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PENTAX K-5ll
LAT5T 16.3-MGAPIXL
NTHU5IA5T D5LR
T5TD8 RATD
PLU5I COMPARI5ON
T5T OF NIN TRIPOD5
85VNALL HAD5
1op tecnniques and expert advice for
snooting nignt and painting witn lignt
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JANUAR201S
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)LQG RXW PRUH DW fu[i|m.co.uk/x-e1 /fu[i|m.uk @fu[i|m_uk#fu[ixe1
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Combining retro design with best-in-class image quality and
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Our best ever lenses
Compact, high resolution, bright, fast.
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LD1R'S WLLCML
Let's start tne newyear on a pnoto nignl
Dane| Lezano, dtor,
Dgta| 5LRPhotography
MAGL. JLSSCAvLLARDL
'WLLCML11HLJANUARY20I3SSUL
of D|g|ta| S|PPnotograpny. thought about
avoidingtheusual 'endof ayear gives us the
chancetoplanfor afreshstart' routine, but
decidedthat whileit's not particularlyoriginal,
it's still arelevant andworthwhiletopicto
discuss withyou. 'vecertainlyalways found
this tineof year tobeagreat periodto
refect onthelast I2nonths andhowwell
nanagedtoneet nypersonal goals.
nvariably, theoneconstant eachyear is therealisationthat 've
failedtoreachnyphotoexpectations, interns of thenunber,
varietyandstandardof nyphotography. Likenanyof you, the
denands of havingafull-tinejobandafanilylinits thetinethat
canbespent workingontakingthebest possibleinages. t's a
frustratingadnission, but know'nnot aloneinhavingit and've
alreadyset about plans tonakesure20I3is ayear that neet ny
photographicgoals. Congratulations if 20I2provedasuccessful
year of photographyfor you-wehopetheexpert adviceand
inspirational inages inD|g|ta| S|PPnotograpnyhas hadsonething
todowithit. f, likene, youwishyou'ddonenore, thendon't
worry, as youcanusethis nonth's issueas aspringboardto
inprovethequalityandscopeof your photography. We'veplenty
of techniques totryandskills tonaster. Withlonger nights than
days, we'vededicatedacoupleof articles tohelpyoucapturegreat
inages as darkness descends. As well as toptechniques to
shootingat night, Master our S||||s concentrates onpaintingwith
light, afunandinventiveactivitythat allows youtocaptureall sorts
of interestingresults. Wealsohaveexcellent advicefor shooting
coastal sunsets fronleadingphotographer Ross Hoddinott.
'n1est Centre, our reviewof thePentax-5 is followedbya
conparisontest of budget tripods andball osocket heads, while
thereis alsoaCnr|stnas C|ft |deas guidewithover 80topphoto
products tochoosefronl Whether it's for yourself or a
photographer inyour life, we'resureyou'll ndlots toaskSantafor.
'nbehalf of theentireD|g|ta| S|PPnotograpnytean, 'dliketo
thankyoufor your support andwewishyouall asafeandnerry
Christnas andahappynewyear. All thebestl

Contents
I07
D5LR
T5T
kEGULAk5
KEEPINGOUINTHE PICTUkEI
0JEditor'spage
Lezanoonwhytheturnof theyear isthe
best tinetoplanfor your photo-future
06Exposure
1heworldof photographywrappedup
intenpages, fronHurricaneSandyand
product newstoexhibitionsandbooks
20keader5howcase
1henost beautiful photographs
subnittedbyour readersthisnonth
50ExpertCritique
ur expertsreviewyour latest ehorts
55Picturesubmissions
Howtosendusyour best inagesl
I0JNextissue
Asneakpreviewof what youcanlook
forwardtoinnext nonth'sissue
I62Gardner'sWorId
1helast wordfronproDrewGardner
TECHNIOUE
IMPkOVE OUkPHOTO5KILL5
28Techniqueofthemonth
Headout andenbracethedarkness-
our top-tentipsensureyoutakeyour
best-ever night-tineinages
57HowtomasterpaintingwithIight
Light upthenight withthesefantastic
light-paintingtechniques
69udgetPhoto
Weget creativewiththe80Lensbaby
Spark-andndweactuallyquitelikeit
75CreativeEye
1hebattlecontinueswiththisnonth's
thene. festivedecor
8JDigitaI Darkroom
nprovecontrast inLlenents, retouch
likeaproinCS, brightenaportrait in
Lightroonandnaster calibrationinACR
IN5PIkATION
THE WOkLDOF PkOPHOTOGkAPH
92CuttingEdge
1helowdownonthelatest projectsby
workingpros1in1adder andLaraJade
TE5TCENTkE
LATE5TGEAkTE5TEDEXPEkT5
I07PentaxK-5II
Hasthisupdateof Pentax'spopular -5
got what it takestoappeal toenthusiasts
IIIDigitaI 5LkandC5CIistings
Up-to-datelistingsandspecications
II4Tried8tested. tripodsandheads
ur in-depthreviewdiscoversthebest
buysonthenarket for lessthanI50
I2JChristmasgiftguide
Presentstoput asnileonanykeen
photographer'sfaceconeChristnasDay
GETTHE PICTUkE
5IMPLE 5TEP5TOETTEkPICTUkE5
J45hootcoastaI sunsets
Wedoliketobebesidetheseaside,
especiallyat duskfor stunningsunsets
J9CreatesimpIeabstractart
Usecolouredpaper tocaptureawesone
abstract inages. Agreat rainy-dayproject
425hootaday-to-nighttimeIapse
Makethenost of theshort dayswiththis
unusual landscapetechnique
44HowtotakeIow-keyportraits
Capturenysteriousshadowyportraits
usingonlywindowlight
46Five-minutePhotoshop
Useyour favouriteinagestocreatea
personalisedcalender for 20I3
5U5CkIE TODAI
TURNTOPAGE 100TOFINDOUT
A8OUTOURLATESTSU8S OFFERS
JJ
GTTH
PICTUR
4l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
28
NIGHT
75
CRATIV Y
69
UDGT
PHOTO
92
CUTTING
DG
57
DIGITAL
DARKROOM

January201Slssue4
LEAkNFkOMTHE UK'5LEADINGEXPEkT5
Ross Hoddinott is an
award-winning nature
photographer and
author of nunerous
photo books. www.
rossnodd|nott.co.u|
koss
Hoddinott
Regular contributor
Paul is a professional
portrait and fashion
photographer who's an
expert in lighting and
specialises in location
and studio shoots.
PauI Ward
1op fashion and
portrait photographer
Clive Arrowsnith has
photographed nany of the
world's leading celebrities.
www.c||vearrowsn|tn.con
A leading portrait and
fashion photographer,
Bjorn runs a series of
portrait workshops in
Cornwall. www.
oorntnonassen.co.u|
jorn
Thomassen
He's the king of rock
photography and spent
nost of 2008 on tour, as
the ohcial photographer
for ron Maidenl
www.p|cturedes|.co.u|
John
McMurtrie
A creative genius,
Benedict is a
successful professional
photographer
and digital artist.
www.oened|ct.con
enedict
CampbeII
CIive
Arrowsmith
A highly successful
landscape photographer,
regular contributor
Adanis the author of the
photography book
1ne Dorset Coast.
www.adan-ourton.co.u|
Adamurton
A pro for two decades,
Lee's one of the best-
known nanes in the
business, with 20
books to his nane and
worldwide inage sales.
www.|eefrost.co.u|
LeeFrost
Martyn is an award-
winning journalist and
has been involved in
photography for decades,
including working as a
pro photographer and
editing photo nagazines.
MartynMoore
Helen is an innensely
gifted landscape
photographer, who has
recently nade the nove
to full-tine professionall
www.ne|end|xon
pnotoqrapny.co.u|
HeIenDixon
1he Chief Sports
Photographer for 1ne
Sun is one of the world's
best and he's exclusive to
usl ollowhinon 1witter
at. d|c||epe|nan
We catch up with one of
our oldest but youngest
D|q|ta| S|P Pnotoqrapny
contributors, Lara Jade,
to nd out about her
journey to the top of the
fashion photo industry.
kichard
PeIham
Jon's spent nost of his
career as a successful
travel photographer,
covering the globe to
provide top stock library
Corbis with his unique
style of travel inages.
JonHicks
Brett has quickly
established hinself as
one of the U's leading
portrait and social
photographers.
www.orettnar|ness
pnotoqrapny.con
rett Harkness
ne of the very best
celebrity and nusic
photographers in the
business and a
genuinely nice guy.
Deserves a peeragel
www.andyear|.con
AndyEarI
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 5
LaraJade
6 8wan Court, Cygnet Fark, Feterborough, Canbs FE/ 8OX.
Fhone: 0l/33 56/40l. Fax 0l/33 352650
Ena: enquresdgtasrphoto.con
Vst us on/ne at: www.dgta/s/rhoto.com
EditoriaI
To contact edtora phone: 0l/33 56/40l
Edtor DanieI Lezanc
dane_ezanodenns.co.uk
Art Edtor LukeMarsh
uke_narshdenns.co.uk
DeputyEdtor CarcIineWiIkinscn
carone_wknsondenns.co.uk
FeaturesWrter JcrdanButters
|ordan_buttersdenns.co.uk
Edtora Coordnator JcLezanc
|o_ezanodenns.co.uk
Desgner LukeMedIer
uke_nederdenns.co.uk
EditcriaI ccntributcrs this mcnth: Drew Gardner,
Lee Frcst, Tim Gartside, Rcss Hcddinctt, Richard
Hcpkins, Lara Jade, Tim Tadder, PauI Ward &
Dcnna WiIIingham
Contact us
lf ycu're having trcubIe hnding us in ycur IccaI
area, pIease Iet us kncw by phcning 01733 567401.
Advertising8Production
To contact advertsng phone: 020/ 90/ 665l
OroupAdvertsngManagerAIexSkinner
aex_sknnerdenns.co.uk
8aesExecutvePeterSmith
peter_snthdenns.co.uk
DispIay &CIassihed SaIes: 0207 907 6651
8enor FroductonControer
AnishaMcgra020/90/606/
ansha_nogradenns.co.uk
PubIishing8Marketing
FeIix Dennis Charnan
James Tye CEO
Brett ReyncIds COO
lan Westwccd MDTechnoogy
Jchn GarewaI Fubshng Drector
David Barker Newstrade Drector
CIaire Scrase Marketng Manager
UK 5U5CRIPTION5: 0844 249 0482
The subscrpton servce s open sx days a week:
Monday to Frday (8an8pn); 8aturday (9anlpn)
Order onne at: http:subscrbe.dgtasrphoto.con
8tandard subscrpton rate: l2 ssues for \38 (UK ony)
Overseas subscrptons: +44 (0)l/95 4l4953
Europe \45; Fest of Word \60; U8A S99.
U8A & Canada subscrptons: Fhone: l88842866/6;
Fax: l/5/4286253; Ena: csnsnews.con;
Web www.nsnews.con.
ONLlNE 8UB8CFlBEF 8EFVlCE: www.subsnfo.co.uk
Use ths to nanage your exstng subscrpton, ncudng
changng your address, renewng your subscrpton or
reportng probens. Ths shoud be your frst port of ca f
you have any queres about your subscrpton. lf you
requre further hep, ena: dsrservcehepne.co.uk
LICN5ING8 5YNDICATION
D||ta| 5LF Fnotorapny s avaabe for censng overseas.
8yndcaton 8enor Manager An| Dosa|Haa
An|_Dosa|Haadenns.co.uk; +44 (0) 20 /90/ 6l32
Lcensng Manager Carotta 8eranton
Carotta_8erantondenns.co.uk; +44 (0) 20 /90/ 6550
Lcensng & 8yndcaton Assstant Ncoe Adans
Ncoe_Adansdenns.co.uk; +44 (0) 20 /90/ 6l34
ACK I55U5
Back ssues for UK cost \5 (ncudes p&p).
To order by credt card, phone: 0844 249 0482 or send a
cheque, statng the back ssue you'd ke, and nade
payabe to Denns Fubshng Ltd, to:
FFEEFO8T FLZ8ETOTBCZF, Dgta 8LF Fhotography
Back lssues, 800 Ouat Avenue, Kent 8cence
Fark,8ttngbourne ME9 8OU.
D||ta| 5LF Fnotorapny s pubshed on the
second Tuesday of every nonth. D||ta| 5LF
Fnotorapny s pubshed under cense fron
Hao Fubshng Ltd, a whoy owned
subsdary conpany of Denns Fubshng Ltd, UK. A rghts
n the censed natera beong to Fex Denns, Hao or
Denns Fubshng and nay not be reproduced, whether n
whoe or part, wthout ther pror wrtten consent.
D||ta| 5LF Fnotorapny s a regstered tradenark.
Happy New Yearl Lets hope 'l3 s a ucky one for us al
l88N nunber: l/5l8989
D||ta| 5LF Fnotorapny s prnted n the UK.
The pubsher nakes every effort to ensure the nagazne's
content s correct. A natera pubshed n D||ta| 5LF
Fnotorapny s copyrght and unauthorsed reproducton
s forbdden. The edtors and pubshers of ths nagazne
gve no warrantes, guarantees or assurances and nake no
representatons regardng any goods or servces advertsed
n ths edton. No responsbty can be accepted for nages
or correspondence ost or danaged n post or transt.
When you've fInIshed enjoyIng
thIs magazIne ptease recycte
ABC Jan - Dec 2011
TctaI Average Net CircuIaticn 35,501
57
PAINTING
WITHLIGHT
Themagaznebyphotographers for photographers
Wetaketnegreatest prideintnefact tnat our nagazineisproduced
byleadingpnotograpnerswnoareall passionateabout taking
great pictures. Manyof our contributorsareawardwinnersand
all areexpert digital SLRpnotograpners, soyoucanbesuretnat
tney'regivingyoutneverybest advice. Wnetner youlovetosnoot
landscapes, portraitsor nature, youcanbe100certaintnat our
extensiveteanof expertsisfullyconnittedtogivingyoutnebest
tecnniqueadvicetonelpyoucreateyour best ever inages.

LPSURLl1.1S
S1UNNNGvS1AS, BLAU1ULSCLNLRY, AMAZNGLGH1
ANDAPNCHSCANDAL1HSYLAR'S|/NDSC/P|
PHO1OCP/PH|PO|1H||/PAWARDSHAD1ALL.
MAGL. JAML RUSSLLL
THAUTY
OFRITAIN


CMPL11NNLWS LPSURLl1.1S
8l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
YUNLYHAvL1Lat soneof theentries for this
year's 1akeAviewLandscapePhotographer of theYear
Awards torealisethat nonatter whereyouare, striking
views andstunningscenics aren't far fronyour door.
Nowinits sixthyear, theawards -sponsoredby
Network Rail -arguably attract soneof thebest
exanples of Ulandscapephotography. 1hediverse
beauty of theU's landscapeis clear toseeas this year's
entrants showcaseeverythingfroncity scenes andrural
landscapes tocoastal views andnist-lledvalleys, in
nany diherent guises.
1his year's conpetitionwasn't without its fair shareof
controversy either. 1hepanel of judges, including
landscapeiconand1akeAviewfounder CharlieWaite,
disqualiedtheI0,000grandprizewinner, DavidByrne,
for excessiveinagenanipulation. His black owhite
photographof twoshingboats set against the
picturesqueLindisfarneCastle, inNorthunberland, was
subject tonuchscrutiny oninternet foruns, forcingthe
judges toreviewhis inages and, ultinately, their decision
after discoveringthesky hadbeenconposited. nan
ohcial statenent, CharlieWaiteconnented. '1his is
extrenely regrettableandit appears therewas no
deliberateintentiontodeceivethejudges, but thelevel of
nanipulationneans that this photographgainedanunfair
advantageinthis category andinwinningtheoverall
conpetition. Byrnealsohadtwofurther inages
disqualied, andjudges announcedtherevisedwinner as
SinonButterworthfor his inageof a rowof tenenent
buildings at Port Glasgow, nverclyde.
nadditiontothegrandprize, eachof thewinners of the
four categories takehoneI,000each, withsecond
placeineachcategory netting500eachrespectively.
We'veput together a selectionof our favouriteinages
for your enjoynent. 1hewinningandconnended
inages havebeenconpiledintoa book, whichis onsale
now. 1hey'll alsofeatureinanexhibitionat theNational
1heatreinSouthBank, London, until I2January 20I3.
Headtothe1akeAviewwebsitefor noreinfoonthis
year's winners as well as details of the20I3awards as
soonas it is announced. www.take-a-v/ew.co.uk
TAKAVIW2012
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JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 9
(OPENINGIMAGE) JamiePusseII'sstunningstorm-cIoudimage
wascommendedintheCIassicViewcategory.
I) PussarnescapturesapigeontakingightinCoventrycity
centre. CommendedintheUrbanViewcategory.
2) IonPaciu'sstunningviewoftheLondonskyIinewas
commendedintheUrbanViewcategory.
J) Thisvibrantimageofthe5outhDownsNationaI Parkwastaken
byPogerVoIIer. ItwascommendedintheCIassicViewcategory.
4) DavidPoevisitedthisspotseveraI timestogetthisshot-
worthitforgettingcommendedintheCIassicViewcategory.
5) PauI MorgancombinedthreeexposuresofthisdramatictidaI
sweepinCornwaII. CommendedintheCIassicViewcategory.
6) 'Condemned' by5imonutterworthshowsarowoftraditionaI
5cottishtenementbuiIdingsandscoopedthetop10,000prize.
7) KayodeOkeyode'simageoftwoIoverskissinginthesnowon
WestminsterridgewontheCaIumetPhotographic'Thisis
ritain' Award. CommendedintheLivingtheViewcategory.
8) D/g/ta/ SLRPhotograhycontributorAdamurton'sDartmoor
sunriseimagewascommendedintheCIassicViewcategory.
9) ThewinneroftheCIassicViewcategory, 5imonPark's'The
Wave' capturestheferocityoftheseainDougIas, IsIeofMan.
SMNPAR
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JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 11
LPSURLl1.1S
Newsinbrief...
Joby5traps
Best knownfor its funky
portabletripods, thetean
at Joby has nowlaunched
twonewcanera straps
designedaround
naxinunconfort and
perfornance. 1heJoby
Ultrait SlingStrap, costing4I, is available
inbothnaleandfenaleversions andhas
beendesignedtosit snugonthebody and
tot inwiththediherences betweenthe
naleandfenaleforn. 1heJoby 3-Way
Canera Strapcosts 33andis a versatile
nethodof securingyour canera to
yourself usingeither a neck strap, a
shoulder strapor a wrist strap, thanks toa
built-inretractablecord.
www.daymen.co.uk
Transcendadds
WiFi 5Dcards
Menory nanufacturer
1ranscendhas
announcedits rst foray
intotheWii SDcardnarket. Availablein
I6GBand32GBvarieties for 50and/0
respectively, thecards featureanSDHC
Class I0speedratingandareacconpanied
by a freeWi-i SDAppfor AndroidandiS
devices, allowingyoutoinstantly access
andshareyour inages as they areshot.
www.jonnsons-pnotop/a.co.uk
Lee5even5Micro
FiIter 5ystem
Larger digital SLRs have
longbeencateredfor
whenit cones tolter
systens, but upuntil now
conpacts andnirrorless caneras haven't
hadnuchintheway of options. Leeilters
has steppeduptotheplateandcreatedits
newSeven5Microilter Systen. Workingin
nuchthesaneway as thelarger DSLRkits,
thesystenconprises a lter holder, a
selectionof lters andanadaptor ringsized
tosuit your lens choice. 1heconponents
areavailableindividually or as a starter kit
for II2.80. www./eeh/ters.com
5amsungoher
nthenarket for a new
nirrorless canera
Sansunghas just
announcedanoher
worthtakingup. Purchase
any newSMAR1NXcanera fron
participatingretailers betweennowand
9January 20I3andnot only canyouclain
uptoI00cashback, but youwill also
receivea free/inGalaxy 1ab2worthI/0l
www.samsung.com
Vanguardcashback
vanguard's excellent selection
of tripods, heads andphoto
bags just got a wholelot better
withtheintroductionof
cashback ohers across
various products. 1here's upto
30cashback availableontheAlta Pro
series of tripods, uptoI5cashback on
BBHandGHseries tripodheads andI0
andI5cashback ontheUPRiseand
Heralder series of bags. 1heoher is only
runninguntil I5January, sobequickl
www.vanguardwor/d.co.uk
1SLLMS 1HA1barely a nonthgoes by whenwedon't receivenews of a newdigital SLR
oheringnorefeatures thanits conpetitors andpredecessors -andNikon's new
D5200is noexception. 1heupper entry-level nodel inproves upontheD5I00by
boastinga 24.I-negapixel DX-fornat CMS sensor, I080pull HDnovierecording
capabilities andNikon's powerful LXPLLD3inageprocessor. t alsoshares nany of its
features withtheD/000, suchas aninproved39-point andninecross-typeautofocus
systen, 2,0I5-pixel RGBneteringsensor andexcellent NikonSceneRecognition
Systen. 1heinpressivefeatures list goes ontoincludea vari-angle3inLCDnonitor,
newbuilt-inprocessingehects andHDRnodes, whilst renainingconpact and
lightweight for easy handling. 1heD5200is availableinblack, redor bronzebody-only
for /20, or packagedwiththeNRA-S I8-55nnfi3.5-5.6GvRDXZoonfor
820. www.n/kon.co.uk
NLWNND5200
ANNUNCLD
eyfeatures
DX-format
CMO5sensor
24.1-megapxe|
reso|uton
Foca| |ength
ncrease: 1.5x
XPD3
processor
I5O100-6400
(expandab|eto
25600)
NkonF-mount
5Dl5DHCcards|ot
39-pont AF(nne
cross-type)
Fveframes-per-
seconddrve
Fu|| HDvdeo
(1920x1080p)
Var-ang|e3n
LCDmontor
Dmensons:
129x98x78mm
Weght: 555g
NLWCANNP1CS
Canonhas addedtwonewlenses toits L line-up. the
I,500L 24-/0nnfi4L S USMandthe800L 35nn
fi2S USM. Althoughthenewnid-zoonlens loses out
ona stopof light conparedtothepopular L
24-/0nnfi2.8L USM, it benets fronnage
Stabilisation, whichCanonclains ohers a
four-stopadvantageover thenon-S fi2.8lens.
1henewL 35nnfi2prineohers a fast
naxinunapertureandits lightweight design
nakes it ideal for everythingfronclose-up
portraits totravel photography. t's alsoCanon's
rst ever prinelens tofeaturenageStabilisation.
www.canon.co.uk
SN-1SGMASRLLLASLD
Sonyowners canrejoiceas Signahas announced
availabilityof its I8-250nnfi3.5-5.6DCMacroHSM
andAPMacroI80nnfi2.8LXDGSHSMlenses in
theSonyAlphatting. 1heI8-250nnlens is suitableas
ado-it-all nodel duetoits hugefocal range. ts nacro
credentials arebackedupbyits 35cnnininun
focusingdistancethroughtheentirezoonrangeandnagnicationratioof
I.2.9. 1heAPMacroI80nnis aworldrst -oheringaI.I nagnication
ratioandfast fi2.8naxinunaperture. t alsofeatures ptical Stabilisation
andanininunfocusingdistanceof 4/cn. Bothlenses arenowavailable,
withtheI8-250nnweighinginat 500andtheI80nnMacrocosting
I,500. www.s/gma-/mag/ng-uk.com

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PH1NLWS
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 1S
LPSURLl1.1S
1'SASMALL
WRLD
1here's nodenyingthebeauty of nacro
photography, capturinganinageof
subjects soninutethat thedetails cannot be
renderedby thehunaneyeis awe-inspiring.
Photonicrography, otherwiseknownas the
art of photography througha nicroscope,
takes nacrophotography toanother level,
enphasisedby therecently announced
winners of the20I2NikonSnall World
Photonicrography Conpetition
showcasingtruly stunningresults. irst place
was awardedtoDr Jennifer L Peters and
Dr Michael R1aylor of St. JudeChildren's
ResearchHospital inMenphis for their
photonicrographof theblood-brainbarrier
ina livezebrashenbryo. 1hewinningentry
was capturedat anastounding20x
nagnicationandis believedtobetherst
tineaninagehas beencapturedof the
blood-brainbarrier ina livecreature. Second
placewas awardedtoWalter Piorkowski for
his focus-stackedinageof livenewborn
lynx spiderlings, whichwas capturedat 6x
nagnicationusingrefectedlight provided
by bre-opticlights, andthirdplacewent to
Dr DylanBurnetteof theNational nstitutes
of Health, Maryland, USA, for his 63x inage
of cancer ina hunanbone. irst, second
andthirdplaceall net thenselves Nikon
gear withS3,000, S2,000andSI,000
respectively. 1oviewthewinningand
connendedinages for yourself visit.
www.n/konsma//wor/d.com
500PADDSCRLA1vL
CMMNSLCLNSNG
Photo-sharingwebsite500px has joined
lickr andYou1ubeinoheringCreative
Connons licensingfor its users.
CreativeConnons allows
photographers topre-authorise
non-connercial useof their inages
without prior expressedpernission,
providingthat credit is given. or your
averageuser this neans that, if enabled,
their inages canbeusedby blogs and
publishers, gainingtheir inages extra
exposureandopeningupthepossibility
of futurework.
www.500px.com/creat/vecommons
NDUS1R RASLS
UNDS RSAND
WHLNHURRCANLSandyhit theCaribbean
andeast coast of Anericabackinctober, it
causedwidespreaddanageanddestruction.
t alsoput oneof thenost iconiccities inthe
worldat thenercyof nature. As theclean-up
operationbegan, stories of NewYorkers
showingsolidarityinthefaceof adversity
went viral -peoplehandingout foodand
water, residents allowingstrangers toshare
their hones, thosewithelectricityrunning
power sockets out intothesidewalksothose
without power couldchargetheir phones.
1hephotographicindustryalsoresponded
andstories energedof photographers and
conpanies doingwhat theycouldtohelpthe
relief fund. ndustrygiants NikonUSAand
SansungNorthAnericawererst tooher
their support, pledgingS50,000and
S3,000,000respectivelytotheAnericanRed
Cross. CanonUSAalsopledgedSI00,000to
theAneriCares aidagencytohelpwiththe
clean-upandrecovery. Signaevenwent as
far toextendtheir warrantycover onall
caneraequipnent torepair or replaceall
itens danagedbythestorn.
Snaller-scalebusinesses andindividuals
alsodidtheir bit -NYC-basedphotographer
LoganHicks's (www.worknorsev/sua/s.com)
neighbourhoodwas left largelyunscathedby
thestorn, soheheadedout withhis canera
torecordthecity's streets devoidof light and
life. Uponhearingabout thedanagecaused
toother parts of thecity, hebeganselling
prints of theManhattanblackout, donatingall
of theproceeds totheAnericanRedCross,
raisinginexcess of S6,000intotal. 't's easyto
forget that behindtheglossy, slickphotos are
stories of hardshipandstruggle. Most of ny
workdeals withtheurbanenvironnent. t felt
abit exploitivetodocunent thepainof
others without givingsonethingback.
Photography-inspiredclothingconpany
DodgeoBurnpledgedSI for everyshirt sold
inthenonthof Novenber andohered
custoners aI5discount toget theball
rolling. 1edRybakowski, founder of Dodge
oBurn(www.dodgeandburn.com) explains.
'WeareaNewYorkCity-basedbusiness and
weproudlydrawonthat associationinour
brand. SowhensonethinglikeHurricane
Sandycones along, thereis nowayweare
goingtoshirkour obligationtothecityand
our responsibilitytothoseless fortunatewho
got hit hardbythestorn. Givingnoneyfron
theproceeds of shirt sales was thequickest
waywecouldparticipateintherelief ehort.
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After JeannettevanHoutenof Union
Beach, NewJersey, lost her honeto
HurricaneSandy, shedecidedtosurvey the
danageinher connunity. Shediscovered
photographs strewnalongtheshoreline
andbegancollectingthenwiththeainto
reunitethenwiththeir owners. Jeannette
has sincefoundandscannedover 2,000
photos and, thanks tothehelpof a
acebook group, has reunitedaround60
fanilies sofar withtheir inages. ther
groupnenbers havealsooheredto
digitally repair danagedphotos where
possible. nttp.//on.fb.me/U9b/sY
LS1PH1GRAPHSND1HLRWAHML

LHB1NS8CMPL11NS
14l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
LPSURLl1.1S
MarioTestino. ritishkoyaI Portraits

Until 3ebruary 20I3i reei
National Portrait Gallery, London
8r|t|snPoya| Portra|ts shows 1estino's nore
fornal side. eatures connissionedportraits,
includingateandWills' engagenent.
www.npg.org.uk
LucknowtoLahore

Until / April 20I3i reei ScottishNational
Portrait Gallery, Ldinburgh
redBrenner's travels intonperial ndia are
exploredinthis exhibitionof his work
spanning40years fronI882toI922. hers a
glinpseintothepeopleof thendianLnpire.
www.nat/ona/ga//er/es.org
WiIIiamKIein8DaidoMoriyama
Until 20January 20I3i I2./0i
1ateModern, London
1wophotographers onoppositesides of the
planet conetogether toshowcasetheir
works. 1heinages, frontheI950s topresent
day, cover real-lifetopics, fronurbanlifeto
political uprisingas seenthroughtheir lenses.
www.tate.org.uk
TayIor WessingPhotographic
Portrait Prize

Until I/ ebruary 20I3i 2i
National Portrait Gallery, London
1he60best works fronthecontest have
beencarefully selectedfor this exhibition,
showcasingfantasticportrait photography
frontalentedanateurs andprofessionals.
www.npg.org.uk
Peter Fraser
26January to6May 20I3i 6.50i 1ateSt ves
Seeraser's journalisticstylefocusingonthe
naterial itens inour world. eatures raser's
nost recent series, /C|ty |ntneM|nd?0?,
alongsideworks fronas far back as I988.
www.tate.org.uk
Cartier-resson. AOuestionof CoIour
Until 2/ January 20I3i reei
Sonerset House, London
1hework of I4internationally acclained
photographers will goonshowalongside
tenCartier-Bressonphotographs, previously
unseenintheU. Lxplores thephotographer's
transitionfronblack owhitetocolour.
www.somersetnouse.org.uk
onenillionphotographers conpetitionhaveput
a SI50,000grandprizeupfor grabs, alongside
other cashprizes andnonthly awards.
Closingdate. ngoing. Lntry cost. S8.
www.onem////onpnotograpners.com
est 5hots PhotographicCompetition
Atotal cashprizefundof I0,000is upfor grabs,
alongsideaplaceintheBest Shots 1ouring
Lxhibition. 1hereareninenaincategories and
onefor youngphotographers, sothereshouldbe
sonethingfor everyone. Closingdate. 30April.
Lntrycost. I0per inage. www.bestsnots.co.uk
keduII IIIumeImageOuest 20IJ

1his contest wants great inages that capturethe
thrill andexcitenent of adrenalinejunkies doing
their thing. 1hewinninginages will bepart of a
worldwideilluninatednight exhibition.
Closingdate. 30April. Lntry cost. ree.
www.redbu/////ume.com
TheNikonPhotoContest 20I2-20IJ
nits 34thyear, theNikonPhotoContest
nternational is opentophotographers
worldwide. Lnter tobeinwitha chanceof
winninga bundleof Nikongoodiesl
Closingdate. 28ebruary. Lntry cost. ree.
www.n/kon-pnotocontest.com/en/
IackandWhite5pider Awards
Doyouhaveaneyefor stunningblack owhite
photography pentobothanateurs and
professionals, this conpetitionprovides high
accolades anda spaceinits prestigious
nonochroneshowcase.
Closingdate. I5ebruary. Lntry cost. S30
anateur, S35professional.
www.tnesp/derawards.com
onemiIIionphotographers

nananbitious bidtobuildtheworld's largest
onlineinagegallery, organisers of the
Conpetitions
Lxnibitions

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JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 15
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PhotographingModeIs. I,000Poses
L20i Lliot Siegel i Bloonsbury Publishingi SBN9/8-I-408I-/09I-5
f you'veever triedyour handat fashionphotography, or evenportraits
for that natter, thenyou'll realisethat gettingyour nodel tostrikethat
killer poseisn't as easy as it sounds. 1hroughtheexpert guidanceof
professional photographers, this titleprovides alnost endless inspirationfor
positioningandposingyour subjects. Coveringnost photoshoot locations,
angles andscenarios, it really does goaboveandbeyondinterns of the
best poses andangles toget thenost fronyour nodel, withhelpful advice,
lightingdiagrans, inspirational inages, sequenceshots showingthe
diherencebetweenposes andprolepieces onsuccessful fashionand
portrait photographers.
VEkDICT. ull of adviceonhowtotakeand
process goodHDRinages. Afewless-than-
choiceconversions, but goodfor thenost part.
VEkDICT. Packedtoburstingpoint withfantasticinages, inspiration,
exanples andbackedupwithexpert opinions andadvice. Anust if you
want toinproveyour photographs of people.
VEkDICT. Lvenif youhavenointerest inthe
fashionworld, this is wortha look purely on
photographicnerit.
VEkDICT. f youreadthis titlecover tocover, not
only will youbefully cluedupbut you'll deservea
nedal, too-it's a hefty readl
OOK
OF THE
MONTH
The5artoriaIist. CIoser
L20.00i Scott Schunani Penguin
SBN9/8-0-/I8-I9439-0
Anericanfashionblogger Scott Schunanleft his
jobin2005totakecareof his daughter. t was at
this tinethat hepickedupa canera andbegan
photographingthestylishinhabitants of New
York goingabout their daily lives. His blog, 1ne
Sartor|a||st, quickly becanea popular internet
hivefor fashionistas todiscuss style. 1his book
contains soneof his street photography work
fronaroundtheworld. 1here's not nuchinthe
way of narrative, savefor a fewwords hereand
there, andsoneof thefashions goover our
heads, but there's nodenyingthat Schunanhas
a talent for capturingfantasticstreet portraits.
CompIeteDigitaI
Photography.
5eventhEdition
L26.99i BenLongi Delnar CengageLearning
SBN9/8-I-285-0//26-0
Clainingtobea one-stopresourcefor advice
andhow-toinfornationondigital photography,
you'dexpect this titletobenannoth, andyou'd
beright. Coveringeverythingfronhowtoholda
canera throughtoconpositionandexposure,
andhowtoprocess your inages, it leaves no
stoneunturned. nfornationis presentedina
clear, conciseandeasy-to-followfornat, albeit
a bit school textbook -but that's downtothe
sheer anount of infocrannedin.
CreatingHDkPhotos
LI9.99i HaroldDavis i AnphotoBooks
SBN9/8-0-8230-8586-6
1henentionof HDR, or HighDynanicRange,
photography is enoughtosenda shiver down
sonepeople's spines. At rst glance, you'll
probably expect toopenthis book andbe
greetedby pageuponpageof retina-burning
over-processedHDRinages -however, what
lies withinis pleasantly surprising. Sure, there's
theoddinagethat looks likeit's beentakentoo
far, but for thenost part theauthor guides you
throughtheright way totreat HDRinages and
evencovers howtoavoidovercookingyour
shots, inour eyes, thenost inportant part of
creatinga HDRinage.


JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 1
PH1DAR LPSURLl1.1S
Weekends through
toMarch20IJ
Deer feedingat
AttinghamPark
Seethepark wardens
feedingthefallowdeer at
thebeautiful Attinghan
Park inShrewsbury this
winter. 1hedeer arefedat
2pnonweekends and
every day duringschool
andChristnas holidays
(excludingChristnas
Day). Dress warnandtake
a telephotolens andtry to
capturesoneclose-up
winter wildlife.
www.nat|ona|trust.org.u|/
att|ngnanpar|/
25December
Christmas Day
or nost fanilies, having
everyoneinthesane
placeat thesanetineis a
rareoccurrencel 1ake
advantageof thefanily
dressedintheir Christnas
best andcapturesone
fornal fanily portraits.
Just renenber toget it
donebeforelunchand
everyonefalls asleepon
thesofa intheafternoonl
25December
Christmas Dayswims
Atruedisplay of British
eccentricity, hundreds of
swinners descendupon
coastlines aroundthe
country for a Christnas
norningswininfreezing
conditions. Headtothe
SerpentineinLondonfor
thePeter PanCup
SwinningRaceor
Brightonseafront. 1ake
your telephotolens anda
thernos of warndrink
andbegladthat you'reon
dry landl
www.serpent|ne
sw|nn|ngc|uo.con
27December to
IJanuary
Edinburgh's
Hogmanay
Noonecelebrates the
coningof thenewyear
quiteliketheScottish.
Ldinburgh's Hognanay
festival is thebiggest of its
kindandfestivities begin
witha carnival on2/
Decenber. 1henain
event is, of course, the
NewYear's Lve
celebrations on3I
Decenber, sotakea fast
prineandshoot at a wide
aperturefor celebratory
inages packedwith
atnosphere.
www.ed|nourgns
nognanay.con
29December
TheigGame.
HarIequins vs
LondonIrish
Bringtogether twohuge
teans intheinpressive
1wickenhanStadiunand
you'reguaranteeda good
show. Last year 82,000
fans raisedtheroof,
creatinga fantastic
atnosphere. 1akeyour
wide-anglelens and
capturethenagnicence
of this legendary stadiun
packedtothehilt.
www.tneo|ggane.co.u|
JIDecember
Newear's Eve
CapturetheNewYear's
celebrationsl Wherever
youare, therewill bea
party or event not far
away. ireworks, singing
anddancingaresureto
feature, soit's a great
chancetograbsone
shots of peoplebringingin
theNewYear withstyle.
or soneof thebest
reworks, headfor the
LondonLyeinthecapital's
centreandenjoy theview
across the1hanes.
IJanuary
LondonNewear's
DayParade
What better way toclear
out thoseNewYear's Day
cobwebs thana visit tothe
capital towitness thehuge
LondonNewYear's Day
Parade Withalnost
I0,000perforners
expected, fronnarching
bands todancers and
nusicians, it's a great
chancetotakeshots of
theNewYear festivities.
www.|ondonparade.co.u|
I2andIJJanuary
Autosport
InternationaI
Start your enginesl 1he
20I3notorsport calendar
kicks ohwithAutosport
nternational at theNLCin
Birninghan. eaturing
every level of notor racing
fronkartinguptorally
cars andornula I, takea
wide-anglezoonto
shoot thecars upcloseor
your trusty 50nnfiI.8to
pick out thedetails. A
denitenust-seefor all
notorsport enthusiasts.
www.autosport
|nternat|ona|.con
II-IJJanuary
TheWhittIesey5traw
ear FestivaI
Possibly oneof the
strangest Britishtraditions,
theWhittlesey StrawBear
estival sees a nan
dressedheadtotoein
strawandparaded
throughthestreets of this
snall Canbridgeshire
town. 1hetraditiondates
back tothelateI800s.
www.strawoear.org.u|
I2to20January
Londonoat 5how
London's Lxcel Centre
plays host tooneof
Lurope's largest boat
shows. 1heexhibition
halls andLxcel Marina will
bepackedwithnillions of
pounds worthof nautical
vessels, withexclusive
boat launches throughout
theshow. Wecandrean.
www.|ondonooat
snow.con
LvLN1SDAR
WHLRL1G8WHA11SH11HSMN1H
dnburgh's Hogmanay
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NewYear's ve
nLondon
LondonNewYear's
DayParade

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JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 19
Haveyousonetningtosayabout tnenagazineor pnotograpnyingeneral tnat
you'dliketosnarewitnotner readersWe'dlovetonear fronyou, soplease
writetousat our usual addressor sendanenail to. dslrfeedbackdennis.co.uk
RLADLR LLDBAC
DkOPITLIKEIT'5HOT
'vebeenreadingyour Decenber issueandnoticedyour
waterdropfeaturewas very sinilar tony ehorts. useda very
sinilar set-upbut found, throughtrial anderror, sonetweaks
that nakethepictures slightly better. irstly, usea snall black
circular tublledtothebrinwithwater. As it's circular, thewave
bounces straight back tothecentrewhichstops yougetting
nessy ripples betweenshots. havethecanera alnost level with
thewater, then positionthefaginthebackgroundsothat half
of thefagis abovethewater andthebottonhalf of thefagis in
therefection. alsofreezethewater togivea slower constant
drip, allowingthewater tosettlebetweendrops. generally positionthefashohtoonesideas
youdid, but positioningit centrally pointingdownat thebackgroundgives a noreevenlight.
Pau| 8ever|ey
dtor's rep|y: Thanks for thetips, PauI -your imageshows howweII your systemworks!
ODWARDFURYPHOTO
Pick upyour copy of this
nonth's (DigitalSLRPhototo
seeny work inthenag.
www.edwardfury.co.uk
OGIYLALOU
(DigitalSLRPhotothis is the
nagthat will changeny
photography experience,
hopingtoreadnoreissuesl
OIANTIMM5
(DigitalSLRPhotogonna sub
tonagazine-newtodlsr
world. Just purchasedSony
a5/ and1anronI8-2/0.
O5TUARTPPPR
Hardweek behindne, pot of
freshcoheebrewed, nothing
elsetodobut readlatest
editionof (DigitalSLRPhoto.
Perfect Saturdayl
O5UAVARV
(DigitalSLRPhoto1heonly
nagazine subscribeto.
Youguys areawesonel
TOPTWT5
AGITUP
reallyappreciatethis
nagazineandthedepthof
treatnent that is givento
reviews andcritiques. was
gladtoseetheSeptenber
issuereviewedcanerabags
over I00and, inparticular,
that the1anracLvolution9
canerabag, whilst not the
best at everything, was nore
highlyfanciedthantheother
bags youtested. Havinghad
ninesinceAugust, 'dhaveto
agreethat it has sonegreat
features, but your reviewfails
tonentionconfort. At
50-55nnwide, thestraps
don't providealot of confort
after longperiods of wear. So
what todo purchasednine
fronanonlinecanerastore
hereinAustralia, but they
wouldn't takeit backas it
wasn't ananufacturingfault.
So went toalocal hikingand
travel goods storeandby
chancediscoveredtheyhada
strapsystenthat couldbe
purchasedindependentlyof
their backpacks, so bought a
set, pickedapart thestitching
ontheLvolution9, installed
sonelargeslideclips tohold
thestraps, andnow havea
canerabagwithdetachable
straps about 80nnwide
across theshoulder, which
slides easilyaroundnybody
as aone-strapslingbagas
well. sent 1anracavideoof
theconversionand received
afree1-shirt (l) andthe
nessagethat theylikeny
ideaandthey'll suggest it to
their designers. neother
reviewonission-thebag
easilytakes aI/inlaptop, one
of thereasons bought it.
CregMunyard
dtor's rep|y: Genius idea,
Greg! WeIikeyour styIe.
AHEADOFTHEGAME
havebeenpractising3D
photographyfor twoyears
andwas veryencouragedto
readNickSaglinbeni's words
(Novenber 20I2). Without
doubt, anajor negativeare
theglasses peoplehaveto
wear, whichis ashaneas they
arenissingout. As Nick
correctlystates, taking3D
pictures alsorequires acertain
level of photographicskill,
especiallywhenusingasingle
canera. 3Dcaneras are
available, though, that sinplify
theprocess -suchas nyuji
W3, whichhas anexcellent
3Dviewingscreenthat works
without glasses. When
technologysinilar tothis
appears inanoreappreciable
size, suchas onatablet, then
3Dwill indeednallyarrive.
nages frontheuji are
Greg's bag: buiIt for comfort
adequatefor snall prints and
theprojectedanaglyphs
showednycaneraclubwere
well received. or higher
quality3Dpictures, 'vebuilt a
slidebar byadaptinganold
tripod. t is excitingtothink
that if Nick's Appleprediction
cones true, will haveahead
start inthenediunl
|ev|nHarvey
dtor's rep|y: Thefuture's
bright, thefuture's 3D!
MOR 55NTIAL
RADINGFROM
TH XPRT5 AT
DIGITAL 5LR
PHOTOGRAPHY.
rder your print or
digital copydirect
fronmagbooks.com
or call 08448440053
.

5tuartLow
Age: 4/ Occupaton: Conpany director
LoneIy Tree, GIenfarg. '1his was takenclose towhere
live so knowthis tree andlocationwell. nthis evening
it was overcast andshowery, but the occasional patchof
light was reaching the landscape below. walkedupthe
hill tothis vantage point andwaitedfor over anhour for
the suntobreak throughthe clouds. Whenit nally did,
it produceda brilliant light lasting only a fewninutes.
CanonEO55DMkII withZeissDistagon21mmfl2.8.
Exposure: 1l15secat fl16(I5O100).

SPNSRLDBY

5tuart is fortunatetoIive
insuchabeautifuI area, but his
stunningimages arenot dueto
Iuck. His technique, eyefor
compositionandcamera
skiIIs arewhyhis images
aresuchasuccess.
Daniel Lezano

(cont|nued
GrouseHut, GIenOuaich. '1his snall hut was shroudedinnystery for
ne. t sits by the side of the roadinGlenuaich, Perthshire, andfor
nany years ny cycling friends and stoppedhere for a spot of lunch. 've
takennany photos of this hut over the years so'nfaniliar withthe best
conpositions. or this shot usedanNDsoft gradfor the foreground
andanND6hardgradfor the sky, along withan8IAlter towarnupthe
tones. t turns out the hut is infact a lunchhut for grouse shooters.
CanonEO55DMkII withaCanonEF85mmfl1.8U5MIens.
Exposure: 1l8secat fl16(I5O100).
EIieLighthouse. '1his is ny favourite little lighthouse onthe Last Neuk
of ife, Scotland. cone here oftenandthe noodvaries fronserene
andwarntodark andnoody. nthis evening the noodswitchedfron
the forner tothe latter very quicklyl 1his inage is a blendof two
exposures -one exposedfor the foregroundandone exposedfor the
dark sky. overlaidthe sky layer inPhotoshopanduseda Layer Mask and
soft brushtoreveal the foreground.
CanonEO55DMkII withaZeissDistagon21mmfl2.8Iens.
Exposure: 1l15secat fl11(I5O100).
IackLoch. ''dvisitedthis spot every day for about three weeks inthe
hope of a decent sunset, but every night the sky wouldcloudover. 1his
particular evening, things weren't looking pronising, but as luck would
have it, the clouds broke andthe sunnally burst through. useda
conbinationof hardandsoft grads toholdback the sky andthenused
the Dodge andBurn1ools inPhotoshoptolift the foreground.
CanonEO55DMkII withaZeissDistagon21mmfl2.8Iens.
Exposure: 1l6secat fl11(I5O50).
oatIand. 'Sadly, this little ruinwon't be aroundfor nuchlonger as it's
beenscheduledtobe denolishedandrebuilt. t's a shane because it's a
landnark that has beenextrenely well knowntoshernen, walkers and
locals for nany years. 1his was takenona hazy evening as the late light
was illuninating the side of the building. useda custonin-canera
Picture Style toset the noodof the inage, along withanNDsoft gradto
balance the exposure andan8IAlter towarnupthe scene.
CanonEO55DMkII withaCanonEF17-40mmfl4LIens.
Exposure: Twosecondsat fl22(I5O50).
SPNSRLDBY
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 2S

Putt 5akdhnagoo|
Age: 26 Occupaton: Ph.D. student
Mt. Assiniboine. '1his inage was takenonthe shore of Lake
Menphrenagog, uebec, just as rst light hit the peak of Mount
Assiniboine. My friends and hikedfor 30kntoreachthis locationand
canpedhere for three days. nthe rst twodays, the skies were cloudy
andthe peak of the nountainwasn't visible. ortunately, onthe nal day
of our tripwe were treatedtoa clear sky anda glorious sunrise. useda
circular polariser tocontrol the refectioninthe lake and, during
post-processing, liftedthe shadows toinprove the dynanic range and
alsoappliedsone adjustnents tocontrast, clarity andsaturation.
CanonEO55DMkII withaCanonEF17-40mmfl4LU5MIens.
Exposure: 1l8secat fl11(I5O100).
LauraVa|ere
Age: 25 Occupaton: Photographer
VintagePortrait. ' shot this natural-light portrait ina studiowithlarge
windows tothe nodel's right. 1he harshlight coning inthroughthe
windowwas softenedby hanging white curtains and useda Zebra
Sunbounce refector tolift the shadows onthe left side of her face. love
toshoot innatural light -it gives a certainsoftness tothe shot. useda
wide aperture tofocus attentiononthe nodel's face andtosoftenthe
out-of-focus areas. npost-processing, useda sepia lter toachieve
the vintage look andboostedthe contrast.
CanonEO5-1DMkIVwithaCanonEF50mmfl1.2LU5MIens.
Exposure: 1l125secat fl2.2(I5O100).
Funny Faces. 'Shooting this set of ny nodel, Sandy, was sonuchfunl
1he process renindedne of hownuch love todony job. chose to
use the CanonL 85nnfiI.2L as it's one of ny favourite portrait lenses.
shot using natural light against a plainwall, using a Zebra Sunbounce
refector tocontrol the shadows. useda wide aperture tonininise any
distractions onthe backgroundand, inpost-processing, nade basic
adjustnents tocontrast before converting toblack owhite.
www./s-pnotograpn/e.com
CanonEO5-1DMkIVwithaCanonEF85mmfl1.2LU5MIens.
Exposure: 1l125secat fl2.5(I5O125).
COMMNT
Canadahas someof the
worId's best scenics andPutt
has doneanexceptionaI jobof
capturingthesymmetricaI
beautyof this one. Great
useof apoIariser.
CarolineWilkinson
SPNSRLDBY
24l DIGITAL 5LkPHOTOGkAPHl JANUAR201S



JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 2
SPNSRLDBY
Lnac5anz
Age: 28 Occupaton: Photographer
Teatime. ' was connissionedfor a fashionshoot andthought that the
dress wouldsuit a ronantic, retro-style inage. nthe day of the shoot
we were greetedwithovercast skies -perfect for soft andevennatural
light. useda refector toaddsone control tothe lighting and shot
using anaperture of fi2.8torender the backgroundsoft. prefer
low-contrast inages andsoinpost-processing adjustedthe exposure
andbrightness tosuit. After tidying any inperfections, novedonto
setting the colours andtones of the inage tosuit the retrostyle.
CanonEO55DMkII withaCanonEF85mmfl1.2LIens.
Exposure: 1l800secat fl2.8(I5O640).
NunoMota
Age: 32 Occupaton: Ceranist
Pier. '1his structural nasterpiece was built by sherneninCarrasqueira,
Portugal. 1oachieve this conposition, loweredthe legs of ny tripod
right downtogaina lowvantage point. useda Hitechten-stopNDlter
toblur all novenent inthe water anda 0.6NDhardgradonthe sky to
balance the exposure. thenadjustedthe White Balance inAdobe
Canera Rawandclonedout a snall boat onthe left-handside as
foundit distracting.
CanonEO5550Dwitha5igma10-20mmfl4-5.6EXDCH5MIens.
Exposure: 89secondsat fl11(I5O200).
Irritated. ' took this inage inSeixal, Portugal, a fewninutes after
sunset. useda 0.9NDlter tolengthenthe exposure anddrag the
clouds out anda 0.6NDsoft gradtoholdback the sky. Sone nonths
later, revisitedthe inage anddecidedtocarry out sone Photoshop
work onit. convertedthe inage toblack owhite andincreasedthe
contrast toadddrana tothe scene. thenaddedsone nist using the
Brush1ool andpastedinthe fock of birds fronanother inage.
CanonEO5550Dwitha5igma10-20mmfl4-5.6EXDCH5MIens.
Exposure: 75secondsat fl11(I5O100).
COMMNT
Nuno's images areagreat
exampIeof howyoucan
combinefantasticphotography
andcreativeprocessingin
order tocreateeye-catching
anddramaticimages.
JordanButters
JANUAR 201S l l
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28l DIGITAL 5LkPHOTOGkAPHl JANUAR201S

HLNGH1HLDS nany nysteries and


surprises for all whoventureintoits hidden
depths. ootsteps echonenacingly through
desertedstreets, grownnenquiver at theclatter
of dustbinlids andkids hurry honefronschool,
terriedby tales of bogeynen. But whilenost of
thepopulationarerushingout of thedarkness and
intotheconfort of their hones, photographers
everywhereareheadingintoit witha tripodunder
their arn, a canera over their shoulder anda big
fat grinontheir face. Why Becausenight tineis
photographicfuntine. Lventhenost nundane
scenes by day aretransfornedat night. loodlit
buildings standout vividly against thedarkening
sky, neonsigns ficker outsidepubs, clubs and
bars, anda warn, welconingglowradiates fron
every shopwindow. Puddles andparkedcars
refect colour fronall around, light pollutionfron
distant cities adds a surreal glowtothesky long
after sunset is over, passingtrahccreates
colourful trails that stretchintothedistanceand
noonlight dances onthesurfaceof thesea.
Wherever youhappentondyourself, therewill
always begreat night shots tobehad, andthanks
tothewonders of digital technology, producing
perfect results is easier nowthanever before.
1hekey tosuccess is all downtotining.
1hetern'night photography' canbea little
confusingbecausethebest periodinwhichto
shoot isn't at night at all, but duringthetwilight
periodafter sunset whenarticial illunination
suchas foodlightingonbuildings is clearly visible,
but there's still a littledaylight aroundto'll-in'
theshadows andsonecolour inthesky toprovide
anattractivebackdrop.
Duringthis crossover periodbetweenday and
night, natural andarticial lightingis alsoin
balance, socontrast is nanageableandyoucan
capturescenes full of detail andcolour. f you
shoot tooearly, thearticial lightingwon't be
obvious enoughandyour pictures will look rather
wishy-washy. Leaveit toolateandonly theareas lit
by thearticial lightingwill recordwhilethe
shadows andthesky coneout black.
1onakethenost of this brief period, which
lasts anythingfron20ninutes toanhour,
dependingonthetineof year andweather
conditions, scout out your locationduringtheday
soyoucandecidewhat toshoot andwhereto
shoot fron. 1henheadback aroundsunset soyou
canwatchandwait until thedaylight begins to
fadeandnan-nadeilluninationtakes over.
TECHNlOUE
OFTHEMONTH...
ASNGH1ALLDLSCLNDS, AWLAL1HCLURULPH1
PPR1UN1LSL1LRALLYGLWN1HLDAR, SWHYN1GRAB
YUR1RPDANDGNSLARCHNSPRA1NW1HAL11LL
HLLPRM1HSMN1H'S1PNGH1PH1GRAPHY1PS
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5TAkTkAIL5
f youleave your canera's
shutter openfor long enough, it's
possible torecordstars noving in
the night sky. 1odothis, youneeda
clear night sothere are lots of stars
visible andyouneedtobe as far
away frontowns andcities as
possible solight pollutiondoesn't
spoil the shots. Use a conpass to
locate the Pole Star (inthe north)
andinclude it inyour shots sothat
the star trails recordas concentric
rings. Set your canera toBulband
a noderate Ssuchas I00or 200,
thennount it ona tripod. Use your
widest lens toinclude lots of sky,
wait until the stars are clearly visible,
thenlock the shutter openusing a
renote release for anhour or two.
Alternatively, use aninterval tiner
anda higher Stotake 200-300
30-secondexposures, then
'stack' thenusing Photoshopor
software suchas nage Stacker
(www.tawbaware.con). 1his latter
nethoddrastically reduces the
anount of noise inthe nal inage.

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TkAFFICTkAIL5
Aclassic night subject is trahc trails -the
trails of light createdby noving trahc. or the
best results, the roads needtobe busy at twilight
sothere's still colour inthe sky -ctober to
Marchis the best tine of the year for this. Lither
shoot frona bridge or building soyou're looking
downona busy roador roundabout, or set up
your canera by the side of a road, taking care
not tostray tooclose tothe edge. nclude
buildings inthe shot, too, toaddinterest anduse
exposures of 20to30seconds torecordlots of
trails andallowcars tonove throughthe frane.
5
CHkI5TMA5FE5TIVITIE5
nthe build-uptoChristnas, towns and
cities are adornedwiththe warnglowof festive
decorations andthis creates evennore night
photography opportunities thannornal. Market
squares andtowncentres are the places tohead
for as that's where the festive illuninations tend
tobe concentrated, althoughbusy shopping
streets are oftendecorated, too. Shoot onbusy
evenings, suchas late-night shopping, soyou
canrecordcrowds of people nilling aroundas a
sea of blurredbodies anduse exposures of one
to20seconds tovary the ehect.
J
CIT5CAPE5
inda highviewpoint over a busy townor
city andyoucan't fail totake stunning night
shots -there's just sonuchdetail andcolour.
Headtothe roof of a tall building, shoot frona
hotel windowor drive tothe topof a nultistorey
car park. Set your canera toAutoWhite Balance
(AWB) tocapture a range of colours inthe scene,
fronthe coolness of areas lit by twilight tothe
warnglowof street lights andthe vividgreenof
fuorescent lanps. nclude sone sky, too, if you
can-light pollutioncancreate wonderful tones
inthe clouds.
I
MOON5CAPE5
Have youever triedshooting landscapes by
noonlight f not, give it a go-you'll be anazed
by the results. 1he noonacts like a weaker
versionof the sun, bathing scenes insoft light and
casting cool shadows, andif youexpose your
shots for long enough, they canlook as if they
were takeninthe niddle of the day, only witha
slightly surreal andspooky atnosphere. nclear
nights, capture light fronthe noonshinnering
onwater andrenenber that if youinclude the
nooninexposures of a secondor nore, not only
will it overexpose, but it will alsoblur.
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 29

6
AFTEk5UN5ETLAND5CAPE
Most landscape photographers pack up
andheadhone once the sunhas gone down,
but it's worthhanging back for a little longer
because as the last traces of colour drainfron
the sky, youcanshoot sone anazing inages.
Because the atnosphere acts like a huge
refector, the light is very soft andalsotakes on
the colour inthe sky, soit canbe anything fron
soft purple todeepblue. deally, headfor water
soyoucancapture the refectedlight -a caln
lake or a coastal viewis perfect. f there's a town
or city nearby, light pollutionwill addcolour to
the sky, evenif it looks dark tothe nakedeye.
MAGL. RSS HDDN11

Nignt patrol
TECHNlOUE
OFTHEMONTH...

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LIGHTINGPAINTINGPainting withlight is a great technique totry
at night andtakes onnany forns. Aneasy optionis touse a powerful
torchor a fashguntoilluninate a feature inthe foregroundof a scene,
suchas a jetty ona lake, or a statue or nonunent against the night sky. n
a bigger scale youcoulduse nultiple fashbursts toilluninate the exterior
of a building by walking aroundandring the fashat diherent areas. f
you're feeling anbitious, set upseveral fashguns bothinside andout of a
desertedbuilding anduse gels tocreate colouredlight. inally, why not
light-paint using sparklers totrace the outline of a personor object
9
CIT5TkEET5
1owns andcities really cone to
life at night, whendiherent types of
articial lighting create a
kaleidoscope of colour. Shop
windows glow, street lanps cast
pools of light onwet pavenents,
neonsigns ficker against the
darkening sky. All youneedtodois
nount your canera ona tripodand
shoot itl Look for foreground
interest, suchas a parkedcar, and
use a wide-angle lens tocapture a
broadview. Alternatively, switchto
a telezoonandconpress
perspective sothe buildings, street
lanps andtrahc appear crowded
together. Shoot while there's
colour inthe sky andcheck your
histograns -exposure bracketing
nay be necessary.
7
NIGHTPOkTkAIT5
ancy taking sone outdoor portraits
at night Youhave twonainoptions. 1he
rst is toshoot handheldat highS,
posing your subject inthe glowof articial
illunination. 1he other is toconbine a
burst of fashtolight your subject witha
slowshutter speedtorecordthe anbient
light inthe background-this 'slowsync'
technique is ideal whenshooting portraits
against a backgroundof beautiful bokeh.
I0
FAIkGkOUNDFUN
unfairs oher lots of
diherent night andlow-light
photoopportunities. f youdon't
fancy lugging a tripodaround,
howabout shooting high-S
candids f youset your DSLRto
S3200or higher, you'll be able
toshoot after dark using the glow
of the funfair. Alternatively, take
your tripodanduse exposures of
ve to30seconds torecord
novenent inspinning rides such
as the big wheel or waltzer. Do
this before dark sothere's colour
inthe sky anduse a wide-angle
lens frona lowviewpoint.
Conbining a burst of fashwitha
slowshutter speedis alsoa great
way tocapture people having fun
as the fashfreezes their notion.
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl S1


WINDOW-LITLOW-KEPOkTkAIT58CkEATEAPEk5ONALI5EDCALENDAk
Coasta| sunsets Magc-hour tme-|apse
Capturecaptivatingcoloursbythesea
withoursinplestep-by-stepguide
Lnbracethistineofyeartocreate
stunningtine-lapsecityscapes
Abstract st||-|fe
ureasyhow-tohelpsyoucreate
graphicinagesusingcolouredpaper
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl SS

Get tnepicture

Capturestunningseasideskies
kO55HODDINOTT. 1herearen't nanywhocanresist a
goodsunset -for aphotographer, thelureof abeautiful
nulticolouredskycan't beignored. At sunset fairlyordinary
scenes canbetransfornedbythesky's extraordinary
colour andglow, andoneof thebest places tobeinthese
conditions is besidethesea. Water refects light andthesky's warnth,
whilethenovenent of inconingwaves addnotionandinterest to
wide-angleshots. LivingintheU, nost of us arewithinanhour or
two's driveof theseaside-althoughobviouslysoneparts of theU
arebetter suitedtoshootingcoastal sunsets thanothers. 1henorth
Cornishcoast, closetowhere live, is aparticularlygoodspot tovisit.
Coastal sunsets arepopular toshoot, but far froneasy. irstly, in
reality, nost sunsets arehugely disappointing, barely naterialisingat
all. Perfect conditions arethosethat don't havetoonuchor too
littlecloudinthesky -just enoughtoradiatethesunset's warnth,
but not sonuchthat it obscures thesun. 1heproblenis, good
sunsets arealnost inpossibletopredict. Great colour canbebrief
andunexpected. npractice, theonly way toguaranteegoodsunset
inages is tosinply keepheadingout withyour canera at every
availableopportunity -sooner or later, your persistencewill be
rewardedwithananazingsky tophotograph.
Planningis crucial whenshootingsunsets. t is helpful toknow
thesun's positioninrelationtoyour viewpoint beforehandand
thankfully it's fairly easy toresearchwiththehelpof theinternet and
phoneapps. 1hePhotographer's Lpheneris (photoepheneris.con)
is oneof thenost popular suncalculators, but thereareothers.
Auseful appthat 'veusedis SunScout -yousinply holdyour
snartphoneuptothesky andit plots anddisplays thesun's path.
5hoot coasta| sunsets
or beauty, nothingbeatsacolourful skyover theseaat sunset andthistineof year isperfect for it

S6l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
J
UseanNDgradhIter Lvenwhenthe sunis
lowandits intensity reduced, the sky will still
be considerably brighter thanthe foreground. As
a result, your canera will either correctly neter
for the sky, resulting inforegroundthat is too
dark, or it will neter for the foreground, resulting
inanoverexposedsky. Unless youfancy
Photoshopwork afterwards, the only in-canera
solutionis using graduatedNDlters. ne witha
two- or three-stopdensity is nost useful.
I
Doyour research Before youvisit, check tide
tines for the area (www.tidetines.org.uk)
andalsoplot the sun's positionusing a suni
nooncalculator like 1he Photographer's
Lpheneris. Check the tine of sunset andarrive
at least anhour beforehandtolocate the best
viewpoints. f youhave a snartphone,
reconnendthe SunScout apptoplot where
the sunwill set once onlocation, enabling you
toselect your viewpoint accordingly.
5
Adjust theWhiteaIance Whenshooting
sunsets, don't overlook the usefulness of
White Balance. Althoughyour canera's Auto
White Balance usually does a great job, it canbe
worthswitching tothe Cloudy or Shade preset
togive sunsets a boost -particularly if capturing
JPLGs. Doing sowill warnupandenhance your
sunsets. f youare shooting inRaw, youcan
always adjust colour tenperature during
post-processing.
2
5cout thearea Look for a goodviewpoint
where youcanshoot towards the setting
sun. Rocks, sandpatterns andpools are great
conpositional aids for coastal sunsets. Unless
dihusedby cloud, the sun's intensity is nornally
toogreat totake photos long before the sun
disappears belowthe horizon. 1herefore, you
needtobe patient. f youtry totake pictures
toosoon, your inages will suher fronfare and
skies will be blownout.
4
AIignyour hIter nthis instance, useda
three-stopNDhardgradlter, attaching it
via a Lee ilters lter holder. AnNDgradwitha
hardtransitionis oftenbest for coastal sunsets,
as the horizonis usually fairly even. Whenusing
NDgradlters, carefully alignthe transitional
zone withthe horizonfor seanless results. 1he
result here is nuchinproved, but the inage
looks onthe cool side, rather thanshowing oh
the warnthof the sunset.
Get tnepicture Capturestunningseasideskies
Winter is a great tineof year for tryingout
this technique. Sunset is early, neaningyou
don't nishtakingphotos toolate-ideal if
youhavea longdrivehone-andbeaches
arequieter, resultinginfewer footprints in
thesandtoavoid. deally, scopeout
locations beforehandsoyouhaveanidea of
potential viewpoints. f youarevisitinga
locationfor therst tine, arriveat least two
hours beforesunset toallowsuhcient tine
toexplore, growfaniliar withtheplaceand
identify suitableconpositions. Look for
viewpoints whereyouwill not only beable
toshoot inthesunset's direction, but also
includeinterestingforeground-rocky
outcrops, sandpatterns, a weathered
groyneor refectivepool, for exanple.
Alsocheck thetidetine-not only is this
inportant frona safety aspect, but the
tide's height greatly dictates whereyoucan
shoot fron.
nterns of kit, a tripodis essential for
stability as youwill beworkinginlowlight.
1helevel of contrast betweenthebright sky
anddarker foregroundnornally exceeds
your canera's dynanicrange, soNDgrads
arerequired, too-unless youprefer
exposureblending. Whenthereis great
colour, younornally want togowideand
includelots of sky, soa short focal lengthin
theregionof I/-35nnis a goodlens
choice. nterns of set-up, aperture-priority
nodeis best for scenics, givingyoufull
control over depth-of-eld, andselecting
anapertureof fiII tofiI6provides good
front-to-back sharpness. Presuningyouare
usinga tripod, keeptheSratingset tothe
lowest settingfor optinal inagequality and
colour reproduction. Warnclothes are
essential, as it canbebitter by thecoast this
tineof year. Althoughwellies aren't the
nost glanorous or confortablefootwear,
they areideal for whenyouwant togo
paddlingonthebeach. Atorchis alsouseful
-if thereis a wonderful afterglow, it'll be
dark by thetineyouwalk back tothecar.
Withyour canera bagall packedand
ready, it's tinetoheadtothecoast, with
ngers tightly crossedfor a crackingsunset.


Don't packupandheadhometoosoon,
thebest coIour andconditions often
don't appear untiI after sunset. eautifuI
shades of red, orangeandpinkcanform
intheskyandyoudon't want tobe
waIkingbacktothecar if this happens.
Exposuretimes naturaIIygrowIonger in
theIowIight, soatripodis essentiaI.
5hutter speeds exceedingtenseconds
arenot uncommon, renderingwater
movement as anethereaI bIur.
lMAGE
0ETAlL5
Kt: NikonD800witn
24-0nnfl2.8
Mode: Aperture-priority
xposure: 25seconds at
fl16(S100)

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Focal length: 300mm s Exposure: F/5.6 Aperture fully opened 1/200 sec s lSO100 s WB Daylight. Handheld

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lntro 2020 |td. Pr|ors Way, Ma|denhead, Berksh|re S|6 2HP
Te|: 01628 674411 sa|es@|ntro2020.co.uk

Get tnepicture Paper art
Createsmp|e
abstract mages
Don't let arainydaystopplay, createdynanicinagesin
theconfort of your ownhoneusingcolouredpaper.
NILE5HHANGE. Anappealingaspect of photography
for neis turninganoftenoverlookedobject intoan
attractive, abstract inage. Paper is all aroundus, yet rarely
dowerealiseits potential as a photographicsubject.
nages withinterestingshapes, curves andblending
vibrant colours canall becreatedat honeusingsheets of coloured
paper, a fewclips, a bit of light andyour canera gear.
Youdon't needhigh-endkit for this techniquetowork, anycanera
andnacrolens will do, althoughif youdon't haveanacrolens you
canalsouseextensiontubes, ideallywitha50nnfiI.8lens. Atripod
is alsohelpful as it not onlyallows youtouseaslowshutter speedto
nakethenost of anyavailablelight, but it alsolets younaintain
focus andleaves your hands freetotweaktheshapeof thepaper.
Any kindof paper is suitable, althoughthethinner thebetter,
thinpaper nakes it easier tofornsnoothcurves andshapes
without creasing. As for size, A4is ideal for forningtheshapes,
althougha coupleof sheets of A3ina variety of shades will conein
handy as a backdrop. 1ry tochoosea selectionof colours that both
conplenent andcontrast withoneanother for diherent ehects.
1here's a lot of experinentationinvolvedinthis technique, but
onceyou'venasteredthebasics, try introducingnewelenents,
suchas shootingagainst a nirror toincluderefections, using
texturedpaper or addingcolouredgels toyour lights.

40l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Exposure
Set your canera toaperture-priority node
andtry tochoose a lowStonaintain
highinage quality andgoodcolour
representation. Select a wide aperture
betweenfi2.8tofi8toenploy a shallow
depth-of-eldanduse selective focusing
toachieve a quick fall-ohof focus andsoft
background. f you're using a nacrolens,
your depth-of-eldwill already be quite
linitedsoyounay needtostopthe lens
downtoa narrower aperture if youwant to
get nore thanthe edge of the paper in
focus. Use your canera's depth-of-eld
previewbutton, if it has one, tohelpjudge
this. Alsorenenber that your canera's
sensor needs tobe onthe sane focal plane
andparallel tothe subject toensure that
younaxinise the available depth-of-eld.
Get tnepicture
5ET-UPYou'll needtwolight sources -
ideally twofashguns, or windowlight andone
fashgun. Youcanget various ehects depending
onwhereyoupositionthefashes (seepanel,
opposite). 1ry keepingthefashoncanera and
bouncingthelight oha nearby wall or white
surface, placingit behindthepaper as a
backlight, underneaththepaper (throughglass)
or fronthesidesoonly toilluninatetheedges
GETTHE5HAPE5PlaceanA3-sized
colouredsheet of paper ona tabletoforna
seanless backgroundandfolduptosix layers of
paper, withdiherent colour conbinations, to
createinterestingpatterns. Securethebent
papers witha bulldogclipor paper clip. 1ry using
of thepaper, just toseetheehects youcanget.
or this inage, 'veusedtwofashguns. oneon
canera andtheother behindandtothesideof
thepaper, bothinnanual node. 1heon-canera
fashis set toIiI6power toaddsonell light
andtheoh-canera fashset toIi4power to
createcontrast. 1rigger your fashes renotely,
either usingtheir infraredbeans (if supported),
a wireless trigger or synccable.
sonewhitepaper inbetweencolouredsheets to
creategradient refections oneachside. 1he
conbinationof backgroundpaper colour and
subject is really inportant. contrastingcolours
canaddpunch, whereas sinilar colours can
producenoresoothing, low-contrast inages.

FinaI image
5traight out of camera, your image
might Iookabit duII. Adjust the
Huel5aturationor use5eIective
CoIor adjustment Iayers in
Photoshoptogiveit morepunch.
Diherent Iightingehects
ACKLIGHTTHEPAPEkBy placingthefashbehindthepaper background, youcancreatesoneinteresting
shadowandgradient ehects. 1heangle, positionandpower of thefashwill all alter theehect.
Paper art
lMAGE
0ETAlL5
Kt: CanonLS 5DMk
8CanonL 100nn
fl2.8USMMacro
Mode: Aperture-priority
xposure: 1l125sec
at fl5.6(S100)
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 41
U5EWINDOWLIGHTf youwant
tokeepit sinple, stick towindow
light. You'll needa slower shutter
speedthanwithfash. Youcould
alsotry tocapturenotion, too,
by usinga fantoblowthepaper.
PEkFECTOUk5IDELIGHTING
Shinea desk lanpor positionyour
fashgunsothat it only illuninates
theedges of thepaper andusea
wideaperturetoblur the
backgroundfor strikingresults.
GETCkEATIVE1ry usingdiherent
colouredpapers witha sidelight to
adddepthtoyour inageor even
illuninateyour sculpturefron
underneath, througha sheet of
frostedglass or Perspex.

42l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
CHOO5EOUkEXPO5UkESet your canera toaperture-priority nodeor nanual, whichever
youndeasiest, anddial infi8tofiII for suhcient depth-of-eld. You'll needtousenanual focusing
toensurethefocus doesn't changebetweenexposures. 1ogiveyourself norefexibility, shoot inRaw
andbracket your daylight exposures by +I and-I. As night gets darker, younay needtoincreasethe
brackets uptoveinages toincludea +2or +3tocapturetheshadowdetail. Youcanalways throw
away unwantedshots later but youcannot goback andreshoot as easilyl Usea renotereleaseor the
canera's self-tiner toensureyouavoidcanera shakewithlongexposures.
5ET-UP1akegreat caretoconposeyour shot
properly. look out for itens creepingintothe
edges of theinage, liketreebranches. Makesure
thehorizonis level usinga spirit level andplan
aheadtotakeintoaccount any novingobjects,
likecars or people, tonakesurethey fowwell
throughout eachfrane.
ImageseIection
Whenchoosing the inages for your nal transition, try topick a selectionthat illustrates the changing light levels inthe scene. 1he nore inages you
choose, the snoother the transitionof day tonight but ultinately the nore conplicatedthe processing part of the technique becones.
Day-to-nghttme-|apse
t's easytoshoot aninageof atineof day, liketwilight or sunset,
but this tutorial shows youtocapturethetransitionof daytonight
TIMGAkT5IDE. Shootinga
day-to-night landscapesounds
conplicatedandlong-winded,
but it's actually a lot easier than
younight think, particularly at
this tineof year withshort winter days.
Youneedtocapturetwoor noreshots t
hat showthegradual shift fronday tonight,
whichyouthennergetogether in
Photoshop. Your rst consideration
shouldbetonda goodlocation. for ne, a
quiet spot ontheRiver 1hanes yieldeda
great viewof Canary Wharf andas it's a
pedestrianwalkway, therewerenocars
buzzingaboutl Makesureany spot is viable
for a fewhours without havingtonoveyou
or your tripodout of theway duetotrahc,
peopleor security stah'novingyouon'.
Walk about tondthebest viewpoint -
novingseveral netres tothesidenay
nakeall thediherence. eepaneyeout for
Get tnepicture
access totall buildings likecar parks, too,
for a bird's-eyeviewof thecity.
1hewinter nonths areideal for this
techniqueas thetransitionfronday tonight
is only anhour or soandduringnuchnore
sociablehours. Youneedtoarriveabout one
toI Ii2hours beforesunset andkeep
shootingeverythingI5ninutes until thesky
turns black. Renenber warnclothes, a
torchanda wide-anglelens tobeableto
showenoughsky andcityscapetonakethe
day-to-night transitionobvious. Atripod
andrenotereleaseareessential, too. Make
surethetripodis set upsecurely andadd
sonetapenarks tothegroundif youthink
younay havetonove. Younust keepall
shots at thesanefocal lengthandinthe
sanepositionor thepictures won't align
properly inPhotoshop, sonakesureyouget
your conpositioncorrect rst tine, as you
cannot changeyour nindpartway through.

FinaI image
Onceyouhave
perfectedthis
technique, trydoing
it withevenmore
bIendedimages for
diherent resuIts.
Cityscapetine-lapse
2
CreateaIayereddocument Drag each
picture intoa single docunent soeachone
shows as a newlayer inthe Layers palette. Put
the day shot as the toplayer andpositionthe
layers downtothe nal night shot. or each
one, click the Addnew/ayer mask iconat the
bottonof the Layers palette. Set Foreground
to8ackgroundwiththe Grad/ent Too/.
J
AppIy thegradient Withthe Layer Mask
selected, click anddrag the gradient slider
left toright toreveal a sectionof the inage
beneath. Youcanredothis actionas nany
tine as youwant until youget the widthof the
gradient andfeather youwant. Repeat for each
layer, except the bottonlayer. 1ake care where
the nask sits soeachblendis of a sinilar size.
inisninginPnotosnop
I
Edit eachimage Carefully select the inages
toblendtogether for the nal ehect. Lach
inage shouldbe processedtoa nished
standard. Youcoulduse Adobe Canera Rawto
quickly batch-process all the pictures to
ensure White Balance is correct andcontrast,
clarity, lens correctionandsharpness are the
sane for eachfrane.
lMAGE
0ETAlL5
Kt: NikonD8008
14-24nnfl2.8L
Mode: Manual
xposure: various at
fl10(S200)
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 4S

44l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
JOkDANUTTEk5. Creatinga
strikinginagecanbeas sinpleor
as conplex as younakeit.
But sonetines renovingthe
conplications is thenost
ehectiveway tocreatea beautiful
photograph. Alow-key portrait does just
that. By renderingthenajority of theinage
dark, youfocus your viewer's attentionon
thenost inportant part of theshot. your
subject. Low-key portraiturecanbeusedto
convey nystery, tension, drana or even
provocation, andtends tosuit bothnale
andfenalesubjects alike.
Youcanusefashguns or studiofash, but
you'll needtouselightingaids likea softbox
or brolley todihusethelight. vary thepower
output anddistancefronthesubject until
you'resatisedwiththelighting. f you're
shootingona bright, clear day, try usinga
north-facingwindowtoavoidany direct
sunlight. You'll needtousea rooninwhich
youhavecontrol over thelight level -a set
of curtains will helpwiththis. Closeohany
other doors andwindows intheroonto
nakeit as dark as possible, and, if shooting
ina roonwithlight-colouredwalls, usea
largedark clothor pieceof black foan
boardas a backdrop, as havedonehere.
Your subject's attirealsoplays a part, dark
clothingworks well and, if shootingfenales,
opt for a topwithanopenneck toshowoh
their contours andtoenableyoutonake
thenost of thelight fall-ohontheir skin.
Renenber that your viewer's eyeis
naturally drawntothebrightest areas of the
frane, soany highlights will instantly draw
their attention. 1hereforeensuretones are
eventhroughout thesceneas this will lead
toyour viewer exploringtheinage.
inally, whenprocessingyour inages try a
nonochroneconversion. Low-key inages
suit black owhite-strippingback the
colour conplenents thetransitionfron
light todark inyour inage.
Get tnepicture Low-keyportrait
4
Takeatest shot f the shutter speed
creates canera shake theneither raise the
Srating or openupthe aperture However, be
aware that shooting at toowide anaperture will
neanthat depth-of-eldwill be linited.
f the backgroundisn't dark enoughthenyou
caneither dial innegative exposure
conpensation, nove your subject further
away fronthe backgroundandtowards the
light, or block sone of the light entering the
roonby drawing the curtains.
2
5et your meteringmode f youselect the
wrong netering pattern, your canera will
increase the exposure toconpensate for the
dark background. Select spot netering and
neter fronyour subject's skintoensure that the
vital part of the inage is exposedcorrectly. Also,
nake sure that youare shooting inRaw-this
will capture nore detail inthe extrenes of the
dynanic range andwill allowyoutorescue
details indark areas if required.
J
DiaI inyour settings Select aperture-priority
node andset your Sbetween400and
800, depending onlight levels inthe roon,
don't worry toonuchabout noise, a bit of grain
tends tosuit this style of portraiture. Choose an
aperture aroundfi5.6anduse single-point
autofocus tofocus onyour subject's eye. 1ake
a test shot, keeping aneye onthe shutter speed,
as a rule of thunb, it shouldn't droplower than
the reciprocal of the focal length. or exanple,
at 50nnuse a shutter speedabove Ii50sec.
I
Positionyour subject Your subject's position
inrelationtothe windowwill alter the ehect
that the light has. 1he nore of their face you
want illuninated, the nore youshouldangle
thentowards the window. Moving your subject
closer tothe windowwill alsoresult inhigher
contrast betweentheir face andthe
background. Youcanalsouse a black piece of
cardor a fag, like have, toreduce the light
bouncedback ontothe dark side of their face.
5
Post-processingpenyour inage in
Photoshopandrst correct any skin
blenishes (see page 86for nore details) and
thenadda Gradient MapAdjustnent Layer
(Layer>NewAdjustment Layer>Grad/ent Map).
nthe adjustnent palette, click onthe arrowto
the right of the gradient thunbnail andensure
that the Foregroundto8ackgroundgradient is
selected. inally, adda Leve/s adjustnent layer
andtweak the white, grey andblack point sliders
toadjust the contrast of your inage.
HighsandIows
1he diherences betweenhigh- andlow-key
photography shouldbe instantly identiable.
High-key photographs tendtobe lowin
contrast andare balancedinfavour of the
brighter endof the spectrun, whereas
low-key is usually highincontrast and
balancedtowards the dark endof the tonal
range. Bothstyles shouldnot be confused
Capturea|ow-keyportrat
Lnbracethedarksideandcapturestunninglow-keyportraits usingnatural windowlight
withover- or underexposure, as the key
points inthe inage shouldretaina good
exposure nonatter whichehect youstrive to
obtain. 1he noodof the inage is also
dictatedby the style youchoose. high-key
inages tendtotransnit a happy, innocent
andpositive vibe, low-key connunicates
drana, enotionor tension.


AsimpIeset-upusing
naturaI Iight can
produceabeautifuI
portrait inminutes.
lMAGE
0ETAlL5
Kt: CanonLS 5DMk
witnCanonL 24-0nn
fl2.8L USM
Mode: Aperture-priority
xposure: 1l60sec
at flS.2(S800)

46l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Get tnepicture
neof therst purchases of thenewyear has tobeanew
calendar. But don't rushout andbuyone-nakeyour ownl
JOkDANUTTEk5. As oneyear
cones toanendanda newyear
rolls around, wecanstart toplan
all of theexcitingthings that
20I3has instorefor us. f
course, todothis weneeda calendar and
theshelves arepackedwithchoices tosuit
everybody's taste. Whatever your hobby or
interest, youcanbesurethere's a calendar
out therefor you-fronDalnatians to
DavidBeckhan, helicopters toHeidi lun
-there's sonethingfor everyone. But why
shouldyoulook at soneoneelse's inages
eachnonthwhenyoucannakeupa
calendar usingyour ownphotographs
andenjoy your favouriteinages throughout
thewholeyear
Createaca|endar
J
Insert thedates 1ype out the dates, leaving
equal spaces betweeneachdate. Use the
Gr/dtoline thenall up, adding or onitting extra
spaces where needed. nce conplete, click on
the T/ck inthe topnenubar toconrnand
apply the text. 1hengotoEd/t>Transform>Sca/e
and, holding downthe Sn/ft key, click anddrag
one of the corner anchor points toscale your
calendar diary tosize.
2
DispIaythegridLnable the Grid, which
will helpyoualignthe text, by going to
v/ew>Snow>Gr/d. 1henensure that the
Character palette is visible by going to
W/ndow>Cnaracter. Pick the Hor/zonta/
Type Too/ andselect your choice of font and
colour fronthe Character palette. Set the size
to!4pt as a starting point -we will adjust the
size inthe next stepif needed.
I
CreateabIankdocument penPhotoshop
andcreate a newdocunent by going to
F//e>New. nthe dialogue box that opens up,
use the Preset nenutoselect a paper size for
your calendar. nce youhave selecteda preset,
use the S/ze nenubelowtoset the size. 1his will
dependonhowyouwant todisplay your
calendar, but 've chosenthe Photopreset and
set the size toPortrait, 4x6in.
4
Createspacefor your image Click onthe
Rectangu/ar Marquee Too/ andclick and
drag onyour inage toselect a square or
rectangular area inwhichyour inage will sit. Use
the gridas a reference andleave equal space on
eachside betweenthe inage area andthe edge
of the docunent. penupyour rst inage and
gotoSe/ect>A// andEd/t>Copy. Youcannow
close this inage without saving.
5
Pasteinyour image Back onyour calendar
docunent, gotoEd/t>Paste Spec/a/>Paste
lnto. Use the MoveToo/ tonove your inage
intoplace anduse the Ed/t>Transform>Sca/e
tool toscale your inage tosize. f youneedto
change the size or shape of your inage area,
click onthe right-handthunbnail onthe active
layer inthe Layers palette andagainuse
Transformtoadjust the rectangle.
6
Addaborder ehect Double-click onthe top
layer inthe Layers palette toopenthe
8/end/ngOpt/ons nenu. ronhere youcanadd
a border ehect toyour inage. have optedfor a
DropSnadow, but youcanadda Stroke outline
as analternative. Click onthe DropSnadowtab
anduse the sliders toadjust the Opac/ty,
D/stance, SpreadandS/zeuntil youare happy
withthe ehect.
ollowthis guidetocreatea sinple
calendar that looks great all year round.
We'vegivenyouthebasics here, but there's
noreasonwhy youcan't tweak thedesignto
nakeit work for you. Why not adda section
for notes at thebottonof eachsheet r
highlight inportant dates suchas holidays
andbirthdays
Beforeyoubegin, revisit your photo
library andchooseI2inages for your
calendar. 'dsuggest natchingeachinage
totheseasons or tineof year for each
nonth, or aninportant event or dateduring
that nonth. Renaneeachinageusingthe
nonthfor whichit will beusedandnove
theI2inages intoa newfolder soyoucan
ndtheneasily.
Presentation
Whenyou're done, youcanprint each
page onphotopaper todisplay ina
desktopstandor sendthe designtoa local
or online printer tohave it printedbig and
ring-bound. Alternatively, why not size
your docunent tonatchyour conputer's
desktopresolution 1hat way youcanuse
the calendar as your hone screenso
you've noexcuses for nissing dates againl

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 4
FinaI image
yprintingtheimages
onto6x4inphotopaper
youcanuseanemptyCD
caseas adesktophoIder.
ive-ninutePnotosnop

MA5TEk5OF
PHOTOGkAPH
48l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
JOHNWkIGHT. ''na huge
football fan. loveit -and
anyonewholoves football in
its ownright knows that
neetingSir Alex ergusonis a
real, real, real honour. Lvenif,
likene, you'rea die-hardArsenal fan. Solast
ebruary, it was a real privilegewhen was
askedtotravel toManchester to
photographSir Alex ergusonhinself and
nenbers of his Manchester Unitedteanfor
nagazineandHublot -a Swiss luxury
watchconpany.
'Unfortunately, whileweshot theplayers,
Sir Alex's schedulepreventedhinfron
seeingus, sowewent back upa nonthlater
tophotographhin. Again, his schedulewas
really tight and was givenhalf anhour inthe
receptionat theclub's Carringtontraining
conplex, so knewit wouldhavetobe
extrenely quick. Hehas ananazingface
that carries sonuchof his character and
Scottishroots, really wantedtobringout
every detail. He's a very direct, straight-
talking, boldandehectivenanfronGovan,
Scotland, which knowwell as a hard, hard
place, and really wantedtocapturethat.
'1ostart with dida series of softbox-lit
inages withhinagainst a redbackground,
whichusedfor their interview, but for
nethey didn't work as well as when lit hin
directly withanoh-canera fashgunfron
about six inches away.
't's thenost nininalist picture'veever
shot andwouldprobably only work ona
facelikehis. alsonanagedtocapturea
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5COTTI5HROOT5, I RALLYWANTDTORINGOUTVRYDTAIL. H'5AVRYDIRCT,
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1his newexpressionfron1he Macallan
is the perfect single nalt towarnany
heart over the festive season.
1he Macallansingle nalt whisky
has hada long standing connitnent
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notably throughits Masters of
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Masters of Photography initiative
narks the coning together of two
very diherent but highly reveredart
TheMaca||anGo|d
'wee' bit of hunour inhis face, too, which
has beena bigpart of his personality during
his tineat Manchester United. took the
pictureusinga NikonD3 and24-/0nn
fi2,8, set toIi200secat fi6.3(S320).
'Gettingtotalk tohinandhear his
knowledgeabout every level of thegane
andhis viewonour nativeScottishfootball
was undoubtedly a highlight of ny career
- couldhavetalkedtohinall day, he's a
renarkablechap. t was suchanhonour to
neet hinand got totakeoneof ny
favouritepictures, too. Unfortunately it's
never beenpublishedbeforenow, a few
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feet andoptedfor a safer, softer version
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ollow1he Macallanon1witter (
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50l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
PLUMINGAUTIFUL
ByBarrieSaunders
Camera: NikonD80
Lens: Nikkor A-S50nnfiI.4G
xposure: IiI80secat fi5.6(SI00)
AkkIE5A5. '1hepeacock's
beauty seenedtoconefron
its synnetry andcolouring,
so triedtocentrethebirdand
ll thefranewithits plunage.
LEEFkO5T. 'nnot surehowthis inage
nanagedtondits way into|xpert
Cr|t|que-'dpersonally rather seeit used
across a double-pagespreadinthe
nagazine. t's stunning, oneof thebest
peacock shots 'veever seen. kay, naybe
theold'nalepeacock withits trail feathers
fannedout' nay beconsidereda bit of a
photographiccliche, thetypeof shot that
nakes conpetitionjudges break out intoa
coldsweat, but credit wherecredit's due-
Barriehas donea fantasticjobhere.
1heconpositionis perfectly central and
synnetrical, and likethefact that the
bird's body is snall inthefraneandits
feathers doninate. 1helightingis also
perfect -therearenohardshadows or
bright highlights sothecontrast and
tonality is even, whichit neededtobeto
naketheshot work. lovetherich, vibrant
colours andthefascinatingpatternof spots
onthepeacock's feathers. 1hesynnetry is
sostrikingthat, initially, suspectedthat
Barriehadnergedtwohalves of thesane
shot withoneof thenfippedtocreatea
nirror inage, but uponcloser inspection
theshot isn't perfectly synnetrical -
thoughnaturehas doneananazingjobof
tryingtonakeit so. Peacocks havetobe
oneof thenost photogenicbirds inthe
worldandBarrie's versionof anold
favouriteis fantastic- don't seehowhe
couldhaveinprovedit.
Verdict. AcIichdsubject maybe, but a
briIIiant photographnonetheIess.
kO55HODDINOTT. 1his is a classic
peacock poseandwhiletheconposition
nay not bethenost original, Barriehas
captureda sinpleyet strikingportrait.
1heinageis beautifully synnetrical, with
thepeacock lookingdirectly forwardand
Barriehavingpositionedhinself carefully
parallel. Althoughyoucanseesone
backgroundcolour behindthefeathers at
thetop, it is not particularly distracting,
although night still consider croppingit
slightly toexcludeit. Barrie's selectionof
lowSandnid-aperturehas resultedina
sharpinage. However, think theinage
looks slightly fat -nothingthat couldn't be
xedby addinga littleextra contrast anda
tweak tothevibranceslider inPhotoshop's
AdobeCanera Raw. Acoupleof tricks to
addpunchtoany picture.
Verdict. Agoodshot. AdmittedIy, it's not
averyoriginaI peacockimage, but it's
beencapturedweII. Afewminor tweaks
inpost-processingwouIdgivetheshot
morevibrancy.
"Peacocksnavetobeoneof
tnenostpnotogenicbirdsin
tneworldandBarrie's
versionofanoldfavouriteis
fantastic- don'tseenowne
couldnaveinprovedit"
LFRO5T
Ouickcritique
I) Composition
Well done, Barrie, for capturing this shot at
just the nonent whenthe peacock was
looking straight at you. Getting the bird
perfectly central inthe frane was your
next challenge, andyou've done it well.
Abrilliantly balancedshot.
2) Lighting
or this shot towork, it neededtohave an
eventone, withnohardshadows or
highlights. Lee thinks Barrie's hit the spot,
Ross thinks a little extra contrast in
Photoshopis needed.
J) ackground
Ross thinks the backgroundcolours are
slightly distracting. Atighter cropcould
nake a diherence.
I
2
J
LxpertCritique
LPLR1 PNN1HLLP U 1AL BL11LR PC1URLS
f youwant honest andconstructiveconnents about your inages, sendina selectionto
|xpert Cr|t|que. Youshouldsupply upto25inages ona CDiDvDalongwithanA4contact
sheet of thunbnail inages. Lnclosea stanpedaddressedenvelopeif youwouldlikeyour
subnissionreturned. Lachreader whoseinageis publishedreceives a fantastic Lowepro
astpack 250, worth60, whichholds a DSLRwithzoonattached, 2-3additional lenses or
fashguns, a I5.4inwidescreenlaptopandgeneral accessories. visit. www.lowepro.con
LD1R
DANIELLEZANO
Daniel has judged
national photo
conpetitions on
aregular basis
for several years
NA1URLoSCLNCS
PO55HODDINOTT
Ross is anexpert
photographer and
writer specialisingin
wildlife, close-ups
andlandscapes
PH1SHP
CAPOLINE
WILKIN5ON
Carolineis an
experienced
photographer and
Photoshopexpert
LANDSCAPLS
LEEFPO5T
Lee's beena
professional
photographer o
photowriter for
several years
MEET
OUk
EXPEkT
TEAM

8FON8OFEDBY
HOLL5LYCOMMON
ByMarcBedingneld
Camera: CanonLS5D
Lens: CanonL20-35nnfi3.5-4.5USM
xposure: nesecondat fi22(S50)
MAkC5A5. ' took this at
dawnwhentheheathland
was coveredinnist andthe
cobwebs werecoatedwith
dew. chosea snall aperture
for naxinundepth-of-eld.
LEEFkO5T. ooh, youcan't beat a bit of
early norningnist toaddatnosphere
-theway it reduces distant features tosoft
shapes anddilutes thelight creates perfect
conditions for photography. Marchadall
theingredients tocapturesonecracking
inages, but can't helpthinkinga great
opportunity slippedthroughhis ngers.
Don't get newrong, this shot isn't bad-
but it couldhavebeennuchbetter. 'd
havenadenoreof that bigdew-covered
cobweb, novingincloser soit was nuch
noredoninant. t's not that far away fron
thecanera, but whenusinga wide-angle
lens, it doesn't takenuchbeforestrong
elenents appear snall andinsignicant.
don't think Marcchosethebest trees to
includeeither. 1hespecinenontheleft
looks great, but theonetoits right looks
ugly inconparison. 1here's alsoa biggap
betweenthenandthat's wheretheeye
tends togo. Asingletreewouldhave
workedbetter, givingtheeyesonethingto
lock onto. inally, as weget a hint of warn
sunlight onthetrees, increasedthe
vibrancetoboost thewarnth, whichis
suchanattractiveaspect of theinage.
Verdict. Amoodyimage, but it doesn't
makethemost of thesituation.
kO55HODDINOTT. What great conditions
for photography -nist adds atnosphere
andnoodtotheinagewhilesinplifyingit,
too. t's just a shanetheheather wasn't
noreinfower as it wouldhaveaddeda
splashof colour, contrastingwell withthe
rest of thescene. Sonenagical golden
light strikingthewebs andheather would
havealsoaddedsonesparkle, but had
Marcwaitedfor light, thenist nay have
dispersedbeforehegot theshot. As it is, 'd
betenptedtojust selectively brightenthe
foregroundarea tohelptheheather and
cobwebs standout. night alsocropa little
of thebottonof theshot, sothenearest
webwas positionednoreintothebotton
right of theconposition.
Verdict. Great conditions andgood
composition. It's ashamethereisn't a
IittIemoreforegroundcoIour or Iight.
"Wnatgreatconditionsfor
pnotograpny-nistadds
atnospnereandnoodto
tneinagewnilesinplifying
it, too"RO55HODDINOTT
Likes. deal conditions for capturing
sone incredible inages of the
landscape -getting upearly clearly has its
rewards whenyousee that it produces
atnosphere like this. Marc has done well to
spot the opportunity andtakena shot that
has plenty of nood, thinking about his
foregroundanddistant subjects. All very
well, but there couldbe inprovenents.
DisIikes. Leefeels thetrees aren't the
best choices for astrongconposition
-thetreeontheright beingunsynnetrical
thanks toits lost branches. 1hetreeontheleft
wouldprobably haveworkedbetter centrally
inthefrane. Ross, however, likes the
conposition, but wouldhavecroppedthe
bottonof theshot alittlenoresothat the
cobwebwas noreproninent inthebotton
right of thefrane. All inall, not abadehort,
but therewas abetter shot inthere
sonewhere. Sorry, Marc.
Likes8disIikes...

DANIELLEZANO. loveit whena plan
cones together and, inthis case, it did-
Shelley knewexactly what kindof inage
shewantedtocreateandshetook all the
necessary steps tonakeit happen. What
nakes this shot for nearethesoft stars in
thebackground. nitially, thought they
weretheseeds frona dandelion, but now
realisethat Shelley createdthenusingan
aperturediscinher Lensbaby -a very
clever idea. 'nassuning, also, that the
netal spiral sheplacedinthebackground
producedthehighlights fronwhichthe
stars werenade, inwhichcase, tenout of
tenfor ingenuity. 1heLensbaby isn't
everyone's cupof tea, but 'nall for
gadgets andgiznos that allowus tocreate
unusual andinterestinginages. As always,
it's a caseof usingthenontheright
subject, sotheehect adds sonethingextra
toit, andnot usingthentoooften
otherwisetheehects beconetedious.
Shelley pickeda perfect subject here.
As well as thestars, thesoft splotches of
colour addinterest, but not tothepoint
that they beconedistracting, whilethe
dark areas inthebackgroundenhancethe
colours. Croppingtoa squarealsoadds a
noretranquil feel totheconposition. f
haveonecriticisnit's that 'dliketosee
noreof the'lead' fower infocus, but can
livewiththefact that it isn't becausefor ne
this inageis all about thenoodit exudes. t
actually reninds neof Christnas, because
this is thekindof ehect youget by shooting
close-ups of Christnas treedecorationsl
Verdict. AweII thought out imagewith
somecIever touches andgreat mood.
kO55HODDINOTT. riginality is getting
increasingly hardtoachievewhen
shootingpopular subjects likefowers, soit
is refreshingtoseeShelley beingso
experinental andartisticwithher approach
here. However, for ne, this shot doesn't
quitenakethegrade. likethebokehto
theleft of thefrane-it's attractive, curious
andalnost appears likecoral or fronan
underwater world. As you'dexpect at such
a largeaperture, very littleof thefower is in
focus, which canlivewithinthis instance,
as it adds totheartisticehect. However, for
ne, thefower just doesn't standout fron
its backgroundenough. Most of thefower
head-particularly thestanens -nerge
withthefowers behind. wouldhave
considereda changeof angletosinplify
thebackdropandenphasisethenain
fower's shapeandforn. Alternatively, 'n
sureShelley couldhaveheldthenout of
theway, or put noredistancebetween
thenandthenainfower inorder tothrow
thenfurther out of focus. Also, don't think
thesquarecropworks -duetothefower's
shapeandlength, a vertical fornat would
havesuitedit better. ptingfor a vertical
conpositionwouldhaveallowedShelley
not tocropthefower soaggressively at
thetopof thefrane. inally, think the
fower neededa kiss of refectedlight to
relievetheshadowarea slightly. 1hat said,
actually don't think Shelley is far away fron
ndinga winningfornula. 1ry againusing
thesaneor a sinilar approach, but pay
52l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
"Snelleyknewexactlywnat
kindofinagesnewantedto
createandtookall tne
necessarystepstonakeit
nappen"DANILLZANO
noreattentiontothenedetail andit
won't belongbeforeyouarecapturing
truly stunningresults.
Verdict. AnoriginaI approachandnearIy
agreat resuIt. However, theower
doesn't standout enoughagainst the
backdropandaverticaI format mayhave
workedbetter.
Ouickcritique
I) Technique
ull narks toShelley for having anidea for an
inage andcreating her vision. She hadthe
creativity touse anaperture disc inher
Lensbaby anddoing sonething unusual is the
nark of a goodphotographer.
2) Cropping
Adiherence of opiniononthe cropping -
Daniel considers the square fornat tobe a
goodthing, adding a tranquil feel, while Ross
thinks the fower's lengthnakes it nore suited
toportrait fornat.
J) 5ubject
or Daniel, the aperture was the only criticisn,
althoughbothexperts thought the slight
softness was acceptable inthis shot for the
noodandarty ehect it achieves.
Helpingyoutakebetter pictures Lxpert Critique
FUCH5IA
BySnelleyLveettle
Camera: NikonD3
Lens: LensbabyConposer
xposure: Ii640secat fi2(S200)
5HELLE5A5. ' usedny
Lensbaby witha creative
sunburst aperturediscanda
+I0nacrolter. 1oenhance
thebokeh sprayedthefowers
withwater anduseda snall netal spiral in
thebackgroundtoaddextra interest.
I
J
2

8FON8OFEDBY
MOODY5KY
ByJosnJones
Camera: CanonLS/D
Lens: SignaI0-20nnfi4-5.6LXDCHSM
xposure: Ii400secat fi4(SI00)
JO5H5A5. ' restedny
canera ona beanbagand
chosea fast shutter speedto
prevent overexposingthesky
andreducedsaturationinpost.
LEEFkO5T. My initial reactiononseeing
Josh's inagewas, Wheredo start,
but thenore look at it, thenore likeit
-albeit withoneor twotweaks innind.
Shootingfronsucha lowviewpoint neant
theforegroundwas always goingtobeout
of focus. 1hepebbles nearest thelens nust
havebeennonorethana coupleof inches
away, but despitetheunorthodox
approach, think it works well, nainly
becauseit forces theeyeupintothescene
tothetiny gureinthedistance. Hadthe
foregroundbeensharp, that gurewould
paleintoinsignicance, andtheshot
wouldn't havenearly as nuchinpact. 1he
sky does a sinilar job. t's dark anddranatic
andforces theeyedowntowherethelone
gurestands. alsoliketheoverall feel of
theinage, whichhas beenenhancedby
Josh, reducingsaturationsoit has thelook
of a partially tonedblack owhiteprint. 1he
onething woulddois croptheinagetoa
squareandget ridof thewashed-out sky at
thetop. By losingit, thedrana is intensied
andtheconpositioninproved.
Verdict. AnunusuaI imagebut onewith
bags of dramaandimpact.
kO55HODDINOTT. really likethis inage.
1heout-of-focus foregroundshingleand
ultra-lowshootinganglereally drawnein.
lovetheconposition's sinplicity andalso
that wonderful noody, broodingsky, but
'dconsider croppingthetopof theinage
torenovea littleof thelighter sky. My one
bigniggleis thedistant gure. 1he
inclusionof a personintheshot really helps
tocreatea feelingof scaleandisolation
and, conpositionally, Joshhas placedthe
personwell. However, thegureisn't ina
positionwhereit is well dened-hadit
beena couplewalkingalongthebeach,
clearly recognisableinsilhouette, think
theshot wouldhaveworkedbetter. As it is,
thegureis noreof a distractionthana
benet. Withtheinageboastingsonuch
texture, but solittlecolour, wonder if it
wouldalsoconvert well tonono
Verdict. Aneye-catchinganddiherent
image, but theoutIineof thedistant gure
just isn't recognisabIeenoughinmyview.
" reallyliketnis. 1neout-of-
focusforegroundsningle
andultra-lowsnooting
anglereallydrawnein"
RO55HODDINOTT
5OUAPE-FOPMATCPOP
Josh's inage has a large area of
enpty space at the topof the inage.
Negative space canoftenbe usedto
enhance aninage, however inthis
case cropping it out intensies the
drana of the looning rainclouds.
nPhotoshop, use the CropToo/ by
either selecting it fronthe toolbar
or pressing the Ckey. Youcaninput
the widthandheight inthe topnenu
bar tocroptoa pre-deterninedsize.
Alternatively, if youwishtocropto
a square fornat, as we have done
here, sinply leave the W/dtnand
He/gnt boxes enpty andholddown
the Sn/ft key whilst dragging across
your inage. nce done, youcan
ne-tune your cropby noving the
corner anchor points before clicking
onthe T/ck inthe toptoolbar to
conrnthe newcrop.
DigitaI darkroom
Helpingyoutakebetter pictures Lxpert Critique


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PAN1NG
W1HLGH1
1HLWRD'PH1GRAPHY' DLRvLSRM1HLGRLL'PH1S' AND'GRAPHL', WHCHL1LRALLY
MLANS'DRAWNGW1HLGH1'. 1HA1'SWHA1WLDLvLRY1MLWL1ALAPC1URL, BYALLWNG
LGH11LDN1HRUGH1HLLLNSANDXANMAGLNURCAMLRA'SSLNSR. NRMALLY
1HA1CCURSNS1AN1ANLUSLY, BU1WHA11HLRLSL11LLRNAMBLN1LGH1AND
NS1LADYULLAvL1HLCAMLRA'SSHU11LRPLNANDADDYURWN1HA1'SWHA1PAN1NG
W1HLGH1SALLABU1USNGAR1CALLGH1SURCLSLL1RCHLSANDLASHGUNS1
SLLLC1vLLYLLUMNA1LASUBJLC1RSCLNL. 1HLNLX11LNPAGLSARLDLDCA1LD1SML
1HLMS1AMAZNGANDLLC1vLPAN1NG-W1H-LGH11LCHNULSRYU11RY
HOWTOMA5TEk
MAGL. LLL RS1

58l DIGITAL 5LkPHOTOGkAPHl JANUAR201S

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UILDING58MONUMENT5
Whilestill-lifes areagoodplacetostart when
paintingwithlight (seeover thepage), the
techniqueis hugely popular withsonething
bigger, likeanunlit building, nonunent, pier
or bridge, yieldingvery inpressiveresults.
You'll needtoequipyourself withabigone
totwo-nillioncandlepower light source
(nakingsureit's fully charged) that canlight
largeareas fronadistance, or enploy a
coupleof powerful electronicfashguns and
usenultiplefashbursts over afewninutes
togradually illuninateyour subject.
Althoughit sounds conplicated, painting
buildings andstructures withlight is actually
really easy. or thebest results, scout out
andselect your viewpoint whilethere's still
sonedaylight aroundsoyoucanseewhat
you'redoing, thenheadback topreparefor
theshoot just beforedusk. Set upyour
tripod, conposethesceneandfocus
nanually onyour nainsubject. Stopthe
aperturedowntofiII or fiI6, set theshutter
toBulbandattacha renoterelease.
1hebest tinetoshoot is as darkness falls
but whilethere's still sonecolour inthesky,
soabout 20ninutes after sunset duringthe
winter nonths. nceyoureachthat point,
tripthecanera's shutter, lock it openon
Bulb, turnonyour torchandstart painting
withlight. You'll seeexactly wherethebean
of light is hitting. eepit ainedfor a few
seconds, but alsonovethetorcharoundby
wigglingyour handsotherearenohard
edges betweenlit andunlit areas inthenal
shot. After a fewseconds, noveintoa
diherent area anddothesane. Repeat this
until youfeel you'veilluninatedtheentire
structurethenturnohthetorch, endthe
exposureandcheck theinageonyour
canera's LCDnonitor. f theinageis too
dark, you'll needtodirect thetorchbeanfor
longer. f it's toolight -or certainareas are
toolight -you'll knowyouoverdidit and
cangiveless light onthenext shot. 1hereare
nohardandfast rules here, sowhatever
works for youandlooks goodis ne. You
nay want togofor fairly evenillunination,
but thenagainyoucancreatesonespooky
inages if youintentionally light soneareas
but leaveothers dark -this works well on
churches, towers, ruins, nineworkings and
other nysterious oldbuildings. f youshoot
at duskitwilight whilethere's still colour in
thesky youshouldbeabletoget away with
anexposureof onetotwoninutes.
1healternativetoa torchis topaint with
fash. Llectronicfashguns enit a powerful
burst of light andthoughit nay not be
enoughtoilluninatea wholebuildingor
structureinonego, youcanusenultiple
bursts tobuildupthelight levels. Modern
guns rechargeina fewseconds, thoughit's
worthusingtwoguns sinultaneously if you
havethen, andcarryingsparebatteries. Use
thegunis ohcanera, set tofull power and
rethenby pressingthetest button. 1oget
anidea of hownany bursts of light you
need, reoneas a test thencheck theshot
toseeif youneedtofasheacharea nore
thanonce. As withall painting-with-light
techniques, it's always a littlehit andniss
whenyourst try it, but after a fewshots you
shouldbeproducingperfect results.

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 59
E55ENTIALKIT
Camera. Any canera will dothe
jobproviding it has a Bulb(B)
node, youcanuse a renote
release tolock the shutter open
andyoucanfocus nanually.
Lens. Astandardzoon
(I8-55nn) is suitable for
portraits, still-life andnost
close-rangeisnall-scale
subjects, while a wider zoon(I0-20nn)
will be better for landscapes, star trails,
architecture andurbanscenes.
Tripod. All light-painting
techniques involve long
exposures, fronseconds to
hours, soa sturdy tripodis
essential. Check out page II4if you're in
the narket for a newtripodandball head
-our test reveals the best.
kemotereIease. Allows youto
tripthe canera's shutter and
holdit openinBulbnode for as
long as required. nterval tiners
let youprograna specic exposure tine
andevendelay the start of the exposure
sothat youcanget intopositionbefore
the canera's shutter is open. Check out
cheapChinese nodels oneBay and
Anazon-youcanget interval tiners for
I5 (genuine CanonandNikonones are
over I00).
Torch. Painting-with-light
enthusiasts equipthenselves
witha whole range of torches
for diherent subjectsipurposes.
Snall penikey ring torches andLLDs are
ideal for still-lifes, portraits, natchstick
nenandlight balls, as well as checking
canera controls inthe dark. visit I
shops, lling stations, cycling shops and
DY stores for snall torches, too. f you
want topaint things like statues, trees,
cars andsnall buildings that youcanget
relatively close to, a standard-sizedtorch
will be ne. Youcanget sone fantastic
LLDtorches these days fronoutdoor
shops -pocketable but powerful. inally,
for big stuh, like buildings, bridges, rock
arches, piers, jetties andlandscapes, arn
yourself witha torchthat ohers at least
one-nillioncandlepower. Prices start at
about / for a rechargeable one-nillion
candle nodel andgoupto30-40for
ten-nillioncandles. Withone of those
babies youcouldlight upa townl
FIash. Llectronic fashcanalso
be usedtopaint large areas
withlight, suchas the faade of
a building. Any type of fashgun
will do, thoughthe nore powerful the
better. ast recycling andfreshbatteries
alsohelp, andif youhave twoor three
fashguns, use thenall soyoucanre
one while the otheris are recharging.
lashguns canalsobe set upinside
buildings or aroundstructures andred
renotely using slaves or infraredtriggers
tolight diherent areas.
First-aidkit. f youcanavoidit,
don't goout alone at night and
if youdo, nake sure youtake a
nobile phone incase of
energencies. t's alsoa goodidea totake
a basic rst-aidkit along withyouand, if
you're doing any work withre, wire wool
or sparklers, a re blanket. Renenber,
safety rst at all tines.
AppropriatecIothing. t goes
without saying that while this
tine of year is ideal for
painting-with-light techniques
as youdon't have towork at unholy
hours, it's a lot colder sonake sure you
wrapupwarn. Wear dark clothing to
avoidyoubeing illuninatedinthe
exposures andrenenber your gloves -
preferably ngerless nittens soyoudon't
needtorenove thentowork canera
settings andtokeepyour hands safe
while handling hot light sources.
B
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HOWTOMA5TEk... PAN1NGW1HLGH1
U5INGFLA5HGEL5
f you'reworkingwithelectronicfash,
experinent by usinggels toaddvivid
colours tothelight. f youonly haveone
fashgun, sinply carry a selectionof gels in
your pocket and, as youwalk around,
illuninatevarious parts of thesceneby
holdingdiherent colouredgels over the
fashhead. Sweet wrappers or translucent
plasticwork well, too.
1his techniqueworks well inurban
locations suchas derelict buildings,
subways andtunnels. 1ry alsoilluninating
theinsideof a subject -a car at a scrap
yardwouldnakea goodsubject.
Workingwithonefashgunis liniting
becauseyouhavetowait for it torecharge,
whichwastes tine, plus youhavetobe
thinkingonyour feet, decidingwhat to
light upwhiletheinageis exposing. 1hat's
why sonephotographers work inteans
toopentheir shutters at thesanetine,
eachusingdiherent gels. Analternativeis
toset upseveral fashguns andgels, then
synchronisethenusingslaveunits or
renotetriggers toreat thesanetine.
Howyouensurecorrect exposurewill
dependonyour set-up. Sonecaneras
allowrenotenultiplefashwith11L fash
netering, soyoucanleaveeverythingto
your canera. f youusea singlegunand
reit whilewanderingarounda scene, set
it tofull power andnanual node, then
work out thefash-to-subject distanceby
dividingthegun's GuideNunber (in
netresiSI00) intotheapertureyou're
shootingat. or exanple, if thegunhas a
GNof 36andyoushoot at fiII, thefash
needs tobearound3.25naway fronthe
area youwant toilluninatetoachieve
correct exposure. Acolour gel cuts light a
little, soreducethedistancetoaround
2.5n, thentry a test shot. f youneedto
usethefashfroncloser or further away,
youcanadapt your approachandreshoot.

HOWTOMA5TEk... PAN1NGW1HLGH1
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FINE-AkTPOkTkAIT5
or soft, atnosphericportrait lighting,
paintingwithlight is ideal -solongas you
havea patient subject. 1heanount of tine
your subject canholda posewill often
deterninehowlongyour exposurewill
needtobe. or a child, younight belooking
at nolonger thantenseconds, as children
tendtodget unless they'resleeping. f you
canplaceyour subject ina sturdy, supported
pose-for instance, against a wall or lying
down-younight beabletostretchthe
exposureto30seconds for better results.
Your apertureneeds tobesnall soyoucan
control thelight as nuchas possible, soain
for fiII tofiI6, andset theSas lowas you
can. Beforeyouturnthelights oh, poseyour
subject andfocus onthennanually -
you'll alsoneedtotrigger thecanera using
a renotereleaseor usingtheself-tiner.
1urnohthelights, opentheshutter anduse
a torchtopaint likeit's a brushover thetop
of your subject. Paint thefacerst as the
expressionis usually thehardest toholdfor
a longperiodof tine, thenwork your way
downtheleft sideof thebody, fronheadto
toe, beforenovingtotheother sideof the
canera topaint theright sideof thebody.
f youhavetine, spreada littlebit of light on
thebackgroundtoshowsonedetail.
Renenber that if your torchis toocloseto
thesubject younay endupoverexposing
areas, sokeepyour distance. indingthe
right settings for this techniquecantake
tineandquitea fewtries.
COLOUkCA5T5
All torches producelight that has acolour
cast -it's usuallyverywarnwith
conventional torches, but plainLLDs canbe
cooliblue. YoucantrychangingtheWhite
Balanceonyour caneratoconpensatefor
this, but wereconnendyoujust stickto
AWB(AutoWhiteBalance) or Daylight as the
colour casts fronthetorchcanlookgreat.
nfact, you'renorelikelytowant nore
colour byplacinggels or sweet wrappers
over thebulbiLLD. Llectronicfashhas no
colour cast as its colour tenperatureis the
saneas daylight -5500.
60l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
LIGHTGkAFFITI
neidea wehaven't touchedonbut is
well worthtryingis light grahti, where
youcreaterandonabstract patterns of
light trails withina sceneby noving
aroundwitha light sourceinfront of
thecanera. Buy a nultipleLLDtorch
andput diherent colouredgels over the
LLDs soyoucancreaterainbows of
light or work witha singlebulbfor nore
delicatepatterns. Google'light grahti'
if youneedsonenoreideas.

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Positionyour props -inthis
case, a pair of walking boots
-andset upyour canera.
Conpose the shot, leaving a little
nore space aroundthe props
thanyouneed-youcanalways
cropit later.
2
Set the canera's shutter to
Bulb(B), the StoI00or 200
andthe lens aperture tofiII or
fiI6. Attacha renote release to
the canera. Nowfocus the lens
nanually onyour props andturn
ohthe roonlights.
J
ndarkness, openthe
canera's shutter, turnonyour
light source -inthis case, a pair of
nicroLLDbicycle lights (2.99
fronAldil) -thenstart tracing
aroundthe props anddirecting
light ontothen.
4
Younay not get it right rst
tine, but you'll get a good
idea of what youneedtodoto
inprove onyour rst attenpt -
inthis case, there isn't enough
light onthe props sothe inage
appears toodark.
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 61
INDOOk5TILL-LIFE
1hesinplest way totry paintingwithlight
is keepingit snall withanindoor still-life.
you'll get anidea of what's involvedbefore
youturnyour attentiontobigger things.
nterns of subject natter, anythinggoes.
lowers aregoodbecausethey giveyou
interestingshapes towork withandthe
petals aretranslucent soyoucanlight
thenfronbehindas well. Musical
instrunents nakegreat subjects too-
a violin, guitar, saxophone, any instrunent
withaninterestingshapewill work. Shoes
andboots, bottles, wineglasses, cutlery,
andtoys.Whatever youshoot, you'll need
towork ina dark roonsoyoucancontrol
thelight witha torch. Snall torches with
concentratedbeans arethebest optionas
you'll needtolight snall areas selectively
tocreateinterestingehects. Pentorches
andkey-ringtorches areideal. Buy several
fronpoundshops andusegels or sweet
wrappers over thebulbs tocolour thelight.
Set uptheprops withtheroonlights on,
thennount your canera ona tripod,
conposetheshot andfocus nanually.
Set theaperturetofi8or fiII, theshutter
toBulb, theStoI00or 200, andattach
a renotereleasetoyour canera. 1urnoh
theroonlights, lock theshutter open, turn
your torchonandstart topaint withlight,
pointingthetorchat key areas of the
subject. 1ry tokeepthetorchnovingso
thelight isn't tooharshonany onearea.
Youwant thenal inagetolook likeit has
beenpaintedwithlight, sointentionally
nakesoneareas lighter thanothers. 1ake
sonetest shots todeterninetheright
exposure, shiningthelight frondiherent
distances or for diherent lengths of tine.
f anexposureof four seconds at fiII is
requiredwhenyoukeepthenarrowbean
of your torchainedat anobject onenetre
away, for exanple, youcannakesone
areas darker thanothers by shiningthe
torchfor just one, twoor threeseconds.
Lqually, if youwant anarea toconeout
really light, shinethetorchonit for veor
six seconds, or noveincloser. t's all a little
hit andniss, but youcancheck each
inageas yougoonyour canera's LCD
nonitor andwithintwoor threeattenpts
youshouldget it right. Another way touse
a snall torchfor still-lifephotography is by
tracingaroundtheprops, withthebean
pointingtowards thecanera, tocreate
nelight trails. Light spillagefronthe
beanalsocasts a soft glowonthesubject,
thoughyoucanaddnoredirect light, too.

HOWTOMA5TEk... PAN1NGW1HLGH1
62l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
PAINTINGTHELAND5CAPE
Landscapes areideal for paintingwithlight.
At its sinplest, youcouldusea torchor fash
toilluninatea singlefeatureinthe
foregroundof a scene, suchas partially
subnergedrock ontheedgeof a lochor a
boat onanestuary. f youconposea shot so
there's a pathor track leadingohintothe
distance, youcouldwalk alongthat pathand
shinea torchonit as yougo, soit's well lit
andacts as anilluninatedlead-inline.
Don't just focus ontheforeground,
though. Howabout lockingyour canera's
shutter openfor aninuteor twothen
walkingintothesceneandpaintingfeatures
withlight that arefurther away -youcould
pick out asingletree, or several trees anduse
adiherent colour gel over your torchor fash
tolight eachone, for exanple. ldbarns and
stonewalls work well, too.
Bigger features onthecoast areideal for
paintingwithlight. Natural rock arches,
seastacks andheadlands look fantastic
whenilluninatedwithlight frona powerful
torchagainst thecool twilight sky, andthe
useof a longexposurealsoneans that the
sea will beniceandsnooth. Jetties andold
piers areworthattention, too, or theskeletal
renains of sunkenshipwrecks that often
appear at lowtide.
1orchlight tends tobenoreatnospheric
thanfashfor thesesubjects, andthewarnth
of thelight alsocontrasts well withthe
coolness of thetwilight sky andsea.
or subjects that arerelatively distant and
inaccessible, you'll needapowerful torchof
at least two-nillioncandles, otherwisethe
beanjust won't reach. Whereyoucanget
closer -toawreck, say -anorenodest
torchwill beneas youcanwander around
andpaint withlight fronjust afewfeet away.
Youneedtotakecarewhenshootingon
thecoast as theseacanbedangerous. Be
awareof tidetines andnakesureyouknow
aquick routeback tosafety. t's goingtobe
dark by thetineyou'redone, andthat's the
worst possibletinetodiscover that you're
gettingcut ohby theinconingtide. Make
sureyouhaveasparepocket or headtorch
soyoucanseeyour way, too, just incase.
M

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MATCH5TICKMEN
Lowry paintedthen, twoblokes calledBrianand
Michael sanga really annoyingsongabout then, and
nowyoucancreateyour very ownnatchstick nen.
All youneedis a snall LLDtorch, a dark night and
soneinagination. Withyour canera set upandthe
shutter lockedopenonBulbvia a renoterelease, walk
intothescene(wearingdark clothes soyoudon't
appear inthepictures) anddrawa light-trail
natchstick nan-sittingona bench, standingona
wall, ona seesawinthepark, balancingononeleg,
doinga handstand, holdinghands withyour kids,
walkinga natchstick dog.t only takes a fewseconds
todoa quick light sketch-thenusethetorchtopaint
light onparts of thescenesoyour natchstick nanisn't
lost ina sea of blackness. Renenber todrawhinwith
thetorchinclear viewof thecanera, andwear dark
clothes soyoudon't appear intheinageyourself.
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CkEATE5PHEkE5OFLIGHT
nsteadof usinga light sourcetoilluninate
sonethingthat exists, suchas a statueor
building, this techniqueinvolves creating
spheres of light as anaddedelenent ina
low-light scene. 1hink of it as creatinglight
sculptures that only exist inphotographic
forn-becausethey never actually exist in
reality. We'renot surewherethis
techniqueoriginated, but oneof the
best-knownexponents of it is Australia-
basedphotographer Denis Snith
(www.denissnith.con.au). 1hebasicidea
is that youset upyour canera outdoors at
night or indoors inanunlit space, lock the
shutter openonBulb, thenwalk intothe
scenetoa predeterninedspot andspina
snall LLDtorchtiedtotheendof a length
of stringsothat circular light trails are
recordedintheinage. nsteadof standing
still, however, yourotategently roundon
your feet whilecontinually spinningthe
light sothat by thetineyou'verotated
your body through360, dozens of light
circles haverecordedtocreatea sphere.
1hestringnust bekept at a constant
lengthandthetorchrotatedvertically so
that thelight circles arethesanesize.
You'll needtorotateyour body through
360 onthesnallest turningcircleyou
can, by shuhingroundontheballs of your
feet. Wear dark clothinganda hoodor hat
toreducetherisk of a ghostly inageof you
beingrecordedandideally attachthe
stringtosonethingliketheclaspona dog
leadthat rotates ononeend-not only will
it giveyousonethingtogriponto, but the
torchwill swingnorefreely andevenly to
createa snoother sphere. 1henoreyou
practisethespinningtechnique, thebetter
your results will be.
utdoors, shoot as it's startingtoget
dark but there's still colour inthesky.
Chooselocations duringtheday and
decidewheretheball of light will appear
inthescene-ontheendof a pier or jetty,
a rocky ledgeona hillside, a beachandso
on. 1hepossibilities areendless -let your
inaginationrunwild.
1hetineit takes tonaketheinagewill
bedictatedby thelocationandlight levels,
but ideally youneedtospinthetorchfor at
least a coupleof ninutes toget a good
sphere. After dark youcouldleaveyour
shutter openfor tentoI5ninutes and
createseveral light balls inthesanescene,
usinga diherent colouredgel over the
torchfor eachone. na clear night you'll
get star trails recording, too, andpick up
distant light pollutionthat canaddsurreal
colours tothesky.
I
Choose your locationwhile there's still
enoughdaylight tosee what you're doing
andget your canera set upona tripod-set
the canera toBulb, the aperture tofi8andS
to200. Manually focus onwhere you'll stand.
J
1he rst shot nay not be perfect, but it will
give youanidea of where you're going
wrong. Here, the exposure isn't long enough
but the sphere is looking half decent. 1he key
toa goodsphere is snoothandevenspinning.
2
1ripthe shutter andlock it openwitha
renote release (or ask a friendto), walk into
position, turnonyour torchandstart spinning
it ina circular notionwhile noving slowly
through360 tocreate the sphere of light.
4
1hat's nore like it. Still not a perfect sphere
but not badeither, andthe exposure is spot
on. Light spillage fronthe torchhas revealed
detail inthe sea androck, while the last traces
of colour inthe sky are clearly visible.

HOWTOMA5TEk... PAN1NGW1HLGH1
TIMEITkIGHT
Youneedlongexposures topaint withlight
becauseit's a slowprocess -puttinglight
intoselectedplaces bit by bit insteadof
openingtheshutter andlettingit all foodin
at once. As you'readdingyour own
illunination, anbient light needs tobe
linitedsothat youdon't recordit. 1wilight is
about as bright as youcanget away with
whenshootingoutdoors -any earlier and
therewill betoonuchdaylight left for the
light paintingtoshow, or for youtoachieve
exposures that arelongenoughwithout
overexposingtheshot, sowait until youcan
barely seeany colour inthesky beforeyou
get towork. 1echniques suchas paintinga
buildingwithfashor a powerful torch
usually takea ninuteor two, andyou'll be
abletoachievethat at SI00andfiII or
fiI6at twilight, if there's noarticial light
around. Creating'balls of light' canrequire
exposures of vetotenninutes, soit needs
tobepretty dark beforeyoustart, and
star-trail shots takehours. ncethesky
darkens tothepoint that youcannolonger
seecolour withthenakedeye, you'll be
surprisedat howwell your canera's sensor
canstill recordit -especially if there's a
townor city inthedistancecreatinglight
pollution. t sounds horrible, but it canlook
anazing, sokeepshootingl
FUNPOkTkAIT5
Youdon't havetostick withinaninate
objects whenpaintingwithlight -the
techniquecanalsobeusedonpeople.
Youliterally haveendless scopehere,
soexperinent andhavefun. Ahandy
techniquetouseoutdoors inlowlight is to
conbinea burst of fashwitha slowshutter
speed, sothefashilluninates andfreezes
your hunansubject, whiletheslowshutter
speedrecords theanbient light inthe
background-suchas theredsky at sunset
or a foodlit nonunent. Many digital
caneras, especially conpacts, havea 'night
portrait node' that shouldgiveyouperfectly
balancedresults. f your subject is noving,
theslowshutter speedwill alsorecordblur
behindthefrozenfashinageandthis can
look great. nfact, youcanalways ask your
subject tointentionally novetoget the
slow-syncfashehect -ask thentojunp
intotheair, for exanple. Alternatively, try
sonethingwacky. Howabout a wide-angle
portrait withyour subject pullinga face
whileyoutracearoundtheir headwithan
LLDtocreatelight trails andusea coloured
LLDor gelledtorchtolight their face You
couldalsowavea sparkler aroundinthe
backgroundtoaddlots of light trails, or
shinea torchontheback of their headso
thelight radiates out inthebackground.
WIkEWOOL5PINNING
eelingbrave1henhere's atechniquethat
will get your adrenalinpunping. Connon
or gardenwirewool creates zillions of sparks
if youset it alight -andit burns reallyeasily,
too. 1ocreateinages of this, takeanetal
kitchenwhisk, stuhit withGrade0or ner
steel wool andattachthewhisktoalengthof
cordor steel rope. Adog-leadclasponthe
other endwill nakeit easier tospin.
utdoors at twilight, under abridge, ina
tunnel or anyother 'safe' location, light the
steel wool, thenwithyour canera's shutter
open, start spinningthewhiskarounduntil
thewool burns out -this takes 20-30
seconds usually. 1heresults lookanazing, far
better thananythingyou'dget withasparkler.
bviously there's a rerisk here, sonever
try this techniquewheresparks couldset
anythingonre. Beaches areideal as you're
closetowater andsandisn't fannable.
Neither is concreteor tarnac. But dry grass
is, andsoaretrees. Youare, too, sowear
protectiveclothing-a waterproof jacket
andovertrousers arene-plus cover your
hair witha hoodor hat andwear glasses to
protect your eyefronthesparks. deally,
takea friendalongwhendoingwirewool
shots andnaybeevencarry a snall re
extinguisher, just incase. t's a fun
technique, but youhavebeenwarnedl

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5TAk-TkAIL5HOT5
f youpoint your caneratothenight sky
andlocktheshutter openonBulbfor twoor
threehours (at naxinunaperture), youcan
capturefantasticstar trails, createdbythe
rotationof theearthonits polar axis. t's a
natural fornof paintingwithlight. More
inportantly, whenyoudoshoot star-trail
inages, it's agoodideatoincludefeatures
intheforegroundtonaketheconposition
noreinteresting. However, as you're
shootinginpitchdarkness, inorder to
prevent thosefeatures recordingin
silhouette, you'll needtoaddsonelight.
Useeither fashor atorch-or both-
topaint theforegroundwithlight. Youcan
dothis onthefranethat will alsorecordthe
star trails, but that's hit andniss because
youwon't get toseehowthepaintinglooks
for several hours. Abetter optionis todoa
fewshots whereyoupaint theforeground
withlight inashorter exposurethen,
without novingthecanera, openthe
shutter torecordthestar trails onanother
frane. Afterwards youcannergethestar
trails withalight-paintedshot inPhotoshop.

PH5IOGkAM5
1heidea behindthis wacky but
sinpletechniqueis that you
suspenda snall pentorchon
theendof a pieceof stringina
darkenedroondirectly over
your canera, set thetorch
spinningandusea long
exposuretorecordthe
patterns of light trails created
as thetorchspins inever-
decreasingcircles. 1heresult is
a pleasingkaleidoscopeof
colouredcircles. Here's a quick
step-by-stepguidefor youto
try out thetechniqueat hone.
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1ie a snall pen-light torchtoa
lengthof string, thenattach
the other endtoa light tting on
the ceiling soyoucansuspend
the torcha fewfeet above
ground. 1he lengthof string will
dependonhowhighthe ceiling
is, but approx Inis usually ne.
5
Lachswing of the torchwill
recordas a spherical light trail,
but because the notionof the
torchis gradually slowing down,
eachsphere will be a slightly
diherent shape andsize, getting
snaller every tine. 1his is what
you'll get after 20to30seconds.
4
1urnthe torchon, the roon
lights oh, thenset the torch
swinging ina circular notion.
Peer throughthe canera's
viewnder andwhenthe swing of
the torchis snall enoughto
appear inthe viewnder, lock the
shutter openonBulb.
2
1oensure youget snooth
spheres, the torchneeds tobe
suspendedonits central axis so
it's balanced. f the torchdoesn't
have a central tting point, create
one by taping a loopof string to
the rear end, thenattachthe
lengthof string tothe loop.
6
After about 20seconds, cover
the lens witha piece of card,
grabthe torchandturnit oh,
place a colouredlter onthe lens,
switchthe torchback on, set it
swinging ina diherent notionso
a secondpatternrecords witha
diherent colour.
J
Mount your canera ona
tripodapprox Inbeneaththe
torchsoit's looking straight up.
Use a wide-angle lens around
28nn, set focus tonanual and
focus onthe torch. Set the shutter
toBulb(B) andstopthe lens down
tofiI6or fi22.
7
Youcanrepeat stepsix as
nany tines as youlike until
you're happy withthe inage. 1he
nore light trails yourecord, the
nore interesting the result. t's
actually quite addictive because
notwoshots are ever the sane,
andthey look great every tine.

LIGHT5TENCIL5
t takes practicetolearnhowtocontrol
your freehandlight painting-quiteoften
it canlook a ness until youget thehang
of workingblind. neway toget a neater
nishis touselight stencils, whichallow
youto'stanp' rather than'paint' your
inages withlight. Creatingthestencils is
fairly easy todoat hone, thoughit does
taketineandpatience.
I
Just about any inage canbe usedto
nake a light stencil. Drawyour inage on
paper rst soyoucanrene your design
before transferring it ontocardboardusing
tracing paper for cutting out. Using anart
knife, carefully cut out the design, naking the
edges as cleanas possible for a crispoutline,
andleaving about 3cnaroundthe edge.
Spray-paint the cardboardblack as well as a
shoebox andits lid. 1his shoebox will
becone your nakeshift lightbox.
2
Next, addsone colour toyour designby
attaching colouredcellophane or sweetie
wrappers tothe back of the stencil. 1he nore
layers of cellophane youaddtoeachstencil,
the richer the colour will be inyour inage.
Cut a windowinyour shoebox lid, leaving a
2cnborder soyoucreate sone crossover
whenyouinsert the stencil toprevent light
bleeding out. Line the inside of the shoebox
withaluniniunfoil andcut a hole inthe back
snaller thanthe headof your fashgun.
J
Set your canera toBulbnode, SI00
andanaperture of fi/ tofiI8depending
ondepth-of-eldandhowstrong your
light source is. Mount your canera ona
tripodandfocus onanarea of the scene
nanually, thenopener the shutter witha
renote release. Place your fashguntothe
hole inthe back of the shoebox andduring
the exposure, constantly nove aroundthe
scene, ring the test buttonwiththe stencil
pointing towards the canera.
HOWTOMA5TEk... PAN1NGW1HLGH1
66l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
PAINTINGACAkWITHLIGHT
indinga largeenoughlight sourceto
illuninateanentirecar canbea problen,
whichis why light paintingworks sowell.
Movingonelight sourcearoundthecar also
neans youcancreatelong, thincatchlights
that highlight theshapeof thebodywork.
1ry it. youcanuseany constant, bright light
sourcesuchas a handheldLLDlanpor long
fuorescent or neontubelight. Positionyour
car ina dinly lit area andselect a lowS
andnarrowaperturetoextendtheexposure
tine. You'll needabout 20seconds tolight
thewholecar. start at oneendand, inone
snoothnotion, walk slowly aroundthecar,
positioningyourself betweenthelight and
thecanera sothat thelight sourcedoesn't
showintheinage. Giveeachwheel a quick
blipof light tobringout thedetails.
OTHEkLIGHT5OUkCE5
Paintingwithlight ohers endless scopefor
creativeexperinentation, sowhat youcan
achieveis linitedonly by your inagination.
Youcanuseany nunber of things tocreate
thelight. torches, fashguns, LLDs, light
ropes, LL wire, natches, car headlights,
candles, relight, sparklers -thelist goes on.
Youcanshoot intotal darkness andaddall
thelight totheinageyourself, or nix light
paintingwithnan-nadeilluninationin
urbanareas. it's uptoyou. Youcanevenuse
your nobilephoneor tablet tolight-paint.
1herearededicatedlight-paintingapps
available-try Holographiun, a text-based
pieceof softwarethat projects 3Dletters as
younoveyour iPhone, iPod1ouchor iPad
across thefrane, creatingholograph-esque
foatingwords andinages.

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ADDAITOF5PAkKLE-k
Still havesparklers fronBonreNight or
NewYear's Lve 1hey'reperfect for
paintingwithlight. You'veall seencheesy
shots of soneonetwirlinga sparkler
around, surroundingtheir facewith
spitting, cracklinglight trails. Well, forget
that -it's tooobvious. Howabout tracing
theoutlineof a car or treewitha lit
sparkler, thenpoppingit witha weak burst
of fash 1ry photographinga person
outdoors at night witha burst of fashbut
thenll thebackgroundwithreby
wavinga sparkler all over theplacewhile
walkingaroundbehindthen. Youcould
usea sparkler tonakeit look likeit's
rainingsparks andcapturesoneone
coweringunder a brolly. r createshapes,
suchas a Christnas treewitha star on
top. Surrounda kissingcouplewitha love
heart, spinthesparkler whilewalkingin
front of your canera tocreatea spiral,
spinit whilerotatingtocreatea sparkly
orb. nall cases you'll needtoset theshot
upoutdoors at night soit's dark, usea
tripod, lock theshutter openonBulbthen
doyour sparkler thang. eepgoinguntil
thesparkler runs out, thendashback to
thecanera andclosetheshutter. Sinples.

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 6


ZOOM
1Sx
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i
1S-270mm FI3.6.3 Di ll VC PZD
ij For SLR camera high-zoom-ratio lenses with 15x magnification capability. Current as of December 2010. (Source: Tamronj.
Available for Nikon, Canon and Sony DSLR cameras.
270
mm
18
mm
18-270mm f3.5-6.3 0 FI0 Lens
7KH 8OWLPDWH
7UDYHO /HQV
5QAUEK -IGHS
The new sma|| and ||ghtwe|ght |ens from Tamron
|s the |dea| 'one so|ut|on` |ens for trave|||ng.
lt`s jam packed w|th features |nc|ud|ng our new
p|ezo u|trason|c motor for superfast and s||ent
autofocus, p|us bu||t-|n v|brat|on
Oompensat|on vO}. lt a|so
comes w|th a 5 year guarantee,
not that we th|nk you`|| need |t!
Just put |t |n your bag and th|s
|ens can hand|e a|most any
s|tuat|on you can throw at |t.
Poss|b|y the on|y |ens
you'|| ever need/

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 69
1inesaretougnforall ofusattnenonent, sownileourpassionforpnotograpnynaynotnavedininisned,
ourpnoto-expensesbudgetissuretonavetakenanit. 1nerefore, spendingournard-earnedcasnon
expensivenewopticsortnelatestgazillion-pixel DSLRisunlikelyforall buttnenostfortunate. However,
tnerearenanylow-costproductstnatclaintoonerusacnancetoexpandourcreativeoptionsand
captureinagestnatbelietneirrelativelylowpricetag. nBudgetPnotowetestlow-pricedpnotoproducts
todiscoveriftneydeliverontneirproniseofallowingfantasticpnotograpnyonaverysnall budget

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oldlarge-fornat lens andvacuuncleaner
hose, inanattenpt togivehis early digital
inages a bit of character. Ayear later the
riginal Lensbaby went intoproduction
andwithinsix nonths of its launchwas
usedby photographers in40countries
worldwide. t alsospawneda wholenew
connunity of creativeinage-nakers -
onlickr alonethereareover 8,500
nenbers of theLensbaby Groupandover
/I,000Lensbaby inages (www.fickr.
conigroupsilensbaby).
1oday therearehalf a dozen
diherent Lensbabies available
(seepanel, far right) for use
withDSLRs andnirrorless
canera systens. 1henost
recent is theLensbaby
Spark, andthoughit retails
at around80, inLensbaby
terns that's cheap, henceits
qualicationfor coverageinthis
nonth's 8udget Pnoto.
1hebasicidea behindtheLensbaby,
regardless of nodel, is that it replaces a
nornal canera lens andallows youto
recordonepart of theinageinsharpfocus
whileeverythingelseblurs away. n
addition, youcanchangethepositionof
thesharp'sweet spot', soit doesn't haveto
beinthecentreof thefrane.
1heLensbabySparkconsists of abayonet
lens nount (onlyfor CanonLandNikon),
aplasticbellows 'barrel' roughly3cnlong
intowhichaDoubleGlass pticis installed
1MAYCMLas sonethingof a
shock toanyonewhoknows
ne, but 'vealways hada
penchant for dreany inages.
Back inny fornativeyears as a
photographer youcouldoftenndne
shootingaway witha soft-focus lter stuck
tothefront of ny lens or a clear bit of
plasticsnearedwithvaseline. Bubble
wrap, anti-newtonglass slidenounts,
clingln- triedall nanner of things inny
quest for blur. evenexperinentedwith
ladies' stockings at onestage, though
don't liketotalk about that anynorel
nthesedigital days, it's nolonger
necessary tocreatesoft-focus ehects at
thetakingstagebecausethey canbe
addedlater, usingPhotoshoplters or
third-party plug-ins. Despitethe
convenienceof post-production,
however, there's sonething
rather clinical about naking
creativedecisions after the
event. or ne, part of the
funof photography is
seeingthroughthe
viewnder what 'ngoingto
get. alsolikeny inages to
benishedin-canera
whenever possible, not only
becauseit neans less tineat the
conputer but, also, ndthat theway
approacha shot interns of conposition,
lighting, canera angleandsoonis often
infuencedby how want thenal inageto
look. f canachievethat look thereand
then, it helps netonakeother decisions
that contributetothesuccess of thenal
inage. Whenit cones tocreativeuseof
blur, thebest photogadget out there
thesedays is theLensbaby.
Photographer CraigStrongcreatedthe
very rst Lensbaby back in2003, usingan
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Cha||engee: Lee rost
udget: 80
Theme: Lensbaby Spark
andalargeplasticcircular discaroundthe
lens, whichyouusetoadjust focus andthe
positionof the'sweet spot'. 1heopticthat
theSparkis soldwithhas axedapertureof
fi5.6, thoughthis canbeswappedfor a
rangeof other optics andaset of nagnetic
aperturediscs that allowyoutovarythe
ehectiveapertureandtheextent of blur that
canbeachieved. bviously, that involves
spendingnorenoney, sofor thepurpose
of stickingwithinbudget for this featurewe
stuckwithjust thebasicLensbabySparkkit.
1oachievesharpfocus withtheSpark, all
youdois squeezethebellows towards the
canera -thefurther away thesubject is,
thenoreyouneedtosqueezetoget it
sharp. f yousqueezeevenly sotheplastic
discsurroundingthelens renains parallel
tothecanera, thesharpspot will beinthe
centreof thefrane. However, if youpress
theedgeof thediscsothebellows are
squeezedunevenly, thesharpspot noves
away fronthecentre-press thetopof the
discandthesharpspot is near thetopof
thefrane, press theleft sideandthesharp
spot noves totheleft edge, andsoon.
1his allows youtofocus onanoh-centre
subject whileeverythingelseblurs away,
andthenoreyoudistort thebellows, the
noreblurry theblurredbits gol
AboveIeft. TheLensbaby5parkcanbeused
onCanonEFandNikonFIens ttings tocreate
unusuaI imageehects.
Inset. ThepIasticbeIIows 'barreI' is usedto
adjust thepositionof focus.
Lensbaby 5park
Gu/der/ce. L80
F/tt/ngs. Canon|| andN||on|
Foca/ /ength. b0nn
Oerat/on. Manua| -squeeze tofocus
Construct/on. P|ast|c
We/ght. 8bg
Inthebox. |ensoaoy Spar| w|tn|ntegra|
oody nount andDouo|e C|ass Opt|c
1he Spark is the latest nodel inthe
Lensbaby range (see panel, right) andalso
the least expensiveisinplest, soit's an
ideal introductiontowhat youcandowith
a Lensbaby. Unlike nany photographic
accessories, there's nocheapifake
alternative, at least not yet, soif youwant a
Lensbaby youhave tobuy a pukka
Lensbabyl 1he Spark cones witha Double
Glass ptic withxedfi5.6aperture and
canfocus fronapprox 33cntoinnity.
Lensbaby5park

Aclear Skylignt or Uvnlter


witnsonevaselinesneared
aroundtneedges will givea
sinilar enect totneLensbaby.
Alternatively, youcanninic
tneenect inPnotosnop-
tnereareloads of
tutorials online.

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 1
LensbabySpark
Aboveandright. ysqueezingtheLensbaby
5park's pIasticbeIIows, youcancontroI which
part of your sceneis infocus whiIetherest of
theimagebIurs away.
Althoughwe'reconcentratingonthe
Spark herebecauseit's newandkindof
budget-priced, thereareother Lensbaby
nodels tochoosefron.
Muse(100)
Like the Spark, yousqueeze
tofocus andbendtonove
the 'sweet spot'. t also
cones witha Double Glass
ptic tted. 1he naindiherence is that it
cones witha set of Magnetic Aperture
discs soyoucanvary the finunber fron
fi2 tofi8, andit's fully conpatible withall
Lensbaby ptics andaccessories,
whereas sone are tooheavy for the Spark.
Composer (160)
Anore renedLensbaby that
uses a ball-o-socket design
rather thanbellows tonove
the 'sweet spot' aroundand
has a separate focusing action, naking it
easier touse. Youcanlock it inpositionfor
nore controlledshooting, bothindoors
andout. Cones withDouble Glass ptic.
5cout (19)
1he Scout cones witha
I2nnsheye lens as
standardandanadjustable
aperture plus nininunfocus
of I3cn. 1he Scout doesn't bend, sothe
inage is always perfectly centred. t's
conpatible withall Lensbaby ptics and
accessories, though, soyoucanstill
achieve lots of creative ehects.
ControI Freak(200)
Nolonger nanufactured, but
still available. Lets you
conpress the bellows and
lock theninpositionto
achieve the ehect youwant. Youcanthen
focus using the barrel focusing ring and
adjust the tilt angle withthree netal posts.
Composer Pro(2S0-SS0)
1his is the top-of-the-range
Lensbaby. Buildquality is high
andthe focus andtiltiswivel
actions are snoother for
precise control. At the lower price it
cones witha Double Glass ptic and
Magnetic Aperture Set, at the higher price
it cones withthe Sweet 35 ptic that has
a built-inI2-blade adjustable aperture.
WhichLensbaby7
UsingtheSpark is quick andeasy, though
it does takea littlegettingusedtoand
initially younay ndyour bloodpressure
risingas youtry toachievesharpfocus ina
specicplacel 1hekey is tosqueezeipress
gently -if you'reheavy-handedyou'll
struggletondthe'sweet spot'.
1herearetwonainways tooperatethe
Spark. Youcanholdthecanera as nornal
withyour right handthenuseyour left hand
tosupport theLensbaby andthengers of
your left handtosqueezeandbend. 1his
nethodworks newhenyouwant the
'sweet spot' tobeoh-centre, but if you
want tokeepit central, whichneans
applyingequal pressureandsqueezingthe
Spark evenly, you'rebetter ohusingtwo

2l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
hands. Holdthecanera withyour right
hand, ringtheshutter as nornal withyour
right index nger andusingthesecondand
thirdnger of your right hand, plus the
index andsecondnger of your left hand,
tosqueezetheSpark.
What subjects does it suit Anythingand
everythingreally. 1heSpark is perfect for
noody portraits whereyour subject's face
is sharpbut therest of theshot is blurred, or
youcouldnoveincloseandnaybefocus
ononeeyewhilelettingtherest of theface
blur away. 1ry shootingincandlelight and
includethecandlefaneas a fared
hotspot, or backlight your subject withthe
sunandexperinent withdegrees of
overexposuretocreatea ronantic
high-key ehect. f youcantalk soneone
intogettingtheir kit oh, theLensbaby Spark
is ideal for atnosphericnudestudies, and
theblurringis ideal for hidingskin
blenishes -or your subject's nodestyl
Still-lifeshots canbenet fron
theLensbaby treatnent -
especially colourful subjects
suchas fowers or fruit. 1he
saneapplies witharchitecture
-youcanachieveweird'toy
town' ehects by shooting
buildings witha Lensbaby,
selectingonearea tobesharply
focusedthenleavingeverything
elsetoblur. 1akeit tothefunfair, too, or
onday trips totheseaside. Useit toshoot
wacky pet portraits or anusingshots of
your kids. Youcaneventakegreat
landscapes witha Lensbaby, too, if you're
willingtothrowcautiontothewindand
enbracethebeauty of blur insteadof
beingobsessedwithsharpnessl
1heinstructions reconnend
that youset your canera to
nanual exposurenode.
Giventhat thereis no
electroniccontact between
theLensbaby andcanera
body, this nakes sense. 1he
Spark has a xedapertureof
fi5.6soall youdois adjust the
shutter speeduntil correct
exposureis achieved. Sayingthat, 'n
sousedtoshootinginaperture-priority
that didsowithout thinking, andother
thanhavingtodial in+2to+3stops of
B
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I) Practise: You'll get better control if you
squeezeandtilt usingtheindex andniddle
nger of your left handandtheniddle
nger of your right handwhileholdingthe
caneraandtrippingtheshutter. t's ddly at
rst, but you'll soonget thehangof it.
2) Exposure: t's reconnendedthat you
set nanual exposurenode. Youcanuse
aperture-priority, shutter-priority or
progrannodes, but younay needtodial
inafair anount of exposureconpensation
toget theexposureright.
J) egentIe: t only takes aslight squeeze
toconpletely changethefocus point or a
slight tilt tonovethat point, soif you're
heavy-handedyou'll struggletoget the
ehect youwant.
4) ackIighting: 1hesharpiblurredehect
of theLensbaby works well onbacklit
subjects sodon't beafraidtoshoot intothe
light, especially withportraits. larecanadd
totheehectl
5) Keepit simpIe: Gofor sinple, bold
subjects rather thancluttered
conpositions andchooseastrongfocal
point that youcankeepsharply focused.
6) Oh-centre: AlthoughtheLensbaby
lends itself tokeepingyour nainsubject in
thecentreof thefraneandsurroundingit
withblur, youcanalsoget sonegreat
ehects bytiltingsothe'sweet spot' is
novedtowards theedgeof thefrane.
7) CoIour: 1heLensbaby ehect is well
suitedtocolourful subjects. nsunny
weather, shoot fronalowviewpoint to
captureyour subject against thesky -
funfairs aregreat places touseaLensbaby.
8) Expand: f youenjoy usingtheLensbaby,
consider addingafewextraaccessories,
likeadiherent lens or anacroconverter.
9) Keepshooting: Withnovingsubjects,
shoot aseries of inages inquick
successionwhilenakingsnall tweaks to
the'sweet spot'.
I0) Experiment: 1herearenohardandfast
rules whenit cones tousingaLensbaby so
try it onall subjects, fronlandscapeand
portraits toarchitectureandstill-life-
onceyoustart, you'll behookedl
Lensbabytoptips
GOTA
5UGGE5TlON7
Havea8udqet Pnotoidea
you'dlikeus totry out
Lnail your suggestions to
dslrfeedback(
dennis.co.uk, titled
'Budget Photo', andwe
nay try it outl

LensbabySpark
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl S
exposureconpensationfor every shot, this
nodeworkedneand never bothered
withnanual node.
hadfunplayingaroundwiththeSpark
andproducedsoneinterestinginages, as
well as gettingsoneconfusedlooks by
passers-byl Whether 'dinvest 80inone
renains tobeseen. ts nainlinitationis the
xedfi5.6aperture, whichneans that you
can't vary thesharpiblurredehect very
nuch. Buyingoneof theother optics anda
MagneticApertureSet wouldsolvethat
problenandnaketheSpark nuchnore
versatile, but thenit wouldalsoaddanother
40+totheprice.
1hefocal lengthof theSpark is also
increasedfron50nntoaround/5nn
whenusedonDSLRs withanAPS-Csensor,
whichneans youhavea relatively narrow
eld-of-view-nefor portraits and
still-lifebut not sogoodfor scenicshots.
Again, this problencanberenediedby
buyinga wide-angleadaptor, but it neans
spendingnorenoney.
inally, if youdecidetosplashthecash
ona Lensbaby, useit withcare. Giventhe
right subject andsituation, theehects it
produces canturna goodphotographinto
a nasterpiece, but toonuchtoooftenand
your work will beconepredictableand
boring, sobear that innind.
1he Lensbaby Spark is alsoconpatible
withthe following accessories.
OPTIC5
Ldge 80* ...................................................260
Sweet 35*...................................................I25
PinholeiZone Plate....................................25
Plastic........................................................... 30
Single Glass................................................. 30
Double Glass ...............................................59
Soft ocus.....................................................62
isheye*......................................................I05
* Althoughthese optics canbe ttedto
the Spark, they're quite heavy andcan
nake accurate focusing dihcult soare
not reconnended.
APEkTUkE5
AlthoughtheSpark
cones withaxed
apertureof fi5.6, if you
buy andattachthe
DoubleGlass, Single
Glass, Plastic, Soft ocus
or isheyeoptics, youcanalsochangethe
ehectiveapertureof thoseoptics usingthe
MagneticApertureSet (I0), which
conprises aseries of netal discs, eachwith
adiherent-sizedholethat areheldinplace
by anagneticeld. 1here's alsoaCreative
Apertureit (I3), whichcones witha
star-shapedandheart-shapedaperture
plus veblanks soyoucancut your own
apertures, aset of tenapertureblanks (9)
soyoucancut norefunky shapes, anda
CreativeApertureit 2(I3) whichhas nine
pre-cut apertureshapes. 1hesecreativekits
areconpatiblewithall Lensbaby ptics
except theisheyeandSweet 35.
LEN5CONVEkTEk5
f the optics and
apertures don't satisfy
your creative curiosity,
howabout adding a
0.42x Super Wide Angle
Conversionlens (54)
whichreduces the ehective focal length
of the Lensbaby fron50nnto2Innand
alsolets youfocus downtojust /cn. 1his
is a handy accessory if you're using the
Lensbaby ona nonfull-frane DSLRas the
50nnfocal lengthis ehectively /5nn,
but drops toapproxinately 30nnwith
the conversionlens added. Analternative
is the 0.6x wide-angleiI.6x telephotokit
(60) whichlets youreduce the ehective
(full-frane) focal lengthto30nnor
increase it to80nn. 1here are even
nacroconverters for the Lensbaby. 1he
Macroit (25) consists of two+4and
+I0dioptre close-uplenses that canbe
usedindividually or together andthe 8nn
andI6nnMacroConverters (39) are like
twoextensiontubes that canbe used
individually or together andfocus fron
less thananinchawayl Use thenwiththe
Macroit toget evencloser. 1hese nacro
converters canbe usedwithall Lensbaby
ptics except the isheye andSweet 35.
Addedextras
AboveIeft. 5hootingbuiIdings cangivea
miniatureviIIage'toy-town' ehect.
Above. TheLensbaby5parkis afunpieceof kit,
theonIydanger beingthat youuseit sooften
that your images becomepredictabIe.


JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 5
LX1RARDNARYMAGLSUSNGRDNARY1LMS
fyou'restuckforpnotoinspiration, tnenournontnlycnallengenaybejustwnat
you'relookingfor. WeselecttnreepnotograpnersfrontneDigital SLRPnotograpny
teanandcontributorseacnnontnandtasktnenwitncapturinganinagetnatusesan
ordinarynousenoldobject. 1nelatestcnallengeseesCarolineWilkinson, Paul Wardand
JordanButtersaintocaptureacreativeinagetnatincludesfestivedecor...
#7F5TIVDCOR
Creat|ve |ye ains toprove that conbining inagination
withtechnique cannake for interesting andinspiring
inages, evenif your subject is as ordinary as cutleryl f you're
lookingtoaddcreativity toyour photography, thenyou'll
ndit eveneasier toget theresults youwant by usingthe
best possiblekit. or theultinateinagequality, consider the
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has a class-leadingresolutionof 36.3-nillionpixels,
allowingit tocaptureanunprecedentedlevel of detail.
For further informationonNikon's rangeof products,
visit: www.nikon.co.uk
kecommendedkit

LS1vLDLCR
LITUPLIKA
CHRI5TMA5TR
ByPaul Ward
Camera: NikonD800
Lens: Nikkor 24-/0nnfi2.8
5oftware: AdobePhotoshopCS2
Left. Keepingsome
distancefromthe
tree, I drewaroundit
withtheLEDtorch.
eIowIeft. AIarge
torchdidn't create
theright ehect.
eIowright.
I spent timegetting
thepower of the
backIight right.
ottomIeft.
Thetreeneeded
someIight anda
wider aperture.
ottomright.
It's easytomisjudge
thesketch.
kight. After many
tries, I'mhappywith
theresuIt.
6l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1HS MN1H'S 1ASwas to
useanythingfoundona
decoratedChristnas tree-
a broadbrief that gavenethe
innediateidea tousethetree
itself. But rather thandress a treeina
house, likedtheidea of takingtheconifer
back intothewoods to'decorate' it there.
t's a pleasant coincidencethat this
nonth's issueis packedwithlight-painting
techniques, soyoushouldn't beshort of
inspirationandadvicefor applyingthis
idea. Youcouldaddtheehect in
Photoshop, but that wouldbecheating
now, wouldn't it Sonetines it's goodto
bea bit noreorganicandleavepost-
productionout of theprocess totry toget
it right in-canera, andthat's exactly what
wantedtodothis nonth.
startedat thelocal gardencentre
pickingout a treethat, for one, couldt in
ny car, andtwo, is snall enoughtodraw
aroundbut not sotiny that it's insignicant
next tothewoodland. went downtothe
nearest woodwhileit was still light tond
a clearing, thenhidthetreeina bushto
avoidanyonetakingit while waitedinthe
car for it togodark. As wouldhavetouse
at least a 30-secondexposureto
conpletethedrawing, it neededtobe
pitchblack, otherwisethetreewould
overexposeandthescenewouldlook
norelikedaytinethannight. Using
torches, foundthetreeandplacedit in
theniddleof thescene, positioningsone
brackenaroundthebasetocanoufageit,
thenwent about tryingtotheshot.
t took nearly I5attenpts anda lot of
trial anderror before got thenal inage,
but throughout theprocess learned
norewitheachshot after analysingthe
inageontheNikonD800's LCDnonitor.
startedby just usinga standard
householdtorchtoseewhat thetree
lookedlikeilluninated. useda highS
andfi/.I toget enoughdepth-of-eldand
shonetorchlight fronbesidetheD800for
30seconds. 1hespill of light was toowide
for what wantedandthetreeappeared
toobright, so loweredtheSratingand
narrowedtheapertureevennore. also
swappedny halogentorchfor anLLD
torchtoachievea ner lineandhavenore
control over thedrawing.
My secondattenpt was awful. it was
underexposedandbeingunsureof the
typeof design was goingfor nadeit look
a ness of squiggledlines. was quickly
learninghownot todoitl t was clear fron
ny last fewattenpts that neededa wider
aperture, andwhilethetreeshouldn't be
illuninatedas nuchas ny rst try, it did
needsonelight. Lxperinentationwas the
naneof thegane, so placeda Speedlight
set tonanual behindthetreeanduseda
trigger torethebacklight. After sone
playingabout withpower andexposure,
settledonfi3.5toget thesilhouettes of the
trees, S200andIi4power. thenstood
behindtheconifer andattenptedtodraw
a treeshapearoundit for the30-second
exposure. or thelast fewseconds, put
ny handover thetorchas novedit
aroundthetreetocreatethebauble-like
spots. 1heglowof thecity lights behind,
think, helps naketheshot.
TorchIight
Wrongaperture
WithoutIights
Practiseyourdrawing

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl

LS1vLDLCR
HOMI5WHR
THHARTI5
ByJordanButters
Camera: NikonD800
Lens: Nikkor A-S50nnfiI.4G
5oftware: CapturenePro/
8l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Whenhandedthis nonth's
Creat|ve|yechallenge, hada
fewdiherent ideas that tried
withvaryingdegrees of success.
My rst was toshoot an
Lscher-inspiredself-portrait inthe
refectionof a giant Christnas bauble.
However, after searchinghighandlowand
tryingvarious things, couldn't nda
baublelargeenoughandcrispenoughto
providenewitha sharprefection, sothat
idea went out thewindow(andthebauble
alnost followed).
1inefor planB-fairy lights. Photograph
fairy lights infocus andthey canlook kind
of gaudy, a tangleof wires withtiny
cheap-lookingLLDbulbs interspersed
throughout. However, placetheninthe
background, out of focus, shot witha wide
aperture, andthey transfornintonagical
andpicturesquesoft balls of light, or bokeh
toyouandne. Nowtry tondnea
photographer that isn't a fanof bokeh-
bet you'll strugglel
Personally, lovewinter, andoneof the
best parts about it is thefeelingof confort
andcontentnent that youget fron
returningtoa warnhoneafter a long
winter walk. wantedtotry tosunupthat
feelingina singleinageusingthefairy
lights andsohadtheidea of arrangingthe
lights tolook likeheat risingfrona hot cup
of tea or drinkingchocolate.
rst xedny NikonD800inplaceona
tripodpositionedroughly where wouldbe
shootingfron, selectedaperture-priority
nodeandset ny lens toits naxinun
apertureof fiI.4. thenswitchedtonanual
focus andturnedthefocus ringtothe
nininunfocal distance. thenstarted
runningny fairy lights uptheoppositewall,
attachingthelights usinggoodoldsticky
tape. wouldtakea test shot every sooften
toassess theshapethat thelights were
takingtonakesureit lookedlikeheat or
steanrising. nceall ny lights werein
place, set about coercingny wife, Naoni,
intobeingny nodel for theshoot.
set upa fashguninsidea snall square
softbox andpositionedit aboveNaoni's
headandfacingher. switchedny canera
tonanual nodeandtransferredthe
settings over fronny test series takenin
aperture-priority, this wouldensurethat
theexposureof thefairy lights and
backgroundrenainedas inthetest shots.
dialledinthenininunpower of IiI28on
ny fashgunandtook another test shot -
thefashwas toobright onNaoni's faceso
novedthesoftbox back a netreandtook
another franetondthecorrect exposure.
Although was happy withthelighting
levels, thecolour tenperatureof ny fash
was a lot colder thanthat of ny fairy lights,
neaningthat whenusingAutoWhite
Balancethefairy lights wererendereda
warntoneandthefashwas rendereda
coldwhite. 1orenedy this, tteda C1
gel tothefashgunwhichbrought the
diherent colour tenperatures of thelight
sources noreinline.
As a nal touch, spicedupthebokehby
creatinga heart-shapeddisctosit infront
of thelens. tracedaroundtheendof ny
50nnlens andcut out thecirclebefore
drawinga heart shapeonby handand
cuttingit out usinga craft knife. xedthe
discinplaceontheendof thelens using
snall pieces of tapeandaskedNaoni
Left. UsingasingIe
ashgunttedwitha
CTOgeI inasmaII
softboxaIIowedme
tomaintaina
reasonabIeshutter
speedandshoot at a
IowI5Ofor optimaI
imagequaIity.
eIowIeft. I traced
theendof myIens
andcut out abokeh
discandheart shape
byhand.
ottomIeft. Aquick
test shot estabIished
whether I'dgot the
right sizebokeh.
eIowright. Lights,
camera, bokeh-
aII gearedupfor the
naI shot!
ottomright. This
test shot highIights
themajor diherence
incoIour
temperature
betweenthetwo
Iight sources.
kight. I askedNaomi
towrapupinacoat
andscarf as if shehad
just returnedhome
fromthecoId. Her
expressionand
fondness for agood
cupof teahereis aII
genuine!
towrapupwarn, as if she'djust conein
fronthecold. Anal WhiteBalance
adjustnent towhitefuorescent light
warneduptheinagefor that honely,
Christnas feel. Anyonefor a cuppa

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 9

LS1vLDLCR
HOM5WTHOM
ByCarolineWilkinson
Camera: NikonD800
Lens: Nikkor A-SI2-24nnfi4G-LD
5oftware: AdobeCS5oPhotonatixPro
80l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1MAYBLa bit clichebut when
think of Christnas, think of
stockings by a roaringopenre,
a twinklingtreewithpresents
galoreandthechildhood
anticipationof Santa Claus visitingon
Christnas Lve. Capturingthis atnosphere
is relatively easy todoChristnas norning,
especially if you'reupwiththekids before
dawntoseeif Santa's been-but recreating
it inearly Decenber togiveyour custon
Christnas cards that warn, fuzzy feeling
requires a bit norethought. As don't have
children, gettingthentosit unpacking
presents withfakefestivejoy across their
faces wasn't feasible, so went about
settingupa night-before-Christnas scene
instead. Saint Nicholas takingsonetine
out by there, leavinghis boots andhat on
thereplacetoenjoy a plateof cookies and
a glass of nilk, beforellingthestocking.
r that's howny childnindinagines
Christnas Lvetohavebeen.
Most of thetinecreatingthis shot was
spent onsettingit up, decoratingthe
replaceand, frankly, unravellingthe
nassacreof fairy lights haphazardly put
away last year. ncethat was done, the
rest was easy. set upny NikonD800a
fewnetres fronthereplacewitha wide
enoughlens toincludethescenebut not
get distortion(20nnworkedwell), andset
it toaperture-priority node. After a couple
of test shots, fi9seenedtobethe
optinunapertureand selectedS200.
1helengthof theexposurenaturally
generates noiseintheshadows, sothere's
noneedtohelpwitha highSrating.
Withthedeepshadows ontheright side
of therooncontrastingwiththebright
fairy lights andtheglowof thereand
candles, there's a lot of detail tocapture
andbalancingtheexposurewouldbe
tricky. WhiletheD800has superbdynanic
rangeanddida pretty goodjobof
capturingnost of theanbienceinone
exposure, eventhis was out of its renit.
Havingseensonany awful HDR(High
DynanicRange) inages pass throughny
inbox, theidea of creatinganHDRpicture
didnakenegrinacea littlebut thescene
was perfectly suitedtothetechniqueand
was quiteehective. Havingfoundny
optinunexposure, set thecanera to
bracket six stops aroundit. Younay nd
extendingthis tonineexposures produces
a better result, too, if your canera's
dynanicrangeis linited, sotakea few
versions incase.
Back at theconputer, didn't needto
usetheRawles as theJPLGs lookedne

Left. Addinga
windowframeadds
moreintrigueand
interest totheimage,
andhavingit out of
focus draws the
attentiontothe
scenebeyondit.
AII that's missingis
somesnowthat has
settIedonthe
windows -soif you
dotrythis technique,
grabapictureof your
windowjust after it
snows. UnfortunateIy
for me, I couIdn't get
it tosnowondemand
intimefor this shoot.
kight. Dependingon
your camera's
dynamicrange, you
might beabIetoget
anatmosphericshot
without burningout
highIights or anyIoss
of detaiI inthe
shadows, but
chances areyou'II
struggIe. Aseries of
exposures is asimpIe
andehectiveway
aroundthis and
aIIows youtostiII
keepthebest parts of
eachexposure.
kight (series).
Takingseven
exposures aIIowed
metocapturethe
detaiI inthere,
candIes and
decoratedtreeas
weII as openupthe
shadows toreveaI
detaiI inthe
woodworkandsofa.
PhotomatixProis a
briIIiant pieceof
software, but it's easy
toget carriedaway
withit powerfuI
presets andcontroIs.
For asceneIikethis,
subtIetyis important
for it toIookreaI.
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 81
and already hadthenassiveanount of
exposureinfornation needed. uploaded
thesevenexposures intoPhotonatix Pro
andlet thesoftwaredoits business. 1here
weresonereal retina-burningresults, but
picking1oneMapping, theCreativepreset
andusingthecontrols tonanually adjust
theinpact paiddividends. nanagedto
createa hyper-real inage, loadedwith
detail andanexpansivetonal rangewithout
havingtowear sunglasses. Alittlefurther
work was neededinPhotoshopto
selectively sharpenareas.
While likedthenal inage, it wasn't as
creativeas was originally ainingfor, so
decidedtoadda windowfranetogivethe
scenea bit noreinterest. 1akingan
out-of-focus pictureof thewindowand
overlayingit inPhotoshop, usinga Layer
Mask toreveal thescenebeneathworked
wonders. Andthereyouhaveit. a tradition-
inspiredHDRChristnas scenethat will
look great onthefront of a festivecard.
Finishedehect

Compatlble
IR
Try Us
TODA
Don't Iose those memories
8ackup your photos to the Cloud
www.[ustcloud.com/slrphoto

PnotosnopCS Ligntroon CaneraRaw PnotosnopLlenents
Whatever your abilitylevel or choiceof editingsoftware,
there'ssonethingfor everyoneinthisnonthlyseries.
Weguideyouthrougheachof Adobe'seditingpackages
toshowyouhowtoget thebest fronyour inages.
1hisnonth, welookat howtoaddpunchtopicturesin
LlenentsI0, howtoretouchlikeaproinCS, enphasise
featuresinLightroon4andhowtouseCanera
CalibrationinAdobeCaneraRaw.
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 8S
DARRM
MAS1LRADBL'SMAGLS1WARL8MPRvLURPH1S
DG1AL
E
X
P
E
k
T
T
U
l
T
l
O
N
HOWTOCHEAT
INPHOTO5HOPC55
or noreinagenanipulation
andphotonontage
techniques, takealook at
ocal Press's best-selling
HowtoCneat |nPnotosnop
CSbguide, packedwithproven-to-be-successful
tips andexpert adviceby SteveCaplin. ther books
intheseries include00Pnotosnopand/rt
8Des|gn|nPnotosnop, bothof whichfeature
step-by-stepprojects coveringavariety of
techniques, suchas workingwithshiny surfaces,
thethirddinensionandhyper-realisn. f you'rea
Photoshopuser andstrugglingtoget the
best out of thesoftware, or ndingit tricky toget
togrips withsoneof thetechniques, thesebooks
canhelp. or noreinfornation, visit.
www.howtocheatinphotoshop.con
Further readng
PHOTO5HOPC5
RTOUCH
LIK APRO
Learnhowtheprofessionals
achievefawless, natural-
lookingconplexions
ELEMENT5
ADDPUNCH
TOPICTUR5
UsingAdjustnent Layers
andBlendModes
LlGHTkOOM
MPHA5I5 Y5
Giveportraitsaboost by
followingourtutorial for
enhancingfacial features
IN5ID...
CAMEkAkAW
COLOURRNDRING
urstep-by-stepguidereveals
howtouseCaneraCalibration
andACRpresetstobest ehect

84l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
PnotosnopLlenents
Adjustnent Layers
I
AddanAdjustment Layer You'll needthe
Layers andAdjustnent palettes visible,
sorst gotothe W/ndownenuandnake sure
that bothAdjustments andLayers are ticked.
1henclick onthe Create newh// or adjustment
/ayer buttonat the bottonof the Layers palette
and, inthe drop-downnenuthat appears,
select Leve/s.
2
TrytheAutofeature nthe Adjustnent
palette, rst try using the Auto/eve/s button
toallowLlenents todecide whichadjustnents
are nade toyour inage. 1his works better on
sone inages nore thanothers. 1he Autolevels
tool adjusts eachof the Red, GreenandBlue
channels independently soyounay nownotice
a colour cast inyour inage.
J
Correct thecoIour 1ocorrect the colour
cast, nake sure that the Leve/s layer inthe
Layers palette is selectedand, using the 8/end
Mode nenuat the top, change the BlendMode
of the layer toLum/nos/ty. 1his will renove the
colour cast by ensuring that the Adjustnent
Layer only ahects the contrast inthe inage
belowandnot the colours.
Increasecontrastwth
anAdjustmentLayer
Areyour inages inneedof acontrast boostindout howtoadd
extrapunchusingAdjustnent Layers andBlendModes
JOkDANUTTEk5. Mist andfog
adda wonderful atnosphereto
inages at this tineof year.
Nothingquiteconveys thenood
of a chilly autunnor winter
norninglikethelowearly-norningsun
piercingthrougha heavy haze.
Moreoftenthannot, though, nisty
landscapeshots arehinderedby one
characteristic-a lack of contrast. Suchis
theway of naturethat wecan't specify the
nist toonly appear inthebackground, so
quiteoftenany foregroundobjects are
dilutedby thehaze, too. Not toworry
though-withtheadditionof anAdjustnent
Layer andsoneexperinentationwithBlend
Modes inLlenents, youcanbringback the
punchintoyour nisty landscapeinages.
Workngnon-destructve|y
ADJU5TMENTLAEk5
We wouldusually advise duplicating your
original inage layer before youstart editing
your photograph, just incase younake
any nistakes. However, a najor benet
of Adjustnent Layers is that they are non-
destructive, neaning that any changes you
nake using thendonot ahect the original
inage data. What's nore, the paraneters
andvalues of anAdjustnent Layer canbe
tweakedinthe Adjustnent palette at any
tine throughout the editing process, or if
you're not entirely happy withthe ehect,
youcansinply delete that Adjustnent
Layer andstart afresh.
OriginaI

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 85
5
ManuaIIyset LeveIs 1his tine, rather than
using the Autoadjustnent, click anddrag on
the b/ack, grey andwn/te point sliders inthe
Adjustnent palette totweak the contrast of your
inage. Be careful howfar youpushthe black
andwhite points soyoudon't clipthe shadows
andhighlights andlose detail. Youcanbe nore
liberal withthe grey nidpoint slider.
6
Experiment withIendModes Back inthe
Layers palette, experinent withthe diherent
8/endModes toalter the ehect. Over/ay, Soft
L/gnt andHardL/gnt will all oher slightly diherent
ehects. Youcanalsouse the Opac/ty slider at the
topof the Layers palette toweakenthe ehect or
youcanrevisit the Adjustnent palette at any
tine totweak the paraneters.
4
TryamanuaI adjustment f youaren't happy
withthe ehect fronusing Autolevels, delete
your adjustnent layer by clicking onit inthe
Layers palette anddragging it tothe De/ete /ayer
iconat the botton, this reverts the inage back
toits original state. Create another Adjustnent
Layer by clicking onthe Create newh// or
adjustment /ayer buttonandselecting Leve/s.
FinaI image
Thecontrast increasehas
cut throughthehazeand
boostedsaturation.
DG1ALDARRM

PnotosnopCS
Retoucnportraitslikeanexpert
86l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
2
PemovebIemishes Duplicate your newlayer
by dragging it downtothe Addnew/ayer
mask iconat the bottonof the Layers palette
andnane it 'Blenishes'. Select the PatcnToo/
fronthe toolbar andselect Source inthe top
toolbar. Nowdrawarounda blenishandthen
click anddrag that selectiontoanarea of skin
that youwant toreplace it with. As yourelease
the nouseistylus, the selectionwill blendwith
the pixels, hiding the blenish. Repeat for all
spots, scars andwrinkles.
J
5mooththeskinDuplicate the 'Blenishes'
layer andnane it 'SkinSnoothing'. Use the
PatcnToo/ again, but this tine change Source
toDest/nat/oninthe toptoolbar. Nowselect an
area of skinthat's of eventone andsnooth
texture, thenclick anddrag that selectionontop
of areas that showvisible pores andredness. 1he
result nay look patchy at rst -try reducing the
layer's Opac/ty slider toaround85Xanduse a
Layer Mask witha very lowopacity brushto
snooththe skin's surface.
I
Cover updarkcircIes Under-eye shadows
cannake a subject look unduly tired. 1he
easiest way tobrightena conplexionis to
nininise these shadows andevenout the skin
tone. Duplicate your inage layer (Layer>
Dup//cate Layer) andselect the C/one Stamp
Too/, set its Opac/ty toaround20Xandlightly
blendinthe newskin. Be careful not tohide all
the shadowas youcannake the subject look
unnatural. f yougotoofar, use a Layer Mask to
pull back the ehect (see box out).
4
5tart beingseIective 1his stage cantake
nany Adjustnent Layers, sotry tokeep
organisedby naning the various layers if
necessary. nyour last inage layer, select the
LassoToo/ andset the Featner to!50px and
loosely select anarea of skinof sinilar tone. Go
toLayer>NewAdjustment Layer>Se/ect/ve
Co/or tocreate anadjustnent layer totarget that
selection. Assess your inage anddecide what
colours are ahectingthe skin-is it slightly too
dark, light, nagenta, redor yellow
5
Target specicareas nthe Adjustments
panel, select the appropriate colour totarget
fronthe Co/or nenu, using the sliders toadjust
that colour andevenout the skintone. Repeat
the process for diherent areas of the face, using
the LassoToo/ tocreate newselections and
adding newSe/ect/ve Co/or adjustnent layers.
As ny nodel's skinhada redtinge, nainly
focusedonthe RedandWhite toreduce redness
using the Black slider. Alsotry Curves adjustnent
layers toadjust local contrast.
6
FinishingtouchDon't rushsteps four and
ve. be preparedtotake tine over perfecting
the colour toensure all areas natch. Sone
colours will suit diherent areas better than
others, soexperinent -youcanalways return
the sliders to0if needed. nce you're done, use
the E///pt/ca/ Marquee Too/ withits Featner set to
40px andselect the inner eye. Next adda Curves
adjustnent layer andcreate a soft 'S' shape with
the line topunpupthe contrast. Repeat for the
opposite eye.
Advancedretouchngsk||s
CAkOLINEWILKIN5ON. t's easy
tocakea faceinblur or paint over
skinfor a porcelainnish, the
dihculty cones whenyouwant
tokeepthenatural texturebut
evenout andinprovethetone. Portrait
professionals doit witheaseandkeeptheir
nethods closetotheir chest, but wehavea
fewsecret techniques that we'renorethan
willingtoshare. or soneof you, last
nonth's tutorials oheringquick xes toskin
snoothingandreducinginperfections
Want professional retouchingresults1histutorial naytaketine
andaneyefor detail, but your portraitswill beconenatural beauties
usingLlenents andAdobeCanera Rawwill
beall youneedfor a while, but for nore
seasonedPhotoshoppers, this nonth's
tutorial is theonetonaster. Yes, dedicated
softwarehelps youget fawless results, but
why spendthenoney whenyoualready
havePhotoshop Layers, Adjustnent Layers
andLayer Masks areessential inthis tutorial
sonakesureyouunderstandhowthey
work as we'reskippingthebasics here. Be
preparedfor lots of layers, lots of selections
andenploy your eyefor detail, as you'll have
totarget specicareas -noone-stop-shop
global adjustnents herel Sograba cuppa,
your latest portrait andget ready for a
coupleof hours' work -theainis anazing
but undetectableediting-soherewego.
Howtouse
LAEkMA5K5
ALayer Mask allows youtohide detail fron
the layer it's appliedto, revealing the inage
beneathwithout erasing it. Whenthe Layer
Mask is selected, sinply addthe colour
8/ack tothe nask tohide inage detail
andchange tothe colour Wn/te torestore
the detail. Use the Xkey toquickly switch
betweenthe colours.

DG1ALDARRM
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 8
FinaI image
Adegreeof patienceis
requiredfor subtIeretouching,
but your timeis rewardedwith
naturaI-IookingresuIts.
OriginaI Edited
0ON'T
FOkGET...
t's easy tofocus ontne
faceandforget about tne
rest of tnebody, but nake
sureyoucneck tne
neck is of a sinilar
skintone.

88l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Ligntroon
Lnnancingfeatures
I
MakegIobaI adjustments Click onthe
Deve/opnodule andnake any universal
adjustnents that the inage requires rst.
nce done, click onthe Adjustment 8rusnto
openthe Adjustment 8rusnpalette andclick
onthe Ehect. Customdrop-downnenu, then
scroll downtoselect lr/s Ennance.
2
Choosebrushsize Zooninonyour inage
toconcentrate onthe eyes. nthe
Adjustment 8rusnpalette, set the Featner
anount to50andhover the cursor over one of
your subject's eyes. Use the j andj keys tonake
the brushsize snaller or larger tosuit the size of
your subject's eyes.
J
AppIyadjustment Click once onthe centre
of eacheye toapply the adjustnent to
the inage. 1he default settings under lr/s
Ennance will boost the Saturat/on, C/ar/ty and
Exposure slightly -however, youcanadjust
any of the sliders at this point toapply the
adjustnents tothe eyes.
4
Adjust botheyes f one eye requires a
diherent anount of adjustnent tothe other,
click onMask. Newat the topandrepeat the
previous steps. f youwishtoswitchbetween
eyes, hover the nouse over the brushnarker in
the centre of the eye until the rednask appears
andclick once.
5
WhitenteethClick onMask. Newagain
andfronthe Ehect drop-downnenu,
choose TeetnWn/ten/ng. As before, zoonin
andselect your brushsize before applying the
adjustnent. 1he preset paraneters canbe
slightly overzealous. f this is the case, set the
Exposure slider to0.20rather than0.40.
Gveyour portrat mpact
Lyecontact andabright snilecantransfornaportrait, solearna
fewsinpleadjustnents toenhanceyour subject's best features
JOkDANUTTEk5. Aperson's
eyes aresaidtobethewindows
tothesoul -they canbeusedto
instantly convey enotion, totell
a story or set thenoodof an
inage. t's alsotherst placethat anyone
viewingtheinagewill focus their attention
beforeexploringtherest of thephotograph,
thereforeit nakes sensetoensurethat you
present your subject's eyes inthebest
possiblelight. Lxposure, sharpness,
contrast andeventhecolour of your
subject's eyes canall beadjustedeasily.
Pairedwitha gleaningsnile, your portrait
OriginaI
shot is suretobea success. However, as
withany inageadjustnent, it's crucial not
topushthings toofar -youwant your
subject's features tolook appealing, but not
appear over-editedor unnatural, denonic
possessionis not a goodlook whenit
cones toportrait photography.
Lightroon4ohers a coupleof tools
perfect for enhancingeyes andsniles, and
becauseyouarealways workingnon-
destructively inLightroon, youcantweak,
experinent andconpareyour adjustnents
toyour heart's content until youarehappy
withthenal ehect.
Toptp
kED-EEkEMOVAL
Red-eye is causedby anon-canera fash
bouncing light ohthe retina andback into
the lens. t's not sonucha problenwith
digital SLRs as the pop-upfashis angled
higher thaninconpacts andnirrorless
caneras. Shouldyouhave red-eye in
one of your inages, the RedLye Correction
tool will elininate it. Select the tool and
thenclick anddrag fronthe centre of the
eye outwards before releasing tocorrect
the problen.
OriginaI
FinaIimage

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 89
DG1ALDARRM
FinaI image
WithafewsimpIe
tweaks youcaneasiIy
improveyour portrait
photographs.

90l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
AdobeCaneraRaw
Colour rendering
Manageco|ourwth
CameraCa|braton
Perfect Photoshop's colour renderingandtakecontrol of your
Raweditingprocess withanoreehcient workfow
CAkOLINEWILKIN5ON. t's onearea of AdobeCanera Rawthat oftengets
ignored, but it holds a fewtricks andtreats younight beinterestedtoknowabout
-especially if youlikeyour in-canera presets or your shadows oftenhavea
colour cast. 1heeighthtabalongtheeditingsuiteinACR, Canera Calibration,
ohers a fewpractical andcreativeproles for adjustingandinprovingthecolour
renderingof your pictures. Lachproleis calibratedtoget thebest fronyour canera or to
correct its unwantedcolour behaviour, soit canbea really useful tool if youknowhowto
useit. Your default proleis AdobeCanera Standard, whichis excellent andvery rarely -
if ever -will youneedtochangefronit. But if youwant toexperinent withyour colour
rendering, this articleshouldshowyouhow. Plus, if youroutinely apply thesanesettings
andtreatnents toinages inAdobeCanera Raw, younight beinterestedinthesectionon
creatingandapplyingpresets inorder tosaveyouvaluableeditingtine.
Ca|bratonoptons
Other prohIes 1hese proles attenpt
tonatchthe canera nanufacturer's
in-canera presets as closely as possible.
AppIyingprohIes
f youpreviously shot inJPLGandlikedthe
look of soneof your canera's built-in
colour proles, younay benissingthen
nowyou'veconvertedtoRawprocessing.
1heseproles (otherwiseknownas Picture
Styles or PictureControls onyour canera)
canbeaccessedvia theCanera Prole
sectionandahect your Rawle's saturation,
colour andcontrast tovaryingdegrees.
Dependingonyour canera, therenay be
nany tochoosefron. sonefaniliar, others
not, soneehectivefor nakingyour inages
richer andcolours punchier, whileothers
sinply ruinthen. Just experinent withthe
diherent proles -there's noharnin
clickingonthenas any adjustnents nade
inACRarenon-destructive-but you'll
probably ndthebest results conefron
your canera's norefaniliar PictureStyles.
or this exanpleinage, shot ona Nikon
D800, therearethefollowingoptions.
Landscape, Neutral, Portrait, Standardand
vivid, plus analternateversionfor each.
Youcouldapply thesesettings in-canera
if shootinginJPLG, but withRaw, all colour,
contrast andsharpeningadjustnents are
discarded, requiringyoutospecify thelook
usingthecontrols inACR.
1hebeauty of beingabletoapply proles
after capture, rather thanin-canera, is that
youcanusethenas a basetoberenedby
other settings. t alsoneans that youcan
process thesaneinagenultipletines to
diherent ehect. f youcreatea styleyoulike,
youcanalways saveit as a Preset, tobe
appliedtofutureinages witha click of a
button(seebelowfor details).
5avngaPreset
After trying
the proles
ondiherent
inages, shot in
various lighting
environnents
andof
diherent
subjects,
younight
ndthat you
want touse
one of these
in-canera proles as your newdefault
toapply toall inages inportedintoACR.
f that's the case, select that prole fron
the Camera Proh/e drop-downnenuand
thenclick onthe drop-downnenuinthe
topright of the Camera Ca//brat/onpanel.
Scroll downandclick Save NewCamera
RawPreset.
Process 1hese proles are conpatible
witholder versions of Canera Raw.
Choose a diherent ACRprole if youwant
newinages tonaintaina consistent look
tonatchwitholder photos.
CameraProhIe. Sets the prole towant
touse for your inage.
Adobe5tandard1his prole inproves
the colour rendering of your canera -
especially warntones suchas reds, yellows
andoranges. 1here's anAdobe Standard
prole available for every canera.

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 91
DG1ALDARRM
FinaI image
Custompresets aIIow
youtoquickIyandeasiIy
appIyyour favourite
changes toyour images
withthecIickof abutton.
I
Makeadjustments nyour usual fashion,
nake all the adjustnents that youwant to
apply toyour future Rawles. t couldbe as basic
as correcting exposure by a couple of stops, a
conbinationof sharpening andinprovedclarity,
a conplete colour overhaul or a black owhite
style treatnent -whatever youwant.
2
Createthepreset Click onthe Preset panel
inACR-this will be a blank panel until you
adda preset. Downinthe bottonright-hand
corner of this panel is a NewPreset icon, click on
it toopenthe control panel. Youcannowselect
all the adjustnents that you'dlike tosave within
this preset. Give it a nane andclick OK.
J
AppIythepreset Youshouldnowsee that
your newpreset is visible inthe panel, ready
touse. 1ocheck it works, opena newRawle
andthenapply your preset by clicking onit inthe
Preset panel. Youcancreate as nany presets as
youwant anddelete any preset by clicking on
the TrasnCaniconinthe bottonof the panel.
AddingandappIyingpresets
Whether you'recreatinga newcolour style, calibrationproleor want tobenoreehcient by savingyour basicor creative
editingprocess toapply tofutureinages, thePresets panel inACRis just what youneed. Here's howtonakethenost of it.
Fne-tuneco|our
Youcanadjust howPhotoshopinterprets the
colours capturedby your canera by using the
controls inthe Canera Calibrationpanel andsaving
it as a Preset (see panel onopposite page). Sone
inages froncertainnodels of canera have a
slight nagenta or greentint tothe shadows, which
canbe correctedhere using the Snadows slider
toadjust the colour. eepthe Camera Proh/e set
toAdobe Standardfor the best colour rendering
for your particular canera. f that doesn't work,
you'll needtorefer tothe Red, Greenand8/ue
Pr/mary sliders tochange the hue andsaturationof
that individual channel. f your picture has a green
cast, pull the Hue slider away fronGreenuntil the
inage looks neutral. Adjust the Saturat/onslider
afterwards, if required. f the tint is consistent across
your inages, youcansave these settings as a Preset
soyoucanapply toall subsequent Rawles.
0l0YOU
KNOW7
Most of tneinfornationin
tnis featurecanbeapplied
intneCanera Calibration
panel inLigntroon4, too
-tnepronles aretne
sanefor botnAdobe
softwares.

MANGASPLASH
'WHLNMYCARLLRas a connercial
photographer took oh, was characterised
by a certainstyle, anover-sharpened,
high-contrast three-dinensional look
usingsculptedlighting. Now look around
andseethat styleeverywhere. 1his is just
what happens inour industry, a trendbreaks thenorn,
soneoneleads andothers follow. 1hat trendbecones
nundaneandsoneoneelsebreaks out andthecycle
starts again. f youwant tobenoticedyouhavetobethe
onebreakingout, rather thanoneof thefollowers.
'neof ny goals for this year was toshoot a personal
project or twoevery nonth. hadfallenintoa rhythn
withny connercial work andhadtowork sohardjust
tooutdonyself. As anartist, wantedtodosonething
newandsonethingfresh.
''djust nisheda personal project calledishHeads
whereby photographedpeopleusinglaser triggers at
thepoint that they weresubnergedinwater. put it out
onthewebandtheresponsewas positive. felt excited
by that process, givenny usual work, 'ddonesonething
that was unexpectedandit was really well received, so
startedthinkingabout other things that coulddothat
hadn't beendonebefore.
' sawa 1vshowwherethey threwwater balloons at
people's faces andlnedtheexplosions usingsuper-
slownotioncaneras. 1hewater took ona contorted
shapeandit lookedquitesurreal. 1heproblenfor newas
that not only hadit beendonebefore, but also didn't
want togofor that novelty factor. f youhit sonebody in
thefacewitha water balloon, they'regoingtolook
shockedandsurprised-there's nothingnewthere.
wantedtoachievea contrast betweenthestillness of a
personposingfor a photographinanalnost nannequin-
esquefashionandthevolatilenatureof what was going
onaroundthen.
WHLNCMMLRCALPH1GRAPHLRTIMTADDR'5LA1LS1PRJLC1'WA1LRWGS' H11HL
N1LRNL1, 1NS1AN1LLPLDLD. JRDANBU11LRSCA1CHLSUPW1HHM1CHA1ABU1
DARNG1BLDLRLN1AND1HLMPR1ANCLLLPNG1HLCRLA1v1ALvL
1in 1adder &XWWLQJ(GJH
92l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1) TheDonK/ng.
ThisisactuaIIyour
reguIarUP5driver,
DerekEvans. We
seehimaImost
everydayandhe
hassuchagreat
face, asweII as
beingareaIIy
goodsport. 5ohe
wasashoe-infor
WaterWigs.
2) The
Conqu/stador.
ThismodeI isan
aspiringWWE
wrestIerand
shootinghimwas
aIotoffun. Hehas
somepretty
interestingfaciaI
hairwhichreaIIy
addstotheimage."
3) WeshotKaiIyn
fromNo-Ties
modeI agency
forourfemaIe
WaterWigsseries
-theyuseditasa
testshoot. 5hewas
atrooper
consideringthis
sessionwasvery
diherentto
anythingshe'd
previousIydone."
' startedout by throwingballoons at a nannequinthat
haveinthestudioandnoticedthat whendroppedfron
above, thewater forneda shapethat lookedlikea wig,
so went onthehunt for baldnodels touse. ntherst
incarnationof theproject usedbaldnen, but also
wantedtousea diverseselectionof peoplewithunique
anddiherent looks. neof thenodels for thefenale
Water Wigs evenshavedher headfor theprojectl
' developeda lightingset-upthat wouldnakethe
inages boldandvibrant. usedvefast-durationLinstein
lights withcolouredgels, all faggedtoshapeand
concentratethelight toprevent thecolour fronwashing
out. t seens that thecolour paletteusedinportrait
photography at thenonent is 80-90thesane, nuted
pastel backgroundtones andsoft, creany lightingusing
largelight sources. don't want tobetheguy doingthe
sanethingas everyoneelse- want youtoloveneor
hatene, not belukewarntone, sothelightinghadto
buck thetrend. Maybeit's evena littlegrotesque, but you
knowwhat At least it's diherent.
'1hetechniquewill befaniliar toanybody whoknows
high-speedphotography andvery sinilar tocapturinga
water droplet. Youshoot inthedark andusea soundor
laser trigger witha delay sothat thelights capturethe
exposureinaninstant, usedStopShot soundtriggers to
reonthesoundof theballoonpopping. Wethrewa lot
of balloons andsoonhada consistent fornula for
achievingtheshapes wanted. Nonetheless, the
techniquewas still very hit andniss, of a full day's
shooting night endupwiththreeor four usableshots.
1
2


4) The8eeh/ve.
"ThebeautifuI
makeupwasdone
by5pring5uperat
EnnisIncagencyin
NewYork."
5) ThismodeI was
aHarIey-riding
IiIy-farmer. He
cuItivatesIiIiesand
hasthemtattooed
aII overhisbody.
AverycooI guy."
6) ThismodeI,
Cindy, actuaIIy
shavedherhead
justforthisshoot!"
7) TheWh/tney.
"Thisimagewasa
happyaccident.
Theshapeofthe
waterandher
expressionmakes
itafavourite."
'or thephotographs wherethewater appears tosit in
a lineor wraparoundthenodel, usedlongskinny
balloons likethetypeusedtonakeballoonaninals and
thenpoppedthenusinga spikeona longstick. Bearingin
nindthat this was doneinthepitchblack, think wewere
lucky not tohavehadany nishapsl By thetine caneto
shoot thefenaleseries hadironedout nost of theissues
andtheprocess was streanlined. 'nalways learningas
go, thefenaleseries is a far better executionthanthe
naleseries and'vejust nishedshootinga connercial
applicationof Water Wigs for a hugeglobal brandthat's
another level abovethefenaleseries.
'Post-processingontheinages diheredslightly
betweenthenaleandfenaleseries. 1henalenodels
requiredonly ninor touchingup, whereas whenit cane
tothefenaleseries, knew wanteda nannequin-esque
futuristiclook. 'nnot tryingtobestylistically neutral, 'n
tryingtobeontheedge. wantedthenodels tolook
overly Photoshoppedandtohavea erce, polishedlook.
1hegoal was toget peopletolook at theinages twoor
threetines andthink, 'What's goingonhere'
' hadnoidea that this project was goingtoreachsofar.
Water Wigs has got nenoreattentionthanany of ny
previous work has andhas leadtofurther exciting
opportunities. RedBull has just lnedthebehindthe
scenefootageof thefenaleWater Wigs series for a 1v
showthat will air inLurope. 1hejobs that haveconeny
way sincedoingthis areonanother level towhat they
werebeforel f youthink that Water Wigs is cool, wait until
youseetheconnercial applicationof it - think it
workedout fantastic. t's rarethat 'nsostokedabout an
advertisingcanpaignl
''nhopingit continues toevolve. 'vealready got ny
next project innind, it isn't goingtobewigs, but it will
includepeople, liquidandbeexplosive. haveanidea that
'nstill tryingtofornulate, but haven't guredout how
it's goingtolook yet.
''nexcitedandcreatively chargedtodonorepersonal
work. t opens uppossibilities and feel like cancreate
anything. 1heideas havebrewingareendless and'nnot
surewhy haven't donenoreof then.
Toviewmoreof Tim's images, visit: www.timtadder.com
I DON'TWANTTODOTH5AM
THINGA5VRYONL5~I WANT
YOUTOLOVMORHATM
4 5
6
94l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1in1adder &XWWLQJ(GJH

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 95


SHL'SNASHN
AMASSNGvLRI26,000social nedia
followers whilst forginga successful career
as anin-denandinternational fashion
photographer andplayinghost tosold-out
photography workshops is a repertoirethat
anyonewouldbeproudof. actor in
achievingall of this by theageof 23andyou'vearrivedat
thepoint that British-bornphotographer Lara Jadends
herself inher short but very successful career. What's
nore, she's evenfoundthetinetowriteher rst book,
|asn|onPnotograpny 0.
ntheconpetitiveworldof fashionphotography, you
oftenndphotographers holdtheir cards closetotheir
chest, alnost as if divulgingindustry secrets wouldopen
thefoodgates andll thenarket withconpetition.
|asn|onPnotograpny 0 is a culninationof Lara's
experiences fronforgingher ownpathintotheindustry.
' feel ny approachtophotography was uniqueinthe
sensethat ny career caneabout exclusively duringthe
digital nedia age. When studiedfor ny diplona in
photography, foundthat was givennoinfornationas to
howtodirectly approachtheindustry andget noticed.
wantedtoshareny story andexperiencetoshowthat a
career infashionphotography is approachable. 1hrough
ny workshops andthis book shareas nuchknowledge
as canabout howtheindustry operates, howto
approachit andhowwhat knowhas helpednestart
clinbingtheladder.
What's nost refreshingabout |asn|onPnotograpny 0
is that theadviceoheredis current tothefashionindustry
today. urthernore, Lara's journey frona teenager
pickingupa canera for therst tinetowheresheis now
reinforces her credentials as theauthor. ' startedout
shootingself-portraits at theageof I4inorder tohone
A11HL1LNDLRAGLNL2S, PRLSSNALPH1GRAPHLRHASACHLvLD
LLvLLSGRLA1NLSS1HA1SMLPH1GRAPHLRSCANNLDRLAM. HLRLSHLSPLAS1
JRDANBU11LRSABU1HLRNLWBANDMANGHLRMARN1HLASHNNDUS1R.
Lara Jade &XWWLQJ(GJH
96l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1) I Ioveshooting
usingnaturaI Iight,
aIthoughthe
amountofcontroI
youhaveisgreatIy
reduced, ithasa
softnessand
quaIitytoitthat
simpIycan'tbe
repIicated."
2) Thiswastaken
usingaLensbaby
duringaneditoriaI
testshootwith
modeI DanieIIe
Foster. Testshoots
areagreat
opportunitytotry
outnewideas."
3) Thisimagewas
takenaspartofan
editoriaI shootfor
apieceentitIed
TheLastRoseof
Summerfor
Paercut
magazine."
4) LaraonIocation
duringafashion
shootforSheer
Magaz/ne.
5) Thiswastaken
duringafashion
shootfor
Contentmode
magazine. The
modeI, Te'sa, was
styIedasa'50s
housewife."
ny skills andinproveny condence, conpositionand
style. Acoupleof years later, beganworkingwith
conceptual stories -photographingfriends andusing
willingnodels when could. By thetine was I/, started
receivingbookings froncreatives whohadseenny work
throughsocial nedia sites andfoundnyself beinghired
toshoot dancers' portfolios, bandphotography andcover
artwork for books. t was dihcult at rst because
photography transitionedfrona hobby toa jobvery
quickly, but enjoyedthechallengeandit enabledneto
learnhowtodeal withclient denands fronanearly age.
Havingfoundher footingintheworldof fashion
photography, Lara's client basequickly grewtoinclude
suchhouseholdnanes as Schwarzkopf, Harper Collins,
Sony, |||eand1neOoserver. Clients of this nagnitude
aren't a given, though, andhardwork andperseverancesit
at theheart of her success. ' nadethedecisiontonove
toNewYork at theageof 2I as it's oneof thenost
infuential fashioncapitals of theworld. think it's
inportant as anartist tolivesonewherethat gives you
1 2 3
4


constant inspirationandis closely relatedtotheindustry
youwork in. 1heNYClifestylesuitedny ideal -busy,
fast-pacedanda constant challenge. t wasn't easy,
therearebarriers tofaceas a youngphotographer inthe
industry andbeingfenaleina nale-orientatedbusiness
is hard, but it's not inpossibletoovercone. Asidefron
talent, workinginfashionis about connections and
networking, andit takes tinetoget noticed.
Unfortunately, there's noeasy way of gettingunder the
spotlight -sonetines peopleget noticedovernight and
sonetines youjust havetokeeppushingforwardand
provingyourself.
As well as coveringtheessentials for gettingstarted
andbuildingupa portfolioof fashionphotography work,
|asn|onPnotograpny 0 alsoohers guidanceontheart
of successfully narketingyourself as a photographer.
Withthepopularity of photography ontherise, standing
out is only goingtobeconeexponentially noredihcult
&XWWLQJ(GJH
6) Thiswastaken
onIocationusing
aLensbaby,
aIIowingmetouse
theshaIIow
depth-of-eIdto
focusonthe
modeI'seyes."
7) GoodIocations
arekeytoa
successfuI shoot.
Wediscoveredthis
carouseI inNew
York, anditmade
fortheperfect
backdrop."
8) Takenontheset
ofthe'VeIveteen
Pabbit' editoriaI
shootinrookIyn,
NewYork.
for futuregenerations of aspiringphotographers.
Anateurs andprofessionals alikehavetousewhatever
tools areat their disposal toget noticedandsecure
bookings. Althoughthedays of photographers enjoying
celebrity status arelonggone, Lara has anassedan
inpressivefollowingonline. 1his shouldn't coneas a
surprisewhenyoutakeintoconsiderationthat while
nany old-school photographers areonly just starting
toget their heads aroundusingsocial nedia inthis way,
Lara has beendoingit for norethansix years. 'ntheearly
days, usedsocial nedia nainly because hadnoother
way of gettingny work out intotheindustry andpartly
because enjoyedbeingpart of onlineconnunities.
1his helpedneunderstandny stylevery early onand
nadenerealisewhat it was that wantedtoachieve.
'1oday, still usesocial nedia because feel likeit is part
of ny journey, although don't rely onit solely toshare
ny portfolioor tosecurebookings. Alot of peopleask ne
WHILIT'5GRATTOHAV
COMMI55IONDWORK, CLINT5
RLATMORTOPR5ONALWORK,
IT5HOW5HOWIN5PIRDYOUAR
6 7
8
9
98l DIGITAL 5LkPHOTOGkAPHl JANUAR201S

JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 99
how nanagedtoget sucha strongfollowingonlineand
all cansay is that thereis nosecret fornula, although
wishtherewasl just try tokeepall of ny accounts
updatedas oftenas cantokeepthestory going.
nthebook, Lara alsoexplains theinportanceof
settingyourself personal assignnents andchallenges
alongsideconnissionedwork, tohoneyour creative
andtechnical abilities. 'Whenit cones toconnissioned
work, theanount of creativeinput that 'nallowedreally
cones downtotheclient andat what point you're
brought in. Soneclients areeasy towork withandwant
your input andstyle, whereas sonejust want youtoplay
theroleof photographer. nny eyes, personal
assignnents areprobably oneof thenost inportant
bodies of work ina photographer's career. Whileit's
great tohaveconnissionedwork andtear sheets,
clients relatenoretopersonal work becauseit shows
howinspiredyouareandhowyourelatetoyour work.
devotea lot of ny sparetinetony personal work not
only for this reason, but because want tobecontinuously
inspiredby what do.
Despiteachievingall that shehas insuchas short space
of tine, Lara's advicetoaspiringfashionphotographers is
totakeyour tine. '1herst fewyears of your career are
incredibly inportant -focus onbuildingyour portfolio
andndingyour style. nceyouhavea portfolioyou're
happy withandyou'recondent inyour technique, then
this will bethetinetostart approachingphotography as a
business andreachingout toclients youwant towork for.
Becondent inyourself andyour abilities andthis will
coneacross andhelpintheclient decidingwhether you
areright for thejobl
LaraJade's Fasn/onPnotograpny !0! is availablenow.
Toseemoreof her work, visit: www.larajade.co.uk,
or becomeafanonFacebookby goingto:
www.facebook.com!larajadephotography
LaraJade
9) Gigi andIrena
fromWiIheImina
ModeIs, shotfor
Mater/a/ G/r/
magazine.
10) Fash/on
Photograhy101
byLaraJade
coversaII youneed
toknowaboutthe
worIdoffashion
photography.
10




MRL1LCHNUL MRLLPLR1ADvCL MRLNSPRA1Nl
LBRUARY20I3SSULNSALLI5JANUARY
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UDGETPHOTO
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MAlNTE5T


T
HLRGNALPLN1AX-5was
releasedinlate20I0andprovedto
beanexcellent canera, scoringa
veryrespectable90inour test
(March20IIissue) andprovingaworthy
alternativetothepopular Canon, Nikonand
Sonynodels. 1his updatedversion, as we
discover, isn't hugelydiherent toits
predecessor, oheringafewtweaks hereand
thereas opposedtoafull overhaul. 1he
biggest diherence, infact, is its launchprice.
At 800bodyonlyconparedtothe-5's
I,I55, theMark isreleasedat asignicantly
lower price, whichis aboldnovebyPentax
as it tries toboost its narket share. Withsuch
strongconpetition, it's alsoonethat feel is
necessary-regardless of howgoodthe
Pentaxis, it needs astrongpriceincentiveto
drawpotential custoners awayfronCanon
andNikonrivals, inparticular. Whilethe
original -5didwell, thereis nodoubt that its
higher guidepriceonlaunchahectedsales
-afactor Pentaxhopes won't ahict this
latest nodel. 1he-5 certainlyhas nuchin
its arsenal, but has it enoughtogiveit the
edgeover theerceconpetitioninthis
highlyconpetitivesector
HandIing8easeof use
5COkE2Jl25
As withtheentry-level -30reviewedinthe
Novenber 20I2issue, thePentax-5 is
incrediblywell nadeandclearlydesignedto
handletherigours of theenthusiast. f you're
usedtothelight, plastickyfeel of an
entry-level nodel, you'll nodoubt be
surprisedbythesolidfeel andweight of the
-5. 1heshapeof thehandgripis nicely
curvedtoprovideaveryconfortableand
secureplatfornfor your ngers, whileits
rubberisedtexture, alsousedonthe
thunbrest, inproves thegripfurther.
1heexterior casingof the-5 is
constructedusinglightweight nagnesiun
alloy, whilethechassis is nadeof stainless
steel. 1his helps reducetheweight while
naintainingits rigidity. 1hebodyalsoboasts
//seals that nakeit weather-resistant and
dustproof, as well as ensuringit canwork
properlyintenperatures as lowas -I0C.
All this protectionadds sonewhat tothe
weight, althoughthecanerabodyrenains
relativelyconpact insize.
1helarge, bright viewnder is ajoytouse,
especiallyif you'refaniliar withtherather
cranpedoherings youndonnany
sinilarlypricednodels. 1he3inLCD
nonitor is alsoworthyof praise, boastinga
verybright screenthat is usableinbrilliant
conditions. 1henenusystenandrangeof
options for viewinginfornationindiherent
ways is anple, too, as is thecrispness of
nenus andinages fronthehigh-resolution
92I,000-dot screen.
1hegeneral control layout of thePentaxis
excellent, withpronounced, well-narked
buttons neatlyarrangedinlogical positions.
Anajor positiveis theinclusionof twoinput
dials, oneonthehandgripandtheother on
therear bythethunbrest, whichgreatly
speeds upchangingvariables likeapertures
andshutter speeds. 1heset-upof howthe
four-waycontrol, infobuttonandLCD
nenusystencanworkinunisonalso
deserves credit.
As youcangather, 'nveryinpressed
withthegeneral handlingof the-5, as
indeed was withtheoriginal version. 1he
canerahas beendesignedtobeeasyto
navigateandfast tooperate, as well as suited
toserious use. nterns of handling, it's one
of thebest under-I,000nodels. 1heone
tinyniggle haveis that duetothedesignof
theSDcardslot, it canbenoredihcult than
nornal torenovethecard.
Features
5COkE22l25
1hespecicationof the-5 is surprisingly
sinilar totheoriginal. 1heI6.28-negapixel
CMSsensor has thesaneresolutionof the
previous version, althoughwe'retoldit's a
newlydesignedsensor that pronises
inprovedperfornance. t sits insidea
platfornthat provides ShakeReductionof
uptothreestops, soeveryshot youtakecan
benet fronstabilisation, regardless of the
lens used. t's worthnotingthat as it uses the
Pentax-nount, prettynuchanyPentax
lens nadeinthelast fewdecades canbe
usedonthe-5.
PentaxK-5II. Dimensions
LCD. 3N DLP1H. /2.5MM
H
L

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H
1
.
9
/
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M
WD1H. I3IMM
WRDS. DANIELLEZANO
1LS1CLN1RL
Caneratest
odyonIy: 800(Guide) i 800(Street)
18-55mmWPkit: 8/0(Guide) i 8/0(Street)
Imagesensor: CMSAPS-C(23./xI5./nn)
ImageresoIution: I6.28-negapixels
LCD: 3in(92I,000dots)
5torage: SD(SDHCiSDXC)
Weight: 680g(includingbatteryandcard
PentaxK-5II
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 10
AOVE: Thecompact sizeandrobust,
weatherproof bodywiII appeaI toenthusiasts
Iookingfor acameraabIetosurvivetherigours
of heavyuseinpoor weather.
Inthebox
1he Pentax -5 is suppliedwiththe
Li-ionbattery (D-Li90), battery charger
(-BC90H), body cap, wide strap, interface
(USB) andAvcables, software CDand
owner's instructionnanuals.

1LS1CLN1RL Caneratest
108l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Ainedat noreadvancedusers, Pentax
has not includedScenenodes anongits
exposureoptions, but thereis progran, as
well as seni-autoandnanual nodes.
You'veachoiceof //-segnent, spot or
centre-weightedaverageneteringpatterns,
alongwiththeusual exposureoverrides.
1hebiggest changeonthis nodel is the
autofocus systen, whichuses thenewly
developedSAXXAnodule, boasting
inprovedsensitivity, especiallyinlowlight.
1hefocusingsystenuses IIpoints, which
canbeusedindividuallyor withveor all II
Apoints active.
nageprocessingis handledbythehighly
regardedPRML (PentaxReal nage
Lngine), that allows for shootingat avery
respectablesevenfranes-per-second,
alongwithanSrangeof SI00-I2800
(extendabletoS80-5I200). ull HDvideo
is alsopossible(I980xI080pixels) at 25fps,
withanexternal nicrophonesocket located
ontheleft sideabovetheHDM slot.
or thoselookingtotryin-caneraehects,
the-5 sports I8digital lters. ther
features worthnotingaretheintegral fash
withafull set of nodes, includingWireless,
inagesensor Dust Renoval andLiveview.
Performance
5COkE2Jl25
1he-5 perforns inaverysinilar fashion
totheoriginal -5, whichwas itself an
excellent canera. 1henaininprovenent is
howwell theAsystenoperates inlowlight
-it's surprisinghowinverydinconditions it
locks focus onthesubject. nnornal
conditions, theAis quickandpositive,
althoughLiveviewstill needs inproving.
Meteringis excellent, onlybacklighting
causes it najor problens. nagequalityis
excellent, withgoodsharpness andrealistic
colours. Most inpressiveis thelevel of noise,
whichisn't that evident until theSreaches
3200. HDvideois inpressive, too, with
snooth, clear recordings.
Keyfeatures
CMO55N5OR
1he resolution
nay be the sane
as the original -5,
but inages are
slightly inproved,
withnoise at
higher Ss being
very well controlled. 1he sensor sits ina
housing as part of the Shake Reduction
systenandhas anti-dust protection.
ROU5TUILD
very fewDSLRs at
this price boast
the buildquality
andweather
resistance of the
-5 . ts casing is
nade using
nagnesiunalloy, whichis bothlightweight
andtough, while the chassis is stainless
steel. // seals protect frondust andwater.
11-POINTAF
As withthe
original, the
Pentax -5
ohers anII-point
A systen, but
benets fronthe
inclusionof the
SAXXA nodule whichinproves its
sensitivity inparticular invery lowlight.
PentaxK-5II
1he 950Pentax -5
is a variant of the -5
that is virtually identical
withthe only najor
diherence beingthe lack
of the anti-aliasing lter
above the inage sensor. na sinilar fashion
tothe NikonD800L, it allows for slightly
sharper inages, althoughusers needtobe
aware of the increasedrisk of noire ehects.
Verdict
1he Pentax -5 isn't a
najor update of the -5,
but its changes, however
ninor, doinprove onthe
original. Witha price tag
that is very conpetitive, the
Pentax deserves todowell.
t's particularly suitable for
outdoor photographers whowouldbenet
fronits excellent build. As well as rival
brands, it faces conpetitionfronthe
cheaper -30, whichis very sinilar in
specication. t's a great canera but with
nost nodels oheringI8-negapixels or
nore, it has a ght onits hands.
Hand|ng8easeof use 23l25
Features 22l25
Performance 23l25
Va|uefor money 23l25
Overa|| 91l100

THK-5II I5N'TAMAJORUPDAT, UTIT5CHANG5,


HOWVRMINOR, DOIMPROVONTHORIGINAL
Viewfinder
1hanks tothe inclusionof a glass
pentaprisninthe design, the Pentax boasts
a wonderfully bright andsharpviewnder.
Addtothis the fact that it provides I00
frane coverage andyouhave one of the
best viewnders of any APS-CDSLR. A
points light upredwhenactivatedwhile
infornationis displayedalong the base.
You'II ndthePentaxconsistentIy
deIivers images that aresharp,
weII-exposedandnoise-free.

1LS1CLN1RL Caneratest
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 109
ComparisontabIe. PentaxK-5II andrivaI enthusiast-IeveI D5Lks
MODL PENTAXK-5II PENTAXK-5 CANONEO560D NIKOND7000 5ONALPHA65
CONTACT 08/0 /36 8299
www.pentax.co.uk
08/0 /36 8299
www.pentax.co.uk
08/05 I43/23
www.canon.co.uk
0800 230 220
www.nikon.co.uk
08/05 III999
www.sony.co.uk
GUIDPPIC(PPP) 800 (body only) /80 (body only) I,050 (body only) I,005 (body only) /90 (body only)
5N5OPTYP CMS (APS-C) CMS (APS-C) CMS (APS-C) CMS (APS-C) CMS (APS-C)
P5OLUTION
(FFCTIVPIXL5)
I6.28 I6.28 I8 I6.2 24.3
MAXIMUMIMAG
P5OLUTION
4928x3264 4928x3264 5I84x3456 4928x3264 6000x4000
FFCTIVFOCAL
LNGTHINCPA5
I.5x I.5x I.6x I.5x I.5x
NUMPOFAFPOINT5 II II 9 39 I5
MULTI-ZONMTPING // // 63 20I6-pixels I200
NOMINALI5OPATING I00-I2800 I00-I2800 I00-6400 I00-6600 I00-I6000
XPANDALI5OPATING 80-5I200 80-5I200 I00-I2800 I00-25600 I00-I6000
CAPDFOPMAT
SDiSDHCiSDXC SDiSDHCiSDXC SDiSDHCiSDXC 2x SDiSDHCiSDXC SDiHCiXCo MS
5HUTTP5PD5 Ii8000sec-30sec+Bulb Ii8000sec-30sec+Bulb Ii8000sec-30sec+Bulb Ii8000sec-30sec+Bulb Ii4000sec-30sec+Bulb
UILT-INFLA5H Yes Yes Yes Yes Yes
FLA5H5YNC IiI80sec IiI80sec Ii250sec Ii250sec IiI60sec
5HAKPDUCTION Yes Yes S lenses only vR lenses only Yes
DU5TPDUCTION Yes Yes Yes Yes Yes
CONTINUOU5FPAMPAT /fps /fps 5.3fps 6fps 8fps(I0. Hi-speednode)
LCDMONITOP
3in 3in 3in vari-angle 3in 3in tilt o swivel
HDVIDO ull HD ull HD ull HD ull HD ull HD
POWP5OUPC Lithiun-ion Lithiun-ion Lithiun-ion Lithiun-ion Lithiun-ion
5IZ(MM) I3Ix9/x/2.5 I3Ix9/x/3 I44.5xI05.8x/8.6 I32xI05x// I32.Ix9/.5x80./
WIGHT(GPAM5) 680 660 6/5 690 543
I55UT5TD January 20I3 March 20II January 20II ebruary 20II January 20I2
T5TPATING(X) 9I 90 88 9I 92


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JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 11S
More essenta| readng fromthe experts at Dgta| 5LR
Photography. Idea| companons for your dgta| camera
rder your print or digital copydirect fronmagbooks.comor call 08448440053
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Adecent tripodallowsfor shake-freelongexposuresandawholenew
worldof anazingpicturepotential. Wetest ninepopular budget nodels
Featuresto|ookout for
I) Legsections. Threeor four sections arepopular. Youget more
height withfour sections, but they canbeless stable.
2) LegIocks. Lever locks arefaster, andit's easy
toseeif they'renot properly locked. Twist-collar
locks aremorerobust.
J) CentrecoIumn. Greatly extends theheight, but
pushingit uptoofar reduces stability. Oftenreversibletoget
downtogroundlevel. Somecantilt or swingdown.
4) aIIast hook. Look for a hook onthebottomof thecentre
columntoattacha bagor weight for extra stability.
5) Feet. Usually rubber, whichis goodfor most purposes, or
spikes -ideal for grass but not hardsurfaces! 8est is a rubber foot
attachedtoanadjustablescrewthat turns toreveal a spike.
6) Tripodhead. Theheadis important. Heads that come
completewiththetripodareoftenbuilt downtoa pricerather
thanuptoa standard.
5pirit IeveI. Useful for ensuringthehorizonis level.
Height. Atripodshouldput thetopof thecamera around
shoulder height, for comfortableuse.
Minimumheight. Extra leg-anglelocks allowthelegs to
bespreadwider, toget thetripodmuchlower, or help
tolevel thetripodonunevenground.
AIuminiumvs carbon-hbre. It's a simplechoice
betweena littleless weight for a lot morecost.
Monopodoption. Sometimes onelegcanbe
unscrewed, boltedtotheremovablecentre
column, andusedas a monopod. Very useful.
1LS1. PICHAPDHOPKIN5
1LS1CLN1RL Conparisontest. tripodsunder 150
TrpodsunderL150
AGDUAL1Ytripodopens thedoor tosonanygreat photoopportunities. 1here's just as
nuchhappeningwhenthelight gets lowandshutter speeds beconetoolongfor sharphandheld
shooting. Not tonentiondeliberatelyslowingthings downfor creativetechniques likestreaking
light trails, that wonderful nilkywater lookwithdarkNDlters, light paintingor reworks. Andjust as
often, youalsoneedatripodtosinplyholdthecaneraexactlyinpositionwhensettingupastudio
shot or waitingfor theright light inalandscape.
Avoidcheaptripods. 1heynight looknuchthesane, but providefinsysupport andget easily
danaged, as well as beingapaintouse. Goodtripods usuallystart aroundtheI00nark, but if you
buywell it will last for nanyyears, sooverall theinvestnent is low. 1here's asayingabout tripods.
lowcost, sturdybuildor light weight -youcanhaveanytwoout of three. 1herealsocones apoint
wherespendingnorenoneyonlygains asnall advantage, andthat's usuallywhencarbon-bre
starts toget involved. t's wonderful stuh, but candoublethecost for asnall savinginweight.
1hereareafewbasicdesigntypes. theclassic, likenost here, thensonevariants of that whichdo
clever things withthecentrecolunn, allowingit totilt horizontallyor swingdownwards for
close-upwork. Andthenthere's thecunning'foldingtraveller' stylewherethelegs pivot right upand
backonthenselves, resultinginanuchsnaller closedlengthfor transport. nethingwewill sayis
don't overlookthehead. Youshouldconsider it tobeas inportant as thetripod, as it's what actually
holds thecanera. it heads aresonetines not thebest, but theyall haveauniversal screwnount so
youcanbuyandt separately. Wetest sevenof thenost popular ball osocket heads here, too.
2
6
5
I
J
4
114l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1he290series is fairlynewfronManfrotto,
llingthegapbetweenthesnaller I90and
larger 055ranges. t cones withadiherent
platforndesign, usingsingle-sidedpivots
insteadof noreconventional hinges for the
legs, andtherearejust twolegangle
positions (nornal andabout 45) insteadof
theusual three, selectedbyathunb-
operatedrocker switch. 1heuser benets of
this newsystenareunclear, andinthe
rigiditytest therewas sonefexinthe
platfornpivots, thoughthis was less evident
innornal useexcept whenthelegs wereset
at thelower angle. But inthesanetest, the
snaller ManfrottoI90provedstronger.
ther features aresparse, just therisingand
reversiblecentrecolunn. Height is good,
though, at I39cn, andweight is onthelow
side. Withaconpetitiveaveragestreet price
of 90, you'll alsondit canoftenbefoundat
under II0withaball or three-wayhead.
Verdict
Whilethisisaperfectlyadequate
tripod, it'ssurprisingthat Manfrotto
hasnot movedthingsfurther forward
withthenewdesign.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I00(Guide) i 90(Street)
LengthcIosed: 60cn
Height: I39cnExtended: I68cnMin: 40cn
Weight: I.8kg
Legsections: 1hree
Maxdiameter: 26nn
LegIocks: Lever
Manufacturer'sIoadrating: 5kg
Website: www.nanfrotto.co.uk
Manfrotto290MT294A3
Howtochooseagoodtripod
Thebest way tohnda goodtripodis todoa
quick simulatedtest.
1 Set thetripodat full height andholdtwoof
thelegs aroundthetopsectionjoint. Apply
gentleweight andpushonelegwhilepulling
theother. Notehowmuchthelegs ex and
if thereis movement aroundtheplatform
pivots at thetop. Somemovement andex is
normal, but dothis withtwoor threetripods
toget a feel for whicharemorerobust.
2Adjust theheight, seehowdinerent tripods
andleglocks compare. Pull upthecentre
columnandcheck it indinerent positions.
Closeit completely. Dothis a coupleof times,
comparingmodels for easeandspeed.
3Check thehead. Usea camera, ideally with
a longlens. Frameupa fewdummy shots,
carefully, andlock it inposition. Repositionit
very slightly andrelock it. Everythingshould
besmooth, positiveandaccurate.
4Test theheadfor any positional shift.
Close-ups aregoodfor this. Frameupa shot
andadjust thefrictioncarefully sothat the
camera is only just heldinposition, thenlock
it downhrmly andseeif theframingmoves.
Dothis a fewtimes toseehoweasily and
accurately youcanframea shot exactly.
5Droptheheadover toput thecamera inthe
portrait position, andcheck that thequick-
releaseplatedoesn't twist onthecamera
base. If youhavea heavier lens, usethat as
theextra weight will bemoretesting.

1LS1CLN1RL Conparisontest. tripodsunder 150
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 115
Slikhas beenat it for decades andtheyknow
athingor twoabout tripods -get thebasics
right andtherest follows. 1heSlikPro500DX
is ano-frills design, but it starts witha
broad-shoulderedplatfornand2/nntop
sections, pronisinggoodstability. 1helegs
arealsogrooved, whichadds alittlenore
rigidityandprevents thenfronrotating.
t alsoseens tohelpthenslidenore
snoothly. Weight is about averageat I.9kg,
thoughheight is nodest at I29cnbefore
extendingthecentrecolunn, nakingit one
of theshortest here. 1hecentrecolunnhas
alockingcollar andalsoaknobfor extra
security. 1hetwoworkwell together,
nakingadjustnent just abit easier. 1he
colunnitself splits intwo, andunscrewing
thebottonhalf allows thelegs tosplayright
downfat toget thecanerawithin25cnof
theground. 1here's nohookonthebotton,
though, for hangingextraballast.
Verdict
TheSlikPro500DXmakesagood
stableplatform, hasall thebasicsright
andisnicetouse, but it'salittleonthe
short sidefor some.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I/0(Guide) i 90(Street)
LengthcIosed: 62cn
Height: I29cnExtended: I5/cnMin: 25cn
Weight: I.9kg
Legsections: 1hree
Maxdiameter: 2/nn
LegIocks: Lever
Manufacturer'sIoadrating: 4.5kg
Website: www.intro2020.co.uk
5|kPro500DX
1his is quiteadiherent aninal totheother
Giottos ontest. t's ainedsquarelyat nacro
andtable-topphotographywithaversatile
centrecolunnthat extends, tilts androtates,
swingingright downtogroundlevel or
lockingrnlyintoplaceanywherealong
theway. 1hereis alsoanini colunn
includedinapouchthat clips tothe
platforn, allowingthecaneratoget right
downtogroundlevel another way. Youhave
toreattachthehead, though, soit's not a
ten-secondjob. 1here's aconplicated
lookingset of knobs andlocks toholdit all
together, but they'reactuallyquitelogical
andeasytouse, allowingthecaneratobe
positionedalnost anywhere. Noneof this
wouldbenuchuseif thebasictripodwasn't
uptoit, thoughluckilyit is. 1okeepthe
weight downtoI.9kg, theupper legs have
beenslinnedto25nn, but rigidityis not
tooseriouslyinpaired.
Verdict
For macrophotographers, or anyone
wantingtopoketheir lensinto
awkwardplaces, thisonersunrivalled
versatilityandvalue.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I05(Guide) i 95(Street)
LengthcIosed: 62cn
Height: I39cnExtended: I63cnMin: 45cn
Weight: I.8kg
Legsections: 1hree
Maxdiameter: 25nn
LegIocks: Lever
Manufacturer'sIoadrating: 5kg
Website: www.giottos-tripods.con
GottosMTL9351
velbon's Sherpa630+is abasicall-rounder
tripod, but thereis oneinportant thing
nissingfronthespecsheet -weight. At
onlyI.6kg, it's anythingupto400grans
lighter thanrivals here, andthat puts it inthe
saneleagueas carbon-bretripods costing
twicetheprice. Withthequest for weight
saving, younight suspect that stabilityhas
beenconpronised, but whileit's not quite
thesturdiest nodel ontest, it's not at all bad.
1helegs aregroovedtoprevent rotationand
perhaps this alsohelps reducefex. or taller
users, it's alittleshort onheight, though. As
far as theSherpa's nainfeatures go, that's
about all it ohers. As usual, thelegs canbe
xedat threediherent angles toget down
low, andthecentrecolunn(sans ballast
hook) splits inhalf togoevenlower. 1he
centrecolunnlockis unusual inbeinga
lever rather thanaringor knob, andit all
works rather well.
Verdict
TheVelbonSherpa+630'skeyfeature
islight weight. That'sanicebonus,
becauseit'salsoadecent tripodat a
verygoodprice.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I30(Guide) i 90(Street)
LengthcIosed: 56cn
Height: I3IcnExtended: I63cnMin: I3cn
Weight: I.6kg
Legsections: 1hree
Maxdiameter: 29nn
LegIocks: Lever
Manufacturer'sIoadrating: 4kg
Website: www.intro2020.co.uk
Ve|bon5herpa+630
HIGHLY
RATED

1LS1. PICHAPDHOPKIN5
1LS1CLN1RL Conparisontest. tripodsunder 150
116l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Manfrotto's I90-series tripods arepossibly
thebiggest sellers ontheplanet. ver the
years, thedesignhas beentweakedand
updated, andthelatest XProrangefeatures
acentrecolunnthat tilts through90 to
createahorizontal bar. 1hereis noangle
adjustnent liketheGiottos M1L935IBor
vanguardAltaPro, thoughthecolunnslides
androtates. Conbinedwiththevariableleg
angleadjustnent toget everythingdown
low, it's noreversatilethanyounight think
andhas theupsideof beingnorerigidly
secured. t works well. 1heI90XProBfeels
verywell plantedandsolid, whichis perhaps
duetotheshorter legs havinginherentlyless
fex, thoughtheobvious downsideis the
shorter-than-averageheight. 1obehonest,
it's barelybigenoughfor nost, sotaller users
night bebetter ohwithsonethingbigger
rather thanhavingtoextendthecentre
colunntoooften. ualityis agiven.
Verdict
If it'stall enough, theManfrotto190X
Pro8isasolidtripod, quitelight, and
withthebigbonusof that horizontal
centrecolumn.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I45(Guide) i 95(Street)
LengthcIosed: 5/cn
Height: I22cnExtended: I46cnMin: I8cn
Weight: I.8kg
Legsections: 1hree
Maxdiameter: 25nn
LegIocks: Lever
Manufacturer'sIoadrating: 5kg
Website: www.nanfrotto.co.uk
Manfrotto190XPro
HIGHLY
RATED
t's goodwhenit all cones together right,
andthat's what Giottos has achievedhere
withits justlypopular M1L926IB. Achunky
platfornandlarge28nndianeter top
sections pronisegoodstability, andthat's
prettynuchdelivered. 1hereis sonefex
whenthetripodis at full height, but that's not
unexpectedat I48cn, tall enoughevenfor
six-footers. Reducingtheheight alittle
stihens upthelegs andthere's abit less fex
inthejoints, nakingfor agoodsolidbase.
Mininunheight is not thelowest at 33cn
(basicallythelengthof thecentrecolunn),
thoughthat is reversible, andweight at I.9kg
is veryreasonablefor ataller tripod. Sone
nicenishingtouches includeaballast hook,
spirit level, ahandynetal looponthe
platforntoattachacarryingstrapandlever
locks that areadjustablefor tensionand
wear. At under I00, it's aqualitytripodwith
alot of functionalityandvalue.
Verdict
GiottosMTL92618hasasoundbasic
design, withafewniceextras. It
performsverywell withthebonusof
extraheight.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: II0(Guide) i 95(Street)
LengthcIosed: 66cn
Height: I48cnExtended: I/IcnMin: 33cn
Weight: I.9kg
Legsections: 1hree
Maxdiameter: 28nn
LegIocks: Lever
Manufacturer'sIoadrating: 8kg
Website: www.giottos-tripod.con
GottosMTL9261
BEST
BUY
1his cunninglittlevanguarddoes everything
diherently. t is incrediblysnall, folding
downtojust 3/cn, andverylight at only
I.Ikg, andthat includes anintegral tiltingand
panninghead. 1heve-sectionlegs extend
bytwistingthefoot that clicks toreleaseone
sectionat atine. 1herearethreeadjustnent
angles, set bypressingabutton. 1he
platfornis U-shaped, allowingthecentre
colunntopivot uponakindof golf-ball
device, throughtheopensideof the'U' to
further extendtoheadheight. f youwant
innovation, this vanguardhas alittletoo
nuch. 1hat's theendof thegoodnews.
Rarelyhas suchawobblyandunstable
tripodbeenconceived. 1helegs arethin
andbendy, thejoints havenorigidity. 1he
U-shapedplatfornis afundanentally
fawedconcept andit is inpossibleto
tightenanythingas it's all nadeof plasticand
just bends. Sanegoes for theplastichead.
Verdict
If onlyit worked. Small enoughtopack
inabag, light enoughtobehardly
noticed. Shouldbebrilliant! 8ut
unfortunatelyit isn't.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price(incIudinghead): I20(Guide) i II0(Street)
Lengthclosed. 3/cn
Height. I20cnLxtended. I6IcnMin. 36cn
Weight. I.Ikginchead
Legsections. ive
Maxdianeter. 24nn
Leglocks. 1wist foot
Manufacturer's loadrating. 3kg
Website. www.vanguardworld.co.uk
VanguardNve|o245K

1LS1CLN1RL Conparisontest. tripodsunder 150
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 11
Test concIusion
1his is caseprovenreally-youdon't
needtospendafortunetoget aquality
tripodandindeedanyoneof our Best
Buyor HighlyRatedchoices cones in
well under theI50budget. What's
nore, theyactuallyleaveplentyof
changetoinvest inaqualityhead
-sonethingyoureallyshouldn't skinp
on-andthereareseveral of thoseto
choosefronover thepage, too.
ur Best BuyGiottos M1L926IBgot
ohtoafyingstart. t's awell-known
top-seller andthespecicationreads
well -tall, reasonablylightweight, a
goodsnatteringof useful extrafeatures
andaveryconpetitiveprice. f the
perfornanceliveduptotheproniseit
was always goingtobehardtobeat,
andsoit was.
ur twoHighlyRatedchoices are
quitediherent. 1heManfrottoI90X
ProBkeeps ondeliveringyear after year,
andscores higher thanever inthis XPro
versionwiththeneat andsinple
horizontal centrecolunn. Whileit
appears less versatilethanthenore
elaborateGiottos M1L935IBand
vanguardAltaPro263A1that oher even
norecentre-colunnpositioning, in
practicetheManfrottodoesn't loseout
onnuch, apart fronbeingalittlesnall.
1heother HighlyRated
reconnendationis thevelbonSherpa
630. 1hat's not exactlytall either, but
adequatefor nost users. ts nain
appeal is light weight -aprecious
connodityinatripodthat you'll
probablyspendnoretinecarrying
thanwithacaneraontop. t's alsonice
touse, withwidesectionlegs covered
inchunkyfoanandcontrols that are
easytoget holdof.
At theendof theday, noneof these
tripodsarebad, orhasfundanental faws
that shouldbeavoided. 1heyall have
theirgoodpointsandall doagoodjobat
afairprice. Well, all except one, that is.
Hats ohtovanguardfor innovation. While
theingenious littleNivelois less successful,
this AltaProis agreat design. LiketheGiottos
M1L935IB, thenainfeatureis acentre
colunnthat pulls upandout, thenrotates
andtilts throughanyanglefronvertical to
straight down. Conbinedwiththethree-
positionlegs for gettingright downtoit, the
caneracanliterallybepositionedanywhere.
t's evenslightlyeasier tousethanthe
Giottos. 1herearen't toonanyextrafeatures
youcanaddtoatripod, but vanguardhas
got thenall covered-bubblelevel, ballast
hookandrubber feet that canbescrewed
backtoreveal aspike. t's all well thought
out, thelegs extendtoagoodheight andit's
nicelynished, but thereareacoupleof
caveats. 1houghnothingnajor, there's abit
toonuchfexinthelegjoints for total
nechanical condence, andthepriceis on
thehighside.
Verdict
Another goodoptionfor macro
shooters, thoughit wouldbeeven
better withaslightlymorerobust build
andalower price.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I60(Guide) i I40(Street)
LengthcIosed: 63cn
Height: I33cnExtended: I65cnMin: 46cn
Weight: 2kg
Legsections: 1hree
Maxdiameter: 26nn
LegIocks: Lever
Manufacturer'sIoadrating: /kg
Website: www.vanguardworld.co.uk
VanguardA|taPro263AT
ndurois theother tradingnanefor the
ChineseBenroconpany, nadeinthesane
factorywithnainlycosneticdiherences.
1his is nobadthing, andit has built upagood
reputationfor quality, especiallywithits
higher endcarbon-brenodels. 1his nduro
follows theclassicdesignstyle, withthekey
featurehereof slightlygreater height than
average, onlyjust beatenbyour Best Buy
Giottos. nfact, thetwotripods arevery
sinilar inbothspecicationand
perfornance, withperhaps thenain
diherencebeingasnall one-thenduro
uses twist-collar locks rather thanlevers. t's
verynicetouse, thecentrecolunnbeing
particularlysnoothandeasytoposition
withthelargethree-wingedlock. Stabilityis
averageat full extension, but inproves at
lower heights whenalittlenoreof thelower
legis left insidetheupper, inprovingrigidity
of thelegs -as it oftendoes.
Verdict
Well made, smoothoperating, bigand
withabubblelevel andballast hook,
but what standsout most arethe
twist-locks-andhigher price.
u|dqua|ty
Features
5tab|ty
Va|uefor money
Overa||
Price: I35(Guide) i I20(Street)
LengthcIosed: 65cn
Height: I45cnExtended: I6/cnMin: 34cn
Weight: 2kg
Legsections: 1hree
Maxdiameter: 28nn
LegIocks: 1wist-collar
Manufacturer'sIoadrating: I0kg
Website: www.profoto.con
InduroAT213


118l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
1LS1CLN1RL Conparisontest. Ball 8socket neads
Tred8tested: a|| 8socketheads
Price: 60(Guide) i 60Weight: 248g+5/gHeight: 92nn
asediameter: 44nnaII size: 30nnOPsystem: velbonB-62
Manufacturer'sIoadrating: 5kgWebsite: www.intro2020.co.uk
Ve|bonOHD-53D
1hevelbonHD-53D
has alowweight
andaslin
prole, whichwe
foundis nore
suitedfor usewith
'traveller'-typetripods.
1hedesignis abasicclan-
shell, wherethetwohalves
clanptheball withalargelever.
ntop, wefoundthat the
quick-releasesystenworks
well, withalongplatethat can
beusedeither sideways or
lengthways andanunusually
goodandgrippyrubberised
surface. inepositioning
adjustnents werealittletricky
inour test andclanping
strengthwas low, needingtobe
screweddownespeciallyhard
toconfortablyholdour test 4kgweight inportrait fornat. t didn't
giveus toal condencethat it wouldstandthetest of tine.
5tar ratng
Verdict. Okayfor aIighter cameraoutt
andbest matchedtoaIighter traveI tripod,
but theconstructionisn't uptomuchmore.
Price: 85(Guide) i /0Weight: 45/g+4IgHeight: I0Inn
asediameter: 60nnaII size: 36nnOPsystem: Giottos MH652
Manufacturer'sIoadrating: I0kgWebsite: www.giottos-tripods.con
GottosMH1311-6525eresII
1heGiottos MHI3II
has afullyfedged
specicationwiththree
separatecontrols for
panning, friction
pre-tensionandalargenain
lockingknob. 1hey'reall
snoothandnicelyweighted,
andthepre-tension
control works well
for accurate
positioning.
Generally, areally
goodheadtouse,
thoughtheball could
bepronetoslight novenent
onlock-down, or
sonetines it wouldnot
changeat all. t varied,
thoughunless you'redoing
critical work, likenacro
perhaps, you'dnever noticeit. Shootinglandscapes shouldbene,
for exanple. 1heRclanphas twinspirit levels.
5tar ratng
Verdict. AquaIityheadandgoodtouse,
but overshadowedbytheexceptionaI
performanceof thecheaper MH5400.
Price: 80(Guide) i 65(Street) Weight: 388g+36gHeight: I05nn
asediameter: 62nnaII size: 33nnOPsystem: vanguardS-39
Manufacturer'sIoadrating: I0kgWebsite: www.vanguardworld.co.uk
Vanguard5H-100
1herevitalisedvanguard
brandis producingsone
inpressiveandgreat-value
products thesedays, and
this SBH-I00headcertainly
looks thepart. t's agoodsize,
has separatelockingknobs for
thebaseandball, andtwinspirit
levels onthequick-release
platforn. Lverything's neand
looks good.until youuseit,
that is. Whatever is goingon
inside, it cannot locktheball
without it shiftinga
frustratinglylongwayfron
theset position, andeven
whencrankeddownhard, it
struggledtoholdour 4kg
test-weight caneraandlens
whenturnedfor avertical shot.
Areal shane-weexpected
better -but therearefar better ball osocket heads fronother
brands ontest hereat asinilar or lower price.
5tar ratng
Verdict. Thespecicationreads weII, it
Iooks right andfeeIs good, but the
performancedoesn't Iiveuptothepromise.
Price: I25(Guide) i /5(Street) Weight: 303g+39gHeight: I00nn
asediameter: 5InnaII size: 25nnOPsystem: Slik6I83
Manufacturer'sIoadrating: 5kgWebsite: www.intro2020.co.uk
5|k5H-280
verywell nade, witha
designthat's slightly
unusual. nelarge
knobcontrols
everything,
includinglocking
thesnallish25nnball. t's
ratedfor anodest 5kgloadbut
canactuallytakenuchnore.
1his is atoughheadandworks
well. 1here's nininal shift on
lockingdown-infact, we
foundit tobeoneof thebest
here. t's nicetouse, too.
1henainknobhas anely
nachinedgrippysurface,
lockingsolidinonlyIi8thof a
turn. 1hequick-releaseplate
has anon-slipcorksurfaceand
drops easilyintoplaceas the
lever snaps shut. All inall, this is
agoodoheringfronSlikat areasonableprice, sofor thesereasons
it deserves aD|g|ta| S|PPnotograpnyBest Buyaccolade.
5tar ratng
Verdict. TheIockingknobis abit either on
or oh, yet preciseandeasytoget usedto.
Goodhead, nicequick-reIeasesystem, too.


JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 119
1LS1CLN1RL Conparisontest. Ball 8socket neads
Youshouldcarefullyconsider what headtot onyour tripod. 1hetwonost popular types arepan
heads andball osocket heads. Wetest thelatter, designedtogivearigidsupport that's fast toadjust
Price: I/0(Guide) i I/0(Street) Weight: /82g+40gHeight: I2Inn
asediameter: 84nnaII size: 64nnOPsystem: ArcaSwiss
Manufacturer'sIoadrating: 25kgWebsite: www.profoto.con
InduroHD3
Accordingtothefacts of
physics, alargeball has
hugeadvantages in
leverageandclanping
surfacearea, sothis nduro
BHD3withan84nnball -
relativelyspeaking, thesize
of asnall planet here-
shouldbesonethingspecial.
Andinall fairness, it
perfornedexceptionally
well inthetest for shifting
positiononlockingdown
-as closetozeroas it gets.
But interns of sheer strength,
andabilitytohold4kgof
caneraandlens hanging
ohthesideinportrait
fornat, anazingly, it
struggledandlet us down
onthis part of thetest.
Weexpectednoreandweredisappointedthat it fell short inthis
inportant area. Better lucknext tine, nduro.
5tar ratng
Verdict. Accuratepositioning, quaIity
quick-reIeasecIampandcamerapIate, but
spongycontroIs andpoor Iockingstrength.
Price: I90(Guide) i I/0(Street) Weight: 485g+43gHeight: I04nn
asediameter: 62nnaII size: 43nnOPsystem: ArcaSwiss
Manufacturer'sIoadrating: 20kgWebsite: www.vanguardworld.co.uk
VanguardH-200
Conparedtothe
other vanguard,
this BBH-200head
couldnot benore
diherent. t's bigger
andheavier, alot
noreexpensive, andso
nuchbetter. 1he
innovativedesign
features weight-saving
cut-outs andthe
orangeswitch
convenientlypositions
theheadexactly
upright. 1helargelever
lockis verygood,
conbiningnecontrol
withhighclanping
strength, andcanalso
beadjustedfor position.
Perfornanceis excellent,
withnininal positioningshift onlock-down, andtheplatfornuses
thepopular ArcaSwiss Rsystenfoundonnost high-endheads.
5tar ratng
Verdict. Goodsize, reasonabIyIight, high
performanceandusingtheexceIIent Arca
5wiss OPsystem. It's just atadpricey.
HIGHLY
RATED
Price: 3I0(Guide) i 2/5(Street) Weight: 5I0g+35gR-plate
Height: I02nnasediameter: 5/nnaII size: 50nnestinated
OPsystem: GitzoManufacturer'sIoadrating: I4kgWebsite: www.gitzo.co.uk
GtzoGH2780OR
Youcanalways
dependonGitzofor
highquality-and
highprice. 1he
GH2/80Ris an
innovativedesign
nadefronweight-
savingcast nagnesiun. 1he
ball is bigat 50nn, andboth
pre-tensionandlockingare
donewiththevery
grabbablesideknob. t
needs alittlenoreturning
thansone, but works
exceptionallywell, with
super-snoothnecontrol
andsolidlocking, andzero
shift onlock-down. 1he
onlydrawbackis Gitzo's
quick-releasesysten.
t's verysecure, but nore
conplexandddlythantheArcaSwiss type. Youcouldrelyonthis
onetoserveyoubrilliantly, but you'dexpect it toat this price.
5tar ratng
Verdict. GoodquaIity, superbperformance
andreIativeIyIight, but ahighprice. Diherent
OPpIates andconversions areavaiIabIe.
HIGHLY
RATED
Test concIusion
1here's ahugeanount of choiceout therewhenit cones to
choosingasuitableball osocket headand, onthesurface,
theredoesn't appear tobenuchtoseparatethediherent
nodels -savefor thenaneontheboxandthedesignthat
best takes your fancy. f youthought this was thecasethen
howwrongyouare, as our conparisontest illustrates.
1heGitzoGH2/80Ris aninposing-lookingheadnadeof
cast nagnesiunandis worthyof our HighlyRatedaward.
1hequalitywas as expectedfronGitzobut alsoat apricewe'd
expectedfronGitzotoo. Still, if youhavethefunds thenthis
headohers zeroshift downwhenloadedup.
vanguard's twooherings couldn't havefarednore
diherently. Whilst thelightweight but pricier BBH-200was
worthyof our HighlyRatedbadgethanks toits clever design,
highclanpingstrengthandArcaSwiss
Rplate, theSBH-I00suhered
fronbadshiftingwhenlocked
ohandstruggledwithour 4kg
test weight.
ur Best Buybadgewent tothe
reasonably-pricedSlikSBH-280L.
Althoughit hadthesnallest ball sizeof all
thenodels testedandaslightlyunusual
single-dial control for lockingoh
novenent onall axis, its high-qualityfeel
andnishwas instantlynoticeableand
therewas next tonoshift inposition
whenloadedupwithour test weight in
portrait orientation.
BEST
BUY

40 Churton Street, London SW1V 2LP, EngIand TeI: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
1LNRQ FROM GRAYS ... FLFMFNTARY
IKON IIGITAL CAMFRAS
N||or 01 3LR oody............................................................... 1,395.00
N||or 01 AF-3 11-21rr l/2.80 lF-E0 K||......................... 5,95.00
N||or 01 AF-3 21-Z0rr l/2.80 lF-E0 K||......................... 5,595.00
N||or 01 AF-3 11-21rr & 21-Z0rr l/2.80 K||................ ,895.00
N||or 0800 03LR oody......................................................... 2,025.00
N||or 0800 V8-012 0r|p K||.............................................. 2,320.00
N||or 0800 AF-3 11-21rr l/2.80 E0 N|||or.................... 3,330.00
N||or 0800 AF-3 21-Z0rr l/2.80 E0 N|||or.................... 3,255.00
N||or0800AF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||or K||
............................................................................................... 1,50.00
N||or 0800E 03LR oody...................................................... 2,399.00
N||or 0800E V8-012 0r|p K||........................................... 2,95.00
N||or 0800E AF-3 11-21rr l/2.80 E0 N|||or................. 3,99.00
N||or 0800E AF-3 21-Z0rr l/2.80 E0 N|||or................. 3,15.00
N||or0800EAF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||orK||
............................................................................................... 1,899.00
N||or V8-012 0r|p lor 0800E/0800..................................... 329.00
N||or 000 03LR oody......................................................... 1,195.00
N||or 000 V8-011 0r|p K||.............................................. 1,Z30.00
N||or 000 AF-3 21-85rr l/3.5-1.50 E0 vR N|||or........ 1,920.00
V8-011 0r|p lor 000........................................................... 219.00
N||or 03003 3LR oody......................................................... 1,129.00
N||or 03003 V8-010 0r|p................................................. 1,299.00
N||or 03003 AF-3 1-85rr l/3.5-5.0 E0 vR 0X.......... 1,515.00
N||or 03003 AF-3 18-200rr l/3.5-1.50 vR ll K||............ 1,99.00
N||or 0Z000 3LR oody......................................................... 19.00
N||or 0Z000 18-105rr l/3.5-5.0 vR 0X lF-E0 K||........ Z89.00
N||or 0Z000 18-200rr l/3.5-5.0 vR ll 0X lF-E0 K||..... 1,219.00
N||or 0Z000 V8-011 K||.................................................... 85.00
N||or 090 3LR oody.............................................................. 15.00
N||or 090 18-105rr l/3.5-5.0 vR 0X lF-E0 K||............ 09.00
N||or 03200 03LR oody....................................................... 399.00
N||or 03200 18-55rr l/3.5-5.0 vR 0X K||..................... 10.00
N||or 05200 03LR oody....................................................... Z19.00
N||or 05200 AF-3 18-55rr l/3.5-5.0 vR 0X K||............ 819.00
N||or 05100 03LR oody....................................................... 319.00
N||or 05100 AF-3 18-55rr l/3.5-5.0 vR 0X K||............ 125.00
N||or 03100 oody................................................................. 295.00
N||or 03100 AF-3 18-55rr l/3.5-5.0 vR 0X K||........... 319.00
IKON 1 SYSTFM
N||or 1 v1 10-30rr K||........................................................ 299.00
N||or 1 v1 10rr K||............................................................. 5Z5.00
N||or 1 v1 10-30rr & 30-110rr TW|r K||.......................... 1Z5.00
N||or 1 v1 10-30rr K|| - 8|ac|............................................ 399.00
N||or 1 v1 10rr K|| - 8|ac|................................................. 5Z5.00
N||or 1 v1 10-30rr & 30-110rr TW|r K||.......................... 585.00
N||or 1 v2 10-30rr K||........................................................ Z99.00
N||or 1 v2 10-30rr & 30-110rr TW|r K||.......................... 99.00
N||or 1 J1 10-30rr K||........................................................ 299.00
N||or 1 J1 10rr K||.............................................................. 115.00
N||or 1 J1 10-30rr & 30-110rr TW|r K||........................... 189.00
N|||or vR 10-30rr l/3.5-5................................................. 115.00
N|||or vR 30-110rr l/3.8-5............................................... 1Z9.00
N|||or 10rr l/2.8................................................................. 1Z9.00
N|||or 18.5rr l/1.8............................................................... 1Z9.00
N|||or vR 10-100rr l/1.5-5. P0-Zoor.............................. 515.00
N||or 38-N5 3peed||gr|........................................................ 119.00
N||or 0P-N100 0P3 ur||...................................................... 99.00
Vour| adap|er FT1................................................................ 199.00
AI-S & AI IX IKKOR IFNSFS
10.5rr l/2.80 AF 0X E0 F|sreye........................................ 515.00
AF-3 35rr l/1.80 0X........................................................... 150.00
AF-3 10-21rr l/3.5-1.50 lF-E0 0X..................................... 15.00
AF-3 12-21rr l/10 lF-E0 0X.............................................. 835.00
AF-3 1-85rr l/3.5-5.0 E0 vR 0X................................... 119.00
AF-3 1Z-55rr l/2.80 0X lF-E0........................................... 1,019.00
AF-3 18-55rr l/3.5-5.0 vR E0 0X................................... 155.00
AF-3 18-105rr l/3.5-5.0 vR 0X lF-E0............................. 225.00
AF-3 18-200rr l/3.5-5.0 vR ll 0X lF-E0.......................... 589.00
AF-3 18-300rr l/3.5-5.0 E0 vR 0X................................. Z19.00
AF-3 55-200rr l/1-5.0 vR 0X lF-E0................................ 215.00
AF-3 55-300rr l/1.5-5.0 0X vR....................................... 289.00
AI IX IKKOR IFNSFS
11rr l/2.80 AF E0............................................................... 1,219.00
1rr l/2.80 AF F|sreye....................................................... 19.00
20rr l/2.80 AF..................................................................... 15.00
21rr l/2.80 AF..................................................................... 39.00
28rr l/2.80 AF..................................................................... 215.00
35rr l/20 AF........................................................................ 255.00
50rr l/1.80 AF..................................................................... 109.00
Prices include 2O7 VAT. Prices 8uoject to Change. E.&0.E.
72 25'(5 7(/(3+21(
50rr l/1.10 AF................................................................ 235.00
85rr l/1.80 AF................................................................ 299.00
85rr l/1.10 AF lF............................................................ 919.00
105rr l/20 AF-0C.......................................................... Z99.00
135rr l/20 AF-0C.......................................................... 1,025.00
180rr l2.80 AF lF-E0.................................................... 95.00
AI-S IXSILFNTWAVF IKKORIFNSFS
AF-3 21rr l/1.10 E0...................................................... 1,199.00
AF-3 28rr l/1.80............................................................ 5Z9.00
AF-3 35rr l/1.10............................................................ 1,299.00
AF-3 50rr l/1.10 lF........................................................ 2Z9.00
AF-3 50rr l/1.80 lF........................................................ 15.00
AF-3 85rr l/1.80............................................................ 3Z9.00
AF-3 85rr l/1.10............................................................ 1,199.00
AF-3 11-21rr l/2.80 lF-E0............................................ 1,310.00
AF-3 1-35rr l/10 E0 vR.............................................. 819.00
AF-3 1Z-35rr l/2.80 lF-E0............................................ 1,195.00
AF-3 21-Z0rr l/2.80 lF-E0............................................ 1,235.00
AF-3 21-85rr l/3.5-1.50 E0 vR.................................... 129.00
AF-3 21-120rr l/10 E0 vR............................................ 829.00
AF-3 28-300rr l/3.5-5.0 E0 vR.................................. Z9.00
AF-3 Z0-200rr l/2.80 vR ll lF-E0................................. 1,589.00
AF-3 Z0-200rr l/10 vR lF-E0....................................... 1,1Z2.00
AF-3 Z0-300rr l/1.5-5.0 vR lF-E0.............................. 135.00
AF-3 200-100rr l/10 vRll lF-E0................................... 1,899.00
AF-3 200rr l/20 vR ll lF-E0......................................... 1,099.00
AF-3 300rr l/10 lF-E0................................................... 1,029.00
AF-3 300rr l/2.80 vR ll lF-E0...................................... 1,025.00
AF-3 100rr l/2.80 vR lF-E0......................................... ,595.00
AF-3 500rr l/10 vR lF-E0............................................ 5,8Z5.00
AF-3 00rr l/10 vR lF-E0............................................ Z,050.00
TC-11E ll 1.1x |e|ecorver|er............................................. 315.00
TC-1ZE ll 1.Zx |e|ecorver|er............................................. 315.00
TC-20E lll 2x |e|ecorver|er............................................... 399.00
AI IX ZOOM-IKKOR IFNSFS
18-35rr l/3.5-10 AF lF-E0............................................. 195.00
21-85rr l/2.8-10 AF lF................................................... 515.00
80-100rr l/1.5-5.0 AF vR lF-E0.................................. 1,235.00
AI &AI-S MICRO-IKKOR IFNSFS
AF-3 10rr l/2.80 0X V|cro............................................ 199.00
0rr l/2.80 V|cro........................................................... 35.00
AF-3 0rr l/2.80 E0 V|cro........................................... 399.00
AF-3 85rr l/3.50 vR 0X lF-E0 V|cro........................... 3Z5.00
AF-3 105rr l/2.80 AF-3 vR V|cro lF-E0...................... 09.00
200rr l/10 AF V|cro lF-E0............................................ 1,215.00
IKON SPFFDLIGHTS
38-910 3peed||gr|............................................................ 339.00
38-Z00 3peed||gr|............................................................ 229.00
38-100 3peed||gr|............................................................ 119.00
38-R1C1 C|ose-up Corrarder K|.................................. 559.00
38-R1 C|ose-up Rero|e K||............................................ 399.00
3u-800 w|re|ess 3peed||gr| Corrarder........................ 29.00
38-R200 w|re|ess Rero|e 3peed||gr|............................. 159.00
MANUAL IOCUS IKKOR AIS IFNSFS
20rr l/2.8 N|||or............................................................. 901.00
21rr l/2.8 N|||or............................................................. 08.00
28rr l/2.8 N|||or............................................................. 15.00
35rr l/1.1 N|||or............................................................. 1,22Z.00
15rr l/2.8P N|||or, crrore............................................ 325.00
50rr l/1.1 N|||or............................................................. 59Z.00
50rr l/1.2 N|||or............................................................. Z13.00
180rr l/2.8 E0 N|||or..................................................... Z99.00
ZOOM-IKKOR MANUAL AIS IFNSFS
28-85rr l/3.5-1.5 Zoor-N|||or ...................................... 599.00
SPFCIAL IURPOSF: IFRSPFCTIVF
CONTROL ANDMICRO-IKKOR IFNSFS
21rr l/3.50 PC-E E0 N|||or.......................................... 1,155.00
28rr l/3.5 PC N|||or...................................................... 1,195.00
15rr l/2.80 E0 PC-E N|||or.......................................... 1,395.00
55rr l/2.8 V|cro-N|||or.................................................. 511.00
85rr l/2.80 E0 PC-E N|||or.......................................... 1,325.00
105rr l/2.8 V|cro-N|||or................................................ 1,01Z.00
200rr l/1 V|cro-N|||or................................................... 895.00
PC: Perspec||ve Cor|ro|. PC-E:T|||/3r|l|-Perspec||ve Cor|ro|
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1LNRQ ) 3KRWRPLF )7Q $SROOR ERG\ FKURPH DQG EODFN PRGHOV
The name Aollo deiives fiom Nikon's associalion vilh NASA duiing lhe Aollo sace iogiamme vhen Nikon sulied bolh lesl
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CHRSTMAS
GFTDEAS
OVER
80
GREATGFT
DEASI

ChrstmasGItdeas
124l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
DgtaIcameras
GvL1HLG1PH1GRAPHYANDSPLYURLvLD-NL
W1HANLWDG1ALSLR, MRRRLLSSCAMLRARCMPAC1
CanonEO5650DL59J
www.canon.co.uk
Canon's I8-negapixel APS-Centry-level oheringpulls nopunches whenit
cones toinagequality andfeatures. t ohers vefranes-per-secondshooting,
Supto25,600, nine-point autofocus, built-infashtransnitter, avari-angle
LCDtouchscreenandull HDnoviecapabilities. 1heLS650Dis well-equipped
whatever your level of experienceandcones inat aninpressivepricepoint.
NikonD5200L820
www.nkon.co.uk
With39autofocus points tochoosefronanda
24.I-negapixel DX-fornat sensor, thebeautifully
designedD5200ohers outstandinginagequality at
agreat price. Low-light perfornanceis boostedby
anexpandableSrangeuptoS25,600and
neteringis takencareof by a2,0I6-pixel RGB
sensor toensureoptinunexposure.
5ony AIphaJ7LJ75
www.sony.co.uk
Sony's rangeof Alphacaneras features translucent
nirror technology rather, thanthetraditional refex
nirror foundinother digital SLRs, allowingfor fast
andreliableA evenwithLiveview. What's nore, the
Alpha3/is upthereas oneof thelightest digital SLRs
availableandthere's agreat rangeof A-nount
lenses onthenarket.
Pentax K-J0L450
www.pentax.co.uk
1heideal body for outdoor shootinginall weather
conditions, thePentax -30is anentry-level canera
oheringfull weatherproong. Althoughit's slightly
heavier andloses out onthepixel count tooherings
fronCanonandNikon, theI6.28-negapixel sensor
delivers excellent inagequality andis worth
consideringbecauseof its all-weather capabilities.
NikonDJ200L445
www.nkon.co.uk
Nikon's entry-level nodel boasts aninpressive24.2-negapixel sensor, packed
intoalightweight andconpact body. Poweredby anLXPLLD3processor and
oheringII-point autofocus, Nikon's SceneRecognitionSystenandull HD
videorecordingas well as anin-caneraphotoretouchnode, theD3200is not
only easy tousebut is fantasticvaluefor noney.

Digital caneras
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 125
Nikon5800c LJ80
www.nkon.co.uk
1his Android-poweredsnart-canera
fronNikonboasts high-resolution
touchscreencontrols as well as
downloadableapps, Wi-i
connectivity andbuilt-inGPS. t's also
kittedout withawide-angleI0x
optical zoonlens, ohers 8.Ifps
continuous shootingandis powered
by Nikon's LXPLLDC2processor.
Lxternal colour options aresleek
black or stylishwhite.
CanonPowershot
5X500I5L250
www.canon.co.uk
1heSX500boasts theability togo
fronultra-widetosuper-zooninan
instant, usingits 30x optical zoonlens
-that's a24-/20nnequivalent
reachl 1hankfully, nageStabilisation
cones as standard, too, as well as a
I6-negapixel sensor tocaptureall the
detail of your faraway subject infull.
1here's alsofull nanual settings too
for thosewhowant norecontrol.
5amsungGaIaxy Camera
L400
www.samsung.comlukl
Asidefronlookingfantastic, the
Galaxy Caneraohers great inage
quality andinstant inagesharingvia
3GandWii toacebook, 1witter and
any oneof theother social networks
out therethanks toGooglePlay and
downloadableappintegration. t also
allows for full nanual control,
voice-controlledshooting, editingon
thefy andaneasy-to-useinterface.
Panasonic Lumix GF5LJ75
www.panasonc.co.uk
AlthoughtheG5night not bethenewest nodel intheLunix
line-up, it's certainly not oneyou'dwant tooverlook. Packinga
I2.I-negapixel Microour-1hirds sensor insideavery conpact
body, theinagequality deliveredby theG5is right uptherewiththe
best inthenirrorless narket. Prices aregoodat thenonent, tool
OIympus PEN
Mini E-PM2L500
www.o|ympus.co.uk
Withthesanehigh-quality
I6.I-negapixel sensor andpowerful
processor as thewidely praised
lynpus M-Dnirrorless canera,
theL-PM2packs aheck of apunchfor
suchasnall andlightweight nodel.
1here's alsotouchscreen-shooting,
art lters andehects, andfull nanual
control, nakingit perfect for
beginners andexperts alike.
Pentax OI0LJ80
www.pentax.co.uk
1heI0follows thecurrent trendfor
retrostylinginaconpact, nirrorless
body withtheblack andsilver exterior
nishpullingit ohwell. 1here's a
I2.4-negapixel CMSsensor hidden
away insideandabuilt-infashas well
as inagestabilisationbuilt intothe
body rather thanthelens -neaning
that any lens youusebenets fron
shakereduction.
CanonEO5ML684
www.canon.co.uk
Canon's rst foray intothenirrorless
worldwas longawaited. 1heLSM
didn't disappoint, boastingthesane
I8-negapixel APS-Csensor as found
intheLS650Dandanintuitiveand
easy-to-usenenusystensinilar to
that usedonLSDSLRs. What's nore,
withtheadditionof theoptional
L-LSMlens adaptor, youcanuse
all of your existingCanonLiL-S
lenses onthis conpact body.
NikonI J2L450
www.nkon.co.uk
1hesuccessor tothehighly popular
NikonJI, thenirrorless J2is
fast-focusing, fast-shootingand
boasts aI0.I-negapixel CMS-
sensor, poweredby thesaneLXPLLD
3processor as foundinthelarger
NikonSLRs. 1here's arangeof creative
lters andfunctions tochoosefronas
well as theusual ull-HDnovie-
shootingfeatures.
FujihImXPI70LI62
www.fuj|m.eulukl
Waterproof downtotennetres,
shockproof uptotwonetres,
freeze-proof downto-I0Cand
dust-sealedsoperfect for atriptothe
beach, theXPI/0is theideal holiday
conpanionwhenyoudon't want to
risk danagingyour DSLR. t alsoohers
a5x optical zoon, I4-negapixel
resolution, inagestabilisationand
aWii facility that wirelessly transfers
inages staight toacebookl

ARGUABLYJUS1ASMPR1AN1AS1HLCAMLRA
BDY, GDGLASSLNSURLSYUCAP1URL
SHARPMAGLSANDNLLDN'1CS11HLLAR1H.
NikonAF-524-85mmflJ.5-4.5GEDVkL4J0
www.nkon.co.uk
Lucky enoughtoownoneof Nikon's excellent digital SLRs 1his is theideal
do-it-all lens, oheringtheability toshoot everythingfronwidelandscapes to
close-upportraits -theideal replacenent for your standardzoon. 1akinginto
considerationits reasonably fast naxinunaperture, it's conparatively light and
surprisingly conpact. 1heoptics areexcellent too.
5igmaI0-20mmfl4-5.6DCLJ70
www.sgma-magng-uk.com
Agoodultrawide-anglezoonis essential for any self-respectinglandscape
photographer. Signaohers twolenses inthis focal range. this onewithan
aperturerangeof fi4-5.6, andonewithaxedfi3.5aperture. or the
approxinateI00diherenceinpricebetweenthetwo, we'dgofor this version,
unless you'reregularly shootinginlowlight or wideopenat thesefocal lengths.
CanonEF 70-200mmfl4LU5ML495
www.canon.co.uk
Althoughlosingout onastopof light conparedtoits fi2.8bigger brother, this
L-series lens ohers optinuninagequality insideaweather-sealedbody. Perfect
for everythingfronsports towildlifetoportrait work, we'vepricedupthe
non-stabilisedversionhere, if youwant nageStabilisation, you'll needtoadd
another 500tothepricetagl
Tamron5PAF I7-50mmfl2.8XkDi II LDIF L280
www.ntro2020.co.uk
1hekit lens that canewithyour canerais agoodstartingpoint, but after ashort
periodof tineyou'll want toupgradeit tosonethingnorecapable. Representing
incrediblevaluefor noney, this oheringfron1anronboasts great inagequality,
surprisingsharpness andafast naxinunaperture, perfect for low-light shooting
andselectivefocusing.
ChrstmasGItdeas
126l DIGITAL 5LkPHOTOGkAPHl JANUAR201S

5igmaJ0mmflI.4EXLJ00
www.sgma-magng-uk.com
WhennatedtoanAPS-Csensor, this fantastic
fast-apertureoheringfronSignagives youan
equivalent 48nnfocal length. Wideopen, it
produces beautifully snoothbokehandout-of-
focus areas andis surprisingly sharpstoppeddown.
At this priceyoucan't argueeither, it's nuchcheaper
thanequivalent lenses fronother nanufacturersl
'Nifty hfty' 50mmflI.8fromL90
www.nkon.co.uklwww.canon.co.uk
Anust-haveinany photographer's kit bag, afast
50nnprinetakes fantasticportraits and
allows youtoshoot usingavailablelight evenwhen
light levels arelow. 1here's alsotheargunent that,
beingaxedfocal length, it helpdyoutoconpose
your shots better as youneedtonovetofraneyour
subject, rather thansinply twist azoonring.
Lensbaby 5parkL80
www.ntro2020.co.uk
Lensbaby's rangeof lenses havebecone
synonynous withfunandunusual selective
focusing. AlthoughtheSpark requires youtoshoot
innanual node(or at least useexposure
conpensation), withpracticeyoucanget sone
really funsoft-focus andtilt-shift shots. Perfect for
creativeportraits andlifestylephotography.
Lensaccessores
CokinP-5eries FiIter Kit
L50www.ntro2020.co.uk
Agoodset of lters is anessential
additiontoyour canerakit if you're
particularly keenonlandscape
photography. Cokin's P-series is
suitablefor lenses upto82nnin
dianeter soshouldcover eventhe
widest glass inyour kit bag. 1his kit
serves as agoodstartingpoint -it
includes aholder, aPI2ILNDx2lter,
aPI2IMNDx4lter andaPI2IS
NDx8lter. You'll alsoneedto
purchaseanadditional adaptor ring
tonatchthedianeter of your lens
-andtheseareavailableat acost of
aroundI3.
KenkoExtensionTubes
LI40www.ntro2020.co.uk
ancy tryingyour handat nacro
photography but don't want toshell
out onadedicatednacrolens just
yet enkoLxtension1ubes oher you
thechancetoshoot snall subjects
usingyour existinglenses. Packaged
as aset of threein36nn, 20nnand
I2nnvarieties, they canbeused
individually, all together or as a
conbinationof any twoat atine,
dependingonthelevel of
nagnicationrequired. Although
therearecheaper options out there,
theseenkoitens evenretainyour
canera's autofocus and11L
neteringsystens, allowingyouto
useall of your canera's functions still.
HoyaPkOI CircuIar
PoIariser FromL50
www.ntro2020.co.uk
Another inportant part of your kit,
acircular polariser is anust if you
regular shoot landscapes. Whenthe
front ringis rotatedtotheoptinun
position, apolariser will boost colour
saturation, inparticular blueskies,
whilealsoincreasingcontrast and
reducingglareinfoliage. Atwo-stop
lter factor neans its alsoauseful
alternativetoanNDlter.
Kenko2x TeIepIus Pro
J00DGXteIeconverter
LI00www.ntro2020.co.uk
Cheaper thanbuyinganother lens for
theextrapullingpower youneed,
teleconverters sit betweenyour
canerabody andlens tooher a
higher nagnication. Renenber
that youlosebetweenoneandtwo
stops withateleconverter tted, so
nakesurethat your lens's naxinun
aperturedoesn't gobelowfi5.6, or
theautofocus won't function.
HitechPro5topper L75
www.formatt.co.uk
LxtreneNDs allowyoutoshoot
longexposures duringtheday
without overexposing. 1his neans
that youcancapturefantastic
notioninclouds andwater, or even
render busy city streets conpletely
enpty. t's worthinvestinginagood
onesuchas this oheringfronHitech,
as cheaper nodels oftenreduceoptical
quality. Renenber you'll alsoneedto
purchasealter holder, too.
Lenses
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 12

ChrstmasGItdeas
128l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Trpods
UR1PPCSR1HLBLS1SUPPR1YU'LLNLLDRYURPH1GRAPHY
Giottos CarbonFibre
MT822J-50L99
www.gottos-trpods.com
Athree-section, carbon-bretravel
tripodfronGiottos for under I00-
it nust beChristnasl Lightweight,
conpact, andideal for takingonyour
travels withyou, it extends upto
I39cninheight, folds downto56cn,
weighs inat just I.Ikg(tripodonly) and
youevenget athree-way headand
carry bagthrownintool 1hewhole
outt is ratedtotakeacaneraand
lens conboupto3kg. You'll haveto
bequick, though, there's only alinited
nunber onoher andthey won't be
aroundfor longat this pricel
Manfrotto055XPkOLII5
www.manfrotto.co.uk
Apopular choiceanongst
professional photographers, the
055XPRBis aconpact and
lightweight aluniniuntripod
benetingfronManfrotto's usual high
buildquality. 1hecentrecolunncan
gofronvertical tohorizontal
orientationwithinseconds without
renovingthehead(or canerafor that
natter), andthethree-sectionlegs
canbepositionedat alnost 90 for
optinunversatility -thereshouldn't
benany angles that youcan't reach
usingthis tripod, whichwill nakeit a
great optionfor nacrowork.
VeIbon5herpa+6J0L90
www.ntro2020.co.uk
Lookingfor agoodall-roundtripod
that's not tooheavy onthewallet
1hesturdy nagnesiun-alloy velbon
Sherpa+630weighs just I.6kg, can
support anaxinunloadof 4kgand
extends fronanininunheight of
just I2cn, thanks toits split centre
colunn, toaninpressiveI63cn
whenfully extended. What's nore, the
Sherpa+630neasures just 56cn
whenclosedaway soyou'll haveno
excusefor not takingit withyou
everywhere. Check out our full tripod
test onpageII4toseehowit fared
against sinilar nodels.
VanguardAItaPro26JAT
LIJ4(andLI5cashback)
www.vanguardwor|d.co.uk
vanguardohers aninpressiveline-up
of tripods that arepackedwith
innovativefeatures without you
havingtoshell out toonuchof your
hard-earnednoney. 1hevanguard
AltaPro263A1is analuniniunnodel
that boasts anulti-anglecentre
colunn, nakingit great for nacro-
photography enthusiasts. Maxinun
loadis agenerous 5kgand, as abonus,
vanguardis oheringupto30
cashback onall AltaProtripods until
I5January 20I3, withI5cashback
ontheAltaPro263A1.
5opports
Giottos MMLJ290Monopod
L40www.gottos-trpods.com
f you'reluggingabig, heavy caneraand
lens aroundall day andwant abit of extra
support, but don't want thehassleof
carryingatripod-consider anonopod,
suchas thealuniniunGiottos MML3290B.
1his littlegenextends toanaxinun
height of I82cn, andfeatures ahand
strap, paddedfoanhandgripand
quick-releaseleglocks, this support will
haveyouready toshoot inaninstant. t'll be
aninvaluabletool for photographing
anythingwhereyou'relikely tobeplacedin
onepositionfor alongperiodof tine, such
as wildlifeor sports.
Joby GoriIIapod
FromLI5
www.joby.com
Joby's rangeof Gorillapods
aretheperfect travel
conpanions. Conpact and
lightweight, they cansit ona
fat surfaceor bewrapped
aroundanearby treeor
pole, turningobjects inyour
environnent intoatripodl
Check theweight linits whenpurchasingand
nakesureyounatchtheright nodel totheweight
of your caneraandlens. f theoriginal Gorillapod
won't dothejob, thentheGorillapodSLRZoonis
ratedtosupport upto3kgl
ManfrottoI4JA
Magic ArmLI0J
www.manfrotto.co.uk
1here's not a
photographer around
whodidn't wishthey had
anextraarnor twoat the
best of tines. 1he
ManfrottoMagicArnis a
nulti-anglelockable
support that's perfect for
holdinglights, caneras, alnost anythingreallyl
Aball-joint at either endandcentral pivot allowyou
topositionthearnat alnost any angleyoulike.
PairedwithaI9ManfrottoSuperclanp, it canbe
attachedtoany poleor surfaceedgewithease.

1ripods l Bags 8straps
JANUAR201Sl DIGITAL5LkPHOTOGkAPHl 129

1HLSLG1DLASWLLHLLPMALCARRYNGCAMLRA1ACMR1ABLLLXPLRLNCL
Tamrac EvoIution9LI60
www.ntro2020.co.uk
Winner of our Best Buy awardinour
+I00photobackpack test
(Septenber 20I2), thedual-
conpartnent 1anracLvolution9is a
great all-roundbackpack. t ohers alot
of versatility andaninpressivespec
list, includingraincover, tripodholder
andspacefor alaptop, tablet or
notebook, all for areasonableprice.
1here's roonfor acanerabody with
attachedlens andvetosix additional
lenses or fashguns inside, andit can
evenbeconvertedtoasingle-strap
slingbagfor convenience.
OPlTechProCamera5trapLI8
www.ntro2020.co.uk
Standardcanerastraps oftenleavealot tobe
desiredwhenit cones toconfort. Pi1ech's Pro
strapohers quick-releaseclips alongwithawide
surfaceareathat distributes theweight of your
caneraevenly, nakingit feel instantly lighter.
1hey alsofeaturerubber grips ontheinside,
neaningthestrapis far less likely toslipohwhen
beingcarriedover theshoulder.
ThinkTank5peedFreak
V2.0LII0
www.snapperstuh.com
nnovativedesignandafeaturelist
that goes onandon, theSpeedreak
is likenost 1hink 1ank bags inthat it's
well nadeandgreat valuefor noney.
1hereareplenty of pockets and
access points, andtheshoulder and
waist-strapconbonakes accessing
andputtingyour kit away incredibly
easy. t holds your canerabody and
lens as well as threetofour additional
optics, andfeatures plenty of snaller
pockets andpouches for storingaway
thoseodds andends.
PeakDesignCaptureCameraCIipL50
www.peakdesgn|td.com
Needtokeepbothhands freeinbetweenshots
1hePeak DesignCaptureCaneraClipfastens toany
belt or strapandallows youtoquickly secureyour
canerainplaceandunclipit inonenotionwhen
required. Perfect if you'recarryingasecondbody,
needtowork hands-freeor if you'renot keenon
danglingyour heavy (andexpensive) caneraoutt
aroundyour neck.
Loweprokover Pro45LAW
L240www.|owepro.com
BrandnewfronLowepro, theRover
Pro45LAWis ahybridcanpingi
nountainiphotobackpack that looks
norelikeanountaineeringbackpack
thanacanerabagandohers atonof
features andplenty of storagespace.
1here's atranpoline-styleback panel
withbreathableneshfor ventilation
whentrekkinginwarnweather and
thecaneraconpartnents are
renovable, allowingyoutotailor the
bagtosuit whatever you'recarrying.
Soneoneloves youif youget this on
Christnas norningl
VanguardUPkiseII 45L90
www.vanguardwor|d.co.uk
votedas our favouritesub-I00
photobackpack inits previous
incarnation, theredesignedUPRise
series is superbvaluefor noney. 1his
particular nodel provides alot of
space, withroonfor your canera
body andalargetelephotozoonlens
attached, as well as twotothreeextra
lenses andafashgun. Purchase
beforeI5January 20I3andvanguard
will giveyouI0cashback ontheUP
Rise 45, 46and48backpacks tool
Check out thevanguardwebsitefor
further details.
IackkapidFromL50
www.johnsons-photopa.co.uk
heringarangeof straps andsupport
systens that diher fronyour usual
'aroundtheneck' nethodof
carryingyour canera, BlackRapid
straps focus onoptinunweight
distributionandconfort -anust
if you'recarryingyour canera
aroundfor hours at atine.
1here's ahugerangeof
accessories onoher so
there's suretobe
sonethingfor every
photographer.

ChrstmasGItdeas
1S0l DIGITAL 5LkPHOTOGkAPHl JANUAR201S
Lghtngaccessores
1HLRLSAWLAL1HLASHANDLGH1NGACCLSSRLS1HA1CANMALRGRLA1XMASG1S
LastoIiteTriGripkeector L58
www.|asto|te.com
Accurately positioningarefector whilst holdingyour
canera, zooninginandout andtriggeringthe
shutter canbetricky. 1his is instantly nadeeasier
usingtheLastolite1riGrip. ts easy-to-holdshape
allows youtopositionanddirect thelight withone
hand, leavingyour other handfreetoworry about
takingcareof everythingelse.
WexPro80cmLight Tent LJ0
www.wexphotographc.com
f you'veever photographedaastill-lifeor aproduct
tosell oneBay, you'll knowobtainingasoft, even
spreadof light is dihcult andelininatingunwanted
refections fronashiny itenis another battle
altogetherl 1his pop-uplight tent fronWarehouse
Lxpress is thesinplesolution-it folds downtovery
littleandcanbeset upinanatter of seconds.
Phottix 5tratoII 5-in-I FIashTriggers
LII0www.ntro2020.co.uk
Withawireless rangeof over I50netres and
ohering11Landfashpass-throughalongside
uptoIi250secsyncspeed, thePhottix Strato also
ohers four channels infour separategroups,
allowingfor ultinatecontrol over several fashguns
at once. Andall for afractionof thepriceof other
brands -happy Christnasl
Metz MecabIitz 52AF-I DigitaI
FIashgunL220www.ntro2020.co.uk
Addingadedicatedfashguntoyour canerakit
cantakefashphotography tothenext level.
Boastinganinpressiverotatingtouchscreendisplay,
apowerful GuideNunber of 52(SI00), full 11L
support, andafip-out dihuser andrefector, Metz's
latest fashgunpacks inplenty of features at a
reasonableprice.
MacroLEDkingIight L28
www.amazon.co.uk
Weweresoinpressedwiththis LLDringlight that we
testedback inSeptenber 20I2's 8udget Pnotothat
wethought it'dberudenot tonentionit again.
1hereareseveral nodels tobefoundonAnazon
andnost seentobenanufacturedby thesane
conpany -Neewer Llectronics. Best of all, it's a
bargainat under 30l
HonI HP-FiIter I 5ampIer Kit LI6
www.aghead.co.uk
Get creativewithfashusingaset of Honl gels. 1hey
canbeusedtoaddcolour todull backgrounds, to
paint withcolourful light or, conbinedwithyour
canera's WhiteBalancesettings, cancreatively
replicateor enhancelightingfronother sources.
1his kit includes enoughdiherent colours and
tenperatures toget thecreativejuices fowing.

Ligntingaccessories l Menory
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WesternDigitaI My Passport FromL60
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t's surprisinghownuchspaceafewyears' worthof
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safe, consider anexternal harddrivetostoreyour
photos on. 1heconpact WesternDigital My
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whopping21Bof nenory.
Lexar I6G57J
JumpdriveLI0
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Availablein8GB, I6GB, 32GBand
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Transcend8G
Memory FromLI0
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Withtheresolutionof digital
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thenorenenory, thebetterl
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5anDiskEye-Fi 8G
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L50www.sandsk.co.uk
Connectivity has recently
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got anolder caneranodel, don't
worry -youneednot get left
behindl SanDisk's Wii-enabled
SDcards allowyoutoinstantly
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toatablet, phoneor conputer as
youshoot, soyounever need
worry about runningout of
nenory again.
Interht 5-in-I keector LJ5
www.ntertphotographc.com
Anust-havefor any portrait or lifestyle
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neaningyounever havetoleavehonewithout it.
Interht 5trobies Portrait Kit LI00
www.ntertphotographc.com
f youcan't takeyour fashoh-canera, thenext best
thingis tonodify thelight tosoftenor alter its ehect.
1heStrobies Portrait it fronntert is arangeof
accessories andnodiers that t toyour existing
fashgun. ncludedinthekit is asoftbox, snoot,
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andahoneyconbgrid.
Lexar MuIti-Card25-in-I U5J.0
reader L2Jwww.|exar.com
Althoughnost, if not all, digital caneras arebundled
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natches thespeedandconvenienceof acard
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support for aninpressive25diherent shapes and
sizes of card, andevenincludes USB3.0support for
ultra-fast transfers.

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NikonGP-I GP5ModuIeL200
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nageLX datacanholdabevy of useful
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InnergiePocketCeII L70
www.mynnerge.com
nedownsideof thegadgetry that surrounds us
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nevitably therewill beoccasions whenyour
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1his neat nobilecharger is your portableenergy
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iPadFromLJ99
www.app|e.comluk
f youwant toadnireor showothers soneof the
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oheredby thelatest AppleiPad. 1helarge9./inLLD
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withnoadditional plug-ins.
5abreswitchTriggersmart L2J8
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Makecapturinghigh-speedinages adoddleby
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MacbookProwithketinadispIay
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Packingover four-nillionpixels intoits I3-inch
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WacomambooTabIet L70
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nceyou'veeditedyour inages usingagraphic
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Wacon's Banbootablet is conpact enoughtonot
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control usingthesuppliedpressure-sensitivepen.
t alsofeatures touchcontrols allowingyoutouse
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Mobilephones nowboast suchinpressivevideo
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Wedon't knowabout you, but
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ExpoDisc FromL65
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btainingthecorrect White
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Neewer Timer kemote
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Callingall Canonusers. fancy
tryingyour handat tine-lapse
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toretheshutter at user-dened
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nodel fronNeewer is afraction
of thepriceof other branded
itens anddoes thesanejobl
Hotshoe5pirit
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Althoughwonky horizons can
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theless tinespent infront of a
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canera's hotshoeand, viathe
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bothlandscapeandportrait
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Toddy 5mart CIothLI0
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eepyour kit cleaninstyle, these
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1hereare42diherent printed
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Giottos kocket Air
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Dust is every photographer's
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Giottos Rocket Air Blower is a
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OIIocIipL60
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Mobilephotography has conealongway inthelast
fewyears andthesaying'thebest canerais theone
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expands your iPhone's capabilities as acaneraby
oheringthreeclip-onlenses -nacro, sheyeand
wide-angle. Currently only availablefor the Apple
iPhone4i4S, it has benrevealedthat thereis an
iPhone5-conpatibleversionontheway shortly.

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Dodge8urnT-shirts $29
www.dodgeandburn.com
DodgeoBurnis aclothingconpany
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ts stylishrangeof excellent quality
1-shirts appeals totheinner
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What better way toshowohyour
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CanonPIXMAMG6J50LI70
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viewingyour inages onascreenis
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inalab, though-stepintheall-new
CanonPXMAMG6350. aWii-
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PrintedGifts FromLI5
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t's possibletoget your ownphotos
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younaneit, youcanprint onitl Bags
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Iurbooks FromL8
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Goback afewyears andtheonly way
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Lens raceIets From$I5
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Showohyour canerabrand
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takeonthetraditional business card,
thelens bracelet has sincegrownin
popularity andis nowavailableina
variety of designs tonatchyour
favouritelens. uirky, funand, yes,
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ThumbsUpI Lens MugLI5
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What better way toenjoy your
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incredibly realistic, conpletewith
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5napshot Frames LI0
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Youcannever havetoonany photos
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tner gifts toconsider
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500px Account From$20
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Sharingyour inages onlineis agreat way toget your
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Lomography Diana+LJ9
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AnoderntakeontheclassicDianacaneraof the
I960s, theDiana+allows youtoshoot beautiful
ethereal lo-inages onI20-fornat ln. What's
nore, there's arangeof accessories onoher
allowingyoutoshoot to35nnor uji nstax instant
lnalongwithvarious diherent toy lenses andfash
accessories. Givelnagol
CIikpic WebsiteFromL40
www.c|kpc.co.uk
Websitebuildingis tricky business andif you'veever
triedit, you'll knowwhy webdesigners chargeso
nuchl Clikpicis atenplate-basedwebsiteservice
designedspecically for photographers. 1hereare
lots of brilliant tenplates andlayouts tochoose
fron, allowingyoutoeasily design, set upand
publishyour ownphotowebsitewithnoprior
web-developingknowledge, anessential stepif you
want toearnnoney fronyour photography.
GoIdenHaIf J5mmFiImCameraLJ7
www.amazon.co.uk
1iny andincredibly easy touse, theGoldenHalf
shoots on35nnlnbut withadiherence-each
shot only lls half of thefrane, neaningfor each
exposure, youget totaketwophotos. Youcantry
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conplenent eachother or just shoot away andsee
what interestingconbinations youconeupwithl
DigitaI 5LkPhotography subscriptionI
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What better gift is therethanasubscriptiontothe
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FujihImInstax 2I0WideInstant
CameraL6I www.fuj|m.eulukl
Most peoplerenenber theexcitenent of waiting
for aninagetonagically appear as youwaitedfor
aninstant photographtodevelop. 1henstax 2I0
Wideisn't asnall caneraby any neans, andtheln
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keepsaketogivetoyour friends andfanily.
Photographycoorses
1here's nobetter way tolearnthanbeinghands onwithalittleprofessional
guidancel Many photographers host workshops intheU, suchas landscape
andnaturephotographer Ross Hoddinott (www.rossnodd/nott.co.uk), and
portrait pros Bjorn1honassen(www.bjornohnsp/re.com) andBrett
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AdobesoItware
Whatever your level of usage(andbudget), Adobeohers a
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full 66I PhotoshopCS6package. Alternatively, there's
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want toedit andorganiselargecollections of inages. www.adobe.com/uk




bntl 31/12/12 clan 55 cashback
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ead
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PHOTOCRAPHIC
ACCESSORIES

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C|,upus C/
C|,upus ^/o
C|,upus /^/o
|o||ux |
Co||ux/`us|cu
comero ~ Lens Adopters
Cu| /| |D
Cu| /| /^2
Cu| /| ||o|
Cu| |D /^2
C|, /^/o C/|
C|,u ^/o Cu| /| \|| upo||u|o ||g}
C|, /^/o ||o|
C|, /^o ||o| \|| upo||u|o ||g}
C|, /^o |ocu /
So|,//| /| /D
So|,//| /| /^2
/|o||u /D /^2
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|o||ux | /^2
So|, ||/ Cu| /|
So|, ||/ So|//| /|
So|, ||/ ||o| /|
So|, ||/ || /| u|u C
So|, ||/ ||
`us|/Co| /^2
Cu|o| /|
Cu|o| |D
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C|,upus C/
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2 ||ouu
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Cu| /|
Cu| |D
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C|,upus C/
C|,upus /|
C|,upus ^/o
C|, /c|o ^/o
So|,//| /|
/|o||u /D
|o||ux |
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^cuu
^'uu
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c2uu
c.uu
Cu| /| '2uu
Cu| /| 'ouu
Cu| |D '2uu
Cu| |D ''uu
`us|/Co|| '2uu
/^2 ^'uu
/^2 '2uu
/^2 ''uu
/^2 'ouu
/| /D ^'uu
/| /D '2uu
/| /D 'ouu
So|,//| /|''
||o| '2uu
||o| 'ouu
||u||cu E ^'uu
|o||ux | ^'uu
|o||ux | '2uu
|o||ux | ''uu
|o||ux | 'ouu
comero Vieving occessories
Sc|oo| Hoous
Cu|o| '0D
Cu|o|o'0D
Cu|o|^'0D
||o|D.0
||o|Do0
||o| Do00
fuII shieId mognifying 5creen Hoods
Cu|o| 'D/.D/'00D
Cu|o| ''0u/||o| '00D
Cu|o|c0D/c00D
ye cups
Cu|o| ''0D |,po
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C||o|
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C| v|| |oc||g Co||u| }
0 /o|u| Cu||o |o|ouso
o /o|u| Cu||o |o|ouso
2^ /o|u| Cu||o |o|ouso
oc /o|u| Cu||o |o|ouso
0 \|,| Cu||o |o|ouso
o \|,| Cu||o |o|ouso
20 \|,| Cu||o |o|ouso
oc \|,| Cu||o |o|ouso
20 /| |o|ouso
uu|o Hu||cu|o E|us|
|u|go E|ovo| E|us|
/ouuu E|ovo| E|us|
Suu|| E|ovo| ||us|
|ps|c| |o|s E|us|
|o|s ssuos
Suu|| /c|o |||o
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|u|go /c|o |||o
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|o|s C|ou||g So|u|o|
^ |oco C|ou||g so|
. |oco C|ou||g So|
| \||o S|up Eox}
2 x S|cu Co|
^ x S|cu Co|
o x Dg|u| Sc|oo| ||o|oc|
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Co||uc| C|ou||g |o|
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S|oc| u|so|||g v||
Co|cou|ou \|o, ||pou
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Dou||o co|cou|ou v|o s||up
\|| s||up |us| ||||g
\uo |oop|o|o, |ooso s||c|ou
Euc||g, |ovo|so uc| |o|ouso
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E|uc|
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|o| ||o|
|o| /|o||u
|o| /|o||u
|o| |o||ux
|o| C|,upus
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|o| Cu|o| , ou|ossou
|o| ||o|, ou|ossou
|o| /|o||u, ou|ossou
|o| C|,upus, ou|ossou
|o| |o||ux, ou|ossou
Hu|u C|p v|| Cuuo|u ||u||o|u
|u||ov ||uc| s||up 2'uu
/o|u||c |oc| S||up
/o|u||c \|s| S||up
Eusc |u| Covo|
|u|go
/ouuu
Suuuo|
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cx. C|u|g|g Eug
2.x2' C|u|g|g Eug=
ox^' C|u|g|g Eug
0 poco ||u Dov ||
^ |oco ||u u|u p||| Dov ||
Du|| |oou /p|o|
S||ug|| u|| |o|ouo|o|
/|g|ou Ds| |o|ouo|o|
2 /S/S|oo| ||u C|ps
o x Euu|oo |||| o|gs
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U|v Dov u|| 2 x Sp|u|s
o'uu Dov u||
Spu|o U|v Sp|u|
o x .x0 Dov |u,s
o x 2x0 Dov |u,s
o x 2xc Dov |u,s
o x cx20 Dov |u,s
o x cx20 Dov |u,s
o x 2^x20 Dov |u,s
Groduoted eokers vith HondIe
'00cc
00cc
2000cc
Groduoted HJbuty Meosures
'0cc
00cc
2'0cc
o00cc
c'0cc
000cc
5ofeIights free stonding Or voII fixing
`o||ov
C|oo|
C|u|go
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lnverted cone ottochment
give soft doyIight resuIt for
Cu|o| ^20|/
Cu|o| 'o0|/
Cu|o| oo0|/
||o| SE c00
||o| SE '00
biffusers
Cu|o|oo0|/
Cu|o| ^20|/
Cu|o| ^o0|/
Cu|o| '^0|/
Cu|o| ''0|/
Cu|o| 'o0|/
||o| SEc00
||o| SEo00
||o| SE'00
|o| v |op up ||us|
So|| ||us| ||us|cu|ou Covo|
fIosh rockets
S||ug|| ||us| E|uc|o|
/|g|o ||us| E|uc|o|
||o E|uc|o|
||o E|uc|o| 2
||o E|uc|o| o
||o E|uc|o| '
||o E|uc|o| '
Ho| S|oo Co uxu|
Ho| s|oo v|| |ouu
||us| S|uvo U||
||us| S|uvo U|| v|| Suc|o|
||us| S|uvo ||o| |
fIosh Leods c c
0'u S||ug||
u S||ug||
ou S||ug||
ou S||ug||
'u S||ug||
0u S||ug||
ou Co|ou
'u Co|ou
fIosh Leods c- tvo pin Ac
0'u s||ug||
u s||ug||
2u s||ug||
ou s||ug||
'u s||ug||
||u |o||ovo|
SS ||u |o||ovo|
||u Couo||
00x supo| o sp|c|g |upo
Supo| o upo Sp|co|
o'uu ||us|c |o|ouuu||o
Cusso||os
||u Cusso||o Cpo|o|
Eu|| ||u |ouuo|
/||uc|o cuso ' x '0 u| uug
/||uc|o Cuso up |o c00 s|uos
/|S ||u Cuso
Du,|g|| S|uo \ovo|
o x /ug S|uo \ovo|
2 / /ug S|uo \ovo|
/u|o S|uo \ovo|
'x^ S|uo So||o|
cx0 S|uo So||o|
Eox o| c /c|,|c S|uo pu|o|s
v| '0 D| /ug
v| '0 CS /ug
Hu|uux |o|uo| /ug
Hu|uux S||ug||
|ouu| Cu|ouso| c/v |u
2x |||o| \|o|c| ^o 'ouu
2x |||o| \|o|c| c2 ..uu
|o|u|g ||| |ouc| ^ x ocuu
|o|u|g ||| |ouc| ^ x c.uu
|o|u|g ||| |ouc| ' x ocuu
|o|u|g ||| |ouc| ' x c.uu
2''uu
2.uu
2ouu
o0uu
o0'uu
o^uu
o''uu
o.uu
o.'uu
^0'uu
^ouu
^cuu
^ouu
^'uu
'2uu
''uu
'ouu
c2uu
c2uu uoop
c.uu
.2uu
.2uu uoop
..uu
o2uu
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''uu
0'uu
2.uu
fiIter Ring rototing cJvretoiner
^cuu
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
o2uu
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coIIopsibIe rubber
^0'uu
^ouu
^cuu
^'uu
'2uu
''uu
'ouu
c.uu
.2uu
..uu
wide AngIe
^'uu
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
combi 1vo stoge wA ~ 1eIe
^'uu
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
etoI Hood 5crevfit con be
Rototed to centroIise
^'uu
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
MetoI
2.uu
2ouu
o0uu
o0'uu
o^uu
o.uu
^0'uu
^ouu
^cuu
o2uu
5nop cops
2.uu
2ouu
o0/o0'uu
o^uu
o.uu
^0'uu
^ouu
^cuu
^ouu
^'uu
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
o2uu
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''uu
with center grips
^'uu
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
white oIonce 5nop cops
'2uu
''uu
'ouu
c2uu
c.uu
.2uu
..uu
o2uu
with drovstring
.'x'0uu
.'x0uu
'0x^0uu
'0x.0uu
'0x200uu
2ipped Iid ond fiIter comportment
Suu||
/ouuu
|u|go
|x||u |u|go
2 \u,
2 \u, |o| So|,
o Eu|||o
o Eu|||o |o| So|,
Bock Cops Roln Covers
Mon Collopslble Lens Hood
Lens Cops
Lens Pouches
Shoe Fllllng Splrll Levels
Flller Accessorles,Rlngs
Lens Hood
Flller Rlngs wllh Rel olso con be
used os dlslonce rlngs s block
Dork Room
Flosh Accessorles
Body Cops
Adoplers Shuller Releose llems
Comero Core llems
Comero Sllng Slrop
Comlorl Slrops
30mm38mm Vlde Slrops
Loop Fllllng Slrop
Fllm llems
C Mounls
l2 Adoplers
Serles Z
Reverslng Rlngs
Iel. JIZ &ZJ&IZ |et. JIZ &ZJJJ www.leeiir|erre|ierel.tem

KCCD SPPLlES EVERY PARl CF lHE PHClC lRADE HCME AMD E/PCRl.
EMAlL: koodlnlernollonol@gmoll.com FCR DElAlLS CF SlCCKlSl lM YCR AREA CR, lF YC ARE A CAMERA EClPMEMl lRADER,
SEMD YCR DElAlLS FCR ACCCMl APPLlCAllCM AMD lRADE SPPLY PRlCES
K9 |r|erre|ierel |imi|ei, Uri| , Wellirj|er Keei, |erier Celre /|Z I|I
Iel. JIZ &ZJ&IZ |et. JIZ &ZJJJ |meil. leeiir|erre|iereljmeil.tem
www.leeiir|erre|ierel.tem

K9 KK/N9 |K9UCI' /K| ||KI|9 WK|9W|9|
C/N K| K9|K|9 |K /NI |N9|||N9|NI K|I/|||K
S|opp|g ||g 2'2ouu
S|opp|g ||g 2'o0uu
S|opp|g ||g 2'o.uu
S|opp|g ||g 2.2ouu
S|opp|g ||g 2.o0uu
S|opp|g ||g 2.o.uu
S|opp|g ||g 2.^ouu
S|opp|g ||g 2.^cuu
S|opp|g ||g 2.^'uu
S|opp|g ||g 2.'2uu
S|opp|g ||g 2o2.uu
S|opp|g ||g 2oo0uu
S|opp|g ||g 2oo0'uu
S|opp|g ||g 2oo''uu
S|opp|g ||g 2oo.uu
S|opp|g ||g o0'2'uu
S|opp|g ||g o0'2.uu
S|opp|g ||g o0'2ouu
S|opp|g ||g o0'oouu
S|opp|g ||g o0'o''uu
S|opp|g ||g o0'o.uu
S|opp|g ||g o0'^ouu
S|opp|g ||g o0'^cuu
S|opp|g ||g o0'^'uu
S|opp|g ||g o0''2uu
S|opp|g ||g o02'uu
S|opp|g ||g o02ouu
S|opp|g ||g o0o0'uu
S|opp|g ||g o0oo'uu
S|opp|g ||g o0o.uu
S|opp|g ||g o0^ouu
S|opp|g ||g o0^cuu
S|opp|g ||g o0^'uu
S|opp|g ||g o2'o.uu
S|opp|g ||g o^o.uu
S|opp|g ||g o^^ouu
S|opp|g ||g o^^cuu
S|opp|g ||g o^^'uu
S|opp|g ||g o''o.uu
S|opp|g ||g o''^'uu
S|opp|g ||g oco.uu
S|opp|g ||g o.'o.uu
S|opp|g ||g o.'^ouu
S|opp|g ||g o.'^cuu
S|opp|g ||g o.'^'uu
S|opp|g ||g o.''2uu
S|opp|g ||g o.2.uu
S|opp|g ||g o.2ouu
S|opp|g ||g o.o0uu
S|opp|g ||g o.o0'uu
S|opp|g ||g o.o^uu
S|opp|g ||g o.o''uu
S|opp|g ||g o.o.uu
S|opp|g ||g o.o.'uu
S|opp|g ||g o.^0'uu
S|opp|g ||g o.^2uu
S|opp|g ||g o.^ouu
S|opp|g ||g o.^cuu
S|opp|g ||g o.^'uu
S|opp|g ||g o.'2uu
S|opp|g ||g o.''uu
S|opp|g ||g o.'ouu
S|opp|g ||g oo^'uu
S|opp|g ||g oo'2uu
S|opp|g ||g oo''uu
S|opp|g ||g oo'ouu
S|opp|g ||g o'^cuu
S|opp|g ||g o'^'uu
S|opp|g ||g o''2uu
S|opp|g ||g ^0'o.uu
S|opp|g ||g ^0'^ouu
S|opp|g ||g ^0'^cuu
S|opp|g ||g ^0'^ouu
S|opp|g ||g ^0'^'uu
S|opp|g ||g ^0''2uu
S|opp|g ||g ^oo^uu
S|opp|g ||g ^oo.uu
S|opp|g ||g ^oo'uu
S|opp|g ||g ^o^cuu
S|opp|g ||g ^o^'uu
S|opp|g ||g ^o'2uu
S|opp|g ||g ^o'ouu
S|opp|g ||g ^oc2uu
S|opp|g ||g ^co.uu
S|opp|g ||g ^c^ouu
S|opp|g ||g ^c^ouu
S|opp|g ||g ^c^'uu
S|opp|g ||g ^c'2uu
S|opp|g ||g ^c''uu
S|opp|g ||g ^c'ouu
S|opp|g ||g ^cc2uu
S|opp|g ||g ^cc.uu
S|opp|g ||g ^o^ouu
S|opp|g ||g ^o^cuu
S|opp|g ||g ^o^'uu
S|opp|g ||g ^o'2uu
S|opp|g ||g ^o''uu
S|opp|g ||g ^o'ouu
S|opp|g ||g ^oc'uu
S|opp|g ||g ^'o^uu
S|opp|g ||g ^'o.uu
S|opp|g ||g ^'o'uu
S|opp|g ||g ^'^ouu
S|opp|g ||g ^'^cuu
S|opp|g ||g ^'^ouu
S|opp|g ||g ^''2uu
S|opp|g ||g ^'''uu
S|opp|g ||g ^''ouu
S|opp|g ||g ^'c2uu
S|opp|g ||g ^'c.uu
S|opp|g ||g ^'.2uu
S|opp|g ||g ^'..uu
S|opp|g ||g '0^'uu
S|opp|g ||g '0'2uu
S|opp|g ||g '0''uu
S|opp|g ||g '0'ouu
S|opp|g ||g '2o.uu
S|opp|g ||g '2^ouu
S|opp|g ||g '2^cuu
S|opp|g ||g '2^ouu
S|opp|g ||g '2^'uu
S|opp|g ||g '2''uu
S|opp|g ||g '2'ouu
S|opp|g ||g '2c2uu
S|opp|g ||g '2c.uu
S|opp|g ||g '2.2uu
S|opp|g ||g '2..uu
S|opp|g ||g ''o.uu
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S|opp|g ||g ''^ouu
S|opp|g ||g ''^'uu
S|opp|g ||g '''2uu
S|opp|g ||g '''ouu
S|opp|g ||g ''c2uu
S|opp|g ||g ''c.uu
S|opp|g ||g ''.2uu
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S|opp|g ||g 'oo.uu
S|opp|g ||g 'o^cuu
S|opp|g ||g 'o^ouu
S|opp|g ||g 'o^'uu
S|opp|g ||g 'o'2uu
S|opp|g ||g 'o''uu
S|opp|g ||g 'oc2uu
S|opp|g ||g 'oc.uu
S|opp|g ||g 'o.2uu
S|opp|g ||g 'o..uu
S|opp|g ||g c0c2uu
S|opp|g ||g c2^cuu
S|opp|g ||g c2^'uu
S|opp|g ||g c2'2uu
S|opp|g ||g c2''uu
S|opp|g ||g c2'ouu
S|opp|g ||g c2c.uu
S|opp|g ||g c2.2uu
S|opp|g ||g c2..uu
S|opp|g ||g c.'2uu
S|opp|g ||g c.''uu
S|opp|g ||g c.'ouu
S|opp|g ||g c.c2uu
S|opp|g ||g c..2uu
S|opp|g ||g c...uu
S|opp|g ||g c.o2uu
S|opp|g ||g c''2uu
S|opp|g ||g c'c2uu
S|opp|g ||g c'c.uu
S|opp|g ||g c'.2uu
S|opp|g ||g c'..uu
S|opp|g ||g .2'2uu
S|opp|g ||g .2'ouu
S|opp|g ||g .2c2uu
S|opp|g ||g .2c.uu
S|opp|g ||g .2..uu
S|opp|g ||g .2o2uu
S|opp|g ||g .2ocuu
S|opp|g ||g .2''uu
S|opp|g ||g ..'2uu
S|opp|g ||g ..'ouu
S|opp|g ||g ..c2uu
S|opp|g ||g ..c.uu
S|opp|g ||g ...2uu
S|opp|g ||g ..o2uu
S|opp|g ||g o2c.uu
S|opp|g ||g o2.2uu
S|opp|g ||g o2..uu
S|opp|g ||g o2ocuu
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Husso|||uu /uup|o| E'0'2
Husso|||uu /uup|o| E'0''
Husso|||uu /uup|o| E'0'o
Husso|||uu /uup|o| E'0c.
Husso|||uu /uup|o| Ec0'o
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2'0 x |og o2uu /, Co||o|s
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2'u Dou||o Suou upo
cu Supo| Hg| uc| |upo
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2'0 x ||o|o |x
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o x /' So|| |uu|u||g Cu|us
o x '0 x 00uu S,|uu Cu|us
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ro 1ripods vith Iong ond short coI,
3 step Ieg spIoy, bog hook, cose
5houIder strop
2ouu /||o, ^ soc|o|
22uu ^ Soc|o| Cu||o| |||o
2ouu ^ Soc|o| Cu||o| |||o
o2uu ^ Soc|o| Cu||o| |||o
Spu|o oo| ||
ro Monopods 4 section
2ouu /||o,
22uu Cu||o| |||o
2ouu Cu||o| |||o
o2uu Cu||o| |||o
Light veight AIIoy vith pon tiIt, spirit
IeveI Geored centre coI. Ius cose
2ouu |||oo soc|o|
2cuu |||oo soc|o|
oII ond 5ocket Heods
2^uu so|os o
o0uu so|os 0
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'^uu so|os
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PRPNN
sonethingtodowiththecodectheSony
used. Noneof thesethings naketheSony
a badcanera -far fronit -and doseeit
appearinginfuturework that haveonthe
horizon. t is just a diherent approach. or
ne, theCanonis a better all-round
canera for nost real-worldsituations.
What 'velearnedfronthis experience
is that youshouldalways buy a canera
basedonhownuchyoulikeit andhow
W
LHAvLALL doneit. bought the
latest greatest canera beforea
rival nanufacturer brings out a
conpetitor product that outperforns the
oneyouhavejust spent your hard-earned
cashon. You'releft feelinga littledefated
andwiththethought that perhaps, just
naybe, youhavenadethewrongchoice.
f only youhadwaiteda littlelonger, this
newsuper-duper product wouldhave
beenreleasedandyouwould, or at least
could, havebought it.
knowquitea bit about this. stunped
upa considerablewedgeof cashfor the
newCanonC300and nust say really
dolikeit. t does haveonefeaturenissing,
though, which woulddearly love(one
that nodoubt will coneinfuturenodels
of thecanera) andthat is super slow
notion-thepower togivea wonderful
look wheretineitself is sloweddownto
nakejust about anythinglook special.
ilnnaker PhilipBloonshot a sinple
pieceof footageof his nuncleaningthe
window-a nundanesubject by any
stretchof theinagination-andit looks
wonderful. Youcanseehis super slow
notionwork at philipbloon.net.
As nuchas 'dliketheehects of this
feature, though, 'nhappy withthe
CanonC300-overall it is wonderful
and canlivewithout super slownotion.
or at least that's what thought. Now
Sony's brought out theheavy-specS/00
it probably leaves anyonewhohas just
bought theCanonquestioningwhether
they havedonetheright thing. Not only
does it havesuper slownotion
capabilities and200franes-per-second
at ull HDI080p, but it has thecapability
of beingupgradedto4resolution(the
C300's highest resolutionis a
conparatively nodest I080p) via a
forthconingsoftwareupdatetorecordto
anexternal recorder. What's nore, it's
aroundhalf thepriceof theCanonC300.
1osay felt a littledisheartenedwas an
understatenent -that was before
was lucky enoughtotry out the
all-singing, all-dancingSony S/00, and
evenshoot withit a little, alongsidethe
CanonC300. 1heS/00's slow-notion
footagewas really inpressive, andif slow
notionaloneis your thing, this canera is
theonefor you. But thereis noretovideo
productionthansuper slownotion, and
thereweresoneaspects of theSony that
didn't quitedoit for ne.
nny very short tinewiththeS/00,
was not tooinpressedwiththecanera's
ergononics andnenus, andtheLCD
could, inny opinion, beinproved. 1he
footagealsoseenedtolack thesparkle
that canefrontheCanonC300, perhaps
oftenyou'll useit totakegreat pictures
-don't get toohungupif a conpetitor
product cones out that seens, onpaper,
tooutperforntheoneyouhavejust
bought. 1hebeauty of our industry is that
there's always thenext best gadget just
aroundthecorner -specsheets areone
thing, though, reality is quiteanother.
Step/ntoDrewswor/dof pnotograpnyand
enjoyn/sb/ogat. www.drew./t
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ThebattIeof HD
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its super sIowmotion
162l DIGITAL 5LkPHOTOGkAPHJANUAR201S

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