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Welcome to your all-new

The definitive guide
to SLR photography

etting set in your ways is one of the biggest
pitfalls for any photographer. In other words,
reaching a certain level of competence, but
never really moving beyond it. So this issue
is all about trying new things – not just for the sake of it,
but to keep your images fresh and interesting. Our main
feature on page 36 is full of creative new ideas for great
black-and-white photography, for example, and we’re
giving away a 52-page supplement to help you develop
your portrait skills. And what about trying some new gear?
Don’t miss our in-depth test of affordable full-frame
D-SLRs on page 118, or our starter guide to landscape
filters on page 66. Enjoy the issue and do let me know
what you think of the magazine’s new look!

Geoff Harris, editor


Meet your photo experts

Ben Brain Paul Grogan Ali Jennings George Cairns

Deputy editor Technique editor Digital editor Technique writer
Ben’s an ex-pro Paul’s a travel Ali’s our disc George’s disc
who built his first and sports nut mastermind and tutorials make
darkroom when who joins us an authority on Photoshop
he was just 12! from PhotoPlus photo-editing a joy to learn

Digital Camera September 2010

Story of the Cover 05

behind the image

of the
All That
Rob Cherry
Bournemouth, UK

“This was my first attempt at

shooting the old pier remains
on a rainy afternoon in Swanage.
I composed the shot and locked
the focus, then attached my
ten-stop ND filter, which allowed
me to achieve a longer exposure
that smoothed out the sea and
captured the cloud movement.
The cloud cover also really
helped to create a calm mood
in this image and place all the
emphasis on the pier remains.”

EXDCHSMlens; 111secs atf/10,ISO200

Behind the image… Recreate Rob’s striking mono conversion

1 ”i converted to mono
using nik’s Silver efex
Pro and Photoshop.
2 ”next, i used Levels
to fine-tune the
image, finding the
3 ”i set about cleaning
up the whole
image, removing quite a
i deliberately went for absolute black and few blurry seagulls with
an over-exposed-style white areas by adjusting the Paint and Clone
treatment with this the histogram and tools. Finally, i reduced
shot because i wanted using the eyedropper. the noise and applied
to lighten the sea.” this added contrast.” some sharpening.”

Digital Camera September 2010



Expert photo advice Essentials
18 10 Things to Try Right Now
Kick-start your creativity by tackling
a new subject or technique today!
66 The Photo Fixer
05 Story of the Cover

28 Your Mission Winners

Thewinnersofourlatestphotochallenge 73 Photoshop School
08 Hotshots
Get inspired by the best reader photos

explainhowtheygotsuchgreatresults andapplyingcreativeeffectsaftertheshot
34 Viewfinder

30 Postcards from the Edge

85 Photo Advisor
questionsandgiveyoufeedbackonyourshots 46 S ubscriptions

36 Brilliant Black and White

94 The Digital Camera Interview
71Next Month

49 Shoot!
101Overseas Subscriptions

162 My Life in Focus

Digital Camera September 2010

Subscribe today!

Get a fantastic Photoshop

Turntopage46forfulldetails. DVD and save up to £43 a year
IntheUSorCanada?Seepage101 Or, save up to £47 a year instead

Free with issue 103
of Digital Camera


“I don't get hung up on
technicalities.... I don't
worry about lighting
and hardly use flash” 1 Master exposure in ACR
with George Cairns
2 Recover lost detail
with George Cairns
3 Get perfect skin tones
with George Cairns

Cameras and gear

104 How We Test...
Ourin-depthtestingprocessrevealed 4 Boost hues with Curves 5 How to avoid noise
with George Cairns with George Cairns
6 Add drama to scenics
with George Cairns

106 Sony a390

Sony'slatestentry-levelD-SLRtested MAGAZINE SUPPORT VIDEOS

112 Field Tested

Latest accessories reviewed and rated

117 Mini Test: Lightweight travel bags

Mono made easy Get the HDR look Master mono portraits

118 Group Test: Full-frame SLRs

with Paul Grogan with Ali Jennings

Whenever you
with George Cairns

see this logo on
D-SLR Buyers' Guide a page, there is
Seethebestcamerabuysataglance corresponding
content on the

136 Camera Bag Spy

 Photoshop Lightroom 3
with Ben Brain
video disc


Get inspired by eight pages of the very best
reader photography from around the world

Digital Camera September 2010

hotshots 9

inSpiring reader photography

Digital Camera September 2010

inSpiring reader photography

Previous page
David Lazar
Brisbane, Australia

1 “this image was taken in Bahariya, Egypt. We camped

at the base of the dunes and awoke early to capture
the beautiful morning light. I didn’t let the grains of sand
that can sometimes be stirred up by light winds stop me
from capturing this untouched landscape.”
NikonD70s withNikonAF-S24-85mmf/3.5-4.5Glensat24mm;
ISO100; 1/320secatf/18 2

A Venetian
Winter’s Morning
Ian Webb
Swansea, Wales

2 “I wanted to capture the sun breaking

through the fog. I held the camera low
to the ground to capture the spray, but
I couldn’t see what I was shooting so I
tried hard to imagine the composition.” 4

lov e S …
“ian’s unconventional approach to this much-
photographed scene proves there’s always an
original shot to be had if you look hard enough”

Nick Kemp
edinburgh, Scotland

3 “I’ve long been interested in the

movement of the human body. this
image was taken with two soft boxes on

equal power against a white background

and enhanced in Photoshop Elements.”
ISUSM lensat24mm;ISO100;1/125secatf/9

Holly Moss
london, UK

4 “I wanted to capture the natural

beauty of my model and experiment
with different textures. the eyes are very
important to me because they lure you in,
tell a story and should be the main focus.”

Digital Camera September 2010

hotshots 11

inSpiring reader photography

Digital Camera September 2010

inSpiring reader photography

Babies’ Castle
Brian Stevenson
Kent, UK

5 “this proved a very difficult location

to shoot due to the lack of natural
light. It’s a subtle HDR image blended
with the original RAW file to retain most
of the texture and detail. I like the play
of light on the peeling red wallpaper.”

lov e S …
“i think J a Mortram’s quirky portrait is really
engaging. he’d only just met his subject, but 5
the connection with the camera is intriguing”
SophieSpicer,operations editor

J A Mortram
Norfolk, UK

6 “this portrait was taken during a ten-

minute chance meeting. Using natural
light and a white shop wall as a backdrop,
I let the dialogue flow and waited until
she had forgotten about the camera. It’s
a fundamental part of the photo-taking
process for me to learn and listen to the
people I photograph. It’s just as important
as setting f-stops and getting great light.”

Andreas Stridsberg
Örnsköldsvik, Sweden

7 “I found this curly fern while hunting

for bugs in our back garden. Later,
I decided to desaturate the image in 6
Photoshop before tweaking the channels
to give it a slightly cross-processed look.”

Digital Camera September 2010

hotshots 13

inSpiring reader photography

Digital Camera September 2010

inSpiring reader photography

Hernan Jaramillo Ramirez 9
Medellin, Colombia

8 “this picture was taken in my studio

in Medellin, Colombia. I used the
natural light that was coming through a
nearby window to illuminate the model.”
f/4-5.6 ISlensat225mm;ISO200;1/60secatf/5.6

lov e S …
“Window light is great for candid portraits
and in hernan’s shot the model’s pensive gaze
suggests a narrative beyond the page”

Eastern Light
Dung Minh Huynh
Phan Thiet, vietnam

9 “I like the golden rocks that are

scattered along the shoreline of Phan
thiet in Vietnam. I arrived at this scene
before sunrise in complete darkness.
After composing the shot, I waited for the
golden light of sunrise to appear, holding
back the light from the sun with a three-
stop graduated Neutral Density filter.” Send uS your ShotS!
HSMlensat11mm;ISO100;0.8secatf/22 W ant to see your photos
printed in Hotshots?
then create a photo gallery on
the ranks of fellow Digital Camera
readers who have featured on these
pages over the years! Submit your
photoradar (www.photoradar.com/ shots today at:
photos) and email the link to
putting ‘hotshots’ in the Subject line.
if we like your pictures, you will join
Digital Camera September 2010
hotshots 15

inSpiring reader photography

I arrived at this scene before sunrise in complete

darkness. I waited for the golden light of sunrise
to appear, holding back the light with an ND grad
Digital Camera September 2010
Want to do more
with your DSLR?
Join me online at
Marcus Hawkins Editor, PhotoRadar.com


Step-by-step Upload and share High-quality Daily news and

techniques your portfolio video ssons in-depth reviews

Roger Watson
is the curator of
the Fox Talbot
Museum (www.
lacock). He will sit on the
judging panel for this year’s
POTY competition

“Good portraits can vary

from studio portraiture
that captures the face
with minimal detail in the
background to more
The (.. Digital Camera Photographer of the Year environmental portraits
competition is underway. Here’s a quick guide to where the subject is shown
in their own settings. Richard
this year’s Portraits category Avedon worked against

a white background,
ast year’s Digital Camera Photographer photography that tells us about people in all highlighting his famous
of the Year Competition (POTY) was a their glory – see our portrait photography subjects without reference
huge success. It attracted an astounding supplement this issue for inspiration. to the world around them.
..,... entries from every corner of the Whoever you document, your shots should
globe, with the overall winner, Iceland’s Bragi J. reveal them in a truthful and creative way. The On the other hand,
Ingibergsson, pocketing a £.,... cash prize. judges will be looking for originality, technical August Sander’s images
This year’s competition will be even better, competence and artfulness... of Germans prior to World
and to make this happen we’re talking here Getmoredetailsorenternowat War II, photographed in their
about the Portraits category. We want to see www.poty2010.comuntil31August. own homes or work places,
helped to define the classes
and occupations that made
up that nation...

For your own portraits, know

what you are trying to say
about your subject, pick the
right setting, wait for the
right light, and then take the
picture. It’s not about the
camera or about the
photographer. The best
portraits can tell a story in
just one image.”

By Tom Hoops
This powerful portrait is loaded
with mood and atmosphere.
The penetrating gaze of the
subject works well with the calm
water, sublime colour palette
and simple composition


Enter now at www.poty2010.com until 31 August 2010

Mark Hamblin

Digital Camera September 2010



01 Catch
them while
you can
Photograph migratory
birds before they head
off on their holidays

eptember is your last chance to shoot
ospreys before they head south for the
winter, but even if you don’t live near a
sanctuary, the UK’s estuaries and wetlands
will be all a-flutter with migratory birds en route from
Scandinavia to Africa throughout the month.
“A hide is essential for photographing wild birds,
and if you're not using an established hide it often
helps to introduce it over a period of a few days, so
that the birds can get used to it,” explains nature pro
Mark Hamblin. “It’s also vital to position it carefully
to ensure a nice, clean background. And finally, you
need bags of patience: for the shot on this page, I got
set up at around 5am every morning for a week.”

Get started today…

* Ospreys are a protected species, so you may need a
licence from Scottish Natural Heritage to photograph
them. Go to www.snh.gov.uk for more info.
* For a list of reserves that are home to ospreys and
other migratory birds, visit www.rspb.org.uk/reserves.
* Most birds land into the wind, so if you want the
wings outstretched position yourself accordingly.
* You can either pre-focus on the nest, or use focus
tracking, but a combination is best – pre-focus first,
then use predictive focus to track the bird as it lands.

Digital Camera September 2010

…to try right now


03 Shoot life
in stop motion
Freeze the action
with flash techniques

ioneering British photographer
Eadweard Muybridge (1830-1904)
was the father of stop-motion
photography. He used banks of cameras
to freeze the motion of everything from
gymnasts to figures walking up stairs.
Aspiring stop-motion photographers
will find inspiration at Tate Britain’s major
retrospective of his work, which runs from
8 September to 16 January, but these days
all you need is a flash with a strobe setting.
“To photograph a golf swing, you
might want to record 20 to 50 different

positions, which requires a flashgun set
at a frequency of 20 to 50 flashes per
second,” says Andrew Davidhazy,
photography professor at New York’s
Rochester Institute of Technology.
“To avoid static parts of your subject
becoming over-exposed, the subject
either needs to be moving across the
frame, or you need to swivel the camera
Tim Gartside

so that they move relative to the sensor.”

As you can see from the image of a
top Under-exposing cityscapes at night by a stop
gymnast (below), this simple technique
or two ensures that the sky remains dark and that can be surprisingly effective.
any artificial lights don’t become too blown out
above and left Using a slow shutter speed to Get started today...
Ian Francis

create light trails is a great way to add interest to * High-end flash units feature a strobe
nightscapes, but a tripod is essential for sharp shots setting, and it’s easy to use, though it’s a
good idea to have the instruction manual

02 See the light

to hand the first time you try it.
* A dark background is essential, partly
to ensure that the flash-lit subject stands
out and partly to avoid over-exposure.
* The higher the frequency of the flash
Bright ideas for stunning cityscapes at night unit, the lower the power, so getting close
to your subject is important.

arly autumn is the ideal time to shoot tripod and remote shutter release to get
cityscapes at night, because dusk falls pin-sharp shots, even at ISO100.
at such a convenient time: long after * Don’t rely on auto exposure; your camera’s
most of us have finished work, but well before light meter will try to expose everything as
bedtime. You can get creative with night lights mid-grey, resulting in washed-out shots.
in any urban space, but for sheer over-the- Under-expose by a stop or so and check your
top splendour it’s hard to beat the Blackpool histogram to make sure it’s over to the left,
Gilbert Lundt; Jean-Yves Ruszniewski

Illuminations, which are on display between but not clipped.

3 September and 7 November.

Get started today...

* With image stabilisation (IS), it’s possible to
hand-hold the camera for wide-angle shots of Check out the 'Night' category in the
city lights at night-time using a high ISO, but it’s Techniques section of PhotoRadar
not something we would recommend. Use a for more after-dark shooting tips.

Digital Camera September 2010

10things 21

…to try right now


04 Get back in the saddle!

Take dynamic eventing shots that really jump off the page

hanks to its setting, the Burghley Horse the ground, with their forelegs tucked up Get started today...
Trials (2-5 September) is one of the beneath them and their hind legs at full stretch. * Buy or hire a long lens with a wide maximum
most photogenic events in the It’s also really important that the rider’s face aperture and use a shutter speed of at least
equestrian calendar and provides the perfect isn’t obscured by the horse.” 1/500 sec to freeze the action (get a quote
opportunity for photographers to take their As Jeremy’s image of a competitor at from www.lensesforhire.co.uk).
horse-snapping skills by the reins. Burghley shows, including a stately home in the * Set your camera on continuous mode but
As with many sports, a clean background background can also add a sense of place. don’t just spray and pray – anticipate the
and a fast shutter speed are essential, but action and take practice shots to prepare.
with three-day eventing you also need perfect * The fences give you something to pre-focus
timing, as eventing specialist Jeremy Moss “Horses look best just as on. You want to take your shot when the rider’s
explains: “Anticipation is everything when it
comes to jumping horses. They – and their
they're leaving the ground, head is level with the top of the fence.
* Go to www.britisheventing.com to find out
riders – look their best just as they’re leaving with their legs tucked up” about other three-day events in your area.

This shot of a competitor at the

Burghley Horse Trials has it all: the
timing is perfect, the rider’s face is
clearly visible and the background
provides a real sense of place

Flash Harry Photography

Digital Camera September 2010

…to try right now


05 Capture
all the colour
of a carnival
Use motion blur to get
creative on the streets

ou can’t beat carnivals for colour and
movement, and in this respect Notting
Hill (29-30 August) takes some beating:
a riot of costume and colour, it’s a great place
to take street shots with a difference.
It’s been done to death, though, so you need
to think creatively, as seasoned portrait and
travel pro John Freeman advises: “Carnivals are
really vibrant and dynamic, so you need to try
and convey this in your shots – this is especially

Luke Macgregor/Reuters
true with dancers in flowing costumes. You can
do this by selecting a slow shutter speed such
as 1/8 sec or 1/15 sec. But don’t use too slow
a shutter speed or you’ll lose all the detail.
“You also need to look for different
viewpoints. A low viewpoint with a wide-angle

Cathal McNaughton
lens can provide strong foreground interest,
as in the reflection image [above right], while
cropping in tight can isolate colour and detail.”

Get started today...

* Write a list of potential shots and work out above left Carnivals can be hard to shoot in
what equipment you’ll need. Do you want to an original way, so look out for anything that
carry a tripod around all day in a crowd? can help to add interest

* Take a couple of zoom lenses: a wide-angle above Carnivals provide the opportunity to
zoom for establishing shots and something like take a wide variety of different shots, and no
a 70-200mm f/2.8, which is ideal for candids carnival portfolio would be complete without
and portraits of individual performers. a colourful close-up of a smiling face
Ian Nicholson

* Shooting straight into the light can be very left Zoom blur is a great way of suggesting
effective. Costumes made with translucent, movement and excitement, and the streaks
colourful material can look really vivid. of colour draw the viewer into the shot

NiGht photoGraphy

06 Shoot the moon

Make a giant leap with your lunar photography

y mid September, the moon is due to Contrary to what you might expect, night
set between 8pm and 11pm, while in late isn’t always the best time to shoot the moon.
September it will rise between 7pm and Just after sunset and just before sunrise, when
10pm, making it the perfect time to photograph the sky has a hint of blue in it, are preferable.
the Sea of Tranquillity in eye-popping detail.
To avoid a blurry speck in the middle of the Get started today…
frame, you’ll need a 300mm lens or longer, a * To find out when the moon is due to rise
tripod and a remote shutter release. For a clear and set in your area, go to www.goflying.org.
shot, you need to under-expose by a stop or * Because the moon moves, the faster your
more, because your camera’s light meter will shutter speed the better. Aperture is less of an
try to expose the sky as mid-grey, resulting in issue because of the distance, but most lenses
an over-exposed sky and a bright dot. are at their sharpest between f/8 and f/16.
AFP (Getty Images)

Digital Camera September 2010

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…to try right now

Don't try this at home, kids! Whale

specialist Duncan Murrell took this
image of a humpback whale lunge-
feeding from an old canvas kayak
Duncan Murrell


07Thar she blows!

Get up close and personal with whales and dolphins

he UK’s whale-watching season is Duncan Murrell, a former Wildlife Get started today…
drawing to a close, so now’s the time Photographer of the Year winner who * Use a lens in the 75–300mm range so you
to get creative with cetaceans. The best specialises in photographing whales from a can capture the whale at a range of distances.
place to see and photograph whales in the UK sea kayak at close quarters, has this advice * A skylight filter is useful for protecting the
is Mull, off the west coast of Scotland. Sea for budding whale snappers: “Try to get as low front element of your lens from salt water, and
Wild Scotland operates daily trips from April as possible to include some sky or coastline in a substantial lens hood helps to minimise the
to October, and commonly sighted species the background, and if possible pre-focus, amount of spray reaching the filter.
include minke and killer whales, basking sharks otherwise your lens may hunt for an edge on * If possible, brace yourself against something
and dolphins. If you want to push the boat out the sea’s smooth surface. There’s a very fine firm, or learn to adopt a seafarer’s stance!
even further, Norway, New Zealand, Vancouver line between bagging the ultimate breaching * Opportunities are often fleeting, so shoot
Island and Alaska are all great options. shot and snapping a big splash!” on Continuous and use a fast memory card.


08 You shoot, you score!

Make your kids look like Premier League footballers

P Get started today…

hotographing your kids playing football,
or any other team sport, is much easier * Set your D-SLR to predictive autofocus – it
than shooting adults, but every bit as takes a bit of getting used to, but is surprisingly
rewarding. “Kids don’t tend to mark each other effective, particularly for subjects moving
as tightly as pros,” says youth sports specialist towards you at speed.
Bruce Fenn. “This makes it easier to isolate * Shoot on Continuous mode, but don’t
the action. Crowds are also less of an issue, shoot continuously, otherwise you’ll have a
so you’re more likely to get a clean background. time-consuming and needless trawl through
I sell my pictures to parents, and if the shots thousands of shots. Anticipate the action and
are cluttered they won't want to buy them.” shoot in short bursts.
Bruce Fenn

Digital Camera September 2010

10things 25

…to try right now


09 Take time to reflect

Make the most of those still September mornings

t’s a little known fact that September is – quite often a breeze will pick up within ND grad or take two or more exposures and
the stillest time of the year on the UK's 15 minutes of the sun coming up, and your merge them together in Photoshop later.
inland waterways. This is because the reflection will be gone,” he says. * Try to include clouds in your reflection –
temperature of the land is closer to that “In terms of knowing if it will be still enough expanses of blue sky tend to result in large
of the water than at any other time of year, before you make a wasted journey, any signs areas of empty space at the top and bottom.
which means fewer convection currents, of dew on grass or cars the night before is * Scour sites such as Alamy.com for coastal
and thus less wind – all of which is good news usually a sign that it will be quite still.” scenes in the area you’re planning to visit.
for photographers who are keen to capture * If you're shooting on the coast, try to catch
a lakeside reflection in all its glory. Get started today… the tide on its way out – more often than not,
Even then, timing is everything, as * Exposing for reflections can be tricky – the most interesting rocks and rock pools are
Guy Edwardes

landscape master Guy Edwardes explains: they may look as bright as the sky, but they too far out of the water when the tide is out
“You need to be in place well before sunrise tend to be a stop or two darker, so use an or on its way back in.

Digital Camera September 2010

…to try right now


10Take our latest

photo challenge
Hit the beach and shoot a winning sunset
and you could see your image in print, and
walk away with a superb Lowepro rucksack

or this month’s mission, we’re looking Get it right and you’ll be in with a chance of
for sunset images that will give us all seeing your shots in print, and walking away
a warm glow. Of course, sunset shots with a superb Lowepro rucksack.
are ten a penny and we’ve all got at
least one lurking somewhere in our portfolio. Get started today...
But for a shot to really stand out it needs to * The best time to shoot sunsets is just before
be something special, either in terms of the or just after the sun drops below the horizon.
colours, the clouds or what’s in the foreground * That said, often the sky is at its most dramatic
– or a combination of all three. long after everyone else has gone home.
Exposure and composition have to be * Take a set of graduated Neutral Density
spot-on, but the image also needs something filters, and be prepared to double them up
else – something that makes us catch our (see The Photo Fixer, starting on page 66).
breath and go back to it again and again. If * Try not to resort to Photoshop to get
you can produce an image unlike any sunset breathtaking colours – the best sunset shots
picture we’ve seen, you’ll be halfway there. are those that work straight out of the camera.

WIN a Lowepro Flipside 400 AW

Each month we’re giving away this high-capacity Lowepro
camera backpack worth £120 to the lucky winner of our Your Have fun
Mission challenge.
with the sun
* The Lowepro Flipside 400 AW backpack has been designed for
a full day’s shooting – come rain or shine. reat light is a key ingredient in any
landscape, and this is especially
* This high-performance camera backpack offers expanded
true of sunset shots, which are
capacity, with room for a professional D-SLR with a zoom lens
as much about the light itself as they are
attached, plus four to six additional lenses.
about what’s in the foreground. Getting
* The Flipside 400 AW features a unique back-entry stunning sunset images requires a good
compartment that provides easy access to gear when setting up grasp of meteorology, an exhaustive list of
– keeping the harness off the ground and clean – plus extra potential locations and the patience to go
security when on the move. back to the same location again and again.
If you’re in need of inspiration for this
www.lowepro.com Mission, take a look at our tips for planning
a landscape shoot in this month’s The
how to eNter Create a gallery on www.photoradar.com, upload your entry and email the link Photo Fixer (p66), browse PhotoRadar.
to digitalcamera@futurenet.com with ‘Your Mission: Sunsets’ in the subject line by 20 September com for ideas, or take a look at websites
2010. The three best shots will be printed in issue 105, on sale 19 October 2010. A selection of the such as Alamy.com to research locations.
best shots will appear on our website.

Digital Camera September 2010


Ben Brain (Future)

See issue 101’s
best entries

See sunsets in a different light with

the help of these fresh approaches
to perfecting a common subject…

1 Silhouettes make for very graphic

2 Colour is a key ingredient in most
3 Landscapes tend to be taken in
4 Landscapes don’t have to be
Paul Grogan (Future)

images and provide a great way of sunset shots. Isolating this colour landscape format, but they don’t literal: as this image of a sunset
adding interest. They're also a good and making it the subject, as in this have to be – it’s worth keeping an through a keyhole shows, an
option when your foreground is photograph of clouds over a sea port eye out for striking features that abstract composition can provide a
much darker than your sky. in Siberia, can be very effective. might suit being shot vertically. striking take on a well-worn theme.

Digital Camera September 2010

Mission 1st
issue 101’s Mission was
‘Urban abstracts’. Here’s By Mariusz Czajkowski
the top three shots... “This picture was taken in
the London Bridge area on a
day with a blue sky and plenty
of bright white clouds. My
inspiration was a pure reflection
of the sky in a new glass structure. I’m an artist, so I
see so many things like this moment. It’s a nice, clean,
new building with a lovely sky. Simply by looking up,
you can see great pictures all about you, wherever
you are. If you always have a camera in your hand
then get snapping and it’s job done!"
sony DsC-h1; iso64; 1/400 sec at f/2.8

By Mike stepheNsoN
“I took this image of the stairs outside
the Lloyds Building from a 90° angle.
I took the shot in black and white to
highlight the contrast seen in the reflected sunlight.
I wanted to highlight the three-whistle effect, so
cropped the image to exclude other stairs.”
Canon eos 5D Mark ii with Canon ef 24-105mm f/4l is usM
lens; iso100; 1/125 sec at f/5.7

Blue and Grey
By alaN Dryer
“I used single-shot AF for this image,
focusing on the grill to the left to
ensure good definition. I shot at 1/30 sec at f/8, which
I thought would be enough to get this flat subject
sharp. I concentrated mainly on composition.”
Canon eos 7D with Canon ef 24-105mm f/4l is usM lens;
iso200; 1/30 sec at f/8

Fancy your chances at this issue’s Mission? Upload your shots today on our website –

Digital Camera September 2010


Win aNikon D%%

& %mm f/. lens!
Answer one simple question and you could walk away
with this fantastic camera and lens, worth £2,600!

e're thrilled to team up with Nikon
to offer this stunning D-SLR and lens
as our competition prize this month
– together worth more than £2,600*. The
D700 extends Nikon's range of FX format SLRs,
incorporating groundbreaking technologies and
performance into a compact body. The highly
sensitive 12.1-megapixel CMOS sensor provides
an (extendable) ISO range of 200 to 6400 and
features a self-cleaning dust-reduction unit.
The camera's EXPEED image-processing
engine enables the capture of images with
superb detail and tonal gradation at up to five
frames per second (8fps with the optional
MB-D10 battery pack and EN-EL4a battery).
The advanced Scene Recognition System
delivers superior exposures and is supported
by Nikon's acclaimed 51-point autofocus
system, which offers outstanding tracking
accuracy even in the lowest of light. TEXT
The selectable Picture Controls streamline YOUR
in-camera image processing, saving time in ANSWER
post-production, and an impressive High- TO 87474
Definition three-inch LCD screen supports two
Live View modes plus an HDMI video output.
Protected by a tough, environmentally sealed
magnesium alloy body, the D700 is a perfectly
balanced SLR that can handle the unexpected.


The perfect accompaniment to the D700
is the Nikkor AF-S 50mm f/1.4G lens. This is
a 50mm wide-aperture standard lens with To win this Nikon D%% and lens, answer this question
high-quality optics and Nikon's exclusive
Silent Wave Motor (SWM) for whisper-quiet Which brand name appears on Nikon lenses? Answers must be received between 24
August and 21 September 2010. The winner
operation. The lens features a large maximum A Nikon will be selected at random from all correct
entries received between these dates. The
aperture of f/1.4, which ensures a bright B Nikkor winner will be notified within 28 days of the
closing date. The prize is as stated: no
viewfinder image, and is ideal for those C Nikorette alternatives, cash or otherwise, are available.
low-light shooting situations or when a shallow Only UK residents aged 16 and over may
enter by text, which will be charged at £1 plus
depth of field is desired for creative effect. KNOW THE ANSWER? your normal network tariff. The editor’s
You can find out more about this amazing * Text the word ‘D700’ followed by a space and then the
decision is final and no correspondence will
be entered into. By entering this competition,
camera and lens bundle at www.nikon.co.uk. letter of your selected answer (A, B or C), followed by a you consent to us using your personal details
to send you information about products and
space, then your name and address, to 87474 services of Future and Nikon that may be of
interest to you. If you do not want to receive
*This camera was originally offered as the * Or you can enter this competition online for free by going this information, please include the word
main prize in our Golden Ticket giveaway ‘STOP’ at the end of your text message. For
in issue 100. However, the Golden Ticket to www.photoradar.com/win-a-nikon-d700 and following the full terms and conditions please visit www.
associated with this prize was not submitted on-screen instructions futuretcs.com.
by the closing date of 29 June 2010.

Digital Camera September 2010

postCarDs 31

…from the edge

Who: Jim Reed, accomplished Kit list: Nikon D3x, Nikon
weather photographer. D300s and Nikon D700 SLR
bodies, plus the following
What: To artfully document lenses: Nikon 14-24mm f/2.8G
America’s changing climate ED AF, 24-70mm f/2.8G ED AF,
and create atmospheric 10.5mm f/2.8G ED DX Fisheye,
01 images that inspire people 200-400mm f/4G IF ED,
to be still for a moment and 18-200mm f/3.5-5.6G ED VR
respect the power above us. II Zoom, super-wide-angle
AF 14mm f/2.8D ED AF and
Where: Primarily the US. Jim 50mm f/1.4D AF.
has crossed more than 3,000
counties in America and More info at:
clocked up 330,000 miles. www.jimreedphoto.com

the storm
Severe weather photographer Jim Reed hunts
out tornadoes, blizzards and hurricanes, then
photographs them while everyone else flees…

hy storm chasing? Instead of taking cover in a concrete
I used to direct music bunker (which is what we commonly do), we
videos and TV commercials. were forced to ride out the explosive storm
For several years, the in a neighbourhood beneath someone’s
weather always seemed to carport. Trees were coming out of the
disrupt our shoots. One day, I just looked up ground, cars were rolling over, homes were
at the sky and got it; I’d been photographing disintegrating right before our eyes. It was
the wrong subjects! I ended up moving to terrifying. It was the only time in 19 years
Wichita, Kansas, to write about something of doing this that I actually videotaped a
I’d never heard of – storm chasing. The more goodbye to my mum because I was sure that
I wrote about it, the more I photographed it. was it, we were about to die.

How dangerous is it? We’re guessing very… What are the main practical challenges?
Storm chasing is like mountain climbing. Hurricanes are the worst, with respect to
If you’re not well trained, you don’t have awful working conditions. The airborne salt
the right gear and you’re missing critical water alone is merciless on gear and my eyes.
information, you can get yourself killed or Add to that high winds, police check points,
seriously injured. I had a lucky escape once. working without electricity and dealing with
It was 13 August, 2004. Friday the 13th, no looters, and it’s pretty tough.
less. Meteorologist Greg Zamarripa and I
were in Florida preparing to document what tell us about your photographic kit.
we thought was going to be a Category 2 I’ve been with Nikon from day one. In 19
hurricane. That morning, Charley changed years of photographing severe weather I’ve
direction and intensified to near Category 5 only had one Nikon camera stop working,
strength, with winds approaching 150mph. and that was during a hurricane and only
We were caught completely off-guard. after being hit straight on by a large wave.

Digital Camera September 2010

…from the edge
01 a Bolt from the Grey

(previous page)
A lone lightning bolt strikes
the ground beneath an isolated
supercell storm at sunset

02 Flying saucer

An isolated supercell
thunderstorm threatens south-
central Kansas on 5 June, 2004.
The flying saucer-shaped storm
went on to produce baseball-
sized hail stones

03 storm surge

A surge created by Hurricane

Katrina roars through the lobby
of a beachfront hotel in Gulfport,
Mississippi. The surge was so
powerful that it carried vehicles
through the hotel before
completely gutting the first floor

04 Dead End

A car seemingly drives into the

path of a developing tornado in
Pretty Prairie, Kansas, in 2002

03 04 05

05 Braving the storm

Jim Reed braces himself against

the wind while braving the
“miss it, and I know I can never go back. there’s no ‘would
elements to capture one of
his signature hurricane shots
you mind if we did that again?’ when it comes to weather.
06 the Clean-up
I love nature, and I love that challenge”
Residents of Greensburg, Kansas,
search for belongings after a
It’s so important that I know my gear inside Wyoming, Montana, Nebraska and the
tornado destroyed at least 95% and out, that’s how I work fast. Sometimes Dakotas. The key is to have a full view of the
of the community on 4 May, nature only provides me with a few seconds sky while also having a variety of reliable
2007. The twister produced to get a shot. Miss it, and I know I can never road options so you can quickly move in
winds in excess of 200mph go back. There’s no “would you mind if we different directions if necessary.
did that again?” when it comes to weather.
I love nature, and I love that challenge. What keeps you passionate?
The spiritual journey. Every time I head
What’s your ideal photographic scenario? out into the field on a mission I discover
One of my favourite severe weather something new about nature, people or both.
scenarios is being in a remote area and When I help others through the images,
witnessing a storm from start to finish, the I enjoy a sense of completeness.
cell’s entire life cycle. It’s a very spiritual
experience, or at least it can be. I also like tell us about your book…
being able to shoot with very few people Storm Chaser: A Photographer’s Journey
close by. I just work better that way. I love features more than 200 of my favourite
the tranquillity, which really helps me images from 17 years spent documenting our
interact with nature and stay focused (no changing climate. The text spotlights some
pun intended). It’s also more enjoyable when of my favourite, and most tragic, moments.
you know the storm isn’t hurting anyone or I also comment on what I’ve learned about
anything. I love working in western Kansas our changing climate, what I believe is
and eastern Colorado, as well as parts of coming, and how to prepare for it.

Digital Camera September 2010

VitruvianTripod, true genius
Legs unfold 180°
to assemble tripod

Only 40cm long

when folded

technology legs

Manufactured using carbon

or aluminium tubing
weighing from 1.28kg

Remove tripod leg Quick action

and centre column, twist leg locks
join to make monopod

Inspired by da Vinci’s Vitruvian Man, the new Giotto’s VGR tripods are designed to offer photographers 5 YEAR
not only a truly lightweight and compact tripod, but a full function monopod and ball head.
Giotto’s have designed the tripod with “reverse technology” legs so that when collapsed they fold through 180° and
“surround” the tripod centre column and head – folding down into a unit that measures only 40cm long.
Two VGR models are available, both have a maximum operating height of 157cm and a weight capacity of up to
4kg. The VGR9255 is manufactured using aluminium tubing and weighs 1.5kg while the VGR8255 uses 6 layer
carbon tubing and weighs just 1.28kg.
The tripod castings are made from a forged aluminium alloy for strength and the quick action twist leg locks
require only 1/8 turn to lock and unlock. A compact ball+socket head with quick release system is supplied.
But it’s not just a tripod, simply unscrew the tripod leg, remove the centre column and head then join them
together to produce a monopod with a maximum height of 162cm. VGR tripods are supplied with a
carry bag.

Giotto’s Helpline 0845 250 0792 www.giottos-tripods.co.uk


The place to air your views on the magazine
and share your photographic experiences
Get your views heard We’d love to hear your thoughts on the magazine and all things photographic!
So email us at digitalcamera@futurenet.com or visit the Digital Camera forum at www.photoradar.com
STAR LETTER I like Digital Camera’s makeover, but
sometimes you’re a little glib. In the
‘Ditch the Day Job’ feature in issue
DODGING THE ISSUE ,@, (July 9@,@) you advise us to read
It seems your writer George Cairns is perhaps the rules of photo libraries before
a little confused when he says in issue 101 submitting images. This is a bit like
(July 2010): “When developing prints in a a running mag telling readers to do
traditional darkroom, photographers could a bit of jogging before a marathon!
make selective tonal adjustments by holding Photo libraries are extremely picky
bits of card over parts of their shot. This about what they will accept, some
was a hit or miss technique.” might say baffling and arbitrary.
George is clearly referring to dodging or Check out our free video disc Getting accepted for the first time is
burning at the enlargement stage, when you for more classic darkroom techniques made easy extremely difficult. However stunning
could alter the amount of light hitting the the image, they will reject them on
paper by manipulating the shape of the light miss. Ansel Adams was an expert in dodging the basis that one contains an area
from the enlarger using your hands, fingers and burning. So let’s not forget our roots, eh? that is over sharpened or out of focus
or pieces of card on strips of wire. This Chris and Julia – or often even both.
technique was surprisingly effective, as you Steve Wood
could even selectively increase or decrease Thanks for the clarification. Actually,
contrast with the use of a filter. we’re big fans of old darkroom masters Sounds like you’ve had a bad
It’s amusing that already some of the old like Adams, it’s just that Photoshop saves experience. Have other readers fared
darkroom techniques are seen as hit and so much time, and pollution. any better selling shots to libraries?


Chris and Julia win a tripod and bag worth over £100. For more information The new-look magazine is brilliant,
on this and other National Geographic kit, visit www.geographicbags.co.uk. and I particularly like the new VIP
Club section for subscribers. So not
only do we get a reduced rate and have
it delivered to our doors before it hits

THE CUSTOMISE of shooting. Then you can forget

ALWAYS RIGHT… most of the complicated menus and
I enjoyed the ‘,@@ D-SLR Tips’ concentrate on simply taking pictures.
feature in issue ,@@ (June 9@,@), but I also applaud your advice to
I have more points to add. Experiment set one focus point for autofocus, Impressed by
with all the settings on your new focus the camera where you want the the images in our
Hotshots section?
D-SLR, then use the menu options focal point to be and then reframe. Send us your shots
to customise the camera to your way But remember that zoom lenses and you could see
sometimes change focus when you them in print!
zoom, so the drill is zoom to frame,
focus on the spot, then reframe.
Jim Hayes “The latest issue has so much
sound advice, and stopped me
Good tips. Learning how to select and
adjust AF points is a simple tweak that
buying the wrong lens recently.
can make a huge difference. So you’ve saved me a few bob”
Followuson… www.twitter.com/photoradar www.facebook.com/PhotoRadar
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Tired of the same old mono
conversions? David Clapp has 12
fresh ideas that will improve your
black-and-white shots in an instant

o you see the world poppies is far from an enhancement,
in black and white? but in other photographic environments
Of course not; it’s the medium does nothing but transform
brimming with colour the ordinary into the extraordinary.
and saturation. could you it’s important to remember that
imagine a world without photography began in black and white.
All images: David Clapp (except where credited)

colour? thankfully, Rather than being thrown to the scrapheap

you don’t have to, but look around for a like mountains of black-and-white tVs in
moment and try to picture your immediate the 1970s, the arrival of colour hardly made
surroundings as nothing but tones of grey. black and white obsolete. as we now rely
if you’re reading this indoors then that on sophisticated computer equipment to
should be rather easy to do, but can you processes images, the ability to switch
imagine a field of rich red poppies or a mediums has never been easier, but unlike
swathe of woodland bluebells in mono? No most tasks in the digital age, the concept
– your mind instantly rejects the concept. isn’t simply about pressing buttons. the
Removing the colour from bluebells and photographer must learn to truly see...

Digital Camera September 2010


Digital Camera September 2010

f/11, ISO100, shutter speed
is subject dependent
Great landscape shots require
edge-to-edge sharpness, so try not
to shoot wider than f/11. For
maximum image quality, ensure

1. Moody landscapes
a low ISO. Also, shoot later
in the day for more
dramatic effects.

ne of the most common Above Black-and- than being drawn to the obviousness Black-and-white landscapes
misconceptions that white photography of strong colour, it’s a case of looking rely on toning and enhancement.
is an art in itself,
photographers have when rather than an for textures, tones and the interplay A straight desaturation can have little
shooting landscapes is afterthought of light in the field. Firstly, explore effect, but the toning work can start
that black and white is a home for feelings and then imagine the content. long before the flash cards reach the
drab, uneventful imagery. It’s not Think abandonment, desolation and computer. Out in the field, graduated
a compromise or a resting place for desecration, and its easy to conjure filters not only increase tonality to
bland images. Without contrast, images of man’s influence over the weak skies, but also add depth and
texture, form, and above all good light, landscape. From industrial echoes to balance to the land beneath. Black-
the conversion won’t work. the urban landscape itself, all of these and-white landscapes need mood and
Learning to identify a black-and- subjects can transcend colour to intensity to work well, so balance the
white landscape is subtractive. Rather transform into an evocative portfolio. image for greater artistic licence.

Step by step… Get dramatic mono effects

1 Convert to black and white using a Black

& White Adjustment Layer in Photoshop.
You can now adjust the Red and Blue sliders to
2 Add a Curves Adjustment Layer and
create a slight S-curve. Set the layer
Blending Mode to Multiply. Hit Ctrl+Backspace
3 Add tone to that murky sky using a
soft brush set to 30%. Now simply make
further adjustments to the Curves layer until
add the necessary depth to your image. to fill the mask with the background colour. you’re satisfied with the overall image.

Digital Camera September 2010

Brilliant black&white 39

2. Minimal
Minimalism works just as
well in mono photography
as it does in colour

lack-and-white conversions work very well with
minimalist landscapes or seascapes; sometimes,
less really can mean more. A great exponent of
this approach is Michael Kenna, whose approach
to seascapes is entirely surreal. Using a square format,
and often heavily vignetted, his work is particularly noted
for creative use of long exposures. This turns otherwise
obvious textures, such as clouds and waves, into soft
suggestion by heavy filter usage or shooting in extremely
low light. It’s this exploitation of movement that creates
his famed dreamlike effect.
Again, it’s all about subject matter, sometimes with and
without a focal point. Try using coastal features such as
groins or posts, because these help to strengthen an image.
Yet sometimes the sheer lack of features can
be just as compelling. It’s important to
look carefully at a potential subject WHICH SLR
and begin to visualise the end SettINGS & WHY?
results before even taking your f/11, ISO100, shutter speed
camera out of your bag. between 10 secs and 5 minutes
Three-, six- and even Long exposures are key and will
ten-stop Neutral Density (ND) vary depending on the ND filter, so
filters can give much greater play with aperture, shutter speed
and filters. Images become
control of shutter speed and noisier when shutter speeds
should be top of the minimalist get longer, so stick to the
kit list. Try using them at different base ISO.
times of day for dynamic effects.

3. Urban
towns and cities
provide a wealth
of opportunities

for shooting in
black and white

ne of the great things about photographing
cities and urban areas is the diversity of black-
and-white subject matter on offer. Whether
it’s sleek glass skyscrapers or back streets,
the photographic possibilities can present themselves not
just at either end of the day, but literally any time.
Shooting street-level architecture can benefit greatly
from the opposites of the classic landscape approach. Light
reflecting from tower blocks and windows can make edges
sharp and defined, and shapes can also benefit from the
interplay of shadows that softer dusk lighting will subdue.
A choice of photographic lenses will
help to provide a variety of options,
WHICH SLR but again, Neutral Density filters
SettINGS & WHY? are useful. By using longer
f/5.6-f/16 depending on lens, shutter speeds and a wider-
ISO100, shutter speeds are
subject dependent
angle lens, cloud drag can be
accentuated to add something
experimentation with ND filters
can give an exciting take on city utterly unique – giving a sense
life, so try using a three-, six- that time is standing still.
or ten-stop filter when
appropriate conditions
are in place. Digital Camera September 2010
Brilliant black&white

4. Low-key
mono shots
f power, mystery or the exploration of a darker side
is something you wish to convey, then low-key mono
is the way forward. Although primarily a portraiture
technique, this can also be very successful in
landscapes, especially at last light where shadow tones can
help to reveal shapes in a more abstract way.
Low-key mono works in the opposite way to high-key
portraiture (see below). Rather than the model emerging
from a strong white, they step out of the shadows. This
creates a more secretive, perhaps sinister image that works
extremely well in black and white.
One of the most popular low-key effects is a simple
configuration, illuminating the face with a single light from
one side. This enhances the contours and shapes of facial
features and darkens one side of the profile. The effect can
also work well with a half portrait or a full body, but take
care to tidy areas that will attract attention (such as hands).
WHICH SLR The key to a successful image is getting the exposure
SettINGS & WHY? spot on, otherwise the effect becomes weakened.
f/5.6-f/11, ISO100, shutter Over-expose the shot and the mystery is gone because
speed between 1/500-1/125 sec the background lightens and reveals the model’s
try your camera’s Spot metering surroundings. Under-expose and the model is
mode and meter the skin tones in subdued, feeling like they never fully engage with the
the middle of the histogram. scene. As the image will comprise of midtones and
embrace shadows
For portraiture, wide aperture
with low-key mono shadows, check the histogram to make sure these tones
settings will isolate the face
to add striking impact are correctly placed and your subject will look evocative
and suggestively blur
to your portrait shots
the surroundings. and your image technically perfect.

5. High-key mono
igh-key mono is a fabulous way of isolating
and controlling the subject within portraiture,
and even in the landscape. The principle
bases itself around the use of a very bright or
‘high-key’ background, with a focal point that is a contrast
to this tone. Overall, the image looks light, airy and
heavenly, especially in portraits. Imagine a girl wearing
a white blouse against a white screen. Her face and neck
look like they’re almost emerging from the background,
which creates an intimate and sensuous mood.
The problem with high-key imagery is understanding
where to place the light tones in the tonal range. Firstly,
in our example, the image will often contain little shadow
information, so it’ll only be made of midtones and
highlights. The camera’s metering system is easily fooled
by these bright conditions and will try to under-expose
the shot by positioning the whites as a midtone. WHICH SLR

This is because the in-camera metering system SettINGS & WHY?

relies on measuring reflected light. It’s very
f/5.6-f/11, ISO100, shutter
important to check the histogram and ‘expose to speed 1/500-1/125 sec. Centre-
the right’ – in other words, correctly placing the weighted/Evaluative metering
tones in the upper part of the camera’s tonal range, If shooting in Av mode, you’ll need
making sure the whites are white, not grey. to use +1.5 stops of exposure High-key mono
compensation. For portraiture, can challenge
wide aperture settings will your camera’s
Digital Camera September 2010 isolate the face and blur metering system
the surroundings.
Grain has something
of a bad reputation, 41
but can actually add
an atmospheric feel
to your images

6. Creative grain WHICH SLR


f/5.6-f/11, ISO800-1600,
ooking to add some old film landscapes and portraiture. shutter speed between 1/500 post-processing. While the
magic to your digital shots? As mentioned, the digital and 1/1000 sec latter gives a better level of
Then try using creative grain. equivalent to grain is noise (see Set the aperture for the desired creative control, a high ISO
Although unwanted grain page 58). The higher the ISO, depth of field effect and don’t image captured in-camera
worry about the excessive
and noise is the bane of the modern the more noise texture occurs. shutter speed. the camera can also look very effective.
photographer’s life, grain can also Most manufacturers pride reacts to light quickly at A common photographic
be used in powerfully creative ways, themselves on creating cameras that high ISOs. mistake is to leave the camera set
especially in black-and-white imagery. produce cleaner images at higher at a high ISO after shooting in low
Perfect graduation of colour tones can ISOs, so what exactly are the options light, then start shooting the next
often look somewhat sterile, leaving for adding noise and how can it be day. But don’t delete those files until
images looking far less engaging, so applied? Well, noise can be added at you’ve checked them – the effect may
try adding grain to create moody the moment of capture or later on in look better then you think!

Step by step… Use grain to your advantage

take a scanned black-and-white transparency and mix it with a digital black-and-white image in Photoshop.
You can download the source file at http://byscuits.com/grain-tm400.png

1 Import the black and white grain layer

mentioned above and resize it to the size
of your main image using Image>ImageSize.
2 Next, Copy and Paste the grain layer onto
your black-and-white image and change
the layer Blending Mode to Overlay.
3 Now simply vary the opacity of the layer
to your desired level using the slider at the
top of the Layers palette.

Digital Camera September 2010

It may sound like a tricky
process, but achieving
the distressed look adds
another string to your
creative bow

7. The distressed look

ne of the great things barns, ruins or perhaps think the total collection. Urban environments
about digital photography opposite. The same effect can work provide many opportunities. Shoot
is the almost limitless extremely well in other genres such WHICH SLR rust, crumbling masonry or layers
ways a black-and-white as portraiture. Distressing a face, SettINGS & WHY? of torn posters. Then, back on the
image can be processed, and the or a full-body portrait, can have f/5.6-f/8, ISO400 if computer, start with your initial
distressed look is growing in peculiar and time-altering shooting handheld image and use Photoshop to add
popularity. This is achieved by making effects when layered with For textural images, use these layers on top, changing
a composite image out of one main textures, scratches and erosion. a telephoto or a macro lens to the Blending Mode for some
shot and a selection of photographs The best starting point is to capture a variety of startling effects (try Multiply,
magnifications. Use evaluative
that comprise of textures. The images build yourself a texture library. Overlay and Vivid Light). Vary
or Centre-weighted Average
are then blended together. There are plenty of textures to metering, depending on the effects by only converting
First, look for an appropriate download online, but look out for the subject. some of the images to black and
subject as the main image. Think textures you see around you and white, and the layers will not only
dilapidation – old buildings, farms, start shooting close-ups for your own distress but tint your montage too.

Step by step… Try digital distressing

1 Open a photograph and add textural layers

on top, but switched off. then convert the
image to mono using an Adjustment Layer.
2 turn on the first textural layer. Change the
Blending Mode to suit (Vivid Light worked
well here) and then turn on the others.
3 Finish the image by varying the opacity
of each texture by playing around with the
Opacity slider in the Layers palette.

Digital Camera September 2010

Brilliant black&white 43

8. Mono Mono could have

been made for

at night
night-time urban

hooting at night creates captivating and powerful
imagery, but in black and white the images can be
even more compelling. Darkness has always been
linked to strong emotions such as fear and awe,
but after a monochrome conversion, your image can take
on even stronger associations.
One of the biggest annoyances to photographers
shooting cities is orange sodium lighting. So why not
remove it altogether with a mono conversion? Now’s the
time to ‘let go’ of convention. One of the rules to break
with mono night photography is to keep the shadows
black. Travel photographers usually pack
up when the night takes a grip, but
SettINGS & WHY? this is where the magic can take
hold. Just like low-key imagery,
f/5.6-f/11 (aperture is subject buildings will emerge from the
dependent), ISO100-800 night, hiding their entire form.
You’ll need to increase your ISO Empty street scenes will evoke
setting if your shot contains
movement. try shutter speeds
an element of tension, but
of between 1/30 sec and in black and white they can
30 secs, and make sure you transcend the sense of time.
carry a tripod.

9. Abstracts
lack and white makes a perfect medium for
abstract imagery. For an abstract shot to truly
work, the image needs to hit the viewer with
questions. Which direction am I looking?
What size is this? Take away relatable colours via
mono conversion and the abstract becomes even harder
to unravel as it gets pushed further out of context.
Shooting modern architecture is a great way to learn
about abstract mono, because most of the work has been
done by the architect. Using the correct focal length and
camera angle, try and avoid framing all recognisable objects
and concentrate on sensual appeal. Convert the image
to mono and try adjusting the tones of the image.
And it doesn’t just need to be about buildings.
Landscapes aren’t the most obvious place for abstract
imagery, but with the right combination of conditions and
focal length, the effects can be astonishing.
Lakes are a brilliant place for
stunning abstracts, as inversions
turn straightforward hillsides WHICH SLR
into bizarre patterns. Turn the
image into black and white and f/5.6-f/11 (aperture is subject
the subtractive effect takes the dependent), ISO100-800
image one stage further. You’ll need to increase your ISO
setting if your shot contains
Left Architects work hard to movement. try shutter speeds
build in alluring shapes and of between 1/30 sec and
patterns, so take advantage 30 secs
of these in your photography

Digital Camera September 2010

Brilliant black&white

10. Solarisation
olarisation can be quite an This quirky pop-art look does editing programs come with a filter
aggressive visual technique, some strange things with the image preset that faithfully replicates this
but it works well with certain highlights. The lighter they are in the darkroom technique, but it’s easy
black-and-white images. The correctly exposed image, the blacker enough to make your own with a
technique of solarisation began in they become when solarised. Bright simple Curves adjustment if you’d
the darkroom in the 1860s, and is the lights are jet black and tones take an rather do it yourself. The main
result of exposing an already exposed unlikely path, resulting in an oily, Below Solarisation technique is to push the blacks in the
is an age-old
negative film to light before or during surreal interpretation. technique, but it’s
image the opposite way by creating
processing. It was popularised by an It’s surprisingly easy to make still effective when a U-shaped curve, quite the opposite
American painter called Man Ray. a solarised image. In fact, most image- editing digital shots of a conventional image alteration.

Step by step… Experiment with tones

1 to start the solarisation process, first

convert the image to black and white using
a Black & White Adjustment Layer.
2 Once you’ve done that, open a Curves
Adjustment Layer and insert a control
point halfway along the line.
3 Now grab the black point slider in the
bottom left and push it all the way to the
top, making a U-shape.
Split toning can add a
semblance of subtle 45
warmth to your black-
and-white images

11. Split tone

plit toning is a technique applied to black-and-
white imagery to subtly add colour tints to what
is essentially a mono image. The way this works
is to add certain colours into tonal ranges, like
the shadows, midtones or highlights. With its origins
founded in the darkroom, split toning is a method of
processing images using different chemicals, which can
give a classy unusual look even in the digital age.
Split toning works particularly well when applied to
portraits and landscapes, especially if the photographer
happens to be searching for a classic sepia-style look with
greater control than a preset can offer.
One of the main observations in digital black-and-
white imagery is the amount of red that exists in the
various midtones and shadows. By adding an element of
blue or cyan into those shadows, the image can become
somewhat ‘inky’ and much richer. Blacks start to look
much blacker and the image has more depth without
looking obviously toned.
Try converting the image to black and white and then

Ben Brain (Future)

using a Colour Balance Adjustment Layer in Photoshop to
add different colours into the tonal ranges. Subtlety is the
key here, so ensure that you switch the layer on and off to
see split toning in effect as you work.

12. Infrared
For really moody,
almost mystical
shots, try your
hand at infrared

nfrared photography is another extreme example of
mono conversion, and one that can really transform
your shots. But it’s important to understand the
principles of this striking, dream-like conversion.
Infrared photography was first discovered by Robert
Wood in 1910, when he made an experimental film that
side stepped the usual silver halide plates that were used
at the time. Infrared produces a very strange effect by
blocking out most of the visible spectrum. In trees, light
reflecting off foliage is recorded as bright white, giving
them a diffused and characteristic snow-like render.
Clouds and skies also become radically altered, so choose
the right subject and infrared is a powerful medium.
The first step is to check whether infrared photography
is possible on your camera. The cheapest method is to use
an infrared filter (which blocks most of the light outside
the infrared wavelength), but there are problems that need
addressing. For instance, it slows down
your exposure and you can’t see
SettINGS & WHY? through the viewfinder. So you
have to focus and compose
f/5.6-f/11, ISO100-400.
Shutter speed between 1/30
before attaching the filter,
sec and 30 secs (depending on making a tripod essential.
whether you’re using an IR filter). Or, you can convert your
If using infrared, you should camera to infrared. Check out
expect very long shutter speeds, Advanced Camera Services
even in daylight. So choose (www.advancedcameraservices.
still days for shooting
co.uk) and other specialists.
But be warned, it’s not cheap.

Digital Camera September 2010



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Your complete camera skills improvement plan

50 Core Skills 53 Gear Craft 54 Creative Zone 58 Jargon Busting 64 Kit Hacks
Don’t rely on Auto White Have your photos been Use off-camera flash to Learn how to spot and Battling lens flare when
Balance. Master white ruined by dust spots? create an artistic back reduce noise, and master shooting architecture?
balance presets to ensure Use our tips to safely light that will give plant ISO when taking pictures Create a makeshift ‘flag’
perfect colour every time clean your SLR’s sensor shots the wow factor in low-light situations to get maximum contrast

Digital Camera September 2010





Master the art of colour and take control of
your pictures with a little bit of the white stuff
A strong composition and a perfect using the Kelvin scale (K). It’s difficult to
exposure are essential for a great shot, appreciate this because our eyes automatically
but so too is the often underrated White adjust to various lighting conditions – a bit like
Balance setting. Get it wrong and you could ruin a super-intelligent Auto White Balance system.
a good photo; get it right and you will influence But our cameras don’t have such good
mood and create more visceral images. Luckily, correcting features and so we need to intervene.
mastering your D-SLR’s White Balance setting While many photographers are happy to
is not as difficult as it might sound. switch to Auto White Balance (AWB) and hope
To understand white balance properly, we for the best, they won’t always be getting the
need to realise that light has a colour to it. This optimum results. Auto White Balance will strive
is called colour temperature and is measured to neutralise the often atmospheric colour
Ben Brain (Future)

Digital Camera September 2010



Three simple steps to
ensure better colour

Take control
Don’t rely on Auto White Balance
(AWB) – you can end up with
neutral and sterile-looking
colours. Take control of white
balance and use one of the
preset modes, such as Tungsten,
Daylight or Flash, depending on
your shooting conditions.

Check the LCD

Your D-SLR’s LCD screen won’t
ever give you a 100% accurate
rendition of the colour in your
shots, but it will show you that
you’re at least on the right track.
At the beginning of a shoot, use
your screen as a rough guide and
change presets if necessary.

Enter a Kelvin number

If you’re still not getting the
colours you want, you can specify
an exact Kelvin number. The scale
on most D-SLRs runs from
around 2,500K to 10,000K. It’ll
take a bit of getting used to, but
pretty soon you’ll have precise
colour temperature control.

Digital Camera September 2010




FOR BETTER Why this photo works
COLOURS 3 1 The exposure is good and captures detail
Switch colour space in both the highlight and shadow areas.
Unless you know about colour 2 The composition is simple and effective,
management, keep your SLR’s with good foreground interest from the
colour space set to sRGB. haystacks, and a massive depth of field
Adobe RGB files have some 1 2 taking you right back to the rainbow.
advantages, like a wider gamut, 3 Taking the white balance off AWB and
but they’re harder to handle. using the Cloudy preset instead has
produced an image with an evocative
Mix and match mood and strong atmospheric colours
In a mixed lighting situation that complement the subject perfectly.
where there might be a number
of different light sources – for
example, daylight and tungsten
light – deciding what setting temperature. However, if you which will generally include 1,000K and daylight on an
to use can be tricky. Try out simply neutralise the colour settings for light conditions such overcast day at about 10,000K.
a couple of different settings temperature you also run the risk as Daylight, Tungsten, Fluorescent, It might take a bit of getting
– the chances are one setting of draining a scene of its magical Flash, Shade and Cloudy. These used to, but specifying a Kelvin
will enhance the ambiance and sense of time and place. will give you more control than number gives you much more
the other will kill it. To take full control of colour and AWB, but there may still be times refined control of colour.
accentuate that sense of place, when you need even more than There will be times when
Added extras you will have to take your D-SLR that – in which case, you can dial experimenting with white balance
Try using a device such as an off AWB. Most D-SLRs have a in a specific Kelvin number. This settings, or even using completely
ExpoDisc neutral digital white selection of white balance presets, scale places candlelight at about the wrong setting, can produce
balance filter and your D-SLR’s striking and creative results. Don’t
Custom White Balance setting be afraid to try shooting a daylight
for a better chance of getting scene with the camera set to
neutral colours. Many wedding Tungsten, for example.
photographers love this tool If you shoot RAW it’s possible
because they have to make to correct the white balance of
sure the bride’s white dress your shots when you process your
doesn’t have a colour cast. files in software such as Adobe
Study light Camera Raw (ACR). However, it’s
Get into the habit of looking at best practice to get your shots
the quality of light around you, right in-camera – post-processing
whether you’re at work in the should be used to make a good
artificial glow of a fluorescent picture better rather than salvage
tube or witnessing a glorious a duff one. You can use RAW
sunset. Take note of the colour processing to get yourself out of
temperature and see how it a colour cast pickle, but you’ll be
evokes mood and atmosphere going down the slippery slope of
in different environments. sloppy camera skills, and who
Here, you can see the effect of different white balance settings on a scene knows where that will lead?


How creating your own white balance setting can completely change the mood of a shot
Getting white balance right is crucial when
you’re shooting portraits. The last thing your
subject will appreciate is looking green and
ghostly. Most D-SLRs enable you to make
a Custom White Balance setting. To do this,
get your model to hold a piece of white card,
take a test shot, then select the Custom
Ben Brain (Future)

White Balance setting. You’ll be prompted

to choose a target image. Select the one
with the white card and your skin tones
should look much more natural.

Digital Camera September 2010




Clean your D-SLR’s sensor

Don’t be plagued by pesky dust spots on your shots. Here, we’ll show
you how to clean your SLR’s sensor without causing costly damage
Photographers have battled with dust spots, but who wants to waste their sensor yourself and you can avoid the
dust throughout photography’s valuable time sitting at a computer? hassle of digitally removing dust spots.
history, whether it’s annoying Even if your D-SLR boasts features such It might seem like a daunting prospect
particles in a traditional darkroom or pesky as Anti-dust, no matter how careful you are and a job better left for a professional
micron-sized splodges on a D-SLR’s sensor. when you change lenses, chances are some camera repair man, but it’s not nearly as
In today’s digital darkroom, Photoshop’s little particles will find their way onto your tricky as you might think. So if you fancy
Healing tool can make fast work of most sensor. Learn how to clean and care for the having a go yourself, here’s how it’s done.

Cleaning your sensor

can save you time in
Photoshop, but if in
any doubt, pay to get it
done professionally

01 Find Mirror Lock-up 02 Blow away loose dust

To lock your D-SLR’s mirror Use a blower brush to remove
in the up position, make sure your any loose dust. Don’t be tempted
battery is fully charged and search to use canned air because it may
the menu for the Mirror Lock-up or leave a nasty residue on your
Cleaning Mode function. If you have sensor. When that’s done, use an
a loupe, you can now inspect the anti-static brush, such as the Arctic
sensor visually to see if there are Butterfly, to gently sweep over the
any obvious signs of dust. sensor and remove more dust.

03 Use a wet swab 04 Take a test shot

For stubborn dust, you can use Close the mirror, usually
a wet swab to sweep the sensor, by turning the camera off, and
but read the manufacturer’s remount the lens. Take a test shot
Read the
instructions first. Before you start, of a white piece of card at a small
guideand follow its take a test shot to see if you’ve aperture, such as f/16. Now open
instructions precisely already removed the dust. If you the file in Photoshop, run Auto
whencleaningyoursensor. have, miss this step out – it’s only Levels and check that the dust
Different SLRs will require worth doing if absolutely necessary. marks have gone. If not, try again.
Getitwrongand youcould

Digital Camera September 2010




Use light
Skilled night shooter Steve
Sharp talks about the tricks
he uses to capture stunning
images in fading light
What’s the secret of your unique
dusk/night shots?
“Find an interesting subject and visit it as
many times as is practical. This way, each
time you return to the spot you’ll know
what lighting works best for the shot you
want. There’s a window of light during
dusk and before total darkness where a
long exposure of around six to 12 minutes
can, depending on the atmosphere,
produce some amazing skies.”

What flash techniques do you use? Even a box room can make
“For smaller subjects, my main light a good studio when shooting
small subjects like this
sources are a couple of Canon 580EX
flashguns – one on a radio slave inside

Artistic flash
subjects, usually with a coloured gel
attached, and the other handheld for
flash-painting the subject. Subjects are
usually flashed from several angles to
reveal their texture.”
Give your plant shots a boost by using
What other lighting do you use?
“For larger subjects and landscapes, I use off-camera flash for creative effect
a high-powered rechargeable torch – one-
or two-million candlepower torches are The essence of good plant To create the backlit effect we
easily enough to light even the biggest of photography is about capturing positioned a Nikon SB800 flashgun,
structures. I also use smaller LED torches the character of your specimen. connected to our Nikon D200 SLR
with adjustable beams that are useful for Think of a plant as a personality and seek via a SC-17 TTL Remote Cord, behind
picking out details.” to express that in the same way a portrait our subject, and then pointed it back
photographer will strive to reveal the towards the camera. Pointing the flash
Is it hard to get long exposures right individuality of their subject. towards the camera also caused some
while keeping the subject sharp? With this thistle (see right), we wanted unsightly lens flare, so we positioned
“Using a wide-angle lens, you’ll achieve to accentuate its intrinsic spikiness. To a piece of card between the thistle and
quite a good depth of field even at f/5.6. achieve this, we decided to backlight the the camera to act as a shield.
I’ll usually focus just before the infinity specimen to create a strong highlight This is a simple but hugely effective
mark, and as long as I’m a couple of around its edges. We shot it against a technique that’s successfully enhanced
metres away from my subject, everything deep black background (light absorbent the character of this thistle. Why not try
should be quite sharp.” velvet) to make the subject stand out. it with botanical subjects of your own?

Digital Camera September 2010



By using a flash behind the subject and

controlling flare we created a strong backlit
effect that enhanced the thistle’s shape

On the disc!
Find out more
about editing in
Lightroom and
How to… SHOOT AND EDIT YOUR IMAGE Photoshop on this
issue’s CD
It’s easy to get pro effects in a simple home studio

The set-up 02
Instant feedback 03
Clean as a thistle
Using a makeshift home studio, we Using Lightroom 3’s Tethered Shooting Moving our file seamlessly into
positioned our flash behind the specimen. feature, we were able to connect our camera Lightroom 3’s Develop mode, we processed
We connected the flash to the camera using to our computer. This is a great way to work our RAW file, tweaking the tones, colours
a remote cable and pointed it back towards in a home studio and the instant visual and contrast. If you’re not using Lightroom 3,
the lens to create a backlight effect. feedback on a large monitor proved useful. Adobe Camera Raw will be just as good.

Digital Camera September 2010



Camera technique
This shot was taken with a 39Mp
Hasselblad digital medium-
format camera with 80mm lens
at f/5.6 and a 1/250 sec shutter
speed. Shooting fairly close on
the 80mm gives a nice fall off.

Silk used Profoto B2 flash
packs with pro heads. He used
five lights in total – three on
the subject. A beauty dish, as
a main light above and right of
camera, keeps the skin sharp.

Digital Camera September 2010




Want to add texture and drama to your portraits?

Morgan Silk reveals the technique behind
his clever image of an egg-splattered banker

The crop
Cropping into the forehead lets
Silk close in on the model’s face
yet still show the state of his
clothes: “We used eggs, but
didn’t actually pelt him with
them… luckily for the model!”

Background and editing

The model was shot against
a grey Colorama background
and Silk later added some
out-of-focus brick wall textures.
He then enhanced the local
contrast in Photoshop.

“If you don’t have lots
of expensive studio
lights, try using an HDR
Silk photographed his banker technique to replicate
in landscape format and then the look of this image.
cropped tight on his head and Simply take a RAW file
shoulders to focus on his eyes, and process it three
but also to show his suit and times – one stop under-
the egg on his shoulder.
exposed, one normal
and one stop over-
exposed – then use
Photomerge Exposure
in Elements 8. Find out
more on page 78.”
Ben Brain, deputy editor

Digital Camera September 2010



Noise is easy to find in

a shot taken at ISO800.
Just zoom in enough to
find grain and tell-tale
rainbow mottling

JARGON BUSTING was created by clumps of silver camera’s sensor is made up of

What the hell is…

salts, which appeared during millions of light-sensitive cells,
development and were larger known as photosites. These
and more noticeable on high each create an electrical current

ISO films. The speckled pattern that produces the pixels in the
of high ISO black-and-white picture. But each produces a bit
films is similar in appearance to of noise too – an electrical signal
the sand-like pattern of what’s that has nothing to do with the
known as luminance noise. The subject itself. This adds the
As the light starts to fall, digital oily, rainbow-coloured sheen
of chromatic noise is similar
fuzziness to the picture through
grain and blotchiness.
cameras turn up the noise, adding to the blotchy dye patterns that

grain and blotches to your pictures. you saw when enlarging high
ISO colour films.
Can’t the camera ignore or
process out the noise?
Here’s how to suppress the din As there are no silver crystals in
To a certain extent it can.
However, it depends just how
digital cameras, where does this much noise there is. The amount
So noise in digital a speckled pattern. It’s common grain or noise come from? of noise increases, and becomes
photography is on shots taken with a high ISO. Noise is an unwanted more noticeable, in situations
completely silent? by-product of any electrical where the signal (and the noise)
Yes. It’s a purely visual It sounds a bit like the grain signal. It creates the hiss that need to be amplified more by the
phenomenon. Zoom in on your you used to get with film. you heard when listening to camera. It’s for this reason that
pictures on your computer There are a lot of similarities. cassette tapes, or when tuning it’s more noticeable with high
and it’s most clearly seen as The grain on old-fashioned film into a distant radio station. Your ISO settings, where more gain,

Digital Camera September 2010




How an image’s noise LEARNING
levels are measured THE LINGO
Just as when comparing SIGNAL Noise
different hi-fi components Original image
Unwanted interference in
– CD players and turntables, an electrical signal. It creates
for example – the amount a characteristic grain-like

of noise in a digital image is texture (luminance noise)
measured using what’s known and rainbow-like blotching

© Sean McHugh (www.cambridgeincolour.com)

as the signal-to-noise ratio (chromatic noise) in digital
(or SNR). The higher the ratio, High SNR images. It’s more visible with
the less the noise will be a some cameras and with some
perceivable problem. camera settings than others.
The signal-to-noise ratio
is measured in decibels (dB). 600% Plug-in
As this is a logarithmic scale, A piece of software that adds
seemingly small differences functionality to an existing
in SNR will have a significant LowSNR computer program. A wide
effect on overall image quality, range of plug-ins is available
as illustrated in the diagram, for Adobe Photoshop and
shown right. Photoshop Elements, including
specialist solutions for
suppressing image noise.
Full frame
Size of sensor used by some
professional digital SLRs,
measuring around 36x24mm.
Such large sensors produce
less image noise than cameras
using smaller sensors.

Adjustable control on a digital
camera that alters the light
Chromatic noise creates a blotchy rainbow colour effect Luminance noise appears as a scattering of black dots
sensitivity of the sensor. The
higher the number, the more
sensitive it is, and the less
increasing the ISO to ensure light is needed to create an
“If you’re shooting moving subjects in a sharp shot is preferable to acceptable exposure. High
getting a blurred one, even if ISO settings are useful for
low light, increasing the ISO to ensure there’s some noise to contend handheld photography in low
a sharp shot is preferable to getting a with as a result. With some light, but come at the expense
of increased grain.
subjects, a bit of noise can add
blurred one, even if there’s some noise” a gritty realism and interesting
texture to the shot.
or amplification, is applied to the noise is less noticeable).
the electrical current generated The cameras with the biggest At what ISO does noise become
by each photosite. photosites are those with the a real problem?
largest sensors. So full-frame This will depend on your
So will noise be worse on D-SLRs produce less grain for camera. Recent cameras tend
cheaper cameras? a given ISO setting than budget
Kind of. There’s certainly a SLRs. APS-C sensors produce
correlation between camera less noise than :5-sized
cost and noise. However, the sensors, and these produce less
really important factor is the noise than the smaller sensors
size of the photosites. The in point-and-shoot cameras.
bigger the photosite, the more
light it can absorb, and the Is noise always a bad thing?
less amplification is needed to In most cases it’s a necessary
boost the signal (this improves evil. If you’re shooting moving You may be able to control how much A special type of noise reduction can
the signal-to-noise ratio, so subjects in low light, then noise suppression is applied to JPEGs be used for long-exposure images

Digital Camera September 2010



to perform better at high ISOs anything that reduces noise is

than older ones – as do those also likely to reduce detail in the
with larger sensors. It’s worth picture, as these suppression
shooting a low-light subject with systems essentially just blur out
a tripod at different ISO settings the unwanted grain and blotches.
to see how well yours performs.
Remember that the grain only What do the pros do?
really shows if you enlarge your First of all, they shoot in RAW.
pictures, so it’s more of an issue This enables them to adjust the
for some shots than others. noise suppression on an image-
by-image basis – so they can
What can I do about noise? carefully check where it’s safe
Below, we give you six different to get rid of the noise. There
ways in which you can reduce are lots of Photoshop tricks you
the noise in your pictures. can use too. The best all-round
ISO3200 D-SLRs have a number of option is to buy a plug-in that’s
built-in processing tricks that designed to combat noise. Good
There’s a visible difference in the amount of can reduce the effects of noise, options include Noise Ninja,
noise produced at ISO800 and ISO3200 but it’s worth remembering that Neat Image and Nik Dfine.


Six ways to reduce noise, from taking the picture through to Photoshop processing

Keep the ISO low 02
Long exposure noise reduction 03
Keep cool
Only increase ISO when necessary – With a tripod, you can use the slowest Noise increases significantly if the
when you need to in order to avoid camera ISO with the least noise (generally ISO100) camera’s sensor gets hot. In warm weather,
shake or subject blur. A small decrease in for static subjects in low light. You could also never leave your camera in direct sunlight.
ISO can mean a huge reduction to noise, try using the long exposure noise reduction Keep it in a bag, or covered when not in use.
particularly at the highest ISO values. option, if your camera has one. In winter, don’t leave it near a radiator.

Shoot in RAW 05
Zoom in to check noise 06
Ninja force
Capture shots in RAW if possible, as you Using the Detail tab in Adobe Camera If you often shoot in low light, invest in
can tweak the noise reduction settings to Raw, start with Noise Reduction settings some specialist noise reduction software.
suit the image when you convert the files of 25 for Colour and 0 for Luminance. Next, Choose from a standalone program or
with your processing software. With JPEGs, zoom in and view the image at 100% to plug-in – one of the best is Noise Ninja
noise reduction is applied in-camera. adjust these sliders to suit the shot. (www.picturecode.com, from $34.95).

Digital Camera September 2010




Banish wonky horizons!

Follow these steps to
keep your horizons level
Disappointed by tilting landscape shots? Use our
quick step-by-step guide to get straightened out

Set up your tripod
for stable shooting
Use a sturdy tripod. Extend the
fat legs first for extra stability and
make sure the central column is
vertical. Suspend your camera
bag from the hook at the bottom
of the column to ensure the feet
are firmly rooted on the ground.

Use a spirit level to keep
your camera straight
A hotshoe-mounted spirit level
is an ideal way to assess whether
your shot is level. Newer D-SLRs,
such as the Canon EOS 7D, have a
built-in spirit level. You could also
use the grid display or the focus
points to line up the horizon.


Fix horizon problems
in the digital darkroom
If you get home and find that your
horizon still isn’t perfectly straight,
post-processing can save the day.
While it’s best practice to get it
Paul Grogan (Future)

right in-camera, Adobe Camera

Raw’s Straighten tool will sort you
out in a matter of seconds.

Digital Camera September 2010




Ben Birchall
for perfection
Use this clever function to ensure
spot-on exposure every time
In tricky lighting image. One is exposed correctly
situations, even the (5EV), one is over-exposed by
most advanced cameras a stop (+ EV) and the other
may not be able to work out the under-exposed by a stop (- EV).
best exposure. The resulting Modern D-SLRs provide much
images may be disappointing, more customisability, offering
and you won’t necessarily get nine brackets and EVs in // stop
the opportunity to take the shot increments. This ensures you’ll
again. However, there is a way always capture the best exposure.
to ensure you get it right on Be sure to give your camera’s
location. Your SLR’s bracketing bracketing feature a workout and
function will ensure you always use it any time you’re unsure of
have the perfect exposure an exposure, but remember that
lurking on your memory card. once set, if you’re using Single
Traditionally, bracketing Shot mode it’s up to you to press
works by shooting two extra the shutter for each exposure.
photos automatically bracketed Switching to Burst mode,
either side of an exposure you however, will take all the shots in
choose, giving three different the bracket in quick succession
Exposure Values (EV) for each and stop when complete.

“Using your SLR’s bracketing function

will ensure you always have the perfect
Bracketing gives you a choice of exposures in difficult lighting situations.
exposure lurking on your memory card” You can also merge bracketed exposures in software to create an HDR image


Increase your chances of nailing exposure with this handy feature

Find the bracketing function 02
Set the number of frames 03
Enter your EV amounts
Some SLRs have a dedicated bracketing Although most cameras offer to shoot Choose an Exposure Value difference
button, which is held down when you need only three frames, some have options for between the brackets. For basic three-frame
to use it, and others offer the facility in their more or fewer frames. Use your menus or brackets, go for 1EV each side of your default
menu systems. Check your manual or search scroll-wheel to dial in at least three, so you exposure. If shooting in intricate lighting,
online to find out how to activate yours. can shoot each side of your favoured setting. choose 0.3EV and more frames if possible.

Digital Camera September 2010



A pro’s favourite places to photograph…

Photographer Clive Nichols picks his best-
“It may sound obvious,butalways
check theopening timesofgardens
beforeyouvisit. Someopen only on
certaindays of theweek”
loved locations for gorgeous garden shots CliveNichols,progardenphotographer

 RHS Garden Wisley, Surrey 5

“Wisley is one of the best gardens in the
world and is in the top three most visited
gardens in the UK. It has a huge plant
collection and in September the great
double herbaceous border should be at
its peak. If it’s raining or windy you can
shoot inside the superb glasshouse.”
Marchants Hardy
Plants, East Sussex
“One of the leading small
 RHS Garden nurseries in the country, with
Rosemoor, Devon a beautiful garden. September
“Rosemoor boasts 65 acres of is a great time to visit because
gardens with superb displays of of the many late flowering
roses, perennials, shrubs, trees and perennials. The handsome
vegetables. One of the highlights for grasses are also nearing their
September is the new square garden, peak, framed by stunning views
created by Roger Webster in 2007.” of the North Downs.”

The Picton Garden,

“This is one of the best places
in Britain to photograph autumn 
flowering asters – commonly
known as Michaelmas Daisies.
A family-run business since 1906,
the garden and nursery now
displays the National Collection
of autumn flowering asters – 
some 400 varieties. There are
also many shrubs to shoot.”

Old Hall, Shropshire
“This beautiful Arts and Crafts garden,
set around a 16th-century hall, is one of
the best private gardens in the country.
In September, the highlight is the ‘hot’
garden, named Lanhydrock, ablaze
with red, orange and yellow flowers.”

Digital Camera September 2010




Are flare and low contrast ruining your architecture
shots? Ben Birchall fixes it with clips and clamps
Architecture photography is take in a majestic building can produce
great fun and can produce some flare, resulting in washed-out images that
amazing abstract images. A day even your lens hood can’t eliminate.
out in the urban jungle is always rewarding, Using your hands to shield the sun
especially when the weather is fine and is tricky, so an anti-flare flag will give
the light good. However, bright sunshine you the freedom to focus on creativity.
and pointing your camera skywards to Here’s how to make one of your own…

Bend it like Birchall 02
Clamp site
Get some thick but bendy wire and For easy attachment and removal of
spray it black to minimise glare. Using some the flag, get hold of a tool clamp that will
thin-nose pliers, bend both ends into a small fit snugly around your tripod leg. Spray
circle that allows screws to pass through. it black. Bolt the wire to the clamp.

Clips with everything 04
Put out the flags
On the opposite end of the wire, use a Use dense black card or plastic to
bulldog clip with holes in the handle, so you make flags of various sizes and shapes.
can pass a screw or bolt through the wire Remember to include one with curves, for
and clip. After fitting, spray the bolts black. when you need to use it close to the lens.

If you prefer to shoot
without a tripod when
Make some shade 06
See the difference taking architecture shots,
you can attach the wire
Point the camera skywards and use the With bright sunlight well shielded from
directly to a screw that
flag to shield the sun from its brightest side. your lens elements, the results are crisp fits into the base of
Rest the wire on the lens for stability. Look images with bags of contrast – and you your camera.
through the viewfinder to check the results. won’t have to spend ages cloning out flare.

Digital Camera September 2010


ThePhotoFixer Reader Sarah loves shooting mountains, but struggles with

exposure. Can Paul Grogan help her reach new heights?


Q I live in the heart

of the Brecon
Beacons and I love
getting out with my
camera, but I’m
struggling to make the
most of the stunning
scenery. My biggest
problem seems to
be ensuring that both
the foreground and
the sky are correctly
exposed. I should
get some filters, but I
Location shots: Dave Caudery (Future)

don’t know where to

start. Can you help
me see the light?
Sarah Hughes, Wales

Digital Camera September 2010

ThePhotoFixer 67


Blue-sky thinking
eader Sarah has lived in the Brecon Looking at Sarah’s images, it’s clear that
Beacons for years, and has recently some blue-sky thinking is required when it
moved to a cottage that’s a stone’s throw comes to balancing her exposures, and that she
from some of the most stunning scenery in could do more to direct the viewer’s attention
South Wales. A textile designer by profession, to the most important parts of the landscape.
she feels she’s got a good eye for composition, To help Sarah I looked at her settings and
and is always on the lookout for landscapes shots in the comfort of her garden, before
that capture the best of the Beacons. sallying forth into the hills around her home.


Background information

A glance at Sarah’s shots shows she’s almost there, but needs help making the most of the landscape and sky

The Photo Fixer’s advice

Sarah’s right to use a tripod and a remote
shutter release to ensure sharp shots. She
shoots at ISO(@@ to keep grain to a minimum,
and she tends to use Aperture Priority (Av)
mode, which allows her to control how much
of her shot will appear in focus.
However, she also sets her aperture to f/99
by default, not realising that all lenses have an
aperture where they’re sharpest. Pro landscape
photographers tend to use f/(8 or f/(4.
Because she doesn’t have any graduated
Neutral Density filters, Sarah’s always going to
struggle to expose for both foreground and sky
– particularly at dawn and dusk. And she
doesn’t always shoot in RAW, which makes it
harder to rescue detail if she does end up with
blown-out skies or overly dark foregrounds.
Using filters will help, but even for shots that
are well exposed, RAW files will provide
In the top image, Sarah's sky is blown out and there’s
smoother tonal gradation in large expanses of
nothing to draw the viewer in. In the shot above, the
trees make for a strong composition, but the sky and colour (ie skies) and will allow Sarah to tweak
foreground aren’t as dramatic as they could be exposure and colour without adding noise.

Digital Camera September 2010



Have a plan

1 Set a date
Sunrise and sunset are the best
times to photograph landscapes,
so before any shoot it pays to have
some idea of when the sun will rise
and set for your chosen location.
This information is just a click away
at www.goflying.org. The site is so
good it will even tell you the time of
moonrise and moonset.

2 Map it out
An OS map isn’t essential, but
it does make life easier: as well as
helping you to get to your chosen
vantage point, it can be invaluable
for working out where the sun will Sarah was already PHOTO FIX #1
Graduate with ease
rise or set in relation to your subject. well on the way to
Crags and contour lines also allow shooting great
landscapes. But
you to work out how high you need with a little advice

to be to get the view you’re after. on exposure and
filter use her
efore we get started I show straight, well-defined horizons,
finished shots have Sarah my two sets of grads: both while one has a softer transition for
really improved contain one-, two- and three- horizons that are less definite.
stop filters, but one has a very hard By holding them up to the sky
transition from clear to dark for without the camera I show her how
much light the top of each filter will
block out, and how this will darken
over-exposed skies without affecting
correctly exposed foregrounds.
I explain that she can work out

3 Catch a worm which filter to use by exposing for the

It’s a well-worn photography foreground, then exposing for the sky,
cliché, but with landscapes the early and working out the difference: at
bird really does catch the worm – f/(4, for example, the foreground
and by early I mean being in position, might need a shutter speed of (/8@
with your camera all set up, well sec, while the sky might need a speed
before sunrise. It’s no good making a of (/(9 sec, a difference of two stops.
mad dash just as the weather starts She can then use her histogram to
to break, as by the time you get to check that the brightest parts of the
your location it could be too late. Without an ND grad, Sarah’s sensor struggles to cope. A two-stop sky are right at the highlight end,
ND grad with hard transition allows her to darken the sky but not over-exposed.

Digital Camera September 2010

ThePhotoFixer 69


Slow things down

1/500 sec 1/30 sec 15 secs

At 1/500 sec, the water in the stream looks a bit static, and even at 1/30 sec it’s still too defined. By attaching
Lightcraft UK’s nine-stop ND filter, we were able to shoot at a shutter speed of 15 secs for maximum blur

he middle of the day isn’t out nine stops of light across the
great for landscapes, as entire image. This means that
overhead light is often too instead of setting a shutter speed
harsh. Some pros call this time of of (/8@ sec Sarah can set it to ( secs
day ‘waterfall time’, as it provides an (equivalent to letting in nine stops
ideal chance to shoot subjects like more light), which is slow enough to
waterfalls, that are often in shade. blur even fast-moving water.
The problem with photographing Getting the exposure right
moving water during the day is that required a fair bit of trial and error,
faster shutter speeds tend to make and I advised Sarah to compose and
it look a bit static, while very slow focus her shot before she attached Did we fix
By holding the filters up to the sky without
shutter speeds aren’t possible in the filter, because you can’t see Sarah’s pics?
the camera, Sarah began to get an idea of such bright light. much through them once they’re Turn over to
just how useful they could be To get round this I suggest using fitted, but as her image shows, they see the
a nine-stop ND filter, which blocks can be very effective. results...

PHOTO FIX #3 If you want pro landscape shots

you'll need the right kit and the right

Top tips for landscapes approach to your photography

1 3
The movement of your D-SLR’s
mirror can cause enough vibration
to blur your shot, so try holding the leg
Before getting too attached to
your tripod, make sure that you
shoot a few pictures handheld first
of your tripod the next time you use to see what will work in terms of
a cable release and you’ll see what I composition. This will encourage you
mean. To avoid this, use Mirror to think and compose your scenes
Lock-up, which ensures that the mirror more freely, and will save time when
moves up before the start of the you come to take your more formal
exposure, and down again after it’s shots later on.
finished to avoid this vibration.

2 Try to include some foreground

interest in landscape shots, or
4 To position an ND grad filter, drag
it down until the foreground starts
to darken and then take it back up
features that will lead the viewer into again until the transition sits just on the
the frame. A plain foreground may suit line of the horizon. If in doubt, you’ll
scenes in which a sense of space is find that it’s better to position the
key, but in the wrong context it results transition too high rather than too low,
in a flat-looking shot. So think about because a light band sitting just above
what elements of the natural the horizon looks far more natural than
landscape you can use to help. a dark band below it.

Digital Camera September 2010



This shot of Carreg Cennen castle shows how essential ND grads are when shooting into the sun. To get detail
in both foreground and sky, Sarah used a three- and two-stop ND grad stacked together. Once she’d taken
a few test shots to check her exposure, all she had to do was wait for the sun to break through the clouds

Do you

A new approach works need help?

The Photo into the sun – essential for Sarah says How you can contact The
Fixer says sunrises and sunsets, not “I had no idea Photo Fixer for assistance
“For Sarah, using least because this tends to be filters were so Could your photography
ND grads was a when skies are at their most useful! Now I can’t benefit from the help of an
revelation, and visually dramatic. imagine going on experienced expert? Is there
transformed With her exposures a shoot without them. By an area of photography you'd
the way she looked at her sorted out, she was then eliminating the problem of like to know more about?
landscapes. Whereas before able to concentrate on exposing for high-contrast If you think your technique
she had to compromise composition, which also scenes they allowed me to could benefit from a day
between exposing for improved as the day went be more creative, and to try out with the Digital Camera
foreground and sky – with on. Her shots from early in shots that wouldn’t have experts, send us an email at
the result that neither were the day are great in their own been possible without them. digitalcamera@futurenet.
correctly exposed – she is right, but it was in her final “By encouraging me com. Make sure you put
now able to expose for both image, above, that everything to look at my shots more ‘Photo Fixer’ in the subject
in the same shot. came together, with fantastic critically, Paul made me line, and explain what your
“She also preferred to results – moody, dramatic realise that you often need favourite photography
shoot with the sun behind and terrifically atmospheric, to try dozens of different subjects are, which area of
her, or off to the side, to it’s a far cry from the blue- compositions, and to shoot your photography you’d like to
avoid exposure problems, sky postcards on sale in the same subject in lots of improve and what camera kit
but ND grads have given the local Spar, and is all the lighting conditions, to realise and accessories you own.
her the freedom to shoot better for it.” a landscape’s potential.”

Digital Camera September 2010

Next issue 71

The definitive guide

Master your
to SLR photography

SLR in a day
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Get closer to the action with our detailed and scientific
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® 74 Photoshop Basics
Daunted by black and
white? Master fail-safe
conversions in Elements

78 Get the Look
Use Photomerge Exposure
to give your photos a
convincing HDR effect
80 Advanced Skills
Use the Convert to Black
and White command to
create dramatic portraits

The only Adobe® Photoshop® guide you need

74 78 80

Digital Camera September 2010



Paul Grogan (Future)



Mono made
Photoshop Elements 7 or above
How to use Adjustment Layers
to take control of your black-

easy in Elements
and-white conversions
15 minutes

Use Adjustment Layers and the Dodge and Burn

tools to target tones for quick but cool conversions

here’s more to converting to black and to select from half a dozen presets depending on
white than simply discarding colour the subject matter and the look you’re after. These
information. As our main feature – can then be tweaked manually using a series of
starting on page *& – shows, you have colour sliders, which work in much the same way
several creative options. as colour filters.
The problem with simply discarding all colour
– or converting to greyscale, as it’s known in FINE-TUNING COLOUR
Photoshop – is that it doesn’t take into account But to really take control of the tones in your
the colours and tones in the original image, and mono conversion, you need to be able to isolate
how each is converted. In the days before digital, the colours in your image more precisely, and
photographers used to place coloured filters on fine-tune how each of them is converted. This can
their lenses to affect how the various colours in the be achieved using a Hue/Saturation Adjustment
image were rendered in black and white – a yellow Layer, and as you’ll discover in this tutorial, it’s a
filter, for example, enhances the contrast between technique that provides plenty of scope for subtle
white clouds and blue skies by darkening the latter, adjustments. Plus, by using Adjustment Layers
making it an ideal choice for landscapes. rather than working on your original source file,
Photoshop Elements features a highly intuitive you can go back and make tweaks or return to your
black-and-white conversion tool, which allows you original image and start again.

Digital Camera September 2010 ZINIO FILES http://mos.futurenet.com/resources/dcm/DCM103_Basic_Mono.zip

PhotoshopSchool 75


Learn the lingo

RGB and greyscale

T he colour in digital
images is created by
combining three different
colour channels: red, green
and blue (RGB). Each of
these channels can record
just 256 shades of that
colour, but when these
channels are combined
they can record more
Do away with colour Convert to black and white than 16 million possible

1 Open the file named mono_jpg from your CD.

The simplest way to convert to black and white
is to discard the colour information, so to try this go
2 Another, slightly more sophisticated way of
converting to black and white is to use Elements’
dedicated Convert to Black and White command.
colour combinations
(256x256x256). A greyscale
image, meanwhile, is a
to Image>Mode>Greyscale. This produces a mono Selecting this tool brings up a preview pane with its black-and-white conversion
version, but you get no say in how the colours are own drop-down menu, and a series of sliders that can made up of just 256 shades
converted. Press Ctrl+Z to return to your original. be used to decide how colours are rendered. of grey, ranging from pure
black to pure white.

Try the infrared look Customise your conversion

3 Although we’re not going to use this command
for our final conversion, it does provide a useful
starting point, because the style presets will give you
4 The colour sliders allow you to fine-tune the
presets or create your own conversion, but
they’re not very subtle, and the small preview isn’t big
an idea of how different conversions might look. Try enough to give you an idea of how your conversion
selecting Infrared Effect for a moody mono version, will look. Plus, once you’ve pressed OK, you can’t
or Vivid Landscapes for something a bit more subtle. make further adjustments without starting again.

Did you know?

The 100% rule

W hen you use the

colour sliders in the
Convert to Black and White
window, you’ll notice that
numbers appear when you
hover over them (though
not, irritatingly, when you
drag them). When adjusting
Create an Adjustment Layer Desaturate your shot these sliders, ensure that

5 To really take control, click Cancel and then click

on the half-moon icon at the bottom of the
Layers palette. Select Hue/Saturation from the
6 In the Adjustments pane, make sure Master is
selected in the drop-down menu at the top, and
then drag the Saturation slider all the way to the left
the sum of these numbers
does not exceed 100,
otherwise you risk blowing
drop-down to create a new Adjustment Layer on top to desaturate the image. Crucially, this doesn’t out the highlights or clipping
of your layer stack. Double-click on the text Hue/ actually discard the colour information, it simply the shadows.
Saturation 1 to rename this layer Mono Conversion. desaturates the colours that are there.

Digital Camera September 2010


Did you know?

Dodge & Burn

T he key to successful
dodging and burning
is to keep things subtle. By
setting Exposure to 5% in
steps 11 and 12, and building
up the dodging and burning
bit by bit, there’s less risk
of over-cooking things and
making it look too obvious.
With this in mind, it’s also
a good idea to toggle the Take control of colour Darken details
layer’s visibility icon on and
off while you’re working,
just to compare before and
7 Next, click on the word Master and select Reds
from the menu. This will isolate the reds in your
image and enable you to decide how light or dark
8 Now do the same with Yellows and Greens, but
in both cases drag the Lightness slider all the way
to the right to lighten up the slope on the far right.
after versions. they will be in your final conversion. There’s not much The Lightness sliders for Cyans and Blues have a
red in our original, but dragging Lightness to the left more noticeable effect – drag them both all the way
darkens a narrow band of red along the shoreline. left to darken detail in the hills and lake.

E X P ER T TI P Make blacks black Adjust the midtones

“In step 10, you could 9 To deepen the blacks, click on the half-moon
icon again, this time selecting Levels. Holding 10 To make the hills in the distance a touch darker,
drag the grey Midtones slider right to 0.95.
have merged your down the Alt key, drag the black triangle at the bottom When you’re happy, right-click on the Background
of the histogram right until black pixels start to layer and select Duplicate Layer from the drop-down
existing layers to appear. A value of 11 should be about right. This menu. Call this layer Dodge & Burn, click OK and
create a new layer ensures that the darkest pixels in the image are black. select the Burn tool from the Tools palette.
on top of the layer
stack by pressing
and used this as the
Dodge & Burn layer.
However, this would
have meant not being
able to tweak your
Adjustment Layers,
as this Dodge & Burn
layer would have
obscured any of Burn the sky Dodge the rocks
the changes made
in the Adjustment 11 Select a large, soft-edged brush from the preset
menu in the options bar and set Size to 500px,
Range to Midtones and Exposure to 5%. Spray over
12 Finally, grab the Dodge tool, set Size to 400px,
Range to Midtones and Exposure to 5%. Spray
gently over the rocks to lighten them up a touch, and
Layers below.” the sky to darken the clouds (taking care not to stray over the tops of the mountains. If you want to tweak
Paul Grogan, technique editor
over the tops of the hills) and over the lake to bring things at a later date, save your finished version as a
out more detail in the reflected clouds. PSD or TIFF to retain all of your Adjustment Layers.

Digital Camera September 2010

Choosing the right Canon kit isn’t easy...

Fortunately, choosing the right

photo magazine is much simpler!

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Photoshop Elements 8
How to use Photomerge Exposure
to blend a sequence of images
15 minutes Ali Jennings creates a mono shot packed with
detail in the shadows, midtones and highlights

good High Dynamic Range (HDR) The first step is to capture the images. This can
image will stop people in their tracks, be done by simply taking a series of between five
and now the Photomerge Exposure and nine shots, with an exposure difference of one
feature in Photoshop Elements 8 stop between each. You can do this either by using
makes it possible to create high- Exposure Compensation or by setting the aperture
impact black-and-white HDR-style images. and adjusting the shutter speed accordingly.
The technique works by blending several With the shots captured and back in the digital
differently exposed shots in the digital darkroom. darkroom, the sequence of differently exposed
This increases the amount of detail between the images can then be blended together using
lightest and darkest areas of the image, producing Photomerge Exposure. This handles the process
a shot with a far higher dynamic range than would of blending the images, leaving you to do the final
be possible direct from the camera. tweaks and enhancements in Photoshop.

Digital Camera September 2010 ZINIO FILES http://mos.futurenet.com/resources/dcm/DCM103_Mono_HDR.zip

PhotoshopSchool 79


“One of the most
important factors
when taking your
images is to use a
tripod. This firm base
will help to minimise
movement between
each of the shots,
Open Photomerge Exposure Select the sky ensuring that they
1 Open the files HDR01-05_Before.jpg in Photoshop
Elements. Now go to New>PhotomergeExposure
and, when prompted, click Open All. When the
2 The preview will now show the black-and-white
blended version of the image. To apply the
change, click Done. Now, from the menu bar, select
align perfectly when
blended and avoiding
Photomerge Exposure window opens, check that all Layer>FlattenImage. Select the Magic Wand from the any ghosting in the
of the images in the Project Bin are ticked and then Tools palette and click into the sky. Hold down Shift final image.”
move the Saturation slider to -100. and click into any areas that have been missed out.
Ali Jennings, digital editor

Boost sky contrast Get the HDR look

3 To avoid any halos around the edge, click Refine
Edge, Feather by 1px and Expand by 2%. Click
OK. We’re going to use Levels to draw out the cloud
4 Go to Enhance>Lighting>AdjustShadows/
Highlights. Enter 25 to lighten Shadows, 45 to
darken Highlights and increase the Midtone Contrast
detail, so go to Enhance>Lighting>Levels, increase to 60%, before clicking OK to apply. The image is
the Shadows to 134 and reduce Highlights to 233. starting to get the HDR look, but the tones are still a
To remove the selection, go to Select>Deselect. little flat and need an extra contrast boost.

Did you know?

You can use one file

Y ou may only have

a single image that
you’d like to use, so simply
process it in Adobe Camera
Raw. Open the file, adjust
the exposure to -4 so the
Pick out detail Dodge the highlights image is under-exposed,

5 From the Tools palette, select the Burn tool.

Making sure that Shadows are selected from the
Range drop-down and Exposure is set to 5%, brush
6 Check that the Range is set to Highlights and
Exposure is set to 5%. Carefully use the brush to
pick out highlight detail in the buildings, foreground
then save it as a JPEG.
Repeat this four times,
increasing the exposure
over the sky to darken the non-cloud areas. A little cobbles and foliage. Finally, go to Enhance>Adjust by two each time to create
careful burning around the rest of the image will help Lighting>Levels and increase Shadows to 14, Midtones your exposure sequence.
to define detail and contrast. Select the Dodge tool. to 1.09 and Highlights to 244. Click OK to finish.

Digital Camera September 2010


Ben Brain (Future)


Digital Camera September 2010
PhotoshopSchool 81



Create dramatic
mono portraits
Use Adjustment Layers to take control of your conversions and
create a moody monochrome image. George Cairns shows how

any portrait photographers make their mounted flash. This direct light source will fill in WHAT YOU’LL NEED
subject stand out from the crowd by all the shadows on their face and create a high-key Photoshop CS3 or above
printing the shot in black and white. flat-lit portrait. By popping the flash to the side WHAT YOU’LL LEARN
By portraying the subject using of the subject, you can plunge part of the face into How to target and adjust specific
areas using a Black & White
varying greyscale tones, photographers darkness, creating a more mysterious-looking
Adjustment Layer
can emphasise contrasting features, such as dark monochrome shot as features such as the eyes and
eyes and light skin, to create prints with impact. mouth emerge from the darkness. IT ONLY TAKES
15 minutes
Thanks to Photoshop’s Adjustment Layers, you To convert a portrait to black and white, you’ll
can take your mono conversions a step further need to do more than simply throw away all the
and produce high-contrast shots that add drama, colour information, or you’ll end up with a bland
evoking moods and feelings that would be harder wash of greys. Photoshop’s powerful Black &
to achieve with a standard greyscale image. White Adjustment Layer lets you lighten and
darken specific areas with precision, so you can
GET CREATIVE WITH LIGHT emphasise some features and hide others. We’ll
To create a more dramatic-looking monochrome also look at adjusting Levels to darken midtone
print, avoid shooting the subject with a camera- details and enhance the shot’s sense of mystery.

HOW TO… Get more from your mono conversions

Learn the lingo


E very black-and-white
image is made up of
a series of tones, ranging
from black for the darkest
shadows through to white
Desaturate the shot Crop it for the brightest highlights.

1 Open advanced_mono_before.jpg. Try removing

colour the quick way by choosing Image>
Adjustments>Desaturate. The resulting black-and-
2 Before you start tweaking tones, it makes sense
to crop the shot, because there’s no point in
adjusting areas that you’re going to remove. By
All tones that fall between
these two extremes are
called greyscale. Absolute
white image looks OK, but lacks the high-contrast cropping the shot, you can zoom in on the model black has a Level value of
impact of our final version. You’ll also see too many and make her more dominant in the frame. This adds 0, while pure white has a
shadow details, which diminishes the mystery. more drama and impact to the image. Grab the Crop Level value of 255.
Choose Edit>StepBackward to restore the colour. tool, use it to reframe the image and hit Return.

ZINIO FILES http://mos.futurenet.com/resources/dcm/DCM103_Advanced_Mono.zip Digital Camera September 2010


“When you create
the Black & White
Adjustment Layer
in step 3, the
Adjustments palette
will pop open in the
Palette bin. To make
a less cluttered
Create an Adjustment Layer Powerful presets
interface, drag the
Adjustments palette
to the bottom of the
3 Go to Window>Layers to open the Layers palette.
For more control over the tones in the greyscale
conversion, choose Layer>NewAdjustmentLayer>
4 Initially, the Adjustment Layer creates a similar
result to the Desaturate command, but you
now have more control over which areas you lighten
Layers palette. Both Black&White. Click OK in the New Layer command or darken. Set the drop-down preset menu to High
box to add the Black & White 1 Adjustment Layer to Contrast Blue Filter. This reduces the value of the
palettes will dock the Layers palette. Reds and Yellows sliders, darkening skin tones.
together, enabling
you to minimise the
Palette bin to hide the
remaining unwanted
palette icons.”
George Cairns, technique writer

Selective adjustments Moody midtones

5 Go back to the Default setting. To lighten the
highlights in the face, drag Reds up to 128 and
Yellows to 105. Enhance the white of the subject’s left
6 Make more of the model’s face fade further
into the darkness by selectively adjusting the
midtones. Go to Layer>NewAdjustmentLayer>Levels.
eye by pushing Cyans up to 272. Pop Blues up to 121 Slide the grey Midtone input level slider to a value of
to make the delicate blue tint in her eyes stand out 0.74. This leaves the highlights untouched, but tips
more, drawing the viewers’ attention to this area. the grey midtones towards the black shadows.

Learn the lingo

Dodge and burn

P hotographers working
in traditional darkrooms
could hold bits of card in
front of the image to vary
the amount of light hitting
the photo paper during the
development process. This Burn the shadows Dodge the highlights
enabled them to lighten
(dodge) or darken (burn) 7 Click on the Background layer to target it. Grab
the Burn tool, then set Range to Midtones and
Exposure to 20%, so you can make incremental tonal
8 To emphasise the model’s hair, select the Dodge
tool. Set Range to Highlights, Size to 200 and
Exposure to 25%. Spray over the hair to make the
parts of the shot. You can
do this in Photoshop using adjustments using just a few strokes. Set Size to 700. shiny highlights stand out. To create a border, choose
the Dodge and Burn tools. Gently spray over the midtone details on the shaded Select>All, then Edit>Stroke. Set Width to 40 pixels,
side of the face to darken them even more. Colour to Black, Location to Inside and click OK.

Digital Camera September 2010

PhotoshopSchool 83


The mono
presets in action
From Default to Yellow, see how the
different mono presets available on Default Blue
your Black & White Adjustment 1 Lightens all colours a little,
resulting in a low-contrast wash 2 This black-and-white preset
setting lightens the blues,
Layer could affect your image of shadows and midtones. greens and magentas in your shot.

Darker Green High Contrast Red Infrared

3 This preset reduces the value
of the Default preset’s slider
settings by a value of 10.
4 This preset lightens reds,
greens and yellows in a
black-and-white conversion.
5 This is good for enhancing
portraits because it targets
and lightens skin tones.
6 Creates light-coloured foliage
in mono landscapes by
lightening greens and yellows.

Lighter Maximum Black Maximum White Yellow

7 Boosts the strength of the
Default black-and-white
preset settings by a value of 10.
8 Drops all the sliders to 0, so
that no colours are lightened
after being desaturated.
9 Boosts all of the sliders to
100 to lighten those colours’
tones in a uniform way.
10 This does what you would
expect, lightening yellows
and reds to brighten skin tones.

How we created our image

Selective adjustments Dodge and Burn
1 We used a Black & White
Adjustment Layer to desaturate the
shot, then lightened the flash-lit skin
3 We used the Burn tool to darken
the remaining details in the
shaded part of the face, which made
3 1
by boosting the value of the Reds and these areas more dramatic and
Yellows sliders. By increasing the mysterious. The Dodge tool helped
strength of the Blues slider, we were to bring out the highlights in the
able to lighten the reflection in the subject’s hair, which enhanced its
eyes, giving them more impact. shiny texture and added more tonal
variety to the mono conversion.
Levels 2
2 By adjusting the Levels
command’s Midtone input level
slider, we tipped the neutral grey 4 By cropping the shot, we made
the subject appear more
midtones into the black to create a important and gave her more impact
more moody high-contrast image. because she filled the frame.

Digital Camera September 2010

Get a BA (hons)
in Photography

by OCA student Brian Carter (www.weareoca.com/photography/brian-carter)

Ask us about Accreditation of Prior Experiential Learning to get fast-tracked on your

way to a BA (hons) Photography degree

Open College of the Arts A module at a time

In your own time
www.oca-uk.com Learn from home
0800 731 2116 Study just one course
World class photography courses Or a full degree

photo Advisor
Where the experts help you perfect your photography
Got a photographic problem? send the details to digitalcamera@futurenet.com and let our experts provide the solution

the PhOtO
ADvisOR teAM

switch to Cloudy white

balance to bring out the
Geoff Harris, editor golden glow. But be
A decade testing cameras careful not to over-expose
has taught Geoff what can
go wrong – and how to fix it

Ben Brain, deputy editor

RPs associate and former
portrait pro Ben is an oracle
of creative advice
CAMERA SKILLS further by switching to the

Add drAMA to
Shade setting, which is primarily
designed for the bluish light of
daytime shadows. Better still,

your suNsets
shoot in RAW mode – then
you’ll have full control over
adjusting the white balance at
the editing stage, tweaking it
Paul Grogan, technique ed
Paul’s a travel and sports
nut who joins us from our
sister mag, PhotoPlus
Q My d-sLr seems to do an excellent job
of draining all the colour out of sunsets
and there’s no ‘sunset’ scene mode. how
to your exact requirements.
The other factor to bear in
mind is exposure, because the
richness of sunset colours will
can i get around this? Holly Clarke, via email be drained in over-exposed
images. A time-honoured trick
Paul says There are two case, it takes one look at the for film photography is to take a
potential problems here, gorgeous, golden glow of the sky meter reading from the sky, high
but the main one is white and gives the colour balance a above the setting sun, but for
balance. When your camera is hefty nudge towards neutral grey. digital it’s more important not
set to Auto White Balance, it To maintain the natural to blow the highlights, so take a
Ali Jennings, digital editor will try to offset any colour cast colours of a sunset, switch to meter reading from an area of
Ali’s an expert on everything in the image, which is a good manual white balance and use sky closer to the sun and review
to do with Photoshop and thing in most scenarios but the Cloudy setting. you can the results on your camera’s lCd
photo editing
disastrous for sunsets. In this boost the orange colouring even screen to check the exposure.

Digital Camera september 2010

your photos critiqued


Get shArper
MAcro shots
Q i have no problem getting sharp macro
shots when i use flash, so why do they
invariably come out blurred when i shoot
Use the Mirror
lock-up function
to avoid camera
under natural lighting, even when i’m using shake in macro
or ultra-long
a sturdy tripod? Tom Lawrence, via email telephoto shots

Ben says Just like when since the effective exposure lasts
you’re shooting with an for the whole period that the
extremely long telephoto shutter’s open. even if you’re
lens, macro shots are incredibly using a heavyweight tripod, a
prone to camera shake, because d-SlR is unsettled by the mirror
even the tiniest movement on flipping up immediately prior
the part of the camera makes a to the exposure, and any slight
big difference in relation to the wobble as it settles again will
object being photographed. cause camera shake. To avoid
When shooting macro with this, use a remote shutter release
flash, it’s not so much of an in conjunction with the Mirror
issue because the short duration lock-up function, also called
of the flash effectively makes for exposure delay in some d-SlRs.
a very short exposure, freezing This instigates a time lag
any movement. using ambient between the mirror flipping up
light is a different ball game, and the shutter opening.

A l Ay M A n'S Gu I de To…
ANGLe from other angles if you rotate the
angle finder as required.

FiNders Who makes them?

Own-brands from manufacturers
What’s an angle finder? such as Canon and nikon usually cost
An angle finder enables you to look between £175 and £225. independent
through your D-slR’s viewfinder from models from companies including
almost any angle, often with click stops seagull and hoodman can be much
for 90°, 180°, 270° and 360° angles. cheaper, weighing in at around £100.
Most also offer magnified view options, With the camera on the ground, focusing is hit and miss
up to about 3x magnifications. When should I use them?
they’re ideal for any time it’s difficult
How do they work? to get your eye behind the viewfinder
light exiting the camera’s viewfinder is – when shooting landscapes from close
reflected through 90°, so that you can to ground level, for example. the option
view the viewfinder image from of magnifying the viewfinder image also
directly above the camera, or makes for easier manual focusing in
macro shooting and other scenarios
that call for precise focus settings.

How do I attach them to my D-SLR?

in the majority of cases, all you need
to do is slide off the rubber eyepiece
from your camera’s viewfinder, and
then slide on the angle finder. An angle finder enables precise manual focusing

Digital Camera september 2010

PhotoAdvisor 87

your photos critiqued

Merge two exposure-compensated

versions of the same image to bring
out full detail in the land and sky e X P eR t ti P
“For ultimate accuracy
when it comes to
blending exposures,
use a tripod and
minimise the time
between shots.”
Ali Jennings, digital editor

With limited dynamic range, the sky

may be washed out in landscapes

CAMERA SKILLS Ali says This is a classic in the lighter image, and the sky

hoW to dArKeN
case of the tonal range looks rich in the other. Merge
in a scene exceeding the them into a single image, using
dynamic range that can be a program such as photoshop or

your sKies handled by the camera. The best

solution is to shoot in RAW and
apply around -0.5eV exposure
photoshop elements (see below).
An alternative for getting the
results you want in-camera is to

compensation, so that you’ve got use a nd grad filter. however,
in many of my landscape shots, the at least some detail in the sky. In these can be fiddly to set up and
ground looks perfectly exposed but a RAW editing program, process don’t offer the same degree of
the sky washes out to pale grey or white. two versions of the image with precision. For example, trees
plus and minus exposure that break the skyline will be
can you give me any tips for getting a compensation, so that the progressively darkened as they
better all-round exposure? Mark Ellis, via email ground looks correctly exposed near the top of the image.

How to… inCReAse A shOt’s DYnAMiC RAnGe

photoshop’s Layer Masks are the key to effectively balancing exposures

1Over and under

Open the two versions of your image, which
have the correct exposure values for the land and
2 Fill the layer Mask
the next step is to convert the upper layer to
a layer Mask and then select the sky area using the
3 Final adjustments
now make the finishing touches. zoom in to
Actual Pixels view and paint over any trouble spots
sky respectively, then copy the lighter version and Quick selection tool. now you can fill it with black on the horizon with a black or white paintbrush on
paste it into the darker image as a new layer. to ‘drill down’ to the darker, lower layer. the layer Mask to get seamless results.

Digital Camera september 2010

your photos critiqued

SoluTIonS RAT e My phoTo
skate park
By helen Armstrong
Canon EOS 40D/ Canon EF-S 18-55mm f/3.5-5.6 IS/ 1/60 sec at f/5.6, ISO400

FlAt BAtteRies this is a dynamic, colourful

Q I have rechargeable ni-Mh

AA batteries for my
flashgun, but they’re usually
shot and the blurred
background provides a
strong sense of movement.
A tighter crop would give
almost flat by the time I get the biker space to ride into
around to using them. Would
I be better off with alkalines?
Steve Jones, via email

Geoff says Most Ni-Mh

batteries lose their charge
fairly quickly, but a few specialist
types retain an almost full charge
for weeks or months after
charging. try uniross hybrio, sanyo
eneloop or panasonic infinium.
they cost about the same as
regular Ni-Mh rechargeable cells.

DUst CheCK
Q I’ve been using my d-SlR
with a variety of lenses
for about a year now and am
What you told us
Helen says i took this
our experts say
Geoff says i love the Paul says Your
concerned that I may have some image at south Bank energy and colour of decision to use a slow
dust on the sensor. how can I skate Park. i love this shot – it’s really shutter speed to blur
tell for sure? taking photos there, dynamic, and much your background is
Lewis Granger, via email as there are always different more interesting than the usual what makes this shot, but your
talents being showcased. ‘dude flying through the air’ pan hasn’t quite matched the
Ali says Wait for clear blue i captured this image while extreme sports shot. that said, speed of the biker, which means
sky, then set your camera to using continuous shooting in it’s crying out for a tighter crop. he isn’t as sharp as he could be.
Av mode and use a small aperture sports mode, and panned along Just make sure the rider is left smooth panning can be a bit of
of f/22. set the zoom lens to its at the same speed as the with some space to ride into. a lottery, so shoot lots of frames
maximum telephoto focal length subject. this achieved the dual he could be sharper, too, but to improve your chances of
and manually focus on infinity. effect i wanted of both freezing you’ve still done a cracking job. getting one with him pin-sharp.
take a few pictures of the sky and the biker in the air, while blurring
compare the shots at 100% on the background to give the verdict
your computer monitor. Any dark image a sense of dynamism. The background is blurred – this The action is frozen, but the
spots that are in the same place i’m an aspiring professional adds to the sense of movement biker isn’t quite sharp enough
on each shot will be specks of photographer, so would love The black-clad biker stands out He’s too far to the left for the
dust on the sensor. see page 53 feedback on how to improve. against the colourful graffiti shot to work without cropping
for sensor cleaning tips.

Digital Camera september 2010

PhotoAdvisor 89

your photos critiqued

A close crop removes the
Get empty space on the right
critiqued! of the shot, and boosted
email photos to colours and contrast give
digitalcamera@ the image lots of impact
futurenet.com with
the subject 'Rate
My Photo'

How to… iMPROve COMPOsitiOn AnD BOOst COlOUR

considered cropping and a subtle curves adjustment can add impact to any image

1Crop in tight
the background is a key element, but there’s
too much empty space to the right of the biker.
2 Colour and clone
in Curves (or Colour Curves in elements)
create a gentle s-shaped curve to bump up
3sharpen it up
Use the Unsharp Mask command to sharpen
up the bike and the biker. As the shot has been
Using the Crop tool, click and drag to select the the contrast and bring out the colours in the severely cropped, keep the Amount and Radius to
whole image, then crop in on the subject, holding background. Also, grab the Clone stamp tool and less than 100 and 1 respectively – any higher than
shift to maintain the shot’s original proportions. use it to clone out the distracting litter on the left. this and you run the risk of creating ugly halos.

Digital Camera september 2010

your photos critiqued


e X P eR t ti P
cAN coLour FriNGiNG
“With ultra-high
resolution d-sLrs
flooding the market, it’s
Be FiXed?
tempting to save money
on telephoto lenses
and crop images quite
Q i bought a canon eos 50d,
which came with a canon
17-85mm zoom lens. the lens
savagely instead. produces colour fringing around
however, this places high-contrast edges. is there any
much higher demands way to fix this? Ellie Hughes, via email
on optical sharpness,
Paul says The Canon 17-85mm ‘kit’ lens
as well as making
supplied with the 50d is notorious for
chromatic aberrations its poor performance when it comes to
much more apparent.” chromatic aberration and, unlike many current
Ali Jennings, digital editor d-SlRs made by nikon and pentax, Canon
cameras don’t offer automatic in-camera
correction. your best bet is to shoot in RAW and
then tune out chromatic aberration using the
specialist tool in digital photo professional (dpp).
While the correction tool built into the dpp
software works with most Canon lenses, it won’t
work with independent lenses made by the likes
of Sigma, Tamron and Tokina. In this case, the full Colour fringing is often most noticeable around
edition of photoshop has a useful correction tool. high-contrast edges towards the corners of the frame


driVe Modes
Q it seems logical to me
that i can press the
shutter release any time i want
to take a shot, or use the self-
timer when i want to include
myself in the picture, so are all 1single
A sensible choice for static subjects, such as 2 Continuous
not just for sports or action sequences,
the other drive modes a bit landscapes, when you have plenty of time to
review the image and shoot again if necessary.
this is great for portraits, to capture fleeting
expressions and avoid subjects blinking.
superfluous, or am i missing
something? Martin Cox, via email

Geoff says Different drive modes can

offer a range of hidden extras, such as
the way you can use Continuous drive
mode to automatically advance through a
complete series of shots when you’re using Auto
exposure Bracketing. Many advanced cameras
go further still, with options for high-speed and

3two-second self-timer 4 Multi-self-timer

low-speed continuous shooting options to suit
wide-ranging shooting scenarios. self-timer this is good for triggering tripod-mounted A multi-firing option enables you to take
shutter delay modes can also work well as a shots if you don’t have a remote shutter a sequence of self-portraits without having to
substitute for a remote shutter release. release, so you don’t unsettle the camera. return to press the shutter release every time.

Digital Camera september 2010

PhotoAdvisor 91

your photos critiqued

the 18mm wide-angle

ability won’t be any better
than a kit lens, but optical
quality may not be as good

the church WithiN

By kantryla (Giles McGarry)
Nikon D300/Sigma 10-20mm FEEDBACK
from our online
f/4-5.6 EX DC HSM lens/90 secs at f/22, ISO100 community

taken from the same

vantage point as the wide
shot (above), the range of
an 18-200mm lens is clear


superZooM Giles says this is st Andrews Church in Covehithe. i loved

the way the clouds were flying overhead, so set up my

Vs teLephoto
tripod low to the ground and as close to the church as
possible. i wanted to try and emphasise the scale.

Q i want to extend the range of my d-sLr

and its 18-55mm kit lens. if i decide to
go for a superzoom lens, will i be sacrificing
PhotoRadarsays What a dynamic architecture shot. The shooting
angle, the streaking clouds and the contrast – both in the subject
and the mono finish – are excellent.
optical quality? Nick Watson, via email
babar141says I will try and visit before it’s gone! I love the drama
Ben says There’s a lot and 55-250mm combination of in the sky and the angle works well.
to be said for the light lenses, superzooms often lack
weight and convenience outright sharpness at one end F11says A lovely image with perfect angle and composition. your
of a superzoom lens, especially of the zoom range or the other, use of a long shutter speed has really emphasised the cloud
when you’re on your travels and or at various focal lengths along formation, giving a wonderfully dynamic effect.
don’t want to lug around extra the way. Barrel distortion can
lenses. It’s also a bonus not also be more pronounced at the CarlyDrewsays Such a wonderful shot! I particularly love that
having to swap lenses, especially wide-angle end, often with an you’ve left the converging verticals – they give it a greater
in dusty environments. irregular ‘moustache’ shape to sense of grandeur.
As such, a superzoom lens it that’s difficult to correct in
with a range of 18-200mm or photoshop – and you’ll usually Russbarnessays Awesome work. you have some amazing monos.
more has a lot to offer, but suffer from increased pincushion
there’s usually a compromise in distortion at the telephoto end. ChrisGeorgesaysBrilliant shot. Clever composition, and nicely
terms of optical quality. Most even so, they aren’t all created processed. We’d love to publish this in PhotoPlus – if only it had
zoom lenses tend to suffer from equal. The Canon 18-200mm been shot on a Canon! oh well…
unwanted side effects, and the IS is a bit lacklustre, the Sigma
bigger the zoom range, the more 18-250mm oS and Tamron Want one of your pictures to be featured
pronounced these attributes are 18-270mm VC lenses are pretty here? We scour the PhotoRadar galleries for
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Digital Camera september 2010

your photos critiqued

SoluTIonS RAT e M y phoTo Pro
sunset at clevedon pier
By Alison Woodham
Canon EOS 350D/ Canon EF-S 18–55mm f/3.5-5.6 lens/ 15 secs at f/22, ISO100

On the level critiqued!

Q Try as I might to frame

scenes carefully, I often end
up with leaning buildings. What
email photos to
futurenet.com with
the subject 'Rate
am I doing wrong? My Photo Pro'
Lyn Parker, via email

Geoff says some cameras

offer a superimposed grid in
the viewfinder display, or in Live
View mode, and using a tripod with
a spirit level on the actual camera
platform can keep you on track.
some cameras even feature a
virtual spirit level for viewing on the
Lcd, but generally it’s best to play
it safe and allow a little extra room
in the frame, so you can straighten
your images while editing.

Alison says this was “i like how the lines with it in the middle of the
a totally opportunistic shot. You’ve also done well to
shot. i couldn’t
of the rocks and the frame the shot so that the
believe my luck when pier complement horizon doesn’t run straight
driving back from Bristol each other” across the centre of the frame.
Airport i happened across this i like how the lines of the
RAW size pier jutting out into a gorgeous pretty difficult circumstances, rocks and the pier complement

Q I’ve started shooting in

RAW to keep my options
open at the editing stage, but am
colourful sunset. i didn’t have
much time and didn’t have my
tripod, so balanced my camera
Alison. the majority of people
would have cursed not having
a tripod with them and just
each other. however, there’s
not that much happening in
the left-hand-side of the image
horrified that individual shots precariously on the rocks in the carried on driving, but you and most of the colour in the
are nearly 30Mb in size. Is there foreground. i took a few test overcame this problem and the sky is towards the right. Maybe
any way to reduce this? shots, increasing the exposure resulting photograph was really a portrait composition looking
Mev Stokes, via email time with each one to create worth the effort! this way would have worked
the milky water effect. You’ve successfully used the too? try to take plenty of shots
Ali says it all depends on i used Photoshop to make rocks to provide foreground so you can choose the best
which camera you’re using. general lighting and colour interest and placed the end of later. this location has potential
For example, you can sometimes enhancements, then cropped the pier off-centre, when many and it would be worth revisiting
shoot rAW images with a smaller and sharpened the image. people would have composed – with your tripod, of course!
resolution. some cameras (most
notably Nikons) also give you the Pro landscape verdict
choice of lossless or standard photographer Lee Good use of rocks as The horizon slopes slightly,
compression for reducing the size Beel says i think foreground interest though this is easily fixed
of rAW files, as well as shooting you’ve done well to A long exposure has blurred It’s quite noisy, which could
uncompressed rAW files in either produce such a lovely shot in the movement of the water be due to heavy cropping
12-bit or 14-bit colour depth.

Digital Camera september 2010

PhotoAdvisor 93


Kit Advisor
Find the perfect camera
and gear for your needs
Need some buying advice? Email your wish-list and budget
to digitalcamera@futurenet.com with 'Kit Advisor' as the subject


Name: Gary Hodgson Name: Steve Cooper Name: Lucy Nichol
Age: 35 Age: 31 Age: 23
Location: Swansea Location: Bath Location: Coventry
Budget: £2,300 Budget: £1,000 Budget: £2,250
Wants: To upgrade his Wants: Upgrades for his Wants: To upgrade from
Canon EOS 400D and new Canon EOS 550D and her D90 outfit so she can
55-250mm lens so he can take pro- 18-55mm kit lens, so that he can shoot the go semi-pro with wedding photography,
standard motor racing shots. bright lights of cityscapes after dark. while keeping costs to a minimum.


£1,200 17-55MM F/2.8 IS £1,100
Canon's 7D boasts USM, £830 Spectacular image
18Mp resolution, Not the newest lens quality for the price,
deadly accurate in Canon’s arsenal complete with
19-point autofocus but the company’s arguably the most
and a class-leading 8fps continuous drive best ‘standard zoom’, with a fast, constant consistent metering in its class and great
mode, along with rugged build quality. f/2.8 aperture and great optical quality. highlight control.
www.canon.co.uk www.canon.co.uk www.nikon.co.uk


IF HSM, £810 TRIPOD HT1730, F/3.5-5.6 G DX ED
Offering a zoom £135 VR II, £580
range of 160- This 3.9kg tripod This superzoom
480mm, with fast is super-sturdy, will enable you to
autofocus and stunning image quality: at the offering really rigid support for long quickly switch between wider shots and
price this Sigma is perfect for the job. exposures, and it’s as tough as old boots. zooming in for candid close-ups.
www.sigma-imaging-uk.com www.kenro.co.uk www.nikon.co.uk


CONVERTER, £185 £15 Bargain of the
Extends the Better than the century, this tiny,
telephoto reach new RC-6 infrared lightweight 50mm
of the Sigma controller, this wired prime lens will give a
100-300mm to 672mm on the 7D, while version replicates all the functions of your portrait-friendly 75mm effective focal length,
maintaining a maximum aperture of f/5.6. camera’s shutter release button. and has razor-sharp optics.
www.sigma-imaging-uk.com www.canon.co.uk www.nikon.co.uk


Sturdy three- FILTER, £50 FLASHGUN, £315
section aluminium Turn pinpoints of Even more vital for
monopod. Extends light into stars with sunny outdoor
to a height of the 77mm version portraits than
161cm, easing the load when shooting with of this top-quality Hoya Pro1 screw-in filter, indoor shots, the SB-900 has a wealth of
a big lens over long periods of time. suitable for Canon’s EF-S 17-55mm f/2.8 lens. features and an ultra-fast recycling time.
www.manfrotto.co.uk www.intro2020.co.uk www.nikon.co.uk


Gary says: I was looking at a single Steve says: It makes sense to Lucy says: That’s cheaper than I
Canon 70-200mm lens that spend most of my budget on the thought, so I’ll be able to keep my
costs as much as this whole lens, which will be perfect for most existing kit as a back-up in case
outfit! I can’t wait to get trackside. of my daytime shooting as well. anything goes wrong on the day.

Digital Camera September 2010

The Digital Camera inTerview

PRofile * London-based Richard

Baker, 50, is a versatile,
* In 2005, his book Red
Arrows was published,
all-round photographer recounting his year spent
who has a particular passion photographing and writing
for aviation images. about the Royal Air Force
* After studying Aerobatic Team.
Documentary Photography * Baker has collaborated
at Newport College of Art, on several projects with
All images: Richard Baker

he was taken on by Katz author Alain De Botton, Satellite Tracking Dish

Pictures in 1988, and was including A Week at the A typically quirky Baker image of
also a delayed member of Airport: A Heathrow Diary a VT Merlin satellite tracking dish
the notable Independent and The Pleasures and appearing to blow clouds across
Photographers Group (IPG). Sorrows of Work. a blue sky at the Diane Tracking
Station, French Guiana

Digital Camera September 2010


richard Baker
eclectic, ironic and e journalists have
a nasty habit
and Sorrows of Work and A Heathrow Diary.
The latter book is particularly interesting,
full of wry humour, of trying to put
as planes and aviation are the one constant
throughout Baker’s very diverse career.
richard Baker’s images into pigeonholes
– landscape,
“The interest in aviation all stems from
working for a small airline in essex from
never fail to captivate. reportage and so on – but we’ve met our
match in richard Baker. An affable pro
the ages of 18 to 24,” Baker explains.“i
started out as a despatch clerk and learned
Geoff Harris learns based in London, the man is eclecticism
personified, having shot everything from
the business of aviation, but i was seduced
by the camera – it took over my life.”
more about this evangelists to the red Arrows. Along the way, So strong was Baker’s interest in
he’s taken the photographs for several books photography that he turned his back on a
enigmatic pro by Alain De Botton, author of The Pleasures career in aviation to study Documentary

Digital Camera September 2010

The Digital Camera inTerview

Large Man
The eponymous guy
watches the Red Arrows
display at Weymouth,
england. “The tough-
looking male specimen
contrasts with the
romance of this Valentine's
symbol,” notes Baker

Red Arrows at Ease Photography at newport college of Art one of my early breaks came from the
(top) (the course leader was the famous reportage Sunday Express Magazine, which paid the rent
In the midday heat at RAF photographer David hurn, who we while i found other work.”
Akrotiri, Cyprus, members of the interviewed back in issue 99).
elite Red Arrows aerobatic team “i was interested in reportage and current high fLyeR
stand at ease in front of the affairs, and the course taught me a whole Baker came to prominence with his unique
squadron's official photographer
new visual language. i couldn’t have just photography project on the red Arrows, the
The Vixen Break taught myself – it was much more than rAf’s world-famous aerobatic team. he was
(above) just technical mumbo jumbo about aperture, given unique access to the close-knit team,
Looking out to the Mediterranean shutter speeds and lenses. The course taught and allowed access to their inner sanctum.
from the Akrotiri Peninsula, the me how to head out with a camera and just So how did it come about?
Red Arrows practise their display one 50mm lens and get stories, and it’s “Back in 2003 i was working with the
finale, the Vixen Break stood me in really good stead.” iPg Agency and decided to do a project on
And unlike some contemporary courses, air travel. So i shot planes, airports, plane
which seem more concerned with teaching spotters, whatever, using a mamiya medium-
the sociology and psychology of photography format camera – i liked the way it made me
IN The BAG rather than saleable skills, the newport work in a slow, considered way. The rAf
course gave Baker a great preparation for life saw it and invited me to spend a week with
“I’ve been as a professional photographer. the red Arrows – i ended up almost as an
using Canon “The course equipped its students with embedded unofficial photographer.”
since the late some very good portfolios,” he says.“i was Despite his passion for aviation, Baker
1970s and have never doing extended projects, including one on can’t actually fly – “rather than spending
been tempted by other evangelism. So we were well prepared to money on flying lessons when i was younger,
brands. At present I use approach picture editors when we graduated. i spent it all on film!” – but soon found
two Canon eoS 5Ds –
I’ve not been tempted to
upgrade to the Mark II
yet – with the following “i shot planes, airports, plane spotters, whatever,
lenses: 50mm f/1.8;
24mm f/2.8; 35mm f/2; using a mamiya medium-format camera – it made
plus a 300mm f/4 and
an 82-200mm zoom.”
me work in a slow, considered way. The rAf saw it
and invited me to spend a week with the red Arrows”
Digital Camera September 2010
richard Baker 97

Red Arrows
Training Flight
Baker took this while strapped into
another jet. The shot shows the
planes coming out of a crossover
manoeuvre in front of a local crowd
above their base at RAF Scampton

Digital Camera September 2010

The Digital Camera inTerview


“i ArrAngeD To
from An office
BLock ThAT
LonDon BriDge.
i wAnTeD The
mASS of PeoPLe
AnD vehicLeS”
Richard Baker

"I wanted to comment on

commuters while doing a story
about the Square Mile in 1993,
and arranged to shoot from an
office that overlooked London
Bridge. Workers started
pouring onto the bridge from
about 7.30am."

"I had one chance to make this
picture, so had no choice of
light. All I wanted was the mass
of people and vehicles, and
saw the lone cyclist fighting
past the buses."

"I wanted it tight, but worried
about the river to the left. The
300mm lens cropped out
too much, and while it was
foreshortening, it was too
long, so I used the 70-200mm
zoom instead, probably at
around the 200mm mark. This
allowed me to frame the image
absolutely to my liking."

"I under-exposed by maybe
2/3 stops to emphasise the
faces picked out with side-
light, and which echoed the tail
lights. After all these years, I still
remember the pleasure it gave
me getting it right, and it’s been
published widely for all manner
of conceptual reasons."

Digital Camera September 2010

richard Baker 99

Evangelists himself riding shotgun with some of the from your brain or you faint. i also passed
(below left) Uk’s finest jet pilots. As he recalls, it was a my audition, a practice flight with the wing
A vulnerable-looking youth photographic journey that featured as many commander, without being sick!”
stands close to two members of a
local evangelical church, who are
vertiginous ups and downs as a typical from shooting the red Arrows to working
using a carpet warehouse as a red Arrows display. with world-famous author and celebrity
temporary ministry in Newport, “i enjoyed working with the team, but egg-head Alain De Botton is a big jump
Wales. The clash of the secular it was a bit of a rollercoaster,” Baker says. – how did the collaboration come about?
and spiritual is quirky and telling “i couldn’t actually fly with them at public “i found someone to publish a book of
These Colours demonstrations, but was able to tag along my red Arrow pictures, which was designed
Don’t Run for practice sessions. i had to get used to the by a friend, and then sent it off to everybody
(below, top right) rAf way of working, with people barking from art directors at big publishing firms
Shot in the week after the 11 orders at you just as jets are passing each to the royal family.
September 2001 attacks. “A other. i kept worrying they wouldn’t take to “i didn’t get any interest, but eventually
garage owner aerosol-sprayed me (previous photographers had been shown the book came to the notice of Alain. he too
the Stars and Stripes onto a the door) but it all worked out fine.” had a strange love of aviation, particularly
grassy verge on highway 422
in Sinking Spring, Pennsylvania,” needless to say, it took some time to get the philosophy of aviation and travel.
Baker recalls the hang of photographing from a fighter jet. i was amazed when he wrote back and
“i was wearing a flying suit, oxygen mask suggested a collaboration.”
Building workers and helmet with the visor down,” he recalls. Baker ended up working with Alain De
(below, bottom right) “The camera was taped up and because i Botton for 18 months, the end result being
There’s always more to Baker’s
best work than meets the eye, as
was using film, i only had 12 film exposures. The Pleasures and Sorrows of Work.“he would
with this image of construction for this reason i had to decide with the pilot write the text and i would interpret it with
workers. Behind their low-loader beforehand what i was going to shoot – photographs, or i’d send him images and
truck is a famous Smirnoff ad loops, cloud base, blue sky and so on. he’d work the text around them. he’s got
showing three carved Polynesian “As for g forces, you do build up a a brilliant mind – here he is, this scion of
statues of easter Island
tolerance to them, but it’s unpleasant and a Swiss banking family with a double first
exhausting. You have to grip your abdominal from cambridge, and here’s me, an essex
and leg muscles to stop the blood draining boy who started out taking pictures on
Southend seafront!”

“my course in Documentary Photography ReaDy foR take off

following De Botton’s The Pleasures and
taught me how to head out with a camera Sorrows of Work, Baker worked with the
and just one 50mm lens and get stories, author on an ambitious project about a week
in the life of heathrow Airport. So how did
and it’s stood me in really good stead” he find trying to get under the skin of a

Digital Camera September 2010

The Digital Camera inTerview

pRo insight
Richard Baker
shares his tips for
successful shots
1 Preserve your integrity
and be nice – this
industry needs all the
nice people it can get.
You need good people
skills to prosper.

2 You need to be
able to express
yourself, both in terms
of photography and
writing pitches and
photo captions. So bad
spelling and punctuation
is always a no-no. US Air
Force pilots

In pouring rain, USAF pilots
I don’t get hung up stand like camouflaged
on technicalities. statues in the undergrowth
I don’t worry about near their air base in
lighting, and hardly Spokane, Washington.
use flash. I now get by They’re listening to a USAF
adjusting Curves in survival instructor giving
Photoshop post-shoot. them advice about another
I do keep the ISo low, challenge they’re about to
which I’ve got from my face in the woods
strong film background,
and I don't often go
over ISo200 in order to
minimise noise. top international airport – hardly the most really disastrous decisions. But at the end
photo-friendly of working environments? of the day, digital is all just about discovering

4 I’m really bad at

the business side of
photography, so if you’re
“The airport staff knew i was there and
what i was doing there,” Baker explains,“but
the chaperone was always with me. So Alain
a new way to tell the same stories.”
Looking back on his career so far, what
does Baker think is the essence of his style
going pro ensure you and i kept giving the airport authorities a – what is it that captures the imagination
get a good accountant. wish-list of stuff we’d like to photograph of such diverse audiences as the red Arrows
I married one! – everything from going on the runways at and Alain De Botton?
night to shooting in the interview rooms “whatever i’m shooting, i always like
used by the Uk Border Agency. it took a to try and capture something a bit hidden
while to sort out the bureaucracy, but much and subtle, maybe irony, a sense of humour,
of the time they agreed.” incongruity – or just something in the body
Baker has a strong background in film language of my subjects. i reject a lot of
photography, particularly with medium- pictures because they’re too ordinary, or
format cameras, but made the transition to only tell half the story. i like images that
digital SLrs several years ago, and has never have a wry angle. Alain De Botton talks
looked back. it wasn’t an easy transition, about a poetry in my images.”
though, as he recalls... This carefully considered approach
“i’m not sure if i really knew the extends to post-shoot processing, too.
difference between a rAw file and a Tiff. “when i am keywording i try to put
i had no experience of rAw processing, in conceptual keywords as well as just
software, anything. i made some really basic descriptive ones that describe the ‘who,
mistakes when it came to image processing, what, where, when’ ,” Baker explains.
losing files, deleting the original – some “So when taking shots of the farnborough
Airshow i’ll add keywords like ‘air space’ and
‘investment’ rather than just ‘planes.’ it all
“whatever i’m shooting, i like to try and helps to get the images noticed. it’s all about
adding lots of layers to your pictures.”
capture something a bit hidden and subtle,
maybe irony, a sense of humour, incongruity See more of Richard Baker’s work at
www.bakerpictures.com and http://archive.
– or just something in the body language” bakerpictures.com.

Digital Camera September 2010



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Digital Camera September 2010

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Digital Camera September 2010
OUR teStS explained

How we test
Digital Camera’s test policy is
The the most strict and rigorous of
UK’s most any photography magazine. We

in-depth believe the only way to bring you

a genuine and reliable verdict on
reviews a product is to test it in both the
field and in the lab, so we use two
sets of criteria to test SlRs and
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Real world testing

the first and most important pillar
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We firmly believe that the best
measure of a product is how it
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the first part of our real world
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impressions of its performance;
putting equipment through its paces in the field is at the heart of the Digital Camera testing process the second is about examining the

Trusted Tests
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take a number of photographs
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Rigorous Accurate Independent Fair Benchmarking

the second pillar of our testing
igital Camera is graded. take a look at the opposite supplement our real world testing policy involves testing the image
brought to you page for more details. with benchmarks. output of cameras and lenses
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a product is to use it as it was
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any further convincing, here’s why exactly as you would use it in real publishing, the company behind transparency and flexibility.
our tests are the best: life to let you know whether it’s fit Digital Camera, has a strict code transparency involves keeping
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at Digital Camera we take great Objectivity transparency Flexibility enables us to change
pride in the rigorous nature of our although scientific data won’t tell the RaW files of every test image our scoring criteria to ensure that
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service is tested in appropriate it’s a great way to draw direct from our website, photoRadar scored on appropriate criteria –
circumstances and a combination comparisons and sense check our (www.photoradar.com/testing). a tripod, for instance, needs to be
of real world and objective tests real world conclusions, so we’ve this means you can check the judged on different qualities than
are performed to ensure all devised a series of controlled tests quality for yourself and even run a digital slr. each of our tests
products and services are credibly for cameras and lenses that your own tests if you wish.

Digital Camera September 2010

kitzone 105

OUR teStS explained

tHe camera tests

oF science
Digital Camera runs a series of
objective tests under controlled
conditions on both camera
bodies and lenses. we run three
tests in total for lenses and four exposure accuracY
tests for cameras. each test
uses imatest’s imatest Master 1 this measures how accurate
a camera’s exposure system
is and involves shooting the
software to analyse shots of
test cards – here’s how each greyscale step chart pictured.
test works… We focus and Spot meter for
grey block M and measure the
deviation from 0 eV in imatest.
lens tests

our controlled test environment enables us to benchmark cameras and lenses

under controlled conditions. We of which product performs better

conduct four separate tests for under different criteria.
distortion dYnaMic ranGe
cameras and three for lenses, all RaW files of all our test results
of which involve shooting a test
chart in a specially configured
are available to download from
our website, photoRadar, at
1 this test measures the
distortion caused by the lens
and we shoot the simple lined
2 this measures the ability of
a camera to capture detail in
the highlights and shadows and
room. Full details about the tests www.photoradar.com/testing.
distortion chart pictured above we shoot three images (at -3
we perform can be found in the Benchmarks should not be
and then output an accuracy f-stops, 0 and +3 f-stops) of the
panel on the right of this page. seen as a replacement for (or
percentage in imatest, with 0% greyscale step chart pictured.
to minimise the variables even a better version of) real
being the most accurate. imatest measures results in eV.
when testing SlRs, we use Sigma’s world testing – they won’t tell you
50mm f/1.4 ex dG HSM prime which camera handles best in
lens, which is available for every the field or is easiest to use, for
camera system. example. But they do enable us to
next, we perform an analysis sense-check our real world image
of the test images using imatest’s test results and you to make an
imatest Master software (www. accurate comparison of a
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which is then plotted on a graph
against rival products to enable
no other magazine goes this
far to deliver test results you 2 this test measures the
appearance of chromatic
aberration and we shoot the
3 this measures colour
reproduction and we shoot
the x-Rite ColorChecker chart
you to make a direct comparison can really trust.
chart pictured. the results pictured above and output an
are analysed by imatest and accuracy percentage from
scores out of five in one or expressed in pixels, with lower imatest, with 100% being the
more sub-categories and numbers being better. most accurate result possible.
then applies an overall mark
out of five, enabling you to
tell the wheat from the chaff.
awarded to awarded to
Five scores, five meanings: any product products that
that comes top offer exceptional
in a group test value for money
Forget it
sHarpness noise

3 4
Below average Here we measure sharpness this measures colour and
at different apertures from luminance noise and we
Good for the money the centre to the outer edge. shoot the greyscale step chart
We shoot the chart pictured and pictured, focusing and Spot
Very good in all areas awarded to any innovative or imatest outputs a figure based metering on grey block M. We
product that breakthrough
on line width divided by picture then measure the deviation from
a truly exceptional, receives five products receive
best-in-class product stars in a test this special award height – high numbers are better. 0% in imatest.

Digital Camera September 2010

d-slr review

> the speCs

sensor 14.2-megapixel CCd,
23.5 x 15.7mm
Focal length
conversion 1.5x
Memory Memory stick Pro duo,
Viewfinder Optical, 0.74x, 95% field
of view
iso range 100-3200
Metering modes Multi-pattern metering:
40 segment; Centre-
weighted; spot
Focus modes single, Continuous,
Automatic, Manual
lCD screen size 2.7-inch, 230,000 dots
shutter speed 1/4000 sec to 30secs, Bulb
exposure modes Programmed Auto, shutter
Priority, Aperture Priority,
Manual, Auto and seven
scene selection modes
lens mount sony Alpha (compatible
with Minolta and Konica
Minolta AF lenses)
Flash modes Auto, Fill-flash, red-eye
reduction, rear Flash sync,
slow sync, High speed
sync, wireless Off-camera
Weight 497g (body only)
autofocus points 9
Max Burst Rate 2.5fps
self-timer 2 or 10 secs

ith mirrorless hybrid

D-slR Sony a390 > £400 with 18-55mm kit lens > www.sony.co.uk

New camera,
cameras grabbing all
the limelight, the
D-SLR market’s been
a bit quiet of late.
Just the right time, then, for Sony
to pounce with two new cameras.

old news...
The a390 is one of two new models
aimed at beginners – the other is the
cheaper a290. These cameras share
the same 14.2-megapixel CCD sensor,
but the a390 reviewed here also
includes Sony’s Quick AF Live View
mode and a tilting LCD display.
Sony’s D-SLR range is confusing
at the moment, because there sony’s a390 slr has a 14.2Mp sensor,
are a number of existing models
interwoven with these new ones. You live view and tilting lCd, but Rod lawton
can ignore the older a230 and a330,
though, and treat the a290 as the new
entry-level model, the a390 as the
thinks he might have seen it all before
next one up and the a450 as Sony’s
first ‘intermediate’ SLR. of around £400, it certainly looks is the a390’s Smart Teleconverter.
But you might also notice a certain good value for money. This offers additional magnification
similarity in specs between the a390 in Live View mode, corresponding
and the a380 launched over a year BuilD quality to the 1.4x and 2x magnification of
ago. The resolution is the same, the The old a380’s grip had a sharply optical teleconverters. It is, of course,
Live View system is the same and the profiled front edge, which wasn’t very a digital zoom by another name, and
tilting LCD screen is the same. comfortable, and this is one of the while users upgrading from a compact
So what’s actually new? Well, niggles that’s been fixed in the a390. camera might be tempted, D-SLR
Sony says it’s redesigned the grip for The controls on the top are pretty users are unlikely to be impressed.
better handling, and reorganised the straightforward. The Mode dial is But the a390’s still an oddly
buttons, but that appears to be it. over on the far left and on the right bulbous camera that seems thicker in
Nevertheless, the a390 is ostensibly of the pentaprism is the Live View/ the body than its rivals, which might
a ‘new’ camera and with a street price OVF switch. Just to the right of this be due to the tilting LCD mechanism.

Digital Camera september 2010


the a390’s 18-55mm kit exposure
lens isn’t bad, but overall the the multi-pattern metering
14-megapixel sensor fails to system generally delivered
deliver any decisive advantage a good balance between
in definition over this camera’s shadows and highlights.
12-megapixel rivals. however, here some detail in
the highlights has been lost.

Real-WoRlD peRFoRManCe

OUr Best sHOt Colour

We found the auto White
Balance worked well when

Our guide to what we shooting in a wide variety

of conditions, and the a390

like most about the images delivered strong, saturated

colours – without making

from the Sony a390 them look artificial.

stick or twist? Upgrade advice steadyshot explained

the a390 is designed as a first Of course, as an upgrade from Sony’s SteadyShot inSiDe is an image
digital SlR for beginners, and a standard digital compact, the stabilisation system that moves the
it’s only worth considering as a390 is certainly a versatile and sensor to counter camera movement
an upgrade if you’re currently inexpensive model. however, we during the exposure. Sony says it
using a beaten-up six-megapixel think the nex-3 and nex-5 are enables you to shoot at up to 3.5 shutter
model that’s several years old slicker, better made and more speeds slower than normal without
and showing it’s age. beginner-friendly. risking unwanted camera shake.

Digital Camera september 2010

d-slr review

zooming in on the… sony a390

Feeling tReateD
A quick tour of the camera’s key features
the Fn button the 2.7-inch
live View may be crude LCD flips out
and low-tech, but it’s displays a set of
icons for accessing horizontally
also fast and effective for easier
a number of
different settings low-angle and

the SteadyShot inSiDe

anti-shake system should
the graphical
work with all lenses For some interface aims
reason, the to show the
Menu button is relationship
separated from between
the navigational shutter speed
buttons and aperture

there’s too little room

between the grip and
the lens flange
Feeling CheateD

the navigational you slide the live View/OVF switch on a sensor just below the viewfinder the 18-55mm kit lens is an improvement
controller is also the top to activate the live View eyepiece activates the eye-start aF on Sony’s early 18-70mm lens
squeezed in too tightly

There’s only a narrow gap between mode, down for ISO and left for sliding shutter speed and aperture
the grip and the lens flange, leaving the drive mode. Other settings can scales to show how they’re related
very little room for your fingertips, be reached with the Fn (function) when you make exposure adjustments
while round the back the LCD leaves button just above. This displays a – it’s particularly effective in the
little room for anything else. The screen with icons for adjusting the Aperture Priority and Shutter Priority
directional controller’s so near the autofocus mode, AF area, metering modes, where you can trade off one
edge of the camera that you can’t help pattern, dynamic range optimiser, setting against the other.
putting some pressure on the buttons white balance and Creative Style. You The a390’s plastic body makes it
with your thumb as you hold it, and have to click them to get to a screen feel entry level and this applies to the
it’s right up against the edge of the where you can make the adjustment, 18-55mm kit lens too. Zoom action is
LCD, too, so that the ‘left’ button is and it does seem like a click too many. light and smooth, but the AF is on the
actually quite difficult to press. Couldn’t this all have been done with rough side. An eye-start AF system
The buttons are clearly labelled, an on-screen menu? Perhaps Sony is enabled by default, but it’s quite
but have a short travel and a slightly thinks beginners need big buttons. distracting to have it start shunting
soft feel. You press up to change the The a390 retains the graphical and whirring the moment you put the
display mode, right to set the flash display of earlier models, which uses camera to your eye.
There’s more mechanical shunting
when you turn the camera on, which
Meet the may be due to Sony’s sensor-shift
rivals… SteadyShot anti-shake system. Sony’s
D-SLRs have gone through a couple of
See how the generations since they were inherited
a390 fares from Konica Minolta, and it’s
against the surprising they haven’t come up with
nikon D3000 Canon eos 1000D panasonic lumix g10
competition price: £339 price: £360 price: £420 something a bit more refined by now.
this simple 10.2mp cheaper and better Ok, so it’s a hybrid
SlR offers dust handling than the rather than a D-SlR, ContRols anD FeatuRes
reduction, shoots 3fps a490, though you only but the g10 is small, The Quick AF Live View mode is
and has a slim body get ten megapixels neat and shoots video
Our score: 87% Our score: 84% Our score: 88%
perhaps the Sony’s most interesting
issue reviewed: 91 issue reviewed: 77 issue reviewed: n/a feature, and it’s explained in more
detail on page 110 (Tech Briefing, top

Digital Camera september 2010

kitzone 109

sOny A390

digitAl slr
How does the a390 measure up?
expOSuRe eRROR lowscoresarebetter
sony a390
Canon 1000d
nikon d3000
0.0 0.1 0.2 0.3

cOlOuR accuRacy lowscoresarebetter

sony a390
Canon 1000d
nikon d3000
0 2 4 6 8 10

Dynamic Range highscoresarebetter

sony a390
Canon 1000d
nikon d3000
5 5.5 6 6.5 7

nOiSe lowscoresarebetter
sony a390
Canon 1000d
“There’s no sign that the a390’s 14-megapixel nikon d3000
sensor resolves significantly more detail than 0 0.2 0.4 0.6 0.8 1
a 12-megapixel APS-C sensor. At a pixel level, Digital SlR BenchmaRk VeRDict
detail is slightly unsharp” to test key image quality factors, we put the Sony
a390 up against two rival SlRs, the canon eOS 1000D
left). It’s not a very elegant solution, level D-SLR. You get 14 million pixels, and the nikon D3000, in the Digital Camera test suite.
but it involves far less mechanical but that’s only a slight step up from Despite their entry-level D-SlR status, all three
movement and retains the use of the the 12-megapixel sensors in some cameras performed well, producing saturated colour
standard AF sensor. It’s well-known rival cameras, and not really enough plus plenty of tone and detail. close inspection of the
that phase-detection AF (the normal to get excited about on its own. test results showed that image quality for all three
SLR method) is faster than contrast- And while the SteadyShot INSIDE cameras was close, with comparative results
detection (sensor-based AF), and anti-shake system seems reasonably for both exposure and noise at iSO100.
other Live View cameras do struggle effective, you don’t get the optical When it comes to making a decision about What's
to focus quickly. You don’t get this stabilising effect in the viewfinder which has the best image quality, the Sony’s this?
problem with the Sony, so while its that lens-based stabilisers provide. images are undoubtedly good, but both the Find out how
we test on
AF system is unrefined in normal canon and nikon are just that little bit better. page 104
(optical) viewing, it trounces the rest iMage quality
in Live View mode. The image quality is good, but there’s
The disadvantage is that because no sign that the a390’s 14-megapixel above left point in choosing the a390 on the
Sony’s D-Range
you’re not using the main sensor you sensor resolves significantly more basis of megapixels alone.
Optimiser handled
don’t get a movie mode. Sony might detail than a 12-megapixel APS-C the shadow tones The metering system is good,
say that’s not a problem because sensor. At a pixel level, detail is and highlights well though. Unlike many D-SLRs, the
that’s what the NEX-3 and NEX-5 are slightly unsharp, and doesn’t improve multi-pattern metering system
for. Besides, most of us buy D-SLRs noticeably if you shoot RAW and doesn’t favour shadows at the
to take stills rather than movies, so it process images in Sony’s own Image expense of highlights. Instead, it
may not be much of a loss. Data Converter or Adobe Camera achieves a good balance between
Otherwise, the a390’s features are Raw. Images sharpen up pretty well in light and dark, and in high-contrast
pretty run-of-the-mill for an entry- software, but there would still be little lighting Sony’s D-Range Optimiser

Digital Camera september 2010

d-slr review

tech briefing
Quick AF live view

t his diagram, based on Sony’s

older a350 model, shows how the
camera’s Quick aF live View system
works. in a conventional D-SlR live View
mode, the mirror would have to flip up
out of the way, the shutter would open
and the live image would be generated
by the main sensor itself.
in the Sony design, however, a much
smaller and simpler mechanism within
the pentaprism directs the image on
to a small ‘viewing’ sensor. the live
image is actually being diverted in the
pentaprism rather than in the main light
path through the camera.
this means that the standard phase-
detection aF sensor is still active, which
is why it’s a ‘Quick aF’ live View – there’s
no need for a separate sensor-based
contrast aF system. the principal
disadvantage is that there’s no provision
for a movie mode, but otherwise it’s a
very effective solution.

successfully brings shadow tones and Above The white balance is good too, you wonder why Sony bothered
highlights closer together without a combination of though there is a slight shift towards launching a new version. Sony should
high iSO (800) and
producing unrealistic-looking images. Sony’s SteadyShot green if you use Adobe Camera Raw be worrying about the latest hybrids,
It’s a shame you have to estimate inSiDe stabilisation to process its RAW files (that’s an like Panasonic’s G-series cameras
the level to apply manually, though, system worked well ACR trait rather than the camera’s). and the Samsung NX10, which are
and that there isn’t some kind of when shooting in In fact, Sony’s own Image Data smaller, lighter, nicer to use and offer
low-light conditions
automatic option. Converter is a very good alternative to full-time Live View (with smooth and
Adobe Camera Raw. It’s a bit slower responsive AF) and HD movies.
to use, but much more faithful to the Sony’s been making D-SLRs for a
Left camera’s own colour rendition and while now, and it’s surprising it hasn’t
there’s little wow picture styles and has a decent set of progressed further. You get the feeling
factor in evidence: image enhancement tools. it’s devoting attention to marketing
the a390 is little
more than a
The high-ISO performance of existing camera technologies rather
cosmetic upgrade Sony’s 14-megapixel NEX-5 tested last than developing new ones.
to an existing model issue was impressive, but that used a
CMOS sensor. The a390, which uses
a CCD, is alright up to ISO400, but
at ISO800 colour noise creeps in, and FeatuReS hanDling
while ISO1600 is acceptable, ISO3200
is a step too far, with blotchy colour
image Quality Value
noise, over-processed edges and
smoothed-over textures.

ouR ConClusion
The a390 is a decent enough camera
for the money, but its build, finish We say… the a390 is versatile and cheap,
but it’s also unrefined and not particularly
and general lack of refinement are a nice to handle. it’s a solid budget buy, but
constant reminder that it’s a budget will suffer tough competition from the new
model. It’s so similar to the a380 interchangeable lens hybrids.

Digital Camera september 2010


Field Tested
new photo gear reviewed and rated

Get a longer focal

length for less with
the Kenko Teleplus
PRO teleconverter

Want to get a longer lens, but can’t afford the massive
outlay of a specialist telephoto? Try this handy tube
f you’re looking to extend the massive 3x magnification through a series of making the image look darker through the

i maximum focal range of your

lenses but don’t have the dosh to
spend on a specialist telephoto,
built-in optics, and includes all the electronics
required to keep your camera’s autofocus
and metering features working properly.
viewfinder than you would expect.
Longer shutter speeds make a tripod
essential, and when it comes to image quality,
a teleconverter is a great alternative. Once fitted, the difference through the you need to be realistic. While you’re getting
The Kenko Teleplus PRO 300 3x viewfinder is immediately apparent, with a longer focal lengths at a budget price, less
Teleconverter is an extreme example, tripling 75-300mm instantly becoming 225-900mm. detail is captured and there’s noticeable
the focal length of any lens over 50mm, and As a side effect of this extreme extension, grain. But so long as you’re aware of these
it does this by clicking in-between your lens though, less light travels through the lens – downsides, this teleconverter is a much
and camera body. The tube manages the ultimately increasing exposure times and cheaper alternative to buying an extra lens.

teleConveRteR Kenko Teleplus PRO 300 > £220 > www.intro2020.com

Digital Camera september 2010

kitzone 113

Photo gear on test

CAMeRA BAG Lowepro Inverse 100 AW > £60 > www.lowepro.co.uk

Compact camera bag that gives
you fast access to your kit
f you have an urge for something
i different from the usual backpack or
shoulder bag, the Inverse has just
enough room to comfortably carry a smaller Camouflage lens
D-sLr and extra lens around your waist. cover (size 2.5)
the design comes in useful when you’re If you’re photographing wildlife,
crouching down to take a shot, as you can staying hidden can be tricky. this
swing the belt around your waist so it doesn’t camouflaged cover fits the 100-
get in the way. With the belt fully loaded it’s a 400mm lens range and offers
little uncomfortable, but keep it light and this protection against rain.
is a great alternative to a conventional pack.
The Lowepro Inverse is a compact solution for carrying your kit £32, www.wildlifewatching

ClothinG Keela Genesis > £80 > www.keela.co.uk

Keela Genesis
waterproof fleece
You’ll stay warm and dry
with this fancy jacket
his high-tech jacket is as warm and
t insulating as a conventional fleece,
but it’s also waterproof. the
this handy clip fixes to the
lightweight material is easy to pack away, bottom of your camera and
while the quality and design is outstanding. then clips onto your belt or
the two side pockets can comfortably other suitable strap. In use it’s
hold a small lens and a few extra bits of kit, incredibly easy and hassle free,
so if you’re happy to pay £80 for a trick but at 50 notes it’s hardly a
fleece, the Keela genesis is a sound buy. cheap camera-carrying solution.
This waterproof fleece will keep you dry if caught out in a downpour
£50, www.cameraclean.co.uk

RiGht-AnGleD viewfinDeR Hoodman H-RAV > £105 > www.newprouk.co.uk

Hoodman H-RAV
See how low you can go with
this extended viewfinder
his handy device quickly slots over
t your viewfinder, enabling you to stay
standing while taking low-angled shots.
Benbo 1 kit
the viewfinder comes with both Canon and a tripod you’ll either love or hate,
nikon attachments, while those for Pentax and the Benbo’s design enables you
sony are also available for an additional cost. to twist the legs and column into
In use, brightness tends to drop off when you almost any shooting position.
look through the extended viewfinder, but this Best avoided if you’re impatient
doesn’t detract from the hoodman’s usability. or cack-handed.
It slips into your pocket, and can be attached
to your camera when you want to take a low- £200, www.paterson
angled shot without having to lie on the ground. photographic.com
Capture low-angled images with ease using the Hoodman H-RAV

Digital Camera september 2010

Photo gear on test

StUDio flASh Elinchrom D-Lite 4 it > £559 > www.theflashcentre.com

elinchrom D-Lite 4 it
Get pro effects in an instant with this studio-to-go
his studio flash kit may be at the
t upper price range of a budget set,
but a few more quid gets you fully
ExpoAperture2 featured lights and some pro features.
this depth of field guide is made the D-Lite 4 it kit includes two 400W
from three plastic discs, which lamps, two 66cm soft boxes, Cliplock stands,
can be spun to match your sLr’s a skyport eco transmitter and carry case, so
settings and give you a visual there’s everything you need to get started.
guide to depth of field. It’s easy two features you wouldn’t expect for this
to use, but you’re paying nearly money are the built-in skyport receivers, which
£30 for a few bits of plastic. couple with a hotshoe transmitter attached
to your camera. this enables you to use the
£27, www.flaghead.co.uk lights wirelessly without a sync lead. the other
feature is intelligent triggering, which allows
you to sync with red-eye pre-flashes, so the
D-Lites don’t trigger when the pre-flash fires.
as with elinchrom’s entire range, the lamp
bodies use the standard bayonet mount, which
offers a huge choice of accessories that can
be added later. In use, the lamps give a good,
solid performance, with the ease of adjustment
making them a great choice for beginners and
intermediate studio photographers.
A two-head studio-to-go that comes with some great pro features
Manfrotto 324RC2
Pull the trigger and the friction
on the ball head is released. Lee Filters Manfrotto 337
adjust the angle, release the Graduated Hotshoe
trigger and the head remains in Filter Set Bubble Level
kitbag essentials

position. In use, this Light Duty High quality filters that This level’s design makes
& SoDS

grip Ball head is easy to control. will ensure you get even it easy to keep your

exposures. Well worth camera straight, but it’s

the initial outlay. prohibitively expensive.
£110, www.manfrotto
£142, www.leefilters. £25, www.manfrotto
distribution.co.uk com distribution.co.uk

GPS Unit i-gotU > £46 > www.i-gotu.com

Log the time and location of
a shot with this reasonably
priced photo GPS
Hahnel Giga lthough this photo gPs will only tag
T Pro 2.4GHz
Wireless timer remotes are
A JPeg images, its simple design and
ease of use make it a great
useful for many photo situations. photographers’ accessory. to use it, simply
as well as working wirelessly, the press the large button on the front of the i-gotU
giga has a built-in intervalometer, and wait a few minutes for the blue light to
making time-lapse images a indicate that it’s connected to a satellite.
breeze. at the price it’s a steal. after the shoot, download your images, plug
in the device and the software automatically
£80, www.hahnel.ie connects the JPegs and geotagged data.
Keep track of the locations of your shots with the i-gotU photo GPS

Digital Camera september 2010













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Budget travel bags
When you need to travel light, with just your D-SLR and a couple
of extras, do it in style. Matthew Richards weighs up the options
1 Crumpler Muffin Top 4000 2 Kata DC-445 3 Hama Defender 140 Pro
Price: £43 Web: www.bags4gear.co.uk Price: £38 Web: www.katabags.co.uk Price: £43 Web: www.hama.co.uk
Well made, featuring a water-resistant Ripstop A triumph of clever design, the compact Kata Compact yet roomy, the Hama offers excellent
lining and comfy padded interior, the Crumpler features five pockets for lenses, flashguns and protection for a full-size D-SLR with lens, plus
offers reasonable weather protection. other accessories, with fold-over flaps on the an additional lens and flashgun in the main
However, it’s too small to accommodate a central dividers for slotting in a D-SLR with compartment. A feast of extras are attached
compact D-SLR such as a Canon 550D and attached lens. Accessory compartments are by bungee cords, including a lens cloth and a
kit lens, plus a telephoto zoom and flashgun. built into the lid and there are two side pockets. pouch containing a waterproof slip-on cover.

4 Lowepro Nova 160 AW 5 Tamrac System 3 6 Vanguard Pampas 25

Price: £29 Web: www.lowepro.com Price: £34 Web: www.tamrac.co.uk Price: £35 Web: www.vanguardgb.com
This is one of the smallest bags in Lowepro’s The System 3 is small on the outside and big Despite a slimline design, the Pampas can play
range, but it’s typically well made, with an extra on the inside, with space for a D-SLR with fitted host to a full-sized D-SLR, a couple of lenses
front pocket and memory card holders in the lens, plus a flashgun and up to three additional and a flashgun. The main compartment’s
lid, plus a pull-out all-weather cover. There’s not lenses. There’s also a craftily designed front Velcro fastening makes for speedy access, but
quite enough room for a D-SLR and lens with pocket for accessories. However, the Lens- protection against the elements is limited. The
additional telephoto zoom and flashgun, but Bridge system requires the removal of inner lack of anti-slip coating on the shoulder strap
it will easily accommodate two out of three. dividers to get at one of the underlying lenses. means you have to wear it messenger-style.

Digital Camera September 2010


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slr group test

full-frame d-slrs, they still tend to

cost considerably more than aps-C shop smart accessories
cameras. for example, with a current
street price of £1,760, the d700 only
costs half as much as a full-blown d3s,
A ny D-SLr body is the heart of a camera
system, but you will always need to
accessorise it with more than just a collection
Another highly popular accessory
is a battery grip, which enables more
natural handling when shooting in
but it’s still £500 more than a d300s of lenses. For starters, the Nikon D700 is the portrait orientation, as well as giving
which, despite having an aps-C sensor, only camera in this group to feature a pop-up greater battery life. Options include
boasts the same build quality plus a flash, making a dedicated flashgun even more the Canon Bg-e6 (£230), Nikon
couple of useful extras, such as essential for the Canon and Sony bodies, even mB-D10
High-definition video capture. if you only want occasional fill-flash. (£260)
The Sony is more limiting, because it has a and Sony
tHe BiggeR PiCtuRe peculiar hotshoe design that makes third-party vg-
so what are the benefits of a full- choices more limited, as well as ruling out most C90Am
frame sensor? It’s only natural to think hotshoe-mounted wireless studio flash triggers. (£250).
that bigger sensors equate to higher
resolutions, but that’s not always the
case. sure, the sony a850 has a cropping. a lower megapixel count, along with typically faster frame rates
class-leading resolution of 24.6mp and though, means individual pixels are in continuous drive mode. this makes
the Canon 5d mark II isn’t far behind physically larger and capture more them ideal for sports, action and wildlife.
with 21.1mp. But then again, the Nikon light, so noise may be less noticeable, at the wide-angle end, though, it’s
d700 has a mere 12.1mp, and has been especially when shooting at high Iso another story.
overtaken by some aps-C cameras, sensitivities. that’s the theory at least,
most notably the Canon eos 7d and although new-generation sensors getting tHe RigHt gLAss
550d, which have 18mp under the coupled with advanced in-camera until recently, high quality ultra-wide
bonnet. even so, there are pros and image processing can deliver lenses for aps-C cameras were few
cons to higher resolutions. spectacular noise reduction even in and far between although, as shown in
more megapixels make the most Below The high-resolution aps-C cameras. our group test last month, reasonably
Sony a850
of the resolving power of top-quality has a class-
there’s also the crop factor issue. priced ultra-wide zooms are now more
lenses and enable bigger-format leading resolution an aps-C sensor can only ‘see’ the plentiful. even so, high-performance
printing, plus more aggressive creative of 24.6mp central part of the image circle wide-angle prime lenses for aps-C
produced by a regular full-frame lens cameras are almost impossible to find.
so, if you shoot with a 300mm lens for example, buying a Canon or Nikon
on a camera with a crop factor of 1.6x, 20mm prime lens for your full-frame
you’ll get an ‘effective’ focal length of camera will cost about £450, whereas
480mm. aps-C cameras thus give you to go this wide on an aps-C camera
extra telescopic reach with relatively you’ll need £1,200-£1,900 for a Canon
compact, inexpensive telephoto lenses, or Nikon 14mm prime lens. these are

“More megapixels make the most of the

resolving power of top-quality lenses and
enable bigger-format printing, as well as more
aggressive amounts of creative cropping”

How we test sLRs advice you can trust

W e get out and about with the
cameras and test them in
real-world conditions, from gloomy
Next we fit a Sigma 50mm f/1.4
prime lens to each of the camera
bodies and subject them to the rigours
interiors to bright daylight. We go of our specialist lab. This features a
through all of the features, testing the controlled shooting environment that
accessibility and usefulness of basic includes lighting from daylight bulbs,
operations, from applying exposure an X-rite colour chart and Q-14 a
compensation and bracketing to greyscale step chart. manual white
advanced options such as dynamic balance, iSO and exposure settings are
range control, auto iSO effectiveness, used and the resulting rAW files are
noise reduction and so on. image processed with specialist imatest
quality is checked at various settings, software. This enables us to produce
including colour options like Standard, benchmarks for exposure accuracy,
vivid/Landscape and Portrait in JPeg colour rendition, image noise and We don’t pull any punches when reviewing SLrs, testing all the
and rAW quality modes. dynamic range. features thoroughly in a wide variety of real-world conditions

Digital Camera september 2010

kitzone 121

full-frame Cameras tested

eQuiPment knoW-HoW

full-frame d-slrs eXplaINed

Our guide to the features you should look out for
top plate mode dial Hotshoe Viewfinder
Unlike entry-level D-SLrs, full- This makes for easy access A range of connections within High-quality pentaprism
frame cameras tend to have a to advanced exposure modes the hotshoe enable dedicated viewfinders make the most
greater range of direct-access such as Aperture Priority, flashguns to communicate of the larger image circle of a
controls on the top panel, Shutter Priority and metered with the camera – reading full-frame camera, compared
where pro photographers manual, and often includes focal length settings from a with an APS-C model, to give a
expect to find them when access to three or more zoom lens and delivering TTL large, bright viewing image for
they’re in a hurry. ‘Custom’ or ‘User’ modes. flash metering, for example. easier composition.

Command dials Casing LCD screen navigation selector

These cameras usually feature At this level, plastic bodies are generously proportioned Advanced, wide-ranging
two command dials, giving out and, with semi-and fully three-inch LCDs are the order features and shooting options
direct access to both aperture professional suitability in mind, of the day, but high resolution are usually wasted if getting
and shutter speed controls in magnesium alloy bodies enable is equally important, especially at them is too long-winded.
metered manual exposure a combination of toughness for checking sharpness when multi-way selectors should
mode, favoured in studios and and light weight. expect plenty reviewing images. Look for a complement logical
for tricky lighting conditions. of weather seals, too. minimum of 920,000 pixels. menu systems.

still actually full-frame lenses, which killer feature. depth of field is mainly
would enable you to go much wider still governed by actual focal length rather under the hood
if you fitted them to a full-frame slr. than the ‘effective’ focal length once full-frame technology explained
Whatever the focal length, the size the crop factor is taken into account. op-quality CmOS (Complementary metal Oxide
and quality of what you see through the this means full-frame cameras can give Semiconductor) full-frame sensors vary in
viewfinder is massively important for you a much tighter depth of field when resolution from 12.1mp to 24.6mp – the red, green and
accurate composition and focusing. shooting at large apertures, so you can blue components of light from each pixel being sent
the pentaprism viewfinders of full- juggle focal lengths and exposure through to the image processing chip.
frame cameras come into their own settings to enjoy much more control The Canon eOS 5D mark ii consigns processing
here, as they typically produce bigger, over depth of field. It’s particularly vital functions to a single DigiC 4 chip (the Canon eOS 7D
brighter images than aps-C cameras for making the main subject stand out has two) and, similarly, the Nikon D700 uses a Nikon
and, quite literally, help you get a better in a cluttered scene, by throwing the eXPeeD chip. The Sony a850 goes one better, featuring
grip on reality. even so, the viewfinders background out of focus. ’High Speed Dual Bionz’ processors.
of some of the best aps-C cameras that’s why, no matter how close However, remember that resolution isn’t everything
don’t lag too far behind. aps-C cameras come to full-frame – while having the highest image resolution in the group,
all in all, the advantages of full-frame models in terms of image quality and the Sony a850 also has the slowest frame rate in
aren’t as clear-cut as they used to be, resolution, full-frame will always win continuous shooting mode.
but the aps-C’s big brother still has one out with portrait photographers.

Digital Camera september 2010

d-slr group test

Canon eos 5d mark II

brightness of the Canon’s LCD can
adjust itself automatically to suit
ambient lighting conditions.

The camera that rewrote the full-frame rulebook moVie stAR

Naturally, the 5D Mark II is a stills
t’s half a decade since the same as the one used in that camera first and foremost, but it

i Canon broke new ground

with the original EOS 5D,
a full-frame camera in a
stalwart of professional photography,
the second-mortgage-inducing Canon
EOS-1Ds Mark III (£5,250). However,
remains the only full-frame D-SLR
in its price bracket to feature full HD
video shooting, whereas the Nikon
relatively compact, lightweight body. while the 1Ds Mark III’s sensor drives Below The 5D mark and Sony have no video capture
At the time, it was great news for two DIGIC III processors, the 5D ii features a host of facilities whatsoever. Live View modes
updates, including
those switching from film to digital, Mark II features the newer DIGIC IV a 21.1mp CmOS
are also plentiful, with no less than
as it was compatible with Canon EF chip, along with a much more sensor featuring three autofocus settings, including
and independently manufactured generous ISO range of 100-6400 the DigiC iv chip a face recognition option. For more
full-frame lenses, making the most (25600 expanded), compared with
of wide-angle extremities. For digital the meagre ISO 100-1600 (3200
photographers, the switch from expanded) range of its bigger brother.
APS-C to a full-frame 5D can be more Around the back, the three-inch
painful because, unlike with rival LCD is almost infinitely better than
Nikon and Sony bodies, the 5D has no that of the 1Ds Mark III, with a much
‘crop’ mode and is incompatible with higher resolution of 920,000 pixels
any Canon EF-S lenses that you might as opposed to a paltry 230,000 pixels.
already have. The same is true for the The 5D Mark II’s LCD screen also has
newer 5D Mark II, although the exceptional picture quality, with much
current body includes a veritable more accurate brightness and contrast
armada of major updates. in its default setting than the LCDs
Headline features kick off with a on either of the Nikon or Sony bodies
21.1Mp CMOS sensor that’s virtually on test. Another neat trick is that the

Digital Camera september 2010

kitzone 123

full-frame Cameras tested

Around the back... Canon eos 5D mark ii

FeeLing tReAteD
With so many buttons, none of your fingers will feel left out
The viewfinder Along with the
is typically big main dial just
it's the only full-frame
and bright, but behind the
camera in its class that
does lack a virtual shutter button,
can shoot full HD video
grid overlay this gives quick
access to
enabled by
The three-inch, dual-function
920,000 pixel buttons
LCD is highly
Sockets for flash accurate and The eight-
terminal, remote, mic, comes with way joystick-
Av out, USB and HDmi auto-brightness type Multi-
adjustment controller
based on is good for
ambient lighting selecting
conditions AF points

The magnify button

dumps you into the AF
point selection screen
FeeLing CHeAteD

The strap slots are disappointingly Quick access to metering mode, white The 'green square' full auto mode is
Quick Control dial is basic for a camera of this class, balance, AF mode, drive mode, iSO a bit superfluous, but there are three
limited if you don't flip compared with competing models and flash exposure compensation separate Custom User settings
the on/off switch

joystick-like eight-axis Multi- as immediately available as possible,

controller for adjusting various without being over-cluttered.
parameters such as setting the AF Like other Canon D-SLRs, the
point or for accessing and navigating menu is quite straightforward, but
the intuitive Quick Control screen. this comes at the expense of many
After setting the main on/off of the finer points being consigned
switch to its secret third position, you to arcane ‘custom function’ settings.
can use the additional Quick Control For example, four levels of auto
dial, positioned just below the lighting optimisation (none of which
Multi-controller, for quick and easy work as effectively as Nikon’s Active
exposure compensation settings. D-Lighting) and four levels of high
The dial is also handy for making full ISO noise reduction are hidden away
use of the dual-operation buttons on in one of four Custom Function
the top panel, situated just in front menus. At least you can assign some
of the top plate LCD. These work in of your most-used functions to the
regular shooting, the viewfinder Above in the hand, conjunction with both the Multi- customisable My Menu screen, and
doesn’t quite give the same 100% the 5D mark ii’s controller and the main dial, doubling there are also three sets of Custom
magnesium alloy
coverage as the mammoth 1Ds Mark body feels nicely up button operations for metering Shooting Modes, accessible direct
III, but it’s pretty close behind with chunky and solid mode/white balance, autofocus mode/ from the Mode dial.
98%, matching the Sony a850 and drive mode and ISO/flash exposure
slightly bettering the 95% coverage compensation. Overall, the layout
of the Nikon D700. successfully treads the fine line of
In the hand, the 5D Mark II’s making as many shooting parameters FeATUreS HANDLiNg
chunky and solid magnesium alloy
body is a real step up from lightweight
Canons like the 450D and 550D, with “It’s easy to find your way around, imAge QUALiTY vALUe

a layout that’s very similar to the 50D.

It’s easy to find your way around, with
with a plethora of dedicated buttons
a plethora of dedicated buttons, plus a and a joystick-like controller” Overall
Digital Camera september 2010
d-slr group test

Nikon d700
of the D700’s DX mode, enabling the
use of DX (APS-C specific) Nikon
lenses, even though the maximum
image resolution takes a further
Astonishingly versatile, it’s your flexible friend knock, reducing the picture size to
just 5.1Mp. It’s not ideal, but it’s still
herever there’s a rule of have. Moreover, the layout of control a bonus compared with the Canon

W thumb, somebody has

to break it. In this case,
it’s Nikon, because while
buttons and dials is all but identical.
The most noticeable difference is that
the secondary LCD on the top plate
5D Mark II.

AmAzing AF
full-frame cameras are normally more is slightly smaller and lacks some of Below The D700 When the going gets tough, the D700
popular with studio and landscape the information shown on the APS-C is a perfect step- really gets into its stride. Whereas the
up to full-frame
photographers, and APS-C is more cameras, although the main LCD at photography if
Canon and Sony cameras in the group
suited to sports and wildlife, the the rear does feature an interactive you’re a D300 have nine-point AF systems (albeit
D700 is more of a compromise. Sure, Info screen, as per the D300s. or D300s owner with additional ‘assist’ AF points) and
you get all the wide-angle benefits for The main LCD itself is overly
landscapes and tight depths of field bright in its default setting, so when
for portraiture, but image resolution you’re reviewing photos, they can
is lacking at a paltry 12.1Mp – only appear over-exposed when they’re
about half that of competing cameras. not. The defect is easily remedied by
However, its continuous frame rate turning down the LCD brightness to
of 5fps is the fastest on offer, and you -2 or -3 in the menu setting. It’s well
can boost this to 8fps by fitting the worth doing, especially for portraits,
optional MB-D10 battery grip. because otherwise skin tones that
The D700 is a perfect step-up look vibrant and gorgeous on the LCD
to full-frame photography for D300 will turn out to be lacklustre when
or D300s owners, who can use you download your photos.
exactly the same battery grip and Nikon users making the step up
spare camera batteries they already to full-frame can also take advantage

Digital Camera september 2010

kitzone 125

full-frame Cameras tested

Around the back... nikon D700

FeeLing tReAteD
Keep your options open with almost limitless customisation
This camera’s 95% The eight-way
coverage is low but Multi-selector
Hugely versatile with an
the viewfinder features an
almost endless list of
is very clear, with independent
customisation options
the option of a centre-button,
superimposed grid to which you
can assign
The LCD is too
bright by default
but, once Switch between
Active D-Lighting, adjusted, gives single-point,
metering and autofocus highly accurate, dynamic area
systems are all superb detailed and auto area
pictures with AF options
pin-sharp easily with the
920,000-pixel AF area mode
resolution selector

Lacks the outright

resolution of
competing cameras
FeeLing CHeAteD

This mechanism closes the viewfinder The pop-up flash is quite low in power Lacks a mode dial, but the mode button
No video capture window internally, to avoid exposure and small in size, but it can get you out works well enough, used in conjunction
facility, but you still get inaccuracies when using a tripod of a jam if you don’t have a flashgun with the main Command dial
an HDmi output

camera’s Active D-Lighting feature, never going to be as good as using a

taming highlights while boosting proper flashgun, but it’s a whole lot
shadows to give beautifully balanced better than nothing.
exposures. There are high, normal and Underneath the tough magnesium
low alternatives for Active D-Lighting alloy shell, which features plenty
but the Auto mode works a treat of weather-proof seals, there’s
practically every time. Nikon’s usual range of customisable
With so much that’s genuinely finery. The Shooting and Custom
impressive, it’s frustrating that Nikon Settings menus are almost endless,
doesn’t make any higher-resolution with options to assign four banks
full-frame cameras, short of the of custom shooting modes plus an
£5,000 D3x. At least there’s an extra four banks of custom settings
upside to the relatively low 12.1Mp on modes, which you can name for easy
offer, which comes to the fore under future reference, calling them up with
dull or indoor lighting conditions. a couple of button clicks. There’s
only one cross-type sensor at the Above The 3D You can really push the ISO rating and also a customisable My Menu screen
centre, the D700 has an amazingly Colour matrix ii still get wonderfully smooth, grain- on which you can assign oft-used
metering system
versatile 52-point AF system with automatically free results without having to resort setting options. All in all, the D700 is
15 cross-type sensors, hooked up to delivers ideal to flash. And when you’re shooting supremely versatile inside and out.
a brilliant 3D tracking system that’s exposure settings outdoors and want a little fill flash
super-fast and unerringly accurate for sunny day portraits, the D700 can
for moving targets. do that too, as it’s the only camera in
Similarly, Nikon’s 3D Colour its class to feature a pop-up flash. It’s FeATUreS HANDLiNg
Matrix II metering system made
the best job of automatically
delivering ideal exposure settings “There are high, normal and low imAge QUALiTY vALUe

under particularly tricky lighting

conditions. Better still, the metering
alternatives for Active D-Lighting
system harmonises superbly with the but the Auto mode works a treat” Overall
Digital Camera september 2010
d-slr group test

sony a850
itself is based on a system with nine
selectable points plus a further ten
‘assist’ points. Like the Canon, only
the centre point is a bi-directional
Alpha by name, but can it really beat the big boys? cross-type sensor, whereas the Nikon
boasts 15 cross-type sensors in its
step down from Sony’s seals. Under the skin, dual Bionz bigger 51-point array. In practice,

A original a900 full-frame

offering, the newer a850
is nevertheless almost
image processors team up to tackle
the high-resolution output of the
sensor, which itself is unique in
autofocus proved very accurate in our
tests but was quite sluggish locking
on to static subjects and struggled
identical in most areas, but with a the group by featuring sensor- Below Autofocus to track moving targets, especially
significant price reduction, making it shift stabilisation. The so-called was accurate, but compared with the Nikon D700.
slow in locking on to
the cheapest full-frame camera on the SteadyShot INSIDE system gives a static subjects and
There are the usual options of
market. Compared with the a900, it two-stop anti-shake advantage, which struggled to track Multi-segment, Centre-weighted
still boasts the same CMOS sensor, isn’t a match for the latest four-stop moving targets and Spot metering, all of which are
with a class-leading resolution of optical stabilisers fitted in many
24.6Mp and all of the same controls. current lenses, but at least it has the
The only notable changes are that bonus of working with any attached
the memory buffer is smaller and the lens. And speaking of lenses, you can
maximum frame rate is reduced from also use those designed for smaller-
5fps to a particularly pedestrian 3fps. sensor cameras, thanks to an APS-C
Viewfinder coverage also shrinks to shooting mode, which crops the
98%, but that’s still on a par with the resolution to a still-useful 11Mp.
Canon EOS 5D Mark II and is slightly
better than the Nikon D700. AutoFoCus
The a850 has a clunky design Like the Canon and Nikon cameras
but a good, solid feel based on an on test, the Sony features AF micro-
aluminium chassis and magnesium adjust for fine-tuning autofocus
alloy shell, with plenty of weather- for individual lenses, and autofocus

Digital Camera september 2010

kitzone 127

full-frame Cameras tested

Around the back... sony a850

FeeLing tReAteD
there’s a lot more going on than with most sony s-slrs
With slightly The C button
downsized gives quick
The highest resolution
coverage access to
in its class delivers the
compared with Creative Styles
ultimate in detail
the a900, the while the Fn
a850 still button pops the
manages 98% excellent Quick
Navi menu up
on the LCD
Like the Nikon
LCD, this
three-inch The a850 is in
Four different focus 921,000-pixel a minority of
modes are available screen is too one in this class
from the rotary control bright by default, of full-frame
but it's simple cameras,
enough to turn offering
the brightness sensor-shift
down stabilisation

image noise is
disappointing at
anything above iSO400
FeeLing CHeAteD

The disappointingly small top plate Three custom user settings are The distinctly non-standard hotshoe
The lack of Live view is LCD only displays a bare minimum assignable to the mode dial, for instant means you won't be able to fit many
annoying, as it’s useful of information access to favourite shooting options aftermarket goodies
for macro work

and adjust it afterwards, using the reach of the shutter button. And
straightforward yet powerful Image even though the top panel LCD is
Data Converter SR program that Sony disappointingly small, the so-called
gives away with the camera. Quick Navi menu displayed on the
In some respects, the a850 is rear LCD is particularly good, even
found wanting. Not only is there no if the LCD itself is overly bright, our
movie capture mode, but the Sony review sample needing to be turned
also lacks Live View shooting, which down by a couple of notches to give
has become a standard feature on a reasonably accurate display.
even basic D-SLRs. Customisation Sadly, while the a850 delivers
options for shooting settings are a essentially noise-free results at its
little limited, but at least you get three base sensitivity setting of ISO200,
custom shooting settings, which are you don’t have to push it very far
easily assigned to the Mode dial. before images start to look grainy.
Sony has also cut back on the size Noise becomes quite noticeable at
impressively accurate. Dynamic Above The A850 of the top plate LCD, which only gives anything over ISO400, making the
range gets a boost for tricky lighting lacks both movie the barest minimum of information. Sony a bit of a fair-weather friend,
capture mode and
conditions thanks to a built-in Live view shooting, On the plus side, this makes more and of relatively limited use as an
D-Range Optimizer. This has which has become room for big, independently placed indoor tool.
off, standard and advanced auto standard on D-SLrs buttons with plenty of space around
options, along with no less than five them, for direct access to exposure
individually selectable manual levels. compensation, drive mode, white
Even so, it can’t quite knock Nikon’s balance and ISO, all within easy FeATUreS HANDLiNg
Active D-Lighting off its perch as the
top performer. Indeed, there can be
quite a lot of guesswork involved in “The so-called SteadyShot INSIDE imAge QUALiTY vALUe

deciding which D-Range Optimizer

setting to use in any given situation,
system has the bonus of working
so it’s usually better to shoot in RAW with any attached lens” Overall
Digital Camera september 2010
slr group test

Image qualIty IN foCus

download the raW files and data from our website at www.photoradar.com/testing

CaNoN eos 5d NIKoN d700 soNy a850

outdoor test

images are super-sharp and highly detailed very punchy colour and contrast but, in vivid very consistent metering but Auto White
with very natural colour rendition – what you mode, landscape greens tend to go on a bit of Balance is a more moveable feast, and colour
see is what you get. an acid trip. rendition can be a little bland.
portraIt test

Beautiful skin tones in standard portraits, even in this image, skin tones are rich and vibrant, Flattering skin tones are harder to achieve
better in high-key shots, where the 5D comes retaining plenty of detail in highlights and than with the competition, the a850 leaning
over all dreamy and ethereal. shadows alike. towards a more muddy appearance.
NoIse test

iSO100 iSO200 iSO200

iSO6400 iSO6400 iSO3200

Noise is very well contained considering the The upside of the relatively low resolution Noise is the Achilles heel of the Sony A850,
21mp resolution, but becomes noticeable at sensor is that noise is generally a non-issue, rearing its ugly, grainy head even at modest
very high iSO ratings. even at high iSO settings. iSO settings.
Colour test

Outright accuracy in colour rendition was Top of the class for colour accuracy in our lab Colour hues are generally accurate using
disappointing in our lab tests but, in most tests, helped by highly accurate Auto White the a850, white balance vagaries aside,
real-world shots, colours look spot on. Balance in wide-ranging lighting conditions. but saturation can be a little muted.

imAge TeST verDiCT imAge TeST verDiCT imAge TeST verDiCT

For subsequent editing, the emphasis on High-impact images are the D700’s forte, good performance on a sunny day but
accuracy rather than pumped-up colour with rich colour and plenty of contrast, the a850 struggles in trickier conditions
and contrast is no bad starting point, coupled with highly accurate metering and excessive image noise at high iSOs
delivering convincing results. and silky-smooth noise abatement. makes it a low-light under-achiever.

Digital Camera september 2010

kitzone 131

Find out how

full-frame Cameras tested
we test on
page 104
slr BeNCHmarKs HoW tHe
See how each camera fared in our lab tests
eXPOSUre errOr Lowerscoresarebetter
Canon 5D mK ii
Canon 5D mark ii Nikon D700 Sony a850
Nikon D700
Contact www.canon.co.uk www.nikon.co.uk www.sony.co.uk
Sony a850
street price £1,690 £1,760 £1,500

0 0.1 0.2 0.3 sensor 21.1mp Cmos 12.1mp Cmos 24.6mp Cmos
memory Compactflash Compactflash Compactflash

NOiSe Lowerscoresarebetter (udma) (udma) (udma), memory stick

Viewfinder pentaprism, pentaprism, pentaprism,
Canon 5D mK ii
0.71x, 98% coverage 0.72x, 95% coverage 0.74x, 98% coverage
Nikon D700
LCD screen 3-inch, 920k pixels 3-inch, 920k pixels 3-inch, 921k pixels
Sony a850
iso range (expanded) Iso100-6400 Iso200-6400 Iso200-3200
0 0.5 1 1.5 2 (50-25600) (100-25600) (100-6400)
Autofocus points 9-point af 51-point af 9-point af
COLOUr ACCUrACY Closestscoreto100isbest (1 cross-type) (15 cross-type) (1 cross-type)

Canon 5D mK ii shutter speeds 1/8000-30 sec, Bulb 1/8000-30 sec, Bulb 1/8000-30 sec, Bulb
max burst rate 3.9fps 5fps 3fps
Nikon D700
(8fps with battery grip)
Sony a850
Pop-up flash None yes None
0 20 40 60 80 100 (gN 17m, Iso200)
Live View yes yes None
DYNAmiC rANge Higherscoresarebetter (3 autofocus modes) (2 autofocus modes)
Canon 5D mKii Video capture 1080p None None

Nikon D700 Body (WxHxD) weight 152x114x75mm, 810g 147x123x77mm, 995g 156x117x82mm, 850g

Sony a850 FeAtuRes

5 5.5 6 6.5 7
imAge QuALitY
Our tests showed that in a controlled environment all SLrs were close
in performance. The Nikon out-performed the others on both noise
and colour accuracy, but this was partially due to its smaller resolution.

tHe DigitAL CAmeRA VeRDiCt

CaNoN rules tHe full-frame roost

For full-frame with a full feature set, the 5D Mark II takes the honours
ost of us expect high Naturally, no camera is perfect, ultimately makes the D700 feel a bit

m resolution, ultra-wide
angle benefits and a host
of compatible accessories
and the 5D Mark II does have its
weak points, which include a sluggish
maximum frame rate of 3.9fps
like a Jack of all trades. There’s no
doubt it’s a very good compromise
between a portrait, landscape, sports
from a full-frame camera and, in all in continuous shooting mode – and wildlife camera, but it doesn’t
these respects, the Canon EOS 5D although that’s still faster than the really excel in any one area.
Mark II is right on the money. Sony a850’s 3fps. The Sony a850 offers the outright
Its 21.1-megapixel CMOS sensor The Nikon D700 is faster in highest resolution in its class, but is
and DIGIC IV image processor this respect, at 5fps, which you let down by a slight lack of finesse in
combine brilliantly to give truly can boost to 8fps by fitting the operation, and disappointing image
spectacular image quality, making optional MB-D10 battery grip, but noise at medium to high ISO settings.
the most of Canon’s huge range the D700’s image resolution of
of L-series EF lenses and other 12.1Mp is quite disappointing.
accessories. It’s also the only camera Despite offering great image “The 21.1Mp CMOS sensor and
in its class to offer video capture
facilities, and full High-Definition
quality and an unbeatable range
of customisable shooting options,
DIGIC IV image processor give
1080p video at that. this downsizing in resolution spectacular image quality”
Digital Camera september 2010
slr group test

1st CaNoN
eos 5d marK II
from its 21.1mp sensor to impressive live View
options and full High-definition video capture
capability, just about everything you could
wish for is packed into a compact body that’s
wonderfully easy to live with.
What’s good: High resolution, wide-ranging
shooting options and an enviable list of quality
lenses and accessories.
What’s bad: Custom functions could be
more accessible and maximum continuous
shooting rate is sluggish.
Our verdict: despite a couple of reservations,
the 5d mark II ticks all the right boxes for a
compact full-frame camera.

d-slr test
Your at-a-glance
guide to how each
2Nd NIKoN d700 camera performed 3rd soNy a850
although it lags behind in the resolution stakes,
the d700 simply takes beautiful pictures with
in our tests Identical to the original a900 in most respects,
the a850 has a lot to offer, including a class-
the minimum of fuss and bother, making light leading 24.6mp resolution and dual image
of even the trickiest shooting scenarios. processors, making it a powerful package for
What’s good: Brilliant metering and autofocus the money.
performance, plus an incredible range of What’s good: It’s the cheapest full-frame
customisation options. camera on the market but is well built and
What’s bad: 12.1mp sensor fails to deliver the offers good all-round image quality.
‘bigger picture’ that you’d normally expect from What’s bad: disappointing image noise at
the latest full-frame cameras. medium to high Iso ratings, sluggish autofocus
Our verdict: solid and dependable, the d700 and continuous shooting rate, and there’s no
is a good compromise between full-frame live View.
benefits and fast continuous drive speeds. Our verdict: It’ll save you about £200 or more
compared with the competition but comes up
a little short on quality and features.

a big thanks to Bovington tank museum. for more information, go to www.tankmuseum.org

Digital Camera september 2010

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to burn?
Don’t rely on your SLR’s
Every SLR and interchangeable lens camera on the market reviewed by Digital
built-in flash. Get a proper
‘gun for the best results Camera, plus our verdicts. Use it to decide which camera kit is best for you…

Product Price Sensor type Contact Reviewed

Canon EOS 450D £507 APS-C, CMOS, 12.2Mp www.canon.co.uk, 01737 220000 Issue 73
Our verdict: The 450D’s features and handling are excellent, but its picture quality is variable. As with other EOS cameras, you need to shoot RAW files for the best
definition. It’s quick to blow highlight details, too, so it’s important to keep a close eye on the exposure.

Canon EOS 500D £520 APS-C, CMOS, 15.1Mp www.canon.co.uk, 01737 220000 Issue 87
Nikon SB-900 AF Our verdict: Though the specification (and price) might be a bit excessive for the first-time SLR user, if you want a compact Canon with HD video and ample room
Speedlight to grow into, consider the 500D. Advanced beginners who can live without the HD may as well step up to the similarly priced Canon EOS 50D.
Price: £330
Canon EOS 550D £634 APS-C, CMOS, 18Mp www.canon.co.uk, 01737 220000 Issue 98
Contact: www.nikon.co.uk, Our verdict: Don’t buy the 550D solely for its resolution, because this doesn’t necessarily translate into extra real-world definition. Canon’s 18-55mm kit lens
0800 230220 is a little weak too. However, the design and handling, high ISO performance and full HD Movie mode really are exceptional.
Reviewed: Issue 97
Canon EOS 50D £689 APS-C, CMOS, 15.1Mp www.canon.co.uk, 01737 220000 Issue 79
Our verdict: Boasting full Our verdict: Canon seems to have thrown everything but the kitchen sink at the EOS 50D in a bid to re-assert itself in the semi-pro market. In doing so it’s
wireless master/slave control produced a great camera, and while it might not convert existing Nikon and Sony owners, it’s the ideal upgrade for any Canon user.
and a Strobe flash mode in
addition to standard modes, Canon EOS 7D £1,200 APS-C, CMOS, 18Mp www.canon.co.uk, 01737 220000 Issue 93
Our verdict: The 7D is incredible. Picture quality is excellent and the focus is sharp and speedy, although that’s no guarantee that all your action shots will
the Nikon is amazingly quick be sharp. The technology is great, but for many non-pro users the package may offer too many choices and be just a bit over-engineered.
and easy to use. This is a truly
professional flashgun. Canon EOS 5D Mark II £1,690 Full-frame, CMOS, 21.1Mp www.canon.co.uk, 01737 220000 Issue 82
Our verdict: If looks, build, design and handling were the only criteria, the EOS 5D Mark II would perhaps be the most desirable full-frame SLR of all. But the
D700 and the Sony a900 are both so good for picture quality that, despite its 21 million pixels, the Canon has a real fight on its hands.

Canon EOS-1Ds Mark IV £3,724 APS-H, CMOS, 16.1Mp www.canon.co.uk, 01737 220000 Issue 98
Our verdict: This is an outstanding camera with excellent performance and quality of images. Images shot at impressively high ISOs deliver well,
and metering and colour rendition is accurate right out of the box. Unlikely to disappoint.

Canon EOS-1Ds Mark III £5,249 Full-frame, CMOS, 21.1Mp www.canon.co.uk, 01737 220000 Issue 69
Our verdict: There’s no doubt about it, Canon’s EOS-1Ds was, at the time of its release, the Rolls-Royce of digital SLRs. The build quality is beyond reproach and
the degree of customisation is awesome.

Nissin Di866 Nikon D3000 £299 APS-C, CCD, 10.2Mp www.nikon.co.uk, 0800 230 220 Issue 91
Professional Our verdict: While Nikon’s D3000 is certainly beginner-friendly, it’s by no means perfect in that respect. Nonetheless, the camera is competitively priced,
Price: £210 performs capably and the GUIDE mode works well.
Contact: www.nissindigital.
Nikon D5000 £468 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 87
com, 01793 615836 Our verdict: The D5000 is a well thought-out SLR with something for everyone. Its 720p video recording mode is not as versatile as that of Canon’s 500D,
Reviewed: Issue 97 but the addition of extra features, like the innovative Scene Recognition System and articulated LCD, are enough to make this a very desirable camera.
Our verdict: An astonishingly
advanced flashgun for the Nikon D90 £620 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 79
Our verdict: For this kind of money you can get cameras with pro levels of build quality, features and resolution. But while it’s not the best in every respect,
money, the Nissin is packed the D90 blitzes the rest overall, partly because of its huge list of features and partly because it’s so consistently good at everything it does.
full of handy features and is
a delight to use. It’s got a Nikon D300s £1,138 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 92
Our verdict: Stills performance is outstanding – it’s quite hard to take a bad picture with this camera. The camera is fast, smart and built to last, with impressive
particularly clear menu system performance at higher ISOs. It’s a shame the video performance is lagging behind, but if you mainly want to shoot stills, this is a great buy.
and intuitive interface.
Nikon D700 £1,764 Full-frame, CMOS, 12.1Mp www.nikon.co.uk, 0800 230 220 Issue 77
Our verdict: The D700 is a superb professional camera, which is capable of producing some amazingly crisp, artefact-free images and has a high-ISO
performance that continues to amaze. Hardcore full-frame fans might hope for a cheaper entry-point, though.

Nikon D3s £3,588 Full-frame, CMOS, 12.1Mp www.nikon.co.uk, 0800 230 220 Issue 95
Our verdict: Nikon’s made some important enhancements to the original D3, making it even better at high ISOs, incorporating a D-Movie mode, adding the
dust-removal system, in-camera RAW processing and more. It’s a refresh rather than a new camera, though, and it’s been paid for with a major price hike.

Nikon D3x £4,834 Full-frame, CMOS, 24.5Mp www.nikon.co.uk, 0800 230 220 Issue 83
Our verdict: This camera is designed for one purpose – high resolution at low ISO settings, and it does its job very well, but the problem with the D3x is that
all of its systems are inherited from the D3. A superb camera, no doubt, but one that’s already ageing.

Metz Mecablitz 58 AF-1 OLYMPUS

Price: £270
Olympus E-450 £373 Four Thirds, Live MOS, 10Mp www.olympus.co.uk, 0800 111 4777 Issue 87
Contact: www.metzflash.co.uk, Our verdict: If you want to only look at pixels, you might decide the E-450 lags behind other 10Mp D-SLRs, but that’s only part of the story. This is a compact,
01628 674411 well-featured camera with a decent kit lens, which goes well towards offsetting the smaller sensor.
Reviewed: Issue 97
Olympus E-520 £500* Four Thirds, Live MOS, 10Mp www.olympus.co.uk, 0800 111 4777 Issue 75
Our verdict: The Mecablitz Our verdict: It’s probably not going to attract a rush of existing E-510 owners into an upgrade, but the wealth of functions, the great image quality and keen
offers much of the advanced pricing will surely attract plenty of first-time buyers. This is probably the best mini hatchback of the D-SLR world, producing great colour and vibrant images.
functionality of Canon or Nikon
flashguns but costs much less. Olympus E-620 £499 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 86
Our verdict: It’s tempting to focus on a specific area when reviewing cameras and overlook the rest. If the E-620 has a disadvantage compared with APS-C
There’s a wealth of pro-end cameras, it’s a slight one, and outweighed by its handling, controls and flexible viewing system.
features, but some are buried
beneath the slightly arcane Olympus E-30 £739 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 83
menu system and interface. Our verdict: This is a great upgrade for existing Olympus E-series users. Those who are more interested in pixel peeping and cheap lenses may not like it, but if
you enjoy creative photography then the Olympus E-30 is a great camera that deserves a closer inspection.

Digital Camera September 2010



Product Price Sensor type Contact Reviewed
Olympus E-3 £977 Four Thirds, Live MOS, 10.1Mp www.olympus.co.uk, 0800 111 4777 Issue 68

to burn?
Our verdict: Olympus did everything it possibly could to make a camera that could match the build quality and imaging performance of the much-loved
E-1. In this it has succeeded by a good margin. The E-3 is rugged and a delight to shoot with.

PENTAX Super-telephotos
Pentax K-x £414 APS-C, CMOS, 12.4Mp www.pentax.co.uk, 0870 7368299 Issue 94
Our verdict: Other makers concentrate on smooth, slick, electronic finesse before hands-on photographic tools. Pentax does it the other way round. Get close to the action with
First impressions can be negative as a result, but the K-x reaffirms Pentax’s forte: making gutsy, old-style SLRs. a quality zoom, without
Pentax K-7 £725 APS-C, CMOS, 14.6Mp www.pentax.co.uk, 0870 7368299 Issue 88
spending silly money
Our verdict: There is much to like and enjoy on the Pentax K-7. It’s a quality product with great handling, plenty of features and it delivers image files that are
capable of big prints. Its price could put off the uncommitted, but existing Pentax owners should form a queue.

Sony Alpha a230 £290 APS-C, CCD, 10.2Mp www.sony.co.uk, 08700 104107 Issue 100
Our verdict: Overall, the a230 is a reasonable budget-buy SLR for those who like to stick to Full Auto or Program shooting modes, but more adventurous
photographers will more than likely find the camera a little too restrictive.

Sony a390 £400 APS-C, CCD, 14,2Mp www.sony.co.uk, 08700 104107 Issue 103
Our verdict: The a390 is versatile and cheap, but it’s also unrefined and not particularly nice to handle. It’s a solid budget buy, but will suffer tough competition
from the new interchangeable lens hybrids.
Sigma 150-500mm
Sony Alpha a380 £439** APS-C, CCD, 14.2Mp www.sony.co.uk, 08700 104107 Issue 90 f/5-6.3 DG OS HSM
Our verdict: Ultimately, this is an entry-level camera, and as such, we think it succeeds. For the price, the Sony Alpha a380 is a great bargain, but the omission Price: £699
of an HD video recording function is disappointing, especially from Sony.
Contact: www.sigma.co.uk,
Sony Alpha a450 £480*** APS-C, CMOS, 14.2Mp www.sony.co.uk, 08700 104107 Issue 100 01707 329999
Our verdict: Compared with similarly priced SLRs, the a450 fails to give such satisfying results and quality is more inconsistent. Image quality is average and Reviewed: Issue 92
metering errors can be a problem – over-exposure is common.
Our verdict: The zoom ring is
Sony Alpha a500 £479 APS-C, CMOS, 12.3Mp www.sony.co.uk, 08700 104107 Issue 101 smooth and easy to control,
Our verdict: This 12.3Mp Sony is cheaply priced and battery life is good. The camera offers better handling than some of Sony’s older D-SLRs, but the feature and the four-stop Optical
set is disappointingly basic and custom functions are few and far between. Stabilizer is useful. There’s also
Sony Alpha a850 £1,839 Full-frame, CMOS, 24.6Mp www.sony.co.uk, 08700 104107 Issue 97
fast, quiet and accurate HSM
Our verdict: The a850 is beautifully designed, and in handling terms can teach its rivals a thing or two. However, the lack of an ISO readout in the viewfinder, plus AF, complete with full-time MF
the absence of Live View, is a serious weakness. The price is attractive though. override and good build quality.
Sony Alpha a900 £1,998 Full-frame, CMOS, 24.6Mp www.sony.co.uk, 08700 104107 Issue 80
Our verdict: Sony’s done an extraordinary job in getting such a good full-frame D-SLR to the market. But while its Canon and Nikon rivals ooze class, the a900 still
has a few rough edges and Sony’s yet to prove it can match Nikon and Canon’s pro lenses.


Olympus E-P1 £485 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 90
Our verdict: The E-P1 is an unusual camera with undeniable appeal but rather too many flaws. And if it’s serious about prising open a Micro Four Thirds-sized
gap in the digital camera market, this seems a pretty odd camera to do it with.
Sigma 120-400mm
Olympus E-P2 £744 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 97 f/4.5-5.6 DG OS HSM
Our verdict: The PEN E-P2 is a huge improvement on its predecessor, thanks to its excellent electronic viewfinder. This alone makes it a much more viable Price: £599
alternative to a conventional D-SLR. The lack of built-in flash, however, is a serious weakness – and one that you can’t correct without then losing the viewfinder. Contact: www.sigma.co.uk,
01707 329999
PANASONIC Reviewed: Issue 92
Panasonic G1 £440*** Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 81 Our verdict: Chromatic
Our verdict: The G1 impresses with its very good electronic viewfinder, lightning-fast AF, excellent lens and strong, natural colour rendition. But after a while you aberration is all but non-
may find yourself hankering after the simplicity and clarity of an old-fashioned optical viewfinder, and a smaller and simpler set of controls.
existent, while multi-layer lens
Panasonic G2 £540 Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 101 coatings reduce ghosting and
Our verdict: Priced keenly for a so-called HD-SLR – but refusing to skimp in other areas. The rotating, touch-control screen is a luxury feature. The sticking point is flare. Sharpness and contrast
the camera system. Lenses for Four Thirds mounts are still thin on the ground, so this isn’t a camera we’d recommend, say, for the wildlife or sports photographer.
are extremely good throughout
Panasonic GF1 £439 Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 99 the zoom range.
Our verdict: With its sleek design, outstanding lens quality and handy creative modes, the GF1 is a force to be reckoned with. It’s ideal for beginners with its
simple-to-use functions, and perfect for pros who want a small compact body to fit in their bag as a back-up.

Panasonic GH1 £899 Four Thirds, Live MOS, 12.1Mp www.panasonic.co.uk, 0844 844 3852 Issue 89
Our verdict: Despite solid all-round picture quality and a wealth of features, the GH1 costs more than double the price of the original G1 package. For the same
money or less, you can get a ‘full size’ D-SLR like the Canon 500D or Nikon D90, complete with superzoom lens.

Samsung NX10 £474** APS-C, CMOS, 14.6Mp www.samsungcamera.co.uk, 0845 67267864 Issue 100
Our verdict: The NX10 is an impressive camera. Colour quibbles aside, it delivers a level of image quality you wouldn’t expect at this price, thanks mostly to its
first-rate kit lens. However, an articulating LCD would make it even better and, small as it is, the NX10 is still closer in size to an SLR than a compact.
Canon EF 100-400mm
SONY f/4.5-5.6L IS USM
Sony NEX-5 £600**** APS-C, CMOS, 14.2Mp www.sony.co.uk, 08700 104107 Issue 102 Price: £1,290
Our verdict: This camera is a great achievement in so many ways, but it’s also a disappointment in others. Sony has spent so much time developing clever Contact: www.canon.co.uk,
features and fancy technology that usability seems to have taken a back seat. 01737 220000
Reviewed: Issue 92
Our verdict: Gives outstanding
Three of the best cameras for High-Definition video contrast and sharpness
throughout the range, even at
Canon EOS 7D Panasonic Lumix GH1 Nikon D90 the widest apertures. Flare and
Price: £1,200 Price: £889 Price: £620
Contact: www.canon.co.uk, Contact: www.panasonic.co.uk, Contact: www.nikon.co.uk
aberrations are well controlled,
01737 220000 0844 8443852 0800 230220 but you can get similar optical
Reviewed: Issue 93 Reviewed: Issue 89 Reviewed: Issue 79 quality in cheaper Sigma glass.

* Includes 14-42mm kit lens ** includes 18-55mm kit lens *** including 14-45mm kit lens **** including 18-55mm kit lens
All prices body only unless otherwise stated. Prices are street prices, based on prices sourced from a selection of well-known retailers at the time of going to press, and correct at the time of going to press. Digital Camera September 2010

CAMERABAG SPY What’s versatile portrait

and travel photographer
John Freeman taking with
WE TAKE YOU INSIDE A TOP PRO’S KITBAG him on shoots these days?
simple but really CASE
effective light shaper “This Pelicase has
that I use when I want accompanied me all
to lift a background, say, over the world, yet it’s as
or put a controlled robust as ever. It holds
amount of light onto and protects just
a model’s hair.” about my entire
Canon kit.”

TUBES “The Canon EOS-1Ds
“These are great with Mark III is my workhorse
my 70mm Canon lens as D-SLR and a great piece
they allow me to get of kit. It’s so robust. It’s
close, but leave a had some bad knocks
comfortable distance but keeps going.”
between me and
my subject.”

“I only got this a year
ago. It’s so light and
portable and therefore
absolutely great for
using when I’m out
on location.”

Grafit A4 microprocessor “I use a Canon EF “These are great little
controlled packs for 25 70-200mm f/2.8L IS II attachments for my
years and have always USM and Canon EF flash heads and give me
found them the most 24-70mm f/2.8L USM. the option of strong
reliable around.” They’re utterly reliable directional lighting
and the optics are when taking
just superb.” portraits.”
Digital Camera September 2010
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EOS 1000D EOS 500D EOS 50D

EOS 550D
• 18 Megapixels
• C-MOS Sensor
• Live View
• HD Video Mode
• ISO 12800
• 3.7 fps


Body Only £319.99 Body Only £529.99 EOS 550D Body Only £643.00 Body Only £689.00
Inc. 18-55mm £369.00 Inc. 18-55mmIS £569.00 EOS 550D inc. 18-55mmIS £699.99 Inc.17-85mmIS £979.00
EOS 550D inc. 18-135mmIS £899.99 Inc.18-200mmIS £999.00

Canon LP-E5 Battery...................£44.99 Canon LP-E5 Battery...................£44.99 Canon LP-E8 Battery...................£49.99 BG-E8 Canon BP-511A Battery.............£99.99
Canon BG-E5 Grip..................£119.99 Canon BG-E5 Grip..................£119.99 Canon BG-E8 Grip..................£149.99 Canon BG-E2N Grip...............£149.99
Canon 60-E3 Remote Switch..... £24.99 Canon 60-E3 Remote Switch..... £24.99 Hama 60-E3 Remote Switch.......£20.99 LP-E8 Battery 60-E3 Remote Switch
Canon 80-N3 Remote Switch.....£45.99

EOS Professional EOS 1D MkIV EOS 1Ds MkIII



£75! • 1:1 CMOS Sensor £150!

• HD Video Mode
• ISO 25600
• 3.9 fps

16.1 21.1
• HD Video Mode • Live View • Full Frame CMOS Sensor
Body Only £1249.00 EOS 5D MkII Body Only £1694.99 • ISO 102400 • 10 fps • ISO 1600 • 5 fps
Inc. 18-135mm £1462.00 EOS 5D MkII inc. 24-70mm £2598.00
EOS 5D MkII inc. 24-105mm L IS USM £2327.00 Body Only £3723.00 Body Only £5299.99
Canon LP-E6 Battery...................£79.99 Canon LP-E6 Battery.................£229.99 LP-E6
Battery BG-E6 Grip 80-N3
Canon LP-E4 Battery.................£129.99 Canon LP-E4 Battery.................£129.99
Canon BG-E7 Grip..................£149.99 Canon BG-E6 Grip....................£49.99 Remote Canon WFT-E2 II Transmitter.....£599.99 Canon WFT-E2 II Transmitter.....£599.99
Canon WFT-E5B Transmitter......£449.99 Canon 80-N3 Remote Switch.....£45.99 Canon 80-N3 Remote Switch.....£45.99 Canon 80-N3 Remote Switch.....£45.99

CANON EF LENSES (USM - Ultra fast near silent operation. IS - Image Stabiliser to reduce camera shake. L - All weather professional lens with ultimate performance) CANON ACCESSORIES
EF 16-35mm f4 L USM £1199.99 EF 28mm f2.8 £175.00 EF-S 15-85mm f3.5-5.6 IS USM £668.00 BATTERY GRIPS
EF 17-40mm f4 L IS USM £639.00 EF 35mm f1.4 L USM £1179.99 EF-S 10-22mm f3.5-4.5 USM £669.00 EOS 500D/450D/1000D
EF-S 17-55mm f2.8 IS USM £811.99 Canon BG-E5..........£119.99
EF 24-105mm f2.8 L USM £939.00 EF 35mm f2 £229.97 BATTERIES
EF 50mm f1.8 II £94.00 EF-S 17-85mm f4-5.6 IS USM £389.99 EOS 50D
EF 24-70mm f2.8 L USM £1021.99 EOS 500D/450D/1000D
Canon BG-E2N.......£149.99
EF 28-135mm f3.5-5.6 IS USM £388.00 EF 50mm f1.4 USM £308.00 EF-S 18-55mm f3.5-5.6 IS £169.00 Canon LP-E5............£49.99
EF 50mm f1.2 L USM £1306.99 EF-S 18-135mm f3.5-5.6 IS £359.99 EOS 5D MKII Energizer LP-E5........£29.99
EF 28-200mm f3.5-5.6 USM £299.97 Canon BG-E6..........£229.99
EF 85mm f1.8 USM £329.00 EF-S 18-135mm
EF-S 18-200mm f3.5-5.6 IS £449.00 Hahnel LP-E5............£29.99
EF 28-300mm f3.5-5.6 L IS USM £2259.00 EOS 7D
EF 55-200mm f4.5-5.6 USM II £245.99
EF 55-200mm EF 85mm f1.2 L USM II £1799.00 EF-S 55-250mm f4-5.6 IS USM £229.00 EOS 550D
Canon BG-E7..........£149.99
EF 100mm f2 USM £387.99 EF-S 60mm f2.8 Macro USM £368.00 Canon LP-E8............£49.99
EF 70-200mm f4 L IS USM £949.00 EOS 550D
EF 135mm f2 L USM £933.99 EF 50mm f2.5 Macro £244.00 EOS 50D
EF 70-300mm f4-5.6 USM IS £448.00 Canon BG-E8..........£149.99
EF 200mm f2 L IS USM £4838.00 MP-E 65mm f2.8 Macro £868.99 Canon BP-511A.......£99.99
EF 70-300mm f4.5-5.6 DO IS USM £1148.00 Energizer BP-511.....£29.99
EF 200mm f2.8 L USM II £665.00 EF 100mm f2.8 L Macro USM £439.99 BG-E6 BG-E5
EF 75-300mm f4-5.6 USM III £242.00 EF 100mm f2.8 L Macro IS USM £799.99 Hahnel BP-511........£29.99
EF 300mm f2.8L IS USM £3884.00
EF 100-400mm f4.5-5.6 L IS USM £1288.00 EF 300mm f4 L IS USM £1178.00
EF 100mm Macro
EF 180mm f3.5L Macro USM £1278.00 EOS 5D MKII/7D
EF 14mm f2.8 L USM II £1899.00 Canon LP-E6............£79.99
EF 400mm f2.8 L IS USM £6665.00 TS-E 17mm f4 L £2038.00
Hahnel LP-E6............£59.99
EF 15mm f2.8 Fisheye £628.00 EF 400mm f4 DO IS USM £5589.00 TS-E 24mm f3.5 L £1839.99 WIRELESS
EF 20mm f2.8 USM £422.99 EOS 1DS MKIII/1DMKIV
EF 400mm f5.6 L USM £1122.99 TS-E 45mm f2.8 £1149.99 EOS 1DMKIV/1DSMKIII
Canon LP-E4.........£129.99
EF 24mm f1.4 L USM IS £1379.99 EF 500mm f4 L IS USM £5599.00 TS-E 90mm f2.8 £1139.99 Canon WFT-E2 II......£599.99
EF 24mm f2.8 £388.00 EF 600mm f4 L IS USM £7346.00 EF 1.4x II Extender (L lenses) £289.00 EOS 50D HAHNEL PRO
EF 28mm f1.8 USM £394.00 EF 800mm EF 800mm f5.6 L IS USM £10,599. EF 2x II Extender (L lenses) £289.00 Canon WFT-E3........£799.99 WIRELESS
TS-E 17mm
EOS 5D MKII Hahnel Wireless Remote
Canon WFT-E4........£749.99 (EOS).....................£48.99
Canon OC-E3 Off Camera Shoe Cord...................£59.99 Flex TT5 (EOS)
Canon STE-2 Signal Transmitter............................£179.99 WIRED/ IR ..............£229.99
Canon SB-E2 Flash Unit Bracket...........................£229.99 EOS 1D/1Ds/5DMkII/50D
Mini TT1 (EOS)
STOFEN OMNI BOUNCE FLASH DIFFUSER Omni-Bounce Canon Remote Switch 80N3........£45.99
OM-EW (430EX).............£17.99 Hama Remote Switch 80N3.........£29.99
OM-EY (580EX)...............£17.99 Canon Remote Switch TC80N3..£149.99
OM-24X (MT24EX)..........£25.99 EOS 500D/550D/1000D
MARUMI RING FLASH Canon Remote Switch 60E3.........£24.99
Canon TTL Adapter
270EX Speedlite 430EXII Speedlite 580EXII Speedlite MR14EX Macrolite MT24EX Macrolite DRF 14C......................£132.99 Hama Remote Switch 60E3..........£20.99
£107.99 £214.00 £374.00 £489.00 £799.00 NISSIN FLASH Canon Remote Control IR RC5......£19.97
Di866..£259.99 Di622..£119.99 DRF14C


0845 600 6055 DIGITAL PHOTO & VIDEO

www.jacobsdigital.co.uk THE UK’S LARGEST INDEPENDENT



D5000 D300S
• 12.3 Megapixels • 12.3 Megapixels
• 1.5x CMOS Sensor • 1.5x CMOS Sensor
• Live View • Live View
• Anti Dust Feature • Anti Dust Feature
• HD Video Mode • HD Video Mode
• ISO 3200 • ISO 6400
• 4.0 fps • 7.0 fps

Body Only £299.00 D5000 Body Only £469.99

Inc. 18-55mmVR £345.00 D5000 inc. 18-55mmVR £479.00 D300S Body Only £1139.00
D5000 inc. 18-55 & 55-200mmVR £699.99


EN-EL9a EN-EL3e Battery MB-D10 Grip
Nikon EN-EL9a Battery........... ..£55.99 Nikon EN-EL9a Battery...............£55.99 Battery Nikon EN-EL3e Battery.................£66.99
Nikon ML-L3 Remote Control... .£19.99 Nikon MC-DC2 Remote Cord.....£26.99 MC-DC2
Nikon MB-D10 Grip..................£249.99
Nikon EH-5AC Adaptor........ ...£99.99 Nikon DK-24 Eyecup....................£5.99 Remote Cord Nikon EH-5AC Adapter...............£99.99

Professional D3X


• 12.1 Megapixels
ENDS 31/8/10
• 1:1 CMOS Sensor
SEE WEB • Live View
• Anti Dust Feature
• HD Video Mode
• ISO 102400


Body Only £628.00

Inc. 18-105mm £779.00 Body Only £1764.00 D3S Body Only £3589.00 Body Only £4798.00


Nikon EN-EL3e Battery...............£66.99 Nikon EN-EL3e Battery...............£66.99 Nikon EN-EL4a Battery...............£119.99 Battery WT-4 Nikon EN-EL4a Battery.............£119.99
Nikon MB-D80 Grip................£149.99 Nikon MB-D10 Grip................£249.99 Nikon EH-6AC Adapter................£99.99 Nikon EH-6AC Adapter..............£99.99
Nikon ML-L3 Remote Control......£19.99 Nikon WT4 Transmitter............£599.97 Nikon WT4 Transmitter...............£599.97 Adapter
Nikon WT4 Transmitter.............£599.97


GRIPS Nikon SB Commander Kit R1C1..........................£599.99
D80/ D90 Nikon SB Remote Kit R1......................................£408.99
Nikon MB-D80 ........£149.99 BATTERIES Nikon AS19 Stand for Nikon SB800.......................£6.99
Hahnel MB-D80..........£99.99 Quantum CKE for Nikon SB28..............................£45.99
D60/ D5000
D300/D300s/D700 Nikon EN-EL9a........£55.99
Nikon MB-D10.........£249.99 Energizer EN-EL9.....£39.99 STOFEN OMNI BOUNCE FLASH DIFFUSER
Hahnel MB-D300.....£129.99 Hahnel EN-EL9........£39.99 OM-SB5 (SB800)............................£17.99
OM-600 (SB600)............................£17.99
D90/D300/D300s/D700 SB400 Speedlite SB600 Speedlite SB900 Speedlite Di622 Speedlite Di866 Speedlite Omni-
Nikon EN-EL3e........£66.99 £127.99 £229.00 £325.99 £119.99 £259.99 Bounce

Energizer EN-EL3e...£40.99 DRF 14N......................................£132.99

MB-D10 Hahnel EN-EL3e.......£40.99
D3/D3x NIKON LENSES (DX - for Nikon DX SLR’s. VR - Reduces image blur. AF-S - Lightening quick with whisper quiet focusing. ED - Helps reduce chromatic aberration)
Nikon EN-EL4a......£119.99
14-24mm f2.8 AF-S G ED £1296.99 50mm f1.4 D £229.00 12-24mm f4 DX G IF £799.00
18-35mm f3.5-4.5 D IF-ED £498.00 50mm f1.4 G AF-S £298.00 16-85mm f3.5-5.6 DX G AF-S VR £434.00
17-55mm f2.8 DX AFS IF-ED £1049.99
WIRELESS 24-85mm f2.8-4 D IF £520.99 85mm f1.4 D £887.99
18-105mm f3.5-5.6 DX G VR ED £239.99
D300/D700/D3/D3x 24-120mm f3.5-5.6 G AF-S VR £539.00 85mm f1.8 D £305.99
Nikon WT-4...................................£599.97 18-200mm f3.5-5.6 DXGAF-S VRII IFED £579.00
24-70mm f2.8 G AF-S ED £1190.00 105mm f2 D DC £799.00 55-200mm f4-5.6 DX AF-S VR IF-ED £238.99
HAHNEL PRO WIRELESS 70-200mm f2.8 G AF-S VR II IF-ED £1639.99 135mm f2 D DC £959.99 55-200mm f4-5.6 DX AFS ED £182.99
Hahnel Wireless Remote (NIK)..........£48.99 70-300mm f34.5-5.6 G AF-S VR IF-ED £419.00 180mm f2.8 D IF-ED £619.00 200-400mm f4G IF ED AF-S VR NEW! £4669.00
80-400mm f4.5-5.6 D VR ED £1169.99 200mm f2 G AF-S VR IF-ED £3069.00 60mm f2.8 G AF-S ED Micro £398.99
WIRED/ IR FreeXWire 70-200mm

Nikon TTL 200-400mm f4 G AF-S VR IF-ED II £6249.99 300mm f2.8 AF-S VR IF-ED II £4299.00 85mm f3.5 G AF-S DX Micro £449.99
Adapter 105mm f2.8 G AF-S VR IF-ED Micro £614.99
Nikon Remote Cord MC-30.............£59.99 14mm f2.8 D ED £1189.00 300mm f4 D AF-S IF-ED £968.99
...... £66.99
Hama Remote Cord MC30..............£40.99 200mm f4 IF-ED Micro £1109.00
16mm f23.8 D Fisheye £598.99 400mm f2.8 G AF-S VR ED £6518.00 85mm Micro
D90/D5000 PC-E 24mm f3.56 D ED £1369.00
Nikon Remote Cord MC-DC2.........£129.99 20mm f2.8 D £459.00 500mm f4 G AF-S VR ED £5739.00
PC-E 45mm f2.8 D ED £1389.00
D80/D70s 24mm f2.8 D £329.00 600mm f4 G AF-S VR ED £6927.99 PC-E 85mm f2.8 D ED £13749.00
Hama Remote Cord MC-DC1...........£20.99 Fire flash units & 28mm f2.8 D £225.00 10.5mm f2.8 DX G ED £521.99 TC-14E II Teleconverter £305.99
D40/D60 cameras up to
hundreds of feet 35mm f2 D £254.99 35mm f1.8 DX G AF-S £169.00 TC-17E II AF-S Teleconverter £304.99
Nikon Remote Control ML-L3 IR.........£19.99 away. 50mm f1.8 D £107.99 600mm
10-24mm f3.5-4.5 DX G AF-S ED £629.99 PC-E 85mm
TC-20E III Teleconverter £399.99

To find out more about Jacobs Pro Lounges please visit:
DIGITAL PHOTO & VIDEO • London New Oxford Street
• Manchester • Edinburgh
• Dedicated city centre locations for photographers to relax • Tea/ Coffee
THE UK’S LARGEST INDEPENDENT • FREE Ethernet & wireless connectivity for image transmission
• Exclusive demo days & launch events • Studio facilities • Rental facilities

Alpha A230 Alpha A380 K-x K-7


16mm f2.8 Fisheye £579.99

20mm f2.8 £449.99 PENTAX LENSES
28mm f2.8 £189.99
35mm f1.4G £1099.99 10-17mm f3.5-4.5 DA Fisheye £428.98
50mm f1.8 £139.99 12-24mm f4 DA £794.98
50mm f1.4 £229.99 16-50mm f2.8 ED ALIF SDM £693.99
50mm f2.8 Macro £429.99
17-70mm f4 SDM DA749.99 £464.98
100mm f2.8 Macro £529.99
11-18mm f4.5-5.6 DT £499.99 50-200mm f4-5.6 ED DA £229.99
16-105mm f3.5-5.6 DT £449.99 10.2
55-300mm f4-5.8 ED DA £269.99 12.4 14.6
18-200mm f3.5-5.6 DT £429.97 14mm f2.8 DA ED IF £539.00 MEGAPIXELS MEGAPIXELS
18-250mm f3.5-5.6 DT £449.99 50mm f2.8 Macro £404.99
55-200mm f4-5.6 DT £162.99 Inc.18-55mm £399.00 Inc.18-55mm £799.00
70-200mm f2.8 G £1475.99 Inc.18-55mm & Inc.18-55mm & 55mm f1.4 SDM £649.99
70-300mm f4.5-5.6 SSM G £699.99 55-200mm £399.99 55-200mm £599.97 100mm f2.8 Macro £479.97 Inc.18-55 & Inc.18-55 &
75-300mm £199.99 55-300mm £549.00 50-200mm £929.00
Sony NP FH-50 Battery........£61.99 Sony NP FH-50 Battery........£61.99 Energizer AA Batteries...........£7.99 Pentax D-LI90 Battery..........£64.99
Pentax AF200FG................£149.99
28-75mm f2.8 SAM 70-400mm f4-5.6 Hama Remote Switch...........£25.99 Hama Remote Switch...........£25.99
Pentax AF360FGZ..............£279.99 Pentax Remote Control F......£21.99 Pentax D-BG4 Grip...........£249.99
£599.99 SSM £1299.99 Sony FAST1AM Adapter... £153.99 Sony FAST1AM Adapter... £153.99 Pentax Remote Control F......£21.99
Pentax AF540FGZ..............£399.99

1 2 3 4 5 6 7 8 9 10



Smaller than a DSLR but more powerful & Creative than a compact. Tested as Entry-level
hybrid camera
Rated Good





ALPHA NEX-3 ALPHA NEX-5 • 18 Megapixels *INC.

• 1.5x CCD Sensor UP TO
NEW! • Rangefinder
• ISO 2500
• 2 fps ENDS 30/9/10


Inc.16mm £399.00 NEX 3 - BLACK, SILVER OR RED Inc.16mm £499.00 Body Only LEICA LENSES Inc.18-55mm £369.99*
Inc.18-55mm £449.00 NEX 5 - BLACK, OR SILVER Inc.18-55mm £549.00 Steel Grey or 21mm f2.8 Elmarit-M ASPH £2755.99 Inc.18-55mm &
Inc.16 & 18-55 £529.00 • Interchangeable Lenses Inc.18-200mm £899.00 Black £4955.99 24mm f2.8 Elmarit-M ASPH
28mm f2.8 Elmarit-M ASPH
50-200mm £489.99*
• Sweep Panorama (3D available 35mm f2.0 Summicron-M ASPH £1862.99
KEY ACCESSORIES in Firmware upgrade) KEY ACCESSORIES KEY ACCESSORIES 50mm f1.4 Summilux-M ASPH £2254.99
Sony NP-FW50 Battery.......£59.99 • HD Video Mode Sony NP-FW50 Battery Leica Lithium-ion Battery......... £71.99 50mm f2.5 Summarit-M £887.99 Samsung BP1310 Battery.....£27.99
Sony Case.........................£52.99 • 3” Vari Angle LCD Screen Sony Case..........................£52.99 Leica SF24D Flash.............. £264.99 75mm f2.0 Summicron-M ASPH £2105.99 Samsung SEF20A Grip......£105.99
Sony Fisheye Converter.... £124.99 • Includes External Flash Sony Fisheye Converter..... £124.99 Leica SF58D Flash.............. £539.99 90mm f2.5 Summarit-M £1095.99 Samsung SR9NX01 Shutter.....£14.99


E-PL1 *INC. E-P2 E-P1 Inc.17mm Silver
• 12.3 £75
• Live View ENDS
• HD Video
Olympus FL-14 Flash.............£159.99 • ISO 6400 ONLY £399.00!
• Art Filters
Olympus Viewfinder - 2.......£261.99
• HD Video • Live View 12.3 • HD Video • Live View 12.3
• Art Filters • ISO 6400 MEGAPIXELS • Art Filters • ISO 6400
Olympus Viewfinder -1..........£99.99
Olympus Microphone Set Leather Body Jackets
Inc.14-42mm £840.99 Inc.17mm f2.8 Pancake
Inc.14-42mm £424.99* Inc.17mm £887.99 & Viewfinder £399.00
HALF PRICE! WAS: £799.99
M ZUIKO Digital ED 9-18mm f4-5.6 £499.97 MMF-1 Adapter £99.99
M ZUIKO Digital ED 14-42mm f3.5-5.6 £224.99 Olympus PS-BLS1 Battery.....£49.99 Olympus PS-BLS1 Battery.....£49.99
Olympus PS-BLS1 Battery..................................................................£49.99
Olympus Leather Body Olympus Leather Body
M ZUIKO Digital ED 17mm f2.8 Pancake £279.99 17mm f2.8 Olympus Leather Body Jacket (brown or white leather).......................£69.99
Jacket................................£69.99 Jacket................................£69.99

Lumix GF1 Lumix G2 Lumix GH1

Lumix G10
• 12.1 Megapixels
Claim up to £50 Cashback direct from • L-MOS Sensor £30 £75
Panasonic. Valid until 31st August 2010. • Live View CASHBACK CASHBACK
• HD Video Mode ENDS ENDS
31/8/10 31/8/10
7-14mm f4 Vario G ASPH • Dust Reduction
*INC. £50 CASHBACK £949.99*
14-140mm f4-5.6 Vario G HD 3YEAR 3YEAR 3YEAR 3YEAR
*INC. £30 CASHBACK £669.99* WARRANTY† 12.1
ENDS 31/8/10 ENDS 31/8/10 ENDS 31/8/10 ENDS 31/8/10
45-200mm f4-5.6 G ASPH £279.99
20mm f1.7 G ASPH £279.99 Inc.20mm £629.00 Inc.14-42mm £519.00*
45mm f2.8 ASPH Inc.14-42mm £439.00 Inc.14-45mm £549.00 Inc.14-42 & Inc.14-140mm £824.00*
*INC. £30 CASHBACK £614.99* 45-200mm £799.00*
Panasonic DMW-FL28......£102.99 Panasonic DMW-BLB13E Battery........ £64.99 DMW-BLB13E Battery........ £64.99 DMW-BLB13E Battery........ £64.99 DMW-BLB13E Battery........ £64.99
Panasonic DMW-FL220....£148.99 Panasonic DMW-LVF1 View Finder... £169.99 DMW-LVF1 View Finder... £169.99 DMW-LVF1 View Finder... £169.99 DMW-LVF1 View Finder... £169.99
Panasonic DMW-FL360....£204.99 Panasonic DMW-FL220 Flashgun..... £148.99 Battery Viewfinder DMW-FL220 Flashgun..... £148.99 DMW-FL220 Flashgun..... £148.99 DMW-FL220 Flashgun..... £148.99
† 3 Year Warranty to be claimed direct from Panasonic. Offer valid on in store purchases only. Valid from 20th May 2010 - 31st August 2010.


0845 600 6055 DIGITAL PHOTO & VIDEO

www.jacobsdigital.co.uk THE UK’S LARGEST INDEPENDENT

LENSES (available in different fits) FILTERS PROTECT YOUR INVESTMENT! Protect your lens from grit and scratches. CLEANING &

DC Lenses Di-II Lenses 37mm UV HMC ......................£19.99 Cokin P Series Cleaning Pen....£9.99
4.5mm f2.8 EX HSM DC Circ Fisheye £589.99 10-24mm f3.5-4.5 Di II LD ASP IF £379.99 37mm Circular Polar ...............£39.99 The original square filter system.
10-20mm 40.5mm UV HMC ..................£19.99 Cokin P Series filters are designed for
10mm f2.8 EX HSM DC £505.99 17-50mm f2.8 XR Di II VC LD ASP £339.99 49mm Circular Polar ...............£39.99 shorter focal lenghts 20-24mm or
30mm f1.4 EX HSM DG £399.99 18-200mm f3.5-6.3 XR Di II LD ASP IF £169.00 49mm UV ...............................£19.99 28 mm as well as for wide angle
10-20mm f4-5.6 EX DC HSM ASP IF £399.99 18-250mm f3.5-6.3 Di II LD ASP IF £388.97 52mm Circular Polar ...............£44.99 zooms (24-50/28 -8 5/35-135mm)
10-20mm f3.5 EX DC HSM ASP IF £449.99 18-270mm f3.5-6.3 Di II VC LD ASP IF £399.99 52mm UV ...............................£19.99
55mm Circular Polar ...............£44.99 49mm P Adaptor ....................£12.99
17-70mm f2.8-4.5 DC ASP IF £336.99 30mm 55-200mm f4-5.6 Di II LD £115.00 LENSPEN LENSPEN
55mm UV ..............................£21.99 52mm P Adaptor ....................£12.99
Sensor Klear Sensor Klear
18-50mm f3.5-5.6 DC ASP £77.97 Zoom Lenses 58mm Circular Polar ...............£49.99 55mm P Adaptor ....................£12.99 Angled Loupe
18-50mm f2.8-4.5 DC HSM IF OS £183.99 28-75mm f2.8 XR Di LD ASP IF £359.00 58mm UV ...............................£24.99 58mm P Adaptor ....................£12.99
62mm P Adaptor ....................£12.99 £15.00 £40.00
18-50mm f2.8 EX DC HSM ASP IF £336.99 28-300mm f3.5-6.3 XR Di ASP IF £299.00
62mm Circular Polar ...............£69.99
62mm UV ..............................£24.99 67mm P Adaptor ....................£12.99
18-125mm f3.8-5.6 DC HSM IF OS £267.99 28-300mm f3.5-6.3 XR Di VC LD ASP IF £499.99 72mm P Adaptor ....................£12.99
17-70mm 67mm Circ.Polariser.................£79.99
18-200mm f3.5-6.3 DC ASP IF £228.99 70-200mm f2.8 Di LD IF £619.00 67mm UV ...............................£29.99 77mm P Adaptor ....................£12.99
18-200mm f3.5-6.3 DC ASP IF OS £289.99 70-300mm f4.5-5.6 Di LD £139.00 72mm Circular Polariser ..........£84.99 82mm P Adaptor ....................£12.99
18-250mm f3.5-6.3 DC ASP IF OS £399.99 200-500mm f5-6.3 Di LD IF £869.00 72mm UV ...............................£39.99 P Holder & Catalogue (BP400).£12.99
50-150mm f2.8 EX DC HSM APO IF II £589.99 77mm Circ Polariser.................£99.99 P Wide Angle Holder ..............£14.99 VISIBLEDUST
Macro Lenses 77mm UV ...............................£44.99 P Digital SLR Nik Kit H521-67 £38.99 SL700 Arctic Butterfly.. £54.99
Prime Lenses 60mm f2 Macro Di £389.99 82mm Circular Polariser ........£129.99 P255 Modular Hood...............£15.99 SL724 Arctic Brite Vue.£84.99
8mm f3.5 EX Circ Fisheye DG £631.99 90mm f2.8 Macro Di £ £349.00
82mm UV ...............................£69.99 P001 Yellow Filter ...................£15.99 Sensor Loupe (7x)....... £59.99
15mm f2.8 EX Fisheye DG £505.99 86mm UV ...............................£69.99 P002 Orange Filter .................£15.99
180mm f3.5 Macro Di LD £699.00 Zeeion Non Contact Dust
20mm f1.8 EX DG ASP RF £505.99 P003 Red Filter .......................£15.99 Removal..................... £34.97
Hoya HD
P007 Infrared (89B).................£39.99 Mini Swab 1.3x......... £24.97
24mm f1.8 EX DG ASP £420.99 Multi-coated surface with high trans-
P026 Warm 81A ...................£15.99
28mm f1.8 EX DG ASP £336.99 parency polarising film. Waterproof to Mini Swab 1.6x......... £24.97
P027 Warm 81B ....................£15.99 Vdust Plus 7.5ml......... £14.99
repel water spots and hardened to be
50mm f1.4 EX DG HSM £379.99


P056 Star 8 ...........................£24.99
15mm scratch & stain resistant.
85mm f1.4 EX DG HSM NEW! £699.99 P120 G1 Gradual ..................£21.99
HD 58mm Protector .................£49.99 P121 G2 Gradual ..................£21.99
300mm f2.8 EX DG HSM £2272.99 HD 58mm UV..........................£49.99 P121F G2 Gradual Full ..........£21.99
500mm f4.5 EX DG HSM APO IF £3956.99 HD 58mm PL-CIRC ................£109.99 P121L G2 Gradual Light..........£21.99
800mm f5.6 EX DG HSM APO IF £4209.99 HD 62mm Protector ................£59.99
P121M G2 Gradual Med .......£21.99
18-270mm HD 62mm UV..........................£59.99
50mm 28-300mm 55-200mm P121S G2 Gradual Soft ..........£21.99
Macro HD 62mm PL-CIRC.................£109.99
P122 B1 Gradual ...................£21.99 JACOBS JACOBS
HD 67mm Protector .................£64.99
50mm f2.8 EX DG Macro £255.99 LENS CASES HD 67mm UV..........................£64.99
P123 B2 Gradual ...................£21.99 Air Duster Refill Air Duster Valve
70mm f2.8 EX DG Macro £389.99 Jacobs HD 67mm PL-CIRC ................£134.99 P124 T1 Gradual....................£21.99 £10.99 £9.99
Lowepro P125 T2 Gradual....................£21.99
105mm f2.8 EX DG Macro £402.99 Lens Pouch S.......£9.99 Lens Case 1..............£15.99 HD 72mm Protector .................£74.99
HD 72mm UV..........................£74.99 P152 Neutral Density x2 .........£16.99
150mm f2.8EX DG HSM APO IF Macro £589.99 Lens Pouch M...£11.99 Lens Case 1M/ 1N...£19.99 P153 Neutral Density x4 .........£16.99
Teleconverters Lens Pouch L.....£12.99 HD 72mm PL-CIRC ................£169.99
Lens Case 1S/ 1W....£14.99 P154 Neutral Density x8 .........£16.99
HD 77mm Protector ................£94.99
1.4x Converter EX DG APO £247.99 105mm Domke Lens Case 2/ 2s........£17.99
HD 77mm UV..........................£94.99 P164 Circular Polariser ...........£84.99
2x Converter EX DG APO £301.99 11” Wrap.......£14.99 Lens Case 3..............£19.99 P197 Sunset 1 ........................£39.99
HD 77mm PL-CIRC ................£199.99 JACOBS JACOBS
15” Wrap.......£16.99 Lens Case 4/ 4s........£26.99 HD 82mm Protector ................£99.99 P830/P083 Diffuser 1.............£19.99
19” Wrap.......£18.99 Lens Case 5/ 5s........£44.99 LCD Protector Microfibre Cloth
Zoom Lenses HD 82mm UV..........................£99.99 P840/P084 Diffuser 2.............£19.99
£4.99 £4.99
12-24mm f4.5-5.6 EX DG HSM ASP IF £715.99 Hoya Pro
24-70mm f2.8 EX DG HSM ASP IF £449.99 Revolutionary performance in light
70-200mm f2.8 EX DG HSM APO IF Macro II £673.99 transmission & colour balance. Glass
AF 10-17mm f3.5-4.5 AT-X 107 DX Fisheye £499.99
just 1mm thick, mounted in a super
70-200mm f2.8 EX DG OS HSM NEW! £1299.99 AF 11-16mm f2.8 AT-X Pro DX £549.99 slim 3mm ring and 12 layers of super
70-300mmm f4-5.6 DG Macro £133.99 AF 12-24mm f4 AT-X 124 Pro DX £499.99 multi-coating. JACOBS JACOBS
70-300mm f4-5.6 DG OS £299.99 AF 12-24mm f4 AT-X 124 Pro DXII £574.99 Pro-1D 52mm Protector ............£39.99 Cleaning Kit Blower Brush
Jacobs by Cokin
120-300mm f2.8 EX DG HSM APO IF £1852.99 AF 16-50mm f2.8 AT-X Pro DX £699.99 Pro-1D 52mm UV.....................£39.99 Our own range of filters are available £9.99 £8.99
120-400mm f4.5-5.6 DG HSM APO RF OS £639.99 AF 50-135mm f2.8 AT-X 535 Pro DX £649.99 Pro-1D 52mm PL-CIRC .............£84.99 in popular effects and sizes offering
150-500mm f5-6.3 DG HSM APO RF OS £749.99 AF 80-400mm f4.5-5.6 AT-X 840D £649.99 Pro-1D 55mm Protector ...........£39.99 outstanding quality and great value for
200-500mm f2.8 EX DG HSM APO IF £20,203. Pro-1D 55mm UV.....................£39.99 money.
AF 35mm f2.8 Macro AT-X Pro DX £399.99
Pro-1D 55mm PL-CIRC .............£89.99
300-800mm f5.6 EX DG HSM APO IF £5892.99 AF 100mm f2.8 Macro AT-X 100 AF Pro D £399.99 Pro-1D 58mm Protector ...........£44.99 30.5mm Circ-PL Filter...............£10.99
Pro-1D 58mm UV.....................£44.99 37mm Circ-PL Filter..................£10.99
Pro-1D 58mm PL-CIRC .............£94.99 49mm Circ-PL Filter...................£26.99
Rocket Air (L) Q Ball Air
(Most available in Canon, Nikon, Olympus, Pro-1D 62mm Protector ...........£49.99 49mm UV Filter ......................£10.99
METZ FLASHGUNS POCKETWIZARD Pro-1D 62mm UV.....................£49.99 52mm Circ-PL Filter..................£29.99
£11.99 £11.99
Panasonic, Sony and Pentax fits)
WIRELESS Pro-1D 62mm PL-CIRC .............£99.99 52mm UV Filter ......................£14.99
Pro-1D 67mm Protector ...........£59.99 55mm Circ-PL Filter..................£29.99
Plus II set..........................£369.99 Pro-1D 67mm UV.....................£59.99 55mm UV Filter ......................£14.99
Plus II Transceiver..............£189.99 Pro-1D 67mm PL-CIRC ...........£119.99 58mm Circ-PL Filter..................£34.99
Multimax Transceiver.........£249.99 Pro-1D 72mm Protector ...........£64.99 58mm UV Filter ......................£16.99
PC1 Cable...........................£8.99 Pro-1D 72mm UV.....................£64.99 62mm Circ-PL Filter..................£39.99 PROPHOT DELKIN
Pro-1D 72mm PL-CIRC ..........£134.99 62mm UV Filter ......................£19.99 Wet Wipes SensorScope Kit
£3.99 £81.99
HILDOZINE Pro-1D 77mm Protector ...........£74.99 67mm Circ-PL Filter..................£44.99
Safely secure your pocketwizard Pro-1D 77mm UV.....................£74.99 67mm UV Filter ......................£21.99
Pro-1D 77mm PL-CIRC ...........£169.99 72mm Circ-PL Filter..................£49.99
20 C-2 36 AF-4 with confidence.
48 AF-1 58 AF-1 Pro-1D 82mm Protector ...........£79.99 72mm UV Filter ......................£25.99
Transceiver Caddy..............£12.99
£39.99 £74.99 £188.99 £278.99 Protective Storgae Jacket.......£7.99
Pro-1D 82mm UV.....................£79.99 77mm Circ-PL Filter..................£54.99
Pro-1D 82mm PL-CIRC ......... £189.99 77mm UV Filter ......................£29.99


Jacobs Studio 160 Strobies Portrait Kit STR100 £99.99 Ezybalance Reflector Brackets
Lighting Kit Lightweight & portable STROBIES lighting accessories, ideal for the 1250 30cm .......£18.99 Trigrip 2430 bracket .........£71.99
mobile photographer, indoors or outdoors. Simple to put together using
£199.99 a Flex Mount on your flashgun, no glue, velcro or rubber bands needed!
Xpobalance Universal 1100 bracket .....£49.99
Includes two 160W Flash Heads, 1558 38cm .......£35.99 Pocket 1113 bracket .........£42.99
Swap between the Beauty Dish or the Globe Diffuser in seconds
two Lighting Stands, Soft Box, Gold 2402 Tilthead shoe adapt .£17.99
Ezybalance Hotshoe
Umbrella Honeycomb, Clear Diffuser, Blue, Background Supports
2438 38x38cm ...£92.99
red and yellow filters,Snoot, IR remote, sync lead
2462 60x60cm ...£99.99 1108 3m wide ...........................£148.99
and a deluxe studio carrying bag.
Ezybalance Softboxes Backgrounds
5621 black/white 1.5x1.8m .......£112.99
Bowens 4713 Bowens 4850 2460 60x60cm ...........£122.99
5602 black velvet 1.5x1.8m ........£112.99
Gemini 200 Interfit Strobies EFX Kit STR101..............£69.99 Micro Apollo
Gemini 500R 56FM florida/maine 1.5x1.8m ....£102.99
2201 Micro Apollo 45 ..£27.99
2 Head Kit 3 Head Kit Interfit Strobies XS Softbox Kit ...............£99.99
2204 Micro Apollo 60 ..£30.99
67FM florida/maine 1.8x2.15m ..£174.99
Inc. two Gemini 200Ws, Includes three Gemini 500Ws, 6701 black/white 1.8x2.15m .....£204.99
two Bowens 90cm two Bowens 115cm Silver/White TriGrip Reflectors 8017 baby poser ........................£107.99
Interfit EX150 MkII Kit 3631 silver/white 75cm ...............£61.99
Umbrellas, two 120° Wide-Angle HiLite Backgrounds
Umbrellas, two 120° Umbrella FREE DVD £229.99 3636 sunfire/silver 75cm .............£61.99 8867 1.8x2.15m ..£318.99
Wide-Angle Umbrella reflectors, Award winning - all you need to get 4806 sunfire/white 120cm............£74.99 8857 1.5x2.15m ..£266.99
reflectors and one Softbox started in the creative world of studio 1206 sunfire/white 30cm .............£12.99
1236 sunfire/silver 30cm .............£12.99 Umbrellas
two Bowens and three lighting! Includes two Heads, two
3006 sunfire/white 75cm .............£34.99 3203 silver 80cm ........£24.99
support support Lighting Stands, Softbox and Umbrella.
3731 silver/white Large ...............£76.99 3207 white satin 80cm £17.99
stands. stands.
3751 one stop diffuser .................£76.99 ePhotomaket Kit
£459.99 £1480.99 Interfit EX150 MkIII Kit Includes three Heads .....£419.99 3223 5-in-1 75cm ........................£46.99 2484 small .....£51.99
Bowens 4820 Gemini 500R Travel Pack Kit .£1378.99 Interfit EXD200 Kit All in 1 kit .......................£289.99 3631 Dual duty 80cm ..................£25.99 3684 large .....£81.99
Bowens 4800 Gemini 250R Head Kit ............£810.99 Interfit EXD300 Kit Softbox umbrella kit ............£469.99 TriFlip Kit Studio Cubelite Kit
Bowens 4800 Gemini 500R Head Kit ............£949.99 Interfit EXD400 Kit Softbox umbrella kit ............£539.99 3696 75cm 19” ..........................£92.99 8825 70cm ..£461.99

To view or download the latest list of
pre-owned equipment, please visit:


0207 436 55 44
THE UK’S LARGEST INDEPENDENT All our pre-owned equipment comes with a 12month warranty.
PHOTOGRAPHIC RETAILER! Brands include: Bronica, Canon, Contax, Fuji, Hasselblad, Leica, Mamiya, Nikon, Pentax, Rollei, Voigtlander & many more.



055X Range 190X Range 055CX Range Ball & Socket Heads Video Heads Monopods
The 055X PROB makes the famous Featuring a patented design which The 4-section 055CX PRO Designed to be lightweight but at the Small & lightweight heads Ever heard the one about a one
Manfrotto patented horizontal centre allows the centre column to be used 4 combines the best same time offer heavy duty load with smooth fluid legged tripod? You have now
column feature even easier to use. By horizontally as an extending arm, or performances of the capacity. movement & Monopods are perfect for those that
extending the column to its highest vertically. 055 carbon family pan & tilt locks. need stability, speed and portability.
vertical position, it can be swung with lower dimensions. 494RC2 Mini Ball
round to horizontal without removing 190XPROB This tripod is compact and light, Head with RC2 128RC.. £65.99 790B Modo.................. .....£25.99
the head or disassembling the column £88.99* with the patented Q90°system for Quick Release Plate 679B 3-Section ..................£35.99
itself. quick vertical-horizontal movements. ....£39.99 680B 4-Section ..................£44.99
700RC2 681B 3-Section...................£49.99
055XPROB 055CX3 ..........................£243.99 £69.99.... 685B Neotec ..................£114.99
£118.99 055CX PRO3 ...................£249.99 695CX ...........................£139.99
055CX PRO4....................£249.99 496RC2 Compact Ball 694CX ...........................£127.99
*INC. £2O CASHBACK FROM MANFROTTO Head with RC2 776YB M-Y ........................£34.99
Valid 1st May - 31st July 2010. 190CX Range Quick Release
Features an ergonomic leg Plate Joystick Heads
angle selector.This new ....£54.99 Just grip the handle
angle selector improves and you can position
the comfort and your camera anywhere
precision in use. within a 180° sphere.
Made of 100% 498RC2 Midi Ball
Carbon Fibre, providing Head with RC2 222 Joystick
rigidity and lightness. Release Plate Head
.....£89.99 .....£76.99
190CX PRO3...................£239.99

190CX PRO4 ..................£239.99 Pan & Tilt Heads 322RC2

Smooth control of pan, back and Heavy
055XB Tripod..................... £94.99 190XB..................................£88.99 Modo forward tilt plus side to side tilt Duty Grip
055XPROB Tripod............ £118.99 190X PROB..........................£88.99* The Modo range has been movements. Head
created for those on the £88.99
Manfrotto Tripod Bags move, the Maxi has a 804RC2 Basic Monopod Heads
You look after your camera so why not protect your tripod? max height of 150.5cm, Head Q/R 234 Simple tilt head
but folds down to £594.99 allows 900 tilt for
Manfrotto Tripod Bag Unpadded 70cm.. £29.99
43.5cm and the ultra 324RC2 vertical or
Manfrotto Tripod Bag Unpadded 80cm.. £39.99
compact Mini NEW! horizontal format.
Manfrotto Tripod Bag Padded 80cm...... £49.99
114.5cm but folds £109.99
Manfrotto Tripod Straps down to 36.5cm.
Includes a spring clip to fasten quickly at the 460Mg 327RC2
shoulder of the tripod for a tight & secure grip. Magnesium NEW! 234 Tilt Head-M/Pod..........£14.99
785B Modo Maxi...............£44.99 Head ...£68.99 £164.99 234RC Tilt Head Q/R ........£24.99
Manfrotto MN102 Tripod Strap............ £21.99
797 Modo Pocket...............£14.99


Vitruvian VGR Tripod Kits MTL Adjustable MTL Vertical Column Ball & Socket Heads Pan & Tilt Heads Monopods
Designed to offer photographers not Column Carbon Fibre Aluminium/Carbon Fibre Giottos MH1302-652 Made from 6061 grade aluminium,
only a truly lightweight and compact Patented multi-function High density tubes Professional extra large featuring quick action lever leg
tripod, but a full function monopod centre column allows for minimise weight yet ball & socket. locks, foam hand grip and security
and ball head. 180° vertical movement maximise rigidity. Features light and Giottos MH5001 wrist strap.
With “reverse technology” legs so and 360° degree The centre column extra large ball Smooth control
that when collapsed they fold horizontal rotation can be reversed to with hollowed ball of pan, back & Giottos MML3260B..........£34.99
through 180 degrees and surround as a lateral arm. No position the structure. All of forward tilt plus Giottos MML3270B......... £39.99
the tripod centre column and head - need for an extra camera upside these plates feature side to side tilt movements. The quick Giottos MNL3290B ........ £44.99
folding down into a unit that head when using down. a safety lock with pan head incorporates a special
measures only 40cm long. the built-in universal 3-way head, Maximum “auto lock” patented double safety lock and a
Unscrew the tripod leg, remove the just change to the short column and height retaining system. sprung location pin, which allows
centre colum & head then join them lock the safety knob. (MTL9271B) 182cm. the equipment tobe simply and
together to produce a monopod MH1302-652 8kg..............£59.99 quickly loaded and unloaded.
with a maximum height of 162cm. MTL8351B Adjust Column .£159.99 MTL3271 Aluminium Vertical MH1301-652 12kg ...........£74.99
MTL8350B Adjust Column..£158.99 Column .............................£89.97 MH1300-652 20kg ...........£74.99 MH5001 ..........................£39.99
Vitruvian VGR9255 & MN5310 MTL8361B Adjust Column .£199.99 MTL8240B Carbon Vertical MH7002-652 4kg..............£39.99 MH5011 3-Way Head with quick
.....................................£199.99 MTL8360B Adjust Column .£189.99 Column...........................£169.99 MH7001-652 6kg..............£44.99 release plate .....................£35.99
The Gorillapod firmly secures your
Vitruvian VGR8255 & MN5310 MH7000-652 8kg..............£54.99 VH6011-658B Birding Hd..£64.99
camera to
....................................£329.99 just about
MTL Adjustable MT Travel anything,
Quick Release Plate Accessories
Column Aluminium Extra compact it can be
Replacement Square Mount Plate for Tripod Bag Large ..............£24.99
Aluminium legs and dimensions yet all manipulated
MH652. Tripod Bag Medium ..........£24.99
patented multifunction the features of the into a variety
MH642 Q/R Plate 1/4 ......£12.99 Shoulder Strap... ...............£19.99
centre column. No larger models of positions
need for an extra including to wrap
head when using reversible or around
the built-in 3-way multi-function objects.
head, just change centre column.
to the short Models Gorillapod Black................£14.99
column and lock the safety knob. available in Velbon Tripods Gorillapod SLR...................£29.99
Carbon CX Mini Table inc. case.......£19.99 Gorillapod SLR Zoom..........£39.99
MTL9351B Adjust Column ...£89.99 Fibre or Aluminium. CX-440 Tripod inc. case .....£29.99 Gorillapod Green...............£14.99
MTL9351+MH5011 kit NEW£119.99 CX-540 Tripod inc. case .....£39.99 Gorillapod Focus................£89.99
MTL9361B Adjust Column ...£98.99 MT8246B Vertical Column £169.97 CX-640 Tripod inc. case .....£49.99 Gorillapod Magnetic NEW £24.99
MTL9361+MH5001 head .£134.99 MT9340B Aluminium Adjust CX-740 Tripod inc. case .....£69.99 Gorillapod BH1 Head.........£39.99
MTL3361B Adjust Column ...£99.97 Column..............................£74.99 Gorillapod BHX Head NEW..£69.99

GITZO TRIPODS - Available at our New Oxford Street store only and as a special order through other stores. GITZO TRIPOD HEADS New Oxford Street store only GITZO MONOPODS
Traveler & Designed to meet the
New Oxford Street store only
Systematic Mountaineer G2180 Fluid Head
Head The world’s first carbon fibre demands of professional
The strongest £154.99
An excellent tripod that maximises photographers.
and most
stable available, they choice for compact digital rigidity, vibration absorbtion and
cameras and DSLRs, or lightweight performance. GH2780QR GH5380SQR
also offer unsurpassed Gitzo monopods
even for lightweight GT2542L long version ......£579.99 Centre Ball Systematic Ball
flexibility. continue to set the
camcorders. Come with £224.99 Head £274.99 G2272M Low Profile
GT3541LS Studex.............£499.99 standard for
the G1077M head. Aluminium 3 Way Head
GT3511S Rapid Column...£169.99 professionals
GT1550T Traveler ...............£439.99 30% lighter £199.99
and advanced
Leveling GK2580TQR with head.......£599.99 than amateurs.
Revolutionary magnesium but just as
leveling tripod Explorer strong and with great GM2561T.......................£189.99
for photographers who A versatile support vibration dampening GM3340L.......................£139.99
need fast set-up and to explore new properties. GM5561T + G Lock....... £234.99
GH3780QR GH2750QR Off G1173/14B QR
leveling accuracy. shooting perspectives. GH1780 Q/R Advanced
Centre Ball Centre Ball Head Plate1/4
GT2540LLVL Leveling ........£549.99 GT2531EX Explorer GLock...£409.99 GT3340L Aluminium ......£384.99 Centre ball head .............£169.99
£249.99 £164.99 £29.99


0845 600 6055 DIGITAL PHOTO & VIDEO

www.jacobsdigital.co.uk THE UK’S LARGEST INDEPENDENT

BACKPACKS - Some stock at selected stores only - Please check before making a special journey - 0845 600 6055 ACCESSORIES

Slingshot Flipside Versapack Shape Shifter
Perfect for Comfortable the ultimate dual- Expands and
photo- backpack contracts to fit DPS
compartment DSLR
journalists. series protects your equipment. Features
backpack: flexible,
The world’s best your digital SLR Holds photo innovative
lightweight and
selling slingshot design and laptop (250 & gear & 17” Thermo Shield Technology adding Straps & Accessories
incredibly versatile.
bags now features 350 models). Slide laptop. protective rigidity when needed. Belt & Buckle......................£19.99
hide away compartments give quick access to DMC-Z Memory Wallet......£15.99
Shape Shifter.....................£213.50
tripod mount. NEW! accessories.
Versapack 200AW Blk, Blue.£59.99 DPS DR-465i Black............£54.99
DPS DR-466i Black............£59.99
Filter Pocket........................£19.97
Pixel Pack V1 Mem Wallet....£9.99
Flipside 200 Blue/Blk/Red....£59.99 Pro Trekker 300AW............£229.99 DPS DR-467i Black............£69.99 Pixel Pack V2 Mem Wallet....£9.99
Pro Trekker 400AW............£274.99 Street-
Flipside 300 Blue or Red.......£69.99 S&F Light Belt 9..................£26.99
Pro Trekker 600AW............£289.99 walker 3N1 Sling Backpack 10....£59.99
Flipside 400 Blk ..................£79.99 Transporter Strap................£24.99
Slim, 3N1 Sling Backpack 20....£89.99 Speedster Strap..................£19.97
CompuDaypack Grey...........£69.99 Rover AW2 Black/Grey........£89.99 vertically 3N1 Sling Backpack 30....£99.99 Verbal Tech Shoulder Strap..£29.99
styled &
Fastpack 100 Blue................£44.99 Vertex 100AW.....................£89.99 lightweight. 3N1 Sling Laptop Small..£119.99
Fastpack 100 Black..............£44.99 Vertex 200AW...................£124.99
Fastpack 200 Blue................£54.99 Vertex 300AW...................£149.99 3N1 Sling Laptop Med...£139.99
Slingshot 102AW...............£64.99 Street Walker........................£96.99 3N1 Sling Laptop Large..£159.99
Fastpack 200 Blk or Red.......£49.99
Slingshot 202AW...............£84.99 Pro Runner 200AW NEW!...£59.99 Street Walker Pro................£122.60
Fastpack 250 Blk/Red ..........£54.99 Modular Components
Slingshot 302AW...............£94.99 Pro Runner 300AW..............£79.99 Street Walker Hard Drive....£142.99
Fastpack 350 Blue................£69.99 Lens Drop In.......................£25.60
Pro Runner 350AW............£119.99 Airport Antidote V2.............£149.99
Fastpack 350 Black/Red.......£69.99 Lens Changer 15................£16.80
Classified Sling 180AW.....£99.99 Pro Runner 450AW............£149.99 Airport Ultralight V2............£124.99
Classified Sling 220AW...£129.99 Inverse 100AW Blu/Blk/Grn.£59.99 Airport Addicted V2............£234.99 Lens Changer 25................£17.99
Pro Runner X 350AW.........£199.99 Messenger Boy Half Photo Black,
Inverse 200AW Blue.............£69.99 Airport Takeoff....................£249.99 Lens Changer 35................£19.40
Pro Runner X 450AW.........£249.99 Green, Mahogany............£89.97
Passport Sling Mica NEW!£39.99 Airport Check In.................£101.70 Lens Changer 50................£19.99


Inverse 200AW Black...........£69.99 Messenger Boy Half Photo White
EXCLUSIVE TO JACOBS! Inverse 200AW Green..........£69.99 Primus AW Black..................£89.97 Airport Acceleration V2......£194.10 Lens Chang 75 Pop Down...£25.99
COMING SOON. Lens Changer 300..............£32.99
Large Lens Drop In..............£28.99
Speed Changer..................£35.99
HOLDALLS - Some stock at selected stores only - Please check before making a special journey - 0845 600 6055 Whip it Out........................£32.59
R U Thirsty?........................£16.99
Magnum The Chimp Cage................£28.99
An essential toolbox Lightening Fast....................£25.60
for the pro Bum Bag............................£25.60
photographer. Extra-portable, durable British made bags made from water-
& flexible with a sturdy base offering Stealth proof canvas, with non-absorbent Skin Components
sturdy & stable Generous lining and seams that are bound with Skin 50..............................£19.99
access lid, card storage,
protection. all-in-one bag. Digital Case water- Skin Chimp Cage...............£28.99
adjustable strap & divider.
Includes ample proof Skin Double Wide..............£32.59
Altus 140...........£19.99 SAVE £5 pockets and a waterproof cover. tape.
Stealth Reporter D100AW....£64.99 Skin 75 Pop Down..............£25.99
when bought with any DSLR/DSC.
Stealth Reporter D200AW....£74.99 Skin Strobe.........................£25.60
Stealth Reporter D300AW....£84.99 DC-433 Digital Case............£24.99 Skin Set............................£108.50
Apex 100AW Black/Blue...£24.99 DC-435 Digital Case............£24.99
Stealth Reporter D400AW....£94.99
Apex 110AW Black...........£27.99 DC-439 Digital Case............£36.99
Stealth Reporter D550AW..£104.99 Tripod Case
Apex 110AW Blue.............£27.99 DC-445 Digital Case............£39.99
Stealth Reporter D650AW..£124.99 Bazooka............................£42.99
Apex 120AW Black...........£31.99 Magnum 400AW...............£159.99
Apex 140AW Black/Blue...£34.99 Humungous Bazooka..........£54.50
Magnum 650AW...............£199.99 Edit 110 Video Case...........£24.99
Hadley Pro Khaki/Tan...........£CALL
Cirrus 120 Black................£28.97 Nova 140AW Black............£34.99 Hadley Digital Khaki.............£CALL
Cirrus 120 Blue..................£28.99 Nova 140AW Blue..............£24.97 Hadley Digital Black..............£CALL
Cirrus 140 Black................£33.99 Messenger Boys Hadley Small Black...............£CALL
Nova 160AW Black............£39.99
Cirrus TLZ 5 Black...............£22.99 Fit DSLR & lenses into this snug Hadley Small Khaki...............£CALL
Nova 170AW Black............£44.99
Cirrus TLZ 5 Blue................£24.99 Urban Disguise shoulder bag. Features waterproof Hadley Large Black...............£CALL
Nova 180AW Black............£49.99
Cirrus TLZ 15 Black.............£29.99 Protect your lining, adjustable strap & extra padding Hadley Large Khaki...............£CALL
Nova 180AW Blue..............£64.99
Cirrus TLZ 25 Black.............£34.99 Nova 190AW Black............£59.99 equipment L2 Khaki ..............................£CALL
S225 Khaki..........................£CALL Rain Cover
Nova 200AW Black............£59.99 without
Classified Hydrophobia 70-200.........£99.99
attracting attention. S335 Khaki..........................£CALL
Fast access Hydrophobia Flash 70-200.£109.60
Rezo 110AW.......................£18.99 S335 Black...........................£CALL
bag with Hydrophobia 300-600.....£109.60
Rezo 120AW.......................£24.99 Urban Disguise 10...............£49.99 S445 Black or Khaki.............£CALL
slim Remote Control 10.............£35.99
Rezo 140AW.......................£34.99 Urban Disguise 20...............£69.99 SP40 Shoulder Pad Black......£CALL
profile. Remote Control 20.............£43.80
Rezo 160AW.......................£34.99 Urban Disguise 30...............£94.71 207 Shoulder Bag Black ......£CALL
Rezo 170AW.......................£39.99 Urban Disguise 35.............£108.50 207 Shoulder Bag Khaki ......£CALL
Classified 140AW Blk/Sep £69.99 307 Shoulder Bag Khaki ......£CALL Belt Packs
Rezo 180AW.......................£44.99 Urban Disguise 40.............£108.50 Messenger Boy 2500 Blk......£29.97
Classified 160AW Black......£84.99 MBIL f1.4 Khaki FibreNyte ....£CALL Speed Racer.......................£94.71
Rezo 190AW.......................£49.99 Urban Disguise 50.............£122.99 Messenger Boy 3000 Blk......£34.97
Classified 160AW Sepia......£84.99 MBIL f2.8 Khaki FibreNyte ....£CALL Speed Freak......................£86.80
Rezo TLZ 10........................£21.99 Urban Disguise 60.............£137.70 Messenger Boy 5500 Blk......£59.97
Classified 200AW Blk/Sep..£99.99 MBIL f2.8 Black FibreNyte ....£CALL Speed Demon....................£71.50
Rezo TLZ 20........................£27.99 Urban Disguise 70 Pro.......£138.70 Messenger Boy 5500 White.£59.99
Classified 250AW Blk/Sep£129.99 Pro Speed Belt V2..............£25.60
Pixel Racing Harness V2.....£25.97
Steroid Speed Belt V2.........£34.60
TOPLOADERS - Some stock at selected stores only - Please check before making a special journey - 0845 600 6055 POUCHES Pro Speed Belt-S.................£25.60
Thin Skin Belt V2................£18.91
Digi Holster Neoprene fabric Accessories
NEW! Added protection plus
fast & easy access
with clasp opening. Camera Strap Black/ Grey..£17.99
Camera Support Straps..........£8.99
Toploader Digi Holster when you need it. Apex
For DSLR’s, Camera Strap Black/Blue....£17.99
Holster-style Inc. All
each Cable Management 10..........£9.99
bag with strap weather
feature two Digital Holster Harness........£17.99
& belt loop cover.
vertical lengths Belly Dancer Harness..........£32.59
for DSL & lens Tasca 10 Blue/Red............£5.99
to accomodate Shoulder Harness................£19.70
Toploader Zoom 45AW........£39.99 Tasca 20 Blue...................£5.99 Pixel Pocket Rocket..............£11.99
different size Apex 5AW Blue..................£6.99
Toploader Zoom 50AW........£44.99