Digital SLR Photography - May 2014

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US ALL LLLLTTLPl
'WLLCML11HLMay 20I4issueof D|g|ta| S|PPnotograpny.
Springis nally hereandthewarner weather, longer days and
burst of colour inthecountrysidedowonders at inprovingour
noodl Whilethegoldencolours of autunnnakeit afavouritewith
nany landscapephotographers, havetoadnit that springis ny
favouriteseason. Not only does thelandscape(andgardens) conetolife, withblosson
andbrightly colouredfowers beginningtobloon, thereis alsoaburst of activity inthe
aninal kingdontoo. 1here's already baby rabbits boundingabout andthesefrolicking
furballs will soonbejoinedby lanbs, birds, insects andother creatures -great news for
photographers andaninal-lovers alikel
'nthis nonth's issue, we'veanajor guidetolandscapephotography (p54) that
provides all theessentials youneedtostart takingstunninginages of thegreat
outdoors. Cet 1neP|cture(p35) provides tutorials oncapturingthecountrysideinvivid
colour andnoody nono, whilealsoprovidingideas andinspirationfor shootingby the
coast or indoors too. Cutt|ng|dge(p84) provides twoinspirational yet very diherent
pictorials for youtoenjoy, whilethereis plenty noretoget your photojuices fowing
elsewhereintheissue. Wehopeit will helpll your nonthwithlots of ideas onwhat to
shoot. h, andbefore forget, besurenot toniss next nonth's nagazine-we'vea
very special announcenent that is suretoget youexcitedl 1hat's it, 'll leaveyoutoget
onandeno thelatest issue. Haveagreat nonth's photography. All thebestl
Editor'swelcome
A pro for two decades,
Lee's one of the U's
nost popular outdoor
photographers.
www.|eefrost.co.u|
LANDSCAPLS o1RAvLL
LeeFrost
A pro photographer,
Paul is a creative genius
and expert on lighting.
www.pau|ward
pnotograpny.con
PR1RA1S oASHN
PaulWard
A leading portrait and
fashion photographer,
Bjorn runs workshops fron
his base in Cornwall.
www.oornohnsp|re.con
PR1RA1S
BjornThomassen
CRLA1vL oPR1RA1S
DanieI Lezano, Editor,
DigitaI 5LPPhotography
THI5MONTH'5
EXPEPTTEAM
Cat is a leading creative
pro Getty and Corbis
photographer based in
Dublin, reland. www.
catner|nenacor|de.con
CatherineMacBride
Ross is an award-winning
nature photographer
and author of nunerous
photo books.
www.rossnodd|nott.co.u|
NA1URL oLANDSCAPLS
RossHoddinott
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CUTTINGEDGE: PPOIN5PIPATION
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LEN5TE5T: PPEMIUMMACPO5
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5 Editor'spage
1hearrival of springhaseditor Lezano
feelingall warnandfuzzy.
8 Exposure
Stunningunderwater inages, thelatest
product news, bookreviews, opinionand
inspirationfronthephotoworld
24 5howcase
1helatest galleryof newtalent tofeast
your eyesupon
33 Picturesubmissions
Want toseeyour shotsinour nagazine
Here'showtosendyour best inages
5 ExpertCritique
ur panel of expertsprovidehonest and
constructivecritiqueof readers' inages
84 CuttingEdge
Stunningchildren'sphotographyby
LlenaShunilovaandBrandonCawood
capturestrueheroes
95 Nextissue
Here'swhat'sconingupintheJune
issue-don't nissitl
138 Monthlycompetition
WinaSansungGalaxyNX-a20.3MP
powerhousewith3Gi4Gconnectivity
98 NikonD4
irst test of Nikon'slatest fagshipDSLR
11 Digital 5LRlistings
ull DSLRspecicationsandprices
15 Telephotomacrolenses
nsearchof theultinateclose-upoptics
You'll want oneof thesepreniunlenses
113 PentaxO7
Weratethispocketablenirrorlesscanera
36 Bluebellsinbloom
RossHoddinott inspiresuswithwaysto
shoot theU'sfavouritespringfower
4 Minimalistmonolandscapes
Leerost explainshowyoucanuseenpty
spacetoyour advantagewithlandscapes
44 Wavesinmotion
Capturethepowerful notionof crashing
wavesusingHelenDixon'sexpert advice
46 Fine-artowers
1ransfornthedelicatebeautyof tulipsinto
beautiful worksof ne-art inninutes
48 Theillusionof levitation
Lookingtocreateupliftingportraits1hen
followthiscreativetechnique
COVEPIMAGE: GETTHEPICTUPE
UDGETPHOTO: FILTEPKIT5
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REGULAR5 TECHNIOUE 8 ADVICE
54 Essential GuidetoLandscapes
Nowthewarner weather hasarrived,
nanyof uswill beplanningtoheadout
andshoot fantasticlandscapeinages. ur
najor guideprovidesall theexpert advice
youneedtotakegreat inages
67 BudgetPhoto
Canaset of ltersthat costslessthan20
reallybeanygood1opproLeerost was
sceptical at rst but foundnuchtopraise
about thelow-cost Borwinset of three
73 CreativeEye
Wehadnoshortageof takersfor our
'sweets' challengel indout if our trioof
expertssuckedat thisthenel
Get D|g|ta| S|P
Pnotograpny
direct toyour door
or nobiledevice
everynonthby
subscribingto
either our print or
digital editions.
or great ohers,
seepage82
MAY 20I4i DIGITAL 5LR PHOTOGRAPHY
May2014/ lssue90
Contents
THERE'SAWHOLEWORLDUNDERTHESEATHATMANYOFUS
WILLNEVERGLIMPSEUNLESS, OFCOURSE, WEWITNESS
THESEINCREDI8LESHOTSCOURTESYOFTHEWINNERSOFTHE
UNDERWATERPHOTOGRAPHY.COMPHOTOCOMPETITION.
Uwe5chmoIkelPunner uplMacroNot 5wimming
CMPL11NRLSUL1S
DIGITAL 5LR PHOTOGRAPHY i MAY 20I4
C
LLLBRA1NG1HLHGHLYtechnical
skill of underwater photography,
thewinners of the20I3iI4
underwaterphotography.con
photoconpetitionhavebeenannounced.
1hewinninginages reveal a richsub-narine
worldthat is as diverseas it is fascinating.
1heannual aquatic-thenedconpetitionis
oneof thelongest standingandnost popular
of its kindinthis highly specialisedeld. 1he
highly covetedtophonours areviedfor by the
very best intheir craft. Despitethis, nost of
thewinningentries werecreatedwith
oh-the-shelf digital SLRs andlenses in
waterproof housings, nakingtheart of
underwater photography opentoall.
Alnost 8,000entries werenadetothis
year's conpetitionacross I/ diherent
categories, rangingfronsunkenshipwrecks
totiny colourful botton-feeders, grinning
Great Whitesharks andevenunderwater
fashionandportraits.
After nuchdeliberation, Belgian
photographer LllenCuylaerts, whoresides in
theCaynanslands, was nanedas the20I3
WorldChanpion. Lllenstartedher diving
career just threeyears ago, andyet nanaged
tosubnit entries, andwinnedals, across a
largenunber of theconpetition's categories,
denonstratinga largeanount of natural
talent for thecraft. Her intinatewide-angle
inageof a nanateelookinginquisitively into
her lens particularly inpressedthejudges,
nettingher thegoldnedal inthereshwater
category, too.
Underwaterphotography.conowner
1al Mor hadthis tosay about thewinner.
Lllenwas alnost unaninously votedfor the
WorldChanpion, havingreachedthetop
leagueof underwater photographers inonly
threeyears of diving. Sheconsistently
subnittedbreathtakinginages toalnost
every category of thecontest.
1oviewLllen's winningportfolioalong
withthefull selectionof connendedand
winninginages for yourself, headto.
www.underwaterphotography.con
NadyaKuIaginalGoIdmedaI lWideAngIeDivers DorisVierktter l5iIver medaI lMacroCIoseUp
MarjanPadovicl5iIver medaI lWideAngIeDivers HeImyHashimlGoIdmedaI lWideAngIeCIoseFocus
EIIenCuyIaerts lOveraII WorIdChampion
PauI CoIIeylPunner upl5harks
PRDUC1 NLWS
Inbrief...
FreshAir
Giottos has launched
a newline-upof
lightweight tripods,
dubbedtheAir range. 1he
newnodels all featurethe
clever space-savingY-shapedcentre
colunn, andthreeof thenalsooher a
3Dcentrecolunn, ideal for close-up
work. 1here's a choiceof carbon-bre
or aluniniunonoher, too. 1herange
starts at I80. or noreinfo, visit.
www.g/ottos-tr/pods.co.uk
HighroIIers
Loweprohas
introduceda new
rangeof travel-
friendly roller bags.
1heinnovativeLowepro
Roller XAWseries conprises
threesizes andfeatures a clever
ReservePack systenthat allows the
conpartnentalisedsectionof the
casetoberenovedandusedas a
standalonebackpack. Prices start at
3I5. Moredetails canbefoundat.
www./owepro.com
CoIour kick
Colour Condencehas
announcedthat it will
bedistributingthenew
ick light. Packinga
pocket-sizedpunch, the
ick canput out aninpressive
400lunens andcanbeprogranned
tooutput any colour inthespectrun
viaafreenobileapp. 1heick is
availablenowpricedat I35.
www.co/ourconhdence.co.uk
NNHASANNUNCLDthenext inlineof its highly popular NikonI
systenof nirrorless interchangeablelens caneras. theNikonI v3.
Pitchedas astepupor secondary professional body, anddubbedby
as 'thenaster of speed', thewell-speccedNikonI v3's trunpcardis its
super-speedy burst node. heringastaggering20franes-per-secon
continuous re, withfull autofocus tracking, or 60franes-per-second
withxedfocus, there's nonefaster thanthenewv3. 1here's alsoan
I8.4-negapixel, CX-fornat CMSsensor, anSrangeof I60-I2800
Wi-i, a3inarticulatingtouchscreenLCDnonitor andI/I autofocus p
(includingI05phase-detectiontype) tohelpyoualongyour way. 1his
backedupby apowerful LXPLLD4Ainageprocessor. npressivestuh
Alongsidethenewcanera, Nikonis oheringabevy of optional acce
ainedat professional users, includingahotshoe-nountedD-NI000
viewnder, sturdy GR-NI0I0gripfor inprovedergononics, SB-N/Sp
1I nount adaptor, whichallows for ttingof NikonDSLRlenses tothe
1henewcanerais availablefronI/April, pricedat 800withvRI0
fi3.5-5.6PD-ZMlens, or I,050withtheaforenentionedlens, D-
viewnder andGR-NI0I0grip. www.n/kon.co.uk
RAPIDFIREVS
NLWNNBAS1S NCRLDBLLSH1NGSPLLDS
UltraHighDenitionLumix
irst wehadstandarddenition, thenHD, andnowwehave4, or
UltraHighDenitionl Panasonic's newLunixDMC-GH4is thelatest
inthelonglineof Lunixcaneras, but therst boastingtheability
torecordvideoinfull 4resolution, as well as ull HD. Although
capableof bothstills andvideo, it's clear that Panasonicis
pitchingthenewGH4withanenphasis onappealingto
videographers. 1heGH4packs aI6.05-negapixel LiveMS
sensor, I2franes-per-secondcontinuous node, 3intilting
LLDscreen, Wi-i andNC. 1herearealsofeatures aplenty
onthevideoside, suchas focus peakingandluninance-level
adjustnent. 1here's evenabolt-oninterfaceunit whichadds
additional videooutputs andaudioinputs. 1heLunixGH4is
availablefron5Maypricedat I,300body-only, I,800with
I4-I40nnfi3.5-5.6lens or I,850withDMW-YAGHL
interfaceunit. www.panason/c.co.uk
NXMini
Sansunghas announced
thesnallest nodel inits
interchangeablelens canera
line-up-infact, oneof thesnallest
andlightest interchangeablelens
caneras thereisl 1heNXMini is a
super-slinstunner, packinga
20.5-negapixel, one-inchBS
CMS sensor, six franes-per-
secondburst node, speedy IiI6,000
naxinunshutter speedand3inarticulated
LCDtouchscreen. Measuringjust 22.5nnthick and
weighingjust I58g(body only), Sansunghas alsosonehow
packedinWi-i, NCanda battery that is clainedtocaptureup
to650inages beforeit runs out of stean. Perhaps nost curious about theNXMini is
Sansung's wink-shot feature, whichallows users totakecalnandconposed'seles'
by sinply winkingat thecanera whenthey'reready. We'renot surehowwe'dfeel
about nakingadvances at a canera inthenaneof a self-portrait, but we'll reserve
judgenent until wetry it out.
Alongsidethenewnodel, Sansunghas launchedthreenewnini lenses (NX-M
nount) -the9nnfi3.5LD, the9-2/nnfi3.5-5.6LDS andtheI/nnfiI.8S.
1here's alsoanadaptor that allows thecanera totakestandardNX-ttinglenses.
We'venonews of pricingor availability as yet. www.samsung.co.uk
Cashbackohers
Nikon
PurchaseselectedNikon
products betweenI March
and28May andyoucouldbe
eligiblefor uptoI20
cashback. 1herearedeals tobehadon
D5300, D/I00andD6I0bodies as well
as aselectionof lenses andtheSB-300
fashgun. www.n/kon.co.uk/casnback
Canon
SaveI50onanLS5D
Mk . Canon's cashback
ohers apply topurchases
nadebetweenI Marchand
/May andincludethreeof its
bestsellingDSLRs, several 'L' lenses and
afewconpacts andprinters.
www.canon.co.uk/spr/ngcasnback
Tamron
nthenarket for sonenew
glass andnot onetoturn
downabargain Goodnews
-theexcellent 1anron
I8-2/0nnfi3.5-6.3Di vCPZDis
available, for alinitedtineonly, with
50cashback andave-year warrantyl
www.tamron.eu/uk
X-Pite
Purchaseeither anX-Rite
ColorMunki Display and
ColorChecker Passport, or
X-RiteiDisplay Proand
ColorChecker Passport betweenI
Marchand30Juneandyoucanclain
30cashback onthebundle.
www.xr/tecasnback.com
NLWWlDL-ANCLL
PMSAMYANC
Sanyanghas announcedtheinpending
launchof anall-newnanual-focus lens,
designedsolely for nirrorless APS-C
fornat caneras. 1henewSanyangI2nn
fi2NCSCSis awide-anglelens oheringa
98.9 eld-of-viewandafast naxinun
apertureand, Sanyangareclaining, boasts
optics that conpetewiththebest preniun
lenses available. 1hespecsheet certainly reads
well -I2elenents intengroups includingone
aspherical lens, onehybridaspherical lens and
threelenses nadeof extra-lowdispersion
glass. 1heglass alsofeatures nanocrystal
anti-refectivecoating-poshstuhl 1henew
lens will beavailableinCanonM, ujilnX,
SansungNX, Sony LandMicroour-1hirds
ttings, althoughtherearenodetails onprice
or releasedateas yet. www.samyang.co.uk
Gettycontroversy
Never onetoshy away fronaspot of kicking
thehornet's nest, Getty has nadeheadlines
withtwodrasticrevisions toits business.
irst ohwas theannouncenent that the
stock-inaginggiant was tonakealarge
chunk of its stock inagelibrary freetousein
anonlinenon-connercial context. Anew
enbedfeatureallows users toenbedsnall
versions of nuchof its library -thecode
includes aclickablelink back totheinageon
Getty's websitealongwithapicturecredit.
1heideabehindthenoveis toprovidea
legal andfreeway for snall-tineusers to
shareinages, wherepreviously they would
havepotentially stolenthen. However, it
hasn't left everyonerejoicing-Getty pros,
for one, aren't toohappy about their inages
earningthenzeroincone, andthere's no
way for thentoopt out of thedeal.
1heseconddevelopnent was the
terninationof Getty's agreenent with
popular inage-sharingplatfornlickr. or
thepast veyears, lickr users couldallow
Getty access totheir inages under theview
that, shouldGetty ndabuyer, they would
licenseinages andawardtheuser asliver of
thepie. 1his agreenent appears tobeno
noreandthepartnershiphas ceased.
s this all part of Getty's nasterplan nthe
volatileworldof stock photography only
tinewill tell if it pays oh. 1urntoour pinion
pieceonpage2I for onephoto-industry
expert's takeonthenatter.
MOR 55NTIAL
RADINGFROM
TH XPRT5 AT
DIGITAL 5LR
PHOTOGRAPHY
ORDRYOURCOPY
DIRCTFROM
LXHB1NNLWS
I
YU'RLAfanof high-quality contenporary photography thenthe
najesticSonerset Houseis theplacetobe. nMay, works by the
world's nest establishedandenergingtalent goondisplay inthe
20I4Sony WorldPhotography Awards Lxhibition.
1his innensely covetedandhighly contestedannual awardattracted
alnost I40,000subnissions fronI66countries aroundtheglobe, and
youcanrest assuredthat only thenest work nadethecut. Withadiverse
rangeof subject natter displayed-fronlandscapes tolifestyle, still-lifes
tosport -there's boundtobesonethingthat catches your eye.
We'll bringyounews of thewinningentries fronthis year's
professional conpetitioninthenext issueof D|g|ta| S|PPnotograpny
after theresults areannouncedon30April, but we'vepickedout a
selectionof thenalists here. Youcanbeoneof therst toseethe
collectioninall its glory by gettingdowntoSonerset HouseinLondon
betweenI-I8May. 1ickets cost /.50(5concessions) onthedoor.
For more/nformat/on, v/s/t. www.wor/dpnoto.org/20!4exn/b/t/on
WORLDSTANDARD
Acollectionof theworld's nest contenporaryphotographyis set togo
onshowsoonat the20I4SonyWorldPhotographyAwards Lxhibition
TheMongo/ by5imon
Morris, OpenTraveI
category. AtraditionaI
MongoIianhunter rests
onthepIains of western
MongoIiawithhis majestic
hoodedeagIe.
Wet Dogby5ophie
Gamand, ProfessionaI
Portraiturecategory. Aseries
of portraits of dogs caught
mid-bath. Thedogs are
photographedat a
vuInerabIemoment, haIf a
secondbeforetheyshakethe
water oh, capturingtheir
character and, insomecases,
recognisabIehuman
emotions.
GardenStor/es byAmanda
Harman, ProfessionaI 5tiII
Lifecategory. Nectarine
bIossominthegIasshouse,
TynteseId. Aseriesof
accidentaI stiII-Iifes, made
aroundthegIasshouses,
pottingshedsandscuIIery
of acountryhouse.
L/on, Groom/ngby
GeorgeLogan, ProfessionaI
Campaigncategory. Part of
theseries '8/gCat, L/tt/eCat'
-anadvertisingcampaign
for Whiskas cat foodbrand.
Subways byNickFrank,
ProfessionaI Architecture
category. ArrivaIs,
departures, meetings, the
cIashof diherent peopIe...
5ubwaystations represent
theIiveIybackgroundfor
everydayIifeanddrama.
Chang/ngIdent/tyby
Kacper KowaIski,
ProfessionaI Contemporary
Issues category. Pows of
identicaI houses witha
pIaygroundseeninthe
middIeinthecityof Jiangyin,
Jiangsu, China.
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PCS 1HL MN1H
We'resoaccustonedtoseeinginages
andvideos createdandior tweakedwith
thehelpof CG that whensonethingas
incredibleas vyacheslav vanov's
'Snowtine' cones along, wehavea hard
tinebelievingthat what we'reseeingis
real andnot sonehowthework of
conputer wizardry. Well, believeus, this is
very real anda showcaseof nature's work
at its nestl vyacheslav createdthis
hypnotictinelapseof snowfakes forning
usingjust his canera anda nicroscope.
1henatural process is sinply captivating,
andreally quitehunbling, too. Aworthy
reninder that beauty canbefoundineven
thesnallest things. 1oviewtheintricate
two-ninutelnfor yourself, visit.
nttp.//b/t./y/!cLwzZZ
Videoofthemonth
5nowtime
By vyacheslav vanov
Photocastaway: JohnMcMurtrle
We'vetheoreticallypackednusicphotographer JohnMcMurtrieohtoadesert island, but
beenkindenoughtoallowhintotakealongafewphoto-basedluxuries. Herearehischoices
CAMRA
ANikon, of course, becausethey
don't let youdownwhenyou
needthennost. wouldtakea
D4s. t is sucha great workhorse
of a canera. canbeshootinga
cover withit oneninuteor
docunentingsoneactionthe
next. 1hebattery lifeis goodtoo
soonly a fewspares wouldkeep
negoinguntil was rescued.
ONCOMPANION
Ashley Maile. Hewas oneof the
nost talented, upbeat and
positivenusicphotographers
onthescene. Sadly hepassed
away last year agedonly 36. He
was a great photoconpanion
andstuck anywherewith
Ashley was always great funl
LN5
'dtaketheNRA-S
24-/0nnfi2.8G. What an
all-rounderl t's as sharpas any
prine, perfect for portraits and
absolutely brilliant inlowlight,
too. never likechanginglenses
onthebeachbecausesandis the
silent assassinof any canera so
it's theperfect do-it-all lens
tobestuck onanislandwith.
PHOTOACC55ORY
PocketWizards arethegreatest
photographicaccessory onthe
planet. Shootingby renotehas
allowednetostick caneras
wherethey shouldn't nornally go
( neanonstageby thewayl).
ONOFYOURPHOTO5
Probably a shot of Ldorcene
inMoscowwhenit was -20C.
1hat planehas takennearound
theworldthreetines andhas
always got nesafely back hone
again. Lookingat thephotonight
cool nedowntool
PHOTO-RLATDOOK
Unreasonao|e8enav|our by Don
McCullinhas beensucha great
inspirationfor nel haveoften
foundnyself asking'what would
Dondo' ina fewsticky situations.
His ability tobeconposedonthe
outsideandconposedwithinthe
canera is a rareskill.
4
1
2
3
5
6
PCS 1HL MN1H
Price: reei Platform: iSi Android4.0onwards
www.nadewithstudio.con
StudioDesignis a stylishandeasy tonavigateapplicationthat
ains toallowusers toaddquirky designelenents totheir
nobileinages, suchas text, franes, textures anddoodles.
Anyonefaniliar withlayers inPhotoshopwill instantly feel at
honewithStudioDesign's overlay systen, whichallows you
totweak thetransparency andpeckingorder of anything
that youadd, as well as rotate, scaleandevenadddrop
shadows totheehects. What's nore, theappfeatures its own
built-insocial network, allowingyoutoperuseother users'
designs, as well as connent and'like' then. Your Studio
Designcreations canbesavedtoyour phone's canera roll,
or sharedtoany oneof theusual social networks. 1heonly
downsideis that there's noapparent way tosavedesigns
without rst sharingthentothefeed, soif youcreate
sonethingthat youwant toshareonnstagran, for exanple,
youhavetoshareit via StudioDesignrst. Nonetheless, this is
a ninor inconvenienceinwhat is otherwisea funtouseapp
that achieves sonegreat results.
Verdict: Arefreshinganglefronwhichto
present advice. Learnthefundanentals instyle.
OVERALLRATING
Appof themonth
19 MAY 20I4i DIGITAL 5LR PHOTOGRAPHY
5tudioDesign
Verdict: Covers aninterestingtopic, but inan
inconprehensiveandclunsynanner.
HowPhotographsAre5old
28.5i AlainBriot i Rocky Nook
SBN9/8-I933952932
'nsurewe'veall walkedpast ane-art inagein
agalleryandthought ' couldhavetakenthat'.
1heart of sellingne-art is onethat is not often
discussed. ear not, ne-art photographer Alain
Briot ains tolift theveil of nystery. Unfortunately,
however, this titlefails todeliver. Yes, thereare
stories andexanples fronphotographers who
havenadene-art sales work, andyes thereis
sonegoodnarketingandbusiness advice
within, but youcan't helpbut feel that, inanarea
whichhas solittlewrittenabout it, this couldhave
beensonuchbetter. 1hetitlelacks afowfron
topictotopicandis poorlylaidout, oftenwith
largeparts of thepageleft blank, alnost as if the
author has runout of things tosayl
OVERALLRATING
Verdict: Anexpensivecollectionof thepair's
high-browportfolio. nefor die-hardfans only.
PrettyMuchEverything
65(LinitedLditionhardcover) i
45(1radeLditionfexicover) i nez van
LansweerdeovinoodhMatadini 1aschen
SBN9/8-383652/8/3
LegendaryDutchphotographyduonezvan
LansweerdeandvinoodhMatadinpresent this
eclecticcollectionof workspanning25years.
Diversifyingintone-art, conceptual andeven
celebrityportraiture, andit's all thrownintothe
nixinanapparentlycarefreesense. As aresult
there's astrongsenseof juxtapositionat play
whichfeels disjointedat tines. 1hepair's
brillianceis undeniable, andthis titleis edgy
throughout but unconfortableat tines. Despite
theexcellent production, thelinitededition
three-part collectionis unbelievablypricey. Get
your hands onthe45tradeeditioninsteadl
OVERALLRATING
ReadThisIf YouWant ToTake
Great Photographs
12.95i HenryCarroll i LaurenceingPublishing
SBN9/8-I/806/3356
f therewas ever abookthat set its stall out inits
title, this has tobeit. Withinyou'll ndno-
nonsense, jargon-free, non-techieadviceto
creatinggreat inages. f youwant toknowwhat
aperturetouse, what ahistograndoes andhow
tobracket exposures, thenthis isn't for you.
However, if youwant reallysolidadviceonhow
to'see' great inages unfoldinfront of you, then
this shouldbeonyour wishlist bynow. Not only
does Carroll's titleoher great advice, but with
acconpanyinginages fronthelikes of Henri
Cartier-Bresson, SebastioSalgado, Ansel
Adans, DorotheaLangeandnanynore, the
points put across arewell illustrated.
PH1BS
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0iscover 8art Froduction
PNN
R
LCLN1LY, GL11YGN1LDan
uproar inthephotoconnunity by
announcingits intentiontonake
its entire35nillion-strongstock
photocatalogueavailabletowebusers, for
free. Withinninutes of theannouncenent
was gettingconcerned. enails andny
social nedia feeds werepositively ablaze
withphotographers proclainingthat Getty
was (yet again) devaluingtheir hardwork,
securingyet another victory intheraceto
thebotton. Pitchfork inhand, hoveredny
cursor over anohendinglink and, withthe
strengthof ny brethren's righteous
indignationbehindne, droveny index
nger forth. 1obehonest, was surprisedat
what foundontheother side.
Where expectedtouncover anavatar of
corporatenalfeasancelandinga series of
killingblows tothecareers of untold
thousands of photographers, founda
reasonableconpany attenptinga
potentially brilliant andinnovativesolution
toa problenthat has beenvexing
professional photography sincetheadvent
of user-generatedcontent ontheinternet.
ntellectual Property Microthefts.
What arePMicrothefts 'ngladyou
asked. t's whenyouconeacross an
infringenent soninor, it's not even
worththetineit takes toGoogle'Digital
MillenniunCopyright Act takedownnotice'.
t's that shareonannstagranaccount with
four followers. t's that blogyouknowyou'll
never get noney fron, becauseyoucantell
they don't haveany for thenselves. t's that
backgroundnoiseof infringenent, which
photographers already accept as thecost of
pronotingthenselves ontheinternet, and
Getty is tryingtotakeit back by givingthen
what they want. freeinages.
But thesepeoplearethievesl Whyarewe
rewardingtheir badbehaviourl Weshould
ndwaystonakethenpayfor theinages.
Givingawayisgivingupl 1hosearethecries
of theidealist inne, towhichthepragnatist
responds, we, andGetty, havefought that
battleandlost. 1henarket spoke, and
nillionswon't paycashfor inageseven
thoughtheyinsist onusingthen. Wecouldn't
stopthen, sonowwehavetolearnhowto
nakenoneyinthisnewenvironnent.
Getty's strategy is alnost Google-likeinits
valueproposition. youcanuseall our inages
for free, as longas youget thenfronour
siteandenbedthenusingcodethat we
control. or now, theenbedonly displays
theinageandasnall Getty banner, but
reports arealready surfacingabout plans to
gather dataanddisplay ads throughthe
frane, creatingawholenewrevenuestrean
for Getty, andhopefully Getty's shooters.
Yes, awholenewrevenuestrean,
separatefrontraditional revenuesources.
1heterns onthefreeinages arevery
specic. asnall inage(under 500pixels on
thelongend, it seens), enbeddedina
frane. 1oput that intoperspective, a
500-pixel inagewouldbeprintedat just
over aninch-and-a-half inthevery
nagazinethat youarereading, andyou
couldt threeontheshort sideof aniPad's
Retinadisplay. 1hey aretiny. Unusablefor
preniun(read. legit, professional, nodern)
webcontent or print, not tonentionthey
conewithanon-connercial clausethat
wouldprohibit that useanyway. Pretty nuch
theonly peoplewhocouldusethenarethe
peoplewhoaren't payingnow, anddon't
planto, but don't really want tobesued.
1hink of this as thePandoraor Spotify of the
photoindustry. Debatably, this shift could
actually leadtoreducedthefts fron'indie'
photographers, sinceaconprehensiveand
legal freesourceis availabletotheusual
suspects. All this nakes it alittletoughtobuy
theideathat Getty is devaluingprofessional
photography withthis nove.
f course, therearenany things that
couldgowrongas weply theseuncharted
waters. Getty couldturnevil anddecideto
keepall of that (as of yet theoretical) ad
revenue, under thepretencethat
photographers can't niss what they never
hadl Preniunweboutlets night decideto
takeGetty upontheoher after all,
destroyinginconeopportunities for pros.
r, theprogrannecouldfopaltogether,
leavingphotographers bitter andthe
nicrotheft problenunresolved. But, until
thesedisasters happen, think Getty
deserves credit for attenptingsonething
boldandnewtox a problennooneelse
has nadea credibleehort toresolveyet.
So, that's ny longway of saying think it's
tinetoput away thepitchforks andsee
what cones of Getty's newapproach.
Hopefully it's guredout a way tononetise
therebellious sideof theweb, whichrefuses
tocareabout silly littlethings likelaws and
payingfor stuh, reducingtheburdenof
piracy andpavinga newway for theindustry
tosurviveandthriveinthis crazy newworld.
At least it's better thansittingback and
conplainingabout it whilewedonothing.
www.syh/.com/ www.dnwhoto.com
Tw/tter. syh/
LDWH1LSANAvD
PH1GRAPHYBLGGLR
BASLDNHNLULU, HAWA.
HL ALSMANAGLSBUSNLSS
DLvLLPMLN1RHSWL
DALLASNAGA1AWH1L'S
CMMLRCALANDLD1RAL
PH1GRAPHYBUSNLSS
ByEdWhite
Getty'sgiveawaymaypayoff!
Getty'sstrategyis
almost Google-likein
itsvalueproposition:
youcanuseall our
imagesfor free, aslong
asyouget themfrom
our siteandembed
themusingcodethat
wecontrol
SHARNGYURvLWS oMAGLS
Feedback
GL1CNNLC1LDW1H1HLD|C|1/|S|PPHO1OCP/PHCMMUN1Y
A1WWW.DG1ALSLRPH1.CMRANYURSCALNL1WRS
22 DIGITAL 5LR PHOTOGRAPHY i MAY 20I4
FACE8OOK
facebook.com!digitalslrphoto
TWITTER
Qdigitalslrphoto
UDGETATTEPY
HelloD|g|ta| S|PPnotograpny
teanl Great workonthenagazine- buy
everyissueandit never disappointsl have
a8udget Pnoto-relatedquestion. needa
sparebatteryfor nyNikonD3200. 've
foundbatteries oneBayarefar cheaper
thangenuineones -aretheyanycop
AntonPrior
Ed's reply: Hi Anton, it's easy toseethe
appeal of cheaper batteries. However, be
awarethat your D3200is progrannedto
only accept genuineNikonbatteries, so
third-party ones nay not work at alll
IPCONVEPT
'vealways beena bigfanof
infraredphotography, but never dabbled
init nyself. Seeingsoneof Leerost's
work has inspirednetogiveit a go,
though don't want toconvert oneof ny
caneras until know'll get onwithit. Do
infraredscrew-inlters actually work
Robert Mitchell
Ed's reply: ndeedthey dol 1henain
diherenceis longer exposuretines.
WeusedtheGreen.L lter in8udget Pnoto
inour Septenber 20I3issueandfoundit
dida pretty decent job.
FACEOOKHELP
uploadall of ny inages tony
acebook pageand'venoticeda dropin
quality. What arethebest settings touse
for uploadingtoacebook
SarahWilson
Ed's reply: nages onacebook will
always suher frona loss of quality dueto
thesheer nunber of inages uploaded.
SavinginPNGfornat at under 2048px
wideseens topreservequality best.
ELEMENTAPY, WAT5ON
'vealways usedLlenents I0to
process nyRawles but recentlyhave
foundLightroon4easier touse. s there
anydiherenceinqualityinusingLightroon
tohandlenyRawles over Llenents
HughWatson
Ed's reply: Bothprograns sharethesane
Rawprocessingengine-AdobeCanera
Raw, sotheresults tobehadarethesane.
EMAIL
dslrfeedbackQdennis.co.uk
MichaeI Corvinm_corvin1
Readingthelatest issuefron
QDigitalSLRPhotowritingdownsone
newinspiringtechniques
=photography =creativity
D5LPPhotographyDigitaI5LPPhoto
We'rejust takinginatalk bycontributor
(Bjornnspireonthe(nanfrottouk
standat (ukphotoshowpic.twitter.
conis0h/0nvH
ManfrottoUKmanfrotto_uk
QDigitalSLRPhoto(Bjornnspire
(ukphotoshowgladyouenjoyedl
DoIIyLoCoMzeaton
DoublePageSpreadin
QDigitalSLRPhoto. GSLLl =Model
=Modelling=Photography =Magazine
=eature=UkMode=Photos =Girl pic.
twitter.coni2ItbY0Nu
DanDanHaucksieSeeingthese
absolutely anazingphotos in
QDigitalSLRPhotoof celandnakes ne
want togoback sonuchll
PauI WardpauIwardphotoShooting
sonecreativeinages withagreat tean
for QDigitalSLRPhotonagtoday .) with
arenHegarty and(Genna
Louise=photography
WHATIN5PIPE5YOUIN
YOUPPHOTOGPAPHY?
CatherineMacride really dolove
ndingsonethingtophotographinthe
everyday nundane.
KevinMaston don't oftenhavethe
vocabulary toexplainhow seethings.
1heclosest canconeis sharinga
photograph.
5imonLeachLight andshadow.
PichardLund1his nagazinel
Jonathanennett Nature, andother
great photographers inthesinilar line,
alsony partner does alot toboost ne.
DiegoPeedor neit's sinplicity and
gettingback tobasics. sonetines
think that peopleoverthink their
photography.
DavidenedictMusicandnychildren.
NeiI EtheridgeMy dad's nenory and
ny brother as they bothinspiredneto
doacollegecourseinphotography.
Lee5ummersonGettingtoalocation
andcapturingsonethingthat nobody
elsehas shot inthesaneplace.
arbra5tarkCasteeI Motocross. My
sonhas beenracingfor nineyears and
startedtotakepictures of hin, but it
soonturnedintoadreanjobfor ne.
PichardFoxur beautiful British
countrysidewithever-changinglight
andseasons.
FLICKR
www.ickr.com!groups!digitalslrphoto
NickGreen'spowerfuI bIackwhiteimageof PuIpit PockinDorset caught our eyeonFIickr.
UHS-cardworth35ltboastsextrenereadspeedsofupto80MBandwrite
peedsupto40MBlElizabeth8ellamy'sNightDrivewinsthismonth'sprize!
EIizabetheIIamy, Night Drive, Issue89
NickPrior, CoIour Macro, Issue89
Ianarsby, ubbIePIanet, Issue83
HLRL'S ASLLLC1N
1HS MN1H'S BLS1RLADLR
A11LMP1S URLXPLR1
1LCHNULS RM
PRLvUS SSULS. SLND
US YURWNMAGL
ANDYUMGH1JUS1
SLL 1NPRN1l
EIizabetheIIamy, okeh, Issue88
AngeIaMiddIeton, CoIour Macro, Issue89
1HLBLS1MAGLSRMARUND1HLWRLDPH1GRAPHY
ChristopherWesser
Age: 26 i Occupation: Photographer
v/s/t. www.sandbox-pnotos.com
Aower inside: 't's really not as easy as it looks toshoot a
portrait of a personlying down. nny rst attenpts stood
over the nodel, but felt a little unsteady keeping this
positionwhile trying toconpose a photothroughny
viewnder. After a fewunsuccessful attenpts, trieda
conpletely diherent, very ehective technique. sinply
stoodbehindny nodel's headandshot the photo
upside-down. Moreover, the Liveviewfunctionof ny
canera nade this a nucheasier way toshoot. took this
photoat the endof a sunny sunner day. 1he sunhad
already set behindthe trees andit was starting toget dark.
However, was still able tocapture this photowiththe
renaining available light, sinply by opening ny aperture
andsetting the Sto200. 1he golden-hour, withjust a
little sunlight left, resultedina delicate, but still directional
light. As ny nodel's hair was red, triedtoinprove the
conplenentary green-redcontrasts inthe picture togive
it a painterly andcontrasty look.
CanonEO55DMkII withCanonEF50mmfl1.4U5MIens.
Exposure: 1l400secat fl2(I5O200).
5HOWCA5E
ChristopherWesser (cont|nued
TheAmericanDream: '1his inage was all about vintage. We
borrowedanoldordMustang andny nodel brought the nost
old-fashionedclothes he couldnd. 1he planwas toshoot out ina
eldduring the sunset hours, but of course it hadbeenraining all
day, sowe hadtoinprovise. We foundshelter inanoldfactory, but
the place was lacking interesting light. hadtwofashes, one softbox
anda beauty dishwithne, and triedtonake the best out of the
situation. ne of the fashes was usedtosinulate the sunset and
reddirectly intothe lens. featheredthe softbox tohit ny nodel's
face, whichcreates a soft andvery natural look.
CanonEO55DMkII withCanonEF50mmfl1.2LU5MIens.
Exposure: 1l80secat fl2.5(I5O1250).
WeOwnThe5ky: '1his was takenduring sunset inlate sunner,
whenthe light was soft andgolden. triedtouse a lot of backlight
here tocapture a kindof lightheartedness. 1his situationis really
worthpractising, as ny rst tries were overexposed, but inprovedas
learnt throughtrial anderror. usually try toopenny aperture as
wide as possible inthese situations. Blurry backgrounds anda
shallowdepth-of-eldwork well withbacklighting andcreate nice
fares. workedfor a long tine ona Photoshopactionfor this kindof
light andcreatedone that called'Silky Sunner', whichis available
onny website. t inproves the light andfades all the colours of the
phototowarner, washed-out tones.
CanonEO55DMkII withCanonEF50mmfl1.4U5MIens.
LifeOhTheDanceFloor: '1his was one of the nost dihcult shoots
've done sofar. t took us a while togure out the right anount of
confetti. nthe rst try, ny assistant threwa whole bowl of confetti
ontothe nodel andit was just a big ness. Lventually we workedout
that one handful is enough. 1he best technique was tothrowthe
confetti highintothe air soit wouldfall downonthe nodel. 1he
only dihculty was toget a shot where there was noconfetti
covering the nodel's face. hadone Speedlight tothe right, through
a shoot-throughunbrella. npost-processing, increasedthe
contrast andaddeda cross-processedehect.
CanonEO5550Dwith5igma30mmEXfl1.4Iens.
COMMENT
AstrongimaginationaIIied
withexceIIent cameraand
IightingskiIIs, aIongwithgreat
useof props andenvironment,
aresomeof thereasons
Christopher's images are
soimpressive.
Danlel Lezano
MarianneLim
Age: 3I i Occupation: Scientist
v/s/t. www.ever/ookpnotograpny.com
Cool Cuillins: 'nthis evening we waitedonthe shores of
Llgol inthe sle of Skye, Scotland, inthe hopes of catching a
spectacular sunset. 1he clouds lookedpronising, but were not
cooperating inthe sense that they were not directly over the
Black Cuillins inthe distance. chose totake this shot anyway,
eventhoughthe light was nore dranatic 90degrees tothe
left. norder toaddsone interest includedsone of the
colouredlicheninthe foreground. Acircular polariser allowed
refections tobe onittedanda soft-edgedgradlter was used
tocontrol the sky. electedtocorrectly expose for the
foregroundandallowthe nountains tobecone silhouettes,
the longer exposure alsohadthe ehect of snoothing out the
water. npost-processing contrast was increasedandthe
yellows enhancedtocounter the cool tones.
CanonEO55DMkII andCanon16-35mmfl2.8LU5MII Iens.
Exposure: 20secondsat fl16(I5O100).
5HOWCA5E
WayneBrittle
Age: 53 i Occupation: Brewery technician
Tuscany Fields at Dawn: ' was driving around1uscany witha
couple of photographer friends whenwe stunbledacross this
view. Withthe aidof a sunconpass workedout that this could
be a great place tocapture sunrise. nour returna couple of
days later, it was proving dihcult toholdback the intense light
evenwiththe use of conbined0.6NDand0.9NDgradlters.
spottedsone olive trees further along the eldandusedthe
overhanging branches toholdback the light as well as frane
the scene. Suddenly it all seenedtowork withthe poppies
standing out andbeing backlit by the norning sunlight.
CanonEO55DMkIIwithCanonEF24-105mmfl4LI5U5MIens.
Exposure:1l8secatfl20(I5O100).
Bluebell WoodlandDawn: t was the beautiful blue carpet of
the bluebells radiating light that caught ny eye whenreturning
hone after a shoot inthe Peak District. Unfortunately was
unable tostopbut knew hadtoreturntocapture their beauty.
none of ny subsequent returns the weather proved
pronising witha chance of a norning nist and, knowing that
this woodlandhas aneast-facing edge, was hoping tocapture
the atnosphere that these type of conditions oftenproduce.
1he nist was very light and hadtoshieldthe strong sunpartly
behindone of the tree trunks tokeepthe fare toa nininun.
CanonEO55DMkII withCanonEF24-105mmfl4LI5U5M.
WatendlathDawn: 'Heading out tothis renote locationin
Cunbria for dawn, the weather was not looking toopronising.
narrival, the water was very caln, creating perfect refections.
1he boats nade for great foregrounddetail but the scene still
lookeda little fat due tothe lack of light. Patience paidoh, as
the sky clearedandsnall pockets of light highlightedthe trees
onthe far shore. 1his refectedinthe water, allowing ne to
capture the scene as shown. By the tine was putting ny gear
away the norning breeze hadpickedupandthe refectionhad
all but gone, changing the scene entirely.
CanonEO55DMkIIIwithEF17-40mmfl4LU5MIens.
Exposure:1l8secatfl16(I5O100).
v/s/t. www.waynebr/tt/epnotograpny.com
COMMENT
Wakingupandheadingout
for aIocationwhiIeit's stiII dark
takes aIot of wiIIpower and
theseatmosphericimages
provehowtheehort canbe
worthit. I thinkthey're
absoIuteIystunning.
CarollneWllklnson
Raymond5alisbury
Age: 48i Occupation: reelancephotographer
v/s/t. www.//gntnousecreat/ve.co.nz
LeadingLight: 't was late inspring when headedtoone of
ny favourite lighthouses at Castlepoint, onthe Northsland's
east coast inNewZealand. tteda Hi-1ech0.9NDsoft grad
toholdback the sky. Asearing windwhippedupand was
forcedtoholdthe tripoddownwithtwohands, using a
renote release. Whendarkness fell, the revolving light shining
directly intony lens ruinedany further shots, and retreated
tony car. Post-processing inCS4was nininal, but included
sharpening andboosting the yellows.
CanonEO55DMkII withCanonEF17-40mmfl4LIens.
5HOWCA5E
AntonRothmund
Age: 36 i Occupation: Health professional
v/s/t. www.portra/tpnoto.cn
LenaNo2: '1his inage was takenonanovercast day -perfect for
portrait work. 1he sky was very cloudy, acting like a giant, natural softbox
for the sun. useda wide aperture for a shallowdepth-of-eld, and
carefully focusedonLena's eyes. useda white refector fronbelowto
ll the shadows onher face, creating nice catchlights inher eyes too.
During post-processing xedany snall blenishes andincreasedthe
contrast inher eyes before converting it toblack owhite.
NikonD4withNikonAF-585mmfl1.4GIens.
TatjanaNo1: 'nthis afternooninparticular, the sunlight was very
intense so searchedfor a place inthe shade toshoot. 1his was shot
using natural light only, without the aidof a refector. 1he inportant
thing is that if youwant totake suchintense andintinate pictures, it's
very inportant tohave the nodel's trust. editedthis picture very little
before converting it intoblack owhite for a tineless feel.
NikonD3swithNikonAF-585mmfl1.4GIens.
MariaLaura: ' net the very beautiful Maria Laura onthe street one day
andsinply askedher if she wantedtohave her photographtaken. t was
her rst proper photoshoot but she was clearly a natural at itl 1his
photographwas shot outdoors using only natural light ona cloudy day.
Again, useda white refector fronbelowtoll shadows - enjoy using
this technique as it creates very natural andfattering results. nly ninor
tweaks were neededinprocessing here.
NikonD4withNikonAF-585mmfl1.4GIens.
TatjanaNo2: 'or this photoshoot renteda nice hotel roon. shot
wide-openthroughout the whole shoot for anattractive, shallowand
soft depth-of-eld, whichsuitedthe high-key feel of the inage. 1he
roonwas nice andbright so useda large California Sunbounce
refector toll inthe shadows. 1his inage took very little editing, too,
as 1atjana has naturally goodskin.
NikonD3swithNikonAF-585mmfl1.4GIens.
Readers whohaveinages
publishedinSnowcase
receivea set of fantastic
MagBooks, publishedby
theD|q|ta| S|PPnotoqrapny
tean. 1his nonth's
selectionof MagBooks
covers a widerangeof
photographic interests.
1ne |ssent|a| Cu|de 1o
/dvancedPnotoqrapny is
oneof our latest MagBooks
andohers expert adviceona rangeof subjects, includingportraits, infrared,
landscapes andboudoir. 1ne|ssent|a| Cu|de toC|ose-UpPnotoqrapny
provides everythingyouneedtohelpyoucapturestunningnacroinages.
1helatest editionof 1ne Pnotoqrapners Cu|de toPnotosnopwill helpyou
edit andenhanceyour photos. For furtner deta//s, v/s/t. www.magbooks.com
5howcaseprizes
Anton's useof attractive

subjects, great naturaI Iight and
themodest reector as weII as
his strongtechnicaI abiIityis a
tried-and-testedformuIa
that can't faiI at producing
great images!
Jordanutters
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Sleek, modern lines of architecture
are a huge draw to me, but there
are times when something more
is needed to create a dynamic
image. Slowing the exposure
down to one minute adds drama
in the sky, whilst a black & white
conversion adds further impact, to
accentuate the strong lines.
l wanted to capture an image that
showed an urban environment, with
a stunning backdrop and Canary
Wharf at sunset, with the road and
tube tracks, provided this.
l used a two stop grad to retain
the colours in the sky and shot
in between trains arriving in the
station to avoid vibrations.
Even though this graffti covered
tunnel, is well lit, it still didn't
match the brightness of the
daylight beyond.
A soft grad placed vertically
ensured l could balance the two
environments perfectly. l then just
waited for a single fgure to appear
to complete the composition.
0.9 ND soft grad
0.9 ND soft grad & Big Stopper
0.6 ND soft grad
The Seven5 System embodies all that l love
about the larger LEE 100mm System, but in
a convenient compact size. l can carry all
my gear and flters in a small bag, perfect for
ent.
www.cra|grobertsphotography.co.uk
www.|ee|ters.com
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CRLA1vL DLAS ANDLXPLR1 1LCH
FINE-APTLAND5CAPE5p40 WAVE5INMOTIONp44 FLOPAL 5TILL-LIFEp46 LEVITATIONp48
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BLUEBELL
PREPAREFORTHISANNUALDISPLAY
OFCOLOURWITHOUREXPERTADVICE
GETTHEPICTURE
1HN WDLANDduringspringtineand
alnost guaranteethat your nindwill conjureup
inages of vibrant bluebells. Certainly hereintheU,
they arealnost synbolicwiththetineof year. ron
lateApril until theendof May, they will beinbloon,
addinga splashof colour towoodland, hedgerows,
riverbanks andgardens. 1hey cangrowinvast
nunbers, creatinga densepurplish-bluecarpet -
it's oneof nature's great spectacles. 1herearefew
better places tobeas a photographer this nonth
thanina bluebell woodland-andonceyou'veread
our guidetoshootingthenyou'll befully equipped
tocaptureyour owngreat bluebell shots.
luebell
woods
Nowisthetineof year whencolourful
carpetsof bluebellsstart tospringup
aroundthenation. RossHoddinott
shareshissecretsonhowtonakethe
nost of thisvibrant tineof year.
MAGL. HLLLNDXN

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KIT: Whenpackingyour canerabagfor a
dayat thewoods, takealongagoodrangeof
focal lengths. Awide-angle, intheregionfor
I8-35nn, will begreat for largesweeping
views. However, generallyspeaking, alonger
focal lengthtends toworkbetter. Afocal
lengthof between50-I35nnwill
foreshortenperspectiveandhelpexaggerate
thedensity, colour andinpact of thefower
carpet. Longer focal lengths arealsogoodfor
isolatinginterest, likeabacklit fernor sapling
against acleanbluebackdrop. Anacrolens
or close-upattachnent will proveuseful if
youwishtoisolateindividual fowers. Atripod
is anust-have-light is oftenlinitedunder a
leaf canopy, sothereis ahighriskof canera
shakeif shootinghandheld. Youareunlikely
toneedgrads or NDs, but apolariser is a
useful lter typefor woodland. Byrotating
thelter, youcanelininatetheglareand
refections fronglossyleaves andwet
vegetation. Bydoingso, youwill restore
natural colour saturation, givingyour inages
norepunchandoonph.
WHENTOGO: Bluebells will only beat
their peak for a week or two, sothewindow
of opportunity is short. Whiletraditionally
early May is best, this canvary dependingon
thetenperatureof theprecedingnonths.
deally, visit suitablewoodlandregularly
fronnid-April onwards -by doingsoyou
canassess thefowers' progress.
Larly norningandlate-eveninglight is
best. 1hequality of sunlight will bewarn
andatnospheric, whilethelong, dark
shadows of thetrees -cast onthe
woodlandfoor by thesun's lowposition
-nakea stronglead-in. Daytinelight can
provequiteharshandcontrasty, though,
nakingit dihcult toavoidburnt-out
highlights. nstead, bright but overcast
conditions arebetter. Cloudcover will act
likea giant dihuser, loweringcontrast and
allowingphotographers tocapturecolour
anddetail authentically duringtheniddle
part of theday. Your canera's 11L netering
shouldalsohavenoproblenachieving
correct exposureinovercast conditions.
FINDAFOCU5: As inpressiveas bluebell
woodlandis, your inages still needtobewell
conposedandconstructedtostandout.
Woodlandis achaoticenvironnent -nding
order is rarelyeasy. Lookfor akeyfocal point
-sonethingthat youcanuseas a
conpositional aid. Afootpathwindingits way
throughthebluebells is perfect for adding
directionanddepthtoyour shots. Mossy
stunps, fallenbranches or attractivevibrant
greenferns areother exanples of objects
youcanuseas either foregroundinterest or
as aharness for your conposition. Avoid
clutter, though. Woodlandcanbenessy, so
trytoexcludelots of fallenbranches or dead
vegetationfronthefrane-theyonly
distract anddiluteyour subject's inpact.
GETCLO5E: Whenyouhavevast swathes
of bluebells beforeyou, goingwideand
capturingthefowers inproper context
seens thenost obvious idea. However,
don't overlookanuchcloser viewpoint. 1he
colour anddelicatedroopingshapeof
bluebells nakethenattractivefowers to
shoot inclose-up. Lookfor afower inpeak,
Bluebell woods
1herearenanybluebell woods around
theU-doyour researchonlinetond
your nearest one, or headtooneof our
favouriteplaces tophotographthen.
1) WinkworthArboretum, 5urrey
www.nationaltrust.org.uki
winkworth-arboretun
2) AshridgeEstate, erkhamsted
www.nationaltrust.org.ukiashridge-estate
3) CIumberPark, Nottinghamshire
www.nationaltrust.org.ukiclunber-park
4) CaIkeAbbey, Derbyshire
www.nationaltrust.org.ukicalke-abbey
5) 5pekeHaII, Merseyside
www.nationaltrust.org.ukispeke-hall
6) CoedCefn, Powys, WaIes
www.visitwoods.org.uk
7) Forestof Dean, GIoucestershire
www.visitforestofdean.co.uk
8) GodoIphinHouse, CornwaII
www.nationaltrust.org.ukigodolphin
9) IickIingEstate, NorfoIk
www.nationaltrust.org.ukiblickling-estate
1) GIenFingIas, LochLomond, 5cotIand
11) PepperWood, KirkIiston, 5cotIand
12) Lanhydrock, CornwaII
www.nationaltrust.org.ukilanhydrock
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TOP TIP!
Be careful of where you
tread. Bluebells are fragile
plants anddon't respond
well tobeing troddenonl
Be responsible, keepto
paths andalways place
your subject rst.
pristinecondition, andgrowinginaposition
whereyoucanisolateit. Anacrolens is a
goodchoice, but aclose-uplter, extension
tubeor thelongendof atelezoonwill also
dothejob. Alowviewpoint, withcanera
positionedparallel tothefower, will typically
producethenost pleasingresults. Ashallow
depth-of-eldwill helpyouthrowyour
subject's surroundings out of focus and
direct theeyetoyour intendedfocal point.
1herefore, consider settingarelativelylarge
aperture, intheregionof fi5.6. 1orelieveugly
shadows frontheundersideof fowers,
bouncealittlelight backontothesubject
usingarefector, or pieceof whitecard.
ADIFFERENTAPPROACH: Spring
woodlandis a great placetohavea littlefun
withyour photography, and'play' withsone
diherent creativetechniques. f your canera
ohers a nultipleexposurefeature, taketwo
inages -onefocusedandonedefocused
-inorder tocreatedreany-lookingresults,
sinilar tousinga soft focus lter. 1heehect
is particularly suitedtobacklit scenes.
Another idea totry is zoon-burst. During
theexposure, snoothly adjust thezoon
ringtotheoppositeendof thelens's range.
1his will createsurreal, but strikinginages.
CM(ntentional Canera Motion) is alsoa
funtechniquewiththeability toabstract
Capturemotion: UseasIowshutter speedto
recordmotionintheswayingbIuebeIIs and
foIiage. ANeutraI DensityIter mayberequired.
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your subject. Useanexposureintheregion
of onesecondandpanthecanera upor
downduringexposureinonesnooth
novenent -usinga tripodwill helpyou
keepthepanningnovenent straight and
snooth. 1his techniquewill creatively blur
thetreetrunks andalsodragthecolour of
thefowers upintothescene. Lach
techniqueis very hit andniss -it cantake
nany attenpts toachievejust theresult you
areafter. 1heir ehects arealsovery
subjective-youwill either loveor hatethe
results. t's goodtoexperinent, though, and
younight just besurprisedat howgoodthe
resultinginages look.
IuebeIIs attract beautifuI butteries, sobesure
topackyour macroIens for cIose-upshots.
ecreative: IntentionaI CameraMovement is a
great techniquetotryincoIourfuI woodIand.
GETTHEPICTURE
t'sconnonwhenshootinglandscapestowant toincludeasnuchof everythingasyoupossibly
can. But sonetineslessisnore. Leerost explainstheart of enbracingenptyspace.
Minimalist landscapes
MNMALS1 LANDSCAPL
GETTHEPICTURE
LeeFrost
Camera: CanonLS5DMk
Lens: CanonL/0-200nnfi4LSUSM
5oftware: NikSoftwareSilver LfexPro2
Whenshootinglandscapes we
oftenusewide-anglelenses to
capturea broadeld-of-view, ll
theforegroundwithinteresting
features that leadtheeyeintothe
sceneandlook for a focal point toaddscale.
Wastedspaceis our archeneny. t leads to
enpty, boringconpositions. r does it
Well, no, actually, it doesn't haveto.
Clutteredconpositions canbeconfusing,
but onceyoustripaway unnecessary
details andget back tothebarebones,
you'll seethat very littleis neededtocreate
a ne-art nasterpiece. Study thework of
photographers suchas Michael enna or
Josef Hofehner andyou'll seewhat nean.
t's anazinghowehectivea treeona hill can
be, or a rock partially subnergedinwater, or
a fencefadingintosnowy winter wastes.
1hekey toshootingnininalist scenes
is tolook for conpositions wherethere's
a doninant elenent, andthenthink about
howtocaptureit. orget about llingthe
franeandinsteadintentionally include
enpty space. 1ilt thecanera upandcapture
sky withjust a sliver of landscape. vercast
grey sky or evenclear bluesky is ideal.
Clouds canwork if there's just oneor two,
but lots of clouds addclutter -unless you
usea ten-stopNDlter toturnthoseclouds
intosoft streaks of tone.
Water is another great ingredient in
nininalist landscapes. Calnwater inlakes
andpools creates a plainbackground
against whichyoucancapturesinple
features -a tiny islandohshore, a single
nooredboat, a skeletal treestandinginthe
shallows. Movingwater, suchas thesea,
canbesnoothedout witha longexposure
sostaticelenents -jetties, piers, groynes,
rocks andposts -standout starkly against it.
1he'rules' of photography tell us to
nakeuseof theinagearea andkeepthe
conpositiontight. But whenyoudothat
yougivetheviewer thewholestory all at
once. By introducingspaceandallowing
aninagetobreathe, youfreetheviewer's
inagination. Mininalist landscapes alsolook
fantasticprintedbigandhungona walll
5uss out theIocationWhenyounda
suitable scene, check out possible
conpositions tosee if they're going to
work. dothis by handholding the canera,
tosave tine. was out scouting for a single
tree, which envisagedshooting fronclose
range, but then discovereda line of trees
ona distant ridge andrealised'dneedto
use a telezoon.
5et upyour gear alnost always use a
tripodwhenshooting landscapes as it
nakes ne-tuning the conpositioneasier
andneans don't have toworry about slow
shutter speeds causing canera shake. n
this case 'nusing a /0-200nnzoonin
windy weather, whichnakes the tripod
evennore useful. Arenote release is also
usedtotripthe shutter.
Taketherst shot 1his is the line of trees
that caught ny eye. By zooning back to
/0nn caninclude the whole line andlots
of sky above. t's a pretty decent shot and
knowthat canpull lots of drana out of
that sky. But does it qualify as a nininalist
landscape decide not -there are too
nany trees -but 'll be keeping this le as
like the conposition.
Final image
AsimpIeyet strikingne-art
Iandscape. IncIudingabigskygives
theimageagrandsenseof scaIe.
Exposure: Ii30secat fiI4(SI00)
Whenit cones toshooting
nininalist landscapes, a ten-stop
(or sinilar density) NDlter canbea
godsendas it allows youtouse
exposures of several ninutes to
recordnovenent inthelandscape.
Skies aredeclutteredby turning
clouds intosoft streaks of tone.
Sinilarly, water canbesnoothedout
whenexposedfor a ninuteor three
soit's noreatnospheric. Despiteits
ehectiveness, however, don't
autonatically reachfor your ten-stop
NDwhenshootingsinple
landscapes, as theehect it produces
isn't always thebest solutionfor what
you'retryingtoachieve. 1heshots
belowillustratethis. assunedthesky
inthis scenewouldbeinprovedby
usinga longexposureas couldsee
theclouds noving. However, when
canetoprocess theRawles
realisedthat thestreaky ehect
was expectinghadn't recordedat all
andthesky hadsnoothedout
conpletely. t still looks very noody,
but does it look better thana 'straight'
sky 'nnot sureit does.
Ten-stopNDornot?
5kyshot at 1l200sec
5kyshot at 90seconds
MNMALS1 LANDSCAPL
5impIifythecomposition Zooning inon
the scene allows ne toisolate just a few
of the trees against the sky. like the fact
that the trees are bare andpositioned
oh-centre. 1he shot works full-frane like
this but wouldalsolook goodcroppedtoa
square. 'nnot happy withthe washed-out
sky though-it's nininalist yes, but a little
toonininalist towork for nel
UseanNDgrad itting a 0.9NDsoft grad
tothe lens does the trick by darkening
the sky downsignicantly andadding loads
nore noodtothe inage. 1he gradwas
pushed3i4downintothe holder soit
ahectedthe sky downtothe tops of the
trees. 1he sky fronthe tops of the trees
downis unahected, but like the way that
adds a brighter bandof tone.
Convert toW1he inage is opened
inSilver Lfex Pro(part of the Nik
Collectionby Google) andconvertedto
black owhite. increase contrast tonake
the sky evendarker andnore dranatic.
1his inage works well as a nininalist
landscape, though shot nany others
while at the locationandreckon can
cone upwithone evenbetterl
GETTHEPICTURE
HeIenDixon
Camera: NikonD800L
Lens: NRA-S/0-200nnfi4GLDvR
1HLCAS1S a photographer's playground, ohering
nasses of inagepotential. Youcanarriveearly tocatch
theday's rst light coatingcoastal features or stay lateto
witness thelast rays disappear belowthehorizon, visit on
a sunny day toshoot funsunner fanily portraits or focus
onthedetails andcaptureabstract rock art whenit's overcast, as we
showedyoulast nonth-thepossibilities areendless, whichis why
sonany photographers of all kinds aredrawntothecoastl
1his particular techniquesits outsideof therealnof conventional
photography, if thereis suchathing, andbreaks soneof theusual
rules of shootinglandscapes. nfact, theresults gainedhereshare
nuchinconnonwithinpressionist paintings -their abstract nature,
theinclusionof notionandthenebrushstroke-likelines createdby
thetunblingwaves. 1heresults arehit andniss, but stickwithit and
there's potential for sonegreat abstracts that reallystandout.
Goodwaves arevital tothis technique's success, andbeaches
whicharepopular withsurfers area goodplacetostart looking.
As a ruleof thunb-if theconditions aregoodfor surngthenthey'll
begoodfor this technique. Check out www.surf-forecast.conand
planyour visit tocoincidewithbigswells.
You'll needtotakealongsonebasicphotokit, too. Alongwithyour
caneraandtripod, aset of Neutral Densitylters will nakeit possible
toextendyour shutter speedduringtheniddleof theday-see
belowfor noreinfo. f youdon't ownanyNDlters thenapolarising
lter canhelpreduceuptotwostops of light, or failingthat youcan
shoot at asnall apertureandior wait until thelight fades.
Wavesinmotion
Surf's upl HelenDixonheads toPorthcurno
beachinCornwall toexplorethecraft of
creatinginpressionist inages at thecoast
Findyour composition Set upyour canera ona tripodanduse a
telephotolens tozooninonthe waves -this allows youto
standwell back andavoidgetting your feet andkit wetl Assess the
conpositionandaintoline upyour shot sothat the breaking waves
hide the horizonfor naxinunehect.
Assess thewaves Uponarrival, take tine toassess where the
waves are breaking. Look for parts of the coast at whichit's
possible tocapture twoor three layers of waves. Pay attentionto
winddirection-youideally want the windtobe travelling out to
sea, otherwise you'll constantly be wiping nist fronyour lensl
E55ENTIALKIT:
NeutraI Density(ND)
Iters comeinvarying
strengths dependingon
howmuchIight they
Iter. rands suchas
Cokin, LeeFiIters and
HitechaII makepremium
quaIityNDIters, but
don't disregardbudget
options, too-seepage
67tohear what wethink
of thosethat area
fractionof theprice.
Get your timingright Watchthewaves togaugehowandwhen
they areabout tobreak. 1ry totineyour shutter releaseto
coincidewithwhenyoustart toseethecrest of thewavebreak.
Here, 'nafractiontoolate-it will probably takequiteafewattenpts
beforeall of theelenents conetogether inoneinage, soperseverel
DiaI inthesettings Select
shutter-priority node and
pick a shutter speedbetween
0.3 seconds and0.8seconds,
depending onthe size and
ferocity of the waves. 1he ain
is tocapture the water's
novenent without losing
the swirls andtextures. Use
autofocus tofocus ona
breaking wave before locking
tonanual focus.
UseIters f your inage is
overexposedthenyounay
needtostopthe lens downor
use Neutral Density lters. As it's
a bright day, select LowS
node, stopdowntofi20andt
a Lee ilters 0.6NDanda 0.9ND
lter together for ve stops of
ltrationintotal. Youcan
alternatively t a circular
polarising lter, whichwill block
uptotwostops of light.
Exposure: 0.6seconds at fi20(S64)
GETTHEPICTURE
LeeFrost
Camera: CanonLS5DMk
Lens: CanonL50nnfiI.8
1hewet andniserablewinter
nost of us havehadtoendurehas
nodoubt put paidtonanya
photographicouting, but rather
thangiveupontheideaof taking
photographs altogether, whynot put your
creativeenergytouseinadiherent wayand
tryyour handat abit of still-lifephotography
kay, weadnit it. still-lifeisn't theeasiest
of photographicsubjects todowell, nainly
becauseyouhavetotakecontrol over every
stepof theprocess, fronchoosingthe
props andbackgrounds toarrangingthe
conpositionandprovidingthelighting. t's
a dauntingprospect tonany, but if youset
yourself a clear objectiveandkeepthings
niceandsinple, there's noreasonwhy you
can't coneupwithsonegreat inages. And
shootingstill-lifeindoors is a great way to
spenda wet Sunday afternoonl
lowers arealways agoodsubject. 1hey're
colourful, they coneinall shapes andsizes
andyoucanndquiteagoodrangejust by
poppingdowntoyour local supernarket.
Sothat's exactly what did. Arnedwitha
coupleof bunches of cheaptulips, sone
ohcuts of colourednount boardandonly
windowlight for illunination, set nyself the
challengeof producingastill-lifeinagethat
'dbehappy tohangonny wall.
nitially, wasn't conpletelysurewhat was
tryingtoachieveandnyinitial ehorts left a
lot tobedesired. But onceyouget working
onaproject likethis it's surprisinghowthings
evolve, andwithonedecent shot inthebag,
others follow. 1hekeyis not just tothink
about howtheshots lookin-canera, but also
what younight dotothenduringpost-
processingas that cansteer youtowards
conposing, lightingandshootinginacertain
way. Also, thegreat thingabout shootingstill-
lifes at honeis that youcantakeafewshots,
downloadandprocess theles andthengo
backtoyour props andinproveonwhat
you'vegot, or trysonethingdiherent.
1heseshots weretakenonthedining
roonfoor. novedthefurnituretoone
sideandthenset everythingupnext topatio
doors wheresoft daylight was fooding
throughtoprovidetheillunination.
Gather your props choose redtulips and
white tulips so have the optiontogofor
bothdelicate, neutral inages and
sonething nore colourful. My choice of
backgroundcardalsorefects that idea -
blue, greenanddark pink for the vibrant
inages andwhite andcreanfor the nore
nonochronatic ones.
Varythecomposition 1ry diherent
conpositions andvary the background
colour. Redcontrasts strongly withblue
andgreen, whereas the white tulips ona
creanbackgroundlook totally diherent.
Windowlight onanovercast day provides
perfect illuninationanda refector placed
opposite evens out the light.
5et upyour gear Mount your DSLRona
tripodtokeepit rock steady andattacha
renote release. Astandardzoonwill be
ideal, though decide touse ny 50nn
prine lens. Arefector is alsohandy for
lling inthe shadows. Set the exposure
node toaperture-priority andstopthe
aperture downtofi8or fiII.
Post-production Younay decide tokeep
the inages looking fairly standardwhen
youprocess the les, but if youhave an
applicationlike Nik Colour Lfex Pro, Silver
Lfex ProandAnalogue Lfex Proit's worth
trying sone of the presets tosee if they
nake a diherence. Adda border andnaybe
consider converting it toblack owhite.
Prepareyour rst shot nitially younay not
be clear howyouwant the nal inage to
look, soexperinent. Handle the fowers
carefully soyoudon't danage thenandlay
thenout indiherent ways, using all the
sane colour or conbining diherent
colours. My rst ehort is a bit boring. 'll have
todobetter thanthatl
Sonecolouredcard, windowlight andabunchof cheapbloons
areall youneedtocreateeye-catchingstill-lifeinages
Createafine-art ower
Final image
For mynaI imageI usedtheWet PIate
Ehect inNik5oftwareAnaIogEfexPro
toachievethenaI Iook.
Exposure: nesecondat fiII (SI00)
Fancyaquickx?
1henforget your DSLRandreachfor
your snartphonel 1here are hundreds
of photoapps available these days for
iPhones andAndroidphones andyou
canuse thentoproduce stunning
still-life inages. t's soquick, easy and
ehective that wonder why bother with
ny DSLRsonetinesl Hipstanatic is one
of ny favourite iPhone apps, but also
love Snapseedas it allows ne toplay
aroundwithinages 've shot using ny
iPhone canera andaddcreative ehects
without going near a conputer -it's all
done in-phonel
5hootwithyoursmartphone
GETTHEPICTURE
Dani Diamond
Camera: NikonD800
Lens: NRA-SI6-35nnfi4G
5oftware: PhotoshopCS6
1HLRS11ML sawa levitation
inage, staredat it for a goodI5
ninutes inastonishnent. could
not conceivehowtheinagewas
capturedand was captivatedby
thestory that it conveyed. t was surreal,
nagical andinspiring. knew hadtond
out howit was doneandtry it for nyselfl
Photographers havebeenndingways
totwist, bendandstretchreality sincethe
inventionof thecraft. Levitationehects are
popular withconnercial andconceptual
photographers and, whendonewell, create
aninstant curiosity that draws theviewer in
andcaptures their interest.
1heinterestingthingabout levitation
photography is that becausetheconcept
of a person(or object) foatinginnidair is
soenchanting, therest of theinagecan
besinplisticinconposition. By usingthis
techniqueinaneveryday scene, youcan
createsonethinginstantly eye-catching.
Sohow's it achieved Wires Conplex
rigs andsupport structures Split-second
tiningfollowedby a painful landing Not
at all -all it takes is soneforesight, a touch
andinaginationandsonebasicprocessing
skills. Lssentially what you'redoingis
nergingtwoinages -onecontainingyour
subject andonewithout -andchoosing
parts froneachtoshowtheviewer. Sograb
your tripod, a willingsubject andsonething
topropthenupwithandstart creatingyour
ownlevitationinages today.
Theillusionof levitation
Creatingnind-blowingconceptual inages that will bothwowandanazeviewers is easier
thanyounight think. Dani Dianondshares oneof thekeytricks of thetrade.1heart of fight
5et upyour camera Select aperture-priority nodeandset your
WhiteBalancetosuit. ocus onyour subject, lock tonanual focus
andtakeatest shot. Ask your nodel totry various poses andpick your
favourite. ncehappy, notedownthecanerasettings andnove
nodel andthechair out of theshot, leavingyouwithanenpty scene.
5hoot theemptyscene Without novingthecanera, switchto
nanual node, dial inthesettings that younoteddownandtake
another shot of theenpty scene. 1his will betheinagethat youuse
to'erase' thechair inthenext step, soit's inportant that theexposure,
lightingconditions andWhiteBalancenatchexactly.
5et upyour camera 1okeepthings sinple 'dreconnendthat you
start out using anbient light only, as it keeps unwantedshadows
andvariations inlight at bay. Lock your canera ontoa sturdy tripod
andset upyour conposition, allowing roonfor your subject to
'foat' inthe frane. Alowshooting angle will exaggerate the ehect.
Positionyour subject Support your subject ona chair tolift then
ohthe ground. Helping your nodel tolook natural is inportant.
1heir hair andclothing needs toappear tofoat -drape clothing
across the object supporting thentohide the surface that they're
laying on. 've useda box tosupport the nodel's foot, too.
LLv1A1NPR1RA1
Combinebothimages nport bothinages intoPhotoshop. irst,
openthe nodel inage andgotoSe/ect>A// andthenEd/t>Copy.
Next, openthe enpty frane andgotoEd/t>Paste todropthe nodel
shot ontopof the enpty frane. 1hen, gotoLayer>Layer
Mask>Revea/ A// toadda layer nask toyour nodel layer.
Maskout thechair Select the8rusnToo/ and, with8/ackset as your
ForegroundCo/or, paint ontothenask torenovethechair. Use
theZoomToo/ and, usingahard-edgedbrush, takeyour tinearound
theedges of your nodel. Useasoft-edgedbrushat alower opacity to
renoveany shadows fronthechair that will givetheganeaway tool
Final image
AfewnaI tweaks and
therewehaveit -
acIassicphotographic
iIIusioninminutes.
f youwant honest andconstructive connents about your inages, sendina selectionto
|xpert Cr|t|que. Youshouldsupply upto25 inages ona CDiDvDalong withanA4contact
sheet of thunbnail inages. Lnclose a stanpedaddressedenvelope if youwouldlike your
subnissionreturned. Lachreader* whose inage is publishedreceives Lowepro's fantastic
new1ransit Sling 250AW, worth82. ts neat designallows fast access tokit andcanhold
your canera outt, accessories anda tablet. or further details, visit. www.lowepro.con
t lifts theinagefrongoodtogreat. lovethe
silveryshinner of noonlight ontheseaand
thewarnglowonthebeachfronthepier
lights. 1here's alsojust enoughdetail onthe
undersideof thepier toprevent it looking
darkanddingy, whilethewarnthof the
illuninationcontrasts well withthedeep
blueof thesky. Conpositionallyit's strong,
showinggooduseof awide-anglelens to
stretchperspective. 1hepier alsoforns a
powerful diagonal linethat leads theeyeinto
thescene. wouldfiptheshot as thinkit
works better withthepier coninginfronthe
left. Grant couldnaybehaveshot it this way
sinplybygoingtotheother sideof thepier,
though thinkthenoonwouldhavebeen
obscuredif he'ddoneso. He's tinedtheshot
well, sothenoonwas clearlyvisible. Hadit
beenobscuredbycloudtherewouldn't be
that highlight onthewater andtheseaand
skywouldbedarker.
Verdict: Adramaticnight shot that's made
better bythefuII moon.
ByGrantBush
Camera: SonyAlpha//
Lens: 1okinaA1XPRII-I6nnfi2.8
Exposure: iveseconds at fi2.8(SI00)
Grant says: ' wantedtocapture
thepier inthenoonlight while
showingnovenent inthesea
-a tricky balancingact tryingnot
tooverexposethepier lights and
noonwhilecapturingthewater andthe
shadowdetail under thepier.
LD1R
DANIELLEZANO
Daniel has judged
national photo
conpetitions on
aregular basis
for several years
NA1URLoSCLNCS
PO55HODDINOTT
Ross is anexpert
photographer and
writer specialisingin
wildlife, close-ups
andlandscapes
PH1SHP
JOPDAN
UTTEP5
Motorsport
fanaticandan
expert at
Photoshop
LANDSCAPLS
LEEFPO5T
Lee's beena
professional
photographer o
photowriter for
several years
p q
LXPLR1PNN1HLLPYU1AL BL11LRPC1URLS
ExpertCritique
WORTH
RO55HODDINOTT: At rst glance, this is
a slightly odd-lookingshot. Althoughtaken
innoonlight, thesky looks very blueandthe
clouds very light -it alnost resenbles an
underexposeddaytineinage. However, for
ne, it is theviewpoint that lets this inage
downnost. think theshootingangleis too
acutetothepier, andthis has also
exaggeratedthelevel of wide-angle
distortion. HadGrant takentheinagefron
further totheleft, noreof theilluninated
pier wouldbevisibleandthelengthof the
buildingwouldhaveledtheeyefronright
toleft noreehectively. nstead, thepier just
directs theeyetowards thecentreof the
franeandyouthendon't properly explore
theleft sideof thephoto. 1hetidenarker,
pokingupontheleft, is alsounnecessary
anddistractingand, duetothelarge
aperture, thereisn't suhcient depth-of-eld
tokeeptheforegroundacceptably sharp.
ull narks toGrant, though, for tryingto
capturea diherent typeof inageof
Southwold, andshootingat night-tine.
riginality andexperinentationarereally
inportant andwhile don't think things have
workedout successfully inthis instance,
withGrant's innovativeattitude, 'nsurehe
will soonbecapturinggreat landscapes.
Verdict: Theviewpoint is tooacutetothe
pier. Thedistortionis distractingandthe
pier Ieads abruptIytothecentreof the
image, rather thanfromIeft toright.
LEEFRO5T: 'nall for photographers
tryingsonethingdiherent andpushingthe
boundaries. Grant has certainlydonethat
here. We'veall seennight shots of piers, but
this one's waybeyondthenornthanks
nainlytothat full noonsittinginthesky.
* PRZL AvALABLL 1
U-BASLDRLADLRS NLY.
I lovethesilvery
shimmer of moonlight on
theseaandthewarm
glowonthebeachfrom
thepier lights
LLLRS1
FLIPIT!
ur brains tendtoscaninages fron
left toright, nuchlikereadingwords
ina book. 1hereforeGrant's inageis
inprovedconpositionally by fipping
it horizontally sothat thepier leads in
fronleft toright. 1his is easily donein
Photoshopor Llenents by goingto
(lmage>lmageRotat/on>F//pCanvas
Hor/zonta/). Just benindful that if
thereareany letters or nunbers
visibleinyour inagethesewill be
fippedtoo, givingtheganeawayl
1heonly solutionthenis toget busy
editingtheletters out or toreshoot
thepier frontheother side.
Digital editing
SPNSRLDBY
RO55HODDINOTT: 1his is a really nice
close-up. Danselfies areanongny
favouritesubjects. 1hey arechallenginglittle
critters, though, oftenfyingohjust as you
areabout totrigger theshutterl However,
whilecoupled, they tendtoberather
preoccupied, andsothis is a goodtineto
takephotosl Helenhas got niceandclose
andpositionedher canera alnost perfectly
parallel inorder tocapturea natural
perspective, andnaxinisetheavailable
zoneof focus. At fi6.3, andthis level of
nagnication, depth-of-eldis shallow, but
boththeinsect's heads andbodies aresharp
andonly thenale's wings arebeginningto
drift out of focus -whichinthis instance,
don't think natters. 1echnically, this really is
good. 1herearea fewdistractingout-of-
focus grasses inthebackdrop, but doubt
Helencouldhavedonenuchabout this.
Hadshealteredpositionor selecteda wider
aperturetoconpensate, thedanselfies
wouldn't havebeenrecordedsharp
throughout. nstead, totry andrenedy this,
wouldbetenptedtoopt for a tighter crop,
whichwill helpdisguisethen.
Verdict: AverygoodcIose-up. The
viewpoint worksweII andit hasIoveIy
detaiI. TheonIynegativeisafewout-of-
focusgrassesinthebackground.
DANIELLEZANO: never ceasetobe
inpressedby nacroinages, partly because
they allowus toseethings at nagnications
that arenuchhigher thanthehunaneyeis
capable, but alsobecauseit takes patience
andskill toget soclosetotinidcreatures
that arelikely toscarper at any nonent.
Helen's shot is a great exanple. kay, sothe
danselfies werebusy natingandless likely
toscarper, but shestill hadtoknowwhat
shewas doing. Her choiceof viewpoint was
crucial as sheneededtojuxtaposethe
danselfies against a clear background, but
alsoneededtonakesurethat the
danselfies wereonthesaneplaneof
focus. ther thanthetipof thedanselfy's
wings, whichareslightly blurred, Helenhas
achievedthat. 1here's a lovely clarity tothe
shot. 1hecolours arecrispandfresh, the
sharpbits arepinsharpandthedetail she's
capturedis fantastic. 1hequality of light was
perfect -bright but soft -andall things
considered don't think Helencouldhave
nadetheshot nuchbetter.
Verdict: ThisisafantasticcIose-upimage,
great job, HeIen!
ByHelenClarke
Camera: CanonLS350D
Lens: 1anron90nnfi2.8Macro
Exposure: IiI60secat fi6.3(S200)
Helensays: ' ndsnall insects
interestingandfull of character
upclose. liketocapturethis
throughny nacrolens,
revealingdetail that otherwise
goes unnoticed. likehowthis pair's bodies
areblueandorange, conplenentary
colours onthecolour wheel.
UNCONVENTIONALCROP5
Don't beafraidtoexperinent with
unconventional crops if youthink that theinage
will benet. Sonetines by includingless, you
cannot only cut out any unwantedbackground
clutter, but youcanfocus your attentiononyour
subject's ner details at a greater nagnication.
1heexanpleontheright showcases this
perfectly -only oneof thedanselfies is fully
visible, but theinagestill packs plenty of inpact.
Helenhasmanagedtoget
niceandcloseandposition
her cameraalmost perfectly
parallel totheinsects
RSSHDDN11
Camera skills
R
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ExpertCritique
ByPaul Harrison
Camera: Pentax5
Lens: I3nn
Exposure: I.4seconds at fi22(S200)
Paul says: ' useda wide-angle
lens tousethegroynes as a
lead-inlineintothescene. left
theshutter openfor just over a
secondtosoftenthewater.
LEAD-INLINE5
You'll oftenndlandscape
photographers usinglead-inlines, as
Paul has donehere. 1hey canbe
doninant, physical objects, suchas
thesegroynes, or they canbeinplied
lines -suchas a rowof rocks, or a
trickleof recedingwater. 1heir jobis
toleadtheviewer's eyeintothefrane
andfor this reasonthey arean
incredibly powerful conpositional
tool -youcancontrol exactly what
your viewer pays attentiontoandin
theorder that youdesire.
LEEFRO5T: 1his is a beautiful, sinple
inagethat's full of atnosphereandreally
captures thenoodof thelocation. t looks
likeAlnnouthBeachinNorthunberland,
but thereareweatheredoldgroynes like
that all aroundthecoast soit couldbe
anywherel 1hegroyneis key tothe
conposition. t forns a stronglead-inline
andcarries theeyeinfronthebotton-left
of thefrane, whichis howwenaturally scan
aninage. 1here's a lovely warnglowonthe
groynewhichenhances thenatural colour
of thetinber andnakes it standout against
thesoft greenof thesea. 'npleasedthat
Paul useda slowshutter speedtoblur the
sea, but not soslowthat it turnedtonilk
-everyonedoes that thesedays soit's nice
toseesonetextureinthewater. think the
conpositionis alsobetter for us beingable
toseesoneof thebeachas well, rather than
sea water coveringtheforeground-the
pebbles havea richcolour andaddextra
detail tothescene. Abovethehorizonthe
sky is perfect -a beautiful blueoverlaidwith
warnpink tones fronthesettingsun.
Abeautiful sceneinperfect light. 1heonly
ninor tweak wouldhavenadeis toadjust
thehighlight levels andnaketheinage
brighter andpunchier. ther thanthat, it's
onefor thewall.
Verdict: Anatmosphericscenethat has
beenweII captured.
RO55HODDINOTT: lovethis typeof
coastal inage-thenotion, sinplicity and
colourful sky work sowell together here.
ld, woodengroynes nakesuchgood
subject natter, don't they 1heir weathered
andagedappearancerefects years of being
batteredby thesea, whichgives then
character. Paul has positionedthenwell,
conposinghis inagesothat thegroyne
enters thefranefronthebottonleft
corner, directingtheeyeneatly intothe
frane. liketheinage's proportions -with
sonuchcolour andinterest above, 'nnot
surprisedPaul has allowedthesky to
doninate. 1hereis little'dchangeabout
this inage, but wonder if Paul couldhave
capturedsonebetter water novenent.
1heexposurelengthof aroundonesecond
is ideal for capturingtextureandinterest in
thewater, andhadPaul tinedhis shot to
coincidewithwhena largewavedragged
back over thepebbles, think hecouldhave
capturedsonelovely longtrails of water
leadingback towards thesea. verall
though, a very niceshot. Goodwork.
Verdict: AreaIIyattractivecoastaI image,
boastinggraphicsimpIicity. Theshot is
composedweII, but maybePauI couIdhave
capturedmoreinterestingwater motion.
Thegroyneiskeytothe
composition. It formsa
stronglead-inlineand
carriestheeyeinfromthe
bottom-left of theframe
LLLRS1
R
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Camera skills
SPNSRLDBY
LEEFRO5T: ncludingelenents ina scene
that helptocapturea senseof scalecan
nakeall thediherencetothesuccess of a
shot. Herewehavea perfect exanpleof
howpowerful scalecanbe. Weknow,
roughly, howtall a personis andwecan
hazarda guess at howtall a canel is (believe
ne, they'retalll), sowhenwelook at this
scene, weinnediately knowthat the
peopleridingthecanels nust befar away
(cuethescenefron explainingto
Dougal why thecows intheeldoutsideare
very snalll), andtheduneeldthey're
travellingthroughnust bevery bigl t's a
sinpleconcept for our brains to
understand, but it works brilliantly andit's
what nakes Sasa's inagework-it suggests
wideopenspaces, wildplaces, adventurel
lovetheway thesanddunes undulateinto
thedistancewhilethecanel trainforns a
sinuous lineas it follows thecontour of one
dune. 1hebright blueof thecanel guides'
djellabas alsostandout against theorange
of thesandsoeventhoughthegures are
tiny, they'restill distinct. t's a shanethere
aresonany tufts of grass growinginthe
dunes as it spoils their soft shapes and
nakes theconpositionlook untidy, but
therewas nothingSasa coulddoabout that.
1hecolour of thesandis alsoa little
wishy-washy, but by adjustingLevels that
problenis easily solvedandthedunes are
suddenly a deeporange, as they shouldbe.
Verdict: Great useof scaIe-goodjob, 5asa!
RO55HODDINOTT: 1his is a shot withso
nuchpotential. think thechoiceof focal
lengthandconpositionarespot on. By
placingthecanel caravanclosetothe
bottonof thefrane, andusingthelayer
uponlayer of dunes as a backdrop, Sasa has
createda strikingconpositionwitha
wonderful senseof scaleandcontext.
Unfortunately, thelightingwhenthis inage
was takenwas rather fat. Canyouinagine
howpowerful this shot wouldhavebeen
withgreat light anddeep, dark shadows
addinganenhancedperceptionof depth
Unfortunately, wehavenocontrol over the
weather, andSasa has grabbedthe
opportunity well. However, wouldbe
tenptedtoprocess theleagain, andthis
tineadda littlenorecontrast. Giventhe
inage's sinple, graphicnature, wouldalso
consider havinga quick glanceat what it
looks likeconvertedtoblack owhite.
Verdict: AIoveIycomposition, withagreat
senseof context andspace. Duetotheat
Iighting, though, I'dconsider addingmore
contrast andlor convertingtomono.
BySasaHuzjak
Camera: NikonD300
Lens: Nikkor A-SI8-200nnfi3.5-5.6G
Exposure: IiI00secat fi8(S2500)
5asasays: '1his was takeninthe
LrgChebbi desert inMorocco.
was onthehighest duneinthe
area waitingfor thesunset when
this canel caravanappearedin
thedistancebelowne. innediately sawa
goodphotoopportunity andseizedit.
yplacingthecamel
caravanclosetothe
bottomof theframe, and
usingthelayer uponlayer
of dunesasabackdrop,
Sasahascreatedastriking
compositionwitha
wonderful senseof scale
andcontext
RSSHDDN11
BEBOLD!
Sasa's inageis strikingly graphic, but
canbeinprovedevenfurther by a
fewsinpletweaks inprocessing. By
increasingthecontrast usingLevels,
not only arethegraduations inthe
sandnorepronounced, but the
colour saturationis boosted, too,
whichreally nakes theinagepopl
Digital editing
Landscapephotographyhastobethenost popular subject out there, andthereasonwhynanyof us
pickedupacaneraintherst place. t'sinpossiblenot tobeawe-inspiredbyananazingscene, andhardto
resist thetenptationtocaptureaninageof it. ortunately, takinggreat landscapesisn't asdihcult asit nay
seen. 1hetechnical sideof thingsisstraightforwardandyoudon't needbagsfull of expensivegear. 1hekey
tosuccessishavinganappreciationof theworldaroundyou, anabilitytoturnwhat youseeintoapowerful
conpositionand, nost inportant of all, areallyloudalarnclockthat will wakeyouat sillyo'clocksoyoucan
capturethelight at itsbest. h, andthisnonth'sindispensableguidetoshootinggreat landscapes.
THEESSENTIALGUIDETO
ALL MAGLS.LLL RS1
Essential kit for landscapes
neof thegreat things about landscapephotography is that youdon't
needtoinvest inexpensivespecialist equipnent. Sports andwildlife
photography requirelongtelephotos, close-ups arebest shot witha
nacrolens. But for landscapes youcanget away witha nodest outt.
Just as well becauseyou'vegot tocarry it everywhere-it's surprising
howheavy canera kit canbewhenyouhaveit strappedtoyour backl
1) LEN5E5
Wide-anglelenses aretheorder of theday
here. Not only dothey capturenorethan
thenakedeyecantakein, but they also
stretchperspectivesotheelenents closeto
thecanera loonlargeanddoninatewhile
everythingelseappears snall anddistant.
Depth-of-eldis extensivetoo, soit's easy
torecorda sceneinsharpfocus fron
front-to-back, as we'll discuss later.
Modest focal lengths around24-28nn
(I6-I8nnonAPS-Csensors) areideal as
they giveyouall thebenets of a widelens
without beingsowidethat youendupwith
enpty conpositions. However, focal
lengths downtoI6nn(I0-I2nnon
APS-C) canalsoproduceanazingresults
whenusedwithcareas perspective
distortionanddepth-of-eldareextrene.
Mid-rangefocal lengths inthe50-80nn
range(35-50nnonAPS-C) areideal for
detail shots as youcanfocus closeandll
thefrane. 1heperspectiveis alsoless
exaggeratedsothey'reideal for sinpler,
less in-your-faceinages.
1elephotos coneintotheir ownwhen
youwant toisolatepart of a scene, or
conpress perspectivesotheelenents
appear crowdedtogether, suchas distant
hills or avenues of trees. ocal lengths fron
/0-200nn(I00-300nnonAPS-C) are
norethanlongenough.
2) TRIPOD5 8 HEAD5
Youshouldn't underestinatethe
inportanceof a goodquality tripodfor
landscapephotography. rona purely
practical point of viewit will elininate
canera shakefronyour inages soyoucan
usea lowSfor optinuninagequality,
utiliseslowshutter speeds for creative
ehect, stopyour lens downtofiII or fiI6to
naxinisedepth-of-eldandshoot inlow
light without worryingabout canera shake.
nceyour canera is nountedona tripod
its positionis xed, soyoucanset upa shot,
alignlters, focus, thenwait for thelight to
bejust right beforeyoushoot. Usinga tripod
alsoslows downthepicture-takingprocess,
soyoutendtospendnoretinestudying
theconposition, thinkingabout a shot and
ne-tuningit. Long-ternthis will leadto
inprovedinages anda better
understandingof what works.
Choosea tripodthat's sturdy enoughbut
not overly heavy. Carbon-breis thebest
choiceandManfrotto, GitzoandGiottos are
thefavouritebrands anonglandscapers.
You'll alsoneeda goodquality head. Ball
heads arepopular becausethey'reconpact,
strongandquick touse. Brands tocheck out
includeManfrotto, Giottos, LM, irk, Benro,
ndura, Arca Swiss andReally Right Stuh.
3) FILTER5
ilters still play aninportant rolein
landscapephotography (nonatter what the
blokes downthecanera clubsay), soif you
don't haveany right now, besuretoadd
thentoyour shoppinglist. 1hethreenain
types of lter youneedfor landscapes are
NDgrads, solidNDs anda polariser -see
thepanel oppositefor our suggestions.
Slot-inlter systens areby far thenost
versatileas they allowyoutouseall three
lter types together if youneedto. 1hereare
options tosuit all budgets, fronwell-known
brands suchas Cokin, HitechandLeeilters
andvery cheapsystens fronunknown
brands, likeXCSource, reviewedin8udget
Pnotolast year (August 20I3, issue8I).
You'll needalter holder that's bigenough
tocover your widest lens, plus anoptional
ring(if required) soyoucanattachapolariser
totheholder itself if it doesn't slot intoit. ilter
adaptor rings tot eachlens arealsorequired
andif youwant tokeepyour lters intip-top
conditionyou'll alsoneedanulti-pocket
wallet tostorethenin.
f youwant toprotect thedelicatefront
elenent of your lenses, invest ingoodquality
screw-inSkylight or Uvlters fronHoya,
Signa, enko, B+Wor 1ihen, andideallybuy
lters withslinnounts sotheydon't unduly
increasetheriskof vignettingwithwide-
anglelenses whenyouusealter holder.
Alternatively, youcantaketheprotectivelter
ohthelens beforeattachingtheholder.
6) DRE55 FORTHE JOB
f you'regoingtospendall day inthe
eld, youneedtonakesureyou're
confortable. nwarnweather, solar dry
cargopants, lightweight hikingboots or
shoes anda softshell jacket will beideal,
withnaybea lightweight waterproof
layer inyour backpack incaseit rains or
thewindpicks up. Springandautunn
days cangofroncoldtohot ina few
hours. Younay needa hat andgloves for
dawnsorties plus heavier trousers anda
noresubstantial jacket. Wear twoor
threelayers soyoucanrenovethenas
thetenperaturerises. nwinter, layers are
alsoreconnendedas they trapair
betweenwhichwarns upandprovides
further insulation. Wear a hat tokeepyour
headwarnandreducetheloss of body
heat, gloves for hands, thernal
underwear, windproof trousers anda
softshell jacket, thena Gortex jacket and
overtrousers as anouter layer tokeepyou
warnanddry. 1henoreconfortableyou
are, thenoreyoucanconcentrateonthe
task inhand.
ESSENTIALGUIDE
5) BACKPACK5
Whatever gear youdecidetousetoshoot
landscapes, you'regoingtohavetocarry it,
sonakesureyouinvest ina decent
backpack tonakethat task as pain-freeas
possibleandalsoprotect your gear fronthe
elenents. All thebest-knownbrands nake
great packs -Lowepro, 1anrac, 1hink 1ank
andata. t doesn't havetobewaterproof,
but it shouldconewitha waterproof cover
that youcanusewhenyouget caught out
intherain-whichyouwilll t shouldalso
havea confortableharness systenwitha
waist belt andchest strap, andconewith
plenty of adjustablepaddedprotection
insidesoyoucanorganiseyour kit.
4) REMOTE RELEA5E
1hesnallest of novenents canahect
inagesharpness -evenpressingthe
shutter buttonl Arenotereleaseallows you
totrigger your canera's shutter without
physically touchingthecanera. 1hey are
availablewiredor wireless, andina rangeof
styles frona no-frills releasetonore
conplex intervaloneter units. Don't discard
budget units -nost oher theexact sane
features as brandeditens for nuchless.
5uggestedlandscapekitstosuit everybudget
GETTING5ERIOU5
We'll assuneyou'vegot a goodAPS-C
DSLRanda quality standardzoon. t's
tinetoadda wider zoon-theCanon
L-S I0-22nnfi3.5-4.5USM(6/0),
NRI0-24nnfi3.5-4.5GA-S (640)
andtheSigna I0-20nnfi3.5LXDCHSM
(460) areall great optics. or telezoons,
consider theCanonL /0-200nnfi4S
USM(890), NRA-S /0-200nn
fi4GLDvR(I,I00) or Signa /0-200nn
fi2.8LXDGS HSM(900). You'll needa
I00nnlter kit, too. 1heHitechI00with
threeNDgrads, threesolidNDs plus netal
holder andwideadaptor is 290. 1heLee
ilters equivalent costs around500.
1ripodtine. 1heGiottos vitruvian
vGRN8255withMH5400-652ballhead
(260) or Manfrotto055CXPR3(250)
with496RC2ball head(60) areboth
great. Bags -takeyour pick, thoughthe
Loweprolipside500AW(I20) is ideal.
GETTINGEXPERIENCED
As your enthusiasnfor landscapes grows
you'll want toextendyour systenas well
as your creativehorizons. Maybeit's tine
totradeinthekit zoonfor sonebetter
quality glass, likea Signa I8-50nnfi2.8
(320), CanonI5-85nnfi3.5-5.6S
(520) or NRI6-85nnfi3.5-4.5G
vRLD(440). or lters, consider the
Hitechrange-an85nnNDMaster kit
conprisingthreeNDgrads andthreesolid
NDs plus a netal holder andadaptor ring
will cost II0. You'll needtoadda
polariser as well -look at options fron
Hoya, Heliopanand1ihen. Younight also
liketoexperinent withlongexposures -
theHitechProStopRND3.0is /5.
f youneeda stronger tripod, the
Manfrotto293withball headandquick
release(95) is ideal whilea backpack like
theLoweproastpack 200(59) will carry
all your kit andleavespacefor snacks.
GETTING5TARTED
Youhaveanentry level DSLRwithan
I8-55nnzoon. 1hebottonendof the
zoonis anideal focal lengthtoget you
usedtoconposingwide-anglescenes
andwill let youseeif shootinglandscapes
really is for youbeforeyousplashout on
noreglass. You'll needlters -a couple
of NDgrads, a polariser anda solidNDor
two. 1heCokinP-series is theperfect
beginner systenas it ohers a conpronise
betweensize, quality andcost. Youcankit
yourself out withall of theabove, plus a
lter holder andadaptor ringfor about
I30. f youcan't stretchtothat just yet,
leaveout thepolariser, whichcosts /2.
Youcanbuy cheaper tripods, but a
nodel liketheManfrottoM393-H(52)
will keepyour canera steady andnot
break thebank. AcheaprenoteoheBay
(5) anda backpack likethevanguardBN
3/ (30) andyou'reready toroll.
2
1
4
3
6
5
RSS HDDN11
CMPS1NPRvDLS 1HLbuilding
blocks of great landscapeinages, andthe
way youarrangetheelenents ina scene
cannakeall thediherencebetweena work
of art or a dull recordshot.
f you'reshootingwitha wide-anglelens,
as youoftenwill be, includeforeground
interest toleadtheeyeintothesceneand
providea strongsenseof depthandscale.
1herearelots of features inthelandscape
that canbeused-undulations onthe
ground, rocks or boulders, a path, ripples on
a sandy beach, fowers ina eld, a strean
andsoon. 1helower andcloser youget to
foregroundelenents, thebigger andnore
doninant they appear. 1his ehect is also
enphasisedas thelens gets wider.
1herule-of-thirds canalsobeusedto
provideconpositional balance. 1his
involves dividingtheviewnder intoa grid
usingtwoinaginary horizontal andvertical
lines, thenplacingyour nainfocal point at
oneof thefour intersectionpoints created.
1hetworight-handintersectionpoints
generally work best. 1hetwohorizontal
lines canalsobeusedtoaidpositioningof
thehorizon-placeit onthetoplineto
enphasisetheforegroundandthebotton
linetoenphasisethesky. Usingthis 2.I ratio
for thelandscapeandsky is a tried-and-
testedconpositional technique.
Lines inthelandscapeshouldn't be
overlookedeither as theycanaddbags of
inpact. Horizontal lines aretranquil and
suggest reposebecausetheyechothe
horizon, whilevertical lines createdbytrees,
shadows andother elenents arenoreactive
-nakethenost of thenbyturningyour
caneraandshootinginportrait fornat.
Diagonal lines areevenstronger, carrying
Composition
theeyethroughthescene-they work best
runningfronbottonleft totopright.
But thenost powerful of all are
converginglines, suchas furrows ina
ploughedeld, paths, rivers, tracks and
roads, avenues of trees andfencelines.
Becauseparallel lines convergeas youlook
alongthen, they leadtheeyeintothescene
andsuggest distanceanddepth. or the
best results, usea wide-anglelens to
enphasisethis convergence, andinclude
thevanishingpoint -thepoint at whichthe
lines appear toneet.
Another tried-and-testednethodis
franingyour scene. ranes caninprovea
conpositionbydirectingtheeyeintothe
sceneandtowards thefocal point. 1hinkof
agardenfranedbyanornatearchway, or a
rollinglandscapefranedbyawindowina
ruinedcastle. 1rees andfoliagecanalsobe
usedas natural franes -theoverhanging
branches of atreeworkwell.
Wetendtoshoot landscapes withour
canera heldhorizontally -it's evencalled
thelandscapefornat. However, don't feel
that youhaveto. Landscapes conposedin
THEESSENTIALGUIDE
Pight: Useman-madeor naturaI features inthe
Iandscapetoframeasceneandadddepth.
eIow: Lead-inIines areagreat tooI for guiding
aviewer intoasceneandtowards afocaI point.
LANDSCAPL PH1GRAPHY
MANYLANDSCAPLPH1GRAPHLRS
tendtoworktoaveryspecicstyleand
refusetodeviatefronwhat theyknow
andlove. But prefer tokeepanopen
nindandbewillingtoenbracediherent
ideas andtechniques inorder tonakethe
nost of everysituation, nonatter what
typeof scenery encounter, or weather
conditions. liketothinkthat if was
blindfoldedanddroppedat anystery
locationwithnycaneragear, couldbe
pickedupat theendof thedayandhave
sonedecent inages toshowny
rescuers. Abit likeaphotostorntrooperl
1his night nakeneajack-of-all-trades
rather thananaster of one, but it also
neans that rarelyleavealocation
without afewshots inthebag.
or exanple, consider nyself tobea
colour photographer rst andforenost,
but not all types of light andweather are
conducivetosuccessful colour
landscapephotography, suchas overcast
or dark, stornydays. When ndnyself
dealingwithsuchconditions, rather than
packupandheadhone, shoot colour
inages that 'll convert toblackowhite
later. 1hesoft light of adull daycan
producebeautiful blackowhiteinages
whilethedranaof adark, cloudydaycan
beenphasisedbyrenovingall traces of
colour fronashot. As blackowhiteis
onesteprenovedfronrealityyoucan
alsoapplyalittleartisticlicenseandnake
things evennoredranaticthanthey
reallywere-who's goingtoknow
Continuingtheblackowhitethene,
another technique oftenenploy-
especiallywhenshootingcoastal
landscapes -is touseaLeeilters Big
Stopper ten-stopNDlter toextend
exposures andrecordnotioninascene.
Cloudydays suit this techniquebrilliantly
becausedriftingcloudturns intowispy
streaks of tone, whilenovingwater turns
tonilk. Swayinggrass andblowingtrees
alsoblur nicelyonawindydayand
contrast well withstationaryelenents.
f youwant tostickwithcolour but the
light's not great for it, thinkout of thebox.
Details arealways agoodoption-the
worsethelight is, thesnaller thesubject
natterl t works -trust ne. r howabout
tryingsonethingdiherentBland
sunner skies areapaininthebutt, but
insteadof tryingtoexcludethenfron
your shots, celebratethat skyandusethe
enptyspacecreativelytonakeasinple
conpositionwithonekeyelenent such
as asingletreeintheniddleof aeldor a
boat onadesertedbeach.
Anal fall-backis infrared. Whether
youuseaconvertedDSLRas do, or an
infraredtransnittinglter, it's hardnot to
takeagoodshotl ncloudless sunny
days whenthelight's harshandthe
landscapelooks as fat as apancake,
infraredis your friend. 1hesaneapplies
whenit's drabandgreyandprettynuch
everyweather pernutationinbetween.
1his set of inages, all shot at
Dungeness ontheent Coast, should
giveyouanideaof what's possiblewhen
youturnupat alocationandthe
weather's not quiteas expected.
AusefuI get-out whentheweather doesn't
pIaybaII istoconvert your imagestobIack
white. Monoisgreat for enhancingthemood
andtextureoftenfoundinbad-weather shots.
We'reaIwaysharpingonabout IIingthe
frame, but emptyingit canaIsowork-tryit on
ahazysunnyday, or inat overcast weather.
Trysomethingdiherent. Landscapesare
normaIIysharpfromfront-to-backandshot
withawide-angIeIens, but theydon't haveto
be. TrybreakingtheruIesof composition, too.
Aten-stopNDIter IiketheLeeFiIters
ig5topper makesit possibIetocreate
amazingne-art imagesinbadweather.
InfraredaIsoworksasagreat 'get out of jaiI
free' cardfor photographers.
LeeFrost: Makingthemostofalocation
theportrait fornat areoftennoredynanic
becausetheeyehas totravel further totake
inthewholescenefronbottontotop. You
canalsonakebetter useof vertical lines and
foregroundinterest andalsoexaggerate
perspectiveandscalenoreehectively, with
bothwide-angleandtelephotolenses.
nceyou'venasteredthebasic
principles of landscapeconpositionyou'll
havethecondencetoadapt thenandstart
todevelopyour ownstyleandvision. t's
oftensuggestedthat youshouldkeepthe
horizonaway fronthecentreof thefrane,
for exanple, but insonecases that's the
best placefor it -especially if you're
shootinga sceneandits refectioninwater.
1hesaneapplies withthefocal point. 1he
rule-of-thirds ensures youkeepit away
fronthecentreof thefrane, but
intentionally placingit therecanproduce
interestingresults, especially if yousurround
it by lots of enpty space. Ultinately, if you
conposea scenewithconvictionthen
there's noreasonwhy it won't work, evenif
youignoreevery 'rule' thereis. 1hey are
nadetobebroken, after alll
1 2
3 4
5harpness
MAGLUAL1YS of utnost inportancein
classiclandscapephotography, whichis
why sonepractitioners useexpensive
nediun-fornat digital caneras or even
large-fornat lncaneras. 1hebigger the
original, thebetter thequality.
Not that youshouldstart listingyour
DSLRs oneBay -thequality of enthusiast-
level DSLRs is norethangoodenough-but
if youwant toget thebest fronyour canera
andproducelandscapes of optinunquality,
youshouldfollowafewsinpleguidelines.
Connon-sensestuhrst. eepyour
lenses andlters clean-nuck, scratches
andgreasy nger narks all degradeinage
quality. Check your sensor regularly too,
especially if youndyouneedtocloneout
lots of spots fronyour inages.
f you'rehandholdingthecanera, watch
theshutter speed-onceit drops toIi60sec
or belowyou'reinthecanera-shakedanger
zone. YoucouldincreasetheSratingand
set a faster shutter speedbut thehigher the
S, thenoreinagequality will beahected
sokeepit toSI00or 200andnount your
canera ona tripodinsteadif theshutter
speeds aregettingtooslow. Many
landscapers never takea shot without the
canera clanpedtoa sturdy tripod.
Howandwhereyoufocus is inportant.
1onaxinisedepth-of-eld(whichwe'll
conetoina nonent), youneedtocontrol
wherethelens is focused, andthat's nuch
easier todoif youaretofocus nanually as
youcannount your canera ona tripod,
conposetheshot thenfocus thelens ona
specicdistance.
f youdothat usingA you'll either haveto
select a focus point that hits theright spot,
or focus withthecentral A point, lock focus
andreconpose-all rather ddly conpared
tofocusingnanually. Youalsodon't haveto
worry about thefocus shiftingandyoucan
leavethecanera inpositionready whileyou
wait for theright light.
f course, thebiggest factor that
deternines thequality of a landscapeinage
is whether or not there's enoughdepth-of-
eldtorecordthesceneinsharpfocus fron
front-to-back. f theforegroundis slightly
soft, or distant features, you'll kick yourself,
sonakesureyou'reaufait withcontrolling
andnaxinisingdepth-of-eld.
Stoppingyour lens downtofi22and
focusingoninnity nay seenlikea sinple
solution, andwithwide-anglelenses it'll
oftengiveyoufront-to-back sharpness.
Unfortunately, at nininunaperturelenses
suher frondihraction, reducinginage
quality. ptinunquality is usually achieved
at fi8or fiII. Also, younay not get front-to-
back sharpness usingthis nethod, soinage
sharpness is conpronisedontwocounts.
1hesolutionis tousegoodoldhyperfocal
focusing, asinpletechniquethat allows you
tonaxinisedepth-of-eldfor aparticular
scenebut alsoavoidstoppingdownthelens
aperturenorethanyouneedto. Result
ront-to-backsharpness andoptinun
optical qualityfronyour lenses.
Hyperfocal focusinginvolves focusingthe
lens ona specicdistancefor a particular
focal lengthandaperture(finunber). f you
usenanual focus prinelenses, youcanuse
thedepth-of-eldscalenarkedonthe
barrel tondthehyperfocal distance. But if
youuseautofocus zoons you'll needtorely
onhyperfocal tables likethosetotheleft.
1ousethesetables, rst choosetheright
tablefor your canera, thenndthefocal
lengthyou'reusingandtheaperture(fistop)
youwant touse, thenreadacross tondthe
hyperfocal distance. Byfocusingonthat
distance, depth-of-eldwill extendfronhalf
that distancetoinnity. or exanple, if you're
usingaCanonDSLRwithazoonat 28nn
HYPERFOCAL DI5TANCE FOR FULL-FRAME/35MM5LR5
16mm 20mm 24mm 28mm 35mm 50mm 100mm 135mm 200mm 300mm
fl2.8 3.2n 5.0n /.0n I0n I5n 3In I23n 225n 495n III0n
fl4 2.2n 3.5n 5.0n /.0n I0.5n 2I.5n 8/n I5/n 345n //5n
fl5.6 I.6n 2.5n 3.6n 5.0n /.5n I5.5n 62n II2n 245n 555n
fl8 I.In I./n 2.5n 3.5n 5.5n IIn 43n /9n I/3n 388n
fl11 0.8n I.3n I.8n 2.5n 4.0n 8.0n 3In 5/n I25n 282n
fl16 0.6n 0.9n I.3n I./n 2./n 5.5n 22n 39n 86n I95n
fl22 0.4n 0.6n 0.9n I.3n 2.0n 4.0n I6n 29n 65n I40n
fl32 0.3n 0.5n 0.6n 0.9n I.4n 2./n IIn 20n 43n 9/n
HYPERFOCAL DI5TANCE FOR DIGITAL 5LR5 WITHA CROP FACTOR OF 1.5X (NIKON, 5ONY, PENTAX)
fl2.8 5.0n /.5n IIn I4n 23n 4/n I88n 345n /50n I690n
fl4 3.4n 5.3n /.5n I0.5n I6n 33n I32n 240n 525n II85n
fl5.6 2.4n 3.8n 5.5n /.5n II.5n 23.5n 94n I/0n 3/5n 845n
fl8 I./n 2./n 3.8n 5.2n 8.0n I6.5n 66n I20n 265n 590n
fl11 I.2n I.9n 2.3n 3.8n 5.9n I2.0n 48n 8/n I92n 430n
fl16 0.9n I.3n I.9n 2.5n 4.0n 8.5n 33n 60n I32n 295n
fl22 0.6n I.0n I.4n I.9n 3.0n 6.0n 24n 44n 96n 2I5n
fl32 0.4n 0./n I.0n I.3n 2.0n 4.2n I6.5n 30n 66n I50n
HYPERFOCAL DI5TANCE FOR DIGITAL 5LR5 WITHA CROP FACTOR OF 1.6X (CANON)
fl2.8 5.0n 8.0n II.5n I5.5n 24.5n 50n I99n 360n /95n I/85n
fl4 3.6n 5.6n 8.0n IIn I/n 35n I40n 255n 555n I250n
fl5.6 2.6n 4.0n 5./n /.8n I2n 25n 99n I80n 39/n 895n
fl8 I.8n 2.8n 4.0n 5.5n 8.5n I/.5n 69.5n I2/n 2/8n 625n
fl11 I.3n 2.0n 2.9n 4.0n 6.2n I3n 50n 92n 202n 455n
fl16 0.9n I.4n 2.0n 2.8n 4.3n 8./n 35n 63n I39n 3I2n
fl22 0./n I.0n I.5n 2.0n 3.0n 6.5n 25.5n 46n I0In 230n
fl32 0.5n 0./n I.0n I.4n 2.2n 4.4n I/.5n 32n /0n I56n
THEESSENTIALGUIDE
andstoppeddowntofiII, thehyperfocal
distanceis 4n. Byfocusingthelens on4n,
depth-of-eldwill extendfron2ntoinnity.
f you'renot surehownuchdepth-of-
eldyouneed, focus onthenearest point in
your sceneandcheck thedistancescaleon
thelens barrel toseehowfar away it is. You
canthenrefer tothehyperfocal distance
tabletondout whichapertureyouneedto
usetoachievesuhcient depth-of-eld. or
exanple, if thenearest point inthesceneis
3naway andyou'reshootingat 35nnona
full franeDSLR, youneedtousethe
aperturethat will giveyoua hyperfocal
distanceof 6nbecauseif youfocus on6n,
depth-of-eldwill extendfron3n(half the
hyperfocal distance) toinnity. nthis case,
fi8is closest, witha hyperfocal distanceof
5.5n(whichgives youdepth-of-eldfron
2./5ntoinnity).
Above: Workingout thecorrect hyperfocaI
distanceaIIows youfront-to-backsharpness.
Pight: Gettingyour focus spot onis keyfor
scenes that arepackedwithdetaiI.
Filters
POLARI5ER
f youlikecrispinages withrichcolours, deepblueskies,
superbclarityandnoannoyingrefections, thenyou'll
ndapolariser incrediblyuseful -becauseit does all of
theabove. nasunnydayyou'll lovethediherencea
polariser nakes toyour landscapes, but don't onlyuseit
whenthesunshines -for woodlandscenes it works a
treat whentheweather's dull, greyanddanp, renoving
glarefronthefoliagesotherichcolours shinethrough.
1hey'reequallyhandyfor waterfalls andrivers as theynot
onlyelininaterefections fronthewater andwet rocks
but alsoallowyoutoblur thewater as theylosetwostops
of light -soIi4secbecones onesecond.
1ousea polariser, all youdois rotateit whilelooking
throughtheviewnder -you'll seetheinagechange
andwhenyoulikewhat yousee, stop. eepthesunto
onesideof thecanera toget thenaxinunehect ona
bluesky andtoelininaterefections, theanglebetween
thesurfaceandlens axis shouldbearound30. Buy a
polariser that works as part of a nodular lter systen
(Lee, Hitech, Cokin) soyoucanconbineit withND
grads or solidNDlters whenrequired.
MANYDG1ALPH1GRAPHLRSnayhaveabandoned
lters altogether, but onesubject wheretheystill playan
inportant roleis landscapes. Yes, youcandothejobof
sonelters duringpost-production, but if you'drather be
out inthewilds shootingrather thangluedtoaconputer
screenediting, it's easier andquicker touselters andget
your shots as closetonishedas youcanin-canera.
Actually, thereareonlythreelter types youneedto
consider for landscapephotography, soit's not likeyou
needtocarrydozens of thenuphill anddowndale, but you
will usethenconstantly-it's raretoshoot alandscapeand
not haveat least onelter onyour lens. Here's arundownof
what theyare, whyyouneedthenandhowtousethen.
NEUTRALDEN5ITYGRADUATE5(NDGRAD5)
Clear onthebottonhalf andgrey onthetop, thegoodold
NDgradis essential for controllingthecontrast between
thebright sky anddarker landscapesothat whenyouset
anexposurethat's correct for theland, thesky alsocones
out correctly exposedinsteadof wishy-washy white. 1o
get thebalanceright, NDgrads coneindiherent densities.
1heweakest, 0.3(or x2), only darkens thesky by onestop
soinnost situations it's tooweak todoa decent job. 1he
best choicefor general useis a 0.6(or x4) whichdarkens
thesky by twostops, whilea 0.9(or x8) darkens thesky by
threestops soit's a better choicewhenthebrightness
diherencebetweensky andgroundis great, suchas at
dawnanddusk. YoucanusetwoNDgrads together if
necessary, but if thetotal density is norethan0.9there's a
chanceyou'reover-gradding, sobecareful.
NDgrads alsoconeintwoforns -'soft' edgedand
'hard' edged. 1his refers tohowgradually theNDpart of
thelter fades intoclear. Soft grads doit nuchnore
gently thanhardgrads sothey'rehandy whenthehorizon
is uneven, but hardgrads givea noreconsistent ehect so
they'rebest for general use.
1hekeytosuccess withNDgrads is careful alignnent.
t's easytopushthegradtoofar downintheholder soit
ahects thelandscapeas well as thesky. 1oavoidthat, either
lookthroughtheviewnder whilealigningthegrad, or use
Liveview-you'll seetheskygodarker as youpushthegrad
downandyoushouldstopwhenyoureachthehorizon.
inally, it's best toaligntheNDgraduatelter before
takinganexposurereadingas thegradevens out contrast
andnakes it easier for your DSLR's neteringsystento
giveanaccurateexposure.
THEESSENTIALGUIDE
5OLIDNDFILTER5
Usingslowshutter speeds torecord
notionina sceneis a popular technique
inlandscapephotography andneutral
density (ND) lters areyour greatest ally
for this. Whereas NDgrads only ahect part
of theinage, solidNDlters ahect the
wholeinage, soyoucanusea longer
exposure. Weaker NDs suchas a 0.6(two
stop), 0.9(threestop) andI.2(four stop)
arehandy for blurringwater as they give
youa nodest exposureincrease. Youcan
alsoconbinethenwhenoneisn't
enough-0.6and0.9giveyoua ve-stop
exposureincrease, for exanple, whichin
real terns, wouldturnIi8secintofour
seconds. However, if youwant totry using
exposures of several ninutes longin
broaddaylight toturnwater tonilk and
skies tosoft streaks, you'll needa ten-stop
NDliketheLeeilters BigStopper, Hitech
ProstopI0or B+WNDII03.0. 1hey'reso
dark youcan't seethroughthen, but the
results canbestunning.
Landscape
lighting
WLMAYHAvLleft it until last, but never
underestinatetheinportanceof light when
shootinglandscapes -it's theonefactor
aboveall others thannakes or breaks a
great scenicinage. Light denes thenood
andcharacter of a sceneandour enotional
responsetoit. Light canbeatnospheric,
dranatic, warn, cold, hardor soft andall
thesepernutations havea profoundehect
ontheappearanceof theland.
1hequality of light changes throughout
theday, fronthenonent therst glowof
predawnstarts toappear inthesky tothe
secondtwilight is snuhedout by the
approachof night. Changingweather also
throws endless variety intothenix -the
landscapelooks totally diherent ona sunny
sunner's day thanit does ona storny
autunnal afternoonwithsunbreaking
througha dark, threateningsky. t's these
changes andvariations that nakelandscape
photography sochallengingandrewarding
-it's youagainst theelenents.
Assuningtheweather onany particular
day is good, thequality of light is at its
highest duringtherst hour after sunrise
andnagichour beforesunset. At these
tines thesun's lowinthesky soit casts long,
rakingshadows that reveal textureandforn.
1helight alsohas a wonderful warnththat
really brings thelandscapetolife-that
warnthbeingat its best for therst few
ninutes after sunriseandbeforesunset,
thoughwiththesunsolowyou'll ndthat
evenrelatively low-lyingfeatures
conpletely block thelight andthrowthe
landscapeintosoft shadow.
1hereasonwereconnendedanalarn
clock intheintroductiontothis featureis
that it's well worthrisingwiththelarks to
benet frongreat norninglight. Get on
location30-40ninutes beforesunriseso
youcanshoot thepredawnglow-this
works particularly well if you'recloseto
water as theanazingcolours inthesky will
benirrored. ncethesuncones up, act
fast tonakethenost of thegoldenlight. At
thestart of theday younay belucky enough
tocapturelow-lyingnist, but it soonburns
away sodon't wasteyour tinenavel gazing
-get thecaneraout andstart shooting.
By thetinethesunhas beenupfor an
hour it'll befairly highinthesky andany
warnthwill havefaded, soyou'resafeto
retirefor breakfast. nclear, sunny weather
younight as well usethenext fewhours to
scout newlocations, or rest upas thelight
ain't great -it's tooharshandfat, especially
insunner. f cloudrolls inandsnuhs out
thesun, consider shootingdetails, which
benet fronsofter light, or, if there's a
chanceof sonedranaticstornlight, stay
out andkeepshootingas youcouldbag
soneawesoneinages -it's always a good
idea tocarry snacks suchas fruit, nuts
chocolateandtrail bars whenyou'reon
location, soyoucanshoot all day if the
light's good. Renenber tocarry drinks, too,
especially inhot weather.
LANDSCAPL PH1GRAPHY
1onakethenost of your tineit's always
worthhavingideas andtechniques upyour
sleevethat allowyoutokeepshootingall
day nonatter howtheweather develops.
Harshsunlight is useless for conventional
landscapephotography but well-suitedto
infrared, for exanple, sonaybeinvest inan
Rlter suchas a Hoya R/2.
Dull, overcast days aren't great for colour
shots (unless youshoot details), but youcan
producebeautiful black owhiteinages in
suchconditions. Drabweather is also
perfect for longexposurecoastal inages,
takenwitha ten-stopNDlter, soby
equippingyourself withoneyou'll havethe
neans toproduceanazinginages onthe
drabbest of days andnakeyour ehort toget
out thereworthwhile.
Conelateafternoon, thesunstarts to
dropinthesky andthequality of light
inproves again. 1helast hour beforesunset
-oftenreferredtoas the'nagichour' or
'goldenhour' -is usually thebest tineof the
day andwell worthhangingaroundfor. 1he
light is richer andredder at theendof the
day thanthestart, especially insunny
conditions, andlongshadows reveal texture
togiveyour inages a strongsenseof depth.
1his tineof day is particularly goodfor
coastal landscapephotography as thelow
sunreveals ripples onsandy beaches, lights
upheadlands andadds a nellowglowto
swayingdunegrasses.
ncethesundrops belowthehorizonthe
landscapeis transfornedyet again. Contrast
falls andthelandis illuninatedby refected
light fronthesky. nitially younay think it's
ganeover andstart packingup. But don't be
toohasty -if there's brokencloudinthesky
youcouldbeinfor aery grandnaletento
I5ninutes after sundownas thesunuplights
that cloudwithreds, oranges, pinks and
purples. A0.9NDgradwill allowyouto
exposefor thelandscapebut keepall that
glorious colour anddetail inthesky andit's
worthshootinguntil thecolour fades.
Above: 5hoot duringthemagichour tocapture
Iong, soft shadows that reveaI detaiI.
Pight: Hangaroundafter thesundrops beIow
thehorizon, too, for afantasticshowof coIours!
Lightingdirection
1hedirectionfronwhichlight hits the
landscapecannakeabigdiherence
tothenoodandinpact of your
inages. rontal light, wherethesunis
toyour back, nakes theworldlook
great, but photographicallyit's not so
ehectivebecauseshadows fall away
fronthecanera, sothelandscape
tends tolookfat. Whenthesun's low
intheskyandbathes thelandscapein
goldenlight, that lackof depthcanbe
forgivenbecausethelight is fantastic.
Side-lighting, withthesunat roughly
90 tothecanera, works better
becauseshadows beconeanintegral
part of theconpositionandhelpto
reveal texture, as well as addingasense
of depth. 1his is nost pronounced
whenthesunis lowintheskyagainas
shadows areverylongandweak.
Another optionis toshoot into-the-
light, or 'contre-jour'. Sunriseand
sunset shots aretakeninthis way
becausethenost colourful areaof the
skyis generallywherethesunis. Mist
andfogworkwell, too, as light burning
throughlooks incrediblyatnospheric.
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1inesaretoughfor all of usat thenonent, sowhileour passionfor photographynaynot have
dininished, our photo-expensesbudget issuretohavetakenahit. 1herefore, spendingour
hard-earnedcashonexpensivenewopticsor thelatest gazillion-pixel DSLRisunlikelyfor all but
thenost fortunate. However, therearenanylow-cost productsthat claintooher usachanceto
captureinagesthat belietheir relativelylowpricetag, aswell asitensthat canbeusedby
photographerswishingtoexperinent withresults. n8udget Pnotoweaintodiscover
if theydeliver ontheproniseof fantasticphotographyonalinitedbudget.
AL1HUGHPH1GRAPHYHAS always
beenperceivedas anexpensivehobby,
there's a rapidly growingindustry that
specialises inthenanufactureof budget
photo-relatedgoods, soit's nowpossible
tobuy lots of stuhat a fractionof theprice
it usedtobe. Likelters.
1heuseof lters peakedintheI980s with
thelaunchof theexcellent Cokinrangeand,
thoughnost of us binnedour tobaccograds
andstarbursts alongtineago(or sentenced
thentoalifeof solitary connenent inthe
loft), therearenany types of lter that arestill
very useful inthis digital age.
1hepolariser is oneof thenost useful.
By reducingtheanount of polarisedlight
enteringthelens, a polarisinglter deepens
bluesky andenhances clouds, reduces or
elininates refections inthings likewater and
glass, cuts throughglareonnon-netallic
surfaces socolour saturationis increased
andgenerally inproves clarity andcontrast.
t's aninvaluablelter for landscape
photography insunny weather -andas it
alsoreduces thelight by twostops it doubles
as a handy Neutral Density lter as well.
1hegoodoldUvlter is another. t's
actually designedtoget ridof theslight cool
bluecast youget onyour inages when
shootinginbright sunlight under bluesky or
at highaltitudewherethelevels of Uvlight
arehigher, andtoinproveclarity. f youdoa
lot of nountainphotography it's worth
usinga Uvlter, thougha norepractical use
for theUvlter is toprovidepernanent
protectionfor thefront elenent of your
lenses. 'veseencaneras blowover instrong
windandlenses droppedontorocks andthe
front elenent left undanagedbecausethe
Uvlter took thebrunt of theinpact. t's
alsonuchsafer tokeepwipingrainandsea
spray oha clear lter thana lens, andnuch
cheaper toreplacea danagedUvlter than
a danagedfront elenentl
NDgrads areinvaluablefor landscape
photography as they allowyoutotone
downthesky sothat it doesn't overexpose
whenyoucorrectly exposetheforeground.
Weall knowthat if youoverexposethesky to
thepoint that areas of it blowout, youcan't
rescuethoseareas duringpost-production
-becausethere's nodetail torescuel But if
youuseanNDgradthesky won't blowout
intherst placel
1hesethreetypes of lter areavailable
fronvarious nanufacturers but onething's
for sure-if youlook at thenainbrands,
you'regoingtohavetosplashout a lot of
noney. Polarisers arethenost expensive
lters out there-youcaneasily spendup
toI00ononewitha //nnthread. But
youdon't havetoif youdon't want to, or
yousinply can't ahordit.
hada look onlineanddiscovereda set
of four //nnscrew-inlters for just I9
(includingfreepostage) onanazon.co.uk.
ntrigued, ordereda set. Soldunder the
Borwinbrand(no, 'dnever heardof Borwin
either), theset consists of a circular polariser,
a Uvlter, a Neutral Density gradanda soft
focus lter andit cones ina paddedcase
withfour pockets soit's ready topopinto
your canera baganduse.
Giventhat a polariser aloneusually costs
at least threetines thepriceof this entire
set, was very keentogiveit a try -fully
expectingtobedisappointed. ortunately ,
ontheday thelters arrivedthesunwas
shining, so grabbedny gear andheaded
out. Polarisers showtheir ehect best ona
sunny bluesky day, especially if thereare
fuhy whiteclouds inthesky, too, as they
standout starkly against theblue, whichis
darkenedby thepolariser.
or thestrongest ehect youneedtokeep
thesunat roughly 90 tothecanera -so
you'reshootingthearea of sky that contains
thenost polarisedlight -thenrotatethe
polariser slowly onyour lens andstoponce
you'rehappy withtheehect. Usingthe
Borwinpolariser, hadnoproblens seeing
thepolarisedehect andthefront sectionof
it rotatedeasily onthelens.
ilter kits
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Above: I headedtothebeachona(rare) sunny
daytogivethepoIariser atest run.
Pight: TheresuIts weresurprisingIygood, with
evenpoIarisationevenat wideangIes.
eIow: UVIters oher nodiscernibIediherence
inimagequaIityunder most conditions.
BorwinDigital Filter set
Price: I9
Size: //nnthread(all popular lter
threadsizes available)
Construction: ptical resin(lter)
andaluniniun(nount)
Filters supplied: Circular polariser,
NDgrad, UvandSoft ocus
Alsosupplied: Case (holds four lters)
Size: 205xI00nn(carrying case)
Weight: I2/g (case andall four lters)
Website: www.anazon.co.uk
f youhave lenses withdiherent sized
lter threads youcouldbuy this set of
//nnlters anda set of stepping rings
that allows youtoadapt thenfor use on
lenses withsnaller lter threads. Search
for 'steppingrings' at www.anazon.co.uk
-youcanget a set covering threadsizes
fron49-//nnfor under /.
Our budget buy
Without UVfiIter WithUVfiIter
8udget hlter kits
DIGITAL 5LR PHOTOGRAPHY
WithPoIariser fiIter
was shootingby water andcapturinga
refectionof thescene. Youhavetobe
careful whendoingthis as youcandestroy
therefectionwhiletryingtopolarisethesky,
but hadnoproblens enhancingboththe
sky andtherefection.
havetosay, 'ninpressed. expectedthe
polariser toberubbishgiventhepriceand
naybenot nakenuchdiherencetothe
shot, but youcanseefrontheconparison
inages that it does agreat job-thepolarised
versionlooks sonuchcrisper andnore
vibrant thantheunpolarisedshot. usedit on
nyCanonI/-40nnzoonat I/nn
onafull-franeDSLRanddidn't
seeanysignof vignetting, which
is great news for wide-angle
fans, andevenwhenpointed
towards thesun, farewas
well handled. 1helevel of
unevenpolarisationseenin
thewide-angleshots is also
prettylow, whichis another plus
-oftenyouget onesideof thesky
darker thantheother whenusinga
polariser onawide-anglelens, andtheehect
looks odd. Sofar, sogoodl
Next up-theNeutral Density(ND) grad.
Now, 'nonlyusedtousingNDgrads that are
rectangular andslot intoalter holder -Lee,
Hitech, Cokinetc. Agradthat screws onto
your lens isn't veryversatilebecauseyoucan't
noveit upor downas youvarytheanount
of skyyouincludeinashot. nother words,
withascrew-inNDgradtheNDpart of the
lter always covers axedarea, soyouneed
toconposeyour shots withthat innind
otherwiseyou'll cover toonuchof theinage
withtheNDpart of thelter, or not enough.
1heND(grey) part of theBorwingrad
covers about thetop40of theinagearea,
soalittleless thanhalf. Moresignicantly, its
density is quiteweak -'dsay nonorethan
onetoI.5stops -andit has a'soft'
graduation. ntheplus sidethis neans that
if youincludeonly 25-30sky inashot so
theNDpart of thegradfalls belowthe
horizon, you'rehighly unlikely toseeany
signs that it has inthenal shot.
nthedownside, theweakness of the
NDneans that it's not particularly
ehective, soit onlydoes agood
jobif thediherencebetween
theskyandlandscapeis no
norethanastopor two.
usedtheNDgradwhen
shootingonthecoast at dusk
andit workednebecause
theskywas refectinginwater
sotheforegroundwasn't nuch
darker thanthesky. But if theskyis
bright andtheforegroundunlit, you'll
ndthat this gradisn't strongenough. 1hat
said, it nayholdtheskybackenoughtoavoid
areas blowingout, whichneans youcan
thendarkentheskyfurther duringpost-
production. t's alsouseful insituations where
youhaveanirror inageof ascenebeing
refectedincalnwater intheforeground.
Byusingthegradyoucantonedownthe
sceneandtheskysothat it balances withthe
refection. Youonlyneedaweakgraduateto
dothis -if yougo11, therefectionends
uplighter thanthescenebeingrefected,
Filtertips
ilters are optical accessories soalways
nake sure they are kept cleanotherwise
inage quality will be reduced-even
nore sowithbudget lters.
f a lter becones scratchedor scuhed,
replace it witha newone tonaintain
optinuninage quality.
Always keepyour lters ina protective
case or pouchtoreduce the risk of
danage -the case suppliedwiththe
Borwinlters is ideal.
1osave bag space withscrew-inlters
youcanscrewthenall together then
place the lter stack ina soft pouchor
wrapit ina cloth.
Uvlters are handy for leaving onyour
lenses toprotect the front elenent.
f youuse twoor nore screw-inlters
together, be aware that there's a greater
risk of vignetting withwide-angle lenses
as the conbineddepthof the lter
nounts nay stray intothe lens's eld-
of-view. f youhave a Uvonyour lens for
protection, renove it before attaching
another lter suchas a polariser.
1henorelters youusetogether, the
noreinagequality suhers. nly usetwo
or norewhenit's absolutely necessary.
GOTA
5UGGE5TION?
Haveyoua Budget Pnoto
idea you'dlikeus totry out in
a futureissue Lnail your
suggestions todslrfeedback
dennis.co.uk, titled'Budget
Pnoto', andwenay give
your suggestiona gol
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Above: Theehect fromthe5oft FocusIter won't
betoeveryone'stastebut at Ieast byusingthe
Iter it'soneIessthingtodoinPhotoshop!
Pight: TheorwinNDgradIter Iacksthe
strengthfor most situations, but canbeused
tohoIdbacktheexposuresumcientIytorescue
it further inpost-processing.
Without 5oft FocusfiIter With5oft FocusfiIter
8udget hlter kits
whichdees thelaws of physics andlooks
oddl don't reallybother withUvlters as
always tendtohaveeither apolariser, an
NDgrador anNDlter onthelens, which
provides protection. However, appreciate
that nanyphotographers liketohave
pernanent protection, andthat reallyis
wherethis lter cones intoits own.
You'renot likelytoseeanydiherencein
your shots byusingaUvlter, soits nainuse
is toreducetheriskof thefront elenent
beingdanaged. Conparingshots of the
sanescenetakenwithandwithout theUvin
place, there's nonoticeabledropininage
qualitywhenthelter is used-thoughwhen
shootingintothesunwiththelter onthe
lens, farewas norelikely.
Last but not least, theSoft ocus lter.
oftenusedsoft focus lters inny lndays,
toaddanatnosphericglowtoshots, but you
don't needtoaddsuchehects in-canera
thesedays becauseyoucandoit during
post-production, usingPhotoshoplters, or
thepresets inapplications suchas Colour
1herearelots of budget lters available
thesedays -a quick searchonAnazonor
eBay will reveal literally dozens of options.
ilters canbepurchasedinall popular
threadsizes andindividually or insets so
youcanput together a collectionthat's
ideal for your owntypeof photography.
Otherbudget options
Lfex Pro. Consequently, asoft focus lter is
pretty redundant and'nnot surewhy it was
includedinthis set, other thantonakeup
thenunbers (thoughaplainNeutral Density
lter wouldhavebeennuchnoreuseful).
Nevertheless, if you'vepaidfor it younight
as well useit, souseit didl Andguess what
quiteliketheehect. t adds adelicatedihuse
glowtoinages andyoucancontrol thelevel
of dihusionby varyingthelens aperture-the
wider theaperture, thestronger theehect
andthesnaller theaperture, theweaker the
ehect. Soif youshoot at fi4thesoft focus
will benoreobvious thanif youshoot at fiII.
t's ideal for portraits, nudestudies, still-life,
glanour shots, fower portraits, landscapes
-any subject wheretheadditionof alittle
softness will enhancethenood.
ptically theselters aren't uptothe
standardof Hoya, 1ihenor B+W, but they're
by noneans badeither. was surprisedjust
howsharptheinages are, andthecolour
balanceis pretty goodtoo. kay, the
polariser is a littleonthecool side, but nany
polarisers are-includingones costing
several tines as nuchas this entirekitl n
fact, evenif theother lters hadturnedout
toberubbish, wouldstill havebeenhappy
withny investnent for thepolariser alone.
f you'reusinga proDSLRandtop-of-the-
rangelenses, 'dsay you'redefeatingthe
object by stickingbudget lters onthefront
-there's nopoint blowingyour budget on
thebest lenses only toscrinponlters. But
if you'refairly newtophotography, usinga
entry-level DSLRandkit zoons, andfancy a
cheapintroductiontolters, youcoulddoa
lot worsethanbuy this Borwinkit. At under
20it's excellent valuefor noney andyou
won't bedisappointedwithyour purchase,
or theshots youtakewithit.
PoIaroidOptics 4PieceFiIter 5et
Price: I8.99
Visit: www.anazon.co.uk
1his set contains Uv,
Circular Polariser,
Warn-upandLD
(fuorescent todaylight)
lters. t's alsoavailable
inall popular thread
sizes fron//nndown
to3/nn. 1hecircular
polariser andUvlters arehandy
but theLDisn't necessary withDSLRs
as youcanset your WhiteBalanceto
luorescent andachievethesaneresult.
1hewarn-uplter ehect canalsobe
addedduringpost-production.
P577mmFLD+UV+
CircuIar PoIarizingIter set
Price: 9.99
Looks like great value
(postage is freel) given
that the set includes a
circular polariser, but
we haven't testedit so
we can't vouchfor the
quality. As withthe Polaroid
set above, the LDisn't nuch
use for digital shooters but the Uvand
polariser certainly are. May be a good
optionif your budget is very tightl
ther threadsizes are available too.
XC5ource77mmND2,
ND4andND8Iters
Price: 8.I9
Adiherent kindof lter
kit tothe one tested
here but it just shows
what youcanget for
your noney. 1hese
equate toone, twoand
three-stopNDs, or 0.3, 0.6and
0.9. Use thentogether andyouget six
stops of light reduction. Great for shots of
noving water. 1he price includes a
carrying pouchandcleaning cloth.
ther threadsizes are available.
WithNDgradfiIter
|
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Creative
5UGARRU5H
ByPaul Ward
Camera: NikonD800
Lens: NRA-S/0-200nnfi2.8G
5oftware: PhotoshopCS5
1'SDAYSLLthis when love
ny jobas aphotographer. 1asked
witha Creat|ve|yebasedon
'sweets' neans that get todoan
excitingphotoshoot andthere's
anabundanceof confectionery lyingaround
toll thegaps inbetweenshooting-
perfectl 1heidea for this nonth's challenge
canepretty easily tone-it was inspired
by aninagethat stunbledacross online
wherea nake-upartist hadusedsnall
sweets todecoratea nodel's face. decided
totacklesonethingsinilar.
1herst port of call was toa local sweet
shoptolook for theideal confectionery to
use. knewthat larger stuhwouldn't work so
concentratedonsnaller sweets -hundreds
andthousands wouldbeperfect so picked
upa coupleof pots. alsobought sone
larger sweets as hadtheidea of her having
oneof theninny nodel's nouth-they'd
not gotowasteif didn't usethenanywayl
Backat thestudio draftedinthehelpof
nodel Gennaandnake-upartist aren
Hegarty, andgavethenthebrief of what
was lookingtodo. Wewent backandforth
over anunber of diherent ideas but
eventuallysettledonusingthehundreds and
thousands as plannedandasinglepinkhorse
cakeaniseed(that's what they'recalled,
lookedit upl) inher nouth. arenset about
decoratingGenna's face-sherst applied
lip-gloss as anadhesive, bothtoGenna's
lips andface, andthenone-by-onestuckthe
sweets onbyhand. t was atine-consuning
process but was excitedtoget shooting
after seeingthenake-upnishedl
set upthreelights ina corner of ny
studioinfront of a whitebrick wall. irst,
placeda barestudiofashonthefoor
pointedupat thewall andset tofull power.
1his wouldbleachthewhitewall out, giving
thehigh-key look that was after. thenset
theother twolights upinsoftboxes ina
clanshell layout -oneabovecanera,
pointingdownat Genna, andonebelow,
pointingup. set thetoplight as ny key light
andthenusedthebottonlight ona low
power, alnost likea refector -just toadd
sonell totheshadows.
As wantedthesweets tobethestar of
theshow, ttedanextensiontubebetween
ny NikonD800andNR/0-200nn
fi2.8lens. Lxtensiontubes reducethelens's
nininunworkingdistanceandallowyou
toachievea bigger inageonyour sensor
without forkingout for longer lenses -they
areoftenusedinnacrophotography, but
usethenquitea bit inportraits toowhen'n
focusingona subject's ner details.
After takingtest shots andestablishingthe
correct fashpower andexposure, wetried
out anunber of diherent conpositions. 1his
unconventional cropof part of Genna's
facestoodout instantly. t renindedneof a
classicvoguecover byLrwinBluneneld-
showingthelips andjust oneeye. t was a
sinple, unclutteredcropthat suitedthestyle
was lookingfor perfectly.
Withaninageinthebag novedonto
thepost-processingsideof things.
inportedny nal inagechoiceintoAdobe
Canera Rawandcarriedout thebasicRaw
tweaks, correctingexposureandWhite
Balance. nPhotoshop, rst desaturated
thewholeinagebeforeusingtheHistory
Brushtopaint colour back intoselected
areas -her eyes, lips andthenake-up
nanely. 1his gavetheinagea cleanand
freshaesthetic. Next, noticedthat
Genna's browneyes didn't conplenent
thenake-up, so drewa featheredselection
aroundher iris andusedtheColour Balance
tool totweak thecolour of her eyes, settling
ona nicevibrant pink tonatchthesweets.
inally, usedtheCloneStanptool to
carefully clonesoneof thehundreds of
thousands andll soneof thegaps onher
lips wherethey either hadn't stuck, or had
fallenohduringthedurationof theshoot.
'nreally pleasedwiththenal result here
-andas a bonus 'vegot a niceselectionof
goodies left over inthestudio. can't see
thenlastinglongthoughl
Top: Make-upartist Karen
HegartycarefuIIyappIied
thehundreds and
thousands toGemma's
faceandIips usingIip
gIoss as anadhesive.
Above: I usedtwo
softboxes inacIamsheII
formationtoIight Gemma
-theIargetopsoftbox
was mykeyIight andthe
smaIIer, bottomIight was
set toaIower power to
act as aII Iight.
Pight: I triedacoupIeof
aIternativeideas, too,
usingchocoIateandan
aIternativesweet. Neither
workedas weII as myrst
choicethough.
Creative
LOVEHEART
ByRossHoddinott
Camera: NikonD800
Lens: NR200nnfi4DLD-AMicro
5oftware: Lightroon5
LvL1ANGphotos and'n
alsorather partial totheodd
sweet or two-sothis nonth's
Creat|ve|yechallengewas
tailor-nadefor nel havethree
youngchildren, so'nfaniliar withthelocal
sweet shop. poppedinandhadalook at
what was onoher. 1herewererows of
sweets andahugevariety -thebigquestion
was, whichhadthebest picturepotential
After nuchdeliberation, optedfor atrue
retrosweet -LoveHearts. thought could
havefunwiththeninclose-up, highlighting
diherent words. bought vepackets -
enoughtoensure didn't runout, evenif a
fewLoveHearts got eatenduringthecourse
of ny photoshootl
ncebackhone, poppedtheLove
Hearts onaplate. 1helove-relatednessages
havecertainlychangedsincenychildhood
- don't recall '1ext ne' or 'Wicked' beingon
thenyears agol After sonethought,
decided'LoveHeart' werethenost apt
words. nitially, arrangedthesweets fat on
theplate. placedthenthewrongwayup, so
thewords werehidden- felt this createda
cleaner, less distractingbackdrop. inally,
positionedtheLoveHeart 'dchosento
photographontopof theothers, withthe
nessagevisible. placedtheplateof sweets
onacoheetablenext topatiowindows -
windowlight wouldprovidenorethan
suhcient light for nyclose-up. attacheda
NR200nnnacrolens tonyNikon
D800andnountednyset-uponatripod
placednext tothetable. 1ohelpplace
enphasis onthewords writtenontheLove
Heart was focusingon, selectedawidefi4
aperture. 1heresultingshallowdepth-of-
eldwouldthrowall theother sweets neatly
out of focus. Althoughnyset-upand
approachcouldn't havebeensinpler, the
inages lookedquitegood. However, didn't
thinknyLoveHeart stoodout particularly
well so rearrangedthesweets, stacking
several ontopof eachother andplacingny
nainLoveHeart ontheverytop. Doingso
gavenenoreoptions conpositionally. t
alsoehectivelyplacednoredistance
betweennyfocal point andits background,
whichwouldallownetonanipulatedepth-
of-eldcreatively. triedbothhorizontal and
vertical conpositions, beforedeciding
portrait fornat producedthestrongest result.
Anapertureof fi4producedawafer-thin
depth-of-eld, so hadtofocus carefully
usingLiveview. However, after reviewingthe
results, felt thezoneof focus was too
shallow-'dlost theshapeanddenitionof
thesweets inthebackground. optedfor a
snaller apertureof fi8-this producedjust
theright level of focus, beingshallowenough
tokeeptheenphasis onthewords, but wide
enoughtoensureall theLoveHearts were
recognisable. nadeafewtweaks to
contrast andsaturationinLightroonbefore
exportingnynal shot. Jobdone-nothing
left todobut toeat thesweetsl
Left: I usedLiveViewtofocus manuaIIyonthe
words toensurecriticaI sharpness.
Above: 5tackingthesweets oheredadegreeof
separationbetweenthepoint of focus andthe
rest of thesweets inthebackground.
Aboveandright: I triedanumber of diherent
compositions beforearrivingat mynaI choice
(opposite). ThetemptationtosnackwhiIeI
workedwas astrongone!
Creative
CANDYHIP5TER
byCatherineMacBride
Camera: NikonD/I00
Lens: NRA-S50nnfiI.4G
5oftware: AdobePhotoshopCC
HWABU11HA1l Achallenge
that really wouldleavenejust
likea kidina sweet shopl
Withthis nonth's theneset
as sweets decidedtoget ny
priorities straight andtherst thingonny
to-dolist was tobuy soneprops, gured
that havinga fewsweets aroundwas a good
way of triggeringanidea.
Withthetheneoheringupsonany
potential options, foundit very hardto
decidebetweena still-lifearrangenent of
rainbow-colouredconfectionery or a
sweet-basedportrait. ntheend nadethe
decisiontogofor a candy-coatedportrait
andusetherenainder of thesweets as
paynent for ny nodel. hadseena beauty
portrait of a girl withcandy-coatedlips
before, soinsteadof goingfor sonething
alongthoselines, decidedtoopt for the
naleequivalent, andtokeepit niceand
lightheartedl chosetoconcentrateonthe
nost nanly of nasculineinstitutions. the
beardl decidedthat ninewouldbenade
of candy foss and alsoplannedtopair ny
pink beardwitha candy-coatedpair of
hipster spectacles.
1herst thing tackledwas theglasses.
1hesewerenadeout of anoldpair of 3D
cinena glasses that renovedthelenses
fron. coveredthefranes witha spray-on
adhesiveanddippedtheninrainbow
sprinkles togivethena sugar coating.
thenset about craftingthecandy foss
bearddirectly ontony nodel. As anyone
whohas ever eatencandy foss will know,
it only takes a dropof noisturefor it to
beconevery sticky, so attachedthebeard
usingonly tiny anounts of water. triedto
useas light a touchas possibleas whenit's
over-handled, candy foss becones hard
andclunpy. was alsorestrictedby tine
because, as quickly learnt, candy foss
quickly nelts anongst thecondensation
fronaroundthenoseandnouth. Because
of this it was inportant tohaveeverything
ready togoas soonas ny nodel was ready.
set upny lighting, whichconsistedof a
constant lanpttedwitha 6500daylight
bulb. alsoplannedtobringlight back tothe
beardby usinga handheldsilver refector,
didn't want any harshshadows sotriedto
keepcontrast toa nininun.
tteda NR50nnfiI.4lens tony
NikonD/I00andattachedit onny tripod.
Candy foss is very sticky and knew would
havetoretouchthebeardbetweenshots so
didn't want toendupwitha sticky canera.
switchedtheD/I00tonanual nodeand
dialledinS640, anapertureof fi8tokeep
thenodel infocus but thebackground
softer, andset a shutter speedof Ii250sec.
After afewshots decidedthat theglasses
weretoooverpowering, so tuckedthen
intothejunper (soall that ehort wasn't for
nothing). 1hen, once was happy, allowed
thenodel toeat his beard(that's sonething
that youdon't say every dayl).
openedny inageinPhotoshopand
retouchedany nessy areas onthebeard
usingtheCloneStanpandHealingBrush
tools. Soneadjustnents werenadetothe
Saturation, Contrast andCurves, andthe
inagewas nished-by that tinesowas
thebeard, tool
CIockwisefromtopIeft: I usedsprayadhesive
tocoat theframes beforedippingtheminthe
sprinkIes. Thebeardwas hand-craftedfrom
candyoss andappIiedwithafewsmaII drops of
water. AsingIedayIight buIbwas usedaIong
withasiIver reector toII anyshadows.
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Creative
1heNikonSchool at thenew
NikonCentreof Lxcellencein
central Londonohers a range
of photography courses and
workshops. Lvery nonth, the
reader of our favouriteCreat|ve
|yeinagewins a I29trainingvoucher to
useat theNikonSchool. or further details,
visit. www.nikon.co.ukitraining. f youwant
totakepart inthenext Creat|ve|ye
challenge, headtoour acebook pagewhere
we'll reveal next nonth's theneaheadof
tinesothat youcantry it out for yourselfl
www.faceooo|.con/d|g|ta|s|rpnoto
CreativeE e
PichardPerrin JeIenaPejovic
AdamNichoIson MirandaApps
EwaMikrut
DarIeneYoung
5andieurns
MeIinda5zente
M1HLR1WLLLNASHUMLvARS1PCLDUPADG1ALSLRN20I21DCUMLN1
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PH1GRAPHYAND1HLAR1CAP1URNGBRLA1H1ANGMLMRLS.
AMOTHER'SLOVE
CuttingEdge
Llena Shunllova
CuttingEdge
1'S HARD1believethat
Llena Shunilova pickedup
her rst digital SLRjust I8
nonths ago. Now, at theage
of 32, this forner architect
fronthesnall townof
Andreapol, 550kntothe
west of Moscow, Russia, has receivedhuge
viral success ontheinternet -all thanks
toher instantly recognisablestyleof
photography andtheethereal natureof the
inages that shecreates. ''ninspiredby ny
twosons, Yaroslav andvanya, nowagedve
andtwo, explains Llena. 'Sowhen started
takingphotos was naturally drawntothen
andtheir adventures. quickly realisedthat
youdon't needfancy outts, lights anda
studiotocreatebeautiful inages -infact,
thesinpler thesettingandtheenvironnent
is, theeasier it is tocapturegenuine,
heartfelt nonents.
Llena spent therst six nonths withher
newcanera, practisingandlearning
photography every day, observingand
analysingwhat shelikedandwhat she
didn't. t didn't takelongbeforeher inages
werecreatinga buzz andshestarted
receivingconplinents andconnissions
toshoot other fanilies, thoughshesoon
discoveredthat this sideof thebusiness
didn't appeal. ' startedgettingapproached
toshoot portraits andfanilies locally, which
didfor a while. However, it soonbecane
apparent that, whenphotographingfor a
client, youhavetobendtotheir
requirenents andtheir tastes -whereas
only ever wantedtofull ny ownartistic
vision. Sonetines there's a conproniseto
behad, but don't want ny inages tobe
about conpronise. decidedtoabandon
theidea of shootingfor other peopleand
just concentrateoncreatingthetypeof
inages that wantedtocreate.
Aside fronLlena's visionfor what nakes
a beautiful inage, it's her sons, the aninals
andtheir surroundings whoare the stars of
the show. 1here's a constant thene present
-one of innocence, discovery, adventure
andher boys' relationshipwiththe
creatures onLlena's rural fanily farnin
Russia. 'Most of ny inages are
circunstantial, says Llena. ' photograph
ny childrenandthe aninals onour farn
because they are the things closest tony
heart. Many of the inages are takenwhen
we're out onthe farn, or goingfor a walk.
Naturally, by their side is Llena's fanily dog
-a Central AsianShepherdby the nane of
Misha -a gentle giant whoappears toshare
a channel of silent connunicationwithher
boys, whichLlena captures wonderfully.
t's innediately obvious that Llena's
portfoliois far norethana collectionof
fanily snaps -this is her art andnonatter
howcircunstantial thescenethat she
focuses her lens on, theprocess doesn't
start or endat thepress of theshutter. t's
clear that a lot of planning, tine, loveand
ehort goes intothecreationof eachinage.
'Drawingis aninportant part of theprocess.
Drawingis ny way of thinkingand seento
beabletotranslateny thoughts far nore
eloquently throughdrawingthan ever
couldby writingthendown, explains
Llena. 'Sonetines drawconpleteinages,
at other tines it's a way of recording
elenents or ideas. Photography is a visual
art -evenif youaren't anartist, creating
sonesort of visualisationwill helpgrow
condenceinanidea andnakeit a reality.
'neof thenost inportant parts of a
portrait is your subject's pose, she
continues. ' always pay a lot of attentionto
body position. Poses connunicate
enotionandcharacter, but thewrongpose
cannakeaninagelook awkwardor
inconplete. 1hepositionandposeof ny
childrenandtheaninals inrelationtothe
overall conpositionis incredibly inportant.
Post-processingplays a bigpart in
creatingthe'Llena Shunilova look', as 've
heardit calledalready onvarious internet
foruns, but she's keentokeepher secrets
closetoher chest for now. ' edit ny inages
at night after thechildrenareinbed, and
spenda lot of tinegettingthentolook just
how want, reveals Llena. ' plantoput
together sonetalks andseninars onhow
process ny inages inthefuture.
t seens that theappeal of Llena's
ethereal inages spans far andwide, and
what startedout as a nother photographing
her childrengrowinguphas beconea viral
hit. At last count her portfolioon500px.con
has beenviewedover 2.23nilliontines and
her work has beenporedover by news
outlets fronaroundtheworld, rangingfron
theDa||y Ma|| totheHumngtonPost. Llena's
responsetoall of theattentionis hunble.
't nakes nehappy that peoplelikeny
pictures andit nakes nefocus oncreating
better inages still.
Tov/ewmoreof E/enas work, v/s/t.
www.e/enasnum//ova.smugmug.com
Llena Shunllova
I ALWAYSPAYALOTOFATTENTIONTOODYPOSITION.
POSESCOMMUNICATEEMOTIONANDCHARACTER, UTTHEWRONG
POSECANMAKEANIMAGELOOKAWKWARDORINCOMPLETE
WHA1S1AR1LDU1ASASMALL-SCALLPLRSNALPRJLC1UCLY
BLCAMLALCALSLNSA1N. JRDANBU11LRS1ALSW1H
BRANDNCAWDABU1RLCGNSNGLvLRYDAYHLRLS
'ASACHLD was obsessed
withsuper heroes. hadthe
actiongures, theposters
andall of theanbitionto
beconeasuper herowhen
grewup. Naturally wanted
tobeBatnan-let's faceit,
he's by far thecoolest of thebunch.
BrandonCawooddidn't growupto
beconeBatnan. But his passionand
enthusiasntonakeadiherencedidn't falter.
1his 30-year-oldconnercial photographer
fronGeorgia, UnitedStates, did, however,
endupworkingwithheroes -albeit thekind
that don't tendtowear capes.
Rewinda fewyears and, after pickingup
his rst canera in20I0, Brandonfound
hinself shootingeverythingandanything
-weddings, fanilies and, nost inportantly,
local bands. '1his got neinterestedin
connercial photography andwas the
foundationfor ny conpany, lashLight
Productions, heexplains. ' lovehowyou
cantakea snall-tinebandandshoot then
inthesaneway that thebiggest nanes in
theworldwereshot. t was ny goal tonake
local bands look likeworldwidecelebrities.
1his nantraput Brandonontotheideaof
takingeveryday peopleandpresentingthen
onanepicscale. ' was always inspiredby the
styleof big-productionHollywoodaction
novieposters, so conceivedtheideaof
takinglocal publicsafety, lawenforcenent
andrst responder personnel andcreatinga
series of larger-than-lifeinages. Real people
doingreal jobs but presentedinaway that
nadethenseenlikesuper heroes. 1hey are
thenenandwonenwhoput their lives on
thelineevery day inthenaneof others, yet
receivenoneof theglory andglanour. 1hat
was thestart of Not /|| ear Capes.
Witha strongidea innind, Brandonset
about nakingit a reality, focusingonlocal
heroes inhis honetownof Dalton, Georgia.
Gettingtheidea ohthegroundwasn't easy.
'1heproject alnost never happened,
renarks Brandon. ' triedtofollowthe
proper chainof connunication, but after
back andforthing wasn't gettinganywhere.
was condent that withoneinageunder
ny belt couldconvinceothers totakepart
so put a call out onsocial nedia. hadan
oldfriendget intouchwhoseancewas a
reghter. '|veCot ou' becanetherst
inageintheseries -fronthere had
sonethingtangibletoshowpeopleandit
becanea lot easier toarrangenoreshoots.
Beforelong haddiherent agencies
contactingnerequestingthat include
thenintheprojectl
Withthewheels innotion, Brandonsoon
realisedthat rather thanjust a personal
project, Not /|| ear Capes couldbeput
towards a goodcause. 'Just shootingfor ny
portfoliodidn't feel likeenough. 'vealways
believedintheinportanceof usinga skill to
benet others if possible. decidedtoput
theinages together ina calendar. All in,
CuttingEdge
NOTALL
WEARCAPES
think weraisedaroundS6,000towards a
scholarshipprogranfor theCreativeArts
GuildhereinDalton.
Lookingat theinagesyounight thinkthat
therewasabigbudget or teanbehindthis
successstory, but youcouldn't befurther
fronthetruth. '1here'snoproductiontean
involved-all of thepeopleintheinagesare
real-lifeprofessionalsworkingintheir
respectiveindustries, withtheexceptionof
thecrininals, obviouslyl Myanceeand
1) TheStandOh: Theomcers andtruckwere
shot insituusingthreePauI C. IuhEinstein
strobes. TheIightingehects wereaddedinpost."
2) K9: Gettingtheposeright for bothdogand
owner was trickysoI shot themseparateIy."
3) Everyth/ngW/// 8eOK: TheonIyshoot that
was interruptedbyanemergencycaII out!"
1 1

2 3
businesspartner, Whitney, evenfeaturesina
fewof theinages. 1here'salot of planning
that goesintotheinagesbut workingona
budget neansthat havetonakethebest of
what have. 1heGSPDiver inage, for
exanple, wasshot withthediver proppedup
bychairs. 1heunderwater elenentswere
thenshot throughasnall shtankat honel
1hegraphic, exaggeratedstyleof Not /||
ear Capesiswhat reallysetstheproject
apart andit'sduringpost-processingthat the
inagesreallyconetolife, asBrandon
explains. '1heinagesareall conposites
conprisingof between20-40diherent
inages. t'slabour intensive-eachinage
takesbetweenveand25hoursof post-
processing, dependingonhownuch
conpositingisneeded. doall of nyown
processing, and'nentirelyself-taught.
Mystyleisverynuchgearedtowardsthat
aninatedlookand pull alot of infuencefron
thenoodandtonalityof novies. 'nalsoabig
fanof connercial photographerssuchas
DaveHill, 1in1adder andJoel Grines, so
drawinfuencefrontheir work, too.
Sinceits inception, Not /|| ear Capes has
goneontobeconeagreat success, bothin
Daltonandvirally, viathenagicof the
internet. '1helocal connunitysupport for
theproject has beenthedrivingforce. More
specically, it has neant agreat deal tothe
publicsafety, police, reandrst responder
personnel andtheir fanilies -this groupof
people, at least where'nfron, havenever
beenshowcasedinthis waybefore.
What's nore, this anbitious project has
pavedthewayfor Brandontoshoot noreof
what heenjoys, highlightingtheinportance
of challengingyourself as aphotographer
andtakingonpersonal projects. '1his typeof
workis inportant as it not onlyshows people
what you'recapableof but alsoleads tonore
workof thesanekind. 'veunintentionally
put nyself insonewhat of aniche-'ve
beenconnissionedbyconpanies working
CuttingEdge
NOTALLWEAR
CAPESHASEXCEEDED
EXPECTATIONS, 8OTH
INITSSUCCESSAND
ITSIMPACTONMY
OUTLOOK
1
1
2
2
3
inthepublicsafetyandlawenforcenent
industrytoshoot connercial canpaigns
andcanseenyself pickingupfurther related
workinthefuture. Not /|| ear Capes has
exceededexpectations, bothinits success
andits inpact onnyoutlook. t has givenne
apassiontousephotographyas awayto
raiseawareness. 1heextraworkthat has
coneas aresult of it is great too, but
never want totakefor grantedhowlucky
anfor ndingsonethingthat 'n
passionateabout andbeingabletouseny
skill tonakeadiherence.
Tohndout moreabout tneproject, v/s/t.
www.hasn-//gnt-product/ons.com
1) Emerg/ngfromthe8earcat. I shot the5WAT
teamindividuaIIyandcompositedthemIater."
2} F/nd/ngtheEv/dence. "I shot thediver resting
onachair andtheother eIements inashtank."
3) I'veGot You: Therst imageintheseries. The
reghter was sat inthebackof mytruckwhich
aIIowedmetoget Iowenoughtoget this angIe.
Theames wereshot outsideat home."

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Glft not sultable for chlldren under 36 months
ver weadered wbere be |eers ef be a|pbabe ceme frem? Je|a es as we ake a r|p back bree_b b|serj!
1be 0r|_|as 0f
1be A|pbabe!
When twc vcweIs are
put tcgether tc make a
new scund, this is caIIed
a P|pbbea_.
In scme Ianguages, twc
vcweIs can be squashed
tcgether, Iike this: (a
and e), tc shcw tha
are d
1here is nc Cb|aese aIphabet. Chinese writing uses thcusands cf symbcIs that represent wcrds cr
parts cf wcrds, instead
cf using 26 symbcIs tc
represent scunds
as cur aIphabet dces.
1he Ietter 8bccmes frcm the 6reek Ietter beta , but mcdern 6reeks prcncunce this Ietter mcre Iike a V, and in 6ermany stands fcr twc S 's.
Let's start cff by Iccking at the wcrd 'aIphabet' itseIf.
A|pbabeis a Iist cf Ietters that represent the scunds that make up Ianguage. 1he wcrd ccmes frcm the rst twc Ietters cf the ancient 6reek aIphabet, aIpha and beta, because that was the rst 'true' aIphabet.
1be 0r|_|as 0f 1be A|pbabe!
, when pecpIe
cut er the
d tc wcrk
1c scIve
the
ses weII
ter they
If', 'M
In
_esin
a, pecpIe used
Latin aIphabet
t - befcre gcing
Iater cn.
|a|a
We get cur
aI
kk1he kcmans
aIsc hardIy ever
used the Ietter k
but the
Jj1here was nc Ietter
I in the Latin aIphabet
that the ancient kcmans
used - IuIius Caesar's rst name was actuaIIy IuIius
(prcncunced uIius).
Iade-erepeaaKistcrians think that a Ict
cf urcpean and Indian Ianguages ccme frcm a Icst criginaI
Ianguage caIIed Indc-urcpean, which Iater deveIcped intc
6erman, 6reek, Latin, Kindi and cther Ianguages. 1his is why
Indic writing aIsc usuaIIy has an aIphabet and runs Ieft tc right.
gyptian M|ere_|jpbs are pictures that represent scunds. Fcr exampIe, where we wcuId use the Ietter 8, they wcuId draw a picture cf a perscn's Ieg and fcct, and where we wcuId use the Ietter Mm, they wcuId draw a picture cf an cwI.
|fIn very cId manuscripts, the smaII Ietter S is cften written Iike this: 1hat makes it Icck Iike an F tc us, which can be quite ccnfusing as it makes scme wcrds Icck Iike scmething ccmpIeteIy different - fcr exampIe, 'scuI' Iccks a bit Iike 'fcuI'.
1he 0reekaIphabet is scmetimes caIIed the rst 'true' aIphabet, because it was the rst aIphabet tc incIude vcweIs as weII as ccnscnants - aIpha (Aa, a), epsiIcn (e, e), eta (Hq, Icng e), icta (I, i), cmicrcn (Oo, c), upsiIcn (Yu, y cr u) and cmega (Om, Icng c).
In ancient _jp, the aIphabet was made up cf pictures caIIed hiercgIyphs. 1here were nc vcweIs, sc histcrians whc read ancient gyptian texts have tc guess what the vcweIs shcuId be. Imagine Iccking at the Ietters 'pt' and nct kncwing whether it meant pat, pet, pit, pct cr put!
A
a
|m
a
|
C
e
|e
e
r|a
_
!
When we give ycu pictures tc ccIcur in,

we want tc give ycu scmething tc reaIIy
give ycur penciIs cr craycns a wcrkcut.
See hcw gccd ycu can make cur twc
animaI pictures Icck!
8eek C|eb
C05 IN AC1I0N
keccmmended by: kcbin frcm Fcrtsmcuth
"I reaIIy Icve the Ccws In Acticn
bccks by Steve CcIe, they are
sc funny. 1hey are abcut time
traveIIing ccws whc ght buIIs
frcm the future tc save histcry.
Nct cnIy are they reaIIy funny,
they're easy tc read and ycu
Iearn a bit cf histcry, even if ycu
dcn't Iike reading, try these".
kead a _eed beek aad
waa e recemmead | e
eber 8ra|abex readers?
1bea ema|| es a
bra|abexQdeaa|s.ce.ek
aad e|| es a|| abee |!
k
C
|
0
8
kPA|| 5kI5
CMAk|I 80N
keccmmended by:
Iict frcm 8irmingham
"I Icve these bccks
written by Ienny
Nimmc. 1hey fcIIcw
the stcry cf CharIie
8cne and his quest
tc nd cut the
truth abcut the
mystericus ked knight. CharIie gces
tc an academy cf magic and speciaI
taIents, which Ieads him tc meet
scme IcveIy friends and scme scary
enemies. ach bcck in the series is
fuII cf acticn, adventure and Icts cf
aIIy funny parts."
keccmmended by: 1cm frcm Cardiff
"1he characters in this series cf
bccks are animaIs, the herc in the
rst is Matthias, a IittIe mcuse whc
dreams cf being a great warricr.
Matthias gets his chance tc prcve
when CIuny the Sccurge
d tcwards
8kAIN80
|!|||||| ||1M ||| 11| 4|W||4I

TE5TCENT
1HL LA1LS1 GLAR ANDACCLSSRLS 1LS1LDB LPLR1S
Plus...
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1HLDG1ALSLR
PH1GRAPHY
GLARAWARDS
' LvLGL11NGnyhands onnewkit,
especiallywhen'ngivenanexclusive
preview. hadthechancetotryout the
NikonD4 over thecourseof threedays and
'nnightyglad did. Lveninsuchashort
spaceof tine, 'vehadthechanceto
discover howit takes theNikonXsystento
anevenhigher level. or this test, hadthe
chancetouseit at twonajor football
natches. anACupquarter-nal between
Arsenal andLvertonandaPreniership
natch-Chelseavs 1ottenhanHotspur.
alsocoveredapress conferencebetween
theboxers Carl rochandGeorgeGroves.
'1heD4 is set toreplacetheD4as
Nikon's fagshipnodel andboasts several
advancenents (seepanel) ainedat
capturingevenbetter qualityresults. As with
previous pronodels, thecanerabodyis
beautifullydesignedandweather-sealed
andthecontrols followaverysinilar layout
toprevious generations. 1hebuildqualityis
rst rateand reallylikedtheredesignedgrip,
whichfelt verysolidinthehand. f likene,
you'veusedD3or D4-series caneras, you'll
takenotinetoget usedtotheD4.
'1hosewhoknownewill beawarethat
never shoot inJPLGonlyandwill always
captureinRawfor thebest possiblequality.
However, as theD4 is sonew, therewas still
noAdobeRawplug-infor it, sofor this eld
test, hadtoshoot inJPLG. Despiteny
reservations, was veryinpressedwiththe
qualityof theJPLGles, whicharenuch
better thanJPLGs frontheD4andD3 that
nornallyuse. Not onlyis therenorelevel of
detail, but thecolours arefar noreaccurate
too. At theearlyafternoonganeat Arsenal,
thelight was veryharshbut theD4 coped
easilywiththecontrastyconditions. Later, at
theChelseagane, whereconditions were
better but light levelslower, thecolourswent
toanother level. tooktheopportunityto
test thecanera's noiseperfornanceat
higher Sratings andset S3200for abit
of funandtheresults werebrilliant -nuch
better thanprevious nodels -so'dnot
thinktwiceinfutureabout usingtheD4 at
highSs whenneeded.
'Areliableautofocussystenisvital inny
lineof workand knewthetwoganeswould
giveneastrongideaof theperfornanceof
the5I-point Asysten. perfornedseveral
burst tests(at IIfranes-per-second) at both
ganes, usingtheNR600nnfi4at the
Arsenal ganeand400nnfi2.8at Chelseato
seehowthecontinuousautofocusnanaged
-it wasoutstanding.
1henovenent at afootball natchisvery
erraticassubjectschangedirectionand
speed, arnsandlegsfyeverywhere, while
subjectscrossinfront of eachother, nakingit
verydihcult for Asystenstostaylockedon
your subject. 1heD4 allowsyoutoselect
snaller clustersof Apointsrather thanuse
thenall, so triedthefour-point systenat the
Arsenal ganeandit workedextrenelywell.
WithnyD4, usuallyusesingle-point Aso
NikonD4
RS1 1LS1. PRLSSNAL DG1AL SLR

RichardPelhan, Chief Sports
Photographer for ,
provides anexclusiverst lookat
Nikon's latest fagship, theD4
TEST: RCHARDPLLHAM
SPECIFICATIONS
Imagesensor:X-fornatCMS(36x23.9nn)
Resolution:I6.2-negapixels
Maximumimageresolution:4928x3280pixels
NumberofAFpoints: 5I
Multi-zonemetering:9I,000-pixels
ISOrating:I00-25600(Lo. 50, Hi4. 409600)
Shutterspeeds:Ii8000sec-30seconds+Bulb
8uilt-inash: No
Storage:CoXD
Continuousframerate: IIfranes-per-second
LCDmonitor:3.2in(92I,000dots) 11
Size: I60xI56.5x90.5nn
Weight:I350g(includingbatteryandXDcard)
Contact:0330I230932, www.nikon.co.uk
8odyonly:5,I99(Guide) i5,I99(Street)
Above: TheNikonD4 has asimiIar styIingto
previous promodeIs but withanimprovedgrip.
eIow: PeguIar contributor PichardPeIhamwas
oneof therst photographers intheUKtoget his
hands onNikon's Iatest agshipmodeI.
Verdict
Professional sports photography
places nanydenands onthe
photographer andthekit theyuse.
Reliabilityis akeyissue, but aboveall
thecaneraneeds toperforn
faultlesslyinverydenanding
situations. 1heNikonD4 provides ne
withtheultinatetool for ensuringthat
capturethat split-secondof actionto
perfection. nages aresharp,
well-exposedandrichincolours and
contrast. t's adreannachinefor
professionals likene.
D4 8D4differences
Higher naxinunSrating
(S409600conparedto204800)
Better GroupAreaAMode
Better Atracking-especiallywith
closesubjects
IIfps AtrackingiAL(I0fps onD4)
Gigabit Lthernet port for faster
networktransfer
nprovedWhiteBalance
Lxtendedbatterylife
Adjustablecolour balanceonLCD
60fps video
Better ergononics (newfront grip
andpositionof vertical Anbutton)
Exposure: 1l1250secat fl10(I5O400)
usedthisset-upat theChelseaganeand
foundit workedwell too.
''swebsitehaslotsof video, so'll
bekeentotryout thevideoperfornanceon
theD4, storinginagesona1ouchtechDuo
harddrivebeforeeditingafter thegane. 1he
D4 ohersull HD(I080p) noviesat 50or
60pfor theultinateinquality.
'What elsedid learnabout theD4
Batterylifewasincredible- onlyusedone
batteryfor boththenatches, whichwouldn't
havebeenpossiblebefore. usedLexar XD
Above: TheNikonD4s captures super-sharp
images withgreat coIours andIownoise.
Left: 5equencetakenat 11frames-per-second.
ThebiggestdiscoverywasjusthowfarNikonhas
takenoverallperformanceandimagequality-Ican't
waittogetacoupleoftheseintomykitbag
nenorycards, whichtransferredinages
without anydelay, whichwasexpectedas
wasshootingJPLGs, for Raw'nhopingfor
nininal buhering. didn't usetheLthernet
ports, but that will helpneduringtheWorld
CupinBrazil thisyear, asall stadiunswill be
ttedwithcutting-edgeconnunication.
'1hebiggest discoverywasjust howfar
Nikonhastakenoverall perfornanceand
inagequality- can't wait toget acoupleof
theseintonykit bag. wouldn't want tobe
headingtoBrazil withanythingelsel
OLL
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LSII00D
550 I2.2 I.6x 2./ SD
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6400
Ii200 3 495 I29.9x99./
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Aug II 85
Canon
LS 600D
/20 I8 I.6x 3 SDi
SDHC
ull HD - Ii4000 I00-
I2800
Ii200 3./ 5I5 I33.Ix99.5
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Jun II 95
Canon
LS I00D
840 I8 I.6x 3 SDi
SDHC
25600
Ii200 4 40/ II6.8x90./
x69.4
Aug I3 92
Canon
LS /00D
900 I8 I.6x 3 SDi
SDHC
25600
Ii200 5 580 I33.Ix99.8
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Jul I3 92
Canon
LS /0D
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SDHC
25600
Ii250 / /55 I39xI04.3
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Nov I3 94
Canon
LS /D
I,/00* I8 I.6x 3 C ull HD - - - Ii8000 I00-
I2800
Ii250 8 820 I48.2xII0./
x/3.5
Jan I0 93
Canon
LS 6D
I,800* 20.2 Ix 3.2 SDi
SDHC
ull HD - Ii4000 50-
25600
- IiI80 4.5 /55 I44.5xII0.5
x/I.2
Mar I3 90
Canon
LS 5DMk
3,600* 22.3 Ix 3.2 Co
SDi
SDHC
ull HD - - - Ii8000 50-
I02400
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x/6.4
Aug I2 94
Canon
LS-ID
6,360* I8.I Ix 3.2 2x C ull HD - - - Ii8000 50-
204800
- Ii250 I4 I340 I58xI63.6
x82./
- -
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XC
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I2800
Ii200 - 4 505 I25x96
x/6.5
Sep I2 9I
Nikon D90 650* I2.3 I.5x 3 SDi
SDHC
HD - - - Ii4000 I00-
6400
Ii200 4.5 620 I32xI03
x//
Nov 08 90
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SDHC
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25600
Ii200 - 5 555 I29x98
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Apr I3 93
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25600
Ii200 - 5 530 I25x98
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July I2 94
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SDHC
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204800
- Ii250 5.5 /65 I43.5xII0
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Mar I4 86
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SDi
SDHC
- - - - Ii8000 I00-
25600
Ii250 4 I000 I46xI23
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Pentax -50 600 I6.28 I.5x 3 SDi

SDHC
ull HD - - Ii6000 I00-
5I200
IiI80 - 6 650 I29x96.5
x/0
ct I3 9I
Pentax -5 /I0* I6.28 I.5x 3 SDi
SDHC
ull HD - - Ii8000 80-
5I200
IiI80 - / /60 I3Ix9/
x/2.5
Jan I3 9I
Pentax -3 I,I00* 23.35 I.5x 3.2 SDi

SDHC
5I200
IiI80 - 8.3 800 I3I.5xI00
x//.5
- -
Signa SDIMerrill I,840* 46
(3x
I5.4)
I.5x 3 C - - - - - Ii8000 I00-
6400
IiI80 5 /00 I45.5xII3.5
x80
- -
Sony Alpha 58 450 20.I I.5x 2./ SDiMS ull HD - - Ii4000 I00-
I6000
IiI60 8 492 I28.6x95.5
x//./
- -
Sony Alpha 65 /00 24.3 I.5x 3 SDiMS ull HD - - Ii4000 I00-

I6000
IiI60 - I0 543 I32.Ix9/.5
x 80./
eb I2 92
Sony Alpha // 850* 24.3 I.5x 3 SDiMS ull HD - - Ii8000 I00-
I6000
Ii250 - I2 653 I42.6xI04
x 80.9
Apr I2 92
Sony Alpha 99 2,300* 24.3 Ix 3 SDiMS ull HD - - Ii8000 I00-
25600
- Ii250 - I0 8I2 I4/xIII.2
x /8.4
- -
40 Churton Street, London SW1V 2LP, EngIand TeI: 020-7828 4925 Fax: 020-7976 5783
info@graysofwestminster.co.uk Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
IKON IIGITAL CAMERAS
N||or 013 3LR oody............................................................. 5,199.00
N||or 013 AF-3 11-21rr l/2.80 lF-E0 K|l........................ ,1Z5 00
N||or 013 AF-3 21-Z0rr l/2.80 lF-E0 K|l....................... ,395.00
N||or 013 AF-3 11-21rr & 21-Z0rr l/2.80 K|l.............. Z,95.00
N||or 0800 03LR oody......................................................... 1,995.00
N||or 0800 V8-012 0r|p K|l.............................................. 2,2Z5.00
N||or 0800 AF-3 11-21rr l/2.80 E0 N|||or.................... 3,295.00
N||or 0800 AF-3 21-Z0rr l/2.80 E0 N|||or.................... 3,225.00
N||or0800AF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||or K|l
............................................................................................... 1,525.00
N||or 0800E 03LR oody...................................................... 2,319.00
N||or 0800E V8-012 0r|p K|l........................................... 2,30.00
N||or 0800E AF-3 11-21rr l/2.80 E0 N|||or................. 3,19.00
N||or 0800E AF-3 21-Z0rr l/2.80 E0 N|||or................. 3,5Z5.00
N||or0800EAF-311-21rrl/2.80&AF-321-Z0rrl/2.80E0N|||orK|l
............................................................................................... 1,8Z5.00
N||or V8-012 0r|p lor 0800E/0800..................................... 285.00
N||or 0l AF-3 50rr l/1.80 3pec|a| Ed|l|or...................... 2,195.00
N||or 010 03LR oody......................................................... 1,395.00
N||or 010 V8-011 0r|p K|l.............................................. 1,585.00
N||or 010 AF-3 21-85rr l/3.5-1.50 E0 vR N|||or........ 1,Z99.00
V8-011 0r|p lor 010........................................................... 195.00
N||or 0Z100 3LR oody......................................................... 839.00
N||or 0Z100 V8-015 0r|p K|l........................................... 1,059.00
N||or 0Z100 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l........ 9Z5.00
N||or 0Z100 18-110rr l/3.5-5.0 vR 0X E0 K|l............ 1,095.00
N||or 0Z000 3LR oody......................................................... 5Z9.00
N||or 0Z000 18-105rr l/3.5-5.0 vR 0X lF-E0 K|l........ 99.00
N||or 0Z000 18-200rr l/3.5-5.0 vR ll 0X lF-E0 K|l..... 1,159.00
N||or 0Z000 V8-011 K|l.................................................... Z89.00
N||or 090 3LR oody............................................................. 119.00
N||or 05300 3LR oody......................................................... 595.00
N||or 05300 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 15.00
N||or 05300 AF-3 18-110rr l/3.5-5.0 vR 0X K|l......... 999.00
N||or 05200 03LR oody....................................................... 199.00
N||or 05200 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 519.00
N||or 03300 03LR oody...................................................... 395.00
N||or 03300 AF-3 18-55rr l/3.5-5.0 vR 0X K|l........... 195.00
N||or 03200 03LR oody...................................................... 319.00
N||or 03200 18-55rr l/3.5-5.0 vR 0X K|l.................... 39.00
IKON 1 SYSTEM
N||or 1 v2 10-30rr K|l........................................................ 59.00
N||or 1 v2 10-30rr & 30-110rr TW|r K|l.......................... Z99.00
N||or 1 31 11-2Z.5rr K|l..................................................... 1Z5.00
N||or 1 31 11-2Z.5rr 30-110rr K|l................................ 595.00
N||or 1 Aw1 11-2Z.5rr l/3.5-5....................................... Z19.00
N||or 1 Aw1 11-2Z.5rr l/3.5-5. 10rr l/2.8................ 919.00
N|||or vR .Z-13rr l/3.5-5................................................ 125.00
N|||or vR 11-2Z.5rr l/3.5-5.............................................. 19.00
N|||or vR 10-30rr l/3.5-5................................................. 115.00
N|||or vR 30-110rr l/3.8-5............................................... 1Z9.00
N|||or 10rr l/2.8................................................................. 1Z9.00
1 N|||or Aw 10rr l/2.8........................................................ 299.00
N|||or 18.5rr l/1.8............................................................... 1Z9.00
N|||or vR 10-100rr l/1.5-5. P0-Zoor.............................. 515.00
N||or 38-NZ 3peed||grl........................................................ 139.00
N||or 0P-N100 0P3 ur|l..................................................... 99.00
Vourl adapler FT1................................................................ 199.00
IKON COOLPIX
N||or Coo|p|x A..................................................................... 819.00
N||or Coo|p|x PZ800............................................................. 199.00
AI-S & AI IX IKKOR IENSES
10.5rr l/2.80 AF 0X E0 F|sreye........................................ 515.00
AF-3 35rr l/1.80 0X........................................................... 119.00
AF-3 10-21rr l/3.5-1.50 lF-E0 0X..................................... 39.00
AF-3 12-21rr l/10 lF-E0 0X.............................................. 829.00
AF-3 1-85rr l/3.5-5.0 E0 vR 0X................................... 139.00
AF-3 1Z-55rr l/2.80 0X lF-E0........................................... 1,019.00
AF-3 18-55rr l/3.5-5.0 vR E0 0X................................... 115.00
AF-3 18-55rr l/3.5-5.0 vRll E0 0X................................. 229.00
AF-3 18-105rr l/3.5-5.0 vR 0X lF-E0............................. 209.00
AF-3 18-110rr l/3.5-5.0 vR 0X E0................................. 1Z5.00
AF-3 18-200rr l/3.5-5.0 vR ll 0X lF-E0.......................... 585.00
AF-3 18-300rr l/3.5-5.0 E0 vR 0X................................. Z5.00
AF-3 55-200rr l/1-5.0 vR 0X lF-E0................................ 215.00
AF-3 55-300rr l/1.5-5.0 0X vR....................................... 2Z9.00
AI IX IKKOR IENSES
11rr l/2.80 AF E0............................................................... 1,219.00
1rr l/2.80 AF F|sreye....................................................... 19.00
20rr l/2.80 AF..................................................................... 15.00
21rr l/2.80 AF..................................................................... 39.00
Prices include 2O7 VAT. Prices 8uoject to Change. E.&0.E.
I0 080I8 II|IPH0NI
28rr l/2.80 AF................................................................ 215.00
35rr l/20 AF................................................................... 255.00
50rr l/1.80 AF................................................................ 109.00
50rr l/1.10 AF................................................................ 235.00
85rr l/1.80 AF................................................................ 299.00
85rr l/1.10 AF lF............................................................ 919.00
105rr l/20 AF-0C.......................................................... Z99.00
135rr l/20 AF-0C.......................................................... 1,025.00
180rr l2.80 AF lF-E0.................................................... 95.00
AI-S IXSILENTWAVE IKKORIENSES
AF-3 21rr l/1.10 E0...................................................... 1,19.00
AF-3 28rr l/1.80............................................................ 199.00
AF-3 35rr l/1.10............................................................ 1,299.00
AF-3 35rr l/1.80 E0...................................................... 519.00
AF-3 50rr l/1.10 lF........................................................ 2Z5.00
AF-3 50rr l/1.80 lF........................................................ 119.00
AF-3 58rr l/1.10............................................................ 1,599.00
AF-3 85rr l/1.80............................................................ 3Z9.00
AF-3 85rr l/1.10............................................................ 1,1Z9.00
AF-3 11-21rr l/2.80 lF-E0............................................ 1,310.00
AF-3 1-35rr l/10 E0 vR............................................. 829.00
AF-3 1Z-35rr l/2.80 lF-E0............................................ 1,125.00
AF-3 18-35rr l/3.5-1.50................................................ 519.00
AF-3 21-Z0rr l/2.80 lF-E0............................................ 1,235.00
AF-3 21-85rr l/3.5-1.50 E0 vR.................................... 105.00
AF-3 21-120rr l/10 E0 vR........................................... Z99.00
AF-3 28-300rr l/3.5-5.0 E0 vR.................................. 19.00
AF-3 Z0-200rr l/2.80 vR ll lF-E0................................. 1,599.00
AF-3 Z0-200rr l/10 vR lF-E0....................................... 919.00
AF-3 Z0-300rr l/1.5-5.0 vR lF-E0.............................. 135.00
AF-3 80-100rr l/1.5-5.0 vR E0.................................. 1,899.00
AF-3 200-100rr l/10 vRll lF-E0................................... 1,8Z9.00
AF-3 200rr l/20 vR ll lF-E0......................................... 1,099.00
AF-3 300rr l/10 lF-E0.................................................. 1,029.00
AF-3 300rr l/2.80 vR ll lF-E0...................................... 1,039.00
AF-3 100rr l/2.80 vR lF-E0......................................... ,595.00
AF-3 500rr l/10 vR lF-E0............................................ 5,815.00
AF-3 00rr l/10 vR lF-E0............................................ Z,050.00
AF-3 800rr l/5.E vR FL E0 (|rc. TC800-1.25E E0 le|ecorverler)
.........................................................................................13,995.00
TC-11E ll 1.1x le|ecorverler............................................. 309.00
TC-1ZE ll 1.Zx le|ecorverler............................................. 309.00
TC-20E lll 2x le|ecorverler............................................... 389.00
AI &AI-S MICRO-IKKOR IENSES
AF-3 10rr l/2.80 0X V|cro............................................ 185.00
0rr l/2.80 V|cro........................................................... 35.00
AF-3 0rr l/2.80 E0 V|cro............................................ 399.00
AF-3 85rr l/3.50 vR 0X lF-E0 V|cro........................... 3Z5.00
AF-3 105rr l/2.80 AF-3 vR V|cro lF-E0...................... 19.00
200rr l/10 AF V|cro lF-E0............................................ 1,195.00
IKON SPEEDLIGHTS
38-910 3peed||grl............................................................ 335.00
38-Z00 3peed||grl............................................................ 229.00
38-100 3peed||grl............................................................ 119.00
38-R1C1 C|ose-up Corrarder K|l................................ 559.00
38-R1 C|ose-up Rerole K|l............................................ 399.00
3u-800 w|re|ess 3peed||grl Corrarder........................ 29.00
38-R200 w|re|ess Rerole 3peed||grl............................. 159.00
MANUAL IOCUS IKKOR AIS IENSES
20rr l/2.8 N|||or............................................................. 901.00
21rr l/2.8 N|||or............................................................. 08.00
28rr l/2.8 N|||or............................................................. 15.00
35rr l/1.1 N|||or............................................................. 1,22Z.00
15rr l/2.8P N|||or, crrore............................................ 325.00
50rr l/1.1 N|||or............................................................. 59Z.00
50rr l/1.2 N|||or............................................................. Z13.00
180rr l/2.8 E0 N|||or..................................................... Z99.00
ZOOM-IKKOR MANUAL AIS IENSES
28-85rr l/3.5-1.5 Zoor-N|||or ...................................... 599.00
SPECIAL IURPOSE: IERSPECTIVE
CONTROL ANDMICRO-IKKOR IENSES
21rr l/3.50 PC-E E0 N|||or.......................................... 1,155.00
28rr l/3.5 PC N|||or...................................................... 1,195.00
15rr l/2.80 E0 PC-E N|||or.......................................... 1,395.00
55rr l/2.8 V|cro-N|||or.................................................. 511.00
85rr l/2.80 E0 PC-E N|||or.......................................... 1,325.00
105rr l/2.8 V|cro-N|||or................................................ 1,01Z.00
200rr l/1 V|cro-N|||or................................................... 895.00
PC: Perspecl|ve Corlro|. PC-E:T||l/3r|ll-Perspecl|ve Corlro|
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IINANCE

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"Thc a!!cn!Ion !o scrcIcc jor
uhIch Gras oj Wcs!mIns!cr
Is no!cd - unob!rusIcc bu!
mc!Iculous and dclIccrcd uI!h
uarm!h and s!lc - Is dclIgh!jull
pcrsonal and ccr BrI!Ish. |! Is a
rcal AladdIn's cacc."
Pixc| mcgczinc, issuc nc. 90
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I0 080I8 II|IPH0NI

SPECIALISINGINTHE EXCEPTIONAL
TogeLher viLh Lhe 6mm f/2.8 lens, Lhis is Lhe videsL of Lhe Iisheye-Nikkor lenses, viLh an angle of viev of 22O. WiLh
iLs 6mm focal lengLh and exLremely vide coverage, sub|ecLs slighLly behind Lhe camera vill also be included in Lhe
image. There are six filLers on a roLaLing LurreL builL inLo Lhe lens: L1A (SkylighL), Y48 & Y52 (lighL and medium
yellov), R6O (Red), X (green) and O56 (orange). The aperLure range is: f/5.6 Lo f/22. There are 9 elemenLs in 6 groups.
Weighs: 43Og. ApparenLly, Lhe 6mm Iisheye-Nikkor vas originally produced as a survey lens for Lhe NaLional ArcLic
Survey Lo Lake picLures of Lhe vhole sky and cloud formaLions unhindered. IirsL
producLion: }anuary 1969. ur research suggesLs LhaL serial numbers began viLh
656OO1 (excluding five proLoLypes), Lhis example is 66OO99. The lens is compleLe
viLh fronL and rear caps and separaLe opLical finder (also viLh cap) LXC+ 25,OOO.
omm 5.o IISHEYE-IKKOR IENS: THE IOLY GRAIL OF IKONCPTICS
IhoLographs by
Tony HursL
RSARLALLABU1BGCLSL-UPS, W1HU1GL11NG1CLSLYURSLLl
USLYSHARP, SDN'1LLLLL1HLY'RLRLS1RC1LD1MACRUSLNLY
MACROLEN5E5
1
3
2
4
hese
longer focal lengthnacrosisgreater
shootingdistance-it cannakeall the
diherence. 1henanufacturers' quoted
closest focusingdistanceisalwaysneasured
fronthesensor, but what'snoreinportant
withnacrophotographyisjust hownuch
distanceyou'vegot betweenthesubject and
thefront of thelens, knownastheMininun
WorkingDistance, or MWD.
Withincreasedfocal length, thisis
obviouslylonger, sothere'slesschanceof
castingashadowover thesubject withyour
body, noreroontoget afashgunor a
refector intoagoodposition, andthere's
lesschanceof scaringohfightycritters.
1heMWDvariesslightly, evenwithnacros
of thesanefocal length, dependingonthe
internal optical design.
All thesenacrolenses will focus downto
areproductionratioof I.I, andtheMWDis
giveninthereviews -around22-24cnfor
aI80nnlens, thoughit varies slightly
dependingontheinternal optical design. I.I
neans that thesubject is recordedlife-size
onthesensor. or exanple, onafull-frane
canerathesensor neasures 36x24nn, so
asubject 36nnlongat I.Iwill fornan
inage36nnwideonthesensor, exactly
llingthewholewidth. Movingbacksothe
lens is focusedat I.2, thesubject will be
I8nnwideonthesensor, at I.4it'll be9nn
wide, andsoon. Reproductionratios are
shownalongsidedistances onthefocusing
scale, for handyreference.
1hecanerafornat alsohas abiginpact
onMWD, andthoughit doesn't changethe
reproductionratios, it does changethe
ehect that theyhave. nAPS-C, thesensor
neasures roughly24xI6nn, andusingthe
exanpleabove, asubject 36nnlongat I.I
will not t withintheinagearea. Soyouhave
tonovebackabit, andtheworkingdistance
increases inlinewiththecropfactor. Soif the
subject lls afull-franesensor at 22cn, then
onAPS-CI.5xit will dothesaneat 33cn
(22xI.5=33). 1henet result of shootingon
APS-Cis asubstantial increaseinworking
distances, conparedtofull-frane.
Test Centre
RCHARDHPNS
1)CanonLI80nnfi3.5LUSME,275
2)5igmaLXI50nnfi2.8DGAPHSMSE700
3)5igmaLXI80nnfi2.8DGAPHSMSE,S00
4)TamronSPI80nnfi3.5Di LD() E700
1LS1 DLSCRP1N
Lens terminology
AF motors
Micro-notors aretheolder andnore
conventional typeof systenusedto
focus lenses andrenaina fast and
reliableoption. Better still arenotors
using'sonicwaves' torotatethelens,
whicharefaster andquieter. Most
brands oher lenses that boast sonic
notors, including. CanonUltrasonic
(USM), NikonSilent WaveMotor
(SWM), Signa Hypersonic(HSM),
Sony Super SonicMotor (SSM) and
1anronUltrasonicSilent Drive(USD).
Aspherical lens element
High-quality elenents designedto
inproveperfornance, particularly
towards franeedges. Aspherical lens
elenents areusually nadefronglass,
but therearealsonany noulded
glassiplastichybridelenents, too.
Imagestabilisation
Many lenses havea 'foating' elenent
linkedtosensors that noveit to
counteract novenents when
handholding. Most brands oher
lenses withlens-basedstabilisers,
althoughwithsoneit's canera-
based. 1hey include. Canonnage
Stabiliser (S), Nikonvibration
Reduction(vR), Signa ptical
Stabiliser (S) and1anronvibration
Conpensation(vC).
Internal Focusing(IF)
Alsocalledinner focusing, this systen
rotates elenents withinthelens
duringA sothat thefront of thelens
doesn't rotate. 1his is useful when
usinglters as youdon't haveto
adjust thelters followingfocus.
Premiumglass elements
High-quality elenents ensurethe
best possibleinagequality, delivering
naxinunsharpness, superior colour
reproductionandcontrast, and
nininal chronaticaberration.
Connontypes include. Canon
luoriteoUltra LowDispersion(UD),
NikonLD(Lxtra-lowDispersion),
Signa Lxtraordinary LowDispersion
(LLD) oSpecial LowDispersion(SLD),
1anronLxtra Refractive(XR).
UR1LS1SLat thekeyfactors
infuencinginagequality-sharpness,
distortion, chronaticaberrationand
vignetting. Wealsotest perfornanceof the
Aandinagestabiliser (S) systens.
or S, weuseanoscillatingplatforn
custon-nadetoninichandholdingthe
lens. 1heplatforn's great virtueis that it's
anabsolutelystandardtest, soall lenses are
testedinexactlythesanewayfor
accurateconparisons.
5harpness: What wecall sharpness is a
conbinationof resolution(theneness of
details) andinagecontrast (howclearly
thosedetails areshown). Resolutionand
contrast aredirectly linkedandwhenone
goes up, theother goes down. Weuse
Modulation1ransfer unction(M1) analysis
toneasuresharpness, as dolens
nanufacturers. Results areshownas M1
at 24lines-per-nnfor full-franelenses
andat 36lines-per-nnfor APS-Ctoadjust
for thecropfactor, sosharpness is generally
slightly lower thanfull-frane, inlinewith
actual use. Multiplereadings aretakenand
averaged, andedgereadings aretakenfron
points I-2nnfronthesensor edge. Peak
resolutionshows naxinunlpnnat 20
M1, whichis thelowest level wherelight
anddark tones canbereliably neasured,
thoughthediherenceis faint.
Unlikenost lens test procedures that use
arelativelysnall test target that oftenhas to
beshot at verycloserange, egwide-angles,
weusenultipleindividual targets of diherent
sizes tokeepdistances realistic. Afocusing
wedgeensures absoluteaccuracyand
autonaticallyadjusts for eldcurvatureand
focus shifts that canskewother nethods.
ANikonvIis usedwhenpossible(all Canon
andNikonlenses) withaprecisioncuston
adaptor topositionanyareaof thetest
inageover thecentreof thesensor. 1his
provides bothalevel playingeldandalso
anextrenelyhighresolution(equivalent to
/4negapixels onfull-frane) toensurethe
canerais never thelinitingfactor.
Distortion: Distortionnakes straight
lines towards thefraneedges appear
curved. t changes withfocal lengthandis
less noticeableonAPS-C. Barrel distortion
lines curveoutwards (indicatedas a positive
percentagevalue, eg+I.5), pincushion
distortioncurves inwards (indicatedas a
negativevalue, eg-0.5). 1helower the
statedgure, thebetter. Ior less is good,
2or norebeingincreasingly noticeable.
Vignetting: vignettingis darkening
towards thecorners. t changes withfocal
lengthandis alsoless proninent onAPS-C.
vignettingreduces quickly as theapertureis
closeddown. t's easily renovedin
post-processing, but whenit's strongthis
results ingreater noise. vignettingis
neasuredinLxposurevalues (ILvequals
onestop). -ILvis usually not a problen.
Chromaticaberration: Alsoknown
as CAor colour fringing, is usuallyonly
slightlyreducedat higher finunbers, andis
norenoticeableonAPS-Cfornat duetothe
cropfactor. Distortion, vignettingandCAcan
all besubstantiallyreducedor elininated
withpost-processingsoftware.
Autofocus: Autofocus speedand
accuracy is a ganeof twohalves -half
canera, half lens. nthelens sideof things,
nost of thediherences relatetothe
nechanics andbuildquality, andthis is
connentedoninthereviews.
Imagestabilisation: Weusean
oscillatingplatforn, custon-nadetoholda
DSLRbodyinplaceandninichandholding
characteristics, andinour testingit has
provedveryrealistic. 1heplatforn's great
virtueis that it's anabsolutelystandardtest.
5harpness: HowcIearIynedetaiI isrecorded
Distortion: 5traight IineshaveasIight curve
Vignetting: Progressivedarkeningtocorners
Howtoreadthe lens sharpness graphs
Our bar graphs provideyouwithavisual
representationof lens sharpness. Each
graphshows thecentreandedge
performanceof thelens at full f!stops from
maximumaperturetof!16at dinerent focal
lengths of thezoom. Centresharpness is
showninred, edgeingreen. Thehigher the
bar, thebetter thesharpness, withratings as
follows: 8elow10: Poor, 10-29: Fair, 30-49:
Good, 50-69: Very good, Over 70: Excellent.
All our lens test analysis is performedusing
software.
Lens5harpness(X): FuII-frame Edge Centre
60
10
20
30
40
50
70
80
90
0
100
E
x
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e
n
t
V
.
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fl16 fl11 fl8 fl5.6 fl4 fl2.8
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6
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7
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6
7
7
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8

MACRLLNS 1LS1
HANDLING: 1heshortest lens of thegroup
physically, inlinewithreducedfocal length,
thoughnot thelightest. t looks andfeels likea
scaled-downversionof theI80nnSigna, and
shares thesanehighbuildquality. 1opnarks.
FEATUPE5: Afull house, includingHypersonic
Awithfull-tinenanual overrideand
dual-nodeinagestabilisation. ptical
constructionis I9elenents inI4groups, with
threeSLDelenents (conparedtotheI80nn
Signa's threeLDelenents). 1ripodcollar,
hoodandcasearestandard.
AUTOFOCU5ANDI5: HypersonicAis
near-silent andfast, scoringanaverageof 0.4
seconds inthenear-to-far speedtest (I.5nto
innity). Mininunworkingdistance(MWD) is
I8cnfronthefront of thelens at I.I, roughly
5cnless thantheI80nnnacros, though
usefully longer thanI00nnnacros that
averagearoundI4cn. Sinagestabilisation
scored90success at threestops belowthe
handholdinglinit, and60at four stops. 1hat's
about as goodas it gets.
PEPFOPMANCE: Another very sharplens fron
Signa, andnotablefor howclosely edge
sharpness tracks thecentre. nfull-frane,
sharpness is already 'excellent' across thefrane
at fi2.8, it gets auseful legupat fi4, andstays
abovethe'excellent' linetofiI6. irst-rate
perfornance, andthepatternis repeatedon
APS-Cat aslightlylower level, but still 'excellent'
throughthenid-rangeapertures.
SigmaEX50mmf/2.8
DGAPOHSMOS
700
VEPDICT: nly theSignaI80nnis sharper
thanthis, thoughapart fronat fi2.8there's
really nothinginit. Mechanical perfornanceof
AandSis excellent. very inpressivestuh
againfronSigna, thoughinevitably theMWD
is less thanI80nnnacros, andthat couldbea
drawback for soneusers. Just onenorething
tonote-it's areal bargainat only /00.
HANDLING 19l20
FEATUPE5 18l20
PEPFOPMANCE 37l40
VALUEFOPMONEY 20l20
OVEPALL 94l100
HANDLING: Acoupleof centinetres longer
thanthesinilar spec1anron, but shorter,
slinner andnuchlighter thantheSigna
I80nnblockbuster. Buildquality is typical of
Canon's fanous red-ringers, very snoothin
operationandsolidly engineeredwithanetal
barrel, andthat's unusual thesedays.
FEATUPE5: Nothingfancy, just excellent
essentials. UltrasonicAwithfull-tinenanual
override, andafocus liniter set at alongish
I.5n-noinagestabilisationor
weatherproong. ptical constructionis
I4elenents, withthreeof UDglass, arranged
inI2groups. Lens hoodandcasesupplied.
AUTOFOCU5: USMautofocus is very quiet
andfast, averagingjust under 0.4seconds in
thenear-to-far speedtest (I.5ntoinnity).
Noproblens hereat all. At I.I, thenininun
workingdistanceof 24cnfronthefront of the
lens is joint-longest here, withthe1anron.
PEPFOPMANCE: Sharpness is very highinthe
centre, abovethe'excellent' lineat all apertures
onfull-frane, peakingat fi5.6. t doesn't lose
nuchontheAPS-Cstandardeither, also
'excellent' at nid-rangeapertures, withedge
sharpness onAPS-Cclosebehind. Sofar so
good, but edgesharpness onfull-franeis low
for alens of this calibre. 1houghnever less than
'very good', theedges don't natchthestandard
inthecentreuntil fi8tofiII. Aberrations
control is topdrawer, withdistortion, vignetting
andCAall 'excellent' throughout.
CanonEF80mm
f/S.5LUSM
1,275
VEPDICT: Specicationis nodest, lacking
high-endfeatures likeS, but thepriceis not.
Whilenechanics areexcellent, perfornanceis
disappointing. Maybethedesignis showingits
age, not havingchangedsinceI996, whileover
thesaneperiodCanon's I00nnnacros have
beenupdatedtwice, withthesuperbI00nn
fi2.8LSversionnowarguablyleadingthat class.
HANDLING 19l20
FEATUPE5 15l20
PEPFOPMANCE 30l40
VALUEFOPMONEY 14l20
OVEPALL 78l100
CanonEF180mmfl3.5LU5M
DI5TOPTION(Full-frame: Excellent
DI5TOPTION(APS-C: Excellent
VIGNETTING(Full-frame: Excellent
VIGNETTING(APS-C: Excellent
CHPOMATICA(Full-frameedge: Excellent
CHPOMATICA. (APS-Cedge: Excellent
5igmaEX150mmfl2.8DGApoH5MO5
CHPOMATICA(APS-Cedge: Excellent
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Test Centre
HANDLING: Shorter, slinner andlighter than
other I80nnnacros, andeasier tohandle
whenstoopingawkwardly for nacrosubjects.
Manual focusingis oftenpreferablewithnacro,
andwithout full-tineAoverridethe1anron's
pull-clutchswitchover nechanisnworks very
well, andit's nger-light. Highbuildquality.
FEATUPE5: LiketheCanon, fi3.5naxinun
apertureloses two-thirds of a stopconpared
tofi2.8. Not sucha problenwithnacrowhere
higher finunbers areoftenneededfor
depth-of-eld, andit nakes the1anron
lighter. At thefront, there's a separateocus
Lhect Control (LC) ringthat allows a
polarisinglter toberotatedwhilethelens
hoodis on. ptical designis I4elenents
includingtwoof LDglass, inII groups.
1ripodcollar, hoodandcasesupplied.
AUTOFOCU5: Adriveis bynicro-notor rather
thanultrasonic. t nakes onlyaquiet whirring
soundandnoves quickly, recordingjust over
0.4seconds inthenear-to-far speedtest (I.5n
toinnity) natchingtheothers' ultrasonics.
1here's nofocus liniter. MWDat I.I is ahandy
24cn, natchingtheCanonandbeatingboth
Signas byafewcentinetres.
PEPFOPMANCE: Sharpness is very highinthe
centre, confortably abovethe'excellent' line
onbothfull-franeandAPS-C. Ldgesharpness
is lower, but never less than'very good' and
reaching'excellent' fronfi5.6right across the
frane. Noproblens ontheaberrations front.
TamronSP 80mm
f/S.5 Di LD(IF)
700
VEPDICT: 1hespecicationis less anbitious
all round, losingpoints hereandthere. 1he
optics aregood, thoughit needs stopping
downfor best sharpness across thefrane.
or longest nininunworkingdistance, the
1anronwins, but for overall perfornance
aroundthe/00nark, theSignaI50nn
fi2.8HSMStakes sonebeating.
HANDLING 19l20
FEATUPE5 14l20
PEPFOPMANCE 32l40
VALUEFOPMONEY 18l20
OVEPALL 83l100
Tamron5P180mmfl3.5Di LD(IF)
CHPOMATICA(APS-Cedge: Verygood
HANDLING: t's bigandheavy, actually
weighingnorethansone/0-200nnfi2.8
zoons. Superbly nade, it feels solidas arock
yet works snoothas butter. Absolutely
top-gradebuild, only lackingweatherproong
-but noneof theselonger nacros havethat.
FEATUPE5: Lverythingyounight expect for
I,300. ptical designis I9elenents inI4
groups, andsignicantly, threeelenents areof
costly LDglass withfuorite-likequalities. Ais
Hypersonic, andSigna's Sinagestabilisation
is another highlight. Hoodandcasesupplied.
AUTOFOCU5ANDI5: Ahas Signa's quiet and
ehcient HSMdrive, withaliniter set at 6/cn,
plus full-tinenanual override. t's fast,
recording0.4seconds inthenear-to-far speed
test (I.5ntoinnity). MWDis 22cnat I.I,
neasuredfronthefront of thelens, acoupleof
centinetres less thanrivals. Signa's Sinage
stabilisationrecorded80sharpinages at
threestops belowtheunaidedhandholding
linit, and50at four stops. Lvenat nacro
range, wegot atwo-stops upside.
PEPFOPMANCE: very fewlenses, of any design
or price, areas sharpas this one. nfull-frane
sensors at fi2.8, bothcentreandedges soar
highabovethe'excellent' line, nudging90
M1at fi4, only thenreducinginlinewith
dihraction. Lvenat thehigher standard
denandedonAPS-Csensors, sharpness is
hardly dented, andstill renains confortably
above'excellent' tofiII.
VEPDICT: 1henighty SignaI80nnfi2.8
presents aconundrun. or sheer perfornance
- fronthestunningsharpness, torst class A
andSoperation, tosuperbbuildquality - this
is clearly thebest nacrolens available, bar
none. But inpractical terns, it's onebiglunpof
alens tonanhandleonanacrosafari, withan
equally heavy price.
HANDLING 17l20
FEATUPE5 20l20
PEPFOPMANCE 40l40
VALUEFOPMONEY 16l20
OVEPALL 93l100
5igmaEX180mmfl2.8DGAPOH5MO5
CHPOMATICA. (Full-frameedge: Good
CHPOMATICA. (APS-Cedge: Good
SigmaEX80mmf/2.8
DGAPOHSMOS
1,300
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Test Centre
MACRLLNS 1LS1
Comparisontable: Macrolenses
Lens ModeI CanonEF 180mm
fl3.5L U5M
5igma EX150mm
fl2.8DGApoH5MO5
5igma EX180mm
fl2.8DGApoH5MO5
Tamron5P180mm
fl3.5Di LD(IF)
Price PPPl5treet 2,244 i I,2/5 I,000 i /,00 I,500 i I,300 950 i /00
Format compatibiIity ull-frane and APS-C ull-frane and APS-C ull-frane and APS-C ull-frane and APS-C
FocaI Iength equiv. (AP5-C 1.5x) 2/0nn 225nn 2/0nn 2/0nn
FocaI Iength equiv. (AP5-C 1.6x) 288nn 240nn 288nn 288nn
AngIe-of-view(FF) I3.3 (diagonally) I6.4 (diagonally) I3./ (diagonally) I3./ (diagonally)
AngIe-of-view(AP5-C) 8.5 approx. (diagonally) I0.5 approx. (diagonally) 9 approx. (diagonally) 9 approx. (diagonally)
OpticaI construction I4 elenents in I2 groups I9 elenents in I3 groups I9 elenents in I4 groups I4 elenents in II groups
PremiumeIements 3x UD glass 3x SLD glass 3x LD glass 2x LD glass
Aperture range fi3.5 to fi32 fi2.8 to fi22 fi2.8 to fi22 fi3.5 to fi32
Diaphragm Light rounded blades Nine rounded blades Nine rounded blades Seven rounded blades
Autofocus drive Ultrasonic (USM) Hypersonic (HSM) Hypersonic (HSM) Micro-notor
ManuaI focus ull-tine override ull-tine override ull-tine override Pull-clutch switch
Minimumfocus 48cn (fron sensor) 38cn (fron sensor) 4/cn (fron sensor) 4/cn (fron sensor)
Min. working distance 24cn (front of lens) I8cn (front of lens) 22cn (front of lens) 24cn (front of lens)
Max. magnication ratio I.I I.I I.I I.I
Focus Limiter At I50cn At 53cn At 6/cn No
Distance scaIe Yes. Also reproduction ratios Yes. Also reproduction ratios Yes. Also reproduction ratios Yes. Also reproduction ratios
Depth-of-eId scaIe fi32 only No No fi32 only
Image stabiIisation No our-stops, dual node our-stops, dual node No
FiIter size /2nn, non-rotating /2nn, non-rotating 86nn, non-rotating /2nn, with LC
Weather-resistant No No No No
Tripod coIIar Yes, renovable Yes, renovable Yes, renovable Yes, renovable
Accessories suppIied Hood and case Hood (with APS-C extension), case Hood (with APS-C extension), case Hood and case
5ize DxL 83xI8/nn 80xI50nn 95x204nn 85xI66nn
Weight I,090g I,I50g I,460g 920g
Fittings Canon only Canon, Nikon, Signa, Sony Canon, Nikon, Signa, Sony Canon, Nikon, Sony
Website www.canon.co.uk www.signa-inaging-uk.con www.signa-inaging-uk.con www.intro2020.co.uk
Test rating 78l100 94l100 93l100 83l100
Test conclusion
B
1H1HLSGMAI80nnfi2.8
HSMS, andtheshorter Signa
I50nnversion, areoutstandingly
sharp, andfully-featuredwithHypersonic
A andgoodinagestabilisation.
1heSigna I80nnis sinply oneof the
sharpest lenses nade, withthoseexotic
andcostly LDelenents positionedat the
front showingwhat they cando.
However, they addtothecost andas the
M1 graphs show, it's really only at fi2.8
wherethebenet is signicant conpared
totheI50nnversion, whereas with
nacroyou'renostly workingat higher
finunbers just toget enoughdepth-of-
eld. Sofor that reason, andtheattractive
price, theless bulky Signa I50nnfi2.8
HSMS takes theBest Buy award, with
theI80nnversionHighly Rated.
f it's thelongest nininunworking
distanceyou'reafter, thentheCanonand
1anronconetothefore. 1hey bothoher
noreof that, especially conparedtothe
I50nnSigna, thoughthey'refi3.5rather
thanfi2.8, andlack inagestabilisation.
1heCanonI80nnfi3.5L USMis getting
onnow, datingfronI996. 1he
nechanical aspects arerst rate, but
Signa denonstrates howoptical design
has novedon. BeingCanonL-grade, it's
a very capablelens, of course, and
extrenely sharpinthecentre, but needs
stoppingdownfor best overall inage
quality and, conparedtonorenodern
rivals, looks expensive.
1he1anronI80nnfi3.5is another
lens withvery highcentral sharpness, that
benets fronstoppingdownfor best
sharpness at theedges. Adnittedly, with
nany nacrosubjects this is less
inportant becauseareas towards the
edges areoftenout of focus anyway, soin
practicethis nay beless inportant.
However, thespecicationis alsonore
nodest whenconparedtotheSigna
I50nnfi2.8that sells for thesane.
Nikoncurrently doesn't haveanacroin
thelonger telephotofocal lengthrange.
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F-6...................................... 104.95
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128 Inc 20 C/back* ...........Price you pay today 148
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50mm f1.8 GAF-S ................................................. 149
60mm f2.8 GAF-S ED Micro.................................. 404
85mm f1.8 GAF-S ................................................. 375
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EF-S 60mm f2.8 USM Macro Lens....................365
EF 85mm f1.8 USM...........................................309
EF 100mm f2.8 USM.........................................429
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EF 200mm f2.8 L USM MK..............................649
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EF-S 18-135mm f3.5-5.6 S STM......................359
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EF 24-70mm f2.8 L USM ................................1799
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EF 24-105mm f4 L S USM...............................813
EF 28-135mm f3.5-5.6 S USM.........................379
EF-S 55-250mm f4-5.6 S ..............................208
EF 70-200mm f2.8 L S USM ..........................1949
EF 70-200mm f4.0 L S USM
EF 70-300mm f4-5.6 S USM............................389
1 V3 Body .............................729
+10-30mm PD Zoom............799
+10-30mm PD Zoom
+ EVF + Grip .........................1049
1 V3
NEW! 1 V3 From 729
18.4
megapixels
60 fps
D3300 Body.........................499
+18-55mmVR ...................598
D3300
Black,
Red
or Grey
Black or
Silver
D3300 From 499
24.2
megapixels
5.0 fps
L|ghnng & Accessor|es
430EX
209
SB910
339
Light Stands
From10.99
LED Lights
From29.99
Ezybox Speed-Lite
Softbox 44.99
L308s
139
Plus Set
229
Gemini Pulsar
Tx 500R Kit 9S9
Tx 500 Pro Kit 1199
D-Lite 4Rx
Softbox Kit 639
Urban Collapsible
Background 165
+ 18-55mm S STM...............479
+ 18-55mm S STM
+ 40mm STM........................619
18.0
megapixels
4.0 fps
EOS 100D
100D Body 399
18.0
megapixels
5.0 fps
+ 18-55mm S STM 548 Inc
+18-135mmS STM 699 Inc
EOS 700D
700D Body 489
D7000 Body...........................579
+18-105mm VR......................705
D7000
D7000 From 579
16.2
megapixels
1080p
movie mode
6.0 fps
D7100 Body 739 Inc Cashback*
D7100 +18-105mm VR
879 Inc Cashback*
D7100
D7100 From 839
24.1
megapixels
1080p
movie mode
6.0 fps
Body 929 Inc C/back*
+ 18-135mm f3.5-5.6 S 1159 Inc
EOS 7D
7D Body 1029
18.0
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1080p
movie mode
8.0 fps
6D Body ............................... 1379
+ 24-105mm S .................1925
EOS 6D
6D From 1379
20.2
megapixels
1080p
movie mode
4.5 fps
1080p
movie mode
D5300 Body 609 Inc C/back*
D5300 + 18-55mm VR 639 Inc
D5300
D5300 Fro 669
24.2
megapixels
5.0 fps
Black,
Red or
Grey
NEW!
MT190XPRO4.....................199
MT190CXPRO3
Carbon Fibre........................344
MT190CXPRO4 Carbon Fibre........
.............................................359
MT190XPRO3
+ 496RC2 Ball Head............244
MT190XPRO4
+ 496RC2 Ball Head............259
MT190XPRO3
160cm
Max Height
9cm
Min Height
1D X Body............................ 4845
EOS 1D X
1D X Body 4845
18.1
megapixels
12.0 fps
FuII Frame
Sensor
CouId you be the.
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Canon Cashback* ends 07.05.14 Nikon Cashback* ends 28.05.14
18-105mmAF-S DX Nikkor f3.5-5.6 G ED VR........ 204
18-200mm f3.5-5.6 G EDAF-S DX VR .........................
524 Inc 60 C/back*............. Price you pay today 584
18-300mm f3.5-5.6 AF-S ED VR
609 Inc 70 C/back*............. Price you pay today 679
24-70mm f2.8 GAF-S ED...................................... 1245
28-300mm f3.5-5.6 GAF-S ED VR ......................... 659
55-200mm f4.0-5.6 GAF-S DX VR F ED............... 241
55-300mm f4.5-5.6 GAF-S DX VR ......................... 279
70-300mm f4.5-5.6 GAF-S F ED VR..................... 439
MT055XPRO3 ..................... 199
MK055XPRO3
+ X-Pro 3-Way Head ........... 299
MK055XPRO3
+ 498RC2 Ball Head............ 299
MT055CXPRO3
Carbon Fibre........................ 394
MT055CXPRO4
Carbon Fibre........................ 419
MT190 Series:
MT190XPRO3.....................184
MagBookscover arangeof topics, fron1toMotoring, anditnesstoLifestyle
THIDALCOMPANIONFORYOURDIGITAL5LR
rder your copydirect fron
CMPAC1SYS1LMCAMLRAS(CSCs), also
connonlyknownas nirrorless caneras,
oher analternativetoDSLRs for anyone
lookingfor acanerawithinterchangeable
lenses. 1heir biggest attraction, onpaper at
least, is that thelackof anirror neans
they'repotentiallyfar snaller andlighter,
nakingthenfar noreappealingto
hobbyists. However, thetruthis that nany
CSCs aren't that diherent insizefronnost
consuner-level DSLRs. 1his cannot besaid
onthePentax-series, whichboasts
caneras that aretrulypocket-sized.
1he/is thefagshipnodel, boasting
alarger sensor sizethantheprevious
-nodels. 1hat said, thesensor is snaller
thanthoseinother CSCs, infact it's asinilar
sizetothat foundinnanyconpacts. 1he
positiveof this snaller sizeis that the/is
pocketable, evenwithalens tted, allowing
it tobekept withyouonaneverydaybasis.
1hedownsideis that inagequalitywith
snaller sensor fornats tendtobeinferior
tolarger sensors. 1hat said, wefoundthe
inages fronour /takenindecent levels
of light displayedgooddetail andcolour
reproductionandlownoise. t's whenlight
levels fall andtheSratingis increasedthat
inages tendtoloseanarginof quality-
certainlyS800shouldbeyour upper linit
whenever possible. At thewider focal
lengths, fringingis clearlyevident, but this is
easilyrenovedinpost-production.
Despiteits sizethe/handles nicely,
withthepronouncedgripnakingit easyto
hold. 1hebuttons aresnall but all arewell
labelledandnost sit pronouncedfronthe
bodysothey'reeasytopress. 1helayout
doesn't takelongtoget usedto, withthe
front nodedial, rear connanddial and
four-waycontrol nakingoperationfast
andeasy. 1henenusystenis easyto
navigateandfollows asinilar appearance
tothat foundonthePentaxrangeof DSLRs.
1hestandardzoonsuppliedwiththe/
is the5-I5nnfi2.8-4.5, whichhas an
ehectivefocal lengthof 2/.5-83nn. t toois
verysnall insize, neaningyoucanleaveit
attachedtothecanerawhenstoringit ina
jacketicoat pocket or handbag. t's byno
neans thesnallest, infact Pentaxnakes a
nunber of snaller lenses.
1henewest is the recentlyreleased
II.5nnfi9Mount Shieldlens, whichis
sinilar insizetoabodycap(6.9nnthick),
provides afocal lengthof 53nn, and
delivers what Pentaxdescribes as 'a
distinctive, velvetyinage, withauniqueblur
ehect alongtheedges of theinageeld'.
1hat'll beapinholelens then.
1his brings us towhat sonenayconsider
thebiggest problenwiththe-series series
-its linitedrangeof -nount optics. f the
eight available, twoaretoylenses, oneis the
Mount Shieldandanother is asheye. or
conventional photographyyouhavethekit
lens, plus the8.5nnfiI.9, 3.8-5.9nn
fi3./-4widezoonandI5-45nnfi2.8
telephotozoon, whichhaveequivalent
focal lengths of 4/nn, I/.5-2/nnand
83-249nnrespectively. ur viewis that the
zoons cover nost needs andthestandard
lens is auseful addition. 1heonlyoptic
nissingis adedicatednacrolens.
1hePentax/ohers nost of thefeatures
dedicatedphotographers require-afull
rangeof nodes andneteringpatterns,
built-instabilisationandsensor dust
renoval, plus Rawshooting.
1heoverall experienceof usingthe/is a
positiveone. t's not thetypeof canerathat
will set theworldof photographyonrebut
it does neatlyll thenicheof thoselooking
for apint-sizedcanerathat ohers
interchangeablelenses. However, whileit's
thesnallest available, it has tobesaidthat
thereareother CSCs fronthelikes of uji
andlynpus that coneclosetonatchingit
for size-andhavethebenet of larger
sensors andbetter choiceof lenses.
CMPAC1 SYS1LMCAMLRA1LS1
Test Centre
TEST: DANLL LLZAN
Pentax O7
Miniaturenirrorless canera i
IiI./insensor i I2.4-negapixel resolutioni
3inLCDnonitor i Rawshooting
SPECIFICATIONS
Imagesensor:IiI./in
Resolution: I2.4-negapixels
Maximumimageresolution: 4000x3000pixels
AFsystem: Contrast A, spot oface-detection
Metering: Multi-zone, centre-weightedospot
ISOrating: Auto+I00-I2800
Shutter speeds: Ii8000sec-30seconds +Bulb
8uilt-inash: RetractableP-11Lfash
Storage: SD(SDHCiSDXC)
Continuousframerate: ivefranes-per-second
Monitor: 3in11LCD(460,000dots)
Size: I02x58x33.5nn
Weight: 200g(includingbatteryandcard)
Website: www.ricoh-inaging.co.uk
5-15mmkit: L400(Guide ! L400(Street
Overall
If you'relookingfor asmall sidekickto
accompanyyouwhenyour DSLRis
unsuitable, thencheckout thePentax O7.
It's averyneat oneringthat candeliver
decent results ineverydaysituations. 8etter
still, it's verywell priced-hunt aroundand
you'll hndthetwin-lens kit availablefor the
samepriceas thestandardzoomoutht.
Verdict
Above: ThediminutivePentaxO7is shown
aboveat approximateIyIife-size!
Thepositiveof thissmaller sizeisthat theO7is

trulypocketable, evenwithalensfitted, allowing
it tobekept withyouonaneverydaybasis
Fuji X-T1
14-24mm F2.80 AF-8 ED 1315.00
1G-85mm F4.O0 AF-8 ED VR 829.00
18-85mm F8.5-4.50 AF-8 ED 519.00
18-2OOmm F8.5-5.G0 AF-8 VR ll 584.00
18-8OOmm F8.5-5.G0 AF-8 ED VR 679.00
24-85mm F8.5-4.50 AF-8 ED VR 409.00
24-7Omm F2.80 AF-8 ED 1245.00
28-8OOmm F8.5-5.G0 AF-8 VR 659.00
7O-2OOmm F4.5-5.G0 AF-8 VR ll 1605.00
7O-2OOmm F40 AF-8 VR ED 999.00
1O-24mm F4 R XF 849.00
14mm F2.8 XF 669.00
18mm F2R lEh8 XF 429.00
28mm F1.4 XF 759.00
27mm F2.8 BlACK XF 359.00
27mm F2.8 8llVER XF 379.00
85mm F1.4R lEh8 XF 409.00
5O-28Omm F4.5-G.7 0l8 BlACK XC 359.00
5O-28Omm F4.5-G.7 0l8 8llVER XC 359.00
55-2OOmm F8.5-4.8 R lN 0l8 XF 549.00
5Gmm F1.2 XF 899.00
GOmm F2.4R NACR0 XF 465.00
Distagon 15mm F2.8 2,352.00
Distagon 21mm F2.8 1,530.00
Distagon 28mm F2 1,046.00
Planar 5Omm F1.4 592.00
Planar 85mm F1.4 1,046.00
AP0 8onnar 185mm F2 1,725.00
Nakro-Planar 1OOmm F2 1,530.00
0tus 55mm F1.4 3,170.00
Niken Lenses Canen Lenses Fuji Lenses Zeiss Lenses
The X-T1 interchangeaole lens camera featuring a 2.8Gm
dot resolution 0lED displa], X Trans ll CN08 sensor, EXR
ll processing and a real time digital viewfnder. A super
st]lish addition to the X-8eries famil] of Fujiflm cameras.
0et Adooe Photoshop lightroom 5 and Adooe Premiere
Elements 11 - worth 17O - FREE when ]ou purchase
this camera.
The Exmor CN0
sensor is same
size as a 85mm
flm frame.
Capturing far
more light, it's the
ke] to fawless, pro-qualit]
pictures. You'll reall] see the
difference with supero detail, colour and
contrast, plus dramaticall] reduced image noise.
5eny A7 & A7k
F0|| Frame, p|ooeer|og s|ze
8on] A7 Bod] 1235.00
8on] A7 + 28-7Omm 1489.00
8on] A7R Bod] 1679.00
Fujiflm X-T1 Bod] 1049.00
FujiflmX-T1 +18-55mm 1399.00
Canen E05 50 Hark III
E08 5D Nark lll Bod] 2329.00
E08 5D + 24-1O5mm 2899.00
E08 5D + 24-7Omm ll 4049.00
Df+5Omm f1.8
Availaole in Black or 8ilver 2499.00
D8OO Bod] 1999.00
D8OOE Bod] 2349.00
Fuji 5Gmm f/1.2 XF lens
899.00 hikon 85mm
f/1.80 ED lens
519.00
0tus 55mm F1.4
3,170.00
DG1O Bod] 1399.00
DG1O+24-85mm 1899.00
D71OO Bod] 839.00
D71OO+18-1O5mm 979.00
Niken 05Lks 5eny 5LTs
Alpha A-99 Bod] 1949.00
Alpha A-77 Bod] 675.00
AlphaA-77+1G-5Omm 1089.00
Alpha A-G5 Bod] 495.00
Alpha A-G5 + 18-55mm 579.00
AlphaA-58+18-55mm 3 9.00
AlphaA-58+Twin lens 509.00
Canen 05Lks
E08 GD Bod] 1379.00
E08GD+ 24-1O5mm 1925.00
E08 7OOD Bod] 489.00
E087OOD+18-55mm 598.00
E08 7OD Bod] 858.00 E08-1D X Bod] 4845.00
Prefete 1
AirTTL FIash
Profoto B1 8ingle
1554.00
Ava||ab|e |n st
and |n renta|.
Epson
8t]lus Pro 888O 934.00
8t]lus Photo R8OOO 545.00
Canon
Pixma Pro-1 645.00
Pixma Pro-1O 499.00
Pixma Pro-1OO 364.00
Printers
Trade In Yeur 0Id Kit
CaIumet kentaI
EF 5Omm F1.4 U8N 295.00
EF 5Omm F1.8 ll 89.00
EF-8 GOmm F2.8 U8N Nacro 365.00
EF 85mm F1.2l ll U8N 1758.00
EF 1OOmm F2.8l l8 U8N Nacro 739.00
EF 8-15mm F4.Ol U8N Fishe]e 1099.00
EF 1G-85mm F2.8l U8N ll 1218.00
EF 17-4Omm F4.Ol U8N 629.00
EF 24-7Omm F4l l8 1029.00
EF 24-7Omm F2.8l ll U8N 1799.00
EF 24-1O5mm F4.Ol l8 U8N 813.00
EF 28-185mm F8.5-5.G l8 U8N 379.00
EF 7O-2OOmm F2.8l l8 U8N ll 1949.00
EF 7O-2OOmm F4.Ol l8 U8N 979.00
EF 7O-8OOmm F4.O-5.G l8 U8N 389.00
EF 7O-8OOmm F4.O-5.Gl l8 U8N 1232.00
EF 1OO-4OOmm F4.5-5.Gl l8 U8N 1279.00
Calumet's national network
of rental centres
offer an extensive
range of photographic
equipment,
including the latest
technologies.
8pecialising in
cameras, digital
equipment, video,
lighting, studio
products and much
more. we are constantl] updating and adding
products to our portfolio, so visit our exclusive rental weosite at
www.ca|0metreota|.co.0k to view our extensive range.
looking to upgrade ]our equipment? wh] not part exchange ]our
old kit towards the latest models? Visit www.ca|0metphoto.co.0k
or email secoodhaod@ca|0metphoto.co.0k for further
information on our trade in process. we also stock a wide range
of second hand equipment across our stores, check with ]our
local store or visit our weosite for current stock and prices.
CAL0HET
0all: 0870 03 03 03
0lick: www.caIumetpbctc.cc.uk
Visit: 8 stcres naticnwide
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0lick: www.calumetacademy.co.uk
All pricesincludeVat at 20%. Pricescorrect at timeoI goingtopress. E&0E. 0301-031. *0ashbackmust beclaimedIrom0anon. Visit www.calumetphoto.co.ukIor moreinIormation.
DigitaI Wcrkcw -Tbe Basics
Picbard 5cutbaII
A three hour seminar oreaking the oasics of digital workfow and colour
management using either Bridge or lightroom in comoination
with Photoshop.
Hcnday 28 ApriI 09.30-12.30 9
Lingerie Fasbicn Pbctcgrapby
Pcry Lewis
working with a professional model with amazing oone structure and
facial expression. This course is a NU8T for all those enthusiastic portrait
photographers who want to capture some amazing shots for their portfolios.
All courses are practical tuition sessions - learning hands-on skills and
enaoling ]ou to work with professional models on the da] to capture
amazing photographs for ]our portfolio.
5aturday 3 Hay 10.00-1.00 139
L0N00N l0k0HH0N0 5T
020 7380 11
Tbe 5peedIigbt & 5peedIite 5tudic -
5bccting PecpIe Wcrksbcp
Jcbn CIements
0n this intermediate level 'portaole fash' workshop, we unravel the oeaut]
and oenefts of off camera wireless fash photograph].
As we go, we explain and explore a wide range of lighting techniques, plus
the accompan]ing technical skills, that enaole repeataole and enjo]aole
results to oe achieved when photographing people with 8peedlights/
8peedlites.
we will use ooth the hikon and Canon product lines throughout, alongside
various third part] tools.
Tuesday 22 ApriI 10.30-1.30 119
5tudic Ligbting Frcm Tbe rcund Up
Jcbn CIements
8tudio lighting remains a highl] fexiole and desiraole tool in photograph],
out takes time to master.
8o if ]ou wish to signifcantl] shorten the learning curve, John's highl]
respected course provides the answer.
Delivered in an eas] to follow and inspirational st]le, it explains and
demonstrates exactl] how to set-up and use studio lighting.
Tbursday 2 ApriI 10.30-1.30 119
5c, Rcw Dc I Hake Hcney Frcm Tbis?
Picbard 5cutbaII
Have ]ou ever wondered how to work out ]our charges for ]our
photographic services and are ]ou actuall] making enough mone] from
them? Are their additional streams of income that could oe made from ]our
exiting photographs ? ln this seminar, we will oe looking at the oack offce
of running a successful photograph] ousiness.
Hcnday 28 ApriI 13.30-1.30 59
HANCRE5TEk
011 27 0500
Adcbe Premier Prc and Aftereffects
idec Editing
Jascn Rarry
This workshop is intended to give new and current users an understanding
of the editing power of the Adooe Video editing 8uite.
Adooe offer us a vast arra] of tools to produce great videos, in this
workshop l take ]ou through wh] using them is essential to get orilliant
results.
Tuesday 22 ApriI 10.00-15.00 85
5bccting and Editing BIack
and Wbite
Jascn Rarry
This workshop will oe ooth practical and discussion for those who wish to
shoot and edit oetter olack and white.
Wednesday 23 ApriI 10.00-15.00 85
Pbctcgrapbs cf tbe Famcus
5eftcn 5amueIs
A talk and presentation of images of the famous, photographed o]
8efton 8amuels.
Friday 25 ApriI 1.00-1.00 15
Haking Hcney Frcm 5tcck
Jenny LiIIy
Jenn] will focus on different t]pes of stock, different methods of selling,
how to shoot to sell, the legal pitfalls, and what to avoid photographing,
showing man] examples of her own work which have sold, and showing
the end use of the images.
5aturday 3 Hay 10.30-15.30 70
6LA560W
011 353 0875
Create idec witb ycur D5LP
Jascn Rarry
This workshop will oe ooth practical and discussion aoout how to produce
high qualit] video with ]our HD read] D8lR.
Tbursday 2 ApriI 10.00-15.00 85
Create idec
witb ycur D5LP
tc a CcmmerciaI
0uaIity
Jascn Rarry
This is a more advanced workshop
allowing ]ou to ouild on the
oasics from da] one. You will oe
shown how to produce videos of
commercial qualit].
5aturday 2 ApriI 10.00-15.00 85
5bccting and Editing BIack & Wbite
Jascn Rarry
Friday 2 Hay 10.00-15.00 85
Jcbn CIements
As we go, we explain and explore a wide range of lighting techniques, plus
the accompan]ing technical skills, that enaole repeataole and enjo]aole
results to oe achieved when photographing people with 8peedlights/
8peedlites.
Wednesday 7 Hay 10.30-1.15 119
E0IN0k6R
0131 55 78
Jenny LiIIy
Tbursday 29 Hay 10.30-15.30 70
kI5T0L
0117 92 2000
Printing - 0ne Day Crasb Ccurse
Andy Astbury
Do ]ou want to make great looking prints with the minimum of fuss and
effort? Do ]ou want to use JU8T 0hE 8HEET of paper to get that great
looking print? lf ]ou answered YE8 to these questions THEh Y0U hEED THl8
w0RK8H0P!
Wednesday 23 ApriI 10.00-1.00 5
Intrcducticn tc FinaI Cut Prc X
0IIie Kencbingtcn
This two da] course will include.
FCPX lnterface
Reviewing and marking rushes
logging media
Rough cutting
Connecting cutawa]s
Trimming with the Trim tool
8plitting edits with the Trim tool
Transitions
Audio mixing
Effects
Retiming clips
Compositing clips
Exporting
Tbursday 1 & Friday 2 Hay 10.00-1.00 29
Fine Art Nude 5tudic Pbctcgrapby
Pcry Lewis
A wonderful workshop and opportunit] to capture some amazing images,
]ou will oe working with a puolished artistic nude model. This course is
a great wa] to ouild ]our fne art nude photograph] portfolio under the
guidance of photographer, Ror] lewis.
5aturday 10 Hay 10.00-1.00 19
5bccting and Editing BIack & Wbite
Jascn Rarry
Wednesday 28 Hay 10.00-15.00 85
ELFA5T
02890 777770
IkHIN6RAH
0121 32 73
Jcbn CIements
5aturday 2 ApriI 10.30-1.30 119
CcmmerciaI Ligbting 1,2,3,,
Ligbt 5etups
Jascn Rarry
ln this workshop we will work with studio lighting starting with oasic
setups through m] more complex and go to setups. we work through all
equipment setup in detail, which will change the wa] ]ou work.
Tuesday 13 Hay 10.00-15.00 100
Jenny LiIIy
5aturday 17 Hay 10.30-15.30 70
Cancn 0ne & Twc Ligbt 5etups
Jascn Rarry
This workshop will oe ooth practical and discussion for those new to shoot
with Canon and other small light s]stems new to the market.
Tbursday 22 Hay 10.00-15.00 85
Create idec witb ycur D5LP
Jascn Rarry
This workshop will oe ooth practical and discussion aoout how to produce
high qualit] video with ]our HD read] D8lR.
Wednesday 11 June 10.00-15.00 85
Create idec witb ycur D5LP tc a
CcmmerciaI 0uaIity
Jascn Rarry
This is a more advanced workshop allowing ]ou to ouild on the oasics from
da] one. You will oe shown how to produce videos of commercial qualit].
Tbursday 12 June 10.00-15.00 85
Visit our stores in Burgess Hill,
West Sussex, or why not visit us
in LONDON!!
See website for directions to both our
state-of-the-art showrooms!
Every
W
eek
14mm f/2.8L II USM 1,898.00
20mm f/2.8 USM 409.00
24mm f/1.4L Mk II USM 1,359.00
24mm f/2.8 IS USM 458.00
28mm f/1.8 USM 369.00
28mm f/2.8 IS USM 419.00
35mm f/1.4L USM 1,158.00
35mm f/2.0 IS USM 489.00
40mm f/2.8 STM 167.00
50mm f/1.2 L USM 1,259.00
50mm f/1.4 USM 295.00
50mm f/1.8 II 85.00
50mm f/2.5 Macro 238.00
EF-S 60mm f/2.8 Macro 365.00
MP-E 65mm f/2.8 853.00
85mm f/1.2L II USM 1,758.00
85mm f/1.8 USM 309.00
100mm f/2 USM 359.00
100mm f/2.8 USM Macro 429.00
100mm f/2.8L Macro IS USM 739.00
135mm f/2.0L USM 909.00
180mm f/3.5L USM Macro1,273.00
200mm f/2.0L IS USM 4,669.00
200mm f/2.8L USM/2 649.00
300mm f/2.8L USM IS II 5,329.00
300mm f/4.0L USM IS 1,169.00
400mm f/2.8L USM IS II 8,279.00
400mm f/4.0 DO L USM IS 5,399.00
400mm f/5.6L USM 1,128.00
500mm f/4.0L USM IS II 7,759.00
600mm f/4.0L USM IS II 10,479.00
800mm f/5.6L IS USM 10,199.00
TSE 17mm f/4.0L 1,959.00
TSE 24mm f/3.5L II 1,699.00
TSE 45mm f/2.8 1,129.00
TSE 90mm f/2.8 1,124.00
8-15mmf/4L Fisheye USM 1,099.00
EF-S 10-22mmf/3.5-4.5 USM 489.00
EF-S 15-85mmf/3.5-5.6 IS USM 589.00
16-35mm f/2.8L II USM 1,218.00
17-40mm f/4.0L USM 629.00
EF-S 17-55mmf/2.8 IS USM 642.00
EF-S 17-85 f/4.0-5.6 IS USM 358.00
EF-S 17-85 IS (No packaging) 329.00
EF-S 18-55mm f/3.5-5.6 IS II 189.00
EF-S 18-55mm IS II (No packaging) 85.00
EF-S 18-135mm IS STM 369.00
18-135mm IS (No packaging) 299.00
EF-S 18-200mmf/3.5-5.6 IS 410.00
24-70mm f/2.8L II USM 1,799.00
24-70mm f/4.0L IS USM 1,029.00
24-105mm f/4.0L IS USM 819.00
24-105mm IS (White Box) 699.00
28-135mm f/3.5-5.6 USM IS 379.00
28-300mmf/3.5-5.6L IS USM2,199.00
EF-S 55-250mmf/4-5.6 IS II 179.00
EF-S 55-250mmf/4-5.6 IS STM 299.00
70-200mmf/2.8L IS II USM 1,949.00
70-200mm f/2.8L USM 1,019.00
70-200mm f/4.0L IS USM 979.00
70-200mm f/4.0L USM 519.00
70-300mmf/4.0-5.6 IS USM 389.00
70-300mmf/4.0-5.6L IS USM1,232.00
70-300mmf/4.5-5.6 DO IS USM1,138.00
75-300mm f/4.0-5.6 Mk III 199.00
75-300mm f/4.0-5.6 USM III 209.00
100-400mmf/4.5-5.6L USM IS 1,279.00
200-400mmf/4.0L USM IS 10,499.00
1.4x III Extender 409.00
2x III Extender 409.00
EF 12 II Extension Tube 79.99
EF 25 II Extension Tube 139.99
CANONLENSES
Cashback available on selected Canon lenses.
See www.ParkCameras.com/DSP for details
Canon EOS M
EOS M + 18-55
299
.00
EOS M + 22mm
459
.00
18.0
MCA

3.0"
Screen
Add a LP-E12 spare battery for
only 46.99 with the EOS M
Canon EOS 100D
Body Only
399
.00*
+ 18-55 IS STM
479
.00*
18.0
MCA

Add a Speedlite 270EX II for
only 136.50 with the EOS 100
4 FPS
Canon EOS 700D
Body Only
435
.00*
+ 18-55 IS STM
548
.00*
18.0
MCA

*Prices include 50 cashback from
Canon if bought before 07.05.2014
5 FPS
Canon EOS 7D
18.0
MCA

Body Only
929
.00*
+ 15-85 IS
1,229
.00*
8 FPS
Canon EOS 6D
20.2
MCA

Body Only
1,379
.00
+ 24-105 L IS
1,925
.00
FREE Adobe Photoshop Lightroom 5
+ Adobe Premiere Elements 11!
FR
EE
Software
Canon EOS 5D Mk III
Body Only
2,179
.00*
+ 24-105 L IS
2,739
00*
22.3
MCA

Canon PowerShot S120
Expert performance in your pocket
In stock at 369.00
See website for further deals!
Add a Canon DCC-1920 soft case for
only 34 with the PowerShot S120
12.1
MEGA
PIXELS
5x
Canon PowerShot G1X II
Enhanced Grip Edition
Due April 2014!
SRP 749.00
Add a Canon DCC-1820 soft case for
only 54 with the PowerShot G1X II
12.8
MEGA
PIXELS
5x
Canon PowerShot G16
Superfast and connected
In stock at 419.00*
See website for further deals!
*Price include 30 cashback from
12.1
MEGA
PIXELS
5x
9.3 FPS
Canon EOS 70D
20.2
MCA

Body Only
858
.00
+ 18-55 IS STM
968
.00
Add a BG-E14 battery grip for
only 120 with the EOS 70D
7 FPS
Canon EOS-1D X
18.1
MCA

2 years interest free credit available
between 17.02.14 & 02.05.14. See web
2
years
interest
free
credit!
In stock from4,845
.00
See website for full details
CANONPRINTERS
Canon PIXMA Pro-100
The printer your images deserve
Up to A3+ prints
8-ink system
Fast printing
Quality grayscale
prints
NowOnly 319.00*
Was 562.80
*Price includes 50 cashback from
Canon PIXMA Pro-10
Up to A3+ prints
10 pigment inks
Wi-Fi certied
Professional colour
and mono prints
NowOnly 424.00*
Was 778.80
Canon PIXMA Pro-1
Up to A3+ prints
12-ink system
Fast printing
Quality colour &
grayscale prints
NowOnly 545.00
Was 958.80
Speedlite 320EX
Now189
.00
SRP 323.
g + AA Batts & charger for 19.49
Macrolite MR-14EX II
Now599
.00
+ AA Batts & charger for 19.49
Speedlite 600EX-RT
Now469
.00
SRP 815.
g + AA Batts & charger for 19.49
PAHT EMCHANGE
Perhaps youre ready to invest in a new camera to take your photography to
the next level, or youve simply have some gear thats fallen out of favour and
is sat idle. Whatever the reason, part-exchanging can help towards your next
photographic purchase. Ask us about this in store or by calling 01444 23 70 58.
Canon EOS 1200D
Body Only
349
.00
+ 18-55 IS II
449
.00
18.0
MCA

NEW&NOWINSTOCK!!.
See our website for our latest deals
3 FPS
N
EW
!
5
0
Cashback
1
0
0
Cashback
1
5
0
Cashback
5
0
Cashback
7
5
Cashback
1
0
0
Cashback
For the Nikon 1 range of cameras & lenses, including the NEWV3
& NIKKOR 10-30mmf/3.5-5.6 VR PD-ZOOM see our website
AF-G 10.5mm f/2.8G ED DX 549.00
AF-D 14mm f/2.8D 1,099.00
AF-D 16mm f/2.8D Fisheye 625.00
AF-D 20mm f/2.8 463.00
AF-D 24mm f/2.8D 369.00
AF-S 24mm f/1.4G ED 1,469.00
PC-E 24mm f/3.5D ED 1,465.00
AF-D 28mm f/2.8 245.00
AF-S 28mm f/1.8G 499.00
AF-S 35mm f/1.4G 1,299.00
35mm f/2 AF Nikkor D 259.00
35mm f/1.8 AF-S DX 149.00
AF-S 40mmf/2.8G ED Micro 185.00
PC-E 45mm f/2.8D ED 1,393.00
AF 50mm f/1.4D 244.00
AF-S 50mm f/1.4G 279.00
AF-D 50mm f/1.8 112.00
AF-S 50mm f/1.8G 149.00
AF-S 58mm f/1.4G New See Web
AF-S 60mm f/2.8G Micro ED409.00
AF-S 85mmf/3.5G DX Micro 375.00
AF-D 85mm f/1.8D 299.00
AF-S 85mm f/1.8G 379.00
AF-S 85mm f/1.4G 1,179.00
AF-S 105mmf/2.8G VR IF-ED 629.00
PC-E 85mm f/2.8D ED 1,299.00
AF-DC 105mm f/2 Nikkor 805.00
AF-D 180mm f/2.8 IF ED 695.00
AF-D 200mm f/4D IF ED 1,179.00
AF-S 200mm f/2G ED VR II 4,099.00
AF-S 300mmf/2.8G ED VR II 4,045.00
AF-S 300mm f/4 D IF-ED 1,029.00
AF-S 400mm f/2.8G ED VR6,589.00
AF-S 500mm f/4G ED VR 5,849.00
AF-S 600mm f/4G ED VR 7,069.00
AF-S 800mmf/5.6E FL ED VR See web
AF-S 10-24mmf/3.5-4.5G DX 639.00
AF-S DX 12-24mmf/4 G IF-ED 839.00
AF-S 14-24mm f/2.8G ED 1,315.00
AF-S 16-35mm f/4G ED VR 829.00
AF-S 16-85mmf/3.5-5.6 DX VR 444.00
AF-S 17-35mm f2.8 IF ED 1,499.00
AF-S 17-55mmf/2.8G IF-ED 1,049.00
AF-S 18-35mmf/3.5-4.5 G ED See web
AF-S DX 18-55 f/3.5-5.6G II 127.00
AF-S 18-105mm f/3.5-5.6G VR 229.00
AF-S 18-200mm ED DX VR II 584.00
AF-S 18-300mm ED VR DX 679.00
AF-S 24-70mm f/2.8G ED 1,245.00
AF-D 24-85mm f/2.8-4 549.00
AF-S 24-85mmf/3.5-4.5 ED VR 409.00
AF-S 24-120mm f/4G ED VR 810.00
AF-S 28-300mm ED VR 659.00
AF-S 55-200mm f/4-5.6G 199.00
AF-S 55-200mm f/4-5.6 VR 199.00
AF-S DX 55-300mm VR 259.00
AF-S 70-200mmf/2.8 VR II 1,605.00
AF-S 70-200mmf/4.0 VR 999.00
AF-S 70-300mm IF ED VR 439.00
AF-S 80-400mm ED VR 1,989.00
Cashback available on selected Nikon lenses.
See www.ParkCameras.com/DSP for details
Nikon D3200
Body Only
317
.00
+ 18-55 VR
369
.00
24.2
MCA

Learn more about your Nikon D3200
with an Expanded Guide - Only 14.99
4 FPS
Nikon D5200
Body Only
508
.00
+ 18-55 VR
529
.00
24.1
MCA

The Nikon D5200 is also available in Red
or Bronze! See our website for details.
1080p
PULL HD
Nikon D7000
Body Only
579
.00
+ 18-105 VR
705
.00
16.2
MCA

Add a Nikon EN-EL15 battery for
only 57 with the Nikon D7000.
6 FPS
Nikon D7100
In stock from739
.00
24.1
MCA

Nikon if bought before 28.05.2014
6 FPS
Nikon D800
Body Only
1,999
.00
+ SB-910 Flash
See web
36.3
MCA

Add a Nikon CF-DC4 semi soft case for
only 119 with the Nikon D800.
16.2
MCA

3.2"
Screen
1080p
PULL HD
11FPS In stock at only 5,199
.00
Nikon D4s
Built to keep you ahead of your game,
everything about the D4S powers exceptional
images at exceptional speed.
Nikon Df + 50mm f/1 8 SE
16.2
MCA

Add a Nikon MC-DC2 Remote for
only 25 with the Nikon Df.
In stock at 2,499
.00
1
0
0
Cashback
N
EW
LO
W
PRICE
Sony a3000 + 18-55mm
20.1
MCA
2.5 FPS
See the range of Sony E-mount lenses
available on our website
In stock from249
.00
!
Sony a6000 + 18-55mm
24.3
MCA

Add a Sony NP-FW50 spare battery for
only 64.99 with the Sony a6000
NEWANDDUE APRIL!
Sony NEX-7
24.3
MCA

NEX-7 body
See Web
+ 18-55mm
689
.00*
Add a SanDisk 16GB Ultra SDHC card
for only 12.99 with the Sony NEX-7
10 FPS
SPECIAL
PRICE!
N
EW
!
and DSC-QX10 lens-style cameras
Sony Cyber-shot DSC-QX100
power-packed specialist camera
Turn your smartphone into a
From only 149
.00
7R
36.4
MCA

3.0"
Screen
1080p
PULL HD

card
In stock from1,689
.00
!
RX100
20.2
MCA

3.0"
Screen
1080p
PULL HD

card
In stock at 399
.00
!
With FREE Case & 16GB card!
3.6
8P|GHT
P/l.8
LLNS
3
0
Cashback
Camera
WHAT
www.ParkCameras.com/DSP
or e-mail us for sales advice using
sales@parkcameras.com
Phone one of our knowledgeable sales advisors
Monday - Saturday (9:00am- 5:30pm) or Sunday (11:00am- 4:30pm)
01444 23 70 58
Visit us in store and try out the range of cameras & lenses!
F
R
E
E
B
A
T
T
E
R
Y
&
G
R
IP
!
WWWa Wannt aa ppreevview wof ff th th the P e aanassoon nicc-G - H4 H4 4??
Loook o k ou k t f for oouurr inst storee FREE EVENT cco ominng soo soooon...
16.0
MCA
| | / | | :
3.0"
Screen
4k
v|DLO

card
Panasonic LUMIX GX7
16.0
MCA
| | / | | :
Purchase before 30.04.2014 and
receive 100 cashback! See web
In stock from689
.00
!
Panasonic LUMIX GF6
+ 14-42mm
339
.00
Twin lens kit
529
.00
16.0
MCA
| | / | | :
Add an Acme Made Union Messenger
bag for only 13 with the DMC-GF6
Panasonic LUMIX G6
Body Only
449
.00
+ 14-42mm
529
.00
16.0
MCA
| | / | | :
Add a Panasonic FL390LE ash
for only 250 with the DMC-G6
Panasonic LUMIX GH3
Body Only
829
.00
+ 14-140mm
1,249
.00
16.2
MCA
| | / | | :
Add a Panasonic BGGH3 grip and
BLF19E battery for only 282.99
Hero 3: Silver Edition
The HERO3 Silver Edition is a compact,
lightweight camera that can be used
anywhere. Wearable, gear-mountable and
waterproof to 60m, it can capture stunning
HD footage plus 11 megapixel stills at up to
10 frames per second.
In stock at only 199
.00
Olympus OM-D E-M1
Body Only
1,299
.00
+ 12-50mm
1,499
.00
16.3
MCA
| | / | | :
Add a HLD-7 battery grip for
only 179 with the OM-D E-M1
Olympus OM-D E-M5
Body Only
749
.00
+ 12-50mm
899
.00
16.1
MCA
| | / | | :
Add a HLD-6 2 part battery grip for
only 199 with the OM-D E-M5
1080
9 FPS
Olympus 12-40mm
f/2.8 Pro
Add a Hoya 62mm Pro 1-D UV lter for
only 31 with the Olympus 12-40mm
Olympus CS-42SF
Soft camera case
Our Price 64
.99
Not the case for you? Visit us in store
or online for a wide range of cases
16.1
MCA
| | / | | :
3.0"
Screen
1080p
PULL HD

card
N
O
W
IN
S
T
O
C
K
!
Waaaant nt to o se eee tthe OOMM-D -DD E-MM10 fffoorr yoourrse se elf?
Visitt o t ouur wwebssite e and watcch ch ouur ur shoort inntr ro oducctory vi y viiddeo
or v or isi sit ou urr st storess in LON ONDDONN && WE WESSTT SUSSSEX! EX
Constant aperture
of f/2.8
Best edge-to-
corner sharpness
NOWIN STOCK!!
Suitable for
OM-D E-M1
Water-resistant
nylon
N
EW
!
N
EW
!
Olympus PEN E-P5
Body Only
799
.00
+ 14-42mm
899
.00
16.1
MCA
| | / | | :
Add an Olympus BLN-1 spare battery
for only 54 with the PEN E-P5
Olympus PEN E-PL5
+14-42mm II
449
.00
Twin lens kit
589
.00
16.1
MCA
| | / | | :
Add a VF-4 digital viewnder for
only 239 with the PEN E-PL5
Visit www.ParkCameras.com/DSP for even more Olympus!
OLYMPUS LENSES
8mm f/3.5 ED Fisheye 714.99
25mm f/2.8 Pancake Lens 208.99
35mm f/3.5 Macro 199.99
50mm f/2.0 ED Macro 569.00
150mm f/2.0 ED 1,999.00
300mm f/2.8 ED 5,799.00
7-14mm f/4.0 1,449.00
9-18mm f/4.0-5.6 4/3 479.00
11-22mm f/2.8-3.5 699.00
12-60mm f/2.8-4.0 ED SWD 899.00
14-42mm f3.5-5.6 ED Mk II 216.99
14-35mm f/2.0 ED SWD 1,799.00
14-54mm f/2.8-3.5 II 549.00
18-180mm f/3.5-6.3 419.00
35-100mm f/2.0 1,999.00
40-150mmf/4.0-5.6 ED MKII 229.00
50-200mmf/2.8-3.5 ED SWD 979.00
70-300mm f/4.0-5.6 ED 329.00
90-250mm f/2.8 4,699.00
For even more Olympus lenses
at LOWPRICES, visit our website
5BPPLl6B NlIB IB6 M6N
BLIkk 5LlM l~2MM L6M5
Pre-order for
earliest UK delivery
1080p
PULL HD
Panasonic LUMIX GM1
16.0
MCA
| | / | | :
Add Adobe Photoshop Lightroom 5
for only 79 with the DMC-GM1
In stock from599
.00
!
3.0"
Screen
1
0
0
cashback
k0klLkBL6 NBlL5I
5I08 Lk5I5l
Pentax K-5 II
Body Only
599
.00
+ 18-55 WR
679
.00
16.2
MCA
| | / | | :
Want to try before you buy?
Call us on 01444 23 70 58 for details.
Ricoh GR
16.2
MCA
| | / | | :
Add a Ricoh GC-5 leather case for
only 29 with the Ricoh GR
.00
!
| | | 0|I
f / 2. 8
LNS
IN
STOCK
PENTAX LENSES
10-17mm f/3.5-4.5 DA ED IF 399.00
12-24mm f/4 DA ED AL (IF) 749.00
16-50mm f/2.8 DA* ED AL 899.00
17-70mm f/4 DA AL IF SDM 529.00
18-55mm f/3.5-5.6 DA WR 159.00
18-135mm f/3.5-5.6 DA WR 499.00
18-270mm f3.5-6.3 ED SDM 599.00
50-135mm f/2.8 ED IF DA* 999.00
50-200mm f/4-5.6 ED WR 199.00
55-300mm f/4.0-5.8 279.00
60-250mm f4.0 ED (IF) 1,249.00
For even more Pentax lenses
at LOWPRICES, visit our website
02 Std. Zoom 27.5-83mm 249.00
03 Fish Eye 160 Degree 129.00
04 Toy Wide Lens 35mm 129.00
05 Toy Telephoto 18mm 99.99
06 Telephoto 15-45mm 249.00
07 Mount shield 11.5mm 49.99
Pentax K-500
Body Only
299
.00
+ 18-55 VR
349
.00
16.2
MCA
| | / | | :
Add a Pentax O-RC1 remote control
for only 23 with the Pentax K-500
6 FPS
23.3
MCA
| | / | | :
3.2"
Screen
1080p
PULL HD

card
in stock fromonly
8.3FPS
Limited numbers
Pentax K-50
Body Only
469
.00*
+ 18-55 VR
529
.00*
16.2
MCA
| | / | | :
Add a Pentax 18-270mm f/3.5-6.3 lens
for only 599 with the Pentax K-50
979
.00
Body SRP 1,099.99
Pentax Q10 + 5-15mm lens
12.4
MCA
| | / | | :
Also available in 100 colours!
Visit our website for details
5 FPS
.00
!
Pentax Q7 + 5-15mm lens
12.4
MCA
| | / | | :
Add a Pentax O-VF1 external
viewnder for only 149 with the Q7
NEW& NOWSTOCK!
xtra
Iarge
sensor
PENTAX QLENSES
20.3
MCA
| | / | | :
msung GALAXY NX
-55mm
Comes supplied with FREE
Adobe Lightroom5.0!
Our Price 1,229
.00
Samsung NX30
+ 18-55mm
Ca+zs sagg|izJ wik
R ^Jabz |igkraa+
NEWAND NOWIN STOCK!
20.3
MCA
| | / | | :
3.0"
Screen
9 FPS
1080p
PULL HD

card
See our website for the NEW Samsung 16-50mm f/3.5-3.6 Power Zoom
and Samsung 16-50mm f/2-2.8 S ED OIS lenses
N
EW
!
Tamron 10-24mm
f/3.5-4.5 Di II LD Asph
Our Price 359
.00
Add a Hoya 77mm UV(C) Digital HMC
lter for only 25 with this lens
Available in
Canon, Nikon,
Pentax & Sony ts
Tamron 18-270mm
f/3.5-6.3 Di II VC PZD
Sale Price 279
.00*
Tamron if bought before 15.05.2014
Available in
Canon, Nikon,
& Sony ts
Visit www.ParkCameras.com/DSP for more Fujilm or visit us instore!
FujilmX E1
Body Only
479
.00
+ 18-55mm
729
.00
16.3
MCA
| | / | | :
Add a Fujilm HG-XE1 hand grip
for only 69 with the Fujilm X-E1
FujilmX-Pro 1 + 18mm
In stock for 899
.00
!
16.3
MCA
| | / | | :
Visit us in store or online for
LOWPRICES on Fujiilm lenses
FU1IFILM
/- M0NI
1080p
PULL HD
FujilmX-T1
In stock from1,049
.00
!
16.3
MCA
| | / | | :
Add a Fujilm NP-W126 spare battery
for only 59 with the Fujilm X-T1
1080p
PULL HD
N
EW
!
Tamron 150-600mm
f/5-6.3 Di VC U
Special Price 949
.00*
Add a Kenko 95mm Digital UV MC
lter for only 115 with this lens
Available in
Canon, Nikon, &
Sony ts
16.3
MCA
| | / | | :
Camera 2
Add a Fujilm 16GB Micro SD card for
only 10 with the Galaxy Camera 2
Our Price 399
.00*
20.3
MCA
| | / | | :
Samsung NX300
+ 20-50mm
Add an Acme Made Union Messenger
bag for only 13.99 with the NX300
Our Price 419
.00*
21x
16.3
MCA
| | / | | :
Samsung WB2200F
Add a SanDisk 16GB Ultra SDHC card
for only 12.99 with the WB2200F
Our Price 399
.00
N
EW
!
60x
3
0
cashback
www.LCEreup.ce.uk
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Good reasons to shop at
MlF800 F0I068Fl0
COMPACT CAMERAS
SX50. . . . .POA SX510HS 169
G1X MK . . . . . . . . . . . . . . . 749
G1X . . . . .419 G16. . . . . . 449
EF-S NON FULL FRAME LENSES
10-22 F3.5/4.5 USM. . . . . . . 489
15-85 F3.5/5.6 S USM no box 549
17-85 F4/5.6 S U no box. . . 279
18-55 F3.5/5.6 S no box . . . 129
18-135 F3.5/5.6 S STM. . . . 319
60 F2.8 Macro USM. . . . . . . 359
EF FULL FRAME LENSES
8-15 F4 L USM Fisheye . . . 1099
16-35 F2.8 MK L USM . . . 1219
17 TSE F4 L Shift . . . . . . . . 1959
17-40 F4 L USM. . . . . . . . . . 629
20 F2.8 USM . . . . . . . . . . . . 389
24 F1.4 L USM . . . . . . . . 1359
24 F2.8 S USM . . . . . . . . . . 459
24 F3.5 L TSE MK . . . . . . 1699
24-70 F2.8 L USM. . . . . . 1799
24-70 F4 L S USM no box. 1049
24-105 F4 L S USM no box . . 639
28 F1.8 USM. . . . . . . . . . . . . . . 389
28 F2.8 S USM . . . . . . . . . . 419
35 F1.4 L USM. . . . . . . . . . .1159
35 F2 S USM. . . . . . . . . . . . 489
40 F2.8 STM. . . . . . . . . . . . . 159
50 F1.2 L USM. . . . . . . . . . 1259
50 F1.4 USM . . . . . . . . . . . . 295
50 F1.8 . . . . . . . . . . . . . . . . 89
65 F2.8 MPE macro . . . . . . . . . 853
70-200 F2.8 S L USM . . . . . 1949
70-200 F2.8 non S L USM . . 1019
70-200 F4 L S USM. . . . . . . 979
70-200 F4 L USM. . . . . . . . . 519
70-300 F4/5.6 L S USM. . . . . 1229
70-300 F4.5/5.6 S USM . . . 429
85 F1.2 USM L . . . . . . . . 1769
85 F1.8 USM . . . . . . . . . . . . 319
100 F2.8 S L USM macro . . 739
100 F2.8 Macro USM. . . . . . . . 444
100-400 F4.5/5.6 S L USM . . 1329
180 F3.5 L USM Macro . . . 1229
200 F2.8 L USM . . . . . . . . 639
200-400 f4 S L USM . . . . 10299
300 F2.8 S L USM . . . . . 5399
300 F4 L S USM . . . . . . . . .1149
400 F2.8 S L USM . . . . . 8199
400 F5.6 L USM. . . . . . . . . .1149
500 F4 S L USM . . . . . . . 7749
600 f4 S L USM . . . . . . . 10222
Ext tube 12 .59 Ext tube 25 . 115
1.4x or 2x converter ea 399
FLASH & ACCESSORIES
320EX flash. . . . . . . . . . . . . . . . 169
430EX flash. . . . . . . . . . . . . . . . 219
600EX RT flash. . . . . . . . . . . . . 449
MR-14EX . . . . . . . . . . . . . . 599
MR-14EX ringflash . . . . . . . . 499
MT-24EX ringflash . . . . . . . . 739
ST-E3 Speedlite transmitter . 239
ST-E2 Speedlite transmitter . 159
BG-E11 grip (5D MK) . . . . 229
BG-E13 grip (6D) . . . . . . . . . 169
BG-E14 grip (70D) . . . . . . . . 219
Drop n Circ Polariser . . . . 199
GP-E2 receiver. . . . . . . . . . . 219
LP-E4N battery. . . . . . . . . . . 129
LP-E6 battery . . . . . . . . . . . 63.99
RS-80N3 remote . . . . . . . . 39.99
TC- 80N3 remote . . . . . . . . . .119
AW, AB, B/B, C (W)
or D tripod mount ring each . . 99
MIFSUDS ARE NIKON PROFESSIONAL DEALERS
DX NON FULL FRAME LENSES
10.5 F2.8 . . . . . . . . . . . . . . . 529
10-24 F3.5/4.5 AFS G . . . . . 629
16-85 F3.5/5.6 AFS VR . . . . 429
18-55 F3.5/5.6 AFS VR . . . . . 99
18-105 F3.5/5.6 AFS G
ED VR no box . . . . . . . . . . . 149
18-140 F3.5/5.6 AFS VR . . . 479
18-300 F3.5/5.6 AFS G ED VR 689
35 F1.8 AFS G . . . . . . . . . . . 169
40 F2.8 AFS G . . . . . . . . . . . 199
55-300 F4.5/5.6 AFS G VR . 239
85 F3.5 AFS G VR . . . . . . . . 369
FX FULL FRAME LENSES
14 F2.8 AF D . . . . . . . . . . . 1239
14-24 F2.8 AFS G ED AFS 1315
16-35 F4 AFS VR. . . . . . . . . 819
18-35 F3.5/4.5 AFS G . . . . .POA
20 F2.8 AF-D . . . . . . . . . . . . 469
24 F3.5 PCE. . . . . . . . . . . . 1499
24-70 F2.8 AFS G ED . . . . 1245
24-85 F3.5/4.5 AFS G ED VR 399
24-120 F4 AFS G ED VR. . . 799
28 F1.8 AFS . . . . . . . . . . . . . 499
28-300 F3.5/5.6 AFS G ED VR659
35 F1.4 AFS G . . . . . . . . . . 1299
35 F1.8 AFS G FX . . . . . . . . 509
35 F2 AF-D. . . . . . . . . . . . . . 269
50 F1.4 AFS G . . . . . . . . . . . .299
50 F1.8 AFS G . . . . . . . . . . . 149
50 F1.8 AF-D . . . . . . . . . . . . 109
58 F1.4 AFS G . . . . . . . . . . 1499
60 F2.8 AFS . . . . . . . . . . . . . 399
70-200 F2.8 AFS VR . . . . 1579
70-200 F4 AFS G ED VR. . . 949
70-300 F4.5/5.6 AFS VR . . . 419
80-400 F4.5/5.6 AFS G VR 1969
85 F1.4 AFS G . . . . . . . . . . 1179
85 F1.8 AFS G . . . . . . . . . . . 377
105 F2.8 AFS VR macro . . . 629
200 F2 AFS G VR . . . . . . 3699
200-400 F4 AFS VR . . . . . 4899
300 F2.8 AFS G VR . . . . 3999
300 F4 AFS . . . . . . . . . . . . . 999
400 F2.8 AFS VR . . . . . . . 6666
500 F4 AFS VR . . . . . . . . 5777
600 F4 AFS VR . . . . . . . . 6899
800 F5.6 AFS VR. . . . . . . 15599
TC14E converter . . . . . . . . 309
TC17E converter . . . . . . . . 309
TC20E converter . . . . . . . . 369
FLASH & ACCESSORIES
EN-EL3E battery . . . . . . . . . . 67
EN-EL4A battery. . . . . . . . . . . 99
EN-EL18 battery. . . . . . . . . . . 99
MBD15 Grip (D7100) . . . . . . 249
MBD14 Grip (D600) . . . . . . . 219
MBD12 Grip (D800/E) . . . . . 279
MBD11 Grip (D7000) . . . . . . 229
MBD10 Grip (D300/D700) . . 249
MC36A remote . . . . . . . . . . . 129
MC30A remote . . . . . . . . . . . . 69
SB-700 flash. . . . . . . . . . . . . 229
SB-910 flash. . . . . . . . . . . . . 339
SBR1C ringflash/command . 579
SC-28 TTL cord . . . . . . . . . . . 59
SC-29 TTL cord . . . . . . . . . . . 69
SU-800 commander no box . 199
UT-1 data transmitter . . . . . . 349
10-20 F3.5 EX DC HSM. . . . . . 399
10-20 F4/5.6 EX DC HSM . . . . 359
12-24 F4.5/5.6 EX DG HSM mac. 599
17-50 F2.8 EX DC OS HSM . . 319
17-70 F2.8/4.5 DC OS HSM . . 349
18-35 F1.8 DC HSM. . . . . . . . . 649
18-200 F3.5/6.3 DC OS HSM mac 269
18-250 F3.5/6.3 DC OS HSM mac 319
24-70 F2.8 EX F DG HSM. . . . 599
30 F1.4 DC HSM Art . . . . . . . . 379
35 F1.4 DG HSM . . . . . . . . . . . 669
50 F1.4 EX DG HSM Art . . . . POA
50-500 F4/5.6 OS HSM. . . . . . . 999
70-200 F2.8 EX DG OS HSM . 799
70-300 4.5/5.6 APO DG HSM mac 169
85 F1.4 EX DG HSM . . . . . . . . 669
105 F2.8 EX DG OS HSM . . . . . 399
120-300 F2.8 DG OS HSM . . . 2799
150 F2.8 EX DG OS HSM . . . . 699
150-500 F5/6.3 DG OS HSM. . 749
180 F2..8 EX DG OS HSM . . 1299
1.4x EX DG . 199 2x EX DG. 239
X-T1 + 18-55 OS...... 1399
X-T1 body.................. 1049
X-E2 + 18-55 OS.......1135
X-E2 body.................... 759
X-Pro 1 + 18 f2 ............ 888
X-Pro 1 body................ 749
X-E1 + 18-55 OS........ 699
X-E1 body silver .......... 369
10-24mm F4 XF........... 849
14mm f2.8 XF.............. 659
16-50mm XC ............... 329
18mm f2 XF................. 419
18-55mm OS no box .. 399
23mm f1.4 XF.............. 759
27mm F2.8 XF............. 344
35mm f1.4 XF.............. 399
55-200mm OS XF..........544
56mm F1.2 XF............. 888
60mm f2.4 XF.............. 444
X100s Black................. 999
X100s Silver ................ 888
X20 Compact............... 349
W WY YQMM MIMY
WE PART EXCHANGE, BUY FOR CASH
OR COMMlSSlON SALE
Colleotlon oan be arranged, oontaot us at lnfo@mlfsuds.oom or rlng 0180S 8S2400
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SAT 9am - 5pm,
SUN 10am - 1pm.
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Only
Fam||y Run Pro Dea|ersh|p w|th Fr|end|y, Know|edgeab|e Staff. Open 7 days per week. Pr|ces |nc vAT - correct 24/03/2014. P&P Extra. E&OE.
FREE C0URlER DELlVERY F0R NEW lTEMS 0RDERED 0N-LlNE [U.K. MaInIand onIy}
EO8 FULL FRAME
1DX
body...................... 4844
5D MK
body...................... 2329
pIus 24-105 IS....... 2899
6D
body...................... 1379
pIus 24-105 IS....... 1925
70D
body...................................... 858
pIus 18-55 STM.................... 968
pIus 18-135 STM................ 1149
60D
body...................................... 499
pIus 17-85 IS......................... 699
700D
body...................................... 485
pIus 18-55 STM.................... 598
100D
body...................................... 399
pIus 18-55 STM.................... 479
1200D
body...................................... 349
pIus 18-55 IS II ..................... 449
For HOYA. PANA8ONC. PENTAX. TAMRON. ETC. Please see website
EO8 AP8-C
NKON FULL FRAME NKON AP8-C
D48
body.................................5199
Df
pIus 50 f1.8 AFS G............2444
D800
body.................................1989
D800E body.....................2339
D610
body.................................1389
D7100
body...................................... 839
pIus 18-105 VR..................... 969
D7000
body...................................... 569
pIus 18-105 VR..................... 699
D5300
body...................................... 629
pIus 18-55 VR....................... 689
pIus 18-140 VR..................... 899
D3300
body...................................... 479
pIus 18-55 VR....................... 549
D3200
body...................................... 315
pIus 18-55 VR....................... 359
MIFSUDS ARE CANON PROFESSIONAL STOCKISTS
PRO LENS
& BODY
HIRE
Email for details -
Subject to availability
DSLR SENSOR
CLEANING ON
THE PREMISES
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details - done
by appointment
only MON-FRI
Why not hire EOS 1DX?
Weekend Rate..........299
WeekIy Rate .............399
Why not hire D4S?
Weekend Rate..........299
WeekIy Rate .............399
PART EXCHANGE WELCOME - COLLECTION AVAILABLE
BUY WITH CONFIDENCE - FAMILY RUN SINCE 1954
EXPERT ADVICE COUPLED WITH QUALITY SERVICE
VALUE FOR MONEY PRICING ON UK SOURCED STOCK
HUGE RANGE OF NEW & USED PRODUCTS
SPEEDY DELIVERY FOR MAIL ORDER
FULLY AIR CONDITIONED SHOWROOM
LIMITED FREE PARKING AVAILABLE
QUALITY USED EQUIPMENT. See webs|te for fu|| ||st. Ca|| us for cond|t|on and to buy secondhand stock. 3 Month warranty on most secondhand.
A/Ihough we are Ihe besI sIocked dea/er /n Ihe WesI CounIry, we cannoI a/ways
have every /Iem //sIed /n sIock aI a// I/mes, so we are happy Io reserve new &
used /Iems for cusIomers p/ann/ng Io v/s/I. Pr/ces correcI aI I/me of comp//aI/on
24/03/2014 buI p/ease see webs/Ie for Ihe mosI up Io daIe pr/ces.
Pr/ces are subjecI Io change w/IhouI noI/ce.
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WE WANT Y0UR EQUlPMEN
WE PART EXCHANGE, BUY FOR CASH
OR COMMlSSlON SALE
Colleotlon oan be arranged.
oontaot us at lnfo@mlfsuds.oom
or rlng 0180S 8S2400
160-600mm SP f6/6.3
VC USD
WI
r [Oz rrww WYM MMOYLYII
Canon: A|| | Ser|es |enses
N|kon: D3S and D4 bod|es
N|kon: 200mm f2, 200-400mm f4, 300mm f2.8,
400mm f2.8, 500mm f4 & 600mm f4 |enses eto
S|gma: 300mm f2.8, 300-800mm f5.6,
500mm f4.5 & 800mm f5.6 |enses
Other |tems: Ema|| US frst!
P|ease ema|| |n frst |nstanoe: matt@m|fsuds.oom
K3 body ........................ 949
K3 + 18-55mm WR....... 999
K3 + 18-135mm WR... 1229
Qrwr QWI
BRONICA ETRS 645 USED
ETRSi + 75 PE + 120 back
+ AE prism.................. 349
ETRSi body .................. 139
ETRS body..................... 99
50 F2.8 PE ................... 199
50 F2.8 E........................ 99
75 F2.8 PE ................... 139
75 F2.8 E.................... 129
100-220 F4.8 PE box ... 449
135 F4 PE .................... 199
150 F3.5 E...................... 89
150 F3.5 PE M- Box..... 149
200 F4.5 PE ................. 179
500 F8 E..................... 399
2x extender E................. 79
E14 ext tube................... 49
120 RFH......................... 69
Polaroid Back ................. 25
Rotary prism................. 129
AE prism.................... 179
AE Prism ...................... 79
WLF................................ 49
Plain Prism E.................. 29
Angle viewfinder E........ 129
Winder...79 Winder E 149
M bracket........................ 69
Speed Grip E.................. 39
Tripod adapter E............. 39
Metz SCA 386 ................ 49
Ext tube 14 or 42 each... 49
BRONICA SQ 6x6 USED
SQAi complete ............. 449
SQAi body .................... 249
SQA + 80 + 120 RFH... 199
SQB + 80 + RFH.......... 299
SQ + 80 + RFH ............ 179
40 F4 PS ...................... 379
40 F4 S......................... 299
50 F3.5 PS ................... 199
50 F3.5 S...................... 149
110 F4.5 PS macro....... 379
135 F4 PS M- ............... 249
150 F3.5 S...................... 79
150 F4 PS ............. 149/199
200 F4.5 PS M- box ..... 199
2x PS converter M- ...... 179
Polaroid back.................. 25
135N back .....................119
SQAi 120 RFH................ 79
SQA 120 RFH................. 49
Plain Prism S Boxed ...... 69
AE Prism Early ............... 79
ME Prism Finder............. 79
Metz SCA 386 ................ 49
Lens Hood 65-80............ 20
SQAi Motorwinder ........ 149
Speed grip S................... 69
BRONICA GS 6x7 USED
Polaroid Back ................. 25
Speed Grip .................... 49
AE Rotary Prism........... 129
CANON DIGITAL AF USED
1D MKV body box ..... 2399
1D MKV body box ..... 1999
1D MK body box........ 849
1D MK body scruffy... 699
1D MK N body box..... 499
7D body................. 579/699
5D MK body box.........1099
5D MK body box............599
60D body M- box............429
50D body box..................379
20D body box..................149
700D body box................399
650D body box................379
600D body box................299
550D body box................279
450D body box................169
400D body box................149
BG-E2N.............................59
BG-E2 ...............................49
BG-E3 ...............................29
BG-E4 (5D MK) ...............49
BG-E5 ...............................69
BG-E6 ............................. 119
BG-E7 ...............................99
BG-E11............................239
SX40 compact box .........149
CANON AF USED
EOS 1V body box......... 299
EOS 1N RS body ......... 299
EOS 3 + PB-E2............ 239
EOS 3 + BP-E1............ 199
EOS 3...................... 99/169
EOS 1n/ 3 body each... 129
EOS 5/30 body each...... 39
EOS 600/650 body each 20
EOS 300/500 body each 20
EOS 50E body................ 20
10-22 F3.5/4.5 U box ... 419
14 f2.8 L M- box ...... 1399
17 TSE F4 L M- box... 1599
17-40 F4 L box ............. 499
17-85 F4/5.6 S U EFS. 199
18-55 F3.5/5.6 S EFS ... 79
18-55 F3.5/5.6 S STM......99
18-55 F3.5/5.6 EFS............59
20 F2.8 M- box................ 299
20-35 F3.5/4.5 USM M-.. 249
22-55 F4/5.6.......................49
24-70 F2.8 L M- box ... 1499
24-85 F3.5/4.5................. 149
24-105 F4 L M-................ 579
28-135 F3.5/5.6.................179
50 F1.4 U M- box ......... 239
50 F1.8 MK box............ 69
55-250 F4/5.6 S EFS .. 139
55-200 F4/5.6 U ............. 69
60 F2.8 EFS.................. 299
70-200 F2.8 S U L box1099
70-200 F2.8 L box ..........799
70-200 F4 S U L.......... 699
70-300 F4.5/5.6 L S U...899
70-300 F4.5/5.6 S U......299
75-300 F4/5.6 MK........ 89
100 F2.8 S U L M- box 639
100 F2.8 U mac box..... 349
100-400 F4.5/5.6 L 899/999
180 F3.5 mac L ............ 799
200 F2 S U L box ...... 3499
300 F2.8 S L U.......... 3399
400 F2.8 S U L M- box 7299
400 F2.8 S U L............4799
600 F4 S USM L Mint 8999
600 F4 S USM L.........4999
1.4x ext MK ..................269
1.4x ext MK ...................169
2x extender MK............199
2x extender MK.............149
Teleplus 2x DG conv ...... 89
BP-50 grip ...................... 20
BP-E1............................. 49
GP-E2 receiver M- box. 179
LC-4 wireless kit ............119
Angle finder C............... 139
SIGMA CAF USED
10-20 F3.5 EX DC........... 339
12-24 F4.5/5.6 EX DG.... 399
18-35 F1.8 DC HSM M-.. 499
18-50 F3.5/5.6 DC..............49
18-200 F3.5/6.3............... 149
20 F1.8 EX DG box........369
28-300 F3.5/6.3 DG.......169
50-500 F4/6.3 EX...........399
100-300 F4 EX DG........349
120-400 F4/5.6 DG OS box499
135-400 F3.5/5.6 APO.... 249
150 F2.8 macro............... 399
170-500 F5/6.3................ 399
500 F4.5 EX DG............ 2799
1.4x EX conv................... 129
2x EX DG conv ............... 179
2x EX M- box................... 129
OTHER CAF USED
TAM 28-200 XR Di.............99
TAM 28-300 F3.5/6.3 XR Di 199
TAM 90 F2.8................. 199
TOK 17-35 F4 Pro FX.. 399
Kenko ext tube set Mint 119
CANON FLASH USED
ST-E2 transmitter ..........119
540EZ non dig................ 59
580EX box.................... 269
580EX box.................. 299
MR14EX ring flash ....... 299
Sigma EM140G ring..... 199
CANON MF FD USED
F1 body early................ 179
T90 body box................ 149
A1 body .......................... 99
20 F2.8 ......................... 249
24 F2.8 ........................... 79
28 F2.8 ........................... 49
35-105 F3.5.................... 99
35-105 F3.5/4.5.............. 99
50 F1.4 ........................... 99
50 F3.5 Macro................ 89
50 F3.5 Mac + Tube......119
80-200 F4....................... 79
100 F2.8 ......................... 99
100 F4 Macro + tube.... 199
2X A Extender................. 99
2X B Extender ................ 69
TOK 60-300 F4/5.6......... 69
WLF fits F1 early............ 79
Motor drive MA............... 49
Winder A......................... 19
Angle finder B................. 49
Auto bellows FD............. 99
PB-E1 power booster ..... 69
CANON FLASH USED
155A............................... 19
199A............................... 49
244T ............................... 29
300TL ............................. 49
CONTAX SLR USED
28-70 F3.5/4.5 MM M-.. 379
35 F2.8 AE.................... 179
50 F1.4 AE M- .............. 199
85 F1.4 AE M- box ....... 499
100 F3.5 AE.................. 179
TLA360 flash M- box...... 99
TOKNA 500 F8 mirror.... 49
CONTAX RF USED
G2 body Titanium......... 369
35-70 F3.5/5.6 tit box ... 379
FUJI DIGITAL USED
XE-1 body blk/silv box.. 269
XE-1 + 18-55 OS......... 599
XM-1 body blk .............. 229
XS-1 body M- box ........ 249
14 F2.8 XF box............. 579
18 F2 R M- box ............ 269
18-55 F2.8/4 OS.......... 349
27 F2.8 XF M- box ....... 249
50-200 F3.5/4.8............ 489
X-M1 handgrip................ 49
XE-1 case....................... 49
EF-20 M- box.................119
X100 M- box................. 379
X100 leather case .......... 49
X100 lens hood .............. 49
HS30 box...................... 149
X10 leatehr case ............ 49
X10 lens hood ................ 39
FUJI MED FORMAT USED
GX617 + 90 + VF
+ CF box..................... 1799
G617 + 105 F8............1199
250 F5.6 GX680........... 149
GA645 M- ..................... 399
GSW690 MK ............. 799
GW690 M- box .......... 599
GW690 ....................... 379
FUJI 35MM USED
Screw & bayonet available
SEE WEB
GADGET BAGS USED
LOWEPRO
Dryzone 200 yellow/blk 149
Photo Trekker AW........... 99
Pro Trekker 300AW...... 149
GITZO USED
GT3541LS......................... 399
HASSELBLAD XPAN USED
30 F5.6 M-....................... 1399
90 F4 M-............................ 249
Centre filter 49mm............ 149
HASSELBLAD 6x6 USED
501CM body chrome.... 399
PM45 prism box ........... 299
PM90 prism.................. 169
PME prism box............. 149
45 Prism late.............. 149
WLF early....................... 49
A16 black...................... 149
A12 latest blk/chr.......... 179
A12 late blk/chr............. 129
E12 blk ......................... 149
Polaplus back 100.......... 69
503CW winder box....... 179
50 F2.8 FE M- box ....... 649
250 F4 FE M- box ........ 499
50 F2.8 CE M- box....... 699
50 F4 CF box .............. 899
50 F4 CF FLE............... 699
50 F4 CF ...................... 499
80 F2.8 CF ............ 399/499
80 F2.8 blk T*............... 299
150 F4 CF ............ 499/549
150 F4 CF .................... 299
Vivitar 2x conv................ 69
LEICA DIGITAL USED
Digilux 3 + 14-50 box.....699
V-Lux 30 Blk M- box ......279
Minilux ............................179
LEICA M/COMPACT USED
M7 0.72 silv m- box.... 1499
M6 body blk scruffy.........599
M4 chrome body..............699
21 F2.8 blk ASP M- box . 1799
24 F2.8 blk M- ............ 1399
28 F2.8 M- box............. 799
35 F2 blk ASP M- box 1399
35 F2 Asph blk ........... 1299
50 F2 chrome............... 549
Zeiss 25 F2.8 ZM............699
Zeiss 50 F2.8 ZM............699
CF fLash..49 CF22 flash.49
SF20 flash .........................69
M6 ERC.......................... 49
M Handgrip (14405) ....... 49
Handgrip X1 ................... 49
LIGHTMETERS USED
Gossen Vario 6S ............ 89
Minolta Flashmeter V ... 149
Minolta Spotmeter F..... 179
Pentax digital spot M.... 269
Pentax spot meter V....... 99
Sekonic L558................ 249
MAMIYA 645 AF USED
55-110 F4.5 box ........... 449
150 F3.5 box ................ 249
Ext tube NA401.............. 79
Ext tube NA402.............. 79
Ext tube NA403.............. 79
MAMIYA 645 USED
645 Pro + 80 F2.8 N
+ 120 RFH + prism....... 349
645E + 80 + winder ...... 249
645E body .................... 149
645 Super comp........... 199
645 Super body.............. 89
35 F3.5 C...................... 149
45 F2.8 N M- Box......... 149
45 F2.8 C........................ 99
50 F4 shift..................... 299
55 F2.8 N........................ 99
55-110 F4.5 .................. 199
105-210 F4.5 ULD C....... 179
150 F2.8 A.................... 279
150 F3.5 N...................... 89
210 F4 N M- ................... 99
2x converter N................ 89
Ext Tube 1, 2, 3S each... 29
Teleplus 2x converter ..... 49
Vivitar 2x converter......... 49
FE401 AE prism box .... 179
AE prism 645 Super ....... 99
Plain prism (645 Super) . 69
WLF 645N/1000S/J........ 49
Polariod Back HP401..... 29
Polaroid back.................. 29
120 nsert ....................... 20
HA401 120 RFH Box...... 49
120 Back. .39 Winder.. 79
MAMIYA TLR 6x6 USED
C330 S B/O + WLF....... 139
C330 S B/O + WLF....... 199
C330 F Body + WLF..... 149
55 F4.5 ......................... 199
65 F3.5 box late............ 199
65 F3.5 serviced........... 149
80 F2.8 late serviced.... 139
80 F2.8 early................... 99
105 F3.5 ....................... 129
180 F4.5 ....................... 149
250 f4.5 late serviced ... 249
250 f4.5 early serviced . 179
Paramender.................... 49
CDS Mag Hood box........ 99
MAMIYA 7 RF 6x7 USED
7 body......................... 749
50 F4.5 L + VF ............. 769
65 F4 M- ....................... 599
150 F4.5 M- .................. 399
210 F8 + VF box M- ..... 499
Polarising filter ZE702.... 79
Panoramic kit.................. 49
MAMIYA RB 6x7 USED
Pro SD + 90 F3.5 L
+ back........................... 699
Pro SD + 127 KL
+ RFH + WLF............... 599
Pro S body.................... 149
Pro S body scruffy.......... 99
Prism late ..................... 179
Prism early ..................... 69
WLF.......79 Chimney... 49
120 645V back ............... 99
Pro S Polaroid back ....... 29
Pro SD Polaroid back..... 69
50 F4.5 C...................... 299
65 F4 C......................... 179
90 F3.5 KL.................... 249
180 F4.5 KL M-............. 199
180 F4.5 C...................... 99
250 F4.5 KL M- box ........ 249
360 F6.............................POA
45mm tube SD M-..............79
Ext tube 2............................49
Handgrip GL701 box..........69
MAMIYA RZ 6x7 USED
RZ Pro body ................. 149
50 F4.5 W M- ............... 199
140 f4.5 M/LA M- macro299
180 F4.5 M- .................. 149
No 2 ext tube.................. 49
AE prism early................ 79
Pro Polaroid back........ 49
120 Back Pro 1............... 39
Pro shade....................... 49
MANFROTTO USED
MT0573C3 non geared 299
MINOLTA/SONY DIGITAL USED
Sony RX1 M- box.........1399
Sony A580 body box......299
Sony NEX7 body M- box579
Sony F42AM flash .........139
Sony RLAM ringlight ......179
Min VC7D grip box........... 89
Sony VGC90AM scruffy... 99
Sigma EF530DG Super... 79
MINOLTA/SONY AF USED
Dynax 9 body ............... 299
Dynax 800Si body .......... 49
Dynax 7xi body............... 49
Dynax 700Si + VC700.... 69
Dynax 700Si body .......... 49
Dynax 5 body .................... 39
Dynax 505Si body ............. 29
Dynax 505Si Super body .. 25
Dynax 500Si body silv....... 25
28-80 F3.5/5.6................ 25
28-85 F3.5/4.5.............. 129
35-70 F4......................... 39
35-70 F3.5/4.5....................25
35-80 f4/5.6.........................25
50 F2.8 macro................. 179
100-300 F4/5.6...................99
300 F2.8......................... 2299
500 F8 Mirror................... 349
1.4x APO D conv............. 199
BP200 grip..........................39
RC1000S/L cord.................15
SONY LENSES USED
16-70 F4 ZA OSS M-.....599
18-55 F3.5/5.6 SAM...........39
18-70 F3.5/5.6 DT..............49
18-200 F3.5/6.3 OSS LE 399
18-200 F3.5/6.3 DT......... 199
50 F1.4 SAL DT.............229
50 F2.8 macro................. 239
55-200 F4/5.6 DT M- box ..99
70-300 F4.5/5.6 G SSM.. 549
75-300 F4.5/5.6 box.........119
SIGMA MIN/SONY AF USED
18 F3.5 box...................... 99
18-35 F3.5/4.5.................. 69
21-35 F3.5/4.2.................. 99
28-135 F3.8/5.6................ 99
55-200 F4/5.6................... 69
70 F2.8 EX DG................ 249
180 F5.6 macro early ..... 49
600 F8 .......................... 349
1.4x EX DG conv.......... 149
2x EX conv ..................... 99
TAM 70-300 F4/5.6 Di .... 79
TAM 90 f2.8 Di box....... 249
TAM 90 f2.8.................. 199
Teleplus 1.4x conv.......... 69
Teleplus 2x conv............. 79
Kenko 1.4x Pro 300DG 149
Sony angle finder ........... 79
VC600 (600Si)................ 29
Min 3200i ........................ 19
Min 350Xi ....................... 20
Min 3600HSD flash ........ 49
Min 5200i ........................ 39
Min 5600HSD M-.......... 129
Min 1200 Ringflash......... 69
MINOLTA MD USED
X700 body blk................. 69
X300 chr/XGM chr each. 49
MD 28 F2.8..................... 49
MD 28 F3.5..................... 29
MD 50 F1.7..................... 39
MD 75-210 F4.5 ............. 49
MD70-300 F4.5/5.8 ........ 69
Auto 280PX flash............ 19
Auto 360PX flash............ 39
Auto bellows 1 + 100 F4 99
Motor drive 1 box ........... 99
NIKON DIGITAL AF USED
D4 body box ............... 3499
D3X body box............. 1999
D3 body............. 1099/1399
D2X body...................... 499
D800 body box ........... 1699
D700 body box .... 999/1399
D600 body box ............. 849
D300s body M- box...... 599
D300s body .................. 549
D300 body box ............. 399
D200 body box ............. 199
D7000 body box ........... 429
D5000 body.................. 199
D90 body box ............... 299
D80 body...................... 199
D70s body box ............... 99
D70 body box ................. 89
EH-6 mains charger ....... 59
EH-5 mains charger ....... 49
MBD-10 ................... 99/149
MBD-11......................... 169
MBD-15 box ................. 179
MBD-80 box ................... 49
MBD-200 box ................. 39
Coolpix P500 box ........... 79
Coolpix P5000 box ......... 69
10 F2.8 V M- .................119
18.5 F1.8 M- box.......... 109
NIKON AF USED
F6 body ........................ 849
F5 body M- box ............ 399
F5 body box.................. 299
F5 body scruffy............. 199
F4s body....................... 249
F100 body box.............. 199
F80 blk/F801 body each. 49
F55/F65/F601 body each29
10-24 F3.5/4.5 AFS DX...499
14-24 F2.8 AFS M-........1149
16-85 F3.5/5.6 AFS VR...329
17-35 F2.8 AFS...............949
17-55 F2.8 AFS DX.........499
18-35 F3.5/4.5 AFD.........299
18-55 F3.5/5.6 VR M-........79
18-55 F3.5/5.6 ...................69
18-70 F3.5/4.5 .................119
18-105 F3.5/5.6 VR.........139
18-135 F3.5/5.6 AFS.......129
18-200 F3.5/5.6 AFS VR349
18-200 F3.5/5.6 AFS VR299
24-50 f3.5/4.5 AF.............149
24-120 F3.5/5.6 VR M- ...299
24-120 F3.5/5.6 D...........129
28 F2.8 AF N...................119
28-80 F3.5/5.6 AFD box....69
28-100 F3.5/5.6 AF G........69
28-300 F3.5/5.6 AFS G ED VR579
28-300 F3.5/5.6 AFS VR box 529
35 F1.8 AFS DX M- box . 129
35 F2 AF.......................... 169
35-70 F2.8 AFD............... 249
35-80 F4/5.6 AFD...............49
50 F1.4 AFS G................ 239
50 F1.4 AF (non D) ......... 149
50 F1.8 AFD.......................99
55-200 F4/5.6 AFS VR......99
55-300 F3.5/5.6 AFS VR 199
60 F2.8 AFD micro.......... 249
70-180 F4.5/5.6 AF....... 699
70-200 F2.8 VR M- ..... 1349
70-200 F2.8 VR.............. 999
70-300 F4.5/5.6 VR...... 329
70-300 F4.5/5.6 G box ... 79
80-200 F2.8 AFD N M- . 799
80-200 F2.8 early ......... 299
80-400 F4.5/5.6 VR AFS1699
80-400 F4.5/5.6 VR...... 699
80-400 F4.5/5.6 VR...... 599
85 F1.4 AFD M- box..... 699
85 F3.5 DX VR M-........ 299
105 F2.8 AFS VR......... 539
200-400 F4 AFS VR M-.. 4399
200-400 F4 AFS VR M-... 3499
300 F2.8 AFS VR M- . 3499
300 F2.8 AFS VR box 3199
300 F4 AFS M- box ...... 849
600 F4 AFS ............. 4299
TC14E or TC17E ea. 269
TC20EE M-................ 339
TC20E box ................... 179
SIGMA NAF USED
17-70 F2.8/4 OS DC .......259
18-35 F1.8 DC HSM box 499
18-125 F3.8/5.6 DC OS159
18-125 F3.8/5.6 DC........ 89
24-70 F2.8 EX DG HSM. 479
24-70 F2.8 EX................. 349
28-200 F3.5/5.6............... 129
28-300 F3.5/6.3 DG........ 169
28-300 F3.5/6.3..................69
30 F1.4 EX DC box......... 169
50-500 F4/6.3 EX DG.....499
55-200 F4/5.6 DC HSM....49
55-200 F4/5.6 DC Mint......39
70-300 F4/5.6 DG ..........69
120-300 F2.8 EX DG...... 899
120-400 F4.5/5.6 DG OS499
135-400 F4.5/5.6 DG box349
150-500 F5/6.3 DG OS... 579
170-500 F5/6.3 DG......... 349
500 F4.5 EX DG............ 2499
1.4x EX DG M-................ 179
1.4x EX conv......................99
TAMRON NAF USED
17-35 F2.8/4 Di................ 199
17-50 XR Di VC box ..... 299
18-200 F3.5/5.6 XR Di .... 129
18-250 F3.5/6.3 Di box. 179
24-135 F3.5/5.6 box.........119
28-300 F3.5/6.3 XR VC.. 229
55-200 F4/5.6 Di ..............39
70-300 F4/5.6............... 69/89
90 F2.8 Di box................. 249
90 F2.8............................. 199
TOK 11-16 F2.8 ATX......379
TOK 12-24 F4 ATX M-.369
TOK 12-24 F4 ATX M-.. 319
TOK 12-24 F4 ATX....... 279
TOK 16-50 F2.8 ATX Pro 399
TOK 17-35 F4 ATX Pro M-.399
TOK 35 F2.8 mac M-...... 169
TOK 80-400
F4.5/5.6 ATX................. 299
Zeiss 21 F2.8 M- box . 1099
Samyang 85 F1.4 M-.... 199
Kenko ext tube set DG. 109
FLASH / ACCESSORIES USED
SB-24.......49 SB-25.........49
SB-27.......39 SB-29.........79
SB-30..................................39
SB-600............................. 149
SU-800 commander........ 199
SB-900 M- box................ 269
SD-8 box.............................49
MB-10 (F90X).....................19
MB-15 (F100) .....................39
MB-21 (fits F4)....................99
MB-40 (F6) ...................... 179
MC-30.................................49
MF-23 (date back F4) ........99
ML-3 remote M- box ....... 139
WT-2 box ............................99
NIKON MF USED
F2 + DP-1 blk ............... 199
F3 body ................. 149/299
FA body blk................... 199
FE-2 body chr........ 169/199
FM2n body chr ............. 179
FM2n body blk.............. 179
24 F2 AS...................... 339
28 F3.5 shift box........... 449
35 F1.4 A ..................... 299
35 F2 AS...................... 199
35-70 F3.3/4.5 AS ......... 99
35-105 F3.5/4.5 AS ......119
43-86 F3.5 A.................. 49
50 F1.8 AS..................... 89
50 F1.8 AS pancake.... 139
50 F1.8 E........................ 59
55 F2.8 AS micro......... 179
100-300 F5.6 AS ......... 149
105 F2.5 AS................. 279
105 F2.8 AS Micro....... 249
135 F2.8 AS................. 149
180 F2.8 AS ED .......... 349
200 F4 AS.................... 149
300 F2.8 AS................. 799
300 F4.5 A ................... 179
500 F8 late box ............ 299
TC14A........................... 129
TC16A............................. 99
TC200............................. 59
TC201B...............................69
TC300.................................99
MD-12 winder.....................49
SB-10.......25 SB-15 .... 29
SB-16.......49 SB-17 .... 49
DW-4 6x mag find fit F3 . 99
PK-12 orPK-13 ea.......... 29
PB-4 bellows ................ 169
NOBLEX USED
135UC .......................... 349
OLYMPUS DIGITAL USED
XZ1 M- box................... 199
E500 body .................... 129
E420 body .................... 129
E410 +14-42................. 149
E300 body ...................... 99
11-22 F2.8/3.5 M- ......... 579
12-60 F2.8/4.5 SWD box.699
14-42 F3.5/5.6................ 59
14-45 F3.5/5.6.............. 129
14-54 F2.8/3.5.............. 229
25 F2.8 M- .................... 149
35 F3.5 ..........................119
40-150 F3.5/4.5.............. 69
40-150 F4/5.6................. 69
50 F2 ED macro........... 399
50-200 F2.8/3.5 ED...... 549
70-300 F4/5.6 box ........ 269
Sigma 30 F1.4 DC HSM 229
Sigma 105 F2.8 EX DG299
1.4x EC14 conv M-....... 249
OLYMPUS PEN USED
OMD EM-1 body blk M- 949
Pen E-PL1 + 14-42....... 149
Pen E-PM1 body .......... 149
12-50 F3.5/6.3 EZ M- ... 179
14-42 F3.5/5.6................ 59
14-150 F4/5.6............... 269
40-150 F4/5.6............... 129
HLD6 grip box .............. 149
HLD7 grip M- ................ 149
OLYMPUS MF OM USED
OM-4Ti body blk ........... 199
OM-4 body blk .............. 139
OM-2n body chrome...... 169
OM-2SP body................ 149
OM-2n body black ......... 149
OM-2 chr body............... 129
OM-1 body chrome........ 129
OM-20 body..................... 49
28 F2.8 ........................... 69
28 F3.5 ........................... 49
35-70 F3.5/4.5................ 79
35-70 F4......................... 79
35-105 F3.5/4.5.............. 79
50 F1.8...............................29
50 F3.5 macro....................89
135 F3.5 ......................... 29
180 F2.8 ....................... 369
200 F4 ............................ 79
Sigma 500 F7.2............ 169
Olympus Auto bellows
+ slide copier M- ........... 129
Man ext tube 7/14/25 ea. 15
Auto ext tube 14/25 each .... 29
F280 fash.49 T32 fash 29
PANASONIC DIGITAL USED
LX5 M- box.....................199
LX3 box ..........................149
GH2 body box ................369
G3 Olympic kit M- box.. 299
GX1 body box............... 199
GF3 body mint- box........ 89
14-42 F3.5/5.6 X M- ..... 169
14-42 F3.5/5.6................ 69
14-45 F3.5/5.6.............. 149
14-50 F3.8/5.6 OS....... 299
20 F1.7 box .................. 199
BG GH3 grip M- ........... 139
LVF1 VF.........................119
PENTAX DIGITAL AF USED
K20D body.................... 229
K10D body.................... 179
ist DS body..................... 89
TR Power pack 3............ 99
DBG2 grip....................... 79
DBG4 grip M- box ........ 149
PENTAX 35mm AF USED
15 F4 M- ....................... 429
17-28 F3.5/4.5.............. 199
17-70 F4 SDM M- box.. 349
18-55 F3.5/5.6................ 39
21 F3.2 AL Limited.......... 369
28-70 F4 AL........................59
28-80 F3.5/5.6................ 39
35 F2.8 Limited M-........ 299
35-80 f4/5.6 .................... 29
40 F2.8 Limited M-........ 249
50-135 F2.8 SDM M- box599
70 F2.8 Limited............. 349
70-200 F4/5.6................. 69
70-300 F4/5.6................. 79
80-200 F4.7/5.6.............. 49
100-300 F4/5.6............... 79
560 F5.6 AW Mint box 3699
AF500FGZ flash............. 49
SIGMA PKAF USED
8 F4 EX M- box ............ 249
18-250 F3.5/6.3 OS...... 249
28-200 F3.5/5.6.............. 49
50-200 F4/5.6 WR.......... 99
105 F2.8 EX DG M- box329
TAM 17-50 F2.8 XR Di . 249
TAM 18-200 XR Di ....... 99
TAM 70-300 F4/5.6 Di .... 79
PENTAX 35mm MF USED
LX + FA1W prism......... 299
LX + FA1W prism......... 199
K1000 body chr .............. 79
28-80 F3.5/4.5................ 49
50 F1.7 ........................... 49
50 F2 .............................. 39
55 F1.8 ........................... 49
135 F3.5 ......................... 39
400-600 F8/12.............. 299
1000 F11....................... 799
FB1 + FC1 LX V/F.........119
FE1 WL Magnifier........... 99
FD1 Mag eyepiece......... 99
Rear converter A 2x........ 79
Rear converter T62 ........ 69
PENTAX 645AF USED
645N body.................... 399
120 insert........................ 49
1.4x converter ..................179
PENTAX 645MF USED
45-85 F4....................... 269
80-160 F4.5.................. 269
135 F4 Leaf .................. 179
150 F3.5 EX++ ............. 149
200 F4 ......................... 149
1.4x or 2x converter each179
120 nsert M- box............ 49
Ref conv (angle fnder) . 149
PENTAX 67 USED
67 + AE prism............. 799
67MU + 105 early
no meter ....................... 399
45 F4 ............................ 249
55 F4 ............................ 249
90 F2.8 leaf................... 179
105 F2.4 late................. 299
135 F4 mac late............ 249
135 F4 mac early............ 99
165 F2.8 ....................... 149
165 F4 leaf latest .......... 249
200 F4 latest................. 169
300 F4 early scruffy......... 99
300 F4 late.................... 199
Auto ext tubes................. 49
Vivitar 2x conv ................ 49
Pentax rear conv 1.4x... 249
SAMSUNG DIGITAL USED
NX11 + 18-55 box ........ 149
NX100 + 20-50 box ...... 149
TAMRON ADAPTALL USED
24 F2.5 late .................... 69
28-80 F3.5/4.2 SP.......... 49
35-210 F3.5/4.2.............. 49
90 F2.5 early 2:1 ............ 79
90 F2.5 late 2:1 ............ 149
300 F2.8 ....................... 399
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E&OE
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we are ce|ebrat|og 60 years oI trad|og aod w||| have some exc|t|og
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Nikon D6I0 I,800* 24.3 Ix 3.2 SDi

Nikon D 2,/49 I6.2 Ix 3.2 SDi

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