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Ultimate Guide To Photography 2016 PDF
Ultimate Guide To Photography 2016 PDF
Editorial
editor Daniel Lezano
daniel.lezano@dslrphotomag.co.uk
art editor Luke Marsh
Welcome...
luke.marsh@dslrphotomag.co.uk
Senior Contributing editor Caroline Schmidt
caroline.schmidt@dslrphotomag.co.uk
Contributing editor Jordan Butters
jordan.butters@dslrphotomag.co.uk
more people than ever are using digital Slrs (and CSCs) to take editorial Consultant Jo Lezano
control of their photography and capture stunning photographs. jo.lezano@dslrphotomag.co.uk
not only are cameras, lenses and accessories better quality than Other editorial contributors:
adam Burton, helen dixon, Ben hall, Jon hicks, lee Frost,
ever, they are also more afordable too, allowing more people than Brett harkness, ross hoddinott and richard hopkins
ever the chance to develop a passion for photography, develop
their skills and capture sharp, well-exposed images. The Ultimate Advertising & Production
display & Classiied Sales: 020 7907 6651
Guide to Photography is aimed at those looking to take their Commercial Brand manager Alex Skinner
photography to the next level by learning skills and techniques for alex_skinner@dennis.co.uk
a variety of subjects. it is packed with expert advice from many of the uks leading account manager Finan Tesfay
inan_tesfay@dennis.co.uk
professional photographers, with emphasis on key in-camera techniques rather Senior Production Controller Anisha Mogra
than post-processing techniques. with topics covering everything from macro anisha_mogra@dennis.co.uk
to travel to coastal landscapes, the photographic possibilities are wide and varied. digital Production manager Nicky Baker
nicky_baker@dennis.co.uk
throughout the guide, we bring you our choice of photo equipment to suit the
topic, while at the rear youll ind an extensive set of reviews. From nd graduated Management
ilters to premium optics, our authoritative tests ensure you get maximum value by magBook PuBliSher Dharmesh mistry
oPerationS direCtor robin ryan
choosing the best kit for the job. Follow the expert advice in this guide and youll md oF advertiSing Julian lloyD-evans
newStrade direCtor DaviD barker
soon see a marked improvement in the standard of your photography. all the best! PuBliShing direCtor John garewal
ChieF oPerating oFFiCer brett reynolDs
grouP FinanCe direCtor ian leggett
ChieF exeCutive James tye
second tuesday of every month. For further information, visit: www.digitalslrphoto.com the publisher makes every efort to ensure the magazines
content is correct. all material published in The Ultimate Guide
to Photography and Digital SLR Photography is copyright and
unauthorised reproduction is forbidden. the editors and publishers
of this magazine give no warranties, guarantees or assurances and
make no representations regarding any goods or services advertised
in this edition. no responsibility can be accepted for images or
correspondence lost or damaged in post or transit.
The Ultimate Guide to Photography is produced for
dennis Publishing ltd by red Creative media ltd.
the magBook brand is a trademark of
dennis Publishing ltd. 30 Cleveland St,
london w1t 4Jd. Company registered in england. all material
dennis Publishing ltd, licensed by Felden 2014, and may not be
reproduced in whole or part without the consent of the publishers.
The Ultimate Guide to Photography iSBn 1-78106-465-2
licensing & Syndication: to license this product please contact
Carlotta Serantoni on +44 (0) 20 7907 6550 or email
carlotta_serantoni@dennis.co.uk. to syndicate content from this
product please contact anj dosaj halai on +44 (0) 20 7907 6132 or
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while every care was taken during the production of this magBook,
ross hoDDinott helen Dixon lee Frost aDam burton the publishers cannot be held responsible for the accuracy of the
ross is an award-winning helen is living the dream, a pro for two decades, a highly successful information or any consequence arising from it. dennis Publishing
takes no responsibility for the companies advertising in this magBook.
photographer with many having given up her job to lee Frosts one of the landscape photographer
the paper used within this magBook is produced from sustainable
years of experience become a professional best-known names in the with an extensive portfolio ibre, manufactured by mills with a valid chain of custody.
capturing the diverse photographer. She is one of uk photography business, of images, adam is the Printed by Southern Print
beauty of Britains the uks brightest talents. with 20 books to his name author of the photography
landscapes and wildlife. www.helendixon and worldwide image sales. book the dorset Coast.
www.rosshoddinott.co.uk photography.co.uk www.leefrost.co.uk www.adam-burton.co.uk
CONTENTS The ulTimaTe Guide To phoToGraphy
6 26 40
55 70 84
6 Wildlife 70Macro
Ensure youre up to speed with the essential Learn how to see the world in fascinating 116
technique and kit advice you need to help you miniature. Catch the macro bug!
take on wildlife one of photographys most 72 EXPERT ADVICE: GETTING STARTED
challenging and diverse subjects 74 EXPERT ADVICE: INSECTS
8 EXPERT ADVICE: BASIC TECHNIQUES 76 EXPERT ADVICE: FLOWERS
10 EXPERT ADVICE: ANIMALS IN ACTION 78 EXPERT ADVICE: CREATIVE CLOSE-UP IDEAS
12 EXPERT ADVICE: ANIMAL PORTRAITS 80 MASTER OF MACRO: ROSS HODDINOTT
14 EXPERT ADVICE: CREATIVE WILDLIFE IDEAS 82 ULTIMATE KIT: MACRO
16 MASTER OF WILDLIFE: BEN HALL
18 ULTIMATE KIT: WILDLIFE 84 Raw
20 PHOTO SKILLS: A DAY AT THE ZOO Harness your cameras full potential by shooting
in Raw. Its easier than you think to master
26 Coastal landscapes 86 EXPERT ADVICE: UNDERSTANDING RAW
Leading UK landscape professionals provide 88 EXPERT ADVICE: EXPOSURE
expert advice on shooting coastal landscapes 90 EXPERT ADVICE: EXPOSE TO THE LEFT
28 EXPERT ADVICE: KNOW THE ESSENTIALS 91 EXPERT ADVICE: EXPOSE TO THE RIGHT
30 EXPERT ADVICE: EXPOSURE CONSIDERATIONS 92 EXPERT ADVICE: CONTROL COLOUR WITH EASE
94 MASTER OF RAW: LEE FROST
124
32 EXPERT ADVICE: COASTAL COMPOSITION
34 EXPERT ADVICE: TIME OF DAY 96 EXPERT ADVICE: RAW DETAIL
36 MASTER OF COASTLINES: LEE FROST 99 RAW TALENT: CREATIVE RAW TECHNIQUES
38 ULTIMATE KIT: COASTLINES
115 Ultimate kit
40 Filters for landscapes From our extensive number of tests and reviews,
Do you know your NDs from your polarisers? we bring you our pick of the ultimate photo kit
Heres why you should be using lters 116 PRO FIELD TEST: CANON EOS 5DS R
42 EXPERT ADVICE: THE ESSENTIAL FILTERS 120 GROUP TEST: POLARISING FILTERS
120
44 EXPERT ADVICE: USING A POLARISER 124 GROUP TEST: ND GRADUATE FILTER SYSTEMS
128
46 EXPERT ADVICE: NEUTRAL DENSITY FILTERS 128 HEAD TO HEAD: PREMIUM TRIPODS
48 EXPERT ADVICE: ND GRADUATED FILTERS 131 PC TEST: CHILLBLAST FUSION PHOTO OC LITE
50 EXPERT ADVICE: EXTREME NDS 132 WHICH LENS?: HOW WE TEST
52 MASTER OF FILTERS: ADAM BURTON 134 LENS TESTS: ULTRA WIDE-ANGLE ZOOMS
138 PRO FIELD TEST: CANON EF 11-24MM F/4L USM
55 Travel 142 LENS TESTS: PREMIUM STANDARD ZOOMS
Travel broadens the mind and allows you to 146 LENS TESTS: PREMIUM TELEZOOMS
take incredible images. Top guidance within 150 LENS TESTS: POPULAR TELEZOOMS
56 EXPERT ADVICE: GET PREPARED TO TRAVEL 152 LENS TEST: SIGMA 150-600MM F/5-6.3 OS HSM
58 EXPERT ADVICE: BE SMART WITH KIT CHOICE 154 PRO FIELD TEST: NIKON AF-S 300MM F/4E PF ED 154
60 MASTER OF TRAVEL: JON HICKS 156 LENS TESTS: 50MM PRIME LENSES 138
62 EXPERT ADVICE: PORTRAITS 158 LENS TESTS: MACRO LENSES
64 EXPERT ADVICE: LANDSCAPES TURN TO PAGE 112 TO FIND OUT ABOUT
66 EXPERT ADVICE: CULTURE 162 Perfect exposures OUR FANTASTIC SUBSCRIPTION OFFERS
68 ULTIMATE KIT: TRAVEL Cut out and use our free grey card!
55
6 Wildlife The ulTimaTe Guide To phoToGraphy
GoWILD!
ThenaTuralworldhaslongfascinaTedphoTographers,buTiTsnoTaneasy
disciplineTomasTer.wildlifephoTographyTakespaTience,skillandadashofluck
W
e are fascinated by nature. We enjoy cats in the Maasai Mara or small birds in your own back
watching the tV documentaries, we garden, the quest for the perfect image is never-
love seeing wildlife with our own eyes, ending. Patience is the name of the game. You cant
and as photographers most of us enjoy pose animals or politely request they perform for your
capturing nature through the lens. there is probably camera, so you need to put yourself in the right place
no subject more challenging or diverse than wildlife, at the right time and then wait for the best opportunity.
but that certainly hasnt afected its popularity. the However, the right kit, good technique and ield
fact that wildlife is rarely obliging just adds to the craft are also essential. Our guide will help you master
sense of achievement when you capture a great the art of photographing wildlife and inspire and
shot. Birds and mammals can be erratic, elusive and encourage you to capture better wildlife shots than
unpredictable, so whether you are photographing big youve ever taken before
iMage: rOss HOddinOtt
8 Wildlife The ulTimaTe Guide To phoToGraphy
Basicwildlifetechniques
bEn hAll
BEForEyoU STArTSHooTiNg,WiSE UpoNTHETECHNiqUESTHATWillHElp
yoU BAg SoME grEATSHoTS. HErEArEAHANdFUloF STArTiNg poiNTS
rOSS hODDInOTT
2Research your subject
Fail to prepare; prepare to fail.
If you want to capture stunning
wildlife images, you irst need to
know your subject. Without an
understanding and passion for your
subject, you will never truly capture
its character or be able to anticipate
key behaviour. Simply venturing
out with your camera in hand, just
on the of-chance that you might
Camera settings
AFmode: Predictive Focus Exposure mode: Metering mode:
When photographing moving Shutter-prioritymode Multi-segment metering
subjects, switch to predictiveAF, Awildlifephotographerspriorityis Multi-zone metering (Canons
which makes it easierto capture achieving a suicientlyfast shutter Evaluative orNikon's Matrix) is
good shots.Bykeepingyouringer speed. Using shutter-priority(S so good thatyouwill rarelywant
half-pressed on theAForshutter orTv) gives control overshutter to use anything else. However,
button, the lenswill track the subject, adjusting focus speed,while the camerawill select the corresponding spot metering is useful in situationswhereyouwish to
continuallyto keep the subject sharp in the frame. aperture. Manyalso favourusing aperture-priority. meterfora small, speciic area like plumage.
Wildlife 9
3Back-button focusing
Good focusing technique is essential for
wildlife. Opportunities will be leeting when
switch to back-button focusing. Doing so
takes focusing away from the shutter button
instead a button on the back of the
camera, telephoto lens and keep
accessories in your pockets.
Dawn is typically the best time
photographing animals so the speed and camera is assigned to the job. Typically this to stalk wildlife, when animals are
accuracy of your focusing can be the button is either the AF-ON or AE-L button preoccupied with feeding. The light
diference between success and failure. but consult your cameras manual. While it is also better at this time, too.
Your cameras centre focusing point is might take you a short while to get
typically the most accurate and sharpest of accustomed to the switch, you will ind
all the available focusing points separating focusing and releasing the
regardless of camera make or shutter a far better technique.
model. Therefore, this is the point Point the central AF point at
you predominately want to use. your subject, press the
However, rarely will you achieve rear focus button using
the best composition with the your thumb, and then
subject positioned centrally in recompose your shot with
the frame. To photograph your subject placed wherever
subjects of-centre using AF you you want in frame. Now, when
could focus manually, or shoot in you depress the shutter button, the
single shot/AF-S mode and keep the camera wont try to refocus on the
shutter release button semi-depressed, or background or any other elements.
use the AF-lock button. However, when Back-button focusing also means you
shooting wildlife, none of the above are dont have to iddle around with any dials
particularly well suited. Also, you ideally should you wish to switch to manual focus. ISTOck PHOTO
want to have your camera set to AF Efectively, all you need to do is not press
continuous shooting mode. A far better the back-button AF button just adjust the
option for wildlife photographers is to focusing ring and take your photo.
Pro tip
Animalsinaction Dont be tempted to look at
the LCD screen to reviewyour
sequence ofshots untilyou
Add extrAimpACttoyourwildlife imAgesAnd reCord nAturAl are sure all activityhas passed.
behAviour byCApturingAnimAls inACtion. hereArethe bAsiCs Takeyoureyes awayfrom the
action too soon andyou risk
F
or nature photographers, best option for action shots. Camera brands missing the best shot.
there is nothing more satisfying than give diferent names to their aF modes,
capturing a great action shot! there such as aF-C or C-aF, while the number of
is no shortage of opportunities birds in focusing points and sophistication of the
light, courting, singing or arguing; as well aF system varies depending on the camera
as animals running, jumping, swimming or make and model. Consult the manual to
ighting. animal action is often brief, though, see which one on your camera is best for
so you not only need to demonstrate good tracking movement. become familiar with
technique, but be able to anticipate and react your cameras various aF options practise
to your subjects behaviour too. and experiment by photographing a dog
Images of behaviour look far more running about or visit a wildlife park.
interesting than standard portraits. through You don't have to capture movement
the use of a fast shutter speed you can sharply. slow shutter speeds imply motion
suspend motion highlighting every and can convey more about the subjects
muscle, sinew and detail. to freeze fast behaviour and energy. blurring movement
motion, a shutter exceeding 1/1000sec is is a popular technique and in overcast
normally required, but remember speed is light may be the only option. a degree of
relative you need to match the shutter trial and error is needed to get the right
speed to your subject. to generate fast efect however. the optimum shutter speed
times, select a wide aperture and higher depends on the speed of the movement,
Iso. how high will greatly depend on the but start with 1/60sec this should be slow
available light in good light, Iso 400 or enough to blur the tips of beating wings or
800 should suice, but in dark or overcast the legs of a running mammal.
conditions you might need to opt for You'll ind that you experiment a lot,
a sensitivity of Iso 3200 or higher. though, and will end up taking a large
shoot large bursts using continuous number of wasted and poor images, but it's
shooting mode. the more frames-per- worth it to get the results with just the right
second (fps) you can capture, the better combination of sharp detail and blurred
your chances are of getting the shot. movement that looks striking and boasts
a battery grip can be a good investment if energy and motion. Capturing perfectly-
you intend to do a lot of action photography timed action images isnt just the result of
these allow you to shoot more frames and good technique and a fast camera your
sometimes boost your cameras fps limit. ability to anticipate an animal's behaviour
Keep your inger on the trigger and take a is also key, so know your subject. a good
large number of frames. Doing so increases understanding of your subject's behaviour
the odds of you capturing your subject in will enable you to be ready and waiting to
focus and in the right position. File sizes are capture amazing shots. Pro view
large today, so use memory cards with a fast 1)Continuousshootingmodegivesyoumoreofachanceto
steve bloom
write speed for example, 600x 90mb/s. getthatperfectshotyou'reafter.2)Aslowershutterspeedcan
predictive autofocus is designed to beusedartisticallytoconveyrealfeelingsofmovementthata
maintain focus on the subject, so it is the staticdoesn't.3)Afastshutterspeedfreezesamomentindetail.
Steve Bloom
i love slowshutterspeedswhere
everything is a bit blurred; its
verydiicult to get right.the eye
is the most important element i track the
eye, keeping it in the same place in the frame
throughout so it stays stillwhile the legs and
bodyblurwith motion. i always use autofocus
and have myCanon eos-1ds mk iii set to one
shot and a shutterspeed ofabout 1/4sec, but it
depends on howfast the animal is moving; ifits
ben hall
ben hall
Wildlife Q&A
ross hoddinott
Q Howdo I get betterat changing my
camera settings quickly?
Practice.To ensureyou nevermiss a great
photo opportunityagain, adjust ISO, aperture
and focus settings. Ideally,you need to get to a
pointwhereyou can alterkeycamera settings
intuitivelywithout even takingyoureye away
from theviewinder.The moreyou useyour
camera, the more instinctive it becomeswhen
using it out in the ield.
1 Q What is panning?
Panning iswhenyou move the camera
in tandemwith the subjects motion during
exposure. Correctlypanned images should
mark bridger
Animal
ben hall
1
portraits
agreatwildlife portraittakes
creativityand skillif itsto be
consideredanything more
thanasimple snapshot
S
hooting animal portraits
is understandably popular among
wildlife photographers, but in order
to capture great portraits, you need to do
more than simply ill the frame with your
subject. a good portrait should highlight
the subjects beauty and reveal something
about its character and personality.
however, without care and creativity, you
risk capturing nothing more than a record
shot that lacks any intimacy. Quite simply,
you need an imaginative approach to ensure composed; while photographs of just the help your subject stand out sharply against
your animal portraits are truly eye-catching. face of an animal, like a seal or fox, can a sea of difused colour. the emphasis will
the key point of focus for any animal really highlight detail and reveal expression. remain on your subject, while its blurry
portrait is the eyes. they need to be however, more often you will choose to surroundings will help prevent the viewers
pin sharp, so focus carefully if you contrast your subject against a background. eye escaping the picture space.
inadvertently focus on the tip of the snout background choice is important when another key ingredient is negative space.
or beak, the eyes wont be bitingly sharp. shooting portraits if it is messy, distracting it is easy to assume that you will achieve
strong eye contact is often an integral or doesnt complement your subject, it maximum impact by illing the frame with
ingredient to good animal portraits can ruin the shot. pay attention to what is your subject. however, you will often create
photographs of animals staring right into going on behind your subject and reposition stronger, more stimulating compositions by
the camera can be very striking. it is often yourself if it will produce a more attractive including space around your subject. simply
best to compose your subject with the eyes backdrop. to help render your background speaking, negative space is the area not
of-centre, rather than central in the frame. in attractive soft focus, select a large occupied by the subject. Creating negative
placing them on an intersecting third will aperture in the region of f/4 and use a space is easy use a slightly wider focal length
often create the strongest results. telephoto, as longer focal lengths have an or move further away from your subject. how
if you are able to get close enough, you inherently shallow depth-of-ield. grass, much space you include will depend on the
may decide to ill the frame entirely with foliage, water and sky make particularly subject, situation and the efect you desire.
the subject. For example, photographs of good, natural-looking backgrounds. if negative space normally works best placed
birds with their beak tucked beneath a wing shooting from ground level, you will also in front of the subject that way, it will absorb
can look really eye-catching when tightly be able to blur foreground detail, which will the animals stare or gaze. it can add context,
steve bloom
Pro view
Steve Bloom
i believe in the powerofthe eyes,
it's howwe communicate, so i
tryto get animals'eyes litwell
and looking at me.you also need to make the
animal feel at ease; acknowledge thatyoure a
guest in theirterritory.tryto use the right body
language and approach forthe right animals: for
a gorillayou have to use soft rumbling noises to
make them feel relaxed, butwith grizzlybears
you need to make some noise as theydont like
being surprised. i shoot on aperture-priority
mode all the time and set myaperture forthe
depth-of-ield iwant and alterthe iso to give
me the shutterspeed i need. its important to
consideryourapproach to diferent animals.
when photographing elephants, forinstance, i
always tryto shoot themwith the camera as low
down as possible:we think ofelephants fortheir
size and ifyou dont emphasise this,you lose
something from theirmajesty.
The ulTimaTe Guide To phoToGraphy Wildlife 13
ross hoddinott
2
Wildlife Q&A
ross hoddinot t
Q When shooting animal portraits,
what is the bestviewpoint?
There is no hard and fast rule the best
viewpointwill depend on the subject, its
surroundings and the efectyou desire.
However, generallyspeaking, a low, eye-level
perspectivewillyield the most intimate and
natural-looking results.Therefore, get down
lowand take photos fromyoursubjects height.
Not onlydo low-level shots look more natural,
but also it is easierto supportyourcamera
set-up using eithera beanbag oryourelbows.
Pro tip
When shooting tight animal
Q Howdo I bring myportraits to life?
The eyes are the key.We instinctively
look at a subjects eyes irst ofall, so it is
portraits that ill the framewith important that theyare bitinglysharp.A
the face,you should aim foras nice catchlightwill bringyoursubject to life.
much symmetryas possible. Depending on the suns angle,you mayneed
Keep the face as parallel to the towait until the animal moves its head to one
camera as possible and place it side fora catchlight to appear. Ifone doesnt
centrallyin the frame. appearnaturally, though, tryusing a reduced
burst oflash to add one.
Creativewildlifeideas
ben hall
Choosingyour subjeCtis onething; Choosing howto shootitis
another.these suggestions should giveyou food forthought
Ross hoddinott
1 Silhouettes Wildlife can look striking in silhouette. it is best to only shoot animals with a
clearly recognisable outline for example, a puin, owl or stag. bold, dramatic silhouettes
are possible by shooting toward the suns direction. by correctly exposing for the subjects
shots. summer is a great time for close-
ups, as insects are abundant. Wetlands,
woodland and heathland are all good
much brighter background, the animal will be recorded as a simple inky outline. to achieve habitats to ind suitable subjects, as is your
the correct settings, take a spot-meter reading from a bright part of the scene. select a own back garden. Get down low and close
viewpoint where your subject stands out against its backdrop usually the sky being careful to vegetation. depth-of-ield is critically
that its shape doesnt merge with anything else. trigger the shutter when the subject is nicely shallow at higher magniications, so be
in proile and its features clearly recognisable. Colour is often a key ingredient. each sunrise sure to focus carefully and try to keep your
and sunset provides a unique palette of colour to contrast your subject against, and with the cameras focal plane parallel to the subject.
sun low in the sky, it is easier to capture the perfect silhouette. a relector can be useful too.
The ulTimaTe Guide To phoToGraphy Wildlife 15
Ross hoddinott
istock photo
5 Explore new places With travel
becoming increasingly easy and
afordable, the world is now a much smaller
place. once you could only ever dream
of visiting places like the amazon, Maasai
Mara, antarctica, Yellowstone park and the
Galapagos, but now it is possible to visit
such locations relatively hassle-free thanks
to well organised wildlife adventures and
photography workshops. While not cheap,
if you already have all the photo kit you will
ever need, investing in a trip to photograph
wildlife somewhere new and exciting will
prove money well spent. not only will the
experience be extraordinary, but you will
return with hundreds of fresh images, learn
new skills, meet like-minded people, and
return home inspired and motivated to shoot
the wildlife found a bit closer to home.
ben hall
6 Shoot in bad weather
Weather conditions can have a huge
inluence on the look and feel of your wildlife
shots. there is no such thing as bad weather
for wildlife photography. Wind, rain and
snow might not be fun to work in, but such
conditions can produce unusual and unique
photos. bad weather can add atmosphere
4 Beautiful black & white black & white is often overlooked for wildlife
photography, but once you have seen the work of talented photographers like
david lloyd and nick brandt, you will surely think again. by eliminating the distraction
to nature shots and convey a feeling of
wildness, desolation and extremity. For
example, by capturing an animal sheltering
of colour, the emphasis of the shot is irmly placed on the subjects character, shape from heavy rain or snowfall, you can highlight
and form. Monochrome is able to highlight ine, intricate detail of a subjects skin, fur, its hardiness. slower shutter speeds will
feathers and design. continue to shoot in colour and convert to mono during the render falling snow and rain as streaks,
processing stage doing so will help you capture more tonal levels and image quality. adding interest to photos. although many
simplicity and subtlety is often the key ingredient to successful black & white images, cameras are weather-sealed, always protect
so think carefully about your composition and surroundings. your kit with camera and lens covers.
16 Wildlife The ulTimaTe Guide To phoToGraphy
master of wildlife
Ben Hall 10
Biography
BenHallisoneofBritain'sbestwildlife
photographers.Heisaspecialistbirdand
mammalphotographerandhaswonnumerous
internationalawards,includingcategorywinsin 2
theBritishwildlifePhotographyawardsandthe 1
windlandsmithriceawardsUsa.in2009he 8 3
wasnamed'Geographical Photographer
oftheYear'. He has appeared on numerous
radio and television programmes including
BBC's Walk OnThe Wild Side and is a
memberofthe 2020VisioN photo team.
He has co-written The Wildlife Photography
4
Workshopwith ross Hoddinott. He is described 2
5
byLiving Edge magazine as'a passionate and 9
experiencedwildlife photographer,with a 6 11
I
began my full-time wildlife photography
career in 2002. The industry has changed
Bens kit bag length is perfect forimages ofthe
subject in the landscape.
birds onwater. Great forstaying
out ofsight and also gives me more
signiicantly since then, with the biggest 1) Lowepro Flipside 500: this bag 5) Canon EF17-40mm f/4L:this is options forbackgrounds.
development being the advent of digital. its my500mmwith a camera body mymain landscape lens. it ofers 11) SanDisk Extreme CFcards:
The subsequent impact on photography attached and extra lenses. it can great qualityand a lexible range. these cards are both fast and
and the industry in general has been huge. also be taken on lights as carry-on 6) Canon EF50mm f/1.4: i amvery reliable.when shooting in extreme
However, despite the changes, my passion luggage,which is a must forme! fond ofthis lens, although i don't climates this is so important.
2) Canon EOS-1Dx & EOS-1D Mk IV: use it much forwildlife, it is perfect Canon EF100mm f/2.8 Macro:
for wildlife and photography hasnt dwindled
these fast dslrs are perfect for fortaking portraits ofmykids! the large aperture ofthis lens is
and my philosophy remains the same as it
capturing action.the eos-1dx is 7) Canon ExtenderEF1.4x II: perfect forabstract close-ups.
did in the days of shooting ilm simply to
also great forshooting in lowlight. Converts my500mm to a 700mm! Gimbal head: i use this headwith
keep striving for that perfect shot! 3) Canon EF500mm f/4 LIS: 8) Gitzo 3541LS Systematic:this the 500mm lens; it takes theweight
"my work is always varied. It is also very Perhaps mymost used lens. it tripod ofers the perfect combo of out ofthe lenswhile allowing quick
seasonal, with my busiest period typically ofers exceptional optical quality stabilityand (relatively) lightweight. adjustments to the composition.
falling between autumn and spring. Winter and focuses fast, making it perfect 9) NikonTravelite EX binoculars: Beanbag: i like to use one for
is unquestionably my favourite time of year, forboth portrait and action shots. Usefulwhen stalking subjects. ground-level subjects. it ofers a
while summer is normally a little quieter. 4) Canon EF100-400mm f/4LIS: 10) Floating hide:ahomemade rigid supportwith greaterfreedom
During summertime, the light is harsh for this lens isveryversatile.the focal device i use forphotographing ofmovement than a tripod.
long periods and wildlife tends to hide away
and become more elusive. This doesn't
1 2
mean I can rest on my laurels, however, as
there is always stacks of oice work to do.
Processing and captioning images, feature
writing, drawing up invoices, answering
emails and other general admin takes up
a great deal of my time, so much so that
sometimes it feels like I have little time to
actually go out and capture any fresh shots!
"although I still spend a great deal of
my time photographing UK wildlife, my
work takes me all over the world. I lead
photography workshops during winter turn allows me to better predict the subjects
aLL Images: ben HaLL
3
and spring and am frequently away from movements and behaviour, something which
home. While I enjoy visiting exotic and new is paramount to being in the right place at
locations, I still gain the most rewards from the right time. I also use the landscape as an
shooting the wildlife close to home. Like integral part of the picture. by showing the
most outdoor photographers, I plan my week subject in context I ind it easier to tell a story
according to the weather and the light. I ind through my images and ultimately help
that many of my favourite images are the them to connect with the viewer."
ones taken in the worst weather conditions!
The atmosphere that storms, snow and even 1)illoftenreturntolocationstolearningreatdepthabout
theinhabitantsandensureicapturebehaviour.
rain conjures up can be truly magical. I will 2)Urbanenvironmentsarehometowildlifetoo,sokeepan
also visit the same locations time and time eyeoutforhedgehogs,peregrinefalconsandfoxes.
again, which helps me to become familiar 3)shootingsubjectsinthecontextoftheirenvironment
with the landscape and its inhabitants. This in helpsmetellastoryaboutthem.
The ulTimaTe Guide To phoToGraphy Wildlife 17
Favourite subjects
WILDLIFE
LENSES
Good pulling power is essential
when choosing a lens for
shootingwildlife, so be sure to
pick a good one.These
guarantee great results
photography. Check out the It also has a useful maximum makes it useful for shooting
test on page 152. magnication ratio of 1:5. all kinds of creatures.
Canon EF 100-400mm Canon EF 400mm Nikkor AF-S 80-400mm Nikkor AF-S 300mm
f/4.5-5.6L IS II USM f/5.6L USM f/4.5-5.6G ED VR f/2.8 ED VR II
1,900 920 1,800 4,000
This is a popular lens among Canon users who prefer This 5x telephoto zoom If you need a fast telephoto,
nature photographers a prime length should ofers superb image quality look no further. A truly
who shoot on Canon EOS consider this high- for Nikon users. Its Vibration professional, fast, quiet
DSLRs. This is the second performance lens with a Reduction (VR) technology telephoto lens perfect
generation model the rst constant aperture of f/5.6. Its allows photographers for shooting fast action and
can be picked up used for far fast AF and portability make it to shoot at up to four for use in low light. Its Nano
less. Its a lens renowned in perfectly suited to shooting stops slower than would Crystal Coasting suppresses
the industry for image quality wildlife. It weighs a relatively be possible otherwise. ghosting and reduces are.
and superb handling in the modest 1,250g and the Although quite chunky, it Nikons latest 300mm,
eld. It also has a handy tripod collar makes it easier is comfortable to use and tested on page 154, ofers a
minimum focusing to switch formats when small and light enough to more compact option that is
distance of 1.8m. mounted on a support. suit handheld photography. also considerably cheaper.
THE ULTIMATE GUIDE TO PHOTOGRAPHY Wildlife 19
Accessories
WILDLIFE
SUPPORTS
There are just some
gadgets thatwe cant
livewithout aswildlife
photographers.These are
the ultimate in accessories
to prop upyourcamera,
support that heavy
PORTABLE HIDE
telephoto lens and make Keep hidden in a freestanding
life easier in general dome hide byWildlifeWatching
Supplies.Theyre easyto erect
and pack away, available in
Benbo 2 Tripod Gitzo GT3532LS Series 3 6X diferent camouage colours/
150 Systematic Tripod patterns and are made from
This is a heavy-duty 580 proofed, breathable material.
aluminium tripod. Benbo is Another heavyweight BEANBAG
renowned for its innovative performer from Gitzo: the When taking photos from
and unique tripod design, Rolls Royce of the tripod ground level oranothersolid
which enables them to be world. The Systematic surface, a beanbag is a must
positioned in almost any range is designed without have.Theyare cheap, but
surprisinglysupportive in
conguration. They are great a centre column, making
the right situation.
for low level work and are them quick and easy to
a popular choice among position low to the ground. MEMORYCARDS
nature photographers. The Being carbon-bre, they are SanDisk Extreme Pro SDHC
cards are some ofthe fastest
BEN HALL
phoToGraphinG
capTive animals
withalittlevisionyoutoo canturnaregulartriptoyour localwildlife centre into
aphoto expedition. here's some protipsandtricksto capturing greatanimalportraits
A
day at the zoo is not just for kids in quieter and smaller and while some may lack the
fact, leave the friends and family at home bigger animals, still have plenty to ofer.
and spend your day with your telephoto the beauty of a wildlife park or zoo is that you
zoom and camera itll be much more fun! Instead can predict their activity reasonably well based on
of being dragged by the trouser leg from one their schedule. For instance, when its feeding
enclosure to another; you can spend all the time time you know a tiger may be too preoccupied
that you want photographing the animals. eating to get a decent shot; but for the chimps its
Most of us might be morally split by wild animals the best time to visit their enclosure for close-ups.
in captivity but, whatever your stance, for many a although you may have a better chance to get
wildlife park or zoo is the nearest they'll get to engaging portraits of wildlife as you have a captive
seeing these spectacular creatures. We chose to audience, it still has its challenges; such as
spend a day at zSL Whipsnade zoo in Bedfordshire, shooting through or around obstacles like wire
which has been operating since 1931 and houses fences and people, working with low or harsh
an incredible number of species including brown natural light, and from diicult viewpoints. often
bears, chimps, girafes, an african lion pride, asian the best portraits come with eye contact, a
elephants and the amur tiger; there really are not shallow depth-of-ield and an eye-level viewpoint
enough hours in a day to see them all! Local zoos to connect the viewer; all much easier said than
or wildlife parks are also great options and are often done, so we've got a few pieces of advice.
Pro tip
whileitstemptingtouse
lashindarkenclosures,
askpermissionbeforeyou
doincaseitcausesdistress
totheanimals.
22 Wildlife
WHILEHandHELdIstHEmostfLExIbLEWaYtosHoot,camEra
sHakEcanbEabIgprobLEmWHEnusIngLongfocaLLEngtHs
BEars:Thesegrizzlybutmajesticcreaturesareoftenin
enclosureswiththickwoodland,makingiteasyforthem
tohide.Theviewingplatformsareoftenelevated,making
interestingcompositionstricky.Waitforthebearstocome
outofthewoodedareasandgetaslowasyoucan.Tryto
predictthecreature'spathandgetinfrontofthebear,so
whenitstopsorlooksupyoucancaptureyourportrait.
Flamingos:It'stemptingtoonlyconcentrateonthe
largemammals,butbirdsareusuallyaplentyatwildlife
parks.Fromowlsandeaglestoexoticparrotsandcolourful
peacocks.Uncagedbirds,likelamingos,areoftenthe
easiestandmostphotogenictophotographthoughas
theycannotlyawayandyoucanincorporatetheirbright,
colourfulrelectionsinthecomposition,too.
tHEBEArNECEssItIEs!
Lookoutforlow-levelviewingareaswith
reinforcedglass:you'llhavetowaitforthe
beartocometoyoubutit'sworththewait.
Exposure:1/1000secatf/2.8(ISO200)
Howto: Shootthroughglass
Lions:WhipsnadeZoohasaglassviewingareaforits
lionpride,whichalthoughischallengingtoshootthrough
thankstopawprints,dirtandgrubbyingerprints,allows
youtogetwithintouchingdistanceforstrongeyecontact
anddetailshots.Bigcatsarenotusuallyveryactive,butbe
atthereadytocatchsomeactionandstrongeyecontact
oncethey'reonthemoveandtheyturntheirattention
toyou.Useatelezoomwithawideaperturetozoomin
toastrollingcattocaptureastrongportraitwithblurred
background.Shootingthroughcrowdsofpeoplecanalso
createniceefects,liketheimageinthetopright.
Coastal
landsCapes
Fewlandscapephotographerscanresisttheurgetoregularlyvisitthecoast
Foritsphotopotential.FromruggedcliFFstocrashingwaves,gentlesand
ripplesandglisteningboulders,itseasytoseetheallureoFthesea
Image: ross hoddInott
28 Coastal landscapes The ulTimaTe Guide To phoToGraphy
Raiseatoasttothecoast! Accessories
WATERPROOFCOVER:
BEFOREYOU HEAD FORTHE COAST, BRUSH UPONTHE ESSENTIALSANDYOULL Itcanbeabasicpolythenecover
INCREASEYOUR CHANCES OF CAPTURING SOME CRACKING IMAGES likeanOpTechRainsleeveor
somethingmoresophisticated,
W
E MAY COMPLAIN about the weather, resorts, picturesque shing villages, stretches butyouneedtoprotectyour
Council Tax, the price of fuel and many of golden sand, desolate weather-beaten clifs, cameraandlensifitstartstorain
other things, but living on an island like heart-stopping views, pounding surf, tranquil ortheresseasprayaround.
Britain has its advantages. For starters, how many coves...You name it and weve probably got it.
other countries in the world are there that allow Add to that the vagaries of our climate, which CLEANING CLOTHS:
you the chance to reach the coast within a couple can change the mood of a place in minutes, Usethemtokeepyourlters
of hours drive? Not many, and if you could, would and youll see that the coastline ofers endless cleanfromdirtandwatermarks.
you want to live there? photographic potential. But you need to be Checkltersregularlyastheyget
The fact is, us Brits are incredibly fortunate. Not prepared if you want to come away with show- coatedquiteeasilyandwash
only do we have an accessible coastline, but like stopping results, and this chapter tells you all you themundercoldwaterifthelm
our landscape, its also full of variety: bustling tourist need to create your best ever coastal images. ofsprayisdiiculttoshift.
SPIRITLEVEL: Buyahotshoe
-mountedspiritlevel(theyre
Coastal kit incrediblycheap)soyoucan
ensurethehorizonislevel(or
useyourDSLRsintegraldigital
levelifitoferssuchafunction).
COMPASS: Usethistocheck
thedirectionyourefacingand
wherethesunislikelytoriseand
set.Youcandownloadappsfor
yoursmartphoneifatraditional
compassistoolow-tech!
TORCH: Handyforseeing
whereyouregoingandwhat
youredoingwhenyousetoutor
headbackindarkness,andalso
Wide-angle zoom Standard zoom Telezoom
forpaintingwithlightinlowlight.
A 10-20mm (16-35mm on An 18-55mm (24-70mm on Though less useful than
REMOTE RELEASE: Usethis
full-frame) range is ideal. It full-frame) or similar is ideal for wider zooms, a 55-200mm
totriptheshutterwithout
gives a massive angle-of-view, general use when shooting all (70-300mm on full-frame)
touchingittopreventcamera
stretches perspective and types of coastal scenery. The lets you zoom in on distant
shake.Alsoforlockingthe
depth-of-eld is so extensive wide-end can capture dramatic parts of a scene, compressing
shutteropenforBulbexposures.
you can get low and close to views while the tele-end lets perspective so the planes in a
emphasise lines and foreground you ll the frame with details, scene appear stacked ideal
interest. This is likely to be your from patterns in sand and rocks for headland shots or scenes
most-used lens. to peeling paint on old boats. with crashing waves.
Essential reading
Coastal Q&A
Q Is itworth taking a
professionalworkshop?
Therearelotofworkshops
coveringUKcoastlines.
ContributorsLeeFrostand
RossHoddinottleadnumerous
workshopsinScotland,
Northumberland,Dorset,
Cornwall&Devonthroughout
theyearandifyoucheckthe
classiiedadsinDigitalSLR
Photographymagazineyoull
indmore.EmailLeeoninfo@
leefrost.co.ukandRossonross@
dawn2duskphotography.co.uk
Obtainingthe cOrrectexpOsureatthe cOastis One Ofthe mOst Q Howdo I stop overexposing the sky
when I shoot coastal scenes?
impOrtantelementswhen itcOmestO gOOd in-cameratechnique You need to use a neutral density(nd)
graduate ilter.align it carefullyso that it covers
G
etting the correct exposure is adequate depth-of-ield to achieve the skyand reduces the skys brightness to stop
important regardless of the subject front-to-back sharpness. however, once it overexposing. usuallya 0.6nd grad (two-
youre shooting, but you need to be you head to the coast, shutter speeds must stop) does the job but at dawn and duskyoull
even more careful when shooting coastal also be given consideration as they control usuallyneed a stronger0.9nd grad (three-stop)
scenes as exposure error is more likely. this the amount of blur recorded in the sea and to copewith the highercontrast.
is mainly because the tonal range of a typical
costal scene is brighter than a conventional
landscape due to the relectivity of the sea.
this can have a strong inluence on the
success of the inal image.
the shutter speed you use will depend on
Q Will an ND grad confuse myDSLRs
metering and cause exposure error?
no, putting the grad on the lenswill even out
Sand is also highly relective and relatively the type of scene youre shooting and the the contrast ofthe scene and ifyou useyour
light in tone so beach scenes can be efect youre trying to achieve. if you want to dslrs multi-pattern metering (evaluative
problematic too. Underexposure is likely capture the drama of waves crashing forcanon, matrix fornikon) it should making
because your camera tries to onto clifs, for example, youre getting the exposure correct even easier.
Q
record the scene as average going to need a fast shutter Is there anypoint in setting myDSLR
in its tonal range but many speed to freeze the lying to manual exposure mode?
coastal scenes are brighter water droplets anything Onlyifyouwant to ensure the exposure
than average so they from 1/500-1/2000sec, remains ixed when shooting images for
come out too dark. the depending on how a stitched panorama, say. but generally, all
brighter and stronger the ferocious the sea is and manual mode does is slowyou down so
light, the greater the error how big those waves are theres no beneit to using it.
is likely to be, especially if in the frame. Basically, the
theres sunlight relecting
of the sea and creating
bigger and closer the
waves are, the faster the
Q Howcan Iwork out the exposure fora
ten-stop ND ilter?
multiplythe indicated exposure (without the
shimmering highlights. required shutter speed. ten-stop) by1000.there are apps to do this,
this is nothing to worry about At the other end of the range, but ifyou rememberthat 1/30sec becomes
providing youre aware that its likely long exposures of anything from a few 30 seconds the rest is easybecauseyou just
to happen and ready to correct any error. seconds to a few minutes are often used by keep doubling from there 1/15sec becomes
the key is to check not only your preview coastal photographers to smooth out the one minute; 1/8sec becomes two minutes;
image but also the histogram for that texture of the sea or transform it into an 1/4sec becomes fourminutes and so on.
image because the preview image may not atmospheric mist so it contrasts with static
give you a true rendition of how the image
has actually recorded whereas the
elements in the scene, such as piers and
jetties. the efect can look stunning.
Q Is a coastal scene everlikelyto lead
to overexposure?
underexposure is more likelydue to the fact
histogram will. You can then use your Between these two extremes the options that the sea and sand relect a lot oflight, but if
exposure compensation facility to increase are many and varied and if youre a fan of the tones in a shot are predominantlydark then
the exposure. increase it in 1/3 stop coastal photography, its worth you mayindyourshots come out too light
increments so the histogram is either experimenting with diferent shutter speeds andyou have to reduce the exposure to rectify
centred or biased towards the right side on diferent sea conditions to see how they this error. ifthere are dark rocks illing the
a histogram biased to the left usually afect the way the sea records. You can check foreground, forexample.
indicates the image is underexposed, each image as you go and if youre not quite
which you should try to avoid. often youll happy with the efect, shoot again using a
only need to add +1/3 or +2/3 stop, but in slower or faster shutter speed. the milky sea will give you nice misty efect on breaking
more extreme situations or for creative efect looks great, but dont be tempted to waves, see what happens when you only
efect you may need to increase the always use long exposures sometimes it expose the scene for ive to ten seconds.
exposure by +2 stops or more. As your pays to record a little texture in the sea and timing is important too, especially with
conidence grows, youll know exactly for that you may only need an exposure of shorter exposures. if you want a streaky
what to do to get the best from a scene. 1/4 or 1/2 second, especially if waves are efect in the sea it usually pays to trip the
Aperture choice normally takes priority washing across the foreground and youre shutter as a wave is receding rather than
over shutter speed when shooting scenics, using a wide-angle lens. Similarly, at dawn approaching as the draining away efect
because you need to ensure you have and dusk, while a 30-60 second exposure tends to work better photographically,
Camera settings
AFmode: Single Shot/One Shot Exposure mode:Aperture-priority(A/Av) Metering pattern: Multi-zone
stick to single shot and use the this is the best mode for Yourcamera's multi-zone
focus lock, orselect a focus landscapes as it letsyou choose pattern is the most reliable
point awayfrom the centre of the lens aperture to control forgeneral use. canon uses
the frame, soyou can control depth-of-ield and the camera evaluative meteringwhile
exactlywhere the lens focuses. sets the correct shutterspeed. nikon's is called matrix.
lee frost
Above:Toensureperfectcoastalexposureslikethis,takea
testshotandreviewtheimageandhistogramonyourLCD. Pro view
especially if the sea is streaked by white surf. Ross Hoddinott
ross HoDDINott
If the shutter speed you need to achieve a
Living close to the coast, I learnt
certain efect isnt slow enough, even with
myphoto mettle capturing the
your lens set to its smallest (minimum)
beautyofthe Cornish coastline.
aperture and the Iso at its lowest, youll need One ofthe irst things I learnedwas how
to use neutral density (ND) ilters to cut the achieving the correct exposurewas a little
exposure. A 0.6ND increases the exposure by more involved thanwhen shooting landscapes
two stops (so 1/4sec becomes one second); inland.The risk ofunderexposure is fargreater,
a 0.9ND by three stops; a 1.2ND by four stops due to the highlights being relected of the
and so on. the ten-stop ND ilter has waters surface, so greatercare needs to be
become very popular for coastal taken in terms ofensuring the scene is correctly
photography as it increases the exposure by recorded and detail isnt lost.The otherkey
1000x so you can open the shutter for factorwith exposure is the choice ofshutter
several minutes in broad daylight and turn speed as this afects howwateris recorded
the sea to milk. If ten stops arent quite Im a massive fan ofwaterbeing captured as a
enough, theres even a 16-stop ND ilter now milkyblur, so love to use long exposures.
from Hitech called the firecrest!
C
omposition is key in any coastal are generally more useful, but a telezoom
landscape, but how you tackle that can be used to home-in on crashing waves, f/16 0.6m 0.9m 1.3m 1.7m 2.7m
will depend on a number of factors for example, and to compress perspective
what foreground features you have to so the receding planes and tones in the f/22 0.4m 0.6m 0.9m 1.3m 2.0m
work with; if theres a focal point in the scene are crowded together. Look at the
scene; if the tide is in or out; how much sea scene from higher or lower viewpoints just For aPs-C sensors
you want to include; if the sky is interesting kneeling down can make a big diference
or bland; whether youre high up or down at compared to standing up when it comes to 16mm 20mm 24mm 28mm 35mm
beach level; the quality of the light, the time emphasising foreground. if you place your
of day and sun position, the type of image camera close to the ground, even small sand f/8 1.8m 2.8m 4.0m 5.5m 8.5m
youre hoping to produce and the lenses you ripples or rocks will dominate the foreground.
f/11 1.3m 2.0m 2.9m 4.0m 6.2m
have to work with. Check out diferent foregrounds too
if youre heading to a familiar location rock ridges, pebbles, boulders, ripples in the f/16 0.9m 1.4m 2.0m 2.8m 4.3m
you may have a clear idea in mind of what sand, pools of water relecting the sky or
you want to come way with a wide-angle waves washing in front of you. Wait for the f/22 0.7m 1.0m 1.5m 2.0m 3.0m
sunrise with sand ripples in the foreground, tide to come in or go out and see how that
for example, or a long exposure shot afects the scene. When the tides high you Above)Hyperfocaldistancesforpopularfocallengths
with the sea washing over rocks. But you may ind that the beach disappears, but then focusatthedistanceshownforfront-to-backsharpness.
also have to keep an open mind because as it recedes, rocks, pools and other features 1)Thecoasthasnoshortageofelementstoincludeinthe
conditions may not be as expected when start to appear. foreground,includingrocks,piersandrockpools.
2)Don'tforgetthatdramaticskiesworkwelltoo!
you arrive, or you may see the potential for man-made features can add
a totally diferent shot. Assuming you do get compositional interest. Wooden groynes from on the pier itself looking along the
exactly what you went for, there may also make great lead-in lines as they cut across boardwalk. sunrise and sunset are great
be the time to seek out other images once the beach and at high tide are partly times to photograph piers, in semi-silhouette
youve got your sunrise, dont be too eager submerged. shoot from an angle so they against the iery sky, but they also make good
to dash of for a bacon roll and instead stick travel diagonally across the frame, or stand black & white subjects and are perfect for
around for longer while the light is good. directly behind one so it forms a straight line long exposure images with a ten-stop nD
the great thing about most coastal towards the sea. Weathered concrete jetties ilter to record motion in the sea and sky.
locations is that they present many and outlow pipes also create strong lines. An important factor when shooting
opportunities for interesting images if youre piers are a feature of the great British wide-angle views is making sure you record
willing to remove your blinkers and work the coastline and though numbers are everything in sharp focus. if you focus the
scene. spend some time walking the beach dwindling, there are still plenty around, lens on ininity, chances are the foreground
and checking out your options this is why especially on the south coast of england. will be out-of-focus, and if you focus on a
its worth arriving nice and early, so youve you can shoot piers in many diferent ways point too close to the camera, distant features
got time to spare instead of rushing around from beach level and of to one side; from will be unsharp. to avoid problems, use
to ind a viewpoint before the light goes. underneath to capture the intricate pattern hyperfocal focusing to maximise depth-of-
Use diferent lenses to change the angle- of struts and poles; from close up with a ield for the focal length and aperture youre
of-view and perspective. Wide-angle lenses wide-angle lens or far away with a telezoom; using. this involves focusing the lens on a
ADAm BUrton
1
Pro view
adam Burton
Im constantlyoverwhelmed
bythevarietyofpossibilities that
coastlines present in terms of
composition. from inding diferentviewpoints
to deciding howmuch foreground interest to
include, coastal landscapes oferall sorts of
challenges and opportunities. everylocation
isworth revisiting,whetherits at diferent tidal
times orseasons, asyoull always ind it ofers
something diferent.an ultrawide-angle zoom
is the best choice oflens as its soversatile,
but be aware ofnot always leaving it set at its
extreme end. one common problem many
newcomers to coastal photographymake is to
shoot at toowide a focal length,which can lead
to exaggerated foregrounds and the middle
distance looking empty.
Coastal landscapes 33
lee frOST
Composition Q&A
aDam BurTOn
Q Is there a rule to howmuch skyI should
include in a coastal scene?
Notreally.Ifyouwanttoplayitsafeyoucould
dividetheimageareaintothreehorizontal
bandsthenplacethehorizoneither1/3up
fromthebottomsotheskyoccupies2/3ofthe
shot,orplacethehorizon1/3downfromthe
topoftheshotsotheforegrounddominates.
Butiftheskyisamazingyoumaywantthat
totakeupmostofthepictureareaandifits
boringyoumayreduceittoanarrowstrip
acrossthetopoftheframe.Heavenforbid,
theremayevenbeoccasionswhenyouplace
thehorizonacrossthemiddleoftheframe!
Whattimeofdayisbest?
timing is everythingatthe coast. itdictatesthetide,the conditions
and, mostimportantly,the qualityand direction of light
W
hen youre shooting coastal capture the coastline bathed in warm sunlight
landscapes, the time of day is once the sun has risen over the sea. equally, if
signiicant. it dictates how high, or youre on the west coast you shouldnt have
low, the sun will be in the sky and, subject to any problems inding a suitable spot to shoot
weather conditions, the quality of the light, the sunset, and then to stay on to capture the
which is vitally important. the tide's height wonderful twilight colours in the sky and sea.
changes constantly throughout the day. that said, dont assume that as youre on
high and low tide times also change each the west coast you cant make use of irst
day by some 50 minutes. light, or that on the east coast sunsets are
the state of the tide inluences not only a no-go. the British coastline goes on a
the character and appearance of a location, meandering journey, so even though youre
but also the type of images you take of it, so on the eastern side, there will still be many
either get hold of a tide table for the area or places where you can shoot sunsets and
check a website such as www.bbc.co.uk/ sunrises on the west coast. Alnmouth may be
weather/coast/tides/. if you want to capture on the northeast coast in northumberland,
ripples on a sandy beach at dawn or dusk, for for example, but you can shoot fantastic
example, the tide needs to be receding so sunsets on the Aln estuary. Beadnell harbour
the sands still wet and the ripples are fresh. a little further up the coast also faces west so
By looking ahead at tide predictions you can its ideal for sunsets.
establish the ideal day to get your shots and having established that a location is best
plan accordingly. similarly, for waves crashing at one end of the day or the other, make sure
against the shore high tide tends to be more you get there early. if youre heading out for a
dramatic so theres no point turning up when dawn shoot and sunrise is 7am, arrive before
its receded! there are also serious safety 6.30am, so you have time to set-up and to
implications where the tides concerned make the most of any beautiful predawn
you dont want to ind yourself cut of by the glow, as it could be better than the sunrise
incoming tide or getting swamped by rogue itself! this may mean walking to the location
waves because you assume the tide is going in semi-darkness, so pack a headtorch.
out when its coming in! dawn can be breathtaking on the coast.
tides aside, the quality of light is always the hues in the sky are relected in the sea,
best at the very beginning and end of the wet sand and rock pools, illing the frame
day, but when you visit a particular location with vivid colours. start shooting as soon as
will depend on the direction it faces. dawn you arrive and don't stop its amazing how
shots are generally easy to take on the east the light changes in 15-20 minutes, but you
coast because you can always ind a location wont realise that until you see the images
that gives you a view towards the rising sun. later. if nothing appears to be happening, be
heading for a location that faces east at dawn patient and wait it sometimes takes a while
also allows you to shoot north or south and for colour to appear in the sky. And once the
ross hoddinott
2
Pro view
ross hoddinott
one ofthe toughest thingsyou
have to get used to as a landscape
photographerare the long
days shooting that are required to capture
the glorious glowofsunrise and sunset.
throughout theyear in particularduring the
summermonths myalarm clock is set forvery
unsociable hours.to capture sunrise properly, i
arrive at a location 30 -40 minutes beforehand
to capture the predawn light. on mornings
when mist is present, im presentedwith even
more scope forgreat images.With sunsets,
i followthe same discipline and arrive at a
location at least 30 minutes ahead ofthe sunset
time to ind the bestviewpoint.then iwait and
capture the scene in all its golden gloryand
hang around forthe afterglowoftwilight.
The ulTimaTe Guide To phoToGraphy Coastal landscapes 35
adam burton
Time of day Q&A
1)Onblue-skydays,useapolarisertocuttwostopsof sunset. If the sky is cloudless there wont be interesting clouds you can use a polarising
exposureandtosaturatethecoastline'scolours.
much sunset action, but its worth staying ilter to saturate colours. You can also
2)Arrive30minutesbeforesunriseforthebestlight.
put for twilight, when light levels will be low produce some great shots in strong sunlight if
sun has risen, keep going. the quality of light enough for a long exposure to blur the sea you have an infrared camera or ilter.
during the irst 30 minutes after sunrise can into an ethereal mist. Stormy weather is great at any time of day
be amazing, with a rich natural warmth that an important factor to bear in mind when because theres always drama in the sky and
kisses the coastline with gold. If the suns too planning dawn and dusk shoots is that the the sea looks aggressive. Capture waves
bright to include in your shots, turn away and position of sunrise and sunset varies quite crashing on rocks and consider converting
capture the coastline side-lit instead. signiicantly through the year. It rarely rises the images to black & white. alternatively,
dusk shoots are basically the same as due east or sets due west during summer use a ten-stop nd ilter to record motion in
dawn but in reverse and minus the early alarm it rises north of east and sets north of west drifting clouds and choppy sea. Contrast this
call! You can also anticipate the light more at then as we go through the year it rises softness with static features such as rocks,
the end of the day because youre out there, progressively further south of east and sets jetties, posts and groynes. dull, overcast days
watching the weather, and seeing it change. south of west. this makes a big diference to are also ideal for ten-stop shots, or if thats
the last hour before sunset is often called where the sun is in relation to a scene. Its only not your bag, shoot details instead.
the Golden Hour due to the richness of the by returning to locations time and time again the only thing that can spoil your day
light. use the scene's long shadows to reveal that you realise this. by the sea is rain, but any other kind of
texture in foreground details, such as sand What you do with the day after the sun weather can be used to your advantage, so
ripples and capture rocks and headlands has come up and until the Golden Hour will if conditions arent quite what you expected,
bathed in sumptuous light. once the sun dips depend on the weather. Sunny blue-sky dig deep and stay put if you can take great
below the horizon, if theres broken cloud days are pretty rubbish for colour coastal shots in naf light, imagine how much better
in the sky you may get to shoot a wonderful landscapes after 9am, though if there are theyll be when the lights fantastic!
36 Coastal landscapes The ulTimaTe Guide To phoToGraphy
mASTeroFCoASTLIneS
Lee Frost 1
Biography 14
LeewasborninYorkshirein
1966buthisloveof
photographyandthe
coastlinereallytookhold
whenhemovedtoDevonasa
teenager.Duringhisearly20sheworkedasa
writeronvariousphotographymagazines
13
beforeembarkingonafreelancecareerin1992.
Sincethenhehasmadeanameforhimselfas
bothabest-sellingauthorandanaccomplished 10 8
2 5
landscapeandtravelphotographer.Hetravelsall 15
overtheworld,leadingphotographicworkshops
16
andtours,andshootsforpicturelibrariessuchas
GettyImages.Leenowdivideshistimebetween
Surreyandthenorthumberlandcoast. 17
I
ve always been attracted to the 7
coast. On holidays as a child, in places 4 6 9
3 up then carried away again. Its an ever- set out with a goal in mind, but if conditions
changing stage on which to work. make achieving it unlikely then Ill happily
Planning is key. If I intend to head out I change tack. In overcast or cloudy weather
start checking the weather forecast several Ill look for details that beneit from the soft
days before and monitor it daily. For dawn light, such as rock patterns. I also shoot a
shoots I make a inal check the night before lot of long exposures with a ten-stop nD
to see if its worth bothering with an early ilter that technique suits bad weather
start. I also check the sunrise and sunset or Ill shoot with the intention of converting
times so I know what time I need to be on my images to black & white. I hate wasting
location and make sure Im aware of the high time or coming home without a few shots
and low tide times. in the bag, but on the coastline its virtually
lee FrOst
you need to be open-minded and willing impossible not to ind something inspiring.
to adapt when shooting by the sea. I usually www.leefrost.co.uk
Coastal landscapes 37
lee frost
1) Puttheoddsofsuccessinyourfavourby
planningandpreparingchecktheweather
regularly,makesureyouknowthetidetimesfor
thearea,sunriseandsunsettimesanddirections
and,importantly,howtogetwhereyouregoing!
2)Theresatendencytosteerclearofwell-
photographedviews(likeDunstanburghCastlein
Northumberland)buttheyrepopularforareason!
Justtrytoputyourownstampontheshots.
3) Returntothesamelocationstimeandtime
again,indiferentweatherconditions,atdiferent
timesofday,indiferentseasons.Gettoknow
themwellandseekoutnewnooksandcrannies.
4) Setyoursightshigh.Dontassumethatyoull
neverbeabletotakephotographsasgoodas
thosebythetopnames.Youcanitsnotdiicult!
Theharderyouwork,theluckieryouget.
5) Dosomethingwithyourfavouriteimages
ratherthanillingupharddrives.Makebigprints
andhangthemonthewallforeveryonetosee,
admireandcelebratetheyreworksofart!
1)LivingonNorthumberland'spicturesquecoast,Lee
hasn'tfartotraveltocaptureamazingcoastalscenes.
2)ShootinglongexposureswithextremeNDiltershas
proventobeoneofLee'sfavouritephototechniques.
lee frost
3)Thesparsenatureofsomecoastalregionsmakes
1 themtheideallocationforminimalistfine-artimages.
My favourite technique 2
Clothing
WATERPROOFJACKET:
This all-important outerlayer
will keepyou dryandwarm so
dont scrimp and buya good
qualitybreathable (eg Gortex)
jacket thatwill last foryears.
All the top outdoorbrands
produce them.
MID-LAYER: Light-weight
jackets can beworn on their
own in mild/dryweatheror
underyourwaterproofjacket
forinsulation in the cold/wet.
Fleece is cheap and light,
softshell is more expensive
but also more efective and
down-lled jackets are the
warmest but most expensive.
OVERTROUSERS:
Good qualitybreathable
overtrouserswill not onlykeep
youwarmwhen the coldwind
phoTo backpacks blows but also stopyourlegs
gettingwet ifyoure shooting in
Packingyour kit fora coastal adventure?Agood qualitybackpack not onlymakes carrying the rain ornearthe sea. Full
length zips up the sideswill
your gear much more comfortable butwhenyoure shooting on the coast itwill also provide make it quickerand easierto
your goodswith protection from the elements.These three packs are all up to the job put them on ortake them of
whenyourewearing boots.
GAITERS: Wearthese instead
ofovertrousers to provide
waterproofprotection foryour
legs to the knee, but ifyouwear
them underovertrousersyoull
have even betterprotection
from roguewaves thatwash
overyourboots.
GLOVES: Theres no perfect
solution in terms ofkeeping
handswarm and being able to
use camera controls. However,
the likes ofMacWet (www.
Lowepro Dryzone BP 40L F-stop Loka Tenba Discovery Medium Photo macwet.com) provide gloves
with decentwarmth that allow
165 260 85 you to operate the camera.
Ifyou like to shoot in extreme Think high qualityrucksackwith a The price tagwill appeal to those
HAT: Prevent bodyheat
weatherconditions (wind, rain, removable padded camera case on a budgetwho stillwant a quality
escaping throughyourhead
rough seas) then this is the pack for inside and thats the Loka.You can pack.This onewill carryup to two check out the Sealskinzs 20
you. It features awaterproofouter customise the interiorwith one or DSLR bodies and fourto six lenses WaterproofBeanie.
with a roll topwhich,when used more ICUs (Internal Camera Units) in the padded bottom section and
FOOTWEAR:WELLIES
correctly,will preventwateringress and itwill swallowmasses ofcamera accessories in the top section.
are the most practical option
even ifyou get caught bya rogue kit aswell as clothes, food and It also has awaterprooofbottom look at brands like a Hunter,
wave. Itwill carrya pro-sized DSLR anything elseyou need fora dayby panel, pulloverwaterproofcover Le Chameau, Muck Boot or
with standard zooms attached and the sea.Weatherproong is good forall-weatherprotection and the Aigle.Wearthick socks too! If
two more lenses up to 70-200mm, too, though an optional pull-on rear compartment can be used to you preferhiking boots,wear
aswell as accessories. waterproofcoverisworth buying. carrya hydration bladder. gaiters to keepyourfeet dry.
40 Filters for landscapes The ulTimaTe Guide To phoToGraphy
essential Filters
For landscapes
WhilesoftWare,suchasPhotoshoP,mayhavetakenthePlaceofsomefilters,askanyself-resPectingdedicated
landscaPePhotograPherandtheylltellyouthattherearesomefiltersthatsimPlycantbeemulated
Image: ross hoddInott
42 Filters for landscapes
Theessentialfiltersfor
landscapephotography
GETTING ITRIGHTIN-CAMERAISALWAYS PREFERREDTO FIXING ITDURING
PROCESSING.THE LESSTIME SPENTIN FRONTOFACOMPUTER,THE BETTER
W
HEN DIGITAL PHOTOGRAPHY While there is a huge choice of lters
overtook lm, several people available to the photographer today,
predicted the eventual demise of including special efect lters, coloured
photographic lters. How wrong they were! grads and soft focus lters, in reality most
While it may be true that modern software of these fancy efects are best added (if
such as Adobe Photoshop and Lightroom required) during post-processing, where
has replaced the need for some specialist they can be applied with greater precision
lter types, many more continue to play an and the efect can be easily undone if you
essential role in photography particularly decide that you dont like it. Therefore,
when it comes to photographing landscapes. during this guide, we will concentrate only
Quite simply, there are some things you on the lter types we feel are genuinely
simply cant replicate in Photoshop such as essential for landscape photography.
the mesmerising efect of a circular polariser, Filters are great corrective and creative
or the light-absorbing and exposure- tools, with the potential to transform your
extending properties of a Neutral Density landscape images from good shots to great
(ND) lter. Other lters, like ND grads, are ones. If you have not used lters before, it
designed to balance the exposure between is about time you did youll be surprised
the land and sky, allowing photographers to at the results possible and it will open up a
capture views authentically in-camera. whole world of creative possibilities to you.
Others, like UV and Skylight lters, are useful And, by the time youve nished reading
simply due to the physical protection they this chapter, you will know everything you
ofer to your valuable optics theres no need to in order to choose the right lter for
software out there that can stop your lens the job, use it correctly, and capture great
from getting chipped or damaged! ltered shots in the process.
ross hoddinott
Landscape filters Q&A
Transformsceneswithapolariser
ARguABlythe lAndscApe photogRApheRs mostusefultool. heReswhyyou needApolARising filteR
ross hoddInott
1 2
F
or landscape photographers,
a polariser is a must-have ilter. It could
be argued that no other ilter will have a
greater impact on your images and its efect
cannot be replicated in post-processing.
simply speaking, they are designed to
reduce the efects of glare and relections.
By doing so, they restore natural colour
saturation, giving your photographs more
impact, vibrancy and oomph.
polarisers are made from a thin foil of Withoutpolariser With polariser
polarising material sandwiched between
two circular pieces of glass. By rotating the 3
ross hoddInott
ilter in its mount, you can vary the amount
of polarised light passing through. Why is
this useful? Well, in simple terms, polarised
light causes glare and relections, which
reduces the intensity of a surfaces colour.
By blocking polarised light from entering
the lens, the ilter is able to restore natural
contrast and vibrancy.
By rotating the ilter in its mount while
peering through the cameras viewinder
or via your lcd monitor in liveView mode
you will see relections come and go and
the intensity of colours strengthen and fade.
the strength of the polarisation depends
on the angle of the camera in relation to the
sun. Metallic objects, like polished steel and
Pro view
lee Frost
i alwayscarrypolariserswithme
whenimoutshooting.ihave Withoutpolariser With polariser
aheliopan105mmslimcircular
polariserthatscrewstothefrontofmyleefilters chrome plate, do not relect polarised light 1)Rotatingthepolariserwhilelookingthroughtheviewinder
ilterholdersoicanuseitwithndgrads,plusa and so remain unafected by the ilter. willallowyoutodeterminethebestresultforyourimage.
hoyaRevo77mmslimpolariserthatiscrewonto Using the ilter is actually very easy; simply 2)Apolariserisastaplepieceofkitforshootingwater,
reducingrelectionsandincreasingvibrancy.
mywide-anglezoomswhenidontneedother turn the ilter until you achieve the efect
3)Blueskiesareintensiiedwiththeuseofapolariser,giving
ilters.idontusepolarisersasmuchasididpre- you like. For landscape photography, the coloursinyourshotsmoreoomph.
digital,butidoindthemusefulforenhancing ilter is most popular for making blue skies
theskyinsunnyweather,boostingcontrastand appear more vibrant. the sun contains most Many landscape photographers will invest
reducingglare.Apolariseralsomakesahuge polarised light in the areas that are 90 to it. in a polariser simply for its efect on blue
diferencewhenshootingwaterasitremoves therefore, taking photographs at 90 to the skies. however, the ilter has much more to
thesilversheenfromthesurface,boostscolours sun will create the strongest efect this is ofer besides. due to how it is able to reduce
indampweatherandisahandyneutraldensity known as Brewsters angle. however, the glare relecting from leaves and foliage, using
ilterduetothetwo-stoplightloss. most pronounced efect will not always a polariser will enhance your photographs of
produce the best result. woodland interiors and also rural scenes.
Filters for landscapes 45
Polariser Q&A
ross hoddinott
Q What is uneven polarisation?
Thisisacommonproblemyoushould
bemindfulof.Theefectofapolariserisatits
mostpronouncedat90tothesunandleast
efectiveat180.Therefore,atcertainangles,
youmayindtheefectoftheilterperforms
irregularlywiththeskybeingdarkerin
someareasmorethanothers.Thisisknown
asunevenpolarisation. Shortfocallengths,
between16-35mm,aremostpronetothe
problemduetothebroadexpanseofskythey
areabletocapture.Toalleviateunevenskies,
thebestoptionstotryaretoreducethelevel
ofpolarisation,usealongerfocallengthor
(ifpossible)adjustyourviewpoint.
Onlycircularpolariserswillwork properlywith
modern cameras.Although bothvarieties are
circularscrew-in ilters, the design ofthe linear
4 type afects the metering accuracyofdigital
cameras.This is because autofocus systems
polarise a percentage oflight in-camera, so if
the light has alreadybeen polarised bya ilter,
the metering is afected. Circularpolarisers
are constructedwith awave-retardation
plate, one-quarterofawavelength thick.
This allows the light passing through the
ilterto rotate and appearunpolarised to the
cameras metering system, ensuringyou get
an accurate meterreading.
4)Boostblueskiesandcontrolrelectedlightusinga
polarisertheefectisvisiblethroughtheviewindertoo.
lee frost
5)Usingapolarisingiltercanrestorenaturalsaturationto
5 yourimagesbycuttingthroughrelectedlight.
46 Filters for landscapes The ulTimaTe Guide To phoToGraphy
Neutral
ross hoDDinott
2
Density
waNTTo leNgTheN exposures
iN brighTDaylighT?aNeuTral
DeNsiTyfilTerwillDoThejob
1
Withoutfilters
A
t first glance, nD ilters look 3
rather uninspiring. they have a
neutral grey coating, designed to
absorb all the colours in the visible spectrum
equally. in doing so, they are able to change
the brightness of light without creating a
cast. therefore, with an nD ilter attached,
photographers are able to select a slower
shutter speed than would have been
possible otherwise.
so, why are they so useful? Well, by
artiicially lengthening exposure time, nD
ilters allow photographers to creatively blur
subject motion moving water, swaying
crops and scudding cloud, for example,
which produces landscape images with
more interest, life and atmosphere. an nD
ilter can create the impression of movement
an efect that can only truly be achieved
in-camera, when you trigger the shutter.
nD ilters are produced in a range
of densities, designed to suit diferent
circumstances and needs. they are also
1)ThedarkeranNDilter,themorelightitabsorbs.Theyare
availableasbothscrew-inandslot-intypes. With ND & polarisiNg filter
available in both slot- and screw-in varieties. being strong enough to have a genuine
Pro tip: Colour casts the darker grey they are, the more light efect on shutter length. for example, using
they absorb. the most common strengths one will lengthen a (uniltered) shutter speed
although nD ilters should be neutral, are one-, two- and three-stop nD ilters. of 1/8sec to one second. this represents
some can display a slight colour cast however, stronger, more extreme ten-stop a signiicant shift in exposure with the
or sometimes an artiicial cast can be versions are also popular (see page 50). an potential to greatly change the appearance
created when nD ilters are nDs strength is normally printed on the ilter, of the inal image. the technique is most
combined. the best way to neutralise or its mount. however, confusingly, brands popular for making waterfalls or crashing
any unwanted cast is to manually indicate ilter density diferently. for example, waves appear as an ethereal milky blur.
tweak the colour temperature in 0.3 or 2x refers to a ilter with a one-stop When attached, neutral Density ilters
post-processing. this is relatively density; 0.6 or 4x is two stops; 0.9 or 8x is darken the viewinder image signiicantly,
quick and easy to do, particularly if three stops, and so on. so it is best to compose and focus your image
you are a raw shooter. simply adjust two or more nD ilters can be combined beforehand. Your cameras ttl metering
the White Balance and/or tint sliders to generate an even greater light loss. will automatically adjust for the ilters factor,
until the cast is neutralised. however, a 0.9nD equivalent to a three- so you shouldnt need to make any manual
stop reduction in light will often suice, adjustments, simply meter with the ilter on.
The ulTimaTe Guide To phoToGraphy Filters for landscapes 47
2)Ifyouwanttogeneratealongexposureto
creativelyblurmotion,selectyourcameras Pro view
lowestISOratingtogetherwithasmall
aperture.Inthisinstance,ISO100andf/16is
ross hoddinott
ross hoddinott
selected,buttheresultingshutterspeedof
1/60secisnotlongenoughtocreatean Youeitherlovesubjectblurorhate
attractiveorintentionallevelofmovement. it.Personally,Iloveit.Ilikethefeeling
3)Byattachingathree-stopsolidNDilter,the ofmotionitcanimplyalittle
shutterspeedisartiiciallylengthenedto subjectblurcanmakelandscapephotographs
1/8sec.Thelongerexposurehelpscreatea lookfarlessstaticandvisuallyfarmore
moredeliberatelevelofblurthatusuallyproves stimulating.IindIusesolidNDiltersquiteabit.
satisfactory,althoughonthisscene
WhileIlikeusingextremeNDilters(turntopage
Ineededanevenslowershutterspeed.To
achievethisIalsoattachedapolarisingilter. 50),theirefectcanbetoopronouncedandkey
Doingsohelpssaturatethecoloursinthe detailcanbelostaltogetherifyouarenotcareful.
scene,butalsolengthensexposurebyafurther Therefore,IoftenfavouralowerdensityND
twostops.Theresultingshutterspeedof1/2sec forexampleathree-orfour-stopversion.Inthe
createsjusttherightamountofimpliedwater rightlight,thisisenoughtocreateanintentional
motion,achievingarealsenseofmovement. levelofsubjectblur,withoutthingsbecoming
4)Movingwateraddsinterestandenergyto tooblurry.Ienjoyshootingcoastallandscapes
images.Inthisinstance,athree-stopsolidND withanexposurelengthofbetween1/2sec and
ilterwasusedtolengthenexposuretimetoa eight seconds, as this is lengthyenough to create
coupleofseconds,whichblurredthewaterasit atmospheric results,without being so long that
draggedbackoverthebeach.Indoingso,ithas detail and texture in thewaterdisappears. My
createdattractivetrailsthatnotonlyadd
favourite ND is Lee Filters ProGlass three-stop
interesttothephotographbutleadtheeyeinto
theframeandtowardsthebeautifullyblurred version extremelyhigh-qualityglass, perfectly
waverollingin,alsocreatedbytheartiicially neutral and optimised fordigital cameras.
longshutterspeed.
48 Filters for landscapes The ulTimaTe Guide To phoToGraphy
NDgrads
rOss hODDiNOtt
WithoutND graD oNe-stopND graD
eSSeNTIALINANyLANDSCApe
pHoTogRApHeRS kIT, ND gRADS
HeLpyou BALANCe expoSuReS
2
T
he sky is typically lighter than land, tWo-stopND graD three-stopND graD
with the diference in brightness often
equivalent to several stops of exposure,
and the level of contrast being so great that it
exceeds your sensors dynamic range.
For example, if you decide to expose for the
brighter sky, your foreground will be recorded
too dark; correctly meter for the land, though,
and the sky will be too light and the highlights
overexposed. Does this sound like a familiar
problem? so what is the answer? One solution
is to take two or more diferently exposed
images and blend them together during
post-processing. however, there is also an
in-camera solution. By using graduated ND
ilters, it is possible to balance the light in
high-contrast scenes, allowing you get things
right at the moment you trigger the shutter.
ND grads are designed to help
photographers overcome the limitations of a
cameras dynamic range and therefore remain
an essential ilter type for the vast majority of
Above)Thissequenceofimagesshowshowaddingdiferent
Pro view densitiesofNDgradsafectstheinalimagedarkeningthe
skywitheachaddedstop.Thethree-stopgradisasteptoofar.
1)Attachingailterholdertoyourlensallowsyoutoslot
ross hoddinott
rOss hODDiNOtt
diferentNDandNDgradiltersonquicklyandeasily.
Despitetheimprovingdynamic 2&3)NDgradsareessentialwherethelandandskyrequire
rangeofDSLRs,NDgradsremain diferentexposures.Itsimportanttoalignthetransitionalarea
essentialtools.Thecontrast preciselywiththehorizontoensureyougetaperfectresult.
betweendarkerforegroundandbrightersky
canbeseveralstops,sowithoutgradsitwould landscape photographers. they are typically
beimpossibletoachievealandscapethatis rectangular, slot-in type ilters, and are half-
correctlyexposedthroughout.Iliketogetthings clear, half-coated with a transitional zone
rightin-camerawheneverpossible,andND where they meet. Grads are straightforward
gradsallowmetodothis.Blendingexposures to use. With your ilter holder attached, slide
doesntappealtome,asitrequiresmoretime the ND grad in from the top and then while
onacomputerandlessbehindthecamera. looking through the viewinder, or via LiveView
IalwayscarryafullsetofhardandsoftNDgrads; align the ilters transitional area with the
Iuseahardtwo-stopgradthemost.Hardgrads horizon. By using a grad of an appropriate
areparticularlyusefulfortheCornishcoastal density, you are able to balance the contrast
landscapesIshootnearby.IuseLeeFilters:the in light and bring the entire scene within the
qualityisunrivalledandthelarger-sizedsystem sensors dynamic range ensuring detail is
isnecessaryforwide-angleviews. retained throughout.
One of the most important aspects of
The ulTimaTe Guide To phoToGraphy Filters for landscapes 49
ross hoddinott
2
ND grads Q&A
3 breakingtheskyline,likehills,mountains,trees
orbuildings.However,onlyapproximatelyathird
oftheilteriscoatedwiththeiltersfulldensity
beforeitbeginstofadetotransparent.Thiscan
beadrawback,asoftenthebrightestpartof
theskywillbejustabovethehorizonwherea
soft-edgedgradisatitsweakest.
Q
with just a little practice, correct positioning of two-stop contrast between the sky and land. Does sensorsize afect the efectiveness
grads is easy to do and, if you do misalign the therefore, in a situation where there is a ofNeutral Densitygrads?
ilter, the error is normally obvious when you ive-stop diference between sky and land, a To some extent.When using a camerawith
review the image via playback. three-stop grad would suice combining anAPS-C size sensor, the graduated area
nd grads are typically available in one-, two grads, in order to generate ive stops efectivelyspans a largerarea ofyourimage.
two- and three-stop strengths. Which density worth of graduation, would create a very In otherwords, a grad grows softerthe smaller
you require will depend on the lighting. unnatural and lat-looking result, which is the sensorsize.Therefore, hard grads may
the most precise way to work out which best avoided. similarly, too much iltration not be as abrupt as theymight seem,while the
density grad to use is to take a spot-meter can make the sky look too dark or the land efectiveness ofa soft grad can be slightly
reading from both the sky and land, and artiicially light. the key to using any type diminished. Smallersensorswill often get
then calculate the diference between the of iltration is to try to create natural and betterresultswith hard grads.
two. For example, if the reading from the believable-looking images.
50 Filters for landscapes The ulTimaTe Guide To phoToGraphy
ExtremeND
rOss hODDiNOtt
1
O
ver the past couple of years, 2 rOss hODDiNOtt
extreme NDs have quickly become Shutter lengths
a must-have ilter for landscape
photographers. With a ilter factor of up to This is an example ofhowshutterlength is
ten stops, they allow photographers to afected byattaching an extreme ND.you can
lengthen exposure to the extreme even in use this chart to helpyou calculate the ilters
good light you are able to employ a shutter efect.There are also manysmartphone apps
speed of several seconds or longer. their you can buyto aidyou forexample, NDCalc.
key characteristic is the efect they have on Anotheroption is to multiplythe uniltered
motion, creating surreal, atmospheric and
exposure length byits ilterfactor,which is
1000x fora ten-stop extreme ND ilter.
eye-catching results.
although six-stop (1.8/64x), eight-stop No filter Unfiltered exposure with
(2.4/256x) and variable ND ilters are also exposure ten-stop ND
available, it is the ten-stop (3.0/1000x)
1/500sec Two seconds
version that is by far the most popular.
Using one allows photographers to employ 1/250sec Four seconds
artiicially slow shutter speeds. For example, 1/125sec Eight seconds
an uniltered shutter speed of 1/15sec will
1/60sec 15 seconds
be lengthened to one minute thanks to
using a ten-stop ilter one stop is 1/8sec; 1/30sec 30 seconds
two stops is 1/4sec; three stops is 1/2sec, 1/15sec One minute
and so on. During an exposure of this
length, much can alter: drifting cloud will 1/8sec Two minutes
appear like brushstrokes; moving water will 1/4sec Four minutes
be recorded smooth and glass-like; while teN-stopND filter 1/2sec Eight minutes
crops and foliage can create intriguing,
wavy patterns. this is a creative ilter 1)Acoolbluecastisacommonresultwhenusingextreme One second 16 minutes
with the ability to give your shots oodles NDilters,althoughthiscanenhanceyourshots.
2)Thesecomparisonpicturesshowhowyoucantakea
of atmosphere. the efect it has on the regularscenetonewheightswithanextremeND.
landscape cannot be replicated during 3)Composeandfocusbeforeattachingyourilter.
post-processing this is very much an models although not all it will provide a 4)Waterbecomesamagicalblurwithaten-stopper,though
itsalookyoulleitherloveorhate.Weloveit!
in-camera technique. clear enough image on the monitor to allow
the density of extreme NDs is so great you to tweak composition and align ND grads however, in constant or overcast light, when
that you can see little, if anything, when you without having to remove the ilter irst. photographing subjects with strong, bold
peer through them. therefore, composition, extreme NDs are great ilters fun to shapes like a pier, lighthouse or groyne, they
focusing and any other iltration required use with the ability to transform a scene. have the potential to enhance your shots
needs to done prior to attaching the ilter. however, like any ilter, they need to be used beyond recognition. they perform very well
alternatively, Liveview can prove a great aid appropriately. When the light is magical in grey weather and long-exposure images
when using extreme ND ilters. On some and leeting, extreme NDs are best avoided. will often suit conversion to black & white.
Filters for landscapes 51
Extreme ND Q&A
ross hoddinot t
Q What is avariable ND?
Its a circularscrew-in type ND that
is designed to absorb light like otherNDs.
However, unlike othersolid ND ilters,variable
NDs have a rotating front lens like a polarising
ilter that allowsyou to adjust the ilters
strength. Forexample,Tifensversion provides
two to eight stops oflight control, givingyou
the convenience and lexibilityofhaving
several ND ilters in one. Hama, Heliopan,
Hoya, Polaroid andTifen are brands to look
for. In basic terms, theyare two polarising ilters
stuck together.Theycan be useful, but they
often suferfromvignetting and a cross-pattern
efect atwiderfocal lengths.Variable ND ilters
are also known as faders.
masteroffilters
Adam Burton
Biography
adamBurtonisoneofthe
UKsleadinglandscape
photographers,regularly
supplyingimageryand
undertakingcommissionsfora
widerangeofclients.Hehasphotographedive
ofthesevencontinentsandnowspecialisesin
thelandscapesoftheUK,particularlysouthWest
england.Hehasworkedformanyprestigious
organisations,companiesincludingBP,theaa,
TheTimesandNationalGeographic.Healso
regularlyofersgroupandone-to-one
workshopsandhasauthoredivebooks,
includingTheSouthWestCoastPath,andisa
multi-award-winninglandscapephotographer.
I
hAvE bEEN working full-time as a and the true magic of the scene becomes apparent on the cameras LCD monitor.
professional landscape photographer The result is a beautiful forest photograph with rich colours and verdant foliage only
since 2008. After several years of running possible because of the polariser. A polarising ilter is a wonderful tool to boost the
my photography business part-time impact of your photos and its popularity is sure to endure; there is no digital alternative
while also having a day job, turning full-time or processing efect that rivals shooting with a polariser.
was an ambition of mine that I was fortunate
to make reality.
I spend much of my time out on location Even in todays age of digital photography, 1)mymostusediltersbyfararethe0.3,0.6and0.9hard
in the south-west of England photographing I irmly believe there is still room for ilters in edgeNDgrads,aswellasthecircularpolariser.
atmospheric landscapes to be marketed every landscape photographer's bag. In fact, 2)Woodlandalmostalwayscallsfortheuseofapolariserto
reduceglareandincreasecontrast.
through my libraries and directly through my far from facing extinction, low stock levels
3)sometimestheuseofailtercantotallytransformthefeel
website. The images I capture are reproduced and long waiting lists would suggest that ofasceneandboostthemoodofyourshots.
in magazines, books and calendars all over ilters are more popular than ever!
the world. When I am not shooting for stock, For me landscape photography is about enable their cameras to record landscapes
I am either working on commissions or capturing the outdoors as authentically as faithfully, something they would be unable
carrying out landscape photography tuition possible. I want my images to be a faithful to achieve with the camera alone.
both in the UK and overseas. rendition of the landscapes I witness, the Of course, there are many weird and
Filters are as essential to my photography colours representative of the light and no wonderful ilters out there that you can
business as my cameras or lenses. more. It seems to be the common perception purchase if you like that type of thing. but
I purchased my irst set of ilters back in amongst many non-photographers that for me, there are only three types of ilter
2003 soon after I became interested in ilters are used to introduce artiicial colour necessary for my photography. In order
photography; ever since those early days I into an image, but the truth is quite the of importance these are: ND grads, the
have never been anywhere without them. opposite. Most photographers utilise ilters to polarising ilter and solid ND ilters.
The ulTimaTe Guide To phoToGraphy Filters for landscapes 53
Travel
PhoTograPhy
TheworldisfullofincrediblesighTs,peopleandadvenTures,sowhylimiTyourphoTographyTo
jusToneparTofiT?prepareforanadvenTureinToTheexciTingworldofTravelphoTography
Image: Jon hIcks
56 Travel
Bepreparedforyour
photoadventure!
byfailingto prepare,youare preparingto fail.whenyoure
travellingacrossthe globe,alittle research can goalongway
T
HeRe ARe Few things in life that are
lee FROsT
more exciting than planning a trip to
somewhere new. The world is a much
smaller place than it was just a few years ago,
with relatively low-cost travel accessible to
all. Theres more to travel photography than
showing up and pointing your camera in the
right direction, however. Preparation is half
the battle, and its now easier than ever
before to research your destination before
your arrive. Being in the right place at the
right time and equipped with the right skills
will help stack the odds in your favour.
You dont have to be heading to the other
side of the world, or anywhere especially
exotic, but the anticipation of all those new
sights and sounds is thrilling and inspiring.
As photographers, theres an extra attraction
to being able to shoot brand new scenes
and subjects. This section is packed with
everything you need to prepare for your trip,
make the most of the opportunities and
return with amazing images.
2
Visit image-sharing websites such Lonely Planet travel guides From 12
5
as Flickr or 500px, then search your Compile a ile of reference material www.amazon.co.uk
destination, sit back and admire loads that you can take with you. This can Lonely Planet travel guides
of great images that will give you an idea of be printed sheets, or you can create are incredibly popular their
the scenery and subject matter youre likely a document on your laptop or tablet. Drag broad range of expert advice
to encounter. You could even contact some and drop images or take screengrabs of and insight into popular
of the photographers for top tips. inspiring images/visual ideas youve found locations around the world
3
online and put them into an album and note makes them a must-have
Find out the sunrise and sunset times
useful names, addresses, times, dates etc. for travel photographers looking for a wealth
for the places youll be visiting, so you
6
of information and inspirational images. Try
have an idea of when to get up and Make sure you take the right clothing
one you'll be impressed!
how late youll need to stay out. If its relevant, and footwear you dont want to be
tide times should also be investigated, and its too hot or too cold, and blisters on TPOTY From 7.99
always worth checking the weather forecast tired feet can hinder creativity! Always pack www.tpoty.com
the day before you set of. some blister plasters, as well as ordinary There are six volumes in
4
plasters and painkillers. A hat is essential for the Travel Photographer
Use the internet to gather
hot climates plus factor 30+ sun cream! of the Year series of books
information on speciic things,
7
such as carnivals, festivals and Before embarking on an overseas trip, Journeys 1-6. each one
celebrations, where and when they take check with your local GP or practice contains winning entries
place, how to get there and so on. It may nurse if you need any vaccinations. to the TPOTY competition
also be worth inding a local guide to assist Regular travellers are likely to be up to for a speciic year, so theyre packed with
you this can be organised from home by date with jabs for things like Tetanus, Polio, amazing images from all over the world and
contacting the relevant tourist board, or Typhoid and Hepatitis B. You may also need are a great source of ideas and inspiration.
when you arrive at your hotel. shots against Malaria, Yellow Fever or Rabies.
Travel 57
Travel Q&A
jon hICKs
Q Do I need to take proofthat I own all the
camera equipment I takewith me?
Itshouldntbeanissue,butwhenenteringsome
countriesyoumaybequestionedaboutwhyyou
havelotsofgear.Ifyoureconcerned,takecopies
ofyourreceipts,oralistofalltheitems,tosave
timeatcustomsifyougethassled.
www.amazon.co.uk itunes.apple.com
Written and illustrated Download the free iPad
evenacheapphoneandsim.
by David duChemin, this
book is all about inding
and expressing your
app for access to over 150
issues packed with fantastic
travel images. Theres also a
Q Howcan I ind out in advance ifa
destination is dangerous?
The Foreign Oice issues travel advice forall
photographic vision with fantastic book available via countries and territories and this resource is
speciic reference to travel. the App by contributor and updated on a regularbasis, especiallyforplaces
Its a great tome to take on your travels as its top travel pro Peter Adams containing 50 where there is political unrest oroutbreaks
full of ideas and inspiring images so you can essays, images and instructional videos for ofdisease.Visit https://www.gov.uk/foreign-
refer to it when your creativity is wearing thin. just 2.99 ideal if you travel with an iPad. travel-advice formore info.
58 Travel The ulTimaTe Guide To phoToGraphy
Bekitsmart!
DOntpack everything butthe kitchen sink
smarttravelphOtOgraphers pack light
anD Onlytakewhattheythinktheylluse
T
ravel photography is all about capturing the
character of a place by documenting anything and
everything that catches your creative eye, so you need
to make sure you have the right gear to do just that. at the
same time you need to put together an outit thats portable
and usable, because whatever you take youre going to have
to carry, and nothing saps your energy and enthusiasm more
than sweating under the weight of an overloaded pack.
luggage weight limits imposed by airlines also have to be
considered too if you want to avoid hefty excess baggage
charges at check-in paying extra to take something that
you end up not using is a total waste of money and is
deinitely avoidable if you thoroughly plan ahead.
trip duration doesnt really matter because whether youre
going away for a week or a month, youll still encounter the
same subjects and youll need the same equipment. spend
time working out which items youll get the most use out of.
Essential items
Digital camera Tripod Backpack Memory cards
any make or model of camera this is a must for predawn and a decent backpack should ideally, you want enough
is suited to travel as most post-dusk shoots or when accommodate all your kit for cards so that you dont have
share common features youll youre indoors and light levels the journey out, then when to reformat during the trip.
need. pro bodies are robust are low. you dont have to carry you reach your hotel you can For some, three 16gB cards or
but theyre also big and heavy. it everywhere every day, but remove the items you wont half a dozen 8gB cards will be
theres a lot to be said for the you will need a tripod! go for a need all the time and pack suicient for a fortnight-long
smaller, lighter Dslrs and CsCs compact (preferably) carbon- them in your suitcase or lock trip, whereas others will need
if you put decent lenses on ibre model thats not too heavy them away to lighten the load. 16gB+ per day. it depends on
them. if you have two bodies, but stable and equip it with a there are several great models your camera and how trigger-
take both in case one packs up ball head, which will again keep we recommend some of our happy you are! if in doubt, take
or gets damaged/stolen. weight and bulk down. favourites later in this guide. more than you think youll use.
Lens choice
mAStErOftrAvEL
Jon Hicks
Biography
Jonwas born in Cornwall in
1962. Hisworking life began in
Hm Dockyard, Devonport, but
aftereightyears as a shipwright
he embarked on an overland
trip to Kathmandu and launched himselfas a
travel photographer. His big break came in
1999when he joined Corbis, and afteryears of
hardwork hewas able to realise his dream and
earn a living as a full-time travel photographer.
I
vE BEEn vEry fortunate to have had the
opportunity to visit every country on my
bucket list and then some. The number of
countries visited to date stands at around
85 and it would be nice to make it 100 before
folding up my tripod's legs for the last time.
I tend to go away for up to a month, four
times a year, and all trips, regardless of 1
length, are followed by several weeks of
endless post-production.
jon HICkS
"Life as a travel photographer can be a very
lonely existence. I will often go days hardly
talking to anyone apart from hotel staf or
waiters taking my orders in restaurants.
Although the days can pass quite quickly
if Im busy shooting, its the long journeys
or times when the weathers bad that
homesickness can kick in. Thankfully this is
where Skype can be a great morale booster
when catching up with home.
"I always try each year to have some
pre-planned trips to new locations or those
where an update to my images is required.
The rest of the year is open and I will discuss
current travel trends with my editor at
Corbis before making any further bookings.
"For years, internet sites like Flickr and
micro-stock agencies have looded the
market with cheap images and driven down
prices. However, after recently speaking to
a picture researcher, there appears to be a 2
trend for high-end clients paying fair prices for
exclusive rights to avoid the risk of competitors
using the same image. I hope hes right!
My favourite technique... Stitching panoramas
3 For me, the world rarely its comfortably into a 3:2 aspect ratio. Also,
the use of a wide-angle lens to encompass an expansive scene can push
everything too far away with too much foreground and sky, compared
to shooting the scene as a panorama with a longer lens. Before starting,
I ensure the rotating platform is levelled and the camera is set to manual to
maintain even exposures for each frame. White Balance is set for Daylight,
again to maintain consistency. The frames are overlapped at least 30% and
stitched with Photoshops Photomerge. For all lenses other than my 70-
200mm, a nodal rail is itted to the tripod head at the correct position for
the nodal point of the lens and the camera attached in portrait orientation.
Tilt-shift lenses can also be used for shooting panos by taking a frame at
1)ShelbyStreetPedestrianBridge,Nashville,USA.Exposure: each end of the shift, either up and down or side to side. This technique
1/160secatf/10(ISO100).2)NewYorkPublicLibrary,NewYork
City,USA.Exposure:1/25secatf/2(ISO1250).3)Agoodmixof gives a super-wide ield of view with my Canon 17mm TS-E lens.
subjectmatterincreasesthepotentialforstocksales.
Travel 61
jon hicks
Pro tips
jon hicks
3
1
12 4
15 16
5 8
20
7 9 10 11 6
13
19
14
18
17
1)TheonlyilterIcarryisapolariser.Itsnobig
secretthattheyaregreatforboostingsaturation,
removingrelectionsanddarkeningblueskies.
2)Togetaroundissueswithobtainingmodel
Jonskitbag 8) Canon ExtenderEF1.4x II
Forthat little extra reachwith the
15) Panasonic Lumix 20mm f/1.7
(Shown on camera)Astandard releasesfromstrangers,blurunreleased
1) LoweproVertex 200AW 70-200mm zoom. lens (40mm equivalent) thats the peoplewithslowshutterspeedstomakethem
Areallygood bag that is also 9) CanonTS-E 17mm f/4L size ofa lens cap and sharpwide unrecognisable.Alternatively,shootthemfrom
airline carry-on compatible. Mysecond most used lens and open at f/1.7. behindortryclose-upsofhands,especiallyifthe
2)ThinkTank Retrospective 5 vital forarchitecturework. 16) Canon right-angle inder subjectisholdingsomethinginteresting.
Ashoulderbag formyOlympus 10) CanonTS-E 24mm f/3.5LII Good forverylowlevelwork and 3) Shootagainstthelightwheneverpossibleasit
OM-D Micro Four-Thirds kit. Used less afteracquiring the forshooting looking straight up. canproducefantasticresults.Trypositioningthe
3)Apple Macbook Pro laptop 17mm, but still a handylens for 17) Gitzo carbon-ibre tripod sunbehindtrees,streetlightsoranythingelsethat
Fordownloading cards and architecture and panoramas. I've had it foryears and forgotten canhidetheglareforsomecoolsilhouetteshots.
talking to the familyon Skype. 11) CanonTS-E 45mm f/2.8 the model number, but this
Movies too on long train rides. Astandard lens that also shifts Gitzo has neverlet me down. 4) Dontputthecameraawaywhenitrains.
4) Canon EOS 5D Mk IIIwith and tilts. Incrediblyuseful and my 18) ReallyRight Stuf BH-40 Rushingpedestriansundercolourfulumbrellas
ReallyRight Stuf L-bracket for favourite lens forpanoramas. Mid-Size Ball HeadAn excellent makeforgreatsubjects,asdointeresting
mounting the cameravertically. 12) Olympus OM-D EM-5 Perfect lightweight headwith a good relectionsonwetstreets.Remembertokeep
5) Canon EF15mm f/2.8 isheye for'going commando'when load capacityand no sag. yourgeardrybystandingundercover.
Handyfortight interiors and shooting in subways, museums. 19) ReallyRight Stuf rotating 5) Oncethedaysileshavebeendownloaded
astro-landscapes. 13) Panasonic Lumix 7-14mm f/4 platform & nodal rail Converts a andbackedup(twice),Istitchanypanosand
6) Canon EF24-105mm f/4L Asuper-wide zoom (14-28mm tripod head forpanos in seconds. processafewimages.Thisgivesmeanideaof
Mychoice forshooting on the equivalent). Perfect forinteriors. 20)Tabletop tripodVeryhandy howthingsareprogressingandcanalsobea
hoofin markets. 14) Olympus ZUIKO 45mm f/1.8 forshooting from ground level moralebooster,especiallywhentheweather
7) Canon EF70-200mm f/2.8L Afast telephoto (90mm with one oftheTS-E lenses and
turnsbadorhomesicknesskicksin.
This zoom is mymost used lens. equivalent) that's razor-sharp. the right-angle inder.
jon hicks
62 Travel The ulTimaTe Guide To phoToGraphy
Portraits
brett harkness
phOTOgrAphIng pEOplE OnYOUr
TrAvElS CAn bE OnE OFThE MOST
rEwArDIng prACTICES
A
pproaching strangers and
asking if theyd mind posing for a few
portraits may scare you half to death,
but pluck up the courage and youll ind that
most people are lattered and happy to
oblige. the portraits you take are also likely
to be the most memorable of the trip,
because interacting with locals ofers an
insight into lives and cultures that tend to be
missed by tourists.
the key to success is to treat subjects
with respect. Local people arent tourist
attractions in their country any more than
you are in yours, so imagine how youd
feel if someone thrust a camera in your 1
face without warning as you walked down
the street! if you see a potential subject,
Lee frost
approach them and ask permission. You Travel Q&A
dont need a lengthy discussion or to speak
the local language point at your camera
and say photo? and most people will Q Should I payportrait subjects?
Insomecountriesyouwillbeaskedfor
money,inothersnot.Ifyouareaskedthen
understand. if they decline, say, okay, thank
you, and walk away. some people feel
youshouldpay,butonlyasmallamount.
Smallbarsofsoap,pencilsorbirosareworth
uncomfortable about being photographed;
carryingasyoucanofertheminsteadof
others may object on religious grounds, so
money,especiallytochildren.
always ask for permission.
if you get the go-ahead, instead of
grabbing a few snaps then hurrying away, try
Q Should I get mysubjects to sign
a model release form?
Ifyouwanttosellyourportraitsthrough
to take control of the situation. the quality
picturelibrariesthenyoushouldreallygetyour
of light is important so think about it. if your
subjectstosignamodelreleaseform,butfor
subject is in full sun, you won't produce great
mostcompetitions,editorialsubmissions,or
portraits and if they have dark skin, contrast puttingthemonFlickr,Facebookor500pxetc
youdontneedarelease.
Pro view
Q Should I send mysubjects photos?
Thatwouldbeareallynicegesture.
Manypeoplehaveemailnowsoyoucould
lee Frost sendimagesthatway.Otherwise,takeanote
I rarelyshoot portraitswhen Im in oftheiraddressandputafewprintsinthepost
the UK, but its a majorpart ofwhat whenyougetbackhome.
I dowhen Im travelling. I love to 2
meet people from diferent cultures, spend
timewith them and interact, and the portraits I may be a problem. solve both these issues 1)Interactwithlocalsandyou'llalmostcertainlycomeaway
return homewith often make the trip forme far by moving your subject into shade where the withfantasticportraits,especiallywithchildren.
more satisfying.The human race is amazing! light is softer and contrast lower. 2&3)Traditionaldressandcostumesgoalongwaytotelling
I almost always ask permission irst, so I thestoryofthecountryyou'revisiting.
although you dont want to take up too 4)Awidelensisatravelmust-haveperfecttocaptureyour
have theirattention. I like towork quicklyin much of your subjects time, try not to rush. subjectandthrowthebackgroundoutoffocus.
available light, shooting handheld. I sometimes
take a few shots, check them on the LcD
use a relectorbut neverlash and instead I put
screen for focusing, exposure, composition or switch to a wider lens so you can include
mysubject in interesting light. Shade is a safe
and light. show the shots to your subject it. even better, do both start with tight
bet.The entrance to a building is also good
it helps break the ice then take some more headshots then go wider. its amazing how
ifyouwant a black background, orIll pose
mysubject against the light so the images and keep going until youve bagged a great many portraits you can shoot in ive minutes
have more contrast. I always tended to focus one. Your subject may be nervous initially, when youre determined.
manuallyon mysubjects eyes, but since but chat to them as youre shooting so they a 70-200mm lens is a good choice to
switching to a Canon EOS 5D Mk III,which has will relax and youll capture more natural ill the frame from a comfortable distance,
superb autofocusing, I tend to use single-point expressions. focus on the subjects eyes as throw the backdrop out of focus and beneit
AF. I love characterful faces so I tend to gravitate they need to be sharp and if the background from a perspective that latters features
towards olderpeople and I think eye contact is cluttered, set a wide aperture of f/4 or especially around the 80-135mm range.
is reallyimportant, so I mainlyshootwith my wider to throw it out of focus. a 50mm prime is also perfect for handheld
subject looking at the camera.You can learn so its tempting to always take conventional portraits in low light while for environmental
much about a person byreadingtheireyes. headshots, but the environment theyre in portraits, a standard or wide zoom will allow
can also add interest so maybe step back you to include your subjects surroundings.
4
brett harkness
3
Pro view
Brett Harkness
Gettingthetimetoshootpersonal
workoutsideofmyphotography
businessishard,butwhenIdo,
Imakethemostofit.AcoupleofyearsagoI
travelledtoIndiatodocumentlocallifewithina
three-mileradiusbytheRiverGanges.
Mydocumentaryportraits are shot like
myweddings veryquickly. It maybe a brief
encounterin the street ora slowerbuild-up
overa cup oftea. I tend to sit in a place fora
while, just allowing people to get used to me.
I use a Canon 50mm f/1.2 formost ofmytravel
work, as I ind it the best environmental portrait
lens. I am a great believerinwhat I call silent
acceptance. Bythis I mean approaching a
subject and just bybodylanguage and facial
gestures theres a mutual understanding that
a picture is permitted. I love that connection
and the 50mm lens forces me to invade the
subjects personal space so the portrait is
stronger. I often place mysubject in the centre
ofthe frame as this draws the eye to them. I also
shoot peoplewhere theyve stopped, I dont
turn them into betterlight orpose them. Iwant
lee frost
lee frost
theworld isawonderfulplace
and fullof incrediblevistas.
makethe mostofyourvisit
T
he main difference between
shooting landscapes in your home
country and overseas is that more
often than not, when you travel to other
countries, youll be visiting for the irst (and
often only) time, so you need to make sure
you return with great shots.
researching a new destination before
heading there is easier now than ever before.
You may know fellow photographers
whove been so you can pick their brains,
there are loads of great guides available and,
of course, theres the internet. image-
sharing communities like flickr and 500px
are an invaluable resource simply because
so many images have been posted by
photographers from around the world.
When to go is as important as where you
go in many parts of the world. the tropics
Q IfI onlytake one lenswith me,which
onewouldyou recommend?
astandardzoom(24-70mmonfullframe,
during rainy season provide amazing photo 18-55mmonaps-c)isprobablythesafestbet
opportunities, but also loses you a lot of time forlandscapesbutyoumaywantsomething
as you cant shoot in torrential rain and wider,suchasa17-40mm/16-35mm
onward travel can be hindered by loods. (12-24mm/15-30mmonaps-c).
Q
similarly, most of africa is baking hot during Should I protect mycamerawhen
summer so is best avoided, iceland shuts shooting in a humid environment?
down in the winter months outside the main notreally,butwhenyougofroman
towns, and tuscany in italy is best in spring air-conditionedspacetotheoutdoorsyour
when poppies are out in full force, the hills lensesandilterswillmistupandcantake
are green and the valleys are often illed 10-15minutestoclear.
Q
with mist at dawn. researching beforehand Ifits a choice between sunrise and
provides this important information and sunset,which should I go for?
helps you plan your trip. bothcanbestunningsomaybedosunriseon
dawn and dusk are the most productive yourownandsunsetwiththefamily,orfailing
times for landscapes anywhere in the that,alternatesunrisesomedaysandsunset
john birch
1)Earlystartsareoftenrequiredtomakethemostofthe
morninglight.Asthisimageproves,it'sworthit! Pro view
2&3)Thesoftlightatduskanddawnishardtobeatifyou
wantyourtravelimagestobefullofmood.
4)Aswellasmoretraditionallocations,whynotplanatripto John Birch 4
somewherereallyamazinglikeAntarctica? Ifyoure a familyman like me, inding
time forserious photographycan
compositions will be simple, colourful and
be tricky.Acouple ofyears ago my
graphic and you need the sun to be low
familyand Iwent on a ly-drive holidayto the USA
to cast shadows that reveal texture and
and itworked reallywell because everyone got
emphasise shapes. But if youre heading to a
something from the trip. Be prepared to do quite a
tropical destination such as Thailand or the bit ofresearch and planning beforehand. Its best to
Caribbean, the midday light can be productive involve all the familyand let them choose some of
when shooting beach scenes beneath blue the attractions theyd like tovisit too LasVegas
sky. Overhead sun also works for urban was on ouritinerary.The USAis huge and involves
landscapes in pretty much every country. quite a lot driving, so I allowed forsome chill-out
To make the most of any trip you need days around the pool. I also hired a 4x4, as some
to be prepared to work hard that means locationswere down rough tracks. Sunrise shots
getting up early, staying out late, doing a lot involved me sneaking out at 4am in the morning
of walking around and illing each day with while the familywere sleeping, driving to a location
as much photography as you can. Travel in the dark and setting up in the predawn light.
is diferent from holidaying holidays are Standing on the edge ofawilderness canyon,
meant to be relaxing, but after a successful watching the developing sunrise enfold, is a fantastic
photo adventure, youll need a holiday. If you feeling and the familyhad a great time, too!
dont youve been taking it too easy!
66 Travel The ulTimaTe Guide To phoToGraphy
Culture
lee froSt
1 3
traveLphotographYshouLd
take InaccountnotjustpeopLe
and pLaces, butcuLturetoo
W
e travel to experience not only
diferent places, but diferent
peoples and cultures. Good travel
photography should encapsulate all these
things in such a way that your images capture
a real lavour of where youve been a sense
of place. this can be achieved not only by
shooting landscapes and portraits, but also
the architecture, monuments, details and
textures, and also making sure those shots
are visually strong, creative and unusual
rather than simply record shots. any regular
tourist can take snaps, but good travel
images are much more than that.
Most places in the world ofer visual clues
about their identity and character. In Cuba, Going back to Cuba as an example, many
for example, there are old american cars, of the taxis are vintage american cars and
cigars, rum, music, the faded grandeur there are a couple of one-way streets in the
thats visible on every street, murals of Che residential quarter that run east-west, so
Guevara, revolutionary posters and much during morning rush hour you can shoot the
more. By including any of these elements in cars as they head down streets of dilapidated
your images youre capturing the character buildings towards sun, belching clouds of
of the place. Do that in good light, compose backlit exhaust smoke into the air. a scene
the image in a powerful way, and youre well like that really sums up the character of the
on your way to a winning travel image. place because it contains many elements
the more you travel, the more adept youll and clues. Its only by getting to know a place
become at recognising the key clues that that you discover these things, but once you
should be given priority. Youll often know have you can work them until youve got
what many of them are before you leave some great shots, maybe going back several
home, through research and planning, then times until youre satisied you've taken the
once you arrive its a case of immersing best possible images.
yourself in the place and inding them and taking clichs and interpreting them in
also being receptive to others that you a creative way can also be efective. the
maybe werent aware of. Hitting the streets eifel tower in Paris is a dead giveaway, for
with a camera and wandering around will example, but you dont have to capture it in
give you a good introduction and you can a clichd way. even if its out of focus in the
earmark key things. background, its shape is so distinct that the
1)Localeventsareidealforcapturingculture,soplanyourtrip
carefullysoyoucanattendafew.2)Makeapointof
photographingcustomsandsubjectsthatareuniquetoa
place. 3)Youneedtoworkhardtocaptureimagesthatstand
outfromthecrowd,soindalternativeviewpoints.
4&5)Includecluesobviousorsubtleinyourtravel
imagesthathelptelltheviewerwheretheyweretaken.
Pete AdAms
Pro view
pete adams
Asense ofplace is the essence
ofwhat Im trying to capture
on mytravels, to conveya spirit
ofthe location, a feeling ofwhat it might be
like to be there to almost be able to smell
the scene. Before travellingwe usuallyhave
preconceptions ofwhat a place is like and
while theycould be labelled as clichs, these
are some ofthe keyshots to capture.Travelling
toVietnam recently, myheadwas illedwith
images ofrice paddies, hill tribes, temples,
lowersellers on bicycles etc, but as theworld
gets increasinglyhomogeneous it becomes
harderto see diferences.This iswhere irst
impressions are important, before the senses
have become attuned to a newenvironment.
Get out and start shooting as soon asyou
can, making mental notes ofwhatyou ind
interesting and speciic to the destination.
Trynot to become blas about these subject
matters and continue to shoot and improve
on them throughout the trip. It can be diicult
to see a scene that perfectlysums up a place:
elements maybe there but to make the
photograph more interesting it needs a human
element.Ask a local towalk through the scene
and maybe carrywithyou an item ofclothing
forthem towearforadded cultural reference.
Travel Q&A
lee frost
Q Is itworth paying fora local guide?
lee frost
4 Itcanbeifyouneedtoindyourway
Pro view aroundbusymarketsandmedinas.Aguidewill
knowaplacelikethebackoftheirhand,will
Lee Frost getyouofthebeatentrackandovercomeany
Capturing a places spirit iswhat languagebarriers.
attracts me to travel photography.
I love the challenge of arriving
and taking images that tell a story, making
Q Should I go back to the same
places more than once?
Thatcandeinitelyhelpyougetafeelfor
theviewerfeel like theyre there. Sometimes theplaceyoucantexpecttogetthebest
its possible to do that in a single image, but shotsonyourirstvisit.Gobackondiferent
I preferto create a series of montages that daysandatdiferenttimesofdaysoyoucan
link togetherlike pieces in a jigsaw.Those capturethechangingmoodofaplace.
lee frost
5
pieces maybe portraits, details, textures,
street scenes, landscapes whateverit takes.
Its amazing howevocative and symbolic
Q Is itworth attending local
festivities and carnivals?
Absolutelytheyareingrainedinthe
something like shadows cast across awall can cultureofmanyplacessoyoullhavelots
be in summing up the feel of a place. It doesnt ofopportunitiestotakephotographsthat
have to be all iconicviews. I like to react to irst capturethecharacterofthepeopleandtheir
impressions. If something catches myeye then traditions.InBhutan,forexample,festivals
Ill shoot it. I do ind that its betterto shoot and areanimportantpartoflocalcultureandtake
edit laterthan ignore and have regrets. placeregularlythroughouttheyear.
68 Travel
Ultimatekitfortravel
TravellighTandTravelsmarT ifyoure planningaphoToadvenTure overseasand fancyinvesTing in
some newphoTo kiT, heresaselecTion of our favouriTeTravelTripods, bagsandaccessories
phoTo
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70 Macro The ulTimaTe Guide To phoToGraphy
enjoy a close
encounter!
awordofwarningbeforewebeginmacrophotographyishighlyaddictive!onceyouseethe
worldinallitsincredibledetail,youllfindithardtolookateverydayitemsthesamewayagain
t
he world of macro is one that every keen world of endless photo opportunities. as youll discover,
photographer should experience. Viewed at high practically anything makes a good subject for macro but,
magniication, everyday objects look completely traditionally, lowers and insects are favourites among close-
diferent and youll soon discover a new scope for up specialists. however, we have an abundance of other ideas
amazing images. here, were ofering all the information you for you to try, too. while you can ill the frame with a subject,
need to capture amazing close-up images, so read on for at high magniication you can also highlight shape and
technique and equipment advice for brilliant macro shots. colour, and isolate small areas of interest and detail. Seeing
In frame-illing close-up, you will see the exquisite detail of the shot is arguably the hardest task; while from a technical
miniature subjects. By attaching a macro or close-focusing viewpoint, the inherently shallow depth-of-ield gives close-
lens to your dSlr or cSc, you will enjoy an intimate, detailed up photography a reputation for being challenging. with our
view of small things on an exaggerated scale. So, if youve not help, however, you will have a constant stream of inspiration
shot macro before, prepare to discover a new, fascinating and soon be capturing brilliant close-ups.
Image: roSS hoddInott
72 Macro The ulTimaTe Guide To phoToGraphy
Gettingstarted:Essentialtechniques
IMprovEyour succEss rAtE substAntIAllybysEttIng upyour cAMErAFor sHootIng closE-upsubjEcts In
dEtAIl. HErEArEtHE EssEntIAltIpstHAtyou nEEdto knowto bAgyoursElF soME grEAtMAcro IMAgEs
ROSS HODDinOTT
ROSS HODDinOTT
2 Focusing
Depth-of-ield is renowned
for being shallow at higher
magniications; so there is no room
for error when focusing. ideally, you
will be using a tripod. A support not
only eliminates the risk of shake, but
it allows photographers to place their
point of focus with great precision.
You can use autofocus, but when
working so close to the subject, AF
can struggle to lock onto ine detail,
Camera settings
AFmode: Manual Exposuremode:Aperture-priority Metering mode: Multi-zone
Although formost subjectsAFis It is important that close-up Also often referred to as Evaluative
the best form offocusing, at higher photographers are in control of orMatrix metering. It is highly
magniications autofocus can aperture selection and can regulate sophisticated and rarelywrong.
struggle to lock on to nearbyobjects the amount ofdepth-of-ield. However, it can be deceived by
and fine detail. Manual focusing ofers greaterprecision. Aperture-prioritymode is ideal forthis reason alone. backlighting and dark orlight subjects.
The ulTimaTe Guide To phoToGraphy Macro 73
rOSS hODDInOTT
4 Lighting
You need to think about
your position very carefully
otherwise you may block light
from hitting your subject. A degree
of light is naturally lost at higher
magniications, too. This is less
of an issue when shooting static
subjects, as a tripod can be used
should shutter speeds get too slow.
however, if your subject is moving,
increasing the ISO is a good way to
compensate. In low light, lash is
an option. LED, ring- or twin-lash
devices which attach to the lens are
available, however a relector used
to bounce ambient light onto your
subject looks more natural.
Overhead light can look harsh;
while with front-lit subjects it can be
diicult to avoid your own shadow.
Sidelighting is better emphasising
texture and deining edges.
Backlighting is the most dramatic,
though. It will highlight tiny detail,
like hairy lower stems, and is well
suited to translucent subjects like
leaves and the wings of insects.
Backlighting can increase the risk
3 Composition
rOSS hODDInOTT
of lare and fool metering systems,
Being a technically competent macro though, so attach a lens hood and
photographer doesnt guarantee your close- keep a check on the histogram.
ups will be good. The skills of composition are
rOSS hODDInOTT
just as relevant to close-up photography Withreflector
ignore the artistic side, and your macro shots
will not be memorable. It's important that you
remain imaginative and creative.
One of the biggest temptations for
close-up photographers is to ill the frame
with their subject. While doing so can
maximise impact, avoid illing the frame for
the sake of it. Intentionally leaving a degree of
negative space around your subject will more
efectively convey the subjects size and scale.
Selective focusing can prove a good
compositional tool. By using a wider centrally through the frame, such as midrib
aperture, like f/2.8 or f/4, you can of a leaf, can look dynamic, particularly
intentionally throw everything out of focus when placed diagonally. Dont be afraid to
other than your subject or focal point. Doing be unconventional and be original.
so can really help direct the eye to your Arguably, the most important thing to
intended point, with your subject standing remember is to keep things simple. If you
out sharply against difused surroundings. try to cram too much detail into your shots,
Selective focusing can help imply depth. they will look overly fussy and the subjects
Look for shape, form and repetition. Macro impact will be diluted. Simplicity is often
photographers have the ability to highlight the key ingredient to achieving a striking Withoutreflector
ross hoddinoTT
Insects
BugS, crEEPycraWLiES, criTTErS
WhaTEvEryou caLLThEm,you
caNTdiSPuTEThEiraPPEaL
S
pring and summer are the best
times of year for photographing
insects. gardens, meadows, woodland
and heathland are particularly good habitats
for inding and photographing bugs of all
types. Thanks to a close focusing lens,
photographers are able to capture
extraordinary detail. in close-up, some
insects appear alien-like, with huge,
disproportionate eyes, large, vicious jaws
and long antennae. it is no wonder that
theyre a favourite close-up subject.
photographing insects isnt easy, though.
They can prove diicult to get close to,
particularly lying insects like butterlies and
dragonlies. insects have a tendency to ly or
scurry away just as you are ready to ire the
shutter, so you will need plenty of patience.
a tele macro (eg 105mm) is the best choice,
providing a larger working distance.
Background choice is a key consideration. set up a tripod, and tolerate you carefully Topfiveinsectstophotograph
messy, distracting backdrops ruin insect removing background grasses in order to
1) Dragonfly: Large insects that enjoywetland
images. Therefore, when taking photos, create a cleaner backdrop, so its well worth
habitats.Theycan be territorial, often returning to the
make sure you allow your eye to properly getting up very early.
same perchto rest orbask. Normallybest shot from an
wander around the frame. exclude anything When photographing lighty, easily
overhead angle to showintricatewing detail.
distracting by either changing your disturbed subjects, try to always keep
shooting angle slightly, or by using your movements to a minimum. 2) Butterfly: Photogenic insects, particularlywhen
a wider aperture to generate a For example, the movement backlit.Theirmarkings, colourand sizevarygreatly
shallower depth-of-ield. of your hand adjusting the depending on type. Easiest to photographwhen
although it is easier to focusing ring can be all it takes feeding on nectar-rich lowers.
locate insects during daytime, for your subject to vanish into 3) laDyBirD: Small but colourful and appealing
when they are busily buzzing the undergrowth or lutter insects.Theyare easilymoved and manipulated, so can
about, this is also when away. Therefore, it can be be gentlyplaced in a setting suited to photography, like
they are most active. getting worthwhile prefocusing your avibrant lowerhead.Just be delicatewith them.
suiciently close is more lens (on a nearby subject of 4) BumBleBee: Bees are diicult to photographwell.
diicult, while you also have no similar size) and then edge slowly Wait next to a bed oflowers, like lavender, andwait for
control over where they land or what forward toward your subject until it them tovisit. Select a small aperture, like f/11, to help
they will do. morning and evening is best, appears sharp through the viewinder. achieve suicient sharpness ofyourchosen subject.
when insects are less active, and easier to although insect photography can be a 5) grasshopper: Found in summermeadows
get close to, due to the lower temperature. iddly, frustrating business, the results can among tall grasses andvegetation. Both crickets and
dormant insects may even allow you to look truly extraordinary. grasshoppers make forgood close-up subjects.
ross hoddinoTT
1 2
Insects Q&A
Q
brighten the image overall. A larger aperture Howdo I keep as much ofmysubject in
of f/8 was selected, to help throw the insect's focus as possible?
surroundings out of focus. With the camera Inordertomaximisewhateverdepth-of-ield
carefully placed parallel to the insect, the f/ isavailable,trykeepingthecameraparallelto
stop still generates suicient depth-of-ield. thesubject.Thisisbecausethereisonlyone
Lastly, by moving slightly closer, the insect geometricplaneofcompletesharpnessand
is captured larger in the frame. Placing it bykeepingthecameraparallelyouwillplaceas
slightly to the left of centre strengthens the muchofyoursubjectinthisplaneaspossible.
inal composition (2).
ross hoddinott
ross hoddinott
ross hoddinott
Flowers
ross hoddinott
theres no denyingthe beauty
andvarietyof flora. heres how
to secure greatclose-ups
F
lowers are a favourite among
close-up photographers and they
are the perfect subjects on which to
hone your skills. Both wild and cultivated
lowers are vibrant, interesting and
appealing. Flowers vary so much in colour,
shape, size, design and structure, that they
ofer photographers a never-ending supply
of photo opportunities. First things irst
their condition is important. You will want
your subject to be lawless, so pick carefully.
if shooting cultivated blooms, ask the lorist
if you are able to select the lowers yourself.
Before deciding your approach and
technique, look closely at the lowers shape
and form. look at it from all angles get
down low and walk all around it. the most
interesting viewpoint might be from low
down or directly overhead, but often you will
want to take photos from either a parallel
angle, or a 45 angle looking down on the
lowers centre. the type of lower, and its ask yourself; how much of the subject
shape, will dictate how you frame it. do you want in sharp focus? when Summary:Shootinglowers
in close-up you can highlight and reveal photographing lowers, the most attractive,
key detail or colour, while if you move striking results are often created through explore diferent viewpoints.
closer still, you can abstract it altogether. using a relatively shallow zone of focus. overhead, side-angles and low
shooting cut, cultivated lowers will give By focusing selectively on a key perspectives work well.
you more control. You can shoot point of interest, and allowing overcast light is well suited to
indoors, where you wont have to everything else to drift out of lowers, helping you capture very
contend with weather or wind. focus, it is possible to capture ine, intricate detail and colour.
difused window light is perfect beautiful and colourful try isolating a part of the lower
for lower close-ups, so try close-ups. Unfortunately, the sweep of a leaf, the point of a
shooting in a conservatory, or there is no fail-safe f/stop petal or long stamens maybe
place your set-up on a small that always works. if you are to capture abstract results.
tabletop adjacent to a window. unsure which aperture to set, in windy weather, use a plamp
strong, direct light is normally take a series of images using or clasp of some variety to hold
best avoided petals and leaves are a diferent f/number each time. your subject perfectly still.
relective, so harsh lighting will create within the sequence, one image will as always, background choice is
unwanted contrast and ugly highlights. have just the right level of depth-of-ield. important so always keep an eye on
as with any close-up subject, the biggest also, by doing this, your understanding of what is going on behind your subject.
decision regards depth-of-ield. depth-of-ield will quickly grow.
ross hoddinott
istock photo
ross hoddinott
Flower Q&A
ross hoddinott
Yes,apolarisercanproveveryuseful,reducing
anyglareonpetalsandleavesandrestoring
coloursaturation.Theilterabsorbsuptotwo
stopsoflight,butsolongasyouareusinga
tripodandthelowerisntafectedbywind
exposurelengthshouldntposeanyproblems.
Getcreativewithmacro
Theres moreTo macroThan flowersand insecTs.TryouTThese
creaTive ideasand gainanewperspecTive on household objecTs
MASTER of cLoSE-uPS
Ross
Hoddinott 8
2
Biography 5 7
2
Ross has beenworking as a 3
1
full-time nature photographer 6
N
14 9
o day is ever the same there
is no routine and little repetition.
13 11
Like any nature photographer, my
life revolves around the light and
weather. april until october are my busiest
seasons for shooting close-ups; wild lowers rosss kit bag 5) NIKKORAF-S 16-35mm f/4G ED
VR:Agreat focal length forwide-
10) Nikon MC-36 remote cord:
When using a tripod, Iwill use a
are in bloom and insects and reptiles are
1) F-stop gearSatori EXP:Alarge angle, environmental close-ups remote cord to prevent having to
again active. Flowers and insects have short
backpack, ofering lots ofkit room. showing background habitat. physicallypress the shutterbutton.
lifespans, so each month presents diferent Exceptionallycomfortable. 6) Gitzo Systematic GT3541LS: 11) Lastolite relector: I use a
subjects and fresh challenges. 2) Nikon D800E and Nikon D810: Solid, sturdylegs.The lack ofa 45cm relector,which is more than
a large amount of time is spent recceing The huge resolution ofthe D810 centre-column allows me to adequate forclose-up subjects.
locations and searching for suitable subjects: is perfect forcapturing miniature quicklyadjust forlow-levelwork. 12) WimberleyPlamp: Myextra
dragonlies and butterlies are among my detail, and the large iles allowfora 7) Manfrotto 405 geared head: hand! Iwill often use a Plamp to
favourites. Throughout spring and summer, degree ofcropping. The unrivalled precision ofa geared steadymysubject orhold the
i visit suitable habitats on still mornings, 3) NIKKORAF-S 105mm f/2.8G head makes it perfect formacro. relectorin place.
when insects are dormant. i normally set up a VR Micro:Agreat focal length for 8) Heliopan 105mm circular 13) LexarSD cards: It is important to
tripod close by to give me more control and macro. Its size andVR make it the polariser:Apolariseris great for always carryplentyofextra storage.
carefully consider lighting and background. ideal lens forhandheld close-ups. photographing lowers and plants, 14) Battery: LiveViewfocusing can
4) NIKKORAF200mm f/4D ED-IF restoring natural coloursaturation. drain batteries, so I always carrya
i prefer working with natural light, but it
Micro:Atelephoto macro allows 9) Right-angle inder: couple offullycharged spares.
restricts me to working in very still conditions. a largeworking distance, ideal I dont use an angle indervery 15) Scissors: Great forwhenyou
if the wind speed is more than 8-10mph, fortimid nature. Ideally, this lens often, but I still always carryone in need to do a little gardeningto a
subjects get too wind blown to be able to should be tripod-mounted. case I need it forlow-levelwork. subjects background.
focus or compose images accurately.
"The summer months are tiring but
rewarding: my day starts at 4.30am but i
love revealing the intricacies and detail of
miniature subjects. i spend most of my day in
the oice catching up on editing, processing
and writing, as the light is typically harsh and
insects very active. if the weather permits, i'll
inish the day shooting in the warm, evening
light until after 10pm. it can be a long day,
but photography is addictive you just dont
know when you might capture that special
shot youve always been waiting for"
ross hoddinoTT
ross hoddinoTT
The ulTimaTe Guide To phoToGraphy Macro 81
ross hoddInoTT
Rosss macro subjects
Giottos YTL 9353 & MH1311 head Manfrotto 055XPRO3 & 410 head Macro accessories
190 280
A solid all-purpose tripod that's also The latest in the classic 055 series
a great choice for close-ups. The 3D boasts extra versatility that makes
column can be rotated through 180 it ideal for close-ups, including a 90
and along with the low-angle adaptor centre-column mechanism, built-in
allows for low-level shooting (19cm). bubble level and minimum height of
The 1311-652 ball head ofers friction 9cm. Use with the pro's favourite 410
control for added precision. Junior or the X-PRO three-way head.
Contacts
Canon: www.canon.co.uk
Velbon GEO E635D Gitzo Series 2 Explorer GT2531EX Giottos:www.giottos-tripods.co.uk
265 460 Gitzo:www.gitzo.co.uk
Kenko: www.intro2020.co.uk
Made from carbon-bre and basalt, Made without compromise, the Gitzo
Lowepro: www.lowepro.co.uk
the GEO ofers high stability as Explorer series is the ultimate choice.
Manfrotto: www.manfrotto.co.uk
well as versatility. The two-section Made from lightweight and robust Nikon:www.nikon.co.uk
centre-column can be detached 6x carbon-bre, legs can be set Raynox:www.amazon.co.uk
for low-level shooting at a height of independently at up to 90, while the Ring 48: www.amazon.co.uk
around 24cm. It comes supplied with reversible centre-column ofers even Sigma: www.sigma-imaging-uk.com
a PHD-65Q three-way head. more versatility. The best there is. Tamron: www.tamron.eu/uk
Velbon: www.velbon.uk
CLOSE-UP
ACCESSORIES
Dontworryifyoure on a
budget, the following
fantastic bits of close-up kit
can be used to shoot
high-qualityresults
ROSS HODDINOTT
Zeikos close-up lter set Raynox DCR-250 Neewer Ring 48 Macro LED Kenko auto extension tubes
10 50 30 100
Close-up lters are one A cut-price route into A ringash is the best articial While you can buy manual
of the most afordable macro photography. This light source for close-ups, extension tubes for 15,
accessories available for excellent Raynox DCR-250 but it's expensive. Step these auto tubes from Kenko
macro photographers. Most Super Macro Conversion forward this LED ringlight, boast electronic contacts
sets, like the Zeikos, include Lens ofers premium which uses 48 small white that retain your camera's
+1, +2, +4 and +10 dioptre performance and a +8 LED bulbs to provide a bright metering functions and, in
lters, so you can start taking dioptre magnication. The and constant light to lift some cases, AF. The Kenko
close-ups straight away. Just attachment simply clips onto colours and add denition. set includes 12mm, 20mm
be sure to order the correct lenses with lter threads It can t lter threads from and 36mm tubes for Canon,
size to t your lens. from 52mm to 67mm. 49mm to 67mm. Nikon and Sony ttings.
Release the
poweR of Raw
shootinginrawneedntbedaunting.byworkingwithyourcamerasrawdata,youareableto
extracteverylastbitofdetailoutofyourimagesanduseyourdslrorcsctoitsfullpotential
I
f youve spent any time exploring the depths of viewed without the aid of specialist software. for this reason,
your digital cameras settings, then you have probably a Raw ile is often referred to as a digital negative.
stumbled upon the option to shoot images in Raw format. most photographers, especially landscape enthusiasts,
If this immediately throws up a huge question mark in prefer to capture their images in Raw format as it provides
your mind, then let us explain. although Raw may appear to them more lexibility and creative potential in post-
be an acronym for something complicated, its actually not. production compared to a Jpeg, giving them greater control
It simply refers to a ile type that stores the light data captured over the inal appearance of their images. With a Raw ile,
by your cameras sensor in an unprocessed format. lost as youre dealing with the unprocessed information straight
already? then try to think of a Raw ile in a similar way to a from the camera, options such as correcting White Balance,
ilm negative. In the days of shooting on ilm, the camera nondestructive sharpening and even applying exposure
would capture an image on to a physical negative ilm strip. compensation post-capture are possible. these adjustments
Before the image could be properly viewed, this negative would otherwise be incredibly diicult, if not impossible to do
had to be processed in the darkroom to create the inal print. with a standard Jpeg image without damaging quality. that
this is similar to a Raw ile, in that the photographer must said, as with most things, there are a few trade-ofs that youll
process the ile using digital editing software (like photoshop need to consider before using Raw, such as the ile sizes, but
or lightroom) before creating the inal image that can be well start to delve deeper in to the pros and cons overleaf
Image: helen dIxon
86 Raw The ulTimaTe Guide To phoToGraphy
UnderstandingRaw
areyou usingyour camerato its fullpotential? rawfiles contain
more image informationthanjpegs, buttakeabitmore processing
T
here are many advantages, but to an oil painting that has dried trying to
also a handful of diiculties, when make the same adjustments to the painting
shooting in raw. as we've mentioned will be much more diicult, if not impossible.
before, high on the list of beneits is that by Its easy to see the pros of shooting in raw,
capturing images in an unprocessed format, but what are the cons? Well, as raw iles
you have more control over the appearance contain a far greater amount of data than
of your photos. a JPeG ile, on the other JPeGs, the compromise comes in ile size,
hand, although starts life as raw data, is the with raw iles tending to be much larger,
result of your camera making automatic for instance a nikon D800 .neF ile is in the
adjustments (such as sharpening, region of 48mB, whereas a D800 JPeG
increased contrast or applying weighs in at around 18mB. This
picture styles) before discarding means that if youre going to be
what it deems to be Pro tip shooting a lot of raw images
unnecessary information. youre going to need a bunch
Rawofers a margin of
When shooting in raw, the of high-capacity memory
errorforWhite Balance
data from the sensor is simply cards, as well as plenty of
and exposure, allowing
gathered and stored on your hard drive space on your
you to concentrate on
cameras memory card with otherelements such as computer, to store all of this
minimal in-camera composition extra data, as well as maybe
processing, giving you access to even a better machine with a
more than six times the amount of faster processor.
data, allowing you to make more Whats more, the larger raw iles
dramatic adjustments in post-production will inevitably take its toll on the processing
than would otherwise ever be possible with power of your digital camera, especially
a JPeG ile, while still retaining image quality. when shooting in continuous burst mode,
an easy way to wrap your head around and youll generally ind that your cameras
the concept is to imagine that a raw ile is bufer will ill much faster shooting in raw
an oil painting where the paint is still wet and compared to JPeG. This can be a pain for
malleable on the canvas. If you wanted to sports and wildlife photographers who need
make an adjustment to part of the painting to be able to rattle of a high quantity of
you could do so with relative ease by simply images in quick succession.
manipulating the wet paint with a brush. your decision as to whether to shoot in
Whereas a JPeG image could be compared raw or JPeG will pivot on the situation at
1
Pro view
Catherine macBride
years ago i joined a camera club
and one ofthe manypieces of
advice iwas givenwas to shoot
in raw.at the time i had no ideawhy, but i
followed the advice onlyto ind thatwhen i
went to process the rawiles myoutdated
photo editing software couldnt even open
them! overtime i upgraded mysoftware and
started playing around inadobe camera raw.
i soon found that ratherthan trustingwhat the
camera thought myimage should look like
(thejpeg ile), all the detail contained in the
uncompressed rawiles allowed me to process
and adjust everynuance in the image so it looks
and feels exactlyas iwant it to.thankfully, as
iwork in small batches ofimages at a time, i
have time to carefullyprocess each rawile
individuallyto bring out its full potential. raw
caTherIne macBrIDe
Ross HoddInott
Raw Q&A
3
results from your images then in many cases manual forfurtherdetails.
shooting in Raw is the way to go as it ofers
you much greater control. However, if speed
or card space is the priority, then switching
Q Are there diferent types ofRawiles?
Most ofthe diferent digital camera
brands produce theirown type ofRawile; for
to JPEG is the obvious compromise that example, modern Canon DSLRswill produce
youll need to make. .CR2 iles,whilst Nikon DSLRs generate a
1)Getcreativewithyourimage'scoloursbyshootinginRaw .NEFimage. Dontworrythough, all Rawiles
andadjustingyourWhiteBalance.2)Qualitycounts:Raws operate in the samewaywhen it comes to
arebiggerbutmoredetailed.3)ChangingaRawilesWBto editing them in post-production.
Fluorescent(left)andShade(right)bothgiveaniceresult.
Exposure Troubleshooting
I
ts arguably the main reason why
anyone shoots in raw this lossless
format is almost a fail-safe for exposure.
Over or underexpose a JPeg image by a stop
or so and you may be able to recover it, but
often at the expense of degrading image
quality. under or overexpose a raw image by
even more than that and aCr can help you
Q Whyare there lashing blue and
red areas on myimage?
these arewarning signs: the blue areas show
achieve the best result possible by revealing youwhere detail has been lost in the shadows
hidden details in the shadows, recovering and the red areas are forthe highlights.when
deinition in the highlights and adding you see thesewarning signs, it means the
contrast to your mid-tones. at no point while dynamic range ofyourimage exceeds the
editing a raw ile will your edits be irreversible limits ofthe histogram andyou need to use
either like ilm, you can make countless aCRs tools to recoverdetail.to activate these
reprints of various exposures and efects warnings, click on the triangles at the top
without ever afecting the original image. left (forshadows) and right (forhighlights)
raw iles are notoriously lat, so even if ofthe histogram. ifyoure making exposure
you get the exposure spot on, youll adjustments, turn this facilityon.
need to use the Contrast slider or
tone Curve to give it a boost.
aCrs sliders all make global Pro tip as each stop of exposure
adjustments to your image, To make selective adjustments, records half the amount
but if youve speciic areas ratherthan edit an image globally, of data that the previous
that need attention you use theAdjustment Brush inACR. one did, so by the time
might prefer to continue Within theAdjustment Brush you reach the shadows,
editing in Photoshop or panel, use the sliders to create theres little information
use the adjustment brush youredit, then use the brush recorded. For this reason,
(see Pro tip, right). to paintthe adjustment on to deliberately overexposing
the beauty of raw is the speciic areas. a raw ile to a certain extent
amount of information you allows you to capture more
can capture as it gives your images light and therefore more detail that
fantastic dynamic range, which would can be revealed once you correct the
otherwise be compressed in a JPeg format. exposure in aCr. Doesn't raw rock?
1)CorrectingtrickyexposuresiseasywithRawiles.
Pro view 2)HarnessthepowerofRaw;thedynamicrangeofRaw
makeshighlightandshadowdetailretrievable. 2
Tom Calton 1
shootinginRawisanabsolute
must;itallowsmetotakegreater
controlovermyimagesandget
themtolookexactlyhowienvisionedthem.
notonlydoesRawgrantmeanextralevelof
creativity,itfreesmeupwhenimbehindthe
cameraasitofersagreatermarginoferror.
forexample,ifimpresentedwithatricky
lightingsituationwhenshootinginJpeg,
iknowihavetogettheexposurespot-on
irsttimeorrisklosingtheshot.However,by
shootinginRawihavetheluxuryofbeingable
toine-tunetheexposureinpost-production
lateron,allowingmetofocusmoreon
baggingtheshotandgettingthecomposition
rightsomethingyoucantalwaysixlateron!
thelexibilitythatRawofersisalifesaverand
ismoreoftenthannotthediferencebetween
ashotbeingsalvagedratherthanscrapped.
itseasytomisjudgeascenewhenitcomesto
whitebalance,too,andwhilstthatsdisastrousif
tOM CaltON
shootinginJpeg,withRawitsnotaproblem.
helen dixon
Interface:TheBasicstab Exposure: Essential tools
Possiblythe most useful part ofAdobe Camera
Raw the Basics panel holds most ofthe power toneCurve
to adjust exposure and contrast. Ifyoure used to Curves in
1) ExposurE Move the sliderto the right to Photoshop, this is similar. It allows
increase exposure and the left to decrease you to adjust contrast across the tonal range by
exposure. Use the histogram as a guide. adjusting the curve. Oryou can use the sliders,
which is more akin to Levels.
2) ContrastMove the sliderto the left to
decrease contrast byincreasing the mid-tones targetedadjustment
and to the right to increase contrast. Ifworkingwith sliders is notvery
1
3) HigHligHts Drag the sliderto the left to intuitive foryou, select the
recoverdetails in the highlights orthe right to 2 TargetedAdjustment tool in the top toolbar,
brighten highlights. which allowsyou to make adjustments by
4) sHadows Move to the right to brighten 3 clicking and dragging onyourimage.
shadows and the left to darken them. graduatedFilter
4
5)wHitEs Use this sliderto limit anyclipping Drawa line acrossyourimage
ofthe highlights bypulling it left, ormove to 5 using this tool to applya graduated
the right to introduce specularhighlights. efect to anymanipulations, such as Exposure,
6 Contrast, Brightness, Saturation and Clarity.
6) BlaCks Targets onlypure blacks inyour
image to add depth. Be careful not to lose detail. Great fordarkening skies!
90 Raw The ulTimaTe Guide To phoToGraphy
Exposetotheleft Processingthefile
after
often underexposingan image isaresultof user error, however
professionalportraitphotographer dani diamond reveals its his
signaturetechniqueand itcan onlybe donewhen shooting raw
Portraits dani diamond subjects face toward it. I shoot using Matrix
I approach my portraits in a similar metering in aperture-priority mode and dial
way to how I would if I used lash: in up to one stop of negative exposure
underexposing the ambient light compensation, depending on how my
before lighting the subject. The camera meters the scene. Ill take a shot and before
diference being that I use only natural light then assess the image; if I see strong
theres no one formula foreveryimage.
and post-processing techniques to manually highlights then Ill underexpose a bit more.
ill start byadjustingwhite balance and using
recover the exposure exactly where I want. My main focus is the skin, I want it on the
the highlights andwhites controls to lift the
Normally this results in a balanced exposure darker side and free from hot spots.
highlights slightly, before adding a tinybit of
where my subject stands out against the "It's during editing that the image comes clarity. from there i import into photoshop
darker background and I retain perfect alive. Shooting in Raw records incredible and use curves and levels adjustment layers
control of the highlights on their skin shadow detail, which is easier to recover to dodge and burn the image,workingwith
which is the most important part! When than blown highlights. If you look at my the contours ofmysubjects face. iwork invery
IMaGeS: daNI dIaMoNd
someone views an image, their eyes portraits and cover the models face youll gradual steps overseveral layers, incrementally
naturally go to the brightest part irst notice the rest of the image is still making the skin brighterand brighteruntil im
I always want that to be my subject. underexposed. But when you lift your hand, happy.this allows me to place the highlights
"Good light is vital to my technique; their skin immediately draws your attention exactlywhere iwant them.
I look for soft, directional light and angle my and the image registers as well exposed.
The ulTimaTe Guide To phoToGraphy Raw 91
Exposetotheright Processingthefile
after
IFmaxImIsIngdETaIlInyouRRawFIlEsIsImpoRTanTToyou,pRoFEssIonal
landsCapEpHoTogRapHERlEEFRosTsaRgumEnTFoRoVERExposIng
youRImagEsmIgHTjusTCHangETHEwayyouwoRkFoREVER
Landscapes lee Frost histogram, I increase the exposure for a
The whole point of shooting in shot in +1/3 increments using positive
Raw is to capture images that exposure compensation until the
contain as much data as possible highlights are about to blow out. There
to achieve optimum image quality. isnt always time to do this when youre before
I do that by exposing to the right (ETTR), a working quickly, but when youve time to
Everyimagewill need processing in Raw
technique where you give as much consider your shot its a great way to get
software to achieve a correct exposure. I begin
exposure as you can to an image to move the most from your sensor.
byadjusting the Exposure sliderorTone Curve
the tones towards the right-hand side of the Reading the histogram on a small
to evenlydistribute the information in the
histogram, but not so far that the highlights screen can be tricky, so to ensure you histogram,whichwill currentlybe pushed to
are clipped. The reason for doing this is the dont overexpose too much and clip the the farright-hand side. Ifmyimage still looks
cameras sensor records much more tonal highlights and lose detail, it can be useful to lat, I considerusing the Highlights and Blacks
information on the right side (highlights) of switch on your cameras highlights warning. sliders to retrieve detail in the extreme tonal
the histogram than the left side (shadows). If you notice areas of your image lashing, areas orto boost contrast further. Finally, use
ImAgEs: lEE fRosT
The images look rather wishy-washy when your camera is warning you that the image theVibrance slider, also found underthe Basics
theyre downloaded but this is easily rectiied exceeds the cameras dynamic range and tab, to boost desaturated tones and to add extra
using the Tone Curve slider in Adobe you need to reduce the exposure to avoid punch toyourcolour.
Camera Raw. To produce the right losing information in the highlights.
92 Raw
Controlcolourwithease
RAWFILESARE NATURALLYLACKING IN COLOURAND CONTRAST. BUTMASTER
RAWPROCESSINGANDYOU CAN GIVEANYCOLOUR IMAGE MAXIMUM IMPACT
T
HE IMPACT OF colour can make or
break an image. Raw les, straight Essentialtools:Colour
out of the camera and devoid of any
processing, have a tendency to look at and HSL/Grayscale
lifeless, so enhancing colour should be your HSLis one the most powerful parts of
next port of call after youve corrected or ACRwhen it comes to ne-tuning colour, as
adjusted the exposure of your image. The it allowsyou to control the Hue, Saturation
main advantage of working with a Raw le and Luminance ofeach colourindependently.
is that the primary and most important Rememberto make anyWhite Balance
adjustment, White Balance, can be made corrections before using HSL. From hereyou
without sacricing image quality. can also convertyourimage to monochrome.
Furthermore, because a Raw le contains ToneCurve
more data than a compressed JPEG, it's
More often associatedwith exposure
possible to manipulate colours to a greater
control ratherthan colouradjustment, the
degree without the changes becoming
Tone Curve tool can also be used to adjust the
detrimental to image quality. It's easy to do
Red, Green and Blue colourchannels. Choose
too, given the wealth of tools and
the Point type curve from theTone Curve
adjustments ACR puts at your disposal that
panel before using the RGB menu to select the
can help you to perfect the hues and tones channel thatyouwish to adjust.
within your images.
You can also convert your Raw images VibranceandSaturation
to monochrome in ACR by using the Theres a keydiference betweenVibrance
and Saturation; the latterboosts all colours
HELEN DIXON
WhiteBalance AFTER
BEFORE
HELEN DIXON
Techniques to try Colour
LEE FROST
ROSS HODDINOTT
LEE FROST
MASTER OF RAW
Lee Frost
Biography
BorninYorkshirein1966,Lees
loveofphotographyreallytook
holdwhenhemovedtoDevon
asateenager.Duringhisearly
twentiesheworkedasawriter
onvariousphotographymagazinesbefore
embarkingonafreelancecareerin1992.
Sincethenhehasmadeanameforhimselfas
bothabest-sellingauthorandanaccomplished
landscapeandtravelphotographer.
W
HEN I SWITCHED From lm to
digital capture back in 2008,
I jumped in with both feet and
started shooting in Raw from
the very start. I didnt see there was much
choice. Id invested thousands in top-end
1)Rawlescontainthebestqualityyourcameracancreate
gear so what was the point in not wanting
to get the very best from it? Its very rare that
sowhyshouldyouconsidersettlingforanythingless? Lees Raw tips
2)WithRaw,youcanmakefulluseofyoursensorsdynamic
my images are used in such a way that had range.3)ACRisnotasubstituteforgoodcameratechnique
they not originated from a Raw le youd be orltration,butitdoesoferyoumoreopportunities.
able to tell a JPEG at maximum quality is
every bit as good as a processed Raw le. 2
However, if youve paid for something you
might as well use it, and for me, shooting
Raw is the same as developing your own
lms and making your own prints instead
of sending them of to a lab and having
automated machine prints made.
"Theres a misconception among
photographers that you need loads of 1) I tend to leaveWhite Balance set toAuto
experience and knowledge to shoot Raw, when shooting in Rawas its easyenough to
but its nonsense. I had very little digital change theWhite Balance during Raw
knowledge, but I took to Raw shooting with processing towhatevercolourtemperature
no problems. Its actually a much more you prefer though I ndAWB tends to do a
forgiving format than JPEG because all the great job more often than not.
raw data from the cameras sensor has been 2) Shooting in Rawdoesnt solve every
recorded, so its much easier to correct problem, so dont relyon it completely. I still
exposure error or change the colour balance use Neutral Density(ND) grads on mylens to
of an image, say, if youre starting with a Raw tone down the sky, forexample, because if
bright areas ofthe skyblowout due to
overexposure, no detailwill record.
Software of choice
3) Ifyouwant to pull everybit ofdetail from
yourRawles, tryreprocessing the same Raw
le ve timeswith the exposure sliderset to -2,
le. This makes it better suited to beginners, -1, 0, +1 and +2 stops then combine them all to
who are likely to make more mistakes. create an exposure fusion image using HDR
"While you do need to spend more time at software such as Nik HDR Efex Pro.
a computer if you shoot in Raw, to process
each le ready for printing or publication, 4) I neverthrowmyRawles away, otherthan
I see this time as an investment in my work the ones I delete in-camera, unless theres an
to get the best from it rather than a waste. obvious reason to, such as gross exposure
Also, any changes you make to a Raw le are
error. I see them as digital negatives that I may
I process Rawles usingAdobe Camera Raw return to in the future. Portable hard drives are
nondestructive until you make a JPEG or,
(ACR) in Photoshop. Ive always used it and see cheap so storing them isnt a problem.
preferably, a 16-bit TIFF copy. You can always
no reason to change. It gives me results Im revert back to the original Raw le at any 5) Ifyouwantthebestofbothworlds,setyour
happywith and Imveryfamiliarwith it,which stage and reprocess it which I often do. DSLRtoshootinbothRawandJPEGsoyoucan
makes processing quick and easy. I subscribe to "There are plenty of photographers who usetheJPEGsforaquickxbutsavetheRaw
Photoshop Creative Cloud,which auto updates argue in favour of JPEG, but Raw suits my lesforlater,whenyouvegotmoretimeoryour
Adobe Camera Rawon a regularbasis. way of working so Ill be sticking with it until condenceandexperiencehasincreased.
something better comes along!
3
96 Raw
Rawdetail
take controlofyour images by
fine-tuningthem for maximum
sharpnessand intricate detail
R
aw files carry an exorbitant
amount of data and the potential for
revealing detail without degrading
quality or clarity is better than ever with
high-resolution cameras. while there are
certain things you can do in camera to reine
detail, like shooting with a low isO and
achieving an accurate exposure, shooting
raw is really the only guarantee for achieving
maximum detail and retaining complete
control over the impact of your pictures.
One of the biggest beneits to working
with raw data is that any sharpening
you do is nondestructive,
straightforward and completely Pro tip
irreversible. you can edit the Ifyoure still not convinced
same raw ile numerous that shooting Rawmakes
times for diferent levels of much diference to the level of
sharpness for diferent uses, detailyou capture compared
like print or web, without toJPEGs, shoot in Raw+JPEG,
permanently altering the pixels. then compare the shots.
The same cannot be said for Youll be amazed!
JPeGs: the more you manipulate
a JPeG the more data you lose and the
more artefacts you're likely to introduce as
the quality degrades, so you have to be extra
careful. The level of razor sharp detail, and
the ability to recover detail through noise
reduction, in a raw ile is astounding, so
why not make the most of it next time you
shoot, think twice about letting your camera
make important decisions for you, like how
much to sharpen or the level of contrast and
do it yourself in post-production.
1)Whenitcomestoextractingmaximumdynamicrange
anddetailwithoutdegradingimagequality,rawisking.
2)rawilesrespondwelltocarefulsharpening. 1
2
Pro view
Ross Hoddinott
fornaturephotographers,the
maindrawbackofshootingin
rawisthatburstrateisslowerthan
whenshootingJpeg,whichisaconsideration
ifyouintendshootingfastaction.however,the
beneitsoutweighthedisadvantages.rawiles
giveyouoptimumcontrolduringprocessing,
beingmorelexibleandtoleranttoadjustments
madetokeyshootingparameterslikeexposure,
colourbalance,saturationandcontrast.raw
imagescapturemorelevelsofbrightness,
allowingnaturephotographerstoextractmore
detailfromtheirilesessentialwhencapturing
nature.forme,ialwayshavemycameraset
tocapturerawandwhileidoarelativelysmall
amountofpost-productiontomyshots,ienjoy
rOss hOddinOTT
beingabletoine-tunemyimages,secureinthe
knowledgethatalleditingisnondestructive.
Raw 97
Raw Q&A
HELEN DIXON
Q What doyou suggest formanaging
workowand optimising storage?
Tryand get in to the habit ofdeleting scrap
shots to reducewastingvaluable hard drive
space. Investing in an external hard drive is also
a good idea as thiswill allowyou to archiveyour
Rawles, reducing the amount ofused space
onyourcomputers hard drive.
Detail
You can access Sharpening and
to target the two types ofnoise and zoom in toyour
image 200% to see the results. Noise reduction is
Q Can I continue to edit in Photoshop?
Absolutely.Whileyou can do most of
yourrequired editing inACR orLightroom,
Noise Reduction featuresvia this tab. often at the expense ofne detail and qualityas
manyphotographers preferthe ne-tuning
Sharpening should be used in moderation, and it softens the image. Use the Detail and Contrast tools ofPhotoshop forintricate selective
can be used in combinationwith Clarity. Some sliders to recoversome detail, butbewatchfulof editing and retouchingwith LayerMasks. Once
photographers preferto sharpen in Photoshop, but reintroducingnoise.Detailisoftenconsideredmore youve nished editingACR, click Open Image
ACRs sharpening toolworks in the same efective importantthanacompletelynoise-freeimage. in the bottom right cornerto open the le in
wayas the popularUnsharp Mask,with the benet to Photoshopwhereyou can then saveyour
thatyou can re-edityourresults forprint orweb, Clarity edited Rawimage in the appropriate format.
Q
without damaging image quality. Use the Zoom Found in the Basic tab, the Clarityslideraccentuates Howshould I best save myRawles
tool to see the efects ofyouradjustments. the level ofvisible detail inyourimage bytargeting afterprocessing?
Noise can be a problem ifyoure correcting an edge contrast. It can have dramatic efects, so best Onceyouvenishedmakingyouradjustments
underexposed image, orhave shot at high ISOs or to usewith extreme caution to avoid introducing toaRawimageinPhotoshop,itsbesttosavethe
using a long exposure. Noise Reduction can help halos and nastyedge artefacts. nalresultasa300dpiJPEG.Bydoingthisthe
minimise the snowglobe efect caused byhot imagecanthenbeviewedonothercomputers
pixels.While most advanced cameras have great withouttheneedforspecialisteditingsoftware
high ISO performance, the higherthe megapixel andisreadytobeprintedandsharedonline.
count often the heavieryoull need to make Keepa.PSDtoo,ifyouthinkyoumightwantto
adjustments. Use the Luminance and Colorsliders re-edityourPhotoshoplayersatalaterdate.
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RAW TALENT
RAWFILESGIVEYOUAHUGEAMOUNTOFSCOPEFORCREATIVEPROCESSING.WETOOKAHANDFULOFRAWFILES
ANDGAVETHEMTOTHREEDIFFERENTPROPHOTOGRAPHERSTOSEEHOWTHEIRAPPROACHESDIFFERED
100 Raw challenge: Landscapes
ADAM BURToN
Originalfile
raWchallenge1:adamBurtOn
landscape photographeradam burton's subtle
processingstyleaimstostaytruetotheoriginalscene
WHeNeveR I PRocess a picture, my priority This image of Bamburgh Beach in
is to maintain the authenticity of the original Northumberland was captured at the end of
scene. It is important to me that I keep my a glorious day, when dark menacing clouds
picture true to the conditions that I witnessed, rolled in to swallow up a lovely sunset. With
or as far as I can remember and for that just a hint of sunlight relecting on the castle
reason I try to do minimal processing. windows the remainder of the scene was dark
When I say minimal, think subtle. All of my and foreboding; this particularly appealed to
pictures are captured in Raw and, as such, me and was the reason I ired the shutter.
there are certain small adjustments that I I was very happy with the wide
apply to every image to bring the ile to life. composition, bringing a sense of space to
For me it is a case of polishing the picture the picture. But after downloading the image,
through a series of subtle changes, rather the Raw ile felt a little lat compared to my
than creating a very diferent image through memory of the scene and this was my main
heavy-handed processing. consideration while post-processing.
afterdownloadingtheimagetherawfilefelta
littleflatcomparedtomymemoryofthescene
ADAM BURTON
ORIGINALFILE
RAWCHALLENGE2:CAROLINESCHMIDT
THE MORETIMEYOU SPEND EDITING,THE MOREYOUR STYLE
EMERGESAND, FOR ME, IT'SAFLAIR FORTHE DRAMATIC
A BROODING LANDSCAPE with striking While Adobe Camera Raw (ACR) and
reections and tonal detail is crying out for Lightroom are ne places to make all Raw
huge contrast adjustments. With a JPEG le, edits, I prefer to use ACR for base
you have to be especially careful in how you adjustments then continue to edit the Raw
go about this so not to introduce quality- les in Photoshop for the exibility of Layers,
degrading noise and artefacts, which is why Layer Masks and Blending Modes.
Raw is such a valuable le format as it This challenge will be an interesting
provides much wider margins to expand experiment in technique and vision. While
exposure information. Thankfully Adam's Jordan and I have often worked on the same
exposure is spot-on, so I can concentrate on photo shoots, it's amazing how diferent our
polishing the colour and contrast. Had the images can look especially after we've
le been under or overexposed, I might not nished editing the pictures as our styles
have been able to be so demanding on the are polar. Adding Adam to the mix should
data without a detriment to quality. yield interesting ideas and results.
RAWISSUCHAVALUABLEFILEFORMATASITPROVIDESMUCH
WIDERMARGINSTOEXPANDEXPOSUREINFORMATION
ADAM BURTON
ORIGINALFILE
RAWCHALLENGE3:JORDANBUTTERS
WE GIVE OUR RESIDENTPHOTOSHOPEXPERTFREE REIGNTO
SEEWHATHE CAN COME UPWITH PURISTS LOOKAWAYNOW!
BEING GRANTED THE privilege of working I know Adam is an advocate of getting it
on someone elses Raw le is a pretty rare right in-camera, and his editing style
occurrence, but an interesting reects this, so I want to push the
experiment. Photographers are boat out (coastal pun fully
Raw tip
understandably precious about intended) to create something a
protecting their images we Findyourownapproach bit diferent. This is the opposite
anyoneefectcanhave
take a lot of time, care and of Adams purist approach, so
severaldiferentmethodsof
attention towards making sure approach,withsimilar itll be interesting to see how
our exposures are the best that results.Experimentandfind our nal images difer!
they can be. With that in mind, onethatworksforyou One blessing is that Adam's
I want to do justice to Adams Raw Raw le is perfectly exposed for
le, while at the same time explore the scene, so no drastic recovery is
a more creative approach outside required in Adobe Camera Raw, meaning
of straightforward editing. I can get straight to work in Photoshop.
THISISTHEOPPOSITEOFADAMSPURISTAPPROACH,SO
ITLLBEINTERESTINGTOSEEHOWOURFINALIMAGESDIFFER!
raWchallenge1:carOlineSchmidt
MAnDy DIsheR
Originalfile
raWchallenge2:mandydisher
Mandy disheR
Originalfile
3 BOOst cOlOur and tOnes i merge all visible layers into a new layer
by holding down the alt key and going to Layer>Merge Visible,
before duplicating this layer. To add punch, i apply gaussian Blur
4 dOdge and Burn Most of my images beneit from selective
exposure adjustments and i use non-destructive dodge and
burning to do this. i create a new layer (Layer>New>Layer), set the
(Filter>Blur>Gaussian Blur) at 180 Pixels, then set the layers Blend Blend Mode to Soft Light and ill it with 50% grey all of which can be
Mode to Soft Light and the Fill slider to 35% to lower the strength. done from the new layer menu box. i use a soft brush alongside the
i then add a Photo Filter adjustment layer, set to Deep Blue, with the Dodge and Burn tools at about 10% opacity to make the adjustments.
opacity at 25%. again, i use the layer Mask to reveal areas of yellow. its quick, easy and leaves the original pixels untouched.
MandyS FInaL RaW EdIT
Iinishbyremovingdistractionswiththe
CloneStampTool.LastlyIsaveasa.psdilefor
futureediting.AfterlatteningtheimageIthen
applysharpeningbeforesavingasaTIFFile.
110 Raw challenge: Flowers The ulTimaTe Guide To phoToGraphy
RAWCHALLENGE3:JORDANBUTTERS
MANDY DISHER
ORIGINALFILE
Ultimate kit
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50.6-megapixel EOS 5DS. Never before has and familiar. It has the same weatherproof SONYALPHA7RMKII:Boaststheworldsrst
a 35mm-type DSLR ofered such high magnesium alloy body (though with a back-illuminated42.4-megapixelfull-frame
resolution. On paper its a game-changer, strengthened baseplate and tripod mount so sensor(withnolow-passlterforincreased
taking image quality to a level that has never you can clamp it tight to the tripod head to imagesharpness),super-fast399pointAF,
been seen before in a 24x36mm sensor. reduce vibrations); it takes the same battery; ve-axisISand4Kvideo.
There are two versions of the EOS 5DS it has the same shutter speed range, exposure
the 5DS and the 5DS R tested here. Both modes and 61-point AF system. The menus
cameras are exactly the same bar one feature and controls are also virtually identical. The metering system of the EOS 5D Mk III is
the 5DS R has a low-pass cancelling lter The main diference between the EOS 5D fantastic, but the 5DS goes a step further with
on the sensor. The low-pass lter is there to Mk III (which is still available) and the EOS 5DS its 150,000 pixel, 252-zone RGB+IR metering
prevent moir patterns in your images, which is the leap in resolution, from 22.4-megapixels sensor, plus you can shoot Raw at reduced
can occur in areas where there are ne to 50.6-megapixels more than double. The resolutions of 28- and 12.4-megapixels.
repeated patterns, such as the weave in EOS 5DS also has dual DIGIC 6 processors to A clever new feature is the option to set a
textiles. The low pass lter hides moir efects allow a decent shooting and burst rate despite shutter delay when using mirror lock-up, so
by slightly softening the image. By removing the increased resolution (up to 510 Large instead of having to press the shutter release
it, or cancelling it as the EOS 5DS R does, you JPEGs or 14 Raw les at 5fps with a UDMA CF twice once to lift and lock the mirror and a
get sharper images, but theres an increased card installed), whereas the EOS 5D Mk III has second to trip the shutter you press the
risk of moir patterns, which, when they one DIGIC 5 processor (managing 6fps). shutter release once, the mirror lifts and locks,
then after the chosen delay period the
FULL-FRAME 100%ZOOM exposure is made. A cam controls mirror
movement and reduces the recoil when you
trip the shutter. This slows down the shutter
movement, which sounds and feels odd to
begin with but it does make it quieter in use.
In use, the EOS 5DS handles just like a EOS
5D Mk III. Its quite large and feels substantial
ULTIMATEDETAIL(LEFT):Thelevelyoucanzoominblew
meawaytinyobjectsatadistancecanbeviewedindetail.
NOMOIR(RIGHT):TheEOS5DSRdoesn'tfeatureaoptical
lowpasslter.Imagesaresharper,butattheriskofmoir.
Exposure:1/1300secatf/8(ISO400)
118 Full-frame digital SLR The ulTimaTe Guide To phoToGraphy
CANONEOS5DSR
IT'SALLINTHEDETAILS:Thesameviewpointshot
ontwodiferentCanonsandzoomedinto100%.
Thediferenceinresolutionisastounding.
Exposure:1/100secatf/8(ISO100)
Higher resolution also means bigger les. Zeiss will also allow you get the very best
Raw les range in size from around 50-80Mb out of that 50.6-megapixel sensor. Verdict
(on the EOS 5D Mk III theyre under 30Mb), so In terms of how you use it, the crucial
you get half or less images per memory card. thing to remember is that ANY error that I liked the EOS 5DS so much
Process those Raw les and the saved 16-bit could reduce image sharpness will stand out that I bought one. Not the EOS
TIFFs top 300Mb each, compared to 120Mb like a sore thumb, so you need to focus 5DS R tested here, but the EOS
critically and make sure the camera is rock 5DS (see panel, above). The image quality
for EOS 5D Mk III TIFFs. Youll need a
alone was enough to justify the purchase
computer with both fast processors and solid when the shutter is tripped. If you use it
and I havent regretted my decision for a
plenty of RAM to handle les. I use an Apple on a tripod, make sure its clamped down
second. It's a joy to use and results are
Mac Pro with dual six-core 2.4Mhz processors tight, re the shutter with a remote release stunning. Ive never seen such detailed
and 24Gb of RAM, but if youve only got a and use the mirror lock-up. If youre images from a DSLR. Use it with great care
single processor and 4Gb RAM you might handholding you must adopt a stable stance and good glass and youll be amazed by the
need to update your computer! and use a shutter speed fast enough to results. For now, its the world's best DSLR.
The two factors that are going to combat any camera shake. This camera is so
determine whether you get the most out of sharp that the tiniest amount of movement Handling 19/20
the EOS 5DS are the lenses you put on it and will be visible when you blow up the images. Ease of use 19/20
how carefully you use it. Canon recommend Its totally unforgiving and user-error is Features 18/20
using their own L-series lenses launched in perhaps its main limitation. Get everything
Performance 20/20
the last four years. I have the 16-35mm f/4 IS, right, though, and the results will blow your
24-70mm f/4 IS and 70-300mm f/4-5.6 IS mind. The EOS 5DS is a game-changer and Value 19/20
and all are capable of handling the resolution has set a new standard that other
of the camera. Prime lenses from the likes of manufacturers can only hope to match.
Overall 95/100
120 Circular polarisers The ulTimaTe Guide To phoToGraphy
I
F YOU ONLY ever buy one lter, make it a polariser. With the right reputation for
subject and technique, results can be dramatically improved and uncompromising quality.
impossible to mimic in post-processing. Traditionally theyre a Made in West Germany
landscape photographers favourite for the way they darken blue skies with a slim-prole brass
and enrich the colour of foliage by reducing polarised light. Get the mount, the XS-Pro MRC
angle right, and you can get clear water or glass, and enjoy vibrant Nano is its top-of-the-
leaves and grass. It can also be used when shooting motor sports, for range circular polariser,
cutting through a shiny windscreen to show the driver or to brighten with tough Multi-Resistant Nano Coating. At 175, it's easily the
paintwork. Whatever the subject, to get the best out of a polarising filter most expensive 77mm lter here. Overall density checked out
you need to know your angles angle to the sun, angle to the subject, at 1.6 stops and colour efectively neutral, measuring just 300K
and the degree of rotation. But if in doubt, just give it a twiddle and look cool. Optical quality is top drawer, with zero impact on
through the viewnder its easy to see whats happening. sharpness. MRC Nano multi-coating is the best in the business
There are two types of polarising lter: linear and circular, but that with very high resistance to are and ghosting, and it's also very
refers to their optical characteristics; not to their physical shape. Linear easy to clean the worst we could throw at it just wiped of.
polarisers can upset the metering and AF systems of some cameras,
so nowadays theyre almost all of the circular type you need.
The polarising lters here range from 30 to a pricey 175. Most of Verdict
the best value ones are under 100, and the main diference is in the
multi-coatings to suppress are, with dirt-resistant surfaces. In terms Superb qualitypolariser, Build quality
of sheer polarising ability, though, they all perform the same. with excellent MRC Nano
Performance
multi-coating being
How we did the test perhaps the outstanding Value
We used a combination of controlled studio tests and real-world feature.Top qualityfor
sure, but averyhigh price.
Overall
picture taking. In terms of polarising ability darkening blue skies and
reducing reections there is no performance diference between
any of these lters. And we tried them every which way!
Sharpness is not usually a problem with polarisers, at least not with
shorter focal length lenses that are their most likely partners. Longer
focal lengths magnify slight imperfections in lters though, so we put
HoyaPro-1Digital
them on a 200mm lens and ran comparisons through the Imatest SCREW-IN
MTF sharpness procedure. There were some small diferences. The Streetprice:100(77mm)
polarisers vary in density, too how much the overall exposure has to Sizes:55mmto82mm
be increased. The darkest need 1.9 stops extra, and the lighter-toned www.intro2020.co.uk
variety only 1.2 stops. That's a handy diference in some situations.
Flare and ghosting are the biggest threats to image quality with Hoya is the world's
lters: it reduces contrast and makes images look at when shooting biggest manufacturer of
into the light, and ghost images can form when very bright light optical glass and its
bounces of the shiny sensor and back again of the rear of the lter. famous Pro-1 range has
The most signicant diference we found was the useful advantage always been a standard-
the multi-coated lters showed with reduced ghosting. setter, even if Hoya now
We subjected the lters to a variety of abuses, and by far the hardest ofers an even higher
thing to remove during cleaning was dried-on water marks. The best grade with the Revo
lters have tough dirt- and water-resistant multi-coatings rainwater series. Street price is a
forms into beads and mostly runs of, and dried-on marks are easy to competitive 100 or thereabouts for 77mm.
wipe away. The normal multi-coated and non-coated lters all In a slim-prole mount with index marking, optical
cleaned up eventually, but some needed a fair amount of hard rubbing performance is excellent, with top scores for zero impact on
with a microbre cloth and optical uid to get them properly clean. sharpness, good are-resistance and minimal ghosting. Density
measured 1.6 stops and colour showed a just-noticeable 600K
cool tint compared to daylight. The multi-coated surfaces
What to look for.. cleaned up well, with no permanent marks left by dried-on rain.
1) Multi-coating: Reduces the
possibilityofare orghosting 2
1 Verdict
2) Black rim: Stops internal reections
3
3) Slim prole: Helps prevent As expected, high Build quality
vignettingwithwide-angle lenses 6 performance all round
4 5 Performance
4) Index mark: Rotation reference and goodvalue for
5) Serrated edge: Grip forrotating money.That's business Value
6) Front threads: Allows userto as usual forthe Hoya
attach a lens cap orsecond lter Pro-1 range.
Overall
The ulTimaTe Guide To phoToGraphy Circular polarisers 121
HoyaSuperPro-1DRevo KoodCPLSlim
SCREW-IN SCREW-IN
Streetprice:120(77mm) Streetprice:30(77mm)
Sizes:37mmto82mm Sizes:37mmto86mm
www.intro2020.co.uk www.koodinternational.com
Recently introduced as Kood is a UK brand
top of the Hoya range, the producing a multitude
Super Pro-1 Digital Revo is of photographic
very similar to the Pro-1 D, accessories, all at great
as the name implies, with value prices. Their lter
even better SMC super range is wide, including
multi-coating. The main both square slot-in and
advantage here is high screw-mount types.
resistance to water This Chinese-made CPL
marking, stains and scratches it just wipes clean. The cost comes in a good quality slim-prole mount and is of the
of these useful improvements pushes the price up to 120 in lighter-toned variety, with a density measuring only 1.2 stops
77mm size tting. There's an index mark on the slimline handy for keeping up shutter speeds. Colour cast was virtually
mount for easy reference of rotation setting, density zero just 50K warm. Sharpness sufered a little in the
measured 1.6 stops, and colour just 550K on the cool side of telephoto test, but there was no measureable efect at shorter
neutral daylight. There was no measurable impact on focal lengths. Like all uncoated lters, there was some are and
sharpness and resistance to are and ghosting was high. ghosting in diicult conditions.
Verdict Verdict
Excellent performance, Build quality Formost users, most of Build quality
like the standard Hoya the time, the optical
Performance Performance
Pro-1 D, plus the Revo's shortcomingswill
stain andwater-resistant Value probablypass unnoticed. Value
multi-coating ticks the And it's amazingvalue at
nal box.
Overall 30 in 77mm.
Overall
KoodCPL MarumiDHG
SCREW-IN SCREW-IN
Streetprice:42(77mm) Streetprice:55(77mm)
Sizes:27mmto86mm Sizes:37mmto95mm
www.koodinternational.com www.kenro.co.uk
This is a completely While not the biggest
diferent lter to the name in the UK, Marumi
Chinese-made Kood CPL has optical roots dating
Slim, but it also comes at a back to 1937 in Japan, and
great value price. Made in its products are highly
Japan, the mount is good rated. The Marumi DHG
quality and slightly deeper (Digital High Grade) is
and easier to grip, though exceptional value at 55
it may vignette with in 77mm tting, with a
ultra-wide lenses, causing darkening of the corners. Density high-grade spec, including a slim-prole mount. Density
checked out at 1.8 stops and colour a slight 750K on the cool measured 1.6 stops, and colour 850K on the cool side. While
side of neutral. Like the Kood CPL Slim, sharpness sufered a this is the greatest variance from neutral daylight we tested, in
little in the tough telephoto test that magnies any slight practice it's more noticeable than problematic, and easily
imperfections in the glass, though not a problem with wider corrected for critical work. Sharpness was unafected, are
lenses mostly used for landscapes, while the uncoated surfaces resistance high, and dried-on water marks cleaned up with a
could induce some are and ghosting when pushed. little efort. High performance at a great price.
Verdict Verdict
In truth, optical Build quality Not quite the best, and Build quality
performance is unlikelyto lacking awater-resistant
Performance Performance
disappoint undernormal nal coating, but it does
conditions, andyou can't Value all the important things Value
arguewith the price. No verywell, and nothing can
slim-prole mount though.
Overall touch it for55.
Overall
122 Circular polarisers The ulTimaTe Guide To phoToGraphy
MarumiSuper-DHG MarumiExus77mm
SCREW-IN SCREW-IN
Streetprice:75(77mm) Streetprice:105(77mm)
Sizes:37mmto95mm Sizes:37mmto82mm
www.kenro.co.uk www.kenro.co.uk
Take the Best Buy Marumi Marumi's new Exus range
DHG, add an extra water is the agship, and the key
and stain resistant feature here is the
coating, and you have lighter-toned polarising
the Marumi Super-DHG material used. Density
for an extra 20 or so measured 1.2 stops,
in a 77mm slim-prole which is half a stop less
mount. Whether or not than most others, and
it's actually the same lter handy for subjects like
underneath is moot, though it's none the worse for that and the motor sport (a polariser will usually remove reections from
modied coating could explain the slight improvement in windscreens) when wanting to keep up shutter speeds. Colour
colour accuracy, recorded at a fairly inconsequential 650K cool. cast measured efectively zero at just 50K warm, sharpness was
Density was measured the same at 1.6 stops, sharpness was unafected, are and ghosting resistance high, and the
unafected, are and ghosting resistance tested high. The easy multi-coated surfaces wipe clean easily. The Exus also comes in
wipe-clean surfaces are a nice bonus on top. Another all-round a thoughtfully designed oval box that slips into a pocket and
high performance from Marumi. opens easily. Other manufacturers could learn from this!
Verdict Verdict
The Marumi Super-DHG Build quality With a full set oftop-grade Build quality
has a full list ofall the best features, arguablythe best
features, and performs to Performance Performance
herewith its lower1.2
an equallyhigh standard. Value stops density, and high Value
Verygoodvalue at 75 in all-round performance,
77mm size tting.
Overall it's a great buy.
Overall
SigmaDG77mm CokinP-164
SCREW-IN SYSTEM FILTER
Streetprice:100(77mm) Streetprice:72(P-System)
Sizes:46mmto105mm Sizes:P-Systemslot-in
www.sigma-imaging-uk.com www.intro2020.co.uk
Better known for its The original Cokin square
lenses, Sigma lters are lter system is still going
also high quality. Physical strong, and while the
appearance of the Sigma slot-in mount is great for
DG is very similar to the grads, it's more diicult
Marumi DHG, and with polarising lters that
performance too. In the need to be rotated. Sliding
much larger 105mm the lter in is easy enough,
tting, the Sigma also though turning it is not so
makes an interesting alternative for Lee and Hitech lter system simple and the edges are very sharp. Getting it out again is just
users. Specication is high, with a slim-prole mount. Density plain awkward. The P-164 is made of glass, not resin like most
tested at 1.6 stops, with no efect on sharpness, good resistance other Cokin lters, and density measured 1.9 stops with colour
to are and ghosting, and a fractionally blue 750K colour cast. just a hint cool at 750K blue. Sharpness was unafected with this
We've had trouble cleaning dried-on water marks from Sigma polariser, but like all uncoated lters it could be prone to
lters in the past, but after a little careful rubbing this Sigma DG ghosting in some situations and cleaning dried-on water marks
lter came up sparkling. took a fair bit of efort.
Verdict Verdict
High all-round Build quality ForP-System users, Build quality
performance at a there's not a great deal of
Performance Performance
reasonable cost, though choicewith polarising
much the same can be Value lters, but the Cokin Value
had forless from the P-164 does a decent job
Marumi range.
Overall at a prettyfairprice.
Overall
The ulTimaTe Guide To phoToGraphy Circular polarisers 123
CokinZ-164 HitechCPL
.
SYSTEM FILTER SYSTEM FILTER
Streetprice:250(Z-System) Streetprice:150(105mm)
Sizes:Z-Systemslot-in Sizes:77mm,95mmand
www.intro2020.co.uk 105mmscrewmount
www.formatt-hitech.com
Cokin's Z-System is
basically a scaled-up The 105mm Hitech CPL is
version of the P-System. designed to t Formatt-
While it takes 100mm Hitech's 100mm slot-in
square slot-in lters like system, and needs a front
Hitech and Lee that can adaptor ring on the holder
be interchanged between for mounting, at a
brands, the Z-164 relatively modest extra
polariser will only rotate in cost of 16. It's a good
a Z-System holder. Fitting is improved over the P-System system, more similar to Lee than Cokin, and is well designed
though, with retractable retaining pins to make things easier. and made, with smooth and easy operation. The Hitech CPL is
Unsurprisingly, the Z-164 polariser appears to be identical to the of the lighter-toned polarising variety. The glass is uncoated
smaller P-164 made of glass, 1.9 stops density with a hint of with a density measured at 1.3 stops. Colour is efectively
800K cool blue cast, and the same comments on sharpness, neutral at only 250K cool. There is a problem though, and that is
ghosting and cleaning apply. The biggest diference is the price, a tendency to are in contrasty conditions. Other lters tested
that jumps up to an eye-watering 250. side by side were not afected in the same way.
Verdict Verdict
The Z-164 is a good, basic Build quality Nicelymadewith smooth Build quality
polarising lter, and easy rotation and an attractive
Performance Performance
to use in the Z-System price for100mm slot-in
holder.The cost is hard to Value system users. It's just let Value
justify, but Z-System users down bypoorare
don't have manyoptions.
Overall resistance unfortunately.
Overall
Conclusion
LeeFiltersCPL
SYSTEM FILTER
Streetprice:215(105mm)
Sizes:105mmscrewmount
and100mmsquare
www.leelters.com
Lee is the master of
square slot-in lters,
renowned for its range of
high-quality resin lters,
hand-made in the UK.
The Lee CPL is glass,
made under license in
Japan, and it screws into
an additional ring at the front of the adaptor. It's not cheap, but
works very well. Density measured 1.7 stops and colour 700K on
the cool side of neutral. Optical quality is high and sharpness If you want the best, then the B+W XS-Pro, Hoya Revo and
completely unafected, though being uncoated, a little are and Marumi Exus are it. They're all Highly Rated, optically excellent
some ghosting is visible under provocation. Unfortunately, and feature the best dirt-resistant multi-coatings. They're also
adding anti-reection multi-coating to reduce this would push among the more costly options though. For less money, the
the price even higher for such a large lter. Marumi DHG is almost as good, lacking only the easy-clean
aspect of the most expensive lters. At 55 in 77mm size, it takes
Verdict the Best Buy award. Several other lters can equal its
performance and come Highly Rated. If you shop around you
This is the best polarising Build quality may be able to better the prices we've quoted and grab a
lterforsquare slot-in bargain. For slot-in system lter users, the Lee Filters CPL is the
Performance Best Buy. Watch out for cheap fakes. There are a few around
systems. It's expensive,
but given the size, good Value and they're very hard to tell from the real thing. The only way to
value.Acheaper100mm be sure of getting a genuine product is to buy from a retailer
squareversion is available.
Overall supplied by the oicial importer.
124 ND graduated filters THE ULTIMATE GUIDE TO PHOTOGRAPHY
FILTER SYSTEMS
included the Cokin and SRB
P-systems. Both are goodvalue and
scoredwell (fourstars overall)
but ourround-up here concentrates
on the three systems that scored
GRADSARETHELANDSCAPER'SFAVOURITESRECTANGULARFILTERS highest on qualityandvalue.
USEDWITHASLOT-INHOLDERTOPUTLIFEANDDRAMAINTODULLSKIES.
WEBRINGYOUTHELEADINGTRIOFROMOURTESTOFFIVETOPBRANDS
TEST:RICHARD HOPKINS HOWWE DIDTHETESTS
G
RADS ARE ABOUT controlling DENSITY:Measured at the darkest point,
dynamic range the range of tones with results given in f/stops. Filters can
also be marked with density expressed
from darkest black to brightest white
as a lter factor, or in optical density.
that the sensor can record. Graduated
So a one-stop lter could be marked as
Neutral Density lters, to give them their full
x2 or 0.3ND; two-stops as x4 or 0.6ND;
name, are dark at the top and gradually fade
three-stops as x8 or 0.9ND; and so on.
to clear through the middle and bottom.
COLOUR: All these lters have a very slight
Their main purpose is for darkening skies in colour cast. Compared to neutral daylight at
landscapes that would otherwise be too 5500K, an 'excellent' rating equates to a shift
bright or even completely overexposed from neutral of under 200K that's virtually
and blown to white because they've undetectable in practice. 'Very good' is under
exceeded the dynamic range of the sensor. 400K shift, diicult to see without a side-by-
Grads are available in a range of densities, side comparison and suitable for very high
commonly from one to three stops, and also quality work. 'Good' is up to 600K and that is
in two transition options where the change noticeable, but often acceptable. 'Fair' is a shift
from dark to clear is either very gradual of over 600K and needs adjustment in
(soft-cut grads) or more abrupt (hard-cut). post-processing for best results.
As well as neutral grey, they can come in SHARPNESS: Not usually an issue with lters,
diferent colours too. unless used with longer focal lengths that
There are one or two circular screw-t magnify optical imperfections. Fortunately,
grads on the market, but the best and most grads are never used with long lenses as the
popular type are rectangular, used with a graduated efect reduces dramatically,
slotted holder. The big advantage is the lter becoming almost invisible above 100mm or
can be slid up and down to adjust position of so. Using a 50mm lens and Imatest's MTF lens
the transition line. The holder attaches to the testing procedure, the worst result was a
lens via an adapter ring and these are usually totally insignicant 1.5% drop in sharpness.
quickly detachable so one holder can be FLARE: Flare can be a problem with all lters,
used on other lenses with diferent lter especially those without anti-reection
sizes. If youve several lenses, buying coatings like all of these ND grads. Most
diferent adapter rings is much cheaper than noticeable is a tendency for blown highlights
spending out on several lters. There are also to spread out when very bright light sources
wide-angle holders available with less lter are in the frame or just outside it, such as a
slots so they don't protrude so far, or sunset. Also, coloured are spots can appear
wide-angle adapter rings that allow the in the same situation. On the whole though,
holder to sit closer to the lens, reducing the all these lters performed to a high standard
possibility of it encroaching into the image. and were all very similar, regardless of price.
The two most popular rectangular lters
systems are known as P-type using 84mm
wide lters, and the larger 100mm-type, Flare resistance 1 2 3
FormattHitechsystem(100mm) KoodP-system(84mm)
Tested:0.9NDsoft-cutand0.6NDhard-cut Tested:0.6NDand0.9NDsoft-cut
Filter:45/Holder:60/77mmlensadapterring:23 Filter:12/Holder:6/77mmlensadapterring:5
Contact:www.formatt-hitech.com Contact:www.koodinternational.com
I K
F YOU'RE LOOKING for 100mm lters, but at a lower cost OOD HAS BEEN struggling to keep up with demand,
than Lee, Hitech is a popular option. Both brands have their awaiting a new batch of hard-cut grads and only able to
devotees, some preferring the Hitech holder, as well as the supply P-type soft-cut lters for this review. No problem
prices. Hitechs come in an extensive range of sizes: 67mm, though, that's enough to get a good impression of what's on
85mm and 100mm (as here), 150mm and the Lucroit (165mm) ofer and the shortages will be quickly rectied. The full Kood
system for ultra-wide zooms like the Nikon 12-24mm that range includes smaller A-types and the larger 100mm-type, all
cannot use regular lters because of the bulbous front element. British-made and at very competitive prices. For example, the
The holder has a solid aluminium mounting plate, rather than Kood 100mm-type holder sells for 25, lens rings are 9, and
the plastic used by others. There is no practical advantage to the 100mm grads are just 20 each. That's way less than rivals,
that, and it's slightly heavier, but it certainly conveys a nice and the savings add up to a substantial amount by the time
impression of quality. On the front, there's a stacking system you've collected a few. The lters come in retail packaging of a
that allows the holder to be customised from one, two or three clear plastic envelope lined with thin cardboard. Kood suggests
lter slots and a kit of brass screws is supplied for that very easy to keep this as protective storage functional perhaps, just
task. On the back, the lens adapter ring drops in, retained by a about, but hardly ideal. Good and easily accessible storage is
brass locking screw (as opposed to Lee's spring-loaded catch) important with grads as by their nature it's hard not to leave
that some feel is easier and more secure. It's a subjective choice nger marks that can get smeared across the surface when you
really, though if you have a preference, as a rule all 100mm put them away, almost guaranteeing are problems.
lters t any 100mm holder. For ultra-wide lenses, a wide- The Kood holders are very like Cokin, made of precision-
angle adapter (illustrated) is available for 32. moulded plastic with the lens adapter ring clipping into the
The three-stop soft-cut ND grad measured exactly three- back, and out again, in the same way. In fact, the Kood and
stops density, and the two-stop hard-cut came in at 2.1 stops. Cokin P lters, holders and adapter rings are interchangeable.
That's pretty much a perfect performance and while the exact The Kood holder illustrated is the wide-angle version with one
density does not usually matter too much in practice, within lter slot, and it's slim enough to clear a 17mm lens (full-frame).
reason, it's a good sign. Colour The three-stop soft lter measured 3.2 stops, and the
neutrality was more variable, two-stop soft 2.3 stops both
with the hard two-stopper acceptably close to spec.
rating 'excellent' with almost Some cheaper grads have a
exact neutrality, but the soft reputation for poor colour
three-stop ND grad scored neutrality, yet the three-stops
only 'fair' with a noticeable lter rated 'very good' and the
magenta cast. Sharpness two-stops version scored
was unafected, and are 'excellent'. Sharpness was
resistance was good very unafected and resistance to
much in line with others. are is as good as any.
Verdict Verdict
A mixed performance from Hitech, with one lter bang on Keen prices have always been Kood's ace card, and that
target specication and the other signicantly of. The certainly still applies. Yet the current Kood range is also high
aluminium holder is a nice item, and Hitechs are great value. quality, competing with the best on this showing.
LeeFilters(100mm)
Test conclusion
Tested:0.9NDsoft-cutand0.6NDhard-cut
Filter:80-100/Holder:59/77mmlensadapterring:19
Contact:www.leelters.com
A
SK ALMOST ANY keen landscape photographer, and
they'll say the best lters are made by Lee. They might
also add the most expensive, though that's because
they're not just high quality, but consistently high quality. Lee's
reputation is about both meticulous manufacture and also tight
quality control. This ensures the lters you buy today are exactly
the same as those a few years old that are a bit worse for wear.
Lee lters come in three sizes the ever-popular 100mm-
type illustrated, the smaller Seven5 range that is 75mm wide,
and the giant 150mm wide SW150 range for ultra-wide zooms.
Lee 100mm-type lters are 2.1mm thick, about 0.5mm more
than the others, to help maintain surface atness.
The Lee lter holder is one of the system highlights, made
from high quality plastic with brass ttings, and thoughtfully
designed with a lens ring released by a spring-loaded catch.
The advantage here is the holder can be popped on and of very
quickly and easily, without needing to remove the lter. Another Lee Filters (100mm)
feature, also shared with some other brands, is the lter slots
W
can be customised to take either one, two or more lters. E HAVE TWO winners, one each in P-type and
A wide-angle lens adapter ring (illustrated) is also an option at 100mm-type, and at both extremes of the price
37. Everything comes very well packaged in tough padded range. There are some very good lters here,
wallets with Velcro'd closures and an identication window. and you don't need to spend a fortune to get high quality.
The three-stops soft-cut grad measured at 2.8 stops actual As a caveat though, it has to be said that the
density, and the two-stopper manufacturing process for grads is a tricky one, and is
exactly two stops. The colour achieved mostly by hand-dipping the lters in dye, so
was very neutral too, with some slight batch variation is inevitable.
both the three-stops soft-cut Lee Filters is our Best Buy in the larger 100mm format,
lter and the two-stops with rst class colour neutrality and general image quality.
hard-cut rating 'excellent' The Lee Filters holder is another highlight with its
Lee Filters is the only brand on spring-loaded release catch and customisable slots. You
test here to score an illusive can't really go wrong with Lee, but at considerable cost.
double. Sharpness was Kood is our Best Buy P-type. On this showing, Kood
unafected and resistance to competes well for accurate colour and overall image
are was good too. quality, at bargain value prices, and it's only the plastic
holder and budget storage provision that lowers the score
for build quality. Not that there's anything wrong with
Verdict cheap plastic holders, nothing at all, just that they're not as
True to form, Lee scores highest on everything except value! nice to use as the more expensive aluminium ones.
What you're paying for is not just the high quality, but also the In our original ve-way test, all the other brands had
consistency from lter to lter, and from batch to batch. mixed fortunes, usually with one lter scoring well, but the
other letting the side down with a wayward colour cast.
Build quality This can be corrected in post-processing, but it's an extra
task that shouldn't be necessary. It's well worth looking out
Performance
for starter kits ofered by some manufacturers, with a
Value handy cost saving. They include a lter holder and lens
adapter ring, plus a small selection of popular grads.
Overall
128 Large carbon-fibre tripods
BIG SHOTS
Benro C3570F vs Giottos Silk Road YTL 8213
Sizeandweightaretwoofthemostimportantfactorstoconsiderwhenchoosingthe
righttripod.Butwhilepickingalightweightoptionthatfoldsdownsmallmakessense
mostofthetime,ifyouuselonglensesandheavierloads,biggerisoftenbetter
TEST: RICHARD HOPKINS
T
HESE ARE TWO high-quality
carbon-bre tripods of classic
BENRO C3570F GIOTTOS SILK ROADYTL8213
design but bigger. They have
three-section legs with adjustable angles, Streetprice:250 Streetprice:220
Legsections:Three Legsections:Three
sliding centre-columns and fast lever
Legangles:Three Legangles:Three
leg-locks basically larger versions of
Height:153cm Height:162cm
popular medium-sized Benro and Giotto's
Centre-columnup:180cm Centre-columnup:193cm
models. Here they've been beefed up to Minheight:38cm Minheight:45cm(14cmwithadapter)
handle longer lenses and heavier loads, and Lengthclosed:71cm Lengthclosed:68cm
they also stand usefully taller too. They Weight:1.86kg Weight:1.63kg
weigh a bit more and cost that bit extra too, Loadrating:18kg Loadrating:10kg
but they're not massively expensive for Carrybag:Included Carrybag:25extra
carbon-bre and that magical material helps Warranty:Fiveyears Warranty:Fiveyears
keep the weight down. The Benro weighs Website:www.kenro.co.uk Website:www.giottos-tripods.co.uk
just under 1.9kg, and the Giotto's is actually
impressively light indeed for a tripod of this it's there when shooting groups for centre-column also feels slightly less solid
size, at just over 1.6kg. example, to give a better view and a more when fully extended, though the uted
The legs are fatter as well as being longer. interesting angle. Wedding photographers prole helps it to slide nice and easy.
The top sections measure a meaty 32mm go armed with short stepladders for this. The Giotto's features the new slimmed-
diameter and the 28mm middle-sections are With architecture, a raised viewpoint reduces down Silk Road design for a more compact
basically the same as the top sections of the converging verticals. folded size, and that's most welcome, but
next model down. Bigger means more rigid The Giotto's is unusually tall, especially the extra leverage-loads imposed by a taller
with less ex and the leg-locks are larger too. with the centre-column extended. At full tripod can push the strength of some
The extra length means both tripods stand stretch in a normal room, your head will components more than usual.
roughly 12cm higher than their smaller literally be bumping against the ceiling.
siblings, bringing the Benro up to 153cm It's the largest model in the Giotto's range,
before extending the centre-column, and though Benro ofers one size bigger, the
the Giotto's to 162cm. This is substantially 4570. These tripods can take a heavy load, Benro
above the typical 130-135cm (plus head) and while the claimed gures should be
TheBenrohasaslightly
needed to put the camera at a comfortable taken with a pinch of salt, there's not much largerandmorestable
shoulder level for the average person. they can't handle like a super-telephoto footprintthantheGiotto's
The extra size brings several advantages. 500mm f/4 prime on a gimbal head. duetothewiderangle
In normal use when you don't need the In terms of build quality, both tripods are ofitslegs.
height, it allows a few inches of leg to be slid very well nished and smooth operating.
back inside the upper section and this stifens They both have leg-locks adjustable for wear,
up the joints for a really solid support. Or if though the Benro clamps more rmly and
you're working on a slope, there's the option the Giotto's benets more from the
to extend one or two legs and maintain a level slide-some-leg-back-up trick, potentially
platform. Then when you want the full height, reducing its height advantage. The Giotto's
Giottos
Thethickfoampadson
thelegsareavery
welcomeadditionwhen
carryingthetripodin
coldconditions.
Benro
Solidbuildandall-round
performanceforaveryfair
price.Itsloadcapacity
meansitwillsupport
prettymuchanyoutt.
Giottos
TheYTL8213isverytall,
especiallywiththe
centre-columnextended,
yetislighterthanmany
smallertripods.
THE ULTIMATE GUIDE TO PHOTOGRAPHY PC customised for photographers 131
I
S THIS THE best photo editing computer 10% to 4.4GHz and liquid-cooled for safety.
that you can buy? Well, no actually. But There's 16GB of RAM and a 128GB solid-
that's considering Chillblast's top model state drive to further speed things along,
Verdict
costs a jaw-dropping 13,000. But for a plus twinned 1TB hard drives in RAID-1
The keytoApple iMac-beating speed and price is
tenth of that price, 1,099 to be exact, the conguration. RAID-1 is a key feature for
carefullymatched components, expertlychosen to put
Chillblast Fusion Photo OC Lite is probably photographers, with the two hard drives
powerwhere it's needed foroptimum photo-editing
the best package out there for high mirroring each other, duplicating everything
performance.The Chillblast Fusion Photo OC Lite is
performance at an afordable price. as you go and creating an instant back-up.
specied to perfection and promises excellent
Chillblast is a specialist builder of custom If disaster strikes, it has the major advantage
reliability,with extensivewarranty.
PCs, winner of many industry awards, and is of automatic recovery, so you can continue
particularly well known for over-clocked working using the undamaged hard drive. Build quality
processing chips to extract maximum With memory so cheap these days, all photo Features
performance, with warranty-backed editing PCs should have RAID-1.
reliability. Chillblast's other skill is building In addition, there's a built-in multi-card Performance
PCs with carefully matched components, reader, Blu-ray rewriter, and more USB ports Value
selected according to task, such as gaming, than you can shake a memory stick at. In a
music production or photo editing. Gamers nutshell, performance outpaces the highest Overall
132 Lens tests The ulTimaTe Guide To phoToGraphy
Which lens?
whetheryoureshootingwildlife,natureorlandscapes,ourpickofthebestopticsfrom
DigitalSlRPhotogRaPhysauthoritativelenstestsensuresyoumaketherightchoice
image: adam burton
The ulTimaTe Guide To phoToGraphy Lens tests 133
2% or more being increasingly noticeable. representation of lens sharpness. Each graph 100
Excellent
length and is also less prominent on APS-C. the zoom. Centre sharpness is shown in red; 60
Vignetting reduces quickly as the aperture is edge in green. The higher the bar, the better 50
Good
closed down. Its easily removed in the sharpness, with ratings as follows: 40
30
post-processing, but when its strong this Below 10: Poor; 10-29: Fair; 30-49: Good;
Fair
20
results in greater noise. Vignetting is 50-69: Very good; Over 70: Excellent.
10
measured in Exposure Values (1EV equals All our lens test analysis was performed using
60
50
62
58
58
65
70
65
67
55
51
71
Poor
0
one stop). -1EV is usually not a problem. Imatest software. f/2.8 f/4 f/5.6 f/8 f/11 f/16
134 Ultra wide-angle zooms The ulTimaTe Guide To phoToGraphy
Canon EF-S 10-22mm APS-C ONLY Canon EF-S 10-22mm f/3.5-4.5 USM
Excellent
90
HANDLING: A compact and very lightweight
80
zoom with smooth focusing rings and sweet 70
handling. Top-quality build.
Good V. good
60
FEATURES: Focal length range is broad and 50
versatile. Good overlap with a standard range 40
zoom means less lens changing. Maximum 30
Fair
20
10
AUTOFOCUS: Canon's Ultrasonic Motor
60
49
54
82
82
54
58
56
78
79
41
72
Poor
0
(USM) focusing is fast, positive and quiet and f/3.5 f/4 f/5.6 f/8 f/11 f/16
ofers full-time manual override. Lens Sharpness (%): 15mm Centre Edge
100
PERFORMANCE: Sharpness is high, especially
Excellent
90
in the centre, where it kicks of well into the 80
'excellent' zone and this is maintained at all 70
focal lengths, only dipping under at f/11. Edge
Good V. good
60
sharpness is notably lower, but still consistently 50
around the 'very good' level and, unlike some, DISTORTION:Strongbarrel+2.4%at10mm.
40
there's no drop-of at the longer end. Peak Overallrating:Verygood
30
resolution is the highest here at 129 lines-per- VIGNETTING:Moderate1.4EVat10mmf/3.5.
Fair
20
mm. Aberrations control is the usual mixed bag Overallrating:Excellent 10
84
54
45
83
58
70
59
53
61
77
Poor
with ultra-wides. Barrel distortion at 10mm is
I
I
0
N/A f/4 f/5.6 f/8 f/11 f/16
+2.4%, which rates as 'poor', though others are CHROMATICABERRATION:Reducesat
worse and it quickly gets much better at longer 22mm.Overallrating:Fair Lens Sharpness (%): 22mm Centre Edge
100
focal lengths. Vignetting is relatively high, but PEAKRESOLUTION:129lines-per-mm
Excellent
90
never much of a problem even wide open, and atMTF20%,15mmf/4centre 80
chromatic aberration (CA) is about average. 70
Good V. good
VERDICT: Versatile zoom range, great AF, HANDLING 18/20 60
Fair
20
and compact package with excellent build VALUE FOR MONEY 18/20 10
quality, and best of all the price has been
64
49
69
62
58
63
59
78
79
75
Poor
OVERALL 91/100
I
I
0
reduced recently, making it great value. N/A f/4.5 f/5.6 f/8 f/11 f/16
Fair
20
(including exotic glass and aspherical surfaces), 10
80
86
66
85
58
59
70
74
81
71
Poor
0
f/4 f/5.6 f/8 f/11 f/16
robustly made. Its unusually large good for
shading, but takes up more space in the camera Lens Sharpness (%): 24mm (FF) Centre Edge
100
bag. Filter size is 77mm, in common with many
Good V. good Excellent
90
pro-spec lenses. 80
20
excellent zone from f/5.6 and holds on to it,
only starting to dip slightly with the inevitable VIGNETTING (APS-C): Excellent 10
84
83
70
59
65
76
81
73
75
77
Poor
0
efects of difraction at f/16. The same pattern CHROMATICAB(Full-frame): Good f/4 f/5.6 f/8 f/11 f/16
is reected on APS-C, only with the higher CHROMATICAB(APS-C): Fair Lens Sharpness (%): 40mm (FF) Centre Edge
resolution demands of the smaller format 100
PEAKRESOLUTION:110lines-per-mm
Good V. good Excellent
20
improved or eliminated in post-processing, or VALUE FOR MONEY 20/20 10
even in-camera these days, so the reality is not
84
68
68
68
82
87
72
57
75
71
Poor
NIKKOR AF-S 18-35mm APS-C / FULL-FRAME NIKKOR AF-S 18-35mm f/3.5-4.5 (full-frame)
Fair
20
maximum aperture varies with focal length, 10
80
60
66
82
85
70
79
76
72
77
77
71
and f/3.5 at the 18mm end is one-third of a stop
Poor
0
f/3.5 f/4 f/5.6 f/8 f/11 f/16
faster than f/4, and f/4.5 at 35mm is one-third
Lens Sharpness (%): 24mm (FF) Centre Edge
of a stop slower. AF uses the Silent Wave Motor
100
with full-time manual override.
Fair
20
the excellent zone and never goes below, while
the edges only dip just under it at the highest f/ VIGNETTING (APS-C): Excellent 10
84
68
82
82
79
76
81
73
73
75
Poor
0
numbers. On APS-C, the higher resolution CHROMATICAB(Full-frame): Very good f/4 f/5.6 f/8 f/11 f/16
demands of the smaller format naturally CHROMATICAB(APS-C): Good Lens Sharpness (%): 35mm (FF) Centre Edge
depress the MTF gures, as expected. Peaked at 100
PEAKRESOLUTION:103lines-per-mm
Fair
rather than pro-spec, though optically this lens VALUE FOR MONEY 16/20
20
10
is top drawer. Dropping more than 100 since
80
84
68
83
65
81
73
73
75
71
Poor
launch means value matches performance. OVERALL 87/100 0
f/4.5 f/5.6 f/8 f/11 f/16
NIKKOR AF-S 16-35mm APS-C / FULL-FRAME NIKKOR AF-S 16-35mm f/4 ED VR (full-frame)
Fair
20
a lens of this type and is at least partly 10
80
89
86
83
65
79
74
81
73
75
responsible for the extra weight of 17 elements
Poor
0
f/4 f/5.6 f/8 f/11 f/16
in 12 groups, with premium glass and aspherical
Lens Sharpness (%): 24mm (FF) Centre Edge
surfaces. Aperture is a constant f/4 and the
100
wider focal length at 16mm adds a useful 7
20
PERFORMANCE: Very sharp, recording the
highest peaks here. On full-frame at 16mm and VIGNETTING (APS-C): Excellent 10
80
64
89
83
70
78
87
79
73
77
Poor
0
24mm, the centre is nudging 90% at f/4 with CHROMATICAB(Full-frame): Very good f/4 f/5.6 f/8 f/11 f/16
edges also well into the excellent zone. CHROMATICAB(APS-C): Good Lens Sharpness (%): 35mm (FF) Centre Edge
Sharpness drops a little at 35mm, particularly at 100
PEAKRESOLUTION:120lines-per-mm
Good V. good Excellent
20
incorporating VR into a high-grade optical VALUE FOR MONEY 18/20 10
package, even if the benets diminish as focal
64
66
66
82
83
63
70
59
76
67
Poor
length is reduced, and this is one very wide lens. OVERALL 94/100 0
f/4 f/5.6 f/8 f/11 f/16
136 Ultra wide-angle zooms The ulTimaTe Guide To phoToGraphy
Excellent
90
HANDLING: Compact, light with smooth and
80
well-weighted controls. Good quality build 70
made in Nikon's China plant.
Good V. good
60
FEATURES: Best zoom range in the super-wide 50
class for great versatility, though maximum 40
apertures are average. Has a rain-seal mount 30
Fair
20
10
AUTOFOCUS: Silent Wave Motor is excellent
64
49
63
63
59
70
59
76
76
74
57
77
Poor
0
as usual, with full-time manual override. f/3.5 f/4 f/5.6 f/8 f/11 f/16
Excellent
90
from f/3.5-4.5 and dipping down to 'very good' 80
around f/8 as difraction begins to bite. Edge 70
sharpness is lower, though comfortably within
Good V. good
60
the 'very good' band at all times, apart from at 50
the longer 24mm end that doesn't really get DISTORTION:Severebarrel+3.9%at10mm.
40
going until f/8. Peak resolution is a little lower Overallrating:Good
30
than other comparative lenses weve tested, at VIGNETTING:Mild0.9EVat10mmf/3.5.
Fair
20
111 lines-per-mm. Distortion is high at 10mm Overallrating:Excellent 10
66
66
54
54
62
65
70
59
74
71
Poor
with a hefty +3.9%, though it improves
I
I
0
N/A f/4 f/5.6 f/8 f/11 f/16
dramatically at longer focal lengths and is close CHROMATICABERRATION:Reducesat
to zero through most of the mid range. 24mm.Overallrating:Fair Lens Sharpness (%): 24mm Centre Edge
100
Vignetting is low, rating 'excellent' overall, and PEAKRESOLUTION:111lines-per-mm
Excellent
90
chromatic aberration control is typical of most atMTF20%,10mmf/5.6centre 80
ultra wide-angles, in other words always 70
Good V. good
present and rating 'fair'. HANDLING 18/20 60
Fair
20
24mm is the only weak spot, and the peak VALUE FOR MONEY 17/20 10
resolution gure is slightly lower. It is quite
46
34
59
76
74
67
53
55
55
61
Poor
OVERALL 89/100
I
I
0
expensive compared to others though. N/A f/4.5 f/5.6 f/8 f/11 f/16
Fair
20
whopping 15 more than the second widest 10
84
86
69
85
63
78
74
76
71
71
lens on test here: the NIKKOR 16-35mm. The
Poor
0
f/4.5 f/5.6 f/8 f/11 f/16
ipside is the focal length at the longer end
only extends to 24mm, which almost makes Lens Sharpness (%): 17mm (FF) Centre Edge
100
this a specialist lens. Another downside is the
Good V. good Excellent
90
bulbous front element that protrudes out and
80
prevents the use of normal lters. 70
to do, but works very quietly and eiciently. DISTORTION (APS-C): Fair 40
30
VIGNETTING (Full-frame): Fair
Fair
68
58
70
87
74
72
73
Poor
0
shoulder with the best, despite its relatively low CHROMATIC AB (Full-frame): Good f/4.5 f/5.6 f/8 f/11 f/16
cost. The lens is very sharp, hitting the excellent CHROMATIC B (APS-C): Fair Lens Sharpness (%): 24mm (FF) Centre Edge
standard right across a full-frame image from 100
maximum aperture. Only the edges lag a little at PEAKRESOLUTION: 118lines-per-mm
Good V. good Excellent
90
the tele end, which is common. Theres plenty atMTF20%,17mmf/5.6centre 80
N/A
10
very high quality, has a smooth operation and
60
60
83
58
79
81
61
73
Poor
Excellent
90
HANDLING: High build quality and nger-light,
80
super-smooth controls. Excellent, but Sigma's 70
velvet-matt nish can show scuf marks.
Good V. good
60
FEATURES: 10mm is as wide as they come, 50
but 20mm is a bit less than average. Maximum 40
aperture f/4-5.6 is also modest. Lens hood and 30
case supplied.
Fair
20
10
AUTOFOCUS: Sigma's excellent Hypersonic
60
78
78
52
53
41
61
61
75
71
Poor
I
I
0
Motor (HSM) autofocus drive is as good as any, N/A f/4 f/5.6 f/8 f/11 f/16
and there is full-time manual override, too. Lens Sharpness (%): 14mm Centre Edge
100
PERFORMANCE: Sharpness in the centre is
Excellent
90
always high, well into the 'excellent' zone up to 80
f/11 before difraction takes hold. As always, 70
edge sharpness is lower, though never less
Good V. good
60
than 'very good' with the exception of 10mm 50
at f/4, which stands out as being a bit DISTORTION:Severebarrel+3.5%at10mm.
40
disappointing. However, it improves very Overallrating:Good
30
quickly and by f/5.6 it's 'very good' and from VIGNETTING:Moderate1.3EVat10mmf/4.
Fair
20
there onwards sharpness is uniformly high Overallrating:VeryGood 10
63
70
78
78
52
53
55
61
61
77
Poor
across the frame.
I
I
0
N/A f/5 f/5.6 f/8 f/11 f/16
Peak resolution hits 121 lines-per-mm. Barrel CHROMATICABERRATION:Highestat
distortion is a high +3.5% at 10mm, but falls 10mm.Overallrating:Good Lens Sharpness (%): 20mm Centre Edge
100
quickly and turns to -0.6% mild pincushion at PEAKRESOLUTION:121lines-per-mm
Excellent
90
mid-range and longer focal lengths. Vignetting atMTF20%,10mmf/5.6centre 80
is a little higher than average, but still 'very 70
Good V. good
good' overall, while CA control is a little better HANDLING 18/20 60
than some, rating 'good'. 50
FEATURES 16/20 40
VERDICT: No prizes for low-light performance,
but from f/5.6 to f/11 probably the most PERFORMANCE 35/40 30
Fair
20
useful range for an ultra-wide sharpness is VALUE FOR MONEY 20/20 10
very high at all focal lengths. At only 300, the
60
62
62
59
70
74
55
73
Poor
OVERALL 89/100
I
I
I
I
0
price is even sharper. N/A N/A f/5.6 f/8 f/11 f/16
Excellent
90
HANDLING: Slightly larger and heavier than
80
most, the build quality is obvious. Styling is very 70
Nikon-esque. Switching from AF to manual
Good V. good
60
focus is by pulling the clutch-ring, though this 50
usually moves the exact distance slightly. 40
FEATURES: It's a fairly new lens, sitting 30
Fair
20
60
63
59
59
78
76
51
71
Poor
I
I
0
for much greater 12-28mm zoom range. N/A f/4 f/5.6 f/8 f/11 f/16
Lens hood included.
Lens Sharpness (%): 18mm Centre Edge
AUTOFOCUS: Tokina's SD-M Silent Drive- 100
Excellent
Module works quickly and quietly. Top marks. 90
80
PERFORMANCE: Tokina has a reputation for 70
high- image quality, so no surprises here. In
Good V. good
60
the centre, sharpness is well into the 'excellent' 50
zone at all focal lengths up to f/11. Edge DISTORTION:Severebarrel+3.2%at12mm.
40
sharpness is lower, but never less than 'very Overallrating:Good
30
good'. Performance is consistent at all settings VIGNETTING:Mild0.8EVat12mmf/4.
Fair
20
no peaks, and no nasty surprises either. Peak Overallrating:Excellent 10
66
56
70
59
59
59
52
74
72
51
Poor
0
N/A f/4 f/5.6 f/8 f/11 f/16
Barrel distortion is +3.2% at 12mm, rating CHROMATICABERRATION:Reducesat
'poor', though it quickly drops to +0.4% at 28mm.Overallrating:Fair Lens Sharpness (%): 28mm Centre Edge
100
18mm ('excellent') and hovers around zero to PEAKRESOLUTION:123lines-per-mm
Excellent
90
28mm. Vignetting is efectively insignicant atMTF20%,12mmf/5.6centre 80
throughout; CA is a little higher than expected, 70
Good V. good
20
useful, but at the expense of a couple of mms VALUE FOR MONEY 18/20 10
less at the wide end. The price has dropped a
68
50
62
63
58
70
76
74
53
55
Poor
OVERALL 91/100
I
I
0
little since launch, too. N/A f/4 f/5.6 f/8 f/11 f/16
138 Professional ultra wide-angle zoom THE ULTIMATE GUIDE TO PHOTOGRAPHY
Exposure:Multiplebracketsatf/16(ISO400)
EF 11-24MM
fall-ofofsharpnessatanyaperture,evenwideopen!
Construction:16elementsin11groups
Maximumaperture:f/4 viewnder and her legs turned to jelly.
Minimumaperture:f/22
F/4L USM
Wow, thats incredible, she says. You
Minimumfocus:28cmat24mm;32cmat11mm should buy one. I mention the price. Okay,
Filterthread:n/a(rearslot-in) probably best not rush into these things.
Imagestabilisation:No Fast forward 48 hours and Im exploring
Canonsnewrecord-breakingzoom Focusing:AFandManual
Angleofview:126-84diagonal;117-74
the streets of Havana at dawn, slightly
iscausingquiteastir.Onarecenttrip horizontal;95-53vertical(full-frame)
jet-lagged, slightly sweaty in the 35 heat
but eager to start lling memory cards.
toCuba,LeeFrosttookoneoutfora Numberofdiaphragmblades:Nine
I round a corner and stumble upon an old
Dimensions:108x132mm
comprehensiveeldtest Weight:1,180g American car. Not exactly diicult in Cuba
Suppliedaccessories:Lenshood,front&rearcaps there are thousands of em but I decide
TEST: LEE FROST Website:www.canon.co.uk to shoot it anyway and see what Big Bertha
is capable of.
W
IDE-ANGLES ARE BY far my nally took delivery of one a few days before I pop it on my EOS 5D Mk III, lock that
favourite lenses. Always have ying out to Havana. Its a shame it didnt onto my Gitzo tripod, take a deep breath
been, always will be. Over the come attached to an EOS 5DS, but beggars and zoom back to 11mm. The car looks like
years Ive owned them in all shapes and cant be choosers I suppose! a Matchbox toy, even though Im only 2m
sizes, from ultra-wide zooms to full-frame The rst surprise came when I opened away. I move in closer. Still too small. Closer
and circular sheyes. I just love the way they the box and took the lens out. Man, its big. still. Nope, going to have to do better than
bend and stretch the world and allow me to Seriously. The front end looks like half a that. By the time the composition is starting
squeeze so much into the frame. crystal ball and as I gazed into it, I could see to look half decent, Im so close to the car
For years, Nikon reigned supreme when a very exciting future! that I feel like Ive climbed inside the
it came to producing the sharpest ultra Achieving such an incredible focal length headlamp. Which highlights an important
wide-angle zoom in the world, in the form range takes some serious optical factor 11mm is very, very wide. Too wide?
of the NIKKOR AF-S 14-24mm f/2.8G ED. engineering and thats partly why the front Ill let you be the judge of that.
I often wondered why there was no Canon end of the 11-24mm is so big, and also why I take a shot and check the preview
equivalent and despite being a devoted the lens is so heavy, tipping the scales at screen. The composition looks good but
Canon user, I did have a brief irtation with over 1kg. It boasts 16 glass elements in 11 the skys completely blown out. Better t a
the Nikon 14-24mm, adapting it for my EOS groups. The rst three (the biggest three) trusty ND grad. Which highlights another
5D Mk III. The romance was short-lived and the last one are aspherical. If that important factor. Thanks to that bulbous
using it was too much like hard work due to werent enough, it also has a Super UD (Ultra front end, you cant t lters at the front,
the lack of electronic contacts. I then tried low Dispersion) glass element and a UD only gels cut to size for a rear slot which
the Sigma 12-24mm, which at the time was glass element to increase sharpness and doesnt solve the problem. With any luck,
the widest corrected zoom on the planet. further reduce colour fringing. Lee Filters or Hitech will soon launch an
A great lens for the money, but not the The second surprise came when I peered adaptor for their SW150 and Lucroit systems
sharpest tool in the shed. through the viewnder and zoomed back to so grads and ND lters can be used on the
But now, after years of waiting, Canon 11mm. Man, its wide. Seriously. If you have front of the 11-24mm. But thats another
has nally trumped everyone in a way even problems with balance, have consumed few hundred quid added to the cost of the
I never dreamed of. Their latest optical alcohol or sufer from a dodgy ticker, lens. Kidney anyone?
ofering, the EF 11-24mm f/4L USM, is the I suggest sitting down to do this, otherwise Obviously, you dont have to use ND grads
widest zoom lens ever made. Ever. you might just fall over. The eld-of-view is in this case I shoot a series of exposures
Id been itching to get my hands on it enormous. Some might even say greedy. that I can blend once back home using HDR
from the day Canon announced it, and I let my wife have a quick look through the Efex Pro but Im old fashioned and
Exposure:1/60secatf/5(ISO1600)
140 Professional ultra wide-angle zoom The ulTimaTe Guide To phoToGraphy
Exposure:1/400secatf/8(ISO100)
prefer to get my shots as close to inished and thats with a generous overlap. Above:Stitchingasequenceofshotsproducesamazing
in-camera as I can. It saves time at the As the days roll by and I become more panoramasthatcoverahugeield-of-view.
computer if nothing else. accustomed, the lens starts to feel familiar. Right:Theultra-widefocallengthoferedbytheCanonEF
Later that day I head to an old building Its really well put together and is nicely 11-24mmisperfectforshootingarchitectureandinteriors.
Ive photographed before, to see how the balanced on my EOS 5D Mk III. In some distortion at 11mm, but we can forgive that,
11-24mm copes with interiors. As expected, situations Im forced to handhold, but and its easy enough to correct using the
its in its element. The super-wide capability despite the size, weight and lack of IS, Lens Distortion Filter in Photoshop, though I
allows me to compose shots that Ive never I conidently shoot at shutter speeds down didnt bother. Can you tell? Exactly. At the
managed to take before, simply because my to 1/60sec and theyre tack-sharp. time of testing, Adobe hadnt upgraded ACR
widest lens (16-35mm) isnt wide enough. Speaking of which, optically, this lens is to include a proile for the 11-24mm, but to
I turn the camera on its side and set to amazing. Its quite possibly the sharpest lens be honest, I dont think the images need it as
11mm I can capture the loor and the ceiling Ive ever used, which is saying a lot given theyre so good. Its almost as if Canon have
in the same frame. Better still, with the that its an ultra-wide zoom. It doesnt stumbled upon some magic optical formula
camera carefully levelled, theres no matter which aperture you shoot at from by accident and used it in the creation of this
distortion. Vertical lines remain vertical f/4 to f/22, corner-to-corner sharpness is lens. Once you see the results, the 2,800
at 11mm! I also love the dramatic superb. At the wider end of the focal length price tag starts to seem reasonable. Just.
perspective, which emphasises the lines and range depth-of-ield is also enormous so I apologise if I come across as a little
curves beautifully. For architecture this is youll never need to stop down below f/5.6 over-enthusiastic, but its rare that I get so
one heck of a lens. More versatile than the or f/8 to record everything in sharp focus excited about a lens. The last time was when
Canon 17mm tilt-shift? Quite possibly. from the near foreground to ininity. At Zeiss launched the 21mm f/2.8 Distagon.
I even used it at 11mm to shoot 11mm and f/8, the hyperfocal distance is But this is way better. Canon has created a
sequences of images that were roughly 0.5m. Focus the lens on 0.5m and lens that has no rival. A lens that will allow
subsequently stitched into panoramas using depth-of-ield will extend from 25cm to you to take photographs no other lens can.
Photomerge in Photoshop. There were a ininity! Not only that, fall-of at the corners Id say its too wide at 11mm for landscape
few false starts as the software got to grips is non-existent at all apertures except f/4, photography youd struggle to ind
with the wideness of the images, but I found where its too slight to worry about almost scenes where such a massive ield-of-view
that if I used the Spherical layout option it unheard of in an ultra-wide zoom. works. But for architecture and interiors its
handled them ine. Imagine that Distortion is minimal too far less than in completely at home, and for general
panoramas shot at 11mm full-frame! It only my Canon EF 16-35mm f/4L IS, and I creative photography it will open doors that
takes half a dozen frames to cover 360 thought that was good! There is a little until now have been irmly closed.
The ulTimaTe Guide To phoToGraphy Professional ultra wide-angle zoom 141
CANONHASCREATEDALENSTHATHASNORIVAL.ALENSTHAT Verdict
WILLALLOWYOUTOTAKEPHOTOGRAPHSNOOTHERLENSCAN
Wow,thislensisinsane!Itsthe
sharpestwide-angle zoom
evermade, thewidest
wide-angle zoom ever
made. Itsvirtually
distortion-free and
sufers from minimal
fall-of.There reallyisnt
anything bad to say.
Okay, at 2,800 its expensive.
But given the incredible 11mm minimum focal length,
Canon has achieved almost the impossible and thats
going to cost. Its a unique lens that can do things no
otherlens can.Top qualitylenses are also a long-term
investment theres no reasonwhyyouwont still be
using it in 20years,whereas its highlyunlikelyyoull
keepyournext DSLR forve. So instead ofupgrading
yourEOS 5D Mk II orMk III to the new5DS (which costs
a similaramount),whynot buythis awesome lens
instead? Orbetterstill,whynot buyboth!
Build quality
Features
Performance
Value
Exposure:Onesecondatf/8(ISO400) Overall
142 Premium 24-70mm zooms The ulTimaTe Guide To phoToGraphy
Canon EF 24-70mm
f/4L IS USM 700
HANDLING: With a maximum aperture of f/4, it
looks and feels just like a smaller version of the
all-conquering Canon EF 24-70mm f/2.8L Mk II,
and it weighs a signicant 25% less at 600g.
Build quality is up to Canon's L-grade standard
of excellence, including weatherproong.
Focus and zoom controls work as they should.
FEATURES: Image stabilisation claims four
stops of camera-shake reduction, a feature
shared only with the Tamron in this class. The
benet of IS is reduced at shorter focal lengths,
though there's no question it can be extremely
useful and this lens can be handheld at some
crazy-long shutter speeds. The downside is if
the subject is moving, IS can do nothing to
prevent motion blur. There's also a 'macro'
mode; lter size is the more popular 77mm;
lens hood and soft pouch provided.
AUTOFOCUS AND IS: AF is ring-type USM
ultrasonic with full-time manual override. It's
very fast, recording an average of under 0.4
seconds in the near-to-far speed test, and is
almost totally silent.
The macro mode is engaged by pushing a
switch and zooming past the 70mm mark.
Don't expect true macro lens performance,
though it's undoubtedly very handy and takes DISTORTION (Full-frame) Very Good DISTORTION (APS-C) Very Good
the maximum magnication ratio down to an
impressive 1:1.4. It's ne for things like ower VIGNETTING (Full-frame) Very Good VIGNETTING (APS-C) Excellent
portraits, but at its maximum setting it gets very
close, just 3cm from the front of the lens, and CHROMATIC AB (Full-frame) Good CHROMATIC AB (APS-C) Good
that's actually inside the lens hood!
Image stabilisation is very impressive, and we CanonEF24-70mmf/4LISUSM(full-frame) CanonEF24-70mmf/4LISUSM(APS-C)
achieved 100% sharp images at three stops
Lens Sharpness (%): 24mm (FF) Centre Edge Lens Sharpness (%): 24mm (APS-C) Centre Edge
below the unaided handholding limit, and 70%
100 100
at four stops.
Excellent
Excellent
90 90
PERFORMANCE: On full-frame, sharpness in 80 80
the centre is comfortably into the 'excellent' 70 70
V. good
V. good
sector at f/4, improving slightly at f/5.6, then 60 60
declining gradually in line with difraction, only 50 50
dipping just below 'excellent' at f/16. Edge
Good
Good
40 40
sharpness is never less than 'very good' and 30 30
improves to 'excellent' at f/8 where it matches
Fair
Fair
20 20
the centre. Unusually, it's actually strongest at 10 10
80
84
60
64
49
69
66
54
62
62
59
56
76
67
72
72
73
73
57
51
N/A N/A
Poor
Poor
longer focal lengths. 0 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/2.8 f/4 f/5.6 f/8 f/11 f/16
On the higher APS-C standard, sharpness in
the centre is reduced mostly to the 'very good' Lens Sharpness (%): 40mm (FF) Centre Edge Lens Sharpness (%): 40mm (APS-C) Centre Edge
zone, though at 70mm it holds on well, rating 100 100
Excellent
V. good
Good
Fair
20 20
64
49
66
66
66
69
82
54
62
59
70
59
59
55
55
72
75
51
71
N/A N/A
Poor
Poor
Excellent
90 90
weatherproong and a handy macro feature.
80 80
On size and weight, it easily beats everything.
70 70
V. good
V. good
60 60
HANDLING 19/20
50 50
FEATURES 18/20
Good
Good
40 40
PERFORMANCE 36/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 18/20 10 10
84
64
88
69
58
85
63
58
58
65
65
70
77
79
74
67
53
72
81
73
N/A N/A
Poor
Poor
OVERALL 91/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
The ulTimaTe Guide To phoToGraphy Premium 24-70mm zooms 143
Canon EF 24-70mm
f/2.8L II USM 1,400
HANDLING: Canon has knocked a handy 145g
of the weight of the older Mk I version, and at
805g this Mk II is in line with the lighter Sigma
and Tamron oferings. Mechanical design has
also been revised, and it's no longer like the
Nikon with that cunning 'zooming' lens hood
feature (see Nikon review over the page) the
Mk II now has a more conventionally extending
front section. It's weather-sealed and feels as
solid and smooth as you'd expect for a lens
costing almost 1,500, with control rings
nicely weighted.
FEATURES: There's no image stabilisation,
surprising perhaps for such a recent redesign,
and instead Canon has opted to concentrate
on sheer optical excellence. To that end, there
are 19 glass elements, more than any other,
arranged in 13 groups, and including plenty
of exotic glasses and aspherical lens surfaces.
The lter size goes up to 82mm. Lens hood
and soft pouch supplied.
AUTOFOCUS: AF is ring-type USM ultrasonic,
with full-time manual override. It's lightning
fast, efectively instant, recording just 0.35 secs
average in the near-to-far speed test. If you
listen very carefully, you might just hear it
working, but no-one else will. Closest focus is DISTORTION (Full-frame): Good DISTORTION (APS-C): Very Good
38cm, giving a maximum magnication ratio of
1:4.8 at 70mm typical of the other lenses in VIGNETTING (Full-frame): Good VIGNETTING (APS-C): Excellent
this class.
CHROMATIC AB (Full-frame): Very Good CHROMATIC AB (APS-C): Very Good
PERFORMANCE: Canon has put all of that
expensive optical glass to very good use and Canon 24-70mm f/2.8L II USM (full-frame) Canon EF 24-70mm f/2.8L II USM (APS-C)
this zoom's performance is outstanding. Most
signicantly, sharpness in the centre at f/2.8 is Lens Sharpness (%): 24mm (FF) Centre Edge Lens Sharpness (%): 24mm (APS-C) Centre Edge
very high indeed, getting on for 90% MTF on 100 100
full-frame straight out of the trap very
Excellent
Excellent
90 90
impressive! There's an ever-so-slight increase 80 80
at f/4, but it's difraction limited from then on 70 70
V. good
V. good
out, meaning that sharpness cannot improve 60 60
with stopping down, but the centre is never 50 50
Good
Good
less than 'excellent' on full-frame, at any focal 40 40
length or aperture, and on APS-C it only dips 30 30
below the 'excellent' line at f/16. Edge
Fair
Fair
20 20
sharpness is close behind, on both formats, 10 10
80
60
64
88
89
69
82
83
63
78
87
78
79
67
76
79
74
74
67
53
72
73
77
71
Poor
Poor
again mostly in the 'excellent' zone, just 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
dipping down to 'very good' on APS-C at
Lens Sharpness (%): 40mm (FF) Centre Edge Lens Sharpness (%): 40mm (APS-C) Centre Edge
either end of the aperture range. Aberrations
100 100
reduction is also to a high standard, and CA
Excellent
Excellent
90 90
control is better than most.
80 80
VERDICT: If you want the best, and you are a 70 70
V. good
V. good
Canon user with very deep pockets, then here it 60 60
is. Very few lenses can match its standard of 50 50
Good
Fair
20 20
80
90
84
60
86
68
69
69
82
83
83
63
56
87
79
79
79
72
75
77
77
77
71
Poor
Poor
Excellent
90 90
always a but, you can't ignore the high asking
80 80
price. Start saving now!
70 70
V. good
V. good
60 60
HANDLING 18/20
50 50
FEATURES 18/20
Good
Good
40 40
PERFORMANCE 38/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 15/20 10 10
80
60
86
86
66
69
65
56
87
87
78
74
79
76
74
79
76
74
72
72
75
75
71
71
Poor
Poor
OVERALL 89/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
144 Premium 24-70mm zooms The ulTimaTe Guide To phoToGraphy
Excellent
90 90
'excellent' zone. Edge sharpness follows a 80 80
similar pattern at a lower level, but not much 70 70
V. good
V. good
lower and is also mostly well above the 60 60
'excellent' line. 50 50
On APS-C the pattern is repeated, with the
Good
Good
40 40
higher standard required pushing the numbers 30 30
down. Sharpness in the centre remains
Fair
Fair
20 20
'excellent' throughout the mid-range apertures 10 10
80
80
84
60
88
69
82
62
63
65
70
65
59
59
59
47
87
74
79
55
72
72
73
75
Poor
Poor
though, and towards the edges it is never less 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
than 'very good'.
Aberrations control is typical of the class, Lens Sharpness (%): 40mm (FF) Centre Edge Lens Sharpness (%): 40mm (APS-C) Centre Edge
with quite strong barrel distortion at the wide 100 100
Excellent
V. good
Good
corrected in post-processing. 30 30
Fair
Fair
20 20
60
88
68
68
66
66
82
62
65
65
65
56
87
79
79
79
74
79
74
73
77
51
Poor
Poor
Excellent
90 90
as sharp as the Canon Mk II lens at f/2.8, that's
80 80
to debate slightly difering levels of excellence.
70 70
V. good
V. good
60 60
HANDLING 18/20
50 50
FEATURES 18/20
Good
Good
40 40
PERFORMANCE 36/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 17/20 10 10
84
84
60
86
68
69
69
63
58
63
74
76
79
52
74
74
79
55
72
73
61
75
57
77
Poor
Poor
OVERALL 89/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
The ulTimaTe Guide To phoToGraphy Premium 24-70mm zooms 145
Tamron SP 24-70mm
f/2.8 Di USD VC 740
HANDLING: Very nicely made with solid,
weather-resistant build. It's smooth operating
too, with a nger-light focusing ring and isn't
too heavy at 825g. There's a zoom-lock, but it's
not really needed. No complaints at all.
FEATURES: The headline is VC (Vibration
Compensation) stabilisation, a feature shared
only with the Canon 24-70mm f/4 IS, and
claiming four stops of camera-shake
reduction. Optical design is 17 elements in 12
groups, and Tamron hasn't held back on the
exotic stuf with three LD glass elements, two
XR and four asphericals. Filter thread is the
larger 82mm size; lens hood provided.
AUTOFOCUS AND IS: Autofocus drive is
Tamron's USD ring-type ultrasonic, with
full-time manual override. It's not quite as
ultra-rapid as some, recording 0.5 seconds in
the near-to-far speed test, but in practice a
tenth of a second makes no diference, and
it's very quiet. Closest focus is 38cm with a
reproduction ratio of 1:5 at 70mm very
similar to rivals.
Tamron's Vibration Compensation
stabilising system usually impresses and no
change here, scoring 90% sharp images at
three stops below the handholding limit, and DISTORTION (Full-frame): Good DISTORTION (APS-C): Very Good
70% at four stops. Excellent.
VIGNETTING (Full-frame): Good VIGNETTING (APS-C): Excellent
PERFORMANCE: Tamron's designers faced a
tough challenge here, with the need for high CHROMATIC AB (Full-frame): Good CHROMATIC AB (APS-C): Good
sharpness at a fast f/2.8 maximum aperture,
plus the image stabilisation system, and all at a Tamron SP 24-70mm f/2.8 Di (full-frame) Tamron SP 24-70mm f/2.8 Di (APS-C)
competitive price. They've done really rather
well, all things considered. Lens Sharpness (%): 24mm (FF) Centre Edge Lens Sharpness (%): 24mm (APS-C) Centre Edge
It's not quite the sharpest 24-70mm f/2.8, 100 100
that accolade goes to Canon, but the Nikon
Excellent
Excellent
90 90
runs it close and this Tamron is very much in 80 80
the same ball-park. Sharpness in the centre on 70 70
V. good
V. good
full-frame starts well into the 'excellent' zone at 60 60
f/2.8, at all focal lengths, and stays there right 50 50
Good
Good
through to f/11. The edges rate 'very good' at 40 40
f/2.8, then bounce up to 'excellent' from f/4. 30 30
On APS-C, sharpness is inevitably reduced,
Fair
Fair
20 20
though in the centre it breaks above the 10 10
44
64
64
64
68
68
68
68
54
54
83
62
85
63
65
65
59
59
78
74
81
73
51
71
Poor
Poor
'excellent' line at mid-range apertures. At the 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
edges, sharpness holds on well, also reaching
Lens Sharpness (%): 40mm (FF) Centre Edge Lens Sharpness (%): 40mm (APS-C) Centre Edge
the 'excellent' line or close to it through the
100 100
mid-range, and never less than 'very good'.
Excellent
Excellent
90 90
Good aberrations control is not easy on
80 80
fast, wide-angle zooms like these, though
70 70
the Tamron is on par. That is to say not
V. good
V. good
60 60
particularly good but with no nasty surprises
50 50
and nothing that can't be easily xed later
Good
40 40 Good
during post-processing.
30 30
Fair
20 20
68
68
68
69
50
63
79
76
67
67
67
67
72
81
72
72
73
61
61
61
61
77
51
Poor
Poor
Excellent
90 90
and there's no denying the benets in some
80 80
situations, then it's almost a no-brainer.
70 70
V. good
V. good
60 60
HANDLING 18/20
50 50
FEATURES 20/20
Good
Good
40 40
PERFORMANCE 38/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 19/20 10 10
64
64
66
62
62
85
70
59
65
52
55
81
81
72
73
73
61
73
75
77
77
51
51
71
Poor
Poor
OVERALL 95/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
146 Premium telezooms The ulTimaTe Guide To phoToGraphy
Canon EF 70-200mm
f/2.8L II USM IS 1,500
HANDLING: Big, fat and superbly constructed.
Chunky zoom and focus rings are one-nger
light and smooth. It's slightly heavier than rivals,
but once it's on the camera that disappears.
Great to use.
FEATURES: Everything you would expect of
the most expensive 70-200mm f/2.8 zoom,
including ultrasonic focusing, image
stabilisation, weather-resistant build,
detachable tripod collar and an excellent
ock-lined hood. The best bits are inside
23 elements in 19 groups, including ve of
UD glass and one uorite. Fluorite is Canon's
magic dust, and while other manufacturers
claim glass with similar properties, this is the
real thing produced in a dedicated factory.
One advantage is the Canon's closer
focusing, down to a magnication ratio of 1:4.8
at 200mm, compared to rivals' 1:8. Basically
focal length is measured at innity focus, and at
closer range this often reduces so-called
'focus-breathing' and at minimum distance a
marked 200mm may be more like an actual
150mm. This lens from Canon sufers much
less with this.
AUTOFOCUS AND IS: Autofocus is smooth
and quiet, and lightning fast. In the near-to-far
speed test, the Canon averaged 0.45 seconds
the fastest of all the lenses here. It focuses DISTORTION (Full-frame) Very good DISTORTION (APS-C) Excellent
quicker than you can think. There's full-time
manual override, too, of course. VIGNETTING (Full-frame) Excellent VIGNETTING (APS-C) Excellent
Image stabilisation claims four stops
shake reduction compared to the normal CHROMATICAB(Full-frame) Very good CHROMATIC AB (APS-C) Very good
handholding rule of thumb, with dual modes
for normal and panning use. This checked out Canon EF 70-200mm f/2.8L II IS (full-frame) Canon EF 70-200mm f/2.8L II IS (APS-C)
with a 60% success rate at four stops under,
rising to 90% at three stops, which is very much Lens Sharpness (%): 70mm Centre Edge Lens Sharpness (%): 70mm Centre Edge
100 100
the standard for the best image stabilisation
Excellent
Excellent
90 90
systems these days.
80 80
PERFORMANCE: The MTF graphs say it all. On 70 70
Good V. good
Good V. good
Fair
Fair
80
84
60
88
68
85
70
70
65
56
87
74
76
74
79
74
81
81
73
75
75
77
71
Poor
Poor
0 0
it's not far behind either, never less than 'very f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/2.8 f/4 f/5.6 f/8 f/11 f/16
good' and mostly well into the 'excellent' zone.
Lens Sharpness (%): 120mm Centre Edge Lens Sharpness (%): 120mm Centre Edge
Aberrations control is not a problem, with 100 100
distortion, vignetting and CA all scoring either
Excellent
Excellent
90 90
'very good' or 'excellent'. Peak resolution 80 80
measured a high 117 lines-per-mm at 20% 70 70
Good V. good
Good V. good
20 20
68
68
66
69
82
82
85
59
59
87
78
76
79
74
76
74
74
72
81
72
75
77
Poor
Poor
Excellent
90 90
appealing option. 80 80
70 70
Good V. good
Good V. good
HANDLING 20/20 60 60
50 50
FEATURES 20/20 40 40
PERFORMANCE 40/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 16/20 10 10
80
88
86
68
68
85
63
58
65
78
78
79
79
79
74
55
81
72
72
75
75
57
71
71
Poor
Poor
OVERALL 96/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
The ulTimaTe Guide To phoToGraphy Premium telezooms 147
Excellent
90 90
PERFORMANCE: If only by the smallest 80 80
margin, overall the Nikon is the sharpest 70 70
Good V. good
Good V. good
70-200mm f/2.8 lens you can buy. The clues 60 60
to best high resolution performance are in the 50 50
fractionally better gures on APS-C, and also 40 40
the peak resolution gure of 121 lines-per-mm 30 30
that is just a whisker ahead of the others,
Fair
Fair
20 20
60
88
88
68
69
82
83
85
58
70
70
87
78
78
79
79
74
74
72
73
77
77
77
Poor
Poor
Nikon's advantage is barely visible, though at 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
the long end it bodes well for use with a
Lens Sharpness (%): 120mm Centre Edge Lens Sharpness (%): 120mm Centre Edge
teleconverter. Like the Canon, sharpness on 100 100
full-frame never dips below the 70% 'excellent'
Excellent
Excellent
90 90
line at any time, and on APS-C it's mostly in the 80 80
'excellent' zone, too. 70 70
Good V. good
Fair
20 20
80
84
68
86
68
68
82
83
85
56
56
87
76
74
79
74
72
72
61
75
77
71
71
Poor
Poor
Excellent
90 90
expensive side. 80 80
70 70
Good V. good
Good V. good
HANDLING 20/20 60 60
50 50
FEATURES 20/20 40 40
PERFORMANCE 40/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 15/20 10 10
80
84
89
89
68
83
85
58
58
70
70
65
79
76
74
76
81
81
81
81
72
75
75
71
Poor
Poor
OVERALL 95/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
148 Premium telezooms The ulTimaTe Guide To phoToGraphy
Excellent
90 90
other point. 80 80
This doesn't appear to be 'bad copy' 70 70
Good V. good
Good V. good
syndrome, but a characteristic of the design 60 60
that afects performance on both full-frame 50 50
and APS-C formats. Sharpness jumps up with 40 40
stopping down, and it's also quite likely that 30 30
subjects towards the edges of the frame at
Fair
Fair
20 20
82
83
70
65
65
70
70
65
65
56
56
78
78
79
76
74
72
72
73
73
73
77
Poor
Poor
anyway, but the problem is there. 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
Apart from that, all other aspects of
Lens Sharpness (%): 120mm Centre Edge Lens Sharpness (%): 120mm Centre Edge
performance are in line with the other lenses 100 100
here. There's maybe a touch of distortion
Excellent
Excellent
90 90
apparent, but then it's no more than the Nikon. 80 80
Peak resolution at 20% MTF measured a 70 70
Good V. good
Good V. good
Fair
20 20
the business. It's sharp, very sharp, giving
10 10
nothing away to more expensive rivals, apart
84
66
66
82
83
83
83
85
78
67
79
79
55
55
72
72
72
72
72
72
61
75
75
71
Poor
Poor
0 0
from the edges at the long end. AF and image f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/2.8 f/4 f/5.6 f/8 f/11 f/16
stabilisation perform very well, too, but
Lens Sharpness (%): 200mm Centre Edge Lens Sharpness (%): 200mm Centre Edge
weatherproong is absent. Its best feature, 100 100
though, is the unbeatable price you can't
Excellent
Excellent
90 90
quibble at that. 80 80
70 70
Good V. good
Good V. good
HANDLING 20/20 60 60
50 50
FEATURES 19/20 40 40
PERFORMANCE 36/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 20/20 10 10
84
64
86
86
69
66
42
34
62
59
47
79
79
74
67
76
52
35
55
72
73
57
77
71
Poor
Poor
OVERALL 95/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
The ulTimaTe Guide To phoToGraphy Premium telezooms 149
Tamron SP 70-200mm
f/2.8 Di VC USD 1,000
HANDLING: Tamron claims the smallest lens in
class (just!), though it's still a meaty beast.
Solidly made and well nished, the smooth-
operating build gives nothing away to marque
rivals. Note for Nikon users is zoom and focus
rings that turn in the same direction.
FEATURES: This new lens is in a completely
diferent class to the older Tamron version,
adding Ultrasonic Silent Drive focusing, image
stabilisation and weatherproong.
It's sharper, too, with 23 elements in 19
groups, including ve of UD glass and one of
XLD with uorite-like qualities. There's some
focus-breathing going on, reducing the
maximum reproduction ratio to 1:8 (unlike the
older lens's 1:3).
AUTOFOCUS AND IS: Tamron's USD focusing
is a transformation, zipping though the
near-to-far speed test in a very rapid 0.55
seconds, narrowly beating the Nikon.
Excellent performance by this lens.
VC (Vibration Compensation) has unique
three-axis correction. It can control both left/
right and up/down directions simultaneously
and detect persistent panning movement,
switching out that plane automatically without
needing a second mode.
VC works very well, despite our best
eforts to fox it. Tamron claims four stops
improvement against the normal handholding DISTORTION (Full-frame) Very good DISTORTION (APS-C) Excellent
shutter speed yardstick and we achieved 70% VIGNETTING (Full-frame) Excellent VIGNETTING (APS-C) Excellent
success at four stops under, and 90% at three
stops. That's as good as it gets. CHROMATIC AB (Full-frame) Very good CHROMATIC AB (APS-C ) Very good
PERFORMANCE: With all those elements and
exotic glass, we were expecting this lens to be Tamron SP 70-200mm f/2.8 VC (full-frame) Tamron SP 70-200mm f/2.8 VC (APS-C)
sharp, and so it proved. In the centre on
full-frame, sharpness soars well above the Lens Sharpness (%): 70mm Centre Edge Lens Sharpness (%): 70mm Centre Edge
100 100
'excellent' line at all times, and the edges are
Excellent
Excellent
90 90
not far behind, also rating 'excellent' for the 80 80
most part. 70 70
Good V. good
Good V. good
On APS-C, the higher resolution demands 60 60
inevitably push the numbers down, but here 50 50
again sharpness in the centre is generally 40 40
'excellent' and the edges comfortably within 30 30
the 'very good' zone.
Fair
Fair
20 20
64
68
69
69
66
83
62
58
59
87
76
76
79
79
79
55
72
73
61
75
75
71
Poor
Poor
contained to a very high standard, rating either 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
'very good' or 'excellent'. Peak resolution at
Lens Sharpness (%): 120mm Centre Edge Lens Sharpness (%): 120mm Centre Edge
20% MTF scored the second highest of the 100 100
group at 119 lines-per-mm, measured in the
Excellent
Excellent
90 90
centre at 120mm f/4. 80 80
70 70
Good V. good
VERDICT: Tamron has done a great job with its Good V. good
60 60
new agship 70-200mm f/2.8. Only at the 50 50
edges towards the longer end of the zoom 40 40
range does sharpness lag a little, but that's 30 30
being very critical and you'd be hard pressed to
Fair
Fair
20 20
80
64
64
88
89
68
69
66
85
58
63
58
65
76
67
79
76
81
72
73
75
57
71
Poor
Poor
Excellent
90 90
standard range zoom. 80 80
70 70
Good V. good
Good V. good
HANDLING 20/20 60 60
50 50
FEATURES 20/20 40 40
PERFORMANCE 38/40 30 30
Fair
Fair
20 20
VALUE FOR MONEY 17/20 10 10
80
49
68
68
66
69
54
62
85
63
58
65
59
87
78
67
76
74
72
81
73
61
57
71
Poor
Poor
OVERALL 95/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
150 Telephoto zooms The ulTimaTe Guide To phoToGraphy
Excellent
90
HANDLING: As 70-300mm telezooms go, the 80
Nikon is bigger and heavier. Layout is spot-on, 70
Good V. good
and controls are nicely weighted for fast and 60
smooth working. Solid build quality. 50
40
FEATURES: A full set of features including SWM 30
AF, and top-grade VR-II image stabilisation
Fair
20
with dual modes: Normal and Active. Optical 10
64
86
68
83
62
83
70
79
72
71
design comprises 17 elements with two of ED
Poor
0
f/4.5 f/5.6 f/8 f/11 f/16
glass, arranged in 12 groups, and the aperture
diaphragm has nine rounded blades. Lens Sharpness (%): 135mm Centre Edge
100
AUTOFOCUS AND IS: SWM AF drive (AF-S) is
Excellent
90
virtually silent, fast and positive. VR-II image 80
stabilisation claims a four-stops reduction in 70
Good V. good
camera shake; we achieved 80% success at 60
three stops, and 40% at four stops. With both 50
AF and image stabilisation, the Nikon proved DISTORTION (Full-frame): Good 40
close to the best available. DISTORTION (APS-C): Very Good
30
Fair
20
PERFORMANCE: A ne sharp lens, particularly 10
VIGNETTING (Full-frame): Excellent
86
83
85
65
78
74
76
76
72
72
at 300mm. On full-frame, centre sharpness is
Poor
0
f/4.8 f/5.6 f/8 f/11 f/16
way above excellent at all times, and on VIGNETTING (APS-C): Excellent
APS-C, it only dips into the very good zone Lens Sharpness (%): 300mm Centre Edge
at f/11. Edge sharpness is weaker, but still no CHROMATIC AB (Full-frame edge): Good 100
Excellent
90
lower than most. Aberrations control is par for CHROMATIC AB (APS-C edge): Fair 80
the course, with barrel distortion at 70mm
70
turning to pincushion at mid-range and longer
Good V. good
HANDLING 20/20 60
focal lengths. Signicant CA at the long end, 50
though vignetting is never really troublesome. FEATURES 20/20
40
Fair
20
higher price tag. Sharpness is high throughout, VALUE FOR MONEY 17/20
10
its well made and has excellent AF and VR
80
64
62
65
70
79
61
77
Poor
OVERALL 95/100 0
image stabilisation. N/A f/5.6 f/8 f/11 f/16
Excellent
90
HANDLING: Medium weight and well nished, 80
with metal mount. Slight barrel wobble at 70
300mm, though it doesnt afect performance.
Good V. good
60
Manual focusing is very good. Extend the 50
zoom and push the macro/normal switch to 40
allow much closer focusing to under 1m. 30
Fair
20
FEATURES: No IS and Micro-Motor AF rather
10
than Ultrasonic, but focusing goes down to 1:2
69
70
79
76
74
76
81
77
71
71
Poor
0
magnication ratio at the longest focal length. f/4 f/5.6 f/8 f/11 f/16
On APS-C, that lls the frame with a subject Lens Sharpness (%): 135mm Centre Edge
just 45-50mm long and at a generous 69cm 100
Excellent
60
(one SLD) in ten groups. Lens hood is provided.
50
AUTOFOCUS: Fairly quiet and fast, averaging DISTORTION (Full-frame): Fair 40
0.5 seconds in the near-to-far speed test, DISTORTION (APS-C): Fair
30
though it slows a little at 300mm and in lower
Fair
20
light. Manual focus is via an AF/M switch. VIGNETTING (Full-frame): Excellent 10
80
80
69
65
70
70
78
67
74
77
Poor
0
f/4.5 f/5.6 f/8 f/11 f/16
PERFORMANCE: Sharpness is remarkable for VIGNETTING (APS-C): Excellent
a 100 lens, performing close to much more Lens Sharpness (%): 300mm Centre Edge
expensive telezooms. Aberrations control is CHROMATIC AB (Full-frame edge): Fair 100
Excellent
90
typical of most telezooms. Vignetting is not CHROMATIC AB (APS-C edge): Fair 80
really a problem, almost unnoticeable on
70
APS-C. Theres some CA, more so at the longer
Good V. good
HANDLING 18/20 60
focal lengths.
50
FEATURES 18/20
VERDICT: Though light on luxuries, this lens 40
54
62
58
65
76
76
71
Poor
Excellent
90
HANDLING: Physically, the Sigma 70-300mm 80
DG APO Macro is identical to the non-APO 70
Good V. good
version. Its quite light at 550g. As expected, 60
theres some movement in the barrel when 50
extended to 300mm, but nothing too worrying. 40
Manual focusing is particularly good. 30
Fair
20
FEATURES: APO is short for apochromatic, and 10
78
78
79
81
72
73
75
77
77
71
refers to three lens elements of SLD glass, as
Poor
0
f/4 f/5.6 f/8 f/11 f/16
opposed to just one in the non-APO version.
Costing an extra 50 than the other Sigma Lens Sharpness (%): 135mm Centre Edge
70-300mm on test, SLD glass focuses all 100
Excellent
90
colours of light more accurately, for lower
80
CA and improved sharpness.
70
Good V. good
AUTOFOCUS: Impressively fast at an average 60
of 0.5 seconds in the near-to-far speed test, 50
slowing a little at the longest focal length. Its DISTORTION (Full-frame): Fair 40
Fair
20
PERFORMANCE: On full-frame, sharpness in 10
VIGNETTING (Full-frame): Excellent
80
69
82
78
78
74
72
72
72
72
the centre is excellent from 70mm to 135mm
Poor
0
f/4.5 f/5.6 f/8 f/11 f/16
at all apertures, and from f/8 at 300mm. Edge VIGNETTING (APS-C): Excellent
sharpness lags a little, which is typical of most Lens Sharpness (%): 300mm Centre Edge
telezooms. Performance is the same for CHROMATIC AB (Full-frame edge): Good 100
Excellent
90
APS-C, but the edge sharpness holds up better. CHROMATIC AB (APS-C edge): Good 80
Basically, its the same as the non-APO version,
70
though with fractionally sharper images and a
Good V. good
HANDLING 18/20 60
little less chromatic aberration. 50
FEATURES 18/20
VERDICT: Optical performance is good overall, 40
and while still great value, its not signicantly PERFORMANCE 32/40 30
Fair
20
better than the bargain Sigma non-APO. Nice VALUE FOR MONEY 18/20
10
to use with good controls and fast AF. The extra
48
56
78
67
72
61
77
51
Poor
close-up mode is a bit ddly, but very useful. OVERALL 86/100 0
N/A f/5.6 f/8 f/11 f/16
Excellent
90
HANDLING: A smart-looking lens, it feels 80
meaty, marginally the heaviest of this group, 70
Good V. good
and similar to the NIKKOR 70-300mm VR. 60
50
FEATURES: Includes Tamrons USD ring-type 40
Ultrasonic AF, with full-time manual override, 30
and VC stabilisation claiming four stops of
Fair
20
camera-shake reduction. Optical design has 10
80
84
64
83
78
74
75
71
71
71
Poor
17 elements in 12 groups, with one LD and one 0
f/4 f/5.6 f/8 f/11 f/16
XLD glass. Minimum focusing distance is 1.5m
from the sensor and that translates to an MWD Lens Sharpness (%): 135mm Centre Edge
100
of 119cm from the lens front, giving a
Excellent
90
magnication ratio of 1:4 at 300mm. 80
70
AUTOFOCUS AND IS: USD Ultrasonic AF is
Good V. good
60
very quiet and locks on positively. Its not the 50
most rapid, though only a tenth or so behind DISTORTION (Full-frame): Good 40
most rivals. Tamrons Vibration Compensation 30
is smart and has auto-sensing of panning DISTORTION (APS-C): Very Good
Fair
20
movement so doesnt need a dual mode 10
VIGNETTING (Full-frame): Excellent
84
64
69
82
82
79
74
72
73
77
Poor
HANDLING 20/20 60
VERDICT: There are hardly any downsides. The FEATURES 20/20 50
upsides are good AF and IS, high sharpness at 40
68
58
65
67
74
61
77
Poor
SPECIFICATIONS
GuidePrice:1,600/StreetPrice:1,500
Lensconstruction:24elementsin16groups
Premiumoptics:TwoFLD('F'LowDispersion)&three
SLD(SpecialLowdispersion)glasselements
Numberofdiaphragmblades:Nine(rounded)
Minimumaperture:f/22
Minimumfocusingdistance: 2.6m
Maximummagnication:1:5
FilterSize:105mm oil-repellent coating allowing the surface to
Dimensions:121x290.2mm be quickly and easily wiped clean.
Weight:2,860g The barrel design is excellent the wide
AFFittings:Canon,Nikon&Sigma rubberised ring at the front controls the Lens controls
Suppliedaccessories:Tripodmount,lenshood, zoom, while the manual focus ring sits
lenshoodcover,carrycase further back, next to the large focus
Compatibleteleconverters:Sigma1.4x&2x APOEXDG distance window. Several controls are
Website:sigma-imaging-uk.com located on the left of the barrel, allowing
you to change settings while keeping the
W
HILE THE MOST popular focal right hand on the shutter button. The zoom
lengths of telezoom are lock prevents focal lengths being
70-200mm and 70-300mm, accidentally changed, while four other
there are specialist elds of photography, switches control focusing and optical Fourswitchescontrolkeyfeatures,asfollows:
in particular sports and wildlife, that stabilisation (see panel, right). FOCUS:AlongwithAFandmanualfocusis
require even more power at the top end. Our lens was used mounted on a ManualOverride,allowingyoutoaltertheAF
There are a number of zooms covering Manfrotto 055CXPRO4 tripod using a pointusingthemanualfocusringfollowingAF.
decent 80/100/135-400mm from Manfrotto gimbal head, which gave a FOCUSLIMITER:ReduceAFhuntingby
marques and independents and a few secure support as well as making it relatively settingthedistancerangetheAFwillcover.
zooms touching 500mm too, but when easy to shift position. We left the deep hood OS:SettheOpticalStabiliserto1(standard),
even that's not enough, there are a handful tted at all times to minimise the risk of are, 2(whenpanningmovingobjects)orof.
of super-telezooms ofering a very with the stabiliser of while mounted. CUSTOM:UsealongwithSigmasUSBDock
versatile range of 150-600mm. We tested The zoom ring has a smooth action and (suppliedseparately)tocreatecustomised
Tamron's 150-600mm a year or so ago looking through the viewnder, seeing the settingsoffactorslikeAFspeedorOS.
and it delivered an excellent performance large shift in focal length is impressive. The
on both full-frame and APS-C. latter can also be said for the autofocus,
Recently, Sigma released two lenses which is very positive and quiet. While we issue at the minimum aperture of f/22 and
with the same focal length, the 1,200 weren't able to test its tracking of fast even then it's not too bad.
C-series (Contemporary) lens and this, the moving subjects, it performed very well at Finally, it's worth praising the supplied
1,600 S-series (Sports) lens. As well as the locking on to static objects and following case as well as being of decent quality, it
optics, the main diference between the slow-paced subjects. Filter users will be ofers a shoulder strap, to make lugging this
two is the size, with the C-series lens being pleased to know that the Sigma uses premium chunk of glass that little bit easier
more compact and lightweight. internal focusing. Overall, this lens is nothing short of an
If you've never used a lens of this type Where the Sigma scores most highly is incredible accomplishment from Sigma.
before, its sheer length and weight may with image quality, with very high
initially take you a little by surprise. performance throughout the range of focal
Weighing a little under 3kg, it's not the lengths. Even at maximum aperture, image Verdict
sort of zoom that you want to be using sharpness is very impressive across the
handheld for too long. Those shooting frame. It's easily the sharpest zoom of its Anyphotographerslookingfora
sports and action will mostly use this on a type that we've tested. The optical stabiliser far-reachingsuper-telephotozoom
monopod, while wildlife shooters will no does a good job too we noted around a hastoputtheSigmaatthetopofthe
doubt have the Sigma perched atop a 2.5-3-stop benet when handholding the list.Itdeliverstopqualityinevery
decent head on a sturdy tripod. lens although this is not something you'll areaandcoversarangemarqueshaveyettoreach.It'sa
want to do too often in truth, but it's a great bigandheavylumpofglassandexpensivetoo,butfor
In terms of nish, this Sigma is absolutely
versatilityandperformance,thereisnothingelseclose.
stunning with an all black barrel and back-up benet to have available if needed.
premium build. Don't think just because it's The superb optics mean that chromatic Build quality
not a marque lens that it's second best for aberrations aren't an issue, with the Sigma
Features
build as well as looking fantastic, this being practically devoid of this problem.
zoom is dust- and splash-proof and made Some light fall-of (darkening at the frame Performance
to the highest standard. To ensure it can be edges/corners) is evident when wide open Value
used in poor conditions, even the optics but stop down a stop or two and it is
have been treated, with a water- and avoided. As for difraction, that's only an Overall
in detail
imagedetail: TheSigma'spullingpowerletsyouillthe
framewiththesubjectandcaptureitinincredibledetail.
154 Professional telephoto lens
NIKONAF-S300MM
F/4EPFEDVRLENS
NikonsnewPhaseFresneltelephotolenshaswildlifeandsportsshooters
talking,butisitanygood?Weputittothetesttoseewhatallthefussisabout
TEST: JORDAN BUTTERS
SPECIFICATIONS
Guideprice:1,640/StreetPrice:1,640
Lensconstruction:16elementsintengroups
Premiumoptics:OneED(Extra-lowdispersion)
andoneFresnelelement
Numberofdiaphragmblades:Nine(rounded)
Minimumaperture:f/32
Maximummagnication:0.24x
Filtersize:77mm
Dimensions:89x147.5mm
Weight:755g
Suppliedaccessories:Lenscaps,lenshood,case
Website:www.nikon.co.uk
W
HEN IT COMES to Nikons newest
300mm lens, forget the mantra
that bigger is better. The NIKKOR
AF-S 300mm f/4E PF ED VR is the smallest
and lightest 300mm prime autofocus lens on
the market today, by a long shot. Weighing in
at just 755g and measuring under 15cm long,
its roughly the same size as Nikons AF-S
24-70mm f/2.8G, but 145g lighter! When
compared to the alternatives, the new lens is
half the weight and around 7cm shorter than
the old Nikon 300mm f/4D and a third of the
weight and half the length of the 300mm
f/2.8G thats a big diference.
This huge reduction in its bulk is down to 300mm lens that I can comfortably prop up
the unfamiliar letters that are littered with just two ngers underneath one-
throughout the lenss full title. Nikon has handed shooting is entirely possible too!
utilised a Phase Fresnel lens element, much Autofocus is fast and accurate, with the lens
like the kind used to focus light in only hunting occasionally in tricky lighting or
lighthouses. Typically, several lens elements low-contrast situations. Theres full manual
work in harmony to reduce chromatic focus override too, so it only takes a quick
aberration, however a Fresnel element twiddle of the focus ring to get it back on And then we come to the price the AF-S
eliminates the need for this, thus keeping track. When mounted to a smaller APS-C 300mm f/4E PF ED VR weighs in at a pretty
the overall size and weight of the lens down. body, the 300mm f/4E ofers an equivalent reasonable 1,640. This may seem like a
This optical design is very similar to that of 450mm reach, but thats when its compact large chunk of money, but considering that
Canons DO range of optics in this regard. size and weight start to work against it. this is a high quality professional telephoto
Theres also uorine coating on the front Handholding at 450mm becomes tricky prime with a fast xed aperture and VR,
element to repel dirt and moisture, and the with the lighter body and, as theres no I dont think thats too bad, certainly
lens is weather-sealed. The VR system is tripod collar available, it can be challenging compared to the 4,000 youll pay for the
very good, ofering an impressive 4.5 stops to obtain sharp shots when approaching the huge AF-S 300mm f/2.8G II ED VR.
of shake control useful at this focal length. reciprocal shutter speed rule. Having said
In hand, the lens feels impossibly that its a fantastic reach to have from
compact this is the rst time that Ive been something so small and light. Verdict
able to comfortably t a 300mm f/4 lens in Image quality cant be faulted. Even wide
Alightweightandverycompact300mm
my camera bag whilst still attached to my open the AF-S 300mm f/4E PF is pin-sharp
f/4primeforasnipover1,600.Theres
D800. I took the lens on a recent job from corner to corner with no distortion. The
littletoknockitforNikonmayjusthave
overseas and was able to t it in my carry-on bokeh looks incredible too, with backgrounds
foundthemagicformulawiththisone.
backpack alongside two bodies, a fast falling away to blur almost instantly. Fresnel
70-200mm and 24mm and 35mm primes lens elements tend to struggle when pointed Build quality
and other paraphernalia. I can even hang it directly at a strong light source, and this lens is
Features
around my neck all day without pre- no diferent rings of are can be seen,
booking a chiropractor's appointment! which would be very diicult to remove in Performance
The lens is perfectly matched to a post processing, although Nikon claims this Value
full-frame body such as the D750 or D800, can be done using a PF Flare Control feature
and the weight feels just right. This is the rst in its Capture NX-D software. Overall
inaction: TheNIKKORAF-S300mmf/4EPFEDVRhadno
problemtrackingfastaction.WhenmatedtoanAPS-Cbody,
the450mmreachandfastmaximumaperturemakeitthe
perfectcompactlensforshootingmotorsportorwildlife.
Abbreviation alleviation
ConfusedbyNikonslensabbreviations?
Hereswhatallthoselettersactuallymean
E:ElectromagneticdiaphragmTheresno
mechanicaldiaphragmcontrol,whichresults
inmoreconsistentexposures,especiallywhen
shootingathighburstrates.
PF:PhaseFresnelAlenselement,originally
designedforuseinlighthouses.ThesinglePF
elementreduceschromaticaberration,doing
thejobofseveraltypicallenselements.
ED:Extra-lowDispersionAspeciallens
elementthatfurtherhelpstoreducechromatic
aberrationandcolourfringing.
VR:VibrationReductionReducesblurby
activelycompensatingforcameramovement.
156 50mm prime lenses THE ULTIMATE GUIDE TO PHOTOGRAPHY
SIGMA50MM
F/1.4DGHSM/A
Premiumstandardlens/Hypersonic
focusing/high-performanceoptics
/Forfull-frame&APS-Csensors
TEST: DANIEL LEZANO & RICHARD HOPKINS
Guideprice:850/Streetprice:700
Lensconstruction:13elementsineightgroups
Filterthread:77mm
Minimumfocus:40cm
Maximummagnication:1:5.6
Diaphragm:Nineblades
Size:85.4x99.9mm
Weight:815g
Suppliedaccessories:Paddedcase,hood&caps
Fittings:Canon,Nikon,Sigma&Sony
Contact:www.sigma-imaging-uk.com
F
OR MANY PHOTOGRAPHERS, the dedicated 50mm user will want to own. ANOPTICALBENCHMARK(above):Sigma'slateststandard
thought of substituting their standard Quite simply, it's the sharpest 50mm on the lensisoneofthenestopticswe'veevertested.
zoom for a 50mm lens seems a scene, bar none. Our lab tests conrm what PORTRAITS(below):Wecan'tfailtoraveaboutthequalityof
imagesincrediblesharpnessandlovelydepth-of-eld.
backward step, with the thought of the images captured using the Sigma already
swapping the versatility of a zoom for told us this 50mm delivers incredible optimum results, with difraction reducing
a xed focal length seemingly illogical. sharpness, excellent contrast and minimal sharpness as you close down to f/16.
Of course, you and I know better. Using a distortion. It's benchmark stuf in this regard. There is a downside to all this glass, but
50mm is nothing short of a joy, with the fast That's little surprise when you take into one we're sure users don't mind, and that is
maximum aperture and sharp optics more account its make-up Hypersonic AF that the Sigma is bigger and heavier than any
than making up for the loss of a zoom provides very accurate and fast (as well as other 50mm f/1.4 in fact it's not too far of
facility. There are currently two main types near-silent) focusing, that locks swiftly onto the size and weight of a 24-70mm f/2.8.
of 50mm the most common is the f/1.8, static subjects as well as doing a ne job It's also expensive in comparison to other
with the faster f/1.4 also proving popular. following moving targets, too. The optical 50mm f/1.4s, too, but what do you expect?!
The latter type boasts better optics and set-up includes one aspherical and three While around 700 is a lot to pay for a
a higher price tag and is a favourite with SLD (Special Low Dispersion) elements to 50mm, you'll know where your money went
professionals and enthusiasts alike. We're produce images that will blow you away. as soon as you rst try the lens. The design is
in no doubt that Sigma's latest prime, the It's incredibly sharp at f/1.4 and gets better as stunning, the metal barrel with wide
50mm f/1.4 | Art lens, is the one that every you close down the lens f/5.6 to f/8 gives rubberised ring handles beautifully and the
AF performance is excellent. It's the image
quality that grabs the headlines whether
used on full-frame or with APS-C, you won't
be disappointed. Sharpness is very high
our test shows it leaves rivals in its wake.
On a more artistic level, the image fall-of
and bokeh when used wide open is
stunning, but take care depth-of-eld is so
shallow your focusing needs to be precise.
Overall, we'd have no hesitation
recommending this lens. It's simply the best.
Verdict
Wedding and portrait pros, alongwith more
aluent enthusiasts,willwant to get their
hands on this remarkable lens. It maybe as
large and as heavyas a premium zoom, but
it sets a newbenchmark in optical quality
and is the sharpest 50mmwe've evertested.
Build quality
Features
Performance
Value
Exposure:1/200secatf/2.8(ISO100) Overall
The ulTimaTe Guide To phoToGraphy 50mm prime lenses 157
Excellent
90
with premium L-grade lenses. Poor show really.
80
AUTOFOCUS: USM autofocus is fast, and 70
V. good
though not as quiet as some, that's nit-picking. 60
Closest focus is a typical 45cm from the sensor, 50
or 35cm from the front of the lens.
Good
40
Fair
getting of to a great start with strong central VERDICT: Canon's 50mm f/1.4 is a ne lens. 20
performance from f/1.4. Edge sharpness is Its great strength is overall performance, with 10
80
80
84
84
68
82
83
83
85
70
43
78
72
72
77
51
Poor
noticeably less good at maximum aperture, but particularly good sharpness wide open, 0
f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
catches up very quickly on stopping down. certainly in the centre, making it very usable at
Lens Sharpness (%): APS-C Centre Edge
Overall sharpness reaches excellent levels on all apertures. From f/2.8, global sharpness is
100
both full-frame and APS-C formats as early as excellent, by which time the vignetting is
Excellent
90
f/2.8, and that is held to f/11. Distortion and reduced to very low levels. At 240, it's good
80
vignetting is only fair on full-frame, recording value, even without a lens hood.
70
+1.6% barrel and -2.5EV respectively, though
V. good
60
that is countered by above average CA control. HANDLING 18/20
50
Since these aberrations are easily reduced or FEATURES 18/20
Good
40
eliminated in post-processing, we don't mark
them down too harshly. Sharpness at a glance PERFORMANCE 38/40 30
Fair
20
overall average MTF level from f/2 to f/11 VALUE FOR MONEY 18/20 10
measured 74%. Peak resolution was 114
64
69
66
45
58
70
70
74
55
72
73
73
61
75
57
71
Poor
lines-per-mm at f/5.6 (MTF 20%). OVERALL 92/100 0
f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Excellent
90
with a weather-sealing gasket. Comes with a
80
good quality hood and soft pouch. These little
70
things add up.
V. good
60
AUTOFOCUS: Silent Wave Motor is smooth, 50
quiet and swift. It's actually a bit faster than the 40 Good
much more expensive f/1.4 G version, possibly 30
because the actual glass it has to shift is lighter.
Fair
PERFORMANCE: Optical specication is high choice in the 50mm sector, but this 50mm f/1.8 10
80
86
68
86
50
82
83
70
87
78
78
78
74
81
73
57
Poor
for such a modestly priced lens, with seven G-series is the cherry. It's barely half the price of 0
f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
elements in six groups, including one its sister f/1.4 G, but overall it's better at most
Lens Sharpness (%): APS-C Centre Edge
aspherical surface. This is reected in very apertures, and produces very good to excellent
100
good sharpness, that beats the f/1.4 G at edge-to-edge sharpness throughout the
Excellent
90
equivalent apertures. Right from the start it hits range. With excellent Silent Wave Motor
80
excellent levels in the centre on both full-frame autofocusing, too, it's a great buy.
70
and APS-C. By f/2.8, the edges have also
V. good
60
reached the excellent standard. Sharpness at a HANDLING 18/20
50
glance overall average MTF level from f/2 to FEATURES 18/20
Good
40
f/11 measured 74%. Peak resolution was 110
lines-per-mm at f/4 (MTF 20%). Aberrations PERFORMANCE 38/40 30
Fair
20
control distortion, vignetting (corner VALUE FOR MONEY 20/20 10
shading) and chromatic aberration (CA) is
66
69
69
69
62
59
56
74
67
72
73
73
57
75
51
71
Poor
Excellent
90
though the mount has a rubber gasket.
80
AUTOFOCUS: Silent-Wave AF is excellent 70
V. good
fast, quiet, positive as good as it gets, plus 60
full-time manual override. 50
Good
PERFORMANCE: Sharpness is very high, and 40
Fair
peak resolution measured 99 lines-per-mm VERDICT: This was the rst lens to bring the 20
just missing out on the top grade. It's not easy benets of stabilisation to macro photography. 10
80
68
68
68
63
79
81
72
73
75
75
75
Poor
to see this in practice, and sharpness reached Since then, other brands have caught up and 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
excellent levels on both full-frame and APS-C, even edged ahead on the optical front, with AF
Lens Sharpness (%): APS-C Centre Edge
only scoring a little lower at f/2.8 and at highest and stabilisation systems to match. Though the
100
f/numbers. As usual, distortion, vignetting and performance diferences are marginal, where
Excellent
90
CA are all very well controlled, and MWD is par Nikon still scores is in build quality and a solid,
80
for the course at 14cm. The VR measured a reassuring feel that Nikon users will relish.
70
handy 1.6-stops benet at 1:1. One notable
V. good
60
diference is the way Nikon reports apertures HANDLING 18/20
50
compared to Canon. When focus gets very FEATURES 20/20
Good
40
close, the efective f/number rises, eg from
f/2.8 to f/4.8 at 1:1. All macros do this, but Nikon PERFORMANCE 38/40 30
Fair
20
chooses to report it, while Canon stays at f/2.8. VALUE FOR MONEY 16/20 10
TTL metering compensates automatically for
60
48
68
69
66
66
54
62
58
65
52
57
Poor
this so it makes no diference in practice. OVERALL 92/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
60
AUTOFOCUS: Ultrasonic AF is silent and swift, 50
with full-time manual override. Macros tend to
Good
40
be slower focusing because of their longer 30
range mechanisms, but you'd not know it here.
Fair
PERFORMANCE: All macros are very sharp, but by a short head. It's extremely sharp, handles 10
84
82
85
65
78
74
76
72
73
75
77
71
Poor
this is the sharpest here (just!) and recorded the beautifully and has the best IS and AF. As youd 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
highest maximum resolution gure at 110 expect from Canon, the build quality is
Lens Sharpness (%): APS-C Centre Edge
lines-per-mm. Excellent performance from excellent and its optically brilliant. Its around a
100
f/2.8, peaking at f/4, and sharp right across the third more costly than rivals that run it very
Excellent
90
frame. On APS-C, difraction hits earlier and close for image quality at mid-range apertures.
80
harder than full-frame and performance just But if you want the best and use Canon, this is it.
70
starts to dip from f/8. Distortion is negligible,
V. good
60
CA well controlled, vignetting minimal at f/2.8 HANDLING 18/20
50
and gone by f/4. Minimum Working Distance is FEATURES 20/20
Good
40
a smidge less than some at 13cm. The Hybrid IS
also corrects lateral movement up-down as PERFORMANCE 39/40 30
Fair
20
well as angular pivoting which is more VALUE FOR MONEY 15/20 10
noticeable with macro. It works very well, and
64
64
50
62
58
65
56
74
72
61
61
75
Poor
Excellent
90
Hypersonic. The lens hood is unique in having
80
an extension for use with APS-C cameras.
70
V. good
AUTOFOCUS: The Hypersonic Motor certainly 60
moves fast, but can be a tad noisier and juddery 50
around the focused point. Normally not much
Good
40
of a criticism, but both standards and prices are 30
high here. AF has a three-stage limiter.
Fair
VERDICT: No excuses at this level, not that 20
PERFORMANCE: All that glass certainly works! Sigma really needs any. Optical performance is 10
80
68
68
82
83
79
74
67
73
73
77
77
Poor
Sharpness is very high, matching the Canon right up there, almost class-leading, and so too 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
100mm L's MTF peak at 83% and only just falling is image stabilisation and overall build quality.
Lens Sharpness (%): APS-C Centre Edge
short on maximum resolution at 108 lines-per- Only the HSM focusing, to be very critical, can
100
mm. Edge sharpness isn't quite so spectacular be occasionally hesitant as it seeks perfect
Excellent
90
at f/2.8, but still very good indeed. Distortion, focus. All round, the Sigma makes a strong case
80
vignetting and CA are minimal. Optical and has the edge on price over marque optics.
70
Stabilisation works well and we measured an
V. good
60
improvement of 1.6 stops at 1:1. Though this is a HANDLING 17/20
50
lot less than the four stops you might expect at FEATURES 20/20
Good
40
normal shooting distance, it is still very
welcome with macro where there is often PERFORMANCE 36/40 30
Fair
20
pressure to achieve suiciently high shutter VALUE FOR MONEY 17/20 10
speeds. Minimum Working Distance checked
60
68
62
58
63
56
70
70
53
61
57
51
Poor
out at 14cm, very much in line for this class. OVERALL 90/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
Excellent
90
optical front, there are 14 elements in 11 groups,
80
including one of LD glass and two XLD.
70
V. good
AUTOFOCUS: Ultrasonic Silent Drive is very 60
good fast, smooth, quiet and positive 50
plus there is full-time manual override. 40 Good
though Tamron seems to have taken a slightly VERDICT: This lens performs extremely well 20
diferent tack here. While not quite reaching the right across the board. And that's its key 10
80
68
70
78
74
76
79
79
76
75
75
77
Poor
very highest levels of some others in the centre, strength, with sharpness evenly spread at a very 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
it's a very close call and Tamron hits back with high level across all areas of the frame, at all
Lens Sharpness (%): APS-C Centre Edge
edge performance that is so amazingly close to apertures (inevitably bar the highest f/numbers).
100
the centre it's almost overlapping. So while the AF and VC are both excellent. A big price drop
Excellent
90
peaks may be slightly lower, overall image (this Tamron was priced at 569 not too long
80
quality is exceptional even across the whole ago) means this lens is very good value.
70
frame and at all apertures. Maximum resolution
V. good
60
of 91 lines-per-mm at f/5.6 doesn't truly HANDLING 17/20
50
represent how good its total performance is, FEATURES 20/20
Good
40
including excellent control of distortion,
vignetting and CA. Tamron's tri-axial Vibration PERFORMANCE 36/40 30
Fair
20
Compensation is impressive at 1.6 stops at 1:1. VALUE FOR MONEY 16/20 10
Minimum Working Distance checked out at a
64
54
62
62
58
70
65
67
55
72
61
71
Poor
On sale now!
Order your copy direct from
Excellent
90
Hypersonic, and Sigma's OS image stabilisation
80
is another highlight. Hood and case supplied.
70
V. good
AUTOFOCUS AND IS: AF has Sigma's quiet and 60
eicient HSM drive, with a limiter set at 67cm, 50
plus full-time manual override. It's fast,
Good
40
recording 0.4 seconds in the near-to-far speed 30
test (1.5m to innity). MWD is 22cm at 1:1,
Fair
VERDICT: The mighty Sigma 180mm f/2.8 20
measured from the front of the lens, a couple of presents a conundrum. For sheer performance 10
84
89
86
85
70
87
87
79
76
81
81
72
centimetres less than rivals. Sigma's OS image
Poor
- from the stunning sharpness, to rst class AF 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
stabilisation recorded 80% sharp images at and OS operation, to superb build quality - this
three stops below the unaided handholding is clearly the best long macro lens available, bar
Lens Sharpness (%): APS-C Centre Edge
limit, and 50% at four stops. Even at macro none. But in practical terms, it's one big lump of
100
Excellent
range, we got a two-stops upside. a lens to manhandle on a macro safari, with an
90
80
PERFORMANCE: Very few lenses, of any design equally heavy price.
70
or price, are as sharp as this one. On full-frame
V. good
60
sensors at f/2.8, both centre and edges soar HANDLING 17/20
50
high above the 'excellent' line, nudging 90% FEATURES 20/20
Good
40
MTF at f/4, only then reducing in line with
difraction. Even at the higher standard PERFORMANCE 40/40 30
Fair
20
demanded on APS-C sensors, sharpness is VALUE FOR MONEY 16/20 10
hardly dented, and still remains comfortably
80
80
80
68
82
83
59
78
67
55
73
75
Poor
above 'excellent' to f/11. OVERALL 93/100 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
Excellent
90
Sigma's three FLD elements). Tripod collar,
80
hood and case are standard.
70
V. good
AUTOFOCUS AND IS: Hypersonic AF is 60
near-silent and fast, scoring an average of 0.4 50
seconds in the near-to-far speed test (1.5m to 40 Good
innity). Minimum working distance (MWD) is 30
18cm from the front of the lens at 1:1, roughly
Fair
83
70
70
87
87
76
79
81
75
77
about as good as it gets. drawback for some users. Just one more thing
90
80
PERFORMANCE: Another very sharp lens from to note it's a real bargain at under 700.
70
Sigma, and notable for how closely edge
V. good
60
sharpness tracks the centre. On full-frame, HANDLING 19/20
50
sharpness is already 'excellent' across the frame FEATURES 18/20
Good
40
at f/2.8, it gets a useful leg up at f/4, and stays
above the 'excellent' line to f/16. First-rate PERFORMANCE 37/40 30
Fair
20
performance, and the pattern is repeated on VALUE FOR MONEY 20/20 10
APS-C at a slightly lower level, but still 'excellent'
80
64
62
63
70
74
76
76
67
73
75
57
Poor
aDam BuRton
Howtouseyourmetering&WhiteBalancecards
the 18% grey card can be used to ensure perfect exposures when shooting in tricky lighting conditions. Both
reference cards can also be used to set a custom White Balance. Depending on the camera you use, you need
to take a White Balance reading from the grey or the white card (your cameras instructions will show you how)
Digital SlRS uSe SophiSticateD exposure systems and all work using or by metering from an area of the scene that has a mid-tone. and thats
the same assumption that the average of the scene that is being metered where our grey card comes in. using it is very simple as our step-by-step
from is a mid-tone, or 18% grey to be exact; the average of all dark, light and guide below illustrates. Remember that you need to place the grey card in
mid-tones mixed together is 18% grey. its the basis of all metering patterns similar lighting to your scene for instance, dont place it in a shaded area if
and works surprisingly well, but while its ine for the majority of shooting your scene is bathed in sunlight. also make sure that the card ills the
situations, it can lead to incorrect exposures when the scene or subject is metering area we recommend that you use spot metering as the card
considerably lighter or darker in tone than 18% grey. For example, very dark wont need to ill the entire image area, but any is suitable. You can either
areas can fool the metering system into overexposure. Similarly, very light lock the exposure using your cameras ae-lock facility or note the aperture
subjects, such as a snow scene, can fool the camera into underexposing and shutter speed, and then switch to manual mode and set these
them making them appear darker than they are as the light meter will (although this method isnt suitable to days where lighting is variable). the
take a reading designed to render them as a mid-tone. as a camera is trying card has aF reference lines to help your cameras autofocus lock on to it.
to render an image grey, its your job to ensure you compensate to keep however, you dont necessarily need it to be in focus to work correctly.
the tones true to life. You can do this by using one of your DSlRs exposure the grey card (as well as the white card) can also be used to take a custom
override facilities, such as exposure compensation or the ae-lock button, White Balance reading from, too.
WB REFERENCE CARD
GREY CARD
A!
AM R
ER
C FO
AL N L
IT IO A
IG N E
D PA E ID
UR OM TH
YO C
he Ultimate Guide to
PHOTOGRAPHY
Take amazing wildlife shots Make the most of the coast Master the world of close-ups
Leading advice to mastering animal images, Expert guidance on the essentials you need to The core techniques and photo skills you need
from photographing action to creative ideas know to shoot coastal landscapes like a pro for capturing macro subjects in ne detail
Choose the best landscape filters Why you need to shoot in Raw The ultimate photo kit
Our outdoor experts reveal the best lters to Discover the hidden potential of shooting in Authoritative reviews of leading kit including
use and how to make the most of them Raw to give the ultimate in image quality polarisers, ND grad lters, tripods and lenses
EXPERT ADVICE
TO HELP YOU TAKE
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