledge to people. For Mark Pain, a good starting point when running a course is planning. The secret to running a great sports-photography course is the same as capturing a great sports photograph excellent preparation so that youre ready to nail the shot, capturing that moment of unique sporting drama, Mark says. You generally only get one chance at it so you need to have done as much preparation as possible. 8
Don McCrae has been a photographer for ten years and recently received Associateship Distinction from the Royal Photographic Society. He previously founded Fo2Pix, the photo manipulation software. Don and his wife Trisha run photography courses for all levels under the name Studio Lavalette situated in Charente, France. The location offers visitors photography tuition in luxury accommodation with a wealth of local area highlights that are a pleasure to both photograph and experience. Part of Dons business setup included a barn conversion to create a purpose-built studio and editing facility the ideal situation to get participants up-to-speed on editing and nishing off the images they shoot on the course. Facilities include state-ofthe-art computers and colour-calibrated monitors, running Photoshop CS5, Photoshop Elements 10.0, Lightroom 4.0 and other imaging-related software and plug-ins. A Wacom Intuos tablet and pen, a wideformat Epson 7800 printer with ne-art inkjet papers plus a selection of cameras are also on offer. If you want to set up a properly and professionally run photo-holiday business, my main advice is not to underestimate the amount of investment in terms of both cash and time, Don advises. Quite rightly, clients these days expect an all-round experience that enriches their lives and to achieve that goal I had to spend a lot of time preparing the courses and spending serious money to ensure the ambience and surroundings were spot on. Like any business, its essential to write a business plan and do a SWOT analysis to assess your strengths, weaknesses, opportunities and threats. Dont do it in your head you actually need to sit down and write them up and then regularly revisit both. You also need to know your competition, as well deeply understand what you are offering and to whom. Also do not ignore the taxation, trading, re and health and safety regulations in your geographic area. Were both from professional service sectors and understand the need to be prepared months before people arrive. Behind the scenes weve got spreadsheets, presentations, slideshows, notes, recipes, excursions, and umpteen back-up plans to make sure clients leave Studio Lavalette wanting to come back again and again.
Steve Davey
The local area surrounding Don McCraes Studio Lavalette provides workshop delegates with a huge array of beautiful subjects to photograph
CHATEAU DE VILLEBOIS
Studio Lavalette
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Mark Pain
Mark Pain captures Lei Sheng of China winning the gold medal in the Olympic mens individual foil event Shot details: Nikon D4 with a 70-200mm lens at 90mm and f2.8, 1/1600sec, ISO 1000
LONDON 2012 OLYMPICS
Imaging course leader and business owner Don McCrae (studiolavalette.com) agrees with Mark and Steve that being backed by a quality name and solid experience is the rst step to being successful in the photo-workshop business. He runs holiday courses in France catering for a wide range of photographers. When choosing any course, people should make sure the course leader has both a relevant and recognised qualication, he says. For Don, its being awarded an Associateship Distinction from the Royal Photographic Society that lets potential clients know he has a solid body of work behind him. As for the skills needed to be a valuable asset to the people you teach, Don believes there are three main ones to follow. The rst skill is not to rush, he explains. On our very rst course I remember making clients despite the anguished look on some faces switch from automatic mode to manual mode in the morning of day one. Talk about learning curve it was 100 per cent not the right thing to have done. I was rushing them and I should have waited until day two or three. I dont do that now, he muses. The second key skill is to show clients [that] it can be done; demonstration by example. And lastly, each and every client needs to know that theyll get equal time from me this is what theyve paid for. Being able to pick up on whether youre moving too fast for the group is something that Mark Pain also sees as an important skill. The ability to be
I genuinely love to teach people and to help them learn. I like to help them to get out of their comfort zone and to challenge them Steve Davey
able to assess someones level of photographic ability quickly is essential, he says. There is no point asking someone to try something tricky if they have yet to master the easier or more simple sportsphotography techniques. You must remember that people are on the course to enjoy themselves and being continually asked to do something that they cant do isnt very enjoyable. Everyone needs to leave at the end of the day feeling that they have made a good improvement. Being clear from the start about whats on offer on a course is vital to make sure that participants leave happy. If clients arrive with a good grasp of what they will learn and a realistic expectation of how much they can hope to achieve, they are much more likely to relax and settle into the day. As a tutor, one of the biggest pressures that Steve Davey faces is making sure that participants are having a good time while theyre learning with him. On a tour I am always mindful that as well as the photography side it is a holiday as well. I work hard to create opportunities for people to take pictures, interact with locals and to learn and develop their skills, Steve explains. Being overseas with a group of people is challenging in itself but according to Steve it is keeping up with participants as they make the most out of their time away that can also be tricky. There is always someone who wants to get up for the sunrise, and be up late at night shooting star trails or in a bar. I am not the sort of person who clocks off early and that can be tiring, he explains. As for dealing with difcult participants, Steve says that luckily theyre few and far between. Usually people are only difcult if they are having difculties. I try to bring them into the group, or use humour to diffuse any situations. Failing that I take them to one side and try to sort things out, he says. Very occasionally I will growl at a group, but only if they are at risk of insulting people in the country we are travelling in. Mark has also experienced the sporadic trying client. Occasionally you have someone on a course who can be a bit difcult, thinks he knows everything already and doesnt put any of what youve said into practice making the same mistakes and missing shots over and over again, he says. You have to be pretty laid back with these guys but the most
SHARE YOUR KNOWLEDGE Do you teach workshops and photography courses? Let us know the benefits and pitfalls of your business and
Become a workshop tutor
Studio Lavalette
A course in a stunning setting is bound to attract business Shot details: Canon EOS-1D Mark III with a 50mm lens at 50mm and f10, 1/125sec, ISO 160 Steve Davey passes on his cultural knowledge to students to enable them to capture the best-possible photographs Shot details: Nikon D3X with a 24-70mm lens at 70mm and f7.1, 1/400sec, ISO 400
LIVING THE DREAM
KORZOK GOMPA, INDIA
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Mark Pains list of courses can be found at www. sportsphotographyschool.co.uk linking from his main website at www.markpain.com. From late March 2013 Mark will be running additional courses in ofcial association with Nikon. For more info and dates visit www.nikon.co.uk/training. Read more about Steve Davey and his work at www.stevedavey.com and details of his upcoming courses at www.bettertravelphotography.com. All courses are expertly delivered by Steve and fellow pro photographer Marc Schlossman. Drink in a visual of Studio Lavalettes setting in the beautiful French countryside and the courses on offer by Don McCrae at www.studiolavalette.com. There are four courses available in the beautiful French sunshine ranging from Photo Hero to Photo Maestro, each catering for different knowledge levels and focusing on different points of interest.
Neil Cordell
important thing is that you dont let it distract you from giving lots of attention to the others who are keen to learn something new. While jetting off to exotic locations with keen photographers in tow and getting paid for it might seem like a dream job, Steve Davey advises youd best be doing it for the love rather than for nancial gain. The daily rate for actually leading full tours isnt too bad, but if you factor in the time running the business and promoting, then you could probably do better working in a pub. You have to be driven and enthusiastic with it otherwise it will end up a nightmare, he cautions. As for job satisfaction, all three tutors agree that helping someone up their photographic level is a reward in itself.
The photographers on the course get a real buzz trying their hand at challenging sports photography at a top sports event, says Mark. Its a very exhilarating thing to do and I can often get them into shooting positions they would not normally be allowed to go in which is a real privilege. It is really rewarding to see how quickly most photographers can make improvements in their hit rate and their ability to get the pictures they want after Ive given them the practical and technical advice they need. Teaching photography is probably the most rewarding experience of my working life, says Don McCrae. Theres nothing better than seeing a client leave Studio Lavalette red-up with inspiration and enthusiasm you really cant beat that! Theres DP also a great sense of shared achievement.
Mark Pain
Becoming a photo workshop tutor opens up plenty of opportunity to share your knowledge and experience
EXPERT ADVICE
share your tips with those just starting out. Join in the discussion with like-minded individuals at www.dphotographer.co.uk/forum
GO PRO
CAREER ADVICE
Start-up costs
I want to take the plunge and start my own photography business but Im hesitant about quitting my day job until I know if Ive saved enough money to cover everything Ill need. At the moment I only own basic amateur equipment. Can you please give me some idea of how much money Ill need to start up ? Im happy to work from home at rst. Lara Fulford Photography is indeed a business you can run from home, Lara. You just need to make sure you have some space you can allocate for a desk, administration and storing equipment a spare or box room is great. Set aside 2,000 for a Mac, software and printer, if you dont own these already. As you know, if youre going pro, you need to swap your amateur equipment for professional gear and this will eat up most of your budget. Ideally, youll buy two of everything you need to get in the mind set that something could go wrong with any piece of equipment at any time and you cant let clients down. As well as professional bodies, youll need three lenses: standard, wide-angle and portrait and maybe even a telefocus. Youll most likely also need a new tripod, ashgun and remote trigger. The spectrum of pro gear is pretty broad, so its difcult to put a price on around 10,000 is realistic if you are buying everything new, or if you dont mind some pre-owned kit you could do it for 5,000. Lastly, you need to have a smaller pot of money, say 300 put aside for your insurance, business cards, professional-body membership, domain name and the little things that quickly add up. This might all seem daunting but if youve got the right gear theres nothing holding you back from making the money back!
Whether youre a freelance shooter or setting up a business, money matters. Rachael DCruze discusses how to make, save and invest it
Claiming expenses
This is my rst year of being self-employed and although its all going well and I have steady work coming in, Im quite worried about doing my rst self-employed tax return. Ive no idea what I can claim for as reasonable expenses against my tax return and therefore I dont
Rachael DCruze
really know how much money I should be putting aside, can you help me please? Joshua Oaten Our rst and most important piece of advice for you Joshua, is to get yourself a good accountant. They will guide you through the process of book keeping, advise you on what you can and cant claim for and will also do your tax return for you. Accountants services are tax-deductible, so there is absolutely no reason not to get one! Its important that you know what you can and cant claim for as you can get in trouble with HMRC if you look like youre trying to pull a fast one. Business-related expenses that qualify for tax breaks include: cameras, lenses, studio lighting systems, light meters, paper sweeps and other backdrops, props and so on. However, its important you dont fall into the trap of thinking that everything is tax-deductible and all the money youve spent will be deducted from your rst tax return. Many items will last you a good few years, so you have to deduct a percentage each year. Its crucial that you keep receipts for absolutely everything from lunches to fuel and remember to keep track of your business mileage too.
As well as asking your accountant, see hmrc.gov.uk for guidelines on what you are and arent allowed to claim for
Keeping the cash owing

Since Ive been working for myself, rather than at the Get organised as soon as you set up on your own, studio where I used to work, Ive found it really difcult to making sure you keep track of the invoices youre owed, keep on top of my cash ow. Although Im making money as well as your outgoings. The key is good recordand doing what I love, sometimes managing my nances keeping get yourself some accounting software and properly seems almost impossible and Im worried things use it to stay organised. Youll be able to see who owes will get worse. This is my rst stab at being self-employed, you what and when its due, so you can chase late so maybe Im managing my cash ow wrongly any tips? payments and stay in the black. Adrian Smythe Its important to regularly manage invoices and make payments. This will help you take stock and ensure In todays unstable nancial climate, keeping an eye you have your bills paid on time essential for a good on your businesss cash ow has never been more credit rating and to avoid late fees. It also pays to spend important. Staying on top of bills and invoices is some time looking at your invoicing how long you give essential for maintaining good cash ow. clients to pay you and your late payment charges.
Photography start-up business costs are high, however you will be able to recoup some of your costs against your tax bill, which is a great aspect of working for yourself
There are lots of great accounting packages to choose from, including www.xero. com, which offers a free trial before you buy
Rachael DCruze
GOT A QUESTION? Get in touch with us at team@dphotographer.co.uk to submit your career-related questions. Whether you are just
Career advice
Rachael DCruze discusses whether you should set your own rates, or if its time to get competitive
BIG Question?
In every genre of photography, there are pros at the top of their game earning enviable salaries. There are also those who are just starting out and happy to shoot for next to nothing in order to build their portfolio. So, after years of perfecting your craft, you should be charging a sum which reects your art and experience. Forget matching the college-leaver down the road, otherwise youll never earn a decent living. Wedding photography is a good example of this debate. If a couple has a budget of 300, theyll nd someone to shoot their wedding for that. Those who value photography and have a larger budget will book the 2,000 photographer they wont give the budget photographer a second look. That said, there is such a thing as pricing yourself out of the market if some photographers charge 100 per hour more than you, this doesnt mean you should up your rates. Of course, do your market research, but look at the quality of the work, not just the price. Be honest with yourself about where your work ts within your sphere. Successful photographers concentrate on themselves, not others, charging what they believe DP their work to be worth.
Making extra money

My dream is to make it as a fashion photographer but a year in, Ive discovered it isnt easy. My savings have taken a hit. I need to come up with some extra ways to bring cash in using the studio Ive set up. There are already a fair few professional portrait photographers with good reputations in my area though, so I think I need some fresh ideas to attract customers and bring money in. Any suggestions?
Andrew Wandell
If you have the space and money to set up your own studio, there are many ways to make money from it
Yes! Why dont you use your background in fashion photography as a tool for attracting customers, Andrew? You could offer high-fashion portrait sessions, perhaps working with a make-up artist and stylist and even offer packages for parties and hen days a lucrative market. Additionally, why dont you market
yourself to aspiring models who need a portfolio shot? As well as bringing in extra cash, this acts as a good marketing tool as these clients will promote your work heavily for you. As youve got your own studio, youre also well placed to apply for jobs shooting products and equally so for shooting stock images. Many photographers make the mistake of turning their noses up at stock photography, but while it wont make you rich, it can provide a steady income and you can shoot around the fashion work you have. You may also want to consider shooting weddings. Your speciality is shooting people, so you almost certainly have the kit and weddings can be serious money-makers. When it comes to bringing in extra money, you have plenty of options open to you!
In every genre there are high and low ends of the market. The clients worth having will realise the true value of good photography and will be happy to pay for it
starting out as a pro photographer or your business needs a boost, the Digital Photographer team are on hand with the best advice
Kelly Weech
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KIT BAG
Leica M-E
3,900/$5,450
Japanese DSLRs may be ubiquitous but what of German rangenders from Leica? We take a look at the new affordable model
Leica; just as Rolls Royce is a byword for luxury automobiles, most camera acionados know that Leica produces top-quality, top-drawer and top price cameras. Just as people who love cars may dream of owning a Phantom, the prospect of going out shooting with a Leica M9 or M9-P and a small arsenal of Leica glass in tow is a mere fantasy for many photographers. Its hard to talk about Leica without talking about money. But a fantasy it must often remain. Top quality rarely comes cheap and Leica duly has a reputation for producing cameras that are priced well out of budget for the vast majority of enthusiasts. Which brings us to the Leica M-E. Yes, it costs 3,900 but yes, it really is the cheapest Leica M camera you can buy. However, there is some good news to be had excellent news, in fact. Leica has not stripped the M9 down to its bare bones in order to facilitate the M-E. Despite the fact that the M-E costs over one thousand pounds less than the M9, essentially, everything is the same. 18-megapixel CCD sensor? Check. Full-metal, die-cast magnesium-alloy body? Check. Classic Leica look? Check. So, whats missing? You might not even notice, at least not for a while. The frame-selection lever (sometimes referred to as the image-eld selector in Leica literature) has been left on the bench for the M-E, as has a USB port. Very few photographers leave
The retro styling of the M-E is sure to appeal to any Leica lover
The Leica M-E is about as traditional a camera as its possible to find in 2013
their memory cards in the camera and transfer images directly from the camera to a computer via USB, so we think that this is unlikely to cause anyone any great distress. The frame-selection lever is something of a luxury feature, allowing you to preview different focal lengths without the need to attach the lenses in question to the camera. Will anyone miss this? If this is your rst Leica, then you almost certainly wont know any different, as its not a standard camera feature. If youve owned other Leica cameras, then presumably youll be well aware of what this feature does and how important or not it is to you. Perhaps the biggest impact that the absence of the frame selection lever actually has is in the looks department. The front of the M-E looks a tad spartan when compared to the M9, simply because of this one variation. A little lever somewhere on the front of the body was fairly commonplace back in the days of the Olympus OM-10 and the Nikon FE2, so the lack of one on the M-E makes the camera look a touch less vintage. In the hand, the Leica M-E feels precisely as youd expect it to feel solid, tough and undeniably classic . If youre not sure what classic feels like, youll know as soon as you pick up a camera like the M-E. Cold to the touch thanks to a dearth of non-metal parts and assuredly bereft of fuss in the design department, its probably safe to say that the chances of feeling disappointed by the M-E are desperately slim. Its the
INDETAIL 4Features
Words by Matt Bennett
The Leica M-E closely resembles its big brother the M9, and theyre largely the same camera, with the exception of one or two small changes.
LEICA FAMILY RESEMBLANCE
RANGEFINDER BEAUTY
NO FRAME SELECTION LEVER
Lets face it, if you want a camera that looks beautiful and really rather cool, you could do an awful lot worse than the M-E.
Theres no frameselection lever on the M-E, which is one of only two or three small ways in which it differs from the M9.
WE WANT YOUR THOUGHTS: Are you a lover of Leica or do you think its all about the brand? Have you used the M-E? What do you think of the
Leica M-E
This little button is simply used for releasing the lens, as found on most other cameras
LENS-RELEASE BUTTON
The classic Leica logo sits proudly in the centre of the camera. Yes, you own a Leica!
LEICA LOGO
The camera features a well-positioned and solid dial for controlling shutter speed
SHUTTER SPEED DIAL
VIEWFINDER WINDOW
Remember, this is a rangefinder camera, so the view you get when you are composing and focusing isnt coming to you via the lens
This allows you to take advantage of the Leica SF 58 or Leica SF 24D system flash units
FLASH SHOE
The shutter button sits in the centre of the cameras Off switch, which also controls the drive mode. Theres also a thread for a traditional cable release
SHUTTER BUTTON
On the disc Test shots
Check out the M-Es test shots now!
Contenders
Fujifilm X-Pro 1
Price: 1,400/$1,400 Web: www.fujilm.eu/uk/ The X-Pro 1 has a lot of stylistic similarities to Leicas rangenders, and produces impressive image quality.
Images from this affordable model are sharp and beautiful, in true Leica style
sort of camera that, with a knock or two here and there, will only look more appealing. Above all, this is the sort of camera that makes you feel like a photographer and makes you want to take photos in earnest. Its important to make it clear at this stage that Leica does not approach camera design in the same way as Canon, Nikon, Sony or pretty much any other
manufacturer does. Leica makes its own rules and makes cameras for people who love Leica. Buying a Leica isnt just about choosing a camera its a lifestyle choice. Crucially, the rm makes cameras for people who like their photography as nature intended. Leica isnt built around digital photography. Its a digital camera, but not as we know it.
Olympus OM-D E-M5

Price: 1,000/$1,300 Web: www.olympus.co.uk The silver-and-black OM-D EM-5 is one classic-looking camera. Its small, discreet and capable of excellent images at an affordable price.
SMALL SCREEN
Not only is the cameras LCD screen small, but the resolution is also achingly low as well. Is this a problem? Thats up to you.
NEAT AND TIDY
Its hard to imagine a camera looking much more neat and tidy than the Leica M-E. Everything in its right place seems to have been the chief design philosophy here.
WELL-BUILT BUTTONS
While we wouldnt expect anything less from a camera that carries this kind of price tag, the buttons and dials are perfect in their feel.
cameras imaging prowess? Let us know your personal thoughts and reviews by emailing the DP team at team@dphotographer.co.uk
KIT BAG
With that in mind, certain things, like the absence of autofocus, the small, low-resolution LCD screen, relatively limited battery life and conservative noise reduction look much more purposeful. Manual focus doesnt suit every type of photographer and for those used to trusting autofocus, the Leica M-E may make you feel like youre lost without a sat nav. But lets be honest you wouldnt buy any Leica M model unless you were pretty serious about photography and happy to sit in the driving seat. The Leica M-E is aimed fairly and squarely at photographers who see the absence of automation as a bonus. The cameras looks really dont lie: this is a camera designed for fuss-free photography. Its amazing how quickly you get used to bringing the camera up to your eye and using the split-image focusing screen to bring the lens into focus. Even with Leicas back-to-basics approach in mind its difcult to feel enthused about the 230,000-pixel, 2.5 TFT on the back of the camera. It does the job, but only just. While its true to say that we were all once quite happy with a display of this ilk, those days are gone; both the resolution and the size of the display on the M-E cripple the cameras usability to a certain extent. An old-school, retro approach is so often a good idea when it comes to design but not, it would seem, when it comes to the LCD. Harking back 25 years to the design of the Leica M6 is good; sticking with the LCD specications of 2005s Nikon D200 is not so good. Being fair, this is purely down to the fact that the M-E basically is the M9 in all but name, barring a few largely inconsequential alterations. The M9 was launched in 2009, and the 2.5-inch LCD screen was looking a bit past its sell-by date even then. Unfortunately, including a better display on what is supposed to be the M9s little brother would have caused havoc with both the Leica line-up and the price. The result of this is that trying to review your images is an uncomfortable, awkward and rather unsatisfactory experience. In use, the camera is generally a pleasure. On our tests, battery life wasnt stunning, but once again its important to consider that Leica has not developed cameras for photographers who want to shoot DP thousands of images in one go.
Auto modes are greatly reduced on this Leica camera, so prepare to take control
The menu button allows access to, youve guessed it, the cameras menu, which is straightforward and easy to use
MENU BUTTON
Hold this down at any time to adjust the ISO, or to quickly enter the Auto ISO function
ISO BUTTON
FOUR-WAY CONTROLLER AND JOG WHEEL

As with many digital cameras, the Leica M-E features a four-way controller and a jog wheel frame coverage
INDETAIL Test shots

EXPOSURE
The autoexposure is very consistent on the M-E. We found that it tends to underexpose slightly, but the DNG les that the camera produces contain plenty of detail.
FOCUSING
BLACK AND WHITE
Theres no autofocus option but you soon get used to the cameras manual focus and nd ways to allow spontaneous shots to be taken.
The full-frame sensor lends itself perfectly to beautiful black-andwhite conversions, and the Leica glass picks up all the textures you need for stunning shots.
EXAMINE THE EVIDENCE: Flick to p131 now to load up your free DP CD and check out the Leica M-Es awesome clarity for yourself. Download
Leica M-E
ISO AND WHITE BALANCE PERFORMANCE
White Balance was reliable and consistent, and noise performance from the M-E is either fantastic or disappointing, depending on how you are look at it. At ISO 800 and beyond, colour noise is noticeable, and by ISO 1600 its obvious. Some people may get frustrated by the noise at ISO 400. If you like your images to come straight out of the camera looking noise-free, even at high
We took look at how the Leica M-E measures up in these key areas
ISOs, you may think that the M-E isnt giving you what you want. However it would seem that Leica has purposefully designed the M9, M9-P and M-E to perform little noise reduction at higher ISOs. When you tamper with noise, you inevitably tamper with image detail. So, if you like a camera that aims to leave you with as much detail as possible, the noise performance in the Leica M-E is, in fact, spot on.
Technical data
Model Leica M-E Price 3,900/$5,450 Web www.leica-camera.co.uk Phone (+44) 0207 629 1351 Megapixels (effective) 18MP Max resolution 5,212 x 3,472 Sensor information Full-frame (35mm format) CCD Lens data By lens Zoom By lens Focus/macro By lens Shutter speed 1/4000s 240s (in Bulb), 1/180s flash synchronisation ISO sensitivity ISO 160 ISO 2500, Pull 80 available, Auto ISO Exposure modes Autoshutter speed (A-Mode), M Metering options TTL, CW with variable aperture Flash modes Control with centre-weighted TTL pre-flash metering (with SCA-3501/3502 adapter, or SCA3000 standard flash unit such as Leica SF 24D/Leica SF 58) Weight 585g Dimensions 139 x 37 x 80mm Batteries Li-ion (included), 3.7V, 1860 mAh Storage SD/SDHC LCD 2.5 TFT Viewnder Optical viewfinder, rangefinder with automatic parallax compensation, optical illumination, 0.68x
ISO 160
ISO 400
ISO 800
ISO 2500
ISO SETTING
Verdict
Features 8/10
This is intended to be a no-nonsense camera, so Leica has kept it simple. However, the 2.5-inch, 230k display is undeniably disappointing
Build quality
10/10
With an all-metal die-cast magnesium-alloy body, and classic Leica M design, finding fault with the build quality would be churlish
A TYPICAL TEST SHOT

One of the test shots gets scrutinised
COLOURS
This is spot-on thanks to a combination of superb optics and excellent image processing in-camera
CONTRAST
Handling
9/10
The camera is a pleasure to use, although it does take a bit of practice if youre used to a DSLR
Quality of results
9/10
Tones and hues are very accurate, and you never have to worry about what the white balance is doing
Sharpness is excellent due to the legendary Leica lenses. If your images are soft, it will most likely be a focusing error The film-like quality of the images is in no small part due to the conservative Leica in-camera processing
SHARPNESS
Image quality is extremely high, although equally good image quality is available at a far cheaper price
Value for money
7/10
Even with all the quality on offer, you are still paying a premium for the Leica name. Whether its worth it or not is entirely up to the individual to decide
To get the maximum detail from shadow areas and the best sharpness its worth shooting in DNG mode
DETAILS
QUALITY
Score
The Leica M-E is an excellent camera, provided you like your photography slower and more considered
8/10
HANDHOLDING
The camera isnt the smallest model around but its perfectly portable and even when handholding at relatively slow shutter speeds sharp shots are possible.
COLOUR REPRODUCTION
SHARPNESS
Colour reproduction tends to be a little muted, but this all ties in with the Leica approach to leave digital les as unsullied as possible.
The images are very sharp, especially when shooting DNG files. Youll be impressed by the clarity of images, even when no adjustments have been applied.
our reviewers test shots now and enjoy! Let us know what you think by heading to our lively forum at www.dphotographer.co.uk/forum
KIT BAG
Canon EOS 6D
1,799/$2,099
Canons affordable full-frame ticks all the boxes on paper, we nd out how it handles and where it sits in the everexpanding market
The affordable full-frame DSLR market is beginning to take shape now that Canon has ofcially entered the fray with its latest model and contender, the EOS 6D. Joining both Nikon and Sony in this new consumer market, the 6D is designed to bridge the gap between high-end DX-format DSLRs and pro-level full-frame models. With a recommended retail price of around 1,799/$2,099 (body only), its also Canons most affordable full-frame yet. It now seems that deep pockets arent necessary to purchase pro-level kit, so we took the new EOS 6D out on test this issue to nd out whether its performance can really compare to its pro-priced counterparts. Under the bonnet, so to speak, the EOS 6D houses a 20.2-effective megapixel full-frame CMOS sensor with a DIGIC 5+ processor, promising high-quality shots and fast image-processing speeds. Some of the cameras other key features include a vast ISO range between ISO 100-25600 (expandable to ISO 50-102400) for enhanced low-light performance and a full 1080p HD-video mode. The 6D also offers two new notable features including an integrated GPS module and inbuilt Wi-Fi capabilities. The cameras Wi-Fi addition quickly became one of our favourite features during testing. Its designed to enable you to connect the camera to your smartphone, another camera, computer or even printer so that youre able to share your shots instantly. We
The camera is ideal for day-today and outdoor shooting as it balances changing light conditions and exposure well
downloaded the free EOS remote app for Apple devices onto an iPhone and were able to review captures on screen, compose images and remotely control the camera. Its a fantastic feature if youre shooting with slower shutter speeds, as you can change the cameras settings and release the shutter from a safe distance. As it stands, the EOS 6D is currently Canons smallest and lightest full-frame DSLR, which made it the perfect companion on longer shoots and excursions. On test, we found it powers up pretty quickly and is ready to shoot in just a matter of seconds. The controls are also easy to navigate so you can change your exposure settings effortlessly during a shoot. Theres even a handy locking button around the mode dial thatll ensure that the mode youre working in doesnt change should it be knocked accidentally in your camera bag or while youre shooting. During testing, we found the camera is pretty quick to focus and it offers an 11-point AF array. This is noticeably a lot less than Canons own DX-format DSLR, the EOS 7D, which boasts 19 cross-type AF
points, and even the 6Ds direct competitor, the Nikon D600, which offers a staggering 39-AF points in comparison. However, youve got to expect some compromise for an affordably priced full-frame Canon model. Although 11 AF points isnt as much as were used to, it was no less accurate. Under low-light the cameras focusing capability really excelled, as promised by Canon. The manufacturer stresses that the EOS 6D is even capable of focusing under moonlight alone. Our low-light images look great up close with very little noise, even after working in high ISO settings. Image quality only seemed to become affected when working in settings upwards of ISO 6400. Generally we found the EOS 6D perfect for dayto-day and on-location shoots. The camera does a great job at accurately metering the light for the best exposure results, even when faced with challenging light conditions. Theres also a multiple exposure mode so you can make the most of the shadows, midtones and highlights in the scene. Landscape shooters will also appreciate the in-built Live View mode and singleaxis electronic level, which helps to ensure all of your
INDETAIL 4Features
Words by Hayley Paterek
FULL-FRAME SENSOR
The new 20.2MP CMOS sensor is full-frame and promises exceptionalquality high-res images. Theres also a fast DIGIC 5+ processor, for highspeed recording.
WI-FI CAPABILITIES
GPS TECHNOLOGY
Download the free EOS app and share instantly with another camera, smartphone, computer or printer. You can also use it to control the camera remotely.
Use the integrated GPS module on a shoot to tag images with location data. Theres even a log function for mapping a route using the supplied Map Utility software.
WHATS YOUR OPINION ON THE NEW AFFORDABLE FULL-FRAME MARKET? Do you think Canon has offered up a worthy contender for
Canon EOS 6D
CAMERA BODY
To detach and change your lens, hold down the lens-release button and rotate the optic clockwise
LENS RELEASE
The pronounced grip ensures the camera fits securely in-hand when youre shooting
Rotate the dial to change the mode youre working in. The locking feature will secure your selection
MODE DIAL
Canon has a vast range of FX-format lenses thatll help you make the most of the sensor
LENS
There is no built-in flash on board but you can attach a speedlite to the cameras hotshoe
HOTSHOE
Hold down the designated ISO button and rotate the back wheel to change your ISO setting on a shoot
ISO CONTROL
Check out the EOS 6Ds results now!
Contenders
Nikon D600
The EOS 6Ds photos are detailed, rich and warm, a typical trait of Canon cameras Price: 1,956/$2,100 Web: www.nikon.com Nikons D600 touts a 24.3MP full-frame CMOS sensor and 39 AF points, but it lacks Wi-Fi and GPS features.
Under low-light testing the cameras focusing capabilities really excelled

horizons appear perfectly straight in-camera. Keen wildlife photographers will also value the added silentshutter mode, which enables you to shoot discreetly without scaring off skittish subjects. Studio shooters on the other hand, may nd that the EOS 6D isnt as well prepared for ash photography. If you dont have a wireless studio setup, youll be let down by the absent ash sync port on the cameras body, which is present in all of Canons other full-frame models. You can still buy an adapter for the hotshoe of course; just dont expect to start shooting straight out of the box. If youre also used to your ash
Sony Alpha A-99

Price: 2,300/$2,800 Web: www.sony.co.uk Sonys SLT A-99 is full of features including a 24.3MP full-frame CMOS sensor. Its price tag is also a lot heftier than both its rivals though.
USER INTERFACE
The EOS 6D has an easy-to-navigate interface. At the back, the essential buttons appear on the righthand side; ideal for one-handed shooting.
HIGH ISO
The camera is ideal for shooting in challenging lowlight conditions as it boasts a vast ISO range between ISO 100-25600, which is expandable to ISO 102400 and down to ISO 50.
VIDEO MODE
Canon is known for fantastic video features and the EOS 6D is no exception. Explore movie mode and a range of video sizes and frame rates, plus full 1080p HD.
this increasingly competitive corner of the market? Share your thoughts with us by emailing the team at team@dphotographer.co.uk
KIT BAG
8
syncing up to 1/250sec shutter speed, you may be disappointed by the fact that the EOS 6D can only sync up to 1/180sec. This doesnt automatically rule the camera out of studio work, but it may be a deciding factor for many who are thinking about investing. We were pleased to nd that the cameras lowerthan-expected megapixel amount has no bearing on the 6Ds image quality. When reviewing our highresolution test shots we noted fantastic detail and warm, rich colour reproduction, a reputable Canon trait. Shots also appeared perfectly sharp and well balanced in terms of exposure. Overall, the EOS 6D offers fantastic image quality and then some. In addition to great stills, the camera also records high-quality video footage. Keen videographers can switch seamlessly between stills and video via the dedicated dial on the back of the camera body. In this mode users can set their desired recording quality and frame rate, which includes full 1080p HD at 25 and 30fps, and 720p HD at 50 and 60fps. We tested the cameras 1080p HD movie mode at 25fps and found that the EOS 6D coped well in changing light conditions and the focus was able to keep up with subjects while on the go. The video mode in general is fantastic for those who intend to use it sporadically but its likely to disappoint serious videographers who had high hopes for the Mark IIIs more affordable sibling. This is mainly due to the fact the camera is devoid of an essential headphone jack, which enables you to monitor sounds while recording. Its still possible to work with microphones however as a mic jack is located on the left-hand side of the camera body. Overall we found the EOS 6D to be an impressive contender in the new mid-range full-frame DSLR market. Its aimed directly at the price-conscious consumer who wants pro-level kit with high-image quality without it costing them the earth. The camera also comes packed full of great features. Here at DP were looking forward to seeing how this new DP consumer market maps out.
The Canon EOS 6D is a lightweight full-frame DSLR thats perfect on all-day shoots
Flip the switch to move seamlessly between stills and video mode. Press down on Start/Stop to record or in stills mode to activate Live View
STILLS TO VIDEO
Use the clear 3 LCD display to review capture in playback or even compose them in Live View mode
LCD
You can use the scroll wheel and D-Pad to change exposure and camera settings when shooting
CONTROLS
INDETAIL 4Test shots

CLOSE-UP
They say the devil is in the detail and the EOS 6D doesnt disappoint. Looking up close at our captures, all photographs appear clear, sharp and suitably detailed.
With such a strong ISO offering, it was no surprise that images are good quality with little noise present, even when working in higher ISO settings.
LOW LIGHT
LIGHT METER
In challenging light, the cameras accurate metering sensor balances the exposure well when dealing with bright skies and dark foregrounds.
EXAMINE THE EVIDENCE: Turn to page 130 for your free Digital Photographer CD and download the test shots to examine the evidence for
Canon EOS 6D
ISO AND WHITE BALANCE PERFORMANCE
How does the full-frame perform in challenging light conditions?
On test, we found that the EOS 6Ds auto white balance setting was incredibly accurate. It proved more than capable of adjusting accordingly in changing light conditions. Aside from just the auto and other standard white balance settings, theres also a custom control feature, which is easy to access and adjust. It works particularly well when faced with mixed lighting. In terms of the cameras ISO performance, the EOS 6D proved to be incredibly impressive. Looking up close at our ISO test shots, we found minimal noise with slight appearances becoming apparent around ISO 6400 and up. This makes the camera an incredible low-light performer as it not only produces fantastic quality images but it can also focus accurately under moonlight.
Technical data
Model Canon EOS 6D Price 1,799/$2,099 (body only) Web www.canon.co.uk Phone +44 (0) 1737 220000 Megapixels (effective) 20.2 MP Max resolution 5,472 x 3,648 Sensor information 36 x 24mm CMOS Lens data By lens Zoom By lens Focus/macro By lens Shutter speed 30-1/4000sec ISO sensitivity A, 100-25600 (expandable 50102,400) Exposure modes P, A, S, M, Scene Metering options CW, S, Evaluative, Partial Flash modes N/A Connectivity HDMI mini, USB Weight 755g (including battery) Dimensions 144.5 x 110.5 x 71.2mm Batteries Li-ion Storage SD / SDHC / SDXC LCD 3 Viewnder Optical pentaprism
ISO 100
ISO 800
ISO 6400
ISO 25600
ISO SETTING
Verdict
Features 9/10
The camera offers a fantastic selection of features including Wi-Fi, GPS and a full 1080p HD-video mode
Build quality
9/10
Its small and light so its great on long shoot. It also has a durable design and is weather sealed
Handling
9/10
A TYPICAL TEST SHOT

One of the test shots gets scrutinised
VIBRANT COLOUR
Colour tones are reproduced to appear vibrant, warm and detailed in all of our images on test
Use the cameras Live View feature to compose images using the back LCD for unique angles
LIVE VIEW
The user interface is easy to navigate and use, with the essential buttons on the right side of the body
Quality of results
9/10
The megapixel amount may seem low but the EOS 6Ds image quality is impressive with rich colours and plenty of crisp detail
The camera meters the light well, which helps to ensure that all of your shots are well exposed
EXPOSURE
Value for money
9/10
As an affordable full-frame you get a lot for your money, but there are still a few compromises
Score
A great contender in the consumer fullframe market. Full of great features but a few compromises have been made for the affordable price
Looking up close youll see all photos appear detailed and suitably sharp straight out of the camera
SHARPNESS
Although the camera offers a limited 11-point AF system, we found it was still very accurate indeed
FOCUS
9/10
HDR
Select HDR Backlighting from the scene-mode menu and the camera will take three shots for the highlights, midtones and shadows and merge them into a JPEG.
COLOUR
As expected with Canon, colours are reproduced to appear rich, detailed and full. This was unwavering even as lighting conditions changed during a shoot.
SPEED
With the camera capable of capturing up to 4.5fps, its possible to capture fast-moving subjects. With equally quick AF mode included all shots appear sharp.
yourself. Let us know what you think and post your views on the DP forum, head to www.dphotograher.co.uk/forum
KIT BAG
Canon EF 35mm f2.0 IS USM

High-resolution full-frame cameras require topquality primes Kevin Carter looks at the latest wide-angle angle prime to see if its up to the job
SRP: 799/$849
With most DSLRs capable of video but only Sony full-frame models offering built-in image stabilisation, the need for stabilisation in shorterfocal-length lenses is becoming increasingly obvious. Between the big two pro system players, Canon has been the rst to respond. The EF 24mm and 28mm f2.8 lenses dated back to the lm era and were obvious candidates for a refresh. The EF 35mm f2.0 was another and is the latest short-focal length prime to be updated. It features a four-stop optical image stabiliser system (with automatic detection of panning), a new optical design with rear-focusing and a ring-type ultrasonic AF motor (USM). Its substantially more expensive than the old lens it replaces, but its on a different level both mechanically and optically. Canon calls it compact which is a bit of stretch, theres nothing really small about it. It takes 67mm lters, weighs 335g and is 63mm long. Whats more, its nearly 78mm wide and quite a handful. By contrast, the old lm version weighed 225g, took 52mm lters and measured just 42.5mm front-to-back. Multi-layer Super Spectra Coatings (SSC) have been used on Canons lenses dating back to the breech-lock FD series, however this lens uses digitally optimised SSC coatings to reduce reections. Its effective but some contrast-reducing are can still be induced when shooting into the sun. You might think you would get a lens hood at the price, but thats reserved for L-series lenses and if you want a soft case thats an extra cost as well. You do get the new pinch-type front cap though, which is one of the best designs of its type. Nevertheless, this Japan-made lens has a construction and nish similar to the rms L-series, and features a large manual focus ring with a smooth action and focus window with depth of eld markings for f11 and f22. Its not weather sealed, nor does it have a mount seal and its not clear if it has uorine coatings on the front or rear elements to reduce marking and simplify cleaning. But, the impression is that this is a lens thats designed to last. Autofocus is quiet and smooth as it always is with Canons ultrasonic lenses. Its also reasonably fast given the size, though it is slower and hunts more when using CDAF, and as a result manual focusing may still be more suitable for video. Image Stabilisation is a different matter. Its very effective and operation is smooth, even during lming, and without the on and off action or snapping suddenly into a stabilised condition thats often seen on earlier systems. In terms of AF accuracy our sample was backfocusing to begin with, requiring a +3 setting of the AF micro-adjustment feature of the EOS 6D. More of an issue was the slight aperture-dependant focus shift over the f2.8-5.6 range. Otherwise, the lens is very sharp centrally wide-open though theres a pronounced fall off at the edges, which can be used to creative effect. That is largely gone by f2.8 and by f4 the lens performs very well across the frame. Vignetting is very strong at f2.0, just under two stops, and while not gone by f5.6 its gradual and low enough to go unnoticed. Some barrel distortion is evident, as you might expect, and is easy enough to remove, as is the purple fringing at maximum aperture though the cyan-coloured chromatic aberration proved more difcult. Its slight but if you look for it, its there. However, this lenss descriptive quality is extremely attractive and, while certainly not cheap, would represent good value over the long term. Its an excellent performer and should be well suited to the demands of highresolution sensors that are still as yet unannounced. DP
Check out our reviewers results now!
EF 35mm f2.0 IS USM

2200 Resolution (line widths/picture height) 2000 1800 1600 1400 1200 1000 800 600 400 200
Words by Kevin Carter
35mm
Technical data
Manufacturer Price Web Phone Elements/construction Angle of view Max aperture Min aperture Min focus distance Mount Filter size Length Diameter Weight Canon 799/$849 www.canon.co.uk 0844 369 0100 10/8 63 degrees (diagonal) f2.0 f22.0 0.24m Canon EF 67mm 62.6mm 77.9mm 335g
Score
f1.4 f2.0 f2.8 f4.0 Aperture f5.6 f8 f11 f16
Test results Tested on a Canon EOS 6D, mounted on a tripod and shooting max-quality JPEGs at ISO 100
As well as the image stabilisation, the optical quality makes this lens attractive, despite the high price
8/10
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ESSENTIAL KIT FOR SHOOTING
Water is a beautiful subject, but photo equipment and the wet stuff dont mix. Heres what you need to shoot in safety
Water is the cornerstone of life and its also one of the most popular subjects for photography. The sea has long fascinated humankind, and the success of communities has often depended upon proximity to water. The coast has always been a source of mystery, intrigue and threat but equally its beauty has been a muse for artists of all disciplines for centuries. Its not surprising then that photographers seek out water, whatever form it takes, as a subject for their images. The range of emotions that water can evoke is one of the main reasons for this. For many people, water automatically inspires feelings of peace and tranquillity, and many of the paintings and photos that people put on display in their homes feature water. Some photographers want to take it a step further and capture images of the subaquatic world. This is, unsurprisingly, another level of water photography that naturally requires additional kit and consideration. In this issues kit guide, weve gathered together what we think are the most important items that youll need for capturing water in all its natural beauty.
WATER
DP
Essential kit for shooting water

Ikelite housing for Nikon D800/D800E
Price: 1,300/$1,600 Most cameras arent designed to be submerged in water, so youll need to invest in a housing that protects your DSLR. For a top-of-the range camera like the Nikon D800, the pro choice would be Ikelite housing, which allows you to shoot at a depth of 60m/200ft. Be prepared to spend close to the cost of the camera itself and youll also need to factor in the need to buy a lens port.
Sea & Sea YS-02 Underwater Flash

Price: 240/$349 The same applies to ash as applies to your camera, so youll need to explore the potential of underwater ash units. There are some very good options on the market, including the Sea & Sea YS-02 Underwater Flash. This model can hit depths of 75m/250ft and is powered by 4xAA batteries. The ash covers a 100 circular beam angle and weighs 500g. Best of all, its compatible with a wide range of models.
Lee 105mm Circular Polariser

Price: 220/$300 Circular polarisers can reduce reections in water and boost colour saturation and general clarity. They can offer a 2-stop increase in exposure time, which is often sufcient to force long exposures at narrow apertures. These lters can be purchased to t a particular lter system or as standalone/ screw-in lters, and prices can vary. Check that the polariser you buy ts your lens.
Lee Big Stopper

Price: 100/$180 One of the most popular techniques for capturing water involves using long exposures. This makes water appear silky smooth, creating images that look neat, tidy and atmospheric. In order to achieve this, an ND (Neutral Density) lter is required, which reduces the amount of light that gets into the lens and through to the sensor producing a longer exposure time. For the maximum effect, try a Lee Big Stopper, which will extend exposure time by 10 stops.
Lowepro DryZone bag

Price: 280/$250 Your camera equipment and water dont get on. So its best to opt for a bag that has water-resistant zippers and a tough and durable construction which is precisely what the Lowepro DryZone Rover Backpack has to boast about. This is a heavy-duty, endurance offering that can take a pro DSLR plus four or ve additional lenses, plus a tripod and all the usual accessories. Denitely worth a look.
Pentax WG-3
Price: 280/$300 If you want to try your hand at underwater photography but dont want to go to the lengths of underwater housings for your DSLR, why not try the Pentax WG-3? This camera has been purposefully designed to take all sorts of abuse, but crucially it can happily descend 14m/45ft below the surface and still snap away with its four-times optical zoom. In addition to the WG-3, Pentax has also launched a slightly more expensive GPS version, which features a pressure, altitude and depth gauge all handy tools for the committed underwater photographer.
KIT BAG
Focal planes for fantastic shots
Understanding focal planes, nodal points, convex and concave lenses and how light interacts with them may seem baffling but this is fundamental to creating perfect images
The sheer genius of photography lies in its simplicity. When we purchase a DSLR, the things we most concern ourselves with are often megapixels and the weight of the camera body. However, your pictures are only ever going to be as good as the glass on the front of the camera will allow in other words, you should pay as much attention to your lens choice as whatever else you are spending sizeable sums of money on. Some would argue that the basic function of a DSLR hasnt changed much from the days of lm. In other words, the camera itself is still little more than a box, albeit one with expensive and complex electronics inside, that exists for the purpose of taking photographs. The real magic occurs in the lens. A poor lens can ruin a photo and render your expensive new kit nothing more than a disappointment. All lenses are not created equal, even if the scientic principles behind them are the same. The trick to producing great photographs is to manipulate your equipment in such a way that you achieve the best-possible results. Depending on your budget, this could mean rethinking an expensive body that has features you simply wont need or ever use. Instead, that cash could be allocated to a better-quality lens especially if you are simply considering a kit lens bundled with the camera. All images are formed from light. Its important to familiarise yourself with this concept; without light, we have no photography. When light doesnt exist, we create it articially with the use of ashguns or studio heads. Nevertheless, light is the cornerstone of image production and the lens is the key to effective manipulation of it. At its most basic, a lens is simply a curved piece of glass that bends the light entering it to create an image that replicates the real world. Light travels in waves, and these waves can speed up or slow down depending on the medium they are passing through. As light passes through air, it is much faster than when it passes through glass. This is where the lens does its job; light from a single source, such as a lit match, is emitted (or diverges) in any number of directions. The lens is able to bend the light, or converge it, back to a single point. This recreates the image inside the camera onto your image sensor and results in a photograph. The only problem is that camera lenses rarely contain only one piece of glass. In reality, most lenses contain a number of various-shaped pieces, all of which act to bend
Words by Dylan Baker
Light travels in waves, and these waves can speed up or slow down depending on the medium they are passing through
the light in different directions inside the lens. This can be particularly noticeable in a zoom lens, where the sheer amount of glass inside is reected in its weight. Too much glass in a zoom lens can result in various aberrations of the image. This explains why, even at extreme focal lengths, prime lenses are preferred as they require fewer elements inside due to the lack of a zoom function. Very often, the quality of the glass is also substantially higher, resulting in better overall images. To understand how a lens manipulates light, a good experiment is to use a candle and a magnifying glass. In a darkened room, light the candle and place the magnifying glass (which is a lens in itself) between it and a wall. Slowly move the magnifying glass back and forth until the resulting image of the candle on the wall is in focus. Here, you can see how the lens bends the light until it reaches a converging point where the actual image of the candle is replicated on the wall. Note that the image will be upside down; in your camera, the mirror inside the body ips it back the right way up. By focusing the image of the candle using a magnifying glass, you employ the same principles as when you focus your camera lens.
A perfect panorama can be achieved through alignment of nodal points. Look carefully at this panorama and youll find it difficult to locate exactly where the different images have been merged together Modern camera lenses are manufactured with such precision that once you understand the principal behind the nodal point, it is easy to figure out the specifics
SPOT THE JOIN
LENS PRECISION TECHNOLOGY
Lens manufacturers are careful to make products that result in the best image quality possible, even at low price points. This is partly due to the intensity of market competition, but also because a single lens element is often not enough to curb the light effectively and produce a pleasing image. Aberrations are created, the most common of which is chromatic aberration (signied by the infamous purple-fringing effect). This occurs when colour is misaligned by the light bending through a lens. In order to combat this, corrective lens elements are needed to line the colours up again. This can be a particular problem on small point-and-shoot cameras or mobile phones, where the physical space to provide a series of 8
KIT BAG
high-quality corrective lens elements is restricted. A zoom lens allows you to move these elements back and forth while controlling the focal length, or magnication, of the entire lens. The area within the camera where light is focused is called the focal plane. In a DSLR, this is the image sensor. The purpose of the lens is to effectively reshape light so that it reaches the focal plane with as little distortion as possible. At an even more precise level, the area where the light rays cross on their way to the image sensor is known as the nodal point. Consideration of this becomes particularly important if you are creating panoramic images with a DSLR on a tripod. As the camera is moved, image-to-image alignment problems can occur as the result of parallax shifts between shots. This is because the nodal point is not directly above the axis of rotation of the tripod. These subtle shifts, while not immediately obvious, show up on a stitched-together photo with glaring effect. Finding the nodal point of your lens is tricky in itself, but it is usually in the centre of the barrel. Trial and error with panoramic images will soon reveal where it is but, as a rule, you will need either a special mounting plate or bracket to directly position the nodal point of the lens over the tripods axis of rotation. In many cases, this is a technical issue too far especially when the images are not for commercial reasons. But whether you require precision for income purposes or perfectionism, if you do not set the nodal point correctly then virtually no panoramic stitching software can fully correct the resulting errors. If this all seems to boggle the mind a little too much, its worth noting that even a basic understanding of how light travels and works within a lens is important. At the most basic level, attempting to take images when there simply isnt enough light will result in photos that are too dark and must be compensated for with high ISO levels. But every photographer will soon learn that there is only so much that image stabilisation, high ISO and noise reduction can do. Once you start to understand the role of light, you can manipulate it to your advantage with the use of off-camera ash and strobes. One of the things that we probably take for granted more than anything else as human beings is our sight. Its only when we start to develop problems with it that we begin to place the value on it that it deserves. If you have poor eyesight, the chances are that you wear spectacles or contact lenses. These operate in much the same way as a camera lens does, shaping the light in the world around you and correcting it back to your human image sensor the retina of your eye. All lenses are precision instruments and one of the absolute nightmares of photography is the moment when you hear glass shatter. If you break a lens, xing it can be very costly and slow. Repairs to a camera lens can take weeks or even months. The level of meticulous detail that goes into making each lens is staggering. The manufacturing process includes grinding and polishing the lens elements, coating them, producing the barrel and nally assembling the lens itself. There are multiple inspections involved to ensure that the lenss glass gets to this nal stage without any defects or dust particles anything left within the barrel once its sealed can render the lens effectively useless. More importantly, lens manufacturing isnt a process that can be fully computerised or done by machine. Many aspects of lens production still involve human assembly and inspection. As the main image-forming part of a camera, it is important to select a number of lenses that will provide the minimum amounts of distortion while retaining sharpness at various points of the photograph. Apart from chromatic aberrations, defects such as pin cushioning or barrel distortion can result in compromised images on certain lenses, primarily extreme telephoto zooms which pack a huge range into a single, inexpensive unit. While these types of lenses are hugely convenient, especially for use in particular genres such as travel photography, they clearly have to compromise on areas of precision. In short, the pursuit of the very best images is only possible by accepting some defects for the ultimate benets of cost and convenience. There is one area, however, where aws are not only apparent but also celebrated. Most lenses are composed from as many as twelve different elements but early, basic cameras had single-element meniscus lenses. This is a lens featuring one concave and one convex surface, providing a crude but basic effectiveness when realigning light. These rudimentary lenses resulted in huge numbers of optical defects, but lovers of Holga cameras dont mind in fact, its the aws that make this type of photography so interesting. The smartphone revolution has, arguably, almost certainly killed off the point-and-shoot camera, and manufacturers such as Apple, HTC and Samsung are constantly attempting to outdo one another with cameraphones that deliver exceptional results. Staggeringly, though, the wider public isnt quite so
The purpose of the lens is to effectively reshape light so that it reaches the focal plane with as little distortion is possible
Beautiful imperfection: the Holga camera phenomenon
Dodgy imagery or artistic charm? The Holga camera has the masses divided
The manipulation of light and the precision that goes into lens manufacturing combine to produce images that are as close to reality as possible. But there is one area of photography where light is manipulated differently where leaks and imperfections due to shoddy build quality and cheap components are revered. The Holga, designed in China in the early 1980s, was invented as a cheap camera for working-class Chinese people. Its timing was all wrong; 35mm lm exploded and the Holgas 120mm mediumformat body seemed doomed. Incredibly, the manufacturer found success outside of mainland China. Photographers in the West soon warmed to its minimalist design and construction and the surreal images it produced from aberrations caused by both the cheap plastic meniscus lens and leaky body. There are now millions of Holga enthusiasts
The Holga camera represents the polar opposite of precision lens technology
1980S PHOTO CHIC
worldwide who appreciate both the aesthetics and the countercultural benets of using such a low-tech device in a world of complex DSLRs. Even apps such as Instagram, with millions of users, seek to emulate the aws of these basic devices. It just goes to show that with all the technology and precision engineering that goes into the most expensive and razor-sharp lenses, there will still always be a place for the quirky and imperfect.
The rise of social-networking giant Instagram and other smartphone photo apps that emulate retro effects has brought the traits of the Holga camera into the 21st Century
THE RETRO REVOLUTION
WANT TO KNOW MORE? Head to www.dphotographer.co.uk for more photo tips, tricks and techniques. If youve got a specific tech104 DIGITAL PHOTOGRAPHER

The anatomy of a lens and how a photo is formed
FROM LIGHT TO IMAGE
Light crosses along the nodal point and reaches the focal plane, and image sensor, where the photograph is created
FOCAL PLANE
The image is flipped the right way up within the camera so you can view it correctly through the viewfinder
MIRROR
Decide whether its time to leave the thinking to your computer and use stitching software to create a beautiful, seamless panorama
Can photo-stitching software help?
Various-shaped lens elements realign the light and allow it to converge within the camera
ELEMENTS
A zoom lens allows a wider angle than a fixed 50mm prime, but the latter typically has less elements Diverging light enters the lens at the front of the barrel but needs to be corrected in order to form a photograph
ZOOM OR PRIME
If you intend to create panoramic shots with your DSLR, then it makes sense to nd out where the nodal point of your lens is. This is the point where light crosses and it is at this position that a camera should be pivoted around the axis of a tripod. However, this isnt always possible or even practical. Many smartphones and point-and-shoot cameras now come with panoramic modes, allowing the user to digitally stitch together images that have been handheld. The reality is that there will always be aws at the areas where the nodal point was incorrectly positioned; nevertheless, algorithms and image-correction in software can now make up for a multitude of errors. Software such as PanoWeaver (www.easypano. com/panorama-software.html), available for Windows and Mac OS X, can automatically stitch any type of photo into a high-quality full 360-degree or partial panoramic image, supporting HDR creation and manual stitching by inserting matching points. Alternatively, Hugin (hugin.sourceforge.net) is a good free software option to test out the level of precision you may or may not require. It allows you to assemble a mosaic of photographs into an immersive panorama or stitch any series of overlapping pictures into one image. You will nd there are certain areas where nodal point misalignment results in skies or objects that simply cannot line up correctly. However, this may be tolerable for many users and you may nd that any further precision would be overkill.
ENTRY POINT
An image is formed from light surrounding the camera. Once you are familiar with this, light can be manipulated accordingly
INCOMING LIGHT
Where the light rays cross on their way to the sensor is known as the nodal point
concerned with perfect images and high specs. Instagram, the antithesis of perfect image quality, announced in January 2013 that it has somewhere between 100 million and 200 million users; of those, 90 million are active with forty million photos being shared per day. Thats one photo every two to three days per user. The irony is that, despite ongoing increases in lens technology, apps such as this emulate the Holga way of thinking that old school aws are actually artistic and have a retro chic cool. One thing is certain when you decide on your next digital camera body, ask yourself if what you have is already good enough and if that money may be better spent on lenses that will not only improve your images aesthetically but lead you to experiment with DP light in ways you never thought possible.
Using panorama stitching software can be an easy way to stitch your shots together to create one sweeping view of your chosen scene
SOFTWARE STITCHING
related question, why not post a thread on our bustling forum to hear from like-minded experts at www.dphotographer.co.uk/forum
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PRESENT YOUR SHOTS IN STYLE

Make your photos really stand out and showcase images like a pro with these fantastic ways to present your work
hen youve got a body of work youre pleased with, its a shame not to show it off to the world in the best way you can. Whether youre proudly displaying your photographs in your home, preparing for a gallery show or collating your work into a portfolio, weve got the best methods of presenting your shots right here. There are a variety of ways in which you can display your photos and our recommendations are based on three key areas. Over the next few pages, weve broken it down into the three key areas that will help to really showcase your work. If you want to print at home, we show you two great printers that will give you great results, one for A4 and one for A3 print sizes, as well as some professional-quality photo paper that will help you to achieve high-quality and long-lasting results. If youre looking to present a selection of images for an interview or to give someone as an album, weve got the best options in portfolios and photo books. Whether youre displaying your work at home or taking it out on the road to showcase your skills, theres an option for you. Finally, we take you through some really great options for displaying your favourite photos using frames, canvases, acrylic prints and more. These can be great solutions for photographers exhibiting their work in a gallery environment, but theyre also perfect for displaying your favorite work at home or as gifts for friends, family and even potential clients.
While recommending you some great products from the leading brands in their eld, you will also learn some top tips for things to look out for along the way to help you maintain the highest image quality from your shots. Turn the page and learn how to display your captures the professional way, whether you want to print and archive or showcase your shots in in a range of attractive display options. Given the right presentation, your photographs are guaranteed to get noticed.
Paper choices Printing photos Wall-mounted art Portfolio options
Pro tips for image display
Present your shots in style
Never keep excellent photography cooped up in virtual storage again. Proudly display your art with this range of pro-quality solutions
ON THE WALL
KIT BAG
8
Make the most of printing with archival-quality printers, ink and stock
Choosing the right printer, inks and paper can be the difference between amateur and pro displays
PRINT YOUR IMAGES

PRINT PERFECTION
Canon PIXMA iP7250

Website: www.canon.co.uk Price: 80/$100
This A4 printer can be used to display fantastic photos at home or for your portfolio. The iP7250 has Wi-Fi for wireless printing, including from your phone or tablet using an app, and high-resolution printing up to 9,600dpi for better-quality images.
Ilford Galerie Prestige Gold Fibre Silk A4/U4 paper (50 sheets)
Website: www.ilford.com Price: 57/$58
Epson Traditional Photo Paper, A3+ (25 Sheets)

Website: www.epson.co.uk Price: 74/approx $112
Epson R3000
Website: www.epson.co.uk Price: 670/$800
This 310gsm heavy-weight photo paper from respected and trusted paper manufacturer Ilford has a bre base coated with an inkjet layer on the top. This combination enables crisp detail, denition and vivid colour to be produced, so is perfect for smaller exhibition prints. Its compatible with dye-based printers but has better results with pigment ink.
This high-quality, professional paper comes with a smooth gloss surface and dries very quickly. Its coated to stop ink bleeding into the bre and it is available in sheets or 15m roll lengths with widths of 17, 24, 44 and 64. Its perfect to display larger creative work.
An excellent A3 printer for larger displays. You can use a range of media, including roll ne-art paper and board (up to 1.3mm thick), so this is a great option for gallery-show printing. Epsons UltraChrome K3 Ink has three densities of black and you can choose your black and white tonality setting for extra versatility.
Present your shots in style
Display your collections of images in well-chosen portfolios from photo books to boxes or slip-cases; it will give them a platform to shine from
OFF THE SHELF
Collate and protect your work in a portfolio or presentation box

Silverprint Portfolio Box
Website: www.silverprint.co.uk Price: From 14/approx $22
PRESENT A PORTFOLIO
To keep your prints safe and for a great way to present your portfolio, a presentation box is a practical option. The clam-shell design means you can easily access the contents and the lid and base will atten down to provide two presentation areas. The base is made from archival boxboard for extra thickness and its available in various sizes.
Myphotobook Real-Photo Book

Website: www.myphotobook.co.uk Price: From 21/approx 33
Present your images on silk or high gloss photographic paper using a Myphotobook Real-Photo Book, available in a variety of sizes. The lay-at binding makes sure the images dont distort across a double page spread and the UV protective layer ensures longevity.
Blurb Small Square Hardcover photo book

Website: www.blurb.co.uk Price: From 13/approx $20
Silverprint Slip-Case Portfolio

Website: www.silverprint.co.uk Price: From 24/approx $37
To show off your shots on a budget to friends or clients, a Blurb photobook is a great option. There are several choices available, but this Small Square Hardcover book has its cover image wrapped around it and uses four-colour printing. You can use a Blurb template or customise the layout yourself.
For a ickable portfolio, this slip-case option is a high-quality choice. Its covered in black library buckram to withstand heavy use and contains a liner folder to hold the polyester print sleeves which will protect your photos from dust and scratches. Bear in mind that you have to buy the pages separately.
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Gallery or home display solutions with style and longevity
DISPLAY YOUR WORK
One Vision Imaging Canvas Wrap 2 inch

Website: www.onevisionimaging.com Price: from 55/$86
Whitewall Solid Wood Frame with passe-partout

Website: www.whitewall.com Price: from 70/$108
For an artistic approach, this canvas print is ideal. One Vision uses a canvas effect applied to the surface seal, which is wrapped over a block. This means a true photographic print can be used rather than an inkjet print, producing better image quality and sharp corners.
DS Colour Labs Aluminium Di-Bond Print

Website: www.dscolourlabs.co.uk Price: from 25/approx $40
Albelli Acrylic wall art

Website: www.albelli.co.uk Price: from 35/approx $55
If you want to frame your photos, Whitewall offers a range of high-quality products. We recommend this solid wood frame as it comes with a professional-looking border, has options for colours, widths and glass, including UV protection and Mirogard museum glass for combatting reections.
Prints mounted on aluminium di-bond provide a sleek look to your image and are great for longer exhibitions. DS Colour Labs provides bespoke options printed on 3mm aluminium di-bond with wall attachments.
This wall art is printed on a high-gloss acrylic or Plexiglas surface. There are six sizes with a damage-resistant surface and invisible wall-mounting system, so that the picture hangs at against the wall.
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KIT BAG
Unknown to many, the late, great American lm star was also a passionate and talented photographer
SRP: 35/$60
Dennis Hopper is, of course, famous for his roles in iconic motion pictures such as Rebel Without A Cause, Easy Rider and Apocalypse Now. Whats perhaps less well known is that he was also passionate about photography, capturing captivating images of the world around him over a six-year period, around four hundred of which are featured in The Lost Album. Hopper photographed ferociously, and by most accounts obsessively, from 1961 to 1967, at which point he abruptly stopped. From 1961 on I carried my camera everywhere. All my friends teased me about being a tourist. I put my Nikon away in 1967 when I started writing and directing Easy Rider, reveals Hopper in a snippet from a 1994 Title Dennis Hopper interview included in the book. The Lost Album It can sometimes seem as though people who Editor(s) Petra Giloy-Hirts have proven themselves in one artistic arena are Dennis Hopper sycophantically applauded as a matter of course for Brooke Hayward all else that they do, but thats not the case with The Publisher Prestel Verlag Lost Album. Although ready access to the movers Price 35/$60 and shakers of one of the most tumultuous decades Pages 240 pages the world has yet seen certainly helps (think Martin ISBN 978-3791352466 Luther King Jr, Andy Warhol and James Brown, to name but a few), Hopper clearly possessed a sharp photojournalistic eye. This is evinced by the fact that An intriguing and you dont nd yourself viewing his images of everyday unique collection of people and things any differently. photos that document both a period of history As a posthumous collection, The Lost Album paints and one of its most a portrait of a multitalented man of extremes who bore enigmatic players witness to 1960s culture while also helping to create it. simultaneously SCORE: 9/10
Dennis Hopper The Lost Album
Info
Summary
Stunning photography from a man much celebrated for his cinematic masterpieces
THE LOST ALBUM
Hopper photographed ferociously, and by most accounts obsessively, from 1961 to 1967, at which point he abruptly stopped
Audrey Hepburn Photographs 1953-1966
SRP: 45/$70 Photographer Bob Willoughby knew a thing or two about how to capture Audrey Hepburn, as this stunning book makes clear
When a photographer establishes a unique, ongoing professional relationship with a subject, it can lead to great results. The Willoughby/ Hepburn combination is one of the best examples of this. Published by Taschen, which has a reputation for beautiful photography books, a stunning collection of images shows one of the 20th Centurys most iconic stars at work and at play. Comprehensive captions appear at the end of the book and there are quotes both about and from Hepburn throughout the pages. This is clearly a must-have for fans of Hepburn but this book paints a fascinating picture of a famous face through this compelling collection of images. SCORE: 9/10
The Wildlife Photography Workshop

SRP: 17/$25
Ross Hoddinott and Ben Hall take us through the whys and wherefores of wildlife photography
Books that attempt to provide a useful, practical overview of a particular discipline can often be unsatisfying. However, The Wildlife Photography Workshop is a ne example of book that does everything it sets out to do successfully. The text resonates with experience and Hoddinott and Hall have clearly attempted to cover their subject in full and from all angles. If this were a real-world workshop, youd be absolutely exhausted at its end; across just 176 pages, the authors cover a wealth of information. Each individual topic is afforded a doublepage spread with insightful and incisive text and just one or two well-chosen images as illustration. DP SCORE: 9/10
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UP AND COMING
This shot was taken on a fishing trip to Norfolk. I spent a good couple of hours chasing these damselflies and finally got this one resting on the wooden bank Shot details: Canon EOS 7D with a 50mm lens at f2.8, 1/400sec, ISO 200
DAMSELFLY
Naturalist view
We delve into Sarah Lewiss intricate portfolio and take a closer look at her creative view on the natural world
What photographic training have you had, if any, to date? While at college, my tutor had spotted my burgeoning fascination with photography and encouraged me to incorporate my expanding portfolio into my projects. As I studied e-media, I made online galleries for my work using Flash. I was asked to interpret written briefs into memorable images. After learning technical skills at college, I decided to [study] photography at university. I studied everything from abstract to still life, and graduated with a BA (hons). How do you describe your shooting style? I keep my work clean, simple and vibrant. I love experimenting with colour, and I like to shoot with a shallow depth of eld I nd that the out-of-focus areas
All images by Sarah Louise Lewis
Where did your love for photography come from? Ive always loved photography as a hobby, but I got serious about it while at college. I used to experiment with my dads compact camera, and one day took a picture of a toy duck that caught my eye. It was central in the frame, backlit, softly focused, nothing fantastic but the detail of the image spoke to me, the patterns in the plastic that Id overlooked, they became so [much] more dynamic in the image. I kept the camera on macro mode, learnt how to focus the image with the shutter button, and started taking pictures of everything that caught my eye. I was completely hooked.
are beautiful and complementary. I nd the textures of bokeh intriguing, and feel they can really help make the most of a frame. What and who inuences your work? Im lucky enough to live in a beautiful town surrounded by elds that stretch for miles and play host to a variety of animals, insects and ora. I nd the changing seasons particularly invigorating: the fresh buds of spring, the vibrancy of autumn, the rst snow of winter, and the most wonderful season summer; full of life, brimming with butteries, moths, insects and owers. What projects are you currently working on? At the moment, Im working through a list of seasonal goals, things like photograph a different buttery
CALL FOR IMAGES: If youre a student or graduate, we want to see your shots. Email us at team@dphotographer.co.uk and if we think
Sarah Louise Lewis
GET TO KNOW
Sarah Louise Lewis

www.purplefacephotography.co.uk sarah.l.lewis@live.co.uk Biography: Sarah Lewis is a 24-year-old macro artist from Lancashire who is interested in the much smaller details in life. She says, I adore macro photography, and use it to document the world around me in a still-life context. Ive been a photographer for around six years now, and Im always learning. Each year brings new discoveries and changes to my style.
In summer, the fields become a great place for butterflies including these skippers. I took the shot while lying in the grass the critters arent too bothered by humans Shot details: Canon EOS 7D with a 50mm lens at f2.8, 1/1000sec, ISO 400
RESTING PLACE
youve got talent then you could see a selection of your photographic work appear here along with your thoughts on your shots
UP AND COMING
or capture a particular ower in a different light . For me, improving existing shots or reinterpreting scenarios and environments Ive visited before is an ongoing project; I think it really helps shape me as a photographer. Recently Ive begun to incorporate my work into a broader range of media. [I have started] expanding my library of prints in my Etsy store (www.etsy.com/shop/ purpleface) and working on a series of photo pendants and greeting cards. I would love to see some of my work nd a place in the craft world. What would your dream photography job be? Im already [working] my dream job, but Id love to travel and capture a wider sense of the world. Theres so much wonder to be found in something as small as my back yard; itd be great to get a little further aeld, and explore many different gardens the world over. Whats your ve-year photographic plan? Ideally, Id like to become more recognised within the industry. When people talk about macro and nature photography, Id like them to think of me. To accomplish this Im building up a diverse portfolio, full of images that people can enjoy and discover new things within. Ive done a couple of small gallery exhibitions in the past, and Id really love to continue this and exhibit my upcoming work in the years to come. What advice would you give to others who want to get into macro and nature photography? Its all about practice. The more you try, the more effort you put in, the better youll become The most important thing I would say is that its not about equipment, its about exploring your curiosity. I practiced visualising the image in my head before DP taking the shot. Use your eyes rst!
Theres so much wonder to be found in something as small as my back yard
This is a flower called Senecio erucifolius (hoary ragwort) which is considered a weed. I shot the flower side on, giving the shallow depth of field across the image Shot details: Canon EOS 7D with a 50mm lens at f2.8, 1/400sec, ISO 400
SOFTNESS
I had been on a personal mission to photograph bluebells and when I found that they were growing so close I had to find them. I have been back every year since Shot details: Canon EOS 450D with a 50mm lens at f1.4, 1/200sec, ISO 100
BLUEBELL HEAVEN
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This shot is of a shield bug that had found its way into the house. I took it outside and photographed it while it had a good look at my lens Shot details: Canon EOS 450D with a 50mm lens at f2.8, 1/640sec, ISO 200
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The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. Imagine Publishing Ltd 2013 ISSN 1477-6650
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SAT 9am - 5pm, SUN 10am - 1pm. SHOP OPEN MON - SAT 9am - 5pm, SUN 10am - 1pm.
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1DX body 4849 5D MKIII body. . 2315 5D MKIII + 24-105 IS . . . 2959 6D body 1599 6D + 24-105 f4 L 2277 7D body . . . . . . . . . . . . . 1066 7D + 15-85 IS . . . . . . . . . 1589 7D + 18-135 IS . . . . . . . . 1329 60D body . . . . . . . . 637 60D + 18-55 IS 799 650D body 515 650D + 18-55 IS II 569 650D + 18-135 IS STM . 829 600D + 18-135 IS . . . . . . 599
EOS DSLRS
COMPACT CAMERAS G1X . . . . . . . . . 479 G15 . . . 439 SX50 . . . . . . . . 369 EF-S NON FULL FRAME LENSES 10-22 F3.5/4.5 USM . . . . . . . . . 614 15-85 F3.5/5.6 IS U no box . . . 549 17-55 F2.8 IS USM . . . . . . . . . . . . 769 17-85 f4/5.6 IS USM unboxed. . . . . 379 18-55 F3.5/5.6 IS unboxed. . . . 129 18-135 F3.5/5.6 IS STM. . . . . . 347 18-135 F3.5/5.6 IS U no box . . . 279 18-200 F3.5/5.6 . . . . . . . . . . . . 419 55-250 F4/5.6 IS II . . . . . . . . . . 239 60 F2.8 Macro USM . . . . . . . . . 339 EF LENSES 8-15 F4 L USM Fisheye . . . . . 1079 14 F2.8 LII . . . . . . . . . . . . . . . 1769 16-35 F2.8 MKII L USM . . . . . .1119 17 F4 TSE L . . . . . . . . . . . . . . 1847 17-40 F4 USM L. . . . . . . . . . . . 599 20 F2.8 USM . . . . . . . . . . . . . . 377
U.K. Stock ONLY

DIGITAL SLRS
MIFSUDS ARE NIKON PROFESSIONAL DEALERS

16-35 F4 AFS VR . . . . . . . . . . . 859 18-35 F3.5/4.5 G AFS . . . . . . . 669 18-55 F3.5/5.6 VR . . . . . . . . . . . 99 20 F2.8 AF-D . . . . . . . . . . . . . . 489 24 F1.4 AFS G . . . . . . . . . . . . 1589 24 F3.5 PCE. . . . . . . . . . . . . . 1499 24-70 F2.8 G ED AFS . . . . . . 1269 24-85 F3.5/4.5 G ED VR . . . . . 429 24-120 F4 G ED VR . . . . . . . . . 849 28 F1.8 AF . . . . . . . . . . . . . . . . 519 28-300 F3.5/5.6 G ED VR . . . . 699 35 F1.4 G . . . . . . . . . . . . . . . . 1399 35 F2 AF-D . . . . . . . . . . . . . . . . 289 50 F1.4 AF-S G . . . . . . . . . . . . 299 50 F1.8 G . . . . . . . . . . . . . . . . . 169 50 F1.8 AF-D . . . . . . . . . . . . . . 129 60 F2.8 AFS . . . . . . . . . . . . . . . 429 70-200 F2.8 VRII . . . . . . . . . . 1649 70-200 F4 G ED VR . . . . . . . . 1079 70-300 F4.5/5.6 VR . . . . . . . . . 449 80-400 F4.5/5.6 VR AFD . . . . 1377 85 F1.4 AFS G . . . . . . . . . . . . 1175 85 F1.8 AFS G . . . . . . . . . . . . . 377 105 F2.8 VR Macro . . . . . . . . . 649 200 F2 G VR II . . . . . . . . . . . . 3877 200-400 F4 VR II . . . . . . . . . . 4997 300 F2.8 AFS G VR II . . . . . . . 4189 300 F4 AF-S . . . . . . . . . . . . . . 1049 400 F2.8 AFS VR II . . . . . . . . 6555 500 F4 AFS VR II . . . . . . . . . . 5997 600 F4 AFS VR II . . . . . . . . . . 7199 800 F5.6 AFS VR . . . . . . . . . 15599 TC14EII converter . . . . . . . . . . 329 TC17EII converter . . . . . . . . . . 329 TC20EIII converter . . . . . . . . . . 389 FLASH & ACCESSORIES GP-1. . . . . . . . . . . . . . . . . . . . . 199 MBD14 (D600) . . . . . . . . . . . . . 239
D800 body . . . . 1919 D800E body . . . 2349 D600 body 1469 D7000 body . . . . 639 D7000 + 18-105 VR . . . . . 799
D4 body 4249
D5200 body 639 D5200 + 18-55 VR 699 D5200 + 18-105 VR 799
D3200 body . . . . . . . . . . . 384 D3200 + 18-55 VR . . . . . . 429
U.K. Stock ONLY
WANTED
U.K. Stock ONLY
50-150 F2.8 DC MKII . . . . . . . . . . . . . . . 799 50-500 F4/5.6 OS HSM CAF/NAF . . . . . . . . . 999 70-200 F2.8 EX DG OS . . . . . . . . . . . . . 879 70-300 4.5/5.6 APO DG Mac . . . . . . . . . 149 85 F1.4 EX DG HSM . . . . . . . . . . . . . . . 669 105 F2.8 EX DG OS. . . . . . . . . . . . . . . . . 549 120-300 F2.8 EX DG OS CAF/NAF. . . . . . . . 1649 120-400 F4.5/5.6 APO OS NAF only . . . . . . . . 629 150 F2.8 EX DG OS. . . . . . . . . . . . . . . . 699 150-500 F5/6.3 DG OS CAF/NAF . . . . . . . . 749 180 F2.8 EX DG OS. . . . . . . . . . . . . . . 1299 1.4x EX DG converter . . . . . . . . . . . . . . 189 2x EX DG converter . . . . . . . . . . . . . . . . 219 EM140DG Macro ringflash . . . . . . . . . . . 349
COMPACT CAMERAS AW110 . . . . . 395 P520 . . . . 479 S9500 . . . . . 359 DIGITAL ONLY LENSES 10.5 F2.8 DX . . . . . . . . . . . . . . 549 10-24 F3.5/4.5 G AFS DX . . . . 629 12-24 F4 DX . . . . . . . . . . . . . . . 859 16-85 F3.5/5.6 AFS VR DX . . . 469 17-55 F2.8 DX . . . . . . . . . . . . 1099 18-105 F/3.5-5.6G ED VR . . . . . . 197 18-300 F3.5/5.6 G ED VR DX . . . 689 35 F1.8 G DX . . . . . . . . . . . . . . 169 40 F2.8 AFS G DX . . . . . . . . . . 199 55-300 F4.5/5.6 G VR DX . . . . 289 85 F3.5 G VR DX . . . . . . . . . . . 399 LENSES 14 F2.8 AFD ONE ONLY . . . . . 999 14-24 F2.8 G ED AF-S . . . . . . 1337 16 F2.8 AF-D Fisheye . . . . . . . 699
We want your good quality cameras and lenses
BUY FOR CASH OR COMMISSION SALE

contact us at info@mifsuds.com or ring 01803 852400
7-14mm F4 ..................... 949 8mm F3.5 ....................... 499 12-35mm f2.8 ................. 849 14-42mm F3.5/5.6 Power OIS X................... 350 14-140mm F4/5.8 OIS .... 579 20mm F1.7 ..................... 269 25mm F1.4 DG ............... 439 35-100 F2.8 Power OIS X 999 45mm F2.8 OIS .............. 549 45-150 F4/5.6 OIS .......... 259 45-175mm F4/5.6 Power OIS X................... 319 45-200mm F4/5.6 OIS .... 269 100-300mm F4/5.6 OIS .. 419 LFV2 Viewfinder ............. 199 FL220E Flash ..................115 FL360E Flash ................. 187 FL500E Flash ................. 347 LX7 Quality Compact ..... 349 FZ-200 Camera .............. 439 FZ-150 Camera .............. 269 TZ-30 Compact Camera 239
WE PART EXCHANGE
Collection can be arranged.
NEW - DUE MARCH X100s .............1129 X20 .................. 519 X-Pro 1 body.. 1089 X-E1 + 18-55 f2.8/4 OIS ........ 949 X-E1 body ........ 629 14mm f2.8 XF .. 749 18mm f2 XF ..... 419
MBD12 Grip (D800/E) . . . . . . . 289 MBD11 Grip (D7000) . . . . . . . . 229 MBD10 Grip (D300/D700) . . . . 219 DR-5 Angle finder . . . . . . . . . . . . . 229 DR-6 Angle finder . . . . . . . . . . . . . 229 SBR200 wireless rem S/Lite . . . 199 SBR1 ringflash . . . . . . . . . . . . . 389 SBR1CI ringflash/command . . . 579 SB-700 . . . . . . . . . . . . . . . . . . . 249 SB-910 . . . . . . . . . . . . . . . . . . . 349 SC-28 . . . . 59 SC-29 . . . . . . . 69 SU-800 flash slave no box . . . . 199 MC36 . . . 129 MC30. . . . . . . . 69 EN-EL3E . .67 ENEL4A. . . . . . 89 EN-EL15 . .59 EN-EL18. . . . . 99 ME-1 Stereo Microphone . . . . . 109 WT-5 Wireless trans for D4 . . . 399 WU-1a Wireless adapt D3200 . . . 55 NX Capture 2 . . . . . . . . . . . . . . 169
MIFSUDS ARE SIGMA PRO LENS STOCKISTS

8-16 F4.5/5.6 DC HSM NAF only . . . . . . 479 10-20 F3.5 EX DC HSM. . . . . . . . . . . . . 459 10-20 F4/5.6 EX DC CAF/NAF . . . . . . . 369 12-24 F4.5/5.6 EX DG Mac MKII . . . . . . . 669 17-50 F2.8 EX DC OS HSM . . . . . . . . . 499 17-70 F2.8/4.5 DC OS . . . . . . . . . . . . . . 299 18-50 F2.8/4 DC OS . . . . . . . . . . . . . . . 169 18-200 F3.5/6.3 DC OS II . . . . . . . . . . . 279 18-250 F3.5/6.3 DC OS Macro . . . . . . . 399 18-250 F3.5/6.3 DC OS NAF only . . . . . . . .299 24-70 F2.8 EX IF DG HSM. . . . . . . . . . . 589 30 F1.4 EX DC HSM NAF only . . . . . . . 299 35 F1.4 DG HSM . . . . . . . . . . . . . . . . . . 769 50 F1.4 EX DG . . . . . . . . . . . . . . . . . . . . 365 50 F2.8 EX DG . . . . . . . . . . . . . . . . . . . 249
Micro 4/3rds system
X System Cameras & Lenses
3 YEAR WARRANTY ALL LENSES
GH3 body only 1199
GH3 + 12-35mm .........1999 GH3 + 14-140mm .......1589 G5 + 14-42mm X ..........669 G5 + 14-42mm ..............549 G5 body ........................519 GX1 + 14-42mm X ........539 GX1 + 14-42mm ...........429 GX1 body......................349 GF5 + 14-42mm X ........479 GF5 + 14-42mm............379 GF5 body ......................319
18-55mm f2.8/4 OIS XF ... 579 35mm f1.4 XF .. 419 60mm f2.4 XF .. 459 XFXR20 ash .. 189 EF42 ash ....... 199 X-100 Limited Edition Black Kit........... 719 X-10 compact.....319
18-270mm f3.5/6.3 Di II VC PZD............389 60mm f2 Di Macro NAF ......................... 299 90mm f2.8 Di Macro.............................339 Kenko auto extension tube set ..........149 Kenko Pro 300 1.4x DG .......................199 Kenko Pro 300 2x DG ..........................199
Tamron & Kenko Lenses
Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. 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 February 20th 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.
Photo Paul Rudman
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QUALITY USED EQUIPMENT. See website for full list. Call us for condition and to buy secondhand stock. 3 Month warranty on most secondhand. 5x4 USED 24 F1.4 L MKII box.............. 1199 CANON FLASH USED CF Flash.. ............................. 69 50 F1.7..................................... 79 14 F2.8 EX box ................ POA 50 F3.5 Macro......................... 99 The pick of our Schneider Sup Ang 90 F8 ..... 299 24 F1.4 L MKI M- box ..........849 199A .................................... 59 SF20 Flash .......................... 79 75-300 F4.5/5.6 ....................... 89 17-50 F2.8 EX DC OS....... 379 75-150 F4................................ 49 Polaroid back....................... 49 24-70 F2.8 LII M-.................1499 244T .................................... 29 LEICA SLR USED 100-300 F4/5.6 ......................129 17-70 F2.8/4.5 DC OS ...... 249 135 F3.5 .............................. 39 used items Toyo 6x7 RFH.................... 129 24-70 F2.8 L MKI M- ...........1099 299T.........49 300TL ......... 49 R7 body blk box ....................379 SONY LENSES USED 17-70 F2.8/4.5 DC ............. 149 180 F2.8 ............................ 399
Toyo quick roll slider .......... 199 Fidelity double dark sl ea .... 15 BRONICA ETRS 645 USED ETRS + 75 F2.8 E + 120 + plain prism + speed grip ...................... 249 ETRSi body ....................... 139 40 F4 PE ........................... 179 50 F2.8 E ............................. 99 50 F2.8 PE ........................ 199 100 F4 PE ......................... 229 105 F4.5 PE Macro ........... 369 135 F4 PE ......................... 249 150 F3.5 E ........................... 89 150 F3.5 PE M- Box . .........149 200 F4.5 PE ...................... 179 500 F8 EII .......................... 449 2x extender E .................... 139 E14 ext tube ........................ 49 120 RFH .............................. 69 Polaroid Back ...................... 29 Rotary Prism ...................... 149 AEIII Prism ........................ 179 AEII Prism ........................... 89 WLF ..................................... 49 Plain Prism E ....................... 39 Angle viewfinder E............. 179 Winder EII.......................... 199 Winder ................................. 79 M bracket............................. 69 Speed Grip E ....................... 49 Tripod adapter E .................. 59 Metz SCA 386 ..................... 49 BRONICA SQ 6x6 USED SQA + 150 + 120 RFH ...... 249 120 RFH .............................. 79 40 F4 PS ........................... 399 50 F3.5 PS ........................ 199 50 F3.5 S ............................. 99 65 F4 PS Boxed ................ 149 110 F4 PS Macro........ 279/399 135 F4 PS M- .................... 249 150 F3.5 S ........................... 79 150 F4 PS ......................... 149 150 F4 PS M- Box ............. 199 200 F4.5 PS M- box .......... 199 2x PS converter M- ........... 249 Polaroid back....................... 49 135N back ........................... 99 120J 645 back ..................... 49 Waist level finder ................. 69 Plain Prism S Boxed ........... 79 AE Prism Early .................... 99 ME Prism Finder.................. 99 Metz SCA 386 ..................... 49 Lens Hood 65-80 ................. 20 Pro shade S box.................. 49 Motorwinder ....................... 199 Speed grip S........................ 99 BRONICA GS 6x7 USED 150 F4 PG M-.................... 129 G18 Ext Tube box ............... 69 Polaroid Back ...................... 39 Speed Grip ......................... 89 AE Prism Finder G ............ 129 AE Rotary Prism ................ 169 CANON DIGITAL AF USED 1DS MKIII body box ..........2299 1DS MKII body box ........... 699 1DS MKI body box ............ 499 1D MKIV body ........ 2699/2999 1D MKIII body.................... 899 1D MKII body.............. 369/449 7D body box ............... 749/799 5D MKII body box.............. 999 5D MK I body ............. 499/649 60D body M- box ............... 549 40D body.............................. 299 30D body.............................. 199 20D body.............................. 149 550D body............................ 329 1000D body box .................. 189 BG-E1 .................................... 29 BG-E2N .................................. 69 BG-E3 .................................... 39 BG-ED3 .................................. 39 BG-E4 (5D MKI) .................... 69 BG-E5 .................................... 69 BG-E6 box (5D MKII) ............ 99 BG-E7 box ............................. 99 BG-E8 .................................... 89 BG-E11 M- box .................... 239 G1X compact ....................... 379 SX30 compact box .............. 179 SX1 IS compact M- box ...... 149 S3 IS compact ....................... 69 CANON AF USED EOS 1n RS body ............... 399 EOS 3 + PB-E2 ................. 169 EOS 3 body .................. 79/199 EOS 5 body ......................... 39 EOS 600 body ..................... 29 EOS 300 body ..................... 20 EOS 500 body ..................... 20 EOS 500N body .................. 20 EOS 50E body..................... 20 EOS 100 body ..................... 20 10-22 F3.5/4.5 EFS ........... 479 16-35 F2.8 L MKI............... 599 17-40 F4 L box .................. 479 17-85 F4/5.6 IS U .............. 199 18-55 F3.5/5.6 IS EFS ........ 99 18-55 F3.5/5.6 EFS................. 69 18-200 F3.5/5.6 IS box .........349 20-35 F3.5/4.5 U ...................199 24-105 F4 L ...................649/699 28 F1.8 U M- .........................299 28-90 F4/5.6 UII ...................... 89 28-135 F4.5/5.6 .....................179 35 F2 box...............................159 35-70 F3.5/4.5 ......................... 69 35-135 F4/5.6 U .................. 99 50 F1.4 U box.................... 249 50 F1.8 MKII ........................ 69 60 F2.8 EFS box ............... 249 70-200 F2.8 L IS II ..... M-1549 70-200 F2.8 L IS MKI ........ 999 70-200 F4 IS L M- ............. 699 70-200 F4 U L ................... 379 70-300 F4/5.6 IS U ............ 299 75-300 F4.5/5.6 U ............... 99 80-200 F4.5/5.l6 II ............... 49 85 F 1.2 L U M- ............... 1299 85 F1.8 U ................................. 249 100 F2.8 IS L U Mint ................. 579 100 F2.8 U box.................. 329 100-400 F4.5/5.6 L M- box ........1099 100-400 F4.5/5.6 L ............ 999 180 F3.5 L box .................. 879 300 F2.8 IS U LII M-........ 4499 300 F2.8 IS U L ...... 2999/3299 300 F4 IS U L ........................ 799 400 F5.6 L ........................... 899 500 F4 IS L U ...........4799/4999 12mm II ext tube M-.............. 59 25mm II ext tube M-.............. 99 1.4x conv MKII .................... 279 1.4x conv MKI ..................... 169 2x ext MKII .......................... 199 2x extender MKI .................. 169 Teleplus 2x DG conv ........... 89 NCE2 charger.................... 149 BP-200 grip ......................... 20 BP-50 grip ........................... 29 PB-E2 .................................. 79 LC-5 kit .............................. 179 LC-4 kit ...............................119 Angle finder C.....................119 SIGMA CAF USED 12-24 F4.5/5.6 EX DG ..........399 17-70 F2.8/4 DC OS .............239 18-50 F2.8 EX DC.................199 18-125 F38/5.6 DC OS.........229 18-125 F38/5.6 DC ................. 99 24-70 F2.8 DG HSM Mint.....499 24-70 F2.8 EX DG ................349 50 F1.4 EX DC ......................299 50-500 F4/6.3 EX DG ...........599 70-300 F4/5.6 APO DG Mac ........99 70-300 F4/5.6 DG Mac ........... 69 105 F2.8 EX DG.................. 319 120-300 F2.8 DG OS .............1299 120-300 F2.8 EX DG HSM.......849 135-400 F4.5/5.6 ...................199 150-500 F5/6.3 OS box ........599 170-500 F5/6.3 ......................399 1.4x EX DG conv M- .............149 OTHER CAF USED TAM 28-270 VC DiII PZD .....329 TAM 28-300 F3.5/6.3 VC......299 TAM 55-200 F4/5.6 ................. 49 TAM 70-300 Di VC M- ..........239 TAM 70-300 F4/5.6 ................. 79 TAM 90 F2.8 ............... 219/269 TAM 200-500 F5/6.3 Di....... 439 TOK 11-16 ATX Pro ............ 399 VIV 19-35 F3.5/4.5 .............. 69 Teleplus 2x VG .................... 89 Kenko Pro 300 1.4x DG .... 149 Kenko Pro 300 2x DG ........119 CANON FLASH USED 380EX .................................. 69 420EX .................................. 89 430EX MKII M- box ........... 169 430EX box ......................... 139 580EX box ......................... 239 580EX MKII ....................... 319 MR-14EX ........................... 349 ML-3 ring not digital............. 89 CPE-2 batt pack .................. 69 ST-E2 box............................ 99 Sigma EM140G ring .......... 199 CANON MF FD USED T90 Body ............................. 99 A1 body ........................ 79/179 A1 body blk/chr.................... 49 AE1-P chrome body ............ 69 AV1 chr body ....................... 49 35-70 F3.5/4.5 ..................... 39 35-105 F3.5 ......................... 99 35-105 F3.5/4.5 ................... 79 50 F1.8 ................................ 20 50 F3.5 Macro ..................... 89 50 F3.5 Mac + Tube ...........119 70-210 F4 ............................ 69 100 F2.8 .............................. 99 100 F4 Macro + tube ......... 299 100-300 F5.6 ....................... 99 135 F3.5 .............................. 29 200 F4 ................................. 49 2X A Extender...................... 99 2X B Extender ..................... 69 TOK 60-300 F4/5.6.............. 69 Winder A .............................. 29 Angle finder B ...................... 69 Action finder for F1N ......... 129 AE power winder FN ........... 79 AE motor drive FN + battery pack.................... 149 Auto bellows ...................... 129 CONTAX RF USED G2 body Titanium box ....... 399 28 F2.8 Titanium................ 299 35-70 F3.5/5.6 blk box ...... 369 35-70 F3.5/5.6 tit box ........ 369 TLA200 Titanium ................. 69 TLA30 Flash ........................ 29 CONTAX SLR USED 167MT body......................... 69 139Q body ........................... 69 137MA body ........................ 69 EPSON PRINTER USED R3000 kit ........................... 549 FUJI DIGITAL USED X-E1 + 18-55 silv M- box.....929 X-E1 body Mint box ........... 579 X100 Ltd Ed M- ................. 649 X100 M- box ...................... 469 18-55 F2.8/4 Mint .............. 549 60 F2.8 R M- box .............. 399 S5 body M- box ................. 299 FUJI 35MM USED M42 & Bayonet SEE WEB FUJI MED FORMAT USED GX617 + 90 +VF + CF box.......................... 2599 180 F6.7 GX680 box ....... 1399 250 F5.6 GX680 ................ 199 GSW690 MKIII M- box ...... 869 GITZO USED TRIPOD HEADS G1077M ............................. 139 G1177M ............................... 49 G1178M ............................... 79 G2180 ................................ 129 G2272M ............................. 149 G2780FQR green .............. 149 GH1720FQR...................... 139 GH1720QR ........................ 149 GH1780FQR...................... 129 GH1780QR ........................ 149 GH2750 ............................. 139 GH2750QR ........................ 139 GH2780QR ........................ 199 GH2781T ............................. 99 GH2781TQR........................ 99 GH3780QR ........................ 199 GH5380SQR ..................... 179 TRIPOD LEGS G1325 MKII ....................... 299 GT0531.............................. 199 GT1541.............................. 299 GT1840C ........................... 199 GT2341L............................ 199 GT2531.............................. 279 GT2531EX ......................... 359 GT2531LVL........................ 299 GT2532S ........................... 339 GT2540FT ........................ POA GT2540T ........................... 279 GT2540F ........................... 399 GT2540FL ......................... 429 GT2540LLVL...................... 399 GT2541EX ......................... 339 GT2542S ........................... 379 GT3320BS ......................... 199 GT3330.............................. 249 GT3531.............................. 369 GT4552TS ......................... 479 GT4552GTS ...................... 499 HASSELBLAD XPAN USED XPan I + 45 F4........................ 849 30 F5.6 M- box......................1899 90 F4........................................299 HASSELBLAD 6x6 USED SWCM + VF ....................... 1199 903SWC + viewfinder ........1899 503CW body chr................ 699 500CM + 80CF + A12 blk/chr ......................699 PM90 prism ....................... 199 WLF early ............................ 49 A12 latest blk/chr ............... 199 A12 late black .................... 149 E12 box ............................. 349 503CW winder box ............ 249 40 F4 early ........................ 699 50 F2.8 FE M- ................... 699 250 F4 FE M- box ............. 649 50 F2.8 CE M- box ............ 699 50 F4 CF FLE.................... 699 50 F4 CF ........................... 499 80 F2.8 CF M- ................... 499 120 F4 CF ......................... 599 120 F5.6 chr ...................... 199 150 F4 chr ......................... 169 150 F4 CFi M- ................... 749 150 F4 CFI ........................ 649 150 F4 CF ......................... 349 150 F4 blk T* ..................... 199 160 F4.8 CB M- box .......... 399 Vivitar 2x conv ..................... 69 LEICA DIGITAL USED D-Lux 5 blk .......................... 399 D-lux 2 M- box..................... 279 V Lux 20 M- box.................. 249 LEICA M/COMPACT USED IIIg + 5cm f2 + erc ............. 999 M4P chr body .................... 699 M3 chr d/wind + ERC ....... 699 21 F2.8 blk ASP M- box ....... 1999 28 F2.8 M- box .................. 699 35 F2 blk ASP M- box ..... 1599 50 F1.4 blk M- box .......... 1899 CF22 flash ........................... 69 R4 body chr ...........................149 60 F2.8 R........................... 449 LIGHTMETERS USED Gossen Lunasix III............... 79 Minolta Flashmeter V ........ 179 LOWEPRO USED Lens Trekker 600AW ........... 99 Dryzone 200 yellow/blk ..... 179 Pro Trekker AW ................... 99 MAMIYA 645 USED 645 Pro TL + 80 + RFH + plain prism ...................... 349 645 Pro TL inc 80 F2.8 N + AE Prism + Pro Winder ...................449 645 Pro + 80 F2.8 N + 120 RFH + prism ............ 349 645E body ......................... 169 645 Pro TL Body ............... 199 45 F2.8 N M- Box .............. 179 55 F2.8 N............................. 99 55-110 F4.5 ....................... 249 70 2.8 C leaf ........................ 99 105-210 F4.5 ULD C.............249 110 F2.8 N ........................... 99 110 F2.8 C ........................... 79 150 F3.5 N........................... 99 210 F4 N M- ...................... 129 300 F5.6 N ULD-C M- ....... 199 Ext Tube 1, 2, 3S each........ 29 Teleplus/Viv 2x conv ea ....... 49 FE401 AE prism box ......... 179 AE prism 645 Super .......... 129 Plain prism (645 Super) ...... 69 Polaroid Back HP401 .......... 39 Polaroid back....................... 39 120 Insert ............................ 20 HA401 120 RFH Box........... 49 120 Back ............................. 39 Winder ................................. 79 MAMIYA TLR 6x6 USED C330 S B/O + WLF............ 299 C330 F Body + WLF .......... 149 80 F2.8 S ........................... 149 180 F4.5 ............................ 169 Paramender ......................... 89 MAMIYA 7 RF 6x7 USED 7II body.............................. 849 50 F4.5 L + VF .................. 849 210 F8 + VF box M- .......... 599 Panoramic kit....................... 49 MAMIYA RB 6x7 USED Pro S + RFH + 127 F3.8 .....349 Pro SD + 127 KL + RFH + WLF .................... 649 Pro SD body ..................... 249 Pro S body......................... 149 Pro S body scruffy ............... 99 Prism early .......................... 99 WLF ..................................... 79 Chimney .............................. 69 120 645V back .................. 149 120/220 6x8 motor ............ 149 Pro S Polaroid back ............ 49 Pro SD Polaroid back .......... 69 50 F4.5 C........................... 269 65 F4 KL M-....................... 399 180 F4.5 C........................... 99 250 F4.5 KL M- box ..............249 45mm tube SD M-................... 99 Ext tube 2................................. 69 MAMIYA RZ 6x7 USED RZ67 Pro II + 90 + RFH ...... 649 RZ67 Pro II + 90 + RFH ...... 499 RZ67 Pro II + 110 + RFH..... 499 RZ Pro II body ................... 299 RZ Pro body ...................... 149 50 F4.5 W M- .................... 269 50 F4.5 ULD M- box .......... 699 65 f4 M- box ...................... 329 75 F4.5 shift M- ................. 549 140 f4.5 W M- Macro......... 349 180 F4.5 M- ....................... 179 No 1 or No 2 ext tube ea..... 69 FE701 prism AE ................ 249 AE prism early ..................... 99 Pro II Polaroid back ............. 69 120 back Pro II .................... 99 120 back Pro 1 .................... 39 Pro shade ............................ 49 Pro AE hood .......................119 MINOLTA/SONY DIGITAL USED Sony A550 body box........... 369 Sony A350 body.................. 179 Sony A200 body.................. 199 HVL-F36AM flash..................129 VGB50AM grip box.............. 119 Nissin Di866 II .......................129 Sigma EF530DG Super ........ 99 Minolta VC7D grip............... 119 Sony RLAM ringlight ........... 219 MINOLTA/SONY AF USED Dynax 9 body box ............. 249 Dynax 7 body ...................... 79 Dynax 7xi body .................... 49 Dynax 5 body box ............... 39 Dynax 700Si + VC700 ......... 69 Dynax 700Si body ............... 49 Dynax 600Si ........................ 69 Dynax 505Si Super b/o ....... 29 Dynax 505Si body ............... 29 Dynax 404Si body ................. 29 17-35 F3.5 G M- box ........... 649 24-105 F3.5/4.5 ................. 149 28-105 F3.5/4.5 ................... 99 35-105 F3.5/4.5 M- .............. 99 18-70 box ............................ 49 18-50 F2.8 DC Macro........ 239 24-70 F2.8 box .................... 1199 18-50 F2.8 EX DC ............. 199 50 F2.8 D mac.......................299 18-125 F3.8/5.6 DC ............. 99 75-300 F4.5/5.6 ..................... 119 20-40 F2.8 EX DG ................199 SIGMA MIN/SONY AF USED 24-70 F2.8 EX DG HSM.......449 12-24 F4.5/5.6 EX DG ........ 399 24-70 F2.8 EX DG ................349 15 F2.8 EX DG box ............ 329 28-200 F3.5/5.6 .....................129 17-35 F2.8 EX ..................... 149 28-300 F3.5/6.3 ....................... 99 18 F3.5 box ......................... 129 30 F1.4 EX DC box...............249 18-35 F3.5/4.5....................... 69 50 F2.8 EX DG .....................179 24-70 F2.8 EX DG Mac ...... 269 50-500 F4/6.3 DG OS ..........799 28-70 F2.8 EX ..................... 149 50-500 F4/6.3 EX DG ..........599 55-200 F4/5.6........................ 69 50-500 F4/6.3 EX .................499 70 F2.8 EX DG......................299 55-200 F4/5.6 DC Mint ...........49 600 F8 ............................... 349 70-300 F4/5.6 APO Mac ......... 99 1.4x EX DG conv............... 149 105 F2.8 EX DG box ............319 1.4x EX conv ......................119 120-300 F2.8 EX 2x EX DG conv M- box ..... 149 DG HSM OS ...........................1299 TAM 28-75 XR Di box ....... 229 170-500 F5/6.3 ......................179 TAM 90 f2.8 ....................... 199 1.4x EX DG M- ......................149 TAM 180 F3.5 M-....................439 1.4x EX conv ........................... 99 TOK 11-16 F2.8 ATX Pro....... 379 2X EX conv............................109 VIV 19-35 F3.5/4.5 .............. 69 TAMRON NAF USED VIV 100-400 F4.5/6.7 ........ 149 18-200 F3.5/6.3 DiII ..............149 Teleplus 1.4x conv ............... 69 18-250 F3.5/6.3 DiII box .......199 Teleplus 2x conv .................. 99 18-270 F3.5/6.3 DiII PZD......319 Jessops ext tubes................ 69 18-270 F3.5/6.3 DiII VC ........279 Kenko 1.4x Pro 300DG ..... 149 28-200 XR Di mint box ......... 119 VC-9 (Dynax 9) M- box ..... 129 28-200 XR ............................... 79 VC700 (700/800Si) .............. 29 55-200 F4/5.6 DiII ................... 49 VC600 (600Si) ..................... 29 70-300 F4/5.6 .....................69/89 VC-7 (Dynax 7).................... 69 90 F2.8............................219/289 Min 3600HSD Flash ............79 TOK 12-24 F4 ATX M- ....... 379 Min 5200i ............................. 49 Teleplus Pro 300DGX 2x .......... 149 Min 5400HS......................... 69 FLASH / ACCESSORIES USED NIKON DIGITAL AF USED DW-30 (WLF for F5) ..............139 D3 body .................. 1499/1799 SB-24........49 SB-25............. 49 D2X body box ............. 399/649 SB-26........69 SB-27............. 49 D800 body M- box ........... 1699 SB-28........69 SB-29............. 99 D700 body ................ 999/1399 SB-30 ....................................... 49 D300 body .................. 399/499 SD-8A....................................... 99 D200 body box .................. 299 SD-8 box.................................. 69 D90 body box .................... 329 SB-910 Mint box....................299 D80 body ........................... 199 MB-10 (F90X) .......................... 29 D70s body box .................. 129 MB-15 (F100) .......................... 49 D70 body box .....................119 MB-16 (F80) ............................ 29 D5100 body M- box ........... 249 MB-40 fits F6 M- box ............179 EH-6 mains charger ............ 59 MC-30 ...................................... 49 MBD-10 box ................119/149 MC-36 ...................................... 99 MBD-11.............................. 169 WT-2 box ................................. 99 MBD-12 M- box ................. 249 LS5000 scanner ..................1399 MBD-80 box ........................ 99 NIKON MF USED MBD-200 box ...................... 69 F3T body blk M- box ......... 699 Coolpix P7100 ................... 199 F3HP body......................... 299 Coolpix P100 ..................... 149 F3 body ........................ 99/199 NIKON AF USED FA body chr M- .................. 299 F6 body M- box ................. 949 FE-2 body chr ............. 199/299 F5 body M- box ................. 499 FM body chr ........................ 99 F5 body box....................... 299 FM2n body chr .................. 199 F4 body box....................... 249 FM2n body blk ................... 169 F4S body ........................... 149 FM2 body chr .................... 149 F100 + MB-15 ................... 149 F301 body ........................... 39 F80 body black .................... 69 28 F3.5 Shift ...................... 449 F90X body ........................... 49 28 F3.5 AI ............................ 99 F801 body ........................... 49 35-70 F3.3/4.5 AIS .............. 99 F801s body.......................... 49 35-105 F3.5/4.5 AIS .......... 149 F55 or F601 body each ....... 29 36-72 Series E..................... 79 10-24 F3.5/4.5 M- box..........549 43-86 F3.5 AI ....................... 69 12-24 F4 AFS DX M-............599 50 F1.2 AIS....................... POA 14-24 F2.8 AFS M- box...... 1199 50 F1.4 AIS........................ 199 16-85 F3.5/5.6 AFS VR ........379 50 F1.4 AI .......................... 149 17-55 F2.8 AFS box ......599/699 50 F1.8 AIS.......................... 99 18-55 F3.5/5.6 VR M-............. 99 50 F1.8 AIS pancake ......... 139 18-70 F3.5/4.5 DX ................149 105 F2.8 AIS micro............ 299 18-105 F3.5/5.6 VR .............. 319 135 F2.8 AIS...................... 149 18-135 F3.5/5.6 AFS ............149 180 F2.8 AIS M- ................ 399 18-200 F3.5/6.3 VRII M- ......399 500 F8 late ....................... POA 18-200 F3.5/6.3 VR box ....... 299 TC14A................................ 149 24 F1.4 AFS M- box ...........1399 TC14B box ........................ 149 24-70 F2.8 AFS box ........... 1149 TC16A.................................. 99 24-120 F3.5/5.6 VR ..............299 TC200 .................................. 59 24-120 F3.5/5.6 D ................149 MD-12 winder .......................... 49 28 F2.8 AF N ........................ 119 SB-15................................... 39 28-80 F3.5/4.5 D ..................... 69 SB-17 (fit F3) ....................... 49 28-80 F3.5/5.6 G ..................... 49 DR-3 angle finder ................ 69 28-100 F3.5/5.6 G ................... 49 DW-4 (fit F3) ...................... 149 28-105 F3.5/4.5 AFD.............169 OLYMPUS DIGITAL USED 28-300 F3.5/5.6 G .................149 E1 + 14-42......................... 249 35 F1.8 AFS ..........................129 E510 body ......................... 199 35-70 F2.8 AFD .....................299 E500 body ......................... 179 40 F2.8 AF DX.......................189 E300 body ......................... 149 50 F1.4 AFS M- .....................239 14-45 F3.5/5.6 ................... 169 55-200 F4/5.6 AFS VR .........139 18-180 F3.5/6.3 ................. 279 55-300 F4.5/5.6 AFS VR ......249 40-150 F3.5/4.5 ................... 99 60 F2.8 AFS M- box..............339 40-150 F4/5.6 ...................... 89 70-200 F2.8 VRII .................1499 50 F2 Macro ...................... 379 70-200 F2.8 VRI ....................999 FL50 Flash box ...................149 70-210 F4/5.6 AF .................... 99 HLD3 grip fit E300 ............... 49 70-300 F4/5.6 VR .............. 329 Sigma 10-20 F4/5.6 DC .... 279 75-300 F4/5.6 ...................... 79 Pen E-P3 body M- box ...... 279 80-200 F2.8 AFN M-.......... 799 Pen E-PL2 + 14-42............ 249 80-200 F2.8 AFS ............... 699 Pen E-PL1 + 14-42............ 179 80-200 F2.8 early .............. 299 12 F2 ................................. 439 80-400 F4.5/5.6 VR ........... 799 14-150 F4/5.6 .................... 349 85 F1.4 AFD M- box .......... 699 17 F2.8 .............................. 139 85 F1.4 AFD ...................... 579 VF-2 viewfinder ................. 129 85 F1.8 AFD ...................... 239 OLYMPUS MF OM USED 105 F2.8 AFS VR .............. 539 OM4Ti blk body.................. 249 300 F2.8 AFS VRII .......... 3599 OM-2SP body .................... 149 300 F2.8 AFS VRI ........... 3199 OM-2N chr body ................. 129 300 F4 non AFS ................ 369 OM-10 chr or blk body ea ..... 49 TC20EII ............................. 199 21 F3.5 .............................. 249 SIGMA NAF USED 28 F2.8 ................................ 69 10-20 F4/5.6 EX DC .......... 289 35-70 F4 .............................. 89 12-24 F4/5.6 EX DG.......... 399 35-105 F3.5/4.5 ................. 129 300 F4.5 ............................ 199 Olympus Auto bellows + slide copier M- ................ 169 T32 ash .............................. 49 Man ext tube 7/14/25 ea ...... 15 Auto ext tube 7/14/25 ea ...........20 Power bounce GR2 ...................49 PANASONIC DIGITAL USED LX3 compact M- box ......... 149 G5 + 14-42 M- ..................... 429 G3 Olympic kit M- box ....... 449 G3 body box ...................... 199 G2 body ............................. 169 G1 body ..............................119 GF3 + 14-42 OIS ............... 199 GF3 body mint box ............ 199 GF2 body box .................... 169 GF1 body box .................... 149 14 F2.5 .............................. 199 14-42 F3.5/5.6 ..................... 69 14-45 F3.5/5.6 ................... 239 14-50 F3.8/5.6 OIS ............ 299 45 F2.8 DG Macro............. 469 45-200 F4/5.6 OIS ............. 189 LVF2 viewfinder ................. 169 FL220 Flash.........................59 PENTAX 645 DIGITAL AF USED 45 F2.8 AL ......................... 379 45-85 F4.5 FA M- box........ 749 80-160 F4.5 FA.................. 599 PENTAX DIGITAL AF USED K7D body........................... 349 K20D body box .................. 349 K10D body box .................. 199 PENTAX 35mm AF USED MZ-S body ......................... 149 MZ5N body .......................... 49 MZ5 body ............................ 49 12-24 F4 ............................ 449 18-55 F3.5/5.6 WR .............. 69 18-55 F3.5/5.6 ..................... 49 24-90 F3.5/4.5 FA..................179 28-70 F4 AL ............................. 69 50-200 F4/5.6 DA WR ......... 99 50-200 F4/5.6 DA ................ 79 70-300 f4/5.6 ....................... 79 80-200 F4.7/5.6 ................... 49 100-300 F4/5.6 .................... 99 AF200G Mint ....................... 49 AF500FGZ Flash ..................79 SIGMA PKAF USED 8 F4 EX M- box ................. 279 12-24 F4.5/5.6 EX M- ........ 369 17-35 F2.8/4 EX ................ 149 18-200 f3.5/6.3 DC box ..... 129 28-200 F3.5/5.6 ................. 139 70-300 F4/5.6 DG................ 79 150-500 F5/6.3 DG .......... 449 170-500 F5/6.3 .................. 379 TAM 18-200 XR DiII .......... 139 TAM 70-300 F4/5.6 Di ......... 79 Cosina 100 F3.5.................... 79 PENTAX 35mm MF USED MX body .............................. 79 K1000 body chr ................... 99 Program A body ................... 49 M42 300 F4 M- .................. 279 28 F3.5 ................................ 49 35-70 F3.5/4.5 PK ............... 49 40-80 F2.8/4 PK .................. 69 50 F1.7 ................................ 49 50 F2 ................................... 49 80-200 F4.5 ......................... 49 135 F2.5 .............................. 69 135 F3.5 .............................. 49 400-600 F8/12 ................... 399 Rear converter PT62 ........... 69 PENTAX 645AF USED 645NII body ....................... 549 645N body ......................... 299 120 insert............................. 79 45 F2.8 FA ......................... 379 45-85 F4.5 M- box ............. 699 80-160 F4.5 FA.................. 499 PENTAX 645MF USED 55 F2.8 M- ......................... 249 120 F4 Macro .................... 349 135 F4 Leaf ....................... 199 150 F3.5 EX++ .................. 149 200 F4 ....................... 129/179 1.4x converter .......................199 2x converter ..........................179 120 Insert M- box................. 49 PENTAX 67 USED 67 MU + metered prism + 105 F2.4 ......................... 699 67 MU body ..........................299 55 F3.5 early...................... 199 55 F4 ................................. 279 75 F4.5 latest box .............. 249 75 F4.5 shift ....................... 449 135 F4 Mac early ............... 129 165 F2.8 ............................ 149 165 F4 leaf......................... 299 200 F4 latest ...................... 269 300 F4 early scruffy............ 149 300 F4 late......................... 349 Auto ext tubes...................... 99 Vivitar 2x conv ..................... 79 TAMRON ADAPTALL USED SEE WEBSITE TELESCOPES/BINOS USED SEE WEBSITE VOIGTLANDER USED Bessa III (667) box .......... 1299
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
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Sigma CAF 120-300 F2.8 EX DG HSM 849
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SHOWCASE YOUR PHOTOGRAPHY DPHOTOGRAPHER.CO.

SHOOT WITH A TIL T-SHIFT LENS

CREATIVE PROJECTS Experiment with aerial photos using a kite

EXPERT SHOOTING TIPS

JAMES HOUSTON Everyone who comes to

THE LAB FOR PHOTOGRAPHERS

Direct print behind acrylic glass

Phone: 020 - 3411 1846 E-mail: info @WhiteWall.com

Master black and white

SUN SETS OVER THE GALLOWAY HILLS

All images by Kirk Norbury

Kirk Norbury wins his own gallery print

Join the gallery

Travel Lens 18-270mm f3.5-6.3 VC PZD Lens

Possibly the only lens youll ever need!

18-270mm F/3.6.3 Di II VC PZD

Lens shown Actual Size

Available from all fine camera stores www.tamron.co.uk

New eyes for industry

New Nikon lenses

Words by Matt Bennett

Compact releases galore

Renaissance Photography Prize 2013

Wouter Kingma tests the Canon EOS-1D X

New Hybrid Ringlight

World Pinhole Day

Samyang Lenses now distributed by Intro 2020 in the UK

Master black & white

reasons to shoot in black and white

01 Refocus the viewers eye 02 Timelessness 03 Texture

04 Contrast control 05 Shape formation

LIGHTING THE BACKGROUND

LIGHTING THE MODEL

Master black & white

What makes this work?

Master black & white

What makes this work?

Master black & white

Bring out the texture in portraits

02 EMPHASISE THE BLUES

05 DODGE AND BURN

09 DARKEN THE EDGES

GREAT PHOTOS MADE EASY

Available from all good newsagents and supermarkets

Print edition available at www.imagineshop.co.uk Digital edition available at www.greatdigitalmags.com

BUY YOUR ISSUE TODAY

Matt starts setting up the lighting required for the shoot

Behind the scenes

Behind the scenes

GET SET, SHOOT

01 Work with a theme 02

Image Leroy Skalstad

OUTSIDE YOUR COMFORT ZONE

03 Add a touch of humour

08 Shoot self-portraits 09 Document changes

Shoot interesting vistas

11 Join in the geocaching craze

13 Shoot seasonal changes

17 Use creative lters