9000 9001

FREE EDITING EBOOKS AND PRESET

4 expert guides on Photoshop, Lightroom & R

Practical advice for enthusiasts and pros

www.digitalcameraworld.com Issue 234

5 CREATIVE
INDOOR
PORTRAIT
IDEAS home now!
Try these at

VE M RO
O
TS
e r
h c

CINEMA
AT
UD
DIO TIPS E O
go d e
s ha o O 4
S
F S

SHOOT BETTER
LANDSCAPES
Techniques for all weathers
GROUP TEST
2
S
BEST
W D STUDIO
R LED LIGHTS
E Powerful continuous light

Taking an impactful portrait is about capturing the
personality, character and story of a subject
Taking an impactful portrait
is about more than recording
someone’s face, but capturing
the unique personality,
character and story of a
subject. Some portraiture calls
for a ton of gear, backdrops
and elaborate poses, but
your setups don’t have to be
complicated or expensive to make an impact.
With many of us staying at home again, we’ve put
together five portrait ideas to try indoors (hopefully
with willing family or housemates to model for you).
Starting on p36, each technique has a step-by-step
method, so they’re easy to follow whatever your level.
Keen outdoor photographers are still wise to keep
their shooting and scouting skills polished – even at
this strange time. In our big practical feature on p22,
find out how to make the most of photo opportunities
throughout the winter season, plus look after your kit
GET IN TOUCH Ask a question, share your thoughts or showcase your photos…
@DPhotographer Tweet www.facebook.com/ Instagram:
youropinionsorimages DigitalPhotographerUK @dphotographermag
andsee them printed Share your thoughts and shots Follow and tag us
WELCOME
READ US
AT HOME
Suscribe to Digital
Photographer from £3 and
read every issue at home. Visit
https://bit.ly/Dp-subscribe
now and never miss
an issue!
© Tom Calton
and stay safe to capture your best landscape images
in atmospheric conditions and harsh conditions.
For more practical projects, try the creative project
on macro bokeh (p50), plus tutorials for fisheye
scenes (p56) and low-angle perspectives (p58).
Pro photographers Ross Hoddinott and Ben Hall
provide a welcome escape to nature in our interview
on p72, as they pick some of the best assignments
from their new handbook. To win a copy, turn to p8.
We’ve also crafted a packed reviews section full of
gear and gift ideas. Whether you’re looking for a new
camera or stocking filler to treat yourself or a loved
one to, head to p91 and see our shortlist of kit.
Lastly, thank you for reading Digital Photographer
through the madness of 2020. We wish you a happy
new year, and will see you again in 2021 for more
expert news, reviews and practical photo advice.
Lauren Scott, Editor
lauren.scott@futurenet.com
Email: Website:
team@dphotographer.co.uk Getnews,tipsandreviewsat
Newsletter: http://bit.ly/DP-news digitalcameraworld.com
3
 Future PLC Quay House, The Ambury, Bath, BA1 1UA
Editorial
Editor Lauren Scott
lauren.scott@futurenet.com
0330 390 6246
Senior Designer Neo Phoenix
Production Editor James Price
Staff Writer Peter Fenech
Senior Art Editor Warren Brown
Content Director Chris George
Product photography Bath Photo Studio
Contributors
Tom Calton, Steve Coulthard, Josh Dury, Claire Gillo, Matty Graham, Phil
Hall, Reed Miller, Angela Nicholson, Serge Ramelli, Tommy Reynolds,
Jan-Rune Samuelson

Main cover image

© Tommy Reynolds
Advertising
Media packs are available on request
Commercial Director Clare Dove
clare.dove@futurenet.com
Advertising Manager Michael Pyatt
michael.pyatt@futurenet.com
+44 (0)1225 687538
Account Manager Matt Bailey
matt.bailey@futurenet.com
+44 (0)1225 687511
International Licensing
Digital Photographer is available for licensing. Contact the Licensing
team to discuss partnership opportunities.
Head of Print Licensing Rachel Shaw
licensing@futurenet.com
Subscriptions
New orders: www.magazinesdirect.com
0330 333 1113
help@magazinesdirect.com
Renewals: www.mymagazine.co.uk
customer service: 0330 333 4333
email queries: help@mymagazine.co.uk
Group Marketing Director Sharon Todd
Circulation
Head of Newstrade Tim Mathers
Production
Head of Production Mark Constance
Production Project Manager Clare Scott
Advertising Production Manager Joanne Crosby
Digital Editions Controller Jason Hudson
Production Manager Vivienne Calvert
Management
© Tommy Reynolds

Brand Director Matthew Pierce

Head of Art & Design Rodney Dive
Managing Director Future Passions Andrea Davies
!ǝǣƺǔ!ȒȇɎƺȇɎ…ǔˡƬƺȸ Aaron Asadi
Printed by William Gibbons & Sons Ltd, 26 Planetary Road, Willenhall,
WV13 3XB
Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London,
E14 5HU www.marketforce.co.uk Tel: 0203 787 9001

Our contributors ISSN 1477-6650

We are committed to only using magazine paper which is derived from responsibly
ȅƏȇƏǕƺƳًƬƺȸɎǣˡƺƳǔȒȸƺɀɎȸɵƏȇƳƬǝǼȒȸǣȇƺ‫ٮ‬ǔȸƺƺȅƏȇɖǔƏƬɎɖȸƺِÁǝƺȵƏȵƺȸǣȇɎǝǣɀȅƏǕƏɿǣȇƺ
PETER TOMMY JOSH DURY was sourced and produced from sustainable managed forests, conforming to strict
environmental and socioeconomic standards. The manufacturing paper mill holds full
FENECH REYNOLDS Photographer, I³!٢IȒȸƺɀɎ³ɎƺɯƏȸƳɀǝǣȵ!ȒɖȇƬǣǼ٣ƬƺȸɎǣˡƬƏɎǣȒȇƏȇƳƏƬƬȸƺƳǣɎƏɎǣȒȇ
Peter is our Wedding and filmmaker and All contents © 2020 Future Publishing Limited or published under licence. All rights
in-house writer travel pro Tommy astronomer Josh reserved. No part of this magazine may be used, stored, transmitted or reproduced
in any way without the prior written permission of the publisher. Future Publishing
and creator. This let us join him on is based in Bristol, Limited (company number 2008885) is registered in England and Wales. Registered
issue, in his guide a special shoot UK. He is also a ȒǔˡƬƺ‫ي‬ªɖƏɵRȒɖɀƺًÁǝƺȅƫɖȸɵً ƏɎǝ ‫׏׏‬ÈِǼǼǣȇǔȒȸȅƏɎǣȒȇƬȒȇɎƏǣȇƺƳǣȇɎǝǣɀ
publication is for information only and is, as far as we are aware, correct at the time of
for shooting in London this delegate of The going to press. Future cannot accept any responsibility for errors or inaccuracies in such
in extreme issue, which International information. You are advised to contact manufacturers and retailers directly with regard
to the price of products/services referred to in this publication. Apps and websites
conditions (p22), Peter explains how involved – among other things – a Dark Sky Association and works to mentioned in this publication are not under our control. We are not responsible for their
to capture winter scenes and protect vintage wedding dress, Leica SL2, raise public awareness of night-sky contents or any other changes or updates to them. This magazine is fully independent
ƏȇƳȇȒɎƏǔˡǼǣƏɎƺƳǣȇƏȇɵɯƏɵɯǣɎǝɎǝƺƬȒȅȵƏȇǣƺɀȅƺȇɎǣȒȇƺƳǝƺȸƺǣȇِ
your kit in harsh weather. His creative mist machine, and a moving video conservation. Josh’s passion for If you submit material to us, you warrant that you own the material and/or have the
project on macro bokeh is on p50, as interview. Discover the kit and capturing the galaxy and night sky is necessary rights/permissions to supply the material and you automatically grant
well as a tutorial for using a fisheye techniques behind his glamorous and infectious, and he shares his views in Future and its licensees a licence to publish your submission in whole or in part in any/
all issues and/or editions of publications, in any format published worldwide and on
lens (p56), and lens reviews on p108. atmospheric portraiture from p14. our pro column on p114. associated websites, social media channels and associated products. Any material you
Website: Website: Website: submit is sent at your own risk and, although every care is taken, neither Future nor its
employees, agents, subcontractors or licensees shall be
www.digitalcameraworld.com www.tommyreynolds.co.uk www.joshduryphoto-media.com liable for loss or damage. We assume all unsolicited material is for publication unless
otherwise stated, and reserve the right to edit, amend, adapt all submissions.

CLAIRE GILLO ANGELA PHIL HALL

Claire is a regular NICHOLSON Phil has been
contributor to Regular readers writing about
some of the UK’s will know Angela camera tech for
biggest photo as our gear guru almost 10 years,
magazines, so and top camera and we asked him
she knows her reviewer. This to take a look at the
way around the month she has best LED studio
industry. This month she’s answered cast her expert eye over three very lights in this month’s group test review.
more of your career questions, and different photography releases: Whether you’re shooting stills or video,
gives sound practical advice for the lightweight Canon 850D DSLR a studio LED light can transform your Future plc is a public Chief executive Zillah Byng-Thorne
company quoted on the Non-executive chairman Richard Huntingford
printing and exhibiting your work – (p100), the iPhone 12 Pro (p104) and shots, and it offers many benefits London Stock Exchange !ǝǣƺǔˡȇƏȇƬǣƏǼȒǔˡƬƺȸ Rachel Addison
(symbol: FUTR)
even during a pandemic! From finishes DxO’s PhotoLab 4 (p106), plus some over using strobes. From p92, Phil www.futureplc.com Tel +44 (0)1225 442 244
to frames, Claire’s answers are on p70. top stocking-filler accessories (p112). compares four popular contenders.
Website: Website: Website: We are committed to only using magazine
paper which is derived from responsibly
www.clairegillo.com www.angelanicholson.com www.philhallphotography.com managed, certified forestry and chlorine-free
manufacture. The paper in this magazine was
sourced and produced from sustainable
managed forests, conforming to strict
4 environmental and socioeconomic standards.
The manufacturing paper mill and printer hold
full FSC and PEFC certification and accreditation.
Contents
Regulars
10 News 22
Keep up to date with the latest industry Extreme
announcements and exciting releases weather

12 Story Behind the Still

Adrian Galli’s movie background helped him
select the ideal photography composition

72 Interview
Nature pros Ben Hall and Ross Hoddinott on
lockdown and their new book of photo projects

80 The Gallery
Stunning winners from this year’s Landscape
Photographer of the Year competition

88 Photocrowd
The best entries from you in our latest online
competition, Incredible Abstracts

Practical Skills
22 Extreme weather shooting
From gear protection to exposure perfection,
© Jan Rune Samuelson

here’s what you need to know to shoot in the

winter weather or harsh environments

36 Indoor portrait techniques

Tom Calton gives us five step-by-step tutorials
for capturing portrait images inside.Try these at
home now – selfies are also acceptable!

50 Macro bokeh effects

Lift your close-up shots by giving the
background behind your subject a little sparkle

62
56 Fisheye landscapes
Gain a unique perspective by shooting ultra-
© Serge Ramelli

wide compositions using a fisheye lens

Boost natural
58 Get down low colours
Use a simple trick with your tripod to get a
dynamic worm’s eye view of a scene

Editing Skills
60 Photoshop tutorial
Discover how to transform your photos into

56 36
painting-style masterpieces using brushes

62 Lightroom tutorial
© Peter Fenech

© Tom Calton

A simple but effective approach to enhance Fisheye 5 Indoor portrait

natural colours without going overboard perspectives ideas to try at home

6
SUBSCRIBE TODAY
AND GET A FREE BAG WORTH £64.9 95
TURN TO PAGE 48 TO FIND OUT HOW

Pro advice
P d i
14 Shoot Like a Pro: portraits
This month we go behind the scenes with
Tommy Reynolds to experience his moving

72 style and cinematic lighting techniques

© Ben Hall
Interview 64 Career guide
If you’ve always wanted your own studio space
but can’t decide if it’s worth the cost, assess the

114
Pro column
pros and cons and heed some pro advice

70 Career advice
Is an exhibition possible during lockdown? We
look into the subject of printing and framing to

© Josh Dury
help you make the best decisions

114 Pro column

Dark-sky campaigner Josh Dury shares his love
of astrophotography, and the compelling reasons
for conserving our view of the darkest night skies

New kit & reviews

50
© Peter Fenech

Creative macro 92 Group test: LED studio lights

bokeh effects For both stills and video, continuous LED
lighting can make it easier to visualise what
you’re shooting and how the light is falling on
the subject. Check out four of the best options

100 Canon 850D

14 80 After a delayed release, does this lightweight

© Tommy Reynolds

24MP APS-C format DSLR offer enough to keep

© Chris Frost

Shoot Landscape POTY 13 you away from mirrorless systems?

Like a Pro winners gallery
104 iPhone 12 Pro
There are four cameras on Apple’s latest
Group test: smartphone. Has it got what it takes to win a

92 Best studio
LED lights
place in your pocket?

106 DxO PhotoLab 4

It sports outstanding noise reduction, an
improved interface and easy watermarking, but
will the AI tech enhance your editing skills?

108 Lenses
We test out the Samyang AF 35mm f/1.8 FE
and Fujifilm 50mm f/1 for optical performance

110 Best used cameras

A round-up of some of the best second-hand
cameras to treat yourself to right now

112 Accessories
© Olly Curtis

10 stocking fillers just in time for Christmas –

just make sure you’ve got a big stocking!
Gifts & g veaways Free e-books to download
Master editing with
four Adobe guides
This month we’ve got a bumper giveaway of e-books for you.
Use Teach Yourself Lightroom, Teach Yourself Photoshop,
Teach Yourself RAW In Photoshop and Teach Yourself
Photoshop Elements to become a pro at post-processing.
Each book covers the essential tools, tips and tricks.

To claim your free e-books, head to WORTH

£60
https://bit.ly/DP234-adobe
You’ll need to enter your details, and then we can email you
a link to directly view and/or download your free e-books.

Win a nature guide! Bonus editing tools

52 Photography
Assignments
In this month’s interview on p72, we talk to award-
winning nature pros Ben Hall and Ross Hoddinott.
Their new book 52 Assignments:
Nature Photography is out now
at www.ammonitepress.com
and we’ve got three copies of
the book to give away.
Send your best shots:
team@dphotographer.
co.uk with the subject
“52 assignments”
Your Adobe
resources
Serge Ramelli is giving away a selection of his editing
tools to accompany his new
series of tutorials in the
magazine. Serge’s textures,
presets and more will speed
up your processing. He’s also
included some easy
instructions for installing the
Lightroom presets.
Get your editing
resources at
https://bit.ly/DP-234

Review test shots

We think test shots are
important when it YOUR
comes to reviewing and
comparing the latest
FREE ASSETS
camera kit, but we are available to download
know it’s hard to tell the on pages where you
difference between test see this icon
images when they’re
printed as small versions
in the magazine.
DOWNLOAD THE
TEST SHOTS
Download and view hi-res
res test shots at https://bit.ly/DP-234
https://bit.ly/DP-234

8
 OLYMPUS
MEGAZOOM
The upcoming M.Zuiko 150-
400mm f/4.5 TC1.25x IS Pro is
both exciting and surprising
Olympus has finally unveiled the M.Zuiko 150-400mm f/4.5
TC1.25x IS Pro lens, and it is already looking exceptional in
specification and price. With an equivalent full-frame range of
375-1,000mm via the integrated teleconverter, the new lens carries a
price tag of £6,499/$7,500, which matches the likes of Canon, Nikon
and Sony for their high-end super-telephoto lens offerings, clearly
indicating that this is fully intended as a professional’s tool.
While this price alone sets the M.Zuiko 150-400mm f/4.5 TC1.25x
IS Pro apart from its Olympus lens stablemates, the optic is unique
in other ways. In fact there is currently no directly equivalent lens in
any other camera system. Most notable is the extreme focal length
range, the interal teleconverter and the compact shape and form. At
only 115.8 x 314.3mm, with a weight of 1.875kg, the barrel of the lens
is more hand-holdable and portable than any other lens in its bracket.
By comparison, the Canon EF 800mm f/5.6 L IS USM weighs 4.5kg
and is 461mm long with a diameter of 162mm. When combined with
the Olympus TC-20 2x Teleconverter the lens offers a maximum focal
length of 2,000mm, which will definitely entice sports and wildlife
photogrraphers who enjoy
e frame-filling shots of subjects.
While shootting at 1,000mm would usually be seen as
tripod-only te
erritory, the 150-400mm is perfectly usable
handheld, with
w 4.5 stops of native stabilisation that
combines for 6 stops when used at 500mm (1,000mm
equivalent) and 8 stops at 150mm (300mm), when
mounted on n an Olympus OM-D E-M1X.
Anotherr benefit of the M43 format is that a larger
maximum ap perture can be used, without excessive lens
diammeter. The neew Olympus telephoto has a fixed f-stop of
f/4.5 in thhe standard 150-400mm (300-800mm) range. A minimum
shooting distance of 1.3 metres across the entire focal range
increases s shooting possibilities. The lens is also fully weather-sealed.
The Oly ympus M.Zuik ko Digital ED 150-400mm f/4.5 TC1.25x IS Pro
is availablee for pre-orderr now, and will start shipping in January 2021.

AAP awards splash the colour

The competiton winners have been revealed
Colourful images from around the globe have been competing in the latest
competition from All About Photo – and now the winners of the Colors contest
have been revealed to the world. Overall winner Paul Brouns is from the
Netherlands and won $500 for his image Afterglow.
“The last sunlight was being projected on this red building by the opposite windows,”
explains Paul. “Its rhythmic effect has different levels: the actual windows, the reflected
ones, the volumes of the balconies, the mirror image of the opposite block of houses, and
© Paul Brouns

the striking red colour. I was lucky to have taken along my little son, whom I asked to pose in
front of the building”.
For more information visit the AAP website at https://all-about-photo.com.

10
 International Landscape POTY 2020
The winning images of the seventh ILPOTY competition anounced
From over 3,800 entries the
winning images for this year’s
International Landscape
Photographer of the Year competition have
been revealed. Kelvin Yuen from Hong
Kong took the top spot with his images of
a varied range of landscape scenes from
around the world, from Scotland to Norway
to the United States. Kelvin first picked up
a camera at the age of 18 and has worked
as a full-time pro since 2018. Talking about
the competition, Kelvin says that “The
International Landscape Photographer of
the Year award has been my only focus
for the past four years. I’ve studied the
past winners’ works, and I believe ILPOTY
presents the highest standard of landscape
photography in the world.”
Kelvin used a Canon EOS 5D Mark
IV to capture his winning entries due to
its rugged build. “It can deal with harsh
shooting conditions such as extremely
low temperatures and heavy rain,” he
explains. “Most of my wide-angle images
are taken with a Laowa 12mm f/2.8 lens,
and I love the distorted perspective it
creates. I also use Sigma’s 14mm f/1.8 for
night photography, plus there’s a Tamron
World’s fastest
lens arrives
TheVoigtländer29mm
f/0.8 prime lens is due
in December
Stills photographers and videographers
alike will be eagerly awaiting the arrival
of the world’s fastest camera lens, the
Voigtländer Super Nokton 29mm f/0.8 Aspherical.
Available in Micro Four Thirds mount, the prime
optic offers the equivalent angleification factor
of the Micro Four Thirds sensor format, while
the equivalent maximum aperture remains an
impressive f/1.6.
While photographers will enjoy the depth of
field this lens will create, the inclusion of a stepless
aperture ring will appeal to film-makers using
Panasonic and Olympus cameras, and of course
Blackmagic users. The lack of defined ‘clicks’
between aperture settings allows smooth alteration
of brightness during filming, while also reducing the
possibility of vibration during camera work. While
there have been faster lenses in the past, such as
15-30mm f/2.8
and Tamron
24-70mm f/2.8,
which cover
most of my
requirements. I
find the image
stabilisation
of both lenses
provides a lot
of flexibility
when shooting
in conditions
where it is hard
to set up a
tripod.” Kelvin
also uses a 70-
©Kelvin Yuen
200mm f/4 lens
for longer shots,
and to compress
perspective.
Interestingly he also makes use of a In second place was Joshua Snow of
drone in some cases. “I also shoot aerials the United States, and Isabella Tabacchi
with a DJI Mavic 2 Pro drone. Its CMOS gained the third-place prize.
sensor produces high-quality files, even in The images will be complied
low-light conditions. It can also deal with into a book, as is tradition for the
most weather conditions, including light winners of the contest. Visit https://
rain and low temperatures.” internationallandscapephotographer.com
In other news
More snippets of photography
news from around the world
DXONIKCOLLECTION–25
PRESETSFOR25YEARS
IN THE INDUSTRY
DxO is celebrating 25 years of the Nik
Collection of plugins with the introduction
of 25 new presets for Nik Collection
3.3. Color Efex Pro and Silver Efex get
new presets for portraits, wildlife, street
photography and other styles. After
buying the software DxO has reinvented
© Voigtländer
and rejuvenated it. 3.3 is a free update for
existing Nik Collection 3 users.
PLETHORA OF CANON
KIT IN 2021?
A report suggests seven RF-mount
cameras may be on the way next
year, including hi-res and professional
bodies. Among them will be a
the Carl Zeiss Super-Q-Gigantar 40mm f/0.33, any replacement for the Canon EOS RP,
similar optics available today are not renowned for a pro-level EOS R1 and an EOS RS,
their image quality, so the new Voigtländer’s one of with a possible resolution of 90MP.
This may render the EOS 5D series of
a kind. Having the light-gathering capacity of f/0.8 DSLRs redundant. We might also get
will unlock serious low-light shooting possibilities. an APS-C equipped EOS R7. Two new
Preorders are open from December with a Cinema EOS cameras may also make
price of around £2,000/$2,000. Look out for a an appearance. More details to follow.
review in a future issue of DP.
11
YOUR IMAGES

STORY
Photographer’s name: Adrian Galli
Photographer’s website: www.adriangalli.com
Image location: Chicago, USA

BEHIND
Type of commission: Personal
Shot details: Olympus OM-D E-M5 + M.Zuiko
45mm f/1.8, 1/400s, f/8.0, ISO 200

THE STILL
Before the City
With images such as this it is possible to see how much stills photography
and cinema have in common – Adrian’s movie background helped him
select the ideal photography composition

12

About the shot: We can often end up
becoming so focused on the technical aspects
of a shot that we forget about the main
purpose of every image – telling a story. With
a background in visual storytelling, Adrian
recognises the importance of this and is drawn
to scenes with a strong narrative.
“Working in film and TV, the cinematic
story of the shot is what struck me. The story
behind the man on the water alone can be told
a million different ways by one’s imagination,”
says Adrian. “It was a foggy morning on
Lake Michigan – the scene was quiet and
melancholy, with a man paddling alone on the
lake. The scene was cinematic in its quality.”
The light, colour and context of the shot,
with detail receding as we move into the
image, all contribute to this theatrical feel.
The choice of aspect ratio, which is in line
with what we might expect from cinematic
All images © Adrian Galli
proportions, really pushes the feeling that this
is a still from the opening of a film. Adrian
chose to retain the natural beauty of the scene
as much as possible by carefully judging how
much post-processing was required.
“I reduced contrast to bring the fog and
haze out like I saw it in real life. Cameras don’t
tend to show the haze of fog the way our eyes
do. Adding some exposure compensation
assisted with the visual.”
13
 E A PR
T LIK
SHOO

This shoot was

compliant with
COVID-19
guidelines

Say yes to the

RESS
© Tommy Reynolds

We go behind the scenes with Tommy Reynolds on a special studio

portrait shoot in London. Find out the story and skills behind the shots
14
 CINEMATIC PORTRAITS

Tommy Reynolds
Tommy is a wedding, portrait and
travel photographer based in Kent,
UK. He’s also created commercial
work for Sony Music, Olympus
and PIXAPRO. Tommy is a vlogger
and cinematic video producer,
sharing content on his growing
YouTube channel, and even finds
the time to give live photo talks.
@tommyreynolds89
www.tommyreynolds.co.uk

For many, the power he already has a very personal

that images have for
storytelling is one of
photography’s biggest draws.
Images have the ability to
transport us to a different time
or place, to describe moments
without words, and to convey an
entire narrative to the person
viewing them. Photographs can
sweep us into a scene and make
us feel as if we are there.
Tommy Reynolds has called
himself a professional wedding
and portrait photographer since
2013, but it’s his personal projects,
cinematic approach and ability
to understand people and their
stories that stands his work apart.
After watching Tommy’s moving
talk at this year’s (virtual)
Photography Show, we
knew that he was the
perfect person to
shadow behind
the scenes
of a shoot.
Luckily
for us,
project in the pipeline, and is
more than willing for us to join in
on the day.
The idea of the shoot sounds
a little unorthodox at first, but
unravels as a beautiful idea:
Tommy’s close friend Hazel
was due to get married, but
unfortunately the wedding didn’t
go ahead. Hazel still wanted to
wear her vintage-style wedding
dress, and as Tommy was booked
for the wedding day, she’s asked
him to photograph her on an
empowering shoot.
The plan is for Tommy to
capture portraits of Hazel, and
then record a video interview
afterwards where she talks
about the experience. Tommy’s
approach to video portraits (cue a
cheeky nod towards his YouTube
channel) is always personal and
moving. The vibe on this shoot is
going to be glamorous, vintage
and everything you’d want from a
bridal shoot.
The location is Shutterhouse
studio in north London, an
unassuming building from the
outside, but an impressively
restored 18th century warehouse
on the inside. Finding a good
space is the first step for a
successful studio shoot. “This
location is on a catalogue of
venues and has only been open
for a month or so,” Tommy tells
me as I arrive at around 11am.

15
 E A PR
T LIK
SHOO
Hazel is having her makeup
Pros of shooting tethered finished by a contact that Tommy
has collaborated with on other
Tommy connects his camera to a laptop in the occasions, and since Tommy
studio so that he can see the results instantly hasn’t used the space before, he’s
working out the lighting setups
Tommy uses a Tether Tools TetherPro cable to link his Leica and shoot timings for the day.
straight to the Lightroom Classic software open on his laptop. Having a rough itinerary is key
Tethering means that the images are imported automatically, when you have a studio hired for
and Tommy is able to apply his saved processing presets in the a set duration, to ensure that you
software to see whether his vision for images is being met. “If leave enough time for each shot
I’m going to edit in Lightoom, there’s no point in me tethering and look you want to achieve.
into Capture One. I’ve got all of my presets dialled in, so I like the On the day, Tommy’s team is
workflow of this approach.” made up of his sister Cassie and
If you’re working as a collaborative team in a studio, having the friend and pro videographer Mike.
images displayed on a larger computer streamlines the process The trio have worked on many
and means that everyone can see the results. During this shoot, projects before, and this means
Tommy could show the images to subject Hazel, whether this they know exactly how to predict
was to explain poses or build confidence. each other’s movements.
Having already covered the
obligatory “How’s lockdown
been for you?” chat, we turn
towards the camera in Tommy’s
hand. “Leica has kindly loaned
me the SL2. I usually shoot with
the Canon 5D Mark III, and this
is such a huge step up for me. I
only got it two days ago, so this
is going to be the first proper
time I actually use it.” Switching
to an entirely new model can
be daunting, but Tommy has
familiarised himself with the
settings and handling beforehand.
Tommy uses Lightroom Classic rather than Capture One software. After he
takes an image it is imported and appears in his library after a few seconds “I’m not used to mirrorless at all.
There are a couple of things that
16
I need to get used to, such as
the placement of aperture and
shutter speed, but it’s exciting.
I’m only used to 22 megapixels
and this is 47!”
Tommy will also be using 35mm
and 24-90mm Leica lenses (see
the kit box over the page) plus his
own Sigma Art lenses. This pro-
grade line of optics is considered
to be every bit as good as own-
brand optics (some would argue
even better) at a much more
affordable price.
Tommy is adept with different
brands, as he started out with a
Nikon and moved over to Canon
when his filming work became
more serious. “When the Mark II
came out it was revolutionary for
video. I actually have a degree in
film-making. Because of that, I get
just as involved with the behind-
the-scenes videos as I do the stills,
and I can’t wait to share them. It’s
nice that I’m able to use that skill
to promote my own work, rather
than making videos for clients.”
Tommy sets the Leica to shoot
in full Manual exposure mode.
“The conditions and light in a
studio are entirely controllable,
and I want to ensure that the
parameters are the same for each
shot,” he explains. He’ll only use
semi-automatic modes when the
 CINEMATIC PORTRAITS

ISO ISO 1/100

f/2
f/3.8
100
1/200
sec LIGHTING SETUP 1 LIGHTING SETUP 2 50 sec

LIGHTING SETUP 1

ISO 1/100
f/2
50
x3 © Tommy Reynolds

sec

17
 E A PR
T LIK
SHOO
6

How is the light

7
4 shaped? You don’t
need to spend loads
of money on powerful
FULL
strobes. Instead, invest
KIT IDEAS
We didn’t have room
in different modifiers
to list all of Tommy’s
lighting kit and accessories for different looks
here. Check out his favourite
gear by heading to www. environment is rapidly changing –
amazon.co.uk/shop/ outside at a wedding, for example.
tommyreynolds For the first position and
lighting setup, Tommy sets up
a Citi300 PIXAPRO light with a
double CTO gel outside the studio
1 window, which would fire behind
5 2 Hazel for an outline glow. “I’m
also going to set up a beauty dish
with a grid to fill in. Starting with
3 the 35mm f/2 lens, I’m thinking of
having Hazel leaning on the table.
Later on we’ll move to the centre
of the studio, experimenting with
some other props and looks.”
Tommy actually starts with the
24-90mm Leica lens instead, so
that he can use a 1/4 strength Pro
Tiffen Black Pro-Mist filter. “This
Tommy’s kit essentials on the shoot is going to give that dreamy, hazy
effect to the image, but you don’t
the curiosity to learn – directing
models is an important element
of any studio session. Working
with people comes more naturally
to some pros than others,
and although Tommy already
knows Hazel, he still has to give
her enough posing feedback.
When you’re not working with
professional models or subjects
that feel comfortable in front of
the camera, giving guidance can
help them to feel more at ease.
“I tell the model to fidget,”
Tommy says. “It’s my favourite
phrase to use, especially if
you’re not the most confident.
Fidgeting allows them to make
little movements between photos
that feels right without you having
to give them specific direction.

1 Leica SL2 Tommy’s

workhorse camera is
usually a Canon 5D Mark
III, but on this shoot he was
trying out the mirrorless full-
frame Leica SL2, which sports
a 47MP CMOS sensor.
5 PIXAPRO RIKO400
400Ws ring flash
Tommy mounted this battery-
lose sharpness.” Videographer
Mike also has it screwed onto his
Canon video camera, to ensure
Works like a charm.”
Tommy’s approach is energetic
and supportive, but he does
powered flash onto the Leica, some consistency when it comes say that he’s keen not to place
using it as a fill light. It offers to the aesthetic of both stills and too much pressure on getting
up to 1/10,000sec flash film. Next, Tommy mounts the images right first time. Clear
duration, and LEDs that can RIKO400 ring flash as a fill light communication with the model
act as a modelling light. onto the front of the Leica. With is key, so if you’re trying out

2 Leica Summicron-M
35mm f/2 ASPH lens
This classic prime is renowned
for reportage work, but it’s
also a winner for portraits,
giving Tommy creamy out-of-
focus areas at wider apertures.
3 Leica Vario-Elmarit-SL
24-90MM f/2.8-4 This
standard zoom lens is ideal for
6 THINK TANK Airport
Security V3 Messenger
the lights roughly set, and Hazel’s
transformation complete, he’s
ready to begin creating his vision.
new lighting styles, explain that
this is what you’re doing. “Make
the model aware that you’re
Tommy’s wheelie bag is a Aside from having a solid learning, and that you may not
roomy one, with space for understanding of lighting – or say much between photos as
two pro-size DSLRs with
lenses, up to four extra lenses
and many accessories. It’s LIGHTING SETUP 2
a perfect companion when
Tommy shoots weddings.

trying out new compositions

without disrupting the light.
Tommy used it to capture
portrait-orientation shots of
Hazel by the window.
7 PIXAPRO ST-IV 2.4GHz
flash transmitter Linking
up and controlling strobes
is a tricky part of studio
photography. This radio
flash-trigger system transmits

4 Sigma 85mm f/1.4 Art

lens Tommy uses several
Sigma Art lenses – optics that
have developed a fan base for
through-the-lens (TTL)
information between Tommy’s
camera and strobes, and it
can be used with up to five
© Tommy Reynolds

their sharpness and quality. separate groups.

18

LIGHTING SETUP 2
© Tommy Reynolds
Working in a studio Tommy’s top tips if you’re new to studio shooting
Feather the light For a more natural
light, try positioning the bottom of your
softbox in line with your model’s eye line.
Catching the model with the edge of the
softbox is much softer than the centre.
Use modifiers How is the light shaped?
You don’t need to spend loads of money
on powerful strobes. Instead, invest in
different modifiers for different looks.
The 45 degrees approach A great
go-to for positioning your modifier
CINEMATIC PORTRAITS
and strobe is 45 degrees high, then 45
degrees either left or right from the
model’s eye line. This will create a nice
balance of both highlights and shadows
on the face, while creating depth, too.
Take your time Manage the model’s
expectations if you are experimenting
and trying out new techniques. Don’t
feel that you need to ‘put on a show’ or
deliver the best images, as that’s only
going to put pressure on you and stop
you from trying new styles.
19
 E A PR
T LIK
SHOO

LIGHTING SETUP 3

How Tommy created this dramatic look

1 Light sources Tommy uses a

PIXAPRO 55cm beauty dish as the
main key light. He also sets up a bare
bulb with a CTO gel behind Hazel, and
experiments with the power of each.
2 Fill light A RIKO400 400Ws ring
flash is mounted to the front of
Tommy’s camera to provide fill lighting.
This slightly reduces the contrast of the
scene and creates a softer look.
3 Light modifiers Confident studio
users often modify the light for
professional results. Tommy adds an
optical snoot with a horizontal gobo and a
colour temperature orange (CTO) gel.

20

4 Lens choice Tommy uses a Sigma
35mm f/1.4 lens for this portrait, a
wider focal length that enables him to
include the studio surroundings, props
and Hazel’s full dress in the frame.
you’re still taking in this new way
of shooting.”
For the second lighting setup,
Tommy adds grids over the main
light, and repositions another
behind Hazel to capture her side
profile. A diffuser attaches to the
strobe head to soften the lighting,
and a 150cm Octabox is added
on the opposite side as a fill.
Tommy has been shooting
with strobe lighting throughout,
but once a few solid shots are
in the bag, he assesses how
continuous light could work as
the main source using Live View.
“As I’m using mirrorless, I can
experiment with how the light
is falling on Hazel in real time.”
Seated scene It’s not quite giving him enough
Tommy used
four different power, so he switches back to
light sources for the strobes – a lesson in trying
this image, and out new approaches, but being
took test shots to prepared to fail sometimes, too.
© Tommy Reynolds
ensure that their
placement and
Tommy triggers all his lighting
power gave the setups with a radio-frequency
effect he wanted flash transmitter trigger mounted
on top of the camera’s hotshoe.
5 Settings In a controlled studio
environment, aim to set the
camera to its lowest ISO. Tommy
uses Manual exposure mode,
ISO 50 and Live View to compose.
CINEMATIC PORTRAITS
We didn’t note down his exact
power settings for each setup
(as conditions are impossible
to replicate), but did notice him
using this trigger to adjust the
power of each light individually.
Towards the end of the shoot
his tethered laptop has filled up
due to the larger file sizes of the
Leica SL2, but a LaCie Rugged
Thunderbolt hard drive is on
hand as a backup. “Tethering is
flawless when it works, but a pain
when something goes wrong. It’s
even worse at a trade show!”
Here, it’s a natural break for
Tommy to share and edit the
results with Hazel at the screen.
“If we crop it to a 16:9 aspect ratio
– which is the ratio on most TVs –
it will instantly look more filmic.”
Studio shoots work when a
photographer can make all the
elements come together, and
with Tommy’s kit, lighting, mist
machine, choice of studio, props,
and Hazel’s look, the results are
already looking very filmic. DP
21
TECHNIQUES

SHOOTIN
EXTREME
CONDITIONS
Keep shooting in all weathers and create
stunning winter landscapes
Winter wonders
The winter season provides some amazing
opportunities for photography, but the
harsh environmental conditions require
some extra planning and care to capture
the best images safely
© Reed Miller

22

Reed Miller
Reed is an expert in nature
photography, with a varied
portfolio of landscape and
wildlife images. He works
extensively in challenging
winter environments and is
active across difficult terrains, covering many
different subjects in his photography.
To see more of Reed’s work, head to:
@rh_miller
www500px.com/p/rhmiller
inter is a conundrum for photographers.
W On one hand it creates all of the worst
possible conditions in which to use
expensive photographic equipment – rain,
wind and extreme cold. This can make it a bit of a
stressful and unattractive season for being out in the
elements, taking pictures. On the other hand, it has
the ability to transform the landscape into an almost
unrecognisable and magic canvas, which is a magnet
for all image-makers. If you want to make the most
of winter and come away with the images you desire,
with all your photographic equipment and yourselves
in one piece, then you have to learn to adapt your
workflow to the challenging conditions.
In this feature we’ll be sharing some practical
solutions to keep gear safe and dry, away from the
damp and cold. The next section relates to technical
EXTREME CONDITIONS
Jan Rune Samuelson
Jan has been an avid nature
photographer since the age of
15. In 2018 he became a member
of the Norwegian Association for
Nature Photographers, and after
success in contests he started his
own business, combining photography, guided
trips and nature management.
For more of Jan’s work, head to:
@janrunesamuelsenphotography
www.naturibilder.com
skills – how you can focus and exposure your scenes
with ease, even in tricky weather conditions.
Many of us are aware of the most basic exposure
issues that are created by bright white snow in the
frame, which can easily confuse camera metering
systems. However, working in winter weather requires
a far deeper understanding of the ways in which
prevailing conditions can negatively impact image
quality, some of which are fairly unexpected and
almost counterintuitive.
Over the next few pages, we’ll explore the challenges,
solutions and pro techniques that are characteristic
of high-end winter photography. With help from some
experts in the field, we’ll break down this expansive
topic so you can be prepared to capture incredible
landscape shots this season, whatever the conditions
you might encounter.
23
 FOCAL LENGTH RANGE
Packing both standard zooms, wide-angle
and telephoto optics ensures you are ready
for both wildlife and landscape subjects.

COMPATIBLE
CAMERAS
Multiple camera
bodies, each with a
similar layout for the
benefit of familiarity
and rapid camera,
work in the field.

BAGS FOR ALL

OCCASIONS
Huge backpacks are not
always the most convenient,
so having a range of sizes
TWIST-LOCK TRIPOD and capacities covers all
In low temperatures, bases for winter.
operating tripods can be
uncomfortable. A twist-
lock system is easier to
use in the cold, while
wearing large gloves.
© Reed Miller

In the bag: Reed miller

Choose your camera gear

Discover the gear the pros use for extreme winter photography,
and ensure that you have the best tools for the job
Gear for landscape photography is varied this process may not be a viable option. For without putting their camera at risk, simply by
due to the wide range of scene types you can all interchangeable-lens cameras there is a swapping bodies. It’s helpful to use the same
shoot, but the usual essentials are fairly self- period of vulnerability whenever we remove model for each body to ensure resolution
explanatory. Most professional landscape and a lens, due to the potential for moisture and and noise-performance continuity, as well as
outdoor photographers will pack a wide zoom, solid contaminants to get into the camera, having greater familiarity with the controls. In
usually a 16-35mm, a mid-range 24-70mm which can damage the imaging sensor. This fast-paced situations muscle memory plays a
as a standard zoom, and a longer 70-200mm is even more of a problem for mirrorless significant role, so having several items of the
for compression shots. These items will find cameras, where the sensor is further forward same camera makes transitioning from one to
their way into the kitbags of most winter in the body and exposed to the air. While the other a seamless experience.
photography specialists too, but are often dust is an issue in hot environments, it is an Beyond cameras and lenses, winter
arranged in slightly different configurations as obvious hazard that’s harder to forget about. photography also demands some tailored
an adaptive measure. Condensation and ice-enclosed grit are more accessory choices, in order to capture the
While landscape photographers working insidious and can damage the CMOS rapidly. best images with ease. Filter choice, camera
in warmer, dryer conditions might take this For this reason, many winter photographers bag type and battery strategy are all serious
usual set of optics with them and happily often pack multiple camera bodies, each considerations when heading out into the
change lenses when required, in the depths with a lens attached. This way they can wilderness to shoot pristine fields of snow and
of winter, out in a harsh, cold environment, access any of the focal lengths they need animals in wintry habitats.

24
 EXTREME CONDITIONS

PROFESSIONAL TRIO
A standard triplet of professional lenses
– a 14-24mm, 24-70mm and 70-200mm
– all with a constant f/2.8 aperture.

EASY
ACCESS
For specific
missions, a
single bag with
instant access
to select gear is
the safest, most
practical option.

HARD-WEARING
FILTERS
A selection of well-built
hardware filters is a good
option for controlling
exposure in scenes with
extreme contrast.

© Jan Rune Smuelson

In the bag: Jan Rune Samuelsen

Battery
B grip
Low temperatures have the effect of draining battery life more rapidly.
L
W
While it is advisable to pack multiple batteries, an even more effective
strategy is to invest in a battery grip. These can hold multiple power
packs, extending the shooting time without the need to change
p
batteries mid-shoot, potentially missing photo opportunities. You
b
o
often get duplicated controls too, such as a vertical shutter button
a
and sometimes increased burst rates, which is a bonus.

Extreme storage
When you have travelled any significant distance to capture
your images and won’t be able to return for a re-shoot, it
is important to back up your work in the field. However,
since you need to deposit large batches of images in one
place, it has to be secure. A rugged, portable hard drive is
the answer – a model that has a reinforced case, weather
protection, and in higher-end units, an internal suspension
system to protect against a sudden drop. SSD models are
more expensive but are faster and safer.

25
TECHNIQUES

Plan for kit Look ahead before your shoot to

protection the appropriate kit
predict the conditions and choose

A big part of being able to work in poor
weather, or challenging environmental
conditions in general, is knowing what to
expect when you arrive on location. While
beginners might think of this situation as a
simple case of packing a rain cover, a secure
camera bag and wearing a warm coat, there’s
more to it than that.
Taking protective accessories for all
eventualities might seem like a good idea,
but can actually hinder your creative process
and present safety challenges of its own. The
more layers of protection you apply to your
kit, the more difficult it is to access when
required, and the more opportunities there are
to rush and drop something. This problem is
compounded by wearing thick winter gloves,
which are less tactile and workable when
using camera controls. While it is often said
that slowing down the photographic process
is beneficial for the creative eye, in extreme
cold, especially in exposed positions and with
rapidly deteriorating weather, this is less of a
benefit. Working quickly to get images is often
the best approach under the circumstances,
so keeping gear accessible is critical.
Planning for specific weather is the order of
the day. If you expect heavy snowfall or rain,
you can prioritise protecting your gear from
moisture, which might even dictate which

Change
cameras, not lenses
While reducing kit can make transport
easier, many pros take multiple cameras,
each with a different mounted lens, so they
don’t expose the sensor to the elements
© Reed Miller

26
 EXTREME CONDITIONS

lenses and bodies you pack – changing lenses

is less advisable, so two bodies with optics
mounted is a good solution. Alternatively,
Work in wet
if an area of high pressure is forecast, you environments
can expect very low temperatures and less
precipitation, so protection against the cold In wet conditions there
is of greater importance – think insulation, is less of a focus on
condensation avoidance and spare batteries. acclimatisation to the
Tailoring your approach makes you environment and more
adaptable, but also frees you to focus more on preventing moisture
on capturing images, as you have already getting into electrical
acted to improve gear safety and your own components. Rain covers
comfort while out in the field. It also helps you are the most common
to identify which gear is not essential and not choice for actually
worth bringing – useful when keeping weight shooting in the rain, and
to a minimum, which will aid your safety in storing gear in a bag
challenging terrain. Let’s take a more in-depth with water-sealed zips is
look at how to prepare for different conditions. useful to prevent water
seepage or condensation
over time.

Cold locations
Cold weather can vary in its
nature. Sometimes humidity
can be high, but at other times
the location can be covered
in snow and still be relatively
‘dry’. The biggest threat is
condensation, which can form
as you move into areas of
greatly different temperature.
Seals and padding won’t
necessarily help, but keeping
equipment packed when
moving into warmer places
will help reduce condensation
forming in lenses, on electrical
contacts and the image sensor.

Read the weather

Learning to identify the conditions you can expect will help you to avoid unwelcome
surprises. Where you have areas of low pressure, for example, you can expect
precipitation – it is more likely to rain or snow. If you want snowfall in your image
this will be the time to
head out, but watch
out for higher humidity
and wind. Conversely, a
high-pressure system will
produce clear, crisp and
often very cold conditions
in winter. When blocking
winter anticyclones occur,
snow and rain will be less
likely, but expect possible
fog. You might also want
© Gettyimages

to pack your larger coat

in these moments.

27
 TECHNIQUES
© Reed Miller

Above
Colour and texture contrasts
Winter landscapes are often low on texture
and colour and therefore have the potential
to lack interest. Winter photographers must
look deeper to find aspects that do have
these, to provide contrast
Left
Foreground interest
Many winter scenes consist of sparsely
detailed areas. While these are a
characteristic feature, ensure there is
enough foreground interest to hold viewer
attention and lead them into the frame

© Jan Rune Samuelson

Right
Horizon placement
© Gettyimages

Aim for a balance of foreground and sky.

Terrain can look flat under the snow, so
having vertical objects breaking the horizon
line creates a nice frame structure

Improve your compositions

What are the key elements of winter scenes? Here’s tips for framing
One of the most attractive aspects of
winter scenes is how detail is reduced,
with snow blanketing most of the ground
texture to create a minimalist style. It is
this characteristic that draws the eye of
creative photographers the world over. In
snow, new and unique images can be found
even in locations that you have shot many
times before, because the scene has been
transformed. However, this is also the
very trait that can ruin a photograph if it’s
approached without care and attention.
As with any artistic composition, negative
space can quickly become empty space if
it is present in large volumes and is poorly
placed within the frame. The surface of snow
is generally featureless, which makes for a
beautifully satisfying canvas for placement
of other frame elements, but snow actually
contributes very little to the composition in
its own right. Try to use snow as an almost
seamless background to your subject, or
force the viewer’s eye towards a point by
surrounding it with low-frequency detail and
negative space. Make sure that snowy areas
don’t dominate the frame and leave the image
feeling devoid of interest. Perhaps try using
the grid function on your camera, positioning
snow a third of the way into the frame.
Focal length plays a significant part in
this process – too wide and the main scene
elements, including the subject, can become
lost in a sea of white. The subject needs to be
large enough in the frame to assert itself as
the dominant area of the composition, and
the place the viewer should look first. Longer
focal lengths will also compress perspective,
bringing backgrounds and foregrounds
closer together, creating effective subject-to-
background harmony. A wider field of view,
which brings more of the sky into the frame,
for example, might spoil the relationship
between these elements, creating an image
that appears to be empty of texture.
Similarly, pay close attention to the effects
of frame shape and orientation. If you have
an object breaking up the ‘field’ of snow, then
this will make a perfect foreground element
for a portrait-format frame with a 3:2 aspect
ratio, but if this is absent, the bottom of the
shot will be a visual barrier of solid white. In
these cases, a landscape-orientation frame,
and possibly a squarer aspect ratio, would be
more successful.

28

Use snow as an almost seamless background to your subject
Ideal subjects Go beyond the obvious and find photo opportunities that others might miss
© Gettyimages
SNOW PATTERNS
Capturing wide, snowy vistas is great, but
don’t forget to focus on the interaction of
snow with the land. Zoom in close on the
boundary between soft and hard textures,
as snow meets rock, for example, and study
shadows using snow as a canvas.
© Gettyimages
COLOUR CONTRASTS
Snow and wintry scenes are often devoid of
bright colour and make brilliant minimalist
studies. But if you find something to
contrast against the white backdrop, it can
be very attention-grabbing. Green algae, a
bird or bright berries make good subjects.
EXTREME CONDITIONS
© Peter Fenech
SMALL DETAILS
Take your telephoto zoom or macro lens
and focus closely on the structure of snow,
ice crystals, or frost on grass or leaves.
These can capture the ‘feeling’ of winter
and are perfect subjects to focus on closer
to home – even in your own garden.
29
TECHNIQUES

Expose like an expert

Use camera settings to keep tones in range and
Snow is made up of fine particles; flakes of ice
that have a reflective surface. When this forms
a carpet, these properties are magnified, and
the snow blanket appears significantly brighter
than the surrounding ’hard’ surfaces, such as

achieve an attractive contrast in wintry scenes
rock or wood. This sets up a unique brightness
balance that can’t be easily controlled with
any accessories such as filters, in the same
way that a bright sky can be controlled.
Highlight detail can be clipped in the snowy
areas, rendering them as solid masses of
overexposed white. These naturally have the
potential to detract from the impact of the
scene and can’t be fixed in software, due to
the loss of digital tonal information.
That being said, camera autoexposure
systems can easily become confused by
such large expanses of white, and will instead
crush the highlights to create a scene that is
underexposed. When you point your camera

Left Above Right

Cold and Natural colour Hold the
quiet White balance highlights
By using is another Push the
a higher challenging exposure to
shutter speed area. We must just below
to prevent prevent snow the point at
streaking from picking up which the
falling snow, unnatural cool snow becomes
each flake is or warm casts, clipped, to
more visible while maintaining be confident
and has more strong colour that detail is
presence elsewhere retained
© Reed Miller

30
 EXTREME CONDITIONS

How to expose snowy scenes

Understand which camera settings work
best for snowy and poorly illuminated scenes

1 Mock-up composition
In stormy conditions
exposure is challenging.
Overall light levels are low,
but snow is highly reflective,
creating an odd contrast.
Use Aperture Priority mode
to test exposure for your
chosen composition, as
this will quickly identify any
issues with autoexposure.
© Jan Rune Samuelson
2 Watch exposure
meter Where you place
your AF point will impact
the camera’s exposure
choice. When gauging
exposure, keep an eye on
the exposure meter for
sudden underexposure. If
recomposition causes a
3EV drop, the scene is a
challenge for the AE system.
3 Use Evaluative
metering This is one
instance where Evaluative
or Matrix metering is the
preferable option, as most of
the scene is uniformly bright.
The objective is to avoid
‘muddy’ tones in the snow,
which Spot metering might
produce, as it renders white
as 18 per cent grey.

towards a snowy scene, it ‘sees’ the highlights

and attempts to render them as a grey tone
by increasing the shutter speed or stopping
down the aperture, decreasing exposure of the
sensor. This will make the scene appear darker
than necessary, but will also make the bright,
contrasty snow you saw with your eyes appear
dull and flat. So what’s the solution?
4 Switch to Manual
When you can be
confident lighting is not
5 Prioritise TV or AV
Once you have the
correct exposure value
6 Check the histogram
Keep referencing the
histogram, both live and for
This can be easily fixed once you know to going to change much, you determined, you can bias recorded shots, to ensure
look out for it, and we’ll describe what to look can lock in the measures the settings used to achieve there’s no highlight clipping
for and how to counter it in the tutorial to the for capturing the correct it depending on the subject. (touching the right side)
right. Exposure of winter scenes goes beyond exposure by switching For deep focus, stop down while maintaining bright
simply how bright or dark you should render to M on the mode dial or at the expense of snow white snow. If the graph is
them. Give thought to the effects of shutter by pressing and holding movement. If frozen motion bunched up at the left then
speed on moving elements, such as falling autoexposure lock (AEL). is a priority, keep the shutter this could indicate muddy
snow or wind-swept trees. Longer exposures This ensures the exposure is speed constant, adjusting EV grey snow, so use positive
reduce snowfall to a blur, which can be used to fixed between shots. via ISO and f-stop. exposure compensation.
communicate blizzard-like conditions, but the
effect lacks realism.
Meanwhile, depth of field and your aperture
choice are also affected – if you have a
seamless snowy background, you mighht
choose to place less emphasis on aperture, as
there is little detail to render sharply anyway.
Conversely, you may find that a shallow depth
of field softens the surroundings too much for
the wild winter feel you’re after.
© Reed Miller

31
 TECHNIQUES
Troubleshoot
in the field
Use these pro tips to address isses you might
experience with your equipment or technique
When working in tough environments, you’re
likely to feel the higher workload – not only
do you have to think about each image you
take from a creative standpoint, but you also
have to keep a close watch on your gear and
look out for personal safety. In winter weather,
this includes keeping an eye out for rapidly
worsening conditions, which can be a hazard
when working in remote locations.
Kit failures usually occur in said hazardous
conditions, and will force you to have to think
on your feet to problem-solve. When all of this
comes together to focus your attention more
on the practical challenges than the artistic
ones, images can suffer. Stylistic choices
can become an afterthought, which means
you might end up making mistakes and
overlooking compositional problems, reducing
the impact of your photography. It can also
mean that you are distracted from your
assessment of a scene and the subjects, and
miss opportunities for superior images. This is
x2 © Jan Rune Samuelson
32
a shame, because opportunities are – as we’ve
mentioned – plentiful in winter environments.
Compositions are cleaner, contrast is often
easier to handle with overcast skies, and
points of visual interest appear organically,
much like the transformation of the landscape
in autumn. So how do we stay focused?
Adapt your thinking to look out for the key
points of interest that winter scenes have to
offer, and understand how best to use winter
conditions creatively. A customised ‘winter
workflow’ can ensure that you cover all bases
– follow a safety checklist, tailored for the
environment, while looking for the features of
the scene in front of you. This might sound like
an overcomplication, but in reality it becomes
more instinctive with practice. Below
We asked for some expert help from Mono magic
experienced winter photographer Reed Miller. When you have a slight colour cast in an
otherwise naturally monochromatic scene,
On the right, you’ll find some of his key ways it can be better to convert the image to
to keep shooting with style, even when the black and white to reduce distracting
weather is against you. localised colouration
 EXTREME CONDITIONS

Reed Miller’s top tips

Keep it clean I always use a lens hood and am
surprised when I see a serious photographer
shooting without one. Not only does shooting with
the hood add protection to your expensive lens, a
hood is made to eliminate a significant amount of
sun glare. In image comparisons with and without
a hood, the improvement can be significant. In
weather, keeping rain and snow off the glass is a
necessity, and the best starting point is the lens
hood. Sometimes all the lens hoods or hat brims
in the world can’t keep the rain or snow off the
front element. In these circumstances, a thin, tiny
lens cloth just won’t cut it, and you should have a
good-quality microfibre cloth to do the work.

It’s called a snowflake I am not a big believer

in rules, and as soon as this is published I know
I’m going to see loads of awesome images where
the snow is streaking through the sky. In fact,
I’m sure I have many images where the snowfall
appears as snow streaks instead of snowflakes,
and sometimes it even works and gives a painterly
© Reed Miller

feeling if it is snowing lightly. However, as a rule

Above
Beautifully sparse
Winter scenes are characterised by low-
frequency detail, contributing to either a
bleak or tranquil atmosphere, depending
on light. Play to this feature for the most
natural, identifiable images
Below
Changeable conditions
Winter weather is defined by
rapidly evolving conditions, so
being prepared is the best way to
anticipate and make the most of
every condition
of thumb, and regardless of landscape or wildlife,
watching that shutter speed and stopping the
streaks typically produces a more pleasing, realistic
image. Shutter speeds below 1/60sec create a
risk of snow streaks instead of snowflakes.
Heat wave Have you ever thought you had
fantastic shots, downloaded the images, and
they just aren’t sharp? I learned this lesson the
hard way. Heat waves, mirage, optical distortion –
whatever name you give it, it can be difficult in the
heat, but I believe it’s a much bigger problem in
the cold, especially if you are shooting with a long
lens (the more magnification, the more distortion).
If I’m shooting an animal from my vehicle I roll
down every window, turn off the engine, and hope
that the temperature equalises enough that I
don’t get distortion or blur. It’s unpopular with
passengers, but soon you will be able to put your
camera on the vacant seat next to you, which will
increase your awesome fast camera access skills!

Dress for success The Norwegians have a

saying: “There is no such thing as bad weather,
just bad clothing.” Some clothing items make all
the difference. As many of us are getting in and
out of a vehicle, temperatures change quickly, and
dressing in layers is a must. I prefer lightweight
gloves that I can still feel the shutter release with,
along with good pockets on my coat. I’ve found a
big variance with people and their hand warmth,
so your mileage may vary. They say that your
body retains heat much better if you cover your
head, and a good stocking cap is a must, but I
often prefer a cap with a brim. When shooting with
a wide-angle lens, I often use a brimmed hat to
extend my lens hood for extra protection.

33
 TECHNIQUES

Top tips for shooting in

challenging winter
weather
1 Stay safe Watch out for rapidly
deteriorating conditions that can
become dangerous.

2 Read forecasts Check weather

charts to help you predict the kind of
conditions to expect.

3 Don’t change lenses Where

possible, swap cameras, not lenses,
to protect the sensor from moisture.

4 Aim for boundaries The most

dramatic light occurs as weather
changes from one form to another.

5 Test kit Always check all of your

gear at home, before heading out
into the field to shoot.

6 Avoid empty space Watch out

for flat images with huge areas of
featureless, overexposed snow.

7 Prevent footprints Assess the

scene before entering it to avoid
spoiling virgin snow with your feet!

8 Manual control Snowy scenes

confuse both exposure and white
balance systems. Switch to Manual.

9 Change style Control a sense of

motion by using shutter speed to blur
or freeze falling snow.
© Jan Rune Samuelson

10 Watch histograms Use the

histogram to avoid blowing snow
highlights or, conversely, underexposure.

34
TECHNIQUES

5
eative indoor
ortrait setups
Calton brings you his favourite indoor
ait techniques with practical steps to try now

36

Portrait photography has not been easy for
most of this year. Lockdowns and restrictions
on meeting others outside of your bubble can
make it tricky to find suitable subjects to shoot. Add to
that the impending colder weather, and even shooting
outside can make it difficult to find the motivation to
get outside and be creative with your camera.
However, this month I have collated a catalogue of
portrait ideas that you can easily try out for yourself
within the comfort and warmth of your own home. All
you need to follow along is your camera and a simple
off-camera flash setup. “But who will I photograph?”
I hear you ask. Well, this is where you can take
PORTRAIT SETUPS
advantage of being surrounded by your nearest and
dearest within your bubble. These techniques are so
simple that you really don’t need to employ the help
of a professional model in order to capture great-
looking results. Your roommates, parents, children, wife,
husband, partner – anyone who is currently living with
you is the perfect subject for you to shoot using these
creative techniques.
And in the worst case, if you really can’t convince
n
anyone to get in front of the camera, then there’s
alto
C
always yourself! Simply set up your camera on a tripod
Tom
and use the self-timer setting (or a shutter-release
es ©
cable) to snap stunning self-portraits. Let’s dive in!
mag
All i
37
TECHNIQUES

Butterfly lighting
So-called because of the butterfly-shaped
shadow that it creates under the model’s
nose, for this setup you’ll need to position
the light directly in front and raised above
your model, angling the light downwards
onto their face. The result is an even light
that’s suitable for any subject.

Loop lighting
For this setup the flash is raised above the
model, with the flash head pointing down
onto their face. The light should then be
positioned 45 degrees to either side of
them, causing the far side of their face to
fall into shadow for a more moody look.

38

Simpleone-
lightportraits
Keep it nice and simple with these
beginner-friendly one-light setups
When it comes to using off-camera flash, it
can be really tempting to over-complicate
things with elaborate, multiple-light setups.
But having more lights does not always mean
better results. Remember, it’s not the number
of lights you use that counts, it’s how they are
positioned, and the quality of light they create
that will ultimately determine the creative
outcome of your images.
Often, the simplest answer is best –
especially if you’re new to using off-camera
flash – so in this section I’m going to show
you three very simple but effective lighting
setups that you can try out for yourself.
Split lighting
As the name suggests, this setup effectively
splits the model’s face into two distinctive
areas of light and shadow. Start by placing
the light 90 degrees from your model, and
raise it up so that the light is flat on and
only illuminating one side of the face.
Despite these techniques all using just one
light, as you can see from the results, the
looks that they create are distinctly different.
Before we get started, it’s also worth
mentioning that although using a light
modifier is not technically necessary for these
lighting setups, I would always recommend
using some sort of softbox or beauty dish.
Diffusing (or softening) the light created by
your flash will create a much more flattering
result. Unless, of course, you’re intentionally
looking to create a very harsh and contrasty
look, in which case using a bare flash may be
more acceptable.
PORTRAIT SETUPS
What kit do
you need?
In order to fire your flash off-
camera, you’ll need a few things…
Aside from your camera and flash, you’re
going to need a means of linking your
camera to your flash, so that when you
press the shutter button everything
fires together. This usually requires a
set of wireless triggers, although some
flashguns are able to connect without
any additional equipment, so always
check your user manual first. Once
you’re connected, you’ll need a light
stand to hold your flash in place.
39
TECHNIQUES

Teal and magenta

For our final image
we opted for a teal
gel for the key light
at the front, and then
added two magenta
gels to the rear lights
for a really striking
rim-light effect

40
 PORTRAIT SETUPS

Neon photography
athome
Vivid neon colours have seen a big resurgence within portrait
photography recently, and this technique aims to replicate
Give your portraits a
retro vibe with this faux
neon lighting effect
gels, they can easily be bought online, or you can always try
making your own by purchasing some coloured cellophane
the iconic aesthetic using a super-simple lighting hack. In sheets from a craft supploer, and cutting them to size to fit
order to give the lighting a colourful tint, we’re going to use a over the front of your flash head. You can then just secure
set of lighting gels. them in place using an elastic band or sticky tape.
If you’ve never heard of lighting gels before, essentially However, if you do decide to attempt making your own,
they are colourful sheets of heat-resistant plastic that can make sure that the plastic sheets you buy are heat-resistant,
be attached to the front of a light source to give the light otherwise you risk the heat from your flash potentially
a colourful hue. If you don’t already own a set of lighting melting the DIY lighting gels and ruining your equipment!

Neon portrait
Experiment using
either contrasting or
complimentary colours
There are a vast number of colour combinations to choose from when using lighting gels, so
the possibilities are seemingly endless. If you’re struggling to make a final choice, try using
a colour wheel to plan out a mixture of complementary or contrasting colour combinations.
For our image, we’ve opted to combine teal and magenta to mimic the tones that are
typically used for neon lighting.

1 Set up the flash Grab your light

stand, and securely fasten the flash
to the top of it. Although not mandatory
for this effect, using a softbox or beauty
dish will help to soften the light for a
more flattering result.
2 Add your gels Add the gels to
the front of your flashgun using an
elastic band. Or, if you’re using a softbox,
you can simply remove the interior
layers and attach the gel in front of the
flash with some sticky tape.
3 Sync your flash Turn on your
wireless triggers and attach them
to both your flash and to the top of your
camera. Take a test shot to ensure that
everything is correctly synced and firing
as it should.

4 Add more colours If you want to

get creative, add a second light into
the mix with an alternative colour. We’ve
added two extra lights with a magenta
gel and placed them behind our subject
to create a colourful rim light.
5 Take the shot With everything set
up, you’re ready to go! Frame up the
shot, focus, and take the photo. Be sure
to review your image on the back of the
camera, and adjust the lighting position
and power if required.
6 Boost the colours To finish
this effect, open your RAW images
in either Lightroom or Photoshop, and
increase the Vibrancy and Saturation
sliders slightly to really make the
colours pop within the image.

41
TECHNIQUES

WHAT’S
A GOBO?
If you’ve never heard of a
gobo before, then essentially
this is a stencil or a template that
is placed in front of a light source
to modify the shape of the light.

Slit
In our case we’re using a
gobo to create a thin slit
of light.

lighting
effect
Create this dramatic lighting effect
with a homemade light modifier
This style of moody, low-key lighting
is normally created by placing a light
modifier – commonly referred to as
a gobo – in front of your flash. Gobos
are available in a whole range of
shapes and sizes, and can generate
a variety of different patterns and
shapes. Professional gobo kits range in
price – usually between £75/$100 and
£250/$330 or more, depending on the
kind of lighting kit you use.
If you don’t have the budget to
invest in a brand name gobo kit, then
alternatively you can always use your
crafting skills and just make your own.
It’s incredibly simple: all you need is
a small cardboard box that is large
enough to fit over the front of your
flashgun, a pencil, and a crafting knife
or a pair of scissors.
With your pencil, trace around the
flash head of your flashgun onto one
end of the box, and use your crafting
knife or scissors to cut out a hole so
that your flashgun can slide snuggly
into it. On the opposite side, make a
small slit, which will narrow the band of
light and create that slither of light.

Low-key lighting Use a DIY gobo to selectively light your subject

1 Set up your flash Grab your flashgun,

attach your wireless trigger, and secure
it to a sturdy light stand. Make sure that the
flash head is exposed enough so that you
have plenty of room to slide on your DIY gobo.
2 Attach the modifier Grab your DIY
gobo light modifier and slide it over the
end of your flashgun. Ensure that it is a snug
fit, so that all of the flash head is enclosed
within the box.
3 Position your model Ask your model to
get into position in front of the flash. It’s
important that they don’t move around too
much, so it might be beneficial to ask them
to sit on a chair or a stool.

42

In order to master this technique, it’s important to remember that the position of the light and model is key. Because we’re only dealing with a
very narrow slither of light, it may take some fine adjustments to ensure that the model is correctly lit.
4 Aim the flash Unless your flash has a
modelling light, you’re going to have to
guess where to aim the flashgun. Do this by
looking over the top of the box and lining it
up with your model’s face.
5 Test shot Take a quick test shot, and
then review the image. You may need to
adjust the position of the light until the thin
slit of light is in exactly the right position on
the model’s face.
PORTRAIT SETUPS
Low-key lighting
This low-key lighting technique really lends itself
to a high-contrast finish in post-production.
The deep shadows help to mask the parts of
the model’s face that aren’t illuminated by the
bright letterbox-shaped lighting
6 Shoot and review Once you’re happy
with the position of the flash, it’s time to
bag the shot. Review your shots regularly to
ensure that the light is in line with the model’s
face. Adjust their position again if necessary.
43
TECHNIQUES

Direct flash
Add some grit to your portraits with this direct flash technique
When starting out in the world of flash photography, one
common piece of advice that seems to be handed out is that,
when using on-camera flash, you should always avoid pointing
the flash directly at your model because it creates really harsh,
unflattering lighting. Well, today we’re going to tear that page
from the handbook, because in truth, if you know when to use
direct flash, you can actually capture some really cool-looking
images with it.
Let’s start by talking about gear. Obviously you’re going
to need a flash: preferably you’d use a flashgun, as it will
ultimately give you more control over the settings, but you could
technically use the built-in flash on your camera if that’s all you
have. This technique will generally work with any combination
of camera and lens, though I prefer to shoot with a 35mm lens,
as the wider angle tends to make the images look more candid
and edgy, which is the kind of result we’re going for.
Finally, the location and backdrop also helps. I’ve chosen to
shoot against this brick wall that has been painted white, as it
gives the images a gritty, urban kind of feel, which really lends
itself to this style of lighting.

Keep it on camera When used correctly, on-camera flash can produce striking results
Like a lot of lighting techniques, it’s all about knowing when to use them. In this instance, I find that direct flash is best used
when you’re looking to create high-fashion, quirky-looking images that almost appear as if they’ve been taken on a retro film
camera. It’s about embracing the imperfections and creating high-contrast lighting that’ll turn heads.

1 Attach your flashgun This

technique uses on-camera flash, so
turn on your flashgun and start off by
sitting it on top of your camera using
the hotshoe mount. If you’re using your
camera’s built-in flash, activate this now.
2 Shoot in Manual Using the mode
dial on the top of your camera,
switch over to Full Manual mode
(represented by the letter M). This will
give you full control over the camera’s
exposure settings.
3 Exposure settings Now it’s time to
dial in the exposure settings. Start
by setting the shutter speed to around
1/250sec, and also narrow the aperture
to around f/8 to ensure that you achieve
an image with a deep depth of field.

4 Reduce the ISO To ensure that you

achieve the highest image quality,
reduce the camera’s ISO setting to the
lowest possible value. This is usually
around ISO 100, though some camera’s
may allow you to go lower than this.
5 Flash settings If you’re shooting
with a flashgun, now is the time
to adjust its power settings. Using
the controls on the back of the flash,
increase the flash output to full power
(1/1) for that harsh, edgy look.
6 Take the shot Ask your model to
stand in position, compose the shot,
focus, and take the photo. Review the
image on the back of your camera. If
the image is too bright, reduce the flash
power to ½, and try again.

44
 PORTRAIT SETUPS

Retro aesthetics
Using direct flash in the correct
way gives your portraits a
distinctive, edgy result. It works
especially well when paired with a
retro, film-inspired colour grade
in post-production

45
TECHNIQUES

Such a drag
My favourite thing about this technique
is that every photo you take will
provide a different result. Each capture
is totally unique, and there is no end to
the creative fun that can be had!

46
 PORTRAIT SETUPS

Shutter drag
Inject movement and drama into your photos with shutter drag
Shutter drag is a flash technique that creates colourful swirls
of light across your photos, while ensuring that your subject
is frozen in place. All you need for this is a camera with a
flashgun attached to the top.
Fundamentally this technique works by combining flash
with a slow shutter speed. Once the flash fires, the light it
emits freezes the model in place. But because we’re using a
slow shutter speed, the shutter remains open long after the
flash has fired, which allows it to capture the ambient light in
the room. To achieve the swirly patterns like the ones in my
final image, all you have to do is move the camera around
during the exposure, which will blur the ambient light across
the frame.
It’s important to know that this technique requires a lot of
trial and error. Every shot you take will give you completely
different results, based on the direction and speed you move
the camera around while the shutter is open. Therefore, it’s
best to take a number of shots, and then look through the
results periodically to check that you’re getting the shots
you’re looking for.

A fine balance This technique is all about combining ambient light with flash
As much as this technique is about using flash, the ambient light within the room is just as important as this will be what
creates the swirls within the image. Make sure that you keep the room light on while shooting, or you could even try adding
additional lights into the background if you want more prominent streaks of light going across the image.

1 Shoot in Manual For this technique,

start off by switching your camera
over to Manual mode (M on the mode
dial), and set the aperture to f/16 to
restrict the amount of light that is
entering the camera.
2 Slow shutter speed In order to
achieve the swirling trails of light,
you’re going to need to use a slow
shutter speed. So select this now – an
exposure of around 1sec should be
plenty slow enough.
3 Set a low ISO Next, reduce the
ISO sensitivity to the lowest setting
available on your camera, to reduce the
amount of noise within your image and
balance the exposure settings. This is
usually around ISO 100.

4 Flash settings Turn on your

flashgun, and attach it to the top of
your camera via the hotshoe port. Set
the power output to around ¼ power
to begin with, though you may need to
increase or decrease this later.
5 Test shot With your model in place,
frame up and take a shot. Once the 6 Rinse and repeat Once you have
the exposure perfected, keep taking
flash has fired, move the camera around shots and reviewing them periodically.
in a twisting motion until the shutter This technique is all about trial and error,
closes. Review the results. If the flash is so keep experimenting until you have a
too bright or dark, adjust accordingly. result that you’re happy with.

47
 The perfect gift
*

FREE
LOWEPRO
TAHOE

GIFR
W O
£6 4 .

its DSLR with kit M

Main compartment Weather-resistant
lens (such as l ™ materials
t i l help
h l
18-135mm), plus an panel
nel that folds for safeguard gear
ƺɴɎȸƏǼƺȇɀƏȇƳˢƏɀǝ more space from the elements
 FREE Lowepro Tahoe BP150 Bag
worth £64.95
Enjoy 12 months of Digital
Photographer for just
£44.99 – that’s just £3.46 an issue!
Receive every issue delivered
direct to your door
A thoughtful gift that keeps
delivering throughout the year

Upgrade to
include digital
for only £10
Instant access any time, anywhere
Never miss an issue of
Digital Photographer

OR CALL 0330 333 1113 AND QUOTE BCC2

*Terms and conditions: Offer closes (31st January 2021). Offer open to new subscribers only. Direct Debit offer is available to UK subscribers only. £44.99 payable by 12 monthly Direct Debit plus free gift worth £64.95. Orders
ȵɖȸƬǝƏɀƺƳƏɀƏǕǣǔɎƫƺǔȒȸƺ‫׏א‬ɀɎ(ƺƬƺȅƫƺȸ‫׎א׎א‬ɯǣǼǼɀɎƏȸɎɯǣɎǝɎǝƺˡȸɀɎǣɀɀɖƺȵɖƫǼǣɀǝƺƳǣȇhƏȇɖƏȸɵِǼǼǕǣǔɎȒȸƳƺȸɀȵɖȸƬǝƏɀƺƳƏǔɎƺȸɎǝǣɀƳƏɎƺɯǣǼǼƫƺǕǣȇɯǣɎǝɎǝƺˡȸɀɎƏɮƏǣǼƏƫǼƺǣɀɀɖƺِXǔɵȒɖɯȒɖǼƳǼǣǸƺɵȒɖȸǕǣǔɎɀɖƫɀƬȸǣȵɎǣȒȇɎȒɀɎƏȸɎ
ɯǣɎǝƏȇƺƏȸǼǣƺȸǣɀɀɖƺȵǼƺƏɀƺƬȒȇɎƏƬɎƬɖɀɎȒȅƺȸɀƺȸɮǣƬƺɀِ…ȸƳƺȸɀȵɖȸƬǝƏɀƺƳǔȒȸɵȒɖȸɀƺǼǔɯǣǼǼɀɎƏȸɎɯǣɎǝɎǝƺȇƺɴɎƏɮƏǣǼƏƫǼƺǣɀɀɖƺ‫ٮ‬ȵǼƺƏɀƺƏǼǼȒɯɖȵɎȒ‫ה‬ɯƺƺǸɀǔȒȸƳƺǼǣɮƺȸɵ٢ɖȵɎȒ‫ז‬ɯƺƺǸɀȒɮƺȸɀƺƏɀ٣ِçȒɖȸǕǣǔɎɯǣǼǼƫƺƳƺǼǣɮƺȸƺƳɀƺȵƏȸƏɎƺǼɵ
ɯǣɎǝǣȇ‫׎ה‬ƳƏɵɀƏǔɎƺȸɵȒɖȸˡȸɀɎȵƏɵȅƺȇɎǝƏɀƬǼƺƏȸƺƳِJǣǔɎɀȒȇǼɵƏɮƏǣǼƏƫǼƺɎȒɀɖƫɀƬȸǣƫƺȸɀȒȇɎǝƺÈkȅƏǣȇǼƏȇƳِXȇɎǝƺɖȇǼǣǸƺǼɵƺɮƺȇɎɎǝƏɎɯƺȸɖȇȒɖɎȒǔɎǝǣɀǕǣǔɎًɯƺȵȸȒȅǣɀƺɎȒȒǔǔƺȸɵȒɖƏȇƏǼɎƺȸȇƏɎǣɮƺǕǣǔɎȒǔɎǝƺɀƏȅƺɮƏǼɖƺِ¨ƏɵȅƺȇɎ
ǣɀȇȒȇ‫ٮ‬ȸƺǔɖȇƳƏƫǼƺƏǔɎƺȸɎǝƺ‫ג׏‬ƳƏɵƬƏȇƬƺǼǼƏɎǣȒȇȵƺȸǣȒƳɖȇǼƺɀɀƺɴƬƺȵɎǣȒȇƏǼƬǣȸƬɖȅɀɎƏȇƬƺɀƏȵȵǼɵِIȒȸǔɖǼǼɎƺȸȅɀƏȇƳƬȒȇƳǣɎǣȒȇɀًɮǣɀǣɎɯɯɯِȅƏǕƏɿǣȇƺɀƳǣȸƺƬɎِƬȒȅٖɎƺȸȅɀِIȒȸƺȇȷɖǣȸǣƺɀȵǼƺƏɀƺƬƏǼǼ‫גגڷي‬٢‫׎‬٣‫ِב׏׏׏בבב׎בב‬nǣȇƺɀƏȸƺȒȵƺȇ
xȒȇƳƏɵ‫ٮ‬IȸǣƳƏɵ‫ח‬Əȅ‫דٮ‬ȵȅÈkÁǣȅƺȒȸƺ‫ٮ‬ȅƏǣǼ‫ي‬ǝƺǼȵ۬ȅƏǕƏɿǣȇƺɀƳǣȸƺƬɎِƬȒȅِ!ƏǼǼɀɎȒ‫׎בב׎‬ȇɖȅƫƺȸɀɯǣǼǼƫƺƬǝƏȸǕƺƳƏɎȇȒȅȒȸƺɎǝƏȇƏȇƏɎǣȒȇƏǼǼƏȇƳǼǣȇƺƬƏǼǼًƏȇƳȅƏɵƫƺǣȇƬǼɖƳƺƳǣȇɵȒɖȸȵǝȒȇƺȵȸȒɮǣƳƺȸ‫ټ‬ɀƬƏǼǼƫɖȇƳǼƺِ
SHOOTING SKILLS

Creative
macro bokeh
Here’s an easy way to introduce attractive out-of-focus highlights into your
macro backgrounds. Learn how to add interest and depth to close-up shots
50
 Macro photography can sometimes
seem a strangely uncreative genre.
Many images of macro subjects, as
intriguing as they may be, are clearly intended
as record shots, with little artistic flair. That’s
why images that do go beyond this are so
impactful – they can surprise us and make us
look at the macro world in a new way.
Due to the restricted nature of close-up
compositions, it can be difficult to spot
opportunities for experimentation, so running
through each image component can reveal
where to focus your attention. In order to
be more creative you can look at lighting in
unconventional styles, rethink the focal length
for surprising subject placement, or turn Difficulty level: Intermediate
your attention to the background – as this Time taken: 1 hour
technique will be doing. Natural sparkle
You need to be careful which features By adding background highlights using water
you place in a background – even when it droplets, there is a greater sense of viewing the world
is likely to be completely out of focus– to from the perspective of the subject
avoid interfering with the subject’s impact,
but sometimes a backdrop can be too bland. What you’ll need
For this shot we liked the background colour, DSLR or CSC
created by flowers, but wanted more texture. Macro lens with 1:1 magnification
Specular highlights add dimension, but are Glass or perspex sheet
difficult to generate outside in dry conditions. Spray bottle
The technique we’ll see here involves placing Speedlight with stand
water droplets on a piece of glass or perspex Radio triggers
to add sparkle to a macro background.
51
SHOOTING SKILLS

Shooting 1 2

steps
1 Find your angle Choose a
perspective that places your
subject in front of a background that
matches its colour. Avoid too many
colour clashes. Ensure that there’s
ample separation between the
subject and background to allow you
to place the transparent screen.

2 Set camera height To ensure

maximum alignment between
the subject and chosen background
elements, raise or lower the tripod
and fix the camera in position.
Having this prearranged saves
reshoots later, as you may have only
one attempt with skittish subjects. 3 4

3 Prefocus For the greatest

chance of success it is best to
choose a flower or other spot, set
the focus on this position, and
wait for a subject to land. Observe
local insect behaviour, and choose
an area that is attracting plenty of
activity, then lock focus on a visually
appealing flower.

4 Set aperture Take a test shot

or use depth-of-field preview to
check focus coverage on the flower
or point you have focused on. Here,
f/2.8 is a little wide, producing very
shallow depth of field, so stopping
down to f/5.6 increases the chances
of capturing a sharp subject on the
chosen flower.

5 Place the screen Spray a film

of water on the transparent
surface, and position it behind the
5 6

subject, ensuring that the droplets

cover the background evenly (take
a test shot to check this). To alter
its visibility, change the distance
between the screen and subject,
while monitoring the droplets’
distracting power.

6 Trigger camera remotely When

a subject appears, trigger the
shutter. A wired remote is adequate,
but a wireless trigger will enable
you to be further from the camera,
lowering the risk of your presence
disturbing the subject. You will need
a setup that enables you to trigger
both the flash and the camera at the
same time.

52
 The setup CREATIVE MACRO BOKEH

BACKLIGHT
A flash or even a torch
will illuminate the water
droplets from behind
and make them sparkle.
MACRO LENS
An optic of 100-150mm with
life-size magnification is ideal for
compressing perspective slightly.
TRANSPARENT
SURFACE
The glass or plastic from
a photo frame provides a
surface for the water droplets,
while still showing the
background behind.

CAMERA SUPPORT
A tripod enables you
to leave the camera in
place and hold the screen
behind the subject.

Add flash
and spray
Control the style
and structure of your
blurred backgrounds
For the unique look in these
shots, it is necessary to
space and shape the water
droplets carefully. Try to
create a varied array of
droplet sizes and shapes
by varying how close the
bottle is to the surface
when spraying. Next, it is
often necessary to light the
droplets from around 45
degrees behind the screen
to add glints and make
them glow. Use a low flash
output and avoid glare in
the screen itself. A torch
can add a tighter light beam.
Also, consider using a clear
document sleeve to carry
your surface into the field.

53
SHOOTING SKILLS

Edit the shot 1 2

Adjust colour and exposure Perform basic

1 adjustments to overall colour and brightness.
Use the Basic Panel in Lightroom or similar to
set the Black and White Points, tweak Clarity
and remove unwanted colour casts.

Local sharpening Use the Adjustment

2 Brush (K) to apply sharpening to the
subject only. By limiting it in this way, noise
enhancement in the background can be
avoided. If using Photoshop only, the Sharpen
tool works more quickly than layer masking.

Control brightness Add a spot-lighting

3 effect to the subject. This balances the
visual dominance of frame areas. Use the ACR/
LR Radial filter to darken the frame edges,
then with another filter brighten the subject.

Adjust droplet exposure Using the

4 Adjustment brush, set +1EV Exposure, and
with a medium flow, click once on some of the
background water droplets to brighten them. 3 4
This is preferable over a higher flash power, as
the droplets can be easily overexposed.

Retouch background If there are any

5 clusters of droplets behind the subject that
you feel might be distracting, remove them
using the Spot Healing brush in Photoshop (J).
Also, try moving problematic droplets with the
Content Aware Move tool, to reposition them
instead of deleting them.

Crop For this image we felt that a squarer

6 crop helped to focus attention better on
the insect. We selected a 5:4 aspect ratio
as this offers an improved balance of detail
around the frame, while maintaining classic
photographic dimensions.
Right
Colourful
The scene without droplets in the background
is full of colour, but the frame lacks energy and
the feeling of a natural environment. But our
droplets bring a natural, appealing texture

5 6

54
 CREATIVE MACRO BOKEH

BEFORE

AFTER

55
SHOOTING SKILLS

fisheye
Use a

forlandscapes
Gain a new,unique perspective and better value
from your equipment by shooting ultra-wide
compositions using a fisheye lens
Fisheye lenses are incredibly popular the ultra-wide-angle of view that fisheye lenses Inset
for special effects, as they provide are capable of achieving. Distorted world
Tilting a fisheye lens, even by a
a unique style of image that’s hard Here we’ll reveal key steps to use a fisheye few degrees, creates extreme
to convincingly achieve with any software for a greater range of subject matter and distortion that’s inappropriate
technique. The fisheye effect can certainly be in a wider variety of environments. With for most ‘serious’ landscape
simulated using software filters and distort experimentation you’ll be surprised at what ca shoots. Here the twisted trees
and riverbed are distracting
tools, but for a true fisheye perspective a be achieved in some unexpected genres.
dedicated lens – such as the Nikon AF-S
Fisheye Nikkor 8-15mm f/3.5-4.5 optic we’ve BEFORE
used here – is required.
One of the issues with fisheye lenses,
however, is their specificity: while they are
fantastic for certain interior shots, the distorted
edges are not well-suited to portraiture or other
scenes featuring straight edges. For this reason,
many photographers avoid investing in high-
grade optics, or find that they are unable to
get enough use from the lens to fully justify the

All images © Peter Fenech

cost of buying one.
There are methods to get around the
problems with distortion, however. By following
some key steps and having an understanding of
how composition and camera angle influences
the effect, it is possible to get the most from

Assess the scene As with any ultra-wide
1 lens, make sure you avoid capturing an
empty, distracting foreground, devoid of detail.
Make sure there is a feature to lead in the eye
to the main subject, for a balanced frame.
Set tripod height The distance from the
2 lens and foreground elements, in addition
to elements in the middle and backgrounds,
will impact the fisheye distortion. Balance the
foreground with horizon placement.
Set focal length If you’re using a fisheye
3 zoom, zoom in to the longest setting for a
horizontal fisheye effect – you don’t want a
circular fisheye look for landscapes, which the
shortest focal length will provide.

56

4 Place the horizon Keep the lens as
level as possible to minimise the fisheye
distortion. Work out where in the scene the
horizon line falls, and then place it in the frame
centre, ensuring minimal lens pitch.
5 Watch the edges Distortion is most
evident at the periphery of the frame, so
take a test shot and zoom in on the edges of
the image. Look for any extreme stretching or
bending of lines that will be distracting.
Extreme wide angle
By keeping the lens level, we
can make the most of the
extreme field of view, in this
case of Causey Arch, the
world’s oldest single-arch
railway bridge
6 Adjust composition Recompose if
necessary so that the scene appears
wide, but with as few straight lines visible
as possible. Experiment with your shooting
position and horizon placement.
57
SHOOTING SKILLS

Get low
theeasyway
Use a simple trick with your tripod to
get a worm’s eye view of a scene
Forget fancy lenses and big resolution,
the one thing that makes the biggest
impact to photography is your
composition. Even stunning scenes can be
made to look fairly ordinary when shot from
a lazy viewpoint, and the golden rule to follow
is to never take a photo from head height.
Why? Well, because this is the viewpoint
we’re all used to seeing when we walk around.
Instead, getting high or getting low will bring
a fresh view to your location, even if you’ve
photographed it hundreds of times before.
effectively turn it upside down. This enables
the photographer to set up a composition just
millimetres from the ground, which makes far
more of the foreground interest in the scene.
This approach is improved when you pair your
camera with a wide-angle lens, and while wider
is better, you should still be able to get great
results with an 18-55mm kit lens.
This technique is perfect for autumn and
winter months, where those heading out to
a local country park are sure to be greeted
with golden leaves on the ground, or even the
All images © Matty Graham

So, how do you get low – and we mean
mega low – without needing to stretch out on
a cold, wet carpet of leaves? The answer lies in
making the most of the photographer’s friend,
the humble tripod. Most tripods have a centre
column that can be inverted, meaning that you
intricate structure of frost and snow, should we
be lucky enough to enjoy a dusting of the white
stuff. Whatever you decide to shoot, using this
technique will enable you to get a worm’s eye
view of the world without needing to get your
clothes dirty in the process.

1 Scout out a scene Before you set up the

camera, look out for a scene that includes
both an interesting foreground and a main
focal point in the background. Scenes that are
missing one of these key factors won’t look
as strong. If you need to, get hands-on and
collect up some leaves to then lay out in front
of the camera.
2 Invert the centre column Set the tripod
to its lowest operational height. Loosen
the centre column, turn it upside down and
3 Establish focus Attach the camera to
feed it back through the main tripod socket
from bottom to top. Some tripods, such as
Manfrotto units, have catches and quick-locks,
so take this step very slowly as you don’t want
to pull too hard and damage any components.
the tripod, and adjust the centre column
height so that the camera is just a millimetre
from the ground. Switch to Live View and use
Manual Focus to establish a focus point. This
step is far easier to achieve if you have a vari-
angle LCD, as you can flip out the screen and
frame up without getting level with a fixed LCD.

58

4 Select Aperture Priority As the camera
is locked off on the tripod, the shutter
speed isn’t too important, as you are not likely
to introduce any camera shake into the scene.
So instead switch to A or AV on the mode dial,
which stands for Aperture Priority. This semi-
automatic mode enables the photographer to
select the aperture and control depth of field.
5 Shoot in RAW When shooting frames
that include darker foregrounds and
lighter backgrounds, it’s likely there’ll be a big
difference in the dynamic range. By selecting
the RAW format, you’ll have a better chance of
revealing details or rescuing highlights when it
comes to editing the image. Adding a circular
polariser filter can also help saturate colours.
Worm’s eye view
By using your tripod to get
down super-low, you can
create impressive images with
a unique perspective
6 Dial in a small aperture Maximising
the depth of field in the scene is the best
approach here, as you want to keep both the
foreground and background in focus. This
means dialling in a smaller aperture of around
f/14 to f/16. An added benefit of using this
f-number is that if you include the sun in the
frame, it’ll help create a sun-star effect.
59
EDITING SKILLS: PHOTOSHOP AFTER

How to create a
watercolour
painting effect
Discover how to transform your photos
into painting-style masterpieces

Meet Serge Ramelli

Our new editing skills series
is from pro Serge Ramelli, a
photo-editing expert and
photographer. Serge has over
615,000 YouTube followers,
and full learning courses on
his website. Discover his Photoshop and PHOTOSHOP
Lightroom tutorials each issue, and visit TUTORIAL
www.photoserge.com to find out more.

Knowing Photoshop is a vital skill. It

can bring you a lot of opportunities
as a designer or photographer, and
Inset
you might miss photographic possibilities by Lake Elsinore
not being able to use brushes. poppies blooming
Here we’ll show you how to use watercolour I took this photo in California.
brushes and textures. It is a very simple effect, When the poppies open up
you only have a few days
and a good way to create different styles with to capture the beautiful
your images. In only a few steps you will be flowers blooming. You can
able to offer something different and create use any one of your best
your own canvas inside Photoshop. It really photos for this technique
comes in handy and is great fun to try. Main
Old master
By taking our original
What you’ll be using image and following these
simple steps in Photoshop,
Layers Masks we can create a unique
Smart Object Watercolor brushes effect while mastering
Filters Textures brushes in the software

Set up your base Duplicate
1 the basic layer by dragging it
down. Once on the duplicated layer
2 Select the empty layer and
you can create an empty layer by
clicking on Create a New Layer,
putting it in between the two
layers, and renaming it “Canvas”.
Create the background
click on the foreground colour.
Pick a yellow – that will be your
canvas colour. Go to Edit > Fill >
Foreground Color. Now your first
layer is the canvas background.
Convert your photo o Select
3 the first layer and make sure
your file is 8 bits, Image > Mode
> 8bits channel. Use Smart
Object so you can come back to a
previous step if you want. Right-
click > Convert to Smart Object.
Make a painting Using a filter,
4 create a cool painting look. Go
to Filter > Filter Gallery > Palette
Knife. You can select the stroke
size – try to stay between 3 and
10 to keep a natural look. Here you
can select 10, and press OK.

60

5 Use a mas
key and click Add Layer Mask
to create a mask so the layer
becomes invisible. Now install
water brushes in Photoshop
simply by clicking on this link:
http://photoserge.me/Brush
the mask, make sure your
on
foreground colour is white. Hit B
for brush, go to the Brush menu
and select the right icon. Scroll
down to the Watercolour section,
and select the brush you want.
BEFORE
All images © Serge Ramelli
7 Paint Press Control + Alt to
modify the size of your brush.
Now click once on your canvas,
8 Texture To get th
a canvas, add texture. Click
on the link to import texture:
right-click and rotate the brush so http://photoserge.me/Brush.
it looks more random. You can also Go to Window > Libraries. Set
pick a new brush to make it more the texture over the photo, select
natural, and then just paint away. Layers > Kind > Overlay.
61
EDITING SKILLS: LIGHTROOM

Enhance
natural
colours
Serge Ramelli reveals
this Lightroom process
In this tutorial I will show you how to make
your photos pop with natural colour, which is
the hardest part when you love going crazy
with colours like me.
Here we are going for a dramatic look,
enhancing the tones of the sunrise. I will
show you three different ways to make your
photo really pop, and I’ve kept the best
technique for the end! This approach is best
used when you are retouching landscapes
or cityscapes, so that the final result looks
spectacular but not unrealistic.

Inset
Sunrise lavender field
You can see that the photo out of the camera
is very dull, but when there is a lot of light you
need to underexpose your photo to get the
most data possible in the highlights

Main image
Sunrise lavender field colours
Here you see the colours the way they were that
morning. I love how vivid they are, but that you can BEFORE
still relate to it as a viewer

KEY TIP
PRESETS
The best way to save editing time and
get uniform colours is to use presets.
All images © Serge Ramelli

My theory on presets is that they can

take you places you don’t expect and
give a consistency when you retouch a
bulk of photos. Get free presets here:
http://photoserge.me/presets

1 Basic retouch Let’s open up Shadows to

+60, bring down Highlights to -48, set the
Black Points to -27 (you want to keep around
2% of pure Black Points), the White Points to
+49, and Exposure to +0.35.
2 Curve tone Use Curve Tone to tailor your
photos. Here you can set Highlights to +18,
Lights to +11, Dark to +22, Shadows to +3. For
White Balance, set it to Cloudy, and adapt the
Temp to 6,126 and Tint to +10.
3 Graduated filters To accentuate your
subject use Graduated filters. Lower
Exposure to -0.64, and add Tint 12 for the
sunset look. On the overall photo lower
Highlights to -59 and boost Contrast to +27.

62

Use presets Here’s another photo to
4 show you how to use a preset as a starting
point. Apply the preset Golden Hour and set
Black Points to -17, White Points to +31, and
Highlights to -69 to adapt it to your photo.
Lightroom tools Use the Graduated
aduated
5 filters of the preset. Lower Exposure
to -0.40 top and bottom. Create a brush
and complexify the light by brushing some
Exposure (0.47), Density and Flow around 70.
LIGHTROOM
TUTORIAL
AFTER
Profile browser Let’s use the new feature
6 of Lightroom: Profile Browser. Select a
preset and then a camera match created by
your brand. I selected Vivid. Set the Vibrance
and Saturation to 0 to keep a natural look.
63
GO PRO

WHY OWN A
PHOTOGRAPHY
STUDIO?
The pros and cons of
having a studio space
for your photo business

O
wning your own studio space is a
dream for many photographers. The
thought of having a fixed base from
which to create images can seem
like the ultimate goal, especially for aspiring
portrait specialists and devotees of complex
product photography, and it is often seen as
the mark of ‘going pro’ when you finally take
the plunge and rent or buy your own space.
However, there is more to consider than
simply having a place to yourself to work.
When making this decision, you have to be
certain that this not-insignificant investment
will further your business aspirations, opening
up enough new possibilities to justify the
outlay. As well as the space itself, you then
need to consider which items of studio
equipment you’ll need to put into your space.
This choice should be influenced by the
properties of the studio and what you’ll be
shooting, so it also needs to be well-informed.
Over the next few pages, take a look at
some of the most important aspects to
consider before choosing whether or not to
take your image-making into the studio.

Benefit or burden?
A photo studio is potentially a great
asset to your photography business,
but you have to be certain it will
bring in more money in than it costs
© Gettyimages

64
65
GO PRO

When pursuing the goal of setting up a adapting an existing, multifunctional setting

studio, the main points of consideration
fall into several categories. Firstly, there
are the effects of having a fixed space
in which to work. Secondly, there is the
impact of owning studio lights on your
style of photography, and the practicality of
integrating this workflow into your creative
process. Thirdly, there is the matter of your
visibility, professional image and capacity to
meet client demands, which may or may not
benefit from having a
for a new purpose. A studio layout, however,
can be built from scratch and to taste. It also
provides a neutral image-editing location.
Save time and effort
One of the most creatively draining
experiences is having to repeatedly set
up, tear down and reset lights for shooting.
Owning a studio enables you to leave
your lights in place without having to put
everything away after

Your studio can

fixed base. each shoot. This is a
bigger deal than might
Space to work
be a great source
be first apparent. Not
The greatest advantage only does it save you

of on-the-spot
of a studio space is that stress, especially when
it is highly customisable the lighting structure

business
to the requirements of
your shoot, but also to
your day-to-day working
process. Not every creative mind works in
the same way, and often photographers
will want to surround themselves with an
environment that inspires them. Part of this
has to do with being able to place equipment
exactly how you want, but equally important
is the availability of tools, convenience of
storage, and speed of adaptation. A studio
provides a place to arrange cameras, lenses,
lighting, accessories, and printing materials
in a way that makes sense to you. This is not
always possible in a home studio, as you are
is complex and time-
consuming to arrange,
but it can also save you
from missing business. Being available to
shoot in an instant if a client walks through
the door of your studio can be a great source
of on-the-spot business from customers
unable to book ahead. That being said, if you
rarely shoot the same thing twice in quick
succession, there is less of an advantage.
Lighting freedom
Studio lights, and a space in which to use
them, can prove a big advantage. With these
tools at your disposal you can produce any

Above
Room to move
One thing mobile
photographers can
miss is a dedicated
space to spread out
their gear and store
items for easy access

Above right
Controllable
Ambient lighting is
no longer an issue
when you have a
studio, as the entire
lighting setup is fully
adjustable

Right
Editing location
Accurate photo-
editing requires
neutral lighting, which
can be difficult to find
at home. A place to
decorate with grey
walls and no direct
sunlight is ideal

Left
The real deal
A self-run studio can
increase your brand
value, but the expense
can be a burden if
under-used. Consider
sharing with another
photographer
© Gettyimages

66
 WHY USE A PHOTOGRAPHY STUDIO

© Cleyton Ewerton
lighting effect you require, regardless of the
time of day, weather, season, or environment.
Studio lighting is in no way dependent on
ambient conditions, giving you the freedom
to arrange your shooting schedule in the
most efficient way for your business. You can
create the look of a sunset with a warm gel
for one shoot, then create a neutral portrait,
complete with seamless white background,
immediately after.

Maximum creativity
Another big benefit of a dedicated studio is
the capacity to dress it for any setting. You
can create a set background, imitating any
location, without actually having to travel to a
‘real’ place, reducing expense and the practical
challenges of transporting your kit. You also
don’t have to contend with the difficulties of
© Gettyimages

setting up a portable lighting system in the

confines of another location. With a studio
you have the creative and physical freedom to
build a background that is tailored to the shot
you have in mind.
Reputation and versatility
There is no doubt that owning your own
studio presents a more professional image.
Clients may be more likely to see you as a
reliable choice if you have a fixed base of
operations with a visible brand. Even having
the option to walk in and speak to you might
be enough to form a working relationship
with a prospective customer.
However, you also have to consider your
versatility. If you have invested in a fixed base,
it makes financial sense to get as much use
from it as possible. If you find that most of
your business is location work, which requires
you to be out of your studio most of the time,
then having a permanent base, and the costs
of maintaining it, may work against you. In
these cases directing potential customers to
a website or a telephone number is a better
strategy than having a fixed address, making
the need for a studio questionable.

67
GO PRO

Pro case study

Steve Coulthard owns
a portrait, wedding and
commercial photography
business. He explains the
pros and cons of a studio
www.richphoto.co.uk

What are the main benefits of having a

studio for your area of photography?
While most of my assignments are location
based, I also photograph a lot of products in
the studio. Clients either bring their products
in or I receive them by courier. When I’m not
photographing products, it’s people; whether
for the business sector for websites, LinkedIn
headshots, or the social sector for families
and children. I find having a studio invaluable
for things like permanent motorised
backdrops and semi-permanent lighting.
Having all your equipment in one place saves
so much time on shoots; if I need a prop, a
stand, a reflector, or a softbox, it’s all to hand.

Are there disadvantages to having a fixed-

base studio? When might it be better for
a photographer to work remotely or from
a home studio?
Cost! A permanent studio doesn’t come
cheap, especially if you’re on a high street like
I am, but it works for me as there aren’t many
high street studios left in my area. Setting
up in a business park or industrial unit won’t
have the same footfall, but if you mainly
shoot still life it could keep the costs down.

What’s your ‘essential’ studio equipment?

My Bowens lights. They’re consistent, never
fail, and I can use them with any number
of reflectors and softboxes. My motorised
backdrops save me so much time, especially
on family shoots, when people don’t like
to be kept waiting while you change the Top Above
Maximum use Continuity of style
background. And last but not least, my Canon Shooting large volumes of products means that Steve Steve advises ensuring a longevity of style – shoot
cameras, all DSLR full-frame (I don’t see the has his studio in continuous use, maximising its value as a images in a way that will not date quickly. A studio helps
advantage of going mirrorless yet). I choose business asset to maintain style continuity across your portfolio
which camera to use depending on the job.

What mistakes might a photographer new
to using a studio make?
Using chroma backgrounds. I’ve tried
many times to get these to work, and they
always fail. I’m happy to use white now
that Photoshop has caught up with subject
selection! Also, focusing on one market. If you
love photographing kids that’s fine, but unless
you have a big advertising budget, it won’t
Steve’s tips for making a studio work for you
Don’t outsource your editing It will
ultimately cost you too much, and you
will have little control over deadlines
or the final image.
Consider the studio’s location For
portraits, will customers be happy
Do it all yourself That means
everything – serving customers,
taking photographs, editing, book-
keeping, marketing, website design,
social media. Keep overheads down.
Give clients what they want If you
All images ©Steve Coulthard

pay enough. Look at other sectors too.
Finally, spending too long on editing – I’m
also guilty of this. Every decent photographer
wants to give the client the best image
possible, but remember, this is a business
and you need to make money too.
turning up to a housing estate to be
photographed in your garage? For
business people, will your clients be
able to park, use your Wi-Fi, get some
coffee and lunch nearby?
go the extra mile it will be noticed,
and you will get repeat business. If
your business model is to get as much
money out of each client as possible,
don’t expect recommendations.

68
 With
FREE
ebook
&
preset
s

Next issue
The latest kit reviews, tutorials and
projects to hone your photo skills

Issue 235 is on sale

5 January 2020
NEW inside:
• Andy Parkinson’s guide to winter wildlife
• Top advice on locations from a landscape pro
• 5 questions to ask before upgrading your camera

20 WAYS TO TAKE BETTER PHOTOS IN

Practical projects, ideas and techniques across all genres!

Available at www.magazinesdirect.com
© Gettyimages

69
 GO PRO
Career advice
Claire Gillo shares her top tips for setting up an
exhibition and getting gallery-perfect prints
Exhibition advice
I’ve built up my portfolio and want to
put together an exhibition. Despite
shooting for years I have never done one
and feel a bit nervous by the prospect.
Do you have any tips?
Amy Rodgers
What a great idea Amy, and one that
more photographers should do. Not only
does an exhibition force you to take a
long, hard look at your work and evaluate
where you want to take it, it’s also a great
way to get feedback from the public and
fellow photographers, and get yourself
out there. At the moment you need to
take into account any country-wide or
local COVID restrictions. If you do hold a
physical show you need to make sure you
can do so in a space that is safe, allowing
people to keep their distance, use hand
sanitiser and wear masks, and that it
abides by all the laws and regulations.
Also, you won’t be able to hold a big
opening night, so think of other ways you
could get the word out there.
If the thought of holding a physical
show seems too daunting or expensive,
think of alternatives. For example, could
you curate your exhibition as an online
viewing? Or hire an outside space or a
billboard and have some fun with it. There
are many alternatives from the traditional
white-walled gallery space.
Marketing it is also important. Social
media sites are one way of sharing and
promoting your show, but also contact
your local newspaper and use your
community contacts to spread the word.
© Gettyimages
Having an exhibition is a great way to showcase
your work, sell prints and build up contacts with
other people in the industry
70
Sleek and unique framing
When it comes to presenting my images, I allows you to present your favourite images
never know what to do and often end up with traditional, sophisticated mats and
using a white frame to play it safe that I feel classic wooden frames. You may also want to
does little for my work. consider a Floater Frame. This contemporary
I want to invest in a framing frame is both elegant and subtle, as
style that will add class the gap between the image and
and elegance to the solid wood frame creates
the end result. the impression that the
What options picture is levitating.
would you Finally, the aluminium
recommend? ArtBox is also a
Sophie popular choice and
Thomas available in two
colours (silver
There are and black) and in
so many four depths. This
options frame is made of
when it glazed aluminium
comes to for a striking and
© WhiteWall
framing, and timeless look. The
as you hinted image appears to
it really can be floating, due to the
make or break small gap between the
your image. We image and the frame.”
asked WhiteWall’s We hope this gives you a few
product manager ideas Sophie, as framing is a big
Jan-Ole Schmidt for some consideration and one worth investing in.
recommendations from its wide range of If you want a unique final finish for
products. He replied, “First there is our classic your print the aluminium ArtBox from
product, the Passe-partout Frame, which WhiteWall is a worthwhile investment
Hang in there!
I have a very large photograph in a heavy Wall hangings are not something we often
frame that I recently acquired. I need put much thought into, but they are absolutely
a suitable wall hanging but am unsure crucial for keeping our work (and anything
which one is best. Do you have any underneath it) safe, so research is needed.
recommendations or tips? We had a look around online, and for a heavy
John Hinton picture it seems that some sort of a rail
system is best. Not knowing the exact weight
and dimensions of your frame means we can’t
recommend an exact product, but companies
like www.picturesuperstore.co.uk, www.
ukpictureframingsupplies.co.uk, and www.
hangingsystems.com have a wide range of
products for small to large frames, and will be
able to advise you directly. When it comes to
installing the picture on the wall, this article on
wikiHow wikihow.life/Hang-a-Heavy-Picture)
Hanging large pictures on the wall requires
will provide you with a few tips. If the picture is
research and expert advice from companies such heavy, we recommend having an extra pair of
as Picture Superstore hands to help, as it will make the job easier.
 CAREER ADVICE

x2 © WhiteWall
Create perfect prints
Right
The fine print
Whether you want
to brighten up your

We spoke to printing expertsWhiteWall to find home or exhibit your

work, investing in the

out how to get the best results using its service presentation makes
all the difference

What high-quality prints
would you recommend to
photographers who want
gallery-ready prints?
We have many printing
services at WhiteWall and
cater to a wide range of
photographers. One popular and high-quality
product is our ultraHD Photo Print under
acrylic glass. Using a refined exposure process
and a specially created photo paper, this
beautiful product is well-suited for pictures
with fine details. The light, shatterproof
material enhances the final appearance,
making the colours and depth pop.
Another product we recommend is our
Photo Print onto aluminium backing. This
gives your image a contemporary yet timeless
look. The finish is extremely robust but still
low weight, which is good for large formats
as well.
Finally, the Original Photo Print under
matte acrylic glass is worth looking into.
This is perfectly suited to use in brightly
lit environments, as it absorbs light and
greatly reduces glare. All these products can
be combined with a Floater Frame or the
aluminium or wooden ArtBox.
Do you have any top tips when using
WhiteWall’s service?
It’s important to upload a full-resolution
version of your image/s and not to scale
down for smaller prints. Also, download our
ICC Color profiles that are available for most
products, and soft-proof your final image.
Consider buying our sample sets before you
order to see the products and surface finish.
Do you offer
a test-print
service?
Test prints are available
for all photo papers and
fine-art prints at a greatly reduced price. This
way, you can gauge the effect of the product
on your photo and check the quality of your
photo in the selected size. The test print will
be watermarked.
What steps should you take to increase
the longevity of your prints?
There are a few things you can do. Firstly,
don’t expose your print to direct sunlight, and
don’t hang it over a heater. Avoid touching
the surface of your prints, and we find it best
to use cotton gloves for handling and when
hanging any products.

Website: www.whitewall.com/uk

71
 INTERVIEW
Ben Hall
Ben Hall has earned over 20 prizes
in the British Wildlife Photography
Awards. He’s a regular contributor
to magazines around the world
and has appeared on TV shows
including BBC’s Walk On The Wild
Side, The One Show and Countryfile. Ben also
runs regular wildlife photography workshops.
For more of Ben’s work, head to:
@benhallphotography
© Ben Hall
www.benhallphotography.com
72
Ross Hoddinott
Based in north Cornwall, England, Ross is
best known for his beautiful macro images
and evocative landscapes. He is the author
of myriad photography books, a regular
contributor to the photo press, and co-
runs the workshop company Dawn2Dusk
Photography. Ross has also been a brand ambassador for
brands including Nikon UK, Manfrotto and F-stop Gear.
For more of Ross’s work, head to:
@rosshoddinott
www.rosshoddinott.co.uk

IN NATURE
WETRUST
We bring you a conversation with two award-winning nature
photographers. Ben Hall and Ross Hoddinott share their stories of
lockdown, plus two assignments from their brand new project book
020 has been a strange and difficult
2 year, but nature’s proven to be a huge
source of inspiration, refuge and
escape. Ben Hall and Ross Hoddinott
are two of the UK’s most prolific nature
photographers, and they’ve teamed up to
create a handbook of outdoor projects.
NATURE ASSIGNMENTS
52
ASSSIGNMENTS:
NATURE
PHOTOGRAPHY
by RRoss Hoddinott & Ben Hall,
RRP P £12.99, Ammonite Press,
is noow available online at www.
amm monitepress.com and from
all go
ood bookshops.
Want to WIN a copy? Send your
bestt nature images in to us at
team m@dphotographer.
co.uk with the subject
“52 assignments
competition”.
52 Assignments: Nature Photography pandemic has left you in need of a little
has a creative concept or commission
for every week of the year to try, from
setting up a feeding station to focusing on
natural textures. This guide will fit into your
camera rucksack, ready to take along on
encouragement and structure, it’s the perfect
companion to push your nature photography
on. We recently caught up with Ben and Ross
to discover the positive things they’ve taken
out of 2020, and their favourite assignments
your adventures. If you’re finding that the from the new book.
73
INTERVIEW
Hi Ben. How has 2020 been for you?
I have had a great deal of disruption
and cancelled work, including a major
commissioned job in Australia. On a more
positive note, I have two children who are
a similar age to Ross’, so I have enjoyed
spending more time at home with the family
during lockdown. The break from travelling
was actually rather welcome!
Like Ross, I believe there is real value in
working with local subjects, and I have enjoyed
being able to spend more time working on
my local patch. While I had to cancel and
postpone several workshops, I have also kept
myself busy writing features for magazines
and even made a television appearance, giving
tips for photographing garden birds.
Where did the idea for 52 Assignments
come from?
It was Ross who first came up with the idea.
74
He had already done a landscape book for the
same series so he asked me to consider doing
a nature photography version. I always like to
have a project to get stuck into, and I enjoyed
the whole process, from the initial concept to
the writing and image selection.
Talk us through your personal approach to
nature photography.
I like to set myself projects, and this can be
species-based or simply a concept or idea.
I then try to visualise the type of images I
would like to produce, and I will work over a
period of time attempting to realise my vision.
Sometimes this can take a long time, with
countless return visits to the same location.
There are plenty of ideas that I’m still working
on that haven’t yet come to fruition.
I like to produce the kind of images that tell
a story and draw the viewer into the subject’s
world, and I find that I can do this most
effectively when showing the subject in the
landscape. I also like to use different lighting
qualities to create a specific atmosphere, and
I’m constantly searching out those images
that define the decisive moment.
What are you particularly looking forward
to next year?
In light of the current situation I’m trying
not to plan too far ahead, but all going well
I have a trip to India planned to photograph
one of my favourite subjects: tigers. I am
also planning another workshop in Finland
for brown bears, and I hope to run more
workshops with Ross.
If travel is still restricted next year, I have
plenty of local subjects to get stuck into. I
am lucky to live on the outskirts of the Peak
District national park, and I love nothing more
than to simply explore the moors or the dales
with my camera.

© Ross Hoddinott
Above
Hi Ross. Tell us what you’ve been doing.
So many
species How has your work adapted this year?
With such a What a crazy year it’s been! The pandemic
range of different has been a very unsettling and destabilising
microhabitats experience for all of us in different ways.
possible in a garden,
the variety of
However, I feel I’ve been less affected than
creatures that you’ll some photographers. Much of my nature
find is impressive photography is captured relatively close to
my home in north Cornwall, and I don’t travel
Left overseas anywhere near as much as some
Tell a story
Images showing
photographers. I enjoy working close to home
aggression, such – doing so helps reduce my carbon footprint
as these sea eagles and allows me to spend time with my family.
fighting over prey I’m also a great believer that working
in the snow, can
extensively with local subjects helps you
convey a sense of
power and struggle develop a more intimate understanding of
subjects and their habitats. That said, I have
still had to cancel a number of workshops
Below
Visitors both in the UK and abroad this year, and
Dragonflies spend obviously that has a financial impact on
much of their life my business. However, I have adapted by
away from water, writing more and – during lockdown – lots
so you might spot
of publications wanted features on shooting
© Ben Hall
one hunting in your
garden even if you wildlife and close-ups in the garden. Lockdown
don’t have a pond also gave me the opportunity to update and
refresh a couple of my older books, and I
wrote a new e-book too.
Would you say you have found refuge in
nature photography?
Being behind a camera, close to wildlife,
is without doubt my happy place. Being
outdoors, immersed in nature, is the perfect
way to escape the realities of the world. It is
good for the soul, and we are very fortunate to
own a few acres of woodland and a couple of
small wildflower meadows, where we are able
to escape.
I have three kids, and while home-schooling
proved challenging at times, we enjoyed
being outdoors and learning about nature
together. My younger daughter got interested
in photography during lockdown, and so we
would visit our ponds and take photos of
© Ross Hoddinott
dragonflies and damselflies together. I actually
found lockdown a positive experience – it
helped me to reevaluate my priorities.
NATURE ASSIGNMENTS
Tell us about 52 Nature Assignments.
What’s inside, and why should
photographers read it?
The idea of the handbook is to inspire and
motivate readers to try different techniques,
explore fresh perspectives, and generally
promote being creative and innovate. It boasts
enough projects to do an assignment every
week of the year. They are bite-sized, easy to
follow, and we give lots of pointers and advice
on how readers can improve their images and
successfully fulfil each challenge.
You don’t have to do every project, and they
don’t have to be followed in any particular
order – you can just dip in and out of the
book and find inspiration and ideas. It is quite
a different format to your normal, everyday
technique book. Happily, it’s had great
feedback so far.
Ben and I typically shoot quite different
subjects – and we have our own individual
styles – so between us we have quite a
breadth of knowledge and expertise, which
hopefully readers will benefit from. We cover
a vast range of natural subjects in the book –
big and small.
How long did it take to create the book?
The book took under a year to plan and
complete. Both Ben and I have an existing
portfolio of suitable images that we could
draw upon, but obviously it took time to
finalise the themes and ideas we feature
within the book. We have similar writing styles,
so hopefully the book feels consistent and
flows well throughout.
Working with Ben is always a pleasure, and
this is the second book we have co-authored,
having written The Wildlife Photography
Workshop a few years ago. We have also
worked on conservation projects and led
workshops in the Galapagos and Cairngorms
together. We are the same generation, with
kids of a similar age, so we have plenty in
common aside from our profession. And I
certainly hope we have more opportunities to
work together in the future.
75
INTERVIEW

Below Right
Flower beds Creature comforts
Look closely, and you Log piles and compost
will find a huge number heaps can be home to
of colourful beetles, small mammals and even
bugs and spiders reptiles. This slow worm
making themselves was found basking on a
at home among your rusty sheet of discarded
flower beds corrugated metal
© Ross Hoddinott

Ross Hoddinott’s
favourite assignment

Meet the FIELD

NOTES
© Ross Hoddinott

locals
When planning your wildlife
garden, think about where
you plant flowers or site log
piles or feeding stations in
relation to the sun’s position.
Assignment 01, “Meet the locals”, focuses on of potential photographic Try to ensure the light will to photograph visiting birds.
how to capture great nature shots in your subjects that have adapted fall on your subjects There are also more secretive
own back garden, and – given lockdown and to urban areas and inhabit most of the time. creatures living in your
ongoing restrictions due to COVID – this our outdoor living space. If you backyard. Look under rocks
seems particularly relevant right now. Gardens don’t have a garden, see if you can and flower pots for snails and
are home to an abundance of creatures. They adopt a family member’s or friend’s. woodlice, while spiders will decorate a
are an important habitat and offer great photo Many gardens contain a number of different shed and bushes with their webs. Butterflies
opportunities to nature photographers. habitats, such as a hedge, lawn, flower bed, and bees will visit nectar-rich flowers during
For this project, we want you to photograph vegetable patch, shrub, rocks, or pond, which the summer months, while ladybirds and
the wildlife in your own backyard. Gardens will attract a diverse range of wildlife. Start by lacewings will hunt aphids and other garden
– big or small – are home to an abundance setting up your own feeding station in order pests in the undergrowth.

76
 NATURE ASSIGNMENTS

Top techniques and ideas Ross’s advice for attracting and capturing wildlife
Go for close-up shots Many of our garden residents are small Draw wildlife in Encourage wildlife into your garden by
and inconspicuous, so a macro lens or close-up attachment will creating as many different microhabitats as possible.
be useful for filling the frame with them.
Take advantage of moisture Take photographs in your
Focus on the unremarkable Don’t overlook everyday, garden on dewy mornings or after rainfall. Tiny water droplets
mundane species – even woodlice, small snails or spiders can will highlight spiders’ webs and add scale and sparkle to
look remarkable with a little creativity. photographs of minibeasts.

77
INTERVIEW
Improve your hit rate
Adopting a careful and
deliberate approach will ensure
that you capture more decisive
moments than you miss
78
Stay focused For species that
are largely inactive, you will need
to practise both patience and
concentration. Mountain hares, for
instance, will often crouch in heather
and remain very still for long periods.
Expect the unexpected The
unexpected can occur at any given
moment. A sudden stretch, a yawn,
or simply a movement of the head
can bring life to and vastly improve an
otherwise mundane portrait.

Always be ready Focus on your
subject at all times, constantly
recomposing your images in-camera,
with your finger poised, ready to release
the shutter the second the perfect
moment occurs.
FIELD
NOTES
Spend plenty of time
observing your subject, and
record your observations in a
notebook. You will start to notice
patterns that will help you to
be in the right place at the
right time to get the
best shot.
Study the entire frame When you’re
framing your subject, ensure that
you don’t ignore your surroundings.
Study and analyse the whole frame,
making sure to avoid any distractions
or clutter in the image, and make any
NATURE ASSIGNMENTS
Ben Hall’s
favourite
assignment
Capture
thedecisive
moment
Since I first started studying photography I
have always admired the work of 1930’s street
photographer Henri Cartier-Bresson. For me,
then, Assignment 39 – “The decisive moment”
– is my favourite. The beauty of this concept is
that it can be applied at any time and to any
subject. With so much time spent at home
during lockdown, I was applying this technique
when photographing birds in my back garden.
Capturing a moment that tells a story is a
powerful way of raising an emotional response
and creating a connection between the
subject and the viewer. Achieving this requires
patience and quick reactions: hesitate and the
moment can be lost forever.
To begin your assignment, choose a subject
where there is a good chance of interaction,
such as a pair of displaying birds, or a mother
nurturing her young. Spend as much time as
possible observing and photographing your
subject – this will provide a greater chance of
capturing the decisive moment. Where there
are lots of potential subjects, concentrate on
just one or two pairs, and stay with them for
as long as possible. Watch them closely and
note patterns in their behaviour, helping you to
predict their next move.
Left
Capture the moment
A wide-angle lens was used to increase
the field of view in this image, and give
a greater chance of capturing the dolphins
as they exited the water. Setting the
© Ben Hall
camera to high-speed drive mode enabled
Ben to capture a burst of shots, and then to
go through and pick out the best image
adjustments necessary to hone your
composition ahead of time. That way,
when the magic moment happens, you
will be ready to capture it, knowing that
the composition of the entire frame is
as good as it can be.
79
LANDSCAPE POTY 13

The Gallery
Landscape Photographer of the Year competition
Overall Competition Winner

trees. he low shooting position allowed more emphasis to be placed on the wild garlic and pathway.
© Chris Frost

80
LPOTY Competition 13
Some of the top entries from the latest contest
Landscape Photographer of the Year countryside to striking urban
Collection 13, produced together with landscapes across the UK.
AA Publishing, is a beautiful book Here we take a look at some of our
that showcases the best entries from favourites from the collection. Find out
LPOTY’s 2020 competition. more about Landscape Photographer
The 13th edition features everything of the Year and Collection 13 at
from classic shots of verdant rural www.lpoty.co.uk

81
 LANDSCAPE POTY 13

Historic Britain
© Aleks Gjika

Your View Category Winner Special Award Winner

Top left
Urban Life Category Winner Drama at the
Lighthouse Historic Britain
Location: Wales
A dramatic look at Special Award
the power of the sea
engulfing the lighthouse Runner Up
with huge waves.

Above
Wallace Monument
from the banks
of the Forth
Location: Stirlingshire
Although the sunrise
was underwhelming,
something made me wait
an extra few hours to see
what would happen. The
golden, early-morning light
with the autumnal colours
was even better than what
I originally had in mind.

Top right
Ribblehead
Location: North
Yorkshire
Steam train crossing the
Ribblehead Viaduct.

Left
Got You
Location: Glasgow
This large mural is part of
the Glasgow City Centre
Mural Trail. I was looking
to create a composition
where the mural was
interactingwithsomeone
in the alleyway. I stood
in a small doorway for
some time, waiting for
the right person.

Right
Winter’s Coming
Location: Lancashire
Shot with my drone on a
cold February morning at
© George Robertson

Jubilee Tower in Darwen,

a favourite location of
mine to fly my drone, and
particularly rewarding
© Gregg Wolstenholme

after some wintry weather.

82
© Brian Nunn

Lines in the Landscape Special Award Winner

83
 Black and White
LANDSCAPE POTY 13 Category Winner
© Graham Eaton

Changing Landscapes Special Award Winner

Landscapes at Night Special Award Winner

© Neil Burnell

Classic View
Category Winner
© Alyn Wallace

© Leigh Dorey

84
Above
Spotlight
Location: Devon
This was my first shot with a full-spectrum converted
Nikon D3200. It was taken with a 850nm screw-on
filter for a nice contrasting black and white image.

Top left
When the Fog Parted
Location: North Wales coast
The blanket of fog over the Irish Sea parted, revealing
the line of wind turbines off the North Wales coast.

Far left
Protector
Location: Anglesey
The beams of South Stack lighthouse on Anglesey. The
yellow glow in the distance is the light pollution from
Dublin illuminating the underneath of distant high cloud.

Left
Roman Road
Location: Dorset
As the title suggests, this was once a Roman road
built around 43CE as a supply route to a local fortress.
It travels through deciduous woodland.

85
LANDSCAPE POTY 13

Overall Youth Competition Winner
Counting Sheep
Location: East
Sussex
I captured this photo
on the South Downs
in East Sussex
while out on a walk
with my sister. We
spotted this sheep
standing well away
from its herd. As I
slowly approached
the fence – trying my
best not to scare it – I
knelt down beside it
and took the photo.
Although some may
think this image
may have looked
better and cooler if
it were something
like a deer stood in
its place, I personally
like that it is a sheep. I
hope that the image
reminds everyone
to appreciate the
landscape around
us and not take
everything we have
for granted.
© Joshua Elphick

86
GET DIGITAL PHOTOGRAPHER
FROM JUST £3 A MONTH
INSTANT
READING
Access Digital
Photographer magazine
on all of your devices and
read us wherever
you are

This digital edition offer is ONLY available via our online shop at
https://bitly.com/
/DP-digiital
Available on iOS and Android
PHOTOCROWD COMPETITION

THEBESTOF INCREDIBLEABSTRACTS
The winners of our latest contestwith Photocrowd have been revealed
or our latest competition in association with
1ST PLACE EXPERT AND CROWD-VOTED
F Photocrowd, we challenged you to submit your
best abstract images. After working through
thousands of brilliant entries, the winners have
finally been selected.
Both crowd-voted and expert winners will win a
Gaudi’s ceiling
Photographer: Andy Fowlie
Our comment: This image perfectly demonstrates what we are looking for in an
abstract image. To begin with it is confounding and makes us study it more carefully,
licence to Affinity Photo professional editing software. then the elements come together and we can start to put the image into context.
Congratulations to all of the winners – as always the The muted colour palette allows us to focus on the texture and intriguing patterns,
submitted images were of an excellent standard, and while the composition perfectly showcases the organic structure of Gaudi’s
it was tough selecting our top three favourites. architectural style. Well done!

WIN! Prizes from Affinity

Enter our Winter Detail contest in association with
Photocrowd before 4 January for a chance to win
Snowy landscapes are beautiful to behold, but we want to see Photo’s workflow, with non-destructive editing, RAW
more than wide vistas. Focus on ice crystals, frosty trees, misty processing and end-to-end colour management as stand d.
woodland, or rainy streets. Capture the atmosphere of the Edits work in real time, so there’s no waiting to see result
season. Enter at www.photocrowd.com/digitalphotographer Expert and Crowd winners will be able to pick betwee
for a chance to win a licence to Affinity Photo professional editing Mac, Windows or iPad versions. The Winter Detail conte
software (£48.99 for Mac or Windows). opens on 8 December 2020, and the winning images wi be
Affinity Photo is a huge toolset engineered for modern featured in issue 236, on sale 2 February 2021.
photography professionals. Whether you’re editing and
retouching images or creating full-blown multi-layered
compositions, it has all the power and performance you’ll ever
need. Speed, power and accuracy are at the heart of Affinity

88
 2ND PLACE
Frost pattern after cold Scottish night!
Photographer:
Courty
Our comment: We love the cool tones in this image! It looks wintry
even with minimal framing context, and while abstract, we know exactly
what we’re looking at. That being said, it’s interesting how the lack of
scale means this could be a macro shot of frost (as is the case) or an
aerial shot of a river bed. The framing is considered, and there is depth,
despite the close composition. Well spotted and captured!
3RD PLACE
Red desert
Photographer:
Marco Tagliarino
Our comment: This is a highly eye-catching shot! The deep red and
bright spot in the centre of the frame immediately draw us in, while the
sinuous lines and curves are visually appealing. The shot combines all
of the aspects we look for in abstract imagery – hard and soft textures,
lines and curves, and light and shadow. These combine to create a
frame that demands multiple views. Congratulations.

1ST PLACE CROWD-VOTED Copper Drops Photographer: Coinneach

89
MASTER THE ART OF PHOTOGRAPHY WITH
PROFESSIONAL TIPS AND TRICKS
Find out how to shoot sharper and be inspired to capture the best imagery
possible. Follow the in-depth guides and master key techniques from
portraiture to landscapes, wildlife and more

ON SALE
NOW

Ordering is easy. Go online at:

Or get it from selected supermarkets & newsagents

 KIT INTRO

92
Group test:
LED studio lights
Whether you’re capturing
stills or video, LED lights
can make it much easier to
v
visualise what you’re shooting
and w the light is going
to fall on your subject.
We test four pro
options.

Kitintro
The expert and independent review
ws of gear we’ve bagged this issue

100 Canon 850D

Does this APS-C format DSLR offer enough to
make it worth op
pting for a mirrored camera?
108 Lenses
We test out the Samyang AF 35mm f/1.8 FE
and Fujifilm 50mm f/1 for optical performance

104 iPhone 12 Pro 110 Christmas camera crackers

Has Apple’s lates st smartphone camera got what We round up some of the best second-hand
it takes to win a p
place in your pocket? cameras from MPB to treat yourself to this year

106 DxO Ph
hotoLab 4 112 Accessories
Will the AI tech e
enhance your editing skills? 10 stocking fillers just in time for Christmas

Our ratings
O ti Product
P d awards Lab testing
Our team of trusted and expert Digital Photographer’s awards are given out Some of our product reviews also
reviewers score gear thoroughly to when a product really catches our attention! have in-depth lab data, graphs and
help you make better buying choices. Here’s our three most used accolades. scores. This means that the kit has
Don’t go there been subjected to more rigorous
Could be better testing. Lens tests are carried out
Solid performer using Imatest, and cameras are tested
Excellent bit of kit in our laboratory using DxO Analyzer
Best on the market hardware and software to check the
image noise and dynamic range.

91
REVIEWS

studio
TURN ON
AND SHOOT:

LED lights

92

Whether you’re shooting stills or video, a studio LED light can
transform your shots. We put four popular models to the test
There’s no getting away from the raw power of a traditional
strobe-based studio light, but the advancement in LED
technology means that high-end LED studio lights really make
an excellent case for themselves.
The most obvious benefit to working with an LED studio light is that
it’s a constant light source, so what you see is what you get. This not
only makes it much easier to visualise what you’re shooting and how
the light is going to fall on your subject, but it makes LED studio lights
much more versatile than their flashhead counterparts. Flicker-free,
LED studio lights can be used on video shoots as well, and with the
lines blurring between stills and video, there’s a much greater appeal
in a light that can be used to deliver great lighting for both stills and
video as and when you need.
LED lights offer plenty of control, with many models allowing you to
tailor the light to meet the aesthetic look you’re after, via settings such
as colour temperature control and brightness options.
GROUP TEST
While there are an array of LED light panels available that are more
suited to video work, there are also now a number of studio-style LED
lights that are compatible with a wide choice of light modifiers. This
enables you to control and sculpt the light as you wish rather than
just illuminate your subject, while you’re not shackled to the studio
either. Most LED studio lights come with a mains power connection
as standard, but for those times when you want or need to shoot on
location, these lights can be swapped over to run on powerful lithium
batteries. And because they don’t demand the same large battery
packs as strobe-based location lights, there’s less weight (and bulk) to
transport and set up too. Versatility and portability.
Another benefit is the ability to shoot at wider apertures compared
to strobe-based studio lights, while cameras’ autofocus behaves better
with a constant light source. Add in the fact you don’t have to worry
about flash recycle times, and there’s much to be said for a quality
LED studio light. Let’s take a look at the contenders...
93
REVIEWS

PRICE: £1,049 / $999

NanLite
Forza 300
Apowerful light source, but
it does have its limitations
The Forza 300 doesn’t skimp on power, with a mightily
impressive output of 43,060 lux at one metre with the
reflector provided, which can stretch to 108,679 lux at
one metre with an optional Fresnel modifier attached.
Considering the power output, NanLite has managed to keep
the Forza 300 pretty compact, measuring 31 x 20.6 x 14.2cm
with a single fan squeezed in to assist with cooling.
Like the Aputure LS 300X, the Forza 300 forgoes any
external controls, with this taken care of by a control box
that’s hooked up to the light. To keep it out of the way on a
shoot, the control box can be mounted to the light stand via
a locking collar, while the control box can also accommodate Great power
The Forza 300 offers
two batteries if you’re planning to shoot on location (optional serious power, though
extras). If you want to change settings, you’ll have to rely the power consumption
on the control box, which might be a pain on some shoots, is pretty significant too
though there is an optional remote control available as well.
The Forza 300 sports the best CRI rating of all the lights
here of 98, but what might put some users off is the fixed
colour temperature. While all the other lights have the ability
to control the warmth of the light, the Forza 300 is restricted
to 5,600K (daylight). While you can’t argue with the powerful
output, the payoff is the power consumption at 300 watts –
more than the Broncolor LED F160 and Rotolight AEOS.
The Forza 300 features a Bowens bayonet
that sees it accept a wide range of light
modifiers, though it’s bundled with a 55-degree
reflector. For those shooting video, there are
a number of special effects modes to choose
from, including various flash and lightning
effects, as well as TV and Bad Bulb.

94
 GROUP TEST

PRICE: £1,199 / $1,199

Aputure
LS 300X
A brilliant all-rounder that has plenty
of kick and numerous features
Aputure has really carved out a name for itself with LED
lights in the last couple of years, and the LS 300X looks set
to continue that trend. It’s based on the 300D II, but because
the LS 300X delivers a variable colour temperature range
from 2,700-6,500K (along with two presets) compared to a
fixed temperature of the 300D II, Aputure has redesigned
the LED chip. The LS 300X (like the NanLite Forza 300) uses
a relatively new chip-on-board (COB) LED design that sees
multiple LED chips bonded directly to a substrate to form
a single module. However, rather than use a uniformed grid
pattern of LEDs that cheaper lights feature, the LS 300X
sports what appears to be a randomised arrangement of Light it up
The LS 300X is
diodes that’s paired with a disseminating front unit. Why go impressively bright,
to this hassle? To eradicate warm and cool lines that can boasting 56,000 lux with a
appear in the shadows with a more uniformed design. Fresnel 2X modifier
The 300X has a huge output of 56,000 lux at one metre.
This should be caveated though, as to achieve this you’d
need a Fresnel 2X modifier on the front, and in reality you
should expect something closer to 20,000 lux at one metre.
With a power consumption of 350 watts, it’s also the most
energy hungry light on test as well.
The LS 300X features an understated design, with control
inputs taken care of via the control box that the light
connects to. There’s a quick-release clamp that means it’s
easy to attach to the light stand, and to save you going back
and forth to Aputure has bundled in a compact
remote con ol. It’s also h noting that you can control it
via Aputu s Sidus Link app that an impressive level
of control.

95
REVIEWS

Price: £899 / $995

Rotolight
AEOS
LED light panel meets
studio light meets flash
While the other lights on test follow the
more traditional studio light design, the AEOS
sports a circular design more akin to that of a LED
light panel. However, don’t think you can’t shape or
control the light: the AEOS can be equipped not only
with a pack of five filters that can be mounted on the
front, but also a set of bespoke light modifiers. Without
these extras, though, you might be more than happy with
the soft light output from the signature round catchlight.
The AEOS delivers an output of 5,750 lux at 0.9
metres, but the AEOS has a clever trick up its sleeve:
High Speed Sync flash mode. This sees the AEOS
swap from a bright and continuous light to a strobe
with double the power output and zero recycle time.
Circle of life
You’ll need to invest in a Phottix Odin II RF trigger for HSS, The signature circular
otherwise the AEOS will happily work with any camera and shape and soft light offers
any trigger/receiver with a PC sync input. something different to the
The AEOS has some neat features for videographers, with others on test
customisable fade up and down, while there are a range
of special effects, including a flickering fire, lightning, TV,
strobe and even blue flashing lights.
The circular design of the LED light means the overall form
factor is different to the others on test. Just under 30cm
in diameter, it’s pretty thin at around 2.5cm and features a
pair of large metal handles either side, should you want to
handhold it. Alternatively, the AEOS comes bundled with
a compact ball head that will take a load of up to 5kg (the
light weighs 1.4kg). There’s an easy to read display on the
back, while you can also slot a V-lock battery on the back to
give you up to three hours charge on location.

96
 GROUP TEST

Price: £1,475 / $1,699

Broncolor
LED F160
It might be expensive, but you can’t
argue with the quality of this light
The LED F160 has an illumination output of 12,000 lumens.
That’s the equivalent to 650 watts halogen, so there’s
plenty of kick here for most shooting applications. This is
supported by a broad colour temperature range of 2,800-
6,800K (the warmest of the four lights on test) that can
be adjusted in 50K steps, while there are two temperature
presets as well (Daylight and Tungsten). It also has a
brilliant Color Rendering Index (CRI) rating of 97+, making
it incredibly accurate.
As you’d expect for a light that comes from Broncolor,
the build quality is high-end. The clean and uncluttered
styling looks professional and follows a similar design to
Broncolor’s Siros flash heads. Broncolor’s managed to keep
the LED F160 fairly compact as well, and at just 1.745kg it
Whisper it
will be relatively easy to pack when on location. Speaking The LED F160 runs near-
of which, it’s mains powered, but there’s an optional 36V silently, which will be of
battery available, though the streamlined design of the interest to videographers
light means you’ll need to clamp the powerpack to the in particular
light stand. There’s a sharp 1.69-inch OLED display on the
back, while the Wi-Fi connectivity of the light means it can
be controlled via the bronControl app as well. The LED
F160 features a dome-shaped LED lamp design that’s quite
different to the COB LED chips used by both the Aputure
LS 300X and NanLite Forza 300. The LED F160 is also
compatible with Broncolor’s extensive lighting modifiers,
while the focusing wheel sees the light move back and
forth to focus the light for different light modifiers.
Performance was hard to fault, with excellent colour
consistency through the range, while those shooting video
will love the whisper-quiet running of the light.

97
REVIEWS

www.nanlite.com www.aputure.com www.rotolight.com www.broncolor.swiss

NanLite Forza 300 Aputure LS 300X Rotolight AEOS Broncolor LED F160
Price FEATURES Price FEATURES Price FEATURES Price FEATURES
£1,049/$999 You’re not left £1,199/$1,199 It has a big £899/$995 The High Speed £1,475/$1,699 Plenty of pro touches,
Colour short on power, Colour temperature output rating Colour temperature Sync mode is a nice Colour temperature including a wide colour
but the fixed colour and plenty of touch, while the temperature range,
temperature temperature will 2,700-6,500K control, plus lots 3,150-6,300K special effects will 2,800-6,800K focusable beam and
5,600K be a sticking point Illumination of kit in the box Illumination be great for video Illumination: 1.69-inch OLED display
Illumination 56,000 lux at 1m (with 5,750 lux at 0.9m 12,000 lumens
43,060 lux at 1m Fresnel 2X modifier) Colour Rendering Colour Rendering
Colour Rendering BUILD Colour Rendering BUILD QUALITY Index (CRI) BUILD Index BUILD
Index (CRI) QUALITY Index (CRI) Solid metal 96 QUALITY (CRI): 97+ QUALITY
98 Solid metal light 96 construction Display The AEOS has a solid Display Hard to fault here.
unit and yoke, but attached to a sturdy metal chassis, and It has a compact
Display the control unit Display yoke, while plenty N/A integrated metal 1.69-inch OLED design that’s finished
N/A is predominantly N/A of metal is used Control grip handles add to Control to a high standard,
Control plastic Control elsewhere here Local or Skyport the quality feel DMX (with optional with plenty of metal
On-board On-board controller, wireless, with DMX adapter box),
controller, 2.4GHz, Bluetooth 5.0 Dynamic Drift WiFi (bronControl
2.4GHz, DMX HANDLING Mesh, DMX512 HANDLING Compensation and HANDLING App) HANDLING
Power source The control box is Power source The control thermal monitoring The interface Power source It boasts slick
Mains (optional easy to use, but Mains (optional box is easy to Power source isn’t quite as Mains (optional handling with a clean
no remote control get to grips straightforward as the and well thought-
Lithium battery) Lithium battery) Mains (optional Lithium battery)
is included or app with, while the other lights, and lacks out interface and
Max power supported Max power app is brilliant Lithium battery) a remote control Max power accompanying app
consumption consumption Max power consumption
300 watts 350 watts consumption 160 watts
Compatibility Compatibility 42 watts Compatibility
PERFORMANCE PERFORMANCE PERFORMANCE PERFORMANCE
Compatible with The NanLite Forza Bowens Bayonet We have no quibbles Compatibility It can’t match the Broncolor bayonet It’s not the most
Bowens bayonet 300 kicks out a Dimensions here. The LS 300X Rotolight power delivered by Dimensions powerful light on test,
Dimensions significant amount of 29.8 x 21.5 x 34.4cm has more than Dimensions the other three lights 28.8 x 16.5 x 12cm but what it has should
light here, so there’s enough power for its we have here on test, be more than enough
31 x 20.6 x 14.2cm Weight 29.5 x 2.5cm Weight
no complaints about needs and the fans but it delivers pleasing formostphotographic
Weight its power 1,100g are super-quiet Weight round catchlights 1.745kg scenarios
2.300kg In the box 1.4kg In the box
In the box: LS 300X lamp In the box LED F160 lamp
NanLite VALUE FOR Control box VALUE FOR AEOS VALUE FOR Umbrella reflector VALUE FOR
Forza 300 MONEY Carrying case MONEY Aluminium MONEY 120 mm MONEY
55 degree Against the slightly Quick release clamp Not the ball head The most affordable Cover for umbrella The most
pricier LS 300X, cheapest light, light here. It can expensive light on
reflector 55° Hyper-Reflector Mains adapter reflector 120 mm
it’s not quite as but you get an double as a large test, it’s a great
Control box good value for VA-Remote RC1+ awful lot of kit Filter holder strobe, making it Diffusion attachment light that does
Mains cable what you get Mains cable for the money AEOS Filter pack attractively priced Mains adapter come at a premium
Carry case Cable relief hook diffuser Mains cable

Overall Overall Overall Overall

If power is your main priority, The LS 300X is a fantastic LED It’s different to the others, but It can’t match the LS 300X for
get this light, but the Aputure studio light that will work really there’s lots to like here, including power, but the LED F160 is a
LS 300X is the better all-round well, whether you’re a stills or the versatile HSS mode and a cracking light if you can justify
LED light. video shooter. range of built-in effects for video. the premium cost.

98
REVIEWS

Price: £839 / $749 body only

Canon EOS 850D

Does this lightweight 24MPAPS-C format DSLR offer enough to keep you
away from mirrorless systems? Angela Nicholson investigates
Amid all the disruption of the 850D doesn’t creak or complain when you As it’s an SLR rather than a mirrorless
pandemic and the excitement of squeeze it tightly, and the grip is nicely shaped, camera, the 850D has an optical viewfinder.
the R5 and R6 launch, the Canon so the camera feels comfortable in your hand. A few years ago that was considered an
EOS 850D, which is the replacement for the Inside, the 850D has an APS-C format advantage, but electronic viewfinders
800D, has been somewhat overlooked. It was CMOS sensor with 24.1 million effective pixels. have developed to the point that many
actually announced back in February this year, This sensor is paired with Canon’s latest photographers now prefer them to optical
but it’s taken a long time to get to market. processing engine, DIGIC 8, which enables viewfinders. On the plus side, the 850D’s
On its website, Canon lists the 850D as a native sensitivity range of ISO 100-25,600 viewfinder shows an uninterpreted view of the
an enthusiast-level camera, billing it as a (expandable to ISO 51,200) for stills, and world through the lens, but the downside is
“lightweight, versatile and connected” DSLR. ISO 100-12,800 (expandable to ISO 25,600 that it can’t show the impact of the exposure,
And at 515g with a battery and card, it for video). In addition, there’s a maximum white balance and colour settings. With that in
certainly fits the lightweight description, but continuous shooting rate of 7fps when images mind, the 850D can be set to show a warning
the downside is that the plastic construction are composed in the viewfinder, and 7.5fps in in the viewfinder when the Monochrome
lacks the durable feel of some less-expensive Live View mode. I was able to capture 63 RAW Picture Style is set or the white balance shift
cameras like the Fujifilm X-T30. That said, the and JPEG images in one 7fps sequence. is in use.

Canon EF/EF-Mount
The EF-S mount means
the 850D can accept
full-frame (EF) or APS-C
format lenses

100
 Like its predecessor, the 850D has a three-
inch 1.04 million-dot vari-angle touchscreen
on its back. This is great for anyone who likes
to shoot above or below head height, and it’s
useful for landscape and portrait-orientation
images. As it has a mirror that has to flip
out of the way before the Live View feed can
activate, switching between shooting using the
viewfinder and the screen isn’t as seamless as
when shooting with a mirrorless camera.
Although the metering and white balance
systems also switch to using the image
sensor in Live View mode, it’s the change
in the autofocus system that is the most
noticeable, because the available AF point-
Familiar looks Big grip
selection options change. Fortunately, Canon
has used its Dual Pixel CMOS AF technology
The 850D makes only a
couple of minor changes
It may be a small,
light camera but FEATURES
for the sensor in the 850D, which means it to the control layout the 850D has an UHS-I CARD SLOT 4
has phase detection focusing, and it’s both compared to the 800D excellent grip Although the 850D can shoot 4K video, its single
fast and accurate even in low light. The same card slot is
s UHS-I rather than UHS-II complaint.
can also be said of the 45-point AF system Neverthele ess, there’s a continuous shooting rate of
7.5fps in Liv
ve View mode.
that’s employed when images are composed
in the viewfinder. Also, because the sensor is 5-POINT
T AF SYSTEM
APS-C format rather than full-frame, the 45 AF Like the 80 00D, the 850D has a 45-point AF system,
points are spread quite as widely across the and all of th
he points are cross type with lenses that
have a maximum aperture of at least f/5.6.
frame. You can’t set a focus point as close to
the edges as you can in Live View mode, but OPTICAL
L VIEWFINDER
there’s still good coverage. Being a DS
SLR, the 850D has an optical viewfinder,
which show
ws 95% of the image, has an eye point of
If you’re photographing people, it’s worth 19mm, andd the dioptre can be adjusted from -3 to +1.
switching to Live View mode, as it means you
can use the face detection and tracking AF 220,000
0-PIXEL METERING SENSOR
with or without eye detection. This does a When the v
viewfinder is used to compose images,
the EOS 85
50D uses a dedicated 220,000-pixel
RGB+IR seensor for assessing the exposure across
216 zones in an 18x12 grid.

POP-UP FLASH
In addition
n to the hotshoe for mounting an external
flash, the 850D
8 has a small pop-up flash (GN 12m)
which is usseful for fill-in light and controlling a
remote speedlite.

LIVE VIEW
W METERING
During Live
D e View shooting, the 850D divides
the sensorr into 384 zones for on-chip exposure
measurement
m in Evaluative metering mode. There’s
also
a Partial, Spot and Centre-weighted metering.

UHS-I CARD SLOT 4

101
REVIEWS
TALKING POINT…
Video capability
Video is an increasingly important area for
photographers, and unsurprisingly the 850D
can record movies as well as stills. The variable
screen and 3.5mm microphone port add to its
appeal as a video camera. However, although it
can shoot 4K (3,840 x 2,160) at 25P or 23.98P
depending on whether you’re using PAL or NTSC,
there’s a crop of around 64 per cent applied
to the frame, which means that lenses appear
to have a longer focal length than normal. Also,
the camera uses contrast detection rather than
phase detection in 4K video. While this still
enables face detection and eye detection, it’s not
as dependable as the 850D’s phase-detection
system that operates in Full HD video mode.
Full HD video can be shot at up to 50/59.94P
for up to 2x slow-motion playback. A slight
crop is applied when the Digital Movie Image
Stabilisation is used, reducing the recording area
to about 90 per cent of the frame.
KEEP UP TO DATE WITH THE LATEST RELEASES:
102
Above
Evaluative metering
The Evaluative metering isn’t
easily fooled, but beware of
high-contrast scenes when
shooting with the viewfinder
Right
Snappy AF
Both of the 850D’s AF
systems take low light in their
stride, getting the subject
sharp very quickly
Left
White balance
Auto White Balance handles
sunny conditions, but the
Cloudy setting produces
more attractive images
@DPhotographer www.facebook.com/DigitalPhotographerUK
great job of spotting faces in the frame and
focusing on the selected eye.
When images are composed on the 850D’s
screen, you can set the AF point with a tap.
When you’re using the viewfinder, however,
you have to press the AF point selection
button first and then either tap on the screen
or use the navigation pad to activate the
point that you want to use. It’s not a difficult
or especially time-consuming process, but
it would be nice to have a joystick that gives
direct control over the AF point.
Although the 850D isn’t littered with buttons
and dials, most features are within easy reach,
and since there’s a dial around the navigation
pad as well as a top-plate dial, you can adjust
the exposure settings quickly without the need
to press any buttons.
Straight from the box and in the default
settings, the EOS 850D delivers attractive
images in sunny conditions. But if it’s overcast,
the Auto White Balance system is a little too
honest, and it’s worth switching to the Cloudy
or Shade setting to warm things up.
Both of the metering systems are also
reliable in their Evaluative setting, even
delivering good exposures with some very
bright or dark scenes so you don’t have to
adjust the exposure compensation very often.
Noise is controlled well throughout the
850D’s native sensitivity range, but if possible,
it’s advisable to keep to ISO 6400 or lower to
minimise the noise/noise reduction. Shooting
at low ISOs also maximises dynamic range,
and in some cases images can be successfully
brightened by 4EV or more.
 CANON EOS 850D

100%

Tech Specs In default settings the EOS 850D delivers

Megapixels (effective)
24.1MP
FEATURES
A great collection of features attractive images in sunny conditions
Max resolution for stills photographers,
6,000 x 4,000 but the 4K video has
Sensor information disappointing limitations
APS-C format Dual
Pixel CMOS 1 2 3 4
Shutter speed BUILD QUALITY
Mechanical Although well-shaped, the
30-1/4,000sec, Bulb 850D isn’t weather-sealed,
ISO sensitivity and it feels a bit plastic for
100-25,600, its enthusiast-level billing
expandable to ISO
51,200 for stills, 100-
12,800 expandableto HANDLING
ISO 25,600 for video Easy-to-find controls, great
Exposure modes touch-control and a good
Scene Intelligent Auto, menu arrangement, but no
Scene, Creative joystick to set the AF point
filters, PASM
Metering options
Evaluative, Partial, Spot, QUALITY OF
Center-weighted RESULTS
Flash modes Good noise control, lots
Auto, Manual, Integrated of detail, pleasant colours,
Speedlite Transmitter and RAW files with wide
Connectivity dynamic range
USB, Wi-Fi, Bluetooth,
mini HDMI, 3.5mm
mic port VALUE FOR MONEY
Dimensions The plastic build and 4K
131 x 102.6 x 76.2mm limitations make the price
Weight seem high in comparison to
515g including battery some mirrorless cameras
and card
Batteries
Rechargeable Li-ion
LP-E17 (supplied) Overall
Storage
The image quality is what
SD/SDHC/SDXC UHS-I
LCD
we’d expect from a 24MP 1 VARI-ANGLE SCREEN 2 AF POINT SELECTION
APS-C sensor, and there The three inch Clear View II TFT screen is very Using the viewfinder, it takes a button press to
Touch-sensitive vari- responsive, and touch control is good too. set the navigation controls to select the AF point.
are some great features,
angle 3-inch Clear ViewII
but the build quality and 4K
TFT with 1.04m dots
Viewfinder
limitations are disappointing. 3 LIVE VIEW AND VIDEO 4 QUICK MENU
Instillsmode,apressofthisbuttonactivates The Quick menu is activated by pressing
Optical showing 95% theLiveView;invideomodeitstartsrecording. the Q button or tapping on the Q on screen.
field of view

103
REVIEWS

Price: £999 / $999

Apple
iPhone
12 Pro
DoesApple’s latest iPhone
Pro have what it takes to
win a place in your pocket?
The average modern smartphone is
a powerful mini computer, and while
we love being able to use one to
keep up to date on current affairs, maintain a
social media presence and stay in touch with
friends and family, its camera capacity is a key
consideration in the buying decision. Apple’s
iPhone 12 Pro has all the telecommunication
and navigation features that you’d expect,
including 5G connectivity, but for us, it’s
always the camera that’s the most important.
As usual with a top-flight smartphone, you
don’t just get one camera with the iPhone
12 Pro – there are four: a 23mm (equivalent)
f/2.2 unit on the front for shooting selfies, and
three on the back for regular photography. All
of the cameras have 12MP sensors, with the
three on the back working together to create
a seamless zoom through their different focal
lengths. The standard camera in the main
triple-camera system has an effective focal
length of 26mm and a fixed aperture of f/1.6.
This is joined by an ultra-wide camera with
an effective focal length of 13mm and f/2.4
aperture, and a 52mm (equivalent) telephoto
camera with an aperture of f/2. In addition,
there’s a TOF (time of flight) LiDAR scanner
that measures the time it takes light to reflect
back from objects to enable the iPhone to
understand how far objects are from it – that
plays an important role in focusing and depth-
of-field simulation in Portrait mode. The 26mm
and 52mm cameras also have sensor-shifting
optical stabilisation.
This iPhone is made from surgical stainless
steel and has a ceramic shield front, which
is claimed to give four times better drop
performance than the previous-generation
iPhone. Apple doesn’t comment on how
scratch-resistant it is, but I’m keeping my
fingers crossed that it’s better than the iPhone
11 because, despite never putting it in a pocket
with keys or coins, the screen on mine was
badly scratched within a few months of use.

104

At 146.7 x 71.5 x 7.4mm, the iPhone 12 Pro
is perfectly sized to slip in the back pocket
of your jeans, but the top sticks out, which
could entice opportunist thieves. Unlike its
predecessor, it has flat edges, which makes
it a little easier to keep hold of without a case.
However, for rainy days and those occasional
slips in the bath, the iPhone 12 Pro is
rated as waterproof down to six
metres for up to 30 minutes.
As usual, most of the
front is occupied by
the 6.1-inch 2,532
x 1,170 pixel OLED
screen. At 460ppi, it’s
impressively resolute,
and images look clear
and crisp.
It’s hard to imagine
that anyone who has
used a smartphone
would struggle to get to
grips with the iPhone 12
Pro’s native camera app very
quickly, as it’s easy to use. The
key shooting modes – Time-lapse,
Slo-mo, Video, Photo, Portrait, and Pano – are
listed at the bottom of the screen and can be
selected with a tap. In Photo mode, the wide
(26mm) camera is activated by default. You
can swap to the ultra-wide camera by tapping
on “.5”, and the 52mm telephoto by tapping
on “2” near the bottom of the screen. You
can also use a pinch-zoom action to zoom
4 x © Angela Nicholson
Above left
Over-sharpened
Thin tree branches against a brright sky are
ooking over-
a challenge, and often end up lo
sharpened, with a suggestion ofo halos
Above right
Ultra-wide
With an effective focal length of 13mm, the
ultra-wide camera adds perspective
ective and is Get more from
great for injecting a sense of scale
Left
Portrait mode
Background blur
The iPhone 12 Pro has done a good job of Opting for the wide camera
blurring the background and managing the gives you post-capture
transition in this sunset Portrait mode shot
control in Portrait mode
between these settings, and use the 10 times By default, when you open select
digital zoom (equivalent to 130mm). Portrait mode the iPhone 12 Pro uses
Additional controls over aspects such as the telephoto (2x) camera, and you
flash, Live Photo mode, aspect ratio, exposure can tap on “f” to access the ‘aperture’
compensation, self-timer, and colour modes control. While a 52mm lens is usually
are accessed via the arrow at the top of the considered more flattering for portraits,
screen. In Portrait mode, tapping the “f” at the wide (1x) lens brings a useful
the top of the screen gives control over advantage because you can adjust the
the aperture simulation. This aperture setting of the images after
lets you adjust the degree they are captured in Portrait mode.
of background blur, with To do this, scroll to the image in the
aperture settings Photos app and tap “Edit”. Then tap the
running from f/1.4 to aperture setting to reveal the control
f/16. It works very and adjust the degree of blur. You can
well, even managing also tap on a point on the image to
to fade in the blur shift the focus. Once you’re happy, tap
when the subject is “Done”. Neither of these adjustments is
touching an object possible with images captured with the
that extends towards telephoto camera in Portrait mode.
the camera. However,
fuzzy objects like pets’
fur can cause issues.
It’s impressive how Summary
quickly and accurately the Ease of use
iPhone 12 Pro focuses in low Value for money
light. And, thanks to its Deep Fusion Features
technology, it usually produces attractive Quality of results
images in dim conditions when Night mode is
activated. You can’t actually opt to use Night Overall
mode, it’s triggered automatically (and can
be turned off) and indicates the length of It has a few quirks, and it would be nice to
exposure it will make. Amazingly, the iPhone have more control, but generally the iPhone 12
12 Pro does a good job of capturing a sharp Pro delivers attractive images with impact. The
image even if you don’t hold it super-still. Night mode is excellent.
105
REVIEWS

Local
Adjustments
The Local
Adjustment
selection and
Eraser tools
allow you to
adjust specific
parts of the
image. You can
jump between,
copy, invert
and delete the
masks in the
control panel

Price: Essential Edition £109 / $129 Elite Edition £169 / $199

Essential or Elite?
Although the Essential Edition of DxO
PhotoLab 4 is compatible with all the
same camera and lens-correction
modules as the Elite Edition, and
it can make automatic corrections
of optical flaws as well as enable
all the same local adjustments, it
lacks some of the Elite Edition’s key
features. For example, there’s no
PRIME and DeepPRIME denoising,
instant watermarking, batch renaming,
ClearView Plus (the anti-haze tool),
preset editing, or the ability to make
multiple exports at one time. Also, the
Essential Edition can only be installed
on two computers, whereas the
Elite Edition can go on three. These
differences make it worth spending
the extra £60 to get the Elite Edition.
Summary
Ease of use
Value for money
Features
Quality of results
Overall
The PhotoLibrary is a bit limited, but DxO
PhotoLab 4 is a powerful image-editing
package that enables you to make natural-
looking adjustments and optical corrections.
4 Elite
Outstanding noise reduction, an improved interface,
easy watermarking, batch editing and renaming all make
DxO’s image-editing software better than ever
DxO’s background is in measuring
and correcting optical flaws. It
has built a huge database with
information about an extensive array of
camera and lens combinations. This feeds
into PhotoLab 4, the latest version of the
optical-correction and image-editing software,
to enable automatic corrections, as well as
tailored global and local adjustments.
Like previous versions of the software,
PhotoLab 4 is divided into two sections: the
PhotoLibrary is the image browser, while
the Customize section is the editor area.
Helpfully, as PhotoLab uses your computer’s
folder structure, there’s no need to import
images into the software like with Adobe
Lightroom. Also, when you click on a folder
of images in the browser on the left of the
screen, the software automatically checks the
images’ EXIF data to discover which cameras
and lenses were used to capture them, and
prompts you to download the appropriate
correction modules. A word of warning here:
although the software usually gets the camera
and lens combination right, it sometimes
suggests additional correction modules that
you don’t need. More significantly, it may
attempt to use the wrong corrections, so it’s
worth keeping an eye on what it’s suggested
for downloading.
With the relevant module downloaded, when
you double-click on an image, the Customise
section opens and the software automatically
applies a few corrections, including DxO Smart
Lighting, Vignetting, White Balance, and Color
Rendering. These correct flaws that you may
not have noticed with your images, as well as
some more significant ones. You can adjust
the degree of adjustment applied, or turn it
off completely, by clicking on the blue marker
next to the parameter name in the column on
the right of the screen.

106
 1 3

Perhaps the biggest introduction

that comes with the fourth inca arnation
of PhotoLab is DeepPRIME. This is
a reworking of DxO’s PRIME noise-
reduction technology, and it dra aws on
artificial intelligence gathered frrom
analysing billions of images. DxO still
allows its older denoising methods, HQ
and PRIME to be used, but Dee epPRIME
does the best job of removing the
granular texture that appears in n some
high-ISO RAW images and retaining
natural-looking detail.
DeepPRIME offers little in thee way of
control, with two sliders to adjust the level of
luminance noise reduction and the number
of dead pixels, but the automatic settings 2
produce excellent results.
Batch editing is another greaat introduction
made with DxO PhotoLab 4, and it’s very easy
to use. After editing an image, you
y just need to
select Image > Copy Correction n Settings in the
menu bar. Then, select the imag ges that you
want to apply the edits to, and click on Image
followed by one of the paste op ptions in the
menu. If you opt for Paste Selec cted Correction
Settings you’re given a choice o over which
adjustments to apply.
Batch renaming, which is also o new, is just
as easy to use. Simply select thhe images you 1 CUSTOMISE 2 MODULE DOWNLOAD 3 EXPORT TO DISK
want to rename, followed by Im mage > Rename CONTROLS PhotoLab prompts you to When you’ve finished editing
DxO has divided the controls download the relevant correction your image, click Export
Selected Images. Then you can decide
in the Customise area into modules for your camera and to Disk and specify the file
whether you want to replace the name, add lens combinations. If you don’t format, size and storage
sections called Lights, Color,
additional text, or rename and add a counter, Detail, Geometry, Local see a prompt, click on the location of your image. You
before typing in the new text and setting its Adjustments, and Creatives. icon in the bottom right of the can create more than one
position in the file name. Access them via the icons. thumbnail in the PhotoLibrary. version at this stage.
You can never be too careful when you’re
posting images online, so it’s great to see that
DxO has introduced instant watermarking with
DEEPPRIME HQ PRIME
PhotoLab 4. This lets you type in text and/or
upload an image to watermark your images.
You can set one of nine positions for the
watermark to appear, and there’s control over
aspects such as the scale and opacity. Once
you’ve created your watermark, you can save
it as a preset to apply when you export images.
As with earlier versions, PhotoLab 4 enables
a comprehensive array of adjustments to
be applied to your images. These are made
using simple sliding controls, or by inputting a
number if you prefer. The reorganisation of the
controls into tabbed sections across the top of
the column on the right of the screen gives the
workspace a cleaner look and makes it easier
to find the controls you want. Refinements
such as the ability to set favourite adjustment
parameters, and to see only the controls that
are in use, also make PhotoLab 4 quicker to
use than earlier versions.
In addition, the local adjustments tools
that enable you to target edits using a brush,
graduated filter, control point or auto mask
Left
L
work well, but it would be nice to have the DeepPRIME
D
option to use the usual control panel rather DeepPRIME is easy to use, but there’s only a small preview area. This image
D
than the dedicated one. w shot on an Olympus OM-D E-M1 Mark III at ISO 6400
was

107
 DOWNLOAD
TEST SHOTS
https://bit.ly/DP-234

PRICE:
£1,499 / $1,499
FOCUS DISTANCE:
70cm
WEIGHT:
845g

Fujinon
Conquering the darkness is the aim for this lens, but doesitmeetexpectations?
Left
Build and handling Near darkness
For anyone willing to pay £1,500 for a 50mm Shooting wide open at f/1, a shutter speed of 1/125
lens you can guarantee that professional use sec was achievable even at ISO 160, making handheld
is the order of the day. Therefore, while the shooting possible in this poorly lit interior
main selling point of the Fujinon XF 50mm
Below left
f/1 R WR is certainly the large aperture, users Unique images
will also be expecting a solid construction. At f/1 depth of field is so shallow that an almost
Here the lens does not disappoint. The barrel miniature effect can be created for landscapes. Colour
feels like an all-metal construction, capable of is accurate, while contrast is natural and punchy
withstanding significant knocks and scrapes.
The focus ring has a nice texture and offers Technical specs
enough resistance to make focusing precise
and smooth – essential when working wide Manufacturer Fujifilm
open, as depth of field is incredibly shallow. Model XF 50mm f/1.0 R W
While this is definitely a large optic, it is not Web www.fujifilm.com
cumbersome and is surprisingly lightweight. Elements/construction 12 elements in 9 groups
It seems well-balanced on larger Fujifilm Angle of view 31.7º
cameras, such as the X-T4 we tested it on, and Max aperture f/1.0
it can be comfortably held with a single hand Min aperture f/16
on the body grip. Min focus distance 70cm
Mount Fujifilm X
Performance Filter size 77mm
As you might expect, image quality is of a Length 103.5mm
high standard. While it’s softest at f/1, this is Diameter 87mm
to be expected, and by f/2.8 the resolution Weight 845 g
is excellent, as is contrast. Chromatic
BUILD QUALITY
aberrations are barely noticeable, although
IMAGE QUALITY
some spherochromatism is visible in out-
of-focus highlights, with magenta or green VALUE FOR MONEY
fringing. At f/1 there’s some catseye distortion FEATURES
in the bokeh, but otherwise this is attractive.
Overall
Verdict
Overall the XF 50mm f/1 R WR is an excellent Excellent handling
optic, although autofocus is a point of concern Lightweight design
– there is a lot of glass to move, and focusing is Image quality
a bit slow, making the lens of questionable use AF speed could be faster
for events such as weddings. Long mininmum focus distance

108
 LENSES

PRICE:
£359 / $399
NCE
29c
WEI
10

Samyang
Does this lightweight travel comp ion compromise on image qualit ?
Build and handling Creamy bokeh
When it comes to lens design you very rarely The f/1.8 maximum ape allows good DOF control,
get a free lunch, and with lenses pitched as while capturing a wider rspective. The background
lightweight travel companions you can often r is attractive, with ooth defocused highlights
expect there to be certain trade-offs. The
ow left
Samyang AF 35mm f/1.8 is certainly small and C e focusing
portable, adding almost no perceivable weight The 0. um focus distance enables the user
to a pro-spec Sony body. This is definitely a to move in to a subject, making the lens suitable
lens for exploring a city, and it can essentially for photographing portraits, pets and larger flowers
fit in a coat pocket.
The downside is the build, which feels very Technical specs
plastic, and we wouldn’t trust the barrel to
withstand hard impacts. The control ring is Manufacturer Samyang
also loose and helps certify that this isn’t a Model Samyang AF 35mm f/1.8
premium lens. There is mount weather-sealing Web www.samyanglens.com
though, which is impressive at this price point. Elements/construction 10 elements in 8 groups
Angle of view 63.6°
Performance Max aperture f/1.8
Sharpness is a standout aspect of this Min aperture f/22
Samyang – at all f-stops the resolution and Min focus distance 29cm
contrast are good, though there is a noticeable Mount Sony E
improvement when stopping down from f/1.8 Filter size 58mm
to f/2. Both edge and centre quality remain Length 63.5mm
similar. Fringing is present, especially at close- Diameter 65mm
focusing distances, which also see a marked Weight 210g
sharpness decline.
BUILD QUALITY
Vignetting is another issue – shooting wide
IMAGE QUALITY
open, we had to check that there wasn’t a toy
camera image mode we didn’t know about. It’s VALUE FOR MONEY
significant! Even above f/5.6 it’s present. FEATURES
The Mode button is a nice touch – in Mode
2 the control ring adjusts f-stop, and in Mode 1 Overall
focus is controlled.
Image quality
Verdict Handy control ring
Overall this is a pleasant lens to use, and a fine, Reasonable price point
affordable companion to a full-frame Sony Build quality
CSC, albeit with limitations. Vignetting

109
GEAR ADVICE

MPB’s
Fancy a new camera but not the price? Age is just a number, so forget
the latest tech and treat yourself to a more affordable pro model
Whether you’re doing paid shoots for clients or creating To put this theory to the test, we turned to MPB,
images purely as a fun side hobby, there’s no getting the world’s largest resale platform for digital Why
around the fact that new cameras are expensive. That photography and film-making kit. buy used?
said, getting your hands on a fresh model is also an 2020 has been tough, and saving money is
The advantage of buying
exciting and inspiring milestone, which can spark off an at the forefront of our minds, so instead of a used camera is that you
interest in other genres, lighten up your kitbag, or bring featuring the newest cameras with mega can often afford a higher
extra shooting features. The spend doesn’t always have to price tags, here’s our pick of awesomely specced model which
be chunky either, especially if you look at used gear. affordable used cam meras from MPB th hat also improves your
photography.
Often you can access a more advanced setup if you are top of the Christm
mas list.
buy second-hand, making it a better decision for your Find out more at ww ww.mpb.com
wallet, as well as the environment and your photography.

Canon EOS 5D IV
MPB price:
from £1,219
This is still the go-to camera of choice for so many pro
photographers, and for good reason – the 5D Mark IV
DSLR is an outstanding stills photography option as well
as a 4K-capable video machine. With a 30.4MP full-frame
CMOS sensor, expandable ISO range of 50-102,400 and an
absolute workhorse build, it’s the perfect choice if you’ve
always wanted to upgrade to a full-frame pro-grade DSLR.

MPB price:
from £779
A near-perfect all-rounder, the D810’s
full-frame 36.3MP sensor will allow
you to print to a large scale. It’s still
an excellent camera that’s well-suited
to landscape, still-life and macro
photographers, yet is also capable of
delivering superb sport, action and
wildlife photos. With a comfortable
camera grip and epic weather-sealing,
this is the model for you if you want a
high-performing and versatile model but
are less worried about its size.

110
 Sponsored by

MPB

Sony Alpha A7R II

MPB price: from £999
One for tech-lovers and video shooters, this camera features the
world’s first back-illuminated full-frame 42.4-megapixel Exmor
R CMOS sensor. This means it can deliver high resolution, high
sensitivity (expandable up to ISO 102,400) and high speed AF. It
has five-axis image stabilisation and 4K video to boot, and the Sony
lens range is constantly growing.

Olympus OM-D E-M1 II

MPB price: from £474
This Micro Four Thirds mirrorless offers a 20.4MP Live MOS
sensor. It’s popular with adventure and wildlife pros because of
its small form factor, and the truly blistering 60fps maximum
continuous shooting rate. If video is your thing, there’s in-camera
4K time-lapse sequences, as well as five-axis image stabilisation to
minimise camera shake when shooting handheld. This
is a great camera to perhaps add to
(rather than replace) your full-frame
setup, perfect for capturing pro stills
and video footage on the go.
MPB
offers a next day
delivery service
MPB’s came
era rec ndation & six-month
warranty on all
sed equipment
Fujifilm X10
MPB price:
from £674
Lovers of classic camera design won’t be
disappointed by the X100F. It sports
traditional dials and controls that inspire
you to engage more with settings. Plus,
with a built-in Fujinon 23mm f/2 lens that
gives a general wide-angle 35mm
equivalent focal length, it’s ready to start
shooting with straight away. With a
24.3MP APS-C X-Trans CMOS III sensor,
image quality generally is superb, and
the hybrid viewfinder is terrific.

111
STOCKING FILLERS

ACCESS RIES
A collection of ten fun-yet-functional Above
products out there for photographers PEAK DESIGN
TRAVEL TRIPOD
Left

OMNI CREATIVE FILTER Website: www.peakdesign.com

SYSTEM BY LENSBABY
Website: https://lensbaby.com
Price: £99/$100
This clever system makes it easy to capture
coloured flare, reflections, highlights, and stretch
effects. Available in two sizes, each coming with
a selection of step-up rings, the OMNI mounts
on a lens’s filter thread, and the effect wands are
held magnetically so they’re easy to position.
Price: £329/$350 aluminium,
£569/$600 carbon fibre
A tripod that’s light and easy to carry yet super-stable is
a photographer’s dream, and at 1.29kg the carbon fibre
Peak Design Travel Tripod is as close as it comes. Even
the aluminium version only weighs 1.56kg. The built-in
head takes a bit of getting used to, but this is a first-
rate tripod that enables long exposures with full-frame
cameras and telephoto lenses.

Left

GOP
PRO
HE
ERO9 BLACK
W
Website: https://gopro.com
Price: £330/$350
with subscription
The GoPro Hero9 Black is what
other
o action cams aspire to be.
It can shoot great-quality 5K
video
v at 30P, and for slow-
motion fans, it can shoot 4K at
60P
6 or Full HD at 240P – with
other
o options in between. It’s
also
a waterproof down to 10m
without
w a housing, and the
HyperSmooth
H 3.0 stabilisation
is insanely good.

Left

LEXAR
Above
PROFESSIONAL
VALLERRET ALTA TYPE B
OVER-MITTS CFEXPRESS
Website: CARD
https://photographygloves.com Website: www.lexar.com
Price: €100/$110 (£90 approx) Price: £222/$199 for 128GB
Made from goat leather, DWR laminated soft twill and CFexpress card slots are appearing
PolarTec Fleece insulation, these mittens keep your in more cameras – including the
hands warm and dry in the depths of winter. The new Nikon Z 6II and Z 7II, and the
supplied harness ensures you never lose them, and Canon EOS R5 – and the cards
the mitten caps flip back to let your fingers get at have a build quality beyond what’s
your camera. They’re sized to fit over other gloves – possible with the SD-type design.
liner gloves are perfect, but for Arctic conditions take This card writes at up to 1,750MB/s
a look at Vallerret’s range of photographer’s gloves. and reads at up to 1,000MB/s, ideal
for recording 4K or even 8K video.

112
 ACCESSORIES

Left

JOBY BEAMO MINI

Website: https://joby.com
Price: £60/$70
This compact, waterproof
1,000-lumen LED light comes with
a silicone diffuser for flattering light
and an adapter to turn one of the
two coldshoes into a tripod mount.
It’s aimed at vloggers, but it’s good
for lighting small subjects too. The
magnetic back is handy but doesn’t
hold the light’s weight convincingly.

Left

ZHIYUN
Above WEEBILL-S
FJALLRAVEN Website: www.zhiyun-tech.com
Price: £369/$399
NUUK PARKA If you liked the sound of the
Website: www.fjallraven.com
Crane 2S reviewed in our last
Price: £430/$500
issue but you’d like something
This windproof and waterproof parka has a bit lighter, take a look at the
Microloft insulation, a deep hood with a Weebill-S, which at 926g is about
faux-fur trim, and a long cut to keep you half the weight. The motors aren’t
warm from your head to the top of your quite as strong, but they cope with
thighs. There are also 11 pockets, so you’l a full-frame mirrorless camera for
never be short of somewhere to stash smooth handheld video creation.
small accessories.

Above

MANFROTTO
PROFESSIONAL SD UHS-II Above

V90 MEMORY CARD RØDE VIDEOMIC NTG

Website: www.manfrotto.com
Price: £200/$170 for 128GB
Most cameras accept SD-type media, with many having
a UHS-II slot to enable 4K video recording. This card has
read/write speeds of 280/250MB/s and performs reliably
in a wide range of cameras, never missing a beat – whether
shooting stills at high rates or long clips of 4K video.
Website: http://rode.com
Price: £239/$249
A great-quality, broadcast-grade shotgun microphone that uses a 3.5mm
connection, it can mount in a camera’s hotshoe or operate as a boom
mic, with the USB-C port enabling headphone connection. The RØDE
VideoMic NTG can also connect with Apple iOS devices with a Lightning
port via the new Rode SC15 Cable.

113
PRO COLUMN

AWINDOWTO
THEUNIVERSE
PRO BIO
Josh Dury is a photographer,
filmmaker and astronomer based
in Bristol, UK. He is a delegate

Josh Dury on the importance of

of The International Dark-Sky
Association representing Bristol

conserving our view of the stars

and South-West England.
www.joshduryphoto-media.com

T
he impacts of artificial light at night
are rapidly changing our view of the
night sky, and light pollution is a new
area of climate conservation. As a
photographer, filmmaker and astronomer, I
have been fortunate to document some
exciting celestial events across the globe; from
the northern lights to the darkest skies in the
world in the Atacama Desert in Chile.
During the recent lockdown, the extent
of our impact on the natural world became
apparent when we witnessed a significant
reduction in levels of light pollution and air
travel. The natural world showed signs of
recovery, allowing us to view the night sky
in a way many of us have never seen before,
enabling more of us to connect with the stars.
It was also noticeable to observe a ‘string of
pearls’ pass through the night sky. SpaceX’s
Starlink satellites had gone largely unnoticed
by many until now, and our view of the
universe is under increasing threat, with up
to 80,000 satellites planned to be launched
by the year 2025. When I first became aware
of the impacts, it hit me hard that we may
possibly be the last generation to observe the
night sky in its entirety. This is why I wanted to
do something about it.
The night sky is universal and should be
accessible to all. However, not everyone
has a view of a truly dark sky. My current
work is orientated towards landscape
astrophotography: to capture low-light, long-
exposure images devoid of light pollution; to
reflect our connection to the cosmos and
promote the conservation of dark-sky sites.
Documenting the night sky is something
that I cherish. When your image resolves on
the LCD screen of your camera, you realise
that the mass of stars is in fact a galaxy. You
look back up at the sky as you realise just how
enormous it is. It’s the moment that allows
you to see it with your own eyes and puts into
perspective how small you are, for our short
time on this little rock, slowly spinning through
space. There’s nothing else like it.
I am very much an advocate of the idea
that people must see and feel inspired by
something to be compelled to protect it.
This is why I aspire to document the limited
© Josh Dury

amount of time we have left to observe our

open window to the universe.

114