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19-25 februa ry i s s ue 126

inspir at ion ide a s in-dep th re v iews

sony a7 ii
video review
has this csc
got even better?

shoot like a pro

take pol ished, professional portr a i ts
 Pale winter
by jovana rikalo
Jovana’s striking portrait is all about the eyes. She’s shown
technical prowess to get them so sharp and capture such fine
details, and her subject’s engagement with the camera grips the
viewer. This image perfectly illustrates the techniques in this
week’s main feature.
http://jovanarikalo.com/
TAKEN WITH: Canon EOS 5D Mark III, 135mm f/2
Exposure: 1/500 sec at f/2, ISO100
 w e l c o m e

t he worl d’s bes t-sel l ing digi tal photo mag a z ine
19-25 februa ry i s s ue 126

Olympus e-m5 mark ii bOmbsHell

GET 40MP FROM A 16MP SEnSOR!
de ee

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eoee
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s !
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vid

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C A n O n 5 d S/5 d SR h A n d S O n R E v I E w
nikon
vs
inspir at ion ide a s in-dep t h re v iews

10 health checks every photogr apher must do

50 MEGAPIXELS!
O U R F I R S T L O O K A T C A n O n ’ S G A M E C h A n G Ewhat’s
RS new on nikon’s latest d-slr?

make your camera

sony a7 ii take better
Landscape pictures
Make perfect
photoshop seLections
custoMize the
LightrooM Library
video review full
has this csc HaNDs ON
got even better? viDeO
how to sort and rate make a light stencil the best large sensor
images in lightroom for your flashgun compacts on test

PLUS FIRST LOOKS AT ThE nEw EOS REBEL

shoot like a pro

T 6S / 760d, R EBEL T 6I 750d A nd EOS M3

take pol ished, professional portr a i ts

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 CONTENTS
Find out what’s inside this issue

fe a tu r e F E AT U R E
perfect head shots
Set up a mini studio for
polished, professional portraits

PHOTOS
gallery
The very best reader images
from around the world

I N S P I RA T I O N
It’s cool, that...
This amazing light-painting
animation took a year to make

OPINION
Viewpoint
gallery I N s p i r a tion With Olympus’s new sensor-
shift technology, do you need
a full-frame camera any more?

S K I LL S
Crash Course
Discover how to play with fire
for dramatic portraits!

PHOTOSHOP
lightroom
Learn how to geo-tag photos
and see them on a map

S K I LL S l i g ht r oo m ge t your
f ir s t f ive
G E AR
issues free!
Sony A7 II Tap here to learn
We review Sony’s update
to its popular full-frame
more about our
compact system camera risk-free trial
 E-M5 Mark II

G I F T T O YOU
OUR W A R R ANTY
R
5 1/2 YEA MESSENGE*R

†
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& OM-D ORTH £23001/03/15
BAGU PW
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WHEN

YOU ARE FREE

Follow your creative visions with the new OM-D E-M5 Mark II. Capture spur-of-the-moment photos and movies in breathtakingly clear quality thanks
to the world’s most powerful 5-axis image stabilisation†. This OM-D is also ready to go wherever you go, in any situation. The compact build won’t
weigh you down, while the robust construction is set for taking on the elements: dust, splashes and freezing temperatures. Freedom has never felt
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Find out more at your local dealer or visit olympus.co.uk/omd

* 31/2 year warranty in addition to standard 2 year product warranty. Available on redemption. While stocks last. Terms and conditions apply. Visit olympus.co.uk/promotions for further details.
 f e a t u R e

Shoot professional
he ad shots
Learn how to produce polished, professional head-and-
shoulders portraits for business or personal projects

ompared to most styles of

C portrait, the humble head shot
might seem a little conservative,
even dull. But there’s an art to getting it
right, and it’s an important element
of any portrait photographer’s
repertoire. Professional ‘head and
shoulders’ portraits are always in
demand, whether it’s for a company
website, a school photo album, or for
a passport or driving licence.
Creating images for a client brings
a lot of new rules into play that don’t
apply when you take pictures for
yourself. It’s your job to make the client
look good, so there’s no point going
for something edgy and experimental
unless that’s what they ask for.
The aim with a corporate portrait
is usually to produce a polished,
professional shot of a person’s head and
shoulders; for this you’ll need flattering
light, a simple, clean background and
a pose that’s both authoritative and
engaging, and we’ll show you how to
achieve all three in this tutorial. You’ll
learn an array of useful Photoshop skills
along the way, including how to batch
process a set of images to apply edits to
several shots in one go, how to produce
D ow nl oa d contact sheets, and how to perform
projec t f il e s a quick touch-up job (including some
h t t p : // t i n y. c c /p 0 4x t x impressive digital dentistry).
on a pc or mac So read on to discover a complete
workflow for professional head shots,
from lighting and capture to processing
and enhancing.
 f e a t u R e
set up your camera for perfect head shots

1 2
Home studio kit
If you’re asked to shoot a subject in
his workplace, a home studio kit with
a couple of flash heads fitted with
umbrellas or softboxes is ideal. For
a simple setup, position your main
light in front of the sitter, above him
and slightly to one side, and position
your secondary light angled towards
the background. Position a reflector
opposite the main light to fill in shadows
and reduce contrast.
Diffuse the light
Direct light from a small source is ‘hard’
and unflattering. To make the light
softer we need to diffuse it and bounce
it so that the light source effectively
becomes larger. You can either bounce
flash off a wall, or use softboxes or
umbrellas. Attach one to the main light,
and try feathering the light so that it’s
pointed slightly in front of the subject,
rather than straight at him. This way, the
light ‘wraps around’ the face.
3
Show examples
Before you begin shooting, find out
exactly what the client is after. He might
want a traditional shot, or something
more contemporary, and it’s often
easier for people to articulate what
they like if you show them examples
of different styles. So before the shoot,
print a sheet of different head shot
styles and discuss the options. Should
he be smiling or serious? Open-collared
or fully suited?

2
5
4
6
1

Show them
you me an
bus iness…
From lighting to posing your
sitter, here’s how to set up your
shoot for professional results 3

4 5
Clean background
It’s important that the background is clean
and simple. Use a white wall, a roll of plain,
light-colored paper, or a large pop-up
reflector like the Lastolite one shown
here. Angle one of the lights towards
the background, and adjust its power for
different looks; full power will blow the
background out, while a lower power
will make it grey. If you’re shooting
portraits outdoors, use a wide aperture
to blur the background.
Camera settings
When using off-camera flash, set your
D-SLR to manual mode. Keep the ISO at
100, and set the shutter speed to 1/200 or
1/250 sec, depending on your maximum
flash sync speed. Set the aperture to
f/11 and take a couple of test shots. If the
image is too bright, stop down the aperture
or turn down the lights by adjusting the
output or moving the light further from the
subject. Longer focal lengths are more
flattering, so step back and zoom in.
6
Pose and expression
As with any portrait, it’s vital to put your
subject at ease, so chat to him as you
shoot, and perhaps put some music on to
help him relax, and offer encouragement.
Have him give you a few smiles, half-
smiles and some more serious or neutral
expressions, and try out different angles
and poses. Work swiftly, but make sure
you come away with several good shots
for him to choose from. Don’t forget to
check them for sharpness on the LCD.
 f e a t u R e
Step by step: Enhance your head shots

1 Pick the best shots

Navigate to the set of files in Bridge. If you want to add
a star rating to the images, highlight each one in turn and press
Cmd/Ctrl+1-5. Once done, use the Filter panel (Window>Filter)
to see your choices. Press Cmd/Ctrl+A to highlight all the images,
then right click and choose Open in Camera Raw. Select one
image to work on from the filmstrip.
2 Correct the white balance
Select the White Balance tool, and click a part of the
image that should be color-neutral, such as the edge of the
background reflector in this shot. If the colors don’t look quite
right on the first click, try clicking a different point, or fine-tune
the white balance with the Temperature and Tint sliders. As a last
resort, use the As Shot setting.

3 Tweak the tones

Next, adjust the exposure and contrast to suit the style
of image you’re looking for. Here we set Exposure +0.15 and
Shadows +13 in the Basic panel, then moved to the Tone Curve
panel and plotted two points on the curve line to create a
shallow S-shaped curve, which adds instant punch.
4 Synchronize the edits In the filmstrip
Highlight all the images shot in the same lighting as
the one you’ve just edited (such as all the ones with a white
background). Click the Synchronize button at the top left, choose
Synchronize: Settings and click OK. Repeat steps two to four for
other groups of similar images in the set.

TOP TIP Stamped layer

If an image contains layers other than the Background layer, you need to create a new layer containing the information from
all these layers before applying global edits to the image. Make sure any unwanted layers are hidden, then target the top
layer and press Cmd/Ctrl+Alt+Shift+E. This creates a ‘stamped layer’, without deleting the existing layers as merging would do.
Note that if you later want to edit a layer that’s below a merged layer in the stack, you’ll need to discard the merged layer
and create a new one afterwards.
 f e a t u R e
Step by step: Enhance your head shots

5 Make individual tweaks

Click each shot in turn to make specific adjustments. You
might want to use the Crop tool to crop in tighter, soften the
skin with the Adjustment Brush (set Clarity to a negative value),
or make tweaks to the exposure. When you’re happy, click Done.
Now it’s time to make the contact sheet.
6 Produce a contact sheet
Contact sheets enable the client to compare the selection
of images and choose their favorites. Press Cmd/Ctrl+A to select
all the files, then go to Tools>Photoshop>Contact Sheet II. Use
the options to set the number of rows and columns for the grid
of images, choose to display the file names, then click OK.

7 Remove spots and blemishes

Download headshot_before.dng from http://tiny.cc/p04xtx,
and click Open Image to open it in Photoshop. Go to the Layers
panel and click the New layer button. Select the Spot Healing
Brush tool, and check Sample All Layers in the Options bar. Zoom
in and scroll around the image, clicking spots to remove them.
8 Tone down lines and eye bags
Drag on lines and larger blemishes to remove these too.
Next, take the Clone Stamp tool, and in the Options bar choose
All Layers from the Sample menu and reduce Opacity to around
20%. Alt-click to sample a source point on the cheek, then clone
these pixels over the eye bags to tone them down.

TOP TIP avoid reflections in glasses

If your subject is wearing glasses, you need to be on the lookout for annoying reflections. There’s a simple way to prevent
reflections: try lighting the subject from one side, then have them angle the head so it’s facing the other way, slightly away
from the light; this way the reflected highlights are angled away from the camera rather than towards it. If you only notice
reflections at the editing stage, use the Clone Stamp and Healing tools, or, as a last resort, copy and flip the ‘clean’ eye.
 f e a t u R e
Step by step: Enhance your head shots

9 Clean up the background

Add a new layer, take the Quick Selection tool and check
Sample All Layers. Paint over the messy background in the
bottom-left corner to select it, then right click, choose Feather
and set radius to 1px. Take the Brush tool, Alt-click the gray
background to sample the color, and paint over the selected area.
10 Brighten the eyes
Press Cmd/Ctrl+D to deselect. Click the Create adjustment
layer button and choose Curves. Drag a point up from the center
of the curve line to lighten the image, then press Cmd/Ctrl+I to
invert the layer mask to black and hide the effect. Take the Brush
tool, and paint white over the eyes to reveal the adjustment.

11 Shape the teeth

Press Cmd/Ctrl+Shift+Alt+E to create a merged layer, then
go to Filter>Liquify. Zoom in on the teeth, and use the Forward
Warp tool to push and pull the pixels around, evening out the
teeth into a neater row. Tap the ] and [ keys to resize the brush
tip as you work. When you’re happy, click OK.
12 Whiten the teeth
Use the Clone Stamp tool to remove any stains or marks on
the teeth. Add a Hue/Saturation adjustment layer. Set Lightness
+5, then choose Yellows and set Saturation -40. Press Cmd/Ctrl+I
to invert the layer mask, then take the Brush tool and paint over
the teeth to reveal the adjustment and whiten them.

TOP TIP batch processing

Batch processing a set of images isn’t just useful for unifying tonal enhancements. It can also save you lots of time if you have
a recurring sensor mark. Simply remove the mark in one of the images using Camera Raw’s Spot Removal tool, then highlight
the rest of the image set, click the Synchronize button and check Spot Removal in the options.
 s u b s c r i b e

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in-dep th re v iewsinspir at ion ide a s in-dep th re v iews

nikon
inspir at ion ide a s in-dep t h re v iews
take a fresh look at
winter landscapes
what’s new on nikon’s latest d-slr?
OUR FIRST LOOK AT C AnOn’S GAME ChAnGERS 10 health checks every photogr apher must do

make your camera

the top pros share their best tips
for countryside, cities and coasts

take better Make perfect custoMize the

Landscape pictures photoshop seLections LightrooM Library

full
HaNDs ON
how to sort and rate
images in lightroom
viDeO
make a light stencil
for your flashgun
the best large sensor
compacts on test

PLUS FIRST LOOKS AT ThE nEw EOS REBEL

T 6S / 760d, R EBEL T 6I 750d A nd EOS M3

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 Introducing the new NX500
with UHD 4K video.

The new NX500 with a 28MP BSI APS-C CMOS sensor

and 4K movie recording capabilities.

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 G A l L E R y

XPOSURE
The week’s most inspiring reader photos

TA P T O SEE
G A L L ERY

In the Valley of
Fire, Nevada
steve kidd
The American southwest is a
stunning, oft-photographed
landscape, and Steve’s clever
use of leading lines gives us
something unique
 G A l L E R y
The week’s most inspiring reader photos

butterfly
Ram Iyer
Stunning color and
an impressive amount
of detail make this an
unforgettable image

Reflection
Matteo Marasco
The Louvre is a frequently
photographed icon in Paris,
but Matteo’s unusual use of
a reflection gives us a new
interpretation
 G A l L E R y
The week’s most inspiring reader photos

giraffes
Laurent 
Baheux 
We love Laurent’s use
of black and white to
focus on the graphic
nature of the animals’
shape and patterns

Winter
hydrangea
petals
Jilly Sidebottom
This is a wonderful
perspective that we
don’t often see of
these subjects. We also
love the soft tones
 G A l L E R y
The week’s most inspiring reader photos

THE BRIDGE
Eduardo Marques 
Stunning light and a skilful use
of motion blur give this
landscape added intensity

The ghosts
in the Fog
Andreas 
Heinrich
Who says you can’t
take pictures in dull
light? Andreas has
proved it can be
done, and done well!
 G A l L E R y
The week’s most inspiring reader photos

frost
Lisa Sadler
Shot with her iPhone
while waiting for the car
windows to defrost, Lisa
has found extraordinary
beauty in the ordinary

Photography Week wants your photos!

Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to
show off? Then join the Photography Week Facebook community and share your best
photos today! You’ll get feedback from fellow readers and the Photography Week
team, plus the chance to appear in Xposure, or even on our cover!
 i N s p i r a t i o N

I T ’ S C O O L , T H AT
The best thing we’ ve seen this week

1,139 points of l ight

Light-painting photographer Darren Pearson shot 1,139 light-painted frames
over one whole year to create this amazing stop-motion animation video
arren Pearson is no stranger to photograph. The images were captured
D hard work, having wowed the
internet in 2013 with his
in various locations around California,
including Mono Lake, Big Sur, Trona
stop-motion animation video, ‘Light Pinnacles, Death Valley, Sequoia, Joshua
Goes On’, which featured 720 individual Tree, Lake Tahoe, San Francisco and LA.
images edited together, and garnered In order to create ‘Lightspeed’,
half a million views on YouTube. Darren says that he filled up several TAP TO
Now, Darren has released a new hard drives, had some close encounters
stop-motion video entitled ‘Lightspeed’. with rattlesnakes and drove for tens of
WATCH THE
At over two minutes long, the video thousands of miles. V IDEO
consists of 1,139 frames, each a To see more of Darren’s work, visit
separate long-exposure, light painted his website via the link opposite.
 o p I n i o N

v i e w p oi n t
have your say on the issues that mat ter
Nicolas Schneider
WE ASKED @ http://tiny.cc/jtbstx This technology from

“with improvements in Olympus is a great innovation, but

at the moment it works only when

technology like the you’re using a tripod and your

subject is completely still. So, yes,

sensor shifting feature I believe you still need full frame.

in the Olympus OM-D Dan Perl

Yes, you still need it for

E-M5 Mark II, do you narrower depth of field.

really need a full-frame Claire Gillo

There will always be a place

camera anymore?” for full-frame cameras among

professional and enthusiast
photographers. However, it’s really
interesting to see the advances
Here are your replies from Facebook... camera technology is making
across the market as a whole,
and the potential impact this
António frame. Whether or not you need could have on future camera
Laranjeira one, though, comes down to an models to come.
Wait and see... this individual’s type of shooting.
technology may be a game
changer, but the APS-C Sri Mezeke
format is not dead at all. At least one, yes.
Full-frame SLRs are seeing
their prices being cut every
year. Nowadays, we finally
have mirrorless cameras that
offer great image quality and
clever features, but we will
need to wait and see if this is
the future.

Carla Brito
Fotografia
I think that a full-frame
camera gives us more
autonomy to shoot different
types of photography.

Jason Mulcahy
The shift sensor
thing doesn’t replicate full
 S K I L L S

crash course
ESSENTIAL PHOTO SKILLS MADE EASY

D ow nl oa d
projec t f il e s
h t t p : // t i n y. c c /p 0 4x t x
on a pc or mac

Make a smokin’ portrait

Add fire and smoke to your images with our guide to using blending modes
With layers and blending on the layers below. This makes it easy To fine-tune the effect you’ll need to be

30
min
modes it’s surprisingly easy
to combine images and
create amazing fire effects
like this. The key to success here is the
Lighten blending mode, which works
by only showing pixels on the selected
layer that are brighter than the pixels
to integrate images of smoke and fire
over a base image. As long as the smoke
and fire are photographed against a
black background, then by changing
the blending mode to Lighten you can
completely hide the black tones, so only
the lighter parts of the layer are visible.
able to position and mask the smoke
and fire so that it’s perfectly aligned
with the image below, making it look as
though your subject is on fire. We’ll show
you how to do this using a combination
of the Transform command and simple
layer masks.
 S K I L L S

Step by step: Make a smokin’ portrait

1
Open the images
Download the starting images
from http://tiny.cc/p04xtx
and open fire_before.jpg in
Photoshop Elements, then
go to File>Place. Navigate to
fire.jpg and hit OK. Position
and resize the fire over
the hand, then hit Enter to
apply. Go to the Layers Panel
(Window>Layers), click the
blending mode menu at the
top and choose Lighten.

2
Copy the effect
Grab the Move tool from
the Tools panel and ensure
Auto-Select Layer and Show
Bounding Box are checked.
Press Cmd/Ctrl+J to copy
the fire layer, then click the
bounding box and resize the
layer. Position it over the
thumb, then hit Enter to apply
the transformation.

3
Build it up
Make more copies of the fire
layer. Use the Move tool to
position and shape the fire
layers. Hold down Cmd/Ctrl
while dragging the corners to
skew the fire. To hide areas,
click the Add layer mask icon
in the Layers panel, then use
the Brush to paint with black.
 S K I L L S

Step by step: Make a smokin’ portrait

4
Add the smoke
Go to File>Place again and
choose smoke1.jpg. Position
the smoke and hit Enter, then
change the blending mode to
Lighten. Add a layer mask and
paint with black to hide parts
of the smoke and blend it. Add
more smoke, adjusting the
opacity to soften the effect.

5
Saturate the colors
Highlight the background
layer. Click the Create
adjustment layer icon in the
Layers panel and pick Hue/
Saturation. Drag Saturation up
to +45, then hit Cmd/Ctrl+I to
invert the layer mask to black.
Use the Brush to paint with
white over the face, hand and
tattoo to reveal the colors.

6
Burn in the shadows
Hold Alt and click the Create
new layer icon. In the New
Layer options choose Mode:
Overlay and check Fill with
Overlay-neutral color. Grab
the Burn tool, set Range to
Midtones and Exposure to
20%, then paint to darken
the parts of the body that are
further from the fire.
 E d I T i N g

lightroom
LEARN ESSENTIAL EDITING SKILLS FAST!

D ow nl oa d
projec t f il e s
h t t p : // t i n y. c c /p 0 4x t x
on a pc or mac

TAP TO
W ATCH T HE
V IDEO

HOW TO...

Tag images by loc at ion

In this video tutorial we show you how to use the GPS data embedded in your
images to pinpoint the shooting location of a photo in Lightroom’s Map module
fter a holiday it used to be (the satellite-based global positioning iPhone photos in this issue’s downloads
A common to print your snaps
and store them in an album.
system). These coordinates are stored
in the image’s metadata, so when you
that contain location coordinates.
Make sure you import the supplied
Indeed, you can gather your holiday- import it into Lightroom the software iPhone-sourced images into the
sourced photos together in a Lightroom can read the map coordinates and Library module so you can follow our
Collection. Alternatively, you can use display its location in the Map module. walkthrough. If your camera doesn’t
the Map module to present your photos Here you can see a map and little flags automatically geo-tag your photos
according to where they were captured. that indicate a geo-tagged image. Click then we’ll demonstrate how you can
When you take a photo on your to see any photos that were taken there. manually add location data to a photo
smart phone, the software records To demonstrate how the Map panel by dragging and dropping it onto the
the location of the photo using GPS works, we’ve provided you with some appropriate part of a map.

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tap here for more

Canon’s new ultra wide-angle
lens is the perfect partner
for your EF-S 18-55mm kit
lens, enabling you to capture
big scenes with your APS-C
Canon EOS D-SLR
EF-S ULT R A W IDE-ANGL E L ENS
Canon EF-S 10-18mm
f/4.5-5.6 IS STM
ometimes your Canon EF-S
S 18mm kit lens just isn’t wide
enough; whether you’re
shooting a big family portrait indoors, or
you’re capturing a really big, stunning
scenic shot outdoors. That’s when you
need an ultra wide-angle lens in your
camera bag. The new Canon EF-S
10-18mm f/4.5-5.6 IS STM is a super
lightweight and compact ultra
wide-angle zoom lens that will capture
wider viewpoints with ease. Designed
for APS-C Canon EOS D-SLRs, such as
the 100D, 700D, 70D and 7D Mark II, you
can use the 10mm extra-wide focal
length for shooting expansive
landscape shots, then zoom in to 18mm
when you want focus in on faraway
elements or people in your scene. The
10-18mm zoom range is equivalent to
16-29mm on a full-frame digital SLR.
The Canon EF-S 10-18mm f/4.5-5.6
IS STM comes equipped with the very
Photography Week promotion
latest technology: a four-stop Image
Stabilizer (IS) to ensure you capture
the sharpest possible shots, even
when shooting handheld in low-light
conditions, such as sunrises and
sunsets, or building interiors; the lens
also has cutting-edge Stepping Motor
Technology (STM) for smooth and
steady autofocusing – a real benefit
when you’re recording HD videos.
This lens has been designed
specifically for digital photography,
with aspherical and UD elements
that correct spherical and chromatic
aberrations that could otherwise spoil
your shots, while a Super Spectra
Coating ensures accurate colors and
high contrast, as well as suppressing
flare and ghosting – which can be an
issue with some wide-angle lenses.
The minimum focusing distance of
22cm enables you to focus on close-up
objects in your frame. Using the wide
f/4.5 aperture at 10mm, thanks to a
seven-blade circular aperture, you can
take creative scenic shots or portraits
by focusing closely on your subjects,
while transforming the background into
a beautiful blur to help them stand out.
When you’re using a tripod and Live
View, you can also take advantage of
the dedicated manual focus ring that
allows full-time manual focusing for the
ultimate in control and creativity.
The Canon EF-S 10-18mm f/4.5-5.6
IS STM is also impressively compact.
At only 75mm in diameter and 72mm
in length, it’s almost the same size as
the EF-S 18-55mm f/3.5-5.6 IS STM kit
lens, and weighs just 35 grams more
– making it a great lightweight lens for
when you’re on your travels and you
want your equipment as small and as
light as possible. Expand your horizons
today with this fantastic EF-S ultra wide-
angle zoom lens.
 10mm

18mm

Search: Canon EF-S 10-18mm f/4.5-5.6 IS STM

Get to know t he T ip s for top

c anon EF-S 10-18mm f/4.5-5.6 IS S T M s cenic shot s
A 10mm ultra wide-angle focal
67mm filter 22cm minimum length on your APS-C Canon EOS
thread size focusing distance D-SLR will capture much bigger
scenes and skies compared with
Manual 18mm on your kit lens.
Weight 240g focusing ring
First and last light of the day will
cast a softer, more atmospheric
Zoom ring and colorful light across the land.
Seven diaphragm
blades Try shooting into the sun for a
75mm diameter x creative landscape shot. Turn the
72mm length sunlight into a starburst effect (as
AF/MF focus pictured) by selecting a narrow
mode switch
Lens construction: 14 aperture of f/22.
elements/11 groups
For the sharpest possible shots
Four-stop when shooting handheld, use
Image Minimum apertures:
f/22 at 10mm the IS setting to combat any
Stabilizer
f/29 at 18mm camera shake.

Maximum apertures: Include interesting elements

Stepping Motor in your landscapes, such as trees,
f/4.5 at 10mm
Technology (STM) and use the rule of thirds in
f/5.6 at 18mm
autofocus your compositions.
 the b i g re v iew
Expert opinion on the l atest kit

sony A7 II
Sony has updated its popular A7 full-frame CSC with five-axis
image stabilization. But is there enough new here to upgrade?
Body only: £1,500 / $1,698 www.sony.com
ony caused a major stir in the
S photographic world when it
introduced the 24Mp Alpha 7
and 36Mp Alpha 7R because they were
the first compact system or mirrorless
cameras to have full-frame sensors –
the same size as a 35mm film frame.
This is something that has still yet to be
done by any other manufacturer.
TAP TO
WATCH T HE
V IDEO
What’s more, these two cameras sensor is the same full-frame (35.8 x
(subsequently joined by the 12Mp Sony 23.9mm) 24Mp Exmor CMOS device as
A7S) are incredibly small for full-frame used in the original A7.
cameras, not too dissimilar in size to the Find out what our head of testing
Micro Four Thirds Olympus OM-D E-M1,
and offer a similar level of control.
thinks, as she puts Sony’s latest full-
frame camera through its paces.
Now Sony has created new waves of
excitement by introducing an update to “Sony has created new
the A7 in the guise of the A7 II. However, waves of excitement
some may feel the changes are rather
small because, like the vast majority by introducing an
of the new camera’s components, the update to the A7”

sensor 24-megapixel Exmor CMOS Viewfinder 0.5-in 2.4-million-dot EVF Video Full HD (60p,
60i, 30p, 24p) ISO range 50-25,600 AF 117 phase-detection and 25 contrast detection points
max shutter speed 1/8000 sec Burst rate 5fps Screen 3-in, 1,228,800-dot tiltable LCD exposure compensation +/- 5EV
in 0.3EV steps memory SDHC Weight 894g Dimensions 127mm (W) x 96mm (H) x 60mm (D)
 A P p s
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