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NEW WAYS
TO SHOOT
WINTER
Q Creative landscape techniques
Q Unique presentation ideas
Q Artistic table-top projects
E X P E RT G U I D E
Thomas Mueller
On a mission to find
beauty in decay,
Thomas has visited
over 500 abandoned
locations and taken
thousands of
incredible images.
Read more on p112
NATASHA BREEN
T
one-hour photo projects
yet we never seem to have
enough of it. Thankfully,
all you need to indulge in
this month’s issue are 60
Simone Cmoon minutes and a whole lot of
Taking the world of creativity. Why? Because this is the time-
astrophotography conscious issue (that, and we know you’ll
to mesmerising new be busy visiting family and eating leftover
heights, Simone’s turkey at this time of year). From kitchen
images capture the utensils and torches, to that old flatbed scanner mothballed in 58 Discover three presentation
breathtaking beauty
the loft, there’s a lot of mileage in familiar household items – ideas for displaying your work
of the night sky.
Turn to p124
it’s just a question of looking a little differently. It’s also time
to dig out your old toys, as we’ve included a light dusting of
Star Wars magic to coincide with The Last Jedi taking over
our lives (well, mine anyway). Turn to page 38 and find your
perfect one-hour photo project. May the Force be with you.
art that Star Wars Choose from print, digital and combo instagram.com/
fans will absolutely practicalphotography
deals and get Practical Photography for
love. Use the Force less. greatmagazines.co.uk/pp
on p50 twitter.com/practphoto
PRACTICALPHOTOGRAPHY.COM 3
Febru
On the cover
146
Skills&ideas
08
Beyond the lens
Truly stunning images from
the world’s best photographers.
22
10 clicks
Discover new ways to shoot winter
landscapes in our seasonal special.
38
One-hour projects
Feed your imagination with nine
incredible 60-minute photo ideas.
58
DIY presentation ideas
Take a more hands-on approach
to displaying your best pictures.
100
Know your stuff
Back up and store images safely,
the benefits of built-in Wi-Fi, and more.
112
Beauty in decay
Step into Thomas Mueller’s
magical world of abandoned places.
24
124
Infinite galaxies
Simone Cmoon’s nightscapes
capture the world as never before.
Student showcase
112 Regulars
162
At just 12, Josiah Launstein
06
Your free gifts
already has a portfolio to be proud of. 60 minutes of new videos,
toning presets & replacement skies.
33
Guy Richardson
How to stay warm and
active when temperatures tumble.
35
Simon Roy
A robin sat on top of a fork
handle is just the beginning...
120
Camera know-how
46
Take control of focusing
settings to ensure sharper shots.
4 PRACTICAL PHOTOGRAPHY
Subscribe
Save money
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32-PAGE reader offers
Photoshop EDITING
GUIDE
See p36
155 Genius
68
Retouch RAW portraits
Fix colours, lift the exposure and
smooth out skin in Adobe Lightroom.
72
Make a fantasy composite
Merge multiple images with Layers
and silhouettes for truly magical results.
76
3 ways to inject style
Recreate a trio of simple toning
72 Create a fantasy composite using
techniques in a matter of minutes.
Layers and graphic silhouettes
80
Replace overexposed skies
Drop in one of our free replacement
skies and give your landscapes a boost.
82
Create striking silhouettes
Turn your people pictures into
colourful pieces of wall art in three easy steps.
84
Shoot a time-stack
Capture the passing of time and freshen
up your landscapes with this new project.
90
Photo fixer
PP’s Photoshop genius Dan Mold
works his magic on your best images.
68 Retouch your RAW portraits in
FREE! Lightroom presets Lightroom in just five simple steps
96
Tone your pictures in a single click
with 25 exclusive presets for Lightroom.
GetIntoGear
138
Sony _9
With 20fps shooting speed and
amazing AF tracking, is Sony’s latest
mirrorless model really the ‘DSLR killer’?
142
Fujifilm X-E3
128 The sleekest X Series yet takes
Fuji further into the world of touchscreens 51 Make photorealistic scenes
and lightweight ‘go anywhere’ cameras. using miniature toys and models
146
Entry-level DSLRs
The ten best beginner-
friendly models from Canon, Nikon,
Pentax and Sony go head-to-head.
154
Mini tests
Kodak 360º, digital photo
frames, camera sliders and more.
Your FreeGifts
Over an hour of new camera and editing videos,
toning presets, replacement skies and much more.
60
MINUTES
OF EXPERT
ADVICE
The table-top
project special!
The Practical Photography team head indoors
to bring you a variety of brilliant fine art and
presentation ideas that will keep you inspired
Expert tuition and motivated through the winter months...
QDan uses a premium compact and a drill to
get inside an acoustic guitar and find a very
different viewpoint of a very familiar object.
QLouise shows off a trio of ingenious
presentation ideas, from DIY canvasses
to Polaroid-inspired photo scratchcards.
QKirk cooks up a tasty food still life setup
Creative skills in his kitchen using a flashgun, diffuser and
a sprinkling of creative flair.
THREE
Plus More free photo gifts BONUS
VIDEO
GUIDES
Camera
Buying Guide
Unsure about which
camera is best for your
needs? Our ebook
includes reviews, spec
and prices for every
camera available right Toning presets & skies Photoshop video lessons
now. The latest Get 25 one-click Lightroom effects, from Retouch RAW portraits in Lightroom,
additions include the moody mono to punchy colour and even replace an overexposed sky, and turn
Sony _7R III and artistic borders, plus 13 dramatic skies your people pictures into colourful
Panasonic G9. for improving your overexposed scenics. silhouettes in Photoshop or Elements.
8 PRACTICAL PHOTOGRAPHY
Russian sunrise
by Daniel Kordan
O To take this photo I woke up long
before sunrise in a mountain hut at
the foot of Taganay National Park, in
Russia’s Ural Mountains. I hiked up the
mountain in -30°C, reaching the top an
hour before sunrise, and then the show
began. The clouds turned pink and red,
and danced around the sky, so I quickly
took advantage of the amazing light.
Nikon D810 | 19mm | 1/13sec | f/16 | ISO 160
PRACTICALPHOTOGRAPHY.COM 9
Shipwreck
by Eric Volto
O My wife and I like to snorkel down to
the wreck of the Pecorella, which is at
the exit of a gulf near the town of Porto-
Vecchio in Corsica. This 45m-long boat
struck a rock in 1965 and sank almost
immediately. Today, it’s 10m deep, but
the top of the boat rises to 5m. The
sight of this magnificent wreck living in
such accessible waters is fantastic.
Nikon D750 | 15mm | 1/250sec | f/10 | ISO 640
10 PRACTICAL PHOTOGRAPHY
BeyondTheLens
PRACTICALPHOTOGRAPHY.COM 11
Displays of power
by Alari Kivisaar
O When you’re stationed at a wildlife
bunker, with eagles visiting the area often,
getting a shot of one isn’t particularly
hard. However, what is difficult is
capturing an image of two fighting. You
can wait for hours, or even days, and
this moment may never come. If it does
eventually happen, it lasts for mere
seconds. And if you take your finger
off the shutter button you can miss the
moment, which is heartbreaking. This
time luck and patience were on my side.
Nikon D3 | 400mm | 1/1600sec | f/2.8 | ISO 800
12 PRACTICAL PHOTOGRAPHY
BeyondTheLens
PRACTICALPHOTOGRAPHY.COM 13
Step by step
by Mustafa AbdulHadi
O I love exploring other cultures, so when
I was visiting China I knew that I wanted
to catch the Lijiang Impressions show,
which demonstrates the traditions and
lifestyle of the native people. The first
day I went the weather was so foggy
that I could barely see anything, which
was so disappointing. However, on my
second visit I was able to capture this.
Canon 5D MkIII | 105mm | 1/500sec | f/8 | ISO 640
Bahrain-based Mustafa
AbdulHadi is a designer and
freelance photographer who
enjoys studying the different
aspects of people’s lives.
mustafaphoto.com
14 PRACTICAL PHOTOGRAPHY
BeyondTheLens
PRACTICALPHOTOGRAPHY.COM 15
BeyondTheLens
16 PRACTICAL PHOTOGRAPHY
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ORRNV UDWKHU LPSUHVVLYHȋ Ȃ ΖPDJLQJ 5HVRXUFH
CA M ER A
CA M ER A HIR E
Rent-a-Blad
Medium-format Hasselblads are the cause of camera
envy the world over, and owning one is often seen as
the pinnacle of a photographer’s career. Unfortunately,
the cost of owning one excludes most of us from even
breathing such rarefied air, with body-only prices
starting at £8000. However, that’s set to change,
as Hasselblad has just launched a rental service
where you can obtain the stunning X1D-50C 4116
edition for the grand sum of £78 per day (lenses will
set you back another £24 each). If you fall in love
with the kit, you can even offset your rental price
against the cost of purchase. hasselblad.com
20 PRACTICAL PHOTOGRAPHY
News
RumourMill
Hotly anticipated products
we can expect in 2018...
Canon 15-45mm
f/1.8-3.5
Anybody currently in
love with their EOS M
mirrorless camera is in
for a real treat, as we’ve
seen a reported Canon patent
for a brand new wide aperture
zoom lens. Offering a perfect
PRACTICALPHOTOGRAPHY.COM 21
WINTER
LANDSCAPE
SPECIAL
22 PRACTICAL PHOTOGRAPHY
SUNRISE TIP
EXPERIMENT
#1 Chase the golden light WITH FILTERS
PRACTICALPHOTOGRAPHY.COM 23
10Clicks
DRONES
24 PRACTICAL PHOTOGRAPHY
Pentax K5 | 90mm | 1/80sec | f/2.8 | ISO 200
TIP
USE YOUR
DRONE SAFELY
Drone use is growing rapidly
and it’s important that you
fly yours safely and legally.
Before taking to the skies,
visit dronesafe.uk for
official info.
DJI Inspire 1 | 20mm | 1/3000sec | f/2.8 | ISO 100
N AT U R E
PRACTICALPHOTOGRAPHY.COM 25
10Clicks
TIP
BE AWARE OF
26 PRACTICAL PHOTOGRAPHY
Canon 5D MkIII | 16mm | 1/60sec | f/4 | ISO 200
T R AV E L
PRACTICALPHOTOGRAPHY.COM 27
10Clicks
TIP
FIND A CLEAR
FOCAL POINT
With heavy blur creating such
an abstract shot, you’ll need a
definitive focal point to lead
the eye through the frame
and stop the shot
looking messy.
Canon 7D | 24mm | 1/2000sec | f/8 | ISO 400
28 PRACTICAL PHOTOGRAPHY
L I G H T PA I N T I N G
# 7 Create
atmosphere
OWhile epic vistas and extraordinary
landscapes are all well and good, you don’t
need to visit far-flung locations to capture
amazing images. James Mills (500px.com/
jamesmills1) shot this enchanting photo
just a stone’s throw from his front door.
“I took this shot near my home at Stanton
Moor in the Peak District, a magical place
littered with Bronze Age remains. It was the
first snow of winter and there was a little mist
hanging in the air – the perfect combination
for a blue hour woodland landscape.
“I placed my camera on a tripod and set the
exposure to 30sec to capture the ambient light,
plus give me enough time to light the path. I
clicked the shutter and quickly walked down
the trail with my torch, being careful not to get
my legs between the light and the camera.”
Canon 5DS R | 28mm | 30sec | f/5.6 | ISO 400
MACRO
# 8 Focus accurately
O Shooting with a wide aperture on a macro lens can make focusing
tricky. However, by taking your time and double-checking your shot, you
can create amazing images like Kimber Leigh (500px.com/kimberleigh).
“While walking in my nearby park early on a cold, clear winter morning,
I was drawn to the beauty of the golden light sparkling off the frost-covered
ground. Every autumn, the lush green needles of the conifer trees burn a
brilliant orange, before falling to the ground to form the loveliest carpet of
needles and branches. To capture this shot, I laid flat on the ground with
the sun behind my subject. I used a wide aperture so that the branch was
framed by a soft, dreamy blur of bokeh. My macro lens captured the
details of each tiny crystal of ice and the warm glow of the morning
sunshine. This moment was fleeting, as the sun soon shifted and the
sparkle was gone. Just the memory, and this photo, remained.”
PRACTICALPHOTOGRAPHY.COM 29
10Clicks
PORTRAITS
30 PRACTICAL PHOTOGRAPHY
PPFEB18
GUY RICHARDSON
ADVENTURES OF A WILD LANDSCAPE PHOTOGRAPHER CHILLED CHALLENGES
INTER IS A FANTASTIC TIME OF YEAR TO gloves designed with photographers in mind, but I’ve found a thin
PRACTICALPHOTOGRAPHY.COM 33
Repeat Winner of the TIPA Award
© Furniture by Vibieffe
WhiteWall.co.uk
SIMON ROY
ADVENTURES OF A WILDLIFE PHOTOGRAPHER WINTER WONDERS
HE COLDER WEATHER, SHORTER DAYS AND them. The weather had turned very cold and winter storms were
PRACTICALPHOTOGRAPHY.COM 35
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36 PRACTICAL PHOTOGRAPHY
fer
THAT’S
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£1.67
AN ISSUE!
ONE
HOU
P H OTO P R O J EC T S
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38 PRACTICAL PHOTOGRAPHY
Want to create amazing images
but can’t find the time? We’ve got
the perfect solution – nine superb
camera and editing projects that
take 60 minutes or less. That’s a
brand new portfolio in less than
a day! From kitchen utensils and
swinging torches to scanner art
and fantasy composites, there’s
something for all tastes here.
PRACTICALPHOTOGRAPHY.COM 39
1
Shoot perfect
‘flat lay’ still life
images at home
MEET YOUR GUIDE How long does it take
you to get one of your
NATASHA BREEN flat lay shots?
With almost 10 I would say from five to 60
years’ shooting
minutes if I have everything
experience,
I need for shooting. For the
Natasha is
a professional picture with the vintage
food, product and still life cutlery (right), I set up the
photographer who blogs and scene in about 20 minutes.
shoots for stock agencies like
Shutterstock as well as What camera and lenses
private clients in the industry. do you use, and how do
breen-photo.com you position yourself?
For my flay lay still lifes, I use
What draws you to creating a Canon 700D with Canon
these kinds of still lifes? EF 70-200mm f/4L IS USM
What’s compelling about and Sigma 17-50mm f/2.8
the ‘flat lay’ look? lenses. Some people like to
Flat lay is certainly trendy use a tripod for these kinds
right now, and you’ll see of shots, but if I’m shooting
a lot of it on Instagram. It’s with studio lights there’s no
popular in many photography need – the flash will freeze Fine arrangement is their position, of the textures,
genres, including food. It’s not any camera movement obviously really important and of the light. I spend lots
a good fit for classic still life and gives wonderful crisp in such images. How do of time moving the objects
compositions where you want details. If you’re not using you physically compose around until the balance in
depth, but what I love about flash it would be different. your images? the composition feels right.
it is how clearly it lets me I also prefer the freedom of I’m really looking for harmony. If there’s a lack of harmony,
define the shapes of objects. shooting handheld – it’s easier It’s the same when composing the result will not be good.
I like to use it to better show to make small adjustments, any sort of image, except
the beauty of many dishes, as and using Live View makes with still life there’s more How important is the
well as utensils and tools. composition easier. control of the objects and lighting of your flay lay
subjects? And what
flash gear do you use?
As with the physical
Picking objects composition, the light must be
just right or the picture will
& backgrounds lack harmony. Usually I will
use a very simple one-light
Whether you’re shooting flat lay photos
like Natasha’s, or regular still life, object setup either with or without
and background selection is really a reflector, depending on
important. “I collect both,” says how much I want to fill the
Natasha. “I buy backgrounds, or I find shadows. But sometimes I will
them, or I make them myself in my use two flashes, especially
basement. I need more and more if I need to imitate the look
ALL IMAGES BY NATASHA BREEN
40 PRACTICAL PHOTOGRAPHY
One-hour Projects
PRACTICALPHOTOGRAPHY.COM 41
IDEA
2
Capture an amazing physiogram
MEET YOUR GUIDE easy to pull off, total project the way. If there’s a light fitting on the end to leave a bare
time is around 30 minutes and in the middle of your room, tie bulb. LED or incandescent
TIM BERRY all you need is a single-bulb your string to this instead of bulbs are both suitable.
Tim is Practical torch, string and some tape. taping it to the ceiling. It must
Photography’s The basic idea is to suspend be completely steady though, Set exposure time
contributing
a torch from the ceiling, with as if the fitting moves even You’ll be working in manual
editor. He has
a master’s
your camera facing upwards slightly as the torch swings you for this technique, as you don’t
degree in photography, and on the floor beneath it, then won’t get a perfect physiogram. want the camera to expose
has taught at university level. take a long exposure image as the ceiling as a midtone grey
He loves trying new and the torch swings to and fro on Choose your torch – you want it jet-black. You
unusual techniques. its string. This creates striking As the torch swings, the can achieve this with a very
spirograph-like geometric camera will ‘see’ it from dark room, an ISO of 100, and
O LONG EXPOSURE LIGHT trails that are different every a range of angles, so it needs an aperture of around f/16.
trail techniques are most often time, so each image you take to be equally bright from all Working with such a narrow
associated with starry skies will be completely unique. of them. The perfect torch aperture will also ensure a
and rush-hour traffic. But why You can use your camera’s will therefore have a single large depth-of-field, so the
drag yourself outside in winter kit lens fully zoomed out for exposed bulb that is non- trails will stay sharp as the
when you can achieve amazing this technique, but if you have directional. By far the best torch’s distance from the
ALL MAGES BY T M BERRY
abstract light painting shots a wider-angle lens, such as option is a Mini Maglite camera changes. However,
in the warmth of your own a Sigma 10-20mm, that will be (right), which you can buy don’t be tempted by the
home? Physiograms are the even better. You can set up in for around £12. These come narrowest aperture your lens
perfect indoor project at this any room in your house, just with a candle mode, where will allow, as you’ll get softer
time of year. They’re quick and move any furniture that’s in you can remove the focuser images because of an effect
42 PRACTICAL PHOTOGRAPHY
One-hour Projects
TIP
USE YOUR
FLIP-OUT SCREEN
If your camera has a screen
that tilts or flips 180°, this will Focus your shot Take your image
enable you to view each 3 The easiest focusing method is to
4 Place your camera below the torch,
image you take without
point your camera at the floor from the facing up. Set the torch swinging and give
having to disturb
approximate height of the torch, and half it a few seconds to settle, then press the
the camera.
press to focus. Then without knocking the shutter button. Use the 2 seconds before
focus ring, switch to MF. the shot starts to move out of frame.
PRACTICALPHOTOGRAPHY.COM 43
One-hour Projects
IDEA
3
Make ethereal
scanner art
MEET YOUR GUIDE when you start digitising new. I think this style of
objects and textures it portrait can capture the soul,
ALEXANDRINA ANA becomes an artistic tool. psychology and memories – it’s
Digital artist A scanner lets you represent all much more connected than
Alexandrina objects in a new way – there’s with a camera; very close,
creates
an absence of perspective and intimate. Done right you can
captivating
depth-of-field. It’s a new way get an ethereal look – an
scanner art,
as well as portraits and urbex to represent the world around almost underwater quality.
images. alexandrinaana. me, and even myself. And it’s
deviantart.com accessible, too, as any sort of How do you go about
flatbed scanner can be used. composing such pictures?
What’s the attraction of It’s a kind of ritual. I carefully
using a scanner to ‘shoot’ What made you decide to place the items I want to Above Dig your flatbed scanner
create scanned portraits? include and block the light by out of the loft and give it a go.
rather than a camera?
It’s very different – of course I’d made scanned images of darkening the room. Needless
the primary use of a scanner is objects, like flowers, and to say – as the image is being a full range of tones have been
to replicate documents, but wanted to produce something taken from below – everything captured and you’ve not lost
needs to be placed upside detail in the highlights or
down. The hardest part is shadows. Most scanners also
expressing emotions, and not have adjustable exposure,
distorting the face or which can be found in the
emotions. Try not to press advanced settings.
against the glass too heavily
and check that the scanner Are there any other settings
screen is clean for each ‘take’. that are important?
I set the scanning resolution to
ALL IMAGES BY ALEXANDRINA ANA
44 PRACTICAL PHOTOGRAPHY
IDEA
4
Shoot stunning
fiery close-ups
MEET YOUR GUIDE the same when it’s too cold! How long did you spend Can you talk us through
Then there are the amazing on these images? the process of shooting?
MUHAMMAD AL-QATAM discoveries that a macro lens They were shot across a couple With my DSLR on a tripod,
Radiologist by brings you. The magnification of days, but the actual shooting I composed with a lab support
day Muhammad
uncovers a hidden world not could be done within an hour. stand holding the match
has been
usually seen by the naked eye, It’s captivating, and easy to in place. A good support
a passionate
photographer and it turns everyday objects spend longer as you make is vital as you don’t want
for almost 15 years, shooting into something amazing. adjustments. I started off subject movement. I used
many wonderful macro shooting normal matches, off-camera flash to light the
projects for which he’s won How did you come up then, after reviewing the shots, match, with a gridded snoot
numerous awards. with the idea for this I wanted more detail in the to stop light spilling onto the
500px.com/alqatam matchsticks project? heads, so I went to the store backdrop. A shutter speed
The idea to shoot macro and got larger, taller matches. of 1/250sec blended the
What got you started images of lit matches was flash and the flame well.
ALL IMAGES MUHAMMAD AL-QATAM
46 PRACTICAL PHOTOGRAPHY
One-hour Projects
TIP
SHOOT IN
Above & left Muhammad’s macro shots of flaming
BURST MODE matches are a simple and effective project anyone can
To maximise your chances try, capturing moments invisible to the naked eye.
of getting ‘that’ perfect
moment, shoot in
Continuous drive
mode.
Expert advice Get the focusing spot-on
Macro shots require sharp focus and
perfect control over depth-of-field to keep
Did you have any difficulty the important parts of the composition sharp.
with the lighting? In these shots, Muhammad shot at f/13 to
I experimented a lot, lighting keep the whole match head in focus, and
the matchstick from all the made sure to check the focus each time he
angles, with each position added a new match. This is important, as
even tiny movements from the camera or
giving me a different result.
subject can mean missing focus when you’re
Like any project, you start to shooting macro.
build the setup and modify
it as you go with small
changes in the flash position,
power and exposure.
PRACTICALPHOTOGRAPHY.COM 47
IDEA
5
Make a surreal storybook image
MEET YOUR GUIDE although the concept can seem of themselves at home. mechanics of the technique, it
complex to start with, it’s There might be five of the just makes it extra-interesting.
KINGSLEY SINGLETON actually very quick and easy to same person washing the
An expert tutor do – it took well under an hour car, or sitting around in Controlling the shot
in camera skills to make the image above. It is, different positions in the The first thing to do was find
and Photoshop,
therefore, a perfect technique living room, but it doesn’t a quiet woodland area where
Kingsley has
been teaching
if you have a bit of creative take too much effort to do we wouldn’t be bothered
creative photography in energy, and will amuse and something with a bit more by other people or dogs. I’d
magazines and courses for amaze the kids, so why not narrative or quirky appeal. have loved a bit of snow and
over a decade. try it over the holidays? Consider adding some a spare red cape, but time
kingsleysingleton.com Essentially this is a multiple costumes, props or interesting didn’t permit either. What
exposure technique, but locations and you’ll create was essential were dog treats
O IMAGINE IF YOU COULD one that relies on keeping something much more and an assistant to fire the
be in two places at once. Well, the camera still while the striking. In this case, I decided shutter when I said (though
digital cameras and Photoshop subject moves from frame to use a girl, Isabel, as the an infrared remote could
can make that possible... in to frame. All you really need subject and repeat a single dog, have been used instead).
ALL IMAGES BY KINGSLEY SINGLETON
terms of image-making at least. to do it is a tripod, a digital Beadie, around her, as a pack. The tripod is used to keep
With the right approach you camera and Photoshop. I didn’t want the picture to be the camera position consistent
can quickly repeat a person, menacing, though, so decided between the separate shots,
animal or object multiple times What can you shoot? to make the pack sit around and in many ways that’s the
around a picture, making it Most of the time when people Isabel as though she’s subduing most important part – if there’s
seem like there are more of try out this technique, they them with just a ‘Shhhh’. movement it’s harder to make
them than there are. And shoot multiple versions It doesn’t change the basic the shots line up convincingly
48 PRACTICAL PHOTOGRAPHY
One-hour Projects
TIP
KEEP IT
CONSISTENT
This technique needs focus,
aperture and camera position
Expert advice Set up your shot
to be the same between
shots. Only the ‘actors’
are allowed to
change position.
PRACTICALPHOTOGRAPHY.COM 49
IDEA
6
Make fantasy
scenes with
toys & models
MEET YOUR GUIDE How do you set up one
of your shots?
VESA LEHTIMÄKI It varies. Sometimes shots are
Vesa Lehtimäki planned, other times they are
is a graphic a spur of the moment thing. I
designer and carry a camera when walking
illustrator from
our dog and often snap photos
Helsinki. Check
out more of Vesa’s intriguing
where I imagine ‘something’
miniature photography in his could be in the scene, like the
book Small Scenes from AT-AT in the mist. Later, I add
a Big Galaxy. that something in Photoshop.
instagram.com/avanaut Take the Snowspeeder in
the parking lot (bottom, p51).
When did you start your First I shot the background,
miniature photography? then the model in matching
My first images were in lighting on a board to catch
about 1980. One of them was real shadows for realism. Then What are the difficulties of very hard to shoot, especially
a Hawker Hurricane under I pasted the whole thing on the shooting models like this? when combining it with
fire while landed. I still have backdrop. It’s fairly simple It’s always getting the angles blizzard effects, as you’d need
the Hurricane with its twisted once you get the angles right. to match. It instantly looks more snow.
prop and molten from the heat For the X-wing (top, p51) wrong if they don’t align. The In 1/72nd scale the Falcon
of pyrotechnics. Sadly, there there was more effort. I used Millennium Falcon (above) is works perfectly, especially
are very few images left. Most a very long exposure and ran the most forgiving of all the with the snow I use. I can’t do
were thrown away in anger around in the hay with a flash models I have – maybe it’s the a close-up of it, but it’s great
because they were always out pointed down to mimic the round shape that allows more for filling the frame.
of focus. Bad camera. landing gear lights on the room for error.
My real passion was ignited ground. I removed the flash in How do you match things
by movies like Star Wars. my hand above the hay in post Is the scale of model like the depth-of-field?
I loved explosions, miniatures, and added the X-wing to important? Do larger scales I eyeball it. To put it simply, if it
special effects and all that. match the light patterns over make things easier? looks good, it is good. There are
I would scratch-build ships the top. The X-wing itself was Yes and no. My 1/24th scale lots of complexities, but I tend
and try to do the same, to grab suspended on wires, so I could crafts – the X-wing and to play it safe with depth-of-
myself a piece of that magic. get under it. Snowspeeder – are fun to work field and shoot with small
with. They respond well to apertures all the time to have
camera and environmental as much as possible in focus.
effects like snow, fog and such.
They use 1/24th scale a lot in Apart from the compositing,
movies – it’s common from is any Photoshop used?
Star Wars to Harry Potter (for With the model photos it’s
example, the giant Hogwarts really all about merging them,
filming miniature). In that for instance masking in the
scale, models are big enough branches in the Falcon shot.
to create the illusion of reality I don’t create anything in
in a movie camera, as there’s Photoshop though, I only play
ALL IMAGES BY VESA LEHTIMÄKI
50 PRACTICAL PHOTOGRAPHY
One-hour Projects
photograph, but I
like the discoveries
made when trying
something new. I
think these photos Find great locations as backdrops
need to tell a story, Familiarity helps the illusion here. We all know what
or be humorous, so a car park looks like, and how big the spaces are, so the
they’re more than Snowspeeder feels more real. “The combination of warm
just a document of and cool light was tricky to replicate when shooting the
the toy.” ’speeder, which was shot on a board with lights placed to
match the shadows I imagined those in the location would
cast,” says Vesa.
PRACTICALPHOTOGRAPHY.COM 51
More creative ideas
to try at home VIDEOS
Make some amazing images with WATCH ALL
these quick and easy projects... THESE PROJECTS!
Check out this month’s Learn
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to see how each of
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shape.
52 PRACTICAL PHOTOGRAPHY
One Hour Projects
PRACTICALPHOTOGRAPHY.COM 53
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PRACTICALPHOTOGRAPHY.COM 57
WATCH
THE VIDEO
Louise brings her DIY
projects to life in this
month’s Learn Photography
Now show. Find it on your
disc or download it
from bit.ly/ppdisc
1802
COM PL ET E GU I DE
TH R E E C R A F T Y D I Y
PR ESEN TAT I O N
PROJ ECTS
58 PRACTICAL PHOTOGRAPHY
Three nifty
presentation
ideas to try...
60 PRACTICAL PHOTOGRAPHY
DIY Presentation Projects
resolution is too low. The WhiteWall a watermarked test print on the paper
configurator is able to show you if the of your choice, which will enable you to
resolution is sufficient to produce at the see how it actually looks on that paper.”
size you want. Ideally, you don’t want to Q Discover a variety of printing
compress at all. Save it with 8-bit products at whitewall.com
of the paper.
Once you’ve finished scrubbing
it away, the next thing to do is to
detach the overlapping paper
border. Take your time and do this Above A high-quality canvas print is the perfect format for displaying your landscape,
bit carefully, as you don’t want to still life and portrait photography in a very professional way.
accidentally rip off the photo layer.
PRACTICALPHOTOGRAPHY.COM 61
INTER M EDI ATE
TIP
Cr te a scratchcard- BE GENTLE
WITH THE PRINTS
inspired instant print Make sure you don’t scratch
too hard when rubbing away
the black paint, as you may
HE VINTAGE trusted, instant cameras are make the most of your prints damage the print
appeal of instant a welcome breath of fresh air once you’ve got them? We’re underneath and ruin
prints has proved that guarantee authenticity, all used to seeing and sharing the effect.
both universal and while still maintaining the images on Instagram and
incredibly long-lasting. In lightning-quick appeal of Facebook now, so hiding your
a world of technology where smartphone cameras. images away in a photobook You’ll need a ratio of two
no digital image can truly be However, how do you just won’t cut it anymore. parts paint to one part
Instead, why not try out a washing up liquid, so pour
unique and creative the two in and then mix them
presentation idea that’ll make together. Make sure the paint
you the envy of Pinterest? isn’t too watery, as this will
cause you problems later.
Create your paint To check you’ve got the
Short of pouring yourself a perfect consistency, place
glass of tap water, there isn’t a some masking tape on a piece
concoction much simpler to of scrap paper and paint some
make than this one. All you’ll of your mixture over both
need is some black acrylic surfaces. If you’ve created
paint, washing up liquid, the correct formula then it
masking tape, a paintbrush should apply to your print
and a container to house the with minimal streaking.
paint (don’t worry – this However, the true test is
paint is extremely easy to when you lift off the masking
wash off, so you shouldn’t be tape, as there should be no
Above Scratch away your paint formula with a jagged pattern for apprehensive about using an bleeding underneath it at all.
the best results – you don’t want it to look too perfect! old Tupperware box). If there is any, then you’ll
62 PRACTICAL PHOTOGRAPHY
DIY Presentation Projects
PRACTICALPHOTOGRAPHY.COM 63
A DVA NCED
Craft a
beautiful
photo lantern
OOKING FOR A avoid shots that have lots of
64 PRACTICAL PHOTOGRAPHY
DIY Presentation Projects
Next steps
Get creative
Put your lantern together
4 Go to File>Print and make sure the box ‘Scale to with the show
fit media’ isn’t checked. Press Print, and then use
Ctrl+Z to go back to before you cropped in. Now simply Itching for another crafty
repeat those steps until you’ve printed all four sections. project to enjoy? Or simply
Next, take the templates you printed earlier and tape them want to see how these
onto the four sections. Then use scissors to cut around the techniques are created in
templates to create the eight segments of your lantern real-time? Watch Louise
(ignore the tabs on the template and treat it like a normal create the three awesome
line). Coat the first segment of the image liberally with Mod DIY projects here – plus
Podge and then place it onto the lantern. You’ll want to extra exciting projects from
ensure that the widest part of the section is situated in the the rest of the PP team –
centre. The end bits will drop off the end of the lantern and in this month’s Learn
that’s totally fine, as you can trim them at the end. Put on Photography Now show.
another coat of Mod Podge and use your fingers to Find it on your free cover
smooth down any wrinkles. Do this until the image is disc, or download it today
totally flush to the lantern. Repeat until finished, then at bit.ly/ppdisc1802
leave to dry overnight. Lastly, enjoy your lantern!
PRACTICALPHOTOGRAPHY.COM 65
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CREATE FANTASY ART
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Tell a story with a Photoshop composite
PHOTOSHOP
GENIUS
Learn exciting new editing techniques
from the UK’s best digital experts...
... PP’s Photoshop editor,
Dan Mold, is an Adobe
Certified Associate.
PRACTICALPHOTOGRAPHY.COM 67
PHOTOSHOPGENIUS
Retouch
your RAW
portraits in
Lightroom
68 PRACTICAL PHOTOGRAPHY
// LIGHTROOM // VIDEO TUTORIAL
BEFORE
PRACTICALPHOTOGRAPHY.COM 69
PHOTOSHOPGENIUS
Lightroom
interface
explained
The Lightroom workflow
operates in an entirely
different way to Photoshop
so can seem daunting to
get to grips with. But you’ll
soon familiarise yourself
with the layout when
you’ve made a couple of
RAW conversions. Here’s
what you need to know
about the Develop tab,
which is where you make
your edits...
Below The
Exposure slider
allows you to
raise or lower
the overall
brightness of
the image.
70 PRACTICAL PHOTOGRAPHY
// LIGHTROOM // VIDEO TUTORIAL
Fine-tune the colours in your shot Apply finishing touches and export
4 RAW files need colour tweaking, which Lightroom’s
HSL tab is perfect for. We’re only using the
5 Unlike RAW files, JPEGs have sharpening applied
to them in-camera. With this in mind, it’s always
Luminance tab here, which is responsible for the brightness of a great idea to sharpen an image before exporting it. To do
the colours, but you can change the Hue or Saturation in their this, go down to the Sharpening panel. Pressing the square
responding tabs. Adjust your colour sliders until you’re happy. cross-hairs at the top of the panel allows you to click on
Next go to the Split Toning panel. Drag the Saturation sliders in a point to zoom into. We’ve opted for the eyes. Drag the
both tabs until they’re on 20. This allows you to see the effect. Amount slider to the right, remembering to do so sparingly as
Now drag the Hue slider in the Highlights area to the right, until an over-sharpened image is not a pretty sight. Once you’re
you’re happy with the effect. We’ve settled on a yellow here to happy with the results, it’s time to export your masterpiece.
give a warmth to the skin tones. Repeat this process with the Go to File>Export and choose the folder location you
Shadows slider, where we have opted for blue. Change the want to save your work to. Set the Image Format to JPEG
Balance slider until you get the required result (here +79), and ensure you’ve moved the Quality slider along to the
which puts a bias on the Highlight colours. maximum setting of 100. Hit Export to save your shot.
PRACTICALPHOTOGRAPHY.COM 71
PHOTOSHOPGENIUS
WHAT
YOU NEED
Make a Q Photoshop or
Elements
Q A variety of images
composite
Dan Mold explains how
to merge images with
Layers & silhouettes for
really abstract results.
BEFORE
NORTHERN NIGHTS PHOTOGRAPHY
DAN MOLD
TERRANCE KLASSEN
NATHAN KING
GRANT GLENDINNING
72 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS
PRACTICALPHOTOGRAPHY.COM 73
PHOTOSHOPGENIUS
74 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS
PRACTICALPHOTOGRAPHY.COM 75
PHOTOSHOPGENIUS
3 Ways to inject
style instantly
This month Dan Mold reveals
three of his favourite toning
WHAT
YOU NEED
techniques and shows you Q Photoshop or
Elements
how to easily recreate them.
Q An image you’d like to
add a variety of film
effects to
T ONING YOUR IMAGES IS A
great way of increasing their
appeal. So we’ve rounded up
We kick off
with this simple but
effective cyanotype
a trio of toning effects, each of which can treatment, where you’ll
be completed in just five minutes. Adding learn how to apply a single colour
colour or contrast will transform your tone. Blue will give your picture a nice
pictures, making them look much more cool tone, and yellow will give shots
dynamic and eye-catching. a retro sepia vibe. Over the page we’ll
Converting your shots to mono, or show you how to drain away all of the
adding a single toning effect, is a great colour in your image to create a mono
way of removing colours in the frame masterpiece that packs a punch, and
that distract the viewer’s eye away how to apply a cinematic orange and teal
from your focal point. This occurs in look to increase contrast and drama.
our busy street scene, which is bursting So dig out an image you’d like to
at the seams with vibrant colours. work up and let’s get stuck in!
retro-style
cyanotype.
AFTER
1Make a single
colour tone
Turn up the digital noise
1 Open your shot into Photoshop
and hit Ctrl+J to duplicate your
Layer, then go up to Filter>Noise>Add Noise.
Set Distribution to Gaussian and make sure
the Monochromatic box is ticked, then drag
the Amount slider in the Add Noise panel
until it looks good. Hit OK when you’re
done, then head over to the Layers panel
(Window>Layers) and change the Opacity of
your top Layer to fine-tune the effect further.
76 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS
PRACTICALPHOTOGRAPHY.COM 77
PHOTOSHOPGENIUS
2 Go mono
to increase
atmosphere
BLACK & WHITE PHOTOGRAPHY
allows your viewer to concentrate on the
raw emotion and form of your image. Its
timeless quality is still popular today,
so we’ve come up with an easy way to
give your full-colour images the chic,
elegant look of a 1940s mono movie
(think Casablanca or Double Indemnity).
We’ll once again be adding digital noise
to simulate film grain, but this method
offers a different level of control to the
previous technique. A vignette is the
final touch that guides the viewer’s
eye towards the middle of your shot.
AFTER
78 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS
PRACTICALPHOTOGRAPHY.COM 79
PHOTOSHOPGENIUS
LEARN
NEW
LANDSCAPE
SKILLS
WHAT
overexposed sky YOU NEED
Q Photoshop &
Elements
Don’t throw your overexposed landscapes in Q An image with a
blown out sky you’d
the trash! Dan Mold shows you how to rescue like to replace
a blown out sky by dropping in a better one.
LOUISE CAREY/BAUER
replacing, follow the three-step tutorial below, and don’t
forget to watch the accompanying video lesson too.
80 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS // VIDEO ON THE DISC
13
FREE SKIES
TO ADD
TO YOUR
SHOTS
AFTER
PRACTICALPHOTOGRAPHY.COM 81
PHOTOSHOPGENIUS
BEFORE
S TRIPPING ALL THE
colour from a profile
portrait to transform it
into a silhouette vastly increases its
impact, and creates really artistic
results that are perfect for hanging
on the wall. This simple but
impressive technique takes just five
minutes, and along the way you’ll
learn how to cut out subjects in
Photoshop, turn them black and
then inject a strong kick of colour by
adding a background hue of your
choice. When shooting your
subject’s profile, use aperture-
priority and select f/8 for a strong
depth-of-field. Shooting against a Above & right A clean background makes it easier to draw around the profile of the models.
clean, white wall isn’t essential but It’s really easy, and great fun to turn your friends into silhouettes. You can also add a
does make it easier to cut them out. background colour of your choice to make them stand out even more.
82 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS // VIDEO ON THE DISC
PRACTICALPHOTOGRAPHY.COM 83
PHOTOSHOPGENIUS
WHAT
YOU NEED
abstract
Q Photoshop CC
landscape
Dan Mold shows you
how to give your
landscapes an
impressionist feel
with a powerful time-stack.
BEFORE
84 PRACTICAL PHOTOGRAPHY
PHOTOSHOP //
PRACTICALPHOTOGRAPHY.COM 85
PHOTOSHOPGENIUS
Location
You’ll need a landscape
with a moving element,
like clouds, or water,
that can be stacked in
Photoshop to create
the staggered time-
stack look. Interval
Timer
Camera capability
You’ll need a
You’ll need a camera
camera with an
with aperture-priority
Interval Timer
(A or Av) and manual (M)
Shooting mode, or
modes, so a DSLR or
an intervalometer
mirrorless model is
(above) to shoot
ideal for shooting your
your time-stack
time-stack sequence.
pictures.
Photoshop Lens
We’ll be showing you how to stack all of your exposures Wide-angle lenses, or the 18mm end of an entry-level kit lens, are
together using Layers in the full version of Photoshop CC. great choices for composing your landscapes, as the broader
A trial can be downloaded from adobe.com angle-of-view helps you fit in more of your scene.
1 Shoot in the golden hour 2 Aim for a partly cloudy sky 3 Avoid shooting the sun
You can get a fantastic colour palette by This technique works amazingly well Shooting at sunset or sunrise will give
shooting half an hour before sunrise or when the sky is partly cloudy. The you great colours, but shooting into the
sunset. Your sky will be packed with movement and gaps between wispy sun itself will give you an overexposed
brilliant blue and golden tones as the clouds provide contrast, making the spot. Instead, try to compose with the
sun comes up or goes down. staggered effect more apparent. sun just outside of the frame edge.
86 PRACTICAL PHOTOGRAPHY
PHOTOSHOP //
PRACTICALPHOTOGRAPHY.COM 87
PHOTOSHOPGENIUS
Save and reduce the file size Load your shots into the Layers stack
3 With the RAW files looking how you want them,
make sure they’re all selected, then click on Save
4 Hit Save and then press Done to exit Adobe Camera
Raw. Open up Adobe Bridge and find your processed,
Images. Under Destination, create a new folder in which to resized JPEG images. As you’re dealing with lots of images,
save your JPEGs. Make sure Format is set to JPEG, Quality having smaller files really helps speed up the processing.
is set to 10 and under Image Sizing, tick the Resize to Fit box Hit Ctrl+A in Bridge to select all of the JPEGs and then go
and set Long Side to 2000 pixels with a Resolution of 240. to Tools>Photoshop>Load Files into Photoshop Layers.
88 PRACTICAL PHOTOGRAPHY
PHOTOSHOP //
Fine-tune the brightness and contrast Boost colours and save your shot
7 When you’re happy with the distance between the
clouds, go to Layer>Flatten Image to merge all of
8 Hit Ctrl+U to bring up the Hue/Saturation panel
and then increase the Saturation slider to around
the exposures together. Now you can adjust the contrast by +20 to make the colours stand out a little more (if needed).
hitting Ctrl+L to bring up the Levels panel. Drag the middle Finally, head up to File>Save As and save your shot as
Midtones slider to change the overall brightness, then pull in a JPEG with a Quality of 12 to finish off your time-stack
the Shadows and Highlights sliders to add some contrast. image and save it onto your computer’s hard drive.
PRACTICALPHOTOGRAPHY.COM 89
PHOTOSHOPGENIUS
PhotoFixer
Stuck in an editing rut with your shots? Send them over
to ppsubmissions@bauermedia.co.uk and our Photoshop
experts will show you how to professionally retouch them.
BEFORE
A small
amount of
digital noise
is present
Image would
benefit from
a contrast
boost
AFTER
90 PRACTICAL PHOTOGRAPHY
TIP
MAKE USE OF
ACTIVE SPACE
Rikki positioned the chameleon
on the right of the frame, giving
it plenty of room on the left.
This creates the illusion that
it’s moving into this area
and strengthens the
composition.
Fine-tune your
2 adjustments
If there’s a specific part of
your shot that you’d like to edit, use the
Adjustment Brush Tool in Lightroom or
Adobe Camera Raw. Just brush over the
part you want to change and you’ll have
access to all of the sliders on the right to
tweak that area. We used it to make the
chameleon a little brighter by pulling the
Exposure and Shadows to the right.
PRACTICALPHOTOGRAPHY.COM 91
PHOTOSHOPGENIUS
BEFORE
Fast lane
Colours
are dark and By Declan Delaney
muddy
92 PRACTICAL PHOTOGRAPHY
// PHOTO FIXER
Line breaks
up the form of
the windows
and is a little
distracting
Image
is a little soft
and would
benefit from
sharpening
BEFORE AFTER
Canon 5D MkIV | 63mm | 1/50sec | f/6.3 | ISO 400
PRACTICALPHOTOGRAPHY.COM 93
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Fotospeed Printable Pre-Scored Greeting Fotocards...what a good idea!
// PHOTO FIXER
BEFORE
Smooth
horizon
By Chris Turner
Chris says: I wanted
to blur the water, but
retain the detail in the
Contrast rocks with this shot.
and colours I ran into the frame,
would benefit but it was hard to
from a slight keep still during the exposure! I had a
boost friend illuminate the rocks and myself
with a flash to make sure these areas
came out sharp.
PRACTICALPHOTOGRAPHY.COM 95
PHOTOSHOPGENIUS WHAT
YOU NEED
Q Any version of
Lightroom presets
Give your shots an incredible toning effect in
a single click. Dan Mold shows you how to
use your free 25 toning presets in Lightroom.
96 PRACTICAL PHOTOGRAPHY
// PHOTOSHOP & ELEMENTS // FREE TEXTURES
DAN MOLD/BAUER
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CREATIVE
LIGHTROOM
PRESETS
EYE35.PIX
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PRACTICALPHOTOGRAPHY.COM 97
PHOTOSHOPGENIUS
SEE
DISC OR
DOWNLOAD
FOR MORE
shop EDITING
ADVICE
LIGHTROOM
RICHARD BURDON
a fantastic way of
Changing the size of an image is a building a
DIRK BLEYER
98 PRACTICAL PHOTOGRAPHY
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Know
YourStuff
All your technique and gear questions answered by
our team of experts knowyourstuff@bauermedia.co.uk
How do I back
up and store
Tim Berry
PP’s contributing
editor has a
images safely? TIP
master’s degree A photographer friend of mine recently lost a significant
in photography number of her images and I’m getting increasingly
FORMAT
and has taught paranoid about this happening to me. What’s the best CARDS REGULARLY
undergraduates. way to protect my shots? Paul Taylor, Leicester
You can limit the chances of
corruption by formatting your
Tim says: Secure image storage once the card is written over, cards in-camera between
isn’t exactly the most exciting there’s no way back. As soon shoots. Just make sure
avenue of photography, but if you as you get home from a shoot, that you’ve saved
don’t put the proper measures get into the habit of setting your shots!
in place to protect your files, your transfer going before you
SIMPSON33
you’re running a huge risk of even put the kettle on. Make
serious data loss. These days, sure you keep an intuitive and
almost all of our photos are consistent file system so you can
stored digitally, and it doesn’t always locate an image quickly. Solid state drives
Dan Mold take much for the ones and zeros One major drawback of regular
PP’s Photoshop that make up every image file Use both card slots hard drives is their fragility.
editor is a former to disappear into the ether for If your camera has two card slots, Accidentally drop one on
Digital Photo good. At best, you might lose such as the Canon 5D MkIV the floor and there’s a good
staffer who has a few throwaway shots you or Nikon D610, it’s possible to chance that the drive’s spindle
encyclopedic
took at the weekend. At worse, mirror them so that your images will break. Solid state drives,
photo knowledge.
you could be saying goodbye are written to both. This means though, like USB sticks and SD
to hundreds of thousands of that if one of the cards becomes cards, have no moving parts
photographs of your children corrupted or gets lost, you have so are much tougher. They’re
growing up, or irreplaceable your images safely backed up a particularly good idea if you
memories of your wedding day. on the other. It’s always best to transport your drives to different
Here are some steps you can work this way for very important locations regularly. Bear in
take to protect your files... shoots such as weddings. mind that solid state tends to
be much more expensive.
Back up immediately Follow the 3-2-1 rule
One of the most common causes Many photographers store their
Louise Carey of data loss comes from the images in accordance with the
failure to transfer images from 3-2-1 rule, where images are
PP’s features
editor is an
a memory card to a hard drive backed up at least three times,
experienced at the earliest opportunity. If across at least two different types
fine art and not done right away, the chance of storage (eg Cloud and hard
documentary of accidentally formatting the drive), in more than one location.
photographer. card to use for something else Working this way makes losing Above Solid state drives are much
dramatically increases, and precious data extremely unlikely. less likely to break if dropped.
PRACTICALPHOTOGRAPHY.COM 101
Should I invest
in a handheld
gimbal for video?
What exactly is a gimbal
and are they worth having
for video work?
PRACTICALPHOTOGRAPHY.COM 103
Know Your Stuff
XXXXXX XXXX
How do I get
sharper shots?
I’m concerned that my images aren’t
as sharp as they should be. Help!
Chris Simpkin, Ayrshire
Select shutter speed Focus with Live View Keep the camera still
4 For sharp handheld shots without
camera shake, choose a shutter
5 AF is usually very accurate, but not
always – sometimes the camera
6 When shooting long exposures
from a tripod, it’s easy to assume
speed that is at least equal to the inverse of or lens can place sharp focus slightly in your camera is perfectly still, but this may
your focal length. For example, for 100mm front or behind the subject. To guarantee not be the case. On windy days, it can
lenses, use 1/100sec or faster. For 400mm, accurate focus, activate Live View, press the wobble around, introducing blur. In this case,
use 1/400sec or faster. If you’re shooting a Magnify button, switch the lens to MF, then remove the strap, avoid using your tripod’s
moving subject, you’ll need even shorter adjust the focus ring until the subject is central column, and shield the camera from
exposure times. perfectly sharp. the wind with your body.
Where are my
LCD settings?
How do I shoot a There used to be settings
visible on my screen.
snowy landscape? How do I get them back?
Harpreet Lall, Bath
This year I’m determined to shoot some amazing Louise says: Almost all modern
wintry scenes. Do you have any tips? DSLRs and CSCs allow you to
Emma Southall, March TIP display key settings info on the
AVOID LENS rear screen, which tends to be
Dan says: The core principles of winter landscape easier to see than in the viewfinder
photography aren’t hugely different to other times
FOGGING or on the top-plate LCD. To turn
of the year, although there are a few useful tips Taking freezing cold gear into the display on or off, press the Info
that can help you achieve better shots. Perhaps a warm house can cause button on the back of the camera.
the most useful is what to do if there’s snow on the condensation, so allow You may have to press it several
your kit to acclimatise times, as it often toggles through
ground, which can cause metering and focusing
first in the car. a variety of display functions,
issues. When most of the frame is white, your camera including the virtual spirit level
will set the snow as a midtone grey, making the scene and the histogram. Once selected,
look muddy and underexposed. Increase exposure this key info display will remain
compensation by 1-2 stops and keep your eye on the histogram visible at all times, unless you are
to avoid clipping out the brightest areas to pure white. If your reviewing an image or using the
camera struggles to focus in the snow, try moving the focus menu. Many photographers prefer
point to an area of contrast, such as some bare tree branches. to keep the screen off when
Above For composing a shot, getting the
If this isn’t possible, just set your lens to manual focus and turn
ROBERTO MOIOLA / SYSAWORLD
How do I attach
a flashgun to
a lightstand?
I’ve just bought a
lightstand but my
flashgun doesn’t fit on it.
Is there a way to connect them?
Rory Benton, Newcastle
Louise says:
Most flashguns
are designed to
be mounted onto a
camera, so are fitted
Can you suggest creative with a standard
hotshoe connector.
If you want to mount
ideas for the New Year? one to a lightstand,
which have either a
I need to get my teeth into a can chew, you’re far more likely to give up 1/4in or 3/8in screw
thread (or both), you’ll
meaty photo project in 2018. before you really get started. For example,
need an adapter. Buy
Do you have any suggestions? Project 365 (see below) requires you to one with a swivel joint
Tim Blunt, Plymouth take a shot every single day without fail so you can tilt the
for a whole year, which isn’t going to be flashgun up and
Tim says: Whether you’ve had some easy if you have a demanding job. Perhaps down, otherwise it
new kit for Christmas and want to put it one per day for a month, or one per week will always be angled
through its paces, or are just itching to get for a year would be more realistic. horizontally. Some of
out and shoot after a couple of dormant Don’t worry if you don’t get these products, such as
winter months, a creative project is the amazing results every time you shoot Calumet’s Adapter with
perfect way to kick-start the New Year. a photograph. This should be as much Hot Shoe Bracket (£15),
pictured above, also allow you to
Most projects give you some sort of a learning process as it is a portfolio
connect an umbrella to soften the
theme or brief to work to, which tends builder, and no one else ever has light. Bear in mind that if you’re
to make it easier to decide what to shoot, to see your less successful images. using your flashgun with wireless
and many focus on a specific genre or The very best projects will stretch triggers, it’s actually the receiver
subject, enabling you to explore a range you to shoot subjects you wouldn’t and not the flash unit that will
of different techniques and approaches. normally tackle, thereby teaching you attach to the top of the bracket,
Be sure to choose a project that you lots of new skills along the way. so check that the receiver has a
are confident you have enough time to Below, we check out three creative hotshoe connection on the base.
complete. If you bite off more than you project ideas for the New Year.
PRACTICALPHOTOGRAPHY.COM 107
Image © Tom Barnes
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Know Your Stuff
Expert tip!
Copyright
and the law
We asked
Jonathan
Appleby, a
copyright expert
at Copytrack, for
the low-down on
how UK copyright
law works...
I’m paranoid that as soon as also mean the images load faster. If you QAn infringement occurs whenever
I upload my shots online they’ll want to check if one of your images has someone breaks the terms of your
get stolen and used without been stolen, you can use Google’s reverse copyright. Online this often occurs
when users share your images
my consent. What can I do? image search (go to Images, click the
without permission. Due to the
Mandy Dewbridge, Chester camera icon at the right of the search
availability of content online,
bar, upload your shot and voilà). A more infringement sometimes occurs
Louise says: The digital age has ushered advanced option is to set up an account without the abuser knowing they’ve
in a whole new photographic era that has with Copytrack (copytrack.com), which done anything wrong. When your
brought with it all sorts of advantages. But will search the web for your shots and rights have been abused you are
it’s also led to a dramatic increase in the report back, boasting an accuracy rating able to claim compensation.
unauthorised use of images online and of 98%. Copytrack then pursues the
elsewhere, often completely without the user for a post-licensing agreement and QThe amount awarded has to be
reasonable and proportionate to
copyright holder’s knowledge. Anyone ensures proper legal enforcement. Setting
the infringement committed.
who shares their shots on the internet is up an account with Copytrack is free. Compensation is calculated by
vulnerable, so it’s worth taking steps to working out the profit lost because
limit your chances of becoming a victim. Know your rights of the infringement. So, if images are
Some photographers use a watermark If you’re not sure what your legal usually sold for £100, anybody who
to protect their shots. This is fine, rights are as a photographer and stole your image would have to pay
although they can be easy to clone or crop how copyright works in the UK, take that fee. You would have to prove
out, and often damage the aesthetics of a moment to check out the advice that you received that much in the
the image. Instead, it’s best to only upload from one of Copytrack’s copyright past for your work.
low-res files where possible – this will experts in the panel to the right...
PRACTICALPHOTOGRAPHY.COM 109
Flagship Store Opening
A D V E R T I S I N G F E AT U R E
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integration with Calumet from which will be exhibited
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Opening, a private view evening Q For more information, head over
launched Wex’s More Than an to www.wex.co.uk/london
PRACTICALPHOTOGRAPHY.COM 111
112 PRACTICAL PHOTOGRAPHY
PRO SHOWCASE
AMAZING IMAGES AND INSIGHT
FROM THE WORLD’S BEST
PHOTOGRAPHERS
BEAUTY IN
DECAY
Thousands of images shot at
500 locations over ten years Thomas Mueller is a
freelance photographer
prove uncovering the hidden based in Berlin, Germany.
He specialises in travel
charms of abandoned places and landscapes, and
isn’t just a job for Thomas has been shooting abandoned
locations since 2008.
Mueller, it’s a passion. thomasmueller.photography
PRACTICALPHOTOGRAPHY.COM 113
OR THOSE OF US WITH AN it’s so versatile. I suddenly had a reason to go outside
inner intrepid explorer that’s just and discover amazing locations. Even the searches
waiting to break free and set off on themselves were fantastic, never mind actually taking
epic adventures, Thomas Mueller’s the shots. It really allowed me to relax and forget all
images are the perfect inspiration. of my worries. I also love post-processing my images
Each one transports you into a on the computer. Editing a flat RAW file to give it life
different dilapidated building, is great fun. For me, photography is simply the most
covered in decades’ worth of beautifully diverse occupation in the world.
grime and dust. Having shot
hundreds of abandoned locations the world over, What drew you to shooting abandoned houses?
Thomas is now an expert in capturing the eerie Around 2008 I saw a picture of a cinema in a deserted
beauty of total dereliction. Soviet army barracks. I found the image fascinating,
and immediately knew that I wanted to create
How did you first become interested something like that. I searched for deserted places
in photography? near me and photographed them. Over time each
While I bought my first camera in the early 2000s, I shoot got more professional, and now I’ve visited
didn’t actually stray outside of the auto setting until over 500 locations scattered all over the world. What
around 2007, which is when I bought my first DSLR. fascinates me the most about these places are the
The most wonderful thing about photography is that visible traces left by time when humans no longer
occupy the space. To me, decay is beauty, and I think
I’m addicted to capturing it.
“THERE HAVE BEEN SOME
LOCATIONS THAT I’VE VISITED FIVE How do you get into the buildings?
I usually try to find an open door or window. In some
TIMES BEFORE I COULD GET IN...” circumstances I may have to climb in order to get in.
However, if absolutely nothing is open then I have metal, but he didn’t listen to me at all, and just kept Above Thomas
to ask in the area for someone who owns a key, or yelling. My guide, who was already 100m along the made great use
alternatively just come back later and try again. beach, turned around and walked back at a leisurely of the colours
and doorways
There have been some locations I’ve visited five pace. It felt like an eternity before he actually got
in this mansion.
times before I could finally find a way inside. I there. Meanwhile, the Nigerian man continued
would never destroy anything to get into a building, yelling at me and trying to smash my camera. When Above left
so unfortunately some doors remain closed forever the guide finally got there he calmed down the man. This abandoned
and I just have to accept that. I’m lucky he was there, otherwise I might not have conservatory had
got off so lightly. been overrun by
Have you ever had a nightmare shoot? plants, giving the
Yes, definitely. In 2015 I visited friends in Lagos, Do you have a favourite story from your image a spooky,
Nigeria. Before the trip, I scouted some locations on experiences shooting these locations? apocalyptic feel.
Google Earth and saw that there was a beach with I remember a beautiful abandoned theatre in France.
abandoned ships. I was excited to visit this place, so It’s located in a park that many people travel though
I booked a guide to help me explore. When we got during the day. The only access to this theatre is
there I walked along the beach and took a few shots. through the basement. To get there, you have to abseil
At some point I reached a large scrap heap, which was with a rope down the 5m-deep shaft. Because it
the remains of a large ship. I took out my camera to would have been too noticeable to climb down during
get a picture, but suddenly a big Nigerian man came the day, my friends and I decided to explore at night
running up to me, agitatedly asking why I was instead. We crept through the park to the theatre at
photographing his wife. I then saw that underneath midnight. I remember that, because the full moon
the scrap heap several people were sat in the shade to was so bright we didn’t even need to use our torches.
seek protection from the sun. This man was Once we’d made our way into the theatre we
extremely upset and tried to hit my camera. I kept illuminated it with over 400 tealights. This process
trying to explain that I was only shooting the scrap took us over an hour, but when we were done there
PRACTICALPHOTOGRAPHY.COM 115
Pro Showcase Thomas Mueller
Top Thomas’ was a beautifully soft and warm light in the room so we’ll drive after dark to our next location so as not
post-processing that we never would have achieved with a flash. It to waste any time. However, this is only possible
proved especially perfectly complemented the 18th century baroque when alternating drivers. I love going on these trips,
tricky here, as the theatre. All the effort we put into this shoot really as we don’t solely visit abandoned buildings – we
room was so dark. paid off, as we were rewarded with breathtaking often shoot landscapes and cityscapes as well.
images. After taking our shots we collected up the
Above This
abandoned
tealights in order to leave no trace of our presence. What’s the most unusual location you’ve visited?
Japanese shrine We then climbed back out on the rope and left the On a four-week trip through Japan I visited a variety
was overflowing theatre for the cold, dark night. of abandoned places. One of these was a temple
with thousands of complex known locally as the ‘Temple of Lies’. The
mortuary tablets. How much preparation goes into your shoots? story behind this unusual name makes this location
The preparation generally tends to be divided into even more incredible. In Japan, people commemorate
two different sections. First, I find these lost their deceased with Ihai tablets. These small
locations, and then I plan photo tours to get out there ceremonial placards hold the souls of their loved ones.
and shoot several of them at once. I’ve actually People paid money to this particular temple, and in
created a database where I input all of the locations I return the priest was supposed to pray each day to the
want to visit. Currently there are over 1000 different souls. However, the priest was exposed as a fraud and
places worldwide. I usually use Google Image Search, a swindler, and the temple was left to decay.
Street View or Satellite View. They’re all really useful
tools to find abandoned places. When I’m planning Is there a deeper meaning to your work?
my photo tours, I’ll usually be doing so with two or For me, photography is a path to relaxation. I love to
three friends. We meticulously think about where enter deserted places, take pictures of them, and then
we’re going, how much time we’ll need at each place use my personal style to create a new interpretation.
and the specific time of day we want to be there. We My images aren’t meant to be a documentation, but
try to give ourselves the optimal amount of sunlight, rather a way to transport my viewer into a strange
PRACTICALPHOTOGRAPHY.COM 117
Above This world outside of their regular daily lives. They should What kit do you use?
wonderfully take the ugly face of decay and show its beauty; they I’ve been shooting with Canon for 10 years now,
ornate French should show that nothing lasts for an eternity; they and my current body is a Canon 5D MkIV. I also
theatre was lit
should show what remains when humans leave. use several lenses covering a focal length range of
with over 400
11-400mm. I’ve never really thought about moving
tealights, hence
the warm glow. What’s your number one tip for photographing to another manufacturer. While Sony and Nikon are
abandoned buildings? undoubtedly better than Canon in some areas, Canon
You must be really careful whenever you enter just works best for me overall. To be honest, I don’t
anywhere that’s been abandoned. Dangers tend to really think that the differences are that big between
lurk everywhere – from unsafe floors to collapsing brands. I believe that the photographer is always
ceilings, there will always be hazards to anticipate. responsible for great images, not the equipment that
You must wear sturdy shoes, and take a flashlight and they’re using. Since July last year I’ve being
mobile phone as well. It’s always best to go with a experimenting with a DJI Mavic Pro for landscape
friend, but it’s of paramount importance that you both photography. Its unusual angle opens up previously
behave respectfully. Make sure you don’t break unimaginable possibilities, but it’s so pleasingly
anything, because other photographers will also want compact that it easily fits into my backpack.
to enjoy the amazing location you’ve discovered.
What’s the most difficult shoot you’ve been on?
My hardest shoot by far has been an abandoned villa
in Italy. Inside this building was a beautiful room
with stucco on the ceiling and two chandeliers.
“MY PHOTOGRAPHS AIM TO TAKE However, the doors and windows were boarded, so
THE UGLY FACE OF DECAY AND there was barely any daylight in the room. It was so
dark that I couldn’t actually see anything. By using an
SHOW ITS BEAUTY...” ISO of 25,600 and a 150sec exposure, I was able to
Pro advice
Thomas’ top photo tips
CHOOSE YOUR CONSIDER USING
1 COMPOSITION
An image’s composition
3 A TRIPOD
Many images can be
is incredibly important, though taken during the day without
often underestimated. Once a tripod, however I’d still
you’ve found your subject, take recommend using one anyway.
the time to consider how you’re With a handy set of legs you’re
going to capture it. It’s worth able to ensure that your horizon is
doing this, as you can’t correct correctly aligned and that your
your position in post-production. composition is carefully chosen.
If you’re unsure, then just take
several pictures from different PAY ATTENTION TO
perspectives. 4 THE DETAILS
Don’t fall into the trap of
THINK ABOUT YOUR only focusing on the main subject
2 FORMAT
Format is a key part of
in your image. Sometimes you can
be so fixated on the obvious part
creating a successful image. I of the shot that the smaller details
refine my composition. However, for my final image don’t just mean portrait and can be missed. You need to make
I set my camera to ISO 800 and a 13-minute exposure. landscape view, but also aspect sure that you look around the
I would have liked to have done the shoot with better ratios such as 4:3 or 16:9. Key room to see if there are any
light, but the circumstances just didn’t allow it. objects can be cut by later elements that are going to disturb
cropping, so ensure that you’ve your composition. You may even
already thought about what find that you can incorporate
How much editing do you tend to do?
format the shot will end up as. these details into your shot.
My abandoned building images are almost exclusively
HDR. The dynamic range in these buildings is too
big to be able to capture with just one image. In
addition, HDR emphasises the strange effect of my
photographs. However, I try to use this technique in
a subtle manner. I bracket with either three or five
images, edit them together and then add the final
flourishes in Photoshop.
PRACTICALPHOTOGRAPHY.COM 119
CAMERA
K HOW
PART FOUR AUTOFOCUS
ETTING A PIN-SHARP
S
focus is the most critical
step in taking a shot. Unlike
exposure or white balance,
the focusing can’t be altered
in post-processing, so it needs
to be spot-on at the moment of capture.
The good news is that mastering your
camera’s autofocus system is simple, so
with a bit of practice you can always be
TIP sure that your focus is 100% accurate.
Q FOCUS HUNTING
When the autofocus struggles to set the
focus it rocks back and forth to find a
sharp edge. This ‘hunting’ mostly occurs
in low light or scenes lacking contrast.
Q FRONT/BACK FOCUS
This is when your camera is focusing
slightly in front of or behind your intended
focal point. This may be due to a focusing
error, the distance between the camera
and the subject changing between focus
and capture, or a lens calibration problem.
Q ACTIVE AF POINT
Cameras have a set number of autofocus
(AF) points, which are areas of the frame
where the focus can be set. The active AF
point is the currently selected focus area,
which is highlighted in red within the
viewfinder display. It can be moved around
the frame using the camera’s D-pad.
QCROSS-TYPE SENSOR
These are the most accurate AF sensors
in cameras, and they use phase detection
focusing. They measure the focus
information both horizontally and
vertically, working quicker and more
precisely than vertical sensors.
IN THE DARK
the optimum focusing Focusing can ‘hunt’ in low If the signals don’t
light. To fix this, either enable
mode for the subject match, the camera
the AF-Assist lamp in the
you are shooting, knows whether to
menu or focus on an
choose the active AF area with more bring the focus closer
point within your frame contrast. or further away, speeding
and then tell your camera up the focusing process
when to set the focus. and reducing the chance of
focus hunting. Contrast detection is
How does it work? mostly used by DSLRs or CSCs in Live
Both DSLRs and CSCs offer advanced View mode, and it works by adjusting
and complex AF systems, using a the optic until the maximum amount of
combination of phase detection and contrast is detected between the pixels.
contrast detection. DSLRs now primarily
use phase detection to set the focus, as When should I use it?
it tends to be faster and more accurate. Most photographers use autofocus for
This system splits the incoming light into the vast majority of shooting situations,
two separate beams, which is reflected as there are different AF modes designed
by the mirror onto the focus sensors. The to match a variety of subjects. However,
two light beam signals are compared by there are some occasions when setting Above Most lenses offer a switch to choose
the sensors. When the beams become the focus manually is preferable, between autofocus (AF) or manual focus
identical this means the image is in focus. as this gives you total control. (M), which is then set using the focus ring.
PRACTICALPHOTOGRAPHY.COM 121
TIP
USE AF LOCK
SETTINGS HOW TO In order to keep the focus
firmly locked in place while
D
variety of autofocus modes,
with each designed to Left This camera
suit different subjects. To has been set up in
select one of these, first single focusing mode
choose either the single or (AF-S), with the
continuous focusing mode. Then select central AF point
selected to focus on.
how you want to use the AF sensors –
either just one on its own, as a group
or to track your subject as it moves. On Q SINGLE AF POINT Q GROUP AF Q TRACKING/WIDE AF
When the single AF point This mode lets you select This mode adjusts which
some CSCs the AF modes are selected
mode is selected, you a group of autofocus AF point is in use as the
in the camera menu, but DSLRs tend choose only one of the AF points, clustered together subject moves across
to have a button which lets you scroll points to set the focus. to create a larger area of the frame. A single point
through the AF modes. Hold this button You can select different the frame to set the focus is used to set the focus,
down and scroll the command dial to AF points using the D-pad from, and is most useful but the AF points ‘follow’
peruse the different focusing modes. or AF selector button. with fast-moving action. the subject as it moves.
REAL WORLD SHOT USE THE RIGHT FOCUSING MODE FOR YOUR SUBJECT
Above The S denotes single point is set. Above Canon calls this mode AI Servo. Above Manual focus can be set on lenses.
1 CAPTURE DETAIL IN
WILDLIFE OR SPORT
To shoot any kind of sport, action or
wildlife – or any moving subject – you
need to use your camera’s continuous
focusing mode. On a Nikon, hold down
the AF/M button near the lens mount
and rotate the command dial to choose
AF-C. On a Canon, hold the AF Drive
button near the top LCD, scroll the
selector wheel and choose AI Servo. O
manufacturers vary, so you may need to check
your manual. Decide whether you want to use a single AF spot,
a cluster of AF points, or for your AF to track your subject across
the frame. Find your image in the viewfinder, hover the active AF
point over your subject and half press the shutter button to start
ROLF KOPFLE
focusing. Your camera will now continue focusing for as long as
your finger remains on the shutter button, and even between
taking shots.
3 PRECISE CONTROL
WITH MANUAL
Some shots benefit from shooting
with a manual focus, as it allows for
more precise control. Switch your
lens to manual by selecting M/MF
and adjust the focus ring. For the
most accurate representation of
what’s in focus, turn on your camera’
Live View and zoom into the image
on-screen with the magnify button. This closer
look will help you achieve a precise focus. Then when you’re
ready, simply press the shutter button to capture the image.
2 PIN-SHARP
PORTRAITS
A portrait relies on a rock solid
focus, and in particular the
subject’s eyes need to be the
THE PICTURE PANTRY
INFI I
G A L A X I ES
Divining inspiration from the heavens, Simone Cmoon
captures phenomenal nightscapes that reflect the
unique beauties of both land and sky.
PRACTICALPHOTOGRAPHY.COM 125
HERE’S SOMETHING TRULY the internet, as there are always very kind people Above This
enchanting about the quiet who want to share their knowledge. As my interest focus-stacked
majesty of the night sky. in photography grew, my images started to attract matrix panorama
Stealing out to a magnificent interest and were published. I even won several captures the
location in the dead of photo contests. I became a Haida filter ambassador Teide plateau
night, under a thick blanket and started to give online coaching and workshops. in Tenerife.
of stars, is on many a I’m thankful for that relationship, as the passion
Above right
photographer’s bucket list. we shared helped us to motivate each other. The Simone shot this
However, Simone Cmoon relationship may be over, but my camera is still in use. image on her
has transformed her passion for the beauty of Lofoten trip in
nature into a staggeringly exquisite collection of How and when did you begin this project? 2016. Capturing
astrophotography ripped straight out of a fairytale. I’ve loved drawing and painting from a young age, a circle around
and I always found myself focusing on people. I the moon like this
How did you first become interested loved creating portraits, and I wasn’t particularly is possible when
in photography? interested in landscapes. This is because I thought there are ice
I don’t usually like talking about it, as it’s quite a it was very difficult to recreate a vista as beautiful as crystals in the air.
strange reason to take up photography and a little the reality. However, I soon found that photography
personal. A few years ago I was in a relationship was completely different. I much preferred to
with a man who became interested in photography. shoot landscapes, as there are so many wonderful
As many people at the beginning of their career do, places on our planet. I’m determined to share
he dedicated all of his time to his new profession. my love for our world, which has to be protected
I eventually got to the point where I had to choose and treated well. When I bought my first camera
whether I was going to break up with him or buy I went for one that was very cheap, so the noise
a camera myself. As I had responsibility for a child performance was atrocious as soon as I was in a
and also a dog that required lots of time outdoors, low light situation. After three months of using it,
I decided to save the relationship by trying to I could see that while I definitely had potential, my
understand the fascination of taking photos. I soon
discovered that I loved this new occupation, and the
challenges that came with it. I had vivid visions of “I CAPTURE LITTLE PIECES OF
the images I wanted to create in my head, but I had
to learn new and exciting things in order to make
NATURE TO REMEMBER HOW
those shots a reality. I mostly self-taught by using BEAUTIFUL OUR WORLD IS...”
126 PRACTICAL PHOTOGRAPHY
Personal Project Simone Cmoon
PRACTICALPHOTOGRAPHY.COM 127
“EVERY TIME I TURNED A CORNER,
I FOUND MYSELF IN ANOTHER
FAIRYTALE LANDSCAPE...”
128 PRACTICAL PHOTOGRAPHY
Personal Project Simone Cmoon
mount then the foreground will be totally still, but have as much control over what conditions I’m Above The
the stars will have blurred into trails. Depending going to experience as possible. Once I’ve arrived, foreground was
on the focal length and the size of your camera’s I’ll activate the Live View and try out a series of shot during blue
sensor, you can sometimes have as little as a few different compositions. Once I get that ‘wow’ feeling, hour, with the sky
seconds to create pin-prick stars. In order to I’ll ready my camera and check the finer details. and reflection
quickly extract as much light as possible, I work captured later
that night.
with a wide open aperture and a very high ISO. What’s your favourite location of all time?
I’ll then take multiple exposures in order to get In the two years I’ve been shooting, I’ve been to 13 Left Simone found
the foreground as sharp as the sky and to ensure different countries. However, the most special one this small rock
that both parts of the shot are perfectly exposed. was definitely Iceland. I was there in the summer formation on a
when the routes to the highlands were accessible. It beach in Norway
How do you find your locations? felt like every time I turned a corner I found myself – a long exposure
I’ve created an extensive database, made up of in another fairytale landscape. Even if some locations creates a rather
locations that I want to visit. When I plan a shoot, were crowded with tourists, I found spots with little alien-like scene.
the first thing I do is check how far I might need or no people so I could get the composition I wanted.
to go in order to reach a general location. The next
thing to do is see what the weather is like and then How much planning do you do for your shoots?
plan accordingly. Good weather is such an important My level of planning depends on if I go on a shoot in
factor for landscape photography, so I prefer to my home country of Switzerland, or if I’m travelling
PRACTICALPHOTOGRAPHY.COM 129
Personal Project Simone Cmoon
Below The instead. If it’s a Swiss location, then I’ll just check images. I think that one aspect of curating a personal
foreground the weather and make an early start to ensure I have style is the composition and technique when
foliage was lit as much time as possible in the mountains. I also taking a shot. The other part is in post-production,
with Simone’s make sure I know the positions of the sun, moon, where you’re able to put your own personal
head lamp. and the centre of the Milky Way before I leave. note into every photo. I’m not a documentary
If I’m travelling, then I’ll mark several different photographer – I’m a dreamer and a creator.
Right Two images
locations on a map and note down the times for
merged to create
this photo – first a
sunrise, sunset and the Milky Way. If I’m going Has anything dangerous ever happened?
low ISO for the somewhere coastal, then I’ll always make sure My very first two-day hike didn’t go quite according
foreground, then that I keep an eye on the tide. Some places can be to plan. My backpack was overstuffed and too heavy,
an exposure of dangerous at high tide, while others can be simply as at that time my gear wasn’t optimised for hikes.
13sec at ISO 3200 boring during a low tide. Hiking apps are fantastic For example, I took water for two days, which I
for the sky. for helping me find the best mountain routes, while now no longer do. Instead, when I know that there
Skyguide helps me plan shooting the Milky Way. are rivers in an area, I’ll simply use a water filter
Right below To find potential locations I search for inspirational in order to stay hydrated. The only way to get up
Switzerland’s Lake images on 500px, Instagram, Google Maps and to the glacier I wanted to shoot was by foot, so
Stellisee shot as
Facebook. I also make sure that I’ve read up on the I trudged my way from 800m above sea level to
a panorama.
culture and traditions of the country before I arrive. 2500m. It was a difficult hike, but it was worth it
when I got to my desired location. It was amazing
How much editing do you do? arriving at a place that only a few people had ever
I tend to do a lot of editing. This is because I use seen. It was a dreamy landscape, filled with lakes,
focus stacking, multiple exposures, multiple line rivers, waterfalls, ice, rocks and sand. Once I’d
panoramas and time-stacking in my photos, and finished shooting there, I decided to make my way
sometimes all at once! I really enjoy processing down via a different route. Eventually, I came to a
100m drop, with no way to get down it except for
a metal ladder. Without any head protection, and
“I’M NOT A DOCUMENTARY with a dog in tow that obviously can’t climb down
himself, I had no choice but to attempt this route.
PHOTOGRAPHER – I’M A Firstly, I brought down my equipment while my
dog waited for me at the top. Then I had to empty
DREAMER AND A CREATOR...” my backpack, climb up again, and put my dog into
PRACTICALPHOTOGRAPHY.COM 131
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GetIntoGear
The most in-depth and unbiased reviews of the latest products
138
Sony _9 146
Entry-level DSLRs
Sony’s latest offering Start your DSLR journey with
boasts a 20fps blackout-free the best beginner camera for you.
shooting speed and amazing
AF tracking ability. 154
Mini tests
Action cameras, digital
142
Fujifilm X-E3 photo frames, hard
With a 24.3MP sensor case bags, shotgun
and a sleek design, is this mics and more.
your new camera?
144
Olympus E-M10 MkIII
Pocket-sized and portable,
but does this MkIII offer enough
new features to interest you?
PRACTICALPHOTOGRAPHY.COM 137
GetIntoGear
1 24.2MP sensor
Sony is renowned for
its high-resolution sensors.
However, the _9’s lower
resolution still offers excellent
images, while facilitating the
rapid shooting speeds.
2 4K UHD video 1
As well as providing
a truly unique performance
for high-speed scenes, the
_9 manages 4K UHD video
2
at 30fps, as well as Full HD
up to 120fps, allowing for
slow motion capture.
HIGHLY
693-point AF
RATED 3
3 One of the big benefits of
mirrorless cameras is the ability
to cover more of the sensor with BODY PRICE
AF points. Sony’s 693 phase
detection points manage to fill
£4499
93% of the effective frame. IMAGE RESOLUTION
24.2MP
VIDEO
4K UHD
SON Y _9
The need
for speed 4
F beginnings as an
electronics shop
in 1946, Sony has
become one of the most
diverse and successful
Even so, the buzz that met
the _9’s announcement
took us by surprise, and
led to it being referred
to as the DSLR killer...
companies on the planet.
However, it wasn’t until it Main features
acquired Konica Minolta After its announcement, the
in 2006 and released the photography community
_100 DSLR that it became quickly labelled the _9
a serious contender in the the DSLR slayer, thanks
photography market. Sony is to the CSC’s insane array The layout of the
now the world’s third largest of impressive features. based phase detection _9’s intuitively designed
camera manufacturer and It offers an astonishing and an AF calculation top-plate should please
dominates the full-frame 20fps shooting speed, rate of 60fps, which is most users, being compact,
mirrorless market with which is totally blackout- virtually uninterrupted intuitive and simple.
Who’s afraid
IMAGE of the dark?
QUALITY We took the _9 along to
Stamford RUFC’s training
ground to really test its sports
shooting ability. This shot was
illuminated by nothing but the
floodlights, with the ISO set to
pping 8000. We had
tinuous focus selected
nd turned the burst
mode to high (aka
20fps). Even in such
dark conditions the
focus was very
impressive, with a
good hit-rate. Zooming
n reveals some noise,
ut considering the
ditions it’s extremely
respectable, with edges
retaining their clarity well.
PRACTICALPHOTOGRAPHY.COM 139
GetIntoGear
5 3in tilting
touchscreen
While not a massive
draw for traditional
action photographers,
the inclusion of a very
responsive 1440k-dot
touchscreen is a nice 6
touch. It allows touch-
focusing for those times
when you have a subject
that doesn’t seem to
be in a real hurry.
6 Excellent
EVF
The 3686k-dot EVF is
among the best we’ve
seen, and the 0.78x 5
magnification really
brings the scene to
life. It is also virtually
lag-free, with the entire
experience feeling
closer to an optical
finder than ever before.
And as such the implications future Sony releases. used to. Thanks to the 60fps The 24.2MP stacked
for shooting weddings, events The 20fps blackout-free AF calculations, shooting CMOS sensor, while not as
or portraits where you want shooting is also incredible, continuous focus at sporting high resolution as Sony’s
to maximise your in-focus if not a little unnerving at events or on wildlife shoots other offerings, produces
shot ratio, are massive. We first. Having spent years is a real game-changer. If exceptionally high quality
found it worked well even reacting to the closing of the you’re looking for a camera images, and really earns its
in low light conditions, viewfinder after every shot, that can keep up with sterling reputation. Images
and it genuinely makes us this is an eye-opener, though high-octane action, then the are sharp, with beautiful tonal
excited for the torrent of it does take a little getting _9 is definitely for you. renditions and a colour profile
that shows just how far Sony
has come in the last decade.
ALSO An in-built 5-axis image
CONSIDER
THESE
Last Action Heroes stabilisation is also a real boon
for those who are looking to
get stable shots with slower
shutter speeds, or working
handheld under floodlights,
with the system managing to
offer 5 stops of stabilisation.
If you need excellent low
light performance, the native
ISO ranges from 100-51,200,
but this can be expanded
Nikon D5 £5389 Canon 1D X MkII £4799 to 204,800 when you’re
desperate for that must-have
Nikon’s flagship body, the D5, is a pairing of Canon’s top-flight pro DSLR, the 1D X MkII, is
shot. This is an area where the
speed and precision that’s hard to beat. It designed for high-end photography and can be
boasts a 20.8MP full-frame sensor, 153-point found in the bags of sports photographers the
_9 performs incredibly well,
AF system and 12fps burst mode. It also world over. Featuring a 20.2MP sensor, 4K UHD with images looking good up
offers Nikon’s highest ever standard ISO video at 60fps and a 14fps continuous shooting to ISO 6400. ISO 12,800 is
sensitivity of 102,400, and a 3.2in 2359k-dot speed, it’s ideal for capturing fast-paced still impressive, with edges
rear touchscreen. Can be paired with a huge action. It also has an excellent range of pro appearing relatively sharp,
number of excellent lenses. nikon.co.uk glass to choose from. canon.co.uk but there is very noticeable
colour noise creeping in. At
Get it right
IMAGE
QUALITY
in-camera
This image of a back-lit horse would
present a challenge for most cameras, but
the _9 deals with contrast very well and
the 24.2MP sensor offers excellent image
quality. However, files that need excessive
exposure correction won’t fare as well. The
was shot against the sunset with the
y in silhouette. Ordinarily, we’d bring
ut more detail in the shadows, since
ighlights are much less receptive.
However, because the _9 is ISO-
variant, increasing the exposure
values in post-processing will result
n a considerable amount of noise.
nything over +1EV results in messy-
king images. This isn’t a massive
and so long as you know your limits
and try to get your images right in-camera,
you’ll be fine.
Verdict
“A BLACKOUT-FREE 20FPS At £4499, the Sony _9
TECH SPEC
CONTINUOUS SHOOTING divides the crowd into
two distinct types – those Camera: Sony _9
SPEED IS A GAME-CHANGER who need it and those who Price: £4499 (body only)
25,600 the colour noise is shadows in post-processing. it, especially as it’s still LCD: 3in 1440k-dot tilting
very strong – albeit useable Actually increasing the cheaper than the Canon 1D touchscreen
if you’re desperate – but exposure values of the RAW X MkII and Nikon D5. Shutter: Bulb, 30-1/8000sec
beyond this the quality will result in a lot of noise This is a camera with mechanical, 30-16,000sec
drops steeply. I did manage artefacts, which wouldn’t a specific design and true electronic
to get functioning shots at be present at the equivalent sense of purpose. It’s been Autofocus: 693-point phase
ISO 8000, with a liberal ISO in-camera. The moral created for capturing detection
amount of noise reduction in of this story is get it right fast-moving objects, and ISO: 100-51,200
Photoshop. But it proves the in-camera. Though it would giving top-flight professional (expands to 50-204,800)
_9 has the necessary chops. have been nice if the camera action photographers a viable Shooting speed: 20fps
Despite the obvious specs was ISO-invariant (like the mirrorless alternative. Video: 4K UHD at 30fps,
appeal and unquestionable _7R II), as this would open Of course, it was also Full HD at 120fps
performance, there are a up a world of possibilities meant to put fear into the Pop-up flash: No
few things on the _9 that when it comes to shooting for hearts of Canon and Nikon, Other features: Eye AF
disappoint. The dynamic the edit, we doubt this will and judging by the full-frame tracking, Picture Effects
range, while very respectable, prove much of a deterrent mirrorless offerings we Connectivity: Wi-Fi, NFC,
is a step down from that for the target audience of pro know they both have slated Bluetooth
found on the Sony _7R II action shooters. Despite a for 2018, it’s done that job Battery life: 480 shots
or Nikon D850. However, couple of flaws, this camera beautifully. Whether the old Card type: MemoryStick Pro
it’s on a par with the Canon is a giant leap in the right guard are ready to hang up Duo/Pro-HG Duo/Micro,
1D X MkII and slightly direction, and able to go their mirrors and take a step SD/HC/XC, microSD/HC/XC
better than the Nikon D5 toe-to-toe with the existing into the future of photography, Size (WxHxD): 127x96x63mm
according to DXO, who industry heavyweights. however, is yet to be seen. Weight: 673g
PRACTICALPHOTOGRAPHY.COM 141
GetIntoGear
1 Compact
and capable
At only 337g, this is the
smallest X Series camera with
a viewfinder. A remarkable feat
1
when you see the image quality.
2
2 24.3MP sensor
An X Series staple, the
third iteration of the X-Trans
sensor offers 24.3MP and
a native ISO of 200-12,800.
KIT PRICE
This inclusion puts the X-E3
on a par with the likes of the £1249
powerhouse X-T2 or X-Pro2. IMAGE RESOLUTION
24.3MP
3 Touchscreen VIDEO
Having removed 4K UHD
the additional function
buttons, a majority of
control is now assigned
to the 3in 1040k-dot LCD.
Luckily, it works very well,
and swiping in different
directions will bring up a
host of control options.
FUJIFILM X-E3 3
You’ve
got the touch 4 A speedy twist
Although mainly touch
controlled, the X-E3 still
retains the shutter speed
and mode dials – perfect for
Ditching most of its buttons in favour o quick changes mid-shoot.
Punching above
IMAGE As we’ve come to expect from the X-Trans III
QUALITY sensor, the X-E3 uses its 24.3MP very well.
Fujifilm is highly regarded for both its dynamic
range as well as its colour rendition,
this compact CSC will produce
sults right up there with the
X-Pro2 or X-T2, sharing many of
their core strengths.
The ability to use your finger
to control the focus points and
command the shutter is great.
While certainly nothing new, it
does add an extra layer of
ccessibility to anybody looking
an everyday walkabout camera,
entry to photography in general,
without too many confusing buttons.
We also love Fujifilm’s Film Simulation
modes, which allow you to add creative colour
profiles to your JPEGs. These are designed to
give the effect of the company’s old film stock,
and look great.
palm-friendly companion for were using a smartphone, it making it incredibly Kit lens: XF 18-55mm f/2.8-4
long days of travel. also houses extra features. inconspicuous out in the street. R LM OIS
Mixing magnesium alloy and When you swipe across the Most of the existing Fujifilm Price: £1249
plastic gives the construction a screen, you’ll get different lenses sit well on the camera, Effective resolution: 24.3MP
sturdy feel, while the lack of rear menus, which display all the though the bigger zooms are Sensor: 23.5x15.6mm CMOS
controls offers an extra 43% of controls you’d associate with a bit top heavy. The battery Processor: X-Processor Pro
room over its predecessor, the function buttons. These life is also wanting, offering LCD: 3in 1040k-dot touchscreen
making it viable for those with include ISO, Film Simulation up just 350 shots from a full Viewfinder: 2360k-dot EVF
larger hands. I was a lot more mode and Drive modes. The charge. Sadly, this is still to be Shutter: Bulb, 15min-1/4000sec
comfortable with the smaller swipe didn’t work 100% of the expected from most CSCs. Autofocus: 325-points, with
form than I expected to be. time, but it was responsive central 91-point being phase
Performance would have liked a tilting While it may be the new ISO: 200-12,800 (expands to
If you’ve shot with the Fujifilm screen, but instead it’s fixed. boy on the block, the X-E3 100-51,200)
X-Trans III sensor, you’ll The welcome addition offers the same impressive Shooting speed: 14fps for
find no surprises here. The of a joystick on the back of image quality as the X-T20, 22 RAWs or 35 JPEGs
image quality is brilliant, the camera makes changing though for a slightly higher Video: 4K UHD at 30fps,
and low light performance focal points easy, and offers price point. The increased AF Full HD at 60fps
is very impressive. You’ll plenty of precision when performance and improved Connectivity: Wi-Fi, Bluetooth
be creating images as good browsing the menus. The touch systems make it stand Pop-up flash: No
as the Fujifilm X-Pro2 for classic rangefinder inspiration, out, and these are expected Other features: Film
a fraction of the cost. as seen in the X-Pro series, to be rolled out across the X simulation modes, Panorama
The improved autofocus is very apparent, although Series via firmware updates Battery life: 350 shots
performance is extremely the X-E3 doesn’t share the very soon. If you’re looking for Card type: SD, SDHC, SDXC
evident. It doesn’t offer same hybrid EVF enjoyed by a solid walkabout camera with Size (WxHxD): 121x74x43mm
the fastest focusing in its more expensive brother. intuitive touch controls, you Weight: 337g
the world, but does a very That said, the 2639k-dot EVF won’t go wrong with an X-E3. Web: fujifilm-x.com
PRACTICALPHOTOGRAPHY.COM 143
GetIntoGear
1 Lightweight
Weighing in at a svelte
410g, this is the perfect camera
for those who want to traverse
foreign shores but don’t
want much extra weight.
2
2 16MP resolution
16MP may be a bit
dated in today’s resolution
race, but the MkIII manages to
create some excellent images 1
which should be enough
to please even the most
critical of photographers.
3
KIT PRICE
3 Versatile lens £649
The included M.Zuiko
IMAGE RESOLUTION
Digital ED 14-42mm f/3.5-5.6
EZ lens offers a 35mm 16.1MP
equivalent of 28-84mm. VIDEO
This makes it ideal for 4K UHD
capturing a wide variety
of shots, including street,
landscapes and portraits.
Mounting
inspiration 4 In-built IS
The in-body 5-axis
image stabilisation allows
The E-M10 has always been a popular CSC, but with the 4 stops of compensation –
perfect for handheld shooting.
MkIII sharing many of the same features as its predecessor,
is this new version worth the upgrade? Kirk Schwarz finds out.
O released the
pocket-sized
E-M10 back in
2014. Designed to bring the
experience of the flagship
The Micro Four Thirds
sensor is the same 16.1MP
sensor found in both
previous models, although
this time it uses the TruePic
4K UHD video recording
at 30fps, a deeper grip and
121-point contrast detection
AF system, up from the
MkII’s 81 points. The burst
E-M1 to the masses, its VIII processing engine. It speed now manages a
beginner-friendly feature also shares the MkII’s ISO fractionally higher 8.6fps in
set was aimed squarely range of 200-25,600, as well high burst, up from 8.5fps. 4
at those taking their first as 5-axis in-built image
steps in photography. stabilisation, which provides Handling & build
The MkIII still embodies 4 stops of compensation. One area which has received
this ethos, and retains a The EVF and rear tilting noticeable attention is
very similar spec list to its touchscreen boast the design. The MkIII
predecessors, preferring 2360k-dot and 1040k-dot has a larger front grip,
subtle refinements over resolutions respectively. which aims to improve the
radical redesign. Luckily, there are some ergonomics. This results in
Still a contender
IMAGE The first thing that struck us about the OM-D
QUALITY E-M10 MkIII was the puzzling inclusion of the
same 16MP resolution found in its previous
two models. However, while the market is
heading towards the mid-20MP mark, the
Olympus just manages to earn its keep. The
quality is very respectable, especially if
you’re using it as a walkabout camera. The
ability to recover highlights and shadows
from RAW files is surprisingly good, and the
dynamic range appeared to be solid,
his backlit shot into the sun
e to capture a good amount of
nformation. The 14-42mm kit
lens produced some sharp
images, and once you get
used to the layout (which is
part CSC and part compact),
switching settings on the fly is
very easy. Overall, this is still
brilliant option as a catch-all
vel camera.
a 20g weight boost to 410g, but E-M1 MkII, though with less camera will still do this
in practice you won’t feel to choose from. Olympus automatically). We can only
TECH SPEC
any difference in handling. has even made it easier to assume this is another step
Olympus has dropped four understand some of the to simplify the shooting Camera: Olympus OM-D
of the previous six function menu options, and included process for newcomers. E-M10 MkIII
buttons, which may irritate brief mode explanations. The Art Filters which Kit lens: M.Zuiko Digital ED
some, but makes it an even The upgraded AF makes apply colour presets to your 14-42mm f/3.5-5.6 EZ
less intimidating camera full use of the TruePic VIII JPEGs now also include the Price: £649
for beginners. Overall, the sensor, and the extra 40 points Bleach Bypass option, though Effective resolution: 16.1MP
new grip and refined style make a noticeable difference. some of these filters are a Sensor: Micro Four Thirds
definitely add something. Even with a backlit subject the little over the top for us. Processor: TruePic VIII
The MkIII performs phase detection, there will This is a very capable camera Viewfinder: 2360k-dot EVF
identically to the previous be times when it struggles, which should appeal to Shutter: Mechanical
version in almost every such as in low light or with beginners and mid-level 60-1/4000sec, Electronic
way, which isn’t actually a similar coloured subjects enthusiasts alike. However, 30-1/16,000sec
bad thing. The autofocus is and backgrounds. We were 16MP seems a little old hat, AF: 121-point contrast detect
responsive in good light, and satisfied with the results as the majority of cameras ISO: 200-25,600
the additional 40 AF points from our tests though. It also now come with sensors Shooting speed: 8.6fps for 22
give you better frame coverage. feels speedy and responsive capable of 20MP and above. RAWs and unlimited JPEGs
The auto-tracking modes in day-to-day use, and should The inclusion of 4K UHD Video: 4K UHD at 30fps,
also work pleasingly well, suit its target audience. video does bring it in line Full HD at 60fps
though there are times when Though a focus selection with many of its competitors Connectivity: Wi-Fi
it struggles with fast-moving joystick would be a great though. While we doubt it will Pop-up flash: Yes
objects, and obviously isn’t addition in future models, one justify an upgrade for MkII Other features: Time-lapse
designed for action shots. feature really conspicuous users, this is a solid camera Battery life: 330 shots
While there may be four by its absence is the ability for anybody looking for their Card type: SD, SDHC, SDXC
fewer customisable function to manually choose between first CSC, and you certainly Size (WxHxD): 122x84x50mm
buttons, this does lessen the left and right eye priority won’t be disappointed with Weight: 410g
confusion for anybody who face detection (though the the images you can create. Web: olympus.co.uk
wants to concentrate on
the shooting. Similarly, the
D-Pad’s functions are clearly
labelled, which is great for
THE VERDICT HANDLING
de-mystifying some of the OLYMPUS OM-D E-M10 MKIII FEATURES
operations for those stepping PROS Intuitive ergonomics Excellent
up from smartphones and touchscreen 4K video Lightweight and compact IMAGE QUALITY
compact cameras. The menu Easy to use for all skill levels
VALUE FOR MONEY
system is also new, sharing CONS 16MP feels a bit low resolution Not a big
OVERALL SCORE
similarities with the flagship update over the MkII Limited battery life
PRACTICALPHOTOGRAPHY.COM 145
BEST VALUE
10
ENTRY-LEVEL
DSLR KITS
IN TH E TEST
HOW WE TESTED
THE CAMERAS
IMAGE QUALITY
Each of these cameras has
gone through our rigorous
testing process. We’ve
looked at image quality,
sharpness and low light
ISO performance, and rated
each camera for its abilities.
PRACTICALPHOTOGRAPHY.COM 147
GetIntoGear
#10 #9
RATING RATING
#8 #7
RATING RATING
PRACTICALPHOTOGRAPHY.COM 149
GetIntoGear
#6 #5
RATING RATING
#4 #3
RATING RATING
PRACTICALPHOTOGRAPHY.COM 151
GetIntoGear
#2 #1
RATING RATING
Overall verdict
This test is teeth-clenchingly close. phone or compact, while the Dual Pixel
With massive advances in technology AF is class-leading in many ways.
practically every year, entry-level cameras Nikon’s D5600 is a serious contender,
are now often just as capable as their but is geared a bit more towards serious
BEST
more advanced counterparts. So armed beginners to enthusiasts, so has a IN
with a little bit of skill and a creative eye, slightly more advanced feel and higher TEST
there’s nothing on this list that will hold price. That said, it’ll suit those looking
you back. The downside to this is that it’s for a DSLR that offers more than the
extremely tough to choose a winner. simplistic controls of the 200D, or who
Canon’s 1300D is massively popular, prefer the way the Nikon handles.
and offers a great core set of features to
aid you on your photographic journey, but
it’s getting on a bit. The lack of a tilting “THE 200D IS THE
touchscreen, lower resolution sensor and
limited focus points all count heavily
PERFECT FIRST
against it. Similarly, the Sony has some CHOICE FOR A
features that are best in test – like the
79-point AF, electronic viewfinder and SIMPLE DSLR” HIGHLY
RATED
8fps burst mode – but it’s a lone wolf. The
lens range isn’t as good as either Canon or Pentax’s K-S2 is also brilliant, with
Nikon, and the next step up is an expensive the weather sealing – unheard of in a
full-frame camera (the £2k+ _99 II). beginner-level DSLR – making this an
ideal choice for anybody off on all-weather
The winning DSLR is... adventures. Like the Canon and Nikon,
Canon’s 200D just had to take the top it’s capable of taking stunning shots,
spot. It may lack the increased AF points even with a slightly lower resolution
of the 800D and 77D, but it shares the 20.1MP sensor. The inclusion of in-body
same sensor, and as such, the same IS is another bonus, letting you get
image quality. It’s easy to use, so will sharp images from handheld shots, HIGHLY
appeal to anybody shooting with a even when the lighting is against you. RATED
At-a-glance results Resolution Shooting speed Weight Size (WxHxD) Price RATING
CANON 1300D with 18-55mm lens 18MP 3fps 485g 129x101x78mm £359
CANON 200D with 18-55mm lens 24.2MP 5fps 453g 122x93x70mm £539
CANON 800D with 18-55mm lens 24.2MP 6fps 540g 131x100x76mm £769
CANON 77D with 18-55mm lens 24.2MP 6fps 540g 131x100x76mm £839
NIKON D3400 with 18-55mm lens 24.2MP 5fps 445g 124x98x76mm £429
NIKON D5300 with 18-55mm lens 24.2MP 5fps 530g 125x98x76mm £529
NIKON D5600 with 18-55mm lens 24.2MP 5fps 465g 124x97x70mm £729
PENTAX K-S2 with 18-50mm lens 20.1MP 5.4fps 678g 123x91x73mm £679
SONY _68 with 18-55mm lens 24.2MP 8fps 675g 143x104x83mm £499
KEY: Best performing model under our test conditions Highly recommended product
PRACTICALPHOTOGRAPHY.COM 153
Minitests
Small accessories that could make a huge difference
360° ACTION CA M ER A
Kodak PixPro
4KVR360 £399
If you’re anything like us, lenses, or up to
you’ll be obsessed with new 13MP when using VIDEO
technology. And in the field a single lens. Video 4K
of photography, it doesn’t quality is good too, SENSOR
get much newer than 360° though frame rates 2x 20MP
cameras. With the ability drop in 360° mode,
WEIGHT
to shoot or film an entire with 4K churning
360° scene in Full HD or out a useable 156G
4K, and then share it as an 24fps, or Full HD
interactive file to sites such offering a useable
as YouTube and Facebook, 30fps. You can even record height of 2m, a
this new technology can tell slow motion at 120fps, against waterje
a story like never before. but this is done at a much its IPX5 rating
The Kodak 4KVR360 is a lower resolution of 720p. been great to se
very exciting addition to the It also functions as a rated for immersion, as the
existing 360° line-up. Footage more traditional action cam, newer GoPros are, but we
from the dual 20MP CMOS allowing you to use just a assume an additional housing
sensors is stitched together single lens with the 197° will be released shortly.
to create high-quality stills field-of-view, which adds Lacking a rear screen
and video. The front lens an extra level of versatility may not be an issue when
boasts a 197° field-of-view, and does more to justify the you’re filming in 360°, but
while the rear lens offers 235°. high price point (the same for those times you’re only
The uneven lenses allow the as an entry-level DSLR). using a single lens, or want
PixPro to better stitch the Build quality is impressive, to check your horizon,
output from the two sensors, so you can confidently and there is a dedicated app.
creating a more seamless join. safely use it on your wildest Simply load it onto your
Image quality is very adventures. The white smartphone and you’ll be Above The protective domes
impressive for this type of plastic feels very premium, able to see in real-time, help to withstand drops from
camera, with the camera and the lenses are housed in remotely activate your shots up to 2m in height.
able to capture up to 27MP removable domes for their and also transfer images and
stills from the two fixed f/2.4 protection. It’s shockproof to a video, letting you upload Verdict
and share images instantly. We can’t tell you this is the
PETER SIMCOE
HIGHLY
RATED
PRACTICALPHOTOGRAPHY.COM 155
MHXPRO 2W XPRO
492RC Mini c/w RC2 496RC2 Compact c/w 128RC Micro Fluid Fluid c/w fluidity MHXPRO 3WG XPRO
QR Plate RC2 QR Plate Video selector Three Way Pan/Tilt 405 Aluminium
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MVH500AH
MHXPRO BHQ2 XPRO MHXPRO BHQ6 XPRO Lightweight Fluid
Ball in Magnesium Magnesium Ball c/w 700RC2 Composite Video Head c/w
c/w 200 PL Top Lock Plate Video Flat Base
RRP £129.95 £99 RRP £169.95 £138 RRP £99.95 £79 RRP £149.95 £110
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• Extra-rigid carbon fiber 3 or 4 section Legs MH057M0 Q5 468MGRC3 Hydrostatic
057 Magnesium Ball Ball c/w RC3 Rapid MVH502AH Flat Base MVH502A Pro Fluid 70cm £29.95 £24 90cm £89.95 £69
• Ground Level Adapter to reach ultra-low 75cm £34.95 £28 100cm £109.95 £79
positions c/w Q5 Connect System Pro Fluid Video Video
ALUMINIUM TRIPODS RRP NOW • Levelling bubble to be always level to the RRP £289.95 £219 RRP £304.95 £229 RRP £194.95 £149 RRP £224.95 £169 80cm £44.95 £39 120cm £109.95 £85
MT190X PRO3 3 Section £199.95 £149 horizon
MT190X PRO4 4 Section £219.95 £149 • Extremley versatile thanks to the 3 leg
angle positions
MT055X PRO3 3 Section £219.95 £159 • Robust magnesium spidercast & leg locks
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RRP NOW MH055M8 Q5 Pro Light camera Pro Light camera
290 Dual 3 Section £139.95 £110 Grip, compact & 327RC2 Light Duty Magnesium Photo MHXPRO 3W X PRO element covers E-702 element covers CRC-12
290 Xtra 3 Section £104.95 £79 MT057C3 3 Section £679.95 £449 portable Grip Ball Movie c/w QR Plate c/w retractable levers for DSLR for AJ-PX270
Befree 4 Section £184.95 £139 MT057C3 G 3 Section Geared £719.95 £499 RRP £139.95 £99 £169.95 £169 RRP £339.95 £269 RRP £124.95 £95 from £69.95 from £114.95
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CARBON FIBRE TRIPODS MT057C4 G 4 Section Geared £799.95 £599
MT190CX PRO3 3 Section £379.95 £299 NITROTECH N8 FLUID VIDEO
MT190CX PRO4 4 Section £394.95 £299 HEAD C/W
290 Xtra Carbon 3 Section £209.95 £159 MH804 3WMark II E-704 PL
RRP Pro Light Camera 393 Long Lens
MT055CX PRO3 3 Section £429.95 £329 234RCMonopod c/w in Adapto c/w
535 Single Leg Tripod £1195.95 234 Monopod Tilt QR, Wide 90º Scope retractable levers 460MG Magnesium Extension Sleeve Kit Monopod Bracket
MT055CX PRO3 4 Section £459.95 £339 546B Twin Leg Middle Spreader Tripod £959.95 RRP £27.95 £24 RRP £84.95 £69 RRP £114.95 £85 RRP £79.95 £65 RRP £219.95 £179
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Canon EOS 1DX MKII Canon EOS 7D KII Canon EOS 5 CANON EFS LENSES 70 300 F4/5.6 IS USM II . . . . . . £448
APS-C 10 18 F4.5/5.6 IS STM . . . . . . . £197 85 F1.4 L IS USM . . . . . . . . . . .£1568
Full Frame APS-C Body only 18 55 F3.5/5.6 ISII no box. . . . £129
CANON EF FULL FRAME LENSES
85 F1.8 USM . . . . . . . . . . . . . . . . £319
100 F2.8 IS L USM macro. . . £797
Body only £898 8 15 F4 L USM Fisheye. . . . . . . £969 100 400 F4.5/5.6 IS LII USM £1788
Body only £4798 £1347 Plus 15-45 £ 68 11 24 F4 L USM . . . . . . . . . . . .£2497 200 400 F4 IS L USM . . . . . . .£9299
200 F2.8 II L USM . . . . . . . . . . . £698
14 F2.8 USM MKII . . . . . . . . . .£1749
Plus 18-150 £1198 16 35 F2.8 L USM MKIII . . . . .£1897 300 F2.8 IS L USM II . . . . . . . .£5299
16 35 F4 L IS USM. . . . . . . . . . . £866 400 F2.8 IS L USM II . . . . . . . .£8999
Canon EOS 5D MKIV Canon EOS 77D Canon EOS M6 20 F2.8 USM . . . . . . . . . . . . . . . . £419 400 F4 DO II IS USM . . . . . . . £6498
APS-C APS-C 24 F1.4 LII USM . . . . . . . . . . . .£1299 400 F5.6 L USM . . . . . . . . . . . . . £997
Full Frame Body only
Plus 15-45 STM
24 F2.8 IS USM . . . . . . . . . . . . . . £399
24 70 F2.8 L II USM. . . . . . . . .£1697
500 F4 IS L USM II . . . . . . . . . £8197
600 F4 IS L USM II . . . . . . . .£10899
£798 £598 24 70 F4 L IS USM. . . . . . . . . . . £724 12mm ext tube MKII . . . . . . . . . £69
Body only £3177 Plus 18-55 STM £918 24 105 F4 L IS USM MKII. . . . . £997 25mm ext tube MKII . . . . . . . . £128
1.4x III extender. . . . . . . . . . . . . £388
Plus 18-135 STM £1148 Plus 18-150 STM £898 24 105 F3.5/5.6 IS STM . . . . . .£399
28 F2.8 IS USM . . . . . . . . . . . . . . £387 2x III extender . . . . . . . . . . . . . . £388
Canon EOS 6D MKII Canon EOS 200D Canon E S 100 35 F2 IS USM. . . . . . . . . . . . . . . . £468 CANON FLASHGUNS/GRIPS
APS-C APS-C 40 F2.8 STM . . . . . . . . . . . . . . . . £159 MR 14 EX II Ringlight. . . . . . . .£548
Full Frame Body only 50 F1.2 L USM . . . . . . . . . . . . .£1249 MT 26 EX RT mac twin light£1079
50 F1.4 USM . . . . . . . . . . . . . . . . £348 430EX III RT Speedlight . . . . . .£238
Body only £1699 £578 Plus 15-45 STM 50 F1.8 STM . . . . . . . . . . . . . . . . . £97 600EX RT II Speedlight . . . . . . £538
Plus 24-105 STM £2199 £568 70 200 F2.8 IS LII USM. . . . . .£1797 BG E21 (fit 6D MKII) . . . . . . . . . £179
Plus 18-55 IS ST £678 70 200 F2.8 non IS L USM. . .£1197 BG E20 (fit 5D MKIV) . . . . . . . . £297
Canon EOS APS-C Cameras 70 200 F4 L IS USM. . . . . . . . .£1097 BG E16 (fit 7D MKII) . . . . . . . . . £218
Canon EOS 80D Body.................................£947 Canon EOS System 70 300 F4/5.6 L IS USM . . . . .£1247 BG E13 (fit 6D) . . . . . . . . . . . . . . £197
EOS 80D + 18-55 STM ..................£1078 11-22 f4/5.6 IS STM .................. £317
300 F2.8 EOS 80D + 18-135 STM ................£1297
EOS 800D Body ..............................£768
15-45 f3.5/6.3 IS STM ............... £199
18-55 f3.5/5.6 IS STM ............... £199
IS L USMII EOS 800D + 18-55 STM ..................£868
EOS 760D Body .............. .............£578
18-150 f3.5/6.3 IS STM............. £398
22 f2 STM .................................. £198
£5299 EOS 750D Body .............. .............£558
EOS 750D + 18-55 STM .. .............£598
28 f3.5 Macro IS........................ £289
55-200 f4.5/6.3 IS STM............. £249 200-400 F4 IS L USM £9299
EOS 750D + 18-135 STM ................£798 400 F2.8 IS L USM II £8999
£3499 798
18-140 F3.5/5.6 AFS VR . . . . . . . .£469 12-24 F4.5/5.6 II DG. . . . . . . . .£648 DEMO NAF FIT ONLY . . . . £2299
18-300 F3.5/6.3 AFS VR . . . . . . . .£648 14 F1.8 DG HSM Art . . . . . . £1678
35 F1.8 AFS G . . . . . . . . . . . . . . . . .£188 17-50 F2.8 EX DC OS. . . . . . . .£328 135 F1.8 DG HSM Art.. . . . . £1398
70-300 F4.5/6.3 AFP VR . . . . . . . .£359 150 F2.8 EX DG OS. . . . . . . . . .£778
70-300 F4.5/6.3 AFP non VR . . .£299 18-35 F1.8 DC HSM Art . . . . .£648
18-300 F3.5/6.3 DC mac OS .£368 150-600 F5/6.3 OS Contemp £788
Nikon D5 Niko 7500 NIKON FX FULL FRAME LENSES
8-15 F3.5/4.5 AFS E. . . . . . . . . . £1298 20 F1.4 DG HSM Art . . . . . . . .£698
APS-C 14-24 F2.8 AFS G ED. . . . . . . . . £1648 24 F1.4 DG HSM Art . . . . . . . .£648
Full Frame Body only 16-35 F4 AFS VR . . . . . . . . . . . . £1058 24-35 F2 DG HSM Art . . . . . . .£758
18-35 F3.5/4.5 AFS G . . . . . . . . . .£658
£1297 24-70 F2.8 DG OS HSM Art £1398
Body only £5098 20 F1.8 AFS G ED. . . . . . . . . . . . . .£697
35 F1.4 DG HSM Art . . . . . . . .£598
Plus 18-140 VR £1598 24 F1.8 AFS G ED. . . . . . . . . . . . . .£678
150-600 F5/6.3 OS Sport . . £1328
24-70 F2.8 AFS G ED VR. . . . . . £1598 50 F1.4 EX DG HSM Art . . . . .£569
Nikon Full Frame Cameras Nikon APS-C Cameras 24-120 F4 AFS G ED VR . . . . . . . .£997 50-100 F1.8 DC HSM Art . . . .£948 500 F4 DG OS HSM Sport . £4997
D810 Body Only...........................£2398 D7200 Body only ........................... £888 35 F1.4 AFS G . . . . . . . . . . . . . . . £1578 70-200 F2.8 EX DG OS . . . . . .£898
D750 Body only ...........................£1698 D7200 + 18-105 VR ......................£1087 35 F1.8 AFS G . . . . . . . . . . . . . . . . .£478 500 F4.5 EX APO DG HSM
50 F1.4 AFS G . . . . . . . . . . . . . . . . .£398 85 F1.4 DG Art. . . . . . . . . . . . . .£999 CAF FIT ONE ONLY. . . . . . . £2797
D750 + 24-120 F4 VR ...................£2297 D5600 Body Only .......................... £648 50 F1.8 AFS G . . . . . . . . . . . . . . . . .£208 100-400 F5-6.3 DG OS
MBD-18 grip (D850) ...................... £368 D5600 + 18-55 AF-P....................... £728 60 F2.8 AFS . . . . . . . . . . . . . . . . . . .£528 HSM Contemporary . . . . . . . .£698 USB Lens dock. . . . . . . . . . . .£39.99
MBD-17 grip (D750) ...................... £348 D5600 + 18-140 VR ........................ £948 70-200 F2.8 AFS E FL ED VR . . £2398
MBD-12 grip (D810) ...................... £348 D3400 + 18-55 AF-P....................... £438 70-200 F4 AFS G ED VR . . . . . . £1238 70-200 f2.8 Di VC USD G2 ......... £1297
70-300 F4.5/5.6 E ED VR . . . . . . .£748 70-300 F4/5.6 Di VC USD..............£329
Nikon Nikon 85 F1.8 AFS G . . . . . . . . . . . . . . . . .£448
105 F2.8 AFS VR macro . . . . . . . .£788 15-30 f2.8 Di VC USD .....................£897
85 f1.8 SP Di VC USD......................£747
100-400 F4.5/6.3 Di VC USD........£789
8-15 F3.5/4.5 70-200 F2.8 200-500 F5.6 AFS E ED VR. . . . £1248
300 F2.8 AFS ED VRII . . . . . . . . £4299
16-300 f3.5/6.3 Di II VC PZD ........£428 150-600 F5/6.3 VC USD G2....... £1128
18-200 F3.5/6.3 Di II VC.................£188 150-600 F5/6.3 SP VC USD ...........£737
AFS E FL 300 F4 AFS E PF ED VR. . . . . . . £1528
AFS E £1298 ED VR £2398 400 F2.8 G E FL ED VR . . . . . . £10398
500 F4 G E AFS FL ED VR . . . . . £8998
18-400 f/3.5-6.3 Di II VC HLD .....£648
24-70 f2.8 Di VC USD G2............ £1247
Kenko Converters
1.4x or 2x Pro 300 conv each.........£149
24-70 f2.8 Di VC USD .....................£747 Auto ext tube set............................£119
Family Run Pro Dealership With Friendly, Knowledgeable Staff. Prices Inc VAT - Correct 27/11/2017. E&OE.
MORE ON WEBSITE - UPDATED DAILY. ORDERS OVER £100 VALUE INCLUDE UK MAINLAND P&P. ALL U.K. STOCK, NO GREY IMPORTS.
Although we are the best stocked dealer in the West Country, Website altered daily inc. manufacturers cashback & promotions
we cannot always have every item listed in stock at all times, so
we are happy to reserve new & used items for customers
planning to visit. Prices correct 27/11/2017 but subject to
change without notice. See website for up to date prices. E&OE.
www.mifsuds.com
Subscribe to our newsletter - send your email address to info@mifsuds.com.
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
CANON DIGITAL AF USED BG E16 box ..................................£169 10 22 F3.5/4.5 USM EFS ...... £329 70 200 F4 L USM.................... £399 SIGMA CAF USED 600 F8 box...................................... £249
Used Canon 1DX MKII body box .............£3799
1DX MKI body box .. £1999/2999
TC 80N3 remote........................£85
Angle finder C......................... £139
14 F2.8 USM LII box ............£1349
15-85 F3.5/5.6 IS USM EFS.. £399
70 300 F4.5/5.6 IS USM L .... £849
70-300 F4.5/5.6 IS USM ....... £249
17 50 F2.8 EX DC HSM ............. £249
17-70 F2.8/4 DC OS.................... £249
TC1401 1.4x conv........................ £189
1.4x EX DG conv .......................... £149
EOS 1DX 1D MKIV body box ..............£1499 Powershot G1X....................... £299 16-35 F2.8 USM LII................. £799 75-300 F4/5.6 MKII ...................£99 18-125 F3.8/5.6 HSM................. £149 OTHER CAF USED
MKI I body 1D MKIII body ......................... £499 Powershot G12....................... £229 16-35 F4 L................................. £749 85 F1.2 L USM ......................... £899 18-200 F3.5/6.3 DC..................... £149 TAM 10-24 F3.5/4.5 Di II ...... £279
1Ds MKII body......................... £599 CANON EOS M USED 17-40 F4 L................................. £449 100 F2.8 L IS USM .................. £649 18-250 F3.5/6.3 DC OS ............. £199 TAM 17-50 F2.8 XR DiII ........ £199
box 7D MKII body box.................. £999 EF-M 55-200 F4.5/6.3 IS STM£229 17-55 F2.8 IS USM EFS ......... £449 100 F2.8 USM box.................. £299 28-135 F3.8/5.6 ...............................£99 TAM 18-200 F3.5/6.3 VC ...... £149
7D body box............................ £499 DC1 viewfinder....................... £149 17-85 F4/5.6 IS USM................... £199 100-400 F4.5/5.6 LII IS U....£1499 28-200 F3.5/5.6 Asph ..............£99 TAM 18-250 F3.5/6.3 DiII..... £149
6D body box............................ £799 CANON AF FILM BODIES USED 18-55 F3.5/5.6 IS EFS ....................£99 100-400 F4.5/5.6 L IS U........ £799 50 F2.8 EX macro ................... £149 TAM 28-300 F3.5/6.3 VC...............£449
£3799 5D MKIV body box................. £2699 EOS 1V HS body..................... £699 20 F2.8 USM................................... £349 135 F2 L USM box.................... £699 50-500 F4/6.3 EX DG OS...... £699 TAM 28-300 F3.5/6.3 XR Di.........£199
5D MKIII body box................. £1699 EOS 1V body box................... £599 24 F2.8 STM.................................... £109 180 F3.5 L USM macro........... £599 50-500 F4/6.3 EX DG ............ £399 TAM 70-300 F4/5.6 Di USD VC . £199
5D MKI body box ......................£399 EOS 3HS body inc PB-E2..... £449 24-105 F4 L IS.......................... £599 300 F2.8 LII IS U ......................£4699 70-200 F2.8 EX DG OS TAM 70-300 F4/5.6 ........................£99
Used Canon 80D body box.............................£749
60D body......................................£399
EOS 5 body box.........................£79
EOS 50E body.............................£59
28 80 F3.5/5.6 USM MKI...... £149
28 80 F3.5/5.6 ............................£79
300 F2.8 LI IS U........................£2999
300 F4 L IS USM box............... £699
Mint box.................................... £749
70 300 F4/5.6 APO DG............£99
TAM 150 600 F5/6.3 VC USD. £599
TOK 100 F2.8 ATX........................ £299
EOS 7D 50D body box.............................£299 EOS 500/500N/1000f b/o ea.£39 28 90 F4/5.6................................£99 400 F4 DO.................................£ASK 120 300 F2.8 DG OS sport £1999 Zeiss 50 F1.4 ZE box .................. £399
MKII 700D body ...................................£299 EOS 600/650/1000/10 b/o ea£49 50 F1.4 USM............................. £279 400 F2.8 IS USM L ................£4999 120 300 F2.8 EX DG .............. £699 Triplus ext tubes set......................£69
600D body ...................................£249 EOS 5000/300V body ..............£49 60 F2.8 IS USM EFS................ £279 500 F4 IS L USM....................£4499 150 F2.8 EX DG OS Mint box£599 CANON FLASH USED
body 400D body ......................................£99 PB E2 drive fits EOS1/3........ £149 65 F2.8 MP E............................ £799 1.4x extender MKIII................. £329 150 500 F5/6.3 DG OS.............. £449 430EX MKII....£169 550EX .. £129
80D body..................................... £ASK BP E1 .............................................£79 70 200 F2.8 IS USM LII .......£1499 1.4x extender MKII .................. £249 150 600 F5/6.3 DG OS Sport 580EX box ................................ £179
box BG E2.............£39 BG E2N..........£49 CANON AF LENSES USED 70 200 F2.8 IS USM L............ £999 2x extender MKIII..................... £339 + TC 1401 kit Mint box...........£1099 600EX RT box .......................... £349
£999 BG E7.................................................£79
BG E13 ...........................................£119
8 15 F4 L fisheye.................... £799
10 18 F4.5/5.6 IS STM........... £179
70 200 F2.8 USM L ................ £799
70 200 F4 L IS USM ............... £699
2x extender MKII box............. £239
25mm ext tube MKII .................£99
180 F2.8 EX DG OS ..................... £899
180 F3.5 EX DG HSM mac....... £399
MORE ON WEBSITE
WWW.MIFSUDS.COM
NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
NIKON DIGITAL AF USED MBD 14 grip ............................ £149 18 70 F3.5/4.5 AFS .....................£129 70 300 F4.5/5.6 AFS VR........ £369 24 70 F2.8 EX DG........................£299 70 300 F4/5.6...................................£79
Used Nikon D4s body box........................£3499 MBD 12 grip ............................ £229 18 105 F3.5/5.6 VR AFS............£179 70 300 F4.5/5.6 AFD............. £349 24 105 F4 DG OS HSM.............£499 150 600 F5/6.3 Di VC USD...... £599
D4s body D4 body box.............. £1999/2699 MBD 10 grip ........................ £49/99 18 135 F3.5/5.6 AFS DX...........£169 70 300 F4/5.6 G non VR..........£99 28 200 F3.5/5.6 early................... £69 OTHER NAF USED
D3X body box.......................£1299 MBD 80 grip ...............................£49 18 140 F3.5/5.6 AFS VR............£299 85 F1.4 AFS M box ............... £949 35 F1.4 DG Art ........................ £499 TOK 10 17 F3.5/4.5 ATX....... £249
box D3s body box........................£1299 MBD 200 grip.............................£49 18 200 F3.5/5.6 AFS VRI...........£299 85 F1.8 AFS .............................. £349 70 200 F2.8 EX DG OS TOK 11 16 F2.8 ATX Pro DXII £349
D3 body box................... £899/999 NIKON AF FILM BODIES USED 20 F1.8 AFS G................................£499 85 F2.8 DN PC E ..................... £999 Mint box.................................... £749 TOK 12 24 F4 ATX Pro .......... £329
£3499 D2Xs body................................ £399 F5 body ..................................... £399 20 F2.8 AFD...................................£349 105 F2.8 AFS VR...................... £499 70 300 F4/5.6 APO DG............£99 FLASH / ACCESSORIES USED
D810 body box.....................£1799 F90X body...................................£99 24 70 F2.8 AFS box....................£999 200 F2 AFS VRII.....................£3799 105 F2.8 EX DG............................. £199 SB 500............................................... £169
Used Nikon D810 body .............................£1399
D800E body box ....................£ASK
F801/F601/F70 body each ....£49
F55 body......................................£29
24 85 F3.5/4.5 AFS VR............... £399
24 120 F4 AFS VR........................ £699
200 400 F4 AFS VRII............£3499
300 F2.8 AFS VRII .................£3999
135 400 F4.5/5.6 DG.................. £299
150 F2.8 EX DG OS Mint box.. £599
SB 600............................................... £169
SB 700............................................... £199
300mm D800 body box......... £1199/1399 NIKON AF LENSES USED 24 120 F3.5/5.6 G VR................. £299 300 F2.8 AFS VRI serviced.£2999 150 F2.8 EX DG OS ..................... £549 SB 900 box..................................... £249
F2.8 D750 body box.....................£1199 10.5 F2.8 DX ..................................£399 24 120 F3.5/5.6 G........................ £199 300 F4 E AFS PF VR..............£1299 150 500 F5/6.3 DG OS.............. £499 SB 910 box..................................... £299
D700 body box....................... £599 10 24 F3.5/4.5 DX.......................£599 28 F1.8 AFS G................................ £399 300 F4 AFS box....................... £549 170 500 F5/6.3 D......................... £299 SB R1 Ringflash box.................. £349
AFS VRI D610 body ............................... £799 14 F2.8 AFD...................................£899 28 100 F3.5/5.6 AF G....................£69 300 F4 AFD (non AFS).......... £369 150 600 F5/6.3 DG OS Sport SU 800 commander.................. £249
£2999 D600 body ............................... £699 14 24 F2.8 AFS M box..........£1099 35 F1.8 DX....................................... £149 500 F4 AFS VR .......................£4999 + TC 1401 kit Mint box...........£1099 DR 5 angle finder........................ £149
D300s body ............................. £349 14 24 F2.8 AFS box....................£999 35 F2 AFD ....................................... £199 600 F4 AFS EDII ........ £3499/3999 150 600 F5/6.3 contemp......... £649 DW 21 fits F4........................... £119
Used Nikon D300 body box....................... £299
D200 body box....................... £149
16 F2.8 AFD Fisheye..................£499
16 35 F4 AFS VR ..........................£899
45 F2.8 PC E............................. £999
50 F1.4 AFS G .......................... £299
TC17EII....................................... £199
TC20EII....................................... £199
TAMRON NAF USED
10 24 F3.5/4.5 DiII....................... £239
MB 10 (fits F90)...............................£29
MB 23 (fits F4)..................................£49
D810 body D7100 body............................. £449 16 85 F3.5/5.6 AFS VR...............£379 50 F1.8 AFS .............................. £149 SIGMA NAF USED 11 18 F4.5/5.6............................... £219 MC 30 remote .................................£45
D7000 body............................. £399 17 35 F2.8 AFS box....................£899 55 200 F4/5.6 AFS VR ........... £169 18 200 F3.5/6.3 DC mac C...... £199 18 250 F3.5/6.3 ............................ £149
box
D80 body.................................. £169
D60 body.................................. £149
17 55 F2.8 AFS .............................£499
18 35 F3.5/4.5 AFD ....................£269
70 200 F2.8 VR II box..........£1299
70 200 F2.8 VR I box............. £999
24 F1.4 DG Art..............................£499
24 35 F2 DG Art box .................£599
19 35 F3.5/4.5..................................£99
28 75 F2.8 XR Di........................... £229
MORE ON WEBSITE
£1799 MBD 16 grip ............................ £199 18 55 F3.5/5.6 AFS VR................ £99 70 200 F4 AFS VR................... £899 24 70 F2.8 EX DG HSM.............£469 28 300 F3.5/6.3 XR Di................ £199 www.mifsuds.com
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED Sony HVL 43AM box .............. £179 35 80 f4/5.6.......................................£25 28 135 F3.8/5.6............................£79 E500 body ................................ £129 ECG grip .......................................£39
Used Fuji X Pro2 body box..................£1099
X Pro1 body box.................... £399
Sony HV56AM........................... £149
Sony HVK F42AM .......................£89
35 105 F3.5/4.5 ...............................£99
50 F2.8 macro............................... £179
28 300 F3.5/6.3 macro........... £149
50 150 F2.8 EX DC MKII......... £399
11 22 F2.8/3.5 ......................... £349
12 60 F2.8/4 ED...................... £399
HLD 8 grip...................................£99
HLD 7 grip box..........................£89
X-Pro2 X T1 body black...................... £499 SONY NEX USED 70 210 F4.5/5.6 ...............................£69 55 200 F4/5.6 DC OS.................£79 14 42 F3.5/5.6 ............................£49 HLD 6 grip...................................£79
body X T1 body black...................... £449 NEX 5 body .................................... £129 75 300 F4.5/5.6 ............................ £129 70 300 F4/5.6 DG OS............ £169 14 45 F3.5/5.6 ............................£99 PANASONIC DIGITAL USED
box X T10 body box ...................... £299 FE 16 35 F4 ZA OSS E................ £899 100 300 F4.5/5.6 APO............... £179 70 300 F4/5.6 APO DG............£99 14 54 F2.8/3.5 ......................... £199 GH2 body ................................. £299
X E1 body silver ..................... £199 FE 16 50 F3.5/5.6 EZ .................. £149 100 300 F4.5/5.6.......................... £149 150 500 F5/6.3 APO DG ...... £499 25 F2.8 ....................................... £179 G5 body .................................... £199
£999 14 F2.8 XF R box..................... £499 FE 70 200 F4 G OSS box.......... £899 500 F8 mirror................................. £349 1.4x EX conv ...............................£99 40 150 F3.5/4.5..........................£99 G3 body box............................ £199
18 F2 R XF................................. £349 FE 90 F2.8 macro......................... £699 VC700 grip.........................................£39 TAM 10 24 F3.5/4.5 DiII ....... £239 50 F2 macro............................. £299 GX7 body.................................. £349
Used Olympus 18 55 F2.8/4 XF ...................... £399
23 F1.4 R XF ............................. £699
Samyang 100 F2.8 macro....... £229
MINOLTA/SONY AF USED
RC1000S cord...................................£29
SONY LENSES USED
TAM 24 70 F3.5/5.6 ..................£49
TAM 90 F2.8 ............................. £249
50 200 F2.8/3.5 ED................ £399
25mm ext tube..........................£89
GF3 body black .........................£99
GF1 body .....................................£99
OM-D E-M1 27 F2.8 XF................................. £249 7xi body .......................................£99 16 80 F3.5/4.5 ZA DT................. £499 TAM 90 F2.8 ............................. £179 VA 1 angle finder......................£69 GF6 body box silver.............. £199
body M- 35 F1.4 R box........................... £399 Dynax 5 body.............................£69 18 55 F3.5/5.6 SAM.......................£59 TAM 200 500 F5/6.3.............. £399 OLYMPUS MICRO 4/3 USED 7 14 F4 G .................................. £499
50 230 F4.5/6.7 XRC ............. £249 5xi body .......................................£49 18 70 F3.5/5.6..................................£89 Teleplus 1.4x conv....................£69 OMD EM1 body M box ...... £599 14 42 F3.5/5.6 ......................... £199
box 90 F2 WR box .......................... £599 7000i or 500Si body each......£39 18 135 F3.5/5.6 DT SSM........... £329 Teleplus 2x conv .......................£79 OMD E M5 MKII body box.. £499 14 42 F3.5/5.6 ............................£79
£599 XT 2 VPD grip.......................... £229 300Si body ..................................£29 18 200 F3.5/6.3 DT ..................... £199 Kenko 1.4x Pro 300DG......... £149 OMD E M5 body box............ £249 14 45 F3.5/5.6 ......................... £149
EF 42 flash box ..........................£99 11 18 F4.5/5.6 AFD DT......... £259 55 200 F4/5.6 DT SSM .................£69 MINOLTA FLASH USED 9 18 F4/5.6 ...............................£ASK 14 140 F4/5.8 box ................. £399
EF 20 flash box ..........................£59 24 50 F4 .......................................£99 75 300 F4.5/5.6 ............................ £129 Minolta 5200i.............................£29 12 F2........................................... £479 20 F1.7.......£199 25 F1.4...... £379
Used Sony MINOLTA/SONY DIGITAL USED
Sony RX100 MKIII box............ £449
24 85 F3.5/4.5 ......................... £149
28 F2.8 ..........................................£99
SIGMA MIN/SONY AF USED
10 20 F3.5 EX............................. £269
Minolta 5400HS.........................£39
Minolta 5600HSD M ...............£79
12 40 F2.8................................. £599
14 42 F3.5/5.6 ......................... £169
35 100 F4/5.6 .......................... £169
45 150 F4.5/5.6....................... £149
RX10 MKII Sony RX10 MKII box ............... £699 28 75 F2.8 AFD ....................... £299 10 20 F4/5.6 EX DC ................. £249 OLYMPUS 4/3 USED 14 150 F4/5.6 .......................... £399 45 200 F4/4.5 box ................. £199
Sony A550 body....................... £199 28 80 F4/5.6................................£39 18 35 F1.8 Art............................ £549 E5 body ..................................... £599 17 F1.8 ....................................... £279 100 300 F4/5.6 MKII.............. £499
box Sony A350 body....................... £149 28 85 F3.5/4.5 ............................£99 18 50 F3.5/5.6 DC.......................£69 E3 body ..................................... £299 25 F1.8 ....................................... £269 100 300 F4/5.6........................ £349
Sony VG C70AM....................... £139 35 70 F4 .......................................£39 18 250 F3.5/6.3 DC mac HSM £199 E1 body ........................................£79 40 150 F4/5.6 .......................... £189 PENTAX DIGITAL USED
£699 Sony LA EA4 mount adap ... £189 35 70 F3.5/4.5..................................£25 28 105 F2.8/4 ...............................£69 E510 body ................................ £149 MC 14 converter.................... £249 K100d body ............................. £149
MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED For more used equipment listings please see website www.mifsuds.com
Used Fuji BRONICA ETRS 645 USED
ETRSi + 75 + WLF
Tripod adapter E .......................£39
Winder early ...............................£49
HASSELBLAD 6x6 USED
503CW Millennium
Vivitar 2x conv ...........................£49
Lens hoods various........... £20/50
65 F3.5 serviced...................... £149
250 f4.5...................................... £179
90 F3.5 W M box................... £299
180 F4.5 W................................ £199
G617 + 120 back................................ £399 Metz SCA 386.............................£49 + 80 F2.8 CFE + A12 ...........£2799 MAMIYA 645 MF USED Porrofinder..................................£59 PENTAX 645MF USED
including ETRS body ................................ £119 BRONICA SQ 6x6 USED 501C + 80 CB + A12............£1699 645 Pro TL + 80 + MAMIYA 6 & 7 RF 6x7 USED 645 body + insert .................. £199
105 F8 30 F3.5 PE ................................. £699 SQB + 80 + WLF + 120 back£399 500CM + 80 F2.8 C AE prism + back..................... £599 43 F4.5 L + VF box ...............£1199 200 F4 ........................................ £149
40 F4 E ....................................... £199 40 F4 S ....................................... £299 + A12 + WLF............................ £699 Plain prism (645 Super)..........£79 50 F4.5 L + VF box ................. £799 300 F4 ........................................ £249
£1299 50 F2.8 PE ................................. £349 50 F3.5 S.................................... £149 500CM body black ................ £299 645 Super WLF...........................£99 150 F4.5 M .............................. £399 1.4x converter......................... £199
75 F2.8 PE ................................. £149 150 F4 PS ......................... £149/199 500C chrome body ............... £249 Polariod Back HP401 ...............£29 MAMIYA RB 6x7 USED PENTAX 67 USED
35MM & MISCELLANEOUS USED Please contact us to determine availability before making a lengthy journey
CANON FD USED 177A flash...£20 244T flash ..£20 70 210 F4 MD.............................£99 50 F1.2 AIS................................ £399 28 F2.8 ..........................................£79 18 55 F3.5/5.6 ............................£69
Used Nikon A1 body serviced................... £169
AE1 Program body...................£99
277T flash...£25 300TL flash.£49
Winder A.....£20 Winder B....£30
2x Converter...............................£79
Ext tube for 50 F3.5..................£29
50 F1.4 AI.................................. £199
50 F1.8 AI.................................. £149
35 F2.8 box .................................£99
35-70 F4 .......................................£99
28 80 F3.5/5.6 ............................£49
50-200 F4/5.6 DA......................£99
400mm F2.8 ED AIS 24 F2........................................... £299 Angle finder B............................£49 Ext tube set.................................£49 50 F1.8 E.......................................£59 35-105 F3.5/4.5 box.............. £149 55-300 F4/5.8 ED WR............ £229
24 F2.8 ....................................... £149 CANON BINOCULARS USED Auto bellows 1...........................£99 180 F2.8 AIS ED scruffy........ £179 35-105 F3.5/4.5..........................£79 55-300 F4/5.8 ED box........... £199
24 F2.8 breechlock................ £149 15 x 45 IS................................... £599 NIKON MF USED 400 F2.8 ED AIS serviced ..£1299 50 F1.8 ..........................................£69 77 F1.8 FA Limited edition . £699
28 F2.8 ..........................................£49 CONTAX 35mm RF USED FE2 body chrome .................. £349 500 F4 AIS...............................£1399 80 F4 mac................................. £199 100 F2.8..................................... £149
35-70 F4 .......................................£69 90 F2.8 G................................... £269 F2 Photomic body box........ £399 500 F8 mirror........................... £249 85 F2 box.................................. £249 SIGMA PKAF USED
35-105 F3.5 .............................. £149 LIGHTMETERS USED FM2n body chrome .............. £349 SC-17 TTL lead...........................£25 135 F2.8 box............................ £149 18-250 F3.5/6.3....................... £199
£1299 50 F1.2 L.................................... £699 Gossen Spot-Master ............. £299 FE body black.............................£99 DW-3 WLF find fit F3 ...............£99 135 F4.5 macro....................... £199 28-200 F3.5/5.6....................... £149
50 F1.8 ..........................................£49 Minolta Flashmeter IV.......... £199 8 F2.8 AIS................................£1499 PK-11a ext tube.........................£49 200 F4 ........................................ £149 PENTAX MF USED
50 F2..............................................£49 Sekonic L308S......................... £119 20 F3.5 AI.................................. £199 PK-12/PK-13 ext tube each ...£49 Vivitar 400 F5.6....................... £149 35 F2 PK box............................ £199
Used Nikon 50 F3.5 macro ............................£99 MINOLTA MD USED 24 F2 AI ..................................... £299 OLYMPUS OM USED 7, 14, 25 man ext tube ea......£20 50 F1.4 PK................................. £149
500mm F4 AIS 70-150 F4.5 .................................£29 XD7 body black/chrome..... £149 24 F2.8 AIS M- box ................ £249 OM-4T body ............................ £249 14 or 25 auto ext tube ea......£29 85 F2 PK .................................... £199
100 F2.8..................................... £149 X300 chrome body ..................£49 24 F2.8 AI.................................. £199 OM-2SP body.............................£99 60-116 auto ext tube set .... £199 120 F2.8 K................................. £199
100-300 F5.6...............................£79 X300s black body .....................£49 28 F2.8 E box..............................£69 OM40 body.................................£79 Tripod mount ring....................£59 135 F3.5 PK .................................£69
135 F3.5........................................£49 X700 black body .......................£99 28-85 F3.5/4.5 AIS.................. £199 OM-2n chr body box............ £249 PENTAX 35mm AF USED 150 F3.5 PK box...................... £149
135 F3.5 (Breechlock)..............£39 XGM chrome body...................£49 35 F2.8 PC................................. £349 OM-2n body chrome... £149/199 Z50P body...................................£49 50 F1.4 PK..£99 50 F2 .............£49
200 F4 macro .......................... £299 28 F3.5 MD. .................................£49 35-70 F3.3/4.5 AIS.................. £129 OM-1n body chrome............ £199 SFXN body ..................................£49 50 F4 macro PK..........................£99
25mm or 50mm Ext tube ea £29 50 F1.7 MD..................................£49 35-70 F3.5 AIS ............................£99 OM-1 body............................... £199 16-45 F4 .................................... £199 TAMRON ADII USED
£1399 2x Extender B.............................£49 50 F2 MD .....................................£49 35-105 F3.5/4.5 AIS..................£79 24 F2.8 ....................................... £199 17-70 F4 SDM M- box .......... £299 35-135 F3.5/4.2..........................£99
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A grand
adventure
Proving age is just a
number, Josiah Launstein
has created a beautifully
crafted wildlife portfolio.
O WHILE I MAY ONLY BE 12 YEARS OLD, I’VE BEEN
photographing local wildlife for a little over five years
now. My dad is a full-time wildlife photographer, and we
own and operate a gallery in a tourist area in the Canadian
Rockies. My older sister, Jenaya, became really passionate
about photography when she was 13, so I was always
going out on trips into the wilderness with my father. By
the time I was seven, I started asking my dad if I could
use one of his extra cameras. Once I started shooting, it
didn’t take long for me to completely fall in love with it.
From the beginning, my dad always encouraged me to
choose the kit, composition and settings that I wanted for
myself. He helped me to understand the basics of exposure
and composition, and we’d always go through my images
after every day out in the field. We all love shooting together,
and there’s always a lot of fun competition between the
three of us to see who can get the best photo of the shoot.
I’ve purchased my own equipment now and I go out with
it almost every day. We live on an acreage below the
mountains, so we have animals such as mule deer,
foxes, owls and partridges in our own back garden.
Last August I flew to Thailand for a Nikon Asia production
on my work. When I wasn’t busy on set, I loved
photographing the different caterpillars they had there.
One of the images I took was subsequently recognised in
the 2017 Wildlife Photographer of the Year competition.
When asked if I have any advice for other photographers,
I always think of something my dad told me when I was
first getting into photography – you should always work
with a subject that you love. On a more practical level, it’s
really important to shoot as often as possible. If I’m not out
in the field regularly then I can feel a little rusty once the
action starts. I’ve also noticed that I start thinking of more
creative ways to photograph my subjects when I’m out with
them more often. I’m excited to have started my career in
wildlife photography, and this year I’m concentrating on
making every photo tell the story of the animal pictured.